The Origins of Park Chan Wook Decision to Leave the Empire

South Korean autobiography Park Chan-wook is behind some of the greatest, most lavishly crafted thrillers of all time—the kinetic brutality and emotional mayhem of Oldboy, the narrative rug-pulling and sensuality of The Handmaiden, the gothic seduction of Stoker. Now, he is back with Decision to Leave. A film that, in true Director Park style, combines twisty plotting and terrifying moments with emotional vulnerability. In fact, it leans even more into romance than its previous work. Specifically the Hitchcockian brew of wild emotions and the actions that result from them.

Ahead of UK release, in theaters this October

Ahead of the film’s UK release, due in theaters this October, Parks wrote exclusively for the latest issue of Empire – her aftermath of The Handmaiden – to deliver a personal piece about the making of her latest feature film. The first, and return to Korea after helming each episode of John Le Carré’s adaptation The Little Drummer Girl. Read a quote from the feature below. Talking about the core point for his latest must-see film: the desire to go smaller and more intimate.

Post-production on The Little Drummer Girl for BBC

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What’s interesting is the decision to leave, which is in some ways the most Korean of all my films. was done in London. This is August 2018. When I was in post-production on The Little Drummer Girl for the BBC. My screenwriter, Chung Seo-kyung, who worked with me on the scripts for Lady Vengeance, I’m a Cyborg But That OK, Thirst and The Handmaiden. Was in town on vacation.

Suddenly an old friend from the motherland

The sudden arrival of an old friend from my homeland, at a time when I was overwhelmed with work, sparked my inspiration. That is, to start his next film. (I’m a little embarrassed by the fact that when I get tired of work, my chosen means of recovery is not rest. But taking on a new job.) And that helped shape the next project.

About class issues within South Korea

Looking back, it looks like every movie I can imagine. It’s a reaction like the previous film. After JSA, which discovered the division of Korea into North and South. I was told Sympathy For Mr. about class issues within South Korea. Inspired to create Vengeance. ‘Hot’ Oldboy After ‘Cold’ Sympathy for Mr. Vengeance; After the masculine oldboy came the feminine vengeance, and so on.

the little drummer girl giving me orders

In this way, The Little Drummer Girl was issuing orders to me: not to create some kind of complicated drama about global politics, but to simplify love stories. Even The Handmaiden’s plot was complicated enough. Now, I wanted simplicity.

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