Thanks so much for taking the time to share with us, Yuri! Can you tell us more about your background, how you got started writing music for media, and where you’re at in your journey now?

I was born and raised in Seoul, and I grew up very close to music from an early age, playing piano and violin, and being part of bands and orchestras. But to be honest, I didn’t begin with a clear ambition to make music my career.

What I did have was a growing interest in how people process emotion, memory, and experience. Growing up in Seoul and now living in Los Angeles, I often found myself moving through unfamiliar spaces, listening and observing, and noticing moments when someone felt understood or less alone, especially when words fell short. Over time, I came to see story and music as natural ways to connect, hold memory, and give shape to feeling. That realization gradually led me toward narrative-driven music, not as a grand calling, but as a meaningful way to work with those ideas and connect with people on an emotional level.

That curiosity led me to work across different story-driven mediums, including musical theatre, film, and games. More recently, I spent time in the Hollywood studio system as part of Rob Simonsen’s team, contributing to large-scale projects such as Marvel’s Deadpool and Wolverine and Pixar’s Elio.

Right now, I’m in a transition period, drawing from those experiences to clarify what I genuinely want to express through my music, and to define a clearer artistic direction moving forward.

You’ve worked on major Hollywood films such as Marvel’s Deadpool and Wolverine and Pixar’s Elio as a part of Rob Simonsen’s team. What lessons have you learned from being on huge films like this?

Working on large studio films was an invaluable learning experience for me. Being part of Rob’s team allowed me to grow significantly as a composer, both musically and professionally. I learned not only about the artistic side of scoring, but also about collaboration, efficiency, and the functional role music plays within a larger production.

Observing Rob’s approach to storytelling, thematic development, and emotional restraint shaped how I think about serving a film through music. At the same time, working within a studio environment highlighted the importance of discipline, clarity, organization, and communication, especially when many departments and timelines are involved. I learned how musical ideas are refined in practical ways, always in service of the story and the broader creative process.

Overall, the experience strengthened my musical foundation and deepened my understanding of how music functions within a collaborative and efficient workflow. I’m deeply grateful for the opportunity to learn under such an accomplished composer, and I carry those lessons forward as I continue to develop my own voice and direction.

Congratulations on writing music for League of Legends Champions Korea! What was this project like for you and what was your process working on a well-known game title like this one? 

​​Working on LCK was a unique experience because the music was written specifically for the live competitive broadcast, rather than for the game itself. The piece I worked on was used during the teams’ entrance into the stadium, so the goal was to create music that could ignite energy, heighten anticipation, and stir a sense of momentum before the match even began, both for the players and the fans.

What struck me in the process was how deeply invested the community is. I was genuinely surprised by the intensity and passion of the fan base, and by learning that many people actively seek out and listen to music written for these events outside of the broadcast itself. Coming from someone who didn’t previously follow e-sports closely, it shifted my perspective on how music connected to games and competition can become part of people’s everyday lives and emotional identity.

You’ve worked across a variety of media including musical theatre, films, and games in your career, and in a variety of different environments from small productions to Marvel films. How has this wide range of experiences affected your future goals?

Working across different mediums helped me realize what I value most in a project at a core level, regardless of format. I’ve become less focused on scale, genre, or the size of a production, and more interested in the meaning a project carries and the intention behind it.

I’ve also found myself wanting to approach that meaning with honesty and depth rather than ornamentation or technical display. Rather than relying on scale or flourish, I’m drawn to music that approaches emotion with honesty and care, and allows restraint to do meaningful work. Through these experiences, I’ve come to value clarity of purpose more than spectacle.

Moving forward, I’m interested in projects where music has space to serve meaning thoughtfully and sincerely. Regardless of format, I’m looking for work that allows me to engage deeply with story and emotion, and to contribute in a way that feels intentional and lasting.

You’ve always taken extra care in considering the emotional experience of the audience and shaping that through your music. Can you tell us more about how you approach that with your music?

There is a guiding mindset I try to carry through all aspects of my life. I want to rejoice with those who rejoice and weep with those who weep. Because of that, my approach begins with listening. Before thinking about style or sound, I try to understand the emotional undercurrent of the story and where music can quietly support it, allowing it to breathe naturally with the narrative.

From there, I shape the sonic landscape. My palette often includes intimate piano and strings, ambient electronic layers, and subtle acoustic colors, balancing timeless sounds with modern sensibility. Drawing on classical orchestration, experimental synthesis, and influences from traditional Korean music, I aim to create sound worlds that awaken empathy, rekindle memory, and offer strength in moments that feel fragile, always in service of the story.

Ultimately, I hope my music offers a quiet pause and a steady companion in a fast-paced world. If it can help someone feel a little more grounded, understood, or present with what they’re experiencing, then it’s doing its work.

Interview by Kati Falk-Flores

Editing by Carolyn Koch

Check Out Yuri’s Directory Page here!