Robots, Shakespeare's The Merchant of Venice, and works by Chekhov and O'Neill. The main actress Kim worked with while at the university was Kim Yu-bong, who would later become his wife. Film career Kim was working as an intern at Seoul University Medical Clinic when the Korean War broke out. He went to Pusan on June 1, 1951, the day the North Korean army retreated. In Pusan, Kim met Oh Young-jin, a fellow Pyongyang National High School graduate. Oh, who would later write the screenplay to the popular film The Wedding Day (1956), was producing newsreels for the Korean News through the Bureau of Public Information, and helped Kim get a job writing screenplays with this organization. With Oh's help, Kim was able to get a job working for the United States Information Service in Jinhae. The job helped shape Kim's life in several ways. With the increase in pay he received from the U.S.I.S., he was able to marry Kim Yu-bong in 1951, and their first son, Kim Dong-won, was born in 1952. They would have a daughter born in 1955 and a second son, Kim Dong-yang, born in 1958. The two remained married for the rest of their lives. Kim Yu-bong supported her husband's filmmaking career through her dental practice, giving him a unique degree of independence among Korean filmmakers of his era to pursue his own personal visions. At a career retrospective during the last year of his life, Kim commented, "My wife's support has been unflagging over the years, even if, at times, she has seen one of my films and cried 'What have you done with my money?' But at rare moments like this retrospective, she becomes very emotional, recognizing that finally it has all been worthwhile." Kim filmed about 20 documentaries for the U.S.I.S. with such titles as Diary of the Navy and I Am a Truck for "Liberty News". The latter title was given an award by the U.S. State Department. The training and equipment Kim gained while working on these propaganda newsreels for the U.S.I.S. also enabled him to direct his first commercial film, Box of Death (1955). Kim used expired film stock and a manually operated camera from the U.S.I.S. to make this debut feature, an anti-communist melodrama about war orphans. The film, now lost, showed stylistic influences from the Italian neo-realists and was the first Korean film to employ synchronous