Ryu Seong-hie (Korean: 류성희; Hanja: 柳星熙; Born November 13, 1968) is a South Korean film art director or production designer.[1] She is best known for her collaborations with renowned directors. She has worked with Bong Joon-ho on Memories of Murder, The Host, Mother, with Kim Jee-woon on A Bittersweet Life, and Ryoo Seung-wan's No Blood No Tears, and with Park Chan-wook on Oldboy, I'm a Cyborg, But That's OK, Thirst, The Handmaiden, and Decision to Leave.[2][3][4]
Ryu Seong-hie | |
|---|---|
류성희 | |
| Born | November 13, 1969 South Korea |
| Other names | Seong-hie Ryu Seonghee Ryu |
| Alma mater |
|
| Occupations | |
| Years active | 2001–present |
| Employer | Podo Design Studio |
| Agent | Iconic Talent Agency |
| Korean name | |
| Hangul | 류성희 |
| Hanja | 柳星熙 |
| Revised Romanization | Ryu Seong-hui |
| McCune–Reischauer | Ryu Sŏnghŭi |
| Birth name | |
| Hangul | 유성희 |
| Hanja | 兪星熙 |
| Revised Romanization | Yu Seong-hui |
| McCune–Reischauer | Yu Sŏnghŭi |
| Website | Official Website |
Ryu has also worked on several films that achieved record-breaking box office success in South Korea. These include Yoon Je-kyoon's Ode to My Father (2014), which ranked 4th in the list of highest-grossing films, Choi Dong-hoon's Assassination (2015), which ranked 8th, and Yang Woo-suk's The Attorney (2013) which ranked 16th. Each of these films sold over ten million tickets.[5][6]
In 2016, Ryu became the first Korean artist to win the Vulcain Prize for Technical Artistry at the 69th Cannes Film Festival for her work on The Handmaiden.[7]
In June 2018, the Academy of Motion Picture Arts and Sciences (AMPAS) extended invitations to its new members, including 14 individuals from the Korean film industry. Ryu was among those invited.[8][9][10]
Since 2022, Ryu has expanded her work to include production design for mini-series. Her notable works include Little Women, for which she won the Technical Award for art direction at the 59th Baeksang Arts Awards. She has also recently worked on two Netflix original series Mask Girl and You Have Done Well.
Education
editRyu Seong-hie developed an interest in music and film during her high school years. Initially discouraged from pursuing art, she was inspired by David Lynch's The Elephant Man, which solidified her determination to pursue a career in the arts. She enrolled in the Department of Ceramic Art at Hongik University in 1987 and continued her studies with a master's degree in Industrial Crafts at the Graduate School of Fine Arts in 1991. Despite her success in pottery and exhibitions, Ryu realized her true passion lay in storytelling and moving images.[11][12]
In 1995, Ryu decided to study film in the United States, recognizing that the role of an art director was not yet established in Korean cinema.[13] While preparing for the TOEFL exam, with a friend, she came across a pamphlet for the American Film Institute (AFI), David Lynch's alma mater. Despite missing the application deadline, Ryu diligently created a portfolio and was fortunate to be accepted due to another student's resignation.[14]
At AFI, Ryu was mentored by Robert Boyle, the renowned art director of several Hitchcock films, including The Birds, North by Northwest, Marnie, Frenzy, and Shadow of a Doubt. Boyle emphasized the importance of an art director fully understanding and collaborating with the director to translate their vision into reality. This requires a combination of craftsmanship, artistic sensibility, and design skills. Ryu deeply valued Boyle's guidance and carried it with her throughout her career as a production designer.[15]
Career
editAfter completing her studies at AFI, Ryu Seong-hie initially planned to remain in the United States. She spent approximately 18 months working in the American film industry, contributing to 20 short films and 3 feature films. While she enjoyed collaborating on independent film projects with friends, she heard discouraging rumors about the Korean film industry.[15][16]
While working on a Western film set, Ryu began questioning the purpose of her work. She started to consider whether Western filmmaking aligned with her true calling and what stories she wanted to tell. This led her to watch Asian action films, including Lee Myung-se's Nowhere to Hide, Takeshi Kitano's Sonatine, Ronny Yu's The Bride with White Hair. She was particularly moved by Wong Kar-wai's Ashes of Time, specifically a scene where Lin Ching-hsia silently wielded a sword. This scene resonated with Ryu, as it portrayed strong, sword-wielding women, a stark contrast to the often limited and passive roles given to women in western film.[17] Through this film, she also discovered the work William Chang Suk-ping, a production designer who later shared Cannes Technical Grand Prize for In the Mood for Love with Christopher Doyle and Ping Bin Lee in 2000.[18]
I stayed up all night researching to make the Western bar look impressive and cool, but in reality, it was all just studying and doing what I was told. Suddenly, I thought, 'What am I doing here?' Even the actions of Lin Ching-hsia, who seemed somewhat crazy while holding a sword and performing dual roles, and the liquor called "chwi-saeng-mong-sa" that supposedly erases memories, touched her deeply. 'Yes, that's it! That's a film.'
— Ryu Seong-hie, [18]
Ryu had a profound realization that understanding a film's cultural heritage required more than academic study; it demanded a dedicated commitment to infusing that essence into cinema. Despite doubts about her own talent, she made the decision to return to Korea within two weeks.[16] Although Korea's film industry was not as developed as that of the United States, she felt a strong desire to contribute her passion and energy to it.[17]
Upon returning to South Korea, Ryu faced challenges in the unfamiliar environment of Chungmuro, where job opportunities were limited. She felt anxious about her future and regretted not studying cinematography. To establish herself in the film industry, she distributed self-made business cards. However, as the role of an art director was not widely recognized at the time, she often encountered confusion and skepticism.[16] The film industry was predominantly male-dominated, and female staff were often valued more for their obedience than for their professional skills. To overcome these obstacles, Ryu needed to demonstrate resilience and prove her worth as an art director. Initially using the name 'Yoo Seong-hui,' she eventually changed it to 'Ryu Seong-hui' to create a more masculine impression.[17][14]
Ryu's first work as an art director was on Park Kwang-su's short film Take off your jacket and come at me. This project, completed shortly after her return, was more of a workshop than a formal production, and Ryu didn't feel it truly represented her work.[3][11]
Flower Island
editWhile in the United States, Ryu Seong-hie was particularly moved by the short films Liver and Potato (1998) and Picnic (Sopoong, 1999) by director Song Il-gon. These films, created by a fellow filmmaker who had studied abroad and gained recognition in South Korea, prompted Ryu to consider returning home. Upon her return, she actively sought out director Song. Their meeting, which extended into a lengthy conversation, led to her first project, Flower Island. Ryu considers this film to be her true debut.[3][11]
Ryu faced self-doubt and communication challenges during the production of Flower Island. Originally, they were set to collaborate on the film Knife, but circumstances led them to work on Flower Island instead. The production had limited time and budget, resulting in minimal communication between Ryu and Song.[15] Given the clue "A fairy tale and fable for adults," Ryu immediately thought of Alice in Wonderland, seeing it as a realm where childhood fantasies and chilling realities coexist. She saw parallels between this world and the essence of Flower Island. Inspired by this, she adopted Alice's perspective during her efforts to communicate with the director. Song's films were known for their poetic and conceptual nature, and the production of Flower Island aimed to capture the essence of the set without relying on extensive physical structures, requiring mental agility.[15] Ryu's artistic vision was prominent in the film, particularly in the bathroom scene where she used wallpaper to create a worn-out appearance during the protagonist's birth, evoking a contrast between grandeur and the shabby, enclosed surroundings.[11]
No Blood No Tears
editDirector Ryoo Seung-wan, intrigued by rumors of a production designer from the United States, contacted Ryu Seong-hie. During their meeting, they engaged in lengthy discussions about Quentin Tarantino's films. They decided to collaborate, and Ryu's debut in commercial filmmaking came through Ryoo's second film, No Blood No Tears.[3] This action-packed film, starring Jeon Do-yeon and Lee Hye-young, was notable for its focus on a female-driven narrative, which was uncommon at the time.[17]
Ryu approached the project with a focus on practicality, recognizing the film's commercial nature. She worked within the established framework, embracing the practical aspects of the production. Her focus was on creating tangible spaces that truly captured the essence of the characters, particularly to facilitate the dynamic action scenes requested by Director Ryoo.[11] Meticulously planned set shooting played a crucial role in the film, where the physical dynamism of the actors breathed life into each scene.[15] Ryu was responsible for everything from rough drawings to 3D work on major locations in the film.[19]
The sets were deliberately designed to portray a harsh atmosphere. The dog fighting ring at Seoul Studio was suffocating, the lumberyard at Incheon Port featured sawdust winds, and the abandoned factory had an unforgiving iron floor.[20] Ryoo Seung-wan and producer Kim Sung-je searched for the ideal location for a logistics warehouse. However, their initial choice, a real warehouse, was deemed unsafe and at risk of collapse. Fortunately, they found an alternative in an illegal car repair shop. Despite its previous use in other films, Ryu Seong-hui dedicated four days to transforming the space into the perfect pulp noir atmosphere.[20]
Ryu Seong-hui's career benefited from Ryoo Seung-wan's connections. Through him, she was introduced to director Park Chan-wook, which led to connections with Bong Joon-ho and Kim Jee-woon. These introductions marked the beginning of Ryu Seong-hie's collaboration with directors who were at the forefront of the new era of Korean cinema.[14]
Memories of Murder
editRyu Seong-hie's next project was Bong Joon-ho's Memories of Murder. Bong provided documentary photos and tasked Ryu with capturing the atmosphere of the 1980s in the film, which is based on the Hwaseong serial murder case.[21] Ryu was motivated to join the project due to her dissatisfaction with technical aspects of Korean films, particularly inadequate lighting and inconsistent tone. She aimed to address these shortcomings by focusing on artistic elements.[11] Ryu also believed that the film's unique local elements would eventually gain global recognition, influenced by her experience living outside of South Korea.[22]
As art director, Ryu approached the creation of the film's spaces with a focus on capturing their essence. She made extensive efforts to accurately depict the town setting by recreating various locations from different parts of the country.[21] The art direction played a vital role in creating a nostalgic atmosphere and maintaining the overall coherence of the film.[23]
Ryu and Bong Joon-ho had differing opinions about the police station set. Bong wanted to use real police stations, but Ryu believed a set would provide more control over the action and flow. Ultimately, a set was used due to Bong's inability to find a suitable location. Despite going against Bong's preference, Ryu believes the result exceeded expectations.[11] One memorable scene in the film takes place in the underground interrogation room. The room's design aimed to create a feeling of depth, resembling a deep well. It was in this setting that Song Kang-ho's character and the suspect shared a meal of Jajangmyeon.[14][24]
Ryu shared that Bong Joon-ho earned the nickname "Bong-tail" due to his meticulous directing during the filming of *Memories of Murder*, a combination of his name and the word "detail." The nickname originated on the film set, reflecting a mix of awe and resentment. Ryu mentioned that Bong Joon-ho went to great lengths to ensure accuracy, such as insisting on making the middle school girls' bandage less adhesive. Ryu explained, "Initially, I felt some resentment, but then I was deeply moved because I knew it wasn't just a prop created carelessly. He wanted to show the audience the heart of a miner searching together."[25]
Oldboy
editDuring the production of Memories of Murder, Ryu Seong-hie received an invitation from director Park Chan-wook to work on Oldboy. Directed and co-written by Park Chan-wook himself, Oldboy is an adaptation of the Japanese manga of the same name. The film follows the story of Oh Dae-su (Choi Min-sik), who is imprisoned in a cell resembling a hotel room for 15 years without knowing the motives and identity of his captor. When he is finally released, Dae-su finds himself still trapped in a web of conspiracy and violence as he seeks revenge against the enigmatic Lee Woo-jin (Yoo Ji-tae). His quest becomes entangled with romance when he falls in love with a young sushi chef, Mi-do (Kang Hye-jung).[26][27]
Despite lacking experience in Oldboy's specific style, which differed greatly from her previous films, Ryu accepted the challenge. She expressed gratitude to Ryoo Seung-wan for the introduction. Collaborating with Park Chan-wook allowed Ryu to work with cinematographer Chung Chung-hoon and costume director Cho Sang-kyung for the first time.[28] One intriguing aspect of the project for Ryu was the belief that different directors' involvement would lead to a completely unique visual representation.[4][11]
The film intertwines reality and fantasy through its sets, with Oh Dae-su's Cell and Lee Woo-jin's penthouse being the most significant locations.[28] Geometric patterns play a vital role in the film's visual aesthetic, transitioning from the wallpaper in Oh Dae-su's Cell to Mi-do's dress and gift box, and finally to Lee Woo-jin's penthouse. These patterns were inspired by a description in the script that referred to the penthouse as a "minimal space with frequently seen patterns." The film takes a unique approach by using wallpaper as a visual representation, symbolizing Oh Dae-su's lack of free will and Lee Woo-jin's meticulous control over everything.[11] As the story progresses, the colors become more vibrant, and the patterns become bolder. Rather than carrying specific symbolic meanings, the wallpaper directly expresses the emotions themselves. The process of designing the wallpaper was an enjoyable endeavor that captured the essence of the film on a micro level.[29]
The original design for Oh Dae-su's cell in Oldboy featured a mocking and laughing clown picture. However, Ryu felt that the available clown pictures didn't align with her artistic vision. Instead, she suggested using a reproduction of The Man of Sorrows painting, which portrays a bloodied and disfigured Christ with an ambiguous expression of either a smile or intense pain. To amplify its impact, the painting was accompanied by a quote from Ella Wheeler Wilcox's poem "Solitude": "Laugh and the world laughs with you. Weep and you weep alone." The final cell design also included symbolic wallpaper that captured and expressed Oh Dae-su's intense and raw emotions.[11][30]
The most challenging aspect of the design in Oldboy was creating Lee Woo-jin's penthouse, a character who is exceptionally wealthy and powerful. Park Chan-wook had a specific vision for the penthouse. He wanted a long and narrow swimming pool positioned in front of a floor-to-ceiling window, offering a view of a towering building. The pool had one side indoors and the other side exposed with glass. Park wanted to create a haunting image of Lee Woo-jin's pale body seemingly floating in the vast darkness of the night sky. However, Ryu sadly had to inform Park that the scene couldn't be realized due to budget constraints.[28]
In Old Boy, we faced the challenge of creating a set for Yoo Ji-tae's room, who was portrayed as being in the top 1%, while having limited resources. Instead of giving up, we decided to think outside the box. We came up with the idea of incorporating a waterway into the room. Director Park Chan-wook pondered over it for a moment and made the decision to move forward with it. But it didn't stop there. Director Park Chan-wook added a scene where Yoo Ji-tae washes his hands in the waterway, seamlessly integrating art into his film world.[31]
Director Park embraced Park's alternative ideas, even redrawing his film storyboards to match the new design. Despite limitations, the penthouse's sophisticated appearance managed to satisfy director Park Chan-wook. It also praised as aestetic that elevated Korean film art.[11][23][32][33]
Three... Extremes: Cut
editRyu Seong-hie contributed to the art direction of director Park Chan-wook's segment Cut in the omnibus short film Three... Extremes. Ryu has stated that if A Bittersweet Life and The Host had not been consecutive projects, she would have also worked on Lady Vengeance. In Cut, Ryu collaborated with other frequent collaborators of Park, including music director Jo Yeong-wook, cinematographer Chung Chung-hoon, lighting director Park Hyun-won, editors Kim Sang-beom and Kim Jae-beom, as well as costume designer Cho Sang-kyung.[34]
Three... Extremes is an omnibus film featuring short films directed by Park Chan-wook, Miike Takashi, and Fruit Chan. Park directed the segment Cut, which follows a film director (played by Lee Byung-hun) creating a vampire film and casting Yeom Jung-ah as a vampire. In one scene, Yeom's character casually answers a phone call while drinking a man's blood and nonchalantly asks, "I was just having dinner. Did you eat?" The segment features scenes with expressive phrases like "my stomach is rumbling," "as if the expiration date has passed," and "drawing blood with a syringe," portraying vampire habits and surreal depictions of their everyday life.[34]
I'm a Cyborg, But That's OK
editRyu Seong-hie reunited again with Park Chan-wook in his romantic comedy film, I'm a Cyborg, But That's OK. Co-written with Jeong Seo-kyeong, it portrays the love story between Young-goon, a young woman employed in a radio manufacturing factory who believes herself to be a cyborg, and Il-soon, a young male patient hospitalized for anti-social behavior and kleptomania. The film explores the yearning for love in a chaotic and regulated world, primarily unfolding within the confines of a mental institution.[35]
"Like Park's other films, Cyborg is a visual feast. Ryu Seong-hie's art direction is even more explosive than it was in Oldboy. Cyborg has a delightful anime-influenced pop surrealism, with textiles so vibrant they make the eye wander to catch all the little bits of enchantment in the set decoration. The design lifts and extends Park's quirky mood, so that the quirks feel logic within the world he has created, making it feel rounded and full of depth."
— B.L. Panther, Filmmaker of the Month, The Spool[35]
Despite its visually striking and stylized aesthetics, featuring a pastel-colored asylum and captivating visual effects during fantasy sequences, the film could be equally well-suited for an intimate theater production on a single stage with minimal props. Notably, this film stands as the first Korean production to use the Viper FilmStream High-Definition Camera, previously employed in Miami Vice. The transfer from HD to 35mm is generally satisfactory, although there is a slight softness to the overall image and occasional traces of color refraction.[36]
Many narratives surrounding mental hospitals often adopt didactic or sympathetic tones with a sense of superiority. This made Ryu question whether mental hospitals are often places filled with prejudice. However, "Cyborg" deliberately took a different approach. When they conceptualized the film, they made a conscious decision to forgo turning it into a stylish setting. Instead, they prioritized staying true to the story. The use of white as the base color was intended to maintain fidelity, while incorporating sweet-looking pastel shades such as pale pink, green, and blue. These colors created an unsettling yet pure atmosphere, as if they could vanish at any moment.[37]
The Host
editIn December 2003, Ryu Seong-hie and Bong Joon-ho collaborated once again for Bong's third feature-length film, The Host, making it their second project together. Released in 2006, this South Korean epic monster film features an ensemble cast including Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona and Go Ah-sung. The story revolves around a man whose daughter is kidnapped by a monstrous creature, and his relentless efforts to rescue her. Bong Joon-ho drew inspiration from a real-life scandal that occurred in the year 2000, involving an American man named Albert McFarland,[38] who instructed his Korean employees to improperly dispose of formaldehyde by pouring it down a drain,[39] which led to the contamination of the Han River.[38] The idea also had been a long-time dream for Bong, who, as a high school student, reportedly saw a monster climbing up Jamsil Bridge from his apartment window. It might have been a momentary fantasy due to exam-related stress, but it inspired Bong to eventually make it into a film.[40]
A year earlier, Bong Joon-ho had proposed the film concept and started collaborating with Ha Joon-won to write the script.[39] In this film, the monster takes on the role of the main character, which led Ryu Seong-hui to suggest Jang Hee-cheol, her junior, as the creature designer.[41] What sets the monster in The Host apart from typical monster films is that they have their own story and internal character, adding depth and complexity to their portrayal. The monster itself was animated by the New Zealand company Wētā Workshop, while the visual effects were handled by the American studio The Orphanage.[42] Baek Chul-hyun joined to revise scripting for the film in December 2004.[39]
The Host was filmed with a budget of ₩11.8 billion (US$11 million), primarily on location near the Han River.[43] Ryu describes the film as "not so much the Seoul of the 21st century, but more like the Gangbuk of the 1990s" or "using tremendous visual effects for the shabby environment."[11] The position of the Han River bridge was intentionally shuffled to evoke a sense of strangeness and intrigue while still maintaining Han River's familiarity. This approach aligns with the way genres are approached, blending expected and familiar spaces with unfamiliar ones that challenge genre conventions. The real-life scandal involving toxic chemical disposal served as inspiration for the monster's origin story. Ryu believes that the spatial elements of the film are influenced by the blurred boundaries between reality and fantasy, with the interpretation of the Han River reflecting the inherent connection between the actual river and the concept of monster films.[44]
The actual Han River lacks visually striking features that can be effectively captured on camera. However, in The Host, the Han River is portrayed not just as a horizontal space but as a vertical space with layers. This concept is reflected in the film's choice of a 1.85:1 screen ratio, emphasizing its core identity as a vertical river film. The prologue, where the suicide victim emerges, and the setting of the creature's nest, where Hyun-seo is trapped and unable to climb up, contribute to this concept. The film creatively uses spaces such as the area under the bridge support and the structures below the Wonhyo Bridge as hiding places for the monster.[44]
Hansel and Gretel
editHansel and Gretel which takes its motif from the children's book of the same name, tells the story of a witch who seduces adults. Art director Ryu Seong-hie was tasked with building a fantasy space filled with imagination.[45][46]
The overall art concept of Hansel and Gretel is winter fantasy horror, fitting for a film inspired by a fairy tale. Director Ryu aimed to create an elegant space with a pastry shop theme, and the strategic use of wallpaper played a significant role. Ryu personally designed and produced all the wallpapers in the house, featuring rabbits as the main motif. The drawing style for the wallpapers was inspired by Maurice Sendak, an American children's book author.[47]
Thirst
editThirst, a vampire film loosely based on Émile Zola's novel Thérèse Raquin, introduced the vampire genre to Korea. Park Chan-wook found enjoyment in the collision of these unfamiliar elements, resulting in unexpected twists and turns in the story and intriguing artistic expressions. Before Thirst, Park directed a vampire genre short film called Cut as part of the omnibus film Three... Extremes in 2004, which served as a warm-up for his exploration of the genre.[34][48]
Thirst brought together Park and his long-time collaborators, including art director Ryu Seong-hie, cinematographer Chun Chung-hoon, costume designer Cho Sang-kyung, lighting director Park Hyun-won, editors Kim Sang-beom and Kim Jae-beom, as well as music director Jo Yeong-wook.[34] It also marked the reunion of Park and actor Song Kang-ho after a seven-year gap since their collaboration on Sympathy for Mr. Vengeance (2002). In Thirst, Song Kang-ho takes on a romantic role that differs from his previous works, reflecting the character's strict Catholic upbringing and incorporating controversial scenes rooted in religious themes. The story revolves around characters entangled in downfall and redemption, desire and dilemmas, presenting a direct and explicit portrayal that stands out within Park's filmography. Thirst maintains Park's audacity and charm while incorporating absurd and humorous elements alongside its exploration of complex themes.[34]
"The Happy Bok House," where Mrs. Ra (Kim Hae-sook) lives in the film, is an impressive structure that blends grand and expansive baroque spaces with a hanbok shop in a Japanese-style house, vodka and trot music, and an enthralling mahjong game. Director Park developed a particular fondness for the wallpaper adorning the house.[17]
The film explores the theme of germs, symbolizing it throughout the narrative. Tae-ju (Kim Ok-bin) refers to Sang-hyeon (Song Kang-ho) as a germ, representing their intertwined and destructive relationship. Additionally, the film delves into the significance of sphagnum moss in the drowning of Tae-ju's husband, Kang-woo (Shin Ha-kyun). Meticulously designed sphagnum moss in the lake serves as a visually striking representation, emphasizing germs as a central motif within the film.[17][49][50]
Mother
editRyu Seong-hie teamed up with Bong Joon-ho once again for his fourth feature-length film, Mother, marking their third collaboration. This project also marked Ryu's first time working with Cinematographer Hong Kyung-pyo. In contrast to their previous film, Memoir of Murderer, Bong had a different vision for Mother. He eschewed artificial sets in favor of incorporating outdoor spaces. His vision was to create a village where a small local town seamlessly blended with a completely rural area, resulting in a harmonious intertwining of the two.[51][52]
"It wasn't because I wanted to have a lot of filming locations, but it happened because I was looking for an image of the space I wanted. As I searched for locations suitable for outstanding actors like Kim Hye-ja and Won Bin, the number of filming locations naturally increased."
—Director Bong Joon-ho[53]
Over a 150-day journey, eight location hunting teams traversed South Korea, visiting Yeosan, Yeosu, Paju, Gyeongju, Jecheon, and Goseong. They took 40,000 pictures and traveled 80,000 km. Their goal was to find places that transcended urban and rural distinctions and made people feel certain emotions while still while maintaining a cohesive village atmosphere. Director Bong provided a special directive to the hunting teams, urging them to find spaces that individually evoked specific emotions, but when put together, showed the identity and harmony of a village.[54][55]
Bong Joon-ho personally crafted storyboards in his distinctive comic-like style, ensuring that no scene was overlooked. Ryu shared her experience, saying, "During the filming of the staircase scene, I had numerous discussions with the director regarding whether the stairs should be set at a 30-degree angle or a 45-degree angle." She went on to explain, "We could have used any urinal wall or a similar prop, but he insisted on traveling to Gunsan to install the actual wall and shoot the scene. It is evident that he possesses his own internal order and language."[55][53]
A Bittersweet life
editIn the 2005 film A Bittersweet Life, written and directed by Kim Jee-woon, Ryu Seong-hui collaborated with Cinematographer Kim Ji-yong and Lighting Director Shin Seong-yeol. The film tells the story of Sun-woo, portrayed by Lee Byung-hun, a hitman who faces danger from his own boss after sparing his boss's unfaithful lover, Hee-su, played by Shin Min-ah.[56] Throughout the production, Ryu placed her complete trust in director Kim Jee-woon, working in a manner that supported his vision and followed the central themes he presented.[11]
"What surprised me was the underground interrogation room in Memories of Murder and the detention room in Old Boy. I was strongly impressed by the noir-like space. It felt like there was a smell coming from the image. They were not simply reproductions, but realistic cinematic spaces with atmosphere."
—Director Kim Jee-woon, Cine21[57]
Kim Jee-woon specifically instructed Ryu to develop a concept not only for the set, but also for the overall spaces depicted in the film. The emphasis on lighting to create a noir atmosphere was paramount. However, achieving strong and three-dimensional contrast solely through lighting posed a challenge. As a result, Ryu recognized the importance of incorporating light into the set and spaces themselves, as it became a crucial element in capturing the desired aesthetic of the film.[58]
Ryu Seong-hie left her mark on the design of the Sky Lounge. Following Director Kim Jee-woon's instructions to create a fateful encounter similar to western film, Ryu took inspiration from a stage photo of models walking in a fashion show. Ryu also suggested incorporating a bold red tone throughout the space, which Director Kim accepted.[11] The design of the Sky Lounge is crucial to the story, as it serves as Sun-woo's starting point, ending point, and the site of a catastrophic event upon his return.[58]
In contrast, the home of the female protagonist Hee-su is depicted as the only space where darkness and light coexist harmoniously. It has a distinct feminine touch, abundant in light, and designed with layers of mystery. Hee-su's space serves as a cinematic oasis within the story.[58]
Late Autumn
editAfter taking a nearly year-long break, Ryu Seong-hie took on the role of art director for director Kim Tae-yong's film Late Autumn.[14] The film features Tang Wei as Anna, a prisoner granted a 72-hour parole to visit her family in Seattle. During her time there, she befriends a South Korean fugitive portrayed by Hyun Bin. Late Autumn is a co-production involving South Korea, China, and the United States, and it serves as the fourth adaptation of the 1966 Lee Man-hee melodrama classic of the same title, which is unfortunately now lost.[59][60][61]
Ryu Seong-hui worked on Late Autumn after taking a break from films she felt were overly artistic. She discovered that working on the film was a positive experience for her. Shot in Seattle, she even assumed the role of location manager. With many scenes shot outdoors, the film presented a different approach to production design that she found enjoyable. Her work on Late Autumn is considered a significant point in her career.[14]
The Front Line
editAfter previously collaborating on the melodrama Late Autumn, Ryu Seong-hui and Cinematographer Kim Woo-hyung joined forces again for Jang Hoon's war film The Front Line. This marked Ryu Seong-hui's first collaboration with Director Jang. Also known as "Battle of Highlands," the film is set during the 1953 ceasefire of the Korean War and explores lesser-known aspects of the conflict. It tells the simple yet impactful story of Aerok Hill, a small rise on the Eastern Front that witnessed 30 exchanges of control over 18 months of intense fighting. Ryu initially had reservations about taking on horror or war films, fearing that the production process would be consumed by unsettling thoughts. Thus, she hesitated in accepting the project.[62] When Ryu Seong-hui received the proposal and saw real aerial photographs depicting the aftermath of war on Aerok Hill, including areas that were won and lost, she was deeply moved. The imagery, resembling apples with worm-eaten parts and the weathered hands of a grandmother, brought her to tears. This powerful visual convinced Ryu to accept the offer.[17]
"The terrain shown in the file photo did not have a straight traffic pattern like in foreign war movies. After fighting dozens of battles on one hill, it seemed like the ground had been beaten and tangled countless times. Compared to battles such as street fighting, it made us imagine the essential image of war strongly. Even when I was thinking of the concept, I thought about the terrain like the palm of an grandmother and the scene of hell that takes place there."[63]
At first, Ryu and the team considered filming in Jeonju. However, they eventually chose the foot of Baegam Mountain in Hamyang, South Gyeongsang Province to shoot the Aerok Hill Battle scene. In April 2009, a forest fire broke out on the 7th ridge of Baegam Mountain, burning around 25 hectares of forest. The aftermath of the fire unintentionally made the mountains look similar to the highlands shown in the documentary photos of Aerok Hill. The trees were severely damaged, making the land appear barren and desolate, just like the highlands during the Korean War that endured heavy grenade and artillery attacks.[63]
The art team faced a different challenge when compared to building sets. They had to directly work with the rough and difficult terrain. made the bold decision to sculpt the land itself. Even though the barren land didn't offer any relief, they persevered and reshaped the soil to create the desired landscapes. Ryu wanted to create a sense of sublimity and tragedy by drawing inspiration from the mountain's contours. This brave task involved accepting the demanding and difficult work while also finding the beauty in it. Ryu strives to find the right balance between being daring and refined in her creative projects.[17]
The Front Line strives to harmonize two contrasting perspectives: capturing the grim reality of the destructive effects of artillery shells; or finding a sense of appreciation when observing the war from a distance after it had ended.[62]
The Attorney
editRyu's next project was the directorial debut Yang Woo-suk, The Attorney. It drew inspiration from the real-life Burim case that occurred in 1981 during the authoritarian Chun Doo-hwan regime. It follows the transformative journey of Song Woo-seok (played by Song Kang-ho), a struggling tax lawyer, through five intense trials and his relationships. Ryu collaborated with Kwon Kwon-jin and Lim Seung-hee, forming the production designer team responsible for props, costumes, and set design. Costume designer Lim Seung-hee specifically conducted research using old photographs as part of the preparation process. The team also worked closely with cinematographer Lee Tae-yoon and lighting director Oh Seung-cheol.[64]
The production design team conducted thorough research to accurately portray the vibrant lives of people in 1980s Busan. They paid close attention to every detail in art direction, props, and costumes to capture the essence of that era. One interesting addition was the pineapple fruit basket that Song Woo-seok brings as a gift. The homeowner's immediate delight upon seeing the pineapple reflects its status as an expensive gift of the era, evoking laughter and nostalgia. The film showcases the fashion trends of the 1980s, featuring tailored suits, distinct hairstyles, wide collars, bell-bottom pants, and loose sweaters, bringing the autenthic appearance of ordinary people from that era.[65]
To recreate the atmosphere of 1980s Busan, the film was shot in various cities such as Busan, Gunsan, Daejeon, Jeonju, and Incheon. They paid close attention to detail in the art and props, including signs, vehicles, campaign posters, calendars, and nameplates. The film also included Chinese characters, commonly used on billboard during that time. Every detail, even in less noticeable backgrounds and props, was carefully checked for accuracy. This attention to detail aimed to provide viewers with a nostalgic experience spanning over 30 years.[65]
Ryu and her team's meticulous care in capturing the essence of the 1980s paid off. The Attorney achieved remarkable success, selling over 11 million tickets and earning ₩82.9 billion in revenue. It is currently ranked as the 15th-best-selling Korean film of all time and was the second highest-grossing Korean film of 2013.[66][67][68]
Ode to My Father
editThe film Ode to My Father marked the first collaboration between Ryu Seong-hie and director Yoon Je-kyoon. Instead of feeling excited, Ryu experienced immense pressure. Director Yoon had a proven track record with over 10 million viewers for his previous films, and the project they were working on had high production costs, which added to the burden on Ryu's shoulders. The movie depicts a story that spans different time periods, including the Korean War era in the 1950s, the 1980s, and the present day. Given the requirement to create a period historical film, extensive preparation was required; however, the team was constrained by a tight schedule of only three and a half months.[69]
The research for the film primarily focused on Gukje Market, an old marketplace in Busan renowned as an international market. The team faced its biggest challenge due to a past fire incident that occurred in the market. Consequently, there was limited available data for reference. Despite extensive efforts to search through books and the internet, finding the original documentation of the market proved to be difficult.[69]
I did research for almost a month. There is data related to German coal mines and the withdrawal of Heungnam, but the only data on the history of Gukje Market was one photo. There were people who lived there, but we couldn't just rely on our imagination. Fortunately, I was able to obtain the photos that a person living in Busan personally owned.[69]
During the final preparation stage, the production design team had a fortunate meeting with someone who owned comprehensive collection of old photos. This person had taken and preserved the photos depicting Gukje Market over an extended period. These photos became extremely valuable for the film, providing visual references and serving as important historical resources. Encounters with such rare and kind individuals are often experienced during filmmaking, adding to the unexpected and magical aspects of the journey.[69]
The production design team drew inspiration from those photos to accurately depict the transformation of Gukje Market from the 1950s to the 1980s and the present day. By closely watching the film, viewers can notice changes in the market's architecture and the types of products being sold. Initially, the market primarily focused on everyday essentials like sausages and military uniforms, but as time passed, it started featuring imported canned goods and popular foods. Even the smallest details, even in less noticeable backgrounds and props, were meticulously taken care of. Director Yoon expressed his satisfaction with the work of production designer Ryu Seong-hie, cinematographer Choi Young-hwan, and costume designer Lim Seung-hee, praising them as comparable to Real Madrid-level talent.[70]
Assassination
editAssassination was the first collaboration between Ryu Seong-hie and director Choi Dong-hoon. The film is set in 1933 Seoul and Shanghai during the Japanese occupation of Korea. It follows a group of Korean resistance fighters, with a particular focus on the female assassin Yeom Seok-jin, as they plot to assassinate a high-ranking Japanese officer. Once again, Ryu encountered the difficult task of recreating a historical era, as there were only a few movies and dramas set in the Japanese colonial period compared to the present day.[71]
The production design team invested significant effort into recreating the atmosphere of 1930s Gyeongseong and Shanghai. Ryu paid close attention to even the smallest details, such as incorporating an advertising sign for the 1933 film King Kong as Yeom Seok-jin exits the theater. To depict the scenery of 1930s Shanghai, known for its unique fusion of Eastern and Western cultures, they utilized the Shanghai Chedun Film Park, which reconstructed the old Nanjing Road spanning over 600,000 square feet—the busiest street in Shanghai. They also filmed scenes depicting the streets of Gyeongseong and the Mitsukoshi Department Store there. In the film, the Mitsukoshi Department Store, now located at the site of Shinsegae department store in Myeong-dong, serves as a significant location representing the contrast between different cultural principles. It symbolizes the modernity of 1930s Gyeongseong and holds a crucial role in the narrative.[71][72]
At that time, Gyeongseong was so wealthy and luxurious that I was surprised when I looked at the historical data, The upper class lived extremely extravagant lives, and at the pinnacle of this opulence was the Mitsukoshi Department Store, which reflected the imperialist cultural policies. It was already magnificent in reality, but the director wanted the space to appear even more splendid. We established the principle of starting truthfully with thorough historical research, but finishing the space in a way that satisfies the audience's fantasy and fits the spectacle of the movie. When you step inside the department store, the space is so overwhelmingly luxurious that you don't even dare to fight back.
Actress Jeon Ji-hyun became fully immersed in the meticulously crafted set, forgetting that she was acting. In contrast, there were concerns about how viewers would react to the architectural style blending Japanese and Western cultures. However, the film was well received by viewers.[73] Assassination became a box office hit, attracting over 12.7 million viewers and ranking 7th in the all-time Korean box office at that time. The film successfully recreated the Japanese colonial era through artistic techniques, marking a significant milestone in South Korean filmmaking with both artistic and commercial impact.[74]
Due to its success, the Korea Film Museum, operated by the Korea Film Archive, held a special exhibition titled "Movie Magic Production Design: 'Assassination' in 1930s Gyeongseong." The exhibition showcased videos, photos, models, and authentic props and costumes from the film. Visitors had the chance to explore the Gyeongseong locations depicted in the film, such as the Mitsukoshi Department Store, gas station, and Anemone Cafe; and experience the ambiance of the 1930s era. The exhibition also featured sketches donated by the film's production designer and art director, Ryu Seong-hui.[75]
The Handmaiden
editRyu Seong-hie reunited with Park Chan-wook and Jeong Seo-kyeong in the psychological thriller film The Handmaiden, which they co-wrote. Released in 2016, it was inspired by the novel Fingersmith by Sarah Waters but is set in Korea during the 1930s Japanese colonial period. The film is divided into three parts. Part one was narrated by a pickpocket named Nam Sook-hee (Kim Tae-ri). She is hired by a Korean swindler posing as a Japanese count Fujiwara (Ha Jung-woo) to work as a maid and help him deceive an affluent heiress named Hideko (Kim Min-hee). The second part reveals Hideko's perspective and explores her traumatic upbringing by her aunt (Moon So-ri) and her uncle Kouzuki (Cho Jin-woong). Twists unfold before a thrilling conclusion in the final chapter.[76]
Ryu faced many challenges while working on The Handmaiden. In order to make the film stand out from others set in the same time period, she had to come up with something completely unique and original, without any existing references. Along with doing historical research, Ryu had to understand and absorb the pro-Japanese atmosphere, which she found both unsettling and visually interesting. The Kouzuki mansion, which blended European, Japanese, and Korean architectural styles, had to symbolize the era in a significant way. In order to achieve an impressive architectural design for the mansion, Ryu and her team had to study architecture specifically for the film within a shorter timeframe, while the typical duration of architecture education is seven years.[14][77]
One of the most intriguing spaces in the film was Kouzuki's study, a secret place filled with perverse desires. They aimed to depict the space accurately for the time period, Ryu came up with the idea of a "Japanese garden inside the study" to convey a sense of discomfort and perversity in a dignified way. To highlight Hideko's costumes, makeup, and Shunga; the set intentionally lacked colors. The intricate and decorative style of Japanese art posed a challenge, but Ryu deliberately managed the overall aesthetic, using Shunga as an extreme representation.[14][77]
I also studied the art of Shunga diligently. There are all kinds of Shunga out there. At first, there were many explicit depictions of intimate moments between men and women in the paintings, so the art team couldn't even look at each other. Later on, we would playfully say, "Hey, this pose is something!" (laughs)
— Ryu Seong-hui, 2016 Biz Entertainment Interview[14]
In contrast to Kouzuki's spaces, which are grotesque and unfamiliar, Hideko's spaces are depicted as beautiful and refined, reminiscent of the beautiful mise-en-scène found in film adaptations of Jane Austen's novels. Designing Hideko's spaces posed a creative challenge since there were no existing references to guide their creation. Ryu drew inspiration from Jane Austen's period dramas such as Emma, Pride and Prejudice, and Sense and Sensibility. Additionally, she also drew inspiration from Tilda Swinton's debut film, Orlando, Ian McEwan's Atonement and Pier Paolo Pasolini's Salò, or the 120 Days of Sodom.[77][78] Ryu aimed to capture the refined atmosphere of an English period drama, aiming to convey a sense of dignity and elegance onscreen despite the disturbing events that took place within the space.[14][77][79]
Hideko's parlor is a unique space where she secretly observes Sook-hee through a small hole in the sliding door. When designing this parlor, Ryu aimed to emphasize femininity and create a safe haven for Hideko and Sook-hee away from Kouzuki's control. To achieve this, she deliberately selected William Morris-style wallpaper, which not only added beauty but also symbolized the intricate nature of sexual duality, reflecting the women in the story. Upon closer examination, the wallpaper revealed a grotesque and erotic appearance resembling female genitalia.[17][77]
"Often, people refer to filmmaking as the director's art. Or they may mention the screenwriter or the actors, as if they are the artists who dominate or possess this genre. However, we, as filmmakers, must be able to perceive more than what is immediately before us. It is through the collaboration of film technicians that a work comes to life, and the director's creativity can be realized in reality. It should not be forgotten that this art is a culmination of individual skills combined intensively. I am delighted to present this award to Director Ryu Seong-hui, who has brought us such an astonishing film today. Ryu Seong-hui's achievement demonstrates that a film of such artistic excellence is accomplished through the presence of a production designer."
—Director Claude Lelouch
Hideko's bedroom was a space where Hideko and Sook-hee develop a closer connection. It was intentionally made larger than its actual size due to anamorphic lenses used in the film. The design challenge was to fill the expanded space without making it feel cluttered. To create a sense of intimacy and privacy, a curtain was drawn at the head of the bed, and carefully selected props from eBay were strategically placed. Additional furniture like cushions and a small sofa were positioned at the foot of the bed to serve as tools for Hideko and Sook-hee's bed scene, taking advantage of the room's spaciousness. Cool-colored sheets were chosen to enhance the overall visual appeal.[77]
In 2016, Ryu became the first Korean artist to win the Vulcain Prize for Technical Artistry at the 69th Cannes Film Festival for her work on The Handmaiden.[7] On Friday, December 2, 2016, the Vulcan Award ceremony took place at Pathé Les Fauvettes, a movie theater situated on Avenue des Gobelins in the heart of Paris. The French Association of Film Engineers had originally scheduled the awards ceremony for November. However, that year, the event was rescheduled to early December to accommodate Ryu's busy schedule. During the ceremony, Claude Lelouch personally presented the award to Ryu in recognition of her achievement.[80]
As production designer, Ryu Seong-hie, considered The Handmaiden as the pinnacle achievement of a long-standing collaborative team. The film's spaces were meticulously designed with a focus on photography rather than mere aesthetics. Director Park Chan-wook and the rest of the team, including writer Jeong Seo-kyeong, cinematographer Chung Chung-hoon, costume director Jo Sang-kyung, make-up director Song Jong-hee, music director Jo Yeong-wook, and editing director Kim Sang-bum shared a deep understanding and comfortable rapport. This showed that filmmaking a collaborative effort, with director Park Chan-wook serving as an exceptional conductor. Ryu felt a tremendous increase in happiness as they collaborated to create cinema, finding it incredibly fulfilling.[17]
The King's Letter
editThe King's Letters was the first collaboration between Ryu Seong-hie and director Jo Chul-hyun. It is a Korean historical drama film that was released on July 24, 2019. The story takes place during the early Joseon Dynasty and focuses on the characters of Sejong the Great and Shinmi as main characters in creating Hangul.[81] The film features an ensemble cast including Song Kang-ho, Park Hae-il, Jeon Mi-seon, Choi Deok-moon, and Jung Hae-kyun.[82][83]
"This is a film that must be seen on the big screen. The meticulous artistry by Production Designer Ryu Seong-hie, the deep-color costumes, and the stunning locations create an atmosphere that is hard to believe, especially considering it is the work of a rookie director."
—Director Bong Joon-ho, Interview in BIFF[83]
Ryu explained that historical records indicate that King Sejong the Great and his sons, Grand Prince Inpyeong and Grand Prince Suyang, enjoyed a high level of cultural refinement. To portray King Sejong's refined aesthetic sensibility, the production team entrusted the creation of ceramics placed in Gangnyeongjeon Hall to skilled craftsmen. They also commissioned the work of Ilwolobongdo to modern oriental painters, Jeong Jae-eun, and also used geometric characteristics when making furniture.[84][85] In contrast to the regal space of the king, Monk Sinmi's environment, was presented as open and unadorned. Cinematographer Kim Tae-kyung explained that the set designed for King Sejong had a simple, dignified, and elegant atmosphere, symbolizing Confucianism. On the other hand, the space representing Monk Sinmi, symbolizing Buddhism, was primarily filmed on location. Kim aimed to capture the distinct textures of these two characters' environments.[84]
Decision to Leave
editDecision to Leave originated from an idea proposed by Director Park Chan-wook. He suggested exploring the concept of a woman who kills her husband twice, with the natural setting of mountains in mind.[86][87][88]
When I was making Seo-rae (Tang Wei)'s room in Decision to Leave, I thought a lot about the loneliness of Seo-rae, a stranger. The reason the sea and mountains were expressed on the wallpaper to capture the mood was ultimately to capture Seo-rae's loneliness. Actors tell stories through dialogue, but visual storytelling can capture things that are not directly said. When I was working on the art for Decision to Leave, I wanted to create an atmosphere that said, 'These people are actually saying that they love each other.'
— Ryu Seong-hie, Cine21 Interview
Decision to Leave is one of film that was selected for special exhibition "Design of the Scene: The World of Film Designed by the Art Director" which was held at the Korean Film Museum from July 28 to November 18, 2022. Ryu Seong-hie, attended special talk show as part of the event alongside production designer Han Ah-reum and Cho Hwa-seong.[89][88]
Alienoid
editThe film encompassed various settings, including the Goryeo period, the modern era, and even outer space, which led to the involvement of two esteemed art directors, Ryu Seong-hie and Lee Ha-jun. Director Choi Dong-hoon expressed that both art directors were of world-class caliber, and he hadn't initially planned to bring them together. However, having previously collaborated with Ryu Seong-hui on Assassination, they discussed the project and decided to work on it together from the pre-production stage. As the workload gradually increased, they sought assistance from director Lee Ha-jun. This led to a division of labor, with Ryu Seong-hie focusing on the period settings, while Lee Ha-jun took charge of the modern era.[90]
The Moon is What the Sun Dreams of
editRyu Seong-hie reunited with Park Chan-wook in his latest project, The Moon is What the Sun Dreams of or Life Is but a Dream. To her, director Park Chan-wook is a person who "always wants to create a new world with new stories," and there was no reason not to participate because "I am also a staff member and a co-creator, waiting for such work."[91] The 21-minute short film, produced in collaboration with Apple, was entirely shot using an iPhone 13 Pro and has recently been released on the tech company's YouTube page. The whimsical narrative revolves around an undertaker (Yoo Hae-jin) who unintentionally awakens a ghost (Park Jeong-min) while attempting to steal a coffin. Eventually, the ghost forms a connection with the spirit of a warrior (Kim Ok-vin) whom the undertaker was originally trying to bury. The film takes unexpected turns and evolves into a supernatural romance, a musical, and a martial arts film, all in equal measure.[92]
The art direction in the film showcased intentional variations in design, emphasizing the movement of different locations and the use of diverse colors to depict each scene. The visual journey begins in a dimly lit cemetery, transitions to a martial arts space, and then proceeds to the underworld portrayed by Mongyudowon. Ryu describes the art's progression, stating that it initially focused on limited colors centered around blue, emphasizing silhouettes and lines. As the story unfolds, the colors gradually intensify, culminating in vibrant and expressive hues akin to abstract art. Notable artistic elements include a window covered with tied trees, using silhouettes during sword fights, and highlighting the yellow earth during a procession involving undertakers and puppets. Ryu emphasizes the rediscovery of traditional Korean culture, noting the diverse visuals it offers. For example, swordsmen wielding umbrellas and ferrets engaging in battles with fans showcase sophisticated props that align with modern aesthetics. The painted umbrellas convey a trendy vibe, while the constellations depicted on the fans exhibit intricate geometric patterns reminiscent of abstract expressionism in the Western world.[91]
Little Woman
editRyu Seong-hie has built a strong relationship with writer Jeong Seo-kyeong through their collaborations on several of Park Chan-wook's films. Jeong approached Ryu for assistance on a drama project based on Louisa May Alcott's novel Little Women, believing that Ryu could bring believability to the envisioned world—a blend of fantasy and reality. After multiple meetings, Jeong convinced Ryu, and during the filming of Decision to Leave, they seriously considered working together on the drama.[93] They assembled a team with 70% women, marking a significant milestone in drama production. This was the first time women held all key positions, including chief producer, writer, director, and art director.[94]
The spaces and properties shown in miniseries Little Woman such as Ivory House, Blue Orchid, Sisters' House, and Hwayoung's House, have magical elements reminiscent of fairy tales. The challenge was to balance reality and fantasy, ensuring viewers could embrace these spaces without resistance. For example, in Orchid Tree, the design of the blue orchid incorporates a human face, but it is subtly blended so that it appears as a beautiful flower from a distance. This theme of beauty with an underlying darkness permeates the entire work. Sang-ah's house reflects her theatrical personality, resembling an intricately decorated theater set. Hye-seok's house portrays a modern residence inhabited by a fashionable old-fashioned hipster. By incorporating elements like mother-of-pearl cabinets, the design distinguishes it as the home of a wealthy individual with a taste for fashion. The use of matching wallpaper and blue carpet in Hwayoung's house and the closed room establishes a visual connection that enhances the narrative. Overall, the art direction aimed to capture the allure of these spaces from a distance while inviting closer inspection to reveal their hidden depths.[17]
The miniseries Little Woman garnered praise for its stunning scenography, characterized by lavish set designs and meticulous props.[95] At the 59th Baeksang Arts Awards, the drama received four nominations, including a Technical Award nomination for Ryu, which she ultimately won. Writer Jeong was also nominated for Best Screenplay, while the drama itself received nominations for Best Director and Best Drama.[96][97][98]
Mask Girl
editRyu Seong-hie participated in Netflix's Mask Girl, designing spaces that aligned with the characters' personalities and situations. Kim Mo-mi's office, a space devoid of individuality, was created with repetitive modules, colors, and textures. Her bedroom, where she broadcasts as a house BJ, was a surreal space bursting with strong individual colors and tastes, while the rest of the space aimed to convey a sense of living. Joo-nam's house had a cave-like or attic-like design, with a slanted ceiling and a dark interior, where the world inside the monitor came to life. The prison set, where Kim Mo-mi resides, had a fantasy feel, combining colors like purple, lilac, and green.[99]
Ryu was particularly excited about the motel, where Kim Mo-mi first plunges into the abyss of a murderer. Described as a fake romantic love motel, it depicted palm trees on the wallpaper with a fantasy-like but unattainable quality, transitioning from sunset to nighttime, evoking beauty and sadness. This space represented a crucial turning point in Kim Mo-mi's life, and Ryu was curious about capturing its essence.[99]
When Life Gives You Tangerines
editIn November 2023, Ryu Seong-hie said that She started preparing a new drama by director Kim Won-seok of My Mister and writer Lim Sang-choon of When the Camellia Blooms, which is a story of three generations of women. Title of the series, initially referred to as "Life" as a working title, was unveiled as You Have Done Well. The title, derived from the Jeju dialect, carries the meaning of "Thank you for your hard work."[17] On January 30, 2024, Netflix reveals the English title as When Life Gives You Tangerines.
Filmography
editFilms
edit| Year | Title | Director | Ref. | |
|---|---|---|---|---|
| English | Korean | |||
| 2001 | Flower Island | 꽃섬 | Song Il-gon | [101] |
| 2002 | No Blood No Tears | 피도 눈물도 없이 | Ryoo Seung-wan | [102] |
| 2003 | Memories of Murder | 살인의 추억 | Bong Joon-ho | [103] |
| 2003 | Oldboy | 올드보이 | Park Chan-wook | [104] |
| 2005 | A Bittersweet Life | 달콤한 인생 | Kim Jee-woon | [105] |
| 2006 | I'm a Cyborg, But That's OK | 싸이보그지만 괜찮아 | Park Chan-wook | [106] |
| 2006 | The Host | 괴물 | Bong Joon-ho | [107] |
| 2007 | Hansel and Gretel | 헨젤과 그레텔 | Yim Pil-sung | [108] |
| 2009 | Thirst | 박쥐 | Park Chan-wook | [109] |
| 2009 | Mother | 마더 | Bong Joon-ho | [110] |
| 2011 | Late Autumn | 만추 | Kim Tae-yong | [111] |
| 2011 | The Front Line | 고지전 | Jang Hoon | [112] |
| 2013 | The Attorney | 변호인 | Yang Woo-suk | [113] |
| 2014 | Ode to My Father | 국제시장 | Yoon Je-kyoon | [114] |
| 2015 | Assassination | 암살 | Choi Dong-hoon | [115] |
| 2016 | The Handmaiden | 아가씨 | Park Chan-wook | [116] |
| 2019 | The King's Letters | 나랏말싸미 | Jo Chul-hyun | [117] |
| 2022 | Decision to Leave | 헤어질 결심 | Park Chan-wook | [118] |
| 2022 | Alienoid | 외계+인 1부 | Choi Dong-hoon | [119] |
| 2024 | Alienoid Part 2 | 외계+인 2부 | [120] | |
Short films
edit| Year | Title | Credited as | Ref. | ||
|---|---|---|---|---|---|
| English | Korean | Director | Production Designer | ||
| 1999 | www.whitelover.com | 빤스 벗고 덤벼라 | Park Kwang-su | Kim Hui-jeong & Yoo Seong-hui | [121] |
| 2002 | No parking | 주차금지 | Yoo Seong-hui | Yoo Seong-hui | [122] |
| 2004 | Three... Extremes: Cut | 쓰리, 몬스터 : 컷 | Park Chan-wook | Ryo Seong-hui | [123] |
| 2022 | The Moon is What the Sun Dreams of | 일장춘몽 | [124] | ||
Television dramas
edit| Year | Title | Network | Director | Ref. | |
|---|---|---|---|---|---|
| English | Korean | ||||
| 2023 | Little Women | 작은 아씨들 | tvN | Kim Hee-won | [125] |
Web dramas
edit| Year | Title | Network | Director | Ref. | |
|---|---|---|---|---|---|
| English | Korean | ||||
| 2023 | Mask Girl | 마스크걸 | Netflix | Kim Young-hoon | [99] |
| 2024 | When Life Gives You Tangerines | 폭싹 속았수다 | Kim Won-seok | [94] | |
Accolades
editAwards and nominations
editListicle
edit| Publisher | Year | List | Placement | Ref. |
|---|---|---|---|---|
| Cine21 | 2022 | Series Staff of the Year | Won[d] | [178] |
Notes
edit- ^ Award shared with Trae King
- ^ Award shared with Lee Ha-jun
- ^ Yumin Awards are an annual event launched in 2010 to honor "Yumin" Hong Jin-ki, the late co-founder and former chairman of the JoongAng Ilbo, who served in numerous roles in government, business and media. Every year, the awards recognize Koreans who made crucial contributions to society, science and technology, as well as culture and arts.[176]
- ^ Tied with Art Director Lee Nae-kyung
References
edit- ^ "류성희 미술감독이 말하는 '프로덕션 디자이너' – 영화의 무드로 주제를 전달한다" ['Production Designer' by Art Director Ryu Sung-hee – Delivers the theme with the mood of the film]. 씨네21 (in Korean). 2021-04-08. Retrieved 2023-11-03.
- ^ Ha, Jae-bong (2007-01-16). "하재봉이 만난 사람 | 류성희 영화미술 감독" [The person Ha Jae-bong met | Ryu Sung-hee film art director]. topclass.chosun.com. Retrieved 2023-11-03.
- ^ a b c d "류성희 미술감독" [Ryu Sung-hee, art director]. mdesign.designhouse.co.kr (in Korean). 2016-06-29. Retrieved 2023-11-01.
- ^ a b "김상범, 류승완, 류성희, 정서경, 오달수가 박찬욱 감독과 나눈 거침없는 대화" [Sang-beom Kim, Seung-wan Ryu, Seong-hee Ryu, Jeong Seo-kyung, and Oh Dal-su have an open conversation with director Park Chan-wook.]. 씨네21 (in Korean). 2016-04-26. Retrieved 2023-10-31.
- ^ "Ryu Seong-hie". MUBI. Retrieved 2023-11-03.
- ^ "류성희" [Ryu Seong-hui]. 다음영화 (in Korean). Retrieved 2023-11-03.
- ^ a b c Min, Kyung-won (2016-05-29). "주인공으로 만드는 황금손, 캐릭터 따라 창조하는 맞춤형 신세계" [A golden hand made by the main character, a custom new world created according to the character]. JoongAng Ilbo (in Korean). Retrieved 2023-11-03.
- ^ "2018년 신입 회원 발표한 아카데미, 유색인종과 여성회원 대거 초청" [Academy announced new members in 2018, inviting a large number of female members of color] (in Korean). 2 July 2018. Retrieved 2018-10-21.
- ^ "AMPAS Invites 14 New Korean Members". Korean Film Biz Zone. Retrieved 2023-11-01.
- ^ "[talk show] 당신의 판타지를 '가짜로' 실현시켜 드립니다" [[Talk show] We will make your 'fake' fantasy come true]. 씨네21 (in Korean). 2010-04-02. Retrieved 2023-11-01.
- ^ a b c d e f g h i j k l m n "류성희 미술감독 [1]" [Ryu Sung-hee, art director [1]]. Cine21 (in Korean). 2005-07-19. Retrieved 2023-11-01.
- ^ "류성희 미술감독이 말하는 '프로덕션 디자이너' – 영화의 무드로 주제를 전달한다" ['Production Designer' by Art Director Ryu Sung-hee – Delivers the theme with the mood of the film]. 씨네21 (in Korean). 2021-04-08. Retrieved 2023-11-01.
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