Min points out: “Kogonada and I talked about it for a long time. Should we use the real version or the American pronunciation? We decided it was more consistent in the story to hear those Western parents miss the name they saw written as yang. They wouldn’t have made any effort. To understand whether they pronounce it correctly.
The manager explains That Yang, with his distorted name, “represents the status of the Asian community in the United States,” is a powerful metaphor for the search for the identity and belonging of every Asian American forced to live between two different cultures and societies. Min adds to Yang, “His journey is mine, and I think it’s similar to all of us Asians in America. I grew up speaking Korean, eating Asian food, and going to Korean school every Saturday. Does that make me Korean? I don’t know. It’s a dilemma I constantly face. I mean ‘I look Korean, I look Asian, but is that what makes me so?’ I don’t know if I will ever find a definitive answer, but searching for an answer is part of the fun and the journey of searching that underlies it all.”
On the wall next to her bed, hanging from blue duct tape, Maine has a wheel of feelings in plain sight. It’s a pie chart with dozens of clips labeled with names that cover the full range of the emotional spectrum: from “inspiring” and “insecure” to “helpless” and “peaceful.” He began using the wheel two years ago at the suggestion of his therapist, convinced of the usefulness of our psychological balance in giving a name to feelings. Recently, Maine has been able to do more exercises.
“I’ve gotten to the point where in addition to recognizing all the feelings of urgency, I can allow myself to experience their intensity and then release them,” Main says. Before that, because of my very rational nature, I tended to identify a feeling and just write the name out explaining why I felt that way. Then I began to seriously engage in another kind of practice: “Well, once I identify a feeling, I don’t have to try to rationalize my way out of This kind of realization. I have to learn to feel it and that’s it.”
The actor pays the same exact attention to his work. The thing he’s been doing lately is noticing the expressive techniques that artists from other sectors adopt to find ways to apply them to acting. He notes, “Writer Lydia Davis, for example, is known for some of her three-sentence stories.” “And they are very strong.” He remembers watching Kogonada participate in religious silence when he finished the scenes after yang In the editing room. “He kept cutting and chopping and chopping. Even after the premiere in Cannes, he continued the film profile.”
Maine wants to get close to this kind of perfection and instill a similar quality in its performance. “It is much better to pose, to leave more mystery,” he said. Everything he does, every role or book on feelings or self-help, is in the service of an idea: gaining self-confidence and getting to know one’s identity. Only then will it be easier for him to give credibility to a character. After noticing Colin Farrell’s style on the set after yangI learned what distinguishes real movie stars: details that seem imperceptible and imperceptible, like the movement of an eyebrow or the flick of a finger. It’s a level getting closer every day. “You don’t need to overdo it,” he concludes. “Only in this way can the spectator offer me what he wants.”
Pictures Yoshiyuki Matsumura
of format john titz
hair by Hee Soo Kwon using davine
sewing by Suzy Beshek And Alvard Bazikian At Susie’s Custom Design Inc.
produced by Seduco إنتاج production
Prop design by Matt Sokoller
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