VIP Interview with Leow (Dian Wang), writer, producer and director of the Music Video ‘Fantasia’

Today, we introduce Leow, a talented visual artist and music producer. In this interview, we talk about his new music video Fantasia, the inspirations behind it, and how the film came together through hard work and Leow’s love for traditional Chinese music.

What inspired you to pursue filmmaking, and when did you first realize you wanted to work in the entertainment industry?

I have always been fascinated by the power of storytelling, especially how music and visuals combine to create immersive experiences. My journey started with music, but I later realized that sound alone sometimes couldn’t fully convey emotions. Visuals, on the other hand, amplify music’s narrative and emotional depth. This realization led me to explore filmmaking, a medium that integrates sound, movement, and digital art. Transitioning into filmmaking was a natural progression—it allows me to create holistic sensory experiences rather than being confined to a single artistic form.

You directed, wrote, and produced the music video Fantasia. How was this experience for you?

Fantasia was an incredibly personal project, and taking full creative control made the experience both challenging and rewarding. Since I was involved in every stage, from concept development to execution, I had complete artistic freedom. However, this also meant I had to dedicate immense effort to ensuring the visuals and music aligned seamlessly. The most challenging part was balancing the technical aspects with the emotional depth I wanted to convey. But when I saw the final result come together, I knew that all the hard work had been worth it.

Where did the inspiration for the music video Fantasia come from, and when did you start working on it?

The inspiration came from my love for traditional Chinese music, particularly the guzheng, and my ongoing exploration of modern digital techniques. Fantasia initially began as an audiovisual experiment—an attempt to reimagine a classical composition in a futuristic way. Over time, the project evolved, incorporating generative visuals and experimental sound design, ultimately becoming the piece it is today.

Your composition for Fantasia is inspired by a traditional Chinese guzheng piece, and features a fusion of classical composition with a futuristic audiovisual experience, both musically and visually. How did you approach blending its classical elements with modern ones?

The fusion was a natural process for me because I have always seen music and visuals as part of the same continuum. I deconstructed the guzheng’s melodies, extracting core elements and layering them with electronic textures, dynamic rhythms, and immersive sound design. Visually, I translated this into fluid, evolving digital forms—akin to ink spreading in water or fabric rippling in the wind. While the technology used to create these visuals is cutting-edge, the aesthetic remains organic and timeless, allowing traditional culture to be reborn in a new form.

The producer Leow and the official poster of ‘Fantasia’

What does the word “Fantasia” mean to you, and why did you choose it as the title for your project?

For me, Fantasia represents a boundless space of imagination, where ideas transcend conventional structures. It’s not just a story but an exploration—an artistic experiment that blends cultures, time periods, and forms of expression. The title perfectly encapsulates the essence of the project, which is about fusing traditional music, philosophy, and digital technology into an ever-evolving experience.

You were born in Shanghai, China, but have spent years studying and working abroad. How do you think your international experiences have shaped your artistic vision?

Living in different cultural environments has enriched my artistic perspective. Studying in the UK exposed me to a wide range of experimental art and electronic music, which encouraged me to push the boundaries of creative expression. In Los Angeles, I had the opportunity to work with Remote Control Productions, where I learned film scoring from masters like Hans Zimmer. This experience deepened my understanding of how sound shapes emotions and enhances storytelling. It also reinforced my belief that music and visuals are inseparable, influencing the way I approach my interdisciplinary art practice today.

Colors and emotions are deeply connected, and in Fantasia, red and black play a prominent role. Why did you specifically choose red and black for your film? How do you think these colors enhance the storytelling and overall impact of the visuals?

Red and black carry deep symbolic meanings across many cultures. Red represents passion, energy, and intensity, while black conveys mystery and the unknown. In Fantasia, the contrast between these two colors amplifies the tension and dynamism of the visuals, creating a balance between tradition and futurism. The red reflects the vibrancy and movement of the music, while the black provides depth and space, allowing the visuals to emerge with greater impact. Together, they form a rhythmic visual composition that mirrors the evolving emotions of the soundtrack.

You are primarily a visual artist and music producer. How do you combine these two careers?

I see them as extensions of the same creative process. Sound and visuals both have rhythm, texture, and structure, and I approach them in a similar way. When I compose music, I visualize how it should look; when I design visuals, I think about their sonic properties. In my work, music and imagery are inseparable—they inform and influence each other in a continuous loop.

What message did you want to communicate to the audience through this film?

I wasn’t trying to communicate a specific message to the audience. Rather, I was expressing my personal experiences: I was raised by my grandparents, and my grandfather, who had lived through war, often sat by the window, recounting stories from the trenches. When he spoke of fallen comrades and the loneliness of battle, his eyes carried a complex mix of emotions. These childhood memories instilled in me a deep, indescribable attraction to the concept of war—a simultaneous fear and desire to understand its meaning. I grew up studying Western classical music, but after returning to Asia in 2014, I developed a strong interest in Chinese instruments. The first time I heard the guzheng, its taut, almost snapping strings resonated in the air, reminding me of my grandfather’s descriptions of the battlefield. In 2021, I began exploring these emotions through digital art. I created a sphere composed of ions, designed to shift and transform with the music. It expands from darkness, stretching like a string pulled to its limit, exuding a restrained force; then it contracts into a pulsating speck of light, containing an explosive energy. This “ion sphere” is like an alien observer, traveling through time and space, witnessing humanity’s cycles of conflict and reconciliation. Ancient war songs and modern cries of battle echo throughout history. Is time truly linear? Or is this force destined to repeat itself, as if human history is trapped in an unbreakable cycle? Turn on the news—the world is still at war.

Who are the visual artists that inspire you the most? Was there a particular film or installation that influenced you during the preparation of this music video?

There might be, but I don’t remember their names.

Fantasia was also the title of Disney’s iconic animated musical anthology film. Is there a connection between your music video and the 1940 Disney classic?

Not directly, but I appreciate how Disney’s Fantasia used music as the foundation for abstract visual storytelling. It was one of the earliest films to experiment with the synesthetic relationship between sound and image. My Fantasia shares that exploratory spirit, but I approached it from a contemporary, digitally-driven perspective.

What’s the best piece of advice you’ve ever received?

JUST DO IT.

What’s next for you? What are you currently working on?

Lately, I’ve been creating full-dome projection works, aiming to provide audiences with even more immersive experiences. At the same time, I’m working on a new music album, experimenting with different compositional techniques and visual storytelling approaches. I am constantly looking for new ways to bridge tradition and the future, offering audiences fresh artistic experiences.

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