Actor Park Hae-il, known for building a strong reputation through films like 'Decision to Leave' and 'Hansan: Rising Dragon,' reunites with director Heo Jin-ho for 'Assassins.' The film portrays the unwavering determination of a veteran journalist pursuing the truth despite societal pressures, enhanced by Park's solid and steady performance.
"I felt a subtle emotion during the press screening. I was playing a journalist, and I was meeting journalists as the first audience. It was intriguing to meet the first audience, and I wondered how they perceived the film. This has become one of the works I want to follow closely in terms of articles," he said.
Park was pleased to receive the offer from director Heo Jin-ho after nearly a decade since their last collaboration on 'The Last Princess.' 'Assassins' marks Park's return to the big screen after a four-year hiatus.
"The director said, 'Let's work together again,' and handed me the script. I felt grateful that a director I had previously worked with sought me out again. I was curious about the role he wanted me to play and the nature of the project. After reading it, I felt a strong curiosity, as if I had waited four years to do this work," he shared.
In the film, Park plays Jae-hwan, a veteran journalist who continues his work despite external pressures. Rather than emphasizing the historical context of a 1970s journalist, Park focused on finding the universal aspects of the profession that transcend time.
"I thought about how to approach the character without distinguishing between journalists of that era and those of today. I concentrated on the most universal aspects and decided to follow the director's lead in the rest," he explained.
The process of embodying a journalist began in a 1970s newspaper office created by the art team. Park practiced typing and taking notes, moving with fellow actors as part of the journalist team to learn how an article is produced.
"I learned that there are really diverse departments within a newspaper, and the process of moving to the editorial department was more complicated than I expected. I moved around the space, interacted with the actors, typed, and took notes. Jae-hwan's role explodes in that environment, so it was important to appear as a natural newspaper person. I think the biggest challenge was to make the audience convincingly believe in the portrayal of this profession," he said.
Given that the film is based on a real event from 1974, Park approached the material with caution. Not having experienced that era firsthand, he gradually understood the atmosphere of the time through research and the director's memories.
"I wasn't born during that event, and I didn't experience that era. Initially, I only knew that such a significant event occurred, but through the director's proposal, I was prompted to reflect on it. I researched and discussed the script thoroughly. I think I gradually entered the world of those who lived through that time by hearing their experiences and the director's perspective. Ultimately, the script served as my navigation within the film," he noted.
The newspaper office serves as another central axis of the film. The process of journalists moving in their respective roles toward a significant event plays a crucial role in explaining Jae-hwan's character.
"I really wanted to excel in the scenes set in the newspaper office. I thought it would be fascinating to see people with different roles moving together in that space. I greeted all the supporting actors and extras. We are like cogs in a machine that work together to produce an article. I wanted to create a sense of urgency when a major event occurs, with everyone focused and rushing in," he said.
The most intense moment of this flow occurs during the declaration of the practice of free journalism. Jae-hwan, who has been emotionally restrained, raises his voice alongside fellow journalists, and Park had been building up emotions for this scene since he first received the script.
"From the moment I received the script, I thought I needed to experience the emotions well and convey them convincingly. It’s a scene that could burden the audience if not handled well, so I’m grateful that the director helped adjust the tone. All the actors, including the supporting cast, prepared with the same intensity. It was a bit daunting, but I felt supported. So, I suggested we read it as it is. There were parts where I stumbled over words, but I thought it would be strange to read it too smoothly in that situation. The director also liked the raw feeling of it," he explained.
As the film progresses, its intensity increases, but Jae-hwan's performance remains relatively understated. Park emphasized the importance of not portraying his character as a didactic or instructive figure.
"I think the director prefers a restrained directorial tone and a clean, understated feel. I also thought that when playing a responsible senior journalist, I should avoid a dogmatic attitude of lecturing or teaching. I found the process of team members sitting horizontally at the social desk, sharing their research and evidence, and piecing together the puzzle to be fascinating," he said.
While he was excited to work with director Heo Jin-ho for the second time, Park felt the pressure of not repeating his previous performance. Having already shown his capabilities in 'The Last Princess,' he felt a responsibility to create something new.
"I did feel the need to avoid repetition. It’s a pleasure to work with the same director on two projects, but it also brings a certain pressure. I had poured everything I had into one project, and now I felt the responsibility to dig deeper and show something new," he said.
The difference he found was 'speed.' Unlike 'The Last Princess,' he added a sense of urgency to his performance to match the rhythm of 'Assassins,' which follows events rapidly.
"I saw a clear distinction between how I handled the character in 'The Last Princess' and the rhythm and pace of this film. So, I thought we should maintain a sense of speed. I also felt that the director's sense of rhythm has evolved. I wanted to show a more dynamic performance," he said.
Park clarified that the film does not aim to deliver a specific interpretation to audiences who remember the actual events. However, he believes that the film can serve as a catalyst for recalling memories of that time due to its historical context.
"I don’t think this is a work that aims to convey a specific purpose. We are not a documentary but a creative thriller and investigative drama. However, since the events are factual, I believe those who felt the impact of the events may find themselves reflecting on that time. I think this film can provide an opportunity for that," he said.
Regarding the competitive landscape of Korean films during the Chuseok holiday, Park expressed excitement rather than concern. He described the variety of films as a "good spread" since their themes do not overlap.
"I remember the past Chuseok seasons as a time when at least three or four Korean films would be released. After COVID-19, there were many instances where only one film was released, but this year, Korean cinema has become vibrant again. Fortunately, I think it’s a good spread since the films do not overlap in themes," he said.
He highlighted the unique appeal of 'Assassins,' noting the ensemble of diverse actors and the fast-paced nature of the thriller genre. He believes that following different characters can provide varied enjoyment.
"The presence of various actors is one of the appealing aspects. Thanks to the thriller genre, we can follow the rhythm and pace of that era. Following Jae-hwan as a journalist is interesting, and following Cheol-koo, played by Yoo Hae-jin, will offer a different kind of enjoyment. I believe the experience of watching the ending credits, post-credits scene, and final subtitles will also differ from other films," he concluded.
* This article has been translated by AI.
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