SHANG-CHI
Shang-Chi and the Legend of the Ten Rings was recorded with a 70-piece orchestra at Abbey Road Studios in London, and features the UK Chinese Music Ensemble. The score follows Shang-Chi's journey of self-realization by slowly intertwining several separate themes as he embraces the various aspects of his identity and family history.
Wenwu's music is rooted in his big emotions, and in his individualist approach of seeking fulfillment by being exceptional. It can be dominating and unhinged, but it is mournful at its core and stuck in a pattern of lonely melancholy. His music is cyclical and full of drama, inspired by European composers like Grieg, Pärt, and Wagner. His melody is always played on cello, an idea that came from Tony Leung (!).
Xialing's music represents the Xu family, as she is the only person who shares Shang-Chi’s childhood experiences and memories. It exists somewhere between nostalgia and grief, and is inspired by 20th Century Chinese Classical music with two harps serving as the backbone.
Li's music emanates directly from the land and ancestors of Ta Lo, and from her egalitarian approach of seeking fulfillment by knowing how she fits into the community. It is inspired by traditional Chinese folk music and methodology, endlessly flowing with no beginning or end and serving as a connection to the natural world. Li’s presence is always marked by the erhu, played breathtakingly by Wang Xiao.
Shang-Chi's initial music is rooted in his identity as a young American man, and expresses both his pounding anxiety and his powerful swagger. It is centered around the beat, most often played by a group of tanggu drums inspired by festival performances.
Hear more about the process and concepts in my episode of RIGHT ON CUE, and listen to some of the music that inspired the score below:
It was an honor to be invited into Destin's thoughtful and expansive vision for this film, and to be a part of a team who were all dedicated enough to make something powerful and iconic despite the pandemic. My goal was to echo the rich family narratives and the detailed celebration of Chinese and Asian-American cultures, and I was blown away by the depth that was added to each cue once it was turned over to our world-class orchestra and soloists (a few of whom are pictured above, sadly there aren’t many photos because our sessions were remote with minimal people in the building).
The final music is the product of a team of highly talented and hard-working people. They were all kind enough to serve as pillars for me to lean on, and they all invested so much personally while somehow maintaining a joyful calm even in the most demanding moments. The long list includes orchestrator Mark Graham, coordinator Celeste Chada, music editor Ramiro Belgardt, engineers Pete Cobbin and Kirsty Whalley, conductor Gavin Greenaway, Chris Hobson, and so many more — thank you all!