Lee Byung Hun 이병헌 Byunghun Lee

[Guest seli_setiana]

rubie said:
Read the recap & results at
20 Lovey-Dovey Real and Imaginary Coupleshttp://www.soompi.com/2014/03/10/20-lovey-dovey-real-and-imaginary-couples
Lee Min Jung + Lee Byung Hun (Hunnie Couple)http://www.soompi.com/2014/03/10/20-lovey-dovey-real-and-imaginary-couples/8/
http://forums.soompi.com/discussion/2020099/the-hunnie-couple-min-jung-byung-hun/p37

[Guest seli_setiana]

rubie said:
February 8, 2014
Related excerpthttp://koreajoongangdaily.joins.com/news/article/article.aspx?aid=2984695
The feet may be the least appreciated body part. Theoretically, feet are supposed to be far cleaner than hands, but that’s not what it feels like. While the feet ⓐbear the weight of the body all day long, even ⓑtheir owner rarely appreciates their service. ⓒ

However, movies and television shows sometimes project ⓓromantic or erotic fantasies about feet. Secretly touching another person under the table with ⓔone’s foot is a typical scene suggesting an extramarital affair, eroticism or a tryst. In the movie “Bungee Jumping of Their Own,” Lee Byung-hun ties Lee Eun-ju’s shoelaces, and it became a textbook romantic scene. In “The Contact,” Jeon Do-yeon has a crush on her friend’s fiance and secretly tries on his shoes. On the latest hit television drama on SBS, “You Came From the Stars,” high heels appear as an important prop. 


ps: anyone has the actual image of the showlace-tying scene from the movie? Much obliged.

[rubie]

 Source; LBH JOFC Facebook
March 26, 2014
Despite the rain in Osaka, lots of people are waiting in front of the venue. 


The indoor Gift Shop


The doors open!

[rubie]

Credit: lbh1005 via Instagram {LBH On Tour 2014.03.25)

[rubie]

2014 S-S NAUTICA COLLECTION _ MAKING MOVIE.

Source: Nautica Korea

Sendspace

Anyone notice how extremely sexy he is post-marriage?

[rubie]

Hint of a smile..

[rubie]

[peonie]

Attendance of my first fan meeting

With special thanks to Ayu-san and Mariko-san who arranged the tickets for the LBH ON TOUR 2014, I was fortunate to attend LBH's performance in Orix Theatre, Osaka.   We had front row seats on the Upper Balcony.  As the whole performance appeared on the large screen on stage,  we did not need binoculars but were able to see Byung-Hun-ssi clearly. I was told that the performance hall can seat 2,400.  There were a lot of fans:  99.99% female and the hall was almost filled to full capacity.

BH is handsome as ever and is cheerful, relaxed and smiled constantly. His choice of costumes was elegant and sharp.

The show started with the first pre-recorded series of "talk shows" with BH hosting the show and interviewing guests impersonated by him. The first guest was a famous Hollywood actor. It was an excellent and accurate impersonation. Soon after, LBH entered through a side door singing "Someday". His fans broke into a thunderous applause.   The atmosphere was great! He then appeared on stage with 5 men including his Managers: Song Wan Mo and Charles Pak all singing the same song. He wore a white tuxedo jacket with black lapel, black shirt and black pants.

Throughout the show, BH spoke in Korean which was simultaneously interpreted into Japanese by his usual lady Japanese interpreter.

The singing was followed by BH's interview with a famous Japanese MC personality who also took questions from the audience.  One nine year old fan asked "How can I be strong like you as Storm Shadow in the G. I. Joe movies?"  BH answered "I am not as strong as Storm Shadow.  To be strong, you need to have confidence and act responsibly."

The second "talk show" showed BH impersonating and interviewing the Lee professor.

The show continued with the MC asking a series of questions based on a series of photos on the screen.

1st photo showed BH taking a photo beside his "hand prints" in the Chinese Theatre in Los Angeles.  It was his first visit, he explained.

2nd photo showed him mixing wine in Mendoza.  He explained that he received an invitation from the Mayor of Mendoza.  There, he tasted a lot of wines and even tried blending wines with different grapes.  He enjoyed wine very much and he drank all day!

This was followed by a series of never shown photos and clips of his new movie " Memories of the Sword".  According to BH, it was hard shooting this movie because it was done in winter and often in the rain.  He had to act cruel and those scenes required a lot of energy.  Whereas it is usual in Hollywood to generate some of the action scenes using the computer, all the action scenes in Korea were acted out by the actors and actresses.  Furthermore, there must be complete harmony between the actors and staff in making the movie.  He added that the actual show date of "Memories of the Sword" has not yet been decided in Korea.  This movie is not purely an action movie but a love story as well.

The third "talk show" was the impersonation of a well known  Japanese actor. He asked BH "how can I be as famous as you?"  BH answered, "listen to the fans voices, get their opinion and communicate with your fans."

This was followed by a series of requests by fans including:

1.  Please make CDs singing Japanese songs.

2.  Please be the main lead in a romantic movie. 

Some of the interactions between BH and his adoring fans were really funny.

The fourth "talk show" was the impersonation of the late Bruce Lee.  BH impressed his audience with a number of Bruce Lee's moves done most convincingly.

Thereafter, the screen showed the beach scene with Chi Ji Woo in "Beautiful Days".  BH said he was very embarrassed with the dialogue regarding drinking sea water, so much so he needed to drink wine to say his lines.

The last interaction with his fans included picking a number of pre-written requests from fans.  BH read the message and acted out what was written in the messages.

This was followed by a game where the fans need to display a “X” or “O” sign  to see if it matches BH's answer.  The fans guessed right most of the time.

There was a lucky draw where the prize winners could get: the Masquerade "Gwanghae’s" doll, costumes and a bag that BH wore in the drama "Iris".

BH then took to the stage and sang "the Flower of Snow" by Mika Nakshima.  The response from his fans was overwhelming. He then sang " "Ue o Muite Aruku" or  “I look Up As I Walk ".  He gave us one last song when his fans continued to applaud.

When the fan meeting ended, we went out into the rain.  His fans stayed on close to an hour to wave him goodbye.

I am absolutely touched by BH's genuine warmth towards his fans and vice versa.  The interactions with his fans were spontaneous and sincere.  They just adore him and screams whenever he appears.  Even without any knowledge of the Korean and Japanese languages, I have enjoyed this wonderful experience with the help of Ayu's translations and explanations.  The day started at 7 am for me and ended at 9 pm with five hours on the Shinkansen.  The fan meeting lasted almost 3.5 hours and these precious hours will remain as sweet memories with me forever.

 

[rubie]

Super fabulous recap, Barbara! 


So glad and happy to read that you've had the best time in Osaka, finally a wish truly coming true! Seeing Byunghun-ssi up close and personal, like never before.. huh.. huh. ^^ Definitely a memory to cherish <3
It's an awesome sharing reading the most wonderful detialed recap, making us feel that we were there. too.. 

[p.v.wong]

@lbhhanhk    Thanks Barbara for your wonderful  sharing ^-^May I transfer your wonderful writing and picture to LBH Baidu ? Thank you so much ! 

[peonie]

@ p.v. wong

Please feel free to share this recap with the fans of LBH Baidu.

[rubie]

Credit: てっちゃん&hitomin推し
March 27, 2014
Byunghun-ssi returned home at 11 am via Kansai International Airport 

[rubie]

March 28, 2014
The ‘Why?’ in Korea’s Revenge ThrillersExploring the Roots of Korean Cinema’s Genre Staple
by Pierce Conran KOFIC
 
 ‘Revenge is a confession of pain’ – Latin Proverb As the unofficial hub for modern revenge narratives, the Korean film industry has, unintentionally, cultivated an image of itself as a national cinema fixated on stylish bloodletting. While true that Korea is the most prolific producer of revenge films, and that they often operate within the theater of the grotesque, such a reading is shortsighted and ignores the social mores that have led to this profligate meting out of payback. The obvious question raised by the prevalence of revenge in Korean cinema is, why? While a seemingly simple query, it has no straightforward answer and can be approached from any number of aesthetic, sociological or historical angles. Revenge as a narrative device stretches as far back as the birth of storytelling. Straightforward, easy to follow and emotionally charged, it is an effective way of relaying an engaging story to a receptive audience. Following its popularity in Greek mythology and literature through the ages, revenge was embraced by filmmakers, who were seduced by its simplicity and the way it easily lends itself to genre cinema. Films like Death Wish (1974) were able to fetishize violence with narratives that required the frequent, and often bloody, dispatch of antagonists. 

When revenge caught on in Korea cinema, shortly after its resurgence in the late 1990s, buoyed by the international success of PARK Chan-wook’s revenge trilogy (Sympathy for Mr. Vengeance, 2002; Oldboy, 2003; Lady Vengeance, 2005), it wasn’t long before the industry developed a reputation as a purveyor of vengeful cinematic fare. The embrace of revenge thrillers in Korea may have been an unconscious attempt to develop a recognizable genre brand for the country’s film industry in the wake of Oldboy’s global recognition, much like the way that Hong Kong is known for its kung fu films or Japan has spent years churning samurai flicks. However, in a technically advanced industry that has proven adept at producing a kaleidoscopic array of commercial and independent cinema, this branding never quite came to fruition. Considering the theme’s enduring popularity in Korean cinema, evidenced by hits such as The Man from Nowhere (2010), it’s no surprise that local filmmakers have returned to revenge again and again. But even early on it was suggested that there was more at play than mere aesthetic appeal. Academic studies have suggested that revenge is used as a means of post-traumatic recovery. Psychological scars inflicted by the colonial era, the Korean War, the separation of the peninsula and the subsequent military regimes run deep and offer numerous incentives to employ revenge as a metaphorical device for the recuperation of a lost national identity. In his book ‘Virtual Hallyu: Korean Cinema of the Global Era,’ Kyung Hyun KIM refers to the colonial era as an ‘enigmatic but seductive little kernel.’ Korean filmmakers are caught between the need to remember and forget. The fear of forgetting the past undergirds many of contemporary Korean cinema’s narratives, while the need to forget it has hidden Korea’s difficult history in allegorical tales. This has also led Korean filmmakers to develop a fascination with amnesia. In Oldboy, CHOI Min-sik’s character OH Dal-su is forgotten by society following a 15-year incarceration and, following the film’s twist climax, he deliberately employs a hypnotist to ride him of his memories. Similarly, at the end of JANG Cheol-soo’s Bedevilled (2010), the antihero KIM Bok-nam loses her mind and presumably her memory, having completed her cycle of revenge. These quests for revenge can be read as privatized analogies of national trauma, but, since fixing the past is not an option, there is nothing left to do but die, go crazy or forget.  Revenge in Korean films is typically initiated when characters become marginalized from the status quo. When a loved one is taken from them (I Saw the Devil, 2010) or they are betrayed by those they have put their faith in (A Bittersweet Life, 2005), they lose the link to their ordinary lives, and, dislocated and shunned by society, they go on the rampage. However, echoing the Count of Monte Cristo’s lifelong scheme, revenge is seldom spontaneous in Korean films. Those wishing to get even go to great lengths to carry out their retribution. OH Dal-su’s tormentor spends 15 years setting his plan in motion while Lady Vengeance’s Geum-ja concocts her meticulous plan during her years in prison. In last year’s The Fives, Eun-a enrolls four co-conspirators into an elaborate scheme. Characters in Korean films, having lost their raison d’être, become consumed with revenge and devote all their energies towards exacting it. 
Characters in Korean films often harbor past traumas and the result is a special feeling or emotion known as ‘han,’ which is notoriously hard to translate. Theologian SUH Nam-dong describes ‘han’ as:  “a feeling of unresolved resentment against injustices suffered, a sense of  helplessness because of the overwhelming odds against one, a feeling of acute pain in one's guts and bowels, making the whole body writhe and squirm, and an obstinate urge to take revenge and to right the wrong—all these combined.” Revenge, as executed in Korean cinema, seems to both embody this notion of ‘han’ and directly contradict it. It’s as though the pent-up trauma, which has remained ebbing below the surface is suddenly unleashed in a flurry of violence. Again, once this energy is spent, even if the actions are justified (as they frequently are), it is impossible to lead a normal life again. Another way one could look at revenge in Korean cinema is that following the democratization of South Korea in 1988 (it’s not accident that Oldboy begins that year) Korean citizen experienced freedom from oppression for the first time. No longer shackled to the whims of an authoritarian regime, Koreans could go about beginning to right the wrongs they had been dealt. Of course, mistrust of authority leads these activities down the vigilantism route rather than legal means. What’s more, Korean films (not just revenge thrillers) tend to depict Korea’s judiciary as corrupt and its enforcement branches as hapless, with police officers frequently winding up as the butt of jokes. Over time, the theme of revenge has also evolved along with the local film industry. Though traditionally fixating on private cases of vengeance (whether metaphorical or not), of late Korean films have been more direct, aligning revenge directly with historical traumas. 2012’s 26 Years, a crowdfunded work based on a web comic, boldly featured a group of descendants of Gwangju massacre victims who seek to assassinate the former president CHUN Doo-hwan. Also, in a field mostly dominated by men, Korean cinema has increasingly made space for women-driven revenge narratives. Films like Lady Vengeance and Princess Aurora (both 2005) already explored slightly different preoccupations, mining genre roles, both recent fare such as Azooma, Don’t Cry Mommy and Fatal (all 2012) have sought to redress issues concerning sexual abuse, frequently carried out against teenage girls. The above observations merely illustrate just how complex the theme of revenge has become in Korean cinema. With more titles appearing every year and many of those furthering the boundaries of revenge as a narrative device and thematic tool, the question of why in Korea’s revenge cinema is likely to lead to even more complicated answers down the road. As the old Latin proverb goes, revenge may well be a confession of pain but if we the audience continue to seek it out as means of entertainment, then what does that say about us? By Pierce Conran

[rubie]

Credit to jusfichi via Instagram
This is in Seoul with a huge LBH-XTM poster


There's also a cute capture at the DMZ with LBH & LYA character dolls  http://picgist.com/all/682797897294298882_26121806

[rubie]

Thanks to the highlight by Angel 70 <3
From the Masquerade screening in Washington DC last year (MPAA-CJ E&M event, 2013.05.14)

Our gallery

[rubie]

Related excerpt from full article at Hancinema, a great read on Darcy Paquet
March 29, 2014
American critic creates award for Korean indie films
http://www.hancinema.net/american-critic-creates-award-for-korean-indie-films-67589.html#disqus_thread

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What are your favorite Korean films and directors, and why? 

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- I like "Memories of Murder" by Bong Joon-ho. It is really interesting and a well-made film. I can watch it again and again. I always discover something new. I also like the fact that it looks like a police detective story in the beginning, but the ending is very different from what is expected. It is experimenting with genre. 

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There are low-budget independent directors I like, such as Lee Yoon-ki. One of his films is "My Dear Enemy". It has Jeon Do-yeon and Ha Jeong-woo in it, but it is still a low-budget film. The story is simple, but it is a well made interesting film. 

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There are new directors who continue to make interesting films, too. There is Jang Kun-jae. He is one of the directors who received a nomination this year. He made a movie called "Sleepless Night". 

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I like both indie and many mainstream films, as well. I like director Kim Jee-woon. One of my favorite films of his is "A Bittersweet Life" starring Lee Byeong-Heon. I like the mood of the film. It is a very elegant and classy film in many ways. When I teach Korean cinema classes, I show my students the beginning of the film. It is very well directed. It has an impressive opening.

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[Guest seli_setiana]

OH MYYYYY,,, #SCREAM #SCREAM #SCREAM  :-bd  ^^  :x
BHssi In TERMINATORRR??? WHAT A WONDERFUL SURPRISE FOR 1ST APRIL  ><
CONGRATULATION TO YOU BHssi,,, CONGRATULATION TO US,,,  :x
LOVING YOU AS ALWAYS,,,

[rubie]

So, Byunghun gets to act with Arnold... not really a surprise, huh.. ^^ (considering both worked with KJW, not that it's a factor)
March 31, 2014
G.I. JOE's Byung-hun Lee & Others Join TERMINATOR: GENESIS
We don't know who he'll play yet, but the Storm Shadow actor has joined the cast of Alan Taylor's Terminator: Genesis. Mad Men's Michael Gladis and House Of Cards' Sandrine Holt have also joined in undisclosed roles.
By Mark "RorMachine" Cassidy ComicBookMovie.com


THR report that talented Korean actor Byung-hun Lee has been cast in a "key role" in Terminator: Genesis. Lee is best known Stateside for playing the white-clad ninja Storm Shadow in the G.I. JOE movies, but he's also appeared in the likes of RED 2. Who he'll actually play is being kept under wraps for now, but according to the site the role will be "a doozy" (something outstanding or unique of its kind.). Also joining the cast are Mad Men actor Michael Gladis and Sandrine Holt, who played a key role in season 2 of House Of Cards. They all join Emilia Clarke, Jai Courtney, Jason Clarke, Arnold Schwarzenegger and supporting players J.K. Simmons and Dayo Okeniyi.
Source: THR

[rubie]

March 31, 2014
Storm Shadow Himself, Byung-hun Lee, Joins Terminator: GenesisPlus Michael Gladis and Sandrine Holt are also added to the cast.
by Scott Collura IGN.com
The Terminator: Genesis casting continues, with Byung-hun Lee (a.k.a. G.I. Joe’s Storm Shadow) joining the film.
Michael Gladis (Kinsey from Mad Men) and Sandrine Holt (Gillian Cole from House of Cards) have also been added to the cast, according to The Hollywood Reporter. They join the previously cast Emilia Clarke, Jai Courtney, Jason Clarke, and, yes, Arnold Schwarzenegger. In recent days, J.K. Simmons and Dayo Okeniyi have also been put on the roster. Alan Taylor of Thor: The Dark World success will direct.
According to the trade, “The project aims to be a continuation of the James Cameron classics and is trying to tie all the threads and even take into consideration the time passed.” To that end, for example, Schwarzenegger’s 60-something look will be accounted for.
Schwarzenegger on How He Will Return in Terminator: Genesis
It’s not currently known who Lee, Gladis, and Holt are playing, though in the case of Lee at least you’ve got to hope for some kind of ninja cyborg, I guess.
Biggest takeaway from this? Kinsey’s Star Trek script "The Negron Complex" might never get produced, but at least he gets to be in a Terminator movie.

[rubie]

March 31, 2014
‘G.I. Joe 3’ Release Date, Cast, And Updates: Film Delayed Because Of ‘Jem’ Movie
By Iu00f1igo Monzon Latin Post

It was reported last week that "G.I. Joe: Retaliation" director Jon M. Chu has joined forces with Justin Bieber's manager Scooter Braun and "Paranormal Activity" producer Jason Blum for the film adaptation of the "Jems and the Holograms".
But aside from "Jem", Chu is also set to direct the third installment of "G.I. Joe", according to the Hollywood Reporter. But in the battle between the big-screen versions of two popular cartoon programs from the 80's, the director has decided which one to prioritize.
According to Cinemablend, Chu addressed a fan's question via Twitter regarding the status of "Joe" after he has taken on the responsibility of directing "Jem".
He said, "Joe script is getting REALLY fun just taking a little longer. I need it 2b perfect so decided 2try & fit a crazy little movie in." That "crazy little movie" of course, is "Jem".
The entertainment news site speculated that since Chu might get a bit busy with the "Jem" project, the third "G.J. Joe" movie might not hit theaters before 2016 and 2017. Although a "fun" script for "Joe 3" is already in the works, it seemed the director has decided to prioritize the production of "Jems and the Holograms" starting with holding auditions for potential actors and other performers for the project.
For "G.I. Joe 3", Chu will be joined by "Snow White and the Huntsman" scriptwriter Evan Daughtry and Lorenzo di Bonaventura as producer. However, details regarding Daughtry's vision for the third film have not yet been revealed.
As for the upcoming film's characters, there are no formal announcements yet whether lead actors from the previous "Joe" movies will return, although Dwayne Johnson and Ray Park have expressed their interest in reprising their respective roles as Roadblock and Snake Eyes. Adrienne Palicki is the only cast member listed on the film's IMDB page. Palicki played the role of Jaye Burnett, or Lady Jaye in "G.I Joe: Retaliation".