Category Archives: Film

Editor, Film

Editor Xiaodan Yang refines artistic story in upcoming film “Summer Orange”

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Xiaodan “Christy” Yang was a teenager when she realized she was meant to be a filmmaker. At the time, she and her friends at their high school in China were just having fun with a video camera. They were so excited and curious about the tool and would pretend to interview students during lunch breaks. Quickly, this transformed to casting classmates in small productions, and Yang was the leader.

“The most classic one was a Titanic parody where I picked two leading characters to play Jack and Rose from the “audition”. Then we shot the “I’m flying” scene. Their acting was so hilarious and the whole process was a lot of fun. I really enjoyed it and that’s the first time I started thinking that maybe I could be a real filmmaker someday. I wanted to bring larger audiences to tears of laughter and allow them to experience all sorts of emotions through my work,” said Yang.

Despite being in charge of her high school short films, Yang found her way to a more behind-the-scenes role in editing. Now, she is an award-winning editor and is recognized far beyond China for her talent. Through her work on dramatic films such as Kayla, Witness, Sixteen and It’s Not Just About a Film, Yang’s contributions as an editor shape these important stories into pieces of art, and all those who work with her know what an asset she is.

“I worked with Xiaodan on my film, Ashram, as well as a short film called The Review. I directed the films and she was my editor for both of them. To work with Xiaodan is to have a very smart, skilled and sensitive creative partner. She is very thoughtful about her editing decisions, and a very even-keeled and well-balanced guiding creative force for the project. She’s very competent and efficient, but also artistic and intuitive. She has strong communication and learning skills, which make us work efficiently,” said Matt Marlin, Writer and Director. “Xiaodan is a strong creative presence and also very flexible with working with different types of personalities. She often juggled multiple projects when working with me, and still made me feel like my project was at least an equal priority with the other things she was working on. She can roll with any notes I throw her way, and also push back when she believes in a creative decision strongly. She has a great intuition for how to best bring out the story from the footage provided.”

When working on the upcoming film Summer Orange, an artistic story, Yang knew it would be defined by the editing. When she first read the script, she was immediately captured by the characters and could feel the desolation they felt in every word. She instantly said yes to the project.

“Summer Orange is about a filmmaker dealing with his real life and the film he’s shooting. As a filmmaker myself, I felt close to him. As I was editing the film, the film also affected me in many ways. I was thinking deeply while working on this one,” said Yang.

The film follows Da, a film student in Los Angeles. During the time shooting his thesis film, his old friend, Lu, comes to visit him. It has been a few years since the two have seen each other, and they both have changed. At the same time, the relationship between Da and Xintong, the leading actress of his film, becomes ambiguous. With so many things going on, Da feels confused about film and reality.

“This is a very personal story for the director. Some plots and details come from his actual life experience. If other films are considered novels, this one is more like a prose. The story is sincere, but also abstract. Although nothing dramatic happens, the tone of the story is attractive. Sometimes life is just overwhelming, and people can’t do anything about it. The best part of this story is the dynamic between the characters. That was also my emphasis during editing,” said Yang.

Summer Orange is directed by Chen Xu, who also wrote the film. He had previously worked with Yang on Witness and It’s Not Just About a Film and knew her extraordinary editing talents would help captivate audiences to his subtle story. As the editor, Yang understood the director’s intentions of this story precisely. When going through the footage, every decision Xu made while shooting made sense to her and she knew just how to approach the editing. She could transform and breakdown the script without disrupting the artistic conception. As it was a calm story, the director chose to shoot the film in an objective way, meaning most of the shots were long takes. When Yang was editing, she watched each shot over and over to make sure she was choosing to highlight the best performances from each actor. After doing this, she still made sure not to cut the long takes, therefore ensuring the dynamic between each character was as close as possible to how it was originally shot, refining every take. She also slowed down her pace while editing and instead of simply thinking about what would be useful, she cared more about what felt right for the atmosphere.

Undoubtedly, Summer Orange will be a tremendous film and showcase what a formidable editor Yang is. It will premiere this May at none other than the prestigious Cannes Film Festival Short Film Corner and will expectedly make its way to several more festivals in the coming year.

“I feel so excited about the Cannes Film Festival, since it’s one of the best film festivals in the world. I believe this is just a good beginning, and more and more will come,” Yang concluded.

Animator, Film

China’s Xingpei Shen creates animation masterpiece with ‘Lotus Lantern’

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Xingpei Shen, photo by Rob Chron

Despite loving drawing since he was a child, it took Xingpei Shen much longer to discover he was meant to be in animation. He loved art, but in his late teenage years, he did not know how to turn that passion into a career. However, after attending a presentation from Chinese animator Lei Lei (Ray), he started to become intrigued by the idea of a career in animation. One of Lei Lei’s films, This Is Love, stuck with Shen. It was a candy-colored graphic animation paired with a silly yet sweet poem. It made everyone laugh and reminded him why he wanted to be an artist in the first place. Now, years later, he is an in-demand animator impressing worldwide audiences with his work.

Shen has had an expansive career as an animator, working on solo projects and group endeavors. His first independent film, Good Game, Bad Time, and Killer Sportsmanship, went on to international acclaim at several film festivals. This pattern continued with his work on the Huffington Post project What It Means to be Muslim in America, where Shen was one of only nine animators who were invited to make a short animation based on an audio anecdote provided on the topics of Muslim experience in America. He was also one of seven video artists featured in the traveling show Internet Yami-Ichi on December 9th, 2017at the renowned Tate Museum, where he has two animation pieces in the show.

“As a queer Chinese artist, I find my work often looks at overlooked boundaries of existences, the places of in-between, and the sweet vulnerabilities of outsiders,” said Shen.

This is exemplified by Shen’s latest film, Lotus Lantern. Lotus Lantern is a tribute to late Chinese singer Zhou Xuan, a missing link between filmmaker’s queer identity and Chinese heritage. Shen wrote, directed and animated the film entirely on his own. He had a vision in the very beginning that he wanted to make a lush and dreamy film that talks about his queerness and Chinese heritage, and he worked intensely hard to realize the goal.

“I think Lotus Lantern is important, because for one, it is a personal story about both queer experience and Chinese heritage. In the media nowadays, there is a tendency to homogenize queerness and overlook the intersectionality of different facets of identities. I believe Lotus Lantern is a genuine and vulnerable film that resists that tendency,” said Shen.

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Still from Lotus Lantern

After months of work, Lotus Lantern premiered on July 30th, 2017 at BAMcinématek in Brooklyn for the 14th Animation Block Party. It then made its way to dozens more festivals and is still continuing its run with three upcoming festivals in the next few months. It was featured as Vimeo Staff Pick and Shen was also invited to talk about his process on Animation World Network.

“It feels surreal how far Lotus Lantern has gotten after I finished the film not long ago. I am still currently processing and trying not to go over my head with all the good news. I am very proud and happy, because this film is incredibly personal and vulnerable. It gives me a lot of encouragement to carry out future projects,” he said.

Shen had three main inspirations when creating the concept for his film. The first was to create a tribute for Zhou Xuan, whose music was a large part of Shen’s childhood. Growing up queer in China, Shen did not have many icons in the media that he could look up to or relate with, but he was always fascinated by the singer and related her to a goddess. When he looked back on these pivotal years, he realized his sentiments towards Zhou Xuan all tied into his understanding of his own queerness, ultimately shaping his life. He wanted to reflect that through his art.

Second, he took the visual style from his grandmother’s praying shrine. His grandmother has a shrine that she prays to daily. When Shen was a child, he was always fascinated by the strange aesthetic of all the artifacts where a gorgeous antique brass double ear incense bowl paired with a cheap oversized disposable lighter she bought at a drug store and crackling chants pour out from a lotus-shaped electronic Buddhist mantra box. The sensibility extruded from his grandmother’s shrine table inspired the campy aesthetic of this film.

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Still from Lotus Lantern

“Wow, I am mightily impressed by Xingpei’s work on Lotus Lantern. It’s a steadily emerging style of film that I’m seeing more and more of and this one goes close to top of the class in that style. One of its strengths really struck me as being the very restrained and almost understated way he managed its pacing even as it poured in more and more and more visual elements – in lesser hands the temptation to wind up the tempo would have been succumbed to,” said Malcolm Turner, Animator and Director of the Melbourne International Film Festival.

Shen’s last source of inspiration for his film was his friend and former employer Suzan Pitt, an animator who created the 1979 short film Asparagus. A few years ago, Shen emailed the filmmaker and told her what an inspiration she had been to him. She responded and invited Shen for coffee at her home and a screening of Asparagus, where they had a long conversation about the art of animation. Throughout his entire time making Lotus Lantern, Shen kept the idea and style of Asparagus in his mind. He was haunted by the intricate psychedelic interior space of sexuality and desire in the film. He wanted to create something that was as complex and captivating.

“I really enjoyed Xingpei’s film Lotus Lantern. It seemed to be a deliberate homage to Suzan Pitt’s Asparagus, and it was really great to see an animation refer to another (great) animator’s work in a thoughtful and considerate way rather than just ripping off their style or film for effect. The deep underlying reference to Asparagus opens up ideas about identity, beauty and self, the state of reverie, but Xingpei takes them into new and compelling territory. We are made to think about the common ground of each film and the differences too. It was beautifully made and very thought provoking,” said Artist and Animator, Edwin Rostron.

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Still from Lotus Lantern

One of the more outstanding aspects of Lotus Lantern is that Shen made the film with a combination of digital tools (3D software like Maya, and 2D software like Photoshop and AfterEffects) and traditional animation techniques (hand-drawn and rotoscope). It balances two different methods creatively to achieve a lush painterly quality, which is very unique in current animation. The use of these methods exemplifies why Shen is such a formidable animator.

Despite all the critical acclaim and recognition Lotus Lantern has received, the greatest accolade came at the 41st Ottawa International Animation Festival last year. On the last day of the festival, Shen was sitting alone after his film’s second and final screening. A woman from South Africa approached him and told him that Lotus Lantern truly struck her, especially when Shen talked about the influences of women in his family to him as a queer artist. She put her hand on his chest and told him she was touched before tearing up. The women then left in a hurry before Shen could get her name or her story. He calls the experience the highlight of his career.

“It was an incredibly sweet moment. I have never gotten such a genuine and strong response for my work. It reminded me of the reason why I wanted to make films and tell stories in the first place,” he concluded.

Watch Shen’s moving work on Lotus Lantern here.

actor profile, Film, International Actor, Television

Actor Donald Heng’s Thoughtful Brand of Sci-Fi Storytelling

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If you’re a fan of fantasy/horror, chances are good you know  Donald Heng’s work. The Vancouver-based actor has been seen in a wide variety of settings—comedies, drama, made for TV movies, weekly series, indie films—but in recently, Heng had settled into a shadowy niche in the unpredictable, spine-tingling world of the SyFy television network’s original thriller content. With guest appearances on several different SyFy shows and his recurring Ghost Wars role as the edgy Deputy Larry Foon, the talented, versatile Heng is making dramatic tension his calling card. Tinseltown News Now caught up with Heng between shoots to discuss this latest upshift in an already impressive career

 

Q: You have had some good professional fortune at SyFy — do you feel career momentum is building at the network?

A: Definitely. This whole business is not for the impatient that’s for sure. Someone once told me that acting is a marathon, not a sprint, and that has always stuck with me. There may often be little rhyme or reason in this industry, but if you’re in it long enough and are prepared and constantly working on your craft, momentum will occur.

Q: You have previously appeared in “The Flash,” and “Supernatural,” please discuss these experiences

A: It was a relief to finally get to work on “Supernatural.” That show has been [produced] in Vancouver for 12, going on 13-14 seasons. My entire circle of actor friends have been on it, so it was great to get any kind of part on the show. But my character got to interact with Jared and Jensen and that was incredibly fun. They were really nice and welcoming and the jokes and pranks are non-stop whenever they yell cut. “The Flash” was also incredibly exciting in its own right. I read the comics as a kid and so there was of course that part of me that was freaking about getting my ass saved by the Flash not once, not twice, but three times. Some of the stunts in that show were also the most fun I ever had on set. It was like riding a go-kart down an empty street and my fear was not hard to fake [laughs].

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Q: How did you come to meet “Ghost Wars” creator-writer-producer Simon Barry?

A: I may have met him earlier when I auditioned for “Continuum” but I can’t say that definitively. But I definitely did meet him for “Van Helsing,” and then again later for “Ghost Wars.” He is an incredibly humble, personable human being and, of all the producers I’ve worked with, definitely made the biggest effort of including and inviting the cast to collaborate in his projects. During the table read for the first episode, Simon told everyone that he wanted to build these characters with us and if there were certain lines that didn’t sit well with our characters, to bring it up to him and he would work with us to change it.

Q: Were you cast on “Continuum?”

A: No, I did audition for it a couple times but unfortunately that show ended its run before I had a chance to be in it.

Q: Discuss your experience on “Van Helsing”

A: When I got cast in “Van Helsing,” I was very excited to work with Michael Nankin, who has had a long tenure with SyFy. I had done a couple workshops with him while studying at the Actor’s Foundry, so it brought me a sense of validity to be able to work with him in that capacity.

Q; How did Mr. Barry come to select you for “Ghost Wars?”

A: That’s something you would have to ask him [laughs]. I’m sure the decision didn’t rest solely with Simon, but that is a very interesting question that I wonder about all the time. When I show up on set after every casting, I always have the urge to ask the director/producer ‘why was I selected?’ Truth be told, in this industry, the best actor often doesn’t get the job.

Q: How has it been working on “Ghost Wars?”

A: It was great, it was one of the most fulfilling experiences of my career. The cast and crew were great. We spent some time up in Squamish for the shoot and it was absolutely beautiful. We had dinner with Simon and David (the director) and they told us some of the funniest stories I’ve ever heard in my life regarding their experiences in the industry. I had always wanted to play a police officer so that was a huge checkmark off the bucket list.

Q: Your character is particularly nuanced for a horror/thriller, please discuss
A: My character, along with most of the characters in the fiction town of Port Moore, treats Roman Mercer [Avan Jogia] as an outcast. Roman’s mother was into witchcraft and the rumor goes that she has put a curse on this town. After a paranormal bus accident, my mother is among the dead and I blame Roman for the incident until his supernatural abilities are revealed.

Donald Heng-Ghost Wars

Q: How do you prepare a characterization like that?

A: I try to find the everything that is relate-able between my character and myself. Fortunately, Deputy Larry is a very human character, much like the rest of the other characters. When it’s boiled down, it needs to make sense behind the horror and the gore, this was a project that really tried to make sense of every nuance, character motivation and plot. So, as Deputy Larry, I had to find in me what it meant to lose the most important person in my life, and what I would want to do to the person who took that away from me. Apart from envisioning supernatural entities, there wasn’t a whole lot else I needed to work on besides those two dichotomies.

Q: The horror/fantasy genre offers limitless possibilities in plot and action, please discuss working in this style

A: Well, it’s always fun because it is, in a way, the epitome of acting. It’s the reason why kids grow up loving Superman and Batman and the Power Rangers—it brings you into a world of fantasy where you don’t need to be yourself, but it is also constantly evolving. A movie about Batman 20 years ago is considerably different than a movie about Batman today. I just watched “Black Panther” and that movie is so good because it successfully ties in so any historical themes and elements into the fantasy. That way, the films are marketed not only to kids who adore the superheroes, but also the teenagers and adults who just want a film that touches them.

Q: The “Ghost Wars” cast also features some other notable talents, please discuss.

A:  The best part about working on this show was definitely the cast. I didn’t see the cast list until a week after I had been cast the project and I was floored when I saw that Vincent D’Onofrio and Meatloaf were involved in it. It was also nostalgic for me to be able to work with Avan Jogia because he was in the first project I’d ever auditioned for (“The Gym Teacher”). I didn’t end up getting that one but it was still a nostalgic feeling to be able to work with him.  But D’Onofrio—man! I have a story. We were in the midst of a break while crew was turning over the cameras and Vincent and Jesse (Deputy Norm) are walking by me about to go outside for a smoke. Vincent turns to me and asks “do you want one?” as he’s pointing to his box of Cohiba cigars. I responded, “uh…uh..yeah… I’ll do some.” And Vincent goes, ‘Do some?, it’s a cigar, it’s not drugs.’ I laughed sheepishly and followed the up to the rooftop. The thing is, I never smoked a darn cigar in my life and I inhaled my first bit before being told I wasn’t supposed to do that. I didn’t care, I just couldn’t say no to being able to tell people I had a cigar with Vincent D’Onofrio!

Q: Does SyFy feel like home to you now?

A: I definitely feel comfortable with the science fiction genre. I know what to expect when I do work on it and it makes me all the more excited when I have the opportunity work on that type of show. Though like I mentioned before, all shows are constantly trying to find the best way to connect with their viewers and the core of all good shows are the same, they have to respond with a story that’s human at its core.

 

Actors, Film

Tony Nash brings on the laughs and the screams in ‘Secret Santa’

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When Tony Nash speaks of his craft, he talks with the passion of someone who truly loves what he does. When he steps onto a set, it doesn’t feel like work for him, but rather it feels like a privilege to have the opportunity to do what he believes he is meant to be doing every day. This young man of Greek-Spanish descent has been acting since his childhood and has taken the Canadian film industry by storm.

Throughout his career, Nash has worked on a series of successful film and television ventures. Movies such as Saving Dreams and Meet the Parents, and shows like Petrol and Condor, the highly anticipated Audience network thriller. With every new project he takes on, it becomes clear that he is doing what he loves.

“What I like about acting is that when it is approached with the sacredness that it deserves, it first and foremost holds a mirror up to me, revealing all my hidden desires, coping mechanisms, repressions, reservations, grudges, vulnerabilities, beauties, gifts, talents and strengths. In so doing, it enables me to understand the souls of others and thereby be qualified and capable of holding a mirror up to the entirety of human nature, as Hamlet advised in Act 3, Scene 2,” said Nash.

Nash’s first true taste of international success came with the 2015 flick Secret Santa. Secret Santa is a feature length film that tells the story of a group of eccentric college kids, struggling to get through the hectic exam period. This horror/comedy is a tribute to B-Movie Slashers but also takes the conventions and turns them upside down. A liquor filled party is planned, adding a Secret Santa exchange for fun. Little do our characters know, a killer is in town and has a special present for all the good (and bad) girls and boys. Dare to open your present? It might be your last. Nash was really drawn to this project because he really wanted a comedic role to add to his repertoire, and his character also had a sweet, love element to his story. More than anything however, he loved that it was an ode to 90’s slasher films.

In Secret Santa, Nash plays Professor Preston Ramsey. The role was a lead and critical to the project as he was the red-herring in the horror plot. Throughout the film, audiences are led to believe he is the secret killer. The role was crucial as he furthers a love story between himself and the other lead, his student, and distracts the viewer from the killer, making the ending more of a surprise, staying true to the horror genre. The character was a sweet, somewhat naive college professor. He also was in a rut romantically and when one of his students started to fall for him, he began to feel alive again. He is an academic and spent his whole life indoors studying while his friends were all outside playing football. He is also a hopeless romantic and had only been in one relationship, which lasted seven years. The character had to be lovable, charming, slightly off beat, and at the same time mysterious. Nash was able to bring all that to the character as well as some humor of his own, which made the set a fun environment to work in and everyone enjoyed themselves. He was able to bring the character to life and give him that nerdy quality he needed to have plus a mature professor vibe amongst a bunch of college kids in an unexpected bloody night. Nash was perfect for the role.

“When I got the role, the first thing I did was went out and bought a pair of glasses and a tweed jacket that I thought would suit the character well. I spent time in university halls watching professors teach their classes to bright students. Also, because my character was being seduced by one of his students I watched The Graduate. I watched Scream and I Know What You Did Last Summer, more times than I can count” said Nash.

Secret Santa premiered in November 2015 at the Blood in the Snow Film Festival. The film was then shown at the Toronto International Spring Horror and Fantasy Festival, and the Buffalo Dreams Film Festival. It was distributed by Wild Eye Releasing and is available at several stores on DVD including Walmart and Best Buy. Nash’s take on the vital role of Professor Preston Ramsey was instrumental to the film’s success.

“Tony was pitch-perfect in this slasher-comedy. He was hilarious, charming and ever-so-subtly mysterious to lead us towards the edge of suspicion. It was a brilliant and nuanced performance by a highly sensitive and skilled actor. Bravo Tony,” said Mike McMurran, Writer and Director of the film.

After a friend reached out to Nash telling him about the role, Nash sent in an audition tape that instantly impressed McMurran, saying there would be no one better to play the role. They instantly connected, sharing the same vision for the character and the film as a whole. As it was Nash’s first time in a comedic role, he was eager to try out something different. His versatility shone, and he perfectly encapsulated the mysterious professor. Not only did he have fun, but he says the entire cast and crew became close friends during filming. Overall, it was an incredibly enjoyable experience for the actor.

“I think it’s important to have fun sometimes and do things I am not used to. I think that life is hard enough and sometimes a little horror and comedy never hurt anyone. It’s important to just take a film and just create something entertaining for people who want to see something different. And I think Mike and his crew were able to do that very well. It was exciting to film and definitely will be exciting to watch as well,” he concluded.

Be sure to check out Secret Santa and let Tony Nash make you laugh and scream at the same time.

Film, Producer

Producer Mickey Liu went back to high school for ‘Sail the Summer Winds’

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STSW on set with postcards and slate
Mickey Liu on set of Sail the Summer Winds, photo by Aijia Che

Mickey Liu knows that every day he steps onto a film set, it will be different than the day before. Every new project brings something new, and every experience is distinctive. Because of this, he always feels like he is learning something new, and no matter how seasoned of a producer he is, he finds that sometimes his experience can mean nothing in the wake of a new challenge. He is consistently exposed to talented individuals and brings teams together to create a masterpiece. For him, that is the best feeling in the world, and he loves what he does.

“Producing is about lots of instant decisions and last-minute situations, which is challenging and exciting. What’s more, I get to read many good stories… and a lot more bad ones,” he joked.

Hailing from Shenzhen, China, Liu has become a renowned producer. His work on films such as An Ill-Fitting Coat, Marie, Nocturne in Black, and Tear of the Peony have made headlines around the world. He knows what it is to tell a good story, and consistently manages to bring his films great success. However, the first time he truly felt this was in 2014, with his feature Sail in the Summer Winds.

Sail in the Summer Winds tells the story of Michael, a 30-year-old white-collar worker, who is always recalling memories with his 6-year desk mate Cammy and best friends Leon, Joyce and James about when they were 17. Back then, these high schoolers were faced with the biggest challenge of their life – the College Entrance Exam. Michael didn’t know what his future held but got an early admission to Cammy’s dream school; Cammy had feelings for Michael but couldn’t say it out loud; Joyce, once a model student at school, failed to live up to expectations at the very moment; Leon wanted to be an artist but was torn between reality and dream; James worked really hard, but things didn’t turn out great for him. Just like every coming-of-age story, they grew up and changed through the best years of their youth.

“I think the story of the film is important because it is a story focusing on friendship in high school. We’ve seen enough saccharine high school dramas on screens and they almost always center on how to get the guy or girl you like. American high school culture is very different from Chinese high school culture. I think the story provides a fresh perspective of Chinese high school life. The story would remind people of their dreams and courage, and maybe they would want to reconnect with friends they haven’t been in touch with for years,” said Liu.

When the Director of Sail the Summer Winds, Lanxin Yu, approached Liu over social media to produce the feature, Liu was immediately intrigued. Yu went to the same high school that Liu attended and wanted to film the movie there. Upon reading the script, Liu knew he wanted to be a part of the film, as the words took him back to his high school days and brought back memories of his younger self. He knew many others would be able to relate, and his partnership with Yu began.

“Working with Mickey is always a pleasure. His great sense of humor makes everyone chilled and relaxed. When it comes to the set, he’s sensitive, responsive, and caring to every crew member and tries his best to make the set an enjoyable working environment that everyone wants to come back to. When we were shooting Sail the Summer Winds, most of the crew members were first-timers, but he was very patient and made our set run like a real Hollywood set. In addition, his charisma held the crew together, not just as an efficient team, but a real family. Mickey is one of the most creative people I’ve ever met. He always has brilliant ideas about the story and has a deep understanding on the structure. Therefore, as a creative producer, he gives clear notes to writers, constructive advice to directors and inspirational directions for promotions. He’s easygoing and reliable, making him the one person on set that everyone trusts,” said Yu.

As the sole producer of the film, Liu’s work was essential for the film’s success. He held the team together and drastically improved their efficiency, while still providing ample amounts of encouragement and boosting morale. He provided critical creative notes at the script development stage, created the shooting scheduling and supervised the pre-production and production. During post-production, he personally designed the merchandise and arranged for the film’s distribution.

Liu also trained the crew and brought professional help to the production, as he was the most seasoned filmmaker on the set. The majority of the crew were young volunteers looking to experience film production, and therefore required a lot of training. Because of him, he had everyone on the crew working extremely well despite their lack of previous experience.

“Although it was challenging, I actually enjoyed training the crew a lot. They were very smart and hard-working ‘students’, so it felt very rewarding seeing them successfully applying the training to their work. The atmosphere was very loving and full of energy. I loved that good vibe on set very much,” Liu described.

In addition to all of this, Liu employed some American methods of film production to this Chinese movie. The Director was pulling herself in every direction, taking on many tasks beyond what she needed to do. On Chinese film sets, this often happens, as they are very director-centric. Liu however, having experience on American film sets, talked to the director and told her how they could make everything more efficient, and she just needed to focus on her main duties as a director. In the end, it worked seamlessly.

“Producing this film was a very unique experience because I think it would be almost impossible to have this selfless of a cast and crew ever again. Everyone gave their one hundred percent for free and they never complained and never lost morale while working long hours in hot summer. It was definitely a labor of love and I was very moved by what they did and shooting at my high school brought back so many happy memories,” said Liu.

Sail the Summer Winds premiered in August 2014 at a theatre in Shenzhen and then went straight to DVD, where it sold well locally. It was covered by local newspapers and television stations in China, where it received very positive reviews. It is now available to stream online.

Liu and his team decided to donate all the proceeds from the film to his local high school, to support the film and television club there. Liu wanted to motivate the next generation of young filmmakers to follow their dreams, and in his footsteps. For those looking to do so, he offered the following advice:

“Find the stories you really love and try to make them happen. Don’t pursue certain types of stories just because they are “hot and trendy”. It takes such a long time to get them made that you may give up if you don’t love them enough. When in doubt, you can always go back to why you wanted to pursue a career in producing. It can actually give you a lot of strength. It’s all about the nuts and bolts, and your instinct is usually right,” he concluded.

 

Top photo: Zihao Qin and Mickey Liu on set of ‘Sail the Summer Winds’, photo by Aijia Che

Film, Production Designer

Laura Santoyo Dangond’s sets in ‘Lockdown’ transport audiences to high school

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Originally from Bogota, Colombia, Laura Santoyo Dangond has always been a fan of movies. Growing up, she watched her favorite films, like Matilda and Jumanji, and would see more than the story. She would ask her parents how the filmmakers were able to create other worlds and dreamlike elements. Although her parents did not have all the answers, they encouraged their young child to make her own hypothesis as to how “movie magic” was achieved, and she never stopped wondering. As she grew, exploring the world and various cultures, her hypothesizing never stopped, and eventually she turned her passion into a career. Now, Santoyo no longer wonders how to achieve the magic of movies, and as a sought-after production designer, she is now the one creating other worlds.

Throughout her career, Santoyo has shown just what an extraordinary production designer she is. Her work on films such as Tim of the Jungle, The Plague and Falling are just a few examples of what this acclaimed production designer is capable of. However, despite such success, Santoyo considers the pointed drama Lockdown as the highlight of her career.

“It is probably the most challenging and rewarding experience I’ve had in this profession. I loved working with that team of people; we all believed in the story we were telling and together we overcame so many difficulties. Particularly for me, it taught me the importance on trusting the people you are working with and to support each other. In the end it all paid off, because it’s been one of my most successful projects,” she said.

Lockdown set

Max Sokolof, Caleb Heller, and Laura Santoyo Dangond on the set of Lockdown, photo by Jane Hollo

Lockdown is about a 17-year-old boy named Julian. He is a misfit struggling through high school when he is taken hostage in the school restroom by Brandon, a classmate with a gun. Their perilous standoff proves that nothing is as it seems. Julian fights to hold onto the hope that he will survive – not just the hostage situation, but his entire high school experience. Throughout the film, audiences learn of both characters’ complicated backstories.

“This story talks about very important issues, such as depression and anxiety in adolescents, bullying in schools, access to guns, police brutality, and more that are affecting our society. It can help to bring these subjects to the table and encourage people who watch the film to have discussions about them,” said Santoyo.

After its premiere in November 2016 at the American Film Institute, Lockdown went on to be an Official Selection at many prestigious international film festivals, including the Orlando Film Festival, Garden State Film Festival, Sedona International Film Festival, Byron Bay International Television Academy Foundation for Best Screenplay and won the Golden Lion Award at the Barcelona International Film Festival. Such success may never have been possible without Santoyo’s outstanding production design.

“It is a great satisfaction to know that all the hard work, time and effort we as a team put into this project doesn’t go unnoticed and that we accomplished the purpose of telling a story that touched so many people,” she said.

Lockdown bathroom set
Laura Santoyo Dangond, Max Sokolof and Caleb Heller on the bathroom set of Lockdown, photo by Jane Hollo

Having worked with Santoyo on his previous film Hotbed, the Director, Max Skolof, reached out to the production designer knowing the caliber of her work. At the time, he did not even have a clear idea of what the story was going to be, but he trusted Santoyo to help turn his vision into a reality. In the beginning, there was no script, and Skolof only had a newspaper article that he wanted to base a film around. Knowing the difficult but pressing issues the film addressed, Santoyo was immediately onboard.

“Working with Laura is a joy. She’s always curious, always soaking up ideas, always creative. She takes disparate things and puts them together in unexpected and revelatory ways. She has the highest standards for herself. Every detail is thought of. It helps me direct and it helps the actors find real depth. And on top of all that, Laura’s the kindest person you’ll ever meet. It’s also rare to come across someone who has such a strong and unique sense of aesthetics. She’s incredibly precise when it comes to expressing the story and the characters visually. Laura is brilliant in that way. She understands the language of cinema and she uses every tool at her disposal to help tell the story. Whether it’s knowing how to make use of space, or how to evoke a certain subtext with just color,” said Skolof.

When she begins every project, Santoyo makes sure to research her characters, and Lockdown was no different. She looked into what neighborhoods these adolescents would live in, the sociological and economic backgrounds and more, just trying to get to know as much information as she could to create a realistic design that would reflect both her leads.

Upon completion of the script, she did a breakdown of all the locations and noted what bits of the story took occurred in each place. When doing this, she noted the most important location in the story was the bathroom. Its design became her priority, and she began looking for a crew that would help bring her ideas to fruition.

“The design of the restroom was the biggest challenge because is where the two boys meet, and their feelings are revealed. We used a very restrained color palette that reflects the psychological state of both of them,” she described.

Rather than using a real location, Santoyo built the entire bathroom set on a soundstage. She went back to her research and looked for paintings and photographs that evoked the same feelings and emotions that she wanted to convey and saw a pattern in the colors. Most of the references she liked used yellows and reds. With that in mind, she did a preliminary design and presented it to the director. After his approval, she ensured all other departments, such as lighting and cinematography, could work with her concept. Once the designed was approved by everyone, the members of the art team, led by Santoyo, began sourcing the materials and painting samples.

The complexity of the two characters had to come across in the visual design and Santoyo achieved such a feat. She worked closely with the director, the director of photography and costume designer to better express the anguish and anger the characters were going through. The sets that she designed allowed the actors to better understand the characters’ backgrounds and helped facilitate the process of getting into character. In one instance, she even wrote offensive graffiti in the bathroom stalls that bullies may have written about their characters.

Such small details may seem trivial to some, by Santoyo knows how important they can be, and that is what makes her such a distinguished production designer. When watching Lockdown, audiences notice and appreciate how authentic the set is and allow themselves to be fully taken away to the high school. Any moviegoer knows, that is what makes a good film, and Santoyo makes that happen.

 

Top photo by Caleb Heller

Actors, Film

Actor Yifan Luo channels his teenage years in ‘Talentik’

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Yifan Luo knows what it takes to become a sought-after actor. The Chinese native recognizes the importance of patience; success does not come over night, and acting isn’t easy. You have to study and constantly be looking to improve yourself. He knows that even the most renowned actors spent years not hearing back from auditions but never giving up. That is exactly what he did, and now he is a leading actor in China’s film industry and has begun making headlines around the world.

“During some difficult times, you may not get a chance to work for months. Under this circumstance, will you still be sure that you want to be an actor? Can you be patient enough to go for auditions one after another with the best performance you can give although none of them gives you a callback? Will you be as passionate for some work that might give you $200 in total as those big things that you have done before? If the answers are no, then you should not be an actor,” he advised.

Those days are now long gone for Luo, but he constantly remembers them and remains humble despite what he has achieved. Just last year, he was recognized for his portrayal of a schizophrenic psychopath in the thriller SAM, and even received an Honorable Mention for Best Actor at Festigious 2017. He has many exciting projects upcoming, working alongside some of Hollywood’s elite. He also is incredibly versatile, exploring different genres and mediums. Just last year, his film Talentik was released online, allowing audiences to stream the film when they chose.

“Yifan played an important role as one of main characters in our production Talentik. He is such an energetic actor while everyone can see his talent and profession on set. Yifan always spends lots of time on his character and script before shooting, so it’s easily worked with him, saving time and money for our production. Also, his attitude and enthusiasm are often infectious to the other actors and the crew. We are so fortunate to have had Yifan in our production,” said Steven Li, Director.

Talentik 2
The cast and crew of Talentik

The movie is about three Chinese college freshmen who get accepted by a United States Ivy League school. They arrive in the US without anybody helping them and get a text message telling them to look for any possible clues that can lead them to finding the school. While looking for clues, a strong relationship is gradually built among the three characters. One day, one of them gets kidnapped by the villain. The remaining two characters try very hard to find her and save her from the bad guy. Finally, they realize that everything has been set up by the school in order to help them to learn how to work with each other. At the end, they find the school and all get accepted.

“The story tells us the importance of cooperation. Nobody can succeed without the help of other people. Individualistic heroism no longer works for society. We all need to help each other. This movie gives a very good example of how three spoiled kids finally learn how to trust and rely on each other in order to reach the same goal,” Luo said.

The movie tells the story of the three characters on their journey, and Luo plays one of those three characters. Everything happens around the three of them. Luo plays Luke, a college freshman. He initially failed the college entrance exam in China, but happens to be accepted by a college in United States that comes out of nowhere. He comes from a rich family in China. His parents love him so much and they want to control everything in his life. This is why he finally decides to go to the US, so that he can break away from his parents. And interestingly, he is a mind-reader. His favorite thing is to read other people’s mind and make fun of them. The character is quite a few years younger than Luo, who was ready for the challenge of taking on a different generation.

“It was amazing to work with such a professional actor like Yifan who always came prepared and donates himself into the character. The film wouldn’t be such a success without Yifan’s participation. He is a true artist who concentrates on his goal and is in the character with all his heart. It was such an honor that we worked with Yifan in the film and will definitely keep working with him again in the future,” said Olina Wang, Producer.

Wang approached Luo to work on the film, knowing he is an extraordinarily talented actor, and playing comedy without overdoing it and simultaneously having to act 8 years younger than you actually are can be challenging for many actors. Luo was eager to try something different, and immediately accepted the role.

While shooting Talentik, Luo decided to method act, and stayed in character at all times, not only in front of the camera, but also when he was waiting, getting ready for makeup, having lunch, taking a break, etc. He tried to really become the character. He did funny things that he normally would not have. He forced himself to eat twice as much food as he really needed, just like a growing teen. He joked around on the set, making everybody laugh. All these things were to help get himself into character.

“Working on Talentik was awesome. Everyone liked each other. The set was full of laughter. We helped each other with whatever we could. There was no conflict nor any argument during the whole shooting process. I believe that’s the most important thing in a film shoot. Once there is an argument going on, everybody stops and tries to deal with the argument, which delays the process a lot. With good relationships between all the casts and crews, we didn’t have to think about too much and could focus on making the movie good,” he said.

They definitely achieved that. After shooting the film in 2016, the film was released on Sohu Video, one of the largest online distributors in China. It quickly received over 10 million views and is still going strong almost a year later. At the time, Luo was not expecting such a response, as he had so much fun making the film that he considered that enough.

“I have to say that I was deeply surprised. I didn’t know it was getting so many views until one of my friends called me and told me about it. At the beginning, I thought he was lying. I didn’t believe him until I went online and checked it myself. I still feel proud of what I did, what the team did. We brought something to the public and got realization. That’s enough for me. The only thing I ever want is for people to like what I have done and for people watching my work to have fun,” he concluded.

And that’s exactly what viewers feel when watching Talentik. Be sure to watch Luo’s performance in the film on Sohu Video.

Actors, Film

Q&A with Actor Dominic Kay of ‘Allies’

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There is little doubt as to why Dominic Kay has become a force to be reckoned with in the United Kingdom’s film and television industry. This revered actor has proven what he is capable of in a series of demanding and versatile roles, captivating audiences around the world. Whether it is with his work in the horror White Settlers or in a comedic role in ITV’s iconic soap Coronation Street, Kay is always on the top of his game.

This year, audiences can look forward to Kay once again gracing the big screen in the upcoming 20th Century Fox feature Walk Like a Panther. The film that tells the comedic story of a group of 1980s wrestlers are forced to don the lycra once last time when their beloved local pub is threatened with closure. They put on one last show for their local town, which becomes legend.

One of the highlights of Kay’s career came when making the 2014 historical drama Allies. The film, directed by Dominic Burns and stars Downten Abbey’s Julian Ovenden. The film is close to Kay’s heart, and we had a chance to sit down and talk to him about his role in the endearing World War II movie, and once reading, be sure to check out Kay’s dynamic work in Allies. 

EWG: What made you want to work on the film?

DK: Well what had me interested in this particular project was pretty much everything about it. Firstly, the genre, being a period war movie set during World War II. Ever since I first watched Band of Brothers I have always wanted to be in a period war project. I just love everything about them to be honest. The uniforms, weaponry, language and dialogue are all factors in my interest in a project like this. Also having family members who fought in the war and hearing harrowing stories from my grandfather was a key factor. I had often imagined what it was like to be fighting in a war and I guess this was an opportunity to experience a little bit of that. It was kind of a way of experiencing what it would have been like back then. I love watching movies like these and period dramas. I love everything about them really. It’s not every day you get to go back into the past and wear those uniforms, fire those old classic weapons and act in a way fitting with that period. I guess I’m a classic soul.

The script was a big positive for me as well. It was great and had me hooked from start to finish. It gave a very accurate representation of the war as we know it.

EWG: What is the film about?

DK: The film is set around the ‘D Day’ landings in Normandy France in World War II.
The Germans were occupying France and obliterated pretty much all of the resistance. The next step for them was crossing the English Channel and invading the United Kingdom. The Brits had set up a crack team enlisting the help of the French resistance and help from an American captain. Their mission was to be dropped behind enemy lines in France and to connect with the French resistance, causing as many problems for the Germans as possible in an attempt to shorten and even end the war. The story of the film is particularly important as it is based on true events that hold significant importance in European history. Hundreds of thousands of people lost their lives during this grueling war and many of them were children. To give an accurate and believable performance and do justice to a topic with this magnitude is of paramount importance. Many people growing up today don’t realize what sacrifices their predecessors made for them and I think giving them a glimpse of what it was like can be a good thing.

EWG: What character do you play? How does your character fit into the story?

DK: My character is ‘Coresman’. He is a soldier and field medic. His duties are to firstly fight but also patch up injured soldiers as best as he can and save as many lives as possible. He is placed in amongst this group of elite soldiers and assists them in their mission in trying to push the Germans back, retrieving as much land as possible and ultimately defeat them. He has a lot riding on him as the team is constantly under fire and involved in some pretty ferocious battles. His abilities are constantly called upon and heartache ensues when he realizes he can’t save everyone.

EWG: What was a day on set like?

DK: For me personally it was a complete joy to be on set daily. It was my first experience of anything like this. Even when the weather turned sour it didn’t really dampen anyone’s spirits due to the fact it was so much fun. That being said, it comes with a lot more pressure than usual as to reset and re-shoot scenes took time and a lot of money. So, everyone knew they had to be on point all of the time.

EWG: What did you like about working on this film?

DK: With a production like this there is obviously a lot of fighting and battle scenes with a lot of cast and extras. I mean, you know you have to give an accurate account of what happened, but sometimes you just can’t help your inner child coming out. Running around with firearms and weapons, riding motorcycles, riding around in tanks, fighter planes flying overhead and not to mention huge explosions and pyrotechnics going off all over the place. It was just brilliant.

EWG: What was the highlight about working on the film?

DK: There were quite a few highlights for me regarding working on this film to be honest with you. It was just such an absolute adrenaline rush from start to finish. Long days, bad weather, delays, etc. didn’t distract from the fact that I was having a ball every day I was on set.

The cast was just awesome. There were no bad apples complaining or whining, just great people pulling their socks up and mucking in. Everyone really worked for each other which made it that much more special to be involved in. The main highlight for me though has to be being involved in such a good factual representation of a piece of history that is not just close to my heart but to hundreds of millions of people. Having watched this with my grandfather and seeing the emotion on his face was a real sobering moment for me. Although it did show me that the film had got across what it wanted and was a huge success.

Film, Producer

Join Dixie Chan in honoring Borneo’s unsung environmental heroes

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At the outset of her career as a documentary film producer, Dixie Chan made it a long-term goal to one day use her talents to cast a light on an important social issue. For Chan, being a film producer allows her to research compelling people, places, and customs across the globe and share them with interested audiences alike. In her eyes, it is a privilege to be able to take advantage of the social platform that her profession provides her and if she can make a difference in the life or social awareness of even one individual, she’ll have succeeded.

“Being able to tell a good, compelling story that will resonate with people for a long time requires experience, technique, patience and empathy — all elements which I believe can be honed when you are learning and working with the best in the field. During my college years, I started going to film festivals and getting more exposed to independent documentaries and films, many of which were centered around social issues. I became so fascinated by the visual and narrative power of these films and I knew I had to be a part of it,” Chan discussed.

As Chan became more and more involved in the realm of narrative documentary filmmaking, she realized that her dreams to raise awareness about socially charged issues was not at all unrealistic. In fact, she has gone on to work on several documentary films and shows that cast a light on various places and people around the world who share in her desire to educate the masses about important issues, be they cultural, environmental, historical, political, religious, etc. In her role as the producer of an upcoming project, Chan had the unique opportunity to bring viewers inside a world where a group of passionate individuals ensure that China’s ancient trees are protected and its legacy of woodcraft is preserved for prosperity. Similarly, when she acted as the Story Producer for Frontier Borneo, Chan was not only able to work in one of the world’s most spectacular rainforests, but she was able to do so whilst supporting their local environmental conservation efforts.

FRONTIER BORNEO 01

Frontier Borneo is a Discovery Channel documentary series showcasing a breathtaking, action-packed journey following the lives of remarkable men and women and unforgettable creatures on the third largest island on the planet. Interesting and unusual feats like dealing with home-made bombs in the oceans, exploring uncharted jungles, rescuing endangered animals and coming face to face with deadly creatures are all in a day’s work for the characters featured. Chan was asked to produce this awe-inspiring documentary in March of 2016 and later, when it premiered on February 28, 2017, it became apparent why.

“This project was an especially challenging production that was shot across 6 months in some of Borneo’s most treacherous terrain. Dixie was able to manage production of one shoot, which typically covers jungles, crocodile-infested rivers and seas, while doing the preproduction work of researching and casting of an upcoming shoot, all at the same time. Despite her ability to coordinate different aspects of the production simultaneously, she remains extraordinarily meticulous and hands on at every step and this enabled production to move forward seamlessly with minimal delay,” told Jacqueline Leow, Production Manager, who currently works at Beach House Pictures, one of Asia’s largest media company producing content for the international market.

Not only was she the most experienced producer working on the project, but she also proved to be invaluable to the entire initiative. She has an ability to juggle competing priorities with ease and to logistically map out every task involved with a project to such a degree that other cast and crew members are never left wondering what is required of them. For this particular project, Chan made it a top priority to establish and facilitate effective working relationships with her team, as well as the locals, due to the intimate nature of their filming location. She inspired each and every member involved to treat Frontier Borneo as a passion project, as opposed to an average job. In addition, her experience working in rural areas of China on other career projects gave her an advantage when liaising between crew members and local conservationists. Her adept understanding of Chinese working culture allowed her to bridge any cultural gaps they encountered and helped the planning, filming, and production processes unfold seamlessly.

“The rapport that I was so intent on building with the locals helped immensely in production, from accessing hard-to-film areas to getting information post-shoot, and even getting translators for interviews done in the tribal languages,” Chan reflected.

All in all, in order to make Frontier Borneo the true success that it was, Chan had to immerse herself mentally and physically into this expansive Malaysian rainforest and wildlife sanctuary. Whether they were shooting about marine conservation or mountain marathons, Chan was directly involved and on scene. To be so heavily engaged in such a hands-on Discovery Channel documentary is something that few producers can say they’ve ever done, let alone well enough to earn awards and accolades along the way. For Chan, however, being professionally recognized for her efforts meant little in comparison to the humbling knowledge that she and her team were able to truly celebrate the livelihood and struggles of the selfless individuals fighting to protect our Earth’s enriched wildlife and environment. Acknowledging the heroes of Borneo on such a large, influential scale gratifies her in an indescribable way and served as a safe reminder that she is doing exactly what she wants to be doing with her life.

Film, Filmmakers

Lili Huang reflects on “Mei Mei”, one of the highlights of her career

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When Lili Huang looks back on her life, she finds it difficult to pinpoint the exact moment that she decided to pursue her dreams of becoming a filmmaker. As a young child, she lived with her grandparents and fondly recalls making up stories to entertain them during family time. She would dream up a world of little ideas, laughing hysterically as she acted them out for her audience and looking forward to the next time she would get to bring her characters to life before their eyes. She was always bursting with tales to share and she quickly learned that making movies allowed her to channel that creative energy productively. Today, the talented screenwriter, director, editor, and producer, has proven herself to be a strong presence in the industry and hopes to continue to grow that reputation for several years to come.

Throughout her career, Huang as lent her talents to a number of esteemed projects. In conjunction with other filmmakers, she has worked on several international feature film productions, such as The Jade Pendant and The Bombing. For projects like these, Huang often poses not only as a contributor to the filmmaking process, but also as a communicator between Mandarin-speaking colleagues on the Chinese side of production and English-speaking colleagues on the American side of production. Her vast amount of experience working within and outside of her native country give her a unique edge above her competition.

In addition to her work with international film productions, Huang writes, directs, edits, and produces her own scripts. Through her original concept films such as Xixi, and The Flower of the Future, Huang endeavors to broaden the perspectives of her audiences and open their eyes to cultural and intellectual issues across the globe. In fact, one of the highlights of her career thus far was in 2014 and 2015, when she created Mei Mei. Mei Mei follows the life of a Chinese girl living in the United States with her American adoptive parents. At school, a new boy joins Mei Mei’s class after moving from China to America with his mother. Struggling to make friends and assimilate to American culture, Chris attempts to bond with Mei Mei over their shared heritage; however, to his dismay, she is not so keen. As time elapses, Chris begins to teach Mei Mei the Chinese language. The story eventually comes to an end when Chris must move back to China due to his illness. Fortunately, Mei Mei has their time together to cherish in her memory and is finally able to come to terms with her own identity struggles.

“I think this film is so important because identities are crucial to each and every single person, no matter where they’re from. It’s a question of who we are, where we come from, where we’ll go, and how we will recognize and appreciate the culture we belong to. So many people face these kinds of issues on a daily basis, especially if they’re exploring a new culture or place. For some people, it takes a lifetime to come to terms with these internal struggles. Mei Mei does an effective job of showing that as long as you find confidence and comfort in your own identity, the peace inside your heart will allow your bravery to shine through,” stated Huang.

As the sole creator of Mei Mei, Huang had to exercise her abilities as a screenwriter, director, producer, and editor, all at the same time. With that, she had to finesse every single detail from conceptualizing, to filming, to post-production. She began by developing her script and upon receiving approval from her advisors and mentors, she solicited the help of a cast and crew. Together, they filmed each scene, carefully ensuring that they captured all of Chris and Mei Mei’s emotional conquests. Once they were certain that they had footage that they could be proud of, Huang edited it together to create her final project. Xuhua Hu, who was fortunate enough to work with Huang on the film, was impressed by the way in which her own experiences working in China and the United States helped her to form the film’s underlying mood and emotional tones.

“Lili has accumulated a vast amount of experience and understanding of film production resources through her work in China and the United States. After working with her, I can confidently say that she is an invaluable professional filmmaker. Not only that, but she is a talented and outstanding screenwriter,” said Hu.

Mei Mei premiered in May of 2015 and Huang was extremely humbled by the way her audience received it. She was showered with praise and recognition for the hard work and dedication that she had put into ensuring that the project was a success. To her added delight, Mei Mei garnered a substantial amount of acclaim when it screened at festivals around the world. In fact, the film earned her an Official Selection at the Rhode Island International Film Festival, as well as at the Indie Fest USA International Film Festival. It was also nominated for Best Film, and won Best Screenplay at the Golden Panda Awards in 2015. Though she does not conduct her work solely in pursuit of awards and praise, Huang was extremely humbled by the Mei Mei’s tremendous success. She felt that these awards were a testament to the devotion she had for the film and to her career as a whole.

So, what’s next for this talented filmmaker? Recently, Huang was hired to be the screenwriter of an animated feature film called Sang Sang, which is being developed by Shanghai Animation Film Studios. If Huang were able to tell her childhood self that she would one day write a screenplay for the number one animation production company in China, she would be overwhelmed with joy.