With a career that spans almost four decades and includes roles in theatre, television, and film, Yoon Joo-sang is undeniably one of South Korea’s most experienced and respected actors. Born in 1949, he has delivered powerful performances across a variety of genres and platforms, earning awards such as the Best Supporting Actor award at the 2009 KBS Drama Awards for his role in Iris.

We had the privilege of sitting down with Yoon Joo-sang to talk about his role in The Land of Morning Calm, a film that explores loneliness, connection, and the quiet resilience of those often overlooked by society. Our conversation gave us a special look into Yoon Joo-sang’s thoughtful approach to acting, how the script moved him, and the strong connection he felt with his character, the quiet and stubborn ship captain, Young-guk. From talking about emotional scenes to the fun surprise of catching real fish on set, Yoon shared his experience with honesty, humour, and the passion of someone who still brings fresh energy to every role.

This interview was not only an exploration of a single film, but a reflection on an extraordinary career. Yoon spoke candidly about his fear of falling into familiar patterns as an actor, the importance of staying emotionally present, and how collaboration, even after years in the industry, continues to challenge and inspire him.

READ MORE: IN CONVERSATION WITH PARK RI-WOONG

View of the Arts: When you first received the script for The Land of Morning Calm, what were your initial thoughts about the story and your character? Was there something particular that immediately drew you to this role? And as someone with such a rich and diverse acting background, spanning film, television, and theatre, how did you approach stepping into this particular character? Did the image of him come to you quickly, or did it take time to develop?

Yoon Joo-sang: When reading a play or screenplay, the first impression is crucial. So I make sure to read it during uninterrupted hours, usually late at night, while taking notes and fully immersing myself in the work. The Land of Morning Calm was a script I had to read in parts, over time.

It wasn’t something I could speed through in one sitting. The scenes, the episodes, and the meaning between the lines of dialogue required time to truly absorb. It felt like a piece that was cleanly, powerfully, and emotionally written, without a single wasted word.

As I read the script, I found myself in tears. And when I finished, I sat there, staring into space for a long while. I felt, this role is mine.

I’ve played older characters since I was young, so I felt a strong sense of empathy for the elderly captain, Young-guk, in this story. One question stayed with me: “What gives Young-guk the strength to endure such intense loneliness?” I believed that if I could uncover that motivation, I’d come to understand and love him more deeply. So I worked hard to write out his personal backstory, line by line, trying to become familiar with him.

VOA: Your character in the film is strong-willed, charismatic, yet compassionate. There’s a powerful scene where you take your Yeon-ran to the immigration office, and after witnessing how she is treated, you respond by throwing the documents in frustration. Could you share what went through your mind while preparing for and filming that scene?

YJS: Yeong-guk’s stubbornness and inability to compromise shaped who he is today. The scene where I throw the documents reflects his fiery nature, acting without considering the consequences. Initially, I wanted to throw them directly at the employee’s face, but I worried about potential injury. Instead, I threw them into the air, visualising the desperation as Yeon-ran and Yong-su’s life records scattered to the ground.

VOA: One of the most endearing dynamics in the film is between your character and Pan-rye, constantly bickering yet clearly caring for one another. How was the experience of working alongside your fellow senior cast member? With both of you being experienced actors, if you don’t mind me asking, do you feel you still learn from one another on set? Or do you believe, after decades of experience, that acting becomes more instinctual?

YJS: Yang Hee-kyung, who played Pan-rye, and I are close colleagues in real life. Although we’d never acted together before, we’ve seen each other’s performances many times. We understand each other deeply, often improvising effortlessly. For an actor, the greatest fear is performing instinctively. Acting requires creating fresh, authentic emotions each time. Familiarity can be detrimental, making the first take incredibly important. Repeated takes can diminish freshness, which is death for an actor.

VOA: There’s a lighthearted moment I’d love to ask about – how did the fishing go during filming? Were you able to catch anything in those scenes?

YJS: During filming, there was a scene where we pulled up a fishing net, and to our surprise, real fish were caught. We had picked up a discarded net that could no longer be used and, while waiting for the shoot to start, temporarily lowered it into the water. As soon as filming began, fish started getting caught in it. It was said that the catch from that day alone was worth around one million won. It was a delightful experience.

VOA: What was your experience like working with director Park? How did he support or challenge your performance?

YJS: Matching emotions with Director Park was incredibly challenging, almost torturous. Perceptions change depending on timing and perspective, especially when exploring deep human truths. However, through this intense process, unseen aspects of the character emerged clearly. Though painful, this process ultimately opened new perspectives for me, which I deeply appreciate.

VOA: One of the things I personally admire about Korean rural communities is their close-knit nature – a sense of family, with all its affection and occasional tension. While I’ve encountered great kindness in places like Punggi and Andong, others have shared feelings of being seen as outsiders, similar to the Pan-rye’s character in the film. In your view, what can non-Koreans do to be more warmly welcomed in these traditional communities? And how can these communities learn to embrace difference rather than fear it? 

YJS: Life is precious and sacred, whether you’re foreign or local. Living together harmoniously is fundamental. Cooperation, love, and accepting differences enrich society, allowing diverse cultures to flourish. Fundamental shifts in perception are essential. Prejudice and preconceived notions blind us as actors, hindering genuine empathy.

VOA: Lastly, reflecting on your remarkable career – from theatre to television to film – how do you feel these different mediums have shaped you as an actor? In what ways have they influenced your craft and growth as an actor over the years?

YJS: Each medium has unique requirements, but acting remains fundamentally the same whether in front of a camera or an audience. Creating believable, fictional realities demands authenticity and honesty. Acting involves inhabiting imaginary circumstances truthfully and genuinely.

Written and interviewed by Maggie Gogler

Featured image courtesy of the Far East Film Festival

This interview was conducted as part of the Far East Film Festival, where The Land of Morning Calm was proudly featured among the festival’s celebrated selections.

_{We’d like to extend our heartfelt thanks to director Park Ri-woong for making this interview possible, and to Yoon Joo-sang for generously taking the time to share his thoughtful and powerful insights with us.}

_{View of the Arts is an online publication dedicated to films, music, and arts, with a strong focus on the Asian entertainment industry. With rich content already available to our readers, we aim to expand our reach and grow alongside our audience by delving deeper into emerging platforms such as K-pop and Asian music more broadly. At the same time, we remain committed to exploring the vibrant and ever-evolving global landscape of film, music, and the arts, celebrating the immense talent and creativity that define these industries worldwide.}