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The Lake House (film)

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The Lake House is a 2006 American-South Korean romantic drama film about an architect living in 2004 and a nurse living in 2006 who meet each other via letters in the mailbox of a lake house where they both lived in separate points of time.

Directed by Alejandro Agresti; Produced by Roy Lee and Doug Davison; Written by David Auburn; Based on the 2000 film "Il Mare" by Kim Eun-jeong and Kim Mi-yeong
How do you hold on to someone you've never met?

Alex Wyler

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  • [narrating his letter to Kate] Dear Miss Forster: I got your note, and I'm afraid there must be some kind of misunderstanding. As far as I know, the lake house has been empty for several years. Maybe your note was intended for the Sandburg house down the shore since no one has lived in this house for years. But I'm curious about the paw prints.
  • This house is about ownership, not connection. I mean, it's beautiful. Seductive, even. But, it's incomplete.

Kate Forster

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  • [to her dog as she leaves the house] You coming or not?
  • I have to learn to live the life that I have got. Please don't write anymore. Don't try to find me. Let me let you go.
  • Life is not a book, Alex. And it can be over in a second. I was having lunch with my mother at Daley Plaza and a man was killed right in front of me. He died in my arms. And I thought, "It can't end just like that on Valentine's Day." And I thought about all the people who love him, waiting at home, who will never see him again. And then I thought, "What if there is no one? What if you live your whole life and no one is waiting?"

Simon Wyler

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  • You know as well as I do that the light in Barcelona is quite different from the light in Tokyo. And, the light in Tokyo is different from that in Prague. A truly great structure, one that is meant to stand the tests of time never disregards its environment. A serious architect takes that into account. He knows that if he wants presence, he must consult with nature. He must be captivated by the light. Always the light. Always.

Dialogue

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Dr. Anna Klyczynski: You'll be covering 22 patients on rounds today, this floor and the next. Quiet morning. If you get into trouble, beep me, but don't make it a habit. The med students will help you out with scutwork. [sees an elderly patient] What's he doing here? I ordered an MRI, stat.
Nurse: Transport said about four hours.
Dr. Anna Klyczynski: He could be dead in four hours. Never mind. [turns to Kate] Dr. Forster, MRI. That's a right, two lefts, elevator to two. Follow the signs, hustle back here for rounds.
Dr. Kate Forster: Uh, Dr. Kly-- [but Klyczynski has already departed]
Elderly Patient: Are you taking me somewhere?
Dr. Kate Forster: I certainly hope so, sir. How are you feeling today?
Elderly Patient: Am-- Am I gonna make it?
Dr. Kate Forster: Uh, yes. Absolutely.
Alex Wyler: There should be a stairway down to the water, a porch, a deck. Here, you're in a-- in a box. A glass box with a view to everything that's around you... but you can't touch it. No interconnection between you and what you're looking at.
Henry Wyler: I don't know, you know. He's got this big maple growing right in the middle of the house.
Alex Wyler: Containment. [pushes a button which opens a glass door] Containment and control. This house is about ownership, not connection. I mean, it's beautiful. Seductive, even. But, it's incomplete. [pauses] It was all about him. Dad knew how to build a house, not a home. But you know... I think he wants us to do what he couldn't. But, admitting that would mean admitting that he came up short in some way... that he could do more. And that tortures him.
Henry Wyler: Do you remembering being here with Mom?
Alex Wyler: I remember she tried to make it work here... with us... with him.
Simon Wyler: Where's your brother?
Alex Wyler: I sent him away. He wasn't feeling well. You know how he is, he worries.
Simon Wyler: Yeah, I know. He gets that from your mother, I'm afraid. She always worried too much.
Alex Wyler: What are you looking at? [looks at architectural plans]
Simon Wyler: Hmm? Oh, yeah, here, take a gander. It's a proposal for a museum.
Alex Wyler: Who is it?
Simon Wyler: Someone new.
Alex Wyler: Oh, I like the walkways, where the light falls. What are the materials?
Simon Wyler: Granite. Aluminum.
Alex Wyler: White panels are straight out of Meier... but the interior color coming through the front windows, that's different. It's not new, but it's clean, uncluttered. I like it.
Simon Wyler: When was the last time you were in Barcelona?
Alex Wyler: Years ago, with you, Mom and Henry.
Simon Wyler: Do you remember visiting Casa de la Caritat?
Alex Wyler: The almshouse.
Simon Wyler: That's right. You mentioned Meier. His Barcelona museum stands in the same area as Casa de la Caritat. It drinks the same light. Meier designed a series of louvered skylights to capture that light and cast it inward to illuminate the art within, but indirectly. And, that was important, because although light enhances art, it can also degrade it. But, you know all that already, you son of a gun. Now, this... where do you suppose this is to be built?
Alex Wyler: I have no idea.
Simon Wyler: Oh, but you said you liked it.
Alex Wyler: Conceptually.
Simon Wyler: Now, come on. You know as well as I do that the light in Barcelona is quite different from the light in Tokyo. And, the light in Tokyo is different from that in Prague. A truly great structure, one that is meant to stand the tests of time never disregards its environment. A serious architect takes that into account. He knows that if he wants presence, he must consult with nature. He must be captivated by the light. Always the light. Always.

Cast

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Wikipedia
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