Daniel Dae Kim: Bridging Korean and American Cultures Through “Butterfly,” a Heartfelt Spy Thriller Reflecting His Dual Identity and Vision for Inclusive Storytelling.
Actor Daniel Dae Kim’s ‘Butterfly’ represents a heartfelt tribute to both his Korean heritage and American upbringing. The series, debuting Wednesday on Prime Video, is a South Korean-based spy thriller chronicling the story of David Jung (Kim), an ex-U.S. intelligence operative who abandons his hidden life to reconnect with his daughter Rebecca (Reina Hardesty), a skilled agent who was raised believing her father had perished.
“This project embodies my deepest aspirations as it represents the two fundamental aspects of my identity,” Daniel Dae Kim explains during a video interview in late July. “Being Korean-born but American-raised, these nations hold special significance in my heart. Creating a bridge between these cultures feels natural to me, given my unique background and dual identity.”
Adapted from Arash Amel’s graphic novel series, Kim characterizes the show as “an emotional journey” where “both fight scenes and conflicts stem from deep-seated feelings.”
“In developing David’s character, I was adamant about portraying him with authentic flaws,” explains Kim, who doubles as an executive producer. “His actions as an intelligence operative are deeply rooted in personal trauma, just as Rebecca’s character development springs from her own emotional wounds.”
The performer discusses how a violent incident involving his sister motivated his activism against AAPI hate crimes, and reflects on how producing can be simultaneously “empowering” and “emotionally draining.”
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While “Butterfly” delivers intense action sequences – featuring shootouts, close combat, and motorcycle chases – the show’s co-creators Ken Woodruff and Steph Cha emphasize the central family drama and its reflection in the action elements. Woodruff particularly connected with Rebecca’s storyline when first encountering the source material.
Daniel Dae Kim at the Opening Night of “Old Friends” on Broadway, 2025
Photo credit: PhilipRomanoPhoto, CC BY 4.0 <https://creativecommons.org/licenses/by/4.0>, via Wikimedia Commons
“My own experience with divorce as a child, where my father relocated across the country and started a new family shortly after, created a strong personal connection to Rebecca’s relationship with her father,” Woodruff shares. “It encompasses love but also harbors bitterness, resentment, and envy. That emotional complexity really drew me in.”
Although the original graphic novel was set between Europe and America, Daniel Dae Kim recognized the potential in relocating the narrative to South Korea and focusing on a Korean and Korean American family as a means to connect Hollywood with Korean entertainment. This vision led to his advocacy for casting prominent Korean actors – including Park Hae-soo, Kim Ji-hoon, and Kim Tae-hee – and bringing on board a Korean director for a portion of the episodes.
“Daniel demonstrated an unwavering commitment to authentically bridging these two cultures, approaching the task with utmost respect and precision,” Woodruff explains. “When faced with challenging situations that tested his vision, he remained steadfast in his convictions. His advocacy for the Korean characters was particularly noteworthy, ensuring their roles were as richly developed and compelling as every other character in the narrative.”
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Cha was particularly impressed by Kim’s exceptional dedication to fostering a supportive environment for everyone involved in the production.
“His natural ability to make people feel valued and included stands out,” Cha reflects. “He took personal responsibility for ensuring the Korean cast felt welcomed and integrated, while simultaneously making sure the American cast felt comfortable working in Korea.”
“He possesses remarkable nunchi,” Woodruff adds, referencing Kim’s thoughtful consideration of others, while showcasing some Korean language knowledge acquired from the Korean crew members, who were instrumental in ensuring authentic cultural representation throughout the series.
Kim expresses gratitude for the industry’s evolution and cultural shifts that made a production like “Butterfly,” filmed in Korea with substantial Korean dialogue, possible in today’s landscape.
“A decade ago, ‘Butterfly’ would have been inconceivable,” Kim reflects. “The transformation in industry perspective has been profound, enabling us to tell these diverse stories. If we execute our vision successfully, we’ll pave the way for many more similar projects.”
In a discussion edited for brevity and clarity, Kim delves into his new series, his production philosophy, and the significance of utilizing his platform effectively.
What was your journey in discovering David’s character? How did you develop your understanding of him?
The character resonated naturally with me as a father. I deeply understand the challenges of balancing parental responsibilities with career demands, and how professional obligations can sometimes impede our ability to be present parents. We often encounter situations where our work forces difficult family-related decisions. David made what he believed was the right choice, but it proved devastatingly wrong for his daughter. The first season essentially explores whether he has the strength to face these consequences. It examines the extent of emotional pain he can endure, knowing he caused his daughter’s suffering. And fundamentally, it questions the selfishness of still pursuing his idealized family vision after his choices effectively destroyed it.
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How does this paternal role differ from your character in “Avatar: The Last Airbender”?
They’re fundamentally distinct, yet I find the central question remains consistent: What does it truly mean to shoulder the responsibility of shaping a young mind and nurturing a developing soul? Ozai’s approach is uncompromising – he demands his child mirror his leadership style and methodology precisely. When his offspring fails to meet these exacting standards, he views it as an absolute failure. His focus remains steadfastly on the objective. David initially shared some of these tendencies, albeit to a lesser extent, but he’s now experiencing a profound shift in his parental perspective.
Is redemption possible in fatherhood? Can one truly transform into the parent they aspire to be? These questions resonate deeply with our shared human experience. They’re universal truths that transcend cultural boundaries. Some viewers might hesitate, thinking, “This series is filmed in Korea, centered around an Asian family – will I find it relatable?” But the truth is, anyone who’s experienced either side of the parent-child relationship will likely find profound connections within this narrative.
“Butterfly” masterfully captures the intricate layers often overlooked in media portrayals, where cultural identities frequently become oversimplified. Instead, it presents the rich, multifaceted experiences of being Korean, Korean American, and navigating life in contemporary Korea.
Rebecca’s mixed heritage was a deliberate and crucial creative decision, as it opens up another dimension of experience that remains relatively unexplored in mainstream media. I’m particularly excited about developing this aspect because Rebecca’s character embodies multiple complexities – her dual cultural heritage, her motherless upbringing, and her presumed paternal loss. Throughout my formative years, my Asian American identity often left me feeling caught between two worlds, belonging fully to neither. Now, having evolved both professionally and artistically, I’ve learned to embrace this duality. I can authentically speak to both cultural experiences, a perspective that relatively few can offer. This unique vantage point significantly influences our show’s narrative approach, which I’ve crafted with deep respect and appreciation for both cultural landscapes.
The relationship with Rebecca forms the emotional core of the show. How did you develop that crucial dynamic with Reina Hardesty?
Discovering Reina during casting was an extraordinary stroke of fortune. The role demanded exceptional commitment – relocating to Korea for six months, undertaking intensive training, performing complex stunt work and fight scenes, while simultaneously delivering the emotional depth essential for this character. It’s an incredibly demanding role. When Reina joined the project, the entire production team experienced collective relief and excitement, recognizing that we had finally secured the missing piece that would elevate the entire series.
You’re frequently acknowledged as a pioneer who has helped create opportunities for other Asian American artists in the entertainment industry.
I’m deeply aware that my success stands on the foundation built by countless predecessors who may not have achieved the same level of recognition I’ve been blessed with, but that’s precisely how progress unfolds. These trailblazers cleared paths through difficult terrain, making it easier for future generations to traverse. This journey parallels my experience as a father. My deepest aspiration is to craft a future where my children surpass my achievements – not just in success, but in character and their impact on others. This same vision extends to our Asian American artistic community.
During our early struggles, there was a tight-knit group of us – Joel de la Fuente, Will Yun Lee, Ron Yuan, and others – who maintained constant communication about audition opportunities. Given the scarcity of roles at that time, we adopted a collective mindset: if one of us couldn’t secure a role, we hoped it would go to another member of our community. In today’s increasingly divided society, I believe we could benefit immensely from rekindling this spirit of mutual support and collective advancement.
What has it been like to navigate these times, where the industry is contracting and people outside of it are increasingly vocal in speaking out against diversity and inclusion?
This situation brings to mind Dr. Martin Luther King Jr.’s profound observation: “The arc of the moral universe is long, but it bends toward justice.” Drawing a parallel to financial markets, while there are inevitable fluctuations, what truly matters is the long-term trajectory. I remain optimistic that our current challenges represent temporary setbacks in an otherwise positive progression.
I maintain strong conviction that there’s growing awareness about the true meaning of inclusivity within our community – moving beyond superficial interpretations to genuine understanding. This extends to everyone, transcending the traditional minority-majority dynamic. My personal growth continues through daily interactions with individuals different from myself, making life infinitely more enriching.
Regarding our community’s position, we’ve achieved unprecedented levels of representation, though we haven’t reached our ultimate destination. Some might view this assessment as overly diplomatic, straddling optimism and realism. However, it’s fundamentally about perspective. My approach is to acknowledge and celebrate our progress while remaining cognizant of the work ahead. Recent headlines continue to highlight the ongoing need for deeper mutual understanding and empathy toward others’ experiences.
When you consider the thematic essence of our production, it fundamentally revolves around unification – bringing individuals and families together as a reflection of our broader societal connections. We all carry our past mistakes and regrettable actions, but these shouldn’t prevent us from seeking redemption and personal growth.
One of the most successful films currently in theaters is “KPop Demon Hunters,” where you portrayed the character of Healer Han. What factors influence your decision to participate in such projects? Has the public response exceeded your expectations?
My project selection process always involves analyzing the symbolic elements. I carefully evaluate the representation aspects, character development, creative team composition, and narrative structure. All these components form a comprehensive framework for my decision-making. “KPop Demon Hunters” aligned perfectly with the spirit of “Butterfly.” Both projects took Korean cultural elements and adapted them for English-speaking audiences worldwide. The involvement of Korean American creators, similar to “Butterfly,” made it an immediate and compelling choice.
However, predicting a project’s impact during its creation remains impossible. While I didn’t anticipate the current success of “KPop Demon Hunters,” I thoroughly enjoyed voicing my character, which was another motivating factor. Voice acting allows me greater freedom to explore comedy, and I embraced the opportunity to develop this entertaining character.
‘K-pop Demon Hunters,’ produced in America, has resonated strongly with South Korean audiences, successfully incorporating elements of Korean folklore, contemporary culture, and social customs.
The 4-year-old in my life is completely captivated by “KPop Demon Hunters.”
Currently, my social media platforms are dominated by “KPop Demon Hunters” content. Notably, witnessing Korean K-pop artists embrace the film holds equal significance as seeing its acceptance among non-Korean audiences. Historically, Korean American narratives often struggled to connect with Korean audiences, but that’s beginning to change. Perhaps “Butterfly” can contribute to this evolution, helping both Koreans and Americans better understand and appreciate Korean American perspectives. We’ve consistently occupied this intermediate position, and now we might finally receive the recognition we deserve.
How do you perceive the remarkable surge in popularity of Korean entertainment – particularly K-pop and K-dramas – in mainstream media?
I find myself amazed when I reflect on my childhood, a time when Korean identity was virtually unknown to most people. Growing up, I encountered a recurring pattern: people would inquire if I was Chinese, and upon my denial, they’d ask if I was Japanese. When I explained I wasn’t either, they’d be genuinely puzzled about my heritage. The awareness of Korean culture was so minimal back then. I vividly remember friends visiting our home, witnessing my mother preparing kimchi, and recoiling at what they perceived as an unfamiliar odor. Fast forward to today, and the transformation is remarkable – not only do people recognize kimchi, but they actively seek it out, appreciating its probiotic benefits and cultural significance. This evolution fills me with immense pride, and I’m particularly grateful that my children will never experience the cultural embarrassment I once felt. That’s truly a significant advancement.
We’ve focused more on your acting work, but what does it mean for you to also take on the role of a producer in something like “Butterfly”?
From an actor’s perspective, our opportunities are inherently limited by external selection – we’re constantly auditioning, hoping to catch the attention of directors, producers, or studios. However, transitioning into production has empowered me to become a creator of opportunities. This motivation initially drove me toward producing. I observed the scarcity of diverse roles and decided to investigate the root cause by examining the industry’s upstream processes. Upon realizing that the shortage stemmed from insufficient content creation, I chose to actively participate in developing these opportunities.
It’s important to clarify that my company 3AD isn’t exclusively focused on Asian American representation. Our mission encompasses all marginalized voices. As a producer, I’m passionate about illuminating these overlooked perspectives. While we’re familiar with high school party narratives told through the lens of popular students, athletes, and cheerleaders, I’m more intrigued by the untold stories – those of the uninvited guests, the party crashers, or the individuals spending that evening alone at home. These unexplored narratives hold particular significance because they represent voices that haven’t yet been heard.
What was it like building the team you’re working with on “Butterfly”?
As a job creator, I have the privilege of selecting not just acting talent but also writing professionals. I take immense pride in the fact that our writing team predominantly comprised Asian American writers or individuals with deep connections to Asian culture, particularly Korean heritage. We successfully assembled an all-Korean crew and achieved a remarkable gender balance, maintaining an almost equal ratio of men and women. These aspects of representation hold significant importance to me. I have tremendous admiration for our showrunner, Ken Woodruff, who, despite not being Asian American himself, exemplifies how one can be an exceptional ally and collaborative partner. Throughout this journey, Ken has demonstrated remarkable respect for unfamiliar cultural elements, consistently deferring to expertise when it comes to Korean cultural nuances and their influence on character development and storylines. Simultaneously, he’s expertly leveraged his extensive storytelling experience to guide the writers’ room effectively. To me, this represents the perfect embodiment of collaborative partnership. While many discuss the concept of allyship, Ken’s approach demonstrates its practical implementation. In my three decades in the entertainment industry, I haven’t encountered a more capable showrunner than Ken Woodruff.
You’ve also been vocal on issues that are important to you. Why are you motivated to speak out in that way?
My motivation stems from my fundamental identity as both a human being and a citizen. I firmly believe that an informed citizenry strengthens society. This perspective isn’t about declaring absolute rights or wrongs, but rather about valuing education and inquiry. In my personal life, I consistently question situations that appear unjust or concerning, asking “What led to this? How did we reach this point?” I believe everyone has the right to form opinions, and these opinions gain strength through education and thorough research. Some suggest actors should “shut up and act,” similar to telling athletes to “shut up and dribble,” yet no one tells plumbers to “shut up and fix pipes.” Every professional, regardless of their occupation, is simultaneously a citizen, a human being, affected by surrounding policies. Active participation in democracy necessitates raising our voices to collectively drive meaningful change.
Our show’s core narrative revolves around bridging the gap between two distinct characters and their contrasting perspectives. In today’s world, where respectful discourse, willingness to learn, and open-minded dialogue seem increasingly rare, this message feels particularly poignant. As a storyteller, I remain optimistic that the narratives we craft can serve as bridges, fostering unity rather than deepening divisions.
Source:
Tracy Brown (August 13, 2025). Daniel Dae Kim hopes ‘Butterfly’ can be the ‘KPop Demon Hunters’ of spy thrillers. Los Angels Times. https://www.latimes.com/entertainment-arts/tv/story/2025-08-13/daniel-dae-kim-butterfly
Header Photo: Daniel Dae Kim at the Opening Night of “Old Friends” on Broadway, 2025
Photo credit: PhilipRomanoPhoto, CC BY 4.0 <https://creativecommons.org/licenses/by/4.0>, via Wikimedia Commons
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