JEONG Hae-gyoon, born in 1968, joined in 1998 the troupe Yohangza Theatre, which mostly made nonverbal performances with a strong Korean color, such as a Korean take on <A Midsummer Night’s Dream>. Having long been a stage actor exclusively, he made his first appearance on the big screen in the 2000 comedy <Ghost Taxi>. He later entered the Seoul Institute of the Arts and had a long string of small roles in student films, until the executive producer of <Gho...
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JEONG Hae-gyoon, born in 1968, joined in 1998 the troupe Yohangza Theatre, which mostly made nonverbal performances with a strong Korean color, such as a Korean take on <A Midsummer Night’s Dream>. Having long been a stage actor exclusively, he made his first appearance on the big screen in the 2000 comedy <Ghost Taxi>. He later entered the Seoul Institute of the Arts and had a long string of small roles in student films, until the executive producer of <Ghost Taxi> contacted him for a role in the film he was about to direct. That director was no other than the prolific LEE Joon-ik, and JEONG ended up a mine role in period comedy <Once Upon a Time in a Battlefield> (2003), but in a scene that became cult as he plays a royal decoder painfully trying to decipher a ridiculously vague instruction intercepted from the enemies, leaving the officers perplex. After proving his acting range by playing a character instrumental to a late twist in <Confession of Murder> (2012) and a detected in <Montage> (2013), LEE cast him again for another short yet challenging performance in his royal court drama <Sado> (2015), for which he prepared by learning to sing and perform Buddhist chants directly at a temple for several months. After joining the main cast of popular timeslip thriller series <Signal> (2016) and medical drama series <Doctors> (2016), he was seen in the Cannes-invited thriller <The Villainess> (2017). His most well-known film role so far is without any doubt the God of Murder Hell which he portrayed in the blockbuster fantasy <Along with the Gods: The Two Worlds> (2017) and its follow-up, which each welcomed more than 12 million spectators in Korea.
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