Jo In-sung: Na Hong-jin Made Us Try Hats Six Times

Actor Jo In-sung has lifted the curtain on director Na Hong-jin's legendary obsession with detail — revealing that the two leads spent an afternoon trying on hats just to get a single look exactly right.

On July 24, the YouTube channel 채널십오야 (Channel Sipoya) — helmed by celebrated variety producer Na Young-seok — posted a new episode titled "Na Young-seok's Wagle Wagle" in which the stars of the summer blockbuster Hope made a guest appearance. Jo In-sung, Hwang Jung-min, and Jung Ho-yeon sat down with Na Young-seok for a candid conversation that quickly turned into a behind-the-scenes exposé of director Na Hong-jin's almost mythical perfectionism.

Hat Fittings, Badge Gloss, and a Director Who Never Settles

Jo In-sung set the tone early when the conversation turned to working with Na Hong-jin. "He has his own sense of style that he refuses to let go of," the actor said. "That unique color of his, that uncompromising aesthetic — that defines him."

What followed left even the seasoned Na Young-seok visibly amused. Jo In-sung recalled that choosing a single hat and a pair of trousers for his character took an unexpectedly long time. "I must have gone through five or six fittings just for the hat," he said, shaking his head. Jung Ho-yeon quickly chimed in with her own experience: "I only had one police uniform in the entire film, but I still went through three fittings. He wanted to see exactly how the fit and color read on camera — and then he held a separate meeting just to decide on the shine level of the badge."

The room fell quiet for a moment before the laughter broke out. For a single badge on a police uniform that appears in a handful of scenes, Na Hong-jin convened a formal meeting.

A Director Who "Tricked" Jo In-sung Into the Film

The badge-gloss meeting was only part of the evening's entertainment. Hwang Jung-min disclosed that he had agreed to star in Hope before even reading the script — a decision rooted entirely in his trust of Na Hong-jin after their collaboration on the 2016 supernatural thriller The Wailing. "When Na Hong-jin calls, you say yes first," Hwang Jung-min said simply.

Jung Ho-yeon's path to the film was equally unexpected. It was Hwang Jung-min himself who recommended her to Na Hong-jin after noticing her work, and she received the script only after that endorsement opened the door.

Jo In-sung's story, however, drew the biggest reaction of the night. He had been recovering from knee surgery when Na Hong-jin approached him and explained his limitations upfront: intense action sequences would not be possible. Na Hong-jin responded quickly and reassuringly — "You won't need to run at all, don't worry" — and the casting was confirmed almost immediately. The reality on set, as Hwang Jung-min gleefully pointed out, turned out rather differently. "You got played," Hwang Jung-min told Jo In-sung on camera. "That wasn't being taken care of — that was being hooked." Jo In-sung could only laugh in acknowledgment.

The affection behind the story was unmistakable, and Jo In-sung acknowledged that despite the physical demands that did ultimately materialize, the experience was one he would not trade.

Na Hong-jin vs. Na Young-seok: Two Masters, One Shared Obsession

One of the more quietly insightful moments of the conversation came when screenwriter Kim Dae-ju joked that Na Young-seok was "the director with the least attention to detail." Jo In-sung pushed back with characteristic warmth: "Actually, the two of them share one very important thing — tenacity. The kind of single-minded insistence that refuses to let go until it is right."

Na Young-seok protested lightly, saying he only pushed that hard because the cameras needed to keep rolling. Jo In-sung was unconvinced. "Is that not what we all do? We push because we want the best possible image. That is exactly what Na Hong-jin does, too."

The comparison between Korea's most beloved variety producer and one of its most uncompromising film directors landed as both funny and unexpectedly profound — two creatives from opposite ends of the entertainment industry united by the same refusal to accept "good enough."

Hope Closes In on Three Million Viewers This Summer

Hope — directed by Na Hong-jin — has been one of the defining films of the Korean summer box office in 2026. Hwang Jung-min returns to work with Na Hong-jin for the first time since their celebrated collaboration on The Wailing, joined by Jo In-sung and Jung Ho-yeon, who rose to global recognition through Netflix's Squid Game. As of late July 2026, the film is closing in on the three-million-viewer milestone.

The Channel Sipoya episode offered fans a rare glimpse into the human side of a production defined by its secretive director. Na Hong-jin is known for keeping the details of his projects closely guarded, which made the actors' candid anecdotes all the more welcome for audiences who had spent months wondering what really happened behind the scenes.

For viewers who have already seen Hope, the stories about the badge gloss and the six hat fittings will likely prompt a second watch. For those who have not yet seen it, the sheer dedication described by the cast makes a compelling case for why the film carries the weight that it does — and why Na Hong-jin remains one of the most singular voices in Korean cinema.

Na Hong-jin made his international breakthrough with The Chaser in 2008 and cemented his reputation with The Wailing in 2016, a film that earned widespread critical acclaim and was submitted as South Korea's official entry for the Academy Awards. Between those two films and Hope, he has built a body of work defined by a refusal to rush, an insistence on visual precision, and a collaborative dynamic with actors that is simultaneously demanding and deeply respectful. Cast members consistently describe working with him as among the most intense professional experiences of their careers — and also among the most rewarding.

The Channel Sipoya conversation was notable not just for what was revealed about Hope but for the rare alignment of two very different Korean entertainment traditions. Na Young-seok, who has shaped Korean variety programming for two decades, and Na Hong-jin, who has shaped Korean film for the same period, share a first name and — as Jo In-sung pointed out — a very particular relationship with the idea of "good enough." For both of them, it appears, "good enough" is not a concept that applies.