[K-Content Goes Global①] "It's Not Just a Flash in the Pan" - Real Pride in K-Content

Korean films, dramas, series, and various other content, collectively known as "K-content," are steadily securing their place on the global stage. This isn't a fleeting interest; K-content is becoming a mainstream phenomenon. The experience and skills honed during the "Hallyu wave" that once swept across Asia have now expanded to a global scale. We were prepared for this opportunity, and we did not miss the flow of the times.

From the days when attempting to make a mark on the global stage seemed like an uphill battle, we continuously knocked on the doors of the world while perfecting our craft at home. The Cannes Film Festival red carpet was once considered the pinnacle for Korean films. Now, Korean movies have broken through to the Academy Awards, and dramas are aiming for the Emmys. Hollywood platforms have even invested 100 billion KRW in historical Korean dramas. This isn't just the power of one individual or one work but the growth of "K-culture," encompassing K-pop and beyond.

The stature of stars dancing on the stage of our culture has also changed. The possibilities are endless, and we never know who, when, where, or how someone will capture the spotlight. While some locals still view rising Asian actors as "overnight stars" or "unknown actors" with a sense of curiosity, industry professionals who understand the business recognize these individuals as "must-have talents" and "blue oceans for collaboration."

In response, a wind of change is blowing through domestic production companies and management. Rather than merely aiming for success, the focus is on positive development and embracing the win-win effect of good practices. Soyoung Lee, the head of Saram Entertainment, realized this early on. She took on the challenge of penetrating the heart of Hollywood, enduring hardships to proudly stand at the forefront of the global stage. With 15 years of experience in management, she oversees talents like Yeri Han from "MINARI," Hoyeon from "Squid Game," and Minha Kim from "Pachinko," and she shares her insights on the current state of K-content.

사람엔터테인먼트 이소영 대표 〈사진=사람엔터테인먼트〉

The journey onto the international stage for Korean content undeniably began with international film festivals. From the Busan International Film Festival in South Korea to the Cannes Film Festival in France, I roamed these venues, feeling firsthand the changing perceptions of Korean films and directors among global cinephiles. The Busan International Film Festival, in particular, was a golden opportunity to meet foreign filmmakers as they congregated in Busan, which was just a train ride away from home. There was no reason not to seize this chance.

"I pursued it diligently. Over 15 years in management, I increasingly felt the changing reception and growing interest in Korean content at every event I attended. The names being mentioned and the questions asked evolved. Because I saw and talked to these people directly, I could tell if they were just saying things out of courtesy or if they genuinely knew what they were talking about. There were many surprising moments." At international film festivals, the list of Korean film directors they mentioned kept getting updated. "They’re curious about new directors every time they come, aren't they?" "Wow, they know so much about Korean directors!" It was a fascinating experience. It has now become their competitive edge to know about Korean directors, even if they weren't familiar with them before.

"When I met with industry professionals, they not only talked about directors who have now become global giants but also about films and directors that hadn’t even been released in Korea but had premiered abroad. Around 2019, when 'Pachinko' was in full production, the producers asked me about 'House of Hummingbird.' They said it was amazing and asked if I had seen it. At that time, it hadn’t been released in Korea yet, so I hadn’t seen it, but they had already watched it at international film festivals. That was quite a surprising moment for me."

해외에서 선전한 한국 영화들

The current global fascination with K-content is anything but a sudden phenomenon. Before 'MINARI,' there was 'PARASITE,' and long before that, there were directors and actors who graced international film festival stages, along with numerous industry professionals who laid the groundwork. The string of international awards in recent years has brought significant attention to Korean content, but this success is built on the hard work of many over a long period. It's not just about introducing a piece of work; it's about the depth of expertise and contributions in the show business sphere that have now turned into a formidable force. This exceptional synergy is also supported by media evolution and technological advancements, enhancing the power of content.

“It's the power of compounded interest. The attention we're receiving isn't a fleeting burst; it's a sustained and growing interest. Those who recognize and push K-content projects are valuable assets. Most international awards are decided by members' votes, and to them, K-content is no longer an unfamiliar culture. They possess extensive knowledge about Korean culture, market, and content, far more than we might assume. Interest in Korean genres like comedy and horror has been explosive for years, and now that attention naturally extends to our artists.”

International agencies and magazines are actively reaching out to Korean artists, eager to secure partnerships. This demand is not just from the U.S., but also from European agents in the UK and beyond. Reflecting on the times when it was necessary to spend ten days in the U.S. each year, cramming in 50-60 random meetings with production companies, agents, and casting directors—about five to six meetings a day—the shift in dynamics is nothing short of dramatic. However, these experiences have become invaluable assets, honing the ability to recognize talent and potential.

"The Hollywood market, where all the content from around the world comes together, is definitely huge. Technically, there are separate sections and teams that are interested in and manage Korean content in their leagues. We call Hollywood 'global expansion', but the U.S. is interested in a variety of projects with everything open. There might be India and Japan. However, Korean content has now become the main section, and there are more and more people involved. Now, when I go to overseas promotions, I can almost tell who is who. (laughs) When I recently went to the LA Premier of 'Pachinko', I've seen a lot of welcome faces."

사람엔터테인먼트는 '미나리' 한예리, '오징어게임' 정호연, '파친코' 김민하를 통해 글로벌 시장에서 연타석 홈런을 치며 업계 관심을 한 몸에 받고 있다.

In the competitive global market, the key to success in management lies in the ability to identify promising content and talent. Saram Entertainment has proven its expertise in selecting competitive works and faces. Even before OTT platforms officially entered Korea, Saram Entertainment was ahead of the curve, showing interest in OTT content and anticipating the market shift. This foresight led to successful collaborations with talents like Yeri Han in "MINARI," Hoyeon in "Squid Game," and the ongoing connection with Kim Min-ha in "Pachinko." The impressive results of these projects stem from a solid process and justified reasons behind their choices. It's clear that these achievements were not mere strokes of luck but the result of thoughtful and sensory-driven selections.

“Through numerous overseas trips, we contemplated what kind of stories could resonate not just in Korea but globally. Ultimately, we sought narratives that were deeply Korean yet evoked universal emotions that anyone, anywhere, could relate to. This commonality is evident in the currently acclaimed works. Attending various film festivals honed our sense of what kind of films deserved festival attention, and meeting with international agents allowed us to foresee changes and expansions in the platform market. This focus on the evolving platform market led us to discover books like 'MINARI' and identify actors who suited these projects. We have grown confident that regardless of the content's size, it can garner praise and have a significant impact.”

Saram Entertainment has already established an international network, collaborating with well-regarded management in the U.S. and receiving high-quality information. The success story of Hoyeon is a prime example of this. The rapid and seamless rise of this unprecedented Cinderella to a global star was significantly bolstered by the power of these networks.

"Networking is the beginning of going global," Lee confidently states. The agency's ability to connect and maintain international relationships has been instrumental in making significant strides in the global market, reflecting the importance of having a robust network to support and promote their talents.
 

조연경 엔터뉴스팀 기자 [email protected] (콘텐트비즈니스본부)

Original Article : https://news.jtbc.joins.com/html/055/NB12055055.html