Interview: Jo In-sung on Director Na Hong-jin's Ambitious New Film 'Hope'

Actor Jo In-sung, known for his strong presence in films like 'The Outlaws,' 'Mogadishu,' and 'Smuggling,' showcases his talents in director Na Hong-jin's new film 'Hope.' Utilizing his physicality, Jo delivers impressive action sequences, establishing his unique style in the film.

"I didn’t place great significance on the action itself. The script was interesting, and there have been ups and downs in Korean sci-fi films, which motivated me to take on this challenge. As an actor, it’s my responsibility to bring the script to life. Rather than having a grand mindset, I see it as a process of embodying what’s in the script," Jo said.

Deciding to participate was not straightforward for Jo, who had undergone knee surgery due to an injury. He grappled with the allure of the project versus his physical condition.

"Initially, I was given the script to read. I thought, 'The director is now reaching for the stars.' Considering his previous works, I anticipated a challenging shoot, and the script reinforced that notion. I asked myself many questions: 'Should I do this? Can I take on this challenge? Is my body up for it? Am I willing to throw myself into this project?' I realized that my desire to participate and my physical state could differ. I couldn’t answer immediately and spent a lot of time contemplating on the train back from the countryside. I made my decision on the way back," he explained.

In the film, Jo plays a young man who spends his time hunting and fishing. He believes that establishing the relationship between his character and his friends is crucial for conveying the fear and loss his character experiences later.

"I wanted my character to appear playful and innocent when he’s with his friends. Among them, he is the most vulnerable. There are brief scenes where he sniffs around and laughs, which I think illustrate our relationship. Later, it becomes like a war zone. When comrades die in battle, it’s said that one loses their mind. The fear and the desire to survive lead to a desperate struggle for life, and I couldn’t overlook that aspect," Jo said.

Jo emphasized that in the action scenes, emotion is more important than mere movement. He believes that as the relationships between his character and others deteriorate, the fear manifests in his expressions in the latter part of the film.

"Those scenes are actually the most important. The scene where my character first appears is crucial. It needed to convey relationships without providing any information to the audience. Therefore, I spent a lot of time with the group in the film. As relationships developed, it built confidence when brought into the character's internal world. The relationships between my character and his group, as well as with another character, Beom-seok, are intertwined with senior-junior dynamics, reflecting the film's relationship structure. I believe that as those details accumulate and relationships fade, the fear and horror culminate in the final expressions of dread," he said.

Director Na Hong-jin's direction was focused on maintaining tension. Even scenes that appeared simple, like walking, required the actors to hold onto that tension throughout.

"Action can be instinctive or calculated, but I believe the acting aspect of character building must be mastered. The director constantly directed us via radio to 'maintain tension.' While it may seem easy to walk, we had to keep that tension while doing so," Jo noted.

In the latter part of the film, Jo's character faces multiple near-death experiences. He interprets his character's survival not through scientific explanation but as a manifestation of a superhuman desire to live.

"There are exaggerated elements, but it raises the question of whether he should have died or been severely injured. I believe it should be viewed as a miraculous human strength. Miracles can happen or not, but often those who have suffered greatly find the strength to rise after prayer. That kind of miracle seems to stem from a desperate desire to survive. There’s also the superhuman strength that emerges when a parent tries to protect their child. I think it’s about running away despite the pain because of the will to live," he explained.

One particularly challenging action scene involved riding a horse, which Jo found to be a significant test. There were moments when he thought it would be impossible to execute the scene.

"Riding a horse to cross over to the police station felt like perfectionism. Typically, if a scenario seems impossible, one would give up. Compromise is natural. If something can’t be done, it can’t be done. But it worked out. I didn’t think it would be possible. When I asked the stunt team if they had done something like this before, they said they hadn’t. When I asked if they could do it, they said they couldn’t because they hadn’t tried it. I just went for it without knowing if it would work, and what I thought was impossible turned out to be miraculous," he said.

The scene of galloping down the road became even more challenging due to weather and safety issues. Snowfall led to icy asphalt, making it difficult for the horse to run.

"I remember we planned for a month but ended up taking a month and a half. It snowed in between. When it snows, the asphalt freezes, and the horse can’t run. The shoes are made of metal, so they just slide. Even if we switched to rubber, it wouldn’t work on dry asphalt. We had to wait for it to melt. We couldn’t clear the snow that piled up behind us. We called it 'roll call,' setting everything up in the morning and being ready to shoot whenever the weather allowed. There were many days we set up but couldn’t shoot and had to leave," he said.

He described this scene as one where "if an accident happens, it could be fatal." It was a tense environment for both the actors and the crew.

"It wasn’t that I disliked it. It was our responsibility to get it right. It was technically difficult, and if an accident happened, it could be deadly. That made it even more tense. It was chaotic. The director wanted the staff to be more tense than anyone else, and we had to be tense. There was no substitute for us, so the director must have felt anxious and burdened," he said.

'Hope' represents a challenge for Jo as he ventures into a new genre. Aware of the ups and downs of the sci-fi and creature genres in Korean cinema, he expressed a desire not to shy away from it.

"The challenge lies in the difficulty of this genre. There have been fluctuations in the sci-fi genre in Korean cinema, and it’s inherently prone to ups and downs. Overcoming that is a task we must face. Personally, I had to decide whether to play it safe or take a risk. I don’t want my activities to become boring. I didn’t want to stay stagnant, even if the chances of a negative outcome were high. When we were working on 'Moving,' people looked at the flying scenes with skepticism, but it still left a good memory. That made me want to try again," he said.

As Korean cinema navigates a challenging period, expectations for 'Hope' are high. Jo likened it to the hibiscus flower that blooms amid the monsoon and typhoon.

"There’s a flower called hibiscus that blooms during the monsoon and typhoon. Despite the challenges, it still blooms. I hope 'Hope' can flourish in the audience's embrace, overcoming the difficulties and challenges faced by our film industry, as well as the hurdles of being a creature, sci-fi, and fantasy film. If those challenges are like the monsoon and typhoon, I hope the film can bloom beautifully in the audience's hearts. That’s my hope," he concluded.