"[Interview] 〈Soju War〉 Yoo Hae-jin: 'Snacks should be dried pollack! No need for consultation on drinking scenes'"

 

Jong-rok, who dedicated his entire life to the company. He thought about the company day and night, and after work, frequent drinking sessions with excessive drinking led his wife and daughter to leave him. He sincerely remained loyal to the company, National Treasure Soju, where he had worked for a long time. Indeed, Jong-rok represents the time and effort our fathers have put into their work. Actor Yoo Hae-jin conveys Jong-rok's efforts and sincerity to the audience with his unique humanity. In , he vividly reveals the clash of values between the old and new generations regarding work and success alongside actor Lee Je-hoon. Jong-rok's values may seem somewhat outdated from a contemporary perspective, but Yoo Hae-jin's seasoned performance convincingly portrays this. We met to discuss the work and the character.
 

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In this work, you showed a human side through the character Jong-rok. I'm curious about how you expressed the emotions that evoke humanism.

I always think it's more important to let the human side seep into the scene rather than to express it deliberately. So, of course, the lines are written, and the key is how to express this without it feeling awkward. I think that's true for all works.
 

You've played numerous characters so far; I'm curious about how you start to build a character.

As I mentioned earlier, every time I work on a project, I think about 'how can I avoid looking awkward.' This is my biggest challenge. For example, in , the audience sees a side of me that they haven't seen before. So I was worried about what would happen if I suddenly appeared and made everyone laugh. There is that image that everyone knows. So at that time, I suggested that when I first appear, I should come in unexpectedly. But I thought that could have side effects, so I had the camera slowly push in. So there’s a king-like character in front of me, and when you get closer, it turns out to be Yoo Hae-jin. If I had just appeared and said, 'You rascal!' it would have been awkward.

So I think it's important for the audience to prepare themselves mentally, thinking, 'That person said they would play a king this time.' I try to have that kind of time at the beginning of any work. In a way, it's like a signal between the audience and me. An invisible signal. I didn't think from the start, 'I need to show this color.' This character (Jong-rok) lives as if his values are tied to the company, as if the company is everything to him. That big framework is set, and I want the audience to recognize that as they watch the work.

 

You are known to be a drinker. Did the theme of soju play a role in your choice of this project?

Of course. (laughs) One of the great advantages of our drinking culture is that soju is consumed fairly regardless of wealth. I heard this story when I was young, and I wanted to do it because soju is so familiar.
 

There are many scenes in the movie where soju is consumed during company gatherings. As a soju enthusiast, did you contribute any ideas for those scenes?

I think it would be good to have dried pollack as a snack. That doesn't require any consultation. (laughs)

 

is also a film about corporate acquisition, so it includes various economic and business terms. Do you think this might make it difficult for the audience to engage with the film, and did you ever think it might not be a hit?
 

So from the beginning, I always raised the point that it should be 'easy!' So I tried to express my lines in a way that was as straightforward as possible. I had a lot of lines that were simplified. I thought, 'Even if I simplify the technical terms, it might still be hard to follow.' So I simplified the lines and visually conveyed the information by incorporating many graph images. The important thing was to make the audience think about 'what values should I live by' after watching the film.

But the reason I did this kind of work is that some works have value just by existing. Even if this movie doesn't become a hit, it still has meaning. Of course, this movie wasn't made with only that in mind. I also hoped that the audience would settle into the film and that it would be a hit.
 

You mentioned that this work has value just by existing. What part of the film made you feel that way?

When I see people living happily, I realize that having money doesn't necessarily mean being happy. Of course, it's a very necessary element, but what's important is where you place your values. Even if it seems difficult from an economic perspective, seeing people living well and being happy over nothing makes me think, 'That's living!' I think the audience might have similar thoughts while watching our movie.

 

The film is set against the backdrop of the IMF. You experienced the IMF; I'm curious about what thoughts you had while filming regarding that period.

I didn't find it difficult at all back then. I was doing theater. I learned from the news that the people and the whole country were struggling, but I wasn't having a hard time. I didn't have any struggles at all. My life was the same as before. I was at a point where I was saving bus fare to buy a small bread. If I had lost even that, it would have hit me hard, but I didn't experience any significant changes.
 

But usually, when recalling that time, you can feel it by looking at your family.

My family was also struggling. And I had left my hometown to be in Seoul. If I had worked part-time at that time, I would have felt the decrease in income, but our theater company couldn't afford to work part-time. We always finished irregularly, so even if I wanted to work, I couldn't. We would finish at 2 AM and then be told to come back by 8 AM the next morning, so it wasn't possible.
 

What kind of work were you doing until 2 AM?

Work. Those who are not performing during practice have to create something. So everything I made in came from there. If I couldn't make anything, I would get scolded a lot, so I had to produce something. If they said, 'Make a car with this,' I had to make a car. I once played a taxi driver in a play, and they told me to 'make a taxi,' so I made one. I made it out of wood, went to a junkyard to get a steering wheel, and connected metal pipes to create it. Then I would perform. In any case, I had to make anything. But since I did that back then, I could do various things in . Of course, it was all clumsy, though.

 

Lee Je-hoon is known for being diligent. What was it like working with him?

That's right. He is diligent. Just look at how he prepares for his English lines. He was extremely busy. He has so much going on, yet he prepares so thoroughly… I was really surprised by his English. He feels like a very perfect friend.
 

Lee Je-hoon mentioned that thinking of Jong-rok reminded him of his father. Conversely, I'm curious about what thoughts you had when you saw In-beom.

He's a modern person. I realized there can be such differences. I really felt the generational gap.

Director Jang Jae-hyun, who directed , also appears in . How would you evaluate his acting skills?

He came to see me on set, and he seems very sharp. I think he does well. (laughs)

 

In-beom and Jong-rok have opposing views on work. Which side do you feel closer to?

Many from my father's generation lived like Jong-rok, but I don't think it's suitable to live like that in today's world. If one lives alone, they can live that way, but then why get married? I think that's irresponsible. At the same time, I think there are things to learn from In-beom's economic mindset. I believe it's necessary to have In-beom's mindset within a morally acceptable range in today's world. But I think it would be good to blend the two characters well.
 

Is your perspective as an actor the same?

But I can't live only for acting and give up other things because of it. I can't do that. I think I could do that when I was living alone, but I'm not that capable.

 

After , you also worked on , and you are currently filming . Nowadays, many actors are also venturing into OTT, but I feel like we haven't seen you in OTT. I'm curious if there’s a reason you primarily work in films despite receiving many offers.

Fortunately, even though the film environment is tough, I'm grateful that films keep coming in. Since I've been in the film system for a long time, I feel a sense of familiarity. But I could also work on OTT if it's a good project. Oh, I cried a lot watching … In any case, there’s no reason not to do good projects. In a way, it might be a lack of courage. And I like films.
 

As you mentioned, you have a continuous stream of projects. You expressed gratitude for the ongoing film offers. Why do you think directors and producers keep seeking you out?

Well, I think I have fun on set for any project. The 'fun' doesn't mean making the atmosphere lively with laughter, but rather the joy of creating together. If we can positively influence each other while creating together, that's fortunate, and it's good to work together like fitting pieces of a puzzle, incorporating both my opinions and the director's. However, I don't think anyone is constantly looking for me. (laughs)