We had the pleasure of talking with Joy Ngiaw, a Malaysian film and TV composer whose extraordinary talent has earned her accolades such as the Best Music Award from Hollywood Music in Media and an Annie nomination for her work on Blush.
Joy's journey in the world of music is as inspiring as it is impressive. From her early days as a pianist and vocalist to becoming the youngest composer to score a major studio logo for Skydance Animation, Joy has continually pushed the boundaries of what music can achieve in storytelling. Her passion for experimenting with a wide array of tones, textures, and vocal techniques has given her compositions a distinct touch that sets her apart in the industry.
In our conversation, we delve into Joy's latest project, WondLa, an adventure trilogy on Apple TV+ adapted from Tony DiTerlizzi’s beloved books. We explore how Joy approached creating the unique soundscapes for the series' diverse tribes and aliens, and how her deep admiration for DiTerlizzi’s work fueled her excitement for the project.
Join us by reading on to get insight into Joy’s creative process, her collaboration with industry veterans like John Lasseter and Bobs Gannaway, and the rewarding experience of bringing this epic world to life through music.
Can you describe your initial reaction to the project when you first got involved with or were pulled in for 'WondLa'?
Absolutely ecstatic! My collaboration with Skydance Animation began with scoring their first animated short, Blush, and then I had the honor of scoring the studio’s inaugural logo. Working with such fantastic collaborators has been incredibly rewarding, and I am grateful to be part of this talented group whom I deeply admire. I was especially excited about the premise of WondLa because I’m a huge fan of Tony DiTerlizzi’s trilogy—I devoured the books in one weekend and couldn't put them down! I was very moved by the inspiration behind WondLa, as Tony wrote it for his coming-of-age daughter, focusing on themes of finding home and family. The show has an extremely rich and epic world with dynamic characters, so I was particularly excited about the opportunity for the score to be a blend of many different genres and instrumentations.
How did you approach creating the distinct soundscapes for the diverse tribes and aliens in 'WondLa'?
I was brought on early in the process, where I read the scripts and studied the concept art, costumes, and production design—they were spectacular! Having read Tony DiTerlizzi’s trilogy, I had a solid foundation of who these characters are and the distinctive characteristics of each tribe. I researched the inspirations behind the countries and cultures these characters were based on, which helped me tailor the instrumentation for each location’s theme.
For Lacus, a fisherman's village filled with community and family, I incorporated African instruments like the bolon, kalimba, and balafon into the score. The concept art revealed an infrastructure that is very textural and intertwined, inspiring me to create a theme that is syncopated and polyrhythmic. In contrast, for Solas, the advanced city of Orbona, I opted for plucky instruments such as the Korean Gayageum, Sanjo, and Chinese Liuqin and Dan Nhi, enhanced by the grandeur of the Mongolian Choir to underscore its sophistication. The meter of the theme was an unexpected 5/4, creating a distinctly different and otherworldly feel. This approach allowed me to add a unique sonic identity to each tribe and enhance the viewing experience for the audience.
Could you share a specific moment or scene in 'WondLa' where you felt the music truly enhanced the storytelling?
I absolutely loved the scene in episode 2 when Eva, Rovender, and Otto fly across the beautiful Orbonian sky with the sky whales. With no dialogue in that scene, the music played a crucial role in portraying Eva’s feelings of wonder and excitement as the team soared across the epic sky. It was a beautiful introduction to the world outside for Eva, making it an incredibly moving and touching scene to score.
How did you collaborate with the director and other members of the production team to ensure your music aligned with the vision for 'WondLa'?
Collaboration is key in film scoring, as it’s my job as a composer to bring forth the filmmaker’s vision. I love understanding the 'why' of each scene, whose POV we are scoring to, and what emotion the music should convey in each beat. As the filmmakers describe their vision, discussing story and emotional beats, this all acts as an incredible backbone for the score. Oftentimes, I’m not scoring to the final animation, so I always make sure to ask for color keys, lighting shots, and images to gather inspiration. This all plays a huge part in the decisions I make when it comes to scoring. The team maintained a very open and safe space to exchange ideas, try new approaches, and inspire one another.
What are some of your favorite musical influences, and how have they shaped your work on 'WondLa'?
Growing up, listening to animation scores by legends like Alan Menken has definitely shaped the way I approach my compositions. Whether it is scoring with strong melodic sensibilities or building on variations of character themes, my goal is to always guide the audience along each character’s journey by creating memorable and singable themes. The WondLa team and I bonded over our love for melodic scores, and it was fun to utilize our many character and location themes in different variations, whether for emotional beats or action-driven scenes.
Another composer who influenced me greatly is Joe Hisaishi. I am fascinated by the complexity of emotions in his music, and his scores always evoke a sense of nostalgia for me. His music tells a story and ties so closely with the film that when you listen to it on its own, the images of the film float in your mind, representing the heart of the movie so beautifully. That’s what I strive for when approaching each project, and I certainly aimed for that in my score for WondLa.
Can you discuss any unique techniques or unconventional methods you used in your compositions for this series?
I love experimenting with my own voice to create unique textures and sound effects, which bleed into the score and add a unique sonic identity to WondLa. By recording layers and layers of different vocal textures—such as breaths, 'shaaaa's, hums, and chants—I can introduce a fun human element into the score. Additionally, I enjoy sampling everyday objects from around my house and transforming them into instruments. For example, a slinky can become a fun percussive instrument after applying software processing and manipulation. Drawing inspiration from daily sounds is incredibly inspiring to me, allowing for a fresh and unconventional approach to the compositions.
What has been the most rewarding aspect of working on the 'WondLa' series for you personally and professionally?
The most rewarding aspect of working on the WondLa series, both personally and professionally, has been the opportunity to collaborate with such a talented and dedicated team.
I'm especially proud to have WondLa as my first animated series. The epic and vast story provided a fantastic canvas for me to be as creative and imaginative as possible. Whether it was creating sonic identities for the different alien tribes or pushing my vocal abilities, this project has allowed me to grow significantly as a composer and artist. The creative freedom and trust given to me by the filmmakers enabled me to explore new musical territories and experiment with unique sounds and instruments that I might not have otherwise used. This experience has deepened my investment in the storytelling process, ensuring that the music not only complemented but also enhanced the narrative and emotional journey of the characters.
On a personal level, spending almost two and a half years with this team has built friendships that I'll cherish for life. As I continue on this composing journey, I’ve discovered my voice as a composer, what speaks to me, and what I wish to contribute to the world.
What can audiences expect next from you in terms of projects on the horizon or genres you hope to explore with your work next?
I'm currently working on a few new projects that explore different genres and styles. One of the aspects I love about composing is the ability to dive into diverse worlds and tell unique stories through music. I'm particularly excited about my upcoming animated show, Mattel’s Barbie Mysteries: The Great Horse Chase, which will premiere on Netflix in the fall. The score for this mystery action adventure allows me to create my own "Charlie's Angels meets Ocean's 8" tone, something new and exciting to explore.
In terms of genres, I'm eager to explore more in the realm of science fiction and fantasy. These genres offer so much creative freedom and the opportunity to craft otherworldly sounds that enhance the storytelling. Additionally, I'm interested in delving into more intimate, character-driven dramas where I can focus on subtle, emotional scoring that deeply resonates with the audience.
Overall, I'm always on the lookout for projects that challenge me creatively and allow me to grow as a composer. I can't wait to share these new works with everyone and continue to push the boundaries of what music can bring to storytelling.
To follow along with Joy and her exciting projects, you can follow her Instagram: @joyngiaw and her website: joyngiaw.com
