Interview: Han So-hee of 'Intern' on Her 'Shadow and Grit' (Part 2)

※〈Intern〉 — the interview with actor Han So-hee continues from Part 1.

One of the most memorable scenes comes late in the film. In the izakaya, Sun-woo opens up to Ki-ho about her situation. Wouldn't it be a burden to expose those feelings in front of such a senior actor—did you feel that pressure?

I went without sleep. Choi Min-sik suggested building a set just for that scene, saying, "This is a scene So-hee really needs to concentrate on," which was why we did it that way. Usually we could have shot in an actual Japanese-style pub on location, but he told the director in advance that this had to be a scene where nothing distracts us and only the two of us could focus, so they built a pub set. Because it was such an important scene, I planned to be alone on the day of filming to think it through, but for some reason Choi kept teasing me a lot that day. I wondered why he was behaving that way; maybe he wanted me to remain both Sun-woo and So-hee. Ki-ho's line, "Get a grip," was originally ordered differently in the script. The script had been structured so that the line, "If the CEO were my daughter, I think it would have been like this — get a grip," came in that sequence. He reversed that order. Choi thought that the more I contemplated that scene, the less my genuine emotion would show, so he simply let me be So-hee. While I received the line as Sun-woo — "You are young and capable and can do anything going forward" — I also heard it as Han So-hee. He did a lot to help me focus and supported me in that moment.

I heard that Mr. Choi changed the order of that line without telling you and only informed the director. You must have been surprised during the shoot.

When I delivered my line, I expected him to follow with, "If she were my daughter," so when he suddenly said, "Get a grip," I was genuinely startled. But I just carried on with the emotion. We shot it that way once and then again according to the original script, and the version with "Get a grip" first worked much better, so that is what made it into the final cut.

I heard the painting hanging in Sun-woo's home is your own work.

Those are drawings I do as a hobby. It was the same with 〈My Name〉 and with 〈Nevertheless,〉, I always hang drawings I made in the rooms of characters I play. The director liked my drawings so much this time that, after discussing it with the art director, they decided to include a few. They said it would work well to use paintings since Sun-woo is a designer.

You said you are a fan of the original work, but the director made a fair number of changes to Sun-woo's character. In particular, the character's final choice is completely different from the original. From your perspective as the actor, how did you approach the ending and what did you think of it while filming?

Given Sun-woo's characterization, she is someone who follows her own agency; she does not regret her dreams or past relationships. So when she parts ways with Min-wook (Kang Tae-oh), she doesn't ask, "Why did you cheat on me?" or demand reasons. She says, "I don't regret loving you, and I don't regret breaking up." In that sense, I think the ending allowed me to show a more mature side of Sun-woo.

The director said you have "shadow and grit," and Mr. Choi commented that you have an anxiety that serves you well as an actor. How do you take those assessments? Do you think they affect your acting?

When I prepare for a role, I tend to push myself to the brink. I always think I'm imperfect and unfinished, so I put myself under pressure. That tendency can read as instability to others. But I've also reconsidered that approach: I can't keep working the same way forever. The greater the overlap between me and a character, the easier it is, but now I think it's time to let go of some of that and operate from a more stabilized place. I'm grateful they saw those qualities in me, but I want to grow beyond them.

Was there a moment on this project when you really pushed yourself to the brink?

When we shot the scene where Sun-woo first interviews Ki-ho, I was so nervous I wondered how I would get through it. There are several moments where Ki-ho and Sun-woo really sink into each other — the Oranda scene and the warehouse scene, for example. Paradoxically, even though I push myself into a corner, I try to appear very composed on set. I tell myself, "I'll just do what I usually do," while worrying inside. I trust the set, the director, and my scene partners, so I am influenced a lot by the people around me. In the warehouse scene, Choi ad-libbed, "Don't you see two rabbits over there?" and I genuinely sprayed beer onto his pants. That episode shows how much I trusted him going into the shoot.

What lesson did you take away from working with such a senior actor as Choi Min-sik, someone you had long wanted to collaborate with?

Choi always arrives on set two hours early. He is the first to come in and the last to leave. Even when it isn't his scene, he often watches from behind the monitor. But he isn't the type to boss people around; he actually makes the set enjoyable. Being skilled is important, but I think that attitude is really crucial. After filming wrapped, I felt, "Mr. Choi is like an insurmountable mountain to me." There were many times I felt discouraged while shooting, but the experience also made me want, more than anything, to have the opportunity to work with him again on another project.

What did you talk about with Mr. Choi off camera? Did he praise you or offer advice about acting?

Surprisingly, Choi didn't say things like that. Choi jokes around a lot on set, but the moment the camera rolls he becomes Ki-ho. That actually helped me focus. During takes he let me do my thing. He told me, "Your interpretation of Sun-woo is right," which allowed us to be Ki-ho and Sun-woo rather than senior and junior on set.

You said you want to develop further. In what direction do you want to grow as an actor?

First, I want to be healthier in body and mind — that's a constant thought. Acting is an art, but there are technical aspects, too, so I want to manage my condition better. I hope to have more chances to show a wider range, and for that I need more colors in my palette, so lately I've been thinking a lot about myself. In the past I worried a lot about how others perceived me — "What if people see me this way?" — but these days I spend more time reflecting on myself, and that feels very good.

While filming 〈Intern〉, did you discover any new sides of yourself or learn anything you hadn't realized before?

There was a time when I, like Sun-woo, would skip sleep and food and chase a single goal until I dropped. That wasn't necessarily a bad choice, but I wish I had taken better care of myself. If I had looked around a little more instead of single-mindedly pursuing a dream, I might have had the kind of composure I've always wanted. I realized that.

Ki-ho is such a good adult he can feel almost ideal. From working together, what qualities of a good adult did you notice, and what kind of adult do you want to be?

Not imposing your standards on others. Everyone has a point of reference in life, whether they've lived 30 years or 60. For someone to insist that another person's reference is wrong and present it as advice, I don't think that's advice. Respecting someone's life, showing there are better options while making it clear the choice is theirs — that's something a good person can do. Rather than saying, "Everything you've done so far is wrong," saying, "You've done well so far, but here are some alternative paths," and opening up a view they haven't seen — I think that's what a good person does. Ki-ho did that for Sun-woo.

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After 〈Project Y〉 and 〈Snowfall〉, your recent filmography continues to center on two-person stories. What is your secret or strength when it comes to working closely with a co-star?

If I can compliment myself a bit, I think I'm good at getting along with people. Maybe because I was raised always aware of others, I tend to be attuned to people's emotions. So I approached Choi in a way that wouldn't make him uncomfortable. Shooting 〈Intern〉 made me feel like we're in an era where the idea of a single main character has faded. It's less about lead and supporting roles now and more like an orchestra. If it had been only Sun-woo and Ki-ho, 〈Intern〉 wouldn't have existed. Because of Yujin, Mina, Yeong-hwan, Jun-hyung (Im Seong-gyun), Ju-seong (Kim Yo-han), and Yoon-hee (Yoon Sang-jung), those two could exist. For my next project, I'd like to work on something with an ensemble again.

At a recent press event you called 〈Intern〉 "a film that comforts you on your way home." How do you personally comfort yourself after a day on set?

I stay completely quiet. I don't turn on music in the car. At home I even schedule time to listen to music. Music makes me feel like, "I'm still working right now." So on the way home I say nothing, listen to nothing, don't look at my phone — I just sit still. That's really important. When you're resting, you should do nothing. And sometimes, look at the sky — the sky has been really beautiful lately.

This film is likely to resonate with women in their 20s and 30s. If the original focused interest on mentors, this version puts the focus on a female leader. What did you focus on to make Sun-woo a three-dimensional character, and what qualities do you think make a good leader?

I don't think being strict alone makes someone a good leader. A leader who knows how to acknowledge others is a good leader. Someone who can say, "I know I'm lacking, please help me — I'll try harder," is what I mean. Ultimately, getting the job done is one measure of good leadership, but creating the conditions for others to succeed is also the mark of a good leader.

This Chuseok box office is highly competitive. Why should audiences choose to see 〈Intern〉?

Choi is in it! (laughs) And you'll see a side of Choi Min-sik with the warmest expression in the world, unlike anything you've seen from him before. Rather than thinking of it as competition, I actually hope all the films playing over Chuseok do well. Also, 〈Intern〉 features my dancing and singing. (laughs)