Apple’s ‘Here’s to the Dreamers’ campaign returns for its third edition, spotlighting ambitious creative talent from across Southeast Asia. This year’s theme, ‘Dream Beyond’, celebrates visionaries who are pushing boundaries—developers, musicians, and artists whose craft inspires others. Through features across the App Store, Apple Music, and Apple TV+, the campaign tells stories of pure grit, innovation, and the power of authentic voices.
Southeast Asia is a region rich in creativity, home to countless untold stories waiting to be shared. Behind some of the most beloved music, films, and media lie extraordinary journeys marked by resilience, perseverance, and cultural pride. These stories have led to remarkable achievements and have also opened doors for emerging talent to stand alongside global giants. It is this very spirit, unwavering dedication paired with authentic expression, that ‘Here’s to the Dreamers’ seeks to amplify.
Among this year’s honourees is Malaysian-born composer Joy Ngiaw, whose music transcends borders and genres. She is best known for her award-winning score in the Apple Original short film Blush and projects like WondLa. Beyond her professional accolades, Ngiaw is passionate about breaking barriers in the scoring world and paving a path for more diverse voices. She has carved out a space in an industry where Southeast Asian women remain underrepresented. Her compositions reflect not only her technical brilliance but also her profound commitment to storytelling through sound.
As Ngiaw prepares for the release of her first theatrical score in early 2026, she remains steadfast in her mission. To inspire others, challenge stereotypes, and ensure that more unique perspectives are heard in film and television scoring. In this Q&A, she reflects on her journey, creative process, and the evolving role of Southeast Asia’s creative community on the global stage.
Could you share a bit about your journey from Malaysia to Shanghai, and now as an award-winning composer in the US?
I was born in a kampung in Pahang, and grew up going back and forth between Malaysia and China, where I attended an international school. I started playing classical piano at age six, and in China, I accompanied school choirs and orchestras, discovering how much I loved collaborating with other creatives.
After high school, I moved to Boston to study film scoring at Berklee College of Music. I then moved to LA after graduation to pursue my dream of writing music for film and TV. First starting as an assistant for film and TV composers, and slowly working my way up to getting my own projects and establishing myself as a solo composer.
Today, I’m incredibly grateful to be scoring projects in Hollywood and having my work recognised. It hasn’t always been easy, but every step along the way has taught me resilience, adaptability, and the importance of trusting my own voice. It’s been a journey of taking one leap after another while staying true to my passion for telling stories through music.
What first sparked your passion for music composition, and when did you realise it could be a career?
I’ve loved music for as long as I can remember. As a sensitive kid, whenever I had emotions I couldn’t quite put into words, I naturally turned to music to express myself. I also grew up watching movies, and I became fascinated by how film music can shape a story’s emotion and impact—how it can guide an audience without saying a single word. That’s when I realised I wanted to score for film and TV. Combining my love for music with storytelling felt like a natural path, and from then on, pursuing it as a career became my dream.
How do you approach developing a score that feels both original and emotionally resonant?
For me, it always starts with the story; it’s all about the emotion. I tap into what the character is feeling and what the director is trying to convey in the scene. By having conversations with the filmmakers and understanding their ‘why,’ I can tailor a musical palette that reflects that emotional core.
I also draw a lot of inspiration from the script and visuals to understand the bigger world and narrative. For example, on WondLa, I spent months reading the trilogy, studying character designs and concept art, and talking with the creative team. All of that research helped me make sure the score felt emotionally grounded while also matching the expansive, dynamic world. I always come back to the question: “What is the heart of this moment? What does it feel like?” That’s what guides everything I compose. I approach every score and project with an open and genuine heart, so I always feel that I leave a piece of ‘me’ in the score.
What inspires your compositions the most? Is it personal experiences, visual storytelling, cultural influences, or something else entirely?
I’d say it’s a mix of all of those things. Emotion and personal experience are a huge part of it—music is a way to communicate with the audience. I’m always fascinated by how music can create a sense of connection with people you might never meet. That’s the power of music.
I’m also deeply inspired by the story, the filmmakers, and visual storytelling. And of course, my cultural background plays a role—I love incorporating instruments and musical elements from Southeast Asia whenever it feels authentic. Ultimately, it’s about blending all these inspirations to create a score that feels true to the story and emotionally resonant.
When working on projects like Blush and WondLa, how do you balance your own creative voice with the vision of the filmmakers?
It’s all about collaboration. For me, understanding the filmmaker’s vision is the starting point—what’s the emotional core of the story, and what do they want the audience to feel? From there, I bring my own creative voice and ideas into the mix, finding ways to enhance the story while staying true to my perspective as a composer. It’s a balance of serving the story and contributing something unique musically. Projects like Blush and WondLa really taught me how rewarding that process can be when the director and composer trust each other creatively.
Re-scoring Nosferatu with the Boston Pops and composing the Skydance Animation logo music are huge milestones. What did those achievements mean to you personally and professionally?
Re-scoring Nosferatu for the Boston Pops during college was an incredible learning experience in writing for a large professional ensemble. As a student, I was completely blown away by the process—and it only fuelled my hunger and drive to keep going.
Scoring the studio logo for Skydance Animation was a true honour I’ll never forget. Skydance Animation and John Lasseter essentially discovered me and jump-started my career by trusting me to score their first-ever short film, Blush. From there, we built a beautiful collaboration that I will be forever grateful for. To know that my music will accompany every single project coming out of Skydance Animation—it’s truly a dream.
As one of the few Southeast Asian women in the film and TV scoring industry, what unique challenges have you faced? How have you navigated them?
Growing up, there weren’t many composers who looked like me scoring projects in Hollywood. Often, I walked into rooms where I was the only woman—and sometimes the only person of colour. I’ve had people look surprised when I introduced myself as the composer, not an assistant. I’ve had to work harder to prove myself, and that’s a constant reminder of why representation matters.
There’s still a misconception that women can only score certain genres, like romantic comedies, and not big action or epic fantasy projects. Working on WondLa for Apple TV+ gave me the chance to challenge that narrative. The series features huge action sequences, allowing me to blend synths with orchestral scoring and incorporate world instruments to create unique musical identities for different characters and locations. It was incredibly rewarding to break that stereotype and show that female composers can bring creativity, depth, and fresh voices to these genres.
Experiences like this inspire me to keep pushing for diversity and inclusion—not just by delivering great work, but by supporting other underrepresented composers and uplifting one another so it won’t become an exception, but a norm.
How do you see Southeast Asia’s creative community evolving in the global entertainment space?
I think Southeast Asia’s creative community is gaining more recognition and momentum globally. Our region is so rich in culture, stories, and talent, and that diversity is starting to resonate with audiences and industry leaders worldwide. I certainly hope there will be more of us. It’s tough because as an Asian female, we’re often taught to be ‘small’—the quietest in the room, the most polite, letting others go first. But I’ve learned there’s real strength in taking up space, owning your voice, and trusting yourself. Your story, your perspective, your cultural background—those are your superpowers. I see more opportunities for authentic voices to be heard, and I hope we continue to lift each other up so Southeast Asian creatives can thrive on the global stage.
Looking back, is there a specific moment in your career that made you think, “Yes, I’ve truly made it”?
I’m always deeply touched when I receive messages from young female and Asian composers saying, “I see you doing it, so I believe I can too.” Knowing that my journey can inspire someone else to pursue theirs means so much to me and only encourages me to keep going.
What excites you most about your upcoming projects?
I’m especially excited for my first theatrical release, Solo Mio, coming to theatres in February 2026. I can’t wait to hear the score in a cinema and share that experience with an audience—there’s nothing quite like feeling the music come alive on the big screen.
First instrument you ever learned to play?
Piano.
A film score that gives you goosebumps every time?
The Curious Case of Benjamin Button by Alexandre Desplat.
Dream collaborator, dead or alive?
Most played song on your Apple Music right now?
Liz On Top of the World by Dario Marianelli.
Favourite place in Southeast Asia for creative inspiration?
Biggest pinch-me moment in your career so far?
Working with John Lasseter, the founder of Pixar and creator of Toy Story.
Listen to Ngiaw’s compositions on Apple Music and check out Apple Originals’ Blush on Apple TV+ here.
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