Chapter 56: The Best Movie Music

As expected, Corigliano allowed Geon to accompany him.

Though he didn't impose a condition to choose a minor, as Sharon suggested, Geon gladly accepted, whether dreaming of a future with composition or aiming to aid Geon's growth was unclear. Smiling, Corigliano accepted willingly.

At the 'John F. Kennedy International Airport,' after a long flight from 'Frankfurt am Main International Airport' in Germany, Corigliano and Geon, in a taxi, observed Germany's unique architecture outside the taxi window, as Sharon mentioned.

After Geon had been gazing out the window for a while, he asked, "But Professor, there's something I don't quite understand."

Corigliano, also looking out the window, turned his head to answer, "Yes, tell me, Kay."

Geon briefly searched on his smartphone and then showed the screen as he asked, "I understand that director Tim Burton is famous for reusing actors he has previously worked with. Does the same apply to the music director as well?"

Corigliano nodded, "That's right, his most famous actor was Johnny Depp."

Geon nodded too and pointed to a part of the smartphone screen, "Here it says Tim Burton worked on almost all movies' music with his initial music director, Danny Elfman, from 'Pee-wee's Big Adventure.' But why did they choose Hans Zimmer for this movie?"

Stroking his stubbled chin, Corigliano replied, "Well, there are two reasons, Kay. Firstly, this movie remasters his previous work without additional filming but restores it using HD technology. The only change possible is in the music and sound effects, so choosing the same director wouldn't show much difference from the previous film."

Seeing Geon's understanding, Corigliano continued, "The second reason is the issue between Danny Elfman and Tim Burton. Rumors suggest consecutive box office failures like 'Dark Shadows' and 'Frankenweenie' created a rift between them."

As Geon nodded in comprehension and looked at his smartphone, he asked, "So, Professor, what makes great movie music?"

With a smile, Corigliano looked intently at Geon and said, "What O.S.T. stands out in your memory?"

After a moment of thought, Geon replied, "I mostly recall Disney's music. 'A Whole New World' from Aladdin or 'Beauty and the Beast' from Beauty and the Beast come to mind first."

With a gesture, Corigliano said, "Can you sing it?"

Geon nodded, and Corigliano chuckled, "Then who's the best music director you know?"

Geon answered without hesitation, "Of course, it's Hans Zimmer, whom we're meeting now."

With a quizzical eyebrow, Corigliano asked, "Can you sing something from his work?"

Geon hesitated, appearing lost in thought, then shook his head, "I can't recall. Why can't I remember the music created by the best music director?"

Corigliano burst into laughter, clapping, "Haha, right? That's what makes the best music, Kay."

As Geon looked puzzled, Corigliano pointed with a finger, "The best movie music isn't remembered as 'the music of the movie' but 'the scene where the music played in the background.' It's what every filmmaker desires."

As Geon contemplated this, Corigliano added, "Being unable to hum a tune from Hans Zimmer, referred to as the best music director, is a crucial point, Kay. But the scenes from the movies he scored are probably ingrained in your memory. Especially those beautiful scenes accompanied by his music."

Geon slowly nodded, "Professor, you're right. It makes sense. I've come to understand why Hans Zimmer is considered the best music director. But earlier, you mentioned that the film we're working on is a remaster of a Tim Burton movie. What movie is it?"

Corigliano raised two fingers to make a 'V' sign, "It's 'Edward Scissorhands,' Kay."

Geon exclaimed in surprise, "Edward Scissorhands? The movie with Johnny Depp and Winona Ryder?"

Looking slightly surprised, Corigliano asked, "You know it too? It's a movie from a long time ago."

Geon nodded confidently, "Yes, it was re-released in 2014! My younger sister begged me to watch it together. I was deeply moved. Wow, they're remastering it again?"

With a smile, Corigliano nodded, "Yes, it was released in 1991. The 2014 release wasn't a remaster but a digitalization of the film stock. The film's official title was 'Edward Scissorhands,' but it got simplified as 'Scissorhands' as it spread overseas."

Geon, excitedly, couldn't hide his enthusiasm, "So, I might get to witness the creation of the music for that famous movie?"

Corigliano, picking up a small bag beside him, remarked, "Whether you'll just observe or participate, we'll find out during the process. Well, it looks like we've arrived. Let's get off."

Looking out the window, Geon saw an imposing, large mansion. They stepped out of the taxi, picked up their bags, and stood before the grand German-style mansion, pressing the doorbell.

*"Beep~"*

Is there anything else I can help you with?

After a while, the sound of the CCTV turning on above the doorbell was heard, and without a word, the door opened. Pushing through the black iron door, a wide grassy field resembling a soccer field spread out. The mansion, a three-story building, exuded an ancient castle-like vibe with its distinct German 'Romanesque style.' From a distance, it gave off the vibe of the Bamberg Cathedral.

Walking along the path through the grassy field, Hans Zimmer, standing in front of the house, became visible. Hans approached Corigliano with a welcoming smile, extending his hand. Corigliano, setting down his carrier, embraced Hans and spoke.

"Hans! How long has it been, haha."

Hans, locking eyes with Corigliano while embracing, replied, "Indeed, Professor. Feels like over ten years."

Corigliano chuckled while glancing around the house. "Living in such a grand mansion, you've truly succeeded, haven't you?"

Hans chuckled heartily and gestured towards the door. "Haha, indeed I have. Come on in."

As Corigliano lifted his carrier, he met eyes with someone named Gun and introduced him. "Oh, this is Gun, a student from Juilliard. He'll be helping us with our work this time."

Hans extended his hand to Gun with a smiling face. "Nice to meet you. I'm Hans Zimmer."

Gun courteously straightened up and shook hands. "It's an honor, Director. I'm Gun from Juilliard."

Hans, noticing Gun's curious gaze, chuckled. "Seems more like an actor than a student, quite a handsome lad, isn't he?"

As Gun, now more at ease, smirked, Hans burst into a big laugh. "Haha, seems like a common compliment. Well then, let's go inside."

Upon entering the door, Gun looked around and noticed the high, spacious ceiling and the marble-floored interior. It took about three minutes to move to the parlor within the grand mansion, which was unusually quiet. Hans, noticing Gun marveling at the surroundings, grinned proudly and spoke.

"Here we are. Say hello to the team now that everyone's here."

Wide-eyed, Gun asked, "Wait? Director Tim Burton is also here?"

Hans nodded, smiling. "Of course, for this film where music changes are the focus, the director naturally needs to be present."

As Gun nervously adjusted his attire, a disheveled man emerged from inside. "Oh, Professor Corigliano, nice to meet you. I'm Tim Burton."

Corigliano smiled, extending his hand, but Tim Burton hesitated and awkwardly chuckled, retracting his hand into his pocket. Witnessing this, Hans softly said, "He's a bit quirky, understand him. He's not much into handshakes."

Corigliano nodded understandingly, and Hans ushered them into the parlor. There was a fireplace on the wall of the parlor, with dry logs crackling away inside. The long sofa surrounded a central table, and Tim Burton had already settled in comfortably.

Tim Burton gestured, saying, "Please, have a seat. It's not my house, though, haha."

Hans chuckled, taking a seat. "Sure, make yourself at home. Matilda!"

Upon Hans' call, a German lady in her fifties approached. "Matilda, could you bring us some coffee?"

Matilda nodded and disappeared into the kitchen. Corigliano asked, "Oh, you have staff here?"

Hans smiled nonchalantly. "Three of them. One gardener and two ladies who handle cleaning and cooking."

Impressed, Corigliano whistled, and Hans, with a smile, turned to Tim Burton. "Tim, now that the team's assembled, any thoughts as the director on the direction of our work?"

Tim Burton, watching the logs burn in the fireplace, waved his hand. "Do as you wish. I'm here to confirm the final outcome."

Hans, anticipating that response, raised some documents on the table. "That's what I expected. Well, Professor, as you know, the film we're working on is 'Scissors Hands,' released in 1991. Except for the sound effects, we need a total of eight pieces of music. Should we divide and work on four each?"

Corigliano, scanning through the documents handed by Hans, nodded in agreement. "Hmm, that sounds reasonable. You should take the lead on the main theme, and I'll probably focus on the mid-section of the movie."

Tim Burton interjected, "Why not try all eight on your own? Just pick the best ones."

Hans shrugged, and Corigliano suggested, "Do we really need to create unnecessary competition? Dividing the work might be faster, don't you think?"

With a bored expression, Tim Burton said, "It's not fun, is it? This way, it's both enjoyable and increases the chance of finding good music."

After glancing around at the trio seated on his left, Tim Burton spoke up, "You're Kei, right? Why don't you give it a try too?"

Geon Kim sat quietly in one of the workshops in Hans's basement.

Hans' workspace consisted of a larger area that seemed to be the main workshop, with three smaller attached spaces. According to Hans, initially, he worked in the smaller workshops, but as the need for larger space grew, he expanded. However, he couldn't bear to dismantle the studios where he created precious music, so he expanded alongside them, resulting in the current interconnected workshops.

Geon stared blankly at the workstation PC in front of him, recalling the conversation from a while ago.

It was Corigliano who was surprised by Tim Burton's bombshell statement.

"What? Director, Kay is still a student. She's here for an observation, not to work. Asking her to create suddenly? It's too much pressure for a student with no experience. Please reconsider."

There was a mischievous expression on Tim Burton's face.

"Hehe, didn't I say it would be interesting, Professor?"

Looking surprised, Tim Burton spoke to Geon.

"Anyway, she came for an observation, right? Then why come all the way to Germany for a mere errand? If she's a music student, wouldn't she aspire to such opportunities?"

With a slight movement from his seat, Tim Burton put his hand on Geon's thigh.

"Give it a try. If it doesn't work out, so be it. You might get lucky and have one piece selected, and then your name will be on the credits. A student wouldn't have a better career opportunity, right?"

Hans intervened, removing Tim Burton's hand from Geon.

"Hey, Tim. You're showing odd habits again. Kay isn't your entertainment."

Tim Burton shrugged.

"If you don't like it, forget it. If it were me, I'd dive right in."

Geon quickly stepped up.

"I'll... I'll try."

Corigliano looked at Geon with surprise.

"You'll try? Are you serious, Kay?"

Geon nodded slightly, unable to hide a hint of tension.

"Yes, Professor. Just attempting it as a challenge will be enough."

After a moment of contemplation, Corigliano looked at Hans. Hans, with his arms crossed, glanced at Geon, then met eyes with Corigliano and smiled, nodding. Seeing this, Corigliano turned to Geon.

"Alright, it might turn into a good experience. Give it a shot."

As Tim Burton expressed excitement, saying, "Oh! Decision made, then!" Corigliano, with a peculiar expression, asked about the director's plans.

"But, what about you, Director? You might need to give instructions in between."

Tim Burton, sitting back on the sofa, responded.

"I'll just move between rooms. Now, let's establish some rules."

Geon leaned forward, asking about the rules.

"Rules?"

Tim Burton took out a pen and notebook, scribbling something. Hans and Corigliano waited silently until Tim Burton finished and, with a satisfied smile, tore a piece of paper and placed it on the table.

"Ta-da! These are the rules for this project."

Hans and Corigliano leaned in to read the paper on the table.

1. The project duration is 7 days.

2. Each of the three prepares 8 songs.

3. It's not necessary to complete 8 songs, but at least one per person.

4. Tim Burton will conduct a midday check once a day.

5. Meals and sleep will be separate.

6. Reunion after 7 days at 8 PM.

7. Whoever gets a song selected will be credited.

8. Tim Burton will pay $100,000 per song.

9. Even if one quits, they can't leave their room for 7 days.

Geon was slightly surprised.

"$100,000 per song? Isn't that too much?"

Tim Burton grinned oddly at Geon's reaction.

"Kay, you might not know, but others find this modest."

Geon glanced between Corigliano and Hans, then nodded in understanding, prompting Tim Burton to say again.

"Kay, even if your music gets selected, you'll get the same payment. So, give it your best shot."

**

As a result, Geon found himself seated in the smallest studio space. He glanced around the room, approximately five square meters in size. Through the glass window, a separate independent space was visible, designated as a recording studio, occupying about three square meters and equipped with guitars, bass, drums, and keyboards.

Within the studio, there were three working PCs, six monitors, an amp controller, and a synthesizer, all arranged on a large desk in a 'ㄷ' shape. Geon sat in the center, with a chair placed behind him. Two doors were behind him—one leading outside, the other toward the bedroom, which contained only a bed and a shower-equipped bathroom.

Placing his luggage in the bedroom, Geon switched on the working PC. A video file titled 'Scissorhands,' the movie he was currently working on, appeared on the blue Windows screen. Clicking the video file with his mouse, a grand sound emanated from the multi-sound bar connected to the PC as the movie began.

Engrossed in the movie, Geon attentively marked moments in the film where music would be incorporated, using a pen. Although he had documents specifying where the music should fit, its mood, and the total runtime, he believed watching the film alongside was most effective.

While concentrating on the movie, Geon pondered, "The first scene portrays Pac, a cosmetics salesman, coincidentally bringing Edward from the suburbs to the town. A haunting yet dreamy BGM sets the mood for 2 minutes and 12 seconds."

"Originally, Edward, the protagonist, was a 'vegetable cutting machine' created by a peculiar scientist. After several modifications, resembling a human, he ends up living alone when the scientist ages and dies."

In a daze, Geon found himself observing a scene where Johnny Depp, once adored by Winona Ryder, escapes villagers trying to kill him and, turning ice into sculptures, returns to his original hometown, Goseong.

"Oh no! I got so caught up in the movie that I missed the music!"

Geon rewound the movie to the beginning and played it again. Suddenly, a creaking sound interrupted without a knock—the door opened.

"Hey, Kay! Everything going well?" It was Tim Burton, entering without warning. Geon swiftly paused the movie and responded, "Ah, Director. I was still trying to grasp the essence of the film."

As Tim stood behind, placing a spare chair beside Geon and sitting down, he peered at the paused screen. "So? Getting any clues?"

Geon, with a pen in his mouth, replied, "Not yet. Your movie is so well-made that, unknowingly, I got completely immersed in it. That's why I'm planning to watch it all over again."

Despite Tim's likely pleasure at the praise for his movie, he remained expressionless, resting his arms on the table. "Oh, really? So, you've watched the movie. What kind of vibe did you get?"

Geon took a moment to organize his thoughts. "It feels like a whimsically eerie start blending into a poignant end, narrating the tragic love story of Edward, who yearned to become human."

Lying down with just his head turned, Tim curiously asked, "Hmm... so, as the director, what do you think I wanted to convey through this movie?"

Geon pondered briefly but ultimately shook his head. "I'm not sure yet. Maybe a dreamlike story that doesn't belong in the human world?"

With his face buried between his crossed arms, Tim got up, saying to Geon, "Hmm, I see." He headed towards the door but turned back before leaving. "Sometimes, I write the answers to my thoughts about the movie on the movie posters."

Geon wanted to ask something about the movie posters, but Tim had already closed the door and left.

"Movie posters?" Geon thought.

He minimized the video on his PC and searched for 'Scissorhands.' Choosing the image category, he clicked on the movie poster, revealing Johnny Depp's side profile, his hand fashioned into scissors, set against the backdrop of snow-covered towns of Naeulmaeul and Goseong.

Under the prominent title 'Scissorhands,' smaller text caught Geon's eye: 'The man unable to touch love, Scissorhands.'