Director Kim Hyung-hyeop, who delivered warm laughter and family love with the film 'Dad Is a Daughter', returns with his new film 'The Divine Orchestra' (director: Kim Hyung-hyeop | distributor: CJ CGV Co., Ltd. | production: Studio Target Co., Ltd., opens Dec. 31). This work begins with the ingenious premise that an officer of North Korea's State Security Department organizes a fake praise troupe to earn foreign currency. Park Si-Hoo, Jung Jin-woon and other star-studded casting and full-location filming in Mongolia have been drawing attention for 'The Divine Orchestra', which opens on Dec. 31, and director Kim Hyung-hyeop directly revealed the film's behind-the-scenes story and his directing intentions.
- The following are director Kim Hyung-hyeop's questions and answers
Q1. Since your previous work 'Dad Is a Daughter', you return after a long time with another warm human drama. If there is a directing philosophy that runs through both works, what is it?
I believe all stories ultimately come from "relationships." As we live, we often accumulate countless misunderstandings about one another. Hiding our truly beautiful true feelings deeply, we live protecting ourselves with hard, coarse hearts like a turtle shell. Perhaps that is our way of enduring a harsh world. That may be why the emotional moments in films come at the moment someone understands even a little of the other's hidden beautiful true feelings.
To reveal that heart, I mainly use the device of "irony." Settings such as a father and daughter's bodies swapping ('Dad Is a Daughter') or receiving a mission to sing praises in North Korea, where religious freedom is thoroughly excluded ('The Divine Orchestra'), are examples. I try to observe human essence and elicit empathy within these ironic situations. At the core of that essence is ultimately "love." Watching a film, witnessing someone's life, is also impossible without love.
Q2. The subject of "a fake praise troupe created by a State Security Department officer" is unique. What was the decisive reason you decided to direct it?
When I first received the script, I was captivated by the solid structure of the story. The narrative created by the 12 orchestra members, including the protagonist Gyosun, was very interesting, and the harmony among the characters was excellent. Above all, I was surprised at how gracefully the famously notorious State Security officer Gyosun's gradual change was portrayed. I think a wonderful scenario that captured both realism and completeness could be born by adding the adaptation by Baek Kyung-yoon, who is from North Korea, to the late writer Kim Hwang-seong's script.
Q3. This is actor Park Si-Hoo's return to the screen after 10 years. Why did you cast him as the cold North Korean officer Park Gyosun, and how did he appear on set?
Actor Park Si-Hoo is a very diligent actor. He is deeply thoughtful about the script, and his interpretation of each scene is clear, so as a director it was very easy to communicate with him. From before filming, we had many in-depth conversations about the overall story flow, and based on those conversations he came fully prepared to perform.
Watching the on-set monitor, I was often impressed by his thorough preparation. Given the nature of the film, there are many characters, but as the lead he held the center firmly. Throughout the shoot I kept thinking, 'This is Park Si-Hoo, after all.'
Q4. Actor Jung Jin-woon injected tension by playing the sharp Kim Tae-sung, who monitors the orchestra. Did you give him any special acting direction?
Actor Jung Jin-woon is very gifted in acting. I believe the intuitive sense he cultivated from his long career as a singer greatly helps his acting. Through rehearsals we captured and highlighted this intuitive strength while removing unnecessary parts to create the "sharp Kim Tae-sung."
The most memorable is the scene "crossing the wilderness." We had to capture Kim Tae-sung's lonely figure walking alone across a snow-covered plain, and to immerse him, actor Jung Jin-woon walked alone for several kilometers in temperatures as low as minus 30 degrees. The image filmed by drone fully conveyed Kim Tae-sung's desperate longing for freedom in the wilderness.
Q5. The ensemble of 'The Divine Orchestra' members such as Tae Hang-ho, Seo Dong-won, Jang Ji-geon and Choi Seon-ja stands out. What directorial element did you pay the most attention to?
I focused on each orchestra member performing their role evenly without losing balance. I judged that if the narrative concentrated on a specific person, the power the "orchestra" as a whole gives would diminish.
The actors were so excellent that they perfectly embodied their given roles. In particular, the "chemistry" created by actors of various ages was remarkable. I was impressed by how they freely gave and took advice, pushing and pulling one another; the set felt like one big family. I became confident that the casting was spot on.
Q6. Among audiences, the music and song selection have received widespread praise. What aspect did you focus on most in music direction?
The biggest task was "how to make the music naturally blend into the story." I listened to countless masterpieces repeatedly, trying to select the songs that best fit the narrative progression. Among them, the song "Grace" was arranged in three versions in the film, and when you chew over the lyrics, it has the charm of sounding like a completely different song depending on the situation. In particular, the unaccompanied "Grace" sung by actor Moon Kyung-min in the latter part was a scene decided the morning of the shoot. Even with the sudden request, as an experienced actor he moved those present from the first take and calmly and deeply expressed the orchestra members' sorrow. I once again felt there is no weapon greater for a director than a good actor.
Also, I was certain from the first time I heard "crossing the wilderness" that it was a men's song, especially representing Captain Kim Tae-sung's heart in the drama. The song's vast and desolate feeling met Mongolia's snowy plain and created tremendous synergy. It was a scene I personally put a lot of effort into, and I appreciate that audiences empathized with it.
Q7. For realism you conducted location shooting in Mongolia. Any anecdotes about filming in the severe cold of minus 30 to 40 degrees?
There is a scene in the film where the orchestra members sing "My hope of the mountain is the Lord Jesus" in the snowy plain. We had to shoot within exactly one hour to capture the dusk light. Although we thought we had thoroughly prepared, capturing the entire song perfectly within a limited time was an almost impossible challenge.
As temperatures kept falling and frostbite cases occurred one after another, I remember pushing the set harshly, shouting without realizing it because I thought, "If we don't finish now, we'll have to make the actors and staff suffer in this cold again." As a result, thanks to everyone's dedication, the scene was completed beautifully. I would like to take this opportunity to once again express my deep gratitude to the actors and staff who worked hard.
Q8. The emotional change from a song that starts as "fake" to becoming "genuine" is impressive. What devices did you use to portray this convincingly?
The film begins with the irony of "creating a fake praise troupe where there is no religion." It is also the genre specialty that writer Kim Hwang-seong handled best. What naturally stands out in that irony is the relationship between the protagonist Gyosun and the orchestra members.
Ultimately, it is the orchestra that changes Gyosun. Therefore, the composition of the orchestra that allows audiences to empathize without resistance was essential. The audience observes Gyosun through the orchestra, and Gyosun observes the orchestra and gradually changes. This complex interaction sometimes creates tension, sometimes humor, and elicits empathy. A well-written script is truly the greatest gift given to a director.
Q9. If you have any signature scenes or lines from The Divine Orchestra, what are they?
I would pick the scene in the latter part where the anguished Gyosun drives along an empty road. With the cooperation of the Mongolian police, we controlled the road and filmed to match the sunrise. Against the backdrop of Ulaanbaatar city, we captured Gyosun's jeep coming toward us with the blazing sun in the distance by drone, and I am personally attached to it because his inner conflict seems well expressed visually.
As a memorable line, I point to Captain Kim Tae-sung's line in the film's latter part, "Freedom... things like that." It encapsulates the moment of indirectly feeling a freedom never experienced before through living with the orchestra. I believe that line runs through what The Divine Orchestra aimed to show: the process of a fake becoming real.
Q10. It opens Dec. 31. What message do you want to send to prospective viewers?
Showing a film on the last day of the year feels very meaningful, as if sharing another beginning with the audience. The Divine Orchestra is like an assorted gift box of a film. If you follow the characters' journeys excitedly, before you know it you will encounter a weighty emotion, and beautiful music will delight your ears. During the year-end and New Year holidays, please spend a warm time watching The Divine Orchestra with your loved ones. If you enjoyed it, please recommend it to those around you and watch it multiple times. Thank you.<
[photo] 'The Divine Orchestra'
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