V.I.P. Director PARK Hoon-jung

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V.I.P. Director PARK Hoon-jung

Oct 12, 2017

Writerby CHANG Young-yeop
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Shining Light on the Dark Side of Human Nature

Just in time as "crime" has become a big buzzword in Korean cinema this year, PARK Hoon-jung has brought to screens V.I.P. It's a film noir—which is not surprising for PARK, who has shown a particular flair for the genre as the scriptwriter of I Saw the Devil and writer-director of New World. Featuring a cat-and-mouse chase after a serial murderer, PARK's new film V.I.P. brings added uniqueness to the noir genre by introducing another buzz topic: North Korea.

In the local production by Warner Bros., the son of a high-ranking North Korean official (LEE Jong-suk) has defected to the South and wreaks havoc with his penchant for killing. Information warfare ensues among the South Korean intelligence and police, the C.I.A., and North Korean defense. The organizations each have their own respective interests for this so-called "V.I.P. guest" who is believed to possess valuable intel on Pyongyang's reclusive government.

New World, the 2013 noir drama about an undercover cop infiltrating a mob, had placed the writer-director on the Korean film map, and PARK brings a strikingly different emotional spin and pace in V.I.P. KoBIZ sat down with the film's writer-director-producer to learn more of his approach to film noir, depiction of violence and casting choices.

What were some of the first images you had in mind for this film?

One day at dawn, I thought of a man in a suit staring outside the window. The picture of a man's face, disheveled from fatigue from having stayed up the night before, came to mind. At the same time, I thought of another man who was working in his office while smoking. I wanted to tell the story about members of bodies of authority that become cogs in the machine. There are times when one has to clean up after the mess that somebody else has created. I wanted to see what kind of choices these individuals would make as they are forced to solve problems they did not cause.

Would it be fair to call this film an "office noir" film?

I wanted to make a film noir in which characters must cast their personal emotions aside and take action according to their professional needs, depending on their circumstances and interests. And so it's a film noir centered on an event rather than a character.

It's a film noir that is markedly different from your previous piece, New World.

It's at the complete opposite end of the spectrum. If New World is a heated and passionate "bromance" film about loyalty and friendship, then V.I.P. is a cold, frigid and dry noir. Audiences who go into the movie expecting something like New World may be taken aback.

The film is centered on Gwang-il, a serial murderer from North Korea. The premise that the primary suspect in a murder case in South Korea is a special guest from the North is very unique. How did you come up with the idea?

Gwang-il had to be someone that [South Korean] authorities could not control as they wish. He had to be someone who was similar to us [South Koreans] but not a part of [our society]. It's impossible for Korea to interact with North Korea without taking the U.S., Japan or China into consideration. And for this reason, it was necessary for the character to be North Korean. I was also drawn to the fact that it would be the story that could only be told in Korea.

You cast actor LEE Jong-suk (The Face Reader, 2013) for the role of the ruthless serial murderer Gwang-il. This breaks away from the wholesome and innocent characters he has been associated with.

Gwang-il is the film's titular character, and I wanted an actor with an aristocratic grace would carry the weight of the role. I envisioned a character who has grown up privileged, someone who fears nothing as he has had everyone at his feet. Perhaps like the only son of a feudal medieval lord? I was initially very concerned. LEE Jong-suk is a well-known actor who has had a positive reputation. But I did try to force him to change to fit into his character.

Korea's intelligence service, police, and the CIA begin to compete over Gwang-il. Political relationships between each organization play an important role in the narrative.

They say things get political if you get more than three people together. Humans are extremely political animals, and I believe politics is basic human instinct. I'm very interested in the politics, which, though not visible to the human eye, exists between people. The Unjust (2010), for which I wrote the script, is about the politics between the police, prosecutors, and mafia that control construction sectors. New World is about necktie-wearing gangsters doing politics. One could say such a web of ties becomes much wider in V.I.P. The purpose of this film is to showcase the power struggles that come into play from the international politics of a given organization and the political interests of different countries.

You're known to be a big fan of Hong Kong films, and Hong Kong appears as an important location in the film. How was the production in Hong Kong?

We shot the opening sequence of the car speeding through Hong Kong's streets in Hong Kong, but the part where national intelligence agent Jae-hyeok (JANG Dong-gun) and CIA agent Paul (Peter Stormare) converse in a café wasn't actually filmed in Hong Kong. Hong Kong is largely associated with film noir, so I really wished to shoot there. But the cost was too high once we set out to do it. We had to cut our filming in Hong Kong to just two takes. There's an apartment building sitting on the hill of Soho in Hong Kong that is very atmospherically noir, so it's really too bad we couldn't film there.

The reason why I chose to shoot in Hong Kong is that of its intriguing circumstances. There was a line by Paul that was cut from the film where he says "it's difficult for us (the CIA) to make a move because it (Hong Kong) is part of China." I found it fascinating how (Hong Kong) is China but isn't at the same time. If Korea is the world's only divided country, then Hong Kong is the world's only one country with 'two systems,' and that is my reason for choosing Hong Kong.

How did you cast Peter Stormare for the role of Paul the CIA agent?

Peter Stormare appeared in KIM Jee-woon's [2013 Hollywood debut piece] The Last Stand, and I heard that he really enjoyed I Saw the Devil, which I wrote, and New World. I sent him my scenario and was very happy when he said yes without hesitation. He came extremely well-prepared for the role. He asked whether Paul's interest in Gwang-il stems from personal interest or professional tenacity. When I said, "No character acts out of personal interest in my film," he said he would appear in the film.

V.I.P. is your first piece as a producer. How was it like to produce and direct a film for the first time?

I learned how painfully difficult it is to direct and produce at the same time. There are so many things to worry about when it comes to directing, and it was very stressful and hard to mind other non-creative concerns. I plan on working with a producer when directing my films in the future.

Some viewers might be uncomfortable with the gruesome murder of a young girl that unfolds from the perspective of the killer.

I wanted viewers to feel the hellish pain the young girl was experiencing while and to also juxtapose the girl with Gwang-il's evil face. Without these two elements combined into the scene, Gwang-il may have looked rather immature and weak for a killer. And so I thought long over the scene during the editing process. I decided to insert the scene even if it is shocking, but I think it came on a lot stronger than I expected to female viewers. I have been told that I lack emotions than most males when it comes to gender sensitivity, and in this case, I think I was beyond lacking and was completely ignorant. I should handle such scenes after deeper and more careful introspection in my future films.

Speaking of gender sensitivity, your next film The Witch (working title) stars a female lead character. What is it about?

If I could sum it up in one word, it's subversion. I've always imagined a female character that can break all the things you might expect in a female persona and turn them upside-down. It's about a high schooler, her friends, and an organization that specializes in going after female high school students. The organization disrupts the peaceful life of a young girl and she tries to fight against it. The first half is closer to science fiction in a way. Production begins mid-September.

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