The Reason Why 'Joje' Had to Be Made Once More - Director Kim Jong-kwan Interview [Kang Joo-hee's Video Prism]

'Joje' Director Kim Jong-kwan "Strived to Create Differences from the Original"
Filled with Different Interpretations and Sensory Cinematography

Director Kim Jong-kwan. / Photo by Joohee Kang kjh818@asiae.co.kr

[Asia Economy Reporter Kang Juhee] One winter night, Joje rides the Ferris wheel with Youngseok and Yuwonji. After ascending to a high point and completing one full rotation back to the ground, the atmosphere surrounding the two subtly changes from before. Just as they are about to get off the Ferris wheel, Joje stops Youngseok from opening the door. The Ferris wheel slowly moves away from the ground again, and Joje gains one more rotation of time to be with Youngseok. This is how the film 'Joje' depicts farewell.

When 'Joje' was released last December, audiences likely felt a reality where concern, expectation, or a chaotic mix of these emotions coexisted. The original short story by Tanabe Seiko and the film 'Josee, the Tiger and the Fish' directed by Inudo Isshin have a strong fan base in Korea. Especially, the original film is considered a classic in the melodrama genre, alongside Iwai Shunji's 'Love Letter,' and is one of the most beloved Japanese films among Koreans.

A remake inevitably compared to the original, something any director might hesitate to undertake. Director Kim Jong-kwan said that when he decided to make 'Joje,' he had to omit some of his favorite scenes from the original. Iconic scenes from the original, such as Joje and Tsuneo playing by picking up seashells on the beach, going out in the afternoon on a modified stroller skateboard, and the final ending showing Tsuneo sobbing after their farewell, are not recreated in the remake 'Joje.'

Instead, Director Kim filled the film's gaps with sensuous visuals and a calm depiction of farewell. Known as a delicate director through numerous short and feature films like 'The Table' and 'Worst Day,' Kim left his mark on 'Joje' with sensuous images that stir the audience's emotions. We asked Director Kim Jong-kwan directly about why he chose to make 'Joje' amid expectations and concerns.

A scene from the movie 'Josee.' In the scene, Young-seok (Nam Joo-hyuk) is making eye contact with Josee (Han Ji-min). Photo by Naver Movie still cut (hereinafter the same).

- I'm curious about what led you to make this film. Many viewers are probably curious about this and have asked you this question a lot.

▲ It was a battle with expectations. I was worried that there would be many disadvantages in receiving good reviews. Nevertheless, the original work contained many stories I had wanted to tell. Perspectives on people, human kindness, and the irony that arises in relationships. Also, the atmosphere of Japan in the early 2000s when the original film was made is very different from Korea in 2020. I thought that these changes, combined with my individuality as a creator and the personalities of the actors I work with, could create a film with different strengths from the original. Rather than a strong will to make a better film, I see it as a process of gaining various experiences to grow as a creator.

- It seems you put a lot of effort into creating distinctions from the original, from the overall atmosphere to small props. For example, the wheelchair changed to an electric one, the wheeled table, and the food reflecting a Korean feel instead of the neat dishes in the original.

▲ Although the original is good, I realized I couldn't follow the same path exactly. For those attached to the original, it might be disappointing that scenes are not recreated or are altered. I also liked many scenes in the original. For instance, there is a scene where Joje falls off a chair onto the floor. I thought copying such a scene exactly would be meaningless. During the screenplay adaptation, I had to discard my favorite scenes first. The biggest challenge was to reconstruct the emotions felt in the original without losing them, adapting them to the Korean setting and situation. I pondered how to create details that would give life to the characters through my own interpretation.

- Joje's hobby of collecting whiskey bottles is a setting not present in the original. It seems to emphasize Joje's collector-like aspect, communicating with the outside world only in this way.

▲ Joje's house is filled with all sorts of discarded items brought by her grandmother. Joje herself is a character who has been abandoned, with trauma and wounds. I felt there was some attachment psychology to discarded objects, and thought it would be interesting if that was revealed. Also, although these are discarded items, I wanted Joje's taste to be reflected within them. I believe that even in a lonely and closed life, a person with taste can be a little happier than one without.

- The scenes depicting Joje and Youngseok's farewell are impressive. The Ferris wheel scene and the imagined Scotland scene are filmed in a way that suggests the process of parting through specific images rather than detailed explanations. It feels abrupt due to many omissions compared to the original.

▲ There are various ways to depict the moment of falling in love. One can show love through a well-built narrative, but it can also be created through brief moments that happen unconsciously. Farewell is the same. Everyone's experience of love and farewell is different. However, I think we share universal emotions. Therefore, I thought metaphorical depiction would be sufficient. The original deals with the farewell process in great detail, but I thought it would be okay to tell a slightly different story. I wanted to leave room for people to project their universal memories onto Joje and Youngseok's relationship and imagine various possibilities.

- You cast Han Ji-min and Nam Joo-hyuk as leads. Since there is an original film and the actors' emotional performances are crucial in a melodrama, you must have put a lot of thought into developing the characters. What instructions did you give the two actors regarding their acting?

▲ I cast Nam Joo-hyuk first. Rather than his filmography, I felt a kind and warm aura from his impression, facial expression, and voice. 'Joje' shows a more melancholic tone overall than the original, while the ending and message are colder in the original. I wanted 'Joje' to have a warmer strength as a melodrama than the original. In that regard, Nam Joo-hyuk's kind and positive vibe felt fitting for the film. I wanted the actor's natural movements to be reflected in the film. On set, I had him do a lot of physical work and movement to create a comfortable atmosphere.

As for Joje, although she is set in her 20s in the original, I felt setting her in her 30s in the remake better matched Korean realism. After Han Ji-min joined the film, we had many conversations to develop the character Joje. I wanted her to feel a bit more mature and desolate than in the original. Since Ji-min had to perform in a tone different from her previous roles, we kept talking to understand the character. This process repeated until post-production. Ultimately, raising Joje's age became an advantage for the film.

- You said you wanted the film to be warmer than the original. However, the film's atmosphere feels dark and lonely. The most frequently appearing space, Joje's house, the rainy or snowy weather?all contribute to an overall darkness.

▲ The film has many beautifully shot scenes of spaces, landscapes, and seasons. However, compared to typical Korean films, it has a strong dark winter feeling. If there is light and shadow, I hoped to create details within the shadows rather than the bright parts, making that feel beautiful through mise-en-sc?ne. Trying to see only brightness might lack charm. I think some films need to be interpreted a bit darker. Even within that, beauty can be created sufficiently.

- One important scene in the original is Joje watching a tiger with Tsuneo. In the Korean version, Joje sees the tiger through a hole in her broken window at home. It is depicted very faintly and fantastically.

▲ In both originals, the tiger and fish are important symbols. The tiger represents what Joje fears, and the fish show the relationship between her and her lover. I interpreted this differently from the original. So I dropped 'The Tiger and the Fish' from the title. I felt it might be disrespectful to the original author to keep it as is. I thought Youngseok is the one who fills the hole in the wall for Joje. Joje has lived a closed life and feels fear of the outside world. Youngseok blocks that fear for her and connects her to the outside. Joje often does not distinguish well between imagination and reality, sometimes speaking as if she has directly experienced things she hasn't. But Youngseok does not doubt her lies; rather than believing, he accepts them. I thought he is the one who protects Joje's imagined world, filling the wall.

- From your personal social media, it seems you have a strong interest in photography. The film also features sensuous visuals that catch the eye. How do you view these two forms of expression?

▲ I can say I am a director who pursues cinematography when making films. The visuals I pursue present a perspective different from what people generally see. It's not about shooting prettily without reason, but about giving a feeling different from what people usually think. Taking photos is training for these aspects. Writing is similar. Fundamentally, these are works done to show someone the impressions and feelings of what one has seen. Taking photos and writing help films, and vice versa. They support each other.

- You have presented feature films like 'The Table' and 'Worst Day.' Both deal with stories about relationships such as love, farewell, and reunion. Your latest direction, 'Joje,' is similar. It seems you are drawn to melodrama.

▲ Actually, my previous works are diverse. I have done many shorts, but among the films known to the public, many have melodramatic features, so it might seem that way. In reality, I am interested in various genres. However, I have seen many advantages of melodrama. Melodrama focuses on very private matters but ultimately tells a bigger story. Compared to other genres, it might be the one that makes you reflect on yourself the most. For example, if you tell a story about a contradictory world, often you are not in that world. You are on the good side, delivering a critical message about the bad world opposing you. In contrast, melodrama makes you look back on yourself and see your own strangeness and contradictions. Stories that go very deep into oneself?that is the charm of melodrama, I think.

- After 'Joje' was released, you must have encountered various reactions. What kind of evaluation made you feel the best?

▲ I think I am in a long process as a film director. It is a work that inevitably receives various evaluations. The film was released during a difficult time, so it might be harder to feel immediate reactions compared to usual films. Above all, I think a clear evaluation of this film can only be known over time. I also approached making the film with that mindset. There will inevitably be likes and dislikes at first. I want to watch over it as a long process. Creators are evaluated within some trajectory. I hope it remains a meaningful film within that.

This content was produced with the assistance of AI translation services.