By: Anne Schulze

Recently, the film “Camel (2025)” has just been completed. This is a work that brings together many international film talents. It is particularly worth mentioning that the soundtrack of the film was produced by composer Ruichao Wu, who added a lot of color to the film with her unique musical talent. Ruichao Wu is not only an outstanding representative of film music but has also won many awards in international music competitions. Wu Ruichao shares how she breaks through herself and creates unforgettable film music.

Some of your pieces, like “Tarot Card Suite” and “Two of Pentacles,” premiered on international stages. What were the inspirations behind these works, and how did you translate these inspirations into the language of music?

Ruichao Wu: Since I am very interested in mysticism and philosophy and have studied the history of tarot cards and the profound meanings of each card, I believe that music is the best medium to interpret such abstract concepts. For each card, I blend my personal life experiences with the meanings of the tarot cards in both upright and reversed positions. In fact, many of the melodies in this suite came to me suddenly when I was very sad or dreaming. I then noted them down and developed them into complete pieces. In terms of musical style, I wanted to combine the ethereal qualities of Impressionism with the structure of Neoclassicism. I am very happy that after I posted these on video-sharing websites, they resonated with and were loved by many people. I have also won numerous international music competition awards with the Tarot Suite.

You have achieved numerous awards in international music competitions. How have these accomplishments motivated your performance in film scoring?

Ruichao Wu: In 2023, I participated in more than a dozen competitions, including the UK International Music Competition, and won first place in most of them. These awards have indeed brought visibility to me and my music, and I have received more job opportunities and commissions as a result. I am truly honored that my works have been loved by so many judges and listeners. My original intention in participating in these competitions was to have my work heard by more people, and I didn’t expect to win so many awards.

This year, I participated in the Music International Grand Prix. I flew from Los Angeles to New York to compete as the only Asian finalist. There, I met many talented musicians and had face-to-face exchanges with the jury, and I also participated in a concert at Merkin Hall. Through these events, I was able to communicate with more outstanding musicians, and listening to their music benefited and inspired me greatly. I have always believed that innovation in film music and concert music is inseparable. Through these events, I received a lot of sincere evaluations and suggestions, and I learned a lot from other contestants. I have integrated these suggestions and experiences into my film music compositions.

“Camel” is one of your latest works. What challenges did you encounter while composing the score for “Camel”? How did you overcome them?

Ruichao Wu: This is a film of incredibly delicate emotions. During early discussions with the director about the musical style, the word “subtle” came up frequently. The music was required to express emotions without being overwhelming while accurately conveying the inner world of the characters. There was even a scene where the director asked me to restrain the emotional intensity through music, contrasting with the actors’ performances, yet still conveying the emotions—a highly challenging task.

To meet this requirement, I created so many demos. Concerned that MIDI-produced demos might not be precise enough. I even enlisted friends to perform live and record their playing for the director to hear. There is one scene, I went through 12 versions before finalizing it—though the differences between these versions were minor, I still wanted to ensure it perfectly matched the visuals and the characters’ emotions.

I am immensely grateful for the director’s candid and timely communication throughout this process, which enabled us to create music that best suited the film. Through such collaboration, we ultimately achieved our goal of delicately and accurately conveying the film’s emotions through music.

How were the recording sessions for this film? 

Ruichao Wu: The film’s score was recorded in four cities across North America, Europe, and Asia. We started with the Empire Film and Media Ensemble in Rochester at the Ray Wright Studio, Eastman School of Music, where I conducted. Collaborating next with the Budapest Scoring Orchestra, we faced time zone challenges, starting recordings at 4 AM Los Angeles time. Renowned percussionist Brian Kilgore joined us for percussion parts in his LA studio, using unique instruments and bringing depth to the score. His involvement added a special touch to our collaborative efforts.

What are your future plans and goals? Do you plan to continue working in film scoring or explore other areas of music?

Ruichao Wu: Music continues to be my life’s pursuit and the unwavering answer to this question. It’s not just about film, but also television, theater, musicals, games, poetry… I aim to explore all of these mediums and make my music an integral part of storytelling. The power of music lies in its ability to transcend language and cultural barriers, directly touching people’s hearts. Whether guiding emotions through film scores, enhancing tension in television dramas, or enriching character depth in theater and musicals, I aspire for my music to be a vital component of narratives.

Additionally, my interest in Asian pop music is growing. This genre’s rich melodies and diverse styles have captivated me. I hope to have the opportunity to create my own Asian pop music, expressing my emotions and stories through music to touch more hearts. Across all fields, I will continue to use music to tell stories, driven by my love for music and commitment to life. I hope for more opportunities in the future to let my music shine across different narrative mediums.

Published by: Khy Talara