Issue link: https://digital.copcomm.com/i/1512183
128 M PS E . O R G the creature sounds that he wanted for each scene while also going through the creature's sound design elements which had up to eight different layers. I bought a new AMS Neve DFC Gemini console because I couldn't mix the necessary amount of sound channels with the Euphonix CS2000 which I had used until then. PA: You mentioned Mother/Madeo before which is a more quiet and subtle film but also very intense. The movie has a really powerful score by Lee Byung-woo who has worked on several of Bong Joon- ho's movies and you've also worked with him on other films. How much do you collaborate with the composers on Bong's films? RTY: I always communicate and consult with the composers for many hours. This is because I need to achieve the best balance between my actual sound—sound of reason—that the audience can hear with their physical ears and the commentary sound—emotional sound—that the audience can hear with their hearts. In addition, the design concept of sound effects can vary depending on the mood of the music. Therefore, sometimes I attend meetings between Bong and the composer. Also, Bong wants me to understand the music scoring. I do all the music editing on Bong's movies—the fact that I worked with music in the past is very helpful for music editing. PA: I remember a very violent scene in Mother where the mother is hitting a man but you don't see anything—you only hear what's happening. What kind of directions does Bong Joon-ho give you in a scene like that where sound is telling the action? RTY: I designed the sound using multiple elements of sound and Bong chose them selectively in the final mix. Bong Joon-ho has his own method for sound progression that follows the passage of time of action and outcome. The woman hits the man several times with a wrench. The first striking sound is designed to allow the audience to imagine the state of the man's head without seeing what makes the sound, then another hard sound as it hits the head and hits the head again, and then the metal shock sound of the wrench when the wrench hit the head and then hits the floor, and the sound gradually collapses as she is getting wet with blood. It's a very cruel scene, but it's also a sad scene because of the mother's violence to hide her son's sin. Mother was the first film for which I got nominated for the MPSE Golden Reel Award for Feature Foreign Language. Eventually, I won the award for Parasite, and the trophy was delivered to Korea with the help of Bong's American agency. PA: Snowpiercer was Bong Joon- ho's first film in English. Was there L-R: Sound effects recording for car.