Director Kim Hong-sun, known for his work on Netflix's 'The Field Mouse,' expressed his thoughts on genre classification in a recent interview. "Mystery, action, and romance are all genres. However, we often feel treated as oddities when grouped together as 'genre works.' In the past, we couldn't even present scripts like this to broadcasting stations. Our goal was to create dramas like HBO. It seems that our efforts have led to the current recognition. While it's great that we can now create such works, it's a bit sad that we still have to limit ourselves to those labels," he said.
Despite his disappointment with the narrow categorization of genres, Kim is a pivotal figure in the evolution of Korean genre dramas. Starting with OCN's 'Voice,' followed by 'Special Affairs Team TEN,' and Netflix's 'Money Heist: Korea,' he has carved out a niche in blending thriller, action, and crime genres into popular narratives. 'The Field Mouse' continues this trend, intricately weaving the harrowing struggle of a man whose life is turned upside down by a mysterious entity, showcasing both genre thrills and deep emotional resonance.
Kim expressed his hopes for the show's global ranking, saying, "I wish it would rise further, but I am still very happy. There are limitations to how widely 'The Field Mouse' can appeal to all ages. Therefore, I believe the feedback from viewers is more important. If they say it was enjoyable, that’s enough for me. The webtoon had a stronger sense of fear, and I worried about whether I could maintain and convey that horror effectively. Fortunately, writer Lee Jae-gon did an excellent job with the adaptation. The core question I wanted to explore was about identity: Is my understanding of my identity truly correct? Is it right?"
In adapting the webtoon, Kim faced the challenge of translating the reader's scrolling pace into a fixed viewing experience. He viewed the slower-paced first part as a hurdle for viewers to overcome before the narrative picked up speed in the latter half. "I spent a lot of time figuring out how to help viewers get past the slower first part. After that, the pacing naturally picked up, and it felt like we had overcome a crisis. To express the protagonist's panic, I referenced horror films like 'Psycho' and drew from the sensations experienced by those who have suffered panic attacks, such as the feeling of walls closing in or being unable to act. I enjoy capturing close-up expressions of fear and anxiety, which led to many close-up shots in 'The Field Mouse,'" he explained.
The meticulous direction was complemented by the strong ensemble cast. Notably, Ryu Jun-yeol, who played dual roles, and Seol Kyung-gu, who provided a solid anchor for the narrative, along with Lee Kyu-hyung, who infused a sense of realism into his character, gave Kim great confidence in the project.
"I didn’t set strict rules for Ryu Jun-yeol’s character. We discussed many scenarios, blending his research with my ideas, and ultimately concluded that 'this is the best.' We experimented with mixing his voice mechanically, but it didn’t work out, so we decided, 'Jun-yeol, your way is better. Let’s go with 100% of what you do.' When I proposed the role to Seol Kyung-gu, just his agreement felt like a cheat code, as if one problem was solved. When he was in costume, it felt like 'we're done.' Lee Kyu-hyung’s character, Sun-yong, is the one who perfectly embodies identity in the story, showing resilience as he understands Mun-jae and returns home. It was a challenging role, but he performed it excellently," Kim noted.
As the story unfolds, the initial tension of the thriller transforms into a buddy-cop dynamic between Mun-jae (played by Ryu Jun-yeol) and No-ja (played by Seol Kyung-gu). Kim adeptly shifts the genre's emotional tone, embracing humor and improvisation that emerged on set to add depth to the narrative.
"If the moment Mun-jae is pushed out is the starting point, then meeting No-ja and pursuing together is another variation. I believe following the characters' emotions through dialogue is the best approach. Especially when Mun-jae and No-ja are in the car, their interactions often led to spontaneous moments that were enjoyable. I wondered if it was becoming too much of a buddy film, but ultimately, I think it worked out better that way. This time, there was a bit more improvisation, and I believe if the actors find something fun while adjusting, we should allow that flexibility," he said.
'The Field Mouse' traverses various genres, including horror, thriller, chase, and action, characterized by raw action, detailed production, and meticulous sound design. Kim embedded subtle devices to lend plausibility to the comic-like elements while carefully timing the pacing to suit Netflix's platform.
"There are parts where characters are depicted in a cartoonish manner, such as their relentless survival. Some might question the believability, so I tried to defend it as much as possible. We embedded reasons for plausibility, like having No-ja hold a wooden stick when buried underground. For action scenes, I aimed for a raw, unrefined feel rather than polished choreography. The music blends classical elements with techno to enhance the experience," he explained.
Kim also expressed disappointment over a missed opportunity regarding the music in the final boat scene. "The most disappointing part was the last boat sequence. We originally planned to use 'Stand By Me' throughout that scene, but we ultimately couldn’t get the rights. The feeling of the two characters' identities intertwining with that music was so perfect that I felt like I had finally accomplished something in my life, but it’s unfortunate," he said.
'The Field Mouse' poses profound questions about identity, maintaining a tension-filled engagement with viewers until the end. Kim encouraged potential viewers to pay close attention to the carefully crafted clues throughout the series. "Ultimately, it’s a journey to find Mun-jae’s identity. At first, viewers may cheer for him, but when his true identity is revealed, they might feel like criticizing him. There are no completely good or completely bad characters in this story. I told Ryu Jun-yeol, 'We need to deceive ourselves and the audience. We must believe that catching the field mouse will lead us to your identity.' The ending is open on the surface, but personally, I feel it’s a message to 'not confine yourself within it.' For those who haven’t seen 'The Field Mouse' yet, I hope you take your time with it. It’s not a drama to just play in the background; it requires careful viewing of each scene. There are many tight shots that might be missed on a small screen, so I recommend watching it on a larger screen for better focus.
* This article has been translated by AI.
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