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[INTERVIEW] 151202 TenAsia with Son Sungdeuk

손성득 안무가가 말하는 방탄소년단 그리고 ‘런’ (인터뷰)

Choreographer Son Sungdeuk on BTS and ‘Run’ (Interview)

T/N: It’s long but definitely worth the read! Hope you enjoy~

그룹 방탄소년단이 확실한 대세가 됐다. 지난 11월 30일 공개된 미니앨범 ‘화양연화 pt.2’ 타이��곡 ‘런(Run)’이 각종 음원차트 1위를 차지했다. 지난 2013년 데뷔해 꾸준히 글로벌 팬덤을 쌓았던 방탄소년단은 이제 팬덤을 넘어 음원차트 정상까지 이룩했다.

Group BTS has definitely become a major trend(ing idol). The title track ‘RUN’ of their mini album “The Most Beautiful Moment in Life pt.2,�� released on Nov. 30th, took 1st place on all kinds of music charts. BTS, who has steadily been building their global fandom since their debut in 2013, has now surpassed the fandom and has achieved becoming a common name on music charts. (T/N: “surpassed growing their fandom” They’re on the music charts so often that it’s common to see their name)

방탄소년단은 데뷔곡 ‘노 모어 드림’부터 강렬한 퍼포먼스와 칼군무로 매력을 알렸던 그룹. 이번 타이틀곡 ‘런’ 퍼포먼스 또한 기대를 모으고 있다. 방탄소년단은 이번 컴백을 앞두고 지난 27~29일 열린 단독콘서트에서 ‘런’ 무대를 팬들에게 먼저 공개했다. 또, 2일 열리는 ‘2015 MAMA’에서 ‘런’ 무대를 방송 최초 공개하면서 역대급 컴백 스케일을 자랑한다. 퍼포먼스 최초 공개에 대한 큰 의미를 담은 것. 그만큼 ‘런’ 무대에 쏠리는 기대가 크다.

BTS is a group that has showed their powerful performances and knife-like group dancing charm since their debut track ‘No More Dream.’ They are gathering anticipation this time also for their title track ‘Run’ performance. BTS, with their comeback coming up, released their ‘Run’ stage first to their fans at a solo concert this past 27th~29th. Also at the ‘2015 MAMA’ that will open on the 2nd, they will broadcast their ‘Run’ stage for the first time and show off on a grade A scale comeback (T/N: also “one of the best/biggest scale comebacks so far”). They put great meaning into their first broadcast performance. And the anticipation that is rising for their ‘Run’ stage/performance is that much greater,

‘런’ 퍼포먼스에 대한 기대는 단순히 퍼포먼스를 잘했던 그룹이라 거는 기대가 아니다. 방탄소년단은 지난 4월 ‘화양연화 pt.1’ 활동 이후 월드투어를 성공적으로 끝마치며 또 한 뼘의 성장을 이뤘다. 데뷔 전부터 함께했던 손성득 안무가와의 팀워크도 더 끈끈해졌다. 더 많아진 무대 경험만큼, 방탄소년단의 퍼포먼스 표현력도 더 성장했을 터. ‘런’ 퍼포먼스에 대한 기대는 방탄소년단의 성장에 대한 기대가 함께 녹아있다.

Anticipation of the ‘Run’ performance is not simply because this group has always performed well. This past April, after ‘The Most Beautiful Moment in Life pt.1′ activities/promotions, BTS successfully finished their world tour and grew (matured) even more. Their teamwork with choreographer Son Sungdeuk, who has been with them since pre-debut, has also become stronger. As much stage experience they have earned, BTS’ performance expression has also grown. The anticipation for the ‘Run’ performance is also combined with anticipation of BTS’ (future) growth.

손성득 안무가 인터뷰를 하던 날, 방탄소년단의 ‘이틀 째 연습 중’인 ‘런’ 안무 연습 영상을 보게 됐다. ‘이틀째’라는 말이 믿기지 않을 정도로 완성된 모습이었다. 손성득 안무가도 “습득력이 빨라졌다”며 방탄소년단의 실력에 고개를 끄덕였다. 손성득 안무가는 ‘런’으로 어떤 그림을 그렸을까. 그에게서 방탄소년단의 성장과 신곡 ‘런’에 대해 들었다.

The day I interviewed choreographer Son Sungdeuk, I was able to see BTS’ ‘Second Day of Practice’ ‘Run’ dance practice video. Their appearance was so finished that I couldn’t believe that it was the “Second Day.” Choreographer Son Sungdeuk also nodded at BTS’ skills, saying their “acquisition (of dance moves) has become quick(er).” What kind of picture has choreographer Son Sungdeuk painted with ‘Run’? We listened to what he had to say about BTS’ growth (development) and their new track ‘Run.”

Q. 방탄소년단을 데뷔부터 함께 했어요. 지금의 방탄소년단을 보면 감회가 남다를 것 같아요.

손성득 : 제일 큰 차이점은 빨리 외워요. 정말 지금은 나비가 됐어요. 예전엔 멤버들이 실제로도 못했고, 진이나 랩몬스터는 걷는 것도 어색한 애들이었는데 지금은 우리가 ‘이틀인데도 다 외웠네’라고 할 정도로 놀라요. 데뷔 때는 표정이나 제스처, 시선까지 잡아줬는데 지금은 수월해졌어요. 또 제가 쉴 때는 제이홉이 알아서 부족한 것을 시키면서 연습에 체계가 많이 잡혔어요.

Q. You’ve been with BTS since (their) debut. It seems that when you look at BTS now, the feeling is completely different.

SSD: The biggest difference is that they memorize it (the dance) quickly. They’ve really become butterflies now. The members back then really couldn’t dance, and in the case of Jin or Rap Monster, even the way those kids walked was awkward, but now we are at the point where we are surprised that “It’s only been two days but we’ve memorized it all.” During debut time, I corrected their expressions and gestures and even their gaze focus, but now it’s become easy (for them). Also, when I’m resting, J-Hope, on his own, tells them to work on parts that are lacking, and the practice system has become more structured.

Q. 예전 인터뷰에서 제이홉에 대한 고마움을 표현한 적이 있어요. 안무 연습에 있어서 제이홉 역할이 큰가 봐요.

손성득 : 제이홉은 지금도 역시나 여전히 큰 역할을 하고 있어요. 제이홉이 춤을 잘 춰서 체력이 좋다고 하는데 생각보다 말라서 체력이 좋은 것도 아니예요. 하하. 그런데 연습에 대한 사명감이 있어요. 애들을 많이 이끌어가는 분위기에요.

Q. In a previous interview, there was a time where you expressed your gratitude for J-Hope. J-Hope’s role (responsibility) in terms of dance practice must be big.

SSD: Even now, as always, J-Hope is certainly taking on a big role. They say it’s because J-Hope is good at dancing and his strength/stamina is good but because he’s thin his strength/stamina isn’t (that) good actually. Ha ha. However, he has a sense of duty when it comes to practice. He leads the other members a lot.

Q. 이번 ‘런’은 콘서트로 먼저 공개가 되요. 평소 컴백을 준비할 때랑 다를 것 같아요. 손성득 : 팬들이 제일 먼저 보는 것이니까요. 따로 쇼케이스를 하는 것도 아니고, 계속 해외 콘서트를 하고 컴백 전 마지막으로 서울로 왔는데 그런 시점에서 팬들에게 제일 먼저 보여주는 것이 의미가 커요.

Q. ‘Run’ is being released at a concert first. It seems that preparing for this comeback is different from that of the usual comeback.

SSD: (Yes) Since fans are the first ones to see it. And it’s not like we’re holding a special showcase; at this kind of time, in between finishing their overseas concert(s) and being in Seoul before the comeback, we/they are showing this to the fans firs,t so it has a very big (great) meaning.

Q. ‘런’을 처음 딱 들었을 때 어땠나요?

손성득 : 처음엔 막막했어요. 안무를 짤 때 한 번 꽂히지 않으면 쥐어짜는 스타일이에요. ‘런’은 그나마 수월했던 것이 ‘아이 니드 유(I NEED U)’의 연장선이고, 우리가 계속 청춘을 이야기하고 있었잖아요. 아름다운데 슬프고, 불안하고. 제목도 ‘런’이고, 울면서 달리는 느낌적인 틀은 많이 나왔죠. 프롤로그나 뮤직비디오나 이전 영상을 보면서 생각이 났어요. ‘런’ 안무의 엔딩이 나비예요. 저번엔 꽃이면 이번엔 나비죠. 엔딩 때 나비로도 끝나고, 달리는 동작만 하면 너무 뻔하니 애들이 슬프고 파워풀한데 그 안에서 섹시한 느낌을 놓칠 수 없었어요.

Q. How did you feel (What did you think) when you heard ‘Run’ for the first time?

SSD: In the beginning I was stuck. When planning choreography, if it doesn’t hit you at once (inspiration) then you have to rack your brain for it (squeeze it out). The easy thing about ‘Run’ was that it was a continuation of I NEED U, and we were still telling the story of youth. It’s beautiful but sad, anxious. The title is ‘Run,’ so a lot of ‘running while crying’-feel moves came out (of the planning). I got the idea while watching the prologue, music video, and (our) past videos. The ending for ‘Run’ choreography is a butterfly. Last time it was a flower, and this time it’s a butterfly. It ends with a butterfly, and since if I only included a running motion it would be too obvious, I couldn’t leave out (made sure to preserve) how even though the kids are sad and powerful, within that there is a sexy feel.

Q. 그러고 보니 진 파트는 ‘아이 니드 유’랑 비슷한 느낌도 있어요.

손성득 : 구성 자체가 그렇긴 해요. 진이 부분에서 클��즈업을 했을 때 나비를 잡아서 보내는 액팅이 있어요. 이 부분을 꼭 잡아줬으면 좋겠다는 상상을 해요.

Q. Now that you mention it, Jin’s part (in ‘Run’) seems to have a similar feel to the one in ‘I NEED U.’

SSD: The composition itself is indeed like that. In one part, when Jin has a close up, he has an acting (scene) where he grabs a butterfly and then lets it go. I think it would be great to specifically focus on that part.

Q. 또 카메라가 꼭 잡아줬으면 좋겠다는 부분이 있다면요.

손성득 : 나비가 제일 중요해요. 진 부분과 엔딩 부분. 사람들이 봤을 때 ‘뭐지?’ 라고 할 수도 있는데 그만큼 진이가 연기를 잘해야 해요. 또 멤버들이 춤으로 무슨 이야기를 하고 있는지 봐줬으면 좋겠어요. 항상 안무를 짤 때 가사에 맞춰서 안무를 표현하는 스타일인데 방탄소년단은 또 랩이 많이 들어가요. 그렇기 때문에 춤만 따로 추면 춤 따로, 노래 따로가 되버려요. 보면서 들으면서 똑같은 이야기를 들을 수 있는 무대를 만들고 싶어요. 방탄소년단이 왜 이런 표정을 짓고, 이런 동작을 했는지 봐줬으면 좋겠어요.

Q. If there is one more part that you hope the camera will specifically focus on(?)

SSD: The butterfly is most important. Jin’s part and the ending part. People may say ‘What’s that?’ when they see it, so Jin has too act it out well enough. Also, I would like it if the audience/fan looked at (T/N: paid attention to, tried to figure out) what kind of story the members are telling through the dance. Every time I plan choreography, my style is that I always express the lyrics through the dance, but with BTS, there is also a lot of rap (in their songs). Therefore, if they just dance separately, the dance will be separate, the song will be separate (T/N: he means no harmony of dance and music). I want to create a stage (performance) where you can see and hear the same story. I would like it if the audience/fans looked at why BTS shows these expressions, why they did (chose) these movements.

Q. ‘런’에서 방탄소년단의 어떤 모습을 보여주고 싶었나요?

손성득 : 딱히 보여주겠다는 느낌보단 조금은 더 에너제틱한. ‘아이 니드 유’는 소프트하게 갔다면, 이번에는 조금은 더 에너제틱한 모습을 표현하고 싶어서 안무가 조금 더 들어갔다. 기존의 방탄소년단에 ‘아이 니드 유’를 섞은 느낌이에요.

Q. What kind of image did you want BTS to show with ‘Run’?

SSD: Instead of wanting to show something specific, (be) a little more energetic. If ‘I NEED U’ was soft, this time I wanted to express a slightly more energetic image, so I added a little more choreography. The feel is basic (’Run’) choreography with BTS’ ‘I NEED U’ mixed in.

Q. 안무나 콘셉트를 짜는 것에 있어서 멤버들과 이야기를 많이 하나요?

손성득 : 멤버들도 가사를 쓰니까 이야기를 많이 해요. 제가 안무를 짤 때 여러 가지를 고민하고 있으면 ‘이게 좋을 것 같다’식으로 의견을 표현하죠. 개인 파트 부분들도 액팅이나 자기들이 알아서 해요. 꼭 해야 하는 것들은 짚어주는데 다들 스스로 연구를 하고 와요. 1을 말하면 10을 해오죠. 솔직히 다른 가수들에 비해서 방탄소년단을 만난 게 운이 좋은 것이에요. 아무리 안무를 잘 만들어도 누가 하느냐가 중요한데 1짜리 안무 만들면 10으로 해주는 것 같아서 정말 좋아요.

Q. In terms of planning the choreography or concept, do you talk (it over) with the members a lot?

SSD: Since the members write lyrics, I do talk about it with them a lot. When I’m planning the choreography and worrying about (considering deeply) many things, they express their opinions in a ‘I think this will be good’ way. For solo parts also, the acting and such, they do it (figure it out) on their own. I point out things that we absolutely have to do (include) but everyone researches on their own before coming. When I say 1 thing, they do 10 things. Honestly, compared to other artists, I think it’s good luck that I met BTS. Even if I make great choreography, it’s (more) important who does/performs it, and I really like that when I make a level 1 choreography (a dance as good as ‘1′) they do/perform it as a 10.

Q. 지금까지 작업했던 것 중 가장 뿌듯한 방탄소년단 안무는 무엇인가요?

손성득 : ‘노 모어 드림(No more dream)’이랑’ 위아 불렛 프루프 파트 2(We Are Bulletproof Pt2, 이하 위불프2)’, ‘좋아요’까지가 좋아요. ‘좋아요’는 지금도 콘서트에서 들으면 짠해요. ‘노 모어 드림’, ‘위불프2’는 히스토리도 많고, 안무 수정도 진짜 많이 했어요. 애들도 이를 갈고 열심히 했어요. 개인적으로 제일 애착이 가고, 그것 때문에 방탄소년단이 초반에 퍼포먼스적으로 어필이 됐어요.

Q. Out of all the BTS choreographies that you’ve worked on so far, which one are you most proud of?

SSD: I like ‘No More Dream,’ ‘We Are Bulletproof Pt2,’ and ‘I Like It.’ Even now when I hear ‘I Like It’ at a concert, I feel emotional. ‘No More Dream,’ ‘We Are Bulletproof Pt2′ has a lot of history, and we really modified the choreography a lot (many times). The kids also grit their teeth and worked hard. Personally, I have the most affection for those, and because of those (choreographies), BTS was appealing in terms of performance from the (very) start.

Q. 그렇다면 가장 아쉬운 안무는요?

손성득 : 아쉽다기 보다는 ‘엔오(N.O)’가 생각나네요. ‘엔오’의 노래와 안무를 정말 좋아하는데, 정말 너무 좋아하는데 그 앨범이 잘되진 않았어요. 빛을 많이 받지 않은 것 같아서 아쉬워요. ‘엔오’ 안무에 대해 많이 봐줬으면 좋겠어요. 해외 워크숍 같은 것을 나가면 항상 ‘엔오’를 보여줘요. 그 춤을 꼭 많이 보여주고 싶어요.

Q. Then the most disappointing choreography? (T/N: Choreography he was disappointed in / felt was lacking / did not do as well compared to expectation / thinks he could have improved on)

SSD: Not really disappointing, but I do think of N.O. I really like N.O music and choreography, I really like it but the album didn’t do well. I think it’s too bad because it seems like the album didn’t receive a lot of light (wasn’t noticed a lot). I’d like it if fans/audience looked toward ‘N.O’ choreography a lot. When I go to overseas workshops, I always show ‘N.O’. I truly want to show that dance a lot.

Q. ‘쩔어’ 원테이크 퍼포먼스도 화제였어요. 랩몬스터의 시작도 인상깊었고요.

손성득 : ‘쩔어’ 자체 콘셉트에 맞춰 남준이가 되게 잘했다고 생각이 들어요. 원래 원테이크 기법은 정말 예전부터 하려고 했어요. 데뷔 전부터 생각했어요. 외국 안무가들 영상을 보면 원테이크 기법이 유행했는데 한국에서는 어떻게 보면 유행이 늦었죠. 신인이 원테이크를 하기엔 좀 이른 것 같아서 ‘쩔어’ 때 시도하게 됐어요.

Q. There’s also the topic of ‘Dope’’s one take performance. Rap Monster’s start also left a strong impression.

SSD: I think Namjoonie did well (his starting part) in really matching ‘Dope’’s concept. Actually, I was planning on using the one take technique for a long time. I was thinking of it even before debut. If you look at foreign choreographers’ videos, the one take technique was trending, so in a way the trend came late in Korea. I thought it was a little (too early) for a rookie group to do a one take so I ended up trying it for ‘Dope’.

Q. 방탄소년단이 어느 정도 자리를 잡았다고 생각한 건 언제였나요?

손성득 : 팬들이 방송국 앞에 많은 것을 보면서도 느끼지만, 처음에 일본에 갔을 때 클럽 같은 데서 공연을 했었거든요. 그때 사람이 진짜 없었어요. 작은 공연장에서 공연하는 모습을 내려다보는데 언젠가는 우리도 더 크겠지 생각했어요. 또 오사카에 있는 케이팝 굿즈샵을 들어갔는데 방탄소년단 사진이 하나도 없었어요. 그때는 방탄소년단 앨범이 아예 일본에서 나오기 전이었어요. 그 후에 일본 콘서트를 갔는데 미국도 그렇고, 그 팬덤을 보면서 많이 성장했고, 많이 왔다고 생각이 들었어요. 이후 ‘아이 니드 유’ 활동할 때 물이 올랐다는 것을 느꼈어요. 지민이나 정국이랑 센 것만 해서 내면적인 연기를 못할 줄 알았는데 성장했다는 것이 표현된 것을 보고 고개를 끄덕였죠.

Q. When did you think that BTS had more or less settled down? (T/N: adjusted to their surroundings / lost the ‘rookie’ or ‘unprepared’ feel)

SSD: I feel it as I see the many fans outside of the broadcast agencies (for live show/pre-recording), but (also) when we first went to Japan we had a performance at a club-like place. There really wasn’t a lot of a people then. I looked down at them performing at the small performing venue/theater and I thought ‘we’ll get bigger one day, right?’. Also, I went into a K-Pop goods shop in Osaka, and there wasn’t even one photo of BTS. At that time, BTS’ album hadn’t even come out in Japan yet. After that, we went to (have) the Japan concert, and the U.S. one too, (and) while looking at the (growth of the) fandom, I realized (thought) that they had grown a lot and had really come far. Afterwards, at the time of ‘I NEED U’ promotions, I felt that they had improved/were in prime condition. In terms of Jimin or Jungkook, because they had only performed/shown strong images, I thought they wouldn’t be able to do introspective acting, but after seeing that they could express their growth/maturity, I nodded my head. (T/N: was satisfied / acknowledged them)

Q. 이 기회에 방탄소년단 개인별 매력에 대해서 말해주세요.

손성득 : 랩몬스터는 옷을 잘 입어요. 비주얼이 처음 봤을 때 말도 안됐는데 진짜 멋있어졌어요. 하하. 옷에 관심도 많고, 진짜 제일 멋있어졌어요. 리더로서의 아우라도 나오고, 카리스마도 있고. 슈가는 진짜 생각이 깊어요. 점잖아요. 애들 중에 제일 말이 잘 통해요. 진이는 맏형이다 보니 능글맞아졌는데 말도 많이 섞어요. 제일 많이 혼나던 애인데 이제는 편하고 가까워졌어요. 노련해졌죠. 진짜 긍정적이에요. 정국이는 진짜 순수해요. 데뷔 때랑 지금이랑 변함없어요. 15세 때 처음 봤던 정국이 그대로에요. 몸은 남자가 됐어요. 제이홉은 진짜 고마워요. 진짜 힘들 법도 한데 듬직해요. 팀 자체는 랩몬스터가 리더지만, 댄스에 있어서는 누구보다도 큰 힘이 되는 친구에요. 알아서 다 정리해요. 지민이는 좋은 욕심이 진짜 많아요. 연습벌레에요. 지금도 노래 연습을 정말 많이 해요. 자신이 부족한 것에 대해서 채워 나가려고 연습해요. 남아서도 연습하죠. 뷔도 멍한 매력이 있어요. 뷔 덕분에 많이 웃기도 해요. 안무를 배울 때 안무 외에도 자신의 파트에서 무엇을 더할지 생각해줘요. 끼가 장난 아니죠. 뷔가 기억력도 좋아요. 춤에 어느 정도 재능이 있어요.

Q. Since the opportunity arises, please tell us about BTS’ individual charms.

SSD: Rap Monster dresses well. I couldn’t believe his visual (T/N: it was bad) when I first saw him, but he’s really become cool/stylish. Ha ha. He has a lot of interest in clothing, and he’s really become the most cool/stylish (out of the other members). He (now) gives off the ‘leader aura’ as the leader, and he has charisma too. Suga’s thinking is really deep. He’s very well-mannered (T/N: can also mean gentle, respectable, like a ‘gentleman’). Out of all of them, it’s easiest to communicate with him (T/N: they understand each other the best / Suga ‘gets’ him the most). Jin, since he’s the eldest hyung, used to be sly (T/N: can also mean slighly prideful or stiff in terms of associating with others) but we talk a lot (now). He used to be the one who got in the most trouble (was called out/punished the most) but now we’re comfortable (with each other) and we’ve become close. He’s become mature. He’s really positive. Jungkookie is really innocent (T/N: can also mean pure, genuine). He hasn’t changed any since debut. He’s the same 15 year old Jungkookie that I met on the first day (that first time). His body has become that of a man (though). I’m really thankful toward J-Hope. It must (definitely) be difficult (T/N: referrring to J-Hope being the dance leader) but he’s dependable (reliable). Rap Monster is the leader for the team itself, but in terms of dance, J-Hope’s the one who, more than any of the other members, is the/our greatest strength. He organizes everything on his own. Jiminnie has a lot of good/positive aspirations (T/N: actual word is ‘greed’ but since that has a negative connotation, I changed it). He’s a work bug (T/N: Korean expression for someone who’s always working diligently). Even now, he practices singing a lot. He practices to fill in the things he believes are lacking (in himself). He stays behind and practices (too). V also has a blank/dazed charm. I/we also laugh a lot because of V. When they’re learning the choreography, he thinks (for us) about what else he can do for his part. His sense is no joke (T/N: it’s really good) (T/N: ‘sense’ also means ‘talent,’ refers to how quickly he picks up/learns the dance and how well he notices what is missing/what could be added; good ‘sense’). V has good memory too. He does have talent in dancing (to an extent).

Q. 지민, 정국, 제이홉이 댄스에 두각을 나타내는 멤버잖아요. 어떤 차이가 있나요?

손성득 : 지민이랑 정국, 홉 매력이 달라요. 홉이는 힙합 느낌이 강하고, 스트릿 힙합을 했던 친구라 연습생 때 버릇을 고치려고 고생을 많이 했어요. 테크니컬적인 웨이브, 팝핀을 잘하죠. 정국이는 힘이 좋고, 선이 예쁘고, 자신이 뭐가 예쁜지 알아요. 정확한 동작에 맛을 가미할 줄 알죠. 정석은 정국이 잘하고, 테크닉은 홉이 잘하고. 지민은 무용했던 친구라 선이 예뻐요. 소프트한데 강한 매력이 있죠.

Q. Jimin, Jungkook, J-Hope are the members (most) distinguished for their dancing. What differences are there (among them in terms of dancing)?

SSD: Jiminnie and Jungkook, Hope’s charms are different. Hobi’s dancing has a strong hip hop feel, and because he’s someone who used to do street hip hop, he really suffered/had to work hard to get rid of those habits from his time as a trainee. He’s good at technical waves and popping. Jungkook has good strength, his lines are pretty, and he himself knows what is pretty (what looks good). He knows how to add (in) the correct/precise movements. Jungkook’s good at standard (T/N: He performs the basics very precisely) and Hobi is good at technique. Jiminnie used to do classical dance/ballet so his lines are pretty. He has the soft but powerful charm.

Q. 앞으로 방탄소년단은 또 어떻게 됐으면 좋겠나요?

손성득 : 개인적으로 대중성 있게 간 것이 잘 왔다고 생각해요. 앞으로는 음악이요. 무대 퍼포먼스보다는 어떤 음악을 하든 간에 하고 싶은 음악과 진정성 있는 음악을 했으면 좋겠어요. 아이돌로서의 음악이 있지만, 아이돌로서 한계도 있는데 이 친구들이 진짜 하고 싶고, 하려고 하고, 멤버들이 이야기하고 싶은 삶의 이야기를 많이 했으면 좋겠어요. 진짜 음악 잘하는 애들이에요. 가사 같은 것, 노래 쓴 것 봐도 깜짝깜짝 놀라요.

Q. In the future/From now on, how would you like BTS to turn out?

SSD: Personally, I think it was good to have popular/mass appeal and go/come this way (T/N: in terms of promoting/group style). From now on, it’s the music. More (important) than the stage performance, whatever music they do, I want/would like them to do music that they want to do and music that is sincere/genuine. Though there is certain music (structure) for idols, and there are some limitations for idols, I want these kids to really want to do it (music/dance, etc.), work/try (hard) to do it, and really tell (all) the (members’) life stories that they want to tell. These kids are really good at music. When I look at things like (how they write) lyrics, composing/producing music, I’m really surprised again and again.

박수정 기자 @soverus 사진. 빅히트엔터테인먼트

Reporter Park Soo Jung @soverus Picture, Big Hit Entertainment

original article: http://tenasia.hankyung.com/archives/787420

T/N: It’s finally done! I think I cried a few times no joke. (I cried 3 times reading the other interview about Mr. Son’s personal story, which I will be translating next. Seriously, this man is my daily inspiration and role model and so is Bangtan haha ^^) Please remember to take out with credits and share this a lot ~ Thank you!

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