Squid Game Director Discusses Stress and Industry Compensation for Second Series

The creator of the popular Korean drama Squid Game, Hwang Dong-hyuk, corrected a report regarding the number of teeth he lost due to stress during the production of the first series, stating, “It was eight or nine,” with a laugh. Hwang Dong-hyuk provided this information while on the set, where he is currently filming the second series of his dystopian Netflix thriller. The show depicts hundreds of contestants burdened by debt competing for a substantial cash prize through a series of life-or-death children’s games. However, a subsequent series was not initially planned. Hwang had previously stated he would not create another season. When questioned about what prompted his change of heart, considering the stress the project caused him, he responded, “Money,” without hesitation. He elaborated, “Even though the first series was such a huge global success, honestly I didn’t make much.” He added, “So doing the second series will help compensate me for the success of the first one too.” “And I didn’t fully finish the story,” he further stated. The initial series achieved the status of Netflix’s most successful program to date, bringing significant attention to South Korea and its domestic television dramas. Its critical examination of wealth disparity resonated widely with international audiences. However, with nearly all characters eliminated, Hwang was compelled to begin anew, featuring a fresh cast and a different set of games. This time, audience expectations are exceptionally high, leading him to remark, “The stress I feel now is much greater.” Three years following the broadcast of the first series, Hwang expresses increased pessimism regarding the global situation. He highlighted ongoing wars, climate change, and an expanding worldwide wealth gap. He observed that conflicts are no longer limited to the rich and poor but are now intensely occurring across different generations, genders, and political factions. He stated, “New lines are being drawn. We’re in an era of us vs them. Who’s right and who’s wrong?” During a tour of the show’s distinctive, brightly-colored set, insights emerged into how the director’s sense of despair will be portrayed in the new season. In this series, Gi-hun, the previous winner, re-enters the game with the objective of dismantling it and rescuing the current group of contestants. Lee Jung-jae, who portrays the lead character, described Gi-hun as “more desperate and determined” than previously. The dormitory floor, where contestants reside at night, has been bisected. One section features a large red neon X symbol, while the other displays a blue circle. Following each game, players are now required to choose a side, indicating whether they wish to terminate the competition early and survive, or continue participating, aware that only one will ultimately live. The majority decision dictates the outcome. This new mechanism, it was explained, is intended to foster increased factionalism and disputes. It forms part of director Hwang’s strategy to illustrate the hazards of existing in an increasingly tribal global environment. He holds the view that compelling individuals to choose sides intensifies conflict. While many viewers were engrossed by Squid Game’s impactful narrative, others perceived its violence as gratuitous and challenging to view. However, discussions with Hwang revealed that the violence is meticulously conceived. He is characterized as an individual who deeply contemplates and is concerned about global affairs, driven by an escalating sense of disquiet. He stated, “When making this series, I constantly asked myself ‘do we humans have what it takes to steer the world off this downhill path?’. Honestly, I don’t know.” Although audiences of the second series may not receive definitive answers to these profound existential inquiries, they can anticipate that certain narrative gaps will be addressed, including the rationale behind the game’s existence and the motivations of the masked Front Man who oversees it. Lee Byung-hun, the actor portraying the enigmatic Front Man, disclosed, “People will see more of the Front Man’s past, his story and his emotions.” He added, “I don’t think this will make viewers warm to him, but it may help them better understand his choices.” Lee, recognized as one of South Korea’s most prominent actors, acknowledged that having his face and eyes obscured and his voice altered throughout the initial series was “a little bit dissatisfying.” In the current series, he has expressed enjoyment in performing scenes without a mask, allowing him full self-expression—an opportunity he almost did not receive. Hwang dedicated 10 years to bringing Squid Game to fruition, incurring significant loans to support his family, prior to Netflix’s involvement. The platform provided him with a modest upfront payment, which prevented him from profiting from the estimated £650m the series generated for Netflix. This scenario elucidates the ambivalent relationship that South Korea’s film and television creators currently maintain with international streaming platforms. In recent years, Netflix has significantly penetrated the Korean market with billions of dollars in investment, thereby garnering global recognition and appreciation for the industry, yet simultaneously leaving creators with a sense of inadequate compensation. Creators assert that the platform compels them to surrender their copyright upon signing contracts, thereby forfeiting their entitlement to profits. This issue is not confined to South Korea but is a global concern. Historically, creators could anticipate a share of box office revenues or earnings from television re-runs, a compensation model that streaming giants have not adopted. The problem is exacerbated in South Korea, according to creators, by its antiquated copyright law, which fails to adequately protect them. This summer, actors, writers, directors, and producers collaborated to establish a collective aimed at collectively challenging the existing system. Oh Ki-hwan, the vice-president of the Korean Film Directors Guild, informed an audience at an event in Seoul that “In Korea, being a movie director is just a job title, it’s not a way to earn a living.” He mentioned that some of his director friends are employed part-time in warehouses and as taxi drivers. Park Hae-young, a writer present at the event, saw her show, ‘My Liberation Notes’, become a global success after its acquisition by Netflix. She conveyed, “I’ve been writing my whole life. So, to get global recognition when competing with creators from across the world, has been a joyful experience.” However, Park stated that the prevailing streaming model has made her hesitant to “pour her all” into her subsequent series. She explained, “Usually, I’ll spend four or five years making a drama in the belief that, if it’s successful, it could somewhat secure my future, that I’ll get my fair share of compensation. Without that, what’s the point of working so hard?” She and other creators are advocating for the South Korean government to amend its copyright law, aiming to compel production companies to share their profits. In a statement, the South Korean government informed the BBC that while it acknowledged the necessity for changes in the compensation system, it considered the resolution of the issue to be an industry responsibility. A Netflix spokesperson stated that the company provides “competitive” compensation and assures creators “solid compensation, regardless of the success or failure of their shows.” Hwang of Squid Game expressed hope that his transparency regarding his personal compensation challenges would instigate such changes. He has undeniably initiated a dialogue about fair pay, and this second series is anticipated to further influence the industry. However, following the conclusion of filming, he reported that his teeth were aching once more. He remarked, “I haven’t seen my dentist yet, but I’ll probably have to pull out a few more very soon.” The second series of Squid Game is scheduled for release on Netflix on 26 December 2024. Copyright 2024 BBC. All rights reserved. The BBC is not responsible for the content of external sites. Read about our approach to external linking.