Yintao Gong finds filmmaking compulsory. She is eager to point out that she revels in every moment of the creative process but it’s almost a calling for her; something she feels driven to pursue with an overwhelming passion. During the pandemic, she explored new ways to create on her own. In present day, she is a highly sought after editor who collaborates on a wide range of films with varying emotional tones. Ms. Gong finds liberation in the spectrum of different genres whether that be making a socio-cultural statement with science fiction or a deep look at the soul of an individual through dark comedy. Unquestionably, she is a filmmaker who daringly pushes the boundaries and preconceptions of modern filmmaking. We asked Ms. Gong to spare a few minutes (maybe more) with us in order to gain insight as to how the mind of one of the most creative and talked about filmmakers of this latest generation conceives of and perceives the modern iteration of storytelling.

You’re known for making daring choices, both in terms of your directing and your editing. It’s obvious that you’re a leader rather than a follower of trends. Does that make it harder in today’s filmmaking industry?

Yintao Gong (YG): Who can say? I guess I would respond that it’s important for me to express myself authentically. Initially, I found myself pursuing editing as a natural progression while creating short films and animations solo. Operating as a one-person crew compelled me to learn every aspect of the filmmaking process. At that time, editing has served as the means to execute my vision, with decisions largely guided by pre-planning. It has become a means for me to communicate; a means that I feel very at home with. 

A lot of the films you’ve created, either on your own or collaborating with others on, have made use of fantasy or surreal elements. Many would say that this is part of your voice or style as a filmmaker. Do you think that’s accurate? 

YG: I don’t shy away from Sci-Fi and any surreal elements in my stories because I think this can allow us to interpret reality in a new way, with a new perspective that leads to a confrontation with one’s authentic self.

A film like The Silent Water presents the unusual relationships that you seem to enjoy exploring. The relationship between the protagonist and a fish in this story is, well…not like anything I’ve seen before. 

YG: That film explored the boundary of imagination and reality. I wanted the visual language to reflect this difference. One attempt we had was to use some slow push in and out, and rack focus to create a surreal and subjective feeling in all the fantasy parts: when Alison was talking about the fish in the therapy room, when we see the fish tank on the nightstand, and when we see all the interactions between Alison and the fish. However, when the harsh reality pierces through, we decided to change to hand-held style to reflect Alison’s anxious, unsettled feeling. If I do my job well, it allows the audience to experience Alison’s mental and emotional state.

I feel compelled to ask, is it hard to work with a fish?

YG: It has its moments. (Laughs). Surprisingly, the fish gave us a great performance, swimming around our actress and even kissing her cheek, surpassing our expectations and adding an extra layer of magic to the moment.

You created the film I Am entirely on your own, directing, animating, writing, and editing it by yourself. It was so well received that if won the Young Creative Award at the International Emmys. As an animated film, it really stands out in the midst of so many other films you have created. When did you know you had to make this film?

YG: In the beginning of the pandemic, I saw a lot of news reflecting the struggles and misunderstandings faced by the Asian community. As part of the community, witnessing this news struck a chord within me, igniting a deep sense of empathy and a desire to contribute to a more nuanced and compassionate dialogue. This emotional response became the driving force behind the creation of this stop motion animated film.

You also made a social statement in the film Upstream which is about a sex robot who desires to understand what it is like to be human by perceiving love. Through her journey, we begin to understand the similarities and confinements of the female gender. Upstream is a beautiful and at times disturbing film which received numerous awards at the Los Angeles Cinematography Awards as well as other industry award events. What did making this film mean to you as a female filmmaker?

YG: This is a tale about surpassing definitions and finding one’s true self. A story about love, companionship, and humanity. I’m incredibly proud of it and the response it has received as its director and editor. Serving both of those roles on this film was definitely a challenge, balancing the execution of my vision and then reinterpreting the story with a fresh perspective. While making Upstream was my favorite experience so far in my career, it was not the most joyful. The challenges I faced during this project pushed my boundaries as an editor and contributed significantly to my growth in the field. If you want to grow, you have to commit to going through this process, even if it’s uncomfortable. 

You’ve recently been working in the fairly new arena of long form storytelling in micro doses, through your work with ReelShort. The manner in which ReelShort delivers its content, through very brief episodes, is this a huge adjustment from working on longer form films for you?

YG: Referring back to what I mentioned earlier, I think you have to try new things to get to new places. That’s what is exciting about having a creative career, you don’t know exactly what will happen but something new always does. I will say that it’s exciting to work on a platform where every show I work on gets millions of views.