After finally sitting down and watching Wish Dragon on Netflix, I have to confess I have (once again) learned a powerful lesson: one should never judge a movie by its first 20 minutes alone. Because while Wish Dragon does get off to a rather slow start, it does eventually come into its own with a beautiful story to tell.
The story of Wish Dragon is set in modern Shanghai and follows a capable (but poor) young man named Din, who unexpectedly finds himself in possession of a magic teapot containing a “wish dragon” named Long who can grant him three wishes. If that sounds suspiciously familiar to the plot of Aladdin, well, it is, and on that basis alone I almost gave up on the film because, let’s be honest, Disney did that story years ago and did it very well.
But there’s a key difference between these two films and that is the titular wish dragon Long. This pink dragon is no Genie, and the film is well-written to make sure we don’t think of him that way. Long is an unexpectedly complex character; he started off irritating but slowly grew to become one of my favorite characters in the film. Long isn’t just a magical dragon, he has his own motivations that color the story and that creates a completely different relationship between Din and Long than what exists between Aladdin and the Genie. It’s a brilliant twist on this kind of story actually, and I’m glad I stuck with the film to see how this story arc played out.
Another thing I love about Wish Dragon is how this story puts a platonic twist on the “boy wants girl” story trope. When I first heard of this film and realized there was a young man and young woman involved, I rolled my eyes and thought “here we go, another YA animated romance film. Next!” And then I saw the part in the trailer where Din admits that he does NOT want Lina to fall in love with him, he just wants her back as his best friend. And that made my jaw DROP. That….you don’t see that in stories, or at least you didn’t until now. It was so refreshing to see a story where romance is NOT the ultimate goal of these magic wishes (another key difference from Aladdin).
And then there’s the film’s themes about telling the truth and friendship. Of course the most important theme in this film is friendship and how it is one of the most important things you can have, even more than money or fame. But…at the same time there’s an almost equal emphasis on telling the truth, be it about what you really want in life or being honest about who you really are. You need to be honest with yourself and the world about what you really want, at least that’s what I gathered after watching this film.
As a quick side note, I might also say that Wish Dragon also has a smaller lesson embedded in it, that being “be careful what you wish for, you just might get it.” It’s a lesson you don’t see implemented consistently with magical wish-granting stories, but Wish Dragon does make good use of it in this film, and Long even snarks about how one should “be careful what you DON’T wish for” in reference to this idea.
Now, as much as I ended up loving Wish Dragon, it does take a little while to get going. I beg you to be patient with the film’s first act because once things are properly set into motion, the story is a lot of fun. Other than that, I have no real complaints about this film. The animation is smartly done and the music, as I learned from talking to the film’s composer, is indeed a perfect blending of East and West.
Despite some minor flaws and a slow start, Wish Dragon proved itself to be everything I was promised and more. It proves a story like this doesn’t need romance to work and it also rams the lesson home that money is NOT everything nor is being rich everything it’s cracked up to be. As the credits rolled, I found myself more than happy with what I’d seen and I happily recommend checking this film out on Netflix.
Let me know what you think of Wish Dragon on Netflix in the comments below and have a great day!
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-classneighborhood 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 thatboth 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.