[인터뷰] ‘왕사남’ 제작 임은정 대표 “문제의 호랑이 CG, 돈 벌었으니 이제 수정해야죠”

Continuing from the previous conversation

‘King Maker’ achieved far more than simply attracting 12 million moviegoers. The film has sparked a unique cultural phenomenon—audiences are traveling to Yeongwol in Gangwon Province to experience the historical settings where the story of Danjong and Eom Heung-do unfolded. Visitors are making pilgrimages to filming locations and historical sites, extending the movie’s impact well beyond theater walls.

This phenomenon demonstrates what can be called a “multi-entertainment effect”—revitalizing cinema culture while simultaneously boosting regional tourism. Behind this success lies the production team’s careful balancing act: expanding the narrative through cinematic imagination while maintaining historical accuracy and respect for real historical figures.

Producer Im Eun-jeong from Ondaworks shared insights into the production process, emphasizing that handling real historical figures required extreme sensitivity.

Honoring the Descendants

“This was our most delicate concern as producers. We invited members of the Yeongwol Eom clan association to technical screenings, and we met with them before production began. We wanted them to understand our intentions—particularly regarding Eom Heung-do’s final choices and the comedic moments early in the film. These scenes aren’t simply what they appear on the surface. This movie honors both Danjong and Eom Heung-do, and I believe the families understood and appreciated that intention.”

Audience Reactions and Cultural Engagement

The film generated remarkable audience engagement. King Sejo’s royal tomb received an overwhelming flood of critical comments on Kakao Map, temporarily crashing the platform.

“That was truly surprising! At first I wondered if it was appropriate, but then I thought—yes, actually it is,” Im laughed. “Yeongwol has been packed with visitors. People aren’t just watching and saying ‘that was good’—they’re spending their own time and money to visit the places where this story originated. This represents active cultural participation.”

“Previously, cinema faced competition from streaming platforms. Now I think the real competition is with experiential culture—things people can go and experience themselves. I hope movies can serve as gateways to comprehensive cultural experiences, like exhibitions exploring narrative themes.”

The Notorious Tiger CGI

From the beginning, audiences focused heavily on the tiger computer graphics, which received harsh criticism for looking unconvincing. Im confirmed plans to revise the visuals.

“Honestly, I felt disappointed too. But our CG team felt even more disappointed, I’m certain. Looking at it positively, audience feedback created an opportunity. The criticism made both the distributor and us recognize the need for improvements. Without that response, we wouldn’t have had this chance. Now that we’ve earned some revenue, we can make corrections before it’s too late to change anything. We haven’t determined exactly when or how yet—that will be decided in upcoming meetings.”

Budget Constraints and Creative Compromise

The production faced budget limitations, and the release date was moved up, creating challenges for the team.

“A month or two before filming began, our art director said ‘we really need to talk.’ Realistically, there were things I should have provided as producer, and I desperately wanted to. But while creating more visually stunning imagery would enrich the emotional depth, we had different responsibilities. Korean cinema needs to succeed financially to create a positive cycle. I asked the team to understand we were making this film with limited opportunities. The art and costume departments were all understanding. Looking back now, there’s some regret—if we’d known it would reach 10 million viewers, we might have spent more!”

What Captured 10 Million Hearts

“The film’s core themes are ultimately kindness and stories about future generations. Cinema is an industry that must nurture new generations—that’s how emerging creators get opportunities to take risks, and how the industry moves forward. In that sense, ‘King Maker’ has contributed to creating those opportunities. Many directors have thanked me recently, saying our film is doing something that couldn’t be planned. I hope our success opens doors for what comes next. I can’t predict Korean cinema’s future, but I know talented people are still preparing. I hope they’ll have the courage to create their work.”

What’s Next

As the first production from Ondaworks becomes a 10-million-viewer phenomenon, expectations are high for future projects.

“It’s been nearly three years since I established Ondaworks, and projects we started then are reaching completion as scripts. For cinema specifically, the next project will likely be another period piece—I seem to genuinely love that genre. I’m developing a historical screenplay with writer Hwang Seong-gu. I’m also preparing a period action film with director Ahn Tae-jin from ‘The Night Owl’—not based on real figures, but like ‘King Maker,’ it has clear themes and strong genre entertainment elements.”