Why are big budget blockbusters the latest TV fad?

The big budget action blockbuster is making its mark on the small screen.

Flick the channel to cable television for an onslaught of Jerry Bruckheimer's CSI franchises, "Miami Medical" and other gore-ridden fare. Turn to KBS for the latest Pan-Asian, kick ass-style series, "Fugitive Plan B" starring, guess who "Ninja Assassin" star Rain.

Come December, and the spin-off of the smash hit spy thriller "IRIS" is slated to go nationwide, and next year, Chorokbaem Media the production company that pioneered the testosterone-driven period piece genre plans to release its latest CG-riddled, action-spun historical drama, a drama based on the original novel, "Jeonwoochi," which also served as the backbone for last year's eponymous movie.

So when did big-scale spectacles jump into bed with television staples, and are they here to stay?

"When we entered the 21st century, signs pointed to a major diversification of people's cultural preferences," Yonsei University Graduate School of Communication and Arts professor Yoon Tae-jin said via e-mail.

"Therefore standardized drama genres and plots were no longer well-received by audiences. Leading genres of the past, for example romances featuring young actors and actresses, home dramas that dealt with the day-to-day lives of extended families and period pieces centered on monarchs and resulting palatial power struggles are not as popular as they used to be," the television expert explained.

According to Yoon, that was why broadcasting networks started to experiment with other genres.

"The safest route, however, to nabbing viewer ratings was to do Hollywood-inspired blockbuster action," he said, referring to the power of exotic overseas locales, top stars and an element of mystery or action to draw in extra viewers, namely men in their 30s and 40s, that would give ratings a percentage spike.

Another key factor in bringing the blockbuster into homes, says Yoon, was the popularization of large-screen, high-definition TV.

"These genres benefited from the spread of large HD screens," he said.

KBS' "Fugitive Plan B" has all the trappings of a standard action blockbuster overseas locations, state-of-the art fight scenes and top stars, namely singer and actor Rain (Domangja S1 Munjunsa)

Indeed, fists melding into flesh in slow motion, high-flying roundhouse kicks and Matrix-esque backbends and aerials definitely look better in high definition. But HDTV was not the only key player in the rise of action-driven dramas. Cable television, according to Yoon, also influenced the trend.

In 2001, the Jerry Bruckheimer-helmed crime series "CSI" aired on cable channel OCN, "pioneering the American drama craze in Korea," said the channel’s programming producer, Han Ji-hyung.

"After Korean fans gave 'CSI' their stamp of approval, their and other viewers' desire for 'well-made dramas' increased," Han said via e-mail.

Chorokbaem Media vice president Sean Kim agreed, explaining that the reason why they put out theater-worthy fare like the award-winning hit "The Slave Hunters" and all-time classic "All In" was because "American and Japanese dramas have raised viewer expectations and Hallyu dramas need to satisfy those expectations."

Movies, however, also seem to be just as influential, especially for Kim, who doesn't think that American dramas necessarily set the stage for Korean TV blockbusters.

"I was influenced by the film '300,'" Kim said, explaining how the jaw-dropping display of muscled brawn and blood has inspired him and will continue to inspire him.

In fact, "300" seems to have made quite an impression on almost everyone. Even OCN's Han compared their hit series Starz's "Spartacus: Blood and Sand" which shocked with its heavy dosage of gore and sex to the action flick, saying that the computer graphics, bold plot and fight scenes of "Spartacus" surpassed "300."

A desire to meet viewer standards elevated by such fare seems to have fostered a big budget trend. According to Kim, "The Slave Hunters" racked up direct production costs of around 6.3 billion won ($5.6 million), while one of the earliest works to spawn this trend, 1991's "Eyes of Dawn" cost a reported 7.2 billion won ($6.4 million).

"Production costs for 'Jeonwoochi' will be even higher (than 'The Slave Hunters')," said Kim, who revealed plans to split work and expenses with a broadcasting network and a Japanese production company; a move that recalls the teaming up of KBS and Chorokbaem to share work and investment costs for "The Slave Hunters."

Then why invest so much? Is there a guarantee that they will be able to profit from such a gamble?

"Because the market is expanding," reasoned Kim, who said that when they calculate profit structures they factor in the Pan-Asian market.

"Fugitive Plan B" assistant director Jin Jong-yeon also acknowledged that they took the overseas market into consideration and made their drama, which features Hollywood initiates Daniel Henney and Rain, into an "Asian work."

Employing the Red One camera, a gadget that made waves when it was used to film "The Slave Hunters," "Fugitive Plan B" aims for what Jin calls "real action," something that translates into minimal wire action and swift and intelligent, rather than flashy, urban fights.

Having used the Red One camera on their joint project with KBS, Chorokbaem’s Kim tried to take technical savvy a step further by doing "Jeonwoochi" in 3-D, but it proved to be too expensive.

"We will be putting computer graphics into the action scenes," said Kim, who has not entirely given up on the possibility of using 3-D, promising cinematic imagery strong enough to eclipse "The Slave Hunters."

For the time being, it looks like the action trend is still going strong. But just how long will it last?

OCN's Han revealed plans to bring in "Nikita" an action thriller with a strong female lead while “IRIS” spin-off, "ATHENA," waits in the wings. "Fugitive Plan B" nabbed steady ratings of around 17 to 20 percent with its first two episodes last week, a good sign for the action-heavy piece.

Yoon of Yonsei University, however, believes that the small screen blockbuster trend is "short-term" and "it will not last long."

Indeed, not every action blockbuster has scored massive viewer ratings. The war-themed "Road No. 1," and Song Il-gook's "Man Almighty" both failed to bring in high ratings, signaling that viewers are not just tuning into action for action's sake.

But Chorokbaem Media's blockbusters, on the whole, have been largely successful, starting with "All In," then with Lee Jun-ki's "Il Ji-Mae: The Phantom Thief" and most recently, their KBS collaboration, "The Slave Hunters."

So what are some of the company's trade secrets?

"The supporting actors and actresses are the most important," Kim revealed, adding that they focus on the script more than star power, believing that if the script is strong, audiences will follow suit.

Last but not least?

"We make dramas without skimping on costs."

By Jean Oh (oh_jean@heraldm.com)
Source: www.koreaherald.com