"Wandering Moon" Director Lee Sang Il: The many decisions that are required every day, what do you ultimately rely on? [Director's Interview Vol.206]

No “compromise” has been made

Q: It was written in the materials that Director Lee is the type of person who takes things very seriously before proceeding, but various physical constraints are unavoidable in film production (especially Japanese films). How do you reconcile that within yourself?

Lee: Well, I don't wear it much. I get angry when I say that (laughs). If I can't take a photo at that time, I'll retake it, and if there aren't enough days to shoot, I'll ask for more days. But it's not infinite, so even if you can do it, it's only a little. However, when it comes to "compromise"...I don't really agree with it.

Q: If you look up the word "compromise," you'll find it means something like "finding a compromise."

Lee: That's right. But I don't think there is such a thing as "no compromise." So there's no reason why we can't come to terms with it. There's no reason I can't wear it... I wonder what he usually does (laughs).

Q: This topic may apply to a variety of jobs, not just movie directors. For example, although it may be a little different, most jobs have a "deadline", and that is often a high priority.

Lee: Deadlines are important, aren't they? But I'm the type of person who always extends deadlines (lol). You continue to cause trouble to those around you. I can't help but wonder if there's something more I can do. I would like to have that much confidence in my judgment, but it's not that easy to have. If you think about it a little more, you might be able to be more certain, and maybe there is a part of you that is "holding onto" that way.

“Wandering Moon” (c) 2022 “Wandering Moon” Production Committee

However, if you give up and say, ``This is fine,'' there is a fear that it will come back to you as a result. I'm not talking about compromise like I mentioned earlier, but it doesn't hurt to reach a compromise after thinking it through. If this is not the case, the fear of the image will definitely be conveyed.

Q: Okay, last question. Please tell us about the film directors and works that have influenced you.

Lee: Since it's a remake of " Unforgiven " (1992), I have to say that Clint Eastwood's influence is huge. Also, since I went to Japan Film School*, I have to say that Shohei Imamura had a big influence on me (lol). (*Currently: Japan Institute of the Moving Image, founder Shohei Imamura)

Q: Director Lee's " Scrap Heaven " (2005) had cuts that reminded me of David Fincher's " Seven " (1995). I thought director Lee liked Fincher too.

Lee: I like it. You're also heavily influenced by Fincher's work. His compositions are detailed and skillful. He tells a story through the continuity of images and creates an impression in a short amount of time. For Mr. Imamura and Eastwood, internal things are helpful, but Fincher is helpful in a different sense.

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Director/Screenplay: Lee Sang Il

Born in 1974. After The Graduate from university, he entered the Japan Film School (currently the Japan Institute of the Moving Image). His The Graduate film ``Chong'' (1999) won four awards, including the Grand Prix, at the Pia Film Festival (PFF)/Award 2000. After working on ``BORDER LINE'' (2002), which won the Kaneto Shindo Gold Prize, ``69 sixty nine'' (2004), which was based on Ryu Murakami's original work, and ``Scrap Heaven'' (2005), ``Hula Girl'' (2006) was the 30th. It won the Japan Academy Award for Best Picture. Established his position as a representative director of the Japanese film industry. In recent years, he has produced works with deep human insight, such as ``Akujin'' (10/34th Japan Academy Award for Best Picture), ``Unforgiven'' (13), and ``Rage'' (16/40th Japan Academy Award for Best Picture). They are releasing movies filled with great things one after another.

Interview and text: Fumio Koda

Editorial staff and writer for CINEMORE. My favorite movies are ``The Goonies'' and ``Indiana Jones and the Temple of Doom.'' My recent favorites are 4K digitally remastered classics by Akira Kurosawa and Yasujiro Ozu.

Photography: Kenta Nakano

“Wandering Moon” now in theaters nationwide

Distribution: Gaga

(c) 2022 “Wandering Moon” Production Committee