오늘은 정말 특별한 게스트를 모셨습니다. 얼굴만 봐도 아마 아실 것 같은데요, 김태호 씨가 오셨습니다. 네, 안녕하세요. 그러면 이렇게 특별한 시간을 가질 수 있을 것 같습니다. 오늘 저희가 준비한 주제는 사운드가 뛰어난 영화의 순위에서 각각 세 편을 소개하는 것입니다. 여러분께 특히 사운드를 중심으로 설명드릴 예정입니다. 먼저 말씀드리면, 울주에서 사람이 먼저였고요. 경태 씨를 모시고 싶어서 어떤 주제가 좋을까 고민하다가 요즘 김태호 씨가 주목받고 있지 않습니까? 그래서 사운드와 연결되는 느낌도 있는데, 요즘 DJ로서 매우 활발히 활동하고 계십니다.

You are asking me to do it, right? Well, KBS has a morning broadcast on a journal that doesn't have very high listenership. It’s a golden time for radio, starting at 7 AM, and without any interruptions, it runs smoothly. Nowadays, radio listenership isn’t as high as it used to be, especially during commuting hours, which are from 9 AM to the end of the workday. It’s said that most listeners tune in during these times. There are some true fans who listen late at night, but the overall listenership isn't very high. The ratings are around 4.106, particularly from 7 AM to 9 AM. 

As for the other shows, they tend to be less popular. I also know that Kim Tab is quite a night owl, right? But how does he manage to handle the morning shift? He enjoys drinking, but he’s not particularly skilled at managing his time. How does he get through each day? If he doesn’t stay sharp, it could be quite challenging.

나를 움직이게 하는 진정한 동력은 아침 7시 없이 과연 일어날 수 있을까 하는 생각입니다. 지난 1년 넘는 시간 동안 일어날 수 있었던 적이 없어요. 특히 PD와 작가들과 더 일찍 가는 것이 힘들더라도, 25일이 되면 힐끔 보게 됩니다. 요즘 더 서핑을 많이 하신다고 하니 많은 것들이 바뀌기 시작했어요. 사실 지금도 바다에 가다가 혼자 앉아 있다 보면, 가끔 갈매기가 나와서 저를 쳐다보기도 하고 합니다. 그러면서 주로 양양의 생정이 막히지만, 저희가 사운드뿐만 아니라 다음에 한 번 서핑 경합도 한번 모셔야겠다고 생각하고 있습니다. 지금 몸에 대한 느낌은 약간 모호한 상태입니다.

That one arm, the cry cut off in that situation, and if you talk about it, we will have to add it once more. Everyone, I really feel thin. No matter the topic, in fact, everything has its own timing. I thought about that. Now, sound is important in the painting, and we should definitely do it in English. But now, let’s choose three pieces and exchange them. It’s a bit memorized, and the timing is quite similar, with some common points. So, let’s weave those together and talk about them. 

Now, Kim Tae-woo, please show us the first pick from the sound around S3. The first piece is The Revenant by Alejandro Iñárritu. The director's name is easy to remember, and back in the mid-2010s, when we talked about who the best director in the world was, jokingly at a drinking party, we said it was not K3, but rather Mc.

Alfonso Cuarón, who has embraced a Mexican lifestyle, has already showcased his directorial skills to film fans around the world through Roma. Following that, he received an Academy Award for Best Director and Best Cinematography. As the film begins, we see the water flowing through the space, while people venture out for hunting. The most crucial sounds in the movie are the sounds of nature. When we hear the sound of water, it evokes a sense of peace, but amidst that tranquil sound, the footsteps of people can also be heard. This contrast highlights the relationship between humans and nature, and the film starts by presenting this visually through sound.

The sound of gunfire is heard during the hunting scene, leading into the Indian attack and battle scenes that follow. The natural sounds considered here blend with the human gunfire, and the sound of arrows from the Indians permeates the air like a name, creating a sense of tension in the first half of the film. I believe this scene showcases one of the most excellent fight designs. The themes of this battle continue throughout the film until the end. Moreover, the most important aspect is the soundtrack composed by Yeon-ji. She skillfully navigates the sound without disturbing the atmosphere, using minimal melodies and tones that gently fill the empty spaces, enhancing the tension. The retreating moments are also very minimalistic, right?

So, the sound of the mini itself resembles nature. Therefore, the balance between artificial sounds and natural sounds is established. The scenes that continue until the latter part of the movie are actually connected to the beginning of the film, and I think they play a crucial role in conveying the most important emotional transitions of the film. It starts quietly, and at the moment of the shot, it communicates through sound. This connects to the scenes, and furthermore, there are intense sounds that occur later on. It starts off very lyrically, and as you mentioned, the sound design is truly excellent. Hearing what you said reinforces that thought. Leonardo DiCaprio's performance, therefore, is about surviving and seeking revenge, leading to this moment.

I was assigned a difficult task, but I think it's very impressive in terms of both quantity and sound. What I find particularly remarkable is the way two grains are now riding through the obstacles of escape. Most of the scenes are shot in long takes, creating a sense of continuous change and maintaining tension in a nearly urgent situation. The intense sound of water primarily narrates the story of a man who is undertaking this challenge, and the sound perfectly conveys the visuals and the atmosphere of the setting.

Therefore, the most important aspect of this film is not necessarily the dialogues or the plot structure, but rather the emotions and tension conveyed through sound, as well as the imagery of ambiguity. This leads me to think of a quote from David Lynch that I really like.

There is a saying that a movie consists of 50% visuals and 50% sound. Sometimes, sound can surpass visuals. I think The Lever is a perfect example of that. Moreover, when you mention it, I feel that way too. In fact, there aren’t many dialogues in the film; after the halfway point, there are almost none. The story revolves around the struggles of the inner retina, and in a way, it fills the empty narrative with countless natural sounds and noises from nature. It portrays the existence of a being or life with a certain direction. From that perspective, enjoying the film through sound is truly a case that fits perfectly with the film's essence. One of the most impressive scenes in the movie is that very moment.

In the vastness of that scene, now the glass is walking alone, and the camera captures it closely while moving. Naturally, there is a module in such a scene. When we talk about the music in this context, it really resonates with the overall emotion of the film. This scene is one of the beautiful moments that encompass the entire sentiment of the movie. If I were to add just one more term regarding sound, it would be this: when we say that the sound is good, what do we mean? The sound of an arrow flying, for example, is something that can be vividly experienced. We often refer to good sound when we hear something like a bullet whizzing by. While that is true, the sound in movies is mostly added in a post-synced manner. Sounds like water flowing, among others, are not just about the specific sound itself.

How to design involves knowing what to take out, what to remove. This is a very important statement. When cooking, just like adding ingredients, if you put in too many elements, the dish loses its essence. In films, there are many moments where characters are fighting, and if you focus on the sound aspect, you might notice that the sound of the fight is quite minimal. It's very subtle. However, in most cases, people might think that if they remove the sound of the fight, they should emphasize the growls and monstrous sounds to create a sense of urgency. But surprisingly, there isn't much sound at all. Instead, the protagonist might be sleeping there, and the sound is either very loud or quite weak. But then, at the end, they might pretend to be dead.

때 쓰셨어요? 문제 등 계속 그런 것들이 어떻게 보면 오버하지 않고 사운드를 가상 자연에 가깝게 우리를 실감 나게 그 상황에 몰입시키는 굉장히 좋은 사운드 디자인 아닌가 싶기도 하고, 그럼에도 영화에서 포함되어 있죠. 그렇죠? 그 장면에서 가장 인상 깊었던 것 중 하나가 이제 고만 포유 소리보다는 뭔가 헐떡이는 활을 쏘는 소리였죠. 거기도 무서운 거죠. 안 그래도 투링 가운데 더 그렇게 반응하시는 것 같지 않습니까? 굉장히 자료인데요. 그렇죠? 아, 전도 너무 말씀해 주셔서 조금 또 기대가 되기도 합니다. 이번에 그럼 재선택을 한 번 보도록 하겠습니다. 제가 사운드 그룹으로 첫 번째를 보도록 하겠습니다. 이렇게 그래비티입니다만, 분들 너무 좋아하지 말라고 받은 바 없는데, 어떻게 오늘 다이버들이 비련 사운드를 맞이한 게 아니냐. 내용 자체가 좋은데, 그 사실 그런 것 같아요.

하나만 좋은 것이 없는 것 같아요. 그건 맞아요. 하나 좋은 타란 것은 그만큼 다른 부분들이 받쳐주고 있기 때문이지요. 영화가 걸작인데 연기가 허무하다, 이런 영화 보신 적이 있으세요? 저는 적었어요. 너의 카셀은 어색한데, 로그양이 너무 최적으로 만든 거예요. 그런 측면에서 누려온 사운드도 마찬가지가 아닐까 생각하게 됩니다. 자, 그래비티 하면 일단 어떤 느낌일까요? 영화 좋아하시는 분들이 너무 많으니까, 아, 누군가의 영화 평론을 제가 숫자 커닝에서 본 적이 있어요. 어떤 영화는 체험이 되죠. 예, 극장에서 경험되고 체험되죠. 그 사람이 괜찮나요? 물증 안에 훌륭한 평론가가 썼네요. 정말 그런데 이제 그래비티를 볼 때 우리가 제일 놀라운 것은 우주에서 찍은 것 같잖아요.

There was a rather interesting story. It wasn't given by you. Ah, it doesn't really come to mind, does it? Actually, after the movie was released, there were press conferences, and the question was why consumers couldn't respond to it. Were there any difficulties when you were filming outside? That person, of course, made some slightly comical jokes, but the fact that it became a topic of discussion shows that the technology was really advanced in this area. That's the truth. Since there’s a lot to discuss about the movie, if I were to talk about sound, I would like to mention the very first scene. You knew it wasn't there, and did you play it right away? If you look at the second chapter, there's a very famous rotor, right? This is my bass set at 12 minutes and 30 seconds. The setup was really well done for long takes. If you watch this movie...

As the movie starts, there are two people chatting, talking about their wives and other things while taking a shower. However, from the audience's perspective, it becomes difficult to focus on their conversation; it seems unimportant. The sound of their chatter can be heard, but as the scene progresses to around 22 minutes and 30 seconds, the situation becomes tense, and the sound changes dramatically. Although it lasts only 12 minutes and 30 seconds, it creates an almost perfect sound design within that single shot. In space, there is no east, west, north, or south, right? There is up and down, similar to Earth, but what's even more interesting is that there is no sound in space because there is no air.

전달이 없으니까 매질이 없어서 전달이 안 되고, 말씀해 주신 것처럼 이 영화에서 사운드가 너무 중요해요. 그래도 제목은 '그래비티'인데 우주에서는 중력이 없잖아요. 그렇죠? 그런데 중력이라는 것은 영화에서 시각적으로, 내용적으로, 아니면 주제적인 측면에서 너무 중요해요. 중력이라면 제가 인간과 인간 사이의 어떤 안개 같은 것이라서, 그런 부분에서 역설적으로 너무 훌륭한 부분이 있습니다. 처음에 이 러시아 급 이성 관련된 파편들이 나라로부터 처음 걸 그냥 지나가죠. 그러다 만에 다시 오기 때문에 충돌을 하게 되는데, 여기서 가장 중요한 것은 사운드의 유영하는 느낌이에요. 우리가 우주에 나왔다는 것을 시각적으로 느끼려면 카메라가 어떻게 보여줘야 할까요? 이처럼 끊임없는 동선을 통해서 보여주지 않아요. 그렇죠? 그런데 카메라의

We are aligning visual and auditory experiences. When we experience sound, the quality changes depending on whether we are listening while seeing something. For instance, when two people are conversing, if one person is on the left and the other on the right, the sound changes each time we view the screen. The dialogue also varies accordingly. 

An important aspect is the sound's emotional resonance. For example, as I mentioned earlier, in space, there is no up or down, no left or right, and no back or front. In such a situation, we must assume that we are somewhere in the universe to feel the experience. There needs to be a reference point to establish a sense of direction—east, west, north, or south. The way we provide that reference point is through auditory cues.

For example, these elements allow us to observe the history of the universe and utilize many aspects of it. One more thing is the concept of zero results. When a sound approaches, it surprises us as the pitch rises, while a sound moving away lowers the pitch. This is something that is very well utilized in films, including Japanese cinema. The same goes for this scene. Just before removing the buckle, the sound becomes urgent and frantic. At the moment the connection is released, the sound design suddenly changes in the opposite direction. You see people reacting, like Dr. Ryan, who gives a sound cue at that moment. As the situation settles down, the sound is then created through a very refined directional sense.

Basically, when we watch a movie and think, Oh, it feels like I've been to space, that feeling primarily comes from what the film shows us. However, I believe that a significant part of that sensation actually arises from the sound. In the beginning, the sound design, excellent audio quality, and the combination of sound mixing create those iconic scenes. I think that’s a valid point. When we watch in theaters or at home on TV, I used to think the fundamental difference was the size of the screen, but I believe it’s actually the sound that makes the difference. In theaters, the sound design is centered around the audience, with sound coming from the left and right, and now we can do that at home as well. However, the experience of using the entire 360-degree sound is something else entirely.

The designers we learned from have created a limited edition at home, but there are aspects of the AV system that cannot be experienced through just any budget. As you mentioned, when a sudden and chaotic event occurs, the audience will experience the same confusion. So, in fact, there are very chaotic yet immersive scenes that I am also trying to reform. In that sense, expressing sound in space is about creating something from nothing. Many people often think that sound only involves effects, but dialogue is also part of sound. Typically, we use dialogue to convey content.

I think it's important, but many filmmakers create better films. For example, in the case of narration, works like The Intern from 2000 are significant. However, the balance of sound is also important, and how to elevate the battery is crucial. In that context, how the lines in the film are handled is very important. If I may add one more thing, the idea that there is no sound in space is intriguing. Sound is constantly filled in some way, and without music and sound effects, it explains the essence of the film. In the middle, there's a beautiful moment of distraction, and then there's always a moment of confusion. When exercising, you hear the sounds well. But the moment you open the door and step inside, the sound completely changes. This paradoxically emphasizes the importance of sound, creating a fascinating illusion.

There are scenes that imprint effects auditorily, right? In fact, it's realistic in the sense that it reflects the outside world and what we gain through this experience. It brings a certain taste to the narrative. How we perceive it involves psychological battles, and from that perspective, the fight design in the movie is exceptionally outstanding. I would like to focus on these aspects. When watching a movie, sound plays a crucial role in creating that atmosphere; it seems to be one of the most important elements. There’s a product from SK that seems to have just been released, which also adds another interesting auditory dimension to the film. This female character, who has experienced tough situations on Earth, really highlights how people can become truly grotesque and develop a dislike for others. When asking why she came to space, it leads to a profound reflection.

I came out in search of tranquility, and there is only one colleague who came out with me. This person is not the most talkative person on Earth. So, as I mentioned earlier, in the movie, for about 13 minutes, there was a constant floating around. The reason that person came to space was because they disliked people, and they find space enjoyable because there are no people. So, when you hear silence in English, it perfectly expresses that there is no sound, which is nice. However, the paradoxical situation in this movie is quite similar; it sounds like a discussion about sound. As you mentioned, the person left Earth because they disliked people, but after the midpoint, there are people inserted into the narrative. Why do they keep searching for that sound? It’s like being in a conversation where no one can communicate, and it feels like there are no humans at all. Even while being professionally renewed, they cry. This creates a disappointment in relationships.

When we look at the story of a person seeking relationships again, we might think that this dialogue and sound, along with various technical aspects, come close to perfection. Now, let's move on to the second movie. If we had to choose an adventure film that best represents Swiss cinema, I would probably mention The Dark Knight, directed by Christopher Nolan. This is the second installment of the Batman trilogy, and among the three films, it is often regarded as the one that achieved the greatest artistic and commercial success. When discussing the sound in The Dark Knight, we cannot overlook the introduction. It changes dramatically, connecting with the Joker's appearance.

The scene and the appearance of Apple are divided among the poets, and they are performing in a single sequence. However, the overall connection is maintained through the film's soundtrack. In addition to the soundtrack, the actual sound effects present in the film contribute to how the tension is built. By examining how these sounds are layered, one can understand how the film creates a sense of suspense. 

Let's look at the first example you mentioned. Due to the production of 4 Brothers, the logo appears, and at that moment, the logo of the production company is displayed. From the very beginning of this scene, there are significant sound signals. However, excluding those signals, the YouTube video starts. Then, from the very introduction of the film, a tension-filled atmosphere begins, setting the stage for what follows.

Alright, now the first scene begins with sound. The camera approaches the field, and the most prominent sound is the sound of glass breaking. To rob the bank, the director breaks the glass and sets up the entrance. You can hear a sound like an arrow flying, and the famous fight scenes from the movie are also audible. It's a very well-known opening scene of the film. The sound of a man's car tires is heard, and then the door opens, revealing a person. The scene is intense, as the group, which includes a mother, is gathered. This first scene of the movie is very important because it shows the characters preparing to rob the bank. The sound effects throughout the action sequences are clearly presented. As we go on, you'll notice the sounds from the processing plant and my gunshots again.

Various sounds blend together, and interestingly, the sound of the bees is composed of very sharp pitches. The sound of gunfire is quite dull, entering the midst of the fight. This can be described as a balance between high and low tones, creating a harmonious sound that begins to describe the first scene of Sound of Loss. This first opening, designed with sound, is later used in the second scene where Batman appears. In scenes where Batman makes his entrance, the sounds of the sharp games played by the Russian kids, the breaking of glass, and the chaos of gunfire are recorded in a manner almost identical to that of the first scene, capturing the same essence.

구성이 되어 있죠. 사실 이제 작년과 배트맨이 활약한 장면 두 장면이 사실 연결되어 있는 오픈 이야기입니다. 하나는 시각적으로 낮에 벌어질 범죄의 모습이고, 또 하나는 밤에 자경단들끼리 이상하게 충돌하게 되면서 벌어지는 해프닝입니다. 이 지점이 중요합니다. 배트맨은 서로 다른 자아를 가지고 있다는 시각도 있지만, 조커는 낮에 활동하며 웃고 있죠. 그러나 배트맨은 밤에 활동합니다. 이처럼 배트맨은 영웅으로서의 모습을 가지고 있으며, 그 뒤틀린 세계를 관리하는 시퀀스에 등장할 때 두 사람이 하나의 캐릭터에서 분화되었다는 것을 영화의 오프닝이 보여주는 것 같습니다. 그러면서 그것이 어떤 체험을 만들어내는 것이 맞습니다.

What connects the two scenes is the minimal sound that serves as a common axis. If the music were to be fragmented, we could see each piece as an independent sequence rather than a single one. However, by bringing these two pieces together, it creates a sense of unity that effectively explains the concept. The idea that a person can embody both sides of a coin is a powerful theme in films, especially in The Dark Knight, where the Joker represents a different aspect of Batman. This is one of the strong setups in the movie. In that context, Batman's appearance is also related to crime and the actions taken to prevent it. There are elements of the methods discussed, as well as aspects of fight design, and when looking at the film as a whole, it visually and audibly presents the main themes of desire.

삶이란 무엇인가? 팀 버튼의 '배트맨'에서 그 유명한 대사가 있습니다. 초코가 이야기하길, 너가 나를 만들고, 내가 너를 만들어낸다라고 하죠. 이는 두 사람이 서로에게 어떤 창조자의 역할을 했다는 것을 의미합니다. 원작 코믹스에서도 그런 주제를 다루었어요. 마치 회사 같은 정체성을 가지고, 이 영화 '다크 나이트'에서는 너의 에미가 날 완벽하게 만든다는 이야기가 동전의 양면과 같습니다. 이 영화가 가진 전체적인 세계관을 오프닝 장면에서의 사운드 디자인과 서로 연결된 음악을 통해 너무나 완벽하게 보여주고 있습니다. 이제 저의 두 번째 베스트 영화, '사운드가 전형'을 보도록 하겠습니다. 더 이상 덩 케이크는 없어요. 다크 나이트를 맞춰주세요. 예, 잘 나중에 섬 큰애 벌 하하 한스킨 뭐 하고 이제 크리스토퍼 놀런의 조합은.

You have to give it a try about two or three times, right? Hans Zimmer, in fact, is one of the best music directors out there. When I think of the most impressive, the first person that comes to mind is Christopher Nolan, and among his works, we have The Dark Knight. I choose to focus on the sound design. When the movie starts, you hear the sound of a helicopter as it drops leaflets urging surrender, and you can also hear the sound of the stock market. Most importantly, there’s a sound coming from below, creating a base layer. These kinds of soundtrack sounds, when you listen to them, might seem a bit minimalistic, but they elevate the heartbeat. This kind of important sound design creates a significant overall layer. The subtitles are all coming up, but from the beginning of the film to the end, it feels like one continuous breath.

You started off speaking English very quietly, but now, even in the middle of a war, it feels as if there are no people in the alleys, and I begin to sense the stragglers wandering around looking for water. However, in movies, my volume and the music often play a significant role. The background sound is quite abundant. When Hans Zimmer collaborates with Christopher Nolan, one of the major characteristics is that the sound and music do not blend well together. That makes sense. I also found myself confused about where the sound ends and where the music begins while watching the earlier scenes. For instance, when I listen to something like The Lion King, the music there is exceptionally outstanding.

There are parts where it seems like a memo is inserted, saying, Is this music? In a way, you could say that there are some different aspects to it, especially when it comes to how Christopher Nolan uses music. One of the significant techniques that composers frequently use is called shepherd tone. It can be somewhat of a secret, and it is often misunderstood. To explain what a shepherd tone is, it's like this: you create several layers of sound with different octaves, but the same scale. Even though the octaves are different, you play the same notes in a way that when one layer ends, it seamlessly connects to the next, and you continue to layer and build upon that.

If it happens, it creates a certain meaning, giving the effect of rising without any end. However, this is actually impossible. You can't keep making sounds for a lifetime. Just like if you turn a screw in place, it will definitely rise. Visually, how do we express this? We rotate in this arc, right? It seems like it rises without any effort, but it is just turning in place. That's right. In that aspect, The Dark Knight has scenes where the Batmobile is used, especially in the early parts when the events occur at the breakwater, particularly in the bombing scene.

잠시 왜 나오게 되잖아요. 셰퍼 텀을 이용해서 약간 변형을 시켰어요. 그렇게 해서 이 긴장된 상황을 밤비 어떻게 해요? 찾게 되고, 4 뒷부분에 갔을 때 클라이맥스가 이 세 가지 이야기 한 군데, 뭐 이지 않습니까? 플러시. 그 순간에 플린 슬아, 미국 전투기 조종사가 짰는데 보물 쪽에서 탈출하려고 하세요. 거기서 더 없이 어퍼 톤을 이용하게 되는데, 지금 제 관객이 드리는 것은 사실인데 음악을 듣고 있는 건데, 4리 듣고 있는 것인데 비행기가 날아오는 소리를 듣고 있는 거죠. 그렇죠? 카가 이제 오는 그 소리를 사운드로 먼저 듣는데, 그것을 관객들이 시각적으로 보기에 앞서서 관객들이 뭐라 올까, 그들의 리액션으로 보는 거죠. 아우 데비안 리액션을 통해서 고개를 먼저 돌려서 여러 일단 걸 보여준 회사에 얼마나 것이 공포스러운 걸 느끼게.

For a moment, why does it come out? I used the Sheffer term to make a slight modification. In this way, how do we handle this tense situation? When we go to the fourth part, the climax is where these three stories

이제 히트가 등장하게 됩니다. 개소리는 가까이 다가오면서 점점 더 크게 올라가죠. 실제로 전쟁에서 공포감을 과장하기 위해 저 소리를 일부러 독일 군대가 키웠다고 합니다. 당대의 심리적인 이유로 인해 그런 것이 공부를 통해 조소하는 것이 고대부터 있었던 전쟁의 일환이라고 할 수 있습니다. 북을 치면서 그 기를 죽이는 피해를 주기도 했고, 이런 것들도 기술적으로 장교가 나무로 만들어서 진짜 터지는 소리처럼 만들어낸 것이 굉장히 놀랍습니다. 전체적으로 그런 관계를 압박한 적이 있었는데, 관객에게 사운드를 코비처럼 전달하는 것이었죠. 그런 소리의 기본적인 요소 중에 아까 말씀드린 샤퍼 토니가 계속 들어가고, 초침 소리 같은 것도 섞여 있지 않습니까? 저에게도 그런 경험이 있었습니다.

If you look at the overall bombing scene of the B-2 bomber like this, you can actually hear that sound on the battlefield. It is also musically transformed into a Shepard tone, creating a parallel experience. As the bombers approach and drop their bombs, there’s a sense of movement that is expressed. This kind of design in sound is exceptionally remarkable. If I were to compare it to a movie like Dunkirk, I think someone like me, who admires Christopher Nolan, would watch it many times on my phone. I often think that in a small clinic, it might not be that significant. In many ways, it feels like we are watching completely different films. The most optimal environment is, of course, the theater, but not everyone can watch it in a theater.

In that sense, it is preferable to experience it in an optimal environment that includes sound and visual aspects. In this regard, I think a film like Dunkirk is even more significant. From a visual standpoint, Christopher Nolan's films often present scenes where soldiers are gathered, and bombs are dropped, which could seem like the end of the scene. However, through sound design, a sense of fear is created in that moment. The sound is heard first, and then the characters react, experiencing the terror that surrounds them. It’s as if the sound stimulates the audience psychologically.

The recently released soundbar, set-top box, and Anthem have been a great success, winning awards alongside their sound quality and content. There is also an invincible mode, which allows for a variety of discussions. Let's quickly revisit the third film. I chose one of the most recent movies that was released. Although it has been out for a while, lately, there has been a lot of talk about the themes of this film, particularly focusing on villains in this era. It seems that the story has been adapted into a female version, transforming the narrative into something more fairy-tale-like. This film has managed to lighten the heavy world it presents, making it feel more vibrant.

I often think that the music responsible for the sound of that movie might be what shapes it. This is my fifth film and my third English film, and I chose it while watching Silk Road. It made me reflect on how, in a way, my films lead the times, but conversely, the changing spirit of the times also reflects in the films. Recently, looking at Disney's changes, I feel this way. Disney has changed; my child has changed, too. I saw that they need to cast a lot more than just a mother figure. There are parts that no longer resonate, and after watching the film, it becomes clear that it's no longer about the representation of science or the idea of being unique. It's about realizing that I live my life, and that is the most important process in film.

What exactly is Estella's nature? And when it comes to Cruella, we traditionally view Disney protagonists as those who must win. However, Cruella ends up winning, right? The name Cruella itself is Cruella de Vil, isn't it? If we simply read this as it is in the movie, it becomes a story of a cruel villain. But, in a way, it brings a unique character to life, creating a fascinating protagonist. This shows that we are in an era where such stories resonate. We have seen many stories of sons surpassing their fathers, but the idea of a daughter surpassing her mother is quite novel. This aspect of Cruella adds depth to the narrative.

I think there is a kind of pleasure in such variations. The use of symbolic figures like father and son, mother and daughter is present, but ultimately, it is the stories of the younger generation that transcend the established generation. This crawl has established itself very well as a theme, and many people have adopted strategies that are not harmful. It deals with the most modern topics, with time referencing a sleep circuit, and the music draws from the past, particularly the styles of the 60s and 70s. The most ideal music that we first hear is from the Rolling Stones, specifically She's a Rainbow. In this scene, the girl, Stella, dyes her trademark two-toned hair to conceal her identity, transitioning into the adult Ester.

When the 4 comes out as a gift, music plays. What is it about Rolex? Everyone has placed references that, when not referenced, actually match the melon rhythm of a scene from a movie. It’s difficult to achieve that because most of the elements in the movie appear almost up to the climax. It's about matching the perfect timing. This is, in fact, based on the essence of the character, and it was significant for identity. The beginning of life is important, but there’s another aspect where it doesn’t resonate today. When she works in diverse and multifaceted roles, the colors that unfold in her various fashions and the meanings in those two aspects can be sufficiently explained just by the title of the song Shawn Rainbow.

The film is indeed visually stunning and deals with the fashion industry. The use of color is very important, and in a way, the terminology used for colors is similar to the terminology used in music. The way colors are reflected in music and how they evoke feelings is quite similar. The film employs these techniques uniquely. 

There’s a scene where Stella makes her entrance into a certain kingdom from behind. She walks in with a slightly hesitant gait, embodying a sense of uncertainty as she appears. In the film, the characters often make their entrance from behind, but through the positioning of the characters, the film deliberately places them in a way that draws attention.

The character highlights the current dangers and issues surrounding the river. If you watch the following scenes, you will see the Baroness at a fashion show, showcasing her presence. It’s just a portrayal of a life that is not real. However, there’s a man trying to get out of a car, and underneath the car, some ropes are tied. Above the car, there are elements like the chairman of a company that appear in the end. These scenes suggest a reversal of relationships, presenting a stark contrast that cannot be easily acknowledged. It’s a bit like believing in something while standing on the edge of a cliff. There are also designs that reflect this theme. The soundtrack could almost be considered a part of the film itself, akin to a musical, where the music plays a central role from beginning to end.

As for music, it's about connecting genres. Clorella isn't quite at that level, but if you pay attention to the music in movies, you will notice that it continuously permeates the film from start to finish, almost like a current. In fact, as I mentioned earlier, if we talk about this type of movie, even if there are only five tracks from major artists, it can still be considered an incredible soundtrack. The movie is densely packed with them. In that sense, the films I mentioned earlier, such as Yin Yang and Fight, explore these themes. However, I believe that the best fight in a movie is indeed the music itself. In that regard, there's a scene where we see the entrance to the mansion of the Baroness after everything has concluded, and the music that plays during that moment is...

The actual theme song of this movie is amazing. It can be seen as a representation of the Rolling Stones' fame. After the movie, the protagonist clearly defines his identity. The contrast is slow to unfold, but his identity is perfectly explained through the song Dancing with the Moonlit Knight by the Rolling Stones. The film's ending fight now wraps up with the theme song. 

You might have noticed the last choice in the introduction. The sound design is incredible, as I observed. Recently, with the rise of electric vehicles, it's been said that the era of traditional cars has ended. However, one could argue that this perspective is valid. Through this time, I might seem a bit thin, but I will continue until the end. The government no longer allows engine cars.

You are watching Styx as it comes to an end. Until the time of Lee Chang-soo, it will not be completely over. The Ferrari is really impressive, and as you mentioned, it is indeed a wonderful movie. I actually think the script is outstanding. Let’s talk about the aspects of the model and the book. The visual side has some issues that need to be addressed.

From a sound perspective, what first comes to mind is the scene at the end where the Le Mans race takes place. There are moments where the competitors are pursuing each other, and as they race, the most important scenes in car racing unfold. I would like to discuss the elegant fight design in the movie once more. In a way, it’s hard to call it a true duel between the two characters, but there is certainly a confrontation that develops.

Matt Damon and Christian Bale, right? The combination of these two actors or their clash itself feels a bit like watching a representation of the Ford versus Ferrari rivalry. In terms of the characters' journeys and their human goals, there is a contrast between the two. However, that's not the main focus of our discussion. Regardless, the performances of these actors give a sense of racing. Now, shall we move on to the sound? The most important aspect of the race is whether one can overtake the opponent. This scene is crucial. The nuances of shifting gears or hitting the brakes are elements that artists pay attention to. They may have recorded sounds or created them in the studio. Looking at the front, will these two continue to race smoothly or not?

이제 우리가 지켜보게 되죠. 시각적으로 좀 더럽지만, 이 영화는 잘 묘사된 사운드 편집을 통해서 그런 긴장을 굉장히 강력하게 보여줍니다. 레이싱 할 때 가장 중요한 소리가 뭘까요? 엔진 소리 아닐까요? 엔진 소리를 여러분이 한 번 들어보면, 우리가 듣게 되는 진짜 소리와 두 사람이 갈 맞을 때의 인지 소리가 계속 다르죠. 당연히 포드 차의 소리와 페라리 소리가 가리지 않죠. 바로 이런 장면이 됩니다. 코드를 비칠 때는 상대적으로 소리가 낮고, 빨리 가면서 좀 더 가벼우면서 허리가 뜹니다. 이런 방식으로 두 개의 소리를 교체하는 방식을 편집에서 그대로 살려주는 거죠. 다시 집중한 거죠. 왕 제천에서 보여줄 때는 음악이 다시 벗겨지고 있습니다.

In fact, this movie has two engines: one is the music of God, and the other is very intense rock music. The second one is the sound of the car engine. So, in a way, it's quite interesting how the music and the sound are aligned. From the aspect of sound, it also compares the engine sounds of Ford and Ferrari. This method reveals the sound by continuously preparing shots in a way that alternates between them. As the number of shots increases, the editing of the sound also becomes more intricate. In that sense, we often tend to think of sound as something simple that can be mastered in five minutes, but it is not at all; it is very technical as well as...

You have to make an aesthetic choice. When we see scenes like that in advance, it’s really well done when we can pass through them without being conscious of it. Sound, too, can create a sense of humming if it's not done well, making the scene feel flat and easily overlooked. When we think about what good filming is, we might imagine that a camera movement looks flashy and makes us think, Wow, that's cool, but conversely, it could also be poorly executed. The same goes for music; it’s not always the case, but in many instances, people might think that the music is the best when it’s not noticeable. This is because the elements of the film are well combined and have become one, making it so we don’t catch the music. For example, as I mentioned earlier, with Sting’s music.

That's right. However, depending on the situation in gay films, as I've repeatedly mentioned, the sound and music cannot be separated. How can we depict the characters' psychology or the visual aspects of the film's themes? These elements are intricately illustrated through sound. A remarkable example of this is the engine sound in Naisun, which is so beautifully and realistically captured. But that's not all. I think the storytelling is quite impressive. The dialogue is recorded in real-time, and it feels as if we've seamlessly stitched together the scenes. It creates an impression that the sound design is done in post-production, yet it generates an immediate sense of presence, making it feel simultaneous.

There are so many diverse sounds in nature, and even sounds of the universe in films. In that context, the constitution is established. For example, the sound of a glass breaking or the colors that come from it, we are all contained within that urban environment. I also wanted to mention the sounds that come from mistakes. All six works I introduced today can be seen on BTV. It's been a while since you've come here, and I appreciate you filling this time with such valuable moments. But honestly, I think there’s something to be said about this. When there are people who enjoy and accept a story together, the fun of that story multiplies. I myself have had experiences where, after watching a film, I continued to listen to music related to it. However, there aren't many people who delve deeply into it and interpret it in their own way.

I think I haven't done it. Thank you for calling me and as we talk, I remember the various English programs we did together a long time ago. I also think about whether I received an Academy Award or something like that. I really appreciate the resources and the devices. I’m grateful for the explanation and everything else we worked on together. Thank you again. Even if I don't come out for this program in the future, I will still be grateful. I truly appreciate everything. Thank you for sharing this with me.

영화 사운드가 왜 중요한가 [김태훈 등판]

[B tv 이동진의 파이아키아]에 오신 분들~ 환영합니다!😉

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영화평론가 이동진의 작업실인 파이아키아에서 영화와 교양 콘텐츠를 만나보세요!
남다른 관점으로 영화를 해설해 드리고, 보다 쉽게 교양을 알려 드립니다.
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