An interview with BINGLIANG LI | LITTLE JOURNEY | VMA Winner - December 2024
In this interview, we dive into the creative journey behind Little Journey, a film that follows two children as they search for their dog and father during a taxi ride. The director, Bingliang Li, discusses how a casual conversation sparked the story, the role of language in creating emotional depth, the unique challenges of shooting in confined spaces, and how working with young actors added layers of authenticity and heart to the film.
From the technical aspects of filming to the thematic exploration of family, resilience, and cross-cultural bonds, this conversation provides a behind-the-scenes look at the making of a heartfelt and impactful narrative.
• What inspired you to tell the story of two children searching for their dog and father through a taxi ride?
The initial idea stemmed from a casual conversation with an Uber driver, but I soon realized its potential as a larger narrative. I wanted to develop this idea into a feature-length film that explores how two children from different families can become a true family through a shared journey.
• Language plays a crucial role in this film, with the children switching between Chinese and American dialogue. How did this linguistic duality enhance the emotional depth and realism of the story?
Language plays a pivotal role in this film. When the children speak Chinese, it serves as a "secret language"—a way to communicate without the driver understanding them. This duality also highlights the progression of the relationship between the boy and his new sister for the longer version of the story, illustrating his desire to protect her by learning the language she speaks. It’s a key emotional arc in the story and underlines the importance of communication within family dynamics.
Working with young actors on Little Journey was both a challenge and one of the most rewarding aspects of the filmmaking process.
• Shooting in such a confined space—inside a car—must have posed unique challenges. Can you walk us through the technical aspects of capturing these scenes? What type of camera and lenses did you use to achieve those intimate close-ups while maintaining visual fluidity?
Given our budget constraints and the challenges of working with child actors, we chose to shoot on a green screen stage. This not only ensured consistent lighting and camera setups but also provided the actors with a controlled, confined space for rehearsal. We shot the film with the Sony FX3, which is compact yet offers high image quality. For lenses, we used the Zeiss Compact Prime series, which I chose for its sharpness and true color reproduction. We also opted for a 4:3 aspect ratio to evoke a retro aesthetic, reflecting the story's 1990s setting.
• Directing children under the age of 8 can be notoriously difficult. How did you prepare the young actors for their roles?
Working with young actors on Little Journey was both a challenge and one of the most rewarding aspects of the filmmaking process. Capturing the natural, unfiltered essence of children requires a different approach than working with adults. I adapted my directing style to align with their mindset, ensuring I didn’t over-direct them, which could stifle their authenticity.
During pre-production, I prioritized building relationships with the young actors. I made weekly trips from Downtown Los Angeles to Irvine, where I spent time with them, getting to know them personally and conducting casual rehearsals. We discussed the film and their characters, which helped them relate to the material. For example, Peter, the young actor playing the boy, had experienced the loss of his pet dog a few years ago, and we used that connection to deepen his emotional performance.
Additionally, I limited parental involvement during production, allowing the children to remain unencumbered by external pressures. This experience taught me the importance of patience and adaptability, as well as the value of creating a supportive environment in which young actors can express themselves authentically.
• What strategies did you use to keep the children focused during long shooting sessions, especially in such a small and controlled environment?
Maintaining focus during long sessions in a confined space involved several strategies. As mentioned, regular rehearsals played a key role in keeping them engaged. The involvement of their parents on set but not during production was also critical, as they could identify when the children needed a break, allowing us to adjust the schedule accordingly. Our acting coach was invaluable in supporting the children both on and off the set.
Federico, who played the taxi driver, was also an excellent asset. His ability to deliver his performance with minimal takes saved us time, and his natural rapport with the children helped make the confined space more enjoyable for them. During downtime for lighting and camera setups, he created a fun, playful environment for the kids. All of these helped our shooting session.
• Children often improvise during performances. Did you allow space for improvisation, or did you strictly follow the script?
I believe one of the most fascinating aspects of working with child actors is their capacity for improvisation, which I fully embraced. During rehearsals, I employed an imaginative approach, presenting them with the story’s context instead of focusing solely on memorizing lines. I would sometimes adjust the dialogue to fit their natural way of speaking, allowing for more organic and authentic delivery.
During editing, I found that many of their improvised moments enhanced the pacing of the film, adding humor and unexpected emotional depth.
• How did you handle moments when the kids felt overwhelmed or struggled to deliver a particular scene?
It’s crucial to understand the emotional and physical state of child actors, which is why I tailored my approach to each situation. If I noticed they were distracted but still engaged, I would encourage them to repeat the scene multiple times, as the repetition often yielded the desired performance. If they seemed truly exhausted, I would take a step back and focus on other scenes, sometimes shooting with the driver instead.
I also have to acknowledge the hard work of my assistant director, who often had to adjust the shooting schedule to accommodate the children's needs.
• The driver plays a key role as the bridge between the children and their search. Can you elaborate on the subtle similarities between the driver and their father—such as the driver’s smoking or persistent cough—and how these details added emotional weight to the story?
The relationship between the children and the driver evolves from one of strangers to that of a surrogate family. Early in the story, the children are shy and distant, but as the narrative unfolds, they begin to see the driver as a father figure. The subtle details, such as the driver’s smoking and persistent cough, are deliberately reminiscent of the children's father. I wanted these small cues to create an emotional parallel between the driver and the absent father, making the children feel a sense of connection and protection from him. By the end of the film, the girl’s plea for him to quit smoking symbolizes the emotional transformation, suggesting that the driver has become like a father to them.
• The theme of searching extends beyond just a physical quest; it also explores the resilience and resourcefulness of children. How did you aim to highlight the sense of determination and innocence in their journey—qualities that adults often lose as they grow older?
At the beginning of the story, the driver points out the improbability of the children finding their dog, which sets up a contrast between the adult perspective, shaped by harsh reality, and the children’s unshakable determination. As the film progresses, their belief in finding the dog becomes symbolic of their broader belief in love and family. The children’s innocence and unwavering commitment to their goal remind us of the power of resilience and hope, qualities that adults often lose with age and experience.
• What’s next for you? Are there any new projects in the works, and what themes would you like to explore in your future projects?
I am currently working on developing Little Journey into a feature-length film. The expanded version will explore themes of love, resilience, and the complexities of cross-cultural families. The film will follow the evolving relationship between the boy and girl as they navigate their journey to becoming siblings, transcending both cultural and language barriers. Ultimately, it will be a story about how love—whether biological or chosen—has the power to connect and heal, especially in times of loss.
In addition to this project, I’m also collaborating with StarBridge Academy over the next few years to foster and develop promising film projects in the Los Angeles metro area. My goal is to produce at least two to three short films, and potentially one feature, each year through this partnership.
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