Seattle gets a leading role in Korean film 'Late Autumn'

The list of locations for the movie "Late Autumn" is low-key, local and a little bit surprising. This star-studded Korean-U.S. film may be a love story set in Seattle, but it ignores the predictable, sweeping drama of the Space Needle for the faded Fun Forest below.

"Late Autumn," with Chinese actress Tang Wei and South Korean actor Hyun Bin, has been filming in the city and state for the past couple of months. The plot, a remake of a 1966 Korean movie, centers on Korean and Chinese immigrants who meet on a bus to Seattle and over three days in the city fall in love.

But in its portrayal of the city, the movie also nurtured its own affair with Seattle.

Instead of obvious landmarks, the director and production crew chose Ballard's Tractor Tavern for a music scene, filmed at boutique Horseshoe down the street and used the looming Fremont Troll as a backdrop. Kings Inn on Fifth Avenue makes an appearance.

Production designer Seong Hie Ryu was drawn to historic Ballard Avenue.

"It's an old street," she said. "It's got a sense of ... humanity in it."

With more than 40 locations, the production has shuttled its cast and crew from Whidbey Island to a bus terminal in Tacoma and a prison in Monroe.

The movie, which finished filming earlier this week, is in English to help broaden its appeal beyond the two stars' Chinese, Japanese and Korean fan base. Producers are targeting the film for an international release, including broad distribution in the United States.

At home, Chinese actress Wei, best known for her sensual role in Ang Lee's "Lust, Caution," and South Korean actor Bin incite fan frenzies, with pop-culture Web sites dissecting every relationship move and every red-carpet look. While Bin was in Seattle, his South Korean fan club shipped him a box of "Bin Ramen," the cups hand-adorned with his image, for Valentine's Day.

Some intrepid fans have tracked down the set around the state to try to get autographs, but it's nothing compared to what would happen if the movie had filmed in Asia, said executive producer Steven Nam.

"It's a big movie in Korea," he said. "Here, it becomes an independent, local movie."

And Seattle has a coveted main role.

Producer Joo-Ick Lee scouted New England for the film but was drawn to Seattle's hard-to-replicate scenery. The city's gray, rainy winters work for a moody movie about two people — one on temporary release from prison, the other on the run — who won't have "happily-ever-after," he said.

Acclaimed South Korean director Tae-Yong Kim loved the contrast of lakes, ocean and mountains with modern buildings.

"The rainy cloudy [weather] makes people feel gloomy," Lee said. "The director wanted to shoot the film here because of the landscape. And Seattle itself contains stories that help forward our stories."

The state also made it easier with a financial incentive of 30 percent back for in-state qualified expenses, Nam said. The movie is to be released this year, but Lee wouldn't give a more specific date.

Ryu and Kim originally envisioned a tourist's view of the city, with plans to film the Underground Tour, the iconic Space Needle and glossy, urban spots.

But once they arrived to scout, the city convinced them otherwise, Ryu said. They realized residents have a deep, emotional attachment to Pike Place Market and that people are understated, not flashy.

Their Asian audience might not understand the non-touristy view, she said. But "we tried to capture the feel, spirit and atmosphere of the city."

One night during the last week of shooting, the 80 or 90 cast, crew and extras took over two blocks of Pike Place, illuminating the streets and buildings with massive spotlights.

Filming on location requires permits to block off streets, police assistance and other tangled logistics. A shoot at a prison included security background checks for the crew and screening of all the equipment, Nam said. One of the most complicated shoots took place at Pike Place Market during the day. The crew had to shrink the space they used, try not to impact vendors and make sure crowds didn't ogle the camera.

But Pike Place is quiet at night. During that shoot, around 9 p.m., crew members hosed down the street to make it look like it had just rained, and then set up lights and monitors. A tray of breakfast pastries and cinnamon rolls sat on a table inside, the first meal of the night. Security included a Seattle police cruiser that blocked the street, but bystanders still occasionally walked through the set.

The actors, bundled in thick coats, did run-throughs, strolling down the sidewalk underneath Piroshky Piroshky and Le Panier signs. The scene included a comical run-in with a man carrying a Christmas tree and a seemingly awkward encounter with a woman who knows Wei's character Anna.

One tourist looking for the original Starbucks recognized the stars as they rehearsed. She was immediately star-struck.

"It's lucky to be here," said Seon Lee. After the run-through, Wei shed a long, black down coat and boots for a beige trench and black heels, her hair up in a loose bun. Bin, who sports a sparse goatee and lush, styled hair, donned a dark olive overcoat, part of a muted color palette Ryu chose to reflect Seattle.

Ryu hoped the movie touched on Seattle in a way that works for the story and perhaps the city's residents. It worked for her.

"I think we all ended up falling in love with Seattle," she said.

Nicole Tsong: 206-464-2150 or ntsong@seattletimes.com