FOX SEARCHLIGHT PICTURES Presents In ... - Central-Kino

The actress also compares the script’s ever-twisting plot to a classic Alfred Hitchcock
film. “It’s a quality thriller, a psychological study of very unusual, disturbed people,” says
Weaver. “That’s what makes this compelling. There are a million things going on simultaneously.
And the characters are fascinating and sharply delineated: the high-strung Evie, the silently
watchful India, the anxious aunt who knows that something wicked this way comes. And, of
course, the very bad Uncle Charlie.”
A single highly charged scene in the movie featuring all four powerhouse performers in
an almost silent confrontation is a highlight of the film for Costigan. “That was one of the most
fun scenes to shoot,” the producer says. “We had a virtuoso cast of actors assembled and
watching them interact was such a pleasure especially during the family dinner scene. Just the
slightest movement or glance from Evie could cut across Auntie Gin in the film. Watching Uncle
Charlie subtly observing the action, you start to realize he’s playing a giant ruse on the family.
India observes the others and just one glance speaks volumes. Watching these incredible actors
work together was thrilling.”
A WORLD WITHOUT TIME OR PLACE
Design & Crafts
Radiant imagery, an omniscient camera and carefully conceived visual metaphors are the
hallmarks of a Park Chan-Wook movie. Director of photography Chung-hoon Chung has now
worked with the filmmaker on five films, including OLDBOY, LADY VENGEANCE, I’M A
CYBORG, BUT THAT’S OK and THIRST. Together, they created STOKER’s dreamlike,
erotically charged atmosphere, moving characters in and out of the frame in a game of hide-andseek
with viewers, using long camera set-ups, unique camera angles and intricate sound design to
delineate hunter from hunted among the characters.
The pair used the same time-tested approach for STOKER as they did on their previous
collaborations. “We always start working together in preproduction, so we share the same
vision,” Chung says. “As we amend the script, we talk about reference pictures, photos or screen
captures from other films. But deciding how to shoot each scene is minor compared to
understanding the characters’ emotions in the script. Right from the start, we thoroughly analyze
the script the same way the actors do.”
Chung, who is considered one of the master cinematographers of contemporary Korean
cinema, worked hand-in-hand with Director Park to conceive meticulously detailed storyboards
for the film. “Creating the look for a film like this is similar to building a house,” he observes. “It
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