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Koreans are well known for sweeping prizes from the world famous magic competitions such as FISM, UGM Convention (Japan), Club Magic Italiano (Italy) and World Magic Seminar in Las Vegas (USA). However, domestically, magic is not properly established as an entertainment branch. 

 

That is why PARK Jong-guk’s presence as a magic supervisor is all the more special. He is one of the rare magic specialists to research and develop special magic props and equipment. He worked as a magic supervisor in magic-themed films like Love In Magic (2005) and The Magician (2015), and supervised the magic scenes inserted in PARK Chan-wook’s Thirst (2009) and The Handmaiden. PARK, who became Korea's first magic supervisor ever, told us about the kind of magical world that he wants to create in films. 

 

When I was young, I performed magic on the stage and also showed up on TV as well. However, as I got older, I switched my path towards a magic “builder,” researching and developing magic props rather than performing on the stage. I started working on films because I wanted to pioneer a new territory as a builder. I offered advice on films like Love : Impossible (2003) and The First Amendment (2003), and made my magic supervisor debut with Love In Magic.

 

They did not like it at all. (laughs) Although Koreans are well known for sweeping all the prizes from world famous magic competitions, domestically, the magic industry is still suffering. We have many talented magicians, but very few star magicians, meaning that we are very reluctant to reveal the secret know-hows. However, I think differently. 10 years ago, magician Val Valentino produced a TV show called Breaking the Magician's Code: Magic's Biggest Secrets Finally Revealed, where he revealed the magic secrets. He maintained that he wanted to reveal them so that new skills could be created, wishing magic to go beyond the existing skills. Valentino was also condemned by his colleagues. Nonetheless, later on, Valentino created a new format for magic shows, and the magic industry flourished even further. It is the same in Korea as well. We have to create the circumstances where more people can become magicians, in addition to the handful star magicians. I want to be one of them, too, applying various magic skills to different genres and make the magic market itself grow bigger. 

 

 

 

There were big hopes for this film as magic itself was the main subject matter of the film. However, after reading the original novel, I came to think it would not be easy to select the right magic that can be cinematically presented. We had no reference for magic in the Joseon period, a few hundreds years ago, either. So what we did was "Joseon-izing" modern magic. For example, for the lighting, we used a reflection mirror on a giant brazier. We had difficulties as most of the magic scenes took place outdoors. When Hwan-hee (YOO Seung-ho) appears for the first time on a magic show, he comes out from the tent in an instant, but we kept failing even at the slightest breeze. In fact, a real magic show is never to be done outdoors as it is heavily influenced by the weather. 

 

 

 

Magic is broadly used in the entertainment business in other countries, and magic supervisors often make films as well. Georges Méliès who made A Trip to the Moon (1902) was also a magician, right? You can apply magic to action scenes, as well as the magic scenes. For example, magic skills are used overseas, when shooting a scene where stunt actors fall off from a 20-30 stories building; they use a pulley to reduce the speed during the fall. I also worked for musicals and concerts of singer KIM Jang-hoon and K-pop boy band SHINee, developing and producing special equipment with magic skills.

 

 

Magic requires teamwork. However, in Korea, the magician him/herself has to do everything, which makes things very hard. Magic requires builders, magic writers and designers, and those jobs are not even acknowledged in Korea. We only have 4-5 builders so far. So we have a certain limitation when applying magic to anything, including TV shows, musicals and films. Magic has its own arrangement from the beginning through the end, and there are very subtle skills and science in it. However, TV shows only want to use parts that they find handy to show. The magicians whom they prefer are very limited as well, not many more than LEE Eun-gyeol and CHOI Hyun-woo. TV shows may treat them nicely but are still rather unkind to most other magicians. In addition, the angles are very important in magic. We need to consider the angles so our audience only sees what we want them to see. So the magician explains the camera movement to the TV show organizers, but then what happens is, they get offended, thinking the magician is rudely stepping into their own field. Teamwork is impossible. I also handle everything from planning, producing and monitoring by myself, when working on a film. This "working alone" stops magicians from having proper settings, and that leads to an awkward show. This vicious circle undermines the overall quality of magic shows.

 

 

I have learned welding and lighting for 17-18 years, at my own expense. I also took design lessons at private art institutions. Magic gets much better if you have some knowledge on art and stage. Now I am learning 3D painting. I have so many more things to learn. However, one day, I will definitely make a magic movie myself. I’ve been working on the scenario for 7 years now. Many junior magicians have big expectations on me. I feel a huge responsibility.