Congratulations on the show.
Thank you so much. Wonderful.
There's lots to unpack.
I've wanted to ask this question to everybody, and I would ask you as well
The opening credits sequence is fantastic.
It's so, so wonderful.
And I just wondered
what you guys saw in that, why you wanted to do that
and what you thought it brought to the show.
Because its
Jin [Ha] was just saying about how the obviously
because of COIVD, the guys can all be together
at the same time because different protocols, different shooting schedules.
But this was a moment that everybody could kind of come together.
You know, that's a great point.
Yes, absolutely.
And I think it shows in what you saw, which is there's so much joy there.
And it was interesting that all of our actors have different
dancing styles and abilities.
You know, she was a beautiful dancer
in a traditional way and maybe a feel of contemporary too.
But it really has this combination
of joy and release and these characters.
Michael makes a good point.
The actors are in character, and it was really Soo Hugh our showrunner.
Her intention to come up with the opening credits sequence
that you can see these characters having joy.
And even though they're going through these
very hard times, you see all of them together
and you see how multi-generational it is and how joyful it is.
Do you want to add to that?
Yeah, the idea that, you know,
is always from the couple of quirky things, which is some
some show where our showrunners would describe a possible title sequence.
This is the first time in my career it's actually been created,
and so a version of it was in the earliest script.
And then she would insist on every other episode having it in the script itself.
Was that important to her in terms of the language of the show?
And so it's a it's in a way, even though it's the same every episode,
there's past and present, and then there's the kind of the child
within our characters that we get a glimpse of every episode.
These are characters who they have to be so controlled,
so precise to navigate the world they're in based
on historical circumstance, familial circumstance, business, society, etc.
And, and so but they all have a child within, but they would like to get out.
And so it's, it's both a pop of joy,
but it's them you know, it's them as well.
And and so it's just it's a kind of reminder
every episode of who who they could be, who they wish they could be.
And then in a way,
also for a contemporary generation, it's the legacy that our previous generation
have given us, which is hopefully you're in the circumstance where where
the sacrifices of the previous generations allow you to live more freely.
And it's also fun and exciting.
And it has some swagger to it, too.
Yes, it is.
Yeah.
I just wanted to touch upon this for you as producers, just the impact
of Apple TV have had, because I was on I have access to the press site
and seeing all these shows and just trying to keep up.
But that provided such a great platform for you for some of your shows before.
What was it like working with them again and what have they provided you that
you didn't have maybe five, five years ago to tell a story like this?
We should be.
Yeah. I mean, they were they're incredible to work with.
You know,
I make The Morning Dhow with them and we're post on another show with them.
They're ambitious.
You know, like they take big swings and they want to go
where they're new, new places, and they're drawn to white spaces.
When Theresa and I put the show together with Soo and we're going to market,
Theresa was my agent at the time, and Soo's agent and
and Theresa was the best in the business.
She's amazing what she does now as well.
And so we were figuring out where to go and when things mean
our biggest ambition for this was and we were insane.
Like, no, it wasn't like the world was demanding the show at the time.
We were demanding it, and we believed we believed it could happen.
And one of the things we wanted for it was to do it at scale, right?
So we read the book it's both an incredibly intimate and personal saga,
but it's a saga, you know, and we wanted to take an audience to Korea in the past.
We wanted to be in Japan in the past and and even in America a little bit.
And we wanted to do that properly and in a way an eye to collapse the gap
between this and The Crown and Gilded Age.
This story, these people's story.
Koreans, Korean-American.
They deserve the same scale and treatment as any other big story.
And so Apple saw that, saw what we saw in it.
And they said, yes, let's do it that way.
We're not real... We're not going to treat this.
There's a term in America that's a bit condescending, which is local language.
Right.
And that's how other that's how non-English language shows are discussed.
And when you hear
local language, it's code for lower budget lower production value, etc..
And they always just treat this as a show,
as a global show that they were excited to make.
And that's a big reason we went with them.
And they've been amazing partner.
They they definitely were ambitious.
And I think that they try to do things that nobody else is doing, as you know.
And we had these incredibly not just supportive executives,
but executives who took it on as a bit personal for them.
We definitely felt that through the process.
And the I've actually worked with a lot of people at Apple for
many, many years, even predating their days at Apple,
and they've always had that ambition.
And so to have a team of executives at Apple who really got it from not just a
point, a storytelling point
of view, they really understood how we needed to make it ambitiously.
Remember they bought this project over three and a half years ago.
So the way ahead of the curve of everything of where we are
now in terms of Asian series and films, yeah.
This is pre to Parasite had not come out, Crazy
Rich Asians was coming but also hadn't come out yet. So.
So it was to me. Yes, it was.
We felt like the moment was ripe and
audiences were ready.
Yeah, yeah, yeah.
Well, you were, you to nail it.
So congratulations on that. Thank you.
Thank you so much for talking so much.