SISI LIU
 SISI LIU
Where do you live (City, State, or Country)?
Los Angeles, CA, USA Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel? The inspiration behind SHIFT came from my long-standing love for crime dramas. I’ve always been fascinated by the genre and the way it explores people at their most vulnerable, often when they’re forced to confront themselves. In SHIFT, I chose to tell the story through the lens of a police officer, not only because of the uniform, but because this role exists in a space of tension: both controversial and emblematic of society’s expectations for duty, control, and order. That complexity allowed me to project my own emotional experiences onto the character, making him a vessel for exploring themes of identity, pressure, and personal resilience. At its core, the story is about lighting your own path in the dark, choosing not to be defeated by pain, but to shine through it. I chose to write this as a screenplay rather than a short story because film has had a profound impact on my life. During difficult times, movies gave me the strength to keep going. I’m a visual thinker. When I create stories, I naturally imagine how they would look and feel on screen. Writing for film allows me to blend words with imagery, which is the language I feel most fluent in. And I enjoy the challenge of expressing a character’s inner world through actions rather than relying on internal monologue. In that way, writing a screenplay felt like the most honest and instinctive form of expression for my story. How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN? SHIFT took me nearly five months to complete, starting from a blank page and evolving through countless drafts. Interestingly, the final version is almost unrecognizable compared to the earliest outline. The structure shifted, and some plot elements were completely rebuilt. But what remained constant from the beginning was the emotional core: the characters’ backgrounds and the world they lived in. Before I write a single scene, I spend a lot of time building the characters’ backstories. I need to understand who they are: from where they were born, to what they've been through, to the moment the story begins. Only then do I feel ready to write. I believe that when a character is fully alive in my mind, the story begins to unfold almost naturally. Sometimes it feels like I’m no longer in control, that the characters are making choices on their own, and I’m simply following them. When I reached the climax of SHIFT, and especially when I wrote the ending, it stayed with me for a long time. I needed space afterward, like stepping out of someone else’s life. That, to me, is the best kind of writing experience. What is your ultimate ambition as a writer? My ultimate goal is to be a filmmaker who writes their own stories, a writer-director in the fullest sense. I don’t just want to direct scripts handed to me; I want to build the world, shape the characters, and guide the entire vision from the very first word to the final frame. Writing is how I find the soul of the story; directing is how I bring it to life. But beyond that, I want to create work that lasts. I hope to one day make a film that becomes part of cinematic history, a good movie that people return to, study, and feel long after they’ve seen it. I believe great films can shape how we think, feel, and see the world. Ultimately, I want to make one of those 
Which film or television writers inspire you? Why?
While I don’t have a specific writer I constantly follow, I’m often deeply inspired by the stories themselves and how they’re told. One of the most powerful examples for me is 3:10 to Yuma (2007). It was the first time I saw a story that gave both the protagonist and the antagonist not just depth, but fully developed arcs that evolve through their relationship with each other. The law-abiding rancher finds strength in his own moral code, not by standing alone, but by confronting someone who challenges it. And the outlaw, dangerous and broken, glimpses something like hope or dignity, not in spite of the man escorting him, but because of him. That level of mutual transformation, where the “hero” becomes braver through his justice, and the “villain” becomes more human through his darkness, left a deep impression on me. It’s the kind of storytelling I hope to achieve. What’s your all-time favorite movie or television show? In addition to 3:10 to Yuma (2007), I’m drawn to crime drama films that leave a lasting emotional impression. Movies like Chinatown (1974), Fargo (1996), and Se7en (1995) have stuck with me over the years. Each one delivers a closing moment that lingers, unresolved in the best way. I love stories that aren’t afraid to haunt you a little. What advice do you have for writers hoping to win a contest or place as a finalist as you have? Start from a place of honesty. Write something that matters to you, not something you think others want to read. A story written with care and truth will always resonate—maybe not with everyone, but with the right people. And that’s all it takes. What else are you working on that the world needs to know about? (be sure to include any links you want the world to check out) I recently completed production on my very first short film, Walking on Thin Ice, which is now preparing to begin its festival run. You can find more information on IMDb: Walking on Thin Ice – IMDb As for SHIFT, the short film based on the script has already been filmed and is currently in post- production. I’m incredibly proud of this one. SHIFT – IMDb Next, I’m diving into my first feature-length script. I’m excited about what’s ahead. I can’t wait to share more soon. |
