Director Jang Sung-ho has proven that Korean films can compete in the North American market, as evidenced by the success of the animated film ″King of Kings.″ This film, created entirely with Korean technology, has grossed $60 million (approximately 82.7 billion won) in North America, making it the highest-grossing Korean film of all time. ″King of Kings″ is a Christian animated film inspired by Charles Dickens’s novel ″The Life of Our Lord,″ depicting the journey of British author Charles Dickens and his youngest son, Walter, through significant biblical stories.

Previously, Bong Joon-ho’s ″Parasite″ held the record with $53.84 million in North America. ″Parasite″ had a limited theatrical release in North America to qualify for the Academy Awards as a foreign-language film, and its win for Best Picture brought it considerable acclaim. In contrast, ″King of Kings″ was designed for the North American audience from the outset and produced in English, allowing for a wide release that mirrored other North American films, leading to its remarkable box office success.

The journey to this achievement involved significant effort from Jang Seong-ho, CEO of Mopac Studios. A first-generation VFX artist in Korea, Jang spent nearly a decade directing this film. His background as a technician and businessman, along with his thorough analysis of the North American market, contributed to the film’s success. He often emphasizes the concept of ″Hollywood standard quality,″ highlighting the need for a compelling story to resonate with American audiences.

Reflecting on his feelings about connecting with Korean audiences after the film’s success in North America, Jang admitted he felt calm during the U.S. release but was nervous about the domestic launch. He noted that while box office data from U.S. distributors provided a clear picture of performance, the domestic market is more unpredictable. ″King of Kings″ topped the box office in Korea just five days after its release on July 20th.

Jang explained his strategic choice of release dates, noting that Easter is a significant season in the U.S., making it an ideal time for a film centered on Jesus. The domestic release was timed ahead of summer vacation, capitalizing on its North American success.

From the planning stage, ″King of Kings″ was aimed at the North American market. Jang, who had no prior experience in directing animation, chose this format because he believed it would set different expectations. He was confident that Christian content would be a profitable niche.

Drawing inspiration from Dickens’s ″The Life of Our Lord,″ Jang aimed to prioritize entertainment and storytelling over moralistic perspectives. He wanted to create a film that would resonate with audiences, using the format of a father sharing stories with his son.

″The King of Kings″ is the first biblical animated film to receive a wide release in North America in 27 years, following ″The Prince of Egypt.″ Jang noted that as American films increasingly focus on overseas markets, the production of Christian content has declined, presenting a unique opportunity.

The film debuted at number two at the box office during its opening week and remained in the top 10 for about four weeks. Jang expressed confidence in the material’s universal appeal to American audiences, which influenced his collaboration with local distributor Angel Studios. After completing the film, he found Angel Studios’ distribution terms particularly appealing.

He also discussed the collaborative efforts with co-producer and cinematographer Kim Woo-hyung and producer Jamie Thomason, emphasizing that filmmaking is a collective endeavor. Jang applied his experiences from live-action films to the animation process.

Building a network in Hollywood was another key aspect of Jang’s journey. He established relationships through his VFX work on the American drama ″Spartacus″ and expanded these connections through various projects.

With a production budget of 36 billion won, ″King of Kings″ was financed without major domestic investment or distribution company backing. Jang explained that he utilized every legal means to secure funding, initially reaching out to friends and acquaintances for support.

Jang highlighted the importance of resonant content, stating that the film’s success stemmed from its direct business approach. ″King of Kings″ features characters that connect with both domestic and international audiences. He dedicated significant time to the artwork, aiming to achieve a level of quality comparable to Disney without imitating it.

The film explores the relationship between Dickens and his son Walter, intertwining their connection with the story of Jesus. Jang aimed to balance these narratives effectively.

He also discussed the careful portrayal of Willa, a cat in the film, explaining that Willa plays a crucial role in mending the father-son relationship.

Regarding the voice acting, Jang sought a natural performance using everyday language, which led him to cast well-known stars instead of professional voice actors.

Finally, Jang expressed surprise at the local media’s reaction to the global success of Korean animation, noting that ″King of Kings″ achieved significant recognition without the backing of a major North American distributor.

As a pioneer in the Korean VFX industry, Jang anticipates that the rise of AI will make implementation easier but will challenge creators to produce unique outputs. He believes that in the future, those who can deliver creative and distinctive results will stand out.

Having begun his directing career with animation, Jang also plans to explore live-action films. He stated, ″I think it’s irresponsible to take other people’s money and pursue personal art. I should do what I want to do with my own money.″

Mopac Studios plans to increase its focus on animation production, with Jang stating, ″’King of Kings’ is the first successful example of Korean animation in North America, so I plan to produce more animations for the time being.″