For Gosijo : Interview of director Hur about April Snow
This is an interview of director Hur Jin-Ho at Deauville Asian Festival last year when he presented April Snow. I've translated and posted it on Quilt freeboard but it was lost when Quilt had crashed.As Gosijo’s looking for it, I repost here in my blog to share with all of you again.
Hur Jin-ho
Akatomy 21.03.2006 Deauville Asian film festival 2006,
Meeting
“In April Snow, I would like to highlight the two contradictory facets of adultery.”
From : http://www.sancho-asia.com/article.php3?id_article=1458
Translated from French to English by camille
Sancho does Asia’s story is in a certain way, closely related to the Korean director Hur Jin-Ho. At the beginning, the website purpose was indeed interested to Korean cinema, and Chrismas in August, the director’s first movie, was one of our first sudden impulse, delivering to us two precious ways of discovered course : Shim Eun-ha and Han Seok-gyu. Meeting Hur Jin-Ho, at the projection of his last movie, April Snow, in the Panorama section of the 8th Festival of Asian film of Deauville.
Sancho: It seems that, since your first movie, Christmas in August, your cinema is interested exclusively in the various phases of love process, in quite particular cases...
HJH : If I chose to work in the melodrama, firstly because I think of showing in various way the encounter of a man and a woman, to express it cinematographically. But I did not want to do it within a banal, common way. What interested me were the special situations, different contexts. Thus for April Snow, the love context is very different from my two previous movies, much more intense.
In Christmas in August, I depict a love relation at its beginning: the protagonists had feelings, not really "nice", but certainly naive - in a positive way. In my second movie, One Fine Spring Day, I wished to show the feelings of a man who thinks that love is eternal, which never changes; whereas the woman with whom he is in love, although she loves him, is convinced that love, feelings change as the time goes by. It is this contrast which interested me. In April Snow, I would like to highlight the two contradictory facets of adultery, namely that, although the act is almost always perceived like something ugly, negative, for the lovers it can be a question of sincere and really wonderful love story.
Sancho : Your direction in April Snow, which gives the better part to silences, paradoxically offers a very great presence to the absent lovers…
HJH : The question for the man and the woman who are confined to bed, unconscious, at the hospital, are to let us know what is exactly the nature of their relationship. Is it a carnal relation without importance, or a craving love, or at least as intense as the love of the two main protagonists, In-Su and Seo-Young? The most probable thing is that the two love stories are identical, that these two person love, with the same difficulties to concretise their feelings. This man and this woman suffer, because they are married. I wanted to show this conscience through In Su’s character and attitude towards his wife : at the end of the movie, he doesn’t ask her any question. He understands her, because he thinks that she has lived the same story. In Su’s wife as Seo-Young’s husband, are certainly very present in their mind throughout the story, this is why they keep such a place.
Sancho : In the scene of the two heroes’s awareness, you show a true cinematic delicacy. One of the outstanding demonstration is the first bed scene between the two heroes, who show a veritable discovery, a wonderful reserved passion... how have you approached the shooting scene ?
HJH : We have shot during a very long time, about ten hours. During this time, I did not really give any precise instruction to the two actors; the camera moved to follow their movements. I just said to them that I wished a beautiful, aesthetic scene, and specified that they played two persons who had never been unfaithful before, and so they had to approach the scene in a hesitant way, with trembling bodies. Then, they played it in a natural way.
Sancho : You don’t give any judgement at the end of April Snow to the various relations that you direct; you just wish that they are recognized, and appeal to the nature, through this "snow in April", to bring together the separated persons...
HJH : It is very rare to have snow and flowers at the same time, but that occurred in Korea two years ago. It really snowed whereas the flowers started to bloom. For me, the two heroes cannot continue their love relation, because they carry in them a suffering, a pain related to their past. So I think that it is difficult to continue their love story. Nevertheless as a director, I wanted that the story has a good ending for them; snow was an excuse to allow them to meet up. It is true that it’s an unreal feature, almost fantastic, and it is precisely what I wished: that this moment of sharing is something which results from miracle.
Interview realised at the 8th Festival of Asian film of Deauville, Friday March 10, 2006 at Normandie Hotel. Thanks to Karine Ménard.
posted by Toujours_BYJ @ 5/14/2007 07:24:00 PM
5 Comments:
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Merci, chère Camille !
Ah comme j'aimerais pouvoir parler à M. Hur de son film, des deux versions et des scènes qui m'ont impressionnées le plus !
Très drôle, je dois vous dire : c'est à propos du mot que l'on doit tapper comme vérification. Eh bien, cette fois-ci, c'était "BJMJO" ! Si proche de "BYJ-M-JO", non ? Hee, hee;)
Chère Gosijo
Si je ne me trompe pas, il était présent au festival de Toronto pour présenter April Snow. Dommage !
Bravo Gosijo pour avoir trouvé "BJMJO" en BYJ-M-JO, phonétiquement il n'y a que les francophones qui puissent y penser ha ha.
En effet, Hur Jin-ho était présent à Toronto:(
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