After Yang’s Colin Farrell And Director Kogonada On The Beauty Of Ordinary, That Incredible Dance Sequence & More [Interview]

Venturing into a little bit lighter territory. I wanted to talk about the opening credits for this movie because a lot of movies don’t really have opening credits sequences at all anymore. This one is just so fun and it’s so different from the rest of the movie. Can you talk about how it came together? And Colin, what it was like learning all of those dance moves and getting to do this with the rest of the cast?

Farrell: It was fun, man. It was really fun. It was a blast. The film has a darkness to it. It has a melancholy to it, which is what I love about this film, because it feels honest and it feels like it lacks declaration. It’s certainly the furthest thing from hysteric in its articulation of the emotions and the psychology the characters are going through. So there’s that, but then there’s this kind of film within the film at the start, which is a few minutes long, the credit sequence of us doing this dance online. It’s a global competition that tens of thousands of people are dancing in at the same time around the world, families, and they’re trying to follow the moves they’re being told to do. It was just a blast. It was a blast for us to get out of our heads and to just get into our bodies and have fun, f*** up in front of each other, and have to go again. It was a lot of fun. I don’t know, maybe Kogonada can talk about that because it was his doing. It’s his fault.

Kogonada: Yeah, I liked the idea of ​​starting this film with all the families in sync, and then right afterwards, we see a bit of the dissolution of families. There’s this film by [Yasujirō] Ozu, “Early Summer,” that I really love. At the beginning of it, you just see this multi-generational family and they’re not dancing, but they’re in sync. They’re making breakfast and you can just tell they’ve done this a hundred times, and then the rest of the film, it’s going to be the last weeks of this family together. So that idea was in mind.

I’ll be honest, I’ve only shared this a couple times, but there is this martial arts film that I watched, when I was a kid, by the Shaw brothers, and they have an opening sequence [that inspired this one]. It’s called “Kid With the Golden Arm.” It’s suspended, and it’s a credit sequence that has stayed with me. I showed it to Arjun [Bhasin, our costume designer], which is why they’re wearing metallic suits, but each person, or gang member, is doing what their specialty is, and they’re running the credits over it. That sequence has always stayed with me. So once I started imagining the studio, I showed them that intro sequence. I was like, I want it to be a dance, but I want to have this style of this.

Farrell: I got to watch this tonight, man.

Yeah, me too.

Kogonada: Yeah, it’s great. It’s a great movie too.

Farrell: It was lovely talking to you, man. I’m sorry for your loss again, brother.

Thank you. I appreciate that so much.

Kogonada: All the best.

The film absolutely helped me work through some emotional stuff.

Kogonada: That means a lot.

Farrell: All the best, brother.

“After Yang” is playing in theaters right now, and it’s also available on Showtime.

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