"We didn’t set out to make a zombie film from the beginning. I had many thematic discussions with writer Choi Gyu-seok. We talked about AI algorithms and the unresolved issues from 'Hell,' which made me reflect on what we find frightening about collectivity. There are moments when the consensus of universal thought can render individuality powerless. I believe that the discomfort stems from the moments when unique thoughts feel powerless. As we discussed how to express this cinematically, we thought we could explore it through zombies, which propelled the screenplay forward," Yeon said.
The concept of collective intelligence naturally led to imagery of ants and collectives. During the research process, Yeon encountered the ecology of ants and the concept of collective intelligence, which influenced the visualization of the infected characters' movements and reboot-like actions, developed through extensive discussions with the choreography team.
"I think I started searching for information with the idea of creating a story about collective intelligence. I came across the ecology of ants and learned that the term 'collective intelligence' was first used in that context, which led me to focus my research on ants. This connection naturally led to considerations of how to visualize the rebooting process. While the script described it in abstract terms, there were many tasks to visualize it. We created it while discussing with the choreography team, which seemed to embody the mindset of the zombies in their movements," he explained.
The infected characters in 'Gunchi' leave a strong impression on the audience with their bizarre movements, distinct from the familiar actions typically seen in zombie films. Yeon believes these characters require symbolic gestures that are memorable rather than fully explained.
"I wanted there to be very symbolic movements. For instance, in films like 'The Invasion of the Body Snatchers,' there are famous gestures aliens make when they discover humans. They are mechanical yet bizarre, and somewhat humorous, creating a strange feeling. I thought that such oddness could be completed with a certain force. Creating a signature movement is a matter of intensity, so I often encouraged the choreography team to be bold in their approach," he said.
The casting of Jun Ji-hyun has been one of the film's biggest talking points. Yeon admitted he was unsure if she would be interested in the genre he typically works in. However, through their conversations, he discovered her strong understanding and interest in genre films.
"It felt almost simultaneous. I had my own color in the works I’ve done, and I didn’t know if Jun Ji-hyun was interested in that type of project. I wondered if she would take on this role. Surprisingly, I found out that she enjoys watching unique works, including unconventional American dramas. She clearly has a solid understanding of genre and a high level of comprehension regarding the script. I felt her interest in genre films was greater than I expected," he noted.
Jun Ji-hyun's character, Kwon Se-jeong, is more of an intelligent character who reads situations rather than one focused on strong action. Yeon believes her striking appearance and movements keep the character engaging. He also expressed a desire to see her in a full-fledged action film in the future.
"Since the protagonist is an intelligent character, there weren’t many opportunities for action. However, her appearance is striking, and even her walking has a certain vigor, which kept her character from being dull. I think it would be great to see her in a full action film someday, as she has the physicality that suits action roles," he said.
Regarding Koo Kyo-hwan, Yeon described him as an "extraordinary actor." He noted that Koo possesses a unique acting style that differs from traditional actors and has a remarkable ability to convince the audience.
"I think Koo Kyo-hwan is an extraordinary actor. He clearly has a different approach to acting compared to conventional actors, and he has a great ability to persuade the audience. He is a film enthusiast, which helps him connect well with the material. He is familiar with unique films and has a high understanding of unconventional expressions. Characters like Seo Young-cheol may appear strange, but there seems to be an intuitive understanding of why this role needs to be portrayed this way," he said.
'Gunchi' is a fast-paced, experiential genre film. Yeon noted that while the initial script was lengthy, it ultimately needed to focus more on situational elements rather than character narratives.
"When I first wrote the script, it was about 168 pages long. However, when it came to presenting it as a film, I felt it needed to be more experiential and fast-paced. We had to reduce character narratives and focus on situations. As a result, relationships became more important, and those relationships themselves became the characters. It was crucial to leave room for the audience to imagine something based on those relationships, so I aimed to create unique pairings," he explained.
Yeon’s exploration of the zombie genre continues. He remarked that once zombies are established, questions tend to multiply. Especially after the COVID-19 pandemic, the ethical confusion over whether to view zombies as patients or targets for elimination has intensified, expanding the realm of imagination.
"Once zombies are established, questions keep multiplying. For instance, the initial inability to suppress zombies raises the dilemma of whether to view them as patients or to shoot them. This ethical confusion seems to have grown, especially after experiencing the COVID-19 pandemic. Consequently, this leads to an expansion of imagination. Considering what zombies symbolize and what they truly represent can yield various interpretations," he said.
When asked about his prolific creative output, Yeon expressed that he feels more excitement than fatigue. He finds the current industry environment, where the lines between film and OTT, as well as domestic and international projects, have blurred, to be stimulating rather than confusing.
"I don’t often feel fatigued. I find it enjoyable. I think these days are the most fun. One of the challenges facing filmmakers today is the undefined nature of the industry. In the past, it was straightforward—if it was a film, it was just a film. Now, with OTT and other complexities, I found myself wondering what to do. However, after working on 'Face' last year, I thought, 'Since it’s like this, let’s try anything.' This has made it even more enjoyable," he said.
Looking ahead to the next decade, Yeon expressed a desire to focus on projects he hasn’t attempted before. He aims to experiment with unique methods and new production approaches rather than being overly concerned with box office success or scale.
"Unlike the past decade, I want to focus on things I haven’t done in the next ten years. I think I should not be overly concerned with size or box office and should continue to try unusual things. I believe that will allow me to spend this period without regrets. These days, trying different things has been very enjoyable," he concluded.
* This article has been translated by AI.
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