Korean drama Boyhood builds bridges between past and present in the story of a boy in a time before social media when life may have been more simple but had a violence of its own. Director Lee Myoungwoo speaks about The Studio M production for streaming platform, Coupang Play.

From the comedy-action hit "The Fiery Priest" to "One Ordinary Day", director Lee Myung-woo has earned praise for his talent in creating unique comedic characters and skilfully balancing artistic quality with mainstream appeal. Most recently, Lee brought Korea’s nostalgic 1980s Chungcheong Province to life in "Boyhood", a project that secured him Silver at the ContentAsia Awards (Best Director of a Scripted TV Programme). The series is about Jang Byeong-tae, a socially awkward boy who is mistakenly recognised as White Tiger, the best fighter in town, on his first day at Buyeo Agricultural High School.

What was the main inspiration behind "Boyhood"? “Boyhood is inspired by my personal experiences from the late 1980s. As Seoul successfully hosted the Olympics in 1988, it gained global recognition, becoming a symbol of national pride. However, life in small provincial towns, far from the bustling capital, was quite different. This project aims to evoke nostalgia for those who lived through that time and offer a fresh perspective to younger generations who did not. By focusing on the lives of those in an analogue world,  Boyhood seeks to portray the most ordinary yet relatable stories, bridging past and present through its narrative.”

Walk us through your creative process from the initial concept to the final product... “Conversations about school days often include the phrase, ‘At least I wasn’t someone who got beaten up by others’. During that era, the primary worry was not about whether someone else was violent, but whether you yourself were being targeted. The fear of violence was pervasive, and there were no effective systems or individuals to address it cleanly.

“The central theme of Boyhood is violence, focusing on the protagonist’s journey to overcome it. As the director, I wanted to avoid making the series overly heavy due to its serious subject matter. Instead, I aimed to present the story in an enjoyable and light-hearted manner through comedic techniques, while still addressing the theme of how we should confront and address violence.”

Period dramas are never without their challenges… “We paid meticulous attention to props, costumes, hairstyles and music to create a visually engaging experience. My artistic aim was to craft a series with visual pleasure.

“One other challenge was ensuring that the comedy genre would resonate with a broad audience, especially given its predominantly male-centric narrative. We were concerned about how to engage female viewers and whether the audience might be too limited. 

“We focused on making Byeong-tae, the main character, compelling while also highlighting the importance of the love stories involving female leads Seon-hwa, whose relationship with Byeong-tae ends in failure, and Ji-young, who supports him yet remains unnoticed.” 

It has been almost a year since the show first aired in Korea. What has been the most surprising or gratifying reaction from the audience? “Since the show premiered, there has been a noticeable surge in the popularity of the Chungcheong dialect among the public. In restaurants, people have been discussing episodes of Boyhood, and in bars, many have been mimicking the unique toast phrases used by the high school characters. Social media has also been inundated with content imitating the Chungcheong dialect and scenes from the series. 
More generally, I believe it has encouraged viewers to reconsider violence, both in schools and within society at large.”

Many of the characters are highly complex and distinctive. How did you develop them? “I focused on making their traits immediately recognisable rather than relying on lengthy explanations. I needed viewers to easily grasp who the characters were and support the protagonist’s journey. My approach involved boldly exaggerating certain aspects of the characters while grounding the rest in genuine, realistic emotions. They were intended to resemble people that might encounter in everyday life, while infusing them with exaggerated, almost cartoonish elements. My goal was for viewers to see themselves in the protagonist and think, ‘That’s my story!’”

The visual style is also distinctive… “The series, set in the 1980s, aimed to capture the era’s vibrancy and modernity. While the decade might now seem like a faded photograph, for those who lived through it, it was a period of vivid colour and innovation. To reflect this, I directed both the director of photography and the art director to use the most vibrant colours possible. A period series does not have to be dull; rather, I aimed to create a visually dynamic presentation.”

Are there any elements or lessons from this project that you plan to carry forward into your future work? “This project has been a significant growth experience for me as a director. Most importantly, by shifting focus from relying on star power to emphasising the strength of the story, content and quality, I’ve reaffirmed my belief that exceptional work can be created through these elements.” 

Looking back on this journey, what is your biggest takeaway and what’s next for you? “Despite the risks, the experience has been invaluable. Currently, I am working on a new romantic comedy series set to air next year, focusing on a storyline designed for multiple seasons. We’re also trying our best to develop season 2 of Boyhood soon.” 

▶ Published in ContentAsia December 2024 Magazine