Meet Teddy Jian | Cinematographer

We had the good fortune of connecting with Teddy Jian and we’ve shared our conversation below.

Hi Teddy, what led you to pursuing a creative path professionally?
My journey as a cinematographer has been a rewarding and profound exploration of cultures, emotions, and human stories. This profession has offered me a unique privilege to connect with people from diverse backgrounds and cultures, understanding their thoughts and experiences. As acclaimed filmmaker Edward Yang once expressed in a film, “cinema at least triples the length of a person’s life”. I have found this to be a vivid reflection of my own experiences, with each project opening a new window into an adventure unique in its challenges and rewards.

In my action film ‘Strike’, I captured scenes of breathtaking intensity, immersing myself in the world of thrilling stunts and fast-paced narrative. In the drama ‘Cash Only’, I bore witness to the harsh realities faced by Chinese immigrants amid a pandemic, using the medium of light and shadow to convey emotion and encapsulate the human experience. In my collaboration with music artist Abbly Deng, I ventured into the world of music videos, creating a visual symphony for her song ‘Fool’. Each of these ventures has brought me closer to understanding the myriad human experiences, further solidifying my passion for this profession.

My most recent project, ‘End Of Summer’, tells the story of a young boy navigating the Chinese ritual of “7·7″—the 49th day following a person’s death. What sets this story apart is the child’s claim that he can perceive his grandmother’s spirit, a presence invisible to his mother and to the audience. This narrative choice, as the director Weiqi Cai explained, was intentional. Rather than visually portraying the grandmother, he wished for the audience to feel her presence. This introduced a fascinating challenge for me as a cinematographer: how does one make an audience feel the existence of a character who is never actually seen on screen? This task demanded a departure from traditional methods, a leap into uncharted territory, and the creative exploration of storytelling through the lens that I’d never experienced before. The solution was to rely on more subtle and immersive techniques to evoke the unseen presence— a task that both pushed my creative boundaries and allowed me to grow as a visual storyteller.

Can you open up a bit about your work and career? We’re big fans and we’d love for our community to learn more about your work.
Behind every successful cinematographer, there’s an unwavering commitment to diligence and a deep understanding of their tools. This belief rang particularly true in my work on ‘End Of Summer’, where the director’s vision posed an intriguing challenge: to convey the existence of the grandmother, a character whose physical presence is entirely absent from the film. Our team embarked on various experimental paths, invoking the subtle elements of wind, light, and airborne dust to suggest her spectral presence.

Achieving a convincing outcome demanded a thorough understanding of our materials, a mastery forged through repeated testing and persistent experimentation. Central to my toolkit for this project was an unassuming plastic diamond, a simple object that, when manipulated correctly, held the power to refract light in breathtaking, colorful patterns. After a series of trials, we discovered the perfect angle to create the illusory ‘rainbow spots’ we needed in the film.

The culmination of our efforts was a poignant scene where the mother, realizing the presence of the grandmother, suddenly turns towards a window, her face bathed in the soft glow of refracted rainbow light. Achieving this effect was no small feat. It involved referencing a wide array of films, and countless attempts to perfect the technique. Yet, the result was a testament to the power of persistence and the magic of cinematography, as we successfully breathed life into the director’s vision, and in doing so, illuminated an unseen character’s presence.

Any places to eat or things to do that you can share with our readers? If they have a friend visiting town, what are some spots they could take them to?
Among the many things that make my life as a cinematographer rich and fulfilling are the inspiring places I frequent in my off-time. Living in Los Angeles has provided me with an abundance of such locales, the beaches being my favorite retreats. I often find myself drawn to Newport Beach and Santa Monica Beach, places where the lull of waves and the caress of sea breezes provide a sense of serenity that fuels my creativity. During certain seasons, the glowing jellyfish add a touch of natural magic to these coastal landscapes, further enhancing their allure.

Apart from the beaches, Los Angeles is a city teeming with cultural treasures. Museums like the Los Angeles County Museum of Art (LACMA), Getty Museum, and the Academy Museum of Motion Pictures are among my frequent haunts. These places offer a joyful immersion in the world of art, allowing me to tap into a wellspring of inspiration and experience the profound resonance of creative works. When friends visit LA, I always recommend these places – not just as tourist attractions, but as gateways to the city’s vibrant heart and its deep artistic roots. The soothing calm of the beaches and the inspiring atmosphere of the museums encapsulate the essence of LA, making the city an integral part of my journey as an artist and a cinematographer.

Who else deserves some credit and recognition?
As I reflect on the journey of ‘End Of Summer’, I am filled with immense gratitude for the extraordinary individuals who made this project possible. A heartfelt thank you goes to producer Yilin Xing, whose trust in my capabilities led her to invite me from LA to Georgia for this endeavor. Her faith in my work formed the backbone of my confidence throughout the filming process.

Director Weiqi Cai, with his distinctive approach to storytelling, significantly enriched my experience on this project. His precise vision, meticulously outlined in storyboards, provided a clear direction while simultaneously granting me the creative freedom to explore and innovate within those parameters. His approach shaped the final outcome of the film and elevated the experience for me as a cinematographer.

Additionally, I owe a debt of gratitude to my good friend and colleague, Oliver Li. As a director and editor, Oliver has been an integral part of many projects we’ve undertaken together, including ‘Strike’ and ‘Who’s There’. Our shared journey in the world of filmmaking has been marked by mutual learning, encouragement, and collaboration, all of which have profoundly enriched my professional growth and personal experiences in this industry. I eagerly anticipate our future adventures in the world of cinema.

Website: www.teddyjian.com

Instagram: @teddyjian.stills

Image Credits
Annice Liu