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Bong Joon-Ho is a South Korean director, producer, and screenwriter. He has received three academy awards. His films are emphasized on social themes, genre-mixing, black-humor, and sudden tone shifts. His most popular film is Parasite in 2019, which is the first non-English film to win the Best Picture Award.

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Reflect upon how you think you could use these techniques in your future filmmaking?

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Reflect upon how you think you could use these techniques in your future filmmaking?

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The techniques below can be used to make the horror film sound more lifelike, which will add a sense of immersion, which will definitely help to create fear and suspense.

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Techniques that were used in this film are (with examples)
So basically the film is about a mutant fish that evolved into a large creature and monster, due to pollution and dumping of biochemicals into the lakes. The creature goes on a killing spree, and captures the main characters (Park Gang-Doo) daughter (Park Nam-Joo). So eventually the main character (Park Gang-Doo), and some other alliances plan to rescue the captured, and kill the monster.

Techniques:

The panning (Left and Right), of the camera takes forever to show what is "Behind that door", or "Around that corner". It makes an "impossible" pan to show directly want the audience wants, like the Director Bong Joon Ho, shows the blood flowing underneath the crack of the door, without showing what is inside it. The movie adds more with giving less.

A lot of tracking movement is used to follow the main character as he is running and escaping from the monster. Shaky and Handheld camera is used, to show unorganised chaos, everybody is running around in different directions, often bumping into each other, and different things and objects, emphasizing one thing: Fear.

A lot of "Extras" in the cast were used. A lot of civilians were added to run forward, in desperate fear. Wide and long shots were used, to show the monster running forward in public places, surrounded with lots of panicked people running all over the place, to show how physically large the monster is compared to all the other humans around it, which appear to be very small and inferior compared to the large monster.

Colour is used as a contrast, as all the humans and civilians, running around panicky, are all wearing bright colours as shirts, but the monster is completely dark and grey. This is to make the monster stand out from the "Rest of the world", and to add contrast in colour, to make the monster easily recognizable, and unforgotten.

The point of the Director of the movie, Bong Joon Ho, adding the monster, and designing it to appear in that sinister way, with a large mouth, is to emphasize the monsters biggest ability: To feast and eat. All the humans are afraid of it, because they are scared to be eaten, it's common to be scared to be eaten alive, which is why are running directly running away from it. And most of the scenes where the monster is feasting on it's unlucky victims, the monster is behind a bunch of objects, which makes the audience and the viewers unable to see where the monster is, and it adds extra suspense and tension, because the audience wonders what the monster is doing behind that hidden wall. It makes the audience think, which is what the director wants. Like the first scene where the monster appeared, it was feasting and eating humans inside a large camper van, and also later on behind a lot of other trucks.

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Briefly summarize what you learned from each source, under the following headings:

Inspirations / influences / cultural responses

Tropes / techniques

Trends / sub-genre s

Summary:
The History of Horror in Films and Movies, starts with "Horror Cycles". Where for one instance a Horror film would be made and released, which would terrify and scare the audience, and biggest of all, it would make big money, in the eyes of other Film Directors. So other Movie Directors would then make sequels to that Horror movie, and eventually this continues on repeating until the concept and the remake of the newer films, loses its "Hype" and value. Basically a "Boom and Fade Cycle" - John P. Hess.

Ideas for Horror Movies in history like Murderers, Monsters, Creatures, Ghosts, Spirits, et cetera, have always existed, before the first movie was even made.

In the late 1700s, a term called "Gothic Horror" emerged. It was an idea of a setting, where a horror story would take place. Locations include Haunted Houses and Castles with rainy skies, Dark Dungeons and Forests, et cetera. These locations would be used in books by famous writers. All of this would be the inspiration for Movie and Film directors to use, when making a Horror Movie.

The first ever Horror Movie made:
"The Manor of the Devil" made in 1896 by Director George Milies.
It included characters of Ghosts, Demons, Trolls, in the setting of a Castle, which is related to Gothic Horror.

Germany expressed its feelings using Horror Movies after their defeat in WW1 (1914 - 1918), and what they think about the punishments they have to obey after the Treaty of Versailles, but mainly to compete with foreign countries in Movie making.

Inflation was common in Germany after WW1, leading to extreme poverty, and a failing government economy. This led to importing foreign films into Germany expensive, but using local films super cheap, this is another reason why UFA (Universum Film Aktiengesellschaft - A german Movie making company), had a lot of popularity after WW1, only in second place to Hollywood in America.

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How has this professional inspired my future filmmaking?

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How has this professional inspired my future filmmaking?

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This professional filmmaker has inspired me to put a lot more effort in the pre-production phase of creating a film. This is because it has been evidently shown that Bong Joon-ho has spent lots of time visualizing and explaining his film in his script and storyboards, which are highly detailed and very specific. I believe that he is quite the role model, since he has won many awards, despite his films not being in English.

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https://www.youtube.com/watch?v=1lTYPvArbGo
The apprehension engine is an "instrument" that specializes in making horror related sounds. It was commissioned by Mark Korven, a film sound editor, and built by Tony Duggan-Smith. It was made because Korven was tired of the repetitive noises usd in horror films, so the instrument was made to make unique yet similar sounds.

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Inspirations / influences / cultural responses

Inspired and influenced by the popularity of gothic literature.

Several monsters have been influenced by literature and stories in the past (Dracula, Werewolves, zombies).

Horror films don’t always need to have a vast amount of money behind it to be critically acclaimed.

Tropes

The plot starts with a believable story to make it feel more real. The monster then appears later from a distant place, like a different realm, an abandoned or faraway place, etc. Sometimes the characters go to the monster or the monster comes to the characters.

A “wise peasant” character might signal that there might be danger.

Lighting and score can help make something feel scary.

The scary place: The place where the characters shouldn’t really go, but go anyway. Usually where the movie begins feeling scary and where the monster is.

The jumpscare, which is used after a lot of suspense and fear has been built up, then released.

The subliminal cut: a small cut of a very short shot of something different to induce fear.

The monster usually looks very different from human to create uneasiness.

A mask can be used on the monster to make it more scary, as it makes the face of the monster unknown.

People find childish things scary because most of their fears are influenced by and developed in their childhood.

The savant: A character who helps the protagonist, usually by telling them information about the monster or helping them in any other way.

A chase scene is usually used to build up tension fast.

The final girl: the character that is the last to survive and usually stops/kills the monster, and is usually female.

The exorcism: the act done to kill the monster (stake through the heart, crucifix, silver bullet, etc.)

A lot of horror films usually include a less happy ending or a cliffhanger to make the viewer question the morality of what happens in the movie.

Techniques

Low angles were used to make the characters feel watched

Tilted angles and distortion using lens and mirrors can make an area look insane or dizzying.

Although sound can be used to induce fear, the lack of sound can also create fear and tension.

In a chase scene, the camera could be shot in the perspective of the killer to add more realism.

Trends / sub-genres

Psychological Horror: Horror that includes mental and emotional fear, instead of violence or a monster. Usually about a character’s state of mind.

Slasher: Horror about a serial killer.

Gore: Horror that uses a lot of gore and viscera to create uneasiness.

Body Horror: Horror that is similar to gore, but uses slightly altered human body parts.

Found Footage: Horror that is shown as footage that seems unedited and recorded by the characters.

Monster Horror: Horror that uses a general monster or creature to scare the viewer.

Paranormal Horror: Horror that uses ghosts, demons, and other supernatural spirits to scare the viewer.

Comedy Horror: Horror that has some comedy in it.

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https://www.youtube.com/watch?v=JTg7cs_fbaw

He is able to mix genres

He is willing to create things that are unique and fresh

His storyboards are very visualized and detailed

People should make films that they want to, and that choice should not be influenced by others

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How To Create Sound Design for Horror Movies

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How To Create Sound Design for Horror Movies

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https://www.youtube.com/watch?v=68Xpr2Gx6Uk

Sounds should be recorded more than once to have one sound that can match best.

Sounds should be recorded in the right environment to have the correct ambience.

The sounds needed in the film doesn't have to perfectly match what you record. (Get creative and use different items)

Bad sound is worse than bad picture, because sound can patch up gaps between pictures.

The best way to create ambience is to create a "world" of sound, byy adding multiple layers of audio to add more depth and realism.

Adding EQ filters can help make something feel more in place.

Use slow camera movements, and most of the time track the main characters movement, to always keep them in the frame.

Use a lot of negative space, use the rule of thirds, and place the main character far left or far right on the line, leaving a lot of "Open space", and leaving a lot of room for surroundings. And surroundings could be used for the horror film.

Shoot from behind something, it could be a bush, a window, crack of a door, et cetera. To make it feel like the main character is being "Watched", through a first person, subjective view.

To add darkness and shadows, you need to add lights at specific corners of the room.

Do not blast the main character or room in which the character is in with light, direct/bounce off some light off of a tiny mirror, just enough to show the expression of the face.

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Bong Joon-ho's detailed directing works behind the scene

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Bong Joon-ho's detailed directing works behind the scene

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http://www.koreaherald.com/view.php?ud=20200214000536

He plans a highly detailed storyboard before shooting. This is to clearly visualize what needs to be shot, and also help convey to the actors what they need to do.

His storyboards are very specific, which helps him visualize exactly how his film should go.

He also is not very high strung, and he cares about the concerns of the people he works with.

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Bong Joon-ho’s detailed directing works behind the scene

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Even before Bong Joon-ho grabbed four Oscars, including best picture and best director, for his black comedy masterpiece “Parasite,” the South Korean auteur was not a new kid on the block. With seven features on his directorial career, including “Parasite,” he has earned a nickname of “Bongtail” at…

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Director Bong Joon ho on his favorite filmmakers and the rich kid who inspired Parasite

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Director Bong Joon ho on his favorite filmmakers and the rich kid who inspired Parasite

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https://www.avclub.com/director-bong-joon-ho-on-his-favorite-filmmakers-and-th-1838883630

His films have general, universal themes to reach audiences around the world

His stories come from different inspirations, such as his imagination or personal past.

He has the whole film visualized before writing a script.

He makes film not only to entertain the audience, but mostly for himself.

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We've still got a couple of months left to go in 2019, but at this early stage, Bong Joon ho's might be the movie of the year. It's the entertaining yet incisive critique of late capitalism that Adam McKay wishes he could have made, as well as a brilliantly constructed Hitchcockian identity thriller, farcical comedy, and family drama, all wrapped up into one film. Bong's most faithful collaborator, Song Kang-ho, stars as Ki-taek, patriarch of the impoverished Kim family, who as the movie opens is struggling to get by on odd jobs and stolen wifi. Then a childhood friend of son Ki-woo (Choi Woo-sik) recommends him for a gig as an English tutor for the wealthy Park family, whose immaculately curated lives of luxury couldn't be more different from the Kims' hardscrabble existence.

An hour into the film, the entire Kim family has ingratiated themselves with the Parks, displacing and replacing the rich family's existing staff through a combination of subterfuge and some good old-fashioned fast talking. It seems that the Kims are the parasites of the title-until everything gets turned upside down. The shift from bright satirical comedy to deep pathos is as subtle as the whiplash from Bong hitting the film's narrative breaks is jarring. All of it is signature Bong, the handiwork of a director who's made a career out of playfully reinventing genres in films like ,, and .

Parasite takes Bong back to his own college days, when he was a tutor for a rich family not unlike the Parks in his new film. We asked him about that gig when Bong came to Austin for Fantastic Fest, in a discussion that digs into some of the politics and themes of the film, but he always returned to one topic: his own love of movies.
The A.V. Club: There are some recurring themes in your work that one could argue are very political: ecological themes, for example, and class conflict. At the same time, your films are also structured in a very classically cinematic way, which is often considered escapist. Do you consider your films to be political?
Bong Joon ho: "Cinematic" is a word I really like. As a film fanatic myself, I always want to shoot films that deliver that sense of cinematic excitement. So that's something I prioritize. And I think that in order to achieve that, I need to introduce really interesting individuals. So rather than big political themes, I focus on characters that are fascinating and make you want to explore more.

I make films in South Korea, which is a very small country, but also very dynamic. So no matter how deep I go into individuals, I can't really separate these characters from their history and social context. So I think that very naturally leads into political commentary. That's something I discovered writing scripts. And I think at this point in my career, it's just become one of my patterns, one of my habits.
AVC: What's your entrance point into your stories? Do you come up with a character and write a story around them? Or read a news story and get inspired, or...?
BJH: For all of my seven films, it's been different each time. Okja began with this one fascinating image I had in mind. And for Parasite, when I was in college, I tutored for a rich family, and I remember the eerie feeling that I got from that house-the eerie atmosphere, and the smell. My student was this middle-school-aged boy, and he took me to the second floor of the house to show me their private sauna. And I remember being amazed that a house could have its own private sauna. He was very proud of it. "Hey man, look, we have this in our house." [Laughter.]

AVC: You mentioned earlier that it's impossible to separate your characters from their place in South Korean society, but I think the class commentary-specifically the idea of luxury, and ignoring all the pain and suffering of the people giving it to you-is also very relatable to Americans. Is this film meant to speak to something you see in Korea specifically, or is it more universal?

BJH: It's something that's very universal in the world. I grew up middle class, but I had friends and cousins who were both rich and poor, so I had the chance to observe both sides pretty closely. I think that's something that's common among the rich everywhere. They only see the reality that they want to see. They draw an imaginary line, and they keep it that way.

But the rich characters in the film, they're not really bad people. Mr. Park is a hardworking, successful CEO. It's not like he does anything that's specifically bad in the film. But he is completely oblivious to the lives and situations of the people around him, and what the have-nots go through all around him. He just treads forward like a blindfolded horse. He just moves on.
AVC: In Parasite, there are several scenes where characters are talking in the foreground, and other characters are moving in the background. What was your intention with that?
BJH: In this film, we have very limited space, but a lot of characters. In Snowpiercer, as the narrative progresses, you see the new train cars unfold. But in Parasite,you see new characters unfold in the same space, and you see new sides of the characters that were introduced before. You also see characters secretly peeking at other characters or eavesdropping. So I think very naturally you get to see a lot of these layers within the frame.
AVC: When you write a script, do you see in your head everything you were just talking about with the space, and the framing? Or do you write the script and then layer all that on later?
BJH: I think that this applies to all writer-directors who write their scripts so they can shoot them later. I always have the image and sound in my mind; I just put it into a script format so I can share that with other crew members. So I turn on Final Draft and write the script, but in my mind I am constantly thinking about the sound and image.
AVC: As your films get more international recognition and are seen by more international audiences, does that change anything about your approach?
BJH: This is a little selfish and irresponsible for me to say, but I confess that I always just shoot the film I want to see. The standard for the audience is just me. I ask myself, how can we shoot this so it excites me even further? That's always been my approach.
AVC: How has your working relationship with Song Kang-ho evolved over the years? Do you guys have a Klaus Kinski-Werner Herzog thing going on?
BJH: Well, we've never pointed a pistol at each other-
AVC: [Laughs.] Of course!
BJH: But I was actually very comfortable working with him on Parasite. It's never as if, you know, we both have scripts in our hands and we have these serious discussions in three-hour-long meetings about the script. I just do my best to write the script, and I hand it off to him, and when he comes back, he already has his own ideas prepared.

And this is totally different, but when Song and I went to Telluride, we had the opportunity to meet Herzog, and he actually saw the film at its North American premiere. He had such great things to say, and it was a great honor to be able to talk to him. When I was in college studying film, I remember just being incredibly-I admired him a lot, and his films like Aguirre: The Wrath Of God. I heard that a lot of amazing filmmakers attend this festival as well. I really wanted to meet Ari Aster, but I heard he left yesterday.
AVC: Who are your favorite directors of all time, and who are some younger directors you're excited to see more from?
BJH: Amongcontemporary directors, I really admire the horror films of Japanese director Kiyoshi Kurosawa. In the generation above that, I have affection for De Palma. But I think that if you climb up that pyramid [Draws a triangle with his hands.] at the very top is Hitchcock.
AVC: I agree.
BJH: I've admired him since I was little, and I think I'm under his umbrella as well.

Parasite opens this weekend in limited release, with a nationwide expansion planned through October and early November.

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Director Bong Joon ho on his favorite filmmakers and the rich kid who inspired Parasite

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We've still got a couple of months left to go in 2019, but at this early stage, Bong Joon ho's might be the movie of the year. It's the entertaining yet incisive critique of late capitalism that Adam McKay wishes he could have made, as well as a brilliantly constructed Hitchcockian identity thriller, farcical comedy, and family drama, all wrapped up into one film.

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https://drive.google.com/file/d/1oDd2KMOrEXe9COErVcYSHv2KPcRergfW/view?usp=sharing

A whip pan with a cut in between is useful to have a shot that looks impossible (Two of the same people in one room.)

A voiceover can be helpful to tell the thoughts of a character, but it could be seen as lazy and redundant.

The sounds don't have to be complex, as simple sounds can also create tension.

Simple effects can turn a human into a monster.

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