In Conversation with Director Park Chan-wook

As part of a special article series revolving around the 2022 LACMA Art+Film Gala presented by Gucci, the House speaks with South Korean director Park Chan-wook on creativity, philosophy, and the relationship between art and film. Director Park, who was one of this year’s honorees at the Gala, is best known for a number of films that include ‘Joint Security Area’ (2000), ‘Oldboy’ (2003), ‘The Handmaiden’ (2016), and ‘Decision to Leave’ (2022) for which he was awarded Best Director at the 2022 Cannes Film Festival. 

1. What is ‘creativity’ in your own words and how can one develop it?

Creativity is a 'spontaneous springing desire for expression'. What is important is ‘spontaneity’. A prerequisite of a great creation is originality, for originality comes from spontaneity. To be a creative person, first, you have to let go of your preconceived notions and be free from stereotypes. Second, you need to develop your observation skills. Third, you should always train to think in a way that is different from others.

2. Does inspiration come naturally to you and what are some of the most peculiar places you’ve found it?

Inspiration seems to come naturally, but in fact, it is something that comes after intense search and pursuit. I have often found decisive inspiration in dreams, or at the borders of dreams, and they are answers to questions I have always had somewhere in my head. You should have a lot of questions. If you pushed the question to its limits while awake, one day your subconscious will give you the answer.

3. You studied philosophy in university – do you draw parallels between philosophy and cinema? If so, how have you infused philosophy into your work?

It is important to learn the thoughts of a specific philosopher or school of thought, but what is really important is to learn it according to the ‘attitude’ that all philosophers have in common. Whatever it is, when you think about it, you do it thoroughly. It's not about doing it superficially; it's about digging down to the roots. Pushing the limits of logic. And to let go of the idea that art has nothing to do with logic. There is nothing more foolish than the idea that creation is a process that follows illogical inspiration. Whether it's fashion or cinema, you have to stand on the basis of logic. Of course, it must be an original logical development. We must not forget that Dostoevsky is as philosophical as Nietzsche is artistic.

4. Various elements of Korean culture, from music to television and cinema, have become extremely popular around the world. What do you think it is about Korean creativity that sets it apart and allows it to have such global appeal?

Modern Korean creators were born with Asian genes and received Western education. I was born in a poor country and live in a wealthy country. I lived with my parents who directly experienced civil war and division, military dictatorship, and struggle for democracy. That's why we don't know the limits. I think anything can happen. We are able to understand. The spectrum of emotions and dynamic range are wide and deep.

5. You are being honored at this year’s LACMA Art+Film Gala. In your opinion, how are art and film related? Do you consider film an art form or can it only be inspired by art?

In many works of art, we uncover a narrative and discover drama, don’t we? Therefore, I believe it is very difficult to distinguish between artistic and non-artistic elements in film, which is a narrative art medium. How important is the choice to take a close-up of the face of an actor who gives important lines in a scene, or a wide angle that includes the environment? This decision changes the emotions that bloom in the audience's mind, and when those emotions change, the drama itself changes. At this point, is the difference between a close face and a distant body not within the realm of art? Which clothes are worn, how the lights are lit, what color the bedroom walls are; and if a director treats these artistic things simply as decorative elements, he could not say anything when treated as someone who understands only half of the medium of film.