Meet D.I. Danny Choi | Composer and Musician of Films, Media, Concert Music, and more

We had the good fortune of connecting with D.I. Danny Choi and we’ve shared our conversation below.

Hi D.I. Danny, what are you inspired by?
For a working composer, inspiration comes from a plethora of things. While it may be Hollywood’s intention to romanticize the composing process with Beethoven taking brisk walks around Vienna only to stop to jot notes down on manuscript, or a genius Mozart giggling his way through a divinely inspired opera, I consider my process to be akin to that of any other craftsman. That is, I write because it is what I do. Some days, it is easier, some days it is harder, but I don’t stop. Oftentimes I joke that my biggest inspiration is a deadline, which is very true! Yet, if I take a step back to peer into the music I write, I see traces of the people I’ve met that day, the food I ate, the streets of New York, the loud 7-train that I live by, the planes overhead coming to and from LaGuardia and JFK, the people I love, my mood that day, and so much more. When one is so immersed in the work they do, living and breathing it, I think it is inevitable that pieces of myself make it into the music I write. Also vice versa! I have found that writing something happy lifts my spirits that day, while something sadder might make me more pensive and quiet.
Because of this, I find it is most important to monitor what kind of sensory inputs I have. Perhaps, if I am working on a romantic comedy, watching a drug-ring documentary during the day is probably not so helpful…or maybe it is and we get a new romantic comedy genre!

Can you open up a bit about your work and career? We’re big fans and we’d love for our community to learn more about your work.
My music is as diverse as my background: Korean-Canadian; growing up in the mosaic of Vancouver; studying classical music, jazz, K-Pop, Korean church music; having diverse friends; working as a wind band composer on the side; and playing and singing frequently on stage. Notice I said mosaic rather than melting pot, as I have absorbed all of those backgrounds and cultures, yet within me, after zooming in from the harmony everything creates, I can clearly see the divides and boundaries, free for me to cross at will.
I often blend my different backgrounds to create my unique voice. Rodney Sharman enjoyed my pastiche voice while Dirk Brossé said my intricate and bombastic music was comparable to that of John Williams.

I’m a constant student, whether or not I’m in school. Ever since I was 10, I kept study scores in my bag so that I could kill time. I created projects for myself where I would learn Sibelius, Photoshop, or some niche use for Microsoft Office. I spent the pandemic getting into cameras and video editing. I think that is the key to success. I am never done learning; there is always something else that could be honed or improved on.
Not letting yourself get comfortable is essential so you can always remain on the cutting edge.

The biggest challenge I face is a common one. I’m not from a family of musicians, nor does my family have any ties to people in the industry. So every project I do, every interaction I have, every stride I take, is a new one. And I am proud of it.
In a world where networking is so important, as an introvert, I find it quite challenging to take initiative at large networking events. However, the relationships that are built on a more personal way are always fruitful.
My personality suits my job as a composer, working perhaps with a small group of collaborators, but perhaps not the biggest parties.

Let’s say your best friend was visiting the area and you wanted to show them the best time ever. Where would you take them? Give us a little itinerary – say it was a week long trip, where would you eat, drink, visit, hang out, etc.
So, I’m in the middle of planning to relocate to LA after a rewarding time in New York. So, I can’t tell you much about LA. On the contrary, I’d love to hear from people about the best spots to go! Now if someone were to come to New York, my favourite spots would be K-Town on 32nd, where you can have a plethora of foods at any price point, St. Marks Place near NYU, and the Downtown area. I especially love the Wagyu Udon at Tsurutontan, the lunch specials at Barn Joo, and the food at Ruby’s Café. Of course, you must do the touristy stuff, have some NY steak, bagels, and pizza. Cross the Hudson and see the city light up from Jersey, walk around Central Park for a surreal nature-within-city experience, visit Dumbo and take lots of pictures, walk the Brooklyn Bridge on the way back, take the Staten Island ferry and check out the Statue of Liberty, walk up to Wall Street and the 9/11 Memorial, and make sure to catch a Broadway show!

Who else deserves some credit and recognition?
Most of my life, I’ve considered myself to be one of the most self-taught people around me. Beethoven’s scores, Samuel Adler’s Study of Orchestration, Thomas Goss’ YouTube channel have been great troves of knowledge for me to pick at with my own will. I’ve read and researched about my craft, practiced with trial and error, and applied that knowledge into projects. Yet, I couldn’t be more wrong. First of all, I cannot pass by my family. They have been so supportive, not only musically but mentally, physically, spiritually—they are always my rock. I learned my first songs from my parents, my mom got me started with rudimentary piano lessons, while my dad taught me my first guitar chords. I remember hearing Mozart’s Turkish March playing on the stereo as a baby and how as an elementary school graduation gift, my grandparents got me my first copy of Sibelius.
Secondly, I cannot stress how important my musical mentors have been to me in my development. Especially Mr. Dave Bradshaw, who was my elementary school band director, where I picked up the clarinet and alto saxophone for the first time. He went out of his way to schedule 20-minute sections during our recesses so that we could get the “fingerings” out of the way and focus on the music. He also ran the school musical, choir, and taught every student to play mallet percussion. Likewise, the passion of my high school teachers, Frances Roberts, Diana Chan, Chad Smith, my piano teachers Susan Evans and Tanis Mitchell, my first composition mentor Rodney Sharman, my university mentors Keith Hamel, the late Jocelyn Morlock, Bob Pritchard, Pat Carrabre, Stephen Chatman, Dorothy Chang. Rob Taylor, Director of Bands at UBC is also responsible for fine tuning my ear, always expecting the best, and teaching me how to break things down clearly and efficiently.
And of course, last but not least, my mentors at NYU during my masters, who have always cared not only for the tasks at hand, but for my career and future, my well-being, and exactly what I was interested in at the time. Thank you to Alan Menken and Ron Sadoff for bestowing the Alan Menken Scholarship, which helped me a great deal attending NYU. Thank you to Catherine Joy, Eric Hachikian, John Kaefer, Mark Suozzo, Sergi Casanelles, Chris Hajian, and everyone else who’s cared and looked out for me!

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