ROTTERDAM -- Ever since his international breakthrough,?Oldboy -- which won the Jury Prize at Cannes in 2004, and is now being given a U.S. makeover by Spike Lee -- Park Chan-wook has been a regular on the global festival circuit. But touring with?Stoker,?which finally opens in the U.S. on March 1, represents a new adventure, as he's been presenting his first English-language film, and one based on material he didn't write.
The first script written by British actor Wentworth Miller, the story revolves around the change in 18-year-old India (Mia Wasikowska) as she comes to terms with her father?s death, the reaction of his widowed mother (Nicole Kidman) and then the arrival of a mysterious uncle Charlie (Matthew Goode).
VIDEO: Nicole Kidman Gets Creepy in 'Stoker' Trailer
Stoker premiered at Sundance, and?then screened as the closing film to the International Film Festival Rotterdam. Before the curtain came up in Rotterdam, Park spoke with?The Hollywood Reporter about discovering the soft spots in even the most seasoned Hollywood?A-lister, commissioning Philip Glass to write a piano duet that serves as a musical metaphor for sex, and getting pleasure from audiences? misguided reception of the film as a horror movie.
The Hollywood Reporter: What was it like for you working on your first U.S. production, with American actors?
Park Chan-wook: Actors, I think, are all the same. Both Korean actors and American actors are all very sensitive people, and they are all curious to know what the director thinks of them and how they are evaluated, and they try to satisfy the director. And they like it if you listen carefully to their opinions and accept them. I?m used to working with those kinds of actors. It was just that I was working within the boundary of Korea, but the actors I was working with there are the hugest stars there. So I felt all actors are similar, especially excellent ones, who are intelligent. It?s not because they are from good colleges or anything, but they are very bright in their thinking. They think a lot about human emotion. As for the system, in a word, the biggest difference is that there were too few shooting days. I had to shoot twice the speed as I shot in Korea; I had only 40 days, and there wasn?t enough time for additional shooting.
REVIEW:?Stoker
THR: How did you work with Wentworth Miller on his screenplay?
Park: Wentworth I had just one long conversation, and after that I just worked on it. I worked with Erin Cressida Wilson, an excellent screenwriter who helped me. We didn?t get writing credits, but from the beginning to end we had a lot of small and tiny revisions. Let me put it this way: If we?re talking about food, the ingredients are the same, but the cooking method is a little bit different. So the taste in the end is probably a bit different. But once it?s in your stomach it?s all the same.
THR: But you certainly brought your trademark visual style and musical choices.
Park: Visual elements are, of course, the director?s job. As for the music, there?s a bit where the two of them are playing the piano together. In Wentworth?s screenplay, I believe it?s described as Eric Satie-esque. But I changed that to Philip Glass, and so it is newly composed.
So if a different director had worked with Wentworth?s script, visually or aurally what kind of result would come out of it? It would be an interesting thing to imagine that. It would have been a very different result. But that has something to do with why I chose the script -- there?s a lot of space in there, there?s not a lot of dialogue, and any director taking it on could breathe their own style into the film.
STORY:?Park Chan-wook on Hollywood Debut 'Stoker': I Wish I Had More Time With the Actors
THR: And there?s a lot of sexually-charged symbolism in the film, such as the piano duet you mentioned.
Park: The piano duet wasn?t in the script, and it wasn?t even my idea! When I first went to New York to meet with Philip Glass I asked him to create a song [India and Charlie] could play together for that scene. And he said, ?Well, I got to know what kind of scene it is for me to write it.? So we?re saying, it?s a piano performance, but it?s actually sex. And he said, ?Oh, I got it. I once made a piece called Four Hands, a married couple were playing it and one day the husband said, while we can play it like this, we can also play it like this' [mimes the man putting his arm around the woman to reach the other side of the keyboard]. Right away that night, I changed the script to have Charlie?s arm going around India.
Sex is part of the whole process of courting or being in love. And in this scene, it is expressed in stages: a A woman is alone and the man approaches quietly; she ignores him and plays the piece alone; he gets tired of waiting and suddenly boldly gets into it. At first she?s shy but then she reacts, and it escalates to more excitement and then climax. That?s the point of a woman feeling enough satisfaction and that the man, having taken care of her needs, just disappears. That?s what?s being shown in that scene.
THR: Is Stoker supposed to be the second installment of a trilogy about girls going through their rites of passage, with the first one being 2006?s I?m A Cyborg That?s OK?
Park: Before I got the script I hadn't been thinking any more about that sort of film. I looked through so many different scripts, but in the end I chose this one. And there's also the fact that I decided to focus on those themes more so than is in Wentworth?s original script. I think that must mean I hoped to make another film like I?m A Cyborg But That?s OK. I?m a father who?s raising a daughter, and it?s an interest I?ve naturally taken. As I grow older I spend more time with my wife and gradually my interest in the woman?s world is growing. I feel like there are comparatively less films that deal with this view. That?s why I became more interested in it.
Q&A: Park Chan-wook
THR: The film?s title reminds one of Bram Stoker, and there are quite a few visual devices common to horror films there. But the film doesn't exactly fit into that genre, does it?
Park: The title was Wentworth?s, so I can?t say anything about that. Idioms of horror films are there for sure. I didn?t have any idea of making a horror film. I think this kind of result is desirable -- me making a film with the presumption that I'm making a thriller, and the audience taking it as almost a horror film because they are so scared. Officially we define it as a psychological thriller, but in Sundance people just called it a horror film straight out. I find that an interesting outcome.
Source: http://www.rottentomatoes.com/m/1926928/news/1926928/
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A bill to create an athletic commission in South Dakota is going nowhere fast, largely thanks to the ignorance of Gov. Dennis Daugaard and state house Rep. Steve Hickey.
The simple fact is that a random NFL player is at far greater risk of a serious brain injury than is a random MMA fighter. Sadly, neither Gov. Daugaard nor Rep. Hickey bothered to do much investigation or educate themselves before speaking out.
A fear of many states with strong commissions is that promoters will travel across state lines to put on shows in states such as South Dakota, where there is no regulation and where, as a result, costs are less. But the result is that it is far less safe for the competitors.
TokBox, the live video chat platform that was acquired by Spain’s Telef?nica in 2012, was one of the first companies to fully bet on WebRTC (the Web Real-Time Communication API), the quickly developing standard for plugin-free in-browser video, audio and text chat. After launching its Chrome integration earlier this year, TokBox today launched its support for Mozilla’s Firefox – starting with the bleeding edge Aurora and Nightly editions of the popular browser. Now that TokBox supports Firefox, developers using its WebRTC-based?OpenTok platform can write video-enabled apps that allow for chats between users on iOS, Chrome and Firefox. With WebRTC now being part of Firefox’s early release?versions, users can expect to see it in the stable version of Firefox somewhere around version 21 or 22 (the stable channel is currently on version 19). As TokBox CEO Ian Small told me last week, his company started working with Mozilla sometime around last November. His team got early access to Mozilla’s WebRTC implementations and worked closely with the team there as Mozilla stabilized its own implementations of the standard. TokBox’s OpenTok platform ensures that developers don’t have to worry about the different WebRTC implementations on different browsers and the platform will also provides numerous additional services that a native WebRTC app doesn’t have provide, including, for example, broadcasting to a large group of viewers and video recording. OpenTok, the company says, is currently being used by more than 70,000 organizations, including the likes of Major League Baseball, Ford, Bridgestone and the remote presence startup Double Robotics. “Between Firefox 21 and Chrome 25,” Small told me, “we now have what appears to be a reasonably stable interop situation.” WebRTC, he argued is still “in its infancy.” The native version in the browser can be used to connect two people, but the standard doesn’t offer features like letting developers connect more than two people at a time or even record sessions. Based on TokBox’s experience with WebRTC, Small also believes that the spec should accommodate alternative video codecs besides the Google-backed VP8 format. In addition, he argues that bandwidth allocation, which would allow apps to devote more bandwidth to the speaker, for example, should be part of the standard. Despite these issues, however, Small believes that WebRTC will see “serious pickup” in the second half of this year, especially now that most of the key mobile and desktop platforms support it.
UFC 157 completed the rare trick of living up to its intense hype. Who stood out as stars?





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