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Jung Yumi on 'Sleep': “It was the most compact script I’ve ever read.”

Jung Yumi Archive — Sun, 27 Apr 2025 13:04:57 +0900

In a past meeting with News Tomato, a director shared a compelling statement about Jung Yumi: “I was so curious about how she would bring a character to life with her acting that I couldn’t sleep.” When a director sees an actor in this light, it’s clear that they possess something unique, something solid that sets them apart. What that is can only be understood by watching, feeling, and experiencing it for oneself. So even though Jung Yumi might seem to fit within the usual boundaries of a typical actress, her acting possesses an undeniable uniqueness that makes her irreplaceable. There’s no need to imagine this abstractly—simply recalling the characters she’s portrayed in her past works makes the answer clear. Her acting spectrum is vast, extending from one extreme to the other. Although she’s often been cast in “lovely” roles, as suggested by her nickname “Yumvely,” her potential and versatility go far beyond expectations. After watching her upcoming film Sleep, which opens on the 6th, your perception of her will completely transform, surpassing any preconceived notions.

Jung Yumi is considered one of the top “blank canvas” actresses in the South Korean film industry. She is like a pristine canvas, where anything can be drawn, and it will always turn into a masterpiece. No matter how, where, or in what kind of project she is cast, she has the ability and aura to create compelling stories. This is why there was no need to question her decision to take on Sleep, an intense psychological thriller and horror genre, even considering her previous filmography. As she enters her 19th year in the industry, Jung Yumi shares why she was drawn to Sleep.

“I saved directors’ contact information in my phone with just the first consonant of their last name (laughs). One day, the letter ‘B' popped up, and I immediately knew it was Director Bong Joon-ho. I thought, ‘Finally, he’s giving me a script!’ I quickly accepted it, but what happened next was unexpected. He told me, ‘There’s this director, and I’d like you to read the script.’ That script was Sleep, directed by Yoo Jae-sun. So, I immediately contacted my agency to get the script and read it.”

Those who know Jung Yumi understand that she is not the type to be easily swayed by requests or pressure. And Jung Yumi also knows that Bong Joon-ho is not someone who readily praises or recommends others. Both she and Bong Joon-ho were aware of this, which is why she didn’t hesitate to quickly get the script and read it. What stood out to her was how the script felt so different from others in the same genre, even though it was similar.

“It was incredibly compact. The runtime is only 94 minutes, and the script wasn’t thick either. I read it in no time because it was so concise. It was as if the script only included the essential lines—there were no unnecessary scenes at all. It had great cost-efficiency (laughs). You could say it was a perfectly trimmed script. It was so simple and yet, I thought, ‘I’m really curious about this director.’ It sparked my curiosity.”

In Sleep, the central theme revolves around sleep itself. The story depicts a wife who begins to feel increasing psychological pressure due to her husband’s strange behavior during his sleep, which gradually leads the narrative to take unexpected turns. While it could superficially be categorized as a film about somnambulism (sleepwalking), the movie resists being strictly defined by this concept. It’s not entirely a thriller, nor can it be classified as a traditional horror film, as it explores many nuanced elements that differentiate it from those genres. There are only a few actors in the film, and Jung Yumi shared her perspective on the film’s essence:

She said, “When I approach any project, I try not to overthink things too much. If I think too deeply, my focus gets scattered. I try to align as closely as possible with what the director wants. Since most films are written and directed by the filmmakers, they have a deeper understanding of the story, so it’s natural for me to follow their direction. For Sleep, the director described it as a love story wrapped in a thriller’s exterior. It’s about a couple overcoming adversity together, so that angle was very understandable, and I could easily grasp the film’s core.”

Despite the fact that Sleep is framed as a “love story,” the film offers a chilling experience that is much more than the typical horror. Renowned director Bong Joon-ho, a mentor to

director Yoo Ja-sun, described the film as a “unique horror” unlike anything seen before. In the film, as Jung Yumi’s character, Soo-jin, unravels, her performance transcends insanity, gradually revealing emotions that delve deeper as the story progresses. In today’s terms, she has become a new embodiment of the “clear-eyed madness” (맑눈광), a term that perfectly captures the eerie intensity she brings to the role.

Jung Yumi reflected on her experience, saying, “I briefly played a villain in Psychokinesis with the character ‘Hong Sang-moo,’ where I tried to portray a sinister gaze. But in Sleep, I didn’t approach it thinking I needed to add insanity. I didn’t even consider it, but after the film premiered at Cannes, I was surprised when that expression was used to describe my performance. It made me wonder for a moment if I should’ve been even crazier. But honestly, the ‘Soo-jin’ I portrayed in Sleep isn’t really insane—it’s just a little crazy. I could’ve gone even further, haha.”

When discussing Sleep, it’s impossible to overlook Lee Sunkyun, who plays the husband in the film. His portrayal of a character who crosses the line of reason in chilling ways serves as a powerful catalyst for Jung Yumi’s performance. Through his acting, Jung Yumi’s character becomes more and more consumed by madness, amplifying the intensity of her role.

Jung Yumi reflects on their collaboration:

“He’s such a great colleague, and he adapts well to any co-actor. But if we think about it, both of us have gained a lot of experience through our work with director Hong Sang-soo, which really helped us this time. As you know, in Hong’s films, even improvised scenes are carefully crafted lines and moments that we build together. Having shared that kind of synergy for years, when we reunited in this film after 10 years, it was like we just clicked right back into place. He’s just such a great partner for me.”

When asked about Sleep, Jung Yumi shared her thoughts on her own sleep habits, revealing an interesting side to her life. Despite her busy schedule and frequent work commitments, she emphasized the importance of sleep as a form of self-care. Reflecting on her experiences, she noted that there are times when she sleeps well, especially during less hectic periods, and other times when her sleep schedule gets disrupted due to irregular working hours.

She explained, “Our work is like that—there are busy times and quieter periods. When it’s calm, I sometimes go to bed at around 10 p.m. and wake up early in the morning. But there was a time when my day and night got completely mixed up, and it was tough. I used to stress out and couldn’t sleep even when I wanted to. In the early days of my career, I even intentionally stayed awake to push myself into focus. But now, I absolutely can’t do that anymore. Sleep is the best remedy for me. For me, managing my health means making sure I get enough rest. So, everyone, let’s make sure to sleep well!”

Source: https://www.newstomato.com/ReadNews.aspx?no=1199955

Jung Yumi: “It’s not insanity, more like ‘struggle’ in my acting” (Film Sleep)

Jung Yumi Archive — Sun, 27 Apr 2025 12:30:55 +0900

Jung Yumi, who has appeared in three films by director Hong Sang-soo, as well as Train to Busan, Psychokinesis, and Kim Ji-young: Born 1982, is back on the screen in a new project. It’s the debut film of director Yoo Jae-sun, who worked in the production team of Bong Joon-ho’s Okja. In this film, Sleep, Jung Yumi plays the role of Soo-jin, a wife pushed to the brink due to her husband’s (Lee Sun-kyun) sleep disorder. Her husband behaves erratically in his sleep, unaware of his actions, while Soo-jin grows increasingly concerned that his condition will escalate into something more dangerous. Ultimately, the film reaches a terrifying climax.

Ahead of its release, we spoke with Jung Yumi about Sleep and her acting philosophy.

Q. What were your thoughts after reading the script?

JYM: “I liked how concise the script was. I was curious about the director who wrote such a script. As you saw at the premiere, he’s a charming person. He explained the movie in a very compact way, which made me curious about how things would unfold on set.”

Q. Director Yoo Jae-sun is known as a ‘Bong Joon-ho kid’.

JYM: “I’m allowed to say this with Director Bong’s permission. He told me I could mention it in an interview. One day, I received a call from Director Bong. I thought, ‘Wow, finally, it’s my turn!’ But then he said, ‘There’s this guy, he wrote this script. Could you take a look?’ So, I read it. I got more information and asked the company to send me the script. So, in a way, Director Bong’s recommendation did have an influence. Since I like his movies too. Once I joined the project, I tried to set aside my own thoughts and approach it fresh.”

Q. How was the work process? Do you think it reflects Bong Joon-ho’s style?

JYM: “I haven’t worked with Director Bong myself, so I’m not sure. I think each film is different. Every director has their own style. Director Yoo Jae-sun said that Director Bong is the person he admires the most, so I imagine that influence may have been present. But personally, I see it differently. First of all, the film is short. Director Bong’s films tend to be longer, right?”

Q. Director Yoo Jae-sun gave a lot of direction on the acting. How was that?

JYM: “He would tell us what we were going to shoot that day and say, ‘We’ll do it this way, so please do it like this.’ We filmed for about three months, and we filmed in order. I don’t remember exactly, but from what the director said at the screening, it seemed like he showed us how to do it. It didn’t help much. It was more like, ‘Please do it like this. Take this out,’ kind of direction.” (laughs)

Q. The film follows the inner journey of the female protagonist. How did you approach the character of Soo-jin?

JYM: “For this movie, I didn’t think too much about it while working (acting). I felt that if I overthought it and added my own interpretation, it would take too much time and distract me. I just wanted to align with the director’s intention and express the thoughts accordingly. Sometimes, I’d suggest, ‘I think it should be like this,’ and then we’d do another take. But honestly, I couldn’t tell which take made it into the final edit.”

Q. After Train to Busan, you played a pregnant character again. How did that feel?

JYM: “I feel like I grow as an actor through roles like these. The situations are different in each film. In Train to Busan, I had to run away from a horde of zombies to survive, even though I was pregnant. People often commented on how I could run in such a condition, but what else could I do? I had to run to survive. In Kim Ji-young: Born 1982, the baby was a bit bigger. The director, who had two children, gave me a lot of advice about parenting. Oh, and the scene where I tap my waist repeatedly in Sleep was actually directed by him. This film was something the director had thought about and written the most, so he knew the story better than anyone. I relied on him a lot.”

Q. Sleep mixes horror, mystery, and thriller elements. How do you feel about this mix?

JYM: “It’s surprising to see this kind of reaction. I’m glad it has so many different genres. I think viewers will interpret it in various ways. At first, I just thought it was a ‘love story wrapped in a thriller’—a story about a couple overcoming difficulties and adversity. That’s actually what the director said to me when we first met. It’s not just about the sweet moments of a relationship; it’s a work that breaks the stereotype of a love story.”

Q. You’ve worked with Lee Sun-kyun in three films by Hong Sang-soo (Lost in the Mountain, Oki’s Movie, and Our Sunhi). How was it working with him in Sleep?

JYM: “Both Hong Sang-soo’s and Yoo Jae-sun’s films have their own unique style. You might think Hong Sang-soo’s films are about naturally portraying everyday life, but there’s a lot of detail in the director’s work. Even what seems like ad-libs is actually well thought out. We did many takes, and the chemistry between us was always fun. We said we’d work together again, but it’s already been ten years. It was tough making those films, but they were enjoyable.”

Q. Was there any part of the character of Soo-jin that you didn’t fully understand?

JYM: “There was nothing I didn’t understand. I chose this script and this story. I just tried to express it faithfully as it is. I did exactly what the director asked me to do. I felt like if I got too involved as an actor, it might interfere with the process. With Lee Sun-kyun, I didn’t need to talk much to know how to act with him—it just flowed. I believe it’s a matter of trust in the actor. He was very responsive in both action and reaction, and any actor would work well with him.”

Q. You often play strong characters. How do you feel about that?

JYM: “I choose what interests and draws me the most among the scripts that come to me. For Silenced, for example, I actually turned it down at first. It was tough deciding whether to take that one. I agree with what Director Yoo Jae-sun said at the premiere. Whether it’s a movie or a drama, I believe it’s important to show something that’s fun and engaging to the audience, no matter whether it’s commercial or not. I think that’s true for both the film’s quality and the actor’s performance.”

Q. Sleep has elements of various genres but is clearly a horror film. Do you like horror movies?

JYM: “I can’t watch them.” (This movie is scary…) “When filming, there are usually a lot of people around, so when I’m doing scenes like jumping into water or other dangerous shots, there’s always protective equipment and help if something happens. I just do it. I watched The Call with a friend because it was too scary. It was fun. When I first read the Sleep script, it didn’t seem scary to me. It wasn’t so much scary as it was interesting how the story flows all at once. But while filming, I thought, ‘What do I do?’ and I did think, ‘This is kind of brutal’ during the acting.”

Q. When you return home after leaving the hospital, the story takes a dramatic turn.

JYM: “Since we filmed in order, I knew what was coming next. When the situation was given to me, I just followed it. If something was missing, the director would guide me. When the other actor had a strong action, I followed that. In the last scene, when I saw the amulet-like object, I was really shocked. I thought, ‘Is it okay to go this far?’ But I just did what the director told me. It really felt like I lost my mind in that scene.”

Q. What do you think of the ending?

JYM: “I only understood the ending after seeing the finished film. I know that Lee Sun-kyun filmed multiple versions of that scene. The director must have picked the one that worked best during editing. It’s an open ending, but I’m not sure what it means. I was just thinking, ‘How should I live now? How do I separate this?’ That was on my mind.”

Q. They say your performance made the film scary. What do you think about that?

JYM: “I laugh when people say I went ‘completely insane’ during the interview. But when I was acting, I didn’t think that way. After hearing those comments at the Cannes Film Festival, I realized, ‘Oh, I had to go insane in that role.’ People call it ‘insane acting,’ but I don’t think it was like that. I felt it was lacking.”

Q. The psycho performance you showed in Psychokinesis is considered the origin of the so-called ‘bright-eyed maniac’ trend these days.

JYM: “I worked hard on that at the time, thinking I was doing well. But now, when I watch the clips from Psychokinesis that are floating around, I realize it doesn’t look quite right. Those clips are edited. You have to watch the whole film to understand that it doesn’t feel out of place. But in any case, I don’t think it was insanity. I think I have more to show. It wasn’t insanity; it was just a struggle, a part of the fight to protect my family. If the script had asked for madness, I wouldn’t have acted that way.”

Q. Do you express your opinions about your acting or the projects you’re in?

JYM: “When I read a script and have a meeting with the director for the first time, I don’t think my opinion is particularly important. When I read the script, I immediately felt something, and I didn’t want to overcomplicate things by saying, ‘How about doing it like this?’ I trusted the clean script and relied on the director for guidance. It’s like the difference in feeling when turning a door handle with your right hand versus your left hand. I prefer using my right hand, but the director might ask me to do it with my left hand for a specific detail.”

Q. There’s a phrase on the wall in the living room of a newlywed couple in the film, ‘If the couple is together, there’s no problem they can’t overcome.’

JYM: “That sentence was a bit ambiguous. I kept messing it up a few times, but the director really wanted me to get it right. I got confused while saying the line, and the director immediately corrected me. I could tell from his feedback what kind of style he had.”

Q. You’ve done a lot of work with Na Young-seok PD in the Restaurant Series. Is there a special reason for that?

JYM: “It was unfamiliar at first, with the staff, the writers, and the PDs. But once I got to know them, I became more comfortable. I learned a lot from them. Personally, I respect him a lot. I thought, ‘How can someone work this hard?’ It’s a different kind of work compared to movies or dramas. The cast members don’t have to worry about anything. I think that’s why the actors trust them. After the show, many people started asking me to make gimbap for them. Friends would ask for gimbap instead of birthday presents. But after the show, I haven’t made gimbap even once. (Will Yumi’s Home appear on the show?) “No, other people’s homes are more comfortable. I’d rather be on Seo-jun’s Home or Seo-jin’s Home.”

Q. What about romance films like My Dear Desperado?

JYM: “I don’t think I’m at that age anymore.” (What about something other than acting, like directing?) “I have no desire to direct at all. I just want to focus on acting. Directing is not something anyone can just do. I tried vlogging once, carrying a camera around, but it didn’t work out. I’ll just read what others write for me and act. Recently, I was watching Park Hee-soon’s YouTube, and I even thought about quitting acting for a moment. But I realized this is what I can do. Everything else would be just as difficult. Nothing is easy, right? I see it as my will, and I’ll keep pushing forward.”

Q. What kind of actress would you like to be remembered as?

JYM: “I haven’t thought about that at all. I don’t have any particular image of what kind of actress I want to be remembered as. I’m just grateful that people still want to cast me. That’s why I want to do well, and I think I need to keep doing better.”

Q. You’re almost at your 20th anniversary since debut.

JYM: “It’s actually been 18 years. My debut film was Blossom Again in 2005. Before that, I did short films like How to Operate a Polaroid Camera, which helped me get introduced to directors and get calls for auditions. That film is famous among directors, but back then, I didn’t do it to get anywhere. To me, Blossom Again is my real debut.”

After a long break since Kim Ji-young: Born 1982 (2019), Jung Yumi reflected on her return with Sleep, saying, “I didn’t expect time to pass this quickly. I’m grateful that I can continue making films. I feel a bit embarrassed calling it a comeback. Personally, I have some regrets about my acting. I hope after watching Sleep, people will say, ‘What is this? You should watch it!’” The film Sleep is set to be released tomorrow, the 6th.

Source: https://kstar.kbs.co.kr/list_view.html?idx=279369

“Stage Fright, Acting Praise, and Singing Skills: The Many Sides of Jung Yumi”

Jung Yumi Archive — Sun, 27 Apr 2025 11:41:34 +0900

The film adaptation of the bestselling book Kim Ji-young, Born 1982 has been released. It tells the story of Ji-young (played by Jung Yumi), a woman who unknowingly becomes possessed by the identities of her mother, sister, and others. With a unique premise, the film delves deep into the daily life and inner struggles of a woman living in modern times.

While the strong source material and meticulous direction played significant roles, the key to Kim Ji-young, Born 1982‘s success was undoubtedly Jung Yumi. Her portrayal of Ji-young was so convincing that her co-star, Gong Yoo, who played Ji-young’s husband Dae-young, remarked, “When I saw Jung Yumi on set, she was already Kim Ji-young.” Known for her proven acting skills in various works, Jung Yumi also exudes a range of charms off-screen. With the release of Kim Ji-young, Born 1982, let’s take a closer look at the many facets of Jung Yumi.

A Broad Spectrum

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Jung Yumi began her acting career around 2002, catching the attention of the film industry with Kim Jong-kwan’s short films Tell her I love her and How to Operate a Polaroid Camera. She later gained recognition for her roles in Jung Ji-woo’s Blossom Again and Kim Tae-yong’s Family Ties, winning rookie and supporting actress awards. Her performances, whether it was portraying the bittersweet feeling of first love or naturally expressing a unique perspective on love, received widespread praise.

Building on this momentum, Jung Yumi expanded her career into various genres, including commercial films, indie films, and art-house cinema. She starred in a total of five films directed by Hong Sang-soo, starting with Like You Know It All, followed by Lost in the Mountain, Oki’s Movie, In Another Country, and Our Sunhi. She brought realism to these films with her understated performances. Alongside this, she earned recognition for her roles in My Dear Desperado, which delivered subtle humor and lingering emotions, and Silenced, which raised sharp social awareness.

On the small screen, Jung Yumi primarily showcased her talent in romance-themed dramas. Starting with Que Sera Sera in 2007, she went on to star in I Need Romance (2012) and Discovery of Love, all of which achieved high viewership ratings. Her portrayal of sweet and bittersweet love stories earned her the title of the next “Romantic Comedy Queen.”

In 2016, Jung Yumi starred in Train to Busan, directed by Yeon Sang-ho, marking her first role in a film that attracted over 10 million viewers. She also reunited with Yeon Sang-ho for Psychokinesis, where she played her first villain role. From innocent first loves to intense dramas and even superhero genres, Jung Yumi has expanded her acting spectrum over 18 years. Director Yeon Sang-ho praised her by saying, “No matter what role she takes on, she always brings a unique touch to it.”

Praise from Critics and Peers

Jung Yumi is an actress who has received much acclaim from both critics and colleagues. Film critic Lee Dong-jin described her as “an actress who cannot be compared to anyone else, someone unique to Korea.” Lee Sun-kyun, who worked with her in Oki’s Movie, named her the best among the female actors he’s worked with, even calling her a “genius” of acting.

A notable comment came from Jung Sung-il, a former film critic who transitioned into directing. During a GV (Guest Visit) for his directorial debut Cafe Noir, he shared, “When Jung Yumi starts shooting, she forgets everything else and fully immerses herself. As an actress, she enjoys acting like a jazz musician would enjoy playing music.” This ability to completely immerse herself in her role is exemplified in Cafe Noir, where there is an 11-minute long monologue featuring Jung Yumi.

Stage Fright

Despite her stellar performances in numerous projects, it might be hard to believe, but Jung Yumi suffers from stage fright. After making a mistake during a university theater performance, she has struggled with fear whenever she steps onto a stage. At official events and award ceremonies, she has often appeared too nervous to speak clearly. One of her catchphrases has been “What should I do~?” At a press conference for My Dear Desperado in 2010, she broke down in tears while answering questions, and in 2014, she was caught off guard during her acceptance speech at the KBS Drama Awards. However, at a recent event for Kim Ji-young: Born 1982, she was able to clearly express her thoughts, indicating that she might have overcome her stage fright.

Interestingly, despite her stage fright, Jung Yumi is able to naturally perform in front of countless cameras on set. She once said, “Acting is about becoming someone else, so I’m okay with it.” This is a perfect reflection of the “immersion” Jung Sung-il referred to.

Yumvely

A nickname that cannot be left out when talking about Jung Yumi is “Yumvely” (a combination of Yumi and Lovely). This nickname arose from her lively characters in various works and her pure image in public appearances. Her true rise to fame as “Yumvely” came from her appearance on the tvN variety show Youn’s Kitchen. Her quirky and straightforward personality, along with her everyday behavior, won the hearts of many viewers. She returned for the second season of Youn’s Kitchen, which went on to break tvN’s viewership ratings.

Fan of Director Shunji Iwai

Jung Yumi is a passionate fan of Shunji Iwai, one of Japan’s most renowned auteur directors. She has watched all of his films, and his iconic work Love Letter is her personal favorite, having watched it over ten times. She believes that Iwai’s ability to touch the heart without exaggeration aligns with her own style, making their artistic approaches intersect. In 2006, she had a conversation with Iwai Shunji at a Cine21 event, where she spent the night preparing questions to discuss his filmmaking philosophy, acting theory, and more. She even gave him DVDs of her works How to Operate a Polaroid Camera, Blossom Again, and Family Ties, expressing her desire to collaborate with him in the future.

Dog

A frequent guest on Jung Yumi’s Instagram is her charming Shiba Inu, Takku, known for its adorable cheeky face. While many people believe Takku is Jung Yumi’s pet, it actually belongs to a close friend of hers. Takku's owner is none other than Yoo Ah-in, a close friend and the co-director of the artist group Studio Concrete. Thanks to this connection, Jung Yumi and Takku even participated in a fashion photoshoot organized by Studio Concrete, and later appeared together in a coffee advertisement.

Music Videos & Singing

In addition to her acting career, Jung Yumi has occasionally appeared in music videos for various artists. One of her most notable appearances is in Zion.T’s Zero Gravity, where she showcases a dreamy atmosphere not often seen in her acting roles. Additionally, she collaborated with composer Kang Seung-won and singer Sung Si-kyung on the track Andromeda. Originally, Sung Si-kyung was supposed to cover the entire song, but Jung Yumi was brought in to fill the vacant spots with her voice, resulting in a song with enhanced lyrical depth. Following this collaboration, the three of them appeared together on the KBS music program Yoo Hee-yeol’s Sketchbook to perform live. This experience led to Jung Yumi’s appearance in Sung Si-kyung’s Holding On To You music video.

Source: https://cine21.com/news/view/?mag_id=94114

[Cine21 Interview] “Sleep” actress Jung Yumi: “When it comes to insanity, I’d like to explore it more.”

Jung Yumi Archive — Sun, 27 Apr 2025 10:59:40 +0900

After the legendary How to Operate a Polaroid Camera, it’s been nearly 20 years. With the experience of a veteran, Jung Yumi still confronts her roles with raw, unfiltered energy. In the escalating somnambulist thriller Sleep, her character Soo-jin (played by Jung Yumi) initially appears to be the innocent, naïve young wife, often shocked by her husband’s erratic behavior. However, she gradually transforms into the story’s master, radiating obsessive madness over her once-clear face. Her distinctive nature, revealed at crucial moments, is as striking in Sleep as it was in The School Nurse Files.

I first saw Sleep at the Miramar Theater during the Critics’ Week premiere. The way you seemed awkward while receiving applause on stage still felt like you were a newcomer.

JYM: After finishing the filming of Sleep last year, I didn’t have many official public appearances in films or dramas, so it felt awkward. I guess it’s a bit of a relief that I still feel a little spaced out because I haven’t fully adjusted to the time difference yet. (laughs) Sleep is a film where sound effects are crucial, so we spent a lot of time recording even the smallest breaths. When I saw the finished version in the theater, I could definitely feel how different it was.

I know you can’t watch scary movies at all. Sleep isn’t a horror movie, but it has definite occult elements. What drew you to choose this project?

JYM: It wasn’t something I planned, but after working on Kim Ji-young: Born 1982 and The School Nurse Files, I felt like I wanted to take on something more compact. Everything about this film, from the location centered around the couple’s house to the production process and schedule, was neat and without unnecessary additions.

Soo-jin is a character who makes the audience add their own interpretations and assumptions. The relationship with her husband, who is frustrated due to pregnancy, childbirth, and career issues, her father’s absence, and her drastically different relationship with her mother are observed. Among these details, the clearest aspect is that she believes that as long as she and her husband are together, they can overcome anything.

JYM: While I didn’t completely ignore the influences from her parents’ relationship or the insecurities in her current marriage, I tried not to overcomplicate things. During the time I was Soo-jin, I wanted to be honest about the influences I received from the people and environment around me. In recent years, I’ve been focusing on not going too far beyond what was expressed in the script. In Sleep, I often asked director Yoo Jae-sun during our daily meetings to tell me if there was anything I wasn’t expressing well, or anything I needed to work on. As an actor, there’s nothing more satisfying than getting as close as possible to the director’s vision.

The character shows dramatic emotional transitions every time the chapter changes. It’s interesting to see how a seemingly calm character begins to subtly display insanity.

JYM: Ah! When it comes to insanity, there’s still so much I want to explore. The School Nurse Files and Sleep were just the beginning. I don’t think I’ve truly shown insanity yet. Don’t you think this level of insanity is a bit weak? (laughs) In the latter part of Sleep, the production design was so immersive that the director even asked if it was too scary. I acted with that atmosphere in mind. I always trust the influence that the environment, costumes, and makeup have on a performance.

You’ve worked with Lee Sun-kyun three times in Hong Sang-soo’s films Lost in the Mountain (2009), Oki’s Movie (2010), and Our Sunhi (2013).

JYM: Starting from the short film (Lost in the Mountain), I can say that I’ve built a strong bond with Lee Sun-kyun through Hong Sang-soo’s films. We’ve worked together on intense, high-density projects, where we received the script every morning and shot in a single take. Looking back, it feels remarkable that we’ve done that three times. Having experienced Hong Sang-soo’s repetitive takes, I think that’s why, on Yoo Jae-sun’s set, we naturally synced without needing to say much to each other.

Source: https://m.entertain.naver.com/article/140/0000050393

Jung Yumi for ELLE Korea (June 2018)

Jung Yumi Archive — Wed, 5 Mar 2025 11:08:12 +0900

Jung Yumi’s Rhythm

A presence that glows subtly yet unmistakably. An actress who breathes naturally, in a way that is entirely her own.

Q. Did you go on vacation with the cast and staff right after Live ended? Did you have a good time wrapping up the intense journey?

JYM: It still doesn’t feel like it’s over. It’s not that I “can’t escape” from it, but compared to other projects, the filming period was quite long, and we were all together until yesterday morning. I think I’ll only truly feel it’s over once I take some time for myself. I’ve worked on many projects, but this time, I feel a strange sense—something I can’t quite put into words.

Q. Was choosing Live mainly because of writer Noh Hee-kyung?

JYM: Yes. When I first met the writer, there was no script yet, just a synopsis. Unlike other drama synopses, this one was packed with so much. Even without seeing my character’s lines, I could clearly feel the emotions of the character. That’s the power of writer Noh Hee-kyung.

Q. How was it playing probationary police officer Han Jung-oh? Since she’s a character with a painful and tough life, it must not have been easy.

JYM: I was determined to express everything as best as I could, just as it was written. I believed there must be a reason why this role was given to me. Since so much was already in the script, I focused on staying as true to it as possible. We started filming in winter, and I had never shot in such cold weather before, so it was tough. On top of that, incidents and accidents always happen outside.

Q. Throughout Live’s 18 episodes, it covered various human relationships and social issues like juvenile offenders, domestic violence, and dignified death. Other than Han Jung-oh’s story, was there a particular issue you found personally interesting or relatable?

JYM: There were many cases, but above all, I found myself thinking more about human dignity. The fundamental aspects that a person should uphold—am I living in a way that respects those? I also felt lucky to be part of a story like this. On set, the staff and actors truly bonded and supported each other. I often thought how fortunate I was to be working on this story with these people.

Q. Earlier this year, you played a short but intense role in the movie Psychokinesis. What kind of woman is “Hong Sang-moo,” and how did she end up becoming such a monster?

JYM: Since I filmed it so briefly, I didn’t really think about her backstory in depth. Since I wasn’t the main character, I felt that going in with too many preconceived ideas wouldn’t be right. I just trusted the director, threw myself into the moment, and acted. I had never done that kind of performance before, so it was fun. But after watching the film, many people attached deeper meanings to it, which was fascinating. We only did this much, yet people read so much more into it.

Q. You also played a pregnant woman in Train to Busan. It seems like you have a strong desire to take on new roles.

JYM: No actor wants to keep doing the same thing. It wasn’t that I had a specific ambition or desire to transform—I just naturally received these offers at those particular times, and the scripts felt interesting to me. If I get a similar role again at another time and it feels engaging, I might take it. I don’t deliberately avoid anything.

Q. Your official debut was in director Jung Ji-woo’s Blossom Again in 2005—a film I personally love.

JYM: Looking back, I dare say it was ahead of its time.

Q. Back then, did you fully understand the film and your character when you were shooting it?

JYM: There were parts I understood and parts I didn’t, but I just went with it. I put in a lot of effort to get closer to the role, but now my memories of it are a bit hazy. However, I do clearly remember how much I loved and cherished that project. If I hadn’t done Blossom Again, I don’t think I’d be where I am today. Every project is precious, but this one holds the biggest place in my heart.

Q. You’ve been known as an actor with a strong cult following, but Youn’s Kitchen made you more approachable and widely popular than ever.

JYM: It’s better to have ten people like you than just one, right? (Laughs) Popularity and recognition naturally came over the years of working in this industry for over a decade, but I’ve never actively pursued them.

Q. How was your experience on Youn’s Kitchen? Did it change you in any way?

JYM: I loved it. That time brought about some changes in me as well. Instead of feeling confined because more people recognize me now, I actually feel freer. Hearing the public’s opinions and discussions about me made me realize, “Oh, I really don’t need to worry about these things.” There are always little concerns about how you might be perceived in different ways, but after doing this variety show, I noticed the way people see me has diversified. Some perspectives were accurate, while others weren’t. There were so many different views that I realized I didn’t need to be tied down by them. I think it’s made me more at ease when choosing projects or meeting new people. It was an incredibly valuable experience.

Q. How did you feel watching yourself on TV for the first time?

JYM: It was funny. (Laughs) I thought, “Oh, so that’s how I look,” and “That’s how I talk.” Honestly, I was quite surprised. You don’t usually get to see yourself speaking and behaving in everyday life, so watching it was really fascinating. It also made me realize there were things I needed to improve.

Q. Early in your career, you were strongly associated with “art films.” Then, with I Need Romance 2012 and Discovery of Love, you became a relatable and realistic actor. Since Train to Busan, it seems like you’ve been bringing out a new side of yourself again. Are you satisfied with your filmography?

JYM: There are projects I wish had turned out better, and some regrets here and there, but overall, I feel a great sense of pride in the work I’ve done and the time I’ve spent. It wasn’t always enjoyable, but I believe I am where I am today because of those experiences. I’ve been on amazing sets with passionate and talented crews, and even if a project didn’t do well at the box office, that time and effort don’t just disappear.

Q. When people talk about Jung Yumi as an actress, they often describe you as “natural” and having “something uniquely your own.” What do you think gives off that impression?

JYM: Maybe it’s just because one person said it first, and then it kept going from there? (Laughs) I’ve never really thought about why people see me that way. I just take it as a nice thing—something to be grateful for.

Q. Your Instagram is filled with posts about Takku, your friend’s Shiba Inu. Have you ever thought about getting a pet of your own?

JYM: I’m satisfied with just looking after my friend’s dog from time to time. I love dogs, so I’ve considered having one, but I know that once I go off to work, it would just be waiting for me all day, and that would make it too lonely. Someday, when I’m older, I’d like to adopt an older dog. I wouldn’t want it to outlive me and end up searching for me.

Q. You seem like the type who enjoys spending time alone.

JYM. Yes, I do. I enjoy being around people, but I also know how to spend time by myself. Especially when I’m working—on my rare days off, I love just staying at home. I sleep as much as I can, eat homemade food, do the dishes… Having that kind of time feels like a luxury.

Q. Is life in your 30s going well?

JYM: If I just focus on the present, I’d say yes, it’s great. Of course, no one is happy every single day. There were times when unresolved struggles made things difficult, but then there were also unexpected small moments that brought me a lot of joy. The 30s seem to be full of changes. Before, I was completely focused on work—so much so that I didn’t even exercise when filming dramas in my 20s. I thought that was the only way to do it. I’m not completely free from that mindset now, but I’ve become more relaxed compared to before. Work is still challenging, but my attitude toward it has softened. And because I’ve found more balance, I also feel more motivated to do well. I’ve learned a lot from watching my friends’ flexible attitudes.

Q. What kind of person are you to your family and friends?

JYM: To my family in Busan, I’m someone they worry about. Since I live far away on my own, they feel bad for me. When I’m filming a drama, I never let them come visit because I don’t want them to see me exhausted from lack of sleep—it would only make them sad. As for my friends… well, I’ve been told that I require a lot of attention. (Laughs) Apparently, I’m a bit high-maintenance. I keep a diverse circle of friends, and I have amazing people around me whom I can rely on.

Q. Looking back, the women you’ve portrayed in your roles were never weak or submissive. Have you been intentional about that?

JYM: I wouldn’t say I consciously thought about it. It just felt natural to me. Everyone has their own basic tendencies, and for me, I’m not someone who can just voice my thoughts openly wherever I go. I express them through my work. That’s my way of “speaking”—by embodying the stories as sincerely as I can.

Q. Is there a particular kind of story you want to tell next?

JYM: Nothing specific. I love both movies and dramas. Where and what I’ll do next—I think I’ll know when the time comes. For now, I don’t want to think about my next project. I just want to rewatch Live and study it again.

Q. At the beginning of this interview, you asked for my business card. Have you ever called a reporter because you didn’t like an article?

JYM: There was one time a few years ago when I seriously considered it… (Laughs)

Source: https://www.elle.co.kr/article/20744

Jung Yumi for Vogue Korea: ‘Vogue Leaders: Women and Work’ March Issue 2025

Jung Yumi Archive — Sun, 23 Feb 2025 13:21:35 +0900

Jung Yumi: “I was lucky to be around people who are so good at their work.”

Jung Yumi chooses to find happiness in “people” and “relationships” rather than being consumed by small pains.

A scene from episode 1 of the tvN drama Love Your Enemy (2024). Yoon Jiwon, played by Jung Yumi, appears in a tracksuit and black horn-rimmed glasses. Then, out of nowhere—a basketball comes flying! It hits her square in the face, knocking her down, breaking her glasses, and causing a nosebleed. And to make matters worse, that’s precisely when her first love from 18 years ago reappears. It felt like a long time since we had seen her in this kind of role. It was as if the Jung Yumi from Que Sera Sera (2007), I Need Romance 2012 (2012), and Discovery of Love (2014) had returned. It even brought to mind Se-jin from My Dear Desperado (2010), who had to demonstrate a dance to ’On a Saturday night‘ at a job interview. Jung Yumi’s characters have always been endearing when caught between love and reality—because they weren’t so different from us. Yoon Jiwon in Love Your Enemy found herself in an equally awkward situation. So, of course, it was a welcome sight.

However, Jung Yumi was a bit puzzled by this perception.

“I think it’s a little different from what I had in mind. I Need Romance 2012 and Discovery of Love were true romances. They weren’t romantic comedies. Viewers may find them similar, but to me, Love Your Enemy is a rom-com, which makes it a different genre from my previous works.”

In fact, this was her first time doing a scene where she gets hit in the face with a ball and ends up with a nosebleed. It was also her first time playing a woman unfamiliar with love.

“If you look closely, you’ll notice that Joo Yeol-mae in I Need Romance 2012 and Han Yeo-reum in Discovery of Love were relationship experts.” (laughs)

Come to think of it, it had been ten years since we last saw Jung Yumi at the center of a romance drama—since Discovery of Love. In that time, she chose projects like Train to Busan (2016), Live (2018), Kim Ji-young, Born 1982 (2019), The School Nurse Files (2020), and Sleep (2023). While romance wasn’t entirely absent, these works stood out in terms of genre and themes.

Han Jung-oh in Live grew through the struggles of job hunting and the harsh realities of being a rookie police officer. Kim Ji-young in Kim Ji-young, Born 1982 was a woman who, after years of enduring the struggles of being a woman in Korean society, suddenly found herself speaking words she hadn’t realized she had suppressed. Meanwhile, Train to Busan and The School Nurse Files explored new genre territories, and Sleep examined marriage through the rhythm of a horror film.

Yet, Jung Yumi didn’t intentionally avoid romance or deliberately choose only sharp-edged stories.

“I’ve never had a fixed standard, past or present. I just chose projects that felt interesting at the time, based on where I was in life.”

Looking back more closely, this makes perfect sense. She explored Hong Sang-soo’s cinematic universe in In Another Country (2012) and Our Sunhi (2013), while also appearing in short films like The Winter Pianist (2012) and Ladies of the Forest (2017). It’s hard to say these choices followed a strict standard or strategy. It seems that Jung Yumi’s curiosity and sense of fun guided her path—leading her to where she is today. The same goes for her appearances on Na Young-seok’s variety shows, which have become another way for her to connect with the audience.

“It’s already been eight years.”

From Youn’s Kitchen in 2017 to Jinny’s Kitchen 2 in 2024, Jung Yumi has carved out a unique presence in Na Young-seok’s programs. She didn’t start with grand ambitions for variety shows, nor did she join simply for fun.

“I first did Youn’s Kitchen because of Youn Yuh-jung. I wanted to see what she was like in her everyday life.”

So why did she continue even in programs without Youn Yuh-jung? Because of the people.

“Over those eight years, the staff and I became like friends. Now, I can just call and ask, ‘Can we grab a meal together?’”

More than that, variety shows became a kind of “mirror therapy” for her.

“Before, I had only seen myself acting on screen. So, watching myself on a variety show for the first time was shocking. (laughs) Why do I talk like that? Why do I make those expressions? But that’s just me. It made me more aware of what I needed to work on.”

More than anything, these experiences deepened her respect and affection for her colleagues and made her reflect on her work.

“I was lucky to witness such skilled people up close. I found myself wondering, ‘How are they so good at what they do?’ That alone was a valuable experience.”

Now, the biggest joy she finds in work is “people” and “relationships.” There were times when she felt weighed down by small pains, but every time, working as part of a team and completing a project brought her happiness again.

“As an actor, I get to meet new colleagues all the time. The best moments are when we work together as a team. That’s why I don’t think of going to a set as ‘going to work’—it feels more like I’m going to meet my teammates.”

Now in her 20th year as an actress, Jung Yumi finds herself increasingly drawn to things she hasn’t tried before and paths she hasn’t yet taken.

“I’ve never done a historical drama or an action movie. When I debuted, I said my dream was to be an action star. I’d love to play a character like Zhao Wei’s in Shaolin Soccer. I actually really like kickboxing, too.”

Imagining Jung Yumi executing a perfect neck clinch-knee strike to take down an opponent—it’s a fresh and intriguing picture. One we’d love to see.

Source: https://www.vogue.co.kr/2025/02/23/정유미-그렇게-일-잘하는-사람들을-곁에서-볼-수-있어/?ddw=158651&ds_ch=insta_stories&utm_source=insta_stories&utm_medium=SNS

정유미, “그렇게 일 잘하는 사람들을 곁에서 볼 수 있어 행운이었죠”

tvN 드라마 <사랑은 외나무다리에서>(2024) 1화의 한 장면. 정유미가 연기한 윤지원은 운동복 차림에 검은색 뿔테 안경을 끼고 등장했다. 그때 날아오는 농구공! 얼굴을 정통으로 맞은 그녀는 쓰러

www.vogue.co.kr

<Kim Ji-young, Born 1982> Jung Yumi – Cine21 Interview

Jung Yumi Archive — Thu, 20 Feb 2025 22:04:20 +0900

<Kim Ji-young, Born 1982> Jung Yumi – Conveying the Heart of Those Who Created the Story

Jung Yumi is an actress who speaks neither more nor less than what is true to herself. To regard her as an icon representing “women’s narratives” simply because she played the lead role in Kim Ji-young, Born 1982 would be to misunderstand her.

Early in her career, she was often labeled as the “flower of indie films,” later earning the title of “rom-com queen.” But as she puts it, “These were just images created by others. If I had been caught up in external evaluations alone, I wouldn’t be where I am now.” She also hesitated to see Kim Ji-young, Born 1982 as a turning point in her career, despite how others might perceive it.

What’s intriguing, however, is that her steadfast attitude became the very strength that made Kim Ji-young—an ordinary woman—so convincingly real.

Q. Why did you choose Kim Ji-young, Born 1982 over other projects that came your way around the same time?

JYM: It was about timing. To be honest, as an actress, I felt that I could take on a lead role like Kim Ji-young—I was confident that I could handle it and do it without feeling ashamed. That confidence didn’t come from thinking I was particularly skilled, but rather from the time I had accumulated through my work and out of respect for myself. I was also grateful to the production team for wanting me for the role. Of course, this kind of courage can always change.

Q. Kim Ji-young, Born 1982 is a film that naturally leads viewers to reflect on their own similar experiences. As a person, Jung Yumi, what aspects of the film resonated with you? And what about for the audience?

JYM: I think the connection between the audience and Kim Ji-young lies in the fact that she is a woman and that everyone has a mother. Since every human is born from a mother, this applies to sons as well. Personally, rather than relating to a specific episode, I focused more on the state of “a person who is wounded and has lost their way.” The title is Kim Ji-young, Born 1982, but the story isn’t limited to people born in 1982. It was also a question I asked myself. When faced with conflicts in different relationships, the most terrifying moment is when I recognize and admit my own shortcomings. But once I acknowledge them, things become a little easier.

Q. While filming a movie with a hopeful ending, did you, Jung Yumi, personally feel healed in any way?

JYM: Not at all. My past experiences might sometimes show through in my acting, but I see my job as approaching it technically so that the audience can feel emotions. If I were to pour my emotions into every project and get completely absorbed in my characters, it would be too exhausting for me. That’s why I approach acting like flipping a switch on and off. When I was younger, I used to fully immerse myself in emotions, trying to completely understand them. But when working with director Hong Sang-soo, who gives scripts on the morning of the shoot, I realized it wasn’t always possible to fully grasp everything. Also, when filming dramas overnight with heavy dialogue, I found that carrying all those emotions with me was unsustainable. Acting rationally is my way of delivering the story I chose without breaking myself in the process. I’m not sure how other actors do it, but this method works for me—and it makes things easier for everyone.

Q. This ties into the question of how much sincerity should go into acting.

JYM: Once, during a particularly exhausting shoot, a gust of wind hit my eyes, and tears just started flowing. The camera captured that moment, and later, someone told me they cried watching my performance. That made me feel conflicted—I wasn’t sure how to approach acting anymore. Even if I put deep emotions into my performance, it doesn’t matter if the audience doesn’t feel them. On the other hand, something as accidental as the wind can make a scene feel deeply authentic. So when I say I hope the audience feels sincerity in Kim Ji-young, Born 1982, I don’t mean sincerity in acting—I mean the genuine, selfless intentions of the people who created the story. What does it even mean to act sincerely? Everyone has their own answer. For me, it’s about becoming as empty as possible—stripping myself down to a simple state. I used to ask directors to convince me, to help me understand emotions before I could perform. But now, I listen to different perspectives on set and just try everything.

Q. Director Kim Do-young, a former actress, made the film while raising a child herself. That must have been helpful for your performance.

JYM: There are many directors I admire, but there was only one who made me think, I’d be so jealous of any actor who gets to work with them. That was director Jung Ji-woo. Now, Kim Do-young has been added to that list. She helped immensely in shaping Kim Ji-young’s character, from the smallest external details to deep emotions.

Q. You recently finished filming the Netflix series The School Nurse Files.

JYM: I got the offer before Kim Ji-young, Born 1982. Ahn Eun-young is such a peculiar woman. (laughs) I felt a different kind of empathy toward her compared to Kim Ji-young. Since there’s a lot of CGI, even we were curious about how the final product would turn out. Aside from Nam Joo-hyuk, who plays Hong In-pyo, there are also many surprising new faces in the cast.

Source: http://m.cine21.com/news/view/?mag_id=94122

Jung Yumi for Cosmopolitan Korea (February 2020) Interview

Jung Yumi Archive — Thu, 20 Feb 2025 17:27:02 +0900

Bright and Refreshing: Jung Yumi

With her serene and gentle expression, actress Jung Yumi rarely wavers. Yet, she speaks of her excitement and anticipation for her new drama without hesitation.

Q. Timing-wise, Jung Yumi seemed like the perfect choice for the cover model of Cosmopolitan. I thought of you because, despite your soft appearance, you have a strong inner core.

JYM: Do I? Haha. I don’t think I’m either tough on the outside and soft inside, or soft outside and tough inside. It’s fascinating—people perceive me differently depending on what they see of me. Being a magazine cover model means I have something to represent that month, something to express, and that’s a good thing. I’m grateful for the opportunity, but I don’t think it’s something permanent.

Q. You shot the pictorial in a warm country. What’s your usual travel style?

JYM: In Korea, I have to follow a schedule, and I can’t control my own time. But when I travel, I like to stay in one neighborhood and spend time like a local. I usually go with friends or meet up with friends who live in the area.

Q. Your hair is much shorter now.

JYM: Actually, before we started filming The School Nurse Files (Ahn Eun-young), there was a suggestion to go with a short haircut to define the character’s image. But I had another project lined up right after, so it wasn’t possible. That’s why I filmed with a bob. Then, when it came time to promote Kim Ji-young, Born 1982, I was careful about pre-revealing Eun-young’s image. So, I just cut it all off before promoting the movie—I didn’t want people to get too used to seeing me with a bob before Ahn Eun-young was released.

Q. After Kim Ji-young, Born 1982, people were very curious about your next project.

JYM: I actually chose The School Nurse Files before Kim Ji-young, Born 1982. The offer came after I finished Live. Then Kim Ji-young, Born 1982 came along, but since the filming schedules were different, I was able to do both. Honestly, I took The School Nurse Files because of director Lee Kyung-mi. Who I work with is very important to me.

Q. Not only were you the lead, but you also portrayed two highly symbolic characters, Kim Jiyoung and Ahn Eunyoung. That must have been a lot of pressure.

JYM: At first glance, they may seem similar, but they are very different characters. With Ahn Eunyoung, I was drawn to a specific line, which made me decide to take on the role. On the other hand, Kim Jiyoung, Born 1982 felt like a story worth telling at this point in time. The line that caught my attention in Ahn Eunyoung wasn’t even a significant one. It’s so simple that people might not even notice it when they watch the drama. But I really, really wanted to say it.

Q. It’s not a curse word, is it?

JYM: It is. Haha. At the time, I just really wanted to swear. When I read that line, it was such a relief. So I thought, If this project gets made, I’m going to put my whole heart into delivering that line. I guess I had a lot of pent-up anger back then (laughs).

Q. Are there any lines from past projects that randomly come to mind in daily life?

JYM: I Need Romance 2012 had so many memorable quotes. Let me look them up real quick…

Here they are:

“How much distance exists between misunderstanding someone and understanding them?”

“I don’t think jealousy is childish! Jealousy is the most honest confession in the world.”

“I wish life had traffic lights. Stop, danger, safe, be careful—if only someone could say those things to me.”

Q. This is your first magazine interview since the release of Kim Jiyoung, Born 1982, right? People often associate an actor’s choice of film with their personal values or beliefs. Last year, Kim Jiyoung, Born 1982 was one of those films.

JYM: I saw it as a story that needed to be told, something people could relate to at this moment in time. There are many different kinds of films, but they only get made when an actor chooses to take part in them. For example, the fact that Gong Yoo chose to star in Kim Jiyoung, Born 1982 drew a lot of attention and helped bring in a wider audience. That shows how much influence actors have. I’ve heard that the novel Kim Jiyoung, Born 1982 has been translated into many languages and that people all over the world resonate with it.

Q. That’s exactly why I see you as a strong person. When the feminism controversy arose and you faced various attacks, you didn’t seem shaken or deeply affected.

JYM: What can I do? It’s not like I did anything wrong. No one can say who’s absolutely right or wrong. It’s frustrating when people spread misinformation as if it’s the truth, but my life hasn’t changed because of it. My job is to be grateful for the work I love and to do it well. Of course, I feel hurt when people lash out at me—I cry alone sometimes—but I’m pretty good at enduring it.

Q. What kind of project is The School Nurse Files?

JYM: Even during filming, I kept wondering, How will this turn out? How will viewers react? It’s a six-episode series, and I was excited to see how each episode would unfold. There’s a lot of CGI involved, so the post-production process is still ongoing, and I’m really looking forward to it. More than the success of the show, I’m just excited to watch it as a viewer. A lot of rookie actors made their debut in this project, and working with them was a great experience. I’m curious to see how they come across on screen.

Q. You worked with younger co-stars, including Nam Joo Hyuk. How was that experience?

JYM: On set, the younger actors would often come up to me and ask questions, and I tried to share as much as I could. At first, since (Nam) Joohyuk and I have an age gap, I thought it might be awkward, but because we were both playing teachers, I felt a sense of camaraderie with him. Early on, I’d arrive on set and immediately look for Joohyuk. But as time went on, I got close with everyone, and things became more comfortable. Acting styles have changed a lot these days, just like music trends have evolved. Through the rookie actors, I got to see fresh, unconventional performances, which was really refreshing.

Q. Many actors say they want to be both a good person and a good actor.

JYM: I think I’ve said that at some point too. It’s important to stay true to myself, but over time, people’s opinions change, and I’ve come to realize that’s beyond my control. Honestly, I don’t really know. But I do know what I lack in my acting and what I struggle with. It’s up to me to close that gap.

Q. How do you protect yourself while being minimally affected by external noise?

JYM: Whenever I face something like that, I ask myself, Has anything around me actually changed? And the answer is always no. It’s like a wave crashing from far away—it might make some noise, but it doesn’t shake my immediate world. Of course, if the criticism comes from people close to me or those who truly know me, I take it seriously. But in most cases, it’s not like that. If I let it affect me too much, I’d feel wronged, and I don’t want to live like that. I hope others won’t either.

Q. How do you usually spend your time?

JYM: Contrary to how I might seem, I actually have this compulsion that I must exercise. Haha. At some point, even on my days off, I started planning out my time. I want to act well, but sometimes I feel like I’ve exhausted what I have and used up all my tricks. If you want to fire a gun, you need to have bullets ready, right? That’s why I think it’s important to experience a variety of things in my personal time and to maintain a good balance.

Q. It’s only been a few days since 2020 started. Do you put a lot of meaning into the new year or getting older?

JYM: Honestly, I really don’t like getting older. But for some reason, I feel good when I see the number 2020. I didn’t like 2019 or 2018, but 2020 feels cute and round. Haha. I feel excited about what kind of time it will bring. I don’t usually say things like this, but I feel a little scared, too. Unexpected things will happen, but I don’t want to hesitate. That’s why I want to say it while I can—I’m excited for 2020!

source: https://www.cosmopolitan.co.kr/article/44221

Jung Yumi for W Korea (May 2021) Interview

Jung Yumi Archive — Thu, 20 Feb 2025 16:42:24 +0900

The Unknowing Heart, Jung Yumi

Standing in the present moment, actress Jung Yumi often recalls the days when her steps faltered. And then she says, “I still don’t know. Maybe I just want to give myself an excuse not to know.”

Beyond the screen, Jung Yumi’s face is often seen breaking into bright laughter. At times, she seems as harmless as a delicate flower, but then she unexpectedly unveils a sharpened edge, as if carrying a blade within her heart.

Like when, with dark eye makeup, she tells an ex-lover, “Because of you, I’m a romantic cripple” (Come, Closer). Or when she asks, with genuine curiosity, “Is being easy a bad thing?” (Family Ties). Or when she exhales in frustration and mutters, “Just graduate already, all of you” (The School Nurse Files).

She never allowed herself to be confined to a clichéd image of innocent purity. Instead, she effortlessly revealed raw, unfiltered emotions. Perhaps that’s what has brought her this far. It’s also what made auteur directors like Hong Sang-soo, Jung Ji-woo, and Kim Tae-yong gravitate toward her, and why she stood out on television in works like The School Nurse Files and I Need Romance 2012.

Jung Yumi has always been rediscovered through her projects. Looking at her kaleidoscopic filmography, one can’t help but nod at film critic Jung Sung-il’s description of her as a “jazz musician” of acting.

Yet, perhaps her most unfiltered, natural self was best captured in variety shows. On Youn’s Stay, which aired until April this year, she was all smiles—lighthearted and carefree. Stirring a pot of red bean porridge for the guests, she joked, “Even if I quit acting, I’ve found a new way to make a living.” She also playfully pestered the reserved yet soft-hearted Lee Seo-jin, showcasing their charming “sibling chemistry.” Anyone who watched knows why she’s affectionately called Yumvely.

As director Yeon Sang-ho once said, “No matter what role she takes, she adds a unique nuance to it.” Having built an impressive career across dozens of films, dramas, and even variety shows that led to her own rediscovery, where is Jung Yumi looking now? And how does she reflect on the stepping stones of her past?

On a spring day, with a faint moon still lingering in the sky, I met Jung Yumi.

Q. Before today’s shoot, I sent you a few questions. To start things off lightly—was there one that was easiest to answer?

JYM: “What’s the most memorable feedback you’ve ever received?”

Q. And then comes the follow-up: “Was there any feedback that changed you completely?”

JYM: There wasn’t a single comment that changed me entirely. (She crosses out the second sentence on the questionnaire with a pen.) If I take that part out, I can answer with confidence. (Laughs.)

I remember something a friend once told me when I had just debuted. A director who had quit filmmaking saw me and said I made him want to shoot a movie again. That felt almost like a confession.

Q. I love that—both the words themselves and the fact that you describe them as a confession.

JYM: Early in my career, I didn’t have much faith in myself. Well, I still waver sometimes. Acting is always difficult. Back then, I just thought I was lucky to have landed such great films. I was scared people would see through me. In that state, hearing those words gave me a huge boost of strength.

Q. Were you someone who got scared easily?

JYM: I had just debuted, had no experience, and was completely unguarded on set. I wasn’t acting with any deep understanding—I just threw myself into it. Then, when the film came out and all this amazing feedback started rolling in, I thought, But I was just playing around on set…That’s when I got scared. I kept telling myself, They’re all lying. If I believe this, I’m in big trouble.(Laughs.) I was incredibly lucky to start out working with such great people, and I just wanted that luck to continue.

Q. A few days ago, you posted a still from Family Ties (2006) on your Instagram. I heard you recently reunited with director Kim Tae-yong for Wonderland, which is in post-production now. Was the post meant to celebrate that?

JYM: No, I just uploaded it on a whim. I rarely put much thought into what I post on Instagram. It’s really just… random. One day, I happened to come across that photo and thought, Oh, I used to look like this. Then my thoughts spiraled from there—Maybe our film was ahead of its time.Anyway, since this is my time now, let me brag a little. (Laughs.) Not just Family Ties, but even my debut film Blossom Again—they were both ahead of their time. Back then, audiences loved stories with clear-cut narratives. If someone were to make films like those today, how many could actually pull it off? Movies that capture love, family, all in one deeply human story. Of course, there are still plenty of great films now, but…

Q. It sounds like Family Ties was a really fun set. Looking at past interviews, you said, “I couldn’t believe acting could be this enjoyable.”

JYM: Everything was new to me. I had a great first experience with Blossom Again, and then I got to work with a similar crew, director, and team on Family Ties. It made me think, So this is the kind of people who make movies. At the same time, I worried—Did I use up all my luck at the start? I was incredibly fortunate to debut with two films. But because of that, I also felt a huge pressure to do well. My only thoughts were: I have to do this perfectly. I absolutely can’t be a burden.

Q. Doesn’t going through that kind of pressure inevitably make you level up?

JYM: the rest the way I do now. (Laughs.) I liked who I was back then, but I didn’t enjoy the moment. Whenever I had a difficult scene coming up, I’d torture myself over it for days. Sometimes, I’d even avoid sleeping on purpose. Once, I put pebbles in my shoes. (Laughs.) Maybe I felt like I had to keep myself uncomfortable?

Q. You went that far?

JYM: I didn’t think I had unlimited chances. So I had to think and struggle as much as possible. Because once I got to set, I loved it. Maybe it was because I didn’t know any better. Everyone was kind to me, the senior actors were amazing, and the director was wonderful.

Q. The film Wonderland is about bringing back deceased loved ones through video calls—almost like something out of Black Mirror. Your recent work, like Netflix’s The School Nurse Files, also leans toward fantasy. It feels like your filmography has been embracing more of that genre lately.

JYM: That wasn’t intentional. I usually make simple choices when picking projects. Of course, sometimes I agonize over a decision until my head feels like it’ll burst, but once I decide, I don’t look back. The School Nurse Files came to me when I was searching for my next project after Live. I had already enjoyed the original novel, and then I found out director Lee Kyung-mi was directing—it was an easy yes. With Wonderland, I had absolute trust in director Kim Tae-yong. I missed working with him and longed for that kind of set again.

Q. You say you don’t have a set standard for choosing roles, but your last two projects—Kim Ji-young, Born 1982 and The School Nurse Files—both focus on female-driven narratives. That feels less like coincidence and more like a conscious choice.

JYM: It was a coincidence, really. It wasn’t driven by some big ideology of mine. If I like a script, I meet the director, and if we click, I say, I’ll do it. When I received the script for Kim Ji-young, Born 1982, I was also offered a completely different film at the same time. Both were genres I’d never tried before, and both roles felt like challenges. It was a tough decision—especially because I really liked both directors. The two projects were so different, but I felt Kim Ji-young, Born 1982 would allow me to show a side of myself that hadn’t been seen before. The School Nurse Files actually came to me before Kim Ji-young, Born 1982.

Q. So, a coincidence—but not entirely.

JYM: You never know. Maybe something inside me guided those choices. (Laughs.) I think actors experience those moments. Not “Finally, it’s my turn,” but rather, “Ah, that was just the kind of phase I was in.” But I don’t think this kind of coincidence will come again, to be honest. That’s why I enjoyed it even more. I loved listening to the audience’s reactions, the way they interpreted things—it made me think about my work in new ways.

Q. I remember watching The School Nurse Files last year and thinking, This is peak Lee Kyung-mi. And then there’s the original writer, Jung Se-rang…

JYM: She has a whole world of her own. (Laughs.) But her world and director Kyung-mi’s are totally different. Jung Se-rang pieces together fragments of everyday life to offer quiet comfort, while director Lee Kyung-mi thrives on bubbling chaos and disruption.

Q. Watching these two contrasting worlds collide and create something new—what was that like for you?

JYM: When I saw the final series, I felt that, thanks to both of them, Ahn Eun-young ended up being lovable despite everything. She wasn’t just “Wah!” and “Yah!” like Lee Kyung-mi’s style, but she also wasn’t just “Yap~” like Jung Se-rang’s. (Laughs.)

Q. I have no idea what those sound effects mean, but I think I get it. (Laughs.)

JYM: I only met Writer Jung Se-rang a few times, but her energy is unmistakable. You can tell what kind of person she is just from her writing—how she sees the world. It’s so unique. And director Lee Kyung-mi, based on her past work, is just such a lovable person. I think because both of them are so full of warmth, we ended up with this version of Ahn Eun-young. The novel and the drama might portray her differently, but I believe we all—director, writer, me, and even the students in the show—shared the same belief in her. Maybe that’s why people wanted to lean on her, trust her, and hope she could fix everything.

Q. The soundtrack, crafted by music director Jang Young-gyu, also played a huge role in making the series so endearing.

JYM: Absolutely. The music was incredible. (Laughs.) During ADR sessions, the director would let me hear bits of it, and it made me so happy. I remember thinking, Wow, before I get any older, I get to be part of something that looks like this. What a privilege. And every actor in the show was just so great. There were a lot of newcomers, but they were all so perfectly cast. I don’t say this lightly—it was an honor to work with them. I don’t know where their careers will take them from here, but within the world of The School Nurse Files, everything felt just right.

Q. There’s a line in episode one: “Like the trail of mucus a snail leaves behind, it is the trace of desire.” So, what does Jung Yumi desire?

JYM: It changes. You can’t have everything. More than that, I’ve grown wary of defining and labeling things. Last year, I went through a lot of self-reflection, letting things go, and I changed a lot. When I first debuted as a young actor, I thought I had to stay within a certain frame to feel safe—that structure gave me a sense of security. But as time passed, as I met different people and worked in changing environments, I realized that staying inside that frame would never allow me to move in new directions.

In 2007, when I did Que Sera, Sera, I had a moment where that frame completely shattered for the first time. And last year felt like another one of those shifts—a period of major personal change. My perspective evolved, and that’s why I was able to do variety shows. There were things I used to think I should never do as an actor, but I started confronting those ideas head-on. Everything is relative, after all. Instead of fixating on my desires, I think more about the experiences that come my way and what they mean to me.

Q. Actually, I have a very dual impression of you. On the surface, you seem delicate, almost like a houseplant. But inside, I sense something raw, something wild.

JYM: Not a houseplant—a flower. A wildflower.

Q. A wildflower! That suits you.

JYM: No, actually—a peony. I want to be something pretty. (Laughs.)

Q. There’s a scene in Skeletons in the Closet where Yoo Ah-in’s character yells at you, “You’re the worst woman in the universe!” Then he slaps you hard across the face, and you turn to glare at him with narrowed eyes. That moment felt especially raw. I wonder what it is about you that gives off that impression.

JYM: Rawness… With time, I’ve inevitably changed, but I always want to stay in that state. Whether I’m acting or talking to someone, I want to be present naturally. But when I act, I don’t rely on rawness alone. In fact, rawness itself is a vague concept. Sometimes, I’m performing with pure technique, but the audience perceives it as raw. If people see it that way, I don’t feel the need to correct them. That’s something I’d rather protect than break down. In a way, it’s something I have to bear on my own. It’s no one else’s burden but mine.

Q. When I watched My Dear Desperado, I was struck not just by your performance but also by Park Joong-hoon’s. I remember thinking, Wow, I never realized how good he is—I owe him an apology. Apparently, other viewers felt the same. I saw a comment on a film review site that said, “Any actor who works with Jung Yumi delivers the best performance of their career.”

JYM: That’s an incredible compliment, but really, everyone does well on their own. I’m just grateful for those kinds of comments. I also feel that way when I work with certain actors—when I hear their voice or see their performance in a way I hadn’t before, it moves me, and I naturally follow that energy.

Q. In an interview during the release of My Dear Desperado, you once said, “I want to act in a way that completely fills the screen, but I still feel like I’m in the process of building that.” Do you still feel the same way?

JYM: It depends. It’s hard to see myself objectively. And now, I also feel like there’s nothing I can fill on my own. Maybe if I tried theater, I’d be able to?

Q. Wait—did you just say theater?

JYM: Not that I’m saying I’ll do it! (Laughs.) But I do admire theater actors. In films and dramas, the camera helps a lot. Sometimes, you don’t even have to say anything—just sit there while the music swells, and the audience wonders, What’s she thinking? (Laughs.)

Q. Where do you find inspiration? To put out something in your acting, you must need some kind of input.

JYM: It’s different every time. Sometimes it’s music. Other times, it’s eating something delicious outside or having a drink. It’s just the little moments of doing things naturally. There’s nothing particularly grand about it. To me, life and work are the same. I don’t separate myself as an actor from myself as a person. Thinking of it all as me makes it easier to take in. So just moving through life freely, naturally—that’s probably what inspires me the most.

Q. As an actor, what do you feel doubtful about?

JYM: I think there was something… There definitely was, but I can’t remember. Maybe that means I don’t have any doubts right now.

Q. Does that connect to your decision last year to become lighter?

JYM: Yes. Like I said earlier, I try not to define or confine myself. I remind myself to be wary of the ways I used to think, the labels I put on things. It’s a similar mindset.

Q. What kind of person does acting make you?

JYM: What kind of person does acting make me? Hmm. I don’t know yet—I haven’t experienced enough. I’m not 1983-born Jung Yumi, I’m actually 1998-born Jung Gumi! (Laughs.) Maybe after one or two more projects, I’ll have a clearer answer. Let’s meet again then.

Q. You’re so shameless.

JYM: Haha! Make sure you include the Jung Gumi part. But I really think I’ll know with time—how acting is shaping me.

Q. I think I get what you mean.

JYM: Right? It’s the kind of state I want to be in. It’s an excuse I give myself, a way to keep pushing forward. The more I get used to things, the more I can joke about them. And as I say this, I feel like I’m going back to how I used to be. Anyway, that was rookie actor Jung Gumi signing off! (Laughs.)

Source: https://www.wkorea.com/2021/04/30/모르는-마음-정유미/

Jung Yumi for Allure Korea (September 2022) Interview

Jung Yumi Archive — Thu, 20 Feb 2025 12:03:05 +0900

I met Jung Yumi, an actress who has become even more grounded by letting go of unnecessary tension.

At the doorstep of autumn, she carries a heart full of new anticipation.

Q. Jeongseon is completely surrounded by forests. You originally planned to drive here alone, right? Most “celebrities” don’t do that.

JYM: Sometimes, I drive myself to filming locations. I thought about coming alone this time too, but in the end, I took my manager’s car. We filmed Chaw here in Jeongseon, and I don’t think I’ve been back since. If I had the stamina, I would have driven myself.

Q. Summer Vacation was filmed in Goseong, Gangwon-do, right?

JYM: I really like Gangwon-do. Sometimes, when I’m bored, I look at maps, and if I have time, I go visit places. Since Gangneung and Sokcho are quite busy, I traveled further down to Goseong, Donghae, and Samcheok. I even thought it would be nice to have a house in Gangwon-do and only go up to Seoul for work. It’s the kind of thing you often dream about when you’re younger. While looking into houses in Goseong, I started sharing these thoughts with my friends.

Q. I still think about it. I’d love to have a house in Sokcho.

JYM: I’m from Busan, and when I was young, I never thought of Gangwon-do as a place I could easily go. But from Seoul, it doesn’t feel that far. When they suggested filming a variety show in Goseong, I was really happy. The house owners, an elderly couple, were so kind as well.

Q. You seemed really comfortable with Choi Woo Shik. I’m hoping for another season.

JYM: Watching the show later, I realized that to him, sometimes I’m like an older sister, sometimes like a friend, and sometimes like a younger sibling. We’re both busy with our own projects now, but who knows? Somehow, I ended up becoming a variety show regular. We used to only talk about movies when we met. (laughs)

Q. It’s still amazing to me. The Jung Yumi I knew is now a variety star.

JYM: I’m Youn’s Kitchen Jung Yumi now. Who would’ve thought? (laughs) But I’m okay with it.

Q. That’s still you, though. How does it feel to have become more familiar to the public through variety shows?

JYM: It wasn’t something I intended. But as I did it, I realized that familiarity naturally comes with it. At first, both my agency and I were really surprised when I got the casting call. I was an “old-school” type who thought that showing anything other than acting could be a distraction. I used to avoid exposure altogether.

Q. Breaking out of that mindset must have been a challenge.

JYM: More than thinking, “Should I try variety?”, the fact that Youn Yuh-jung was doing it played a huge role in my decision. But I also thought, “Why not just enjoy this experience?” It’s hard to remember clearly since it’s been a while, but I do know that it took a lot of courage for me at the time. I was someone who always worked with familiar people, stuck to what I knew, or did nothing at all.

Q. That experience must have broadened your world. I can see the change.

JYM: Definitely. I felt it myself the most. Some people asked why I did it, while others said it was a great decision. But at some point, I noticed that so many older people recognized me. The variety of questions I got made me reflect on things in new ways. Those were thoughts and emotions I wouldn’t have experienced if I hadn’t done the show.

Q. What’s changed the most compared to before?

JYM: I used to assume that becoming more well-known would mean I’d have fewer freedoms, but it turned out to be the opposite. I actually feel much freer now. People had all kinds of opinions about me—some accurate, some not. But that process made me care less about how others see me. Even when I do the same thing, different people perceive it in completely different ways. And oddly enough, it opened up even more possibilities for me.

Q. So it’s a que sera, sera kind of mindset—whatever happens, happens.

JYM: Exactly. And that actually helped me in acting too. I used to have certain rigid ideas about how things should be done, but now I approach things with a more open mind. But then again, Youn’s Kitchen has already gone through three seasons. How long am I going to keep doing this? (laughs)

Q. Someday, much younger actors might say, “I joined because Jung Yumi was doing it.” Time flies like that.

JYM: (laughs) I can’t even picture that. But look, even the questions you ask me have changed. Every time we do an interview, I genuinely enjoy it. I think the questions themselves are so important.

Q. We first met in 2007, and you once said, “They think I have no star quality? Pfft, just wait and see!” You totally proved that right—you’ve graced countless magazine covers.

JYM: Yeah, I heard things like that back then. But I never imagined I’d ever shoot ads or magazine covers. It wasn’t even a “Can I do this?” kind of doubt—it just never even crossed my mind. But with time, here I am, occasionally showing my face like this.

Q. Back in the day, you used to feel so awkward during photoshoots, even hiding behind things!

JYM: I still do! You know that. (laughs) A photoshoot is just picking one good shot out of dozens.

Q. These days, the best editorial photos have this effortless, nonchalant vibe—and you pull that off so well.

JYM: I think I picked that up indirectly from Uhm Hong-sik (Yoo Ah-in). We once did a shoot together, and he kept moving on his own, breathing in and out dramatically. I was like, “What is he doing?”(laughs) But doing one or two shoots a year feels nice. If I did them too often, people might get sick of seeing me. (laughs)

Q. You’ve wrapped up three projects recently. It’s like having a full granary—now they just need to be released. Does that feel reassuring?

JYM: I used to say, “I’ve harvested a lot this year,” but with COVID-19 and all, you never really know. So I’ve come to see it as something beyond my control. I don’t even ask about it anymore. It’s only when someone brings it up that I go, “Oh, right! There are three of them!” (laughs)

Q. The three projects are the drama Until the Morning Comes and the films Wonderland and Sleep, right? When can we see them?

JYM: I honestly have no idea. Not just my projects—there must be a massive backlog of films and dramas piled up in storage at production companies and agencies. (laughs)

Q. Speaking of which, I brought an antique—your Blossom Again DVD. This is where Jung Yumi the actress began.

JYM: Wow, amazing. This is a masterpiece. (laughs) It was way ahead of its time. My very first film. And the OST is so good.

Q. How to Operate a Polaroid Camera and Blossom Again are now available on streaming. Looking at your filmography, isn’t your career path really interesting?

JYM: Up until a few years ago, I used to think of working as a form of rest. Being on set was fun, and I loved what I was doing. But lately, I’ve started thinking I should actually rest when I have time off.

Q. Was there a particular reason for that change?

JYM: A lot of actors deal with back or neck pain, and I guess it caught up to me too. I tried pushing through in bad condition, and it just didn’t feel right. I realized I needed to let my body recover if I wanted to keep working on new projects.

Q. Are you getting plenty of rest now?

JYM: Yeah. But honestly, resting keeps me busier. (laughs) I only really get the weekends off. I’ve been focusing on working out and rehab—and sleeping a lot.

Q. Do you sleep well in unfamiliar places?

JYM: I actually do. I love hotels, and I love hotel bedding. I’ve even called places to ask where their mattresses were from. Buying a good one is pricey, so I hesitated, but a friend told me, “The quality of your sleep directly affects your acting.” That convinced me.

Q. Your latest film, Sleep, is about abnormal behavior during sleep. It seems like a scary movie.

JYM: People will probably find me scary. (laughs) But at its core, it’s about a couple trying to solve a problem together. It’s really just me and Sun-kyun oppa, and everything happens inside the house.

Q. Do you like horror movies? You haven’t done one before, have you?

JYM: I don’t really handle them well. But our movie is different. When I first met the director, I asked, “So what kind of film is this?” And he said, “I don’t see it as a horror movie. I think of it as a love story built on the foundation of horror.” I loved that. The way it’s expressed is quite unique.

Q. So when can we watch it?

JYM: No idea. (laughs) But I do think every project has its own timing and fate.

Q. You definitely have that mindset now—the idea that once it’s out of your hands, it’s done.

JYM: Yeah, I just throw the ball and that’s it. Threw it! It hit? Okay! It didn’t? Oh well, what now? (laughs)

Do you want to be the top scorer?

JYM: I just want to fulfill what the directors or writers envision within the time I’m given. Especially when working with Director Lee Kyung-mi—she’s so clear about what she wants, and I just really want to do it. Sometimes it works, sometimes it doesn’t. When it does, it feels amazing. When it doesn’t, I go home feeling disappointed.

Q. What mindset do you take to set?

JYM: Sometimes I feel like an athlete. I always ice for 15 minutes after wrapping up. On set, it’s the same routine—eating kimbap, stretching. I have so much equipment at home. Gotta survive. Gotta do it.

Q. A career is a series of choices. Do you still struggle with decision-making?

JYM: It’s funny—opportunities seem to come all at once. When that happens, I really struggle with choosing.

Q. Whose hand do you raise in those moments?

JYM: I’m not sure. But I think… people? People matter the most.

Q. A lot has changed, but the fact that you’re an actor and you’re still acting—that hasn’t changed at all. How do you feel about acting as a profession?

JYM: Just having work in itself is something to be grateful for. And having the ability to choose between projects—that’s an incredible privilege. I think there was a time when I felt like, I absolutely have to do this well, no matter what. Because I knew that phase wouldn’t last forever.

Q. And now, that same Jung Yumi is the face of Allure’s September issue. Summer is over, and fall is here.

JYM: I haven’t even gotten to enjoy summer yet! I just bought a ton of swimsuits!

Source: https://www.allurekorea.com/2022/08/18/9월호-커버의-주인공-배우-정유미/?utm_source=allure_web&utm_medium=content_shared