She has received numerous awards and nominations for her screenwriting work, both domestically and internationally. Recognitions include accolades from the Asian Film Awards, Baeksang Art Awards, Blue Dragon Awards, the Chicago Film Critics Association, and the Sitges Film Festival. Her fondness for thrillers and the unconventional has garnered her a dedicated fan base and critical acclaim. Other than being a frequent Park Chan-wook collaborator, Jeong is regarded as one of the best film and television writers in Korea today.
In June 2018, the Academy of Motion Picture Arts and Sciences (AMPAS) extended invitations to its new members for that year. Among the invitees were 14 individuals from the Korean film industry, comprising directors, actors, and professionals in various technical roles. Jeong was among those who received an invitation as a new member.[1][2]
Education
Park initially dreamt of becoming a nun, as she admired the beauty of their clothing and had a liking for uniforms. In college, she pursued studies in the Philosophy Department at Seoul National University, but transferred to the Film Department of the Korea National University of Arts to avoid retaking college entrance exams. She thought that studying film and acting would open doors to more opportunities. It is worth noting that she had prior experience as a child actor.[3][4]
During her third year in the Scenario Department at the Film Institute, Jeong wrote a short film called "The Electricians." It was chosen as one of the recipients of the Kodak Short Film Production Support Project (the 5th Eastman Short Film Production Support Project). Initially, Jeong didn't plan on becoming a director, but changes in the academic system required she make a film to meet graduation requirements. With the film, Jeong successfully graduated from the Scenario Department (Art History) of the Korea National University of Arts.[3][5][6]
In 2002, Park Chan-wook, who was part of the jury for Kodak Short Film Production Support Project, discovered Jeong when she applied for the scholarship. Jeong was in her third year at the Korea National University of Arts.[7][8] In 2003, they met again when Moho Film was newly established. After winning the Cannes Grand Prix in 2003 for Old Boy and deciding to focus on a more female-centric film, Park remembered Jeong's spark and peculiar sensibility, and approached her to write a script draft.[7][8][9][10]
My entire film career can be divided into the period before and after I met Jeong Seo-kyung.
Park Chan-wook, Preface in Lady Vengeance Screenplay Collection.[8]
At first, Park met writer Jeong to work on the film Thirst, but this collaboration was put on hold as Park decided to do Lady Vengeance first. During the production of Old Boy, Park's previous film, he felt that the narrative seemed to exclude the female character Mido. This realization inspired him to create a more female-centric film which eventually became Lady Vengeance. Recognizing the need for a female writer, Park sought to collaborate with Jeong, and their partnership exceeded expectations.[7][8][9]
Lady Vengeance had a highly successful opening in South Korea on July 29, 2005, generating blockbuster-level earnings. It grossed an impressive sum of US$7,382,034 in its opening weekend and accumulated a total of US$22,590,402 in South Korea alone.The film's popularity is further highlighted by its ranking as the seventh highest-grossing domestic release in Korea that year and the eighth highest-grossing overall, with a nationwide ticket sale of 3,650,000. Its remarkable financial success solidified its status as a major box office hit.[11][12] It also participated in the competition for the Golden Lion at the 62nd Venice International Film Festival in September 2005.[13] Although it did not win in the competition, it received recognition in other categories, including the Cinema of The Future, the Young Lion Award, and the Best Innovated Film Award in the non-competition section. Additionally, it won the prestigious Best Film award at the 26th Blue Dragon Film Awards.[14]
I'm a Cyborg, But That's OK, the second film by Director Park Chan-wook and writer Jeong, presented a fresh challenge for them as it diverged from their renowned "Revenge Trilogy." This romantic comedy unfolded within the setting of a mental hospital, portraying the unconventional love story between Yeong-gun (Lim Soo-jeong), who believes she is a cyborg, and Il-sun (Jung Ji-hoon), a patient who supports and safeguards her. While the film received mixed reviews in comparison to their earlier works, it still holds significance in their filmography.[15][16]
It contains the message of loving each other and having hope no matter what the situation. However, it is a work that can be interpreted in various ways.
I'm a Cyborg, But That's OK premiered in South Korea on December 7, 2006, and debuted as the top film, grossing $2,478,626. However, it experienced a significant decline of 76% in its second weekend and was subsequently pulled from most screens before the Christmas holiday. The sales of approximately 780,000 tickets were considered disappointing compared to Park's previous films, all of which had exceeded 3 million ticket sales.[17][18][19]
Flower of Evil
Subsequently, Jeong worked on the script for Director Yim Pil-sung's project, Flower of Evil.[3][16] Yim had intended to direct a gripping suspense drama that revolved around a married American expatriate falling for a Korean femme fatale. The project, titled Flower of Evil, entered pre-production in 2009, but it was later shelved.[20]
Thirst was loosely based on Émile Zola's novel "Thérèse Raquin," director Park Chan-wook and Jeong create a darkly comical and provocative script that plays with vampire film tropes. The film explores the carnal awakening of a repressed priest turned vampire named Sang-hyun (played by Song Kang-ho), as he seeks eternal life and desires Tae-ju (Kim Ok-vin), the abused wife of his childhood friend, Kang-woo (Shin Ha-kyun).[21][22]
When Thirst was released on April 30, it sparked divided reactions among the audience. While some viewers felt that Park had successfully lived up to the high expectations set by his previous works, others found the film's plot and visuals too provocative. Nevertheless, the film quickly gained popularity, drawing in 170,000 viewers on its opening day, setting a record for that year's film releases. The viewership of Thirst continued to soar, reaching 2 million viewers by the following weekend. Additionally, the film was selected as one of the 20 entries competing for the prestigious Palme d'Or, the top prize at the Cannes Film Festival.[23] Ultimately, Thirst received the Jury Prize at the 2009 Cannes International Film Festival in France, sharing the third place award with British director Andrea Arnold's teen drama Fish Tank.[24] Jeong together with Park Chan-wook also won award for their screenplay in the Sitges Film Festival.
The inspiration for the film comes from 2002 novel, Fingersmith, written by Welsh author Sarah Waters. However, the setting has been modified from Victorian era Britain to 1930s Korea during the period of Japanese colonial rule.[26] The plot revolves around a young pickpocket named Sook-hee (played by Kim Tae-ri) who is recruited by a conman named Count Fujiwara (played by Ha Jung-woo). Fujiwara's plan is to gather information from heiress Lady Hideko (played by Kim Min-hee), whom he intends to marry, manipulate, and steal her wealth. However, Fujiwara didn't anticipate the strong attraction that develops between Sook-Hee and Hideko. This intense connection adds layers of complexity to an already intricate and constantly evolving story.[27]
At the core of the narrative lies a romantic relationship between the two leading female characters. This aspect holds particular significance, given the predominant male influence in both the Korean and Western film industries. Jeong has consistently shown a deep interest in homosexuality, which is not limited to her involvement in this film but extends to her general curiosity on the subject. She has extensively studied the topic and has the insight of having many queer friends.[27] Moreover, Jeong sought her friend's input on various iterations of the scripts, valuing their perspective and incorporating their feedback into the creative process.[28]
The Handmaiden competed for the Palme d'Or at Cannes and had its premiere at the 69th Cannes Film Festival in the Grand Theatre Lumiere, receiving a remarkable five-minute standing ovation. While the film didn't sweep awards at the festival, it achieved considerable success by securing lucrative export deals from film marketers in 176 countries. This achievement set a new record for a South Korean film, surpassing the previous record held by Snowpiercer (2013), a fantasy film by Bong Joon-ho, which was sold in 167 countries.[29][30][31]
The Handmaiden had a successful release on June 1, 2016, attracting approximately 300,000 viewers on its opening day. Within the first two days, the film surpassed 550,000 viewers, topping box office hit.[32] In South Korea, the film sold more than 4 million tickets.[33][34][35] Due to popular demand, "The Handmaiden screenplay" was officially published just two months later in August 2016, showcasing the fervent fanbase and cultural impact of the film.[25]
Jeong together with Park Chan-wook also won awards for their screenplay from the Chicago Film Critics Association.[34]
The screenplay for The Truth Beneath is based on director Lee Kyung-mi's earlier work, "Female Teacher." During director Park Chan-wook's time directing Stoker (2013) in the United States, he contacted director Lee and proposed the idea of developing a subplot within it. This suggestion eventually led to the creation of The Truth Beneath. Furthermore, a team of five screenwriters, including Lee Kyung-mi, Park Chan-wook, Jeong Seo-kyung, Kim Da-young, and Jeong So-young, collaborated on crafting the script for the film.[36]
Jeong collaborated with director Lee Hae-young to co-write the remake of Johnnie To's gritty mainland crime saga, Drug War (2012). The film, titled Believer, only retains the core elements of To's original work. While faithfully recreating certain iconic scenes, Lee and Jeong have made substantial changes to the plot and character dynamics in other areas. Notably, the remake's subdued resolution has sparked significant discussion, as it diverges dramatically from To's action-packed finale.[5]
Mother is a remake of the 2010 Japanese TV series of the same title. Jeong initially felt hesitant about writing a drama due to a lack of energy and space. However, when offered an opportunity by tvN, she considered the chance to tell a story about a mother and child within the next five years to be a rare opportunity. Despite feeling unprepared, she decided to give it a try. Jeong even sought the opinion of her eldest child, who initially responded with a "no." However, when Jeong mentioned that the main character would be an elementary school student, her eldest child responded with excitement, changing their initial "no" to "Really?"[37]
Decision to Leave originated from an idea proposed by Director Park Chan-wook. He suggested exploring the concept of a woman who kills her husband twice, with the natural setting of mountains in mind.[43] Jeong, the writer, aimed to portray the most fundamental and instinctive love without relying on words.[44][45] The plot revolves around a married detective who becomes involved with Song So-rae, a widow and a suspect in her husband's death, while investigating the case. Jeong had a specific vision for the character of So-rae and desired to cast Tang Wei in the role.[46]
I've been writing screenplays for over 20 years, but Decision to Leave humbled me again.
Jeong together with Park Chan-wook also won numerous accolades for their screenplay. Recognitions include accolades from the Asian Film Awards, Baeksang Art Awards, Blue Dragon Awards.
Little Women is a drama based on Louisa May Alcott's novel of the same name. It follows the story of three sisters (Kim Go-eun, Nam Ji-hyun, and Park Ji-hoo) who grew up in poverty but bravely confront the wealthiest and most influential family in Korea.[54][55] Jeong started working on this drama in 2019 while simultaneously writing the screenplay for Decision to Leave. She did not create a synopsis before beginning work on the drama, which initially caused confusion among the actors regarding character emotions and the overall plot. However, as each new script was released, they gradually learned the content and made necessary adjustments. This unconventional approach contributed to the unique style of Little Women. Director Park Chan-wook enjoyed the drama. Jeong mentioned that it was difficult to ignore all the comments he made.[56][57]
After Jeong wrote the script for Part 1, she was receiving a positive response from the production company. However, she felt uncertain about achieving believability in a world that blends fantasy and reality. Jeong believed that only Art Director Ryu Seong-hui, who had previously worked with her on The Handmaiden, could accomplish this. Through multiple meetings she gradually convinced Ryu.[58]
Jeong desired to collaborate with Director Kim Hee-won for the project, as she was captivated by her visionary approach and talent for conceptualizing abstract ideas while watching Vincenzo. Kim Hee-won was well known for her strong dedication, fully committing herself to projects and even sacrificing meals and sleep. She rarely had time to read scripts from other works. Knowing Kim Hee-won's availability after finishing Vincenzo, CP Cho Moon-joo from Studio Dragon promptly presented her with the script.[58]
They successfully assembled a remarkable team, consisting of 70% women across the cast and crew, marking a significant milestone in the history of drama production. It was the first time that women held all key positions such as Chief Producer (CP), writer, director, and art director.[59] The series garnered praise for its stunning scenography, characterized by lavish set designs and meticulous props.[60] At the 59th Baeksang Arts Awards, the drama received four nominations, including a Technical Award nomination for Ryu Seung-hee, which she ultimately won. Jeong was also nominated for Best Screenplay, while the drama itself received nominations for Best Director and Best Drama.[61][62][63]
Writing style
During the early stages of her career, Jeong would write screenplays based on ideas provided by film studios or directors. However, immersing herself in the given characters and situations was not a simple task. In her case, she found that she needed something akin to a spell to fully engage with unfamiliar characters and situations at the outset.[3] Jeong usually start the research first, so she often write the first draft.[25]
If my film contains femininity, childlike innocence, fairytale beauty, optimism, excitement, gratitude, and useless fantasies, it comes from Jeong Seo-kyung.
Park Chan-wook, Preface in Lady Vengeance Screenplay Collection.[64]
Writer Jeong's longest-serving partner is film director Park Chan-wook. Together, they have collaborated on five works, starting with Sympathy For Lady Vengeance, then followed by I'm a Cyborg, But That's OK, Thirst, The Handmaiden, and Decision to Leave.[64] In the initial stages of the process, they discuss and agree upon a treatment, after which Jeong proceeds with the first draft. For the second draft, they share a computer and collaborate on the same files. Each of them has their own monitor and keyboard, enabling seamless teamwork. As one person types on the keyboard, the text instantly appears on the other person's monitor, allowing them to work together on revisions side by side. In the final stage, director Park works on the script alone or with a few members of his cast or crew, adding his personal final touches.[8][10][25]
Jeong finds it challenging to develop male characters when writing a script, while Director Park faces difficulties in developing female characters. In a way, they complement each other, as their strengths and weaknesses align, allowing them to create well-rounded characters together.[65] The combo of Park and Jeong has created memorable female characters in the history of Korean cinema. Geum-ja from Lady Vengeance, Young-shin from I'm a Cyborg, But That's OK, Tae-ju from Thirst, Hideko and Sook-hee from The Handmaiden, and finally Song Seo-rae from Decision to Leave are just a few examples. These women chose to live authentically rather than being objectified, and they fearlessly explored their own desires on the screen, leaving a lasting impact. The characters they created often find themselves in extreme situations. For Korean moviegoers, who are accustomed to male-dominated plots, the sheer presence of these female characters was not only shocking but also a breath of fresh air.[8][66]
The female characters created by Jeong have their own unique goals and directions. However, they are not necessarily beautiful, righteous, or perfect. It is because they are drawn to resemble oneself and depict characters that one can empathize with. In fact, writer Jeong says that when she designs characters, she thinks about their flaws first.[8]
Personal life
Jeong married her husband in 2006.[16] They have two sons.[67] She had her first son around the time she finished writing the first draft of Thirst. She had her second son around the time she was helping Park Chan-wook for his American film Stoker.[68]
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