Many were introduced to Noh Sang-hyun through his portrayal of Isak, the sincere and upright pastor in Pachinko. His calm and measured performance left a lasting impression, marking him as an actor with a grounded presence. Noh’s transition to other genres, including the lively world of romantic comedies, was seamless, as seen in his roles in Behind Every Star and Soundtrack #2. However, 2024 became a defining year for Noh Sang-hyun with his role as Heung-soo in Love in the Big. Heung-soo is a character who struggles under the weight of society’s prejudices against sexual minorities but finds solace and liberation through his growing friendship with college mate Jae-hee (played by Kim Go-eun). Experiencing the freedom of self-expression leads to subtle but profound changes in Heung-soo’s life. Noh’s intuitive approach to acting—“following instinct over analysis” and “living fully as the character during filming”—earned him the Best New Actor awards at both the Blue Dragon Film Awards and the Korean Film Producers Association Awards. Additionally, <Cine21> named him “Rookie Actor of the Year” in their 2024 poll for Film of the Year.

Debuting in 2017 with the drama We are Peaceful Brothers, built a considerable body of experience over the years. Despite this, he remains deeply grateful for the recent surge in recognition. In interviews, he carefully chooses his words, reflecting his thoughtful nature, but when asked about directors he hopes to work with, he answers without hesitation: 'Bong Joon-ho’. Neither overly ecstatic nor excessively restrained, Noh Sang-hyun is quietly and steadily charting his path into the future.

- What are your thoughts on ending the year as one of the most talked-about actors?

I’m endlessly grateful. To be recognized among so many hardworking actors is an honor, and it reminds me of just how fortunate I am. It feels like people are telling me they look forward to what’s next, and that motivates me to work even harder.

-The growing anticipation seems to stem from the success of Love in the Big City and Pachinko Season 2, both of which received positive reviews. Have these projects led you to reflect on your strengths as an actor?

Not really. Rather than focusing on strengths, I believe every actor has their own unique traits, and finding a project that highlights those traits is far more important. I do know the kind of projects I’m drawn to—ones that feel natural, honest, and grounded in reality.

- Did you choose Love in the Big City because it aligns with that type of project?"

Yes, absolutely. I felt it right from the moment I read the script. The emotions and circumstances of the characters resonated deeply, and I could intuitively picture how I wanted to portray the role.

- Director Lee Eon-hee mentioned several times that casting for Heung-soo in Love in the Big City wasn’t easy and that she was determined to have you take on the role. What were your thoughts as an actor when the offer came your way? What did you anticipate or worry about?

I was much more excited than worried, but to be honest, the dancing did concern me. (Laughs) For the final sequence, where Heung-soo dances, to convey its intended meaning, the storyline needed to flow seamlessly up to that point. Otherwise, the dance could come across as frivolous or even ridiculous. However, I trusted the director and approached it with a mindset of doing my absolute best. Thankfully, the production team brought it all together beautifully.

On a personal level, I thought a lot about how to authentically portray Heung-soo. I didn’t take his identity as a sexual minority lightly and avoided stereotypical gestures or speech patterns. Instead, I focused on his inner struggles and his journey of growth, trying to find ways to express those aspects meaningfully.

-In the film, Heung-soo comes across as more chic compared to the original novel. Was this intentional?

Yes, I wanted to bring a cynical edge to Heung-soo. Looking at his life and his journey, there’s an undeniable loneliness about him. I felt his defensive nature, shaped by past experiences, could be expressed through a more cynical, outsider persona. I also wanted to create a clear contrast between how Heung-soo acts around Jae-hee and how he interacts with others. When he’s with Jae-hee, he’s far more open and freer, expressing his thoughts and inner struggles without hesitation.

From a style perspective, I kept his everyday wardrobe simple and monochromatic, but in the club scenes, I wanted to show a bolder, unapologetically expressive side of him. There’s a scene where Heung-soo kisses his boyfriend—it was originally planned to cut away right after the kiss. However, I felt that moment was crucial for fully conveying Heung-soo’s character and identity, so I shared my thoughts with the team to develop it further. Moments like that, whether through on-set suggestions or ad-libbing, played a big role in shaping Heung-soo.

-Both Love in the Big City and Pachinko Season 2 are based on novels. Do you usually read source material? If so, how much do you rely on it for your performance?

I did read <Pachinko>, as the adaptation stayed quite faithful to the overall structure of the original work, so I referenced parts of the novel. However, I didn’t read <Love in the Big City>. The film diverged significantly from the novel in many ways. For instance, Heung-soo’s character in the novel is named ‘Young,’ and both the character and storyline underwent notable changes under Director Lee Eon-hee’s vision. Because of this, I focused on the screenplay and followed its specific interpretations.

-In Pachinko Season 2, Isak appears visibly frail after enduring years of torture. Even from his first scene, his emaciated state is apparent. How did you approach portraying Isak’s altered appearance and mannerisms?

First and foremost, I decided to lose weight. The director advised me not to lose too much, but I knew that shedding weight was necessary for the story. There was about a year between the end of Pachinko Season 1 and the start of Season 2 filming, and during that time, I completely stopped weight training. It wouldn’t make sense for someone who had been tortured for seven years in prison to have a muscular body. I ended up losing 7 to 8 kilograms, and toward the end, I was only eating bananas to prepare for the shoot. This took a toll on my health, and I filmed Isak’s final scenes while battling a cold. For his physical transformation, I wore transparent dentures, had makeup applied for decayed teeth, and had sepsis bruises painted onto my body—a process that took 1.5 to 2 hours every day. Portraying a dying man was incredibly challenging; I had to remove all tension from my body while keeping just enough energy to speak, which required a lot of technical focus. Wearing the upper and lower dentures made articulation difficult, even with practice. I also spent a great deal of time reflecting on what emotions a person might feel in their final moments and how to convey those feelings authentically. It was a deeply demanding process, both physically and emotionally.

-When Isak tells Pastor Hoo, without a trace of hesitation, 'I forgive you’, it’s hard to comprehend such a response. How did you interpret Isak’s mindset at that moment?

I saw Isak’s forgiveness as something he did more for himself than for Pastor Hoo. In a way, it’s like the Buddhist concept of ‘letting go of anger for one’s own peace’. Isak didn’t have much time left, and what mattered most to him was spending the remaining days with his wife and children, focusing on his love for them. He wouldn’t have wanted to let negative emotions toward Pastor Hoo consume him.

I imagined that Isak had already started to come to terms with these feelings during his time in prison. When he finally saw Pastor Hoo again, it was likely with the realization, ‘You’re just a flawed human being, and as a human, you could have made such choices.’ His forgiveness might have come from that place of understanding and acceptance.

-In Isak's final moments with his children and Sunja (Kim Min-ha), a mix of emotions seemed to surface. How did you approach those scenes?

I thought a lot about what Isak would want to say to his children as he prepared to say goodbye—what he felt they absolutely needed to know. His heart was full of a desire to pass on those important messages. The same goes for Sunja as well... (pauses, visibly emotional) Every time I talk about Isak’s final moments, I can’t help but tear up.

That moment when Isak tells Sunja, ‘I really want to live’, felt so tragic and heartbreaking to me because it’s the first and only time he ever expressed such a deeply personal longing. 

-Let’s talk about you as a person. You spent a significant part of your life studying abroad and majored in economics in college. What kind of student were you, and how did that path lead you to where you are now?

I was a very active and ambitious kid—curious and full of drive. I wanted to excel in both academics and sports. My parents were very passionate about education, so while I was in Korea, I attended countless academies. As a primary schooler, I even woke up at 5:30 a.m. to learn breathing exercises. (Laughs) I barely had time to play because I was constantly going from one academy to another.

When I moved to Canada for middle school, I continued to take private lessons, especially since the curriculum was different. Korean students are often strong in STEM subjects when they go abroad, and I was no exception. I did well in math and science, so I naturally considered engineering as a potential major. But in my senior year of high school, I took a business finance course and found it fascinating, which led me to study economics in college.

Economics wasn’t boring; I enjoyed my first year at university. But when I came back to Korea for my military service, I started exploring modeling and acting, something I’d been curious about for a long time. Although I initially had more opportunities in modeling, I ultimately found acting to be more enjoyable and fulfilling—it was something I wanted to pursue wholeheartedly.

-You mentioned that as a child, you were quite ambitious. However, in a recent interview, you said, 'I only wish for success I can handle' and 'What doesn’t come to me was never meant to be mine in the first place' It feels like this perspective comes from deep reflection and experience.

My early to mid-20s were a time of inner turmoil. I even stepped away from acting for a while to work through it. It was a challenging period, but I believed that resolving those feelings would ultimately benefit my acting. After all, acting is about understanding life, and I chose acting because I wanted to understand life better. I came to see it all as part of the process of expanding my perspective and abilities.

Through that difficult time, I realized the importance of developing my own attitude toward life. Acting is an inherently unstable career, but having a clear stance helps you stay grounded. For me, that stance became about not rushing. Speed isn’t as important as direction, and once you’re sure of your direction, you can start later and still arrive faster. I also realized that ambition and the way you pursue it are two different things. If you receive something without making the effort to match it, it means it wasn’t truly meant for you. If you fail to recognize that, it might seem like a blessing at first, but it could lead to a downfall. I didn’t want to live that way. I believe that if I continue the right path, the kind of success I can handle will come to me naturally. Having big dreams and goals is important, but so is approaching them in a way that aligns with your values. That’s the attitude I aim to maintain as I move forward.

-In your upcoming project, All the Love You Wish For (WT), what new sides of Noh Sang-hyun can audiences expect to see? In a previous interview with <Cine21>, you mentioned frequently working with wires—can we look forward to some serious action scenes?

My character, Soo-hyun, is both the brother of the protagonist, Jinny (played by Kim Woo-bin), and his adversary. He’s a mysterious figure with an ambiguous identity—let’s leave it at that for now. (Laughs) Since they’re at odds, there are quite a few fight scenes.

This will be my first time showcasing full-scale action on screen, and while the filming process wasn’t easy, I think we’ve created some fresh and exciting action sequences. I hope you’ll look forward to it!

Written by Jo Hyun-na Photos by Baek Jong-heon Translated by Jang Yuri

Link: http://cine21.com/news/view/?mag_id=106687