How ‘Sleep’ Director’s Mentor, Bong Joon-Ho, Gave Him the Confidence to Pull Off a Wild Blend of ‘Rosemary’s Baby’ and ‘Erin Brockovich’

As a seasoned movie connoisseur who’s spent countless nights huddled under blankets, my teeth chattering from the fear seeping through the screen, I find myself utterly captivated by Jason Yu’s directorial debut, “Sleep.” This South Korean horror-domestic thriller masterfully weaves together the terrifying and the mundane, leaving viewers questioning their own nocturnal activities.

In this first major work by director Jason Yu, titled “Sleep,” we encounter a chilling supernatural domestic thriller. The story revolves around a South Korean couple, Soo-jin and Hyeon-soo (portrayed by Jung Yu-mi and Lee Sun-kyun), whose marriage is strained due to Hyeon-soo’s escalating sleepwalking episodes. As they expand their family with the arrival of a newborn, events take an ominous turn, leading Soo-jin to probe the true cause behind her husband’s disturbing behavior.

Where did the idea for “Sleep” originate from?

I too have some very nasty sleeping habits. Not as nasty as what transpires in the film, but I’m a very loud snorer and have a serious case of sleep apnea, which is forgetting to breathe while you’re sleeping. The loud snoring didn’t bother my wife that much, but whenever I stopped breathing, that’s when my wife would wake up and be frightened. In the morning, she would tell me about these anecdotes, and although I felt immense guilt and I felt sorry that she had to go through that, I think the storyteller in me was fascinated by what happened at night. I imagined what would happen if my sleeping habits were slightly scarier.

Did the script always focus on so many marital and family issues?

Initially, I encountered this concept at a later stage, and my initial reaction was one of pure horror, finding it somewhat repetitive and gimmicky. This lacked the excitement that usually accompanies new ideas for me, so I postponed further exploration for quite some time. However, as life took a turn, with my longtime girlfriend and I preparing to tie the knot, our conversations revolving around marital relationships became frequent, filled with meetings with in-laws, pondering about parenthood, and musings on marriage itself. Unbeknownst to me, these personal experiences subtly influenced the screenplay, infusing it with a depth and relevance that resonated more profoundly as I revisited the story.

What were some of the films that inspired “Sleep”?

After viewing my film at different festivals, audience members shared with me what they perceived as my sources of inspiration. They often queried if I drew inspiration from movies such as “The Shining” and “Rosemary’s Baby,” only then did I realize the obvious connections that were in plain sight. The core concept of “Sleep,” which involves a pregnant wife, her husband, and their dynamics within a confined building, was heavily inspired by “Rosemary’s Baby.

An unexpected role model for me is “Erin Brockovich.” When I mentioned this to Jung, she commented, “It’s not typical behavior; most people would either run away or distance themselves.” I replied, “Well, this person isn’t your average Joe.” In my opinion, Soo-jin resembles Erin Brockovich. When faced with challenges, she views them as hurdles and discovers solutions to tackle the issues at hand. Similar to Erin Brockovich, Soo-jin doesn’t succumb to adversity easily. She remains optimistic about overcoming any problem together with her husband.

What was your working relationship like with Lee?

Working alongside Lee was a tremendous privilege as I’ve long admired him as one of Korea’s, if not the world’s, top actors. Remarkably, among our cast and team, he boasted the most filming experience, making him something like an older brother to us. He wasn’t fond of laxity or unprofessional behavior, often gently correcting us. Moreover, his insights weren’t just limited to acting; they extended to life in general. At times, due to our lack of expertise, we would frett over specific scenes and their execution. He’d simply stroll by, reassuringly saying, “You know, you can handle this, that, and the other thing, and it will turn out fine.” He was always right about such matters, almost functioning as a producer in that sense. His wealth of knowledge was truly inspiring, and I felt incredibly grateful for his guidance.

The central relationship feels real real, not just movie real. Was there a moment during filming where you realized the chemistry was there?

Indeed, my primary worry before embarking on the film was fostering the right chemistry between the actors for the romantic scenes. I proposed the idea of taking breaks for ice cream, dinners, or park walks to help develop this connection. However, they swiftly dismissed my suggestion, stating that they had already acted as romantic leads in four films and were good friends off-screen, so the chemistry was already established. Despite my initial doubts, all apprehensions vanished on the first day when we filmed an extremely intimate, loving scene between them. To my surprise, they executed it flawlessly without any practice.

What is the best advice you got from Bong Joon-ho about directing?

Following the submission of my screenplay, we convened at a coffee shop. Despite penning numerous screenplays similar to many ADs, directing seemed like an unattainable fantasy to me. In search of employment, I found myself seeking Director Bong’s endorsement for his next venture. To my surprise, he said, “Disregard that project. This script is impressive. I believe you should be the one to direct it, and I have confidence in your ability to excel.” Hearing those words ignited something within me. He instilled courage in me, and this sentiment resonated deeply.

Following the completion of my screenplay, he asked me to create all the storyboards, which I did without hesitation. I discovered from “Okja” that director Bong also drew his own storyboards, but not every director does this. Under the guidance of director Bong, I sketched the initial draft of the storyboards myself, a decision many people found peculiar as it was before the project had been officially approved and there were no interested financiers yet. However, after reading my screenplay, director Bong simply said, “Now it’s time to draw the storyboards,” and I carried out his instructions accordingly.

What plans do you have for future projects?

I’m currently working on two projects that I find equally thrilling, but I realize I must choose a direction sooner rather than later. One project delves into the horror genre, reminiscent of “Sleep,” yet with a larger scope. The other project is quite different: It has been a long-standing dream of mine to direct a romantic comedy, and my aim is to ignite the same passion in investors, producers, and financiers for this project as I have.

2024-09-27 20:17