2006 2005 2004 2002 2001 OTHER SECTIONS
2005 2004 2002 2001 OTHER SECTIONS
2004 2002 2001 OTHER SECTIONS
2002 2001 OTHER SECTIONS
2001 OTHER SECTIONS
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.
doesn't wash. It takes, will take and has taken, an Asian American village
to get this far. We have to keep going.
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.
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.
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)
of the scenes that reflects the childlike curiosity of Mai Ling was when
Tom Harte shot the horse.
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.
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?
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) –
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