The World of the Married, which became the hottest topic of the year, ended on May 16 in the spotlight. The biggest reason behind its success is actors’ passionate performances. However, their actings became even more brilliant thanks to the background or the film set that perfectly fit the character.
OSEN met Choi Gi Ho, the art director of The World of the Married, and asked about the secrets of the space that perfectly reflected the characters.
Q1. The “house” played an essential role in The World of the Married. What was your main focus?
A1. Ji Sun Woo’s house is designed so that you can unconsciously feel the family’s fragmented psychology. For example, the kitchen where Ji Sun Woo stays and the living room where Lee Tae Oh spends most of his time are different in height to reveal the difference in status between the two. Also, we created holes in the wall that stand between the two spaces, intending to show the secrets and doubts. Also, stairs are an important factor. The oblique structure of steel materials has visually maximized the uneasy relationship between the two.
Q2. Are there any special requests from director Mo Wan Il?
A2. During the first meeting, director Mo Wan Il said he hoped Ji Sun Woo’s house would be made so that female viewers would say, “I want to live in that house.”
Q3. Do you have any interesting episodes while preparing the props?
A3. When we first filmed at the kitchen, there were fruits on the table, and Kim Hee Ae said that she wanted to express her love for Jun Young with the fruit. Since then, the prop team placed different fruits every time.
Q4. The dress rooms of Ji Sun Woo and Yeo Da Kyung are very similar. What did you pay attention to?
A4. Yeo Da Kyung’s dress room is different in tone from Ji Sun Woo’s dress room, but we keep the same location and orientation of the wardrobe or dressing table, drawing out a natural deja vu.
Q5. Is there anything you wanted people to pay more attention to?
A5. The house of Lee Tae Oh and Yeo Da Kyung planted many metaphors using paintings. At the entrance of the couple’s bedroom, a butterfly painting, meaning a playboy, was hung, and a wedding dress painting was placed inside. These symbolize Yeo Da Kyung, who wants to protect her marriage, and Lee Tae Oh, who tries to go outside. Then we hung pictures of animals staring straight right across the dining room, Jun Young’s room, the couple’s room, and the baby room to express how those who formed a new family cannot escape from the attention and relationships from their surroundings. The painting of the faceless man in Tae Oh’s room refers to characters in the play who live on after losing precious things.