As a music enthusiast who has followed Leopold Ross‘ career since his days scoring indie films, witnessing his transformation into a composer for a grand historical drama like “Shōgun” feels nothing short of extraordinary. The collaboration with Nick Chuba, Atticus Ross, and Taro Ishida was not just a two-year project, but a musical odyssey that took us through the rich tapestry of Japan’s early 1600s, a journey as captivating as the series itself.
In an exclusive series titled “EbMaster’s Behind the Scenes,” the music maestro, Leopold Ross, dissects the captivating main theme of the show’s title sequence, “Shōgun.”
Initially, a casual email from an old work colleague sparked my interest in assisting him with the score for “Shōgun.” However, this seemingly straightforward request led to an extensive, approximately two-year-long partnership with composer Nick Chuba, Atticus Ross (his brother), and arranger/composer Taro Ishida.
A series centered around historical events in the early 1600s, inspired by James Clavell’s novel, tells the story of John Blackthorne, an English sailor who experiences a shipwreck in Japan and gets caught up in the intricate political and cultural milieu of the nation. In this alien environment, Blackthorne is drawn into the power games between feudal lords, particularly the ambitious Lord Toranaga, played by Hiroyuki Sanada. Cosmo Jarvis portrays John Blackthorne, while Anna Sawai takes on the role of Lady Mariko.
As a movie enthusiast, one of my initial brainstorms for this theme revolved around me playing a nose flute, as Justin Marks (co-creator and showrunner) believed this unique instrument perfectly captured the essence of our world. Once we established that key element, we then began to expand upon it, developing the story from there.
“Ross explained it as starting from this point and developing a theme that reflected the realm of ‘Shogun’ while mirroring the grandeur of the visuals,” or simply, “Ross described the process as expanding on what we have now to create a theme fitting for the world of ‘Shogun’, matching the scale of the visuals.”
Following the presentation of the nose flute, Ross proposed adding a bamboo flute called the shakuhachi, renowned for its deep lower tones. However, it was when they introduced the third instrument, the hichiriki, that the composers were able to enrich and symbolize their works.
“The hichiriki is a tiny, gravelly wind instrument that gained significant prominence in our production due to its interaction with our effects. This instrument is placed in an extraordinary realm – neither antique nor contemporary, neither Eastern nor Western, but rather existing in a space defined by the gaps between these categories,” he clarified.
As the various instruments started building up, creating a chaotic symphony, Ross found himself in need of a method to bring everything back together and transition smoothly into a more peaceful and soft melody.
That’s where Buddhist monks came in.
At a temple’s festival, Ross and his team were granted permission to capture the monks during their performance. One phrase from their recording served as a bridge, helping them transition from the aesthetic appeal to a more harsh or violent theme.
Looking at his finished project, Ross admitted that he felt an immense sense of pride about the series and his contribution to it.
“He shared that he felt incredibly proud re-watching the series and found a deep connection with it. Initially, they believed it would only appeal to a specific audience, like an obscure work of art. However, they didn’t anticipate its massive success. He expressed, ‘It’s simply an honor to be part of a project where the quality of workmanship throughout is so exceptional, and we aimed to meet that standard. It’s both humbling and awe-inspiring.'”
Watch the entire conversation above.
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2024-08-15 23:16