Interview‘The King’s Warden’ producer says success of movie ‘beyond our wildest dreams’

Lim Eun-jung, CEO of Onda Works / Courtesy of Showbox

The historical drama “The King’s Warden” has emerged as one of the biggest recent box office hits in Korean cinema, a breakout success that even its producers did not foresee. Lim Eun-jung, CEO of production company Onda Works, said she still finds the scale of the film’s success difficult to process.

“I am simply thankful to the director, actors and the staff,” Lim told The Korea Times at a cafe in Seoul Wednesday.

“To be honest, I never imagined we would reach the 10-million-viewer milestone. Given how difficult the market has been lately, our initial goal was just to break even. Before the release, the director and I cautiously whispered to each other that we hoped to double the break-even point since it was a holiday season, but the actual response from the public has been beyond our wildest dreams.”

Set during the early Joseon Dynasty (1392-1910), the film follows the deposed King Danjong (Park Ji-hoon), who is exiled to Yeongwol, Gangwon Province, where he forms a bond with the village chief, Eom Heung-do (Yoo Hae-jin), and discovers a renewed will to live despite his tragic circumstances.

The film surpassed 12 million admissions as of Wednesday, becoming a cultural phenomenon and a rare breakout success by a new production company. Its success is being hailed as a beacon of hope for an industry that has struggled with dwindling investments and a production drought over the past few years.

Lim described the project as a “grassroots historical drama,” emphasizing that its perspective deviates from the palace-centered narratives typical of the genre.

“I believed the screenplay was incredibly meaningful,” she said. “It is not just about political fights in the palace. I saw it as a story about ordinary people, which is quite rare in Korean historical movies. I wanted to break the prejudice that historical films are only for a niche audience.”

Actor Yoo Hae-jin, third from left, in a scene from "The King's Warden" / Courtesy of Showbox

The journey to the big screen was not easy, as Lim originally developed the project while she was an employee at Korean entertainment giant CJ ENM. After the project was cancelled there, she took a risk and started her own company in 2023.

“It is not true that I simply ‘stole’ the script when I left my previous job,” Lim clarified, addressing rumors about the film’s origin.

“I had worked on this with screenwriter Hwang Seong-gu since 2019. When the project was suspended at my former workplace, I received formal permission to take it further on my own. I promised the writer that I would make this movie within five years, whether inside or outside that company, because he waited for me so faithfully.”

While many saw it as an overly difficult project, Lim found a new partner in Showbox, whose investment team immediately recognized the story’s potential.

“It simply didn’t fit with my previous company, but the timing was right with Showbox,” Lim recalled. “They were the first to believe in us.”

Lim also credited the casting of veteran actor Yoo as a crucial factor in stabilizing the production.

“In this frozen market, it is difficult to try new things with fresh faces alone. Yoo Hae-jin provided the center of gravity that allowed us to cast Park Ji-hoon,” the CEO said. “For the role of King Danjong, the actor’s eyes were the most important. Director Jang Hang-jun was convinced the moment he saw Park, saying his eyes were exactly those of the young monarch.”

Visitors stand in line for the ferry at Cheongnyeongpo in Yeongwol, Gangwon Province, March 3. The popularity of "The King's Warden" continues to drive interest in the historic site of exile for the Joseon Dynasty's sixth king, Danjong. Yonhap

The CEO also addressed “Yeongwol syndrome,” where fans of the movie are flocking to historical sites related to King Danjong.

“I was amazed to hear that map apps were paralyzed because so many people were searching for the burial sites and exile locations in Yeongwol,” Lim said.

“It shows that people are no longer just watching movies, they are actively consuming the culture by spending their time to visit the actual locations. I hope cinema can continue to serve as a medium for people to experience culture in such a comprehensive way.”

Lim chose to keep the company’s budget tight to ensure a virtuous cycle for the industry.

“I had a responsibility to show that Korean films can be profitable and sustainable,” she explained.

“If I had known this film would hit 10 million admissions mark, I might have spent a bit more on the visuals, but our goal was to achieve maximum effect with minimum cost. We are currently improving the computer graphics for the much-discussed tiger scene (which drew some criticism), after audiences pointed it out. I wanted to give the CG team a chance to show their best work.”

Looking ahead, Lim is already preparing her next projects, including a historical action film with writer Hwang and a movie taking place on a train with director Kim Ui-seok of “After My Death.”

“I want to create an environment where new creators and producers can continue to emerge,” she said. “I believe the future of Korean cinema is bright because there are so many talented directors are ready to tell their stories.”