The Complex Ethics of Creation in Producer Yuanhao Du’s Patrick

One unique and very satisfying quality of film is that it allows a story to be presented as if it is reality, even if only for a short while. When done expertly, it exceeds mere entertainment to become a medium to move the audience emotionally and inspire introspection as well as debate. As mankind’s relationship with science evolves, movies which explore the possible consequences allows us a deeper means of consideration. Patrick is a film which displays how cloning might effect both clone and humans. The story goes deep to present ideas that question what is life, awareness, and responsibility. An Official Selection of the Marina del Rey Film Festival, Arizona International Film Festival, Pasadena International Film Festival, and others, Patrick has already accumulated awards from the New York Film Awards, Los Angeles Film Awards, South Cinematographic Academy Film & Arts, and many more. The story is deeply moving and forward minded. The film’s Executive Producer, Yuanhao Du, was deeply invested in the film’s creation and manifestation. Yuanhao’s commitment and talent led Patrick to its exceptional final form and accolades across the board with audiences and critics. His efforts confirm that the talent behind a production is equally important as that visible on screen.

Patrick is a teenage boy being raised by his single mother. While he has a loving home, he can’t seem to shake the confusion he feels about his past; that gnawing sense that he should remember more than he does. Eavesdropping on his parents quarreling, he discovers that the reason for his blurry memory is that he is in fact a clone of the original Patrick who died. Beyond the typical teenage defining of self, this Patrick must decide who he really is and how to proceed forward. Though this theme is placed in the context of cloning, Yuanhao confirms that it is the prevalence of labeling in society imposed on all of us which attracted him to the story. There is a universality here that is applicable to anyone, clone or not. Yuanhao relates, “People hate to let our past and labels to decide who we are, but meanwhile, we can unconsciously go back to our old paths and repeat the same mistakes. That`s a curse. We hate those labels but most of the times we actually already get used to it and it becomes a part of us. We are afraid to break that because if we do, then we need to deny something of ourselves. In the story, Patrick tries to get rid of his old identity and live as a new human rather than somebody`s copy. He doesn`t realize that he actually has the same drinking issues as the original Patrick.”

Dakota Henry as Patrick, is transfixing. Yuanhao was close to giving up on the film after an exhaustive search for the perfect actor to inhabit the title role. Unwilling to compromise, he finally found an audition tape from a nineteen-year-old actor in Tennessee [Dakota Henry] and flew him out for an in person audition. The EP declares, “Dakota is an amazing actor. He’s going to be a big star in the future and getting him for this film was a real coup.”

It’s no secret that obtaining financing for films in America is tougher than it has ever been. More than any other facet of his involvement, Yuanhao’s contributions in this arena may be the most vital. Beyond hiring a talented and efficient crew, he devised a budget analysis system that attracted a number of Chinese investors to back the film. Differences between the way the films industries of the U.S. and China operate have often impeded this type of investment but having a foothold in the film industries of both countries has enabled Yuanhao to devise his own method that appeals to both. The outcome is undeniable benevolent considering the acclaim Patrick has already received. Those who work within the industry understand that Yuanhao is someone who can fill many roles in the production of a film with exceptional skill. As Executive Producer and two-time Oscar Winner (Lieberman in Love, Ray’s Male Heterosexual Dance Hall) Jana Sue Memel states, “There are many talented filmmakers but Yuanhao Du stands out in his ability to self-generate, his ability to balance both the creative and financial aspects of a production. His tireless work in post-production and unwillingness to settle for nothing less than the best will lead him to join the highest ranks of filmmakers.”

Written by Patrick Wilson