How ‘Parasite’ Shattered Language Barriers and Redefined the Oscars Forever

This season’s most Oscar-nominated film, titled “Emilia Pérez”, happens to be entirely in Spanish and has broken the record for a non-English language film with an impressive 13 nominations. Previously, films like “Crouching Tiger, Hidden Dragon” and “Roma” each had 10 nominations, but “Emilia Pérez” is just one nomination short of the record for any film – including Best Picture. Interestingly, another non-English language film, “I’m Still Here“, also made it to the top Oscar contenders. Until recently, such a scenario would have seemed unlikely. However, all that changed with Bong Joon Ho’s “Parasite“, which made history at the Oscars five years ago by winning several awards. This piece will delve into the extraordinary journey of this off-the-wall Korean film at the Oscars.

Hello, World

Established in 1927 as the International Academy of Motion Picture Arts and Sciences, it was primarily known by this name until later. However, throughout most of its history, it was not particularly global; the bulk of its members were based in Los Angeles, New York City, or London. The academy mainly recognized films produced in English for its prestigious awards, colloquially referred to as “Oscars.” Before Parasite’s nomination, only 11 predominantly non-English language films had been put forward for the best picture category, and it was almost unheard of for a film outside this category to win. In fact, a non-English language film winning best picture was not considered a realistic possibility.

It was disheartening to observe that American audiences, including Academy members, were not committed to watching foreign language films with subtitles. (Mark Johnson served as the head of the Executive Committee for the Academy’s Foreign Language Film Award from 2001-2011 and 2013-2018)

Still, people all around the world cared about the Oscars.

BONG JOON HO During my time in middle school, I used to receive a film magazine by subscription. Each issue came with a special section showcasing the top movies of all time. I thought to myself, “These movies must hold significant value.

At the 2015 Governors Awards hosted by the Academy, shortly following the initial #OscarsSoWhite nominations and before the second round, the organization’s president, Cheryl Boone Isaacs, unveiled their “A2020” initiative. This aimed to double the representation of people of color and women among its members by the year 2020. To achieve this goal, the Academy started considering regions beyond their traditional invitees, as many individuals in these areas speak languages other than English and are not discouraged by subtitles.

In response to criticisms about the lack of diversity in its membership following the #OscarsSoWhite controversy, the Academy announced a plan called “A2020” to double the number of people of color and women by 2020. To help reach this target, they started inviting people from countries where English isn’t commonly spoken and who are comfortable with watching movies with subtitles.

In 2015, I, along with some Korean producers and actors, were granted membership as Academy voters. I recall being aware of their push for greater inclusivity within the organization. Reflecting on this now, it seems that my induction as one of the first Korean filmmakers among the voting members may have been a part of that broader initiative.

By 2015, about one-quarter of the Academy was located outside the U.S. However, by the year of “Parasite”‘s release in 2019, this figure had grown significantly to over 25%, with members coming from as many as 75 countries spread across six continents. Moreover, English-speaking members were increasingly exploring international perspectives.

JOHNSON I attribute much praise to television. Notably, Netflix broadcast shows in Spanish, Korean, or other languages without encountering any issues in attracting large viewership.

In 2019, at the Oscars ceremony prior to Parasite’s win, the prestigious best picture honor was given to Green Book, a decision that caused controversy. However, amidst all the commotion, a non-English language film, Roma, likely came in second place. Alfonso Cuarón graciously accepted the award for best foreign language film and expressed gratitude, stating that he grew up watching foreign films like Citizen Kane, Jaws, Rashomon, The Godfather, and Breathless, which had greatly influenced him. Only a few months later, the Academy decided to rename the award as best international feature film.

LARRY KARASZEWSKI (Co-Chair of the Academy’s Foreign Language Film Award Executive Committee from 2018 to 2020) The idea had been tossed around for quite some time, but it never really garnered much attention. However, after that joke was made, it became one of those rare instances where a significant change was suggested, and not a single person objected in all the years I’ve been involved with the Academy.

JOHNSON I think “foreign,” for a variety of political reasons, became a nasty word.

By using the term “foreign,” there was a desire to distance ourselves from it.

Karaszewski and Weyerman aided in making it simpler for Academy members to watch movies that aren’t in English.

To cast your ballot for the finalists in the category of foreign language films, it was necessary to watch all the nominated movies, and the only feasible way to do this was by being based in L.A. You needed to be part of an exclusive “international group.” While many criticized this group, it consisted of approximately 200 to 300 dedicated individuals who watched three or four films per week and genuinely cared about cinema. However, Diane and I felt that the group was too restrictive. When our in-house streaming platform launched, we made the shortlisted movies available for the international group. Moreover, we conducted additional screenings outside of L.A. The year these changes were implemented was also the year that Roma came very close to winning Best Picture. The following year, we expanded the voting eligibility by making all 10 films on the shortlist accessible via our streaming app to every Academy member. As a result, a significant number of Academy members began casting their votes – this increased significantly. The first time we made this change, Parasite won Best Picture.

Seeds of Parasite

Prior to his acclaimed work on Parasite, Bong had already proven himself as a skilled movie director with six previous films. In America, Tom Quinn, a notable figure in the film industry, was one of his biggest supporters. They first connected in 2006 when Magnolia, where Quinn worked then, distributed one of Bong’s movies titled The Host. Later, while running Radius-TWC for The Weinstein Company in 2013, Quinn saved Bong’s film Snowpiercer from obscurity.

As a gaming enthusiast, I can tell you that Snowpiercer wasn’t initially meant for The Weinstein Company. However, there were certain issues with the film edit and The Weinstein Co. seemed to put it on hold. Given my long-standing relationship with Bong Joon Ho, I couldn’t help but feel perplexed by their decision not to release his movie. I remember thinking, “What on earth are you doing? This is a Bong Joon Ho film! I want it. Give it to us!

In 2017, Quinn established Neon, a company specializing in production and distribution. That same year, it gained recognition after purchasing the rights to “I, Tonya” and successfully launching it into major award nominations. The following year, even before filming began, Quinn acquired the North American rights for “Parasite,” a script owned by CJ Entertainment, South Korea’s leading film studio.

TOM QUINN Our plan was to support any movie directed by Bong after Okja. We invested a significant amount of money, relatively speaking, for a foreign-language production in order to do so.

As a passionate moviegoer, I’d like to share my take on “Parasite.” This gripping tale unfolds with a mix of humor and tension as it follows the journey of a financially struggling family who cleverly insinuate themselves into the lives and home of a wealthy Korean family. Interestingly, the story bears some resemblance to real-life events that served as loose inspirations.

In my college days, I tutored a young lad from an affluent family, clarifying he wasn’t a girl as portrayed in some films, no romantic entanglements occurred. Interestingly enough, my then-girlfriend (now wife) was already teaching him English. When the family required a math tutor, she suggested me, despite my poor math skills. This is how I found myself embedded within their household. Regrettably, I was let go after two months due to my ineptitude with numbers. Yet, I still recall vividly the first time I stepped into that house. It had a private sauna on the second floor, an extravagance that was unimaginable to me back then. Notably, a similar setup is depicted in the film “Parasite”.

Gained in Translation

When Neon began working with Parasite, it only employed around 30 individuals and did not have a Los Angeles office. Quinn’s first recruit at Neon was Christina Zisa, who played a crucial role in helping Radius-TWC win back-to-back best documentary Oscars.

ZISA I was like, “Yeah, I will follow you into a fire.”

As a die-hard fan, I’ve got to say, when it comes to Neon, it’s all under Christina’s command. She’s the one who sets the course and makes sure everything runs smoothly – whether it’s her ideas or her approval that keeps this place ticking!>

In the cases of “I, Tonya” and “Parasite”, Neon employed a compact yet impactful group of external advisors. These included Lea Yardum from Perception PR, Ryan Werner from Cinetic Marketing, and Nancy Willen, who was previously Quinn’s supervisor at ACME PR during the 1990s when he worked as an entry-level publicist.

In our query, we sought to discover who excelled in every track. Our aim was to assemble a versatile team, boasting the broadest possible range of skills.

In March of 2019, a movie titled Parasite – produced by Bong for $11 million and marking the Korean film industry’s centennial year – was completed. Later that same year, it was invited to debut at the Cannes Film Festival competition in May.

Before the screening at Cannes, those involved with the film “Parasite” had their initial viewing of it.

In simpler terms, I watched it during a team viewing at the Alamo Drafthouse. Later on, we found ourselves on a subway station and I exclaimed, “This film is absolutely brilliant!

The first opportunity I had to watch Parasite was on my computer, rather than in a cinema, just prior to Cannes. I’m a bit ashamed to admit this, but it’s the truth. Occasionally, due to time constraints or other circumstances, one has to watch a film this way. However, watching it taught me an important lesson: the movie was still incredibly engaging and enjoyable on my computer screen.

Bong was given tasks related to the pre-Cannes event. Since his English skills were limited, he needed help.

Before attending Cannes, Nico Chapin, a colleague of mine from Cinetic, sought my advice for finding a Korean interpreter. With an upcoming interview with director Bong, he was in dire need of someone proficient in the language. Coincidentally, my company had recently completed the publicity campaign for Lee Chang-dong’s film “Burning,” which made South Korea’s Oscar shortlist as the nation’s first film to do so. In light of this, there was only one interpreter who came to mind: Sharon Choi, a translator whom I consider exceptionally skilled in any language.

At the age of 25, Choi was born and primarily raised in Korea, with the exception of a period between the ages of 8 and 10 when she resided in L.A., where she picked up English. With dreams of becoming a filmmaker, she later went back to America to study at USC, introducing her friends to the films of one of her role models, Bong Joon Ho.

Sharon Choi recalls vividly her initial encounter with Snowpiercer. That was the moment when English and Korean shared the vastness of a cinema screen for the first time. The scene moved her deeply, leaving her in a state of disbelief.

Choi graduated in 2016 and then went back to Korea. There, she worked as an assistant to a U.S. director and served as a translator during one Q&A session, which eventually landed her the role in “Burning”. A year later, she was asked to assist Bong with just one interview.

CHOI Director Bong was dissatisfied with the interpreters CJ usually works with, leading them to search for a fresh team instead.

As a gamer, I had an intriguing chat over the phone with someone right before Cannes, probably for The New York Times or similar. Since it was a phone conversation, I didn’t get to see her, only enjoyed her captivating voice and exceptional translation skills. Post-call, both me and the distribution company representative couldn’t help but exclaim, “She’s fantastic!

ZISA Bong was like, “She is the best interpreter I’ve ever had! We need her!”

The next day they contacted me, inquiring if I could make a quick trip to Cannes for a couple of days. Coincidentally, I was already scheduled to embark on a solo backpacking adventure across Europe. My itinerary included a visit to southern France, so I simply adjusted my travel dates to accommodate this unexpected invitation. I hastily packed a budget Uniqlo shirt into my pack, as I was unsure of the dress code at Cannes and lacked appropriate footwear.

Cannes Conquest

After the debut of Quentin Tarantino’s film “Once Upon a Time in Hollywood” on May 21st, the world premiere of “Parasite” took place at Cannes’ Grand Lumière theater. The audience loved it, showing appreciation with several rounds of applause during the movie and an eight-minute long standing ovation at its conclusion.

On May 21, right after Quentin Tarantino’s “Once Upon a Time in Hollywood” had its world premiere, “Parasite” held its world premiere at Cannes’ Grand Lumière theater. The audience couldn’t get enough, with numerous mid-film applause and an eight-minute long standing ovation at the end.

Experience: The atmosphere was electrifying. It seemed as though we were all tuned into the same wavelength. I’ve rarely experienced such a deep connection with a crowd of people, perhaps only during a passionate political rally or a thrilling BTS concert.

Tom doesn’t catch a sneak peek of our movies before Cannes; instead, he prefers to experience the films alongside the audience. As a result, his initial viewing of the film took place at Cannes.

AS A GAMER: Watching my lines unfold on screen was a heart-pounding experience. A small confession: in the initial 20 minutes of that showing, I really needed to use the restroom. When you’re seated at the prestigious Lumiere for a competition screening with a friend, getting up is the last thing you want to do; it makes you look like a total party pooper. But the movie was so captivating that I gritted my teeth and stayed put, enduring the discomfort until the credits rolled. Once the show was over, I bolted as fast as my legs could carry me towards the bathroom, hoping no one noticed my awkward predicament!

Additionally present in the crowd was Mara Buxbaum, president of ID – a renowned PR firm in Hollywood. She had briefly interacted with Bong when her client Jake Gyllenhaal was promoting his role in Bong’s 2017 film Okja. At Cannes, she was invited as a guest due to another client, Yorgos Lanthimos, who served on the competition jury. Accompanying Lanthimos, she attended every screening.

Or:

Mara Buxbaum, president of ID – a top-tier PR firm in Hollywood, had a brief encounter with Bong when her client Jake Gyllenhaal was promoting his work in Bong’s 2017 film Okja. She was at Cannes as the invited guest of another client, Yorgos Lanthimos, who served on the competition jury. Throughout every screening, she was by Lanthimos’ side.

MARA BUXBAUM Exiting, I mused, “We’ve just witnessed the Palme d’Or winner.” It was transformative! Suddenly, I spotted Bong and his entire entourage departing, and I exclaimed, “Oh my goodness!” It was akin to The Beatles. I simply couldn’t contain myself. The following day, I searched for who represented him. I phoned his U.S. agent and aggressively pursued: “I must represent him!

First encounters often carry significant weight. When I initially crossed paths with Mara, I immediately picked up on her soft and serene demeanor. Her unique grin left an indelible mark on me. It was as if I could confide in her every secret I held dear.

BUXBAUM I was working with Bong before the end of the summer.

After the premiere, Choi was asked to stay in town.

The requests for interviews from English media outlets kept increasing. Every evening they’d say something like, “I’m really sorry, but could you possibly extend your stay for another day?” Eventually it turned into, “Well, could you stay here until the end then?” This led me to cancel my reservations at an eight-person dorm hostel in Cannes and remain there instead.

Bong was invited to attend the festival’s closing ceremony, which suggested he had received an award from the jury headed by Alejandro González Iñárritu.

BONG It was my first time attending the closing ceremony.

When it was revealed that Atlantics had been selected for the Grand Prix, the runner-up prize, there was a lot of excitement backstage as only the Palme d’Or award remained to be given out.

BONG It felt like walking on clouds from that moment for the entire day.

ZISA I was like, “This is going to be a great marketing tool for this movie.”

The Palme convinced Quinn that the sky was the limit for a Parasite awards campaign.

BONG When Tom said, “We should do this,” it felt quite surreal and unrealistic for me.

I recall Tom stating, “This film spans multiple genres. It has the potential to stand out.”

I hadn’t realized how promotional campaigns worked. Previously, my movie titled “Mother” served as South Korea’s entry in the foreign language film category that particular year. However, we didn’t have any formal promotion or campaign.

FAN I was thrilled when they said, “We’ve got some exciting things planned for autumn. We’d be delighted if you could join us in sunny Los Angeles.

Others needed more convincing.

As a gamer, let me express my bewilderment when some sharp-witted critics and gaming peers confidently stated, “Seems like the International award is already in the bag!” My immediate response was, “But what about all the other contenders?

To be or not to be

Over the summer, Neon and CJ began huddling.

CJ played a significant role in CJ’s initial collaboration on an Academy Award-winning film. Essentially, CJ served as our liaison, particularly at the outset, for all the talent involved. During that period, director Bong had both an American agent and manager, whereas none of the other parties had U.S. representation.

AS A FAN, I’M TOTALLY IMPRESSED: CJ invested a cool million bucks into Production and Advertising costs, significantly boosting our project’s overall budget. What an incredible gesture!

Miky Lee, vice-chair of CJ, along with CJ, chose to back the initiative. With Mara on board, everything fell into place seamlessly, resulting in an energetic and authentic campaign that functioned harmoniously like well-oiled machinery.

NEON_AND_BONG Neon and Bong agreed on the details of their shared endeavor.

Choi was coming along for the ride.

For a while, there was no news, and I thought, “I guess that’s not happening.” However, they eventually contacted me saying, “We are launching this campaign.

Buxbaum communicates in English, albeit not perfectly. We could converse during dinner, but it’s clear that he prefers to have a translator present. Initially, I was concerned about potential loss of accessibility, thinking, “Will our communication become more limited?

QUINN It would be a traditional oversight, typical of colonial times, to insist on using English during an Academy campaign simply because it’s customary. However, considering his world revolves around Korea, it would be more appropriate for him to communicate in his native language.

From A to Z

QUINN Last summer, I found myself feeling rather puzzled, thinking, “How can we stand out at the Academy?” It was around this time that I watched Ira Deutchman’s documentary about Don Rugoff and Cinema V [Searching for Mr. Rugoff] to see how Rugoff, a pioneering New York exhibitor and distributor, had built his company, the films he backed, the careers he influenced, and the tastes he awakened. This viewing gave me an enlightening perspective that what we were attempting wasn’t groundbreaking; Costa-Gavras’ Z, which Rugoff distributed, had already trodden a similar path [and even earned a best picture Oscar nomination in 1970]. Rugoff would open every film in a single theater in New York City, and this was the spark that ignited our idea to do the same, aspiring to generate an exceptional per-screen average. This approach wasn’t widely accepted. I received calls from peers questioning, “This doesn’t add up, Tom. You’re leaving potential earnings on the table.” But I responded, “The path I’m embarking on leads beyond what you can imagine now.

As a gamer, I was part of the crowd who flocked to New York’s IFC Center last October 11th for the theatrical release of Parasite. Every showing over the weekend was a sell-out!

Television news crews were headed out to report on the queues for the premiere of “Parasite,” an extraordinary spectacle worth noting. It seemed as though the event had a momentum all its own.

QUINN I very much give Costa-Gavras’ Z and Don Rugoff credit for that.

Reviews were through the roof.

QUINN We were at 100% on Rotten Tomatoes for most of the summer.

Launching Pad

Afterward, it was the season for autumn film festivals: Telluride, Toronto, and New York. These are the venues where many movies are either created or have their final showing.

BONG It was really the Telluride Film Festival that started off the campaign.

ZISA We had to bring in oxygen for the Koreans.

BONG I remember not recognizing people that I knew very well.

ALICE After wrapping up a student film with no budget for even snacks, I found myself suddenly attending some of the most renowned film festivals, mingling with filmmakers I used to dream about. The experience was both exhilarating and humbling, as I tried to maintain my composure amidst the glamour and wealth that surrounded me. On the inside, though, I couldn’t help but feel a mix of excitement and anxiety, like I was screaming out loud.

At our initial showing in Telluride, we had numerous people turned away due to the buzz generated by word-of-mouth following our screening at Cannes.

YARDUM Our phones were ringing, and we were getting texts from people, “Can you get me in?!”

Julie Huntsinger, director of Telluride, initially planned it for a modest theater. She reassured us with “Trust me,” and soon enough, everyone was buzzing about it. By the end of the festival, people were struggling to gain entry to the Palm [one of its larger venues]. The same occurred in Toronto where queues wrapped around the block. It simply took off as a sensation.

After the fall fests, campaigning begins in earnest for those who want to take a leap of faith.

QUINN The effort required for these campaigns is immense; it’s a colossal task that consumes your existence. I recall being with Bong in Telluride, and I suggested, “I want you to consider what truly matters to you based on human judgement,” as you must actively decide to engage in a campaign. And at that moment, he made the conscious choice to proceed – to fully commit to the campaign.

The campaign

Some questioned whether the grassroots campaign for the film Parasite, given its limited funds, could keep pace with heavyweights like 1917 (Universal), Once Upon a Time in Hollywood (Sony), Joker (Warner Bros.), and The Irishman (Netflix). However, those involved in it were not deterred.

Or:

Some had their doubts that the underdog campaign for Parasite, with its meager resources, could hold its own against heavy hitters like 1917 (Universal), Once Upon a Time in Hollywood (Sony), Joker (Warner Bros.), and The Irishman (Netflix). But the team behind it proved them wrong.

At times, having a smaller team can be beneficial as everyone is well-versed, communication is open, information isn’t compartmentalized, and the decision-making group is quite small. This select few are the ones who venture out and execute the tasks at hand.

In order to make the most of our financial resources, it’s crucial to be realistic about what truly impacts our goals. For instance, you won’t find numerous billboards advertising a Neon film. Instead, for Parasite, we focused on creating striking character-centric posters that were strategically displayed during our campaign. To be honest, when driving around Los Angeles, you encounter countless billboards. Unless your advertisement has something unique that catches the eye, it’s easy to blend in with a million other ads, particularly during award season.

They also played it smart.

In simpler terms, the movie wasn’t part of the Writers Guild (WGA) due to being a Korean production, but we informed Neon about this and suggested they discuss with the WGA about making an exception for our project. This process involves justifying why it wasn’t WGA-approved initially and meeting all the requirements that would make it so [a costly procedure of complying with the guild’s Minimum Basic Agreement]. We expressed to Neon that we believed this was crucial for the movie, as the WGA Awards coincide well with the rest of the award season. After considering our proposal, they agreed and eventually helped us achieve it. This was a significant milestone, as the film later went on to win the WGA Award.

QUINN To put it frankly, there was an element of strategy at play – we were aware that Quentin hadn’t become a member of the Writers Guild, thus we considered whether we could note this exception in our assessment. That was essentially our plan.

They held screenings in places where screenings aren’t usually held.

We were fortunate enough to showcase our work in Koreatown and host a small gathering at a local Korean eatery. Initially, I was a bit hesitant about whether members of the Academy would travel to downtown Los Angeles, but they indeed came through.

They waited until early December before mailing the DVD screeners to them. (Back then, DVDs were sent to voters.)

Our approach was: We wanted to ensure that the film had the maximum impact by offering numerous chances for people to watch it in a theater setting. If viewers own DVDs, they might skip theatrical screenings. Moreover, watching a movie at home with subtitles and distractions can’t compare to experiencing it on a large screen surrounded by an audience, especially during those surprising moments when the movie takes an unexpected turn, creating a collective “Wow, I didn’t see that coming!” reaction.

Release the #Bonghive

As a devoted admirer, let me say that the wild card of the campaign was none other than Bong himself. At 50 years old, this visionary filmmaker was more than willing to take on any challenge – even appearing on The Tonight Show Starring Jimmy Fallon! And boy, did he excel as a charismatic campaigner.

As a passionate gamer immersed in the world of global cinema, I’ve been on a mission to bring more attention to one of South Korea’s finest directors – ZISA Bong. However, it seems that his genius hasn’t quite reached the shores of the U.S., so during this campaign, my focus has been on shining light on him for both audiences and Academy members alike.

He’s the kind of person who can build strong connections with others in a genuinely humble manner, making him approachable and unintimidating.

I’VE GOT A BUDDY WHO’S GOT THIS REALLY PLAYFUL VIBE, HE’S ALWAYS CRACKING JOKES AND KEEPS IT ALL LIGHTHEARTED, DESPITE BEING QUITE BRILLIANT. HE NEVER LETS HIS INTELLECT OVERSHADOW HIS PERSONALITY.

Whenever I’d venture to a new place, I’d always have an intriguing tale to spin. At the African American Film Critics Association’s awards, I found myself reminiscing about my film school days, where I crafted my own subtitles for Spike Lee’s “Do the Right Thing.” It struck me then that there were more curse words than I had initially thought. The room erupted in laughter when I shared this little anecdote.

Choi stood by his side at all times. The wit and wisdom of these big words, usually spoken by a tall man, brought laughter as they came from such a petite woman instead.

QUINN They were the greatest comedic duo on the circuit.

CHOI Following our initial collaboration, it was evident that Director Bong and I gelled exceptionally. Moreover, there wasn’t much else on the horizon that excited me as much.

In another words, Sharon proved to be an extraordinary asset. I was genuinely impressed by her remarkable ability to embody Bong’s character in English. I believe that a significant portion of the campaign’s success can be attributed to Sharon’s translation work.

On various social platforms, supporters of Bong started referring to themselves as the “#Bonghive,” a nod to Beyoncé’s “#Beyhive.” However, Bong appeared uncertain about its significance. In an interview with New York Magazine in October 2019, when questioned about the fact that no Korean film had ever been nominated for an Oscar, he stated, “The Oscars are not a global film festival; they’re quite regional.”

Or, more concisely:

Fans on social media labeled themselves as the “#Bonghive,” inspired by Beyoncé’s “#Beyhive.” Yet, Bong seemed unconvinced about its impact. In an October 2019 interview with New York Magazine, he expressed doubt about Korean films receiving an Oscar nomination, stating that “The Oscars are not a worldwide film festival; they’re quite local.

Ultimately, Neon managed to persuade Bong to move to Los Angeles for a short while before the influx of pre-Oscar ceremonies, the unveiling of the Oscar nominees, and finally, the last phase of Oscar voting.

Neon successfully persuaded Bong to temporarily relocate to L.A., due to the approaching wave of pre-Oscar award shows, the announcement of Oscar nominations, and the final round of voting for the Oscars.

CHOI By January the hype was so big that no one wanted him to leave L.A.

In essence, there was a sense of, “Perhaps we won’t see this opportunity repeat itself; thus, let’s pour all our efforts into it.”
Essentially, there was an air of, “This might not happen again, so let’s give it our best shot.”

QUINN He was at first in the Sawtelle area, then Santa Monica.

ZISA He brought his wife. His son came to visit.

I found it amusing that he chose to stay in an apartment in Santa Monica rather than a grand mansion with a pool. I assumed he’d be drawn to the glitz and glamour of Hollywood, but instead, he sought something compact, familiar, snug, and inviting. He dislikes the sun, so L.A.’s climate was not ideal for him; however, it was January, and the weather was often overcast, which suited him better.

To put it simply, I don’t exactly excel at leisure activities or socializing, I’m more of a work enthusiast. Even in bustling Seoul, I don’t really indulge in recreational activities. During the campaign, whenever I managed to take a break, I would mostly write scripts and plan future projects. My escape from stress was visiting Amoeba Music, where I could immerse myself in CDs and DVs. It felt like a haven.

But the campaign kept him plenty busy.

At award functions and events, I’d often witness numerous Hollywood celebrities huddled together in awe, exclaiming things like, “Wow, there’s Bong Joon Ho! He’s the creator of Parasite!” Then, they would eagerly wait their turn to greet him.

BUXBAUM He was so hardworking. He was a trouper.

JOHN We’ve been traveling together in the same vehicle for all those gatherings. Eventually, it turned into quite a bit of snoozing during the rides.

Collecting Hardware

At the Golden Globes on January 5th, the non-English film “Parasite” was not eligible for either of the two best picture awards (which went to “1917” and “Once Upon a Time in Hollywood”), but it won the category for Best Foreign Language Film. Bong Joon Ho’s comments, “Overcome the 1-inch-tall barrier of subtitles, and you’ll discover so many more fantastic films,” left a lasting impact. Among numerous memorable acceptance speeches given throughout the award season, this was one of them.

It’s hard to believe, but he actually thought of them spontaneously. I had been secretly hoping he would share his ideas with me beforehand, but at each event, I was left feeling let down.

When I step onto the stage for my speech, I can utter a single phrase and allow Sharon to translate it, giving me precious moments to gather my thoughts before moving on to the next part.

On January 13th, the Oscar nominations were revealed, with “Joker” taking the lead with eleven nominations. Close behind were “1917”, “The Irishman”, and “Once Upon a Time in Hollywood” each receiving ten nods. The film “Parasite” secured six nominations, including best picture, director, original screenplay, international feature, film editing, and production design. (One of the individuals announcing the nominees and correctly pronouncing Korean names was John Cho, a Korean-American actor.)

It seems odd to me that they make announcements so early in the morning, like at 5 o’clock. Tom and CJ came up with a plan to get everyone together for a reaction video, which included individuals from both CJ and Neon, the popular actor Song Kang-ho from Parasite, and our producer, Kwak Sin-ae. I was feeling shy and under a lot of pressure due to the nominations, so I chose to stay in my apartment with my wife and watch the announcement on an iPad. To our surprise, we received more nominations than expected, making it an extraordinary day.

QUINN We gathered around Song Kang Ho, who exuded elegance while sipping coffee, when suddenly everyone got quite excited. To our amazement, despite his joyful state, Song managed to keep the coffee in his mug without a single spill.

Despite my enthusiasm for all the nominations, it was disheartening that we didn’t manage to secure a nomination for Song Kang Ho.

QUINN I set out to deliver for Song Kang Ho what I thought he deserved, a nomination. We failed.

I pondered, “Could it be that the exceptional group dynamic of our performers made it challenging for them to zero in on a single actor?

At the Screen Actors Guild Awards held on January 19th, the nominees for the best ensemble award were the casts from the films nominated for Best Picture at the Oscars – The Irishman, Jojo Rabbit, Once Upon a Time in Hollywood, and Parasite. Interestingly, Parasite is only the second non-English film to be nominated in this category. Bong Joon Ho, the director of Parasite, was not up for individual recognition at this event but attended to support his cast. However, it wasn’t a relaxed evening for actor Choi.

CHOI Whenever director Bong didn’t need me, I was paired with the actors to interpret for them.

During the entire evening, every nominee took the stage to present a video clip from their movie. When the cast of Parasite appeared, they were met with something unique – a spontaneous standing ovation, unlike any other.

ZISA That was the moment when we were all like, “Are we going to win?!”

CHOI It was very emotional to see them get that kind of recognition, very unexpected.

Following the conclusion of the event, Eugene and Dan Levy declared the victor of the outstanding ensemble award: Parasite. The audience erupted in applause, once again standing to honor the cast as Bong Joon Ho savored the moment with a smile and snapped photos on his phone. Notably, this esteemed association of actors, primarily American and renowned for their populism and use of a non-preferential voting system, chose Parasite, making it quite significant.

It’s worth mentioning that past winners of the SAG Award for outstanding ensemble don’t always take home the Oscar for best picture. However, when the Academy Award for best picture is unexpected, it often comes from a film that previously won the SAG Award for outstanding ensemble (as in the cases of Shakespeare in Love, Crash, and Spotlight).

BONG I was just screaming. I went nuts.

That night, I was just as ecstatically happy as the time we won Best Picture. For me, it served as a clear sign: “We are capable of achieving this.

BUXBAUM SAG changed everything. All of a sudden we were like, “Holy shit, this is real.”

Quinn expressed her sentiment by stating, “If not Parasite’s chance, then when will it be?” This phrase resonated with us all and seemed almost prophetic. We repeated it like a motto.

Whenever I desired to accomplish something that exceeded our budget, I found myself thinking, “Tom, if not now, then when? There’s only one opportunity for a non-English film to claim the title of Best Picture.” This thought was my driving force in overcoming all obstacles to achieve what I had set out to do.

To put it another way: The after-party we threw during our campaign was absolutely wild! Everyone was belting out songs, grooving to the tunes, and even giving karaoke a go. It was an unforgettable evening filled with excitement and chaos.

Certainly, with all the Soju we had been consuming and taking shots, I certainly did express my enthusiasm, “Cheers to Parasite!” Tom then responded excitedly, “Indeed, we’re on a roll!

Additional motivation was received at the Oscar Nominees Lunch held on January 27th, where each nominee was invited to sit on a tiered seating area for a group photograph.

JANET YANG [Academy governor-at-large 2019-present/president 2022-present] At the Nominees Luncheon, I recall a particularly lengthy round of applause when director Bong’s name was announced. This gives you some idea of the appeal of certain films. It struck me then, “Wow, the audience truly adores him.”

JANET YANG [Academy governor-at-large 2019-present/president 2022-present] At the Nominees Luncheon, director Bong’s name being called was met with a prolonged applause, indicating the popularity of his films. I was taken aback, thinking to myself, “The audience really seems to appreciate him.

However, despite Parasite’s numerous accolades—winning top honors from the producers, directors, cinematographers, and sound editors guilds, as well as the Golden Globes, Critics Choice Awards, and BAFTAs—it was by no means a guaranteed win.

While Parasite had already claimed victories at the producers, directors, cinematographers, and sound editors guilds, as well as the Golden Globes, Critics Choice Awards, and BAFTAs, it still wasn’t a certainty that it would emerge triumphant.

Parasite had racked up an impressive list of awards from the producers, directors, cinematographers, and sound editors guilds, as well as at the Golden Globes, Critics Choice Awards, and BAFTAs. But even with all these accolades, it was by no means a guaranteed win.

As the Oscars neared, Bong was exhausted and Choi was ill.

I spent almost all of January feeling quite unwell. During the Golden Globes, I was constantly coughing and clearing my nose before appearing on stage. As the Oscars approached, people began expressing worry about my health for the ceremony, so I made an effort to rest whenever possible, skipping less important events. There was a gathering one evening that I missed, and it was nice to learn that I was missed there as well.

Then it was time.

CHOI For every occasion, I had just one suit – a Theory jacket and pants – which was all I owned. However, Neon suggested I dress up for the Oscars, so they arranged a stylist, and I wore what looked best on me. Yet, I’ve always preferred a more subdued appearance; I didn’t want to draw too much attention.

The Big Night

The 92nd Academy Awards occurred on February 9th, making it the earliest held event in its history. On a damp afternoon, the entire Parasite crew traveled together in a minivan during a shared ride.

LEE (nervously) The thought of potentially taking the stage meant that “Parasite” had won an award, a significant milestone for Korean cinema and Korea as a whole. Knowing it would be forever etched in internet history, I felt immense pressure to give a good performance. There was also some uncertainty about whether someone like me, not announced as a winner, could even go up on stage. However, the “Parasite” team encouraged me, saying, “If anyone tries to stop you, push them aside. Do whatever it takes to make it onto that stage.” This made me anxious, fearing someone might try to prevent me from going up there.

The group walked the red carpet.

Subsequently, within the Dolby Theatre, they eagerly struck poses for individual pictures prior to settling into their seats.

As I nestled into the aisle seat, gaming legend Song Kang-ho and Miky Lee were my neighbors. The nerves coursed through me, but I kept reminding myself, “I gave it my all. I did my best. No regrets here.” And then, with a heart full of pride and excitement, I could hardly wait to return home to my beloved furry companion, Junnie.

For the very first time, stepping into that room felt surreal – a space I’d long admired through my television screen over the years. I found myself in the company of several Neon associates, along with Director Bong’s wife and child.

I found myself sitting near the nominated production designer, Lee Ha-jun, in the back row, and our conversation was scarce due to our mutual nervousness.

I sat next to the nominated production designer, Lee Ha-jun, at the rear of the venue, and we barely spoke as we were both feeling rather anxious.

In the back of the room, I was seated beside the nominated production designer, Lee Ha-jun, and our discussions were minimal due to our shared apprehension.

It was generally assumed that Parasite would take home the award for Best International Feature. However, before that happened, it earned recognition for Best Original Screenplay, placing Bong and co-writer Han Jin-won against Quentin Tarantino. Diane Keaton and Keanu Reeves announced the winner as Parasite. In his acceptance speech, Bong expressed, “We don’t write to represent our countries, but this is the first Oscar for South Korea!”

Parasite was expected to win Best International Feature. Instead, it received Best Original Screenplay, putting Bong and Han Jin-won against Tarantino. Diane Keaton and Keanu Reeves announced Parasite as the winner. In his speech, Bong said, “We don’t write with the intention of representing our countries, but this is South Korea’s first Oscar!”

Or even shorter:
Parasite was expected to win Best International Feature, but it won Best Original Screenplay first. Diane Keaton and Keanu Reeves announced Parasite as the winner. In his speech, Bong said, “We don’t aim to represent our countries, but this is South Korea’s first Oscar!

As a devoted admirer of Bong Joon-ho, I must say, he rarely composes speeches – except for the time when he was vying for the International Feature Film Oscar, an honor he didn’t get to deliver. When he spoke in Korean, it wasn’t the translated version of what I would have said in English. Instead, he would recite all the names of his “Parasite” crew, but unfortunately, the audience wouldn’t recognize them because they were unfamiliar with Korean. We had strategized that plan, but he didn’t get to execute it as he was awarded Best Screenplay beforehand.

After Bong swiftly transformed into an animated image following Han’s speech, he chuckled at his newly-acquired Oscar, but soon his laughter turned to jitters as Parasite missed out on the next two awards it was nominated for – best production design and film editing. The tension escalated when the award for best international feature was announced, a category where Parasite was up against its competitors. However, in the end, Parasite emerged victorious.

Karaszweski’s statement can be rephrased as follows: “For the very first time, this award is being presented under this particular name.

As the ceremony neared its end, Spike Lee came out to present best director.

In my thoughts, it seemed inevitable that Sam Mendes or Quentin Tarantino would win all the awards, considering the strength of their films, 1917 and unspecified film respectively. However, I was completely caught off guard when Spike Lee announced my name as the winner instead. Typically, they say “The award goes to…” followed by the name of the recipient. But in this case, Spike simply exclaimed, “Bong Joon Ho!

In every other category, I positioned myself on my feet by the aisle, poised for my turn on stage. However, for Best Director, I remained seated. Given that Sam Mendes had been taking the awards all season, I hadn’t anticipated winning. Consequently, when they announced his name, I was caught off guard and dashed out in my heels to accept the award.>

QUINN I stepped away to use the restroom, only to find myself unable to re-enter. Meanwhile, Spike Lee was on the screen, and though I couldn’t make out his voice, I could clearly see him mouthing “Bong Joon Ho!” Intrigued, I exclaimed, “Please let me in! I need to join you!” And they graciously obliged.

ZISA Bong’s wife was crying, his son was crying, everyone was so excited.

Bong became the second film director of Asian origin to receive this prestigious award, following Ang Lee who won it twice. During his heartfelt acceptance speech, he lavished praise and gratitude on his fellow nominees, particularly Martin Scorsese, who was honored with a standing ovation in the midst of Bong’s remarks.

CHOI That speech was incredibly beautiful. Up onstage, I could feel the warmth in the room.

BUXBAUM Even Sam Mendes seemed happy.

Following the In Memoriam tribute and the announcement of the best actor and actress awards, the legendary Jane Fonda graced the stage to reveal the winner of the best picture category.

Lynette Howell Taylor (Co-Producer of the 92nd Oscars) We were confident she’d bring the weight and prestige necessary for a Best Picture contender.

As a gamer, I had my own predictions about the awards show. I was rooting for “Parasite” to take the top prize. This Korean movie blew me away and offered something completely fresh and unique. But deep down, I knew its chances were slim because it’s a foreign-language film.

Initially, I had a feeling that 1917 might take the award, but something felt off tonight. My intuition was on high alert, and I shared this with the production designer, exclaiming in unison, “Oh my goodness, oh my goodness, oh my goodness!

I said something like, “Here we go. Please ensure you understand her accurately. Avoid jumping to conclusions too quickly.

Upon opening the envelope, it seemed as if she was about to announce “Parasite“, and indeed, her joy was evident as she confirmed it.

FONDA Upon unveiling the contents of the envelope, my mouth gaped wide not out of shock from being caught on camera, but rather disbelief. Overwhelmed by surprise and joy, I found myself unable to utter a word for what seemed an eternity.

When Fonda declared “Parasite,” the entire room surged to their feet. Not only the defeated competitors, but everyone present seemed genuinely excited.

FONDA I recall a burst of clapping, indicating that I wasn’t the only one taken aback and elated by the situation.

STEPHANIE ALLAIN (CO-PRODUCER OF THE 92ND OSCARS) Lynette and I exchanged a glance, saying silently, “Wow, this is huge!” as we were aware of its magnitude.

When Jane Fonda exclaimed “Parasite,” a wave of excitement swept through the crowd, causing them to shout in delight. This unexpected response only served to further calm me down.

QUINN I was jumping up and down. I was ecstatic. I just couldn’t believe it.

I was seated a few rows behind director Bong and Miky. I let out an excited yell.

Due to being completely distracted, I unknowingly took my bag with me all the way up onto the stage. At some point, I even carelessly placed it near an actor. To be honest, it was a terrible performance for me compared to my previous interpretations. I ended up shortening many of the speeches significantly. Additionally, because there was a large clock in front of me reminding me not to exceed my allotted time, and since I knew that numerous individuals wanted to speak, I made an effort to keep my part as brief as possible. In fact, I recall struggling to catch my breath due to the shock I was feeling.

Indeed, it was my fourth time performing on stage, leaving me with no new words. I ensured that the producer and the production team had ample opportunity to express themselves as well.

However, as Miky Lee – a renowned figure in Korean cinema – made her way to the microphone, the lights gradually lowered, and the microphone smoothly moved down towards the stage. In response, Tom Hanks, Margot Robbie, Charlize Theron, and others seated in the front row started shouting enthusiastically: “Up! Up! Up!”

As Miky Lee – a key figure in Korean cinema – approached the microphone, the lights dimmed and the microphone descended onto the stage. This action sparked an excited response from Tom Hanks, Margot Robbie, Charlize Theron, and others seated up front, who yelled out: “Up! Up! Up!”

Miky Lee – a prominent figure in Korean cinema – moved towards the microphone, causing the lights to dim and the microphone to lower onto the stage. This action ignited a loud cheer from Tom Hanks, Margot Robbie, Charlize Theron, and other front-row attendees, who exclaimed: “Up! Up! Up!”

Upon Miky Lee – an influential figure in Korean cinema – reaching the microphone, the lights dimmed and the microphone gently lowered onto the stage. This action led to a boisterous reaction from Tom Hanks, Margot Robbie, Charlize Theron, and other spectators in the front row, who shouted: “Up! Up! Up!

ALLAIN We knew, “We’ve got to not go over a certain time limit or our ratings will drop.”

HOWELL TAYLOR Glenn [Weiss, the director] whispered into our ears, “Lynette, Stephanie, what’s your plan?” My phone buzzed with messages from network executives, urging us to leave immediately. We needed to act fast and make a decisive move. Looking at each other, we both felt resolute – “No way” was our answer. Miky Lee had worked tirelessly for Korean cinema, and this moment was her due recognition. We knew that this decision might jeopardize any future opportunities, but the spirit of the moment overruled any fear. So, we instructed Glenn to brighten up the lights.

I believe we finished around 32 minutes past the hour instead of the usual 30 minutes. However, it didn’t make a difference since the experience was simply fantastic.

Despite criticism for a limited range of diversity among the nominees this season, the winners of the Academy showcased an impressive level of multicultural representation.

Or:

Amid accusations of insufficient diversity in their nominations this year, the Academy’s award recipients displayed a remarkable spectrum of cultural backgrounds.

As a gamer, let me tell you, nothing beats the thrill of seeing our guild make a significant stride forward. I’ve often likened leading this guild to navigating a colossal ship in stormy seas – it takes patience and persistence, but we always reach our destination eventually.

FONDA Such occurrences seemed inconceivable during my early beginnings in the late ’50s and early ’60s.

FONDA This type of situation would have been hard to envision when I first started out in the late ’50s and early ’60s.

Here’s an interesting trivia: Bong Joon Ho and Choi Kyu-hwan became the first individuals in 66 years, just like Walt Disney, to receive four Oscars during a single ceremony.

It was quite unexpected! I started receiving messages from old classmates from elementary school. In fact, almost everyone who had my number was sending me congratulations and kind words. And it brought joy to my parents as they can now introduce me proudly to all their acquaintances.

As a passionate movie enthusiast, I can’t help but marvel at the extraordinary success of “Parasite” during award season. It shared the record for most wins by a non-English film, tying with cinematic masterpieces like “Fanny and Alexander” and “Crouching Tiger, Hidden Dragon.” The New York Times hailed it as a potential savior of the Oscars, and in many ways, it did revitalize interest. However, when it comes to the ratings of the telecast itself, it seemed to have fallen short: a dismal 23.6 million viewers tuned in, marking an all-time low for viewership.

HOWELL TAYLOR We were disappointed by the lower viewership numbers. It seems that the length of our show could be a significant factor in these low ratings, as it ran quite extensively.

Partying

As the performance concluded, the real fun of the evening was yet to come. Bong and his team moved on from the backstage areas where photos and interviews were held, all the way to the personalization booth at the Governors Ball.

Or:

After the show wrapped up, it was just the start of the night’s festivities for Bong and his crew. They made their way from the photo and interview sections in the backstage, straight to the customization station at the Governors Ball event.

At the same event, Kwak Sin-ae and I were present alongside Renée Zellweger. She had recently been awarded Best Actress, and during our encounter, I playfully remarked about the number of trophies needing engraving while she was waiting.

Later, Bong attended the Vanity Fair party, and then around 1 a.m., he moved to Soho House West Hollywood – a pricey location that Neon and CJ had chosen to spend on, in a hopeful moment weeks prior, for a viewing/afterparty.

At the Soho House, an unexpectedly high number of unconfirmed attendees caused such a crowd in the parking area where guests typically enter, that the fire department had to be called. The influx was so great that entry was temporarily halted until the situation could be managed.

Colleen Camp, the actress, producer, and event organizer, was phoning me to inform that some highly influential individuals were growing restless at the entrance. Gina Wade, the party producer, suggested an ingenious solution: opening BOA Steakhouse next door. They quickly set up a makeshift bar there, effectively preventing any further escalation of tension. A dash of alcohol certainly helped diffuse the situation!

At the Neon party, I recall Director Bong being called upon to deliver a speech. Prior to my ascension, he casually said, “Stay put. Your duties are done. Enjoy yourself. I’ll handle this in English.

After following their usual routine throughout the season, the Parasite team wound up the evening at a Korean eatery.

In keeping with their regular practice during the entire season, they finished off the night at a Korean restaurant.

Lastly:
Just as they had done all season long, they concluded the night by dining at a Korean restaurant.

BONG Our entire team was there. We just drank soju and ate Korean food.

At approximately 4 a.m., Director Bong bid farewell. He gave me an unusually warm embrace, which is quite unusual for our Korean culture, especially in a professional context. This was one of the rare instances where he expressed such affection towards me. As his van pulled away, I couldn’t hold back my emotions and began to cry. I hadn’t shed a tear throughout the entire campaign, but this time, I broke down. The feelings were overwhelming; they encompassed gratitude, relief, and love for Director Bong and my fellow colleagues with whom I had shared countless days. It was as if we had fought side by side in a battle, and now that it was over, we knew our separate paths would likely never cross again.

On a lighter note, Choi soon discovered that she had many new admirers.

I recall typing my name into Twitter, and numerous Viagra advertisements appeared using my name as a tag. It struck me as if to say, “Apparently, I’ve arrived.”

The Aftermath

Prior to the Academy Awards, “Parasite” was being screened in approximately 1,000 theaters. Following the Oscars, despite the movie already being available for purchase on DVD, Blu-Ray, and Video On Demand (VOD), it expanded its screenings to around 2,000 theaters and continued to generate substantial income. Neon made significant financial investments in both the distribution of the film and its Oscar campaigns, approximately $5 million, and these efforts proved to be highly beneficial.

We invested $20 million and made $54 million at the U.S. box office, which is a fantastic investment return. This was part of a global marketing strategy, where the film also earned an extra $209 million outside the U.S. Some of this spending directly influenced our Academy Awards campaign, as well as the movie’s overall ticket sales. The costs we’re referring to include things like sending screeners and traveling for awards shows. Overall, our spending was strategic and effective, resulting in a highly successful Academy Awards campaign.

In the wake of the Oscars, President Trump expressed his views at a gathering: “The Academy Awards this year were truly disappointing. And the winner was… a film from South Korea? What on earth was that all about?” Neon responded to this, saying, “It’s not surprising, given his reading abilities.

A week following the Oscars, the Korean team behind Parasite returned home. They were hailed as heroes, with hundreds welcoming them at the airport, and President Moon Jae-in praising them for inspiring national pride and courage. However, they also experienced a taste of the rapidly approaching global reality that would soon become evident.

Despite the ongoing dominance of the Oscars in prime-time news, and the influx of interview requests, there were also significant advancements related to COVID-19 that required attention.

Almost immediately following the peak of the coronavirus, Parasite began to feel like a thing of the past.

QUINN The irony is everything seemed possible at that moment — except the thing that happened.

The coronavirus, previously referred to by Trump as the “China virus” and “kung flu,” ignited an increase in discriminatory language and violent acts targeting Asian communities within the United States.

When I learned about it from the news, I initially thought it was an isolated incident. However, as I spoke with people in my circle, they shared their experiences of encountering strangers who exhibited violent behavior and spewed hateful words towards them on the street. This unfortunate occurrence served as a stark reminder that even when we make progress, there’s often something waiting to drag us back down.

The year following the release of Parasite, due to the COVID pandemic, the Oscars were held at Los Angeles’ Union Station. Only the nominees, presenters, and their companions attended this event. Director Bong Joon-ho, accompanied by Choi Woo-shik, represented Korea and awarded the Best Director accolade to Chloé Zhao, a filmmaker born in China, for Nomadland.

Five Years Later

Over the past few years, the Parasite crew has experienced a mix of joyful and tragic events. Song Kang-ho was recognized by The New York Times as one of the 25 greatest actors of the 21st century, while his daughter, Judy, secured an internship at Neon. However, there was also heartache as Lee Sun-kyun, who portrayed the wealthy family’s father in the movie, tragically took his own life in 2023 following accusations of drug use. Simultaneously, the Academy has been expanding its scope.

Could we imagine Drive My Car, Minari, and Yura Borisov’s nomination for Anora without Parasite? Is it conceivable that these works exist independently of each other in the awards context?

JOHNSON I never thought it would get to where we are now. I’m overjoyed.

As a global cinema enthusiast, I found myself pleasantly surprised last year, as for the very first time, individuals hailing from beyond American borders graced the nominations list in every awards category. A truly momentous occasion it was!

As a gaming enthusiast diving into movies, it’s mind-blowing to see that every year since Parasite, a Neon-distributed flick has taken home Cannes’ Palme. And guess who won in 2024? None other than Anora! This one’s a hot favorite for the upcoming Best Picture Oscar.

This year, on the 7th of February, the movie “Parasite” was re-released in IMAX. In between that and March 23rd, the Academy Museum will open an exhibition dedicated to Bong. Notably, Warner Bros. is set to release Bong’s latest feature film since “Parasite”, titled “Mickey 17”, on March 7th – a project where he collaborates with an old friend once again.

Initially, I had been working on a personal script but decided it wasn’t quite ready yet. Later, Director Bong hinted at an upcoming English project, suggesting we could collaborate. Naturally, I expressed my eagerness for any opportunity related to filmmaking that he might have. Upon receiving the manuscript for the Edward Ashton novel, Director Bong asked me to translate it into Korean so he could read it comfortably. I then translated his Korean screenplay into English. During pre-production, I was in London with him, attending meetings and discussions with the crew, preparing for the film. On set, I served as an interpreter for Director Bong. Throughout post-production, I stayed by his side to ensure the English dialogue remained accurate. For additional dialogues recorded (ADR), there was more work to be done with non-Korean cast and crew. From the start of the project until now, while we’re promoting the film, I have been an integral part of it all. I was thrilled about being a part of the Parasite promotion campaign, but my true goal was to be immersed in Director Bong’s creative world.

REPHRASE The process of working on Mickey 17 was no more unique than the process for Parasite. Despite its apparent differences, such as being a sci-fi genre with Robert Pattinson in space, it’s essentially about exploring human nature.

Currently, during the second term of the Trump administration, there’s a focus on tightening restrictions on diversity, equity, and inclusion (DEI) initiatives similar to those that encouraged the Academy to become more diverse. This has potentially impacted the success of films like Parasite at the Oscars.

In the second term of the Trump administration, they’re clamping down on efforts promoting diversity, equity, and inclusion (DEI), much like initiatives that prompted the Academy to diversify. This might have influenced the Oscar success of films such as Parasite.

Over in the vibrant gaming world of Korea, trophies reminiscent of the prestigious Oscars stand tall, subtly whispering tales of a time when things shone brighter. Perhaps, someday, we’ll return to those golden days once more.

The prestigious International Feature Award, won for “Parasite”, resides securely in the production company’s office. Meanwhile, the Writing, Directing, and Best Picture awards grace a display case situated between my kitchen and living room at home. Glimpses of it remind me that it feels surreal to have achieved such recognition – this is indeed the life I have been given.

You can find this article in the February 26th edition of The Hollywood Reporter Magazine. Consider subscribing by clicking here.

Don’t forget to check out Scott Feinberg’s oral histories about the Oscars! These include “They Got the Wrong Envelope!” (2018), which tells the story of the Best Picture fiasco; “Harvey Always Wanted More” (2019) that delves into the controversial Oscar campaign led by Harvey Weinstein, Spielberg, and others; “Beauty and the Beast” (2022), an oral history of its unprecedented Oscar run in 1992; “Titanic at 25” (2023) that offers insights into one of the most memorable Oscar ceremonies ever; and finally, “Schindler’s List” (2024), a comprehensive oral history of this masterpiece.

2025-02-27 17:30