I wanted to start off from a very familiar setting: A detective assigned to a murder mystery. I think it's because at the time I was reading the Martin Beck series. The next thing was that I wanted it to be a police film. The two core principles that we started off with were: I wanted the film to be a Korean film and I wanted it to play in theaters. We had general conversations about what my next work should be. During that post-production phase, my co-writer went on a family trip to London and met me twice at a cafe.
Of course my wife was with me, but still. It took a lot of time and was also very physically demanding. PARK: At that time, I was working on post-production for "Little Drummer Girl," and I had to direct the entire six-episode series myself. So I’m almost like someone who works in a company going back and forth between my office and my house.ĪP: What was on your mind when you when you and your co-writer, Jeong Seo-kyeong, wrote “Decision to Leave”?
My production company is also on the outskirts of Seoul. PARK: My house is in a small town in a remote area outside Seoul.
I write in offices, cafes, hotels and on the plane.ĪP: You live a relatively quiet life in between films, don't you?
It’s a small room with just a table and desk and it almost feels like you’re going to suffocate inside. PARK: (Laughs) When we designed the house, we made a room specifically for me to write in. Through an interpreter, he discussed making "Decision to Leave" (one of the biggest box-office hits of 2022 in South Korea), his role in expanding Korean cinema's footprint and why - regardless of bloody hammers or octopuses eaten whole - love has always really been his main subject.ĪP: The room you write in has been compared to the room that traps the protagonist of "Oldboy." Is that true? Ahead of the film's release in theaters Friday, Park met a reporter during a break at the New York Film Festival.
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