The growing global fascination with South Korea may be driven as much by the stories told about the country as by its picturesque landscapes, vibrant cities and cultural landmarks, according to Netflix executive Sung Q Lee.
Lee, Netflix’s senior director of Asia-Pacific production, made the observation at a masterclass examining the relationship between location and storytelling during the opening of Creative Asia, an industry programme organised by Netflix and the 31st Busan International Film Festival.
Citing Netflix research, Lee said 67 per cent of surveyed members internationally expressed interest in visiting South Korea, highlighting the potential of screen productions to inspire audiences to explore places they encounter through film and television.
For Lee, however, the attraction extends beyond the visual appeal of a destination. The stories set in those locations, and the emotional connections audiences develop with the characters and their experiences, are central to the growing interest in South Korea.
The discussion formed part of the third consecutive edition of Creative Asia, which opened on October 10 at Dongseo University’s Centum Campus in Busan. The programme was developed in collaboration with the Asian Film Commissions Network and the Motion Picture Association.
This year’s edition expanded its offerings to include workshops led by Netflix executives, alongside masterclasses and industry panels designed to encourage knowledge-sharing and collaboration across Asia’s film and television industries.
Filmmakers Highlight the Importance of Location
The opening masterclass, moderated by James Bang, a professor at Busan Asian Film School, brought together Lee, location manager Lauren Cooper and Kunieda Reiko, co-producer of the acclaimed film Perfect Days.
The session explored how locations influence the development of a story, shape the atmosphere of a production and help filmmakers translate creative ideas into compelling screen experiences.
Cooper explained that her approach begins with experiencing a script as an ordinary audience member before examining its practical requirements from the perspective of a location manager.
She also emphasised the importance of close collaboration with the production designer, noting that location decisions must support the overall visual language and emotional direction of a film.
“Filmmaking is like a team sport,” she said. “You need great flexibility to work with the crew and the story.”
Her comments underscored the collaborative nature of filmmaking, in which locations are not simply backdrops but integral elements that must work in harmony with the script, production design and the needs of the crew.
For location managers, this often involves balancing a director’s creative ambitions with practical considerations, while ensuring that the selected environments contribute meaningfully to the story being told.
‘The Artifice of a Story Can Ruin a Film’
Kunieda offered a complementary perspective, drawing on the filmmaking philosophy of German director Wim Wenders, whose work on Perfect Days demonstrated the importance of allowing stories to emerge naturally from their environments.
Quoting Wenders, she said: “The artifice of a story can ruin a film.”
She explained that the director resists imposing predetermined themes or concepts on a production, preferring instead to allow the story to develop organically through the characters, their surroundings and the circumstances captured on camera.
Perfect Days, which was shot in 16 days, provided an example of how locations can become central to a film’s identity without being forced into a predetermined narrative framework.
Kunieda stressed that the relationship between location and storytelling is fundamental to filmmaking, with production teams responsible for translating creative ambitions into practical decisions that preserve the integrity of the story.
“Location and storytelling are not separable,” she said.
Her remarks highlighted a broader principle in cinematic storytelling: the environment in which a character lives and moves can communicate emotion, identity and meaning just as powerfully as dialogue or plot.
A carefully chosen location can establish the rhythm of a film, reveal aspects of a character’s personality and create an atmosphere that audiences recognise and remember.
Korean Stories Connect With Global Audiences
The discussion also turned to the international appeal of Korean productions, including When Life Gives You Tangerines, which is set on Jeju Island.
The production illustrates how a distinctly Korean setting can provide the foundation for a story whose emotional themes resonate with audiences across cultural and geographical boundaries.
By placing universal human experiences within a specific local environment, filmmakers can introduce international viewers to unfamiliar places while allowing them to connect with familiar emotions, relationships and struggles.
Lee cited the Jeju-set series as an example of how stories rooted in particular communities can reach audiences well beyond their place of origin.
The approach reflects the growing international visibility of South Korean screen productions, which have helped introduce global audiences to the country’s landscapes, social traditions and everyday life.
Rather than relying solely on scenic imagery or promotional portrayals of a destination, such productions allow viewers to experience places through the lives of the characters who inhabit them.
This connection can make a location feel more meaningful to audiences, potentially inspiring them to visit the places they have encountered on screen.
Screen Tourism and the Power of Authentic Storytelling
The reported finding that 67 per cent of surveyed Netflix members internationally expressed interest in visiting South Korea points to the potential relationship between entertainment and travel decisions.
As films and television series cross international borders, they can shape perceptions of the countries in which they are produced, creating curiosity about local culture, architecture, food, landscapes and communities.
However, the masterclass suggested that the strongest connection between screen entertainment and tourism may emerge when a destination is woven naturally into the narrative rather than presented merely as an attractive visual setting.
When audiences become emotionally invested in a story, the places associated with its characters can acquire a significance that extends beyond the screen.
For filmmakers, this places greater emphasis on authenticity, collaboration and thoughtful location choices. For destinations, it offers an opportunity to connect with international audiences through cultural narratives that invite exploration.
The Creative Asia masterclass brought these ideas into focus, demonstrating how decisions made during production can influence not only the artistic quality of a film but also how audiences perceive and engage with the world it portrays.
As South Korean entertainment continues to attract international attention, the relationship between compelling storytelling and a strong sense of place is likely to remain an important consideration for filmmakers and the wider creative industry.