Original in Japanese: Fumi / www.k-plaza.com / 2004/08/28
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 50
As a tribute to commemorate Yong Joon’s birthday, I must write something about what the Korean entertainment industry would be like if Yong Joon did not debut at all. Something seems to be wrong with my PC, so I will write briefly. (Chuckles)
If there were no Yong Joon, The KBS drama “First Love” would not have been a success. The highest TV drama ratings in Korea had always been dominated by MBC dramas, that is until “First Love”. But had not been for Yong Joon, First Love would have been a failure, MBC would still be THE TV drama station. So… Korean TV dramas would lose energy and vitality, and become less interesting. Had not been for Yong Joon, the rankings for 2003 TV dramas in Korea would have been at first place, the Japanese drama “Everyone on Earth is a Ghost”, and second would be Hong Kong drama “Huang Fei Hong” and finally in third place… Winter Sonata starring Jang Dong Gun.
If there were no Yong Joon back then, the problem of clans and cliques in Korean entertainment scene would be very pronounced and serious. Choi Min Su, Anh Jae Wook and Ho Huh Joon from the Seoul Institute of Arts would probably lay claim to the entire Korean performing stage. Even top star Jang Dong Gun would be subject to such in-fighting (of course this is far from reality, but we are supposing that Yong Joon had not come onto the scene). Further the Institute-centric force comprising of three young men, Shin, Gu-Jyon and Donfan would be on opposing sides with MBC, which would dominate the industry. Such monopoly and clique-fighting… would eventually lead to the deterioration of standards for Korean drama.
In the mid 1990s, Jang Dong Gun was the only top star playing the entire Korean entertainment scene. Had there been no strong rival as Yong Joon, Dong Gun would possibly have lost drive and fighting spirit and indulge in wines, spirits and other vices… And perhaps in 1997, in his pursuit for new challenges and new work environment, he left for Hong Kong and started to use Hong Kong as his base for subsequent activities. Without Dong Gun in Friends and Taekugi, these movies would not have made it. So… Korean movies would regress to the standards of the 1970s.
Without Yong Joon, “Love’s Greetings” would not have been a successful production. Kwon Oh Jung who starred in this drama would not have been a star either. This would then lead to the absence of comic drama series in Korea everday. If I were to continue this train of thought, it would lead to a conclusion that even I can’t bring myself to believe:
Without Yong Joon, there would be no Kwon Oh Jung. Without Kwon Oh Jung, there would be no comic dramas. Without comic dramas, there would not be no Song Hae Kyo. Without Song Hae Kyo, there would be no Lee Byung Hun. Without Lee Byung Hun, there would be no Choi Jiwoo. Without Choi Jiwoo, there would be no Park Yong Ha. Without Park Yong Ha, there would be no Ryu… Ah…. Basically there would be no so-called stars in Korea!
Without a super star like Yong Joon, then all there would be left in Korea would be those “mass” stars whose main target audience are the high school girls. Their average “retirement age” would be at twenty-five years ago. Once they cross that age, they have to exit from the industry. So, for the more adult female audience, without Yong Joon, they would probably be watching Japanses TV drama, such as “Everyone on Earth is a Ghost” or “From the North”. I would imagine that the market in Korea in terms of TV drama would be very limited. So… Kim Hae Soo and Li Young Ai would probably pursue their acting careers in Japan. What would be even more shocking would be that these two actresses would appear frequently on Shimura Ken’s comedy program, Bakatonosama. Hae Soo would be teasing a lot and Young Ai would be playing up to the host. As for Yoon Son Ha, she would be doing reporting in a local TV station in Japan and all the while, acting cutesy.
… Now even the very thought of a world without Yong Joon is horrifying. Yong Joon’s birth, Yong Joon’s debut were such wonderful things to have happened! Even his failure in the university entrance exam was a good thing! Tomorrow, on Yong Joon’s birthday… It would be such a treat for fans if he can announce his new work…. Fumi is thinking…
首先在这个特别的日子里，衷心地祝愿勇俊生日快乐，幸福健康！
fumi的系列落下好多功课，先翻这个50，落下的争取尽快补上来。
Yon-sama分析系列50
投稿者： ふみ / 投稿日： 2004/08/28 1011
作为勇俊的生日纪念，我想写一个如果勇俊不曾在演艺界debut的话，韩国的演艺界会成什么样子的贴。PC的状况不大好，我就简短点儿写。（笑）
1．如果没有勇俊，KBS电视剧《初恋》会以失败告终。韩国的历代最高收视率都是MBC独占的，中 止MBC的电视剧独占状态的是《初恋》。但是，如果那时候没有勇俊，《初恋》会以失败作品结束，韩国的电视剧界依然会是MBC独霸的状态。韩剧失去活力，变得毫无意趣。
如果没有勇俊，那么在过去的2003年，韩国的电视剧收视率排行榜会是，第1位《来到世间的都是鬼》日本电视剧，第2 位《黄飞鸿》香港电视剧，第3 位张东建主演的《冬日悲歌》。
2．在勇俊没有出现的过去，派阀争斗是韩国演艺界里的严重问题。特别是汉城艺专出身的崔民秀，安在旭，许俊浩3人会统领整个韩国的演艺界。韩国的top star张东建也会受到艺专派阀的影响（实际上当然不是这样，这是如果没有勇俊的假想情形）更有Shin, Gu-Jyon, Donfan 3个年轻人为中心的艺专派，和独占电视剧界的MBC激烈对立。独霸，派阀争斗。。。之中，韩剧将日渐衰落。
3．90年代中期，张东建作为唯一的top star君临整个韩国演艺界。他如果没有裴勇俊这样一个竞争对手存在的话，东建也会失去斗志，整日沉迷于烟酒之中吧。
97年，张东建为了寻求新的发展环境，渡至香港，以香港为中心开始了演艺活动。
没有东健的电影《朋友》，《太极旗飘扬》都会以大失败告终，韩国电影也会倒退至70年代的水平吧。
4．没有勇俊，《爱的问候》也肯定不会打响。这部剧中出演的权灌泽（Kwon O-Jung）也不会成为明星，以后，韩国就不会每天都有喜剧电视剧看了。这样假想下去，结果我都不敢相信：没有勇俊就不会有成为明星的权灌泽，没有灌泽就没有喜剧电视剧，没有喜剧电视剧就不会有宋惠乔，没有宋惠乔就没有李秉宪，没有秉宪就没有崔智友，没有智友就没有朴龙河，没有龙河就没有Ryu。。。啊。。。韩国被称作Star的人基本上都不存在了！
5．像勇俊这样的大人物的明星如果不存在的话，在韩国就都是面向女高中生的大众明星。明星们的退休年龄是25岁，超过25岁就必须不得不引退。成年的女性们如果在没有勇俊的过去，大家也许会在看日本的电视剧，《来到世间的都是鬼》和《从北国来》吧。
韩国电视剧界低迷，金惠秀，李英爱会在日本发展。令人吃惊的是，两个人都在定期出演志村健的《傻殿下》（纯粹的搞笑节目）。惠秀是逗哏，英爱是捧哏。尹松河在日本的地方台一边作报道，一边kya-kya—地作可爱状。
。。。这是假想一下都会觉得可怕的过去。勇俊的诞生，并且debut，实在是太好了！大学考试失败也真是太好了！在明天的勇俊的生日，如果能听到他发表下一部作品，该是对fans多好的礼物啊。。。fumi这样想着。
Full Version: Fumi's series on BYJ
Original posting in Japanese by: fumi / www.k-plaza.com 07.08.2004
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 51
Good morning, everyone! Finally there’s some special news, details for Yong Joon’s new movie will be released soon! Today I had wanted to walk about plastic surgery within the Korean entertainment industry, but let’s first discuss about Yong Joon’s next movie. The basis of my discussion will be to assume that it will be a movie that can sell in Japan and Korea.
Silmido and Taekugi did not achieve the desired box office results and one of the reasons was that these two movies’ screening was within two weeks of each other. In fact, the time gap was so close one could say they were both screening at the same time. There exists in Japan the same problem as the Korean movie market, that is the market size issue. When two so-called big productions or star movies are released at the same time, there will be the inevitable competition and it is usually a lose-lose situation for both movies.
The producers thought that having both movies screening at the same time was a good idea? Where did such an idea come from?
This was because when both movies decided the screening dates, there appeared to be huge response amongst the fans. From this seemingly heated response [which came from only a fraction of the fans], the production teams for both sides made a overly optimistic judgement: If one movie alone can raise such fanfare, surely they would be met with success even if both were released at the same time… This mistake was made because they had insufficient knowledge of the Japanse market. Though Jang Dong Gun, Won Bin and Sul Kyung Ku have ardent fans in Japan, the general public do not know that much about them. It is not feasible to understand or get a feel of the overall Japanese market just base on the initial reaction of the groups of loyal fans of the starring actors. This should be the reason why both movies failed. But I think competition would be very intense for these two movies in the DVD market subsequently.
Summarily, “Shuri” takes the top spot when it comes to best-selling Korean movies in Japan “Taeguki”, “JSA” and “The Untold Scandal” actually belong to the same performance level in terms of box office takings. “Memories of Murder” was screened during very unfavourable conditions, and it achieved almost the same results as “Silmido”. This is a long story, but “Memories of Murder” did achieve an incredibly good sales result.
Shuri’s success in Japan was partly due to the face that the more authoritative news stations in Japan did in-dept reports on the movie. In particular, one 18-year veteran program host did a few special reports on the movie, and he elaborated much on the relations between North and South Korea. It would appear that he had a special liking for this movie.
Ok, let’s assume Yong Joon’s next work is on a movie.
Surely this movie would be screen in Japan once planning gets underway. I’ve said this before, any movie starring Yong Joon as the main lead is almost assured of 1b yen and above in Japan. This will be close to Taeguki’s record. But how to beat Shuri’s record? I’ve given it some thought (maybe it’s already too late, the script may already have been accepted), it has to do with the genre of the movie.
First of all, Yong Joon’s female fans aged 30 and above would go and watch his new movie unconditionally, I would suppose. (Chuckles). From the commercial point of view, Yong Joon’s movie should be targeting at least one of the following groups:
- High school students
- University students
- Male movie-goers
Here, let’s premise our discussion on how to make Yong Joon’s movie a super-selling one. Any movie that targets the high school students is bound to be somewhat immature and naïve. So, I think it is better to target the young people or the male audience. So the movie should be either one of these types: action movie, detective or cop movie, horror movie or comedy.
In my view, the effect will be better if the movie is a combination of two of the above movie types. In consideration of producing a super-selling movie, Song Kang Ho is the best candidate co-star with Yong Joon. Kang Ho had starred in “Shuri”, “JSA” as well as “Memories of Murder”. He has his own appeal and draw in the Japanese market. Kang Ho’s fans are mostly people who love the movies and these are people who watch movies in the cinemas. Besides, I think amongst Kang Ho’s fans in Japan, not many are already Yong Joon’s fans. From the acting skills’ perspective, looking at it from the movie-goers’ point of view, the Yong Joon-Kang Ho pairing will be an exciting one. If we need one more male actor, then I recommend Won Bin. The reason is this: Won Bin is popular amongst the younger crowd, this fan base is different from Yong Joon’s.
This is Fumi’s calcuation:
- Takings from people who come for Yong Joon: 1.3b yen [Reason: Compared to the time Scandal was screened, Yong Joon has even more fans now.]
- Takings from people who come for Song Kang Ho: 300m yen
- Takings from people who come for Won Bin: 200m yen
Although it is a little awkward to be calculating like this, it is a very practical and professional thing to do. Please look at this from the bigger picture and perspective.
Next is the issue of the female lead. In Japan, Choi Jiwoo now enjoys the most popularity. Thereafter will be Jeon Ji Hyun [My Sassy Girlfriend], Kim Yeo Jin [Shuri], Lee Young Ai, Son Ye Jin [Summer Scent] and Park Sol Mi [WLS Chaelin]. Although Jiwoo is more popular than the rest, her image in “Winter Sonata” is perhaps too strong and too deeply embedded in the audience’s minds. So, let’s just eliminate Jiwoo from this round. So the more popular actresses in Japan are those that I’ve mentioned above. If we’re looking for a blockbuster hit of a movie, and have eliminated Jiwoo, then the next best candidate is Jeon Ju Hyun.
Yon-sama分析系列51
投稿者： ふみ / 投稿日： 2004/08/31 08:17:28
大家早上好！终于有了特别好的消息，勇俊的下一部作品马上就要发表了！今天我本来预备谈一谈韩国娱乐圈的整容问题的，还是先想一想勇俊的下一部会是什么作品这个问题吧。探讨的基准是，要在日本和韩国特别卖座的电影。
《实尾岛》以及《太极旗飘扬》都没有达到预先期待的效果，原因之一是，这两部作品在日本前后仅相隔2个星期，基本上是同时公映。在日本也存在韩国电影的市场问题，两部大作同时出台，导致了之间的无谓竞争，结果两方都没有得到预期的成绩。制作方认为两部作品同时开封也可以大获成功？为什么会有这样的误解呢？
这是因为这两部作品在决定日本公映的时候，曾在日本fans中间引起巨大反响。制作方从一部分狂热fans的反应上，做出了过分自信的判断：最开始（开封前）就能有如此反响的话，2部同时开封也能保证成功吧。这是制作方对日本市场不甚了解而导致的结果。张东健，元彬，薛景求是在日本有很多狂热的fans，但是一般的日本大众对他们的认知度还比较低。通过最初的固定fans的热烈反应来测定在日本的人气度，是不能够正确把握日本市场的状况的。这应该是这两部作品失败的原因。但是我想，在今后的录像带DVD市场上，这两部作品会很有竞争力的。
很笼统地来分析的话，现在为止在日本卖座的韩国电影里面，《Shuri》是绝对的Top，之后，《太极旗飘扬》，《JSA》，《丑闻》基本是在同一个水平上。《杀人的回忆》在非常不利的状况下出台，获得了和《实尾岛》差不多的收入。这个话说起来要很长，《杀人的回忆》的确取得了令人难相信的的好成绩。
《Shuri》在日本成功的理由之一是，当时日本的代表性的新闻节目都对这部作品作了详细报道。特别是，久米先生（by77, 日本的著名新闻节目主持人，主持news station长达18年）在news station里，作为北朝鲜关联的内容，作了好几回shuri的特集。好像久米先生个人对这部电影极为偏爱。
好了，那么假定勇俊的下一部作品是电影的话，
开始制作发表的同时也会决定在日本的公映吧。以前我曾说过，如果是勇俊主演的电影，可以保证在日本国内有10亿日元以上的收入。仅此就可以达到《太极旗飘扬》的成绩。但是要想超过《Shuri》该怎么做才好呢？我想了一下（可能都决定好了吧，已经晚了），首先是题材类型的问题。
先说，30岁以上的勇俊的女性fans会“无条件”地去看勇俊的新作吧（笑），从商业角度上考虑，勇俊的电影应该是针对
1．中学高中生
2．大学生
3．喜欢电影的男性观众
其中任何一类观众的作品。这里，我们是基于如何能够在日本超级卖座的想法来考虑的。以初中高中生为target，好像有些幼稚，就是说要针对年轻人，或者是男性观众喜欢的作品才比较好。那么这样的题材就是：
动作片，侦探片，恐怖片，喜剧片。
我个人认为，如果能中和其中两类，效果会更好。
为了出超级卖座的电影，勇俊的共演者宋康昊应该是最好的选择。康昊在《Shuri》，《JSA》，当然《杀人的回忆》里面都有出演，他在日本实际上是相当有号召力的。康昊的fans多是电影爱好者，这都是去电影院看电影的人。并且，在日本宋康昊的fans，同时又是勇俊的fans的人我想很少。从演技方面，观众的号召力方面来讲，勇俊-康昊实在是精彩绝妙的组合。再加一位男演员的话，我推荐元彬。理由是，元彬在年轻人中间很受欢迎，fans层还和勇俊的有点儿不同。
Fumi的计算是这样的：
为了看勇俊的fans来源的收入：13亿日元程度（理由，比《丑闻》的时候，勇俊的fans人数又有增加）
为了看宋康昊的fans来源的收入：3亿日元
为了看元彬的fans来源的收入：2亿日元
尽是钱的计算有点儿那个，但是这个计算实际上是很专业的。请从大处着眼。
接着是女搭档的问题，在日本现在要数崔智友的知名度，人气度最高。之后基本上是并列：全智贤，金允珍（shuri），李英爱，孙芸珍(love letter)，Park solmi（冬恋的彩琳）。智友虽然比其他几个人有人气。。。（by77, fumi是智友的fan）但是，和智友共演的话，冬恋的形象过于强烈。所以，这里就把智友暂且排除，这样下来，在日本有号召力的女演员就是上面举出的那几位了。想要超级卖座，又排除了智友，那最佳人选就是全智贤了吧！
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 51
Good morning, everyone! Finally there’s some special news, details for Yong Joon’s new movie will be released soon! Today I had wanted to walk about plastic surgery within the Korean entertainment industry, but let’s first discuss about Yong Joon’s next movie. The basis of my discussion will be to assume that it will be a movie that can sell in Japan and Korea.
Silmido and Taekugi did not achieve the desired box office results and one of the reasons was that these two movies’ screening was within two weeks of each other. In fact, the time gap was so close one could say they were both screening at the same time. There exists in Japan the same problem as the Korean movie market, that is the market size issue. When two so-called big productions or star movies are released at the same time, there will be the inevitable competition and it is usually a lose-lose situation for both movies.
The producers thought that having both movies screening at the same time was a good idea? Where did such an idea come from?
This was because when both movies decided the screening dates, there appeared to be huge response amongst the fans. From this seemingly heated response [which came from only a fraction of the fans], the production teams for both sides made a overly optimistic judgement: If one movie alone can raise such fanfare, surely they would be met with success even if both were released at the same time… This mistake was made because they had insufficient knowledge of the Japanse market. Though Jang Dong Gun, Won Bin and Sul Kyung Ku have ardent fans in Japan, the general public do not know that much about them. It is not feasible to understand or get a feel of the overall Japanese market just base on the initial reaction of the groups of loyal fans of the starring actors. This should be the reason why both movies failed. But I think competition would be very intense for these two movies in the DVD market subsequently.
Summarily, “Shuri” takes the top spot when it comes to best-selling Korean movies in Japan “Taeguki”, “JSA” and “The Untold Scandal” actually belong to the same performance level in terms of box office takings. “Memories of Murder” was screened during very unfavourable conditions, and it achieved almost the same results as “Silmido”. This is a long story, but “Memories of Murder” did achieve an incredibly good sales result.
Shuri’s success in Japan was partly due to the face that the more authoritative news stations in Japan did in-dept reports on the movie. In particular, one 18-year veteran program host did a few special reports on the movie, and he elaborated much on the relations between North and South Korea. It would appear that he had a special liking for this movie.
Ok, let’s assume Yong Joon’s next work is on a movie.
Surely this movie would be screen in Japan once planning gets underway. I’ve said this before, any movie starring Yong Joon as the main lead is almost assured of 1b yen and above in Japan. This will be close to Taeguki’s record. But how to beat Shuri’s record? I’ve given it some thought (maybe it’s already too late, the script may already have been accepted), it has to do with the genre of the movie.
First of all, Yong Joon’s female fans aged 30 and above would go and watch his new movie unconditionally, I would suppose. (Chuckles). From the commercial point of view, Yong Joon’s movie should be targeting at least one of the following groups:
- High school students
- University students
- Male movie-goers
Here, let’s premise our discussion on how to make Yong Joon’s movie a super-selling one. Any movie that targets the high school students is bound to be somewhat immature and naïve. So, I think it is better to target the young people or the male audience. So the movie should be either one of these types: action movie, detective or cop movie, horror movie or comedy.
In my view, the effect will be better if the movie is a combination of two of the above movie types. In consideration of producing a super-selling movie, Song Kang Ho is the best candidate co-star with Yong Joon. Kang Ho had starred in “Shuri”, “JSA” as well as “Memories of Murder”. He has his own appeal and draw in the Japanese market. Kang Ho’s fans are mostly people who love the movies and these are people who watch movies in the cinemas. Besides, I think amongst Kang Ho’s fans in Japan, not many are already Yong Joon’s fans. From the acting skills’ perspective, looking at it from the movie-goers’ point of view, the Yong Joon-Kang Ho pairing will be an exciting one. If we need one more male actor, then I recommend Won Bin. The reason is this: Won Bin is popular amongst the younger crowd, this fan base is different from Yong Joon’s.
This is Fumi’s calcuation:
- Takings from people who come for Yong Joon: 1.3b yen [Reason: Compared to the time Scandal was screened, Yong Joon has even more fans now.]
- Takings from people who come for Song Kang Ho: 300m yen
- Takings from people who come for Won Bin: 200m yen
Although it is a little awkward to be calculating like this, it is a very practical and professional thing to do. Please look at this from the bigger picture and perspective.
Next is the issue of the female lead. In Japan, Choi Jiwoo now enjoys the most popularity. Thereafter will be Jeon Ji Hyun [My Sassy Girlfriend], Kim Yeo Jin [Shuri], Lee Young Ai, Son Ye Jin [Summer Scent] and Park Sol Mi [WLS Chaelin]. Although Jiwoo is more popular than the rest, her image in “Winter Sonata” is perhaps too strong and too deeply embedded in the audience’s minds. So, let’s just eliminate Jiwoo from this round. So the more popular actresses in Japan are those that I’ve mentioned above. If we’re looking for a blockbuster hit of a movie, and have eliminated Jiwoo, then the next best candidate is Jeon Ju Hyun.
Yon-sama分析系列51
投稿者： ふみ / 投稿日： 2004/08/31 08:17:28
大家早上好！终于有了特别好的消息，勇俊的下一部作品马上就要发表了！今天我本来预备谈一谈韩国娱乐圈的整容问题的，还是先想一想勇俊的下一部会是什么作品这个问题吧。探讨的基准是，要在日本和韩国特别卖座的电影。
《实尾岛》以及《太极旗飘扬》都没有达到预先期待的效果，原因之一是，这两部作品在日本前后仅相隔2个星期，基本上是同时公映。在日本也存在韩国电影的市场问题，两部大作同时出台，导致了之间的无谓竞争，结果两方都没有得到预期的成绩。制作方认为两部作品同时开封也可以大获成功？为什么会有这样的误解呢？
这是因为这两部作品在决定日本公映的时候，曾在日本fans中间引起巨大反响。制作方从一部分狂热fans的反应上，做出了过分自信的判断：最开始（开封前）就能有如此反响的话，2部同时开封也能保证成功吧。这是制作方对日本市场不甚了解而导致的结果。张东健，元彬，薛景求是在日本有很多狂热的fans，但是一般的日本大众对他们的认知度还比较低。通过最初的固定fans的热烈反应来测定在日本的人气度，是不能够正确把握日本市场的状况的。这应该是这两部作品失败的原因。但是我想，在今后的录像带DVD市场上，这两部作品会很有竞争力的。
很笼统地来分析的话，现在为止在日本卖座的韩国电影里面，《Shuri》是绝对的Top，之后，《太极旗飘扬》，《JSA》，《丑闻》基本是在同一个水平上。《杀人的回忆》在非常不利的状况下出台，获得了和《实尾岛》差不多的收入。这个话说起来要很长，《杀人的回忆》的确取得了令人难相信的的好成绩。
《Shuri》在日本成功的理由之一是，当时日本的代表性的新闻节目都对这部作品作了详细报道。特别是，久米先生（by77, 日本的著名新闻节目主持人，主持news station长达18年）在news station里，作为北朝鲜关联的内容，作了好几回shuri的特集。好像久米先生个人对这部电影极为偏爱。
好了，那么假定勇俊的下一部作品是电影的话，
开始制作发表的同时也会决定在日本的公映吧。以前我曾说过，如果是勇俊主演的电影，可以保证在日本国内有10亿日元以上的收入。仅此就可以达到《太极旗飘扬》的成绩。但是要想超过《Shuri》该怎么做才好呢？我想了一下（可能都决定好了吧，已经晚了），首先是题材类型的问题。
先说，30岁以上的勇俊的女性fans会“无条件”地去看勇俊的新作吧（笑），从商业角度上考虑，勇俊的电影应该是针对
1．中学高中生
2．大学生
3．喜欢电影的男性观众
其中任何一类观众的作品。这里，我们是基于如何能够在日本超级卖座的想法来考虑的。以初中高中生为target，好像有些幼稚，就是说要针对年轻人，或者是男性观众喜欢的作品才比较好。那么这样的题材就是：
动作片，侦探片，恐怖片，喜剧片。
我个人认为，如果能中和其中两类，效果会更好。
为了出超级卖座的电影，勇俊的共演者宋康昊应该是最好的选择。康昊在《Shuri》，《JSA》，当然《杀人的回忆》里面都有出演，他在日本实际上是相当有号召力的。康昊的fans多是电影爱好者，这都是去电影院看电影的人。并且，在日本宋康昊的fans，同时又是勇俊的fans的人我想很少。从演技方面，观众的号召力方面来讲，勇俊-康昊实在是精彩绝妙的组合。再加一位男演员的话，我推荐元彬。理由是，元彬在年轻人中间很受欢迎，fans层还和勇俊的有点儿不同。
Fumi的计算是这样的：
为了看勇俊的fans来源的收入：13亿日元程度（理由，比《丑闻》的时候，勇俊的fans人数又有增加）
为了看宋康昊的fans来源的收入：3亿日元
为了看元彬的fans来源的收入：2亿日元
尽是钱的计算有点儿那个，但是这个计算实际上是很专业的。请从大处着眼。
接着是女搭档的问题，在日本现在要数崔智友的知名度，人气度最高。之后基本上是并列：全智贤，金允珍（shuri），李英爱，孙芸珍(love letter)，Park solmi（冬恋的彩琳）。智友虽然比其他几个人有人气。。。（by77, fumi是智友的fan）但是，和智友共演的话，冬恋的形象过于强烈。所以，这里就把智友暂且排除，这样下来，在日本有号召力的女演员就是上面举出的那几位了。想要超级卖座，又排除了智友，那最佳人选就是全智贤了吧！
Original posting in Japanese by: fumi / www.k-plaza.com 31.08.2004
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 52
Good morning, everyone!
Here in Japan, people seem to think that there’re more Korean actors and actresses who have had plastic surgery. I’ve read in some magazines that reported that Yong Joon has had plastic surgery and that Choi Jiwoo definitely has gone under the knife too. But amongst the Korean actors who are more well-known in Japan, I only know of one who has had plastic surgery. Other than this actor, I’ve never heard of any of the Korean actors or actresses who are famous in Japan who have had plastic surgery. Ha, everyone is very curious about who this male actor is, right? Of course, it’s not Yong Joon. If I say the name, everyone will go “Really??” in disbelief. And of course this person isn’t Jang Dong Gun either.
What I’m trying to say is that while plastic surgery may not be rare amongst the Korean entertainers, but it is also not true to say that many Korean actors or actresses have had plastic surgery. Maybe many people think that in the Korean entertainment circle, it is common to see such cases, but in reality it is not so.
In Korea, only the following types of people will go for plastic surgery:
Actresses who play supporting roles
Actors or actresses who started off as child actors or actresses
Actresses over the age of 40
Actors or actresses who have yet to debut in the entertainment circuit
Yong Joon was already cast as the main lead the moment he debut, so it’s not possible that he has has plastic surgery. After all, going for plastic surgery is really not as simple a matter as it may look.
Amongst the actresses who play supporting roles, the more well-known one in Korea, but not so famous in Japan, is SUUS. (Truelove77: Does anyone know who this is? This website doesn’t allow us to reveal the full name, so Fumi only gave the initials.) That face of hers has seen quite many changes after her debut. But because she is always playing secondary roles, so not too many people take notice; in fact, she didn’t even make it to any newspaper reports over her “plastic” changes. So I suppose she can carry on with her plastic surgeries happily and carefreely (Chuckles).
Now I’ve not heard of Hong Ri-Na (or Hong Li Nuo) of Dae Jang Geum going under the knife. But a few years ago during a filming accident that happened at a steep slope, she suffered major injuries. In fact, the accident was so serious that some of the people present then had thought that she would not make it through alive. But when the staff neared her, they saw that she was struggling through her half-conscious mind and asking them, “My face… Has it been hurt?” When the staff assured her that “her face was okay, intact”, perhaps she felt she could rest her mind (?) and lost consciousness there and then. From this incident it is evident how actresses “value” their appearace. Their face is as good as their bloodline, when it comes to actresses.
Amongst the artistes who started off as child actors or actresses, there’re some who have had plastic surgery as well. The reason is this… As a child matures into an adult, his or face will go through some changes along the way, this is natural. So eve if they do go for some plastic surgery, chances are the fans will not notice. Besides, almost all child actors will go through a period of insecurity as their childhood [and career as a child actor] came to an end, so during this time, they’re easily persuaded to go under the knife, especially by “sumbaes” or seniors who have had plastic surgery themselves (Chuckles).
It should be quite easy to understand why the more matured or aging actresses go for plastic surgery. There are some who have gone for nose corrective surgery in an attempt to make the nose smaller and sharper, but the results? The nose did not get any smaller, but the nostrils now look significantly bigger, and people will think the “new” nose looks kindda weird. For instance, LHS-san (not too famous in Japan)… the more I look at her these days, the bigger her nostrils seem to be. And then there are also those actresses whose wrinkles seem to have disappeared but the lines seem to have found their way to the neck. (Truelove77: Fumi has mentioned before that the actress who acted as SangHyuk’s mother in Winter Sonata was an idol star back in the 1970s, she seems to be one of those whose nostrils have gotten bigger. LHS is probably referring to this actress?)
Then there are those who go under the knife for the sake of their debut into the entertainment circuit. KYJ-san who is enjoying tremendous popularity in Korea is a typical example. According to sources close to KYJ, she was already a quite a beauty before the surgery, but after the failed surgery her face has been looking quite peculiar.
Although there are various different examples of plastic surgery cases, but to say that most Korean artistes have had plastic surgery is not true. At most, we can say that there are some cases. My own judgement is this: In Japan with a supposedly low rate when it comes to plastic surgery, if there is just 1% of actors and actresses who have had plastic surgery, then it would be 2% in Korea and 5% in the United States.
Yon-sama分析系列52
投稿者： ふみ / 投稿日： 2004/08/31 08:51:40
大家早上好！在日本，好像认为韩国演员整容的人比较多。我曾经在杂志上看到，说勇俊整容过，崔智友肯定无疑是整容过的报道。可是，在日本比较有名的韩国男演员里面，整形过的，我知道只有一个人。那一个人人之外，包括女演员在内，在日本出名的韩国演员里，我没有听到过哪位有整容的传闻。大家很想知道那个男演员是谁吧？当然，不是勇俊，我要是说了名字，大家肯定会：真的吗？地不会相信的。当然也不是张东健。
就是说，对于韩国演员来说整容并不是那么稀奇的事情，但是说整容的人很多，这是不正确的。也许很多认为韩国的娱乐圈里，整容的事情很常见，实际上并不是那样。在韩国
1．演配角的女演员
2．童星出身
3．超过40岁的女演员
4．娱乐圈debut以前的人
会做整容。像勇俊从debut起就是主角的，不可能作整容。整容也不是那么简单的事情。
1．演配角的女演员（笑）里面，有名的，在日本没名的是SUUS。（by77, 谁知道这说的是谁？那个论坛不允许写真实姓名，所以fumi略写了。）整张脸在debut以后，整了好几回。因为是配角，也没被太注意，连记事都没成。轻轻松松可劲儿整啊（笑）。
大长今的洪利奈（Hong Ri-Na）没听说整容，但是有过这样的话。几年前在险峻的山里拍戏的时候，因为事故，她受了重伤。很重，现场的人都以为她活不成了的程度。但是工作人员赶到近前的时候，意识朦胧中她挣扎着看着工作人员问“我的脸，没受伤吧？”。听到工作人员回答说“脸没事儿”，可能是放心了吧（？），她一下子就昏了过去。可见女演员是多么重视自己的脸啊。脸是女演员的命吧？
2．童星出身的人里面也有整容的人。原因是，童星长大成人的过程中，脸会一点点儿变化，整容的话fans也不会怎么觉察。加上童星在童年阶段结束的时候都有很强的不安感，这时候被整容过的前辈一劝也就整了（笑）。
3．岁数大的女演员整容，是很容易理解的吧。整鼻子的手术把鼻子弄小巧了，结果鼻孔没变，显得更大，反而教人看着不得劲儿。比如说LHS-san（在日本没名儿）（by77，fumi以前说冬恋的相奕的妈妈是从70年代的偶像明星，就是最近越看她越觉得她鼻孔越来越大。这个LHS就是说相奕妈妈的演员吧。）
脸上的皱纹没了，显得脖子上的皱纹更明显的例子也有。
4．为了在娱乐圈debut整容的人也有。现在在韩国人气的KYJ-san就是典型的例子。据KYJ身旁的人说，KYJ本来就是个美人儿，整容失败现在的脸越弄越怪。
整容的例子有各种各样，但是说韩国的艺人多整容的说法是不正确的。说多也存在个数目的问题吧。据我擅自推断，在（据说）不怎么整容日本娱乐圈，整容的演员人数的%是1的话，韩国就是2，美国是5。
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 52
Good morning, everyone!
Here in Japan, people seem to think that there’re more Korean actors and actresses who have had plastic surgery. I’ve read in some magazines that reported that Yong Joon has had plastic surgery and that Choi Jiwoo definitely has gone under the knife too. But amongst the Korean actors who are more well-known in Japan, I only know of one who has had plastic surgery. Other than this actor, I’ve never heard of any of the Korean actors or actresses who are famous in Japan who have had plastic surgery. Ha, everyone is very curious about who this male actor is, right? Of course, it’s not Yong Joon. If I say the name, everyone will go “Really??” in disbelief. And of course this person isn’t Jang Dong Gun either.
What I’m trying to say is that while plastic surgery may not be rare amongst the Korean entertainers, but it is also not true to say that many Korean actors or actresses have had plastic surgery. Maybe many people think that in the Korean entertainment circle, it is common to see such cases, but in reality it is not so.
In Korea, only the following types of people will go for plastic surgery:
Actresses who play supporting roles
Actors or actresses who started off as child actors or actresses
Actresses over the age of 40
Actors or actresses who have yet to debut in the entertainment circuit
Yong Joon was already cast as the main lead the moment he debut, so it’s not possible that he has has plastic surgery. After all, going for plastic surgery is really not as simple a matter as it may look.
Amongst the actresses who play supporting roles, the more well-known one in Korea, but not so famous in Japan, is SUUS. (Truelove77: Does anyone know who this is? This website doesn’t allow us to reveal the full name, so Fumi only gave the initials.) That face of hers has seen quite many changes after her debut. But because she is always playing secondary roles, so not too many people take notice; in fact, she didn’t even make it to any newspaper reports over her “plastic” changes. So I suppose she can carry on with her plastic surgeries happily and carefreely (Chuckles).
Now I’ve not heard of Hong Ri-Na (or Hong Li Nuo) of Dae Jang Geum going under the knife. But a few years ago during a filming accident that happened at a steep slope, she suffered major injuries. In fact, the accident was so serious that some of the people present then had thought that she would not make it through alive. But when the staff neared her, they saw that she was struggling through her half-conscious mind and asking them, “My face… Has it been hurt?” When the staff assured her that “her face was okay, intact”, perhaps she felt she could rest her mind (?) and lost consciousness there and then. From this incident it is evident how actresses “value” their appearace. Their face is as good as their bloodline, when it comes to actresses.
Amongst the artistes who started off as child actors or actresses, there’re some who have had plastic surgery as well. The reason is this… As a child matures into an adult, his or face will go through some changes along the way, this is natural. So eve if they do go for some plastic surgery, chances are the fans will not notice. Besides, almost all child actors will go through a period of insecurity as their childhood [and career as a child actor] came to an end, so during this time, they’re easily persuaded to go under the knife, especially by “sumbaes” or seniors who have had plastic surgery themselves (Chuckles).
It should be quite easy to understand why the more matured or aging actresses go for plastic surgery. There are some who have gone for nose corrective surgery in an attempt to make the nose smaller and sharper, but the results? The nose did not get any smaller, but the nostrils now look significantly bigger, and people will think the “new” nose looks kindda weird. For instance, LHS-san (not too famous in Japan)… the more I look at her these days, the bigger her nostrils seem to be. And then there are also those actresses whose wrinkles seem to have disappeared but the lines seem to have found their way to the neck. (Truelove77: Fumi has mentioned before that the actress who acted as SangHyuk’s mother in Winter Sonata was an idol star back in the 1970s, she seems to be one of those whose nostrils have gotten bigger. LHS is probably referring to this actress?)
Then there are those who go under the knife for the sake of their debut into the entertainment circuit. KYJ-san who is enjoying tremendous popularity in Korea is a typical example. According to sources close to KYJ, she was already a quite a beauty before the surgery, but after the failed surgery her face has been looking quite peculiar.
Although there are various different examples of plastic surgery cases, but to say that most Korean artistes have had plastic surgery is not true. At most, we can say that there are some cases. My own judgement is this: In Japan with a supposedly low rate when it comes to plastic surgery, if there is just 1% of actors and actresses who have had plastic surgery, then it would be 2% in Korea and 5% in the United States.
Yon-sama分析系列52
投稿者： ふみ / 投稿日： 2004/08/31 08:51:40
大家早上好！在日本，好像认为韩国演员整容的人比较多。我曾经在杂志上看到，说勇俊整容过，崔智友肯定无疑是整容过的报道。可是，在日本比较有名的韩国男演员里面，整形过的，我知道只有一个人。那一个人人之外，包括女演员在内，在日本出名的韩国演员里，我没有听到过哪位有整容的传闻。大家很想知道那个男演员是谁吧？当然，不是勇俊，我要是说了名字，大家肯定会：真的吗？地不会相信的。当然也不是张东健。
就是说，对于韩国演员来说整容并不是那么稀奇的事情，但是说整容的人很多，这是不正确的。也许很多认为韩国的娱乐圈里，整容的事情很常见，实际上并不是那样。在韩国
1．演配角的女演员
2．童星出身
3．超过40岁的女演员
4．娱乐圈debut以前的人
会做整容。像勇俊从debut起就是主角的，不可能作整容。整容也不是那么简单的事情。
1．演配角的女演员（笑）里面，有名的，在日本没名的是SUUS。（by77, 谁知道这说的是谁？那个论坛不允许写真实姓名，所以fumi略写了。）整张脸在debut以后，整了好几回。因为是配角，也没被太注意，连记事都没成。轻轻松松可劲儿整啊（笑）。
大长今的洪利奈（Hong Ri-Na）没听说整容，但是有过这样的话。几年前在险峻的山里拍戏的时候，因为事故，她受了重伤。很重，现场的人都以为她活不成了的程度。但是工作人员赶到近前的时候，意识朦胧中她挣扎着看着工作人员问“我的脸，没受伤吧？”。听到工作人员回答说“脸没事儿”，可能是放心了吧（？），她一下子就昏了过去。可见女演员是多么重视自己的脸啊。脸是女演员的命吧？
2．童星出身的人里面也有整容的人。原因是，童星长大成人的过程中，脸会一点点儿变化，整容的话fans也不会怎么觉察。加上童星在童年阶段结束的时候都有很强的不安感，这时候被整容过的前辈一劝也就整了（笑）。
3．岁数大的女演员整容，是很容易理解的吧。整鼻子的手术把鼻子弄小巧了，结果鼻孔没变，显得更大，反而教人看着不得劲儿。比如说LHS-san（在日本没名儿）（by77，fumi以前说冬恋的相奕的妈妈是从70年代的偶像明星，就是最近越看她越觉得她鼻孔越来越大。这个LHS就是说相奕妈妈的演员吧。）
脸上的皱纹没了，显得脖子上的皱纹更明显的例子也有。
4．为了在娱乐圈debut整容的人也有。现在在韩国人气的KYJ-san就是典型的例子。据KYJ身旁的人说，KYJ本来就是个美人儿，整容失败现在的脸越弄越怪。
整容的例子有各种各样，但是说韩国的艺人多整容的说法是不正确的。说多也存在个数目的问题吧。据我擅自推断，在（据说）不怎么整容日本娱乐圈，整容的演员人数的%是1的话，韩国就是2，美国是5。
Original posting in Japanese by: fumi / www.k-plaza.com 01.09.2004
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 53
Hello everyone! Thank you for replying to my posting on this series.
On the issue about whether momjjangs are popular in Korea, let’s first sort out what this whole issue is all about. There’s some talk about how Lee Jung Jae pioneered the momjjang trend in the 1990s. But I think the moment the word momjjang appeared was the about the same time momjjang became popular in Korea. This term has been broadly and widely used in quite recent years, maybe about three years ago? Anyway, it should be somewhere around that time. Yes, momjjang only started to gain momentum and popularity quite recently.
If my memory serves me well, momjjang was first used to describe actresses with good bodies or figures, namely, Lee Hyo-Lee and Jeon Ji Hyun. Thereafter, actors also are described as momjjang and it all began with Kwon Sang Woo. (Although Lee Jung Jae, Cha In Pyo, Cha Seung Won would be described as momjjang under today’s definition, but because momjjang is such a new term, it is mainly associated with Kwon Sang Woo.)
These days, Kang Dong Won is especially popular amongst the young people. But as to whether he is a momjjang, it’s not easy to say. I personally feel that Dong Won is not a momjjang, as he did not become popular because of his physique. That’s my opinion, Kwon Sang Woo would be the first contender when it comes to an actor who has become popular because of his build. After Sang Woo, there is no number two actor who becomes popular because of his body. Momjjang is actually a plus, it’s a bonus but it cannot be the only criteria to popularity. If you ask me momjjang is popular in Korea, my answer will be “no”. But if you can act, if you look good and these topped with a momjjang body, the momjajng element is a bonus, an extra factor. But even if you’re not a momjjang, it’s okay too.
Today I would like to talk abit about Yong Joon’s voice. Does Yong Joon have a good voice? I believe everyone will say, yes of course. But, no, I beg to differ, I think Yong Joon’s voice is not a good voice, but it’s “an incredibly and extraordinarily riveting voice. It’s so alluring a voice that it’s not just your usual good voice.” Now please think about the dubbing done over Yong Joon’s voice, they all seem inappropriate, don’t they? That’s because Yong Joon’s voice is not your typical good voice. When we mention “good voices”, we’re talking about Park Yong Ha’s voice and Lee Byung Hun’s voice. These two people, they can make the mark as voice actors or dubbing artistes.
Yong Joon’s voice belongs to the lower range, occasionally we even get the feeling that he is making both high-pitched and low-pitched sounds simultaneously. Especially when Yong Joon uses his voice to enact a feeling or emotion of joy… the mix of high and low pitch comes together magically. That particular voice seemingly has magical powers, very alluring. Park Yong Ha has a reasonably good voice, once you hear his voice, you will think it’s a good voice. But if you have to hear him again, especially if you have to sit through a monologue by him, you will not feel especially compelled to listen nor will you feel interested. Of course, things are different when he’s singing. That’s just how normal, typical good voices are. Yong Joon’s voice… now that’s a voice that one can listen to over and over again. “Although it’s not a particularly good voice, it’s got some incredible quality that is very alluring and riveting.”
The recent TV commercials, for instance, his low voice in the camera CM is immensely attractive, and he used his higher pitch in the health beverage CM. If this were a movie or a TV drama, if he performs with his simultaneous high and low pitches, then we will be treated to the magical draw of Yong Joon’s unique voice.
Somehow Yong Joon’s appeal is always contradictory… On Yong Joon we can find opposing forces existing in harmony. For instance:
- High vs low pitch in his voice
- Intellectual-looking eyes vs passionate, sexy lips
- Straight, aristocratic nose vs an innocent child-like face, etc etc etc
--------------------------------------------------------------------------------
Happiebb: I quite like the last paragraph in Part 53, and it reminds me of an article that I’ve come across some months ago.
I post both the english and chinese versions here to share with all:
Author: Epilogue
Reposted from: City of Yongjoon / Soonbaek
Translated from Korean to English: Quilt / Joanne
A person who has two-sided characters...It is different from the double personality....
I personally feel attracted to people who has two-sided characters.
When a woman, looking naive and quiet, secretely emits provocative attraction.. or when a woman, looking refined and gorgeous, has the unexpected purity like a young girl...
When a tough man who cannot stand any injustice would submit to servility for his lover... or when one sees person who looks easy as being able not to take care for self hearing that he is a good person,
changes even the eyegazes when poring in work... one tends to get attracted to that person while really becoming surprised...
The reason for me to like BYJ is exactly because of that two-sided characters.
Lonely eyegazes and cynical smile...that alluring appearance as if he would not bleed even a drop of blood...
VS. Child-like pure smile, a warm fantastic voice saying name in low-tone. When a man who seemed never cry sheds tears...the feeling of pity for him cannot be described,
I also have read an article by Ms. Jeon Yeo-ok.
(Ms. Jeon Yeo-Ok is a journalist-columnist who became a congresswoman in the Korean National Assembly).
She, upon hearing from her close senior saying she felt the sexiness from BYJ's solid waist line... she reevaluated BYJ as " a man who has all the intellectual charm and sexual attraction,' after having been thinking BYJ simply as 'A handsome talent with pretty smile' until then...
He is really peculiar...
I wonder if his fans are suffering from the serious addiction phenomenon because of that.
英翻中：happiebb 20.07.2004
俊心咏恒：www.loveyongjoon.com
转载时请保留，谢谢！
韩国影迷的分享：裴勇俊 – 一个拥有两面性格的人/ 原创者 epilogue
一个拥有两面性格的人，有别于一个拥有双重性格的人….
而我是那种无法抗拒拥有两面性格的人，总觉得这种人非常吸引人。
就像… 当一个纯真，恬静淡然的女生很神秘地散发出一种撩人，
让人不禁心跳的女人魅力，
或者，当一个优雅，成熟美丽的女人突然表现出一种小女生的天真，纯洁…
就像… 当一个很有个性，决不屈服于任何不平的强悍男子，
很自然地在情人面前变得温顺，
或者… 又或者…
每每这些令人感到惊喜，惊奇的情况发生时，
我们往往都不自觉地被吸引住了。
我之所以喜欢勇俊，我想正是因为他拥有这这种两面性格的关系吧！
他那寂寞的眼，愤世嫉俗的笑，那诱惑人的脸孔，看似不会流一滴血；
但让人困惑的是有些时候，他的笑容却又纯真的很，像个天真无邪的小孩，
还有，那把温柔低沉的声音，能够很感性又很性感地说出一个人的名字。
一个看似永远不会掉一颗眼泪的男人，却能燃起很多人心中对他的怜爱，
对他的怜悯之心，无法言喻。
我曾经看过一篇由 Ms Jeon Yeo-ok 所撰写的文章。
（她是韩国的一名记者，有自己的专栏，也是一名国会议员）
她相熟的前辈当中有一名对她说过，她觉得裴勇俊结实有力的腰围非常性感。
听了之后，她也改变自己原先对裴勇俊的印象和评价，
说裴勇俊这个男人同时拥有知识分子的智能魅力和让异性无法抵抗的性感魅力。
在这之前，她只是把裴勇俊想成“一个有着漂亮笑容的英俊小生“。
裴勇俊真的是一个很特别的人，独一无二。
我常在想，裴迷们是不是都是因为他的独特才会陷得这么深，
像上了瘾一样不能自拔。
Yon-sama分析系列53
投稿者： ふみ / 投稿日： 2004/09/01 11:25:35
大家好！谢谢大家对我的分析系列的回贴。关于在韩国Monchan是否有人气的问题，我想先谈谈Monchan的人气是怎么回事。有说法讲Monchan的鼻祖是90年代的李政宰，我则认为Monchan这个词出现的时候就是Monchan人气的开始。这个词被广泛运用是在最近一个时期，3年前？左右时起？的事情吧。Monchan受欢迎是近来的趋势。
如果我没有记错，最初Monchan主要是用来称呼女演员李孝利（E Hyo-Lee）和全智贤的，用来代表身材好的女性。那之后，男演员也开始被称为Monchan，成为Monchan的代名词的还得要说权相佑。（90年代以来的李政宰，车仁表，车胜元，用现在的叫法虽然都可以称为Monchan，但是由于Monchan是个新名词，所以说起Monchan就想起了权相佑。）
最近，在年轻人中间特别受欢迎的Kang Dong-Won，他是否是Monchan，这还不好说。我认为Dong-Won不是Monchan，因为他不是靠身材而受到欢迎的。我个人的意见，靠棒身材获得人气的，权相佑是第一人。之后很长时间，没有出现第二个靠身材受到欢迎的男演员。Monchan实际上是个加分的因素，如果你要问在韩国Monchan有人气吗？我会回答没有。有演技，有好的长相，能再加上Monchan的话更好，不是Monchan也OK。
今天我想说一说勇俊的声音。勇俊的嗓音是很好的嗓音吗？我想大家都会回答，当然是。但是，我不一样，我觉得勇俊的嗓音不是好嗓音，而是“非常不可思议的，充满魅力的，极具吸引力的声音。所以，不是普普通通的好的嗓音”。请想象一下勇俊作为配音演员的情形，不是太合适的吧。因为勇俊的声音不是普通的好嗓音。通常所说的好嗓音是朴龙河，李秉宪那样的声音。这两个人，作为配音演员也是OK的。
勇俊的声音属于低音域，偶尔给人感觉他的低音和高音同时发出。特别是勇俊表演喜悦的时候的声音，有种低音和高音混合起来的不可思议的感觉。那声音好像拥有魔力一样。朴龙河的声音是不错的，听他的嗓音就会觉得那是个好嗓音。但是要让你再听一遍，特别是仅仅听他说话，却并不想听。当然，唱歌的时候情况不同。这就是普通的好嗓音的意思。勇俊的嗓音，是听了几遍都想再听的声音。“虽然不是好嗓音，但是是不可思议的，充满魅力的，具备吸引力的声音。”
最近的电视广告里面，摄像机的CM是低音的很有魅力的声音，健康饮料的CM表演的是高音。这要是电影或者电视剧的话，那样的低音和高音同时发出来，我们就可以听到勇俊的具有不可思议魅力的声音了。
作为勇俊的魅力，在勇俊身上同时存在着正相反的两类东西。比方说：
声音是低音和高音共存
知性的眼睛和热情的嘴唇
挺拔的睿智的鼻子和孩子一般的脸颊
等等等等。。。
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 53
Hello everyone! Thank you for replying to my posting on this series.
On the issue about whether momjjangs are popular in Korea, let’s first sort out what this whole issue is all about. There’s some talk about how Lee Jung Jae pioneered the momjjang trend in the 1990s. But I think the moment the word momjjang appeared was the about the same time momjjang became popular in Korea. This term has been broadly and widely used in quite recent years, maybe about three years ago? Anyway, it should be somewhere around that time. Yes, momjjang only started to gain momentum and popularity quite recently.
If my memory serves me well, momjjang was first used to describe actresses with good bodies or figures, namely, Lee Hyo-Lee and Jeon Ji Hyun. Thereafter, actors also are described as momjjang and it all began with Kwon Sang Woo. (Although Lee Jung Jae, Cha In Pyo, Cha Seung Won would be described as momjjang under today’s definition, but because momjjang is such a new term, it is mainly associated with Kwon Sang Woo.)
These days, Kang Dong Won is especially popular amongst the young people. But as to whether he is a momjjang, it’s not easy to say. I personally feel that Dong Won is not a momjjang, as he did not become popular because of his physique. That’s my opinion, Kwon Sang Woo would be the first contender when it comes to an actor who has become popular because of his build. After Sang Woo, there is no number two actor who becomes popular because of his body. Momjjang is actually a plus, it’s a bonus but it cannot be the only criteria to popularity. If you ask me momjjang is popular in Korea, my answer will be “no”. But if you can act, if you look good and these topped with a momjjang body, the momjajng element is a bonus, an extra factor. But even if you’re not a momjjang, it’s okay too.
Today I would like to talk abit about Yong Joon’s voice. Does Yong Joon have a good voice? I believe everyone will say, yes of course. But, no, I beg to differ, I think Yong Joon’s voice is not a good voice, but it’s “an incredibly and extraordinarily riveting voice. It’s so alluring a voice that it’s not just your usual good voice.” Now please think about the dubbing done over Yong Joon’s voice, they all seem inappropriate, don’t they? That’s because Yong Joon’s voice is not your typical good voice. When we mention “good voices”, we’re talking about Park Yong Ha’s voice and Lee Byung Hun’s voice. These two people, they can make the mark as voice actors or dubbing artistes.
Yong Joon’s voice belongs to the lower range, occasionally we even get the feeling that he is making both high-pitched and low-pitched sounds simultaneously. Especially when Yong Joon uses his voice to enact a feeling or emotion of joy… the mix of high and low pitch comes together magically. That particular voice seemingly has magical powers, very alluring. Park Yong Ha has a reasonably good voice, once you hear his voice, you will think it’s a good voice. But if you have to hear him again, especially if you have to sit through a monologue by him, you will not feel especially compelled to listen nor will you feel interested. Of course, things are different when he’s singing. That’s just how normal, typical good voices are. Yong Joon’s voice… now that’s a voice that one can listen to over and over again. “Although it’s not a particularly good voice, it’s got some incredible quality that is very alluring and riveting.”
The recent TV commercials, for instance, his low voice in the camera CM is immensely attractive, and he used his higher pitch in the health beverage CM. If this were a movie or a TV drama, if he performs with his simultaneous high and low pitches, then we will be treated to the magical draw of Yong Joon’s unique voice.
Somehow Yong Joon’s appeal is always contradictory… On Yong Joon we can find opposing forces existing in harmony. For instance:
- High vs low pitch in his voice
- Intellectual-looking eyes vs passionate, sexy lips
- Straight, aristocratic nose vs an innocent child-like face, etc etc etc
--------------------------------------------------------------------------------
Happiebb: I quite like the last paragraph in Part 53, and it reminds me of an article that I’ve come across some months ago.
I post both the english and chinese versions here to share with all:
Author: Epilogue
Reposted from: City of Yongjoon / Soonbaek
Translated from Korean to English: Quilt / Joanne
A person who has two-sided characters...It is different from the double personality....
I personally feel attracted to people who has two-sided characters.
When a woman, looking naive and quiet, secretely emits provocative attraction.. or when a woman, looking refined and gorgeous, has the unexpected purity like a young girl...
When a tough man who cannot stand any injustice would submit to servility for his lover... or when one sees person who looks easy as being able not to take care for self hearing that he is a good person,
changes even the eyegazes when poring in work... one tends to get attracted to that person while really becoming surprised...
The reason for me to like BYJ is exactly because of that two-sided characters.
Lonely eyegazes and cynical smile...that alluring appearance as if he would not bleed even a drop of blood...
VS. Child-like pure smile, a warm fantastic voice saying name in low-tone. When a man who seemed never cry sheds tears...the feeling of pity for him cannot be described,
I also have read an article by Ms. Jeon Yeo-ok.
(Ms. Jeon Yeo-Ok is a journalist-columnist who became a congresswoman in the Korean National Assembly).
She, upon hearing from her close senior saying she felt the sexiness from BYJ's solid waist line... she reevaluated BYJ as " a man who has all the intellectual charm and sexual attraction,' after having been thinking BYJ simply as 'A handsome talent with pretty smile' until then...
He is really peculiar...
I wonder if his fans are suffering from the serious addiction phenomenon because of that.
英翻中：happiebb 20.07.2004
俊心咏恒：www.loveyongjoon.com
转载时请保留，谢谢！
韩国影迷的分享：裴勇俊 – 一个拥有两面性格的人/ 原创者 epilogue
一个拥有两面性格的人，有别于一个拥有双重性格的人….
而我是那种无法抗拒拥有两面性格的人，总觉得这种人非常吸引人。
就像… 当一个纯真，恬静淡然的女生很神秘地散发出一种撩人，
让人不禁心跳的女人魅力，
或者，当一个优雅，成熟美丽的女人突然表现出一种小女生的天真，纯洁…
就像… 当一个很有个性，决不屈服于任何不平的强悍男子，
很自然地在情人面前变得温顺，
或者… 又或者…
每每这些令人感到惊喜，惊奇的情况发生时，
我们往往都不自觉地被吸引住了。
我之所以喜欢勇俊，我想正是因为他拥有这这种两面性格的关系吧！
他那寂寞的眼，愤世嫉俗的笑，那诱惑人的脸孔，看似不会流一滴血；
但让人困惑的是有些时候，他的笑容却又纯真的很，像个天真无邪的小孩，
还有，那把温柔低沉的声音，能够很感性又很性感地说出一个人的名字。
一个看似永远不会掉一颗眼泪的男人，却能燃起很多人心中对他的怜爱，
对他的怜悯之心，无法言喻。
我曾经看过一篇由 Ms Jeon Yeo-ok 所撰写的文章。
（她是韩国的一名记者，有自己的专栏，也是一名国会议员）
她相熟的前辈当中有一名对她说过，她觉得裴勇俊结实有力的腰围非常性感。
听了之后，她也改变自己原先对裴勇俊的印象和评价，
说裴勇俊这个男人同时拥有知识分子的智能魅力和让异性无法抵抗的性感魅力。
在这之前，她只是把裴勇俊想成“一个有着漂亮笑容的英俊小生“。
裴勇俊真的是一个很特别的人，独一无二。
我常在想，裴迷们是不是都是因为他的独特才会陷得这么深，
像上了瘾一样不能自拔。
Yon-sama分析系列53
投稿者： ふみ / 投稿日： 2004/09/01 11:25:35
大家好！谢谢大家对我的分析系列的回贴。关于在韩国Monchan是否有人气的问题，我想先谈谈Monchan的人气是怎么回事。有说法讲Monchan的鼻祖是90年代的李政宰，我则认为Monchan这个词出现的时候就是Monchan人气的开始。这个词被广泛运用是在最近一个时期，3年前？左右时起？的事情吧。Monchan受欢迎是近来的趋势。
如果我没有记错，最初Monchan主要是用来称呼女演员李孝利（E Hyo-Lee）和全智贤的，用来代表身材好的女性。那之后，男演员也开始被称为Monchan，成为Monchan的代名词的还得要说权相佑。（90年代以来的李政宰，车仁表，车胜元，用现在的叫法虽然都可以称为Monchan，但是由于Monchan是个新名词，所以说起Monchan就想起了权相佑。）
最近，在年轻人中间特别受欢迎的Kang Dong-Won，他是否是Monchan，这还不好说。我认为Dong-Won不是Monchan，因为他不是靠身材而受到欢迎的。我个人的意见，靠棒身材获得人气的，权相佑是第一人。之后很长时间，没有出现第二个靠身材受到欢迎的男演员。Monchan实际上是个加分的因素，如果你要问在韩国Monchan有人气吗？我会回答没有。有演技，有好的长相，能再加上Monchan的话更好，不是Monchan也OK。
今天我想说一说勇俊的声音。勇俊的嗓音是很好的嗓音吗？我想大家都会回答，当然是。但是，我不一样，我觉得勇俊的嗓音不是好嗓音，而是“非常不可思议的，充满魅力的，极具吸引力的声音。所以，不是普普通通的好的嗓音”。请想象一下勇俊作为配音演员的情形，不是太合适的吧。因为勇俊的声音不是普通的好嗓音。通常所说的好嗓音是朴龙河，李秉宪那样的声音。这两个人，作为配音演员也是OK的。
勇俊的声音属于低音域，偶尔给人感觉他的低音和高音同时发出。特别是勇俊表演喜悦的时候的声音，有种低音和高音混合起来的不可思议的感觉。那声音好像拥有魔力一样。朴龙河的声音是不错的，听他的嗓音就会觉得那是个好嗓音。但是要让你再听一遍，特别是仅仅听他说话，却并不想听。当然，唱歌的时候情况不同。这就是普通的好嗓音的意思。勇俊的嗓音，是听了几遍都想再听的声音。“虽然不是好嗓音，但是是不可思议的，充满魅力的，具备吸引力的声音。”
最近的电视广告里面，摄像机的CM是低音的很有魅力的声音，健康饮料的CM表演的是高音。这要是电影或者电视剧的话，那样的低音和高音同时发出来，我们就可以听到勇俊的具有不可思议魅力的声音了。
作为勇俊的魅力，在勇俊身上同时存在着正相反的两类东西。比方说：
声音是低音和高音共存
知性的眼睛和热情的嘴唇
挺拔的睿智的鼻子和孩子一般的脸颊
等等等等。。。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/01
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Analyzing Yon-Sama - Part 54
Hello everyone.
Ahn Sung-ki of Silmido has been called the most representative of Korean actors, in the past famous Japanese film critics have said this of him, “Such a young man… yet capable of producing such complex expressions, it’s astonishing!”
The complex expressions… I believe this was the true reflection of how complicated the Korean society was at that time. And now I also think this: In Korea, the people only got to partake in presidential elections directly from 1986’ but truly, real democracy only set in from the 1990s. Before that, it was the dark and suppressive days of martial law. Today in Korea, there are a fair number of good actors like Yong Joon who are in their thirties. I do not think this is pure cocidence. Koreans who are in their thirties now, especially Yong Joon’s generation, have gone through the liberalisation process of the Korean society from their high school days. That is to say, this generation started to experience freer education that came by with democracy and yet, they are still able to understand the darker period in the Korean history as they had walked through those days as well.
bb: For those of you interested to learn more about Korea’s political scene through the years, please check out:
http://www.pbs.org/wgbh/commandingheights/...ew.html
As for actors and actresses in their early twenties now, they did not have to go through the dark patch of Korean society, so they tend to be positive and optimistic and cheerful about things. The sort of cheerfulness that does not have an ounce of sadness and pain… Can’t remember who said it, but someone said that real comedies come from tragedies. I too think so. Young, pure and cheerful, without any deep feelings or strong feelings… Amongst the twenty-something actors and actresses, a fraction of them ooze “an unbearable lightness of being”…
Akira Kurosawa’s movies are great movies. Let’s not talk about others, even the very presence that the actors brought forth by just being there was very unusual. Perhaps those actors had been through the war. They had survived the cruelty and brutality of the war, perhaps that had given rise to their unusual and very distinctive presence on-screen. Although they were black and white films, just looking at the actors’ faces is enough to lead people to think that past Japanese movie works must be very interesting. The arts is something that amazes and astonishes people, and brings jolts to people’s lives. When it comes to an actor, a real star is when you see something special and amazing about him when you look at him. Looking at his face, if all you feel is that he is a good looking man and can perhaps become a model, then this person does not have what it takes to be a good actor. As an actor, there must be something about his outward appearance that surprises people or intrigues people.
This special something… We sometimes call it presence or some people say it’s an aura. It’s something that is hard to put in words, something intangible. Surely this is something a star MUST possess?
Yong Joon’s voice, Yong Joon’s looks… It’s not all that simplistic, it’s a complex feeling when you hear him, when you see him. His voice, his face… for some reason, no matter how many times you’ve seen him, how many times you’ve heard him, you just want to see and hear him again. And again and again. Not sure why this is so. This is presence, I suppose. Even if Yong Joon appears in an Akira Kurosawa’s films in the fifties, standing amongst those actors with presence, Yong Joon would be able to still to emit his own aura. He would definitely be someone the audience would be drawn to.
The new movie will commence shooting soon. When Yong Joon makes his first appearance in this movie, I can imagine that my breath would stop for that moment. This is probably because of his all-encompassing presence!
Original posting in Japanese by: fumi / www.k-plaza.com
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Yon-sama分析系列54
投稿者： ふみ / 投稿日： 2004/09/01 1224
大家好。被称为韩国的代表性国民性演员安圣基（实尾岛），过去日本著名的电影评论家这么评价他
“这么年轻就可以做出如此复杂的表情，实在令人惊奇。”
那样的复杂的表情，我想是当时复杂的韩国社会现实的写照。现在我也这样认为。在韩国，总统的直接选举制是从86年开始实施的，但是韩国却是进入90年代以后才真正开始成为民主社会。那之前是黑暗的军事独裁社会。现在，韩国有不少像勇俊一样的30多岁的好演员，我不认为这是个偶然现象。30多岁的韩国人，特别是勇俊这一代，是从中学生时候起就经历了韩国的自由化的过程的。就是说，初中高中时代起就接受了自由化的教育。同时，这一代人还了解韩国社会过去的黑暗部分。
现在的20岁前半段的演员们，不曾经历韩国社会的黑暗的一面。所以都很明朗，那种明朗是不带一丝悲伤的。不知道谁好像说过，真正的喜剧是从悲剧之中诞生的，我想的确如此。单纯的明快，没有深意的表情。。。20几岁年纪的演员之中，一部分人给人以“不能承受的存在之轻”的感觉。
过去的黑泽明的电影很好看。不说别的，单是演员们表现出的存在感就非同寻常。那些演员，也许经历了战争。从战后严酷的日本社会中生存下来，那种不同一般的存在感很好地展现了出来。只看演员们的脸就会觉得过去的日本电影很有意思，虽然是黑白片。过逝的岗本太郎常说，艺术是爆发性的东西。我这样解释，艺术是令人惊异的东西。对于演员来说，真正的star是在看到他的时候，你会感到某种惊异的东西。看脸，仅仅觉得长得不错的人，可以做模特，但是不会成为好演员。作为演员，他的外表也要具备令我们观众惊奇的东西。
这种东西，我们常常称之为存在感。用语言难以表述的存在感，这难道不是star的必修条件吗？
勇俊的嗓音，外表都不是简单的，而是很复杂的感觉。他的嗓音，他的脸，总是令人多少遍，多少遍，多少遍地想听，想看，不知道为什么。这就是存在感吧。勇俊即使在50年代的黑泽明导演的电影中出演，在那些很有存在感的演员中间，勇俊也会发挥出自己独特的存在感的东西，绝对会是个引人注目的存在。
新电影就要开封了，在最初勇俊的戏出场的时候，我想我的呼吸会暂时停止吧。是被他的存在感压倒的感觉吧。
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Analyzing Yon-Sama - Part 54
Hello everyone.
Ahn Sung-ki of Silmido has been called the most representative of Korean actors, in the past famous Japanese film critics have said this of him, “Such a young man… yet capable of producing such complex expressions, it’s astonishing!”
The complex expressions… I believe this was the true reflection of how complicated the Korean society was at that time. And now I also think this: In Korea, the people only got to partake in presidential elections directly from 1986’ but truly, real democracy only set in from the 1990s. Before that, it was the dark and suppressive days of martial law. Today in Korea, there are a fair number of good actors like Yong Joon who are in their thirties. I do not think this is pure cocidence. Koreans who are in their thirties now, especially Yong Joon’s generation, have gone through the liberalisation process of the Korean society from their high school days. That is to say, this generation started to experience freer education that came by with democracy and yet, they are still able to understand the darker period in the Korean history as they had walked through those days as well.
bb: For those of you interested to learn more about Korea’s political scene through the years, please check out:
http://www.pbs.org/wgbh/commandingheights/...ew.html
As for actors and actresses in their early twenties now, they did not have to go through the dark patch of Korean society, so they tend to be positive and optimistic and cheerful about things. The sort of cheerfulness that does not have an ounce of sadness and pain… Can’t remember who said it, but someone said that real comedies come from tragedies. I too think so. Young, pure and cheerful, without any deep feelings or strong feelings… Amongst the twenty-something actors and actresses, a fraction of them ooze “an unbearable lightness of being”…
Akira Kurosawa’s movies are great movies. Let’s not talk about others, even the very presence that the actors brought forth by just being there was very unusual. Perhaps those actors had been through the war. They had survived the cruelty and brutality of the war, perhaps that had given rise to their unusual and very distinctive presence on-screen. Although they were black and white films, just looking at the actors’ faces is enough to lead people to think that past Japanese movie works must be very interesting. The arts is something that amazes and astonishes people, and brings jolts to people’s lives. When it comes to an actor, a real star is when you see something special and amazing about him when you look at him. Looking at his face, if all you feel is that he is a good looking man and can perhaps become a model, then this person does not have what it takes to be a good actor. As an actor, there must be something about his outward appearance that surprises people or intrigues people.
This special something… We sometimes call it presence or some people say it’s an aura. It’s something that is hard to put in words, something intangible. Surely this is something a star MUST possess?
Yong Joon’s voice, Yong Joon’s looks… It’s not all that simplistic, it’s a complex feeling when you hear him, when you see him. His voice, his face… for some reason, no matter how many times you’ve seen him, how many times you’ve heard him, you just want to see and hear him again. And again and again. Not sure why this is so. This is presence, I suppose. Even if Yong Joon appears in an Akira Kurosawa’s films in the fifties, standing amongst those actors with presence, Yong Joon would be able to still to emit his own aura. He would definitely be someone the audience would be drawn to.
The new movie will commence shooting soon. When Yong Joon makes his first appearance in this movie, I can imagine that my breath would stop for that moment. This is probably because of his all-encompassing presence!
Original posting in Japanese by: fumi / www.k-plaza.com
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Yon-sama分析系列54
投稿者： ふみ / 投稿日： 2004/09/01 1224
大家好。被称为韩国的代表性国民性演员安圣基（实尾岛），过去日本著名的电影评论家这么评价他
“这么年轻就可以做出如此复杂的表情，实在令人惊奇。”
那样的复杂的表情，我想是当时复杂的韩国社会现实的写照。现在我也这样认为。在韩国，总统的直接选举制是从86年开始实施的，但是韩国却是进入90年代以后才真正开始成为民主社会。那之前是黑暗的军事独裁社会。现在，韩国有不少像勇俊一样的30多岁的好演员，我不认为这是个偶然现象。30多岁的韩国人，特别是勇俊这一代，是从中学生时候起就经历了韩国的自由化的过程的。就是说，初中高中时代起就接受了自由化的教育。同时，这一代人还了解韩国社会过去的黑暗部分。
现在的20岁前半段的演员们，不曾经历韩国社会的黑暗的一面。所以都很明朗，那种明朗是不带一丝悲伤的。不知道谁好像说过，真正的喜剧是从悲剧之中诞生的，我想的确如此。单纯的明快，没有深意的表情。。。20几岁年纪的演员之中，一部分人给人以“不能承受的存在之轻”的感觉。
过去的黑泽明的电影很好看。不说别的，单是演员们表现出的存在感就非同寻常。那些演员，也许经历了战争。从战后严酷的日本社会中生存下来，那种不同一般的存在感很好地展现了出来。只看演员们的脸就会觉得过去的日本电影很有意思，虽然是黑白片。过逝的岗本太郎常说，艺术是爆发性的东西。我这样解释，艺术是令人惊异的东西。对于演员来说，真正的star是在看到他的时候，你会感到某种惊异的东西。看脸，仅仅觉得长得不错的人，可以做模特，但是不会成为好演员。作为演员，他的外表也要具备令我们观众惊奇的东西。
这种东西，我们常常称之为存在感。用语言难以表述的存在感，这难道不是star的必修条件吗？
勇俊的嗓音，外表都不是简单的，而是很复杂的感觉。他的嗓音，他的脸，总是令人多少遍，多少遍，多少遍地想听，想看，不知道为什么。这就是存在感吧。勇俊即使在50年代的黑泽明导演的电影中出演，在那些很有存在感的演员中间，勇俊也会发挥出自己独特的存在感的东西，绝对会是个引人注目的存在。
新电影就要开封了，在最初勇俊的戏出场的时候，我想我的呼吸会暂时停止吧。是被他的存在感压倒的感觉吧。
Original posting in Japanese by: fumi / www.k-plaza.com 02.09.2004
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 55
Good morning, everyone! And thank you for all your replies.
Some friends worry about whether Park Yong Ha would become Yong Joon’s strong contender. (Truelove77: I saw a Japanese variety program on TV last night. It was a Winter Sonata special, Park Yong Ha and Ryu performed in this program. Park Yong Ha looked so much better as compared to the SangHyuk character in the drama, quite cute.) Now in Japan, second to Yong Joon, the second most popular Korean actor in Japan has got to be Park Yong Ha, I suppose? I even feel that he’s more popular than Choi Jiwoo. I think Park Yong Ha’s popularity even surpasses that of Lee Byung Hun’s. But come autumn, NHK will start to broadcast “Beautiful Days”, at that time, Byung Hun will become a real rival against Yong Joon. Just as what Director Yun Seok Ho said about why Park Yong Ha is not a bigger star in Korea. It’s almost unimaginable, could it be because Park Yong Ho attempts to do too many things? I personally feel that as opposed to singing, he should concentrate his effort more towards TV dramas and movies.
I’ve said this before, the Korea craze in Japan is essentially a BYJ fever. Traditionally, most Asian products have performed weakly in the Japanese market. For instance Hong Kong movies. In the 1990s, the Huang Fei Hong movie series which created such a strong following in Asia, as well as the DongFang BuBai series were screened in Japan, and suffice to say that they did not arouse much interest nor attention. The tastes and preferences of Japanese fans differ from those of the other Asian countries. In Japan, subsequent to Bruce Lee, Jackie Chan would be the most famous. For the past thirty years, Jackie Chan has led the “Hong Kong movie market in Japan”. In these thirty years, Jackie Chan has made fifty movies and all these were screened in Japan, and they achieved blockbuster bos office results comparable to major Hollywood productions. I personally hope to see Yong Joon create waves and impact ala Jackie Chan. What would become of the Korea Craze without Yong Joon leading it? I shudder to think about that.
Through “Winter Sonata”, I’ve come to realise the impact TV dramas can have. Through “Winter Sonata”, in those twenty over hours of airtime, more than 30 million Japanese come into contact with Korean matters. This is something that the movies cannot achieve. After making the movie, I hope to see Yong Joon return to the filming of TV dramas.
“Winter Sonata” was screened on NHK channel in the Saturday 11pm timeslot, the same timeslot that popular American series such as ER and Ally McBeal were broadcast. In its earlier days, ER had perhaps attained over 10% viewership; but generally spealing, overseas (American) series screened in this timeslot mostly had a viewership of about 5-8%. After “Winter Sonata” will be “Beautiful Days” and perhaps later, “All In”, “Dae Jang Geum”, and maybe others, the viewership should hover around 8% or so. If this is the case, this timeslot will become the Korean TV drama timeslot.
Other than NHK, I would think that the other public stations will show Korean TV dramas such as “Lovers in Paris” and “Sad Love Song” over good time belts. Everyone is watching to see if in the midst of this, would there appear a drama that can reach 15% in viewership. My answer: Negative. So long as these dramas can attain 10%, then the Korean fever will sustain. Come next year, when Yong Joon’s new movie is screened, the Yong Joon craze will rise again. And thereafter, any new Yong Joon TV drama will stoke the fire further and lead the Korean Current to an all time high. I’m predicting the future of the Korean Fever based on the above assumptions. Therefore… the critical factor is Yong Joon; without which, the Korean fever is not sustainable. Kwon Sang Woo, whose popularity is treading on shaky grounds, has thrown himself into the filming of a new movie right after completing a movie. Now if only Yong Joon would work at one-third of Sang Woo’s rate, that would be swell (Chuckles).
Yon-sama分析系列55
投稿者： ふみ / 投稿日： 2004/09/02 09:39:43
大家，早上好！谢谢各位的回贴。有朋友担心朴龙河会不会成为勇俊的竞争对手。（by77, 昨晚我刚刚在电视上看到一个综合音乐节目，作了一个冬恋的特辑，有朴龙河和Ryu出演。朴龙河比冬恋的相奕帅气很多，很可爱的。）现在，在日本仅次于勇俊的受欢迎的韩国演员，那就是朴龙河了吧？感觉他好像比崔智友还有人气。我想现在朴龙河的人气已经超过了李秉宪，但是秋天开始NHK要开始播《美丽的日子》，那时候秉宪就会作为勇俊的真正的竞争对手登场了。就像尹锡浩导演曾经说过，为什么朴龙河在韩国没有成为更大的star呢？这实在不可思议。是不是他各种各样的事情做得太多了？我个人觉得相对于唱歌，他应该在电视剧和电影方面更加些力才好。
以前我曾经说过，日本的韩流热实际上是勇俊热这样的话。一直以来亚洲的东西在日本都呈弱势。比如香港电影，90年代在亚洲引起轰动的黄飞鸿系列，东方不败系列也都在日本公开上映，但是基本上没有引起注意。日本的影迷的趣味和其他的亚洲国家是有不同的。在日本，李小龙之后，成龙最有人气，成龙在过去的30年间一直引领着“日本的香港电影市场”。成龙在30年间拍了50部电影，全部在日本公映，创造了和好莱坞大片一样好的卖座纪录。我个人希望勇俊能够发挥像成龙一样的作用。日本的韩流如果没有勇俊的领引，韩流热会怎么样呢？我很担心。
通过冬恋，我发现电视连续剧的影响力实在巨大。通过冬恋，3千万以上的日本人在20多个小时期间，接触到韩国的事情，这是电影无法做到的。勇俊这回拍完电影之后，我希望他能够再回到电视连续剧的拍摄中去。
在冬恋放送的NHK星期六晚11点这个节目栏，以前曾播出美国的人气电视剧ER，Ally my love。初期的ER，收视率也许超过了10%，但是基本上这个时间带的海外（美国）电视剧的收视率在5-8%这个水平上。冬恋之后就要播出的《美丽的日子》，或者以后的《all in》，《大长今》等，收视率会在8%左右吧。这样的话这个时间带就成了韩国电视剧的时间带了。
NHK以外的民放电视台，我想也会在好的时间带播出《巴黎的恋人》，《悲情恋歌》等韩国电视剧。人们关注这中间会不会产生创出15%收视率的作品？我的回答是否定的。这些作品能收到10%左右的收视率，就可以令韩流热持续下去了。明年，勇俊的新电影公开，勇俊热会再度升温，之后新的勇俊电视连续剧，会再度引爆韩流热潮。我是以上述的情形来预测今后的韩流热的。所以说，这其中不可以没有勇俊。最近，人气不稳的权相佑，新电影的拍摄刚刚结束，就马上进入到新电视剧和另一部电影新作的拍摄之中。勇俊如果能有相佑的三分之一的拍摄计划就好了（笑）
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Analyzing Yon-Sama - Part 55
Good morning, everyone! And thank you for all your replies.
Some friends worry about whether Park Yong Ha would become Yong Joon’s strong contender. (Truelove77: I saw a Japanese variety program on TV last night. It was a Winter Sonata special, Park Yong Ha and Ryu performed in this program. Park Yong Ha looked so much better as compared to the SangHyuk character in the drama, quite cute.) Now in Japan, second to Yong Joon, the second most popular Korean actor in Japan has got to be Park Yong Ha, I suppose? I even feel that he’s more popular than Choi Jiwoo. I think Park Yong Ha’s popularity even surpasses that of Lee Byung Hun’s. But come autumn, NHK will start to broadcast “Beautiful Days”, at that time, Byung Hun will become a real rival against Yong Joon. Just as what Director Yun Seok Ho said about why Park Yong Ha is not a bigger star in Korea. It’s almost unimaginable, could it be because Park Yong Ho attempts to do too many things? I personally feel that as opposed to singing, he should concentrate his effort more towards TV dramas and movies.
I’ve said this before, the Korea craze in Japan is essentially a BYJ fever. Traditionally, most Asian products have performed weakly in the Japanese market. For instance Hong Kong movies. In the 1990s, the Huang Fei Hong movie series which created such a strong following in Asia, as well as the DongFang BuBai series were screened in Japan, and suffice to say that they did not arouse much interest nor attention. The tastes and preferences of Japanese fans differ from those of the other Asian countries. In Japan, subsequent to Bruce Lee, Jackie Chan would be the most famous. For the past thirty years, Jackie Chan has led the “Hong Kong movie market in Japan”. In these thirty years, Jackie Chan has made fifty movies and all these were screened in Japan, and they achieved blockbuster bos office results comparable to major Hollywood productions. I personally hope to see Yong Joon create waves and impact ala Jackie Chan. What would become of the Korea Craze without Yong Joon leading it? I shudder to think about that.
Through “Winter Sonata”, I’ve come to realise the impact TV dramas can have. Through “Winter Sonata”, in those twenty over hours of airtime, more than 30 million Japanese come into contact with Korean matters. This is something that the movies cannot achieve. After making the movie, I hope to see Yong Joon return to the filming of TV dramas.
“Winter Sonata” was screened on NHK channel in the Saturday 11pm timeslot, the same timeslot that popular American series such as ER and Ally McBeal were broadcast. In its earlier days, ER had perhaps attained over 10% viewership; but generally spealing, overseas (American) series screened in this timeslot mostly had a viewership of about 5-8%. After “Winter Sonata” will be “Beautiful Days” and perhaps later, “All In”, “Dae Jang Geum”, and maybe others, the viewership should hover around 8% or so. If this is the case, this timeslot will become the Korean TV drama timeslot.
Other than NHK, I would think that the other public stations will show Korean TV dramas such as “Lovers in Paris” and “Sad Love Song” over good time belts. Everyone is watching to see if in the midst of this, would there appear a drama that can reach 15% in viewership. My answer: Negative. So long as these dramas can attain 10%, then the Korean fever will sustain. Come next year, when Yong Joon’s new movie is screened, the Yong Joon craze will rise again. And thereafter, any new Yong Joon TV drama will stoke the fire further and lead the Korean Current to an all time high. I’m predicting the future of the Korean Fever based on the above assumptions. Therefore… the critical factor is Yong Joon; without which, the Korean fever is not sustainable. Kwon Sang Woo, whose popularity is treading on shaky grounds, has thrown himself into the filming of a new movie right after completing a movie. Now if only Yong Joon would work at one-third of Sang Woo’s rate, that would be swell (Chuckles).
Yon-sama分析系列55
投稿者： ふみ / 投稿日： 2004/09/02 09:39:43
大家，早上好！谢谢各位的回贴。有朋友担心朴龙河会不会成为勇俊的竞争对手。（by77, 昨晚我刚刚在电视上看到一个综合音乐节目，作了一个冬恋的特辑，有朴龙河和Ryu出演。朴龙河比冬恋的相奕帅气很多，很可爱的。）现在，在日本仅次于勇俊的受欢迎的韩国演员，那就是朴龙河了吧？感觉他好像比崔智友还有人气。我想现在朴龙河的人气已经超过了李秉宪，但是秋天开始NHK要开始播《美丽的日子》，那时候秉宪就会作为勇俊的真正的竞争对手登场了。就像尹锡浩导演曾经说过，为什么朴龙河在韩国没有成为更大的star呢？这实在不可思议。是不是他各种各样的事情做得太多了？我个人觉得相对于唱歌，他应该在电视剧和电影方面更加些力才好。
以前我曾经说过，日本的韩流热实际上是勇俊热这样的话。一直以来亚洲的东西在日本都呈弱势。比如香港电影，90年代在亚洲引起轰动的黄飞鸿系列，东方不败系列也都在日本公开上映，但是基本上没有引起注意。日本的影迷的趣味和其他的亚洲国家是有不同的。在日本，李小龙之后，成龙最有人气，成龙在过去的30年间一直引领着“日本的香港电影市场”。成龙在30年间拍了50部电影，全部在日本公映，创造了和好莱坞大片一样好的卖座纪录。我个人希望勇俊能够发挥像成龙一样的作用。日本的韩流如果没有勇俊的领引，韩流热会怎么样呢？我很担心。
通过冬恋，我发现电视连续剧的影响力实在巨大。通过冬恋，3千万以上的日本人在20多个小时期间，接触到韩国的事情，这是电影无法做到的。勇俊这回拍完电影之后，我希望他能够再回到电视连续剧的拍摄中去。
在冬恋放送的NHK星期六晚11点这个节目栏，以前曾播出美国的人气电视剧ER，Ally my love。初期的ER，收视率也许超过了10%，但是基本上这个时间带的海外（美国）电视剧的收视率在5-8%这个水平上。冬恋之后就要播出的《美丽的日子》，或者以后的《all in》，《大长今》等，收视率会在8%左右吧。这样的话这个时间带就成了韩国电视剧的时间带了。
NHK以外的民放电视台，我想也会在好的时间带播出《巴黎的恋人》，《悲情恋歌》等韩国电视剧。人们关注这中间会不会产生创出15%收视率的作品？我的回答是否定的。这些作品能收到10%左右的收视率，就可以令韩流热持续下去了。明年，勇俊的新电影公开，勇俊热会再度升温，之后新的勇俊电视连续剧，会再度引爆韩流热潮。我是以上述的情形来预测今后的韩流热的。所以说，这其中不可以没有勇俊。最近，人气不稳的权相佑，新电影的拍摄刚刚结束，就马上进入到新电视剧和另一部电影新作的拍摄之中。勇俊如果能有相佑的三分之一的拍摄计划就好了（笑）
Analyzing Yon-Sama - Part 56
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/02
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hello everyone. Now I want to think thorough the differences between the production of TV dramas in Korea and Japan. Firstly, let’s talk about what many K-drama fans say, that as compared to their Korean counterparts, Japanese actors and actress do not act as well.
I’m of the view that when we compare the veterans, then there really is not much of a difference in terms of acting skills between Korea and Japan. But when it comes to the younger generation of actors and actresses, then the Koreans have an upper hand. Looking at this issue from the perspective of the veterans,
The Japanese actors perform for the sake of acting
The Korean actors act with the purpose of not making it all look like a performance.
I feel that this difference in the thinking and approach of acting is due to cultural differences, and not because of superiority in acting skills.
In Japan, TV stations will engage actors for the sake of raising viewership, disregarding the fact that these actors are not good actors at all. This Japanese style is somewhat similar to the KBS method of production.
In Korea, MBC has always adopted the approach of letting the director take main control of the entire production and filming of the TV drama. The station’s own production department does not hold much power and therefore does not have much say. Instead, the directors themselves yield much power; in this sense, MBC is deemed as traditional. Now KBS is quite the reverse, their own production unit is strong and they are actively involved in the script as well as casting. Japan seems to be like this as well, being fairly strong in their production teams. But there’s still a key difference between the KBS style and the Japanese style. In KBS, the head of the production unit is usually a director or at least was some big-shot director before. This is to say that there would probably be a very famous director who has a great influence in the entire production process and all decisions are taken from the angle of the director. So… when it comes to actors or actresses who cannot act, how then would the director make his choice?
I’ve heard that in Japan, most of the heads of the production units were not previously directors. So the process, the creativity, conceptualisation, etc, will not be from the angle of a director and will instead be from the TV station’s perspective. Now what do we mean by TV station’s perspective? Well, when it comes to the script, they would naturally go for what they think can raise viewership. But… when they’re overly focussed on viewership, they will then select the main leads first and then work the story around the leads. Whereas in Korea, in most cases there is first a production concept or idea, and then they will carry out casting based on this storyline and the script will then be further developed thus.
In the past, MBC’s production process could not be called as being centralised, it’s more of on-the-spot type of production. The director gets to call most of the shots. The MBC of today has seen some changes, and this is partly because some of the directors have become increasingly well-known and recognised and as such, their power and influence have also in turn increased. So MBC today is also working on a director-centric style, the directors do have quite some say in the production process. In other words, MBC is slowing taking the KBS route in terms of the way TV productions are being carried out. When this KBS-ilization takes place, what will happen is that the production unit will be more and more like the Japanese style of working.
In MBC today, there are three directors that are particularly noteworthy, they are Park Joon of “Have We Really Loved”, Lee Byung-Hun of “Dae Jang Geum”, and Ko Sonman who excels in productions that deal with political issues. MBC has invested some 7 billion yen in the production of “Sad Sonata” (starring Kim Hee Sun and Kwon Sang Woo), but I have my doubts as to the success of this TV drama. At the beginning, they had wanted to cast Bae Yong Joon as the male lead. This was obviously a TV drama that targets at the Japanese market. Director Park Joon who had worked with Yong Joon previously on “Have We Really Loved” had probably thought that Yong Joon would probably say yes if he were to ask Yong Joon to play in this production.
Lately, what we’ve been hearing is Yong Joon’s managers apologising all the time and profusely. Typically, in most cases, managers are always saying, “Please give us some script offers… Please take care of us… Please keep us in mind…”
But Yong Joon’s managers are perpetually saying, “We’re really terribly sorry, but we cannot accept this offer…”
Perhaps… they too had to say much of such apologetic words to Director Park Joon…
A “Sad Sonata” without Yong Joon… probably would not be much of a resounding success in Japan, I suppose. The main director of this drama is Kim Jong Hak of “Sandglass” fame, but I do not wish to pass any judgements here. He is on very friendly terms with the director of “Beautiful Days”, Lee Jang Su, and I also do not wish to comment much on Director Lee. Kim Jong Hak is a director who is adventurous and always more than willing to take up challenges. So how will he face up to the challenge of the Japanese market? Let us all wait and see. (My wife has previously worked with Director Kim and Director Lim, and at that time, she was bullied quite a fair bit by them, of course this was what my wife had told me, so I do not particularly fancy these two directors. I naturally would be siding my wife, haha… So there’s some personal emotions here….)
Original posting in Japanese by: fumi / www.k-plaza.com
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Yon-sama分析56
投稿者： ふみ / 投稿日： 2004/09/02 10:16:32
大家好。这次我想针对韩国和日本在电视剧制作方面的差别考虑一下。首先，不少韩剧fans说，和韩国演员比较，日本演员的演技很不如，那么就先从这个问题讲起。
我觉得，资深的演员之间相互比较的话，韩国和日本的演员在实力方面没有多少差别。年轻演员方面，韩国的演员要好一些。从资深演员在电视剧里的演技来看，
日本演员是，为了演戏而表演
韩国演员是，为了不像演戏而表演，
我想这是在对于演戏的思考方法上，文化上有不同，而不是演技能力的差别。
在日本，完全不会演戏的人，为了争取收视率，电视台也会起用。日本的电视剧的制作方式和韩国的KBS有些相似。
在韩国，MBC一贯是以电视剧制作的导演为中心全权负责整部剧的拍摄的。传统的MBC，电视台的制作本部的力量是比较弱的，以现场的制作1部，2部的导演为中心的现场力量非常强。KBS则是制作本部很强，制作本部参与电视剧的内容安排和选角。日本也是好像制作本部很强，但是和KBS的决定性区别在于，KBS的制作本部的部长是导演。就是说，存在着一个很有名的大导演，这个大导演决定整个剧的制作过程，所有决定是通过导演的角度来进行的。不会演技的演员，导演怎么会选呢？
我听说日本的电视剧制作本部部长，很多并不是导演出身。这样一来，创作意图等决定就不会是导演的立场的而是电视台的立场了。所谓电视台的立场，就是相对于电视剧的内容本身，更重视的是收视率。过分重视收视率的结果就是，先进行选角，然后为选好的角色量身订做故事情节。韩国的情况，多是先有一个制作概念，然后按照这个概念来选择角色，故事情节也会按照这个概念来展开。过去，MBC电视剧的制作就不是中央集权性质的，而是现场主义的。直接排戏的导演决定一切。现在的MBC情况有些变化，也是因为几个导演变得越来越有名，影响力也越来越大的缘故。所以，现在MBC也多是以有影响力的知名导演为中心，来决定拍摄的种种。就是说，MBC在逐渐KBS化（在电视剧制作的程序方面）。KBS化的结果，制作本部长不再是现场导演的出身，那就成了有些日本风格的东西了。
MBC的有名的大导演现在有3人，《我们》的Park joon，《大长今》的Yi byofon，和以拍政治剧专长的Ko sonman。MBC投入70亿日元拍摄《悲情恋歌》（by77, 主演是金喜善，权相佑），能否成功很令人怀疑。这个剧最开始的选角是勇俊。明显这是一部瞄准日本市场的电视剧。在《我们》的时候和勇俊一起排过戏的Park Joon导演可能以为自己相邀的话，勇俊会出演的吧。
最近，听到的话是说勇俊的经理人一直在道歉。一般来说，经理人都是
“请给我们offer吧，请多关照”
但是勇俊的经理人却总是
“真是对不起啊，这个offer我们无法接受。。。”
可能，他们对Park导演也说了好多抱歉的话吧。
没有勇俊的悲情恋歌，在日本不会怎么成功吧。这部剧的主导演Kim Jonhak是凭借《砂时计》而一举成名的，但是我不想做评价。他和《美丽的日子》的Yi Jangsu导演关系很好，我也不想评价Yi导演。Kim Jonhak导演是一个很有挑战精神的导演，他将如何挑战日本市场呢？拭目以待吧。（我的妻子以前和Kim导演，Yi导演一起共事过，那时候受了他们不少欺负（妻的证言）所以我不喜欢这两个导演。我当然是向着我妻子的嘛(笑)。这里面参杂了个人情绪。）
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/02
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hello everyone. Now I want to think thorough the differences between the production of TV dramas in Korea and Japan. Firstly, let’s talk about what many K-drama fans say, that as compared to their Korean counterparts, Japanese actors and actress do not act as well.
I’m of the view that when we compare the veterans, then there really is not much of a difference in terms of acting skills between Korea and Japan. But when it comes to the younger generation of actors and actresses, then the Koreans have an upper hand. Looking at this issue from the perspective of the veterans,
The Japanese actors perform for the sake of acting
The Korean actors act with the purpose of not making it all look like a performance.
I feel that this difference in the thinking and approach of acting is due to cultural differences, and not because of superiority in acting skills.
In Japan, TV stations will engage actors for the sake of raising viewership, disregarding the fact that these actors are not good actors at all. This Japanese style is somewhat similar to the KBS method of production.
In Korea, MBC has always adopted the approach of letting the director take main control of the entire production and filming of the TV drama. The station’s own production department does not hold much power and therefore does not have much say. Instead, the directors themselves yield much power; in this sense, MBC is deemed as traditional. Now KBS is quite the reverse, their own production unit is strong and they are actively involved in the script as well as casting. Japan seems to be like this as well, being fairly strong in their production teams. But there’s still a key difference between the KBS style and the Japanese style. In KBS, the head of the production unit is usually a director or at least was some big-shot director before. This is to say that there would probably be a very famous director who has a great influence in the entire production process and all decisions are taken from the angle of the director. So… when it comes to actors or actresses who cannot act, how then would the director make his choice?
I’ve heard that in Japan, most of the heads of the production units were not previously directors. So the process, the creativity, conceptualisation, etc, will not be from the angle of a director and will instead be from the TV station’s perspective. Now what do we mean by TV station’s perspective? Well, when it comes to the script, they would naturally go for what they think can raise viewership. But… when they’re overly focussed on viewership, they will then select the main leads first and then work the story around the leads. Whereas in Korea, in most cases there is first a production concept or idea, and then they will carry out casting based on this storyline and the script will then be further developed thus.
In the past, MBC’s production process could not be called as being centralised, it’s more of on-the-spot type of production. The director gets to call most of the shots. The MBC of today has seen some changes, and this is partly because some of the directors have become increasingly well-known and recognised and as such, their power and influence have also in turn increased. So MBC today is also working on a director-centric style, the directors do have quite some say in the production process. In other words, MBC is slowing taking the KBS route in terms of the way TV productions are being carried out. When this KBS-ilization takes place, what will happen is that the production unit will be more and more like the Japanese style of working.
In MBC today, there are three directors that are particularly noteworthy, they are Park Joon of “Have We Really Loved”, Lee Byung-Hun of “Dae Jang Geum”, and Ko Sonman who excels in productions that deal with political issues. MBC has invested some 7 billion yen in the production of “Sad Sonata” (starring Kim Hee Sun and Kwon Sang Woo), but I have my doubts as to the success of this TV drama. At the beginning, they had wanted to cast Bae Yong Joon as the male lead. This was obviously a TV drama that targets at the Japanese market. Director Park Joon who had worked with Yong Joon previously on “Have We Really Loved” had probably thought that Yong Joon would probably say yes if he were to ask Yong Joon to play in this production.
Lately, what we’ve been hearing is Yong Joon’s managers apologising all the time and profusely. Typically, in most cases, managers are always saying, “Please give us some script offers… Please take care of us… Please keep us in mind…”
But Yong Joon’s managers are perpetually saying, “We’re really terribly sorry, but we cannot accept this offer…”
Perhaps… they too had to say much of such apologetic words to Director Park Joon…
A “Sad Sonata” without Yong Joon… probably would not be much of a resounding success in Japan, I suppose. The main director of this drama is Kim Jong Hak of “Sandglass” fame, but I do not wish to pass any judgements here. He is on very friendly terms with the director of “Beautiful Days”, Lee Jang Su, and I also do not wish to comment much on Director Lee. Kim Jong Hak is a director who is adventurous and always more than willing to take up challenges. So how will he face up to the challenge of the Japanese market? Let us all wait and see. (My wife has previously worked with Director Kim and Director Lim, and at that time, she was bullied quite a fair bit by them, of course this was what my wife had told me, so I do not particularly fancy these two directors. I naturally would be siding my wife, haha… So there’s some personal emotions here….)
Original posting in Japanese by: fumi / www.k-plaza.com
Translated into Chinese by: truelove77 / www.loveyongjoon.com
Yon-sama分析56
投稿者： ふみ / 投稿日： 2004/09/02 10:16:32
大家好。这次我想针对韩国和日本在电视剧制作方面的差别考虑一下。首先，不少韩剧fans说，和韩国演员比较，日本演员的演技很不如，那么就先从这个问题讲起。
我觉得，资深的演员之间相互比较的话，韩国和日本的演员在实力方面没有多少差别。年轻演员方面，韩国的演员要好一些。从资深演员在电视剧里的演技来看，
日本演员是，为了演戏而表演
韩国演员是，为了不像演戏而表演，
我想这是在对于演戏的思考方法上，文化上有不同，而不是演技能力的差别。
在日本，完全不会演戏的人，为了争取收视率，电视台也会起用。日本的电视剧的制作方式和韩国的KBS有些相似。
在韩国，MBC一贯是以电视剧制作的导演为中心全权负责整部剧的拍摄的。传统的MBC，电视台的制作本部的力量是比较弱的，以现场的制作1部，2部的导演为中心的现场力量非常强。KBS则是制作本部很强，制作本部参与电视剧的内容安排和选角。日本也是好像制作本部很强，但是和KBS的决定性区别在于，KBS的制作本部的部长是导演。就是说，存在着一个很有名的大导演，这个大导演决定整个剧的制作过程，所有决定是通过导演的角度来进行的。不会演技的演员，导演怎么会选呢？
我听说日本的电视剧制作本部部长，很多并不是导演出身。这样一来，创作意图等决定就不会是导演的立场的而是电视台的立场了。所谓电视台的立场，就是相对于电视剧的内容本身，更重视的是收视率。过分重视收视率的结果就是，先进行选角，然后为选好的角色量身订做故事情节。韩国的情况，多是先有一个制作概念，然后按照这个概念来选择角色，故事情节也会按照这个概念来展开。过去，MBC电视剧的制作就不是中央集权性质的，而是现场主义的。直接排戏的导演决定一切。现在的MBC情况有些变化，也是因为几个导演变得越来越有名，影响力也越来越大的缘故。所以，现在MBC也多是以有影响力的知名导演为中心，来决定拍摄的种种。就是说，MBC在逐渐KBS化（在电视剧制作的程序方面）。KBS化的结果，制作本部长不再是现场导演的出身，那就成了有些日本风格的东西了。
MBC的有名的大导演现在有3人，《我们》的Park joon，《大长今》的Yi byofon，和以拍政治剧专长的Ko sonman。MBC投入70亿日元拍摄《悲情恋歌》（by77, 主演是金喜善，权相佑），能否成功很令人怀疑。这个剧最开始的选角是勇俊。明显这是一部瞄准日本市场的电视剧。在《我们》的时候和勇俊一起排过戏的Park Joon导演可能以为自己相邀的话，勇俊会出演的吧。
最近，听到的话是说勇俊的经理人一直在道歉。一般来说，经理人都是
“请给我们offer吧，请多关照”
但是勇俊的经理人却总是
“真是对不起啊，这个offer我们无法接受。。。”
可能，他们对Park导演也说了好多抱歉的话吧。
没有勇俊的悲情恋歌，在日本不会怎么成功吧。这部剧的主导演Kim Jonhak是凭借《砂时计》而一举成名的，但是我不想做评价。他和《美丽的日子》的Yi Jangsu导演关系很好，我也不想评价Yi导演。Kim Jonhak导演是一个很有挑战精神的导演，他将如何挑战日本市场呢？拭目以待吧。（我的妻子以前和Kim导演，Yi导演一起共事过，那时候受了他们不少欺负（妻的证言）所以我不喜欢这两个导演。我当然是向着我妻子的嘛(笑)。这里面参杂了个人情绪。）
Analyzing Yon-Sama - Part 57
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/04
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Good morning, everyone! I’ve sent my PC in for repair, I’m writing this in an Internet café.
Would Yong Joon possibly play Kim Hong Do? Kim Hong Do was a court painter in the later part of the Chosun period, and he had painted numerous works that reflected the lives of the common folks. There was a period of time he stopped painting and that period coincided with the time he was active in music, so some people also described him as a musician
(bb: Sometime last year, there was some talk about the possibility of Yong Joon playing Kim Hong Do. For more information on this artist or for more information on Korea’s art history, pls refer to the following links.)
http://www.koreainfogate.com/beautykorea/s...cial/hongdo.asp
http://www.metmuseum.org/toah/hd/kgnr/hd_kgnr.htm
http://www.asianinfo.org/asianinfo/korea/p...ing.htm
In my view, Yong Joon would be better off taking up an active movie as his next work. If it was an action movie, then he would be able to capture the male audience who currently do not watch much of Yong Joon’s works. And more importantly, in consideration of future works and productions, it would benefit Yong Joon if he were to
start doing some action roles from now. The reasons are as follows:
In most cases in Korea, actors between the ages of 35 to 40 do not get much plum roles. When it comes to love stories and melodramatic works, the storyline tends to focus on the twenty-something. Once an actor crosses the 35-line, it would be harder to portray a twenty-something character, so it is unlikely that such offers would come along.
Traditionally, stars in lovey-dovey movies typically do not play villain roles, but for them to jump right into forty-something roles is a tad early. So, one could say that an actor between 35 to 40 years old is in a somewhat awkward stage of neither here nor there. There are not too many roles that suit actors in this age group. After forty, new doors will open and the actors can venture in roles that span across late twenties to about sixty years old. For instance, the royal characters in period dramas that depict palace lives. However, once an actor starts to play a character of up to sixty years old, then his image as a young actor will be completely gone. A recent case is Choi Soo Jong (First Love) who has played the role of such a royal character successfully but has completely lost whatever youthful image he may previously have. Lee Byung Hun is also fast entering that “mid-life” career stage. He would be too young for middle-aged roles, and yet a little too old for young roles. Ryu Shi Won can probably start playing a member of the royal family in those historical period dramas in another two years’ time, just like Choi Soo Jong. Lee Byung Hun had said that he would be heading for his studies in the States, perhaps he had taken into consideration his own age.
But but but… if an actor can handle action movies, then his genre will be widened and more choices and opportunities would be open. Not just romances, action movies with a dash of romance where actors in their thirties are usually cast are aplenty. So if Yong Joon is considering his path after turning thirty five, then he should follow the example of Jang Dong Gun and start working on an image of an action star. Since a long time ago, Yong Joon has been compared to James Dean, coupled with the fact that he is a momjjang, so he’s a natural candidate for action movies.
The rebellious character of Kim Hong Do the painter would possibly fit Yong Joon quite nicely too. So… come on and show us something, quickly! (Chuckles).
Yon-sama分析系列57
投稿者： ふみ / 投稿日： 2004/09/04 10:32:35
大家，早上好！我的PC拿去修理了，现在正在网吧里写贴。
勇俊也许可能演金弘道吗？金弘道是朝鲜末期的宫廷画家，画了好多现实百姓生活的绘画。曾经有过停止创作的时期，那个时期是和他写乐的活动时期相一致的，所以主张金弘道＝写乐说的人也有。（by77, 什么是写乐？查了一下，但没查明白。明白的朋友给说一下吧。有news说勇俊可能演李朝末期的著名画家金弘道。）
我想勇俊的下一部作品是动作片比较好。如果是动作片的话，至今为止不怎么看勇俊作品的男性观众也会被勇俊的魅力所吸引吧。更重要的是，考虑到今后的作品和创作，勇俊也应该差不多就开始拍动作片的东西比较好吧。理由是这样的，
一般，韩国的star男演员在35至40岁之间，不会有多少演戏的机会。言情片电影的主角，故事情节的设定多在20多岁年纪。演员如果超过35岁，再演20岁的角色会比较困难，所以这样的offer也不怎么会找上来。
过去，恋爱片的star也一般不会演反面角色，但是要是马上演40多岁年纪的角色又还嫌年轻。所以说，35至40岁这个阶段是有点儿前不着村后不着店的感觉，适合出演的角色也很少。过了40岁以后，就可以扮演20岁后半至60岁左右的角色了。比如，历史剧的王室角色。但是，如果一旦演上了60岁的角色，那年轻演员的形象就会完全失去了。最近，以成功扮演王室角色，而失去年轻形象的演员，可以举出崔秀钟（初恋）的例子。李秉宪也马上就要进入“中途半段”的年纪。这是个演中年戏嫌年轻，演青年戏嫌老的年龄层。柳时元再过两年的话也可以大演历史剧了，就像崔秀钟那样。李秉宪说要去美国留学，可能也是因为考虑到自己的年龄的缘故吧。
但是的但是，如果是动作片也能演的演员的话，可以选择的角色的范围就要大大扩大了。不光是浪漫戏，浪漫戏加上动作戏的话，应该由30岁后半的演员扮演的故事要多少有多少。勇俊如果考虑到35岁以后的角色，差不多也该像张东健那样，为自己建立一个动作片演员的形象为好吧。勇俊原本就被称作James Dean来着，而且还是Monchang，当然很适合动作片的角色啊。
檀园 金弘道这个反叛型的画家形象，也可能很适合勇俊演吧。快点儿给我们看看吧（笑）。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/04
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Good morning, everyone! I’ve sent my PC in for repair, I’m writing this in an Internet café.
Would Yong Joon possibly play Kim Hong Do? Kim Hong Do was a court painter in the later part of the Chosun period, and he had painted numerous works that reflected the lives of the common folks. There was a period of time he stopped painting and that period coincided with the time he was active in music, so some people also described him as a musician
(bb: Sometime last year, there was some talk about the possibility of Yong Joon playing Kim Hong Do. For more information on this artist or for more information on Korea’s art history, pls refer to the following links.)
http://www.koreainfogate.com/beautykorea/s...cial/hongdo.asp
http://www.metmuseum.org/toah/hd/kgnr/hd_kgnr.htm
http://www.asianinfo.org/asianinfo/korea/p...ing.htm
In my view, Yong Joon would be better off taking up an active movie as his next work. If it was an action movie, then he would be able to capture the male audience who currently do not watch much of Yong Joon’s works. And more importantly, in consideration of future works and productions, it would benefit Yong Joon if he were to
start doing some action roles from now. The reasons are as follows:
In most cases in Korea, actors between the ages of 35 to 40 do not get much plum roles. When it comes to love stories and melodramatic works, the storyline tends to focus on the twenty-something. Once an actor crosses the 35-line, it would be harder to portray a twenty-something character, so it is unlikely that such offers would come along.
Traditionally, stars in lovey-dovey movies typically do not play villain roles, but for them to jump right into forty-something roles is a tad early. So, one could say that an actor between 35 to 40 years old is in a somewhat awkward stage of neither here nor there. There are not too many roles that suit actors in this age group. After forty, new doors will open and the actors can venture in roles that span across late twenties to about sixty years old. For instance, the royal characters in period dramas that depict palace lives. However, once an actor starts to play a character of up to sixty years old, then his image as a young actor will be completely gone. A recent case is Choi Soo Jong (First Love) who has played the role of such a royal character successfully but has completely lost whatever youthful image he may previously have. Lee Byung Hun is also fast entering that “mid-life” career stage. He would be too young for middle-aged roles, and yet a little too old for young roles. Ryu Shi Won can probably start playing a member of the royal family in those historical period dramas in another two years’ time, just like Choi Soo Jong. Lee Byung Hun had said that he would be heading for his studies in the States, perhaps he had taken into consideration his own age.
But but but… if an actor can handle action movies, then his genre will be widened and more choices and opportunities would be open. Not just romances, action movies with a dash of romance where actors in their thirties are usually cast are aplenty. So if Yong Joon is considering his path after turning thirty five, then he should follow the example of Jang Dong Gun and start working on an image of an action star. Since a long time ago, Yong Joon has been compared to James Dean, coupled with the fact that he is a momjjang, so he’s a natural candidate for action movies.
The rebellious character of Kim Hong Do the painter would possibly fit Yong Joon quite nicely too. So… come on and show us something, quickly! (Chuckles).
Yon-sama分析系列57
投稿者： ふみ / 投稿日： 2004/09/04 10:32:35
大家，早上好！我的PC拿去修理了，现在正在网吧里写贴。
勇俊也许可能演金弘道吗？金弘道是朝鲜末期的宫廷画家，画了好多现实百姓生活的绘画。曾经有过停止创作的时期，那个时期是和他写乐的活动时期相一致的，所以主张金弘道＝写乐说的人也有。（by77, 什么是写乐？查了一下，但没查明白。明白的朋友给说一下吧。有news说勇俊可能演李朝末期的著名画家金弘道。）
我想勇俊的下一部作品是动作片比较好。如果是动作片的话，至今为止不怎么看勇俊作品的男性观众也会被勇俊的魅力所吸引吧。更重要的是，考虑到今后的作品和创作，勇俊也应该差不多就开始拍动作片的东西比较好吧。理由是这样的，
一般，韩国的star男演员在35至40岁之间，不会有多少演戏的机会。言情片电影的主角，故事情节的设定多在20多岁年纪。演员如果超过35岁，再演20岁的角色会比较困难，所以这样的offer也不怎么会找上来。
过去，恋爱片的star也一般不会演反面角色，但是要是马上演40多岁年纪的角色又还嫌年轻。所以说，35至40岁这个阶段是有点儿前不着村后不着店的感觉，适合出演的角色也很少。过了40岁以后，就可以扮演20岁后半至60岁左右的角色了。比如，历史剧的王室角色。但是，如果一旦演上了60岁的角色，那年轻演员的形象就会完全失去了。最近，以成功扮演王室角色，而失去年轻形象的演员，可以举出崔秀钟（初恋）的例子。李秉宪也马上就要进入“中途半段”的年纪。这是个演中年戏嫌年轻，演青年戏嫌老的年龄层。柳时元再过两年的话也可以大演历史剧了，就像崔秀钟那样。李秉宪说要去美国留学，可能也是因为考虑到自己的年龄的缘故吧。
但是的但是，如果是动作片也能演的演员的话，可以选择的角色的范围就要大大扩大了。不光是浪漫戏，浪漫戏加上动作戏的话，应该由30岁后半的演员扮演的故事要多少有多少。勇俊如果考虑到35岁以后的角色，差不多也该像张东健那样，为自己建立一个动作片演员的形象为好吧。勇俊原本就被称作James Dean来着，而且还是Monchang，当然很适合动作片的角色啊。
檀园 金弘道这个反叛型的画家形象，也可能很适合勇俊演吧。快点儿给我们看看吧（笑）。
Analyzing Yon-Sama - Part 58
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/04
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hello everyone! I’m fine and healthy, it’s my PC that’s ill and I can’t use it lately. But this forum has become sort of like an old friend and I just can’t bear to leave it, I can’t stand not being able to visit the forum!
In some other postings, some friends are saying that some Korean actors are unhappy with the fact that Japan only introduced works from a small fraction of Korean stars. I personally do not think this is true of the situation right now. Take the instance of movies, about thirty Korean movies are being released in Japan this year, this is more than one-third of the total movie productions in Korea. I’ve heard that in Japan, there are about forty foreign video titles being brought in, and out of this, about 20% are Korean titles. There are quite a number of Korean TV dramas being brought in as well. For example another actor whom I also support, Jang Dong Gun, many of his movies and TV dramas have been brought into the Japanese market. It is the same with many other actors, we can see their works in Japan. Yong Joon’s popularity in Japan is not because of the number of his works being brought into Japan, or that they have been highly publicized, there are other reasons contributing to his popularity.
Further, in the case of Yong Joon, his past works are of high quality, like Have We Really Loved, Hotelier, First Love etc. I’ve said this before, even though I was not a Yong Joon fan in the past, I did particularly like First Love and Have We Really Loved. So, if his works other than Winter Sonata are of inferior quality, then people would probably be saying things like, “Although Winter Sonata was good, the rest were so-so…”
Let’s change the topic and talk about something else now. In your mind, how many Korean actors and actresses can be called stars? I think probably about 100 each for males and females. Or maybe more… There are about twenty TV dramas and another 20 movies in the making now in Korea, and anyone who can be cast as the leads in TV dramas and movies can be called stars, I suppose. If a production has two male leads, then there would be something like eighty stars who are currently filming something. Of course, there are also stars who may not be involved in any filming works right now. So if we calculate along this line, then there are possibly some two hundred actors in Korea who can be termed stars. But… amongst these, those real stars who can command viewership probably number around ten actors. The competition amongst stars is incredibly intense and fierce.
Can you still remember Jeon Do Yeon from The Untold Scandal? When she first debut in the industry, she played the role of a nurse in a TV drama. During that time of shooting, the crew accidentally shot a scene of her exposing her chest. Of course that offending scene was subsequently cut, but Jeon Do Yeon had cried and sobbed big time over the incident then. I happened to chance upon her crying at MBC. I remember thinking at that time, what a pure and chaste newcomer she was… But lately, I’ve watched Jeon’s movie, Happy End and said to myself, “Ah… to this extent!” when I saw the extent of nudity in the movie. I was actually quite baffled, I did not see the need to strip to such an extent based on the storyline of that movie, so why did she do it? Come to think of it, even when Kim Hye Soo’s and Choi Jiwoo’s new movies were being promoted, the movie companies also also claimed of having some “disrobing” scenes, when in actual fact they didn’t really strip THAT much (chuckles). Ah, I suppose from here we can see how keen and intense the competition is.
So… would Yong Joon’s next work be that of the story on Kim Hong Do? This is the talk of the town now, maybe there is a huge possibility of it. To shoot a second period drama, would this be too much after the Scandal? Would it be restricting his on-screen image too much? I’m a little worried. But I suppose the more important issue would be who would be the director of his next movie.
The following are my own thoughts (and this is different from the real world, where what matters would be what the fans think) if Yong Joon’s next work is a period piece:
Since a long time ago, Yong Joon’s closest “opponent” is Jang Dong Gun, and for the next ten years from now, I think the development of the Korean entertainment scene will still centre around Yong Joon and Jang Dong Gun. Although reality might subsequently prove me wrong (chuckles). If Yong Joon’s next work is, again, a historical or period drama, then perhaps it can be perceived as a strategy to differentiate from Jang Dong Gun. Dong Gun has not acted in any historical or period movies. So, would he be choosing to act in two period pieces consecutively just to set himself apart from Dong Gun? I can’t help but speculate thus.
In my view, for Yong Joon, his best bet is actually to take on roles in movies directed by Bong Joon Ho (Memories of Murder) and perhaps co-starring Son Byung-ho. If his next work is not with these two, then I still hope to see it happen sometime later.
Yon-sama分析系列58
投稿者： ふみ / 投稿日： 2004/09/04 16:23:48
大家好！我很健康，就是我的电脑不健康，最近用不了了。但是，我好像要去见老朋友似的，舍得不上这个论坛啊。
在别的贴里，有朋友说有韩国的演员，不满在日本只介绍一部分韩国演员的作品的现状。我觉得这不是事实。拿电影来说，今年在日本公开上映的韩国电影就有30部左右吧，这是韩国年间制作的电影的三分之一以上的数字。听说在日本每个月有发行40多部外国电影的录像带，最近其中的近20%是韩国电影。电视剧也进来得很多。比如我也支持的张东健的电影，电视剧就有很多进到日本市场。别的演员的作品也一样，很多都可以在日本看到。勇俊在日本人气，不是因为作品被最多介绍的缘故，而是有其他的理由。
更加上，勇俊的过去的作品，质量都是很好的。群像，Hotelier，初恋等等。以前我曾说过，我从前并不是勇俊的fans，但是也特别喜欢初恋和群像来着。如果，冬恋之外的过去的作品质量不佳的话，大家也会说“冬恋虽然好，别的不好看啊”这样的话吧。
变一下话题，大家觉得在韩国能够被称为star的演员有多少人呢？我想，男女各有100人吧。也许更多。现在正在拍摄中的韩国电视剧有20部左右，电影20部左右，成为电影和电视剧的主角的人都可以被称为star吧。一个作品里有2个男主角的话，那么大概有80人的star们正在拍戏之中。当然，作为star没有在拍戏的人也有很多。这么计算下来，在韩国被称为star的男演员可能达到200人吧。但是，这其中能引来观众具有票房号召力的真正的star，能有10个人的样子吧。star之间的竞争是非常激烈的。
大家还记得丑闻里出演的全度娴吧。全度娴在debut的时候，在电视剧里扮演女护士。那时在拍摄过程中，不小心被拍到一点儿露胸的镜头，当然那个戏是被砍掉了的，但是全度娴当时因此大哭了一场。我很偶然地在MBC看到她大哭的情形，那时我想她真是一个好纯的新人啊。但是，最近我看了全度娴的最新作《Happy end》，“啊，都这样了！”的程度，大演脱戏。我纳闷故事情节上其实没必要脱到那种程度的，为什么还要脱呢？这样说起来，其实没怎么脱的金惠秀，崔智友在电影宣传的时候也声称有脱戏木低罚ㄐΓ？杉赫卸嗝醇ち野 ?br> 勇俊的下一部作品真的是金弘道吗？这个时期出来这样的话题，也许可能性很大吧。2部连续的历史剧，是不是会固定勇俊的形象呢？我有点儿担心。但是，更重要的是，导演是谁的问题。
面完全是我的臆测（实际上不一样，实际上是fans会怎么想的问题），如果勇俊的下一部作品是历史剧的话，
从前以来勇俊的竞争对手都是张东健。过去10年，以及今后10年，我想韩国的娱乐界依然是应该围绕勇俊和张东健为中心来展开。事实上可能不同（笑）。勇俊的下一部作品又是历史剧的话，可以推测是在采用和张东健相区别的战略吧。东健没有演过历史剧的电影。为了显示和东健的不同，连续2部历史剧吗？我禁不住要这样推测了。
我认为对于勇俊，最好的选择是Bon Joon-no导演（杀人的回忆），和宋康昊竞演的作品。这回不是的话，希望什么时候一定能实现啊。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/04
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hello everyone! I’m fine and healthy, it’s my PC that’s ill and I can’t use it lately. But this forum has become sort of like an old friend and I just can’t bear to leave it, I can’t stand not being able to visit the forum!
In some other postings, some friends are saying that some Korean actors are unhappy with the fact that Japan only introduced works from a small fraction of Korean stars. I personally do not think this is true of the situation right now. Take the instance of movies, about thirty Korean movies are being released in Japan this year, this is more than one-third of the total movie productions in Korea. I’ve heard that in Japan, there are about forty foreign video titles being brought in, and out of this, about 20% are Korean titles. There are quite a number of Korean TV dramas being brought in as well. For example another actor whom I also support, Jang Dong Gun, many of his movies and TV dramas have been brought into the Japanese market. It is the same with many other actors, we can see their works in Japan. Yong Joon’s popularity in Japan is not because of the number of his works being brought into Japan, or that they have been highly publicized, there are other reasons contributing to his popularity.
Further, in the case of Yong Joon, his past works are of high quality, like Have We Really Loved, Hotelier, First Love etc. I’ve said this before, even though I was not a Yong Joon fan in the past, I did particularly like First Love and Have We Really Loved. So, if his works other than Winter Sonata are of inferior quality, then people would probably be saying things like, “Although Winter Sonata was good, the rest were so-so…”
Let’s change the topic and talk about something else now. In your mind, how many Korean actors and actresses can be called stars? I think probably about 100 each for males and females. Or maybe more… There are about twenty TV dramas and another 20 movies in the making now in Korea, and anyone who can be cast as the leads in TV dramas and movies can be called stars, I suppose. If a production has two male leads, then there would be something like eighty stars who are currently filming something. Of course, there are also stars who may not be involved in any filming works right now. So if we calculate along this line, then there are possibly some two hundred actors in Korea who can be termed stars. But… amongst these, those real stars who can command viewership probably number around ten actors. The competition amongst stars is incredibly intense and fierce.
Can you still remember Jeon Do Yeon from The Untold Scandal? When she first debut in the industry, she played the role of a nurse in a TV drama. During that time of shooting, the crew accidentally shot a scene of her exposing her chest. Of course that offending scene was subsequently cut, but Jeon Do Yeon had cried and sobbed big time over the incident then. I happened to chance upon her crying at MBC. I remember thinking at that time, what a pure and chaste newcomer she was… But lately, I’ve watched Jeon’s movie, Happy End and said to myself, “Ah… to this extent!” when I saw the extent of nudity in the movie. I was actually quite baffled, I did not see the need to strip to such an extent based on the storyline of that movie, so why did she do it? Come to think of it, even when Kim Hye Soo’s and Choi Jiwoo’s new movies were being promoted, the movie companies also also claimed of having some “disrobing” scenes, when in actual fact they didn’t really strip THAT much (chuckles). Ah, I suppose from here we can see how keen and intense the competition is.
So… would Yong Joon’s next work be that of the story on Kim Hong Do? This is the talk of the town now, maybe there is a huge possibility of it. To shoot a second period drama, would this be too much after the Scandal? Would it be restricting his on-screen image too much? I’m a little worried. But I suppose the more important issue would be who would be the director of his next movie.
The following are my own thoughts (and this is different from the real world, where what matters would be what the fans think) if Yong Joon’s next work is a period piece:
Since a long time ago, Yong Joon’s closest “opponent” is Jang Dong Gun, and for the next ten years from now, I think the development of the Korean entertainment scene will still centre around Yong Joon and Jang Dong Gun. Although reality might subsequently prove me wrong (chuckles). If Yong Joon’s next work is, again, a historical or period drama, then perhaps it can be perceived as a strategy to differentiate from Jang Dong Gun. Dong Gun has not acted in any historical or period movies. So, would he be choosing to act in two period pieces consecutively just to set himself apart from Dong Gun? I can’t help but speculate thus.
In my view, for Yong Joon, his best bet is actually to take on roles in movies directed by Bong Joon Ho (Memories of Murder) and perhaps co-starring Son Byung-ho. If his next work is not with these two, then I still hope to see it happen sometime later.
Yon-sama分析系列58
投稿者： ふみ / 投稿日： 2004/09/04 16:23:48
大家好！我很健康，就是我的电脑不健康，最近用不了了。但是，我好像要去见老朋友似的，舍得不上这个论坛啊。
在别的贴里，有朋友说有韩国的演员，不满在日本只介绍一部分韩国演员的作品的现状。我觉得这不是事实。拿电影来说，今年在日本公开上映的韩国电影就有30部左右吧，这是韩国年间制作的电影的三分之一以上的数字。听说在日本每个月有发行40多部外国电影的录像带，最近其中的近20%是韩国电影。电视剧也进来得很多。比如我也支持的张东健的电影，电视剧就有很多进到日本市场。别的演员的作品也一样，很多都可以在日本看到。勇俊在日本人气，不是因为作品被最多介绍的缘故，而是有其他的理由。
更加上，勇俊的过去的作品，质量都是很好的。群像，Hotelier，初恋等等。以前我曾说过，我从前并不是勇俊的fans，但是也特别喜欢初恋和群像来着。如果，冬恋之外的过去的作品质量不佳的话，大家也会说“冬恋虽然好，别的不好看啊”这样的话吧。
变一下话题，大家觉得在韩国能够被称为star的演员有多少人呢？我想，男女各有100人吧。也许更多。现在正在拍摄中的韩国电视剧有20部左右，电影20部左右，成为电影和电视剧的主角的人都可以被称为star吧。一个作品里有2个男主角的话，那么大概有80人的star们正在拍戏之中。当然，作为star没有在拍戏的人也有很多。这么计算下来，在韩国被称为star的男演员可能达到200人吧。但是，这其中能引来观众具有票房号召力的真正的star，能有10个人的样子吧。star之间的竞争是非常激烈的。
大家还记得丑闻里出演的全度娴吧。全度娴在debut的时候，在电视剧里扮演女护士。那时在拍摄过程中，不小心被拍到一点儿露胸的镜头，当然那个戏是被砍掉了的，但是全度娴当时因此大哭了一场。我很偶然地在MBC看到她大哭的情形，那时我想她真是一个好纯的新人啊。但是，最近我看了全度娴的最新作《Happy end》，“啊，都这样了！”的程度，大演脱戏。我纳闷故事情节上其实没必要脱到那种程度的，为什么还要脱呢？这样说起来，其实没怎么脱的金惠秀，崔智友在电影宣传的时候也声称有脱戏木低罚ㄐΓ？杉赫卸嗝醇ち野 ?br> 勇俊的下一部作品真的是金弘道吗？这个时期出来这样的话题，也许可能性很大吧。2部连续的历史剧，是不是会固定勇俊的形象呢？我有点儿担心。但是，更重要的是，导演是谁的问题。
面完全是我的臆测（实际上不一样，实际上是fans会怎么想的问题），如果勇俊的下一部作品是历史剧的话，
从前以来勇俊的竞争对手都是张东健。过去10年，以及今后10年，我想韩国的娱乐界依然是应该围绕勇俊和张东健为中心来展开。事实上可能不同（笑）。勇俊的下一部作品又是历史剧的话，可以推测是在采用和张东健相区别的战略吧。东健没有演过历史剧的电影。为了显示和东健的不同，连续2部历史剧吗？我禁不住要这样推测了。
我认为对于勇俊，最好的选择是Bon Joon-no导演（杀人的回忆），和宋康昊竞演的作品。这回不是的话，希望什么时候一定能实现啊。
Analyzing Yon-Sama - Part 59
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/04
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hi everyone! Once Yong Joon has decided on his next work, when he would visit Japan again is still an issue of great interest, I suppose.
There’s talk that Yong Joon would appear in the NHK Red-White Singing event (at year end), but I doubt this very seriously. Jiwoo and Yong-ha would probably come, I think. Generally speaking, the Koreans do not actually know nor understand what this Red-White TV program is all about, and they probably do not know what it’s like and what it means to appear in such a program as a special guest. I, too, do not quite understand (chuckles). Yong Joon’s management team is one that places a lot of emphasis on quality, format and structure. If they do not even understand what it means or in what format a special guest of the Red-White event would take, then they will not say “yes”.
In addition, Yong Joon would probably be in the middle of filming his new work and there’s a possibility he cannot spare the time. Firstly, the filming plans and shooting schedule have to be finalised before they can even start to consider when he would visit Japan again. Or maybe he can come to Japan again to promote his new movie. I would think that at that time, Yong Joon would probably go to a few more places, and of course, this would include Kyushu (chuckles).
(Truelove77: Fumi lives in Kyushu.)
Lately, Park Yong-Ha has been appearing on Japanese TV a lot, perhaps even excessively. Such frequent appearance could become another Yoon Song-Ha (bb: Cho Hyun Soo in Have We Really Loved) syndrome, giving people the feeling of “cheap sale”. Many a times, people from the stars’ agencies would think this way, if something sells well, then hit it real hard when it’s hot. But the true stars should not keep appearing on TV. Doing so will only reduce the star status. Maybe Yong-Ha is a nice guy and would listen to whatever his agency tells him to . But I think he’d better set his sights on being a bigger star who doesn’t quite appear so much on TV. Jang Dong Gun and Won Bin are like this, not appearing as much on TV, though not to the extent of Yong Joon’s elusiveness. If Yong Joon appears in one of those entertainment variety shows on Japan TV, everyone will probably faint (chuckles), and I too will be too shocked for words. This is an issue that relates closely to one’s status and presence.
As for Yoon Song-Ha, during the course of her career development in Japan, she has lost the most precious things (that a star can have).
During the Baeksang Arts Awards in April this year, Yong Joon won the Best Newcomer Award. At that time, the biggest prize went to Kim Hee Ae (Perfect Love), and she appeared extremely nervous when she went on-stage to claim her award. For the unknowing person, he or she would probably think it’s the first time Kim has won such a major award. The truth is Kim has won quite a number of such major awards in the past. For instance, I can remember she won the big prize in MBC for two consecutive years. Even someone as experienced as Kim was nervous, but Yong Joon did not look unnerved at all.
When Yong Joon visited Japan (in April), he did not show any apprehension or nervousness during the live telecast program on TV; he appeared to be a natural mega-star. He acted and looked the role of a superstar. This, too, became a hot topic amongst the Korean entertainment circuit. Amongst the artists’ managers whom I know, they all agreed that Yong Joon has all the makings and cutting of a superstar. I suppose most of the people in the entertainment industry were satisfied with the way Yong Joon had carried himself, the largely composed display of mannerism when he was in Japan. Actually, if you would spend sometime to think about things, other than filming TV dramas, Yong Joon does not involve himself much with other platforms of TV or appear in TV shows…. So it’s actually quite incredible and unthinkable that he could display such super-star mannerism, such composure and confidence.
Perhaps another way to look at it would be to say that since Yong Joon’s debut, he has always led a professional life with his focus and values set on the quality of his work and the way he leads his life as an actor with professionalism and integrity, so he does not appear on TV other than in TV dramas, and therefore the moment he decides to appear on TV, it is a big deal, he comes a VVIP.
As a mega-star, and for a person like Yong Joon who indeed behaves like how a mega-star should ideally behave, I’ve this urge to support him. More and more. I’m so looking forward to his next work.
Yon-sama分析系列59
投稿者： ふみ / 投稿日： 2004/09/04 17:28:29
大家好。勇俊的下部作品决定了以后，什么时候再来日这个问题，还是很令人感兴趣的吧。
有说法说勇俊会出演NHK的红白歌曲大战，但是我很怀疑这个说法。智友和龙河是会来的吧。一般说，韩国人并不知道红白歌曲大战是个什么东西，在这样的节目中以嘉宾出席，又是个什么样子，也可能不大知道。我其实也不大清楚（笑）。勇俊的management是很重视品和格的。红白嘉宾是个什么规格都不清楚，他们是不会说Yes的。
加上那个时期勇俊正在新作的拍摄期间，可能也抽不出时间。首先是要制定出拍摄计划，然后才能考虑何时来日的问题吧。为了电影的宣传也可能来日吧，那时候我想勇俊会多走几个地方，当然也包括九州（笑）（by77, fumi在九州）。
最近，朴龙河在日本电视里有点儿上得太多了。这样频繁出现，就会成为尹松河状态，给人好像廉价出售的感觉。事务所的人经常会有，卖的好的时候就可劲儿卖的方针。但是真正的star是不应该总上电视的。会失去作为star的身价。龙河可能是因为人好，事务所怎么说就怎么做了，但是我想他还是应该把目标朝向不怎么上电视的大明星为好。张东健，元彬就是这样的，虽然不是勇俊那种程度。要是勇俊在日本的综合文艺节目中出现的话，大家都会晕过去的吧（笑），我也会惊讶得说不出话来的。这个是身价和存在感的问题。是尹松河在日本发展的过程中失去的宝贵的东西。
今年4月？的百想艺术节上，勇俊获得了新人奖。那个时候，获大奖的是金喜爱（完全的爱），她领奖的时候特别的紧张。不知道的人看了会以为她是第一次获这样的大奖呢，但是金喜爱在过去得过好几回这样的大奖。比如，我记得她连续2年得了MBC大奖。资深的金喜爱都这样紧张，可是勇俊却看起来一点儿也不紧张。
勇俊来日的时候，在TV电视台的现场直播也毫不紧张，表现出大明星的风范。这在韩国的娱乐界也成为话题，我认识的艺人经理人中间也在说勇俊的大明星作派，在日本表现出大明星风范的勇俊的表现令韩国的娱乐界相关人士也很满意吧。想一想，除了电视剧的拍摄之外，基本上不怎么上电视舞台的勇俊，怎么会表现出那样的作派，沉着，实在不可思议。与其说不可思议，不如说正因为勇俊从debut以来，就是作为重视自己品和格的演员来生活的，所以电视剧以外不大上电视，一旦上电视那就会是个大人物。
不是经常上电视就会成为star的。那是艺人，不是演员。
作为大明星，并且像大明星一样行动的勇俊，我是越来越想要支持他。下部作品的发表真是很期待啊。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/04
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hi everyone! Once Yong Joon has decided on his next work, when he would visit Japan again is still an issue of great interest, I suppose.
There’s talk that Yong Joon would appear in the NHK Red-White Singing event (at year end), but I doubt this very seriously. Jiwoo and Yong-ha would probably come, I think. Generally speaking, the Koreans do not actually know nor understand what this Red-White TV program is all about, and they probably do not know what it’s like and what it means to appear in such a program as a special guest. I, too, do not quite understand (chuckles). Yong Joon’s management team is one that places a lot of emphasis on quality, format and structure. If they do not even understand what it means or in what format a special guest of the Red-White event would take, then they will not say “yes”.
In addition, Yong Joon would probably be in the middle of filming his new work and there’s a possibility he cannot spare the time. Firstly, the filming plans and shooting schedule have to be finalised before they can even start to consider when he would visit Japan again. Or maybe he can come to Japan again to promote his new movie. I would think that at that time, Yong Joon would probably go to a few more places, and of course, this would include Kyushu (chuckles).
(Truelove77: Fumi lives in Kyushu.)
Lately, Park Yong-Ha has been appearing on Japanese TV a lot, perhaps even excessively. Such frequent appearance could become another Yoon Song-Ha (bb: Cho Hyun Soo in Have We Really Loved) syndrome, giving people the feeling of “cheap sale”. Many a times, people from the stars’ agencies would think this way, if something sells well, then hit it real hard when it’s hot. But the true stars should not keep appearing on TV. Doing so will only reduce the star status. Maybe Yong-Ha is a nice guy and would listen to whatever his agency tells him to . But I think he’d better set his sights on being a bigger star who doesn’t quite appear so much on TV. Jang Dong Gun and Won Bin are like this, not appearing as much on TV, though not to the extent of Yong Joon’s elusiveness. If Yong Joon appears in one of those entertainment variety shows on Japan TV, everyone will probably faint (chuckles), and I too will be too shocked for words. This is an issue that relates closely to one’s status and presence.
As for Yoon Song-Ha, during the course of her career development in Japan, she has lost the most precious things (that a star can have).
During the Baeksang Arts Awards in April this year, Yong Joon won the Best Newcomer Award. At that time, the biggest prize went to Kim Hee Ae (Perfect Love), and she appeared extremely nervous when she went on-stage to claim her award. For the unknowing person, he or she would probably think it’s the first time Kim has won such a major award. The truth is Kim has won quite a number of such major awards in the past. For instance, I can remember she won the big prize in MBC for two consecutive years. Even someone as experienced as Kim was nervous, but Yong Joon did not look unnerved at all.
When Yong Joon visited Japan (in April), he did not show any apprehension or nervousness during the live telecast program on TV; he appeared to be a natural mega-star. He acted and looked the role of a superstar. This, too, became a hot topic amongst the Korean entertainment circuit. Amongst the artists’ managers whom I know, they all agreed that Yong Joon has all the makings and cutting of a superstar. I suppose most of the people in the entertainment industry were satisfied with the way Yong Joon had carried himself, the largely composed display of mannerism when he was in Japan. Actually, if you would spend sometime to think about things, other than filming TV dramas, Yong Joon does not involve himself much with other platforms of TV or appear in TV shows…. So it’s actually quite incredible and unthinkable that he could display such super-star mannerism, such composure and confidence.
Perhaps another way to look at it would be to say that since Yong Joon’s debut, he has always led a professional life with his focus and values set on the quality of his work and the way he leads his life as an actor with professionalism and integrity, so he does not appear on TV other than in TV dramas, and therefore the moment he decides to appear on TV, it is a big deal, he comes a VVIP.
As a mega-star, and for a person like Yong Joon who indeed behaves like how a mega-star should ideally behave, I’ve this urge to support him. More and more. I’m so looking forward to his next work.
Yon-sama分析系列59
投稿者： ふみ / 投稿日： 2004/09/04 17:28:29
大家好。勇俊的下部作品决定了以后，什么时候再来日这个问题，还是很令人感兴趣的吧。
有说法说勇俊会出演NHK的红白歌曲大战，但是我很怀疑这个说法。智友和龙河是会来的吧。一般说，韩国人并不知道红白歌曲大战是个什么东西，在这样的节目中以嘉宾出席，又是个什么样子，也可能不大知道。我其实也不大清楚（笑）。勇俊的management是很重视品和格的。红白嘉宾是个什么规格都不清楚，他们是不会说Yes的。
加上那个时期勇俊正在新作的拍摄期间，可能也抽不出时间。首先是要制定出拍摄计划，然后才能考虑何时来日的问题吧。为了电影的宣传也可能来日吧，那时候我想勇俊会多走几个地方，当然也包括九州（笑）（by77, fumi在九州）。
最近，朴龙河在日本电视里有点儿上得太多了。这样频繁出现，就会成为尹松河状态，给人好像廉价出售的感觉。事务所的人经常会有，卖的好的时候就可劲儿卖的方针。但是真正的star是不应该总上电视的。会失去作为star的身价。龙河可能是因为人好，事务所怎么说就怎么做了，但是我想他还是应该把目标朝向不怎么上电视的大明星为好。张东健，元彬就是这样的，虽然不是勇俊那种程度。要是勇俊在日本的综合文艺节目中出现的话，大家都会晕过去的吧（笑），我也会惊讶得说不出话来的。这个是身价和存在感的问题。是尹松河在日本发展的过程中失去的宝贵的东西。
今年4月？的百想艺术节上，勇俊获得了新人奖。那个时候，获大奖的是金喜爱（完全的爱），她领奖的时候特别的紧张。不知道的人看了会以为她是第一次获这样的大奖呢，但是金喜爱在过去得过好几回这样的大奖。比如，我记得她连续2年得了MBC大奖。资深的金喜爱都这样紧张，可是勇俊却看起来一点儿也不紧张。
勇俊来日的时候，在TV电视台的现场直播也毫不紧张，表现出大明星的风范。这在韩国的娱乐界也成为话题，我认识的艺人经理人中间也在说勇俊的大明星作派，在日本表现出大明星风范的勇俊的表现令韩国的娱乐界相关人士也很满意吧。想一想，除了电视剧的拍摄之外，基本上不怎么上电视舞台的勇俊，怎么会表现出那样的作派，沉着，实在不可思议。与其说不可思议，不如说正因为勇俊从debut以来，就是作为重视自己品和格的演员来生活的，所以电视剧以外不大上电视，一旦上电视那就会是个大人物。
不是经常上电视就会成为star的。那是艺人，不是演员。
作为大明星，并且像大明星一样行动的勇俊，我是越来越想要支持他。下部作品的发表真是很期待啊。
Analyzing Yon-Sama - Part 60
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. Yong Joon has not decided on his new work yet? Up to now, the possibility of him starring in a Heo Jin-Ho movie is increasingly high. Recently in Korea, there seems to be a trend of making movies based on the lives of real people (Rikidozan: A Hero Extraordinary, Warriors of the Wind, etc), I actually do not really fancy the movie on Kim Hong Do (chuckles). The movie Christmas in August directed by Heo Jin-Ho is an excellent movie, and it also contributed significantly to the Korean Wave in Japan. Director Heo’s works are typically not commercialized nor mainstream, but for sure it would be a production of high quality.
Many people have asked, why is it that only Yong Joon alone is so popular in Japan. Why don’t we think about it this way, amongst the Korean actors,
1. Who is the most suitable to play the character of 007, James Bond?
2. Who is the most suitable to play the character of Rhett Butler in Gone With the Wind?
3. Who is the most suitable to play the main characters in Alfred Hitchcock’s movies?
The above three questions all point to the same one direction, the roles are all suitable for stars in the mainstream arena. So who amongst the Korean stars can handle these roles? If it’s up to me, I would not hesitate to nominate Bae Yong Joon. Even if I was not his fan, he would still be my choice. Jang Dong Dun’s expression of emotions tends to be more explicit and acted out, I think therefore he is not suitable for Roles 2 and 3. Let’s change the topic a little, why is it that Song Hye-Gyo (Autumn in My Heart, All In) does not arouse any interest at all in Japan? The reason is because she is more emotive in the TV dramas, the expression of her emotions is too pronounced and obvious. In Japan, it is a virtue not to display your emotions excessively. This is also evident in the traditional performing arts of song and dance in Japan, their faces are almost perpetually devoid of all emotions and emotions. In Hotelier, the character played by Song Yunah was also more passionate and emotional, so the review of her performance from Japan is not as good.
But when we do not isolate the Japanese market and just discuss on the casting of the above Roles 1, 2 and 3, these characters also call for actors who are able to control and manage their expression of emotions. The Koreans are often described as the Italians in Asia, they are more direct in expressing their emotions. I think this has its good and bad sides. As compared with Dong Gun and Won Bin, Yong Joon is more suitable to play the characters in 1, 2 and 3. Firstly, it’s because Yong Joon’s physical appearance and innate quality and his aura are most appropriate to these roles. Secondly, Yong Joon’s more suppressed and controlled acting style and his intellectual manners also deem him a suitable candidate.
These roles of 1, 2 and 3 can be described as the royal path of a star, so Yong Joon who is most suitable to play these roles is especially popular in Japan, this is something that is expected.
In Japan,
1. Magazines that specialise in the coverage of Korean dramas.
There are now more than twenty such titles all lined up in the bookstores in Japan. People who read these magazines are fans of Korean TV dramas and Korean movies. Although it is unclear how big the core K-fans is, looking at how the Winter Sonata picture book published by NHK has sold some 300,000 books, I suppose we can use this number as a reference.
2. Female magazines (usually weeklies)
There are typically three types and these publications have quite a significant influence on the middle-aged or housewife segment, and therefore also has a political impact. Although I did not read every single of such magazines, looking at the headlines, there has been articles that relate to Yong Joon in all of them in the past six months.
3. Male magazines (usually monthly publications)
There are some not-so-healthy pictures in these male magazines in Japan (chuckles), and there are also insider news or information that are not normally carried in the newspapers. Articles that relate to Yong Joon have also been published in these male magazines.
So, we can sort out the issue of how the popularity of Korean stars in Japan,
1. Stars whom even the Korean drama or movie magazines do not cover
2. Stars whom such specialised K-magazines would cover extensively
3. Stars whom the female magazines often cover or report on
4. Stars whom even the male magazines would cover or report on
The first type would be artistes who are relatively unknown in Japan.
The second type would be artistes who are known amongst fans of Korean Wave.
The third type would be artistes who are known to even the common folks on the streets.
The fourth type would be artistes who have become a social phenomenon.
For now, artistes who have reached at least the third type are actually people who are associated to Winter Sonata, so other than Yong Joon, there are still Jiwoo and Yong-Ha. As for Yong Joon, for sure he is the fourth type. Jang Dong Gun, Won Bin, and Lee Byung Hun now belong to the second type (other than when they visit Japan for whatever events or activities, they will typically not make it to the female magazines), but it is highly possible for these actors to reach the third level with a hit drama or movie.
So… will there be hit dramas or movies? Please wait for my Part 61.
(bb: Please note that this writing was done in September 2004.)
Yon-sama分析系列60
投稿者： ふみ / 投稿日： 2004/09/06 09:54:13
大家好。勇俊的最新作还没发表吗。到现在，许秦豪导演的作品的可能性变得越来越大了。最近在韩国，把现实人物的人生电影化的题材特别多（力道山，风的战士等），我其实有点儿不喜欢那个金弘道的片子（笑）。许秦豪导演的《八月照相馆》是非常优秀的作品，为推动日本的韩流热做出很大贡献。许秦豪导演的作品的话虽然没有多少大众性，但是一定会是一部高品质的作品的。
好多人问，为什么只有勇俊一个人在日本很红呢？那么不妨这样想，在韩国的演员中间，
1．最适合扮演007，詹姆斯 邦德的是谁？
2．最适合扮演《飘》里的白瑞德的是谁？
3．最适合扮演希屈珂克电影的主角的是谁？
这三点，都是在讲正统派的star最适合扮演的角色。能够演得了这些角色的韩国演员能是谁呢？要是我的话，会毫不犹豫地选裴勇俊。即使我不是fans也会选他的。张东健的感情表现比较激烈，我想不适合扮演2和3的角色。换个话题，为什么宋惠乔（秋天的童话，All in）在日本一点儿也不引人注意呢？原因就在于宋惠乔的感情表现（在电视剧中）比较激烈。在日本喜怒不颜于色是美德。看日本的传统歌舞就可以发现，他们的面部是没有表情的（歌舞伎，能乐等）。Hotelier的宋允儿也因为在那部剧中情绪表现比较激烈，所以在日本的评价并不好。
不关日本，就单说要扮演上面举出的1，2，3的角色的时候，演员也是需要稍微控制一下情绪和表现的。韩国人常被称作是亚洲的意大利人，情绪表现比较直接。我想这有好的一面也有不好的一面。和东健和元彬相比较，勇俊更适合扮演1，2，3的角色，首先的理由就是勇俊的外表和气质更适合，其次是因为勇俊的克制的知性的演技很适合那样的角色。
1，2，3类的角色是star的王道。所以，适合扮演这样角色的勇俊在日本特别受欢迎，也是想当然的事情。在日本，
1．韩剧的专门杂志。现在有20以上的数目在日本的书屋中列出。看这样的杂志的人是韩剧和韩国电影的fans。虽然轴心的fans的数目有多少不大清楚，但是光就NHK出版的冬恋的解说照片集来说，就卖了30万部以上。我想大家可以把这个数字作为参考。
2．女性周刊杂志。主要有3种，对主妇层的影响非常巨大，所以也有政治性的影响力。我虽然不每周都看，仅从为了宣传的标题目录看，勇俊的关联记事连续6个月都有登载。
3．男性周刊杂志，男性用的月刊杂志。日本的男性周刊杂志里有很不少黄色照片（笑），载有很多新闻里不出现的内部情报。勇俊关联的记事在这类杂志也有登载。
那么，韩国演员在日本的人气，其实可以这样整理一下，
1．韩剧，韩国电影的专门杂志都不怎么介绍的人
2．韩国专门杂志经常，大规模报道的人
3．女性周刊杂志经常介绍的人
4．男性周刊杂志和月刊杂志也介绍的人
1类的，是在日本基本上是无人知晓的人
2类的，是在狂热的fans中间有人气的人
3类的，是一般的普通人也知道的人
4类的，是成为社会现象的人。
现在达到3以上水平的人，基本上都和冬恋有关系，勇俊之外还有智友和龙河啊。勇俊的人气当然是4的水平的。张东健，元彬，李秉宪，现在是2类的水平（除了访日的时候等特别的场合不会登上女性周刊），出了热门作品就有可能上升至3的水平。
那么会有热门作品出现吗？分析61待续。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. Yong Joon has not decided on his new work yet? Up to now, the possibility of him starring in a Heo Jin-Ho movie is increasingly high. Recently in Korea, there seems to be a trend of making movies based on the lives of real people (Rikidozan: A Hero Extraordinary, Warriors of the Wind, etc), I actually do not really fancy the movie on Kim Hong Do (chuckles). The movie Christmas in August directed by Heo Jin-Ho is an excellent movie, and it also contributed significantly to the Korean Wave in Japan. Director Heo’s works are typically not commercialized nor mainstream, but for sure it would be a production of high quality.
Many people have asked, why is it that only Yong Joon alone is so popular in Japan. Why don’t we think about it this way, amongst the Korean actors,
1. Who is the most suitable to play the character of 007, James Bond?
2. Who is the most suitable to play the character of Rhett Butler in Gone With the Wind?
3. Who is the most suitable to play the main characters in Alfred Hitchcock’s movies?
The above three questions all point to the same one direction, the roles are all suitable for stars in the mainstream arena. So who amongst the Korean stars can handle these roles? If it’s up to me, I would not hesitate to nominate Bae Yong Joon. Even if I was not his fan, he would still be my choice. Jang Dong Dun’s expression of emotions tends to be more explicit and acted out, I think therefore he is not suitable for Roles 2 and 3. Let’s change the topic a little, why is it that Song Hye-Gyo (Autumn in My Heart, All In) does not arouse any interest at all in Japan? The reason is because she is more emotive in the TV dramas, the expression of her emotions is too pronounced and obvious. In Japan, it is a virtue not to display your emotions excessively. This is also evident in the traditional performing arts of song and dance in Japan, their faces are almost perpetually devoid of all emotions and emotions. In Hotelier, the character played by Song Yunah was also more passionate and emotional, so the review of her performance from Japan is not as good.
But when we do not isolate the Japanese market and just discuss on the casting of the above Roles 1, 2 and 3, these characters also call for actors who are able to control and manage their expression of emotions. The Koreans are often described as the Italians in Asia, they are more direct in expressing their emotions. I think this has its good and bad sides. As compared with Dong Gun and Won Bin, Yong Joon is more suitable to play the characters in 1, 2 and 3. Firstly, it’s because Yong Joon’s physical appearance and innate quality and his aura are most appropriate to these roles. Secondly, Yong Joon’s more suppressed and controlled acting style and his intellectual manners also deem him a suitable candidate.
These roles of 1, 2 and 3 can be described as the royal path of a star, so Yong Joon who is most suitable to play these roles is especially popular in Japan, this is something that is expected.
In Japan,
1. Magazines that specialise in the coverage of Korean dramas.
There are now more than twenty such titles all lined up in the bookstores in Japan. People who read these magazines are fans of Korean TV dramas and Korean movies. Although it is unclear how big the core K-fans is, looking at how the Winter Sonata picture book published by NHK has sold some 300,000 books, I suppose we can use this number as a reference.
2. Female magazines (usually weeklies)
There are typically three types and these publications have quite a significant influence on the middle-aged or housewife segment, and therefore also has a political impact. Although I did not read every single of such magazines, looking at the headlines, there has been articles that relate to Yong Joon in all of them in the past six months.
3. Male magazines (usually monthly publications)
There are some not-so-healthy pictures in these male magazines in Japan (chuckles), and there are also insider news or information that are not normally carried in the newspapers. Articles that relate to Yong Joon have also been published in these male magazines.
So, we can sort out the issue of how the popularity of Korean stars in Japan,
1. Stars whom even the Korean drama or movie magazines do not cover
2. Stars whom such specialised K-magazines would cover extensively
3. Stars whom the female magazines often cover or report on
4. Stars whom even the male magazines would cover or report on
The first type would be artistes who are relatively unknown in Japan.
The second type would be artistes who are known amongst fans of Korean Wave.
The third type would be artistes who are known to even the common folks on the streets.
The fourth type would be artistes who have become a social phenomenon.
For now, artistes who have reached at least the third type are actually people who are associated to Winter Sonata, so other than Yong Joon, there are still Jiwoo and Yong-Ha. As for Yong Joon, for sure he is the fourth type. Jang Dong Gun, Won Bin, and Lee Byung Hun now belong to the second type (other than when they visit Japan for whatever events or activities, they will typically not make it to the female magazines), but it is highly possible for these actors to reach the third level with a hit drama or movie.
So… will there be hit dramas or movies? Please wait for my Part 61.
(bb: Please note that this writing was done in September 2004.)
Yon-sama分析系列60
投稿者： ふみ / 投稿日： 2004/09/06 09:54:13
大家好。勇俊的最新作还没发表吗。到现在，许秦豪导演的作品的可能性变得越来越大了。最近在韩国，把现实人物的人生电影化的题材特别多（力道山，风的战士等），我其实有点儿不喜欢那个金弘道的片子（笑）。许秦豪导演的《八月照相馆》是非常优秀的作品，为推动日本的韩流热做出很大贡献。许秦豪导演的作品的话虽然没有多少大众性，但是一定会是一部高品质的作品的。
好多人问，为什么只有勇俊一个人在日本很红呢？那么不妨这样想，在韩国的演员中间，
1．最适合扮演007，詹姆斯 邦德的是谁？
2．最适合扮演《飘》里的白瑞德的是谁？
3．最适合扮演希屈珂克电影的主角的是谁？
这三点，都是在讲正统派的star最适合扮演的角色。能够演得了这些角色的韩国演员能是谁呢？要是我的话，会毫不犹豫地选裴勇俊。即使我不是fans也会选他的。张东健的感情表现比较激烈，我想不适合扮演2和3的角色。换个话题，为什么宋惠乔（秋天的童话，All in）在日本一点儿也不引人注意呢？原因就在于宋惠乔的感情表现（在电视剧中）比较激烈。在日本喜怒不颜于色是美德。看日本的传统歌舞就可以发现，他们的面部是没有表情的（歌舞伎，能乐等）。Hotelier的宋允儿也因为在那部剧中情绪表现比较激烈，所以在日本的评价并不好。
不关日本，就单说要扮演上面举出的1，2，3的角色的时候，演员也是需要稍微控制一下情绪和表现的。韩国人常被称作是亚洲的意大利人，情绪表现比较直接。我想这有好的一面也有不好的一面。和东健和元彬相比较，勇俊更适合扮演1，2，3的角色，首先的理由就是勇俊的外表和气质更适合，其次是因为勇俊的克制的知性的演技很适合那样的角色。
1，2，3类的角色是star的王道。所以，适合扮演这样角色的勇俊在日本特别受欢迎，也是想当然的事情。在日本，
1．韩剧的专门杂志。现在有20以上的数目在日本的书屋中列出。看这样的杂志的人是韩剧和韩国电影的fans。虽然轴心的fans的数目有多少不大清楚，但是光就NHK出版的冬恋的解说照片集来说，就卖了30万部以上。我想大家可以把这个数字作为参考。
2．女性周刊杂志。主要有3种，对主妇层的影响非常巨大，所以也有政治性的影响力。我虽然不每周都看，仅从为了宣传的标题目录看，勇俊的关联记事连续6个月都有登载。
3．男性周刊杂志，男性用的月刊杂志。日本的男性周刊杂志里有很不少黄色照片（笑），载有很多新闻里不出现的内部情报。勇俊关联的记事在这类杂志也有登载。
那么，韩国演员在日本的人气，其实可以这样整理一下，
1．韩剧，韩国电影的专门杂志都不怎么介绍的人
2．韩国专门杂志经常，大规模报道的人
3．女性周刊杂志经常介绍的人
4．男性周刊杂志和月刊杂志也介绍的人
1类的，是在日本基本上是无人知晓的人
2类的，是在狂热的fans中间有人气的人
3类的，是一般的普通人也知道的人
4类的，是成为社会现象的人。
现在达到3以上水平的人，基本上都和冬恋有关系，勇俊之外还有智友和龙河啊。勇俊的人气当然是4的水平的。张东健，元彬，李秉宪，现在是2类的水平（除了访日的时候等特别的场合不会登上女性周刊），出了热门作品就有可能上升至3的水平。
那么会有热门作品出现吗？分析61待续。
Analyzing Yon-Sama - Part 61
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hello everyone.
If there were no Winter Sonata, then would Yong Joon not able to achieve popularity in Japan? I personally don’t think so. If Winter Sonata had cast someone in the male lead other than Yong Joon, the drama would still be popular in Japan, and would constitute to a certain degree of Korean craze as well. And… amidst the Korean frenzy, the actor Bae Yong Joon would still be introduced to the Japanese market, and during that time, Yong Joon’s popularity would explode.
Why? Because Yong Joon is an actor who is well suited to play 007, he can act in Hitchcock movies, as well as play the role of Rhett Butler, so it’s perfectly natural that he would become popular. In fact, if there’s anyone else other than Yong Joon who is suitable for these three role-types, that person would also become popular in Japan. To act in these three roles, the actor’s charisma, appeal and mannerism are immensely important. If anyone were to say that it was sheer luck, it was pure good fortune that Yong Joon played the main role in Winter Sonata and that he had shot to stardom because of it, then this is utterly untrue and inaccurate. Many people in the business or people who are associated to the entertainment industry in Korea hold this belief, and this is also precisely why they fail to comprehend why so many have tried to penetrate the Japanese market and yet failed despite the effort.
Before Yong Joon’s new movie comes on, would there be any Korean drama or Korean movie that will rock the Japanese market? If yes, then what sort of genre would the drama or movie be? Let me check the stars… Of course, I don’t really know, and this is your answer (chuckles).
After Winter Sonata, the next “significant” drama to be broadcast is Beautiful Days, but my guess is that the viewership will remain at around 7%. For Beautiful Days, there’s good news and there’s also bad news. The good news is that due to the success of Winter Sonata, NHK’s 11pm time-slot on every Saturday has become a dedicated Korean-drama time belt for K-drama fans. The bad news is that in Japan, the comptition amongst the various Korean dramas is heating up amongst the different TV stations. What is different from the days of Winter Sonata is that Beautiful Days now has to compete with the like of Stairway to Heaven, and also dramas screened by other stations. After NHK’s cable station BS has broadcast Winter Sonata, the DVD set has sold 100,000 sets. Within the same timeframe, Beautiful Days’ sales was 20,000 DVD sets. Although this is not a small quantity too, it is still very much lower than the sales of Winter Sonata sets. I do believe Beautiful Days will achieve a stable type of popularity and following, but it will not be those explosive or phenomenal success.
Perhaps, the production that may be able to trigger a runaway success is Dae Jang Geum broadcast by BS station of NHK now. It’s a well-known fact that the Japanese love food-related programs, so there’s a very high possibility that this Dae Jang Geum drama which is based on royal cuisine may become a hot topic. I personally think it will swing either one of the two extreme ends, either it will be an explosive success or it will create no wave at all. It’s either one of these two outcomes. One of the main actors, Ji Jin Hee, has also announced his wedding plans (chuckles).
No matter which angle or which train of thought I pursue, I keep coming to the conclusion that in Japan, it will not be possible for any drama to create any explosive popularity, except for Yong Joon’s new work. After Winter Sonata, if NHK were to broadcast Hotelier, it is almost guaranteed of a viewership above 10%. Here, I would like to say that it is my personal wish that Yong Joon’s next work will be something that is more mainstream, that is something that caters to the taste and preference of the masses. Amongst the completed Korean movies pending release and those movies still in production, there appears to be no sure winners in the Japanese market. Even if any of them will become a success, it will not achieve a box office taking of of over 500 million yen. Some people in the Korean entertainment business may predict that Rikidozan and Warriors of the Wind may achieve success in Japan, but I doubt it. I’ve written about it in the past as well, that the Yong Joon-fever should be separated from the Korean craze.
There is certainly a Korean craze in Japan now, but it’s not to the extent that it has become or can be called a social phenomenon. But the Yong Joon fever is a social phenomenon. The easiest and simplest way to broaden and develop the Korean craze into a major social phenomenon is… in my view, to let Yong Joon take on a movie that is targeted at the masses.
But, if Yong Joon chooses a movie by Director Heo Jin Ho (he’s a very good, fine director, but not the mass-market type), then that movie will probably achieve the same results as The Untold Scandal. This prediction should not be too far off from the truth. If this movie is being marketed and distributed by a bigger movie distribution company, then perhaps it can do better… But Yong Joon… as opposed to being a star to everyone, he would probably be more inclined to just be a star in the eyes of his family… He seems to prefer that sort of existence, no? In any case, it’s still a very exciting and highly anticipated choice and decision by Yong Joon…
But my personal view is this, if Yong Joon is able to put himself and his own philosophy aside, it would be great if he would become someone to lead Korea. Although I know all of you will oppose to my view, I do wish to see the introduction of more Korean works and Korean culture in Japan and Asia. It is with this thinking that I wish that Yong Joon would sacrifice himself and act in mass-market productions. I wish that he would take the lead and become the force behind all Korean productions.
In this new movie, Yong Joon is still anguished and in pain because of matters of the heart? Because of love? If it’s directed by Heo Jin Ho, then it won’t be an action film. It’ll probably be something more to the tune of Winter Sonata.
Yon-sama分析系列61
投稿者： ふみ / 投稿日： 2004/09/06 10:47:48
大家好。如果没有冬恋，勇俊在日本是不是就没有人气呢？我认为不会。冬恋如果是勇俊之外的人出演，在日本也受到欢迎，并且造成某种程度的韩国热。在那个韩国热之间勇俊这个演员也会被介绍给日本，这时勇俊的人气就会爆发起来的。为什么？因为裴勇俊这个演员是既适合演007，也可以演希屈珂克的电影，还可以扮演白瑞德一样的角色，所以受欢迎是当然的事情。如果勇俊之外有谁也适合这3类角色的话，当然也会有人气。扮演这3类角色，那个人本身的气质和风度是非常重要的。只说机会偶然，碰上了冬恋，作为主角的勇俊所以才红起来，这不是事实。韩国的娱乐界相关人士很多都是这样的想法，所以他们会无法理解，为何在最近的日本市场上苦战而无果。
勇俊的新作电影出台之前，在日本会出现超轰动的韩剧或者韩国电影吗？如果有，那会是什么样的作品呢？让我算一卦吧。当然，其实我是不知道，这才是正解（笑）。
首先一部重要的作品是冬恋之后播放的美丽的日子，但是我预测收视率会停留在7%的程度。对于美丽的日子来说有个好消息也有个坏消息。好消息是，由于冬恋的巨大成功，NHK星期六晚上11点已经成了韩剧fans看韩剧的时间带。坏消息是，日本国内的韩剧之间的竞争越发激烈，和冬恋不同，美丽的日子还要和日本民放电视台播放的天国的阶梯等韩国电视剧互相竞争。冬恋的DVD在NHK卫星电视BS的放送终了后，卖出了10万枚。美丽的日子在同一阶段，现在卖了2万枚DVD。数字虽然也不错，但是比冬恋还是低不少。我想美丽的日子会获得稳定的人气，但是不会是爆发型的人气。
说不定，引起爆发型人气的作品，有可能是NHK BS正在放送的大长今。众所周知日本人特别喜欢美食的节目，以宫廷料理为题材的大长今成为话题的可能性非常大。我个人认为，大长今或者爆发性地成功，或者根本就不行，是这两者之一吧。主演的Ji Jin-hi刚刚举行了结婚发表（笑）。
我怎么想也是觉得，在日本能够引起爆发性人气的除了勇俊的下部作品不会有别的。冬恋的接着，NHK如果能够播放Hotelier的话，收视率肯定会超过10%。这里，我想说，我个人希望，勇俊的下部作品能够选择大众性的题材。现在等待公开的韩国电影和正在制作中的韩国电影里面，能够在日本打响的作品好像还不存在。即使能打响，5亿日元以上也达不到吧。韩国的相关人士也许预测力道山和风的战士会在日本打响吧，我认为不会。以前也写过，勇俊热和韩国热应该区别开来考虑的。
日本现在是有韩国热，但是还不能说已经成为社会现象。勇俊热是社会现象。把在日本的韩国热扩大成社会现象的最简单的方法，我想就是让勇俊出演面向大众的电影。
但是，如果勇俊出演许秦豪导演的作品（非常好的导演，但是不是大众型的），那部作品的打响程度会是和丑闻差不多，这样推测应该没有大错。通过更大的发行公司发行这部电影的话，实际上能收到更好的效果吧。。。勇俊还是，相比作大众型的star，他更想成为家族珍视的star那样的存在吧？那也是勇俊非常非常精彩的选择啊。。。
然而我个人的想法，勇俊如果能够舍弃自己，成为领引韩国的存在就好了。虽然我知道大家会反对我的意见，但是我希望在日本和亚洲，能够更多地介绍韩国的作品，韩国的文化。抱着这样想法的我，希望勇俊能够牺牲自己，出演大众型的作品。希望他能够领引韩国作品的全体啊。
在新作品里面勇俊还是为了爱情烦恼吗？许秦豪导演的话不会是动作片了。也许是有点儿像冬恋一样的作品吧。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb
Hello everyone.
If there were no Winter Sonata, then would Yong Joon not able to achieve popularity in Japan? I personally don’t think so. If Winter Sonata had cast someone in the male lead other than Yong Joon, the drama would still be popular in Japan, and would constitute to a certain degree of Korean craze as well. And… amidst the Korean frenzy, the actor Bae Yong Joon would still be introduced to the Japanese market, and during that time, Yong Joon’s popularity would explode.
Why? Because Yong Joon is an actor who is well suited to play 007, he can act in Hitchcock movies, as well as play the role of Rhett Butler, so it’s perfectly natural that he would become popular. In fact, if there’s anyone else other than Yong Joon who is suitable for these three role-types, that person would also become popular in Japan. To act in these three roles, the actor’s charisma, appeal and mannerism are immensely important. If anyone were to say that it was sheer luck, it was pure good fortune that Yong Joon played the main role in Winter Sonata and that he had shot to stardom because of it, then this is utterly untrue and inaccurate. Many people in the business or people who are associated to the entertainment industry in Korea hold this belief, and this is also precisely why they fail to comprehend why so many have tried to penetrate the Japanese market and yet failed despite the effort.
Before Yong Joon’s new movie comes on, would there be any Korean drama or Korean movie that will rock the Japanese market? If yes, then what sort of genre would the drama or movie be? Let me check the stars… Of course, I don’t really know, and this is your answer (chuckles).
After Winter Sonata, the next “significant” drama to be broadcast is Beautiful Days, but my guess is that the viewership will remain at around 7%. For Beautiful Days, there’s good news and there’s also bad news. The good news is that due to the success of Winter Sonata, NHK’s 11pm time-slot on every Saturday has become a dedicated Korean-drama time belt for K-drama fans. The bad news is that in Japan, the comptition amongst the various Korean dramas is heating up amongst the different TV stations. What is different from the days of Winter Sonata is that Beautiful Days now has to compete with the like of Stairway to Heaven, and also dramas screened by other stations. After NHK’s cable station BS has broadcast Winter Sonata, the DVD set has sold 100,000 sets. Within the same timeframe, Beautiful Days’ sales was 20,000 DVD sets. Although this is not a small quantity too, it is still very much lower than the sales of Winter Sonata sets. I do believe Beautiful Days will achieve a stable type of popularity and following, but it will not be those explosive or phenomenal success.
Perhaps, the production that may be able to trigger a runaway success is Dae Jang Geum broadcast by BS station of NHK now. It’s a well-known fact that the Japanese love food-related programs, so there’s a very high possibility that this Dae Jang Geum drama which is based on royal cuisine may become a hot topic. I personally think it will swing either one of the two extreme ends, either it will be an explosive success or it will create no wave at all. It’s either one of these two outcomes. One of the main actors, Ji Jin Hee, has also announced his wedding plans (chuckles).
No matter which angle or which train of thought I pursue, I keep coming to the conclusion that in Japan, it will not be possible for any drama to create any explosive popularity, except for Yong Joon’s new work. After Winter Sonata, if NHK were to broadcast Hotelier, it is almost guaranteed of a viewership above 10%. Here, I would like to say that it is my personal wish that Yong Joon’s next work will be something that is more mainstream, that is something that caters to the taste and preference of the masses. Amongst the completed Korean movies pending release and those movies still in production, there appears to be no sure winners in the Japanese market. Even if any of them will become a success, it will not achieve a box office taking of of over 500 million yen. Some people in the Korean entertainment business may predict that Rikidozan and Warriors of the Wind may achieve success in Japan, but I doubt it. I’ve written about it in the past as well, that the Yong Joon-fever should be separated from the Korean craze.
There is certainly a Korean craze in Japan now, but it’s not to the extent that it has become or can be called a social phenomenon. But the Yong Joon fever is a social phenomenon. The easiest and simplest way to broaden and develop the Korean craze into a major social phenomenon is… in my view, to let Yong Joon take on a movie that is targeted at the masses.
But, if Yong Joon chooses a movie by Director Heo Jin Ho (he’s a very good, fine director, but not the mass-market type), then that movie will probably achieve the same results as The Untold Scandal. This prediction should not be too far off from the truth. If this movie is being marketed and distributed by a bigger movie distribution company, then perhaps it can do better… But Yong Joon… as opposed to being a star to everyone, he would probably be more inclined to just be a star in the eyes of his family… He seems to prefer that sort of existence, no? In any case, it’s still a very exciting and highly anticipated choice and decision by Yong Joon…
But my personal view is this, if Yong Joon is able to put himself and his own philosophy aside, it would be great if he would become someone to lead Korea. Although I know all of you will oppose to my view, I do wish to see the introduction of more Korean works and Korean culture in Japan and Asia. It is with this thinking that I wish that Yong Joon would sacrifice himself and act in mass-market productions. I wish that he would take the lead and become the force behind all Korean productions.
In this new movie, Yong Joon is still anguished and in pain because of matters of the heart? Because of love? If it’s directed by Heo Jin Ho, then it won’t be an action film. It’ll probably be something more to the tune of Winter Sonata.
Yon-sama分析系列61
投稿者： ふみ / 投稿日： 2004/09/06 10:47:48
大家好。如果没有冬恋，勇俊在日本是不是就没有人气呢？我认为不会。冬恋如果是勇俊之外的人出演，在日本也受到欢迎，并且造成某种程度的韩国热。在那个韩国热之间勇俊这个演员也会被介绍给日本，这时勇俊的人气就会爆发起来的。为什么？因为裴勇俊这个演员是既适合演007，也可以演希屈珂克的电影，还可以扮演白瑞德一样的角色，所以受欢迎是当然的事情。如果勇俊之外有谁也适合这3类角色的话，当然也会有人气。扮演这3类角色，那个人本身的气质和风度是非常重要的。只说机会偶然，碰上了冬恋，作为主角的勇俊所以才红起来，这不是事实。韩国的娱乐界相关人士很多都是这样的想法，所以他们会无法理解，为何在最近的日本市场上苦战而无果。
勇俊的新作电影出台之前，在日本会出现超轰动的韩剧或者韩国电影吗？如果有，那会是什么样的作品呢？让我算一卦吧。当然，其实我是不知道，这才是正解（笑）。
首先一部重要的作品是冬恋之后播放的美丽的日子，但是我预测收视率会停留在7%的程度。对于美丽的日子来说有个好消息也有个坏消息。好消息是，由于冬恋的巨大成功，NHK星期六晚上11点已经成了韩剧fans看韩剧的时间带。坏消息是，日本国内的韩剧之间的竞争越发激烈，和冬恋不同，美丽的日子还要和日本民放电视台播放的天国的阶梯等韩国电视剧互相竞争。冬恋的DVD在NHK卫星电视BS的放送终了后，卖出了10万枚。美丽的日子在同一阶段，现在卖了2万枚DVD。数字虽然也不错，但是比冬恋还是低不少。我想美丽的日子会获得稳定的人气，但是不会是爆发型的人气。
说不定，引起爆发型人气的作品，有可能是NHK BS正在放送的大长今。众所周知日本人特别喜欢美食的节目，以宫廷料理为题材的大长今成为话题的可能性非常大。我个人认为，大长今或者爆发性地成功，或者根本就不行，是这两者之一吧。主演的Ji Jin-hi刚刚举行了结婚发表（笑）。
我怎么想也是觉得，在日本能够引起爆发性人气的除了勇俊的下部作品不会有别的。冬恋的接着，NHK如果能够播放Hotelier的话，收视率肯定会超过10%。这里，我想说，我个人希望，勇俊的下部作品能够选择大众性的题材。现在等待公开的韩国电影和正在制作中的韩国电影里面，能够在日本打响的作品好像还不存在。即使能打响，5亿日元以上也达不到吧。韩国的相关人士也许预测力道山和风的战士会在日本打响吧，我认为不会。以前也写过，勇俊热和韩国热应该区别开来考虑的。
日本现在是有韩国热，但是还不能说已经成为社会现象。勇俊热是社会现象。把在日本的韩国热扩大成社会现象的最简单的方法，我想就是让勇俊出演面向大众的电影。
但是，如果勇俊出演许秦豪导演的作品（非常好的导演，但是不是大众型的），那部作品的打响程度会是和丑闻差不多，这样推测应该没有大错。通过更大的发行公司发行这部电影的话，实际上能收到更好的效果吧。。。勇俊还是，相比作大众型的star，他更想成为家族珍视的star那样的存在吧？那也是勇俊非常非常精彩的选择啊。。。
然而我个人的想法，勇俊如果能够舍弃自己，成为领引韩国的存在就好了。虽然我知道大家会反对我的意见，但是我希望在日本和亚洲，能够更多地介绍韩国的作品，韩国的文化。抱着这样想法的我，希望勇俊能够牺牲自己，出演大众型的作品。希望他能够领引韩国作品的全体啊。
在新作品里面勇俊还是为了爱情烦恼吗？许秦豪导演的话不会是动作片了。也许是有点儿像冬恋一样的作品吧。
Analyzing Yon-Sama - Part 61(
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Today, I had a look at the Korean official board (OB) after quite many days of not visiting the website. My computer has broken down, that’s why I haven’t been online for sometime. According to the news on the OB, Yong Joon is now torn between two movie scripts, but it appears he’s inclined to accept the one by Director Heo Jin Ho. The other one is perhaps the script on Kim Hong Do. It’s been a week since Yong Joon met with Director Heo. Over at Director Heo’s side, it seems he’s also undecided between two storylines. Although I did hear that the two plots are not very much different, or at least I couldn’t quite tell the difference (chuckles). I’ve heard about synopsis, but can’t quite remember exactly. Seems to be something like this… A love story between a man and two women. One woman was in Seoul and the other in the countryside, and one of these parties has fallen ill (The male or the female? Sorry, I’ve forgotten). It’s a story that is based on some sickness and a love triangle. I think there’re two possible developments to the story, but the key structure that forms the story is not that different.
Judging from how there’s still been no official announcement about his new work, it seems that Yong Koon is troubled over something..? Or maybe they’re working out the terms of the contract and are in the midst of negotiation? I believe that this will be something worth waiting for. Who will be the two actresses? It’s unlikely that Jeon Do Yeon will act in it. I personally think Kim Hye Soo is not bad.
Having written this much, lately a lot of people are asking, who’s this fumi person who’s writing this series? Then let me just do a simple self-introduction.
In the past, someone has mentioned on the Korean OB that she would read this series in its entirety only after I’ve completed the whole series. But this so-called analysis of mine is not something suited for continuous reading, or to be read in a holistic manner. Well, I just write on whichever day I feel like, and just stop whenever I don’t feel it. There’s no such thing as continuity or connectivity between the parts in this series. The use of the “analyzing” is half in jest. But because of it, it sure appears that some people are taking this series quite seriously. I’m actually the sort of person who enjoys joking and clowning around a little. But after using the word “analyzing” in my posting title, it doesn’t appear to be too much of a joke (chuckles).
I’ve briefly said something about myself in the past too. Well, I’m not from the entertainment industry. Not in Korea, and not in Japan. Nobody knows me. A fraction of people see me as a Korean who’s familiar with Japan. What I do for a living is working on community work that shapes the ties between Japan and Korea. In the nineties, I’ve also done work that involved introducing Korean artistes to the Japanese market, helping them find work in Japan. So occasionally I too am involved in entertaiment-related work matters. But up to now, I’ve never been paid in monetary terms for such work. I do think that I’m a Korean who does understand the Japanese market to a certain extent, and I take pride in this knowledge, so I involved myself in consultancy work such as introducing Korean singers and Korean movies to Japan. When Japanese movies were imported into Korea, I too was consulted on. I did all these because I’m a fan of movies and TV dramas. It’s from the position and viewpoint of a fan that I involved myself in such work. From the nineties, for about seven years or so, I’ve been assisting in the matter of introducing Korean singers into Japan.
During this period, I’ve also gotten to know some people in the Japanese entertainment trade. And from the time Japanese movies were allowed to enter the Korean market, I also partook in the selection of the Japanese movies to be screened in Korea. But of course… Akira Kurosawa and Takesh Kitano’s works did not happen to become successful because of my recommendations (chuckles).
In Korea, I’m very good friends with the managers of some artistes. Although I’m quite a lot older in terms of age, and although I do not know Yong Joon’s manager, I do know two friends of his manager. Now what I work on a volunteer basis is to invite Yong Joon to visit Kyushu. But my real work? Well, I do economical analysis centreing on Japan-Korea relations.
投稿者： ふみ / 投稿日： 2004/09/06 15:59:52
大家好。
今天，隔了好多日子，我去韩国的公式网看了一下。我的电脑坏了来着，所以好久都没有上网。据公式网的消息，勇俊现在正在为2部作品中选择哪一部而苦恼，但是好像是倾向于许秦豪导演的作品。还有一部也许是金弘道吧。勇俊和许导演见了一个星期。许导演这边，也正在两个剧本之间犹豫。听那个话好像两个剧本也差不了多少，我是区别不开的（笑）。我听了一下故事的内容但是也没怎么记清楚。好像是这样的，
一个男人和两个女人的爱情故事。一个女人在汉城，另一个女人在乡下，有一方生了病（男的？还是女的？记不清了，对不起），以生病和三角关系为轴展开的故事。好像有2个故事情节，但是大体构造没有什么大改变。
看到直到现在还没有发表的样子，好像勇俊是在为什么烦恼吧？或者，正在进行合约阶段的细节协商？我想，一定会是部值得期待的作品。2个女主角会是谁呢？全度娴是不可能了，我个人觉得金惠秀不错。
话先说到这儿，最近好多人在问，这个写分析的fumi是个什么人？的问题，那我就简单自我介绍一下吧。以前，在韩国的公式网上有人说，要等分析全部写完了以后再完整读，但是我这个分析不是适合连起来完整阅读的东西。我是哪天想写就写，写到哪儿算哪儿的，内容的连贯性从开始就是没有。“分析”这个题目本身有一半就是在开玩笑，因为我说是“分析”，好像不少朋友就很认真地看来着呢。我这个人其实是非常喜欢开些玩笑的，起了分析这个严肃的名字以后，都不好开玩笑了（笑）。
以前我也自我介绍过，我本身并不是娱乐界的人。在韩国也是，在日本也是，谁也不知道我。一部分人把我当作是日本通的韩国人。我从事的是与日韩关系相关的民间工作。90年代的时候，我也做过把韩国的艺人介绍给日本的工作。所以有时候我也参与娱乐界相关的工作，但是至今为止我从来也没有通过这项工作接受过报酬。我自负自己是一个有点儿了解日本事情的韩国人，所以参加了把韩国的歌手，电影介绍给日本的咨询工作。日本的电影向韩国输出的时候，我也参加了咨询。所有这些都是因为我是电影，电视剧的fans，从fans的立场出发我参与了这些工作。从90年代起差不多7年时间里，我都在做把韩国歌手介绍给日本的协助工作。
这期间我也结识了一些日本的业内人士，自日本电影能够输出到韩国以来，我也参与了一些在韩国公映的日本电影的挑选工作。但是黑泽明，北野健并没有因我的建议而成功的作品啊（笑）。
在韩国我也和几个艺人的经理人是好朋友。岁数虽然我要大很多。和勇俊的经理人代表虽然不认识，但是经理人的两个朋友我是认识的。现在我做的与娱乐相关的志愿者工作是，邀请勇俊来九州访问。我实际的工作是以日韩关系为中心的经济分析。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Today, I had a look at the Korean official board (OB) after quite many days of not visiting the website. My computer has broken down, that’s why I haven’t been online for sometime. According to the news on the OB, Yong Joon is now torn between two movie scripts, but it appears he’s inclined to accept the one by Director Heo Jin Ho. The other one is perhaps the script on Kim Hong Do. It’s been a week since Yong Joon met with Director Heo. Over at Director Heo’s side, it seems he’s also undecided between two storylines. Although I did hear that the two plots are not very much different, or at least I couldn’t quite tell the difference (chuckles). I’ve heard about synopsis, but can’t quite remember exactly. Seems to be something like this… A love story between a man and two women. One woman was in Seoul and the other in the countryside, and one of these parties has fallen ill (The male or the female? Sorry, I’ve forgotten). It’s a story that is based on some sickness and a love triangle. I think there’re two possible developments to the story, but the key structure that forms the story is not that different.
Judging from how there’s still been no official announcement about his new work, it seems that Yong Koon is troubled over something..? Or maybe they’re working out the terms of the contract and are in the midst of negotiation? I believe that this will be something worth waiting for. Who will be the two actresses? It’s unlikely that Jeon Do Yeon will act in it. I personally think Kim Hye Soo is not bad.
Having written this much, lately a lot of people are asking, who’s this fumi person who’s writing this series? Then let me just do a simple self-introduction.
In the past, someone has mentioned on the Korean OB that she would read this series in its entirety only after I’ve completed the whole series. But this so-called analysis of mine is not something suited for continuous reading, or to be read in a holistic manner. Well, I just write on whichever day I feel like, and just stop whenever I don’t feel it. There’s no such thing as continuity or connectivity between the parts in this series. The use of the “analyzing” is half in jest. But because of it, it sure appears that some people are taking this series quite seriously. I’m actually the sort of person who enjoys joking and clowning around a little. But after using the word “analyzing” in my posting title, it doesn’t appear to be too much of a joke (chuckles).
I’ve briefly said something about myself in the past too. Well, I’m not from the entertainment industry. Not in Korea, and not in Japan. Nobody knows me. A fraction of people see me as a Korean who’s familiar with Japan. What I do for a living is working on community work that shapes the ties between Japan and Korea. In the nineties, I’ve also done work that involved introducing Korean artistes to the Japanese market, helping them find work in Japan. So occasionally I too am involved in entertaiment-related work matters. But up to now, I’ve never been paid in monetary terms for such work. I do think that I’m a Korean who does understand the Japanese market to a certain extent, and I take pride in this knowledge, so I involved myself in consultancy work such as introducing Korean singers and Korean movies to Japan. When Japanese movies were imported into Korea, I too was consulted on. I did all these because I’m a fan of movies and TV dramas. It’s from the position and viewpoint of a fan that I involved myself in such work. From the nineties, for about seven years or so, I’ve been assisting in the matter of introducing Korean singers into Japan.
During this period, I’ve also gotten to know some people in the Japanese entertainment trade. And from the time Japanese movies were allowed to enter the Korean market, I also partook in the selection of the Japanese movies to be screened in Korea. But of course… Akira Kurosawa and Takesh Kitano’s works did not happen to become successful because of my recommendations (chuckles).
In Korea, I’m very good friends with the managers of some artistes. Although I’m quite a lot older in terms of age, and although I do not know Yong Joon’s manager, I do know two friends of his manager. Now what I work on a volunteer basis is to invite Yong Joon to visit Kyushu. But my real work? Well, I do economical analysis centreing on Japan-Korea relations.
投稿者： ふみ / 投稿日： 2004/09/06 15:59:52
大家好。
今天，隔了好多日子，我去韩国的公式网看了一下。我的电脑坏了来着，所以好久都没有上网。据公式网的消息，勇俊现在正在为2部作品中选择哪一部而苦恼，但是好像是倾向于许秦豪导演的作品。还有一部也许是金弘道吧。勇俊和许导演见了一个星期。许导演这边，也正在两个剧本之间犹豫。听那个话好像两个剧本也差不了多少，我是区别不开的（笑）。我听了一下故事的内容但是也没怎么记清楚。好像是这样的，
一个男人和两个女人的爱情故事。一个女人在汉城，另一个女人在乡下，有一方生了病（男的？还是女的？记不清了，对不起），以生病和三角关系为轴展开的故事。好像有2个故事情节，但是大体构造没有什么大改变。
看到直到现在还没有发表的样子，好像勇俊是在为什么烦恼吧？或者，正在进行合约阶段的细节协商？我想，一定会是部值得期待的作品。2个女主角会是谁呢？全度娴是不可能了，我个人觉得金惠秀不错。
话先说到这儿，最近好多人在问，这个写分析的fumi是个什么人？的问题，那我就简单自我介绍一下吧。以前，在韩国的公式网上有人说，要等分析全部写完了以后再完整读，但是我这个分析不是适合连起来完整阅读的东西。我是哪天想写就写，写到哪儿算哪儿的，内容的连贯性从开始就是没有。“分析”这个题目本身有一半就是在开玩笑，因为我说是“分析”，好像不少朋友就很认真地看来着呢。我这个人其实是非常喜欢开些玩笑的，起了分析这个严肃的名字以后，都不好开玩笑了（笑）。
以前我也自我介绍过，我本身并不是娱乐界的人。在韩国也是，在日本也是，谁也不知道我。一部分人把我当作是日本通的韩国人。我从事的是与日韩关系相关的民间工作。90年代的时候，我也做过把韩国的艺人介绍给日本的工作。所以有时候我也参与娱乐界相关的工作，但是至今为止我从来也没有通过这项工作接受过报酬。我自负自己是一个有点儿了解日本事情的韩国人，所以参加了把韩国的歌手，电影介绍给日本的咨询工作。日本的电影向韩国输出的时候，我也参加了咨询。所有这些都是因为我是电影，电视剧的fans，从fans的立场出发我参与了这些工作。从90年代起差不多7年时间里，我都在做把韩国歌手介绍给日本的协助工作。
这期间我也结识了一些日本的业内人士，自日本电影能够输出到韩国以来，我也参与了一些在韩国公映的日本电影的挑选工作。但是黑泽明，北野健并没有因我的建议而成功的作品啊（笑）。
在韩国我也和几个艺人的经理人是好朋友。岁数虽然我要大很多。和勇俊的经理人代表虽然不认识，但是经理人的两个朋友我是认识的。现在我做的与娱乐相关的志愿者工作是，邀请勇俊来九州访问。我实际的工作是以日韩关系为中心的经济分析。
Analyzing Yon-Sama - Part 62
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yong Joon’s new work doesn’t appear to be one that’s mass-market,
seems to be something a little on the artistic side.
Is Yong Joon a people’s star who doesn’t really want to become a people’s star?
Is it because the people all like him that he’s got no choice but to become a people’s star?
I’ve written something about this before, now let’s try and think along the following line:
Yong Joon was originally interested in cameras,
so… therefore leading to his interest in the art of movies.
Yong Joon’s manager was also someone
who had originally wanted to be the manager of a real movie star
(this manager has previously worked in Chungmuro,
this is where the Korean movie people congregrate.
bb: can be likened to the Hollywood of Korea).
Although Yong Joon entered the entertainment industry as a talent,
what he really wanted to become is a movie actor
who earns his reputation through his acting skills.
Prior to “Papa”, Yong Joon had notchoice when it came to choosing scripts to act in.
During “Papa” days, Yong Joon topped all the charts of popularity polls and ranking.
After “First Love”, he became a real top star through and through.
And after that, he started to have a say in the choice of dramas.
He started to choose only quality works to act in,
and through this, the volume of his work also decreased.
Of course, he was in fact making preparation to become a movie actor, a real artist.
Coincidentally, the time he decided to try his hand at making a movie
was also the very same time his popularity exploded in Asia
and he also became a social phenomenon in Japan.
But Yong Joon and his management did not change their goal,
what they had originally set out to achieve because of the popularity.
His next work?
Well, he still chose to do something challenging, something artistic, something less commercial.
That was probably how the process went, I suppose.
I also mentioned in Part 61 of this series that
to Yong Joon personally,
his choice of work has been a very appropriate one, it was right for him.
But… from the perspective of leading the Korean Wave in the entire Asian region,
then I still hold the view that it’s better he chooses to work with a director
who does more mass-market movies (chuckles).
Yes, Heo Jin Ho is a very fine and good director.
In fact, he may be even the top in Korea if we consider purely from the angle of his works.
Although this is supposedly a series that analyses Yong Joon,
I would still like to share my views about the development of other Korean actors
in the following paragraphs.
Firstly, Kwon Sang Woo,
who's been introduced in Japanese magazines as the most popular star in Korea now.
I think a lot depends on the TV drama and the movie he’s shooting now.
No matter which of them succeeds, so long as one of them does make it,
then his popularity in Korea and Asia will be sustainable.
But what if both fail? Then it will be very hard to say.
Kwon Sang Woo’s popularity is largely dependent
on the quality of the productions he chooses to work on.
These days, Kang Dong Won is probably the most popular star in Korea.
This fellow emits an air of superstar,
and he will probably be someone I will be watching quite closely in future.
I remember that he started as a child-actor,
and he took a break from the acting circuit for his studies and is now back to acting.
I’m not 100% certain he’s a child-actor
(Chuckles, I always rely on my memory to do things).
It’s probably about ten years ago, I remmber Kang Dong Won acting as a child
and I remember thinking at that time that this kid would grow up to be a good actor.
I think that’s probably Kang Dong Won, maybe.
Actually since he started acting as a child, the people around him all advised
that he should continue in the business.
But at that time, his mother felt that before that, he had to have a good education,
that’s why the study break.
Kang Dong Won’s re-entry into the entertainment business
is a threat to Kwon Sang Woo’s position.
And other young actors are also cast behind after he returned to the acting scene.
But, now is still not time yet for him to attain popularity in Japan.
Lee Byung Hun…
It will all depend on the viewership of his Beautiful Days in Japan.
He appears to be considering pursuing some studies in the States
(maybe it’s so that he can become a movie director in future…)
After sometime, Byung Hun may take a break from acting.
Byung Hun’s face is too modern, and he has not starred in action movies
(JSA is not considered an action movie),
so in terms of choices of future works, it’s actually quite limited.
Ryu Shi Won…
Heard that Shi Won will be visiting Japan again,
although the plans are not quite concrete yet.
Shi Won’s image has more or less been “fixed”, and he’s in a state of impasse now.
I think from now on, he can take on roles that are slightly older and more matured in age
and he can show to everyone his good acting skills.
Won Bin…
Going to the army is somewhat of a loss. But even if he’s in the army,
he can still be involved in some promotional movies for the army.
These are movies that will be interesting even for normal people and in normal times.
These days, there are quite some young actors serving the military service,
and it can be interesting if Won Bin were to join them too.
You know, to produce some works whilst serving the army.
Of course, these works can be distributed in Japan and all of Asia,
possibly in the form of recording tapes or whatever.
Jang Dong Gun…
As Yong Joon’s rival, Dong Gun’s is indeed very active in terms of production and works.
He too acts in action movies,
and no matter his age, I think he will continue to be this active.
But too many works is also something worrying.
Saw him in 2009 Lost Memories;
he just needs to brush up a bit more on his Japanese and then he’ll be all right.
The high-pitched voice used when he’s angry is not quite his usual style of acting.
This movie is actually quite an interesting one,
but it did not create as much attention and awareness as it should.
But to be fair, it really is not easy to act well in a foreign language.
It is extremely difficult to express emotions
when one has to speak in a foreign language, it usually is so.
Dong Gun’s physique and his moves in this movie
were actually quite excellent and impressive,
he managed to express the very essence of what an action movie called for.
Park Yong Ha….
I think he should first determine if he wants to be a singer or an actor.
He himself seems to want to carry on like this,
and he appears to be keen in the Japanese market.
But I personally do not think he should develop his career in Japan.
The best would be to first show good acting in Korean TV dramas,
and then through the TV dramas, appeal to the Japanese fans.
If Yong Ha were to star in TV dramas in Korea,
then he may become Yong Joon’s biggest contender in Japan.
Yong Ha should consider the example of Che Min Joon
(bb: Am not sure who this is, Truelove77 has translated the name like this.)
He was once the top in both singing and acting, but now…
Shuri was impressive and created waves when it was screened (in Japan).
But the main actor Han Suk Gyu is not particularly popular in Japan.
My Sassy Girlfriend was especially successfully,
however Jeon Ji Hyeon’s popularity is only so-so.
It is incredibly hard for a foreign actor/actress to become famous and popular in Japan.
If Yong Ha misses the boat this time,
then for a very very long time, Yong Joon will not have any strong contender in Japan.
Dong Gun will always have a fair amount of support in Japan,
but it will not be something explosive or phenomenal.
And later, after a considerably long time,
Kang Dong Won will become popular in Japan, I think.
This is what I personally think.
From the more holistic view of looking at the Korean entertainment industry as a whole,
it would be good if the person who can rival Yong Joon in Japan appear as soon as possible.
Yon-sama分析系列62
投稿者： ふみ / 投稿日： 2004/09/06 17:15:42
大家好。
勇俊的新作好像不是大众型，而是艺术性比较高的作品啊。勇俊难道是个不想成为大众明星的大众明星吗？是因为大家喜欢他，他没有办法才成了大众明星的吗？以前我也写过一些，下面试着这样想象一下吧。
勇俊原本是对照相机感兴趣，即，对电影的艺术性有兴趣。勇俊的经理人也原来是想做真正的电影演员的经理人（经理人在韩国电影人聚集的Chonmuro做过事）。勇俊虽然以talent（艺人）的形式进入娱乐圈，但是他最想做的是演技派的电影演员。
拍摄《爸爸》之前，勇俊并没有挑选工作的余地。在《爸爸》的时期，勇俊在所有的人气排行榜上都是top。之后的《初恋》使他成了名副其实的真正的顶尖明星。但那以后，他有了选择作品的余地，只选择好的作品出演，工作量也随之减少。当然，他一直在为成为电影人艺术家而做准备。很凑巧地，在决定进出电影界的同时，他在亚洲引起超级轰动，在日本成了社会现象一般的人物。但是，勇俊和他的management并不改变自己的目标。下部作品依然选择挑战艺术型的作品。大概是这样一个过程吧？
分析61也说过，我想这个决定对勇俊个人来说是非常正确的决定，但是，如果从要引领全亚洲的韩国热潮的角度来考虑，我还是觉得他如果选择拍大众型作品的导演就好了（笑）。许秦豪是个很优秀的导演。仅从作品性来考虑，也许是韩国的top。
这个虽说是勇俊的分析，下面我也想说说关于其他韩国演员的今后发展的话题。
首先，是被日本杂志介绍为现在韩国最有人气的star权相佑。我认为他现在正在拍摄中的电视剧和电影将起决定性作用。不论哪一个成功的话，他在韩国和亚洲的人气就可以继续维持。若两个都失败？？那就难说了。相佑的人气很依赖于作品的好坏。
现在，在韩国最红的人气明星是Kang Dong-won，这个人散发着大明星的气息，是我今后非常瞩目的演员。我记得他应该是童星出身，为了学习休息了一段时间以后，最近再次登场。是不是童星出身我没有100%的自信（笑，我总是凭记忆行事）。10年前吧，我记得Kang Dong-won作为儿童演员出场，那时候我就想他长大了一定会是个好演员。大概，这就是那个我记得的Kang Dong-won吧。其实从儿童演员时起，周围的人就劝说他要继续娱乐界的事业，但是他母亲说应该在那之前好好受到教育，所以他才中止了艺能活动。Kang Dong-won的再次登场令权相佑的地位受到威胁，别年轻演员也被他甩在了后面。但是，现在还不是在日本出人气的时候。
李秉宪。这要看他的《美丽的日子》在日本的收视率是什么情形了。他本人好像在考虑留学美国（可能是将来想要当电影导演吧？）。今后一段时间，秉宪会休息一段时间吧。秉宪的面孔是太有现实感了，他还不演动作片（JSA并不算动作片），所以可选择的出演作品的范围就很有限了吧。
柳时元。听说时元近期内又会来日本的地方访问，虽然不是很确定。时元的形象已经给固定下来了吧，现在有点儿停滞期。我想他今后会以岁数稍长的角色，给大家展现他的好演技的。
元彬。去军队这一件不能不说是个损失。但是，在军队也可以拍军队的宣传电影。这是普通看也会有些意思的片子。现在在军队的年轻演员很多，元彬进去合流的话会很有趣吧，一边服役一边也可以作些东西出来。那个作品在日本当然会，在亚洲全体也会以录像带形式发行的。
张东健。作为勇俊的竞争对手，东健的作品活动实在是很活跃。动作片也能拍，所以不管年龄多大，我想他都会一致活跃下去的。作品太多反而有点儿令人担心。《lost memory》里他的日语再好好练练就好了，气愤时的高音不象是东建本来的演技。这个片子其实挺有意思，但是没有引起关注。话说回来，轻易地用外国语表演其实很成问题。用外国语难以表达出需要的“情感表现”，通常是这样。这个作品里东健的身形动作其实很棒，表现了动作片需要表现的东西。
朴龙河。我想他应该就作歌手，还是作演员，先做个决定。他本人好像想就这么走下去，也似乎有在日本发展的考虑，但是我是反对龙河在日本发展的。最好是在韩国的电视剧里展示好的演技，再通过那个剧展现给日本的fans看。龙河要是在韩国拍电视剧的话，在日本国内就会成为勇俊最大的对手吧。龙河可以参考韩国的Che min-joon的例子考虑一下，Che曾经是歌曲和演艺的top, 可是现在又如何呢？
《Shuri》超轰动，但是主演的韩在圭在日本的人气却不怎么样。《我的野蛮女友》特成功，全志贤的人气却是一般般。外国的演员在日本要红是件很难的事情。龙河要是错过了现在的机会，那么相当长的一段时间里勇俊在日本都不会有对手。东健在日本一直会受到支持的，但是不会引起轰动。再过相当长的一段时间，Kang Dong-Won在日本会获得人气的吧。我是这样想的。从韩国全体来考虑，我想在日本能成为勇俊的竞争对手的人越快登场越好吧。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/06
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yong Joon’s new work doesn’t appear to be one that’s mass-market,
seems to be something a little on the artistic side.
Is Yong Joon a people’s star who doesn’t really want to become a people’s star?
Is it because the people all like him that he’s got no choice but to become a people’s star?
I’ve written something about this before, now let’s try and think along the following line:
Yong Joon was originally interested in cameras,
so… therefore leading to his interest in the art of movies.
Yong Joon’s manager was also someone
who had originally wanted to be the manager of a real movie star
(this manager has previously worked in Chungmuro,
this is where the Korean movie people congregrate.
bb: can be likened to the Hollywood of Korea).
Although Yong Joon entered the entertainment industry as a talent,
what he really wanted to become is a movie actor
who earns his reputation through his acting skills.
Prior to “Papa”, Yong Joon had notchoice when it came to choosing scripts to act in.
During “Papa” days, Yong Joon topped all the charts of popularity polls and ranking.
After “First Love”, he became a real top star through and through.
And after that, he started to have a say in the choice of dramas.
He started to choose only quality works to act in,
and through this, the volume of his work also decreased.
Of course, he was in fact making preparation to become a movie actor, a real artist.
Coincidentally, the time he decided to try his hand at making a movie
was also the very same time his popularity exploded in Asia
and he also became a social phenomenon in Japan.
But Yong Joon and his management did not change their goal,
what they had originally set out to achieve because of the popularity.
His next work?
Well, he still chose to do something challenging, something artistic, something less commercial.
That was probably how the process went, I suppose.
I also mentioned in Part 61 of this series that
to Yong Joon personally,
his choice of work has been a very appropriate one, it was right for him.
But… from the perspective of leading the Korean Wave in the entire Asian region,
then I still hold the view that it’s better he chooses to work with a director
who does more mass-market movies (chuckles).
Yes, Heo Jin Ho is a very fine and good director.
In fact, he may be even the top in Korea if we consider purely from the angle of his works.
Although this is supposedly a series that analyses Yong Joon,
I would still like to share my views about the development of other Korean actors
in the following paragraphs.
Firstly, Kwon Sang Woo,
who's been introduced in Japanese magazines as the most popular star in Korea now.
I think a lot depends on the TV drama and the movie he’s shooting now.
No matter which of them succeeds, so long as one of them does make it,
then his popularity in Korea and Asia will be sustainable.
But what if both fail? Then it will be very hard to say.
Kwon Sang Woo’s popularity is largely dependent
on the quality of the productions he chooses to work on.
These days, Kang Dong Won is probably the most popular star in Korea.
This fellow emits an air of superstar,
and he will probably be someone I will be watching quite closely in future.
I remember that he started as a child-actor,
and he took a break from the acting circuit for his studies and is now back to acting.
I’m not 100% certain he’s a child-actor
(Chuckles, I always rely on my memory to do things).
It’s probably about ten years ago, I remmber Kang Dong Won acting as a child
and I remember thinking at that time that this kid would grow up to be a good actor.
I think that’s probably Kang Dong Won, maybe.
Actually since he started acting as a child, the people around him all advised
that he should continue in the business.
But at that time, his mother felt that before that, he had to have a good education,
that’s why the study break.
Kang Dong Won’s re-entry into the entertainment business
is a threat to Kwon Sang Woo’s position.
And other young actors are also cast behind after he returned to the acting scene.
But, now is still not time yet for him to attain popularity in Japan.
Lee Byung Hun…
It will all depend on the viewership of his Beautiful Days in Japan.
He appears to be considering pursuing some studies in the States
(maybe it’s so that he can become a movie director in future…)
After sometime, Byung Hun may take a break from acting.
Byung Hun’s face is too modern, and he has not starred in action movies
(JSA is not considered an action movie),
so in terms of choices of future works, it’s actually quite limited.
Ryu Shi Won…
Heard that Shi Won will be visiting Japan again,
although the plans are not quite concrete yet.
Shi Won’s image has more or less been “fixed”, and he’s in a state of impasse now.
I think from now on, he can take on roles that are slightly older and more matured in age
and he can show to everyone his good acting skills.
Won Bin…
Going to the army is somewhat of a loss. But even if he’s in the army,
he can still be involved in some promotional movies for the army.
These are movies that will be interesting even for normal people and in normal times.
These days, there are quite some young actors serving the military service,
and it can be interesting if Won Bin were to join them too.
You know, to produce some works whilst serving the army.
Of course, these works can be distributed in Japan and all of Asia,
possibly in the form of recording tapes or whatever.
Jang Dong Gun…
As Yong Joon’s rival, Dong Gun’s is indeed very active in terms of production and works.
He too acts in action movies,
and no matter his age, I think he will continue to be this active.
But too many works is also something worrying.
Saw him in 2009 Lost Memories;
he just needs to brush up a bit more on his Japanese and then he’ll be all right.
The high-pitched voice used when he’s angry is not quite his usual style of acting.
This movie is actually quite an interesting one,
but it did not create as much attention and awareness as it should.
But to be fair, it really is not easy to act well in a foreign language.
It is extremely difficult to express emotions
when one has to speak in a foreign language, it usually is so.
Dong Gun’s physique and his moves in this movie
were actually quite excellent and impressive,
he managed to express the very essence of what an action movie called for.
Park Yong Ha….
I think he should first determine if he wants to be a singer or an actor.
He himself seems to want to carry on like this,
and he appears to be keen in the Japanese market.
But I personally do not think he should develop his career in Japan.
The best would be to first show good acting in Korean TV dramas,
and then through the TV dramas, appeal to the Japanese fans.
If Yong Ha were to star in TV dramas in Korea,
then he may become Yong Joon’s biggest contender in Japan.
Yong Ha should consider the example of Che Min Joon
(bb: Am not sure who this is, Truelove77 has translated the name like this.)
He was once the top in both singing and acting, but now…
Shuri was impressive and created waves when it was screened (in Japan).
But the main actor Han Suk Gyu is not particularly popular in Japan.
My Sassy Girlfriend was especially successfully,
however Jeon Ji Hyeon’s popularity is only so-so.
It is incredibly hard for a foreign actor/actress to become famous and popular in Japan.
If Yong Ha misses the boat this time,
then for a very very long time, Yong Joon will not have any strong contender in Japan.
Dong Gun will always have a fair amount of support in Japan,
but it will not be something explosive or phenomenal.
And later, after a considerably long time,
Kang Dong Won will become popular in Japan, I think.
This is what I personally think.
From the more holistic view of looking at the Korean entertainment industry as a whole,
it would be good if the person who can rival Yong Joon in Japan appear as soon as possible.
Yon-sama分析系列62
投稿者： ふみ / 投稿日： 2004/09/06 17:15:42
大家好。
勇俊的新作好像不是大众型，而是艺术性比较高的作品啊。勇俊难道是个不想成为大众明星的大众明星吗？是因为大家喜欢他，他没有办法才成了大众明星的吗？以前我也写过一些，下面试着这样想象一下吧。
勇俊原本是对照相机感兴趣，即，对电影的艺术性有兴趣。勇俊的经理人也原来是想做真正的电影演员的经理人（经理人在韩国电影人聚集的Chonmuro做过事）。勇俊虽然以talent（艺人）的形式进入娱乐圈，但是他最想做的是演技派的电影演员。
拍摄《爸爸》之前，勇俊并没有挑选工作的余地。在《爸爸》的时期，勇俊在所有的人气排行榜上都是top。之后的《初恋》使他成了名副其实的真正的顶尖明星。但那以后，他有了选择作品的余地，只选择好的作品出演，工作量也随之减少。当然，他一直在为成为电影人艺术家而做准备。很凑巧地，在决定进出电影界的同时，他在亚洲引起超级轰动，在日本成了社会现象一般的人物。但是，勇俊和他的management并不改变自己的目标。下部作品依然选择挑战艺术型的作品。大概是这样一个过程吧？
分析61也说过，我想这个决定对勇俊个人来说是非常正确的决定，但是，如果从要引领全亚洲的韩国热潮的角度来考虑，我还是觉得他如果选择拍大众型作品的导演就好了（笑）。许秦豪是个很优秀的导演。仅从作品性来考虑，也许是韩国的top。
这个虽说是勇俊的分析，下面我也想说说关于其他韩国演员的今后发展的话题。
首先，是被日本杂志介绍为现在韩国最有人气的star权相佑。我认为他现在正在拍摄中的电视剧和电影将起决定性作用。不论哪一个成功的话，他在韩国和亚洲的人气就可以继续维持。若两个都失败？？那就难说了。相佑的人气很依赖于作品的好坏。
现在，在韩国最红的人气明星是Kang Dong-won，这个人散发着大明星的气息，是我今后非常瞩目的演员。我记得他应该是童星出身，为了学习休息了一段时间以后，最近再次登场。是不是童星出身我没有100%的自信（笑，我总是凭记忆行事）。10年前吧，我记得Kang Dong-won作为儿童演员出场，那时候我就想他长大了一定会是个好演员。大概，这就是那个我记得的Kang Dong-won吧。其实从儿童演员时起，周围的人就劝说他要继续娱乐界的事业，但是他母亲说应该在那之前好好受到教育，所以他才中止了艺能活动。Kang Dong-won的再次登场令权相佑的地位受到威胁，别年轻演员也被他甩在了后面。但是，现在还不是在日本出人气的时候。
李秉宪。这要看他的《美丽的日子》在日本的收视率是什么情形了。他本人好像在考虑留学美国（可能是将来想要当电影导演吧？）。今后一段时间，秉宪会休息一段时间吧。秉宪的面孔是太有现实感了，他还不演动作片（JSA并不算动作片），所以可选择的出演作品的范围就很有限了吧。
柳时元。听说时元近期内又会来日本的地方访问，虽然不是很确定。时元的形象已经给固定下来了吧，现在有点儿停滞期。我想他今后会以岁数稍长的角色，给大家展现他的好演技的。
元彬。去军队这一件不能不说是个损失。但是，在军队也可以拍军队的宣传电影。这是普通看也会有些意思的片子。现在在军队的年轻演员很多，元彬进去合流的话会很有趣吧，一边服役一边也可以作些东西出来。那个作品在日本当然会，在亚洲全体也会以录像带形式发行的。
张东健。作为勇俊的竞争对手，东健的作品活动实在是很活跃。动作片也能拍，所以不管年龄多大，我想他都会一致活跃下去的。作品太多反而有点儿令人担心。《lost memory》里他的日语再好好练练就好了，气愤时的高音不象是东建本来的演技。这个片子其实挺有意思，但是没有引起关注。话说回来，轻易地用外国语表演其实很成问题。用外国语难以表达出需要的“情感表现”，通常是这样。这个作品里东健的身形动作其实很棒，表现了动作片需要表现的东西。
朴龙河。我想他应该就作歌手，还是作演员，先做个决定。他本人好像想就这么走下去，也似乎有在日本发展的考虑，但是我是反对龙河在日本发展的。最好是在韩国的电视剧里展示好的演技，再通过那个剧展现给日本的fans看。龙河要是在韩国拍电视剧的话，在日本国内就会成为勇俊最大的对手吧。龙河可以参考韩国的Che min-joon的例子考虑一下，Che曾经是歌曲和演艺的top, 可是现在又如何呢？
《Shuri》超轰动，但是主演的韩在圭在日本的人气却不怎么样。《我的野蛮女友》特成功，全志贤的人气却是一般般。外国的演员在日本要红是件很难的事情。龙河要是错过了现在的机会，那么相当长的一段时间里勇俊在日本都不会有对手。东健在日本一直会受到支持的，但是不会引起轰动。再过相当长的一段时间，Kang Dong-Won在日本会获得人气的吧。我是这样想的。从韩国全体来考虑，我想在日本能成为勇俊的竞争对手的人越快登场越好吧。
Analyzing Yon-Sama - Part 63
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/08
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everybody. Thank you for your replies to my posting.
The current Korean wave seems to be somewhat of a bubble nature,
in danger of bursting anytime.
The person who can prevent the bubble from bursting, I think,
is none other than Yong Joon.
Up to now, there are quite a number of Korean singers
who are very proud of having performed outside of Korea, in the United States and Japan.
But these public performances are mainly targeted at the Koreans in the States and Japan.
For instance, Cho Yong Pil’s performance has always been targeted
at the Americans of Korean descent.
In the 90s, singer Kang Sang Hae conducted a national tour throughout Japan
(Kang’s mother is Japanese and it is understood that her husband is also a Japanese)
and during then, there were about 500 young Japanese who attended the concert.
I was very moved. It’s such a wonderful surprise to everyone when,
at that time, performers such as Cho Yong Pil and Kim Yon Ja
who sang traditional songs could perform before 500 young Japanese.
At that time, Kang Sang Hae was one of the top singers in Korea.
And later, a popular girl group SES also started a series of activities in Japan.
Their CD sales was not too bad and they released a total of three CDs in Japan.
But, the people buying the CDs were not the Japanese,
they were the Korean high school students who were studying in Japan.
Entering the 90s, public broadcasting stations in Japan also showed some Korea productions,
but response from the Japanese public was lukewarm.
I remember at least five Korean TV dramas or movies broadcast during late nights,
but none of them became hot topics.
Amongst those, I personally thought that Christmas in August was not bad.
This was directed by Heo Jin Ho,
rumoured to be the director of the next movie Yong Joon would be starring in.
This movie was quite a hot topic then, in that year,
it was name the best ten movies by Kinema publication.
Up to now, in this authoritative publication,
there has only been one Korean movie that managed to make it to the best ten.
This year, maybe Memories of Murder may make it.
This particular movie, Christmas in August,
although it did not create much hooha in Japan,
the fact that it made the best ten was already good enough news.
And this was also the prelude or warm-up to the subsequent Korean Wave.
The year following this movie, Shuri was a phenomenal success in Japan.
Shuri’s success factor was of course,
because this movie itself was very interesting.
However, there were also other factors at play:
1. From then, the Japanese developed an interest in North Korea,
and therefore Shuri being related to North Korea, was able to become a hit in Japan.
It was the same with JSA. Subsequently, Friends was not that big a hit in Japan.
In a way, Friends was sort of like an experiement,
a test to see if a Korean movie which had nothing to do with the North Korea theme
could actually make it in Japan.
And in the end, Friends did not achieve the same success as Shuri.
In fact, the difference in box office takings was tremendous,
and this huge gap explained why some movies were able to make it in Japan.
Shuri and JSA made it because of their North Korea theme.
(Of course, I’m not saying this is THE only factor).
2. Another success factor of Shuri was its time of release;
it was released in Japan with excellent timing. When Shuri was released in Japan,
there was absolutely no other movies with a similar theme then.
At that time, only the movie 007 (James Bond) was released at about the same time.
But Shuri, JSA and also Friends’ release in Japan
still created a rather interesting scene in Japan,
in that they did widen the Japanese interest in Korean movies.
But at that time, Japanese movie critics still did not sing praises of Korean movies yet.
The time when the critics started to turn in more positive reviews was
after movies by young directors Kim Gi Tok and Keo Jin Ho
and after movies such as My Sassy Girlfriend were introduced to the Japanese market.
In tune with Korean movies, the singer BOA became became popular in Japan.
This is different from the previous SES example.
First of all, the music genre is different.
Secondly, the capability and strength of their agencies are different too.
No matter it’s BOA, Yon Ja or Song Yun Ha, they all speak excellent Japanese
and when it comes to singing, they too sing in Japanese.
So the young Japanese or even the middle-aged Japanese,
whether they fancy BOA or Kim Yon Ja, what they experience from these singers
is something quite different from the usual stuff from Korea.
Although the Japanese housewives are interested in the North Korea matters,
but their interest in Korea is still pretty much limited to food (chuckles).
Up to last year, it’s still very unthinkable and unimaginable that
Korean TV dramas would actually make it big in Japan.
Yon-sama分析系列63
投稿者： ふみ / 投稿日： 2004/09/08 08:50:08
大家好。非常感谢大家的回贴。
今天的韩流热有些泡沫的性质，能够防止泡沫崩坏的人，我想除了勇俊不会有别人。
至今为止有不少韩国的歌手，在韩国国内以去过美国和日本公开演出而颇为骄傲。但是，这些公演都是以在日本和美国的韩国人为对象的。赵容弼（Cho Yong-Pil）在美国的公演一直都是以韩裔美国人作为对象。90年代，歌手Kang Sang-hae在日本举行了全国性巡回演出（Sang-hae的母亲是日本人，夫人也听说是日本人），当时汇集了500多名日本的年轻人，令我非常感动。赵容弼，Kim Yon-ja这样的演歌派之外，能够在500人的日本年轻人面前公演，在当时是多么令人惊喜的事情啊。当时，Kang Sang-hae是韩国的top歌手之一。之后，有叫做SES的人气女性演唱组在日本开展了一段时间的活动。CD卖得还不错，她们在日本发行了3张CD。但是，买CD的并不是日本人，而是在日本休学旅行的韩国的高中生们。
进入90年代，日本的民放电视台也放映过韩国的连续剧，但是没有获得任何反响。我记得有5部以上的韩国电视剧在民放的深夜放送中播出，但都没有成为话题。那之中，我觉得这个还可以？的是，传闻是勇俊的下部作品的导演许秦豪的《八月照相馆》。这部作品成为话题作，在那一年的《Kinema旬报》被评选为年间的Best 10影片。直到现在，这个权威电影杂志的年间Best 10里面，韩国电影还是只有这一部。今年也许《杀人回忆》可望入选。这一部作品（《八月照相馆》）在日本虽然并没有引起轰动，但是能进入Best 10就是一件很令人欣喜的事情。也为之后的韩流热潮开了前奏。
这部作品的次年，《Shuri》在日本引起巨大轰动。《Shuri》的成功当然是因为作品本身很有意思，但是此外的原因，
1．从当时起，日本人对于北朝鲜开始发生兴趣，和北朝鲜相关的《Shuri》所以在日本一炮打响。JSA也是一样的。随后的《朋友》在日本就没怎么轰动。《朋友》可以说是对在日本，和北朝鲜无关的题材的韩国电影，究竟能成功到何种程度的实验台一样的作品。《朋友》最终没有获得《Shuri》一样的成功，或者说相差甚远，这个差距正说明了什么是在日本能够真正获得人气的韩国电影的那部分原因。是和北朝鲜相关的题材成全了《Shuri》和《JSA》（当然，并不是全部原因。）
2．这其中《Shuri》的成功，还赖于她在日本的绝好的公映时机。《Shuri》公开放映的时候，恰好没有其他的话题作品同时出现，当时，和《Shuri》同时开封的只有《007》。
《Shuri》，《JSA》还有《朋友》的公开上映，在一般的日本观众之间扩大了韩国电影还是很有趣的印象。但是，那时日本的电影评论专家对韩国电影的评价并不高。影评专家开始对韩国电影好评，是在Kim Gi-Tok导演的作品，许秦豪的作品，《我的野蛮女友》等年轻的韩国导演的作品在日本被介绍之后的事情。
和韩国电影一起，一个叫做BoA的歌手在日本走红。和以前的SBS非常不同的，首先是音乐性，其次是所属事务所的能量，完全不一样。无论BoA，Yon-Ja还是尹松河，她们日语都非常出色，唱歌也是用日语，所以日本的年轻人，中年男性，喜欢BoA也好，喜欢Kim Yon-ja也好，从她们的身上都感觉不到来自韩国的东西。日本的主妇们对北朝鲜问题很感兴趣，但是对韩国的兴趣仅限于美食（笑）。直至去年的阶段，韩国的电视剧会在日本打响，这是谁也没有料到的事情。接64。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/08
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everybody. Thank you for your replies to my posting.
The current Korean wave seems to be somewhat of a bubble nature,
in danger of bursting anytime.
The person who can prevent the bubble from bursting, I think,
is none other than Yong Joon.
Up to now, there are quite a number of Korean singers
who are very proud of having performed outside of Korea, in the United States and Japan.
But these public performances are mainly targeted at the Koreans in the States and Japan.
For instance, Cho Yong Pil’s performance has always been targeted
at the Americans of Korean descent.
In the 90s, singer Kang Sang Hae conducted a national tour throughout Japan
(Kang’s mother is Japanese and it is understood that her husband is also a Japanese)
and during then, there were about 500 young Japanese who attended the concert.
I was very moved. It’s such a wonderful surprise to everyone when,
at that time, performers such as Cho Yong Pil and Kim Yon Ja
who sang traditional songs could perform before 500 young Japanese.
At that time, Kang Sang Hae was one of the top singers in Korea.
And later, a popular girl group SES also started a series of activities in Japan.
Their CD sales was not too bad and they released a total of three CDs in Japan.
But, the people buying the CDs were not the Japanese,
they were the Korean high school students who were studying in Japan.
Entering the 90s, public broadcasting stations in Japan also showed some Korea productions,
but response from the Japanese public was lukewarm.
I remember at least five Korean TV dramas or movies broadcast during late nights,
but none of them became hot topics.
Amongst those, I personally thought that Christmas in August was not bad.
This was directed by Heo Jin Ho,
rumoured to be the director of the next movie Yong Joon would be starring in.
This movie was quite a hot topic then, in that year,
it was name the best ten movies by Kinema publication.
Up to now, in this authoritative publication,
there has only been one Korean movie that managed to make it to the best ten.
This year, maybe Memories of Murder may make it.
This particular movie, Christmas in August,
although it did not create much hooha in Japan,
the fact that it made the best ten was already good enough news.
And this was also the prelude or warm-up to the subsequent Korean Wave.
The year following this movie, Shuri was a phenomenal success in Japan.
Shuri’s success factor was of course,
because this movie itself was very interesting.
However, there were also other factors at play:
1. From then, the Japanese developed an interest in North Korea,
and therefore Shuri being related to North Korea, was able to become a hit in Japan.
It was the same with JSA. Subsequently, Friends was not that big a hit in Japan.
In a way, Friends was sort of like an experiement,
a test to see if a Korean movie which had nothing to do with the North Korea theme
could actually make it in Japan.
And in the end, Friends did not achieve the same success as Shuri.
In fact, the difference in box office takings was tremendous,
and this huge gap explained why some movies were able to make it in Japan.
Shuri and JSA made it because of their North Korea theme.
(Of course, I’m not saying this is THE only factor).
2. Another success factor of Shuri was its time of release;
it was released in Japan with excellent timing. When Shuri was released in Japan,
there was absolutely no other movies with a similar theme then.
At that time, only the movie 007 (James Bond) was released at about the same time.
But Shuri, JSA and also Friends’ release in Japan
still created a rather interesting scene in Japan,
in that they did widen the Japanese interest in Korean movies.
But at that time, Japanese movie critics still did not sing praises of Korean movies yet.
The time when the critics started to turn in more positive reviews was
after movies by young directors Kim Gi Tok and Keo Jin Ho
and after movies such as My Sassy Girlfriend were introduced to the Japanese market.
In tune with Korean movies, the singer BOA became became popular in Japan.
This is different from the previous SES example.
First of all, the music genre is different.
Secondly, the capability and strength of their agencies are different too.
No matter it’s BOA, Yon Ja or Song Yun Ha, they all speak excellent Japanese
and when it comes to singing, they too sing in Japanese.
So the young Japanese or even the middle-aged Japanese,
whether they fancy BOA or Kim Yon Ja, what they experience from these singers
is something quite different from the usual stuff from Korea.
Although the Japanese housewives are interested in the North Korea matters,
but their interest in Korea is still pretty much limited to food (chuckles).
Up to last year, it’s still very unthinkable and unimaginable that
Korean TV dramas would actually make it big in Japan.
Yon-sama分析系列63
投稿者： ふみ / 投稿日： 2004/09/08 08:50:08
大家好。非常感谢大家的回贴。
今天的韩流热有些泡沫的性质，能够防止泡沫崩坏的人，我想除了勇俊不会有别人。
至今为止有不少韩国的歌手，在韩国国内以去过美国和日本公开演出而颇为骄傲。但是，这些公演都是以在日本和美国的韩国人为对象的。赵容弼（Cho Yong-Pil）在美国的公演一直都是以韩裔美国人作为对象。90年代，歌手Kang Sang-hae在日本举行了全国性巡回演出（Sang-hae的母亲是日本人，夫人也听说是日本人），当时汇集了500多名日本的年轻人，令我非常感动。赵容弼，Kim Yon-ja这样的演歌派之外，能够在500人的日本年轻人面前公演，在当时是多么令人惊喜的事情啊。当时，Kang Sang-hae是韩国的top歌手之一。之后，有叫做SES的人气女性演唱组在日本开展了一段时间的活动。CD卖得还不错，她们在日本发行了3张CD。但是，买CD的并不是日本人，而是在日本休学旅行的韩国的高中生们。
进入90年代，日本的民放电视台也放映过韩国的连续剧，但是没有获得任何反响。我记得有5部以上的韩国电视剧在民放的深夜放送中播出，但都没有成为话题。那之中，我觉得这个还可以？的是，传闻是勇俊的下部作品的导演许秦豪的《八月照相馆》。这部作品成为话题作，在那一年的《Kinema旬报》被评选为年间的Best 10影片。直到现在，这个权威电影杂志的年间Best 10里面，韩国电影还是只有这一部。今年也许《杀人回忆》可望入选。这一部作品（《八月照相馆》）在日本虽然并没有引起轰动，但是能进入Best 10就是一件很令人欣喜的事情。也为之后的韩流热潮开了前奏。
这部作品的次年，《Shuri》在日本引起巨大轰动。《Shuri》的成功当然是因为作品本身很有意思，但是此外的原因，
1．从当时起，日本人对于北朝鲜开始发生兴趣，和北朝鲜相关的《Shuri》所以在日本一炮打响。JSA也是一样的。随后的《朋友》在日本就没怎么轰动。《朋友》可以说是对在日本，和北朝鲜无关的题材的韩国电影，究竟能成功到何种程度的实验台一样的作品。《朋友》最终没有获得《Shuri》一样的成功，或者说相差甚远，这个差距正说明了什么是在日本能够真正获得人气的韩国电影的那部分原因。是和北朝鲜相关的题材成全了《Shuri》和《JSA》（当然，并不是全部原因。）
2．这其中《Shuri》的成功，还赖于她在日本的绝好的公映时机。《Shuri》公开放映的时候，恰好没有其他的话题作品同时出现，当时，和《Shuri》同时开封的只有《007》。
《Shuri》，《JSA》还有《朋友》的公开上映，在一般的日本观众之间扩大了韩国电影还是很有趣的印象。但是，那时日本的电影评论专家对韩国电影的评价并不高。影评专家开始对韩国电影好评，是在Kim Gi-Tok导演的作品，许秦豪的作品，《我的野蛮女友》等年轻的韩国导演的作品在日本被介绍之后的事情。
和韩国电影一起，一个叫做BoA的歌手在日本走红。和以前的SBS非常不同的，首先是音乐性，其次是所属事务所的能量，完全不一样。无论BoA，Yon-Ja还是尹松河，她们日语都非常出色，唱歌也是用日语，所以日本的年轻人，中年男性，喜欢BoA也好，喜欢Kim Yon-ja也好，从她们的身上都感觉不到来自韩国的东西。日本的主妇们对北朝鲜问题很感兴趣，但是对韩国的兴趣仅限于美食（笑）。直至去年的阶段，韩国的电视剧会在日本打响，这是谁也没有料到的事情。接64。
Analyzing Yon-Sama - Part 64
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/08
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
It seems like Japan is undergoing some major changes.
In Japan, baseball is extremely popular, matches tend to draw viewership of above 20%.
NHK’s period TV production, Taiga Dorama (this means Great River)
at its highest drew some 50% viewership,
and at its lowest, it also managed to achieve some 30%.
But this year, the viewership for baseball matches went as low as below 10%,
and even the NHK Taiga Dorama also dipped to below 20%,
which is the same as Winter Sonata which is screened at 11 o’clock at night.
And this is not just about viewership, I would suppose for this year,
the most watched and talked-about TV production would probably be Winter Sonata…
The Yon-sama craze started from the second half of last year,
and the peak was possibly during his visit to Japan in April this year?
But as I think about it, I’ve realised Yong Joon’s popularity seems to be ever-escalating,
rising without ceiling and with no limit.
And there’s another thing that I’ve observed,
no expert in this field was able to predict the Yon-sama craze,
and all the Korean film experts’ prediction and estimates about Taeguki went haywire
and nothing came true.
There are also quite a number of people
who actually hold this carelessly precarious thought that
all things Korean would make it big in Japan.
These people hardly understand the Japanese market.
This will result in heated speculation within Korea,
and if I were to say this in more certain terms,
this is a very dangerous and high-risk situation.
Thinking that it would be lapped up in Japan,
people start to invest 1 billion yen in making movies,
and then maybe 800 million yen in producing TV dramas…
Are these sound and strategic investment decisions made
after investigating and understanding the Japanese market sufficiently?
I don’t think so.
There are just too many producers who have not carried out any proper research or investigation,
made no effort whatsoever to understand the market in Japan,
yet they think that so long as it’s Korean, it will sell in Japan.
Or maybe I should say, all of the producers in Korea share this thought.
In Korea, there are no big-scale movie production companies,
no movie companies of any substantial size.
Before a film goes in production,
they would just gather all the potential investors and then do a presentation of sort.
They would announce who the director is, who the actors and actresses are,
what sort of movie it is, and appeal for investment funds.
It is near impossible to build any big-scale movie company
based on such method of gathering funds to make movies.
The approach and methodology are simply not appropriate
to grow, groom and develop sound companies.
So… in turn there will not be any long-term strategy,
no organized or coherent growth plans or action plans,
and there will be no stability nor permanence.
Because of the rather rosy picture now,
in that quite a number of movies actually can turn in a profit in Korea,
so it is not that difficult to garner investors.
But if the market sees two major productions fail consecutively,
then definitely we will see a dip in investments into movies.
Currently, the Korean movie and TV drama industry seems to be a bubble situation,
in danger of bursting anytime…
If Korean productions with substantial investment were to fail one by one in Japan,
then the bubble economy of the Korean entertainment industry will burst,
and there’s also a possibility that for a long time, we will not see any large-scale production.
Amongst the Korean major productions that are in the making now,
or pending release in the Japanese market,
it is my view that all these works will fail.
Only Jeon Ji Hyun’s Windstruck slated to be released in December will be able to hold up.
In fact, if this movie Windstruck were to be released in late October or November,
the effect will possibly be better as there is less competition during this period.
But don’t know why, but they’ve chosen to screen it later.
As to why the other major productions will not make it in Japan,
I will not talk about it now.
It is very important to study and understand the market before starting any production.
Returning to the topic we’re talking about earlier…
Although Silmido is a movie that’s about the North Korea,
but it’s not about the North Korea of today.
What the Japanese are interested in is the North Korea of today.
So, Silmido does not possess the extra pull factor of having a North Korea focus in the movie,
which will draw the Japanese movie-goers.
As for Taekugi,
the Japanese basically do not know much about the war between North and South Korea,
and they’re also not that interested to find out more.
And there’re also many lines in the movie
that are extremely difficult or tricky to be translated into Japanese, if at all possible.
If they were thinking about penetrating the Japanese market right from the beginning,
then they should have made some adjustments to the lines.
Besides, and this is perhaps the most critical,
the people in the industry basically do not even understand
that Yong Joon’s popularity in Japan is totally different in nature
from the popularity of other Korean stars in Japan.
The very essence and nature of his popularity in Japan is unique,
and this is a fact.
So, so… because of this, Yong Joon’s presence is so very important.
In my view, I predict that from now all the way to the first half of next year,
when the people in the trade see that the Korean major productions
can only garner some 500 to 600 million yen in takings,
then they would probably start to ask why.
As to how to answer this “why”, well, the answer is right there…
people have been mistaken, they had thought that Yong Joon’s popularity
was actually a Korean popularity in general,
when in truth, his popularity is uniquely his.
I’ve shared my views in detail about this previously.
In order to inject new life into Korean movies and dramas,
we really need a piece of work that’s as phenomenal as Winter Sonata.
Such a work would undoubtedly be something from Yong Joon.
If Yong Joon were to take up a role in a somewhat artistic production,
maybe Director Heo Jin Ho’s movie production,
then it will possibly rake in takings of slightly above 1 billion yen in Japan.
But… if it’s an action-packed movie
complete with all the works required of an entertainment film,
then the takings will be above 2 billion yen,
and this is enough to pull the Korean movie industry out of its doldrums.
Yon-sama分析系列64
投稿者： ふみ / 投稿日： 2004/09/08 09:32:00
大家好。
有感觉好像日本正在发生很大的变化。在日本棒球最人气，一直以来都有20%以上的收视率。NHK的大河连续剧（历史剧）高的时候可以达到50%，低的时候也有30%左右的收视率。但是今年，棒球的收视率降至10%以下，NHK的大河连续剧也只收到20%以下的收视率，和夜间11点开始放送的冬恋是在一个水平上。不单是收视率的问题，今年的最受关注作品，当选的也许会是冬恋吧。
Yon-sama热是自去年的后半开始的，来访日本的4月是高峰？这样想的时候，发现勇俊的人气好像没有顶的一直在疯涨。还有一个现象是，业内的专家谁也没有预测到Yon-sama热，韩国国内的专家们对于《太极旗飘扬》的人气预测全部落空。在对日本没有理解的状态下，抱着只要是韩国的东西就会在日本卖的好的轻率想法的相关人士非常不少。这会导致韩国国内的硬行投资热，要我说的话是这是非常危险的状态。
以为在日本可以热卖， 10亿日元投资的电影，8亿日元投资的连续剧。。。这些是在对日本作了充分的市长调查之后的战略性的投资吗？我想不是吧。什么调查也没作，就以为“在日本韩国的东西好卖”的制作人很多。或者说，基本上全是。
韩国没有大型的电影公司。影片在制作之前，先是把投资家们召集到一起，开一个发表会，说明这回是这么个导演，这么个演员，要拍一个这么个片子，要人家投资。这种凭从投资家们募集来的钱来拍电影的体系，如何能造就大型的电影公司呢。所以，也不会有长期的战略，组织性的行动和稳定感。因为现在在韩国有电影能赚钱的印象，所以召集投资家们并不难，但是大型作品如果连续失败2部的话，对电影的投资一下子就会减少。现在，韩国电影电视剧有种泡沫经济的感觉，如果大型投资的作品在日本市场上一部接一部失败的话，韩国娱乐界的泡沫经济就会结束，并且有可能导致相当长时间内做不出大型作品的情形。
现在制作之中，或者等待在日本公开的韩国的大型作品，我认为全部都会失败。只有12月公开的全智贤的“NeChinSon”会坚持一下。这个“NeChinSon”在竞争作品比较少的10月下旬至11月期间开封的话，会更加打响，但是不知道为什么却选在了正月上映。为什么其他的大型作品不会在日本成功，在这里我先不说，制作之前调查一下日本市场就会是很明白的事情。
回到前面的话题。。。《实尾岛》虽然也是北朝鲜关联的电影，但是不是关于现在的北朝鲜。日本人感兴趣的是现在的北朝鲜。所以《实尾岛》并不具备北朝鲜关联的加分要素。《太极旗飘扬》，日本人对朝鲜战争基本上是一无所知，所以也没有兴趣。有好多台词根本译不成日语。如果开始就意识到日本市场的话，本来应该在作台词的时候就作调整的。还有，最主要的是，相关人士根本部了解，在日本勇俊的人气和其他的韩国演员的人气具有本质区别的这一事实。
所以说，所以啊，就因为如此，勇俊的存在实在是太重要了。我预计从现在开始至来年的前半段，看到在日本开封的韩国大型作品只收到5，6亿日元收入的情况，相关人士会问为什么？吧。对这个为什么？的回答就是，错以为勇俊人气是韩国人气。这个问题以前也曾详细说过。
为了给韩国的电影电视剧界注入活力，这个阶段太需要一部像冬恋一样的轰动性作品了。这样的作品毫无疑问将是勇俊的作品。勇俊如果出演艺术性作品，许秦豪导演的作品，在日本会创稍稍超出10亿日元的收入，如果是动作片等具有娱乐要素的作品，收入将会是20亿日元以上，是可以拉整个韩国的电影界一把的。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/08
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
It seems like Japan is undergoing some major changes.
In Japan, baseball is extremely popular, matches tend to draw viewership of above 20%.
NHK’s period TV production, Taiga Dorama (this means Great River)
at its highest drew some 50% viewership,
and at its lowest, it also managed to achieve some 30%.
But this year, the viewership for baseball matches went as low as below 10%,
and even the NHK Taiga Dorama also dipped to below 20%,
which is the same as Winter Sonata which is screened at 11 o’clock at night.
And this is not just about viewership, I would suppose for this year,
the most watched and talked-about TV production would probably be Winter Sonata…
The Yon-sama craze started from the second half of last year,
and the peak was possibly during his visit to Japan in April this year?
But as I think about it, I’ve realised Yong Joon’s popularity seems to be ever-escalating,
rising without ceiling and with no limit.
And there’s another thing that I’ve observed,
no expert in this field was able to predict the Yon-sama craze,
and all the Korean film experts’ prediction and estimates about Taeguki went haywire
and nothing came true.
There are also quite a number of people
who actually hold this carelessly precarious thought that
all things Korean would make it big in Japan.
These people hardly understand the Japanese market.
This will result in heated speculation within Korea,
and if I were to say this in more certain terms,
this is a very dangerous and high-risk situation.
Thinking that it would be lapped up in Japan,
people start to invest 1 billion yen in making movies,
and then maybe 800 million yen in producing TV dramas…
Are these sound and strategic investment decisions made
after investigating and understanding the Japanese market sufficiently?
I don’t think so.
There are just too many producers who have not carried out any proper research or investigation,
made no effort whatsoever to understand the market in Japan,
yet they think that so long as it’s Korean, it will sell in Japan.
Or maybe I should say, all of the producers in Korea share this thought.
In Korea, there are no big-scale movie production companies,
no movie companies of any substantial size.
Before a film goes in production,
they would just gather all the potential investors and then do a presentation of sort.
They would announce who the director is, who the actors and actresses are,
what sort of movie it is, and appeal for investment funds.
It is near impossible to build any big-scale movie company
based on such method of gathering funds to make movies.
The approach and methodology are simply not appropriate
to grow, groom and develop sound companies.
So… in turn there will not be any long-term strategy,
no organized or coherent growth plans or action plans,
and there will be no stability nor permanence.
Because of the rather rosy picture now,
in that quite a number of movies actually can turn in a profit in Korea,
so it is not that difficult to garner investors.
But if the market sees two major productions fail consecutively,
then definitely we will see a dip in investments into movies.
Currently, the Korean movie and TV drama industry seems to be a bubble situation,
in danger of bursting anytime…
If Korean productions with substantial investment were to fail one by one in Japan,
then the bubble economy of the Korean entertainment industry will burst,
and there’s also a possibility that for a long time, we will not see any large-scale production.
Amongst the Korean major productions that are in the making now,
or pending release in the Japanese market,
it is my view that all these works will fail.
Only Jeon Ji Hyun’s Windstruck slated to be released in December will be able to hold up.
In fact, if this movie Windstruck were to be released in late October or November,
the effect will possibly be better as there is less competition during this period.
But don’t know why, but they’ve chosen to screen it later.
As to why the other major productions will not make it in Japan,
I will not talk about it now.
It is very important to study and understand the market before starting any production.
Returning to the topic we’re talking about earlier…
Although Silmido is a movie that’s about the North Korea,
but it’s not about the North Korea of today.
What the Japanese are interested in is the North Korea of today.
So, Silmido does not possess the extra pull factor of having a North Korea focus in the movie,
which will draw the Japanese movie-goers.
As for Taekugi,
the Japanese basically do not know much about the war between North and South Korea,
and they’re also not that interested to find out more.
And there’re also many lines in the movie
that are extremely difficult or tricky to be translated into Japanese, if at all possible.
If they were thinking about penetrating the Japanese market right from the beginning,
then they should have made some adjustments to the lines.
Besides, and this is perhaps the most critical,
the people in the industry basically do not even understand
that Yong Joon’s popularity in Japan is totally different in nature
from the popularity of other Korean stars in Japan.
The very essence and nature of his popularity in Japan is unique,
and this is a fact.
So, so… because of this, Yong Joon’s presence is so very important.
In my view, I predict that from now all the way to the first half of next year,
when the people in the trade see that the Korean major productions
can only garner some 500 to 600 million yen in takings,
then they would probably start to ask why.
As to how to answer this “why”, well, the answer is right there…
people have been mistaken, they had thought that Yong Joon’s popularity
was actually a Korean popularity in general,
when in truth, his popularity is uniquely his.
I’ve shared my views in detail about this previously.
In order to inject new life into Korean movies and dramas,
we really need a piece of work that’s as phenomenal as Winter Sonata.
Such a work would undoubtedly be something from Yong Joon.
If Yong Joon were to take up a role in a somewhat artistic production,
maybe Director Heo Jin Ho’s movie production,
then it will possibly rake in takings of slightly above 1 billion yen in Japan.
But… if it’s an action-packed movie
complete with all the works required of an entertainment film,
then the takings will be above 2 billion yen,
and this is enough to pull the Korean movie industry out of its doldrums.
Yon-sama分析系列64
投稿者： ふみ / 投稿日： 2004/09/08 09:32:00
大家好。
有感觉好像日本正在发生很大的变化。在日本棒球最人气，一直以来都有20%以上的收视率。NHK的大河连续剧（历史剧）高的时候可以达到50%，低的时候也有30%左右的收视率。但是今年，棒球的收视率降至10%以下，NHK的大河连续剧也只收到20%以下的收视率，和夜间11点开始放送的冬恋是在一个水平上。不单是收视率的问题，今年的最受关注作品，当选的也许会是冬恋吧。
Yon-sama热是自去年的后半开始的，来访日本的4月是高峰？这样想的时候，发现勇俊的人气好像没有顶的一直在疯涨。还有一个现象是，业内的专家谁也没有预测到Yon-sama热，韩国国内的专家们对于《太极旗飘扬》的人气预测全部落空。在对日本没有理解的状态下，抱着只要是韩国的东西就会在日本卖的好的轻率想法的相关人士非常不少。这会导致韩国国内的硬行投资热，要我说的话是这是非常危险的状态。
以为在日本可以热卖， 10亿日元投资的电影，8亿日元投资的连续剧。。。这些是在对日本作了充分的市长调查之后的战略性的投资吗？我想不是吧。什么调查也没作，就以为“在日本韩国的东西好卖”的制作人很多。或者说，基本上全是。
韩国没有大型的电影公司。影片在制作之前，先是把投资家们召集到一起，开一个发表会，说明这回是这么个导演，这么个演员，要拍一个这么个片子，要人家投资。这种凭从投资家们募集来的钱来拍电影的体系，如何能造就大型的电影公司呢。所以，也不会有长期的战略，组织性的行动和稳定感。因为现在在韩国有电影能赚钱的印象，所以召集投资家们并不难，但是大型作品如果连续失败2部的话，对电影的投资一下子就会减少。现在，韩国电影电视剧有种泡沫经济的感觉，如果大型投资的作品在日本市场上一部接一部失败的话，韩国娱乐界的泡沫经济就会结束，并且有可能导致相当长时间内做不出大型作品的情形。
现在制作之中，或者等待在日本公开的韩国的大型作品，我认为全部都会失败。只有12月公开的全智贤的“NeChinSon”会坚持一下。这个“NeChinSon”在竞争作品比较少的10月下旬至11月期间开封的话，会更加打响，但是不知道为什么却选在了正月上映。为什么其他的大型作品不会在日本成功，在这里我先不说，制作之前调查一下日本市场就会是很明白的事情。
回到前面的话题。。。《实尾岛》虽然也是北朝鲜关联的电影，但是不是关于现在的北朝鲜。日本人感兴趣的是现在的北朝鲜。所以《实尾岛》并不具备北朝鲜关联的加分要素。《太极旗飘扬》，日本人对朝鲜战争基本上是一无所知，所以也没有兴趣。有好多台词根本译不成日语。如果开始就意识到日本市场的话，本来应该在作台词的时候就作调整的。还有，最主要的是，相关人士根本部了解，在日本勇俊的人气和其他的韩国演员的人气具有本质区别的这一事实。
所以说，所以啊，就因为如此，勇俊的存在实在是太重要了。我预计从现在开始至来年的前半段，看到在日本开封的韩国大型作品只收到5，6亿日元收入的情况，相关人士会问为什么？吧。对这个为什么？的回答就是，错以为勇俊人气是韩国人气。这个问题以前也曾详细说过。
为了给韩国的电影电视剧界注入活力，这个阶段太需要一部像冬恋一样的轰动性作品了。这样的作品毫无疑问将是勇俊的作品。勇俊如果出演艺术性作品，许秦豪导演的作品，在日本会创稍稍超出10亿日元的收入，如果是动作片等具有娱乐要素的作品，收入将会是20亿日元以上，是可以拉整个韩国的电影界一把的。
Analyzing Yon-Sama - Part 65
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/09
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
I had wanted to analyze a little about the story of Yong Joon’s new work Baran
(bb: Wind… During September last year, Yong Joon had not announced his new work,
and there were some rumours that Baran would be his next work.)
But I’ve seen news saying that's actually an erroneous report by the Korean media,
and Yong Joon was not going to star in Baran.
Central Daily was the Korean paper that had reported on Baran;
previously it was also Central Daily that reported about Yong Joon’s long stay in Japan.
Although this paper is known to be very fast with its entertainment news,
it would appear that it had jumped the gun this time.
According to the latest news, nothing has been decided as yet, especially:
1. Ko Hyun Jung needs more time to rest,
and her manager has denied her participation in this production.
There’s another actress who’s rumoured to be in the running for the female lead
in Yong Joon’s new work; she is Shim Eun Ha (of Christmas in August)
and she is in the middle of a hiatus, taking a break from her acting career.
There has been no discussion or news pertinent to this rumour on her official website.
2. The production company has clarified the title of the production is not Baran.
3. Yong Joon’s manager’s comment: His next work will be a movie,
and we’ve not decided on any specific or detailed plans.
4. The movie production team’s comment:
It is true that they have invited Yong Joon and Ko Hyun Jung to star in the movie,
but likewise, nothing has been decided as yet.
That is to say, it is a fact that Ko Hyun Jung will not be starring in this production.
As for whether Yong Joon will take on the role, it is still unclear at this present moment.
I’m wondering if they’re still negotiating over the final terms of the contract…
I would like to say a bit more about this later.
Previously in your replies to my posting, some of you have mentioned that
the access rates or hits appear to be quite low on the Korean official board.
When I visit the Korean official board, I’ve observed that the age group of those
who post on the board seems to be quite low, quite young.
Up to now, reading the postings on the Korean official board,
I’ve a feeling that none of them is above forty years old. None.
But everyone knows this… in Korea it’s the same, that Yong Joon’s core fans (chuckles)
are usually the housewives. Frankly, in the past I’ve had this thought,
I’d wondered if amongst Yong Joon’s Korean family,
could it be that most of them are ajummas (Korean: referring to middle-aged women)
and do not even bother with official boards, so they do not post anything
(Sorry if I’ve offended anyone).
As for Yong Joon’s new work, especially if it’s a love story,
then could it be that something’s not going smoothly regarding the terms of the contract?
This is what I think… The production cost of a love story should be low,
because movies of such genre typically do not sell a lot of tickets,
so in turn, the actors’ appearance fees are not high.
But… what if it’s Yong Joon?
Yong Joon’s works will definitely make it very big in Japan, which has a huge market.
So, what would be an appropriate sum for Yong Joon to star in this love story?
This is a difficult question. There has been no actor in the entire history of Korea
who has been able to be so popular in Japan.
From the angle of Korea, it’s not easy to come to a neat figure for Yong Joon,
since there has been no precedent.
If this movie was a major production with big budget,
then perhaps it’s a smaller problem.
But if this is a love story with comparatively small budget
and they’re to cast Yong Joon, then his fees will become a headache.
Perhaps Yong Joon could not care less for the money,
he will only choose works that he wants to act in.
But from the perspective of his managers,
they obviously would want to protect his interests, and let him suffer no loss.
I would suggest that they work on the rewards should the movie be a success,
for instance, they could offer to Yong Joon a certain percentage of the profits
(much like royalty fees from the sales takings) as part of his appearance fees.
And this percentage must be quite substantial and significant,
as Yong Joon’s next work will definitely be hailed as a Yong Joon brand
and his popularity will be used and leveraged to draw audience.
Why are stars’ appearance fees high?
I would like to share something here that people don’t generally think about.
Here, we also touch on how we define “star”.
Now, supposing a “star” starts filming a movie,
let’s imagine the response coming from Japan.
1. Firstly, right from the filming stage, this movie will become a hot topic,
and movie magazines will start to report on the commencement of the shooting, etc.
If it’s a superstar, then publications other than movie-related ones will also report on this.
2. Upon completion of the movie,
the movie magazines will publish pages of detailed introduction of the movie.
3. Just before the movie is being released,
all media will introduce the movie, talk about the storyline and analyze the work, etc.
The above three parts are all part of promotion for a movie,
and the cost of such promotion effort is very high.
But when a star is cast in the movie,
then the movie company does not have to spend money on promotion,
because the media will report on it anyway.
For movies or productions without stars,
then if the movie company wants the media to carry out the same extent of press coverage,
then by Korean standards, the promotion costs will actually work out to many times
of the actual production cost for the movie.
I would suppose the Koreans know this,
especially the parties who want to work with Yong Joon on movies (chuckles).
From the commercial angle, my understanding of the word “star” is thus:
If that person were to be cast in a movie,
then so long as we announce that the person will act in it,
then media will all come in the droves.
Coverage and reports on the movie, related news releases, etc…
all will be done without the movie company having to ask.
If an actor or actress can achieve this effect,
then he or she fulfils the basic commercial definition of what a star is all about.
Now, amongst the movie actors and actresses in Korea,
to be so closely watched even before announcing the new work,
and once news of the new work has been announced,
to be able to enjoy “free” and big-scale coverage by domestic and Japanese media…
now there’s any one such star, and that’s Yong Joon.
This is something that other Korean movies cannot achieve, cannot garner.
In the past, when I saw how the Japanese media would promote
the overseas stars for free, I was so envious.
You must understand this, even if you’re willing to pay a huge sum of money for promotion,
you’ll still not be able to achieve this.
And now, a star has finally emerged from Korea,
a star who is able to make the media do free coverage happily,
just like the top stars from overseas…
In fact, he is even able to achieve more coverage than these other mega stars,
and he hails from Korea.
So… in actual fact, I would think that Yong Joon’s appearance fees
would be a sky-high number that was never before offered in Korea,
it’s like nothing Korea has experienced before.
Could it be because of this term in the contract the new work cannot be decided as yet?
As fans, the only thing we can do is to wait patiently.
But up to now, I’m still hoping that the new work will be an action movie,
or perhaps a detective thriller.
Yon-sama分析65
投稿者： ふみ / 投稿日： 2004/09/09 10:53:53
大家好。今天本来想对勇俊的新作《风》的故事情节作一下分析的，结果又有了说上述是韩国报纸误报的新报道。写《风》的记事的主要是中央日报，之前的勇俊日本驻留说也是这家报纸报道的，虽然是个娱乐情报特别丰富的报纸，但是好像报得太早了吧。根据新news，首先，什么事情还都没有决定，特别是，
1．高贤贞还要长期休息，她的经理人全面否定了这部作品的出演。传闻会出演这部作品的还有一个引退的女演员沈银河（八月照相馆），沈银河方面的公式网上也是没有评论的状态。
2．制作方发表，这部作品的题目不是《风》（Baran）。
3．勇俊经理人的comment：下部作品会是电影，更详细的还没有决定。
4．作品的制作方的comment：邀请勇俊和高贤贞出演是事实，同样，什么事情也还没有决定。
就是说，这部作品高贤贞不出演是确实的了，勇俊出不出演还处于不明了的状态。我猜测是不是在最终的合约阶段意见不一致呢？关于这一点我后面再详细说。
之前，关于大家的回贴里面，有说到韩国的公式网点击数比较低的问题。我看韩国公式网的时候，觉得那里发贴的fans的年龄都相当低。到现在为止我看到的韩国公式网上的发言，感觉是40岁以上的人一个也没有。可是大家都知道，在韩国也是，勇俊fans的“主力部队”（笑）是主妇层。以前开始我就觉得是不是韩国的勇俊家族，特别是Ajyunma（韩语，指中年妇女）部队（失礼了）根本就不看公式网，不发贴啊。
关于勇俊的新作，特别是在恋爱故事的话，是否合约上出现问题呢？我想。恋爱故事的片子制作费会很少，因为通常不会非常卖座，所以也付不出很高的出演费。但是，如果是勇俊出演的话会怎样呢？勇俊的作品在号称拥有巨大市场的日本，是一定会打响的。那么勇俊的出演费多少是合适呢？这可是个难题啊。韩国至今为止没有出现过像勇俊这样在日本能够确实走红的演员，从韩国的角度来说，是要在没有经验的情况下促成一个毫无先例的合约。这部作品如果是个大型企画，预算也很大的话，或者还没问题，预算不怎么大的恋爱片如果要勇俊出演，那么勇俊的出演费就会成为一个大问题。
虽然勇俊也许会不在乎出演费用，只挑选作品，但是从经理人的角度考虑，当然不能让勇俊受损失。我的想法是，把成功后的报酬加大，比如说，片子收益的一定的百分比付给勇俊作为出演费。这个百分比必须是个大数字，因为勇俊的下部作品是完全以“勇俊作品”作招牌的。
为什么Star的出演费用高呢？我想介绍一下通常大家不大考虑的部分。这里面有个如何定义“Star”的问题。
现在，假设“Star”开始拍摄电影，设想一下在日本的反应吧。
1．首先，从拍摄阶段开始这部片子就会成为话题，在电影专门杂志上开拍的消息会被报道。超级明星的话，专门杂志以外的媒体也全都会报道开拍的新闻。
2．片子完成了，专门杂志会连篇累牍地详细记述该片。
3．片子公开之前，各种媒体会广泛介绍作品内容，作分析等等
1，2，3全部是电影宣传的部分，这个宣传工作的作用是非常巨大的。Star出演的作品，不用花钱宣传，媒体自己就开始介绍了。没有Star出演的作品，如果想要媒体作同样程度的宣传，那么从韩国的基准来考虑，宣传费用会达到片子本身制作费用的好几倍。韩国方面应该理解到这一点吧，特别是要和勇俊合作电影的制作会社（笑）。
所以从商业的角度，我理解的Star的定义就是，
那个人出演的片子，只要说是那个人来演，各媒体就会蜂拥而至，电影报道啊，相关内容的放送啊，不请自来。能做到这一点的人就是商业意义的Star。
现在，韩国的电影演员里面，出演作品公开之前就成为话题被关注，公开的同时日本的媒体会“免费”大行报道的star只有勇俊一个人。同样的事情别的韩国电影都无法做到。我从前看到日本的媒体免费为外国的Star们进行作品宣传的时候，我特别羡慕来着。同样的事情即使肯花钱也是未必能做到的。这期间，和外国的顶尖明星一样，或者在那以上，令媒体高高兴兴地作免费宣传的Star，从韩国也终于登场了。
所以说，实际上，我想勇俊的电影出演费会达到韩国没有经验过的天文学一样的数字吧。是不是因为合约的问题导致新作无法决定呢？作为fans我们只有耐心等待吧。可是知道现在我还是希望新作会是个动作片，或者侦探片啊。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/09
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
I had wanted to analyze a little about the story of Yong Joon’s new work Baran
(bb: Wind… During September last year, Yong Joon had not announced his new work,
and there were some rumours that Baran would be his next work.)
But I’ve seen news saying that's actually an erroneous report by the Korean media,
and Yong Joon was not going to star in Baran.
Central Daily was the Korean paper that had reported on Baran;
previously it was also Central Daily that reported about Yong Joon’s long stay in Japan.
Although this paper is known to be very fast with its entertainment news,
it would appear that it had jumped the gun this time.
According to the latest news, nothing has been decided as yet, especially:
1. Ko Hyun Jung needs more time to rest,
and her manager has denied her participation in this production.
There’s another actress who’s rumoured to be in the running for the female lead
in Yong Joon’s new work; she is Shim Eun Ha (of Christmas in August)
and she is in the middle of a hiatus, taking a break from her acting career.
There has been no discussion or news pertinent to this rumour on her official website.
2. The production company has clarified the title of the production is not Baran.
3. Yong Joon’s manager’s comment: His next work will be a movie,
and we’ve not decided on any specific or detailed plans.
4. The movie production team’s comment:
It is true that they have invited Yong Joon and Ko Hyun Jung to star in the movie,
but likewise, nothing has been decided as yet.
That is to say, it is a fact that Ko Hyun Jung will not be starring in this production.
As for whether Yong Joon will take on the role, it is still unclear at this present moment.
I’m wondering if they’re still negotiating over the final terms of the contract…
I would like to say a bit more about this later.
Previously in your replies to my posting, some of you have mentioned that
the access rates or hits appear to be quite low on the Korean official board.
When I visit the Korean official board, I’ve observed that the age group of those
who post on the board seems to be quite low, quite young.
Up to now, reading the postings on the Korean official board,
I’ve a feeling that none of them is above forty years old. None.
But everyone knows this… in Korea it’s the same, that Yong Joon’s core fans (chuckles)
are usually the housewives. Frankly, in the past I’ve had this thought,
I’d wondered if amongst Yong Joon’s Korean family,
could it be that most of them are ajummas (Korean: referring to middle-aged women)
and do not even bother with official boards, so they do not post anything
(Sorry if I’ve offended anyone).
As for Yong Joon’s new work, especially if it’s a love story,
then could it be that something’s not going smoothly regarding the terms of the contract?
This is what I think… The production cost of a love story should be low,
because movies of such genre typically do not sell a lot of tickets,
so in turn, the actors’ appearance fees are not high.
But… what if it’s Yong Joon?
Yong Joon’s works will definitely make it very big in Japan, which has a huge market.
So, what would be an appropriate sum for Yong Joon to star in this love story?
This is a difficult question. There has been no actor in the entire history of Korea
who has been able to be so popular in Japan.
From the angle of Korea, it’s not easy to come to a neat figure for Yong Joon,
since there has been no precedent.
If this movie was a major production with big budget,
then perhaps it’s a smaller problem.
But if this is a love story with comparatively small budget
and they’re to cast Yong Joon, then his fees will become a headache.
Perhaps Yong Joon could not care less for the money,
he will only choose works that he wants to act in.
But from the perspective of his managers,
they obviously would want to protect his interests, and let him suffer no loss.
I would suggest that they work on the rewards should the movie be a success,
for instance, they could offer to Yong Joon a certain percentage of the profits
(much like royalty fees from the sales takings) as part of his appearance fees.
And this percentage must be quite substantial and significant,
as Yong Joon’s next work will definitely be hailed as a Yong Joon brand
and his popularity will be used and leveraged to draw audience.
Why are stars’ appearance fees high?
I would like to share something here that people don’t generally think about.
Here, we also touch on how we define “star”.
Now, supposing a “star” starts filming a movie,
let’s imagine the response coming from Japan.
1. Firstly, right from the filming stage, this movie will become a hot topic,
and movie magazines will start to report on the commencement of the shooting, etc.
If it’s a superstar, then publications other than movie-related ones will also report on this.
2. Upon completion of the movie,
the movie magazines will publish pages of detailed introduction of the movie.
3. Just before the movie is being released,
all media will introduce the movie, talk about the storyline and analyze the work, etc.
The above three parts are all part of promotion for a movie,
and the cost of such promotion effort is very high.
But when a star is cast in the movie,
then the movie company does not have to spend money on promotion,
because the media will report on it anyway.
For movies or productions without stars,
then if the movie company wants the media to carry out the same extent of press coverage,
then by Korean standards, the promotion costs will actually work out to many times
of the actual production cost for the movie.
I would suppose the Koreans know this,
especially the parties who want to work with Yong Joon on movies (chuckles).
From the commercial angle, my understanding of the word “star” is thus:
If that person were to be cast in a movie,
then so long as we announce that the person will act in it,
then media will all come in the droves.
Coverage and reports on the movie, related news releases, etc…
all will be done without the movie company having to ask.
If an actor or actress can achieve this effect,
then he or she fulfils the basic commercial definition of what a star is all about.
Now, amongst the movie actors and actresses in Korea,
to be so closely watched even before announcing the new work,
and once news of the new work has been announced,
to be able to enjoy “free” and big-scale coverage by domestic and Japanese media…
now there’s any one such star, and that’s Yong Joon.
This is something that other Korean movies cannot achieve, cannot garner.
In the past, when I saw how the Japanese media would promote
the overseas stars for free, I was so envious.
You must understand this, even if you’re willing to pay a huge sum of money for promotion,
you’ll still not be able to achieve this.
And now, a star has finally emerged from Korea,
a star who is able to make the media do free coverage happily,
just like the top stars from overseas…
In fact, he is even able to achieve more coverage than these other mega stars,
and he hails from Korea.
So… in actual fact, I would think that Yong Joon’s appearance fees
would be a sky-high number that was never before offered in Korea,
it’s like nothing Korea has experienced before.
Could it be because of this term in the contract the new work cannot be decided as yet?
As fans, the only thing we can do is to wait patiently.
But up to now, I’m still hoping that the new work will be an action movie,
or perhaps a detective thriller.
Yon-sama分析65
投稿者： ふみ / 投稿日： 2004/09/09 10:53:53
大家好。今天本来想对勇俊的新作《风》的故事情节作一下分析的，结果又有了说上述是韩国报纸误报的新报道。写《风》的记事的主要是中央日报，之前的勇俊日本驻留说也是这家报纸报道的，虽然是个娱乐情报特别丰富的报纸，但是好像报得太早了吧。根据新news，首先，什么事情还都没有决定，特别是，
1．高贤贞还要长期休息，她的经理人全面否定了这部作品的出演。传闻会出演这部作品的还有一个引退的女演员沈银河（八月照相馆），沈银河方面的公式网上也是没有评论的状态。
2．制作方发表，这部作品的题目不是《风》（Baran）。
3．勇俊经理人的comment：下部作品会是电影，更详细的还没有决定。
4．作品的制作方的comment：邀请勇俊和高贤贞出演是事实，同样，什么事情也还没有决定。
就是说，这部作品高贤贞不出演是确实的了，勇俊出不出演还处于不明了的状态。我猜测是不是在最终的合约阶段意见不一致呢？关于这一点我后面再详细说。
之前，关于大家的回贴里面，有说到韩国的公式网点击数比较低的问题。我看韩国公式网的时候，觉得那里发贴的fans的年龄都相当低。到现在为止我看到的韩国公式网上的发言，感觉是40岁以上的人一个也没有。可是大家都知道，在韩国也是，勇俊fans的“主力部队”（笑）是主妇层。以前开始我就觉得是不是韩国的勇俊家族，特别是Ajyunma（韩语，指中年妇女）部队（失礼了）根本就不看公式网，不发贴啊。
关于勇俊的新作，特别是在恋爱故事的话，是否合约上出现问题呢？我想。恋爱故事的片子制作费会很少，因为通常不会非常卖座，所以也付不出很高的出演费。但是，如果是勇俊出演的话会怎样呢？勇俊的作品在号称拥有巨大市场的日本，是一定会打响的。那么勇俊的出演费多少是合适呢？这可是个难题啊。韩国至今为止没有出现过像勇俊这样在日本能够确实走红的演员，从韩国的角度来说，是要在没有经验的情况下促成一个毫无先例的合约。这部作品如果是个大型企画，预算也很大的话，或者还没问题，预算不怎么大的恋爱片如果要勇俊出演，那么勇俊的出演费就会成为一个大问题。
虽然勇俊也许会不在乎出演费用，只挑选作品，但是从经理人的角度考虑，当然不能让勇俊受损失。我的想法是，把成功后的报酬加大，比如说，片子收益的一定的百分比付给勇俊作为出演费。这个百分比必须是个大数字，因为勇俊的下部作品是完全以“勇俊作品”作招牌的。
为什么Star的出演费用高呢？我想介绍一下通常大家不大考虑的部分。这里面有个如何定义“Star”的问题。
现在，假设“Star”开始拍摄电影，设想一下在日本的反应吧。
1．首先，从拍摄阶段开始这部片子就会成为话题，在电影专门杂志上开拍的消息会被报道。超级明星的话，专门杂志以外的媒体也全都会报道开拍的新闻。
2．片子完成了，专门杂志会连篇累牍地详细记述该片。
3．片子公开之前，各种媒体会广泛介绍作品内容，作分析等等
1，2，3全部是电影宣传的部分，这个宣传工作的作用是非常巨大的。Star出演的作品，不用花钱宣传，媒体自己就开始介绍了。没有Star出演的作品，如果想要媒体作同样程度的宣传，那么从韩国的基准来考虑，宣传费用会达到片子本身制作费用的好几倍。韩国方面应该理解到这一点吧，特别是要和勇俊合作电影的制作会社（笑）。
所以从商业的角度，我理解的Star的定义就是，
那个人出演的片子，只要说是那个人来演，各媒体就会蜂拥而至，电影报道啊，相关内容的放送啊，不请自来。能做到这一点的人就是商业意义的Star。
现在，韩国的电影演员里面，出演作品公开之前就成为话题被关注，公开的同时日本的媒体会“免费”大行报道的star只有勇俊一个人。同样的事情别的韩国电影都无法做到。我从前看到日本的媒体免费为外国的Star们进行作品宣传的时候，我特别羡慕来着。同样的事情即使肯花钱也是未必能做到的。这期间，和外国的顶尖明星一样，或者在那以上，令媒体高高兴兴地作免费宣传的Star，从韩国也终于登场了。
所以说，实际上，我想勇俊的电影出演费会达到韩国没有经验过的天文学一样的数字吧。是不是因为合约的问题导致新作无法决定呢？作为fans我们只有耐心等待吧。可是知道现在我还是希望新作会是个动作片，或者侦探片啊。
Analyzing Yon-Sama - Part 66
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/09
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Before the announcement of the new work, Yong Joon’s fans all over Asia are asking, “Is it now? Will he be announcing soon?” They’re all waiting in anxiety. But I would like to say this to Yong Joon’s managers, although Yong Joon had told the fans that he would announce his new work within this week, there’s no need to forcibly keep this promise just for the sake of it. Because this is something very important, so do take however much time that’s required to sort things out and make a decision.
After all the commotion, it would appear that Yong Joon would not be appearing in Baran (bb: Wind). So let’s take a step back and reflect on what precisely about this new movie that had attracted Yong Joon so? I would like to analyze this love story a little:
From the media reports gathered so far, it appears that the storyline for the new movie is something like that:
1. Woman and husband are involved in a traffic accident. At the hospital, woman and man (Yong Joon’s character) meet and fall in love.
2. Man has girlfriend (or perhaps wife) somewhere else. Man is also attracted to woman.
So, then, how will the love between man and woman develop? This appears to be the core storyline of this movie.
Korea’s movies that are about love always use “the forbidden love” as a theme. There could be some common reasons why the love is not possible, and most would be social constraints (for instance, the rich-poor divide, huge gap in education levels, etc). In this love, what becomes an obstacle to love have to do with moral and feelings, that is conscience. To disregard the husband who loves her, the husband who’s involved in the same traffic accident and develop feelings for another man… Is this possible? (If it’s up to me, I would say no. Haha) And the man will leave his girlfriend or wife, and be with the woman who is someone else’s wife. Can this work?
(bb: Please note Fumi wrote this before the synopsis of April Snow was out…. So there’re discrepancies in the storyline.)
So… using conscience as an obstacle to love, this is something different. Quite a refreshing change for the movie-goers.
In most love stories, there would be one main female lead and two men. The reverse model of one man two women is not popular in Korea. This story has 2 men and 2 women, while it has not deviated much from the usual model, there’s still a sense of newness.
About the story, what could possibly be the ending?
1. If someone is to die, then who would? This is a very commonly used model in Korean movies (Chuckles).
The woman’s husband eventually dies from the accident. The woman suffers extreme pain and a great sense of loss engulfs her, causing her to realise the extent of her husband’s love. She says goodbye to the man.
The man (Yong Joon’s character) probably meets the woman in the hospital. So maybe the man is also sick, and his illness deteriorates and eventually dies. So who would the man choose before he dies, his lover or his girlfiend/wife?
The woman dies from after-effects from the traffic accident. But who would she choose before she dies, which man?
2. Nobody dies. Under such circumstances, the woman will possibly return to her husband, but she will be in much pain due since her true love is someone else.
The man (Yong Joon’s character) will suffer even more pain. This story may not be as interesting, but perhaps it will be acceptable to the audience due to its sense of realism. It’s that much closer to reality.
The story may start with the woman as the focal point, or maybe from the man’s perspective, or even with both as the focus, and develop from there. Thereafter, the character development of each role will also change. Director Hur JinHo will also participate in the script writing, I think this will be a story with with much tension and suspense.
From the press reports, it would appear that some six months have passed up till now, the final stage of the contract negotiation. That’s to say Yong Joon would have received the offer sometime in March this year? Yong Joon had gone through quite a number of scripts, stories of all genre when picking on his next work. He selected two from the lot, and both are love storyes. One of them is this movie. I would imagine Yong Joon has chosen to work on love stories because Yong Joon did not see anything he liked amongst the scripts from the other genre.
That movie which has been tentatively named Baran… I don’t think it would work without Yong Joon. Because young people do not like to watch love stories about thirty-something married people. Especially in Korea, the younger generation takes up a large portion of the movie fans. Movies that the young people do not enjoy watching will not usually be very successful. If we have to be precise about it, in the Korean movie industry, there are five actors with the ability to pull in the crowds, and they are Yong Joon, Jang Dong Gun, Won Bin, Jung Woo Sung and Lee Jung Jae.
But other than Yong Joon, the other four would not have chosen to work on this movie. Because there are no key elements of success in this movie. Although this is not exactly something that’s 100% experimental, but surely most would have gone for something with mass appeal, something more commercialised. If the female lead is someone like superstar Shim Yun Ha, then maybe it’s worth a thought. But to decide to star in this movie without even knowing the female lead (and it’s also not certain if shooting can commence within this year) takes a lot of courage.
Here are some of my guesses and speculation. I think these are what the production team thinks: If Yong Joon says ok, they imagine that they would be able to start filming quite immediately. So long as Yong Joon has agreed, it doesn’t really matter who the female lead is. This is probably what they think (Chuckles). They invited both Koh Hyeon Jeong and Shim Yun Ha, and told Yong Joon that one of them would be starring in the movie. On the other hand, they also told the two actresses that Yong Joon will probably be starring in this movie. But later, when Yong Joon’s side heard that Koh has declined the invitation, and there’s no decision as to who the female lead would be, surely Yong Joon would be suspicious. Here’s how I look at it: the movie company had said that if Yong Joon did not agree to star in the movie, then the movie could not start filming within this year. This statement itself is cause for suspicion. Don’t tell me that since the movie company offered the script to Yong Joon in March, they did not do anything or make any progress at all all these months? All they did in this long period of time was just to wait for Yong Joon’s decision?
Maybe this was because the investors all laid down the condition that the funds would only come in if Yong Joon’s appearing in the movie. So…. The underlying condition is that Yong Joon must say yes. If he’s not appearing in this movie, then everything will take a 180-degree change. Before, they would wait even that long six months for Yong Joon, simply because the movie can only go on if Yong Joon say yes. Therefore, when Yong Joon’s side hinted at the possibility of not taking up the role, the movie company then made that statement about possibly not starting the shooting within this year.
What I’ve heard is that the representatives from the movie company are not dealing with Yong Joon’s side directly, there are a few people facilitating the negotiation between the two parties. I suppose this is why both sides feel that some messages were lost or mis-relayed along the way.
Yon-sama分析系列66
投稿者： ふみ / 投稿日： 2004/09/09 12:51:36
大家好。新作发表之前，亚洲的勇俊fans们都在“是现在吗？是现在吗？”地焦急等待之中。但是，我想对勇俊的经理人这样说，虽然勇俊对fans说这个星期内要发表下部作品，但是不必要勉强地去守这个约。因为是非常重要的事情，好好花时间去作决定吧。
弄了半天好像勇俊不会出演《风》（Baran）了，但是回头来看这部作品是什么地方吸引了勇俊呢？我想就这个恋爱故事本身分析一下。
综合报道的内容，这部作品的故事情节大致好像是这个样子。
1．女人和丈夫一起遭遇交通事故。医院里，女人和男人（勇俊角色）相遇而堕入爱情。
2．男人在另外的地方有女朋友（或者是妻子）。男人也被女人吸引。
那么，这两个人的爱情会如何发展呢？这好像就是这部作品的中心情节。
韩国的恋爱电影经常以“禁断的爱情”作为主题。通常，爱情被“禁断”的原因，多设定为社会环境（财产，学历的差等）。在这个故事里成为爱情障碍的是“伦理和感情”，即“良心”。把爱自己的，和自己一起遭遇交通事故的住院中的丈夫舍弃，对别的男人产生爱情，这是能行的事情吗？（要让我说的话，不行。笑） 男方也抛弃异地的女友，和这样状况中的人妻相爱，这能行吗？
把爱情的障碍，设定为良心的这一点，给人以一些崭新的感觉吧。
接下来，一般来说，恋爱故事都是一女2男的设定，相反的模式，一男2女的设定在韩国不会受欢迎。这个故事是男女各2人，上述的模式可以同时存在，这也有点儿新鲜的感觉。
这个故事，结局会是个什么样子呢？
1．如果是谁要死去的情形。这是韩国电影很常用的模式。那么，谁会死呢？（笑）
女人的丈夫，因交通事故入院，不幸最终死去。女人在悲痛之下，重新意识到丈夫的爱，和男人说再见。
男人（勇俊角色）和女人相遇大概是在医院吧，其实男人也抱病在身，病情恶化，死去。死之前选色的爱人是那个夫人？
女人，因交通事故的后遗症死去。女人在死之前选择的男人会是谁呢？
2．谁也不死的情形。这种情形下，妻子结局还是会回到丈夫身边的吧。但是心中会为感受到的真正的爱情而痛苦。男人，勇俊的角色，会更痛苦。故事情节虽然不怎么有趣，作为现实的设定也许会引起观众的认可吧。
故事的展开会因以人妻为中心展开，还是以男人为中心展开，或者两个人同时聚焦，而发生变化。随之，演员的配置也会发生变化。许秦豪导演也参与剧本的创作，我想会是一个很有紧张感的故事吧。
从报道上看，为了达到现在这个阶段（最终合约的阶段）已经花了有6个月的时间，这样说来勇俊接到这个offer是在今年的3月的时候？勇俊对于出演作品，不分作品的类型，看了好多剧本。他在其中选择了两个，两个都是恋爱故事，其中之一是这部作品。之所以选择恋爱故事，我想是因为碰巧其他类型的作品里，没有勇俊喜欢的东西的缘故吧。
这部暂名《风》的作品，如果勇俊不出演的话，我想是不会打响的吧。因为30岁的已婚者的恋爱故事，年轻人不会爱看。尤其在韩国，电影fans里面年轻一代的比重非常大。年轻人不喜欢看的电影通常是不会取得大的成功的。要说的话，韩国的电影界里，勇俊和张东健，元彬，郑雨盛（Jung woo-sung，武士），李政宰，这5人被评价为最有票房号召力的演员。
但是，勇俊以外的4个人是不会选择这个作品的。因为没有多少成功的要素。虽然这也不是100%的实验性作品。一般都会选择更大众性的作品吧。对手戏的女演员如果是沈银河那样的大明星的话还可以重新考虑，对手戏的女演员还不确定的白纸状态下（今年之内能否进入拍摄还不清楚），要决定是否出演这样的作品，实在是很需要勇气的事情。
这里，我擅自作一下推测。制作方考虑的事情：如果勇俊说OK的话，他们以为马上就可以进入拍摄。只要勇俊同意，女演员是谁都不重要？他们是这样想的吧（笑）。他们给高贤贞，沈银河都发出了邀请，并且和勇俊方说其中一位会出演。另一方面，他们和两位女演员也说勇俊出演的比率特别高，从而来邀请她们出演。但是之后，勇俊方得知高拒绝出演，女演员是谁还完全没有决定，这样的状况下勇俊也要产生怀疑了吧。我认为，制作方说勇俊不出演的情况下，今年中无法进入拍摄，这样的说法就很有问题。难道3月给勇俊发出offer之后的这么长时间里，制作方只是在等待勇俊的决定吗？这也许是影片的投资方，以勇俊出演作为条件的人很多的缘故吧？那么就是说，这部作品的制作条件是勇俊的出演，勇俊不出演的话就会180度转变。
因为是以勇俊出演作为前提的片子，所以6个月也等了（一般是不会等的）。这时，勇俊方说也许不会出演，那么制作方才有了今年中可能不会进入拍摄这样的发言吧。
听到的话讲，制作方的负责人不是直接和勇俊方进行交涉的，是有几个人在中间作调节，所以才会到最终的决定阶段两方面都感到好些话合不上吧。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/09
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Before the announcement of the new work, Yong Joon’s fans all over Asia are asking, “Is it now? Will he be announcing soon?” They’re all waiting in anxiety. But I would like to say this to Yong Joon’s managers, although Yong Joon had told the fans that he would announce his new work within this week, there’s no need to forcibly keep this promise just for the sake of it. Because this is something very important, so do take however much time that’s required to sort things out and make a decision.
After all the commotion, it would appear that Yong Joon would not be appearing in Baran (bb: Wind). So let’s take a step back and reflect on what precisely about this new movie that had attracted Yong Joon so? I would like to analyze this love story a little:
From the media reports gathered so far, it appears that the storyline for the new movie is something like that:
1. Woman and husband are involved in a traffic accident. At the hospital, woman and man (Yong Joon’s character) meet and fall in love.
2. Man has girlfriend (or perhaps wife) somewhere else. Man is also attracted to woman.
So, then, how will the love between man and woman develop? This appears to be the core storyline of this movie.
Korea’s movies that are about love always use “the forbidden love” as a theme. There could be some common reasons why the love is not possible, and most would be social constraints (for instance, the rich-poor divide, huge gap in education levels, etc). In this love, what becomes an obstacle to love have to do with moral and feelings, that is conscience. To disregard the husband who loves her, the husband who’s involved in the same traffic accident and develop feelings for another man… Is this possible? (If it’s up to me, I would say no. Haha) And the man will leave his girlfriend or wife, and be with the woman who is someone else’s wife. Can this work?
(bb: Please note Fumi wrote this before the synopsis of April Snow was out…. So there’re discrepancies in the storyline.)
So… using conscience as an obstacle to love, this is something different. Quite a refreshing change for the movie-goers.
In most love stories, there would be one main female lead and two men. The reverse model of one man two women is not popular in Korea. This story has 2 men and 2 women, while it has not deviated much from the usual model, there’s still a sense of newness.
About the story, what could possibly be the ending?
1. If someone is to die, then who would? This is a very commonly used model in Korean movies (Chuckles).
The woman’s husband eventually dies from the accident. The woman suffers extreme pain and a great sense of loss engulfs her, causing her to realise the extent of her husband’s love. She says goodbye to the man.
The man (Yong Joon’s character) probably meets the woman in the hospital. So maybe the man is also sick, and his illness deteriorates and eventually dies. So who would the man choose before he dies, his lover or his girlfiend/wife?
The woman dies from after-effects from the traffic accident. But who would she choose before she dies, which man?
2. Nobody dies. Under such circumstances, the woman will possibly return to her husband, but she will be in much pain due since her true love is someone else.
The man (Yong Joon’s character) will suffer even more pain. This story may not be as interesting, but perhaps it will be acceptable to the audience due to its sense of realism. It’s that much closer to reality.
The story may start with the woman as the focal point, or maybe from the man’s perspective, or even with both as the focus, and develop from there. Thereafter, the character development of each role will also change. Director Hur JinHo will also participate in the script writing, I think this will be a story with with much tension and suspense.
From the press reports, it would appear that some six months have passed up till now, the final stage of the contract negotiation. That’s to say Yong Joon would have received the offer sometime in March this year? Yong Joon had gone through quite a number of scripts, stories of all genre when picking on his next work. He selected two from the lot, and both are love storyes. One of them is this movie. I would imagine Yong Joon has chosen to work on love stories because Yong Joon did not see anything he liked amongst the scripts from the other genre.
That movie which has been tentatively named Baran… I don’t think it would work without Yong Joon. Because young people do not like to watch love stories about thirty-something married people. Especially in Korea, the younger generation takes up a large portion of the movie fans. Movies that the young people do not enjoy watching will not usually be very successful. If we have to be precise about it, in the Korean movie industry, there are five actors with the ability to pull in the crowds, and they are Yong Joon, Jang Dong Gun, Won Bin, Jung Woo Sung and Lee Jung Jae.
But other than Yong Joon, the other four would not have chosen to work on this movie. Because there are no key elements of success in this movie. Although this is not exactly something that’s 100% experimental, but surely most would have gone for something with mass appeal, something more commercialised. If the female lead is someone like superstar Shim Yun Ha, then maybe it’s worth a thought. But to decide to star in this movie without even knowing the female lead (and it’s also not certain if shooting can commence within this year) takes a lot of courage.
Here are some of my guesses and speculation. I think these are what the production team thinks: If Yong Joon says ok, they imagine that they would be able to start filming quite immediately. So long as Yong Joon has agreed, it doesn’t really matter who the female lead is. This is probably what they think (Chuckles). They invited both Koh Hyeon Jeong and Shim Yun Ha, and told Yong Joon that one of them would be starring in the movie. On the other hand, they also told the two actresses that Yong Joon will probably be starring in this movie. But later, when Yong Joon’s side heard that Koh has declined the invitation, and there’s no decision as to who the female lead would be, surely Yong Joon would be suspicious. Here’s how I look at it: the movie company had said that if Yong Joon did not agree to star in the movie, then the movie could not start filming within this year. This statement itself is cause for suspicion. Don’t tell me that since the movie company offered the script to Yong Joon in March, they did not do anything or make any progress at all all these months? All they did in this long period of time was just to wait for Yong Joon’s decision?
Maybe this was because the investors all laid down the condition that the funds would only come in if Yong Joon’s appearing in the movie. So…. The underlying condition is that Yong Joon must say yes. If he’s not appearing in this movie, then everything will take a 180-degree change. Before, they would wait even that long six months for Yong Joon, simply because the movie can only go on if Yong Joon say yes. Therefore, when Yong Joon’s side hinted at the possibility of not taking up the role, the movie company then made that statement about possibly not starting the shooting within this year.
What I’ve heard is that the representatives from the movie company are not dealing with Yong Joon’s side directly, there are a few people facilitating the negotiation between the two parties. I suppose this is why both sides feel that some messages were lost or mis-relayed along the way.
Yon-sama分析系列66
投稿者： ふみ / 投稿日： 2004/09/09 12:51:36
大家好。新作发表之前，亚洲的勇俊fans们都在“是现在吗？是现在吗？”地焦急等待之中。但是，我想对勇俊的经理人这样说，虽然勇俊对fans说这个星期内要发表下部作品，但是不必要勉强地去守这个约。因为是非常重要的事情，好好花时间去作决定吧。
弄了半天好像勇俊不会出演《风》（Baran）了，但是回头来看这部作品是什么地方吸引了勇俊呢？我想就这个恋爱故事本身分析一下。
综合报道的内容，这部作品的故事情节大致好像是这个样子。
1．女人和丈夫一起遭遇交通事故。医院里，女人和男人（勇俊角色）相遇而堕入爱情。
2．男人在另外的地方有女朋友（或者是妻子）。男人也被女人吸引。
那么，这两个人的爱情会如何发展呢？这好像就是这部作品的中心情节。
韩国的恋爱电影经常以“禁断的爱情”作为主题。通常，爱情被“禁断”的原因，多设定为社会环境（财产，学历的差等）。在这个故事里成为爱情障碍的是“伦理和感情”，即“良心”。把爱自己的，和自己一起遭遇交通事故的住院中的丈夫舍弃，对别的男人产生爱情，这是能行的事情吗？（要让我说的话，不行。笑） 男方也抛弃异地的女友，和这样状况中的人妻相爱，这能行吗？
把爱情的障碍，设定为良心的这一点，给人以一些崭新的感觉吧。
接下来，一般来说，恋爱故事都是一女2男的设定，相反的模式，一男2女的设定在韩国不会受欢迎。这个故事是男女各2人，上述的模式可以同时存在，这也有点儿新鲜的感觉。
这个故事，结局会是个什么样子呢？
1．如果是谁要死去的情形。这是韩国电影很常用的模式。那么，谁会死呢？（笑）
女人的丈夫，因交通事故入院，不幸最终死去。女人在悲痛之下，重新意识到丈夫的爱，和男人说再见。
男人（勇俊角色）和女人相遇大概是在医院吧，其实男人也抱病在身，病情恶化，死去。死之前选色的爱人是那个夫人？
女人，因交通事故的后遗症死去。女人在死之前选择的男人会是谁呢？
2．谁也不死的情形。这种情形下，妻子结局还是会回到丈夫身边的吧。但是心中会为感受到的真正的爱情而痛苦。男人，勇俊的角色，会更痛苦。故事情节虽然不怎么有趣，作为现实的设定也许会引起观众的认可吧。
故事的展开会因以人妻为中心展开，还是以男人为中心展开，或者两个人同时聚焦，而发生变化。随之，演员的配置也会发生变化。许秦豪导演也参与剧本的创作，我想会是一个很有紧张感的故事吧。
从报道上看，为了达到现在这个阶段（最终合约的阶段）已经花了有6个月的时间，这样说来勇俊接到这个offer是在今年的3月的时候？勇俊对于出演作品，不分作品的类型，看了好多剧本。他在其中选择了两个，两个都是恋爱故事，其中之一是这部作品。之所以选择恋爱故事，我想是因为碰巧其他类型的作品里，没有勇俊喜欢的东西的缘故吧。
这部暂名《风》的作品，如果勇俊不出演的话，我想是不会打响的吧。因为30岁的已婚者的恋爱故事，年轻人不会爱看。尤其在韩国，电影fans里面年轻一代的比重非常大。年轻人不喜欢看的电影通常是不会取得大的成功的。要说的话，韩国的电影界里，勇俊和张东健，元彬，郑雨盛（Jung woo-sung，武士），李政宰，这5人被评价为最有票房号召力的演员。
但是，勇俊以外的4个人是不会选择这个作品的。因为没有多少成功的要素。虽然这也不是100%的实验性作品。一般都会选择更大众性的作品吧。对手戏的女演员如果是沈银河那样的大明星的话还可以重新考虑，对手戏的女演员还不确定的白纸状态下（今年之内能否进入拍摄还不清楚），要决定是否出演这样的作品，实在是很需要勇气的事情。
这里，我擅自作一下推测。制作方考虑的事情：如果勇俊说OK的话，他们以为马上就可以进入拍摄。只要勇俊同意，女演员是谁都不重要？他们是这样想的吧（笑）。他们给高贤贞，沈银河都发出了邀请，并且和勇俊方说其中一位会出演。另一方面，他们和两位女演员也说勇俊出演的比率特别高，从而来邀请她们出演。但是之后，勇俊方得知高拒绝出演，女演员是谁还完全没有决定，这样的状况下勇俊也要产生怀疑了吧。我认为，制作方说勇俊不出演的情况下，今年中无法进入拍摄，这样的说法就很有问题。难道3月给勇俊发出offer之后的这么长时间里，制作方只是在等待勇俊的决定吗？这也许是影片的投资方，以勇俊出演作为条件的人很多的缘故吧？那么就是说，这部作品的制作条件是勇俊的出演，勇俊不出演的话就会180度转变。
因为是以勇俊出演作为前提的片子，所以6个月也等了（一般是不会等的）。这时，勇俊方说也许不会出演，那么制作方才有了今年中可能不会进入拍摄这样的发言吧。
听到的话讲，制作方的负责人不是直接和勇俊方进行交涉的，是有几个人在中间作调节，所以才会到最终的决定阶段两方面都感到好些话合不上吧。
Analyzing Yon-Sama - Part 67
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/10
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. We were not able to access the Korean official board yesterday. I’m wondering is it because of the announcement of the new work? Could it really be “Baran” (or Wind)? (Chuckles).
In your replies to my posting, some of you raised the question of whether Yong Joon’s side has placed too much emphasis on the amount of the performance fee. Here’s what I think, the production companies and the directors being mentioned are not the same, but the companies obviously are after one thing: profits. If Yong Joon were to enter into a contract of low performance fee, then the production company has much to gain. To put it bluntly, if that’s the case, then Yong Joon would have been made used of by the production company. This would be something Yong Joon’s managers would not accept. So… what then would be an appropriate amount? I tried to think about this for awhile.
Firstly, the Japanese movie market is ranked the second largest in the world, and the gap between Japan and the third largest market is substantial. In the United States, what is usually termed as a major production would involve a 10-billion yen budget, but if the movie can become a hit in Japan, then the takings will be 10 billion yen. So, if an American movie can be successful in the Japanese market, then it will recover its production cost. Now that’s how big the Japanese market is. So what about Korean movies? Well, in the past, the biggest ever production budget was 1 billion yen. If it’s a love-theme melodramatic movie, then usually a budget of about 100 million yen should suffice.
The situation in the States is that the superstars’ fees alone will take up approximately half of the production cost. We’re talking about a situation whereby the movie is reliant on the superstars to sell tickets. Based on a similar calculation and applying it to Korea, then if the budget for the new movie is 100 million yen, then Yong Joon’s performance fee can be assumed to be 50 million yen (bb: approximately US$500,000). If we’re only talking within the context of Korea, then yes, this is acceptable.
But if Yong Joon were to take on a CF in Japan, that alone would rake in for him more than 100 million yen (bb: approximately US$D1 million) in appearance fees. Actually the media reports on Yong Joon’s CF appearance fees have not been totally complete nor accurate, in truth, it has been said that there’re circumstances of him receiving more than 200 million yen (bb: approximately US$2 million), though of course it will differ from company to company. If shooting a CF alone is 100 million yen, but shooting a movie is only 50 million yen, then it certainly is funny. Besudes, Yong Joon’s movie would be released in almost the entire Asian region, and I think in Japan alone, the box office takings will be 1 billion yen or thereabouts. If the contract for the new movie is at 50 million yen, then all the remaining profits from the movie will belong to the company, surely this is something not quite acceptable?
I’ve said it in the earlier parts of the analysis too, the contract for Yong Joon’s movie is a situation that’s never before experienced in Korea. There’s no precedence to take reference from. Possibly something to the tune of 300 million yen in performance fee should be more appropriate. But in Korea, there’s no one movie production house who’s able to pay this kind of money. So, I think other than raising the royalty fees or bonus payout based on the success of the movie, there appears to be no other way to sign Yong Joon on for a new movie. In the past, there has been no actor in Korea who can guarantee sales or success of a movie, so they have no experience whatsoever in dealing with something like that, that is to sign on an actor with the fees tied in to the success of the movie.
Recently, some Korean media reports have focused a lot on the financial aspect when reporting on Yong Joon, this is something I’m not quite happy about (although I’ve spoken much about money matters here today too, haha). Yong Joon has made how much from CF, or how much Yong Joon has made from Japan CFs, etc… Such reports have been very conspicuous. Please do not just report on the money matters, shouldn’t the Korean media publish something like an Analyzing Yon-sama series, haha! They should show more support to Yong Joon and to the Yong Joon fever in Japan.
After Jackie Chan got famous in Japan, he started to produce his own movies. Quite possibly he encountered similar problems in terms of performance fees? If only taking into consideration the Hong Kong market, then no one will be able to afford Jackie Chan’s fees. It is my guess that Korea is facing a similar problem now. If one only takes into account the Korean movie market, then no one can afford Yong Joon’s performance fees.
Based on the current situation, allow me to share what I imagine things will be like. I’m wondering if things are like this:
Yong Joon had a meeting with Director Hur JinHo on 31st August, and they decided to work together. Then they left the negotiation and the contract details to the managers. Yong Joon had imagined that things could be wrapped up in about a week’s time. That’s why the announcement that news about his new work would be released in a week.
Then later, during the negotiation stage, Yong Joon’s side discovered all sorts of issues. The process of negotiating and inking the contract was hard, so the managers changed their tune, and changed Yong Joon’s a week to the second week of September.
According to the representative from the movie company and the people who deal with Yong Joon’s managers directly, what the managers are saying differ from what they had heard. The managers met with the representative for the first time, it was after Yong Joon’s decision on 31st August. Perhaps the middlemen or the person liaising between the two parties had exaggerated the conversation (this is something quite common in the Korean entertainment circuit). After the representatives from the movie company met with Yong Joon’s managers, they had felt that there were differences, and maybe it crossed their minds that “the casting of Yong Joon for the movie would not work out”. And that’s why they made the statement, “If the casting of Yong Joon is not successful, then it is uncertain when the movie will commence shooting”.
On the other hand, Yong Joon wanted to keep his promise to his fans and he probably would have told his managers, a good-enough sum for the performance fee will do. But the managers would probably have told him, “But that would mean the movie company is making use of you.” Maybe that’s the situation (Chuckles).
Maybe there would be an announcement today? As Yong Joon’s fans, we will still wait ever so patiently, it doesn’t matter even if the announcement comes late. As I’m writing this, I’m thinking… Maybe Yong Joon will be reading this too? Yon-sama, why not do an action movie?
Yon-sama分析系列67
投稿者： ふみ / 投稿日： 2004/09/10 12:25:05
大家好。昨天白天上不去韩国的公式网，我就想是不是因为新作发表了才进不去了呢？是不是真的是《风》啊？（笑）
在大家的回贴里面，有人提出是不是勇俊方面过分重视出演费了呢？我是这样想的，所说的制作公司和导演是不一样的，目的是要“赚钱”。如果勇俊签了低出演费的合约，那制作公司可就赚了。用不好听的说法讲，那就是勇俊被制作公司利用了。这是勇俊的经理人不可以接受的事情。那么适当的价位应该是多少呢？我试着想了一下。
首先，日本的电影市场是世界第二位规模的，和第三位的差也相当大。在美国说的大制作虽说普通也要在100亿日元以上，但是在日本超级打响的话就会收到100亿日元的收入。美国的大制作在日本成功的话，就可以赚回本钱，日本的电影市场就有这样大。韩国电影怎么样呢？过去最大的制作费是10亿日元。要是恋爱题材的片子，通常可以考虑在1亿日元的范围之内。
美国的情况是，只超级巨星就会要去制作费的一半左右。这是在作品完全依赖超级巨星的存在的情况是这样。同样的计算方法用在韩国，新作的制作费用假定是1亿日元的话，勇俊的出演费假设是5千万日元。只在韩国范围内考虑的话，这个程度是可以的。
但是，勇俊在日本拍一个广告就会有1亿日元以上的出演费。媒体对于勇俊的广告出演费的报道其实并不完全，实际上（根据签约公司也会有不同）听说有2亿日元的出演费的情况。广告是一亿日元，电影却只有5千万日元，这不是有点儿奇怪的事情吗。并且勇俊的电影在亚洲全体都会有输出，在日本我想会收到10亿日元程度的收入吧。只在5千万日元程度签约的话，那么余下的收入都要成为制作公司的东西。这是不可以接受的吧。
前面的分析也写过，勇俊的新作是要韩国在没有经验的情况下签一个没有先例的合约。计算上3亿日元的出演费应该是妥当的吧，但是在韩国能出得了3亿日元出演费的电影公司，可能一个也没有。所以，我想除了把影片成功后的报酬加大，没有其他和勇俊签约的办法。过去，韩国没有出现过在外国一定卖座的演员，所以这样的合约（把成功后的报酬作为实际出演费来签约）的经验是没有过的。
最近，看到韩国媒体关于勇俊的报道只说金钱方面的话题，我是很不满意的（虽然今天我也一直在讲钱的话题，笑）。勇俊拍一个广告多少钱，在日本赚了多少多少的报道非常显眼。不要这样只说赚钱的事情嘛，韩国的媒体是不是应该好好作一个Yon-sama分析（笑），对在日本的勇俊热支持一下才好吧。
成龙在日本走红之后，开始自己制作电影。他也同样遇到了出演费的问题吧。只考虑香港的电影市场，是出不起成龙的出演费的。我推测，现在在韩国也是同样的情况，只考虑韩国市场，勇俊的出演费也是出不起。
就目前的状况，请允许我写一下自己的想象。我想会不会这个样子的。
8月31日，勇俊和许秦豪导演相见，决定一起合作。签约的问题当然交给经理人去做，勇俊想一个星期之内就会签约吧。所以，才有了一星期之内新作发表的发言。
之后在签约的阶段，勇俊方发现契约上有各种各样的问题。签约的过程难航，经理人改变说法，把一星期以内的勇俊的说法改为9月的第二周。
据制作公司的代表和勇俊经理人直接接触的人的话讲，经理人本人的话和听到的话有相当的不同。经理人和制作方代表第一次相见，是在勇俊决定的8月31日以后。可能是中间联络的人无论如何也想把这件事情弄成，夸张了谈话的内容（韩国的娱乐界经常有的事情）。制作方代表直接遇见勇俊经理人的时候感觉到双方说法有分歧，所以想也许“勇俊的选角不会成功（勇俊不出演的话）这部电影的拍摄什么时候进行也不明”（即，取消制作也不一定）所以作了上述的发言。
另一方的勇俊，出演费差不多就可以了，想保守对fans的约定，但是经理人：“那就会被制作公司利用”，是这样一个局面吧（笑）。
今天说不定就会有发表？作为勇俊fans的我们还是打算耐心等待的，发表晚了也没关系哦。这么写的时候就想，说不定勇俊会读到这篇文章的吧？Yon-sama，动作片不行吗？
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/10
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. We were not able to access the Korean official board yesterday. I’m wondering is it because of the announcement of the new work? Could it really be “Baran” (or Wind)? (Chuckles).
In your replies to my posting, some of you raised the question of whether Yong Joon’s side has placed too much emphasis on the amount of the performance fee. Here’s what I think, the production companies and the directors being mentioned are not the same, but the companies obviously are after one thing: profits. If Yong Joon were to enter into a contract of low performance fee, then the production company has much to gain. To put it bluntly, if that’s the case, then Yong Joon would have been made used of by the production company. This would be something Yong Joon’s managers would not accept. So… what then would be an appropriate amount? I tried to think about this for awhile.
Firstly, the Japanese movie market is ranked the second largest in the world, and the gap between Japan and the third largest market is substantial. In the United States, what is usually termed as a major production would involve a 10-billion yen budget, but if the movie can become a hit in Japan, then the takings will be 10 billion yen. So, if an American movie can be successful in the Japanese market, then it will recover its production cost. Now that’s how big the Japanese market is. So what about Korean movies? Well, in the past, the biggest ever production budget was 1 billion yen. If it’s a love-theme melodramatic movie, then usually a budget of about 100 million yen should suffice.
The situation in the States is that the superstars’ fees alone will take up approximately half of the production cost. We’re talking about a situation whereby the movie is reliant on the superstars to sell tickets. Based on a similar calculation and applying it to Korea, then if the budget for the new movie is 100 million yen, then Yong Joon’s performance fee can be assumed to be 50 million yen (bb: approximately US$500,000). If we’re only talking within the context of Korea, then yes, this is acceptable.
But if Yong Joon were to take on a CF in Japan, that alone would rake in for him more than 100 million yen (bb: approximately US$D1 million) in appearance fees. Actually the media reports on Yong Joon’s CF appearance fees have not been totally complete nor accurate, in truth, it has been said that there’re circumstances of him receiving more than 200 million yen (bb: approximately US$2 million), though of course it will differ from company to company. If shooting a CF alone is 100 million yen, but shooting a movie is only 50 million yen, then it certainly is funny. Besudes, Yong Joon’s movie would be released in almost the entire Asian region, and I think in Japan alone, the box office takings will be 1 billion yen or thereabouts. If the contract for the new movie is at 50 million yen, then all the remaining profits from the movie will belong to the company, surely this is something not quite acceptable?
I’ve said it in the earlier parts of the analysis too, the contract for Yong Joon’s movie is a situation that’s never before experienced in Korea. There’s no precedence to take reference from. Possibly something to the tune of 300 million yen in performance fee should be more appropriate. But in Korea, there’s no one movie production house who’s able to pay this kind of money. So, I think other than raising the royalty fees or bonus payout based on the success of the movie, there appears to be no other way to sign Yong Joon on for a new movie. In the past, there has been no actor in Korea who can guarantee sales or success of a movie, so they have no experience whatsoever in dealing with something like that, that is to sign on an actor with the fees tied in to the success of the movie.
Recently, some Korean media reports have focused a lot on the financial aspect when reporting on Yong Joon, this is something I’m not quite happy about (although I’ve spoken much about money matters here today too, haha). Yong Joon has made how much from CF, or how much Yong Joon has made from Japan CFs, etc… Such reports have been very conspicuous. Please do not just report on the money matters, shouldn’t the Korean media publish something like an Analyzing Yon-sama series, haha! They should show more support to Yong Joon and to the Yong Joon fever in Japan.
After Jackie Chan got famous in Japan, he started to produce his own movies. Quite possibly he encountered similar problems in terms of performance fees? If only taking into consideration the Hong Kong market, then no one will be able to afford Jackie Chan’s fees. It is my guess that Korea is facing a similar problem now. If one only takes into account the Korean movie market, then no one can afford Yong Joon’s performance fees.
Based on the current situation, allow me to share what I imagine things will be like. I’m wondering if things are like this:
Yong Joon had a meeting with Director Hur JinHo on 31st August, and they decided to work together. Then they left the negotiation and the contract details to the managers. Yong Joon had imagined that things could be wrapped up in about a week’s time. That’s why the announcement that news about his new work would be released in a week.
Then later, during the negotiation stage, Yong Joon’s side discovered all sorts of issues. The process of negotiating and inking the contract was hard, so the managers changed their tune, and changed Yong Joon’s a week to the second week of September.
According to the representative from the movie company and the people who deal with Yong Joon’s managers directly, what the managers are saying differ from what they had heard. The managers met with the representative for the first time, it was after Yong Joon’s decision on 31st August. Perhaps the middlemen or the person liaising between the two parties had exaggerated the conversation (this is something quite common in the Korean entertainment circuit). After the representatives from the movie company met with Yong Joon’s managers, they had felt that there were differences, and maybe it crossed their minds that “the casting of Yong Joon for the movie would not work out”. And that’s why they made the statement, “If the casting of Yong Joon is not successful, then it is uncertain when the movie will commence shooting”.
On the other hand, Yong Joon wanted to keep his promise to his fans and he probably would have told his managers, a good-enough sum for the performance fee will do. But the managers would probably have told him, “But that would mean the movie company is making use of you.” Maybe that’s the situation (Chuckles).
Maybe there would be an announcement today? As Yong Joon’s fans, we will still wait ever so patiently, it doesn’t matter even if the announcement comes late. As I’m writing this, I’m thinking… Maybe Yong Joon will be reading this too? Yon-sama, why not do an action movie?
Yon-sama分析系列67
投稿者： ふみ / 投稿日： 2004/09/10 12:25:05
大家好。昨天白天上不去韩国的公式网，我就想是不是因为新作发表了才进不去了呢？是不是真的是《风》啊？（笑）
在大家的回贴里面，有人提出是不是勇俊方面过分重视出演费了呢？我是这样想的，所说的制作公司和导演是不一样的，目的是要“赚钱”。如果勇俊签了低出演费的合约，那制作公司可就赚了。用不好听的说法讲，那就是勇俊被制作公司利用了。这是勇俊的经理人不可以接受的事情。那么适当的价位应该是多少呢？我试着想了一下。
首先，日本的电影市场是世界第二位规模的，和第三位的差也相当大。在美国说的大制作虽说普通也要在100亿日元以上，但是在日本超级打响的话就会收到100亿日元的收入。美国的大制作在日本成功的话，就可以赚回本钱，日本的电影市场就有这样大。韩国电影怎么样呢？过去最大的制作费是10亿日元。要是恋爱题材的片子，通常可以考虑在1亿日元的范围之内。
美国的情况是，只超级巨星就会要去制作费的一半左右。这是在作品完全依赖超级巨星的存在的情况是这样。同样的计算方法用在韩国，新作的制作费用假定是1亿日元的话，勇俊的出演费假设是5千万日元。只在韩国范围内考虑的话，这个程度是可以的。
但是，勇俊在日本拍一个广告就会有1亿日元以上的出演费。媒体对于勇俊的广告出演费的报道其实并不完全，实际上（根据签约公司也会有不同）听说有2亿日元的出演费的情况。广告是一亿日元，电影却只有5千万日元，这不是有点儿奇怪的事情吗。并且勇俊的电影在亚洲全体都会有输出，在日本我想会收到10亿日元程度的收入吧。只在5千万日元程度签约的话，那么余下的收入都要成为制作公司的东西。这是不可以接受的吧。
前面的分析也写过，勇俊的新作是要韩国在没有经验的情况下签一个没有先例的合约。计算上3亿日元的出演费应该是妥当的吧，但是在韩国能出得了3亿日元出演费的电影公司，可能一个也没有。所以，我想除了把影片成功后的报酬加大，没有其他和勇俊签约的办法。过去，韩国没有出现过在外国一定卖座的演员，所以这样的合约（把成功后的报酬作为实际出演费来签约）的经验是没有过的。
最近，看到韩国媒体关于勇俊的报道只说金钱方面的话题，我是很不满意的（虽然今天我也一直在讲钱的话题，笑）。勇俊拍一个广告多少钱，在日本赚了多少多少的报道非常显眼。不要这样只说赚钱的事情嘛，韩国的媒体是不是应该好好作一个Yon-sama分析（笑），对在日本的勇俊热支持一下才好吧。
成龙在日本走红之后，开始自己制作电影。他也同样遇到了出演费的问题吧。只考虑香港的电影市场，是出不起成龙的出演费的。我推测，现在在韩国也是同样的情况，只考虑韩国市场，勇俊的出演费也是出不起。
就目前的状况，请允许我写一下自己的想象。我想会不会这个样子的。
8月31日，勇俊和许秦豪导演相见，决定一起合作。签约的问题当然交给经理人去做，勇俊想一个星期之内就会签约吧。所以，才有了一星期之内新作发表的发言。
之后在签约的阶段，勇俊方发现契约上有各种各样的问题。签约的过程难航，经理人改变说法，把一星期以内的勇俊的说法改为9月的第二周。
据制作公司的代表和勇俊经理人直接接触的人的话讲，经理人本人的话和听到的话有相当的不同。经理人和制作方代表第一次相见，是在勇俊决定的8月31日以后。可能是中间联络的人无论如何也想把这件事情弄成，夸张了谈话的内容（韩国的娱乐界经常有的事情）。制作方代表直接遇见勇俊经理人的时候感觉到双方说法有分歧，所以想也许“勇俊的选角不会成功（勇俊不出演的话）这部电影的拍摄什么时候进行也不明”（即，取消制作也不一定）所以作了上述的发言。
另一方的勇俊，出演费差不多就可以了，想保守对fans的约定，但是经理人：“那就会被制作公司利用”，是这样一个局面吧（笑）。
今天说不定就会有发表？作为勇俊fans的我们还是打算耐心等待的，发表晚了也没关系哦。这么写的时候就想，说不定勇俊会读到这篇文章的吧？Yon-sama，动作片不行吗？
Analyzing Yon-Sama - Part 68
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/11
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone!
Would there be news about the new work today? (Chuckles) I think if we still don’t hear anything about it by tomorrow, then we can be quite certain the issue is with the contract terms. And I’ve no personal or insider news on this issue.
Today, I would like to analyze a little about the relationship between the movie production companies in Korea and the actors or actresses. Please… this analysis has nothing to do with the movie company that’s planning Yong Joon’s next work, so please do not be mistaken.
Just the week before, I happened to meet someone who’s close to a prominent director in Korea, this director could be said to be one of the representative directors of Korea. This is what this man said to me, “We will definitely be able to invite Yong Joon. Just give us the money, so long as you give us the money, it’s a piece of cake to make Yong Joon go to Japan.”
There’s another man who was with us at that time, he’s also someone I know. He said, “Fumi, this is quite possible…”
I became a little agitated. “You guys do not understand Yong Joon at all. Do you have any idea who Yong Joon is, what sort of man he is?”
I’m just thinking, the people who own and operate the movie production houses in Korea have this thinking that actors are sort of like “working class”, they’re the workers. The producers are superiors, whilst actors belong to somewhere lower on the rungs. Actors have to obey the “orders” set forth by the movie companies. Maybe the bigger stars can get away with not listening to the smaller movie companies. But when it comes to the bigger, more authoritative movie companies in Korea, then even the bigger stars will have to play by their rules. This is probably what the movie companies think, I suppose. That’s how the above conversation came about, presumably. Of course, such talk can possibly fool people who are not in the know, people who do not know much about the inner circle. But now that Korea has produced a few mega stars whose popularity are pan-Asia, such thinking will have to be abolished.
About Yong Joon’s next work, I do know what the title is. It’s Bae Yong Joon. Yes, the truth is that the movie’s title is Bae Yong Joon. It doesn’t matter what movie title the producer or the director wants to give the movie (chuckles). The director of movie Shuri, Kang Je-Gyu once said amongst the various critical success factors of a movie are the storyline and the movie title. This was the case before a real movie star was born in Korea.
For a movie without a real star, the success factors are, in descending order of importance:
- Story, Director, Cast, Commercial Planning (including marketing), Movie title
And in cases where a true superstar is present, the success factors become:
- Superstar, Story, Director, Commercial Planning (including marketing)
In the United States, if an actor’s name comes before the movie title, then it becomes evidence of the actor’s superstar status in the States. For instance, they say “This is a movie by Tom Cruise. Please come and watch Tom.” This simply implies that the movie title is practically Tom Cruise!
By the way, the order in which the names of the cast appears is also by descending order of their performance fees. The way or the order the actors are being introduced is a very obvious way to tell their status and standing in the field. In cases whereby a high-fee actor participates in a movie in a supporting role and his fees are also not high, then the arrangement will be this actor will be introduced as a guest star. This is common sense. In Korea, most of the time, the order in which the cast’s names is being arranged is largely dependent on how important the his or her role is in that drama or movie. Of course, the more important the role is, the earlier the name will appear. (But note that this is not ALWAYS the case.)
The States is a place where they really really value and place a lot of attention and importance on super stars. It is a commonly understood and accepted thing that a movie without big stars will not succeed. In Korea, at least up to now, the big stars are still stars who are big only within the confines of Korea. There has not been any international stars coming out of Korea so far. Who is the most active Korean actor in Hollywood? In fact, not many Koreans even know of his existence, he’s the guy with the golden revolver in the 001 James Bond movie. The guy who acted as 007’s partner is a Korea, and he’s very active in the acting arena in the United States. But the Koreans do not seem to give much attention or good reviews for this guy, so he has not returned to Korea.
The now-retired Korean footballer Cha Bun-Keun is a world-renowned player. But he too suffered from the Korean’s usual practice of not valuing local stars, and was even forbidden from participating in any Korean events at one time (and through no wrongdoing on his part). The Korean media really ought to reconsider how it will treat and manage Korean stars who have become international stars. They have to learn to get along with these superstars. In Korea today, it is still the judges and the public prosecutors who are so admirable and highly looked upon, but actually the superstars are even greater! Do you have any idea how many Japanese have become interested in Korea through Yong Joon alone??
Movie producers and makers are people who are sort of inferior to perhaps the lawyers, and yet these movie producers will flaunt their stuff and order the actors around. Isn’t this a very strange thing to happen? Based on such (stifled) thinking, it is very hard for Korea to produce international superstars.
Let me say something here that’s got nothing to do with the current state of affairs… In my view, in Korea, Yong Joon and Jang Dong Gun should be more insistent on their views and ideas when facing the movie companies there. If these two people do not do this, then the rest of the actors and actresses in Korea will find it even harder to voice their feelings and vocalise their ideas.
In Korea, when faced with actors who are very careful in selecting their works, the producers will say, “Do you think you’re Bae Yong Joon? (Just do as we say)”
This is quite a famous saying.
As an actor, he should have the right to choose carefully which dramas or movies he wants to act in. What is stranger is how unreasonably forceful the production people are. They are the ones acting funny, not the actors. Even under such circumstances, Yong Joon still stand his ground and is very meticulous and careful in selecting scripts, so the other actors will then say, “Doesn’t Mr Bae Yong Joon do the same?” and they can carry on being the ones to decide what scripts to accept. But if even Yong Joon and Jang Dong Gun allow the production companies to manipulate them and make decisions on their behalf, then in turn, the production people will say this to the rest, “Now even Bae Yong Joon and Jang Dong Gun do not say anything about this, who the heck do you think you are?”
Here, I’m not advocating that Yong Joon should work against or fight with production companies. What I’m saying is that the movie production companies and the media should do more to protect their stars, to do more to groom and develop stars. Here, I reiterate, the above posting has no direct links or nothing to do with the new work that Yong Joon is now negotiating to accept.
Yon-sama分析系列68
投稿者： ふみ / 投稿日： 2004/09/11 10:25:44
大家好！今天有没有发表呢？（笑）到明天也没有发表的话，我想的确是签约出现了问题。关于这一件我也是完全没有个人情报。
今天，我想就韩国的制作公司与演员之间的关系作一个分析。是和现在举出的勇俊下部作品的制作公司毫不相干的话，这一点一定不要误会。
上个星期，我偶然地遇到某韩国代表性导演的身旁的人。这个人跟我这么说的，
“我们是怎么都可以驱动裴勇俊的。把钱交给我们的话，让裴勇俊去日本这样的事是小菜一碟儿。”
在一起的另一个人，也是我认识的人，也这么说，
“fumi啊，可能真能成呢。”
我有点儿生气了，
“你们根本就不了解勇俊。勇俊是谁你们知道吗？”
我想，在韩国电影制作的公司经营者们，有把演员当成劳动者的认识。制作人是上司，演员是下边的人，演员对于制作公司的“命令”一定得遵从，大明星的话可以不听小制作公司的话，但如果是韩国代表性的制作公司的要求，大明星也不得不听命，他们就是这样想法的吧。所以，上述那样的发言才会自然而然流露出来，颇能震住一些不了解情况的人。现在，从韩国产生了好几位在亚洲全域获得人气的大明星，这样的想法不改变是不行的。
勇俊的下部作品，片名是什么，我是知道的。片名就是“裴勇俊”。实际上就是片名为裴勇俊，导演啊制作人啊起的片名怎么都可以的（笑）。《Shuri》的Kang Jye-kyu导演说，一部影片成功的因素里面“故事情节和片名是最重要的”。这在韩国还没有真正的star存在的情况下是这样的。
没有真正的star出演的影片，成功要素的顺序是：
故事情节，导演，演员，商业企划，片名
有真正的大明星出演的情况，成功要素的顺序是：
大明星，故事情节，导演，商业企划。
在美国，以汤姆克鲁斯 in 介绍的情形，和 汤姆克鲁斯主演作介绍的情形是要明显区别的。演员的名字比电影的片名在先介绍，是那个演员在美国是超级明星的佐证。这就是在说，“这部影片是汤姆克鲁斯的片子。请大家来看汤姆。”意味着，汤姆克鲁斯主演的影片的片名，其实都是汤姆克鲁斯。顺便说一下，美国影片里介绍出演者名字的顺序是片酬的顺序。被介绍的演员，身价分得很明显。身价高的演员如果作为配角出演，片酬也不很高的情况，排名时一定是，作为明星客串来介绍的，这是常识。韩国的情况是，电视剧等介绍出演者名字的顺序是那个故事里人物的重要性的顺序（也有不是这样的。）
美国是非常重视大明星的，没有大明星影片不会成功，这是普遍的意识。韩国至今为止，所说的电影明星都是韩国国内的明星，称得上是真正意味的国际巨星的人物还从没有过。在好莱坞最活跃的韩国人star是谁？可能大多数的韩国人都不知道这个人的存在，是007里面持黄金枪的男人。饰演007的同伴角色的演员是韩国人，在美国的电影，演剧界非常活跃。可是在韩国对这个演员的评价不高，所以他没有回到韩国。在世界上有名的韩国引退足球选手车范根，受不重视明星的韩国的风潮影响，一度曾被禁止在韩国的活动（本人没有什么不对的地方）。韩国的媒体对于和世界性的star应该如何相处，是有必要认真考虑的。现在在韩国依然还是审判官，检察官了不起，但是大明星是更了不起的存在啊。知道通过勇俊对韩国产生兴趣的日本人有多少吗？
在律师的面前抬不起头的电影制作人，会在明星演员的前面耀武扬威，这不是很奇怪吗？凭这样想法作电影的话，在韩国是很难培养出国际型star的。说句和现在的现状毫不相干的话。。。我认为在韩国勇俊和张东建应该对电影制作公司更加强调自我的主张才好。这两个人如果不这么做，韩国的其他演员会更加无法提出自己的主张。在韩国，对慎重挑选作品的演员，制作人会说，
“你小子以为自己是裴勇俊吗？（按我们说的去做）”
这是个有名的话。作为演员谁都有慎重选择自己的出演作品的权利。制作方的霸道的想法才奇怪。即使在这样的情况下，勇俊还是慎重地选择作品，那么其他的演员也会回答“裴勇俊先生不是这样做的吗？”而会继续选择作品。如果，勇俊和张东健都任由制作方摆布的话，制作公司就会这样说了，
“裴勇俊，张东健都什么也不说，你小子以为自己是谁啊？”
这里，绝对不是说勇俊应该和制作公司对立，而是说制作公司，媒体应该更加好好爱护star，好好培育star。再次说明，这是和现在进行中的勇俊下部作品无关的话。接69。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/11
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone!
Would there be news about the new work today? (Chuckles) I think if we still don’t hear anything about it by tomorrow, then we can be quite certain the issue is with the contract terms. And I’ve no personal or insider news on this issue.
Today, I would like to analyze a little about the relationship between the movie production companies in Korea and the actors or actresses. Please… this analysis has nothing to do with the movie company that’s planning Yong Joon’s next work, so please do not be mistaken.
Just the week before, I happened to meet someone who’s close to a prominent director in Korea, this director could be said to be one of the representative directors of Korea. This is what this man said to me, “We will definitely be able to invite Yong Joon. Just give us the money, so long as you give us the money, it’s a piece of cake to make Yong Joon go to Japan.”
There’s another man who was with us at that time, he’s also someone I know. He said, “Fumi, this is quite possible…”
I became a little agitated. “You guys do not understand Yong Joon at all. Do you have any idea who Yong Joon is, what sort of man he is?”
I’m just thinking, the people who own and operate the movie production houses in Korea have this thinking that actors are sort of like “working class”, they’re the workers. The producers are superiors, whilst actors belong to somewhere lower on the rungs. Actors have to obey the “orders” set forth by the movie companies. Maybe the bigger stars can get away with not listening to the smaller movie companies. But when it comes to the bigger, more authoritative movie companies in Korea, then even the bigger stars will have to play by their rules. This is probably what the movie companies think, I suppose. That’s how the above conversation came about, presumably. Of course, such talk can possibly fool people who are not in the know, people who do not know much about the inner circle. But now that Korea has produced a few mega stars whose popularity are pan-Asia, such thinking will have to be abolished.
About Yong Joon’s next work, I do know what the title is. It’s Bae Yong Joon. Yes, the truth is that the movie’s title is Bae Yong Joon. It doesn’t matter what movie title the producer or the director wants to give the movie (chuckles). The director of movie Shuri, Kang Je-Gyu once said amongst the various critical success factors of a movie are the storyline and the movie title. This was the case before a real movie star was born in Korea.
For a movie without a real star, the success factors are, in descending order of importance:
- Story, Director, Cast, Commercial Planning (including marketing), Movie title
And in cases where a true superstar is present, the success factors become:
- Superstar, Story, Director, Commercial Planning (including marketing)
In the United States, if an actor’s name comes before the movie title, then it becomes evidence of the actor’s superstar status in the States. For instance, they say “This is a movie by Tom Cruise. Please come and watch Tom.” This simply implies that the movie title is practically Tom Cruise!
By the way, the order in which the names of the cast appears is also by descending order of their performance fees. The way or the order the actors are being introduced is a very obvious way to tell their status and standing in the field. In cases whereby a high-fee actor participates in a movie in a supporting role and his fees are also not high, then the arrangement will be this actor will be introduced as a guest star. This is common sense. In Korea, most of the time, the order in which the cast’s names is being arranged is largely dependent on how important the his or her role is in that drama or movie. Of course, the more important the role is, the earlier the name will appear. (But note that this is not ALWAYS the case.)
The States is a place where they really really value and place a lot of attention and importance on super stars. It is a commonly understood and accepted thing that a movie without big stars will not succeed. In Korea, at least up to now, the big stars are still stars who are big only within the confines of Korea. There has not been any international stars coming out of Korea so far. Who is the most active Korean actor in Hollywood? In fact, not many Koreans even know of his existence, he’s the guy with the golden revolver in the 001 James Bond movie. The guy who acted as 007’s partner is a Korea, and he’s very active in the acting arena in the United States. But the Koreans do not seem to give much attention or good reviews for this guy, so he has not returned to Korea.
The now-retired Korean footballer Cha Bun-Keun is a world-renowned player. But he too suffered from the Korean’s usual practice of not valuing local stars, and was even forbidden from participating in any Korean events at one time (and through no wrongdoing on his part). The Korean media really ought to reconsider how it will treat and manage Korean stars who have become international stars. They have to learn to get along with these superstars. In Korea today, it is still the judges and the public prosecutors who are so admirable and highly looked upon, but actually the superstars are even greater! Do you have any idea how many Japanese have become interested in Korea through Yong Joon alone??
Movie producers and makers are people who are sort of inferior to perhaps the lawyers, and yet these movie producers will flaunt their stuff and order the actors around. Isn’t this a very strange thing to happen? Based on such (stifled) thinking, it is very hard for Korea to produce international superstars.
Let me say something here that’s got nothing to do with the current state of affairs… In my view, in Korea, Yong Joon and Jang Dong Gun should be more insistent on their views and ideas when facing the movie companies there. If these two people do not do this, then the rest of the actors and actresses in Korea will find it even harder to voice their feelings and vocalise their ideas.
In Korea, when faced with actors who are very careful in selecting their works, the producers will say, “Do you think you’re Bae Yong Joon? (Just do as we say)”
This is quite a famous saying.
As an actor, he should have the right to choose carefully which dramas or movies he wants to act in. What is stranger is how unreasonably forceful the production people are. They are the ones acting funny, not the actors. Even under such circumstances, Yong Joon still stand his ground and is very meticulous and careful in selecting scripts, so the other actors will then say, “Doesn’t Mr Bae Yong Joon do the same?” and they can carry on being the ones to decide what scripts to accept. But if even Yong Joon and Jang Dong Gun allow the production companies to manipulate them and make decisions on their behalf, then in turn, the production people will say this to the rest, “Now even Bae Yong Joon and Jang Dong Gun do not say anything about this, who the heck do you think you are?”
Here, I’m not advocating that Yong Joon should work against or fight with production companies. What I’m saying is that the movie production companies and the media should do more to protect their stars, to do more to groom and develop stars. Here, I reiterate, the above posting has no direct links or nothing to do with the new work that Yong Joon is now negotiating to accept.
Yon-sama分析系列68
投稿者： ふみ / 投稿日： 2004/09/11 10:25:44
大家好！今天有没有发表呢？（笑）到明天也没有发表的话，我想的确是签约出现了问题。关于这一件我也是完全没有个人情报。
今天，我想就韩国的制作公司与演员之间的关系作一个分析。是和现在举出的勇俊下部作品的制作公司毫不相干的话，这一点一定不要误会。
上个星期，我偶然地遇到某韩国代表性导演的身旁的人。这个人跟我这么说的，
“我们是怎么都可以驱动裴勇俊的。把钱交给我们的话，让裴勇俊去日本这样的事是小菜一碟儿。”
在一起的另一个人，也是我认识的人，也这么说，
“fumi啊，可能真能成呢。”
我有点儿生气了，
“你们根本就不了解勇俊。勇俊是谁你们知道吗？”
我想，在韩国电影制作的公司经营者们，有把演员当成劳动者的认识。制作人是上司，演员是下边的人，演员对于制作公司的“命令”一定得遵从，大明星的话可以不听小制作公司的话，但如果是韩国代表性的制作公司的要求，大明星也不得不听命，他们就是这样想法的吧。所以，上述那样的发言才会自然而然流露出来，颇能震住一些不了解情况的人。现在，从韩国产生了好几位在亚洲全域获得人气的大明星，这样的想法不改变是不行的。
勇俊的下部作品，片名是什么，我是知道的。片名就是“裴勇俊”。实际上就是片名为裴勇俊，导演啊制作人啊起的片名怎么都可以的（笑）。《Shuri》的Kang Jye-kyu导演说，一部影片成功的因素里面“故事情节和片名是最重要的”。这在韩国还没有真正的star存在的情况下是这样的。
没有真正的star出演的影片，成功要素的顺序是：
故事情节，导演，演员，商业企划，片名
有真正的大明星出演的情况，成功要素的顺序是：
大明星，故事情节，导演，商业企划。
在美国，以汤姆克鲁斯 in 介绍的情形，和 汤姆克鲁斯主演作介绍的情形是要明显区别的。演员的名字比电影的片名在先介绍，是那个演员在美国是超级明星的佐证。这就是在说，“这部影片是汤姆克鲁斯的片子。请大家来看汤姆。”意味着，汤姆克鲁斯主演的影片的片名，其实都是汤姆克鲁斯。顺便说一下，美国影片里介绍出演者名字的顺序是片酬的顺序。被介绍的演员，身价分得很明显。身价高的演员如果作为配角出演，片酬也不很高的情况，排名时一定是，作为明星客串来介绍的，这是常识。韩国的情况是，电视剧等介绍出演者名字的顺序是那个故事里人物的重要性的顺序（也有不是这样的。）
美国是非常重视大明星的，没有大明星影片不会成功，这是普遍的意识。韩国至今为止，所说的电影明星都是韩国国内的明星，称得上是真正意味的国际巨星的人物还从没有过。在好莱坞最活跃的韩国人star是谁？可能大多数的韩国人都不知道这个人的存在，是007里面持黄金枪的男人。饰演007的同伴角色的演员是韩国人，在美国的电影，演剧界非常活跃。可是在韩国对这个演员的评价不高，所以他没有回到韩国。在世界上有名的韩国引退足球选手车范根，受不重视明星的韩国的风潮影响，一度曾被禁止在韩国的活动（本人没有什么不对的地方）。韩国的媒体对于和世界性的star应该如何相处，是有必要认真考虑的。现在在韩国依然还是审判官，检察官了不起，但是大明星是更了不起的存在啊。知道通过勇俊对韩国产生兴趣的日本人有多少吗？
在律师的面前抬不起头的电影制作人，会在明星演员的前面耀武扬威，这不是很奇怪吗？凭这样想法作电影的话，在韩国是很难培养出国际型star的。说句和现在的现状毫不相干的话。。。我认为在韩国勇俊和张东建应该对电影制作公司更加强调自我的主张才好。这两个人如果不这么做，韩国的其他演员会更加无法提出自己的主张。在韩国，对慎重挑选作品的演员，制作人会说，
“你小子以为自己是裴勇俊吗？（按我们说的去做）”
这是个有名的话。作为演员谁都有慎重选择自己的出演作品的权利。制作方的霸道的想法才奇怪。即使在这样的情况下，勇俊还是慎重地选择作品，那么其他的演员也会回答“裴勇俊先生不是这样做的吗？”而会继续选择作品。如果，勇俊和张东健都任由制作方摆布的话，制作公司就会这样说了，
“裴勇俊，张东健都什么也不说，你小子以为自己是谁啊？”
这里，绝对不是说勇俊应该和制作公司对立，而是说制作公司，媒体应该更加好好爱护star，好好培育star。再次说明，这是和现在进行中的勇俊下部作品无关的话。接69。
Analyzing Yon-Sama - Part 69
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/11
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hi everyone.
In the replies to my posting yesterday, some people have said that 100 million yen for Yong Joon’s performance fees is not good enough, they think the movie will make more (especially if Yong Joon wears glasses in the movie). The figure 100 million yen came about because The Untold Scandal reportedly made some 100 million yen, that’s why I wrote it as that. Of course, there’s a very high possibility that box ticket sales will be more. Discs and video sets for The Untold Scandal will start selling from 23rd this month, and for the second half of September, it is said that Scandal is the most anticipated work of all the new releases for the same period. The monthly magazines that introduce new video releases will be out sometime around the 20th, and I would suppose there will be coverage and articles on Scandal (that’s certainly to be expected).
In Japan, The Untold Scandal only opened in a few small theatres (not many cinemas screened the movie). Memories of Murder was similar in this aspect, it only opened in limited small screens in Japan, and it had raked in 50 million yen in ticket sales. Someone in the know told me that Memories of Murder can possibly make it to the Best Five in terms of movies being released in small theatres. Then what about The Untold Scandal? Surely it sits right up there at the top for works being screened in small theatres. I can’t quite understand the workings of it all. By the way, Taekugi and Simildo were not considered as movies being released in small theatres.
During the Baeksang Arts Awards this year, Yong Joon had said,
“I think I’ve a lot of work cut out for me in terms of the Korean movie industry from now on.”
A lot of work… What could he be referring to? Which areas of work? Like everyone knows by now, to start a school specialising in movies, to make movies (as a director?), to be more active as an actor, or if I may add one more, to change, to revolutionalise the entire movie industry.
As Yong Joon’s next work, one of the possible scripts Baran (bb: Wind) has a story that’s got absolutely nothing to do with Japan. Generally speaking, for Yong Joon who’s riding high on the popularity wave in Japan, surely the movie can sell more tickets if he’d chosen a story that’s somehow related or associated with Japan?
Let us now look at movies or new works that have become hot topics in Korea. Doma Ahn Joong Keun (biography of Korean patriot Ahn Joong Keun), Fighter in the Wind (about Karate expert Baedal), Rikidozan: A Hero Extraordinary, etc… These are all related to Japan. Could it be coincidental? Maybe, but it’s also possible that they recognize that these are works that had created Korean craze in the Japanese market. Of all these Japanese-related works, Yong Joon went to choose a pure love story that’s not at all linked to Japan. I applaud that. That’s typical Yong Joon, and that’s also something that only Yong Joon can pull off. It’s exciting to watch him deliberately not going the commercial route. I think in future, we will see Yong Joon’s works do supremely well in Japan, and these are works that are not particularly customized for or target at the Japanese market. And perhaps they would realize that movies that sublimely conscious of the Japanese market and are created thus do not do that well.
So what type of Yong Joon movies would possibly succeed in Japan? From the commercial angle, it should be something like this, I suppose:
Yong Joon who comes from Korea to Japan falls in love with a Japanese woman. This woman is being hunted down by the baddies. Yong Joon would display his martial arts and knock every single one of those baddies down.
This type of movies will probably sell very well; however if Yong Joon’s choice of works is inclined towards this genre, then our views and evaluation of him will be adversely affected, we will think less of him. Japanese fans do not just watch the works of stars, they will often observe the actors’ personalities, his character and his general behaviour. From the way the actors select and treat their works, from the way they treat and interact with their fans, from their expressions, choice of words… A lot of fans become fans from observing the inner traits of an actor, from the charisma of the actor himself. Ryu Shi Won’s popularity in Japan, in my view, is from his personality draw, his charisma.
Less needs to be said when it comes to Yong Joon. Looking at the extent of his popularity in Japan, to not pick something that’s targeted at the Japanese market is not easy. What I want to say is… It is precisely because it’s Yong Joon, that’s why he can make such a strong resolution and decide not to do so.
I’ve promised to take my family out on a trip (lately, my wife keeps asking what it is on the internet that keeps me so glued to the computer, haha…). I can’t come to the computer. If news about Yong Joon’s new work is released, please shout loudly so that I can hear, okie? (Chuckles).
Yon-sama分析系列69
投稿者： ふみ / 投稿日： 2004/09/11 11:46:32
大家好。昨天的回贴里面，有说勇俊的下部作品10亿日元打不住，会更加卖座（尤其是勇俊戴眼镜的话）。10亿日元的数字是因为《丑闻》的收入据说有10亿日元，所以我这样写的。当然，更加卖座的可能性很大。《丑闻》这个月的23号开始发行录像带，在9月下旬起的一个月期间开卖的录像带作品里面，听说《丑闻》是最受期待的作品。20日左右录像带专门杂志（月刊）会一齐发刊，关于《丑闻》的记事会开特辑吧（当然的事情）。《丑闻》在日本还是小剧场上映的作品（上映的电影馆不多）。《杀人回忆》也是作为小剧场上映的作品，收到5亿日元的票房收入，据相关者讲可以进入小剧场作品的年间Best 5，那《丑闻》会怎样呢？作为小剧场作品可是高高在上啊。
我也想不明白了。顺便说一下，《太极旗飘扬》和《实尾岛》不是小剧场放映作品。
今年的百想艺术节上，勇俊说，
“今后，为了韩国的电影事业，我想我还有很多要做的工作。”
很多的工作是指哪些呢？像大家知道的，创建电影专门学校，制作电影（导演？），作为演员活跃，再加一条，让我说的话，就是改善整个电影业界的工作。
作为勇俊的下部作品，暂时被选出的《风》这部作品讲的是和日本毫不相干的故事。普通来说，在日本如此人气的勇俊，如果选择和日本有些关联的作品不是会更加卖座吗。我们来看看现在在韩国成为话题的作品吧。安重根（独立运动活动家），风的战士（空手道的培达氏的故事），力道山。。。都是和日本相关的东西。这是偶然现象吗？可能是，也可能是意识到韩流热的日本市场的作品。这么多和日本相关的作品之中，勇俊选择的是和日本毫无相关的纯爱故事。我鼓掌。还得是勇俊啊。不走商业路线的姿态好精彩。我想我们以后会看到不瞄准日本市场的勇俊作品在日本超卖座，而意识到日本市场而拍的片子不卖座的现象吧。
在日本最有可能卖座的勇俊的电影是？从商业角度考虑会是这样一个样子吧？
从韩国来到日本的勇俊爱上了一位日本女性。那个女性正被恶人追杀，勇俊施展高强功夫把哪些恶人都打趴下。
这样的片子即使卖座，这种作品的倾向也许会令勇俊的评价降低吧。日本的fans不仅只看star的作品，还非常看中演员的人格，人品和个性。通过演员对于作品的姿态，和fans接触的态度，表情，语言，看到里面的人格魅力从而成为那个人的fan的日本人很多。柳时元在日本的人气，就是凭他的人格魅力得来的我想。
对于勇俊更不用说了。凭他在日本的这般人气，不考虑日本市场选择作品并非易事啊。我想说，正因为是勇俊才做得了这样的决断吧。
约好了要和家人出去旅行（最近，老被我家太太问，那网上究竟有什么东西啊？笑），看不了电脑。勇俊的新作要是发表了，一定大声告诉我啊！（笑）
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/11
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hi everyone.
In the replies to my posting yesterday, some people have said that 100 million yen for Yong Joon’s performance fees is not good enough, they think the movie will make more (especially if Yong Joon wears glasses in the movie). The figure 100 million yen came about because The Untold Scandal reportedly made some 100 million yen, that’s why I wrote it as that. Of course, there’s a very high possibility that box ticket sales will be more. Discs and video sets for The Untold Scandal will start selling from 23rd this month, and for the second half of September, it is said that Scandal is the most anticipated work of all the new releases for the same period. The monthly magazines that introduce new video releases will be out sometime around the 20th, and I would suppose there will be coverage and articles on Scandal (that’s certainly to be expected).
In Japan, The Untold Scandal only opened in a few small theatres (not many cinemas screened the movie). Memories of Murder was similar in this aspect, it only opened in limited small screens in Japan, and it had raked in 50 million yen in ticket sales. Someone in the know told me that Memories of Murder can possibly make it to the Best Five in terms of movies being released in small theatres. Then what about The Untold Scandal? Surely it sits right up there at the top for works being screened in small theatres. I can’t quite understand the workings of it all. By the way, Taekugi and Simildo were not considered as movies being released in small theatres.
During the Baeksang Arts Awards this year, Yong Joon had said,
“I think I’ve a lot of work cut out for me in terms of the Korean movie industry from now on.”
A lot of work… What could he be referring to? Which areas of work? Like everyone knows by now, to start a school specialising in movies, to make movies (as a director?), to be more active as an actor, or if I may add one more, to change, to revolutionalise the entire movie industry.
As Yong Joon’s next work, one of the possible scripts Baran (bb: Wind) has a story that’s got absolutely nothing to do with Japan. Generally speaking, for Yong Joon who’s riding high on the popularity wave in Japan, surely the movie can sell more tickets if he’d chosen a story that’s somehow related or associated with Japan?
Let us now look at movies or new works that have become hot topics in Korea. Doma Ahn Joong Keun (biography of Korean patriot Ahn Joong Keun), Fighter in the Wind (about Karate expert Baedal), Rikidozan: A Hero Extraordinary, etc… These are all related to Japan. Could it be coincidental? Maybe, but it’s also possible that they recognize that these are works that had created Korean craze in the Japanese market. Of all these Japanese-related works, Yong Joon went to choose a pure love story that’s not at all linked to Japan. I applaud that. That’s typical Yong Joon, and that’s also something that only Yong Joon can pull off. It’s exciting to watch him deliberately not going the commercial route. I think in future, we will see Yong Joon’s works do supremely well in Japan, and these are works that are not particularly customized for or target at the Japanese market. And perhaps they would realize that movies that sublimely conscious of the Japanese market and are created thus do not do that well.
So what type of Yong Joon movies would possibly succeed in Japan? From the commercial angle, it should be something like this, I suppose:
Yong Joon who comes from Korea to Japan falls in love with a Japanese woman. This woman is being hunted down by the baddies. Yong Joon would display his martial arts and knock every single one of those baddies down.
This type of movies will probably sell very well; however if Yong Joon’s choice of works is inclined towards this genre, then our views and evaluation of him will be adversely affected, we will think less of him. Japanese fans do not just watch the works of stars, they will often observe the actors’ personalities, his character and his general behaviour. From the way the actors select and treat their works, from the way they treat and interact with their fans, from their expressions, choice of words… A lot of fans become fans from observing the inner traits of an actor, from the charisma of the actor himself. Ryu Shi Won’s popularity in Japan, in my view, is from his personality draw, his charisma.
Less needs to be said when it comes to Yong Joon. Looking at the extent of his popularity in Japan, to not pick something that’s targeted at the Japanese market is not easy. What I want to say is… It is precisely because it’s Yong Joon, that’s why he can make such a strong resolution and decide not to do so.
I’ve promised to take my family out on a trip (lately, my wife keeps asking what it is on the internet that keeps me so glued to the computer, haha…). I can’t come to the computer. If news about Yong Joon’s new work is released, please shout loudly so that I can hear, okie? (Chuckles).
Yon-sama分析系列69
投稿者： ふみ / 投稿日： 2004/09/11 11:46:32
大家好。昨天的回贴里面，有说勇俊的下部作品10亿日元打不住，会更加卖座（尤其是勇俊戴眼镜的话）。10亿日元的数字是因为《丑闻》的收入据说有10亿日元，所以我这样写的。当然，更加卖座的可能性很大。《丑闻》这个月的23号开始发行录像带，在9月下旬起的一个月期间开卖的录像带作品里面，听说《丑闻》是最受期待的作品。20日左右录像带专门杂志（月刊）会一齐发刊，关于《丑闻》的记事会开特辑吧（当然的事情）。《丑闻》在日本还是小剧场上映的作品（上映的电影馆不多）。《杀人回忆》也是作为小剧场上映的作品，收到5亿日元的票房收入，据相关者讲可以进入小剧场作品的年间Best 5，那《丑闻》会怎样呢？作为小剧场作品可是高高在上啊。
我也想不明白了。顺便说一下，《太极旗飘扬》和《实尾岛》不是小剧场放映作品。
今年的百想艺术节上，勇俊说，
“今后，为了韩国的电影事业，我想我还有很多要做的工作。”
很多的工作是指哪些呢？像大家知道的，创建电影专门学校，制作电影（导演？），作为演员活跃，再加一条，让我说的话，就是改善整个电影业界的工作。
作为勇俊的下部作品，暂时被选出的《风》这部作品讲的是和日本毫不相干的故事。普通来说，在日本如此人气的勇俊，如果选择和日本有些关联的作品不是会更加卖座吗。我们来看看现在在韩国成为话题的作品吧。安重根（独立运动活动家），风的战士（空手道的培达氏的故事），力道山。。。都是和日本相关的东西。这是偶然现象吗？可能是，也可能是意识到韩流热的日本市场的作品。这么多和日本相关的作品之中，勇俊选择的是和日本毫无相关的纯爱故事。我鼓掌。还得是勇俊啊。不走商业路线的姿态好精彩。我想我们以后会看到不瞄准日本市场的勇俊作品在日本超卖座，而意识到日本市场而拍的片子不卖座的现象吧。
在日本最有可能卖座的勇俊的电影是？从商业角度考虑会是这样一个样子吧？
从韩国来到日本的勇俊爱上了一位日本女性。那个女性正被恶人追杀，勇俊施展高强功夫把哪些恶人都打趴下。
这样的片子即使卖座，这种作品的倾向也许会令勇俊的评价降低吧。日本的fans不仅只看star的作品，还非常看中演员的人格，人品和个性。通过演员对于作品的姿态，和fans接触的态度，表情，语言，看到里面的人格魅力从而成为那个人的fan的日本人很多。柳时元在日本的人气，就是凭他的人格魅力得来的我想。
对于勇俊更不用说了。凭他在日本的这般人气，不考虑日本市场选择作品并非易事啊。我想说，正因为是勇俊才做得了这样的决断吧。
约好了要和家人出去旅行（最近，老被我家太太问，那网上究竟有什么东西啊？笑），看不了电脑。勇俊的新作要是发表了，一定大声告诉我啊！（笑）
Analyzing Yon-Sama - Part 70
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/12
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yesterday I had said my family would be going for an outing, but we did not go eventually. Instead, I told my family that we should stay home and prepare something nice to eat.
There’s still no news about Yong Joon’s new work. The Korean fans are worried, they wonder if something has happened. I suppose it’s the same over at this talkboard too. Although typically Japanese are less vocal, but most would be wondering “Could it be now?” and check the official board for notices a few times a day, right? (Chuckles). Looking at the calendar for September month… When they said second week of September, did they mean by today, or were they referring to the second week and therefore tomorrow would be the start of the second week?
Today, I would like to talk about some speculation about the new work, as well as problems with the contract.
Is the new work going to be as what people have been saying, the new movie directed by Heo Jin Ho? Well, during this period, sometimes there have been reports that seem to indicate there’s such a possibility, and there have also been news that deny so. Now firstly, what we can be certain of, and I’ve also written about it before, when it comes to selection of scripts, Yong Joon is the boss. He makes the decision. But when it comes to things outside of selecting what works to accept, for instance, CFs, product endorsements, performance fees, etc, are up to his managers. Yong Joon has already chosen to work on Director Heo’s new movie, this seems to be true. So the possibility of this happening is very high.
On the other hand, representatives from the movie company said a few days ago, “We may not commence filming within this year”, and “the title of the movie is not Baran” (these are from Korean media reports). All these seem to indicate otherwise. From here, we can tell that they’re not confident at all of being able to sign on Yong Joon for the movie.
Moving a step forward, if this new movie, or the other new movie rumoured to be in the running as well, requires a lot more time before inking the contract, then the managers will put up a notice on the official board to inform fans, I suppose. But this has not happened. So, can we then deduce that the current situation is that they may sign the contract anytime now?
This contract will be signed between the movie production company and Yong Joon’s management agency BOF, I’m wondering if there’re any good ways to resolve the outstanding issues.
The movie company will start filming once the contract has been finalised, and then the rights to the movie will be marketed to all the Asian countries, especially Japan. The export fees earned will easily exceed what is required to make the movie. So to the movie company, there’s absolutely no risk at all, they only need to put their stamp on the contract and a substantial sum of money cam be pocketed. Piece of cake, it seems.
But no, no, there’s no free lunch in this world.
To prevent this from happening will be for Yong Joon’s performance fees to go up. And this will mean the production cost will also go up.
For Yong Joon, an appropriate amount would be above 300 million yen, but this is a sum that the movie company cannot pay. So, the movie company can consider transferring some production decisions and rights to BOF. These are some of the conditions that I can think of:
- BOF retains the right to reject the choice of female lead
- BOF’s consent is required for the exporting of the movie to overseas countries
- If, for whatever reasons, the movie company has to stop filming, then all production rights will be transferred to BOF
- X% of the profits from the movie will be paid to BOF
In this case, Yong Joon’s performance fee can be in the region of 50 million yen (bb: approximately US$500,000). And of course, the contract will have to detail the penalties for breaching any terms of the agreement.
I’ve heard that Yong Joon’s managers are very careful when it comes to signing any contracts or entering into any agreements. This is but of course, and should be so. Quite possibly, the movie company does not really have a good understanding of Yong Joon’s popularity in Japan. Generally speaking, there are not many Koreans who actually totally comprehend the effect and extent of Yong Joon’s popularity and appeal in Japan. The movie company may even be worrying if Yong Joon will still be as popular in Japan come the following year. Then perhaps the representatives from the movie company should come and read this Analyzing Yon-sama series (chuckles).
P.S. To everyone who has been translating this series, a big thank you. There has been no misinterpretation, and in fact, the translations are even better than my original version. (Chuckles, but it’s true.)
Yon-sama分析系列70
投稿者： ふみ / 投稿日： 2004/09/12 09:53:04
大家好。昨天本来说要出去旅行，结果没有去。跟家人说今天在家里作些好吃的吃。
勇俊的新作发表还没有出来，韩国的fans们都在担心，以为出了什么事情。这边论坛的大家也一样，虽然是日本人一贯地不说出口，但也是“现在吗现在吗？”地一天里几次上到公式网去查看消息的吧？（笑）看着9月的日历，9月的第2周是指今天结束呢？还是把明天起作为第2周呢？今天，我想说一些关于新作的推测和签约方面的话题。
新作是否是一直在说的许秦豪导演的作品呢？这期间的情报有肯定的一面也有否定的一面。首先，肯定的一面是，以前也写过的，关于作品的选择全部是由勇俊自己做主，作品以外的事情（电视广告，片酬等）全部由经理人决定。勇俊选择了许导演的作品，这好像是事实，那么是这部作品的可能性就可以说比较大了。
另一方面，在数日前的制作公司代表的发言之中，“今年年内也许不能开拍”，“作品的片名也不是《Baran》(这是韩国媒体的报道)”持相当否定的意见，可以看出他们对和勇俊的签约毫无信心。
进一步推测，如果这部作品，或者，另一部被传闻的作品的签约过程要大幅度延长的话，公式网上经理人会对fans作某种形式的说明吧。但是，这也没有，那么是不是可以判断现在的状况是随时可以签约的情形呢。
这个合同是制作公司和勇俊经理人事务所BOF之间的合同，我在想有没有什么好的解决办法。
勇俊新作的制作公司在和勇俊签约以后进入拍摄，立刻，这部作品将在以日本为首的亚洲各国发售。该收入轻而易举就可以超过制作费用。那么新作的制作公司，什么风险也没有，只盖个章就能收到相当的收益。这就好像天上掉馅儿饼的事情。
但是，天上是不会掉下馅儿饼的。
防止这样情况的出现的办法就是，提高勇俊的片酬，那么制作费用就要上升。
这个适当的片酬要在3亿日元以上，但这是制作公司拿不出的价。
所以，制作公司可以考虑把制作权，著作权的一部分转让给BOF。具体我想可以是以下的条款:
1.对女主角演员的选角，BOF持拒否权
2.关于作品的海外输出，需经BOF同意
3.因某种理由，制作公司要停止拍摄的情况下，制作权转让给BOF
4.这部作品的收益的xx%需付给BOF
这样，勇俊的片酬可以在5千万程度。还有合约内容中也要包括违约时的处罚条款。
我听说勇俊的经理人对签约是非常慎重的。这也是理所当然的事情。制作公司也可能对勇俊在日本的人气没有很好地理解？一般来说，现在在韩国对勇俊的日本人气正确理解的相关人士还很少。制作公司也许会担心勇俊在日本的人气能否持续到来年吧。那也请制作公司的代表读一读Yon-sama分析吧。(笑)
PS. 翻译分析系列的各位，非常感谢你们。没有误译，译文比我的文章还要好。（笑，但是是真的。）
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/12
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yesterday I had said my family would be going for an outing, but we did not go eventually. Instead, I told my family that we should stay home and prepare something nice to eat.
There’s still no news about Yong Joon’s new work. The Korean fans are worried, they wonder if something has happened. I suppose it’s the same over at this talkboard too. Although typically Japanese are less vocal, but most would be wondering “Could it be now?” and check the official board for notices a few times a day, right? (Chuckles). Looking at the calendar for September month… When they said second week of September, did they mean by today, or were they referring to the second week and therefore tomorrow would be the start of the second week?
Today, I would like to talk about some speculation about the new work, as well as problems with the contract.
Is the new work going to be as what people have been saying, the new movie directed by Heo Jin Ho? Well, during this period, sometimes there have been reports that seem to indicate there’s such a possibility, and there have also been news that deny so. Now firstly, what we can be certain of, and I’ve also written about it before, when it comes to selection of scripts, Yong Joon is the boss. He makes the decision. But when it comes to things outside of selecting what works to accept, for instance, CFs, product endorsements, performance fees, etc, are up to his managers. Yong Joon has already chosen to work on Director Heo’s new movie, this seems to be true. So the possibility of this happening is very high.
On the other hand, representatives from the movie company said a few days ago, “We may not commence filming within this year”, and “the title of the movie is not Baran” (these are from Korean media reports). All these seem to indicate otherwise. From here, we can tell that they’re not confident at all of being able to sign on Yong Joon for the movie.
Moving a step forward, if this new movie, or the other new movie rumoured to be in the running as well, requires a lot more time before inking the contract, then the managers will put up a notice on the official board to inform fans, I suppose. But this has not happened. So, can we then deduce that the current situation is that they may sign the contract anytime now?
This contract will be signed between the movie production company and Yong Joon’s management agency BOF, I’m wondering if there’re any good ways to resolve the outstanding issues.
The movie company will start filming once the contract has been finalised, and then the rights to the movie will be marketed to all the Asian countries, especially Japan. The export fees earned will easily exceed what is required to make the movie. So to the movie company, there’s absolutely no risk at all, they only need to put their stamp on the contract and a substantial sum of money cam be pocketed. Piece of cake, it seems.
But no, no, there’s no free lunch in this world.
To prevent this from happening will be for Yong Joon’s performance fees to go up. And this will mean the production cost will also go up.
For Yong Joon, an appropriate amount would be above 300 million yen, but this is a sum that the movie company cannot pay. So, the movie company can consider transferring some production decisions and rights to BOF. These are some of the conditions that I can think of:
- BOF retains the right to reject the choice of female lead
- BOF’s consent is required for the exporting of the movie to overseas countries
- If, for whatever reasons, the movie company has to stop filming, then all production rights will be transferred to BOF
- X% of the profits from the movie will be paid to BOF
In this case, Yong Joon’s performance fee can be in the region of 50 million yen (bb: approximately US$500,000). And of course, the contract will have to detail the penalties for breaching any terms of the agreement.
I’ve heard that Yong Joon’s managers are very careful when it comes to signing any contracts or entering into any agreements. This is but of course, and should be so. Quite possibly, the movie company does not really have a good understanding of Yong Joon’s popularity in Japan. Generally speaking, there are not many Koreans who actually totally comprehend the effect and extent of Yong Joon’s popularity and appeal in Japan. The movie company may even be worrying if Yong Joon will still be as popular in Japan come the following year. Then perhaps the representatives from the movie company should come and read this Analyzing Yon-sama series (chuckles).
P.S. To everyone who has been translating this series, a big thank you. There has been no misinterpretation, and in fact, the translations are even better than my original version. (Chuckles, but it’s true.)
Yon-sama分析系列70
投稿者： ふみ / 投稿日： 2004/09/12 09:53:04
大家好。昨天本来说要出去旅行，结果没有去。跟家人说今天在家里作些好吃的吃。
勇俊的新作发表还没有出来，韩国的fans们都在担心，以为出了什么事情。这边论坛的大家也一样，虽然是日本人一贯地不说出口，但也是“现在吗现在吗？”地一天里几次上到公式网去查看消息的吧？（笑）看着9月的日历，9月的第2周是指今天结束呢？还是把明天起作为第2周呢？今天，我想说一些关于新作的推测和签约方面的话题。
新作是否是一直在说的许秦豪导演的作品呢？这期间的情报有肯定的一面也有否定的一面。首先，肯定的一面是，以前也写过的，关于作品的选择全部是由勇俊自己做主，作品以外的事情（电视广告，片酬等）全部由经理人决定。勇俊选择了许导演的作品，这好像是事实，那么是这部作品的可能性就可以说比较大了。
另一方面，在数日前的制作公司代表的发言之中，“今年年内也许不能开拍”，“作品的片名也不是《Baran》(这是韩国媒体的报道)”持相当否定的意见，可以看出他们对和勇俊的签约毫无信心。
进一步推测，如果这部作品，或者，另一部被传闻的作品的签约过程要大幅度延长的话，公式网上经理人会对fans作某种形式的说明吧。但是，这也没有，那么是不是可以判断现在的状况是随时可以签约的情形呢。
这个合同是制作公司和勇俊经理人事务所BOF之间的合同，我在想有没有什么好的解决办法。
勇俊新作的制作公司在和勇俊签约以后进入拍摄，立刻，这部作品将在以日本为首的亚洲各国发售。该收入轻而易举就可以超过制作费用。那么新作的制作公司，什么风险也没有，只盖个章就能收到相当的收益。这就好像天上掉馅儿饼的事情。
但是，天上是不会掉下馅儿饼的。
防止这样情况的出现的办法就是，提高勇俊的片酬，那么制作费用就要上升。
这个适当的片酬要在3亿日元以上，但这是制作公司拿不出的价。
所以，制作公司可以考虑把制作权，著作权的一部分转让给BOF。具体我想可以是以下的条款:
1.对女主角演员的选角，BOF持拒否权
2.关于作品的海外输出，需经BOF同意
3.因某种理由，制作公司要停止拍摄的情况下，制作权转让给BOF
4.这部作品的收益的xx%需付给BOF
这样，勇俊的片酬可以在5千万程度。还有合约内容中也要包括违约时的处罚条款。
我听说勇俊的经理人对签约是非常慎重的。这也是理所当然的事情。制作公司也可能对勇俊在日本的人气没有很好地理解？一般来说，现在在韩国对勇俊的日本人气正确理解的相关人士还很少。制作公司也许会担心勇俊在日本的人气能否持续到来年吧。那也请制作公司的代表读一读Yon-sama分析吧。(笑)
PS. 翻译分析系列的各位，非常感谢你们。没有误译，译文比我的文章还要好。（笑，但是是真的。）
Analyzing Yon-Sama - Part 71
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/12
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
I saw the Winter Sonata Commemorative Event organised by NHK yesterday. Yong Joon was standing when he greeted his fans. Why standing?
1. Because there were no chairs.
2. Because he would come across as proud and arrogant if he’s sharing his message out to his fans whilst sitting down.
3. Because the camera was positioned such that it would capture him better if he's standing.
4. Because he wanted to bow deeply to his fans, to express the gratitude and appreciation in his heart.
5. No reason, it’s just coincidental.
I would choose number 4.
Yong Joon was holding an empty mug in his hand. Why?
1. Because he wanted to show off the mug to everyone.
2. Because he wanted to fill the mug with the beverage he’s endorsing to drink it, thinking to drink it after the shooting
3. [Hidden from the camera] Because there’s a man who’s making so much noise that he’s thinking to throw the mug at the man.
4. Because he was feeling a little nervous before the filming of his message, and was drinking some water from the mug to calm his nerves.
5. Because it’s not easy to look comfortable standing there while the camera rolled on; it would appear more natural if he were holding a mug.
I would choose number 5.
[bb: I know, I know… At this point, some of you would be dying to watch the VOD again… here’s the link: mms://61.100.12.37/baeyongjoon/vod/interview/2004/sonata-1.wmv
and if you want to read the English translation of Yong Joon’s message, please go to Quilt’s VOD section, VOD no. 99]
As for Jiwoo’s message, “I’m very pleased that this drama has contributed to the cultural exchange between Japan and Korea”, her message was obviously taking into consideration the entire society. She was taking a broader angle, and covering the society as a whole. But Yong Joon’s message was not driven from this same perspective. In his message, he said he hoped all his fans would be healthy and enjoy peace and happiness in their homes everyday. He was speaking personally to everyone. His words were to each individual fan, and his message was true, sincere and thoughtful. Those were love’s greetings (Chuckles). Todate, Yong Joon has not acted in any drama with overwhelmingly strong social or political themes. And his message was atypical Yong Joon’s style, not linked to any political issues.
Yong Joon’s TV commercial (the Lotte Chocolate CF with Masahiro Nakai), the respective men’s parts were shot separately and then put together by computer. Yong Joon, who has not much experience with this particular style of shooting, seemed to be totally at ease with this new style. He was very natural and acted out the entire scene extremely well. Even the projection and intonation of his voice matched up to the filming team’s expectations; he could even act with his voice!
[bb: Okay, okay, here’s the link:
mms://61.100.12.37/baeyongjoon/vod/cf/Quilt040907cho.wmv]
Also, in the recording yesterday, there were a lot of books in the background… I was wondering if Yong Joon was thinking of studying and upgrading himself… But Yong Joon, please do not take a break from acting for a few years to study about movies! Kyushu, which is nearest to Korea, will soon be starting a film production course in the overseas campus of UCLA from the States. UCLA is famous for its film production courses, and their movie technique teachings are world-renowned. So long as Yong Joon visits Kyushu occasionally for personalised coaching lessons on film production from this world-class movie institute, then he can learn more about movie-making, and yet not stop his acting activities!
Although this is so-called a Yong Joon analysis, it sure appears that I haven’t really done much to analyze his popularity. But if you really want to say something, to explain his popularity, then I will only say, “You just have to take a look at Yong Joon to understand it!”
And once again, he’s proven me right.
[bb: Actually the recording of Yong Joon’s message for the NHK program was done in the midst of his shooting work for Taster’s Choice coffee. The setting was the CF setting, so the books were not exactly Yong Joon’s books.]
Yon-sma分析系列71
投稿者： ふみ / 投稿日： 2004/09/12 11: 02:43
大家好。昨天看了NHK的冬恋纪念会。勇俊站着，和fans致意。
为什么是站着的呢？
1．没有椅子
2．一个人坐着的话会给人傲慢的感觉
3．由于镜头的设置站着拍比较好
4．为了最后向fans深深鞠躬，表示感谢的心意
5．只是偶然
我选择的是4。
勇俊手里拿了只什么也没装的杯子。为什么？
1．想把杯子展示给大家看
2．采访结束后，想要把自己宣传的饮料装进去喝
3．后面（镜头里看不到）有很吵的人，想把杯子朝那个人投过去
4．采访前紧张，刚用那杯子喝过水
5．站着接受采访手放在哪儿不好处理，拿了杯子比较自然
我选的是5。
（by77, 其实答案是勇俊在拍taster’s choice的咖啡广告中间录的影。不过想起东贤也扔过酒瓶子，不是没有可能啊，呵呵）
相对于智友的，“为这部作品为日韩交流作出贡献而感到很高兴”，考虑到社会全体的发言，勇俊不是从冬恋的社会影响的角度而发言，他说，希望fans大家，健康幸福地渡过每一天（原话可能不同），是对一个人，一个人的fans的诚挚的话语和致意。爱的致意啊（笑）。勇俊至今为止都没有出演过社会性，政治性很强的作品，这是一直和政治问题一切不相关予的勇俊式的致意。
勇俊的电视广告（Lotte chocolate和中居合拍），是分别摄影后合成的画面，没有多少合成画面经验的勇俊，也展现出了完全理解画面合成处理的自然的演技。声音的音调也和摄影组的期望相一致，想是勇俊声音的演技。还有，昨天的录像里面背景是好多的书，我想是不是表示勇俊更想好好学习的心思啊。但是，勇俊可不要为了电影的学习，再休息上几年啊。离韩国最近的日本的九州，马上就要设立美国UCLA大学的电影分校。众所周知UCLA大学的电影学科在世界上是最有名的。勇俊偶尔来九州的UCLA，可以接受世界一流电影专家关于电影技术的个人辅导课程。那就可以不休止演艺活动，也能进行关于电影的学习了。
说是勇俊分析，可是好像我对勇俊为什么人气却没怎么分析似的。但是要让我说，勇俊人气的理由？“看看勇俊就知道了”！昨天我又一次得到了确认。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/12
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
I saw the Winter Sonata Commemorative Event organised by NHK yesterday. Yong Joon was standing when he greeted his fans. Why standing?
1. Because there were no chairs.
2. Because he would come across as proud and arrogant if he’s sharing his message out to his fans whilst sitting down.
3. Because the camera was positioned such that it would capture him better if he's standing.
4. Because he wanted to bow deeply to his fans, to express the gratitude and appreciation in his heart.
5. No reason, it’s just coincidental.
I would choose number 4.
Yong Joon was holding an empty mug in his hand. Why?
1. Because he wanted to show off the mug to everyone.
2. Because he wanted to fill the mug with the beverage he’s endorsing to drink it, thinking to drink it after the shooting
3. [Hidden from the camera] Because there’s a man who’s making so much noise that he’s thinking to throw the mug at the man.
4. Because he was feeling a little nervous before the filming of his message, and was drinking some water from the mug to calm his nerves.
5. Because it’s not easy to look comfortable standing there while the camera rolled on; it would appear more natural if he were holding a mug.
I would choose number 5.
[bb: I know, I know… At this point, some of you would be dying to watch the VOD again… here’s the link: mms://61.100.12.37/baeyongjoon/vod/interview/2004/sonata-1.wmv
and if you want to read the English translation of Yong Joon’s message, please go to Quilt’s VOD section, VOD no. 99]
As for Jiwoo’s message, “I’m very pleased that this drama has contributed to the cultural exchange between Japan and Korea”, her message was obviously taking into consideration the entire society. She was taking a broader angle, and covering the society as a whole. But Yong Joon’s message was not driven from this same perspective. In his message, he said he hoped all his fans would be healthy and enjoy peace and happiness in their homes everyday. He was speaking personally to everyone. His words were to each individual fan, and his message was true, sincere and thoughtful. Those were love’s greetings (Chuckles). Todate, Yong Joon has not acted in any drama with overwhelmingly strong social or political themes. And his message was atypical Yong Joon’s style, not linked to any political issues.
Yong Joon’s TV commercial (the Lotte Chocolate CF with Masahiro Nakai), the respective men’s parts were shot separately and then put together by computer. Yong Joon, who has not much experience with this particular style of shooting, seemed to be totally at ease with this new style. He was very natural and acted out the entire scene extremely well. Even the projection and intonation of his voice matched up to the filming team’s expectations; he could even act with his voice!
[bb: Okay, okay, here’s the link:
mms://61.100.12.37/baeyongjoon/vod/cf/Quilt040907cho.wmv]
Also, in the recording yesterday, there were a lot of books in the background… I was wondering if Yong Joon was thinking of studying and upgrading himself… But Yong Joon, please do not take a break from acting for a few years to study about movies! Kyushu, which is nearest to Korea, will soon be starting a film production course in the overseas campus of UCLA from the States. UCLA is famous for its film production courses, and their movie technique teachings are world-renowned. So long as Yong Joon visits Kyushu occasionally for personalised coaching lessons on film production from this world-class movie institute, then he can learn more about movie-making, and yet not stop his acting activities!
Although this is so-called a Yong Joon analysis, it sure appears that I haven’t really done much to analyze his popularity. But if you really want to say something, to explain his popularity, then I will only say, “You just have to take a look at Yong Joon to understand it!”
And once again, he’s proven me right.
[bb: Actually the recording of Yong Joon’s message for the NHK program was done in the midst of his shooting work for Taster’s Choice coffee. The setting was the CF setting, so the books were not exactly Yong Joon’s books.]
Yon-sma分析系列71
投稿者： ふみ / 投稿日： 2004/09/12 11: 02:43
大家好。昨天看了NHK的冬恋纪念会。勇俊站着，和fans致意。
为什么是站着的呢？
1．没有椅子
2．一个人坐着的话会给人傲慢的感觉
3．由于镜头的设置站着拍比较好
4．为了最后向fans深深鞠躬，表示感谢的心意
5．只是偶然
我选择的是4。
勇俊手里拿了只什么也没装的杯子。为什么？
1．想把杯子展示给大家看
2．采访结束后，想要把自己宣传的饮料装进去喝
3．后面（镜头里看不到）有很吵的人，想把杯子朝那个人投过去
4．采访前紧张，刚用那杯子喝过水
5．站着接受采访手放在哪儿不好处理，拿了杯子比较自然
我选的是5。
（by77, 其实答案是勇俊在拍taster’s choice的咖啡广告中间录的影。不过想起东贤也扔过酒瓶子，不是没有可能啊，呵呵）
相对于智友的，“为这部作品为日韩交流作出贡献而感到很高兴”，考虑到社会全体的发言，勇俊不是从冬恋的社会影响的角度而发言，他说，希望fans大家，健康幸福地渡过每一天（原话可能不同），是对一个人，一个人的fans的诚挚的话语和致意。爱的致意啊（笑）。勇俊至今为止都没有出演过社会性，政治性很强的作品，这是一直和政治问题一切不相关予的勇俊式的致意。
勇俊的电视广告（Lotte chocolate和中居合拍），是分别摄影后合成的画面，没有多少合成画面经验的勇俊，也展现出了完全理解画面合成处理的自然的演技。声音的音调也和摄影组的期望相一致，想是勇俊声音的演技。还有，昨天的录像里面背景是好多的书，我想是不是表示勇俊更想好好学习的心思啊。但是，勇俊可不要为了电影的学习，再休息上几年啊。离韩国最近的日本的九州，马上就要设立美国UCLA大学的电影分校。众所周知UCLA大学的电影学科在世界上是最有名的。勇俊偶尔来九州的UCLA，可以接受世界一流电影专家关于电影技术的个人辅导课程。那就可以不休止演艺活动，也能进行关于电影的学习了。
说是勇俊分析，可是好像我对勇俊为什么人气却没怎么分析似的。但是要让我说，勇俊人气的理由？“看看勇俊就知道了”！昨天我又一次得到了确认。
Analyzing Yon-Sama - Part 72
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/13
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. These days I’ve become a Fumi who doesn’t feel much like working. Why not? Well, I would suppose everyone would know the reason… Today, I want to talk about Yong Joon’s popularity in Japan as I feel it here.
In one of the airports here in Japan, what greeted me the moment I landed was a very, very big poster of Yong Joon fronting a duty free store. The shops in the airport were also filled with life-sized standees of Yong Joon. Think they’re using him to sell some health beverage or something. I’m not exactly sure. And quite a few people were taking pictures standing beside these standees and posters.
At the hotel, it used to be like this:
Receptionist: May I have your name, sir?
Fumi: 000
Receptionist: Huh?
Fumi: 000
Receptionist: Huh?
To the Japanese, the only Korean surnames they are familiar with are Kim and Lee. Anything else is almost like Greek to them. I’ve already gotten used to how the other party would go ‘huh?’ each time I give my surname. But lately…? (My name is one of those that have appeared in Winter Sonata).
Receptionist: May I have your name, sir?
Fumi: 000
Receptionist: Oh, I’ve got it. It’s written like this in Kanji, right?
The feeling’s wonderful. These days, it only takes a second for them to get my name, and they even know how to write it in Kanji (bb: these are words used in the Japanese language, of Chinese origin). All these… thanks to Winter Sonata! (Chuckles).
Once I checked into the hotel, got into the room and turned on the TV, Yong Joon’s commercials will appear. I just couldn’t help myself, “Wow…!” I can still remember the last time I actually made a similar wow sound when I saw something on TV. That was some thirty years ago, and I was watching Beatles on AFKN (That’s a broadcast station run by the American military in Korea). One can’t really see much of Yong Joon on TV, so even though it’s just a commercial I was still so pleasantly surprised that I exclaimed in excitement.
There have been some comments about Yong Joon making too many commercials. Taking a more global angle, Japan is quite possibly the only country in the whole wide world to actually criticize someone for making too many commercials. About twenty years ago, I’ve conducted a popularity survey for a Japanese baseball player (原辰徳), focussing on the number of commercials he had made. Generally speaking, the number of commercials a person has is like an indicator of his or her popularity. Moreover, the products Yong Joon endorses are confined to those with fairly favourable image, so I do not think it’s an issue at all. In most cases, by selecting someone who’s the hottest and most popular to be a product spokesperson or a brand ambassador is a surefire way to raise the share price of that particular company. In fact, not just the share price, even the image and valuation of the company as a whole will improve.
Coming out from the hotel, I made one round to the video rental shop and the bookshop. Bookshops in general started to have a dedicated area for Korea-related books and magazines about a year ago. In the past, there were even specialised Winter Sonata sections and huge posters of Yong Joon. But they have been taken down now. I popped into the video rental shop for awhile. About ten years ago, we started to see shops specialising in Asian dramas and movies. And even before that, there were those that carried only Hong Kong production. Back ten years ago, if you wanted to find Korean movies, then you first have to seek out the pornographic section in the shops (Chuckles), as quite a lot of Korean pornographic productions made their way to the Japanese shores then. Even for Shibaji (The Surrogate Womb), with international critical acclaim, was treated like a porn movie in Japan and did not receive good reviews at all.
Then some four, five years ago, we saw more and more shops specialising in Asian productions, and most were arranged as Hong Kong movies, Korean movies, in accordance to the countries of production. But in terms of split, Korean movies only made up about one-third or even a quarter of Hong Kong movies. The change only came this year. Korean movies started to disappear from such Asian-specific shops and had their own dedicated shops or counters. And display of Korean productions also superseded that of Hong Kong productions.
The shop that I went was of quite a substantial size. Winter Sonata had completed its run on TV, yet all the tapes and discs were all being rented out. Beautiful Days and works by Yong Joon were the most popular, and Beautiful Days was more popular than I’d imagine. On the net, it also appeared that this drama seems to be quite popular. Amongst Yong Joon’s works, other than Winter Sonata, the rest seems to be enjoying average popularity.
Took a look at Yong Joon’s official board in Japan. Yong Joon’s video message from two weeks had over 160,000 accesses. It’s an amazing number, mind-boggling. If each of these 160,000 people were to bring a friend each to the cinema to watch Yong Joon’s new movie, then just this number alone is enough for Yong Joon’s new work to surpass the ticket sales of Simildo. And of course, amongst Yong Joon’s fans, there are actually a lot, a lot more who do not visit the official board.
Normally, when Koreans visit Japan, they will visit the bigger malls that sell home electronic and electrical products before heading home. And in these places, you can see Yong Joon’s life-sized standees and posters as well. Are there a lot of life-sized posters in Japan? I don’t recall so. Other than Yong Joon, I don’t see life-sized posters of other stars (including Japanese actors or actresses).
Yon-sama分析系列72
投稿者： ふみ / 投稿日： 2004/09/13 11:45:49
大家好。我是最近不想干活儿的fumi。为什么不想干活？大家都知道是什么原因吧。
今天，我想说一说我在日本感受到的勇俊的人气。
在日本的某空港降落了以后，最先进入眼帘的就是免税店宣传用的勇俊的大大的照片。空港内的店铺也立着勇俊等身大的画像。是健康饮料关系什么的？我没弄清楚。好几个人站在画像旁边拍照。
到了旅店，过去是这样的，
柜台服务：请问您贵姓？
我：OOO
柜台服务：哈依？
我：OOO
柜台服务：哈依？
对日本人来说除了金和李以外的韩国人的姓都觉得陌生。我已经习惯了报了自己的名字以后，对方的 哈依？什么？的反应。但是最近呢（我的名字是冬恋里也出现的名字）
旅店柜台：请问您贵姓？
我：OOO
旅店柜台：啊，知道了，汉字是这样写吧？
感觉很爽啊。一下子就听明白，连汉字都会写，是托了冬恋的福啊（笑）。
进了旅馆的房间打开电视，勇俊的广告就出现了。我禁不住，“哇。。。”地呼出声。我记得自己看电视惊得呼出声，那是30多年以前，看到AFKN（在韩美军放送）的披头士Beetles以来的事情。勇俊一般在电视上看不到，虽然是广告但是我看到勇俊还是惊喜得叫出声音来了。
有意见说，勇俊拍得广告过多了吧？从世界范围看，因为拍广告多就会被一部分人批判的国家可能除了日本没有其他国家。20年前，我曾经作过日本的棒球选手原辰徳的人气调查，专门看了他拍了多少广告。因为一般来说，所持广告的数目是人气的晴雨表。加上勇俊宣传的商品只限于形象不错的，我觉得这毫无问题。一般来说，都是选用当时最受瞩目的人出演广告，这会令那个公司的股票价格上涨。不说股票，也会提高对那个公司的评价。
从旅馆出来，我去录像带出租店和书店转了转。书店里，一年前开始就专设了韩国柜台。以前曾有冬恋专柜和勇俊的等身大画像，这回撤下去了。去录像带出租店看了一下。10年以前开始，开设亚洲专柜的店铺不少。再之前其实是香港作品专柜。10年前在日本想找韩国电影的时候，首先要到色情作品的柜台才有可能找到（笑），韩国的色情片进到日本不少。但是象《Shibaji》（The Surrogate Womb）那样的国际评价很高的电影，在日本也作为色情作品之一，没有获得好评。
从4，5年前起，设有亚洲电影柜台的店铺开始多起来，一般是香港电影，韩国电影还有其他亚洲国家电影这样分类陈列。但是数目上韩国的片子是香港的三分之一或四分之一的程度。状况发生改变是从今年开始。韩国的作品从亚洲柜台消失，被特别专设了柜台。列出的韩国片数也超过了香港片。
我去的是一个相当大的店，冬恋已经播完了，但是带子基本上都被租出去了。《美丽的日子》和勇俊的作品最有人气，《美丽的日子》比我预想的还要受欢迎。网上这部作品也是人气相当高。勇俊作品里，冬恋以外基本上人气差不多。
看了一下日本的勇俊公式网，2星期前勇俊的message录像，有超过16万件的点击数。真是令人吃惊的数字。这16万人一人带一个朋友去电影院看勇俊的新作的话，仅这一项就可以令勇俊的新作超过《实尾岛》。当然，勇俊的fans里面不看公式网的还有很多很多。
一般，韩国人回国前都会去日本卖家电的大型商场。在那里也可以看到勇俊的等身大的画像。日本是等身大的画像特别多吗？好像不是。勇俊之外，我没看到别的演员（包括日本的演员）的等身大画像。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/13
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. These days I’ve become a Fumi who doesn’t feel much like working. Why not? Well, I would suppose everyone would know the reason… Today, I want to talk about Yong Joon’s popularity in Japan as I feel it here.
In one of the airports here in Japan, what greeted me the moment I landed was a very, very big poster of Yong Joon fronting a duty free store. The shops in the airport were also filled with life-sized standees of Yong Joon. Think they’re using him to sell some health beverage or something. I’m not exactly sure. And quite a few people were taking pictures standing beside these standees and posters.
At the hotel, it used to be like this:
Receptionist: May I have your name, sir?
Fumi: 000
Receptionist: Huh?
Fumi: 000
Receptionist: Huh?
To the Japanese, the only Korean surnames they are familiar with are Kim and Lee. Anything else is almost like Greek to them. I’ve already gotten used to how the other party would go ‘huh?’ each time I give my surname. But lately…? (My name is one of those that have appeared in Winter Sonata).
Receptionist: May I have your name, sir?
Fumi: 000
Receptionist: Oh, I’ve got it. It’s written like this in Kanji, right?
The feeling’s wonderful. These days, it only takes a second for them to get my name, and they even know how to write it in Kanji (bb: these are words used in the Japanese language, of Chinese origin). All these… thanks to Winter Sonata! (Chuckles).
Once I checked into the hotel, got into the room and turned on the TV, Yong Joon’s commercials will appear. I just couldn’t help myself, “Wow…!” I can still remember the last time I actually made a similar wow sound when I saw something on TV. That was some thirty years ago, and I was watching Beatles on AFKN (That’s a broadcast station run by the American military in Korea). One can’t really see much of Yong Joon on TV, so even though it’s just a commercial I was still so pleasantly surprised that I exclaimed in excitement.
There have been some comments about Yong Joon making too many commercials. Taking a more global angle, Japan is quite possibly the only country in the whole wide world to actually criticize someone for making too many commercials. About twenty years ago, I’ve conducted a popularity survey for a Japanese baseball player (原辰徳), focussing on the number of commercials he had made. Generally speaking, the number of commercials a person has is like an indicator of his or her popularity. Moreover, the products Yong Joon endorses are confined to those with fairly favourable image, so I do not think it’s an issue at all. In most cases, by selecting someone who’s the hottest and most popular to be a product spokesperson or a brand ambassador is a surefire way to raise the share price of that particular company. In fact, not just the share price, even the image and valuation of the company as a whole will improve.
Coming out from the hotel, I made one round to the video rental shop and the bookshop. Bookshops in general started to have a dedicated area for Korea-related books and magazines about a year ago. In the past, there were even specialised Winter Sonata sections and huge posters of Yong Joon. But they have been taken down now. I popped into the video rental shop for awhile. About ten years ago, we started to see shops specialising in Asian dramas and movies. And even before that, there were those that carried only Hong Kong production. Back ten years ago, if you wanted to find Korean movies, then you first have to seek out the pornographic section in the shops (Chuckles), as quite a lot of Korean pornographic productions made their way to the Japanese shores then. Even for Shibaji (The Surrogate Womb), with international critical acclaim, was treated like a porn movie in Japan and did not receive good reviews at all.
Then some four, five years ago, we saw more and more shops specialising in Asian productions, and most were arranged as Hong Kong movies, Korean movies, in accordance to the countries of production. But in terms of split, Korean movies only made up about one-third or even a quarter of Hong Kong movies. The change only came this year. Korean movies started to disappear from such Asian-specific shops and had their own dedicated shops or counters. And display of Korean productions also superseded that of Hong Kong productions.
The shop that I went was of quite a substantial size. Winter Sonata had completed its run on TV, yet all the tapes and discs were all being rented out. Beautiful Days and works by Yong Joon were the most popular, and Beautiful Days was more popular than I’d imagine. On the net, it also appeared that this drama seems to be quite popular. Amongst Yong Joon’s works, other than Winter Sonata, the rest seems to be enjoying average popularity.
Took a look at Yong Joon’s official board in Japan. Yong Joon’s video message from two weeks had over 160,000 accesses. It’s an amazing number, mind-boggling. If each of these 160,000 people were to bring a friend each to the cinema to watch Yong Joon’s new movie, then just this number alone is enough for Yong Joon’s new work to surpass the ticket sales of Simildo. And of course, amongst Yong Joon’s fans, there are actually a lot, a lot more who do not visit the official board.
Normally, when Koreans visit Japan, they will visit the bigger malls that sell home electronic and electrical products before heading home. And in these places, you can see Yong Joon’s life-sized standees and posters as well. Are there a lot of life-sized posters in Japan? I don’t recall so. Other than Yong Joon, I don’t see life-sized posters of other stars (including Japanese actors or actresses).
Yon-sama分析系列72
投稿者： ふみ / 投稿日： 2004/09/13 11:45:49
大家好。我是最近不想干活儿的fumi。为什么不想干活？大家都知道是什么原因吧。
今天，我想说一说我在日本感受到的勇俊的人气。
在日本的某空港降落了以后，最先进入眼帘的就是免税店宣传用的勇俊的大大的照片。空港内的店铺也立着勇俊等身大的画像。是健康饮料关系什么的？我没弄清楚。好几个人站在画像旁边拍照。
到了旅店，过去是这样的，
柜台服务：请问您贵姓？
我：OOO
柜台服务：哈依？
我：OOO
柜台服务：哈依？
对日本人来说除了金和李以外的韩国人的姓都觉得陌生。我已经习惯了报了自己的名字以后，对方的 哈依？什么？的反应。但是最近呢（我的名字是冬恋里也出现的名字）
旅店柜台：请问您贵姓？
我：OOO
旅店柜台：啊，知道了，汉字是这样写吧？
感觉很爽啊。一下子就听明白，连汉字都会写，是托了冬恋的福啊（笑）。
进了旅馆的房间打开电视，勇俊的广告就出现了。我禁不住，“哇。。。”地呼出声。我记得自己看电视惊得呼出声，那是30多年以前，看到AFKN（在韩美军放送）的披头士Beetles以来的事情。勇俊一般在电视上看不到，虽然是广告但是我看到勇俊还是惊喜得叫出声音来了。
有意见说，勇俊拍得广告过多了吧？从世界范围看，因为拍广告多就会被一部分人批判的国家可能除了日本没有其他国家。20年前，我曾经作过日本的棒球选手原辰徳的人气调查，专门看了他拍了多少广告。因为一般来说，所持广告的数目是人气的晴雨表。加上勇俊宣传的商品只限于形象不错的，我觉得这毫无问题。一般来说，都是选用当时最受瞩目的人出演广告，这会令那个公司的股票价格上涨。不说股票，也会提高对那个公司的评价。
从旅馆出来，我去录像带出租店和书店转了转。书店里，一年前开始就专设了韩国柜台。以前曾有冬恋专柜和勇俊的等身大画像，这回撤下去了。去录像带出租店看了一下。10年以前开始，开设亚洲专柜的店铺不少。再之前其实是香港作品专柜。10年前在日本想找韩国电影的时候，首先要到色情作品的柜台才有可能找到（笑），韩国的色情片进到日本不少。但是象《Shibaji》（The Surrogate Womb）那样的国际评价很高的电影，在日本也作为色情作品之一，没有获得好评。
从4，5年前起，设有亚洲电影柜台的店铺开始多起来，一般是香港电影，韩国电影还有其他亚洲国家电影这样分类陈列。但是数目上韩国的片子是香港的三分之一或四分之一的程度。状况发生改变是从今年开始。韩国的作品从亚洲柜台消失，被特别专设了柜台。列出的韩国片数也超过了香港片。
我去的是一个相当大的店，冬恋已经播完了，但是带子基本上都被租出去了。《美丽的日子》和勇俊的作品最有人气，《美丽的日子》比我预想的还要受欢迎。网上这部作品也是人气相当高。勇俊作品里，冬恋以外基本上人气差不多。
看了一下日本的勇俊公式网，2星期前勇俊的message录像，有超过16万件的点击数。真是令人吃惊的数字。这16万人一人带一个朋友去电影院看勇俊的新作的话，仅这一项就可以令勇俊的新作超过《实尾岛》。当然，勇俊的fans里面不看公式网的还有很多很多。
一般，韩国人回国前都会去日本卖家电的大型商场。在那里也可以看到勇俊的等身大的画像。日本是等身大的画像特别多吗？好像不是。勇俊之外，我没看到别的演员（包括日本的演员）的等身大画像。
Analyzing Yon-Sama - Part 73
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/13
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
I had initially wanted to stop at Part 20, never would I imagine it would come to Part 73. By the time Part 100 is posted, surely Yong Joon would have announced his new work, right? Not yet? Oh please… (Chuckles).
Today I would like to talk about Yong Joon’s name.
After coming to this talkboard, then I came to realise that Yong Joon’s fans in Japan only started addressing him as Yon-sama this year. I actually think that this term of endearment is excellent. Now everyone knows ‘sama’ is an expression of respect (this is for the benefit of people who don’t speak Japanese), but now in Japan, when fans call him Yon-sama, they’re not really doing so out of extreme reverence. It’s more like a term of endearment, something you would call someone dear and someone you love. Even the high school students, and the university students would call him Yon-sama with a certain degree of familiarity and closeness.
In Korea, it’s difficult to figure out who exactly you’re trying to call without saying the person’s full name. For instance, when you call ‘Mr Kim’, we’ve absolutely no idea who you’re referring to. (bb: Because too many Koreans share the same surname. For those who may not be familiar, the top four surnames in Korea are Lee, Kim, Park and Choi. More than half of the population in Korea have one of these four surnames. I understand that some 20% of the population are Kims, and about 15% are Lees. So go figure…)
But the Japanese find it hard to remember a Korean’s full name. For example, if you show Jang Dong Gun’s photograph to anyone on the street and ask if he or she knows who he is, out of 100 who say they know or that they have seen him before, try asking them to say his name. If you can get ten out of the hundred to say his full name, then I’d say that’s not bad already.
I would imagine that amongst the Japanese who know of Yong Joon, particularly the young people, there are quite a number who are unable to say his full name. But because of this lovely term Yon-sama, the Japanese can remember his name in an instant, well, they remember his name as Yon-sama. (Chuckles).
I’m someone who’s not very much in tune with the young or pop culture in Korea. Though I’ve heard that Kang Dong Won is enjoying extreme popularity amongst the young people, I’ve not had a chance to really experience or see it for myself. But recently, I saw an imitation act on a Korean entertainment program, that is, to have people appear on the program and imitate or mimic him. It was then I really felt his popularity.
In Japan, some entertainment programs also ask of participants to act like Yong Joon (not for Winter Sonata, but as Yong Joon). I’ve seen two already, there could possibly be more. So, Yon-sama has become Yong Joon’s name in Japan. The media is also calling him Yon-sama. David Beckham has been called Beckham-sama by his female fans, but the media did not pick that up. So, the meaning of Yon-sama is no longer Yon + Sama. Instead, it’s now being perceived as a name and used thus. And that’s because Korean names are not easy to pronounce.
The basic pronounciations for ‘Yon’ and ‘Yong’ are the same in the Japanese language, but not so in Korean. Basically, ‘yon’ is not quite used in the Korean language. I’ve tried to think of Korean words that use ‘yon’ as a base sound, but came up blank. There is a word that’s something like ‘kureyon’, the older folks will pronounce as ‘yon’, but most people would still stick to ‘yong’.
‘Yong’ is often used. Naturally, Yon-sama is of course Yong-sama. ‘Yong’ in Korean means dragon. When translating the Japanese Yon-sama into Korea, both Yon-sama and Yong-sama are acceptable.
The Korean media chose to use Yon-sama. That’s because ‘yon’ is not usually used in Korea, and therefore it gives Yon-sama somewhat of a foreign touch. If we use Yong-sama, it would sound like Mr Dragon, and that would give people the feeling that Yong Joon is something outstanding and very high up there.
But I still think it’s better to translate it into Yong-sama in Korea. For instance, if we were to ask Yong Joon’s Korean family this:
Q: Should we start calling Bae Yong Joon ‘Yon-sama’ in Korea?
I would hazard a guess that only 2% will agree and 98% object.
Q: Should we start calling Bae Yong Joon ‘Yong-sama’ in Korea?
I will guess that 30% will agree, and the remaining 70% object.
It’s quite difficult to explain in words. In the Korean language, ‘Yon-sama’ and ‘Yong’sama’ will give people different feelings and impression. The entire feel for each word is quite different.
The Korean media should have, right at the beginning, translated it into ‘Yong-sama’, the term that will link people to think of dragons. If they do so, then the Korean media are media who can help to groom and develop stars. ‘Yon-sama’ will remind people of Japan, and the pronounciation is quite funny. And from the angle of the Korean language, the anti-Yong Joon campy will then say, “What is this….” And they will start making fun of this ‘Yon-sama’.
A fraction of the Koreans have pointed out that Korea does not appear to have any long-term strategy or plans to try and maintain the Korean Wave in Japan. I suppose this can be one example. How to translate the Japanese ‘Yon-sama’ appropriately into Korea… Something as small and minute as this, it would perhaps do the Korean media good if they were to have considered more thoroughly?
bb: personally, i prefer that the korean media and the koreans continue to address yong joon as bae yong joon.... i know i prefer to think of him as yong joon, and to address him as yong joon.
Yon-sama分析系列73
投稿者： ふみ / 投稿日： 2004/09/13 16:35:48
大家好。我本来想分析到20回就结束的，没想到73回了。分析到100回的时候，怎么着勇俊的新作也发表了吧。还没有？不会吧（笑）。
今天我想说说勇俊的名字。看了这里的论坛，我才知道日本的勇俊fans一般称呼的“Yon-sama”是进入今年以后的事情。这个爱称我觉得特别棒。本来大家都知道，sama是表示尊敬的用语（为了不懂日语的朋友作说明），但是现在日本一般的fans叫“Yon-sama”的时候，和尊敬之意无关，是作为一个爱称来称呼“Yon-sama“, ”Yon-sama”的。中学生，大学生也是带着亲近感这样叫的。
韩国人的名字不称呼完整名字就简直区别不开（叫金先生的话，根本不知道叫的是谁），但是日本人是记不住韩国人的完整名字的。比如，把张东健的照片拿给路人看，问他/她知不知道这个人？100个说“知道”“见过”的人里面，请他/她说出这个人的名字，那我想100个人里面有10个就不错了。
知道勇俊的日本人，特别是年轻人里面，说不出裴勇俊名字的我想很多吧。正因为”Yon-sama”这个爱称，日本人一下子就记住了BYJ的名字，记作”Yon-sama”（笑）。
对于韩国年轻一代的文化接触机会不多的我，听说现在Kang Dong-Won在年轻人中间特别人气，但是我一直没有实感。但是最近，我在一个韩国娱乐节目里看到了他的模仿秀，才真觉得他很有人气。日本的娱乐节目里也在搞勇俊的模仿秀（不是冬恋的模仿秀），我看过2回。可能有更多。所以，Yon-sama，人气啊。
在日本“Yon-sama”基本成了BYJ的名字了。媒体也这么称呼。贝克汉姆在女性fans中间被叫做”Beckham-sama”，但是媒体没有这么叫。”Yon-sama”现在不是Yon＋sama，而是作为一个名字在使用。因为韩国人的名字不好念啊。
日语中的“Yon”和“Yong”的发音基本是相同的，但是在韩国是非常不同的两个发音。Yon这个发音在韩国语中基本不使用。我想过发Yon音的韩国语，没想出来。有一个“Kureyon”的发音，年纪大的韩国人会发“Yon”，但是一般都发“Yong”。
“Yong”的发音经常使用。“Yon-sama”当然应该是“Yong-sama”。“Yong”在韩国语中是“龙”。日语中的“Yon-sama”翻成韩国语时“Yon-sama”也可以，“Yong-sama”也可以。
韩国的媒体选择了“Yon-sama”。因为Yon的发音韩国语不怎么用，叫“Yon-sama”显出有点儿异国气息。
译成“Yong-sama”，听起来好像是“龙先生”，给人BYJ好像很了不起的人物的感觉。
但是，我觉得韩国语的翻译还是“Yong-sama”比较好。假定访问韩国的BYJ家族的话：
提问：在韩国把BYJ称呼为“Yon-sama”好不好？
（推测）赞成：2% 反对：98%
提问：在韩国把BYJ称呼为“Yong-sama”好不好？
（推测）赞成：30% 反对：70%
这用语言很难说明，在韩国语里面，“Yon-sama”和“Yong-sama”所表现出的感觉是相当不同的。
韩国的媒体应该在最初的阶段，翻译作能联想到龙的“Yong-sama”。这才是培育Star的媒体。“Yon-sama”令人联想到日本，发音也许有趣，但是从韩国语角度来考虑的话，BYJ反对派就要说了“什么呀那是？”，笑话这样一个名字。
有一部分韩国人指出，韩国对于如何能够持续在日本的韩流热潮毫无长远计划。我想这可以作为一个例子吧。日语的“Yon-sama”在韩国语里应该如何翻译，对于这样的细微之处韩国媒体是不是也应该好好斟酌才是呢
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/13
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
I had initially wanted to stop at Part 20, never would I imagine it would come to Part 73. By the time Part 100 is posted, surely Yong Joon would have announced his new work, right? Not yet? Oh please… (Chuckles).
Today I would like to talk about Yong Joon’s name.
After coming to this talkboard, then I came to realise that Yong Joon’s fans in Japan only started addressing him as Yon-sama this year. I actually think that this term of endearment is excellent. Now everyone knows ‘sama’ is an expression of respect (this is for the benefit of people who don’t speak Japanese), but now in Japan, when fans call him Yon-sama, they’re not really doing so out of extreme reverence. It’s more like a term of endearment, something you would call someone dear and someone you love. Even the high school students, and the university students would call him Yon-sama with a certain degree of familiarity and closeness.
In Korea, it’s difficult to figure out who exactly you’re trying to call without saying the person’s full name. For instance, when you call ‘Mr Kim’, we’ve absolutely no idea who you’re referring to. (bb: Because too many Koreans share the same surname. For those who may not be familiar, the top four surnames in Korea are Lee, Kim, Park and Choi. More than half of the population in Korea have one of these four surnames. I understand that some 20% of the population are Kims, and about 15% are Lees. So go figure…)
But the Japanese find it hard to remember a Korean’s full name. For example, if you show Jang Dong Gun’s photograph to anyone on the street and ask if he or she knows who he is, out of 100 who say they know or that they have seen him before, try asking them to say his name. If you can get ten out of the hundred to say his full name, then I’d say that’s not bad already.
I would imagine that amongst the Japanese who know of Yong Joon, particularly the young people, there are quite a number who are unable to say his full name. But because of this lovely term Yon-sama, the Japanese can remember his name in an instant, well, they remember his name as Yon-sama. (Chuckles).
I’m someone who’s not very much in tune with the young or pop culture in Korea. Though I’ve heard that Kang Dong Won is enjoying extreme popularity amongst the young people, I’ve not had a chance to really experience or see it for myself. But recently, I saw an imitation act on a Korean entertainment program, that is, to have people appear on the program and imitate or mimic him. It was then I really felt his popularity.
In Japan, some entertainment programs also ask of participants to act like Yong Joon (not for Winter Sonata, but as Yong Joon). I’ve seen two already, there could possibly be more. So, Yon-sama has become Yong Joon’s name in Japan. The media is also calling him Yon-sama. David Beckham has been called Beckham-sama by his female fans, but the media did not pick that up. So, the meaning of Yon-sama is no longer Yon + Sama. Instead, it’s now being perceived as a name and used thus. And that’s because Korean names are not easy to pronounce.
The basic pronounciations for ‘Yon’ and ‘Yong’ are the same in the Japanese language, but not so in Korean. Basically, ‘yon’ is not quite used in the Korean language. I’ve tried to think of Korean words that use ‘yon’ as a base sound, but came up blank. There is a word that’s something like ‘kureyon’, the older folks will pronounce as ‘yon’, but most people would still stick to ‘yong’.
‘Yong’ is often used. Naturally, Yon-sama is of course Yong-sama. ‘Yong’ in Korean means dragon. When translating the Japanese Yon-sama into Korea, both Yon-sama and Yong-sama are acceptable.
The Korean media chose to use Yon-sama. That’s because ‘yon’ is not usually used in Korea, and therefore it gives Yon-sama somewhat of a foreign touch. If we use Yong-sama, it would sound like Mr Dragon, and that would give people the feeling that Yong Joon is something outstanding and very high up there.
But I still think it’s better to translate it into Yong-sama in Korea. For instance, if we were to ask Yong Joon’s Korean family this:
Q: Should we start calling Bae Yong Joon ‘Yon-sama’ in Korea?
I would hazard a guess that only 2% will agree and 98% object.
Q: Should we start calling Bae Yong Joon ‘Yong-sama’ in Korea?
I will guess that 30% will agree, and the remaining 70% object.
It’s quite difficult to explain in words. In the Korean language, ‘Yon-sama’ and ‘Yong’sama’ will give people different feelings and impression. The entire feel for each word is quite different.
The Korean media should have, right at the beginning, translated it into ‘Yong-sama’, the term that will link people to think of dragons. If they do so, then the Korean media are media who can help to groom and develop stars. ‘Yon-sama’ will remind people of Japan, and the pronounciation is quite funny. And from the angle of the Korean language, the anti-Yong Joon campy will then say, “What is this….” And they will start making fun of this ‘Yon-sama’.
A fraction of the Koreans have pointed out that Korea does not appear to have any long-term strategy or plans to try and maintain the Korean Wave in Japan. I suppose this can be one example. How to translate the Japanese ‘Yon-sama’ appropriately into Korea… Something as small and minute as this, it would perhaps do the Korean media good if they were to have considered more thoroughly?
bb: personally, i prefer that the korean media and the koreans continue to address yong joon as bae yong joon.... i know i prefer to think of him as yong joon, and to address him as yong joon.
Yon-sama分析系列73
投稿者： ふみ / 投稿日： 2004/09/13 16:35:48
大家好。我本来想分析到20回就结束的，没想到73回了。分析到100回的时候，怎么着勇俊的新作也发表了吧。还没有？不会吧（笑）。
今天我想说说勇俊的名字。看了这里的论坛，我才知道日本的勇俊fans一般称呼的“Yon-sama”是进入今年以后的事情。这个爱称我觉得特别棒。本来大家都知道，sama是表示尊敬的用语（为了不懂日语的朋友作说明），但是现在日本一般的fans叫“Yon-sama”的时候，和尊敬之意无关，是作为一个爱称来称呼“Yon-sama“, ”Yon-sama”的。中学生，大学生也是带着亲近感这样叫的。
韩国人的名字不称呼完整名字就简直区别不开（叫金先生的话，根本不知道叫的是谁），但是日本人是记不住韩国人的完整名字的。比如，把张东健的照片拿给路人看，问他/她知不知道这个人？100个说“知道”“见过”的人里面，请他/她说出这个人的名字，那我想100个人里面有10个就不错了。
知道勇俊的日本人，特别是年轻人里面，说不出裴勇俊名字的我想很多吧。正因为”Yon-sama”这个爱称，日本人一下子就记住了BYJ的名字，记作”Yon-sama”（笑）。
对于韩国年轻一代的文化接触机会不多的我，听说现在Kang Dong-Won在年轻人中间特别人气，但是我一直没有实感。但是最近，我在一个韩国娱乐节目里看到了他的模仿秀，才真觉得他很有人气。日本的娱乐节目里也在搞勇俊的模仿秀（不是冬恋的模仿秀），我看过2回。可能有更多。所以，Yon-sama，人气啊。
在日本“Yon-sama”基本成了BYJ的名字了。媒体也这么称呼。贝克汉姆在女性fans中间被叫做”Beckham-sama”，但是媒体没有这么叫。”Yon-sama”现在不是Yon＋sama，而是作为一个名字在使用。因为韩国人的名字不好念啊。
日语中的“Yon”和“Yong”的发音基本是相同的，但是在韩国是非常不同的两个发音。Yon这个发音在韩国语中基本不使用。我想过发Yon音的韩国语，没想出来。有一个“Kureyon”的发音，年纪大的韩国人会发“Yon”，但是一般都发“Yong”。
“Yong”的发音经常使用。“Yon-sama”当然应该是“Yong-sama”。“Yong”在韩国语中是“龙”。日语中的“Yon-sama”翻成韩国语时“Yon-sama”也可以，“Yong-sama”也可以。
韩国的媒体选择了“Yon-sama”。因为Yon的发音韩国语不怎么用，叫“Yon-sama”显出有点儿异国气息。
译成“Yong-sama”，听起来好像是“龙先生”，给人BYJ好像很了不起的人物的感觉。
但是，我觉得韩国语的翻译还是“Yong-sama”比较好。假定访问韩国的BYJ家族的话：
提问：在韩国把BYJ称呼为“Yon-sama”好不好？
（推测）赞成：2% 反对：98%
提问：在韩国把BYJ称呼为“Yong-sama”好不好？
（推测）赞成：30% 反对：70%
这用语言很难说明，在韩国语里面，“Yon-sama”和“Yong-sama”所表现出的感觉是相当不同的。
韩国的媒体应该在最初的阶段，翻译作能联想到龙的“Yong-sama”。这才是培育Star的媒体。“Yon-sama”令人联想到日本，发音也许有趣，但是从韩国语角度来考虑的话，BYJ反对派就要说了“什么呀那是？”，笑话这样一个名字。
有一部分韩国人指出，韩国对于如何能够持续在日本的韩流热潮毫无长远计划。我想这可以作为一个例子吧。日语的“Yon-sama”在韩国语里应该如何翻译，对于这样的细微之处韩国媒体是不是也应该好好斟酌才是呢
Truelove77: Due to time constraint, there’re some parts from here on that I do not translate word for word. But I do try my best not to miss out the key points in each posting. I seek your kind understanding in this.
Analyzing Yon-Sama - Part 74
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/13
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yong Joon’s posting was on 31st August, wasn’t it? The Korean papers had reported that the very next day, that is 1st September, many movie-related people came over to Korea from Japan. To buy the distribution rights for his new work for the Japanese market, and some even came with offers to pay the production costs. In Japan, Yong Joon has an agency to manage his affairs, so why were these people still flocking to Korea? Everyone, please do think about this for awhile.
Has something like this happened in Korea before? I don’t think so. This is a totally new, unprecedented situation. Never before had we seen this. The contract for this new work has many, many implications; it represented a lot of things, and this also partly explains why it took so long to finalise the deal. Perhaps Yong Joon did not really spend much time thinking about the signing of the contract, that seems quite befitting of his usual style (Chuckles). Generally speaking, in Korea, when it comes to selecting works and going through the terms of contracts, the actors and his managers will usually be involved together. But up till now, Yong Joon still has not come into direct contact pertinent to signing of contracts, I would reckon.
Here’s what I imagine happened:
31st Aug 2004 [The day Yong Joon announced about his new work]
Manager: Why did you say that?
Yong Joon: I’ve already decided on the script. The contract’s all up to you.
Manager: But… this time around, it’s different. There’re a lot of complicated issues with the signing of the contract, and there’re also a number of possibilities.
Yong Joon: Oh, really? But I’ve already told my fans, so please expedite.
Manager: But this is not something that we can rush. This is completely different from the previous times.
Yong Joon: Oh… Like this…
So… let us all wait patiently then (Chuckles). Who will be the female lead in the new movie? Do think about it. Possibly it will be an actress aged about thirty. Some fans on the OB seem to think that it could be Lee Young Ae (LYA) of JSA and Dae Jang Geum. LYA has not been linked to any scandals for ten years, and this would probably be a good point. But Yong Joon’s managers would know very well about LYA, and object. LYA… maybe she will faint in the midst of filming? (This is 200% nothing to do with Yong Joon, so please don’t misunderstand.)
Jeon Do Hyeon has been showing up quite frequently these days. But she’s been taking on quite a lot of “playgirl” type of roles of late, and she has also bared herself. I object.
Maybe everyone will be surprised, but I would like to see Kim Hye Soo (Have We Really Loved) being cast. Her acting is very good, and I would imagine that she can take on any type of role and be convincing in all. But… for this role (I can’t be entirely sure, chuckles), could she a little too tall?
Or maybe Park Sol Mi (Chaelin in Winter Sonata), she may be young in age, but I would really like to see a Sol Mi-Yiong Joon couple. Sol Mi seems a little tall, but there’s freshness, newness, and she acts rather well too.
Lee Seung Yeon of First Love? Her movie has won an award in the Venice Film Festival. But her makeup is too thick these days. I object.
How about the rumoured Shim Yun Ha (of Christmas in August)? If she makes a comeback through this movie, then it will be a big thing in Korea. I do not have particular reason to object to this casting.
There are still many good actresses around. What does everybody think? Of course everyone will say, “Any actress will do.” (Chuckles) But it’s a role that the handsome Yong Joon will fall in love with, I would guess you won’t be able to accept it if the actress is not someone beautiful, right? Moon So Ri with excellent acting talent (of The President’s Barber) were to be cast as Yong Joon’s love, then I will not accept it. Conversely, if actresses known for their pretty faces such as Kim Hee Sun or Ko So Young (of Barefooted Youth) were to be cast in Director Hei Jinho’s movie, they’re still not quite up to standard.
So, in my mind, the order is like this:
1. Park Sol Mi
2. Kim Hye Soo
3. Shim Yun Ha
Yong Joon’s image is inclined towards the gentler type. If it’s up to me, I would choose someone like Park Sol Mi or Kim Hye Soo, actresses with stronger features, to star opposite him.
77: 喜欢这个系列的JMS，很对不起，翻译迟延了不少时间。
本来想打退堂鼓来着，但是看到fumi依然那么热心地写，还有JM在等待看，
就还是坚持翻吧。能坚持到多久我也没有信心，中断的时候也请大家原谅。
因为时间有限，有些部分没有一字一句翻，但是我尽量不漏掉观点部分。请大家理解。
Yon-sama分析系列74
投稿者： ふみ / 投稿日： 2004/09/13 17:54:46
大家好。勇俊的发言是在8月31号来着吧？韩国报道说，次日的9月1日有好多日本的电影关联人士来到韩国。为了购买新作在日本的发行权，甚至有要直接出制作费的。日本也有勇俊的事务所，什么还都跑到韩国来呢？我不说大家想象一下吧。
过去，韩国是否有过这样的先例呢？我想没有过。是新的，没有经验过的情况。新作的签约包含多种含义。所以也很花时间。勇俊对于签约的问题也许根本没有考虑吧，很像他一贯的风格。（笑）一般，在韩国选择作品，签约多是由演员和经理人一起进行的，勇俊至今为止没有直接接触过签约的事情吧。
（我的想象）8月31日（勇俊留言的那天）
经理人：为什么留那样的言呢？
勇俊：定下是这部作品了。签约就靠你了。
经理人：这个。。。这回的情况不一样啊，签约关联好多复杂的问题，有很多可能性。
勇俊：哦？是吗？但是我已经跟fans说了，快点儿处理吧。
经理人：不是说快就能快的。这次和以前的情况完全不一样。
勇俊：哦。。。。是这样啊。。。
我们就好好耐心等待吧（笑）。新作的女主角会是谁？大家想象一下吧。应该是30岁前后的女演员吧。韩国公式网上有认为是JSA，大长今的李英爱的意见。英爱10年间毫无绯闻，把这作为优点。勇俊的经理人会很了解李英爱的事情，所以会反对吧。英爱，或者会在拍摄期间晕倒？（和勇俊200%没有相关的话，请不要误会。）
现在说的新作那样的故事，最近最常出演的是全度娴吧。但是，全度娴最近演花心的角色比较多，还演了脱戏，我反对。
可能大家会很以外，我想看的是金慧秀（群像）。金慧秀演技很好，我想她什么样的角色都可以演。但是，这个角色（还不很清楚，笑）她是不是有点儿嫌太高呢？
或许是朴素美（冬恋，彩琳）。岁数虽然年轻，但是我也很想看到素美-勇俊这样的搭档。素美虽然有点儿高。但有新鲜感，演技也蛮好。
李升燕（初恋）？这回，她的电影又获威尼斯电影节奖。但是，最近化妆太浓，我持反对意见。
传闻的沈银河（8月照相馆）？凭这部电影回归的话，在韩国会引起很大反响。我没有特别反对的理由。
其他还有好多女演员，大家怎么想呢？当然大家会说“女演员谁都可以啦”(笑)。但是能让英俊的勇俊爱上的角色，不是美丽的女演员的话大家也不会接受吧。演技很好的Moon So-ri(孝子洞的理发师)如果出演和勇俊相恋的戏，我的话是不会接受的。反过来说，以美人出名的金喜善，高素荣（赤足青春），出演许秦豪导演的作品，又嫌功力不够啊。
所以，我心目中是这样排的，1朴素美，2金慧秀，3沈银河。勇俊是比较柔的形象，我的话，会选择像朴素美，金慧秀那样有些个性强烈的面孔的女演员和他配戏。
Analyzing Yon-Sama - Part 74
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/13
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yong Joon’s posting was on 31st August, wasn’t it? The Korean papers had reported that the very next day, that is 1st September, many movie-related people came over to Korea from Japan. To buy the distribution rights for his new work for the Japanese market, and some even came with offers to pay the production costs. In Japan, Yong Joon has an agency to manage his affairs, so why were these people still flocking to Korea? Everyone, please do think about this for awhile.
Has something like this happened in Korea before? I don’t think so. This is a totally new, unprecedented situation. Never before had we seen this. The contract for this new work has many, many implications; it represented a lot of things, and this also partly explains why it took so long to finalise the deal. Perhaps Yong Joon did not really spend much time thinking about the signing of the contract, that seems quite befitting of his usual style (Chuckles). Generally speaking, in Korea, when it comes to selecting works and going through the terms of contracts, the actors and his managers will usually be involved together. But up till now, Yong Joon still has not come into direct contact pertinent to signing of contracts, I would reckon.
Here’s what I imagine happened:
31st Aug 2004 [The day Yong Joon announced about his new work]
Manager: Why did you say that?
Yong Joon: I’ve already decided on the script. The contract’s all up to you.
Manager: But… this time around, it’s different. There’re a lot of complicated issues with the signing of the contract, and there’re also a number of possibilities.
Yong Joon: Oh, really? But I’ve already told my fans, so please expedite.
Manager: But this is not something that we can rush. This is completely different from the previous times.
Yong Joon: Oh… Like this…
So… let us all wait patiently then (Chuckles). Who will be the female lead in the new movie? Do think about it. Possibly it will be an actress aged about thirty. Some fans on the OB seem to think that it could be Lee Young Ae (LYA) of JSA and Dae Jang Geum. LYA has not been linked to any scandals for ten years, and this would probably be a good point. But Yong Joon’s managers would know very well about LYA, and object. LYA… maybe she will faint in the midst of filming? (This is 200% nothing to do with Yong Joon, so please don’t misunderstand.)
Jeon Do Hyeon has been showing up quite frequently these days. But she’s been taking on quite a lot of “playgirl” type of roles of late, and she has also bared herself. I object.
Maybe everyone will be surprised, but I would like to see Kim Hye Soo (Have We Really Loved) being cast. Her acting is very good, and I would imagine that she can take on any type of role and be convincing in all. But… for this role (I can’t be entirely sure, chuckles), could she a little too tall?
Or maybe Park Sol Mi (Chaelin in Winter Sonata), she may be young in age, but I would really like to see a Sol Mi-Yiong Joon couple. Sol Mi seems a little tall, but there’s freshness, newness, and she acts rather well too.
Lee Seung Yeon of First Love? Her movie has won an award in the Venice Film Festival. But her makeup is too thick these days. I object.
How about the rumoured Shim Yun Ha (of Christmas in August)? If she makes a comeback through this movie, then it will be a big thing in Korea. I do not have particular reason to object to this casting.
There are still many good actresses around. What does everybody think? Of course everyone will say, “Any actress will do.” (Chuckles) But it’s a role that the handsome Yong Joon will fall in love with, I would guess you won’t be able to accept it if the actress is not someone beautiful, right? Moon So Ri with excellent acting talent (of The President’s Barber) were to be cast as Yong Joon’s love, then I will not accept it. Conversely, if actresses known for their pretty faces such as Kim Hee Sun or Ko So Young (of Barefooted Youth) were to be cast in Director Hei Jinho’s movie, they’re still not quite up to standard.
So, in my mind, the order is like this:
1. Park Sol Mi
2. Kim Hye Soo
3. Shim Yun Ha
Yong Joon’s image is inclined towards the gentler type. If it’s up to me, I would choose someone like Park Sol Mi or Kim Hye Soo, actresses with stronger features, to star opposite him.
77: 喜欢这个系列的JMS，很对不起，翻译迟延了不少时间。
本来想打退堂鼓来着，但是看到fumi依然那么热心地写，还有JM在等待看，
就还是坚持翻吧。能坚持到多久我也没有信心，中断的时候也请大家原谅。
因为时间有限，有些部分没有一字一句翻，但是我尽量不漏掉观点部分。请大家理解。
Yon-sama分析系列74
投稿者： ふみ / 投稿日： 2004/09/13 17:54:46
大家好。勇俊的发言是在8月31号来着吧？韩国报道说，次日的9月1日有好多日本的电影关联人士来到韩国。为了购买新作在日本的发行权，甚至有要直接出制作费的。日本也有勇俊的事务所，什么还都跑到韩国来呢？我不说大家想象一下吧。
过去，韩国是否有过这样的先例呢？我想没有过。是新的，没有经验过的情况。新作的签约包含多种含义。所以也很花时间。勇俊对于签约的问题也许根本没有考虑吧，很像他一贯的风格。（笑）一般，在韩国选择作品，签约多是由演员和经理人一起进行的，勇俊至今为止没有直接接触过签约的事情吧。
（我的想象）8月31日（勇俊留言的那天）
经理人：为什么留那样的言呢？
勇俊：定下是这部作品了。签约就靠你了。
经理人：这个。。。这回的情况不一样啊，签约关联好多复杂的问题，有很多可能性。
勇俊：哦？是吗？但是我已经跟fans说了，快点儿处理吧。
经理人：不是说快就能快的。这次和以前的情况完全不一样。
勇俊：哦。。。。是这样啊。。。
我们就好好耐心等待吧（笑）。新作的女主角会是谁？大家想象一下吧。应该是30岁前后的女演员吧。韩国公式网上有认为是JSA，大长今的李英爱的意见。英爱10年间毫无绯闻，把这作为优点。勇俊的经理人会很了解李英爱的事情，所以会反对吧。英爱，或者会在拍摄期间晕倒？（和勇俊200%没有相关的话，请不要误会。）
现在说的新作那样的故事，最近最常出演的是全度娴吧。但是，全度娴最近演花心的角色比较多，还演了脱戏，我反对。
可能大家会很以外，我想看的是金慧秀（群像）。金慧秀演技很好，我想她什么样的角色都可以演。但是，这个角色（还不很清楚，笑）她是不是有点儿嫌太高呢？
或许是朴素美（冬恋，彩琳）。岁数虽然年轻，但是我也很想看到素美-勇俊这样的搭档。素美虽然有点儿高。但有新鲜感，演技也蛮好。
李升燕（初恋）？这回，她的电影又获威尼斯电影节奖。但是，最近化妆太浓，我持反对意见。
传闻的沈银河（8月照相馆）？凭这部电影回归的话，在韩国会引起很大反响。我没有特别反对的理由。
其他还有好多女演员，大家怎么想呢？当然大家会说“女演员谁都可以啦”(笑)。但是能让英俊的勇俊爱上的角色，不是美丽的女演员的话大家也不会接受吧。演技很好的Moon So-ri(孝子洞的理发师)如果出演和勇俊相恋的戏，我的话是不会接受的。反过来说，以美人出名的金喜善，高素荣（赤足青春），出演许秦豪导演的作品，又嫌功力不够啊。
所以，我心目中是这样排的，1朴素美，2金慧秀，3沈银河。勇俊是比较柔的形象，我的话，会选择像朴素美，金慧秀那样有些个性强烈的面孔的女演员和他配戏。
Analyzing Yon-Sama - Part 75
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/15
Translated into Chinese: Truelove77 / www.loveyongjoon.com
[omitted certain sections]
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Regarding Yong Joon’s new work, the inner circles in Korean’s entertainment scene also have no special information. But it should be quite safe to say his next work would be “Baran” (bb: Wind), I guess.
The people in the trade in Korea do not have very much to say about BOF. BOF itself do not surface much in the entertainment circuit in Korea, so it’s not easy to obtain accurate insider information through the entertainment grapevine. It would appear that BOF also asks that Yong Joon does not make too many appearances, have been so for sometime now.
I personally think that Yong Joon and Dong Gun are the two biggest stars in Korea. Currently, Yong Joon commands the highest performance fees, and he also receives the most number of script offers.
But the people in the trade in Korea tend ot think that Dong Gun is more popular than Yong Joon. This is a problem. In Korea, Dong Fun is popular, and outside of Korea, Yong Joon is popular. So if we balance things out, both can be said to be just as popular. But the industry people in Korea do not think that popularity overseas IS popularity at all.
Why?
Because in Korea, there has never ever been any Korean actor who has been able to maintain his popularity for a long time overseas. At most, it’s a temporary thing, popularity in other countries never last for long. The Korean craze sweeping all over Asia is something like that. Anh Jae Wook, Ko So Young (of Double Agent) were not able to hold their popularity in Asia for even a year. That’s not saying they’re totally no popular now, just that it’s the fever has somewhat died down. So, the entertainment people in Korea will hold such thinking.
Although Yong Joon’s managers have not said this openly, what I’ve heard is that even BOF is uncertain as to how long Yong Joon’s popularity in Japan will hold up. They can’t even begin to guess. I’m only speaking for myself, this is my own judgement, Yong Joon will continue to be popular in Japan five years, even ten years down the road. He will continue to be someone they will watch closely, he will be showered with attention.
Of course, come five or ten years’ time, there will not be the frantic fever like now. But according to the Japanese culture, according to the Japanese traits, and taking into consideration the profile of Yong Joon’s fans in Japan, I’m confident enough to make this prediction.
The Korean entertainment circle does not think this way because they do not understand the Japanese market well enough. Even people who have lived in Japan for only three months, people who can’t even speak Japanese to save their lives can write books about Japan and even make bestsellers out of them. There’re of course plenty of errors in these books. I think there are very few people in the Korean entertainment field who really, really have a firm grasp of the Japanese market, I think.
I would guess that this time, during the process of selecting his next work, and also to sign the contract, BOF must have wished that they have someone who’s familiar with Japan to consult with. It may be a good idea to find someone who’s working in an entertainment agency in Japan for at least ten years, find someone who’s also a Yong Joon fan, and then sign a consultancy agreement with this person. But at the bare minimum, they have to find someone with at least ten years’ experience. The Japanese entertainment industry and the Japanese society as a whole are complex, and one would need at least ten years in order to understand the Japanese. If possible, even better to find someone with more than twenty years’ experience.
Yon-sama分析75 （by77， 有些省略）
投稿者： ふみ / 投稿日： 2004/09/15 11 03
大家好。对于勇俊新作的问题，韩国的电影界内部也是没有什么特别的情报的。 但是，勇俊的下一部作品是《风》（baran）是没有错的吧。
韩国的业内对BOF的评价是很安静。BOF自身在韩国的演艺界就不大露面。所以，演艺界里面也得不到很确实的情报。BOF对勇俊也要求不要多露面，好像一直都是这样要求的。
我认为勇俊和东健是韩国的两大Star。勇俊现在的片酬最高，片约也最多。
但是，韩国的演艺界专门人士却认为东健要比勇俊人气更高，这是个问题。韩国国内是东健人气旺，国外是勇俊人气旺，均衡起来两个人应该是人气相当。但是，韩国的业界却认为，在国外的人气不是人气。
为什么会这样认为呢？
因为韩国没有出现过“长时期，在外国保持人气的韩国演员”。至今为止多是短期现象，没有保持长久。亚洲范围的韩流热就是这样的。安在旭，高素荣（双重间谍）在亚洲的人气没有持续一年，（并不是说现在就没有人气，而是说亚洲范围的韩流热一转即过）。所以，韩国的娱乐界才会有这样的看法。
勇俊的经理人虽然没有说，但是我听到的话是说，其实BOF也对勇俊在日本的外国的人气，到底能持续多久，心里没有底。但是，我仅代表我个人断言，
在日本的勇俊的人气会在5年，10年后依然存在，依然是受瞩目的对象。
当然5年，10年后不会有现在这样的热度，但是从日本的文化，日本人的性格，和勇俊在日本的fans层等来考虑，我有自信这么说。
韩国的娱乐界不这么想，只是因为对日本不了解的缘故。在日本只驻留3个月，连日语都不会说的人写出的关于日本的书，也曾成为畅销书呢。里面的内容当然是错处百出。我想韩国的娱乐界精通日本的人真的是很少的吧。
我猜测这回新作的选择和签约过程里面，BOF一定很想拥有一个精通日本的专家来着吧。在日本的大型演艺事务所里，在工作10年以上的人里面，找到勇俊的fans，和这样的人签一个咨询合同，就可以得到日本娱乐界的各种情报，这也许是个好办法吧。最低也要拥有10年以上资历的资深人士才可。日本的娱乐界，日本社会是很复杂的，要了解日本的事情最低也要10年吧。可能的话，20年以上的资深人士更好。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/15
Translated into Chinese: Truelove77 / www.loveyongjoon.com
[omitted certain sections]
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Regarding Yong Joon’s new work, the inner circles in Korean’s entertainment scene also have no special information. But it should be quite safe to say his next work would be “Baran” (bb: Wind), I guess.
The people in the trade in Korea do not have very much to say about BOF. BOF itself do not surface much in the entertainment circuit in Korea, so it’s not easy to obtain accurate insider information through the entertainment grapevine. It would appear that BOF also asks that Yong Joon does not make too many appearances, have been so for sometime now.
I personally think that Yong Joon and Dong Gun are the two biggest stars in Korea. Currently, Yong Joon commands the highest performance fees, and he also receives the most number of script offers.
But the people in the trade in Korea tend ot think that Dong Gun is more popular than Yong Joon. This is a problem. In Korea, Dong Fun is popular, and outside of Korea, Yong Joon is popular. So if we balance things out, both can be said to be just as popular. But the industry people in Korea do not think that popularity overseas IS popularity at all.
Why?
Because in Korea, there has never ever been any Korean actor who has been able to maintain his popularity for a long time overseas. At most, it’s a temporary thing, popularity in other countries never last for long. The Korean craze sweeping all over Asia is something like that. Anh Jae Wook, Ko So Young (of Double Agent) were not able to hold their popularity in Asia for even a year. That’s not saying they’re totally no popular now, just that it’s the fever has somewhat died down. So, the entertainment people in Korea will hold such thinking.
Although Yong Joon’s managers have not said this openly, what I’ve heard is that even BOF is uncertain as to how long Yong Joon’s popularity in Japan will hold up. They can’t even begin to guess. I’m only speaking for myself, this is my own judgement, Yong Joon will continue to be popular in Japan five years, even ten years down the road. He will continue to be someone they will watch closely, he will be showered with attention.
Of course, come five or ten years’ time, there will not be the frantic fever like now. But according to the Japanese culture, according to the Japanese traits, and taking into consideration the profile of Yong Joon’s fans in Japan, I’m confident enough to make this prediction.
The Korean entertainment circle does not think this way because they do not understand the Japanese market well enough. Even people who have lived in Japan for only three months, people who can’t even speak Japanese to save their lives can write books about Japan and even make bestsellers out of them. There’re of course plenty of errors in these books. I think there are very few people in the Korean entertainment field who really, really have a firm grasp of the Japanese market, I think.
I would guess that this time, during the process of selecting his next work, and also to sign the contract, BOF must have wished that they have someone who’s familiar with Japan to consult with. It may be a good idea to find someone who’s working in an entertainment agency in Japan for at least ten years, find someone who’s also a Yong Joon fan, and then sign a consultancy agreement with this person. But at the bare minimum, they have to find someone with at least ten years’ experience. The Japanese entertainment industry and the Japanese society as a whole are complex, and one would need at least ten years in order to understand the Japanese. If possible, even better to find someone with more than twenty years’ experience.
Yon-sama分析75 （by77， 有些省略）
投稿者： ふみ / 投稿日： 2004/09/15 11 03
大家好。对于勇俊新作的问题，韩国的电影界内部也是没有什么特别的情报的。 但是，勇俊的下一部作品是《风》（baran）是没有错的吧。
韩国的业内对BOF的评价是很安静。BOF自身在韩国的演艺界就不大露面。所以，演艺界里面也得不到很确实的情报。BOF对勇俊也要求不要多露面，好像一直都是这样要求的。
我认为勇俊和东健是韩国的两大Star。勇俊现在的片酬最高，片约也最多。
但是，韩国的演艺界专门人士却认为东健要比勇俊人气更高，这是个问题。韩国国内是东健人气旺，国外是勇俊人气旺，均衡起来两个人应该是人气相当。但是，韩国的业界却认为，在国外的人气不是人气。
为什么会这样认为呢？
因为韩国没有出现过“长时期，在外国保持人气的韩国演员”。至今为止多是短期现象，没有保持长久。亚洲范围的韩流热就是这样的。安在旭，高素荣（双重间谍）在亚洲的人气没有持续一年，（并不是说现在就没有人气，而是说亚洲范围的韩流热一转即过）。所以，韩国的娱乐界才会有这样的看法。
勇俊的经理人虽然没有说，但是我听到的话是说，其实BOF也对勇俊在日本的外国的人气，到底能持续多久，心里没有底。但是，我仅代表我个人断言，
在日本的勇俊的人气会在5年，10年后依然存在，依然是受瞩目的对象。
当然5年，10年后不会有现在这样的热度，但是从日本的文化，日本人的性格，和勇俊在日本的fans层等来考虑，我有自信这么说。
韩国的娱乐界不这么想，只是因为对日本不了解的缘故。在日本只驻留3个月，连日语都不会说的人写出的关于日本的书，也曾成为畅销书呢。里面的内容当然是错处百出。我想韩国的娱乐界精通日本的人真的是很少的吧。
我猜测这回新作的选择和签约过程里面，BOF一定很想拥有一个精通日本的专家来着吧。在日本的大型演艺事务所里，在工作10年以上的人里面，找到勇俊的fans，和这样的人签一个咨询合同，就可以得到日本娱乐界的各种情报，这也许是个好办法吧。最低也要拥有10年以上资历的资深人士才可。日本的娱乐界，日本社会是很复杂的，要了解日本的事情最低也要10年吧。可能的话，20年以上的资深人士更好。
Analyzing Yon-Sama - Part 76
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/16
Translated into Chinese: Truelove77 / www.loveyongjoon.com
[omitted certain sections]
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
The Japanese media are also reporting that Yong Joon’s new work is Baran (bb: Wind), so that’s to say there’s a very high possibility. The Japanese media also reported that Ko Hyun-jung is very popular in Korea, but that’s not really the case. (bb: please note this was written before Spring Day). But no matter what, for an actress to make a comeback after ten years will become a hot topic. But I don’t think there will be that many people in Korea who will pay for ticket just to watch Ko Hyun-jung on the silver screen. But she does have quite a compatible air or image to be cast as the female lead in this movie.
Yong Joon can’t star in in *Director Yun Seok-Ho’s work, that’s regrettable. It’s actually not impossible to take on two works at one time (Chuckles). Based on Yong Joon’s popularity in Japan + Winter Sonata’s popularity + Director Eun’s popularity, surely Director Eun’s new work will be a great success. It may even do better than Shuri. Oh, by the way, generally speaking, a movie will have to maintain the top three positions in terms for box office sales for a minimum of three weeks in order to beat Shuri’s record in Japan. Typically, a melodramatic or a normal love story will not make it to the top three. As for how Yong Joon’s new movie will work out, everyone’s watching closely.
Director Eun failed to secure Yong Joon to play the male lead, so everything’s back to the drawing board for him. His first movie can be likened to his first independent work Winter Sonata, he had chosen to place his bet on Yong Joon. In most cases, directors would have one to three actors in mind to play each key role. Just like the hit drama in Korea, Lovers in Paris, the first choice was actually Yong Joon, the second choice was Lee Jung Jae and Park Shin Yang who eventually landed the role was the third choice. Director Eun did not consider other actors other than Yong Joon, I suppose he was very confident about Yong Joon saying yes. NHK would be involved in the production, so we can assume that the production budget should be quite generous. I would guess that the main reason he did not manage to get Yong Joon to say yes, was because Director Eun had used a representative from the company he had signed an independent contract with to get in touch with Yong Joon. If Director Eun had seen Yong Joon about it directly, then perhaps the outcome would be different.
… Omitted …
(Although the negotiation of the contract has been taking a long time) But Yong Joon is now negotiating for the highest fee in Korea, this new amount will affect the overall performance fee of all actors in general, so it is understandable that it will take some time to conclude.
Yon-sama分析76 （by77, 有省略）
投稿者： ふみ / 投稿日： 2004/09/16 10:57:22
大家好。日本的媒体也报道勇俊的新作是《风》，那么说可能性要很高了。日本媒体说高贤珍在韩国很有人气，不是这样吧。怎么说10年前已经引退的人，复归会成为话题，但是为了看高贤珍去电影院的人不会很多吧。作为这部作品的女演员，气质很相当。
勇俊不能出演尹锡浩导演的作品，有些令人遗憾。两部同时上也不是不可以啊（笑）。尹导演的作品，在日本勇俊人气 ＋原作的人气 ＋尹导演的人气，一定会很打响的。也许会超过shuri。顺便说，在日本要想超过shuri，一般来说，要3周以上卖座率在第1位至第3位之间。普通的恋爱故事的影片不会进入3位之内。勇俊的作品会怎样，令人关注。
尹导演对勇俊的选角失败，一切又恢复到白纸阶段。最初导演的电影，和他独立后的第一部作品冬恋一样，全部都压在勇俊身上了吧。一般选角都是1，2，3考虑有几个人的。今年在韩国打响的《巴黎的恋人》，选角的第一位是勇俊，第二位是李政宰，第三位才是现在主演的Park shin-yang。尹导演除了勇俊没有考虑别人，是对选角很有信心来着吧。NHK参加制作，制作费应该是很充裕的吧。我想之所以没有成功是因为，这一件是通过尹导演独立后签约的公司，代理人来进行的，如果尹导演直接见到勇俊商谈的话，结果会不一样吧。
省略一部。
（虽然签约要花很长时间）现在勇俊作为韩国最高片酬，新作的片酬将会影响到整个演员全体的片酬水平。（所以花时间也可以理解吧。）
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/16
Translated into Chinese: Truelove77 / www.loveyongjoon.com
[omitted certain sections]
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
The Japanese media are also reporting that Yong Joon’s new work is Baran (bb: Wind), so that’s to say there’s a very high possibility. The Japanese media also reported that Ko Hyun-jung is very popular in Korea, but that’s not really the case. (bb: please note this was written before Spring Day). But no matter what, for an actress to make a comeback after ten years will become a hot topic. But I don’t think there will be that many people in Korea who will pay for ticket just to watch Ko Hyun-jung on the silver screen. But she does have quite a compatible air or image to be cast as the female lead in this movie.
Yong Joon can’t star in in *Director Yun Seok-Ho’s work, that’s regrettable. It’s actually not impossible to take on two works at one time (Chuckles). Based on Yong Joon’s popularity in Japan + Winter Sonata’s popularity + Director Eun’s popularity, surely Director Eun’s new work will be a great success. It may even do better than Shuri. Oh, by the way, generally speaking, a movie will have to maintain the top three positions in terms for box office sales for a minimum of three weeks in order to beat Shuri’s record in Japan. Typically, a melodramatic or a normal love story will not make it to the top three. As for how Yong Joon’s new movie will work out, everyone’s watching closely.
Director Eun failed to secure Yong Joon to play the male lead, so everything’s back to the drawing board for him. His first movie can be likened to his first independent work Winter Sonata, he had chosen to place his bet on Yong Joon. In most cases, directors would have one to three actors in mind to play each key role. Just like the hit drama in Korea, Lovers in Paris, the first choice was actually Yong Joon, the second choice was Lee Jung Jae and Park Shin Yang who eventually landed the role was the third choice. Director Eun did not consider other actors other than Yong Joon, I suppose he was very confident about Yong Joon saying yes. NHK would be involved in the production, so we can assume that the production budget should be quite generous. I would guess that the main reason he did not manage to get Yong Joon to say yes, was because Director Eun had used a representative from the company he had signed an independent contract with to get in touch with Yong Joon. If Director Eun had seen Yong Joon about it directly, then perhaps the outcome would be different.
… Omitted …
(Although the negotiation of the contract has been taking a long time) But Yong Joon is now negotiating for the highest fee in Korea, this new amount will affect the overall performance fee of all actors in general, so it is understandable that it will take some time to conclude.
Yon-sama分析76 （by77, 有省略）
投稿者： ふみ / 投稿日： 2004/09/16 10:57:22
大家好。日本的媒体也报道勇俊的新作是《风》，那么说可能性要很高了。日本媒体说高贤珍在韩国很有人气，不是这样吧。怎么说10年前已经引退的人，复归会成为话题，但是为了看高贤珍去电影院的人不会很多吧。作为这部作品的女演员，气质很相当。
勇俊不能出演尹锡浩导演的作品，有些令人遗憾。两部同时上也不是不可以啊（笑）。尹导演的作品，在日本勇俊人气 ＋原作的人气 ＋尹导演的人气，一定会很打响的。也许会超过shuri。顺便说，在日本要想超过shuri，一般来说，要3周以上卖座率在第1位至第3位之间。普通的恋爱故事的影片不会进入3位之内。勇俊的作品会怎样，令人关注。
尹导演对勇俊的选角失败，一切又恢复到白纸阶段。最初导演的电影，和他独立后的第一部作品冬恋一样，全部都压在勇俊身上了吧。一般选角都是1，2，3考虑有几个人的。今年在韩国打响的《巴黎的恋人》，选角的第一位是勇俊，第二位是李政宰，第三位才是现在主演的Park shin-yang。尹导演除了勇俊没有考虑别人，是对选角很有信心来着吧。NHK参加制作，制作费应该是很充裕的吧。我想之所以没有成功是因为，这一件是通过尹导演独立后签约的公司，代理人来进行的，如果尹导演直接见到勇俊商谈的话，结果会不一样吧。
省略一部。
（虽然签约要花很长时间）现在勇俊作为韩国最高片酬，新作的片酬将会影响到整个演员全体的片酬水平。（所以花时间也可以理解吧。）
Analyzing Yon-Sama - Part 77
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/16
Translated into Chinese: Truelove77 / www.loveyongjoon.com
[omitted certain sections]
Translated into English: Happiebb / www.joonsfamily.com
This is purely my own speculation, Yong Joon’s managers are more inclined towards Director Eun’s work because it has more financial backing, but Yong Joon has already decided to take on Director Heo’s Baran. Since the negotiation with Baran’s production side is still on-going and nothing has been concluded, Yong Joon’s managers want to keep Director Eun’s movie as a back-up choice, and it can be used as a tool during its negotiation with Baran’s team as well.
The Japanese media has reported that the new work centres around extra-marital affairs, and mentioned that there would be bed scenes. But if we take into consideration this is a movie directed by Heo Jinho, then we can guess that the bed scenes will be very “soft”.
From the tentative title of this new work, Baran which means wind (Wind has the meaning of extra-marital affair in the Korean language), I wonder if a woman’s mere swaying of the heart can be described as “wind” as well… Perhaps this is the theme or the origins of the story. I’m pretty sure this new movie is not as how the Japanese media reported it to be – full of intimate and bed scenes.
Yon-sama分析77 （by77 翻译省略一大部）
投稿者： ふみ / 投稿日： 2004/09/16 11:57:58
（by77 翻译省略一大部）
（纯属猜测，勇俊的经理人倾向于资金充足的尹导演的作品，但是勇俊已经决定了许导演的Baran。为了和风的制作方交涉起见，经理人还是保留尹导演作品这一选择，来进行交涉的吧。）
日本的报道说新作是婚外恋题材的影片，还说到有床戏。但是考虑到是许导演的作品，床戏也会是很soft的吧。从这部作品的假定标题：风，baran（在韩国语中有婚外恋的意思）我猜测，对于女性的“情绪的动荡”可不可以说成是婚外恋，baran？——我想这或许也是这部作品的一个命题吧。一定不是日本的一部分媒体所说的很多床戏的作品。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/16
Translated into Chinese: Truelove77 / www.loveyongjoon.com
[omitted certain sections]
Translated into English: Happiebb / www.joonsfamily.com
This is purely my own speculation, Yong Joon’s managers are more inclined towards Director Eun’s work because it has more financial backing, but Yong Joon has already decided to take on Director Heo’s Baran. Since the negotiation with Baran’s production side is still on-going and nothing has been concluded, Yong Joon’s managers want to keep Director Eun’s movie as a back-up choice, and it can be used as a tool during its negotiation with Baran’s team as well.
The Japanese media has reported that the new work centres around extra-marital affairs, and mentioned that there would be bed scenes. But if we take into consideration this is a movie directed by Heo Jinho, then we can guess that the bed scenes will be very “soft”.
From the tentative title of this new work, Baran which means wind (Wind has the meaning of extra-marital affair in the Korean language), I wonder if a woman’s mere swaying of the heart can be described as “wind” as well… Perhaps this is the theme or the origins of the story. I’m pretty sure this new movie is not as how the Japanese media reported it to be – full of intimate and bed scenes.
Yon-sama分析77 （by77 翻译省略一大部）
投稿者： ふみ / 投稿日： 2004/09/16 11:57:58
（by77 翻译省略一大部）
（纯属猜测，勇俊的经理人倾向于资金充足的尹导演的作品，但是勇俊已经决定了许导演的Baran。为了和风的制作方交涉起见，经理人还是保留尹导演作品这一选择，来进行交涉的吧。）
日本的报道说新作是婚外恋题材的影片，还说到有床戏。但是考虑到是许导演的作品，床戏也会是很soft的吧。从这部作品的假定标题：风，baran（在韩国语中有婚外恋的意思）我猜测，对于女性的“情绪的动荡”可不可以说成是婚外恋，baran？——我想这或许也是这部作品的一个命题吧。一定不是日本的一部分媒体所说的很多床戏的作品。
Analyzing Yon-Sama - Part 78
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/16
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. Would like to say thank you to to those of you who have been following this series. And first, let me answer the questions posed after my previous posting. Kimura Takuya is also quite well-known in Korea, SMAP is popular too, and so Kimura is popular too. Kim Ha Neul who co-starred with Kimura is as popular as Song Hye Kyo in Korea (In Korea, the entertainment circuit’s rating for Song Hye Kyo’s popularity is very high. The trade generally sees the hottest actresses now as: Song Hye Kyo, Jeon Jy Hyun. Kim Ha Neul’s popularity can be said to be quite on par with these two.)
Today I would like to analyze Yong Joon’s working style, including the part that he doesn’t appear much on TV. Broadly speaking, there are three types of artistes in Korea:
A. Artistes who are nice and friendly to the production team and get along well with them; they also maintain good relations with the cast and other actors.
B. Artistes who are not very friendly to the production team, but maintain good relations with the cast and other actors.
C. Artistes who are not friendly to both the production team and other acting colleagues, but are only on friendly terms with people who have a direct link or a direct influence on his or her work.
Here, when I talk about the production team, I’m not referring to stylists, make-up artists, or staff with whom the artistes have direct contact with. I’m talking about the people working on the filming, lighting, etc.
Generally speaking, most belong to Type B.
In the industry, Type A artistes are usually described as good or nice people by all. Type B artistes will only be said to be good or nice people amongst actors and actresses. As for Type C, well, they will be described as having bad character or personality. (Chuckles) Actually, a Type C actor may not necessarily be a bad person, it’s just his working style is like that. There’s a veteran singer, Yin Su Ni (?) who is a Type A, very nice. And she, in actual fact, is a very good person. There’s a famous Type C veteran actress who played a villain role in Dae Jang Geum.
What about Yong Joon then? What’s his style?
Well, he is friendly to everyone, to the production team as well as the cast, but he does not get extremely close with them.
That’s his style. He will treat everyone on the production team and the cast in the same manner, with the same degree of politeness and warmth. But he will not act as though they’re suddenly his new best friends. Yong Joon does not have many friends in the entertainment industry. Yong Joon once said in an interview, “Kwon Oh Joong (of Love’s Greetings) is the only actor friend I have with whom I can talk about anything and everything.”
There are some talks in the industry about how Yong Joon is a rather cold person, but that’s because Yong Joon draws a distinct line between work and his personal relations. When Yong Joon selects what work to accept, he will only consider the case based on the merit of the work itself. He is not affected by the personal relations that surround the work or other irrelevant factors.
Why then is Yong Joon still so popular? Because he’s a goodlooking actor, and because he works so hard at producing quality works. So long as his work is good, then no matter in Japan or anywhere else, it will be well-received and become popular. This is something that’s almost with certainty. Let’s use an example that may be somewhat impolite to Yong Joon. Let’s talk about barbecued beef. What makes the best barbecued beef is the quality of the beef itself, first and foremost. What’s secondary are the sauce and garnishing. So, high grade beef needs only to be barbecued to be delicious. But there will be people who think that quality beef comes at too high a price, and they would buy inferior beef and cover up with sauces and other frills.
In terms of actors, what’s equivalent to high grade beef is ‘hard work’, and the sauces and frills are just things outside of the key ingredient of ‘hard work’, such as marketing, promotion, etc. There is really no secret to Yong Joon’s popularity. It’s just as simple as that. He does not take in account personal relations or doing favours, he only wants to ‘work hard at producing quality works’. He has always adopted this working style.
People in the Korean movie and drama circle are now extremely interested in the Japanese market. They’re cracking their heads over why Yong joon is so popular in Japan. Yet they neglected the above. They plainly thought:
- Japanese like Prince Charming type of actors
- They should produce works that are related to Japan
- They should film in Japan
It’s almost funny to see how the conclusions they have come up with. Hey there, entertainment people in Korean! You only have to look at Yong Joon to get an answer, you know. Just work hard at producing high quality works, that’s your key to success.
Yon-sama分析78
投稿者： ふみ / 投稿日： 2004/09/17 11 29
大家好。谢谢阅读分析的朋友们。首先回答上回的回贴里面的提问。木村拓哉在韩国也很有名气的，SMAP有名，所以木村也很有名。和木村共演的金荷娜（by77, 和勇俊拍Monstar服装广告的）现在在韩国有着和宋慧乔相当的人气（韩国的娱乐界对宋慧乔的人气评价很高。认为现在的顶尖女演员是，宋慧乔，全智贤。金荷娜也有和这两位差不多的人气。）
我想对勇俊的工作风格（style）的部分分析一下。（包括他不大上电视的部分。）
普通来讲，韩国的艺人大概可以分成三类：
A．对待摄制组人员很亲切，相处很好，和演员同事也关系很好
B．对待摄制组人员不是很亲切，和演员同事关系很好
C．对待摄制组人员不是很亲切，和演员同事关系也不好。但是对和自己的工作直接有关系的人很友好。
这里说的摄制组人员不是，形象设计师等和演员直接接触的人，而是摄影，照明等一般的摄制组工作人员。一般，在韩国B类型的人占大多数。娱乐界内，把A类型的人说成是“大好人”，B类型的人，演员同事之间会说是好人，C类型的人就被说成是“性格不好的人”。（笑）。C类型的人并不是说那个人就很坏，只是说他的工作风格。有位叫做Yin su-ni的资深歌手，是A类型的大好人。实际上也是个好人。C类型的名人是在大长今里扮演反面角色的资深女演员。
那么，勇俊是什么风格呢？
对待摄制组的工作人员，以及演员同事都很亲切，但也不是特别要好。
的类型。这就是勇俊的风格。对待摄制组的工作人员和一起共事的演员都一样态度，一样地亲切，但并不做出好朋友一样的态度。在娱乐圈内，勇俊的朋友很少，勇俊本人的采访中曾说“什么话都能说的演员同事只有Kwon O-Jung(爱的问候)。”业内人士也有说勇俊很冷淡的话，但是这是因为勇俊是工作和人际交往界限分明的人的缘故。勇俊选择作品的时候，只考虑作品本身。不受作品周围的人际关系等的影响。
勇俊为什么又人气？以为他是英俊的演员，很努力地作出好作品。只要作品好，在日本或者别的什么地方都会有人气。这是当然的事情。打一个对勇俊有点儿失礼的比方，比方说烤肉，好吃的烤肉最重要的就是要肉好，其次才是蘸酱。好肉只是烤就足够好吃。但是，很多人还是因为好肉贵，用蘸酱的味道掩盖肉本身。对于演员来说，好的肉就是“努力”， 蘸酱就是“努力之外的东西（比如说商业策划等）。勇俊的人气并没有什么秘诀，只有这样的单纯的理由。完全不考虑人际关系，只“努力地出好作品”，勇俊就是一直以这样的方式工作的。
韩国的电影，电视剧界的相关人士现在对日本市场很感兴趣。在他们思考“为什么勇俊在日本有人气？”时却忽略了上述基本的东西，以为
日本人喜欢贵公子
拍摄和日本相关的作品
在日本拍摄作品
是办法，这不是很奇怪吗？韩国的相关人士，看看勇俊就应该得到答案了
努力地作出好作品，这就是成功。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/16
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. Would like to say thank you to to those of you who have been following this series. And first, let me answer the questions posed after my previous posting. Kimura Takuya is also quite well-known in Korea, SMAP is popular too, and so Kimura is popular too. Kim Ha Neul who co-starred with Kimura is as popular as Song Hye Kyo in Korea (In Korea, the entertainment circuit’s rating for Song Hye Kyo’s popularity is very high. The trade generally sees the hottest actresses now as: Song Hye Kyo, Jeon Jy Hyun. Kim Ha Neul’s popularity can be said to be quite on par with these two.)
Today I would like to analyze Yong Joon’s working style, including the part that he doesn’t appear much on TV. Broadly speaking, there are three types of artistes in Korea:
A. Artistes who are nice and friendly to the production team and get along well with them; they also maintain good relations with the cast and other actors.
B. Artistes who are not very friendly to the production team, but maintain good relations with the cast and other actors.
C. Artistes who are not friendly to both the production team and other acting colleagues, but are only on friendly terms with people who have a direct link or a direct influence on his or her work.
Here, when I talk about the production team, I’m not referring to stylists, make-up artists, or staff with whom the artistes have direct contact with. I’m talking about the people working on the filming, lighting, etc.
Generally speaking, most belong to Type B.
In the industry, Type A artistes are usually described as good or nice people by all. Type B artistes will only be said to be good or nice people amongst actors and actresses. As for Type C, well, they will be described as having bad character or personality. (Chuckles) Actually, a Type C actor may not necessarily be a bad person, it’s just his working style is like that. There’s a veteran singer, Yin Su Ni (?) who is a Type A, very nice. And she, in actual fact, is a very good person. There’s a famous Type C veteran actress who played a villain role in Dae Jang Geum.
What about Yong Joon then? What’s his style?
Well, he is friendly to everyone, to the production team as well as the cast, but he does not get extremely close with them.
That’s his style. He will treat everyone on the production team and the cast in the same manner, with the same degree of politeness and warmth. But he will not act as though they’re suddenly his new best friends. Yong Joon does not have many friends in the entertainment industry. Yong Joon once said in an interview, “Kwon Oh Joong (of Love’s Greetings) is the only actor friend I have with whom I can talk about anything and everything.”
There are some talks in the industry about how Yong Joon is a rather cold person, but that’s because Yong Joon draws a distinct line between work and his personal relations. When Yong Joon selects what work to accept, he will only consider the case based on the merit of the work itself. He is not affected by the personal relations that surround the work or other irrelevant factors.
Why then is Yong Joon still so popular? Because he’s a goodlooking actor, and because he works so hard at producing quality works. So long as his work is good, then no matter in Japan or anywhere else, it will be well-received and become popular. This is something that’s almost with certainty. Let’s use an example that may be somewhat impolite to Yong Joon. Let’s talk about barbecued beef. What makes the best barbecued beef is the quality of the beef itself, first and foremost. What’s secondary are the sauce and garnishing. So, high grade beef needs only to be barbecued to be delicious. But there will be people who think that quality beef comes at too high a price, and they would buy inferior beef and cover up with sauces and other frills.
In terms of actors, what’s equivalent to high grade beef is ‘hard work’, and the sauces and frills are just things outside of the key ingredient of ‘hard work’, such as marketing, promotion, etc. There is really no secret to Yong Joon’s popularity. It’s just as simple as that. He does not take in account personal relations or doing favours, he only wants to ‘work hard at producing quality works’. He has always adopted this working style.
People in the Korean movie and drama circle are now extremely interested in the Japanese market. They’re cracking their heads over why Yong joon is so popular in Japan. Yet they neglected the above. They plainly thought:
- Japanese like Prince Charming type of actors
- They should produce works that are related to Japan
- They should film in Japan
It’s almost funny to see how the conclusions they have come up with. Hey there, entertainment people in Korean! You only have to look at Yong Joon to get an answer, you know. Just work hard at producing high quality works, that’s your key to success.
Yon-sama分析78
投稿者： ふみ / 投稿日： 2004/09/17 11 29
大家好。谢谢阅读分析的朋友们。首先回答上回的回贴里面的提问。木村拓哉在韩国也很有名气的，SMAP有名，所以木村也很有名。和木村共演的金荷娜（by77, 和勇俊拍Monstar服装广告的）现在在韩国有着和宋慧乔相当的人气（韩国的娱乐界对宋慧乔的人气评价很高。认为现在的顶尖女演员是，宋慧乔，全智贤。金荷娜也有和这两位差不多的人气。）
我想对勇俊的工作风格（style）的部分分析一下。（包括他不大上电视的部分。）
普通来讲，韩国的艺人大概可以分成三类：
A．对待摄制组人员很亲切，相处很好，和演员同事也关系很好
B．对待摄制组人员不是很亲切，和演员同事关系很好
C．对待摄制组人员不是很亲切，和演员同事关系也不好。但是对和自己的工作直接有关系的人很友好。
这里说的摄制组人员不是，形象设计师等和演员直接接触的人，而是摄影，照明等一般的摄制组工作人员。一般，在韩国B类型的人占大多数。娱乐界内，把A类型的人说成是“大好人”，B类型的人，演员同事之间会说是好人，C类型的人就被说成是“性格不好的人”。（笑）。C类型的人并不是说那个人就很坏，只是说他的工作风格。有位叫做Yin su-ni的资深歌手，是A类型的大好人。实际上也是个好人。C类型的名人是在大长今里扮演反面角色的资深女演员。
那么，勇俊是什么风格呢？
对待摄制组的工作人员，以及演员同事都很亲切，但也不是特别要好。
的类型。这就是勇俊的风格。对待摄制组的工作人员和一起共事的演员都一样态度，一样地亲切，但并不做出好朋友一样的态度。在娱乐圈内，勇俊的朋友很少，勇俊本人的采访中曾说“什么话都能说的演员同事只有Kwon O-Jung(爱的问候)。”业内人士也有说勇俊很冷淡的话，但是这是因为勇俊是工作和人际交往界限分明的人的缘故。勇俊选择作品的时候，只考虑作品本身。不受作品周围的人际关系等的影响。
勇俊为什么又人气？以为他是英俊的演员，很努力地作出好作品。只要作品好，在日本或者别的什么地方都会有人气。这是当然的事情。打一个对勇俊有点儿失礼的比方，比方说烤肉，好吃的烤肉最重要的就是要肉好，其次才是蘸酱。好肉只是烤就足够好吃。但是，很多人还是因为好肉贵，用蘸酱的味道掩盖肉本身。对于演员来说，好的肉就是“努力”， 蘸酱就是“努力之外的东西（比如说商业策划等）。勇俊的人气并没有什么秘诀，只有这样的单纯的理由。完全不考虑人际关系，只“努力地出好作品”，勇俊就是一直以这样的方式工作的。
韩国的电影，电视剧界的相关人士现在对日本市场很感兴趣。在他们思考“为什么勇俊在日本有人气？”时却忽略了上述基本的东西，以为
日本人喜欢贵公子
拍摄和日本相关的作品
在日本拍摄作品
是办法，这不是很奇怪吗？韩国的相关人士，看看勇俊就应该得到答案了
努力地作出好作品，这就是成功。
Analyzing Yon-Sama - Part 79
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/17
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yong Joon does not appear on TV. This is something that amazes even the industry people in Japan. I would think that ‘real’ actors, or actors who take their work very seriously, do not appear on TV is a principle, a practice that belongs to the older days. Even the traditional singers do not appear much on TV much. If you want to hear them sing, then go and buy their CDs, or watch their concerts. (It seems that there’s a similar trend going on in the United States as well.)
If an actor appears frequently on TV, then his real or actual self will be shown on TV, and fans will then form a certain fixated image of that particular actor. For instance, if people see Yong Joon on TV, they will form the impression that he is a very good, very nice man. If this is the case, in future if Yong Joon were to portray a villain role in a movie, then people will still perceive him as a good man. This will actually affect the effects of the movie, of that role. In order not to give fans a certain fixed impression of an actor’s personality, it should be a principle that actors do not appear on TV.
There could be another reason why Yong Joon does not appear on TV. Perhaps in Korea, there’s no authoritative talkshow program that he is keen to participate in. In Korea, entertainment news are either just news or promoting some new movie or drama. For instance, the Korean entertainment shows will just introduce dramas or movies that are currently in the making, or just released. There are no standards whatsoever as to what should make the news and what should not. Mostly, what is aired or covered depends on the producers’ own preferences and also on personal relations. As for TV dramas, each TV station will just promote its own dramas, there is very little content of an analytical nature.
So, Korean entertainment news are:
- Covering scandals or rumours of the moment;
- Promoting own TV station’s TV dramas;
- Carrying out interviews with the producers, staff or other people related to the making of the drama or movie.
They’re basically of such contents, not really informative news. So… since the entertainment programs are more like promotional tools, it is quite understandable why Yong Joon does not feel inclined to appear in them.
When it comes to programs that combine entertainment variey with talkshows, basically there’s nothing in Korea that can be likened to perhaps CNN’s Larry King Live in the States. I do not remember Korea having any entertainment talkshow programs that actually share an actor’s outlook on life, or analyze acting, or anything serious.
If one wants to appear on a Korean entertainment variety show, even talkshows, then the actor must say something funny or interesting, or just act dumb to garner laughter and support. If one doesn’t do that, then one will be deemed as dull, uninteresting. I have no wish to see Yong Joon that way, it’s not him. So, the fact that Yong Joon does not appear much on TV quite possibly has something to do with the way Korean TV proragms are structured.
Kwon Sang Woo often shows up on TV, and within a very short period, he’s become a very popular star. Looking at the Sang Woo’s fans’ posting, I feel that the fans’ feelings towards Sang Woo are somewhat relaxed and light-hearted. A very easy manner. So… it would seem that there are a number of fans who will like him easily, and just as easily, forget about him and move on. For instance, about a month ago, Sang Woo jokingly said, “Those who criticized me are people with IQ level below 50.” A fraction of the media did not take this as a joke; instead, they reported on this remark in quite serious a manner. Thereafter, there were fans who posted online, “I hate Sang Woo like this. I’ve been supporting him for a year, I don’t want to support him anymore. Goodbye.” Easy come, easy go. It’s easy to lose something that comes too easily, and this is a fact. (People in the entertainment industry say Sang Woo is a very nice person, very easy to get along with.)
For a period of some twenty over years, I was nobody’s fan. I became Yong Joon’s fan after seeing his acting ability in Winter Sonata. Especially the later part of Winter Sonata, when Min-Hyeong was trying to remember days of being Jun-Sahng, I became Yong Joon’s fan then…
Most of Yong Joon’s fans became fans after watching his dramas. Yong Joon does not appear in slapstick entertainment variety shows, so a large number of his fans are quite stable, not easily swayed.
Yon-sama分析79
投稿者： ふみ / 投稿日： 2004/09/17 12:14:11
大家好。勇俊不上电视。这令日本的电视界人士也很惊讶。我想正统派演员不上电视是过去的原则。正统派的歌手也不大在电视上演唱，想听他们的音乐的人购买CD，或者去参加他们的音乐会（现在美国也是这种倾向。）演员经常上电视，演员的实际的面孔就会在电视上显露出来，fans对那个演员就会形成固定的印象。比方说，在电视上看到勇俊，人们就会形成“好人”的印象。那么以后勇俊在电影中要饰演反面角色的话，人们也会把他看作是好人，影响到影片的效果。为了不给fans造成固定的印象，演员不上电视节目应该是原则。
勇俊不上电视还有一个原因可能是，在韩国还没有他想出演的，有权威的电视谈话节目。韩国的娱乐新闻，不是新闻，全部是宣传。比方说，经常会有介绍拍摄中，上映中的影片的节目，应该介绍什么样的作品，完全没有标准。根据节目制作者的喜好，或者人际关系，决定介绍影片的情况很多。电视剧也是只宣传自己的电视台制作的剧集，没有任何分析性的东西。
韩国的娱乐新闻就是，
介绍当时的绯闻类消息
宣传自己电视台制作的电视剧
对和节目制作人，工作人员有关联的人物制作的影片，进行现场采访
基本是这样的内容，不明白什么新闻。这样的宣传节目，勇俊不想出演也很可以理解。
综合娱乐节目和谈话节目也一样，基本上没有像美国CNN Larry King Live一样的严肃的节目。我不记得韩国的娱乐谈话节目里面有对人生，对演技作认真讨论的节目。出演韩国的综合娱乐节目和谈话节目的话，一定要说些有趣的，或者干脆是作痴状逗笑。不这么做就会被认为“无趣”。我也不想看到那样的勇俊，和他不相当。所以说，勇俊不上电视，我想和韩国的电视节目的编成也有关系。
权相佑是经常上电视，并在短期内获得人气的Star。看了看相佑的fan club的发言，我感觉fans对于相佑是一种很轻松的情绪。轻松地喜欢上，也可以轻松地忘掉，这样的fans好像不少。比方说，大约一个月之前，相佑开玩笑说“批胖我的人都是些IQ不到50的人”，一部分媒体并不把其当作玩笑，而是很严肃地作了报道。之后，就有fans在网上就说“讨厌那样的相佑。支持了他一年，不想再支持。再见”。轻易得到的东西也可以轻易失去，这就是一个事实。（娱乐界也评价相佑是一个非常好的人。很容易相处。）
我20多年期间不是任何人的fan。成为勇俊的fan是看到他在冬恋中的演技之后。特别是冬恋里面民亨找回俊尚的记忆的时候，我就成了勇俊的fan。。。。
勇俊的fans多是看了他的作品成为他的fans的。勇俊不上一些娱乐搞笑的节目，所以他的固定fans是绝对多数
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/17
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone.
Yong Joon does not appear on TV. This is something that amazes even the industry people in Japan. I would think that ‘real’ actors, or actors who take their work very seriously, do not appear on TV is a principle, a practice that belongs to the older days. Even the traditional singers do not appear much on TV much. If you want to hear them sing, then go and buy their CDs, or watch their concerts. (It seems that there’s a similar trend going on in the United States as well.)
If an actor appears frequently on TV, then his real or actual self will be shown on TV, and fans will then form a certain fixated image of that particular actor. For instance, if people see Yong Joon on TV, they will form the impression that he is a very good, very nice man. If this is the case, in future if Yong Joon were to portray a villain role in a movie, then people will still perceive him as a good man. This will actually affect the effects of the movie, of that role. In order not to give fans a certain fixed impression of an actor’s personality, it should be a principle that actors do not appear on TV.
There could be another reason why Yong Joon does not appear on TV. Perhaps in Korea, there’s no authoritative talkshow program that he is keen to participate in. In Korea, entertainment news are either just news or promoting some new movie or drama. For instance, the Korean entertainment shows will just introduce dramas or movies that are currently in the making, or just released. There are no standards whatsoever as to what should make the news and what should not. Mostly, what is aired or covered depends on the producers’ own preferences and also on personal relations. As for TV dramas, each TV station will just promote its own dramas, there is very little content of an analytical nature.
So, Korean entertainment news are:
- Covering scandals or rumours of the moment;
- Promoting own TV station’s TV dramas;
- Carrying out interviews with the producers, staff or other people related to the making of the drama or movie.
They’re basically of such contents, not really informative news. So… since the entertainment programs are more like promotional tools, it is quite understandable why Yong Joon does not feel inclined to appear in them.
When it comes to programs that combine entertainment variey with talkshows, basically there’s nothing in Korea that can be likened to perhaps CNN’s Larry King Live in the States. I do not remember Korea having any entertainment talkshow programs that actually share an actor’s outlook on life, or analyze acting, or anything serious.
If one wants to appear on a Korean entertainment variety show, even talkshows, then the actor must say something funny or interesting, or just act dumb to garner laughter and support. If one doesn’t do that, then one will be deemed as dull, uninteresting. I have no wish to see Yong Joon that way, it’s not him. So, the fact that Yong Joon does not appear much on TV quite possibly has something to do with the way Korean TV proragms are structured.
Kwon Sang Woo often shows up on TV, and within a very short period, he’s become a very popular star. Looking at the Sang Woo’s fans’ posting, I feel that the fans’ feelings towards Sang Woo are somewhat relaxed and light-hearted. A very easy manner. So… it would seem that there are a number of fans who will like him easily, and just as easily, forget about him and move on. For instance, about a month ago, Sang Woo jokingly said, “Those who criticized me are people with IQ level below 50.” A fraction of the media did not take this as a joke; instead, they reported on this remark in quite serious a manner. Thereafter, there were fans who posted online, “I hate Sang Woo like this. I’ve been supporting him for a year, I don’t want to support him anymore. Goodbye.” Easy come, easy go. It’s easy to lose something that comes too easily, and this is a fact. (People in the entertainment industry say Sang Woo is a very nice person, very easy to get along with.)
For a period of some twenty over years, I was nobody’s fan. I became Yong Joon’s fan after seeing his acting ability in Winter Sonata. Especially the later part of Winter Sonata, when Min-Hyeong was trying to remember days of being Jun-Sahng, I became Yong Joon’s fan then…
Most of Yong Joon’s fans became fans after watching his dramas. Yong Joon does not appear in slapstick entertainment variety shows, so a large number of his fans are quite stable, not easily swayed.
Yon-sama分析79
投稿者： ふみ / 投稿日： 2004/09/17 12:14:11
大家好。勇俊不上电视。这令日本的电视界人士也很惊讶。我想正统派演员不上电视是过去的原则。正统派的歌手也不大在电视上演唱，想听他们的音乐的人购买CD，或者去参加他们的音乐会（现在美国也是这种倾向。）演员经常上电视，演员的实际的面孔就会在电视上显露出来，fans对那个演员就会形成固定的印象。比方说，在电视上看到勇俊，人们就会形成“好人”的印象。那么以后勇俊在电影中要饰演反面角色的话，人们也会把他看作是好人，影响到影片的效果。为了不给fans造成固定的印象，演员不上电视节目应该是原则。
勇俊不上电视还有一个原因可能是，在韩国还没有他想出演的，有权威的电视谈话节目。韩国的娱乐新闻，不是新闻，全部是宣传。比方说，经常会有介绍拍摄中，上映中的影片的节目，应该介绍什么样的作品，完全没有标准。根据节目制作者的喜好，或者人际关系，决定介绍影片的情况很多。电视剧也是只宣传自己的电视台制作的剧集，没有任何分析性的东西。
韩国的娱乐新闻就是，
介绍当时的绯闻类消息
宣传自己电视台制作的电视剧
对和节目制作人，工作人员有关联的人物制作的影片，进行现场采访
基本是这样的内容，不明白什么新闻。这样的宣传节目，勇俊不想出演也很可以理解。
综合娱乐节目和谈话节目也一样，基本上没有像美国CNN Larry King Live一样的严肃的节目。我不记得韩国的娱乐谈话节目里面有对人生，对演技作认真讨论的节目。出演韩国的综合娱乐节目和谈话节目的话，一定要说些有趣的，或者干脆是作痴状逗笑。不这么做就会被认为“无趣”。我也不想看到那样的勇俊，和他不相当。所以说，勇俊不上电视，我想和韩国的电视节目的编成也有关系。
权相佑是经常上电视，并在短期内获得人气的Star。看了看相佑的fan club的发言，我感觉fans对于相佑是一种很轻松的情绪。轻松地喜欢上，也可以轻松地忘掉，这样的fans好像不少。比方说，大约一个月之前，相佑开玩笑说“批胖我的人都是些IQ不到50的人”，一部分媒体并不把其当作玩笑，而是很严肃地作了报道。之后，就有fans在网上就说“讨厌那样的相佑。支持了他一年，不想再支持。再见”。轻易得到的东西也可以轻易失去，这就是一个事实。（娱乐界也评价相佑是一个非常好的人。很容易相处。）
我20多年期间不是任何人的fan。成为勇俊的fan是看到他在冬恋中的演技之后。特别是冬恋里面民亨找回俊尚的记忆的时候，我就成了勇俊的fan。。。。
勇俊的fans多是看了他的作品成为他的fans的。勇俊不上一些娱乐搞笑的节目，所以他的固定fans是绝对多数
Analyzing Yon-Sama - Part 80
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/18
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. Today I want to discuss about the rumour about Yong Joon being gay. I wonder… why is it that so long as there is a handsome actor, there will be some rumours spreading in Japan and in Hong Kong that the actor is gay?
Actually, there’s not much of a gay culture in Korea.
1. A few days ago, in Japan, I saw a group of Korean high school girls, there were about fifty of them. Despite the fifty metre distance, I could tell straightaway they’re Koreans. Why? Because the students were walking in a manner that’s almost huddled together, they were sticking very closely to one another physically. There’s this Korean phrase, “Okke Donmu, Baru chan kiko”, this is describing that very manner of walking closely. Especially high school girls, they like to keep very close to one another as they walk.
There’s no gay culture in Korea and for them to be walking like that is deemed to be something very natural. If they were doing this in the States, surely they would be perceived as a group of lesbian girls. That’s because of the gay culture in the United States, and in fact, the number is quite substantial.
2. In the past, an American once said this to me, “There’re a lot of gays in Korea.”
Fumi: ???
American: When I was on the bus, I saw two to three men sharing one seat, that’s disgusting.
Fumi: (Those were not gays. I had wanted to say, but because my English is not that good, so I didn’t quite rebut. I would suppose when the American went back to the States, he would continue to have that misconception.
In Korea, one can often witness that situation. Especially on buses that a lot of high school students take, a few people will share a single seat. The Americans will immediately associate that as gay behaviour, but the Koreans will not think that, because there simply is no gay culture in Korea.
3. In the past, I had shared a hotel room and even slept on a bed with two other men. That’s because everyone had too much of a drink and were so drunk we just fell asleep. If the Japanese saw us, they would probably think we’re gays too. But if the Koreans saw us, they would say, “Oh, these guys are drunk.”
In Korea, the number of homosexuals is significantly lower than those in Japan and the United States. Therefore such behaviour would be seen as gay behaviour in the eyes of the Japanese and Americans.
If my memory serves me well, there were two in Korea only who were rumoured to be gays between the 20-year period in the 70s and 80s. That’s to say, there was just one in a decade! There was a very slight increase in the 90s, but basically, we still don’t get a lot of those rumours in Korea.
There was an artiste by the name of Yi Jong-sob in the 50s era, his speech and mannerism were like a woman’s. Surely if he was in Japan, they would think he’s 100% gay, but no, in actual fact, this person was not. Since he was little, he was already speaking and acting like this, it had nothing to do with his sexual inclination. In Korea, there was also no talk whatsoever about him being homosexual. And it is also because of this, the fact that Korea has no gay culture, so in reality, the number of gays is also very low. So, the Koreans do not look at things the way people of other nationalities do.
There’s a young actor by the name of Hong Sok-Chon who has come out and declared his homosexuality. In Korea, unless one admits to being gay, no matter how ‘gay’ one’s behaviour and mannerism, no one will think that the person is actually homosexual.
All the Koreans will burst out laughing if they are told that Yong Joon is gay, they would think that the Japanese are so weird, so funny to make such a remark. (That’s not to say it’s wrong to be gay, I believe a person has a right to his sexual preferences.)
According to information from Yong Joon’s agency in Japan, three of Yong Joon's managers would sometimes sleep over at Yong Joon's apartment. And mind, you, it's not a very, very big place. On the contrary, this can be said to be proof that he’s not gay. If he really were gay, then he would probably try hard to hide this fact. Anyway, from the standpoint of a Korean, it’s really meaningless to argue or refute this. But because there may be some people who’re wondering about this in Japan, that’s why I’ve said the above.
Yon-sama分析80
投稿者： ふみ / 投稿日： 2004/09/18 11:12:35
大家好。今天我要就说勇俊是同性恋者的无聊传闻分析一下。为什么在日本，香港如果是英俊的男演员，根本毫无根据，就会有是同性恋者的传闻呢？
韩国是没有同性恋文化（？）的传统的。
1．前些日，我在日本看到从韩国来的修学旅行的女子高中生，大概有50人左右。当时还有50米的距离，但是我一眼就知道她们是韩国来的女子高中生。为什么？因为那些学生们是“紧挨着一起走的”。韩国语里面有Okke Donmu, Baru chan kiko走这样的词，特别是女子高中生经常紧挨着一起走。韩国没有同性恋的文化，所以这被认为是当然的，很自然的事情。在美国要是这么做，一定会被看作是同性恋集团的吧。因为美国是有同性恋文化的，同性恋者也很多。
2．以前，某个美国人这样跟我说。
美国人：韩国真是同性恋者很多啊。
我：？？
美国人：坐bus的时候，看到一个座位上2，3个男人一起坐一个位置。有点儿恶心。
我：（那不是同性恋者。我想说来着，可是英语不大好，所以没怎么反驳他。那个美国人回美国以后，也会一直这么认为吧。）
在韩国，那是经常会看到的情形。特别是高中生坐bus的时候，经常会几个人坐一个位置。美国人把这样的人都看作是同性恋者，韩国人绝对不会这样想。因为没有那样的文化。
3．过去，在日本的旅馆里我曾经和2个男人在一张床上睡过觉。因为大家在床上喝酒，3个人都醉了就那么睡着了。日本人要是看到了，会以为是同性恋者吧。
但是韩国人见了会说，都喝醉了。
因为在韩国，同性恋者的人数相对日本和美国要非常少，所以反而会有在日本人和美国人眼里被认为是同性恋者的行动。
在我的记忆中，70年代和80年代20年间韩国被传闻是同性恋者的只有两个人。就是说，10年里面有一个人。进入90年代后稍有增加，但还是基本上听不到这样的传闻。
有一个叫做Yi jong-sob的50年代的艺人，说话行动都像女性一样，在日本会被认为是100%的同性恋，但是，这个人不是。从小时候开始他就这样行动说话，和同性恋是毫无关系的。在韩国也没有说他是同性恋者的传闻。因为同样的原因，韩国没有同性恋文化。实际上同性恋者人数也非常少，所以，不会用那样目光去看待。
一位叫做Hong sok-chon的年轻演员自己坦白是同性恋者。在韩国如果不是自己承认是同性恋者，无论行动语言多么像，也不会被认为是同性恋者。
说勇俊是同性恋者，韩国人听了都会发笑，认为说这样的话的日本人奇怪。（并非说同性恋者不应该。我想那是个人的自由。）在日本的杂志里看到有说，据勇俊的日本事务所所言，勇俊和3人的经理人在不算大的公寓里，合宿的时候很多。这反而是非同性恋者的证据。如果真是同性恋者，会很避讳这样的事情。总之，从韩国人的角度来说，这是根本没必要反驳的无稽之谈，为了日本的一部分这样考虑的人，我才说了上述这一番话。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/18
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. Today I want to discuss about the rumour about Yong Joon being gay. I wonder… why is it that so long as there is a handsome actor, there will be some rumours spreading in Japan and in Hong Kong that the actor is gay?
Actually, there’s not much of a gay culture in Korea.
1. A few days ago, in Japan, I saw a group of Korean high school girls, there were about fifty of them. Despite the fifty metre distance, I could tell straightaway they’re Koreans. Why? Because the students were walking in a manner that’s almost huddled together, they were sticking very closely to one another physically. There’s this Korean phrase, “Okke Donmu, Baru chan kiko”, this is describing that very manner of walking closely. Especially high school girls, they like to keep very close to one another as they walk.
There’s no gay culture in Korea and for them to be walking like that is deemed to be something very natural. If they were doing this in the States, surely they would be perceived as a group of lesbian girls. That’s because of the gay culture in the United States, and in fact, the number is quite substantial.
2. In the past, an American once said this to me, “There’re a lot of gays in Korea.”
Fumi: ???
American: When I was on the bus, I saw two to three men sharing one seat, that’s disgusting.
Fumi: (Those were not gays. I had wanted to say, but because my English is not that good, so I didn’t quite rebut. I would suppose when the American went back to the States, he would continue to have that misconception.
In Korea, one can often witness that situation. Especially on buses that a lot of high school students take, a few people will share a single seat. The Americans will immediately associate that as gay behaviour, but the Koreans will not think that, because there simply is no gay culture in Korea.
3. In the past, I had shared a hotel room and even slept on a bed with two other men. That’s because everyone had too much of a drink and were so drunk we just fell asleep. If the Japanese saw us, they would probably think we’re gays too. But if the Koreans saw us, they would say, “Oh, these guys are drunk.”
In Korea, the number of homosexuals is significantly lower than those in Japan and the United States. Therefore such behaviour would be seen as gay behaviour in the eyes of the Japanese and Americans.
If my memory serves me well, there were two in Korea only who were rumoured to be gays between the 20-year period in the 70s and 80s. That’s to say, there was just one in a decade! There was a very slight increase in the 90s, but basically, we still don’t get a lot of those rumours in Korea.
There was an artiste by the name of Yi Jong-sob in the 50s era, his speech and mannerism were like a woman’s. Surely if he was in Japan, they would think he’s 100% gay, but no, in actual fact, this person was not. Since he was little, he was already speaking and acting like this, it had nothing to do with his sexual inclination. In Korea, there was also no talk whatsoever about him being homosexual. And it is also because of this, the fact that Korea has no gay culture, so in reality, the number of gays is also very low. So, the Koreans do not look at things the way people of other nationalities do.
There’s a young actor by the name of Hong Sok-Chon who has come out and declared his homosexuality. In Korea, unless one admits to being gay, no matter how ‘gay’ one’s behaviour and mannerism, no one will think that the person is actually homosexual.
All the Koreans will burst out laughing if they are told that Yong Joon is gay, they would think that the Japanese are so weird, so funny to make such a remark. (That’s not to say it’s wrong to be gay, I believe a person has a right to his sexual preferences.)
According to information from Yong Joon’s agency in Japan, three of Yong Joon's managers would sometimes sleep over at Yong Joon's apartment. And mind, you, it's not a very, very big place. On the contrary, this can be said to be proof that he’s not gay. If he really were gay, then he would probably try hard to hide this fact. Anyway, from the standpoint of a Korean, it’s really meaningless to argue or refute this. But because there may be some people who’re wondering about this in Japan, that’s why I’ve said the above.
Yon-sama分析80
投稿者： ふみ / 投稿日： 2004/09/18 11:12:35
大家好。今天我要就说勇俊是同性恋者的无聊传闻分析一下。为什么在日本，香港如果是英俊的男演员，根本毫无根据，就会有是同性恋者的传闻呢？
韩国是没有同性恋文化（？）的传统的。
1．前些日，我在日本看到从韩国来的修学旅行的女子高中生，大概有50人左右。当时还有50米的距离，但是我一眼就知道她们是韩国来的女子高中生。为什么？因为那些学生们是“紧挨着一起走的”。韩国语里面有Okke Donmu, Baru chan kiko走这样的词，特别是女子高中生经常紧挨着一起走。韩国没有同性恋的文化，所以这被认为是当然的，很自然的事情。在美国要是这么做，一定会被看作是同性恋集团的吧。因为美国是有同性恋文化的，同性恋者也很多。
2．以前，某个美国人这样跟我说。
美国人：韩国真是同性恋者很多啊。
我：？？
美国人：坐bus的时候，看到一个座位上2，3个男人一起坐一个位置。有点儿恶心。
我：（那不是同性恋者。我想说来着，可是英语不大好，所以没怎么反驳他。那个美国人回美国以后，也会一直这么认为吧。）
在韩国，那是经常会看到的情形。特别是高中生坐bus的时候，经常会几个人坐一个位置。美国人把这样的人都看作是同性恋者，韩国人绝对不会这样想。因为没有那样的文化。
3．过去，在日本的旅馆里我曾经和2个男人在一张床上睡过觉。因为大家在床上喝酒，3个人都醉了就那么睡着了。日本人要是看到了，会以为是同性恋者吧。
但是韩国人见了会说，都喝醉了。
因为在韩国，同性恋者的人数相对日本和美国要非常少，所以反而会有在日本人和美国人眼里被认为是同性恋者的行动。
在我的记忆中，70年代和80年代20年间韩国被传闻是同性恋者的只有两个人。就是说，10年里面有一个人。进入90年代后稍有增加，但还是基本上听不到这样的传闻。
有一个叫做Yi jong-sob的50年代的艺人，说话行动都像女性一样，在日本会被认为是100%的同性恋，但是，这个人不是。从小时候开始他就这样行动说话，和同性恋是毫无关系的。在韩国也没有说他是同性恋者的传闻。因为同样的原因，韩国没有同性恋文化。实际上同性恋者人数也非常少，所以，不会用那样目光去看待。
一位叫做Hong sok-chon的年轻演员自己坦白是同性恋者。在韩国如果不是自己承认是同性恋者，无论行动语言多么像，也不会被认为是同性恋者。
说勇俊是同性恋者，韩国人听了都会发笑，认为说这样的话的日本人奇怪。（并非说同性恋者不应该。我想那是个人的自由。）在日本的杂志里看到有说，据勇俊的日本事务所所言，勇俊和3人的经理人在不算大的公寓里，合宿的时候很多。这反而是非同性恋者的证据。如果真是同性恋者，会很避讳这样的事情。总之，从韩国人的角度来说，这是根本没必要反驳的无稽之谈，为了日本的一部分这样考虑的人，我才说了上述这一番话。
Analyzing Yon-Sama - Part 81
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/19
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. I was browsing through some postings on the Korean Ob. Some fans were saying how those BYJ-bashing articles in the Japanese magazine had also been translated in China, and that it’s time now to take legal action.
I had posted anything online prior to this. And my first posting was also driven by how some Japanese media were reported negative and some very awful reports, claiming the information originated from Korea. I could not stand the sight of it, that was why I had posted something here, so that I could dessiminate true and accurate information to all of you. There’re some errors or discrepancies in my postings, but I did not go out of my way to correct them. When posting something, I’ve always taken care not to be overly subjective, not to be too personally judgemental. In Japan, there are quite a number of people who dislike the Korean Wave, yes, that’s acceptable. It’s ok if you don’t like anything Korean, but it IS an issue if one purposely lies or makes up things so as to criticize others. This is not acceptable.
In Japan, there are also Koreans who would write negative things about Korea, publish books on such things to make a quick buck. These people mostly use fictitious names, they hide behind a pseudonym. There are also people who are ghostwriters, and they would market their books as if they are Koreans. Or in some cases, the Korean authors do exist, but they’re not the ones who write the books. For instance, a Korea-bashing book published by a Korean introduced a traditional game Yuch-noli, but the contents were way off. If a person doesn’t even know how to play this Yuchu-noli game, then chances are this person is not a Korean at all. I bought that book, and saw that the contents were mainly bashing and criticizing Korea. When I reached the part that talked about the Yuch-noli game, I stopped reading it. Because I had come to the conclusion that the author was a Japanese, and not a Korea. In the past, some wrote this on a Japanese website, “The Koreans eat cats. There should be cat-eating scenes in Korean TV dramas.” No, the Koreans do not eat cats. I’ve never heard of anything like that. Yes, there may be quite a lot of things in Korea that are deserving of being criticized, but to use something as ridiculous and groundless as this… Of course, no Korean will be happy reading it.
There are media people who criticize about Yong Joon. And such people should do it openly and support their claims or bashings accordingly.
Sometime ago, a certain Korean reporter reported this anonymously in a Japanese magazine: Although Bae Yong Joon can be a representative figure, but he’s not the top star in Korea.
In Korea, not more than ten people can actually be described as being able to be representative figures. So… doesn’t the reporter’s sentence contradict itself?
This sudden explosion of the Korean Wave resulted in many mis-reporting and errors when it comes to anything news about Korea. A certain authoritative magainze even reported confidently that Sungkyunkwan University where Yong Joon was studying at was a university with 600 years of history. A 600-year-old university? That it would possibly become the world’s oldest tertiary institute! I’m not sure what the university will say to this, but there is not a single Korean who will say that this university has such a long history. I’m not exactly sure how old it is, probably about fifty years or thereabouts. The Sungkyunkwan was within the University of Seoul during the Chosun period. Of course, even the University of Seoul probably doesn’t have 600 years of history. In Korea, this is common knowledge. The erroneous reports about Korea, be it positive or negative, that have been surfacing is really something I feel sorry for.
There are anti-Japanese people in Korea, just like there are also anti-Korean people in Japan. This is to be expected, and also natural and perfectly understandable. Often, people have described the relation between Japan and Korea as being “a distant neighbouring country”. This is actually fairly peculiar. From the more global perspective, there are actually quite a number of neighbouring countries that are distant from each other. Like Holland and Belgium, like England and France, such examples are plentiful. It’s actually quite natural that neighbouring countries would come to this state, The United States and Canada seem to be getting along ok, but do bear in mind they have a relatively short history. According to ‘world standards’, it’s actually pretty normal for a fraction of Koreans and a fraction of Japanese to dislike each other. It’s not a problem that’s isolated or unique to Japan and Korea.
Japanese who dislike Korea did not voice out much in the past. Why? Because the Japanese were not particularly interested in Korea, so it did not cross their mind to criticize Korea. But due to the Yon-sama effects, many Japanese have started to take a warm interest in Korea and in Yong Joon, so the Japanese who have disliked Korea for a long time cannot hold back anymore. “I dislike Korea. Why is it that you people like Korea so much?” And then they start to sprout bad things about Korea, and bad things about Yong Joon. When there’s nothing concrete for them to scream about, they then start to fabricate lies and make up bad things. This is unacceptable. Even if you want to criticize something or someone, you have to do it the ‘right’ way.
I’m sorry to see that amongst the people who are bashing Yong Joon, there are some of them who have ties or links to the Korean media. There’s this thing, the Japanese are particularly interested in defectors from North Korea, and these defectors know that there’s money to be pocketed so long as they accept interviews from the Japanese media. So, there are actually quite many of such defectors who are willing to take interviews from the Japanese media, but they’re mostly done with anonymity, therefore there would be lies. Because if they follow the train of thought, or allow themselves to be guided into saying the answers that the Japanese media want them to say, then the chance of a repeat interview becomes higher. So many will just answer questions according to what the reporters think. It doesn’t matter to them anyway because of the anonymity. Interviews of such nature can be used to write BYJ-bashing articles too. So long as it’s anonymous, they can say anything they want. In addition, a fraction of the Japanese media want to write BYJ-bashing articles, there’re also a number of Korean journalists who are willing to supply such ‘information’.
Yon-sama分析81
投稿者： ふみ / 投稿日： 2004/09/19 16:14:24
大家好。我到韩国公式网上看了一下，看到有fans发言说，抨击勇俊的记事登在日本的杂志上，该记事在中国也被翻译，是需要采取法律手段的时候了。
我在这里上贴之前从来没有在网上写过贴。之所以在这里发贴，也是因为无法忍受开始这里有些所谓来自韩国的恶劣报道和发贴，为了将正确的情报传达给大家我才开始发贴。我的贴子里也有不少出错的地方，但是我也没特意去订正。发贴的时候我也很注意不用自己主观的意见去做评判。在日本讨厌韩国热的人也很多。那是可以的。不喜欢韩国的东西，这不是问题，问题是有意识地去说谎，去批判他人的行为这是不能接受的。
在日本也有写韩国的坏话，出书赚钱的韩国人。这些人都用的是伪名。还有叫做幽灵作家的人，写的东西当成韩国人写的东西来卖。作者的韩国人是实际存在的人，但是不是本人写的东西也很多。比方说，某个韩国人写的批判韩国的书中，作者介绍了韩国的民俗文化“Yuch-noli”(一种游戏)，内容完全挨不上边儿。不知道“Yuch-noli”怎么玩的人根本就不是韩国人。我买了那本书来看，是大量批判韩国的内容。看到“Yuch-noli”这部分的时候，我就不看了，因为确信作者是日本人而并非韩国人。以前在某个日本网上看到有人写“韩国人吃猫。韩国的电视剧里应该有吃猫的戏。”韩国人不吃猫。从没有听过这样的话。韩国值得批判的事情不少，但是用这种完全不相干的无稽之谈来批判韩国，看了当然要不愉快。
批判勇俊的韩国的媒体人士也有。这样的人应该正正当当地去做。
以前，在日本的杂志上看到某韩国的新闻记者这样匿名写道，
裴勇俊虽然是一个人就可以作为招牌的人，但不是韩国的star.
在韩国，”一个人就可以作为招牌的”男演员最多不过10人吧。上面的话不是自相矛盾吗？
突然到来的韩国热，使得对韩国的误报非常之多。某权威杂志很坦然地说道，勇俊去过的成均馆大学是所拥有600年历史的大学。600年历史的大学？，那是世界上最古老的大学了吧。大学相关人士怎么想法无法知晓，说这所大学有600年历史的韩国人一个也不会有。具体不是很清楚，大概是50年左右的历史吧。朝鲜时代的成均馆在现在的汉城大学之内。当然，汉城大学也不是说就有600年历史。这在韩国当然是常识。好话也好，坏话也好里面错误的信息非常多，我一直觉得很遗憾。
在韩国反日感情很强烈的人有，在日本反韩感情很强烈的人也有。这是当然的，也是自然的事情。经常有人强调说日韩关系是“近邻的遥远的国家”，这样强调其实很奇怪。从世界范围来看，邻国之间多是近邻的遥远的国家。荷兰和比利时，英国和法国，这样的例子不胜枚举。邻国原本多是那样的状态，美国和加拿大关系好仅仅是因为历史还短。一部分的韩国人和一部分的日本人，邻国之间互相讨厌，从世界的基准来看，这是普通的事情，并不是说只有日韩存在这样的问题。
讨厌韩国的日本人以前没有发言。为什么？因为日本人对韩国没有兴趣，所以也没有批判韩国的想法。由于Yon-sama热的影响，很多的日本人开始对韩国，对勇俊发生兴趣，所以日本国内的讨厌韩国的人们也开始无法忍受了。“我讨厌韩国。为什么你们这些人会喜欢韩国？”从而说韩国的坏话，勇俊的坏话。没有批判对象的时候，就制造谎言，这是不可以的。要批判的话也要正正当当地来。
我很遗憾对勇俊批判的人里面有一部分是和韩国媒体相关联的。有这样的事情，日本人对北朝鲜的叛离者感兴趣，在韩国的叛离者都知道只要接受日本媒体的采访的话，就会有钱可赚。所以，想接受日本媒体采访的叛离者也很多，但是这其中匿名的采访很多，谎话也很多。因为采访中顺着日本记者的期待回答的话，就会得到再次被采访的机会，所以就按记者的想法去说。匿名的情况下说什么也不要紧。这也可以用来说明抨击勇俊的记事的性质。只要是匿名，什么都可以说。加上一部分日本媒体想写抨击勇俊的东西，能够提供差不多的话题的韩国记者也有不少吧。
Original in Japanese: Fumi / www.k-plaza.com / 2004/09/19
Translated into Chinese: Truelove77 / www.loveyongjoon.com
Translated into English: Happiebb / www.joonsfamily.com
Hello everyone. I was browsing through some postings on the Korean Ob. Some fans were saying how those BYJ-bashing articles in the Japanese magazine had also been translated in China, and that it’s time now to take legal action.
I had posted anything online prior to this. And my first posting was also driven by how some Japanese media were reported negative and some very awful reports, claiming the information originated from Korea. I could not stand the sight of it, that was why I had posted something here, so that I could dessiminate true and accurate information to all of you. There’re some errors or discrepancies in my postings, but I did not go out of my way to correct them. When posting something, I’ve always taken care not to be overly subjective, not to be too personally judgemental. In Japan, there are quite a number of people who dislike the Korean Wave, yes, that’s acceptable. It’s ok if you don’t like anything Korean, but it IS an issue if one purposely lies or makes up things so as to criticize others. This is not acceptable.
In Japan, there are also Koreans who would write negative things about Korea, publish books on such things to make a quick buck. These people mostly use fictitious names, they hide behind a pseudonym. There are also people who are ghostwriters, and they would market their books as if they are Koreans. Or in some cases, the Korean authors do exist, but they’re not the ones who write the books. For instance, a Korea-bashing book published by a Korean introduced a traditional game Yuch-noli, but the contents were way off. If a person doesn’t even know how to play this Yuchu-noli game, then chances are this person is not a Korean at all. I bought that book, and saw that the contents were mainly bashing and criticizing Korea. When I reached the part that talked about the Yuch-noli game, I stopped reading it. Because I had come to the conclusion that the author was a Japanese, and not a Korea. In the past, some wrote this on a Japanese website, “The Koreans eat cats. There should be cat-eating scenes in Korean TV dramas.” No, the Koreans do not eat cats. I’ve never heard of anything like that. Yes, there may be quite a lot of things in Korea that are deserving of being criticized, but to use something as ridiculous and groundless as this… Of course, no Korean will be happy reading it.
There are media people who criticize about Yong Joon. And such people should do it openly and support their claims or bashings accordingly.
Sometime ago, a certain Korean reporter reported this anonymously in a Japanese magazine: Although Bae Yong Joon can be a representative figure, but he’s not the top star in Korea.
In Korea, not more than ten people can actually be described as being able to be representative figures. So… doesn’t the reporter’s sentence contradict itself?
This sudden explosion of the Korean Wave resulted in many mis-reporting and errors when it comes to anything news about Korea. A certain authoritative magainze even reported confidently that Sungkyunkwan University where Yong Joon was studying at was a university with 600 years of history. A 600-year-old university? That it would possibly become the world’s oldest tertiary institute! I’m not sure what the university will say to this, but there is not a single Korean who will say that this university has such a long history. I’m not exactly sure how old it is, probably about fifty years or thereabouts. The Sungkyunkwan was within the University of Seoul during the Chosun period. Of course, even the University of Seoul probably doesn’t have 600 years of history. In Korea, this is common knowledge. The erroneous reports about Korea, be it positive or negative, that have been surfacing is really something I feel sorry for.
There are anti-Japanese people in Korea, just like there are also anti-Korean people in Japan. This is to be expected, and also natural and perfectly understandable. Often, people have described the relation between Japan and Korea as being “a distant neighbouring country”. This is actually fairly peculiar. From the more global perspective, there are actually quite a number of neighbouring countries that are distant from each other. Like Holland and Belgium, like England and France, such examples are plentiful. It’s actually quite natural that neighbouring countries would come to this state, The United States and Canada seem to be getting along ok, but do bear in mind they have a relatively short history. According to ‘world standards’, it’s actually pretty normal for a fraction of Koreans and a fraction of Japanese to dislike each other. It’s not a problem that’s isolated or unique to Japan and Korea.
Japanese who dislike Korea did not voice out much in the past. Why? Because the Japanese were not particularly interested in Korea, so it did not cross their mind to criticize Korea. But due to the Yon-sama effects, many Japanese have started to take a warm interest in Korea and in Yong Joon, so the Japanese who have disliked Korea for a long time cannot hold back anymore. “I dislike Korea. Why is it that you people like Korea so much?” And then they start to sprout bad things about Korea, and bad things about Yong Joon. When there’s nothing concrete for them to scream about, they then start to fabricate lies and make up bad things. This is unacceptable. Even if you want to criticize something or someone, you have to do it the ‘right’ way.
I’m sorry to see that amongst the people who are bashing Yong Joon, there are some of them who have ties or links to the Korean media. There’s this thing, the Japanese are particularly interested in defectors from North Korea, and these defectors know that there’s money to be pocketed so long as they accept interviews from the Japanese media. So, there are actually quite many of such defectors who are willing to take interviews from the Japanese media, but they’re mostly done with anonymity, therefore there would be lies. Because if they follow the train of thought, or allow themselves to be guided into saying the answers that the Japanese media want them to say, then the chance of a repeat interview becomes higher. So many will just answer questions according to what the reporters think. It doesn’t matter to them anyway because of the anonymity. Interviews of such nature can be used to write BYJ-bashing articles too. So long as it’s anonymous, they can say anything they want. In addition, a fraction of the Japanese media want to write BYJ-bashing articles, there’re also a number of Korean journalists who are willing to supply such ‘information’.
Yon-sama分析81
投稿者： ふみ / 投稿日： 2004/09/19 16:14:24
大家好。我到韩国公式网上看了一下，看到有fans发言说，抨击勇俊的记事登在日本的杂志上，该记事在中国也被翻译，是需要采取法律手段的时候了。
我在这里上贴之前从来没有在网上写过贴。之所以在这里发贴，也是因为无法忍受开始这里有些所谓来自韩国的恶劣报道和发贴，为了将正确的情报传达给大家我才开始发贴。我的贴子里也有不少出错的地方，但是我也没特意去订正。发贴的时候我也很注意不用自己主观的意见去做评判。在日本讨厌韩国热的人也很多。那是可以的。不喜欢韩国的东西，这不是问题，问题是有意识地去说谎，去批判他人的行为这是不能接受的。
在日本也有写韩国的坏话，出书赚钱的韩国人。这些人都用的是伪名。还有叫做幽灵作家的人，写的东西当成韩国人写的东西来卖。作者的韩国人是实际存在的人，但是不是本人写的东西也很多。比方说，某个韩国人写的批判韩国的书中，作者介绍了韩国的民俗文化“Yuch-noli”(一种游戏)，内容完全挨不上边儿。不知道“Yuch-noli”怎么玩的人根本就不是韩国人。我买了那本书来看，是大量批判韩国的内容。看到“Yuch-noli”这部分的时候，我就不看了，因为确信作者是日本人而并非韩国人。以前在某个日本网上看到有人写“韩国人吃猫。韩国的电视剧里应该有吃猫的戏。”韩国人不吃猫。从没有听过这样的话。韩国值得批判的事情不少，但是用这种完全不相干的无稽之谈来批判韩国，看了当然要不愉快。
批判勇俊的韩国的媒体人士也有。这样的人应该正正当当地去做。
以前，在日本的杂志上看到某韩国的新闻记者这样匿名写道，
裴勇俊虽然是一个人就可以作为招牌的人，但不是韩国的star.
在韩国，”一个人就可以作为招牌的”男演员最多不过10人吧。上面的话不是自相矛盾吗？
突然到来的韩国热，使得对韩国的误报非常之多。某权威杂志很坦然地说道，勇俊去过的成均馆大学是所拥有600年历史的大学。600年历史的大学？，那是世界上最古老的大学了吧。大学相关人士怎么想法无法知晓，说这所大学有600年历史的韩国人一个也不会有。具体不是很清楚，大概是50年左右的历史吧。朝鲜时代的成均馆在现在的汉城大学之内。当然，汉城大学也不是说就有600年历史。这在韩国当然是常识。好话也好，坏话也好里面错误的信息非常多，我一直觉得很遗憾。
在韩国反日感情很强烈的人有，在日本反韩感情很强烈的人也有。这是当然的，也是自然的事情。经常有人强调说日韩关系是“近邻的遥远的国家”，这样强调其实很奇怪。从世界范围来看，邻国之间多是近邻的遥远的国家。荷兰和比利时，英国和法国，这样的例子不胜枚举。邻国原本多是那样的状态，美国和加拿大关系好仅仅是因为历史还短。一部分的韩国人和一部分的日本人，邻国之间互相讨厌，从世界的基准来看，这是普通的事情，并不是说只有日韩存在这样的问题。
讨厌韩国的日本人以前没有发言。为什么？因为日本人对韩国没有兴趣，所以也没有批判韩国的想法。由于Yon-sama热的影响，很多的日本人开始对韩国，对勇俊发生兴趣，所以日本国内的讨厌韩国的人们也开始无法忍受了。“我讨厌韩国。为什么你们这些人会喜欢韩国？”从而说韩国的坏话，勇俊的坏话。没有批判对象的时候，就制造谎言，这是不可以的。要批判的话也要正正当当地来。
我很遗憾对勇俊批判的人里面有一部分是和韩国媒体相关联的。有这样的事情，日本人对北朝鲜的叛离者感兴趣，在韩国的叛离者都知道只要接受日本媒体的采访的话，就会有钱可赚。所以，想接受日本媒体采访的叛离者也很多，但是这其中匿名的采访很多，谎话也很多。因为采访中顺着日本记者的期待回答的话，就会得到再次被采访的机会，所以就按记者的想法去说。匿名的情况下说什么也不要紧。这也可以用来说明抨击勇俊的记事的性质。只要是匿名，什么都可以说。加上一部分日本媒体想写抨击勇俊的东西，能够提供差不多的话题的韩国记者也有不少吧。