Seoul in September hums differently. The city never really sleeps, but during Fashion Week, it glows — flashes of light, whispers of fabric, the rhythm of cameras keeping time. Somewhere in that fever dream of designers, editors, and late-night fittings, I ran into Theo Jang. We were both on the same red carpet, that of the Milan Loves Seoul show, both wearing the same designer, Francesca Cottone, without planning it. He noticed first. “Great minds,” he said, laughing, before vanishing into a cluster of stylists and photographers.
That moment felt like a scene — two strangers crossing paths under the city’s neon pulse, unaware that months later we’d be sitting across from each other again, not talking about fashion but about survival, identity, and a film shot in the middle of a jungle.
Theo Jang’s Story: from Seoul Lights to Jungle Heat
Theo is different in conversation — quieter, thoughtful, the kind of calm that feels earned. The world met him through “Single’s Inferno 4,” where his stillness drew attention in a sea of louder personalities. But his next chapter, “Finding Santos,” strips all of that away. It’s not about image or performance. It’s about endurance.
The film — a Philippine-Korean collaboration — tells the story of Woojin, a Korean man who travels to the Philippines in search of the soldier, Santos, who saved his grandmother’s life during the Korean War. It’s part road movie, part meditation on memory, stitched with the shared history between two countries bound by sacrifice.
“Finding Santos,” the Film beneath the Film
“Finding Santos” doesn’t lean heavily on historical exposition. It’s not a history lesson. Instead, it follows emotion — the quiet persistence of remembrance. “I didn’t prepare with a specific emotional weight,” Theo says. “I just read about the war, learned what I needed, and then trusted what I felt on set.”
That organic approach aligns with the film’s spirit. It’s less about facts than about what’s inherited — the invisible thread between generations. As someone with Filipino roots, the story hit differently for me. My own family grew up hearing fragments about the Korean War, stories of soldiers who never came home but left behind friendships that bridged nations. Hearing Theo talk about that same history through a Korean lens felt strangely full circle.
Interview with Jang Theo
You’ve made the shift from reality TV to scripted acting across borders. How did this change affect how you see yourself—as a performer or a person?
Theo: Nothing has really changed. When it comes to seeing myself as a “performer” or “artist,” it’s hard to describe. I am, I have been, and I will be just an ordinary guy who loves acting and movies. I might be an artist—I might not be. The definition doesn’t matter, and I don’t care much about what other people think of me (he laughs). Anyway, nothing has changed after the show. I was just well-received by the audience. I was very lucky. What I want to say is I’m just grateful, and I’m not taking any of this for granted. That’s all. I might be forgotten someday, but that won’t have anything to do with how I live my life. I’ll just keep acting, writing scripts, watching films—like I did before the show and after the show.
On the set of Finding Santos, you’ve said every moment felt real. Can you describe a moment that captured that feeling of “we’re in this together”?
Theo: Every moment, honestly. Think about it: our movie is about a road trip—and our set was in the middle of the jungle. The apparent temperature was way over 40 °C. The weather was as brutal as it could be. No indoors, no A/C. The humidity and the bugs really got to us. The fans couldn’t save us whatsoever. As if that wasn’t bad enough, our time was super constrained. You know—our job is always on a budget. But we had to push through and make the best work we could under those conditions. We pulled through and ended up here. I’ll never get over that time. It was my first time that I truly felt a sense of belonging with the other actors, my director, and the crew. Every time I looked at their faces, I thought, ‘We are the ones.’ Your pain is my pain. I don’t want our shoot to be delayed because of my acting or anything. So I gave everything because I felt we were one. Credit where it’s due: our crew did a great job and deserves recognition.
“Finding Santos” revisits the Korean War era through a Filipino lens. How did you prepare to carry that emotional weight—especially given its shared cultural significance?
Theo: Our movie is about finding Santos, who saved Woojin’s grandma’s life during the Korean War. We didn’t lean too much on historical facts so that it wouldn’t feel like a history book. I didn’t try to prepare any specific emotional weight in advance. I just looked up the historical facts. What mattered most was that I was experiencing and feeling the story unfold on set. That process was crucial for the character, Woojin.
What drew you to this project? Given that it is co-produced by both Korean and Filipino productions, spanning two cultures, what spoke to you at the start?
Theo: I chose this movie even before the script was fully finished—because of its message. My first Malaysian film was the same. I did it for the message too: to help prevent scams, raise awareness. I always ask myself, ‘What message do I want to convey to the audience?’ What am I supposed to do first as a human being, before being an actor? You know, we never see the result. We never know whether this movie will be well-received or not. However, the message itself is always visible. So that’s what matters most to me.
In one of your answers, you mention focusing on your partner in a scene—not yourself. That’s a strong acting philosophy. How did that play out in “Finding Santos,” especially with the cross-cultural cast and crew?
Theo: Camera is such a weird existence. Even when you are completely authentic in front of it, sometimes it doesn’t look authentic at all. And the opposite can happen too. On top of that, editing changes everything. The only thing I can really do is just focus on the partner as much as possible. Then you can get past where you are and forget about yourself when it comes to consciousness. You’re “not an actor,” you’re “not in front of the camera.” Same in the reality show. An actor is just one small part of the whole film. Don’t overdo anything. Don’t fool around. Don’t be a philosopher. Just focus on your partner. Look straight at their eyes, their nose, lips, sometimes their hands, the way they’re standing. And now it’s time to notice who you are in that moment and what you want to say, what kind of action you want to take. That’s all.
Many fans describe you as “the quiet storm”. Does that calm exterior help or hinder your performance process?
Theo: Do they? I hadn’t heard that word before (he smiles again). I take it as a big compliment—thank you. I look calm on the outside; on the inside, there’s always a big war going on. I’m good at reading the room, picking up the tiniest shifts in the atmosphere. Above all, I’m extremely sensitive to changes in other people’s moods. At the same time, my thought process is so logical—sometimes too much so. That’s why I come across as a quiet storm. It sometimes helps me analyse an entire script and share my point of view with the director and producer. It makes it easier for me to play logical characters. However, it also makes it difficult for me to connect with highly emotional characters quickly. That’s why it was not easy for me to act as Woojin.
Looking ahead a year, what kind of story do you hope will surprise your audience coming from you?
Theo: I am not sure (le laughs). I’m not supposed to expect or plan anything at all. The future is just the future. The past is just the past. I guess it’s all because I’m in the entertainment field. No one really lives exactly how they want. We must focus on RIGHT NOW. THIS MOMENT. I tend to approach my life in extremes. I’m like: “I have no future. No turning back. Tomorrow is not guaranteed. No regrets.” That doesn’t mean you should just live on impulse. It’s more about steeling yourself. Bracing yourself. That’s why I think acting is one of the toughest and roughest jobs to survive in. We’re always dealing with uncertainty and anxiety—and at the same time, that’s where we get our inspiration as actors and storytellers. What I want to say is: I’ll survive in this world the best way I can. And you should, too. You’ve got my back. I’ve got yours. Let’s catch up again later and talk about how we’ve been.
With Finding Santos rooted in the Korean War era and filmed under extreme conditions, how has this project personally impacted you?
Theo: I didn’t try to change who I am. But being in that environment—the heat, the mountains, the shared hardship—opened something. I felt responsibility. Not just to my character, not just to the story, but to every person on set. We were telling a story of gratitude, cross-border friendship. That’s not small. Looking back, I believe I have a better understanding of the concept of connection. When you’re far from comfort, when your body is tired, your mind says we’re doing this for something bigger than ourselves. And that’s changed me.
You’ve mentioned you have been taking jazz piano lessons recently. Music often overlaps with film. What are the three songs in your playlist?
Theo: I recently started learning jazz piano, so I’ve been listening only to jazz.
- You Look Good to Me – Oscar Peterson Trio
- Waltz for Debby – Bill Evans
- Now You Has Jazz – Bing Crosby & Louis Armstrong
I hope I can play jazz for my fans someday.
The Bridge and the Belonging
As we wrap up, I keep thinking about bridges — how “Finding Santos” builds one between Korea and the Philippines, and how Theo himself stands on it. His story mirrors that connection: a Korean actor walking through Filipino landscapes, surrounded by a team that speaks another language but shares the same creative hunger.
Maybe that’s the real story behind “Finding Santos.” Not just the search for a man who once saved a life, but the ongoing search for meaning — in work, in connection, in being seen.
From the chaos of Seoul Fashion Week to the thick air of a jungle in the Philippines, Theo Jang’s journey feels less like a career path and more like a map of small moments stitched together by meaning. No grand declarations, no glittering promises — just presence.
And maybe that’s the point. In a world chasing what’s next, Theo Jang reminds us that the most honest stories are the ones lived right here, right now.
Connect with the author Maggie A. R. on LinkedIn
Join us on Kpoppost’s Instagram, Threads, Facebook, X, Telegram channel, WhatsApp Channel and Discord server for discussions. And follow Kpoppost’s Google News for more Korean entertainment news and updates.
