2nd Annual USC Asian Pacific Film Fest
By: Ann Nguyen ‘22
A martial arts master, a ninja warrior, a mystical and wise old mentor, an annoying know-it-all, the main character’s shy friend, the second person to die in a horror movie… These are just some of the stereotypical representations of the Asian community in film. (You know what I’m talking about!)
Though Hollywood definitely isn’t perfect in regards to representation and diversity, it has gotten much better for the Asian-American community with the great strides of improvement that were made thanks to the success of Crazy Rich Asians in 2018. Not to be forgotten in its shadow, however, are works like Japanese drama Shoplifters, which is nominated for an Academy Award, and Sundance-hit Searching, which was made, in part, by USC alumni. And let’s definitely not overlook the great works that Asian Pacific and Asian American filmmakers are continuing to produce about Asians that also feature Asian actors.
In the spirit of the fight for Asian representation in film, at the 2019 2nd Annual USC Asian Pacific Film Fest (APFF), hosted by the USC Asian Pacific Alumni Association and the USC Asian Pacific Cinema Association (APCA) on Sunday, February 10th, shorts produced by, written by, directed by, and/or starring Asian Pacific Islander (API) Trojans were screened to be judged by an incredible guest panel and enjoyed by the whole USC community.
Aaron Takahashi of Mr. Robot and Better Luck Tomorrow kicked off the film festival by introducing the jury comprising USC alumnus Justin Chon ‘03 (Twilight, Gook), Lily Mariye (ER, Model Minority), Tamlyn Tomita (The Good Doctor, Joy Luck Club), Gedde Watanabe (Mulan, Gung Ho), and USC alumnus Phil Yu ‘06 (or Angry Asian Man). The event then moved into a series of conversations with these prominent API members in the film industry.
Exchanges I found most resonating:
When asked about their experiences in 80’s-90’s Hollywood, both Watanabe, criticized for his offensively stereotyped character Long Duk Dong in Sixteen Candles, and Tomita, whose first major role was exotic love interest Kumiko in The Karate Kid II, agreed that there were simply not enough roles - or well, not ones that truly reflected the API community. Tomita remarked that, “People of color couldn’t be full-fledged Americans… and so most early roles available required accents.” I think she really hit on the important underlying issue that all Asian Americans face the feelings of not quite belonging in society and of society not recognizing that being Asian does not mean that’s all you are. Watanabe continued saying that lack of API community support also fed into the problem - people were not being vocal about the representation issues, which is why organizations like USC APCA are so important in encouraging fellow filmmakers. It also shows why having events that celebrate the success of our community in film truly matters.
In closing, the pair left us with some words of wisdom: “As Asians and Asian Americans, we have been raised to be naturally polite - quiet and well-mannered, non-intrusive and unconfrontational - but as a community we much continue to stand up for ourselves, while remembering that though there are always people trying to knock you down, there’s always someone to build you up.”
Next, Mariye, whose countless credits are for playing a nurse or doctor, was asked about her many roles as a medical professional and whether she sought out that type of character in particular. She echoed the thoughts of Tomita and Watanabe, saying that those were simply the roles available and luckily for her, “Casting directors must have given [her] some credit and thought [she] looked too smart to play a prostitute or something in that vein.” She found that “so many roles back [in the 80’s] made you subservient.” It was as though the best you could be was a doctor, and even then you were only there as a means of serving someone else.
Chon and Mariye were then asked of their transition from being on-screen to behind-the-scenes in Hollywood.
Chon decided to try his hand at directing after a nasty experience offering suggestions to a director he was working with on a television show. The director not only refused to consider his ideas but even demeaned him for voicing his thoughts for the scene. “He asked me what I was being paid to do,” Chon said, “I told him, ‘To act.’ And he told me that I shouldn’t be telling him how to direct then. But I thought to myself that I had good ideas. In fact, I could do the whole thing better than he was.” He recalled how he would be “that annoying person” in every department, asking what everyone was doing so he could learn what went into making a show or movie. Chon added, “Even without proper resources, vision and talent rise, and with that, you can see where you can go.”
For Mariye, when she first became interested in directing, she would shadow directors on the set of ER and ask for advice. But most of the directors she was surrounded by were white males who would tell her to just get an agent, make something for film festivals, and get work. “You’ll do well if you do that,” Mariye recalled them saying and continued, “but it wasn’t as easy as that for me. There was no real formula that worked for me like that, and at the end of the day I just had to take a leap of faith."
In describing their goals as directors, artists, and leaders in the API film industry community, Mariye and Chon’s shared similar outlooks for our future in film.
While telling the inspiration behind his latest projects, Chon expressed he wants to show that we (Asians and Asian Americans) exist in the whole. He articulated, "Yes, some things are just for us, but we are all human. There are so many stories to be told and we have to share them, even if it’s hard to do. It’s our job to do what is hard - not what feels comfortable and easy.”
Mariye agreed and shared how she tries to cast diverse people in episodes of her shows when possible. She recalls asking questions like “Could one of the police officers who walks in be a woman?” and “Why can’t that beach girl in the background be Asian or Mexican or African American?” behind the scenes.
“Often being the only woman and only person of color in a given room or on a location scout, I am reminded that there are not many woman directors and certainly not many Asian directors. So for me, it’s not just about finding representation for our API community; it’s simply opening up what we see on screen and portraying an accurate depiction of life. And life is diverse,” Mariye added.
I found that their words really echo my own ideas for the future of Hollywood. The film industry’s diversity problem boils down to self-imposed divisions. If we recognize that we are all human beings that belong to “the whole” as Justin Chon voiced, then we can be more open to reflecting what we see in life on screen as Lily Mariye urges. It’s a daunting task, but as the saying goes: If not us, then who? If not now, then when?
It’s our job to push the envelope and turn the uncomfortable to the new norm, which savvy blogger Phil Yu touches on in his address to those gathered at the event.
Yu ended this Q&A portion of the afternoon with how it feels to address one’s thoughts on API representation - successes and hardships - in remarking, “Sometimes it felt like just screaming into the void, but now it really feels like we are talking about lack of diversity and writing about what excites us and people are finally listening - acknowledging.”
When asked how he feels about API visibility this past year, he asserted that “2018 was the year where a lot of the things [he had] been hoping for and talking about [in his blogs] happened, but though it was a turning point, it definitely must not be the endpoint.” We have to keep working - to keep creating and sharing our talents and stories to the world, and events like APFF are the perfect way to keep inspiring our community.
Shorts Screened and Overall Thoughts:
MARC CHUNG PROTECTS HIS ADDRESS
Marc Chung recounts a story to his friends Stan and Kyle about the events that led up to purchasing a pellet gun to protect his address.
Directed by Michael Chan, School of Cinematic Arts ’12
THE LIE GAME
A desperate computer scientist struggles to fund her anti-depression AI application and faces her toughest challenge yet.
Written, directed and VFX supervised by Sura Jyothi Kalyan, School of Cinematic Arts ’18
MERI NANI
A man reflects on the nature of his grandmother’s love after discovering what really happened on his 10th birthday.
Written, directed, produced by and starring Shrey Bhargava, School of Dramatic Arts & School of Cinematic Arts ’20
DANCING SHOES
When his mom gives him a magical pair of shoes, a young street dancer’s life is changed forever.
Written, directed and produced by Benedict Chiu, Marshall School of Business ’17
MY MY BOHAI
After digging up something suspicious in her backyard, Bohai’s dreams of becoming the world’s youngest archaeologist is challenged.
Written and directed by Aris Chang, School of Cinematic Arts ’19
SUNSET SUNRISE
Owing to the self-condemnation of not being a good mother, Lily, a traditional Chinese woman struggles to come to terms with her son’s sexuality as her attempt to “change” him ultimately backfires.
Directed by Bruce Chiu, School of Cinematic Arts ’19
After all the ballots were received and counted, Sura Jyothi Kalyan’s The Lie Game won the Audience Award, and Sunset Sunrise from Bruce Chiu won the Jury Award.
I personally enjoyed all the shorts, which were unique and emotional in their own ways - all undoubtedly deserving to be presented. What I loved most about the film slate is that I feel it well represents an ideal film industry - one in which there are some stories that are deeply personal and connected to the Asian community, and there are others that simply relate to everyone, regardless of culture, race, gender, religion, etc. This great range of stories is even represented in our event award winners. The Lie Game is an interesting story about relevant issues in mental health and the advancement of technology that could be told with people of any race; it just happens to feature Asian actors because… why not? Meanwhile, Sunset Sunrise takes the universal story of coming out and places it in the heartstrings-pulling context of Chinese influence and surrounds it with themes of a mother’s love and the struggle for understanding. The shorts presented at APFF show a promising future for Hollywood. With more works like these being made, hopefully film executives and audiences alike will see that the Asian perspective deserves to be heard, while many stories can be applied to people of any background.
Want more from Trojans 360?
Visit Trojans 360 on Facebook & Twitter to stay up to date with more student content!
You can also Ask A Trojan an anonymous question, and we’ll try to answer it in a future post!
And don’t forget to follow us on Instagram!
Trojans 360 is USC’s official student-run blog. Content created by students, for students.
