`Venus and Mars’ Defies Expectation

"Venuse and Mars" (싸움; Ssaum)
Directed by Han Ji-seung (한지승)
Starring Kim Tae-hee (김태희), Sul Kyoung-gu (설경구)

Cognitive dissonance is a psychological phenomenon that refers to the discomfort felt when what you already know clashes with a new interpretation. ``Venus and Mars'' feeds off this idea from beginning to end, as director Han Ji-seung (``A Day,'' 2001) ironically defines love through the art of warfare, using a mix of genres dubbed ``hardboiled'' romantic comedy.

Called a romance guru for his hit TV series ``Alone in Love'' (Yeonaesidae, 2006, SBS), the director makes a comeback on the silver screen where he traces a highly volatile emotional ― and physical ― tug of war between a divorced couple. But ``Venus'' becomes a rather confounding audiovisual experience as he forcefully packs heavy melodrama and surreal, comic elements.

``Venus'' is crafted in the style of ``The War of the Roses'' (1989) crossed with ``Mr. & Mrs. Smith'' (2005) ― and a touch of ``Kill Bill'' (2003). A minor quarrel spins out of control, and you've got cars crashing and burning, wrestling in a pile of ostrich dung and police intervention. It becomes too difficult to lightheartedly laugh at the funny parts, while the dramatic moments capturing the subtle emotional tension between a divorced couple are rather stilted.

The film made headlines as it cast an unlikely pair to play improbable roles: actress Kim Tae-hee eradicates her frail, angelic image to play as a woman with serious anger management issues, while the older and charismatic Sul Kyoung-gu, known for playing tough anti-heros in films such as ``Peppermint Candy'' (2000), turns into a super-sensitive guy.

Hot-blooded glass artist Jin-a (Kim) and faint-hearted, cleanliness-obsessed entomologist Sang-min (Sul) have absolutely nothing in common. But opposites attract, and the two tie the knot after a string of ultra dramatic break-ups and make-ups. The two end up splitting, however, when a bug-in-the-glass-jar incident demonstrates their irreconcilable differences.


But just when they think they've been liberated from the past, repressed emotions ― and high kicks ― take full pendulum swing over nothing. Sang-min had split every single item in half, including his cherished clock after their divorce. On a mission to recover the missing pendulum from Jin-a, he inadvertently triggers his hot-tempered ex-wife, who gives him an ultimatum.

Seeing a spineless, obsessive-compulsive Sul is bound to create more cognitive dissonance in viewers than Kim's high kicks. Sul's bona fide acting suggests he's born for the role. The film features some delightful details, such as when Sang-min is bathing his pet bug Wu-kyung or scraping off miniscule bits of dried toothpaste in the bathroom, or when he is about to run away from his ex-wife in a movie theater and happens to stand against the emergency exit instructions.

Unfortunately, such wit does not translate into the overall quality of the film. It makes some pathetic attempts to squeeze out laughter by resorting to extremes, rather grotesquely. Sul's obsession with order and cleanliness is funny at first but becomes freaky ― you begin to think this guy needs some serious treatment, as does his friend, an agricultural studies professor who's infatuated with his cow. Jin-a, on the other hand, remains a rather undeveloped character that borders on hysterical, while her divorced friend, bloodthirsty for revenge against the all the ex-husbands in the world, defines hysteria.

The director deserves credit for not settling with something safe. But it's unfortunate that ``Venus'' feels more like a bits and pieces of a romance movie, animation and hardboiled action film messily slapped together. It's fun when films experiment, but ``Venus'' throws the viewer into a state of cognitive dissonance that makes it hard to digest.

`Our Town' Deconstructs Murder

"Our Town" (우리 동네, Uri Dongnae)

Directed by Jung Gil-young (정길영)

Starring Oh Man-seok (오만석), Lee Sun-kyun (이선균), Ryu Duk-hwan (류덕환)

Unlike what its title might suggest, director Jung Gil-young’s ``Our Town’’ is not some fuzzy family drama. It’s a crime thriller where five women are brutally killed. Not another serial killer story, you may say. But, again, the film kills your expectations as it takes you on a novel cinematic experience -- a flight into the mind of not one, but two, killers on the loose in what could be ``our’’ neighborhood.

First off, the title needs some explanation. It is a literal translation of the original title ``Uri dongnae.’’ A Los Angeles Times column (July 24, 2006) once highlighted how the Korean language thoroughly reflects the collective nature of Koreans, who prefer the unassuming ``we’’ over the individual ``I,’’ and thus leads to the stapling of group pronouns ``our’’ (uri) rather than ``my’’ in front of objects. So saying ``our house’’ or ``our town’’ creates a communal sense of ownership and establishes a sense of mutual connection.

That’s the irony. This is a violent and disturbing murder story that is definitely not for children -- so the ``our’’ part doesn’t work there. And yet, the movie suggests such horrors can happen next door.

In a quiet, ordinary neighborhood, three women and a young girl are ``crucified,’’ with their dead bodies tied up in the form of a cross in public areas. Kyeong-su (Oh Man-seok), a struggling novelist, impulsively slay his landlady during a nasty quarrel over rent. With the recent happenings around town, he conveniently covers up his crime as the doings of the serial killer.

Kyeong-su’s childhood buddy and police officer Jae-sin (Lee Sun-kyun) begins to suspect the fifth victim was a copycat case. Meanwhile the actual serial killer, Hyo-i (Rue Duk-hwan), begins to track down his copycat.

This isn’t a conventional cat-and-mouse game between the police and killer. The movie immediately reveals the Who, What, When, Where and How, and the action feeds upon the disturbing Why part as the systematic murderer and impulsive killer trail each other’s paths.

Even the most hardened of crime thriller fans will be able to taste something new, as the suspense is rooted in the mind game between two murderers. And it’s more disturbing yet as the story takes place within the context of a neighborhood.

Hyo-i is the great guy next door. He’s the helpful owner of a small stationary store and has the face of an angel. Kyeong-su is also an ordinary guy, but can apparently commit murder when cornered. It shows how, in a spur of the moment, one can give into one’s darkest desires and bestial urgencies.

What the movie does is play with the human thought process, the stark difference -- or lack thereof -- between imagination and reality, wanting to kill and the actual act of killing.

In one scene, the murderer makes a girl sing a song, but still takes her life with a smirk: ``It’s just technique, nothing genuine.’’ Obviously he’s not happy with the singing. Lee Moon-sae’s good old love song is juxtaposed with the inhuman act, making it even more harrowing. It suggests the psyche of the psychopath, someone who kills for the sake of killing without a vengeful motive.

But unlike psychopath films like ``Black House,’’ the movie deals with more ``humane’’ killers and does a decent job of portraying the aftermath of a trauma and the copycat effect on individuals. ``Our Town’’ is an unsettling psychological drama that shows how the act of killing becomes a source of emotional release and rapture for the shattered soul. It deserves some comparison to Jean Giono’s novel/film ``Un Roi sans divertissement’’ (1963).

Although some of the highly dramatized, crisscrossed relationships in the film are slightly clichéd, the bona fide actors -- theater stars Oh Man-seok and Lee Sun-kyun who have recently been giving stellar appearances on TV and rising star Rue Duk-hwan (``Like a Virgin’’) -- give gripping, and disturbing, performances. These are neighbors we definitely don’t want in our town.

Director Explores Korean-American Identity

By bringing to Korea ``West 32nd'' ― a gritty, street-style crime film that delves deep into the underworld of New York Koreatown ― director Michael Kang explores the Korean-American identity, including his own. It is a continuation of the directorial concerns from his feature debut piece ``The Motel.''

``I needed this much time to get the film made, I needed `West 32nd' to be my second film. I think it was a personal journey, and it was a personal challenge, too, to make the film,'' Kang told The Korea Times in a recent interview in Seoul.

Growing up in the suburbs of New England, the award-winning director had never been exposed to such a large Korean community until he moved to New York for college.

``It was very jarring to me, my relationship with that community. I would walk around in Flushing (Queens, New York) and look like anybody else but I felt like I didn't belong there. That's what I very much wanted to explore (in `West 32nd'),'' said the New York University graduate.

Kang became well-known in the international circle with ``The Motel,'' a coming-of-age story about a young Asian American boy living in a cheap suburban motel. The piece won much critical acclaim and awards including the 2003 Sundance/NHK International Filmmaker's Award.

His second film takes place in the heart of New York's Koreatown (K-town), which lies on West 32nd Street. Ambitious attorney John Kim takes on a pro bono case to defend a Korean teenager implicated in a gang-style homicide. Over the course of the investigation, he meets Mike Juhn, a local thug, and becomes entangled in a world of mobsters and mayhem. Kang said that the mainstream-style film is inherently similar to ``The Motel," a smart indie flick.

``They're just different styles. The base of both films is rooted in characters you don't usually get to see. I feel like the gyopo (Korean-American) community really has not been shown on film before,'' he said. ``To me the message of the movie is that Koreans in America are very lost, very disconnected and they don't know where their place is,'' he said.

But why is the film based in New York instead of L.A., which has a larger and more deeply rooted Korean community? ``Partially because I'm from New York so it made more sense to shoot the film there. But it's also because it's the farthest you can get from Korea, so people are almost in this little island. Whereas in L.A., there are people who can live there without knowing any English. In New York, you can't do that ― the Latinos are here, the Jews are right there and the Chinese are right behind you.

``In L.A. K-town, people are more comfortable. People are usually completely bilingual, they can exist in both worlds ― they're very attached to their Korean culture and like to hang out in K-town but will also have a regular job where they're part of mainstream American culture and have no problem fitting in there.

``Whereas in New York, you have to make the decision, like those two characters, John and Mike,'' he said. John is the classic American success story; a lawyer climbing the mainstream American corporate ladder, while Mike tries his best to ascend the hierarchy of the Korean crime gang. They are polar opposites are but are in fact kindred spirits.

John Cho (Courtesy of CJ Entertainment)

``Mike has just as little clue about Korea just as much as John, even though he seems more in touch with his Korean side. Partially by exposing that and exposing the American culture in the movie, Koreans also get a look at what America is. Though I may be wrong, they might have a romanticized view of the Korean-American community,'' he said, explaining how he wanted to show the other side to the success stories of Michelle Wie and Daniel Dae Kim.

In the film, the convicted boy's older sister is well-off. ``I have a lot of friends whose brothers are in jail while they are working at a big Forbes company, so it's an interesting phenomenon,'' said the director.

Although the movie is fictional, it is deeply rooted in reality. Edmund J. Lee, who co-wrote the story with Kang, discovered an intricate Korean crime network in New York while working as a reporter for the Village Voice.

``The architecture of New York very much helps the inaccessibility of this (underground world). Beneath all those noraebang (karaoke) and restaurants, there are room salons (bars) there and different things that you need access to in order to enter,'' said Kang.

The director explained that Lee had followed a ``yangachi'' (thug) around for a year to really understand the K-town crime scene. In fact, the supporting actors that played the young teenage boys were actually kids from the area. They were part of the creative process to portray the true culture of K-town and create realistic ``Konglish'' (mix of Korean and English) and slang-ridden dialogue.

``West 32nd'' also brings together the best of Korean talent in the U.S. and Korea, with popular actors John Cho (``Harold and Kumar'') and Grace Park (``Battlestar Galactica''), and Korea's top star Jeong Jun-ho and hot newcomer Jun Kim (Kim Jun-seong).

``I was a big fan of John's from way back… As we were writing the script he became the shorthand for (my co-writer) and me, we'd just talk about it as if it were John Cho but we never thought we'd be able to cast him,'' said Kang, who spoke of his likewise great luck in casting Grace Park. As for Jeong, he said it was an ``unbelievable fantasy, because I know that he's like an icon here, and that's exactly what we needed.''

Kang said Jeong's star power is key for the film because ``he's the last connection to a real Korean. Within three minutes of the film he's dead, and the rest of the movie is about how his death affects these Koreans in America who are lost and have no connection anymore to Korea. So symbolically it works.''

Kang's bridge-making efforts continue. Upcoming projects include the production of a film here about Korean-American guys making their way through the dating scene in Seoul, which he describes as `` `The Swingers' (a male version of ``Sex and the City') meets Kim Ki-duk,'' and a TV show for HBO about Chinese-Americans, the first Asian American family drama in a long time.

His next big directorial project is a human-trafficking story that takes place in Africa. Although Kang's personal journey as a Korean-American may have halted for the time being, his filmmaking endeavor goes on.

One can expect more of Kang as he wrestles the crippling challenge for all artists ― that is, taking one's cultural assets to create something new and named.

``West 32nd'' awaits release here Nov. 22, exclusively at CGV multiplex theaters. For tickets, visit www.cgv.co.kr. To learn more about the movie, visit http://www.w32nd.com/.

>>Read my movie review of "West 32nd"

>>Read my interview with John Cho.

>>Read my interview with Daniel Dae Kim.

`West 32nd' Breaks Down NY Koreatown

It gets down-and-dirty like the gritty streets of New York. In ``West 32nd,'' Korean-American director Michael Kang gives the classic detective genre a fresh twist as he tells the untold story of a Korea that exists in the heart of the Big Apple.

West 32nd Street is the geographic location of New York Koreatown (K-town) near the Empire State Building. But even those who are familiar with the ``noraebang'' (karaoke), stationary stores and ``seoleongtang'' (Korean beef broth) restaurants lining the strip will be shocked to know that there lies a whole new world beneath it all -- where Korean gangsters and ``organized'' mayhem reign.

While snippets of Koreatown have began to appear (fleetingly) as an exotic backdrop in Hollywood films like ``Collateral'' (2004) and ``Shoot 'Em Up'' (2007), it remained a relatively unexplored territory, and ``West 32nd'' breaks it down, once and for all.

In the dark corner of K-town, a bar owner Jin-ho (Jeong Jun-ho) is shot to death. Ambitious young lawyer John Kim (John Cho) offers to defend the 14-year-old Korean boy convicted of the homicide pro bono. Over the course of the investigation, he meets Mike Juhn (Jun Kim), a ruthless thug ascending the hierarchy of the Korean underworld.

Though polar opposites, the two quickly become friends. Mike is contemptible as much as he is charismatic -- an anti-hero with the tempting appeal of Kurtz in ``The Heart of Darkness.'' He attracts John like a lamp would a moth in his anarchical world that lies outside the reach of state laws.

To complicate things, John starts to fall for his client's beautiful older sister Lila (Grace Park). But winning the case -- a fast ticket to promotion -- is always his top priority, while Mike takes ``the guy from the other side'' under his wing to manifest his own grand visions.

``West 32nd'' is a classic crime movie but it's also a story about Koreanness and Americanness, and the murky middle ground in between -- a critical branch of the Korean diaspora that constitutes the thin but integral thread of the American social fabric.

In recent years, independent films like ``Better Luck Tomorrow'' (starring John Cho) and Kim So-yong's ``In Between Days'' began to accurately portray the Asian American community, but ``West 32nd'' really punches the genre through with a strictly mainstream appeal.

In the American context, the film shines through for breaking the model minority myth -- the false stereotype about Asian kids being all math whizzes who go to Ivy League schools and thus in no need of Affirmative Action. For mainland Koreans, it looks at the dark side of the American Dream, that moving to the U.S. does not guarantee wealth and success.

Just as ``West 32nd'' serves as the missing link between the two Korean communities, it brings together top talent from each side, popular actor John Cho (``Harold and Kumar'') and ``Battlestar Galactica'' heroine Grace Park from the United States and top star Jeong Jun-ho and hot newcomer Jun Kim (also known as Kim Jun-seong) from Seoul.

The film also does justice in presenting the Asian community, like the dialogues that are realistically crafted with ``Konglish'' or a clever mix of Korean and English. Characters like Mike and Jin-ho (Jeong) ooze with sex appeal, bashing stereotypes that deprived Asian men of their sexuality. It depicts more disturbing truths, touching upon racial conflicts within the Asian American community and hints upon human trafficking issues.

``West 32nd'' is not a feel-good movie. Deeply embedded in the bitter and ironic reality of life, the film's ambiguous nature will leave some feeling slightly confounded.

But it doesn't drown with heavy drama. Far from being preachy, it has a rhythmic street-style beat sprinkled with good humor -- provided by a pair of ``Dumb and Dumber'' characters -- and an eye-catching array of ``poktanju'' or Korean-style boilermakers. So get ready to descend into an intoxicating underworld you may find hard to turn back from.

Cellist Yang Sung-won: "Completing" Beethoven On & Off Stage

(Korea Times Photo by Shim Hyun-chul)

Having recently released the country’s first recording of Beethoven’s complete cello sonatas, cellist Yang Sung-won and pianist Pascal Devoyon will give a rare marathon performance in Seoul, Nov. 4, along with shorter concerts in other cities. Before the two musicians begin their cross-country concert tour, Yang sat down with The Korea Times to discuss music and life, and stepping toward his dreams, in a coffee shop near a Seoul park. Tuesday.

Beethoven’s cello pieces are the first sonatas in the history of music to treat the cello as an equal partner for the piano. Recording the deaf maestro’s complete sonatas is meaningful in that one can ruminate the very essence of his life and works.

``For both Pascal and I, this kind of project (signifies) approaching one or two steps closer to our dreams. (Beethoven’s) pieces are like utopia -- you read about it, you study about it, perform it and you understand the piece. You can have your own utopia in your mind,’’ said the 40-year-old, with eyes glimmering. ``And when you’re performing it, the reality always walks along with us.’’

Yang is internationally renowned as a soloist and chamber musician, performing in prestigious concert halls in all corners of the world. A graduate of the Paris Conservatory and Indiana University, he currently lives in Seoul and teaches at Yonsei University School of Music.

``When the project came up (working with Pascal Devoyon) was an obvious and evident choice because our musical goals are in the same direction,’’ he said. Yang and Devoyon have been well acquainted, having attended music festivals together in France and Korea for the past six or seven years.

``And Pascal is somebody that I respect and admire a lot, as a pianist, as a musician and above all as a scholar as well,’’ said the cellist. Devoyon is a renowned pianist, appearing on stage with major world orchestras. He received the French government’s prestigious l’Ordre du merite as Chevalier in 2001 and currently teaches at the Berlin University of the Arts.

Beethoven’s five sonatas represent all of what is commonly considered his three periods, from the Classic period, when he was searching to find his own identity to get away from the shadow of Mozart and Hayden, and to have his own musical world; from the Romantic period, when Beethoven achieved his highest artistic goals; and finally the Spiritual period, ``where he really reaches out in his inner feelings and translates that into the art, which is called music,’’ said Yang.

When asked about what music means to him, he said, ``I was born in a musical family,’’ and explained that his father and older brother were both violinists. ``So from as far as I can remember back, we’ve had music in the house.

``Obviously, it’s my profession, but it’s a profession that I cannot live without.’’ Yet, he pointed out that as a performer it is a ``a constant challenge,’’ explaining that ``when the composer has completed his piece, for me that’s 50 percent complete. It’s exactly at the moment we’re performing it’s being complete… It’s our duty to be up to the level of the pieces we’re completing. In other words we try our best.’’

Despite having award winning recordings and a string of critically acclaimed performances under his belt, the cellist was very humble and emphasized repeatedly the importance of being earnest and keeping in shape.

Marathon Concert

Classical music buffs should not miss this occasion to spend almost half a day at an art hall, with two and a half hours -- plus alpha -- of Beethoven. Music critic Yoo Hyeong-jong will give the audience a brief historical background about Beethoven’s time and insight about the maestro as a human being. After an hour of the first two sonatas, a 15-minute intermission and the third piece, the audience can go on a one-hour dinner break to come back for the last two sonatas. The Mozart and Handel variations are ready as encore pieces, said Yang, if the audience is still willing to listen. So make sure to cheer on.

``There’s nothing to be scared of, to either digest the music they hear or rest a bit,’’ added Yang. ``We very much hope the audience will be actually witnessing the work being completed, and share with them -- I say share because we’re not just giving it to them, we’re playing for ourselves, too,’’ he said with a big hearty laugh.

The marathon performance will take place at LG Art Center, southern Seoul, beginning 4 p.m. on Sunday, Nov. 3. Tickets cost 30,000 won-60,000 won. The hall is located near exit 7 of Yeoksam subway station on line 2. Call (02) 2005-0114 or visit www.lgart.com for reservations and information.

Yang and Devoyon will give three shorter performances outside of Seoul, Monday, Oct. 29, 7:30 p.m., at Gimhae Art & Sports Center (www.gasc.or.kr); Wednesday, Oct. 31, 7:30 p.m., at Daegu Suseong Artpia (ssartpia.or.kr); and Tuesday, Nov. 6, 11:00 a.m. at Changwon Sungsan Art Hall (www.sungsan.or.kr). The repertoire will vary for each performance, so visit the Web sites for each respective concert hall near you. You can also call (02) 2187-6222.

Yang and Pascal will take their marathon concert to Japan next spring, but it will be a two-day concert this time.

John Cho Speaks About Being Asian in Hollywood

Oh my hotness John Cho, left, photo by moi, Hyo-won Lee for The Korea Times :)

BUSAN -- Korean-American actor John Cho, 35, is becoming a familiar name in the United States, especially for playing parts that don't have to be played by an Asian. Yet, there remains a challenging upward climb for Asian Americans in Hollywood, according to the star.

``First it's difficult being an artist, and it's difficult being an actor, period, and it's difficult being an Asian American actor. When I started acting… the community was largely Chinese American or Japanese American, so even then I felt like a minority in the minority,'' he told reporters during a private interview at a Busan hotel, Tuesday.

Cho was invited by organizers of the Asian Film Market, running in conjunction with the recently held 12th Pusan (Busan) International Film Festival, as one of the guests of the Star Summit Asia.

``It's crazy now there are so many Korean-American actors,'' he said, explaining how amazing it is that the children of first generation Korean immigrants are entering the arts so fast. Asked if he is close with any of his fellow Korean-American actors, he said ``I avoid them. No, I'm kidding,'' drawing much laughter from the room. He said he is acquainted with actors Daniel Dae Kim, Sandra Oh and his ``hero,'' comedian Margaret Cho.

Born in Seoul in 1972, Cho immigrated to the Los Angeles at the age of six. He stepped into the world of acting by chance in college, when he happened to be the same clothing size as an actor who wasn't able to play his part in a small production. Cho was majoring in English literature at U.C. Berkeley at the time.

Growing up in Los Angeles' Koreatown, Cho said he felt like a ``misfit'' and loved the theater because it was like a mecca for all people who didn't fit it. ``That's what I liked about (acting) then and that's what I like about it now,'' he said.

``I didn't think it was possible for Asians to be actors,'' he said. But things changed with his first professional role in a play called ``The Woman Warrior,'' written by Chinese-American Maxine Hong Kingston. ``When I met all these (Asian) professionals, it really opened a door for me.''

Yet, to this day there still exist deeply imbedded Asian stereotypes. ``I feel that there's a shift in the industry, that they're not seeing me as just my race; but they're seeing my personality and seeing me more as a person and an Asian in general,'' he said.

Cho was voted one of the 2006 ``Sexiest Men Alive'' by People magazine. ``I think that was a mistake… a typo… It's very nice, but it's difficult to take that sort of thing seriously. You know what, print `I am sexy,''' he told reporters, and the room burst into laughter.

In addition to popularizing the term ``MILF'' through his short but memorable appearances in the ``American Pie'' trilogy, Cho made a breakthrough in ``Harold and Kumar Go to White Castle'' by portraying a believable _ and funny _ Asian guy in a mainstream film. Harold is a dorky Korean-American investment broker coming to terms with personal struggles, being taken advantage of at work and having to deal with his parents' expectations to marry a Korean.

Some thought the film feeds upon Asian stereotypes, and to this, Cho said he saw it as being exactly the opposite. ``It was only a small segment of Asians who saw a nerd when it was actually an `everyman,' which is how they (the makers of the movie) wrote it and I approached it… I saw it as what Tom Hanks does (in his films).

``The least stereotypical part about the movie is having an Asian as a protagonist and not as a side character… Almost by virtue of being the main character, it negates being a stereotype,'' he said.

Despite Cho's comic roles onscreen, he was surprisingly serious _ though laid back and down to earth _ in person, and chose his words very carefully. ``People expect me to be funnier… be Mr. Chuckles. People treat me… like an old drinking pal,'' he said. ``It's actually a nice feeling because when you make people laugh, it makes them feel close to you,'' he told The Korea Times in a subsequent interview later on.

``I don't want to pat (Hollywood) on the back too much, because, although there's been progress, we have to measure it against where we should be and I still feel as though we're far behind where we need to be, even though there's cause to be optimistic,'' he said.

Cho pointed out the problem of actors agreeing to play an insulting or racist role in Hollywood, thereby endorsing those values. He said actors can advance change very simply and powerfully by ``saying no.''

``What if they audition 100 people and 100 actors said no. Then two things would happen: One is that they would know that what they wrote was offensive. They would know that. And secondly, they couldn't do it. So we take their tools away because we are their tools. So when we do stereotypical roles we are helping them, and so I think to turn that around, we should say no, and that's the most powerful tool that we have,'' he said.

Since his rise in popularity _ being one of the most searched names in Youtube, and appearing on popular TV shows like ``The Singles Table'' and ``Kitchen Confidential'' _ Cho has become a face for the Asian American community. Asked if he ever feels burdened about it, he said that he is sometimes ``jealous'' of white actors because ``they don't have to think about representing their race.

``We (Asian American actors) shouldn't have to do this. So it feels unfair. And yet, it is an opportunity. It just so happens that I'm in a position to, by some bizarre act of God, I'm in a position to change things… So I might as well do what I can,'' he said.



Mr. Cho in a scene from "West 32d"
(Courtesy of CJ Entertainment)

Cho also made his visit to Asia's largest film festival for his latest film ``West 32nd,'' in which he plays opposite Korea's favorite leading man Park Joong-hoon.

``This production was special because it was made by Koreans or Korean-Americans, so there was a real sense of family… To have an entire cast in a movie be Asian is unheard of, and to have an all-Korean cast is even more rare,'' he told The Korea Times.

His film ``Better Luck Tomorrow'' had tackled the ``model minority'' issue of Asian Americans being stereotyped as hard-working, social ladder climbers, who, unlike their black or Hispanic counterparts, don't need benefits such as Affirmative Action. The movie had even initiated a small campaign among Asian American college students in the New England area called ``Watch BLT (Better Luck Tomorrow).''

Cho played a troubled teenager in the movie, and about his own teenage experience growing up in Los Angeles' Koreatown, he said he was ``a little rebellious… but I don't know if it was more than normal,'' he said.

``You're trying to grow up and you don't want to be like your parents, and that gets mixed up with being Korean…They brought their values from Korea, and I accepted them because I didn't know anything more,'' he said about being Korean-American.

``But as I grow older, I feel more Korean every year, it's very strange,'' he said.

Although the media portrays the actor as a successful Korean American who set foot in Hollywood, Cho himself said: ``Maybe it's my neurosis, but I still don't feel settled,'' he said, adding that he would love to play roles he played as a child with his younger brother, like a cowboy or Superman.

`Lost' Star Daniel Dae Kim Feels Lucky About Success

Mr. Kim was uber nice, and much better looking in person. I was so glad to hear about the very understandable reasons for his strange Korean accent on "Lost." The interview had added dimension to it because his wife went to my school; they dated during college so he knew my school very well :)

Interviewing Daniel Dae Kim in Busan, during 2007 PIFF /Photo by Rachel Lee

Being an Asian American in Hollywood, Feeling Home in BusanBy Lee Hyo-wonStaff ReporterBUSAN -- For actor Daniel Dae Kim, who shot to international stardom through the hit ABC TV series ``Lost,'' the walk on red carpet at the 12th Pusan (Busan) International Film Festival meant returning to his native town.

``I'll be honest. I was a little scared (walking down the red carpet). I'm used to it in the U.S. and Europe. But because I'm from here, it mattered a little bit more. I haven't felt that way in about four years… It was also the longest red carpet I've walked on,'' he said with a slight chuckle.

``I have very fond memories of this area -- my imo (aunt) still lives about half a mile away, my samchun's (uncle's) family lived up on the hill, and I was born in Seodaeshin-dong. I was telling my parents I was coming to Busan, and `Make your country proud,' they said,'' the 39-year-old said with a big hearty laugh.

Unlike his stern character Jin from ABC's hit TV series ``Lost,'' Kim was very down-to-earth and easy-going in person, flashing a bright smile every now and then. Voted one of the ``Sexiest Men Alive'' in 2005 by People Magazine, the actor's sharply chiseled features -- high cheekbones -- were just as charming in real person.

Kim had immigrated to the United States with his family as a baby, and grew up in New York and in Pennsylvania ever since. He said he is happy to back to the Haeundae area; he had spent about three months there in the early 1990s.

``Honestly, I feel like I'm home,'' ``It sounds so cheesy when I say it but I really feel a connection. You know, I'm so grateful, so 'bangaweo' (delightful and welcomed),'' he said, explaining that although he was raised in the U.S., he had to take off his shoes when he entered the house. ``My belief system comes from my parents, which is Korean,'' he said.

``The one thing I don't like about coming to Busan though, is that I've been trying to get ride of my saturi (local accent), and now I'm speaking with all my relatives and it's all coming back,'' he said, chuckling.

Ever since the ABC hit show started first airing, it was the talk of the town for not only starring two Korean actors in the main cast, but for also featuring dialogues in Korean. It naturally garnered much attention from Korean viewers, and sharp criticisms ensued when Kim spoke with a rather strange accent.

``I was criticized for my accent, and part of that is because of my Busan accent mixed with my American accent, so people thought I just did not know how to speak Korean at all… But you know, I like the saturi (accent),'' he said, agreeing that it's part of who you are. He added that his wife, with whom he's been married for 14 years, is from Seoul, so her relatives find his Busan-American accent hilarious.
After graduating from Haverford College, Kim made his acting debut in theatrical productions. He then went on to earn his M.F.A. from New York University and has starred in popular dramas such as ``ER'' and ``24,'' and has made guest appearances in ``Ally McBeal,'' ``The Practice,'' and ``Law & Order'' to name a few. Then came ``Lost,'' which would change his life forever.

``I know it's a cliche but I really do feel lucky. You know in the States, for Asian-American actors there aren't that many opportunities. To be on a show alone is lucky, but to be on a hit show that win awards and it's recognized all over the world, that's maybe once in a lifetime,'' he said.

Despite the initial negative feedback, the actor has become almost a household name here as the popularity of American dramas, called ``Mideu'' here, have skyrocketed in recent years.

``(Kim Yun-jin and I) are in a very fortunate position. I come to a place like this (PIFF), and I'm recognized by Korean fans, I consider myself very lucky,'' he said.

Kim's advice to aspiring actors is simple but to the point: ``Work hard. Because if you only get that opportunity once in your career, you have to be able to seize it, you have to be able to get that job because you may not get another chance. Because if you're not prepared, if you don't have the acting training, if you're not concentrating on yourself, that one chance might miss you and that will be the end,'' he said.

Having grown up in Easton, Pennsylvania, where there were virtually no Asians other than his family, Kim explained that he ``definitely had a sense of being an outsider growing up.'' But he would break stereotypes of Asian being quiet model students in high school: ``I did everything I could to fit in,'' said the actor, who was not only a football player but also class president.

Kim has won the Screen Actors Guild Award in 2006, and he was individually honored with an AZN Asian Excellence Award, a Mutlicultural Prism Award and Vanguard Award from the Korean-American Coalition, all for Outstanding Performance by an Actor.

Having been asked to represent the Asian-American community in many ways, Kim said that it was a great honor and privilege, saying ``Asian-American image is very important. When you're lucky enough to be in a position like that, you should do whatever you can to better it.''

Kim and family live mostly in Hawaii, the location for ``Lost.''

``Living in Hawaii is great. I love the fact that there are so many Asian people. I don't feel like a minority there. I think that it's the only place in the world where you can be Asian, be the majority and speak English,'' he said.

As for possibilities in the Korean entertainment business, Kim was very positive, though very careful, as he always is in choosing a good project where he can portray ``genuine, three-dimensional characters, rather than mere caricatures.'' But he also expressed concern about Koreans having negative impressions of ``gyopo'' or Korean-Americans dabbling in the Korean entertainment business and leaving poor images.