"Soup and Ideology" Director Yang Yong-hee Depicts the moment when a mother's cooking transcends nation and ideology [Director's Interview Vol.213]

A miraculous image captured by close contact

Q: There was a scene in the film where the mother searches for her family under flickering fluorescent lights when they are not there, and it was a very shocking scene. I think it was a really wonderful scene.

Yan: That was when the fluorescent light happened to be burning out. My mother and I were together and the photographer took the picture, but it was a little too good to be true.

Q: I think this was the moment when the god of documentary came down from the sky. I think this scene would be impossible to replicate in a feature film.

Yang: In the end, if you don't stay close to the subject the whole time, you'll miss some shots. If you only go there to shoot interviews, or try to take only the shots you want, you won't get any.

Q: I usually work on producing television programs, and I often have the experience of missing out on filming.

Yan: I think one of the reasons we were able to capture that footage was because the cameraman, Takanobu Kato, was an amazing person. What's amazing about Kato is that he stays at the edge of the room the whole time, as if to erase his presence, and nods without making a sound; he gives off a really reassuring feeling.

“Soup and Ideology” (C) PLACE TO BE, Yang Yonghi

Q: Was it common for you, the photographer Kato, to be alone with your mother while taking photos?

Yang: Yes, when we were shooting in Osaka, we were shooting from the time my mother woke up until she turned off the lights and went to bed. Mr. Kato was shooting even when my mother was just sitting there. It sounds strange to say "waiting," but it's too late to get the camera ready when the action happens.

Q: Did photographer Kato eat and sleep at your mother's house?

Yan: He took the photos while sleeping and waking up at my mother's house. One reason was that we had a tight budget for staying in a hotel, but we knew we couldn't take the photos if we stayed in a hotel, so we asked Kato to prepare a room in his parents' house and take the photos there.

What was impressive was when Kato-san said something kindly like, "There is not a single unpleasant person in this family, so I don't get tired at all while filming."

husband as producer