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
awards and performed concerts, including concerts with symphony orchestras, developed a love and curiosity for film music, which led to his move from Korea to the US, where he joined Berklee College of Music, and USC to study film music, which changed the direction of your career.

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.

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SIGAM OS CONVIDADOS

#Hyesu Wiedmann
Compositora / Orquestradora

LINKS COMENTADOS

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IMDB Oficial (Clique Aqui)

DICA CULTURAL

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)

SIGA OS CONFRADES DO TOQUE2

#Josisley de Souza
Podcaster / Trombonista

#Fabiano André
Professor / Euphonista

#Felpe Sangali
Professor / Trombonista

#Wellington Castro
Professor / Compositor

Transcrição do PodCast para acessibilidade há deficientes auditivos:

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.
Hyesu Wiedmann: No, no, no, no. This is not my project.

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.

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