She currently wears two hats, also serving as EVP Original Content Strategy, across the Asia Pacific region.
Both are produced byDrive My Carproducer Teruhisa Yamamoto, who recently moved to work in-house with Disney in Tokyo.
DEADLINE:Disney has several K-pop documentaries in the pipeline.
Super Junior: The Last Man StandingThe Walt Disney Company
The J-Hope film is about his solo career, so its more about him as an individual.
DEADLINE:Will all these shows be streamed globally?
Did you see anything surprising in the numbers for the BTS concert film,Permission To Dance?
Carol Choi
CHOI:We have so much content that not everything gets a global release.
But you have to see to it the show is a hit in its home market.
DEADLINE:What other genres are currently working for you in Korea?
CHOI:Recently detective and legal dramas are a recurring theme.
Thats something that is being talked about a lot in Korea.
DEADLINE:Do these grittier shows also work internationally?
Previously its been mostly romantic dramas (and one high-concept survival show) that have travelled outside of Korea.
CHOI:Theyre starting to as more talent gets recognized outside their home countries.
Theres a lot of this crossover in the Korean talent pool, and thats helping more content to travel.
So its a combination of the genre, the storytelling and the talent we develop relationships with.
DEADLINE:Which genres are working in Japan?
And theyve done very well these last few years, particularly during the pandemic.
But so far, to get to get things up and running, we have been mostly solo financing.
How is that market shaping up for you?
CHOI:Its really about having this wonderful platform that allows storytellers from different regions to showcase their talents.
Its about creating a space for people to sample the content and come to understand the appeal.
So we remain optimistic and excited about the possibilities.
