
韓國編劇朴海英應邀出席台北市電影委員會講座,分享《我的大叔》、《我的出走日記》等作品創作經驗,強調真誠與內心渴望的重要性,並談及AI對編劇工作的影響及其作品特色。
AI-generated summary
朴海英是韓國知名編劇,代表作包括《我的大叔》和《我的出走日記》,曾兩度獲得百想藝術大賞劇本獎。此次她應台北市電影委員會邀請來台分享創作經驗。
《我的出走日記》由孫錫求搭檔金智媛演出。(翻攝自臉書)
〔記者廖俐惠/台北報導〕以《我的大叔》、《我的出走日記》等作品細膩描繪現代人孤獨與情感困境的金牌編劇朴海英,應台北市電影委員會「2026台北電影學院」邀請,在上週2日與《我的出走日記》製作人黃羅慶來台出席影視編劇講座,分享拍攝秘辛。
《我的大叔》、《我的出走日記》編劇朴海英出席講座。(台北市電影委員會提供)
朴海英表示,全球OTT平台讓南韓作品得以被世界看見,但自己不會刻意迎合海外觀眾,而是從內心渴望出發,相信能打動自己的情感,也能觸動不同文化的觀眾,讓人感受到「原來那個地方也有一個我」。她也提醒創作者,比起追求新穎與花招,真誠與基本功更為重要。
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朴海英曾兩度榮獲百想藝術大賞劇本獎。(台北市電影委員會提供)
朴海英傳授自己的創作心法,在題材選擇上首重「我內心的渴望,即是眾人的渴望」,她舉例,李善均、IU主演的韓劇《我的大叔》源於她想呈現平凡男子的人性與魅力,有別於當時韓劇常見的成功人士或超能力男主角。
孫錫求、金智媛主演的《我的出走日記》則來自她在已有成功作品與名聲後,仍對「為何不感到幸福」的追問,將日常工作的疲憊與渴望解放自己的心情寫進故事,並形容這是一部「給I人的電視劇」;最新作品是由具教煥主演的《努力克服自卑的我們》則取材自身邊友人的特質,也讓她在創作中驚覺自身的無價值感,坦言至今仍在學習克服。
面對藝術性與商業性的提問,朴海英強調,「有趣」是作品的基本,更笑問觀眾:「我很努力寫得很有趣,各位有感覺到嗎?」她認為,編劇應思考故事能帶給觀眾什麼感受、如何讓他們獲得幸福,而讓觀眾持續追看的關鍵,是讓他們愛上角色。
《努力克服自卑的我們》由具教煥演出。(Netflix提供)
以《努力克服自卑的我們》為例,主角起初可能讓人覺得「很煩」,但她希望透過觸動人心的時刻,讓觀眾逐漸理解他,在看過三集後願意為他加油。現場追問如何讓觀眾持續支持這樣的角色時,兩位講者先以「帥氣的臉讓人討厭不起來」幽默回應,接著說明,關鍵仍在台詞設計,不一定要直接說出角色的不安,也能讓觀眾看見討厭表象下的脆弱,進而產生同情,願意繼續支持他。
有學員提問是否會擔心AI變得強大而取代了編劇的工作?朴海英表示,現階段AI的創作水準仍有限,自己主要將其用於查找資料,她也樂觀表示,未來AI如果文字創作真的能和真人創作一樣感動人心,人類可以和AI共同創作,屆時創作就不會像現在一樣辛苦了,而可以成為享受和興趣。
此次講座也難得邀請朴海英與《我的出走日記》合作夥伴、資深製作人黃羅慶同台,黃羅慶指出,OTT平台讓韓劇觸及更多全球觀眾,製作人也須思考如何包裝作品、選擇演員,讓故事被更多人看見。曾與朴海英合作兩部作品的他,以「99%的紅色流行與1%的藍色珍稀」形容朴海英作品的特色,坦言朴海英的劇本難以直接套入既有市場類型,卻具有獨特且難以取代的魅力。
IU、李善均演出韓劇《我的大叔》。(翻攝自臉書)
黃羅慶認為,朴海英擅長以出人意料的設定呈現人物情感,例如《我的大叔》透過手機竊聽傳來的沉重腳步與嘆息,以及《努力克服自卑的我們》中揭露內心的「情緒手錶」,都讓難以言說的感受有了具體呈現。她筆下的角色即使有缺陷、受過傷,也曾向現實妥協,仍保有自身的價值與原則,讓觀眾看見自己的處境,也理解這些普通人的可貴。
《我的出走日記》製作人黃羅慶於講座中分享韓劇開發流程及編劇與製作端的合作經驗。(台北市電影委員會提供)
黃羅慶也盛讚朴海英的台詞能精準說出觀眾心聲,如《我的出走日記》以「崇拜」承載角色的情感渴望,進一步探問身為人的幸福。黃羅慶說:「朴海英的作品不輕易承諾圓滿結局,即使故事落幕,角色仍須面對明天的現實;這份不迴避困難、卻保有希望的真實感,正是引發共鳴的原因,也為觀眾留下溫暖的喘息空間。」
AI outlook — possibilities, not facts
朴海英將繼續創作聚焦內心渴望與真誠表達的作品
Likely · Within months
AI將在未來輔助編劇工作而非完全取代
Possible · Within years

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