Director Yoon Young-bin is known for his understanding of 'romance.' His debut film, 'Gangneung' (2021), set in the developing city of Gangneung, weaves a narrative of two characters, Gi-seok (played by Yoo Oh-sung) and Min-seok (played by Jang Hyuk), whose fates diverge as they pursue their dreams amidst a backdrop of traditional Korean noir.
The recently concluded Tving series 'Lotto Winner Goes to Work' shifts the setting from a city to a corporate environment. The story follows team leader Gong Eun-tae (played by Lee Jun-hyuk), who chooses to go to work instead of resigning after winning a 1.3 billion won lottery. Despite the different genres, both works reflect on individuals who maintain their positions amid a tumultuous world. While the romance in 'Gangneung' was rooted in fading loyalty, this new narrative finds its romance in the daily commute to work.
"There’s a line from the café owner in the series: 'People endure reality by imagining.' Reality can be overwhelming and difficult. Nowadays, there seems to be a greater value placed on making money without working than on doing one’s job well and putting in effort at work. However, I believe that not losing sight of oneself and doing what we can is also quite romantic," Yoon said.
The series is based on a web novel of the same name. What Yoon discovered in the original work was not the figure of '1.3 billion won' but rather the attitude of a person who remains steadfast even in the face of life-changing luck. Adapting the story involved bringing the fortune of others into the narrative as a central theme.
"The most interesting aspect was portraying someone who, despite receiving such a massive stroke of luck, continues to uphold the value of their life. Initially, I wondered if a story about a lottery winner would resonate with those who haven't won. But I became convinced that if adapted well, it could make for a compelling drama," he explained.
In adapting the story for screen, Yoon first focused on character development. Winning the lottery is a secret that is not easily shared. While a novel can express inner thoughts through narration, film requires a character to embody those struggles. Thus, the café owner character was created to facilitate this dialogue.
"In a novel, emotions and psychology can be conveyed through text, but film has limitations in narration. So, I created the café owner as someone who could actually discuss the lottery experience," he said.
Transitioning from film to a ten-episode drama was a new challenge for Yoon. While films condense narratives into two hours, dramas must engage viewers over multiple episodes. Learning how to craft cliffhangers that compel viewers to return was a significant adjustment.
"In film, I often focus on how to condense dialogue and make scenes compact. The hardest part was figuring out how to create a compelling ending for each episode that would make viewers want to watch the next one. I really had to push myself to learn this," he noted.
The nature of office dramas often presents a challenge due to their confined settings. Maintaining tension in an office without weapons or violence can be difficult. Yoon found the solution not in events but in the characters themselves. Whether in the action-packed 'Gangneung' or the more subdued 'Lotto Winner Goes to Work,' his focus remains on the human experience.
"I believe that while the outward expressions of life may differ, the essence remains similar. Even in action scenes, I am more interested in the expressions and emotions of the characters involved rather than the actions themselves. When events unfold in the workplace, I concentrated on the emotions of those facing them," he said.
Despite his limited experience in corporate settings, Yoon's portrayal of office life has resonated with audiences. He credits the actors for their contributions. Many brought props and actions to the table, which he then guided based on his experiences.
"The actors prepared exceptionally well. Often, they would bring props or create their own actions without my prompting. I would suggest directions based on my experiences," he said.
One significant change from the original work is how the lottery winnings are utilized. In the original, Gong Eun-tae invests in property and grows his wealth, while in the drama, he is reluctant to spend his 1.3 billion won. Yoon reflected on his own life when considering what would bring happiness with newfound wealth. His conclusion was surprisingly simple.
"When I thought about what would make me happy if I suddenly had money, I realized I wasn't sure. There was a line that didn't make it into the final cut: 'Buying a nice watch makes me feel good for a week, and a nice car for a month.' I believe that money only brings temporary happiness and isn't essential. So, I decided that Gong Eun-tae shouldn't spend his money right away," he explained.
In place of money, the theme of 'work' emerges. The characters in the series, regardless of their rank or position, are all skilled at their jobs. The ability for those who once clashed to eventually sit down together stems from their shared understanding of their work.
"I admire people who excel at their jobs, like talented singers or actors. Even though Yang Jun-ho initially has a poor relationship with Gong Eun-tae, he eventually realizes, 'This person also wants to work hard.' I believe that the ability to communicate again, even beyond emotions, comes from both being dedicated to their work," he said.
As a result, the drama lacks a clear antagonist. Each character is simply trying to live their life, leading to differing perspectives. Instead of a battle between good and evil, the story presents a conflict between good and good, making it difficult to easily dislike any character.
"From the beginning, I wanted to avoid a clash between good and evil. I aimed for a story where different 'goods' collide. I wanted to avoid a narrative where someone has malicious intent from the start," he stated.
Throughout the series, Yoon has embedded subtle devices. Props metaphorically represent characters' psyches, and the colors of episode titles reflect the lottery's numbers. He hinted that there are still Easter eggs yet to be discovered in the comments.
"There’s a scene where Yang Jun-ho sits alone with an object above his head that resembles an angel ring, symbolizing his dazed state. The title colors change every two episodes, reflecting the colors of the lottery balls," he revealed.
Yoon attributes the show's connection with viewers to the relatable characters. From contract workers to management, the office depicted is a microcosm of a Korean company, allowing viewers to see themselves or their colleagues in the characters.
"With narratives for contract workers, management, and team leaders, viewers could find characters similar to themselves. I hope that people recognize the value of their work and that their attitudes toward work change. If everyone values their work a bit more, society could become more interesting," he said.
Reflecting on his first experience directing a drama, Yoon expressed satisfaction but also a sense of caution. He believes that relying on past successes can lead to failure. Even amid positive feedback, he is determined to work diligently, reminiscent of Gong Eun-tae, who quietly goes to work despite having won 1.3 billion won.
"Of course, I’m satisfied. But I think the moment I start to rely on what went well this time, that’s when things can go wrong. I believe I should always keep in mind the possibility of failure and work hard as if I were someone whose drama had flopped," he said.
The foundation of his resilience lies in his debut work, 'Gangneung.' Created under tight budgets and challenging conditions, it remains both a painful memory and a source of pride for him and his collaborators. Through the highs and lows of feedback, he has developed a steadfast attitude toward criticism.
"'Gangneung' is both a painful and good work for me. It feels like my first child, made under very limited budgets and conditions. I believe it’s essential to not get too happy with praise or too upset with criticism. Staying grounded and continuing to create is my job," he concluded.
Having transitioned from a city to a corporate setting, Yoon's next project will take him to the sports arena. Despite the change in stage, his focus on individuals striving to fulfill their roles will remain.
"I’m currently preparing the script for my next film, which will be a baseball movie."
The recently concluded Tving series 'Lotto Winner Goes to Work' shifts the setting from a city to a corporate environment. The story follows team leader Gong Eun-tae (played by Lee Jun-hyuk), who chooses to go to work instead of resigning after winning a 1.3 billion won lottery. Despite the different genres, both works reflect on individuals who maintain their positions amid a tumultuous world. While the romance in 'Gangneung' was rooted in fading loyalty, this new narrative finds its romance in the daily commute to work.
"There’s a line from the café owner in the series: 'People endure reality by imagining.' Reality can be overwhelming and difficult. Nowadays, there seems to be a greater value placed on making money without working than on doing one’s job well and putting in effort at work. However, I believe that not losing sight of oneself and doing what we can is also quite romantic," Yoon said.
The series is based on a web novel of the same name. What Yoon discovered in the original work was not the figure of '1.3 billion won' but rather the attitude of a person who remains steadfast even in the face of life-changing luck. Adapting the story involved bringing the fortune of others into the narrative as a central theme.
"The most interesting aspect was portraying someone who, despite receiving such a massive stroke of luck, continues to uphold the value of their life. Initially, I wondered if a story about a lottery winner would resonate with those who haven't won. But I became convinced that if adapted well, it could make for a compelling drama," he explained.
In adapting the story for screen, Yoon first focused on character development. Winning the lottery is a secret that is not easily shared. While a novel can express inner thoughts through narration, film requires a character to embody those struggles. Thus, the café owner character was created to facilitate this dialogue.
"In a novel, emotions and psychology can be conveyed through text, but film has limitations in narration. So, I created the café owner as someone who could actually discuss the lottery experience," he said.
Transitioning from film to a ten-episode drama was a new challenge for Yoon. While films condense narratives into two hours, dramas must engage viewers over multiple episodes. Learning how to craft cliffhangers that compel viewers to return was a significant adjustment.
"In film, I often focus on how to condense dialogue and make scenes compact. The hardest part was figuring out how to create a compelling ending for each episode that would make viewers want to watch the next one. I really had to push myself to learn this," he noted.
The nature of office dramas often presents a challenge due to their confined settings. Maintaining tension in an office without weapons or violence can be difficult. Yoon found the solution not in events but in the characters themselves. Whether in the action-packed 'Gangneung' or the more subdued 'Lotto Winner Goes to Work,' his focus remains on the human experience.
"I believe that while the outward expressions of life may differ, the essence remains similar. Even in action scenes, I am more interested in the expressions and emotions of the characters involved rather than the actions themselves. When events unfold in the workplace, I concentrated on the emotions of those facing them," he said.
Despite his limited experience in corporate settings, Yoon's portrayal of office life has resonated with audiences. He credits the actors for their contributions. Many brought props and actions to the table, which he then guided based on his experiences.
"The actors prepared exceptionally well. Often, they would bring props or create their own actions without my prompting. I would suggest directions based on my experiences," he said.
One significant change from the original work is how the lottery winnings are utilized. In the original, Gong Eun-tae invests in property and grows his wealth, while in the drama, he is reluctant to spend his 1.3 billion won. Yoon reflected on his own life when considering what would bring happiness with newfound wealth. His conclusion was surprisingly simple.
"When I thought about what would make me happy if I suddenly had money, I realized I wasn't sure. There was a line that didn't make it into the final cut: 'Buying a nice watch makes me feel good for a week, and a nice car for a month.' I believe that money only brings temporary happiness and isn't essential. So, I decided that Gong Eun-tae shouldn't spend his money right away," he explained.
In place of money, the theme of 'work' emerges. The characters in the series, regardless of their rank or position, are all skilled at their jobs. The ability for those who once clashed to eventually sit down together stems from their shared understanding of their work.
"I admire people who excel at their jobs, like talented singers or actors. Even though Yang Jun-ho initially has a poor relationship with Gong Eun-tae, he eventually realizes, 'This person also wants to work hard.' I believe that the ability to communicate again, even beyond emotions, comes from both being dedicated to their work," he said.
As a result, the drama lacks a clear antagonist. Each character is simply trying to live their life, leading to differing perspectives. Instead of a battle between good and evil, the story presents a conflict between good and good, making it difficult to easily dislike any character.
"From the beginning, I wanted to avoid a clash between good and evil. I aimed for a story where different 'goods' collide. I wanted to avoid a narrative where someone has malicious intent from the start," he stated.
Throughout the series, Yoon has embedded subtle devices. Props metaphorically represent characters' psyches, and the colors of episode titles reflect the lottery's numbers. He hinted that there are still Easter eggs yet to be discovered in the comments.
"There’s a scene where Yang Jun-ho sits alone with an object above his head that resembles an angel ring, symbolizing his dazed state. The title colors change every two episodes, reflecting the colors of the lottery balls," he revealed.
Yoon attributes the show's connection with viewers to the relatable characters. From contract workers to management, the office depicted is a microcosm of a Korean company, allowing viewers to see themselves or their colleagues in the characters.
"With narratives for contract workers, management, and team leaders, viewers could find characters similar to themselves. I hope that people recognize the value of their work and that their attitudes toward work change. If everyone values their work a bit more, society could become more interesting," he said.
Reflecting on his first experience directing a drama, Yoon expressed satisfaction but also a sense of caution. He believes that relying on past successes can lead to failure. Even amid positive feedback, he is determined to work diligently, reminiscent of Gong Eun-tae, who quietly goes to work despite having won 1.3 billion won.
"Of course, I’m satisfied. But I think the moment I start to rely on what went well this time, that’s when things can go wrong. I believe I should always keep in mind the possibility of failure and work hard as if I were someone whose drama had flopped," he said.
The foundation of his resilience lies in his debut work, 'Gangneung.' Created under tight budgets and challenging conditions, it remains both a painful memory and a source of pride for him and his collaborators. Through the highs and lows of feedback, he has developed a steadfast attitude toward criticism.
"'Gangneung' is both a painful and good work for me. It feels like my first child, made under very limited budgets and conditions. I believe it’s essential to not get too happy with praise or too upset with criticism. Staying grounded and continuing to create is my job," he concluded.
Having transitioned from a city to a corporate setting, Yoon's next project will take him to the sports arena. Despite the change in stage, his focus on individuals striving to fulfill their roles will remain.
"I’m currently preparing the script for my next film, which will be a baseball movie."
* This article has been translated by AI.
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