A Quote by Son Ye-jin

I usually get out of my roles easily when dramas end. — © Son Ye-jin
I usually get out of my roles easily when dramas end.
People always ask me, 'Why so many historical dramas?' Because those are the best roles I get to play, and I get to play heroes in those roles.
I'm definitely a fan of sort of dramas, independent sort of social dramas where you play really challenging roles. Every actor wants to play those dark roles and it's definitely true for me and I'd love to kind of challenge myself in any way possible.
I think I'm interested in these kinds of character dramas, psychological dramas, domestic dramas, whatever you want to call them - comedy dramas.
For a long time, way back in the ’30s and ’40s, there were fabulous female roles. Bette Davis and all those people had incredible, great roles. After World War II, something happened where it was not only "get out of the factories," but "get out of the movies." That's when women's roles started to really [change].
I easily get bored when I have to play the same kind of roles.
A lot of people think that you easily get roles because you do music. I mean, you could knock on the door faster than anybody, but it doesn't necessarily get you in.
People like you in negative roles, they want to see you only in negative roles and thus you get typecast. At the end of the day, what matters is whether the audience loves you or not.
All my cop/gangster dramas have been spaced out, but somewhere, the films in which I played the bad guy were extremely successful, so people are under the impression that I play only such roles. I call it selective amnesia.
I know a lot of guys say that when they are younger - 'I'm gonna get it, get my money, and get out' - and then end up wrestling until they're 50. But that could end up being me, too. I can tell you I want to get out early and end up eating my own words. All of a sudden, I'm 50, and I'm still walking out there.
All the genres are so blended nowadays. There are lots of comedies out there that are more realistic than dramas, and some dramas out there that are so broad and wacky that they don't even pass for a broad, wacky comedy.
The nature of the business is that, once you start proving yourself and the more roles you get, the more exciting the roles that you're able to go out and do auditions for, or that you're being offered, get. You have more choices.
You have to get out of your comfort zone in order to grow. And as an actor, you don't become Meryl Streep by doing the same type of comedy. You get there by being challenged. And unfortunately, there's a lack of roles for women of color, so you actually have to be the engineer creating some of those roles.
I like roles of people who can overcome things because there's strength in that and an arc - and roles where they start in one place, and toward the end of the script they end up in a completely different place, so you've seen this growth and some humanity in the role.
In the 1990s, when I made my debut, an artiste would get easily stereotyped. So I only got the roles of didis, bhabhis, chachis and buas.
I have actually lost a couple of roles - film roles - because a director or producer thought I looked too much like George Costanza, and I could not get out of that box.
There are so many good roles for women out there, I don't understand it when people say the role choices are fewer as you get older. I find the opposite to be true - there are less good roles out there for the hot 20-year-olds because the normal girl parts just aren't interesting.
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