Issue link: https://digital.copcomm.com/i/1512183
122 M PS E . O R G famous Korean directors such as Bong Joon-ho, Park Chan-wook, and Kim Jee-woon which have been well received and liked abroad, and I'm lucky to work with them. As the industry has changed, my way of working has developed and the studio now follows international cinema standards, especially pursuing higher quality in overseas M&E production. It has also meant that I've had several opportunities to collaborate with overseas sound crews to meet global standards for sound quality. Rob Nokes (Sound Dogs, Todd-O) recorded the sound of a sea lion in The Host, and I used that to design the creature's sound in that film. He also recorded a lot of the train sounds in Snowpiercer, and I collaborated with him on the sound design of Along with the Gods: The Two Worlds. For Foley, I've collaborated with Martin Scaglia who is from Argentina and is based in Madrid in Spain. In films such as Snowpiercer, Okja, Alienoid and The Moon, I collaborated with Dave Whitehead, his wife Michelle Child and POW Studios and Tim Nielsen from Skywalker Sound. The train sound recordings for the design of the train sound of the movie Snowpiercer were commissioned to the Boom Library in Germany and the sounds they recorded were actually released as a sound effect library called Trains. Recently, I collaborated with Eilam Hoffman of the UK on sound design for Bong Joon-ho's new Hollywood film, Mickey 17. As such, the development of the Korean film industry has been a good opportunity for me to expand into more global collaborations, and I have gained various experiences through collaboration with them. PA: Your collaboration with director Bong Joon-ho is simply amazing—you've made so many great movies together. When did you meet for the first time? RTY: Director Bong Joon-ho and I got to know each other in 1998 while working on the sound for the movie Motel Cactus (Motel Seoninjang), where he worked as an assistant director, and in 1999, I was the re- recording mixer on his debut feature film, Barking Dogs Never Bite. Since then, I have worked with him on the sound of all his projects. Having worked with him on so many of his films for a long time, I've been very inspired by his approach to sound, and a lot of my sound interpretations has been absorbed into his films. He asked me the other day to work with him for another 20 years, and I pray that my ears will be intact by then. PA: Barking Dogs Never Bite (2000) is actually a comedy. Already in this film, part of the story is about sound as the main character is getting annoyed by a nearby barking dog that just won't shut up. What was it like to work with Bong Joon-ho in the beginning of his career? RTY: His sound direction was very detailed from the beginning. Rather than just coming up with some ideas for the sound while working on the mixing stage like many other directors, he had very precise ideas for sound already when doing the very first spotting session to start up the sound work. He gave me specific directions and concepts for the sound for every scene, almost like he was presenting to me some homework or a report he had been preparing for a long time. He didn't even make any changes or corrections to these concepts while the sound was getting more and more complete. This is the way it's been for all his work to date. By the way, at the end of the mix, Bong suddenly asked me to add five barking dog sounds to the different Technicolor studio, final mixing for Snowpiercer (2013). POP Studio – ADR for Snowpiercer (2013).