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As for the way that Korean content is so well received and loved by global audiences, I think it’s just that the level of trust that Korean content has gained in the past has accumulated one by one and layer by layer and it has hit a certain point where it’s now become an explosive impetus. As a child, I was heavily influenced by all of those great creative works that came from outside Korea and I believe that that was what led me to be the creator that I am today. There was also a lot of love within Korea for Japanese animation as well. When I was younger, in Asia, Hong Kong films were all the rage with genres like noir and some of the more kitschy ones. What do you think is the impetus behind this drive towards genre programming?Ĭulture is always developed by influencing one another.
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Next Entertainment World We have seen some high-level genre TV projects out of Korea really hitting a nerve internationally in the last year. Gong Yoo in Yeon Sang-ho’s “Train to Busan” (2016). I think that’s where both of their entertainment factors comes from. I think with “Hellbound” as well, these are pieces that lead to a lot of active conversation among the audiences.
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Also there’s that entertainment factor of drawing from childhood games as well. I think that “Squid Game” was able to really resonate with a lot of people. And as for where those points lie within the show, it’s all different. I think that both shows have their own entertainment elements.
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And I feel like the vision that it had within it, being a genre drama, was very relatable and there were a lot of points within the show that I was able to relate to as well. I personally enjoyed “Squid Game” very much as well. What do you make of the comparisons to “Squid Game,” however misguided they may be? Both shows came out within months of each other and, I suppose loosely, touch on morality in an interesting way. That’s how I came about having a number of protagonists. In order to do that, it meant that we needed to have multiple characters who had multiple convictions. When we were working on this story, we were set on creating a world that was comparable to hell, and created by people who are unable to tolerate uncertainty and we wanted to show what the society would look like when convictions are in conflict with one another. There are a number of protagonists in the show, and halfway through there is a significant jump in time as well, where we then follow a different protagonist. It was almost comparable to a simulation game. And I would say that those two methods were used as a tool for us to create a world that was very believable and convincing. But at the same time, we wanted to make sure that none of the things that happened in this universe would remind you of anything that happened in our real world. They’re people you see in the real world. We kind of just brainstormed all the ideas that we could think of, and then tried to pick from those, thinking, “What can we bring together to create into a single storyline?” The characters that you see in “Hellbound” are very grounded. So demonstrations and the prophecies, and then we thought about the kinds of things that would happen in this supernatural or created universe. When my partner Kyu-Seok and I were planning and thinking of the story, and creating the process, we thought of a universe that had very supernatural things happening. Is there any sort of local, societal commentary being made here? What was the personal resonance to you? “Hellbound” is such an interesting meditation on good and evil. However, the webtoons started to on the platform when I was actually shooting the film “Peninsula.” Before that, we had just been talking about, but after began on the platform, Netflix and I began to discuss creating it into a live series. During the process of planning and creating the cartoon for “Hellbound,” we did talk about wanting to create a live-action series. The short animation was in 2002, and then the webtoon actually began about two years ago on Naver, with co-creator and cartoon artist Choi Kyu-Seok. In an interview with Variety, working with a translator provided by Netflix, Yeon discusses the origins of “Hellbound,” plans for season 2 and teases a potential third installment in his zombie trilogy that falls somewhere between “Train to Busan” and “Peninsula.” Tell me a bit about the process of adapting the animated film and webtoon into the live-action show.
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The show is currently the streamer’s top non-English language series globally, just ahead of that other Korean TV sensation “Squid Game” in third place. The latter provided a handy proof of concept for a live-action series that was ultimately commissioned by Netflix.
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Similarly, “Hellbound” began life as a two-part animated film before being extended into a webtoon for Korean digital platform Naver.