[Interview ①] 'Saram Entertainment' Blossoms Globally with Secret to Success

사진=사람엔터테인먼트 이소영 대표

| 'Distinct Growth Story': Interview with Saram Entertainment CEO Lee So-young 

| This year’s global focus: Youn Yuh-jung of "Minari" and Jung Ho-yeon of "Squid Game" 

| Confidence built on strategic preparation and experience: "We've experienced miracles"
 

Expanding through 'Saram(People)' and Sharing through 'Content.' This is the core identity of Saram Entertainment as introduced on its official website. Founded in 2006 as a management agency for skilled actors in Chungmuro, Saram Entertainment has grown remarkably over 15 years into a comprehensive entertainment company with notable global reach. Leveraging an efficient actor content business, it has strengthened its brand's competitiveness by also focusing on production and overseas ventures.

In a cyclical ecosystem, we’ve entered the 'Era of Saram(People).' This success didn’t happen overnight. Consistent effort leads to results, and hard work with Saram’s artists and team is recognized in the industry. CEO Soyoung Lee  has led Saram Entertainment for 15 years from the forefront, the background, and the center, striving to establish 'People' as a unique brand with significant global influence.

The fruits of the seeds sown are sweet. Recently, Saram Entertainment's actors have achieved meaningful success across TV, film, and OTT platforms. Their heightened global recognition further elevates the status of Korean entertainment. This year has been a true harvest. This accomplishment came through enduring countless trials. Amidst an incredibly busy period, CEO Soyoung Lee was interviewed during the 26th Busan International Film Festival.

In-person events resumed after two years, with Saram Entertainment actors actively participating. Cho Jinwoong and Uhm Junghwa served as jury members for the Actor of the Year Award, attending the opening ceremony and Actor’s House, among other packed schedules. Choi Heeseo appeared as a director for "Unframed," and Byun Yohan, who featured in "The Book of Fish" and "Voice" this year, along with Youn Yuh-jung of "MINARI," expressed their eagerness to be involved in 'BIFF' in any capacity.

Saram Entertainment’s presence at BIFF has always been notable. Actors with roots in independent cinema and a start in the film industry have consistently participated since their debut. Two years ago, they hosted a 'Global Open Seminar with Saram' to celebrate the 100th anniversary of Korean cinema. Though initially met with skepticism, the global strategies prepared during those two years are now bearing fruit.

Discussing Saram Entertainment’s thriving actors—from newcomers to veterans like Gong Myoung, Kwon Yul, Kim Minha, Kim Sungkyu, Kim Sungsik, Kim Jaeyoung, David McInnis, Moon Donghyeok, Min Sungwook, Park Gyu Young, Park Yejin, Byun Yohan, Shin Joohwan, Shim Dalgi, Uhm Junghwa, Yoo Heeje, Lee Gaseop, Lee Ki Hong, Lee Sungwook, Lee Woonsan, Lee Jooyoung, Lee Hanee, Jeon Chaeeun, Jung Sori, Jung Hoyeon, Cho Jinwoong, Choi Sooyoung, Choi Wonyoung, Choi Heeseo, and Han Yeri—would take more than just a few days. This interview, however, focused on 'global' aspirations.

Two years ago, they announced collaboration projects with British director Mike Figgis (SHAME) and "Star Trek" writer Joe Menosky (King Sejong The Great), which are still ongoing. Saram Entertainment turned the pandemic crisis into an opportunity and is now preparing for the post-COVID-19 era.

Throughout this process, CEO Soyoung Lee, both as a manager and the head of management, has experienced unique loneliness, hardships, and a sense of achievement. Without explicitly mentioning the numerous challenges she faced as a female leader in a battlefield-like industry, they are understood. One of Saram Entertainment's strengths is its keen eye for recognizing talent among actors, directors, and staff. This is the result of the responsibility, trust, and experience built over time—a trade secret of Soyoung Lee and Saram Entertainment, albeit one that's subtly revealed.

제26회 부산국영화제(BIFF)에 참석한 사람엔터 배우 엄정화·조진웅·변요한 | 사진=연합뉴스·JTBC엔터뉴스

-You've returned to BIFF after two years. This year, Saram Entertainment's actors have made a remarkable impression.

"I respect BIFF greatly. I have a personal connection to it as well. In 1999, during the 4th festival, my husband and I hung banners promoting BIFF at the Comodo Hotel in Nampo-dong. We decorated the hotel. At that time, I hadn’t started in management yet and was just beginning my work in art decoration. It was my first experience with BIFF. Stars were arriving at the hotel, and my husband and I were sitting there, feeling out of place like wanderers. (laughs) We saw firsthand how the volunteers worked tirelessly through the night to make BIFF happen, so I’ve always been eager to support any requests from BIFF."

-BIFF is now in its 26th edition. It must feel very nostalgic.
"From the very beginning, I’ve always felt welcomed like family. I have many good memories, so coming to BIFF always gives me great energy. There’s a lot of affection involved. Two years ago, when the market suggested we hold an event, I agreed readily. The actors also feel a strong desire to contribute to BIFF."

-Two years ago at BIFF, you held the 'Global Open Seminar with Saram' to mark the 100th anniversary of Korean cinema. It was a pivotal moment for Saram Entertainment’s global business.

"We were constantly talking about 'going global.' (laughs) Back then, we focused more on content production projects as part of our global strategy. However, the COVID-19 pandemic forced us to temporarily halt all plans. We decided to focus on internal planning and development since working overseas was difficult. We didn’t let the changing platform landscape slip by, and I didn’t expect such good results. Our global strategy included collaborating with overseas production teams, meeting and working with international agencies, and targeting OTT platforms domestically. Due to the pandemic, OTT platforms gained prominence more quickly than expected."

 -The seminar wasn’t about reporting results but rather announcing the start and planning, which led to various interpretations.

"There were many reactions like, 'Are they bragging?' 'Anyone can talk big,' and 'Show us the results first.' I understand those responses. (laughs) Honestly, at that time, we were actively exchanging information and studying among ourselves. Some overseas directors and businessmen were interested in the Korean market, and we were thinking about global expansion, so there was a lot to discuss. You need to understand and study the market to succeed. Simply aiming to get actors auditioned and recognized has its limits, so we decided to venture into production. Initially, we considered introducing it on a small scale through the market at BIFF, but the event grew as we talked with the organizers."
 

-With such a solid foundation, BIFF must have been keen not to miss out.

"The main idea was to share thoughts in a discussion format. We hoped that meeting at a place where the core of the Korean film industry gathers would open up new opportunities. If they went back to their countries and mentioned BIFF or the Korean film industry to their colleagues, it would be beneficial. We thought, 'Let's encourage them to come to Korea at least once.' However, as you mentioned, some people said, 'There needs to be results!' (laughs)."

할리우드·OTT 다 잡은 '글로벌 전략' 선구안

사진=영화 '미나리' 한예리 스틸

Youn Yuh-jung, left, and Han Ye-ri arrive at the Oscars on Sunday, April 25, 2021, at Union Station in Los Angeles. (AP Photo, Pool) | 사진=연합뉴스·AP

-Within two years, you’ve shown some remarkable results. Your actors' success in Hollywood and on OTT platforms is unprecedented.
"COVID-19 made us focus and concentrate more, and I’m grateful we’ve been able to deliver results we’re not embarrassed about."

-한예리 배우와 함께 한 '미나리' 이야기부터 해보자면, 제작 기간에는 팬데믹 이슈가 없었어요. 작품으로만 보면 사이즈도 작았고요. 도전적 프로젝트였을 것 같은데 어떤가요.

-Let's start with the story of 'Minari' with actress Yeri Han. The production was pre-pandemic, and the project seemed small in scale. Was it a challenging project?

"It truly feels like a blessed case. When we first received the script, Yeri was quite exhausted from continuous projects. I was also frequently traveling abroad. When I read the script, the 'human story' aspect immediately stood out. I was already aware of the perspectives Americans have towards immigrants and the points of interest from a humanities standpoint. When they came to the New World, they were also outsiders. The idea of a story about outsiders in a land of outsiders seemed promising. When Korean content enters the global market, if it’s too nationalistic, it might be seen as distant or ignored, which I didn't want. We were looking for a universally relatable human story. 'MINARI' appeared to be that kind of story. It had the potential to resonate as everyone's story, their family's story. I hoped people would see our Korean actors beautifully through the lens of a relatable narrative."

-Your global perspective helped you recognize the potential in ‘MINARI.’

"Without that interest, it’s hard to say how long it would have taken to decide. We might have wondered, 'Why bother?' Trust in people played a significant role too. Yeri has a knack for seeing sincerity, and after meeting the director, she quickly decided to participate. Although it was time for her to rest, we agreed to do this one last project before taking a break. (laughs) We also had great trust in producer Ina Lee, who has a global outlook and diverse perspectives. It’s not just about trusting a single director or script anymore. Especially with 'MINARI,' which was a low-budget film shot in the U.S., it wasn’t an easy schedule. But we believed in the story and the people involved. When Steven Yeun was cast, and production companies like Plan B and distributor A24 got involved, we saw the potential for the film to become a global piece of content."

사진=사람엔터테인먼트 이소영 대표

I guess you had lots to learn too.

Of course, the work was good, but it's not as easy as expected to do big things like the Oscar race or entering the Academy Awards. Even if you say, "I think so" or "I hope so," you can't imagine. I didn't expect "MINARI" to go that far. I learned the most that “good projects have power beyond platforms and I became more humbled.” It's good to be in the industry, but it's an experience where I could see with my own eyes that global humanities and family stories can be produced with just one piece of content. I also need to constantly build a network with people who have diverse perspectives. I don't think it's easy to burst into unexpected content with an immediate star director."

-\Will the production clock, which had been temporarily stopped, turn around during the time of ‘With Corona.’

"We are continuing to prepare internally. It is a preparation process to facilitate co-production with the U.S., production of projects made in the U.S., and further advancement of actors into more global content. Self-tape production activities for auditions are also operated as global programs, and furthermore, it is important to establish a brand of actors. New goals are being created as the result is bigger than expected."

-Were you also looking into the marketability of OTT.

"Even without COVID-19, I think it's natural that the OTT market has grown. The industry was paying attention to it, and I felt how huge the power of the Korean screen has become from the standpoint of working on many movies. I thought that if the power of the screen goes to OTT, it can bring about another power. The same goes for dramas. There was an early boom in the Korean Wave in nearby Asian countries. Even international viewers from distant countries had not known or could not meet due to lack of accessibility, so I had a strong belief that 'everyone would like it'."

넷플릭스 오리지널 '킹덤' 김성규·'스위트홈' 박규영 | 사진=넷플릭스(Netflix)

-New actors of Saram Entertainment have benefited from OTT.
"It's safe to say that they targeted OTT from the beginning. It was one of the actors' and global strategies. I think OTT has a power to expand the story and make it more powerful, but there are no borders." “Kingdom” Kim Sungkyu, "Sweet Home" Park Gyu Young, and "Squid Game" Hoyeon also worked with OTT's strategy to discover new faces with existing actors. Kakao TV's "Drowning," starring actor Kwon Yul, topped the platform. In the OTT market, which will become more active in the future, we need to look at the direction and character of each platform and the direction of the work."

-As I mentioned earlier about trust and responsibility, management also plays a big role in the matching of works, characters, and actors.
"I think I opened up my perspective a little bit because I approached with the mind of 'creating content together'. As I looked for the right part, I gradually developed a standard about 'where to look at it'. People around me ask me, 'How can you match these good actors with good works?' and I think the answer is to think about it yourself and run around tiredly even though it's hard. Since I was working as an advertisement, I have turned to overseas markets, watched many good award-winning works, and heard opinions from various artists. Of course, there were many people who were like, 'What does that have to do with anything now?' Still, instead of trying to get knowledge and information from portal sites, it is important to talk deeply with philosophers and directors who have outstanding careers and history. I think it's the slowest way to go, but I think that's definitely the fastest way."

〉〉Continued in Interview②

조연경 엔터뉴스팀 기자 [email protected] (콘텐트비즈니스본부)

Original Article : https://news.jtbc.joins.com/article/article.aspx?news_id=NB12027229