On Thursday, March 18, Giant Robot hosted a screening of Kim Ki-Duk's Spring, Summer, Fall, Winter... and Spring. The award-winning film is Kim's most polished piece so far, couching his recurring sordid themes of murder, corruption, and forgiveness in the most beautiful setting yet--a floating temple in the mountains of Korea. Sony Pictures Classics arranged to have the controversial director attend the Santa Monica screening, and he arrived just in time to answer a few questions from the audience before joining the reception at GR2.
GR: Can you tell us more about the Buddhist elements of the film? KKD: On the question of the meaning of deliverance, I believe the way we are living our lives here today--living in itself--is meaning. Time is too precious to go off into the mountains and to pray all your life. I think living out in the real world, clashing and in conflict with each other, may be a truer path to meaning. I am a Christian. While the film deals with Buddhist themes and elements, I made this film without having studied anything about it at all. Nevertheless, I believe the reason I was able to deliver these ideas was because I am Korean. Before Christianity, Buddhism was the main religion of Korea for 1500 years. Even though one might not be a Buddhist, one can't help but be under the influence of that long-standing culture, so I believe most [Korean] people can imagine and create this kind of film without being a Buddhist. This film is about Korean culture, and about the spirituality of Korean people.
GR: What was the significance of you starring in your own film? KKD: Actually, the reason I starred in the film was because the original actor who was cast for the part could not make it. I felt that as important as individual roles were, the natural backdrop was even more crucial to this film. This film not only starred human beings, but also the trees, the scenery, the boat, the cat, the snakes, the dog. They were all equal parts of the cast. During the winter sequence the most important elements were snow and ice; they were ready and the original actor wasn't, so I felt that anyone can step into that role and not affect the film significantly. The timing also had a role in the decision, as I would have to wait a whole year for another winter. One very important concept was that during the spring, summer, and fall, one needs a boat to reach the temple, but during the winter, one can walk across the ice. In any case, if my presence in the film stood out for anyone, I apologize! GR: Can you tell us something about the location, and whether that was an existing temple? KKD: I designed the temple, and it was painstakingly and lovingly built over three months. It was made as if it were a real temple, not just a set piece. After the filming was finished, it was torn down. If anyone wants to travel over there to see the temple, you might have to float one of your own with your imagination. The temple is no longer there, but the location is still very beautiful. GR: Was the lake pre-existing? KKD: Yes. The reason I was first attracted to this location was because of the 300 year-old trees that were naturally growing out of the waters. I believe this place is unique in Asia in that regard. I imagined building a temple there would have a magical and beautiful quality to it. Since the location was within a national park, we could not build anything permanently. Tearing it down at the end was painful for me and everyone else. Special thanks to Ki Won Yoon, Sony Classics, Sun-Young Moon, KOCCA, and KAC. |
