written in partnership with Jon StojanAs a highly acclaimed musician, Ruichao Wu is renowned for her versatile musical style. Throughout her musical journey, she has garnered a series of significant awards, including the top prize in the Composition Professional Group at the 2023 UK International Music Competition, the Platinum Award at the Universal International Music Competition for Composition, and second place in composition at the Vienna International Music Competition, among others. These honors not only affirm her musical talent but also serve as a testament to her ongoing exploration and growth in the realm of music.
We’re very happy to be speaking today with esteemed composer Ruichao Wu today; greetings and salutations! Before we delve into the Q&A section, could each of you say hello and introduce yourselves to our curious readers?
Hello everyone, I am Ruichao Wu, a composer originally from China and currently based in Los Angeles. Having completed my Master’s degree in Contemporary Media and Film Composition at the Eastman School of Music, I am now actively engaged in the film industry here in LA. I specialize in crafting compelling scores for a wide range of film and media productions. My work aims to enhance narrative storytelling through music, bringing each scene to life with unique sonic textures. As the founder of Pink Nami Noise, I continue to push the boundaries of film scoring, striving to deliver immersive and emotive musical experiences to audiences around the globe.
How would you describe your musical style, and what experiences or influences have shaped your musical path to date?
I always describe my music as “flexible and versatile.” There isn’t a specific style I adhere to. Growing up surrounded by the operas of Puccini, Rossini, the ballets of Tchaikovsky, Stravinsky, among others, due to my mother being an opera singer and my aunt a ballet dancer, my life was steeped in dramatic, storytelling music. Since childhood, I aspired to be someone who could tell stories through music. To achieve this, I delved into mastering various musical styles and integrating them seamlessly. I particularly enjoy exploring folk music from around the world, delving into the cultural narratives behind the music and the unique instruments they employ. These historical, vibrant sounds have always been pivotal elements in my musical compositions. Apart from music, I’m passionate about philosophy, finding inspiration in thinkers like Nietzsche and Adorno.
How has your educational journey from the China Academy of Art to the Eastman School of Music influenced your composition?
My educational journey from the China Academy of Art to the Eastman School of Music significantly influenced my composition style. At the China Academy of Art, I pursued a degree in Recording Arts within the Film Department. This encompassed learning all aspects of sound production in films, including dialogue, sound effects, scoring, theme songs, as well as technical aspects like synchronous sound recording, foley, mixing, and composition. Additionally, we studied various film and art-related subjects such as editing, cinematography, scriptwriting, scene design, and lighting. The program even required us to independently produce a short film, handling all aspects of its creation. These courses deepened my understanding of cinematic art and equipped me to compose music from a filmmaker’s perspective, facilitating smoother communication with directors. Interacting daily with talented filmmakers and animators provided invaluable experience in scoring for film. At the Eastman School of Music, I received a more systematic education in composition and music production, making significant strides in my ability to score for films, gaining more opportunities to collaborate with orchestras, and expanding my career as a film and concert composer.
What are some of the most significant collaborations in your music career, and why are they important to you?
Each collaboration in my music career holds immense importance. Let me highlight a recent project I’m working on—the score for the feature film “The Camel.” This project is in its final stages, and I’ve had the privilege to collaborate with musicians and teachers from Europe, the United States, and China. It’s my first venture into scoring a full-length feature film, and I’m fortunate to have a supportive team. In this film, I’ve combined elements of Chinese folk music, Western orchestral music, and electronic sounds, exploring new avenues in music composition. I’m eagerly anticipating the day it graces the big screen and resonates with audiences.
What were your initial motivations and visions for founding Pink Nami Noise?
The motivation and vision behind founding Pink Nami Noise were twofold. Pink noise, widely prevalent in nature, also has therapeutic effects in treating mental illnesses. I hope our music can naturally exist in film, just like how pink noise exists in nature, and healing people in a very subtle way.
Additionally, I aimed to amplify the voices of female composers through Pink Nami Noise. Thus, I plan to offer opportunities for aspiring girls and women passionate about film music, including students and professionals, providing avenues for entry into the industry and periodically hosting workshops and salons to share my experiences and techniques in film scoring.
What do you think are the most exciting trends in the music industry today? How do you plan to incorporate these trends into your future works?
I find the most exciting trend in the music industry today to be the continual expansion of artistic boundaries and redefinition of music’s meaning through modern digital technology. In recent years, the lines between sound effects and music in films have blurred, with ambient sounds and environmental noises becoming integral to the music. This immersive approach enables audiences to become deeply entrenched in the film’s world without consciously noticing the presence of music, making films more authentic. Moreover, interactive digital technology empowers audiences to become creators, blurring the traditional roles of composers, performers, and listeners. Commercially, I believe such technology holds immense potential in the realm of game scoring. I intend to incorporate these trends into my future works, aiming to provide audiences with immersive musical experiences in both film and concert settings.
What advice would you give to newcomers aspiring to enter the field of film and multimedia music?
For newcomers aspiring to enter the fields of film and multimedia music, I offer two pieces of advice. Firstly, this profession demands a diverse skill set. Apart from technical proficiency in composition and music production, it’s crucial to establish effective communication with the film team and possess a profound understanding of film. Therefore, delve deeply into film theory and audiovisual language, approaching your work from a genuine filmmaker’s or game maker’s perspective. Trust me; it’ll be immensely rewarding. Secondly, be prepared for the high-intensity workload and occasional late nights this industry entails. So, prioritize physical fitness and maintain a balanced diet for overall well-being.
Advertising disclosure: We may receive compensation for some of the links in our stories. Thank you for supporting LA Weekly and our advertisers.