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Awarding Winning Film Composer Joy Ngiaw (Blush on Apple TV Plus)
735 Plays3 years ago
J Scotty and Zuhair have a laughter filled discussion with the winner of the Best Score for the 2021 Hollywood Music in Media Award, film composer, Joy Ngiaw. Joy received the award for her work on the Apple TV Plus animated short film Blush, available to stream now.
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Transcript
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Interview with Joy Noire on Award-Winning Score
00:00:30
Speaker
On another exciting entry of animation deliberation, we've got another interview. This one is with an award-winning film composer. Join now, who we had the wonderful opportunity to speak with. She got the best score for 2021 Hollywood Music and Media Award for her score on Blush, which is available on Apple TV+.
00:00:52
Speaker
Also notably known for Walt Disney Animation Studios' Short Circuit, Xinhua, and Netflix's Rescued by Ruby. Stay tuned to our conversation with Joy. After some ads, we have no say over whatsoever.
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Speaker
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00:01:28
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thrilling experiences like ziplines, kitesurfing, ATV rides, stunning golf courses, and more at beachbound.com. Sing along if you know the words. A one, two, three, it's time for animation deliberation. A conversation and a celebration of our favorite action animated series. Yeah. Yeah.
00:01:53
Speaker
Welcome back to Animation Deliberation, the podcast where we take action animation and cartoons seriously, but not too seriously. My name's Jay Scottie
Journey and Inspirations in Film Composing
00:02:00
Speaker
St. Clair. Hi, I'm Zuhara Lee. And today we are joined by a very special guest. We have with us award-winning film composer, Joy Noire. Thank you for being here, Joy.
00:02:11
Speaker
Thank you so much for having me. And I feel left out. I wish I knew this lyrics to the song and I can join you guys. That was so fun. That was really fun. Well, now you can learn it and have it ready for the next time you join us. Yes. Yes. I was like, whoa, wait, hang on. I want to join. Well, I'm flattered because full transparency, I started to get a little embarrassed. I was like, wait, she's an award winning film composer. I'm just like staying in this little jungle that I came up with now.
00:02:37
Speaker
No, I actually, I like to just make up silly jingles on my own time. Like, no, no one would hear it. But you know, it's fun. It's fun. It makes me happy. So it's no, I appreciate it. It's funny, the last couple of times we've asked anybody if they wanted to like learn it and join along, they're just like, No, we're just gonna pass. I think we just gave up on asking.
00:03:00
Speaker
No, that like totally put me in the mood. I'm like ready. Let's go. That was the goal. I'm happy.
00:03:09
Speaker
All right.
Scoring Blush: Emotion and Healing
00:03:10
Speaker
Well, first of all, I want to congratulate you on the award. You received the best score for the 2021 Hollywood Music and Media Award for your work on Blush. Again, congratulations. Very well earned. I just I just guess I want to start by asking, like, how does it feel to be recognized and esteemed with such an honor? Wow. Thank you so much. Yeah, it was very
00:03:37
Speaker
surreal because I was part of such great company. And when I got signed on to this film, I honestly just wanted to help tell the story and bring this really important film forward. So to be able to be recognized through the music, it makes me feel very grateful and humbled, actually, that hopefully it helped translate the message that the director wants to show through this film. So very, very honored.
00:04:06
Speaker
Yeah, I think you did an absolutely outstanding job. Thank you. Yeah, I'll admit that I watched this for the first time last night in preparation for today, and I was not expecting to get as emotional as I did. Whenever I go into watching a content, whether it's for the podcast or just for my own pleasure, I try not to know anything about voice actors and who made it and how it was made. I want to go in and get immersed in the story as much as I can.
00:04:35
Speaker
And before hitting play, I was telling myself, it's like, make sure you're paying attention to the music because that's who we're interviewing. That's the important thing. And the second that it started, I totally got lost in it. It was so beautiful for something that didn't have words. And like, I think towards the end, I was like, was I even paying attention? Like I was paying attention to the music because it was beautiful and set such a wonderful tone and mood and the expression of just the
Approach to Composition and Storytelling
00:05:00
Speaker
whole story. But by the end of it, I was just like, wow, I was not expecting to get like
00:05:05
Speaker
that into it. So like, well done for what a 10 minute film that didn't have a single piece of dialogue in it. Like, yeah, so much. Thank you so much. Thank you. Honestly, it's all props to also, you know, the team, we have such a wonderful team. And this is such a personal story to Joe Mateo, our director. And I think everyone just does such a great job. We we all poured our hearts into it, especially on a film with such immense meaning, you know, healing and hope and
00:05:34
Speaker
I appreciate what you said. To be honest, sometimes when I write music, how I know when a score is done is if I'm not paying attention to the music anymore and I'm just fully immersed in the story. To me, that means I've done my job right. It's not meant to be distracting or anything. It's like, did I serve the story? Did I help bring that forward? I'm glad to hear that translated.
Career Path: From Assistant to Composer
00:06:00
Speaker
Yeah, I can only echo Zuhar's sentiments. I think you, again, you speak to the collaborative effort and the whole team coming together, which is totally true, especially with animation, like between the animators having to animate facial expressions to kind of convey emotion. But I really feel like you and your team had to do a lot of the heavy lifting with there not being any dialogue whatsoever. And the music did such a good job of transporting you to like this ethereal kind of world, like
00:06:29
Speaker
so otherworldly. And yeah, just the notes of grief and melancholy kind of highlighted with these moments of whimsy and joy. It really did the job of the dialogue. So again, kudos to you for that. And I want to get back to blush, but I kind of want to pick your brain a little bit about
00:06:50
Speaker
some of your background and kind of how you got into the industry and what your process is like. So upon doing some research, I noticed for most of your credits, you're either credited more recently as the composer or previously the score coordinator. So I was hoping maybe you could provide some insight into the differences between those roles, like what each role really entails and maybe how your time as a score coordinator kind of prepared you to start taking the helm as a composer.
00:07:19
Speaker
Talk to us like we know nothing about the industry. Yeah, of course. Those experiences are very, very valuable. As a composer's assistant, as a score coordinator, as someone on a music team, that's kind of how I dipped my toes into this industry. When I first moved to LA after college, I went to Berkeley College of Music.
00:07:42
Speaker
And when you get to LA, you're fresh and you're just trying to learn as much as possible. Even we had a music degree. I feel like so many things you have to learn by experience. So I started off as an intern and then as assistant. So I've been in all sorts of positions in the music team.
00:08:03
Speaker
And they're all very, very valuable because I feel like everyone works so differently. I assisted TV composers, film composers, documentary composers, and those, I think it was like three years I was doing that. It was all such great learning experiences.
00:08:21
Speaker
what does it take for a score to, you know, from the start to finish? How does it get to the, when you see on screen, there's actually so much that goes into that. And it wasn't until I start, you know, by helping these composers who are more experienced and who has been in this industry for a while, then I start to pick their brains like, okay, so this is their workflow. How can I
00:08:45
Speaker
use that to develop my own workflow in the future. So as a score coordinator, we're just trying to make sure everything gets delivered very smoothly from the composer side to the production side. Just assisting the composer in general help make the workflow because it's not just writing music. There's so much else involved in terms of technical
Scoring Animation vs. Live-Action
00:09:10
Speaker
preparation, score preparation, et cetera.
00:09:13
Speaker
So those are pretty much my job. So I really on the side while I was assisting other composers, I still kept on with my own composing gigs. Like I started off by scoring indie projects and going to film festivals because I know ultimately I want to also develop my own career as a composer. So it was important to me to be able to step out of my comfort zone and just
00:09:40
Speaker
Start meeting people you know and in LA that's like the perfect place to be where you can meet so many creatives everywhere So I think it's like the two I did them both at the same time, you know like but also doing my own thing at the same time and eventually I got to the point where like I've done enough indie projects that I feel that I am able to sustain myself, you know as a composer and
00:10:08
Speaker
Nice. It's a gradual process,
Cultural Influences in Film Music
00:10:11
Speaker
but super fun.
00:10:12
Speaker
Yeah, as a as a photographer, I can totally relate to just kind of like, you get very comfortable being in one spot and sticking with that one craft and just kind of working with it and to be able to like actually step out of that and be like, I actually have the time to go do my own thing and work with other people and try other like, there's no harm in trying something else when it comes to arts. We as artists, because we're so worried of messing up,
00:10:40
Speaker
We, for some reason, talk ourselves out of taking that possibility of doing something that literally has no consequences to it. Yeah, exactly. And I really do take every experience as a learning opportunity, like even now, no matter what position I'm doing, how I'm helping others, you know, whether I'm on the music team or I'm the sole composer, I just feel that there's always so much to learn and you never start learning and growing as an artist. Sure, sure.
00:11:10
Speaker
And we're always working. Yeah. And I just have to say I have such a profound appreciation for people that are able to create music, write music, read music, play instruments, because I'm a creative person myself. I'm more on the visual side of things like liking to draw and Photoshop and graphic design and stuff like that.
00:11:30
Speaker
Music has always been one of those ones that's a little more abstract to me. So just the fact that people can take nothing and evoke such emotion from an acoustic point of view, like with sound, it just baffles me and also delights me. So I wanted to ask, you mentioned going to Berkeley Music College, which is just around the corner from you actually. At what point did you kind of decide that was going to be your career path, going from
00:11:58
Speaker
Like what was your first instrument you played? When did you develop this art and foster this interest? And when did you decide that it was going to be a career and more specifically that you were going to work within the film industry as opposed to just maybe being a musician or an artist in another format? As I like to say, what was your origin story?
00:12:18
Speaker
Yeah, well, I found my love for composing through pretty much improvising on the piano. So my main instrument is piano. I learned classical piano since age
Creating the Skydance Animation Studio Logo Score
00:12:30
Speaker
of six, I believe. Yeah, like my parents are really, I was really grateful that my parents just really encouraged us to kind of like,
00:12:40
Speaker
take a lot of, try different interests. So I dabbled a bit in guitar and piano and I didn't even did like art, you know, dance and all that. And then I stuck with piano. I don't know, I just, I guess I just always felt really connected to that instrument. And I remember when I was young, I, during lunch break, I was such a nerd that I would sneak into the auditorium and just eat where the piano was at. And then I was just like,
00:13:05
Speaker
compose music. Or I didn't know it was composing at the time where I was just improvising on the piano, based on what mood I'm in and trying to see what that feels like. And yeah, and then until the teacher came in, and she was like, I think that's, you can try composing, like, why don't you try that out. And then it made me realize like, oh, there's
00:13:26
Speaker
I love watching movies. I grew up watching, you know, Disney films and I just love animation. And the music in that was just so, it's so engaging to, you know, no matter what age you're at. And even if it's a film that I haven't seen for a long time, a childhood film, I always seem to remember the music and it just gave such a familiar feeling that like, oh, once you hear that soundtrack or the songs, you immediately
00:13:54
Speaker
are transported back to the story and what the characters are feeling. So I don't know that's just really fascinated me and you know I decided to pursue film scoring because Berkeley had a major for that and I guess why I wanted to do film scoring as opposed to just composing you know in general it's like I really love connecting with people
00:14:17
Speaker
I love talking to people. I love learning about their stories. I really believe everyone has such a unique perspective to tell. And so I think in the combination of that, you know, my love for music, but also talking and working with others, I felt like film scoring was like the path that I wanted to go. So I feel really grateful because my family got me into piano at first too, because first it was like, just do it. Like if you don't like it, whatever.
00:14:47
Speaker
And I think I did it for three or four years, but it was very like by the book, like I did it. I did what I was told to do. And at the time it was like, OK, I can play this piano, whatever. And as I got older, it's like, I really wish I kept up with it or some type of music in general, because I come from a family of singers and I like singing. But when it comes to actually playing an instrument, it's like.
00:15:12
Speaker
I haven't dedicated the time to it as much as I should have. And even when COVID started, like I got a guitar from my friend, but then I never got slow from work like I expected to. So it's still collecting dust and much admiration because it is something that is very meticulous and takes a lot of patience and desire, which you seem to have. You triggered a couple of core memories for me, too, talking about
00:15:36
Speaker
your inspirations and stuff because as somebody who grew
Inspirations from Disney and Miyazaki
00:15:40
Speaker
up on Bollywood movies and Disney as well, I've become a hopeless romantic, which kind of adds to my feelings towards watching Blush. Two films crossed my mind in particular as you were sharing that story, so I have a question as I'm monologuing.
00:15:57
Speaker
First movie is when the remake of Aladdin came out. I felt like a child all over again when that music kicked off right off the bat.
00:16:08
Speaker
Everything about that was perfect. Nice. You thought of Lion King? Okay. Yeah, yeah. Because I think that's the era we grew up at, right? Like that? Yeah. It's such a nostalgic feeling, like when that comes up. Oh, I'm going to cry. It was a Latin for me because like to this day, because my last name's Ali, like people still call me Prince Ali sometimes. Oh, so fun. I felt like a five-year-old all over again when I went to the theater with my mom and I was watching that remake and I was like, this is amazing.
00:16:36
Speaker
But I don't know if you were ever into Pokemon. Yes, I love Pokemon. Nice. Pokemon 2000 Lugia song is something that is still stuck in my head to this day. It is one of the most beautiful things I've ever heard.
00:16:54
Speaker
I don't even know what else to say about it. Is there anything aside from Lion King that's like influenced you that same way where it's like whenever you're looking for inspiration or just something you think back on like that you just kind of like hold on to from. Absolutely. I think any days of animation.
00:17:11
Speaker
Yeah, I love anything Joe Hisashi writes. I love the Miyazaki movies. His scores always transports me to a whole other world. It's crazy. I feel like his music has so much depth and complexity and emotion, and I'm always just so fascinated. How does he do that? How do you listen to a piece of music that he writes, I don't know, from Spirited Away or Princess Menonoke?
00:17:38
Speaker
And then all of a sudden you're like, am I in a forest or am I in a distant memory? It just makes me feel that way. So I absolutely love, love, love his scores. And I love all those movies. Yeah. Big Miyazaki fan here.
00:17:56
Speaker
I guess it seems like one of the themes of those movies a lot of time is that you're dealing with either a very young or more often not a woman protagonist that's dealing with the loss of innocence and a coming of age and taking on this larger than life adventure to find their identity, find their bravery, and find who they are.
00:18:21
Speaker
you know, while maybe not beat for beat the same, but with both blush, short circuit, Jinghua, I think those themes are kind of there as well, where it's got this tone of otherworldliness and adventure, but also this kind of feeling of loss and sorrow. Wow, you just summed it up perfectly. You just summed it up perfectly. Yeah, I mean, the two share so much in common. There's virtually no dialogue.
00:18:50
Speaker
and they're ultimately dealing with the processing of loss and grief. And I just wanted to ask, is this like a coincidence or is there something that attracts you to projects like these?
00:19:01
Speaker
You just summed it up so perfectly because I didn't even think about that, but you're right. I never really questioned why am I so drawn to these projects, but I guess, yeah, I'm just fascinated by human emotion and all those faucets of life. It's not all happiness and joy. There's also some bittersweet moments and that's just what life is.
00:19:26
Speaker
And the emotion of grief, it's felt universally. But what these films teach us, it's not just about sadness. There's also remembering the good times and how do we move forward by building new connections.
00:19:43
Speaker
um holding to that and I wow he's really summed it up so perfectly I'm like having goosebumps like oh I think is that why I love these projects I guess so they all have that tone right yeah yeah for sure for sure you're more expressive with your music than you gave yourself credit for
00:20:01
Speaker
No, it's great. I really give props to the filmmakers to explore these emotions. It's deep and it takes a lot of vulnerability from their end to put themselves out there like that. And whenever someone does that, even in a regular conversation, I feel really honored and blessed that thank you for sharing your story.
00:20:25
Speaker
I really love hearing that. I love feeling connected to someone else. It does make me feel alive as a human being, but also as an artist. Sorry, as an artist, but also a human being. That's it. Yeah, that's the way. And another thing that these two shorts have in common, I want to get back to Jinghua.
00:20:46
Speaker
specifically about something you brought up with the instrumentation there. But both directors, Jerry Hune, I believe it is with Jing Hua, and then you mentioned Joe Mateo with Blush. They dedicated their shorts to loved ones they lost. I believe it was Joe Mateo's wife and then
00:21:03
Speaker
For Jerry, it was his grandfather, grandmother and cousin, right? Yeah. So yeah, I just wanted to ask about how closely you got to work with these directors and maybe how that's influenced what you brought to the table from a musical standpoint.
00:21:19
Speaker
Yeah, absolutely. When I first met Joe and Jerry, they were both so incredibly brave and generous in sharing their vulnerability. It really opened up such a great conversation about why they want to make this film and what do they want the films to represent. And in the case of Blush, Joe, of course, experienced so much sadness. And he said, I really want this film to hopefully bring some
00:21:48
Speaker
healing and hope in times of grief, in times of sadness, in times of isolation. Because we did this film during COVID. And those conversations really help. I think those initial meet and greet of the director and also to be able to talk to them and have them share their story. It helps me as a composer because it
00:22:13
Speaker
It becomes like the backbone of the sound palette of anything that I write for that film because like I would think I would think really closely to You know the why what is the purpose of this? Out of this film and then it makes me think of my musical choices with intention right so All of the these experiences they because of their vulnerability and willingness to share It just serves up. I really want the music to serve that purpose and make sure it comes back to this
00:22:43
Speaker
discord, no matter what I do. I hope that answered your question. Oh, you answered it wonderfully. Thank you for those insights. Yeah. I'm just trying to think how to use words now. You really just blow my mind with that.
00:23:03
Speaker
I'm replaying blush in my head as you're sharing this too because again when I started the movie I had no idea of the background. I didn't realize it was like a love letter to a true story and I'm thinking about how the end of that movie really terrified me because the logical part of me is like, oh she disappears at any point, how is he supposed to breathe?
00:23:28
Speaker
and you forget about it because you're immersed and then you see it happen and you're like I'm actually like first off like work's actually been trying to kill me and I was exhausted as I was watching this I cannot get you how quickly I flipped my recliner and I'm sitting on the edge of my seat like
00:23:44
Speaker
Oh, like really invested in this. So to so that emotion of the music getting more intense and him suffocating and the animation quality of this was incredible too from like the dirt of his boots to like understanding like the passage of time because of like the scruff on his face. But like as he's losing his breath, like you can see the tears drying up to
00:24:05
Speaker
Yeah, so so now understanding what the story was that influenced this and representing the suffocation of loss with actual suffocation in space, like, yeah, that was incredibly powerful. And then knowing that support is what helps you get that together, knowing that this is a phase that can be locked through, it's very difficult, it's very painful, but
00:24:35
Speaker
knowing that you need to open your arms to, you know, loved ones to get through the next phase and find that metaphorical in this case, literal breath of fresh air again, like
00:24:49
Speaker
Yeah, I don't have words. And the fact that the little girls just lost their mother, they don't need to lose their father as well. So he needs to find the strength to be there for them. Yeah, totally. This film is incredible because when I first brought onto this project, there wasn't even animation. It was just storyboards and artwork. And even when I watched just the artwork, I felt so...
00:25:14
Speaker
lost for words. Like what you guys experienced. I just sat there and I was like, how do I respond to this at this moment? Because I'm still processing it on my own. It really touched your heart so deeply. And the concept of
00:25:32
Speaker
breath kept coming back and actually that inspired a lot of the score. I actually added some breath elements into that and it's and where his place is very intentional like when the when when he first sees the pink alien there was breath that comes in you know and then but when she leaves the breath goes away for a second but it comes back again when when he when he's embraced by his daughter's
00:26:00
Speaker
It's all very intentional. And that's what I learned a lot from this process of scoring blush and for Jinhua, any of the other projects too, is that the music, when you're scoring for a film, everything has seven tension. It's not just, I'm just placing it there and hope it works. It's like, I'm really thinking about, okay, if I put this note here and I use this instrumentation here and I start the music here, et cetera, like, is this serving something? Am I helping the character?
00:26:30
Speaker
serving the story. And I feel that that's our main job as a film composer is like to really bring the director's vision and story forward. So I feel so thank you for sharing, you know, your experiences of watching blush. It really makes me touched, you know, to hear that it translated.
00:26:51
Speaker
So I just, I gave you a follow on Instagram too, as you were explaining your stuff. I'm looking forward to all the future projects as well. Nice. So you mentioned talking to the director and like being speechless when you looked at the, all the, all the pre-production stuff.
00:27:08
Speaker
Yeah, how does the process work for you from there? Like, do you have a moment to process and you go home and like the music just starts coming to you? Is it something that you work with people and develop over time? Like, what's what's kind of like the mental stages of like putting these pieces together?
00:27:26
Speaker
Yeah, so actually, when I saw those storyboards, I wasn't officially hired yet. They were still looking for composers. So they were just like, are you interested in submitting a demo? And, you know, of course, I said yes, because the storyboards were just so powerful. And, you know, because of NDA reasons, I wasn't supposed to have the storyboards, obviously. So I just really tried.
00:27:45
Speaker
And this is where, you know, talking to the director, really understanding them comes in handy because without picture, I'm just like, okay, what, what do they, what, what does Joe want to say? Okay. He, he told me his backstory, how when he first met Marianne, his wife, um, how she just took his breath away as soon as she turned around and she had this very innocent
00:28:07
Speaker
uh blush on her face. It is a true story like they and I just felt so moved by just that like he said like I knew it and he was in I don't know high school or something and that it was the way he described her I even though I never met her
00:28:24
Speaker
I feel that I'm living the memory of her through his words. And so when I was starting to come up with the themes, that's just through pitching. I'm like, what does that feel like when a very innocent, when you look at someone and then you start to have butterflies, what does that feel like? So I came up with the simple piano notes, which became the theme for blush just by trying to visualize what does it feel like to be at that moment. And then I started to send some demos and
00:28:53
Speaker
They really loved it. So I feel really grateful that I resonated with Joe. And from those theme, we started talking about, okay, so, you know, blush also has showcased another faucets of emotions like grief. What does that feel like using this? Well, then I started to write something that has a, to use the theme, but create a variation of that. And then like, Oh, what does it feel like when it's have a little bit of hopefulness, something like that. So it's a really fun,
00:29:23
Speaker
thematic development based on the musical idea. And because this film has no dialogue, having something that's very, having a theme, a memorable theme is really, can help the audience, can guide the audience to this story without dialogue. Yeah. That's, that's incredible. And I think the award, you know, like I said, it's well deserved and it's, it speaks for itself, the incredible work that you did, but just to
00:29:50
Speaker
Here you tell that story, how Joe poured so much of himself and his personal story into that. And for you to present him with what you're working on and to have it resonate with him, I imagine that has to be, there's like no other feeling like that as an artist to be, yeah.
00:30:04
Speaker
There really isn't. When they told me I was hired through Zoom, I cried. I had no professionalism there. I just like, I was like, and they were just like, they were so sweet that everybody was just like, oh man, I wish we recorded you. You were so sweet. I'm like, oh my God, this is crazy. It's so weird. I really feel like like-minded people just, you know, I wasn't afraid to be myself, even though I guess I should have been more professional, but I wasn't afraid to be myself.
00:30:29
Speaker
And thankfully, all of my collaborators and partners, they all accept me. So I guess that worked out. I love that. Yeah. And a few things as you were describing this kind of process, they seem like natural transitions for some questions that I have. But was this process with blush, was that kind of unique? Are you typically presented with storyboards or animatics?
00:30:56
Speaker
or you usually have a more complete project and has it ever been almost reverse engineered where you find the music you're presenting goes on to influence the animation or the direction more so than you were anticipating?
00:31:11
Speaker
So in terms of animation, I think that is more common for composers to be brought on board early on. And so right now I'm scoring an animation TV show and I've been brought on when the animatics aren't even out. It's just some storyboards or even scripts. And I've been brought on to just like develop character themes and location themes and all that. Because I think it really helps
00:31:35
Speaker
inspired the animation too. They just like how I'm inspired by anything I see on screen. They said they're also inspired by the music for certain timings. So I think it is pretty common for an animation to be brought on board a little bit earlier to score to sometimes scripts or early storyboards or animatics. For live action, it depends on the team. But I feel like in terms of animation wise, it's more common. Yeah.
00:32:05
Speaker
Cool. Cool. And I get to see some cool artwork, which is really fun. Nice. Yeah, yeah. As an artist, that's great that you get those early insights to that. Yeah, for sure. I want to get back to what you mentioned about live action, the diversity of your career. But while we're on this subject,
00:32:26
Speaker
How is it that you find yourself getting involved with these projects? Are they something that you're seeking out or at this point in your career are the creators seeking you out? How does that work?
00:32:38
Speaker
I feel like it's both ways. I feel like the studios are listening. There's a lot of work to be done that encourages... Everyone wants to hear new voice. We want to hear new perspectives and new stories. People want to see themselves represented on screen. And I just feel really fortunate that I'm in this industry right now where I feel like
00:33:04
Speaker
Yes, I want to seek for projects that help celebrate diversity. At the same time, I feel that they're also giving a chance to up and coming composers and artists and creatives. It's thanks to so many experienced composers who paved the way for us, I think. I think the time is now for us to just be bold and share. For example, Disney, the Short Circuit, that's a really unique program where
00:33:33
Speaker
Yeah, super cool. Yeah, my director Jerry, he shared that it's just like anyone can pitch. Anyone that works at Disney, you don't have to be a director or a screenwriter at Disney to pitch for this. Anybody can pitch. And it's just such a cool way to showcase talent and to discover talent and to just see such a wide range of projects, like just looking at those episodes. Every episode is so different.
00:34:01
Speaker
Sure. Yeah. And they're not afraid to try something new. So I just feel that I think that people are listening that it's time to try something new. Agree. With your comments about inclusion and people making more music that's relevant to
00:34:25
Speaker
culture or history or where they're from. Have you had or have you experienced any music like that in something that you've watched that's made you feel like connected with culture and somehow? Like for me, for example, when Ryan the Last Dragon came out, that was a big deal for me because I have been training Filipino martial arts for the last seven years. And in that like my teacher actually has been teaching me how to play the drums with him.
00:34:53
Speaker
And it's also just a huge part of Pakistani culture as you know, double and you know, whenever we have like house parties and stuff and everyone singing together, you just grab the pots and pans out of the kitchen and start making music together. So the drums and the style of music in Raya was super impactful. And I just fell in love with it right away. Is there anything that you've watched that's made you feel that way?
00:35:18
Speaker
So I loved the Raya for sure because I also saw a lot of influences in Malaysia. I'm from Malaysia so it was super cool to see like yeah to see that oh my god they're eating satay or like something that I'm used to you know growing up. I guess I really enjoyed Mulan. I mean she was
00:35:36
Speaker
She's up till now is still one of my favorite Disney movies because she was just such a badass and I look up to her and when I was, I forgot when it came out, but I was a little girl when I saw that and it was just super cool to be like, wow, there's a Disney princess. That's the hero. You know, that's how cool is that? And I believe it was 1998.
00:35:54
Speaker
Okay, yes. So how cool is that? And even now I'm still, I was still watching a movie to feel inspired. And it's just so cool to see those. And like you said, here, it's just nice to see people represented. And Kanto was really cool. And that music score was amazing. Jermaine Franco, like props to her. She was so cool. And I really
00:36:16
Speaker
look up to her. Yeah, the Riot score was really good. Turning red was really fun. We talked about Marvel off screen. Miss Marvel and Shang-Chi, the music put in there was incredible.
00:36:28
Speaker
Yeah, shout out to Laura Cartman. Her score for Ms. Marvel was super cool. I just love that composers now are able to, because there's more and more content out there that celebrates diversity, it gives us a chance to kind of, ooh, let me ask something from my culture or from what I understand to the
00:36:47
Speaker
to the score and how many great you know there's just so much anyone can bring to the table just because this opens up like let's not stay in the safe zone you know there's so many cool cool ways to express you know these
00:37:03
Speaker
all these really unique stories. Black Panther, that's a really cool score too. So fun. It's a great time to just be inspired. I think everyone just wants to hear new things, see new things, learn new things. I feel really fortunate. The animation show that I'm working on right now, I can't say what it is yet, but it's a show that also goes into different cultures and it gets to use a lot of world instruments. Such a tease.
00:37:31
Speaker
I'm sorry, but it will come out soon. But yeah, it's cool. It gives me opportunity to like, ooh, let me find some Amazonic instrument and just bang stuff and create new textures or like record different unique instruments I never used before. And it's just, it's fun. Like it just gives such an opportunity to be creative. Yeah, so exciting.
00:37:57
Speaker
You mentioned Black Panther and that, like, Ludwig Gorinson is like, he continues to impress me with just how catchy his themes are, but I can't help but think with season one of The Mandalorian, they did the gallery series where they showed, you know, every episode was dedicated to like a different part of the process behind the scenes. And I loved
00:38:18
Speaker
the episode that focused on the music and Ludwig Gorenson. So I wanted to ask, have you seen that? And on the subject of your peers and people that you kind of admire, is there anybody that you'd absolutely jump at the chance to work with collaboratively?
00:38:36
Speaker
Oh, he's one of the, I haven't met him before, but we're, we're represented by the same agent. So if you're hearing this reach out, I would love to meet you. Cause I loved his, I really love his score for so many things, turning red Mandalorian, Black Panther. Yeah.
00:38:52
Speaker
And in composers right now, there's so many. Everyone's so bold in trying new things. Laura Carmen, like I mentioned, I really loved her score for Ms. Marvel just because it really showcased that teenager phase, but then also with so many traditional instruments, but also fun beats. So I think it's so cool.
00:39:17
Speaker
There's just so many opportunities to kind of combine things that you wouldn't think will work by like, Oh, here it goes. And like the score for turning red as well as like the Chinese deeds, I think he used or like a flute Chinese flute, but then combine it with hip hop beats like totally brought us to that era. So yes, we're cool.
00:39:39
Speaker
Yeah, that was another one that I think spoke to our generation specifically with the throwback to 90s and early 2000s boy bands plus her cultural heritage there. Yeah, that movie was an absolute delight. I did want to go back to Jinghua for a moment. And even with Blush, you mentioned the piano theme and with the breath. When you said that, it reminded me that there was, correct me if I'm wrong here, but there was actually a fair amount of vocalization if I'm not mistaken that there actually was there. And I think that really helped
00:40:09
Speaker
deliver the emotions and I appreciate that and that yeah that seemed a little bit different from some of the other stuff you work on and specifically with like Jing Hua I noticed
00:40:21
Speaker
It was a lot of violin. I believe that's the instrument I was hearing. Yeah, cello. We went for Jinghua, we went with cello. Because that was a conversation I had with Jerry. Do you want a traditional Chinese instrument there, perhaps, or would you prefer, maybe try a cello? And he said he wanted it to be a really universal emotion.
00:40:48
Speaker
universally received so at that point he was like let's let's try with cello and see what that sounds like he didn't want it to be too on the nose with that since it was already chinese calligraphy and and thank you for saying the whole vocal thing about blush because that was me
00:41:02
Speaker
Oh, that's incredible. But like, I, that was, that was a fun thing for blush where I recorded it, you know, at my home studio at that time was during the pandemic, we didn't, we couldn't go to a professional studio to record it. And I thought, okay, so let me just record myself because I have ideas about vocalizations and because we want to showcase the element of air. So I really wanted to feature lots of
00:41:30
Speaker
Yeah. Wind instruments or like wind chimes or vocal textures, whatnot. So I recorded myself first thinking that a professional vocalist will replace it after. But then the director and the team loved us so much. They're like, no, no, no, you're not replacing that. We just...
00:41:47
Speaker
We want to keep that. I guess it's like there was an element of shyness because I wasn't really comfortable. But I just had fun doing it. But I guess that translated. They said that that represented the character really well because it's very shy and innocent. So let's go with that. So I had a lot of fun doing that. And from that project, it actually encouraged me to start adding my own voice into my scores. So yeah, that was fun.
00:42:18
Speaker
That's amazing. So happy for you. So in my attempt to learn some terminology and whatnot, there's a part, so at the part in blush, when I'm actually like watching the scene over and over as I talk so I can explain it properly, when he's holding her for the last time. Oh, yeah. Is it just called vocalization when they go like,
00:42:45
Speaker
Oh, that's like what is it was a term for that because I'm paying attention to it a lot more. But like I said, I don't like keep track of it. So I can't give another good example. But the second that it happened in this, I was like, God, that sounds so beautiful. Thank you. Oh, I feel I'm so touched. It's so cool to hear other people to pick what I did.
00:43:06
Speaker
I never had this happen. I was like, whoa. Honestly, when I didn't think about, to be honest with you, I didn't think about any terminology per se. It was just like, okay, that moment felt, especially when she, that exact moment you were describing is when she kind of falls in his arm. So I don't know, it just felt right when I was kind of
00:43:28
Speaker
recording myself, it just felt right to kind of drop as well. Terminology, I guess that's portamento. I'm not sure. But I just felt like that part felt right to just go down because she left. She fell. So it's another example of how- So that was your voice? Yeah, that was my voice. That's incredible. Thank you. You want to try to reenact it for us?
00:43:56
Speaker
You know what? So the funny thing is I try re-recording it sometimes and then the music supervisor's like, don't get rid of your vocals because maybe a professional vocalist can do it again. But for me, because I was just feeling at that moment, I could maybe try again. But it's like, that's another...
00:44:18
Speaker
to me, such a beautiful thing about composing or coming up with ideas. Because sometimes I feel like, and I think to myself, if I didn't start writing at this moment, would I come up with the same thing? If I write an hour later, would I come to this specific? I don't know. You never know, I guess. But it's just such a, yeah, it becomes a bit spiritual, in my opinion, when it's about composing. How come that a specific moment?
00:44:45
Speaker
inspired you to do that thing. Well, I'm glad that that was captured because it's wow. Thank you. Thank you. I think it really encourages me to just try new things. It really encouraged me to add my voice in things now.
00:45:05
Speaker
Thank you for saying that. So you talk about it being spiritual and everything and I totally get that where you just get like in the zone that you don't even think about like recreating or recording or anything like that. Have you ever like caught yourself in the zone and like tried to just hit a record button somewhere and like maintain that or is it all just like fully immersed and then you're just out of it and just oh I should have recorded that.
00:45:29
Speaker
Uh, no, no, there were moments for sure where I was improvising in my head, but I didn't, um, I didn't hit record. And sometimes I'm like, no, I didn't hit record. Um, but, uh, no, I mean, it's, I guess it's like, it had all different situations happen. There's not really one side, but I've got to say that like, when, when you're in the zone and you forget like time and where you are, and you're just fully doing that thing and,
00:45:57
Speaker
Composing is the only thing that makes me feel that way. I think I never found something else that makes me feel like it doesn't really matter what time it is. You're in the process of flow. And I think that for every creative they have their sense of that. And I think that becomes like your emotional outlet.
00:46:20
Speaker
I think that's why I gravitated towards, you know, going to the auditorium and doing lunch break. I don't know. Like just, I feel like that was a way for me to express myself, whether it's through art or writing, photography, like every, like, I just feel so inspired whenever I see someone in their zone.
00:46:41
Speaker
I feel that with the martial arts more than anything, because I hope my students don't listen to this part. But since I'm playing the drums like with Guro during like sparring sessions or during Karenza, which is like the Kali equivalent of shadow boxing, I get so into the drums, I'm not paying attention to what they're doing.
00:47:01
Speaker
So when there's like a debrief afterwards, they're like, what did you think of this guy's movements or how that person was like, I was trying to keep tempo the whole time. I was trying to match what girl was giving and this and that. But I also feel the same thing of like when I'm on the mat and actually like getting in the space, I get so lost. And when it's over, I'm like, man, can we not go over like another three hours or something? And I actually had this conversation with my mom about like,
00:47:25
Speaker
how I haven't felt that way going to like going for prayers and stuff and actually sitting in a prayer hall because something about sitting and being immersed in my own thoughts doesn't click the same as like moving and being accountable for something and then just forgetting that I'm in that space. It's kind of like what was the other Pixar movie with the jazz artist? Soul?
00:47:51
Speaker
Yes. Yes. Yeah. I love that one too. That was so perfectly represented about how he's in this bubble and literally in a different dimension. The way that they show it is literally the best way to explain it.
00:48:02
Speaker
That was an amazing movie. I think a lot of us creatives can relate to that, right? Yeah. That's when we do our best work. And for me, it's when I'm drawing. I can relate to everything you both just said. Hours can go by. And I usually have a pretty accurate internal clock. But when I get into that zone, it's just hours and hours will go by. And I don't even notice it. So I think that really translates. But getting started is always the tricky spot.
00:48:26
Speaker
Oh yeah, no, for sure. I'm always, yeah, there's a little bit of a mental battle. I feel that every time I start a project, there's lots of self-doubt that kicks in. But then once you're in the zone, it just needs to cross that mental hurdle, I think. And then you're in the zone. Yeah, it's like kind of tapping into like almost like an out of body experience where you are not
00:48:53
Speaker
I'll speak for myself, but it's like I kind of cease to exist and the creative force just kind of takes over for a while. And it's kind of freeing in that way of the stresses of this modern world just to kind of be able to escape it for a little while.
00:49:07
Speaker
Another one of those forms of escape for me, escapism, is video games. We mentioned Pokémon earlier. It sounds like all of us can appreciate video games, but I want to talk about what remains of Edith Finch. You mentioned a few of the live action properties, and we'll get back to that, but obviously we're focused on animation here. But video games are a form of animation.
00:49:30
Speaker
I had the pleasure of playing What Remains of Edith Finch. And again, I have to kind of like note these recurring themes. Like it's this sense of exploration and melancholy again, doused with these moments of hopefulness and mystery again. So I'm curious about how you got involved with that project specifically. Are video games a realm you would like to continue to work in?
00:50:01
Speaker
Yes, absolutely. The composer for that is Jeff Russo. I got a pleasure assisting him my first year of LA. And it was really cool because he works on such a huge variety of projects like TV shows, films, also video game. And that was really fun because actually in college, I took video game scoring class and got to learn a little bit about that because that realm, the way you score is a little bit different because you're not really scoring to
00:50:30
Speaker
linearly, it's a bit more, I don't know, in my head, it feels like it's more vertical, because you're, everyone plays the games different, and you don't know, the timing is not locked. But like, how do you, you know, add layers to the music to increase the intensity? Or like, how does it more seamlessly between each stage? Like, I feel like that, that whole,
00:50:54
Speaker
How to say that the art of scoring for video games is also something that it's a whole other arena And I definitely wish I can like be more involved in that that was Yeah, one of the few just like one of the very few video games that I was involved in but yeah It's it's such a cool way of storytelling too and so many videos are just like like you said like that What if either Finch was such a cool one? I think there's so many other narrative video games that I really like I really liked heavy rain. That was really fun. Oh cool. I
00:51:22
Speaker
Yeah, the score is really good too. So yeah, I mean, I haven't had much experience. No, but I feel that from the name, I will like it. Yeah. If I'm not mistaken, looks like Miyazaki brought to life.
00:51:38
Speaker
Oh, it kind of feels like the kind of stuff that I would like. That's the one that I said is basically like Raya and Assassin's Creed put together. OK. I know Journey. Have you heard of that one? Yes. It's so freaking beautiful. I just want to screenshot everything from that little game. A lot of cool ones like Ori and the Blind Forest, that soundtrack was really good too. Oh, yes. I love both the Ori games. Ori games are great. Yeah. Yeah.
00:52:05
Speaker
There's so many. I just feel like this, I'm so fascinated by how many art forms there are to express yourself. Like, this is not just film, TV, shorts, podcasts, you know, like there's so many ways to be creative. Video games, you know, like it's, it's what a good time to be in this industry, I think. Is there any music in the world of anime that has stood out to you? Animation, sorry, you mean animation? Anime specifically.
00:52:35
Speaker
Oh, anime. Oh, I loved Final, okay. That's, I guess that's Final Fantasy. Does that count? Well, that's, that's more than it counts. But also, let's see, what else? Anime. Oh my God. I should know this. I really, I loved,
00:52:50
Speaker
Sakura growing up. Yeah. Do you know Sakura the card captor? I don't know. I really liked that anime. I loved Inuasha. That was cool. What other anime did I watch? I don't know. I guess that's... I'm doing my binge of My Hero Academia right now since the new season starts up next month. I didn't see that one.
00:53:14
Speaker
With everything that happens in that show, now that I'm rewatching it, the music either amps me up or brings me to tears, because it's just so powerful, like all the messages I go with it, and it being affiliated with that insanely amazing music too, like that... Like whenever that comes on, I'm just so fired up and just like... That's amazing. You know, another anime... Have you seen Attack on Titans?
00:53:40
Speaker
That one, yeah, that one, I mean, it's scary, especially the music makes me feel even more scared, but I feel the same way when I hear the theme. And I'm like, yeah, let's go. Yeah, I haven't seen the latest season. That's the last one I need to see, the final season. I haven't, I'm not caught up yet. Well, we cast it on that every episode, so feel free to check us out as we're going on if you need someone to talk to.
00:54:07
Speaker
Yeah, oh my god, so cool. Yeah, that's the next one on my to watch list. I know that. Is it all out? The whole fourth season is out, yes. Okay, cool. Yeah, that's it. I would say that's the most recent anime that I've seen. Cool. Yeah. Add Demon Slayer to your list. Yeah, Demon Slayer is quality. Oh, yeah. If you write up your alley as well.
00:54:31
Speaker
Cool. That sounds, but I see that advertised on, it's a Netflix. I think Netflix is. Yes. Yes. I think Hulu does like the weekly releases, but like what's already out is on Netflix.
00:54:42
Speaker
Cool. Oh, and Death Note. Sorry. Have you guys seen that one? I love Death Note. Yes. Oh yeah. That was fun too. My cousin gave me, you know, so there's, there's like that book that he gave me the physical book that says the Death Note on it. And I'm like, I don't know what to do with this book. Cause it just feels really scary. He gave it to me when I was a teenager. I don't know what to do with it. It feels scary. Is it like leather or like?
00:55:05
Speaker
Yeah, the same exact one as the enemy. I'm like, I don't know what to do with this. So don't be very. Do I try? Yeah. Sorry. Totally off topic. But as you were talking about, I'm like, right. I see more than just those two. Come on. Like you got this.
00:55:31
Speaker
Well, I do want to pivot a little bit and talk about some of the live action properties you've worked on. And it's kind of interesting to me when you look at all the work you've done in animation and even the little dabbling in video games with what remains of Edith Finch. But I'm looking at some of these credits, like Impractical Jokers, the movie, Cobra Kai, Legion. And they just seem so diverse in tone, where Impractical Jokers is what I assume is an unscripted,
00:56:00
Speaker
I mean I've watched a few episodes I haven't seen the movie I don't know if you worked on the show at all, but I know you definitely worked on the movie But something what's that? Just the movie. Yes. Oh just the movie. Okay. Okay Well, I imagine that's a little more scripted than the the show typically was but I have to imagine, you know given That just the concept in the format. They probably did a fair amount of improvisation And then Cobra Kai being action with a heavy
00:56:28
Speaker
comedy bent with a lot of nostalgia built in there too for the 80s as well as I noticed the the nods to like Asian culture especially with like Miyagi-Do and those moments of like Daniel doing his meditation and his kata and then with Legion oh my goodness just one of my favorite shows of all time and the way that one like toes this line between trippy mindscape and horror elements like
00:56:55
Speaker
Like, yeah, it's just, it's really interesting to me the diversity of those projects. And I think you've spoken to it a little bit, but I just kind of wanted to pick your brain about the process of animation versus live action. And then specifically within live action, like these different kinds, like a drama, like miniseries versus, you know, something that's a little more reality TV based or like even like comedy versus drama.
00:57:22
Speaker
Right. I guess for that one, it all depends on the team and how the production likes to work. Sometimes we get, when we score a miniseries, sometimes they send us the entire eight episodes at once and then we just watch it and then that's where we go. Or it can be like a weekly thing, like, oh, or every two weeks you have a new episode to score.
00:57:41
Speaker
So it really depends on the production company, how they work. Those projects was kind of what I mentioned earlier was when I was on the music team. So I got to support these incredible composers like Zach Robinson, Leo Birnberg, Jack Russo. And it's just so cool to learn from these composers who's been in this industry for a while.
00:58:02
Speaker
and how they like to work. Because I definitely think it takes a village to meet those deadlines and it's very fast paced. Lots of things that goes behind the scenes for that. So I feel like it's important for composers to have a team, to start building a team too once you start going into these shows. So like what I mentioned earlier, animation, I get to be brought on a bit earlier.
00:58:28
Speaker
to start thinking about the theme sometimes for live action TV shows you don't really have much time like I'm scoring a live action TV show also at the same time and it's so cool to see how different these two projects go like there's a bit less time to
00:58:45
Speaker
to dabble in themes and everything because everyone's just trying to meet the deadline for live action. But again, it depends on the production company, you know, the deadline so much is very variable. So yeah, I mean, I just feel fortunate for these, like you said, diverse TV shows that I got to assist on and be on the music team on it.
00:59:06
Speaker
also has different scores, you know, different instrumentations, different ways of writing, like you said, you know, the 80s, comedy, action, drama, like what horror, it's just all it kind of helps prepare me as a composer to be well versed and sure to be, to be versatile, because we, you know, we
00:59:27
Speaker
Ultimately, our job is to support the story. And if this story calls for a horror score, we got to be ready for that. If this story calls for a more action-based score, we got to be ready for that. And how do we make each score very unique to the film? I think that's always what I, at least I really try to strive for. I don't want it to sound like another action, a generic action track. I just want to add some elements to it to best represent the characters.
00:59:57
Speaker
and the stories. This is just kind of a question I came up with off the top of my head when you were talking about that like towards the end there like generic action scores I actually I've kind of been doing a rewatch of like the James Bond movies and kind of hopping around and I watched the first of the Pierce Brosnan ones Goldeneye that came out in like 1995 and like the music is so like again credit to anybody that you know puts their
01:00:26
Speaker
does creative work because I know it's not easy to put anything out there but honestly the movie like took the music took me out of the movie sometimes it was just so
01:00:36
Speaker
There was such a discord there. So I'm like curious, when you're like watching something and listening, is it like ever difficult for you to get immersed because you're so paying so much attention? Yeah. Um, it depends what mindset I'm in. Sometimes I do want to just watch the film. So like, then I would, but then I, it's hard because I've like, just, I really pay attention to it. And then it's like, I will start.
01:01:00
Speaker
Yeah, I just I just pay attention to it. But if but I feel that once I don't pay attention to it, like I'm not really I'm like listening to the story. Like you said, I feel that that's the best. I don't know that that means the composer did their job because it's not distracting. It's not in the way. But but again, it depends. Sometimes the music has to be
01:01:20
Speaker
in the forefront for certain, you know, like the music has to be very, very dramatic in those big action scenes, maybe to, you know, accentuate the action or the, the, the danger of the situation or something like that. So, no, I learned to appreciate all the scores, but when I'm watching something, I try to turn that brain off. And then once I'm done with it, I'll, I love to listen to the soundtrack on his own. Hmm. Very cool. Very cool. Is there any scores that you guys liked recently?
01:01:49
Speaker
Well, one of my favorites of all time. Okay, go ahead, Zier.
01:01:55
Speaker
Oh, no, go ahead. Now I gotta think of one. Oh, okay. Well, this one's not super super recent, but anytime I'm asked this question, I have to bring up Tron Legacy, what Daft Punk did with Tron Legacy. I love that score so much. I'll put it on anytime, anywhere. It's still fun. It gets you hyped out, huh? That's a good one. That's right. Yeah. I've already mentioned Raya and my hero, but now that
01:02:26
Speaker
House of Dragons is on hearing the Demon Throne score again and the variety of music in that and that opener is just such a banger and the fact that they used the same one and kind of stayed consistent with that style of music was just great.
01:02:41
Speaker
Yeah, that's hard to score too, because there's so many characters. So that's where thematic writing really comes into play. Like, because there's so many characters, it's, it's helpful to have a theme associated with each character too. So when the audience here like, ah, this is the Lannisters or this is the, I haven't seen the recent House of Dragons yet, but it's on my to watch list. A lot less characters, thank God. Yeah.
01:03:06
Speaker
I wish I had the name of that composer off the top of my head because if I'm not mistaken, it was the same gentleman who did Westworld. And I love- Oh, Ramin Djawadi. Yes, yes, I love that. The opening to Westworld, everything about it, especially the music. Oh, yeah, that's a good one too. Yeah. But also Dune, Denis Villeneuve's 2021 Dune directed by Hans Zimmer, I think that one definitely just transported me to another world. It took me to Arrakis.
01:03:36
Speaker
And again, that one featured a lot of vocalization. Even thinking about it right now, I'm getting goosebumps just thinking about it. It's really powerful and I enjoyed that one a lot. Yeah. And how closely the music just supported the visuals, right? They both were supporting each other. It's such a great work of art in general. Totally. Totally. Another one I just remembered, the Batman.
01:04:03
Speaker
The Batman. Everything about that was just so intense. I feel like they went with a very like noir kind of style too, which is kind of cool for the Batman. Yeah. That was really cool. Good old Michael Giacchino. Yeah. He's one of my musical heroes too. I mean, anything that he writes is really good.
01:04:24
Speaker
Yeah, he's actually getting the opportunity to direct for the first time with Marvel just announcing their Halloween special, Werewolf by Night. Oh, yes, I saw. Super cool. I saw the... Yeah, I'm so curious to see what it's going to be about, because the trailer or the teaser looks really unique. Totally. Totally, yeah. I'm a horror buff, so I'm definitely on board. And I think it's...
01:04:51
Speaker
Bernal Garcia, I believe is the actor's name.
01:04:55
Speaker
I might be butchering that, but he's, he's, I should know his name better because he's been one of my favorites ever since the science of sleep. He was great in that. Nice. Oh, sorry. Not mentioning another score. That's super cool. Um, it's moon nights. Have you guys seen that one? Yeah. Cause the, that score was epic and the composer, he's just so nice. I got to meet him recently at an event, which is so nice and so humble. And I just love meeting composers like.
01:05:22
Speaker
outside of their composing element just as a human, like, ah, you did this. And like, if they're super nice person, it makes me want to support them even more. Like, it's like, wow, you're so humble. I mean, and he's so successful now. I mean, it's and rightfully so because the score was incredible. Oh, is it a lot to try to put like the face to these names? Like now that you're in the industry, when you hear something for the first time, you have to be like, I need to know what this guy looks like next time I go to a networking event.
01:05:49
Speaker
Uh, not really, but then when I meet them authentically and they're super cool people, I just, it does make me want to support their music more. Cause like, it's like, wow, you're so talented, but also you're a really cool human being. Like actually another person I thought it was the Queen's Gambit composer Carlos Rivera. He's so nice. Such a cool dude. Super nice, down to earth, very humble. So like now every time his name comes up, I'm just like, yeah.
01:06:15
Speaker
Yay, that's amazing. Or like the Cobra Kai composers like Zach Robinson and Leo Berimbert. Just such nice people. And it's cool to be, it's nice to be in the industry where everyone can support one another and be inspired by one another. Because yeah, ultimately, you know, it's all competition, but that's not how I like to see it. Like it's, I genuinely just want to connect with others and learn from others. There's just, that's it.
01:06:41
Speaker
I don't know. I don't want to lose track of why I'm doing what I do. It's not for the competition or anything. It's just I want to feel inspired. I want to see a film or a content that makes me feel inspired and write music that hopefully can inspire people. Yeah, it's really refreshing to hear that you have such a healthy perspective. And I think that mindset has served you well so far. And I think the accolades you've garnered so far in your body of work really speaks to that.
01:07:10
Speaker
your trajectory is only gonna be upwards and you're gonna be standing.
01:07:13
Speaker
shoulder to shoulder with a lot of these people, you're showering with praise right now. Thank you. Yeah, of course, yeah. For my purposes, I don't have too many more questions prepared. I'll open the floor to Zuhair if he has anything else. And of course, want to provide you the opportunity. I know you've got like NDAs and have mentioned a couple of projects that you can't really talk too much more about, but if you want to direct our listeners to anything specifically that we haven't brought up here, by all means.
01:07:40
Speaker
So something really cool that happened after Blush was they hired me to score the Skydance animation logo, studio logo. It's going to be in front of all of Skydance's production. And the most recent one is Luck on Apple TV.
01:07:58
Speaker
So when you see their logo, it's actually a homage to Blush because they still did the planets and also the two spaceships. And I got a chance to use the Blush theme for their first studio logo, which is insane. Such a crazy, crazy honor. And also almost floored myself when they told me that. But yeah, it's so cool. I just feel really grateful for Skydance's trust in me.
01:08:25
Speaker
yeah you know to score something like that i don't know i was so so excited i'm so happy for you that's wonderful yeah thank you yeah check it out it's um i'm really proud of that logo it's super yeah i love it it represents the studio well
01:08:42
Speaker
So I only have one more planned question for you. What happens outside of this is a totally different story. So we had another interview last week with the animation lead for Central Park, which is also on Apple TV+. Yes. And what I talked to her about is something I want to ask you about as well. I'm an Apple fanatic.
01:09:04
Speaker
I keep up with all the products that come out, all the services. I was very skeptical when they said that they were coming with a streaming service because the main pitch these days seems to be we take a popular show like The Office and we snag it from everything else. We isolate it in a show to make you sign up for it and then they bring the original projects on top of that. Apple TV was very unique and it's like we're just going to make our own stuff right off the bat.
01:09:29
Speaker
I believe a lot of the stuff that they've made has been incredible. Stuff like Ted Lasso, Mythic Quest, Battlefield, Defending Jacob. Do you have favorites on Apple TV? So while people are signing up to watch Blush, they can check out this other stuff too.
01:09:48
Speaker
Oh, yeah. Well, Luck is amazing. That's the first feature that Skydance came out with. Coda is a really good movie on Apple TV Plus as well. Ted Lasso, of course. That's why I signed up for Apple TV because that show is so good. Mythic Quest is really fun. It's so good. It just makes my heart so warm. I think it came out during the pandemic. It brought me a lot of hope.
01:10:13
Speaker
Yeah, a lot of hope during that difficult time. But yeah, I mean, there's there is so many cool content on there that yeah, to name a few so definitely sign up for it because I also selfishly want you to watch blush and check out the logo. And yeah, I mean, it's there's and I know there's going to be more cool content coming out because they're just such an innovative company and
01:10:38
Speaker
Yeah, that's all I'll say about it. I love the stuff that's come out so far, and I can't preach it enough. And for it only being like, what, $4 a month? $5 a month? Yeah, no, I think it's so worth it. It's worth it. It's one of the, oh, morning show. That's another really good. I really like that show as well. So, yeah. The last season of Sea is out with Jason Momoa. Ah, yes, yes, yes, yes. That's another one I haven't seen, but I heard really good things about it as well. So, honestly, just- Action is incredible on that.
01:11:07
Speaker
Yeah. I know a lot of people complain about having to sign up for streaming service, but at this point I have them all. I have them all. It's okay. It's my job too. I want to watch it and I'm passionate about it and I want to support it. So yeah, at this point I have them all. I just love consuming good content too. Exactly. It doesn't feel like a job after a while because I do love it and that's the way I feel that this industry is going.
01:11:36
Speaker
Well, yeah, that's incredible. I'm extremely happy for you, excited for you. Again, congratulations on Blush. Congratulations on the Skydance opening logo. I mean, that's amazing to know that every single Skydance production is going to have a little touch of joy there.
01:11:54
Speaker
Oh, thank you. Yeah. Yeah. Yeah. It's an honor. Super, super grateful. And please, please, please, please, please come back to talk to us when the secret inclusive project of yours comes out. I really will. That one, I have a whole new thing to talk about. So I would definitely, I will message you guys, please have me on. Yes. Yes. We'd love to have you. I'll definitely have you on for that too.
01:12:16
Speaker
Yeah, I just want to nerd out and talk, you know, that's the thing, like, I love this field, because like, I really feel like there's so many like minded individuals, I feel like I can be myself and be a nerd and not be afraid, you know, be, be ashamed of it. It's like everyone just loves, loves, you know, content. So yeah.
01:12:32
Speaker
Yeah, I think we should do a Studio Ghibli episode at one point in time and I think you'd be a perfect guest for that. Thank you guys so much for having me, seriously. Yeah, yeah. Zuhair, you mentioned Joy's Instagram. Joy, is that some place you want to direct people? Oh yeah. Any other social medias?
01:12:52
Speaker
So all of my social media is just JoingL, J-O-Y-N-G-I-A-W, and you'll find me out there. It helps to have a unique last name. Yes. All the JoingL is me.
01:13:07
Speaker
Well, I can only say again, it was an absolute pleasure speaking with you. Thank you for your time. Thank you for the work that you put out into the world, the beautiful music. That's going to do it for me this week. What a great episode. What a great interview. What a great conversation. Thanks to everybody for making this show possible and for tuning in. That's T-double-O in IN. Thank you so much. And as always, stay well.
01:13:31
Speaker
Thank you for listening to the Animation Deliberation Podcast, a proud member of the Strandepanda Network. If you would like to contact us, you can email animationdeliberationpodcast at gmail.com or follow us on Twitter at animationdelib1. For this and other great shows, you can visit Strandepanda.com or join the great community that is the Strandepanda Chat Facebook group at facebook.com slash groups slash svchat. Tune in next time and remember, stay well.
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