Even in a year full of excellent science-fiction fare, Joon-ho Bong’s Snowpiercer stands out. The film tells the story of a post-apocalyptic world where all life on Earth is contained to a single luxury train that circles the frozen planet once yearly. Within the train, a tightly controlled caste system has developed. When members of the train’s underclass attempt a rebellion, all hell breaks loose and long held secrets of this world come to light. The movie stars Chris Evans, Tilda Swinton, The Host’s Kang-ho Song and Ah-sung Ko, Ed Harris, John Hurt,, Jamie Belle, Octavia Spencer and Alison Pill is available in theaters and most every VOD marketplace now. But it really, really should be seen on the big screen.
Last weekend at Comic-Con, Collider sat down with Evans and Co-Producer Dooho Choi for an intimate press conference to discuss the film. During the small group chat, Evans and Choi described Bong’s artistic vision, the elaborate fight scenes, avoiding the Harvey Scissorhands treatment, why a film with so many stars and such good reviews hit VOD two weeks after theatrical, the magic of Tilda Swinton, crooked-necked giraffes, watching a cut of the first two acts before the final day of principal photography and more. Hit the jump for the full transcript.
Below the interview I have included links to a selection of interesting essays on the previous work of Joon-ho Bong as well as google books links to several of the textbooks assigned for a class on modern Korean cinema that I took during my undergrad years. If you’re a fan of Oldboy and The Host, I assure you, the well goes much deeper.
QUESTION: I had a very passionate discussion about this movie with several friends last night. We were trying to figure out how much of the story was supposed to feel like a fable. Was the concept of fables ever discussed during production?
CHRIS EVANS: What is every discussed as a fable? I wouldn’t have done the movie if I didn’t have confidence in [Joon-ho] Bong finding deeper layers than just, some sort of interpretation of a graphic novel. That’s what Bong is phenomenal at, in all of his movies, there is always a lot more than meets the eye. So you try to trust that Bong has a lot more intention that just what’s on the surface. But in terms of it being a fable…?
DOOHO CHOI: There’s definitely a lot of allegory in it, metaphors for different things. But I think that the conversations that Director Bong had with Chris [Evans] were more just about the character and his journey and how to make it real.
How did you research the role? Did you look into what happens to people forced into such close quarters?
EVANS: Sure. I tried to spend some times on the sets. The sets were so beautiful. The best thing about this movie was that we had a tangible world to play off of. So the first day I went down and saw where we were going to be filming, and it was so beautiful. And I tried to say to everyone, ‘Is there some way I can carve out some time just to come here and stay here for a while, just to be by myself for a few hours?’ So there were a few days when I spent a couple of hours just coming down to a few cars and hanging out by myself and just kind of getting a sense of imagining what it would be like for— I mean, it’s impossible to fully grasp fully what it’s like to be there for 17 years, but you do try to spend as much time as you can getting comfortable with the environment and trying to figure out that sensation would be.
Which part of the train was your favorite?
EVANS: I’d say the tail section. I mean, for me, the tail section is, I think that’s [my character] Curtis. I think that’s who he is. The tail section is hard; it’s grinding; it’s tough; it’s real. So that’s where I had the most fun. Back there.
We see maybe 20, 30 cars in the film. But in the exteriors, it seems like it could be 1000. Were there any other train cars we didn’t see, explaining where the steaks came from, maybe?
Can you tell us what some of those cars may he been? Was it outlined?
CHOI: No, we just shot what was in the script. So whatever fulfilled the needs of a particular section is what we shot. They asked Bong a bunch of times, like, if there were any cars that he imagined that he didn’t shoot and one of them was a zoo section with animals crammed in and a giraffe, like, with his head down to fit inside. But that was ultimately abandoned because he wanted to show life at the end. So he didn’t want to show living animals inside.
Do you have any thoughts on the VOD release and how it came out on VOD so soon after theaters.
EVANS: You know, I’m just learning about this. I mean, the movie has done phenomenally well, but it’s all new to me. Being an actor for X-amount of years, I certainly don’t concern myself with how things are released or where they are released. This is all brand new to me. I just directed a movie last year and even in the process, there are still so many elements of post-production and how a film is handled that I am still learning. You know, it seems like this is a pretty pioneering film in how VOD has been accepted in the market. So it’s all new to me and it sounds like this is doing pretty well in the capacity that it’s being released. But you know, you kind of discover how green you really are and I’m learning with everybody else. So I couldn’t really give my opinion, it wouldn’t be worth it.
Do you have a preference of how you would prefer people to watch the film?
EVANS: I absolutely think it should be seen on a big screen. But I read something where someone from RADiUS that said, ‘A screen is a screen is a screen.’ and, you know There’s a couple of different ways to interpret that. Personally I think a movie— I like going to movies. I like buying my ticket and sitting in a theater. And I guess that’s still available. It would be a shame if we suddenly lost that opportunity, so I hope it doesn’t tip the scales too far in one way. But by the same token, I’ve had a lot of people contact me and say they’ve seen the movie, not in a theater but still had positive things to say. So it’s a grey area in terms of, you know, what’s the best way to do this? What’s it worth?
One of my favorite scenes was that night vision scene, that battle. It looked incredibly complex to make. Can you talk a bit about how you made that?
EVANS: Sure. It was hairy. It was very dirty. It’s one of those scene where we had some great stunt men, some great stunt coordinators. It was a really messy scene. But a lot of it was far more choreographed than you would expect. Each moment was created. But it’s a sloppy fight, it’s supposed to look messy and no one there is a trained fighter, so it should look a little unorganized. And I think we did a good job of accomplishing that. But it actually is kind of like a dance.
In that fight scene, you slip on a fish. It’s my favorite moment in the entire movie. But it’s so almost out of place in an American-style movie. Was there ever any discussion about that making sense? Was it one of the things that the Weinstein’s were uncomfortable with during the editing process?
EVANS: There may not have been a discussion, but I was thinking it! I mean, that’s the thing about this whole movie, there’s so many parts of this movie where you’re just like,’What? What! What is going on!?’ When they bring the fish out and cut it, it’s like, ‘What are they doing?’ But it’s what makes this movie so cool, it’s what makes this movie so unique an special and artistic and powerful, because it really is so out of left field and so unique and so Bong, in a way. There are a lot of moments where you kind of question, ‘Is this going to…’ Even in sections of the script itself, you read it and you kind of question whether certain things will make sense. But there is a trust you just have to have with certain filmmakers and storytellers who you just know have an artistic eye and just know what will make sense to a willing audience. So a lot of times you just hand over your trust to the director.
What were some of those moments when you read the script?
EVANS: All of them! One of the big things – I read a couple of reviews – one of the big things I had was, in the beginning of the movie, I wanted more explanation. You know, how did this happen? I just wanted more info. What was the experience? Where was this train when the froze? Was the train in one spot? Did everyone clamor on at once? I just wanted, my rational mind wanted more clarity. But bringing these things up to Bong, he seemed kind of like, ‘That’s not necessary.’ He saw a bigger picture, something broader, something more beautiful and artistic than my mind could grasp on paper. And ultimately it did make sense. And I’ve read just the most phenomenal reviews from people who just went on the ride. It’s like those— Blade Runner. One of those movies where you just accept certain things. But when you’re reading words on a page, your mind desperately wants to make sense of things and it’s hard to kind of realize that you’re going to have this kind of artistic vision quarterbacking these scenes. So initially, there were a lot of scenes where I was like, ‘Who’s sending these things and how does he send these red letters?’ There were a lot of questions I had, but if the movie is done right, you go for the ride.