Interview: Yoo Hae-jin on 30 Years of Acting: 'At Times I Feel I've Done Well, but I Also Think I Need to Work Harder'

This interview with 〈Assassins〉 actor Yoo Hae-jin continues from Part 1.

One striking scene shows Cheol-gu trudging forward without saluting the flag as the national anthem plays.

The sense of betrayal Cheol-gu must have felt — that emptiness — was the key thing. Even when I first read the script, I kept thinking about how to show it. We had limited time before sunset, so we had to shoot fast, but I felt a bit frustrated by the director's focus on detail. (laughs) I had high expectations and a lot of affection for the scene, so I ended the shoot with some regret. The director did say, "Hae-jin, you did well," though. When something that significant happens to Cheol-gu, a detective in public service, I thought the image should carry more of it, so I wanted the scene to be longer. Still, I like the director overall. (everyone laughs) Otherwise I wouldn't risk saying something that might be misunderstood.

You play a family head and a detective loyal to the state, yet someone who pursues the truth. How did you approach the emotional arc of such a layered character?

I didn't map out one overarching emotional line; I built it step by step, scene by scene. If this person were an ordinary policeman, witnessing that kind of event — seeing colleagues dragged away and unjustly subjected to violence while it seemed like someone was protecting a backer — he would feel deeply wronged. I believed the character's changes had to happen step by step. The moments I mentioned — the flag scene and when Jang Ryul (as Detective Go Dong-bae) returned — were times my heart felt particularly heavy. Once I was in makeup, that feeling hit me strongly. I felt Cheol-gu's actions would carry more force if that return looked visibly harsher. As an audience member, that level of ugliness might not be necessary to make an impact, but as a performer those two moments felt really important.

Because the film draws on real events and features many well-known actors in cameo roles, some viewers compared it to 〈1987〉; you appeared in both films as well.

I'm grateful that prominent people agreed to appear. What worries me is whether those appearances are genuinely necessary. I worry about that even when I'm offered similar cameos. I ask myself whether that actor is there because the role truly needs them or for some other reason. Watching this one, I definitely felt, "They were included because they were needed." It wasn't just a quick in-and-out cameo.

As you mentioned earlier, you reached number one in cumulative audience figures. Your recent box-office streak has been strong, and you have steadily built your standing from bit parts to major hits. With so much praise and compliments around you, how does that feel?

Praise always makes me a little embarrassed. On one hand, when I receive that praise I do feel like saying to myself, "You worked hard." I want to give myself a gift. But outwardly I think I should be more cautious. After seeing this film, I thought about the next project, 〈Modub〉, and told myself I have to work hard on it. It's not an easy movie. As with any film, I felt I must give it my all. A lot of people are watching, and because the response can be that much stronger when more people are watching, I need to be more serious.

I talked about the award (Baeksang Arts Awards, film category) on You Quiz on the Block and on Salon Drip, and I mentioned it a lot. Many people liked what I said, and I was very grateful. This is the first time I say this: I read the YouTube comments under my award acceptance clip. I was amazed — truly thankful. So many comments said they felt like they were sharing the moment with me. Except for one person who wrote, "The acceptance speech felt clumsy," (laughs) I was really moved. After winning, so many people told me, "I cried." What I felt while receiving the award was gratitude — that people were genuinely happy with me. Maybe it's because they've watched me from bit parts onward; knowing my past, they seemed to feel, "It couldn't have been easy," and that made them more supportive. (Yoo Hae-jin paused, eyes reddening) Maybe it's menopause. (laughs) Please don't write that I was forcing myself to cry. (everyone laughs)

I was especially struck by the long run of 〈The King and the Clown〉.

That happened with 〈The King and the Clown〉. It started with a small number of screens and grew through the audience's support. I remember feeling happy that the audience's enthusiasm made it spread. This time felt similar: the audience gradually warmed to it, and when we hit 1 million viewers we were genuinely thrilled. I went on promotion to Gangwon-do and someone said, "I think we're doing all right," and everyone on the bus celebrated wildly and took commemorative photos as if we'd reached 10 million already. Since then, people have continued to celebrate alongside us, and that feels wonderful.

Director Jang Hang-jun, who is busy with the Jecheon International Music Film Festival right now, saw the 〈Assassins〉 trailer and called me, "Haebal! Even from the trailer I think it's going to do well!" He said if there was anything he could do to help promote it to tell him, and I thanked him. He added, "(Writer) Kim Eun-hee rarely says this, but she really wants to see this one," so she said she'd come to the VIP screening. Park Ji-hoon will come, too. I called him, saying, "I know you're busy, but will you come to the VIP screening? No pressure," and I didn't want him to feel left out. He replied, "I'm coming." I said, "Huh? That's my line." (laughs) And Kim Min — I've grown to like him a lot lately. During filming I don't think I gave him enough affection because the main narrative focused on Danjong, so I couldn't pay attention. We see each other more now, and I like him more and more. I usually don't invite people; if I receive an invitation it feels like a burden. I worry that if I reach out, people might feel pressured. So I tend to invite only those who contact me. And usually, when I tell someone to come, it turns out they themselves have done well. (everyone laughs) That's why I avoid sending invitations.

What question do you think 〈Assassins〉 leaves behind?

For the character, it starts with one question: who is the backer? What is the truth? Those are the big starting questions. And what are the two bullets — that still remains a question mark. I think people will keep thinking about that. Also, 〈The King and the Clown〉 turned a small historical fact into a cinematic moment that gave the whole country time to think about Danjong. In the same way, this film might provide an opportunity for audiences to reflect on those question marks.

You always seem to fit period pieces and historical dramas very well.

The secret is my looks. (everyone laughs) But I truly think it helps a lot. So I don't worry too much. I don't look urbane, so if you put me in those settings it works. Contemporary dramas are more difficult for me.

You're headed to the Toronto International Film Festival. Are you looking forward to overseas festivals?

My first overseas festival was Udine. Back when we did Moss, I think we were invited to the Hong Kong Film Festival but I couldn't go. Udine was my first real experience abroad, and I loved the festival's character. It wasn't competitive, and I was surprised that people came from the U.S. and Hong Kong to see me in that small town. Maybe it's because of global streaming platforms; it made me feel like the world really is one place. Toronto will be my second time; I'd like to go more relaxed, but I can't because we have to promote the release. I could be more leisurely at Udine, but Toronto is a big festival, so there's pressure as well as excitement.

One of your breakthrough films, 〈Tazza〉, has a new installment opening at Chuseok. As a star of the original 〈Tazza〉, what would you say to wish them well?

When I hear the title 〈Tazza〉, it immediately feels familiar and warm to me. For that reason it doesn't feel like someone else's work. Unless they'd twisted it into a completely different title, I don't know. I hope all the Chuseok releases do well.