They went "100% without storyboard" and conducted in-depth rehearsals. Hong said this was first attempt at deciding on what to film on the spot after watching rehearsals.
Hong said this method allowed him to use his intuition and inspiration, and produced "miraculous moments". Said one is the opening scene: when Fumi and the young Sarasa meet in the rain. (***I think above scene)
*Basically, it's the real typhoon.
On the day of filming, the staff had to leave because of a typhoon that brought heavy rain and wind. However, Hong was inspired by the movement of clouds, swaying trees, and flowing water, and suggested Director Lee to film the scene. The crew worked hard to prepare for the bad weather, and when it came time to start shooting, the light miraculously came up, and they were able to capture the moment on camera in the first take.
Hong: I knew this scene was a must. It rained, the wind blew, and a ray of light shone through. The images captured in this scene made it possible to express the scene in a literary and poetic way. The theme of this work is transcendental/fateful love. I was concerned with how to express the essence of the work in the transcendent nature, in the beauty of wind, rain, sky, and the sounds of birds, which we humans cannot control.
Hong: Tori Matsuzaka and the other actors were all wonderful. I was especially impressed by the concentration of Tori and Suzu Hirose, who were able to convey their inner emotions through the camera during close-ups.
Hong: The scene shot at Lake Aoki in Omachi is particularly heartbreaking but beautiful. The sequence started with the sun beating down, and it would have been best if it had clouded over and rained towards the end.
Hong: but we didn't know what the weather would be like, and we had to make it through in 3 days no matter what. However, again, nature was on our side and we were able to capture the scenes we needed to capture. On the screen it looks like summer, but in reality we were shooting in autumn, so the water was cold. I think the actors had a hard time, but miraculously we were able to shoot the scene in the water in time. I was always helped by the power of nature in many of my previous shoots, but I felt it especially strongly in this one. A bird would suddenly fly in from somewhere, or the wind would blow just right. I was thinking how lucky I was, which is what a good film should be.
Dir. Lee: This time I did more than 20 takes. Not that I'm not satisfied, but in a good way, it makes me think, "Couldn't there be more?" Suzu took many takes in the police station and in the scene where she is harassed by Ryo.
Lee: I especially felt Tori's power in the scene he lies to Tani. Fumi's inner world is filled with complex emotions such as sorrow, resentment, frustration, but there's a complete void in his eyes. I wondered if anyone could express such a thing but Tori arrived at right place.
NikkeiE: The main highlight of the film is all-out performances, in which actors lived their roles. Hirose delicately and dynamically portrays the complex psychology of Sarasa, while Matsuzaka fascinates the viewer with his every move, as if he has been reborn as a different person.
Dir. Lee: Sarasa and Fumi are neither lovers nor family. They struggle between false image and real image created by the world, which is as heart-wrenching as "Villain/Rage". But, the new relationship between them is fantastical and heartwarming. It's a new frontier for me.
I omitted Suzu and Tori's interviews cuz it's misleading without context. But the following is interesting. 🤣 Apparently, Dir. Lee tried out Fumi's scene himself! LOL
Tori: It may be the biggest thing to say, "He was with me in the role." Because, in Fumi's confession scene, when I talked to Dir. Lee, he said, "I actually tried it too." He seems to have done the scene himself in the hotel (lol). He helped me that much, so I was reassured.
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