# Mowg (composer)

Mowg (Korean: 모그; RR: Mogeu), born Lee Sung-hyun (Korean: 이성현, born in 1972), is a South Korean musician and composer of film scores. He adopted the name Mowg after his peers in New York nicknamed him due to his resemblance to Mowgli from The Jungle Book when he was in his 20s.
Mowg is recognized for his frequent collaborations with director Kim Jee-woon, beginning with their first project, the omnibus film Doomsday Book (started in 2006, released in 2012). They have since worked together on several other works, including I Saw the Devil (2010), The Last Stand (2013), One Perfect Day (short film, 2013), The X (short film, 2013), The Age of Shadows (2016), Illang: The Wolf Brigade (2018), Untact (short film, 2020), Dr. Brain (Apple Original Series, 2021), and Cobweb (2023).
Mowg has received multiple awards for his contributions to various films, such as I Saw the Devil (2010), Masquerade (2012), Hwayi: A Monster Boy (2013), Dongju: The Portrait of a Poet (2016), The Age of Shadows (2016) and Burning (2018).
In addition to his film work, Mowg produced albums by other artists, including the debut album by Korean star Jang Yoon-ju titled Dream, and Jazz album of vocalist Malo.

## Early life

Lee Sung-hyun did not encounter music for any particular reason. The piano academy he attended, due to his working parents, fostered an environment that nurtured his enjoyment of music. He also found joy in films aired on "Saturday Night Movie." Two pieces that he remembers vividly are Joaquín Rodrigo's "Aranjuez Concerto," which served as the signal music for "The Masterpiece of Saturday," and "Exodus," the theme music of the same program.
His eclectic taste in movies and music extended to radio programs, where he listened to various genres, including jazz, blues, pop, rock, new country, and new wave. He recorded these on cassette tapes and memorized their stories. The music and films he encountered provided him with strength during his sensitive adolescence.
Lee's parents were not supportive of his musical interests. His father, a former rugby player, encouraged him to join the school rugby team, believing it would distract him from music and help him manage his emotions. To build his physique, he was required to eat two slices of tofu each morning and pushed himself to the limit during training sessions. Over time, he developed a rugby player's physique. However, during this period, his personality exhibited contrasting traits—sometimes quiet and withdrawn, at other times outgoing and energetic, reminiscent of manic-depressive tendencies.
By the time he graduated from high school, Lee became immersed in the local jazz scene, performing at "All That Jazz" in Itaewon. Jazz pianist Lee Young-gyeong, a prominent figure at the venue, encouraged him to pursue his musical aspirations in New York. Despite his family's objections, Lee was determined to follow his dreams. He stated, "I couldn't live in a system that opposed my love for music. When faced with the choice of giving up on myself or my family, I ultimately chose to leave my family behind." In 1993, he prioritized his passion for music over his family's disapproval and moved to New York.

## Career

For Mowg, New York represented freedom. He enrolled in school to maintain legal residency in the U.S., though he had little interest in studying. He led a vibrant life and longed for freedom, but his difficulty communicating may have hindered his adjustment to school. Music in New York was not just a dream for him; it was a matter of survival. He collaborated with various artists across genres, including jazz, and participated in Broadway shows. He was nicknamed Mowg due to his resemblance to Mowgli from The Jungle Book.
Proficient in multiple instruments, such as bass, guitar, keyboard, and drums, living in Harlem exposed Lee to a diverse cultural environment that influenced his music. Although Mowg can play several instruments, he is most recognized as a jazz bassist, often playing a 7-string bass, which distinguishes him from the typical 4-string bass players. He has been referred to as "the greatest star of fusion jazz." As a session player and producer, he frequently traveled between Seoul, New York, and Los Angeles.
In 2004, Mowg released his first bass-only album, titled "Desire," making him the first Korean to release a bass performance album. The album "Desire" consists of two CDs, with all 16 songs being his original works except for two covers: Antonio Carlos Jobim's "How Insensitive" and Jeff Beck's "Cause We've Ended as Lovers." He was praised for his excellent composition skills. He also expanded his musical horizons by performing on stage with Kim Deok-su's Samulnori band and modern dancer Ahn Eun-mi. He won the Best Performance Award at the 2nd Korean Music Awards.
Mowg began working in the film industry in 2006 with the anthology film Doomsday Book, which was released in 2011. This three-part anthology was directed by Kim Jee-woon and Yim Pil-sung. Lee received the opportunity from his friend, director Yim Pil-sung, whom he met in Los Angeles in the mid-1990s when Yim was an aspiring director. They connected over their shared passion for film and became friends. Upon returning to Korea, Lee was introduced to several directors by Yim Pil-sung, including director Kim Jee-woon, Bong Joon-ho and Park Chan-wook.
In 2007, Mowg worked with Woody Pak and IAMISEE on the film score for Benson Lee's documentary Planet B-Boy.
In 2009, Mowg was acclaimed as Korea's best bassist. To celebrate the release of his third album, Nite's Secret, which debuted in April, he held a concert as part of the "Space Sympathy" series. Set in a "modern lounge" atmosphere, Mowg opened with tracks such as "Agent W," "Old Brazilian Jam," and "Gaudi," creating a vibrant mood. He showcased lounge music through several pieces from his album, including "Rodrigo," "Lament," "Suffer," and "Together." A standout moment of the concert was "Can U Hear Me," a tribute to his late grandmother, Ian, who died the previous year. The performance began with her image displayed on a screen. The performance was noted for its lasting impression on the audience. This concert marked Mowg's first domestic performance in three years and was attended by prominent directors Kim Jee-woon and Yim Pil-sung. Additionally, the concert was broadcast on EBS at 12:05 AM on Tuesday, June 16.
Director Kim Jee-woon became one of his most frequent collaborators. They have since worked together on several other works, including I Saw the Devil (2010). In just four years, Lee established himself as a prominent music director in Chungmuro, crediting Kim Jee-woon for helping him grow as a composer.
In 2015, Mowg work with director Yim Pil-sung and choreographer Choi Jin-wook. They adapted move the story of 'Red Shoes' to the late Joseon Dynasty. His role was to express the primitive energy of stirring desire through music. As it is a work by the National Dance Company, music with a Korean traditional music feel is inserted, but there is not a single piece of music using Korean traditional instruments. The play is divided into five acts, and the music also accompanies each act with its own breath. To achieve this, the plan is to present minimal music that slightly varies one theme. The music developed by repeating and combining simple motifs and chords, similar to the music of Steve Reich (79), a representative American minimalist composer.

## Influences, collaborations, and musical philosophy

Mowg expresses admiration for David Shire, known for his music in Coppola's The Conversation (1974), Saturday Night Fever (1977), and Zodiac (2007). He also appreciates Lalo Shiffrin for his versatility and extensive filmography, as well as Cliff Martinez, who has collaborated with Steven Soderbergh. Additionally, Mowg holds Sakamoto Ryuichi and Xavier Jamaux [fr] in high regard.
When Mowg first became interested in film music, guitarist and music director Lee Byung-woo was a prominent figure in the South Korean film industry. Lee was closely associated with director Kim Jee-woon, who had known him since childhood. Through this connection, Mowg learned about Lee’s development as a composer, noting his deep knowledge of classical music and musicality. Mowg also admires Shin Byung-ha, a bassist involved in many films during the 1970s and 80s, whom he met through a his dad's friend when he was young.
Mowg has received significant direction from Kim Jee-woon, who is attentive to film scoring. During production, Kim often considers what type of music can enhance the film's mood. Their collaboration typically begins with the script, where Kim shares his musical ideas and poses questions about various genres. For instance, the script for The Age of Shadows was inspired by Tinker Tailor Soldier Spy, aiming to create a "cool" spy film characterized by cold melodies and harmonies to establish a dynamic soundtrack.
   "Musician acts and music directors reacts."
Mowg's ability to handle various musical styles is notable, and directors and producers who have collaborated with him consistently praise his contributions. They often remark that "Mowg provides a great deal of inspiration when working on scenarios." In response, Mog humbly states, "It’s not that grand." He adds that his diverse life experiences allow him to generate a wide range of ideas after reviewing scripts, which directors find appealing.
Mowg worked with music director Kim Jun-seong on Masquerade. Working with Kim Jun-seong, who has studied classical music since a young age, has also significantly contributed to Mowg's growth as a composer.
For the music score of film Deliver Us from Evil, Mowg drew heavy inspiration from French New Wave films of the 1980s. The artificial yet aesthetic approach can be observed in films like Leos Carax's Boy Meets Girl, Jean-Jacques Beineix's Betty Blue, and Luc Besson's The Big Blue. This stylish work presented a challenge for him as a creator, but it was also a valuable experience to have the opportunity to work on such an experimental project.
Mowg leads Filmuziker, a music team specializing in film scores. The team's motto is: "We must work faster than any other team and produce a significant amount of music." This philosophy is driven by Mowg's belief in the power of a strong team to achieve success. He compares it to a baseball game where, if the opposing team's closing pitcher can throw only 20 pitches, his team must be ready to throw 50 pitches, focusing on both speed and variety. This competitive approach has earned Mowg the reputation of being "a music director who approaches his work like an athlete." Mowg as the team leader at Filmuziker, working closely with his mentees, Music Director Lee Eun-joo and Na-rae.
First short film.

## Other activity

In 2011, Mowg was appointed as full-time professor of Department of Applied Music and Arts, Department of Instrumental Music, Seoul Institute of the Arts.
After becoming a film score director, Lee has been busy and rarely performs as a musician. However, he occasionally performs at film festivals. In 2010, he participated in the Director's Cut Award congratulatory performance. In 2015, he performed at the 3rd Muju Mountain Film Festival. In 2019, music director Mowg's band playing the OST for director Lee Chang-dong’s Burning (2018) in the opening ceremony of The 20th Jeonju International Film Festival. In 2021, he took part in Incheon Film Week.
In April 2013, He was also appointed as Public Relations Ambassador of KT&G Sangsangmadang Music Film Festival.
Mowg is a faculty member of The Jecheon Film Music Academy, a talent development program where participants can produce film music through a practical work process and receive one-on-one mentoring from the best music directors in South Korea, which has been held at the Jecheon International Music & Film Festival since 2006. Alongside Mowg, the faculty includes music directors Shim Hyun-jung, Kim Jun-seong, Han Jae-kwon, Kim Bo-hyeon, Kim Tae-seong, Park Ki-heon, and Choi Won-seop. Director Yoo Young-min is in charge of the film music division at Netflix.
In 2024, Mowg became composer evaluator for open recruitment of film projects and film composers of The 2024 Jecheon International Music & Film Festival, Music Film Market, which celebrating its 20th anniversary. He was part of a judging panel of six experts—three from the film sector and three from the music sector.

## Discography
### Feature film

Discography in feature films :
| Year | Title | Title | Ref. |
| Year | English | Korean | Ref. |
| 2007 | Planet B-Boy | Planet B-Boy | |
| 2010 | Camelia | 카멜리아 | |
| 2010 | I Saw the Devil | 악마를 보았다 | |
| 2010 | The Influence | 인플루언스 | |
| 2011 | Silenced | 도가니 | |
| 2012 | Masquerade | 광해: 왕이 된 남자 | |
| 2012 | A Company Man | 회사원 | |
| 2012 | Eden | 에덴 | |
| 2013 | Behind the Camera | 뒷담화:감독이 미쳤어요 | |
| 2013 | The Last Stand | The Last Stand | |
| 2013 | How to Use Guys with Secret Tips | 남자사용설명서 | |
| 2013 | Hwayi: A Monster Boy | 화이: 괴물을 삼킨 아이 | |
| 2014 | Miss Granny | 수상한 그녀 | |
| 2014 | Phantoms of the Archive | | |
| 2014 | The Fatal Encounter | 역린 | |
| 2014 | Scarlet Innocence | 마담 뺑덕 | |
| 2014 | The Royal Tailor | 상의원 | |
| 2015 | The Avian Kind | 조류인간 | |
| 2015 | Memories of the Sword | 협녀, 칼의 기억 | |
| 2015 | The Advocate: A Missing Body | 성난 변호사 | |
| 2015 | A Dramatic Night | 극적인 하룻밤 | |
| 2016 | The Age of Shadows | 밀정 | |
| 2016 | Don't Forget Me | 나를 잊지 말아요 | |
| 2016 | Like a French Film | 프랑스 영화처럼 | |
| 2016 | Making Family | | |
| 2016 | Dongju: The Portrait of a Poet | 동주 | |
| 2016 | A Bad Hair Day | | |
| 2017 | V.I.P. | 브이아이피 | |
| 2017 | The King | 더 킹 | |
| 2017 | Warriors of the Dawn | 대립군 | |
| 2017 | A Day | 하루 | |
| 2017 | The Running Actress | 여배우는 오늘도 | |
| 2017 | The Outlaws | 범죄도시 | |
| 2017 | A Special Lady | 미옥 | |
| 2017 | Romans 8:37 | 로마서 8:37 | |
| 2018 | Burning | 버닝 | |
| 2018 | The Witch: Part 1. The Subversion | 마녀 | |
| 2018 | Illang: The Wolf Brigade | 인랑 | |
| 2018 | Monstrum | 물괴 | |
| 2018 | Miss Baek | 미쓰백 | |
| 2018 | My Dream Class | | |
| 2018 | Intimate Strangers | 완벽한 타인 | |
| 2018 | Unstoppable | 성난황소 | |
| 2019 | Long Live the King | 롱 리브 더 킹: 목포 영웅 | |
| 2019 | Start-Up | 시동 | |
| 2019 | EXIT | 엑시트 | |
| 2019 | Homme Fatale | 기방도령 | |
| 2019 | The Beast | 비스트 | |
| 2019 | Jesters: The Game Changers | 광대들: 풍문조작단 | |
| 2020 | Night in Paradise | 낙원의 밤 | |
| 2020 | Deliver Us from Evil | 다만 악에서 구하소서 | |
| 2020 | Peninsula | 반도 | |
| 2021 | Action Hero | 액션히어로 | |
| 2021 | The Man With High Hopes | | |
| 2021 | Another Record | | |
| 2022 | Confession | 자백 | |
| 2022 | The Witch: Part 2. The Other One | 마녀 2: the other one | |
| 2022 | The Night when The Moon Goes Down | 달이 지는 밤 | |
| 2023 | Soulmate | 소울메이트 | |
| 2023 | The Childe | 귀공자 | |
| 2023 | Ransomed | 비공식작전 | |
| 2023 | Cobweb | 거미집 | |
| 2024 | Dead Man | 데드맨 | |

### Short films

Discography in short films :
| Year | Title | Title | Ref. |
| Year | English | Original | Ref. |
| 2009 | The Present | | |
| 2010 | Faces Places | | |
| 2010 | Cross | Cross, 그녀에게 장미를 | |
| 2010 | Vertical Limit | 세로본능 | |
| 2010 | A Night on Earth | 지상의 밤 | |
| 2010 | Super Otaku | 슈퍼 덕후 | |
| 2010 | Bang! | | |
| 2012 | Doomsday Book - "The Heavenly Creature" | 인류멸망보고서 - "천상의 피조물" | |
| 2013 | One Perfect Day | 사랑의 가위바위보 | |
| 2013 | The X | 더 엑스 | |
| 2014 | Three Charmed Lives The Killer Behind, the Old Man | 세가지 색 - 삼생 킬러 앞에 노인 | |
| 2014 | The Bicycle Thief | 자전거 도둑 | |
| 2014 | Ghosts of the archive | 아카이브의 유령들 | |
| 2014 | Yeobaewoo | 여배우 | |
| 2015 | Informality | 비공식 개강총회 | |
| 2015 | The Best Director | 최고의 감독 | |
| 2015 | Dancing Cat | 고양이춤 | |
| 2018 | Persona | 페르소나 | |
| 2020 | Untact | 언택트 | |
| 2020 | Live Your Strength | 내 물건이 너의 집에 남아있다면 헤어진 게 아니다 | |
| 2021 | Ground Zero | 그라운드 제로 | |
| 2023 | Faith | 페이스 | |

### Television series

Discography in television series :
| Year | Title | Title | Role | Ref. |
| Year | English | Korean | Role | Ref. |
| 2014 | Secret Door | 비밀의 문 | Score composer | |
| 2016 | Entourage | 안투라지 | Score composer | |

### Web series

Discography in web series :
| Year | Title | Title | Role | Ref. |
| Year | English | Korean | Role | Ref. |
| 2015 | Yellow | | Score composer | |
| 2021 | Dr. Brain | Dr. 브레인 | Score composer | |
| 2022 | All of Us Are Dead | 지금 우리 학교는 | Score composer | |
| 2022 | Anna | 안나 | Score composer | |
| 2023 | Daily Dose of Sunshine | 정신병동에도 아침이 와요 | Score composer | |
| 2024 | The Tyrant | 폭군 | Score composer | |
| TBA | In the Net | 망내인 | Score composer | |
| TBA | Tropical Night | 열대야 | Score composer | |

### Albums

Albums :
| Year | Title | Title | Artist | Role | Ref. |
| Year | English | Korean | Artist | Role | Ref. |
| 2004 | Desire | 디자이어 | Mowg | Bassis | |
| 2005 | Trio Romans | Trio Romans | Trio Romans | Bassis | |
| 2006 | Journal | 저널 | Mowg | Bassis | |
| 2007 | Now, to You | 지금, 너에게로 | Malo | Producer | |
| 2008 | Nite's Secret | 정규 앨범 | Mowg | Bassis | |
| 2008 | Dream | 꿈 | Jang Yoon-ju | Co-producer | |
| 2010 | I Saw the Devil | 악마를 보았다 | Mowg | Film Composer | |
| 2010 | The Influence | 인플루언스 | Mowg | Film Composer | |
| 2011 | Silenced | 도가니 | Mowg | Film Composer | |
| 2012 | Masquerade | 광해: 왕이 된 남자 | Mowg | Film Composer | |
| 2013 | One Perfect Day | 사랑의 가위바위보 | Mowg | Film Composer | |
| 2013 | The Last Stand | The Last Stand | Mowg | Film Composer | |
| 2013 | Hwayi: A Monster Boy | 화이: 괴물을 삼킨 아이 | Mowg | Film Composer | |
| 2016 | Dongju: The Portrait of a Poet | 동주 | Mowg | Film Composer | |
| 2018 | Burning | 버닝 | Mowg | Film Composer | |

### Art performance and exhibition

Discography in art performance and exhibition :
| Year | Title | Title | Role | Ref. |
| Year | English | Korean | Role | Ref. |
| 2015 | The Red Dance | 적 (赤) | Music director | |
| 2021 | Illusion: Between Reality and Fantasy | 환영 幻影: 실재와 환상의 사이 | sound art | |
| 2024 | Penetration | 투과 (透過) | sound art | |

## Filmography
### Short film

Directing credit in short films :
| Year | Title | Title | Role | Ref. |
| Year | English | Korean | Role | Ref. |
| 2024 | The Power of Love | 사랑의 힘 | Director | |

## Awards and nominations

Awards and nominations received by Mowg :
| Year | Award | Category | Nominee(s) | Result |
| 2005 | Korean Music Awards | Best Performance of the Year | Desire | Won |
| 2010 | 31st Blue Dragon Film Awards | Best Music | I Saw the Devil | Won |
| 2011 | 32nd Blue Dragon Film Awards | Best Music | The Crucible | Won |
| 2012 | 49th Grand Bell Awards | Best Music | Masquerade | Won |
| 2012 | 33rd Blue Dragon Film Awards | Best Music | Masquerade | Nominated |
| 2012 | 22nd Buil Film Awards | Best Music | Masquerade | Nominated |
| 2013 | 34th Blue Dragon Film Awards | Best Music | Hwayi: A Monster Boy | Won |
| 2014 | 23rd Buil Film Awards | Best Music | The Fatal Encounter | Nominated |
| 2014 | 23rd Buil Film Awards | Best Music | Miss Granny | Nominated |
| 2014 | 51st Grand Bell Awards | Best Music | Miss Granny | Won |
| 2016 | 25th Buil Film Awards | Best Music | Dongju: The Portrait of a Poet | Won |
| 2016 | 36th Korean Association of Film Critics Awards | Best Music | The Age of Shadows | Won |
| 2016 | 3rd Korean Film Producers Association Award [ko] | Best Music | The Age of Shadows | Won |
| 2016 | 37th Blue Dragon Film Awards | Best Music | The Age of Shadows | Nominated |
| 2017 | Asian Film Awards | Best Composer | The Age of Shadows | Won |
| 2018 | Blue Dragon Film Awards | Best Music | Burning | Nominated |
| 2018 | Buil Film Awards | Best Music | Burning | Won |
| 2018 | Grand Bell Awards | Best Music | Burning | Nominated |
| 2019 | International Cinephile Society | Best Original Score | Burning | Runner-up |
| 2019 | Miami International Film Festival | Alacran Music in Film Award | Burning | Won |
| 2023 | Grand Bell Awards | Best Music | Cobweb | Nominated |
| 2023 | 44th Blue Dragon Film Awards | Best Music | Cobweb | Nominated |
| 2023 | 10th Korean Film Producers Association Award [ko] | Best Music | Cobweb | Won |
| 2024 | Buil Film Awards | Best Music | Cobweb | Won |