Bong Joon Ho, “Mickey17” director, brings a classroom war to outer space

“Mickey 17” is the first The feature made by Pong with the Hollywood Studio, and its most expensive, with a budget less than $ 120 million. In this last result, it was contradictory. He said: “The best small productions, and I do not like big production.”

I heard the gossip that when Warner Bruce highlighted “Mickey 17”, the studio hopes to generate a new privilege, focusing on a specific hero through his unlimited continuation capabilities. But Bong sensitivity has been constantly privacy in ways that fly against the logic of multiple transmission. Most of its ends are frustrating, and you can feel features in English language, all of which are science fiction, especially strange, with increasing shows and color fluctuations that have become his signature-“switching energy”, where Tilda Swinton, who worked in his films, put me.

This energy is an effect not to give up on the Bong side, but with a large degree of control. He creates very detailed stories for all his films, and they are an opaque plans during production. Film photographer Darius Khundji, who worked with Bong on “Mickey 17” and “Oaka”, who filmed films by David Vencher, Alejandro Enarrito and Safe’s brothers, said that Bong “is working along a different wavelength that I did not feel with anyone before.” And compare the stories with the musical result. “Everything is written, and you can change the rhythm and the way you play notes, but if you try to pull a note, or a set of notes, he will say,” This does not make sense. “

Mark Rovalo described this as fruitful. “It is the style of filmmaking the most centered around the heaviest in which I worked,” said Rovalo. “Every snapshot, every corner, every gesture borrows, fire on the frame framework of the frame. But this does not mean that it controls. The exciting thing as an actor is that you are free, in this framework, to re -invent performance.”

For some actors, this feeling of freedom does not reach only after a period of severe confusion. “It usually shoots a full scene,” Pattinson said, but with the Pong approach, “He knows exactly the shot he wants exactly any line, so sometimes we launch one line at one time. You appear on the first day and say:” We will shoot at the seventh of this scene. “You go:” What do you mean? I don’t know how I will say Firstly line.’ Usually, I should do the entire scene to get the correct line.

“Therefore, everyone has a weekly nervous breakdown,” Pattinson went. “But then you say,” Oh, this is great. “If you are launching an entire scene, there is the rhythm of Legato, a summit and a fall, and some gradient. But you do not really need it for the performance method that Bong wants, and this drives you to do these very incompatible turns: if you are doing only one line, you can do the maximum density of nothingness. It is a sense of this. It can be transmitted from quietly to anger in a second divided. “

Pattinson told me that Bong “looks very fun by everything.” They talked a lot about the movie in the months before the shooting, but when it came to filming, Patinson said, the director gave him a license to explore: “It came to the point where I was just trying to make him laugh, and try things in fun ways. He said,” Yes, do what you want. “