Quietly Reaching Perfection

Jung Hae-in, who rose to prominence with the drama Something in the Rain, always seemed like someone who could never raise his voice at anyone. With his kind and gentle demeanor, it was hard to imagine him as a figure of intimidation.

However, when he shaved his head and took on the role of Jun-ho in the Netflix series D.P., which sheds light on the structural problems of military violence, we discovered a new side of Jung Hae-in. In D.P., even in moments without dialogue, he conveyed a range of emotions—disgust, anger, guilt, and self-mockery. It was around this time that his talents were reevaluated.

Now in his late 30s, Jung Hae-in is preparing for the next chapter of his career. He has joined I, the Executioner, the long-awaited sequel after nine years. His casting in I, the Executioner, which is dominating the September box office, feels like the perfect choice to reflect the complexity of the times we live in, in the clearest terms.

Do you remember the day you first received the offer for I, the Executioner?

= I still remember the atmosphere of that day. It was my day off, and I was spending time at a café street in Seongsu-dong. Kang Hye-jung, the CEO of Filmmaker R&K, called me. She asked, “What are you up to these days? I’d love for us to work on something fun together,” and offered me the role. I was completely caught off guard and very nervous. She didn’t even tell me what the project was, but I quickly said yes. Without knowing anything about it, my imagination started running wild. (Laughs) When I found out it was I, the Executioner, I was first thrilled, but then I started feeling the pressure. Not long after, I went to the production company’s office, met with Director Ryoo Seung-wan, and we talked about the film for about two hours.

What did you talk about during that meeting?

= We discussed in detail what kind of film I, the Executioner should become. We compared it to some international films, and Director Ryoo asked for a lot of my thoughts on how I viewed the project. We also talked about the films I had worked on in the past. He had seen them all, which really surprised me. I was especially thankful when he mentioned how much he enjoyed D.P..

Park Sun-woo is a rookie police officer who newly joins the violent crime investigation unit. It seemed like there were more scenes where he was observing and reacting to the existing members rather than blending in. This also feels similar to your position as an actor entering the Veteran series.

= That might be a part where acting isn't even necessary. When you enter a new group, you naturally analyze the atmosphere and the people, right? Even on set, during moments when the camera wasn’t rolling, I observed the other characters to heighten Park Sun-woo’s emotions. But since the story is already set, I didn’t try to force anything too much.

But isn’t there a risk that the subtle awkwardness of the character could be mistaken for the actor’s own discomfort? For example, someone might watch the early part of the film and think, “Oh, Jung Hae-in doesn’t really fit in this kind of movie.”

= I don’t think that kind of reaction would come up. The fact that the character is a rookie and the actor’s capability are obviously different things. If an actor lacks confidence, they should probably quit acting. (Laughs) The most important point Director Ryoo emphasized was to bring a creeping sense of unease and tension just with my presence. It’s not about suddenly radiating disturbing energy. It’s more like when you're in an elevator with someone who isn’t doing anything particularly strange, but you still feel unsettled. Or when you’re walking late at night, and no one is actually following you, but the fact that someone else is on the same path makes you uncomfortable. That’s the kind of feeling I tried to convey in my performance.

Jung Hae-in isn't usually someone who makes people feel uncomfortable, right? (Laughs) How was it for you to play this kind of character?

= There were moments that surprised even me. While monitoring the scenes with the director, I saw expressions on my face that I had never seen before in my life. At first, it felt unfamiliar, but Director Ryoo really liked it.

Where do you think the elements that allow Jung Hae-in to deliver such a performance come from?

= Every actor has their own unique color and energy. I think the character absorbed some of my natural colors. Acting requires technical skill, but it’s also a blend of how someone has lived their life, their experiences, learning, character, and attitude. Sometimes, when I watch an actor, I can sense that they must have lived a good life. I feel the same way when I watch foreign films. The foundation for my portrayal of Park Sun-woo probably comes from the life I’ve lived up until now. Everyone experiences emotions like anger, jealousy, and envy throughout their lives. Of course, there are areas that require expression through imagination or study. I enjoy observing people in everyday life. The key is attitude. Just because I’m playing a dark role doesn’t mean I approach the set with malice. In fact, I believe that the kinder and more good-hearted a person is, the better they can portray evil roles.

How was it for you to play Park Sun-woo? Did you do a lot of analysis?

= Park Sun-woo has a clear and firm belief system. If I, as an actor, overanalyzed or built too much of a backstory through imagination, the character would have become more difficult to portray. So, instead of making him ambiguous or multi-faceted, I aimed for precision. That was something I discussed a lot with the director.

The Veteran series showcases more raw, brawling-style action rather than flashy action sequences. Park Sun-woo, however, is a rookie cop trained in UFC techniques.

= Even though Park Sun-woo uses UFC techniques, Director Ryoo wanted the action to feel rougher, more live, and unpolished. As an actor, there are times when you want to handle the action scenes yourself rather than relying on a stunt double, but Director Ryoo doesn’t allow unnecessary or risky moves. In fact, pushing beyond what’s needed doesn’t even look good on camera. On set, the top priority is always to perform the pre-planned action without any accidents. Director Ryoo works from a very clear storyboard and separates what the actor can do well from what the stunt performers excel at, so the action scenes are filmed systematically. He also has a precise understanding of how much the actor can physically handle and what their limits are.

So, when they offered you I, the Executioner, they must have already thought you were quite good at action scenes, right?

= Actually, I asked Director Ryoo to watch Snowdrop, where I did quite a bit of action. (Laughs) He watched the entire long drama, which I’m really grateful for.

You previously worked with Filmmaker R&K on Start-Up. What was that experience like? 

= At the time, I was also filming the drama One Spring Night. I was really excited to work with (Park) Jung-min ‘hyung’ (a Korean term for a friendly older brother; Translator’s note), as I had always been a fan of his. When we worked together, I found him to be incredibly witty and sharp. Don Lee ‘sunbae-nim’ ’ (a Korean term for senior; Translator’s note) was also an idea bank, constantly throwing out various ad-libs, and he made sure to ask for input from the junior actors. I was a bit nervous at first, but they approached me and made me feel comfortable. I also have fond memories of the scenes with Go Doo-shim, who played my grandmother in the film.

I remember some people were surprised that an actor who’s already established in dramas took on a relatively smaller role in a non-blockbuster film.

= Even in Hollywood, famous actors often appear in smaller roles. Rather than separating films and dramas, I think what matters most is the opportunity to work on good projects, not the size of the role.

It suddenly strikes me that projects where Jung Hae-in wears a uniform have been quite successful, starting with Prison Playbook...

= But wasn’t that a prison uniform? (Everyone bursts into laughter)

In a way, it’s still a uniform. And before going to prison, you were in a military uniform. (Laughs) You wore military uniforms in D.P. and 12.12: The Day, and police uniforms in While You Were Sleeping and I, the Executioner.

= That’s true. Why is that, I wonder? I think I become more careful when wearing a uniform. Since it's the attire of people who serve the country, my mindset changes. It’s similar to how we act more formally when wearing hanbok, but if we’re in sweatpants, we might squat on the ground without a second thought.

These days, many people consume movies or dramas through so-called "summaries." Some watch short, edited clips of performances and call them "masterful acting." With these changing trends, certain types of performances might be easier to praise. How do you feel about releasing a theatrical film in this era?

= If people get used to only watching short clips, a two-hour film might feel too long, and they won’t be able to watch it. Judging acting based on short, edited scenes is like judging a book by its cover. I believe this is something we shouldn’t compromise on or be swept away by. Just as we still watch great films made 40 or 50 years ago, we worked incredibly hard to make I, the Executioner a film that will be remembered and talked about as part of the legacy of Korean cinema for years to come.

Written by Lim Su-yeon, Photographed by Choi Seong-yeol, Translated by Jang Yuri