‘Tempest’ creators on Korean Spy Triller with Gianno Jun, John Cho

“We did not target the acting acting,” Kim Heevon says about it Disney +New new spy thriller “Tempest. “” Instead, I believe something really happily happened, something that can only be described as a stroke of wealth. “

That wealth gathered Gianna JunGang Dongvon, John forLee mouse and park haejoon for a most ambitious Korean original original original, political writing that started the first three episodes 10. September. The series follows the former diplomat, revealing an international parcel that extends from Seoul in the White House “.

In an exclusive interview with VarietyKim directors Kim (“Tear Queen”) and Heo Mieonghaeng (“Review: Punishment”) separates its collaborative approach to mixing intimate work with great sign with large international intrigues.

For Kim Heevona, known for mixing romance with social comments in hits like “Vincenzo”, the key to “Tempest” lay on the ground floor of a high role in the emotional truth. “One of the questions the director always asks is,” Why is this action necessary? “Or does it really need it?” Kim explains. “His intention is to be cautious action sequences involved only for spectacle or purely functional reasons.”

This philosophy shaped their approach during production. “I wanted an action to appear on the emotional peak scene and continuously lead to a new emotional turning point, creating a permanent cycle,” says Kim. “As the series space spread, we targeted not to become emotionally developed by the characters, but to bring them closer to the approximate way.”

HEO, whose previous job has established as a master of kinetic action, accepted this first character approach. “If the story of a guided action like a bold, straight line, then I would say spy thriller, more like CEC,” he reflects. “I wanted events in the story and process of their solving, to be more complex and slogy, filled with obstacles and instruments.”

The series can boast one of the most impressive international compositions in Korean drama until today. For Kim, the philosophy of casting was direct: “The actor must be some people want to see, and some staff want to cooperate with.”

Instead of dealing with an ensemble for the protection of stars for his own, whoever emphasizes the organic nature of the final Casta. “Because we had such a spicy group of veteran actors, I didn’t have to forcing any specific directions to keep a consistent tone,” she says.

Kim explains Kim, he found real cadences. “Each episode has its own rhythm, which is meant with the rhythm of the story itself. In some moments as it is in slow driving mode, while in others you have to hold your foot on the gas from start to finish.”

Kim’s work with a writer Chung Seokiung (“Leaving Decision”) brought a unique literary sensibility to the project. “The writer scripts are always alive”, notes of KIM. “When I receive one of her scripts, it feels like walking through the Magnificent Museum of Arts – from the ground floor until the top to the top – getting one picturesque scene after another.”

“For this project, I deviated from stylish approaches I used in the past and continued the most realistic visual language I’ve ever worked with,” she explains. “Because the concept mixes and a spy thriller and melodrama, I felt that too leaning against stylized or artificial mises scenes made the story feeling independently of reality.”

The EO shared this commitment to the ground floor of the narration in its action sequences. “I believe that it is important to keep a tone and a way that is a strenary balance, while the audience can understand and sympathize with the characters that deal with actions – and stylish movements that improve the complaint,” he says.

The combining visual metaphor that appeared was the sea. “The story has many different types of sea – lyrical sea where whales could swim, dark and a sea where violent waves are suppressed only to silence, as if something before the storm,” says Kim again to keep quiet. “These many countries more metaphorically reflect the emotions of the characters and the world we face.”

“Tempest” represents the permanent investment of Disney + in Premium Korean originals, building on the success of titles like “Hyper knife” and “killer stores”. According to Carol Choi, Executive VP original content strategies in the company Valt Disney company Asia Pacific, for example, creating a Premium’s high quality Premium, the original of the directed talents for global audiences. “

“There are several reasons why I am so excited about ‘Tempest, and why is the most successful and romantic drama in Cord. As our most successful global hits,” Tempest “achieves a rich culture”, adds to our most successful Global hits “Tempest”.

While the Korean content continues to continue to find a global audience, “Tempest” is set as well as a shop story and a template for international cooperation. With its mixtures of intimate work and large elements of large tours, the series has to capture what “through” Museum of the spectators through “Chung Sokiung Museum” will feel a feeling of awe: “I can’t believe I came like this!”