[Interview] Cinematographer Park Hong-yeol on capturing Tang Wei’s world in film ‘Wonderland’
2024-09-08Released on June 5, 2024 in the cinemas and on July 26, 2024 on Netflix ‘Wonderland’, a Korean film, takes the viewer on a more creative journey inside the virtual world, where loved ones reunite in a digital life. The film is directed by Kim Tae-yong, and features cast, including Bae Suzy, Park Bo-gum, and Tang Wei, whose portrayal of Bai Li delivers depth and complexity to the narrative.
Due to the fact that Tang Wei’s scenes seemed more energetic compared to her previous roles, I was interested in the choice of techniques that added an extra dimension to her character’s virtual reality. To this end, I had the pleasure of interviewing Park Hong-yeol, the cinematographer responsible for one of the most visually engaging characters in the film ‘Wonderland’. We discuss his artistic practice, the challenging of filming in several locations, and how he saw the explosive yet ethereal world of Bai Li, outside of his cinematography. The following re excerpts from an email interview held from Jul. 28 – Sep, 6.
Please introduce yourself.
I'm Park Hong-yeol, a cinematographer. I majored in physics in college and studied cinematography at the Korean Film Academy and the Korean National University of Arts. In the past, Korea's film cinematography system was based on an apprenticeship model, where one would progress through various filming positions on set to eventually debut as a director of photography. I have experienced both the Korean apprenticeship system and film school to become a cinematographer.
I have worked as a cinematographer on many films by director Hong Sang-soo, including ‘Hahaha’ and ‘On the Beach at Night Alone’, and also worked on Lee Chang-dong’s short film ‘Heartbeat.’ I am currently work as a cinematographer in various fields, including film, documentary, and contemporary art. I also produce and direct independent documentaries as a documentary filmmaker. This year, my documentary titled 'Landscape Drifting' will be screened at the Busan International Film Festival.Top of FormBottom of Form
Please share your journey as a cinematographer and what inspired you to pursue this career path?
I have a belief that movies have the power to make the world a more beautiful and happier place. That's why I chose this career. I started by making independent documentaries. Later, with the desire to improve my documentary cinematography, I decided to learn feature film cinematography. After studying cinematography on commercial film sets and in film school, I began working as a commercial film cinematographer. Even now, I continue to film with the hope that the images I capture will contribute to change the world.
Are there any particular cinematographers who have influenced your style or artistic vision? If so, how have they influenced your work?
Rather than a specific cinematographer, I'm influenced by all films in general. I try to watch as many films as possible, both new releases and classics. I've been greatly influenced by the films and ideas of Russian filmmaker Dziga Vertov. Above all, what helps my cinematography the most is philosophy. I believe that images are not only a way to express what is visible but also to capture what is invisible. That’s why I study philosophy regularly to improve my cinematography. One philosopher who especially inspires my work is Gilles Deleuze. Lately, I’ve also been reading books by the philosopher Yuk Hui and finding a lot of inspiration.
How did you get involved in the ‘Wonderland’ project?
I was in charge of filming Tang Wei's scenes for the movie ‘Wonderland’. In 2021, during the filming of the Netflix Original Documentary ‘Cyber Hell: Exposing an Internet Horror’, I was contacted by Director Kim Tae-yong. The scenes involving the character Bai Li, played by Tang Wei, were technically challenging, and we had to film while connecting Korea and Jordan. Due to the severe COVID-19 pandemic that time, there were numerous difficulties in filming, and the technical aspects were quite complex. Director Kim Tae-yong wanted to work closely with the cinematographer to solve complex technical issues and successfully complete the challenging scenes. I was asked to take on this mission and thus joined the 'Wonderland' film project.
Could you describe the visual style you aimed to achieve for the cinematography of the sci-fic film ‘Wonderland’ and how it contributes to the script and storyline? Are there specific choices in terms of camera techniques did you make to capture specific emotions in certain scenes?
The camera captures things that the human eye cannot see. When we think something is familiar, we stop trying to discover it. In Wonderland, we used the Arri Alexa Mini LF full-frame camera. When filming Bai Li, we used lenses with focal lengths of 14mm and 20mm, which are not commonly used. Combining a full-frame camera with short focal-length lenses allows us to subtly capture surroundings that are invisible to the human eye.
In the film, Bai Li lives in a virtual world called Wonderland, not the real world. However, Bai Li believes she is not a virtual character but real. I wanted the audience to feel Wonderland as if it were real, just like how Bai Li feels her emotions in the film. Therefore, I wanted the virtual Wonderland within her phone to feel more realistic, while the real-world aspects of Bai Li's past felt unreal in contrast.
For the other scenes with Jeong-in and Tae-joo, we mainly used telephoto lenses, which allowed the camera to be positioned far from the characters, framing them from a distance. While these scenes emphasized the characters over the space and captured their isolated emotions from a distance, Bai Li, who believes that the virtual 'Wonderland' is reality, lives an energetic life. For her scenes, I wanted the camera to capture her from a close-up perspective, staying physically close to her. When the camera is closer to the character, the audience also feels closer to them emotionally, making it easier to connect with the protagonist's emotions.
Also, to make Bai Li's ‘Wonderland’ feel real, the depth of field of the lens was made relatively deep. Depth of field is the range of focus within the screen, and the deeper the depth of field, the deeper the range of focus, which increases the expressiveness of space. Bailey's 'Wonderland' utilized depth of field to make the space and the characters always feel together.
What are the visual inspirations you drew upon while developing the cinematographic style for the film?
I mainly draw visual inspiration from philosophy books. I believe that novelty and creative energy don't come from strange or unusual things; rather, but rather from the ordinary surroundings of our daily lives. When we look at our everyday surroundings with a different perspective and arrange them in new ways, we encounter fresh and unique viewpoints. Philosophy serves as a historical record of humanity's long existence and the result of repeated contemplation on how we should live. It invites us to re-examine our daily lives and discover what we haven't seen before.
In 'Wonderland', I pondered how to present everyday imagery from a slightly different perspective, how to approach familiar cinematic images from a new angle, and how to express familiar filmmaking habits in a different manner.
How did you balance the sci-fi aspects in terms of cinematography?
When I film a melodrama, I sometimes draw inspiration from other melodramas, but I also seek help from genres far from romance, such as horror or action films. Since Wonderland is a sci-fi film, I didn’t want it to appear like a typical sci-fi film. I didn't aim to create a futuristic or cybernetic feel. I believe that sci-fi or the future isn't something far off; our present can be both sci-fi and the future. I focused more on making the present feel like the future or sci-fi and on how to express the emotions that are often overlooked in everyday life. I think subtle strangeness in ordinary life can sometimes appear more like sci-fi.
Are there any specific scenes or shots in the film that you are particularly proud of, and if so, why?
The scene where Bai Li encounters a sandstorm as she tries to leave the archaeological site holds a special place for me. The film had a very limited budget for this scene, and it wasn’t easy to create a realistic sandstorm with the available resources. To reduce the costs of CG, we shot all the elements needed for the sandstorm effects ourselves. The scene where Bai Li faces the sandstorm was carefully pre-planned, and we filmed the overall background and the car driving in Jordan.
The interior of the sandstorm was filmed across four different locations: the Jordan desert, Songdo in Incheon, a virtual indoor studio, and an indoor studio set. In Songdo, we filmed at night, without any outdoor lighting, using only the car's headlights for a conceptual look. In the virtual studio, we used an LED wall to depict the storm’s lightning and the background fog.
We also captured real-world particles to use as CG elements for the sandstorm to make it look more realistic. To simulate the atmosphere of blowing sand inside the storm, we tested by scattering cornmeal and other grains in front of the camera, and we used these shots in the final sandstorm CG. This scene required a lot of effort to create a realistic sandstorm with the limited budget.
Which of your past projects are you particularly proud of, and why?
I've participated in over 100 work, including films, documentaries, and contemporary art. While every work is precious and memorable, if I had to choose one, it would be Lee Chang-dong's short film ‘Heartbeat.’ Produced by the World Health Organization (WHO), this film addresses the theme of depression. With a runtime of 30 minutes, it's a one-scene, one-cut film that unfolds continuously without interruption.
The story follows a first-grade student who secretly leaves school to search for his mother (played by Jeon Do-yeon), who suffers from depression and he is worried that she might have committed suicide. What makes this film so memorable for me is that the 130 cm-tall child runs non-stop from the beginning to the end of the film. For 30 minutes, the camera provides a close-up of the child's face in a single, uninterrupted shot.
To film the child's running face, the camera had to run backward. Moreover, the child is short, and he encounters numerous obstacles while running, even he precariously crosses a fifth-floor balcony to enter a neighbor's apartment. We had to navigate these difficult obstacles while ensuring the camera didn't lose track of the child's face, running backward alongside him. Although it may not be obvious when watching the film, it was a technically challenging shoot.
Additionally, to ensure the child's emotions felt authentic, the camera movement couldn't be too stable or too shaky to force emotions. It needed to be a balance between the two, capturing the child's face while also conveying the story's atmosphere. Thanks to director Lee Chang-dong's brilliant direction and the support of a talented crew, we were able to complete this film, despite the technical and emotional challenges, making it stand out in my memory more than other films.
In what ways do you think Korean cinema distinguishes itself in terms of cinematography?
The crew members in Korean cinema are incredibly passionate. Everyone works hard in their respective roles, giving their best to create a great film. I believe that the unique quality of Korean cinema lies is the dedication and pride of these passionate crew members, who give their all behind the scenes, often unseen.
Could you share any upcoming projects you’re excited about or currently working on? Are there any genres or types of stories you’re particularly interested in exploring in the future?
I'm currently working on a Disney series, 'Knock off'. I'm also directing and producing independent documentaries, include a documentary that looks at Korea's low birth rate from a different perspective; a documentary about 'Danpyeonsun', an indie music producer, musician, and social activist who has won the most popular music awards in Korea; and a documentary about 'Cho Young-kwon', a politician who pursues everyday politics.
My documentary, 'Landscape Drifting', which depicts the scenery of the COVID-19 era through paintings, will be screened at the 2024 Busan International Film Festival in October.
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