From precarious bridges of glass to deadly games of tug-of-war, “Squid Game” took the world by storm with its inventively dangerous games and intuitive social commentary. The series, which is…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
From precarious bridges of glass to deadly games of tug-of-war, “Squid Game” took the world by storm with its inventively dangerous games and intuitive social commentary. The series, which is now nominated for 14 Emmys including Outstanding Drama Series, takes children’s games and drags them through hell. When asked which of “Squid Game’s” lethal activities he believes he could survive, director Hwang Dong-hyuk thinks that his best chance lies in game five: the glass bridge.
“I always tend to read the room and see what everyone else is doing, so I have to say the glass bridge,” he said. “Because I think, knowing the person I am, I would’ve definitely picked the last number. So I would see everybody just die away before my eyes and — just like Sang-Woo, Gi-hun and Sae-byeok did — I would probably be able to survive until the end standing on top of those that sacrificed their lives.”
Variety senior artisans editor Jazz Tangcay sat down with Hwang alongside production designer Chae Kyoung-sun, composer Jung Jae-il, VFX supervisor Cheong Jai-hoon, editor Nam Na-young and stunt performer Lim Tae-hoon in a Variety Streaming Room conversation presented by Netflix. While Hwang may seem to believe he has a chance if he were in the Squid games, Jung doesn’t think he would stand a chance.
“For me, I scare very easily,” Jung said. “So I have to be very honest and say that I don’t think I would have made it through any of the games. And this is something that I did think of when I was working on the score as well.”
Meanwhile, Cheong rejects the idea entirely.
“I’m personally not a huge fan of games, especially ones where I have to risk my life,” Cheong said. “So I would opt out of all of those games. But I will say that I’m very good at Achi, so I’d love to play that!”
Watch the full conversation in the video above.
