Director Choi Jeong-kyu, known for his meticulous craftsmanship in genre dramas like 'The Devil Judge' and 'Red Moon Blue Sun,' has shifted his focus to the royal palace of Joseon in the Netflix series 'Donggung.' The show explores a mystery set in the world of spirits, where a palace maid with secrets investigates a curse that haunts the king. By blending the distinctly Korean theme of shamanistic beliefs with fantasy action, 'Donggung' achieved remarkable success, ranking second in the global Top 10 non-English shows just three days after its release. Choi's unique directorial style has captivated global audiences with the series' haunting undertones.
"Rather than focusing on ratings, I am grateful for the viewership. As a creator, my hope was for many people to enjoy it, so I feel thankful for the interest it has garnered since its release," Choi said.
When he first encountered the expansive world built by writers Kwon So-ra and Seo Jae-won, Choi felt a mix of excitement and challenge.
"My initial thought was, 'This will be fun.' I believed the content would be interesting, and from a creator's perspective, it seemed like a challenging and thrilling project. At that time, I didn't fully grasp how complex and difficult it would be, so I first thought about how to make it visually appealing," he explained.
One of the biggest challenges was visually realizing the 'world of spirits' that serves as the backdrop for the drama. The production team engaged in intense discussions to create a space that felt both connected to reality and distinctly different.
"From the beginning, we agreed that while we wanted the world to look different from the real one, it should still reflect elements of reality. The concept was clear, but the technical and visual implementation became a point of contemplation for me as the director," Choi noted.
Some viewers have drawn comparisons between the 'world of spirits' in 'Donggung' and the upside-down world in Netflix's 'Stranger Things.'
"I was surprised to hear the comparison to 'Stranger Things.' It's an excellent work, and I feel honored, but it wasn't a visual reference for us. However, we did discuss the sense of adventure in which characters navigate through various situations, and titles like 'Stranger Things' and 'The X-Files' came up. For visual representation, we sought basic imagery from legends and myths about hell and the afterlife. We aimed for a vibrant color palette in the real world, while the spirit world was dominated by a single color concept, like red, purple, or yellow. We also shot the same space in different seasons to create distinct feelings—spring and summer for reality, and winter for the spirit world," he explained.
Behind the stunning visuals was a strong collaboration with the cinematography and lighting teams. Despite the high reliance on visual effects (VFX), the team chose to emphasize the inherent strength of the subjects rather than solely depending on technology. They built separate sets for the real and spirit worlds to create a tactile difference.
"I learned a lot from cinematographer Park Jeong-hoon and lighting director Kim Seung-kyu. Both started their careers in historical dramas, and since I have also worked on many, we discussed how to express beauty in a fantasy based on Korea's past. We concluded that rather than embellishing too much, we should confront the subjects and landscapes directly. Instead of thinking, 'This can be solved with VFX,' we approached it with the mindset that 'this is it, without VFX.' While we did use a lot of VFX, we set a principle to minimize reliance on it from a blank slate. We first created the art and real sets, then applied retouching or overlays as needed. The sets for the spirit world and corridor scenes were built separately to create different color and texture perceptions, even slightly tilting columns and floors to evoke subtle differences that the audience might not consciously notice," he said.
In the series, the character Geumak-sari, who communicates with the protagonist Gucheon, had to balance between being endearing and eerie. Choi aimed to lend credibility to the character through its design.
"Designing Geumak-sari was quite challenging. Other spirit characters have relatively clear roles, but Geumak-sari needed to be a friendly presence to both Gucheon and the audience while also having the ability to transform and assist. I pondered how to create that credibility and drew inspiration from the textures of statues, clay figures, and earth. The original story had a dark image, so I developed it with a sense of earth and stone. Since this character needs to interact continuously with Gucheon, cuteness was also an important element. The writers mentioned that they found cuteness in the line where Geumak-sari repeatedly says, 'I am Geumak-sari.' I believe that influenced how the character was structured in the script," he said.
Leading actors Nam Joo-hyuk (as Gucheon) and Noh Yoon-seo (as Saenggang) displayed a high degree of synchronization with their characters, providing a solid foundation for the series.
"I see Gucheon as a very lonely character. He grumbles, but ultimately, he bears all the burdens himself. He navigates between life and death, fulfills his duties, and accepts his fate. I felt a good understanding of this character during the casting discussions with Joo-hyuk. He is a bright and playful person, yet he also has a cool and reliable demeanor, with moments of loneliness reflected in his eyes. Most importantly, I felt his sincerity towards the work and character. Yoon-seo, on the other hand, seemed to have a sense of overcoming challenges, even though she didn't appear to struggle in her previous work. I was curious about the source of that, and when I met her and worked together, I found her to have a very straightforward and bold charm. Her simplicity and directness were impressive," Choi shared.
Veteran actors like Jang Young-nam and Jo Seung-woo provided the weight of traditional historical drama, while the two leads brought a relatively modern tone to their performances. This contrast arose naturally from the relationships between the characters.
"I think the contrast came from the positions and relationships of the characters rather than being intentional. Seung-woo and Young-nam play characters who engage in formal and political discussions, while Gucheon is inherently that type, and Saenggang, despite being a princess, becomes closer to Gucheon, altering their distance. That contrast likely became more pronounced. I believe both of them would excel in any role, not just historical dramas. Young-nam had to shoot high-energy scenes in a short period, and despite the exhausting circumstances, her eyes lit up whenever the camera was rolling, which I found truly impressive. The scene where she had to perform with a twisted mouth was particularly challenging," he noted.
During filming, a major fire incident forced the team to rebuild the set. However, Choi explained that such accidents ultimately strengthened the bond among the crew.
"The fire was significant, so it posed challenges. I believe we had to rebuild the set we had constructed. Still, I am grateful that no one was injured. The production company, Netflix, and the staff encouraged me, which helped us overcome the situation. Many people shed tears, but seeing them tell me, 'It's okay, let's stay strong,' made me realize I needed to pull myself together," he said.
As the series concludes with a poignant ending, anticipation for a potential second season is growing among viewers. Instead of providing a definitive answer, Choi responded with affection for the characters.
"Regarding whether the ending was designed with a sequel in mind, I believe that as a creator, it's not the first thing to consider. My primary concern was to do everything we could now and hope that many people would love it. However, in discussions with the writers about the ending, we talked about how the characters had gone through so much hardship and suffering, and we wondered if there could be a glimmer of hope. While the situation in the palace hasn't completely changed, the ending reflects a desire for a bit of hope for them in the darkness," he concluded.
* This article has been translated by AI.
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