Gregson-Williams discussed Mulan's delay, co-writing the movie’s end-title song and why the original was temporarily forbidden in his home.
] before, nor had I scored one, so we enjoyed the challenge and the deeper we got intoIt was quite a long voyage for both of us, but particularly for me as a composer. I’m normally brought on right at the end of the process, deep into post-production. That was certainly my experience onI started writing music a couple of years before.
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. We found incredible artists who contributed to the score.
These three virtues are really what drives Mulan through the story."Mulan’s Theme," when I first wrote it, I had to [make it] malleable [because she’s] quite vulnerable and unsure of herself at first. But I knew that by the time we got two-thirds of the way through that Mulan would be acting very heroically. This theme was going to have be very muscular. If I couldn’t make"Mulan’s Theme" very heroic, then it probably wasn’t the right one.
At a meeting with Niki that had gone quite well where I’d played her some of the score, I played the song for her and she loved it. From there, we played it for Mitchell Leib, the president of music at Disney, [and] he [suggested] Christina Aguilera [who sang “Reflection” in the original, and remade that song for the new movie]. She said she'd love to sing it. So it was a very, very, very fortunate happening, really.
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