What is your name and classification?
Ziyang “Lucia” Wang — Assistant Editor. I also do indie editing work on the side.
List the credits you’re most proud of.
They Will Kill You, Love, Antosha, and Wuhan Wuhan. They Will Kill You was my first union gig — I spent over a year on it and followed the project from dailies through wrap, coming out with a much deeper understanding of what it takes to see a feature through. Love, Antosha premiered at Sundance and gave me a profound sense of how a documentary can shape someone’s life. Wuhan Wuhan is a Chinese-language documentary co-produced between the U.S. and China, capturing daily life in Wuhan during the early 2020 lockdown.
Who are your influences or mentors?
Anita Brandt Burgoyne, Angela Catanzaro, and Terel Gibson — mentors to me in the industry and in life. I go to them for career guidance and the bigger questions alike, and they always show up with honesty and real care. On the creative side, Bob Fosse’s sense of rhythm and precision is something I’m always chasing.
How has your cultural identity shaped your career choices?
Growing up with Confucianism, Buddhism, and Daoism gave me a framework I bring into every edit room. The Daoist idea of 和光同尘 — to meet the light as it comes, and the dust as it comes, without drawing lines between them — has shaped how I collaborate. When I work with creators whose aesthetics differ from my own, I find myself genuinely curious about what we might make together.
The I-Ching also taught me that everything moves in cycles. In an industry constantly shifting — new technology, AI, a lot of uncertainty — that perspective is a real anchor. When the current runs against you, don’t panic. Stay grounded and trust that the tide will turn.
What’s a meaningful film to you that you would recommend?
The Farewell — it portrays Chinese culture with real respect and nuance, not as an exotic backdrop but as a living, breathing world with its own weight.
What would be your dream project to work on?
Editing the proshot of a Broadway musical — I’m endlessly envious of Jonah Moran getting to cut the Hamilton film.
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