Conversations with Theodore Qian

Today we’d like to introduce you to Theodore Qian.

Hi Theodore, so excited to have you with us today. What can you tell us about your story?
Hi I’m Theodore Qian, I started filmmaking because I was always interested in visual storytelling and the way images can communicate emotions and ideas. That interest eventually led me to study Film Production at ArtCenter College of Design in Los Angeles, where I received professional training in directing, cinematography, lighting, and the overall filmmaking process.

During that time, I gradually developed my practice as both a director and cinematographer. I worked on narrative short films as well as commercial projects, which gave me two very different but complementary experiences. Narrative filmmaking allowed me to explore more personal ideas and experiment with storytelling, while commercial work taught me how to communicate with clients, collaborate with larger teams, and turn an idea into something visually clear and effective.

One important project for me was my short film Lullaby, which explored the relationship between a robotic mother and child, as well as questions around identity and humanity. The film received the Best Sci-Fi award at the Los Angeles Film Awards in 2023. Experiences like this encouraged me to continue developing my own work alongside commercial filmmaking.

Over time, I also became increasingly interested in sound. I started doing more production sound, field recording, and sound mixing, and began thinking about sound not simply as something that supports an image, but as another way of shaping how an audience experiences a film.

Today, I work across directing, cinematography, and sound, and I see myself more broadly as an independent filmmaker and artist rather than defining myself through only one role. My recent practice has also become more experimental and research-based. I’m particularly interested in perception, identity, technology, and the relationship between image and sound.

I think where I am today comes from moving between different sides of filmmaking, from narrative films to commercial productions, and from directing and cinematography to sound. Each of those experiences has changed the way I approach my work, and I’m still interested in exploring how they can come together in new ways.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
It hasn’t always been a smooth road. One of the biggest challenges has been figuring out what kind of filmmaker and artist I want to be, especially since I work across directing, cinematography, and sound.

Another challenge is the reality of production. On set, time is often very limited, but you’re still expected to deliver work that goes beyond expectations. Learning how to make creative decisions quickly while maintaining quality has been a big part of my growth. Over time, I’ve learned to see these limitations not just as pressure, but also as part of the creative process.

Appreciate you sharing that. What else should we know about what you do?
My work mainly focuses on directing and cinematography, with sound becoming an increasingly important part of my practice. I’ve worked across narrative films, commercial productions, and experimental projects.

One project I’m particularly proud of is my short film Lullaby, which won Best Sci-Fi at the Los Angeles Film Awards in 2023. I’ve also worked on commercial projects for brands such as Leica, Polaroid, and Chery, which gave me experience working in very different production environments.

More recently, I’ve been exploring sound and more experimental approaches to filmmaking. I think what sets me apart is my ability to move between different roles and different types of production. I don’t see directing, cinematography, and sound as completely separate areas, but as different tools for shaping how an audience experiences a film.

Can you talk to us about how you think about risk?
I don’t necessarily see myself as a risk-taker. I think risk is simply part of the process of growing as an artist. When I first decided to pursue independent filmmaking, my family wasn’t very supportive because they knew how difficult and uncertain the early stages of this career could be.

One experience that really shaped my perspective was my short film Rhapsody. It was made for a film festival where we had only 48 hours to complete everything—from pre-production and shooting to post-production. I knew it would be extremely challenging to maintain a professional standard under that kind of pressure, but we took the challenge. We not only finished the film, but also received awards for Best Cinematography and Best Sound.

I’ve also struggled with the balance between commercial and artistic work. Over time, rather than choosing one over the other, I’ve learned to find a balance between the two. For me, taking risks is less about making bold decisions for the sake of it, and more about being willing to step into uncertainty when there is something worth exploring.

Contact Info:

• Website: https://xcfilm.org