Filmmaker Zizheng “Boris” Liu has carved a unique path in the film world, combining deep personal stories with global themes. to endureidentity, and change. From his roots in Beijing to developing his skills as a USC student, Liu’s story reflects his cultural heritage and worldview. It’s a job like The Dumpling King and Sounds of the Seahas become known for exploring deep social and environmental issues using innovative techniques such as the magical medium and vertical mini-series.
In this exclusive interview, Liu shares insights into his creative journey, the inspiration behind his work, and his vision for the future through storytelling. Whether making a long play like A Different Place or connecting millions through the digital medium, Liu is a storyteller dedicated to connecting cultures, resilience, and redefining the possibilities of film.
Your articles often focus on topics such as identity and perseverance, as it turns out The Dumpling King. How has your upbringing in Beijing and your journey as a USC alum influenced your creative voice?
Growing up in Beijing, surrounded by the rich culture and challenges of a fast-paced society, changed my narrative style. Growing up, I was immersed in stories of courage and identity, often told through the lens of tradition and change. This foundation made me interested in researching people who walk cultural paths and personal challenges. Movies like The Dumpling King I present this, while exploring the themes of endurance and being, inspired by my experiences as an international student away from home.
My journey as a USC alum also expanded my creative voice. At USC, I had the opportunity to collaborate with a variety of journalists and research stories that resonated around the world. The advice I received the jobs I worked on, such as Not really and Sounds of the Seait forced me to find new ways to integrate social and global themes. Together, my Beijing roots and my experience at USC have given me a unique perspective, allowing me to tell stories that connect cultures, evoke compassion, and inspire courage.
Sounds of the Sea combines nature stories with fiction. What inspired the project, and what do you hope the audience will take away from it?
Sounds of the Sea inspired by the oil spills that hit Santa Barbara Lake, first in 1969 and again in 2015. These events left an unforgettable mark on the environment, as birds and sea creatures, covered in oil, washed up on the beach, and the sand was stained with sticky and sticky. When I arrived at UC Santa Barbara a year after the 2015 disaster, I could still smell the oil in the air and see how much the disaster had affected the community. This experience has stayed with me, fueling my desire to tell a story that connects the knowledge of nature with the human mind.
In the film, two students find an oiled bird on the beach, which leads them on a journey to discover a legend hidden under the sea and within them. The bird, revealed to be a dragon in disguise, represents nature’s plea for help. It’s a story of change and hope, inspired by real-life heroes who saved countless sea creatures from extinction. Through magical reality, Sounds of the Sea strives to raise awareness of social and environmental issues while encouraging listeners to think about their connection to nature.
With millions of views on platforms like Dramabox, how do you approach creating miniseries that resonate with such a diverse audience?
Creating miniseries that resonates with millions of viewers on platforms like Dramabox and Reelshort requires a deep understanding of the audience, the platform, and the unique style of vertical storytelling. My approach starts with creating compelling, fast-paced stories that grab attention immediately and sustain it through strong characters and relatable themes. For example, in One Good Night With My Bossthe plot revolves around natural concepts such as ambition and love, mixed with suspenseful twists, making it appeal to a wide range of audiences.
On platforms like Reelshort and Dramabox, it’s also important to edit the content in a vertical and horizontal format. This involves using strong layouts, strong visuals, and short stories to create intimate, immersive experiences. By combining global appeal with cultural authenticity and increasing your vertical storytelling needs, I’ve been able to create sub-topics that appeal to people around the world, garner millions of views and create valuable connections with viewers.
What challenges and opportunities do you see in adapting traditional film storytelling to digital shorts?
Converting old film stories into digital shorts poses unique challenges, especially condensing the story into a short period of time without losing emotional depth or character development. The need for success means that every second must drive the story, and changing the visuals and moving on a platform like Dramabox or Reelshort, especially on a vertical one, requires a rethinking of traditional methods.
However, short material also offers an exciting opportunity to reach different audiences quickly and try to tell new stories. The vertical frame creates an engaging viewing experience, and its shape allows for bold, creative ways to frame and move. Its accessibility helps test new ideas and connect with audiences in new and effective ways.
You’ve worked on a variety of projects, from independent films to commercial campaigns like the Toyota drifting video. How do you connect artistic talent with commercial success?
Balancing artistic integrity and commercial success requires understanding the goals of each project and maintaining a creative vision. For independent films like The ladder or Sounds of the Seathe goal is to tell stories that reflect personal feelings and meaningful themes, giving them more creative freedom. These projects prioritize the emotional impact of reality, which defines my voice as a filmmaker.
In contrast, commercial campaigns like the Toyota video I worked on aligned with brand goals and audience expectations. For Toyota, I made sure the visuals were strong and attractive while incorporating narrative stories that reflected the brand. By finding parallels between artistic storytelling and commercial goals, I can deliver projects that are both artistically satisfying and commercially relevant.
When you go to movies like A Different Place and At the exitWhat excites you most about these projects, and how do they reflect your growth as a filmmaker?
What really excites me is the opportunity to delve into complex issues and explore people deeply and deeply. A Different Place offers a complex and emotional journey following a girl’s fight to save her brother and herself from the troubles of her past. Its themes of courage and redemption reflect my interest in telling stories that show human connection in adversity. At the exitInstead, it’s a dark, engrossing drama that combines storytelling and moral ambiguity, pushing creative boundaries in ways I’ve never explored before.
These projects are a big part of my development as a filmmaker, allowing me to expand beyond short stories and tackle bigger, more complex stories. They also push me to refine my skills, from balancing artistic vision and collaborative skills to managing the size and complexity of long-form artwork. Both films reflect my evolution as a storyteller, driven by a commitment to create bold, impactful stories that resonate around the world.
What is your long-term vision as a filmmaker and storyteller? What do you hope to create in the industry?
I hope to create an impact in the industry by promoting diverse voices and ideas and using storytelling as a tool for compassion and understanding. By researching the topics that are most important – such as recognizing nature in Sounds of the Sea or human settlement in A Different Place – I want to push the boundaries and inspire others to do the same. Ultimately, I aspire to contribute to a more inclusive and effective video production that inspires audiences and future writers.
Spencer Hulse is the Editorial Director at Grit Daily. He is responsible for managing other editors and writers, day-to-day operations, and publishing leading news.
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