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And then Yang’s memory, which just recordings and something you can revisit. I mean, so much of both variations of memory, both the ones that we feel in the human memory, where we feel the echoes and the repetition, and almost as if humans are auditioning the right take of a scene, because they’re trying to understand what was meaningful about something in the past. So I did know that this story world would allow me to explore different forms of cinema. You know, I’m a big fan of and I love how he uses the cinema and the echoes of cinema and this sort of temporal drift of cinema to really make us not only… he doesn’t just do it abstractly, but you feel memory and time in a different way. Kogonada on the formal identity of “After Yang”: I love all kinds of forms in cinema. The measuring out of how we get to know Yang was really the whole structure of the film, and what was going to take us to the end. And then we get a hint of someone he sees in a memory that he doesn’t even know. And then his first sort of possibility is that maybe he is spying, maybe it’s nefarious. Kogonada on the structure of the film: The structure of the film itself is the slow revelation, and for it to be sort of peeled away one at a time and, really, for us to maybe initially, like Jake, to think, you know, at first he thinks he knows - I mean, he’s very simple. And then the real revelation that he had a whole life. So I had this idea that he was used and that he had a previous life.
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I think in the short story it’s all contained within the family itself. And we have a couple of moments where we were accessing Jake’s memory as well, but the deeper layers of this idea that Yang himself had a deeper life and that went beyond his own life with the family. So the element in the film was to also explore Yang’s memories. And it’s through his memories, not Yang’s at all. Kogonada on restructuring the short story for film: The mystery wasn’t any deeper than the fact that the father was recalling some real moments of Yang that made him more than an appliance. The stakes weren’t about saving the world, but it was about getting through a day, and getting through weeks and months. And I also loved a sci-fi world that was domestic. It had that sort of seed and promise of something that felt like it could be cinematic. It was such a short, lovely, well-told story, but I could see the promise of it being the kind of film that I would want to watch. And maybe he was too, you know, maybe he was like just getting to the essence of what that even means. I could deeply relate to this idea that he wasn’t really Asian, but he existed as an Asian and wanted that as well. Really kind of having to contemplate non-existence, not through the lens of a human being, but obviously it relating to our own humanity felt really promising.īuilding the World of 'Pachinko' in K-Drama Backlots and 'Enemy Architecture'Ĭreator Soo Hugh Built a Truly Global Show with 'Pachinko'Įmmy Predictions: Outstanding Lead Actor in a Drama Series: Split 'Succession' Vote Tees Up 'Squid Game'?Įmmy Predictions: Outstanding Animated Program - 'Rick and Morty' Warp Speed Toward Another WinĪnd then also the idea that this robot was a construct of Asian-ness. There was something like knowing that I could expand that and understand even memory as a sense of time a death that wasn’t really a death, as we know it. Certainly memory is one, and even the way we engage the life of others. Kogonada on the cinematic appeals of “After Yang” as a story: There were a few ingredients that felt really interesting and just where I was in life then, and still now it felt like I really wanted to explore them more.
#After yang full
Listen to the full episode below, or read on for excerpts from our interview.
#After yang plus
All of that, plus the importance of having spaces tell their own stories, the differences between film and short stories, how the quality of light impacts the film, and a little bit of love for Robert Bresson. On this episode of the Filmmaker’s Toolkit podcast, director Kogonada discusses the cinematic components that drew him to “ After Yang,” from how the function of human memory mirrors the process of filmmaking itself to the importance of telling a science fiction story with domestic stakes.