Today, over 250 filmmakers, press, and industry leaders gathered for the second Creative Asia, presented by Netflix in partnership with the Busan International Film Festival (BIFF). Asia’s next generation of creators immersed themselves in a day packed with creative exchange and learning, hearing from visionaries like Guillermo del Toro, Yeon Sang-ho, Maggie Kang, Yui Miyamori, and Leste Chen.
Minyoung Kim, VP of Content (APAC ex-India) at Netflix, unveiled new APAC production insights on how Netflix is continuing to support local productions across the region, followed by a dynamic panel on production innovation led by Netflix’s Senior Director of Production (APAC ex-India), Sung Q Lee.
Building a Stronger Production Ecosystem Together
During her welcome, BIFF Program Director Karen Park underscored the shared vision between BIFF and Netflix in promoting Asian creativity. “BIFF has become a massive stage for showcasing Asian cinema to the world, and Netflix has played a crucial role in breaking down language and cultural barriers,” she noted. This shared mission is contributing to a global shift where authentic Asian stories are now embraced as universal human stories.
Minyoung Kim shifted the spotlight from content to the people who bring stories to life in her keynote, “Production is an incredibly important part of what Netflix does. Behind the magic are thousands of talented production people, making millions of decisions to bring each story to the screen. The experience of our production partners matters deeply to us. We’re committed to creating environments where creativity flourishes, where teams feel safe, respected, and inspired — because better working environments and healthier team cultures lead to higher-quality, more creative work.” Kim underscored Netflix’s ongoing commitment to support the creative community, noting that over the past decade, Netflix has partnered with more than 250 local production partners across APAC.
In every country, Netflix tailors its approach to developing programs that fit the unique needs and strengths of each local industry, like Reel Life in Southeast Asia and the VFX Academy in Korea. Today, Kim announced the Lumina Initiative in Australia, developed with local partners Bus Stop Films and Spectrum Films; and unveiled that Creative Asia will expand its reach at JAFF in Indonesia this December for Southeast Asian creators. From 2021 to 2024 alone, more than 8,000 people have benefited from Netflix’s skills and talent development initiatives in the region.
In the APAC production panel that followed, Sung Q Lee built on Kim’s sentiment on partnership and supporting local teams as they evolve their productions every day. “We’re creating better working environments where creators can safely and boldly bring their imagined worlds to life. In safety, mental health, or post- and pre-production, we don’t want to just comply with local standards, but to help set new ones,” he says. “We also want production teams to have access to the best skills training, so they can use the latest tech or enter new career paths in jobs that haven’t existed before.”
Panelists Yongsu Lee (Producer, Korea), Chartchai ‘Nat’ Ketnust (CEO of Whitelight, Thailand), and Momoko Nishiyama (Intimacy Coordinator, Japan) shared insights on the evolution of production in their respective countries, from improved guidelines for set safety to the increasing importance of intimacy coordination and respect training.
With 15 years of experience in the industry, Nat has seen firsthand how much production in Thailand has evolved. He notes that the culture has shifted: there’s greater coordination and preparation, from daily safety meetings to improved working hours and transparent communication. “Before filming, there are more discussions to ensure actors are comfortable with what’s expected. This helps prevent issues after the fact, like actors asking for scenes to be cut because they weren’t okay with them. The process and standards are really shifting, and it’s leading to healthier, safer sets,” he says. Training is provided not just for directors and producers, but for all departments, and there’s a growing awareness of the importance of mental health and emotional safety.
In Japan, having an intimacy coordinator on set is still relatively new, only emerging in the last five years. Initially met with skepticism, the role is now widely valued. “People on set feel safer and more empowered to speak up, and there’s much more open discussion. Now, it’s okay to say no or to express what you’re comfortable with. It’s not just the actors and directors — staff are happier too, because they know what to prepare for in advance,” she says.
She also clarified that intimacy coordinators are just one part of a broader support system on set. “Netflix brings in separate experts for issues like mental health and harassment. It’s been eye-opening to see respect training and on-set counselors become standard, even beyond Netflix. This is new, but it’s already making a difference across the industry.”
Beyond mental safety, there’s also the more practical aspect of physical safety. Yongsu Lee shared his experience producing the upcoming Netflix series Can This Love Be Translated?, which required on-location shoots in four different countries — an example of large-scale production that demanded careful coordination. One way his team ensures an ongoing atmosphere of safety on set is by gathering the entire crew for daily briefings. “It’s become routine for us to gather the whole team before filming. Assistant directors brief everyone on the day’s schedule, weather, and any potential hazards, so everyone knows what to expect. We encourage open communication, and ask cast and crew to speak up about any discomfort or concerns. Even if everyone already knows the drill, it’s important to reinforce these practices every day.”
Creator Masterclass: Visionaries Share Their Craft
The afternoon was dedicated to masterclasses with some of the most visionary creators Netflix partners with around the world. The first session brought together Guillermo del Toro (Frankenstein) and Yeon Sang-ho (Hellbound, Parasyte: The Grey) in conversation to discuss the creative process and the art of bringing their imaginations to the screen.
For del Toro, inspiration lives in every detail on set. It’s not just the actors delivering lines, but every element of production that infuses the story with emotion and meaning. “Film is poetry with hardware. You’re using tools to produce movement. But every element in the film is a single unit. […] The rain is acting. The camera is another character; it’s either curious or it’s distant. Set design is acting. There’s nothing casual audio-visually when making a film. Everything is telling the same story.” He also believes accidents can transform a polished scene into something unforgettable, reminding us that film is as much about discovery as it is about design.
Building on this theme of creative process, Yeon offered his perspective from the world of animation — a format with its own unique freedoms and challenges. “One of the biggest strengths of animation is how quickly you can see results and experiment with new ideas. It lets you test and refine creative choices almost immediately. The way action, emotion, or even something like blood is depicted can be completely different — so animation and live-action each offer their own possibilities for storytelling and imagination.”
The sessions continued with a deep dive into the creative world-building process behind Last Samurai Standing. Production designer Yui Miyamori and Shin Takahashi (Director, Live Action Creative – Japan at Netflix) took the stage to reveal how they set out to honor the legacy of Japanese period drama. Yui described the challenge of crafting a believable, atmospheric world for an epic battle royale. In the end, collaboration, attention to detail, and a willingness to push boundaries brought Last Samurai Standing to life. “Production design is a crucial visual element, so I work closely with different departments while keeping a broad perspective. After creating a design, I let it sit for a couple of days before reviewing it, since stepping back often reveals new possibilities. I think many others do the same, and this process helps the whole project grow into something bigger,” Miyamori reflects.
Next, Director Leste Chen and Maya Huang, Netflix Head of Chinese-Language Content, explored how he pushed the limits of storytelling from film to series. Chen reflected on his journey from his BIFF debut with Eternal Summer to his upcoming thriller, The Resurrected. Chen shared how the rise of streaming platforms transformed creative opportunities and audience expectations in Chinese-language entertainment. “Film audiences can experience a new world they haven’t seen before. But when creating a series, I want viewers not only to understand the story, but also to connect with the characters and relate to their emotions. In The Resurrected, the idea of ‘resurrection’ among other themes like revenge and justice, are rather complex. These themes are difficult to fully explore within the duration of a film. A series, however, gives us the space to examine different perspectives of each character, and develop them in with more depth,” he shares.
Fans assembled for Maggie Kang, director and creator of KPop Demon Hunters, the global animated phenomenon that became Netflix’s most-watched film just two months after its premiere. Kang took the audience through the film’s journey, from her inspiration in Korean culture and folklore, and fusing this with K-pop spectacle and fandom. She shared her initial inspirations and how her team’s trips to Korea and collaboration with top K-pop producers and choreographers shaped a film that’s both authentically Korean and universally resonant. It was a lively reminder of the importance of representation, the power of storytelling to bridge cultures, and the creative risks that led to the film’s worldwide success. “The connection that you are able to make with the audience through your story and your film is everything, and that’s just where it starts. You draw the audience in with the story, and then you have the opportunity to teach them something more, and in the case of our movie, that’s all about Korean culture,” she muses.
KOCCA Training: Practical Learning for Tomorrow’s Creatives
The day concluded with a hands-on training session on screenwriting and directing, co-hosted with the Korea Creative Content Agency (KOCCA). Hollywood veterans Joe Peracchio and Michael Lehmann led aspiring Korean creatives through global industry practices, offering practical skills and fresh perspectives for navigating today’s rapidly changing entertainment landscape.
Since last year, Netflix has been collaborating with KOCCA, under the Ministry of Culture, Sports and Tourism, to establish a partnership model and deliver training programs aimed at nurturing local creative talent. This year, alongside production-related courses in VFX, MPS, and Sound, workshops on story planning and development are also being offered through the Netflix Fund for Creative Equity. This collaborative effort underscored a shared commitment to nurturing the next generation of storytellers and ensuring Asian voices continue to thrive worldwide.
Creative Asia closes another chapter, ready for the next wave of stories, creators, and cultural milestones from this region.
(Source: Netflix)
