Hello, my name is Jee-woon Kim.
Today, we are doing the first commentary.
I'll introduce the two people
who are responsible for the beautiful images in this movie.
The cinematographer, Mo-gae Lee.
Hello, I'm Mo-gae Lee.
And the lighting director, Seung-chul O.
Hello, I'm Seung-chul O.
Today, we will discuss
the framing and shooting angles
and the lighting design.
Each scene and space in the film
will be analysed
by the cinematographer and the lighting director.
In the first scene,
I made a request to Mr. Lee and Mr. O.
The first scene is not set in an everyday hospital room.
It's not what we are used to seeing. It's not a familiar space.
I wanted to present an unreal space.
We utilised props and special composition.
I wanted to set them up in our own way.
We wanted to make a different reality for the movie.
It doesn't have realistic hospital lighting.
We didn't want it to look like an ordinary hospital room.
While I was working on this scene,
there was a misunderstanding between me and the director.
Soo-jung, the actress who played Su-mi, is raising her head here.
I wanted to show Soo-jung's face in this scene.
I wanted to show her face just a little bit.
That's how I wanted the movie to begin.
But you didn't want to show her face.
There was a reason behind that.
This film has the structure of a mystery movie.
Until the end of the film...
...I didn't want to give a clear idea
of who is alive or who the leading character is.
I didn't want to show that she is Soo-jung,
I mean, I didn't want to show clearly that she is Su-mi.
I wanted the audience to decide who the person is.
They would decide if this is the stepmother or if it is Su-mi.
I wanted to confuse the audience on this matter.
No special lighting or colour
was used for this scene.
The first scene.
The first scene sets the tone for the whole movie,
especially in this film.
We had to make it look like a horror movie and a mystery movie.
It feels very heavy. The camera moves very slowly.
So the audience would feel the tension.
That's how we used the camera.
The lighting is very flat.
To prevent it from looking dull,
the performers and the cameras are set in certain ways.
The use of the camera angles
makes the look of the image very tight.
Then the music starts to play.
The atmosphere changes to a soft one.
The audience sense that the mysterious feeling
of the previous scene has now changed to a soft one.
Because of the change in the atmosphere...
...the audience will think this is interesting
and they will become curious.
It's a different pattern.
The first scene looked scary.
So the following scene should be similar.
The atmosphere changes drastically.
It's a transition to a beautiful, bright and soft scene.
We didn't want to make
a simple horror movie,
we wanted to make something soft.
A movie with real emotion and vibrant minds.
Since it's a movie about two pretty girls,
we made this scene feminine and beautiful.
And we've put in pictures at the beginning of the movie.
That was the idea behind these things.
That was our idea.
We had a problem here.
The sun was setting and we had to make it on time.
Mr. Lee and I thought a lot about
the tonality of the image and the natural settings.
We shot this on the first day.
And we started shooting the day scenes on the second.
The sisters have arrived.
The weather was bad from the beginning.
The crew talked about one thing.
"When do the sisters get inside the house?"
It took nine days to get out of the car and enter the front door.
Before the sisters get inside the house, the scene is supposed to be
bright and clear.
On the other hand, the house is dark and gloomy.
This is bright and clear.
We wanted the day to have a white hue.
But sometimes we had to shoot just before the sun set.
Sometimes we shot when the sun was right over our heads.
The colour was different.
During post-production,
we were going to set the scene to white.
The shot with the girls getting out of the car,
we shot that when the sun was setting.
That gave a yellow shine on the characters.
That had a soft feeling to it.
We were going to make it white when we were shooting.
But we gave yellow tints to the outdoor scenes
because the first shot was so beautiful.
It's so pretty.
They are going to hold hands. This is my favourite scene.
The scene where they are running towards the reservoir,
while holding each other's hands.
We decided to put this in at the last minute.
We made the final cut from the footage we had shot earlier
and that was okay.
But when we saw this shot,
we could see the light was shining beautifully between the girls.
With the trick of the light, the girls became silhouettes.
They disappeared and appeared again with the play of light.
I liked that.
We shot it for the trailer,
but we used it for the film as well.
I guess, this is what Mr. Lee thought was soft.
How many days did we spend shooting the outdoor scenes?
15 days.
Of course, we did shoot other things too.
After we arrived...
...it took seven days for the opening scene.
Just for the girls to get inside the house.
They're entering the house.
Can you tell me about the lighting design of the house?
In the scene where they come in, we used different sets.
The outside shots and the inside shots were different sets.
I just want to mention that.
I told the director this before.
Sorry, hold on a minute.
When the stepmother is coming towards them,
she emerges from the darkness, then hides again.
The light and darkness touch her one after the other.
We shot that with extra care.
To introduce a character grotesquely, we used the darkness.
The character's outline and existence are formed by light and darkness.
That's how we used the light.
We wanted to show the insanity and the grotesqueness
in the shot where she comes through light and darkness.
Here, the light is coming from below.
We put the light there
so we could portray the stepmother grotesquely.
As for the light under Jeong-a,
I thought about it for a long time.
I thought we needed a realistic light for this shot.
The audience finds out that this was an unreal event.
I thought realistic lighting for this unreal event was necessary
so the audience would believe that the unreal setting was real.
Now that the movie is finished,
I think that unrealistic lighting was consistent with the story.
And the acting was appropriate.
This is Su-mi's space. Su-mi's room.
Rather than showing the girls' rooms with flat lighting,
when we introduced the rooms,
we had a light coming through the window, penetrating the darkness.
That's how we wanted to introduce the room.
And...
We wanted her to look around the room slowly,
with the light coming in from outside.
The curtains were closed at the beginning of the shot.
We shot this several times.
There is a reason for that.
When the curtain opens, we wanted the character
to form a silhouette by the light coming from the window.
When Mr. O and I discussed this,
Mr. O didn't seem to want this.
What was the reason, Mr. O?
When we first saw the silhouette,
you told me it was okay, even if the silhouette looked extreme.
You said that was okay.
I'll try to explain what I thought.
You can see a different emotion. An unreal image.
A different feeling.
You thought an unreal image
would convey more emotions to the viewers.
I had a different opinion.
This space. This is her room.
Showing a different form of herself in her own room...
...I thought, would interfere with the character's emotion.
A silhouette would be okay for other rooms, but not for her own room.
I thought if the audience could watch a clearer form of her in her room,
it would be better for the character.
It's the indoors.
The lighting design of the house was unique.
It's still daytime.
We are showing that this is daytime
but it's dark inside.
We wanted a dark space.
What did you do...
...to make this lighting design?
Mr. Lee and I discussed this part a lot.
What should we do
when she is walking down the corridor?
The cinematographer had an idea.
Let's make a space with both light and darkness.
We have a low ambient light for the space.
The character walks through the house.
With the existing ambient light,
we wanted to create a few bright areas
where the sun shines through.
We tried hard to achieve that effect.
We were introducing spaces in the early scenes of the film.
When Su-mi and Su-yeon enter the house for the first time,
you can see the dining room, the corridor and the living room.
And the previous scene shows the first floor and the ground floor.
We scanned through the house
to show the structure of the space.
The scene not only explores the structure of the space,
but it also shows that
the house is partially lit.
It shows a little bit of daylight.
The daylight is touching little bits of areas,
but it looks dark overall.
That's how we designed the lighting.
The movie takes place in the house over only three days -
the first day, the second day and the third day.
Each day has a different feel to it.
This is the dining room scene.
When we were shooting this scene,
we didn't have a good idea of what to do with the lighting.
While shooting the dining room scene,
we understood what to do with the lighting.
That's when we first understood what this movie should feel like.
The family are sitting around the table.
The dining room is important. The visual elements are important too.
The colour, the wallpaper and the antique furniture all work together.
This is the scene
where the relationships between the family members are revealed.
We had to capture the relationships clearly.
The audience should be able to sense the tension.
This is the most spectacular space in the house.
It's the most powerful space.
The characters are clashing with each other.
Hmm... how should I put this in words?
They are in an antagonistic relationship.
This is the first time you see that.
As you can see in this scene right now,
the condition of the characters are being shown.
Through the lighting, the wallpaper, the antique furniture,
the wardrobe and the colours,
we could portray the relationships between the family members
without solely relying on acting.
This idea was first used in this scene.
- And you? - Yes?
Aren't you going after her? You're supposed to follow your sister.
When we were first talking about the space in the scene,
I thought the wallpaper on the floor should be green.
It's not wallpaper.
It's commonly called flooring.
But the director wanted it to be red.
I was surprised at the request.
The art director was too. I was surprised.
And Mr. O was surprised.
We decided to use specific colours for each space.
For the bedroom,
Su-mi's room,
and the dining room.
The colour for the dining room was red.
A red floor in the red dining room seemed too much.
When I watch this scene,
I can't really say if I like it or not.
The dining room looks like it's burning.
That's funny.
When we were deciding on the colours for the spaces,
we knew that the dining room was the scariest place.
The dining room is where the family gathers.
This place is where
they show love and hate towards each other.
This is where emotion fluctuates and where emotion explodes.
That's what this space is for.
We initially decided the colour of the flooring should be green,
because of the morbidness that was coming out of the dining room.
But the green floor didn't really have that morbid feeling.
Then I thought,
let's use just use one colour to make the scene more intense.
That was the idea.
I knew it was a little risky.
It could have been too intense.
Other spaces had several levels of colours.
The tonality was all set to an adequate level.
The dining room was the only space
doused with an intense primary colour.
The end result was satisfying.
It had the right feeling.
Our intention was to portray the space with intensity.
The colour, especially the colour of the floor
and the wallpaper were effective.
William Morris's wallpaper was really helpful.
That's what I think.
And I want to say something about the art direction.
You can see that the stepmother's belongings,
her clothes and her bedspread are all shiny.
We differentiated the stepmother's existence
with these things.
This is the study.
The study's colour is grey.
Even the father's hair colour is grey.
The father's character is neutral. He has an ambiguous attitude.
We tried to show his state of mind, which is in a dilemma.
We used the colour grey and a fluorescent light to capture that.
That's how we did it.
This is the bedroom.
Even the bedroom...
Do you want to say something, Mr. O?
No, you go ahead.
When we were deciding on colours
for spaces such as the dining room,
we didn't have a colour for the bedroom.
The colour of the bedroom.
We couldn't decide on it.
But the director had a request.
The blue wallpaper in this shot...
You wanted some colour to accentuate the wallpaper.
We didn't decide on this before shooting.
We decided on it while we were shooting.
We used magenta.
It's strange for me to use deep magenta.
Mr. O and I were worried about using this colour.
Anyway, we decided that magenta was best for the wallpaper and the space,
so we used magenta for the bedroom.
We used a violet ambient cloth above the set.
I was worried,
because the colour for each space was so strong.
Another strong colour for the bedroom
seemed too much for the movie.
I thought that it would confuse the audience.
That's why I was worried.
But the end result was as good as you said.
We were just discovering new things.
That was possible because we were prepared.
We discussed this before.
My directing style, as you know, is spontaneous.
It's more sensual than cerebral.
We discovered new things, and changed ideas during the shoot.
If we hadn't prepared ourselves in the pre-production stage,
the spontaneity would hurt the movie.
Two of you tested every ambient cloth for the scene anyway.
You knew what it was going to be like, because you had checked.
That's why I could demand those things when I had new ideas.
The ideas didn't come from an ignorant mind.
I didn't demand outrageous things.
Two of you worked with the art director from the beginning.
You thoroughly checked all the details.
This is the first night.
When Mr. O and I discussed the script for A Tale of Two Sisters,
we thought we needed different lighting
from other conventional movies.
"How can lighting differentiate this film from other films?"
That's what we discussed.
Actually, when you look at the rooms,
you can see that the lighting is flat.
The lighting of this room is flat.
We didn't use any backlights in the film.
No, we used it once in the dining room.
The director wanted MTV-like lighting for the dining room.
Actually, for these spaces,
we didn't use any movie lighting techniques.
Yes, you're right.
We discussed the reactions and the comments
from the film was first released.
The initial reaction was that it was scary and sad.
People mentioned lots of things about the art direction.
Colour, the impression of the colour. That was mentioned a lot.
So we thought, let's put some colours into the movie.
Korean movies didn't have that before.
That was one of the ideas from our discussion.
That's why we wanted to use digital colour correction.
But we opted for something natural
because this film is about a person's mind.
The story followed her mind.
This is the scene where our cinematographer, Mr. Lee,
was shooting on a dolly
that rotated 360 degrees and then 180 degrees more.
You were tangled up by a cable.
At one point, you fell out of the dolly.
When I was shooting the scene where she's coming down the stairs...
This is the first scene which shows a space at night.
Lots of other scenes like this comes afterwards.
And it shows the space as a whole.
When I was reading the script, I found this passage.
"The living room is only lit by the light from the TV."
I thought, "How could I do this?"
I didn't really think about moving the camera.
The director was outside the set.
I was inside the set.
I was following the characters as much as I could.
I had to move back and forth on the track.
At first, I didn't think I could handle this shot
because I had to move in a circle.
You handled the camera as if it was a Steadicam.
A Steadicam on a dolly.
When I was shooting it for the seventh time,
I thought, "Su-mi walking down the stairs
and the tracking shot are working together well."
While I was shooting that
I thought, "I'm not just following the character in a complex manner."
"This shot suits the complex mind of the character."
I felt really good after shooting it.
In the editing process
I thought, "Should I delete this scene or not?"
Then I remembered, you worked your arse off.
And of course,
I really thought that this was an extraordinary moving shot.
How many degrees did you rotate on the dolly?
360 degrees?
I rotated one full circle
and another half circle.
You hadn't rotated on a dolly like that before.
So...
I felt proud of you.
That was a silly thing to say.
We saw you falling down.
We saw you tied up by a line.
I thought you were going to curse me if I didn't include the shot.
Anyway, I want to say this.
This was a new way of working for both of you.
This was new.
You were able to show things
that weren't present in previous Korean films.
We had beautiful colours,
stable and solid camera work,
good composition.
You presented this great film as a new piece of work.
Some of the critics should have
at least praised this aspect.
This was possible because there was lots of preparation.
When we were working on this,
you never shot it like it looked in the storyboard.
You always decided on the set.
We pulled it off successfully
because Mr. O, the art director and I
prepared
each scene in a precise manner.
When we were actually shooting,
we didn't have any problems.
Mr. Lee and I discussed the film
for two months in the office
like office workers.
It was a nine to five job.
One thing I wanted to keep in this film was the power.
"What kind of power should this film have?"
You're right.
"What should we do to make that power?"
"How should we set up the scene?"
We discussed these matters.
If the director wanted to change things
on the day of the shoot,
we could do it.
We couldn't change things instantly.
However, we could still maintain the power of the movie.
It was all because of the preparations.
If it was on location, we couldn't possibly have done it.
We worked on a set.
The advantage of a set
is that we had control over things.
We were making the film on a set.
So I became braver.
I knew that I didn't have much experience in making films.
The ideas I got on set seemed to work,
even when there wasn't a lot of preparation like this time.
The implementation of the ideas was okay.
I guess this proves that Korean film workers are excellent.
The flashing cuts were shot after we shot another scene in daylight.
The light that night was appropriate.
Mr. Lee and I were blaming you from behind a tree.
"How could he do to us?"
"How could he demand this?"
It was just a short dream sequence.
It was okay because of what you said back then.
"Ideas that appear suddenly
can be better than what was planned before."
That was encouraging.
I think that was the difference.
I guess this was the difference
between an expert and a layman.
The difference between
a professionally trained person and an ordinary person.
Both have their strengths and weaknesses.
Experts rely on existing data.
Experience and data.
However,
creative people just do things without thinking.
They just do it.
Well, I'm not saying it was like that in this film.
But art arrives at that moment.
The representation of an existing structure is important.
I guess that's what film-making is all about -
spontaneous moments discovered by strong impressions.
When you represent those moments,
that's when art is born.
That's the moment when art is born.
This scene is special too.
This is different from other horror movies.
This is happening in the morning.
A ghost appearing in daylight.
I wanted specific lighting for this.
There was a lot of effort put into this.
It was difficult to design the scene.
On the second take of the shoot,
no, on the first take...
...the actress who plays the ghost bumps into the camera.
I was so surprised, I hit the camera.
- This one? - Yes.
Weren't you surprised, Mr. Lee?
When I was shooting this scene...
I didn't feel like I was shooting
a horror movie until this scene.
Nothing was scary before this scene.
The problem with this film
is that it was a good movie,
but it wasn't a scary one.
That's problematic for a horror film.
That's what we thought.
How could we make it scarier?
We were in despair.
When I was shooting the scene,
I thought this scene should be really scary.
That's what I thought.
When we were beginning to shoot,
the director told us that this is not a horror movie in darkness.
You said, "It is a horror movie in the light."
I told Mr. O, "Then it should be bright."
If we could see a lot of the shape of the ghost,
then it wouldn't be scary.
So when we were shooting the scene,
I heard that it was really stressful for Mr. O.
Someone like me, a layman,
doesn't know the difference between the real situation,
the image on the monitor and the final print.
I don't know what is right or wrong.
So I constantly asked you two.
"Can we see the face?"
"Isn't it too bright?"
I asked a lot.
I guess you were really annoyed by me.
"Can we see it or not?"
"We shouldn't see the face too much."
"We should see more of the face."
In the end, we didn't show a lot of the face.
We didn't really show the face.
You can see the face as the character comes towards the camera.
Ah, the controversial scene.
At first, Geun-young didn't want to do this scene.
She had to calm herself down.
I heard that Mr. Lee shut his eyes
when he was shooting this scene, isn't that right?
Exactly.
Then I'm the only one who was naughty.
My eyes were wide open.
There was a difference between morning and noon too.
We've put a lot of thought here.
It's morning.
"But how do we express that with the lighting?"
"What is the best way?"
Mr. Lee and I discussed this a lot.
The angle of the light, the quality of the light and the colour.
The impression of the light and when it diffuses.
We thought a lot about these things.
We calculated the light settings for each scene.
These were set at different times of the day.
Because we were too precise about it,
a problem occurred when some scenes were deleted during editing.
It was hard to match the time of the day.
There were some problems because of that.
Anyway, this was my best job, setting up lighting for different times.
In the end,
this became the most different space in the film.
This space should have been introduced
after the toilet near the girls' rooms was shown,
but that scene was deleted.
Until this scene,
the film was full with dark and gloomy spaces in the house.
That is one third of the movie.
And they go outside again.
It's like ventilation. That's what I sense here.
When Su-mi and Su-yeon are in the shot...
...I only used a standard focal length lens.
When Eun-ju is in shot,
I only used a wide angle lens.
When Su-yeon is alone, it's a telephoto lens.
What was the reason behind that?
Well...
You don't feel scared around these sisters.
They are two sisters who love each other
in a natural way.
We didn't need any special camera tricks.
They didn't need to look strange.
I didn't have to use camera tricks.
I didn't want to use that.
When Eun-ju is in shot, the image looks psychedelic.
I wanted the image to be psychedelic.
I used a telephoto lens when Su-yeon is alone in the image.
As you know, Su-yeon is a ghost.
I wanted the scene when Su-yeon realises she's dead
to be more shocking.
I wanted the viewers to sympathise with her.
When you use a telephoto lens,
the image gets larger,
but it looks like we are looking in from a distance.
That's the effect I wanted, when I was shooting Su-yeon.
We were discussing which lens we should use
at the beginning of the production.
We talked about my previous film.
The short film, Memories
which served as a started point for this feature film.
We discussed a lot about that movie.
Memories was shot mostly with a wide angle lens.
Every object, every character
were captured in the image very clearly,
even the ones that were far away.
The idea for Memories
was to get a detached feeling.
We used a wide angle lens to get this impression.
We discussed what was important in this scene
and what kind of impression we should give in this film.
The characters were the most important.
The girls' inner world was the important thing.
Mr. Lee and I discussed these things for a long time.
The impression we were giving to the audience
when we used a telephoto lens for the shoot -
the emotional effect.
We were focusing on this aspect.
Just like we were focusing
on the dreariness and bleakness in Memories.
The wide angle lens was used to capture the bleakness.
On the other hand,
sadness is an important aspect in A Tale of Two Sisters.
A telephoto lens was used,
because of its approachability to the character.
That's the reason why we used it in this film.
This shot...
I like this shot.
It's a symbolic scene. You can predict the ending.
The expression on her face.
She is trying to remember something.
It's an ambiguous expression. She almost recalls it.
What made her look back?
She's getting a sense of deja vu.
She's getting a strange feeling.
We all get this feeling.
Her past memories are trying to come back.
We tried to convey that.
We shook the camera a little when it was turned round...
...to represent the wind blowing in the bamboo forest.
It's as if the wind is watching her.
It's a lazy and hazy day.
A little fuzzy.
I can't really explain this in words.
I wanted to give that hazy feeling.
There was a reason for that.
It was sadness. The motif of the film was sadness or nightmares.
This motif was shown in an emotional way.
What do you think of the light coming from the window?
According to the script, the light is from the sunset.
But in the final print,
it's not sunset, it's midday.
Afternoon. I guess it's early afternoon.
The time line changed
so we had to change the colour of the scene.
The scene was okay
when it was supposed to be sunset.
But the time line changed.
As the time line changed,
we changed it,
so the light was coming through a curtain.
The colour was adjusted.
This is the first time she's looking at the family photos.
When she sees Eun-ju in one of the photos,
she becomes angry.
But she had been feeling good inside beforehand.
She had a warm feeling.
She is lost in the memories.
I wanted to get that feeling across.
I requested special lighting for this occasion.
The sunset scene changed because of the editing.
The time was moved back to the afternoon.
We had to change the setting.
Now, the colour comes from the light through the curtain.
That's how it was decided.
Su-yeon, look at this.
Tada!
Pretty, huh?
Were they Mum's?
We shot this from two directions
and then edited it.
It's Mum!
It wasn't intentional,
but when we were shooting,
Geun-young was acting so cute.
The camera was pointing at Geun-young for a long time.
It was more than we needed.
However, this is Su-mi's movie.
Su-mi is the protagonist.
When we were editing,
we had discussions on what was the proper way to show the characters.
A political issue was involved.
We had to choose the politically correct shot.
That's how it was done.
You can see the direction changing here.
This shot can be interpreted
as Su-yeon's reaction to Su-mi's interrogation.
Su-yeon's emotional reaction.
That's what I think.
Su-yeon, what's wrong with you?
I told you to tell me everything!
She did this, right? She did this, huh?
Did she do this? Tell me! Tell me!
This is Mu-hyun's bathroom.
This is the coolest scene for Mu-hyun.
That was short.
This is the first scene with the open curtain.
You can see the outside.
An open curtain space.
The lighting design is very different
from the previous dining room scene.
This is the first scene in the film
where the two characters collide.
All other indoor scenes were in closed spaces.
As the director said, it's an open space.
The characters are colliding in this open atmosphere.
It maximises the conflict.
The characters were confined in closed spaces.
The tension came from suppressing their emotions.
The outside is visible here and they reveal and express their emotions.
A contrast between closed and open spaces.
The characters' emotions are linked with these spaces.
It's a contrast between hidden and expressed emotions.
The ambient light of the dining room
and the outside light that shine on the characters
create a strange scene.
A strange feeling.
This one.
Like this shot.
One third, no, half of her face
has a green hue.
Another half of the face
is reflecting the bright light.
Because of the mixing of different lights...
...the character looks even stranger.
An impressive scene.
The shot just before this...
...and this shot have different lights.
- Yes. - That was because of the editing.
There was a gap between the two shots.
That's because some shots were deleted.
The brightness is little different.
It was inevitable.
I don't think the audience noticed that.
But it was okay.
When Mu-hyun enters the space,
Su-mi's position is different.
And Mu-hyun passes Su-yeon to approach Su-mi.
Su-mi's fantasy...
Su-mi's fantasy and reality are bumping into each other.
This explains the gap between the shots.
The characters' expressions
are very emotional in this scene.
Mr. Lee loves this scene.
Mr. Lee likes these emotional expressions.
What can you say about that, Mr. Lee?
Well...
I was shooting Su-mi...
like in this shot we are looking at now.
She wasn't dark in the previous shot.
When I was shooting this,
the auxiliary light became dark by accident.
So the left eye hid in the darkness.
And it shines a little bit.
I liked that a lot.
I asked Mr. O, "What about this?"
I was a little worried.
It was different from the previous one.
I was worried.
We shot two versions of this.
We had a bright one like the previous shot.
I didn't know what you were going to choose.
And you used this one.
I liked this one too, when we were shooting it.
We shot two versions,
but we put more effort into shooting the dark one.
I asked Soo-jun on the day, "What do you think?"
And she liked it.
She became emotional
and left the set for a while.
The previous scene with the car on the road
creates a strange impression.
Shooting from inside a car.
When we were shooting that night, it was too bright under the car.
I didn't like it when I saw that in other Korean films.
I guess other countries do that too.
Well, we have to show the characters with light.
When we were shooting that,
I wanted an ordinary light.
I was thinking of setting up ordinary lighting.
I had a discussion with Mr. Lee.
As a result,
we opted for an unreal atmosphere
because they were visiting an unreal place.
They're in a strange place.
That's right.
This is the dining room. It has changed.
The lighting and the characters have too.
The characters are feeling different.
Let's talk about that.
This scene has a really different atmosphere.
The lighting and the characters all look very bright.
The scene is wild and dynamic.
Mr. Lee had lots of thoughts
about which angles to use for the scene.
What do you think, Mr. Lee?
This scene with Sun-kyu and his wife...
I thought this was going to change the tone of the film.
It was going to reveal the truth.
This scene was very interesting in the script.
She talks frantically and then suddenly, it becomes quiet.
Then the wife goes crazy.
Yes, there are a lot of drastic changes in this scene.
Mr. O and I were discussing this scene.
You can see the light shining on top of the characters' heads.
Behind their heads.
We used this lighting at the beginning of the scene.
As the emotion cools down,
we gradually stopped using it.
Why did you do that?
I guess that was because...
Su-mi is talking in this scene.
Sun-kyu's wife is looking at Su-mi.
And Sun-kyu's wife collapses because of some unknown force.
She caught a glimpse of a ghost.
This scene in the dining room is very flashy.
We used a back light, a ring light and a key light.
It was very bright.
After Sun-kyu's wife collapses, we removed all the lights.
After removing them, the atmosphere becomes chilly.
We wanted something bleaker after the collapse.
This is just like the scene
where Eun-ju first appears in the film.
We discussed this a lot.
The ghost is in the dining room. No, it's in the kitchen.
We decided that this space should be very bright.
This idea was one of the five ideas
we had for the film.
A bright space. We don't see it here.
After the collapse,
we don't see the red dining room.
It's the same space, but the red hue has gone.
The light comes from
the bright green kitchen.
That was the idea.
We can see it in a while.
All those detailed lights in this scene
are removed simultaneously after Sun-kyu's wife falls down.
And the camera looks down from above.
We did a long take for this scene.
We can see the contrast between the intense red floor
and the white light coming from the kitchen.
It is a very strong contrast.
The contrast is intense.
This effect was emphasised in the editing process.
An intense performance by the actress.
She is literally bruising herself.
You can see
in the brief shot with Su-yeon's face...
This is very different from the other shots.
The dining room is clean and exposed.
Su-yeon's shot is different. It is lit for a night scene.
Mr. O didn't want to make the shot with Su-yeon bright.
The shot shown in cinemas
wasn't as bright as in this DVD.
Su-yeon was in the dark.
The colour was adjusted,
because the director wanted it brighter.
I wanted it dark because it was a night scene.
We hadn't used fluorescent lights before.
I thought it would look like a fluorescent light.
But it looks better bright.
Bright was better.
The image is a visual impression.
We made it bright at first, then dark afterwards.
Well...
We use different lights for different characters.
I guess, dark is better with Kab-su Kim.
Dark is better for him.
For Geun-young,
showing the scared face in a bright light looked better.
Pale horror, does that makes sense?
Even before directing this film,
I had some ideas.
Well, I didn't really conceptualise them in this movie.
I guess you could call it "white horror".
I just made that up.
The horror
that comes from a pale and bright space.
The horror.
We discussed a lot about this.
This scene...
It's bright.
This brightly lit space.
This is the space.
This is similar to the bright shot with Su-yeon's face.
It's a bright and open space.
It's pale and sick.
Chilling and terrifying.
That's what I wanted.
And the guys created it. They showed it to us.
Especially Jeong-a Yeom's face...
Eun-ju's pale and white face.
The white face and the painted red lips.
These were intentional.
They were meticulously put together.
They were the elements for a terrifying effect.
I wanted to try new things
for a terrifying effect.
It was nicely done.
Especially this shot.
The bright background behind Jeong-a Yeom.
The strong lights on her face.
These were the elements for a terrifying scene.
The lighting design for a frightening scene.
It's just paint,
but the colour of the paint
has a strange and sick feeling.
We thought a lot about the space in the kitchen and the dining room.
The result is satisfactory
for the kitchen and the dining room.
I'm frightened by my own film.
This scene.
The visual effect of this scene.
For example, the sight of Jeong-a Yeom's back
after Mu-hyun leaves her.
The red wall in front of her...
To get a strong visual impact,
we hadn't introduced this space before.
We discussed a lot about this scene.
It would be disappointing
if the audience already knew about this space.
Something is going to happen.
The film is getting close to the climax.
We are giving a visual impact at this point.
I liked that.
I mean, this scene...
There is no explanation for that shot.
You can see the contrast in the colour and in the composition.
You get a strange feeling.
The impact.
This scene too.
You only see this camera movement
in experimental or art house films.
The lighting for this was different from the others, wasn't it?
These two scenes.
You can see the ambient light in the background.
I was slightly worried.
We only used ambient lighting.
We didn't use the key lighting
that was used in the previous scenes.
Only ambient light was used.
I wanted the background to absorb the characters,
just as the director and the cinematographer wanted.
I thought the idea was good.
That's why I really like this scene.
I have an affection for it.
It's one of my favourite scenes.
We just passed a scene
where Mu-hyun is showing his back.
That's my most favourite shot in the whole film.
I love that shot
because
the scene looks very real.
Eun-ju is crazy.
She is suffocating people.
But the shot with Mu-hyun's back looks real. Just like reality.
The character seems very real.
So...
...I think the shot works really well.
It was daunting to shoot some of the other shots.
When I watch them, even though I shot them,
it's daunting.
The shots like the one with Mu-hyun's back are relaxed in a way.
Those kind of shots give balance.
They set the impression of the film.
They give balance.
Mr. Lee and I were heartbroken by this scene.
Some call it "Chungdam-dong Horror"
or "Flower Horror".
It's a flowery space.
This is the first time
where Eun-ju lynches one of the girls.
Once when I was a kid,
I woke up all of a sudden.
And the blinding light of the 'dama' hurt my eyes.
It was very unpleasant.
When we were discussing this scene,
I asked Mr. O, "Let's move the 'dama' to her."
'Dama' means light bulb.
We already agreed not to use Japanese words.
Well, it wasn't an easy job.
It's difficult to light the characters
with just with a light bulb.
We tried anyway.
I was worried even after I began shooting.
The colour was too red.
Fortunately, the result was very good.
Other lights are soft, but this is hard.
Extremely hard light was used on the characters here.
We discussed a lot about this scene.
There was a lot effort put into it.
It's very emotional. It's a violent scene.
We wanted the visual elements to match this.
We wanted the image to have an impact.
We used props to achieve this goal.
Props were used to create a strong image.
A light from below creates
a grotesque impression of the characters.
The props were used effectively.
The atmosphere was created in a natural way.
All the ideas that came up from the discussion,
such as the composition of the shots, were solved beautifully.
I agree with you.
The relationship between the cruel stepmother and the abused daughter
is quite interesting.
It's really hard for Su-yeon. I know it's hard.
But we also wanted to show
that it's also hard for the stepmother, through the lighting.
Some people may think that they are just acting.
I didn't want it to look plain.
I wanted the audience to feel the pain.
I kept that in mind when I was setting up the lighting.
"Which light is the most effective? How do I light the space?"
Those were the questions I asked myself.
It's not about the lighting or the shooting.
I want to say something here.
This scene...
It's really an emotional and violent scene.
And we used this sad music.
It was an experiment for us.
It touches the audience's emotions.
Some liked it. Some really hated it.
I like it a lot.
That person is actually Su-mi.
It was caused by a psychological wound.
That's how she reacted to the wound.
It was sad even when I was watching it on the monitor.
And the addition of music
to the final print was superb.
There is something on Jeong-a Yeom's face.
You can only see this on certain cinema screens.
You can see a glint in Jeong-a Yeom's eye.
It's shining.
I loved that.
The reflection of the light in the eye.
I can feel the madness.
You can see that Jeong-a Yeom
is in a state of panic.
The stepmother is panicking. She's mad.
The lighting
really contributed to this.
I used the handheld camera several times in this scene.
You handled it well.
When Mr. Lee is shooting,
he takes a lot of shots.
You end up with only one or two takes
because it's hard to handle.
It was extremely strenuous.
The assistant cameraman told me
I was better than Mr. Lee on a handheld camera.
I heard that too.
We're going off track here.
I have to talk about this scene.
Mr. Lee came up to me
when we were setting up for this scene.
Then he said, "This is going to be the sexiest scene in the movie."
Because of the silhouette.
I was wondering why you said that. It was the previous shot.
I like this scene too.
Ms. Soo-jung Im has a very slim and feminine body.
Her body is in a great shape.
Her body was portrayed very well.
Some say it was sexy.
Some say...
...the scene was harrowing, because she was too thin.
Some people said that.
I guess your opinion depends on your state of mind.
Su-yeon eyes were scary in this scene.
This is the first scene which shows
Su-yeon as a mysterious being.
People will think,
"Why does she have that look on her face?"
"What is she trying to say?"
I wanted the audience
to raise questions in their minds
because of the final twist.
This scene...
Mu-hyun has to run up the stairs in this scene.
He doesn't know where Eun-ju/Su-mi is,
because Eun-ju/Su-mi is totally crazy.
He has to figure out where she is.
That's why we showed the shadow.
That's the window where he could see the shadow.
I love this one.
The colour used in this scene... This is my most favourite scene.
We didn't use any individual lights here.
No, we did use any.
The ambient light looks much stronger.
The characters can move freely in this space.
I cried when we were shooting this.
This triangular relationship - Su-yeon, Su-mi and the father.
They're talking to each other.
It's a very sad scene.
The performers were very sad too.
Very sad.
They were feeling the characters' emotions.
Everybody in this film
were emotionally immersed in his or her character.
Only Su-a Jeon from the art team didn't feel the sadness.
She did say it was a good scene after she watched the whole film.
We can see Geun-young Moon's beautiful sensibility here.
An excellent performance.
Soo-jung too.
Mr. Kab-su Kim too. All three of them.
Everybody is full of emotion in the scene.
It was a very important scene and they were great.
In this scene, Mr. Lee moves the camera.
Whenever he focuses on a character,
he shakes the camera slightly.
He moved it just like this.
I remember that.
In this scene,
sometimes you told me to shake the camera.
I didn't really understand why.
"Why do I have to shake the camera?"
When I was shooting this one,
I knew I had to shake the camera.
When we were shooting this scene with Su-yeon and Su-mi,
I wanted to capture the trembling mind of each character.
That was the intention of the scene.
This was the first scene to be approved.
After shooting all the scenes for the first day,
only this was approved.
This was the only scene.
Well, anyway,
we were watching the monitor when Mr. Lee was shooting the scene.
The camera was shaking when Su-yeon was crying.
Bu-seong Gong, the assistant director asked,
"Isn't Mr. Lee crying?"
He was joking.
When I was shaking the camera...
Jong-ho Lee, the assistant cameraman, held the camera
as I was shaking it.
The technique was a discovery.
In the scene, Su-yeon finds out that she is not a living person.
She realises that she is in a terrible state.
And she cries and weeps.
The scene was presented in an effective way.
There is something I forgot to say.
It's about the wallpaper on the first floor.
There was a famous horror movie director called Terence Fisher.
He made The Gorgon.
Just like we did in this movie,
he adapted a classic tale.
His one was about Medusa and Gorgon.
He turned the tale into a modern horror movie.
When I watched the movie, I noticed the wallpaper.
We used that for the first floor.
Terence Fisher was the first director
to concentrate on artistic mise-en-scene.
He adopted a gothic style in his films.
He brought a gothic style into horror movies.
He was the first director to concentrate on the artistic side.
He influenced many of the horror movie directors
who came after him.
He was the man.
Interesting, isn't it?
You can see the wallpaper now.
This is the morning of the last day.
We then removed the ambient light.
The colour of the light here is white.
The movement in the space
is a little different now.
The light is very hard in here.
I can see that.
The light on her arms in the previous shot...
Or the light on the wall...
As you already know, Mr. Lee,
the movement of the camera
and the speed of a scene are slow in my films.
Yes.
Was that a problem for you?
It wasn't a problem. No problem at all.
The problem was, I couldn't keep up with you.
That was the problem.
You mean, you weren't slow enough?
When we were shooting the shot we are looking at right now...
...there was an accident.
A film related accident. We had to shoot it again.
We shot it in almost the same way.
It didn't look like the one before. I was disappointed.
I knew it was inevitable.
There was a great atmosphere in the previous take.
Very heavy.
The air felt very heavy.
I wanted to create the same atmosphere again.
Well, I know that
we were distracted by journalists that day.
We couldn't really concentrate on the space.
We couldn't be there together.
But even after we gathered ourselves together,
we still couldn't get it.
I don't know why.
Maybe I do know why.
When I was doing plays,
if the performance was good one day, it was always bad the next day.
I think that's because
you remember what you did the day before and you try to imitate it.
But you can't do it, because you lose the rhythm.
When I think of this scene,
I remember the old days.
You try to imitate what you did the day before.
You try to do it again but it comes out wrong.
When you do the reshoot,
the condition of the space is different.
The performer's condition is different.
Everything changes as time moves on.
I guess we ignored that and just tried to imitate what we did.
We had to admit
that everything had already changed.
We had to adjust things according to the changes.
And of course, there were too many journalists on the day.
Our concentration level dropped when we were reshooting it.
I've got something to say about this scene too.
Before this scene, Su-mi's acting seems dry.
This is the first scene where she is wailing.
Of course,
the scene where Su-yeon realises that she's dead
is more devastating.
But we shot this scene first.
This was the first time for Su-mi, Soo-jung's character.
The scene was...
...very strenuous for Soo-jung.
Very.
It was heart-rending to watch her do it.
It was a complicated scene.
Soo-jung's character...
...is in a state of panic.
The actress was too.
She was really into it.
In this scene, she doesn't know if she is Su-mi or Soo-jung.
She is currently working on a teen movie called ...ing.
It must be really hard for her to get out of this Su-mi character.
It must be hard.
The assistant director is inside the sack.
Can anyone fit in there?
Other people couldn't. Only the assistant director fitted in.
I was impressed by the assistant director's professionalism.
She had the radio transmitter with her
to give commands to the others,
to give signals to the others.
The lighting for this scene
does not have the atmospheric touch that the other scenes had.
It doesn't have the soft touches.
It doesn't have the colours.
There's no light from outside. The sun has set.
It is a realistic scene.
A realistic space.
More realistic scenes are coming after this.
It's close to that anyway.
The film is heading towards the end.
The multiple characters
are trying to merge themselves together.
The style of the movie is changing.
It is telling the audience that it has almost finished with the image.
That's what I had in mind.
It was psychologically very tense before this scene.
Now, the emotions are exploding. They're physically fighting.
Visually, this scene...
...is cathartic for the audience.
To produce this cathartic effect, we employed an action scene.
At first, we thought the action would be too much for this kind of movie.
But we included it in the end. It was necessary.
This was difficult to shoot.
Was she riding on the dolly?
- No, she was hanging from it. - You're right.
Su-mi was hanging from the dolly.
Just like this. The camera was just like Jeong-a Yeom.
On the dolly.
Most of the action scenes were shot very quickly.
When I do action scenes...
...I finish them quickly.
When I do action scenes, nothing stops me.
I should make an action film next time.
There were lots of action scenes in Foul King as well.
Those were quick.
We finished this action scene the quickest.
And it was the quickest to get the okay sign.
It was really fun doing it.
The actresses loved it too.
You all make me sick!
What in the hell's name made us get to this point?
Don't you get it yet?
Remember what I told you before?
Remember when I said you'll regret it some day?
Know what's really scary?
You want to forget something...
...totally wipe it from your mind.
But you never can.
It doesn't go away, you see.
You can think of this as a scene
where she is giving a self-reflective comment to herself.
Actually, Su-mi
is looking at herself with self-pity.
A self-pity scene.
And she spits out the line. "Help me."
This scene shows what kind of state the characters are in.
She can't forget the tragedy.
She's suffering.
She's in despair.
She's horrified.
It's a story about her.
This is a very important scene.
I wanted the viewers to sympathise with her.
Computer graphics were used here.
It distorted the image.
As the space changes to reality,
the lighting totally changes.
The ambient cloths were all taken off.
When the fantasy changed into reality,
the change was instant.
Changing the lighting wasn't enough.
We needed something more to emphasise the change.
Fortunately, the cinematographer
came up with this idea and that's what we used.
The image crumples up, then stretches back to normal.
The crumpled delusion
stretching back to reality.
The scene was a symbolic gesture.
We used digital colour adjustment for this scene.
This is real.
This is the colour
of real skin
of real people.
That was the idea.
The skin colour in the previous scenes were green or red.
Sometimes it was too pale.
This is their living space.
It's warm.
It has a warm colour tone.
We didn't intend to use digital colour adjustment.
We just shot it with ordinary lights.
There were already too many CGI shots.
And the director told us,
"Ordinary lighting is not enough,
it looks mundane compared to the other scenes."
You said that.
So we used digital colour adjustment.
We didn't change the whole colour.
The saturation rate was raised.
And the contrast rate was raised. That was it.
This is the best quality CGI you can get in Korea.
Nobody realised we used computer graphics for this.
The director did the storyboard in a coffee shop called Lavazza.
A boring coffee shop.
When you told me how it was going to be,
I was very confused.
I didn't know what to do. The two of them are the same person.
Actually, the camera was supposed to rotate twice.
Anyway,
we prepared a lot for this scene.
The CGI team worked really hard.
We prepared for this from the beginning.
The Motion Control Camera was used on the performers in this scene.
This was the first time in a Korean movie.
It was the first time indoors as well.
It was very difficult to shoot this scene.
The CGI team
prepared the scene thoroughly.
They worked with the Motion Control Camera team very well.
Good communication was very important.
You can see that in the result.
The idea became a real image.
Good communication
is very important to realise an idea.
It is very important.
People make these together.
This scene was shot additionally
to explain the recollection scene a bit more.
It wasn't in the storyboard.
This additional shot functions as an explanation.
We used a telephoto lens for this.
I thought it was suitable.
The focal length is close to 100mm.
The camera is almost at the other end of the set.
We are looking at them as if they are on a stage.
I thought that it would work for the scene.
I asked the other cameramen...
"What do you think?" Only half of them agreed.
"It doesn't match the other scenes. Don't use it."
Who was that half?
That half was Jong-ho.
The other half liked the idea.
When you heard the idea, you liked it too.
We agreed to do it, so we shot it.
If you think about it,
this is the most realistic space in the whole film.
It is.
Some thought that this was a set.
This was a real place.
Were there any difficulties in setting up the lights?
Not really.
Actually, it was easy.
We didn't have to light the scene to make it unreal.
This scene is the reality in the movie.
Even though we shot this in a real hospital,
the audience didn't believe it.
Many people thought this was a set.
We used an actual place for this scene.
And it's outside the house.
They left the house.
I wanted this to look very real.
I wanted to express that aspect with the lighting.
The space had a strong presence.
I was disappointed that many people thought that this was a set.
If this was a set,
we would have put lots of props in the room
and decorated the room with things.
That's what I think.
We used a real place, where people live and breathe,
to shoot this scene.
But it felt less real to the audience.
It's so ironic.
It was tough to get the time right for this scene.
Personally, I really wanted to reshoot this scene.
I wanted to reshoot too.
But Gi-min O, the producer, kept telling me
that we've already shot too much.
I really wanted to reshoot,
even though the leaves on the trees would have fallen,
if we had gone there to reshoot.
We did some colour adjustment for this scene.
Can you tell us about that?
Geun-young Moon shot the swing scene by herself.
Yes, she did.
She held the camera.
It's difficult to hold the camera.
We shot it several times, and she didn't complain once.
She really tried to get it right.
Well, Geun-young has a strong body. She can handle it.
We used artificial lights
to adjust the colour of the scenes we shot indoors.
Lots of lights.
When we were shooting the scene, I brought a photo.
Some photographer's photo.
A light comes through a window into the bedroom.
There is a little girl. About 10 years old.
And a fat middle aged man is running towards the girl
to rape her.
The photo had a yellow hue.
Yellow usually feels warm and good.
And
I felt a similar irony in Geun-young.
Using the colour yellow to portray this cruel scene on the photo.
I discussed this matter with Mr. O and the art director.
There were many ideas on how to shoot the scene.
You wanted the epilogue to have a rough edge
and vibrant energy.
You wanted both things.
Well, we only used a handheld camera for this scene.
Yes, we were using a handheld camera,
but the quality of the image was good.
The image doesn't look rough.
We could have made it rough.
Once you shoot it rough, you can't make it smooth.
We pushed a slow film and developed it in a special way.
We used many lights.
This was inside the set.
To get the colour,
Jae-jun Han and Byoung-geol O,
the film technicians of the Korean Film Council,
worked very hard.
It's a long time ago, but I want to say
something about my first film, The Quiet Family.
That was my first film.
The Korean Film Council did a bad thing to my first film.
The Korean Film Council tore the negatives
of my first film by accident.
I thought I would never deal with them again.
But the Council changed after few years.
The policy changed.
The workers were replaced.
The director was replaced.
They were replaced with film lovers.
Maybe that's why it was okay. I'm not sure.
The result for the Korean Film Council was good.
And
the people were nicer than before.
They are like public servants.
That makes them a little rigid.
They are semi-public servants.
You don't feel comfortable with the Korean Film Council
when you have to get things done there.
But the people involved with A Tale of Two Sisters were great.
Every one of them.
They worked on the film as if it was theirs.
They loved working on it.
They loved the result, also.
So, my opinion of them changed.
The lighting here is a little different.
This is the first night scene of the reality.
It's different from the night scene we watched earlier.
What's the difference?
The Kelvin temperature was set differently.
We didn't match it to the film.
The Kelvin temperature of the light was raised.
The image has a blue hue.
You can see Jeong-a Yeom's breath coming out.
We've turned on the fridge in there.
We've set the temperature.
It's not a fridge.
We covered the place with plastic.
What was temperature inside?
- 5 �C.
When we were setting the Kelvin temperature,
we wanted it to be just right for this space.
It's fluorescent light in the script.
But we don't know where the light is coming from.
This strange light is occupying the space.
The colour of the image was set,
so we could change it in the adjustment process if it was needed.
The Kelvin temperature was set to give a blue hue.
It wasn't shot in an ordinary way.
This scene tells the audience that the ghost is really there.
The ghost is there. The spirit is really there.
This scene is showing it.
Even for me, the director, it was a hard decision.
I asked myself,
"Do I really have to show the existence of the ghost?"
The existence of the ghost was not really important to me.
Anyway, some kind of spirit is in the house.
The form of the spirit is shaped by the beholder.
The mind makes the form of the ghost.
I wanted to tell a story about
psychological problems, illness of the mind and horror.
Because of this theme,
it was really difficult to make a decision.
We deleted lots of shots that showed the shape of the ghost.
When the house was shown from outside,
it looked as if it was covered by the mist.
The mist from the reservoir.
The mist was surrounding the house.
It covered the house.
We applied CGI to that.
This is the last bit of the memory scene.
The epilogue.
While I was doing preparations on the movie in pre-production,
I put a lot of consideration
in selecting the colours for the scenes.
After reading the script many times, I noticed something.
The ending,
where Su-mi turns around and looks back,
looked very innocent.
Su-mi doesn't know what's happened.
It's the most beautiful shot of her in the movie.
Looking back...
The image works as the pivotal point of the film.
Everything was started by the accident.
That's what I had in mind when I was setting the lights.
Three characters are shown in these moving images.
When I first told you this idea, what did you think?
I was opposed to it.
I didn't like it.
I guess it's okay.
You still don't like it, do you?
Yes, I do think it's okay.
From here. This scene.
I love it.
This is the best scene in the film for me.
The reasons are similar to Mr. O's.
Anyway...
...she didn't act with malice.
Every shot in this scene is very sad.
I think this is my best tracking shot.
Because of insignificant things, small things, trivial things,
tragedy occurs.
Well,
this could have been resolved.
But people get hurt because of those small things.
The world is composed of
small happenings, trifling matters, accidents.
The world is composed of those things.
People get hurt, people get destroyed,
people fall into despair over these small things.
I've put this idea into this memory scene.
It wasn't as tragic as this in the first script.
These things were shown from a distance.
The director came back with new dialogue for this.
For this scene.
Yes, I rewrote the dialogue for this scene.
What can be worse than standing here with you?
These are the words Su-mi regrets forever.
We couldn't shoot this on the scheduled day.
We did it the next day.
This shot.
We didn't plan to use a steadicam for this shot.
Well, this shows the wild emotion of Su-mi.
The surging maelstrom of emotion inside her.
The impulsive behaviour makes her get out of the house.
She gets out of the house.
I thought this technique would work.
She was supposed to go to Su-yeon's room,
but she didn't because of that impulsive behaviour.
Because of the emotional maelstrom in her,
she runs out.
I wanted to show that in one shot.
Well, I think I'm praising myself too much.
Anyway, I think it was the right choice.
We were going to use several cuts for that particular shot.
If we'd divided the shots,
I don't think we could have captured
the rage inside Su-mi.
The love and hatred.
The chaotic state of mind.
I don't think we could have explained that with separate shots.
The emotion is well expressed by Byoung-ho Lee's soundtrack.
The music is full of emotion.
Very lyrical.
Very sad.
The music matched the scene very well.
We could say we made the movie
just to show this shot.
She came here alone.
She was the one with delusions.
We really worked hard during the production.
We put every effort in the production
to make all the shots perfect.
We really wanted to deliver the emotion as much as we could.
All our hopes and desires were put
into all the shots in the film.
Watching the film again makes me think all these things.
This was possible all because of
the energy, ambition and ability of these two people.
If we didn't have these two people,
I don't think many people could have appreciated the movie like now.
Without these people, we couldn't possibly have got these shots.
The talented newcomers of the film industry made this film...
...with the efforts of the art director and the art team.
It's a horror movie
that shows the broken soul of a person,
which was destroyed in a fraction of a moment.
Her pain and wounds are shown.
I would like to thank these two people again
before we end this shooting and lighting directors'
commentary of the movie.
Thank you very much.
- Thank you. - Thank you.