The process is nothing especially different. It is also a record of the growth of young people who try to achieve their dreams and love without despair on the wall of reality, but I think it is a story of a family after all. I was able to relatively differentiate my colour and show it well, while working on them I was able to make fun and fresh attempts depending on the characteristics of each drama, and these were the dramas that were loved not only the drama but also the music.Ĭan you tell us more about your most recent work on Record of Youth? Sunshine, Crash Landing on You, It's Okay Not to Be Okay and Record of Youth (which I last worked on) were memorable. But if I really have to pick, I Need Romance 2012, Jealousy Incarnate, Mr. I think it is hard if I were to pick just one or two because both the dramas that had good feedbacks and the ones that did not have its own meaning and they were worthwhile works. We've seen many of the dramas that you've produced music for, what were the dramas that you enjoyed working on the most? I was not able to think that it is internationally influential, it gives me some kind of sense of responsibility to do better. 7 tracks we love from It's Okay To Not Be Okay's OSTīefore, we only considered the reaction and the emotion of the local audiences, but now, I think we get to keep in mind the drama fans from all over the world. It is not like I am aware of all of the drama music of the other countries but with all due respect, when we look closely at Korean drama, among the elements that complete dramas, the importance of music and something like that has a heavier weight compared to the last 10 years. I think it is because of the completeness and heightened status of the Korean drama itself and its development together with an increase of international fans who are fond of the style of Korean dramas. However, there are not many cases of this now. Music composers are asked to create music "like Korean dramas." What do you think about Korean drama OSTs being internationally influential for the last 10 years?Įven in Korean drama markets before, there are many people who prefer and advised me to produce in the music style of American, Japanese, and Hong Kong movies. In the Philippines, there are lots of Korean dramas that are remade. In your opinion, what do you think is needed to produce a good OST?Ī good understanding of the script, the ability to empathize with the people working with, and reducing the desire to only show off the music. You're a multi-awarded composer and musical director for your K-dram work. Collaboration work in producing drama music, creating music itself is also important, but having the sense of what role music plays in the drama, how it is matched, and expressed and supported by the emotion the drama is trying to depict without distortion is important. Drama music is hard to be evaluated by the music itself which makes me think that it becomes valuable when the music, video, and the emotions the drama is trying to express are harmonized well. For the standard in choosing the singers, most importantly, finding a voice that would best fit the tone of the drama is a point of consideration.ĭrama music is not like creating an album of an individual, so above all, the understanding of the drama, and an open attitude and thought towards cooperation is important. With a keen interest in exploring music scoring, she spent years in the broadcast industry composing for television, documentaries, and animation.įor instrumental music, I work with the composers in the team and for the song, aside from the composers of the team, we try to find musicians who can fill up the parts that we do not excel in and whom we can musically sympathize well. Working with the likes of IU, HEIZE, EXO's Baekhyun and Chanyeol, SEVENTEEN's Seungkwan, MAMAMOO's Wheein, Lee Hi, and more in her discography of 77 Korean dramas, Director Nam has already carved a name for herself as one of the most sought-after composers in the K-drama world.ĭirector Nam's experience in musical composition dates back to her university days as a classical music major at Seoul's Yonsei University. The name Nam Hye Seung may not ring any bells to Korean drama fans, but she is the dark horse behind the spellbinding tracks of It's Okay To Not Be Okay, the melancholic tunes of Crash Landing On You, the pulsating beats of Guardian: The Great and Lonely God (Goblin), the adrenaline rush in blockbuster dramas Vagabond and Mr. While we plunge headfirst into one K-drama after another, time rarely stops for a passing thought about how the original soundtrack ties the twists and turns of the narrative together.
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