International Film Music Critics Association: Joy Ngiaw Interview

The world of WondLa is truly unique and magical. How did you create music that represents it so well?

Thank you so much, that’s very kind! Creating music for WondLa was a deeply immersive and rewarding experience because Tony DiTerlizzi’s world is so rich and magical. My goal for the score was to capture the essence of this unique universe.

For me, it’s about thinking outside the box and finding creative ways to showcase the uniqueness of each character and environment—whether through specific instruments or textures that add a distinctive flavor to the composition.

It was incredibly fun to use a wide array of world instruments to represent the different alien tribes and their cultures. 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, with its textural and intertwined infrastructures, inspired me to create a theme that is syncopated and polyrhythmic, reflecting the village’s vibrant spirit. In contrast, for Solas, the advanced city of Orbona, I opted for plucked instruments such as the Korean Gayageum, Sanjo, and Chinese Liuqin and Dan Nhi, layered with the grandeur of a Mongolian choir to underscore its sophistication. The theme’s meter, an unexpected 5/4, adds to its distinctly different and otherworldly feel.

By thinking about how the music can enhance the viewing experience for the audience, I was able to add a unique sonic identity to each tribe, enriching the world of WondLa.

Full interview: International Film Music Critics Association