PROFILE:
1963 - Born in Seoul
1989 - Graduated from Seoul National University majoring in Plastic Arts
1997 - scriptwriting
1998 - scriptwriting
1999 - scriptwriting
2000 - Directorial Debut with

"I came like the wind but cannot go like the dew. I have to leave a trace of my life . . ." "Kilimanjaro" is a movie about the bitter sorrow of the outcast third-sort men like those in the song of Cho Yong-Pil. Director Oh Sung-Wook received recognition of his talent as a scenario writer in such films as "Christmas in August", "Green fish" and "Lee's Rebellion". One man who is bleeding and dying on the white snow and the other, a city guy nodding in a subway train- "Kilimanjaro" starting with these two images, is a movie about two men having no place to go.

THE INTERVIEW:
Q: I heard that you were preparing "Kilimanjaro" for quite a long time. How long?
A: I started it right after I had finished "Christmas in August". The draft was ready in early summer of 1998, and last year I finished writing it. So it took me almost two years.

Q: The subject of the movie is very extraordinary. Why have you chosen it?
A: While working over "Christmas in August" and "Lee's Rebellion", I was constantly thinking about what kind of film to make. And then I recalled the synopsis I wrote for my first film. The core scene of that synopsis was a scene where there was a man dying in the snow-covered field and another man watching him dying. The story came from that scene: the dying man had a painful past, and the other watching man could run away but has to stay in that place. I thought that if I wrote a script in such a way it would be thrilling and more interesting. I mean, there is a betrayer character in the film and it tells about that process of changing and concealing like most of the noir films. For me such cursed and restless characters like those in Josef Conrad's or Dostoyevsky's novels seem very attractive.

Q: Why did you choose Chumunjin as a background place for filming?
A: Well, first of all, I like Chumunjin. I often used to go there and met people. I actually met the real prototype of "Thunder" character there. Besides, the streets there change every time I visit. One day there were rows of raw-fish restaurants, another day you can see new buildings in that place. I liked the feeling of strain it gives. Also, the snow-covered mountain and the sea are fascinating.

Q: Why are the main character twins?
A: There are two reasons for that. First of all, there must exist some kind of confusion so that the character of a detective could change into a completely different character. And, second, the fact that the two characters with the same faces behave completely differently seemed interesting. The prosecutor silently obeys his seniors, but looks down on ordinary people. However later that character risks his life for the sake of a former gangster whom he considered to be a small fry. That is to say, he becomes a man who knows what it means to go through hardships for the sake of others. Besides, I thought that Computer Graphics would make the film more interesting.

Q: How was it to work with Park Shin-yang and Ahn Sung-Ki?
A: In Seoul, I exchanged many ideas with Park Shin-yang. Every time I was troubled or lacking ideas, Park helped a lot. And in Chumunjin, Ahn Sung-Ki helped me a great deal. Ahn himself is like the real character of "Thunder". He managed to precisely express that bitter and sad image of the old man. The character of "Thunder" is a person who is ready to sacrifice his life rather than to suffer. I think these excellent actors wholly contribute to the films' success.

Q: The last scene is very shocking and violent. Any special reason for that?
A: Once something goes wrong, how far can it go? Before Hae-shik came to Chumunjin, it was an ordinary place. Though "Thunder" and Jong-doo hate each other, that hatred was not so extreme enough to kill each other, but it suddenly bursts out after Hae-shik returns. In fact, our life is like that. We live harboring the fear that something precarious that has been dormant, will explode one daty like something behind our backs.

Q: I thought Hae-shik would commit suicide, but at the end of the film he got killed with a gun. Was it necessary for him to die?
A: At the end of the movie Hae-shik hold up the gun to fire a salute for "Thunder"s death. During the whole process of editing the movie I was thinking again and again about this part. Besides, being killed is better than committing suicide. I thought it would be better to just let the fatigued and exhausted soul go naturally. In other words, here the problem is whether to runaway and go on living, or to die naturally.

Q: What did you feel when you were writing the scenario, and when you had finished filming?
A: Actually, I used to draw pictures. Drawing pictures is like pulling out the essence of a certain moment. Movies, however, put priority on the story. There must be a kind of power that will lead the movie. That's why when I started to work over "Kilimanjaro", I decided not to stick to picturing. My starting point was to create a steady power that will lead the film, even if I had to remove the pictures.

Q: Is there anything you wanted to specially convey through "Kilimanjaro"?
A: Don't perceive it as philosophy, but I wanted to tell about such things as "sin" and "power". For instance, Hae-shik, who in Seoul didn't care a bit and even used to throw around paper cups when a car was honking behind him, is hit by a car in Chumunjin.

Q: Which scene did you like the most?
A: All the scenes. The very last scene I wanted to make the best, but it didn't snow much. Such a pity. Also, I like the scene, which we filmed in one of Seoul's back streets where Hae-shik confronts with Kwang-han. The most thrilling was the last shooting scene where "Thunder" and "Sergeant" fire guns at each other. That scene, where "Thunder" says to "Sergeant" "You, son of bitch, why did you kill?", is appealing to the audience too.

Q: What kind of movie do you want to make in the future?
A: When we were filming the last scene, I by chance heard how the step-assistants and production team members were saying that they would never participate in filming any movie about winter and snow. I agree with them. Actions with guns and blood are extremely difficult to film. Next time I want to make a "dry and warm" movie. That's what I thought then.

Q: It's been a long time since your last film. Why did you choose "Kilimanjaro"?
A: I personally like the films where I can feel the director's clear intention. "Kilimanjaro" is that kind of movie. I played the role of twins here. Not only did I like the scenario itself but also the acting seemed very interesting. I didn't hesitate.

Q: What kind of difficulties did you go through when playing two roles?
A: The "Kilimanjaro" unfolds its story by misunderstanding and happenings caused by identical twins. The two brothers whose faces are alike but whose lives are totally different, do not share any common points at all, except their appearances. Creating the characters and playing their roles were not easy. It was not a problem to change the make-up and the manner of speaking but expressing the delicate psychological aspects of Hae-shik and Hae-chul was difficult. Hae-shik hates Hae-chul but he envies him all the same and vice versa. I put all my efforts here. In fact, that was a very interesting experience for me.

Q: Tell us about each characters. Which one was more attractive to you?
A: I like both of them since each has half of the features of one complete person. The elder brother lives only by his mind, and the younger by his heart. The reason why they hated each other is because each of them has the opposite qualities another one does not have. It is only after one of them dies that the other goes to see him. Only then Hae-shik and Hae-chul become one person. I can't choose only one of them.

Q: Hae-shik is a violent and even vicious person. Your transformation into a strong man was outstanding. What was the most difficult part when playing this role?
A: I didn't choose "Kilimanjaro" in order to transform my acting style. My images of a gentle and mild man were the result of films like "The letter" and "The promise". I didn't worry about transforming my image when playing this role as a tough man. I just tried my best to perfectly incarnate myself into Hae-shik and Hea-chul. So I will take it as compliments that my transformation was outstanding in assimilating the roles of Hae-shik and Hae-chul.

Q: There are many action scenes that needed your physical hardship. It must have been hard to star in the scene where you are even lynched by Jong-doo. How was it?
A: Well, it wasn't that hard. Though it was very cold . . . That day the temperature was 10 degrees below zero. In fact, playing beaten wasn't difficult at all, because when you star in the scenes of being beaten all you have to do is to trust your partner. For me starring in the scenes where I have to beat someone else is more difficult because he can be hurt by me. I was so overstrained when we film the scene in the back street where I beat Kwang-han , that I had spasms in my shoulders.

Q: This is the first film you starred with Ahn Sung-Ki. How was it?
A: Though Mr. Ahn is a very benignant person, he becomes very sharp when he works. He can see the subtlest details that I could not have thought. Actually, I am not easy person to be friend with but I got close with him in a very natural way. Even in the most critical moments Mr. Ahn solved those difficult situations with his kind laughter. I am very happy that I had the opportunity to work with him who can be my role model.

Q: Closing address on "Kilimanjaro"
A: I am very excited before the film's premiere, although this film is not my first one . . .This is a kind of thrills I felt long time ago. An actor is waiting for the film's premiere with a thrill . . . Isn't that enough? Though "Kilimanjaro" is not a movie about love between man and woman, it is a movie about love between men. Hae-shik and Hae-chul, Hea-cheol and "Thunder", Hae-shik and "Thunder" - these imperfect people become perfect through one another.

Q: Why did you choose "Kilimanjaro"?
A: There is such a thing called "feeling" when you read a scenario. Though it is difficult to express in words, there was something delicate and impressive about this movie's scenario. So, there was no reason to hesitate.

Q: What kind of person is "Thunder" in "Kilimanjaro"?
A: It's difficult to say in a few words what kind of person "Thunder" is. That character once used to be a popular gangster, but as he became older and powerless, he had to hang down his head in subservience in front of his former subordinate. He becomes a betrayer and goes to ruin, but the nostalgia for his young days is always alive in his heart. "Thunder" possesses all the images of a human being: weakness, kindness and wickedness. It seemed to be easy to play a person who first is very nice but later turns into a vicious one. However, playing "Thunder" was not that easy, and that's why I am so attached to that personage.

Q: What kind of relationship do "Thunder", Hae-shik and Hae-cheol have?
A: "Thunder" is a kind of a bridge between Hae-shik and Hae-cheol. Hae-shik comes to understand Hae-shik only after Hae-shik dies, and Hae-cheol comes to Chumunjin. "Thunder" is the figure that helped in that process of understanding. It is not clear whether "Thunder" knew the true nature of Hae-shik and pretended not to, or whether he didn't know. Though "Thunder" asks for Hae-shik's forgiveness and pleads him not to abandon him, that words are also said by Hae-shik to Hae-cheol. "Thunder" eventually becomes the mediator who helps the two brothers to be born again. So to speak, Hae-shik and Hae-cheol were given their physical birth by their mother, but it was "Thunder" who made their imperfectness perfect. Also, "Thunder" is the last redemption to Hae-shik and Hae-cheol. "Thunder" is a person who all his life had to live with the guilty consciousness of having betrayed Hae-cheol. That's why he calls Hae-shik Hae-cheol, and wants to receive forgiveness for his sin.

Q: What were the difficult points of starring in the movie?
A: Well, of course, the weather was very cold, cause it was winter and also the scene with the motorcycle. Though I can ride a bicycle very well, I have never ridden a motorcycle. When I was reading the scenario, I worried a great deal about this scene. Especially, that part where I had to ride the motorcycle with Park Shin-yang behind me. It's O.K. if I get injured, but I worried cause Park might have been injured. But I did well, as I am a good sportsman (laughs).

Q: A few words about Park Shin-yang?
A: Park is an actor full of energy. He is also the actor who makes his partner be on strain. When I work with him, I always have to be careful not to let myself relax. In fact, that was why I liked working with him. To my mind, the actor who gives a stimulus to his partner is the best.

Q: What kind of movie is "Kilimanjaro"?
A: It's a movie about men's world. I think it's a rare kind of a movie that shows the men's psychology. Though it is about men, I think it will be more popular among women.

Q: Your future plans?
A: Now I am starring in commercial films which were piled up because I was busy with "Kilimanjaro". And spare time I spend with my family. In July I will probably have to go to China to star in the movie "Warrior".