Kang Dong-Won 강동원 [Upcoming movies: “The Plot”, “Dr. Cheon and Lost Talisman”, “ War and Revolt”]

[Helena]

Thanking Taiwanese audiences for supporting Peninsula 

 

-

 

https://www.koreanfilm.or.kr/eng/news/news.jsp?seq=5397&mode=VIEW
PENINSULA is 2020’s Biggest Global Summer Hit

by Pierce Conran | Aug 24, 2020

TRAIN TO BUSAN Sequel Nears $50 Million at International Box Office

 

Peninsula, the big-budget sequel to YEON Sang-ho’s international hit TRAIN TO BUSAN (2016), has been taking the global box office by storm this summer. Distributor Next Entertainment World has confirmed that the film has sold over USD 48 million worth of tickets in 15 countries to date.

The action film opened in both South Korean and Taiwan on July 15, topping the charts in each. In Korea, the firm has to date welcomed 3.76 million viewers (USD 27.52 million) and in Taiwan it has become the top-grossing film of the year, with USD 11 million in sales recorded so far. 

Among other markets, in Vietnam the film surpassed the total of PARASITE (2019), with USD 3.5 million, to become the best-performing Korean film of all time. In Singapore, it earned USD 1.9 million, to unseat 1917 as the top title of the year.

The hit also opened in theaters in Canada, where it earned USD 1.2 million. Peninsula is scheduled to open in the United States on August 21.

NEW revealed that the film has been released in a total of 21 markets so far, and will open across several European territories, such as the UK, France, Germany and Spain, in the fall.

GANG Dong-won and LEE Jung-hyun lead the cast of this sequel, which takes place four years after the events of TRAIN TO BUSAN (2016), after the Korean Peninsula has descended into a dystopia following a zombie apocalypse. Like its predecessor, the film was selected by the Cannes Film Festival. 

 

[Helena]

https://zapzee.net/2020/08/25/korea-box-office-which-summer-korean-movies-of-2020-became-the-box-office-hit/
[KOREA Box Office] Which Summer Korean Movies of 2020 Became the Box Office Hit?

by krishkim | Edited by Yang Young Jun | Translated by Kim Hoyeun

 

After brave rookie directors re-opened the theaters in June, Korean blockbuster and comedy movies began to attract moviegoers in July and August. What results did the four new movies – Peninsula, Steel Rain 2: Summit, Deliver Us From Evil, and Okay! Madam – get (as of August 23)?

 

 

Peninsula (release date: 07.15.2020)

Credit: NEW

First weekend audience/Box Office: 1,225,472/KRW 11.063 Billion (about 9,330,282 USD)

Accumulated audience/Box Office: 3,803,946/KRW 33.019 Billion (about 27,847,472 USD)

Director Yeon Sang Ho’s new blockbuster Peninsula opened the summer theater. As a sequel to Train to Busan, which marked the start of “K-Zombie,” Peninsula became a hot topic when it was officially invited to the Cannes Film Festival and drew 350,000 moviegoers on the first day of its release, the highest record this year. The original break-even point of Peninsula was 5.7 million viewers (budget of 19 billion KRW/16,018,356 USD), but it was lowered to 2.5 million viewers by a calculation method that deducts overseas sales and expected VOD earnings in advance.

 

 

Steel Rain 2: Summit (release date: 07.29.2020)

Spoiler

Credit: Lotte Entertainment

First weekend audience/Box Office: 662,686/KRW 5.874 Billion (about 4,954,290 USD)

Accumulated audience/Box Office: 1,772,991/KRW 14.565 Billion (about 12,284,514 USD)

It is the sequel to director Yang Woo Suk’s 2017 film Steel Rain. On the first day of its release, it attracted 220,000 viewers, a similar number to the prequel. But VOD was released without achieving 3.95 million moviegoers, due to unfavorable factors such as COVID-19, heavy rain, worsening inter-Korean relations at the time of its release, and unfavorable reviews.

 

 

Deliver Us From Evil (release date: 08.05.2020)

Spoiler

Credit: CJ Entertainment

First weekend audience/Box Office: 1,389,498/KRW 12.545 Billion (about 10,579,266 USD)

Accumulated audience/Box Office: 4,105,610/KRW 36.461 Billion (about 30,747,758 USD)

The first release in August, Deliver Us From Evil, began with about 340,000 viewers on the first day of its release, which is similar to Peninsula, and the number of moviegoers began to multiply amid rave reviews. On August 22, the 18th day of its release, the movie surpassed 4 million viewers, achieving the break-even point (3.5 million viewers) and winning the title of “4 million movies” for the first time since the outbreak of COVID-19.

 

 

Okay! Madam (release date: 08.12.2020)

Spoiler

Credit: Megabox Plus M

First weekend audience/Box Office: 574,137/KRW 5.425 Billion (about 4,573,813 USD)

Accumulated audience/Box Office: 1,135,328/KRW 10.209 Billion (about 8,607,490 USD)

It is an action comedy movie about an “airplane hijacking incident” and seemed to have a solid box office success when it attracted a total of 780,000 moviegoers until the first weekend of its release. However, the red light came on to its journey to break-even point when the number of viewers plunged in the second week due to the unexpected re-surge of COVID-19. The break-even point is 2 million moviegoers.

[Helena]

© TheLadyMizDiva (twitter) | TheDivaReview.com 

=> http://www.thedivareview.com/PENINSULA_Yeon_Sang-ho_Exclusive_Interview.htm

 

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.

PENINSULA

Director Yeon Sang-ho

The Lady Miz Diva:  What were some of the challenges making PENINSULA after TRAIN TO BUSAN?  Now that we’ve met the zombies and gotten a general idea of the world, some of the shock and surprise is gone.  What was different in creating new scares for the audience?

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.

 

Spoiler

 

LMD:  What was it about Mr. Gang Dong-won that made him right to play Jung-seok?  I found it interesting that he doesn’t have a lot of dialogue, and, as opposed to Gong Yoo in the previous film, doesn’t go in with something as precious to him as his own child to protect.  What were the aspects of the Jung-seok character you wrote that fit Mr. Gang?

 

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.

 

Spoiler

 

LMD:  After interviewing him during the New York Asian Film Festival, I know that Mr. Gang really enjoys projects that give him a physical challenge.  He does a lot of gun shooting in PENINSULA, but he’s also not Superman, or some invincible force as we’ve seen him play in previous films. 

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.

 

 

LMD:  For me, one of the most exciting things about PENINSULA is your female cast. It is very rare in any action movie to see women at the forefront; even more so in Korean films.  Yet, it feels very organic to meet Min-jung and her two daughters surviving well in their crazy world.  Add to that the casual way you defied gender roles by giving each of the women specialties that are more typically perceived as male: Min-jung has her guns, Joon-yi has amazing driving skills, the member of Jung-seok’s team who was a taxi driver, and of course little Yu-jin, who is an ace RC car driver.

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.

 

 

LMD:  Was there more story than we see in the final cut?  Maybe it was the translation, but there were things I missed with the ladies’ story:  Was Joon-yi adopted by Min-jung?  Also, I didn’t understand what exactly happened that forced them to run away from Unit 631?  Min-jung only says “They went crazy.”  I noticed there don’t seem to be any women in the Unit. 

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.

 

LMD:  Sadly, we weren’t able to speak for TRAIN TO BUSAN or PSYCHOKINESIS, which had impressive casts.  Please tell me about your mode of direction when you’re working with wonderful veteran actors like Mr. Gang, or Ms. Lee Jung-hyun, whose portrayal of Min-jung is amazing.  Do you have a very set vision of what you want them to do, or are you more collaborative, and allowing them to add things to their characters that weren’t there before?

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.

 

 

LMD:  Anyone who’s seen TRAIN TO BUSAN could not help but be moved by Kim Su-an’s performance as Gong Yoo’s daughter.  PENINSULA’s Misses Lee Re and Lee Ye-won are 14 and 9 years old, respectively, yet they steal the show. 

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.

 

Spoiler

 

LMD:  Talk about creating the space for these actors to work together: We have to believe the characters are willing to place their lives in each other’s hands.  Are you a director who likes for his cast to bond and get to know each other well and collaborate together?  Outside of table readings and rehearsals, did you want the cast to get together to become more comfortable for this film?

 

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:  As someone who watched PENINSULA as New York City went into its sixth month sheltering at home from coronavirus, 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.

 

 

LMD:  I felt like PENINSULA had some homages to great action movies and perhaps some anime:  For example, there’s that great moment where Joon-yi meets Jung-seok and rephrases the classic line “Come with me if you want to live,” from THE TERMINATOR.  A lot of the dystopian Korea, and particularly the car chases reminded me a lot of MAD MAX: FURY ROAD.  And this may be a reach, but I feel like as an animator, you might know the anime called TOKYO GHOUL, which pitted supernatural flesh eaters against helpless humans in an arena for entertainment. 

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.

 

 

LMD:  Having rewatched SEOUL STATION after seeing PENINSULA, I realised there were aspects of the zombies that had changed: For one, in TRAIN TO BUSAN and PENINSULA, it’s a big plot point that zombies can’t see in the dark, but in SEOUL STATION, they do attack at night.  In SEOUL STATION, there is more emphasis on the zombies eating their prey, less in TRAIN TO BUSAN, and in PENINSULA, it seems like they mostly want to just hurry and infect the next host with a quick bite. 

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.

 

 

LMD:  You’ve stated that PENINSULA isn’t a sequel to TRAIN TO BUSAN, but another story in the universe.  As you consider going on with this universe, what are the determining factors that would make you want to place a story in this world?  Jung-seok has trauma in his past, but also has the military training that makes it possible to complete the quest that brings him back to Korea.  Jung-seok’s military past and the advent of Unit 631 are very cinematic, but surely every story can’t be placed in similar conditions without being repetitive. 

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.

 

Spoiler

LMD:  Would you please give a message to our readers, who, due to the coronavirus, might be going to the cinema for the first time in months to watch PENINSULA?

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

 

 PENINSULA Opens in Select US Theatres on August 21st.

 

another interview by TheLadyMizDiva (TheDivaReview.com):

NYAFF 2017 Exclusive Interview with Korean Superstar GANG DONG-WON

[Helena]

Today is Chilseok / Qixi (7th day of the 7th month of lunar calendar) - Valentine’s Day
https://www.dramasrok.com/2018/08/chilseok-korean-valentines-day/

 

[Box Office] Romance Movies Top 10

1. A Werewolf Boy (7,068,920 people)

Release: October 31, 2012
Director: Jo Sung-hee
Cast: Song Joong-ki, Park Bo-young

Spoiler

 

2. All About My Wife (4,598,583 people)

Release: May 17, 2012
Director: Min Kyu-dong
Cast: Im Soo-jung, Lee Sun-kyun, Ryu Seung-ryong

Spoiler

 

3. Architecture 101 (4,110,645 people)

Release: March 22, 2012
Director: Lee Yong-ju
Cast: Uhm Tae-woong, Han Ga-in, Lee Je-hoon, Suzy

Spoiler

4. My Little Bride (3,149,500 people)

Release: April 2, 2004
Director: Kim Ho-joon 
Cast: Kim Rae-won, Moon Geun-young

Spoiler

5. Maundy Thursday (3,132,320 people)

Release: September 14, 2006
Director: Song Hae-sung
Cast: Kang Dong-won, Lee Na-young

 

6. You are My Sunshine (3,051,134 people)

Release: September 23, 2005
Director: Park Jin-pyo 
Cast: Jeon Do-yeon, Hwang Jung-min

Spoiler

 

7. Spellbound (3,009,356 people)

Release: December 1, 2011
Director: Hwang In-ho
Cast: Son Ye-jin, Lee Min-ki

Spoiler

 

8. Crazy Romance (2,924,563 people)

Release: October 2, 2019
Director: Kim Han-gyul
Cast: Kim Rae-won, Gong Hyo-jin 

Spoiler

 

9. On Your Wedding Day (2,820,969 people)
Release: August 22, 2018
Director: Lee Seok-geun
Cast: Park Bo-young, Kim Young-kwang

Spoiler

 

10. Cyrano Agency (2,731,828 people)

Release: September 16, 2010
Director: Kim Hyun-seok
Cast: Uhm Tae-woong, Lee Min-jung, Choi Daniel, Park Shin-hye 

Spoiler

 

[Helena]

https://zapzee.net/2020/08/26/song-kang-ho-kang-dong-won-and-bae-doo-na-to-star-in-hirokazu-koreedas-new-korean-movie/
Song Kang Ho, Kang Dong Won, and Bae Doo Na to Star in Hirokazu Koreeda’s New Korean Movie

by krishkim

Credit: OSEN, imbc

Hirokazu Koreeda, a world-renowned Japanese director, will direct a Korean movie. And Song Kang Ho, Kang Dong Won, and Bae Doo Na will star together in the master’s film.

According to the film industry, director Hirokazu Koreeda has been planning the film Broker (working title) with the Korean production team for about five years, and the project has finally taken its first step.

Broker is a movie about people who have come into relationships around the ‘Baby Box’ designed to allow people who cannot raise children to leave their babies anonymously.

Hirokazu Koreeda, who won the Palme d’Or at the Cannes Film Festival with the film Shoplifters, has shown affection for Korean films for a long time.

In his new film, Song Kang Ho, Kang Dong Won, and Bae Doo Na will take the lead roles. The reunion of Song Kang Ho and Kang Dong Won, who showed dazzling performances in the movie Secret Reunion, and Bae Doo Na, who has already worked with Hirokazu Koreeda before in the movie Air Doll, are drawing keen attention. The meeting between three actors representing the Korean film industry and world-renowned director Hirokazu Koreeda already raised the expectations to the fullest.

Director Hirokazu Koreeda said, “This movie will be made in different country and different language just like my previous work. What can we deliver and share beyond language and culture? What is the definition of the director? I’d like to look deeper through this production.”

Broker will be produced by Zip Cinema, which introduced films like #ALIVE, Default, The Priests, and Cold Eyes, and the investment distribution is conducted by CJ ENM. Broker, the first Korean movie directed by Hirokazu Koreeda, who has captivated movie fans around the world with powerful storytelling, delicate directing, and sharp messages, is scheduled to start its filming in 2021.

Source (1)

 

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https://www.soompi.com/article/1421682wpp/song-kang-ho-kang-dong-won-and-bae-doona-to-star-in-film-led-by-director-koreeda-hirokazu
Song Kang Ho, Kang Dong Won, And Bae Doona To Star In Film Led By Director Koreeda Hirokazu

by J. Lim | Aug 25, 2020

 

Japanese director Koreeda Hirokazu, who won the Palme d’Or at the 2018 Cannes Film Festival with “Shoplifters,” will be taking on his first-ever Korean film!

On August 26, it was confirmed that Song Kang Ho, Kang Dong Won, and Bae Doona have been cast in leading roles in the upcoming film “Broker” (literal translation), which will be led by the director. The film is said to revolve around baby boxes, which are set up for people who are no longer able to provide for their babies to anonymously give them up.

Director Koreeda Hirokazu himself explained how the film came to light, and his statement reads as follows:

Plans for “Broker” began about five years ago.

As always, it all began with the actors. I first met Song Kang Ho at the Busan International Film Festival and Kang Dong Won when he was in Tokyo for work. I have continued to stay in contact with the two actors in Tokyo, Seoul, Busan, and Cannes. At first, we simply exchanged greetings but as we continued to share conversations, it naturally led to us talking about working on a film together.

I worked with Bae Doona in 2009, and I thought to myself, ‘I hope we work together again, next time as a human character,’ and that dream has finally come true over 10 years later. And now I will be working on a film with crew members and Korean actors I greatly respect.

“Broker” is a story about baby boxes. Right now, working on the script that will move these three great actors, I am so excited. In order to share this excitement with you all, I hope to create a thrilling, heartwarming, and emotional film.

This film, like my latest film, will be one where I am apart from my home country and native language. What will I be able to express and share as we overcome barriers of language and culture? What does it mean to be a director? I hope to explore those questions through this project.

Zip Cinema will be in charge of production, and CJ ENM will be investing in and distributing the film. The director is known for his powerful storytelling, detailed direction, and sharp messages about social issues, and they are currently in the process of working on the script, with filming set to begin in 2021.

 

 

Source (1)(2)(3)
Top photo credits: Xportsnews.

 

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https://www.allkpop.com/article/2020/08/top-actors-song-kang-ho-kang-dong-won-bae-doo-na-confirmed-to-work-with-palme-dor-winner-kore-eda-hirokazu-in-new-blockbuster-film

Top actors Song Kang Ho, Kang Dong Won, & Bae Doo Na confirmed to work with Palme d'Or winner Kore-eda Hirokazu in new blockbuster film

 

Celebrated Japanese film director Kore-eda Hirokazu will be working on his first ever Korean production, currently titled 'Broker' (working title).  

Most well-known for his works like 'Shoplifters' (2018, Palme d'Or), 'Like Father, Like Son' (2013, Cannes Jury Prize), and more, director Kore-eda Hirokazu has been working on his new original scenario 'Broker' for the past five years in preparation for his first Korean film project. The upcoming blockbuster will be produced by Zip Cinema ('#Alive', 'Master', 'Default', etc) with its primary investor CJ ENM. The story revolves around individuals as their lives become intertwined around a mysterious 'Baby Box', a box where individuals without any means to raise a child may deposit the baby into the box anonymously. 
 

Working alongside Kore-eda Hirokazu in 'Broker' is a top class cast made up of Song Kang Ho, Kang Dong Won, and Bae Doo Na. Actress Bae Doo Na has worked with Kore-eda Hirokazu in the past for his film 'Air Doll', while Song Kang Ho and Kang Dong Won will be working with each other a second time after 'Secret Reunion'. 

Filming for Kore-eda Hirokazu's 'Broker' is expected to begin some time in 2021. 

[Helena]

https://koreajoongangdaily.joins.com/2020/08/26/entertainment/movies/Broker-Hirokazu-Koreeda-Song-Kangho/20200826183208039.html
Esteemed filmmaker Hirokazu Koreeda to take on his first Korean film

 

BY LEE JAE-LIM   [lee.jaelim@joongang.co.kr] | August 26, 2020

 

From left, actors Song Kang-ho, Gang Dong-won and Bae Doo-na. [CJ ENTERTAINMENT, YG ENTERTAINMENT, GIORGIO ARMANI]

 

Esteemed Japanese filmmaker Hirokazu Koreeda is to take the helm of his first Korean film tentatively titled “Broker,” which will feature a star-studded cast of Song Kang-ho, Gang Dong-won and Bae Doo-na, film distributor CJ ENM announced on Wednesday.

The film is about relationships formed between characters through a “baby box,” which allows people to anonymously drop off babies they can’t raise.

According to the distributor, the filmmaker and Korean crew have been working on the script for “Broker” for the past five years.

 

Filmmaker Hirokazu Koreeda [SONG BONG-GEUN]

“I’m very excited be working on the script right now picturing and shifting the three renowned actors around my head," Koreeda said through the distributor. "This is my second film to create which is not in my native language. I am trying to probe deeper into what it means to be a filmmaker, and what I can share and learn from overcoming barriers of language and culture, through this film.”

Koreeda worked with Bae before in his 2010 romantic fantasy film “Air Doll,” and this is Song and Gang’s second collaboration together after their hit action film “Secret Reunion” in 2010.

The filmmaker was invited to compete for the Palme d’Or in the Cannes Film Festival five times. He took the Jury Prize at the 2013 festival for his film “Like Father, Like Son” and won the Palme d’Or at the 2018 Cannes Film Festival for his film “Shoplifters.”

The movie is scheduled to start filming next year.

 

——

 

https://variety.com/2020/film/asia/hirokazu-kore-eda-broker-song-kang-ho-1234749096/
‘Parasite’s’ Song Kang-ho to Star in ‘Baby, Box, Broker,’ Korean Debut of ‘Shoplifters’ Director Hirokazu Kore-eda

By Patrick Frater | August 26, 2020

Gang Dong-won, Bae Doona, Song Kang-ho, Variety

Song Kang-ho, star of Oscar-winner “Parasite,” will head the cast of “Baby, Box, Broker,” the Korean-language debut of “Shoplifters” director Hirokazu Kore-eda. Rounding out a stellar acting lineup are Bae Doona (“Cloud Atlas,” “The Host”) and Gang Dong-won (“Peninsula,” “The Priests”).

The film takes as its starting point boxes that are left out for people to anonymously drop off their unwanted babies. That makes “Broker” thematically linked to Kore-eda’s previous films, including Cannes competition title “Nobody Knows” and Cannes jury prize-winner “Like Father, Like Son.”

Production is through Zip Cinema, with CJ Entertainment investing, handling local distribution and international sales. Kore-eda is currently completing the screenplay and is heading for a 2021 production start.

“It’s Korean movie with Korean actors, Korean staff, being shot in the Korean language,” producer Eugene Lee told Variety. “It will shoot in Korea also.”

“ ‘Broker’ is a story about baby boxes. Right now, working on the script that will move these three great actors, I am so excited. In order to share this excitement with you all, I hope to create a thrilling, heartwarming, and emotional film. This film, like my latest film (French-language ‘The Truth’), will be one where I am apart from my home country and native language. What will I be able to express and share as we overcome barriers of language and culture? What does it mean to be a director? I hope to explore those questions through this project,” said Kore-eda in a statement.

“As always, it all began with the actors. I first met Song Kang-ho at the Busan International Film Festival and Gang Dong Won when he was in Tokyo for work. I have continued to stay in contact with the two actors in Tokyo, Seoul, Busan, and Cannes. At first, we simply exchanged greetings, but as we continued to share conversations, it naturally led to us talking about working on a film together. I worked with Bae Doona in 2009 (on “Air Doll”), and I thought to myself, ‘I hope we work together again, next time as a human character,’ and that dream has finally come true over 10 years later. And now I will be working on a film with crew members and Korean actors I greatly respect.”
 

——

 

http://builfilm.busan.com/bbs/content.php?co_id=sub0201

The 29th Buil Film Awards [Nominations]

Spoiler

 

* Best Film 최우수작품상
The Man Standing Next 남산의 부장들
House of Hummingbird 벌새
Tune in for Love 유열의 음악앨범
Moonlit Winter 윤희에게
Lucky Chan-sil 찬실이는 복도 많지

 

* Best Director 최우수감독상
Kim Do-young 김도영 (Kim Ji-Young: Born 1982 82년생 김지영)
Woo Min-ho 우민호 (The Man Standing Next 남산의 부장들)
Kim Bora 김보라 (House of Hummingbird 벌새)
Jung Ji-woo 정지우 (Tune in for Love 유열의 음악앨범)
Lim Dae-hyung 임대형 (Moonlit Winter 윤희에게)

 

* Best Leading Actor 남우주연상
Lee Byung-hun 이병헌 (The Man Standing Next 남산의 부장들)
Lee Jung-jae 이정재 (Deliver Us from Evil 다만 악에서 구하소서)

Hwang Jung-min 황정민 (Deliver Us from Evil 다만 악에서 구하소서)
Jung Woo-sung 정우성 (Beasts Clawing at Straws 지푸라기라도 잡고 싶은 짐승들)
Han Seok-gyu 한석규 (Forbidden Dream 천문: 하늘에 묻는다)

 

* Best Leading Actress 여우주연상
Jung Yu-mi 정유미 (Kim Ji-Young: Born 1982 82년생 김지영)
Lee Young-ae 이영애 (Bring Me Home 나를 찾아줘)
Lee Joo-young 이주영 (Baseball Girl 야구소녀)
Kim Hee-ae 김희애 (Moonlit Winter 윤희에게)
Jeon Do-yeon 전도연 (Beasts Clawing at Straws 지푸라기라도 잡고 싶은 짐승들)

 

* Best Supporting Actor 남우조연상
Shin Jung-geun 신정근 (Steel Rain 2: Summit 강철비2: 정상회담)
Lee Hee-joon 이희준 (The Man Standing Next 남산의 부장들)
Park Jung-min 박정민 (Deliver Us from Evil 다만 악에서 구하소서)
Koo Kyo-hwan 구교환 (Peninsula 반도)
Kim Young-min 김영민 (Lucky Chan-sil 찬실이는 복도 많지)

 

* Best Supporting Actress 여우조연상
Kim So-jin 김소진 (The Man Standing Next 남산의 부장들)
Lee Re 이레 (Peninsula 반도)
Jeon So-nee 전소니 (Ghost Walk 밤의 문이 열린다)
Kim Sae-byuk 김새벽 (House of Hummingbird 벌새)
Yoon Yeo-jung 윤여정 (Lucky Chan-sil 찬실이는 복도 많지)

* Best New Director 신인 감독상
Yi Ok-seop 이옥섭 (Maggie 메기)
Kim Bora 김보라 (House of Hummingbird 벌새)
Jung Jin-young 정진영 (Me and Me 사라진 시간)
Jo Min-jae 조민재 (Tiny Light 작은 빛)
Kim Kyoung-hee 김초희 (Lucky Chan-sil 찬실이는 복도 많지)

 

* Best New Actor 신인남자연기상
Hong Kyung 홍경 (Innocence 결백)
Park Hae-soo 박해수  (By Quantum Physics: A Nightlife Venture 양자물리학)
Jung Hae-in 정해인 (Tune in for Love 유열의 음악앨범)
Kwak Jin-moo 곽진무 (Tiny Light 작은 빛)
Kim Dae-Gun 김대건 (Clean Up 호흡)
 
* Best New Actress 신인여자연기상
Kim Ah-song 김아송 (Bori 나는보리)
Park Ji-hoo 박지후 (House of Hummingbird 벌새)
Choi Sung-eun 최성은 (Start-Up 시동)
Kim So-hye 김소혜 (Moonlit Winter 윤희에게)
Kang Mal-geum 강말금 (Lucky Chan-sil 찬실이는 복도 많지)

 

* Best Screenplay 각본상
Woo Min-ho 우민호 & Lee Ji-min 이지민 (The Man Standing Next 남산의 부장들)
Kim Bora 김보라 (House of Hummingbird 벌새)
Choi Yoon-tae 최윤태 (Baseball Girl 야구소녀)
Kim Kyoung-hee 김초희 (Lucky Chan-sil 찬실이는 복도 많지)
Ha Yoon-jae 하윤재 (Nailed 카센타)

 

* Best Cinematography 촬영상
Go Nak-seon 고락선 (The Man Standing Next 남산의 부장들)
Hong Kyung-pyo 홍경표 (Deliver Us from Evil 다만 악에서 구하소서)
Lee Hyung-deok 이형덕, Jung Ki-won 정기원 (Peninsula 반도)
Kim Ji-yong 김지용 (Ashfall 백두산)
Kang kook-hyun 강국현 (House of Hummingbird 벌새)

 

* Best Music 음악상
Cho Young-wook 조영욱 (The Man Standing Next 남산의 부장들)
Mowg 모그 (Deliver Us from Evil 다만 악에서 구하소서)
Bang Jun-seok 방준석 (Ashfall 백두산)
Yeon Ri-mok 연리목 (Tune in for Love 유열의 음악앨범)
Jo Sung-woo 조성우 (Forbidden Dream 천문: 하늘에 묻는다)

 

* Best Art Direction & Technical 미술/기술상
Art Direction | Yang Hong-sam 양홍삼 (Steel Rain 2: Summit | 강철비2: 정상회담)
Art Direction | Cho Hwa-sung 조화성, Park Gyu-bin 박규빈 (The Man Standing Next 남산의 부장들)
Martial Art | Lee Geon-mun 이건문 (Deliver Us from Evil 다만 악에서 구하소서)
VFX | Lee Jeon-hyung 이전형, Choi Jae-cheon 최재천 (Peninsula 반도)
Costume Design | Jo Sang-gyung 조상경 (Forbidden Dream 천문: 하늘에 묻는다)

 

* Popular Actor 남자 인기스타상

 

* Popular Actress 여자 인기스타상

 

[Helena]

On 8/25/2020 at 11:24 PM, Helena said:

Broker is a movie about people who have come into relationships around the ‘Baby Box’ designed to allow people who cannot raise children to leave their babies anonymously.

 

Baby Box Korea

 

-

 

https://www.screendaily.com/news/kore-eda-to-make-korean-debut-baby-box-broker-with-parasite-star-song-kang-ho/5152618.article
Kore-eda to make Korean debut ‘Baby, Box, Broker’ with ‘Parasite’ star Song Kang-ho

BY JEAN NOH | 26 AUGUST 2020

SOURCE: CJ ENTERTAINMENT
HIROKAZU KORE-EDA

Japanese auteur Hirokazu Kore-eda is set to direct his first Korean film, Baby, Box, Broker, with a trio of Korean stars – Song Kang-ho (Parasite), Gang Dong-won (Peninsula) and Bae Doona (Cloud Atlas).

 

Korean production house Zip Cinema (#Alive) and investor-distributor CJ Entertainment (Parasite) are producing the film, which they say Kore-eda first conceived about five years ago and has since been working on the original script with local production staff.

The story is about people who connect through ‘baby boxes’ which are set out so persons who are unable to raise their infants can leave them behind anonymously.

A regular at Cannes, Kore-eda won the Palme d’Or with Shoplifters in 2018 and the Jury Prize with Like Father, Like Son in 2013.

His first film set outside Japan, The Truth, was shot in French and English starring Catherine Deneuve, Juliette Binoche, Ethan Hawke and Ludivine Sagnier. It premiered at Venice film festival last year.

Kore-eda said in a statement to announce Baby, Box, Broker: “Following my last film, this is one I am making away from my motherland and mother tongue. I’m trying to explore more deeply through production of [this] film what one can really convey and share across differences of language and culture [and] what it means to be a director.”

Song and Gang have worked together before, starring in the 2010 spy action thriller Secret Reunion. Bae previously starred in Kore-eda’s 2009 Cannes Un Certain Regard entry Air Doll, as well as working with Song on Bong Joon Ho’s The Host, which was in Cannes Directors’ Fortnight in 2006.

All three stars have had films selected for Cannes – Song’s latest there being Parasite, which won the Palme d’Or in 2019 and went on to pick up best picture among other awards at this year’s Oscars. Gang starred in Peninsula, the zombie thriller follow-up to Train To Busan, which was in this year’s Cannes Official Selection.

Kore-eda said: “It began as it does with the actors. After first meeting Song Kang-ho at the Busan film festival and Gang Dong-won when he came to Tokyo on business, I continued to have exchanges with these two actors in Tokyo, Seoul and Cannes.

“At first we just exchanged greetings, but as we talked, the flow naturally moved to us talking about trying to do a film together. With Bae Doona, after working together in 2009, we pledged, ‘Let’s work together again next time, with a human character then,’ but it took more than ten years to make that dream come true. I’m going to be shooting with the help of these three actors and other Korean actors and crew that I respect.”

He went on to say he is most excited right now to be working on the script with these actors in mind, adding he plans to make “a thrilling, heart-warming and poignant film”.

The production is scheduled to start shooting in Korea next year.

[Helena]

© TheLadyMizDiva | TheDivaReview.com 

=> http://www.thedivareview.com/PENINSULA_Gang_Dong-won_Exclusive_Interview.htm

 

The high expectations on a sequel to a runaway blockbuster might be daunting for any actor, but with PENINSULA, superstar Gang Dong-won was up for a challenge.  Leading the way into this new chapter in the TRAIN TO BUSAN universe, Gang and Director Yeon Sang-ho discover that there might be worse monsters in the world than zombies.

Shortly before the announcement of his newest project, BABY, BOX, BROKER with Director Hirokazu Kore-eda and old friends Song Kang-ho and Bae Doona, Gang chatted exclusively with LMD about emoting through action, working with PENINSULA's amazing younger cast, and the film’s message of hope during this time of worldwide crisis.

 

PENINSULA

Gang Dong-won

 

The Lady Miz Diva:  Mr. Gang, it’s nice to see you again.  It’s been a while since we met at the 2017 New York Asian Film Festival.

 

Gang Dong-won: Yes, I remember.  What did you think about my English improvement?

 

 

LMD:  Well, I had meant to ask about it during this interview, but since you’re asking me now…  Having heard you speak English three years ago, I was really impressed.  Your English line-readings in PENINSULA were better than the native English speakers.

 

GDw: {Laughs} Wow, thank you so much.  

 

 

LMD:  I know you studied for a long time; you worked hard to learn.

 

GDw:  Yes, and I was in LA for a year.

 

 

LMD:  I want to know about that, too.  How was that?

 

GDw:  It was a really good experience.  We are still working on something.

 

 

LMD:  What happened with TSUNAMI LA, the Hollywood movie you were meant to make?

 

GDw:  The shooting was postponed because of some situations, and because of the coronavirus.

 

 

LMD: Tell us what made you want to join PENINSULA?

 

GDw:  Actually, my best friend in the industry is the editor of PARASITE {Yang Jin-mo}.  He called me one day and told me that Yeon Sang-ho wants to meet me, and I said “For what?” {Laughs}  He said he was actually planning to make a sequel to TRAIN TO BUSAN.  So, I was like, “Oh, TRAIN TO BUSAN?  A sequel?”  Because I liked TRAIN TO BUSAN a lot, but making a sequel to a film which made a big success before is not very interesting to an actor.  I’m sure for other actors, too.  But I wanted to meet him, anyway, because I wanted to hear what he was visualising about the movie, so, we met. 
 

I was actually personally very curious about the director, because {Laughs} I met him once at some afterparty of my movie.  He came with Director Na Hong-jin.  Actually, Na Hong-jin called me like “Where are you?  I’m with director Yeon Sang-ho.  Why don’t you come here?”  I said, “Oh, I’m sorry, but I just finished my movie today and we are having a party today.”  And he was like, “Okay, then we are going.” {Laughs}  And they came, but actually, we didn’t talk that much because they both were a bit drunk. {Laughs}  So, we couldn’t talk that much.

 

So, yeah, I met him with my friend the editor.  First, I heard about what he was thinking about the sequel of TRAIN TO BUSAN, and then he shared with me about the story, and about his vision.  I was very impressed about it, and I became very interested.  Then he gave me the script the next day and I read the script right away.  I really liked the script, actually, because first of all, PENINSULA is very different to TRAIN TO BUSAN.  That was like a disaster movie, but PENINSULA is more like a post-apocalyptic movie.

 

 

LMD:  One of the most interesting about your character, Jung-seok, is that he is very flawed; he is not perfect, at all.

 

GDw:  He’s not, he’s not.  He’s the strongest guy in the movie, but the same time, he’s the most normal person in the movie.

 

 

LMD:  Just before this film, you played someone who was more like a superhero in ILLANG; a character who seemed very hard, detached and inscrutable.  With Jung-seok, from the moment he drives away when he could help the mother and baby, and he leaves his sister to die in the boat, he’s consumed by guilt about it 4 years later. 
 

Was part of the attraction of playing Jung-seok that he was so much of the opposite of that previous character?

 

GDW:  Yeah, that is kind of a very interesting part about Jung-seok.  He got to escape.  He escaped the Korean peninsula after the disaster, when everyone’s died, but he loses his family.  He is very reasonable, like the other characters in TRAIN TO BUSAN.  He’s quite reasonable, and also he’s a practical and logical person.  That’s why he didn’t allow the family -- Min-jung’s family -- to come into the car.  But then he lost his family, and then he lived his life in a foreign country as a refugee, and then he becomes very negative and disaffected.

 

I’m sure that he met many people in Hong Kong that tried to help him, but maybe he refused.  I’m sure he was in denial.

 

 

LMD:  One of my favourite moments is the dream, where Jung-seok is reliving the moment he abandons Min-jung…

 

GDw:  That line is from me!  {Laughs}

 

 

LMD:  You’re going too fast!  I was gonna say that! {Laughs} In the dream, his sister says “Jung-seok, why are you the only one alive?” 

 

GDw:  Yes, "Why are you the only one alive?"  That line is from me!  {Laughs}

The director wanted to add some scenes from Jung-seok’s trauma, so I told him maybe if the sister said to him, “Why are you a survivor?  You are the one who is alive, but you are alone.”  Or something like that, it would be very painful to Jung-seok.  That’s what I said, then so he added the line.

 

 

LMD:  It isn’t really stated in the film why he chooses to go back; does he need the money that much?  I wondered if the reason is in that line?

 

GDw:  Yeah, yeah, yeah, that’s true.  Jung-seok didn’t go back to Korea because of money.  His brother-in-law, he doesn’t get along with Jung-seok after they lost their family, but he’s the only family left to Jung-seok.  So, Jung-seok cannot allow him to go back to Korea alone. 

 

And also he was very sick of living like a refugee in a foreign country; so he just decided to go back to Korea to die or not.  He lost his hope, so then he decided to go back.

 

 

LMD:  Back to Gang Dong-won the screenwriter…

 

GDw:  {Laughs}

 

 

LMD:  Director Yeon told me that you were actually responsible for that dream scene and others.  That you “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 Jung-seok’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.” 

 

We’ll get back to your moviemaking, but first, you previously told me you don’t mind if a director tells you very strictly what they want you to do, but doesn’t make you feel more valued and invested when a director listens and lets you create your character?

 

GDw:  Yeah, yeah true, he’s a very different director, so…  I just gave him some ideas, of course, I don’t give him ideas like, just ‘Oh, come on, let’s just do it.’  I would think and think, and then I would add, “Min-jung’s character, if she just tries to kill herself, I don’t think it’s enough.  Why don’t we hear some sound in the car like honking the horn to sacrifice herself for her family?  I think it’s going to be very great for her character.”

 

 

LMD:  So, in light of that, you told me before that you weren’t interested in directing films, but does it open your mind little bit toward screenwriting?

 

GDw:  No, actually, I don’t have time.  Actually, I started to write some scripts, or short synopses, but I stopped one day, because as soon as I went to LA, I felt like I’d didn’t have time for producing or writing, anymore. 

 

Now, I have to focus on international projects as an actor only.  First of all, my English, second of all, I don’t know anything about the American industry there.  So, I stopped everything and I just jumped into the American film industry as an actor only.  So, maybe later, when I get to settle down.  {Laughs}

 

LMD:  Director Yeon said he didn’t have to tell you to do too much training before filming because you were already very experienced in doing action, but that you were very diligent in researching the emotions of the character, and how to convey those emotions during the action scenes.  How exactly were you able to do that?

 

What is the key to doing high-powered action scenes while communicating the feelings of the character, so he doesn’t become a cartoon or video game character?

 

GDw:  Action scenes, for me, as an actor, are not just action.  For me, action scenes are also emotional scenes.  Thinking about modern dancing, or ballet dancing; action is also like expressing your emotions.  That’s how I think about action scenes, so that’s why I tried to do as much as I could. 
 

That’s why I don’t like to use the stunt double that much; because his body movement and my body movement is different, and the emotional expression through the body could be different, even if it’s a shot from the back. You can do many things.

 

I’ll give you an example rather than an explanation:  When you perform an action, if you have the emotion of anger, then it gets faster, but more anger can be slower in your body movement.  Do you understand?  If you are angry, then it can be explosive, but if you are extremely angry, then you cannot move.

 

 

LMD:  There’s a noticeable change on the screen when you are acting with younger actors.  We spoke a lot about your working with Shin Eun-soo in VANISHING TIME.  I sense that you have a real comfort level with your younger costars.  I’ve seen some adorable behind-the-scenes shots with you and your PENINSULA costars. 

 

Tell us about working with the show-stealers, Misses Lee Re and Lee Ye-won. 

 

GDw:  Actually, I like to work with really young actors, because they are very pure.  They just jump into the acting right away.  That’s really amazing; they don’t think about much, and then they just jump into the act.  That’s why whenever I see young, young actors acting, I always feel like ‘Wow, that’s it.  That’s pure acting.’  That’s what we want it to be.  When you’re a child, you’ll be like, “I’m a king!”  Or, like, “I’m a dinosaur!  Aaaarrrrrr!”  They just believe.  It’s really fun, and also sometimes very touching.  I can learn from them, from their pure mentality.  The way they just jump into the acting.

 

Ye-won is very young, she is a child.  Sometimes with actors, not everybody can not think and jump in.  They just think too much, sometimes.  They are under pressure, but Ye-won was not.  Ye-won just didn’t care; she was like the boss in the whole group.  She’s so cute, just so adorable. 
 

The most amazing thing was actually Lee Re. Lee Re not really a child, but not an adult yet, but I felt like she can do both.  She can do very mature acting, and also, she still looked very like a child.  I think she has both.  She is so amazing.  Her eyes in the movie take over the whole scene.

 

 

LMD:  Before we started this interview, we were talking about our friend, Director Jang Joon-hwan {1987}, you said you have a lot of affection for him because he is very informal regarding to the observances that people in Korea must make regarding age, status, and experience. 

 

I spoke with one of your costars, Mr. Kim Yoon-seok, about working with his juniors like yourself and Ha Jung-woo and Ju Ji-hoon.  I asked him if he liked to collaborate and work together off the set, perhaps going to dinner or drinking?  And he said that he doesn’t like to socialise that way while filming because he felt it placed a burden on the younger actors. 

 

As someone who is now a veteran actor, I wanted to know your thoughts on the way you like a set to be?

 

GDw:  For me, personally, I just like to enjoy working with my fellow actors.  Of course, we can go out for drinking or something, but I just hang out with them on the set, and then I try to learn, which I don’t know about the younger generations {Laughs} I don’t know about the younger generations happening sometimes, so I’m like “What?  What is that?”  And then sometimes, Lee Re would do some strange gestures {Mimes a cat’s cradle}, and I told her, “What is that?  I want to learn that,” then she told me how to do it, but I couldn’t. {Laughs}

 

For me, actors and elders, seniors, juniors, I think they are just like friends who are actors that I work with.

 

LMD:  Can you please give a message to our readers, who, because of the coronavirus, might be coming out to the movies for the first time in months to watch PENINSULA?

 

GDw:  First of all, I feel really sorry about the situation going on there.  I really hope that everything will get better soon.

 

Some people might be reminded about the situation if they watch the movies now, but as you can see from the movie, that we still have hope.  You have to have hope.  We gotta help each other, and we gotta trust each other, and then we can go through this hard moment soon.

 

~ The Lady Miz Diva

Aug. 17th, 2020

 

 PENINSULA Opens in Select US Theatres on August 21st.

 

another interview by TheLadyMizDiva (TheDivaReview.com):

NYAFF 2017 Exclusive Interview with Korean Superstar GANG DONG-WON

[Helena]

[throwback]

2003 MBC drama <Country Princess> Kang Dong-won, Bae Doona 

Spoiler

On May 10, 2012 episode of Taxi (tvN), Bae Doona mentioned her close friendships with Kang Dong-won (enlisting at this time), Park Hae-il, ...

They lost contact for a while...

https://entertain.naver.com/read?oid=404&aid=0000004008

 

[February 1, 2016] ‘A Violent Prosecutor’ VIP premiere 

 

[November 10, 2016] ‘Vanishing Time’ VIP premiere

 

 

[cover star] <Secret Reunion> Song Kang-ho, Kang Dong-won
<Cine21> Issue No. 740 (2010.02.02~02.09)

Spoiler

 

Credits: Cine21

 

[November 6, 2017] ‘Master’ stage greeting in Japan

Director Hirokazu Kore-eda among the crowd.  

This was a fan club event, everyone (thought he’s someone who looked like the director) was shocked that he’s really the director.  On this day, Kang Dong-won said that he hopes to appear in director Hirokazu Kore-eda‘a work. (Credits: 姜栋元的生命粉@weibo)

[Helena]

https://www.koreanfilm.or.kr/eng/news/reports.jsp?seq=591&mode=VIEW
TENET Almost Reverses Box Office Decline in Debut

by Pierce Conran | Aug 31, 2020

Viewers Wary Once More as Korea Jumps to Social Distancing Level 2.5

Despite growing concerns from spectators amid a steady rise in local COVID-19 transmissions, as well as the government’s decision on Friday evening to raise the country’s social distancing level to 2.5, which includes restrictions on the operations of restaurants and cafes and the outright closure of several spaces likes fitness centers, business was almost flat this past weekend, thanks to the opening of the first major Hollywood release of the pandemic era. 470,000 tickets were sold over the frame, slowing just over 1% from last weekend, with the local market share falling down to 19%.

Christopher NOLAN’s hotly anticipated time-bending new thriller Tenet saved the box office from crashing completely as it launched with 353,000 sales (USD 2.9 million) over the weekend. Including last weekend’s previews, the film has now filled 660,000 seats (USD 5.06 million). While this is a far cry from what might normally be expected from such a tentpole, the film’s performance proved that some viewers are willing to brave theaters for the right film, even in the midst of a new COVID-19 surge. As is typical for NOLAN films in Korea, audience reactions are on the strong side and with little in its way over the coming weeks, the film may develop long legs, particularly in specially formats like IMAX.

After lording over the charts for three weeks, the local action-thriller DELIVER US FROM EVIL relinquished its throne as it shot down 71%. In second place, the film added 53,000 viewers (USD 412,000), boosting its total to an impressive 4.25 million admissions (USD 31.92 million) to date, the highest total of any film during the COVID-19 era.

Down 79% in its third weekend was OK! MADAM, which filled another 22,000 seats (USD 168,000). The local comedy has now amassed a decent 1.2 million entries (USD 9.12 million).

In fourth place was the Japanese animation Crayon Shin-chan: Honeymoon Hurricane ~The Lost Hirochi~ which was down 71% as it accrued 14,000 admissions (USD 103,000) in its sophomore frame, with 94,000 tickets (USD 650,000) sold to date.

Closing out the top five was Peninsula, which was down only 46% and up one spot. With 3,000 additional sales (USD 15,000), the zombie blockbuster boosted its total to 3.81 million admissions (USD 28 million).

Tenet is unlikely to be pushed off the top spot just yet, but the local comedy Oh! My Gran will be opening this week and may pull in some decent crowds as counterprogramming.

 

——

 

https://en.yna.co.kr/view/AEN20200831004300315
Virus-hit movie theaters undertake restructuring

SEOUL, Aug. 31 (Yonhap) -- The looming second wave of the novel coronavirus pandemic has pushed South Korean film theater operators into a corner again, leading them to reduce payroll and shut down branches.

Lotte Cultureworks, the entertainment unit of retail giant Lotte Group, said Saturday that it will offer voluntary retirement to long-term employees of at least five years.

It is part of the company's restructuring efforts, including dismissals last month.

The company has Lotte Cinema, one of the three biggest multiplex chains in Korea, and Lotte Entertainment, which produces and distributes films and shows, under its wing.

In this file photo taken on May 24, 2020, a theater of Lotte Cinema in Seoul is relatively empty. (Yonhap)

"We've making constant efforts to maintain employment through a cut in salaries of executives, unpaid leave, reducing working hours and shutdown of some theaters," an official from Lotte Cultureworks said. "But we've decided to cut jobs due to the prolonged fallout from COVID-19."

Earlier, CGV, an affiliate of Korean entertainment giant CJ Group, also tightened its belt to deal with a financial crunch stemming from the pandemic.

It offered voluntary retirement to long-term employees in March and closed a third of its operations nationwide for a month in April.

Recently, it decided to close a CGV theater at Incheon International Airport indefinitely, starting from Tuesday.

The move came as the South Korean movie industry has been experiencing the worst situation ever since end-February due to the coronavirus epidemic.

A total of 38 million people went to theaters in the first seven months of 2020, compared with 131.2 million tallied over the same period last year.

The combined revenues of movie theaters tumbled 70 percent on-year to 321 billion won (US$271.5 million) in the seven-month period from 1.12 trillion won last year.

The industry seemed to make a turnaround in July and August on the back of eased social distancing and releases of summer blockbusters.

As the zombie action film "Peninsula" and the crime thriller "Deliver Us From Evil" helped people return to theaters, the monthly box office rose to 5.61 million for July and 8.28 million in August, up sharply from 1.83 million for March and 970,000 in April.

But the upbeat mode was dragged down by a resurgence in new COVID-19 cases centered on the greater Seoul area in mid-August.

South Korea has reported around 300 new virus cases every day for weeks due to sporadic cluster infections, with a nearly six-month high of 441 new infections reported last Thursday.

Movie theaters are again losing their customers as about 100,000 tickets have been sold per day since Aug. 18, when the country tightened social distancing guidelines. Some 300,000 people went to cinemas per day in early August.

At the same time, big-name films targeting the upcoming fall season have postponed their release schedules to avoid the coronavirus-made slump.

The premier of the science-fiction adventure "Space Sweepers," one of the most-anticipated blockbusters in September, was put on hold, while the opening of the homegrown comedy-crime film "The Golden Holiday" was delayed.

The releases of Walt Disney's live action film "Mulan" and "The New Mutants," an American superhero film based on Marvel Comics, were also pushed back to mid-September.

In this file photo taken on Aug. 26, 2020, a movie theater in Seoul is almost empty. (Yonhap)

brk@yna.co.kr
(END)

[Helena]

http://www.koreanfilm.or.kr/eng/news/interview.jsp?blbdComCd=601019&seq=399&mode=INTERVIEW_VIEW
What strategies do Korea’s international sales agents have in the COVID-19 era?

by KIM Su-bin | Sep 01, 2020

Lee Jung-Ha of PENINSULA’s International Sales Company CONTENTS PANDA, 
“We must protect the branding of Korean movies!”

In the aftermath of the COVID-19 pandemic, major film markets such as Cannes and Hong Kong moved online. In this unprecedented situation, how are sales agents promoting and selling Korean films abroad? This week we sit down with CONTENTS PANDA international sales head Jung-ha to talk about the changes in the foreign sales of Korean movies caused by the sanitary crisis. CONTENTS PANDA, which started its overseas sales business in 2015, came to prominence closing international distribution deals for Korean genre films such as TRAIN TO BUSAN (2016), The Villainess (2017), Psychokinesis (2018) and Peninsula.

With COVID-19, the situation seems to be really different for international sales of Korean movies.
Yes. The European Film Market of the Berlin Film Festival in February was the last time we had an offline market. Usually, it should have been followed by the Hong Kong International Film & TV Market (FILMART) and Cannes’ Marche du Film, but after Berlin, all the markets were moved online. FILMART was also delayed and kicked off online on August 26.

Was Cannes’ film market your first experience attending an online film market?
Yes. We had lots of plans for Peninsula in Cannes. We were thinking of going big on the international marketing aimed at offline buyers from around the world, so it was really a bummer that everything went against it.

 

Peninsula was pre-sold in 190 countries, and it has been popular in Asian markets such as Taiwan, Singapore, and Vietnam. This is a good achievement in international sales, but I guess you would have expected this achievement to be on a larger scale.
Yes. TRAIN TO BUSAN (2016) was pre-sold to over 160 countries. When I was working on Peninsula, I set up right from the beginning a sales plan with the aim of having a simultaneous worldwide release. Since I had the confidence that it would go to Cannes, my priority was to sell out all its international territories before the festival. Having such plans for Peninsula, we prepared promo materials in advance. We thought it would be a hit if it could have a worldwide release. However, it became more complicated due to COVID-19.

Was there any specific reason for you to have a worldwide release in mind?
At the time of TRAIN TO BUSAN (2016), we could not have a simultaneous release in multiple territories. We pushed the ideas as much as possible, but [the buyers] were not completely convinced by the movie. However, in almost the majority of countries, the movie released the week after its opening in Korea, while it was exploding there. We thought expectation for Peninsula would be really high in the countries where TRAIN TO BUSAN (2016) had been a box office hit. East Asian countries such as Taiwan and Hong Kong were the countries where TRAIN TO BUSAN (2016) was the most successful. We tried to have Peninsula open in Taiwan and Hong Kong on the same day as in Korea, but unfortunately, the release in Hong Kong was delayed indefinitely as the territory faced a new COVID-19 outbreak. Fortunately, Taiwan is a country that has overcome the epidemic pretty well, and Peninsula has been doing very well there. It is on the verge of breaking the total haul of TRAIN TO BUSAN (2016), which was USD 12 million. In the case of Vietnam, the film recorded sales of over USD 3.5 million (as of August 19th), which was a little less than three times the lifetime gross of TRAIN TO BUSAN (2016). In Singapore, the opening haul exceeded that of TRAIN TO BUSAN (2016). It seems that we have set significant records in these countries. It’s a shame when I think of all the records we could have broken if it had been released all over the world on the same day.

A lot of the international sales work seems to have been moved online.
100% of it is now conducted online. Selling movies is a “push and pull” job. Buyers and sellers engage in a battle of wits in order to move forward with conditions that are favorable for both parties. It’s difficult to “catch” that when meeting on the phone or Zoom. In addition, simply meeting new people on Zoom or conducting sales through phone calls can only get you so far. Nevertheless, Peninsula is a special case. TRAIN TO BUSAN (2016) performed well, and it is that confidence that brought it there. The film was pre-sold on the basis of the synopsis only, without even having to show the screenplay. This is rarely the case.

 

Spoiler

Are there any changes in the number of titles being sold or the film distribution fees? There seems to be a demand for lower fees.
It is true that there is such a demand because of COVID-19. However, lowering the amount now will only lower the bar for Korean films as a whole. The mood surrounding Korean movies was really positive until COVID-19 broke out. A new environment was created with TRAIN TO BUSAN (2016), and Korean films have come to the mainstream with PARASITE (2019) winning the Oscars. I could feel it firsthand in Berlin. I noticed a different reaction when selling Time to Hunt in Berlin. If it wasn’t for the novel coronavirus, Korean cinema itself could have received great attention in Cannes too. At this Venice International Film Festival, one of our titles, Night in Paradise, has been invited to be screened out of competition. In a way, our international team achieved a grand slam this year with Time to Hunt, Peninsula and Night in Paradise.

You must feel it’s a shame that COVID-19 broke out just when Korean movies were in the best position they have ever been.
Yes. In Asia, Korean films were already well established in part because of the Korean Wave. The outbreak occurred just when we were starting to see the positive response of the Western world to Korean movies in terms of sales too, as our titles were receiving more attention due to the influence of PARASITE (2019). It’s a pity that it is slightly slowing down right now because of the current situation. Genre films were the only Korean films that were successful in the non-Asian world. The films with action and specialized genres like The Villainess (2017) and The Gangster, The Cop, The Devil (2019). However, PARASITE (2019) proved that drama-oriented Korean films can also resonate. We noticed we were being contacted by buyers who had never bought Korean movies before. When I saw that companies of a certain size were contacting us, I realized that [the consumer base of Korean movies] had expanded. Our homework now is to figure out what to do to sign good deals in an online market. No one knows yet because we all lack experience. After attending a few markets, we might be able to find the right method.

Could it be that House of Hummingbird reflects foreign interest in Korean films that goes beyond genre titles? House of Hummingbird is receiving good responses from moviegoers in Japan and streaming platforms users in North America.
CONTENTS PANDA has a connection with House of Hummingbird (2019) as it became a partner for the ancillary rights of the title. When I was first contacted to represent House of Hummingbird (2019), I didn’t feel so confident since it was an art film. But I watched the movie and it was so good. I was 30-40 minutes into the movie when I answered I would do it. The film has won more than 50 awards at film festivals across the world. I particularly became conscious of the strong reaction to the movie at Tribeca, where the film had its North American premiere. I didn’t have to do anything, the calls kept coming. Such a case is unusual. We signed the deals without any trouble. It recently opened in Japan, and over 30,000 people watched it after 9 weeks of screenings. The box office gross is a little less than JPY 42 million (about USD 398,000). This is an exceptionally good performance for an independent film. The quality of the film was recognized on the festival circuit and sales went well. This is a case where we could have our cake and eat it too. As a movie fan, I’m glad the movie is doing well.

 

Image4

 

I want to hear more about your experience at the Cannes Film Market. How did it go?
As it was decided it would be held online, I was worried about which direction we should take with our preparations. There is a movie website called Cinando. You can put there your lineup and have meetings on Cinando. You can also upload and show your movies within the Cinando platform. A watermark is automatically generated, and you can restrict online screenings to specific times. But in reality, for us this is no different from sharing a link with our prospective buyers. Disclosing our film promo materials is something we did with a lot of caution since anyone registered on the website could see it. With this Cannes Market, we really wanted to test the waters. We plan to consider a more developed direction while attending a couple more film markets.

It’s a difficult question, but is there a way to differentiate Korean movies in the current situation?
Korean movies are on the cost-effective side. The production cost of TRAIN TO BUSAN (2016) was about USD 8 million, but I remember buyers watching the movie and asking me if it cost around 20 or 30 million. The film was so pleasant to look at! Korean cinema is a well-balanced film industry that is not limited to genre films but encompasses films made for festivals as well as various drama genres. In that respect, Korean movies have a certain competitiveness of their own. I think there will be no problem, even in this time when we are reducing face-to-face contacts, as long as we do not lose these basics.

What are your plans for the second half of the year?
We are currently focused on FILMART which started on August 26. The next film festival is the Busan International Film Festival Asia Contents & Film Market, which will be held online in October. And after that, the American Film Market. It is usually held in Santa Monica, but I guess it will be online. After experiencing a cycle like that, we will try to go along as we figure out how to deal with online markets.

[Helena]

https://www.comicbookmovie.com/action/train-to-busan-presents-peninsula-exclusive-star-gang-dong-won-compares-the-new-film-to-the-original-a178057
TRAIN TO BUSAN PRESENTS: PENINSULA Exclusive: Star Gang Dong-won Compares The New Film To The Original

We recently had the incredible opportunity to speak with Korean actor Gang Dong-won about his performance in Train to Busan Presents: Peninsula. Check out what he had to say about the film below!

By LiteraryJoe | 9/2/2020

Many fans of zombie and action films were thrilled with Train to Busan. Those who enjoyed the movie will be pleased to learn that a new film in the same universe has just launched in theaters called Train to Busan Presents: Peninsula.

While the movie is currently limited to theater viewing, Train to Busan Presents: Peninsula exclusively hits Shudder in early 2021. Horror fans who are uncomfortable heading to the theater during the pandemic will be able to catch the movie on the streaming service next year.

 

Recently, we had the chance to chat exclusively with the star of the film, Korean actor Gang Dong-won. We learned a ton about the movie from an insider's perspective. Because the actor speaks Korean, the answers have been translated into English.

If you're interested in hearing the audio component of the interview, click the podcast player below.

https://www.podbean.com/eu/pb-vyzwc-e9e190

 

 

Literary Joe: How much more dangerous is this film, for the characters, compared to the first film?

Gang Dong-won: Train to Busan offers the thrill of what occurs in a confined space, while Peninsula offers the thrill of happening in a more expanded and open environment. There were fights with zombies, but the focus was more on fighting the humans who were behaving as if they were a type of variant zombie. There is a different thrill and storyline in Peninsula compared with Train to Busan, so you will have no problem watching Peninsula without having watched Train to Busan.

 

Literary Joe: Is this a direct sequel to Train to Busan?

Gang Dong-won: I do not see Peninsula as a direct sequel to Train to Busan. Peninsula has different elements, and its own stand-alone story expanded four years after Train to Busan, with an opening sequence bringing the audience back to "what happened to other survivors that day in Train to Busan." Of course, Peninsula has the same zombie's excitement that is associated with "Train to Busan."

Literary Joe: There were a lot of firearms in Peninsula, which separates it from the first film. What were the prop guns like?

Gang Dong-won: All men in Korea have some experience with guns during our military service. I did not do any special gun training for Peninsula, but I did for my past projects. I have done a lot of action acting in my previous films like "Kundo: Age of the Rampant," "Master," and "Illang: The Wolf Brigade." In Korea, I am known as an actor who is good with action acting. Thankfully, the action acting in this film was not more difficult compared to my previous works. This is because it was not a setting where I was a killer who skillfully handled guns, nor was it a sword master's character.

Literary Joe: What led to the decision to include English in this film?

Gang Dong-won: Jung-Seok is in UDT, and they sometimes train with the US army together.

Literary Joe: Is there anything else about Peninsula or any of your other projects that you'd like to share with our audience?

Gang Dong-won: This could be considered a spoiler. I shared many ideas with the Director before and during the shooting, and many of my ideas were included in the movie. For example, Jung-Seok closing the door, leaving his elder sister and nephew in the bunk, was not originally in the script. I proposed that was to have a clearer picture and understanding of the bad relationship between Jung-seok and his brother-in-law. And that all the car chase scenes were filmed on set.

The feeling of transitioning back and forth from animation to live-action adds color to this movie. I will be working with Hirokazu Koreeda in spring next year. The film "Broker" is about relationships formed between characters through a "baby box," which allows people to anonymously drop off babies that they cannot raise.

Besides, "Broker," there are a few international projects in discussion, but due to the current pandemic situation, the schedule must be re-scheduled, and plans must be re-planned. But I can say, I am always gearing myself for the challenges ahead.

*This interview has been edited for clarity and translated from Korean. Some of the questions were provided by fellow writer Nick Brooks, who co-hosts the audio portion of the interview.*

What do you guys think of Gang Dong-won's answers? Will you be checking out the new film? Be sure to check out the trailer and share your thoughts in the usual spot!

 

Spoiler

Four years after South Korea's total decimation in Train to Busan, the zombie thriller that captivated audiences worldwide, acclaimed director Yeon Sang-ho brings us Peninsula, the next nail-biting chapter in his post-apocalyptic world. Jung-seok, a soldier who previously escaped the diseased wasteland, relives the horror when assigned to a covert operation with two simple objectives: retrieve and survive. 
When his team unexpectedly stumbles upon survivors, their lives will depend on whether the best—or worst—of human nature prevails in the direst of circumstances.

 

Train to Busan Presents: Peninsula hit theaters last week and will stream on Shudder in early 2021.

[Helena]

https://www.comicbookmovie.com/horror/train-to-busan-presents-peninsula-exclusive-korean-actor-gang-dong-won-on-fighting-zombies-a178078
TRAIN TO BUSAN PRESENTS: PENINSULA Exclusive: Korean Actor Gang Dong-won On Fighting Zombies

The second installment in the Train to Busan movie series recently launched in the form of Train to Busan Presents: Peninsula, and lead actor Gang Dong-won told us exclusively what filming it was like!

By LiteraryJoe | 9/3/2020

 

Fans of horror movies, particularly the zombie sub-genre, likely have a special appreciation for the unique film Train to Busan. Luckily for those who enjoyed the flick, Train to Busan Presents: Peninsula hit theaters last month.

Now, while many people may be worried that they won't be able to catch Peninsula on the big screen, we've been told that the film will be hitting the horror streaming service Shudder in early 2021. So, those who would prefer to watch Train to Busan in their own home will be able to in just a few months.

To support the theatrical release of the film, we set up an exclusive chat with Korean actor and star of Peninsula, Gang Dong-won (Illang, Master), and we learned a lot about his experience shooting the film and facing down the terrifying zombie hordes.

If you're interested in hearing the audio component of the interview, click the podcast player below. Due to the language barrier, this interview has been translated from Korean, and the answers are read aloud during the audio portion.

https://www.podbean.com/eu/pb-vyzwc-e9e190

 

 

Literary Joe: What was it like being attacked by zombies?

Gang Dong-won: It was not good (laughs). First, the zombie actors ran towards me with full zombie makeup and a bloody distorted face. It was apparent that these zombie actors had to act with their mouth' zombie- ly opened' with their saliva dripping from their mouth onto me while we were shooting. It was not a pleasant moment for either one of us.

 

Literary Joe: Have any of your past projects prepared you for this film, and if so, how?

Gang Dong-won: It helped me a lot with firearm and gun preparation. For example, like "Illang" and "Master," I was handling different types of guns and firearms, which required more training in both films. These trainings helped me to shorten the preparation for Peninsula. Having said that, these two films each featured a different character as Jung Seok in Peninsula.

 

Literary Joe: Without giving anything away, what were your favorite moments of shooting the film?

Gang Dong-won: It has to be the last day of shooting. I will feel sad if a movie that was not too difficult to shoot ends its filming because I like to continue shooting. But on the other hand, I will be delighted to complete filming that is hard on the body (tired).

 

Literary Joe: Is this the first project you've been involved in with this much action?

Gang Dong-won: Although it was a movie with a lot of action sequences, because of Director Yeon Sang-ho's style of directing made the filming easy. There were more action scenes than I initially thought based on the script, but there weren't too many hard actions. Usually, even a 3-4 minute full-body action sequence is exceedingly difficult, but in Peninsula, it was easy.

 

Literary Joe: Can you tell us anything about how the fighting zombie pit was put together?

Gang Dong-won: Fighting in harmony with zombies was not easy, but it was not difficult or tiring either. For this action sequence, I practiced for two days before shooting. I got a call when I was in Los Angeles, and I have worked with this action team previously, and they knew my standard well. They just told me to take care of my body and come back to shoot. The action team shared their opinions on the action scenes with me through video, and I went through the process of familiarizing myself with the work.

 

*This interview has been edited for clarity and translated from Korean. Some of the questions were provided by fellow writer Nick Brooks, who co-hosts the audio portion of the interview.*

 

What do you guys think of Gang Dong-won's answers? Will you be checking out the new film? Be sure to check out the trailer and share your thoughts in the usual spot!

 

Spoiler

Four years after South Korea's total decimation in Train to Busan, the zombie thriller that captivated audiences worldwide, acclaimed director Yeon Sang-ho brings us Peninsula, the next nail-biting chapter in his post-apocalyptic world. Jung-seok, a soldier who previously escaped the diseased wasteland, relives the horror when assigned to a covert operation with two simple objectives: retrieve and survive.
When his team unexpectedly stumbles upon survivors, their lives will depend on whether the best—or worst—of human nature prevails in the direst of circumstances.

Train to Busan Presents: Peninsula hit theaters last week and will stream on Shudder in early 2021.

[Helena]

http://www.asahi.com/ajw/articles/13672401

Film director Hirokazu Kore-eda (Asahi Shimbun file photo)

“I am writing the script right now, working with these three great actors in my mind,” Kore-eda said.
“I think I am thrilled with the project more than anyone else. I hope everyone shares this excitement that I feel once it’s done. I want to make this a thrilling, touching and painfully sad story,” he said.

 

 

https://twitter.com/movie_n_new/

Spoiler

 

Best Selling Films of 2020 (updated September 4)
Rank / Film / Release Date / Admission (people)
1. The Man Standing Next | 2020-01-22 | 4,750,208
2. Deliver Us from Evil | 2020-08-05 | 4,288,598
3. Peninsula | 2020-07-15 | 3,810,587
4. Hitman: Agent Jun | 2020-01-22 | 2,406,232
5. #Alive | 2020-06-24 | 1,903,704
6. Steel Rain 2: Summit | 2020-07-29 | 1,780,900
7. Dolittle | 2020-01-08 | 1,607,082
8. Honest Candidate | 2020-02-12 | 1,536,732
9. The Closet | 2020-02-05 | 1,270,835
10. OK! MADAM | 2020-08-12 | 1,213,642

 

Source: http://www.kobis.or.kr/

[ElectricHearts]

Behind the scene pics from monotube shoot 

 

https://www.instagram.com/p/CEbausdplvH/

https://www.instagram.com/p/CEbaxrdplZg/

https://www.instagram.com/p/CEbazKWJa4-/

 

[Helena]

^ thank you.

 

 

Martial Arts Director Jung Doo-hong "The best action actor? Kang Dong-won... Beautiful and cool"
 
On MBC Every1 'Video Star' (broadcast on January 2, 2018), martial arts director Jung Doo-hong selected Jung Woo-sung, Kang Dong-won, Jo Jung-seok, Ha Ji-won, Seol Kyung-gu, Lee Byung-hun, and Ryu Seung-beom as TOP 7 best action actors.  

 

When asked to pick the first place among them, Jung Doo-hong said, “All of them are different colors. When it comes to beauty, Kang Dong-won is the best, and Jung Woo-sung is the toughest.” As for "Who is the best person," Jung Doo-hong picked Kang Dong-won.

 

Action King Actor Kang Dong-won

 

Source: 1 | 2 | 3 | 

 

Gifs from https://www.instiz.net/pt/3475824

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[ElectricHearts]

Hope I get a chance to see Peninsula. I loved Train to Busan. Also super excited about the upcoming movie with Doona Bae and getting to work with director Hirokazu Kore-eda. I love Hirokazu Kore-eda films - hopefully a future festival circuit film and I get to see it here at TIFF in the future  

 

 

Also this of Monotube as well

https://www.instagram.com/p/CEbYWW3ARPO/?utm_source=ig_web_copy_link

 

[Helena]

Cine21 (first weekly movie magazine, began in April 1995)

2003 Newcomer 

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Too Beautiful to Lie

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No. 461 (2004-07-13~2004-07-20) <Temptation of Wolves>

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No. 518 (2005-08-30~2005-09-06) <Duelist>

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No. 538 (2006-01-24~2006-02-07) <Maundy Thursday>

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No. 569 (2006-09-05~2006-09-12) <Maundy Thursday>

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No. 625 (2007-10-23~2007-10-30) <M>

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No. 734 (2009-12-22~2009-12-29) <Woochi>

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No. 740 (2010-02-02~2010-02-09) <Secret Reunion>

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No. 777 (2010-11-02~2010-11-09) <Haunters>

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No. 963 (2014-07-15~2014-07-22) <Kundo>

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No. 968 (2014-08-19~2014-08-26) <My Brilliant Life>

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No. 1028 (2015-11-03~2015-11-10) <The Priests>

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No. 1040 (2016-01-26~2016-02-02) <A Violent Prosecutor>

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No. 1078 (2016-11-01~2016-11-08) <Vanishing Time>

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No. 1085 (2016-12-20~2016-12-27) <Master>

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No. 1142 (2018-02-06~2018-02-20) <Golden Slumber>

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No. 1163 (2018-07-10~2018-07-17) <Illang: The Wolf Brigade>

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No. 1263 (2020-07-07~2020-07-14) <Peninsula>

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Credits: Cine21, 강동원갤/유우령 | DaumCafe | jiyongism | 

[Helena]

http://english.pickcon.co.kr/site/data/html_dir/2020/05/22/2020052280121.html
Actor Kang Dong-won Adorns Himself with Unique Styles

May 04, 2020 

Good looking and standing 186 cm tall, actor Kang Dong-won consistently captures the spotlight with his distinctive fashion styles. He often dresses in a very stylish or unconventional way, setting him apart from the pack.
 

Even with simple outfits, he is fully capable of creating his own look. Kang turned heads when he appeared in leather pants and a zebra-patterned T-shirt at a press event for his 2018 film "Illang: The Wolf Brigade," an adaptation of the Japanese animated film.

Leather pants seem to be a favorite of his. He matched a pair of black leather pants with a stylish long jacket and shoes with 8-cm heels at a press event for his mystery thriller "The Priests" in 2015.

Kang also stunned many with his sharp fashion sense at a media gathering for the 2016 fantasy film "Vanishing Time: A Boy Who Returned," turning up in a unique and unusual monotone suit.

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[Helena]

FILM 2.0 (weekly movie magazine; December 2000 to 2008) 

 

#165 (2004.02.10~02.17) [Cr: 강동원갤/유우령]

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#175 (2004.04.27)

#187 (2004.07.20) [Cr: 강동원갤/유우령]

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#208 (2004.12.14)

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#248.249 (2005.09.27) [Cr: 강동원갤/유우령]

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#299 (2006.09.12) [Cr: 강동원갤/유우령]

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#357 (2007.10.23)

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Credits: Film2.0, 강동원갤 | 강동원갤/유우령 | NaverBlogs (YUaE | aaaaaai | Potitto)