WHAT'S NEW - June 2006

Erin May Ling Quill is an actress, singer, director and producer of both stage and film productions.

WHY ARE THERE NO ASIANS ON TV (ERIN QUILL)

From an insider's perspective, the fact is that Asian Americans play significantly into our own lack of representation. Certainly, we face many challenges in the industry, including hiring discrimination and stereotyped casting. But in many ways, we may also be our own worst enemy. I know that this is uncomfortable to read, and I have even been advised to not put my name on this piece. Yet, I am hoping that if we acknowledge that the Emperor is naked, then we might be able to change the problem of our media under- representation in the next few years. For those of us working on representation from within the industry, finding remedies requires tackling the problem from both sides.

Then we both had nothing to say, because that CD, for whatever reason, had seen "enough" Asian actors to determine that there were no qualified, talented Asian actors. The fact that some of the top CDs working for networks ARE Asian American is just another nail in the coffin – because, to a white guy/gal – if your Asian CD comes back and says "There aren't any," you are going to believe them. Total B-S, of course, but they had the call sheets to prove how many actors they saw.

We do not see Asian Americans on television because only a small, dedicated group is asking for that -- and it largely comprises lawyers and actors. We need numbers. It takes a village, right? Yes, it will take an Asian American village.

Our community needs to embrace one another, not divide. We need to let our filmmakers do their jobs and challenge not just Asian Americans, but the world in general with their work.

We want to see ourselves represented in media, but we only want to see it if it fits within rigid confines of community approval. We want to see ourselves in the lead, but only if we play roles representing the 'good guy' in the white suit that comes to save the day. We want to see our stories told within mainstream American culture, but only if they are 'traditionally' grounded and supportive.

That doesn't wash. It takes, will take and has taken, an Asian American village to get this far. We have to keep going.
To read her complete response, click HERE

CHINESE CAST OF ROBERT DUVALL'S "BROKEN TRAIL

US ASIANS: Which scene(s) were the most poignant and most revealing?

VALERIE TIAN: There's a scene in part one of 'Broken Trail', where for a brief moment, the Chinese girls get to escape from their fears by looking upat the moon.In Chinese culture, the moon has long been associated with home and family reunion. These girls feel they only have one other now because they are the only things unforeign to each other. They just want to go back to familiarity.

JADYN WONG: The reality of the conditions the girls had to endure really hit me in the scene when we were riding into town with Tom and Heck, who had hopes of leaving us at some sort of haven. I scanned the environment, the faces of the townspeople, and I could feel my body reacting then I just broke down. The foreign land, the disgust and hate for these girls - it was a realization. Yes, everything was manufactured with the set, costumes, actors, but I am portraying the lives of many girls during this time in history.

GWENDOLINE YEO: When Robert Duvall is numbering us in that wagon scene--I am trying to protect these young girls and I think he's coming to harm us--how poignant, the relief and comfort I felt that he was not going to hurt us, but simply identifying us - the relief and comfort of being a number. When we shot that scene--Duvall and I shared an incredible moment... me thinking one way that wasn't even written in the script...but I found that moment... Mr. Duvall saw what I was thinking and fed right into it so at the end of the scene, I was weeping. After we shot the scene, he came over and said "Beautiful work. Don't change a thing, Sun Foy." I went home that evening and wept. I felt such joy in having the experience to work with such a remarkable actor as he...someone who could see right to my heart and reveal his own right back.

WORKING WITH ROBERT DUVALL

US ASIANS: Considering that you are known for your hip-hop/culture reports, what did you do to complete the transition of having the ability to work with top actors such as Robert Duvall?

OLIVIA CHENG: My experience in front of the camera as a media personality helped me little as an actor. They’re two entirely different crafts and all they have in common is that a camera is involved in both. I really had no clue what I was doing on set half the time. It was frustrating but I’m thankful because all my mistakes and the overall experience ultimately forced me grow as an actor. You can’t get better without falling flat on your face a few times.

Bobby Duvall didn’t mind my inexperience though because he loves finding actors who are raw and natural. He just encouraged me to roll with it and always told me not to over-analyze everything.

I tend to think things to death and Duvall and the others taught me to trust my emotional instincts instead. Plus, when you’re working alongside an actor like Duvall, his ability sets the tone for people around him and it elevates everyone’s performance.

I learned that acting is really about reacting to the scene’s given circumstances and that the most important thing to do is to stay open to what’s happening around you so the camera can capture your genuine reaction to events. Anticipating another actor’s lines or reactions is the worst thing to do. Duvall basically drilled it into me that acting is just listening, doing, and keeping it truthful.

The other scene would be the goodbye scene with Tom Harte... he had all the words; she listened. And a beautiful scene formed. We filmed it when it was snowing, and our noses were dripping and my toes were so cold... but I wouldn't have had it any other way. It was beautiful, vulnerable and the truth. It made me remember what acting is about--simply listen, and the rest will come.

OLIVIA CHENG: That’s a tough question to answer. I think that will vary for the audience. Hopefully they become emotionally attached to all of Broken Trail’s protagonists because then every scene will be poignant.

US ASIANS: Is there a picture/scene that accurately describes your impression of the project and/or your character’s role in the film? (If available, could you send us the picture to post within this interview)

CAROLINE CHAN: One of the scenes that reflects the childlike curiosity of Mai Ling was when Tom Harte shot the horse.

GWENDOLINE YEO: In that goodbye scene I referenced--Sun Foy takes a private moment to herself...at the end of her journey, in western clothing, but with an eastern heart, has to decide between responsibility for others and go to San Francisco, or responsibility to herself and choose the man she loves (picture 2)

And picture 1:

"Int. Dark Room--Chinatown--San Francisco--1897--Day.

Sun Foy, 20s, sits on the wooden floor, her back against the wall, her form etched in shaft of light from a high window. Her upright bearing and stoic expression suggest that she refuses to be humiliated by these humiliating circumstances...

The on set photographer took this photo and my jaw dropped to the floor. From when I read the script --- through all the revisions-- the opening remained true to what I had envisioned in my mind, and it was brought to life by this photo.
To read the entire interview on this AMC-TV program that will premiere on Sunday: June 25th (Part 1) and Monday: June 26th (Part 2), click HERE

HIROMI
US ASIANS: When did you noticed that you were described as a child prodigy and did this create any additional pleasured or privileges in getting access to various things/people?
HIROMI: I have never really noticed, so it did not create much.

US ASIANS: Was the attendance to practicing and taking piano lessons prompted by your parents – in addition, did you rebelled against the needed practice that was required as a child?
HIROMI: My mother took me to piano lessons, I always loved playing piano, so it was not too hard to practice apart from playing Hannon.

US ASIANS: Within the Yamaha School of Music program at Shizuoka – where you attended from the age 5 to 15, could you share what tangible/intrinsic/emotional input that you experienced/taught that still resonates within your creative soul (as a supplement to your private piano lessons) – even today?
HIROMI: I mainly studied composition in Yamaha music school, I was studying piano with my private teacher, she was very unique. She often told me to see colors when I play, when she wanted me to play passionate, she asked me to “PLAY RED”, when she wanted me to play melancholic, she asked me to “PLAY BLUE”, she even colored my sheet music with color pencils, and it really made kid’s imagination to develop.
To read Hiromi's entire interview - that includes tour information on her dates such as her performance at the 2006's Playboy Jazz Festival in June, click HERE

Help Us Make US Asians Meet Your Needs

Participate in our survey by clicking HERE


	nbsp;