Peninsula: From a supporting actor to the best actor in Chungmuro

Chapter 150 Bae Suzy Arrives

The character Rong Guo is described as having a lithe and agile physique.

They possess the sunny disposition and vibrant energy unique to athletes.

His personality contains the bravery and recklessness common to people his age.

Deep down, however, he retains a considerable amount of kindness.

When disaster struck the closed high-speed train, he was initially just as panicked as his companions.

But he was the first to rush out in the critical moment.

Simultaneously.

He is also an indispensable member of the survivor team led by the protagonist, Shi Yu.

however.

This character development storyline ultimately leads to utter tragedy.

—To die for love.

And the girl who ultimately determined the fate of "Rongguo" was "Jinxi".

It was played by Bae Suzy.

at that time.

Bae Suzy entered with an impeccable, business-like sweet smile on her face.

That brightness was just right.

It precisely caters to the gaze of different observers.

—Director Yeon Sang-ho, Gong Yoo, Jung Yu-mi, Ma Dong-seok, and core members of the production team…

One does not fall.

bow.

smile.

The voice is sweet and gentle:

"Director, Gong Yoo, Yu Mi, Ma Dong Seok... Hello everyone, I'm sorry I'm a little late."

Every form of address carries a respectful sense of appropriate closeness.

He skillfully demonstrated respect for his seniors and the production team.

then.

The line of sight is unavoidable.

It passed by Kang Jae-hoon, who was sitting next to Ma Dong-seok.

Eyes facing each other.

Kang Jae-hoon seemed to sense—

The curve of her lips seemed to deepen slightly.

The shape of the curve at the corner of the eye and the end of the eyebrow also changed by a few tenths of an angle.

The radiance emanating from her whole being...

It was as if the gear had been instantly shifted up a notch.

It was so bright it was almost dazzling.

immediately.

It glided by as lightly as a butterfly flapping its wings.

Her sweet smile continued as she moved on to the next person she needed to greet.

It was as if that brief "brightness upgrade" had never happened.

After she completed this flawless "greeting cycle".

His gaze naturally fell on Jiang Zai Xun's side.

No hesitation.

I walked over with light steps.

Pull out the chair.

She took her seat gracefully.

A refreshing, delicate, and slightly sweet lychee aroma.

It just floated naturally into the air directly in front of Kang Jae-hoon.

It seems to exist but isn't.

With her subtle movements and breathing, she floated slightly in the narrow space between the two of them.

It lingers in my mind.

"haven't seen you for a long time."

Kang Jae-hoon turned around and greeted him.

Bae Soo-ji turned her head upon hearing the sound.

Her smile was still sweet.

But the "business-like" attitude she had when facing her seniors faded a little, and a more genuine smile appeared in her eyes:

"It's been a while. But... it doesn't feel like that long, does it? Lately, there's been a deluge of news about actor Jiang..."

Bae Suzy's words were not just polite.

Kang Jae-hoon's name has been quite active in the news recently.

First, Jo In-sung, Lee Kwang-soo, Cha Tae-hyun and others made a collective appearance at the premiere of "For Love or Money", which sparked discussions among netizens about the "Jo In-sung line's network of connections";

Followed by.

The media compared his first leading role in a feature film, *For Love or Money*, with Lee Min-ho's *Gangnam 1970*, which was released at the same time and was also his first leading role in a film, from multiple perspectives.

Both of them are actors who rose to fame through the drama "The Heirs".

One of them played the third male lead, Yoon Chan-young.

One of them plays the male lead, Kim Tan.

Now, almost simultaneously, they are all making their big-screen debuts as leading men.

This narrative of "former colleagues, now rivals" naturally carries a lot of topicality.

Headlines like "#The Heirs' First Battle on the Big Screen" and "#Supporting Actor's Comeback Challenges the Leading Actor's Halo" are popping up everywhere to grab attention.

"Those reports... they're just so-so."

Kang Jae-hoon shook his head helplessly.

this time.

Reports comparing the performances of the male leads in "For Love or Money" and "Gangnam 1970" are everywhere.

— Kang Jae-hoon in "For Love or Money".

Putting aside the complexity of the character itself.

He conveyed a breakdown and numbness through a single glance and subtle facial expression in a crying scene, which was specifically mentioned and praised by many film critics.

In contrast.

Lee Min-ho in "Gangnam 1970".

Although the film features violent and action-packed scenes, some critics and viewers (especially non-fans) felt that the depth of the characters and their emotional expression were somewhat thin, that the characters had not completely shed their idol image, and that the "coolness" in some scenes overshadowed the characters' struggles and complexities.

This comparison is merely a media tactic to grab attention.

However, Lee Min-ho's massive fan base felt severely offended and belittled.

In their view—

The media was using their carefully nurtured idol to "praise" a former supporting actor from the same drama. Dissatisfaction and resentment quickly escalated.

The initial discussions were confined to fan forums.

gradually.

The war spread.

Lee Min-ho's fans began flooding the DC forum's movie section and Naver's related news comment section with "reverse popular science" messages.

Posts filled with sarcastic remarks and even personal attacks were flooding the internet.

Kang Jae-hoon's fans were naturally not to be outdone.

Analyze, defend, and counterattack from a professional perspective.

The fans of both sides are locked in a fierce online battle.

"When fans argue, the firepower is always very strong."

Bae Suzy clearly shared these sentiments: "What did your manager say?"

"he?"

Kang Jae-hoon pinched the bridge of his nose and said:

"He's very composed. He said it's just to give me some exposure and buzz. He also said that being a 'cross-dressing master' means I have a wide range of roles and no inhibitions, being a 'resourced actor' means Teacher Huang has good taste, and 'my facial expressions are terrible' means I'm very dedicated..."

He repeated Jin Dayuan's original words.

He was stunned for a moment by that set of fallacies and heresies.

Bae Suzy couldn't help but burst out laughing.

Then, realizing it was inappropriate, he covered his mouth with the back of his hand.
"Pfft... Manager Kim is indeed... very resourceful."

She couldn't find the right adjective.

“He also told me to ignore it and focus on preparing for the movie,” Kang Jae-hoon added. “He said that once the movie’s reviews come out, all this will naturally subside.”

"Too."

Bae Suzy nodded:

"Those who are now blindly criticizing you might become your movie audience in the future."

What she said was very true.

"hope so."

Kang Jae-hoon is not too optimistic about this.

Bae Suzy wanted to say something more.

But then Director Yeon Sang-ho cleared his throat:
"Alright, everyone's here. Let's get started."

Kang Jae-hoon and Bae Suzy simultaneously fell silent.

Each of them opened the script in front of them.

At that moment, Bae Suzy's focused and serious demeanor immediately replaced her bright and girl-next-door appearance.

"The reason for gathering everyone before the Spring Festival is to take advantage of this important window of time before filming to thoroughly review the core plot of the script, the character positioning, and the overall atmosphere we want to create."

"Train to Busan is not a simple commercial film. It is essentially an exploration of the human condition in the face of extreme disaster. The zombies are just a catalyst. What we want to present is the struggle and choices people make between their survival instinct, moral conscience, and family and love after the collapse of order."

There was silence in the conference room.

Everyone here is a seasoned professional.

He naturally understood the weight behind those words.

In this extremely competitive country with a complex class structure.

Films that have successfully won major awards (Blue Dragon Film Awards, Grand Bell Awards, Baeksang Arts Awards) are rarely pure popcorn entertainment blockbusters.

(For example, "Extreme Job," currently the second highest-grossing Korean film of all time (1625 million viewers), didn't win any of the three major awards.)
Works that can win the Azure Dragon Award, the Grand Bell Award, or even compete for international awards.

They either confront historical wounds, satirize contemporary absurdities, or expose systemic flaws.

They often carry a strong sense of realism and social responsibility.

Director Bong Joon-ho is a prime example of this.

He always manages to wrap profound analyses and sharp metaphors of political systems, human nature, and social contradictions in a highly commercial and entertaining shell (The Host, Snowpiercer), perfectly blending criticism with commercial appeal.

And this film, Train to Busan.

Whether it's human experimentation in a confined space.

The conflicts and contradictions arising from class divisions during the disaster (such as the selfish Executive Director Kim and Seok-woo who sacrificed for the group) all have a core reminiscent of Bong Joon-ho's social allegories.

the difference is.

Compared to Bong Joon-ho's works, it contains more macro-level political and social metaphors.

Director Yeon Sang-ho's anger and reflection in this work stem from a more personal and micro-level source—

This stems largely from the bullying he experienced in school when he was young and the violence he witnessed in the military during his service.

These are personal experiences of pain.

This gives the depiction of human evil in "Train to Busan" a more direct and concrete impact.

……

The reading session has officially begun.

Director Yeon Sang-ho is leading the way.

A detailed analysis is provided, from the core story setting to the characters' psychological motivations.

Bae Soo-ji listened with exceptional attention.

Occasionally, he would make marks on the script with a pen.

Kang Jae-hoon also composed himself.

Immerse yourself in the director's interpretation of the zombie virus setting, the rules of the enclosed train car space, and the psychological transformation of the characters in desperate situations.

The discussion became lively.

Regarding the characters' first reaction to disaster, how subtle actions convey fear, and how they seek even the smallest hope and possibility of cooperation amidst terror...

The script reading session lasted from the afternoon until dusk.

When director Yeon Sang-ho announced the end, everyone felt a bit dizzy, but their spirits were unusually high.

The characters' flesh and blood seemed to be filled in through repeated discussions and clashes, and we gained a clearer understanding of the world that "Train to Busan" aimed to create, a world where cruelty and warmth intertwine.

"Thank you all for your hard work!"

Yeon Sang-ho stood up:

"Take a good rest during the Spring Festival holiday and recharge your energy. The filming intensity will be very high after the holiday. We hope to present this thought-provoking work to the audience in its entirety. Wishing everyone a happy Spring Festival in advance!"

Everyone stood up to say goodbye.

Kang Jae-hoon tidied up the scripts and notes on the table.

Bae Suzy, who was standing next to her, also closed her script filled with delicate handwriting.

"You're very serious."

Kang Jae-hoon glanced at it.

Bae Suzy turned her head, a relaxed smile on her face, as if she had just finished her work.
"I need to work harder so as not to hold actor Jiang back!"

Kang Jae-hoon was taken aback for a moment, then smiled.

The sweet scent of lychee seemed to be getting closer.

"Well then—see you after the New Year, actor Jiang."

See you after the New Year, actor Pei.

(End of this chapter)