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開畫日期 Release Date
資料提供 Information Provided By

第57屆柏林影展Alfred Bauer特別獎
2007年香港國際電影節開幕電影
亞洲人氣天王Rain鄭智薰第1部電影作品
<姊魅情深>天才玉女林秀晶動人演繹
<原罪犯>、<親切的金子>導演朴贊郁妙製浪漫空間

3月22日天造地設

導演的話
～煮飯仔～
起初我用輕鬆的心情對待這齣戲。它只是八個計畫之一，比起花了五年的復仇三部曲和已經籌備很久的下一齣電影＜Evil Live＞，＜再造人之戀＞彷彿一個被孤立的小島。也許它像貝多芬的第八交響曲，或是暴力名導森畢京柏比較溫和的作品＜Junior Bonner＞。當然，我不是把自己跟這些偉大的藝術家比較。攝製的過程樂趣無窮，觀眾亦會看得開懷。我想拍一套我女兒和朋友都看得捧腹大笑的電影，結果我真的拍了這齣連自己都不相信是來自我手筆的電影．．．該怎樣說好呢？在我眼中，＜再造人之戀＞就像玩「煮飯仔」，一大堆小孩子扮大人打掃煮飯，一本正經地用那些迷你碗碟廚具。在這遊戲裏，每個人的角色都釐定得清清楚楚 - 誰是誰，誰又負責做什麼。在現實中，不少成年人都不知道自己的角色是什麼，自己又為什麼要生存，並因此變得苦惱。比一般人想得更投入、更困惑的，會被關進「現代避難所」（精神病院）。無論成年人怎樣看待這種假的角色扮演，小孩子煮飯仔時的確有條有理、嚴謹認真。同樣地，每一位精神病人都百分之百投入他們自我創造的世界裏。在這套戲內，「現代避難所」是一個大幼稚園似的新世界。每一個病人的狂想和錯覺都是一個獨立宇宙，一個又一個的宇宙，集合在這個半真半假的世界裏。這是現實中精神病院不會發生的奇蹟，而帶來這奇蹟的是「同情心」（sympathy）和「憐憫」（compassion）。而「同情心」這元素其實早已於出現在我其中兩部電影的標題中：＜Sympathy for Mr. Vengeance＞（＜復仇＞）和＜Sympathy for Lady Vengeance＞（＜親切的金子＞）。在這兩部戲後拍＜再造人之戀＞，令我更明白到表達「愛」比表達「恨」更難。要「愛」得真摯而不虛偽原來出乎意料地困難。無論如何，我希望你會喜歡這套戲。那麼，一切都會OK了。

─朴贊郁

故事簡介

噓，別告訴別人，其實她是再造人啊！
認為自己是再造人的「英君」（林秀晶），被送進一間充滿幻想力的現代精神病院裏。她討厭那兒的燈光，也害怕那座汽水機。「一順」（Rain鄭智薰）認為自己有偷走別人性格和技能的能力，而他對英君這位新病人分外留意。

再造人不用吃飯？
各有各的古怪，這二人卻不約而同的關心對方。
英君說自己有電池不用吃飯，所以日漸消瘦，為此一順出盡法寶。他偷來「夢中飛行方法」和「唱瑞士山歌能力」來逗她笑，還偷了英君的「同情心」，由自己去代替她不開心。

心在跳，手在顫
我們的愛情在充電！
一順答應為英君去找再造人的「終生保用證」之際，英君感到十分為難，因為再造人是不應有感情的。她繼續絕食，身體狀況亦出現危機，擔心的一順決定使出最後絕招。

「當愛情告急，就算是再造人也沒關係！」

故事題材
走出復仇胡同，投入愛的世界
導演朴贊郁的全新浪漫喜劇風格
在復仇第三部曲＜親切的金子＞後，傳媒和影迷都熱切期待朴贊郁的下一部作品；當他們知道＜再造人之戀＞是適合青少年看的浪漫喜劇時，都不禁目瞪口呆。對此，朴贊郁說：「大家不要以為這是一齣科幻片，它是一部浪漫喜劇，是我對新風格的挑戰，跟我以往的作品截然不同。」

＜再造人之戀＞的概念，可謂突如其來。有一天，導演朴贊郁夢見一個身體會發射子彈的女孩子，然後他便以這奇特的夢境為基礎，發展出一個劇本來。雖然故事源自一個「導彈女孩」，但這齣戲是兩名獨特而純真主角之間的甜蜜愛情故事。而作為主要背境的「現代避難所」充滿奇想和繽紛色彩，跟一般精神病院的消沉陰深完全不同，也為觀眾帶來復仇三部曲以外的新鮮視覺效果。

繼復仇三部曲後，＜再造人之戀＞將呈獻一個集避難所、再造人和浪漫喜劇元素於一身的奇趣世界，是朴贊郁對自己電影風格的挑戰，也是他有史以來最「開心」的電影。

朴贊郁、林秀晶、鄭智薰
雲集韓國娛樂圈當今紅星
＜再造人之戀＞叫人引頸以待之處，不單是「復仇導演」風格上的突破，還有其強勁金三角陣容 - 享譽國際的韓國導演朴贊郁，還有名女演員林秀晶，以及風靡全亞洲、首次用真名登場的歌手鄭智薰（Rain）。影壇、樂壇紅人齊齊獻技，令這齣取材別樹一格的電影更具話題性。

製作花絮
演員
林秀晶的轉型，鄭智薰Rain的挑戰
一定最OK！
為了這套新戲，林秀晶和Rain從外表、說話方式、表情以至情感發揮都有別一貫的形象，務求讓觀眾耳目一新。

飾演英君的林秀晶說：「我的角色，是一個以為自己是再造人的女孩，她強迫自己聽從收音機的命令，會跟死物聊天，還隨身帶?一個放滿乾電池的飯盒。她的眉毛像蒙娜麗莎那樣稀疏，頭髮也亂得像＜原罪犯＞裏的崔岷植，這代表英君是大膽、純真但神秘的。」為演活餓至消瘦憔悴的英君，一向已經十分苗條的林秀晶更毅然減肥5公斤，「吊威也」場面也親身上場，充分顯示她的演戲熱誠和認真。

作為紅遍亞洲的魅力男歌手，Rain今次首度接拍電影，更用回他的真名「鄭智薰」。一順這個角色，是個拒絕社交的男孩子，而Rain那近乎完美的身型包在鬆身病人袍下，髮型則像天線般一條條豎起。「為了演繹一順偷來的性格和特技，開鏡前我特地向韓國首屈一指的瑞士山歌老師SUH Yong-ryul上了一個月課。」一順也是個乒乓好手，為此Rain無論多忙，就算灌錄新唱片時都隨身帶?乒乓球拍，讓自己打球的姿勢更逼真。

兩位演員的認真演出必定能擦出發火花，帶來一幕幕有趣又溫馨的場面！

概念
一個各有各天地的「自由空間」
一個於真醫院內搭建的「現代避難所」
＜JSA安全地帶＞的停火協議區、＜復仇＞裏的嘈雜工廠、＜原罪犯＞裏的私刑監牢、＜親切的金子＞裏的監獄，在朴贊郁的電影裏，主要場景背後總像有無數未說的故事；＜再造人之戀＞當然也不例外，它的背景是一間「現代避難所」。

戲裏呈現的精神病院，跟平常封閉的精神病院相反，不但不陰森恐怖，病人更可以自由走動。它搭建於釜山一個賽艇碼頭旁，佔了一間真醫院整整一層樓。除了鎮靜室和休憩室，部分鏡頭能見到醫院的走廊、男女病房、電療室、洗手間等等。整個佈景都以白色和粉色髹上獨特的圖案，營造仿如「愛麗斯夢遊仙境」的童話式神秘感，帶領觀眾進入這前所未見的狂想天地。

角色
別具個性的古怪角色
為劇情增添可觀性！
＜再造人之戀＞以精神病人為主角，人物設計自然別出心裁。英君認定自己是再造人，而一順則深信自己能偷走別人的特質。此外，配角也是同樣具備「特色」：倒後走的男人、唱瑞士山歌的女孩，還有一個腰間老綑?一大條橡皮圈的男人等。

這些角色並非憑空想像，而是在閱讀大量精神病的書籍、與精神病專家傾談、並整理精神病院數據後如實塑造的。他們各人都是自己那小小世界的國王，全都有突出而與眾不同的個性，並非一群沒有性格的病人。

儘管穿上差不多一模一樣的病人袍，每位病人的衣服上都有不同的細節，他們手上也拿?不同的道具來突顯他們的特質。就英君來說，因為她不肯吃飯，所以她的袍子越來越鬆，顯示她越來越瘦；一順相信自己能偷走別人的特質，所以經常戴上不同的面具；倒後走的男人，連衣服也調轉來穿；注重外表得發瘋的女人，在袍子上加了一條華麗的晚禮服裙子。這些細節，都能帶出個別角色的特徵。

演員履歷

巨大黑眼睛和風也吹得起的纖瘦身軀，叫人以為她真的是再造人 - 車英君
在她身旁那幾乎比她還要重的大袋內，放?一隻電腦滑鼠、一部收音機、日常衣物、假牙、鬧鐘等數不清的雜物。因為她是再造人，所以她不必吃飯；她靠的是滿滿的一飯盒乾電池，但她依然老在構思補充能源的新方法。她常跟汽水機和電燈聊天，又會毫不猶豫地躲進一座古老大鐘內。就算這「現代避難所」的每一位住客都天馬行空，但她仍然是最獨特的病人。

一顆無價的寶石 - 林秀晶
18歲以雜誌模特兒身分出道的林秀晶，處女作是電視劇＜School 4＞，首齣大銀幕作品則為＜總統要出嫁＞。在韓國本土，她被視為一位可塑性極高的女演員，今次她以獨特的說話方式和身體語言，演繹自以為是再造人的少女「英君」。早前於＜伴你奔馳＞中獨擔大旗後，現在她正投入導演許秦豪新片＜Happy＞的拍攝工作。

2003年，她憑韓國最賣座驚慄片＜姊魅情深＞，贏得有稱「韓國奧斯卡」之稱的青龍電影獎，以及韓國電影獎（Korean Film Awards）。

過往作品
2006 ＜伴你奔馳＞
2005 ＜真的愛你＞
2003 ＜...ing＞
＜姊魅情深＞

她是再造人也沒關係 - 高大純真的朴一順
童年時的慘痛經歷令他抗拒接觸外界，他總會戴上各式各樣的面具，又覺得自己終有一天會於世上突然消失。他有偷別人物件、個性、特長和身分的能力，故被「現代避難所」的病人視為一個萬能的人。他有一顆純真的心，認為自己能替新來的病人英君做任何事。

多才多藝，叫觀眾擋不住的巨星 - Rain鄭智薰
於2002年推出首張單曲＜Bad Guy＞的Rain，於短短數年間已冒升為炙手可熱的歌手，至今推出四張大碟，更已參演過好幾套電視劇集，唱、跳、演樣樣皆精。最近，他被＜時代雜誌＞選為「全球100位最具影響力人士」之一。他早前亦憑電視劇＜浪漫滿屋＞男主角「李英宰」一角，奪得韓國國家廣播公司（KBS）演技大獎及最具人氣演員獎。

過往作品
電視劇：
2005 ＜這該死的愛＞
2004 ＜浪漫滿屋＞
2003 ＜小爸爸上學去＞

導演履歷
朴贊郁PARK Chan-wook

每一齣新戲，都帶給觀眾全新的視覺刺激，惹來議論紛紛！
本土以至全球公認的「話題導演」
＜JSA安全地帶＞、＜復仇＞、＜原罪犯＞、＜親切的金子＞，韓國導演朴贊郁已是官能刺激和票房的保證。他的每部電影固然製作認真，但真正叫觀眾和國際影評家熱烈讚賞的，是其層出不窮的題材，以及奇特駭人的情節。

以政治敏感題材的＜JSA安全地帶＞橫掃各大票房後，朴贊郁拍了暴烈凌厲的＜原罪犯＞，講述一個男人無端被囚禁15年及被迫於5天內找出仇家的故事。＜原罪犯＞為他贏得青龍電影獎、韓國電影獎、韓國大鐘獎「最佳導演」，以及韓國百想（Baek-sang）藝術獎的「最佳電影」和康城影展的「評委會大獎」。2005年，他以較溫和、抒情、細膩的角色拍出復仇第三部曲＜親切的金子＞，勇奪2005青龍電影獎及威尼斯影展「幼獅獎」。

剛過去的2006年，朴贊郁被委任為第63屆威尼斯影展國際參賽部分的評審委員，再一次證明他的實力已獲國際認同。

過往作品
2005 ＜親切的金子＞
2004 ＜三更2之割愛＞
2003 ＜原罪犯＞
＜各自各精彩＞
2002 ＜復仇＞
2000 ＜JSA安全地帶＞
1997 ＜Trio＞
1992 ＜The Moon is What the Sun Dreams Of＞

幕後人員
劇本　JUNG Suh-kyung
編劇JUNG Suh-kyung繼＜親切的金子＞和＜再造人之戀＞後，現正第三度夥拍朴贊郁製作新戲＜Evil Live＞。

JUNG以處女作＜The Electricians＞（Kodak Short Films Production Support Award得獎作品）獲當時的評判朴贊郁青睞，首度踏進影圈，便寫出＜親切的金子＞的劇本。

今次，她再度以豐富的想像力和出乎意料的情節，為＜再造人之戀＞寫就一個於精神病院發生的浪漫愛情故事。

過往作品
2007 ＜Evil Live＞
＜Wicked Flowers＞
2006 ＜Family Matters＞
2005 ＜親切的金子＞

配樂　CHO Young-wook
音樂總監CHO Young-wook早年藉?＜The Contact＞的配樂為人賞識，其後參與過＜親切的金子＞、＜原罪犯＞、＜假如愛有天意＞等電影，為觀眾帶來風格多元化又創新的曲調。朴贊郁的復仇系列，亦是由CHO創作觸及人性的背景音樂。透過音符，他表達出人物心理變化和痛苦的感覺；為配合主角復仇的渴求，他選用了壯烈而無情的樂韻。

今次的＜再造人之戀＞，他以童話式活潑、清新和可愛的音樂，配襯兩位年輕的快樂愛情故事。

過往作品
2005 ＜親切的金子＞
＜No Blood No Tears＞
2004 ＜Some＞
＜偷偷喜歡你＞
2003 ＜假如愛有天意＞
＜原罪犯＞
＜實尾島＞
2002 ＜喪警狂徒＞
＜Ardor＞
2000 ＜JSA安全地帶＞
＜A Day＞
1999 ＜愛的肢解＞
＜快樂到死＞
1998 ＜死不張揚離奇失魂事件＞
1997 ＜The Contact＞

攝影　JUNG Jung-hoon
攝影師JUNG Jung-hoon擅長以鏡頭震撼觀眾，於＜原罪犯＞、＜三更2之割愛＞、＜親切的金子＞中更成功以影像展示角色的心理狀況和思想掙扎。

今次再度於＜再造人之戀＞與朴贊郁合作，自然叫人寄以厚望。因為故事充滿想像力，所以角色的動態都帶點夢幻的味道，呈現明亮可愛的感覺。攝製隊亦是全韓國首次起用高清數碼攝製機，務求突出色調對比。

過往作品
2005 ＜親切的金子＞
＜南極日記Antarctic Journal＞
2004 ＜三更2之割愛＞
2003 ＜原罪犯＞
2000 ＜If Shot, You'll Die＞
＜Tearful Story＞

燈光　PARK Hyun-won
PARK Hyun-won與朴贊郁合作無間，過去的復仇三部曲（＜復仇＞、＜原罪犯＞、＜親切的金子＞）均由他一手打造剛柔交雜的燈光效果，突出情節黑暗的氣氛。

於＜再造人之戀＞，PARK Hyun-won以溫暖明亮的柔和燈光，配合愉快的劇情；戶外的場景則加強光陰對比，帶來細膩的感覺。

過往作品
2005 ＜親切的金子＞
＜南極日記＞
2004 ＜三更2之割愛＞
＜野蠻師姐＞
2003 ＜假如愛有天意＞
＜原罪犯＞
2002 ＜復仇＞
2001 ＜我的野蠻女友＞
＜The Gift＞
1999 ＜快樂到死＞
1998 ＜死不張揚離奇失魂事件＞

美術　RYU Sung-hee
專業美術總監RYU Sung-hee於＜韓流怪嚇＞及＜原罪犯＞中以佈景配合角色的情緒變化，今次她一反傳統，於醫院中起用大量粉色佈置和有趣的道具，令氣氛溫暖動人。今次她透過白、粉紅、蘋果綠等明亮的主色，把「現代避難所」變成活潑、有趣、新奇的地方。

過往作品
2006 ＜韓流怪嚇＞
2005 ＜甜蜜人生＞
2004 ＜三更2之割愛＞
2003 ＜殺人回憶＞
＜原罪犯＞
2001 ＜Flower Island＞

服裝　CHO Sang-kyung
繼＜原罪犯＞、＜三更2之割愛＞和＜親切的金子＞後，CHO Sang-kyung再一次於朴贊郁的電影中展現服裝上的獨特品味。為表達一個全新的概念，今次她打破病人衣著千篇一律的框框，依據每個病人的個性，設計出細節各有不同的病人袍。

過往作品
2006 ＜The Fox Family＞
＜韓流怪嚇＞
2005 ＜甜蜜人生＞
＜親切的金子＞
2004 ＜三更2之割愛＞
＜The Big Swindle＞
2003 ＜原罪犯＞

-------------------------------------------------------------------------------------------------------

上映日期 :		Mar 22, 2007
級別 :		IIA
片長 :		108 mins
上映戲院 :		The Drive In / Palace APM / Broadway Olympian City / Broadway Cinematheque / Broadway Kwai Fong / UA Langham Place / UA Cityplaza / UA Whampoa/ GH Mongkok
官方網址 :		www.cyborg2006.co.kr (韓國) www.goldenscene.com (香港)
發行 :		Golden Scene Co Ltd.

<I'm a Cyborg, but that's OK>

Presented By: CJ Entertainment
Production Company: Moho Film
Director: PARK Chan-wook
Starring: IM Soo-jung, JUNG Ji-hoon
Production Start Date: March 29th, 2006
Production End Date: August 11th, 2006
Web site: www.cyborg2006.co.kr
Release Date: December 7th, 2006

Director's Thoughts

- Playing House -

I thought lightly of it at first. This film was merely one of the 8 HD projects that had been planned at the time. I thought it would be a small island in between the three revenge series that took five years in the making and my next film <Evil Live> that I had in the works for a long time. To Beethoven, perhaps it would be like his Symphony No. 8. To Sam Peckinpah, it would be like the soft ballad <Junior Bonner> between his most violent films <Straw Dogs> and <Get Away>. But don't get me wrong, I'm not comparing myself to such heights. This film is like a 'prop'. In Beethoven's words, it is a film I made with my 'buttons undone'. Fun for me making, fun for you watching. I wanted to make a film that my daughter could watch and take my friends to see and laugh out loud. And so I ended up with a peculiar film that even I could not believe that I've made. How should I call it? I think <I'm a Cyborg, but that's OK> is like a playing house. Children gather around and take on different roles like mom, dad, son, daughter, doctor, nurse etc., playing with tiny dishes and pretending on keeping house. In this, the children are set clear in their roles. But in reality, people are distressed in wondering the meaning of their existence and why they exist in this world. Here, those who are in slightly more distress than the norm, are gathered in a 'mod asylum'. Pathetic to the adult eyes in a world of make belief, children establish logic and consistency. Likewise, schizophrenic patients each develop their own worlds and live inside them. The mod asylum here is a whole new world like a big kindergarten. Each of the patients' fantasies and delusions is an independent universe. This leads to a big clamor of the universes getting tangled up in a half-virtual world. It is a miracle that cannot take place in a real psychiatric hospital. And the forces that bring this miracle are 'sympathy' and 'compassion'. Come to think of it, they mean the same thing and the word sympathy appears in two of my former films, <Sympathy for Mr. Vengeance> and <Sympathy for Lady Vengeance>. Making <I'm a Cyborg, but that's OK> after these films, I realized that it is harder to show love than hatred. It was incredibly difficult to portray love without looking like a hypocrite. Though it was a great struggle for me, I hope you all enjoy it. Then, it will all be okay.

- PARK Chan-wook -

Synopsis

Our Little Secret, She's a Cyborg!

'Young-goon' (IM Soo-jung) enters a mod psychiatric hospital rich with extravagant imagination and fantasies. She scolds the fluorescent lights and worries about the vending machine as she thinks she is a cyborg. 'Il-soon' (JUNG Ji-hoon), a man who believes he can steal other people's traits, keeps a close eye on Yong-goon, the new patient.

A Cyborg Shouldn't Eat?

Both of them are uniquely eccentric, but to each other, the counterpart looks all the more special.

Il-soon sets all his abilities into motion to help Young-goon eat, since she becomes thinner and thinner from her diet of batteries. He steals 'the sleep flying method' to help Young-goon move freely about. And he steals the ability to yodel to sing to Young-goon when she feels low. But more specially, he steals Young-goon's sense of 'sympathy' and feels her sadness for her.

Fingers tingling, hearts throbbing,

Our love is currently charging!

Il-soon promises to run to the rescue at any time for 'a lifetime warranty' on the cyborg. And Young-goon, though she knows a cyborg should not, starts to feel attraction for Il-soon. But Young-goon continues to refuse eating and falls in grave danger while Il-soon prepares the ultimate method to help her.

When love is at stake,

It's okay to be a Cyborg!

About the Movie

Exit Revenge, Enter Love

Director PARK Chan-wook's New Style of Romantic Comedy

The press and viewers wondered where director PARK Chan-wook would tread after finishing off his trilogy on revenge with <Sympathy for Lady Vengeance>. When it was later revealed that his next film would be a 'romantic comedy' about young adolescents, people were taken aback.

The director claims 'It is definitely not okay to think this is a science fiction film. It is a kind of romantic comedy.' <I'm a Cyborg, but that's OK> takes the challenge on a new style, different from preexisting films.

The story of <I'm a Cyborg, but that's OK> started out unexpectedly. One day, director PARK dreamed of 'bullets coming out of a girl's body.' PARK added various storylines to the striking dream and developed it into a film. Though it began with a story of a girl who can shoot bullets out from her body, the film was expanded to unfold the sweet love story of the main characters so unique and pure. And the 'unique mod asylum rich with imagination and fantasies' was made far different from the psychiatric hospitals, the symbols of gloom and cruel mal-treatment.

Rich with pastel colors, this space will present different visuals from director PARK's past works.

After finishing up his trilogy on revenge, in <I'm a Cyborg, but that's OK> and the new combination of 'asylum+cyborg+romantic comedy', director PARK Chan-wook takes on a new challenge in what will be his most 'cheerful' film.

About the Movie

PARK Chan-wook, IM Soo-jung, & JUNG Ji-hoon

Rendezvous of the leaders in Korean Entertainment

Globally recognized and a pride of Korean cinema, director PARK Chan-wook meets top talented actress IM Soo-jung, and JUNG Ji-hoon, a star who has gone past Korea and Asia and has set ground as a world celebrity.

<I'm a Cyborg, but that's OK> is PARK Chan-wook, IM Soo-jung, and JUNG Ji-hoon's new style of romantic comedy that has the press and viewers anxiously waiting. Furthermore, it is the first film where leading stars in both the film and music world have come together. Director PARK is noted for being able to create striking characters by bringing out the actors' best, making them shine in all of his works. This film also reveals new sides to IM Soo-jung and JUNG Ji-hoon and the actors themselves also shine forth the summit of their appealing abilities.

Leaders in each of their fields, the stars are brought together in this film to create a synergy affect that will please the viewers' expectations.

Production Notes

IM Soo-jung's transformation & JUNG Ji-hoon's challenge

It's Okay to Expect the Best!

IM Soo-jung and JUNG Ji-hoon have put aside their usual selves and have made fresh and amazing transformations in appearance, the way they talk, facial expressions, show of emotions etc.

IM Soo-jung is 'Young-goon', a unique character who thinks she is a cyborg that follows orders from a radio, talks to things, and goes around with a lunchbox full of batteries. With her eyebrows breached much like Mona Lisa and a wild haircut comparable to CHOI Min-shik's character in <Old Boy>, Young-goon is bold but infinitely pure and mysterious. Though she was already slender to begin with, in order to portray emaciated Young-goon who had starved for a long time, IM lost 5kg for the role. She also showed much dedication and spirit in doing highly difficult wire action for her daydream scenes.

Rain puts his world renowned singer title aside for awhile and makes his first debut as an actor on the big screen with his real name JUNG Ji-hoon. His well-defined muscular body is hidden under the baggy hospital gown and his hair looks like it has antennas. He is transformed into the anti-social 'Il-soon'. And in order to portray his character 'stealing' other people's individuality and special skills, JUNG took lessons from the country's top yodeler SUH Yong-ryul for a month before filming began. What's more, he held the ping pong racket in his hand at all times, even throughout his busy schedule of recording his new album, to achieve his great ability to play the game.

It will be a delight to watch the two attractive stars show what they're capable of becoming… a curious, but perfect match!

Production Notes

'Open space' where people with their own worlds co-exist

A 'Mod Asylum' built on an entire floor of a hospital

The DMZ in <Joint Security Area>, the noisy factory in <Sympathy for Mr. Vengeance>, the private jail in <Old Boy>, and the prison in <Sympathy for Lady Vengeance>. In director PARK's films, the locations are unique and rich with stories. <I'm a Cyborg, but that's OK> is also set in a special location; the 'Mod Asylum'.

The psychiatric hospital in the film is far different from the usual reclusive hospital wards and is open for patients to move freely about. The 'Mod Asylum' built in the yacht racing port at Soo-young Bay, Busan, has everything on one floor. The hospital hallway, the female patients' room, the male patients' room, the electrotherapy room, the washrooms, etc. can all be seen at a glance except for the stabilization room and the recreation room. The characters living each in their own unique world co-exist in this free area. Using mostly white and pastel tones in a unique pattern, the location has been made into a mystical and fairytale-like world, as in <Alice in Wonderland>.

Along with all the great creative effort to portray a new world, <I'm a Cyborg, but that's OK> invites the viewers to a fantastical world that has never been seen before.

Production Notes

The Characters that make the film more special

Expressing their unique and hilarious individuality!

<I'm a Cyborg, but that's OK> is set in a psychiatric hospital and thus has more unique characters than any other film. Along with Young-goon who thinks she is a cyborg, and Il-soon who thinks he can steal other people's traits, there is a man who walks backwards, a yodel singing girl, and a man who has a big elastic band around his waist. These characters are unique and far different from the norm.

These characters were created after reading many books on mental disorders, talking with experts in the field, and gathering data from psychiatric hospitals. Though they are patients with mental disorders, they are distinct people who each have their own unique world. Thus, rather than having them fit the overall mood and viewing them collectively, emphasis was placed in having each character stand out.

Though they may be wearing the same patients' gown made of canvass cloth, the patients were differentiated with minute details, props, and design modifications according to their personalities. For Young-goon, who thinks she should not eat because she is a cyborg, her gown was made especially big to make it appear that she is becoming thinner and thinner. Masks were used on Il-soon, who thinks he can steal other people's traits, to let the character stand out more. And in order to show the overly humble man who walks backwards in consideration for others, his gown was worn backwards. The woman who was overly concerned with her appearance wore a lavish nightgown on top of her patient's gown. The clothes they wore were precisely made sure to display their unique characters.

Character & Cast

-Introducing the best couple of the Mod Asylum-

Thinks she is a cyborg/ CHA Young-goon

Incredibly slender with really big eyes, Young-goon.

She always carries around a bag that is bigger than her, filled with a PC mouse, a radio, her daily underwear, dentures, a clock etc. Because she thinks she is a cyborg and cannot eat, she carries around a lunchbox full of various batteries and worries about new ways to recharge herself. She enjoys talking with the vending machine and the lights and sneaks inside a grandfather clock without hesitation. She is the most unique patient, even in the mod asylum.

A jewel with endless value/ IM Soo-jung

After her debut as a magazine model at age 18, she started her acting career in the TV drama series <School 4> and made her screen debut in <The Romantic President>. She is recognized as an achromatic colored actress with endless potential who perfectly fits any role. She is expected to show amazing talent in the transformation into her new character 'Young-goon' through her unique way of speech and body movements. She performed commendably in her sole leading role in <Lump Sugar> and is currently in production to star in director HUR Jin-ho's <Happy>. She won the best new actress award at the Chung-ryong Film Awards and the Korean Film Awards for her role in <A Tale of Two Sisters>.

*Filmology

Thinks it's okay that she is a cyborg/ PARK Il-soon

Tall and innocent with a warm smile, Il-soon.

Due to a painful memory when he was young, he wears various masks and thinks that he might vanish one day. He steals other people's things, traits, specialties, and identities. And thus, he is an all-around talented man recognized by the patients of the mod asylum. He is a pure-hearted man who thinks he can do anything for the new patient, Young-goon.

The unstoppable all-around entertainer/ JUNG Ji-hoon

Making his debut with the single <Bad Guy> in 2002, he is currently a singer with four albums released and is also an experienced actor who starred in several TV drama series. He is an all-around entertainer talented in singing, acting, dancing etc. who has recently been selected as one of Time magazine's 'Top 100 Most Influential People in the World'. The global star recognized beyond Asia has won the popular actor award and the distinguished acting award at the KBS Acting Awards for his role in <Full House>. He takes a step into a new realm with his screen debut in <I'm a Cyborg, but that's OK>.

*Filmology

TV Drama Series: <A Love to Kill> (2005), <Full House> (2004), <Sang-du, Let's Go to School> (2003)

Filmmakers

Director - PARK Chan-wook

Exciting the viewers with new styles and challenges in every film!

The rave of Korean audience, and globally recognized issue maker

Starting with <Joint Security Area> and going on to <Sympathy for Mr. Vengeance>, <Old Boy>, and <Sympathy for Lady Vengeance>, PARK Chan-wook's films have set above the norm at the box office. He brought the Korean viewers to expect 'well-made films' and made the audience rave all the more by presenting new styles. Having pride in going back and forth between different genres and in his unique directing sense, PARK has become a world renowned director.

After filming <Joint Security Area>, he presented the first complete hard-boiled film in the country. Then he went on to direct another film on revenge with the unique storyline of '15 years of confinement and 5 days of pursuit' in <Old Boy>. He showed stylish images and solid directing sense never seen before and received much praise from viewers. <Old Boy> won him the best director award at the Chung-ryong Film Awards and the Korean Film Awards, and the best picture at the Baek-sang Arts Award and best director at the Dae-jong awards. The film went on to receive the Grand Prix du Jury at Cannes Film Festival and brought on a great response at the world stage. In 2005, he concluded his series on revenge with <Sympathy for Lady Vengeance> and showed a softer, lyrical, and detailed style in directing. This film won the best picture at the 2005 Chung-ryong Awards and the Young Lion Award at the Venice Film Festivals awarded to new and creative films.

Director PARK Chan-wook has been appointed as a judge for the international competition section at the 63rd Venice Film Festival in 2006. He is recognized not only in Korea but throughout the world as a director with unique creativity and individual style.

*Filmology

<Sympathy for Lady Vengeance> (2005), <Three, Monster> (2004), <Old Boy> (2003), <If You Were Me> (2003), <Sympathy for Mr. Vengeance> (2002), <Joint Security Area> (2000), <Trio> (1997), <The Moon is What the Sun Dreams Of> (1992)

Filmmakers

Music - CHO Young-wook

Doing his magic on films like <Sympathy for Lady Vengeance>, <Blood Tears>, <Old Boy>, and <The Classic>, CHO is a music director who proves how great music can embellish the film's appeal. He is noted for setting up a turning point in Korean film music with <The Contact>. CHO keeps the audience tuned in by presenting various genres and new music that is suited for each of the films he takes part in.

In PARK Chan-wook's revenge series, CHO touched on human being's psychological change and suffering, and in the revenge and pursuit he brought about a grand yet grim tone. In <I'm a Cyborg, but that's OK>, he used fairytale like music to capture the happiness, joy, and love that young lovers experience in a vivid, fresh, and cute way.

*Filmology

<Sympathy for Lady Vengeance> (2005), <Blood Tears> (2005), <Some> (2004), <Flying Boys> (2004), <The Classic> (2003), <Old Boy> (2003), <Silmido> (2003), <Public Enemy> (2002), <Ardor> (2002), <Joint Security Area> (2000), <A Day> (2000), <Tell Me Something> (1999), <Happy End> (1999), <The Quiet Family> (1998), <The Contact> (1997)

Cinematography - JUNG Jung-hoon

Cinematographer JUNG Jung-hoon makes great 'pictures' that leave lasting impressions in the viewers' minds. Expectations are high in JUNG's collaboration with director PARK after working with him in <Sympathy for Lady Vengeance>.

In his former works like <Old Boy>, <Three, Monster>, and <Sympathy for Lady Vengeance> where the heavy contrasts and the characters' dynamic psyche can be strongly felt, in <I'm a Cyborg, but that's OK> he captures the live, bubbly movements of the characters and places emphasis on showing bright and cute impressions. In order to show these kinds of tones, he used the Viper FilmStream Camera that has never before been used in the country.

*Filmology

<Sympathy for Lady Vengeance> (2005), <Antarctic Journal> (2005), <Three, Monster> (2004), <Old Boy> (2003), <If Shot, You'll Die> (2000), <Tearful Story> (2000)

Filmmakers

Lighting - PARK Hyun-won

He worked with director PARK Chan-wook in all of his revenge series, <Sympathy for Mr. Vengeance>, <Old Boy>, and <Sympathy for Lady Vengeance>. Because the three films were on revenge, he stressed the dark and damp moods. Overall, he is a master in effectively using both rough and soft lighting effects necessary to each film and scene.

In <I'm a Cyborg, but that's OK> he set the overall motif in showing warmth and brightness. He placed emphasis on pastel tones and used detailed lighting differences according to each of the scenes captured on set or in the outdoors.

*Filmology

<Sympathy for Lady Vengeance> (2006), <Antarctic Journal> (2005), <Three, Monster> (2004), <Windstruck> (2004), <The Classic> (2003), <Old Boy> (2003), <Sympathy for Mr. Vengeance> (2002), <My Sassy Girl> (2001), <The Gift> (2001), <Happy End> (1999), <The Quiet Family> (1998)

Art - RYU Sung-hee

She breathed life into the limited sets of <The Host> and <Old Boy>. She is an expert art director who maximizes the characters' emotional transformations.

In <I'm a Cyborg, but that's OK>, RYU used pastel tones to brush up the hospital setting that can be gloomy, which added warmth. She also used charming props to brighten up the set. With colors like white, pink, and apple green, she turned the mod asylum into a refreshing, fun, and novel place.

*Filmology

<The Host> (2006), <A Bittersweet Life> (2005), <Three, Monster> (2004), <Memoirs of Murder> (2003), <Old Boy> (2003), <Flower Island> (2001)

Filmmakers

Costume- CHO Sang-kyung

CHO has worked with director PARK Chan-wook in <Old Boy>, <Three, Monster>, and <Sympathy for Lady Vengeance> and is expected to further show her unique taste in <I'm a Cyborg, but that's OK>.

She goes further than the determined set costume concept to bring out a totally new concept. She designs new costumes for the films rather than use the ones that have been previously designed. In <I'm a Cyborg, but that's OK>, the setting may be a hospital but she does not dress the characters all in the same patients' gowns. She makes distinct costumes to fit each character.

*Filmology

<The Fox Family> (2006), <The Host> (2006), <A Bittersweet Life> (2005), <Sympathy for Lady Vengeance> (2005), <Three, Monster> (2004), <The Big Swindle> (2004), <Old Boy> (2003)

Screenplay _ JUNG Suh-kyung

Writer JUNG Suh-kyung has worked with director PARK in <Sympathy for Lady Vengeance> and <I'm a Cyborg, but that's OK> and is currently working on PARK's next film <Evil Live>.

JUNG made her debut into the film world with her screenplay <The Electricians>, a winner of Kodak Short Films Production Support award. Director PARK was one of the judges at the film festival and was impressed by writer JUNG's script. He later asked her to work with him on the script for <Sympathy for Lady Vengeance>.

With her rich imagination and colorful stories that break existing preconceptions, JUNG gives full play to her abilities in <I'm a Cyborg, but that's OK>. Set in a psychiatric hospital, she breaks free from the 'general romantic comedy' and transforms what can be a depressing and frustrating situation into a stunning fantasy of the characters' appeal and love and a perfect story rich with hope.

*Filmology

<Evil Live> (2007), <Wicked Flowers> (2007), <Family Matters> (2006), <Sympathy for Lady Vengeance> (2005)

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Release Date :		Mar 22, 2007
Category :		IIA
Runtime :		108 min
Cinemas :		The Drive In / Palace APM / Broadway Olympian City / Broadway Cinematheque / Broadway Kwai Fong / UA Langham Place / UA Cityplaza / UA Whampoa/ GH Mongkok
Official Website :		www.cyborg2006.co.kr (Korea) www.goldenscene.com (Hong Kong)
Distributor :		Golden Scene Co Ltd.

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