with “Squid gameSeason 3 now Break Netflix records worldwideThe first local philosophy that defended it Netflix Korea Content Don Kang It was greatly justified.
“We have never expected the Netflix offer to be the first in the world,” Kang says. diverse. “But this happened by really focusing on what ourselves told us to focus on it, which is that local teams work on local stories with local creators of the local masses.”
The last Korean drama season to survive Netflix records with more than 60 million views in three days broke the first offer to occupy the first rank in all 93 countries where Netflix maintains the 10 most important lists during its first week. For Kang, Vice President of Netflix, Korea’s deputy content, the unprecedented success of the exhibition verifies the authenticity of the philosophy of the original storytelling of the world -class.
“If you start writing or trying to reach something that resonates with non -local masses where you are not subjected to culture, you are essentially writing to an imaginary audience,” said Kang, who grew up in Indonesia. “What they are accustomed to, the stories they want to tell, are mainly affected by the stories they have been growing.”
Despite the pressure that may come with this tremendous global success, Kang sees no creative danger to continue working with emerging filmmakers. “People are looking for new stories. They want to bring stories that our fans and members have not even known that they want to watch it. So it is very likely that new stories come from new creators.”
This approach has resulted in projects such as “Lost in Starlight”, which represents the first major formal fee for director Han Ji Won with Netflix. Kang has noticed the scarcity of Korean animation targeting adults in recent years, with the latest prominent films that come from director Yun Sang Ho, who has since moved to the direct time.
“When we met director Han and saw her works, it was the right opportunity for us to give her an opportunity to do the first animation.” The strategy extends beyond the animation, as Netflix also supports junior work managers such as Kim Tae John, the director behind the “wall to the wall”, his second feature after “UNLOCDED”.
“We have a handful of very famous directors in Korea have already created, but then there is a large gap of the generation after that,” Kang notes. “We are all about caring for this new layer of talented young creators.”
Kang has witnessed directly how Netflix international standards rose Korean production. The shift is blatant compared to the traditional Korean TV, as the shows begin to broadcast with a few complete text programs and writers who present pages on the day of filming.
“Sometimes we spend more time doing after production in exchange for the real production itself,” Kang says. “This enables creators to get more time to launch their entire creativity during the production process, and also enables actors to photograph more sincere characters.”
This methodology attracted international attention. American Hong Kong actor Peron Man, who recently starred “Big Deal”. I noticed the process of stopping the comic stories Similar to manga comedy – remarkable difference from Hollywood production methods.
Netflix’s concentration on widespread planning before production and strong work after production is a major shift for a pre -bound industry through narrow broadcast schedules and limited resources.
Meanwhile, with the explosion of vertical video content worldwide – with a 6.9 billion dollar drama market in China in 2024 – Kang is still thoughtful about coordination capabilities.
“I didn’t think much about doing this,” he says. “There was a moment, perhaps two years ago in Korea, many people were talking about it, but then I lost traction. I don’t see Netflix jumping immediately to this sector. It will develop normally, so I look forward to watching it.”
Currently, Kang’s focus on the installed formula that transformed the Korean content from regional specialization into a global phenomenon: enabling local creators to tell the original stories that resonate first at home, then pick up hearts around the world through the global infrastructure of Netflix.
With the success of the unprecedented “Squid Game” game in the third season as the last verification of this approach, Kang and Netflix continue to Korea Building the basis for the next generation of Korean global visits.
