IN MY CITY: SEOUL
barely accepted. In more familiar terms, hard closures are difficult to achieve within Seoul, and
it may be only possible if the location team can prove through studies that a specific range of a
street has significantly low-traffic volume during a certain extent of time.
Clever domestic productions make good use of this and film small-action scenes on the streets
of Seoul without road closures, utilizing the time between traffic signs. They obtain permits
for two lane closures and design action sequences accordingly, often employing bold VFX
techniques. However, for the majority of North American films, such shooting styles are nearly
impossible. Whenever a director of a film that requires road closures asks, "K-dramas shoot
many action scenes in Seoul without road closures, why can't we do the same?" I always find it
difficult to answer. My main challenge is primarily how to find common ground between these
two different worlds.
Stevie: WHAT ARE YOUR FAVORITES OR MOST MEMORABLE FILMING EXPERIENCES?
BC: Pachinko is the most memorable project for me. It was a project where I started incorporating
creativity into my job, and while previous Hollywood films shot in Korea tended to set the
country as an exotic backdrop for action sequences, Pachinko clearly required the location to
be in Korea and set as Korea. It was incredibly challenging, and I was able to grow significantly.
Building on that experience, I successfully completed the shooting for Season 2 in Korea as
well.
Stevie: DOES SEOUL OR SOUTH KOREA OFFER ANY INCENTIVES TO HOLLYWOOD FILMMAKERS?
BC: In South Korea, tax incentives are commonly used to attract overseas filming. There is a
system in place that refunds 25% of production costs, however, number 25% may seem like a
significant amount. The cap is around $200,000 USD, which is not very helpful for Hollywood
productions. However, independent or low-budget projects can benefit from various programs,
including the location incentives above. For example, when scouting in Korea, the Korea Film
Commission supports the traveling crew's flights and accommodations, but this support is
limited to economy-class flights and four stars or lower hotels.
Stevie: WHAT ARE YOUR TOOLS OF THE TRADE?
BC: A location manager is typically someone who has a built-in navigation system in their head.
However, I am not one of them. On the contrary, I tend to get lost easily. It's especially true when
I'm in unfamiliar places. That's why I rely on document-centered preparation rather than relying
on my instincts for location work. Understanding the mindset of someone who struggles with
directions is my advantage in being a location manager.
