It’s not often that I have the opportunity to speak with and interview directors of films I’ve seen, and even more rare to be able to speak to those who’ve produced one of the best action films in the last few years like A Man of Reason directed by and starring Jung Woo-sung, the found-family dramatic feature Broker by Japanese film legend Hirokazu Kore-eda, or The Guest, the intense psychological thriller feature debut by Yeon Je-gwang who’s work premises a very successful career following a successful premiere at the 2023 Busan International Film Festival (BIFF)
The Guest (2023)
There’s more films and dramas I could list, but needless to say, it was a very big deal for me personally to have the chance to speak with Song Dae-chan about his career in the Korean film industry. With a career that spans two decades this year, Song following the life changing decision to switch careers from being a marketer, worked his way up from being a production assistant on notable projects such as A Letter from Mars (2003), A Frozen Flower (2008), to taking the reins himself and starting Studio TAKE his own company.
As a producer, Song has led the production of films of all genres beginning with the thriller Haunters in 2010, to the 2021 feel good musically driven drama The Box starring K-pop super star Park Chan-yeol of the group EXO (one of my personal favourite groups), and of course Broker which had its world premiere at TIFF 2022 (Toronto International Film Festival), and was the first Korean produced and starring film by Hirokazu.
A Man of Reason (2022)
Following the premiere of The Guest at BIFF, and my interview with Yeon Je-gwang, I had to speak with Song about his perspective on the Korean film industry as an insider who’s spent years being a part of building it to be the impressive juggernaut it’s become. Despite the ever increasing global awareness of Korean films, there’s an almost ironic decline in financial support from the government for festivals like BIFF, and arts organisations like the Korean Film Council (KOFIC).
Song shared his valuable insight in these topics and the pros and cons of the state of streaming and how the push by American companies like Netflix and Disney+ is having a significant impact on creatives and the industry’s economy. In doing so he revealed to me that he and a collective of other producers have formed the World Content Network Agency (WCNA) to address these very issues.
All in all it was a great conversation and I gained new insight into an industry and company that fascinates me, and I appreciate Song sharing how his past experiences shaped his path, and where he sees the future of Studio TAKE and the industry going.
Interpreting for the interview was done by Park Chan-yeon.
Carolyn Hinds
Freelance Critic, Journalist & Podcaster
African American Film Critics Association Member, Tomatometer-Approved Critic
Co-Host & Producer So Here’s What Happened! Podcast
Bylines at http://Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12
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