Cine21 sat down with PD Lee Jin-joo for an interview. Jinjoo PD, known for her work on Transit Love, a highly popular reality dating show. She spearheaded the direction of the show’s first and second seasons before departing from CJ ENM, her network at the time, to embark on a new journey with JTBC. Currently, she is at the helm of My Sibling’s Romance, also a reality dating show that is not only broadcasting on JTBC but also available for streaming on Wavve within Korea. Internationally, the show reaches a wider audience through platforms such as KOCOWA, VIKI, VIU, iQIYI, and numerous other global OTT platforms.
Before delving into Cine21’s interview with PD Lee Jin-joo, it’s important to first introduce who Lee Jin-joo PD is. Described by Producer Na Young-seok as “the most cherished junior producer,” Lee Jin-joo is known for her unwavering determination and innovative vision. “Once she has set her mind on something, she pushes forward without compromise. Although she’s known for allocating generous budgets to her productions, when it’s a request from Lee Jin-joo PD, it’s always worth consideration. She consistently delivers results that exceed expectations,” says Na Young-seok.
Lee Jin-joo PD began her career as an assistant director on “Grandpas Over Flowers” before co-directing “Youth Over Flowers Africa.” She then made a significant impact with her first solo project, “Yoon’s Restaurant,” which became a major hit. During her formative years, she absorbed invaluable lessons on everything from shooting techniques for genuine variety programs to the nuances of treating colleagues within what’s known as “Na Young-seok’s brigade.”
After embarking on an independent path, Lee Jin-joo PD created the TVING (an OTT in South Korea similar to Wavve) Original Series “Transit Love.” This show emerged as a standout amid the plethora of dating reality shows, with “Transit Love 2” breaking records by attracting an unprecedented number of TVING subscribers. Her subsequent move from tvN (CJ ENM) to JTBC led to the creation of “My Sibling’s Romance,” a program that offers a fresh perspective reminiscent of “Transit Love.” “My Sibling’s Romance” explores the dynamic of siblings searching for their significant others, introducing the intriguing concept of guessing familial ties, thereby broadening the thematic scope beyond that of ex-partners. This innovative approach has allowed for a richer exploration of themes, further solidifying Lee Jin-joo PD’s reputation as a pioneering force in the industry.
The following interview was conducted by Cine21 and has been translated by Cherry Blossom Romance. Please do not copy or paste the translated texts without giving proper credit.
This is the first work you’ve introduced after moving to JTBC. Was it an idea you’ve had for a while?
After working on ‘Transit Love,’ the team came together to brainstorm various ideas. However, we always found ourselves circling back to dating reality shows. Why did we try to move away from dating shows in the first place? We decided to plan ‘My Sibling’s Romance,’ something we can do well and enjoy. Lim Jung-ah, the head of JTBC’s entertainment production, said, ‘It’s a dating show, but it could appeal to a broader audience. It sounds fun,’ which was a big help in making the decision.
Unlike “Transit Love,” which was exclusively released on TVING, “My Sibling’s Romance” on JTBC had its full version pre-released on Wavve before airing edited episodes on JTBC. You must have had to consider TV viewers from the planning stage.
From the planning stage, we envisioned a perfect TV program. Like ‘Transit Love,’ where episodes could run over two hours, it was the company’s decision to go for it again. We wanted to include elements that would even interest our moms. The production team watched a lot of home videos and photos of the cast members from their childhood, which made them look cute even as adults. (laughs) It feels heartwarming to see them all grown up, spending fun days together in one house. We hoped the viewers would feel the same. It’s a sentiment that can resonate not only with the younger audience who originally enjoy dating shows but also with parents of grown children. In fact, we didn’t check if the siblings had home videos left during the casting phase, but later on, we found out there were many. We were lucky.
Incorporating ‘family’ into a dating reality show seems novel. How did you come up with blending these two themes?
In ‘Transit Love,’ ‘ex-partners’ appeared as pairs with the twist of keeping that fact hidden. While contemplating another relationship that could add mystery like in ‘Transit Love,’ we thought of siblings. There’s a downside of having to give up one romantic line, but having someone unconditionally on your side or who can support you at crucial moments was a key point. It was a small variation, but we thought it would make a big difference in the outcome. Initially, we approached the concept simply thinking it would be fun to have siblings appear together. However, after directly interviewing siblings, we realized it could expand into stories about entire families. Getting to know the participants as brothers, sisters, daughters, or sons from various angles allowed us to understand their characters more deeply. Considering the parents’ worries about having their two children on the show, we decided to visit and greet them. But once we met, they were so entertaining, and their interviews also made it into the show. The program’s direction expanded in this way through many changes during the planning phase.
When researching materials, it’s crucial to differentiate between items with potential for expansion and those without at the planning stage.
That’s why we had some ‘dead’ project proposals. After moving to JTBC last March, several plans were proposed, but there were ideas that felt like we couldn’t go any further. For example, a show featuring new celebrities has its limitations depending on who is cast. Ordinary people’s dating shows can change entirely depending on who participates, and the pool of candidates is endless. ‘My Sibling’s Romance’ allows viewers to imagine their family stories while watching the siblings and empathize with them. Imagining the family environment they grew up in and analyzing their current behaviors based on their childhood experiences is also possible.
Between “Transit Love” and “My Sibling’s Romance,” which casting was more challenging?
‘My Sibling’s Romance’ was much more challenging. The number of people we contacted through Instagram DMs was similar, but since the new IP couldn’t leak, we couldn’t reveal the program’s concept in advance. We only mentioned preparing a dating show, and after a tremendous amount of effort, when we thought someone was charming and opened up about the concept, responses like “I’m an only child” or “I have sisters” would come back, leading to failed castings. ‘Transit Love’ could pivot to another person if the first candidate had a disqualifying reason because there could be multiple ‘ex-partners,’ but this wasn’t possible with ‘My Sibling’s Romance.’ Since the parents also had to appear on the show, the casting was much more restricted.
There must have been those who declined offers from other dating reality shows but eventually joined yours. How did you persuade them to participate?
The writers are talented. They maintain friendships with people they met for interviews, even if they didn’t end up appearing on the show. I once asked about the source of the numerous cookies in our workshop, and they told me, “A friend from a previous interview gave them to us. (laughs)
Many viewers likely didn’t expect Se-seung and Jae-hyung to be siblings. I personally thought Se-seung and Jung-seop looked more alike. (laughs) Did you intentionally mix up the entry order and include people with similar appearances to confuse viewers?
That was our intended point of interest for the first episode. The fact that the first and second entrants were siblings was something neither the viewers nor the participants could predict. We advised them, ‘There will be many situations where just the two of you are left alone for three weeks, but you must never give it away. You need to be trained normally.’ Thanks to that, they were able to act diligently when they first met. At the same time, we didn’t want to deceive the viewers too much, except for Se-seung and Jae-hyung being siblings. Once one pair of siblings was identified, guessing the rest became easier. There were lines eliminated through the first episode’s Cupid note mission, and because we had to keep the secret for so long, there were many reaction shots we had to give up on. So, we didn’t put too much effort into the sibling guessing aspect.
Casting involves selecting participants who are likely to develop mutual attractions.
We detailedly inquired about each person’s ideal type during the interview phase. We did make some predictions about who would be attracted to whom once the shooting began. Even if it doesn’t seem likely at first, we consider the possibility that someone might grow attracted to another over time.
Do your predictions often come true?
They usually do. The ‘Transit Love’ and ‘My Sibling’s Romance’ team consists of about twenty-something people, and we all tend to have a similar eye for things. If A described their ideal type and it matches B, then A indeed shows interest in B once the filming starts.
One reason ‘Transit Love 2’ was so buzzworthy was Hyun-gyu’s aggressive courtship, introduced in the latter part as a ‘catfish’ to stir dynamics. Was his interest in Hae-eun also something you predicted?
We didn’t see that coming. It was really fortunate. During the planning stage, we didn’t know much about Hae-eun. As we started filming and editing, we got to know her better. That’s when we understood why Hyun-kyu showed interest in her.
How do you decide when to introduce new characters into an unpredictable situation?
Introducing new characters is incredibly important, as they could become the focal point of an episode. In a structure where secrets about the participants are gradually revealed, we consider where their introduction would be most effective. Too much shared information before the ‘catfish’ arrives can be problematic, as can having no secrets revealed at all, making it uninteresting. We aim for a timing that can elevate the tension.
Instead of having a perfect narrative from the start, you maintain a direction that captures the natural unfolding of events despite unexpected twists. What preparation is necessary to ensure the outcome remains engaging?
It’s crucial to allow the participants to do whatever they want, opening up possibilities for authentic content. For that, creating a conducive environment is vital. In ‘My Sibling’s Romance,’ the house played a significant role. It reminded me of when relatives gather in a large house during holidays, where adults stick with adults and peers with peers, creating a retro home vibe. We had to choose between a very luxurious home and the one you see on the show, which feels more like a cozy guesthouse. We opted for the latter to bring out a familial, harmonious atmosphere, aiming for a vibe similar to old sitcoms like ‘Friends,’ ‘Three Guys and Three Girls,’ and ‘Nonstop.’ The living room is like a common area where sitcom friends gather, and the basement is designed as a frequently visited hideout.
We need to show various types of families for viewers to immerse themselves fully.
Seeing Se-seung’s harmonious call with his dad in the first episode was heartwarming but also raised concerns. There was a worry that portraying a conventional four-member family might reinforce a ‘normal family fantasy.’ However, various family types, including single-parent families, appeared later. Was this diversity intentional from the interview stage?
We didn’t specifically aim to cast siblings for their representativeness. We just gathered attractive people, and through interviews, we discovered their diverse backgrounds. While many might consider the conventional four-member family as standard, maybe the real proportion isn’t like that? It’s essential to show various family types so viewers can better understand and empathize with the participants.
Deciding how much of a non-celebrity’s family story to reveal must have been challenging.
Before the second episode aired, we discussed with Cheol-hyeon and Cho-a what comments would be broadcasted. We also carefully consider every word that goes on air when we preview the content ourselves. Depending on what is included or excluded, the impact can be significantly different.
During ‘Transit Love,’ you mentioned not expecting ‘ex-partners’ to show lingering affection. Did ‘My Sibling’s Romance’ have any similar unexpected points?
There’s a segment where participants face their childhood. We inserted it quite lightly, but one participant, upon seeing an old photo, was reminded of past sadness and showed a lot of emotion. Others witnessing this started to ponder the hidden stories behind those reactions, which was unexpected.
How many cameras are installed? I’ve heard that some are hidden behind what appears to be mirrors.
It’s similar to ‘Transit Love,’ over a hundred cameras. However, they’re grouped by area and not always focused on the participants, so it’s not too overwhelming. Staff hide behind mirrors and have shifts. Except for interviews or mic changes, participants and staff rarely meet. Yet, having staff nearby provides participants with a sense of security. During ‘Transit Love,’ participants would hold back their struggles until they could share them with us in the interview room. Interestingly, ‘My Sibling’s Romance’ creates a slightly different dynamic since family members are present to talk about difficult topics immediately.
In the ‘Papillon Special – Lee Jin-joo PD Edition’ on Na PD’s YouTube channel, you mentioned not using dissolves for more realistic directing. However, ‘realism’ is quite broad. For instance, the authenticity pursued by ‘I Am Solo’ differs from that of ‘My Sibling’s Romance’ and ‘Transit Love.’ The latter focuses on showcasing attractive spaces and participants through color correction and careful selection, leaning more towards emotional authenticity.
I still prefer not to use dissolves, but I’m not as strict with my juniors about their directing choices. In ‘My Sibling’s Romance,’ when Se-seung’s dad called, the dissolve between the full shot and the tight shot of the phone matched the situation, so I let it be. Just as (Na) Young-seok senior respected my work, I aim to do the same. Making spaces and people look beautiful engages viewers. Attractive participants intrigue viewers about their words and actions, so we invest a lot in setting up spaces. It’s also crucial to select and compile what we believe to be ‘real’ from the interviews. For example, there might be a discrepancy between the actual events and the interview timing, where someone who was clearly struggling says they were fine. In such cases, we focus the editing on the situation itself.
‘My Sibling’s Romance’ and ‘Transit Love,’ despite being reality shows, are known for their original scores and diverse background music. Looking back, ‘Grandpas Over Flowers,’ ‘Youth Over Flowers,’ ‘Three Meals a Day,’ and ‘Yoon’s Restaurant’ series also followed this pattern. Selecting music suitable for broadcasting might differ from just choosing good music. How do you choose your tracks?
“Each piece of music is important, but their flow is what I consider crucial. If a loud, impactful song has just played, the next should be soothing, followed by something to build tension, and then something comical, and so on. This variation allows viewers to ride an emotional rollercoaster. Surprisingly, auditory tension is very important. Well-chosen music can make even potentially boring or long scenes engaging.
In the ‘Papillon Special – Lee Jin-joo PD Edition,’ Na Young-seok PD teased you about the high production costs. (laughs) Your directing philosophy seems to focus on not compromising on certain aspects, even at the expense of budget, to produce high quality broadcasts and achieve success. Do you have a principle for deciding between sticking to your guns and making compromises?
When looking at the budget details, I realize I don’t waste money on unnecessary things. However, the total amount adds up to something significant. (laughs) I never skimp on the visual aspects. A lot is invested in the setting and art direction. And casting is something I cannot compromise on. For example, if I feel the lineup is weak, I’ll ask to look for more people. This means paying the writers for an additional month or two, along with extra costs for interview locations and camera rentals, but it’s something I can’t give up on. When preparing for ‘My Sibling’s Romance,’ we had a set of siblings ready for shooting, but I wasn’t satisfied. Some of them, I couldn’t be sure wouldn’t cause any issues after the broadcast. So, I decided to extend the preparation period.
There have been instances in other dating reality shows where a participant’s past led to controversy. Screening for potentially controversial participants must also be necessary.
We discuss this during casting. We ask if there’s anything in their past that could become an issue if it resurfaces, considering ‘My Sibling’s Romance’ could affect not only themselves but also their siblings and parents appearing on the show. Some people withdrew from participating after this conversation. The format of ‘My Sibling’s Romance’ itself acts as a filter.
Did you ever consider casting siblings who don’t get along well? The current participants seem to have a deep bond.
I wanted to cast such siblings and met with some. Their bickering and the so-called ‘hate-watching’ aspect were entertaining for variety. However, after further discussions, we found disqualifying factors. It was challenging to find people who were both appealing and had good character, yet had a poor relationship with their siblings.
By the second episode, all siblings were revealed, and narratives emerged. What can we look forward to in future episodes?
Expect some breathtaking love lines? (laughs) There will be feuding siblings and times when kin become supportive allies. You’ll see attempts to get close to someone’s blood relative to win over their love. Essentially, while ‘My Sibling’s Romance’ may not have as lethal a setup as ‘Transit Love,’ it promises its share of amusing moments. People do enjoy and get immersed in positive stories, as seen from the reaction to ‘My Sibling’s Romance.’
You wanted to become a journalist before joining CJ ENM.
I wanted to write while holding a stable job as a regular employee. The idea of being a journalist, which would allow me to refine my writing in a stable environment, was very appealing. (laughs) I even went to a magazine company, ‘Jazz People,’ out of the blue, offering to work for free just to get a chance. I took many journalist exams while in a study group for journalism exams but failed the interviews, possibly because I seemed too timid for journalism. That led me to apply for the CJ ENM PD open recruitment. Back then, CJ ENM had a very innovative hiring process. If you passed the document review, you had a ‘PD audition’ where you could freely introduce yourself for 3 minutes. I sang a self-composed song I made for ‘Anam Superstar K,’ and they must have liked it. I was guided to tvN during my internship, and at that time, tvN was gaining recognition with shows like ‘Taxi,’ ‘Roller Coaster,’ and ‘Martian Virus.’ Looking back, it was fortunate that the channel’s growth paralleled my career.
What programs did you work on before taking on ‘Grandpas Over Flowers’ as an assistant director?
I worked on ‘Comedy Big League,’ ‘Birth of a Rich Man,’ and ‘Perfect Sales Plan.’ Working on ‘Birth of a Rich Man’ required me to learn about real estate contracts and starting a business. I never thought, ‘Why do I have to do this as a PD?’ I just saw it as part of my job, which allowed me to experience the excitement of starting a business and the thrill of the first day of business. Perhaps because of that experience, it seems connected to ‘Yoon’s Restaurant.’ (laughs) I’ve mostly done location-based variety shows, and knowing how to handle real estate contracts as a PD turned out to be quite important. If you’re making a show that settles in a particular place, building a good relationship with the landlord and managing real estate contracts and interior design are necessary.
You had an early opportunity as a main director with ‘Yoon’s Restaurant,’ your own planning, which became a hit. However, your ability to direct was recognized by your seniors, having created teaser for ‘Grandpas Over Flowers’ and ‘Straightforward Soon-jae’ character.
I prefer editing that involves being chased, conflicts, getting lost, or emotional disturbances. I also wanted to work on scenes that made people’s hearts flutter or feel romantic. So, senior (Na) Young-seok entrusted me with many such scenes. From the ‘Three Meals a Day’ and ‘Yoon’s Restaurant’ series to ‘Transit Love’ and ‘Transit Love 2,’ and now ‘My Sibling’s Romance,’ I’ve created the moment of entering a new space in all of them, choosing music that evokes a sense of romance.
After the success of ‘Yoon’s Restaurant,’ you unexpectedly moved to drama production with ‘When the Devil Calls Your Name.’ You also directed music-related variety shows like ‘Mom Is An Idol’ and ‘Shiny Startup: Bitdol Planning,’ which is noticeable.
The task of staring at footage in an editing room all day, from a time that’s already passed and in a different season, became too exhausting. I wanted to try something different. Of course, drama production had its challenges, and I returned to variety after a year. (laughs) ‘Mom Is An Idol’ and ‘Shiny Startup: Bitdol Planning’ were projects where I supported another main PD, and those experiences were delightful and fulfilling. I’m still willing to help out a friend PD with their directing. After becoming a main director and leading a program, the continual leadership role seems too demanding. I wish there was a system where after working on my program, I could help out with another and then return to my own projects if a good idea comes up. I still prefer being assigned a limited role over gaining more authority and responsibilities.
Do you want to remain on-site rather than at a desk as you age?
I think I’d feel suffocated not being on-site. Trying to impose my views on practitioners from behind a desk seems incredibly difficult and not something I’ve imagined for myself.
In an era where short videos like YouTube Shorts, TikTok, and Instagram Reels dominate consumption, lengthy episodes of ‘My Sibling’s Romance,’ reaching up to 2 hours and 29 minutes, are also loved. How do you see these extremes coexisting?
When I was an assistant director under senior (Na) Young-seok, I often heard him and writer (Lee) Woo-jung say to think of editing the program as compiling interesting YouTube clips. By gathering entertaining 3-4 minute clips, even a show longer than 2 hours can remain engaging. The incidents in a house happen sporadically. Rather than weaving them into a single coherent story, presenting each event happening in different spaces in a choppy manner allows for a long broadcast to stay interesting.
With the decline of traditional TV viewers and the rise of content investment by OTT platforms, the metrics for success have changed. As a variety show director, what are your thoughts on creating content that people love?
There are plenty of interesting videos on YouTube. If we try to make something similar to YouTube content, we won’t stand out. We need to create well-made content that’s worth paying for. The content must show the effort of the production team, visible through the screen. We need to deliver quality that matches the investment of time, money, and professional expertise.
To keep your directorial instinct sharp, are you making any conscious efforts? Like actively following current trends.
I’ve never been good at following trends. Even if I tried to be trendy, would I succeed? Instead, I surround myself with trendy people and listen to them. It’s important to create an environment where they can freely disagree with my opinions. More than catching up with current trends, understanding the changes in societal consciousness is crucial. Recognizing that what was acceptable in the past may not be okay now is important. This awareness, rather than chasing the latest YouTube hits or memes, is what a director should focus on being trendy.
In ‘My Sibling’s Romance,’ a participant said they thought it was a hidden camera prank, but the subtitle changed it to ‘surprise camera.’
It’s essential to be able to follow such suggestions from those around you. There needs to be internal agreement that the times are changing. If there’s a trend that directors need to pursue, it’s these changes, not the latest YouTube or meme trends.
Variety writers and directors often have a ‘geek DNA,’ a history of deep involvement in something. Do you?
I do. I didn’t read many comic books as a child because I felt a ‘hangover’ after diving into them. I was afraid I couldn’t control myself once I got hooked, so I regulated myself. Even now, I hesitate to start something new. However, I ‘geek out’ over our participants. (laughs) I’m obsessed with the cast members of our shows, knowing them down to the smallest detail and adoring them in the editing room. I know the lines from their home videos well enough to mimic them perfectly. Generally, those with a history of deep involvement tend to work in this field. Sometimes, I marvel at my job. Despite years of working, my heart still races, and I can find joy and laughter in the videos I edit.
What kind of director do you aspire to be in the future?
I want to be a director that people want to work with. Although I’m representing ‘My Sibling’s Romance’ in this interview, many crucial scenes were produced by other team members. When ‘My Sibling’s Romance’ is praised, I feel guilty for getting all the credit. The contribution of junior directors and the rest of the team is significant, sometimes more so than my own. Variety shows are a collaborative effort. It’s important to produce successful shows, but if junior staff feel burnt out without growth, who would want to work together? Having talented colleagues and juniors is essential for continuing to work in this field. I also dream of creating a team that feels like a club. When I was at CJ ENM, someone said I treated the company like a club, which I didn’t see as a flaw. If going to work is as exciting as attending a club, creating an environment where work is fun, I believe we can continue to produce good programs after ‘My Sibling’s Romance.’
Source: Cine21