Here are some of my favorite projects I've worked on in different areas such as film, musical theater, modern Korean music, and commercial/branding work.  For the full IMDB list you can go here.  For a CV and more comprehensive work list go here.  And finally for more commercially oriented branding work please visit here


This was the second film director Benson Lee and I collaborated on, our first being the dark and brooding 1999 Sundance Film Festival Special Jury prize winner Miss Monday.

Interestingly enough I was surprised to have found my self composing the score for this at all.  Given my more rock/classical background and efforts to fuse those genres I wouldn't normally be associated with hip hop, and in particular B-Boy hip hop.  In this case however, I was given a great deal of freedom to experiment and what ended up as the signature sound, if you will, of the score was the electric guitar (slightly distorted) playing the theme in various ways from straight up one note muted palm vibes to delicate harmonics.


The premise of the story really intrigued me and being a huge fan of sci-fi, without any hesitation I happily threw myself into creating the score for director E.B. Rhee's film. The first thing he told me was was that he didn't want a typical sci-fi score - ie. bombastic orchestration and the like.  Instead he wanted to go for something more on the "alternative" side - whatever that meant!  After some discussion we agreed that the goal would be to evoke suspense, action, and tension by sonically engaging the audience with electronic/inorganic sounds blended together with some traditional elements such as piano, strings, and low brass.  The result was a nice interplay of moody textures of hard to identify origin blended together with melodic material that was often more gestural punctuations accenting what was happening visually.  It almost bordered on sound design at times however this is not surprising as the line between what is music and sound design grows more and more blurry as films and their sonic foot prints evolve.  

The Garden is a proof-of-concept film based on a new feature screenplay - a sci-fi reimagining of "Paradise Lost".  The basic story is - "after learning that the sun is dying, a group of explorers set out into deep space in search of a new home for humanity."  This was my first collaboration with director E.B. Rhee and writer Aaron Strongoni (Linsanity).  The project was also fortunate to get producer Polly Johnsen attached (Wrath of the Titans, Slumdog Millionaire, Harry Potter films) to develop the project to a feature film.  Deadline article here.  


I was commissioned by the renowned haegumist Eunil Kang (강은일) to compose a concert length work for her group Haegum Plus.  We discussed many ideas and themes and finally settled upon the inspiration and beauty of Korea's unique four seasons.  Haegum Plus is a group made up of both Korean traditional instruments (haegum, piri, kayageum, percussion) and western instruments (guitar, piano/keys, drums, and guest cello).  Korean instruments have long held a fascination for me and I am more and more regularly incorporating them into my compositions.  The Four Seasons was the profound  impression of Korea's four seasons had on me.  The extreme swings in climate and stunning visual contrasts inthe landscape were both inspiring to me as a composer.  I hope extend the development of this piece to include modern dance and visual projections.


It was a fun and exhilarating experience to rock out with director Gina Lee on the musical The Devil, which premiered in Seoul in the fall of 2014.  In particular, due to the dark nature of the story, the compositional requirements called for a heavy rock-metal score which was very enjoyable as it allowed me to explore the influences which inspired me to pursue music in the first place.  Stay tuned for future runs in Japan and Seoul in 2016!


I've had numerous collaborations with the branding company DBOX.  It's always a pleasure working with them as their clients are some of the biggest names in architecture in the world.  Futuristic designs often call for futuristic sounding music scapes.  This project in particular is one of my favorites.  In order to capture the  forward thinking vision of the Foster & Partners highly technical Helix design of new complex in Yongsan Korea, I employed using numerous mechanical sounds such as drills, servo motors, and engine revs.  Coupled with a minimalistic approach with guitar and bass and kick drum, a very interesting texture was created that was both organic and inorganic. 


The Wedding Banquet is a musical based on Ang Lee's film by the same name.  Book and Lyrics by Brian Yorkey, Music by Woody Pak, and Conceived by Welly Yang. The Wedding Banquet had its premiere in 2003 and is being revived by director Gina Lee for Korean audiences in 2016.  



Though it did not fare well upon its release - with the dubious honor of the worst grossing movie of 2012 - I did enjoy scoring it! Instead of using many of the usual musical tropes and sounds in horror films I instead tried to go for a palette that had a warped electronic nature as its base with elements of more traditional instruments accenting the visuals.