■ Progress: Ho Jun-seok Anchor
■ Appearance: Kim Su-jeong, original writer and director of ‘Dooly the Baby Dinosaur’
* The text below may differ from the actual content of the broadcast, so please check the broadcast for more accurate information. quote [YTN 뉴스LIVE] Please specify.
[앵커]
We invited a familiar face today.
Kim Soo-jung, a cartoonist and film director who brought Dooly to this land.
Let’s meet.
hello?
[김수정]
hello? This is Kim Sujeong.
Nice to meet you.
[앵커]
It is the very hand that gave birth to Dooly.
How are you these days?
[김수정]
Now Dooly is reopening and I am busy with these things.
So after 40 years, there are a lot of calls like this, so anyway, with the release of Dooly, many people are looking for more, so I’m a bit busy.
[앵커]
The movie version was remastered and released yesterday.
[김수정]
That’s right.
That was a movie that was released in 1996, but I actually had to visit you with a new work, but I feel sorry and sorry that it became a movie in 1996.
But when it was released in 1996, they couldn’t get a theater, so they rented out the exhibition hall and watched it in poor conditions.
I feel lucky that I can see them in a good chair now after 27 years.
[앵커]
In 1996, they couldn’t play it in the official theater, so they said they remastered it and did it this time. How did you do the remastering?
[김수정]
In the case of remastering, it was part of a project at the Korean Film Archive. Dusting off old films, Dooly was selected for this restoration work.
So, after it was remastered, it was invited to various film festivals, and many audiences found it.
I wish they reopened this again.
That’s how it happened naturally.
[앵커]
Was your heart pounding when you finally went to the theater yesterday?
[김수정]
Some parts are more tense than when you first open them.
Because a lot of time has passed.
After that, I would say that curiosity or excitement about how people will see Dooly now.
There were things like this.
[앵커]
What was the reaction of the audience who saw it yesterday?
[김수정]
The reaction from those who saw it was good.
And what I was worried about was that in this era, I was worried that this content would meet the current standards, but those who watched it go back to the past and see it with emotions at that time, so there are many flaws.
[앵커]
These days, we talk about retro, retro sensibility, old things were so beautiful.
Aren’t there many of these?
I think you can feel it even on such an extension line.
[김수정]
Apparently, the audience we watched this movie were children at the time.
I was a child, but now I see it from the point of view of a head of household like Mr. Gil-dong.
So, somehow, memories, and then recalling memories, these parts seem to have worked.
And I think there are parts like this where I share memories and emotions with my children.
[앵커]
Were there quite a few people who came with their children holding hands, among the audience?
[김수정]
It’s still weekdays so far, so I know there are quite a few families among the weekend reservation audiences.
thank you
[앵커]
Was it first introduced in 1984?
[김수정]
1983.
[앵커]
If I was 10 then, I’m 50 now.
[김수정]
That’s right, 52 years. And since Dooly has been in the series for about 10 years, the children born after that are now in their mid-30s or late 30s.
This age group is the same age as Ko Gil-dong’s now.
That’s why I hear stories like that.
The children who wholeheartedly supported and liked Dooly in the past have grown up, and now they like and sympathize with Gildong.
So even in that part, someone said the same thing.
If you understand Gildong, you will grow up.
[앵커]
Are you iron?
Or is it dirty?
What happened?
[김수정]
When I look at it, Dooly and Gildong at that time are the same.
The story hasn’t changed either.
However, that sensibility was also great, and as a result of people’s growth, I think they changed their position to understand Gil-dong.
But the story hasn’t changed.
So, the readers who see it and the fans who see it have changed.
[앵커]
So Gil-dong Ko was in his early to mid-30s at the time?
[김수정]
The setting is late 30’s to early 40’s. So, the most common Korean father figure. You can look at it like this.
[앵커]
Then teacher, director Kim Su-jeong, I was curious about that.
Are you close to Dooly?
When I met him, he seemed like a boy and was innocent.
Is it closer to Gogil-dong?
Which side did you become possessed of, at that time?
[김수정]
Didn’t the writer go a lot toward the main character?
It seems that a lot of the story was drawn from Dooly’s side. And overall, there was something I tried to see from each character’s point of view, without prejudice to the entire character.
[앵커]
Were you playful and naughty as a child?
[김수정]
When I was young, rather than being that naughty, I’m sure I moved around a lot and played a lot.
So, I was more focused on playing than studying. In some parts, I draw cartoons, but on the other hand, I think it has become a good nourishment for not forgetting children’s emotions or children’s innocence.
[앵커]
You grew up in the countryside, right?
[김수정]
I am quite far from Seoul.
In the past, I grew up in Jinju, a thousand miles away.
[앵커]
What you did while running around the mountains and fields at that time became the source of your imagination.
[김수정]
Yes. Perhaps the memories of our childhood last a very long time.
And even when those emotions grow, some parts of them remain.
So when you become an adult and draw the children’s world, those things become a great strength and an accumulated asset.
[앵커]
When I was drawing at that time, I think it was a reflection of what remained of me as a mischievous kid like Dooly. Didn’t you hate Ko Gil-dong?
[김수정]
In the case of Mr. Koh Gil-dong, when we grab a character and draw out the story, we extract from the common Korean fathers.
So, because I get hints and ideas from that part. That’s right.
From Ko Gil-dong’s point of view, I really want to live with my children and my beloved wife, but something suddenly falls out of nowhere and completely ruins the house.
So it’s very uncomfortable in this area.
But Dooly’s role here is to print the images of our children.
That’s why children who see Dooly are totally happy because they have the same emotional code as themselves anyway. Then, at the time, Mr. Gildong did something like this with the enemy concept in some parts.
[앵커]
I hate it, I hate it.
[김수정]
But when you get to know them, everyone is just faithful to their role, not the concept of enemies.
[앵커]
Did you have a model?
Who is Ko Gil-dong’s model?
[김수정]
Gil-dong Koh’s model is not a specific person, but things that general households in their 30s and 40s can commit.
I extracted these.
[앵커]
Since yesterday, the letter written by Ko Gil-dong has been talked about a lot.
It’s a hot topic right now on the internet. It wasn’t written by the director, but I’ll show you.
This is a letter to children.
life is like that
To understand someone you don’t understand.
To admit that I could be in that position.
Knowing that all those rejections and regrets brought me here.
That right now, reminiscing about the past, becomes the most longing past of my future.
How do you empathize?
[김수정]
This is very philosophical.
So, while reading this article, I wonder if Mr. Ko Gil-dong went through a lot of hardships like this.
[앵커]
Now that the children have grown up, I can understand Ko Gil-dong’s heart and I can sympathize with him that that is life.
[김수정]
Yes.
But I think this is going too far towards Mr. Ko Gil-dong… [앵커] It feels like a bit of a trend of the times.
[김수정]
I don’t think it’s too much to understand Dooly’s sensibility or don’t understand Dooly too much just because I’m older. If that happens, I’m very sorry.
For now, don’t forget Dooly’s sensibility and broaden your understanding of Ko Gil-dong.
[앵커]
When I saw the coach from 2m in front today, my impression is that he is closer to Dooly.
I think I do it then and now.
I used to play in the mountains and fields when I was young because of your imagination, so your work transcends time and space.
You really use a lot of time and space.
It starts in the very old past and sometimes goes to the future. Space also goes back and forth from Antarctica.
I wondered how such imagination was possible.
[김수정]
If you limit your imagination or set a reference point that is too realistic, the thoughts themselves will stay.
So, I thought a lot about whether or not it actually happens, let’s transcend this and get out of here.
Also, imagination is not necessarily something that cannot be realized in some parts.
In reality, we can say that it is imagination, and we can say that it is possible, but it is an era in which it will come true after time. So there is no limit to imagination.
[앵커]
It looks like the Nuri will be launched today. Do you get inspiration from watching that?
[김수정]
That’s right.
In the next work, the story of the launch of the Nuri is briefly realized.
However, I wrote it 10 years ago and changed it again, so it was changed to Nuriho anyway.
Just like that, even 10 years ago, rockets, artificial satellites, space, etc. are still a dream, and then that is also a dream of children.
In this way, reality, imagination, and story are combined with those parts to become a new comic-like rich story.
[앵커]
Today, when we said we were inviting director Kim Soo-jung, it was a hot topic even within YTN.
Since there are so many Dooly fans, there were some questions that Dooly fans asked me to ask.
I think the viewers will be curious too, so I’ll ask the question as it is.
First, why does Dooly always have a hump on his head?
[김수정]
When we draw comics, we go through some deliberation and censorship.
That’s why I couldn’t actually draw a scene where I actually hit them.
Suddenly the scene changes and the lump pops out or something like this.
That’s right when the readers saw it, something like this.
In the case of Dooly, if you look at him calmly, he gets into a lot of trouble and gets hit quite a bit.
[앵커]
I had a lot of big accidents.
[김수정]
So in that respect, if you’re like today’s generation, for example, you shouldn’t even hit your pets.
But even when I was drawing Dooly, I was in an era where beatings like that were allowed…
[앵커]
Isn’t it quite a beating to the point of hump?
[김수정]
So, I received a lot of complaints from the deliberation room, mothers, fathers, and then parents.
Too violent at the time.
Because this cartoon is violent.
I did, but it would be nice if you could look at cartoons for fun in their own way.
After substituting this too much into reality, why are cartoons like this?
This is what came out.
[앵커]
So he said that too.
Among the fans at that time, Dooly did a lot of things that were right for him, looking back now.
There are people who talk like this.
[김수정]
That’s right.
So, since the times are changing, you understand the hump and say you did the right thing. From the point of view of the child fans at the time, it was so unfair and resentful.
So even then, there are ten ways Gil-dong scolds children when they occasionally send fan letters.
Then, the people who fully supported Dooly while saying, “Please scold Gil-dong like this,” suddenly changed because the times had passed.
You did it right.
I’m sorry about that part.
[앵커]
It is a very sad expression.
Second question.
I wonder if there are any plans to draw these characters after they grow old.
[김수정]
Actually, I drew it as a special manga.
It was painted by the author himself.
There was a story about Dooly giving birth to a baby. In some parts, there was a cartoon titled Biesduly.
After I drew this manga, I received a lot of criticism from readers.
So, in some parts, Dooly’s dark history remains. So it’s not like I didn’t draw it.
[앵커]
All right.
Did you hear those of you who have been wondering this question? Bies Dolly. Dooly? Dolly. Please try to find this.
Third question.
You said that you tried to distribute all characters equally, but which character did you cherish the most?
[김수정]
If you look at Dooly as a whole, 50% of it goes in after eating.
Because, like the title, Dooly should be the center, like a baby dinosaur, and then the role should be Hee-dong or Gil-dong.
After that, I don’t want any of the characters to lose weight too much.
That’s why the characters who seem to have been almost killed because their weight is too low are Younghee and Cheolsu.
Speaking of Younghee and Cheolsu, they are the children of Gildong Koh.
In fact, Ko Gil-dong’s son should come to the front, but these two characters just sank to the bottom of the water because the bad guys installed it.
[앵커]
Looking at what you listed second, isn’t Heedong the character you cherish the most after Dooly?
[김수정]
That’s right.
After all, Dooly and Heedong are fantastic partners.
And if you look at the structure of the story that Dooly has, the characters as a whole are children who are missing something.
Hee-dong is the youngest among them.
Dooly is the one who can raise Heedong.
So, in a way, the relationship between Dooly and Heedong is a relationship between these two people who make up for the lack of affection.
So, when talking about Dooly, Heedong is like this.
[앵커]
We are meeting director Kim Soo-jeong, a boyish cartoonist and film director.
How did you develop your dream of becoming a cartoonist?
[김수정]
When did I start to become a cartoonist? More than that, the first time I saw a cartoon was before entering elementary school.
At that time, the moment I saw the cartoon, I fell for the magic and charm of this cartoon, and normal children do that.
When you see something interesting or shocking, you imitate it.
For example, kids who came to see a play imitated it. But I started drawing after reading cartoons.
So, until then, I didn’t know that I had a talent for drawing or that I didn’t.
All of a sudden, this guy started drawing like an agile.
That’s why he draws well around him.
There will be no praise after that.
Praise makes even whales dance, and that’s when I naturally started dreaming of becoming a cartoonist.
You have to see that I came this far naturally.
[앵커]
Those compliments eventually made the artist Kim Soo-jung, who created Dooly, what she is today.
[김수정]
In a way, you should see it that way.
[앵커]
The road was not smooth, from what I heard, and he suffered a lot since he was young. Some people don’t.
you have no talent
Did you say something like this?
[김수정]
So it’s not just a dream, reality is reality.
That’s why the social barriers that come when I dream of becoming a cartoonist and then become a writer and start drawing comics are too big.
big and thick
First of all, the perception of cartoons was so bad.
So, speaking of comics, weren’t comics distributed in comic stores back then?
As the comic book store itself is a hotbed of crime, it is dismissed in this way. Then, those who supply cartoons, which are a breeding ground for crime, are truly a social evil.
So practically, in the 1970s, cartoons were included in the five major social evils.
So, the five major social evils are drugs and violence.
Cartoons are here.
So it was very difficult for the writer to live and make something while breaking through those points because of the poor perception of comics.
That’s why society’s awareness and censorship, more than any other income, makes writers unbearable.
There were times like that.
[앵커]
These days, webtoons are expanding and attracting attention worldwide because of K-webtoons. Do you sometimes read those webtoons?
[김수정]
I see you often.
[앵커]
Is there a writer you are paying attention to?
[김수정]
These days, webtoons are mainly… I couldn’t find them all, so it could be, but there are a lot of adult-oriented webtoons, overall.
As a result, I wanted the children’s characters to have some potential and stand out, but I’m a little disappointed in that part.
[앵커]
Do you have plans to make art for children again?
[김수정]
I am still working on it.
So, if the conditions allow, I want to make animations too.
After that, as of right now, I’m drawing a comic book, Dooly.
Perhaps next year, we will be able to introduce a new Dooly.
[앵커]
What is it?
[김수정]
There was an animation that was supposed to be released in 2013, but it was canceled.
That’s why the story is precious, so I’m going to bring it out again and show it as a cartoon first.
[앵커]
Is that perhaps that of the preservative girls?
[김수정]
That’s right.
[앵커]
Please introduce yourself.
[김수정]
Dooly’s Great Adventure in the Ice Star is what happens when the gang go to space.
This time, on the contrary, aliens come to Earth and try to eat it…
[앵커]
Are those antiseptic girls?
[김수정]
That’s the preservative girls, and the names of the preservative girls are naphthalin and formalin.
So the preservative girls invade Earth.
These children’s idea is to find a replacement planet because the planet they live on is almost destroyed.
But when I look at the earth, when I look at the earth, people are using it too harshly.
I guess I’ll throw this away
That’s why we have to pick it up and use it again. It’s the cacophony that’s happening here.
[앵커]
It has something to do with global warming and environmental destruction.
[김수정]
Yes. Once it starts, that’s how it works.
So, as the Nuri, which I mentioned earlier, was launched in the past, the story begins like this in outer space.
[앵커]
I’m looking forward to it.
I want to say this to the children growing up now, the younger generation who are going through difficult environments like the current teacher, and future generations.
Do you have any words like that?
[김수정]
Well, I’m not saying this just because I’m an adult and then a writer, but the most important thing is just like now, the past, and the old days. .
So no matter what you do, I hope you don’t lose your dream.
[앵커]
Our in-house fans want to hear the song again for the last time.
so i’m going to sing a song
In order not to lose your dream, did you still have the confidence and confidence that you will be good for me when you are going through difficult times in your 20s?
[김수정]
In our 20s and teens, the thing that gives us the most trouble is uncertainty, uncertainty.
So, I am working on this, but will I have potential as an artist and be able to succeed?
nobody knows that
So the uncertainty of not knowing anything is what makes it the hardest.
[앵커]
But you have to persevere.
[김수정]
Yes.
[앵커]
It was Dooly’s father’s last message, “Don’t lose your dreams.”
Thank you for today.
I look forward to the work that will come out now.
[김수정]
Thank you.
[앵커]
thank you
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