Producer of 'The King's Warden' Says, "Director Chang Hang-jun and I Were Really On Edge Before Release... I Finally Slept Soundly After Seeing the Lunar New Year Numbers"

[The Financial News] As "The King's Warden" surpassed 12 million moviegoers on the 36th day of its release on the 11th, Lim Eun-jung of Onda Works, who planned and co-produced the film, recalled with a laugh, "Even just two days before the release, director Chang Hang-jun and I were really on edge."
Lim, who previously worked at CJ ENM, scored a massive box-office hit with her first film after leaving the company in 2023. Meeting at a café in Samcheong-dong, Jongno District, Seoul, she said, "After the press and preview screenings, I hoped we would at least break even, but as we got closer to opening day, advance ticket sales were not rising as much as we had expected, so I was very worried."

Lim said, "Two days before the release, director Chang Hang-jun and I were on pins and needles," adding, "Our first goal was to break even, and the second was to double that." Even right after the film opened, the production team could hardly relax. She recalled, "When we finally passed 1 million admissions on the first weekend, we were as happy as if we had hit 10 million."
Released on February 4, the film drew 147,538 viewers on its opening day. It attracted 1 million viewers in its first week and 2.32 million by the second week. Then, on the first day of the Lunar New Year holiday on the 16th, cumulative admissions reached 2.86 million, followed by 3.52 million on the 17th and 4.17 million on the 18th. Strong word of mouth gave the film powerful momentum in the later stages.
She recalled, "I checked the numbers constantly for three days straight, and on the last day of the holiday, I finally went to sleep feeling happy."
She also reflected on what the film’s success means for theaters that have struggled since COVID-19. "These days, many senior and junior filmmakers tell me, 'Thank you,'" Lim said. "They say, 'When everyone hesitated after COVID, thank you for running like a crazy person,' and when I hear that, I also feel a sense of responsibility." She added, "The message of the film is about mourning and responsibility for the things we failed to protect. I hope this work can serve as a small primer for the next generation of films to be born."

Before "The King's Warden," none of Chang Hang-jun’s previous films as a director had surpassed 1.5 million admissions. On variety shows, he was better known for his talkative and lighthearted image. Some people even questioned why he had been chosen to direct this project.
Lim recalled, "Because of the image he had built up on variety shows, some people reacted by asking, 'Why Chang Hang-jun?' But back when I was on the investment team, I often heard that he was highly regarded as a screenwriter." Watching his previous film "Rebound" in particular, she felt that his attitude and emotional tone toward his characters were exactly what this project needed.
At first, Chang hesitated to direct for several reasons. "Because theaters were going through a tough time, the director had a lot on his mind as well," Lim said. "I persuaded him by saying that since no one else was willing to take on projects at this moment, it could actually be an opportunity. To use a colloquial expression, I told him we should 'raid the empty house,' and he said that made sense." In the end, Chang joined the project and played a key role in the adaptation process.
Lim cited the "by-the-book production process" as one of the reasons for the film’s success. "During the planning stage, we listened to a wide range of opinions from actors, investors, and others, and went through multiple rounds of revisions," she explained. "Rather than dismissing anyone’s input, we tried to incorporate it, and we received feedback that the film improved as a result." She added, "Speaking as someone who came from an investment and distribution background, I dare say that films that go through this kind of process at least manage to break even."


"The King's Warden" draws its box-office power from the deep sorrow of those left behind who could not protect a young king, a grief that profoundly moves audiences. Despite mixed reactions to the first half, the second half pierces viewers’ hearts, prompting praise such as, "You enter the theater as a moviegoer and leave as a subject of the king," and, "It fills the gaps in history with a warm glow." This emotional response has led audiences to visit Yeongwol County, where King Danjong of Joseon was exiled, and even to post angry comments on the information website for the Gwangneung Royal Tomb, where Sejo of Joseon—who usurped the throne from King Danjong—is buried, showing how deeply viewers have immersed themselves in the story.
The starting point for the film’s conception was also "a painful sense of regret over the things we failed to protect." Lim said, "After social disasters such as the Sinking of MV Sewol, we all say that we must remember, but in many cases, time passes and people forget," adding, "I thought one of the roles of cinema is to make us remember what must not be forgotten."
"I wanted to make a film that treated King Danjong of Joseon and Eom Heung-do, real figures from history, with proper respect. Seeing acts of mourning actually take place made it resonate even more deeply, and it gave me a strong sense of purpose in making films."

jashin@fnnews.com Shin Jin-a Reporter