Jang Kyung-ik
From Wikipedia, the free encyclopedia
Jang Kyung-ik | |
|---|---|
 Jang Kyung-ik (2017) | |
| Born | January 12, 1972 South Korea |
| Alma mater | Kyungpook National University |
| Occupation | Filmmaker |
| Years active | 2002 to present |
| Employers |
|
| Korean name | |
| Hangul | 장경익 |
| RR | Jang Gyeongik |
| MR | Chang Kyŏngik |
Jang Kyung-ik (Korean: 장경익, born January 12, 1972) is a South Korean filmmaker, producer and entertainment executive. He established himself as a prominent producer in South Korea through his work on blockbuster films such as Miracle in Cell No. 7 and Train to Busan, which attracted over 10 million viewers.[1][2] He is also known for producing series Descendants of the Sun, as well as Moving and Doctor Cha, for which he received the Best Series Producer award from Cine21.
Jang was one of the founder of Next Entertainment World (NEW) and served as the head of its film division, as well as the CEO of its subsidiary, Studio&NEW.[1] After leaving NEW, in July 2024, CJ ENM appointed Jang as CEO of its subsidiary, Studio Dragon.[3][4]
Jang Kyung-ik was born on January 12, 1972.[5] During his school years, he did not have specific aspirations for the future; however, he developed a strong interest in cinema.[6] He was particularly drawn to films such as The Sound of Music and Graduation, which he watched multiple times.[7] While he did not have a particular favorite director, he admired actors like Tom Hanks, Daniel Day-Lewis, and Meg Ryan.[7]
His life film is Chungking Express, which provided solace during his most turbulent periods. In his twenties, he struggled with self-image, finding his path in life, and navigating romantic relationships. To cope, he took breaks from school and later enlisted in the military after receiving his mandatory service warrant. He also took a leave of absence to focus on exam preparation and departed Korea for language training just one semester before graduation.[8]
Career
Early career at Megabox
Jang graduated with a degree in economics and began his career as an office worker in the mobile telecommunications industry. Dissatisfied with the routine corporate environment at Shinsegi Telecommunications, he made the bold decision to leave and start his own business. After trying his hand at a web animation venture for two years, Jang realized he was seeking something more fulfilling. In early 2002, he secured a position at Megabox, where his interviewer saw his talent as a movie theater programmer. With dedication and perseverance, Jang rapidly progressed in his role, eventually leading the programming team.[9][10]
As the head of Megabox's programming team, Jang Kyung-ik was responsible for tasks such as theater placement and movie purchasing. His team determined which movies will be shown at Megabox's 19 theater sites nationwide. Despite not hiring film majors, the team consists of members with movie theater experience who judge movie success based on the preferences of the general audience. They focused on capturing audience emotions by carefully examining movie titles, posters, trailers, and considering press reactions, online community responses, and preview screenings. The team acknowledged the significant influence of word-of-mouth in the film industry.[11]
During his seven years at Megabox, Jang had the opportunity to work closely with Kim Woo-taek.[9][10] In his role as team leader during his second to third year, Jang Kyung-ik organized Japanese and European film festivals and launched the 'Movie On Style' brand. He actively engaged in marketing and distributing high-art films, which he found immensely enjoyable. As Jang approached his mid-30s, his love for movies grew stronger, solidifying his lifelong aspiration of a career in the film industry. When considering the idea of starting a film company, Kim Woo-taek proposed that they embark on the venture together.[6][12]
Career at Next Entertainment World (NEW)
In 2008, Jang Kyung-ik joined Kim Woo-taek as co-founder in Kim newly established Next Entertainment World (NEW) alongside Kim Hyeong-cheol, Kim Jae-min, and Park Jun-kyung. Jang led the film division, while his co-founders managed investment, distribution, and marketing respectively. The name "NEW" was chosen to represent innovation and a departure from outdated industry concepts.[6][10] Unlike competitors, NEW operates without owning multiplex cinema chains. This unique position focuses the company's strategy entirely on investment and distribution. To make the company more agile, Jang and Kim established a "club culture" defined by flat hierarchies and minimal formal meetings. This system prioritizes individual responsibility and open communication, allowing employees to challenge ideas regardless of rank. This collegiate environment emphasizes thorough consensus over rapid decision-making.[13]
In 2010, NEW distributed nine mid-range and low-budget films, including Poongsan and Blind. Of these releases, six exceeded their break-even points, resulting in a 66.7% success rate. This performance was notably high compared to the broader industry, as the Korean Film Council estimated that only 24.6% of Korean films released that year were profitable.[14]
In 2012, NEW saw significant success with the distribution of Unbowed, All About My Wife, The Grand Heist, and Pieta, defying market predictions.[15][16] Unbowed, director Chung Ji-young’s return after a 13-year hiatus, was produced and distributed by Aura Pictures on a modest budget of ₩1.5 billion.[17][18] Following a 13-minute standing ovation at the 2011 Busan International Film Festival,[19][20] the film was released on January 18, 2012, during the Lunar New Year holiday. Despite initially opening on only 245 screens, the second lowest among its competitors, strong word of mouth led to a peak of 456 screens by January 24.[17][21] By the end of the first quarter of 2012, the Korean Film Council (KOFIC) ranked Unbowed as the third most-watched film in South Korea, totaling 3.4 million viewers.[22][23]
Released following the success of Architecture 101, All About My Wife was initially not expected to be a major hit. However, during its opening weekend from May 18 to 20, the film surpassed expectations by selling 594,195 tickets. It secured the top position at the local box office, outperforming Hollywood blockbusters such as The Avengers and Men in Black 3.[24][25] Within 19 days of its release, The Grand Heist reached 4 million viewers, becoming the seventh Korean film of 2012 to achieve this milestone.[26] The film eventually recorded over 4.9 million total admissions. During its first week, it ranked second at the box office with a gross of ₩9,615,802,659.[27] Over a five week theatrical run, it amassed a domestic total of ₩33,693,067,319,[28] establishing itself as a major summer hit alongside titles such as The Dark Knight Rises and The Thieves.[16]
Director Kim Ki-duk's Pietà also emerged as a significant success for the company.[16] After premiering at the 69th Venice International Film Festival on September 4, 2012,[29] it won the Golden Lion.[30][31] This victory marked the first time a Korean film received the top prize at any of the three major international film festivals: Venice, Cannes, or Berlin.[32][33][34][35][36][37] Following its theatrical release in South Korea on September 6, 2012,[38][39][40][41][42] the film's distribution rights were sold to 20 countries, including Italy, Germany, and Russia.[43] The North American theatrical release was handled by the independent distributor Drafthouse Films.[44]
Building on its momentum from 2012, NEW continued to dominate the market in 2013 with the release of the hit film Miracle in Cell No. 7. Within its first two weeks, the production attracted 4.6 million admissions and earned over US$30 million. Despite competition from The Berlin File, the film's audience grew by 15% in its third week, maintaining a high seat-occupancy rate of 75.8%.[45][46][47] On its 32nd day of release, Miracle in Cell No. 7 became the eighth film in Korean cinema history to surpass 10 million ticket sales.[48][49][50][51] Given its modest budget and break-even point of only 1.7 million admissions, it became the most profitable film to ever reach the 10 million mark at that time.[52][53] By March 15, 2013, the film had reached 12.32 million admissions, securing its position as the seventh highest grossing Korean film of all time.[54][55][56] Driven by the success of Miracle in Cell No. 7, Hide and Seek (5.6 million viewers), and New World (4.68 million viewers), NEW outperformed major competitors such as CJ E&M, Showbox, and Lotte to claim the top spot in domestic audience share for the year.[57][58][full citation needed]
In 2013, NEW secured the distribution rights for The Attorney after Jang Kyung-ik and CEO Kim Woo-taek personally intervened to outbid competitors CJ and Showbox.[59][60] The film, which marked the directorial debut of Yang Woo-suk, was inspired by the real-life 1981 Burim case during the Chun Doo-hwan regime. Starring Song Kang-ho as a tax lawyer undergoing a moral transformation through five intense trials, the project was produced by withUs Film.[61][60][59][60][61] Produced for ₩7.5 billion, the film became a massive commercial success, selling over 11 million tickets and grossing ₩82.9 billion.[62][63][64]
Following the peak of 2013, NEW entered a period of recession in 2014. High-profile releases such as Sea Fog and the action film Big Match failed to meet commercial expectations. Recognizing this as a downturn, Jang Kyung-ik reorganized the company's internal structure to prepare for future growth.[65][unreliable source?]
By 2016, the company experienced its most significant period of success since its inception. In the first half of the year, NEW's drama division achieved a massive hit with Descendants of the Sun, which surpassed 38% in viewership ratings. The film division saw equal success with the zombie thriller Train to Busan. Directed by Yeon Sang-ho and written by Park Joo-suk,[66][67] Train to Busan premiered at the 2016 Cannes Film Festival before its domestic release.[68][69][70][71] The film, starring Gong Yoo, Ma Dong-seok, and Jung Yu-mi, follows passengers on a KTX train from Seoul to Busan struggling to survive a sudden zombie apocalypse.[72][67] It was the first Korean production of 2016 to surpass 10 million admissions. Against a budget of $8.5 million, it achieved a cumulative worldwide gross of $98.5 million, including $80.5 million in South Korea and over $15 million in international territories.[73][74]
Studio&NEW
In September 2016, Jang Kyung-ik played a central role in establishing Studio&NEW as a subsidiary of Next Entertainment World (NEW). The company was founded to leverage the production capabilities demonstrated by the success of Descendants of the Sun and to diversify the parent company's reach into both the film and television sectors.[75][76] Jang was officially appointed CEO of Studio&NEW at the end of 2016. Following this, on June 28, 2017, NEW Chairman Kim Woo-taek appointed Park Jun-kyung to succeed Jang as the head of the parent company's Film Division, allowing Jang to focus on the subsidiary's operations.[77][78][79] Later that year, Jang unveiled Studio&NEW’s inaugural drama lineup and announced a memorandum of understanding (MOU) with the broadcaster JTBC.[80]
Under Jang's oversight, production for the historical epic The Great Battle took place from August 2017 to January 2018.[81][82] Due to a scarcity of historical records regarding the battle and the figure Yang Manchun, director Kim Kwang-sik consulted approximately 100 Japanese and Chinese publications.[83][83] Due to a lack of sources, the director just referenced sources he had and filled the gaps with his own imagination.[84] The film premiered in South Korea on September 19, 2018, with an age 12-rating.[85] It opened during one of the most competitive weeks at the 2018 Korean box office, debuting alongside Fengshui, The Negotiation, and The Nun.[86] Despite a high net production cost of 15 billion won, the film reached its break-even point, recording 4.52 million viewers by September 30.[87] Following its domestic success, the film secured distribution deals in over 32 countries[88][89]
Under Jang’s direction, Studio&NEW secured significant capital to fuel its expansion. In January 2018, the studio attracted 34.3 billion won in Series A funding from KT Skylife and other investors.[90] In early September 2019, Studio&NEW attracted Series B investment worth 22 billion won through common stock issuance. The cumulative investment amount is 56.3 billion won.[91] By early 2019, Jang’s leadership role within the parent company was reinstated when NEW Chairman Kim Woo-taek appointed him to lead the Film Division once again. Starting February 1, 2019, Jang concurrently served as the head of NEW’s film division and the CEO of Studio&NEW.[92]
Jang continued to drive high-level partnerships, including a November 2020 equity investment contract with Geumwol, a production house owned by director Park Hoon-jung.[93] In April 2021, Jang announced a long-term content partnership with Disney, establishing a pipeline for Studio&NEW content to be featured globally on Disney+.[94] In August 2023, the studio shifted its strategic focus exclusively to content planning and production. As part of this transition, Jang oversaw the closure of the actor management division, providing support to displaced employees and talent during their move to new agencies.[95]
Jang transitioned from his executive duties in 2024, serving as the Content Strategy CEO of Studio&NEW from January to April. As of May 2024, he transitioned into an advisory role for the company.
Studio Dragon
In July 2024, CJ ENM has appointed Jang as CEO of its subsidiary Studio Dragon.[96]
Filmography
Film
Television series
| Year | Title | Network | Director | Production house | Ref. | |
|---|---|---|---|---|---|---|
| English | Korean | |||||
| 2016 | Descendants of the Sun | 태양의 후예 | KBS2 |
|
[170] | |
| 2018 | Ms. Hammurabi | 미스 함무라비 | JTBC | Kwak Jung-hwan | Studio&NEW | [171] |
| The Beauty Inside | 뷰티 인사이드 | Song Hyun-wook |
|
[172] | ||
| 2019 | Chief of Staff | 보좌관 | Kwak Jung-hwan |
|
[173][174] | |
| 2020 | Oh My Baby | 오 마이 베이비 | tvN | Nam Ki-hoon |
|
[175] |
| Graceful Friends | 우아한 친구들 | JTBC | Song Hyun-wook |
|
[176] | |
| 2020–2021 | Delayed Justice | 날아라 개천용 | SBS TV | Kwak Jung-hwan |
|
[177] |
| 2021 | Doom at Your Service | 어느 날 우리 집 현관으로 멸망이 들어왔다 | tvN | Kwon Young-il |
|
[178] |
| The Devil Judge | 악마판사 | Choi Jung-kyu | [179] | |||
| 2023 | Doctor Cha | 닥터 차정숙 | JTBC |
|
|
[180][181] |
| 2023–2024 | Tell Me That You Love Me | 사랑한다고 말해줘 | ENA | Kim Yoon-jin |
|
[182] |
Web series
| Year | Title | OTT | Director | Production house | Credited as | Ref. | ||
|---|---|---|---|---|---|---|---|---|
| English | Korean | Planner | Investor | |||||
| 2022 | Rookie Cops | 너와 나의 경찰수업 | Disney+ | Kim Byung-soo |
|
No | Yes | [183] |
| 2023 | Moving | 무빙 | Park In-je |
|
Yes | Yes | [184][185] | |
Accolades
Award and nomination
| Award | Year | Category | Nominee(s) / work(s) | Result | Ref. |
|---|---|---|---|---|---|
| APAN Star Awards | 2023 | Drama of the Year | Moving | Nominated | [186] |
| Asia Contents Awards & Global OTT Awards | 2023 | Best Creative | Won | [187] | |
| Best Visual Effects | Won | ||||
| Cine21 Film Awards | 2023 |
Series Producer of the Year | Doctor Cha Moving |
Won | [188] |
| Critics' Choice Awards | 2024 | Best Foreign Language Series | Moving | Nominated | [189] |
| Grand Bell Awards | 2023 | Best Series | Won | [190][191] |
State honors
| Country | Award Ceremony | Year | Honor | Ref. |
|---|---|---|---|---|
| South Korea | Korean Content Awards[note 1] | 2024 | Order of Cultural Merit for Contribution to the development of the broadcasting and video industry |
[192][193] |
