Ji Yeon audio commentary

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A transcript is a retrospective written record of dialogue, and like a script (a prospective record) may include other scene information such as props or actions. In the case of a transcript of a film or television episode, ideally it is a verbatim record. Because closed-captioning is usually written separately, its text may have errors and does not necessarily reflect the true Canonical transcript.

Transcripts for Lost episodes up to and including "Enter 77" are based on the transcriptions by Lost-TV member Spooky with aid of DVR, and at times, closed captions for clarification. She and Lost-TV have generously granted us permission to share/host these transcripts at Lostpedia. Later transcripts were created by the Lostpedia community, unless stated otherwise below.

Disclaimer: This transcript is intended for educational and promotional purposes only, and may not be reproduced commercially without permission from ABC. The description contained herein represents viewers' secondhand experience of ABC's Lost.

Episode: - "Ji Yeon"

Commentators: Stephen Semel, Yunjin Kim and Daniel Dae Kim


Yunjin Kim: Hi. This is Yunjin Kim, Sun.

Daniel Dae Kim: And, uh, I'm Daniel Dae Kim, Jin.

Stephen Semel: I'm Steve Semel and I directed this episode.

Daniel Dae Kim: Ooh! [Yunjin laughs]

Stephen Semel: And we're here to talk about, uh, episode 407, Ji Yeon.

Yunjin Kim: Ji Yeon. Does Ji Yeon mean anything?

Daniel Dae Kim: I don't know.

Yunjin Kim: I don't know. Korean names are made out of usually Chinese characters. It really depends on what type of Chinese character they've used. l wonder if we got into details about it. Maybe we'll find out more what it means.

Stephen Semel: Normally I am an editor on this show. In fact, had I not directed this episode, I would have edited it. Um, but I was given a chance by our wonderful producers, Damon and Carlton to take the helm as the director.

Daniel Dae Kim: You didn't edit it at all?

Stephen Semel: I sat in and did my cut as the director does a director's cut, but somebody else was brought in to edit it. l had spent a couple weeks the previous year shadowing Jack Bender when he shot episode 301 . So, I knew the crew, and over the course of working on the series for the three and a half years that I had before I shot this, I had pretty much met all of the actors. Jean Higgins, our producer, shot this early, early one morning.

Yunjin Kim: Oh, really? I had no idea. This scene?

Stephen Semel: No, I shot this scene, but she shot the helicopter shot.

Yunjin Kim: That shot. Oh. Well, very nice, Jean Higgins.

Daniel Dae Kim: Remember we used to start the episodes with opening on somebody's eye? When did we stop doing that?

Stephen Semel: I don't think we've completely stopped. It doesn't happen too often.

Yunjin Kim: We go back, right, every now and then. I miss that, actually.

Daniel Dae Kim: Me, too. l guess after awhile we get it, though. [all chuckling]

Yunjin Kim: You got one, right, Daniel?

Daniel Dae Kim: Yeah.

Daniel Dae Kim: That, I believe, is Zoe Bell, who I really loved, uh, in the Grindhouse movies. When I saw her I thought she was gonna have a pretty significant role.

Yunjin Kim: Right. We find out that this character, Regina, is suffering from cabin fever, we're calling it, and pretty soon we're gonna see what happens to her character.

Stephen Semel: Part of the experience of working as an editor is, you're watching the sequence of how a scene is shot. And so, l'm aware that on the set you shoot a wide master and tighter coverage and close-ups, then you turn the camera around and shoot in the other direction. That is the economical way in which a scene is done. That part of it wasn't mysterious to me. I didn't feel completely like a fish out of water. And everybody, the crew, everybody was trying to ensure that I had a successful experience and made a successful episode of Lost. So, I had so much help. I felt like I was being covered in a lot of ways all the time.

Daniel Dae Kim: You'd think makeup would have taken off Jeff Fahey's Band-Aid before he started working. [chuckling] lt's so odd that we can all be in the same episode and never see each other. Who's that beautiful lady?

Yunjin Kim: I like night scenes. I think it makes all of us look very warm and flawless.

Daniel Dae Kim: There's a nice feeling when you're shooting at night, because you're right on the beach and the cast and crew is a bit more mellow.

Stephen Semel: The last night, was it not?

Yunjin Kim: Yes, it was.

Stephen Semel: Daniel's getting on a plane two hours after this.

Daniel Dae Kim: That's right. You have a good memory, Steve.

Daniel Dae Kim: Ah, there it is. Thank you.

Yunjin Kim: Very good.

Daniel Dae Kim: Been working on it. [both chuckling]

Daniel Dae Kim: Actually, the accent, you've discovered too, Yunjin, the level of the accent and modulation of the accent is kind of a tricky thing. You want to sound intelligible, but you have to kind of be true to the fact that he doesn't speak that well.

Stephen Semel: Can I tell you now that we're at the first scene, what a disorienting experience it was for me to direct my first show in a language that I have no concept of? There were some scenes, I think this is one of them, where I was able to kind of follow the dialogue by your expressions and by counting lines in my head, but there were times, I'm gonna admit it, that I was lost.

Daniel Dae Kim: No pun intended, I'm sure.

Stephen Semel: No pun intended.

Daniel Dae Kim: I'm sure that's got to be challenging. What I liked about that is that it wasn't an emotional scene. A lot of times when we have one-on-one scenes it's always some big emotion. That was just a little playful.

Yunjin Kim: Yeah. I mean, we're always fighting and making up.

Daniel Dae Kim: Exactly, exactly.

Yunjin Kim: That seems to be our process on Lost. OK, this is big, actually. Um... Some people might have noticed that was Exposé, and we just saw Kiele Sanchez acting.

Daniel Dae Kim: Dubbed into Korean.

Yunjin Kim: Dubbed in Korean, right. Wow, I look fat.

Daniel Dae Kim: Will you stop! Please.

Stephen Semel: The shot outside the windows where these apartments are is a green screen, then, after the fact, Korea is added as a visual effects element.

Daniel Dae Kim: That was all shot at the Ilikai Hotel. All of our Seoul apartments...

Yunjin Kim: Interiors. ...all at the same hotel for four years.

Stephen Semel: There were some changes made to it to make it be... For the experienced eye there were some minor differences between what we had seen previously before the plane crashed.

Daniel Dae Kim: The interesting thing about this scene, see the rain on the street? It was raining all morning and had just brightened up as we started to shoot. And my very first take running up to this door, I had leather soled shoes on.

Stephen Semel: Brand new.

Daniel Dae Kim: Exactly. As soon as I got to the door, I stopped and fell right on my butt, on the very first take.

Stephen Semel: But you also crashed the glass door, which was not a candy glass door. It wasn't meant to crash. My first thought was, "My God, I've injured the actor on the first take." [laughter]

Yunjin Kim: Another thought probably went through your mind, Stephen, was, "Over budget." [all laughing]

Stephen Semel: Exactly.

Yunjin Kim: Insurance.

Daniel Dae Kim: It was so odd, because there were at least 0 extras on the street. And this is the very first take of the day. Just a fun way to start it. I ended up taking a bow after-wards for my stunt work. [chuckling]

Stephen Semel: And I think we went on to shoot, like, takes of that shot.

Daniel Dae Kim: That's right, that's right.

Stephen Semel: This was the first day of production.

Yunjin Kim: Mm-hmm.

Daniel Dae Kim: That's right. This actor's name is Simon Rhee. He's an actor that I know from L.A. He's a very good martial artist. He actually trains and has a dojang, or dojo, as they say in Japanese. He does both.

Yunjin Kim: What I really liked about this episode was, there was a good combination of the story going forth about the island, about on the other side with Desmond and Sayid, and with what's happening with ours, and of course, having the combination of flash forward and flashback.

Daniel Dae Kim: True. A lot of people say, "Oh, we love your episodes. They're so emotional, but they never further the story."

Yunjin Kim: 'Cause they're so emotional. "l cried."

Daniel Dae Kim: Exactly. That's a lot of the feedback we get. A lot of the fans who aren't that interested in us will say, "Nothing happened on the island. The story didn't progress." This episode had a little of both.

Yunjin Kim: A nice combination of everything. A lot of trust issues on this island.

Daniel Dae Kim: Clearly. [chuckling]

Stephen Semel: Now, this was meant to be one of those scenes that opened with a big, big, big close-up of the eye, but, uh, I think because it was not, um, Desmond's episode, the choice was made not to do that. So, we shot it but we never used it.

Daniel Dae Kim: Who could that be? [Yunjin chuckles]

Daniel Dae Kim: Maid service.

Stephen Semel: That's what passes for the newspaper on the ship.

Yunjin Kim: Did you like working on the freighter?

Stephen Semel: Yeah, it was fun. It was fun. It didn't pitch and roll too much. The pace of working on it was terrific. This was shot on a stage.

Yunjin Kim: Of course.

Stephen Semel: I had a lot of fun on the freighter.

Yunjin Kim: I just started working on the freighter. We both have. [laughs] And at night I can really feel it.

Stephen Semel: With the ship pitching around? When I was there it was much earlier in the year, so the water was probably calmer.

Yunjin Kim: Oh. Well, I was just on set on the freighter yesterday, and it was rocky.

Daniel Dae Kim: This is Jeremy Davies, who plays Faraday.

Yunjin Kim: Daniel Faraday.

Daniel Dae Kim: He's a really nice addition to the show, don't you think?

Yunjin Kim: I love the tie.

Daniel Dae Kim: Actually, my son was watching the show recently and one of the only things he said about it after the episode ended was, "How come Faraday's still wearing a tie?"

Stephen Semel: I ask that question every time I see it.

Daniel Dae Kim: How many episodes?

Yunjin Kim: It's his look.

Daniel Dae Kim: I guess so. He just loves that tie. But he's got a great energy for the character.

Yunjin Kim: And he's also very nice to work with.

Daniel Dae Kim: Always polite.

Yunjin Kim: After all that, "thank you."

Daniel Dae Kim: Right. Pretty good English, Jin.

Stephen Semel: This is Jack's only scene in the show, I believe.

Daniel Dae Kim: I'm sure it was nice for Matt to get an episode where he didn't have to do too much.

Yunjin Kim: Right. [laughs] Aww, Sawyer, he tried.

Daniel Dae Kim: 'Cause Sawyer teaches me the swear words, only the bad words.

Yunjin Kim: Or, "Those pants don't make you look fat." I don't remember the line.

Daniel Dae Kim: That is the line.

Yunjin Kim: OK.

Daniel Dae Kim: Makes me drink beer. Bad Sawyer.

Yunjin Kim: Bad influence.

Stephen Semel: It was so fun and relaxed and together. I had been editing scenes on the beach for three years. To actually be there I felt like I was coming home, in a way. So, I found it, you know, invigorating and kind of a harmonious experience, you know, shooting there.

Yunjin Kim: Mm-hmm.

Stephen Semel: The biggest challenge for me was on the scouting part of the process, where you go to the location that you're gonna shoot at, where you go to the location that you're gonna shoot at, and the expectation is, in being there for a relatively short amount of time, you'll figure out where the camera's gonna go, and how you'll block the scene, which is something that you're completely unfamiliar of as an editor, so that part of the process I thought was actually the most foreign to me.

Yunjin Kim: Remember this scene, Steve? Wasn't it this scene where you guys surprised me with Happy Birthday?

Stephen Semel: Yes, that's right.

Yunjin Kim: Yeah. We were shooting the scene and we started it and I thought we got it, but Steve asked for one more take. I thought it was strange. We were all happy with it. So, I went back to my corner and then ran in and did my thing.

Daniel Dae Kim: And the whole crew...

Yunjin Kim: Started singing Happy Birthday. That was a great surprise.

Yunjin Kim: Well, Sun's got three weeks to live, literally. She needs to get off the island, I guess, before three weeks is over. I guess we'll find out in the finale what happens to Sun.

Daniel Dae Kim: I love the fact that Sun's character has really developed into somebody who starts making decisions for herself. And is even starting to dictate what happens to the couple. She's saying, meet me in minutes and Jin's like, "OK." That never would have happened in the first season.

Yunjin Kim: I think it's taken us about two years. We've come a long way.

Daniel Dae Kim: I guess so.

Stephen Semel: And we'll find out you go quite a bit further very soon.

Yunjin Kim: Yeah, yeah.

Stephen Semel: This was all shot in a hospital on the North Shore of Oahu.

Yunjin Kim: While I was shooting this scene I had every female crew member come up to me, giving me lessons.

Daniel Dae Kim: How to be in labor?

Yunjin Kim: Right. I'm still single. I never went through this experience. So, I welcomed every lesson.

Daniel Dae Kim: I thought you did great.

Yunjin Kim: Thank you.

Daniel Dae Kim: It really felt like my memories of my wife being in labor. This actor is named Lanny Joon and I met him in Pusan. When I met him, he told me that he gets mistaken for me constantly.

Yunjin Kim: Well, when I first met him, I said, "Wow. You're Daniel Dae Kim, Jr."

Daniel Dae Kim: People think that he's my brother. He's a very nice guy and he did a nice job in this scene.

Stephen Semel: As I recall, it was about 90 degrees in this room.

Yunjin Kim: Yes.

Stephen Semel: And you're under blankets.

Yunjin Kim: Right. And I was breathing. So, every take I was feeling very dizzy, I have to say. But it worked in the scene.

Daniel Dae Kim: Absolutely. In a second you're gonna see someone a lot of people thought was me in the doorway.

Yunjin Kim: I think that's a later scene.

Daniel Dae Kim: ls that later? OK.

Yunjin Kim: Because I think I sort of pass out here and then... ...come back alive again.

Daniel Dae Kim: That's so romantic.

Yunjin Kim: ls there a significance to the panda? I've always wondered that.

Daniel Dae Kim: Well, I guess because it's the Chinese ambassador. This whole flashback/flash forward thing that people were wondering about, a lot of people knew this was a flashback 'cause they looked at the phone.

Yunjin Kim: Because of the cell phone.

Daniel Dae Kim: They saw the size of the phone and said, this couldn't be a flash forward. I guess for a lot of people it gave it away. This is me trying not to fall in my leather shoes, but still trying to run. [laughter] [Daniel grunts] [laughter]

Daniel Dae Kim: That was a choice. That was a choice.

Yunjin Kim: I'm sure it was.

Daniel Dae Kim: This toy store is actually a toy store here in Kaimuki.

Yunjin Kim: It's a real toy store?

Daniel Dae Kim: It's a real toy store. It's turned into one of my kids' favorite toy stores because they have all sorts of the Japanese toys and anime toys, Pokémon, and all sorts of other stuff.

Stephen Semel: It was an amazing place.

Daniel Dae Kim: Yeah, so we actually go back regularly now. But the first time we'd been was during this episode.

Stephen Semel: So how much money did you actually slap down there, Daniel?

Daniel Dae Kim: I don't even know. Props gave me a wad of cash. But it was real Korean money.

Yunjin Kim: It looked like a little more than 100 dollars, in dollars.

Yunjin Kim: Can we talk about our mistakes?

Daniel Dae Kim: Yeah, let's.

Yunjin Kim: We had some problem with the film, so we had to re-shoot parts of a lot of the scenes. And one of the scenes that we had to re-shoot was this scene. I felt so bad because later on I have to slap Elizabeth Mitchell. And because we had to re-shoot it, I had to slap her five more times. Which made me really nervous.

Daniel Dae Kim: Well, you know what? Maybe from what she did, she deserved it. [laughter]

Yunjin Kim: Her character.

Stephen Semel: Right, so some of this was shot two weeks later, two, three weeks later than the original photography.

Daniel Dae Kim: Exactly.

Daniel Dae Kim: That's the new Jin. "Wherever Sun goes, I go." [Semel laughs]

Yunjin Kim: That's right.

Daniel Dae Kim: "I've been whipped."

Yunjin Kim: Whoa!

Daniel Dae Kim: Oh.

Daniel Dae Kim: What do you think? Was it right for her to have said that? I mean, as a viewer can you sympathize with Juliet after seeing that? Do you think she did the right thing?

Yunjin Kim: I think, from her point of view, yes. Because she had to do everything she can in order to keep Sun...

Daniel Dae Kim: Oh! Ouch!

Yunjin Kim: See?

Daniel Dae Kim: That looked painful.

Stephen Semel: And they went for that.

Yunjin Kim: Because it's better doing it real once or twice versus trying to fake it and actually getting it wrong and having to do it over and over again. But yeah, that was a pretty good slap. But yeah, continuing about Juliet's, um... behavior, I think she did the right thing. Which kept Sun and Jin on Jack's side of the camp. And, as we can see in the finale, Sun actually makes it off the island.

Daniel Dae Kim: Because of it.

Yunjin Kim: Right.

Daniel Dae Kim: This is a familiar scene. We've done this a few times before.

Yunjin Kim: Fighting and making up. Me saying, "Listen to me, let me explain." Talking about our, um, shooting environment, I had... If you can see it, I had a huge mosquito bite on my eyelid... ...that day. You can see it later on in a different scene, I think when you bring dinner.

Daniel Dae Kim: Oh. I'll look for it.

Yunjin Kim: Yeah. I only noticed it.

Daniel Dae Kim: Clearly. Here's the wonderful Sam Anderson.

Yunjin Kim: Sam Anderson.

Daniel Dae Kim: He's so great to have on the show. He's such a savvy veteran.

Stephen Semel: Daniel, here's where you did something that surprised me in a great way. I thought that your reaction to him, when you ask him to go with you, would be out of spite to Sun. But really, the way you played it was more about you wanted to be with the presence of somebody else, who would make you feel better.

Daniel Dae Kim: I'm glad you got that, because that was really what I was trying to do. I wanted to be... [stammers] I want Jin to kind of change to be someone who needs the presence of others. That was why I made that choice, so thank you.

Stephen Semel: Which I thought was terrific and it was like, wow. It was a dimension of your character we hadn't seen yet.

Daniel Dae Kim: Thanks, Steve. This is a scene, interestingly enough, where, uh, we had to re-shoot a lot of it. And originally in the script there was a lot more back and forth between Jin and Bernard. But because we're still trying to find that balance between Jin knowing English and Jin still not quite comprehending, a lot of the dialogue was left on the cutting room floor. And it becomes more a scene about Sam talking to Jin and Jin just listening and responding. Some people have said to me, "How come Jin can understand things like cancer?"

Yunjin Kim: Or karma!

Stephen Semel: I asked you that.

Daniel Dae Kim: Karma, yeah. But words like cancer are universal.

Yunjin Kim: Yeah, cancer I understand. Karma... yeah.

Daniel Dae Kim: That's an interesting one. I have to pick and choose words that I think the character understands and respond to those. That's part of the homework that I need to do for the character.

Stephen Semel: We were very worried that the fish would look real... ...because no fish in Lost has ever looked real until that fish.

Daniel Dae Kim: You think?

Stephen Semel: I think. It's 'cause you played it that way.

Daniel Dae Kim: I've done extensive fish work. My third year of grad school was devoted to...

Yunjin Kim: Imagine what we would have done without Jin on the island. [laughter]

Stephen Semel: You would have starved.

Yunjin Kim: We would have. No protein in our bodies.

Stephen Semel: Once the boar ran out.

Daniel Dae Kim: Exactly.

Daniel Dae Kim: I think Sayid and Desmond make a cute couple.

Yunjin Kim: I think it's about time we have a gay couple on our show.

Daniel Dae Kim: Maybe Friendly would have been extra friendly to them.

Yunjin Kim: That's true. We sort of touched on it with Mr. Friendly's character.

Stephen Semel: Where's the helicopter?

Yunjin Kim: There she is again.

Daniel Dae Kim: She's like Jacob Marley coming to visit Ebenezer Scrooge.

Daniel Dae Kim: That's all her. She did that stunt.

Yunjin Kim: She's a stunt-woman.

Stephen Semel: She did it two times. The jump was not the problem because it wasn't an extreme jump. lt might be a jump you might take in a swimming pool if you're a good diver. It was figuring how to schedule it into the day the rest of the shooting. This was several miles, so everyone had to take, you know, uh, like, a Zodiac boat, a small boat, or... Different people got on different ways. But this was three or four miles offshore. The idea being, that in the direction we shot, you would never see land. However, periodically, as the boat drifted, because the engines were cut in order to facilitate the sound in the shooting, the boat would drift and you'd see land and then we'd have to stop. The engines would be turned on, the boat would be readjusted so that you couldn't see land in the direction we were shooting.

Daniel Dae Kim: I'm told this actor is from New Zealand. ls that right?

Stephen Semel: Australia, I believe.

Daniel Dae Kim: We've got quite the multinational cast going on over here. Scottish, lraqi, Australian. They're like Starsky and Hutch, Sayid and Desmond.

Stephen Semel: Here's something. When I saw the prop for the black box, which I believe I saw for the first time on the day of the shoot, it's not black at all. It's orange.

Yunjin Kim: Why do we call it black box?

Stephen Semel: I don't know.

Stephen Semel: This was kind of a critical piece of information for our fans revealed in this scene, which is that, to the outside world, the, uh... the flight that crashed had sunk to the bottom of the ocean and been recovered.

Yunjin Kim: And all the dead bodies were found.

Stephen Semel: And all the dead bodies were found, so, somebody had actually gone to the extent of staging the event.

Yunjin Kim: Then we find out that it was Charles Widmore.

Daniel Dae Kim: This show does an amazing job of having a surprise in almost every episode. It's phenomenal that we're on our fourth year, and we continue to learn things at the rate we do.

Yunjin Kim: Right, and in each episode we open so many more doors to so many more questions, which is always amazing.

Stephen Semel: Yes.

Yunjin Kim: So, Jin's gone fishing.

Daniel Dae Kim: Where else?

Stephen Semel: I had done a cameo in season three, and Elizabeth had been... It wasn't the first scene in her production, but it was the first scene in her show. You know, the book club scene in her apartment, and I was the guy who hated Stephen King. So I knew her from that. And when I saw her on the day that we shot, she was just warm and welcoming, and thrilled for me. I felt that kind of gave me an entree into being able to talk and communicate, especially with her. In about three weeks, you'll be in an almost constant state of nausea.

Yunjin Kim: I think this scene forgives Juliet.

Stephen Semel: People, the audience, was really mad at her after this show.

Daniel Dae Kim: ls that right?

Stephen Semel: All the websites that I read, all the blogs, people were mad.

Yunjin Kim: Really? Even after this scene? I thought this scene would kind of forgive Juliet. She's doing it because she's her doctor. I think that's one of her lines.

Stephen Semel: Yeah, clearly.

Daniel Dae Kim: But isn't there such thing as doctor-patient confidentiality?

Yunjin Kim: I can tell that you write.

Daniel Dae Kim: Would she...

Stephen Semel: She did broach that in some sense, yes.

Daniel Dae Kim: Sun is so forgiving.

Yunjin Kim: I think because she's made a mistake or two in her life.

Daniel Dae Kim: Haven't we all? But she does care. She does care about the baby, she does care about survival.

Daniel Dae Kim: There it is. Here it comes. They should have started on your eye, right then. There. People thought that, that was me. That is actually my excellent stand-in, Steve Tanizaki. He's been my stand-in for a few years and this is his first time on-screen.

Yunjin Kim: And he was your stand-in in one of the scenes you couldn't be in. So I was acting with him.

Daniel Dae Kim: That's right.

Stephen Semel: Yunjin screamed so much that day.

Yunjin Kim: I did.

Stephen Semel: I thought, "God, she's got to be exhausted."

Yunjin Kim: I was!

Daniel Dae Kim: Look how red you are. You were really pushing.

Yunjin Kim: Oh, yeah.

Stephen Semel: This baby, as I recall, was ten days old, something like that.

Yunjin Kim: And this baby...

Stephen Semel: Incredibly young, and they had actually made an arrangement with the parents before the baby was born.

Daniel Dae Kim: Really? Before the baby was born?

Stephen Semel: Yes.

Daniel Dae Kim: Wow.

Stephen Semel: Then, that stuff on the baby is cream cheese and jelly, I believe.

Daniel Dae Kim: Tasty.

Yunjin Kim: And when I was holding her, and trying to get very emotional about her, all I was smelling was cream cheese and jelly. [laughter]

Yunjin Kim: Yum. It's the only safe thing to put on such a young baby.

Stephen Semel: Got it.

Yunjin Kim: And I thought it looked real.

Daniel Dae Kim: That's a cute baby. ls it a boy or a girl?

Yunjin Kim: I think she was a girl.

Daniel Dae Kim: Nice. I think newborn babies should look goopy. They should have goop on them, because no baby comes out totally clean.

Yunjin Kim: Was this shot on stage?

Stephen Semel: Yes, it was set design. I think those were actual pieces that were salvaged from another ship. Certainly the doors were. That was all production design. They built the set to have modular pieces, so you could vary the... Originally, in the script, they were supposed to see rats. But, um, I think the call was made that cockroaches would be more believable.

Daniel Dae Kim: Maybe the rats had tough agents.

Stephen Semel: They were gonna be digital rats.

Daniel Dae Kim: There we go.

Yunjin Kim: There we go. Who's that?

Yunjin Kim: I think we and the fans waited a long time to see Harold Perrineau again as Kevin Johnson.

Daniel Dae Kim: I love their reactions to him.

Yunjin Kim: It's great. They say so much, all of them.

Daniel Dae Kim: Naveen does such a great job. I think lan makes a great choice here, too. He plays that he doesn't know who this is and doesn't recognize him, even though technically, they were on the island together.

Stephen Semel: But they were never in a scene together.

Daniel Dae Kim: So, I think it's right that he has no idea who he is. This was shot on stage, although it looks like it's the beach. He's even cooking dinner now.

Yunjin Kim: See my mosquito bite?

Daniel Dae Kim: Look at that.[chuckling] It's all about your mosquito bite. Forget the scene.

Yunjin Kim: You know we've shot this scene once before. Once or twice.

Stephen Semel: Well, I think this is a great make up scene.

Daniel Dae Kim: That translation's a little bit different there than what I said. I actually said, "l know all of this is my fault."

Yunjin Kim: That's one of the challenges of doing Korean scenes, getting the right type of translation. That, of course, serve as the English lines and both the Korean lines. And it's so hard to find a good combination of something that's realistic...

Daniel Dae Kim: And that's not a literal translation from one language to the other. I love the fact that now Jin and Sun are talking about things together and making decisions together. That's such a big... we've come a long way from season one. And I think that this is my favorite moment, here. I think the fact that Jin actually promises to take care of the baby before he asks this question says a lot about where he is now.

Stephen Semel: And when you think about relationships, to have a relationship survive that incident of one partner learning that, that's a big thing.

Daniel Dae Kim: Absolutely. But he makes a vow to take care of the baby even if it isn't his. Sometimes it's just so hard to watch yourself.

Yunjin Kim: Do you get critical?

Daniel Dae Kim: Of myself? I used to be incredibly, uh, self critical. I think l've eased up on myself a little bit now, but I think also for young actors it's easy to be self critical, because there's so few examples of your own work that you can see. So every scene means so much.

Yunjin Kim: Yeah, it's taken me years for me to forgive myself, and to understand that once it's in the can it's not you anymore and you can't do anything about it. You can't go back in time and fix your own acting. But now I feel a lot more comfortable.

Daniel Dae Kim: It's true. I think it's true. I think part of the learning process and part of the transition to becoming someone who's more of a savvy veteran is understanding that so much is beyond your control. Even in your own performance.

Yunjin Kim: All we can do is, doing the best we can with what we're given at the situation and hope for the best.

Daniel Dae Kim: This scene was shot the same day as your pregnancy, your labor shot.

Stephen Semel: Different location in the same hospital. This whole wing of the hospital had been shut down. So, uh, we kind of had the run of it. I think that initially that room was a maternity room.

Daniel Dae Kim: Same hospital. Could be the same baby.

Yunjin Kim: Poor baby, working overtime.

Stephen Semel: Damon and Carlton had told me the trick of the script. But it was great to go on the blogs, like The Fuselage, where you're reading people's comments as they're writing it, and see the reaction to people realizing that one story was a flash forward and one story was a flashback.

Yunjin Kim: And this is a huge surprise for people who haven't caught up.

Daniel Dae Kim: That's a nice transition, too. I think one of the great things about our show is that, there's no other show on television now where in the fourth season of its run are you questioning the narrative style of the show. Like, not only did we start with the flashbacks, but now we're doing flash forwards. And how many other shows are there that make you question where we are in time when you're watching an episode?

Yunjin Kim: Time has become sort of a main theme.

Daniel Dae Kim: Jorge looks great in that suit, doesn't he?

Stephen Semel: Everybody loves seeing Jorge in a suit.

Yunjin Kim: And how wonderful is it that Hurley decides to come all the way to Seoul, Korea to visit?

Daniel Dae Kim: What does this mean, though?

Yunjin Kim: Oceanic Six, they haven't been getting along, I guess.

Daniel Dae Kim: I guess they're like the Beatles during Let it Be.

Yunjin Kim: This is a different baby. Beautiful baby.

Stephen Semel: This baby was two weeks old. And I think was contracted with the parents before... I think this is a boy. I wouldn't swear to it. We thought that, that baby looked like Daniel, which was terrific. [Yunjin chuckles]

Daniel Dae Kim: I love this music.

Yunjin Kim: Mm-hmm.

Daniel Dae Kim: You really lost that baby weight fast.

Yunjin Kim: You know what? I am wearing a padded bra and a little stomach pad underneath that dress, but that was such a great looking dress. See? You can sort of see a small bump.

Daniel Dae Kim: I guess so.

Yunjin Kim: So, we did try.

Daniel Dae Kim: Got it.

Stephen Semel: This is a park in Honolulu. The concept of a cemetery in Korea is very different than our concept. They are much more park-like areas, and if you're from a well-to-do family, and Jin had married into a well-to-do family, you kind of get a private section of a park for your headstone and for the burial mound. Everything in the scene that was shot in this direction looking at Sun and Hurley, was shot one day. Then it started to really pour, and, uh, we couldn't finish shooting the scene. Their walk up with the cameras behind them was shot three or four weeks later.

Yunjin Kim: But all the close-up shots, we had, like, two seconds to get out and shoot it. So, I felt under the pressure of getting out the emotion as soon as possible.

Daniel Dae Kim: You did such a great job with this scene. This is a scene where all of my friends called me up to say how great you were. Like, "She made me cry so hard."

Stephen Semel: And we lucked out with all the babies. On Lost, if the babies are cranky, and these are infants, you get them for a very limited amount of time, so if they're cranky and crying, you're out of luck and they don't show them on camera. But these babies were all very mellow.

Daniel Dae Kim: People are gonna want to pause on this.

Yunjin Kim: 2004, date of the crash. For some reason, Oceanic Six decided not to talk about us living on the island. I'm saying it in the press conference, that you died...

Daniel Dae Kim: Mm-hmm.

Yunjin Kim: the plane crash. I guess we'll find out in the next season what that all means.

Daniel Dae Kim: That was such a beautiful way to end it, just to close with Lost like that.

Stephen Semel: I think that's it. Thanks, everybody, for watching.

Yunjin Kim: And listening.

Daniel Dae Kim: Listening to us.

Yunjin Kim: And Steve, that was a great directorial debut.

Stephen Semel: Thank you. And you guys were so wonderful to work with. And you know... [stammers] I sincerely mean it. I know that it's as good as it is because you're as good as you are.

Yunjin Kim: Oh, thank you very much.

Daniel Dae Kim: 'Cause usually directors have nothing to do with it. [laughter]

Stephen Semel: That's what the producers always tell me.

Daniel Dae Kim: May it be the start of a great career for you.

Stephen Semel: Thank you.

Yunjin Kim: Thank you.

Daniel Dae Kim: Take care, everybody.

Yunjin Kim: Bye-bye.

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