IN MY CITY: SEOUL
Q&A with Bong Cho
Stevie Nelson talks to Bong Cho/LMGI on living and working in South Korea’s vibrant capital city
All photos by Bong Cho/LMGI, except where noted
Cheonggyecheon
Stevie: HOW LONG HAVE YOU BEEN WORKING IN LOCATIONS?
HOW DID YOU START & WHAT DO YOU PRIMARILY WORK ON?
Courtesy of Bong Cho/LMGI
Bong Cho: I was born in Ilsan, which is a satellite city of Seoul. Technically. I wasn’t born in Seoul, but it’s considered as ‘Metropolitan Seoul.’ Since my high school was in Seoul, I commuted from Ilsan to Seoul from the 10th grade. I graduated from Seoul’s Chung Ang University (CAU), with a major in film studies. I had originally thought I would focus on directing. I consider Seoul my ‘hometown.’
My first location job was Sense8 S2 which was filmed in Korea in 2016. At that time, I was eager to find a job because I was broke after producing an independent film as a director. Because I could speak English, which was uncommon in the Korean film industry at the time, I was able to secure the job relatively easily, even though I didn’t have a driver’s license. During the job interview, (Seon, the LM of Sense8) said he would hire me under one condition: to get a driver’s license as soon as possible. I achieved it immediately, and that’s how I started my location career.
I was a location office PA for Sense8, and it was an exciting experience. The best thing was money. Local film crews get paid well nowadays but in the early 2010s, the monthly wage for a PA was only one-sixth compared to the current payroll. Considering this, Sense8 paid me very well. They also paid the staff for working ‘overtime,’ and that was quite sensational to me. Technically, I started the location work because of money.
In my 20s, I wanted to be a director or a creative. Location job was good in terms of money, However, I have to say it was more like a ‘nuts and bolts’ task; when directors or production designers were looking for certain locations, I provided them with available and production-friendly options. Once they made their decisions, I made a logistics plan. I repeated this a lot. It was natural to me because this is how other local location managers work.
Like a factory operating 24/7 producing goods, I worked for anything related to international production, from feature films like Black Panther and Pacific Rim: Uprising to documentaries, independent films, music videos and commercials. I hardly took any breaks for years, and finally, in 2019, I became the head of the Location Department for the action series Treadstone. It was hard for me because it was my first HOD (head of department) job, and I had to work with people who used to be my bosses. It was challenging, however, I made it, and shooting went well.
A year later, while I was preparing Pachinko S1 in 2020, I became too exhausted: tough requirements on locations, fear of COVID-19 and strict protocols, dealing with seven cities that were so far apart that even moving between them was a full day-long journey. Like other HODs, my email inbox was overflowing. And one day. I found an interesting email. It was from LMGI, saying that I was nominated for an award as the location manager of Treadstone. I was so thrilled. But when they asked me, “How I contributed to the show creatively as a location manager” during the entire interview, I was taken aback, because I had never thought about it.
It changed a lot in my career. I became more proactive and creative in location scouting and found the real joy of location work. It was not different from what I dreamed of in my 20s—‘some kind of a creative.’ But after realizing the essence of the job, while doing the location work, I started asking myself questions such as “What if…” or “If I were the director…” or “If I were one of the characters in the script…” I enthusiastically discussed with production designers or other creatives about my ideas. Since most of those creatives were not familiar with Seoul (or South Korea), they loved my new attitude, and it was satisfying for me as well.
Stevie: WHAT DO YOU THINK IS THE PRIMARY DRAW FOR FILMING IN & AROUND SEOUL & ITS SURROUNDING AREAS IN GENERAL? WHAT KIND OF “LOOKS” ARE THERE? WHAT ARE YOUR PERSONAL FAVORITES & WHY?
BC: Seoul is currently in a period where the city’s culture is being defined. Nowadays, it is expressed as being “Hip.” In the ’60s, Seoul was a place for immigrants and many settled in the Haebangchon District which is one of the oldest districts in Seoul. Haebangchon has been featured in many visual works. From Avengers: Age of Ultron, the first Hollywood major film shot in South Korea, to viral YouTube videos, it is one of the most popular locations. The shape of the village is quite cinematic with great vantage points, insanely steep roads and narrow alley mazes. The name of the village, ‘Haebangchon,’ consists of ‘Haebang,’ which means independence, and ‘Chon,’ which means village. The village was founded right after Korea became independent from Japan in 1945.
Many artists who needed a cheap place in Seoul started to gather in this village. Immigrants from overseas also came in. And then the new generation started interpreting the town culturally. The hilly terrain was packed with people from all different backgrounds. Various kinds of rooftop bars, cafés, restaurants, bookstores and music shops have opened, diverse cultures bloomed, and that’s how Haebangchon got the image of a ‘Hip town.’
Stevie: WHAT TYPES OF PRODUCTIONS FILM IN SEOUL?
BC: Seoul must be one of the most active filming locations in the world. There are all kinds of productions going on: TV series, feature films, commercials, music videos, short-form videos. With most of the film-related things being based in Seoul, I guess we can say almost every Korean content is being made in Metropolitan Seoul.
Songdo Tribowl
Stevie: WHAT CHALLENGES DO YOU FACE IN YOUR JOB?
BC: Location managers must balance between the production they belong to and the local location owners or stakeholders. For example, when filming at an airport, the airport has its own rules, and the production that the location manager is part of has its own objectives and protocols. These two often conflict, and it is the location manager’s job to find the common ground between them.
This alone is quite a tiring job, but the most challenging aspect related to my work is that there is another entity I need to coordinate with, making it a total of three: overseas production, local production and the locations. In Korea, when planning a shooting schedule, the actors’ and the locations’ schedules are given priority. Union crew regulations such as turnaround time, mealtime, etc., is further down the priority list. However, in North America, union regulations are not considered separate but rather mandatory and fundamental, something that is naturally assumed.
Local productions mostly align with the location schedule, but when it comes to the work I do, which involves international productions, our overall production schedule factoring in union rules is more important. That means we may become unwelcome guests to the location owners because we are asking the location availability to conform to our schedule. Consequently, it goes without saying that the location team must put in additional emotional labor, and North American studios often end up paying more to the location owners compared to domestic production companies.
This becomes a difficult issue that I want to ignore but can’t. Once my team pays a relatively large amount money to shoot at a certain location, then other domestic productions coming afterward will have to pay a significantly higher amount, compared to what they used to pay. Sometimes, my colleagues criticize me, saying, “You’ve raised the market price.”
We face many challenges when shooting in public places like the streets of Seoul. In general, as long as we do not bother the citizens while we shoot, almost anything is possible. For example, using a Ukrainian Arm on a public street doesn’t require special permits as long as it doesn’t cause major disruptions to traffic flow. However, if it involves controlling and causing inconvenience to the citizens, such control is 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.
Yongin Backlot
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.
Stevie: WHAT DO YOU LOVE ABOUT THE JOB?
BC: Movies are fictional. I pursue locations that are suitable for foundation for spaces in the fiction. To create that foundation, hypotheses are formulated, scouting is conducted, new things are learned through the scouting, assumptions are adjusted based on what is learned, and then scouting is done again. Around this time, production designer scouting typically takes place.
I absolutely love the moment in the process when a story that doesn’t exist in reality begins to take root and meet real locations, just like the last day of shooting ‘Martini.’
Stevie: WHAT ONE PIECE OF ADVICE WOULD YOU GIVE YOUR YOUNGER SELF OR SOMEONE
JUST STARTING OUT IN THIS PROFESSION?
BC: You may find it very stressful to be a location manager for Hollywood projects in Seoul! But it’s not as bad as you think!
Stevie: WHAT MADE YOU DECIDE TO JOIN THE LMGI & HOW LONG HAVE YOU BEEN A MEMBER?
BH: Thanks to Douglas Dresser, who is also a member of LMGI, I have learned more about location managing. I have been a member of LMGI since 2020.
Bong Cho’s Private Tour
MUST-SEE PLACE:
Nodeul Island. This artificial island is located on the Han River which crosses the middle of Seoul and part of it lies under Hangangdaegyo Bridge. This public park also has cultural indoor spaces (bookstore, cafe, music facilities). This tranquil oasis also gives you great city views of Seoul.
FAVORITE SHOP:
Coupang … it’s the Korean version of Amazon. (I don’t go shopping offline.)
FAVORITE RESTAURANT:
Soseoul Hannam (Modern Korean Cuisine). Korea has distinct seasons. Although South Korea is a small country, we hold both Summer and Winter Olympics as weather changes a lot per season. Soseoul Hannam offers great seasonal dishes paired with good traditional drinks.
PLACE TO SEE BY NIGHT:
Hongdae Street. It’s young and a hip street—a cultural center of K-pop. Naksan Park—A hilly park with a beautiful old castle wall. It’s a nice place to chill out. If you are looking for a fun place to drink, the Itaewon neighborhood is one of the best places in SeouI. The Haebangchon Sinheung Market should not be missed! This multi-cultural 70-year-old market is very popular with visitors. There are various restaurants and unique cafes not only inside the market, but also outside the market. Visitors can find chicken, sushi restaurants, Thai food, noodles and American fusion Chinese restaurants.
BEST DAY TRIP:
Nowadays, Seoul is a huge city. However, a century ago, Seoul was much smaller, and the following places are the central area of Seoul with a long history; palace, commercial district, residential areas and observatory (beacons). They are all within walking distance, and you can feel both old & new Korea.
Gyeongbokgung Palace. There are many palaces in Seoul, but Gyeongbokgung is one of the most beautiful and the largest of them. Now a museum, it was built in 1395 during the Joseon Dynasty. As a cultural icon, Gyeongbokgung Palace has served as a filming location for many historical K-dramas such as Kingdom, Goong, The Last Empress and The Moon Embracing the Sun. However, its numerous filming restrictions make only nimble, small footprint “documentary style” filming possible.
Bukchon Hanok Village is a Korean traditional village that has been carefully preserved to showcase its 600-year-old history. Filled with museums and cultural centers, it’s a must-visit if you love learning about a city’s culture and history. It’s also one of the toughest filming locations in Seoul. The paths are narrow, there are a lot of tourists, and many historic structures that need extra care. However, it was one of the main locations in Sense8. When shooting Sense8, we had to create six mini-tech bases to service the company.
Namsan Mountain Park is the largest park in Seoul. A space where people can enjoy nature within the city, it attracts many visitors, including tourists and locals. The park features many attractions and activities, such as the Ahn Jung-geun Memorial Hall, a cable car, a children’s forest experience center and the Namsan Seoul Tower Observatory.
Gwangjang Market. One of the oldest and largest traditional markets in South Korea. To All the Boys I Have Loved–S3, Street Food Asia and numerous films have shot here. However, as it has become so famous, it’s hard to shoot there these days.
The Cheonggyecheon Stream is an 11km stream running through the heart of Seoul that has been made into an art and nature walkway lined with lanterns, fountains, artworks, bridges and outdoor exhibitions. Very popular with locals and tourists, it is also a film-friendly location.
Myeongdong Street. This shopper’s paradise with its many shops and restaurants is the most touristic area in Seoul. For big footprint film, it’s only doable on Sunday morning.
Gwanghwamun Square. Also known as Gwanghwamun Plaza, this Seoul landmark is a public space located next 
to the main gate of Gyeongbokgung Palace, and is most known for the majestic statue of King Sejong, one of Korea’s most famous historical figures. Although it’s a busy location, as long as production starts prep in advance, it’s not difficult to shoot.
FAVORITE NEIGHBORHOOD:
Yongsan—a district which includes Itaewon, Nodeul Island and Namsan Mountain Park. In Yongsan District, there are my favorite places. It’s the most dynamic place in Seoul. (I cannot say it’s film-friendly as there is a presidential office and US military base, but it is filmable.)
FAVORITE LOCAL ARTIST:
IU, South Korean singer, songwriter and actress. Her real name is Lee Ji-eun. She is one of the most famous stars in South Korea and is often referred to as the “Nation’s Little Sister.”
BEST BAR/CLUB:
Itaewon, Myeongdong. Hongdae streets have a lot of nice bars/pubs/clubs. If you want to have a ‘special place,’ try the Timber House Park Hyatt Seoul. Although it’s like a modern five-star hotel, it has very Korean vibe. (It was a location for Pachinko S1.)
BEST PLACE TO HEAR MUSIC:
Nodeul Island.
BEST VANTAGE POINT/SCENIC VIEW:
Naksan Park, Namsan Mountain Park, Lotte Tower.
Naksan Park is named for its shape which resembles a camel’s back. The park is a great spot to enjoy a beautiful sunset or night view of the city. It’s also a popular filming location for K-dramas like The Inheritors (The Heirs) and My Lovely Girl.
Namsan Park has the Namsan Seoul Tower Observatory. The tower is a famous landmark where visitors can enjoy a panoramic view of Seoul. It’s also a popular date spot in many K-dramas and was featured in Boys Over Flowers, The Legend of the Blue Sea, My Love from the Star, The Last Empress, among many other shows.
Lotte Tower is a 123-story, 555m super tall skyscraper. It is the sixth-tallest building in the world, the tallest in OECD countries, and the first in South Korea to be more than 100 stories tall. It has retail, commercial, residential, hotel and public spaces, including an observation deck and restaurants.