For composer Tan Dun, Yo-Yo Ma proved to be key for ‘Crouching Tiger’ score

Among its four Academy Awards, Ang Lee’s “Crouching Tiger, Hidden Dragon” (2000) received an Oscar for composer Tan Dun’s score. Featuring solos from Yo-Yo Ma, the soundtrack blends Eastern and Western influences. Director Lee designed the film’s martial-arts sequences in the manner of a musical, giving Tan Dun lots of leeway in composing the score. In this excerpt from a Q&A originally published in Soundtrack magazine, Dun discusses the project. The Chicago Symphony Orchestra will perform Dun’s score while the film is projected above the stage in two CSO at the Movies concerts Jan. 10-11.

How did you end up writing this score?


Ang Lee and I have been friends for more than 10 years, in New York City. After he had finished “Ice Storm” (1997), he wanted to do something together. He told me, “I’m going back to China, doing a martial-arts film. kung-fu — but showing it in a different way, from a much more philosophical, cultural angle." So I got into it immediately.

So you were involved early on in this project?


Yes, I started actually three or four years before shooting began. He gave me a script, and we talked a lot about the concept. We were talking about a lot of things, such as high and low cultures, and East/West, and of course, we had to search for a bridge between those things.

They’re very different schools of thought.

Yes. And we thought [cellist] Yo-Yo Ma [who performs on the soundtrack] is the bridge. Yo-Yo is also a personal friend of mine, and we have worked together for several protects.

How much time did you have to compose the score?


Ten days. Ang Lee finished shooting at Christmas; I started to score it in February, and we started recording in March. So it was good that everything was pre-conceptualized.

What was the most difficult sequence to score?


The martial-arts fighting scenes. It’s like a ballet, every second is being choreographed, and every second needs to be synchronized.

Do you find a difference in scoring sensibilities between Eastern and Western filmmaking?

No. At least that’s been my experience. Also, I was trained to use sound without those boundaries.

What drew you to film scoring?

I love human passion stories — and I find an outlet for my music in that.