The new Netflix series explores how normal people can go from “being so agreeable to just a rabid animal,” says creator Lee Sung Jin.
Lina Lark, who, in one particular scene, refuses to exit the hospital.The role called for Wong to cry. She remembers concentrating hard on the task at hand, willing her tear ducts to perform.
This method requires Wong to place a great deal of trust in her collaborators — such as Lee, who says Wong took a “leap of faith” working with him on a series more dramatic than any of his previous work. He originally envisioned the actor opposite Yeun to be a White man, like the driver he encountered in real life, but came to realize during an unrelated conversation with Wong that she has a knack for exposing “harsher truths about life in such a funny way.
Wong makes note of the wooden slats in Amy’s kitchen area, these floor-to-ceiling strips of wood meant to contribute a Zen energy to a living space. The actress has them in her own home; they’re calming. But production designer Grace Yun added distance between the slats in Amy’s house, such that they resemble a cage.Though both the main characters in “Beef” try to run from their lives, Danny would insist that he is making his way toward a better future.
Pettiness even plays a part in Danny’s spiritual journey, which takes him to the Korean church attended by his former girlfriend and her husband. Danny consistently one-ups the guy, joining the church basketball team and singing during devotion. As with Wong, Yeun’s background in comedy helps him master tricky tones; a church performance of “Drive,” by the rock band Incubus, somehow comes off both uplifting and menacing.Yeun became attached to “Beef” early on and helped Lee shape his character.
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