Cory Stillman
Among the many hidden gems waiting to be discovered on Apple TV+, the sci-fi animation series WondLa may just be the most criminally underrated of them all. Based on the book series by Caldecott-winning children’s author Tony DiTerlizzi, WondLa traces the epic journey of 16-year-old Eva, the only human across the entirety of the strange planet known as Orbona. With gorgeous visuals and a thrilling story, WondLa earns its epic quality in more ways than one. Perhaps the most crucial element, however, is the show’s immersive score, courtesy of award-winning composer Joy Ngiaw, who describes her early conversations with Skydance Animation as a “creative playground where [she] could explore different sonic palettes and melodies for WondLa‘s diverse world.”
Ngiaw has played a pivotal role in Skydance Animation’s evolution since the studio released its debut short film Blush in 2021. She impressed that project’s creatives with her unique decision to incorporate her own vocals into the film’s score.
“I enjoy layering multiple vocal lines to create ethereal textures.” says Ngiaw. “And using the human voice to add a more intimate, emotional element to certain scenes.”
With encouragement from Skydance and Apple Music, Ngiaw similarly recorded vocals for her work on WondLa, furthering the show’s otherworldly sense of adventure. Season 2 of the series introduces several new locales across Orbona, and Ngiaw made sure to establish a unique sonic identity for each and every one. Beyond her own voice – perhaps her favorite instrument – Ngiaw turned to everything from synths to Didgeridoos to Fujara flutes and Bukkehorns to reflect Orbona’s range of futuristic as well as natural environments.
Of course, Ngiaw’s knack for sonic worldbuilding is just as evident in her character themes on WondLa. Eva’s relationship with her strange new home is the emotional crux of the series, and Season 2 tests that relationship like never before.
“This season is particularly special because it captures an incredible emotional evolution of our characters and the story,” says Ngiaw. “With Season 2 exploring more sophisticated and darker themes, I had the chance to really push our musical themes to their most intense and emotional forms. As a composer, it’s so exciting to watch the characters grow and evolve, and to let the music grow with them.”
Check out my full conversation with Joy Ngiaw below! We discuss some of her favorite moments in Apple TV+’s WondLa, and even compare the show to Ngiaw’s vastly different work on the TIFF horror short The Pigs Underneath.
Hi Joy! Your score for WondLa is so epic and immersive. How did you first conceive of the show’s overall musical palette?
Thank you so much Cory! The musical palette really grew out of about a year of developing themes for the show’s characters and locations, before we even started scoring the episodes. The Skydance Animation team was wonderfully collaborative and shared scripts, early artwork, and worldbuilding details as they created the series. I also read all three of Tony DiTerlizzi’s books. That year became a creative playground where I could explore different sonic palettes and melodies for WondLa’s diverse world. My goal was always to create an immersive musical experience for the audience, and I hope that comes through in the score!
I am struck by your use of vocals in the show’s score. Can you tell us more about that creative choice?
Thank you so much! This idea really grew out of early conversations with the filmmaking team at Skydance and the Apple Music team – they wanted to bring a sense of uniqueness and a touch of the fantastical to the score, and I’ve always loved using my voice as an instrument. I enjoy layering multiple vocal lines to create ethereal textures and using the human voice to add a more intimate, emotional element to certain scenes. Fun fact: I first began incorporating my own vocals while scoring Skydance Animation’s debut short film Blush, and with the team’s encouragement it has since become a signature sound that adds a personal touch to my scores.
What about the Season 2 score are you most excited about?
This season is particularly special because it captures an incredible emotional evolution of our characters and the story. With Season 2 exploring more sophisticated and darker themes, I had the chance to really push our musical themes to their most intense and emotional forms. As a composer, it’s so exciting to watch the characters grow and evolve, and to let the music grow with them. I definitely teared up a lot while scoring this season.
The show is also visually stunning, and season two introduces a variety of new locales. How did your score adapt to match the show’s evolving sense of place?
Yes! One of the amazing things about WondLa is the vast, diverse world Tony DiTerlizzi created, which lets the music take on a distinct identity in each location. We begin in New Attica, the advanced human civilization, where the score leans into futuristic synths – an exciting contrast to season 1. Then we got to explore Faunus, where I incorporated lots of organic textures like the Didgeridoo, Fujara flutes, and Bukkehorn to reflect its more natural environment. Every musical choice was to create unique sonic identities for the world of Orbona, inspired by the show’s incredible visuals.
Do you have a favorite musical cue from the show’s second season?
A cue very near and dear to me is “The Heart,” which we hear in the season finale of season 2 and is the first track on the album. This piece is special because it captures the purest expression of Eva’s connection to Orbona – her sense of love and hope. It begins as a quiet conversation between solo cello and solo violin, then gradually swells as the full string section joins, mirroring Eva’s deepening bond with the Heart. It also reflects her empathy and compassion, which can be painful for her at times. For me, this cue evokes that vulnerable yet pure state of love, and it will always hold a special place in my heart.
You also recently scored the TIFF horror short The Pigs Underneath. How does your creative approach differ across these two mediums?
Ah, that was such a fun one to dive into! Similarly to WondLa, I began by reading director Charlie Dennis’ incredible script and immersing myself in this crumbling, dystopian world.
For WondLa, the score is expansive and lyrical – built to evoke wonder, adventure, and the emotional growth of its characters. With The Pigs Underneath, Charlie and I wanted the music to feel like another character in the film: breathing, looming, and constantly shifting between the monstrous presence of “the cart” and the humanity of the struggling community. I leaned into sharp contrasts – quirky, clockwork-like motifs for the cart’s eerie mechanical intelligence, layers of breath and voice to capture human resilience and desperation, and regal, gilded orchestration to hint at the pigs’ self-appointed god-like status.Where WondLa invites you into a sweeping, hopeful universe, The Pigs Underneath draws you into something beautiful yet terrifying. Working on these two very different mediums was incredibly creatively gratifying as a composer, and I’m so grateful to be part of both teams.
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