Charlotte Filmmaking School

2010 Young Man Kang's Filmmaking - Kimchi Warrior

An award-winning film director for his independent films, Kang Young Man's latest project is the short motion comic series, "Kimchi Warrior."

It is the story of a superhero who gets his powers from the Korean super food, Kimchi and fights against the evils of swine flu, the mad cow disease and malaria among other modern-day diseases. Meet the Korean independent film director from Hollywood on "Heart to Heart!"

Kimchi Warrior created by Young Man Kang

A Recipe for Diplomacy and Good Health
May 28th, 2010
By Rick Phillips, Public Relations Manager- Korean Cultural Center, Los Angeles

The Kimchi Warrior Animation Series recently premiered at the Korean Consulate’s Cultural Center in Los Angeles, offering Angelinos a chance to marvel at Korea’s newest super hero and a chance to taste various recipes of Korea’s most popular dish following the screening.

Operated by the Consulate General of the Republic of Korea, the Korean Cultural Center, Los Angeles has been the axis of Korean heritage in Southern California for over thirty years. KCCLA offers everyone a chance to experience the rich traditions and history of Korea through specialized programs, sponsored events, and multiple learning resources via a library, a museum, an art gallery, and a performing arts/cinema theatre.

The Korean Cultural Center decided to use anime as a form of cultural outreach because anime has mass appeal to people of all ages, all walks of life, and different ethnic backgrounds. There are so many different styles and storylines involved with anime and each decade more and more people become infatuated with it. Not only do kids love it, but adults ranging from their twenties to their fifties come from a generation that grew up with it (in some form or another) when it became popular in the United States in the early 1970s.

The Kimchi Warrior
In order to appreciate the significance of this Korean super hero, one must not only be familiar with the health benefits of Kimchi, but also be sensibly conscious of the world-wide pandemics (ranging from Swine Flu to Mad Cow Disease) that have plagued the earth over the past fifteen years.

“The Kimchi Warrior” is a unique blend of martial arts, comedy, and promotes good health. Based on the premise of Popeye, our hero obtains supernatural strength by consuming the most prominent Korean dish to defend mankind from the world’s most notorious diseases (i.e. The Swine Flu, Mad Cow Disease, Malaria, SARS etc.) Each episode a new “disease character” is summoned by Evil Lord of Disease to wipe out the human race. Under the tutelage of the clairvoyant Kimchi Master, the Kimchi Warrior is sent to fight and ultimately annihilate the disease with a different “ingredient weapon”.

The Kimchi Warrior humorously, and in a form familiar to most cultures, demonstrates the importance of Korea’s national condiment (dish), the fermented cabbage known as Kimchi. Moreover, the Kimchi Warrior series takes an important Korean dish (condiment) which is both central to most Korean meals and unique to the Korean peninsula and introduces it to a new audience as an anthropomorphized hero. It humorously demonstrates the importance of the dish to Korean culture and identity in a manner that makes the dish intriguing and yet familiar to a new audience.

The Kimchi Warrior is the defender from enemies (diseases and plagues) that global population is familiar with, and concerned about (i.e. Swine Flu, Malaria, SARS). Since most people in the world collectively would want to protect themselves from such diseases, the Kimchi Warrior has universal appeal because he is symbol of good health and the protector of the body from harmful maladies.

Meanwhile, the Kimchi Warrior is a positive icon of Korea and a symbol of Korean cultural diplomacy through the series association with Korean’s most popular dish, which is deemed one of the healthiest foods in the world.

Kimchi Diplomacy

Now, one might ponder “what exactly is Kimchi?” Omnipresent in Korean cuisine and served in hundreds of variations, Kimchi is basically a dish made of vegetables, such as cabbage or radishes, which are salted, seasoned, and stored in sealed containers to undergo lactic acid fermentation. It is loaded with vitamins A, B, C, B1 and B2, red pepper, garlic, carotene, protein, carbohydrates, and calcium. Kimchi also contains- an anti-biotic that suppresses the growth of harmful bacteria, lowers cholesterol, manages blood pressure, promotes intestinal health, and often protects the body from harmful diseases.

Now is it possible that Kimchi can protect the body from noxious maladies such as H1N1 or malaria with one or more servings? Probably not, but the message is clear and simple: Korea is the producer of one of the healthiest foods in the world and they have statistics to prove it. South Korea’s obesity and diabetic rate is the lowest on the planet. Just pay a visit to any Korean super market and read the ingredients in most of the dishes. There are no chemicals, no preservatives, none of those polysyllabic words on the label that we often don’t even bother to try to pronounce, and furthermore — you would need a scientist to interpret the terrifying reality of what they actually do to the body! If you want to know why Americans have the highest disease rates among all of the industrialized nations? Look no further – the proof is on the label. Koreans have known this for years; Westerners are just starting to figure it out.

Good cuisine has played a major role cultural diplomacy from the very beginning of civilization, when recipes and other victuals were exchanged between nations of the world. Meanwhile, many peace treaties and trade agreements were ratified because of evening feasts that satisfied both the stomachs and the hearts of hungry emissaries.

In the case of Korea’s kimchi diplomacy, people can learn that there is a food out there that has actually been proven to protect the body from harm. Koreans are very aware of nutrition and consider food as medicine, where here in the West we go to the local pharmacy for over-the-counter drugs that can be risky. Most importantly, through cultural awareness created by the Kimchi Warrior and kimchi diplomacy efforts, foreign publics can also learn that Korea has a long and wonderful culture and history that should be shared with the world, which in turn would help to create greater understanding and acceptance of the Korean people.

For more information about the Kimchi Warrior go to www.kimchiwarrior.com

Episode I Kimchi Warrior vs. Swine Flu
Episode II Revenge of the Mad Cow
Episode III Kimchi Warrior vs. Malaria
Episode IV Sons of Swine Flu
Episode V Sons of Swine Flu – Part 2

When did you start filmaking?

I was born and raised up in Chung Cheung Province in the countryside, far away from city in South Korea.

I was studying under the candle light instead of using electricity until I went to the mid-high school, I watched my first movie at the theater when I was at the 3 rd grade in the high school. “Movie” was an unknown world to me. It was a new land to conquer.
When I was a junior, at Hong-Ik University in Seoul, I have choosen a rough road in my life…a road to the filmmaking world.

I was very focusing and I had a lot of passion for what I'd like to do so I decided to go to Hollywood. After graduating from the University, I came to the US in 1994.
I studied filmmaking at The New School in New York City. In addition to preparing myself for the filmmaking world, I worked as a TV commercial director and a storyboard artist after I moved to Los Angeles in 1996.

My feature debut, “Cupid's Mistake,” was allegedly made with an invisible budget of US $980(Guinness World Record) and had a theatrical release in Los Angeles and New York City.

What was the inspiration for producing movies?

My art background is what brought me into filmmaking. I had been drawing a lot of pictures and put my own story into the comic book since I was five years old.
When I was a junior high, I used to draw the comic book during the class instead of studying. One day my teacher took away the comic book from me, I thought it was the end of the world. Next day the teacher called me, I went to the teacher's office. I was shocked that all teachers were passing around my comic book as enjoy reading it. The teacher smiled at me, “You're going to be a great artist”

I was studying hard in the high school and finally got into the best Art School, Hong-ik University in Korea in 1986. I studied visual design, conceptual design, story boarding, creative idea development, animation, TV commercials and film at that school.

The moment that inspired me about moviemaking happened in the third year at the University. I'd watched a lot of films from America, Europe and all over the world. These filmmakers have such a profound impact on their audience. I thought I could create a different world through filmmaking where anything is possible and where I can share entire worlds of experience with my audience.

'Haitian Slave Children' received the 'Best Effort Documentary' and took the Silver Remi Award.

What is the message behind this documentary?

“Let's go Haiti!” I thought I was going to Tahiti to shoot a documentary.
But I was feeling to die, i was so much scared, when I arrived at the airport in Port-Au-Prince. I had to hide a Cannon XL-1 camera in the shopping bag because they do not allow to shoot them without their permission. Of cause they don't want to be exposed their corrupt government and poverty into the world.
I've never forgotten the face of the slave children chasing after the film crew van to beg coins. They were on bare feet and were wearing dirty rags. They're either homeless or slave children, I couldn't imagine that there are 300,000 children abandoned like that. What a crude land!
When I was interviewing amputated children, I couldn't look at their scar. How bad are people to treat innocent children in that way
Whenever I was shooting on the street, I had to hide the camera inside the bag. I made a hole in the bag for the camera lens. Danger is everywhere.
The funny thing was that I noticed I'm the only Asian guy in this island during 4days shooting at Haiti.

I shot 100% in Haiti was a challenge in my approach toward a heavily humanist subject about Haitian slave children, for which I got a Best Documentary Award at the 2001 Jamerican International Film Festival and a Silver Award at the 2002 Worldfest in Houston.

I felt that's our filmmaker's mission to expose those hidden subject into the world through media.

“The Last Eve” has won the "Best Action Feature Film Award" at the 2005 New York International Independent Film and Video Festival.

Talk us about this movie!

A martial arts champion, Bruce Khan, who used to work with Jackie Chan & Sammo Hung, suggested to me.
“Let's go to Death Valley to shoot for action demo!” That was the start to make The Last Eve.
To shoot action sequence in the desert was not that easy at all in the early summer in Death Valley. We didn't even want to know how much degree are over there?
The footage turned out to look great and we decided to make a longer version, which became a 20 minutes short film. That's the first part “Eve's Secret” of The Last Eve.
Then Bruce moved to South Korea and met a martial arts choreographer Eung Jun Lee, who had worked on an action film called “Volcano High”, which was big hit in Asia and sold to MTV.
Muay Thai master Panuvat Anthony Nanakornpanom and me went to Korea to make the second part 40 minutes “Cain & Abel” with them. We built up the underground fighting cage and we were shooting the action sequence for 2 weeks. It became the best part of The Last Eve.

I came back to Los Angeles to make the third part “Snake's Temptation”, which is 30 minutes drama.
"The Last Eve" is an epic film consists of three different short films using Adam and Eve from the Bible as motifs. The story of Eve is shown from front to back. We start in the future and ride all the way back to the loss of all innocence. Our journey through time shows us three contrasting tales (Cain & Abel, Snake's Temptation, Eve's Secret) which in their own unique way reveal the dark tragedies at the heart of all romance.

“The Last Eve” won the Best Action Feature Film at the 2005 New York Independent Film Festival, and Best Cinematography Award at the 2006 B Movie Film Festival.

Upcoming film festival is in 2006 Another Hole in the Head Film Festival in San Francisco in June.

'Soap Girl' was rated one of the '10 BEST UNSEEN FILMS OF 2002'.

Where people can be informed about your movie releases?

The story is basically a farce about hijacks at a massage parlor involving geeky male virgins, gangsters and immigrants.
The main theme of the story is Maya's evolution from an abused girlfriend to an empowered, more mature the woman, in control of her love life and her destiny.
I believe that an Asian girl can actually be a protagonist in her life and she can have adventures that inspires other people to become survivors as well.
Love and intimacy can heal the scars that accumulate in people's lives. Maya is scarred by her former boyfriend. Why does she end up working at a massage parlor? Revenge? Jealousy? A desire to become another person? That question is left to the viewer. Why does she fall in love with Harry? Perhaps for many reasons, perhaps for none at all. Love knows no logic or rationale.

Now Soap Girl DVD are available at online stores everywhere, Blockbuster, Barn & Noble, Netflix, Amazon, Yahoo shopping etc.

Can you involve us into your upcoming projects? What is your future expectations in the film industry?

My next film will be a comic martial art film “Kimchi Warrior”, an Asian Super Hero, the tale of a man who tries to defend his family tradition against Japanese and Chinese schemes to steal the secret of making Kimchi.

While I like a film to be composed of stunning sounds and pictures, I am still basically a humanist. I like to see characters put to test. In any genre of films a wide variety of interesting people can be hurled together in a way to test their spirit. Now the film becomes not just a story but an experience to live on a variety of levels.

THE LAST EVE

Give us a little background on yourself, when did you decide that filmmaking was what you wanted to do?

My art background is what brought me into filmmaking. I had been drawing a lot of pictures and comic books since I was five years old. I studied hard in high school and finally got into the best art school, Hong-ik University in Korea in 1986. I studied visual design, conceptual design, story boarding, creative idea development, animation, TV commercials and film at that school.

The moment that inspired me about moviemaking happened in my third year at the University. I'd watched a lot of films from America, Europe and all over the world. These filmmakers have such a profound impact on their audience. I thought I could create a different world through filmmaking where anything is possible and where I can share entire worlds of experience with my audience.

In 1994, I moved to New York City where I studied film at The New School. In 1996, I moved to Los Angeles and continued my film career working as a director for a television commercial production company. In addition to my fifty-plus commercial credits. Between 2000 and 2005, I made five feature films and a documentary. My feature debut, "Cupid's Mistakes," was allegedly made with an invisible budget of US$980 and had a theatrical in Los Angeles & New York City. I made two feature,"1st Testament" and "Death Valley Diary." Documentay "Hatian Slave Children," won Best Effort Documentary at 2001 Jamerican International Film Festival and Silver Remi Award at 2002 WorldFest Houston.

My fourth feature, "Soap Girl" won an audience award at the 2002 Big Bear Lake International Film Festival. "Soap Girl" released theatrically in Los Angeles, Texas and Hawaii. Then I made my fifth feature, "The Last Eve" won the best action feature film in 2005 The New York International Independent Film Festival.

Who inspired you to become a filmmaker?

Federico Fellini, Andrea Tarkovsky, Werner Herzog, Stanley Kubrick, John Casavettes, Akira Kurosawa, Alejandro Jodorowsky, etc., especially my favorites Werner Herzog, Akira Kurosawa and John Casavettes.

Tell us about your latest project "The Last Eve".

"The Last Eve" is an epic film consisting of three different short films using Adam and Eve from the Bible as motifs. The story of Eve is shown from front to back. We start in the future and ride all the way back to the loss of all innocence. Our journey through time shows us three contrasting tales (Cain & Abel, Snake's Temptation, Eve's Secret) which in their own unique way reveal the dark tragedies at the heart of all romance: I gathered three action teams from Hollywood, Hong Kong and Korea combine into the production. Muay Thai master Panuvat Anthony Nanakornpanom, martial arts champion Bruce Khan from Jackie Chan & Sammo Hung's action team and Korean martial arts choreographers Eung Jun Lee (Volcano High) and Cheul Hun Ham.

What do you think is the most important thing for a Director to bring to the set?

Filmmaking is the most collaborative of all the arts and you need to surround yourself with people who share the same vision but with the understanding that your vision is the only one that ultimately counts.

What do you think is the biggest problem with Hollywood today?

Lack of creativity, Same format/plot. Wasting money. Remakes. MTV style. TV commercial look.

What has been you're all-time favorite project to date?

Cupid's Mistake.

Any future projects in the works?

Kimchi Warrior - Comedy Martial Art Film.

Do you have any advice to aspiring independent film makers?

"Just do it." I think that the best way to learn how to make films is by making them. These days, with DV or HDV cameras and Final Cut-Pro editing systems, anyone can make films for relatively little money. To me it seems like the best way to learn is to choose a relatively straightforward and do-able project and just make films.

SOAP GIRL

iR: You are incredibly prolific. Since 2000, you have made four features and one documentary. Can you talk a little about each project, and what each means to you as a filmmaker?

As a Korean making movies in the U. S., I try to make films that combine both nations' perspectives into a new style based on bi-cultural and interracial subjects. My first feature "Cupid's Mistake" is a story about interracial dating between a Korean girl and a Japanese guy, as well as a German girl and American guy in Los Angeles, a quadrangle cross-cultural romantic comedy.

My second feature, "1st Testament: CIA Vengeance" was the first independent co-production between a Korean and an African-American [production company] in Los Angeles. "1st Testament" is about a North Korean female spy versus and an African-American CIA agent.

My third feature "Death Valley Diary" was about a confrontation and adventure with nature, a terrifying journey with a racially mixed cast and crew living out their worst fears in Death Valley.

"Haitian Slave Children" the documentary that I shot 100% in Haiti was a challenge in my approach toward a heavily humanist subject about Haitian slave children, for which I got a Best Documentary Award at the 2001 Jamerican International Film Festival and a Silver Award at the 2002 Worldfest in Houston.

My fourth feature, "Soap Girl" is a tale of love between an Asian massage girl and a virgin American poet. I think it's controversial.

iR: I was told that you made your first feature "Cupid's Mistakes" for US$980. Is that true? How did you manage to make it on such a limited budget? How did you get it distributed?

"Cupid's Mistake" broke the world's record for the lowest budget feature film of all time. The budget was $980. As you may have guessed, all of the actors in "Cupid's Mistake" are my friends. I came up with the idea that one character should pursue the other. Three days of crazy filming. No permits, guerrilla shooting, no script, [and] 100% improvised. Handheld shooting with long continuous shots made "Cupid" both cost effective and easy to edit.

In the winter of 1999 we showed "Cupid" at the "Light and Screen Film Festival" held in New York City's celebrated Siberia Bar. We were amazed at the audience's overwhelmingly positive response. Phaedra Cinema, best known for its foreign films "The Terrorist," and "La Separation" had scheduled theatrical releases "Cupid" in Los Angeles and New York.

iR: What inspired you to make "Soap Girl," your fourth and most recent feature? Why does the subject matter appeal to you? What was your vision for the film? Is it just pure entertainment or do you have a message with it? What are you trying to convey to the audience?

The story was pitched to me by the producers Tomiko Lee, Dennis Lee and writer Tony Young, [which was] asically a farce about hijacks at a massage parlor involving geeky male virgins, gangsters and immigrants.

So the story evolved away from the "Pretty Woman/Cinderella" story and into one that plays on the audience's expectations of Asian stereotypes. Maya turns out not to be an immigrant, though everyone in the beginning believes that she is. None of the massage girls are naive, innocent lambs with hearts of gold; [they] are simply trying to survive.

The main theme of the story [is] Maya's evolution from an abused girlfriend to an empowered, more mature woman, in control of her love life and her destiny. The lesson of how people can grow and change is keenly brought to life by actress Kerry Liu.

If there is a lesson here I believe it is that an Asian girl can actually be a protagonist in her own life and that she can have adventures that inspire other people to become survivors as well.

iR: Soap Girl" is essentially a love story. What kind of a love story are you trying to tell? What does the idea of "love" mean to you as a filmmaker?

Love and intimacy can heal the scars that accumulate in people's lives. Maya is scarred by her former boyfriend. Why does she end up working at a massage parlor? Revenge? Jealousy? A desire to become another person? That question is left to the viewer. Why does she fall in love with Harry? Perhaps for many reasons, [and] perhaps [for] none at all. Love knows no logic or rationale.

iR: Can you talk about the process of making "Soap Girl"? Can you also talk about self-distributing the film, and why you have chosen to self-distribute it?

Our total shooting time was twelve days. I shot with a Sony DSR 500, [later] blowing the images up to 35mm. Gilbert Yablon, the technician at Filmout Express, did wonderful job. So far our total budget including self-marketing is about $500,000.

Most distribution companies are afraid to release independent films theatrically because they believe that [the] lack of product identification will make them lose money at the box office. But they have to release independents theatrically in order to create interest for the rental. In this strange environment we decided to create interest in our own movie by taking the bold step of promoting our movie theatrically by ourselves.


iR: What is your dream project? If you can make any movie in the world, what would it be?

While I like a film to be composed of stunning sounds and pictures, I am still basically a humanist. I like to see characters put to test. In the genre of war films a wide variety of interesting people can be hurled together in a way that tests their spirit. Now the film becomes not just a story but an experience to be lived on a variety of levels.

At this time in film history, we have a huge archive of films relating to the Vietnam War. But the Korean War, almost a massive section of Asian American history, has not been told. I feel that the script "Memory of War" that I have created will tell the story of the Korean War as it happened and is experienced by the survivors to this day.

CUPID'S MISTAKE

You did something basically unheard of which is to stick to a budget - not that you really had a budget. You had an extremely shoestring budget of $980. What did $980 exactly pay for?
Young Man Kang: (Laughs) I actually paid the four actors each $100. I also needed not only the actors, but their apartments as well. The payment included everything (laughs). Between the actors and the "sets," I only dropped $400. Fortunately, I already had a camera and editing equipment.

Cupids Mistake probes the nuances of finding, keeping and losing love. Which of those three - finding, keeping or losing love - do you find the most difficult?
Young Man Kang: Everything. I focus on all three things in the movie. A lot of times many people, even me, are like, 'Oh I like her.' But in reality, she may be in love with 'him.' It's that 'she doesn't love me, but somebody else' thing. It's that Cupid is the one responsible for making the matches and sometimes, there can be mistakes. It's like real life.

FILM THREAT: Korea has a vibrant film industry, but very few Korean films are shown in the West. In your professional opinion, what is keeping Korean films out of Western theaters?
YOUNG MAN KANG: I think that the reason is the U.S. distribution system. Korean films, as with other foreign films, have a better chance to screen at art house theaters than the studio distribution line. Studio distribution companies hardly ever distribute foreign films, and when they do it is only a few films a year. In addition to this, independent distribution companies dealing with art house theaters don't have much of a budget to pay the MG (minimum guarantee) to a Korean producer due to a smaller number of theaters and audiences.
Korean producers are expecting almost the same amount of MG as major studios would pay. Many independent companies want to distribute upcoming Korean films, but they can't afford to buy them. There is a large MG aspect gap between Korean producers and U.S. indie-companies.
Even though U.S. company suggest to Korean producers a higher percent of gross instead of a MG, they would rather get a MG. They're worried about being ripped-off from the retrieve of the box office.
Secondly, Korean producers don't have direct connections with U.S. companies, so they hire middle men who has already connections in the U.S. However, these middle men (film brokers) have bad reputations in the eyes of many Korean producers.

FILM THREAT: What are the major differences between Korea and the US regarding the cinematic experience--both from the approach to film making and in how audiences react to films?
YOUNG MAN KANG: These days, Korean films develop very fast. Many young directors have studied abroad in the U.S. and Europe and then came back to Korea dedicated in their careers to filmmaking. Korean audiences used to watch Hollywood films all the time--there were no space for their own Korean films. Today, it's a different story. Korean audiences watch more Korean films than Hollywood films. For example, last year, one of the Korean film ‘Shiri' beat out the ‘Titanic' at the Korean box office.

FILM THREAT: You've directed commercials. What is your secret of creating successful commercials--telling a story and selling a product within the confines of a minute or less?
YOUNG MAN KANG: Everybody says a commercial is a commercial--that it is not art. I took this statement personally, and then tried to add an artistic vision to it, yet still based the main idea on the focus of the commercial. Usually, clients want a lot of information in 30 seconds. I have to cut down and confine all of the information into one word, action, or simplistic idea for 30 seconds.

FILM THREAT: What is the genesis of "Cupid's Mistake"? And why did you decide to allow your actors to improvise their dialogue rather than create a specific script to work from?
YOUNG MAN KANG: I knew all of my actors in this film, and would call them my friends. I then came up with an idea, that one character goes after another…A (guy), B (girl), C (guy), D (girl)-- A likes B, but B likes C, but C like D, D likes A…and in the end, nobody gets anyone. To me, that's a normal love story. I gave the actors the basic idea. I told them directions that after they are dating, then one proposes to the other. The camera follows them through the course of dating one another. That's why they look natural on film. I asked them to act natural, just like real dating. Then, in post-production, I cut and edited, and made the sequences.

FILM THREAT: Asian-Americans are virtually unseen in Hollywood films, or if they do appear they are often subjected to blatant and subconscious insults and stereotypes that other minority groups would never tolerate. "Cupid's Mistake" is refreshingly free of the Hollywood typecasting, offering Asian-Americans as characters rather than caricatures. In your opinion, why can't the Hollywood system take the same approach to Asian-American characters as indie films like yours?
YOUNG MAN KANG: There are a few Asian filmmakers in Hollywood. The more Asian filmmakers that come into the business, then the more Asian actors will be seen because they have Asian subjects to tell. With "Cupid's Mistake," I created two Asian characters, Toya & Ken, with the actors in mind--each showing their own natural personas. For example, I've shot several commercials with Toya and I know that she's really good for the part of a playful and energetic character. Also, I've known Ken to be a gentle sportsman, even though he's a muscular person. In reality, he's very quiet and genuine.

FILM THREAT: "Cupid's Mistake" marked your debut as a feature film director. What did you learn about yourself and your abilities during the creation of the film? And do you feel that you properly told your story?
YOUNG MAN KANG: First, you must start small-- not with a huge budget. I made the film that I wanted to make, with no outside pressure from executives and no pressure from stars. Also, I wanted to use actors who felt genuinely connected with this film. I wish I had a little bit of a larger budget than I did, then I could do more takes of each scene. Also, I would have liked to have spent more money in post production, specifically, editing. Some people joke with me that this film is "Young's Mistake." Even though I made mistakes in this film, I learned a lot about filmmaking. Even though there was no script, I wish I had rehearsed more with the actors. Some dialog did not flow, so it was difficult to edit. On the second part of your question: from my prior experiences, people in the world all have had the same experiences with a one-sided relationship. That's life. I tried to make a film that's not too serious, but more of a diminutive film with a little bit of humor.

FILM THREAT: A wider distribution of "Cupid's Mistake" is being hindered by the fact the film was shot on digital video and relatively few commercial venues will exhibit films which are on video. Why do you feel that exhibitors are slow in presenting new features shot on DV...and do you see their attitude changing any time in the near future?
YOUNG MAN KANG: That's the reality of it. Only a few theaters have video projectors, thus, it is extremely difficult to find a theater in which one can show their film. I need to transfer to 35mm print, but it costs at least $40, 000. It's difficult to make that amount of money back from art house distribution. That's why my film distribution company doesn't want to take the risk. Today, DV filmmaking is becoming more and more popular, and even the larger theaters have begun to set up digital projection systems. We'll see what's going to happen in the near future.

Who wrote the screenplay? How long did it take? How many drafts did he/she go through?
I wrote 'Cupid's Mistake'. There's no screenplay format. I just have a few pages written out. I thought about the story for a few months, then I wrote it out on paper in a few days. It's really a simple story. A likes B but B doesn't like A, B likes C but C likes D....It's like nobody gets anybody. Mostly the scene is dating scene A&B, B&C, C&D and D&A...

Was the screenplay strictly followed in the filming?
I just let the actors improvise, ... just like natural dating.... I asked them, "what would you do when if you guys were dating. Then the camera just followed them.

How did you finance the project?
My budget was $980. I used some funds from money made on a TV commercial I directed.

Did you story board your scenes? And if so, did you use a program or an artist or?
The funny thing is I used to be a storyboard artist. But this project is no storyboard, the camera just follows the actors.

How did you find your actors? What kind of pay if any did you offer your actors and crew?
All my friends. They're good actors. I cast them a few times on my TV commercial projects before this filming. 4 actors... Gil, Susan, Toya and Ken.... I paid them $100 each. Gil. I paid him $200, because I rented his apartment for the shooting.

Did you create a budget and did you stay on target throughout the process? What was your budget?
There were no headaches, no one involved with the budget. I did whatever I wanted for this film.

Did you shoot with DV, 16mm, 35mm, other?
DV. DV is cheaper, the camera is small. It's easier and faster to move around a location without a permit.

Did you rent, buy or borrow? Was it a one camera shoot?
Just one camera that I have. The Canon XL-1. Did you shoot wide screen?- 1: 1.31, I changed it 1: 1.81 in post-production.

How did you handle sound on the shoot?
Most of the scenes I rented pin-mike(Wireless), some scenes I used just the camera mic.

What kind of lighting did you use and how much of the indoor and outdoor scenes were lighted?
Outdoor no lighting. Indoor just 1-2 lightings . 1k

What type of obstacles did you encounter when shooting outdoors?
Background sound, especially near the ocean and street.

What were the obstacles you encountered while shooting? Any Advice?
Choose quiet locations unless you have a big budget sound package.

What kind of shots, dolly shots, crane shots, steadicam or other types did you use and what resources did you use to accomplish these?
None of them, most of the shots were handheld. The handheld shot makes the scenes appear natural.

What other equipment did you find useful on your shoot? Is there anything you wish you would of had and didn't?
I wish I had a better sound package.

How did you edit the film? What system did you use to edit?
I edited this film in Media 100. Media 100, Later I made the film widescreen through Final Cut Pro.

What were the obstacles you encountered while editing? Any Advice?
I don't have much Harddrive space. Where did you get the music for the film?
I used music from a CD my friend Oliver Lyon supplied. I gave him a Video, and I got a CD from him.

How much Foley will you end up incorporating in the editing process?
No Foley in this film.

What are the main suggestions you would give other filmmakers, based on your experiences on this film?
In planning, in post production, in scoring, in editing, in pre production, etc.- Just shoot, these days it's much easier to make film, because of DV filmmaking.

What were the obstacles you encountered while marketing it? Any Advice?
Money. In order to keep costs down, I have forgone newspaper ads and promoted my film on the internet and by word of mouth. I have also kept the movie alive on video, avoiding the costly blow up to film $40,000 - $100,000.

Have you struck a deal with any distributors?
Though Phaedra Cinema is technically the distributor, it appears that I am still footing the bill for ads and shipping costs.

Have you returned any profits from the movie as of yet?
I broke the even through the box office.

Have you tried the film festival route and if so, how is it going?
Screening at Light + Screen Film Festival in NYC (01/25/2000)Screening at Cult Movies Convention 2000(10/22/2000)Audience reaction was very positive, then FilmThreat.com interviewed me.Cult Movies Magazine reviewed this film also.

Charlotte Filmmaking School