Tag Archives: Raya and the Last Dragon

Music, Magic, and Dragons: Talking With Composer Philip Klein About Wish Dragon (2021)

I was recently blessed with the opportunity to speak with composer Philip Klein about his work on the upcoming Netflix film Wish Dragon (which comes out on June 11th). Klein’s music has been heard in film and television projects for Sony, Disney, Pixar, Lionsgate, ABC and CBS. As a writer, Philip has collaborated with some of the finest composers working in film and TV, including Harry Gregson-Williams, Carter Burwell, Alex Heffes and Fil Eisler. He’s has had the honor of orchestrating for James Newton Howard, Alexandre Desplat, Ludwig Göransson, Richard Harvey, Steve Jablonsky, David Buckley, Stewart Copeland, Peter Golub, John Frizzell and several other amazing artists.

After a steady diet of drum corps and classical music throughout his childhood, Philip’s formal music education took him to Chicago where he studied trumpet and composition at Northwestern University. This classical foundation combined with a deep understanding of modern scoring techniques allow him to seamlessly compliment every project he works on. Selected as one of six fellows for the 2011 Sundance Institute’s Film Composing Lab in Utah, Philip has always had a deep love for the interaction of music and film. He owes much of his success to his mentors in Hollywood, Harry Gregson-Williams, Alan Silvestri, Penka Kouneva and Peter Golub. 

“Wish Dragon” is the story of Din, a 19-yr old college student living in a working-class neighborhood of modern-day Shanghai, who has big dreams but small means. Din’s life changes overnight when he finds an old teapot containing a Wish Dragon named Long – a magical dragon able to grant wishes – and he is given the chance to reconnect with his childhood best friend, Li-Na.

Please enjoy my conversation with Philip Klein about Wish Dragon!

How Did You Get Started as a Composer?

I was a trumpet player for most of my young musical life but I eventually found myself being drawn more to orchestration and composition.  I had a soft spot for film scores at a very young age and would spend hours picking out notes to my favorite themes, so it felt natural to fall into that world when I went to college and beyond.  Once I had scored a few student films I was hooked and moving to Los Angeles was the logical next step.  I’ve had the great fortune of working with some of the most skilled artists in film and music.

How did You Get Involved with Wish Dragon? Was there anything in particular that drew you to the story?

Producer Aron Warner is a dear friend and we’ve both always wanted to work on a project together. One of Aron’s superpowers is curating a team of creatives that all compliment each other.  He felt that director Chris Appelhans and I would mesh well so he reached out and I saw a very early cut of mostly stick figure drawing and early animatics.  Even in its most basic form the story was beautifully conceived and it was clear from conversations with Chris and Aron that the film was going to be special. I did all that I could to convince them that I was the right composer for the film and luckily they agreed.  Chris’ passion for storytelling, the characters and the culture is what drew me in early on; it wasn’t long before I was happily escaping into this world on a daily basis.  

I saw that you also worked on Raya and the Last Dragon as an orchestrator. Given that both of these films are about dragons, would you say there are musical similarities between the two or did you go out of your way to avoid any overt musical comparisons to Raya?

James Newton Howard wrote a beautiful score for Raya. I lucked out a bit in that I actually finished recording the score for Wish Dragon several months before we began orchestration work on Raya, so my window for being influenced (and intimidated) by James’ writing had passed. James’ score took advantage of musical colors from different areas of Mongolia and Southeast Asia, whereas Chris and I wanted to stick very close to Chinese culture for the color of the score.  Raya has a bit more fantasy whereas Wish Dragon is a bit more comedic. So in that sense, the scores were always going to sound different.

What was your starting point in putting the music for Wish Dragon together? Was there a lot of collaboration with the director during this process?

I don’t think I’ve ever been part of a project where the director was as much a collaborator as Chris was on this film.  The first 3-4 months of the process was just sharing music, videos and thoughts back and forth.  We sent each other any kind of Chinese instrument, folk song, vocal, opera percussion; basically any sound we could find.  Eventually, we started to hone in on the overall palette and approach we thought may work and then I started to experiment with those boundaries in place.  Chris was intimately involved with the music from conception through recording and mixing.  Chris had such a strong vision of what he wanted and needed out of the score, I loved every minute of working through this film with him. 

Were you inspired by any earlier films when putting the music together since this is a reworking of the “genie in a bottle” type of story? Or did you try to put an original twist on it as far as the music went?

While on its surface this film may seem like a “genie in the bottle” kind of story, the film is much more about friendship and redemption than anything.  The spectacle and theatricality of Long’s character sits somewhat behind the genuine connections we follow throughout the film.  While it is important to give a voice to Long’s over-the-top character, we never went too far in making him seem like more of a being than he is.  I think previous iterations of that kind of story maybe put more emphasis on the genie type character and their performance.  So musically, you have to match that kind of energy.  In Wish Dragon, we always wanted more weight to go towards the relationships and arcs of the characters so it naturally kept me away from drawing too much inspiration on other films or scores.  I’ll always be proud of how Chris and I blended these beautiful instruments of Chinese culture with a more Western orchestral palette.  We didn’t want either to ever overshadow the other.

Did you assign themes to the major characters? Or if not all of the characters, did you give a musical theme to Long the dragon?

I’m a huge believer that thematic writing is one of the most effective ways to create memorable emotional moments in a film.  Long has a theme we hear in the first cue of the film.  It’s broad and sweeping, almost always played with the orchestra to give his character scale and drama.  Din’s theme probably recurs most often but is played much more simply and with less fanfare than Long’s.  Much of Din’s scenes take full advantage of the energy from the Chinese instruments we used.  For most of the film Din is full of optimism so his theme is orchestrated with lovely and light, plucked textures.  There are two secondary themes; the first for our baddies and the other for Din and Li Na’s relationship.  For the goons in the film, I used a lot of darker bowed sounds from the Chinese instruments and mixed them into more modern, synth heavy orchestration.  For Din and Li Na, it’s a very simple fluttering synth with a three note motive that echoes their “day by day” mantra.

How did you decide on which traditional Chinese instruments to include in the score? And was it hard blending those instruments with a traditional Western orchestra?

It can be overwhelming at the start of a score like this because my brain and ears want to explore every new color out there.  Unfortunately, I’d still be working on the score today if I didn’t put a bit of a cap on what instruments we should focus on.  Honestly, we spent months early on just listening and me having video calls with players all over the world.  I’d ask them to show me the basics of their instruments, what it can do, and what it shouldn’t do.  Eventually I boiled down my core palette to around 8-10 Chinese instruments that would represent that side of the score.  The orchestra was always in place as it’s difficult to replace the sheer power of that vehicle, but the Chinese instruments became our color and our energy throughout the film.  We never wanted the score to sound like an orchestra blasting away with some Chinese soloists playing on top of them.  Rather, we wanted the two to become more homogenized so that the Chinese world melted into the orchestral.  Blending them together was one of the most enjoyable experiences I’ve had because it opened my ears to brand new textures and colors.  It allowed me to explore a new musical world I had never heard before.  That’s always the most exciting part of working on a film. 

How much time did you have to score Wish Dragon?

I had the great fortune of working on this score for nearly a year.  This gave us plenty of time to truly flesh out all of our wildest ideas, themes and orchestrations.

Do you have a favorite track or moment in the score?

I will always love the scene and cue titled “Everything That Matters.”  It’s such a beautiful, honest moment between Din and his mother and their relationship’s arc in the film.  It was also one of those moments where Din’s theme just seemed to line up perfectly without me having to do much.  That doesn’t always happen, but it’s a pleasant surprise when the notes just seem to fit the film without much ado.  

I hope you enjoyed my conversation with Philip Klein about his work on Wish Dragon. You’ll be able to check out the film when it releases on Netflix on June 11th, 2021.

Have a great day!

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Composer Interviews

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My Thoughts on: Raya and the Last Dragon (2021)

I have been super excited about Raya and the Last Dragon for so long, a part of me felt like the movie would never actually come. But at last, the movie became available on Premiere Access on Disney+ and against all the odds I found myself paying up the $30 to check it out on release day because the film looked that good in the previews.

As it turns out, this was a great decision to make, because Raya and the Last Dragon is amazing. Seriously, believe the hype you hear about this movie because this is some of Disney’s best work. The story is set in the fictional world of Kumandra, which is based on various parts of Southeast Asia. With her world threatened, Raya (Kelly Marie Tran) sets out to find Sisu, the Last Dragon (Awkwafina) and save the world.

With a premise like that, you might think you know how the story is going to play out, I know I did. And I was completely okay with how I thought the story was going to go: girl goes on an adventure, girl finds dragon, girl saves the world. However….that’s not what ended up happening because the movie is about so much more. To be sure, there is a LOT of girl power in Raya and the Last Dragon, and I loved every minute. But at the end of the day, the story isn’t just about a heroine saving the world, or even two or three heroes getting together to save the day. The real story is about coming together and trusting people, and building a better world on that basis. Given how messed up the world has been with racism and similar issues, the message in Raya and the Last Dragon couldn’t be more timely. There’s also a strong message about taking responsibility for one’s actions. I admit to being resistant about this particular message, but the character pointing this thing out was right: you need to admit when something is equally your fault and not just blame the other person.

Along with this amazing story is an equally awesome voice cast. Kelly Marie Tran absolutely kills it as Raya, it doesn’t take much and you’re completely hooked into her character. This is the type of Disney princess I’ve been dreaming about for years, even Queen Elsa (despite her awesomeness) didn’t quite hit the nail on the head for me as much as Raya does. She’s a badass warrior, but also sweet and compassionate. Watching her grow from beginning to end of the story is a fun experience.

And pairing her with Awkwafina’s Sisu makes one of the best parts of the movie. Sisu is nothing like what I was expecting, but that’s okay because I loved every minute of screen time she had. I’ve never seen a dragon like Sisu (I’m used to large scaled dragons like Smaug) before but she’s beautifully animated and she feels alive, which is a sign that you’ve nailed the CGI.

Then there’s the music (you know I had to mention that part). James Newton Howard, one of my favorite composers, has put together an amazing score that helps bring the different areas of Kumandra completely to life. As you might expect, it’s tinged with elements of Southeast Asia as well, I’m sure a behind the scenes look would confirm that a number of traditional instruments were used in the instrumental mix. The music definitely helps create the idea that the different areas of Kumandra are their own separate and unique places.

All of this is to say that Raya and the Last Dragon was not only worth the wait, it was also worth the $30 I paid to see it now instead of waiting until June. Disney has put together a story that honors its Southeast Asian inspiration, while also creating a new world that I would be more than happy to visit again. And the story will take you by surprise in the best way possible. I would love to go into more detail than that, but to say literally anything else would be giving too much away. You really do need to see this for yourself.

Go watch Raya and the Last Dragon (available now through Premiere Access on Disney+) and then let me know what you think about it in the comments below and have a great day!

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 Animated Film Reviews

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