Actor John Cho Aims to Break Stereotypes

I had my doubts about "Star Trek," since J.J. Abrams, the director, is a "Star Wars" fan. But it was awesome movie (not to mention that Spock is uber sexy). I got to interview charming Mr. Cho for a second time.

Yonhap Photo

It appears that the mission of John Cho, much like his ``Star Trek: The Beginning'' character, is ``to boldly go where no one has gone before.'' If the space pilot Hikaru Sulu seeks new life and new civilizations, then the Korean-American actor strives to break certain Asian stereotypes until one day it won't be necessary to do so.

``Part of my mission as an actor has been to define what an American is. I've played roles that aren't expected of an Asian,'' said the star of the cult comedy ``Harold and Kumar,' and' who popularized the term ``MILF'' in the ``American Pie'' trilogy, in an interview Monday in Seoul.

Asians being typecast as funny ``is a new stereotype,'' said the 36-year-old, explaining that Asian Americans had hitherto been labeled as ``cold, non-humorous and involved in our books.''

(Photo courtesy of First Look) But Cho, one of 2006 People Magazine's Sexiest Men Alive, said the ultimate goal would naturally be to not worry about stereotypes for choosing parts.

``Any role that gets repeated (by Asians) will be misinterpreted as a stereotype. The goal of Asians in the arts is plurality of roles. I've always been hindered by me over-thinking what is a stereotype and what isn't,'' he said. ``The more roles there are, the more actors there are. No (Asian) actor has to think about how is this affecting anyone except me, and just think about whether or not I want to do this role.''

In recent years, an increasing number of Korean actors have been cast in Hollywood films, such as Gianna Jun (Jun Ji-hyun) in ``Blood: The Last Vampire.'' ``Hollywood has been so impressed by Korean films, so there is an interest in Korean actors,'' he said, though carefully, not feeling comfortable about commenting definitively on the subject.

Cho does feel however that it is difficult for an actor or director's talents to wholly translate across borders, and something inevitably gets lost. He hopes that a new filmmaking hotspot will arise outside of Hollywood and rival it, so that cineastes wouldn't need to endorse a different culture in order to make a larger impact ― in 50 years or so it could be South Korea, he said.

The actor had appeared in the Korea-United States joint production ``West 32nd'' by Michael Kang, and said he would one day like to appear in a local project. ``I was impressed by the creativity of the concept in Korea cinema. There is a unique Korean vision happening right now. (…) I'd like to work on a Korean movie if I had the opportunity. Mostly (because) I'd like to stay here for an extended period of time,'' said the Los Angeles native.

Meanwhile, ``Star Trek,'' helmed by ``Lost'' and ``Mission Impossible 3'' creative brain J.J. Abrams, is currently topping the North American box office, drawing in more than $79.2 million during its opening weekend according to the Associated Press.

`` I'm very excited,'' he said. ``I know there was some level of suspicion about how we'd handle this franchise that was considered kind of dead.'' The action flick is based on the epic sci-fi television series tracing the adventures of the Federation starship U.S.S. Enterprise, a pan-universe version of the earthly UN.

``It's one of those series that has been consistently on re-runs for 40 years. It has become of part of the cultural fabric of America,'' he said. However, he stopped watching the original series; the lead actor, Chris Pine, who plays the role of Kirk, previously said the same thing to The Korea Times. ``I stopped because I knew much more (about `Star Trek') than I realized; it had been around for so long that I forgot I'd seen and had absorbed it.''

In the original series, Cho's character Sulu was ``very much in command of the spaceship,'' he said. In the prequel, Cho said he portrayed a young Sulu that is ``a little shakier, a little less secure.'' Indeed, the film invited some laughter when the highly trained pilot is unable to launch the spacecraft in one go.

As for playing a role originally played by Japanese American actor George Takei, Cho said it was ``fair game as an actor,'' since the part did not require a Japanese accent or Japanese lines. Unlike old TV series such as ``Mash,'' where non-Korean actors were forging Korean accents,'' he was ``happy my casting fulfills (the original TV series creator) Gene Roddenberry's vision of a multinational spaceship.''

[Mr. Takei was quote as saying in an interview that he did not mind a Korean American playing his former role -- Sulu is supposed to represent Asia, he said.]

In an interview with The Korea Times two years ago, in Busan, Cho said he always wanted to play roles such as a classic American cowboy that he played as child with his younger brother. Starring in ``Star Trek,'' something he grew up watching, seems to be a great start.

Born in Seoul in 1972, Cho immigrated to Los Angeles at the age of six. He stepped into the world of acting by chance while majoring in English literature at UC Berkeley.

>>Read my previous interview with John Cho.

>>Read about Mr. Cho's other film, "West 32nd."

Soprano Lee Ji-young to Play Supporting Role in `Fidelio'

Photo courtesy of MuAk Opera

Lee Ji-young, who wowed the local audience as a guest singer in Placido Domingo’s Seoul recital in January, will appear as Marzelline in MuAk Opera's production of ``Fidelio,'' which will be staged Thursday through Sunday at Seoul Arts Center.

Some felt baffled that the rising U.S.-based soprano accepted the minor part, but Lee expressed great affection for the production.

``I was initially reluctant about appearing in the opera, not because it was a supporting role -- Marzelline’s part actually suits my voice better than Leonore’s -- but because I debuted here only recently (in Domingo’s recital),’’ she told The Korea Times, Friday in Seoul. A graduate of Domingo’s prestigious Young Artist program, she received critical acclaim for a lead in the Washington National Opera.

But she was ultimately drawn to the visions of the newly founded Muak Opera and the initiative of the project, which also coincides with the celebration of the 120th anniversary of her alma mater Yonsei University. ``I think the `how’ or `why’ part, rather than `what’ you do, is more important,’’ she said.

Originally a classically trained pianist, Lee began singing at a very late age, her senior year in high school. ``I had never heard an opera until then,’’ she chuckled. ``But in college, I fell in love with `La Boheme’ through Prof. Kim Kwan-dong (MuAk Opera’s artistic general director).’’

Afterward, Lee headed to the U.S. for further study. The road to her blooming success, however, was far from easy, as visa problems postponed the launching of her career. Domingo’s program was the only one that granted visas to participants, and Lee entered what she calls a ``great turning point.’’

``I was almost 10 years older than most people in the program, but everyone has their own path. Before, I used to feel anxious about becoming a diva and making it big. But I prayed a lot to God and rediscovered my reason for singing,’’ she said.

Marzelline is certainly a minor part, but Lee said she is a most crucial character that uplifts the dark story and helps the protagonist. On the opening night of the Washington National Opera’s ``Daughter of the Regiment,’’ Domingo himself had presented Lee as ``the daughter of the opera house.’’ Indeed, Seoulites will be able to see Lee shine through, as this reporter did in a rehearsal of ``Fidelio,’’ for quality reigns over quantity.

``Fidelio’’ begins at 8 p.m. except for Sunday, which will be a 4 p.m. matinee show. Thursday and Saturday productions will be in Korean, while the ones on Friday and Sunday will be in German. Tickets cost from 30,000 won to 150,000 won. Call (02) 720-3933.

Dresden Staatskapelle to Enliven Strauss in Seoul

This weekend classical aficionados can savor Richard Strauss in its original tongue through the definitive ``Strauss orchestra,'' Dresden Staatskapelle.

The 461-year-old troupe is wrapping up its Asia tour here with two programs dedicated to the tone poems of the German master.

``The force of this orchestra is (its) very high ethical understanding of his importance in music history and the will to preserve (its) truly unique sound,'' said maestro Fabio Luisi in an email interview. He said he was curious and excited to meet the local audience in his first visit to South Korea.

A highlight of the Saturday show at the Sejong Center for the Performing Arts, downtown Seoul, is the revival of ``Ein Heldenleben,'' Op. 40, which will end with a gentle violin solo according to Strauss' original intentions.

The following evening, Sejong Center's pipe organ, the largest in Asia, will resound for ``Also Sprach Zarathustra,'' which many will recognize as the grand thematic score of the movie ``2001 Space Odyssey.'' Also featured is the ``Burleske'' for Piano and Orchestra with Emanuel Ax.

``I chose the program in order to show, on the one side, the stylistic history of the Staatskapelle, which actually is the `Richard Strauss Orchestra,' and on the other side, to present the major characteristics of this orchestra, which are a beautiful, smooth sound and the ability to play and understand properly the Romantic repertoire,'' said the conductor.

Born in Genoa, Italy in 1959, Luisi originally taught and played piano. Conducting local operas lead to an international career, and his engagements include general music directorship of the Semperoper Dresden (Saxonian State Opera) and principal conductorship of the Vienna Symphony.

``Both opera and concert are important to me,'' he said. ``In the opera I have to conduct a work in which the stage plays an important role ― this is complicated but very interesting. In a concert I can focus on absolute music.''

In regard to conducting style, he said he admires Leonard Bernstein, Herbert von Karajan and Rudolf Kempe ― ``conductors who can equilibrate feeling and rationality.''

He regards Kempe's Strauss recordings as being ``still the best.'' ``Kempe gave some objectivity to the pompous element in Strauss. Today the trend is towards opulence again, and I much prefer the distanced opulence of Karajan and others to the exaggerated sensuality of some of my colleagues who are not interested in the truth of the work but only in packaging it nicely,'' he said in a statement released by Sony Classical.

As for the Dresden Staatsakapelle, he strives to preserve and develop the unique characteristics of one of the world's oldest ensembles. ``The Staatskapelle always was an orchestra that has given a break to young composers. These young composers used to be called Richard Wagner and Richard Strauss,'' he said, and aims to link in to this tradition by appointing Isabel Mundry and Bernhard Lang as composers in residence.

Tickets cost from 50,000 won to 250,000 won. Call (02) 399-1114~6.

Jung’s Musical Promenade Through Paris

Such a lovely man. It was a fun interview; we got carried away talking about Paris, being multilingual (not us but the crazy multilingual people we know), and being fans of the composer Unsuk Chin.

Singer-songwriter Jung Jae-hyung has released a new album, ``Promenade,’’ under the Sony Classical label, and some may be surprised to realize that this is actually the soundtrack for the currently showing ``What Brings You to My House.’’

The former pop star has written scores for several movies including ``Addicted’’ (2002) and ``Love Now’’ (2007), but Promenade involved a different creative process. The tracks may have been inspired by the quirky love story starring Kang Hye-jung, but the movie’s postponed release gave Jung a good year to work on the music as if it were a solo project.

``It functions as a film soundtrack but I wanted it to have a life on its own,’’ the 37-year-old told The Korea Times in a recent interview in Seoul.

Creating music for Promenade was ``like a picnic,’’ he said, and ``happened piece by piece,’’ and this is reflected in the meandering ambiance of the tracks. Piano, cello, flute, oboe, horn and viola tunes conjure up images of warm sunbeams on a lazy afternoon and the sight of light spring rain outside the window of a quiet café.

Singer-songwriter Jung Jae-hyung. (Courtesy of SonyBMG)

The classical instruments, however, take on a more contemporary and edgy -- and at times slurred and discordant -- texture through Jung’s electronic sound designs. There’s also a touch of pop featuring vocals by Lucid Paul and actress-singer Uhm Jung-hwa. Uhm, Jung’s good friend of over 15 years and who has starred in three of the movies he composed scores for, stopped by the venue to say hello.

His music is ultimately modern in language but is simple, poetic and unimposing. Despite the electronic mixing, the result is something whimsical and natural, perhaps similar to the Ahn Trio’s ``Lullaby for My Favorite Insomniac.’’

``Electronic music often feels cold and mechanic, but I tried to draw out warmth,’’ he said. The artist intentionally added glitches to the melody by squishing together some of the rhythm even though it may not be immediately detectable by the naked ear -- perhaps like adding small rips to create fake vintage jeans? ``Yes,’’ he said.

It’s only natural that the album is impressionistic in color; like Impressionist painters who took the easel outside of the studio, the Paris-based artist went on an actual promenade through the city. He would settle down in an outdoor cafe and be inspired by the noise of passing breezes and pedestrians and the clinking of coffee cups.

Like the honored composer Chin Unsuk, of whom he is a big fan, Jung is a classically-trained pianist who speaks in electronic music. ``The beauty of electronic music is that it enables you to directly translate your intentions, to enliven the original ingredients and keep your color,’’ he said. ``Arranging sounds created with classical instruments is rather limited. Electronic sound design is actually easier for me.’’

Is it like working with a sharp pencil for drawing? ``Yes,’’ he smiled. ``Electronic sound mixing enables you to, if it were a drawing, draw a perfectly straight line using a fine-point pencil.’’ Electronic music, he said, is just a convenient tool that allows the artist more versatility in this multimedia age.

``What used to be one-way sourcing is now all open,’’ he said about today’s merging of genres. Jung, a prolific singer-songwriter, also writes prose and draws images such as the watercolor sketches featured in his album.

``It’s not that I’m multitalented or anything. They’re just different forms of self-expression, and these days I don’t think artists need to classify themselves. Ryuichi Sakamoto started out as an electronic musician but now writes music for movies,’’ he said. ``But at the same time, I’m scared. You can go so many ways, with video art and performance, etc,’’ he said.

When asked about his future plans, he already had the next two years mapped out, with a new film score and solo piano album, as well as publishing a book and getting involved with a musical.
``My dream is to simply live toward my dream, and to cherish it. I started out with the simple premise of wanting to do my own music and that’s the most important thing. I wish to become a good-hearted egoist,’’ he smiled.

Life Imitates Art in Gay Mockumentary

Hollywood stuntwoman-turned-director Alison Reid /Lee Hyo-won photo

Imagine a world where children are fatherless in the procreative process. In the mockumentary ``The Baby Formula,’’ a lesbian couple succeeds in conceiving children of its own genetic mix.

The film’s notion of creating fake sperms from a woman’s skin particle, however, isn’t completely outlandish. ``Baby’’ is the classic mix of fiction and reality.

``The science is actually accurate and was successful in tests with mice. The (actresses’) pregnancy was real, too,’’ Alison Reid, the veteran Hollywood stuntwoman-turned-director, told The Korea Times in a recent interview. The Canadian filmmaker has been touring the festival circuit with her feature film debut, and was in town for the 11th International Women’s Film Festival in Seoul (IWFFIS).

``Until recently, it has been impossible for gay couples to conceive of the idea of being able to combine their genetics and have their own biological children. That has always struck me as sad. When I read an article about some science that made it possible to create offspring from two female mice, it resonated with me, and inspired me to make this film,’’ Reid said in a statement.

The director spoke with scientists all over the world involved in the research. ``For the purposes of the story, we have assumed that the science is further along than it is in real life, however the scientific explanations are accurate. This scientific backdrop becomes a pallet for a story that is ultimately about family, and the common ground facing us all despite our diversity,’’ she said.

``Succubus,’’ the short prequel to ``Baby’’ that was screened at last year’s IWFFIS, traced the efforts of the same two characters, Athena and Lileth, to have their own biological child. Interestingly enough, both actresses became pregnant _ though happily married to men in real life, they conceived children in the traditional way. The film assumes that such lesbian mothers can only have daughters, and both actresses gave birth to the baby girls that appear in the movie.

``Life was imitating art,’’ said the director. ``We were able to take advantage of the pregnancy and show the 10-month period and the real babies at the end. When we were rehearsing the scene where Athena’s water breaks, Angela Vint (who plays Athena) actually had her water break,’’ she said.

The science may be stranger than fiction, but the movie’s utter believability shines through. Effervescent characters drawn in viewers into the story, which has no male bashing, ``feminazism.’’ In ``Baby,’’ two geek stem cell specialists claim that their breakthrough scientific experiment is not trying to ``make men obsolete’’ but rather simply render them ``unnecessary.’’ One day, women may become unnecessary in procreation, they add.

``The film is done in a non-threatening way so people wouldn’t be putt off by it,’’ said Reid. The delightful, ticklishly funny mockumentary drew packed screenings in Seoul, and one middle-aged male audience member found the story pleasantly surprising despite the fact that he came from ``a different generation.’’

The warm reception is great, said Reid, but she was actually hoping for a little negativity. ``Right wing protesters would be good PR for the film,’’ she said, smiling. The director hopes to start a TV series starring the same actors.

Will her next feature film be another dramedy? ``No, it won’t be as funny,’’ she said. But it will involve a love triangle set inside, rather appropriately for the stunt speicialist, ``a crazy, extreme stunt world.’’

Reid coordinated stunt sequences in major Hollywood films such as ``Blindness’’ and doubled for Monica Bellucci in ``Shoot ‘Em Up.’’ She said she vigorously pursued the ``excitement and the adrenaline’’ ever since doing her first stunt when she was 17. Getting caught in explosions and car crash sequences ``had its moments,’’ including neck and knee injuries and burns, but provided insight into the world of directing.

For more information about ``Baby,’’ visit thebabyformulamovie.com.

The IWFFIS comes to a close today. The closing ceremony at 7 p.m. at Artreon in Sinchon will feature the award-winning films of the Asian Short Film & Video Competition. Visit http://www.wffis.or.kr/.

Cellist Koh Contributing to Medical Research at Harvard

``Two roads diverged in a yellow wood,’’ but instead of wondering about the road not taken, scientist-musician Koh Bong-ihn is straddling both paths _ playing the cello on the world stage while contributing to medical research at Harvard’s Stem Cell Institute.

``Music requires practice, just like experiments require repetitions to yield results. They’re also all about interpretation,’’ the 23-year-old told The Korea Times at Seoul Arts Center in a recent interview. His family and friends, including Koh’s former teacher, the feted cellist Chung Myung-wha, were seen congratulating his impassioned performance of Elgar’s Cello Concerto with the Jeonju Symphony Orchestra.

Born in Jeonju in 1985, Koh made his international debut as an artist at age 12. But unlike most prodigies, he pursued a double degree at Harvard and the New England Conservatory, studying molecular biology while participating in Yo Yo Ma’s Silk Road project among other musical engagements.

He certainly enjoys the tension of balancing art and science, but interestingly enough, it is not so much about pursuing both careers. ``It’s the thought of not pursuing both careers that drives me,’’ he said.

``A lot of times I have been tempted to choose just one, when I see my (science) peers do well and have their moments of glory… I could be a better scientist or a better musician if I don’t split my time. But it’s a personal satisfaction, and I wouldn’t be happy if I give up either one,’’ said Koh.

Promoting Peace Through Music

What inspires him is the transforming power of music and science. ``When I play music, I can feel the audience breathing with me. When I’m going home late at night after working in the lab, I pass through the hospital and feel good that I’ve contributed to something that might help patients one day,’’ he said.

Koh’s silver-toned sounds shine through in standard classical repertoires like the Elgar concerto, but he also demonstrates flair for modern pieces. Last year, the cellist awed concertgoers with Isang Yun’s Concerto for Violoncello and Orchestra. He enriches his music with his individual artistic intonation, and his melodic, idiomatic phrasings are at times unexpected, but are fresh and organic.

Some say that the critical aspect of artworks, whether it be a Miles Davis improvisation or a Picasso painting, is not so much the featured objects themselves but rather the space between objects. In Koh’s rendition of the Yun concerto, it was the silence between the notes that kept listeners on the edge of their seats.

He had learned about the late Korean-German composers’ music while spending his teens in Germany. As a Korean, he said he felt responsible to endorse Yun’s music and ideals _ ``to use music as a weapon to promote peace.’’

Last October, he became the first South Korean to play the cello concerto with a North Korean ensemble in Pyongyang. ``It was extraordinary,’’ he said about the five-day trip. He had certain expectations about the level of artistry of North Koreans, but was impressed by their prolific musicality and deep understanding of Yun’s work. The young cellist became very attached to the orchestra’s principal violinist and cellist and also had the opportunity to meet Yun’s widow, I Soo-ja.

What lies next? Koh is wrapping up his last semester at the New England Conservatory and is applying for Ph.D programs in stem cell biology. This multitalented musician may seem like the quintessential overachiever in a state of limbo. But he is challenging the notion.

``In about 20 or so years from now, I’d like to imagine myself working in a lab, where the radio is playing a recent performance of mine,’’ he said, eyes brimming behind his glasses.

Director Yang Shares Life Story in `Breathless’

One of the best movies of the year. And so far one of the most enjoyable personal encounters -- gotta love a guy who giggles like a girl while he speaks Nietzsche.

``Breathless'' director-producer-lead actor Yang Ik-june /Photo by Lee Hyo-won

``I also think it is a superb film,’’ director-actor Yang Ik-june told The Korea Times in an interview, Thursday, in Seoul, when this reporter complimented his multiple award-winning film ``Breathless.’’ ``Other directors are going to think I’m nauseating,’’ said the 33-year-old headline maker, exploding into another one of his distinct, high-pitched giggles.

While sporting the same short haircut and mustache, as well the Nike sneakers, from the film, Yang was nothing like the brooding, foul-mouthed thug he played. His feature directorial debut, ``Breathless,’’ has swept top awards at numerous film festivals, from Rotterdam to Las Palmas. Naturally, Yang had been giving non-stop interviews but he still beamed with energy at 8:30 p.m.

At the international events, he said he had fun being called ``_-nom (bastard)’’ _ a word that appears in almost every line of the movie _ by foreign cineastes and festivalgoers. In Deauville, France, ``Breathless’’ was never confused with the Jean-Luc Godard film of the same English title, and he even got to meet Pierre Rissient, who was the assistant director of the Nouvelle Vague masterpiece. He loved the movie and treated Yang to several meals.

Nevertheless, he seemed unperturbed by the sudden fame. ``The trophies look all the same,’’ he joked. He’s thankful and honored, but had experienced too many overwhelming emotions during the three years of making ``Breathless’’ to be besieged. Yang produced, directed and played the lead in the movie, and had to move three times to fund it. He casually mentioned that the numerous awards didn’t always include cash prizes. ``I mean, I need money to live,’’ chuckled Yang, who has been living in sunless subterranean flats with an annual income of less than 10 million won ($10,000) for almost a decade.

``You need to forget about (the fame and honor) in order to return to a normal life,’’ he said. ``A movie happens to get made when you’re just living life. It’s like you have to sleep with someone first in order to have a baby, without using contraceptives,’’ he grinned. ``If you keep thinking, `I want to make a movie, I want to act,’ then you just become enslaved by your intense desires. You have to live life.’’

What does he normally do? ``I just do normal things… I listen to music, go out and about town, meet friends, think about raunchy things, reflect on small moments of the day,’’ he said. ``It’s the small things in daily life that inspire me.’’

This attitude of being in touch with reality extends to the moviemaking process. As a director, he doesn’t ask anything of his actors. He allows them to color their characters with their own personalities, so their character becomes the actor rather than the other way around. Acting _ a word he said he hates but has no choice to use _ ``is something you can’t learn. I wanted my actors to pour their own life into the roles,’’ he said.

Portrait of a Family

``Breathless’’ is about a victim of domestic violence that grows up to become an aggressive brute, but rediscovers hope when he meets a girl. The movie features dark themes, but it is no Kim Ki-duk film and depicts a very human and warm portrait of the lowly life. It is a partly autobiographical story inspired by his family and friends in Namgok-dong, a poor town in Chungcheong Province.

Cinema, he said, was a form of self-expression. ``People think and feel things in a universal way, but at the same time, each person is so unique and special,’’ said Yang. ```Breathless’ is a story about Korea, a story about a family. People were able to relate because families are similar, although the degree of family problems vary of course.’’

He said the movie was like a ``diary’’ where he wrote everything he wanted to say all at once. ``It was an exorcism for me,’’ he said. Doesn’t he feel uncomfortable about revealing himself? ``No. It’s like being naked at a nude beach or sharing your worries with friends who can relate to you,’’ he said.

Yang’s friends and family are very proud, he said. On Friday evening, the director and the main cast members mingled with friends and fans as one-time waiters at a bar in Sinchon. A group of his closest friends spoke affectionately of Yang’s well-deserved success. While they were leading stable careers, Yang was always the broke artist. This was despite the fact that he came from one of the more prosperous families in town. ``His father runs a furniture store but he refused to succeed him. He wanted to be independent,’’ one friend, who asked not to be identified, told The Korea Times.

Actress Kim Kkobbi waits at a party celebrating the movie's release /Photo by Hyo-won Lee

The director has the amazing ability to make you feel at ease, as if you’re talking with your best friend over a drink even though we were drinking tea at a café. He would be serious one moment and goofy the next, but consistently surprised you with his unabashed honesty.

``I want to say `_ you’ to the world through my films,’’ he said. He also wants to show the male private parts onscreen someday. ``Koreans think it’s artistic when they see it in a foreign film, but here they censor it. We feel unstable in this world because we want things to be safe all the time, but we need to be courageous,’’ said the director, who respects cineastes like John Cameron Mitchell (``Shortbus’’). ``Sex is part of life,’’ he said.

The rising director said he wants to continue exploring life through movies. One project he has in mind is about children of the underworld, and he also wants to make love stories. Does he feel pressured about having set high standards for his future films? ``No, I’m just the human Yang Ik-june,’’ he said.

Yang was born in 1975 in Chungcheong Province. He studied acting at Kongju Communications Arts College and played minor roles in mainstream movies including ``Viva! Love.’’ He received awards and critical acclaim for the short films he starred in and directed such as ``Lovers.’’ ``Breathless’’ is his first feature film.

``Breathless’’ opens in theaters April 16. 130 minutes. 19 and over. Distributed by Jin Jin Pictures.

Jeonju Fetes Decade of Promoting Indie Cinema

In 2000, Jeonju, a small town in North Jeolla Province with a reputation for traditionally Korean things, became home to one of the country’s most future-thinking film festivals. Over the first decade of the new millennium, the Jeonju International Film Festival (JIFF) has grown to become a major attraction for independent and art house cinema _ as ``the Locarno Film Festival of Asia.’’

JIFF celebrates its 10th birthday from April 30 to May 8 with a record lineup of 200 films from 42 countries. In addition to showcasing rare-to-see films from different corners of the world, various projects and events await festivalgoers for the special anniversary.

One of the JIFF’s unique features is that it commissions special films for the annual event, festival director Min Byung-lock told The Korea Times, Tuesday, in Seoul. This year, Korea’s Hong Sang-soo, Japan’s Naomi Kawase and the Philippines’ Lav Diaz take part in JIFF’s hallmark program, Jeonju Three Digital Shorts Project. Each year, the festival offers 50 million won to each of the three directors selected to produce a 30-minute work for the digital omnibus film.

``The Jeonju Three Digital Shorts Project has been like JIFF’s faithful child,’’ said Min. In 2007, the digital project won the Jury Award at Locarno. ``It was the first time an omnibus film ever won the prestigious prize, and the Jeonju Festival became internationally known because of it. We received positive feedback from foreign cineastes, who urged us to push on with this project which gives filmmakers an opportunity to experiment,’’ he said. For the festival’s anniversary, a special DVD set of all 27 shorts made over the years will be on sale.

This year’s event opens with another specially commissioned project, ``Short! Short! Short! 2009.’’ This omnibus film features works by 10 rising Korean directors. Choi Ik-hwan (``Life Is Cool’’), Kim Young-nam (``Don’t Look Back’’) and Yoon Seong-ho (``Milky Way Liberation Front’’) among others each contribute a 10-minute piece that offers creative social commentary.

In recent years, both omnibus projects have reached a wider audience as Three Digital Shorts was broadcast on cable TV in Korea and other Asian countries and ``Short! Short! Short!’’ was released online through the portal site Daum. This year however, the cable and Internet services won’t be available because both franchises will be released nationwide in theaters this fall.

The closing film is ``Machan,’’ directed by Uberto Pasolini, who co-produced ``The Full Monty’’ (1997). The neo-realistic comedy takes place in a slum town of Sri Lanka, where 23 people set out to become ``a national handball team’’ in order to secure visas to Europe.

Jeonju, Asia’s Locarno

JIFF has been committed to the discovery and promotion of new talent, and filmmakers are allowed to submit up to their second work for the competition sections.

``When I recently met the festival director of the Locarno Film Festival, he said our events are kindred spirits,’’ said Min about the prominent Italian event for independent cinema. Last year, the award-winning indie flick ``Daytime Drinking’’ premiered at JIFF and the Locarno programmer took notice and took it to Italy, where it won the top prize. >> Click here for more festival preview

Visit http://www.jiff.org/ for more information.

Liebreich Envisions Innovation for Tonyeong

HOT German conductor Alexander Liebreich, 40, speaks to The Korea Times about his plans as the future director of the Tongyeong International Music Festival (TIMF), which is held every year in the birthplace of the late Korean-German composer Isang Yun. /Awesome unpublished Korea Times photo by Shim Hyun-chul

It seems natural that the Tongyeong International Music Festival (TIMF) will be led by Alexander Liebreich, who is from the country where Isang Yun’s music is most popular, and has built a special bond with the two Koreas over the years.

Beginning in 2011, this young German conductor will assume artistic directorship of the event, held every year in the late Korean-German composer’s South Gyeongsang Province hometown.

``My relationship with Korea evolved in a very natural way, with natural chemistry,’’ the 40-year-old told The Korea Times in a recent interview in Seoul. In 2002, the conductor had the unique opportunity to tour both sides of the 38th Parallel, and became a guest professor in Pyongyang as part of a joint project by Seoul’s Goethe Institute and the German Academic Exchange Service.

``Germany has this history of a divided country, so it’s a natural thing to have a dialogue with Korea. It’s a cultural dialogue, not a political one,’’ he said. ``It was very, very pleasant to see that young (North) Koreans were very passionate about music and very curious, and I’ve been very fortunate to have contact with the students who are so hungry for new repertoires,’’ said the conductor, who was also able to meet Yun’s widow, I Soo-ja, during his post. ``I was lucky to be part of this cultural exchange,’’ he said.

``Both (North and South) Koreans are very passionate about music; I think it’s a very general Korean way of living. I noticed that many women on weekends go singing and dancing, it’s very unusual,’’ he smiled.

Last week, the Liebreich-led Munchener Kammerorchester (Munich Chamber Orchestra, or MKO) held the South Korean audience in rapt attention as it filled the hall with the discordant harmonies of Yun. In the latter half of the concert, one was reminded of a young Claudio Abbado, as the conductor rigorously led the group for a lively rendition of Haydn’s Symphony No. 45. There was also some good Simon Rattle-esque joie de vivre onstage, as the musicians left the stage one by one in the last movement, most appropriately for a symphony dubbed ``Farewell.’’

Liebreich may have been inspired by his elders, but he lived up to his reputation as one of the most exciting conductors of his generation, a rising maestro with his own color and style. This very program opened this year’s TIMF, which came to a close last Thursday, and the fine balance of modern music and standard classics seems to represent what one can expect in the days to come for the event.

Reviving Yun’s Spirit

For TIMF, Liebreich said he envisions ``innovative programming and building a bridge between East and West.’’ ``Because Tongyeong is the birthplace of Isang Yun, some people might expect us to perform just Isang Yun music but that’s not such a good idea,’’ he said. ``It should not be a gravestone. It should be in the spirit and ideal of Isang Yun, to search for new talent and compositions from the East and West.’’

It is thus important, he said, to feature commissioned works by contemporary composers, though in a good balance with a standard repertory like the works of Mozart _ ``it’s not a contemporary music festival but a living music festival,’’ he said. ``Programs should always have a contrast.’’

His tenure would be in time for TIMF’s 10th anniversary and major projects include forming a festival orchestra. TIMF would also be a playground for students who would be able to attend master classes led by prominent artists and other educational programs. This would require searching for new venues, and Liebreich sees much potential in the scenic seaside town.

The future director also hopes to involve artists from other fields. ``I’m a big fan of Kim Ki-duk movies and there are video artists, modern dancers,’’ he said. ``Isang Yun would want to mingle with other artists, like he did with (the late Korean video artist) Paik Nam-june.’’

It is difficult not to be charmed by the conductor, whose piercing blue eyes reflect a most palpable enthusiasm for Yun’s work.

Until recently, Yun (1917-1995) was disgraced in South Korea as an alleged communist spy. He was arrested but released following protests led by Herbert von Karajan and others, and spent the rest of his exiled life as a German citizen. The composer was a prominent intellectual figure in Europe and his works were recognized in Pyongyang before Seoul.

Liebreich said he is often asked whether North Koreans understand Yun’s music better than their Southern counterparts. ``For me, it’s very hard to answer that question. The other question might be, do perhaps Germans better understand his work than Koreans? I don’t know. Isang Yun is much more popular in Germany than in Korea, and he was a big intellectual figure in the 1960s and `70s,’’ he said.

``But in the end it all comes down to good music… Music speaks for itself, and in a concert it’s less important who the composer is. You hear it and you either like or not like it,’’ he said. ``Isang Yun was a global citizen,’’ he said about the composer who studied in Japan, France and Germany. ``There’s a German saying, `imagine there is war but nobody would take part.’ Isang Yun’s music is a big expression of humanitarian ideals,’’ he said.

Kwun to Perform With Tokyo Met Symphony

This young man is like the Big Bang, though his fame has yet to catch up with his towering talents like Sarah Chang here. He could probably make any instrument sound good, but omg his 1774 Guadagnini has that buttery goodness.

Japan’s renowned Tokyo Metropolitan Symphony Orchestra, led by maestro Kazuhiro Koizumi, returns to South Korea April 16. The last time they played here was 23 years ago, and coincidentally enough, it will feature a 23-year-old Korean violinist as soloist.

>>Post-concert comment: The orchestra was awesome. Maestro Koizumi gave flight to such frills-free, yet charismatic music. The audience responded with very little coughs in between movements and gave a standing ovation.

The concert at the Sejong Center for the Performing Arts presents a program of Tchaikovsky, including Violin Concerto in D Major, Op. 35 with Kwun Hyuk-joo, a Moscow Tchaikovsky Conservatory graduate praised for his ``quintessentially Russian’’ sound. Not surprisingly, it is the violin concerto he performed most frequentlyViolinist Kwun Hyuk-joo will appear as soloist in the Tokyo Metropolitan Symphony Orchestra's concert April 16 at the Sejong Center for the Performing Arts, downtown Seoul. /Courtesy of Kumho Asiana Cultural Foundation onstage.

``But it’s different each time I play it and depends on the orchestra and conductor,’’ Kwun told The Korea Times, Tuesday, in Seoul, expressing enthusiasm about playing with a major Japanese orchestra for the first time.

The violin concerto seems to have a special place in his heart. ``When you watch a movie, sometimes you feel an emotional release in your heart that’s liberating, refreshing and beautiful. Russians are very free-spirited, relaxed and never rushed. I think among Russian violin concertos, and especially among Russian Romantic works, the Tchaikovsky piece expresses this characteristic of Russians well,’’ he said.

The virtuoso _ and one does not take the world lightly _ is regarded as ``a rising artist that will continue the Russian violin lineage carried on by Jascha Heifetz, David Oistrakh, Leonid Kogan, Gidon Kramer and Vadim Repin.’’ Kwun was only 18 when he won the 2002 Yampolsky competition, receiving high praise from the elderly Russian maestro Tikhon Khrennikov.

``I feel extremely thankful,’’ he said about such compliments. ``But I myself am never satisfied with my playing. My teacher always told me, `the moment you’re satisfied, you’re doomed.’’’

Out of his tuxedo, Kwun looks nothing like the ``typical’’ classical musician, especially with a piercing in his right eyebrow. Contrary to his funky style and frank speech, however, he was extremely soft-spoken. While there was nothing wrong with his Korean, he spoke slowly, choosing his words carefully. Having moved to the former Soviet State at age 10, he feels more comfortable with Russian. In addition to the language, Russian musicality seems to run in his veins.

He demonstrates lyricism, immaculate technique and powerful gusto _ characteristics that the aforementioned Russian master violinists share. And yet, it would be unfair to limit Kwun’s teeming musicality to the Russian repertoire. In recent years, he has showcased contemporary works with the Kumho Asiana Soloists and gave an exquisite rendition last February of Mozart’s Concerto No. 4 with the Seoul Philharmonic.

His repertoire covers all the standard violin pieces, from Paganini to Shostakovich, and keeps expanding as he explores contemporary works. Kwun has also won major international competitions, from the Queen Elisabeth to the Paganini, and has toured extensively in Europe, playing an exquisite 1774 Guadagnini. A young musician couldn’t ask for more.

The road leading to such accomplishments, however, was far from easy. His mother accompanied him to Russia but he was on his own to deal with various discriminations one is bound to face as a foreigner. ``When I look back to it now, I can smile. I used to be quite rebellious about it, but now I feel much more at ease,’’ he said.

Kwun added that he was fortunate to have great teachers like Kim Nam-yun and Eduard Grach. He has resumed his studies in Germany, and works toward his lifelong goal _ to perfect what he already knows, and to become his own teacher one day.

Also featured in the program are Tchaikovsky’s Polonaise from ``Eugene Onegin’’ and Symphony No. 5. Tickets cost from 25,000 won to 100,000 won. Call (02) 6303-7700.

Evegny Kissin to Share Passion With Koreans

I love my job.

"...the reasons for love should remain a thing of mystery," Kissin on music.

Evgeny Kissin has returned to South Korea. The tall, pale-faced figure emerged before the press Wednesday in Seoul, softening his intense air with a bright smile and, with that unmistakable mound of dark, untamed curls, looking almost anachronistic in the image-obsessed, Mozart-meets-MTV era. Like his otherworldly presence, he seems to carry on the world on his own pace.

The 37-year-old pianist took the world by storm as a child prodigy and has since been ranked alongside Rubinstein and other historic artists. International competitions, the usual rite of passage for musicians, were never necessary _ ``yes, I have never participated in a concours, so I don’t know anything about them and they don’t concern me,’’ he said in a matter of fact manner. The people who are unable to forget him as a 12-year-old braving Chopin concertos don’t bother him either. ``Even though the human life span has become longer in the 21st century, there has to be a problem if people regard a mid-30-year-old as a child prodigy,’’ he said, throwing the room into a rumble of laughter. ``People who remember me 25 years ago do not concern me. The idea of a child prodigy is neither good nor bad, and it is in fact natural for an artist to show talents at an early age,’’ he said.

In his youth, Kissin flirted with composing, but now he concentrates on playing while occasionally transcribing some pieces of music for the piano. He gives less than 45 performances a year because he needs rests in between, which is not surprising. But even during his break, Kissin spends six to seven hours in front of the piano daily -- musical genius doesn’t appear out of thin air. It’s been a quarter of a century since his debut but he finds that music becomes increasingly difficult. ``My ideals become higher everyday,’’ he said.

On stage, he is famous for giving encores, up to 16 in Naples. In 2006, the Russian finally made his long-awaited debut here, and made certain that it was unforgettable with an hour-long encore of some 10 songs. When ticket sales opened in January for his recital Thursday, tickets sold out in less than five hours. Kissin said he always has three to four encore pieces ready but plays off the top of his head if the concertgoers want more.

``Ever since performing in Korea for the first time three years ago, I’ve been saying that Koreans are the most heated and passionate of audiences, even more so than Italians. I’m really looking forward to tomorrow’s performance,’’ he said. Other things Korean that left an impression include performances by maestro Chung Myung-whun and Korean-Russian soprano Nelly Lee, and ``bibimbap’’ (Korean mixed vegetable rice). Like his long encores, he spoke to reporters about music at length, speaking with long pauses and choosing his words carefully in his native tongue.

For this young maestro, music is a subject of unconditional passion and mystery. He chose a repertoire of Chopin and Prokofiev for the recital here, simply choosing what he likes. Is this is a treat for his staunch fans?

``It is a tribute to the composers, and it is about sharing something I like with the audience. I feel thankful if the listener thinks it is a gift to them,’’ he said. He is, however, unwilling to give a reason for his favorites. ``I hope to never be able to answer that, and I wish all of humanity would never be able to either, because the reasons for love should remain a thing of mystery,’’ he said.

For his music, he said he is inspired by other art forms and life itself, and thinks a lot about the actual ballet while playing Prokofiev’s ``Romeo and Juliet,’’ which he offers Korean fans tonight. Someone who spends a great deal of time listening to recordings at home, Kissin prepares for concerts by listening to relevant albums by other artists. For Prokofiev’s Piano Sonata No. 8, he strongly recommends the rendition by Elis Gilles, who premiered the very piece in 1944.

Kissin performs tonight at the concert hall of Seoul Arts Center. Call (02) 751-9606.

DreamWorks Sees 3D as Key for Future

This is my second time interviewing Mr. Katzenberg (far right above). Like many geniuses, he's quick, brilliant and sligtly irritable because he's so smart. I mean, people around the world are asking him the same questions so it's totally understandable (but he was nicer this time; I asked him more creative ones). Anyway, I thank him for bringing Shrek, Poe and other great characters to life.

Animation maestro Jeffrey Katzenberg sees 3D animation as the key to the future. DreamWorks Animation presents ``Monster vs. Aliens,’’ which, shot entirely in 3D with a completely new technology, is its most ambitious project yet. This can be seen as something of a revolution in not just animation but in all of cinema history.

``The first two great revolutions in film were the introduction of sound and the introduction of color, and the introduction of 3D could be as impact-ful as those were,’’ the CEO of DreamWorks Animation said in an interview in Seoul, Thursday.

Five years in the making with $165 million, the ``very long, very expensive’’ franchise, said the 58-year-old, employed an entirely new technology called InTru3D. Specifically developed for ``Monsters vs. Aliens,’’ it combines DreamWorks’ authoring tools with the latest technology by partner company Intel.

The new tool solves problems posed by past 3D films. ``All of the elements that go into 3D today are so dramatically better than what existed even just a few years ago,’’ he said. Moviegoers must wear glasses, which are polarized and more comfortable than the old colored paper frames. A very powerful digital projector delivers precise images, that ``aren’t blurry, don’t give eyestrain, don’t give you a headache. We are in absolute perfect control of 3D,’’ he said.

This certainly makes a mark in modern day cinema culture, as it provides a one of a kind, theater-only experience. ``Monsters vs. Aliens’’ in 3D cannot be replicated at home _ kissing goodbye to pirated DVDs.

Meanwhile, InTru3D required artists to ``learn a new language,’’ said Katzenberg. He compared the experience to Anglophones having to learn and work in Korean overnight. ``They have to think in 3D now. They have to think about the dimensionality and how the filmmakers will ultimately translate that onscreen,’’ he said, further explaining that artists have to conceive characters differently, such as moving through a 3D room. Though initially a little scared, he said, ``our artists have loved it and have been excited from day one.

``Yes,’’ all future projects will be created in 3D, he said definitively. This comes in spite of technical barriers, that most theaters are not equipped with digital projectors. Providing glasses to moviegoers will also be costly. ``This is just the beginning. I think that there are twice as many theaters (for 3D films) today than there were a year ago. Next year there will be three times as many as today. I think there is a great future. Rome was not built in a day,’’ he said.

``Monster vs. Aliens’’ features retro themes _ quite ironically rendered with the latest modern technology _ ``a happy accident’’ according to Katzenberg. It pays tribute to B-movies of the 1950s and ‘60s and even makes a paraody of ``ET’’ as it tells the story of a young woman who, on her wedding day, is hit by extraterrestrial gunk and explodes into a 49 feet 11 inch-tall giant (1958’s ``Attack of the 50 Foot Woman,’’ anyone?). She’s immediately captured by the military and is detained along with other strange creatures. When aliens attack Earth, however, this ragtag group of monsters becomes mankind’s only hope.

Korean screen beauty Han Ye-seul provides the voice for the main character, which was originally dubbed by Reese Witherspoon. ``She (Han) is a very talented actress and has a very beautiful melody to her voice, which is a very good match for her character. And I think she did a really great job,’’ said Katzenberg.

Dreamworks’ previous franchises such as the ``Shrek’’ trilogy and ``Kung Fu Panda’’ have scored well at the local box office. ``In the field of feature animation, DreamWorks has become the most successful and biggest studio in the world,’’ he said. In the past five years, DreamWorks and Disney/Pixar have both created and released 10 films, grossing $4.8 billion and $3.2 billion worldwide, respectively.

``So we’re 50 percent bigger on a worldwide basis. You know, I’m proud of that. I think that’s a great accomplishment. Of course they and others like Blue Sky make great movies,’’ said the former Disney studio chairman.

When asked about the company’s secret to success, he said, simply, ``good storytelling. I think that’s the most important thing.’’

``Monster vs. Aliens’’ is due in theaters April 23. Polarized glasses will be available in theaters.

Yuhki Kuramoto Celebrates Decade in Korea

Photo courtesy of Credia

Beloved pianist, composer and arranger Yuhki Kuramoto fetes a decade of music-making with South Korean fans in his ``Romance’’ tour through March 17.

``In my 10 years of performing in Korea, my first concert at Seoul Arts Center, in a full house of 2,800 people, remains my fondest memory,’’ said the 58-year-old in an interview in Seoul, Monday. Always wearing a pleasant smile, he didn’t forget to make polite greetings in Korean every now and then.

When asked about what was special about the Korean audience, Kuramoto said that he is simply grateful for their love. ``Koreans were the first ones to appreciate my work,’’ he said.

Here, Kuramoto is considered the father of new age music, along with artists like George Winston. ``I don’t really pay attention to how my music is categorized. My pieces are rooted in classical music and centers around beautiful tunes. They aren’t long, like pop, and have a singing melody that Koreans seem to like,’’ he said.

On his anniversary tour, the pianist is offering his most popular works, including ``Meditation,’’ ``Romance,’’ and his first hit, ``Lake Louise.’’ Of ``heuinoaerak,’’ or the four cornerstones of human emotion _ pleasure, anger, happiness and sorrow _ Kuramoto’s serene music only touches upon the latter two.

``With classical symphonies, I often feel they shout `hey, look, isn’t this grand’ but I don’t want that in my work. I wish to make music that is calming, joyful and touching. There is a lot of creative, abstruse music in the world but they can fatigue listeners. One may say that my music, in that sense, lacks creativity because it offers nothing groundbreaking. It is, however, difficult to make something with limited ingredients,’’ said the artist.

Kuramoto was consistently frank and humble as he spoke about his music, but his confidence in his work and his deep affection didn’t waver an inch. ``In Korea, I get questions _ which I know aren’t intended to harass me since the criticism is true _ about my lack of creativity,’’ he said about offering similar programs in concerts. But he still has over 300 _ and counting _ pieces he has yet to share. He continues to be inspired by romance, nature and the people he meets for his art. >>More

Meet Korean Winners of YouTube Orchestra

Video-sharing portal sites like YouTube are often a barometer for measuring the popularity of celebrities or a steppingstone to stardom, as was the case for amateur teenage guitarist Lim Jung-hyeon who attracted the attention of CNN and The New York Times a few years ago.

The newly launched YouTube Orchestra is a natural born child of the digital age. With enthusiastic support from renowned classical musicians like pianist Lang Lang and composer Tan Dun, the project recruited amateurs and professionals via the Internet. A jury of music experts chose 200 finalists, and over 12 million people from some 200 regions visited YouTube to vote for 90 winners that will play with maestro Michael Tilson Thomas at Carnegie Hall in New York, April 15. Of these, eight are ethnic Korean, including nationals living here and abroad, comprising the second largest group after Americans.

One winner is Kim Tae-shik, a 19-year-old studying mechanical engineering at KAIST. ``I just did it because I thought it would be fun, and I was really surprised to win,’’ he told The Korea Times in a telephone interview. A frequent user of YouTube, he saw the notice for the audition and submitted a part from the first movement of Brahms’ Symphony No. 4. He happened to have learned the piece through his school orchestra.

Never having majored in music, the young violinist said he was never stressed about playing. He began playing his instrument at age five and has since enjoyed it as a hobby.
``I’m really excited about making my first trip to the United States and it’s such a great honor that I get to play with professional musicians. I’m going to practice really hard so I don’t fall behind,’’ he said.

He performed on a large local stage for the first time last month and said he couldn’t wait to be in Carnegie Hall. ``My mom gets to travel with me so she’s happy, too,’’ he said. A fan of the American sitcom ``Friends,’’ he added that he looks forward to visiting Central Park.

Another winner based in Korea is cellist Lee Soo-jung. The 25-year-old studied music at Seoul National University and Germany, and now teaches at an art high school in South Chungcheong Province. Like Kim, she never expected to win with a solo from Rossini’s ``Overture to William Tell.’’

`` I’m so happy and can’t wait to go to New York,’’ she said. ``I read about the audition on my alma mater’s Web site. I was inspired a lot by video clips of players on YouTube and thought it was interesting. I decided to audition at the last minute,’’ she said. ``My family is excited for me, but they were a little embarrassed as well. If you’ve noticed it in my video, I made it in such haste, those are my bed sheets hanging in the background!’’ she laughed.

As a musician, Lee said she was shy at promoting herself. ``I just posted my video with no expectations, and I got so much positive response. I’m really thankful to Netizens,’’ she said. The cellist believes the New York trip will be self-transforming experience.

``My motto is to play with a happy heart no matter when and where, and not to think about my career or the stage. I can feel my music changing colors each time, and I believe playing with great musicians (in New York) will transform me,’’ she said.

The winners will make a five-day trip to New York, where they will take part in master classes led by premier musicians and rehearse at the Juilliard School before the Carnegie Hall performance. Tickets to the concert can be purchased at Carnegie Hall’s Web site (http://www.carnegiehall.org/). Video clips of the winners can be viewed at www.youtube.com/symphonykr.

Video Art to Capture Flight of `Madame Butterfly’

The Trieste Verdi Theater will stage what is expected to be a visually stimulating rendition of Giacomo Puccini’s ``Madame Butterfly’’ for its first tour in Korea. The original cast and crew of the top Italian theater will present the opera next week at the Sejong Center for the Performing Arts.

The performance is part of the Trieste Verdi’s cultural exchange with the Sejong Center -- a welcoming news since the theater is known here as the debut stage of Korean prima donna Sumi Jo. Lorenzo Fratini, who will conduct the Gyeonggi Philharmonic Orchestra, said in an email interview with The Korea Times that the project is an ``extremely important endeavor’’ and ``will help the growth of two major theaters of the East and West.’’

Director Giulio Ciabatti
Courtesy of Sejong Center for the Performing Arts

``Madame Butterfly’’ has been among the most frequently staged repertories since its premiere in 1904, but the upcoming production will be unique and in sync with modern times by featuring digital stage sets inspired by the video art of the late Paik Nam-june. Art director Pier Paolo Bisleri said he is an ardent fan of the world-renowned Korean artist. Moreover, director Giulio Ciabatti explained that the medium expresses the essence of the story and fulfills both artistic and technical purposes.

The director aims to focus on the romance and despair of Madame Butterfly rather than on cultural or political issues that mark the original piece. ``The most important reason for choosing video art is because I wanted to express the noble human spirit rather than Asian customs and character. I also wanted to depict loneliness and emptiness of the human condition rather than the spatial manifestation of time,’’ he said. >>More

Pianist Yundi Li Back After 6 Years to Give Recitals

Photo courtesy of Deutsch Grammophon

I absolutely love this guy -- his coolheaded phrasings and refined elegance particularly when playing the most stormy pieces. His rendition of Prokofiev's Piano Concerto No.2, one of my all time favorite works of music, blew me away. I'm so excited he's coming!

Pianist Yundi Li may not have the Mozart-meets-MTV appeal of Lang Lang, who is also 26 and Chinese. But he is nevertheless something of a young Elvis Presley in the world of classical music, as he steals the hearts of fans with his poetic sensibility and boyish visage.

South Korean fans have waited six years for another recital by the superstar, who has been busy touring Europe and North America. Li finally returns to give concerts Sunday at Goyang Aram Nuri, Gyeonggi Province, followed by Seoul Arts Center Feb. 18.

``Traveling long distance can be tiring, but the anticipation of meeting a new audience in a new country and city always greatly excites me and relieves the stress,'' he told The Korea Times in an e-mail interview. ``I'm really looking forward to my recitals in Korea!''

Fans awaited Li's return all the more after seeing his recent ``affairs'' with new styles. In his latest recording for Deutsch Grammophon, the pianist presented an elegant rendition of Prokofiev's fearsome Piano Concerto No. 2. His performance of the piece in Seoul last year received critical acclaim.

For the upcoming recitals, the young Romantic returns to his signature repertoire of Chopin. He shot to stardom by winning the 14th Chopin International Piano Competition in 2000. Aged 18 at the time, he was the youngest ever winner, the first Chinese champ as well as the first to claim the event's top prize in 15 years. >>More

Indie Movie Conquers Loca Cinema 2

``Daytime Drinking,'' a mini-budget road movie, is creating hype even before its release.

``Daytime Drinking'' debuted at the 9th Jeonju International Film Festival and went on to win awards at several overseas events, including Locarno last year. A triumph of creativity over pitifully meager resources, the movie is receiving as much media spotlight as anticipated blockbusters. It is a breath of fresh air for Korean cinema, which has seen the failure of many expensive, star-studded ventures.

I met with director Noh Young-seok to laugh about his ticklishly funny road movie. He was such nice guy, who resembles his protagonist :)

``Daytime Drinking'' shows that drinking in the middle of the day will most likely lead to trouble. For the heterosexual male, a pretty woman, even if she has sinister intentions, will be another temptation that's hard to resist.

It all began with a drink. Hearbroken Hyeok-jin has a round of soju with his friends. They suggest a trip to Jeongseon, a popular destination in Gangwon Province. The next morning, however, his friends are hung over and Hyeok-jin is the only one that shows up. But he isn't out of luck, as a pretty young woman, also traveling solo, approaches him.

But seaside in the winter turns out to be far from romantic. Hyeok-jin ends up wearing only his underwear in the middle of the highway, and if that didn't seem bad enough he meets more strangers whose first impressions turn out to be rather deceiving after some booze.

The 32-year-old director was inspired to write the script during his own stay at a boarding house in Jeongseon. ``It was wintertime and I was lonely. Soju was my only companion and I wondered what would happen if a pretty woman who's also traveling alone stayed next door,'' Noh Young-seok told The Korea Times.

``I made the film with friends as if we were having fun on a trip,'' he said. Shot digitally in 13 days with just 10 million won ($10,000), ``Daytime Drinking'' nevertheless made it to international events alongside last year's blockbuster ``The Good, the Bad, the Weird.'' It also inspired curiosity about soju among foreign viewers.Critics praised the movie as ``proof that a good script and simpatico direction and performances can overcome budgetary restrictions'' (Variety magazine). The central theme of daytime drinking originated from trying to save money, so as not to worry about lighting at night.

After failing one movie script competition after another, Noh decided to make a movie on his own with friends he met at a local film academy. ``It was a matter of survival, and I was focused on just finishing the movie,'' he said. The director did everything from the writing and shooting to editing, as well as playing a cameo as the restaurant owner. The original film score comes from an old album Noh made when he tried, and failed, to become a professional musician.

``Cinema is the best form of self-expression, for now,'' he said. ``I just hope the audience can enjoy `Daytime Drinking' lightheartedly, without the prejudice that indie flicks are serious and experimental.

``Independent films need to become diverse, with their own set of genres ranging from horror to dramas and thrillers,'' he continued. He does not have concrete plans about his next piece, though he wants to continue making small budget digital films with commercial appeal.

``I hope viewers will be inspired to go have a round of drinks with friends,'' he said. ``Daytime Drinking'' is now showing in theaters. 115 minutes. 15 and over. Distributed by Jin Jin.

Indie Movie Conquers Loca Cinema

``Old Partner,'' a small documentary, rewrote box office history for independent cinema.

The first South Korean documentary to compete at the prestigious Sundance Film Festival, ``Old Partner'' has drawn in over 100,000 viewers since its release Jan. 15. The number may seem small when compared to box office scores of local blockbusters, but it is the largest ever tally for an independent movie and is doubly significant considering that documentaries are a minority within the minor genre.

Man's Best Friend, Cow

The Year of the Ox has so far been a lucky one for Lee. ``Selling over 100,000 tickets isn't all that great,'' said the ``Old Parnter'' director, jokingly complaining about non-stop press meetings in an interview with The Korea Times. ``I also hope the Hanwoo (hanwu) Association doesn't send me a written protest,'' said Lee about unintentionally dissuading some viewers from consuming hanwu. The 42-year-old himself does not eat beef.

In Korea, which was traditionally an agricultural society, cows were the most helpful farmhands. After a lifetime of servitude, it gave off itself for a rare feast, and Koreans ate everything from head to tail, with gratitude.

``Today, cows are just thought of as beef. I wanted to show it could be more than that,'' he said. After searching for subjects, the director found a miraculous 40-year-old cow in North Gyeongsang Province ― cows usually live for only 15 years.

The documentary traces an old man's inseparable relationship with his old cow. Unlike his neighbors, Choi Won-gyun, 80, refuses to live in tune with modern times. Despite his bad leg, he stubbornly works with his cow instead of a tractor. The cow also helps him gather firewood for their ondol (traditional floor heating system) and safely drives him downtown through traffic.

To the great chagrin of his wife, Choi refuses to spray insecticide since it is harmful for the cow, and insists on giving the cow homemade feed. The film is spiced with humor as it portrays dynamics between the typical nagging wife and the taciturn husband. ``There is also a sort of love triangle between the old man, his wife and his beloved cow, which is female,'' said the director.

But old age and death go hand in hand, and the cow has only one year left to live. The camera captures spring, summer, fall and winter in the countryside, and the constant ringing of ``weonang'' (cowbell, the film's Korean title) and the whisperings of nature's creatures make up the soundtrack. The film leaves a lasting sting in the heart as viewers are left on their own to graze upon life, friendship and death.

``Old Partner'' steers away from convention, and does without a sappy film score, narrator or interviews. Nor does it strive to uncover a truth with a cold eye. Rather, it documents a sentiment and fully incorporates the director's intentions ― ``It's like breaking down facts, like pieces of a jar, and piecing them back together in my own way,'' explained Lee. ``The documentary is in chronological order, of course, but I edited it in a way so that there would be a balance of heavy drama and comic relief,'' he said.

``Not all documentaries need to be serious and critical of current events. The documentary genre needs to become diverse, and it's meaningless if it cannot communicate with viewers,'' he said. Lee, in fact, was unable to utilize the advantages of the genre: Choi didn't want the production to interfere with everyday life, and so the director was unable to film interviews.

There were also budget problems. ``Old Partner'' took over three years to make, and even though using the digital medium saved money, Lee had to take a part time job. He sometimes needed to double as the director of photography, and because he had to commute, he missed a couple of incidents he would have liked to insert in the movie.

``Editing the film served as a time for self-examination. I wondered if we truly understand what's best for our parents,'' said Lee, whose own parents also live in the countryside. The movie features a traditional visit by Choi's grown children on Chuseok (Thanksgiving). Oblivious of their father's friendship with his cow, they tell him to sell her, since keeping her would only encourage him to toil in the fields.

``The film is about an incredible story of a man and his cow, but I hope it will enable all of us to think about our parents,'' he said. Another concern for Lee is that the film's popularity directed the media spotlight to Choi, who has just started recovering from his old partner's death. ``Please leave them alone,'' he said.

English subtitles are now available for ``Old Partner'' at Indiespace, located within Spongehouse Myeongdong (aka. Joongang Cinema), near Eulijiro 3-ga Station on subway lines 3 and 4. All ages are admitted. 78 minutes.

A Blind Musical Genius’ Proposal to Obama

Korea Times Photo by Shim Hyun-chul

What would cost thirty seconds of a subway passenger’s attention to the callings of a blind man?

Nothing for some, too much for others who choose to ignore him. But for Song Yul-koong, his livelihood depends on such relative choices. With unbending consistency for over 18 years, this 37-year-old composer has been raising money on the Seoul subway from 7 a.m. to 8 p.m. Those who take the time to read his story give generously, but the economic downturn reflects heavily upon his meager earnings these days.

A countless number of fancily packaged press releases make their way to the recycling bin, but the Xeroxed pages of handwritten text by Song’s mother, funded by the musician’s subway profits, keep a firm spot on this reporter’s shelf.

In his teens and 20s, Song gave concerts at the most prestigious halls in South Korea including the grand theater of the Sejong Center for the Performing Arts. The media trailed his feats in international competitions and even his appointments with the ophthalmologist. The passage of time, however, has been rather cruel for the artist, now forgotten but penniless as always.

The Korea Time revisited the composer in over 10 years. Or more precisely, Song found his way back to the newspaper after the long hiatus, though looking just as young, and smiling pleasantly, as he did in his decade-old photographs.

``Professors and public figures who supported us are no longer able to for various reasons. It’s been difficult but Mr. Obama’s election gave us the courage to rise back up,’’ said Song’s widowed mother Hye-mi, who has always been by her son’s side.

Song beckons a return to the public radar with a proposal to play a piano piece for U.S. President. He urged The Korea Times to help publicize his dream: he was greatly inspired by Obama's election and hopes he can do the same with music for the physically disabled, who face discriminations like many people of color do.

``I cannot see, but there are those who cannot walk or are missing an arm, and my wish to play for Mr. Obama stems from fellow feeling,’’ he said. `` People shouldn’t be disadvantaged or become part of the minority group just because they are different.’’

This blind man’s world may have no light, but sound and fantasy take flight without visible limit in his music. Some of his pieces test conventional concepts of melody and harmony, but others, like the serenade ``Min-sun Sound,’’ has an easy and almost addictive rhythm. Song’s music finds inspiration in the sound of nature and the hidden beauty of things mundane.

Mr. Song, left, and his mother Hye-mi

As a child, Song would run the faucet all day long, pave the bedroom floor with bottle caps or play with salt -- causing great chagrin for his mother. ``I didn’t realize Yul-koong was experimenting with sound and harshly reprimanded him,’’ she said. Even though a three-year-old Song showed proficiency with the piano the first time he laid his fingers on it, she didn’t realize his musical genius until he remarked one morning, at age 11, ``Here comes a duet song’’ upon hearing two newspaper boys run up the steps of their apartment building.

Without any formal musical training, Song launched a musical career by winning international modern music composition contests in Japan and France, and met great modern composers like Isang Yun and John Cage. The latter supposedly claimed that Song’s works as a child were superior to his own written at age 50. Song wishes to play for Obama ``Song of the Earth,’’ an award-winning piano piece he wrote when he was 10.

``But even if I do succeed in realizing this impossible dream of playing for Mr. Obama, I’m not sure what kind of effect that would have for the physically disabled,’’ he said. ``I have given pretty big concerts, which were not just about my music but also campaigning for causes such as decreasing traffic. But their effects were short-lived. A problem with our society is that there is a lack of enduring interest in social problems,’’ he explained.

One must ask: how much would four minutes of Barack Obama’s time cost? Probably high, considering he’s one of the busiest people in the world. How about the value of inspired music? Priceless -- like a certain credit card advertisement would say. And how about the ripple effect it may have? Boundless.