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KIM Kyung-mook, the eternal enfant-terrible, has finally turned 30. If you were used to his films falling exclusively in the category of shocking cinema, you may find yourself disappointed by his latest work. Has he changed all of a sudden? KoBiz met with him and asked a couple of questions about his new film Futureless Things and on the kinds of images that he is still fascinated by.

 

At first when I was planning the film by myself and writing the scenario, the overall tone was dark. Then I wanted to add a more contemporary reality to it so I co-wrote with another screenwriter who had experience working at a convenience store. I’m not sure if he would agree to it, but I believe every bright and comic element in this film came from him. (On the other hand, some of the scenes, like depicting the manager’s death and the pack hanging around the door, still retain my own sensitivity). Furthermore, the convenience store where shooting took place was a bright space where light came in from everywhere. Due to the limited budget, we could not change or adjust the space much, so as a result, the overall tone of the film is quite bright in more than one way.

The shooting began in August 2013, and we had very little time for rehearsal after the budget was finally settled. In addition, we had several episodes and a number of actors involved, so we had no choice but to make do with just two or so rehearsals per episode and as the 12th shooting day was the last. Each episode took one day to film, on average. It was especially hard, because I planned to employ a different concept (mode) of shooting for each episode, which gave the actors and staff a hard time. The shooting schedule became quite crazy and I almost lost my mind. After the third day of filming, I felt like I was doing something really insane.

In the scenario, the time and characters were even more mixed, and if I had stuck to the original idea, the film would have been too long. When the time to decide came, I made up my mind to cut all things short. I didn’t want Futureless Things to be an uncomfortable film for the audience to watch. In the final version, I simplified the relationships between characters and cut out the original endings of the episodes and arranged them in a “kinder” way.

 
The convenience store consists of horizontal structures. Many shelves are horizontal and so are the cashier counters and cigarette shelves, which constitute the main stage of the film. So this decision was a practical one rather than an aesthetic one. The outer look of the store fit greatly within the 2.35:1 screen ratio as well. 

 

 

One of the things that I wanted to do in this film was to reveal today’s Korea through the depiction of a convenience store. Dropping out of school at an early age, I had to work at various places as a part-timer until I was in my mid-20s. It was not easy for me to keep up with existing relationships, and I had a hard time as I alienated myself by doing work I wasn’t happy with. I wanted to show this fatigue in the film. Also, when I was writing the scenario, a lot of news came out involving convenience stores. For example, several shop owners took their own lives because of the vicious management and regulations of franchise headquarters. Such details from the real world were naturally reflected in the scenario.

 
I kind of intended it that way. Well, rather than saying I intended it, I should say I wished it that way. Because I began with films about myself, I always had a feeling that they are too closely related to me. It is my belief that when you are in your 20s, you have to try a lot of things even if they lead to failure, so I attempted something new. I was also curious what kind of outcome it would bring. So I tried to listen to other people when making this film, rather than insisting on my way.

At first, the scenario was a story where you really terminate things like the title indicates, and take an extreme measure in terms of aesthetics as well. So in that aspect, I would say it was rather a statement. However, as we co-wrote the scenario, the overall tone went towards black comedy. So from that vantage point, the title does contain some comic elements as well. I would say the meaning of the title changed between before and after the production.

 

Every digital production should be able to offer an answer for the reason behind this filmmaking style. A limited budget should not be the only reason. You should also think hard as to why you should want a material sensitivity and (digital) image in your film. In my first three films, I considered the texture of home video, the aspect of candid camera as a recording medium, and the transformability of an HD camera. I kept thinking hard about the pros and cons of digital images through Stateless Things (2011) and Futureless Things.

When I released Faceless Things (2005), the response was usually, “is it even a movie?” and from then on, I tried to make films that “are actually movies.” However, rather than being confined within the existing film system, I wanted to go for something new, and something that I really want. I have learned a lot within the system, and it was a happy experience too, but in return, I had to give up certain things as well. When you are making a full length film, you have to give up your dream images unless the budget approves. It depends on where you look at it from, but I would say I have not been able to go as far as I wanted. Recently, something called expanded cinema emerged, both in visual and media art. Before I start another full length movie, I want to work on my own small project by myself, and discover and develop my own language.

 

By LEE Yong-cheol(Film Critic)