Today we’d like to introduce you to Lilith Mo.
Can you briefly walk us through your story – how you started and how you got to where you are today. You can include as little or as much detail as you’d like.
Picture my hometown: the land of giant pandas and Sichuan cuisine, the Queer capital of China — Chengdu. Growing up in what some might call China’s most laid-back and inclusive city, it pretty much gave me a PhD in being comfortable in my own skin, even though I didn’t really fit in in school. While other kids were scribbling notes, I was sneaking storybooks into my desk drawer, fueling my curiosity one page at a time. Those stories filled my daydreams with thrilling adventures. So, almost from the get-go, I knew that I would leave the comfort of Chengdu and go on my own adventures.
Australia became my new home after high school. Living on my own in Sydney with the freedom to explore a city diverse in cultures and perspectives, really shaped me as a young adult. The people I met and experiences I had ignited an interest in storytelling in me. At the time I was on a path to a stable, stress-free 8-to-4 job, with plenty of time to enjoy the sandy beaches and the weekend sausage sizzles. But I needed to know if there’s a storyteller in me, so a summer beginning filmmaking class at USC ended up uprooting that perfect suburban Aussie life.
I had never held a camera before, but after the final project screenings, the professors told me that my growth as a storyteller was exactly what these classes are meant for. They nudged me towards the MFA program at USC and wrote me recommendation letters. So here I am, trading Vegemite for avocado toast, halfway through my fourth year of living in LA and just graduated in May from USC.
Has it been a smooth road? If not, what were some of the struggles along the way?
Looking back, the most significant challenge I faced was maintaining authenticity amidst distractions and discouragement.
Everyone’s probably seen those “Asian parents” memes where the children disappoint their ancestors by pursuing art instead of engineering, right? Even though I now have my family’s support, being a first-generation college student raised in a typical, conservative Asian household makes those memes extra hilarious because they are so true it hurts.
I entered the MFA program with no prior film experience. Worried about not quite fitting in and being out of my depth, I tried to soak in as much as possible and worked every role I could on set – PA, G&E, 1st AD, scripty, boom operator, camera assistant etc. The countless 12-hour days helped me overcome imposter syndrome while completely taking over my life. I even felt guilty for missing just one weekend on set. However, during Covid I went back to Sydney. Hiking in the woods, watching waves on the beach and sharing a good brunch with friends reminded me of how much I missed these simple joys in life. While storytelling is about entertainment, emotions and connections, I had pushed myself so hard that I missed out on these moments that define happiness and the essence of my film dream.
Today, I’m still at the beginning of a filmmaker’s journey. My main focus remains on challenging and pacing myself, while an ongoing tug-of-war between cultural expectations and my aspirations persists, acting as a constant prompt to motivate myself further in my pursuit.
We’d love to learn more about your work. What do you do, what do you specialize in, what are you known for, etc. What are you most proud of? What sets you apart from others?
I’m currently focused on directing and independent producing. Last year, I produced two USC thesis films. “Odd/Even”, a sci-fi short film with an all-female/LGBT+ key crew, delves into a girl’s struggle to break free from an abusive relationship. The horror film “Seraphim” examines jealousy and sisterhood within the confines of extreme isolation, shedding light on the perils of blind faith. Both are currently in festival runs. During this summer, I produced a horror thesis film titled “The Things We Keep”, where a reluctant daughter returns to her estranged mother, only to unearth the sinister secrets hidden within the hoarder’s house. Additionally, there’s “Neither Donkey Nor Horse,” a Sloan Science Foundation Grant film that takes us back to Manchuria Plague in 1910, following a young Chinese doctor who risked his life and career to unravel the cause of the deadly disease, ultimately leading to the prototype of N95 masks.
As a director, I recently completed co-directing “Jack & Lou”, a feature film about the love story of Al Capone’s right-hand man, “Machine Gun Jack”, starring Linda Hamilton.
Currently, I’m producing an independent thriller titled “They Know Not What They Do”, the feature debut of director Oscar Ramos, which is scheduled for production in the Bay Area in late October of this year.
I am proud to say that as a producer, I have demonstrated a strong history of narrating stories that shine a light on minorities. It’s also my mission and joy to spotlight female and LGBTQ+ cast and crew members in key positions. One of the core motivations for me as a producer lies in my belief that elevating underrepresented voices demands more than securing a seat at the table – but also nurturing a culture of mutual support, propelling one another to leadership roles.
As a director, my background as an international citizen positioned at cultural crossroads serves as a primary wellspring of inspiration. I’m fascinated by narratives that delve into multicultural viewpoints on universal themes such as generational trauma, gender identity and cultural belonging.
Where do you see things going in the next 5-10 years?
I won’t be able to shut up about new techs in the industry so I will keep it short.
Recently I caught a podcast featuring a conversation between screenwriter Billy Ray and AI during my drive to the grocery store. Billy asked questions about whether advancement of AI tech like chatGPT could affect the film industry and put people out of work. Though AI might be an essential tool in the future, I believe that the heart of creativity won’t be taken over by machine learning and language models. Storytelling’s about empathy and the human experience – things AI can’t replicate, and probably won’t be in our lifetime.
I hope development of AI, VR, AR and virtual production tools will make filmmaking more accessible to everyone, bring about a demand for more diverse stories and experimental storytelling that pushes the boundaries of traditional screens.
Contact Info:
- Instagram: https://www.instagram.com/lilpeachxm_/?hl=bg
Image Credits
Ben Wilson
