Tian’s journey from the bustling streets of Beijing to the editing rooms of Hollywood is a testament to the power of following one’s dreams across continents and cultures. With a Master’s degree from Chapman University’s prestigious Dodge College and a growing list of acclaimed projects, this soft-spoken editor is making waves in an industry where technical precision meets artistic vision.
When did you first realize you wanted to work in film?
My obsession with film started incredibly early. I remember watching HBO when I was three years old and crying when Sam — Patrick Swayze’s character — went to heaven in “Ghost.” My mom was a journalist and TV news producer, so I developed a passion for media at a young age. In high school, I ran a movie appreciation club and organized watch parties. That’s when I started seriously dreaming about making films.
That’s quite a leap from Beijing to California. How did you make that transition?
I was fortunate to be accepted into ArtCenter College of Design in Pasadena, and I flew 12 hours from Beijing to California to pursue my dream. After that, I attended Dodge College at Chapman University, where I learned how to become an editor and made several award-winning short films. It was a big adjustment, but I knew this was what I had to do.
Tell us about your breakthrough project, “Drifting Boat.”
My big break was editing my thesis film, “Drifting Boat,” which follows the journey of an elderly immigrant struggling to connect with her granddaughter. The film officially premiered at TCL Chinese Theater and had a successful festival run with six wins and three nominations. Critics responded beautifully to it — Film Threat’s Alan Ng wrote that it “explores the decades-old feelings of loss and the slow disappearance of Ying Zi’s culture in the coming generations,” giving it a 7.5/10 score.
The film sounds deeply personal. What made it resonate so strongly with audiences?
Many audiences were moved by the powerful performance of our lead actress, Sarah Gu, a retired actress who moved to the States out of necessity during a turbulent time in mainland China. We shot it near Chinatown in Los Angeles, and it’s one of my favorite pieces because it’s so close to my heart. The film opened many doors for me in the documentary space, leading to collaborations with 10 to 20 Chapman students on their thesis projects.
One of those collaborations led to something quite extraordinary — “Did You Forget Mr. Fogel?” Can you tell us about that?
We made this documentary about Marc Fogel, an English teacher wrongfully detained in a Russian labor camp. The film helped launch the #FreeMarcFogel campaign, and after five years of detention in Russia, he was finally released. It’s incredible to think that our documentary played a role in bringing someone home to their family. The film was an official selection at Santa Barbara International Film Festival and won the Audience Award at the National Film Festival for Talented Youth.
That’s remarkable — using film as a tool for social change. How did you transition into commercial work?
At a Dodge alumni event, I reconnected with the post supervisor at Crazy Maple Studio — we studied together at Chapman. That connection led to me editing and color grading several viral vertical mini dramas for both Crazy Maple Studio and Drama Box. Crazy Maple was named one of TIME Magazine’s Top 100 Most Influential Companies of 2024, with $48.7 million in annual revenue.
What kind of numbers are we talking about with these projects?
I was the assistant editor and colorist for “Snatched a Billionaire to Be My Husband,” which earned a 7.6/10 rating from 685 IMDb reviews. It’s the sequel to Crazy Maple’s most popular drama, “The Double Life of My Billionaire Husband.” Another series I worked on, “True Luna,” a werewolf-themed show, earned 7/10 on IMDb from 180 reviews.
You’ve also worked on some impressive IMAX projects.
Yes, “Cities of The Future” was filmed in five different countries, shot on RED cameras, and narrated by John Krasinski. It was directed by Oscar-nominated director Greg MacGillivray, who’s been nominated twice — for “The Living Sea” in 1995 and “Dolphins” in 2001. John Krasinski is actually a personal friend of Greg’s. The film premiered on the MAX 3D screen at the California Science Center.
You’ve mentioned some influential mentors. Who has shaped your career?
I want to mention two people who inspired me. Matia Karrell, an Oscar-nominated director I met at ArtCenter, and Tashi Trieu, the colorist for “Avatar: The Way of Water” and “Star Wars: The Force Awakens,” who I was introduced to at Chapman. Both really shaped my career path and showed me what’s possible in this industry.
What’s been your proudest achievement so far?
Graduating with a Master’s degree with a 3.6 GPA from Chapman University during the COVID pandemic. I was taking online classes in an apartment where my downstairs neighbor had lost her mind because of the isolation and would bang on the ceiling and curse daily. It wasn’t exactly the ideal learning environment, but I persevered.
Any cautionary tales or lessons learned along the way?
Communication hasn’t always been my strength, and I’ve learned that filmmaking is truly a team sport. The worst advice I ever received was “fix it in post” — you can’t shoot something on your phone and expect Hollywood results, unless you’re Danny Boyle making 28 Years Later on an iPhone 15. You have to start with quality from the beginning.
What drives you creatively?
After I quit my office job two years ago, I backpacked solo through many remote regions of the world. I’m learning to live a less complicated life, to look inward and find strength. My peers would describe me as shy and gentle, but someone who knows what they want and how to get it. I’m chill about things like choosing where to eat, but I’m very particular about my work.
What’s next for you?
I recently completed a short film called “The Cloud,” which received very positive feedback at its premiere at Speiser Sturges Acting Studio in Santa Monica. We’ve submitted to Cannes and other festivals. Looking ahead, I hope to work on more documentaries and narratives — projects that make an impact and inspire others to make movies. I want to work on films that people will remember.
My ultimate goal is to work for a post-production house like Harbor Picture Company and make Hollywood movies. I’m moving up to the next step, and I’m excited about what’s coming.
Tianzhuo Xu’s journey from that three-year-old moved by “Ghost” to an editor helping free wrongfully detained prisoners demonstrates the profound impact that storytelling can have on the world. As she continues to climb the ranks of Hollywood’s post-production elite, one thing is clear: her best stories are yet to be told.
