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改編自真人真事　震撼韓國連環姦殺案
 2003年韓國第1賣座電影
 連奪4周韓國電影票房NO.1
 橫掃韓國電影大獎6項大獎
 日本東京電影節 最佳亞洲電影

殺人回憶
 Memories of Murder

三月四日

故事簡介
 改編自真人真事的《殺人回憶》是講述1986年，韓國近郊地區發現了一名女屍，該名女子死去前曾遭人強姦。兩個月後，以相同手法的先姦後殺案相繼出現，立即引起全國之關注，警方更因此成立專案小組調查這些連環姦殺案，由當地幹探朴度文 (宋康昊飾演)和漢城委派的幹探蘇大原 (金相慶飾演)聯手追查。

朴度文一向相信自己的第六感可以破案，便憑直覺迫使鎮上所有壞旦來嚴刑拷問；相反蘇大原則重新整理所有資料，抽絲剝繭，務求找到線索，兩人查案方法南轅北轍，彼此互不認同，合作發生不少磨擦。然而，當他們開始掌握到兇手鍾情在下雨天施毒手，電台同時會播出同一首曲．．．．。

票房賣座　橫掃獎項
 《殺人回憶》是2003年韓國第一賣座電影，連續四周高踞韓國電影票房首位，總入場人數更高達五百二十萬，成績一時無兩。另外，《殺人回憶》亦獲得多項電影獎項，包括第二屆韓國電影大獎6項殊榮（最佳電影、最佳導演、最佳男主角、最佳編劇、最佳剪接、最佳攝影）、韓國大鐘獎4項大獎(最佳電影、最佳導演、最佳男主角、最佳燈光)、韓國青龍獎最佳攝影、日本東京電影節最佳亞洲電影、西班牙聖塞巴斯電影節最佳導演及國際影評人聯盟大獎等。

韓版周潤發－宋康昊
 有韓版周潤發之稱的宋康昊，以精湛的演技見稱，他的表現也得到影評人近乎一致的好評。他曾經參演的多部電影包括《茅躉王》、《生死諜變》、《JSA安全地帶》、《復仇》等，每次演出皆是票房的保證，怪不得早前有項調查，探討「單靠某位影星的名氣能吸引多少觀眾」，結果是宋康昊以63萬人數擊敗韓石圭，成為在韓人心目中演技與賣座的信心保證。

宋康昊從影多年獲獎無數，早在2000年獲得韓國最受歡迎男演員、釜山影評人協會最佳男演員、韓國大鐘獎最佳新人獎，他更揚威海外獲得第三屆法國度維爾亞洲影展最佳男主角。翌年在韓國大鐘獎首次獲得最佳男主角，今次又憑《殺人回憶》再度稱帝，宋康昊影壇大哥的地位無人能代替。

金相慶飾精明幹探
 自98年首次參演電視劇《辯護律師》後，金相慶在電視圈嶄露頭角，並於同年獲得MBC最佳新演員獎。由於打響了名堂，金相慶其後參與多部高收視電視劇集。於2002年，金相慶首次投入影壇，接拍《追憶失落大門》。《殺人回憶》是他的第二部電影。

導演奉俊昊
 導演奉俊昊三年前首執導演筒，拍攝《綁架門口狗》，無論在票房或評價上都十分成功。《殺人回憶》是奉俊昊的第二部作品，他除了在韓國橫掃獎項外，還揚威海外，包括獲得第51屆西班牙聖塞巴斯蒂安電影節最佳導演獎和新人導演獎　以及日本東京電影節最佳亞洲電影，奉俊昊導演在東京電影節的台下致詞表示：「參展之前完全沒想過還有獎可得，很高興能得到亞洲圈的肯定，今後我將以身為年輕導演而更努力，繼續創造更多好作品。」

Memories of Murder《殺人回憶》演職表
CJ Entertainment/I Pictures/Sidus聯合呈獻 Sidus製作
監製: 車承宰
聯合監製: 金茂令
執行監製: LEE Kang bok
導演: <綁架門口狗>奉俊昊
原創故事: 金大臨
編劇: 奉俊昊
攝影: 金炯求
燈光: 李江山
剪接: 金鮮瑉
美術: 柳星姬
現場錄音: 李炳夏
音樂: IWASHIRO Taro
化粧: 黃賢圭
服裝: 金有善
特別效果: 鄭英雅
發行: CJ Entertainment

A BONG Joon-ho Film
April 25, 2003
Presented by CJ Entertainment
Produced by Sidus

Release date: March 4, 2004
Korean, 127min, 1:1.85 , Dolby SR, Color
World Sales CJ Entertainment

Credit

Presented by  CJ Entertainment
In association with  Muhan Investment, I Pictures, Sidus and Discovery Venture Capital
Executive Producer LEE Kang-bok, TCHA Seung-jae
Producer KIM Moo-ryung
Director BONG Joon-ho
Original Story KIM Gwang-rim
Screenplay BONG Joon-ho, SHIM Sung-bo
Cinematography KIM Hyung-Ku
Lighting LEE Gang-san
Editing KIM Sun-min
Production Design RYU Sung-hee
Simultaneous Recording LEE Byung-ha
Music IWASHIRO Taro
Makeup HWANG Hyun-gyu
Costume KIM Yoo-sun
Special Effects JEONG Doe-an
World Sales CJ Entertainment

About the Film

This is a true story.

1986 to 1991.

In a small town outside Seoul, over the course of six years 10 women were raped and murdered in a 2km radius. Korean society's first serial killer took the lives of 10 victims, ranging from a 71 year-old grandmother to a 13 year old schoolgirl.

As time went on, the methods of the killer grew more bold and well-planned. One victim was stabbed 19 times in the chest, while another victim was found with nine pieces of a peach embedded inside her.

Other than the victims, the killer left not a single shred of evidence. Over 3,000 suspects were interrogated. At least 300,000 police took part in the massive investigation. But not a single person was indicted for the crimes.

This is a story about the detectives.

At a time in Korea when a murder investigation only meant grilling those who knew the victim,

For these officers everything was a new experience.

There was no profiling mechanism, nor any idea of preserving the crime scene for forensic investigation. Only search and interrogation based on the detectives' sense of duty and persistence.

In this age of ignorance, two detectives at the bottom of an ill-supported police force,

Have only themselves to rely on to face this horrific series of events.

The film reminisces about a time of innocence when the inability to comprehend such heinous acts led to unbelievable mishaps and harrowing nightmares. Both death and laughter infuse the "MEMORY OF MURDER"

The Murder file

Based on the real-life serial murders

As the only detective who was on the scene throughout the entire investigation, Detective Cho has since retired and runs his own business. However, he confesses that he still keeps copies of the main documents from the case. Once in a while, he comes across the file; he will probably never be able to throw it away.

As a reporter for the Kyung-in Daily News, Park was the only journalist who reported on all of the murders. He recalls the murderer this way: "The criminal was so calm about everything, in all that cold and darkness. There was no confusion or turmoil there. That bastard never lost his cool; it's amazing. He raped and killed the women, then concealed and abandoned their bodies. Women probably froze when they were confronted with this kind of coldness in the dark.

They may have even taken their own clothes off, knowing; that was the power of his terror."

The police's desire to nab the killer led to some desperate measures. As the case dragged on, the anxious detectives searched out well-known fortunetellers in the area. When one fortuneteller told them that the headquarters' northerly entrance brought bad luck, they moved it 10m eastward. Not surprisingly, the murders continued. Another fortuneteller said that if they bathed nude in the western sea in an offering to the spirits, the killer would be caught within a month. Two high-ranking police officials chose the last night of January to strip and, trembling by the shore, pour freezing water over themselves with a bucket. Interrupted by a military sentry on patrol, they were forced to flee the comical scene without their clothes.

A scarecrow was erected near the crime scenes. Although it looked like something that had been put up by villagers, it was actually the handiwork of the police. On the scarecrow it read, "Turn yourself in, or else your limbs will rot and you will die."

At the time, scientific investigative methods had not been established in the police force, and they were ill-equipped to respond to the serial murders-a type of crime they had only heard about in western news. Ultimately, their confusion and experiences led to improvements that raised the level of investigative techniques.

The murderer is…?

…a resident of the village

The murderer was clearly familiar with the area. In the ninth murder, he must have known ahead of time that there was a clearing after about 150 meters of forest.

…a man with psychosexual disorders and a hatred of women

The corpses of the raped and murdered women were brutally disfigured. Sexual deviants are reportedly calmer than the average criminal and more careful after committing crimes.

…in his 30's or younger

The use of restraints and the scope of abductions indicated considerable strength. The crimes showed a particular obsession with sexual organs, suggesting someone who was relatively sexually inexperienced.

…persistent and determined

In the fifth murder that took place in January 1987, the murderer waited over an hour in -15。C rain before seizing his victim and dragging her 700 m away.

…daring and methodical

Despite the intense police investigation, the murderer brazenly continued his killing spree. He always used the victims' possessions as weapons, and the crime scenes were so thoroughly tidied that he did not leave behind even a single pubic hair.

…a man with type B blood

At the scene of the ninth murder on November 1990, traces of semen were found on the nylon stockings that were used to tie the victim's neck and hands.

Synopsis

This is the story of the detectives who were at the frontlines of the investigation.

A young woman who left for a blind date is later found naked in a drainpipe…

As the murder spree continues, women avoid leaving their homes after dark.

In a rural village in 1986, a young woman is found brutally raped and murdered. Two months later, a similar crime occurs, attracting the nation's attention. The unfamiliar crime of serial murder soon engulfs the whole region in its terror.

A special taskforce is set up, joined by a detective from the Seoul Metropolitan Police Bureau, but the investigation is going nowhere.

A special investigative taskforce is established in the area, led by Sergeant KOO Hee-bong (BYUN Hee-bong), with detectives PARK Doo-man (SONG Kang-ho) and CHO Yong-koo (KIM Rwe-ha), area natives, and SEO Tae-yoon (KIM Sang-Kyung), a detective from Seoul who volunteered for the assignment. A man driven by his instincts and fists, Park goes around trying to beat a confession out of the village hooligans. In contrast, Seo studies the case files carefully in search of clues, and their clashing styles inevitably creates tension from the outset

The end appears to be in sight when a suspect is arrested, but he denies being the killer at a crime scene verification that is witnessed by a large group of journalists. Following this chaotic incident, Koo is fired.

Who could the serial killer be?

Not a trace is left behind at meticulously cleaned-up crime scenes…

The complete lack of evidence mystifies the detectives. The killer uses only the victims' own clothing or possessions as weapons and restraints and doesn't even leave behind a single pubic hair, as is normal at a rape scene. The investigation is revitalized with the arrival of SHIN Dong-chul (SONG Jae-ho), Koo's replacement. Taking a clue from the fact that not a single hair has ever been found on the scene, Park scours the area's temples and bathhouses for people suffering from hairlessness. Meanwhile, Seo reviews the case files and discovers a pattern of victims wearing red on a rainy day.

A dark and endless enigma…

The killer strikes for a tenth time, still shrouded in mystery-how long will his reign of terror last?

The detectives decide to lay a trap one rainy day, planting an undercover officer dressed in red. To their dismay, the gruesome body of another woman is found the very next morning, and the investigation hits another dead end. The press has a field day criticizing their incompetence, driving the detectives to distraction.

Cast & Character

Detective Park Doo-Man | Song Kang-Ho

"I know, just by looking at your face." - a country cop who runs on instinct

Whenever a new case breaks, Park starts off the investigation by calling in the usual suspects and cracking some heads. He uses his knowledge of the personal situations and relationships of the neighborhood people to conduct the case. He believes that looking at a person's face can tell you whether the person is good or evil and claims to have once been called a shaman for this ability. His personal philosophy is that commitment is more important than brains in being able to doggedly chase down a criminal.

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Awards:

Detective Seo Tae-Yoon | Kim Sang-Kyung

"The answer is in the file." - the cerebral city detective

A member of the Seoul metropolitan police department, he volunteers for the task force assignment when he hears about the serial murder case. Because of his peculiar personality ticks such as insisting on noodles with sauce on the side, and only using tissues straight from the box, he quickly earns the dislike of the other task force members. However, from time to time he presents a compelling argument. Believing that the truth can be discovered in the evidence, he meticulously examines and analyzes the documents related to the case in order to find some pattern.

Films:

Awards:

Sergeant KOO Hee-bong (BYUN Hee-bong)

The leader of the taskforce, a country policeman with a genial demeanor who quickly finds himself in over his head. Eventually, he is fired in disgrace.

Sergeant SHIN Dong-chul (SONG Jae-ho)

KOO's successor, he's a hot-blooded man who still knows how to manage his temper. His aggressive leadership revitalizes a stagnant investigation.

Detective CHO Yong-koo (KIM Rwe-ha)

Detective Combat Boots. He firmly believes in the persuasive powers of his combat boots rather than wasting his breath talking. Though it took him an extra year to finish high school, his martial arts skills got him his job as a cop.

Officer KWON Kwi-ok (KOH Seo-hee)

The team's lone female officer, her main duties involve the copy and coffee machines. She is often reprimanded for her habit of listening to the radio on duty.

KWOK Seol-yung (JEON Mi-seon)

PARK Doo-man's girlfriend and unlicensed village doctor who administers illegal injections. The nature of her work keeps her in on all the local gossip.

The Prime Suspects

The village thugs

One at the 9 o'clock news, another at the midnight wrap-up, another as the national anthem plays, and another during the night when static crackles on the air. Rapes happen regularly in the rural village. Whenever a crime strikes, the usual suspects are rounded up and their alibis checked out.

The potential husband

Another prime suspect, the man who had been arranged on a blind date with the first victim, PARK Bo-hee.

The village idiot BAEK Kwang-ho (PARK Noh-sik)

The "special" youngest son of the "Go get 'em" BAEKs.

He reportedly had a crush on LEE Hyang-sook (the second victim) and followed her around everywhere

Confirmed perv CHIO Byung-soon (RYU Tae-ho)

Caught masturbating near a crime scene wearing pink floral panties. Porn mags and clippings of the murders are found in his home.

Factory technician PARK Hyun-kyu (PARK Hae-il)

The only thing that the sole survivor of an attack remembers is that the man had unusually pale and slender hands-just like PARK Hyun-kyu's.

Production Staff

Director of Photography KIM Hyung-ku

Looking over his filmography, it seems that just a single person could not have possibly filmed all of those works in such different genres. He first attracted attention with his dazzling and dynamic camera work in "Beat" and "There is no Sun," followed by "Peppermint Candy," with its realistic yet subtle and profound still-life beauty. "Warrior" put him at the pinnacle of Korean cinematography, while his work in "Spring in My Hometown," praised for thoroughly capturing the characters' emotions through a quiet, contemplative stillness, solidified his position in the industry.

Asked why he chose to work with Kim, the director said, "Kim Hyung-ku captures outstanding and surprising visual images in all of his work. However, the true value of what he does lies in not just dazzling technique, but his outstanding awareness of dramatic flow and how that knowledge informs his decisions when setting up a shot. Furthermore, his sensitivity for the camera's approach and position regarding character is unsurpassed. The distance between characters, the feeling when approaching a character, the framing between characters, etc.-his touch is always emotionally compelling and precise as a razor blade."

"A Casual Trip" (1994), "Dr. Bong" (1995), "The Adventures of Mrs. Park." (1996), "Beat" (1997), "Spring in My Hometown" "City of the Rising Sun" (1998), "The Uprising" "Peppermint Candy" (1999), "MUSA-The Warrior" "One Fine Spring" (2001), "Together" (2002)

Lighting Director LEE Kang-san

A longtime collaborator of cinematographer Kim Hyung-ku, they teamed up again to display their fantastic working relationship. "Memories of Murder," which was shot completely on location, had many scenes shot in the rain, presenting multiple challenges to the lighting team. "Filming in the quarry or at Ip-ahn village was difficult because we had to cover a large area, and we were nervous about the risk of an accident. Although we worried about the dangers, we completed the shoot safely, and it ended up being the most memorable endeavor." He certainly did not shrink from danger, climbing up an electrical pole with his grey hair blowing in the wind. Lee is well known for his professionalism, and Bong has referred to him as famed historical figure Admiral Yi Soon-shin while watching him at work. What makes him even greater are his laid back composure under stressful and strenuous conditions and how he voluntarily acts as a father figure to the crew.

"The Gingko Bed" (1996), "Beat" (1997), "Spring in My Hometown" "City of the Rising Sun" "Dr. K" "The Happenings" (1998), "The Uprising" "Peppermint Candy" (1999), "The Warrior" "One Fine Spring" (2001), "Together" "The Addiction" (2002)

Production Designer RYU Sung-hee

Ryu was the creative force behind the production design for "Flower Island" and "No Blood No Tears," works that emphasized strong visual artistry.

"I thought that just as remnants of the '80s can still be found today, there would have been elements of the '60's and '70's left over in the '80's. I wanted to make it seem very realistic, but exaggerating certain aspects. Furthermore, just as a horribly murdered nude woman coming into the same frame with a peaceful farming village is representative of "Memories of Murder," the overall concept features powerful contrasts between light that expresses the era's textures and various incongruous elements." Ryu confessed that the most difficult part of this project was trying to create its own character while still remaining true to life, since much of the '80's images are still vivid in people's minds. In working on "Memories of Murder," she was pleasantly surprised by an unexpected experience: the fields that looked normal and beautiful during the day could appear disturbing and grotesque at times. It was her role job to capture and re-create the farmlands that changed its personality according to the hour and season.

"Flower Island" (2001), "No Blood No Tears" (2002)

Music IWASHIRO Taro

He graduated at the top of his class from both undergraduate and graduate schools at the Tokyo National University of Art and Music University. In 1991, his final thesis was awarded the top prize at the Silk Road Symphony International Composing Competition, which put his work into the permanent collection of the Tokyo National University of Art and Music. He then went on to work as a composer and producer in a variety of genres, such as television, film, animation, commercials, and video games.

Iwashiro is an accomplished artist who is in the footsteps of HISAISHI Joe, known as the "Ennio Morricone of the East." Iwashiro is active internationally and has participated in a collaborative film project with directors from various nations. He showed a particular interest in and passion for "Memories of Murder." Bong wanted the music to be different from the standard thriller soundtrack, and decided to work with Iwashiro because he was impressed by the dark yet lyrical sensibility of his work. "He is a very passionate person. Since we could not meet on a regularly basis, we would have ten-hour meetings whenever we did get a chance to sit down together. The long meetings did not tire us out. As creative people, it was interesting and satisfying to share our sensibilities in the process of making something. After the film was completed, we exchanged our opinions by sending each other text messages from the recording studio. Perhaps it was partly because we shared the common denominator of being Asian; the thing that made working with him most enjoyable was that we really connected.

"Exaggeration" (1992), "Tomorrow" (1995), "Dog of Flanders" (1997), "Hot Springs Ping-pong" "Rurouni Kenshin" (1998), "MARCO" "Fever" (1999), "Another Heaven" "Lily-of-the-Valley" "Happy Family Planning" (2000)

Production Notes

An exceptional screenplay, an unusual fusion of death and laughter

Based on a true story, "Memories of Murder" is a rich blend of a year's research, visits to the crime scenes, and interviews with key detectives and reporters that distinguishes itself from typical crime movies.

"Memories of Murder" is a special recollection of the nightmarish events during those rough times with compelling, true-to-life characters that bring death and laughter together.

Shot completely on multiple locations throughout the country!

The rural village and its surrounding fields of the late '80's is another central character of "Memories of Murder."

The production team traveled to all corners of the country in search of remnants of the era. They eventually came to call themselves "The Traveling Minstrels."

Since most of the scenes had been planned to be shot in overcast weather, the crew's patience was tested regularly while they waited for clouds. For the final crime scene, they ended up waiting two weeks for rain while the rest of the shooting had wrapped. Their persistence and dedication resulted in capturing the distinctive images onscreen.

'86 & '87: back in the day…

Even though it was only about fifteen years ago, things in Korea were quite different then.

Director

Bong Joon-Ho

"I really enjoy crime films so it's only natural that this project is a crime movie. Actually, even "BARKING DOGS NEVER BITE" is a sort of crime movie. "MEMORIES OF MURDER" began in my mind with a single image. "On a sunshine filled afternoon, a gruesomely murdered naked body of a woman is discovered in a formerly quiet and peaceful town." Ironically, I found that the actualities of a murder case don't conform to the conventions of the crime genre. Only something like "Silence of the Lambs" could have produced an intellectual thriller pitting the detective against the criminal. Reality is nothing like this. I wanted to show reality - the incredibly comic juxtaposed and combined with the horrifying."

"Memories of Murder" is an evocative detective drama with a distinct Korean flavor.

It all started with the image of a brutally murdered woman found naked in a remote, peaceful village on a hot, sunny afternoon. In a straight thriller, death is just a part of a game or a puzzle, but in "Memories of Murder," death is accompanied by sadness and anger. I am genuinely saddened by the deaths of these women. Not only do I feel rage toward the murderer, but I am also enraged about the circumstances that allowed these women to be killed. I hope that audiences who watch the film will feel as I do." Quoted from the director.

Filmography:

2000

1997

1994

1993

Director Interview

1. What motivated you to make this film?

"I really enjoy crime films so it's only natural that this project is a crime movie. Actually, even "BARKING DOGS NEVER BITE" is a sort of crime movie. "MEMORIES OF MURDER" began in my mind with a single image. "On a sunshine filled afternoon, a gruesomely murdered naked body of a woman is discovered in a formerly quiet and peaceful town." Ironically, I found that the actualities of a murder case don't conform to the conventions of the crime genre. Only something like "Silence of the Lambs" could have produced an intellectual thriller pitting the detective against the criminal. Reality is nothing like this. I wanted to show reality - the incredibly comic juxtaposed and combined with the horrifying."

2. Did you feel more pressure because the crimes had taken place only ten years ago?7.

First of all, I thought of the victims' families. I asked myself many times whether or not I had the right to make this movie. Writing the screenplay was so difficult that I even resorted to knocking back some stiff drinks sometimes. I struggled over how I could remain responsible to the victims' families. In most thrillers, death is merely a game or a puzzle, but in "Memories of Murder," death is accompanied by sadness and anger. This movie will make you feel how profoundly terrible and tragic murders are. I am genuinely saddened by the deaths of these women. Not only do I feel rage toward the murderer, but I am also enraged about the circumstances that allowed these women to be killed. I hope that audiences who watch the film will feel as I do.

3. The subject matter is quite serious.

I intend to keep that hidden behind the screen. Think of sliced meat that tops a bowl of noodles. If beef represents political and social significance of the 1980's, the noodles are the everyday that surround these elements. The "meat" has been prepared heavily in the movie, while the "noodles" have been handled with a light, energetic touch. The odd tension that is created when those two elements clash is part of the film's attraction. I made sure that even the younger generation who did not know about the cases would enjoy the "noodles." Two detectives who are like oil and water gradually become opposite characters as they become more and more immersed in the case-the vivid changes in character are the focus.

4. Is there someone from your research who was particularly memorable?

The Kyung-in Daily News reporter Park. Most of the journalists were switched out since the case went on for so long, but Park covered all of the crimes, from the first to the tenth. He was memorable because he definitely had his own analysis of the case. I don't think it's especially important whether or not his interpretation is correct. He told me something that was very helpful to me: "You need to have your own clear viewpoint in order to remained centered in the midst of the sprawling case."

5. These characters are rather unusual.

"Memories of Murder" is an earthy, distinctly Korean detective drama. There are no sleek FBI-style detectives in leather jackets and dark sunglasses like you see in movies.

"Memories of Murder" is an evocative detective drama with a distinct Korean flavor. The pairing of a city cop and country cop may seem like a conventional structure at first glance, but even the detective from the capital city of Seoul does not fit the image of an urbane or intellectual detective. Also, the movie is not an intellectual thriller that joins together pieces of a puzzle like the standard Hollywood movies. Instead, we capture onscreen the despair and rage of the two detectives who desperately want to catch the murderer but ultimately fail. The growing madness will be realistically portrayed. As a joke, I've referred to it as the 'farm thriller' or 'Pastoral Diaries' thriller."

6. What do you think of the characters Park Doo-man and Seo Tae-yoon?

The biggest difference between Park Doo-man and Seo Tae-yoon is their attitude toward failure. To a limited degree, you see Park in the context of his normal life outside the case. However, you only see the Seo character within the context of the case. The case is his life. Therefore, he has no reason to exist if he cannot solve the crime. Ultimately, Park Doo-man has a place to retreat to when he fails, but Seo does not, and that is the reason why Seo is slowly driven insane.

7. Was there something in particular that you concentrated on while directing to get the characters that you wanted?

What I especially emphasized was a realistic atmosphere. Not only because it is based on fact, but also I wanted every word and gesture to feel realistic. I think that specifically for Seo Tae-yoon (Kim Sang-kyung) or Park Hyun-kyu (Park Hae-il), it must have been challenging because their dramatic arc was extreme and they were required to display explosive emotions while still maintaining intricate and believable emotional expressions at the same time. It was probably difficult to find realistic space or cracks in the midst of the emotions or rhythm that the narrative clearly demands.

8. What was it like working with Song Kang-ho?

We worked almost too well together. He even hung around the editing rooms after shooting had wrapped. I wrote the part of Park Doo-man with only him in mind, so the lines would just come organically out of his mouth, already realizing in script readings 100% of the nuances, intonations and feelings that had been in my head. During shooting, we concentrated on adding more entertainment value or authenticity on top of that. What surprised me while working with him was his incredibly flexible ad-libbing. His ad libs were not obtrusive or damaging to the narrative, but were spontaneous ad libs that served to strengthen the character or drama. I would often explain the scene's mood or the character's emotion and then encourage him to improvise. It was great, enriching the story with a back-and-forth interaction, like a table tennis game. During editing, I really enjoyed seeing a lot of interesting situations that had not been in the original screenplay or storyboards. The thrill of gaining something unexpectedly-only people who have experienced it can understand.

9. What was it like working with Kim Sang-kyung?

He had a heavy load to carry because of what the story demanded of him, such as when he reaches a state of madness at the movie's climax, or scenes of extreme emotions, plus a lot of details in characterization.

His main asset is that he is great at riding the momentum. He's adept at managing himself as an actor according to the flow of the film, the flow of the shoot, the progression of filming, the flow of the narrative, etc. In the beginning, his acting was kind of laid back, then as we reached the mid to latter portions of the story, he exploded the energy that he had accumulated. His concentration and explosive power was amazing. You can feel it completely on the screen. He also displayed maturity as an actor, utilizing his body as a tool to express emotions or the changing look in his eyes. He'd deprive himself of sleep, run every morning to control his weight, and turn himself away from the sumptuous spread of Jeolla province that the area is famous for. He certainly had a lot of willpower. He evenly matched the more experienced Song Kang-ho's energy level. As the director, I was happy with and worried about him at the same time.

10. How is "Memories of Murder" different from other detective dramas?

There have been many detective stories in the past, there are many being made right now, and they will continue to be made in the future. Aside from the fact that it deals with a specific case that actually happened, it is most distinguished by its portrayal of the detectives as actual human beings with an emotional arc. A cool detective does not appear for wild action scenes or to become romantically involved with a beautiful female suspect, nor is it an intellectual thriller in which respectable detectives play an advanced cerebral game. What is a detective? Someone who catches the criminals. I focused on the realistic and intense emotions of the detectives who wanted to catch the criminal so badly but ultimately failed.

11. Could you talk about movie's style?

I don't like dichotomies and drawing boundaries. I like to mix contradictory elements. Just as brazenly cartoon-like elements were inserted into realistic, everyday routine in "Barking Dogs Don't Bite," "Memories of Murder" works similarly. Because it is based on a true story, realistic depiction forms the basic foundation, but it is mixed with a very recognizable fictional genre, the thriller. It's not an official genre, but I jokingly refer to the movie as a "rural thriller." If most thrillers feature rather American-style, cool detectives, our movie has detectives wearing stretched-out undershirts investigating in farm country. A most realistic and Korean sensibility has been injected into the most conventional genre situation.

12. How do you remember the '80's?

I would define it as the age of mobilization. The National Sports Games, The Asian Games, The Olympics, the ticker-tape parades, etc. But what about the vulnerable women in those days? The country and society were ultimately defeated by the murderer. It was a time when external events were the focus to the detriment of the country's internal affairs. That was the '80's.

13. Societal currents appear as an important element in the film. I understand that you went to great lengths to re-create the 1980's.

We could have easily taken the circumstances of the case as the main premise and set the movie in contemporary times. However, the background of the 1980's was important to me. It is a way for the film to speak, and I wanted to faithfully re-create the '80's in a space where you could take a step back and discern a certain style. Look around the office where we are sitting now. Objects from the '90's still exist in a space in 2002. It was probably the same in the '80's. I wanted to reconstruct the '80's while making it a depiction based on memory. In that way, the distance between then and now seems enhanced.

14. There were so many locations in "Memories of Murder" that it got you on the record books. Was there a location that you found particularly memorable?

We spent a year just scouting locations. I like the road that appears in the scene with the high school girls wearing traditional dresses, even though it's not a particularly special or unusual road. It's a road you commonly see in the countryside, with a curve to it and lined with single-story buildings. I guarantee you that in about ten years, spaces like these will be destroyed and disappear. Then, if you wanted to see such spaces, you would have to screen our film. If only for that significance, this project has been meaningful for me. Locations that appear in the film are the ones that made it after a fierce competition with many other candidates. From securing locales to filming, we experienced many difficulties. In one instance, when were trying to secure filming in some farmlands, one of our production team members even ended up in tears. Their contribution was huge. There were many memorable locations, but if I were to choose one, I would unhesitatingly say Bu-ahn. I think of the fields of Bu-ahn that appear at the beginning and the end of the movie as gifts. The clouds, the sky and the rice plants were so beautiful; I would like to visit there again. The dozen changes in weather in a single day unfolded like a panorama…fluffy cumulus clouds would become grey, then it would hail or rain or snow, and we even saw a rainbow once. I really hope that Bu-ahn will be preserved, not destroyed.

15. Is there a scene that you are especially attached to?

Even though it wasn't essential to the narrative, I like the scene in which the high school girls in traditional dresses hold paper flags standing by the roadside, then run off together when it starts raining heavily. It kind of captures the essence of that time and the way the high schoolers run off en masse in traditional dresses is an oddly inspiring image. Plus, I would name the quarry scene that gave a lot of trouble to our lighting team, from negotiating to filming. It was also dangerous to have the giant crane shave by so close to the actor. The character of Detective Park Doo-man was wonderfully realized, and I like the climax filmed at Sa-chun as well. We planned on two days but ending up shooting for ten, and the actors had to suffer through filming in the winter rain.

16. What was it like working with Director of Photography Kim Hyung-ku?

He helped me in directorial aspects, not to mention the cinematography. He is a creative person who has a lot of ideas and opinions. As a director, it was great working with him because as concerned he is with light or weather, he always put the story first. He is always aware of where a cut is within a two-hour movie, or what a character said in the scene leading up to it, and he takes it into account with more sensitivity than I do. So, it was very helpful. As a director, you want such and such angle or light for the narrative, but if the cinematographer wants something only from his point of view as a cinematographer, that could create a conflict, but we didn't have to worry about that. Compatibility? It's something instinctive and almost primitive, very subtle, but we had it. When I was looking on the monitor at a shot he had set up, and I would maybe want the camera to back up a bit for the story's dramatic flow, I would find him already giving the order before I even got there. When you find that your understanding of the work or your sensibilities match up, it feels great.

17. What was it like working with Director of Lighting Lee Kang-san?

He works intensely when we are shooting. The way he directs the lighting team is like watching Admiral Yi Soon-shin. The lighting is, of course, superb, and what I said about working with Director of Photography Kim Hyung-ku also applies to my experience with Lee.54.

18. What are you trying to express in this film?

The memory of murder; for the detectives, the memory of not catching the killer; for the people around the victims, the nightmarish memory of losing their loved ones; for the people who lived through those times, the memory of how we lived; the sad and laughable case, the memory of that case…

Epilogue

To the detectives who carry an unresolved knot in their hearts…

It has been days since I've been home.
I am beginning to forget the faces of my wife and my children.
The Chief, the Superintendent, the Director-General, even the Secretary of the Interior-
they are all screaming for us to catch the killer within three days.
But the killer leaves no traces.
We lack the equipment, technology, people, everything.
Our shoulders droop and our eyes are bloodshot.
But we really, truly, desperately want to catch the killer.
We ran, through the rain, the snow-we ran and we ran.
But, in the end…
We dedicate this film to the detectives who finally had to admit bitter defeat.

To the blameless women…

In the cold night air, as the raindrops fell on bare skin,
when the soft hands of the killer slowly started to enclose around your neck,
in that moment of immense terror and despair that we could never imagine,
whose name did you call for the last time?
….

We dedicate this film to the ten women who, if not for those hellishly dark nights, would still be walking the country roads under the bright sun.

Finally, to you without a face…

Who are you?
Where are you now?
Do you remember the women you killed?
Are you happy?

August 2002
BONG Joon-ho

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