A Quote by Choi Woo-shik
I'd like to create a character that is completely appalling, that it would make the audience tremble.
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As a writer, every time I create a character, I try to go for something to captivate the audience in some way. It's also an extension of how the audience would like to see themselves.
Plays can create empathy. If you put a Muslim character on stage, and make him a full character, you're making it possible for the audience to feel empathy, and a little empathy on both sides would help.
I tremble because of the sufferings of those persecuted in different lands. I tremble thinking about the eternal destiny of their torturers. I tremble for Western Christians who don't help their persecuted brethren. In the depth of my heart, I would like to keep the beauty of my own vineyard and not be involved in such a huge fight. I would like so much to be somewhere in quietness and rest. But it is not possible... The quietness and rest for which I long would be an escape from reality and dangerous for my soul... The West sleeps and must be awakened to see the plight of the captive nations.
Let Southern oppressors tremble-let their secret abettors tremble-let their Northern apologists tremble-let all the enemies of the persecuted blacks tremble.
I can tell you that I like to take a character where everyone may have an idea of what it's supposed to look like and go in a completely different direction with it. I like to make it my own and make it very personal to me, which will end up probably looking completely different than someone else's take on it.
Slow motion is so visually cinematic; when you create that, you create it for your audience, you let them have the feeling of what it must be like to be there. And in a movie, you can't forget the audience.
When you create a character, you create it for yourself - you do whatever you want. It's your job to explore it in as many different avenues as you can in order to make it a fully wounded character.
Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.
It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.
I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.
In art, one idea is as good as another. If one takes the idea of trembling, for instance, all of a sudden most art starts to tremble. Michelangelo starts to tremble. El Greco starts to tremble. All the Impressionists start to tremble.
It's very strange to go from being completely secluded and doing your own work for yourself, to having an audience - and having an audience that's aware of what you do and expects you to do things that they like. It can make things difficult.
I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.
I wish I could create an IMAX film that would make my work accessible to a broader audience.
You can't make the audience fall in love with a character you don't like.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
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