[인터뷰] ‘휴민트’ 조인성 “우아한 액션 류승완 감독님 ‘매직’ 덕이죠”

Actor Jo In-sung returns to the screen with a commanding presence in the espionage thriller ‘Humint’, marking his third collaboration with acclaimed director Ryoo Seung-wan. At 45, the actor brings a unique intensity that transforms every scene he inhabits.

In this latest project, Jo portrays Manager Jo, a covert National Intelligence Service operative. The character balances professional precision with unexpected warmth, serving as both the narrative’s anchor and the audience’s guide through the story’s twists.

Finding Humanity in the Shadows

“This character exists at the story’s heart while simultaneously functioning as a narrator,” Jo explains. “Viewers experience the plot through his perspective, so maintaining relatability was essential. I couldn’t let heavy emotions dominate, yet the character still needed depth and definition.”

The actor deliberately rejected stereotypical portrayals of intelligence operatives as cold or intimidating. Instead, he emphasized the reality that these professionals serve their nation and its people. While action sequences showcase his character’s lethal capabilities, interactions with informants reveal gentleness and genuine care.

The Office Worker Approach

Jo’s creative breakthrough came from viewing Manager Jo through an unexpected lens: the everyday employee. Rather than focusing on the grandeur of a government agency, he concentrated on mundane routines anyone would recognize.

“Essentially, he’s just someone with a job at the NIS,” Jo notes with a smile. “His morning routine mirrors what we all do—waking up, gathering necessary items, heading to work. I wanted to capture that weariness we all feel, that sense of being worn down by daily life. Think of the workplace drama ‘Misaeng,’ but with espionage. That exhaustion carries through from beginning to end.”

The ‘Magic’ Behind the Action

Following the film’s release, audiences praised the action choreography extensively, particularly noting Jo’s elegant movements and controlled physicality. His long limbs and measured approach created memorable visual moments.

Yet Jo himself remains puzzled by these compliments. “People say the action looks graceful, but I honestly don’t see it that way myself. I wasn’t thinking ‘let me appear elegant’ during filming,” he admits candidly. “I don’t consider myself an action-focused performer, so I’m not particularly knowledgeable about that craft.”

He attributes the positive reception entirely to director Ryoo Seung-wan’s expertise. “If I truly had exceptional body control, I’d probably be a great dancer too—but I’m not,” he laughs. “Those abilities just aren’t in my toolkit. The scenes worked because of the director’s magic touch.”

Inside the Real Intelligence Service

Preparation included visiting an actual NIS facility, an experience that left a strong impression. Security protocols required surrendering all personal belongings, including phones, upon entry. Nothing created or written inside could leave with visitors.

Despite the intimidating atmosphere, Jo found the agents remarkably human. “I jokingly asked if they had black operatives with superpowers like Kim Doo-shik from ‘Moving,'” he recalls. “After thinking it over, the official said that information was classified—totally deadpan. It was hilarious.”

One instructor contributed a practical technique to the film’s gunfight choreography: loading a magazine and chambering a round using only the heel while lying down. “I worried it might look like showing off, but learning they actually do this in urgent situations validated the authenticity,” Jo explains.

Unintended Chemistry

Scenes with actress Shin Se-kyung, who plays informant Chae Sun-hwa, sparked unexpected audience interpretations. Though her character has a former lover named Park Gun, viewers detected subtle romantic tension between Sun-hwa and Manager Jo.

Jo finds these readings fascinating. “When audiences perceive emotions we didn’t deliberately craft, that indicates genuine chemistry between performers,” he observes. “I simply looked at Sun-hwa naturally, but viewers are free to interpret what they see however they wish. Some people saw romantic interest between them, which amazed me—I thought, ‘How did they extract such richness from the film?'”

He playfully adds, “Maybe Manager Jo wondered if she liked him too when she looked his way. Emotions are subjective—there’s no objective fact-checking possible.”

Looking Ahead: Staying Grounded

This year promises high visibility for Jo, with director Na Hong-jin’s ‘Hope’ arriving in July and director Lee Chang-dong’s ‘Possible Love’ expected later in the year. His expanding presence across streaming platforms and theatrical releases has fueled speculation about international opportunities.

However, Jo maintains realistic expectations. “Korean productions appear overseas frequently now, launching some actors into global careers. But I haven’t received a single international offer, which tells me I’m valued locally rather than globally,” he says pragmatically.

“‘Moving’ performed well, but when I travel internationally, nobody recognizes me,” he laughs. “If foreign projects come my way, I’ll certainly consider them. But for now, I’m focused on continuing to perform in Korean, creating quality domestic content that international audiences can discover through streaming platforms. I don’t believe I possess the specific qualities needed for serious overseas expansion yet.”

His approach reflects an artist comfortable with his position—dedicated to craft over ambition, substance over spectacle.