Toque2 Podcast

Bom dia, boa tarde, boa noite!

Neste Podcast Josisley de Souza, e Felipe Xavier do Podcast CoffeeX, a Maestrina, Orquestrado e Compositora Hyesu Wiedmann, natural da Coréia e naturalizada Americana, conversa conosco diretamente de Los Angeles, sobre sua biografia, carreira e realizações.

Conhecendo Hyesu Wiedmann

Depois de ter tocado piano clássico desde pequena e ao longo de toda a sua juventude, quando ganhou inúmeros

Possui mais de 80 créditos de grandes filmes de estúdio, como Warner Bros, Lionsgate, Disney, Sony, 20th Century Fox, como compositora, orquestradora e maestrina. Alguns de seus projetos incluem “Night house” estrelado por Rebecca Hall, “How I met your mother” (Programa de TV) estrelado por Neil Patrick Harris como orquestradora, “Three Hikers” (Documentário), “Girando Point” (Documento da BYU – Series), “Team Work” (série da Web), ela também teve sua música em “Alone” estrelando Donald Sutherland e Tyler Posey, para citar alguns.

Seu trabalho publicado varia de música orquestral a pop, rock e EDM.

Compartilhe com seu amigo, indique e compartilhe nas redes sociais usando uma hashtag # Toque2

No Ritmo da Vida. Na Batida do Coração!

Equipe Toque2

@toquedois

Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Dreams Can Come True / Hyesu Wiedmann

Toca na Pista: In Light of Darkness / Gemma Kyle & Frederik Wiedmann

Edição: Eduardo de Oliveira

Colabore com nossa campanha no Apoia.se

Colabora com PIX, esta é nossa chave: [email protected]

Curta nossa página #Toque2 Podcast no Facebook

Ouça pelo Spotify (Gratuitamente)

#Hyesu Wiedmann

Site Oficial (Clique Aqui)

Instagram Oficial (Clique Aqui)

IMDB Oficial (Clique Aqui)

Filme: O Ataque dos Vermes Malditos / 1990  (Clique Aqui)

Filme: No Ritmo do Coração /  2021 (Clique Aqui)

Filme: Minari: Em Busca da Felicidade / 2020 (Clique Aqui)

Livro: Dedicated: The Case for Commitment in an Age of Infinite Browsing / Peter Davis (Clique Aqui)

#Josisley de Souza

#Fabiano André

#Felpe Sangali

#Wellington Castro

INÍCIO

Vinheta de Abertura: Podcast Soneto. Música em palavras. Uma produção do site Toque 2 Bandas e Fanfarras.

Áudio do Youtube: Áudio da música …

ABERTURA:

Josisley de Souza: Bom dia, boa tarde, boa noite. Sejam bem-vindos a mais um Toque Dois Podcast, bandas e fanfarras, no ritmo da vida, na batida do coração, diretamente de Ribeirão Pires, São Paulo. Eu sou o Josisley e hoje, nesse podcast internacional, está com a gente aqui o meu grande amigo, tradutor, músico, multi-instrumentista, triglota, cantor, diretamente de Uberlândia, em Minas Gerais, do podcast de CoffeeX, olha quanta coisa esse cara tem, hein? Felipe Xavier, ou Bóris. Seja bem-vindo, Felipe.

Felipe Xavier: E aí, pessoal, tudo bem? Bom estar de volta aqui. O Josisley ficou muito tempo sem me chamar para gravar isso aqui de novo. É um prazer, prazer, cara, estar aqui de novo. A ideia seria que a minha esposa fizesse, só que eu falei com ela e ela ficou um pouco insegura. Vou falar, vamos tentar fazer em um outro momento, ela participando e ouvindo, e aí depois ela faz.

Josisley de Souza: Está bom.

Felipe Xavier: Eu ficaria honrado também, seria muito legal.

Josisley de Souza: Muito bem. Pessoal, agora a coisa ficou pequena para o meu lado aqui, porque a nossa convidada tem mais de 80 créditos em filmes de estúdios como Warner, Lionsgate, Disney, Sony, Twentieth Century Fox como compositora, orquestradora e maestrina ou conductor, diretamente de Los Angeles, Estados Unidos, a compositora Hyesu. Seja bem-vinda ao Toque Dois.

Hyesu Wiedmann: Hi. You made me sound so, I felt like I had to come in with this, like, fixture like okay. Hi, nice to meet you. I’m Hyesu Wiedmann, I’m a conductor, orchestrator, and composer who works and lives in Los Angeles.

Felipe Xavier: Ela falou assim que você deu uma introdução tão grandiosa para ela que ela ficou até meio sem jeito de como se apresentar depois disso, mas ela está muito feliz em estar participando aqui. Ela falou que ela é uma condutora, compositora e maestra, e ela mora e trabalha em Los Angeles. Eu falei maestra, mas nem sei se tem essa palavra em português.

Josisley de Souza: Sim, sim, está correto. Maestra também vale a pena. Pessoal, para vocês terem uma ideia, são cinco horas de fuso horário, então imaginem como foi bacana fazer essa organização para essa gravação. E eu estou assim tinindo e a gente vai conhecer um pouco mais da história da Heysu logo depois da nossa vírgula sonora. Muito bem, esse ano o Toque Dois está fazendo seis anos; eu falei, para a gente fechar com chave de ouro esse mês das mulheres, seria muito legal se a gente conversasse como uma compositora de filmes, até porque está muito em voga isso, ultimamente muitas compositoras têm tomado esse espaço, inclusive com recentemente uma compositora que ganhou o Oscar de melhor trilha sonora. E nós conseguimos então contato com a Heysu e aqui estamos nós. Para a gente começar esse soneto, a gente vai fazer essas perguntas básicas para ela, que é qual o nome completo dela, se o nome dela é esse, se é o nome artístico, a idade, a profissão e a nacionalidade. Vocês não estão vendo, mas ela tem traços orientais, então eu queria saber se ela é uma americana, de onde que vêm esses traços orientais dela. Felipe.

Felipe Xavier: Ok, Hyesu. We always start our podcast with an introduction about whoever we are interviewing, and we have standard questions, so we ask the full name, age, occupation, and nationality, because sometimes we interview people from all around the world, so we want to know.

Hyesu Wiedmann: My god, you guys ask women their age?

Felipe Xavier: Ela falou que a gente pergunta a idade para mulher.

Hyesu Wiedmann: I have nothing to hide. My full name is (Emma) [00:03:54] Hyesu Wiedmann, so I basically go by my middle name for work. And I am 41 years old, and my nationality is American, but I am of Korean heritage, as you can see from my middle name, that’s why I chose to go with my middle name, that shows my heritage for work.

Felipe Xavier: Ela falou que o nome completo dela é (Emma) Hyesu Wiedmann, e aí ela falou que usa o segundo e o terceiro nome para ressaltar a herança dela, porque ela é americana, mas ela tem família coreana. Ela mora em Los Angeles e a ocupação são as três que ela falou no começo: compositora, maestra e condutora.

Josisley de Souza: Muito bem, aí a pergunta óbvia: com essa tradição oriental, a música é algo que parece que vem da alma do Oriente. Então de onde veio essa inspiração para a música, onde começou essa inspiração para a música?

Felipe Xavier: We talk a lot about inspiration and where the musicians get their inspiration from. Where does your come from? Is it from family? Where is it from? Do you have other musicians in your family?

Hyesu Wiedmann: Well, I’m married to another film composer, Friedrich Wiedmann, you may have heard his name from other sources. But the family that I come from, there’s no other musician. In the end, as in terms of inspiration, I work in film music, so normally what I’m doing is to assist the film to tell the story, so I draw my inspiration from the story that I’m trying to help tell, you know? It could be the writing, the background, sometimes various factors of the project. Usually that’s where I get my inspiration for film music. But when I write, I also write songs and sometimes just for myself too. And those cases, it’s different, because it’s all my own. So, I think in those cases I try to draw inspiration from my past. I have a lot of stories to tell, which I don’t necessarily want to talk about verbally.

Felipe Xavier: Cool.

Hyesu Wiedmann: I try to express it through the music that I compose or songs I write.

Felipe Xavier: That’s beautiful.

Hyesu Wiedmann: The film music, it’s the project. They have enough of inspiration.

Felipe Xavier: Ela falou que ela é casada com um outro compositor também, mas que na família dela não tem nenhum músico, ela é a primeira. E a inspiração, ela falou que, como ela faz muito música para filme, ela se inspira bastante nas histórias. Então pode ser no roteiro que foi escrito, pode ser num background de um filme, em uma imagem que ela vê. Então a inspiração nesse sentido para ela vem de querer ajudar a contar a história, compor junto com a história que está sendo dita ou mostrada. Ela tenta fazer isso com a música. E também ela compõe músicas que são dela, não necessariamente só uma música para um filme. E quando ela faz as músicas dela, ela tenta pegar de histórias também, só que histórias do passado dela, que não necessariamente ela quer contar com palavras; ela traduz isso em música.

Josisley de Souza: Eu acho que eu usei a palavra errada. Na verdade, eu queria saber de onde que se iniciou esse gosto pela música. Quando a gente falou para ela sobre a questão da família, eu achei que ela ia comentar sobre se foi um pai, a mãe, onde ela iniciou os estudos da música dela, como ela teve esse contato com a música.

Felipe Xavier: Legal. Da família ela já falou que não, então vamos pensar sobre o contato. What was your first contact with music? When did you first start this path of making music, of pursuing your art?

Hyesu Wiedmann: This may be a little bit of a cheesy story that you’ve heard many times. I was a classical pianist before I changed my major into film music. So, how I started music was I was taking piano lesson at age of four, and the teacher saw something in me, so she convinced my parents to give me a proper music education. So, they decided that I would become a classical pianist, which I did for over a decade, until I found my passion in film.

Felipe Xavier: Ela disse que a história é brega, você já deve ter ouvido várias vezes, mas ela começou a ter aulas de piano clássico com quatro anos de idade. E aí o professor dela viu que ela tinha algo a mais e pediu para que os pais dela, de verdade, investissem na carreira dela. E aí eles começaram a investir nesse plano de fazer com que ela se tornasse uma pianista clássica. Ela fez muitas aulas, ela entrou na faculdade e ela foi pianista clássica por dez anos, até ela trocar para música de filme. Parece que tem uma graduação lá que é film music, enfim, música de cinema. Talvez seja uma especialização.

Josisley de Souza: Bom, ela falou que tem essa ligação com a Coreia. Ela já esteve na Coreia, ela vivencia essa cultura coreana na vida dela? E ela tem, aí sim, inspirações desses ancestrais, dessa cultura coreana que ela traz com ela?

Felipe Xavier: So, you are American, but I would like to know if you draw any inspiration from your heritage, if you if you go back to your roots, if there is any connection?

Hyesu Wiedmann: Oh, absolutely. I think I was one erased most of my childhood there in Korea. So, you know, I’m 100% Korean, even though I’m American now and I live in America, I mean, I have lived in America longer than I have lived in Korea. But I feel like no matter how long I live here in America, I’m still, you know, culturally I’m deeply connected to Korea because that’s where I spent my childhood, you know, during which most of your people’s brain and all this like, you know, set of standards get formed. So, yeah, I think even in the corners that I don’t really realize, I think I’m connected to Korea and Korean culture.

Felipe Xavier: Ela falou que ela nasceu e foi criada, passou a infância dela toda na Coreia. Ela falou que hoje ela já vive há muito mais tempo nos Estados Unidos do que ela viveu na Coreia, mas ela falou que inconscientemente ela é muito influenciada pela cultura e por essa herança que veio da infância dela. Então ela falou até alguns princípios ela aprendeu quando criança e ela simplesmente vive por eles, ela não consegue desgarrar dessa cultura. E ela falou que é bem influenciada, inclusive na música que ela faz.

Josisley de Souza: Para justificar o que eu vou perguntar agora, se você quiser contextualizá-la, eu entrevistei um professor que dava aula de música para pessoas surdas, então existe uma nomenclatura de nomes de notas e figuras musicais para que eles possam entender que essa nomenclatura é, obviamente, pela linguagem de sinais. Quando eu ensino música aqui na nossa igreja, eu falo para os meus alunos que a música é universal, que se eles forem para o Japão, para uma Coreia e sentarem ali, eles vão conseguir tocar com música, porque essa linguagem universal. Então eu queria saber se os ensinos musicais dela, se iniciaram na Coreia, se existiam alguma diferença com o que ela encontrou no mundo musical nos Estados Unidos.

Felipe Xavier: OK. So I’m going to explain to you something about the next question and then I’ll ask the next question. He interviewed a music professor a while ago who taught music to deaf people. He taught through sign language, right? And Josisley said that when he teaches music, he says that music is a universal language because you can play with anybody in the world; if you sit by a musician, you will be able to play with him or her, so it leads to the question that I think you started studying music in Korea and then you came to the U.S., right? Am I right?

Hyesu Wiedmann: Yes.

Felipe Xavier: Do you see any difference in the way that music is taught and that music is made in the two countries?

Hyesu Wiedmann: I can’t tell. I have really nothing to say about that matter, just because in Korea, I learned classical music, I was a classical pianist. So, I would learn history and I would spend hours and hours practicing in a small room, you know, something that you would expect from a regular classical performer. And then I came here and then I started, this is where I studied film music, and I studied writing, so these are two very, very different settings for me. It was very new, but not because they necessarily had different style of teaching, but I was in a completely different area of music. I’m sorry, I don’t think I can answer.

Felipe Xavier: It’s like classical and popular music.

Hyesu Wiedmann: Yeah, and film music covers so many genres, right?

Felipe Xavier: Yeah.

Hyesu Wiedmann: It’s like every, and so there’s a performer’s point of view, where I interpret what the composers wrote as a performer, and here, while I was studying film music, I started thinking as now writer, composer. So it’s a very, very different thing. I’m not sure how I could answer that.

Felipe Xavier: Ela falou que é bem diferente porque ela estudou música clássica na Coreia, e ela estudava não só a música clássica, mas ele estudava história da música. Ela estudava para se tornar uma performer, então ela ficava por muitas horas no quarto praticando, e quando ela foi para os Estados Unidos, ela foi para uma área completamente diferente da música. Então ela falou que não é nem o jeito de se ensinar, porque talvez ela não consiga explicar essa diferença porque ela não estudou música clássica nos Estados Unidos. Ela estudou música clássica na Coreia e nos Estados Unidos ela estudou todas as outras áreas de música, porque música de cinema engloba tudo praticamente. Então ela não consegue, ela até falou: “Eu não sei se eu tenho muito a acrescentar nesse sentido, porque são duas coisas, são dois universos muito diferentes e eu não experienciei os dois para te dizer se tem uma diferença de fato”.

Josisley de Souza: Felipe, eu vou entrar agora na parte da carreira dela. E aí você fica à vontade também se você quiser perguntar alguma coisa. Como você é um cara mais pop, talvez agora essa parte fique mais fácil para você. Eu queria entrar nessa parte da carreira justamente perguntando a ela como se deu essa transição, quais foram as primeiras oportunidades que ela teve e colocar um ponto aí; no ano 2000, saiu o filme Chocolate, com Johnny Depp, e a trilha sonora foi da Rachel Portman. Ela é a única compositora que eu conhecia na época, até porque a internet era um pouco limitada, ok? 20 anos depois tem muitas outras compositoras. Já havia esse mercado aberto ou realmente agora as mulheres estão dominando mais esse espaço das orquestrações, das regências e das composições de trilhas sonoras? Entendeu? Então como se deu a entrada dela nesse mundo e esse parâmetro do que era 20 anos atrás para agora, se já existia ou se realmente está havendo essa ascensão.

Felipe Xavier: Okay, os first we would like to understand how you entered in the world of cinema, of film music. I have another question with that, but answer that first and then we go to the other one.

Josisley de Souza: Okay.

Hyesu Wiedmann: Sure. So, I was training as a classical pianist during my teenage teenager, and in my high school years, I developed, like junior high to high school years, I develop my love for film music. Even before then, you know, I didn’t even know such things as music, you know? Orchestral music is like classical music, that’s how I thought when I was a very little. But then at the junior high, all these pieces of music that I really love listening to were film music. So, I said: “Okay, well, I didn’t even know such thing existed”. I started listening to a lot of the music radio which, by the way, was very scare because it was not very that popular, like early 1990. Then, in my high school years, I started looking at schools that teach film music. And back then, like late 1990, Berklee College of Music was the only college did provide an undergraduate program in film scoring. And my C had it, but it was media music and I think it was like a graduate program. So, all I could find was Berklee that provided undergraduates. I had to fight my parents because they still wanted me to be a classical pianist; it took me some time, but they finally said: “Fine, you can switch”. So I went and started studying film music, and I was sure that this is what I wanted to do because it was so much fun. So, when I graduated from Berklee, I came to L.A. and attended USC. They have the graduate scoring program, and then I just never left. I stayed here.

Felipe Xavier: Cool. Ela falou que ela sempre gostou muito de música de filme, mas ela não sabia que existia uma área de gente que produzia trilha sonora, porque a maioria das trilhas sonoras que ela escutava, ela falava: “É música clássica, não existe uma outra indústria disso”. Só que quando ela descobriu que existia de fato, ela começou a escutar muita rádio, que nem era muito popular na época, mas ela falou que tinham rádios de música de cinema e ela começou a escutar isso e ela começou a gostar muito. E ela começou a procurar universidades que tivessem programas de música de cinema, e a Berklee foi a única universidade que tinha um programa de graduação em música de cinema. Ela estudou em Berklee e depois que ela estudou em Berklee, ela foi para a USC que, se eu não me engano, é em Los Angeles, que ela falou que é onde ela está, e ela falou que ela nunca foi embora. Ela começou a estudar lá nessa época e ela já entrou na indústria e nunca mais saiu.

Josisley de Souza: Legal.

Felipe Xavier: Agora vou puxar a outra pergunta que você falou sobre a diferença dos 20 anos e tal.

Josisley de Souza: Okay.

Felipe Xavier: Josisley also said that 20 years ago, there was this film called Chocolate with Johnny Depp, and the composer of the soundtrack is Rachel Portman, and he said that she was the only woman that he knew because, let’s remember, this was 20 years ago, internet in Brazil was a little bit scarce yet, so it was not easy to find that information. The idea is that the women conquered their way into music scoring right now; were there always women in that and there were no opportunities, or is it now that you guys are just taking your space right now in music? It’s interesting, because just last year, I think in 2019, the composer for Joker was a woman…

Hyesu Wiedmann: Yeah.

Felipe Xavier: …and I think she was, I’ve never seen a woman winning the Oscars in soundtrack. I think it was the first time that I started watching the Oscars that that happened. So what do you think about that?

Felipe Xavier: I think it was 2021, because Joker was to 2019, so 2020 I guess.

Hyesu Wiedmann: Okay. Yeah.

Felipe Xavier: So the year before… it’s the pandemic, it’s all mixed up.

Hyesu Wiedmann: Right? It’s not just me, right? Oh, so yeah. I’m glad to see the changes, but yeah, we were always, you know, we always existed.

Felipe Xavier: And that’s good you’re taking up this space right now, because we are getting so, so much great music right now.

Hyesu Wiedmann: Thank you.

Felipe Xavier: Ela falou que a Rachel Portman de fato foi uma das grandes compositoras e que eram reconhecidas nesse mar de homens, mas ela tentou lembrar o nome de uma outra que ela não conseguiu lembrar, mas ela falou que elas estiveram sempre aí, só que agora, com o reconhecimento de algumas outras compositoras atuais, outras mulheres estão tendo mais coragem de se expor, de correr atrás e tomar esses espaços que foram dominados geralmente por homens, principalmente agora, quando, como ela falou, a compositora do Coringa que ganhou o Oscar. Então ela falou: “Nós estivemos sempre aqui. A gente só não era reconhecida, mas estamos aí desde sempre”.

Hyesu Wiedmann: I remembered the name that I blanked out, last year. Shirley Walker. She was just like a pioneer as a woman composer.

Felipe Xavier: You said Shirley Walter?

Hyesu Wiedmann: Walker. W-A-L-K-E-R.

Felipe Xavier: You got cut a little bit.

Hyesu Wiedmann: I think she was an amazing composer, a fierce composer. But, you know, like it is evident, you guys are not familiar with her name, right? So although she deserves every credit, I’m glad that we’re getting recognition.

Felipe Xavier: Oh, I just I just Googled her, and there is a lot of stuff here. Scape from LA, you got a Final Destination.

Josisley de Souza: Premonição.

Felipe Xavier: Yeah, it’s a lot of stuff. There is the Love Bug, from 97.

Josisley de Souza: Batman.

Hyesu Wiedmann: Yeah. Her orchestration is like something that I can, she’s still studied. So good.

Felipe Xavier: Ela falou aí que ela lembrou o nome que ela esqueceu, que é a Shirley Walker, que ela foi uma mulher pioneira compositora. Fez sucesso nos anos 80 e 90. Ela falou que ela é estudada ainda, as pessoas estudam ela em faculdades de música, de música de cinema.

Josisley de Souza: Um comentário aqui para a gente: ela compôs a trilha da Máscara do Fantasma, um dos melhores animes, desenhos animados do Batman que tem.

Felipe Xavier: Pois é. Eu vi essa capinha, eu já vi essa capa várias vezes no streaming e eu nunca assisti essa animação.

Josisley de Souza: Muito boa. Existe uma grande dúvida no mundo da composição, que é o orquestrador. A gente já perguntou isso para o Rosano Galante, depois o Felipe fez um vídeo falando: “Entrevistei o cara dos Vingadores”, e na hora de você explicar também, você se embananou e aí você acabou gerando muitas dúvidas em mim, e aí eu fui ouvir o podcast do Rosano Galante, não ficou claro o que que é, então eu acho que a gente poderia perguntar para ela o que faz o orquestrador, pelo amor de deus.

Felipe Xavier: O orquestrador eu traduziria como orchestrator ou como conductor?

Josisley de Souza: Orchestrador, condutor is a maestrina, maestro.

Felipe Xavier: Okay, okay. There is an unanswered question in the world of musicians that we had an episode with Rosano Galante a few years ago I guess, he’s a music composer also, and we asked him what an orchestrator does, because in the podcast, we asked, then I have my own channel on YouTube where I explained that a while later, and it was still confusing, and now we’re all confused, we want to understand from you: what is an orchestrator, what does and orchestrator actually do?

Hyesu Wiedmann: What we do, what orchestrators do is, to simply put, when we get the file from the composer, you know, music, may be all written, but let’s say that still data. Orchestra cannot look at it and play. So we take the file and spread it out on the music paper so that musicians can read and play, which means taking down the notes, all the notes and all the dynamics and articulations and, you know, possible instruction, how to play certain things. And then a lot of times, because they just use string patches, many string patches at the same time. And computer is not an orchestra, the balance is not the same as real orchestra. So, as an orchestrator, you have to balance the sound out too. Like, for example, you hear loud string and equally loud brass, and if you put the same dynamic on both, the brass will completely eat up the string section, right? Something like that. Like if it’s a solo, let’s say that to understand it easier, there’s it’s like a solo violin, there’s a solo brass, and if you give forte, then it’s going to eat the string up, because there’s different volume, right? So, we balance the music out so that it sounds as close to what the composer intended to. We’re basically moving the digital form onto the analog form.

Felipe Xavier: Well, it got clearer for me. Let’s see if I can make that clear in Portuguese. Ela falou que, para resumir, que quando ela recebe a música do compositor, ou seja, a música mesmo, escrita, são dados, são só nota se tal. O orquestrador traduz isso de um jeito para o condutor conseguir aplicar isso na banda, então o orquestrador seria quem dá dinâmica, quem dá intensidade, quem divide melhor o que é o que em cada momento. Ela deu um exemplo, por exemplo, de às vezes na banda estar rolando um momento em que tem cordas e o brass, que são os instrumentos mais graves, é o brass, Josis?

Josisley de Souza: Brass são instrumentos de metais.

Felipe Xavier: Isso, os metais. E aí tem cordas e metais, e aí ela falou que se os dois estiverem na mesma intensidade, os metais vão cobrir as cordas, porque obviamente o som é mais pesado, mais alto. Então ela fala que o orquestrador é responsável por ajeitar essas arestas, arrumar a dinâmica para que a música consiga sair do digital para o analógico, foi a última coisa que ela falou. Em suma, é isso. “A gente transforma o que são dados na dinâmica da música mesmo”.

Josisley de Souza: Nesse ponto, aí me vem uma pergunta assim que a gente está falando de arte. O roteirista escreve uma história, só que o diretor, no momento que vai filmar aquilo, eventualmente, ele mexe ali e não necessariamente o que está escrito é o que está sendo filmado. A impressão do que vê no filme é diferente. Então me parece que ocorre o que? O compositor tem a ideia, ele faz daquela grade, mas não necessariamente o que ele está escrevendo ali vai 100% se transformar em música, ela vai modificar isso de alguma forma. Aí eu gostaria do comentário dela, se isso é normal nesse ambiente de cinema, se não tem aquela coisa: “Olha, o que está escrito aqui é como tem que ser”, se ela tem que devolver para uma aprovação do compositor. Você entendeu o que eu quero dizer não é? Eu quero entender se realmente não, isso aqui é só um trabalho, o que o orquestrador fez é o que está valendo, tudo bem, não ligo.

Felipe Xavier: Still trying to understand this idea. So, not every single thing that the composer wrote is going to sound exactly as he or she wrote, right? Because you’re going to have the orchestrator pulling these parts, giving these dynamics. Is it what happens? After the orchestrator, does it have to go back to the composer to see if everything worked out? How does that work?

Hyesu Wiedmann: So, what we’re trying to achieve is to get the music written as close as how the composer intended. Yeah, that’s my job, because when I get the final, usually they send me an amplitude through the audio file or with the MIDI file. So, I would know what he wants, what they want to achieve. But sometimes the mix is so rough that what they want to achieve is a little different than what they can give me at the moment, because, let’s say, they’re under a time crunch or something, and then the music is not fully mixed the way that he wants his cue to sound. But they give me a brief explantai-o or like a reference cue to achieve. Then, I just have to use my imagination to go on what I have to make to sound the way he wants. And we usually find out at the recording session. There was no single time that the composer was a 100% unhappy, an occasion like that. I mean, I am not saying that I am that good, but it’s basically the job description for orchestrators.

Felipe Xavier: Yeah, it’s your job. So, it’s our job to make the composer happy with making it sound like he wrote it, right?

Hyesu Wiedmann: Yeah. I mean, they’re my clients, so I have to make them happy.

Felipe Xavier: Ela falou que o trabalho dela, Josis, é basicamente tentar soar o mais próximo do que o compositor quis de fato. Ela falou que não teve nenhuma vez que ela em que o compositor chegou para ela e falou: “Nossa, está horrível, está ruim”, porque às vezes ele vai mandar a música, às vezes ele vai mandar o áudio com a faixa MIDI também, ele manda muito informação para ela para que chegue o mais próximo do que o que ele quer. O que acontece às vezes é por causa de tempo. Às vezes, o próprio compositor está sendo espremido por causa do tempo que ele tem que entregar e às vezes ele não dá o tanto de informação que ele deveria dar para ela, então, às vezes, nesse sentido, precisa ir e voltar mais vezes do que o normal. Mas ela até falou: “Eu não estou tentando soar arrogante, não, mas é porque esse é o meu trabalho. Então o meu trabalho é fazer com que a música soe o mais próximo do que o compositor quer, e a gente só descobre isso de fato nas sessões de gravação”.

Josisley de Souza: Okay, legal. Ela tem trabalhos para filmes, ela tem trabalhos com animações e ela tem trabalhos com documentários. Um documentário muito bacana que ela trabalhou, como compositora, inclusive, foi o Turning Point para a Netflix. Os Estados Unidos é um país que a abraçou, então eu gostaria de saber dela se tem alguma diferença fazer trilha para essas diferentes formas de cinema e, acho que seriam duas perguntas, se tocou muito nela a questão de fazer a trilha para essa série, Turning Point, para esse documentário, no caso.

Felipe Xavier: Ok, so you write music for films, for animated films, and for documentaries, right? Recently, you made a movie, a documentary film called Turning Point, right? By Netflix.

Hyesu Wiedmann: No, no, no, no. That’s not my project.

Felipe Xavier: It’s not your project?

Hyesu Wiedmann: No. Mine is called Turning Point, but not the one on Netflix. Mine is from a cable TV channel called Brigham Young University Channel, BYU Channel.

Josisley de Souza: Não foi o dela?

Felipe Xavier: Okay, let me just explain that to him. Ela falou que o documentário chama Turning Point, mas não é o da Netflix.

Josisley de Souza: Oh, OK. The editor will cut this part, sorry, sorry.

Hyesu Wiedmann: No, no. It’s been a few years since I’ve stopped working, I mean, they stopped making those Turning Points documentary, which was a great story. It’s about how who do good things change other people’s lives. It was really nicely done. When I first saw, like I turned on Netflix a few months ago and then I saw Turning Points, I was like: “Wait, what?”. Because it had the same tittle, but I read the description: “Oh my god, it’s not mine”. You and I were confused.

Felipe Xavier: Aren’t there rights on the title for that? Okay.

Felipe Xavier: Ela falou assim que tudo bem confundir, porque até ela confundiu; porque ela fez o Turning Point há alguns anos atrás e ela explicou sobre o Turning Point que ela fez. Ela falou que é sobre como pessoas que fazem boas ações impactam na vida de outras pessoas. E aí ela falou que quando ela viu o Turning Point na Netflix, ela falou: “Eita, espera aí, aqui?”. Aí ela leu a sinopse, ela falou: “Não, não. Esse não é o meu”.

Josisley de Souza: Não é o meu. Okay. Bom, de qualquer forma, eu gostaria que ela falasse das diferenças, se é que há, entre animação, documentário e filmes, se há alguma diferença, e para séries.

Felipe Xavier: Is there a difference when you are writing for an animated film, or a documentary, or a series, or a live action film? What are the differences between each project?

Hyesu Wiedmann: Oh, I think that completely depends on the story that they want to say and the style that each project is made in. I think I personally feel that there’s a lot more freedom in animation, because the boundary of creativity is so vast, given they are not bounded by anything, so it can go anywhere. So, I think music also can go anywhere, just, you know, following the story. But other than that, I think it depends on the project, how the sound pallet of the creators, the producers want for the project.

Felipe Xavier: And do you have a favorite one to write for?

Josisley de Souza: Dangerous question.

Felipe Xavier: That was my question, it was not Josisley’s, just out of curiosity.

Josisley de Souza: I loved it.

Hyesu Wiedmann: I like hybrid, I like hybrid between the conventional orchestral sound with electronic synth. I think those two give me so much more freedom to write the way I want, or, yeah. I like hybrid the best. Junkie XL, he is my hero.

Felipe Xavier: Junkie XL?

Hyesu Wiedmann: Yeah.

Felipe Xavier: I really like him.

Hyesu Wiedmann: I mean, there’s nothing he cannot do.

Felipe Xavier: Yeah. Então, a pergunta que foi feita antes, quase que eu me perdi aqui, a pergunta que foi feita antes foi sobre se tem diferença, e aí ela falou que existe diferença dependendo não necessariamente do formato, mas da história que cada um quer contar. Ela falou, ela usou uma palavra que eu nunca tinha ouvido. Eu já ouvi isso falando de cores, não de música, ela falou assim: “Depende muito da paleta de sons que o diretor, enfim, a produção quer imprimir em cada um dos projetos”, mas que, de novo, não depende necessariamente do formato. Depende da história a ser contada. E aí eu perguntei se algum desses é o preferido dela, qual que é o preferido dela. E ela falou que o preferido dela é quando ela consegue fazer um híbrido entre música clássica e outras coisas que se misturem, então ela citou o Junkie XL, que é um cara, eu nem sei se é um cara, se é um grupo, mas eu imagino que seja um cara. Ele fez a trilha sonora do Deadpool, em que ele mistura um tanto de coisa, então ele mistura coisa clássica com eletrônica, com rap; ele faz uma massa de coisas. Se eu não me engano, ele fez a trilha sonora do Batman vs Superman com o Hans Zimmer também, existem algumas collabs ali entre os dois, misturando os dois estilos. Então ela falou que o Junkie LX consegue fazer qualquer coisa, que o cara consegue misturar tudo e sair um resultado bom.

Josisley de Souza: I will try, vou tentar falar alguma coisa for descontration – é descontração, tá? Eu não sei como é, como que fala descontração?

Felipe Xavier: Cara, a palavra descontração… me dá um contexto.

Josisley de Souza: Para descontrair, vamos lá. To unwind.

Felipe Xavier: To unwind.

Josisley de Souza: Hyesu, I like the saga Tremors. You composed the Tremors Five: Blood Lines.

Hyesu Wiedmann: I orchestrated.

Josisley de Souza: Orchestrated, okay. In Brazil, the name of this movie is the best. I will give you the tittle in Portuguese and translate into English.

Hyesu Wiedmann: Yeah.

Josisley de Souza: Attack of the Cursed Worms Five: Blood Lines.

Hyesu Wiedmann: Well, I’m glad you like it.

Josisley de Souza: Cursed Worms. Falei certo, Felipe?

Felipe Xavier: Acho que é “Cursed Worms”. Yeah, I don’t know if you are aware of that, but movies get translated; not exactly translated, they put in a way that makes sense in each country, right?

Hyesu Wiedmann: Yes, yes.

Felipe Xavier: So, in Portuguese, maybe the word “Tremors” wouldn’t call a lot of attention, so in Portuguese they called The Attack of the Cursed Worms. Which makes sense, because we have that in the movie.

Hyesu Wiedmann: Yeah.

Felipe Xavier: But that’s not the original name, it’s just Tremors.

Hyesu Wiedmann: No, but I like the Cursed one, it’s more direct than Tremors. Because you get to wonder, you wonder what does that mean.

Felipe Xavier: There’s a spoiler, right? In the title.

Hyesu Wiedmann: Yeah, yeah. There’s a spoiler there.

Felipe Xavier: Spoilers, spoilers. That’s very common in the 80’s here in Brazil. All the movies, they like had the names and you already knew what you were going to find just based on the name, yeah. There was no mystery.

Hyesu Wiedmann: That’s terrible, this is terrible. Like, do they want the audience to come to the theater to watch it or what?

Felipe Xavier: Yeah. I don’t know, people didn’t have as much problem as they do with spoilers now back in the 80’s.

Hyesu Wiedmann: Yeah, I’m well aware of how one movie title is translated into so many different phrases when it goes international. I mean, if I could, I heard from my Korean friend, but do you guys remember the movie The Day After Tomorrow?

Felipe Xavier: Yes, é o Dia Depois de Amanhã que ela está falando, Josis.

Josisley de Souza: Uhum.

Hyesu Wiedmann: When they came out, it was distributed to Korea too, and the people who were in charge, they thought that The Day After Tomorrow would not sound too urgent to Korea, because they are always on the go, they are always moving, so in Korea it’s translated Tomorrow, because it’s not urgent enough if it’s The Day After Tomorrow.

Felipe Xavier: So, it’s just Tomorrow?

Hyesu Wiedmann: It’s just Tomorrow. Yeah, but they will take it. They would not take it urgently enough, so they trashed The Day After and just did Tomorrow.

Felipe Xavier: Ela falou assim que ela sabe que existem essas traduções mesmo e tal, de que os filmes mudam de nome para fazer sentido para diversas culturas, e ela falou que uma amiga coreana dela contou para ela que o filme O Dia Depois de Amanhã, que em inglês é a mesma coisa, esse título foi traduzido ao pé da letra mesmo, ela falou que essa expressão para um coreano não soaria urgente o suficiente como o filme quer que seja. E aí ele foi traduzido só como Amanhã, porque amanhã pode ser qualquer dia, então amanhã, então o filme lá só chama Tomorrow, Amanhã.

Josisley de Souza: Fantastic. Agora, a gente precisava falar um pouco que ela, nesse momento, ela está trabalhando, e eu acho que eu não vou errar, como compositora para um spin-off de uma série que fez muito sucesso aqui no Brasil, todo mundo está ansioso para a próxima temporada, mas vai sair um spin-off em animação, em desenho como a gente fala aqui, que é The Boys, e ela foi convidada para fazer a trilha de um episódio específico. Eu queria ver se ela pode falar um pouco como o que foi o convite, como foi essa criação da trilha e por que desse episódio, e, claro, se ela pode falar. E, por favor, não dê spoilers, porque realmente essa série no Brasil, eu garanto para ela, que fez muito sucesso. A galera está no hype para a próxima temporada.

Felipe Xavier: Yeah, so now we would like to address your newest project, which I believe that you were working as a composer, the soundtrack of – is it a specific episode of The Boys presents Diabolical, right?

Hyesu Wiedmann: Right. So, they made eight episodes, and I scored one of the eight called John and Sonny.

Felipe Xavier: Okay, that’s cool. Ela falou que sim, que ela é compositora mesmo, ela fez a trilha sonora de um, e que a série vai ter oito episódios. Ok, so we would like to know a little bit if you can talk about it. Of course, if you are not allowed to, that’s okay, but just so you know, The Boys was a big hit in Brazil, the first two seasons were like everywhere, everybody watched it, everybody talked about it, everybody is really hyped for this animated series, so we would like to know a little bit about that. How did you get to do it? How did the invitation come?

Hyesu Wiedmann: So, the person who brought me on board on the team was Giancarlo Volpe, who was executive director on this project. Like, he looked over all eight episodes. Basically, they wrote it and then they hired a Korean-American director, and they decided to put some Korean cultural spin on the episode. So, naturally, they wanted a composer who understands Korean culture, and, you know, heritages and stuff, that’s when I was brought in. I think the story also ties with your earlier question about, you know, when you asked me if I still have the Korean root in me that express through music, so this is where I could do that. The funny story was when Giancarlo told me a very brief synopsis of the episode, is about two… is it coming out in Brazil tomorrow?

Felipe Xavier: I believe so.

Hyesu Wiedmann: I see.

Felipe Xavier: Yes, I just entered the website here, and yes, March 4th, it’s worldwide.

Hyesu Wiedmann: Good. It’s about a couple, right? A Korean immigrant couple. So, Giancarlo told me the synopsis and the first thing I thought to myself was: “I wonder if Arirang is available as public domain for us to use”, and Arirang is a folk song in Korea that everybody knows, from children to 89-year-old seniors, everybody knows Arirang. So, the song itself has a very, very deep Korean root, and so I thought the existence of the song itself, the story of the song itself and the lyrics of the song would be perfect to help John and Sonny’s story, and when I mentioned that to the producers in our first meeting, one of the producers went: “That’s exactly what Steve said, our director. Steve said the same thing about if we could use Arirang”. So, you know, that’s when what I guess is our Korean root, the cultural root really works in the same page, I guess, right?

Felipe Xavier: The folk song you said is Arirang?

Hyesu Wiedmann: Arirang, it’s A-R-I-R-A-N-G.

Felipe Xavier: Yeah, let me translate part so I don’t get all mixed up. Ela perguntou se sai amanhã também aqui no Brasil, e eu pesquisei aqui, é amanhã, acho que no mundo inteiro, sai ao mesmo tempo. Então, sim, ela foi chamada por um dos produtores executivos, que se chama Giancarlo Volpe. Ele foi atrás de alguns compositores que tivessem essa dupla cidadania, que tivesse essa herança coreana, porque ele queria trazer esse toque para a série, e foi aí que chegaram nela. A trilha sonora que ela fez é para um episódio que chama John and Sonny. Eu não consegui ver qual episódio que é ainda, se você tiver aí, Josis, eu não sei se tem a lista ainda dos episódios, mas é que é sobre um casal de americanos e coreanos, que têm essa dupla heritage que ela falou, que é a dupla herança, e ela falou que isso conecta com aquela pergunta que a gente fez no começo para ela, se ela ainda tem essa conexão com a herança coreana dela. E ela falou que aqui foi uma oportunidade muito boa para ela poder usar isso, para ela poder voltar a essas raízes coreanas dela e utilizar nesse episódio especificamente. E ela falou que deu muito certo. Um dos diretores inclusive falou sobre usar uma música que chama Arirang, que é uma música folclórica coreana, que todo mundo na Coréia sabe, se poderiam usar, se tinha alguma coisa de direitos autorais, e parece que foi tranquilo usar, então ela utilizou essa música e mais alguns outros aspectos da cultura coreana para compor a trilha desse episódio.

Josisley de Souza: A série estreou hoje no Brasil, no momento em que estamos gravando esse podcast. Os nossos ouvintes sabem que a gente grava o mês de março durante o mês de fevereiro, essa gravação está sendo feita no dia 3 de março e hoje, por um acaso, é a data de estreia, pelo menos aqui no Brasil, o episódio é o de número sete.

Felipe Xavier: It’s interesting because Josisley just told me, I didn’t know because I don’t think I entered Prime video today, but it’s already being released in Brazil. Yeah.

Hyesu Wiedmann: Really?

Felipe Xavier: Yeah, we have it. Now, I’m eager to see it, but it’s episode number seven, right? So it’s already available here in Brazil. I don’t know if it’s all episodes, because Amazon’s latest releases were like two episodes and then they released weekly, but it’s already here.

Hyesu Wiedmann: Oh, okay.

Felipe Xavier: The first episode at least is already here.

Hyesu Wiedmann: Nice. I’m sure it’s all there, because, you know, it’s a short film. So, all eight will be, I don’t know, an hour and a half show. It’s so cool it’s already out. Go watch it, everybody.

Felipe Xavier: Yes. Soon as we are done with this.

Hyesu Wiedmann: Yes. And let me know what you guys think.

Felipe Xavier: Sure. E ela falou que ela está super feliz que estreou e que ela não sabia que estreava hoje, mas que ela está feliz. E ela falou para a gente assistir e falar para ela o que a gente achou.

Josisley de Souza: Pode deixar. Eu já tenho ela aqui no Instagram, depois eu vou lá e vou deixar uma mensagem para ela do que eu achei. Muito bom. Bom, pessoal, obviamente que a gente não consegue aqui ficar tanto tempo, e poderia até, eu gostaria de pegar toda a lista de tudo que ela já fez, filme por filme, mas infelizmente isso não é possível. Então eu vou tentar aqui fazer uma pergunta para ela, Felipe, mas algumas das mulheres não quiseram responder, então você fala para ela que ela pode ficar à vontade caso ela não queira, mas a pergunta que eu estou fazendo pra todas é: o que é ser mulher para ela? Ainda mais ela que tem uma descendência coreana, vive nos Estados Unidos, tem uma cultura totalmente diferente aqui da nossa. Se ela quiser e puder discorrer um pouco sobre isso.

Felipe Xavier: So, there’s a question, a more deep and philosophical question that Josisley just asked. He just told me that not every woman wants to answer this, so feel free to not if you don’t want to, but the question is what is it like to be a woman, especially a woman with Korean-American heritage? What is it to be a woman to you?

Hyesu Wiedmann: To me?

Felipe Xavier: Yeah, for you. That’s a deep question.

Hyesu Wiedmann: It is a deep question. I don’t think I can answer, not because… it’s me.

Josisley de Souza: It’s difficult.

Felipe Xavier: Yeah. Feel free to.

Hyesu Wiedmann: No, I want to answer, because I’m sure if I look deeper inside myself, maybe there is a sentence to describe what it feels to be a Korean American woman, that’s your question, right?

Felipe Xavier: Yes, yes.

Hyesu Wiedmann: I would like to say… what can I say? I like being a Korean American woman. I’m sorry, I don’t know what to say.

Felipe Xavier: That’s okay. Ela falou que é muito difícil. Ela falou que se ela parar e pensar muito tempo, olhar para dentro, ela falou: “Acho que eu tenho certeza de que eu vou ter uma frase que vai conseguir expressar isso, mas agora eu não sei se eu consigo muito”. Ela só falou: “Eu gosto de ser essa mulher que tem a dupla cidadania”. Não é cidadania a palavra, eu estou usando porque eu não estou achando a palavra para heritage, mas essa dupla herança de cultura.

Hyesu Wiedmann: I feel like I have no answer cause that’s all I knew as a Korean-American and as a woman. Because I have never been a man or of other culture, so this is all that I am, you know, and all I know, so I feel that’s why I can’t really answer this question. I’m sorry.

Felipe Xavier: That’s okay, that’s great. Ela falou que ela acha difícil responder porque é isso que ela conhece, é só isso que ela sabe ser, é uma mulher que é coreana e americana. Ela não consegue falar por outra pessoa, como um homem ou como um americano sozinho, ou como um coreano sozinho. Ela só consegue falar pelo todo que ela é, e, como ela disse, ela gosta muito de o ser.

Josisley de Souza: Legal. Como é de praxe no final aqui, aí você, por favor, coloque para ela que nós já estamos caminhando para o final, eu sempre abro o espaço para que o convidado faça o uso de uma palavra livre. Ela pode agradecer, mandar um abraço, cobrar uma dívida de alguém que não devolveu algum utensílio aí, um vizinho que não devolveu um utensílio, pode pedir para devolver. Enfim, o espaço é dela, ela pode usar como ela quiser.

Felipe Xavier: So, we are coming towards the end. At the end of every episode, we like to open a space where you can send a message, say wherever you want about the profession, about the experience. Just say something to wrap it up. This was a great conversation, and this space is yours for whatever you like.

Hyesu Wiedmann: Well, then, first of all thank you for having me today. And especially in the women’s history month, that I’m really, really honored to have a chance to speak for myself and for the projects that I have worked on, so it’s been really fun and a great honor, so thank you. And a message, what can I say? I mean, let me think. I wasn’t prepared for this. For a long time, I wanted to achieve success and make a lot of money, you know, be in the A list of my profession and stuff in my young age. As I’m getting older, I find myself just being more grateful for what I have, you know? This little career of mine that I’m very proud of and the family of mine that I couldn’t be happier with, and, you know, just the little house that we live in, these little things that I have, I find myself more grateful for what I have then trying to achieve what I don’t have. Maybe it’s the age.

Felipe Xavier: Wisdom.

Hyesu Wiedmann: Maybe, right? I’d like to think of it as wisdom that comes with age instead of trying to justify being settled. I think whatever we do, whatever the profession, is that everybody goes about the day doing, at the end of the day, it all comes down to be grateful for what we have. Because, in the end, I don’t know, especially these days with the incredible news about Russian and Ukraine, these little things that we should be grateful for and should help each other for, right? So, I just want to… I guess what I’m trying to say is trying to be a better person everyday than I was a day before. Hopefully, if I continue to work on this, at one point I’ll be a good person. As a member of the good world, maybe.

Felipe Xavier: That’s good, that’s a great message.

Hyesu Wiedmann: I’m sorry I (inint) [00:56:24] a lot, because I wasn’t prepared to answer this.

Felipe Xavier: Don’t worry, don’t worry. Ela falou que primeiro ela queria agradecer muito pelo convite, que ela se sentiu muito honrada de conversar com a gente, especialmente nesse mês que representa muito para as mulheres em geral no mundo. E aí ela ficou um pouco, ela falou: “Não estava preparada para responder”, mas ela falou que como uma mensagem, ela disse que talvez seja pela idade que você vai ficando mais velho, vai ficando levemente mais sábio, mas ela falou que aprendeu a dar valor às pequenas coisas que ela conquistou. Ela falou que sempre teve um sonho de estar no topo da carreira dela, de se destacar para caramba, mas que ela achou felicidade de verdade nas coisas pequenas, na família dela, na casinha que eles têm. Ela não é ultra mega famosa, até porque ela está bem no backstage, não muita gente conhece o nome, mas que ela está muito feliz por ter conquistado tudo o que ela conquistou. Ela até citou, ela falou que hoje a gente vê as notícias inundadas com tanta coisa ruim, agora a guerra na Rússia, e aí ela olha para o pequeno mundinho dela ali e ela tenta ser grata pelo que ela tem e pelas possibilidades que ela tem, e ela dá valor a essas pequenas coisas, e que a gente deveria fazer isso um pouquinho mais, tentar ser um pouquinho melhor todo dia, para que, quem sabe, no futuro a gente seja pessoas melhores em um mundo melhor.

Josisley de Souza: Muito bom. We didn’t speak before to brand out the best in you. Understand?

Hyesu Wiedmann: You brought the best out of me, is that what you said?

Felipe Xavier: O que que você quis dizer, Josis?

Josisley de Souza: Quis dizer para ela que a gente não falou antes para que extraíssemos esse sentimento real, o melhor dela.

Felipe Xavier: Yeah. He said that we didn’t say we were going to ask you before to bring this true feeling from deep down from you.

Hyesu Wiedmann: I wasn’t expecting that. You got me.

Felipe Xavier: Okay.

Josisley de Souza: Let’s go, vamos agora então para as dicas culturais. As dicas culturais é aquele momento que a gente dá uma dica aí de algum filme, de algum livro, um canal do YouTube, um sabor de pizza, não sei, vale qualquer coisa. Eu vou pedir para o Felipe explicar para ela, para ela ir pensando aqui no que ela pode indicar, e depois a gente deixa ela por último. Aproveita, fala para ela, Felipe, que isso eu mandei para eles no e-mail, essa dica cultural e a música que vai ter no final. Mas a música não conta, não, porque é para pegar desprevenida mesmo. Mas fala que foi no e-mail.

Felipe Xavier: So, we have one more moment before the ending, in which we indicate something for people to read, to watch, or to listen, so each one of us is going to say something, so Josisley is going to start, and then me, so you have time to think about. It can be anything: it can be a song, it can be an artist, it can be a movie, it can be a book you are reading, anything you would like to share, so we will indicate ours to give you time to think about, and he said that, in his defense, he sent that on the email that he sent.

Hyesu Wiedmann: Yeah, that I read, but my deep feelings, that was not in the email.

Felipe Xavier: Yeah, for sure. So, we are going to do our part first and give you time to think about and we will call you.

Hyesu Wiedmann: Okay.

Josisley de Souza: Okay. Vou começar aqui então, Felipe, e eu não poderia colocar aqui outra indicação que não fosse o Ataque dos Vermes Malditos de 1990 com o Kevin Bacon, esse filmaço de monstros gigantes que são verdadeiras marmotas. Cara, esse filme é muito bom, ele é muito bom. Vocês precisam assistir. Eu sei que ele tem os seus 30 e poucos anos já. Cara, tem na Netflix esse filme, então vocês têm que entrar lá, têm que assistir Tremors de 1999 com Kevin Bacon. Vai ter link aqui no post, valeu? Felipe Xavier, qual é a sua dica cultural?

Felipe Xavier: Cara, eu sempre esqueço quando eu vou gravar com você que tem esse momento, mas eu estou nessa maratona para o Oscar que está chegando, eu não sei se esse episódio vai sair antes do dia 27, mas, enfim, eu estou em uma maratona louca para tentar assistir todos os filmes do Oscar, porque eu também gravo podcast sobre, fazendo aposta e tal, e tem um filme, como a gente está falando de música, tem um filme no Oscar que ele chegou não sei como, porque ele não tem cara de Oscar assim, mas ele está concorrendo a melhor filme, que é o filme que em inglês chama Coda e em português ele chama No Ritmo do Coração, que é sobre uma menina que a família dela toda é surda, ela é a única que escuta e o sonho dela é fazer faculdade de música, ela canta e tal, e aí tem todo uma história sobre ela ajudar a família dela ou ir para a faculdade de música porque a família dela tem uma certa dependência dela ali. Então é meio que esse drama sobre isso, está disponível no Prime Video. É um filme muito emocionante. Tipo assim, ele é clichê, ele tem um monte de coisinha meio brega, sim, mas, cara, é muito emocionante o filme, eu gostei bastante. Ele está concorrendo, se eu não me engano, a três ou quatro prêmios, acho que é o melhor filme, um cara está concorrendo a melhor ator e eu acho que tem um terceiro que eu não lembro exatamente, mas ele está no Oscar bem representado e é um filme bem, bem legal. Então eu recomendo, Coda ou, em português, No Ritmo do Coração.

Josisley de Souza: Aí, para quem não é músico, Coda tem muito dobrado. Você toca em dobrado, volta no Coda, a gente não fala coda, aqui no Brasil a gente chama de coda, depois pula para a casinha a primeira vez, então essa é uma referência para quem não pegou o nome do filme. Muito bem. Misses Hyesu, what’s your indication?

Hyesu Wiedmann: Can I ask what you guys recommended first?

Felipe Xavier: Yes, sure. Eu vou traduzir para ela as coisas.

Josisley de Souza: Okay, okay.

Felipe Xavier: He recommended…

Hyesu Wiedmann: Tremors.

Felipe Xavier: …the movie Tremors. Yes, yes.

Josisley de Souza: Tremors.

Felipe Xavier: As it’s a movie, it’s not really new, so there is a lot of people that listen today that may not know the movie, so it’s important for them to see.

Hyesu Wiedmann: That’s okay.

Felipe Xavier: And the movie I recommended is the one is running for the Oscars, which is Coda, which I really enjoyed. I don’t know if you’ve watched it. It was really a touching movie and it’s a really beautiful film, and it talks about music, so it really works well with the podcast.

Hyesu Wiedmann: Right. So, for me? I’ve been thinking about this until I joined this talk. There are so many that I want to recommend, so I’m going to narrow down to two. For a book, I’m just going to tell you guys what I’m reading right now, it’s called Dedicated by Pete Davis, he analyses this current culture, this swipe culture, with short attention spam, you know, just like swipe, swipe, swipe, and he analyses it and he suggest which way we collectively as human race should move for. It’s an amazing book, I highly recommend everybody reads it. And another one I’d love to recommend is Minari. If there are people who haven’t still watched it…

Felipe Xavier: Beautiful film.

Hyesu Wiedmann: Yes, right? It features Youn Yuh-jung, she is the main character on our show, on our episode that I scored on John and Sonny.

Felipe Xavier: Really?

Hyesu Wiedmann: Oh, you didn’t know? Yes.

Felipe Xavier: No, no, I didn’t know.

Hyesu Wiedmann: She is the main voice. And (inint) [01:04:16]. Remember the original Matrix franchise? He was the (inint) [01:04:21].

Felipe Xavier: Yes, I remember him. Cool.

Hyesu Wiedmann: Yes, so those are two key characters on our episode, which I’m so proud to tell everybody.

Felipe Xavier: That’s so cool.

Hyesu Wiedmann: So, I will recommend Minari because it’s such a beautiful movie. Even if you are not a Korean immigrant, this is a story about a family. It’s so well done, so beautiful, so if there is anybody who haven’t watched it, I strongly recommend that movie.

Felipe Xavier: That’s awesome. Ela recomendou primeiro um livro que ela está lendo, eu não sei se existe esse livro em português, ele se chama Dedicated, que é Dedicado, de um autor que chama Pete Davis, que fala sobre déficit de atenção hoje, como a gente tem muita dificuldade em prestar atenção em coisa por muito tempo, a gente está o tempo inteiro passando no Instagram, está passando tudo muito rápido, então é uma análise sobre como a nossa mente funciona e como a gente pode melhorar esse consumo desenfreado que a gente faz com tudo, que isso vai desde rede social, até, sei lá, um áudio do WhatsApp que você coloca em 2.5 porque é muita loucura, não é? E aí ela recomendou o filme Minari que foi para o Oscar no ano passado também, e ela falou uma coisa que eu não sabia, que os dois personagens que estão no episódio que ela fez a música, quem faz a voz dos personagens é uma atriz que está no Minari, que eu imagino que, pela idade, seja a vovozinha do Minari, que ela foi indicada para o Oscar, e o personagem, provavelmente o marido, porque ela falou que é um casal, é um cara que eu não sei se vocês vão lembrar, mas no Matrix 2, ele faz o papel do chaveiro. É o mesmo ator. Então eles dois estão fazendo as vozes aí do episódio que ela sonorizou, que ela criou a trilha sonora aí do The Boys. Mas o filme que ela indicou foi o Minari, que, se eu não me engano, está disponível no Prime Video também, não tenho certeza.

Josisley de Souza: Eu não sei se é no Prime Video ou no Netflix, mas eu vi lá. Puts, foi muito bem falado esse filme, cara, muito bem falado. Muito bem, muito bom. Vamos agora, para finalizar, toca na pista. Muito bem, o toca na pista é aquele momento em que a nossa convidada vai escolher uma música para a gente ouvir aqui no final, mas tem que ser aquela música que quando toca, toca também lá no fundo do coração. E vamos lá. É assim, de supetão.

Felipe Xavier: Okay, so now, it’s the end, and I promise you. The last thing we do on the podcast is that we ask our guest to choose a song that really touches you. It has to be a song and it doesn’t have to be only Classical music, it can be any song, but it has to be a song that moves you, that has a deep meaning to you. So, let us know which one was that. This one is also a surprise. This podcast is full of surprises.

Hyesu Wiedmann: Yeah, no, I mean, you guys are good in the interviews, you know to get guests. Can I just choose the song that I wrote?

Felipe Xavier: Of course.

Hyesu Wiedmann: It has deep meaning to me because it’s the first song that I ever sold to a film.

Felipe Xavier: Oh, that’s good.

Hyesu Wiedmann: It’s called In Light of Darkness, it was featured in the movie called Alone, which may not be the title in Brazil. It’s got Donald Sutherland and Tyler Posey, and, yeah, it’s the first song that I ever sold to a film, so that’s personally like my baby.

Felipe Xavier: That’s good. It’s called… can you repeat the title? In the Light of Darkness?

Hyesu Wiedmann: In Light of Darkness.

Felipe Xavier: Okay. Então a música que ela indicou, ela perguntou se podia ser uma música dela, porque você falou que a música tem que ter significado. Ela disse que foi a primeira música que ela vendeu para um filme, foi a primeira música dela que ela considera o bebê dela, que é a primeira música que ela conseguiu, que é de um filme que se chama Alone e a música se chama In Light of Darkness.

Josisley de Souza: Muito bem. Bom, thank you.

Hyesu Wiedmann: Thank you.

Josisley de Souza: For talking to us. I assure you that it was a great honor for me. Uma grande honra para mim ter você aqui. Thank you very much. This podcast is a little bit of the podcasts in Brazil, and for me, is a great honor. Thank you.

Hyesu Wiedmann: Oh. No, it’s my great honor. Thank you for having me, really. It was, yeah, I had a great time, you guys really got to me. I hope I gave you some nice answers, I felt that I was so goofy at one point, but it was really fun. It was a great honor. Thank you for having me.

Felipe Xavier: Ela falou que é ela que agradece, e que ela até gaguejou muito em vários momentos, que ela não estava esperando algumas coisas, mas que ela ficou muito feliz e é uma grande honra para ela participar com a gente aqui também.

Josisley de Souza: Felipe Xavier, quem quiser escutar o Coffee X, dá aí suas redes sociais, onde que eu te acho.

Felipe Xavier: Então, eu estou lá no Coffee X, podcast que eu faço falando de cinema. Geralmente eu falo de cinema, livro e viagem. É bem específico, viagem agora de vez em quando só porque eu estou fazendo podcast de entrevista com gente que está viajando, porque eu, que é bom, não está dando para viajar. Mas eu faço muito mais sobre cinema. E eu, na verdade, eu quero falar de um outro projeto, Josis, que não é o Coffee X necessariamente, que eu acho que liga mais com o podcast aqui, porque como o que eu faço é intermediar esse inglês, eu tenho o canal com a minha esposa, que você pode procurar Paula e Felipe Xavier, tanto no Instagram quanto no YouTube, a gente dá dicas de inglês. Toda semana, a gente posta dois vídeos, e aí esses vídeos tem tanto dica, como exercício. Tem tudo, tem algumas aulas que a gente dá, mostrando coisas, tentando trazer mais contexto para o inglês e tal. E a gente está lá toda semana, então é claro que eu estou sempre à disposição quando vocês precisarem, mas a gente fica muito feliz quando a galera consegue, por exemplo, você, Josis, você consegue falar várias coisas para ela, e eu imagino que você consegue entender vários pedaços do que ela fala, principalmente porque o inglês dela foi bem claro, diferente de outros que a gente já entrevistou, que foram bem mais difíceis do que o dela.

Josisley de Souza: Sim, sim.

Felipe Xavier: Então é isso, procura a gente aí que a gente está tentando ajudar brasileiros cada vez mais a conseguirem falar esse outro idioma que abre tantas portas. A gente não estaria aqui se a gente não conseguisse falar em inglês, se comunicar falando com uma profissional como ela, então é isso.

Josisley de Souza: Pessoal, todos os links, redes sociais, canal do YouTube do Felipe, onde você escuta o podcast, vai ter tudo o link aqui no post. Só entrar no site, T-O-Q-U-E-2-.-C-O-M-.-B-R. Os links e redes sociais da Hyesu estarão também aqui, vai ter link. Ela tem lá um Instagram. Pouca gente segue ela, eu achei incrível, então aproveita, vai lá e dá essa força, curte as publicações dela, escreve: “Vim pelo Toque Dois”, e marca gente lá também, está bom? Ela tem um site oficial dela que eu vou colocar aqui, e é legal vocês entrarem para vocês verem o tanto de coisa que ela já fez, é incrível mesmo, incrível. Então é isso, pessoal, muito obrigado. Hyesu, thank you very much. E para ouvir esse e outros podcasts do Toque Dois, acesse W-W-W-.-T-O-Q-U-E-2-.-C-O-M-.-B-R, ou nos procure nas plataformas de música em streaming. Nós estamos em todas. Valeu, pessoal. Fiquem com o tema do filme Alone e até o próximo Toque Dois podcast, bandas e fanfarras. Valeu.

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Good morning Good afternoon Good night!

In this Podcast Josisley de Souza, and Felipe Xavier forPodcast CoffeeX, Conductor, Orchestrator and Composer Hyesu Wiedmann, native of Korea and naturalized American, chats with us directly from Los Angeles, about his biography, career and accomplishments.

Knowing Hyesu Wiedmann

After having played classical piano since she was little and throughout her youth, when she won numerous

She has over 80 credits from major studio films such as Warner Bros, Lionsgate, Disney, Sony, 20th Century Fox, as a composer, orchestrator and conductor. Some of her projects include “Night house” starring Rebecca Hall, “How I met your mother” (TV show) starring Neil Patrick Harris as orchestrator, “Three Hikers” (Documentary), “Turning Point” (BYU Document – Series), “Team Work” (web series), she also had her song on “Alone” starring Donald Sutherland and Tyler Posey, to name a few.

His published work ranges from orchestral music to pop, rock and EDM.

Share with your friend, refer and share on social media using a hashtag # Toque2

In the Rhythm of Life. In the Heartbeat!

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@toquedois

Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Dreams Can Come True / Hyesu Wiedmann

Toca na Pista: In Light of Darkness / Gemma Kyle & Frederik Wiedmann

Edição: Eduardo de Oliveira

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Colabora com PIX, esta é nossa chave: [email protected]

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#Hyesu Wiedmann

Site Oficial (Clique Aqui)

Instagram Oficial (Clique Aqui)

IMDB Oficial (Clique Aqui)

Filme: O Ataque dos Vermes Malditos / 1990  (Clique Aqui)

Filme: No Ritmo do Coração /  2021 (Clique Aqui)

Filme: Minari: Em Busca da Felicidade / 2020 (Clique Aqui)

Livro: Dedicated: The Case for Commitment in an Age of Infinite Browsing / Peter Davis (Clique Aqui)

#Josisley de Souza

#Fabiano André

#Felpe Sangali

#Wellington Castro

START

Opening vignette: Sonnet podcast. Music in words. A production of the site Toque 2 Bandas e Fanfarras.

Youtube audio: Dreams Can Come True by Gemma Hyesu Wiedmann

OPEN:

Josisley de Souza: Good morning, good afternoon, good evening. Welcome to another Toque Dois Podcast, bands and fanfares, in the rhythm of life, in the beat of the heart, directly from Ribeirão Pires, São Paulo. I’m Josisley and today, in this international podcast, my great friend, translator, multi-instrumentalist, triglot, singer, directly from Uberlândia, Minas Gerais, from the Coffee X podcast, look how much this dude, huh? Felipe Xavier, or Boris . Welcome, Philip.

Felipe Xavier: Hey, guys, how are you? Good to be back here. Josisley didn’t call me for a long time to record this here again. It’s a pleasure, pleasure, man, to be here again. The idea would be that my wife and I talked to her, but I talked to her and she got a little insecure. I’ll talk, let’s try to do it at another time, she participating and listening, and then she does it.

Josisley de Souza: It’s good.

Felipe Xavier: I would be honored too, it would be really cool.

Josisley de Souza: Very well. Guys, now things got small for me here, because our guest has more than 80 credits in studios like Warner, Lionsgate, Disney, Sony, Twentieth Century Fox as composer, orchestrator and conductor or conductor, directly from Los Angeles, United States, songwriter Hyesu. Welcome to Touch Two.

Hyesu Wiedmann: Hello. You made me sound like that, I felt like I had to come in with that, like, fixation like ok. Hi nice to meet you. I’m Hyesu Wiedmann, I’m a conductor, orchestrator and composer who works and lives in Los Angeles.

Felipe Xavier: She said as soon as you gave her such a grand introduction that she was kind of confused about how to introduce herself after that, but she is very happy to be participating here. She said that she is a conductor, songwriter and conductor, and she lives and works in Los Angeles. I said maestra, but I don’t even know if there’s that word in Portuguese.

Josisley de Souza: Yes, yes, that is correct. Maestra is also worth it. Guys, for you to have an idea, it’s five hours of time difference, so imagine how cool it was to organize this recording. And I’m clinking and we’ll know a little more about Heysu’s history right after our sound comma. Very well, this year Toque Dois is six years old; I said, if we close this women’s month on a high note, it would be really cool if we made films for conversations, because it’s very much in vogue lately, many songwriters have been doing this lately, including recently a songwriter who won an Oscar for best soundtrack. And we then contact Heysu and here we. For us to start this sonnet, we will ask her these basic questions, which is her full name, if that is her name, if it is her stage name, age, profession and nationality. You can’t see it, but she has oriental traits, so I was wondering if she is an American, where these oriental traits of hers come from. Philip.

Felipe Xavier: Okay, Hyesu. We always start our podcast with an intro about who we are interviewing, and we have standard questions so we ask for their full name, age, occupation and nationality because sometimes we interview people from all over the world so we want to know.

Hyesu Wiedmann: My God, do you ask the age of women?

Felipe Xavier: She said that we ask women how old they are.

Hyesu Wiedmann: I have nothing to hide. My full name is (Emma) [00:03:54] Hyesu Wiedmann, so I basically use my middle name for work. And I’m 41 years old, and my nationality is American, but I’m of Korean origin, as you can tell by my middle name, so I chose my middle name, which shows my heritage for work.

Felipe Xavier: She said that her full name is (Emma) [00:04:19] Hyesu Wiedmann, and then she said that she uses her second and third names to emphasize her heritage, because she is American, but she has Korean family . She lives in Los Angeles and the occupation is the three she talked about at the beginning: songwriter, conductor and conductor.

Josisley de Souza: Okay, here’s the obvious question: with this oriental tradition, music is something that seems to come from the soul of the Orient. So where did this inspiration for the music come from, where did this inspiration for the music start?

Felipe Xavier: We talk a lot about inspiration and where musicians are inspired. Where does yours come from? Is it family? Where is from? Do you have other musicians in your family?

Hyesu Wiedmann: Well, I’m married to another film composer, Friedrich Wiedmann, you may have heard his name from other sources. But in the family where I come from, there is no other musician. At the end of the day, as in terms of inspiration, I work with music for movies, so normally what I’m doing is helping the movie tell the story, so I get inspired by the story that I’m trying to help tell, you know? It could be the writing, the background, sometimes various design factors. That’s usually where I get my inspiration for the film’s music. But when I write, I also write songs and sometimes just for me too. And in these cases, it’s different, because it’s all mine. So, I think in these cases I try to draw inspiration from my past. I have a lot of stories to tell that I don’t necessarily want to talk about verbally.

Felipe Xavier: Cool.

Hyesu Wiedmann: I try to express that through the music I compose or the songs I write.

Felipe Xavier: How beautiful.

Hyesu Wiedmann: The film’s music is the project. They have a lot of inspiration.

Felipe Xavier: She said that she is married to another composer as well, but that there is no musician in her family, she is the first. And the inspiration, she said that, as she makes a lot of music for movies, she gets a lot of inspiration from the stories. So it could be in the script that was written, it could be in the background of a movie, in an image that she. So the inspiration in that sense for her comes from wanting to help tell the story, to compose along with the story that is being told or shown. She tries to do that with music. And also she makes songs that are hers, not just a song for a movie. And telling when she makes her songs, she tries other stories, only stories from her past, which she doesn’t necessarily want with stories; she translates that into music.

Josisley de Souza: I think I use the wrong word. In fact, I wanted to know where this taste for music started. When we talked about the family issue, I thought she was going to comment on whether it was a father, a mother, where she started studying her music, how she had this contact with music.

Felipe Xavier: Legal. From the family let’s go she already said no, so think about the contact. What was your first contact with music? When did you start this path of making music, of pursuing your art?

Hyesu Wiedmann: This might be a slightly corny story that you’ve heard many times. I was a classical pianist before switching my major to film music. So when I started in music, I was taking piano lessons at the age of four, and the teacher saw something in me, so she convinced my parents to give me a proper music education. So they decided that I would become a classical pianist, which I did for over a decade, until I found my passion in film.

Felipe Xavier: She said that the story is corny, you must have heard it several times, but she started taking classical piano lessons at the age of years. And then her teacher saw that she had something more and asked her parents to really invest in her career. And then they started investing in this plan to make her become a classical pianist. She took a lot of classes, she entered college and she was a classical pianist for ten years, until she switched to film music. It seems that there is something, anyway, which is movie music, movie music. maybe it’s a specialization.

Josisley de Souza: Well, she said that she has this connection with Korea. Has she ever been to Korea, does she experience this Korean culture in her life? And does she have inspirations from these ancestors, from this Korean culture that she brings with her?

Felipe Xavier: So, you are American, but I would like to know if you are inspired by your heritage, if you go back to your roots, if there is any connection?

Hyesu Wiedmann: Oh, sure. I think I was an outcast most of my childhood back in Korea. So, you know, I’m 100% Korean, even though I’m an American now and I live in the United States, I mean, I’ve lived in the United States longer than I have in Korea. But I feel like no matter how long I live here in America, I’m still, you know, culturally I’m deeply connected with Korea because that’s where I spent my childhood, you know, during which most of your people’s brains and everything else like that, you know, a set of patterns is formed. So yeah, I think even in the corners I don’t notice, I think I’m connected to Korea and Korean culture.

Felipe Xavier: She said that she was born and raised, spent her entire childhood in Korea. She said that today she lives much longer in the United States than she lived in Korea, but she said that unconsciously she is very influenced by culture and childhood by this heritage that came from her. She got down to the accessories of her culture. And she said that she is very influenced, including in the music she makes.

To justify what I want to ask you now, if you want to contextualize it, I interviewed a teacher who taught music to deaf people, so there is a nomenclature of names of musical notes and figures so that they can understand that this nomenclature is, obviously through sign language. When I teach music here at our church, I tell my students that music is universal, that if they first go to Japan, to Korea and sit there, they will be able to play with music, because it is universal. So I wanted to know if her musical teachings, started in Korea, were there any differences with what she didn’t find in the musical world in the United States.

Felipe Xavier: All right. So I’m going to explain to you something about the next question and then I’m going to ask the next question. He interviewed a music teacher for some time who taught music to the deaf. He taught through sign language, right? And Josisley said that when he teaches music, he says music is a universal language because you can play with anyone in the world; if you sit next to a musician, you will be able to play with him or her, so that leads to the question that I think you started studying music in Korea and then came to the US, right? Am I right?

Hyesu Wiedmann: Yes.

Felipe Xavier: Do you see any difference in the way music is taught and how music is made in the two countries?

Hyesu Wiedmann: I can’t say. I really don’t have anything to say on this subject, just because in Korea, I learned classical music, I was a classical pianist. So I would learn history and spend hours and hours practicing in a small room, you know, something you would expect from a regular classical artist. And so I came here and I started, this is where I studied film music and I studied writing, so those are two very, very different scenarios for me. It was very new, but not because they necessarily had a different teaching style, but I was in a completely different musical field. Sorry, I don’t think I can answer.

Felipe Xavier: It’s like classical and popular music.

Hyesu Wiedmann: Yeah, and the movie’s music spans so many genres, right?

Felipe Xavier: Yeah.

Hyesu Wiedmann: It’s like everyone else, so there’s a performer’s point of view, where I interpret what composers wrote as a performer, and here, while I was studying film music, I started to think like now writer, composer. So it’s a very, very different thing. I’m not sure how I could respond to that.

Felipe Xavier: She said it’s very different because she studied classical music in Korea, and she studied not only classical music, but he studied music history. She was studying to become a performer, so she would spend many hours in her room practicing, and when she went to the States, she was into a completely different area of music. So she said that it’s not even the way to teach, because maybe she doesn’t explain this difference because she doesn’t study classical music in the United States. She studied classical music in Korea and in the United States she studied like other areas of music, because classical film music encompasses almost everything. So she can’t, she even said, “I don’t know if I have two additional things in that sense, because they’re things, they’re two very different universes and I haven’t experienced the two to tell you if there’s a real difference.”

Josisley de Souza: Felipe, I’m going to get into the part of her career now. And then you are also free if you want to ask something. Since you’re more of a pop guy, maybe this part will be easier for you now. I wanted to get into this part of her career precisely, at what point to her how the transition took place were the first opportunities she had and put there; in 2000, the movie Chocolate was released, with Johnny Depp, and the soundtrack was by Rachel Portman. She is a unique songwriter that I knew at the time, because the internet was a little limited, ok? 20 years later there are many other songwriters. Was this market already open or really now how are women dominating this space of orchestrations, conducting and composing soundtracks? Understood? So how did you enter this world and this parameter from what it was 20 years ago to now, if it already existed or is really having this ascension.

Felipe Xavier: Ok, so first we would like to understand how you got into the world of cinema, cinematographic music. I have another question with this, but answer it first and then we’ll move on to the other one.

Josisley de Souza: All right.

Hyesu Wiedmann: Of course. So I was training as a classical pianist during my teens, and in my high school years, I developed, like elementary school through high school, I developed my love of film music. Even before that, you know, I didn’t even know things like music, you know? Orchestral music is like classical music, that’s how I thought when I was very little. But then, in high school, all these songs that I really love listening to were movie songs. So I said, “Okay, well, I didn’t even know there was such a thing.” I started listening to a lot of music radio which, by the way, was very scary because it wasn’t very popular, like in the early 1990s. So in my high school, I started looking for schools that teach music for movies. And at that time, as in the late 1990s, Berklee College of Music was the only college that offered a degree program in soundtrack. And my C did, but it was media music and I think it was like a graduate program. So all I could find was Berklee who provided undergraduates. I had to fight with my parents because they still wanted me to be a classical pianist; it took me some time, but they finally said, “Alright, you can switch”. So I went and started studying music for movies, and I was sure that’s what I wanted to do because it was so much fun. So when I graduated from Berklee, I came to LA and attended USC. They have the graduate scoring program, and so I never left. I stayed here.

Felipe Xavier: Cool. She said that she always liked music a lot, she knew from movies, but she didn’t have an area of people that produced soundtracks, because most of the soundtracks she listened to, she knew: “It’s classical music, there’s no other industry for it “. But when she found out that she really knew, she started to listen to the radio a lot, which wasn’t even popular at the time, but she said that the cinema and she learned to listen to music and she started to like it a lot. And she started studying a music education program, and Berklee University was unique in film music. She went to Berklee and after she went to Berklee, she went to USC which, if I’m not mistaken, is in Los Angeles, she said that’s where she is, and she said she never left. She started studying there at that time and has already entered the industry and never left.

Josisley de Souza: Cool.

Felipe Xavier: Now I’m going to bring up the other question you mentioned about the 20-year difference and such.

Josisley de Souza: All right.

Felipe Xavier: Josisley also said that 20 years ago, there was this movie called Chocolate with Johnny Depp, and the soundtrack composer is Rachel Portman, and he said that she was the only woman he knew because, let’s remember, that was 20 years ago, the internet in Brazil was still a little scarce, so it was not easy to find this information. The idea is that women have conquered their space in music now; have there always been women in this and there have been no opportunities, or is it now that you’re just taking your space now in music? It’s interesting, because last year, I think in 2019, the songwriter of Joker was a woman…

Hyesu Wiedmann: Yes.

Felipe Xavier: …and I think so, I’ve never seen a woman win an Oscar in soundtrack. I think it was the first time I started watching the Oscars that this happened. So what do you think about it?

Hyesu Wiedmann: Yes, Rachel Portman was definitely a better known songwriter, but even in a smaller number, there have always been women songwriters. And I felt like, you know, we’re finally getting recognition, you know? When Rachel Portman, I’m totally erasing the name… Shirley, let’s get this over with. There were always female songwriters who worked constantly, but we weren’t as well-known as male songwriters of the same caliber, I would say. And there’s more and more women in the spotlight now, I think it’s encouraging younger girls to be inspired not just by movie music, but, you know, watching movie musicians, movie composers like Shoulder, who won an Oscar. last year. Was it last year or two years ago?

Felipe Xavier: I think it was 2021, because the Joker was for 2019, so 2020 I think.

Hyesu Wiedmann: Okay. Yes.

Felipe Xavier: So the year before… it’s the pandemic, it’s all mixed up.

Hyesu Wiedmann: Right? It’s not just me, right? Oh, so yes. Glad to see the changes, but yeah, we’ve always been, you know, we’ve always been.

Felipe Xavier: It’s good that you’re taking up this space now, because we’re getting so much, so much good music right now.

Hyesu Wiedmann: Thank you.

Felipe Xavier: Rachel Portman said that she actually spoke of the great composers and that they were only recognized as a sea of men, she does not remember the name that she managed to remember, but she said that they were in fact always one there, another that now, with the recognition of other current composers, other women are having more courage to expose themselves, to run after and take these spaces that were usually dominated by men, especially now, when, as she said, the composer of Coringa who won the Oscar. Then she said: “We were always here. We just weren’t there, but we’ve been there forever”.

Hyesu Wiedmann: I remembered the name I deleted last year. Shirley Walker. She was like a pioneer as a songwriter.

Felipe Xavier: Did you say Shirley Walter?

Hyesu Wiedmann: Walker. WALKER.

Felipe Xavier: You cut yourself a little.

Hyesu Wiedmann: I think she was an amazing songwriter, a fierce songwriter. But, you know, of course, you guys aren’t familiar with her name, right? So while she deserves all the credit, I’m glad we’re getting recognition.

Felipe Xavier: Oh, I just Googled it, and there’s a lot here. Escape LA, you have a final destination.

Josisley de Souza: Premonition.

Felipe Xavier: Yeah, it’s a lot. There’s the Love Bug, from ’97.

Josisley de Souza: Batman.

Hyesu Wiedmann: Yes. Her orchestration is like something I can, she’s still studied. So good.

Felipe Xavier: he said that she remembered the name she forgot, which is Shirley Walker, that she was a pioneering woman songwriter. She did it in the 80’s and 90’s. She said that she is still successful, people study her in music college, film music.

Josisley de Souza: A comment here for us: she composed the score for Mask of the Phantom, one of the best anime, Batman cartoons out there.

Felipe Xavier: Yeah. I’ve seen this cover, I’ve seen this cover several times on streaming and I never watch this animation.

Josisley de Souza: Very good. There is a big doubt in the world of composition, which is the orchestrator. We already thought about this for Rosano Galante, then Felipe made a video saying: “I interviewed the guy from the Avengers”, and when you explained too, you messed up and you ended up generating a lot of doubts in me, and then I went listening to Rosano Galante’s podcast, it’s not clear what it is, so I think we can ask her what the orchestrator does, for God’s sake.

Felipe Xavier: Would the orchestrator translate as an orchestrator or as a conductor?

Josisley de Souza: Orchestrator, conductor is a conductor, conductor.

Felipe Xavier: Okay, okay. There’s an unanswered question in the world of musicians that we had an episode with Rosano Galante a few years ago, I think, he’s also a music composer, and we asked him what makes an orchestrator, because on the podcast, we asked, so I have my own channel. on YouTube where I explained this a while later, and I was still confused, and now we are all confused, we want to understand from you: what is an orchestrator, what does an orchestrator do?

Hyesu Wiedmann: What we do, what the orchestrators do is, for simplicity’s sake, when we get the composer’s file, you know, the music might be all written, but let’s say it’s still data. The orchestra cannot look and play. So we take the file and spread it out on music paper so musicians can read it and play it, which means writing down the notes, all the notes and all the dynamics and articulations and, you know, possible instruction, how to play certain things. And often, because they only use string patches, many string patches at the same time. And computer is not orchestra, balance is not the same as real orchestra. So as an orchestrator, you need to balance the sound as well. Like, for example, you hear high strings and equally high brass, and if you put the same dynamics on both, the brass will completely consume the string section, right? Something similar. Like, if it’s a solo, let’s say to understand it easier, it’s like a solo violin, there’s a brass solo, and if you hit it hard, then you’re going to eat the string, because it has a different volume, right? So we balanced the song so that it sounds as close to what the composer intended. We’re basically moving from digital form to analog form.

Felipe Xavier: Well, it became clearer to me. Let’s see if I can make this clear in Portuguese. She said that, to summarise, that when she receives the music from the composer, that is, the music itself, written, are data, they are only notes if such. The orchestrator who gives intensity, who best divides what is what at each moment. She gave an example, for example, of sometimes in the band there is a moment when there are strings and brass, which are the most serious instruments, is it bronze, Josis?

Josisley de Souza: Brass are brass instruments.

Felipe Xavier: Yes, the metals. And then string and brass, and then she said that if you have two at the same intensity, the brass will cover like strings, because obviously the sound is heavier, louder. So she, the orchestrator, is responsible for what she can say, arranging the second so that the music can come out of the digital so that it can talk, that’s the thing she said. In short, this is it. “We transform what is given into the dynamics of the music itself”.

Josisley de Souza: At this point, a question comes to me as we are talking about art. The screenwriter writes a story, which only the director, when he is going to film that, eventually moves there and not necessarily what is written is what is being filmed. The impression of what you see in the film is different. So it seems to me that what happens? The composer has a unique idea, but it won’t necessarily transform into some form. Then I would like to comment on her, if it is normal in this cinema environment, if there is not that thing: “Look, what is written here is how it has to be”, if it has to be approved by the composer. You understand what I mean don’t you? I want to understand if really not, this is just a job, what the orchestrator did is what’s worth, okay, I don’t care.

Felipe Xavier: Still trying to understand this idea. So, not everything the composer wrote is going to sound exactly as he wrote it, right? Because you’re going to have the orchestrator pulling those parts, giving those dynamics. And what happens? After the orchestrator, do you have to go back to the composer to see if everything went well? How does it work?

Hyesu Wiedmann: So what we’re trying to achieve is that the music is written as close as possible to what the composer intended. Yes, that’s my job, because when I get to the final, they usually send me an amplitude through the audio file or with the MIDI file. Then I would know what he wants, what they want to achieve. But sometimes mixing is so difficult that what they want to achieve is a little different than what they can give me at the moment, because, say, they’re on a time crunch or something, and then the song isn’t fully mixed. the way he wants his cue to sound. But they give me a brief explanation or as a reference tip to achieve. So I just have to use my imagination to do what I have to do to sound the way he wants. And we usually find out in the recording session. There was not a single time that the composer was 100% unhappy, an occasion like this. I mean, I’m not saying I’m that good, but it’s basically the job description for orchestrators.

Felipe Xavier: Yes, it’s your job. So it’s our job to make the songwriter happy to make it sound like he wrote it, right?

Hyesu Wiedmann: Yes. I mean, they are my customers, so I have to make them happy.

Felipe Xavier: She said that what she wanted, Josis, is basically the work trying to sound as close to the actual composer. She said that there was never a time when the composer came to her and said: “Wow, it’s horrible, it’s bad”, because sometimes he will also send the music, sometimes he will send the audio with the MIDI track , he sends a lot of information to her that comes closest to what he wants. What happens sometimes is because of time. Sometimes the composer himself is being squeezed because of the time he has to deliver and sometimes he doesn’t give as much information as he should give her, so sometimes, in that sense, he has to go back and forth more often than The normal. But she said: “I’m not trying to sound arrogant, no, but that’s because that’s my job. So my job is to make the music sound as close as you want it to, and we only really find that out in the recording sessions”.

Josisley de Souza: Okay, cool. She has film work, she has animation work, and she has documentary work. A very cool documentary that she worked on, as a composer, was Turning Point for Netflix. The United States is a country that has all this, so I would like to know if it makes any difference to these different forms of cinema and, I think there would be two questions, if it came to do a soundtrack for this series, Turning Point, for this documentary, in this case.

Felipe Xavier: Okay, so you write music for films, for animated films and for documentaries, right? You recently made a movie, a documentary called Turning Point, right? By Netflix.

Felipe Xavier: Isn’t it your project?

Hyesu Wiedmann: No. Mine is called Turning Point, but not the Netflix one. Mine is from a cable channel called Brigham Young University Channel, BYU Channel.

Josisley de Souza: Wasn’t it hers?

Felipe Xavier: Okay, let me explain this to him. She said the documentary is called Turning Point, but it’s not the one on Netflix.

Josisley de Souza: Oh, all right. The editor will cut that part, sorry, sorry.

Hyesu Wiedmann: No, no. It’s been a few years since I stopped working, I mean, they stopped making that documentary Turning Points, which was a great story. It’s about how those who do good things change other people’s lives. It was very well done. When I first saw it, as I turned on Netflix a few months ago and then saw Turning Points, I was like, “Wait, what?” Because it had the same title, but I read the description: “Oh my God, it’s not mine”. You and I were confused.

Felipe Xavier: Are there no rights to the title for this? OK.

Josisley de Souza: She said that it’s ok to confuse, because even she confused; because she did Turning Point a few years ago and she explained about the Turning Point she did. She said it’s about how people who do good deeds impact other people’s lives. And then she said that when she saw Turning Point on Netflix, she was like, “Wait, wait here?”. Then she read the synopsis, she said: “No, no. That’s not mine”.

Josisley de Souza: It’s not mine. OK. Well, anyway, I would like her to talk about the differences, if any, between animation, documentary and movies, if there is any difference, and for series.

Felipe Xavier: Is there any difference when you’re writing for an animated film, or a documentary, or a series, or a live-action? What are the differences between each project?

Hyesu Wiedmann: Oh, I think it completely depends on the story they want to tell and the style in which each project is done. I think personally I feel like there’s a lot more freedom in animation, because the limit of creativity is so vast, given that they’re not limited by anything, so it can go anywhere. So I think music can also go anywhere, just, you know, following the story. But other than that, I think it depends on the project, like the sonic palette of the creators, the producers want for the project.

Felipe Xavier: And do you have any favorites to write about?

Josisley de Souza: Dangerous question.

Felipe Xavier: That was my question, it wasn’t Josisley’s, just out of curiosity.

Josisley de Souza: I loved it.

Hyesu Wiedmann: I like hybrid, I like hybrid between conventional orchestral sound and electronic synthesizer. I think those two give me a lot more freedom to write the way I want to, or yes. I like hybrid the best. Junkie XL, he’s my hero.

Felipe Xavier: Junkie XL?

Hyesu Wiedmann: Yes.

Felipe Xavier: I like him a lot.

Hyesu Wiedmann: I mean, there’s nothing he can’t do.

Felipe Xavier: Yeah. So, the question before, I almost missed it here, the question that was asked before was about the difference, and then she said that there is a difference that didn’t happen with each format, but the story of the story. She spoke, she heard a word I never had. I’m already talking about cores, not music, she goes like this: “It depends a lot on the palette of sounds that the director, basically, wants to print in each of the projects”, but which, again, does not depend on what format is produced. It depends on the story to be told. And then I if any of these is her favorite, which one is her favorite. And she got that her favorite is when she does hybrid things between classical music and others that are separate, she mentioned Junkie XL, who is a guy, I don’t even know if he’s a guy, if he’s a group, but I I imagine it’s a face. He did the score for Dead Pool, where he mixes such a sonorous thing with things, so he mixes a classic thing with electronica, with rap; he does a lot of things. If I’m not mistaken, he did the Batman v Superman score with Hans Zimmer too, there are some collaborations there between the two, mixing the two styles. So she said that Junkie L can do things, that the X guy can do everything and get a result.

Josisley de Souza: I’ll try, I’ll try to say something to relax – it’s relaxation, okay? I don’t know how it is, how do you say relaxation?

Felipe Xavier: Man, the word relaxation… gives me a context.

Josisley de Souza: To relax, let’s go. To unwind.

Felipe Xavier: To relax.

Josisley de Souza: Hyesu, I like the Tremors saga. You composed the Tremors Five, Blood Lines.

Hyesu Wiedmann: I orchestrated it.

Josisley de Souza: Orchestrated, ok. In Brazil, the name of this film is the best. I’ll give you the title in Portuguese and translate it into English.

Hyesu Wiedmann: Yes.

Josisley de Souza: Attack of the Cursed Worms Five: Bloodlines. Attack of the Cursed Worms Five: Bloodlines.

Hyesu Wiedmann: Well, I’m glad you liked it.

Josisley de Souza: Cursed Worms. Are you right, Philip?

Felipe Xavier: I think it’s “Cursed Worms”. Yes, I don’t know if you know this, but the movies are translated; not translated exactly, they put it in a way that makes sense in each country, right?

Hyesu Wiedmann: Yes, yes.

Felipe Xavier: So, in Portuguese, maybe the word “Tremors” didn’t attract much attention, so in Portuguese they called The Attack of the Cursed Worms. Which makes sense, because we have that in the movie.

Hyesu Wiedmann: Yes.

Felipe Xavier: But that’s not the original name, it’s just Tremors.

Hyesu Wiedmann: No, but I like Cursed, it’s more direct than Tremors. Because you start to wonder, you wonder what it means.

Felipe Xavier: There are spoilers, right? in the title.

Hyesu Wiedmann: Yes, yes. There’s a spoiler there.

Felipe Xavier: Spoilers, spoilers. This is very common in the 80s here in Brazil. All the movies, they had the names and you already knew what you were going to find just based on the name, yeah. There was no mystery.

Hyesu Wiedmann: That’s terrible, that’s terrible. Like, do they want the audience to come to the theater to watch it or what?

Felipe Xavier: Yeah. I don’t know, people didn’t have as much trouble with spoilers now in the ’80s.

Hyesu Wiedmann: Yes, I’m well aware of how a movie title translates into so many different phrases when it goes international. I mean, if I could, I heard it from my Korean friend, but do you remember the movie The Day After Tomorrow?

Felipe Xavier: Yes, it’s the Day After Tomorrow she’s talking about, Josis.

Josisley de Souza: Uhm.

Hyesu Wiedmann: When they came out, it was distributed to Korea too, and the people who were in charge, they thought The Day After Tomorrow wouldn’t sound too urgent for Korea, because they’re always on the move, they’re always on the move, so in Korea it’s translated Tomorrow, because it’s not urgent enough if it’s The Day After Tomorrow.

Felipe Xavier: So it’s just tomorrow?

Hyesu Wiedmann: It’s just tomorrow. Yes, but they will accept. They didn’t accept it urgently enough, so they threw The Day After in the trash and just made Tomorrow.

Felipe Xavier: she said so that she knows that these translations exist and such, that the films change their names to make sense for different cultures, and she says that a Korean friend of hers tells her that the film The Day After Tomorrow, which in English is the same thing, this title was translated literally, she said that this expression for a Korean would not sound urgently enough as the film wants it to be. And then it was just translated as Tomorrow, because tomorrow could be any day, so tomorrow, so the movie there just calls Tomorrow, tomorrow.

Josisley de Souza: Fantastic. Now, we needed to say a little that she, at this moment, she will not make mistakes, as I think I will not make mistakes, as a series that was very successful here in Brazil, all the composers wait here for the next season, but there will be a spin-off in animation, in drawing as we say here, which is The Boys, and she was invited to score a specific episode. I wanted to see she can talk a little about what the invitation was, how was this creation of the score and why this episode, and, of course, if she can talk. And, please, don’t give spoilers, because really this series in Brazil, I guarantee it, was very successful. The crowd is out of hype for the next season.

Felipe Xavier: Yeah, so now we’d like to address your newest project, which I believe you were working on as a composer, the soundtrack to – it’s a specific episode of The Boys Presents Diabolical, right?

Hyesu Wiedmann: Right. So they did eight episodes, and I scored one of eight called John and Sonny.

Felipe Xavier: Okay, that’s cool. She eight said yes, that she is a songwriter, she did the soundtrack for one, and that the series will have episodes. Okay, so we’d like to know a little bit if you can talk about it. Of course, if you don’t have permission, that’s fine, but just so you know, The Boys was a big hit in Brazil, the first two seasons were like everywhere else, everyone watched it, everyone talked about it, everyone is very excited for this animated series, so we’d like to know a little bit about that. How did you manage to do this? How did the invitation come about?

Hyesu Wiedmann: So the person who brought me onto the team was Giancarlo Volpe, who was the executive director of this project. Like, he watched all eight episodes. Basically, they wrote it and then hired a Korean-American director and decided to put a Korean cultural twist on the episode. So naturally they wanted a songwriter who understood Korean culture and, you know, heritages and stuff, that’s when I was brought in. I think the story also relates to your earlier question about, you know, when you asked me if I still have the Korean root in me that expresses itself through music, so this is where I could do that. The funny story was when Giancarlo told me a very brief synopsis of the episode, there are two… does it come out tomorrow in Brazil?

Felipe Xavier: I believe so.

Hyesu Wiedmann: I see.

Felipe Xavier: Yes, I just entered the site here, and yes, March 4th is worldwide.

Hyesu Wiedmann: Great. It’s about a couple, right? A couple of Korean immigrants. So Giancarlo told me the synopsis and the first thing I thought was, “I wonder if Arirang is available as a public domain for us to use”, and Arirang is a folk song in Korea that everyone knows, from kids to 89 years old. one year olds, everyone knows Arirang. So the song itself has a very, very deep Korean root, so I thought the existence of the song itself, the story of the song itself, and the lyrics of the song would be perfect to help the story of John and Sonny, and when I mentioned this to the producers at our first meeting, one of the producers said, “That’s exactly what Steve said, our director. Steve said the same thing about whether we could use Arirang.” So, you know, that’s when I think it’s our Korean root, the cultural root really works on the same page, I think, right?

Felipe Xavier: Is the folk music you said Arirang?

Hyesu Wiedmann: Arirang, it’s ARIRANG.

Felipe Xavier: Yes, let me translate part of it so as not to confuse everything. It is tomorrow if tomorrow in Brazil, and I think that it is also here, it is tomorrow all over the world, it leaves at the same time. So, yes producers, she was called by one of the executives, who goes by the name of Giancarlo Volpe. He was looking for some composers who had this series of citizenship, what a Korean heritage, because he wanted to bring that touch to it. The soundtrack she did is for an episode called John and Sonny. I couldn’t see which episode it is, if you have it there, Josis, I don’t know if there’s still the list of strangers, but it’s about a couple of Americans and Koreans, who have this double heritage that she said, that it’s the double heritage, and she said that it connects with that question that we asked her at the beginning, if she still has this connection with her Korean heritage. And she said that here was a really good opportunity for her to be able to use that, for her to be able to go back to those Korean roots of hers and at that moment specifically. And she said it worked very well. One of the directors even talked about a song called Arirang, which is a Korean folk song, that everyone doesn’t know, if you can use it, if it had any copyright quirks, and it seems that it was easy to use, so she used this Korea music and a few other aspects of Korean culture to compose the score for this episode.

Josisley de Souza: The series premiered today in Brazil, as we are recording this podcast. Our listeners know that we record the month of March, this recording is being on March 3 and today, is the premiere date, at least here in Brazil, the episode is number seven.

Felipe Xavier: It’s interesting because Josisley just told me, I didn’t know because I think I didn’t get into Prime Video today, but it’s already being released in Brazil. Yes.

Hyesu Wiedmann: Really?

Felipe Xavier: Yes, we do. Now, I’m looking forward to seeing it, but it’s episode number seven, right? So it’s already available here in Brazil. I don’t know if it’s all the episodes, because the last few Amazon releases were like two episodes and then they came out weekly, but it’s already here.

Hyesu Wiedmann: Oh, okay.

Felipe Xavier: At least the first episode is already here.

Hyesu Wiedmann: Cool. I’m sure it’s all there, because, you know, it’s a short film. So all eight of them will be, I don’t know, an hour and a half show. It’s so cool that it’s already out. Go watch, everyone.

Felipe Xavier: Yes. As soon as we’re done with this.

Hyesu Wiedmann: Yes. And tell me what you think.

Felipe Xavier: Of course. And she said that she’s super happy that it premiered and that she didn’t know it was premiered today, but that she’s happy. And she told us to watch it and tell her what we thought.

Josisley de Souza: You can. I already have her here on Instagram, then I’ll go there and leave her a message about what I found. Very good. Well, guys, obviously, we don’t get that much time, and I might even be able to get the whole list she’s already made, movie by movie, but unfortunately that’s not possible. So I’m going to try to ask her a question here, Felipe, but some women don’t want to answer, so you tell her that she can be at ease, she doesn’t want to, but the question I’m asking is: what is it to be a woman for her? Even more, she who has Korean descent, lives in the United States, has a totally different culture here from ours. If she wants and can talk a little about it.

Felipe Xavier: So, there’s a question, a deeper and more philosophical question that Josisley just asked. He just told me that not every woman wants to answer that, so feel free to not answer if you don’t, but the question is what is it like to be a woman, especially a woman with Korean-American heritage? What does being a woman mean to you?

Hyesu Wiedmann: For me?

Felipe Xavier: Yes, for you. This is a profound question.

Hyesu Wiedmann: It’s a profound question. I don’t think I can answer, not because… it’s me.

Josisley de Souza: It’s difficult.

Felipe Xavier: Yeah. Feel free to.

Hyesu Wiedmann: No, I want to answer, because I’m sure if I look deeper inside myself, maybe there’s a phrase to describe what it’s like to be a Korean American woman, that’s your question, right?

Felipe Xavier: Yes, yes.

Hyesu Wiedmann: I’d like to say… what can I say? I like being a Korean American woman. Sorry, I don’t know what to say.

Felipe Xavier: All right. She said it is very difficult. She said that if she stopped and thought a lot, looked inside, she said: “I think I’m sure I can come up with a sentence that will achieve this, but now I don’t know if I do much”. She just said: “I like being this woman who has dual citizenship.” The word is not citizenship, I am using it because I am not finding the word for heritage, but this double heritage of culture.

Hyesu Wiedmann: I feel like I don’t have an answer because that’s all I knew as a Korean-American and as a woman. Because I’ve never been a man or from another culture, so that’s all I am, you know, and all I know, so I feel like that’s why I can’t really answer that question. I’m so sorry.

Felipe Xavier: Alright, that’s great. She said that she finds it difficult to answer because that’s what she knows, that’s all she knows how to be, is a woman who is Korean and American. She cannot speak for another person, as a man or as an American alone, or as a Korean. She can only speak for the whole of who she is, and, as she said, she enjoys being so.

Josisley de Souza: Legal. As is usual at the end here, then you, please, tell her that we are already moving towards the end, I always open the space for the guest to use a free word. She can thank you, send you a hug, collect a debt from someone who didn’t return a utensil there, a neighbor who didn’t return a utensil, can ask to return it. Anyway, the space is hers, she can use it as she wants.

Felipe Xavier: So, we are reaching the end. At the end of each episode, we like to open a space where you can send a message, say wherever you want about the profession, about the experience. Just say something to close. This was a great conversation, and this space is yours for whatever you want.

Hyesu Wiedmann: Well then, first of all, thank you for having me today. And especially in Women’s History Month, which I’m really, really honored to have the chance to speak for myself and the projects I’ve worked on, so it was really fun and a huge honor, so thank you. And a message, what can I say? I mean, let me think. I wasn’t prepared for this. For a long time, I wanted to achieve success and make a lot of money, you know, be on the A list of my profession and stuff at my young age. As I get older, I find myself more grateful for what I have, you know? This little career of mine that I’m really proud of and my family that I couldn’t be happier with, and, you know, just the little house we live in, these little things that I have, I find myself more grateful for what I have than trying to achieve what I don’t have. Maybe it’s age.

Felipe Xavier: Wisdom.

Hyesu Wiedmann: Maybe, right? I’d like to think of it as the wisdom that comes with age, rather than trying to justify settlement. I think everything we do, whatever the profession, is everybody spends their day doing it, at the end of the day it comes down to being grateful for what we have. Because in the end, I don’t know, especially these days with the incredible news about Russia and Ukraine, these little things that we should be grateful for and should help each other out, right? So I just want to… I guess what I’m trying to say is try to be a better person every day than I was the day before. Hopefully, if I keep working on it, at some point I’ll be a good person. As a member of the good world, perhaps.

Felipe Xavier: That’s good, it’s a great message.

Hyesu Wiedmann: I’m (inint) [00:56:24] very sorry, because I wasn’t prepared to answer that.

Felipe Xavier: Don’t worry, don’t worry. She said that first she wanted to thank you very much for the invitation, that she felt very honored to talk to us, especially in this month that represents a lot for women in general in the world. And there it was a little bit, she said: “Not prepared for her, she was old, she was like a beautiful message”, she said that maybe it’s the best age that you’ll get more, you’ll get smarter, but she said she got smarter to appreciate the little things it offers. She said that she always had a dream of being at the top of her career, of standing out like hell, but that she found real happiness in the little things, in her family, in the little house they have. She is not famous, she is because she is well behind the scenes, not a lot of people the name, but that she very happy to conquer all that she knows have known. She mentioned, she said that small today we see the news flooded with so many bad things, now the war in Russia, and then she looks at her little world there and she tries to be grateful for what she has and for the possibilities she has, and she appreciates these little things, and that we should do this a little more, try to be a little better every day, so that, who knows, in the future we will be better in a better world.

Josisley de Souza: Very good. We don’t speak before to bring out the best in you. Understand?

Hyesu Wiedmann: You got the best of me, is that what you said?

Felipe Xavier: What did you mean, Josis?

Josisley de Souza: I wanted to tell her that we didn’t talk beforehand so that we could extract this real feeling, the best of her.

Felipe Xavier: Yeah. He said we didn’t say we were going to ask you before to bring that true feeling from deep within you.

Hyesu Wiedmann: I didn’t expect that. You got me.

Felipe Xavier: All right.

Josisley de Souza: Come on, let’s go now to the cultural tips. Cultural tips is that moment when we give a tip about a movie, a book, a YouTube channel, a taste of pizza, I don’t know, anything goes. I’m going to ask Felipe to explain it to her, so she can think about what she can indicate, and then we’ll leave her for last. Take advantage, tell her, Felipe, that I sent this to them in the email, this cultural tip and the music that will have at the end. But the music doesn’t count, no, because it’s meant to catch you off guard. But it says it was without email.

Felipe Xavier: So we have one more moment before the end where we indicate something for people to read, watch or listen to, then each of us will say something, then Josisley will start, and then I will, so you have time to think. It could be anything: it could be a song, it could be an artist, it could be a movie, it could be a book you’re reading, anything you want to share, so we’ll nominate ours to give you time to think about, and he said that in his defense he sent this in the email he sent.

Hyesu Wiedmann: Yes, I read that, but my deep feelings weren’t in the email.

Felipe Xavier: Yes, for sure. So let’s do our part first and give you time to think and we’ll call you.

Hyesu Wiedmann: Okay.

Josisley de Souza: All right. I’m going to start here then, Felipe, and I couldn’t put any other indication here that wasn’t Attack of the Cursed Worms in 1990 with Kevin Bacon, this film of giant monsters that are real marmots. Man, this movie is really good, it’s really good. You need to watch. I know he’s in his mid-30s already. Dude, this movie is on Netflix, so you have to go in there, you have to watch 1999 Tremors with Kevin Bacon. There will be a link here in the post, thanks? Felipe Xavier, what’s your cultural tip?

Felipe Xavier: Man, I don’t forget when I’m going to record with you that you have this moment, but I’m in this marathon for the Oscars that’s coming, I don’t know if this episode will come out before the 27th, but, anyway, I’m in a crazy marathon to try to watch all the Oscar movies, because I also record a podcast about, placing bets and such, and there’s a movie, as we’re talking about music, there’s a movie at the Oscars that it arrived I don’t know how , because he doesn’t look like an Oscar like that, but he’s making the best movie, which is the movie that in English is called Code and in English it’s called No Rhythm of the Heart, which is about a girl that her whole family is deaf, she’s the only one who listens and her dream is to go to music college, she sings and stuff, and then there’s a whole story about her helping her family or going to music college because her family has a certain dependence on her there . So it’s kind of this drama about it, it’s available on Prime Video. It’s a very moving film. Like, he’s cliché, he has a lot of cheesy little things, yes, but, man, the movie is very moving, I really liked it. He’s running, if I’m not mistaken, for three or four awards, I think he’s running for best actor and I think there’s a third one that I don’t remember exactly, but he’s at the Oscars well recognized and it’s a movie well, cool. So I recommend, Coda or, in English, No Rhythm of the Heart.

Josisley de Souza: So, for those who are not musicians, Coda has a lot of folds. You play double, go back to Coda, we don’t say coda, here in Brazil we call it coda, then jump to the house for the first time, so this is a reference for those who didn’t get the name of the film. Very good. Miss Hyesu, what’s your nomination?

Hyesu Wiedmann: May I ask what you guys recommended first?

Felipe Xavier: Yes, of course. I’ll translate things for her.

Josisley de Souza: Okay, okay.

Felipe Xavier: He recommended…

Hyesu Wiedmann: Tremors.

Felipe Xavier: …the movie Tremors. Yes Yes.

Josisley de Souza: Tremors.

Felipe Xavier: As it is a film, it is not very new, so there are many people who hear it today who may not know the film, so it is important that they see it.

Hyesu Wiedmann: All right.

Felipe Xavier: And the film I recommended is the one that is running for an Oscar, which is Coda, which I really liked. I don’t know if you watched. It was a really touching movie and it’s a really beautiful movie, and it talks about music, so it really works well with the podcast.

Hyesu Wiedmann: Right. So for me? I’ve been thinking about this until I joined this talk. There are so many I want to recommend, so I’ll narrow it down to two. For a book, I’m going to tell you what I’m reading right now, it’s called Dedicated by Pete Davis, it looks at this current culture, this culture of swipe, with short attention spam, you know, just like swipe, swipe, swipe, and he analyzes and suggests which way we collectively as a human race should go. It’s an amazing book, I recommend everyone to read it. And another one I would love to recommend is Minari. If there are people who haven’t watched it yet…

Felipe Xavier: Nice movie.

Hyesu Wiedmann: Yeah, right? It introduces Youn Yuh-jung, she is the main character of our show, in our episode that I scored in John and Sonny.

Felipe Xavier: Really?

Hyesu Wiedmann: Oh, you didn’t know? Yes.

Felipe Xavier: No, no, I didn’t know.

Hyesu Wiedmann: She is the main voice. And (inint) [01:04:16]. Remember the original Matrix franchise? He was the (inint) [01:04:21].

Felipe Xavier: Yes, I remember him. Cold.

Hyesu Wiedmann: Yeah, so those are two key characters in our episode that I’m really proud to tell everyone.

Felipe Xavier: How cool.

Hyesu Wiedmann: So I’m going to recommend Minari because it’s a very beautiful film. Even if you are not a Korean immigrant, this is a story about a family. It’s so well done, so beautiful, so if there’s anyone who hasn’t seen it, I highly recommend this movie.

Felipe Xavier: This is incredible. She first recommended a book that she is reading, I don’t know if this book exists in Portuguese, it’s called Dedicated, which is Dedicated, by an author called Pete Davis, who talks about attention deficit today, as we have a lot of difficulty paying attention to something for a long time, we are all the time going through Instagram, it’s transmitting everything very fast, so it’s an analysis of how our mind works, how can we improve this rampant consumption that we have with everything, that this goes from the social network, to, I don’t know, a WhatsApp audio that you put in 2.5 because it’s crazy, isn’t it? And then she recommended the movie Minari that went to the Oscars last year too, and she said something I didn’t know, that the two characters that are in the episode where she did the music, who does the voice of the characters is an actress who is in Minari, who I imagine, given her age, is Minari’s granny, who was nominated for an Oscar, and the character, probably her husband, because she said they’re a couple, is a face that I don’t know if You’ll remember, but in The Matrix 2, he plays the role of the key fob. It’s the same actor. So they’re both doing the voices for the episode that she sounded, that she created the soundtrack there for The Boys. But the movie she indicated was Minari, which, if I’m not mistaken, is available on Prime Video too, I’m not sure.

Josisley de Souza: I don’t know if it’s on Prime Video or Netflix, but I saw it there. Gosh, this movie was very well said, man, very well said. Very good, very good. Let’s now, to finish, touch the track. Very well, playing on the dance floor is that moment when our guest will choose a song for us to listen to here at the end, but there is that song that when it plays, it also plays deep in our hearts. And let’s go. That’s how it is, by the way.

Felipe Xavier: Okay, so now it’s the end, and I promise you. The last thing we do on the podcast is ask our guest to pick a song that really touches you. It has to be a song and it doesn’t have to be just classical music, it can be any song, but it has to be a song that moves you, that has a deep meaning for you. So let us know which one it was. This one is also a surprise. This podcast is full of surprises.

Hyesu Wiedmann: Yeah, no, I mean, you guys are good at interviews, you know how to get guests. Can I choose the song I wrote?

Felipe Xavier: Of course.

Hyesu Wiedmann: It has a deep meaning for me because it’s the first song I’ve ever sold for a movie.

Felipe Xavier: Oh, good.

Hyesu Wiedmann: It’s called In Light of Darkness, it was featured in the movie Alone, which may not be the title in Brazil. There’s Donald Sutherland and Tyler Posey, and yes, it’s the first song I’ve ever sold for a movie, so personally it’s like my baby.

Felipe Xavier: That’s good. It’s called… can you repeat the title? In the Light of Darkness?

Hyesu Wiedmann: In the Light of Darkness.

Felipe Xavier: All right. So the song that she indicated, she asked herself if it could be her song, because you said that the song has to have meaning. She said it was the first song she ever sold for a movie, it was her first song that she considers her baby, which is the first song she got, which is from a movie called Alone and the song is called In Light of darkness.

Josisley de Souza: Very well. Well, thank you.

Hyesu Wiedmann: Thank you.

Josisley de Souza: For talking to us. I assure you it was a great honor for me. A great honor for me to have you here. Thank you very much. This podcast is a little bit of Brazil’s podcasts, and for me, it’s a great honor. Thanks.

Hyesu Wiedmann: Ah. No, it’s my great honor. Thank you for having me, really. It was, yes, I had a lot of fun, you guys really got me. Hope I gave you some nice answers, I felt like I was so goofy at one point but it was so much fun. It was a great honor. Thanks for receiving me.

Felipe Xavier: She said some things that she is grateful for, and that she even stuttered a lot at various times, which she was not expecting, but that she was very happy and it is a great honor for her to participate with us here too.

Josisley de Souza: Felipe Xavier, whoever wants to listen to Coffee X, give me social networks, wherever I can find you.

Felipe Xavier: So, I’m there on Coffee X, a podcast that I do talking about cinema. usually I talk about movies, books and travel. It’s very specific, traveling now from time to time just because I’m doing an interview podcast with people who are traveling, because I, who is good, can’t travel. But I do a lot more about cinema. And I, actually, I want to talk about another project, Josis, which is not Coffee X necessarily, which I think connects the podcast more truly here, because as what I do is to intermediate this English, I have a channel with my wife, that you can look for Paula and Felipe Xavier, both on Instagram and YouTube, we give you English tips. Every week, we post two videos, and then these videos have both tips and exercises. There are, there are, there are some classes we give, things, that try to bring more context to English and such. And we’re there this week, so of course I’m always available when you need it, but we’re happy when people are able to, for example, you, Josis, you can talk a lot about many things to her, and I imagine a lot. that you can understand several parts of what she says, mainly because English is different from others that were already clearer to her.

Josisley de Souza: Yes, yes.

Felipe Xavier: So that’s it, look for language, we’re trying to help Brazilians more and more to be able to speak this other that opens so many doors. We don’t talk to her talking, here if we couldn’t speak in English, if we talk to a professional like then that’s it.

Josisley de Souza: Guys, all the links, social networks, Felipe’s YouTube channel, where you listen to the podcast, you will have everything the link here in the post. Just enter the site, TOUCH-2-.-COM-.-BR. Hyesu’s links and social networks will also be here, they will have a link. She has an Instagram there. Few people follow her, I’m amazing, so enjoy, go there and give that strength, like her publications, write: “I came for Toque Dois”, and tag people there, okay? She has an official website of hers that I’ll put here, and it’s cool for you to come in so you can see how much she’s done, it’s really amazing, amazing. So that’s it folks, thank you very much. Hyesu, thank you very much. And to listen to this and other podcasts from Toque Dois, visit WWW-.-TOQUE-2-.-COM-.-BR, or look for us on streaming music platforms. We are in all. Thanks guys. Stick with the movie Alone theme and until the next Toque Dois podcast, bands and fanfares. It cost.

THE END

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Bom dia, boa tarde, boa noite!

Neste Podcast Josisley de Souza, e recebe a Maestrina e Musicoterapeuta Carmen Pontes, atua como clarinetista na Banda Sinfônica do Recife, formada em Biologia, Fonoaudióloga e Musicoterapeuta com foco em crianças com deficiência, esta Mulher Maravilha do mundo real, ainda acha tempo para coordenar um projeto de Orquestra de Frevo Feminina.

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Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Festa do Interior / Kyoto Tachibana SHS Band

Toca na Pista: Como é Grande o Meu Amor Por Você / Roberto Carlos

Edição: Eduardo de Oliveira

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Bom dia, boa tarde, boa noite!

Neste Podcast Josisley de Souza convida Percussionista e Compositor Anderson Matos, para juntos  batermos um papo  com a Professora e Percussionista Eliana Sulpicio, onde falamos de carreira, formação e especializações do percussionista.

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Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Drumbone / Blue Man Group

Toca na Pista: 7th Symphony, Mov 2 / Beethoven

Edição: Eduardo de Oliveira

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Série: Inventando Anna / 2022  (Clique Aqui)

Série: Ozark – 4º temporada /  2017 – 2022 (Clique Aqui)

Livro: Uma Breve História da Humanidade / Yuval Noah Harari (Clique Aqui)

Livro: Homo Deus: Uma breve história do amanhã / Yuval Noah Harari (Clique Aqui)

Livro: 21 lições para o século 21/ Yuval Noah Harari (Clique Aqui)

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Neste Podcast Josisley de Souza e Fabiano André, convidam o Trompetista Naber de Mesquita para justos batermos um papo  com a Violinista e Maestrina Cristã Karen Crippa. Falamos sobre formação musical, carreira e o projeto de Coral e Orquestra ABDA.

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Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Primeira Essência / Coral e Orquestra Abda

Toca na Pista: Ensina-me Amar  – Coral e Orquestra Abda

Edição: Eduardo de Oliveira

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Anime: Zillion / 1987 (Clique Aqui)

Desenho: Clarêncio, O Otimista / 2013 – 2018 (Clique Aqui)

Filme: O Violino do Meu Pai / 2022 (Clique Aqui)

Disco: Fábio Brum – Nine Trumpets and One Piano (Clique Aqui)

Filme: Ressurreição / 2016 (Clique Aqui)

Livro: Musica e igreja / Alex Lopes (Clique Aqui)

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Bom dia, boa tarde, boa noite!

Neste podcast, Josisley de Souza se reúnem com Célia Bitencourt (Maestrina da Fanfarra de Caieiras), Mônica Giardini (Maestrina da Banda Jovem do Estado de São Paulo) e Mariana Farias (Coreógrafa da FAMA), para mais um podcast especial do mês das mulheres e comemorativo pelos 6 anos de “Toque2 Podcast”.

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Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Virgula Sonora: Débora Meneses

Abertura: Lucky Chops / Danza

Toca na Pista 1: Danzón No. 2 / Arturo Márquez

Toca na Pista 2: The Last To Defend / David Shaffer

Toca na Pista 3: Vera Cruz / Orquestra Jazz Sinfônica

Edição: Eduardo de Oliveira

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Série: O Senhor dos Anéis: Os Anéis de Poder (Clique Aqui)

Série: O Conto da Aia / 2017 (Clique Aqui)

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Livro: Teaching Music Through Performance in Band (Clique Aqui)

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Bom dia, boa tarde, boa noite!

Neste Podcast Josisley de Souza recebe a Pianista e Maestrina Priscila Bomfim. Nossa convidada nasceu e iniciou seus estudos musicais em Portugal, onde venceu seu primeiro concurso, de piano, aos nove anos de idade. Na Universidade Federal do Rio de Janeiro, graduou-se em Piano com o título máximo suma cum laude, em Regência Orquestral, e concluiu o seu Mestrado em Performance em Piano com um relevante trabalho sobre Leitura à Primeira Vista ao Piano. Em 2021 Priscila teve na agenda concertos com a Orquestra Petrobrás Sinfônica, Orquestra Sinfônica Brasileira, Orquestra Sinfônica de Porto Alegre e a Academia de Ópera do Theatro São Pedro em São Paulo, além de concertos no Theatro Municipal do Rio de Janeiro, Sala Cecília Meireles e o Concerto de Reabertura do Teatro Copacabana Palace.

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Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Piano Concerto No 1 / Tchaikovsky

Toca na Pista: Jessye Norman  / Morgen by Richard Strauss

Edição: Eduardo de Oliveira

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Livro: O Coração do Artista: Construindo o Caráter do Artista Cristão / Rory Noland (Clique Aqui)

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Neste Podcast Josisley de Souza e Felipe Sangali recebem o Trombonista, Maestro Arranjador e Everson Salazar. Cristão, o professor se vê em uma situação difícil, recomeçar uma orquestra evangélica do zero, com crianças da comunidade. Desta intercorrência surge a necessidade de criar uma metodologia de ensino musical para crianças e adolescentes. Neste programa conhecemos um pouco desta metodologia e o material utilizado pelo professor, além de um bate-papo sobre o ensino musical infantil.

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Arte da Vitrine: Josisley de Souza

Virgula Sonora: Débora Meneses

Abertura: Funky Brass / Otto M. Schwarz

Toca na Pista: Carmen – Prélude / Georges Bizet

Edição: Eduardo de Oliveira

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Bom dia, boa tarde, boa noite!

Neste Podcast Josisley de Souza recebe o host do canal Papo de Músico Alex Pereira, para juntos baterem um papo com o Mor e Coreógrafo Ademir Ruiz, onde conhecemos um pouco de sua trajetória na Fanfarra de Caieiras, na Lyra de Mauá e como jurado.

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@toquedois

Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Dois Corações / Pedro Salgado

Toca na Pista: Canção da Infantaria / Thiers Cardoso e Hildo Rangel

Edição: Eduardo de Oliveira

Colabore com nossa campanha no Apoia.se

Colabora com PIX, esta é nossa chave: [email protected]

Curta nossa página #Toque2 Podcast no Facebook

Ouça pelo Spotify (Gratuitamente)

#Ademir Ruiz

#Alex Pereira

Canal Papo de Musico (Clique Aqui)

Filme: Pacificador / 2022 (Clique Aqui)

Filme: King Richard: Criando Campeãs /2021 (Clique Aqui)

Filme: Cisne Negro / 2010 (Clique Aqui)

#Josisley de Souza

#Fabiano André

#Felpe Sangali

#Wellington Castro

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Bom dia, boa tarde, boa noite!

Neste Podcast Josisley de Souza e Felipe Sangali recebem o Maestro e Professor Marcelo Bonvenuto, conhecido por seu trabalho com a Banda Marcial do Colégio Progresso de Guarulhos/SP, batemos um papo onde conhecemos muito mais de sua carreira além do Progresso, sua história com o Colégio Consolata e a ligação musical familiar.

Compartilhe com seu amigo, indique e compartilhe nas redes sociais usando uma hashtag # Toque2

No Ritmo da Vida. Na Batida do Coração!

Equipe Toque2

@toquedois

Vinheta: Josisley de Souza

Arte da Vitrine: Josisley de Souza

Vírgula Sonora: Débora Meneses

Abertura: Stadium Energizer / Banda Marcial Colégio Progresso

Toca na Pista: Retratos do Tempo / Banda Marcial Colégio Progresso

Edição: Eduardo de Oliveira

Colabore com nossa campanha no Apoia.se

Colabora com PIX, esta é nossa chave: [email protected]

Curta nossa página #Toque2 Podcast no Facebook

Ouça pelo Spotify (Gratuitamente)

#Marcelo Bonvenuto

Canal do Maestro Marcelo Bonvenuto (Clique Aqui)

CD Banda Marcial Colégio Progresso (Clique Aqui)

#Soneto42: Fabio Bonvenuto (Clique Aqui)

Site: Chess.com (Clique Aqui)

Site: Khan Academy (Clique Aqui)

Documentário: Nara Leão / 2022 (Clique Aqui)

Filme: Pig – A Vingança / 2021 (Clique Aqui)

#Josisley de Souza

#Fabiano André

#Felpe Sangali

#Wellington Castro

Instagram

Facebook

Spotify

E-mail