[This story contains spoilers from the season two finale of Pachinko, “Chapter Sixteen.”]

Soo Hugh is aware of full properly concerning the challenges of making an attempt to get something made for tv. After chopping her enamel as a author and producer on the CBS sci-fi thriller Underneath the Dome, ABC sci-fi drama The Whispers and first season of AMC horror anthology The Terror, the Korean American showrunner has spent the higher a part of the final six years adapting Min Jin Lee’s epic historic novel Pachinko into a wide ranging Apple TV+ sequence, which simply wrapped its sophomore run on Oct. 11. (Learn a full breakdown of the season finale.)

One of the vital formidable exhibits on tv, Pachinko examines the enduring impression of the Japanese occupation of Korea on 4 generations of a Korean household. Whereas the primary season discovered the characters combating for their very own survival and the preservation of their tradition, the second discovered the Baek household, after surviving World Struggle II, reckoning with their very own aspirations for a greater future — all whereas protagonist Sunja (performed by Minha Kim prior to now timeline) wrestled with a devastating secret that would tear aside her household.

In a wide-ranging chat with The Hollywood Reporter, Hugh opens up concerning the expertise of constructing the second season of Pachinko (together with the choice to remake the well-known opening credit sequence), the challenges of making an attempt to inform a common story with subtitles, and the way she actually felt concerning the first season being snubbed on the Emmys.

Whereas providing her ideas on the state of the enterprise, Hugh additionally presents some perception into her subsequent two large initiatives: a movie adaptation of F. Scott Fitzgerald’s final accomplished work and a long-gestating miniseries starring Tom Hiddleston.

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You selected to adapt Pachinko as a multigenerational saga fairly than a single coming-of-age story. In doing so, you discovered a manner for the a number of timelines of the present to stay in fixed dialog with one another. However the opening credit sequence is the one time viewers get to see characters from completely different many years work together. Why did you resolve to remake that sequence for season two?

It’s superb how shut we got here to not even having a title sequence this season. Season one’s title sequence wouldn’t have labored for season two, as a result of half these actors will not be on the present [anymore]. After which for season two, we couldn’t work out how you can schedule a shoot for the title sequence. So there was a second the place we have been simply going to make use of the Pachinko card, which might’ve felt actually bizarre for this present. Lastly, one among our producers found out what we have been going to do. It was form of renegade model; it took me again to movie faculty days.

Whereas the primary unit was capturing, we took over the Pachinko parlor with a skeleton crew, and that’s why if you happen to take a look at the actors, they’re wearing garments from sure scenes. So Minha [Kim] is wearing her morning garments, and that’s as a result of we actually needed to pull her from that scene the place she’s at a funeral, and we stated, “Let’s dance.” It was so run-and-gun and it was her solely technique to have it, however I believe that’s why you get this sense of spontaneity among the many solid. After we did the massive conga line on the finish, that was shot on a Saturday. It was shot on a day without work, and so they graciously all got here in to do it.

Why did you resolve to make use of “Let’s Stay for In the present day” by The Grass Roots for this title sequence?

The primary season is about, “Stay for right now. That is what we now have.” This season, unexpectedly, the stakes felt extra emotional. And if you happen to hearken to the lyrics of the track, it’s a love track, whether or not you interpret that love track from a father or mother to a baby or to some in love. That actually felt extra becoming to this season.

In comparison with the primary season, the second feels bigger in scope and scale — you’ve extra storylines and characters to juggle, and also you needed to shoot on two completely different continents with a largely non-English talking solid. Had been there any specific classes you realized when making the primary season that you simply have been in a position to apply this time round?

We realized so a lot in season one. The training curve was simply so steep. Season one, we had a lot extra time, too. I believe we shot and wrote season one over three years. This season, [Apple] needed the present a lot quicker, and this can be a very exhausting present to do in that quick model. I believe the most important factor I realized — and it’s not simply even about this present, and I believe it’s additionally about life typically — is that, by some means, all of it will get performed. You stress, you are concerned and also you go over issues, and what’s superb about working with so many people who find themselves so proficient and good is you’ll have this problem, and it’ll really feel like, “Oh, rats! We’re screwed!” And but, little by little, you get it performed. It’s fairly superb.

You even have the distinctive problem of making an attempt to guide a gaggle of people that don’t all the time communicate the identical language, so that you needed to work with interpreters to verify your entire solid and crew members have been on the identical web page. Did you discover it simpler in any respect in season two?

In season one, the interpreters have been in all probability my greatest concern, like, “Oh, they’re going to be so sluggish. They’re by no means going to have the ability to convey my ideas.” I believe as a result of I used to be so pleasantly shocked by how properly it went in season one, it wasn’t good, however you do notice there’s one thing about cinema that could be a common language. Folks actually do perceive how filmmaking works. So in season two, it was good to not have that fear and simply have that off our plate. The actors got here into season two a lot extra assured, and so they actually know these characters so a lot better. They actually have possession of those characters, so there’s a shorthand. For season one, I believe we in all probability had hours and hours of conferences with every actor speaking concerning the characters, and [this season] I used to be in a position to cross alongside scenes and be like, “Learn this,” and it was simply actually fluid.

A lot of the characters in Pachinko are in a position to communicate a minimum of two completely different languages, and so they’re consistently in dialog not solely amongst themselves but additionally with the surface world. Going into this season, how did you consider using Korean, Japanese and English, and the way in which the characters are in a position to code-switch between these languages?

I really like that query. In season two, it’s a lot extra obvious due to [Sunja’s children] Mozasu and Noa — that [next] technology actually sits at that cusp. And particularly when you consider Mozasu, he was born in Japan — he and Noa each have been. However for Mozasu, he’s like, “I don’t know Korea,” and but he hears Korean spoken in the home. So if you happen to take a look at Mozasu’s [subtitles], there’s loads of blue-yellow, blue-yellow, blue-yellow, and it’s so pure for him. He doesn’t even take into consideration when he’s switching, and that was crucial factor. We needed to be sure to by no means see the actors of their efficiency eager about it. It ought to simply be as pure as attainable, which is basically exhausting once you suppose that Eunseong [Kwon, who plays the youngest Mozasu] is 9 years outdated and didn’t communicate Japanese [prior to the show].

Regardless of the rising need and starvation for various tales advised in several languages, the thought of worldwide storytelling — with subtitles and all — continues to be not as extensively acquired as tales advised in English. I believe one of the best indication of that’s the truth that Pachinko, regardless of being a crucial hit, was largely ignored on the Emmys in 2022. How did you are feeling about the way in which the primary season was acquired within the Western world? And the way do you hope Pachinko will have the ability to problem this concept that subtitles shouldn’t be an obstacle to telling and receiving a common story?

That may be a actually good query, and I believe it’s a query that’s so sophisticated to unpack. The Emmy issues have been disappointing, however I wasn’t offended. And the explanation why is as a result of nobody knew of our present. The critics knew our present, and I’m so, so grateful for the critics. I can’t inform you how gratifying it’s that individuals, who’re good and who watch as a lot TV as they do, have embraced our present. However except for the critics, individuals simply didn’t watch our present as a lot as we needed. I believe we have been very naive to suppose that we obtained over that barrier of subtitles, proper?

And particularly when you consider the way in which individuals watch TV. They watch TV whereas they’re additionally cooking, or enjoying Roblox, or whereas they’re web browsing. That’s actually exhausting with subtitles. It’s so humorous — I was so anti-dubbing. I was like, “That may be a sin. Individuals who watch exhibits [with] dubbing are simply the worst individuals on the earth.” And I’ve performed a full 180. I believe, “You understand what? It’s not the best manner I would like individuals to observe exhibits, but when watching a present dubbed in English is the way in which that you simply’re going to be pulled into this, then wonderful.” I believe we needed our viewers to leap to be prepared for this, and we simply by no means constructed them the bridge. That’s why I respect exhibits like Shōgun a lot. We want extra of those exhibits which can be the bridges. Pachinko is a part of that bridge, however actually that bridge is barely half-built.

The leisure business has considerably modified because you first got down to adapt Pachinko six years in the past. Sadly, most of the guarantees to diversify Hollywood, which have been made on the top of a worldwide pandemic, have been rolled again amid cost-cutting measures and labor disputes. The place do you suppose we stand when it comes to range and inclusion proper now?

I believe we’re going to stay in some actually exhausting occasions for the following few years, when it comes to illustration. I believe probably the most disappointing factor is you get so hopeful once you get a Beef or once you get a Pachinko, and also you suppose, “Lastly, we’ve climbed that barrier and we’ve shattered the glass,” and then you definitely simply notice each time occasions get exhausting, that cup simply comes again in place. I believe there are not any simple options. I don’t suppose individuals perceive that we will’t get complacent. I believe we have to preserve supporting these exhibits. We have now to point out up for [shows like] Beef, Shōgun — we simply should do it, as a result of that, on the finish of the day, determines whether or not these exhibits succeed or not.

Was that a part of the explanation you determined to start out your individual manufacturing firm, Moonslinger, between making seasons of Pachinko?

I felt like there have been so many tales that may nonetheless be advised and that wanted to be advised however, how do you do it in a manner that may additionally, let’s be trustworthy, tickle {the marketplace}, proper? I believe it’s all the time that soiled enterprise of blending artwork and commerce collectively, and you’ll write it and be naive, otherwise you simply go together with it and say, “Let’s do it — and let’s do it properly.”

To your level, given the widely risk-averse market and the present state of the business, Hollywood executives appear to need to financial institution on current IP over growing unique concepts. So most of the large, profitable initiatives lately are some type of extension of a profitable property or a book-to-screen adaptation. What’s your tackle the stranglehold that IP has on the enterprise proper now? How has that modified the way in which you make tv?

I like IP. I solely do variations, so I don’t consider IP as promoting out, I’ll say that. I believe the massive factor, although, is within the subsequent few years, tales should churn quicker. I believe the times of that sluggish burn are gone, a minimum of for now. There was the glory days the place it took 4 episodes [to get an audience hooked]. It took me 4 episodes of The Wire to like it. That day is gone. In case your viewers has not fallen in love together with your present within the first episode, it’s simply not going to make it. We are able to rail in opposition to it and be offended, however I all the time say, “Be taught the principles earlier than you know the way to interrupt them.” That is what I used to be taught after I was in my artwork lessons. So if that is the sandbox that we’re enjoying in, let’s simply work out how you can break the principles inside that sandbox, as a result of it’s doable.

You have been just lately tapped to put in writing and direct a characteristic adaptation of F. Scott Fitzgerald’s 1934 novel Tender Is the Evening for Searchlight Photos. It has additionally been over two-and-a-half years since Apple introduced that Tom Hiddleston would star within the restricted sequence The White Darkness, which you have been supposed to put in writing and produce. What’s the standing of these initiatives, and why have been these the sorts of tales that you simply needed to deal with subsequent?

I’m writing Tender is the Evening proper now. I learn that ebook so way back and simply have all the time beloved that ebook. I believe there’s one thing about this story about these three those that devour each other. It simply has this iconic love story, love triangle really feel. I believe what I’m excited to deliver is a little bit little bit of a contemporary sensibility from my viewpoint, and likewise to simply play with race, gender and historical past in elastic methods. I need to make it daring.

We’re nonetheless banging away at The White Darkness, making an attempt to simply get it made. It’s such a phenomenal story. It’s a real story primarily based on [the British explorer] Henry Worsley. Proper now, we now have Kerry Ehrin from The Morning Present writing it, and he or she’s actually specializing in simply the wedding. [This is] a person who stated, “I’m going to trek throughout Antarctica alone.” What does an obsession like Henry’s do to a wedding? What does that do to a household, and what’s he trying to find? It’s so good.

Hopefully, very quickly, I’ll have one other challenge to announce that I’m actually, actually enthusiastic about, that’s very completely different from Pachinko, however I believe and I hope it’s nonetheless high quality tv.

The place are you proper now when it comes to renewal talks with Apple for Pachinko?

That is actually, now, a type of issues that’s so out of my fingers, and I believe Apple’s additionally ready to see how the present does. I believe we’re actually making an attempt to combat for a 3rd season — and it actually comes right down to viewership.

You beforehand stated that you simply needed to make 4 seasons of Pachinko. Is that also the case? Or are you now hoping to transcend that?

In some methods, it looks like there’s a model the place one or two extra seasons does really feel like the proper technique to finish this. Folks can’t stay eternally. In some unspecified time in the future, life occurs, time passes and folks cross, however it does really feel like there’s one other season or two to eke out.

Viewers haven’t gotten an opportunity to see outdated Hansu within the Eighties; fairly frankly, we don’t even know if he’s nonetheless retaining tabs on Sunja and her household from afar, not to mention if he’s even nonetheless alive. If (and when) you select to introduce an older model of Hansu into the story, would you select to maintain Lee Minho and use make-up to age him up, or would you look to usher in an older actor?

You need to be a producer. I’ll say that I can’t communicate to it now, however you’re asking the proper questions.

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The total first two seasons of Pachinko at the moment are streaming on Apple TV+. Learn THR‘s break down of the season two finale.