I Talked To The Wedding Banquet Director About My Favorite Scene, And Turns Out Youn Yuh-Jung Actually Had A Key Note That Made It Better
Among the latest standout films in the LGBTQ+ genre is Andrew Ahn’s “The Wedding Banquet,” featuring Lily Gladstone, Kelly Marie Tran, and Bowen Yang as a close-knit group of queer friends. In an attempt to keep their Korean friend in America and finance an IVF procedure, they stage a fake wedding. After being deeply moved by a poignant moment between “Minari” Oscar winner Youn Yuh-Jung and newcomer Gi-Chan Han, I was further astounded by the director’s insights about its production process. (Spoilers follow!)
In “The Wedding Banquet,” my most cherished scene, rated four out of five stars in my review, features a touching moment between Min and his grandmother. This scene highlights their acceptance of each other, as she understands why living in America with his friends is crucial to him through his artistic expressions. Watching this heartfelt conversation left me in tears, emphasizing the importance of found family, particularly within the LGBTQ+ community. Upon inquiring about it from director Andrew Ahn, here’s what he shared:
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The most moving scene I highlighted in my four-star review of “The Wedding Banquet” is when Min and his grandmother share a heartwarming moment of understanding. This scene demonstrates their acceptance of each other as she recognizes the significance of staying in America among friends, expressed through his artistry. The emotional conversation between these family members brought tears to my eyes, underscoring the profound impact of found families – particularly for the LGBTQ+ community. Upon questioning Andrew Ahn about it, here’s what he explained:
In our initial chat with Yuh-Jung, she expressed appreciation for the script but felt that the scene needed more work. She emphasized its significance between her character and her grandson, stating it must be exceptional. Her conviction in our abilities to achieve this was truly motivating.
According to Ahn, when they were introducing Youn Yuh-Jung, she found the script appealing, yet felt the crucial scene needed improvement. Instead of rejecting it outright, the 77-year-old actress thought it had potential for enhancement. The writer/director mentioned that his cinematographer and the artist responsible for the patchwork also contributed significantly to refining the scene, but it seems like the Oscar winner for Minari played a significant role in taking it to even greater heights as shared by Ahn further on.
And then we showed Y-J the scene and she was like, ‘okay, now it’s good’.
Andrew Ahn appears to have assembled a cooperative ensemble, predominantly featuring individuals identifying within the LGBTQ+ community. For instance, Lily Gladstone requested her character to be indigenous, specifically Dwamish, as a gesture of respect towards the local indigenous community depicted in the film’s Washington setting. She expressed her desire for a sequel to further explore this culture more profoundly.
During our conversation with Youn Yuh-Jung, she mentioned another adjustment she requested for the movie. Here’s what she said about it:
Initially, I was intended to play the mother of the main character, but I felt that my age wouldn’t suit the role as he is around 26 years old. Therefore, we agreed to change it to the grandmother instead, which added depth to the character. Fortunately, everything turned out well. Additionally, Gi-Chan Han was a new face for me. He works in Korea, and I hadn’t seen his work before. However, when he joined the scene, he followed my directions exceptionally well, making our collaboration seamless. When I first saw it at Sundance, I praised them for their excellent work.
I’m thoroughly delighted by how Youn Yuh-Jung enriched “The Wedding Banquet” with her unique touches, and those elements undeniably enhanced the movie for me. It’s even more thrilling to learn that she’ll join the cast of “Beef” Season 2, which is set to stream on Netflix sometime this year or in 2026.
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2025-04-25 05:39