[ACCESS] The Rapid Growth and Global Expansion of Korean Entertainment
2023.03.09
Soyoung Lee, a leading figure in the Korean entertainment industry, ensures that actors can shine brightly as artists dedicated to their craft. She focuses on maximizing the talents of individuals, emphasizing the role of an actor rather than just a celebrity or star.
We had a conversation with Soyoung Lee, who nurtures actors through her philosophy of understanding people, about the sustainability of the Korean entertainment industry.
What do you believe is the foundation of the Korean entertainment industry? Can you briefly explain the Korean entertainment industry?
In Korea, the concept of management is much stronger than that of an agency. In the US, agencies and management are distinctly separate, but in Korea, management also functions as an agency. Management involves nurturing and developing talents. The entertainment industry handles everything from incubating actors to production.
The foundation of the Korean entertainment industry is ‘people.’ The industry applies the intensive branding done for actors to movies and dramas as well. Thus, Korean films and dramas have more depth in their stories compared to simple production and promotion. Ultimately, the method of branding people forms the basis of Korean entertainment.
Korean media content, including films and dramas, is gaining global recognition, and Korean actor management companies play a crucial role in this. Can you briefly introduce the role and work of your company, Saram Entertainment?
Our role is to discover the best actors in Korea, match them with the best stories to maximize synergy, and deliver these to audiences through various platforms. It’s like giving life to the world created by a writer when it meets an actor. We create the connections that allow actors to meet good projects, which requires detailed strategies. We plan these strategies, determining the timing of meetings between producers and ensuring effective communication between actors and directors. Creating the deal table between actors and contracts is what Saram Entertainment and I do. That’s management.
You have shown confidence in the solid relationships between Saram Entertainment and its artists, even when they sign contracts with large US agencies. What do you think is the reason for this strong relationship?
We create situations where actors can generate synergy, which naturally builds trust. I don’t mind actors forming cooperative relationships externally. In fact, our job is to facilitate environments where such deals benefit the actors. Hence, even when Korean actors advance overseas, it’s more comfortable for them to communicate quickly and move with the same staff teams they’ve worked with before. Saram Entertainment is a flexible company capable of resolving issues and having rational dialogues with actors, which fosters mutual trust and allows me to work with drive.
How do you resolve differences of opinion between actors and the agency? What is your communication know-how?
I am good at communicating at the eye level of the person I’m talking to. I try to understand what they are thinking, their situation, and their condition. I think about the language they use to describe their world. I strictly avoid actions driven by jealousy or selfishness that could hinder the actors' progress. I open up possibilities for the actors and help them with contracts, even advising from the actors' perspective when they sign with foreign management companies, which helps avoid many potential conflicts.
You recommended the film "MINARI" to actress Yeri Han because it had a good script and a Korean sentiment within an American film. How do you read trends in a rapidly changing industry? What elements do you pay attention to?
In the case of "MINARI," it was impressive because it had a multicultural perspective on a Korean story. It was interesting to see an American perspective on Korean narratives. Producers try to predict outcomes when making decisions, but I focus on the essence. Understanding the essence gives me more certainty than mere predictions. For me, the creator’s intention to tell the story is crucial, followed by their passion and dedication to the project. The amount of investment, or the fame of the director and actors, is not my priority. I look at the nature of the project first, then assess who is driving it, the scale of the story, and whether it’s appropriately set up for that scale. If a project meant to be small-scale has too much capital, it feels off, and I abandon it.
It seems that Saram Entertainment’s goal of ASIAN CLASSICS has shaped the company. Films like "MINARI," series like "Pachinko," and "Squid Game" all strongly embody Korean sentiment. Why do you believe that Korean sentiment can be appealing in the international market?
It’s the power of empathy. In the international market, Korean actors performing in Korean are more appealing than performing in English. This is possible due to emotional empathy. Communication between the actor and the audience is crucial in storytelling. Korean actors have the ability to emotionally connect with audiences worldwide through content that contains Korean stories. The most important thing to note is that communication for Korean actors is best achieved through Korean stories. Content with Korean narratives allows Korean actors to shine the brightest.
What do you think is the sustainability of the Korean film and entertainment (K-Entertainment) industry? What is needed for the sustainability of the Korean film industry?
I believe that the realization of the sustainability of Korean media requires systems. Compared to the movement of the entertainment industry, there is a lack of institutional support and understanding of the industry. The entire process is very important in starting and completing projects within an entertainment company. Yet, investors and policymakers seem unaware of the value of this process. A precise understanding of the process is essential.
Soyoung Lee of Saram Entertainment plays a crucial role in helping stars debut and shine. As a producer and mentor to actors, she emphasizes the importance of communication and the keen insight to see through to the essence of things. She has a deep understanding of the Korean entertainment industry, based on a strong sense of professional duty. The essence of the Korean entertainment industry is people. Although society is connected through online platforms, the stories delivered via these platforms come from people. Directors who create stories, entertainment companies that organize them, actors who deliver them, and audiences who empathize with them—all are the 'people' driving Korean media. Soyoung Lee’s assertion that the global spotlight on Korean media is not just a trend but rooted in the power of people is truly heartening for anyone who enjoys Korean media.
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