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Back in 2012, LMD met an artist blazing new trails in Korean cinema. Disturbing and dark as pitch, Director Yeon Sang-ho’s THE KING OF PIGS {2011} was a decidedly un-family-friendly animated feature that glared unblinkingly at the ills of South Korean society through the eyes of three bullied kids. His next animated film, THE FAKE {2013} tackled organised religion. Yeon’s first live-action feature, TRAIN TO BUSAN {2016}, would simultaneously initiate the zombie genre in South Korea, while keeping his social consciousness present. The film broke records in South Korea, and became hugely popular around the world, even without a wide mainstream release. PENINSULA is the follow up to that blockbuster. Director Yeon was kind enough to send LMD some written thoughts about continuing his hit saga, his cast; including superstar Gang Dong-won, classic movie and anime influences, and releasing this film in this age of coronavirus. Dig it!
PENINSULA Director Yeon Sang-ho
Yeon Sang-ho: Because TRAIN TO BUSAN was a high-concept movie, I debated whether the sequel should be made with the same original concept, or created with a completely new one. As a creator, I wanted to create a new genre for the film. Compared to TRAIN TO BUSAN, PENINSULA has a very different texture to the movie. In addition to more action scenes, there is more focus on the fear of the survivors who have lived in this environment, and the savages they have become rather than the fear of being infected by the zombies. If TRAIN TO BUSAN is considered a story of isolation on a narrow train, then PENINSULA is also a story of isolation. However, it is not only isolation from the enemy, but also isolation from hope that no longer exists.
YSh: Gang Dong-won is an actor who is capable of portraying very strong emotions and a variety of facial expressions. And, he is an actor who is able to put that performance into action scenes. That is why each of the action sequences performed by Gang Dong-won is beautifully rich with emotions. It was very difficult to think of another actor who could accurately portray the full depth of emptiness felt by the character, Jung-seok.
Please talk about the training you prescribed for Mr. Gang, and how you collaborated on balancing the action aspect with the vulnerability we see in Jung-seok? YSh: The Martial Arts Director continually showed the action sequences to Mr. Gang Dong-won through choreographed video and was able to convey the vision for the action for PENINSULA. Because Mr. Gang had more experience with action scenes in previous movies than anyone else, he didn’t require additional training. During the pre-production phase, he persistently researched the emotions of the character Jung-seok and worked diligently to combine those emotions into action. The first scene we shot with Actor Gang Dong-won in PENINSULA was the action scene where he broke into Unit 631. Even though his first scene was an action sequence, he was able to portray an abundance of emotion because he was already immersed deeply into the Jung-seok character.
Was putting women in nontraditional roles at the forefront an important goal for you in this film? YSh: The main concept of the movie was a mother trying to raise her children in a city that is in ruins, with two children who have to live every day in the ruined city. The idea of children driving in a zombie-filled apocalyptic world was fresh and interesting.
I wondered if the specific reason was kept purposely vague, or if scenes were cut? I wanted to know everything about them. YSh: We showed through their conversations that Min-jung’s family used to live with Unit 631 when they were soldiers who rescued citizens, before they became barbaric. And, Joon-yi and Min-jung are not related to each other. However, I didn’t feel the need to explain that in detail. Rather than highlighting whether or not they were related, I thought showing whether or not they loved each other as a family was much more important.
YSh: In every scene, Actor Lee Jung-hyun showed me the image of acting I envisioned perfectly. I felt she was able to deliver everything I wanted, down to how she breathed. Actor Gang Dong-won always consulted with me on his interpretation of the scenes. Because of Actor Gang’s ideas, many of the scenes were enriched. Whether it was Jong-suk’s dream with his sister or the last scene where Min-jung got on the truck and honked the horn; these were all Actor Kang’s idea. Working with actors who have different tendencies was very enjoyable and the end result was the actors who were part of PENINSULA had a common goal to make the movie a rich and enjoyable film.
Is there a difference in how you direct younger and older actors, or veterans versus newcomers? How do you bring out these incredible juvenile performances? YSh: The actors of PENINSULA all had their own way of acting. Each had their unique way of interpreting or acting out the scene. I worked hard as a director to speak to them in a way each of them could understand. I don’t believe the difference is in their age or experience. Let’s take for instance Actor Lee Ye-won, who has an abundance of emotion and was able to modify her acting based on each of my directions; while Actor Lee Re thought similarly as an adult actor. Even though Actor Lee Re is very rational, she is an actress with an abundance of emotions.
YSh: Of course, whether it is on set or not, I want the actors to respect and get along with each other. That is true not just for the actors, but also for the staff. However, I don’t believe that has an influence on the filming. The actors in PENINSULA are all professional and I believe they will try their best. I believe the greatest bond comes naturally when everyone does their best while filming.
LMD: Watching PENINSULA in New York City as we are heading toward our sixth month dealing with the coronavirus pandemic, there is a lot in this film that gave me extra shivers. Obviously, this movie, and your whole idea for these infectious zombies, was made long before the world knew about COVID-19, yet some of PENINSULA’s exposition about the virus and its effects are uncomfortably close to home. Did releasing the film as South Korea is in careful recovery from the virus, and other countries around the world slowly coming back, but while we in the US are unfortunately still in the depths of it, add any sort of extra pressure or different perspective for you? YSh: PENINSULA is a movie that started out exploring the identity of the theatre. To me, going to the theatre is a fun outing experience. I think PENINSULA is a movie that is best experienced in a theatre with many viewers to gain synergy. In our current state, with COVID-19 where it is the worst situation for theaters, I think it was a good idea to release PENINSULA. The theme of PENINSULA is the hope that can be found in the midst of isolation and frustration. I think the story that PENINSULA is trying to tell is very pertinent to our current situation. It is very rare when movies can mimic present reality.
Did you have other films in your mind’s eye as you created PENINSULA? YSh: From a young age, I was influenced by Hollywood’s movies from the 90s, such as THE TERMINATOR and ROBOCOP. While making PENINSULA, I wanted to create the same vibe as a Hollywood movie from the 90s. Also, movies I saw when I was younger, like MAD MAX 2 {THE ROAD WARRIOR}, helped me find the joy in post-apocalyptic movies. I think these things naturally influenced the movie. I received a lot of inspiration from the comic AKIRA – where after Akira triggers the second explosion that caused a post-apocalyptic Neo-Tokyo; an outside commando infiltrates the land and finds survivors.
LMD: When we first spoke, I remember you were surprised I was affected by the murder of an animated cat in THE KING OF PIGS, yet in both TRAIN TO BUSAN and PENINSULA, you have a chance to throw red paint and gore all over the screen, but you deliver frights without being overly graphic. What do you consider when presenting the violence of a world of man-eating zombies? YSh: In Korea, realism of situations in movies is very important. Because I have worked in animation, I like to include elements of animation, but I use reality as the foundation of how I direct. What TRAIN TO BUSAN and PENINSULA have in common is that they are movies that bring the audience into the experience with the ordinary characters in the movie as they face unknown situations or unknown worlds.
LMD: As I watched the film, there were certain sequences that I would love to see animated, or drawn in a graphic novel. Do you first envision the way your live action films are going to look as drawings? Are there plans to make these films going forward into graphic novels, or animation? YSh: The starting concept of some movies starts with an image. Originally, when I was in college, I majored in oil painting, and have worked in animation for a long time, so it is common for me to start a story with an image. The genre I love as much as movies is comics/animation. In order to expand the world in PENINSULA, we are also considering creating a prequel to PENINSULA in comic form.
LMD: I had the great pleasure to meet Ms. Shim Eun-kyung last year during the JAPAN CUTS film festival: Ms. Shim was a voice actor in SEOUL STATION, the animated prequel to TRAIN TO BUSAN, who makes a pivotal cameo in that film. With that connection in mind, I strained my eyes trying to see whether there were any Easter eggs, or secret references hidden in PENINSULA. I would have been thrilled and horrified for a quick glimpse of zombie Gong Yoo or Ma Dong-seok somewhere on the screen. Is that something sharp-eyed viewers might be able to find? YSh: There are no special hidden Easter egg scenes.
Have the zombies evolved as you’ve written them? YSh: SEOUL STATION is a movie with a strong personality that deals with zombies as an allegory for those who are socially disenfranchised. In contrast, TRAIN TO BUSAN and PENINSULA are movies that emphasize the enjoyment of the genre. With TRAIN TO BUSAN, the genre characteristic I created was the zombies were not able to see in the dark, and this carried over to PENINSULA. As a result, most of the actions of the main character occurs at night. As I decided on the post-apocalyptic genre, I created an upended world where people who would normally move around during the day become nocturnal.
What are some of the considerations you’re making with regard to telling future stories in this world of zombies? YSh: As a Director, I didn’t want to create the movie in the same way. While planning for PENINSULA, the overarching desire was to create a movie that was different from TRAIN TO BUSAN. Even though they shared the same world view, I wanted to make a movie that was a completely different genre with a destiny that was independent from the first. Jung-seok’s character being former military and the emergence of Unit 631 were critical to the portrayal of the collapse of public authority. Showing the loss of authority of public officials provided significant impact in depicting the despair the survivors of PENINSULA feel.
LMD: Some years ago, I was honoured to speak with the great Father of all zombie films, Mr. George Romero. I asked him, and I will ask you, what do you think it is about zombie film that makes them fun to watch onscreen? YSh: The reason we watch movies is because they are entertaining. However, I think there are different forms of entertainment. Whether it is watching a thriller or being able to discuss the movie with friends, these are all different ways movies can be entertaining.
LMD: TRAIN TO BUSAN was a breakout success. Did the success of that film add pressure or change your perspective in any way when making PENINSULA? YSh: It is true that I did feel some pressure due to TRAIN TO BUSAN’s success and the fact that it garnered so much attention, but that pressure did not influence what I was able to or not able to do. With every movie I make, there isn’t much more I can do other than try to create the movie that is consistent with the intended vision.
LMD: You are doing a new project for Netflix called HELL. Can you tell us a little bit about it, and whether you have a project after that? YSh: I plan on making a Netflix Original animated series in collaboration with my best friend and cartoonist, Choi Gyu-seok. The plot is about how in the wake of a sudden and surreal event, a society that believed things were normal turns savage. It is a story that is more stable than TRAIN TO BUSAN or PENINSULA, yet has many plot twists. Also, the sequel to the occult drama, THE CURSED, where I was the screenwriter, will be shooting soon. In addition, I was the screenplay and creative director, while the director was Kim Yong-wan.
LMD: We first met speaking about THE KING OF PIGS, which was a disturbing indictment of society’s treatment of children. THE FAKE has a strong social message about organised religion. The zombie films are based in horror. Have you ever thought about making a sweet romantic comedy sometime? YSh: I currently do not have plans of making a romantic comedy; I think that requires someone who has talent in that genre.
YSh: PENINSULA is a different type of zombie action movie compared to TRAIN TO BUSAN. I hope you will be able to enjoy the movie even while thinking that it has been a long time since you were able to have a pleasant night out at the theater.
~ The Lady Miz Diva Vélez July
24th,
2020 Click Here for Our Exclusive Interview with PENINSULA Superstar Gang Dong-won
PENINSULA Opens in Select US Theatres on August 21st.
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