It is notoriously difficult for a film in a foreign language to become a blockbuster in the United States, which makes the crossover a success Parasite What a pleasant surprise. The black comedy that defies the genre has raised more than $ 130 million at the global box office, including a strong $ 23 million career in the United States and Canada. ParasiteThe issues of class disparity and despair in the face of unsurpassed poverty seem to have touched the sensitive fiber of the public worldwide, and the film is widely regarded as one of the best films of 2019.
Directed by Bong Joon-ho (Mother the host), Parasite It follows a working-class family and their wealthy counterparts, and the less fortunate family designs a plan to rob the rich, who always seem to benefit at the direct expense of the poor. To say more would be to spoil Parasitethe myriad of shocking surprises and plot twists; Needless to say, Parasite To see is to believe.
Screen Rant recently spoke with editor Jinmo Yang about his work in Parasite, which marks its third collaboration with Director Bong, following Okja Y Snowpiercer. He discusses the challenges of Parasite, from how the project was first presented to how closely it collaborates with the director in the editing suite. He also talks about the first meeting with Bong Joon-ho at a farewell party for The host, as well as the joy he experiences when he sees his work in theaters with a live audience.
Parasite It's in theaters now.
First, I want to say how much I loved Parasite. I went completely blind, knowing nothing about it, and was totally impressed. So thanks for making such a great movie that I can't wait to show it to all my friends!
Thank you, I am very happy that it was received very well.
Were you especially surprised at the impact the film has had, especially in the United States, where foreign films of any nature tend to bounce in the general public?
I was very surprised. And even today, every time I meet news, I am amazed. I am baffled.
Handsome! So, you've worked with Bong Joon-ho several times before. How long have you known each other? When did you meet?
I met him for the first time when they had a party for The Host. Another director introduced me to Director Bong and we had dinner together. Working collaboratively and creatively, we work together for the first time at Snowpiercer. But really, the director of photography, Hong Kyung-pyo, who shot Parasite, I've been very close to him for a long time, so that's how I met Director Bong.
At this point, how is your creative relationship? What is your relationship? Can you say what you are thinking before saying it, or is it a new beginning with each new project?
To be honest, today, I think our thoughts and sensibilities align with a fairly similar mindset. So, even with its nuances, even if it doesn't say it out loud, I have an idea of where it is going, what it is going to. We wouldn't talk exactly much, but we would share the same thoughts. But every time I go to a new project with him, I feel that both he and I are learning something new every time we go to a new project. I feel, even with him, that it comes with a different method, a different idea, that we had never had before. So we are both learning from each other.
For Parasite, when did you first hear about the project? When did you hear about the initial idea and when did you get involved?
I think it was when we finished with Okja, and I was editing a Korean movie called 1987. And actually, one of the line producers for that project was aboard Parasite, so he came to ask me about my schedule. Director Bong called me and said … At that time, I didn't know it was about the parasite. I thought you were calling me to ask about Okja. He called me and we met, and he showed me a sketch of the rich family, a 3D model, a 3D sketch of his house, when we met at the meeting.
How practical is Director Bong with the editing process? Is it always over your shoulder, or do you ever think, "Hey man, go have coffee, I got it from here." How is your collaboration in postproduction?
Let's say it this way, Director Bong and I work together when we're in the editing suite. Of course, I would have the assembly ready after the movie is over, and then we'll start from there. I would say that Director Bong is not the type who goes out for coffee and then returns; he stays in the editing room all the time throughout the process. I can say that, especially for Parasite, I don't remember it even when I went out for lunch or dinner when we were working together. From the moment he entered the suite, he said: "Let's work on this part of the movie," and then it wouldn't come out. He would be inside with me, while I worked in the lot, and he would be in the back of the suite, watching the process. It was never a separate process. We were together all the time.
Very cool. For you, since you already know the movie very well, you would be more excited to see other people's reactions to the movie, watching their faces to see how they handle the various twists and turns. Have you seen the movie in a crowded theater? How was that?
All the projects I work on, I go to the theater and pay with my own money to see and observe the reaction of the public. So, for this, I also did that. But it's not really looking around and seeing specific reactions. That would be too much, uh, I don't know, uncomfortable! But it's amazing to see how the public reacts to the part that I wanted them to react, to observe how they laughed at the part where I worked waiting for them to laugh. But also, it is surprising, it is fun, to see different reactions than I expected.
Was there anything in particular that surprised you about what the audience has taken from the movie?
I was surprised that "Jessica & # 39; s Song" has become a success! That is a kind of surprise for me.
I think one of the reasons why the film combines so well is that it has a really palpable tension, even before everything goes crazy when they reveal the basement shelter. It already feels like a thriller, but when things really get out of control, it's much more effective. Was there ever a drastically different tone or rhythm, or had those main rhythms been established at the level of screenwriting?
To be honest, the structure of the film was already established from the beginning, on the page. That was something I really couldn't work on. But it was really the rhythm, I focused on that. That's where my effort went. So, although I didn't really modify the overall structure of the movie, I could fine tune and work on the scenes.
I know that director Bong likes to use many storyboards during preproduction. I was wondering if you're in the room for those, do you work on that? Do you have the opportunity to guide the movie, even during that early stage of the process?
No, especially for the parasite. In general, Director Bong works only on his storyboards, for the most part. For the most part, storyboards are ready before filming begins. However, for some parts, adjust and change part of the pages according to the shooting conditions in the set. But in general, prepare the storyboards well in advance. But in Snowpiercer, I could talk about certain parts of the storyboards, having to edit and then modify. But for Parasite, it was done entirely, solely, by Director Bong.
I would be remiss if I didn't try to mess up the next sequel to Train to Busan. Is there anything you can share about it, or is it all secret?
I don't know how much I can spoil. The edition is done, but there are many visual effects for this, compared to the first. To be honest, I think 90% of the movie has visual effects. There is a car chase and the scale is even larger than the first.
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