The mesmerizing world of music and sound has always had an enigmatic allure for Winnie Liu (劉蕙雯 Hui-Wen Liu), Taiwanese media composer, sound designer, and multi-instrumentalist. From her early years in Taiwan, where she was immersed in a rich cultural tapestry of sounds, Winnie discovered the profound impact that music can have on our emotions and perceptions.
With a formal education in music composition and cello performance, she has continually pushed the boundaries of sound design, weaving intricate auditory experiences that enhance visual media.
Winnie’s career is marked by an impressive array of projects and affiliations. Her memberships with organizations such as the Society of Composers & Lyricists (SCL), the Alliance for Women Film Composers (AWFC), Composer Diversity Collective (CDC), and the American Society of Music Arrangers and Composers (ASMAC)– reflecting her passion for music and composing.
Winnie’s versatility extends to a diverse range of genres—from video games to dance performances to film projects. Read our interview below to learn more about the incredible work and creative journey of Winnie Liu and to see what’s next in store for her.
Editor’s note: the following interview is edited for length and clarity.
No Film School: What initially drew you to the field of composing and sound design?
Winnie Liu: Ever since I was young, I’ve been fascinated by how music and sound can profoundly influence our emotions and perceptions.
Growing up in Taiwan, I was surrounded by a rich cultural tapestry of sounds and music, from the intricate melodies and sounds of traditional Chinese orchestras to the harmonies of Western classical music, which sparked my curiosity. I found myself drawn to the idea of using music to tell stories and evoke emotions, whether through film, theater, or games. This passion led me to pursue formal education in music composition and cello performance, where I realized the immense potential of sound design in enhancing visual media.
NFS: As a member of several professional organizations like SCL, AWFC, CDC, and ASMAC, how have these affiliations impacted your career?
Liu: Being a part of these professional organizations has been incredibly beneficial. They provide a platform for networking, mentorship, and continuous learning, which are crucial in a field that is constantly evolving. For instance, through my membership with the Society of Composers & Lyricists (SCL) and the Alliance for Women Film Composers (AWFC), I’ve had opportunities to connect with industry veterans who have shared invaluable insights and guidance. In Composer Diversity Collective (CDC), I’ve been able to meet composers with similar cultural backgrounds and share our insights from the industry.
These affiliations have also opened doors to collaborations and projects that I might not have encountered otherwise, helping me grow both professionally and personally.
NFS: The film Pacify explored the concept of self-comforting behaviors. How did you reflect this theme through your music?
Liu: For Pacify, I wanted the music to capture the intimate and sometimes unsettling nature of self-comforting behaviors. I used close-miking techniques to record sounds from various tools and instruments, creating an ASMR-like effect that evokes a sense of intimacy and obsession. This approach allowed the music to mirror the film’s exploration of how we pacify ourselves with different coping mechanisms. The super-sensitive sound effects created a visceral connection with the audience, helping them to feel the complex emotions portrayed in the film.
Winnie LiuImpact24
NFS: Maybe We Saved the World garnered significant recognition this year. Can you talk about your role in this project and what made it unique?
Liu: It was a surprise for me when our game Maybe We Saved the World won the prestigious “Just Play: A Game Jam for Climate Futures” contest and was presented at the Hollywood Climate Summit 2024. The game was showcased at the Samuel Goldwyn Theater, part of the Academy of Motion Picture Arts and Sciences. I joined the Just Play Game Jam during some free time between other projects, not expecting any awards.
My only intention was to meet new developers and continue my creative practice. As the sound designer and composer for this game, I had full control over both worlds, allowing me the freedom to blend unconventional instrument sounds and music for each story event. There is no strict line between the music and sound in this game, creating a seamless auditory experience.
NFS: Can you discuss another project where you used unconventional instruments or objects to create sounds?
Liu: In Pacify, I extensively used unconventional instruments and objects to create unique sounds. For instance, I recorded the sounds of random tools and everyday objects, capturing their natural resonance and textures. These recordings were then processed to create an ASMR-like effect that perfectly complemented the film’s theme of self-comforting behaviors. This approach added a layer of authenticity and intimacy to the sound design, making it a memorable part of the film’s auditory experience.
NFS: What was a project that required extensive collaboration with other artists or professionals, and how did you manage it?
Liu: Maybe We Saved the World was a project that required extensive collaboration. As a game centered on the climate crisis and community action, it involved close cooperation with the game developer and writer, Aric. We incorporated environmental recordings from his organic farm, including the sounds of threatened bird species and other natural elements, into the game’s soundscape.
Additionally, I worked with voice actor Leslie McBay, creating music that complemented her performance and the narrative. Managing this collaboration required regular communication, sharing creative ideas, and ensuring that the sound design aligned with the game’s environmental message.
NFS: Which project has pushed you the most outside of your comfort zone and why?
Liu: Drifting Roots pushed me the most outside of my comfort zone. It was one of the few projects where I served as both co-producer and composer. Unlike scoring for a film with a fixed timeline, the music for this project had to be organic and able to interact with the live performance.
In the 2023 C-LAB Taiwan Sound Festival “Diversonics,” it was performed in a 49.4-channel speaker sound lab, requiring me to understand the surrounding system during the creative process. With the support from IRCAM and Taiwan Sound Lab (TSL), this setup allowed for an immersive, real-time audio interaction experience with the dancer and audience. The creative process was truly challenging but also incredibly rewarding.
NFS: What advice would you give to aspiring media composers and sound designers?
Liu: My advice to aspiring media composers and sound designers would be to stay curious and open to learning. The field is constantly evolving, and being adaptable and willing to experiment with new techniques and technologies is crucial.
Building a strong network through professional organizations and collaborations can provide invaluable support and opportunities. Also, always strive to understand the narrative and emotional core of the projects you work on, as this will guide your creative decisions and help you create impactful and memorable work.
NFS: What’s next for you? Are there any upcoming projects or collaborations you’re particularly excited about?
Liu: One project I’m particularly excited about is a feature film currently in pre-production titled Days Flow By, directed by Ziyi Yuan, who also directed Pacify.
This film is set in a village in Sichuan, China, a place affected by urbanization and the fading population. The story explores the lives of the elders left behind in the village and the beauty of nature reclaiming abandoned spaces. I’m passionate about this project because it delves into themes of change, memory, and resilience, and it offers a unique opportunity to incorporate local sounds and cultural elements into the score.
In addition to Days Flow By, I’m also working on another feature film titled Sugar in the Water, which explores the concept of waiting, as well as a couple of short films and indie games that are currently in pre-production. I’m also planning to host a concert around next March or April in Los Angeles, gathering composer friends and musicians to celebrate our shared love for music and collaboration.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
