[Interview] What’s It Like to Step Into Kim Hye-yoon’s Genre Roles? Kim Hye-yoon on ‘Salmokji’ ②

▶〈Salmokji〉 actor Kim Hye-yoon’s interview continues from Part 1.

〈Salmokji〉 is a horror film built around “experiential” scares. From the perspective of filming an “experiential” movie, was there anything that made this set different from other productions?

At first, during the meeting and reading, you showed the road-view camera and the 360-degree camera. You told us the movie would come out in angles like that, and when I actually watched it, those scenes felt so unsettlingly strange. I thought it would be great if the audience could feel the same emotions I experienced, too.

Since the filming location was so remote, I think you must have gone through a lot of hardship on site. We also had to shoot at night.

There were really so many bugs. Since we were constantly running around and there were a lot of urgent situations, I was sweating a lot—but then the bugs kept sticking to my sweat. I think I used quite a few bug-repellent products. And since it was a remote area, the bathroom was also a bit inconvenient. But since we were all gathered together in a friendly atmosphere, all the actors were around the same age, and their personalities were so great that the laughter never stopped. There were inconvenient parts, but it feels like we enjoyed filming it.

There are always stories like this on horror-film sets—like seeing a ghost in real life. Did anything like that happen on this set, too?

One of the staff members actually saw a ghost. During filming, a staffer was hiding behind a stone pagoda, and filming was still going on. Then, from far away, they saw a baby wearing only a sleeveless top. The prop team person said something like, “Oh, so it’s probably a baby,” and then for a moment they thought, “Wait—there’s a baby here wearing only a sleeveless top. That’s strange.” It was also pretty chilly then, so everyone was wearing padding. But they said that the baby wearing only a sleeveless top passed by, moving around like this. Then, when they returned to the lodging, the sensor lights kept blinking, and they even recorded a video. So they said, “When we say ‘set,’ just stop,” and when they counted one, two, three, it stopped right then.

Maybe the ghost and you were able to communicate well.

I could really feel how strong your nerve was. It was like, “Maybe the baby followed,” with no big reaction at all. (laughter)

On horror-film sets, there’s also a saying that it’s a good sign if you see a ghost. Did you talk about things like that with the actors or the production team on site?

Since they told us about that incident—the time they saw the ghost—while we were on the set, it seemed like everyone was scared that they might experience it themselves once they were out on location. Everyone got even more frightened, saying things like, “Isn’t it going to follow us?” After everything was over, they said, “Since we saw our ghost, I hope everything goes well,” but.

Then what about you? Do you believe in ghosts? Are you the type who easily gets swayed by rumors like that? In the movie, there are characters who dismiss ghosts outright, and also characters who actively chase after fear. If you had to choose one, which side do you feel you’re closer to?

Because I’m not the kind of person who gets startled very easily, the director said I have a “Suh-in-like” vibe. I also thought about it from my own perspective, and I think I’m most similar to Suh-in. It’s when you feel scared inside, but act like you’re not. And even though it’s strange, just like there was a staff member who said they wanted to see the “mysterious child,” I also feel like I want to see something—its shape.

That part is exactly Sejeong, played by Jang Da-a in 〈Salmokji〉.

That’s right. So because I truly wanted to see something, during filming breaks I’d stare into the mountains like I was trying to force my way to the answer. So it was scary in case something might follow me, but at the same time, I wanted to discover something. I kept looking, but I couldn’t find anything. (laughter) In my heart, I wanted to find a ghost like Sejeong, but in reality, getting startled seems closer to Suh-in—like a mix of Sejeong and Suh-in.

The underwater scenes in the late part of 〈Salmokji〉 were also really impressive. What was it like filming underwater together with actor Lee Jong-won?

Actually, I really like water, so when we prepared for the underwater shoot, I had a bit of confidence. I also had underwater filming experience in previous works. But because 〈Salmokji〉 is a horror film, the underwater filming environment was incredibly dark, and there were many props that were frightening in the water—plus it looked like truly black water. I started to get scared all of a sudden. But (Lee) Jong-won hyung handled everything so skillfully and calmly. Watching him made me feel steady, and I think I was able to film well, too.

There was also underwater filming in 〈Carry-On: Sunjae and Run〉, right. Did you gain more know-how this time?

I think I got even more comfortable with underwater filming. After seeing Jong-won hyung and getting that sense of stability, I became calmer. My breathing got longer and longer, and the amount of time I could endure underwater increased, too.

In the story, actor Lee Jong-won’s character Ki-tae and Suh-in are ex-lovers, right? And you said the two of you even bickered like an ex-boyfriend and ex-girlfriend in real life.

Because they’re ex-lovers in the story, the director also said he wanted Suh-in to be a little blunt and have a snappy, irritative kind of way of speaking toward Ki-tae. And in real life, the fact that we bickered like that—maybe that’s part of Lee Jong-won hyung’s charm. Even the first time I saw him, he was friendly and comfortable, like we already knew each other. Hyung joined in the middle of filming, but he had that vibe like he’d been on this set from the beginning. Since we got close quickly and became comfortable, we played around a lot too. Luckily, I think it made it look even more like ex-boyfriend and ex-girlfriend.

This is the debut feature film of director Lee Sang-min, born in 1995. It feels like an MZ director’s MZ, audience-tailored film was born. Since you worked together with directors and actors your age, I think there must have been something fresh.

Because all the actors and the director are around our age, I think our close relationships really showed. At the stage greeting, the people involved said it’s not very common for the director to jump in like that in the middle. But we were just randomly mixed into each other. (laughter) I think that also shows well the vibe of this film with an age-mate director. At the set, you can see that he prepared a lot, and I didn’t really think much about the fact that he’s from our age. But when we ate together off the clock or talked privately, I could really feel, “Wow, you’re really from our age.” (laughter) We talked a lot about topics that came up in conversations between friends around our age.

Earlier, you said you like horror films. In fact, the graduation project you directed is also a thriller. What is it about enjoying genre films like horror and thrillers that you like?

When I think about it deeply, it feels like I get a sense of satisfaction from “resolution.” In thrillers and horror, the movie starts with tension and curiosity, and it keeps pulling you along with that. Who am I? Who is the culprit?—and then when you finally reach the ending, there’s that thrill of release.

You’re now in your 30s. If anything has changed, what would it be?

When my older sisters said, “Your 20s and your 30s are different,” I thought, 19 and 20 don’t feel that different either, so how much could 29 and 30 really be? But the biggest change came in my body. Even when I catch a cold, it doesn’t go away quickly. Back then, pillow creases—things like that—would disappear after a few minutes, but now it takes hours. (laughter) I think the biggest physical changes are between 29 and 30.

As an actor, though, it’s also a time when your range becomes wider.

That’s why, with every work I do, I want to become even deeper and more mature with the next one—that’s my wish. I’m also really excited about what my future self will look like. It seems like I’m going to keep learning and trying with every project so that, when I look back ten years from now, I can feel like I’ve grown step by step.

Then, how does it feel when you look back at the path you’ve walked so far, starting from that point?

I feel like the know-how we built back then is helping a lot now. For example, even before, I always tried to figure out what condition I needed on set to act comfortably. If it was too comfortable, I’d start getting sleepy—or it would feel too much like home. I felt that you have to have the right level of tension and the right condition for concentration to work well. I think I’m learning those things with every project.

So then, do you have your own criteria for choosing projects? I’m sure your criteria have changed over time as you grow.

In the past, the biggest thing was that I needed to show a lot of new sides. And now, I think I want to show other charms I have, even though the script is really fun and it’s in a similar vein.

〈Salmokji〉 releases on April 8. How do you want audiences to see 〈Salmokji〉?

At the production press conference, the director and the actors said, “It feels like a horror film where the audience helps create it together,” and I completely agree with that. Horror films have that kind of fun. When I was in my teens, I used to go watch horror films with a group of people. We’d go together with friends, yell and watch, and then after the movie, we’d laugh and chatter about each other’s shocked faces—it’s a great memory. In theaters, you usually don’t have much chance to exchange emotions with other audience members, but I think there’s synergy that comes from the reactions of the people watching together.

Lastly, if we rate the horror level of 〈Salmokji〉 out of 10, what would it be?

9.5. And here’s why I didn’t give it a full 10: if it were a true 10, people who find it unbearably scary might not come. I hope that even those who think it’s scary enough—if they trust that missing 0.5—will still come.