Born in 1959, KIM Suk-won has played from the mid-1990s a pivotal role in the innovation of audio post production in contemporary Korean films. Having graduated in civil engineering, he began his sound career as a recording engineer in the music business before co-founding in 1991 the recording studio Lead Sound. After more than 10 years working across the music and commercials industry, he founded his own company Bluecap in 1995, as a result of his fortuitous meeting with Jo...More

Born in 1959, KIM Suk-won has played from the mid-1990s a pivotal role in the innovation of audio post production in contemporary Korean films. Having graduated in civil engineering, he began his sound career as a recording engineer in the music business before co-founding in 1991 the recording studio Lead Sound. After more than 10 years working across the music and commercials industry, he founded his own company Bluecap in 1995, as a result of his fortuitous meeting with John Morris, the Hollywood sound supervisor of the Luc Besson’s <Leon: The Professional>. Starting with <Millions in My Account> (1995), for which he served as a sound supervisor, KIM has worked on many films. His breakthrough film was KANG Je-kyu’s <Swiri> (1999), which was acclaimed for its innovative sound design of gun shots and explosion sounds. KIM has also drawn a lot of attention for his longtime collaboration with PARK Chan-wook, having displayed creative sound design in <Joint Security Area> (2000) and most of his following films, including <The Handmaiden> (2016). KIM often worked with Myung Film, on movies such as <Contact> (1997) and <Cart> (2014), and also with KANG Je-kyu on his blockbuster action films. <TaeGukGi: Brotherhood Of War> (2004) notably gave KIM the opportunity to step into the Chinese market, as he was later invited to work on Xiaogang FENG’s <Assembly> (2007) and <Aftershock> (2010). KIM has always emphasized the expression of psychological variations over technological performances in film sound design. However, he has also been running within his company a research center for immersive audio technologies to prepare for future changes in film sound design. He won the Grand Bell Award for Best Sound Design three years in a row (<Swiri>, <Phantom The Submarine>, <Joint Security Area/JSA>) and was bestowed Best Sound by the Korean Association of Film Producers for <The Man From Nowhere> (2010).Less