We were lucky to catch up with Ching-Shan Chang recently and have shared our conversation below.

Hi Ching-Shan, thanks for joining us today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?

I believe the thought of what life might have been like had we chosen a more conventional path has crossed the minds of nearly all artists at some point. We could have clocked in, worked in air-conditioned offices, performed tasks outlined in a job description, shared lighthearted conversations with colleagues during lunch breaks, and clocked out—day after day.

I have lost count of how many times I have asked myself: am I truly choosing to forgo the possibility of a higher and more stable income in exchange for a career in an industry where hard work offers no guarantees, where the future is uncertain, and where we are now confronted with the rapid rise of artificial intelligence—technology that could ultimately replace us? For what, exactly?

And yet, if someone were to offer me enough money to live comfortably for the rest of my life, on the condition that I would have to give up writing music, would I accept? The answer has always been: absolutely not!

Music is among the most universal of languages. It unites people of all races, backgrounds, cultures, and social standings, allowing us to share a singular moment together. Whether we resonate with it, struggle against it, or use it to mask our pain, music conveys emotion in a manner that transcends education or training. It is one of the few truly inclusive art forms—accessible and meaningful even to those without formal musical experience.

I believe it is essential for us, as artists, to recognize how fortunate we are to have discovered a genuine sense of purpose and mission. In a way that is similar yet distinct from religion—where religion represents the voice of God reaching down—music embodies the voice of humanity rising up. It is not sacred text delivered to us, but sacred text we create, one note at a time.

Despite the exploitative nature often present within the entertainment industry, I remain convinced that music genuinely makes the world a better place. And in arriving at this understanding, I am filled with deep gratitude and reawakened by inspiration.

Ching-Shan, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

Since I began learning the piano at the age of five, I’ve always had a deep passion for various areas of music—practicing the piano, improvising, and jotting down musical ideas that eventually led to a serious pursuit of a composition degree. A few years ago, everything seemed to align as I found myself at New York University studying film scoring—and, almost serendipitously, stepping into the film industry.

Thanks to my solid classical training and the experience of writing extensively for Tom Holkenborg (aka Junkie XL), composer of the Mad Max saga, I’ve become a valuable collaborator to several top composers. I’ve written additional music in a wide range of styles for numerous films and TV shows, including Sonic the Hedgehog 2 & 3 (Paramount), Rebel Moon (Netflix), Until Dawn (Sony), Welcome to Derry (HBO), My Father’s Dragon (Netflix), and more. While working on large studio projects can be thrilling, I often find deeper artistic satisfaction when collaborating with independent directors on smaller films. In those settings, I have the freedom to explore uncharted creative territory without the constraints of strict deadlines, and to experiment with sound palettes that are outside my usual comfort zone.

In 2018, a short film I scored titled A Flor Azul, directed by Guilherme Pedra, was screened at the Festival de Cannes. Most recently, in 2025, the feature film Laws of Man—starring Harvey Keitel, Graham Greene, Dermot Mulroney, and Jackson Rathbone—was released in theaters in January.

Alongside my work in the multimedia industry, I’ve also been fortunate to collaborate closely with orchestras around the world, especially in Taiwan, where I’m originally from. After graduating from the Eastman School of Music, I began working in the concert music scene and have developed a long-standing relationship with the National Taiwan Symphony Orchestra. Among the many projects I’ve done with them over the years, I was especially honored to arrange several beloved Taiwanese folk tunes for their 2022 National Day performance, and to compose a 100-minute musical in collaboration with StoryWorks, a renowned production company in Taiwan, which premiered during the height of the pandemic.

Beyond Taiwan, I’ve also been commissioned by the Missouri Symphony Orchestra, where a fanfare I composed was officially proclaimed the city’s anthem after its premiere in 2023. More recently, I was commissioned by the Tourism Bureau of Taiwan to compose music for the main light show at the 2024 Taiwan Lantern Festival, which was recorded with a 60-piece orchestra in Budapest.

Thanks to the overwhelming support from orchestras and wind bands that have expressed interest in my work, I have also begun self-publishing my compositions through my own label, BEYOND THE STAFF MUSIC!, offering both sales and customizable rental services.

Is there a particular goal or mission driving your creative journey?

Working on a project—whether it’s a major studio production or an independent one—is very much like running a marathon. There are moments when my body and mind have already reached their limit, pushing through crunch time with sheer willpower. Yet somehow, I still need to squeeze out that final 1% of energy to get the project across the finish line.

The entire process involves relentless grinding, constant revisions, and endless rewrites that can, at times, make me want to quit altogether. However, when the project is finally released and I see its poster on a billboard, a sense of euphoria blooms within me as I realize I’ve overcome a challenge I once thought impossible.

After going through this process time and time again, I’ve noticed how each experience transforms me—making me mentally stronger, artistically more mature, and just a bit closer to my goals. I’ve come to believe that struggles are not just obstacles, but blessings in disguise—fuel and motivation to continue improving, even beyond the pursuit of any specific goal.

That said, given the unpredictable nature of this industry, I’ve slowly realized that setting rigid goals—at least in the traditional sense—may not be practical. We never truly know where our careers or lives will take us. What is within our control, however, is maintaining the right mindset and work ethic throughout the journey, and staying aligned with the direction we aspire to move toward.

The answer may sound simple or even anticlimactic, but it’s the truth: my goal is simply to be grateful for every opportunity that comes my way, and to give each project the best I have to offer.

What can society do to ensure an environment that’s helpful to artists and creatives?

Music is being consumed almost every second, in every corner of the world, by diverse groups of people, in various settings, and in a wide range of forms. However, not all the appropriate revenue is being collected and distributed to the rightful artists and creators, due to flaws in tracking systems and the challenges posed by dealing with streaming platforms. Over time, audiences have begun to take music for granted as mere background noise, and filmmakers have increasingly devalued the craftsmanship and mastery required for composers to create something truly unique.

To make matters even worse for artists, there is now the looming threat of rapidly advancing artificial intelligence technology.

Artists not only confront their deepest emotions—both positive and negative—and transform them into music, but they also share that vulnerability with audiences, critics, journalists, and complete strangers around the world. Many of us continue to write music despite the harsh realities surrounding us, because we believe that good music can make the world a slightly better place, bring people together, and help us all endure tough times. In return, it would mean a great deal if people found ways to support us—fueling our persistence and our passion.

With the declining number of moviegoers, it is truly disheartening for film composers to witness the diminishing appreciation for the cinematic experience. I strongly encourage everyone to watch films in the most professional settings possible—with big screens and pristine sound systems—because only then can audiences fully experience the hard work and artistry we pour into each project.

In the professional world, as artists confront the growing presence of A.I., I sincerely hope our collaborators will continue to place their faith in the irreplaceable value of human-made art and music. No matter how technically proficient A.I.-generated music may become, it will never match the beauty and timelessness of human imperfection. More importantly, people connect to music through emotional resonance and lived experiences—something that no robot or machine can replicate.

Therefore, I believe it is of utmost importance that we all prioritize supporting the livelihood of living, breathing human beings in every possible way, and help fuel the belief that art created by humans will always prevail.

Contact Info:

• Website: https://www.chingshanchang.com/
• Instagram: https://www.instagram.com/cschang_music/
• Facebook: https://www.facebook.com/cschangcomposer
• Linkedin: https://www.linkedin.com/in/ching-shan-chang/
• Soundcloud: https://soundcloud.com/chingshanchang

Image Credits

Notley Hawkins
Santa Fe International Film Festival