Director Heo Jin-ho Discusses 'Assassins' and the Quest for Truth

On August 15, 1974, the film 'Assassins' delves into the hidden motives behind the assassination attempt on the First Lady, achieving the highest ticket sales for the Chuseok holiday, surpassing strong competitors. Director Heo Jin-ho, known for exploring character relationships in previous works like 'Christmas in August' and 'Ordinary Family,' presents a weighty historical mystery in this film. He meticulously investigates the unrecorded gaps in history while maintaining an objective stance, avoiding emotional excess as he pursues the truth behind the events.

"It feels like it was more than ten years ago. I was in fifth grade when it happened, and I remember my parents and the entire country being engulfed in sorrow. That strange sadness has been etched in my mind. I wanted to turn this story into a film, but it took a long time to develop," Heo said.

Translating the actual events into film required extensive research. Given that the incident has been covered multiple times in broadcasts, documentaries, and various content, Heo also sought out diverse records to build the narrative.

"This story has been discussed in broadcasts for a long time, and those who have seen the documentaries have raised many questions about the incident. It has been continuously reproduced on YouTube. After reading the script, I searched for a lot of archival footage and reviewed materials from Japan to gradually shape the story. I also read many books and academic papers on the incident. Since it is such an old story, there were limitations to conducting direct interviews," he explained.

However, 'Assassins' is not solely focused on recreating the actual events. Heo aims to look beyond the incident through the film's characters, including detective Cheol-gu, reporter Jae-hwan, and young Il, to portray the lives of people living in the 1970s.

"I believe that cinematic devices are necessary when adapting a real event into a film. So, I thought it would be interesting to tell the stories of people who lived during that era through characters like detective Cheol-gu and reporter Jae-hwan. The 1970s was a highly repressive period, and even as an adult looking back, I feel it was a time dominated by social violence. I wanted to explore those aspects," he said.

The film does not define the truth of the incident with a single conclusion but instead focuses on the individuals pursuing it. Heo believes that it is impossible to determine the essence of the event based solely on the materials he possesses.

"From the beginning, I felt that this story was not one that I could conclude definitively. There are many points that raise questions when looking at the materials and facts, but I couldn't conclude 'this is what it is' based on that alone. Starting with that limitation, I thought about why this story needed to be told. I wanted to share the stories of each person who lived passionately during that time," he stated.

In this process, 'Assassins' escalates to a level of emotional intensity greater than Heo's previous works. The portrayal of characters resisting immense pressure alongside their colleagues presented a somewhat unfamiliar temperature for the director.

"I think the situation created that intensity. I believe that when colleagues resist significant external pressure, the temperature inevitably rises. While filming, there were moments when I questioned whether I needed to shoot so intensely, which felt unfamiliar to me. Although I am not accustomed to expressing such emotions, I felt it was necessary to convey the fervor of that period," he said.

The central theme of the film is ultimately 'truth.' However, for Heo, truth is less about providing a definitive answer and more about the attitude of individuals who question and strive to verify it from their respective positions.

"I see the story of Cheol-gu, Jae-hwan, and Young-il as each searching for the truth from their own places. Cheol-gu is a public servant with a strong sense of loyalty to the state, yet he confronts irrationality and questions within the incident. The reporters also operate in their own ways within their profession. Truth is a very complex word, but I believe there are some basic facts that exist. When attempts are made to conceal even those, these individuals act passionately. I wondered what questions that spirit of the times might raise today," he reflected.

The reason for revisiting an event from over 50 years ago lies here. Heo believes that the question of what to accept as truth remains relevant, regardless of changing times.

"Even today, when something happens, I think the question 'what is truth?' is still valid in how people respond. Everyone is inevitably biased based on their preconceived notions or the groups they belong to. Nevertheless, I believe there is some truth. I think the way people from that era sought the truth can generate new questions today," he said.

As a work that intersects historical fact and cinematic imagination, distinguishing between what is factual and what is fictional was also crucial. Heo hopes that rather than providing answers, the film encourages the audience to compare and judge the facts and records presented.

"It is true that there are parts based on documentaries, books, and academic papers. There are also elements enhanced by cinematic imagination. I don't think I can definitively say what is 'this is it.' I believe it is the audience's responsibility to compare the facts presented with actual historical events. I think viewers will find it more enjoyable if they watch the film and then look up the documentaries or materials from that time," he said.

When dealing with historical facts, Heo's first principle is to be 'well-informed.' He believes that even areas filled with imagination ultimately require a basis.

"I think I ponder a lot when dealing with historical facts. First, I need to know. After understanding the facts, I need to think about how to adapt them into a film. I don't think everything can be created solely through imagination. I believe that imagination requires foundational materials, so I tried to seek out those as much as possible. I think that was one of the reasons this project took so long," he explained.

The casting of Cheol-gu, Jae-hwan, and Young-il was closely tied to the image and personality of each actor. Heo saw the passionate side of Cheol-gu in Yoo Hae-jin's ability to act without being confined to a mold, while he found Jae-hwan's character reflected in Park Hae-il's quiet demeanor and reliability. He expected Lee Min-ho to portray Young-il's enthusiasm and realistic face as a rookie reporter.

"I thought Yoo Hae-jin's ability to act with his emotions on set, without being confined to a mold, resonated with Cheol-gu's passionate nature. Park Hae-il's quietness, attention to detail, and logical, trustworthy demeanor matched well with Jae-hwan. Young-il needed to embody the enthusiasm and strong belief in his convictions of a rookie reporter, and I thought it would be interesting if Lee Min-ho expressed that in a more realistic way," he said.

The film features actors like Um Tae-woong, Bae Sung-woo, Oh Dal-soo, Jung Woo-sung, and Park Sung-hoon, who have faced social controversies in supporting roles. Concerns and scrutiny surrounding the casting were unavoidable.

"I thought a lot about it. It was a result of considering what characters were needed in the film. We also acknowledge that there may be criticism or concerns regarding such casting. We met with the actors who had smaller roles two or three times to discuss their characters. I believe that characters who cannot just pass by need to be present, and we had various discussions in that process," he said.

Heo was also mindful that the presence of familiar actors could lead the audience to focus more on the actors than the story itself. Nevertheless, he believed that roles requiring significant weight in the film needed actors with substantial presence.

"I think there are times when I focus on a cameo and miss the story when I watch a film. So, I believed that some roles needed actors who could serve as a weighty presence in the film. I was surprised that more actors participated than I expected. When I saw the first technical screening, I personally thought, 'It’s enjoyable to see the actors,'" he said.

After completing 'Assassins,' Heo's focus has shifted back to everyday stories. He believes it is important to create narratives that resonate with the world as he sees it now, rather than simply replicating his past works.

"I don't think looking back at my previous films to see why they received good reviews and trying to recreate them will yield answers. I have changed, and I believe my perspective on the world is now shaped by who I am today. Of course, there are parts that haven't completely changed. So, I want to create more everyday stories like the films I made in the past. I don't know what kind of connection will arise with today's audience, but I am preparing such scripts," he said.

Through 'Assassins,' Heo aimed not to deliver a clear message but to leave questions for the audience. He believes that simply reflecting on the people who lived during that era and what they pursued is a significant role for the film.

"I don't always make films to convey a specific message. I think this film also poses questions. What message the audience feels after watching this film is up to them. I believe that just thinking, 'This was the era, and there were such people in that time,' is a role the film can fulfill," he concluded.