Nobody saw Netflix’s KPop Demon Hunters coming, but it ended up being an enormous hit for that streaming service. At the end of July, Netflix announced that it was their most watched original animated movie of all time. As of August 7, 158.8 million people or families have viewed the film.
According to the press release, “KPop Demon Hunters, a Netflix film from Sony Pictures Animation, follows KPop superstars Rumi, Mira and Zoey—when they aren’t selling out stadiums, they use their secret identities as badass demon hunters to protect their fans from an ever-present supernatural threat. Together, they must face their biggest enemy yet—an irresistible rival boy band of demons in disguise. KPop Demon Hunters stars Arden Cho, Ahn Hyo-seop, May Hong and Ji-young Yoo, and is available now on Netflix.”
Collectively, Rumi, Mira and Zoey are the fictional band Huntr/X and, while this isn’t the first animated band (The Archies, Josie & the Pussycats, Jem & the Holograms, etc.), it feels like Kpop Demon Hunters has increased the scale. The cultural impact of the film is enormous and, in turn, the soundtrack has now seen over a billion global streams.
“The soundtrack features original songs written by Danny Chung, Ido, Vince, Kush, Ejae, Jenna Andrews, Stephen Kirk, Lindgren, Mark Sonnenblick, Daniel Rojas, and produced by Teddy Park, 24, Ido, Dominsuk, Jenna Andrews, Stephen Kirk, Lindgren, Ian Eisendrath,” they say. “Original songs are performed by Ejae, Audrey Nuna, Rei AmiI, Andrew Choi, Danny Chung, Kevin Woo, samUIL Lee, Neckwav, and Lea Salonga. The soundtrack also includes the original song ‘Takedown’ featuring Jeongyeon, Jihyo, and Chaeyoung from K-Pop powerhouse girl group, Twice.”
Ian Eisendrath is the music executive producer, and he talked to MC about the experience.
Could we get a little background first? How did you get into the music executive producing game? What else have you worked on?
I spent the first 15 years of my career working in Broadway theatre, focused on developing musicals and music-driven projects for the stage, as well as producing soundtracks of Broadway shows that I supervised and musically directed. Benj Pasek and Justin Paul (The Greatest Showman) were close collaborators of mine and when the pandemic hit, they asked me to work on a number of their musical films. I fell in love with the film world, which seemed like the perfect marriage of my many passions—developing songs and working closely with songwriters and filmmakers to fully realize their vision, coaching singers, producing the vocals, overseeing the mixing and mastering process, conducting, and being involved in the creation of the film from day one through final mix.
How did you get involved with KPop Demon Hunters?
I had just finished Lyle, Lyle Crocodile at Sony, and Spring Aspers (President of Music at Sony Pictures) called me and said “I have an incredible opportunity for you…you’re gonna want to do this.” When I heard more about it…KPop, Sony Pictures Animation’s cutting edge aesthetic, and a story with such profound depth and meaning, I was in.
What were your initial thoughts when presented with the movie outline?
I was deeply impacted by the themes and message of the film—which explores what it means to be your complicated, sometimes contradictory and multi-hued self in a binary, black and white world. It felt so topical and interesting to me personally. As I grow older, the things that seemed so straightahead and clear become more complicated because we are all complicated and constantly changing, and I loved being part of creating something that told the next generation that it’s okay to not fit into a box, to be different, to be honest, and that all of you…the good and the bad and the ugly…is okay and acceptable. I love what this film has to say.
Have you worked with KPop and/or anime themes before?
No! But my daughter has been obsessed with both KPop and anime, and turned me on to both…so I was thrilled to get to work with this team of KPop hitmakers to bring their songs to life in the film and on the soundtrack.
I know it’s not the first animated band (Josie & the Pussycats, Jem, etc.).... How did you set about creating/choosing music to bring Huntr/x to life?
The goal was to create a set of songs that truly hit like KPop songs, but also forwarded story and character development…this meant many years of careful calibration. The songs could never lose their pop edge, the lyrics had to feel hooky and universal like the best pop songs, while consistently forwarding the plot.
Did the huge success of the film, and then the soundtrack, surprise you at all?
It honestly did surprise me—I hoped people would like it, I hoped the soundtrack would hit, and I absolutely loved what this incredible community of artists created, but I never imagined it would become this kind of sensation. It’s lightning in a bottle, and we are all so fortunate to have been part of it.
Any plans for a sequel?
Crossing my fingers there will be many!
What else are you working on?
I am sitting in a theatre at La Jolla Playhouse where we are developing a brand new EDM/electronica-driven musical for the stage. I am also about to begin work on a couple new animated musicals. I am so excited to continue working on music-driven projects that aim to push boundaries in music and storytelling.
