{"product_id":"109338","title":"Lee Dong-jin's Boomerang Interview: The Time of That Movie ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jX2sGAEsiLTPMl20YtrFWQg5vIfnv.png?v=1765113351\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Lee Dong-jin's Boomerang Interview: The Time of That Movie \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/11738591\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eWith directors who gave us an ecstatic cinematic time\u003cbr\u003e A deep and intimate interview.\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book is a collection of special interviews conducted by film critic Lee Dong-jin with leading Korean film directors Park Chan-wook, Choi Dong-hoon, and Lee Myung-se, who have released works with their own distinct style.\u003cbr\u003e Through a unique format that delves deep into the lives and works of directors through questions drawn from dialogues in the films, and through a massive volume of approximately 3,000 pages of manuscript paper, it presents deep and intimate content.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eThis book is the second in the Boomerang Interview series, and while the number of directors covered has been reduced by half compared to the previous work, the interviews per director have become longer and more in-depth, from 700 to 1,000 pages.\u003cbr\u003e The interview goes beyond simply repeating questions and answers, and delves into the director's intimate stories.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Lee Dong-jin's questions delve into all the works of the three directors who are receiving attention and high praise from the domestic and international film industry, including not only new works such as Park Chan-wook's Hollywood directorial debut \"Stoker\" and Choi Dong-hoon's \"The Thieves,\" which set a box office record with 13 million viewers, but also representative works and debut works such as Lee Myung-se's \"M\" and \"The Detective.\" \u003cbr\u003eThis book, which examines from various angles the process of creating these works that moved audiences and garnered enthusiastic responses, as well as the director's intentions as a director, can also be read as a \"director's theory\" that is enough to arouse affection and interest in film.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e prolog\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePark Chan-wook,\u003c\/b\u003e a free artist and a dedicated professional\u003cbr\u003e \u003cb\u003eChoi Dong-hoon's\u003c\/b\u003e desire and talent for storytelling\u003cbr\u003e Towards a single movie sentence \u003cb\u003eby Lee Myung-se\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003e- In the end, only guilt remains for the man, and a scar on the woman's cheek remains.\u003cbr\u003e In “The Moon is… The Sun’s Dream,” Song Seung-hwan reminisces about the love shared between Lee Seung-chul and Na Hyun-hee.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Lee Dong-jin: I think guilt is one of the key words to understanding the director's films. \u003cbr\u003eMost of the main characters are people who suffer from guilt.\u003cbr\u003e Park Chan-wook: I have to admit it because I am conscious of that point when making movies.\u003cbr\u003e I think it's truly human to not forget or bury the mistakes and evil deeds we commit in life.\u003cbr\u003e Such a person is noble, and the more he suffers, the more noble he becomes.\u003cbr\u003e If you ask me what kind of person is noble, I would say it is someone who suffers from a sense of guilt.\u003cbr\u003e Through my films, I want to portray noble characters, regardless of their occupation, education, or intelligence.\u003cbr\u003e ---pp.43-44, \"Free Artist and Honest Professional: Park Chan-wook\"\u003cbr\u003e\u003cbr\u003e Director Lee Dong-jin: The image of water in your films is quite different. \u003cbr\u003eIn movies, the sea is often used to symbolize hope or a sense of home, but in “The Bat,” the sea is like a symbol of death that destroys everything.\u003cbr\u003e There are also many cases where characters die in the water.\u003cbr\u003e In “Sympathy for Mr. Vengeance” and “The Bat,” rivers and lakes become places of murder.\u003cbr\u003e In “Sympathy for Mr. Vengeance” and “Oldboy,” the river is also where young girls end their lives through accidents or suicide.\u003cbr\u003e In “Bat,” which symbolizes fear through the image of water dripping from all sides, the water feels thicker than blood.\u003cbr\u003e Park Chan-wook: I think that archetypal things are always ambivalent.\u003cbr\u003e Water, too, can be used as an image of hope, life, or birth as a kind of archetype, but it can also represent extinction, death, and a feeling of ominousness. \u003cbr\u003eCould it be said that “Bat” emphasizes the damp and unpleasant feeling of the water?\u003cbr\u003e So, the image of water has two sides, but since most movies only highlight the bright side, I feel like I'm utilizing the opposite side more.\u003cbr\u003e ---p.172, \"Free Artist and Honest Professional: Park Chan-wook\"\u003cbr\u003e\u003cbr\u003e Lee Dong-jin: “Reconstruction of Crime” is a film whose lifeblood is flashbacks.\u003cbr\u003e The title itself is like that.\u003cbr\u003e It's a work with a complex structure similar to Reservoir Dogs.\u003cbr\u003e However, not only “The Reconstruction of Crime” but also “Tazza” has a different structure from general feature films.\u003cbr\u003e Instead of telling the story chronologically, you go back in time. \u003cbr\u003eEven when flashbacks are used, the flashbacks depicted in the film are usually shown in chronological order, but in these two early works, even the chronological order of the flashbacks is constantly mixed up.\u003cbr\u003e Do you find it boring to list things in order? I think it's partly due to the economic nature of narrative, which requires efficient communication of multiple stories.\u003cbr\u003e Choi Dong-hoon: It's much easier to follow the flow of time to build up emotions.\u003cbr\u003e But if you do that, you won't be able to fit it all in two hours.\u003cbr\u003e If you change the order, the audience will be able to build the story in their own mind.\u003cbr\u003e The structure of the work is like that because of such basic needs, and also because I want the audience to think while watching the film.\u003cbr\u003e I think the audience fills in those empty gaps by watching time split and jump. \u003cbr\u003eIf I write like that, I feel happy too.\u003cbr\u003e I believe that even with such a complex structure, the audience can understand it all.\u003cbr\u003e ---pp.\u003cbr\u003e 297-298, \"Desire and Talent for Storytelling: Choi Dong-hoon\"\u003cbr\u003e\u003cbr\u003e \u003cb\u003e- The thing about fraud is, if there's a guy sitting at the table who's going to rip you off, then it's over.\u003cbr\u003e The question is how much effort do we put into getting them to sit at the table?\u003cbr\u003e\u003cbr\u003e In “Reconstruction of Crime,” Lee Moon-sik explains the techniques of fraud.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Lee Dong-jin: In popular films, there are times when I feel like casting the best actor is already half the job.\u003cbr\u003e Director, you seem to have a great sense for actors. How do you cast your actors?\u003cbr\u003e\u003cbr\u003e Choi Dong-hoon: Casting is really half the movie.\u003cbr\u003e Casting isn't always done just because the director wants it, right? So, if you end up working with actors you had in mind, you're incredibly lucky. \u003cbr\u003eWhen I see someone I want to cast, I develop a fantasy about that actor.\u003cbr\u003e I imagine what would happen if that person said the lines I wrote.\u003cbr\u003e For example, in the case of Kim Hye-soo, before casting her, I kept hearing her talking while sitting next to me in a restaurant.\u003cbr\u003e At that time, I imagined something like that.\u003cbr\u003e I like actors who stimulate my imagination.\u003cbr\u003e ---p.418, \"Desire and Talent for Storytelling: Choi Dong-hoon\"\u003cbr\u003e\u003cbr\u003e \u003cb\u003e- The first scene we're going to film, where the main character tries to commit suicide by gassing himself, but fails and falls over on a chair.\u003cbr\u003e That's life.\u003cbr\u003e Our lives always face failure at crucial moments.\u003cbr\u003e The audience watching that scene would probably roll around in the hallway and make a scene.\u003cbr\u003e I don't know, but maybe a million more people will come because of that scene?\u003c\/b\u003e  \u003cbr\u003eIn \"Gagman,\" Ahn Sung-ki, who wants to become a director, talks to Hwang Shin-hye, who he ends up committing a robbery with.\u003cbr\u003e\u003cbr\u003e Director Lee Dong-jin: Pathos is deeply embedded in the foundation of your films.\u003cbr\u003e It's a case where comical situations continue, but there's sadness underlying them.\u003cbr\u003e Representative examples include “Man is Troubled,” which used the copy “Ah, even when I’m laughing, tears come out,” and “Gagman,” which deals with the unfulfilled dreams and sadness of a man whose job is to make others laugh, but similar sentiments are continuously found in other works as well.\u003cbr\u003e\u003cbr\u003e Lee Myeong-se: That must be my perspective on life.\u003cbr\u003e I think the most important attitude of an artist is compassion.\u003cbr\u003e That's probably the most important virtue that makes an artist.\u003cbr\u003e But the cinematic methodology of expressing compassion is always tangled.\u003cbr\u003e As Charlie Chaplin said, comedy actually begins with long shots. \u003cbr\u003eOn the other hand, tragedy is captured in close-ups.\u003cbr\u003e ---pp. 540-541, \"Toward a Single Film Sentence: Lee Myeong-se\"\u003cbr\u003e\u003cbr\u003e Director Lee Dong-jin: When I watch certain scenes in your films, I get the feeling that you direct them in a way that eliminates as much dialogue as possible.\u003cbr\u003e Would you say you enjoy expressing yourself through visual language alone, without relying on dialogue?\u003cbr\u003e\u003cbr\u003e Lee Myung-se: Because it's a movie.\u003cbr\u003e Of course, lines are important, but it's even better if the same thing can be expressed through the actor's body.\u003cbr\u003e I have a desire to make films without dialogue, like the directors of the silent film era did.\u003cbr\u003e I want to film it without any dialogue.\u003cbr\u003e I want to compete with my predecessors in film by making a movie that is sufficient with just music, sound, and actors' movements.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e ---p.565, \"Toward a Single Film Sentence: Lee Myeong-se\"\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003ePark Chan-wook of Oldboy, Choi Dong-hoon of Tazza,\u003c\/b\u003e \u003cbr\u003eLee Myeong-se of \"No Matter What\"\u003cbr\u003e With directors who gave us an ecstatic cinematic time\u003cbr\u003e Deep and intimate interview\u003cbr\u003e\u003cbr\u003e Park Chan-wook of \"Oldboy,\" Choi Dong-hoon of \"Tazza,\" and Lee Myung-se of \"No Mercy\"\u003cbr\u003e Deep and intimate interviews with the people who create enchanting cinematic moments.\u003cbr\u003e Film critic Lee Dong-jin's special interviews with leading Korean film directors Park Chan-wook, Choi Dong-hoon, and Lee Myung-se, who have released works with their own distinct style, have been published in \"Lee Dong-jin's Boomerang Interview - The Time of That Movie.\"\u003cbr\u003e This book, which has a unique format that delves deep into the lives and works of directors through questions drawn from dialogue in their films, presents deep and intimate content that cannot be found anywhere else through a massive volume of approximately 3,000 pages of manuscript, resulting from five or six interviews with each director, sometimes lasting up to ten hours at a time. \u003cbr\u003eThis book is the second volume in the 'Boomerang Interview' series, following the 2009 book 'Lee Dong-jin's Boomerang Interview - The Secret of That Movie' (contains interviews with directors Hong Sang-soo, Bong Joon-ho, Ryu Seung-wan, Yoo Ha, Im Soon-rye, and Kim Tae-yong). While the number of directors covered has been halved, the interviews per director have become longer and more in-depth, from around 700 pages to 1,000 pages.\u003cbr\u003e \"Lee Dong-jin's Boomerang Interview - The Time of That Movie\" delves into all the works of three directors who are receiving attention and high praise from the domestic and international film industry, including not only new works such as Park Chan-wook's Hollywood directorial debut \"Stoker\" and Choi Dong-hoon's \"The Thieves,\" which set a box office record with 13 million viewers, but also representative works and debut works such as Lee Myung-se's \"M\" and \"The Detective.\" It does not stop at simply repeating questions and answers. \u003cbr\u003eThis is a 'director's theory' that is sufficient to arouse affection and interest in film while examining from various angles the process of creating these works that moved audiences and garnered enthusiastic responses, as well as the director's intentions as a director.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePark Chan-wook, a free artist and a dedicated professional\u003cbr\u003e Choi Dong-hoon, with his passion and talent for storytelling\u003cbr\u003e Lee Myung-se, moving towards a single film sentence\u003c\/b\u003e\u003cbr\u003e Directors Park Chan-wook, Choi Dong-hoon, and Lee Myung-se, who we meet in “Lee Dong-jin’s Boomerang Interview - The Time of That Movie,” are enough to raise movie fans’ expectations just by their names.\u003cbr\u003e \u003cbr\u003eDirector Park Chan-wook, who has gained more artistic power than any other Korean director since “Joint Security Area” and “Oldboy,” said critic Lee Dong-jin, “He sent a huge shock wave through Korean popular films with a completely different sensibility and narrative style,” and “His filmography has continued by persuading the public with his own tastes and style.”\u003cbr\u003e Beginning with questions about his recent Hollywood production of \"Stoker,\" we meticulously examine the directing style and intentions of nine of Park Chan-wook's feature films, while meticulously questioning and confirming the director's unique thematic consciousness that permeates his works.\u003cbr\u003e Director Choi Dong-hoon, who has established himself as a genre film director since his debut film “The Big Crime” and has now gained undisputed box office power with his latest film “The Thieves.” \u003cbr\u003eInterviewing director Choi Dong-hoon, who has created vivid characters along with a “dynamic style,” critic Lee Dong-jin particularly focuses on his “desire and talent for storytelling.”\u003cbr\u003e Questions and answers about director Choi Dong-hoon's witty and unique lines, his speedy and sensuous editing and composition, and the secrets of his casting are consistently interesting, just like his films.\u003cbr\u003e The interview with self-proclaimed stylist, director Lee Myung-se, begins with the words, “There is only one Lee Myung-se in the world.” \u003cbr\u003eThe conversation between critic Lee Dong-jin, who confessed, “I’ve seen all of his works over and over again, but I still can’t imagine what his next film will be like,” and director Lee Myung-se, while meticulously reviewing and reviving the director’s previous works from “Gagman” to “M,” makes us listen to the artistic and life views of a “film critic” who “has walked a long way in search of the most universal cinematic language, but is still on the path.”\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e When I first planned 'Boomerang Interview', my ambitions were far greater than my abilities.\u003cbr\u003e I hoped that by delving into the countless microscopic elements that make up a film, readers would be able to take in the director's world at a glance, as if they were looking at a mural. \u003cbr\u003eTo avoid the risk of just making a fuss (I believe in quantity over quality of time), I wanted this to be a massive work, and to avoid the boredom of a repetitive question-and-answer format, I intended for the dialogues in the director's films to become questions themselves, generating interest (so I'm essentially a formalist).\u003cbr\u003e As a film critic, I sometimes fell into the delusion that it might be a kind of public duty for me to provide a small stepping stone for those who want to read films more deeply and love them more.\u003cbr\u003e I wanted to write a book of interviews that had never been seen before.\u003cbr\u003e ― From the prologue \u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e January 10, 2014\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 652 pages | 882g | 145*225*35mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788959137770\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 8959137774 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894801530922,"sku":"109338","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/96432d03b535787fff431a58356228dd.jpg?v=1765446645","url":"https:\/\/librairie.coreenne.fr\/en\/products\/109338","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}