Illustration: Liu Xiangya/GT

In recent years,MKS sports the Chinese film industry has witnessed a surge in directors who have defied conventional pathways to success. Among them, directors like Yang Yu, also known as Jiaozi, and Guo Fan have stood out as trailblazers. Hailing from backgrounds as diverse as medicine, law and engineering, these non-film-school directors have nonetheless managed to deliver cinematic masterpieces that have shattered box-office records and captivated audiences, the latest of which, Ne Zha2, has become China's all-time highest-grossing champion. 

From The Wandering Earthto the Ne Zhafilms, a series of high-grossing movies have been directed by people who changed careers halfway through life. This phenomenon raises an intriguing question: Why have cross-disciplinary directors been able to achieve such remarkable breakthroughs in Chinese cinema?  

One of the most compelling arguments for the success of cross-disciplinary directors is their ability to break the inertia of the industry through their unconventional thinking and unique perspectives. Unlike many film-school graduates who are immersed in traditional filmmaking techniques and aesthetics, these directors bring a fresh perspective to their craft, often drawing inspirations from their diverse professional backgrounds. 

"Their cross-disciplinary backgrounds can help break through the conventional thinking of some traditional filmmakers. The multi-dimensional thinking of 'making movies beyond the scope of movies' is conducive to innovation," Zhang Peng, a film researcher and associate professor at Nanjing Normal University, told the Global Times.

Take Jiaozi, for example, a former medical student who leveraged his knowledge to create the unconventional yet endearing design of Nezha in the film series Ne Zha, which occupies two positions on the top 10 chart of all-time highest-grossing films in China. The "ugly but cute" aesthetic of Nezha was not just a random choice; it was a deliberate experiment to challenge beauty standards in animation. By applying his medical background to the physicality of the character, Jiaozi produced a design that resonated with audiences.Similarly, Guo Fan, the director of The Wandering Earthfilm series, utilized his law background to construct a plausible  depiction of planetary survival. His scientific rigor and meticulous attention to detail gave the films an authenticity rarely seen in Chinese sci-fi, earning both critical acclaim and commercial success. These directors' ability to introduce new ideas and methods stems from their "cross-disciplinary genes," enabling them to approach storytelling from angles that traditional filmmakers might overlook.  

Some renowned overseas directors are also good at integrating knowledge drawn from their majors at universities such as philosophy and psychology into their works. Wes Anderson, who graduated with a major in philosophy and created masterpieces such as The Grand Budapest Hotel, is one of them; and so is Wes Craven, who earned an undergraduate degree in English and psychology and eventually became one of the masters of the horror genre.

The injection of fresh, cross-disciplinary perspectives is helping invigorate the Chinese film industry. Directors who have not undergone traditional filmmaking education are not bound by conventional mindsets; instead, they embrace experimentation, challenge norms, and redefine the possibilities of Chinese cinema.

Zhang pointed out that another key driving force behind the success of these directors is their unrelenting passion for filmmaking. Unlike those who enter the field through formal education or career planning, many of these directors made significant sacrifices to transition into the film industry. For them, filmmaking is a calling that they pursue with extraordinary dedication.

Jiaozi's journey is a case in point. Before becoming a filmmaker, he spent years teaching himself animation, often working late into the night to perfect his craft. His success with Ne Zhawas not the result of a formal education in filmmaking but rather a manifestation of his obsessive love for storytelling and his determination to bring his vision to life.

However, passion alone is not enough. These directors also exhibit a deep respect for their craft, approaching their work with humility and willingness to learn. They understand that audiences are not easily deceived; as Jiaozi aptly put it, "Works that deceive the audience will ultimately be eliminated by the market." This respect for the audience's intelligence and taste is also a kind of valuable quality that the Chinese film industry needs now.

"Filmmakers should be observers, researchers and scholars of diverse fields, which varies with their works being shot. For instance, director Hou Hsiao-hsien was very familiar with the history of the Tang Dynasty (618-907) when he created The Assassin," Shi Wenxue, a film industry expert and veteran culture critic, noted, emphasizing that an inquiring spirit has nothing to do with the directors' academic backgrounds.   

Film is a multidisciplinary medium that thrives on diversity. While formal training provides a strong foundation in technique, theory and history, it can also inadvertently foster a degree of homogeneity. Cross-disciplinary directors, with their varied backgrounds, bring innovation and vitality to the industry, challenging established norms and expanding the boundaries of what cinema can achieve.  

"To meet the increasingly nuanced and segmented demands of the audience, all Chinese filmmakers should delve into everyday life to better understand their needs. Creators should also strengthen cross-disciplinary collaboration, incorporating knowledge and expertise from other fields to elevate their work," said Zhang.

The author is a reporter with the Global Times. [email protected]