Fueled by the big dream of filming in Korea, James Choi’s film “Before The Call,” centers on a Korean American returning to Korea to enlist in the military. This global story was a bold move that Choi completed in an impressive seven-day shoot.
The story grew out of Choi’s experience when he was on a sabbatical and spent six months in Korea.
“I had gone there to make a specific film and the script ended up selling, so I pivoted. They have a mandatory military service, and the character was Korean American going back to enlist. The question arose: ‘Why would you or what are the reasons you would serve if you didn’t have to?’”
He sat down with the Sun-Times to talk about the impact the city has had on his creative process, the local scene and the movie’s main message.
Q: Your film, “Before The Call,” is in the CIFF “City and State” lineup. What is your specific connection to Chicago, and how did that relationship influence the film’s production?
A: It’s had a huge impact on the way I tell stories as well as the direct trajectory of my career. I grew up in Chicago. I came back 13 years ago and have been really heavily dialed into the independent world and also teaching at DePaul (University). I’ve approached filmmaking within the community of Chicago and not worrying about LA and New York.
Q: Chicago has a thriving film community. What unique qualities make it fertile ground both for the stories you tell and for the act of filmmaking itself?
A: I think that is what makes it so special is that it’s not nationally recognized. The grounds are fertile. When you look at Chicago as a city, it’s so rich. It’s super diverse and the stories are endless because of the aesthetics, the architecture, the people, the food — the stories are literally right in front of you.
Q: What was the genesis of “Before The Call?” What drew you to write the script, and what was your process for realizing its themes on screen?
A: I had a sabbatical and decided to go spend six months in Korea, where I was born. I had gone there to make a specific film and the script ended up selling, so I pivoted. They have a mandatory military service, and the character was Korean American going back to enlist. The question arose: “Why would you or what are the reasons you would serve if you didn’t have to?”
Q: What was one of the biggest creative challenges you faced while making this film, and how did you overcome it?
A: The biggest obstacle when we talk about independent film is money. I just thought about, “How do I overcome that?” My process is really about a journey of self-discovery and the act of creating and finding the joy in that. If I know exactly how I’m going to do things or how things are going to go, which is the traditional thing with money, then I feel like it’s gonna be dull.
Q: If there is one core question or idea you want the audience to leave with and discuss on the ride home, what is it?
A: A personal human reset. One of the biggest things that sort of struck me was sitting on a train in Seoul didn’t feel that different than sitting on the “L” tracks in Chicago. We’re all martyred with so much ideas of responsibility, duty and noise that sort of blind us from seeing the humanity in all of us. I just hope that it just creates some dialogue and openness about where our lines are and how we can make a difference.
Q: Beyond typical advice, what is the single most important lesson or unique “secret sauce” crucial to your success as a filmmaker?
A: It is letting go of fear. The film industry was based on exclusivity and gatekeeping. The secret sauce is simply “I’m no longer going to be fearful of that.” And stepping out of that — just being really emboldened to suppress my fear and go out and make that path.
“Before the Call” is showing Oct. 25 at Gene Siskel Film Center, 164 N. State St., and Oct. 26 at AMC NewCity 14, 1500 N. Clybourn Ave. For more information, go to chicagofilmfestival.com.
Editor’s note: This is part 3 of a three-part series with directors who are part of the Chicago International Film Festival’s “City and State” lineup of films. Read the part 1 with Rich Newey here and part 2 with Curtis Miller here.