One of the producers, Wonjo, was an amazing interpreter. I don't think we really knew how it was going to work at the beginning. Yet it was something that a couple of days into it seemed so seamless and it wasn't something that we noticed or thought about. A couple of times I cornered him and forced him to speak English but we didn't speak much English at all. That said, I don't think anything was ever lost in translation. It was all very easy.
There's a whole language to movement and how you embody someone, and how you can use different techniques for different characters. I guess just posture, and the way you walk, and the way you physically are. All of that says a lot about who someone is.
Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.
When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.
Director Park asking that if there was a pocket on one side of the piece of clothing then there should be a pocket on the other side. They were a little uncomfortable to wear, yes, because there were a lot of tight, high-waisted things so it was great at the end of the day to slip into some pajamas!
I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.
Just wearing the corset means that you can never really relax from the moment that you put it on. So, there's a constant sort of strain and you have to hold yourself in a certain way. It's very uncomfortable. But again you instantly understand the repression that women feel and how much they were captives. It's sort of sad really.
I think that I burnt myself out a little bit with my dancing because I did so much of it. I was exhausted so thought that I would try a different kind of performance and expression and acting seemed like a close fit; it was similar in some ways to dancing. My mum showed me some really good films and so I became interested in films and acting.
I think dancing is contributed hugely to how I am as an actor, just a level of comfort in my body and in movement. Things can become strangely physically technical when you're acting, and often something that just feels so unnatural is actually what you need to do in a certain scene.
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