I definitely agree. On the outset, this seems like an Asian version of Do the Right Thing, but when you watch it you realize no, it’s tackles multiple themes- some universal, some specific to the Asian American community. It’s a unique movie that’s gained recognition, as supported by the critical reviews.
Yeah, and when you watch the film, you can definitely see the influences on it. The cool thing about it is it also brings to mind the idea of intersectionality. You know, a lot of those films that influenced it came from the black or Latino communities. It’s cool to see the similarities in the struggles that a lot of minority groups face. It’s kind of like “We’re all going through the same stuff.” [laughs]
It’s nice to see a movie like this compared to just 30 years ago where you had Menace II Society and even Do the Right Thing pit minority groups against each other. Obviously there are conflicts in the movie, but it’s also about, as you said, that intersectionality.
You mentioned the music style for this film, and I read in your site that you’re someone who loves both orchestral and synth music. I know you’ve done a lot of music programming in your career, but when you have a chance to bring in an orchestral part, as you did with Gook, what difference did you find that made for you as a composer when writing the music? Did you know beforehand?
You know, I did have an idea that Gook, especially, was going to be a mish-mash of more traditional elements and electronic stuff. So with Gook, and with this current film Ms. Purple, I started with more traditional music as the emotional core, and then added the other stuff as sprinkling and icing on top.
I always spend a lot of time at the piano so that I make sure we get that old-fashioned music, those chords, those melodies, working on the piano. And then everything else, hopefully, if I’ve done my job right, will fall into place.
I think it definitely shows in the movie where the movie does its part. It doesn’t feel distracting, but an undercurrent of the narrative.
Thank you.
No, you nailed it. Now you mentioned Ms. Purple- is there anything you can share about the project?
I’m not sure when it will be released to the general public, but it will premiere at this upcoming Sundance, and we’re all super excited about it. Justin also directed this film and it’s a little different than Gook in a lot of ways. It’s a much more intimate story. It’s the story of an estranged brother and sister during the last days of their father’s life. It’s an exercise in, at least for the music, putting limitations around your storytelling and what you can reach for. As a result, I think it has a much more intimate sense than Gook did.
That’s intriguing to hear, especially since Gook felt very personal to Mr. Chon, so to learn that he has an even more intimate project coming along is interesting!
Yeah, that’s what I thought too. Justin and I were kind of joking and saying “Gook was the more mainstream blockbuster one, and this is the actual indie one.” [laughs] If you can believe that.
[laughs] The avante-garde one.
Right, right, exactly.
I’m glad that you have all these independent filmmakers making a big stand in this market. We had Eight Grade last year with Bo Burnham and Boots Riley’s Sorry to Bother You. Now, I know you did a lot of additional composing on Daredevil, specifically with the second and third seasons. What was it like working on the show?
Like I was saying before, I was super lucky to work with John Paesano, who was the composer on Daredevil.
He’s amazing.
The show holds its own against any movie out there. It’s just a wonderful piece of storytelling, from the script to the acting to everything. I was really lucky to be a part of that. From a music standpoint, we took our time in crafting all of the cues and all of the themes and making sure that it was as good as we could make it. It seems that the audience was digging the show, every season.
No absolutely. I literally remember when the first season was about to come out, everyone was unsure, and then it was a cultural phenomenon. Marvel and Netflix hit it out of the park, and the subsequent seasons only added to the acclaim. Your musical additions to Mr. Paesano’s were amazing.
Thanks.
No worries. Now, my last question is something I love to ask every composer I speak to, and that’s what are three pieces of music that have had the greatest influence on you as a composer- they can be a band album, movie score, or anything.
I’ll give you three. One, I would say, for sure, Stravinsky’s The Rite of Spring. I’m sure everyone says that, but it’s one of my personal favorites. In college, I even thought of getting a tattoo of it on my back, but I’m glad I didn’t now that I’m older [laughs].
Another influence of mine, believe it or not, growing up I loved classic rock. Guns N’ Roses is one of my favorite bands- I was even in a Guns N’ Roses cover band in high school.
Oh wow.
Yeah, there was something about their music, and they definitely come from a tradition of Led Zeppelin and Queen and all of these rock opera sort of bands. So that influenced me.
And then, on the film music side, of course I love John Williams, but I really love pretty much anything Alberto Iglesias does. He’s just phenomenal, and he’s got so many cool different styles for each of his projects.
All amazing composers for sure. Of course you, Mr. Suen, are great as well. You more than hold up to those influences and I believe you’re going to have a huge career. Thank you so much for speaking with me sir.
Thank you, thank you, and I look forward to our next chat.
Hopefully! [laughs]
[laughs] Well, take care.
Flickering Myth would like to thank Mr. Suen for chatting with us. Gook is available on DVD and Blu-ray now while Ms. Purple premiered at the 2019 Sundance Film Festival.
Special thanks to Stephanie Pfingsten of Impact 24 PR for making this interview possible!
Red Stewart
Originally published February 18, 2019. Updated February 17, 2019.
