By Mary Smith
In the dynamic landscape of film and television production, where rapid technological shifts and evolving distribution models constantly present new tribulations, Atlanta-based producer Haoran Chen has made a name for himself over the past six years focusing on prime foundational principles: intentionality, collaboration, and the human element of storytelling. With a history of yielding results across narrative, branded content, and emerging platforms, Chen’s career trajectory offers insights into building a sustainable and impactful production practice.
As an MFA graduate in Film Production from the Savannah College of Art and Design, Chen combines a honed crafted approach with robust logistical skills. This dual expertise of his has been critical in navigating projects ranging from high-volume vertical series to emotionally resonant music videos and corporate documentaries. Reflecting on his journey, Chen is fully aware that the motivation behind the meticulous planning and execution lies in a deeper reasoning.
“The most rewarding part of being a film and TV producer,” Chen said, “is watching something intangible—an idea, a moment, a feeling—become real through collaboration.” For him, the satisfaction comes from the quiet beauty of bringing disparate elements like cast, crew, location, and tone into alignment to serve a centralized narrative. While much of a producer’s work happens behind the scenes, managing structure and logistics, Chen explains that it is the “emotional center” of each project and the moments of authentic human expression that truly spark his passion. “That’s when all the stress, the negotiations, the late nights—they all feel worth it.” The ultimate goal, he adds, is “creating something that leaves a mark, no matter how small, in someone’s life.”
Chen’s approach is deeply rooted in the concept of intention. He views intention as the “invisible force that shapes tone, communication, and ultimately, the work itself.” On set, his role extends beyond mere coordination; it involves ensuring every department understands the ‘why’ behind creative and logistical decisions. “When intention is clear,” he explains, “people move with clarity, not just direction.” This deliberate focus also sets the emotional tone for the production environment itself, fostering a collaborative rather than chaotic energy. In an art form often characterized by its temporary nature—sets are built and struck, scenes are shot and cut—Chen believes intention is what imbues those fleeting moments with lasting meaning for the audience.
This philosophy has yielded tangible success across various platforms. Chen has produced vertical mini TV series that have achieved significant audience engagement. His series Gigolo Alpha garnered over 1.7 million viewers on Playlet, while Mated to My Lycan King attracted 1.4 million views on Snackshort. Beyond short-form drama, he also produced the music video Passenger, which has surpassed 550,000 views on YouTube, demonstrating an instinct for content that resonates emotionally and performs well. His portfolio also includes branded films and documentaries for major international clients like Midea and Heli America, highlighting his versatility and ability to translate client needs into compelling visual stories.
Operating often with limited resources demands a strategic approach, something Chen has honed over the years. “Stretching limited resources into something that feels cinematic is all about intentionality and trust,” he said. Rather than attempting to replicate big-budget aesthetics directly, his process focuses on strong pre-production—storyboarding, lighting plans, detailed casting—to channel energy effectively.
The emphasis shifts to clarity, emotion, and texture, utilizing elements like light, movement, and environment to evoke feeling. “One well-composed shot with emotional weight can speak louder than any crane or VFX sequence,” Chen asserts, framing this resourcefulness not as ‘magic,’ but as “restraint, vision, and believing in the story we’re telling.”
A significant aspect of Chen’s work involves identifying and nurturing talent, both in front of and behind the camera. He describes this as one of the most fulfilling parts of producing. Having worked with actors who were relatively unknown but have since become prominent in the short-form drama space through series like Gigolo Alpha and Mated to My Lycan King, Chen views this as a “quiet kind of pride.” Similarly, he highlights the growth of crew members who started early in his projects and have evolved into key creative roles.
“Uplifting talent isn’t always about discovery—it’s about trust, long-term collaboration, and giving people the room to become their best selves.” He actively seeks collaborators with the right attitude and vision, believing that access and trust are paramount to providing opportunities. Creating an environment where learning is encouraged and maintaining a respectful set culture are integral to his practice. “Diverse perspectives and fresh voices are essential to powerful storytelling,” he maintains.
Looking ahead, Chen is channeling these principles into his own venture. While previously mentioned planning for 2025, he confirms he launched his production company, Red Pavilion Film Production, in 2024. The company was founded not just to formalize his work, but to establish a “creative home” built on core values of collaboration, integrity, and visual ambition.
Operating in Atlanta, Red Pavilion Film Production is cultivating relationships within the local cast and crew communities, fostering a sense of shared purpose. The name “Red Pavilion” itself carries symbolic weight for Chen, representing the kind of stories the company aims to tell: emotionally rich, visually layered, and grounded in human connection.
Chen’s work has not gone unnoticed, earning honors at international film festivals including IndieX, Bridge Fest, and the London Director Awards. Fluent in both English and Mandarin, he is also uniquely positioned to bridge cultural divides and connect with diverse audiences worldwide.
While focused on building Red Pavilion Film Production and continuing work in short-form and commercial content, Chen confirms that another feature film is “absolutely” on the horizon.
When it comes to his previous feature, Things Greater Than Us, he notes how the experience reinforced his love for the collaborative intensity and potential for emotional depth in long-form storytelling. He seeks stories that challenge structure and explore big questions intimately, though he is not rushing the process, opting instead to listen for the right idea that demands a feature treatment. The next feature, he anticipates, will be “bolder. And more personal.”
Ultimately, Chen’s vision for his role in the industry is not about radical reinvention, but about fostering a more human-centric approach. He aims to demonstrate that scale and speed need not compromise intention, trust, and emotional truth, proving that even smaller productions can possess depth, artistry, and integrity. Through his work and the foundation of Red Pavilion Film Production, Haoran Chen is building a space where, as he puts it, “kindness, clarity, and care are just as essential as talent.”
