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Park Chan-wook likens making films, TV series to painting and photography
Park Chan-wook —PHOTOS COURTESY OF HBO/HBO GO
One of the things that we thoroughly enjoy about unrushed interviews with celebrities is how they allow us to get to know them better, beyond the image, acclaim and first impressions.
In the case of director Park Chan-wook, we had more time to pick the South Korean auteur’s brain after our long chat about “The Sympathizer,” the TV series that A24 coproduced with HBO and HBO Go. The six-episode show wraps up its acclaimed first season today.
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The Cannes-, Berlin- and Venice-winning director is known for his visually stunning, thematically provocative and often violent films, like “The Handmaiden,” “Thirst,” “Decision to Leave” and the films that make up his Vengeance trilogy, namely “Sympathy for Mr. Vengeance,” “Oldboy” and “Lady Vengeance.” But he also doesn’t mind making TV shows, like “The Little Drummer Girl.”
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When we asked him what sets making movies apart from showrunning and directing TV shows like “The Sympathizer,” he began comparing them to painting and photography.
Director Park (center) on the set of “The Sympathizer”
“The biggest difference when directing a TV show is you aren’t allowed an abundant number of shooting days in comparison to shooting a feature film. When you’re making a TV series, you have to continually change a script, unlike in the movies where you sort of have a finished screenplay by the time you start working. When you’re making a movie, you have months to prepare.
“In a TV show, you have to continuously modify the script even as you are shooting. So directing a TV production is more about adaptability. It’s more about adjusting to a certain speed as needed by the process.
“If I were to compare them to painting, making feature films is more like oil painting, whereas a TV show is more like painting with watercolor, where there’s more freedom—you have to be more fluid and adaptable.
“If I have to compare them in terms of photography, a feature film is like having a big camera and you put it on a tripod to shoot a landscape. But a TV show is like taking candid shots of animals or children and you have to be quick to capture the movement of your living subject.”
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EDITORS’ PICK
Lions Club 2024 Photography Contest Winners
Talented students from across the area showcased the natural beauty of Key Biscayne for the Lions Club Photo Contest. Here are the winners honored by the service club:
First Prize: Daniella Bergonzi, Coral Gables Senior High
Second Prize: Ethan Lopez, MAST Academy
Third Prize: Joaquín Aguilar, St. Christopher’s By-the-Sea Montessori School
Honorable mentions
“Reflection” by Marta Cebolla, MAST Academy
“Sunset” by Jonathan Mendez, University of Notre Dame
“Sunrise” by Bryan Rosales, Miami Arts Charter School
“Exterior” by Norah Reno, MAST Academy
“Lifestyle” by Santiago Bergonzi, Coral Gables Senior High
“Lighting” by Maya Funez, MAST Academy
“Nature” by Cristóbal Aguilar, St. Christopher’s By-the-Sea Montessori School
“Panoramic” by Myles Gelber, Ransom Everglades School
“Wildlife” by Lauren Boj, Immaculata La Salle High School
Judges were Robert Gentilini from the Lions Club; Malena Assing, photographer; Maritza Minor, photographer for Key Biscayne Magazine; Leo Quintana, photographer; and Kiko Ricote, commercial photographer.
For more information, contact Nora Camejo at (305) 775-250, kblions@icloud.com or visit keybiscaynedirectoryonline.com.
Seeking the Northern Lights was a family affair for this AP photographer
BRUNSWICK, Me. (AP) — Robert Bukaty has covered nearly every type of story and event for The Associated Press in his 30-year career, from the somber to the exhilarating: a mass shooting, COVID-19, presidents, political campaigns, ski racing – a lot of ski racing – Olympics, and everyday life in Maine as staff photographer in Portland. With a little nudge from his daughter and a solar storm, he has now even shot the Northern Lights. Here’s what he said about capturing this extraordinary image.
$38,000 Deutsche Börse Photography Foundation Prize awarded to post-Apartheid series
Lebohang Kganye has won the Deutsche Börse Photography Foundation Prize 2024 with her exhibition entitled, Haufi nyana? I’ve come to take you home.
The South African-born photographer was awarded the $38,000 (£30,000) prestigious prize on Thursday at a ceremony at The Photographers Gallery in London, England.
The other finalists were Gauri Gill and Rajesh Vangad, Hrair Sarkissian and Valie Export, who all received $6,350 (£5,000) each.
The winning exhibition’s title is in Sesotho, one of the eleven official languages in South Africa, and the blending of images and words enable Kganye to explore the complex history of South Africa in a new light, “contributing to the process of decolonization,” says the Gallery.
The annual award is in its 27th year, and recognizes bodies of work that have contributed to the world of photography over the past 12 months.
“The 2024 shortlisted projects all critically engage with urgent concerns, from the remnants of war and conflict, experiences of diasporic communities and decolonization, to contested land, heritage, equality and gender,” says the Deutsche Börse Photography Foundation.
“Together these artists demonstrate photography’s unique capacity to reveal what is invisible, forgotten or marginalized and imagine a path to redress.”
ABOVE: Watch the trailer for the exhibition.
Born in 1990, the year apartheid ended, in Johannesburg, Kganye uses silhouettes and life-size cutout figures of her family in her large installations, taken from images found in photo albums.
Her work covers the experience of her family’s forced migration due to land acts and apartheid law. She also draws on collective as well as personal history, drawing from oral narratives and fictional texts, exploring South Africa’s multifaceted history before, during and after the apartheid and colonialism.
The exhibition features four projects that employ a complex array of media, from photographic montages in Ke Lefa Laka: Her-Story (“It’s my inheritance: Her-Story”, 2013) to spatial installation in Mohlokomediwa Tora (“Lighthouse Keeper”, 2018) and film animation in Shadows of ReMemory (2021) to patchwork in Mosebetsi wa Dirithi (“The Work of Shadows”, 2022).
“In her vast, experimental installations, Kganye creates a space that resides between memory and fantasy,” comments the Foundation.
“Here she collects stories from her family with excerpts from South African literature, and rewrites them into theatrical scripts. Silhouettes, cutouts, puppets, shadows and ghosts, fashioned from material found in photo albums as well as her own compositions, (re-)enact these scripts and bring them to life.”
Her work is on display at The Photographers’ Gallery, external alongside the other shortlisted artists – Valie Export, Gauri Gill & Rajesh Vangad and Hrair Sarkissian – until June 2, 2024.
If you love photography exhibitions and are thinking of taking it up yourself, why not check out our list of best cameras for beginners. Equally, we’ve got a guide to the best cheap camera on the market.
If you’re a professional looking for the best new piece of kit, check out our guide to the best professional cameras around.
All about the bees: 14th Bee Fest draws record attendance, new statue unveiled at fire station
GREENFIELD — From 9 a.m. Saturday, when families began making their way to the Second Congregational Church’s front lawn, to the unveiling of Greenfield’s 12th bee sculpture, “Fearless,” outside the Greenfield Fire Department’s new station on Main…
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Exhibition at Buckingham Palace traces the evolution of royal portraits
An exhibition at the Buckingham Palace is tracing “the evolution of royal portraits”, presenting photographs that have been taken since the 1920s.
Royal Portraits: A Century of Photography opened at the King’s Gallery on Friday. More than 150 photographic prints and documents have been sourced from the the Royal Collection and the Royal Archives. While there are several works that have become well known, some are only now making their public debut.
“This exhibition charts the evolution of royal portraits photography over the past century, so from… the high society glamour of the 1920s all the way to the coronation of King Charles III in 2023,” Alessandro Nasini, senior curator of photographs at the Royal Collection Trust and exhibition curator, told Reuters.
A portrait of Prince Albert and Lady Elizabeth Bowes, taken in 1923 upon their engagement, is the opening work of the exhibition. The couple, of course, would later be crowned King George VI and Queen Elizabeth. The portrait is presented near the official 2023 coronation portrait of King Charles.
The two portraits, Nasini pointed out, were taken exactly 100 years apart and between them, show the changes the medium of photography underwent during that time.
“We have analogue technology one side, digital technology (on the other), monochrome, colour and a private commission and the official,” Nasini said. He added there was another notable difference between the two works that the exhibition, as a whole, strives to point out: the range between “the very private to the very public, the official”. The works touch upon some of the close relationships between the photographers and their royal subjects, most notably through photographs taken by Antony Armstrong-Jones, first Earl of Snowdon, who was married to Princess Margaret from 1960 to 1978.
Andy Warhol’s famous 1985 screen print of the late Queen Elizabeth II is also on display. The work has all the vibrancy expected from the US artist artist and utilises “diamond dust”, or particles of crushed glass.
There are also photographs taken by Cecil Beaton. The British photographer was renowned for taking portraits of the royal family over many decades. His works were instrumental in presenting the monarchs to the public. The photographs on display include images of Princess Margaret, as well as portraits of the royal family taken during wartime.
A portrait of Kate, Princess of Wales, and wife of Prince William, taken to mark her 40th birthday, is displayed beside the work, the composition of which is inspired by a painting of Alexandra of Denmark, who also once had the title of Princess of Wales.
The works of several famous photographers are also on display, including portraits taken by Annie Leibovitz, Dorothy Wilding, David Bailey and Rankin. The exhibition also presents handwritten annotation of photographers to their correspondences with the Royal Family and their staff.
Royal Portraits: A Century of Photography is running at the King’s Gallery in Buckingham Palace until October 6
Updated: May 19, 2024, 11:16 AM
Elton John’s photos at V&A span fame, fashion, and 9/11’s Falling Man
An exhibition of photographs owned by singer Elton John is everything one might expect from a star who has a fascination with image, a love of excess and a very large budget. Understated, it isn’t.
The show, which opened last week at London’s Victoria and Albert Museum, includes more than 300 pieces by 140 photographers selected from the vast collection of John and his husband David Furnish.
Covering the period from 1950 to the present day, they include iconic fashion shots by Irving Penn, Richard Avedon and Herb Ritts, portraits of stars including The Beatles, Frank Sinatra, Marilyn Monroe and Chet Baker, and photojournalism capturing moments from the black civil rights movement of the 1960s in the United States to 1980s Aids activism and the September 11 attacks on New York and Washington DC.
“It’s a little bit overwhelming sometimes, but it’s just wonderful,” Newell Harbin, director of the couple’s collection, said at a preview on Wednesday.
The exhibition is entitled “Fragile Beauty”, a name chosen by John that reflects his ethos, said curator Duncan Forbes, the museum’s head of photography.
“I think key to Elton is the sense of vulnerability and fragility that underpins creative expression and human experience,” Forbes said. “That’s the thing I think runs through the show.”
He said John had instructed that the show “should be mischievous and it should be very serious”.
“What we’ve tried to do is create a really absorbing, big show about photography, but also relate it to who they are (and) the passions of the collectors,” Forbes said.
The exhibition opens with elegant fashion photos from the 1950s, then gets into edgier territory with work by chroniclers of outcasts and rebels, such as Robert Mapplethorpe and Nan Goldin, both artists John has collected extensively.
Many of the greats from seven decades of photography are represented, from Diane Arbus, Eve Arnold, Bruce Davidson and Robert Franck to Wolfgang Tillmans, Cindy Sherman and Ai Weiwei.
There are several works by Associated Press photographers, including Richard Drew’s haunting Falling Man image from 9/11 and Julio Cortez’s 2020 photo of a protester with an upside-down American flag amid unrest in Minneapolis, Minnesota.
John, now 77, began collecting photographs after getting sober in the 1990s – he later said he replaced alcohol with “a much healthier addiction”.
He and 61-year-old Furnish have assembled one of the largest photographic collections in private hands, amounting to more than 7,000 works.
They frequently loan photos for exhibitions, including some 200 for a show at London’s Tate Modern in 2016 that focused on black-and-white photographs from the early decades of the medium.
Harbin said John and Furnish “collect from the heart”.
“They collect what speaks to them,” she said – and continue to acquire new works, although they have slowed down a little. The most recent piece in the exhibition was bought two months ago.
Many of the works are displayed in an often-changing line-up on the walls of their multiple homes. Harbin said the household had a running joke in Atlanta, Georgia, where John had a home for many years, “that no one ever knew the true colour of the wallpaper”.
“I had it frame- to-frame, and that’s how he wanted it done – so that the two of them could be engulfed in that creativity and that genius of these other artists,” she said.
“Fragile Beauty” runs at the V&A until January 5, 2025.
