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This was a really tough one. As Bwind articulated, there’s a definite dichotomy between what I consider makes good cinema and what is the stereotypical “recipe for success” that will top the box offices.
In mulling this challenge over, I had to go with the former; while I can understand the merit of marketing to the masses, when it comes down to it, there are directors whom I respect greatly and whom I personally want to see advance in their careers.
One of my favorite modern horror film directors does not focus on some of the classic horror themes as seen in slashers, monster movies, etc. Instead, he focuses on pure unadulterated human struggle and examines the horror of humanity; what one can do to themselves and what that person can and will do to others when faced with the desperation of the extremities. In a way, this person speaks to me personally as I find one of the most poignant everyday “horrors” that I face is the “horror” of freewill – What I, or anyone could do without the trappings of moral, ethical, or other guidelines.
The director that I’m speaking of is Chan-wook Park. I feel that, with his Vengeance Trilogy, he has explored varying degrees of horror, from the horror of human behavior to the horror of destiny (if one is “destined,” then their free will is stripped entirely). He explores the concept of Vengeance as being both an active choice and also all-encompassing fetters. He creates characters that are both horrifying and pathetic and I think that he creates true stories of gothic horror and elevates them to an eloquent Dickensian level, but tempers them with the grace, beauty, and playfulness of his direction.
I find Chan-wook Park a true inspiration and look at his films as modern icons of horror and the human condition.
And that is why, for this proposal, I will be collaborating with Director Chan-wook Park for the fourth installment of his Vengeance Saga, entitled…
Daughter of Vengeance (a.k.a. Sympathy for Daughter Vengeance)
Please note: This film following takes place in South Korea and is performed and acted in their native tongue.
Opening Scene:
The movie begins. The credits roll.
Interior: Luxurious hotel room, Night
We are encompassed within the charm of sultry music while panning slowly within a luxurious hotel room. The camera moves and we see glimpses of a scantily clad woman – Her shoulder where a bra strap is sliding off, her hips as she sways to the music. The camera cuts between the dance of her body and the man before her, watching her. He is an older man, in a business suite. As the credits continue to roll, we hear her whispering sweet nothings, “Do you like this?” … “How do you like this?” … “Tell me what you want me to do…” as the man sighs, watching her. She pours him a stiff drink and we see a close-up of her hands passing it to him. We are captivated by the sway of the camera and the sound of the music when it stops suddenly and pans out:
She is only fifteen.
She looks directly at the camera and says, “Now tell me. Where is Dae-Jung Lee?”
He looks at her and laughs, “What are you talking about? I haven’t seen him in years –“
In a flash, she takes the hotel room’s letter opener and stabs him in the throat. He gasps as the blood pours out. She looks at him, indifferently and starts to get dressed. He slumps onto the floor as she puts on her clothes, goes through his things, finds his wallet, pulls out all of the money inside and tosses it onto him as he breathes her last breath. She opens the hotel room to exit and when the door slams, cut to black and the title displays in white:
Daughter of Vengeance
(cont.)
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