Jeong initially dreamt of becoming a nun, as she admired the beauty of their clothing and had a liking for uniforms.
In college, Jeong pursued studies in the Philosophy Department at Seoul National University, but she later transferred to the Film Department of the Korea National University of Arts to avoid retaking college entrance exams. She also thought that studying film and acting would open doors to more opportunities. (Additionally, Park had experience as a child actor.[3][4]) During her studies, Jeong attended a scriptwriting class taught by Hong Sang-soo. She also joined a film club where she fully immersed herself in the works of esteemed directors such as Ingmar Bergman, Abel Ferrara, Roman Polanski, and Stanley Kubrick.[3]
Later, during her third year, Jeong wrote a short film called The Electricians. It was chosen as one of the recipients of the Kodak Short Film Production Support Project (the 5th Eastman Short Film Production Support Project). Initially, Jeong didn't plan on becoming a director, but changes in the academic system required her to make a film in order to graduate. With The Electricians, Jeong successfully graduated.[3][5][6]
In 2002, Park Chan-wook, who was part of the jury for Kodak Short Film Production Support Project, discovered Jeong when she applied for the project's scholarship. At the time, Jeong was in her third year at the Korea National University of Arts.[7][8]
In 2003, Jeong and Park met again when Moho Film was newly established. After winning the Cannes Grand Prix in 2003 for Old Boy and deciding to focus on a more female-centric film, Park remembered Jeong's spark and peculiar sensibility and approached her to write a script draft.[7][8][9][10]
My entire film career can be divided into the period before and after I met Jeong Seo-kyung.
Park Chan-wook, Preface in Lady Vengeance Screenplay Collection.[8]
At first, Park met writer Jeong to work on the film Thirst, but this collaboration was put on hold as Park decided to work on Lady Vengeance first. During the production of Old Boy, Park's previous film, he had felt that the narrative seemed to exclude the female character, Mido, after which he became inspired to create a more female-centric film, thus giving rise to Lady Vengeance. Recognizing the need for a female writer, Park sought a collaboration with Jeong.[7][8][9]
Lady Vengeance had a highly successful opening in South Korea on July 29, 2005, generating blockbuster-level earnings. It grossed an impressive sum of $7,382,034 USD in its opening weekend and accumulated a total of $22,590,402 USD in South Korea alone.The film's popularity was further highlighted by its ranking as the seventh highest-grossing domestic release in South Korea that year and the eighth highest-grossing release overall with a nationwide ticket sale of 3,650,000. Its remarkable financial success solidified its status as a major box office hit.[11][12]
Lady Vengeance also participated in the competition for the Golden Lion at the 62nd Venice International Film Festival in September 2005.[13] Although it didn't win in the competition, it received recognition in other categories including the Cinema of The Future, the Young Lion Award, and the Best Innovated Film Award in the non-competition section. Additionally, it later won the Best Film award at the 26th Blue Dragon Film Awards.[14]
I'm a Cyborg, But That's OK, the second film by Park and writer Jeong, presented a fresh challenge for them, as it diverged from their renowned Revenge Trilogy. The film, a romantic comedy, unfolds within the setting of a mental hospital, portraying the unconventional love story between Yeong-gun (acted by Lim Soo-jeong), who believes she is a cyborg, and Il-sun (acted by Jung Ji-hoon), a patient who supports and safeguards her.
It contains the message of loving each other and having hope no matter what the situation. However, it is a work that can be interpreted in various ways.
I'm a Cyborg, But That's OK premiered in South Korea on December 7, 2006. It debuted as the top film, grossing $2,478,626; however, it experienced a significant decline of 76% in its second weekend and was subsequently pulled from most screens before Christmas. The sales of approximately 780,000 tickets were considered disappointing compared to Park's previous films, all of which had exceeded 3 million ticket sales.[16][17][18] While the film received mixed reviews in comparison to their earlier works, it still holds significance in their collaborative filmography.[19][15]
Flower of Evil
Subsequently, Jeong started working on the script for Yim Pil-sung's project, Flower of Evil.[3][15] Yim intended to direct a gripping suspense drama that revolved around a married American expatriate falling for a Korean femme fatale. The project, titled Flower of Evil, entered pre-production in 2009, but it was later shelved.[20]
Thirst was loosely based on Émile Zola's novel Thérèse Raquin. Park and Jeong sought to write and direct from a darkly comical and provocative script involving vampire film tropes. The film explores the carnal awakening of a repressed priest turned vampire named Sang-hyun (acted by Song Kang-ho) as he seeks eternal life and desires Tae-ju (acted by Kim Ok-vin), the abused wife of his childhood friend, Kang-woo (acted by Shin Ha-kyun).[21][22]
When Thirst was released on April 30, 2009, it sparked divided reactions among the audience. While some viewers felt that Park had successfully lived up to the high expectations set by his previous works, others found the film's plot and visuals too provocative. Nevertheless, the film quickly gained popularity, drawing in 170,000 viewers on its opening day, which set a record for that year's film releases. The viewership of Thirst continued to soar, reaching 2 million viewers by the following weekend. Additionally, the film was selected as one of the 20 entries competing for the prestigious Palme d'Or, the top prize at the Cannes Film Festival.[23] Ultimately, Thirst received the Jury Prize at Cannes, sharing the third place award with British director Andrea Arnold's teen drama Fish Tank.[24] Jeong, together with Park, also won an award for their screenplay in the Sitges Film Festival.
The inspiration for the film came from 2002 novel, Fingersmith, written by Welsh author Sarah Waters. However, the setting was modified from Victorian-era Britain to 1930s Korea during the period of Japanese colonial rule.[26] The plot revolves around a young pickpocket named Sook-hee (acted by Kim Tae-ri) who is recruited by a conman named Count Fujiwara (acted by Ha Jung-woo). Fujiwara's plan is to gather information from heiress Lady Hideko (acted by Kim Min-hee) whom he intends to marry, manipulate, and steal her wealth. However, Fujiwara doesn't anticipate the strong attraction that develops between Sook-hee and Hideko, and this intense connection adds layers of complexity to an already intricate and constantly evolving story.[27]
At the core of the narrative lies a romantic relationship between the two leading female characters. This aspect holds particular significance given the predominant male influence in both the Korean and Western film industries. Jeong has consistently shown a deep interest in homosexuality, which is not limited to her involvement in this film but extends to her general curiosity on the subject. She has extensively studied the topic and also bears insight from having many queer friends.[27] Moreover, Jeong sought her friend's input on various iterations of the scripts, ultimately valuing their perspective and incorporating their feedback into the creative process.[28]
The Handmaiden competed for the Palme d'Or at Cannes and had its premiere at the festival's 69th installment in the Grand Theatre Lumiere. It received a remarkable five-minute standing ovation. While the film didn't sweep awards at the festival, it achieved considerable success by securing lucrative export deals from film marketers in 176 countries. This achievement set a new record for a South Korean film, surpassing the previous record held by Snowpiercer (2013), a fantasy film by Bong Joon-ho which had been sold in 167 countries.[29][30][31] Jeong, together with Park, also won awards for their screenplay from the Chicago Film Critics Association.[32]
The Handmaiden had a successful theatrical release on June 1, 2016, attracting approximately 300,000 viewers on its opening day. Within the first two days, the film surpassed 550,000 viewers, making it a box office-topping hit.[33] In South Korea, the film sold more than 4 million tickets altogether.[34][32][35] Due to popular demand, the film's screenplay was officially published just two months later in August 2016.[25]
The screenplay for The Truth Beneath was based on Lee Kyung-mi's earlier work, Female Teacher. During Park's time directing Stoker in the United States, he contacted Lee and proposed the idea of developing a subplot within it. This suggestion eventually led to the creation of The Truth Beneath. A team of five screenwriters—Lee, Park, Jeong, Kim Da-young, and Jeong So-young—collaborated on crafting the script for the film.[36]
Jeong collaborated with director Lee Hae-young to co-write the remake of Johnnie To's 2012 gritty mainland crime saga, Drug War. The film, titled Believer, retains the core elements of To's original work; however, while faithfully recreating certain iconic scenes, Lee and Jeong made substantial changes to the plot and character dynamics in other areas. Notably, the remake's subdued resolution sparked significant discussion, as it diverged dramatically from To's action-packed finale.[5]
Mother was a remake of the 2010 Japanese TV series of the same title. Jeong initially felt hesitant about writing a drama due to a lack of energy and space. However, when offered an opportunity by tvN, she considered the chance to tell a story about a mother and child for the next five years to be a rare opportunity.
Despite feeling unprepared, Jeong decided to give it a try. She even sought the opinion of her eldest child, who initially responded with "No." However, when Jeong mentioned that the main character would be an elementary school student, her eldest child responded with excitement, changing their initial "No" to "Really?"[37]
Decision to Leave originated from an idea proposed by Park. He suggested exploring the concept of a woman who kills her husband twice, specifically with the natural setting of mountains in mind.[43] Jeong, as the writer, aimed to portray the most fundamental and instinctive love without relying on words.[44][45]
The movie's plot revolves around a married detective who becomes involved with Song So-rae, a widow and a suspect in her husband's death, while investigating the case. Jeong had a specific vision for the character of So-rae and desired to cast Tang Wei in the role.[46]
I've been writing screenplays for over 20 years, but Decision to Leave humbled me again.
Little Women was a drama based on Louisa May Alcott's novel of the same name. It follows the story of three sisters (acted by Kim Go-eun, Nam Ji-hyun, and Park Ji-hoo) who grew up in poverty but bravely confront the wealthiest and most influential family in Korea.[54][55] Jeong started working on the drama in 2019 while simultaneously writing the screenplay for Decision to Leave.
Jeong didn't write a synopsis before beginning work on the drama, which initially caused confusion among the actors regarding their characters' emotions and the overall plot. However, as each new script was released, they gradually learned about the story and made necessary adjustments. This unconventional approach contributed to the unique style of Little Women. Park himself enjoyed the drama, and Jeong mentioned that it was difficult to ignore all the comments he made.[56][57]
After Jeong wrote the script for the first part, she received a positive response from the production company. However, she felt uncertain about achieving believability in a world blending fantasy and reality; Jeong believed that only art director Ryu Seong-hui, who had previously worked with her on The Handmaiden, could accomplish this. Through multiple meetings, she gradually convinced Ryu to join the production.[58]
Additionally, Jeong desired to collaborate with Kim Hee-won, as director, for the project, as she was captivated by her visionary approach and talent for conceptualizing abstract ideas while watching Kim's Vincenzo. Kim was well known for her strong dedication, fully committing herself to projects and even sacrificing meals and sleep for them; she rarely had time to read scripts from other works. Knowing Kim's availability after finishing Vincenzo, Cho Moon-joo from Studio Dragon promptly presented her with Little Women's script.[58]
Ultimately, Jeong successfully assembled a remarkable team, consisting of 70% women across the cast and crew, marking a significant milestone in the history of drama production. It was the first time that women held all key positions such as chief producer, writer, director, and art director.[59]
Later, the series garnered praise for its stunning scenography, characterized by lavish set designs and meticulous props.[60] At the 59th Baeksang Arts Awards, the drama received four nominations, including a Technical Award nomination for Ryu, which she ultimately won. Jeong was also nominated for Best Screenplay, while the drama itself received nominations for Best Director and Best Drama.[61][62][63]
Writing style
During the early stages of her career, Jeong wrote screenplays based on ideas provided by film studios or directors. However, immersing herself in their given characters and situations wasn't a simple task; in her case, she found that she needed something akin to a spell to fully engage with unfamiliar characters and situations at the outset of a production.[3] Jeong usually started her research first.[25]
If my film contains femininity, childlike innocence, fairytale beauty, optimism, excitement, gratitude, and useless fantasies, it comes from Jeong Seo-kyung.
Park Chan-wook, Preface in Lady Vengeance Screenplay Collection.[64]
Jeong's longest-serving partner has been the director Park. Together, they have collaborated on five works, starting with Sympathy For Lady Vengeance, then followed by I'm a Cyborg, But That's OK, Thirst, The Handmaiden, and Decision to Leave.[64] In the initial stages of the process, they would discuss and agree upon a treatment, after which Jeong proceeded with the first draft. For the second draft, they would share a computer and collaborate on the same files; each of them had their own monitor and keyboard, enabling seamless teamwork. As one person typed on the keyboard, the text would instantly appear on the other person's monitor, allowing them to work together on revisions side by side. In the final stage, director Park would work on the script alone or with a few members of his cast or crew, adding his personal, final touches.[8][10][25]
Jeong has found it challenging to develop male characters when writing a script, while Park has faced similar difficulties in developing female characters. In a way, they have complemented each other, as their strengths and weaknesses have aligned well, thus allowing them to create well-rounded characters together.[65] The combo of Park and Jeong has since created memorable female characters in the history of Korean cinema: Geum-ja from Lady Vengeance, Young-shin from I'm a Cyborg, But That's OK, Tae-ju from Thirst, Hideko and Sook-hee from The Handmaiden, and finally Song Seo-rae from Decision to Leave are just a few examples.
Critics have observed that the women of Park and Jeong's scripts choose to live authentically rather than being objectified, and they fearlessly explore their own desires, leaving a lasting impact on watchers; additionally, these characters often find themselves in extreme situations. For Korean moviegoers who are accustomed to male-dominated plots, the sheer presence of these female characters has not only shocking but also a breath of fresh air.[8][66]
Jeong says that when she designs characters, she thinks about their flaws first; they have their own unique goals and directions, and they are drawn to resemble oneself and depict characters that one can empathize with rather than simply being beautiful, righteous, or perfect.[8]
Personal life
Jeong married her husband in 2006.[15] They have two sons.[67] She had her first son around the time she finished writing the first draft of Thirst. She had her second son around the time she was helping Park for his American film, Stoker.[68]
^Visionary Awards, which started in 2020, selects and awards people who lead roles in the Korean entertainment industry. It highlights the meaning and achievements of a person whose chosen trend keywords penetrated the entertainment industry, including broadcasting, movies, music, and performances, and presents the next vision of the cultural sector with outstanding achievements and influence.[97]
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