Park Seo-joon’s Lee Kyung-do reveals his humanity through the daily work of an entertainment reporter.
The actor says he drew on memories of countless early-career interviews to inhabit the role.
Meanwhile, the director’s background as a reporter helped make the small details ring true.
The newsroom set recreated the office atmosphere and helped the actor fully immerse himself.
Recreating newsroom routines from memory: a context bigger than romance
Memory as a starting point
It begins with short, precise recollection.
Park Seo-joon revisited meetings with reporters from his debut years as part of his preparation.
He linked the experience of meeting many outlets in a single day to his character’s rhythm.
Those memories are not mere anecdotes.
Instead, they act as a practical handbook for occupational detail.
They also help him grasp the subtle balance of power between reporters and actors.
How he prepared
The preparation was meticulous.
The actor aligned his rhythm with the director through conversation.
Director Im Hyun-wook, a former reporter, could offer hands-on advice.
"I found myself tracing my own memories back,"
that remark shows the method.
Beyond imitating appearance, he studied how a reporter asks questions and keeps pace.
In that process, Park carefully recalled the tension, laughter, and silences from being interviewed.
Value of on-set realism
Sense of place is crucial.
The Dongwoon Ilbo set was designed like a real newsroom.
Park says he sank into the role the moment he stepped on set.
A realistic environment directly helps an actor embody a professional identity.
Therefore each element—lighting, props, desk arrangement—shapes the fine details of a performance.
Such physical recreation also conveys authenticity to viewers.
Collaboration with the director
The director’s background matters.
Im Hyun-wook is known to have worked as a reporter.
His experience explains even small workplace norms.
"A reporter’s day is made of office noise and relentless continuity,"
that guidance deepens the portrayal.
The director described the tone of editorial meetings, the pressure before deadlines, and how seniors and juniors communicate.
The actor used those conversations to detail Lee Kyung-do’s work habits and relationships.
The line between acting and lived experience
The boundary is thin.
Actor memories become an internal perspective, but they have limits.
Early interviews were records of outside observation.
So the production combined advice from working reporters with the director’s experience to balance the depiction.
Meanwhile, drama must compress or adapt reality for narrative purposes.
That tension is the main fracture between acting and reality.
Realism vs. dramatic adaptation
Two views collide.
First, the case for realism.
Second, the argument for dramatic necessity.
The realism side emphasizes the complexity of journalism.
They argue that continuity of work, deadline pressure, ethical conflicts, and office politics are not mere backdrop but driving forces for story.
In particular, entertainment reporters balance the industry and the media, and the ethical tensions and personal conflicts that arise can keep a drama from becoming mere romance.
Therefore this view holds that the actor’s research and the director’s detailed notes are not decoration but duties to portray the profession fairly and deeply.
They also believe realistic depiction raises viewers’ media literacy and earns the trust of professionals. From this perspective, Park’s memories and the director’s reporting experience are more than prep; they are ways to secure occupational truth.
On the other hand, advocates of dramatic adaptation raise other concerns.
They see drama’s essence as narrative efficiency and emotional impact.
The entertainment reporter setup is a framework for a character’s actions, and occupational details may be condensed or changed to keep viewers engaged.
This view warns that strict fidelity to facts can slow pacing and blunt emotional delivery.
If the production prioritizes romance and delicate human relationships, a reporter’s daily work may only function as background.
They also point out that because attracting an emotional response is the priority, overemphasis on realism can hurt a drama’s popular appeal.
Ultimately, these positions ask how to balance factual integrity with storytelling in TV production.
Case studies: success and failure in realism
We look back at past works.
Some shows succeeded in professional research.
Others were criticized for excessive adaptation.
"Sometimes realism adds weight to the story."
Examples offer lessons.
Shows that got the details right earned professionals’ sympathy and long-term credibility.
By contrast, productions that sacrificed facts for short-term interest faced criticism.
Fans and viewer expectations
Expectations vary.
Some fans want romance.
Others want a vivid sense of the job.
That split limits producers’ choices.
Meanwhile, an actor’s preparation can partly meet both needs.
Park’s use of personal memory to build detail adds credibility even within a romantic approach.
Conclusion and questions
To sum up: Park Seo-joon combined personal memory with professional advice in his preparation.
The set and the director’s background helped secure realism.
However, dramatic demands will always clash with reality.
The key is balance.
That balance is a major point of judgment for a show’s quality.
Finally, to close: an actor’s lived experience is useful for immersion.
Still, the production must work to represent a profession’s inner life sincerely.
Which would you prefer in drama: faithful job portrayal or dramatic adaptation?
