Geek Syndicate
fields in other areas. Fortunately, the snow melted away just in time, and the cornfield had a nice golden hue to it. Not only that, the cornstalks had become flimsier which made it a bit easier for the cars to drive over. We did lose some parts of the field, so we had to be very frugal with the use of corn. It was almost as if we were giving the cornfield a nice shave using our cars as razor blades. In the end, we had to replant some parts of the cornfield because we had finally run out of corn. The least of our worries was actually driving the cars through the cornfield, which in itself was not an easy task at all. GS: Did you choose the cast? It’s an odd-but-very-exciting mix? Why these people? KJW: I may not know much about American film, but I have never seen such strong characters like Arnold Schwarzenegger, Johnny Knoxville, Forest Whitaker, Luis Guzman, and Peter Stormare all together in one screen. Has there been such film? Maybe, but I have not seen it. I really enjoyed the strange ensemble and incredible synergy created by these seemingly mismatching cast with such different temperament and characters. On top of that, actors of various nationalities like Eduardo Noriega, Jaimie Alexander, Rodrigo Santoro, Zach Gilford, Genesis Rodriguez, and Daniel Henney all brought their own unique colors to create one ensemble, and directing this ensemble was exciting for me. Spending time with the Hollywood actors was what I felt was most enjoyable and meaningful during my time in Hollywood. Their professionalism, wellhoned acting, respectful and devoted attitude, their liveliness which brings about a positive aura to the set – actors are actors, whether they are from the East or the West. Just like their Korean counterparts, the actors in America were sensitive to whether they were being loved by the director, and when they felt that love they returned it through their acting. Actors are the flowers of the film, of the set, and of the director. The term “Flowers of the Screen” holds a deep meaning. GS: How important was it to have someone you’d already worked with, in Ji-Yong Kim, on set while you were making this film? KJW: It was my first film in Hollywood, so I absolutely needed a few people who I have worked with before. I had Ji Yong Kim as the director of photography during production and Mowg as the composer during post-production. The two have helped me out tremendously through the process. I was especially encouraged by their confidence and fearlessness in this foreign environment. GS: Were you influenced by any other movies? Rio Bravo, perhaps? KJW: High Noon comes to my mind, in the sense that it’s about finding value in something small and fighting to protect it, and justice being materialized in protecting that something even in the most difficult and dangerous situation. Also, the idea of risking one’s life to desperately and fiercely stop something might be similar to Die Hard. After watching the film, however, maybe other movies might come to mind. Or maybe one might think that the Last Stand is an Hollywood action film that is totally different. I guess we will find out once the lid is uncovered. GS: Can you see yourself doing solely Hollywood films now, or will you still be making films in Korea? What’s next for you? KJW: Making films in both Korea and the US would be most ideal for me. My next project is most likely going to be a Korean film – a remake of Mamoru Oshii’s Jin-Roh that takes place in Korea. I have a couple of US projects that I’m considering – a sci-fi noir and an elevated action thriller. Nothing is set in stone yet, however. THE LAST STAND is out on Bluray and DVD from May 27 2013, courtesy of Lions Gate Home Entertainment. You can order online from Amazon, Play.com and from all leading retailers.
Phil Hobden
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