"Director Lee Gi-hyeok was preparing a feature based on a different story, but it was halted for various reasons. Then he thought about which of his shorts could be expanded for a wider audience, and 'Method Acting' came to mind. Since the short was introduced mainly on the festival circuit, we brought in the more universal keyword of family and expanded it so audiences could relate," Lee said.
'메소드연기'는 이기혁 감독의 동명 단편에서 출발한 작품이다. 장편으로 확장되는 과정에서 영화는 보다 보편적인 정서로 넓어졌고, Lee participated closely in that process as both an actor and a producer. Working with Lee Gi-hyeok, a longtime friend, he said he watched up close as a short film grew into a story meant to meet a broader audience.
무엇보다 흥미로운 건 영화 속 '이동휘'가 실제 배우 Lee Dong-hwi와 떼어놓고 보기 어려운 인물이라는 점이다. In the film, the character is also loved for comedy but does not want to be trapped by that image. Lee said the premise did not feel unfamiliar.
"Whether it's a villain role or comedy, the public knows you for what they've seen. Once an image sticks, scripts tend to come in along those lines," he said. "There are seniors who broke out of those images over a long time and proved it through experience. I'm quietly following that path. I think it's arrogant to feel I have to solve it quickly. In an actor's life, I'm grateful for each opportunity. If there's a use for me, if there's value, I'm just thankful."
He said he draws inspiration from athletes and musicians who train daily, pushing through boredom and fatigue, and tries to bring that discipline to his work. "I love comedy as a genre, and I have expectations about language and expression," he said.
Lee also spoke about the gap between his friendly public image and what he described as a more sensitive private temperament, saying it once weighed on him but has eased with age.
"Now that I'm 40, I think I'm becoming more rounded," he said. "The sharp parts and those worries soften, and I accept what I need to accept. I think I'm in the process of becoming an adult. If it were back when I was more hot-blooded, I might have been a bit prickly, but now I have chronic fatigue. Ha ha."
On the surface, the project can look like a vehicle built for Lee: He uses his real name and plays a character that overlaps with his public persona. Lee said that made it harder, not easier, because he had to manage the distance between reality and fiction in every scene.
"I vaguely thought it would be easier if I played 'me,' but once we started shooting, every day was homework," he said. "It shouldn't look like a documentary, and it's not a reality observation show, so you have to keep building layers."
He cited a scene in which the character watches his mother from behind as she crosses a crosswalk. Seeing actress Kim Geum-soon from behind reminded him of his own mother, he said, and the emotion surged. "I thought, 'If the role gets too close to my life, it will be hard,'" he said, adding that he decided family material needed a more fictional approach to avoid taking a mental toll.
The film also includes moments that recall a less mature period in the actor's life, including how the character treats juniors and approaches the set. Lee said the project prompted him to reflect on his earlier self, when he was focused on doing well but had not yet learned how to help carry a production as part of a team.
"Looking back, I think I was only obsessed with running forward," he said. "My focus was only on 'I have to do well,' and I thought only, 'I have to be intense.'" He said he was struck by an acceptance-speech remark by actor Tony Leung, who wondered whether he could have worked with more smiles, and said he related to it.
Lee said he learned by watching veteran actor Choi Min-sik on the set of 'Casino,' describing how Choi embraced the whole set and treated people warmly. "If there's a set I return to someday, I should approach it with more growth and maturity, shouldn't I?" he said. "It's a process of telling myself that."
Lee said he was cautious about audiences overlapping the character with him as a person. He said he hoped it would be received as one person's story, but not reduced to only his private hardships.
"I've kept challenging myself, but I still don't think I've achieved something," he said. "On set there are cries that don't remain as records, and inside that we're always chasing something. I wanted it to be received not just as results, but as a person's story. But I didn't want it to be limited to Lee Dong-hwi's personal struggle or difficulty, either."
He added that some viewers may find parts of the finished film lacking in communication, but said he hoped his effort came through. He said he confronted family issues and other emotional matters during filming and came to see himself in difficult moments, which he believed could shape how the work is received.
Still, Lee said he felt he had little choice but to put more of himself forward in this project, believing a purely fictional character would not bring audiences close enough. Even so, he said he ultimately hopes the film is received as fiction.
"I hope this film is ultimately accepted as a fictional character," he said. "In this project, I had to find the courage, and I didn't think I could get close to the audience by only playing a made-up person. So I thought I had to put some of myself out front, and I challenged myself with that mindset. How it looks is up to the audience."
* This article has been translated by AI.
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