The Directors: Yong W Kim

Yong W Kim is a Los Angeles based filmmaker. Equally comfortable as a stills photographer, cinematographer or director, Yong has built an impressive resume in a short period of time, shooting and creating brand films for Levi’s, Stussy, Oliver Peoples, Jockey, and Dolce Vita. Originally from Seoul, Korea, Yong grew up in two vastly different parts of the world. While his point of view has been shaped by the varied textures and histories of his respective homes, what remains consistent throughout his work is a meticulous attention to detail and a nuanced, cinematic and thoughtful approach. Working as both a DP and director, Yong has built an elegant, dreamy visual style, with every frame considered when weaving together a story.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Yong> I get a feel for a script quickly. I look for opportunities for creativity - how can I bring this ad or concept to life in a way that is compelling? Is there flexibility to explore new ideas or techniques? Scripts that excite me most showcase depth and the opportunity to tell an interesting story, even in a short amount of time. 

LBB> How do you approach creating a treatment for a spot?

Yong> I start with research, pulling together references that can be shaped into a moodboard. I build the world around specific shots that come to mind - sometimes visualizing a shot from the ending or middle before I arrive at the opening shot. The storyboard normally comes last once I’ve developed a tone and visual language, but sometimes storyboards can help earlier in the process, to help problem solve, as well.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Yong> It’s very important to me to build a connection with the brand, especially if one does not already exist.. When I’m not particularly familiar with the company, product, or brand, I’ll start by researching their ethos, values, and priorities. Then I dig into who their customers are and what the brand is trying to solve or what they are trying to accomplish. From there, I let my curiosity drive me. 

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Yong> It depends what stage of the process we are in – if we’re talking pre-production, the relationship with the producer is important so that we can get aligned on all aspects of the shoot and really set the tone before we even begin filming. On set or during production, the relationship with the assistant director is paramount as we need to be working towards the same goals and in lock-step with each other. The relationship with the talent is important as well as how they’re feeling and interacting on set can really influence the output of the whole project. 

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Yong> I’m passionate about work that incites emotion and is visually interesting - the format matters less to me as long as the subject matter or genre invites the opportunity to create beautiful work that makes people feel something. Through my projects with Levi’s, I’ve had the opportunity to create work that represents strong values and amplifies the voices and perspectives of diverse and influential people. With a client like Flaunt Magazine, I have the opportunity to take artistic risks and push boundaries stylistically.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Yong> I feel my body of work up until this point doesn’t necessarily illustrate my range. I can often be placed into a box because the opportunities that I’m considered for are limited to the work I’ve been previously hired to do. If a brand or client has traditionally brought me on for digital content, they know and understand that I do that well and so can sometimes overlook me for bigger campaigns. When given the opportunity to work outside of those boxes, I thrive and have been able to showcase what I’m capable of on a bigger scale. 

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

Yong> I’ve worked with cost consultants and have been able to work well with them. I don’t really see budget limitations as obstacles, rather creative challenges. When coming up with ideas and concepts, I always consider the overall picture including budgets. I’m open to thinking creatively and collaborating with consultants to land as close to budget as possible while not jeopardizing creative integrity.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Yong> Every job has its problems, how you solve it is what defines who you are as a director. I believe if the craziest problem is not in front of you, you probably aren’t taking risks and pushing the boundaries of the kind of work you can create. 

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Yong> I think it’s important to protect a few core principles of a project - the voice, the integrity of the original idea, and for me, the visual identity is very important, but nearly everything can be built upon collaboratively with the agency and the brand. There are times when there are too many cooks in the kitchen and in those instances there is a bit of a dance required to navigate the politics, but as long as those core principles are honoured, it’s usually feasible to strike a balance and not lose sight of what’s important.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Yong> I believe diversity of experience and background in the production world and opening the door to a range of perspectives, voices, and creative input ultimately leads to better productions. I’m definitely open to mentoring and apprenticeships on set. These are practices that I continue to benefit from as well.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?

Yong> Since the pandemic people are able to work remotely more efficiently. New technologies and techniques have been developed so that nearly every person on a production can join virtually. I’m a purist in many ways and still feel the tangibility of in-person productions is valuable, but I think there are efficiencies that can be learned from these changes for sure. At the end of the day though, I still really love being on set with real people, because that’s where the magic happens and why I love being a filmmaker.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Yong> I definitely keep the goals of various formats in mind as I’m prepping and while I’m shooting as well. With work presented in 16:9 format, I have the opportunity to build more of a traditionally cinematic story and I anticipate having more flexibility to set a mood or a tone, or even create a mini world in some cases. With 9:16, I know I will need to work at a faster pace and will want to hook the audience right away. The narrow frame focuses your attention, so something needs to grab or intrigue you immediately, otherwise people stop watching.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Yong> It’s important to learn how to navigate new technology and educate myself on how this tech can improve efficiency as well as the filmmaking process; however, I want to remain thoughtful about how I incorporate these technologies into my work and utilise them when it makes sense. More than virtual production or AI created visuals, I get excited about the evolving tech in cameras, sensors and image rendering. Technologies that allow us to shape light and movement in beautiful ways. 

LBB> Which pieces of work do you feel really show off what you do best – and why? 

Yong> One of my biggest strengths as a director is the ability to find creative solutions on the spot, even as a production is happening in real time, in order to ensure the final product is visually compelling. I’ve shot a number of projects in the field, with limited control of lighting or the environment where I am able to see past those limitations to create a piece that I am proud of. 

For one of my editorial projects, I was travelling abroad and due to poor weather conditions my flight home was severely delayed causing me to miss the shoot. Within 24 hours, I had to secure a DP and pull together references to share with them. I directed the shoot remotely with limited to no control of the environment or any other factors, but was able to communicate my ideas and direction and ultimately produce a piece I was pleased with.