Im Kwon-Taek Talks 천년학 (Thousand Year Crane)

Investors took their hands off the project, which basically forced Taeheung Pictures and Director Im to part ways after a long, illustrious and prolific relationship lasting almost twenty years. Even when new producers Kino 2 came in, they changed the cast, dropping theater actor Kim Young-Min out of the picture, and bringing in talented Jo Jae-Hyun to round up the package. When everything seemed ready to go, one of the cast members experienced a little 'promotion', becoming the country's Culture Minister (Kim Myung-Gon). So many problems and so many struggles, but the engine was finally turned on a few weeks ago. 'Thousand Year Crane' will spend most of 2006 shooting, to surface in Korean theaters around early 2007, but Im deserves the time, after decades of great works. Better yet, it might finally bring some of that energy he seemed to slowly lose in the last decade or so -- after 1996's 축제 (Festival), so to speak -- with only 최화선 (Chihwaseon) showing the fire Im became known for.

A sort of trait d'union with 1993's Sopyonje, using once again a short novel by Master Lee Chung-Joon, 'Thousand Year Crane' is the most 'traditional' Im Kwon-Taek film in a long time, which could be both a good or even a bad thing. Plenty of great directors of the past tried to go back to their roots in a new environment, with disappointing results -- Bae Chang-Ho and his maligned 흑수선 (The Last Witness) the biggest example, although 2004's 길 (Road) was pretty nice, even though it hasn't been released in Korean theaters yet. A 'new age Sopyonje' might bring a fresh breeze in today's Chungmuro, if done right, and the source material couldn't be better, so all the cards are ready. I don't know how many films Im has left in the tank, but he's showing so much passion for this project it's touching. Seeing a veteran who has nothing to prove to anybody work so hard to make his 100th film memorable is a valuable lesson to all the directors out there who produce 15 films a year, half of which barely deserve a straight-to-video release. When it comes to film directors, quality is better than quantity, and Im Kwon-Taek knows that all too well.

2007 is still far, but we'll keep following Im's latest (and hopefully not the last) project closely in the coming months. Here's a few excerpts from a recent interview Im had with Cine21.

You can also read:
Interview with Im Kwon-Taek
Early Preview (Scroll Down)

So what are your plans for the shoot now?
Im Kwon-Taek: At first we planned to shoot the apricot blossom scene first this month, then take a little break and resume shooting at the end of August, when principal photography would start. But because of technical problems, it looks like we might be forced to go back around late April/early May.

Shooting so slowly, your mind must have found a space to breathe.
Im: There was a time when I was about to do everything in a 3 months span. I never had time to reflect on this film with calm, but now that I have all this time on my hands, I finally realized about my initial decision to wrap up everything in a few months. The key now has become making something which will appeal and interest the viewers, and just thinking about that and trying to find ways to do that effectively takes time.

What side of Jo Jae-Hyun's acting style attracted you the most?
Im: More than positive sides, it's the 'negative' ones which caught my attention. Not completely exposing, revealing yourself has a certain power, some animal-like effect, a beast-like thing that you can see in Jo's acting style, and I like that a lot about him.

Did you think that wild, animal-like instinct fit with Dong-Ho's character traits?
Im: In some ways, yes. What does he know anyway, can he do anything, does he have anything to show? Trying to run away from poverty, living that kind of life, you sort of go back to wild, basic instincts about life itself.

So did you ask anything in particular from him?
Im: There's no need to request anything. If we both have a clear understanding of the character and how he fits within the film's world, then that's it, I don't need anything else. Of course then on the set we can talk a lot about the character, adjust a few things here and there, and even completely change some. He knows very well I'm used to that kind of working style, so once you understand that there's no problem whatsoever. On the contrary, that's when an actor's ability to adapt to situations shows the most, more than just coming to the set after doing your homework, and doing nothing more. The kind of vitality and flexibility you learn on the set adapting to all those new things can make you a better actor in the long run.

You cast Kim Myung-Gon as the father initially, and then he became the new Minister of Culture.
Im: Kino2 President Kim Jong-Won will have to go and get him (laughs). One moment he signs to star in the film, then all of a sudden... I just can look at the producer and that's it.

Were you shocked in any way when the film risked collapse at the end of last year?
Im: Never, I never experienced anything like that. To be honest, all my box office successes came from using new talents: that was the case for 장군의 아들 (The General's Son) and even 서편제 (Sopyonje). But hearing the investors get off the bandwagon for that reason only... I couldn't help but feel I wasn't prepared for how the business had changed over the years.

But you must have had the will to continue fighting for this film.
Im: Of course I wanted to do that. I was thinking: 'The hell with you people... keep trying to mess with me and we'll see how it goes'. You know, that kind of reaction, obviously they hurt my pride too, who wouldn't react that way?

A lot of people are using the old saying 전화위복 (轉禍爲福, Bad luck brings good luck) regarding this new start for your film.
Im: It's indeed the case. The most important thing is that we found a lot more time to deal with the film, and I found first hand not everybody in this business and this world only thinks about money. Through this ordeal, I found out even films like this can find that kind of investment, so bad luck brought some good luck along with it, as you said.

You must feel sorry for what happened with Kim Young-Min.
Im: Yeah, I feel bad about it. He was someone I hoped to work with if we got the opportunity, but for a variety of reasons we couldn't, so I'm a little sad.

Any disappointment regarding the way things went with Lee Tae-Won [of Taeheung Pictures]?
Im: Well, after all he just did what I asked him. If we leave out 장군의 아들 (The General's Son), he never did things his way even once, so I can't really complain too much. Of course it's not something I can feel happy about, but I understand what he went through, and there's no hard feelings. It's not his fault.

[Source: Cine21]