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Recognition, for Lee Jae Wook, is inconsequential. Having swept rookie awards across South Korea, he remains fundamentally unsettled by his standing as an actor. “There’s no real end to learning,” the 27-year-old reveals with the kind of deadpan sincerity usually reserved for veteran character actors. “There’s a saying that starting is already half the journey. Being afraid to start feels like settling with yourself.”

Building upon this sense of humility, Lee has ascended to the realm of a pop icon in an age where orthodox masculine archetypes are becoming prominent again. The former breakout antagonist, now the gravitational centre of Alchemy of Souls and The Impossible Heir, moves within a brooding cinematic grammar that increasingly feels like his own. However, this trajectory, one that Lee regards as just the beginning, is less about a rookie past than a future.

Lee, however, resists even an inch of that taxidermy. He does not see acting as something static but as something in motion, to be broken down. Like many actors before him, and those that will come after, his journey comes without pause. “When I look back on most of my working years in my 20s, what lingers the most are those thoughts of, ‘I should’ve done it this way,’ or ‘I should’ve at least said something,’” shares Lee. “But even those regrets, to me, are part of my growth. They feel like a build-up towards doing better next time.”

This mentality shapes how Lee approaches the next phase of his career. As a late-20s actor edging towards 30, he is at the age when the industry expects youth to hold certain advantages. But he declines the need for such a definition. It is one thing to have interpretive dominion over your own body of work. It is also an entirely different thing when, especially in an era like ours, the work is no longer enough, especially when time begins to outlast you. What comes after becomes a surrender to the passage of time. “I think the idea that your 30s are supposed to be automatically stable is a bit of a contradiction,” he shares. “In my line of work, a project’s success or failure can swing pretty dramatically. It’s not as if turning 30 suddenly makes life stable.”

Lee knows he needs to negotiate this transition. Over time, audiences have become markedly better at making sense of the idol game, where there is too much of the same vocabulary of actors. Trying to stay still in this landscape is almost certain to break you. Men’s Folio catches up with the actor in Seoul, framed fittingly against the unyielding properties and mechanical precision of the CHANEL J12 Watch — a timepiece that studies journey, craft, and the paradoxical nature of time that moves freely without stopping. It was his day off, but we tied him into the rigours of the photo shoot. He did not mind. After all, are not the most unbreakable things the ones that bend?

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Culture treats turning 30 like a dead-end. Does that proximity to turning 30 years old feel like a deadline or the beginning of a new era?
Thinking of 30 as some kind of deadline feels rather grim to me. There’s this thing I often say to my mom. For context, she has anxiety; boarding a plane and flying is really hard for her. One day, while we were having a meal together, I asked her, “Mom, when more time passes, and you look back on this moment, won’t you regret it? You’re the youngest you’ll ever be now.”

Do you think that’s something a lot of us struggle with?
There’s this saying that starting is already half the journey. Being afraid to start feels like settling with yourself. If you’re afraid to start, I think that’s really just another way of compromising yourself. So I want to keep being someone who learns and grows. And if anyone reading this is hesitating to begin something new because of their age, I hope you can take even a small bit of courage from this and just start.

After taking off the coats of the characters you portray, what’s the first thing you do at home to feel like yourself?
Returning to being me normally happens the moment I leave the set. I usually slip back into myself pretty quickly. But when I do get home, I find myself reflecting on things such as, “Did I blend in well?” That’s probably what I think about the most. And when I see the final edited version later on, I sometimes say, “Next time, let me review once more,” as a way of expressing regret.

You’re known to create mind maps when you study a script. Does your map for a horror-comedy like Dead-end Job look messier than the one for Dear Hongrang?
Oh, it was definitely more complex. It felt so expansive that I couldn’t even fully map out the basic sequences in my head. Usually, I try to imagine how certain scenes will play out based on experience. With Dead-End Job, nothing about filming it was predictable. I was taken aback.

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Did you have to change the way you approached the character?
It (Dead-End Job) wasn’t a typical story and felt quite far removed from what we’re used to. Maybe that’s why my mental map had to grow in ways I had never done before. Trying to bridge that gap meant I had no choice but to build something much broader in my head.

Dear Hongrang was about a lost identity returning to a world that had moved on. As someone whose life is tracked by millions, do you ever feel like you’re the one who’s lost, while the public version of you is the one who’s returned?
I think actors inevitably carry a certain persona with them, even after leaving the set. Maybe it’s the kind of duality only we know and understand. To be honest, Lee Jae Wook as a person and the character Hongrang are completely separate people. Because of that, I wouldn’t say I fully understand the character. But there’s one thing I’m certain about: I won’t allow myself to lose my way.

Do your characters influence that thought?
There are so many moving parts on set, and countless factors that could influence my interpretation of the character. But I try to stay grounded. When I shift into Hongrang, I focus on holding on to the core of who he is and on how he might face and work through the challenges presented to him. I try to keep that centre as steady as possible.

In the course of a 16-episode series, at what point does craft stop and endurance begin?
Of course, portraying the character is important. But eventually, I think it’s really an internal struggle. I have more than one project a year. Sometimes I can be working on two projects simultaneously, and there are no days off. You’d hit a limit at a certain point and tell yourself you really need a break. When I started out, I was working beyond my limits, to the point where I wouldn’t be able to recall filming certain scenes. I’ve recently discovered the need for the occasional pause. So right now, I’m spending more time resting, and I can safely admit that it’s been really healthy for me.

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In Dead-end Job, your character is struggling with debt. Did that role make you look at your early 20s differently?
Of course. I can’t go into specifics since it hasn’t been released yet, but I can say the series reflects the struggles we all go through daily. There was a time in my life when I wasn’t that far removed from financial hardship, and so I could relate and connect with my character Hyeok Jun in the series. Portraying him made me reflect on myself, and I even started to wonder if, at some point, I was taking things like time or money, things that can be incredibly precious to someone, for granted.

Over the course of your career, you have moved through so many different genres. Does it feel like you are travelling through different lives, or are they all just versions of you?
I think I fall somewhere in between. I can’t present myself as purely Lee Jae Wook, but I can’t completely turn into a totally different person either. Thankfully, people seem to respond well to the different sides of me, and I often get offered roles knowing that I can bring out certain sides of the character. I don’t go in thinking, “This is a strong character,” and play it one way the whole time. I don’t treat someone as just weak, either. It’s more about finding the different layers within a person.

What’s the one thing about being in your late 20s that no one warned you about?
I don’t know if this is something people really tell you in advance, but I’ve just come to realise how important the people around you are. I’ve been really lucky in that sense, so I’m always learning and growing from them. Previously, I was more focused on the technical side of things on set, and maybe a bit more matter-of-fact in how I dealt with people. Now I understand things a little differently. Everyone’s just living their own lives, in their own ways. Some move slower, others faster, but everyone has their own circumstances.

So what did you do instead?
Instead of trying to make sense of those differences in a neat way, I’ve started to just accept them. There’s something nice about that. Now, more than ever, I try to face things I used to avoid or feel unsure about more willingly.

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Who keeps you the most grounded in your life?
My team and my fans, for sure. Even with close friends, it’s hard for them to fully understand my work or keep up with everything. But my team really looks after me in a detailed way, and my fans give me unconditional support. There are things I can’t even say to my mom, but I can talk about them honestly with my company. At the same time, there are things I go through that I don’t want to share with my fans, because I don’t want to burden them.

What are you leaving behind when you reach your 30s?
I want to let go of that constant sense of rushing. It’s that age where you feel like you should be working harder, doing more, building your career as quickly as possible. But lately, I’ve realised I’ve been so caught up in moving forward that I haven’t really been looking around. As I mentioned earlier, there are days I go home and can’t even remember what I did. I was putting my energy in the wrong places, just because I wanted to do well so badly. Now I just want to be a bit calmer about things; a bit more present. It feels like something I should leave behind in my 20s.

You once described yourself as “mature for your age.” Do you ever feel like you missed out on being a real 20-something-year-old because you were so focused on your work?
Yeah, honestly, I feel that way all the time. There are days I walk away from set thinking, “I could’ve done that better,” and it stays with me. With filming, you don’t get to go back. Once a moment’s passed, that’s it. As a result, the regret lingers a bit more, but it also pushes me to do better next time.

So, essentially, it’s the same with ageing, you know? When I look back on most of my 20s, especially the time I’ve spent working, what I remember most are those small regrets thinking, “I should’ve tried that,” or “I should’ve at least said something.” Even so, I don’t see that as a bad thing. I think that’s just part of growing, part of building towards doing better. The last thing I could do to myself is to think that those moments were negative.

In that sense, do you think turning 30 would have an impact on your career?
I don’t think turning 30 suddenly means you gain some kind of power or lose your curiosity. To be honest, it doesn’t feel like there’s a big shift or dramatic change. I just want to keep learning new things, and whether the roles I can take on expand or become more limited. I see it all as part of the same process, something to experience and learn from. So the idea of being in my 20s, 30s and 40s doesn’t really mean that much to me. I just want to be someone who keeps going and trying, no matter the age I’m at.

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Do you ever just want to post a blurry, unedited photo on Instagram, just to see what happens?
Of course. But let me set this straight, I don’t post with the expectation of getting a certain reaction. I just try to capture how I feel that day in a photo. For example, if a food photo I took is blurry, it probably means I was so hungry and excited about how good it looked [laughs]. I think that kind of honesty gets through to fans, so I don’t hesitate to post those kinds of photos. I know people look forward to what I share, so rather than focusing on something perfectly “aesthetic,” I prefer to show how my day felt, what I saw, and what I experienced.

People talk about careers as being linear, but art feels more nonlinear. Do you ever feel pressured to keep moving forward, or are you more focused on going deeper?
It’s only human to constantly want things to go smoothly. I hope every project does well and that everything turns out great. I also know it doesn’t always work that way, so I’m not afraid of failure. Rather than telling myself in advance that it’s ok to fail, I think everyone naturally hopes things will go well. I’m the same. I want things to go well, but at the same time, I try not to be afraid of setbacks and just keep moving forward quietly.

When you travel for work, do you get to experience the city, or is it mostly just hotel rooms and vans?
I always go out; there’s no way I’m staying in. I really love experiencing everything local, from the food and scenery to the atmosphere and even the drinks. I’ll still try the food even if it doesn’t suit my palate. There’s always a reason why something became popular. (Even though) I might not recommend it to someone else later, but I still want to experience it for myself. Whenever I have time between filming, I make sure to go out and enjoy the city.

What’s the most “normal” thing you did this week that had nothing to do with being a celebrity?
A close friend of mine was on military leave recently, so we went out together. Instead of going to our usual spot, we went to Haebangchon [Liberation Village] to try something new, and it was really nice. We could’ve just ordered in, but we made the effort to go somewhere new and walked into a place where we didn’t even know what they served. We saw something and thought, “Oh, they have this? Let’s try it.” For me, these small, everyday moments are all meaningful in their own way. Just so you know, we had Western food that day.

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What’s your travel style? Are you someone who packs days in advance, or throws everything into a bag right before the flight?
I’m definitely more of a spontaneous type. Even if a place I planned to go to is closed, I’ll just think, “It’s fine, this is part of the trip.” Of course, when I travel with more structured friends, they plan everything. I appreciate that convenience. Personally, I like to travel freely, just going wherever I feel like that day.

So you’re a free spirit. Does the idea of settling down in your 30s sound boring, or more like a luxury?
I think the idea that your 30s are supposed to be automatically stable is a bit of a contradiction. Office workers wait for promotions or payday, and actors wait for their projects to be released. Everyone is living with different kinds of anticipation, hoping for results, and that becomes part of what keeps you going. In my line of work, particularly, outcomes can vary a lot, so I don’t think my 30s will suddenly feel stable. I actually like that sense of anticipation and tension. In a way, I don’t think I’m someone who wants a completely stable life to begin with anyway [laughs].

The Chanel J12 watch is inspired by racing yachts. When you’re out on the water, are you more the type to relax on deck or try to steer?
I think I’d want to steer. Relaxing is nice, but I enjoy getting involved, trying things myself, and learning through experience. The process of actually guiding something in the direction I want feels more exciting to me.

The Chanel J12 is made from scratch-proof ceramic. Do you try to handle the scratches of public life with that same kind of resilience?
I kind of just see it as attention, in a way. I don’t really let it get to me. I try to take what I can from it and move on. If anything, those things end up making you stronger over time.

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If we weren’t at a shoot right now and were just two 20-somethings at a bad, what would be complaining about?
Honestly, I don’t really complain much. I usually just go with whatever. But if I’m with someone close, maybe I’ll joke a bit about stuff, like, “Why isn’t the drink here yet?” or “When’s the food coming?” If the parking was bad, I’d probably just say, “I told you not to bring the car,” and laugh. Nothing serious.

If you could go back to any moment in your career just for fun, which one would it be?
None, actually. I always wanted to grow up faster while I was in my early 20s, so I could have a wider range as an actor. Sometimes I imagine what it would be like to go back, but I don’t think I’d be able to do things the same way again. Even if I could do better, I don’t think I’d have the same kind of purity or passion I had back then. So I’ve never really wanted to go back to any particular moment.

What’s the most beautiful place you’ve been to that made you forget you were there for work?
Last year, I went on a cruise that had skiing in the itinerary. I actually had an ankle injury at the time, but I thought it might be a once-in-a-lifetime experience, so I still went up and skied down. I still remember how overwhelming that moment felt. It was so beautiful to the extent that I forgot about my injury, let alone work. I felt really happy skiing in that kind of environment for the first time, and thought to myself, “Wow, I didn’t know a place like this even existed.”

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If you could go anywhere right now, where would you go?
Maybe Hawaii. Talking about yachts made me think of that. Or maybe I’d go on a cruise again; somewhere to step away from daily life and just relax on the open sea would be perfect. Now I can’t get it out of my head. [Laughs]

Do you ever miss a character after a project ends?
Sometimes I catch myself talking a bit like the character. In Dead-End Job, Hyeok Jun is pretty awkward socially, so I ended up stuttering a lot while playing him. It actually got to the point where I thought, “Do I need speech lessons for my next role?” [laughs] I think it’s just because I got really attached to him, so some of it kind of stayed with me. Right after it ends, it feels a bit off, but over time it just becomes one of those memories that reminds me how much I cared about the character.

Are you excited to lean into the comedy side of your upcoming rom-com?
Of course. I had a lot of fun filming it. Since it’s a medical drama, there are intense moments, but there are also a lot of scenes that feel very natural and grounded in everyday life. I didn’t approach it lightly, but compared to my previous projects, there were definitely moments where the tone felt more relaxed. I think viewers will be able to experience a mix of emotions and really enjoy it.