In South Korea, Hwang Jung-min is a member of the so-called ‘100 Million Viewer Club’. He starred in 2 od the 5 highest domestic grossing films in South Korea (Ode to my Father and Veteran) of all time and it is safe to label him as one of the Big Three; alongside Song Kang-ho and Ryu Seung-ryong, he is one of the top male actors of South Korea and an actor who is held in high esteem by people of all generations.

Ryoo Seung-wan, who has a few acting credits under the belt himself, made a name for himself as a film director already with his debut feature Die Bad (2000); from that point on, he released a series of commercially and successfully successful films, including The Unjust (2010) and The Berlin File (2013), while his 2015 action crime comedy film Veteran firmly holds the spot as the 3rd highest grossing film in the history of South Korean cinema.


The action crime comedy Veteran marks the most lucrative collaboration between Hwang Jung-min and Ryoo Seung-wan, but is neither their first – or last. They both appeared as actors in Lee Joon-ik’s Battlefield Heroes in 2010, followed in the same year by their first actor-director collaboration on the hit film The Unjust. The action period drama The Battleship Island marks their third mutual project, with Veteran 2 currently in the works as their fourth.

The 20th Udine Far East Film Festival invited both to accompany the screenings of Veteran and the special, Director’s Cut of The Battleship Island, and in the midst of their very busy festival schedule, the duo gracefully took the time to answer a few of our questions. First, we focused on the ambitious The Battleship Island. The release of the film was accompanied by extra tension in Japanese (and Korean) media, given that it deals with the topic of Korean people who were – during World War II – taken into forced labor by the Japanese, to the small, battleship-like Hashima Island. We wondered what made Ryoo Seung-wan focus on the topic in the first place, and how they prepared to tackle such a massive project.


Given the scope of the atrocities committed against Koreans by the Japanese in World War II, why did you choose to focus on Hashima Island in particular?

Ryoo Seung-wan (RSW): “I think I started the project because of the shock that I experienced when I saw a picture of the island, because I didn’t even know about it. So, I started the project because I wanted to know more. Also, there is more to the island than the general image that it has, it doesn’t encompass everything that happened there.”

What was the preparation process like, given that this is such an ambitious project? How much did you need to prepare before the shooting even began?

RSW: “The first time I talked about this project with Hwang Jung-min was before we even started to work on Veteran. It was 2013, but because of the scale of the project, and the subject matter, we agreed that we needed to do a lot more preparation. While we were shooting Veteran, we talked about this project and began to prepare, so we gathered all the materials we needed and interviewed many people. Hashima Island has such an important place in our history, so that meant a lot of preparation was needed so I also got help from a historian. Now, in my opinion, the person who knows the most about Hashima Island is my assistant director!” (laughter)

Hwang Jung-min (HJW): “I was opposed to this project, in the beginning.”


HJW: “Because of the hard work!” (laughter)


The image of the atomic bomb at the end of the movie came as a real shock. It changed the balance, and it showed that the real evil was not Korea or Japan, but war itself. Would you say this is correct? Also, why did you use a song by Ennio Morricone?

RSW: “Thank you for saying that, that was really what I wanted to show in my film. As for Ennio Morricone’s music, incidentally while preparing for this project I listened to his music quite often. For me the music feels very sad but, at the same time, very violent, and I just couldn’t get it out of my mind. I was so drawn to his music while I was editing, and I felt that it was a good fit for the film, so I decided to use it. I contacted Ennio Morricone and he generously said yes.”

“I think that cinephiles might notice some similarities with this film and Italian cinema, especially the relationship that Lee Kang-ok (Hwang Jung min’s character) has with his daughter because their relationship is like the one between the father and son in Life is Beautiful. There’s also a scene that I only put in the director’s cut – where the face of the manager of the island overlaps the Koreans trying to escape, with fire all around them – which was inspired by the horror films by Dario Argento. The music he uses is very sensitive, while the image itself is very violent.”


Hwang Jung-min, you said that this film was hard work, but your character was also very complex because he brought a lot of lighter tones to the film. How did you find a balance between the comedy and tragedy of your character?

HJM: “Of course, life on that island was hard, but they were all real people – life must go on and people should smile. Sadness was the base of my character, but he had to endure things so that he could give hope to his daughter, to show her that her father is determined to hang on to life. That was the balance that I wanted to maintain.”

Talking about clever things – everything in Veteran is so perfectly timed, especially the comedy and action scenes – how did you achieve that, and what was the most challenging part?

RSW: “It just happened, we went for it and it turned out that way.”

HJM: “He has a natural born gift, especially for choreographed scenes. When you see the continuity of such scenes, and the division between actors and stuntmen blends, it is all very clear-cut. People who watched Veteran would say to me: ‘Oh, you must have suffered a lot’, but it was all very clear-cut and smooth so nothing was difficult for me, I really mean that.”

RSW: “The medium of film can be audio-visual, but I try to make films that has a concept of time. The structure of a narrative in film is different from literature or making a painting, because there is a limited running time. So, I believe time – and timing – is very important.”


You are an amazing actor, with a versatile repertoire of roles in action films, comedies and thrillers. Was there ever a role where you couldn’t detach yourself from your character?

HJM: “No, I haven’t had trouble doing that with any of my characters. After the shooting is done, I just let go. I can even go to the screening of the film and enjoy it as much as the audience, because the character on the screen feels like a different person.”


We would like to thank Hwang Jung-min and Ryoo Seung-wan for taking the time to answer our questions, and the Udine Far East Film Festival team for arranging the interview.

Written by Sanja Struna (View of Korean Cinema)

Interview transcription by Sanja Struna (View of Korean Cinema)

Interview edited by Roxy Simons (MyM Buzz)

Interviewed by Sanja Struna (View of Korean Cinema), Roxy Simons (MyM Buzz) and Adriana Rosati (Asian Film Vault)

Udine FEFF photos – courtesy of Udine Far East Film Festival

Veteran and The Battleship Island photos © CJ Entertainment

Cover photo © Sanja Struna

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About viewofkoreancinema

Maggie Gogler is a freelance film producer, production manager and she also works with children. She has a passion for Korean and World Cinema as well as music and arts. Maggie has been interested in cinema since she was 15 and discovered love for Korean films in 2004 when she saw Kim Ki Duk’s The Isle. She supports British and Asian independent film-making and enjoys producing creative and interesting projects. Maggie is the co-founder of View of the Arts and its sister website View of Korean Cinema. Sanja Struna is a freelance translator, occasional writer and a perpetual dreamer. Film is her first and longest-lasting love; since writing is her second, she saw the light a couple of years ago, let the two join hands and entered the field of film journalism. She has honed her knowledge through various film festivals which she either worked for or frequented. She is currently harboring a fascination with all things Korean and condones losing sleep if that means she can watch a good Korean film or drama. Sanja is the editor of View of the Arts and co-founder of View of Korean Cinema.


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