I was born in the latter half of Gen X, yet I’ve often felt a step outside its typical traits—less inclined toward skepticism and more drawn to a sense of idealism.
While I share Gen X’s emphasis on independence and resourcefulness, my outlook embraces the finer things in life and an openness to new possibilities, leaving me both connected to my generation’s ethos and slightly apart from its more cynical edge.
I’ve been an avid gamer—cutting my teeth on ’80s and ’90s RPGs such as Ultima, Bard’s Tale, and Might and Magic, then spending more time than I’d like to admit on World of Warcraft. My love for games extends to board gaming, AD&D, and Warhammer 40k. I also maintain a collection of toys, comics, and old metal toy cars in good condition (though I stopped collecting altogether once I hit 35). Coming from a middle-class family taught me the importance of managing my finances, so I somehow managed to save up while still indulging in my interests. Maybe one day, after I’ve retired, I’ll showcase this diverse collection—it’s quite extensive.
My educational journey began with sound engineering at the School of Audio Engineering (SAE). Although my forte lies in music composition, I went on to study arts and graphic design at Limkokwing Institute in 1998, ultimately graduating with a BA in Graphic Design, specializing in multimedia. Thanks to my dad’s wonderful support, I had a MIDI studio set up in the late ’90s, making me one of the earliest adopters of music technology as a composer in Malaysia.
By 2001, I had entered the industry as a music director and producer. My first album, Peacevolution (produced in 2003), was my inaugural foray into releasing a project fully produced in my home music studio (with some parts done in my office). In 2005, I founded Nexus Creative, a multimedia agency where I explored innovative ideas and honed my visual and aural design skills. While working as web/flash designer, I composed and scored music for platforms like Discovery and the Crime Investigation Channel. I had the honor of composing music for Tourism Malaysia twice—the song “The Best Time of Your Life” proved especially successful, and I still receive praise for it from around the region.
By 2009, I felt compelled to produce a new album, Paradise.
It was an independent release, and like many Malaysian artists at the time, I received no support from any local radio stations, leaving me with virtually no avenue for promotion.
Some of my friends even asked for free copies instead of purchasing them to show support—one can imagine the struggles.
One music store, however, graciously placed my CD in a noteworthy section, leading to sales of nearly 800 copies. Seeking broader recognition, I turned to international platforms like Jango Airplay and ReverbNation, where I was featured as an artist on both. This scenario reflects a recurring theme throughout my life.
During my web-designing days, I tried quite hard to get my work featured in a local web design competition, but the submission was rejected. I responded by pushing myself harder and eventually won several international web awards. These experiences shaped my perspective—realizing I often had to look outward, as the global stage seemed to recognize my talents more than the local scene.
In 2010, I ended my career as a music artist, shifting my focus more toward film after I watched David Lynch’s Blue Velvet.
Lynch’s mastery of hidden symbolism opened my eyes to the world of cinematic art, which intrigued me deeply as an avid lover of all things creative.
When Steve Jobs effectively ended the Flash era (and, in turn, my career as a web designer), I took it as my cue to finally transition into film.
Back in college, I had written a short story for a class project and kept it until 2014, when I developed it with Kenny Li. That story evolved into The Spiral, and with the support of Aron Koh, I directed my first feature in 2016. While it didn’t perform well locally, The Spiral premiered at festivals such as the International Horror & Sci-Fi Film Festival and the Berlin Sci-Fi Film Festival—proving once again that the world often embraced my work more than my own backyard.
In 2017, I joined ACE Pictures primarily as a producer-financier, reviewing screenplays pitched to me and recommending those I believed in for funding. At one point, I was reading one or two scripts per day for nearly a year—a grueling test of durability that ultimately confirmed my key strength: recognizing noteworthy projects.
To me, this is the single most important moment of my life—
a testimony to how resilience and determination can indeed bring you somewhere.
Over the course of three years, we produced nine films, three of which premiered at Sundance. Among them, Clemency won the Sundance Grand Jury Prize in 2019; Color Out of Space took Best Picture and Best Director at Austin Fantastic Fest 2019; and Daniel Isn’t Real earned Best Director at BIFAN, Best Poster at SXSW, and Best Actor for Miles Robbins at Sitges—all in 2019. I also earned my first p.g.a. mark for producing one of these nine films. Through these ventures, I had the privilege of working with celebrities such as Angelina Jolie, David Oyelowo, Nicolas Cage, Miles Robbins, Patrick Schwarzenegger, Bella Thorne, and Melissa Leo, and I served as a co-producer on Malignant, a film by James Wan.
At the same time, I ventured into directing a few short films as part of the Ace Inspirational Series, a branded content initiative. This work earned me the Grand Award in 2021 and 2022 in the Web Videos category at the World Media Festivals, as well as a Finalist Certificate at the Cannes Corporate Media & TV Awards 2021.
In 2021, I also revisited my first feature, The Spiral. It always felt like unfinished business—though I could never fully realize the film’s original vision, I took the time to refine it, reworking the editing, compositing, and rescoring the music in my spare time. By 2022, The Spiral: Director’s Cut was selected as the opening feature for the New York Sci-Fi Festival. With that milestone, I finally put a definitive full stop on it and told myself: it’s time to truly move on.
As much as I enjoyed being a producer, directing has always been part of my ambition. I’ve often been told to move on from my past works, but I simply couldn’t forget my history—a double-edged sword that can be both a blessing and a curse.
I remember nearly every sequence of events, and all my failures have shaped me into who I am. The Spiral is fundamentally flawed, but it taught me countless lessons, complementing what I later learned from Hollywood.
Never forget your past.
When I was younger and had ample energy, I felt I had all the time I wanted. But as we grow older, our commitments multiply, and I’ve found myself creating less and less. Transitioning from a full-time “doer,” I’ve moved into decision-making and strategic planning.
Today, I serve as a CEO, overseeing broader strategies for the company I lead. Despite these expanded executive responsibilities, my passion for creative work remains as strong as ever. I’m still ready to jump at any opportunity.
I recently finished my second film, Time to Leave, in 2024, and I’m currently working on Absolution, a supernatural thriller. I’m eager to return to the director’s chair and explore endless storytelling possibilities. Whether through music, design, or film, my guiding principle remains the same: to craft experiences that resonate deeply and stand the test of time.
I hope sharing this piece of my life story encourages you not to give up. My failures outnumber my successes—I am neither wealthy nor a genius. But I worked hard. Very hard.
I wish you the best in life.
Pete
2025
I am a multidisciplinary creative professional—film director, producer, sound designer, composer, and multimedia artist—driven by a passion to elevate Asian cinema to global audiences. My work focuses on innovative storytelling, cross-border collaborations, and crafting cinematic experiences that stretch creative boundaries. From cosmic horror to martial arts thrillers, I strive to fuse immersive soundscapes, striking visuals, and compelling narratives, bringing bold ideas to life while balancing both artistic vision and commercial viability.
The Evolution of My Creative Persona
Throughout my artistic journey, I've adopted various names that reflect different facets of my creativity and personal growth. My full name, Wong Pooi Fatt (王培發), honors my cultural heritage. I began as Peter Wong, focusing on graphic, web, and multimedia design, as well as early commercial music and film projects.
In my music albums and other art music projects, I use The Nexus, embodying my passion for sonic storytelling. As I evolved, I finally embraced the name Pete Wong for all my future creative endeavours.
Each name signifies a distinct chapter in my life, collectively painting the portrait of the artist I am today.