Key Crew

Director of Photography, Wang Yu

Wang Yu has worked on an impressive array of films, from his first movie Suzhou River (2000, director Lou Ye) to The Go Master (2006, Tian Zhuangzhuang). He has gone on to win the Golden Goblet for Best Cinematography at the 10th Shanghai International Film Festival in 2007, and he was nominated for Achievement in Cinematography at the 2007 Asia Pacific Screen Awards. Read Wang Yu’s Q & A.

Production Designer, Zhai Tao

Zhai Tao has worked as art director and set decorator on numerous Chinese films. His feature film work as Production Designer can be seen in Kung Fu Hip-Hop, Welcome to Shamatown, and Who Had Seen the Festival of the Wild Animals?, a film that’s been banned in China. Read Zhai Tao’s Q & A.

Costume Designer, Laurence Xu

Laurence Xu is a much sought-after costume designer in China. He’s also a well-known couture gown designer for many Chinese actresses attending red carpet events at festivals around the world. His feature film credits include: When Ruo Ma Was 17, The Road, The Sun Also Rises, A Bride in Shangri-La, The Red Awn, and Dark Matter. Read Laurence Xu’s Q & A.

Supervising Editor, Lisa Fruchtman

Lisa is an Academy Award-winning editor who has worked in both feature film and television. Among her many film projects are Apocalypse Now, The Right Stuff, Children of a Lesser God, The Godfather 3, The Doctor, My Best Friend’s Wedding and The Woodsman.

Her awards and honors include an Oscar for The Right Stuff; Academy Award and BAFTA nominations for Best Editing for both Godfather 3 and Apocalypse Now; an Emmy Nomination and a cable ACE award for Truman. Her work for Children of a Lesser God was nominated for Best Picture. You can see her full credits on IMDB. Read Lisa Fruchtman’s Q & A.

Editor, Lisa Cheek

Lisa has been a film editor for the past 25 years, working in Los Angeles, New York, Montreal, and San Francisco. She has cut commercials for high-profile accounts and worked on several short films including Spike Lee’s A Weekend in Martha’s Vineyard and the award-winning feature 20 Dates.

Composer, Robert Miller

Robert is a prolific composer of film, concert, and commercial music. His distinctive style has made its mark on over 1800 commercials, a growing body of film scores, and works for concert and the stage. Over the years, he’s received six CLIO awards for his work in advertising. He has also been a long-time collaborator with The American Museum of Natural History’s Hayden Planetarium, composing orchestral scores for two planetarium shows “Journey to the Stars” and “Big Bang.” Read Robert Miller’s Q & A.

Sound Designer, Richard Beggs

Richard, a sound designer and mixer on 65 feature films since 1976, has worked with Francis Ford Coppola, Barry Levinson, Alfonso Cuaron and other major directors. His most recent project was Sofia Coppola’s Somewhere (2010). He won an Academy Award for sound on Apocalypse Now and has also received seven Golden Reel sound nominations.

In addition to his work on films, Richard Beggs has created scores for contemporary ballets and exhibited his paintings at SFMOMA and the Oakland Museum of Art. He also teaches film sound at the California College of the Arts and the San Francisco Film Society. You can see his full credits on IMDB, and read a Q & A with Richard Beggs.

Feli Tang, First Assistant Director and Visual Effects Artist

Feli is a Hong Kong-based Assistant Director and Effects Artist whose two credits don’t adequately represent her unique contribution to Cinderella Moon.

Max Chan Tat Leong, First Assistant Editor, Post Production Technical Director, Visual Effects Digital Artist

Max is a Hong Kong-based technical wizard and highly skilled digital artist whose fingerprints are on every frame of Cinderella Moon.

Joey Wang Yizhou, Script Supervisor

Joey is a Beijing-based Script Supervisor. Cinderella Moon was her first film, and she proved herself to be one of the fastest learners on the planet.

Music Clips

By turns heartfelt, whimsical, and dramatic, Robert Miller’s original score for Cinderella Moon reinforces the film’s sumptuous visuals. Enjoy the following music samples…

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Composer Q & A

Robert Miller is a prolific composer of film, concert, and commercial music, with six CLIO awards under his belt. We caught up with him at his New York studio and chatted with him about his collaboration on Cinderella Moon. Be sure to listen to music samples from his original score for the film.

Q: Was there any time you didn’t love music?

RM: Absolutely not. There are home movies my family have showing me at age one-and-a-half sitting at a toy piano and pointing to other instruments! In high school, I’d go to Yankee Stadium, but I’d bring my music assignments with me. I wasn’t an introverted music nerd — I had lots of friends. But I was also a part of a clique of serious musicians.

Q: You studied with renowned composer Aaron Copland. What did you learn from him that you brought with you to the Cinderella Moon score?

RM: Economy. The idea that there’s an air of inevitability about your musical composition. Don’t waste anything, but don’t overblow an idea.

Q: When you score a film, what’s one of the important things you consider?

RM: A film score is a collection of puzzle pieces, so while I’m composing, I’m always trying to figure out how themes are going to fit inside each other and balance each other out. I also look for a quality my musician friends and I call “happy/sad.” It means a score that makes you feel all the emotions at once. It’s the quality I look for in a theme that has heart.

Q: Tell us about how you came up with themes for each character and how the music expressed that.

RM: For Mei Mei’s theme, I wanted to convey sweetness, sadness, and hope — a kind of yearning quality. The King is supposed to project confidence and determination, so there were lots of drums, for example, in his theme. In the climax of the film, both of those themes reach a kind of compromise or conclusion.

In the Stepmother’s and Merchant’s Son’s themes, I wanted to provide some comic relief. And every time Mei Mei’s magic slippers or the magical goldfish appear, you hear a flute or harp, giving it a fairytale feel.

Q: How did you approach writing a score for a film set in a fairytale ancient China?

RM: I researched traditional Chinese music and created a demo for director Richard Bowen that I’d loaded up with sample recordings of traditional Chinese instruments. I also learned a variety of traditional Chinese musical styles and incorporated them into my themes.

I asked my friends who knew about classical Chinese music what they thought. I got the ultimate compliment when they were impressed that a westerner could tackle the unique meter of traditional Chinese music!