Hi Haibei, welcome and thank you so much for chatting with us! I’d love to go back to basics and begin with an introductory question. Where was your start?  How did you know that music was your path?

I started my musical journey with the piano. Early on, I realized I didn’t enjoy memorizing scores, but I loved being on stage. Whenever I forgot the music, I would improvise, and that opened the door to composition. While studying concert composition, I worked closely with my professor who was very active in musical theatre projects. I served as artistic director for some of his productions, often adapting his themes to create transitional cues during rehearsals. That experience made me realize how much I enjoy collaboration and musical storytelling which naturally led me to screen scoring. Since I see myself more as an instrumental composer than a vocal one, screen scoring became the perfect path to combine my love for instrumental music with narrative and collaboration.

It’s so cool that you had the opportunity to provide additional music for recent projects like the Jackie Chan film Panda Plan. How did you come into the opportunity to assist on this project?

The lead composer of the Jackie Chan film is a longtime friend of mine. We know each other’s writing very well. When he needed help on a tight timeline, he brought me on board. It was such a rewarding experience, not only to work with him again but also to contribute to a film starring one of the biggest icons from my childhood.

It’s incredible that you’re working on a musical production version of The Curious Case of Benjamin Button.  Please tell us more about what your experience working in the musical theatre space has been like. How do you adjust your composing mindset for musical theatre, if at all?

Writing for musicals is very different from scoring films. In film scoring, the pacing usually follows the edit. In musical theatre, the music itself sets the pace and drives the drama. With each new song, the first question I ask the director is always about tempo and musical style, because those choices determine the flow of the storytelling on stage.

How has your recent experience as a mentee in the 2025 AWFC Mentorship program helped to shape your journey in the composer community? What an awesome opportunity! 

It was such a privilege to study with Jay Wadley. He’s an expert not only in film and TV scoring but also in advertising, and I wanted to learn more about approaching long-form projects like features and series. I had the chance to visit his studio, see his Logic sessions, hear how he interprets directors’ notes, responds to temp tracks, and organizes his workflow. He also shared valuable business insights from his experience serving as a music supervisor for ads.

As part of the mentorship, I rescored scenes from past projects — from TV shows to sci-fi and horror films. Jay paid close attention to overall structure, even when giving feedback on just one or two cues. He taught me to think in terms of larger arcs rather than only moment-to-moment detail. I’ve always found constructive critique far more useful than compliments, and this experience pushed me to grow in new ways. I encourage every composer to apply for this program!

You have Master’s degrees in both concert composition and screen scoring.  Do you find that the two disciplines inform each other, or do they take vastly different approaches?

Having a background in concert composition has been invaluable for my screen scoring. It allows me to focus on shaping emotional tone without getting caught up in technique. At the same time, the narrative and dramatic instincts I’ve gained through screen scoring influence how I approach concert commissions. For me, the two worlds are in constant dialogue, each enriching the other.

When you’re not composing, what else do you do that you love?

I love snowboarding, traveling, and pole dance. The first two are harder to squeeze in during busy projects, but pole dance has become my favorite escape. It’s fun, a little daring, and the perfect way to shake off long hours at the desk.

Thanks again so much for sharing your story with us, Haibei!  What are you most excited about to share next as an upcoming project or highlight?  

I’m currently participating in the VIFF Composer Filmmaker Accelerator, which has been an incredible experience. I’ve had so much fun scoring clips by director Liz Cairns.

And, I’m so excited to have my music recorded by the Vancouver Symphony Orchestra. This time, I wrote for chamber orchestra, as live orchestras never stop inspiring me. I’m also contributing additional music for an upcoming feature comedy, collaborating once again with the same composer friend I partnered with on the Jackie Chan film.