Tilda Swinton and Bong Joon-ho on Snowpiercer | Q&A

Tilda Swinton and director Bong Joon-ho talk about class warfare, Margaret Thatcher and giant pigs as they explain how their 2013 collaboration, Snowpiercer, got made.

A ‘mild-mannered man in a suit’ was how Bong Joon-ho’s script originally described the bureaucrat quelling an uprising in Snowpiercer, a post-apocalyptic thriller set on a train. Swinton delighted in transforming the role into a sadistic monster, complete with dentures and furs.

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WEBVTT
Kind: captions
Language: en-GB

00:00:00.140 --> 00:00:02.100
- I believe you already knew each other,

00:00:02.100 --> 00:00:04.620
you had been talking
about working together,

00:00:04.620 --> 00:00:07.280
and finally the chance came up.

00:00:07.280 --> 00:00:11.930
But the character you play
was not originally a man

00:00:11.930 --> 00:00:16.930
and you weren't sure, somehow,
you became the Minister,

00:00:17.410 --> 00:00:18.907
how did this work out?

00:00:18.907 --> 00:00:22.574
(speaking foreign language)

00:00:37.970 --> 00:00:40.720
- Well, we frequently
call it gender change,

00:00:40.720 --> 00:00:43.520
so this character changed into a woman,

00:00:43.520 --> 00:00:46.540
but Tilda transcends gender actually.

00:00:46.540 --> 00:00:49.578
So I think we wouldn't actually
call it a gender change.

00:00:49.578 --> 00:00:50.556
(audience laughing)

00:00:50.556 --> 00:00:52.356
So I just thought this is for Tilda.

00:00:54.250 --> 00:00:57.163
- My fantasy about Mason is that,

00:00:59.120 --> 00:01:01.750
my jury's out on any gender for Mason.

00:01:01.750 --> 00:01:05.210
I mean I had this whole
fantasy about Mason's cabin.

00:01:05.210 --> 00:01:07.423
I mean I'd like to go into Mason's cabin,

00:01:08.630 --> 00:01:12.760
to find the thing that
the wig gets put on,

00:01:12.760 --> 00:01:15.673
and what's underneath that
uniform, I don't know,

00:01:15.673 --> 00:01:16.810
I mean, who knows?

00:01:16.810 --> 00:01:18.440
- Yeah, yeah.

00:01:18.440 --> 00:01:19.650
- But there is a thing you've been doing

00:01:19.650 --> 00:01:21.010
over the last few years,

00:01:21.010 --> 00:01:22.540
actually since quite early in your career,

00:01:22.540 --> 00:01:25.020
but you started transforming,

00:01:25.020 --> 00:01:27.820
you've become sort of, the Lon Chaney

00:01:27.820 --> 00:01:30.250
of modern cinema.
- (gasps) Jonathan, you say

00:01:30.250 --> 00:01:31.340
the sweetest things.

00:01:31.340 --> 00:01:33.460
Aw, I love that, love that.

00:01:34.430 --> 00:01:36.480
- So can we talk about
how the project started,

00:01:36.480 --> 00:01:38.680
because you basically were
standing in the bookshop,

00:01:38.680 --> 00:01:41.370
and you fell in love with
this French graphic novel

00:01:41.370 --> 00:01:42.830
called Le Transperceneige.

00:01:42.830 --> 00:01:47.023
And why did you think it could be a film?

00:01:48.910 --> 00:01:52.826
- I don't know, I just
fascinated by the graphic novel.

00:01:52.826 --> 00:01:56.493
(speaking foreign language)

00:01:57.450 --> 00:02:00.220
- I read it instantly
standing in the bookshop

00:02:00.220 --> 00:02:01.613
all the way to the end.

00:02:01.613 --> 00:02:05.280
(speaking foreign language)

00:02:06.381 --> 00:02:08.940
And fortunately I had enough
money on me to buy it,

00:02:08.940 --> 00:02:11.040
so as I was going home, I thought,

00:02:11.040 --> 00:02:11.920
by the time I got home,

00:02:11.920 --> 00:02:13.829
I thought I was gonna
make this into a film.

00:02:13.829 --> 00:02:17.496
(speaking foreign language)

00:02:19.640 --> 00:02:21.810
There was a lot of
concern from everyone else

00:02:21.810 --> 00:02:23.410
of how you're gonna make this into a film,

00:02:23.410 --> 00:02:24.981
but I thought that it was possible.

00:02:24.981 --> 00:02:26.933
(speaking foreign language)

00:02:26.933 --> 00:02:29.233
I think I could only
make it because of Tilda.

00:02:30.167 --> 00:02:31.455
- [Audience] Aw.

00:02:31.455 --> 00:02:33.732
(audience laughing)

00:02:33.732 --> 00:02:34.770
(speaking foreign language)

00:02:34.770 --> 00:02:35.870
- I mean it, honestly.

00:02:38.130 --> 00:02:41.070
- And what were the elements in the comic

00:02:41.070 --> 00:02:43.280
that made you think this is a film?

00:02:43.280 --> 00:02:46.310
Because I don't know
how much you have used

00:02:46.310 --> 00:02:47.870
of the original visual elements

00:02:47.870 --> 00:02:49.570
or how much you changed the story.

00:02:50.810 --> 00:02:53.430
- As you see the original concept,

00:02:53.430 --> 00:02:56.770
the basic idea is already super crazy.

00:02:56.770 --> 00:03:01.770
So it's very strange idea
that all the human survivors

00:03:02.400 --> 00:03:04.263
remain in the running train.

00:03:05.110 --> 00:03:08.010
And also the rich people in the front,

00:03:08.010 --> 00:03:10.744
the poor people in the tail section.

00:03:10.744 --> 00:03:14.411
(speaking foreign language)

00:03:25.620 --> 00:03:27.290
- This is a story from the mid '80s

00:03:27.290 --> 00:03:29.910
and it has such universal
and eternal themes

00:03:29.910 --> 00:03:32.832
as long as we lived in
a capitalist society.

00:03:32.832 --> 00:03:36.499
(speaking foreign language)

00:03:51.182 --> 00:03:53.750
But the concept of the train
that rides for one year

00:03:53.750 --> 00:03:57.490
and goes around and ends up
in the same starting point,

00:03:57.490 --> 00:04:00.030
those kind of details I
added myself and they knew,

00:04:00.030 --> 00:04:02.020
but the basic setting
and the basic premise

00:04:02.020 --> 00:04:03.770
was really a truly great one

00:04:03.770 --> 00:04:07.673
and that's a really kind of
inspirational sort of premise.

00:04:08.660 --> 00:04:11.670
- And you worked together
again on Okja after this,

00:04:11.670 --> 00:04:16.550
and it your eco-diptych
because these are two films

00:04:16.550 --> 00:04:20.100
both about, in a way,
the end of the planet

00:04:20.100 --> 00:04:22.203
and what we can do to stop it.

00:04:23.792 --> 00:04:27.459
(speaking foreign language)

00:04:31.400 --> 00:04:34.200
- I have a cousin who
works in animal rights.

00:04:34.200 --> 00:04:37.943
- She was former vice
president of a humane society.

00:04:39.320 --> 00:04:42.987
(speaking foreign language)

00:04:51.580 --> 00:04:52.527
- This cousin's very scary to me.

00:04:52.527 --> 00:04:55.217
She would say "Don't eat
meat" and things like that.

00:04:55.217 --> 00:04:58.140
And at the time I really was
able to deeply immerse myself

00:04:58.140 --> 00:04:59.388
in this world.

00:04:59.388 --> 00:05:03.055
(speaking foreign language)

00:05:14.420 --> 00:05:16.840
So there was a thematic
element such as that

00:05:16.840 --> 00:05:18.810
but it was especially because of Tilda

00:05:18.810 --> 00:05:22.860
that I could have her playing
two characters as a twin.

00:05:22.860 --> 00:05:25.656
I think I got greedy from that to make it.

00:05:25.656 --> 00:05:29.323
(speaking foreign language)

00:05:36.330 --> 00:05:38.160
With Okja Tilda was actually involved

00:05:38.160 --> 00:05:40.720
from the very beginning
deeply in the creative process

00:05:40.720 --> 00:05:43.143
and she's actually
credited as a co-producer.

00:05:44.580 --> 00:05:46.630
- I remember in the very early days

00:05:47.690 --> 00:05:51.320
when we first knew each other,

00:05:51.320 --> 00:05:53.270
we very quickly hit on,

00:05:53.270 --> 00:05:57.110
as everybody does who comes
to love each other quickly,

00:05:57.110 --> 00:06:00.110
favourite films, and I
remember we talked a lot about

00:06:00.110 --> 00:06:02.917
Miyazaki Hayao, and in
particular My Neighbour Totoro.

00:06:04.370 --> 00:06:07.680
And I recognised the very first moment

00:06:07.680 --> 00:06:10.300
director Bong showed me, we were actually,

00:06:10.300 --> 00:06:14.930
we'd been to the premiere
of Snowpiercer in Seoul,

00:06:14.930 --> 00:06:17.520
and he was taking us to
the airport the next day,

00:06:17.520 --> 00:06:20.203
and in the car, he wasn't
driving I will say,

00:06:21.200 --> 00:06:23.251
thank the lord, because as we were driving

00:06:23.251 --> 00:06:25.850
he handed me this little image.

00:06:25.850 --> 00:06:26.683
You're gonna find it

00:06:26.683 --> 00:06:27.887
- Yeah.
- right now, I can tell.

00:06:27.887 --> 00:06:28.970
(audience laughing)

00:06:28.970 --> 00:06:30.133
A little image.

00:06:31.990 --> 00:06:33.520
- There are a lot of photos.

00:06:33.520 --> 00:06:34.353
- It was four years

00:06:34.353 --> 00:06:35.186
ago, so, yeah.
- None of the ones

00:06:35.186 --> 00:06:36.150
with Oscars in them.

00:06:38.449 --> 00:06:39.390
(speaking foreign language)

00:06:39.390 --> 00:06:40.280
That was it.

00:06:40.280 --> 00:06:41.940
And it was--
- Oh, wow.

00:06:41.940 --> 00:06:42.788
- Yes.
- Yeah.

00:06:42.788 --> 00:06:45.518
- An image of a little girl.

00:06:45.518 --> 00:06:46.581
(audience laughing)

00:06:46.581 --> 00:06:49.904
- You might need to learn forward a bit.

00:06:49.904 --> 00:06:51.604
- A little girl and a massive pig.

00:06:52.690 --> 00:06:54.590
And he just sort of showed it to me.

00:06:54.590 --> 00:06:57.690
Sort of, you know, forthcoming attractions

00:06:57.690 --> 00:06:59.200
and I was smitten right there.

00:06:59.200 --> 00:07:02.040
But it did feel that it had a reference,

00:07:02.040 --> 00:07:06.970
it had beautiful reverence
for My Neighbour Totoro.

00:07:06.970 --> 00:07:09.760
And, of course, also,
thinking of Miyazaki,

00:07:09.760 --> 00:07:12.147
those twin sisters in Spirited Away.

00:07:12.147 --> 00:07:12.980
- Yep.
- Yeah, yeah.

00:07:12.980 --> 00:07:14.427
- So we talked a lot about them

00:07:15.546 --> 00:07:18.210
and that's where the
Mirando sisters were, twins,

00:07:18.210 --> 00:07:19.720
were born really.
- Yeah.

00:07:19.720 --> 00:07:22.840
- How did you first meet and
how did you first discover

00:07:22.840 --> 00:07:23.853
each other's work?

00:07:25.780 --> 00:07:29.720
- We first met in 2011
in Cannes Film Festival.

00:07:29.720 --> 00:07:33.820
I was one of jury member
of the Camera d'Or,

00:07:33.820 --> 00:07:35.170
the new director award.
- Oh, right.

00:07:35.170 --> 00:07:39.578
- And she was there
with Lynne Ramsay film.

00:07:39.578 --> 00:07:40.411
- We Need to Talk About Kevin.

00:07:40.411 --> 00:07:41.603
- Kevin.
- Yep.

00:07:41.603 --> 00:07:46.110
- And we, very naturally we
met and we did breakfast.

00:07:46.110 --> 00:07:46.943
- We had breakfast.

00:07:46.943 --> 00:07:48.830
- Yeah.
- A really big breakfast.

00:07:48.830 --> 00:07:50.990
- Yeah, nothing but breakfast.

00:07:50.990 --> 00:07:54.963
And it was first time we met but.

00:07:56.537 --> 00:08:00.204
(speaking foreign language)

00:08:13.630 --> 00:08:15.580
- For me, of course, from a long time ago,

00:08:15.580 --> 00:08:16.810
I was a fan of hers.

00:08:16.810 --> 00:08:21.330
I remember in Seoul in a very
small cinema seeing Orlando

00:08:21.330 --> 00:08:24.700
and I think Tilda mentioned The Host.

00:08:24.700 --> 00:08:28.100
- Yes, I remember, in fact
the first thing I saw was,

00:08:28.100 --> 00:08:30.620
I was waiting, I remember
it so specifically,

00:08:30.620 --> 00:08:34.110
I went to have breakfast
with someone in New York

00:08:34.110 --> 00:08:38.450
and in a tiny little
cafe, and I went for a pee

00:08:38.450 --> 00:08:42.780
and I was waiting for
this little loo to be open

00:08:42.780 --> 00:08:45.835
and there was a copy of The
New Yorker sitting there.

00:08:45.835 --> 00:08:46.980
And I (sighs).

00:08:46.980 --> 00:08:49.360
And I read the review, I
always went to the back

00:08:49.360 --> 00:08:51.340
of the film reviews, like we all do,

00:08:51.340 --> 00:08:55.070
and there was, I think, Anthony
Lane's review of The Host.

00:08:55.070 --> 00:08:59.750
And I, there was something
about that great review,

00:08:59.750 --> 00:09:02.970
which is something about
great critical writing,

00:09:02.970 --> 00:09:04.850
that made me know I had to see the film,

00:09:04.850 --> 00:09:06.780
and I saw it quite quickly after that.

00:09:06.780 --> 00:09:09.500
And then I saw everything you'd ever made,

00:09:09.500 --> 00:09:12.420
including Barking Dogs Never Bite.

00:09:12.420 --> 00:09:14.134
- Why?
- I managed to find it.

00:09:14.134 --> 00:09:15.640
(audience laughing)

00:09:15.640 --> 00:09:17.263
- Please forget it.
- Why not?

00:09:19.156 --> 00:09:19.989
- Go and look for it.

00:09:19.989 --> 00:09:20.822
- It's a serial
- Go and look for it.

00:09:20.822 --> 00:09:21.794
- puppy-killing movie.
- Look for it.

00:09:21.794 --> 00:09:24.152
Look, look, look, look, look.
- I'm so sorry.

00:09:24.152 --> 00:09:26.274
(audience laughing)

00:09:26.274 --> 00:09:27.570
- You know there's evolution,
you ended up with Okja.

00:09:27.570 --> 00:09:29.890
You're all right.

00:09:29.890 --> 00:09:31.390
But it's amazing.

00:09:31.390 --> 00:09:33.540
And all of them, you know
they are all masterpieces

00:09:33.540 --> 00:09:34.390
in their own way.

00:09:34.390 --> 00:09:38.370
And Memories of Murder, and Mother.

00:09:38.370 --> 00:09:39.267
All of them.

00:09:39.267 --> 00:09:41.317
And then I met him.
- Yeah, it was 2011.

00:09:42.250 --> 00:09:44.020
- So how did you create
this character then?

00:09:44.020 --> 00:09:46.620
Because some of the accounts
I've read of Minister Mason

00:09:46.620 --> 00:09:49.840
describe her as a little
bit Margaret Thatcher

00:09:49.840 --> 00:09:53.297
and a little bit everyone,
including Silvio Berlusconi.

00:09:53.297 --> 00:09:55.030
- Yeah.
- That I can't quite see.

00:09:55.030 --> 00:09:57.900
But it's a pretty heady mix

00:09:57.900 --> 00:10:00.780
as a monstrous authority figure.

00:10:00.780 --> 00:10:03.480
- And you suggest the Yorkshire.

00:10:03.480 --> 00:10:04.586
- Yeah.
- Yorkshire accent.

00:10:04.586 --> 00:10:06.690
(audience laughing)

00:10:06.690 --> 00:10:10.140
- We thought about the
phenomenon of this train.

00:10:10.140 --> 00:10:13.130
You know, this is like
a free pass for fantasy,

00:10:13.130 --> 00:10:17.290
and if you're gonna have
some kind of a tendency

00:10:17.290 --> 00:10:19.330
towards some kind of malign authority,

00:10:19.330 --> 00:10:20.660
it's no holds barred.

00:10:20.660 --> 00:10:23.352
You can go any which way with it.

00:10:23.352 --> 00:10:24.910
And you don't have to go very far,

00:10:24.910 --> 00:10:26.800
and remember this is quite a long time ago

00:10:26.800 --> 00:10:28.150
and there were all sorts of examples

00:10:28.150 --> 00:10:29.460
that we didn't have then

00:10:30.440 --> 00:10:31.720
that we have now

00:10:31.720 --> 00:10:32.553
(audience laughing)

00:10:32.553 --> 00:10:33.386
to draw on.

00:10:33.386 --> 00:10:35.220
But, in those days we were looking

00:10:35.220 --> 00:10:38.670
at people like Colonel
Gaddafi, and Idi Amin,

00:10:38.670 --> 00:10:41.090
and Silvio Berlusconi.
- Many dictators, yeah.

00:10:41.090 --> 00:10:44.070
- Just the way in which,

00:10:44.070 --> 00:10:49.070
there is a tendency in society
to find these dictators

00:10:50.240 --> 00:10:53.950
rather funny and amusing, like clowns.

00:10:53.950 --> 00:10:55.290
Very often there's this sense,

00:10:55.290 --> 00:10:58.220
and that those dictators
can play up to that.

00:10:58.220 --> 00:11:00.500
And so we thought that
we would work with that

00:11:00.500 --> 00:11:03.780
and turn her into this sort of,

00:11:03.780 --> 00:11:04.670
you know, she's a construct,

00:11:04.670 --> 00:11:07.190
that's why I say this fantasy
about what was going on

00:11:07.190 --> 00:11:09.310
in her cabin was real, you know.

00:11:09.310 --> 00:11:11.520
I don't know what she looks
like underneath all those,

00:11:11.520 --> 00:11:15.020
those are fake teeth, and those
ridiculous bottle glasses,

00:11:15.020 --> 00:11:17.270
and the wig is clearly not fixed on

00:11:17.270 --> 00:11:18.620
'cause it keeps moving around.

00:11:18.620 --> 00:11:21.670
That feeling of her being a sort of, yeah,

00:11:21.670 --> 00:11:23.870
well as I say there are other examples

00:11:23.870 --> 00:11:25.802
of people with power with mad hair.

00:11:25.802 --> 00:11:26.635
(audience laughing)

00:11:26.635 --> 00:11:27.468
- You remember?

00:11:27.468 --> 00:11:28.741
There was a beginning point of the-

00:11:28.741 --> 00:11:31.221
- Oh, I wanted it to fall
off and you wouldn't let me.

00:11:31.221 --> 00:11:32.183
Yes.
(audience laughing)

00:11:32.183 --> 00:11:35.850
(speaking foreign language)

00:11:45.734 --> 00:11:47.317
- Apparently, yeah.

00:11:52.595 --> 00:11:54.130
Yeah.

00:11:54.130 --> 00:11:56.850
- So there was actually a
starting point and a reference

00:11:56.850 --> 00:11:58.870
to the unique Minister Mason's look.

00:11:58.870 --> 00:12:01.460
There was a photograph
of this lady in a museum,

00:12:01.460 --> 00:12:02.472
or a museum lady.

00:12:02.472 --> 00:12:06.101
(speaking foreign language)

00:12:06.101 --> 00:12:11.101
- [Tilda] Yeah.

00:12:26.240 --> 00:12:30.240
- So her wig, her glasses,
the very feeling of her face

00:12:30.240 --> 00:12:33.160
was quite unique so that
was our starting point.

00:12:33.160 --> 00:12:35.180
So alongside the producer and Catherine

00:12:35.180 --> 00:12:37.600
we went to Tilda's home
and we kind of went through

00:12:37.600 --> 00:12:40.530
this transformation and it
was almost like a live show

00:12:40.530 --> 00:12:41.630
to look for this look.

00:12:43.660 --> 00:12:46.670
- They came to stay and we made lunch,

00:12:46.670 --> 00:12:49.420
and then after lunch we
went into the drawing room

00:12:49.420 --> 00:12:52.670
and it was like dress up,
and we just started to play

00:12:52.670 --> 00:12:54.350
like a bunch of eight year olds.

00:12:54.350 --> 00:12:55.183
And,

00:12:56.840 --> 00:12:58.373
I don't know, it just sort of,

00:13:00.570 --> 00:13:04.110
again, to be serious we
wanted to have this idea.

00:13:04.110 --> 00:13:06.800
For example, all these fake medals,

00:13:06.800 --> 00:13:09.700
I mean, that's real, these people,

00:13:09.700 --> 00:13:11.160
they give themselves medals.

00:13:11.160 --> 00:13:14.310
You know, Gaddafi was a
great one for giving himself

00:13:14.310 --> 00:13:17.920
photographs of honours that he made up

00:13:17.920 --> 00:13:21.270
and just pinning them on his uniform

00:13:21.270 --> 00:13:23.373
and making up uniforms.

00:13:24.220 --> 00:13:25.540
That's a thing.

00:13:25.540 --> 00:13:27.367
- On surface, but (speaking
foreign language).

00:13:44.584 --> 00:13:47.850
- And we also thought that
perhaps the starting point

00:13:47.850 --> 00:13:51.300
for her was working class,
maybe she was at the tail-end

00:13:51.300 --> 00:13:53.900
as a cleaner but she
was spotted by Wilford

00:13:53.900 --> 00:13:57.270
and climbed up the ranks and
kind of progressed in that way.

00:13:57.270 --> 00:13:59.520
And we talk about that as well.

00:13:59.520 --> 00:14:03.160
- And I was, I had a little
sort of riff in my own mind

00:14:03.160 --> 00:14:05.300
about Mason and Thatcher.

00:14:05.300 --> 00:14:07.803
You know, these house builders, somehow.

00:14:09.664 --> 00:14:12.550
And I just thought that
she's what Thatcher

00:14:12.550 --> 00:14:15.560
would have been before
Thatcher got all elocutioned

00:14:15.560 --> 00:14:17.403
and had her hair done.

00:14:18.690 --> 00:14:22.380
Yeah, it was just this
fantasy about the rawness

00:14:22.380 --> 00:14:24.080
of that predicament on that train

00:14:24.080 --> 00:14:26.450
where you're not gonna get edited,

00:14:26.450 --> 00:14:29.860
you're not gonna get cleaned
up because you are free

00:14:29.860 --> 00:14:32.500
to be as bombastic as you want to.

00:14:32.500 --> 00:14:35.830
- And also her first image in the movie

00:14:35.830 --> 00:14:37.050
was also very important

00:14:37.050 --> 00:14:42.050
because in the opening movie
start from the tail section,

00:14:42.670 --> 00:14:46.060
so you still don't know what it looks like

00:14:46.060 --> 00:14:48.550
in the very front
section, the rich people.

00:14:48.550 --> 00:14:52.217
(speaking foreign language)

00:15:08.014 --> 00:15:10.850
- So when she comes,
she's kind of alluding

00:15:10.850 --> 00:15:13.640
to what it might be like at
the front section of the train.

00:15:13.640 --> 00:15:15.930
You can only see as far into the trains

00:15:15.930 --> 00:15:19.870
as the character that Chris
Evans plays really progresses.

00:15:19.870 --> 00:15:22.130
So really that was quite important,

00:15:22.130 --> 00:15:25.190
and that whilst they were
imprisoned at the tail section

00:15:25.190 --> 00:15:26.953
you didn't know what the
front section would look like.

00:15:26.953 --> 00:15:29.363
But it was really symbolised by her.

00:15:30.510 --> 00:15:33.480
- I wonder what it's
like directing and acting

00:15:33.480 --> 00:15:35.273
in a film like this because
it's such a massive production,

00:15:35.273 --> 00:15:38.360
it was the biggest Korean film ever made,

00:15:38.360 --> 00:15:40.723
it was made at Barrandov
Studios in Prague,

00:15:41.950 --> 00:15:45.390
and obviously very,
very technically precise

00:15:45.390 --> 00:15:47.403
with these extraordinary sets,

00:15:48.409 --> 00:15:51.640
and at the same time there
is a feeling of spontaneity

00:15:51.640 --> 00:15:55.050
to quite a bit of it and I
wonder how much possibility

00:15:55.050 --> 00:15:57.990
you both have to play or improvise this

00:15:57.990 --> 00:16:00.560
as you're going through
a production like this?

00:16:00.560 --> 00:16:02.040
- Actually, we built

00:16:04.420 --> 00:16:06.170
24, 26?

00:16:06.170 --> 00:16:09.640
Different, yeah, 26
different train sections.

00:16:09.640 --> 00:16:13.700
Actually I want 28 but we negotiate

00:16:13.700 --> 00:16:18.540
because of the limited
budget, so 26 different,

00:16:18.540 --> 00:16:22.410
anyway there's huge,
huge production design,

00:16:22.410 --> 00:16:26.377
so 26 different train set and
(speaking foreign language).

00:16:34.030 --> 00:16:37.082
- So as per usual I have
quite an intricate storyboard

00:16:37.082 --> 00:16:39.620
and then I shoot as I plan.

00:16:39.620 --> 00:16:43.710
- But for the acting, for example,

00:16:43.710 --> 00:16:48.630
when Minister Mason
started her first speech

00:16:49.550 --> 00:16:51.601
in the tail section.

00:16:51.601 --> 00:16:55.268
(speaking foreign language)

00:17:20.453 --> 00:17:25.300
- So when Minister Mason in
the tail end of the section

00:17:25.300 --> 00:17:28.430
gives her first speech, at the
very beginning of her speech

00:17:28.430 --> 00:17:31.130
there's a sort of clang
where somebody, an actor,

00:17:31.130 --> 00:17:32.600
dropped a bit of steel

00:17:32.600 --> 00:17:34.630
but that wasn't actually planned at all,

00:17:34.630 --> 00:17:37.660
it was really the actor
dropping the piece.

00:17:37.660 --> 00:17:40.000
But, you know, with the great actors

00:17:40.000 --> 00:17:42.130
spontaneously improvising and reacts

00:17:42.130 --> 00:17:44.430
and looks back and that moment in the film

00:17:44.430 --> 00:17:45.960
is actually quite very funny.

00:17:45.960 --> 00:17:48.320
So as a director to be able
to capture that on screen,

00:17:48.320 --> 00:17:50.190
it's really quite thrilling,

00:17:50.190 --> 00:17:51.890
that even though it's not planned,

00:17:53.020 --> 00:17:55.230
to be able to have an actor
who reacts in that way.

00:17:55.230 --> 00:17:58.270
- It's a really interesting
thing I've tried for years

00:17:58.270 --> 00:18:00.450
ever since I've started
working with director Bong,

00:18:00.450 --> 00:18:05.450
to explain why it is that
this precision of his,

00:18:05.640 --> 00:18:07.643
which is really formidable,

00:18:09.020 --> 00:18:12.320
gives us, all of us, costume
designers, producers,

00:18:12.320 --> 00:18:13.780
this feeling of freedom.

00:18:13.780 --> 00:18:17.610
And you go onto the set and
you have not only a storyboard,

00:18:17.610 --> 00:18:20.103
which a lot of filmmakers
work with storyboards,

00:18:22.470 --> 00:18:25.060
but you also have an editor,

00:18:25.060 --> 00:18:26.793
so you can be shown,

00:18:27.730 --> 00:18:30.280
okay, so, we have up until this point,

00:18:30.280 --> 00:18:33.290
we have up until the point where

00:18:34.590 --> 00:18:35.860
Bong puts his hand in his pocket.

00:18:35.860 --> 00:18:37.160
We've got that much, okay.

00:18:37.160 --> 00:18:38.601
The next bit we want

00:18:38.601 --> 00:18:39.750
(audience laughing)
(Bong laughs)

00:18:39.750 --> 00:18:44.186
is the bit from there to
the time when he storms out.

00:18:44.186 --> 00:18:45.570
(audience laughing)

00:18:45.570 --> 00:18:47.230
And we've shot that already.

00:18:47.230 --> 00:18:50.750
But that bit in the middle is
free space, you can fill it.

00:18:50.750 --> 00:18:55.750
And it gives you this
feeling of real licence

00:18:55.760 --> 00:18:58.520
and collaboration because, of course,

00:18:58.520 --> 00:19:00.540
your real aim is to amuse him.

00:19:00.540 --> 00:19:03.960
That's the point of every day.

00:19:03.960 --> 00:19:06.760
And he welcomes it and enjoys it,

00:19:06.760 --> 00:19:09.000
but you're working within these parameters

00:19:09.000 --> 00:19:12.273
and it's a thing that I particularly love.

00:19:13.800 --> 00:19:17.270
I don't know what I would call
proper actors say about this,

00:19:17.270 --> 00:19:19.603
but I like working within frames.

00:19:21.290 --> 00:19:24.460
But this particular frame,
this particular precision,

00:19:24.460 --> 00:19:27.290
and it's a very holding thing,

00:19:27.290 --> 00:19:31.370
and so it means that you can
really stay alive and amused,

00:19:31.370 --> 00:19:33.710
because you know, you know
where it's gonna start

00:19:33.710 --> 00:19:35.050
and you know where it's gonna end.

00:19:35.050 --> 00:19:37.160
And that's because the
editor's right there,

00:19:37.160 --> 00:19:39.600
and you can look back
and then you've finished

00:19:39.600 --> 00:19:41.260
and you're moving on, you can look and,

00:19:41.260 --> 00:19:42.093
director Bong says,

00:19:42.093 --> 00:19:43.430
"Come over and see what you've just done."

00:19:43.430 --> 00:19:44.937
And then you can see it, and you go,

00:19:44.937 --> 00:19:47.537
"Oh, I didn't know that
my hand went so high.

00:19:47.537 --> 00:19:50.057
"Okay, interesting, so
when we do the next bit,

00:19:50.057 --> 00:19:52.180
"I'll make sure that I
come in from that high."

00:19:52.180 --> 00:19:54.290
And it's so productive,

00:19:54.290 --> 00:19:56.890
and so interesting and, yeah,

00:19:56.890 --> 00:19:59.130
it's a very particular freedom.

00:19:59.130 --> 00:20:00.888
- I love actors.

00:20:00.888 --> 00:20:02.194
(audience laughing)

00:20:02.194 --> 00:20:06.050
And, you know, each actor has their own,

00:20:06.050 --> 00:20:08.667
every actor has their
own universe, I think.

00:20:08.667 --> 00:20:10.750
- And you have some extraordinary
actors in this film,

00:20:10.750 --> 00:20:14.013
you've got a British, Korean, American,

00:20:15.110 --> 00:20:17.820
you've got Romanian,
Icelandic actors in there,

00:20:17.820 --> 00:20:20.960
how do you make a big
international production like this

00:20:20.960 --> 00:20:23.520
which is going to work internationally,

00:20:23.520 --> 00:20:26.120
but it's also going to be Korean enough

00:20:26.120 --> 00:20:27.160
for a Korean audience?

00:20:27.160 --> 00:20:29.750
I wonder if there are
particular things in this film,

00:20:29.750 --> 00:20:33.170
particular references which
Korean viewers would get

00:20:33.170 --> 00:20:34.793
which we might not in the west?

00:20:36.820 --> 00:20:39.600
- I don't know, it's a sci-fi film,

00:20:39.600 --> 00:20:41.173
and also it's a,

00:20:43.280 --> 00:20:45.960
basic setting is already,

00:20:45.960 --> 00:20:50.960
the human survivors remain
in the running train, so.

00:20:51.422 --> 00:20:55.089
(speaking foreign language)

00:21:12.073 --> 00:21:15.630
- Well, they're survivors of mankind,

00:21:15.630 --> 00:21:17.090
so it'd be sort of odd to divide them

00:21:17.090 --> 00:21:18.560
into South and North Koreans,

00:21:18.560 --> 00:21:20.435
and it was just naturally the case that,

00:21:20.435 --> 00:21:22.049
you know, we had the
Scottish and the Romanians,

00:21:22.049 --> 00:21:26.278
and they were obviously just
naturally casting in this way.

00:21:26.278 --> 00:21:29.945
(speaking foreign language)

00:21:37.057 --> 00:21:41.190
And there wasn't really
much rules in the casting,

00:21:41.190 --> 00:21:44.420
I just asked all the
actors I really liked.

00:21:44.420 --> 00:21:49.420
- Yeah, for example, Vlad
Ivanov, the Romanian,

00:21:49.510 --> 00:21:54.417
amazing Romanian actor, he was in the--

00:21:54.417 --> 00:21:58.089
- Cristian Mungiu.
- Cristian Mungiu, yeah.

00:21:58.089 --> 00:21:59.787
- "4 Months, 3 Weeks"
- "4 Months, 3 Weeks

00:21:59.787 --> 00:22:00.620
"and 2 Days"
- Four, three, two.

00:22:00.620 --> 00:22:02.230
- or whatever it is.
- Four, three, two, yeah.

00:22:02.230 --> 00:22:06.160
And also that Icelandic
actor, Tómas Lemarquis

00:22:06.160 --> 00:22:07.830
from the Noi the Albino.
- Yes.

00:22:07.830 --> 00:22:08.663
- Yeah.
- Yeah.

00:22:08.663 --> 00:22:10.400
- Such a lovely Icelandic film.

00:22:10.400 --> 00:22:13.500
I enjoy, yeah, kind of.

00:22:13.500 --> 00:22:16.360
- We were talking about difficult
authority figures earlier

00:22:16.360 --> 00:22:18.500
so I have to ask you, you had a run in

00:22:18.500 --> 00:22:20.910
with Harvey Weinstein over this film

00:22:20.910 --> 00:22:23.130
which was one reason
why it was so difficult

00:22:23.130 --> 00:22:25.140
to see in some places,
and I know he wanted

00:22:25.140 --> 00:22:29.880
to cut 25 minutes, and
how did you resolve this?

00:22:29.880 --> 00:22:33.660
And I believe he objected to
the fish scene at the beginning

00:22:33.660 --> 00:22:35.210
and there's a story about that.

00:22:36.402 --> 00:22:39.100
(laughs)

00:22:39.100 --> 00:22:42.003
- It's quite many years ago and, yeah.

00:22:43.100 --> 00:22:47.760
Me and my DP really loved
the shot with the big fish,

00:22:47.760 --> 00:22:49.230
yeah, so he said, (speaking
foreign language).

00:23:07.433 --> 00:23:08.880
- It had such a strong smell,

00:23:08.880 --> 00:23:11.070
it was actually quite
difficult whilst shooting

00:23:11.070 --> 00:23:13.570
but we really just liked the image itself.

00:23:13.570 --> 00:23:15.780
But Weinstein was quite keen to cut it

00:23:15.780 --> 00:23:18.308
alongside many other
things he wanted to cut.

00:23:18.308 --> 00:23:23.003
- So I told him this is
my personal something,

00:23:23.880 --> 00:23:26.074
that this dedicate to my father.

00:23:26.074 --> 00:23:29.542
(audience laughing)
My father was a fisherman.

00:23:29.542 --> 00:23:32.542
(audience laughing)

00:23:34.210 --> 00:23:36.347
He does fucking lie, so.

00:23:36.347 --> 00:23:41.347
(audience laughing)
(audience applauding)

00:23:41.530 --> 00:23:43.863
I feel sorry, but anyway.

00:23:44.720 --> 00:23:46.993
My father was actually graphic designer.

00:23:46.993 --> 00:23:49.220
(audience laughing)

00:23:49.220 --> 00:23:50.770
And he said, (speaking foreign language).

00:24:02.434 --> 00:24:04.857
- So then he replied, "Oh, why
didn't you say that before?

00:24:04.857 --> 00:24:06.477
"Family's the most important thing,

00:24:06.477 --> 00:24:08.247
"we must not cut this out."

00:24:09.680 --> 00:24:12.360
- Yeah, and--
- But he did cut 20 minutes

00:24:12.360 --> 00:24:15.800
out of it and we discovered
later, several years later,

00:24:15.800 --> 00:24:18.325
that that was the Academy
screener that went out.

00:24:18.325 --> 00:24:19.530
- Really?
(Bong laughs)

00:24:19.530 --> 00:24:20.640
- At the time we didn't know.

00:24:20.640 --> 00:24:25.640
And actually there was a
screening of that 25 minute cut,

00:24:26.330 --> 00:24:30.740
the shortened version of Snowpiercer in,

00:24:30.740 --> 00:24:35.600
there was a screening in Paramus

00:24:35.600 --> 00:24:36.453
in New Jersey.

00:24:37.360 --> 00:24:39.223
In huge multiplex.

00:24:40.280 --> 00:24:41.860
- It's where they do the testing.

00:24:41.860 --> 00:24:44.287
- Yeah.
- A testing site for films.

00:24:44.287 --> 00:24:49.287
- With more than 200
audience scoring the movie,

00:24:50.080 --> 00:24:53.815
and fortunately score was very low.

00:24:53.815 --> 00:24:54.648
- Right.

00:24:54.648 --> 00:24:56.750
- Because so many thing cut out.

00:24:56.750 --> 00:25:00.660
Quite hard, difficult to
understand the whole narrative.

00:25:00.660 --> 00:25:02.550
So score was low, so I was happy.

00:25:02.550 --> 00:25:05.110
Me and my producer was very happy.

00:25:05.110 --> 00:25:10.110
But he, the Mr. Weinstein
said, "Oh, quite low score,

00:25:10.907 --> 00:25:13.090
"so let's cut out more."

00:25:13.090 --> 00:25:14.233
He said and then,

00:25:15.130 --> 00:25:16.913
yeah, but, anyway,

00:25:19.000 --> 00:25:21.653
in the end, it was very all happy ending.

00:25:25.239 --> 00:25:28.906
(speaking foreign language)

00:25:42.567 --> 00:25:43.980
- So it had a limited release

00:25:43.980 --> 00:25:46.070
but at least it was the director's cut.

00:25:46.070 --> 00:25:48.260
Perhaps for him, that was a punishment,

00:25:48.260 --> 00:25:50.120
but for us it was a happy ending.

00:25:50.120 --> 00:25:51.590
- But it'll be a really happy ending

00:25:51.590 --> 00:25:53.270
when it's distributed in this country

00:25:53.270 --> 00:25:54.580
which it will be, we hope.

00:25:54.580 --> 00:25:55.996
- Oh, great.
- We hope.

00:25:55.996 --> 00:25:58.527
(audience applauding)

00:25:58.527 --> 00:26:02.194
(speaking foreign language)

00:26:21.180 --> 00:26:24.400
- Honestly, I don't actually
start with those themes,

00:26:24.400 --> 00:26:28.050
I just have very simple
impulses that come to me first.

00:26:28.050 --> 00:26:30.070
Like, I like to shoot a pig,

00:26:30.070 --> 00:26:32.600
or two hours of what happens on a train,

00:26:32.600 --> 00:26:35.370
and I dig deep and then
the story gradually evolves

00:26:35.370 --> 00:26:37.740
and gradually arrive at those themes.

00:26:37.740 --> 00:26:39.870
- But right, there is some connection

00:26:39.870 --> 00:26:42.370
between Snowpiercer and Parasite.

00:26:42.370 --> 00:26:45.490
Actually, the very first idea of Parasite

00:26:45.490 --> 00:26:49.830
came to me around 2013

00:26:49.830 --> 00:26:52.710
during the post production of Snowpiercer.

00:26:52.710 --> 00:26:56.890
Those two stories all
deal with the poor people

00:26:56.890 --> 00:26:58.693
and the rich people.

00:26:59.680 --> 00:27:02.740
But Parasite is very vertical movie.

00:27:02.740 --> 00:27:04.556
And Snowpiercer is very,

00:27:04.556 --> 00:27:05.630
(audience laughing)

00:27:05.630 --> 00:27:07.670
very horizontal.

00:27:07.670 --> 00:27:12.670
But in the very last moment
of the movie Snowpiercer,

00:27:13.880 --> 00:27:18.063
in the very last, the
engine section suddenly,

00:27:20.290 --> 00:27:23.110
Chris Evans, all the horizontal move,

00:27:23.110 --> 00:27:26.223
but in the very last moment when he.

00:27:27.207 --> 00:27:30.874
(speaking foreign language)

00:27:36.379 --> 00:27:39.580
- When he opens the latch on
the floor and he looks down,

00:27:39.580 --> 00:27:41.070
there's a brief moment when the film

00:27:41.070 --> 00:27:43.610
becomes vertical and now
I realise looking back.

00:27:43.610 --> 00:27:45.911
- Yeah, so someone in the basement.

00:27:45.911 --> 00:27:46.744
(audience laughing)

00:27:46.744 --> 00:27:50.411
(speaking foreign language)

00:27:55.463 --> 00:27:58.180
- So most writer/directors
I think would be similar,

00:27:58.180 --> 00:28:03.072
that image and sound are
already ticking on in your head.

00:28:03.072 --> 00:28:06.739
(speaking foreign language)

00:28:09.420 --> 00:28:12.550
But because we have to
match industry standards

00:28:12.550 --> 00:28:16.535
we do final draft where
it's all neatly summarised.

00:28:16.535 --> 00:28:20.202
(speaking foreign language)

00:28:31.402 --> 00:28:33.950
For me, I can't write at
home or in the office,

00:28:33.950 --> 00:28:37.010
I can't write in isolated places,

00:28:37.010 --> 00:28:41.050
it's just a habit of
mine that I go to cafes

00:28:41.050 --> 00:28:42.724
or coffee shops to write.

00:28:42.724 --> 00:28:46.391
(speaking foreign language)

00:28:50.975 --> 00:28:53.280
So I like to write listening
to the sounds of people

00:28:53.280 --> 00:28:54.380
while having my back to them,

00:28:54.380 --> 00:28:56.961
I think that really helps me to write.

00:28:56.961 --> 00:29:01.340
(speaking foreign language)

00:29:01.340 --> 00:29:03.840
From next month I have
to do this thing again

00:29:03.840 --> 00:29:05.507
and it's quite frightening for me.

00:29:05.507 --> 00:29:08.200
(audience laughing)

00:29:08.200 --> 00:29:10.840
- That's so many times, right?

00:29:10.840 --> 00:29:11.673
Yeah.

00:29:13.050 --> 00:29:13.901
- Well, I mean,

00:29:13.901 --> 00:29:14.734
- You just shoot it.
- there's rehearsal

00:29:14.734 --> 00:29:15.730
and rehearsal.

00:29:15.730 --> 00:29:19.034
There's a sort of, this
is the shape of the set,

00:29:19.034 --> 00:29:22.780
and don't walk here
'cause you'll fall down,

00:29:22.780 --> 00:29:24.740
all that kind of rehearsal.

00:29:24.740 --> 00:29:28.090
But no, we like to just shoot really.

00:29:28.090 --> 00:29:30.137
- Yeah, we just (speaking
foreign language).

00:29:37.430 --> 00:29:40.310
- So this could be the rehearsal,

00:29:40.310 --> 00:29:44.133
it's not fully formed yet and
as we do it we just shoot it.

00:29:45.138 --> 00:29:48.805
(speaking foreign language)

00:29:56.171 --> 00:29:59.410
So there can be the
slightly awkward quality

00:29:59.410 --> 00:30:01.030
that you capture on screen

00:30:01.030 --> 00:30:03.230
and that can be quite real and great,

00:30:03.230 --> 00:30:05.330
but not all the time, it
doesn't always work out.

00:30:05.330 --> 00:30:10.330
- And also sometimes we develop
something between takes.

00:30:11.620 --> 00:30:15.317
You remember when Chris Evans
(speaking foreign language).

00:30:27.980 --> 00:30:30.560
- So there's a scene where Chris Evans

00:30:30.560 --> 00:30:34.190
is trying to grab Tilda and
lie down, finger pointing,

00:30:34.190 --> 00:30:36.570
and that kinda came about
in between the takes

00:30:36.570 --> 00:30:38.860
and divides the experimenting.
- In the last moments

00:30:38.860 --> 00:30:41.910
of the axe fight sequence, yeah.

00:30:41.910 --> 00:30:43.310
Those kind of thing.

00:30:43.310 --> 00:30:44.863
- We shoot the rehearsals.

00:30:45.725 --> 00:30:46.558
That's it.

00:30:46.558 --> 00:30:50.387
(audience laughing)

00:30:50.387 --> 00:30:52.040
(speaking foreign language)

00:30:52.040 --> 00:30:53.190
- Go to bed early.

00:30:53.190 --> 00:30:56.179
(audience laughing)

00:30:56.179 --> 00:30:59.846
(speaking foreign language)

00:31:10.830 --> 00:31:13.230
So don't stay up late
to watch lots of films,

00:31:13.230 --> 00:31:15.080
I think it ruined my health.

00:31:15.080 --> 00:31:17.270
But actually go to bed
early, wake up early,

00:31:17.270 --> 00:31:19.251
and then watch the films early on,

00:31:19.251 --> 00:31:22.161
and then you can actually
take it in much better.

00:31:22.161 --> 00:31:24.090
- Sorry. (laughs)

00:31:24.090 --> 00:31:26.590
- I would say stick with your friends.

00:31:26.590 --> 00:31:29.900
Stick with people, doesn't
matter what skills they have,

00:31:29.900 --> 00:31:32.070
stick with people who make you feel

00:31:32.070 --> 00:31:34.130
like you can have the nerve.

00:31:34.130 --> 00:31:37.740
And just hang out with
them and have the nerve.

00:31:37.740 --> 00:31:38.880
And dare each other

00:31:39.998 --> 00:31:43.960
to do what, and if you
come anywhere near anybody

00:31:43.960 --> 00:31:47.920
who sort of goes (moans),
just steer clear.

00:31:47.920 --> 00:31:50.096
Only be with people
who make you feel good.

00:31:50.096 --> 00:31:53.763
(speaking foreign language)

00:32:22.934 --> 00:32:24.940
- So for me also, I remember feeling

00:32:24.940 --> 00:32:27.753
quite anxious and scared a long time ago.

00:32:27.753 --> 00:32:30.840
I mean I'm 50 now but through my 20s,

00:32:30.840 --> 00:32:33.930
when I was at school, or when
I was making short films,

00:32:33.930 --> 00:32:36.460
I remember having a lot of anxiety.

00:32:36.460 --> 00:32:39.840
But I remember thinking that
I really should only strive

00:32:39.840 --> 00:32:44.840
to satisfy myself and not
trying to satisfy others,

00:32:45.610 --> 00:32:48.850
that I should really
look into what I like.

00:32:48.850 --> 00:32:49.903
- It's my job.

00:32:54.373 --> 00:32:58.040
(speaking foreign language)

00:33:29.180 --> 00:33:32.080
- So because I always start
from something very small,

00:33:32.080 --> 00:33:34.910
I don't think I've ever
thought or made a judgement

00:33:34.910 --> 00:33:37.700
about whether there's enough
scale or substance here

00:33:37.700 --> 00:33:39.120
to make a feature film,

00:33:39.120 --> 00:33:41.640
but more a case of how much
does this appeal to me,

00:33:41.640 --> 00:33:45.140
or how much impulse there is
for me to keep on digging.

00:33:45.140 --> 00:33:48.518
You have to have quite a
strong impulse to keep going.

00:33:48.518 --> 00:33:52.185
(speaking foreign language)

00:34:13.900 --> 00:34:15.910
I don't think you
necessarily have to judge

00:34:15.910 --> 00:34:18.290
based on your first idea.

00:34:18.290 --> 00:34:20.970
Whether this can make
a feature film or not.

00:34:20.970 --> 00:34:24.460
I think that whether it's
something small or trivial,

00:34:24.460 --> 00:34:26.080
it could really develop into something

00:34:26.080 --> 00:34:28.110
quite grand as a feature film.

00:34:28.110 --> 00:34:29.280
So you don't really have to give it

00:34:29.280 --> 00:34:30.943
a premature death sentence.

00:34:33.370 --> 00:34:35.570
- Okay, and you're all done?

00:34:35.570 --> 00:34:36.710
Good, thank you very much.

00:34:36.710 --> 00:34:37.543
Well, listen,

00:34:38.680 --> 00:34:42.110
Bong Joon-ho is here, I
believe on this stage,

00:34:42.110 --> 00:34:46.180
for one night only, but Tilda
Swinton will be back here

00:34:47.060 --> 00:34:50.380
in conversation with luminaries
including Sally Potter,

00:34:50.380 --> 00:34:52.163
Wes Anderson.

00:34:54.140 --> 00:34:55.103
- Lynne Ramsay,

00:34:56.890 --> 00:34:59.803
the filmmakers with whom
I made the Berger films,

00:35:01.273 --> 00:35:03.580
I'm trying to think into next week.

00:35:03.580 --> 00:35:04.723
Lots of people.

00:35:06.160 --> 00:35:07.893
- So, come back for those.

00:35:08.830 --> 00:35:10.700
So, thank you all very much for coming.

00:35:10.700 --> 00:35:12.220
Thank you very much for giving your time

00:35:12.220 --> 00:35:13.120
and coming here tonight,

00:35:13.120 --> 00:35:14.660
and it's been great to have the film

00:35:14.660 --> 00:35:18.520
in spectacular full size.

00:35:18.520 --> 00:35:20.320
Bong Joon-ho, thank you so much.

00:35:20.320 --> 00:35:21.230
Tilda Swinton,

00:35:21.230 --> 00:35:22.431
and Se thank you for translation.

00:35:22.431 --> 00:35:27.431
- Thank you, Se.
(audience applauding)