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Hey kids, what a lovely chat we had with Ryoo Seung-wan, director of high energy, high impact Korean fare like City of Violence and Dachimawa Lee.  Ryoo premiered his latest, The Unjust, a symphony of film noir and corruption at the New York Asian Film Festival and took time to speak with us about spies in Berlin, Lee Marvin, and trying to direct your little brother.

Dig it!


Ryoo Seung-wan


The Lady Miz Diva:  How does it feel to be screening your latest film, The Unjust, as well as some of your previous titles in front of the New York Asian Film Festival audience?

Ryoo Seung-wan:  Not just me, but I think for all filmmakers, to screen your movie in New York City is something special.  Itís really an exciting feeling to be able to show your movie in a city like New York, which is a symbol of culture, a beacon of cutting edge culture.  The epicenter of cultural film and arts.  Especially the New York Asian Film Festival is known for its very passionate and maniacal audiences, so itís even more exciting to show my movies here.


LMD:  Maniacal might be the perfect description.  They are all crazy about Asian films.  Does the reception youíve had here surprise you, considering your movies haven't been widely released here?

RS-w:  I think itís quite a special thing to meet someone that comes from a completely different world, that speaks a different language, that grew up in a totally different culture to be able enjoy the same movie that Iíve made.  I count that as one of the blessings of being a filmmaker; to be able to meet such people.


LMD:  How did The Unjust come to you?

RS-w:  The Unjust was the first screenplay that came to me already written, the first draft.  Then I got involved and worked on it, it went through many revisions under me. It came at an opportune time when I wasnít ready to do a movie that had a complicated plot structure with a kind of predator/ prey relations within the society.


LMD:  How did you see The Unjust when you first read it?  I wondered if itís not an indictment of authority bowing to public pressure?  You have a good detective who has to do things he normally wouldnít do because thereís pressure on him.  Was the film a statement about people who should stand up  and be strong, but donít?

RS-w:  Because of the nature of this film and this story, I understand that people would see it as my having something very political to say, or being a very politically-charged movie, but what was more important to me for this movie rests at a more conventional point.  I think in the world that we live in where capitalism dominates; not just Korea, but the United States, or the emerging economies like China, for their survival, itís a very common sight to see people kind of dirty their hands to get what is prized in the capitalist society.  In old movies that were made in the 1940ís, film noir from Hollywood deal with the same kind of themes.  I saw my role with this movie as sort of an observer or to uncover a society where an individual has to live within this system, rather than sending a specific message or making my own political stance about it.


LMD:  Iím glad you mentioned film noir because The Unjust reminded me very much of classic film noir movies.  With films like City of Violence {right} and Dachimawa Lee, your love of films is evident onscreen and I wondered if that wasnít the case with The Unjust?

RS-w:  First of all, I really like James Cagney, but regarding the pattern of performances, I saw Hwang Jung-minís main protagonist character as a Lee Marvin character.  I wanted him to do that kind of acting, which is not to externalize your emotions, and in that sense I would say that itís similar to 1960ís and 70ís crime movies.


LMD:  In your previous films you have a very kinetic, energetic style of camerawork and action, and The Unjust is much more solid and steady, with long shots and more intensity.  Is that a big change of pace for you as a director?

RS-w:  I think my taste has changed a little bit, the way of making films.  Itís hard to explain in words.  With Dachimawa Lee, I made an homage to a lot of movies that I loved, and as a child learning to speak thatís what I did, but from the standpoint of a cinephile.  But after that, I think that way of making movies kind of bores me now, that kind of thought.  It was the first time that I felt that with this movie; that I wanted to kind of free myself and my movies from other influences and set my movie as the original print example of something else to follow.


LMD:  In The Unjust, the prosecutor and the gangster are hilarious, but the film is still very intense.  How do you find the balance between the drama and the humour?

RS-w:  Of course, even in the screenplay stage, when Iím planning and developing, Iím doing the balancing act between the humour and the seriousness of the tone, but I think ultimately, itís decided by the casting.  Which actors are cast to play which roles decides the tone of the movie.  For this movie, it was done extremely well.  After that, itís my job to calibrate among their performances.


LMD:  Of the three main characters, the detective is the most vague person in the film, compared to the dynamic prosecutor and gangster.  Was it your intention to make him a middle ground between the two by making his character so nebulous?

RS-w:  It kind of stokes my curiosity when I meet people who make me wonder what that person is thinking.  Where Iím not sure of his intentions, or what heís thinking inside.  Hwang Jung-minís character can be found among many fathers in Korea: They are very patriarchal.  Letís say when thereís a problem, instead of talking about it, instead of finding a solution with other people, they kind of repress it and then they try to take responsibility for everything, which is a very paternalistic aspect of fathers in Korea.  And then because they do that, the problem often gets bigger.


LMD:  I didnít realise the young man who played the prosecutor, Ryoo Seung-bum, was your brother.  His performance in The Unjust is outstanding.  Whatís it like to work with your sibling?  Does he listen to your direction or do you just let him interpret?

RS-w:  Well, as an actor, he has an incredible ability to interpret the screenplay and analyse it, and at the same time he can really make the character his own.  I can always count on him and trust him.  But because heís my brother, itís actually very difficult to work with him, also. {Laughs}  You know, itís difficult to get anything done with your family members.  Itís the same with me.


LMD:  Talking a bit more about the humor in the script.  I understand the original story was written by Park Hoon-jung, who weíre coming to know in this country for I Saw the Devil, which is a very dark, twisted film.  When you did the rewrite to The Unjust, was the script also very dark and did you inject more humour into it?

RS-w:  The script on the part of Park Hoon-jung started off as a black comedy, and it was inspired by the real-life event that took place in Korea in a city called Ilsan, which is outside of Seoul.  There had been a series of child molestations, but one week after the president of Korea visited the police station, they found the culprit.  So itís very absurd and it started off as a black comedy.

Even I Saw the Devil; I read the screenplay before it went to Kim Ji-woon and there were a lot of humourous elements in the script I saw.


LMD:  What would you like for viewers to take away from The Unjust? 

RS-w:  As I make more movies, I think less and less about what the audience should take away from my movie, but foremost I think Iíd like them to enjoy it.  If 200 people going to the theatre to watch one movie, at the end of the movie, I donít think they watched one movie; they watched 200 different movies, because the movie is complete when the audience watches and interprets it in their own way.  It doesnít matter what the intentions of the director were, or what kind of message that he wanted to project to the audience, because the audience will watch it on its own accord.


LMD: What is coming up next for you?

RS-w:  Itís a film called In Berlin and the backdrop is Berlin and itís a story about North and South Korean spies.


LMD:  Can you please give our readers some words about what to expect from the upcoming films of Ryoo Seung-wan?

RS-w:  Forget about expectations from me, because disappointments come from expectations.  I just hope that the audience will have an opportunity to enjoy the movies at an unexpected moment.


~ The Lady Miz Diva

July 17th, 2011


Click here for our Exclusive Interview with Ryoo Seung-beom, brother of Director Ryoo and star of Arahan, The Unjust and The Berlin File




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