SEUNGHYUN CHOI WILL SCORE NEW KOREAN FILM RUNAWAY COP
Seunghyun Choi, a current film scoring student, has been contracted to score the new Korean comedy, “Runway Cop”, directed by Terra Shin. This will be their third collaboration, following “My Girlfriend is an Agent” and “Black House”. Seunghyun holds an impressive background in film music, having written scores for over twenty features films, having also collaborated with critically acclaimed director Chan-wook Park on the films “Oldboy”, and “Lady Vengeance”.
COMPOSER YEA-KYUNG CHUNG NOMINATED FOR "KOREAN MUSICAL AWARDS"
Yea-kyung Chung, a current film scoring student, recently wrote the music to a Korean musical adapted from the Herman Melville novel, Moby Dick. Moby Dick: An Actor-Musician Musical takes six musicians which were trained as actors specifically for this musical. Yea-kyung explains the creativity behind the characters, “I gave a double bass player the role, because the instrument is huge and make various sounds. Ahab, the captain, is performed by a cellist, because the captain has an artificial limb which is shown as a cello's pin. Queequeg, a man from the wild has a spear, so he should be a violinist to express the spear. Like this, all characters are matched to their own instruments. And their mental changes are expressed by their instruments.”
The musical was nominated for the 2011 Korea Musical Awards in five categories: Best Musical, Best Adaptation, Best Direction, Best Scenic Design and Best Composition, winning one for Best Scenic Design.
Discussions and Demos
- Howard Shore on his score for Lord of the Rings
- State of the Art: Post-Production at Sound One
On a recent Thursday evening and Friday afternoon, our film scoring majors were invited to two remarkable roundtables and discussions featuring Howard Shore and three key post-practitioners in the industry. On Thursday evening, an intimate audience at the Paley Media center were privy to a remarkable and insightful interview with Howard Shore, on his score for Lord of The Rings. In the lengthy question and answer period following, our students posed eloquent and probing questions which enhanced an evening that already served as a rare window into the compositional process.
On Friday afternoon, Michael Barry, one of the most renowned re-recording mixers (Men in Black, Fargo) in the feature film industry, invited twenty students for a two-hour private presentation in the main studio of 'Sound One,' in the Brill Building. In tandem with score recordings/mixer Lawrence Manchester (Howard Shore's recording engineer and Steinhardt Music Tech graduate) and the venerable Music Editor Gedney Webb, they screened film clips, provided demonstrations, and walked students through the plethora of their creative post-production tasks. This provided an intimate and detailed perspective that revealed some of the collaborative processes that undergird post-production processes and inform a film's final sound mix. It was eye-opening and it was witnessed under pristine conditions. In the course of the afternoon, Barry, Manchester, and Webb fielded an array of student's questions. One of our students commented: "That was the most relevant and applicable 'extra-curricular' event I've attended at NYU. All three guys were so interesting and intelligent and helpful."