I dare to assert that Lee Hye-young is the actress who made the film adaptation of <Disruption> possible. The peculiar combination of the unfamiliar phrase, "60s female killer," is persuasive upon meeting Lee Hye-young. The film <Disruption> releasing on April 30 depicts a fierce confrontation between the legendary killer ‘Sculptor’ (Lee Hye-young), who has been a part of an organization for over 40 years handling humans like cockroaches, and the mysterious killer ‘Bullring’ (Kim Sung-cheol), who has pursued him all his life.

Since her debut in 1981, actress Lee Hye-young has actively worked in musicals, plays, dramas, and films for about 45 years. How much is she like ‘Sculptor’? Or how did she carve out ‘Sculptor’ in <Disruption>? On the afternoon of the 28th, I met actress Lee Hye-young at a location in Samcheong-dong and discussed her acting career and the film <Disruption>. "You need to have pain for acting to emerge," she shared her genuine artistic side throughout the interview, and here’s how our conversation went.

<Disruption> has already been invited to the 75th Berlin International Film Festival before its release, and now it is about to officially premiere in South Korea. What are your thoughts on this?

The confidence I had when I first returned from Berlin has faded; I felt nervous when the lid was lifted, but receiving compliments has made me grateful. This current (press-heavy) atmosphere is something I have never experienced before. I’m not sure if the world has changed or if I have become a star.

Since the original novel of the film <Disruption> is a bestseller, many people were excited when they heard that Lee Hye-young would be playing ‘Sculptor.’ What were your thoughts when the proposal came?

Honestly, after reading the book, it was hard to imagine. The action films I’ve seen have rough and clichéd dialogue styles, and I couldn’t envision a grandmother performing action in <Disruption>. I thought of the director Min Kyu-dong’s film <Antique> (2008), and I realized he is a glamorous and diverse person. I thought no one like Bob Fosse from <Cabaret> (1972) and <The Little Prince> (1974) exists in Korea, but watching Min Kyu-dong’s film made me think that he seems to know something. So I considered whether <Disruption> would be made into a musical. Anyway, after contemplating the challenge of doing an action film, I made the decision.

The movie <Disruption> is about ‘Sculptor’s’ drama. ‘Sculptor’ has lived a long time performing assassinations (a slang term for hired killings) without emotions and gradually begins to feel the will to live. How did you interpret the reason for ‘Sculptor’ continuing to live?

I think ‘Sculptor’ is the reincarnation of ‘Ryu’ (Kim Mu-yeol). Before becoming ‘Sculptor’ (her childhood name was ‘Nail’), she merely existed to survive, but then she became ‘Nail’ and turned into a useful human being. After ‘Ryu’ died, honestly, there would be no reason for ‘Sculptor’ to live. Unless she is the reincarnation of ‘Ryu’, there would be no reason for this woman to live, so perhaps that’s why she lives with a sense of ease and transcendence. Her strength remains a mystery.

The relationships among the characters in <Disruption> are hard to describe concisely. Especially the relationships between ‘Sculptor’ and Teacher Kang (Yeon Woo-jin), and between ‘Sculptor’ and ‘Bullring’ (Kim Sung-cheol). How does the actress view these two types of relationships?

Through Teacher Kang, she discovers ‘Ryu.’ At the end, she bows to Teacher Kang. I think that moment summarizes their relationship. Regarding the relationship between ‘Sculptor’ and ‘Bullring’, I believe it was shaped by the talent of Kim Sung-cheol. I didn’t create anything, but Kim Sung-cheol brought an amazing energy that is youthful, impulsive, and innocent. I think that kind of quality wouldn’t appear if he were just a year older; it belongs uniquely to that age.

The characters played by Lee Hye-young are often outside the norm. Did you carve ‘Sculptor’ yourself while shooting <Disruption>?

The portrayal of ‘Sculptor’ reflects what the director imagined. From her walk to her clothing, Director Min sometimes told me, “You’re too cute, it won’t work.” “Are you about to cry? That’s not good.” “Your emotions are too drawn-out; make it shorter”—he controlled every aspect. I received detailed coaching and was restrained; the sculpture was calculated.

So, when you actually watched the completed film, how did you see ‘Sculptor’?

It was much better than I had imagined. I felt anxious throughout the shoot, and although injuries kept happening, I thought I couldn’t just be injured without obtaining anything. The loneliness of being an actress hit me, and I worried a lot about aging and whether my injuries would heal. I pondered what kind of results this challenge would yield, often writing in my diary—mainly lamenting about the director, the difficulties on set, and over ten bothersome situations. Yet, deep down, I fervently hoped that my resentments would transform into remorse by the end. But when I went to Berlin and watched the film <Disruption>, my first thought was, 'I'm sorry to the director.' I realized he had all the thoughts in mind.

At the production briefing, you mentioned that <Disruption> is more enjoyable than <Mickey 17> which was screened at the Berlin Film Festival. (laughs)

<Disruption> is captivating. The characters are all alive. I believe the quality of an actor, whether good or bad, depends on the director. Every actor has unique traits and charm; even following a single person is interesting. So, I feel Director Min Kyu-dong has succeeded. Director Bong Joon-ho wouldn’t be upset about such comparisons; he probably hasn’t even heard of it. (laughs)

Lee Hye-young, you have appeared in several works by Director Hong Sang-soo, such as <In Front of Your Face> (2021), <The Novelist’s Film> (2022), and <Traveler’s Needs> (2024). I imagine the atmospheres on the sets of Director Hong and Director Min must be starkly different. How was the filming environment for <Disruption>?

Director Hong Sang-soo doesn’t work with any scripts at all. You step out in the morning with no prejudices. But Director Min Kyu-dong is all about ‘Steel Continuity.’ Sometimes the days prior, revisions upon revisions come, resulting in three scripts. I, however, go to the set with another scenario in my head. Initially, I questioned, “Director, why am I sitting here? I’d prefer to sit over there,” which led to quite a clash. But the word ‘usefulness’ appears in <Disruption>, and I realized that to be a valuable actor, I needed to survive within this process, hence I experienced walking towards a common goal through Director Min Kyu-dong’s work.

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How is Director Min Kyu-dong these days? (laughs)

Now, he’s so lovable. He’s really mild-mannered and doesn’t get angry. He’s incredibly gentle and sweet.

<Disruption> features numerous action scenes with you. If you had to pick the toughest scene, which would it be?

The scene where I come down a rope and the one where I get hit and fall are the most challenging. Once, we had a shoot in Itaewon planned for two nights and three days, but I ended up dislocating my rib on the first day while syncing. Nonetheless, we proceeded with the shoot. After a rehearsal, it felt like my legs were going to burst. I realized my physical decline in that.

It’s been about 23 years since you performed action in Ryu Seung-wan’s <No Blood, No Tears> (2002) and now you return to an action film. How does the action then compare to the action now?

When doing <No Blood, No Tears>, I remember training with the martial arts director Jung Doo-hong. Back then, I’d meet him every morning, and my moves became like a machine; I was able to execute kicks well. Director Ryu Seung-wan himself is an expert in action. In my early training, I have vague memories of hanging, kicking, and spinning. I could still probably do more push-ups than I can now. (laughs) But this time, I performed the actions coolly, drained of energy, without showing any emotions; that, in fact, was the hardest part. I’m someone who lacks quick reflexes, so I had to technically express emotion and action in a single frame.

You mentioned that you cried while embracing Director Min Kyu-dong and actor Kim Sung-cheol after shooting the final take for ‘Happy Land.’ What emotions were you feeling at that moment?

I was the first to cry. It wasn’t out of happiness; it felt like, why did it end now? I felt lost. I came here to complete ‘Sculptor,’ but now that it's over, I guess I felt a sense of emptiness.

You have been acting for almost 45 years now. Do you feel a particular attachment to the profession of acting?

Acting requires pain to make the act emerge. I’ve never thought that I love the profession of acting. Acting is incredibly painful; every role is painful and distressing, not joyful. Yet, I think it’s people like me, who are accustomed to pain, who become actors. I’ve always lived saying, 'Please control me.' Living too freely has always frightened me; instead, stability came through marriage, children, and a settled family, which allowed me to act more steadily. I feel quite psychologically unstable, but my profession as an actress allows for a degree of forgiveness and understanding. Acting might have brought me back to life, and for some, it may have given joy. During acting, I've never thought of myself as a god or someone extraordinary.

After so long in the industry, how does it feel to portray a female elderly killer in an action film like <Disruption>?

When I started acting, the roles available for female actors were mostly relative to male roles. They were typically romantic or objects of desire, or other comedic or ghostly roles. However, independent female characters have diversified more and more over the years. Even so, one cannot say that romantic female leads are simplistic. Thus, I believe that beyond just being a female actor or a woman, one must survive as a human being. No matter if an actor is old, young, female, or male, they should be viewed as a human existence.

Cineplay Reporter Kim Ji-yeon