1. What are your responsibilities at Netflix as the VP of content (in the APAC countries excluding India)?

  I collaborate with writers, directors, and producers in the Asian Pacific regions excluding India (including East and Southeastern countries such as Korea, Japan, Thailand, Indonesia, and Australia) to produce different content (series, movies, documentaries, variety shows, animation, etc.) or buy content from studios or distributors. Nowadays, Netflix purchases a considerable amount of content from Asia, so I naturally work with colleagues stationed in various countries and directly communicate with the local creators.

  2. You must have had many experiences throughout your career that led you to your current position. Please tell us about your experiences since you started your career.

  I have consumed a lot of "content" since I was young. I watched movies, plays, musicals, TV shows, cartoon books, novels, and so on. It was natural for me to be interested in the entertainment industry. I wanted to experience many things within the industry to find what I really wanted to do. I worked as the stage manager for several musicals and then learned about the distribution process of broadcast content at BCWW, which runs an international broadcasting content market. Just when I wanted my work to be more related to the content, I joined an independent production company called Group8, where I learned how to plan and promote TV dramas. I then enrolled in the Business School to gain the knowledge needed to develop my business acumen, where I had the opportunity to earn a double degree at ESSEC in France. After graduation, I worked at NBC Universal (France) and CJ ENM (Korea), where I was in charge of global projects. Through the experience, I gained an understanding of Korea's strengths in overseas markets and learned how to apply them as I experienced various communication methods and problem-solving processes. After going "digital" became a trend in the media industry, I joined Twitter because I wanted to know what going "digital" actually meant. This was when my idea of content was wholly transformed because, at that time, you could only create postings using "texts" without using images or videos on Twitter. I came to realize that not only TV dramas or movies that cost billions are content, but everything can be content. That was when I began to have a more flexible view of "content." After experiencing the many aspects of the media and entertainment industries, I wanted to work on content again and took the opportunity to join Netflix.

  3. I heard that Netflix has a higher rate of user growth in Asia. You must be devising various strategies to target Asian users. Can you tell us one of your most representative strategies?

  The ultimate goal of Netflix is to always present the best entertainment experience. This is why we constantly work to find original content you can "exclusively find on Netflix." I do not think I will be exaggerating when I say that the answer to this question lies in the "content from Korea." Korean creators, with their remarkable sensibilities and abilities to meticulously describe emotional details, have met Netflix, which can simultaneously release content in 190 countries worldwide, thus creating an unprecedented synergy. Korean content graces the top 10 list in Asian countries every day and gathers viewers around the world to the screen by presenting a different perspective on the entertainment industry, once dominated by Hollywood content.
  Netflix will continue to collaborate closely with Korean creators and make greater efforts to expand the stage for Korean content. Netflix released 21 Korean shows only in 2022, and investment in Korean content is ongoing. We are also actively supporting the export of Korean content through localization, which mainly involves dubbing and subtitles. Netflix hopes to continue this fantastic synergy with high-quality Korean content with captivating stories.

  4. One of the most fiercely discussed topics regarding Netflix these days is the "Netflix Basic with Ads" plan. Why did you introduce this plan, and what do you anticipate from this plan?

  Netflix's focus is not only to provide diverse content but also to create the ideal "viewing environment" for its users. The Basic with Ads Plan Netflix launched this year was also created to provide our users with more options. In addition to the existing three plans that differ by the number of supported devices at a time and the video quality, Netflix now offers four plans with the new Basic with Ads plan, which allows members to choose plans that best match their lifestyles. The new membership has been first offered to twelve countries with active ad markets, and we expect to meet the various needs of our users.

  5. As a witness to Netflix's progress, could you share your vision on the future of OTT media services or how the consumption of media content will change?

  The most significant change brought by the launch of Netflix is that now we have an environment to watch the content we want, anytime and anywhere, regardless of country and culture. In terms of content, I expect that future content will not follow the standardized path for popularity by casting "Hallyu stars" or "star writers." Instead, content from various genres that satisfy even the minor tastes of individuals will gain popularity. In addition, now that the creators are free from broadcast programming, I think there will be more attempts to do things differently by matching the length, number of episodes, and format with the storytelling.
  Now that there are more streaming services, I think "individualizing" the viewing environment to satisfy each individual taste of the viewers will become more important. Netflix has introduced rating functions such as "I like this" or "Love this!" so that it can accurately identify the viewers' preferences and recommend content based on this information. It also provides "personalized posters" to appeal to the viewers in the short time they choose what to view in consideration of their viewing history. Users will see different posters of the same work depending on their favorite content styles, such as their preferred actors, genres, and mise-en-scene. Comparing your posters to those of your friends or family members with different tastes can be another fun way to enjoy Netflix.

  6. What is Netflix's next step and strategy in the long run?

  I believe content can be successful when it goes beyond the success of the "content" and sparks a cultural conversation in response to the various stories and questions within each content. We have witnessed how content can become a "cultural phenomenon" consumed worldwide through Squid Game. We all watched Parisians or New Yorkers enjoying Korean culture by making dalgona and playing ddakji-chigi. This is why Netflix works to build an environment where people can enjoy and talk about content in various ways and make its content successful.
  Accordingly, Netflix is trying to use new materials, genres, and formats. Take the Korean series this year; Netflix featured shows using innovative materials onto the screen; Juvenile Justice, which concerned juvenile crimes; the Sound of Magic, a fantasy music drama; and Glitch, a thriller about an unidentified entity. It also became more diverse in the genre by producing variety shows, including Korea No. 1 and Take 1, and movies, such as 20th Century Girl, Seoul Vibe, and Carter. Through these attempts, Netflix plans to expand the scope of "must-watch" content for entertainment fans around the globe.

  7. Many business major students dream of working at Netflix or in the content business sector. Please share any advice you may have for the students.

  Squid Game, which is a Korean show created by Korean creators based in Korea, was the first non-English content to win six trophies at the 74th Primetime Emmy Awards. Korean content is expanding its stage beyond Asia to the world. Accordingly, the domestic creative ecosystem now has boundless opportunities. Content is not only made by actors, writers, and directors but is a work of collaboration that involves VFX experts, special effect makeup, sound effects, dubbing, subtitles, and more. As massive as the creative ecosystem is, there are more opportunities for you in the content business sector. I hope that the readers of this interview embrace the creative ecosystem behind the screen and pursue their dreams and take on the challenges.

  8. Lastly, can you tell us about your favorite shows or shows you recommend?

  I recommend The Two Popes, The Queen's Gambit, First Love, Little Forest, Extracurricular, and Squid Game.