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.
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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
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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
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