Yao Chen’s Bad Rabbit Pictures: A New Era for Emerging Directors!

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Yao Chen recognized the hurdles that awaited her as she established Bad Rabbit Pictures in Beijing, way back in 2017.

Yao continues to be a highly-acclaimed actress, recognized for her exceptional roles in films like “Caught in the Web” (2012), directed by Chen Kaige, and “Send Me to the Clouds” (2019), as well as successful TV series such as “All Is Well” (2019). However, Yao felt a desire to contribute to China’s film industry and utilized her fame (with approximately 80 million followers on social media) and connections to provide opportunities for up-and-coming art house talent in the country.

The company that she established alongside her cinematographer and partner, Cao Yu, has consistently thrived, serving as a powerful symbol of their unwavering dedication to discovering and nurturing emerging talent.

This year’s Berlinale showcases growth, as Bad Rabbit Pictures brings the highly anticipated competition entry “Living the Land“, a rural drama by writer-director Huo Meng that explores China’s socioeconomic changes in the early 1990s. The company also debuts its first international collaboration: the India-set coming-of-age drama “Village Rockstars 2“, directed by Rima Das and screening in the Generation 14plus lineup. This film, which won Das the Kim Jiseok Award for emerging talent at last year’s Busan International Film Festival, continues the tale of a young Indian girl who aspires to create her own rock band.

This year, the show “Village Music” produced by Bad Rabbit will be exhibited at the European Film Market (EFM) in Berlin, having been previously showcased in the main competition of the Pingyao International Film Festival last year under the direction of Lina Wang.

Yao expresses a mix of delight and apprehension when discussing the strong impact Bad Rabbit has had in Berlin this year, chuckling as she says so,” Yao shares with THR over Zoom, prior to the festival. She chats about her recent film projects and the new avenues she’s considering, as Bad Rabbit’s reputation continues to grow.

Has your move into producing changed the way you look at filmmaking?

As a film enthusiast, I must say, delving behind the scenes has utterly transformed my perspective on movie-making. In my role as an actress, I’m only privy to a tiny slice of the action. I receive the script, perform according to it, and occasionally lend my voice for dubbing. That’s about it. However, stepping into the producer’s shoes, I’ve come to realize, is like assuming the role of a mother nurturing a new life. From conception to delivery, I’m there every step of the way, shaping and molding this cinematic creation.

What was the initial motivation to branch out?

Initially, I wasn’t well-versed in business matters. However, when it came to investing, I believed that investing in people was the way to go. Consequently, Bad Rabbit has collaborated with a number of budding directors over the years. A significant portion of these directors have partnered with us on their debut feature films. Many of these directors require time to assimilate and refine their abilities, as well as patience for the market’s demands.

Is there an overriding ethos of the projects that Bad Rabbit is drawn toward?

Our primary aim is to create films that provide a soothing emotional experience, touching hearts and souls. Adopting a tender approach, we strive for these productions to emphasize empathy towards people and respect for life – aligning perfectly with our deeply-held personal principles.

What sparked your involvement in the bustling Asian discussions about the concept of Living the Land?

Back in 2022, I had the privilege of serving as a judge at the Golden Rooster Festival’s project market. That’s where I first encountered this remarkable script that swept the grand prize. Admittedly, some fellow judges expressed reservations about it: “If you were to make a film like this, who would be your audience?” Given the circumstances of COVID and the industry’s stagnation, it was a valid concern. Even my colleagues at Bad Rabbit had their doubts about our endorsement. But I simply couldn’t get this unique story out of my mind.

What was it that convinced you to come on board?

Two main factors contributed to my decision. Firstly, I was captivated by the script. Secondly, despite being from Fujian Province, I found a striking resemblance in their appreciation for the bond between nature, heaven, earth, humans, and divine spirits with people from Henan Province. This resonated deeply with me as I could empathize with their connection to the land. Furthermore, their respect for life and death, combined with their personal concern for individuals, struck a chord within me.

I had two reasons for my choice. First, I really liked the script. Second, even though I’m from Fujian Province, I found a lot in common with people from Henan when it comes to respecting nature and the spiritual world. I could understand their bond with the land, and I felt that same connection. Additionally, they had a deep respect for life and cared about individuals, which I related to as well.

Did you know much about the director, Huo Meng?

As a passionate admirer, I was aware that the director had brought his first masterpiece, “Crossing the Border — Zhaoguan” (2018), to life on a modest budget of approximately $55,000. This poignant road movie struck a chord in China and left an indelible impression. His subsequent work, “Living the Land,” is nothing short of enchanting – it unfolds like an ancient scroll, with its captivating ensemble cast. When he shared his vision for the project, his unwavering confidence was palpable, and I found myself deeply moved by his passion and conviction.

Village Rockstars 2 is also rural-set. Did it have a similar effect on you?

At times, I found myself shedding tears while watching the film due to its strong resemblance to my own childhood experiences. The narrative centers around two women, both representing different generations, with a backdrop of struggles and hardships that never deterred them from persevering or succumbing to what’s often referred to as fate. Sunlight is frequently showcased in the movie, casting beautiful silhouettes on characters and sometimes even creating an ethereal halo effect. The filmmaker, Rima Das, employs a lively, optimistic cinematography style that borders on the spiritual.

Since this is your initial international venture, are you considering expanding the scope of Bad Rabbit for future projects abroad?

In China, a common phrase is “Walking with both legs.” This is exactly what we’re doing. While we continue to scout for promising works, projects, and talents at domestic film festivals, we’re also venturing into the international arena in search of collaborative opportunities. However, when it comes to selecting international partners and projects, our primary consideration is ensuring they align with our core values. We have a strong preference for stories that emphasize human connection and compassion.

Have you been looking to the streaming market and to making short series?

As a passionate viewer, I’ve been intrigued by the recent buzz surrounding compact television shows, and I’ve been delving deeper into this trend. I’m not referring to the ultra-brief, vertical series popular on platforms like TikTok, but rather the high-quality, horizontally-screened premium miniseries akin to “Fleabag”, the captivating British drama. These are the type of short series that I’m currently investigating and working on developing.

Can you share anything about these new projects?

1. We’re considering a crime-drama for our next film, set in my hometown, Fuzhou. The town is bustling with energy and activity, yet the story revolves around police solving crimes. On a lighter note, our second series will be humorous and lighthearted, focusing on the well-known sea goddess Mazu from Fujian. However, it will offer a contemporary, urban take on this mythical figure.

2. For our upcoming production, we’re planning to film a crime thriller in Fuzhou, my hometown. The city is vibrant and busy, but the storyline centers around police investigating crimes. In contrast, our second series will be more comedic with a focus on Mazu, the famous sea goddess of Fujian. It will bring a modern, urban twist to this mythical character.

3. Our first project is a crime thriller we’re thinking of shooting in Fuzhou, my hometown. The city is teeming with energy and activity, but the plot revolves around police solving crimes. Our second series will be more lighthearted and humorous, focusing on Mazu, the renowned sea goddess from Fujian, but it will present a fresh, contemporary urban perspective.

4. We’re considering producing a crime thriller in my hometown, Fuzhou, for our next project. The city is lively and bustling, but the story revolves around police investigating crimes. In contrast, our second series will be comedic and lighthearted, focusing on Mazu, the famous sea goddess of Fujian, with a modern urban twist.

5. Our first idea is to film a crime-drama in my hometown, Fuzhou. The city is full of life and activity, but the story centers around police investigating crimes. In contrast, our second series will be more comedic, focusing on Mazu, the famous sea goddess from Fujian, and it will offer a fresh, urban perspective with a modern twist.

6. Our first project is a crime-drama set in my hometown, Fuzhou, where we’ll portray a city full of life and activity, but the story revolves around police investigating crimes. In contrast, our second series will be more comedic, focusing on Mazu, the famous sea goddess from Fujian, with a modern urban twist.

7. We’re considering two projects: one is a crime-drama set in my hometown, Fuzhou, where we’ll depict a city brimming with life and activity, but the plot revolves around police investigating crimes. Our second series will be more comedic, focusing on Mazu, the famous sea goddess from Fujian, and it will have a contemporary urban twist.

8. For our next project, we’re considering two options: one is a crime-drama filmed in my hometown, Fuzhou, where we’ll showcase a city bustling with energy and activity, but the story revolves around police investigating crimes. The second series will be more comedic, focusing on Mazu, the famous sea goddess from Fujian, and it will present an urban twist with a modern perspective.

9. We’re considering two possibilities for our next project: one is a crime-drama set in my hometown, Fuzhou, portraying a city full of life and activity, but the story revolves around police investigating crimes. The second series will be more comedic, focusing on Mazu, the famous sea goddess from Fujian, with a modern urban twist.

10. Our next project may take one of two forms: a crime-drama set in my hometown, Fuzhou, where we’ll depict a city teeming with energy and activity, but the story revolves around police investigating crimes. The second series will be more comedic, focusing on Mazu, the famous sea goddess from Fujian, and it will offer a modern urban twist.

Is it true that Bad Rabbit has helped numerous Chinese women enter the film industry? Is there a growing trend towards offering more career prospects for women across China as a whole?

Progress is underway, even if it’s not perfect yet. At least it’s moving forward, which is better than nothing. I believe feminism is all about empowering women to be their authentic selves, and to receive the same recognition, respect, and rights as men in society. By focusing on individuals, their personalities, decisions, feelings – rather than their gender – that’s the kind of conversation I hope to foster in future endeavors. I aim to uplift gender identity in a motivating manner, perhaps by highlighting the subtler forms of strength that truly embody female might.

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2025-02-15 09:55