'The Man Who Lives with the King' producer Im Eun-jung, CEO of Onda Works, on the film's resonance
Drawn to the dramatic figure of Um Heung‑do
Channeling grief through the Deposed King's story
Park Ji‑hoon: an actor who delivers more than what's assigned
Director Jang Hang‑joon: a filmmaker who understands the craft's core
Aiming to make films that balance entertainment, meaning and the spirit of the times
Even after the pandemic, South Korea continued to produce 10‑million‑ticket hits such as Exhumation, Seoul Spring and the Crime City series. Still, the response to The Man Who Lives with the King has felt different. Outside theaters, audiences have kept engaging with the film — visiting shooting locations and sustaining its afterglow in ways not usually seen.
Im Eun‑jung, CEO of Onda Works and the film’s producer, attributes that response to the film’s warmth and a protective impulse it inspires. Speaking with reporters on the 11th at a café in Samcheong‑dong, Jongno‑gu, Seoul, Im said that while a theater visit is often a solitary encounter, this film invited collective laughter and shared tears. That communal experience, she suggested, helped reactivate some of the cultural memories audiences associate with going to the movies.
She added that the film’s success ultimately comes down to that kindness. \"I believe kindness can save the world,\" she said. \"This is a story about someone who, even though he failed to protect, stayed by another’s side until the end. I think audiences felt and empathized with that.\"
The Man Who Lives with the King crossed the 10‑million admissions mark just 31 days after opening, becoming the 34th film in South Korean history to do so. As of the previous day, cumulative box office stood at 114.5 billion KRW (about $85.9 million). With a production budget near 10 billion KRW (about $7.5 million), the film has turned into a major commercial success.
When asked whether she had expected such a hit, Im said she had confidence in the project but never pegged a specific number as a target. \"After we passed 5 million, nobody was talking about 'how far can we go,'” she said. \"We just followed where the film led us.\"
Im said she was initially drawn to the project by its central character. \"Um Heung‑do’s role felt intensely dramatic to me,\" she explained. A fan of films that explore unrecorded personal choices and transformations within historical events, she felt Um Heung‑do contained the kind of untold narrative that interested her.
The setting of Cheongnyeongpo also proved pivotal. Its isolation — reachable only by crossing a river — and its association with the Deposed King’s death gave the story a dramatically charged backdrop, she said.
The actors' energy on set further elevated the film. \"We felt the actors' energy during production, so we tried to shoot as chronologically as possible,\" Im said.
On the audience acclaim for the film’s later scenes, she noted that many moments revealed a deeper engagement with the characters and material than she had expected. \"Seeing the acting earn so much praise was gratifying. As a producer who watched that process unfold, I feel very thankful,\" she said.
Im singled out Park Ji‑hoon’s performance for particular praise, calling his focus \"remarkable.\" \"From the table read he absorbed the director’s blocking and notes quickly,\" she said. \"When he took his homework home, he returned having prepared beyond what was asked.\"
\"He has raw talent and real instincts,\" she continued. \"On set he often chose to spend time alone preparing for the next scene instead of crowding the monitors. He showed the kind of concentration you see in stage actors.\"
Working with director Jang Hang‑joon was also a memorable experience for Im. She described Jang as a collaborator who listens — and adapts — when actors, crew or producers offer ideas that make sense. \"During our retreat to refine the script, I thought, 'This is someone who truly understands the essence of filmmaking,'\" she said.
Asked what kinds of projects she wants to pursue next, Im kept it simple: \"Films that are both entertaining and meaningful.\" She added that filmmakers must continually interrogate what \"fun\" and \"meaning\" mean to contemporary audiences. \"At the end of the day, it’s about understanding the stories people need now — and that ties into the spirit of the times,\" she said.
