Issue link: https://digital.copcomm.com/i/1470106
manager Bong ho got word that the village had gotten cold feet. The caravan of twenty minivans pulled over while Bong and his team called a yet unscouted folk village and got them to agree to let us come and check it out. The caravan turned around and drove four hours to cold scouttech scout the hero location of the show. In a miraculous twist of fate, we stumbled upon a small plot of land with a majestic view of the mountains of Andong, nestled within the Hahoe UNS World Heritage Site, and even more miraculously, they agreed to let us build there. ho and the Art DirectorSet Design team of i u and eojung im got to work immediately, surveying the new site and adapting the design Austin Wang had initiated of the boarding house. The construction team of Art Trade nimbly pivoted to this new location and started groundwork days later. The detail and care of the boarding house set was an achievement that I will hold dear forever. The next three months were a blur of rigorous preproduction and zero sleep. I lived and worked out of a van, as we never stayed in one city longer than forty-eight hours. My translator, Ara ho, and driver, Mr. Han, became like family. We must have had hundreds of meals at orean truck stops together, which are deliciousbut too much of a good thing is always too much. The production was fortunate to shoot in the seaside island of eongdo, where Sunja's family originates in the novel. The natural beauty is preserved in a national park that sprawls for miles on the southern point. In a picturesue cove in the park, we shot young Sunja, learning to dive and fi sh with the haenyeos, female divers that harvest mollusks by hand. Down the shoreline there was a stretch of hole-in-the- wall restaurants that served the very shellfi sh that present-day haenyeos and fi sherman bring in fresh. n a charcoal grill, the abalone, scallops, and clams were cooked in their shells at the table, and an array of butter, kimchi and cheese were at the ready to add to the mix. I've never experienced a more divine meal. Looking out over the ocean and breathing in the intoxicating smells of our meal and sipping on makgeolli while enjoying the company of a wonderful team of people will be a memory I will never forget. "You want to see a very bad man? Make an ordinary man successful beyond his imagination. Let's see how good he is when he can do whatever he wants."–Min Jin Lee, Pachinko I left orea early to get a jump-start in Vancouver and had to uarantine over hristmas to be out before the rest of the crew arrived in mid-anuary. The minute I was cleared to work, I rushed to the stages and backlot to see in person for the fi rst time the large set builds underway. Though it had been nerve wracking not being present in the fall, things were going extremely well. E. PACHINKO PARLOR. FLOOR PLAN. SET DESIGN BY AUSTIN WANG USING RHINO. BUILT ON STAGE 2 AT SURREY STUDIO CITY. F. PACHINKO PARLOR RENDERING. SET DESIGN BY AUSTIN WANG USING RHINO. E F