“Ideally, the first responsibility of a cinematographer (DP) is to understand the director’s vision. It is crucial to share a unified vision throughout production and to complement each other’s strengths. This requires the DP to collaborate closely with the director so they can communicate seamlessly on set. Some directors choose to work with the same DP across multiple films, such as the Coen brothers and Roger Deakins or Wong Kar-wai and Christopher Doyle. This collaboration allowed them to develop a unique style that has become iconic in their films.”—cinematographer Yihuan Zhang
Cinematographer Yihuan Zhang, who also has worked as a film director, understands the responsibility of both roles, and the collaboration that’s necessary between the two. He’s been the cinematographer on short films such as Last Days of Summer, One Tree Inn, and The Dead End which have all earned recognition on the shortlist of film festivals. On these and other movies, he has worked to achieve the same level of collaboration as directors like the Coen brothers have with their DP.
As a result, China-born Yihuan suggests, “I believe it’s essential to prepare thoroughly before shooting begins. I prefer to meet with the director and discuss the script well in advance. I’m interested in understanding why they want to create the film, what they hope to convey, and what types of movies they enjoy. Getting to know the director’s personality helps me understand the vision they have in mind. From there, I gather references to share, and they often provide their own references and ideas as well. Ideally, we develop a strong mutual understanding so that on set, we can fully trust each other to handle our respective roles. This way, the director can focus entirely on directing the actors, and I, as the DP, can concentrate fully on capturing the visuals.”
My first strength would be my perspective. Whether I’m working as a DP or a director, I believe my unique viewpoint and storytelling approach are my greatest assets. This includes the kinds of stories I choose to work on, the visual style I prefer, and how I approach problem-solving during production. For instance, I’m often drawn to exploring the relationship between individuals and their environments or circumstances. This interest likely stems from my background in architecture, where I learned to notice how spaces influence people—and how I, too, was shaped by my surroundings. As a director, I am frequently interested in stories that reflect this dynamic between individuals and their environment. As a DP, I aim to visually connect characters with their environment through thoughtful framing.
Another strength, particularly as a DP, is my keen observation. I like to keep one eye “outside the monitor” during shooting, observing what happens between actors and seeking ways to enhance the scene. Often, what’s most captivating in production goes beyond initial planning and can emerge from spontaneous moments that don’t disrupt the Assistant Director's workflow. Especially when actors have strong chemistry, they create something genuinely beautiful on camera. I think I picked up this habit from working on documentaries, where I’m inclined toward playful, improvisational elements. Of course, all improvisation is built on a foundation of thorough preparation.
As a director, I believe my curiosity is my greatest strength. I am deeply interested in people, their stories, and their perspectives, which is why I enjoy making documentaries. I make an effort to understand people before forming judgments. While it’s difficult to be completely free of bias, I strive to minimize the influence of my own perspective on the subjects in my films. Our biases inevitably influence our work—whether through story selection or editing decisions—so I remind myself to stay curious and open-minded. This helps me avoid letting my preconceptions shape the stories I tell.
The director who inspired me to become a filmmaker was Edward Yang from Taiwan. He is not only one of my favorite directors but also someone whose motivation behind his films resonates with me. His work inspires me and provides an example of why I want to create my own. One of my favorite films is Yi Yi, which is considered one of his best works and has won numerous awards, including Best Director at Cannes. I’ve watched this movie many times, but I truly began to understand its power during my second viewing, after I went to college. It’s a slow film that depicts the story of a large family, exploring each family member's individual struggles and confusions across generations. For instance, the father grapples with his business and marital challenges, the young daughter navigates her first love and friendships, the grandmother reflects on her last days, and a young couple faces issues of independence, while the children are curious and confused about the adult world. What strikes me most is the film's structure. It begins with a wedding and ends with a funeral, capturing the essence of life’s cycle. The movie not only portrays a family but also illustrates the various struggles we face throughout our lives. I was deeply moved by Yi Yi and appreciated every detail. For a while, I felt how a powerful film can impact its audience. I realized that a good movie doesn’t always have to be dramatic or unique; it can simply be a slice of life that inspires and offers new perspectives on the world.
I do hope to receive an award as a DP, one day, as it would not only be a compliment but also help advance my career and bring more opportunities my way. However, what motivates me to be a DP is my love for visual expression. I often have images in my head that I struggle to describe. So, I would sometimes draw them out. I’m very glad I found cinematography, as it allows me to fulfill my desire for visual expression. Also, I’m also fascinated by different perspectives—not just in terms of thinking but also how we literally see things. The camera enables us to capture perspectives that we might normally find hard to perceive with our own eyes. Like with my movie, On My Road to Dharma, when we look back at pictures or videos of moments we might not often remember, they can evoke deep emotions. For instance, I took a bunch of pictures with my family using my film camera during the Chinese New Year holiday. Most of the pictures are just daily moments. But after getting the film developed and sharing it with my family, they were surprised and loved the images I took. One photo shows my mom drying her hair in the sun after washing it. The sunlight illuminated her from behind, creating a warm atmosphere. When my mom saw the picture, she loved it and never thought it could be a moment worth remembering. As for upcoming work, I’m excited to be working on two new feature documentaries—One More Dance and You Tell Me How to Live—and use the skills I have to make them as impactful as possible.
Check out Cinematographer Yihuan Zhang on IMDb, and on Instagram.