"I shouldn't have kissed!" PD said, "Ki Yong who laughed ♥ Ahn Eun Jin, get serious quickly" [★FULL Interview]

*This content was translated by AI.

• Kim Jae-hyun, producer of SBS's Wednesday-Thursday drama "I shouldn't have kissed!" which ended on December 25 last year

Producer Kim Jae-hyun has completed a romantic comedy full of dopamine, 'Kiss for nothing!'

Producer Kim held a written interview with Star News to commemorate the end of SBS's Wednesday-Thursday drama "Kiss for No Reason!" (scripted by Ha Yoon-ah, Tae Kyung-min, directed by Kim Jae-hyun) that ended on the 25th.

"Kissing for nothing!" is a heart-wrenching romance between Ko Da-rim (Ahn Eun-jin), a single woman who got a job disguised as a mother for a living, and Gong Ji-hyuk (Jang Ki-yong), a team leader who fell in love with her. According to viewer rating research firm Nielsen Korea, the final episode's viewership reached a record high of 8.1 percent, 7 percent in the Seoul metropolitan area, and 6.9 percent nationwide, breaking its own record.

Producer Kim said of being loved by domestic and foreign viewers, "I was actually a little embarrassed because I received more love than I thought. In particular, I didn't know that the overseas reaction would be so hot. As a director, I'm just really grateful," he said.

Producer Kim said, "The principle of 'Let's make an easy drama' was the most important thing. Don't think, don't get bored, be funny and excited. I wanted to make a drama that children could understand. Glamorous or complicated conti was avoided as much as possible. In terms of sentences, I think I tried to convey the most clear emotions and stories in the most child-like sentences," he explained.

Jang Ki-yong and Ahn Eun-jin received a lot of love for showcasing the essence of the "Familiar Taste" romantic comedy. When asked if there was anything he paid special attention to for this, PD Kim replied, "I paid a lot of attention to posture and facial expressions," adding, "I had a book that I gave to actors at first, and it was a cartoon like Vistien Vivez's "Love Is Blood."

"It was my first full-fledged romance. I don't really remember what we said when we fell in love. Things like how they laughed, when they passed their hair under their ears, and how they sat and looked at each other always remain clear images. So I wanted to talk about the posture of love in each other's memories," he said.

Also, "That's why I always paid attention to my posture during rehearsals. How to look, when to make eye contact, and avoid each other. We talked about that a lot. "I felt that love happened through the movement of the eyes, the shaking of the fingertips, the shaking of the hair, and the shallow but deep touch," he explained.

Producer Kim said, "I always rehearsed with the director on the spot, looking at each other and how to sit down and with what kind of eyes it would make each other look at each other. The actors laughed at it while watching it, but they quickly did it in a serious way," he said, thanking Jang Ki-yong and Ahn Eun-jin.

He added cheerfully, "I made the struggle of the two men with real love, beautiful and elegant."

Earlier, Ahn Eun-jin drew attention by saying, "When I read the script, dopamine burst every time."

As Ahn Eun-jin said, producer Kim, who completed the so-called "Dopamine Pang Pang" bursting drama, said, "I think it's really difficult to do it," adding, "I'm a man, and I'm a 37-year-old man." I thought this drama wasn't my dopamine, it was women's dopamine. Isn't that actually a little different. While doing this drama, I was worried about that dopamine the whole time," he confessed.

Then he said, "Writer Ha, director!" We're a dopamine drama.' He made all-out efforts to touch the dopamine that writer Ha said. I wondered if a male director with a blunt and thick sensibility like me could do this, but to confess, I also thought about excluding the narration of "I think I'm crazy" at the end of the sixth part. Director Song Hye-jin and our assistant director Park Min-ji said, "Director! "Aren't you crazy?" and he stopped me. So I said, "Is this exciting?" and they said, "You really can't take this out."

Producer Kim said, "Actually, for me, dopamine in this drama is more like a night sea scene, a cave scene, or a scene in front of a bar. Isn't that a little emotional. Dopamine doesn't seem to be like that. I think it's a little more intuitive, a little more instinctive. While doing this drama, I thought about what it was and I still think about it now. This is because it is much more delicate, beautiful and subtle for men to reach. It should be accompanied by more and more subtle categories of imagination," he said.

He also said, "I realized a little when I put the narration at the end of the sixth part and put the music in. I instinctively needed a breathtaking moment, so I chose to put silence in the middle. I put it in and watched the show, and I was so happy and tingling. At that time, 'This is what dopamine is like. How will dopamine put up with something. When are you going to put up with it like that. I thought, 'You're at a moment when you use some kind of silence,' he recalled.

He said, "Dopamine Pangpang is a drama, but it was actually half confidence and half fear. Men's dopamine is a little simple and explicit, to be honest. It's true that my emotions stay there. So I took it as if I was studying dopamine," he said, defining his own "dopamine" obtained through "Kissing for nothing!"

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*This content was translated by AI.