"Secured evidence of exploitation from Japanese propaganda footage"… Art director reveals behind-the-scenes story of set construction for 'The 100-Day Lie'

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Yang Hong-sam, the art director of 'The 100-Day Lie,' revealed details about the production process.

On the 4th, tvN’s weekend drama 'The 100-Day Lie' (screenplay by Ryu Bo-ri, directed by Yoo In-sik) released production insights shared by art director Yang Hong-sam.

'The 100-Day Lie' is enhancing audience immersion with its art direction that perfectly recreates the sensibility and atmosphere of Keijo in 1932.

Regarding this, Director Yoo In-sik stated, "Both the directing team and the art team searched through extensive materials to understand the atmosphere of that era. The art team’s efforts were immense as they traveled across the country to find locations, constructing sets and arranging props even for scenes that last only a few seconds." This was the result completed by staff including art director Yang Hong-sam, who had previously worked on films such as 'Hero,' 'I Saw the Devil,' and 'Tazza,' as well as dramas like 'Evil Spirit' and 'King the Land.'

Art director Yang Hong-sam said, "The most critical consideration was how vividly and persuasively we could present the era of 'Keijo in 1932' to people living today. Accordingly, the art team established a worldview that 'while Keijo in 1932 is the past for us today, it was a definite present for those who lived through that era.' The goal we aimed for was not merely to verify and reproduce the appearance of the past, but to vividly revive the present of that era through spaces imbued with the lives, dreams, and desires of people at the time," explaining the distinctiveness of their concept.

He added, "Given that an 'eclectic' style was prominent during the Japanese colonial period, where traditional Joseon culture coexisted with modern Western goods under oppressive realities, we focused on the unique atmosphere and visual contrasts created by these historical characteristics." He continued, "Keijo is often remembered as a symbol of modern culture represented by 'modern girls and modern boys,' but behind that image existed the distinct realities of people from various social classes living their lives. Therefore, rather than romanticizing Keijo with a glamorous and romantic appearance, we wanted to faithfully capture the traces of the era and specific aspects of daily life while creating a space where the artistic mise-en-scène inherent in the locations conflicts and contrasts, allowing us today to empathize with it."

Art director Yang Hong-sam stated, "We made efforts to examine not only the exterior of buildings but also detailed elements reflecting the daily lives of people in that era, such as street signs, store structures, indoor furniture, and household items. For gaps where materials were lacking, we referenced architectural styles and living cultures from the United States, Japan, and other contemporary countries under Japanese invasion and influence to infer and reconstruct the structure and atmosphere of the spaces." He added, "Ironically, we were able to secure evidence of exploitation and aspects of daily life through propaganda documentary films made by the Japanese regime to justify their territorial aggression, as well as films containing stories of Joseon people."

Special meaning was also embedded in the key spaces representing 'The 100-Day Lie.' First, the Government-General of Korea building erected in front of Gyeongbokgung Palace focused on visually revealing the violence of imperialism and its hollow justification. The oppressive feel of the space and the hypocrisy of power were expressed using cold marble floors, vertical pillars, and high staircases. In particular, the General Affairs Office, symbolizing the heart of the enemy, incorporated the image of a heart into the space.

Heewon, where Yoo So-ran (played by Kim Hyun-joo) and Yoo Philip (played by Lee Mu-saeng) reside, was reconstructed based on the story of the modern architectural building Deoksu Palace. Reflecting research on Gothic architectural style and masonry construction, it preserved the unique solidity and antique atmosphere of a brick building.

The National Salvation Corps hideout reflected the plight of members who had to operate while evading Japanese surveillance. A hideout was established in the basement of Haseong Han Medicine Clinic, adding the setting that just as the clinic treats commoners above, the corps members also comfort and heal each other below. The Ttukcham Village, which depicted the harsh reality of exploitation during the Japanese colonial period, focused on visually representing the vitality and hope of Joseon people that remained unbroken even within it.

Character narratives and relationships were also expressed visually. "The spatial keywords for Kim Tae-woong and Sato Shinichi (played by Jin Seon-gyu) are deprivation, hypocrisy, and identity confusion," he said. "Sato Shinichi’s office was designed not only to create an oppressive space but also to visually reveal inner deprivation and inferiority complex. Duality was expressed through black and gold colors, and the inferiority complex attempting to fill the void was depicted by hanging his own clothes in the study. Kim Tae-woong’s office contrasted Western-style furniture with Japanese-style paintings and wallpaper to express the identity confusion Kim Tae-woong possesses." He continued, "Lee Ga-kyeong lives in Ttukcham Village with Inoma (played by Hong Sa-bin) and Bang Kkot-nim (played by Kim Ra-hee), harboring dreams. To achieve those dreams, he enters the Government-General of Korea. To express his unpredictable situation and environment, we designed the wallpaper in Heewon’s room to resemble maze-like shapes or symbols," demonstrating meticulous attention to even the smallest details that evoked admiration.

Finally, art director Yang Hong-sam said, "Some people upheld their beliefs for independence, while others endured times where merely continuing their daily livelihood was a struggle. We expressed the appearance of people who lived through that era in their own ways in various parts of the spaces." He conveyed his sincerity, adding, "Above all, what we wanted to convey through this work was the hope that we today can empathize with and support the lives and will of those who lived through that era."

Meanwhile, according to Nielsen Korea, 'The 100-Day Lie' set a new record for itself with an average viewership rating of 10.7% and a peak of 11.6% for Episode 8 broadcast on the 1st, ranking first across all channels including terrestrial broadcasters (based on Nielsen Korea’s paid platform metropolitan area standards). Additionally, according to GoodData Corporation’s FUNdex, the drama ranked first in the TV-OTT Drama Buzziness category for two consecutive weeks in the fifth week of October. In the Cast Buzziness category, Park Jin-young (1st place) and Kim Yu-jung (2nd place) ranked side by side, dominating the top tier.

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*This content was translated by AI.View Original