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	Kim Ki-duk - Wikipedia, the free encyclopedia
		Kim Ki-Duk was born on December 20, 1960 in Bonghwa, South Korea.
		Kim is also a rare case of a director who has won accolades and found box-office success overseas but -- with a few exceptions -- has largely failed to connect with Korean critics or audiences.
		Kim was born in 1960 in Bonghwa, North Gyeongsang Provice (south of Gangwon Province).
	en.wikipedia.org /wiki/Kim_Ki_Duk (1112 words)

	The Official BAD GUY Website
		KIM Ki-Duk was born in Bonghwa, north of Kyungsang Province, and grew up in a mountainous village.
		KKD : The question that I was trying to ask is, why is it that though everyone is born the same, with equal rights and equal qualities, we are divided and categorized as we grow older.
		Kim discussed the controversial cruelty in his earlier films through an interpreter, saying, "Those kinds of cruel acts are metaphors meant to contrast my meaning and question of what is life.
	www.badguythemovie.net /director/badguy_kkd.html (2849 words)

	Kim, Ki-duk
		Kim Ki-Duk was born in Bonghwa, north of Kyungsang Province.
		Kim comments on the painful issue of the U.S. military based in Korea by stating, "each soldier as an individual, is merely a lonely being, spending his youth in a foreign country."
		Kim Ki-duk's films are often defined as 'grotesque.' This word, which had lately become a fad in Korea, is now the significant key word representing the fall of mental stability and its various cultural expressions.
	www.cinekorea.com /filmmakers/kimkiduk.html (1627 words)

	The Movie Chicks - Interview - Kim Ki-Duk
		Kim Ki-Duk: Any time you work with the little fishes and the child, it is difficult, but the animals listened to us very well.
		Kim Ki-Duk: In Korea, it's appropriate to go through the doors and to show the symbolism as the movie continues - the boy did not use the doors anymore to show that human beings don't follow the rules and deviate at times - the doors were used to symbolize that.
		Kim Ki-Duk: The reaction I felt was that it's been toned down a bit and some of the shocking stuff is not present.
	www.themoviechicks.com /mid2004/mctspringsummer.html (1345 words)

	Kim Ki-duk (Site not responding. Last check: 2007-10-29)
		Hewison sees Kim’s films as containing “a raw naivete—almost an innocence—but also anger and anguish expressed in his landscapes usually populated by marginalised characters.
		On his website (www.kimkiduk.com), Kim states his aesthetic credo that “film is created out of a point where reality and fantasy meet.” He claims that his films attempt to access “the borderline where the painfully real and the hopefully imaginative meet.”
		Kim works with a heavily psychoanalytical model of character.
	www.realtimearts.net /rt50/walsh.html (1001 words)

	Kim Duk-ki (Site not responding. Last check: 2007-10-29)
		Kim was responsible for death of such patriots as Oh Dong Jin, Pyong Kang Ryol, Jang Chang Hyon and Kim Hyong Chul.
		Kim had Kim Hyong Chul and two of his comrades shot instead of arresting them.
		In June 1950, Kim Duk Ki was found dead on a mountain near his house.
	www.kimsoft.com /2004/kimdukki.htm (522 words)

	Korea's Enfant Terrible Grows Up: Kim Ki-Duk Talks About "Spring, Summer..."
		A high-school dropout, Kim worked in factories from the ages of 16-20, then spent five years in the Korean military before moving to France to peddle his paintings on the streets.
		Kim: European audiences tend to really like "Bad Guy" and they're not as offended by it as the Korean people were.
		Kim: This is my tenth film but from the beginning, I never thought of my films as "Korean films." I've always had an orientation toward international film, and probably because of this I've been able to develop an international reputation faster than other Korean filmmakers.
	www.indiewire.com /people/people_040402kim.html (1618 words)

	Kim Ki-duk: Poet of Silent Pain 1/2 \| Asian American Mediawatch \| GOLDSEA
		Kim's works have an elemental focus that suggests the kind of indifference to the trappings of popular culture that can only come from an unusual range and depth of life experiences.
		What is difficult to believe is that Kim didn't even begin filmmaking until the age of 35 and that he is now only 44.
		Kim's entry into filmmaking was a screenplay he wrote entitled A Painter and a Criminal Condemned to Death.
	goldsea.com /Mediawatch/3iron/3iron.html (456 words)

	Interview with Kim Ki-Duk
		KKD: The question that I was trying to ask is, why is it that though everyone is born the same, with equal rights and equal qualities, we are divided and categorized as we grow older.
		KKD: In the case of Bad Guy I first have to say that I really don't like people like Hang-gi, but there was an incident when I met somebody who worked in the red light district.
		KKD: On the outside it looks as if there is a strict code to which Hollywood movies conform, but I think in reality it is not like that.
	www.sensesofcinema.com /contents/01/19/kim_ki-duk.html (1976 words)

	DVD Times - Samaria (Samaritan Girl)
		After the deceptive surface beauty of Kim Ki-duk’s Spring, Summer, Fall, Winter...and Spring, a simple story with a darker undercurrent — the lurid subject matter and bleak outlook of the director’s earlier work returns in his latest film, Samaria, the winner of the Silver Bear at the 54th Berlin International Film Festival in February 2004.
		There are no shades of grey in Kim Ki-duk’s world, it’s a fl and white world of good and evil, although the two extremes are often difficult to separate.
		Kim Ki-duk is an interesting director, tackling difficult subjects in quite original and distinctive ways, but in Samaria he seems to offer no coherent themes or conclusions.
	www.dvdtimes.co.uk /content.php?contentid=11447 (3624 words)

	Asia Pacific Arts: Kim Ki-duk: Love It or Leave It
		Kim had no formal education in film and only a rural primary education before he spent the youth of his life working in factories and serving in the military.
		Kim Ki-duk: I make films for those who I can make an impression on and for those who are interested in my work, not for people who are not interested or do not even care.
		Kim Ki-duk: Because the U.S. film market sticks to its own taste of Hollywood-style movies, I’m very curious about how American audiences will respond to Spring, Summer, Fall, Winterand Spring, and what it is about this film that will move them.
	www.asiaarts.ucla.edu /article.asp?parentid=9820 (913 words)

	harrylimetheme: Kim Ki-Duk Part Two: An Interview (April 2004). (Site not responding. Last check: 2007-10-29)
		The designated translator (a volunteer) didn't show up, so Kim was left adrift without anyone who spoke his language for what seemed like ages as the festival rustled up a replacement - the Korean wife of one of the journalists.
		KKD: They probably won't go for it anymore, they know my tricks, but I just got prize from Berlin, and I have a lot of offers to invest in my films, around 1 million dollars...
		KKD (starts arranging objects around the table and talking animatedly): When I work on a film I only think about that film, and then after it is finished I forget about it.
	harrylimetheme.blogspot.com /2004/07/kim-ki-duk-part-two-interview-april.html (1277 words)

	Kim Ki-duk @ Filmbug (Site not responding. Last check: 2007-10-29)
		KIM moved to France, studied fine arts in Paris and sold his paintings on the streets in the south of France.
		Since then KIM Ki-duk has, at the impressive speed of one film a year, created a series of films characterized by both an unblinkingly perceptive view of human behavior and a powerfully lyrical visual imagination.
		KIM Ki-duk's newest film, SPRING, SUMMER, FALL, WINTER AND SPRING, is a potent visualization of the passions inhabiting the human spirit and the understanding and acceptance which form the very substance of our lives.
	www.filmbug.com /db/344080 (443 words)

	KIM Ki-Duk
		Unfortunately, Kim (and his films) cannot be viewed through a dominant Korean structuralist framework.
		Rather, Kim has touched upon all of the possible theories and discourses of this world instinctively, all while maintaining a sense of sacredness and vulgarity.
		Kim's value for this age [of New Wave Korean filmmakers] originates in the discomfort he creates for his audience.
	www.latrobe.edu.au /screeningthepast/firstrelease/fr0902/byfr14a.html (5045 words)

	eiga : kim ki-duk i cinemateket: interview : anmeldelse (Site not responding. Last check: 2007-10-29)
		Kim Ki-duk enjoys great recognition throughout Europe, and in the four most recent years he has become a downright festival darling, for instance at the NatFilm Festivalen 2005.
		The meeting with Kim Ki-duk turned out to be a kind of roundtable conversation, and it has been so exciting and thought-provoking that I could easily have spent much longer time with him.
		Kim Ki-duk is without doubt a director who is capable of setting the train of thoughts going.
	www.eiga.dk /anmeldelse.php?id=126&side=2 (1377 words)

	Amazon.com: Bad Guy (2005): DVD (Site not responding. Last check: 2007-10-29)
		Kim submerges the audience in the underground world of Seoul's red-light district and takes them on a surrealistic, darkly romantic ride.
		Ki-duk Kim's presentation of the theme is a very uncomfortable cinematic experience, yet he succeeds through this tragedy to make people think about the differences between Han-gi and Sun-hwa.
		Kim has made a film that addresses a problem that goes beyond the simple reality of Korea, and into the heart of human nature and humanity.
	www.amazon.com /exec/obidos/tg/detail/-/B0009ETDCI?v=glance (2074 words)

	The Official BAD GUY website
		Kim Ki-Duk, the award-winning director of THE ISLE and SPRING, SUMMER, FALL, WINTER and SPRING, has created a lurid fable of obsessive love, using a potent mix of dark romance, surrealist technique, and violent action.
		With BAD GUY, Kim paints a picture of a dark, hauntingly unforgettable neon-lit world, where two unlikely lovers meet on their own lonely street.
		Only Kim Ki-Duk’s brilliant eye could transcend the conventions of traditional narrative to expose the virile beauty of pained yet true love, no matter what dark street it may be confined to.
	www.badguythemovie.net /synopsis/badguy_synop.html (490 words)

	Like Anna Karina's Sweater: Kim Ki-duk goes domestic
		Lee was too famous and maybe, too "expensive" for Kim's film, but when Lee was literally 'attacked', everyone said she couldn't be in any kind of media again.
		Kim was very excited to tell that he was going to cast that woman, (obviously no one wanted her, he could use her cheap.) Lee was ready to jump in.
		And Kim is not really "popular" in Korea in the first place, they didn't really care who the hell he wanted for his crap.
	filmbrain.typepad.com /filmbrain/2004/11/kim_kiduk_goes_.html (785 words)

	DVDBeaver.com - DVD Comparison Ki-duk Kim's - Spring, Summer, Fall, Winter... and Spring - Bom yeoreum gaeul gyeoul ...
		Within the last few years, Korean director Kim Ki-Duk has become, not only a household name amongst fans of Asian cinema, but also a director who brings hope, as his films always are surprising and daring.
		Kim chose wisely not to overload the narrative: quiet opposite, he reduces everything to simple motifs and actions, letting his audience connect the dots of his minimalist and symbolic presentation.
		Curious is, that Kim is devout Catholic of belief, but points out, that the film in part was driven by his relationship between his own religious values and the culture around him.
	www.dvdbeaver.com /film/DVDReview2/spring-summer-winter.htm (3206 words)

	Blogcritics.org: Korea's Bad Guy Director Gets Philosophical
		Kim, who isn't Buddhist, lobbied Korean government for months to be allowed to build the temple on the almost 300-year-old man-made Jusan Pond.
		Kim explained, "The American soldiers have a very hard time adjusting to the situation because it's hard for them to justify why they are there in terms of patriotism....In this film there are no victims.
		Kim has one newer movie out since the one you call his last; it's called "Samaria", which was released this summer in Korea.
	blogcritics.org /archives/2004/06/20/045219.php (2277 words)

	48th S.F. International Film Festival (Site not responding. Last check: 2007-10-29)
		Cinema’s bad boy Kim Ki-Duk displays his more sensitive side—alienation, forbidden desire, golf balls as attack weapons—in this nearly silent love story between a young drifter who breaks into houses and the abused married model who joins him along the way.
		Kim, simultaneously vulgar and poetic, is best known for his atypically calm Spring, Summer, Fall, Winter.
		A former painter, Kim here offers an almost surreal visual treatise on masculinity and its delusions: a man who loses his shadow for his lover, a grunting guy primally clubbing golf balls toward a statue and not penetrating a thing.
	www.sffs.org /fest05/titleDetail.asp?title_id=2 (227 words)

	Dialogue: Ki-duk Kim (Site not responding. Last check: 2007-10-29)
		Ki-duk Kim: I have enjoyed foreign movies at many film festivals even though the movies were in the languages I didn't understand.
		We give up many things only because we think we are too old for those things, but I wanted to show that a human being could be beautiful until the very moment of his death through the selfish yet fiery passion of the old man towards the girl.
		Kim: I have released 11 movies so far in South Korea, but not that many people in my country have seen them, except for "Bad Guy." And "Bad Guy" attracted viewers only because the leading actor was on a popular television show around the movie's release.
	www.hollywoodreporter.com /thr/awards/cannes/feature_display.jsp?vnu_content_id=1000919934 (1068 words)

	Hwal (2005) (Site not responding. Last check: 2007-10-29)
		The two make their living by hosting fishermen aboard the boat, and also tell fortunes in a rather bizarre and dangerous fashion, by shooting arrows whizzing past the girl's head into a Buddhist painting on the side of the boat.
		One of Kim's most common approaches to storytelling is to set up an isolated or marginalized world (usually a physical space, but sometimes a way of life like in 3-Iron) that operates by its own elaborate set of rules and customs.
		It's true that one of Kim's strengths is to be able to tell stories using very little dialogue.
	www.imdb.com /title/tt0456470 (759 words)

	dOc DVD Review: Spring, Summer, Fall, Winter...and Spring (2003) - Printable
		A Buddhist monastery sits in solitude, floating on the surface of a glassy lake wedged between the mountainous ridges of a valley.
		His young student, a small boy (Kim Jong-Ho), is more occupied with the mischief of youth, tying small stones to various creatures; a fish, frog, and snake become ensnared in the boy's cruel game, from which he gleans great enjoyment.
		Kim Ki-Duk's simple, yet meaningful tale elevates itself into a metaphor of the cycle of human life, and our flaws within.
	www.digitallyobsessed.com /showrevpdf.php3?ID=6320 (780 words)

	Director Kim Ki-duk - MoviesOnline (Site not responding. Last check: 2007-10-29)
		Kim Ki Duk's Bad Guy Movie : This movie was sent over to me by our new friend Shade and it looks pretty damn cool.
		Kim Ki-Duk, has created a lurid fable of obsessive love, using a potent mix of dark romance, surrealist technique, and violent action.
		Kim Ki-Duks Next Project : KIM Ki-duk, who has won praise throughout the international film community for his distinctive low-budget films, has opened shooting on his 12th project.
	www.moviesonline.ca /director268.htm (1435 words)

	Cannes Film Festival (Site not responding. Last check: 2007-10-29)
		Although Hwal (The Bow) is Kim Ki-duk's twelfth film, this is his first visit to the Cannes Festival, where the film premieres in the Un Certain Regard section.
		The Korean director examines the torments of love and jealousy as experienced by an elderly man. The hero is madly in love with a young woman, whom he intends to marry as soon as she turns seventeen.
		According to Kim Ki-duk, the bow is much more meaningful than the standard dictionary definition.
	www.festival-cannes.fr /perso/index.php?langue=6002&personne=4258200 (254 words)

	Xtratime Community - Kim Ki-Duk (Bin-Jip) (Site not responding. Last check: 2007-10-29)
		It's a slow, poetic film about a guy who breaks in houses of people who are on holiday, doesn't steal anything, but spends the night.
		and Spring' it's the 3d Kim Ki-Duk movie I've seen in a short while and they are all amazing.
		Kim Ki-Duk is great director, although he is criticized by many feminists
	www.xtratime.com /forum/showthread.php?t=161353 (443 words)

	Movie Habit: Kim Ki-Duk & Jung Suh
		And yes, there's a cultural difference, and maybe Americans will have a problem with it — but if they can just be more sensitive to what is acceptable in different countries I'd hope they wouldn't have too many issues with what's shown onscreen.
		Since 1996 he has aggressively released one film a year and much of his work has screened at film festivals around the world.
		Kim Ki-Duk and Jung Suh: an interview with the director and leading lady of the Korean film The Isle
	www.moviehabit.com /essays/kim_ki-duk01.shtml (1088 words)

	Amazon.com: Spring, Summer, Fall, Winter... and Spring: DVD (Site not responding. Last check: 2007-10-29)
		It's as enchanting as a Buddhist fable, but it's not precious; Kim (maker of the notorious The Isle) consistently surprises you with a sex scene or an explosion of fl comedy; he also vividly acts in the Winter segment, when the lake around the monastery eerily freezes.
		Ki-duk Kim use this natural phenomenon of the seasons to a full effect as the season displays the aftermath of a vengeful strikeout from the young man who now is a man in his 30s.
		Kim Ki Duk's directs this film from its initial placid state, as depicted by the still water of the distant lake, and deftly moves us to the cavalcade of passion and emotion.
	www.amazon.com /exec/obidos/tg/detail/-/B0002J4X20?v=glance (2508 words)

	Bin-jip
		Kim Ki-Duk has stepped into contemporary society with his latest film, and crafted an elegant film that captures love, alienation, isolation, and possibly the supernatural.
		"Yet as in any Kim Ki-Duk film, violence is never far off, and in 3-IRON it is the antithesis of the calmness of the two main characters who reveal so much by their silence and their quotidian activities.
		I do find it mildly disturbing that the women in Kim Ki-Duk’s films are so often the victims of violence; and that this film was rated R for scenes of sexuality, which were very mild, yet there was no mention of the film’s violence, which was occasionally shocking.
	www.chlotrudis.org /movies/reviews/2005/3.html (1321 words)

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