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Snowpiercer OST

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Snowpiercer OST
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YesAsia Editorial Description

Based on the French comic Le Transperceneige, acclaimed Korean director Bong Joon Ho's first English-language film Snowpiercer is set in the year 2031 on an Earth engulfed in a second ice age. The only remaining survivors live on the perpetually moving train Snowpiercer, which has developed a class-stratified system of its own. The poor passengers in the back of the train plan a revolt against the first-class passengers. Chris Evans, Ed Harris, Tilda Swinton, Jamie Bell, John Hurt and The Host stars Song Kang Ho and Ko Ah Sung star in the blockbuster sci-fi thriller. For the soundtrack of Snowpiercer, Bong Joon Ho worked with Oscar-nominated film composer Marco Beltrami who has scored films like Scream, Hellboy, Resident Evil and World War Z.
© 2013-2021 Ltd. All rights reserved. This original content has been created by or licensed to, and cannot be copied or republished in any medium without the express written permission of

Technical Information

Product Title: Snowpiercer OST Snowpiercer OST Snowpiercer OST 雪国列車 韓国映画OST 설국열차 OST
Singer Name(s): Movie Soundtrack | Bong Joon Ho | Marco Beltrami 電影原聲 | 奉 俊昊 | Marco Beltrami 电影原声 | 奉 俊昊 | Marco Beltrami 映画サウンドトラック | ポン・ジュノ | Marco Beltrami 영화음악 | 봉준호 | Marco Beltrami
Release Date: 2013-08-27
Language: Korean
Disc Format(s): CD
Shipment Unit: 1 What is it?
Publisher: Stone Music Entertainment
YesAsia Catalog No.: 1033963173

Product Information / Track List

설국열차 OST

01. This is the End
02. Stomp
03. Preparation
04. Requesting an Upgrade
05. Take the Engine
06. Axe Gang
07. Axe Schlomo
08. Blackout Fight
09. Water Supply
10. Go Ahead
11. Sushi
12. The Seven
13. We Go Forward
14. Steam Car
15. Seoul Train
16. Snow Melt
17. Take My Place
18. Yona Lights
19. This is the Beginning
20. Yona’s Theme


봉준호 감독을 처음 만난 건 2011년 4월 Beverly Hills 호텔, 촬영이 시작되기 딱 1년 전이었다. <마더> 와 <괴물>을 보고 내가 아는 어떤 감독과도 다른, 놀라운 스토리텔링과 독특한 비주얼에 매료되어 팬이 된 상태였다. 이미 시나리오를 읽은 후였고, 봉준호 감독이 컨셉 비주얼을 보여주자 흥분을 감추기 위해 애를 써야 할 정도였다. 그 직후부터 마치 달리는 기차처럼 일이 진행되었다. 하지만 부담도 컸다. 영원한 엔진, 얼어붙은 세상, 그리고 인간들의 투쟁에 대한 음악적인 컨셉을 잡는 게 재미있을 것이라는 건 확실했지만, 각 칸마다 독특하고 고유의 색깔을 가지고 있는 기차의 컨셉을 영화 전체와 어떻게 어우러지게 표현해야 할지는 확실하지 않았다.

첫 번째 과제는 교실칸에서 선생님과 아이들이 함께 부르는 “윌포드 찬가”를 만드는 것이었다. 실제로 배우들이 교실칸 장면을 찍을 때 그 노래를 불러야 했기에 아내와 아이들을 동원할 수 밖에 없었다. 이상한 표정으로 나를 바라보기는 했지만 가족들은 몇 번이고 충실하게 남편 또는 아빠를 위해 "윌포드 찬가"를 불러 주었다.

그 뒤로 내 머리 속에 떠올랐던 테마들을 봉준호 감독이 보내주는 부분적인 그림들에 맞춰 수정하고 한국에 있는 그에게 보내기 시작했다. 내 기억에 처음 보냈던 음악은 마스크를 쓴 채 도끼를 휘두르는 군인들과 대치하는 씬이었다. 애초의 발상은 익숙한 사운드(피아노, 현악기, 금관악기)를 사용하되, 낯설고 위협적으로 들리게 하는 것이었다. 이 때 오프닝 테마에 대한 아이디어도 함께 보냈고, 답변이 올 때까지 긴장의 끈을 놓지 못했다. 마침내 감독이 두 아이디어 모두 좋다는 답을 보내 왔을 때, 그제서야 ‘이제 달려도 된다’ ‘숨을 쉬어도 된다’는 느낌을 받았다.

그 후, 영화가 편집되는 몇 달 동안, 애초 내가 생각했던 아이디어를 다듬었다. 말리부에 있는 우리 스튜디오에서 내가 보낸 음악에 대해 자주 감독과 스카이프로 대화 했고, 최두호 피디가 통역을 도와주었다. 가장 고민하며 작업했던 부분은 사우나칸과 클럽칸이었다. 동료인 벅(Buck)이 기차가 낼 수 있는 모든 소리와 사우나의 소리들을 모아서, 음악 아래 깔리는 사운드를 만들었다. 소리와 음악, 두 세계의 경계를 모호하게 만들어 준 것이다.

봉준호 감독의 말을 대부분 잘 알아 들었지만, 원하는 바를 정확히 알기까지 그가 한 말을 곱씹어 보아야 했던 적도 몇 씬 있었다. 그 중 스시바씬이 가장 어려웠다. 아마도 감독이 절망 끝에 한 말일 수도 있는데, 영화 <디어헌터>를 보라고 권했고, 그걸 본 후에 깨달았다. 디테일에 대한 봉준호 감독의 감각과 뉘앙스가 놀라웠다. 그는 새로운 방식으로 생각하도록 나를 밀어 붙여 주었다.

영화 <설국열차>의 작업은 봉준호 감독의 천재성이 발현되는 과정을 함께 할 수 있어 나에게는 영광이었다. 바라는 게 하나 있다면 음악이 영화 저변에 흐르는 감정과 일치했으면 하는 것이다.
나의 영화 영웅들 중 한 명을 알 수 있는 기회를 갖게 되어 너무나 감사한다.

I first met with Director Bong at the Beverly Hills Hotel a year before production started. I had seen "Mother" and "The Host" and was a huge fan of his amazing storytelling and unique visual experience, unlike any other director I knew. I had read the script to Snowpiercer and when Bong showed me his visual concepts, I tried hard to contain my excitement. But the wheels started turning immediately. I knew it would be fun to work on a musical concept for the perpetual engine, the frozen world, the struggle of humanity, though I wasn't sure how I would tie the uniqueness of each train car to the overall picture.

The first task was to come up with the "Wilford song" that the teacher and kids sing in the classroom. Bong needed it for shooting, so I employed my wife and kids and they gave me strange looks but dutifully sang for me nonetheless.

After that I began adapting some of my thematic ideas to the picture pieces that Bong would send me and would mock them up and send them over to him in Korea. I believe the first cue I sent was the standoff with the axe wielding hooded guards. The idea was to use familiar sounds (piano, strings, brass) and treat them in such a way that they were alienating, perhaps intimidating. With this I also sent a thematic idea for the opening of the picture. I held my breath for a bit, and when Bong responded well to both ideas, I knew I was off and running.

Over the course of the next few months as the picture was being edited, I worked at refining my ideas. We would have Skype calls periodically at my studio in Malibu to review cues and Dooho would translate. One of the major areas to tackle was the whole steam car and dance club scenes. Buck got ahold of all sorts of train and steam sounds to process and used that as an underlying pulse. Again, here in this section, the sound world and music world became blurred.

I usually understood the gist of Bong's comments, but in a couple of places it took me a few runs to get it right. The sushi scene was the hardest. Finally, in desperation I think, Bong told me to look at The Deer Hunter. At last it clicked. Bong's attention to detail and nuance was exacting. He pushed me to think in new ways, which in the end is really what collaboration is all about.

It has been an honor for me to be involved in the process of Bong's genius throughout this project. I hope the score succeeds at providing a cohesive emotional undercurrent, and I am very thankful for having the opportunity to get to know one of my cinematic heroes.

Marco Beltrami
마르코 님에게

오랜 시간 함께 작업하면서, 물끄러미 당신을 바라볼때가 많았어요.

화상회의 할때 컴퓨터 화면을 통해서, 또는 녹음할때 녹음실에서 등등 ...

개인적으로 나는,
소녀처럼 수줍게 웃을때의 당신 얼굴을 참 좋아합니다.

또 반대로, 당신이 힘차게 오케스트라를 지휘할때의 박력있고 남성적인 모습도 참 좋아해요.

당신의 음악 또한 이처럼 다채롭고 풍부한 표정을 가지고 있다는걸 아시나요?

커티스가 도끼부대를 맞닥뜨릴때, 육중한 철문이 열리는 그 순간,
우리의 심장을 해머로 내려치는 듯한, 그 무시무시한 임팩트의 음악 ...

그리고 주인공들이 스시바에서 멍하게 창 밖을 내다볼때,
얼어붙은 바다위로 흐르는 그 서정적이고 감미로운 음악 ...

이 모든 음악들이 당신의 머리와 가슴과 손 끝에서 나왔고, 우리의 영화 설국열차에 아름다운 날개를 달아줬어요.


버크와 크리스, 그리고 말리부 녹음실의 모든 동료들에게도 똑같은 크기의 감사와 존경을 표하고 싶네요.

조만간 둘이 함께 최고의 사운드시설을 갖춘 극장에 앉아, 두 귀를 활짝 열고 함께 영화를 감상해보고 싶네요.


Dear Marco,

Over the long months we worked together, I’d often catch myself staring at you, whether on Skype through a computer screen, or at your studio in Malibu.

Personally, I…
Liked the face you made when you’d laugh like a shy young girl. Or the opposite, the masculine way you conducted the orchestra, with power and intensity… I like that image, too.

Do you know you possess, in your music as well, such diverse and abundant expressions?

The moment when the heavy gate opens and Curtis encounters the axe soldiers, that terrifying impact of the music, like a hammer ripping into our hearts…

And the lyrical and mellifluous piano that plays over the frozen sea, as the main characters blankly stare out the window in the sushi bar…

Every piece of music came from your mind and heart and the tips of your fingers, you’ve attached a beautiful set of wings to our movie Snowpiercer.
Thank you.
And I want to express the same level of gratitude and respect to Buck and Chris, and the rest of your team in Malibu.

One day soon, I hope to watch the film together - in a theater that has great sound - with our ears wide open.

Bong Joon Ho

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