Interview: One Last Night in Austin, Texas Composer Yuheng Yan Discusses His Score

 

“One Last Night in Austin, Texas” has just been released in theaters. With its poignant coming-of-age narrative, brilliant direction, and visually stunning cinematography, the film has taken the cinematic world by storm, earning over 14 nominations and wins at major festivals and captivating audiences around the globe. At the heart of its acclaim is the film’s evocative score, which has played a pivotal role in its sweeping success. As the accolades continue to accumulate, we are thrilled to welcome Yuheng Yan, the composer behind the film’s soul-stirring music, to join us today for an insightful conversation about his work on this melancholic story.

 

I was amazed by this score, because it blends the traditional orchestral elements with folk instruments and modern synthesizer textures. Most importantly, it never distracted from the movie at all. Can you share some insights into the scoring process?

 

I’m glad that you enjoyed the score! Regarding the process, I know this word gets used way too much, but it really was an organic process. As a film composer, usually you are required to provide a score that does not do much and just support. Whereas with Max and Duane (the producers of OLNAT), they purposefully left many places in the film where there were little to no dialogue and sound effects, and the emotional weight of the story is entirely carried over by the actor’s performance and the music. It’s not a question of, like, being in the background and doing that thing that we normally do as film composers, which is that we’re just felt and not really heard a lot of the time.

 

The intentions for the music were very specific, they want the music to be a part of the tone of the movie. “We want to hear the score and it needs to be a part of every character.” Max and Duane were like “Just swing for the fences, and we’ll rein you in if it gets too much.” It was rare to be given that much freedom and trust, and I think that’s why I decided to really experiment with different ideas and approaches. 

 

I mean the movie was a really refreshing take on a coming-of-age story set in Austin, Texas. It is about a closeted African American young man embarking on a journey of self-discovery by reconciling with his past relationships and his identity. Although the film inherits a melancholy undertone, I know that the score cannot just be a compilation of “sad music.” It must be multi-layered to support the character development and the story arch. Thankfully, Max and Duane knew that they wanted the music to achieve, and we were confident from the start that the thematic material, and this idea of heavily incorporating the use of folk instruments in the score, would make everything work together. 

 

Did you have any specific influences that you drew from? I could recognize some moments that sounded like Dario Marianelli, and just about everything. 

I mean you say everything, and that’s correct. Dario Marianelli would be in there, because as a film composer, how can you ignore that influence? But just as Marianelli is an essential part of the score’s influence, how can you ignore the Derek Trucks’s influence? Or anyone that is in my record collection; subconsciously they are all swimming around up in my brain. It wasn’t a just about picking a few specific genres or specific influences to rely on. It was about whatever came out of my head at that point, being influenced by the script and the amazing images and amazing performances. 

 

In doing some research on you, it seems like you play pretty much every instrument. So, congratulations on that. 

 

Well not every instrument! It’s very kind of you to say that, but no, I’m limited. I play a few things. 

 

You play guitar, piano, and bass… But the question is, how much of the score did you do by yourself, and when do you bring in other instruments or musicians?

 

Reflecting on the experience, it was quite intense. During the lockdown, everyone was a bit stir-crazy, and I found myself in the studio surrounded by instruments. Experimenting freely really influenced the music; the score developed a genuine, raw band feel because I played most of the instruments myself. 

 

It reminded me a bit of watching Dave Grohl in his special, where he’s in his studio, piecing together music with various instruments—it was exhilarating feeling like a one-man band. Since it’s been ages since I’ve played with my own band, this project was a return to that hands-on creativity. I’m not technically perfect, and that’s not what I aimed for; this score is more about capturing a spirit, an attitude, rather than technical perfection.

 

Often, film scoring involves collaborating with incredibly skilled musicians who execute flawlessly under tight schedules. However, for this project, I leaned more on my instincts and spontaneity, which I think lent a raw, distinctive vibe to the work. 

 

You made the move from Boston to Los Angeles in 2020, since then you’ve worked with many A-list composers such as Dominic Lewis, Philip Giffin, etc. How did you find your footing as a composer in a new city while trying to navigate the entertainment industry?

 

Moving to L.A. was both an exciting and daunting decision for me. It’s always been my dream, a sort of romantic aspiration I held while studying at Berklee College of Music. There were moments when I was tempted to leave school early, pack up, and just head west, but looking back, I’m really grateful that I stayed and completed my degree.

 

The transition wasn’t easy at first. I sold my guitar to buy my plane ticket and upon arriving, I found the first few weeks quite challenging. There wasn’t much happening for me professionally, so I dedicated my time to writing music, sharpening my skills, and adapting to the new lifestyle in L.A. The city felt overwhelming and everything operated on a grander scale than I was used to. It took about six months before I truly began to feel comfortable and settle into my new environment.

 

What advice would you give to a composer who is just starting their career?

 

I believe there’s no single path to success in this industry; it’s all about finding what works best for you. I was incredibly fortunate in my own journey. Not everyone has the chance to be mentored by someone as exceptional as Dom, who really looked out for me. 

 

My particular route was quite unorthodox—I met a key mentor and pursued my goal relentlessly, quickly moving into a role as an additional composer. That’s not a common trajectory, as many successful composers start as assistants or interns and gradually work their way up. Yet, there are other paths too, like collaborating with directors on smaller projects which can lead to bigger opportunities as they advance.

 

But regardless of the path, the key is to constantly refine your technical skills, immerse yourself in a wide range of music, and always strive to improve. The goal should always be to reach higher, never settling and continually adapting your aspirations.

 

And perhaps it sounds cliché, but perseverance is crucial. If you’re truly committed to becoming a film composer and you refuse to accept defeat, I believe you can make it. In my experience, those who persistently pursue their dreams without yielding to setbacks often find success in one form or another.