Edited by Sarah Cooper sarah.cooper@emap.com


DIARY Kang Hye-jeong The Unjust Behind every man...


BY JEAN NOH Kang Hye-jeong is not only the producer of Korean film The Unjust, which is screening in Ber- lin’s Panorama section — she also happens to be married to the film’s director, Ryoo Seung-wan. The dynamic producer-director


couple, who run Korean produc- tion company R&K Films, (the acronym is the first letters of their surnames), met at a film-making workshop, where Ryoo was work- ing as a teacher’s assistant in 1993. “Director Ryoo had this dream


of becoming a film-maker, which I thought was surprising — espe-


cially back then, when you really had to have money or connec- tions. I was impressed by how bright and optimistic he was despite the fact his parents had passed away and he had been working as head of his household from the time he 13 or 14,” said Kang. His younger brother, Ryoo Seung-bum, has starred in many of Ryoo’s films including The Unjust. Kang started out in films as a


copywriter and then in marketing in 1995 at Fun & Happiness, when CEO Kim Mi-hee became a mentor.


Ryoo Seung-wan In 1996, Kang produced Ryoo’s


short film Transmutated Head (she financed it by cashing in on an insurance policy), before going on to executive-produce Ryoo’s first feature, Die Bad, in 2000. Some 11 years, a dozen films


and a few ups and downs later, Kang says she is still learning. “I used to think living dili-


gently was everything. But I’ve learned living well and being happy is a healthier priority,” says the producer, CEO, wife and mother. Ryoo and Kang have brought


their three children to the festival for the first time. “I just hope I can make it back


with all three of my kids without accident,” says Kang.


SHOOTINGSTAR PROFILE Valentine’s Day hots up


Over the festival, Screen is profiling the 10 young actors selected for EFP’s Shooting Stars


Thousands of miles away from your loved one this Valentine’s Day? Then you might want to cheer yourself up with a special screening of The Lovers’ Guide 3D — Igniting Desire, put on by Studio- Canal tonight in the EFM. Interestingly, Mark Adams’


ALEXANDER FEHLING (GER) Credits Goethe! (2010), If Not Us, Who (2011) First time in Berlin? I live in Berlin, so it’s very convenient. Plans for the festival? I’m really looking forward to meeting so many interesting new people and will enjoy everything that comes my way. What are you working on next? I have finished shooting an experimental film project The Art Of Dying by Jan Zabeil and also No Man’s Land by Toke C Hebbeln.


review of the film has been the most-read story on ScreenDaily. com for the last two weeks, only slipping down the ranks in the


The British actor talks about the challenges of his directorial debut, Coriolanus, which screens in competition today


You played Coriolanus on stage in 2000. Is that where the film began life? It grew out of the theatre production. I came away from performing in the play and remember thinking I wasn’t quite done with it somehow. There was something about the story itself, its narrative drive and sheer drama, which I thought would make a really compelling film, and I wanted to bring out the political elements of the play.


The film is set in the modern day. Do you think it will resonate with modern audiences? I would love for it to resonate with audiences and I believe it can. It’s actually very modern and visceral, and politically relevant. There are so many examples today of people taking to the streets — it’s happening in Egypt, Tunisia; we have perpetual war all over the world. There is also at the heart a mother-and-son tragedy.


The Lovers’ Guide 3D — Igniting Desire


past two days. And there was us thinking you wanted hard-hitting trade journalism.


Seduced by a slice of pie


International sales agent K5 is luring buyers into its Ritz-Carlton office with more than just a promo trailer and a cup of tea. To promote SJ Clarkson’s fea-


ture adaptation of food writer Nigel Slater’s memoirs, Toast, the team is handing out slices of lemon meringue pie, one of the dishes served up by Helena Bon- ham Carter in the film, which has


n 10 Screen International in Berlin February 14, 2011 K5’s Carl Clifton, Weinstein Co’s Lucas Webb


a gala screening at the festival on Wednesday. Is that why the office was so busy?


Your DoP is Barry Ackroyd, who worked on The Hurt Locker. Was that the look you were going for with the battle scenes? I wanted the handheld, spontaneous, kinetic look to the film. What I love about Barry is he has the most extraordinary realism in his work: you really feel like you are in the battle. The film was 100% collaborative.


Why did you shoot in Belgrade? Some of our financing fell through, and after that we targeted Eastern Europe. I wanted somewhere that had the weight of a capital city, which is what Belgrade has. We found some fantastic locations, including the Parliament building itself.


Has the experience made you want to direct again? Because this was my first film, I was anxious about things like getting behind with filming, so I was probably more cautious than I would have liked to have been. That’s made me want to do it again. When actors turn their hand to directing, there can often be a lift of the eyebrow. But as a lead actor you are out there at the front, and if it’s in you to direct, then it can be a natural extension, like it has been with Clint Eastwood.


Are you happy to be screening the film in Berlin? I don’t know what it is, but Berlin feels right for this film. It seems to suit the tone of the film. Maybe it’s because it’s Shakespeare, and Germany has a great tradition of playwrights like Bertolt Brecht and Goethe. I’m looking forward to it with some trepidation, but I’m feeling adrenalised.


Sarah Cooper


Today


White cloud, high 3°


One On One RALPHFIENNES, CORIOLANUS


Tomorrow


White cloud, high 3°


Coriolanus


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