Bao is a 2018 Pixar short about a Chinese-Canadian woman suffering from empty nest syndrome who gets a second shot at motherhood when one of her handmade dumplings comes alive.
Hardcore fans of movie music know that Pixar films have a very specific, enchanting sound. Examples being Randy Newman’s Toy Story score and Thomas Newman’s memorable Finding Nemo tunes. Even though Bao is a short film, the score by composer Toby Chu does not disappoint and stays in line with the emotional magnitude of Michael Giacchino’s Incredibles 2 score that precedes it. Chu, whose recent credits include NBC’s The Brave, Warner Bros. Unforgettable and Freeform’s Beyond, was able to bring a specific warmth and authenticity to the score through the use of traditional Chinese instruments and more specifically his knowledge of the culture, he is Chinese American. We spoke with him further on these topics in the below interview.
Some people have called Bao a landmark in Asian visibility. When first signing on to the project, did you know it was going to make such an impact on certain people?
Toby Chu: I grew up loving Disney and Pixar films. So when I watched Bao for the first time and saw that it was a Chinese story, I was incredibly excited. Excited that Pixar trusted me and put forth a story that so many viewers have been able to connect with. My hope is that this is just the beginning when it comes to shining a spotlight on Asian artists in our country.
What sort of direction were you given from the director, Domee Shi, when first starting out?
TC: Domee had the brilliant idea that the instrumentation should be a mix of east and west. She was super helpful and thoughtful through the process, and had a really clear vision of what she was after. We talked about growing up as a Chinese immigrant, the emotional elements in the story, the overall arc, and, of course, dumplings!
What is your personal favorite scene of the short? And your favorite scene to score?
TC: There’s a quiet moment when mom and her real son make up after the time apart. The scene is a powerful one that reflects the subtleties and complexities that are part of growing up in an immigrant family. It’s also specific to the Asian immigrant story, and the tension of being raised in a culture different than the one you experience when you’re outside of your house. There’s a desire for independence, and an identity separate from your background. That scene moved me deeply because of the multiple layers: coming back home again, returning to your roots, remembering the importance of family and the love of a mother for her son.
The entire short was a joy to score. It’s was great to bring everything together – the eastern and western elements musically at the end – when the orchestra gets to let go, playing out the theme in its richest form.
You are Chinese American, with dual citizenship in the United States and Croatia. Were you able to relate to this story on a different level because you have experienced a lot of it first hand?
TC: Absolutely. I did some reflecting upon my own upbringing before I started. It was eye opening in many ways. I really wanted to get the emotion just right. Having a personal connection with the story was both invaluable and inspiring.
We read that you used very specific Chinese instruments to make this score feel as authentic as possible. Did you already have these pieces in your collection or did you have to go out and find them?
TC: I reached out to a good friend, Chi Li, who is the erhu player featured in the film, and also happens to be an ethnomusicology professor at UCLA who specializes in Chinese traditional music. Through her I got to play and experiment with all of the major Chinese instruments.
You have scored thrillers such as last years Unforgettable, animated projects such as Surf’s Up 2: WaveMania and shows such as Covert Affairs and Burn Notice. Is there a genre and type of project you haven’t scored yet that you would like to?
TC: I’ve been really fortunate to work on so many different projects and genres over the past twenty years. It’s exciting, and one of the things I love most about composing for picture. Although every project is different, I throw myself into every one. That said, I haven’t scored a period piece yet. I think I would enjoy that very much.
On IMDB it says your next project is the animated feature Henchmen. Can you tell us anything about your involvement with that?
TC: I just got back from recording the orchestra. I was drawn to it because it takes a very unique angle with the superhero genre. The good guys are completely obnoxious, the villains are ridiculous, and the henchmen assume a leading role. That the real heroes in the story are the blue collared workers was an element that I really loved.
Learn more about Toby Chu at his home page.