[Limelight] "The Positive Influence of Video Filming... The Power That Gives a Strong Sense of Mission"①

Ministry of Culture and Korea Creative Content Agency for Popular Culture and Arts Production Staff
'Documentary 3 Days' Cinematographer Kim Seongmi, 'Chujeok 60 Bun' Assistant Director's Determined Effort
'Uljima Tonjeu' Resonated Deeply Throughout Filming... Interview Secrets for 'Sincere Comfort'

Editor's NoteThe Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency hold the annual 'Popular Culture and Arts Production Staff Awards' ceremony. It highlights and encourages the unsung heroes who have contributed to the development of the popular culture and arts industry (film, broadcasting, popular music, musicals). These are technicians in fields such as filming, lighting, special effects, editing, costumes, stage, and sound. They prepare production one step ahead of others and stay until the very end to wrap up. They are often more deeply involved in production than directors or writers. A representative example is cinematographers who work on documentaries and entertainment programs. We met this year’s awardees, Director Kim Seongmi (Minister of Culture, Sports and Tourism Commendation) and Director An Gyehyeon (KCCA President Award), to look into the fruits of their steady effort and perseverance.

Directors An Gye-hyeon and Kim Seong-mi, who won at the Popular Culture and Arts Staff Awards, are posing for a commemorative photo holding their trophies. Photo by Jo Yong-jun jun21@

Cinematographer Kim Seongmi is a master who has built a unique record in the documentary field. Despite adverse conditions as a non-regular worker, a woman, and a documentary cinematographer, she traveled through harsh and remote areas such as Mali, Congo, C?te d'Ivoire, Nepal, and Qatar, capturing vivid records. Her representative works include KBS's 'Documentary 3 Days,' KBS documentaries 'Denmark, Talking Politics in Sweden,' 'War and Women,' 'Children of May,' KBS's 'Hope Road Expedition,' SBS documentary 'Hello, My Grandmother,' KBS's 'Current Affairs Spotlight,' KBS's 'Current Affairs Planning,' KBS's 'Secrets of Life and Death,' and films such as 'Don't Cry, Tonj' (Ulji-ma Tonj), 'Water Breath' (Mulsum), 'Seesaw' (Siso), 'Resurrection' (Buhwal), 'Fire Breath' (Bulsum), and 'April, Early Third Day' (Sawol, Chosahul). Below is a Q&A.

- How did you come to walk the path of a cinematographer?

"I majored in video production at university and worked as an assistant director for KBS's 'Chujeok 60 Minutes.' The first footage I shot was about social phenomena following the enforcement of the Special Act on Prostitution Prevention. The producer judged it was a sensitive issue for a male reporter to cover and trusted me with it. However, while editing the footage, the producer kept sighing. 'Is there no cut to connect?' I thought I ruined the program and ran to the restroom to cry my eyes out. That sparked my determination. I studied filming techniques hard and renewed my spirit. The comeback shoot was the Korean Wave fever led by Yonsama (Bae Yong-joon). The producer praised me as a 'human tripod.' It was a nickname earned by holding my legs tight and holding my breath for over 15 seconds."

Director Kim Seong-mi is giving an interview with Asia Economy. Photo by Jo Yong-jun

- Even now, there are not many female cinematographers.

"It was even more so 20 years ago. A male senior who was my mentor wouldn’t let me handle the ENG camera. He said it was unlucky. I gritted my teeth and ran hard. I moved people with sheer diligence and was the first among my peers to hold the camera. Being a woman also had advantages. It was easier to approach issues like childbirth and beauty, and to handle sensitive matters involving women. There were also opposite cases. For example, Jeju haenyeo (female divers) prefer male cinematographers who carry heavy loads (laughs)."

- You are currently balancing childcare and filming.

"I had my first child at 40. The first is five years old, and the second is three. They are at an age where they seek their mother a lot. Whenever I go on business trips, my mother helps with childcare. Thanks to that, I have been able to film 'Documentary 3 Days' for over 12 years. Of course, a corner of my heart was troubled. I can’t forget the faces of my children crying at dawn, holding onto my pants, begging me not to go."

- 'Documentary 3 Days' relies heavily on the role of the cinematographer.

"We find the subjects ourselves and accompany them for 72 hours. You could say we practically direct as well. It’s a program that serves as a guide in life. I learned a lot listening to stories full of human warmth."

- When was the most impressive moment?

"It was when I reunited with someone I filmed 10 years ago. She was a young woman living in a women-only apartment complex called Geumnam. She resented her parents who had separated early. She said she was thoroughly abandoned. I put down the camera and comforted her. When I told her that her parents must have been heartbroken too, she cried her eyes out. I gently coaxed her and even had her write a video letter to her parents. Ten years later, she appeared as a mother of three children and thanked me. She said she had reconciled with her parents. I can’t tell you how proud I felt."

- There must have been physically demanding shoots as well.

"For a New Year special, I shot the sunrise at Taebaeksan Mountain. I spent three days at the peak. I barely got some sleep in a small temple halfway up. There was no water, so I couldn’t wash (laughs). Around 4 a.m., hikers started climbing to the summit. I had to secure my spot and wait before they arrived. Enduring the perceived temperature of minus 30 degrees Celsius was harder than waking up early. It was so cold that the camera lens cracked. As soon as I descended, I ran to a bathhouse to warm up."

- Interviewing strangers must not have been easy either.

"Holding a camera gives me courage. Most people open up and speak fluently once they start. Some carefully organize their past footsteps. If you listen attentively until the end, they all say thank you for listening. Some ask if I have learned psychological counseling separately. There’s no special secret. I just focus on the interview. I sincerely worry and comfort them."

- You also filmed the movie 'Don't Cry, Tonj' (2010), which highlights the late Father Lee Tae-seok.

"I thought I would just trace the late priest’s footsteps, but it was a big challenge. Sudan was undergoing a civil war with over two million deaths. Gunfights broke out everywhere. No matter how much we detoured, we couldn’t avoid them. Tonj, which we finally reached, was a new world. I could immediately feel the residents’ love for Father Lee Tae-seok. Just mentioning his name brought tears. Even though communication was difficult, I could tell how much they missed him. They were truly kind and good people."

Director Kim Seong-mi is giving an interview with Asia Economy. Photo by Jo Yong-jun

- How did you live in Tonj?

"It was a village where people lived, but basic necessities were not met. Thanks to the care of Brother Gong Yagobo, who passed away shortly after we left, we barely managed meals. We also rested at the lodging where Father Lee Tae-seok stayed. The biggest problem was water. Residents drank contaminated water knowingly. That often caused blindness or leprosy. Those with healthy limbs kept shooting at other tribes over cattle. Seeing even children participate in the fighting made me understand why Father Lee emphasized education so much. The harsh conditions probably remain unchanged today. When African sponsorship ads come on TV, I change the channel. Just thinking about it breaks my heart."

- Still, such footage often exerts a positive influence.

"That’s why I keep dedicating myself to filming. I felt it since shooting 'Chujeok 60 Minutes.' Many viewers witness changes. Some even reach out to help. That seems to be the greatness of broadcasting. For me, it is the power that gives me a strong sense of mission."