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.

Director of Photography Q&A

Q: From your first film Suzhou River to Purple Butterfly and now Cinderella Moon, you’ve been the DP for an impressive array of films. Tell us a little about your background.

WY: I studied painting and still photography when I was in junior high. I grew up in the film business in China; my father was a prop man. I loved photography so much, I just kept doing it.

Q: Richard describes the film as having a “magic realism style.” How did you, as the DP, help to bring both magic and realism to the cinematography?

WY: I think the realism in magic realism needs to come first. Creating a magical look is not difficult; what’s important is making people believe that what they’re watching is true. The Chinese have a saying: “You can’t separate reality from illusion.”

Q: What photographs, paintings, films or other forms of inspiration came to mind for you when you and Richard conceived the film’s look?

WY: Richard and I spent a lot of time sharing images we loved and that we felt were relevant to the look we each imagined for Cinderella Moon. We took inspiration from the craziest places. It was very interesting that most of the pictures that inspired me were western and his were eastern.

Q: How would you describe your collaboration with the director, Richard Bowen?

WY: Both Richard and I are very visual people and, since we speak different languages, sharing the universal language of images was essential. It’s really interesting that the process of making films is universal. We do some things differently in China than Richard was used to in Hollywood, but they were small compared to all the things that are done the same. It was also very interesting to have another cinematographer as my director. In the most important way, we did speak the same language. We talked an enormous amount during our prep time about every little detail and by the time we started shooting we already knew what we were going after.

Q: How would you describe your collaboration with the production designer, Zhai Tao?

WY: Zhai Tao and I had never worked together, but we got along very well and I was always very happy with his sets and everything he gave us to work with visually. It freed me to be as creative as possible in that I never had to work around insufficient art direction.

Q: What was it like to work with an American director?

WY: Like me, Richard works from an emotional place, and we were both able to bridge the language barrier by speaking to one another through images. His approach is more “Hollywood” than mine, but we always found a way to meet in a middle place where the Chinese and western worked together.

Q: I know Richard had never shot a film digitally before Cinderella Moon and the films you are most famous for were all shot on film. What was it like to shoot a digital feature?

WY: I found it very easy and it was wonderful being able to see our high resolution dailies on the same night they were shot, even though we were working in very remote locations. If we had shot on film, there would have been about a week’s delay between shooting a shot and seeing it. That was a huge help. But, honestly, the work of a cinematographer isn’t determined by the equipment. We make pictures, we don’t “capture them,” as many people think. In that way, working with a digital camera changes very little.