SEOUL — The global ascendancy of South Korean entertainment, from Oscar-winning films like ‘Parasite’ to the worldwide phenomenon of ‘Squid Game,’ has catalyzed a significant shift in Hollywood’s casting landscape. This cultural momentum is creating unprecedented opportunities for Korean performers seeking international careers, while simultaneously challenging entrenched industry stereotypes.
Actor Amy Baik’s experience epitomizes the push factors driving this transition. After being cut from a domestic commercial solely for lacking double eyelids—a prized feature in Korean beauty standards—Baik redirected her ambitions toward Western markets. ‘It made me wonder how I can survive as an actor in South Korea,’ she reflected. Her subsequent role in Netflix’s ‘XO, Kitty’ demonstrated how features previously discouraged in Korea became assets abroad, with American casting directors suggesting her for action roles beyond stereotypically ‘cute’ images.
This migration necessitates specialized support systems. Los Angeles-based Upstage Entertainment, co-founded by Alison Dumbell and Devon Overman, bridges the gap between Korean talent and Hollywood opportunities. Dumbell notes increased demand for ‘specifically Korean characters’ rather than generic East Asian roles, attributing this shift to the global popularity of Korean content. However, persistent stereotypes like the ‘nerdy tech programmer’ remain problematic, with Dumbell sometimes refusing submissions to protect actors from reductive casting.
The transition involves navigating substantial differences in industry practices. Korean American casting director Julia Kim highlights fundamental questions from aspiring actors: ‘Should I change my Korean name to a Western name? Do I pay to get an agent?’ Technical standards diverge significantly—American audition tapes require clean white backgrounds, while Korean headshots favor fashion-model aesthetics versus U.S. preferences for character-matched profiles.
Language acquisition presents another layer of complexity. Veteran actor Julian Shin (Shin Ju-hwan) undertook intensive English preparation, transcribing over 30,000 words and idioms. ‘Learning expressions like ‘break a leg’ makes you feel closer to being native,’ he noted. Accent coaching focuses on authenticity rather than eradication. ‘It’s perfectly fine, even preferable to have an accent because it’s part of who you are,’ emphasizes Overman, who works on intonation patterns rather than eliminating linguistic identity.
Structural factors in Korea accelerate this talent migration. Shin describes an increasingly challenging domestic industry where opportunities contracted noticeably over three years. Age discrimination also pushes actors abroad—29-year-old Misun Youm notes that ’30 isn’t considered young’ in Korea, while American casting often disregards age specifications that limit opportunities domestically.
The collective experience reveals an industry at an inflection point. Where previous generations felt pressure to Americanize completely, contemporary performers find increasing space for cultural authenticity. ‘Now it feels like you can be yourself—be Korean if you’re Korean,’ observes Shin. ‘Stereotypes are gradually crumbling.’ This evolution suggests Hollywood’s gates are opening wider than ever to diverse Korean talent, transforming barriers into bridges for cross-cultural artistic exchange.