Typically, I do use electronics, but on this score, not very much. So it was fascinating for me to do my research to find out what these instruments could do, and then to find a way of integrating them into my score in a way that’s homogeneous. We found incredible artists who contributed to the score. It was decided that we should try and be as authentic as possible.There’s no way I wasn’t going to use a big symphony orchestra and a big choir, but I was able to smatter across the top of that individual Chinese instruments, particularly an Erhu and Guzheng and many special Chinese woodwinds. How familiar were you with those or what kind of education process was this for you? You brought in authentic Chinese instrumentation, including string and wind instruments. More time usually equals a better result. And then when she got back from shooting, it was a longer post-production period than most movies I’ve ever worked on. Niki needed some pre-records and needed the music as she was shooting, particularly during one of the battle scenes that had some big ancient drums that the army would use. But on Mulan I started writing music a couple of years before. That was certainly my experience on The Zookeeper’s Wife. I’m normally brought on right at the end of the process, deep into post-production. It was quite a long voyage for both of us, but particularly for me as a composer. I don’t think she’d worked on a film like before, nor had I scored one, so we enjoyed the challenge and the deeper we got into Mulan, the more we developed a shorthand. We’d obviously grown used each other and we’d started to form a working relationship, but the subject matter of The Zookeeper’s Wife and Mulan couldn’t be further apart. Had you and Niki developed a shorthand after working on The Zookeeper’s Wife? Related News Beyonce's 'Black Is King' Visual Album Has Arrived Certainly the cinematic experience is going to be a bit more beneficial, but I think everybody’s positive about looking forward to seeing it, whether it’s on a small scale or not…It doesn’t take away the pleasure it was to work on a film like that.
The cinematography, the environments, are amazing that Niki shot.
Obviously these things do come to TV, but we mixed it for the big screen, a blockbuster. It is a slightly extraordinary situation because we did mix the film for cinema. Gregson-Williams: Hopefully they can enjoy it wherever they see it. How do you feel about people first experiencing the film, and your score, on the small screen because of the pandemic?
YOUTUBE REFLECTION MULAN STRINGS MOVIE
Gregson-Williams talked to Billboard about capturing the spirit of a teenage Chinese girl in the score, the film’s delay, juggling fatherhood with scoring during the pandemic, co-writing the movie’s end-title song and why the original was temporarily forbidden in his home.īillboard: The movie is incredibly vibrant from the scenes in Mulan’s colorful village to the expansive battle scenes. Gregson-Williams, who has scored such diverse films as Shrek, The Chronicles of Narnia: The Lion, The Witch and the Wardrobe Gone Baby Bone, X-Men Origins: Wolverine, and Total Recall, previously worked with Mulan director Niki Caro on 2017’s The Zookeeper’s Wife.
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