Tag Archives: Chinese Talent

Colorist and Editor Cynthia Chen artistically portrays grief and loss in ‘The Last Page’

“To me, filmmaking is like making a delicious meal. The process of shooting is like gathering the ingredients for the food, whereas post editing is like cooking. Editors reorder the different materials, and create different dishes through proper dressing and seasoning,” she said.

Chen is recognized around the world for what she does. Having edited highly successful films such as Slingshot Prince, Offsprung, and most recently, I Don’t Want to Sleep Alone, Chen is an industry leading editor in China with her work celebrated both there and abroad.

Chen is also a celebrated colorist, often combining her roles on many films. She has enhanced many films through color with her work, including Maskand The Last Page. The latter was a motivational project for the Chinese native, as she was telling a true story about another artist.

The Last Page is a short film that follows the story of a once famed comic book writer Emanuel Delgado. After a long career of award winning comics, and a mega fan base, it’s been nearly a decade since Emanuel abruptly ended his career because of the death of his brother. He is living in a house littered by the drunken debris of his depression until one of his fans show up who is the same age as his brother and encourages him to restart drawing comic books.

“I like this film because it carries positive energy and is both motivating and encouraging. It’s a story about a person coping after the big mental trauma of losing everything to picking himself up and changing his miserable life. It encourages people to never give up on their dreams, reminding them there are always other people supporting and caring about them. We need to cherish our own lives and do more meaningful things in the limited time that we have. I was totally touched when I finished watching this film. It is not only about remembering the people we’ve lost, but also encourages those people who lost their hope from losing the one they love to get out of the deep sorrow and tell them that there is always somebody else supporting and caring about them,” said Chen.

The film premiered at the Los Angeles Independent Film Awards 2017, where it took home the top prize. Chen was both happy and surprised when she heard that The Last Page was an award-winning film, knowing that it touched audiences the same way it touched her.

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“I remembered those countless nights that I was talking with the director about the color grading ideas and how we could make this film into a better piece of art. And right now, we can all be proud of ourselves that we made it to the end, although it was just a small step on a long road ahead of me, I will keep up and be more creative as a filmmaker,” she said.

Chen was in charge of all the color grading for this project. The director described what kind of color effects he wanted for each scene after showing her the editing. Chen marked down every detail he mentioned and spent weeks turning his vision into a reality.

There are a lot of scenes in the film that express a decadence and hopeless feeling, and Chen used color to enhance these emotions. She used a heavy yellow and green color tune for showing the messy house environment. After the character’s internal emotion changed, she used some bright and clean color tunes to represent the delightful changes in his life. The whole color tune changed from cold to warm. Her color grading works highlighted the transitions of the moods and echoed the arc of the story, different color rhythms made this whole film vivid and lifelike. Her work took the film to a new level.

“The film had a big creative space for me to do the color grading, through the discussion with the director, I understood what he wanted and started to do the individual color design. Throughout the whole process I had a chance to use the color analyse from other different film types and apply them to this film project. I like the color tunes from Fight Club very much, and I was always trying to get a chance to apply them into my film projects. This short film fulfilled the wish for me by using the Fight Club dirty color tunes to highlight the messy house when the main character was at his lowest point. Also, it created a big comparison later when the main character was back into his normal life,” she said.

Be sure to watch The Last Page to see Chen’s outstanding work and be moved by Emanuel Delgado’s story.

 

Written by Annabelle Lee

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Character Technical Director Qiao Wang revolutionizes animation tech for Lexus commercials

When watching the animated 2011 hit Rango, inspiration struck Qiao Wang. At the time, he was a graphic designer, creating still images, but when watching the film, he was transfixed by the technology used to create such realistic computer animation. Always a fast learner, Wang began to study new styles of mathematics and computer science to combine with his artistic background, wanting to create similar films to that which so motivated him.

“The visual effects industry in filmmaking was still fresh and new to the world, and not a lot of people knew what it was in my country. I enjoyed what I did as a designer and artist, but I would have definitely changed my career path earlier if I knew what VFX was,” said Wang.

Since that time, the Chinese-native has gone on to become an internationally sought-after Character Technical Director and Character Effects Artist. Using his skills in both mathematics and design, Wang helps to conceptualize some of the most beloved characters in many recent popular films, including Rocket the Racoon and Groot in the mega blockbuster Avengers: Infinity War. Not limiting himself to just one medium, Wang has collaborated with Justin Timberlake on his latest music video, “Filthy”, and worked with world renowned companies, like Target, on national commercial campaigns.

“Qiao is both technical and artistic, he contributed to the team and film’s success in many aspects, including troubleshooting and solving technical issues on hero characters, and developing aesthetics for character cloth and hair simulation and skin deformation,” said Fabrice Ceugniet, Creature Pipeline Technical Director at Method Studios.

Ceugniet and Qiao worked together at Walt Disney Animation Studios on the upcoming film Ralph Breaks the Internet: Wreck-It Ralph 2 and Godzilla: King of Monsters. The two had previously worked together many times, and recently worked on a commercial series for the leading automotive company Lexus. The commercials, such as “2018 Lexus Golden Opportunity Sales Event: Lap the Planet” provided a unique and fun challenge for Wang, who delivered both technical and art direction to the digital Lexus vehicles. He took on many responsibilities for the commercial, working closely with the Character Supervisor, CG Supervisor, VFX Supervisor, Producer, Art Director, Model Maker, and Animators.

“Vehicles are like characters, they have characteristics. Especially Lexus vehicles; they are not only transportation tools, but also a work of art to me. To be able to help build extremely realistic CG Lexus cars sounds very cool, especially as they are the best-selling luxury cars in the United States. I’ve done human characters, cartoon characters, spaceship vehicles, utility vehicles in feature films, and more, but this was a type of project I’ve never done before. I always love to experience new challenges,” said Wang.

The goal was to create realistic CG Lexus cars to express their high performance. This meant that everything had to be exactly the same as the real cars. Wang was up to the task, so he first started doing research and development on rigging setup for cars, watching many videos to find out the details of movement of a race car’s wheels, suspensions, etc. He also had a few meetings with animators to ask them about what needed to be provided. After all that, Wang did not use the auto mastic vehicle setup tool to rig the cars. Instead, he scripted his own procedural Lexus cars rigging tool to provide animators with only a few very intuitive custom controls. He was also able to widely use the ‘Piston’ rigging system that he personally developed previously to fix bugs and improve features to make it a very powerful component in our character technology pipeline. These systems require less setup time and provide institutive and realistic controls for improving the motion of vehicles and many auto parts. On top of all this, Wang also solved wheel spinning motion blur issues to achieve the realistic yet artistic wheel effects. It requires a lot less rig rebuild time when there are model updates for over 10 vehicles. Undoubtedly, the vast technological improvements that Wang implemented saved not only him, but the entire team time, money, and effort.

“I really like the fast pace of this type of project, and the final results are fantastic. The whole production process went super smooth. I also like the different ways of logical thinking to explore and solve various fully mechanical rigging challenges for the vehicle parts,” said Wang.

The commercial series was to promote the 2018 Golden Opportunity Sales event for Lexus. Wang’s work was pivotal to the commercials’ success, and ultimately that of the sale. The company knew they needed someone with his talent, which is why they reached out to him in the first place to take the task. Wang did not take this honor lightly and is extremely happy with the outcome.

“It always feels great to know that our work is helping clients to make more money. I was amazed at how real those cars look, and how beautiful. Even though I work in the industry, if no one told me, I wouldn’t know those were computer generated cars,” he concluded.

Watch the other commercials in the series, “2018 Lexus Golden Opportunity Sales Event: Always in Your Element” and “2018 Lexus Golden Opportunity Sales Event: Higher Standard”.

 

Written by Annabelle Lee
Photo by Shino Tang

Art Director Youjia Qian envisions visual spectacle for viral Roy Woods music video

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Youjia Qian

China’s Youjia Qian sees herself as a very perceptual person. She has always been extremely immersed in music and words. As an art director and stylist, she has the ability to take those things and create a visual for them. Through her work, she combines her original style with the needs and wants of those she collaborates with, turning out masterpieces over and over again.

Qian is best known for her work on a number of acclaimed music videos. These include “Devil in California” by Burna Boy, “Death Wish” by DeathbyRomy, and several hits for Gab3, including “Talking to Me” and “Hollywood Angel” featuring BEXEY. She is one of the leaders in her industry in both her home country and abroad and has no plans on slowing down.

“I think being an art director enables me to effectively communicate what I want to express in my heart and show the more profound feelings in the form of a visual. I want to present what I have seen and what I have learned and experienced through my work,” she said.

Just last year, Qian collaborated with hip hop artist Roy Woods on one of her most renowned projects to date. The music video for the artist’s hit “Say Less” has amassed over four million views on YouTube alone since its debut in November. It was issued WMG (Warner Bros Label); UBEM, Sony ATV Publishing and CAMERA and four other brands.

“Roy Woods is an artist that I truly admire. I started hearing more about him in the music industry after he signed a contract with Drake. There are so many personal emotions in his music and I also feel that I could feel something that he wants to express in his music. Many of my young friends like his music,” said Qian.

Qian was brought onto the project thanks to her good professional relationship with Gab3, who directed the video. Qian has worked on several of Gab3’s music videos, and he knew she was just the right person to help make Roy Woods’ video a hit. The teamwork between the three artists led the video to enormous success.

“It is so exciting that everybody likes our work and I also hope to collaborate with all kinds of artists again in the future. I hope to continue to reach a wide range of audiences and have my work impact many people.,” said Qian.

As the song “Say Less” is filled with emotion, Qian used that to set the tone for the entire music video. To prepare for the shoot, she spent most of her time listening to the song and all of Roy Woods’ music, to understand just what type of artist he is and what he wanted to express in the song. She decided after her research on a color tone of red. The actors in the music video are filtered by this, and it creates a specific mood that fits right in with the song. Gab3 supported her decision and worked closely with Qian during the shoot.

“We had really good communication as a team. I understood what Roy Woods wanted to express in his music, so I could create what he wanted visually, including the color and the switching of lens,” Qian described. “I like his music, which helped me to have a better understanding of his direction in the project. The people that I worked with on this project were great and I felt very comfortable with, which made the work that much more enjoyable.”

Check out the video for “Say Less” and admire Qian’s outstanding work.

 

Written by Annabelle Lee

Editor Yun Huang introduces China to rest of the world in compelling docuseries

When Yun Huang was just a young child, growing up in China, her passion for film was born. Her grandmother was a movie projectionist and would share stories of her job with her granddaughter. She encouraged Huang to not only watch films, but to appreciate them. Since then, film has been an important part of Huang’s life, and she knew it was more than a hobby. Now, as a seasoned editor, Huang works in filmmaking every day, living her childhood dream.

Having worked on several successful projects, Huang is an internationally sought-after editor. Earlier this year, her commercial “Choice” amassed millions of views online, and her work on the film Stardust led the project to many awards at several prestigious international film festivals, including Huang herself being honored with Best Editing at Festigious International Film Festival.

It’s important as an editor not to have one specific style. Your job is to help the director to create their own style. You can provide different editing styles that you think can be used, but you must respect the director’s thoughts. That is what makes a great editor,” said Huang.

One of Huang’s ongoing projects is Unveil China Outside China, a documentary series that allows her to share her country with the rest of the world. The series is distributed on people.cn, a large-scale news platform built by The People’s Daily. The People’s Daily is the biggest newspaper group in China. The paper is an official newspaper of the Chinese Communist Party, published worldwide with a circulation of 3 million.

“Yun was our video editor when we were doing the post-production of this documentary series. I have known her for a couple of years and always like her work. Yun works effectively and always has a good attitude for communicating with the crew. I believe her talent in editing will bring even more fancy artwork to the world,” said Leiqi Lin of The Oriental Vision, Inc.

While making the series, Huang and her team have conducted many interviews with foreigners, from American politicians to ordinary people in the streets of San Francisco, from the founder of international think tanks to the engineers of Silicon Valley. The idea of this, from an overseas perspective, is to let them tell the story of China. What kind of role does China play in today’s world? How does the world see the development of China? What is the expectation of the future of China? Through their narration, the audience can find different answers.

“The documentary series include aspects of Chinese achievements, innovation in China, ‘Made in China’, Chinese diplomacy, China’s economic globalization, important meetings of the Chinese government, reform and opening-up, and so on. We interviewed many foreigners who told stories of China in overseas perspectives. I like to know more about China in different angles. I’m so proud that I can introduce China to the world by editing this series,” said Huang.

Having had previous documentary experience, Huang knew she was up for the task of creating and launching Unveil China Outside China. The monthly series involves a lot of work, and when Huang receives the footage, she only has a few days to turnout a compelling installment. At first, she found this to be a challenge, but now she finds it exhilarating.

“I only have three or four days to finish an episode, which was a challenge for me in the beginning, because I also have to work on the stock footages and special effects, find the background music, and more. However, after I had edited two episodes, I knew that I enjoyed such high intensity work. It let me have a sense of accomplishment. I believe resilience is a skill that all editors should possess,” she said.

The first episode premiered in October of 2017 and was published on both people.cn and People’s daily app. The premiere received over 810 thousand views in its initial month of being live, and Huang knew then and there that they were making something special. Now, they have ten episodes, each more successful than the last.

Unveil China Outside China is just one of the many projects that exemplify what a versatile and talented editor Huang is. She knows that the most fundamental aspect of her job is storytelling, and she encourages all editors that are looking to follow in her footsteps to make sure they know just how to do so.

“Try to learn more things rather than simply editing, such as fine art, music, literature and so on. These are extremely important skills and knowledge while you are editing videos with various subjects,” she advised.

You can watch one of Huang’s most recent episodes of the series, Unveil China Outside China: Riding on a bullet train is fabulous, here.

 

Written by Annabelle Lee

Cinematographer Yang Shao personally connects to award-winning film ‘Once More’

Growing up in Changzhou, a small town in the Eastern part of China, Yang Shao found himself drawn towards filmmaking. As a child, he would pick up his family’s handy-cam and experiment, filming everything he considered interesting. In such a way, he was destined to be a cinematographer. He always had a good eye for photography and frame composition, and when the average person would just see tall buildings while walking in the city, Shao saw letters, signs, magic. He spent his youth thinking of what angle every image he took in would look the best, and he still applies this mentality now, years later, as a celebrated cinematographer.

Shao has put his artistic touch on many film and television ventures. Projects such as A Better World, Life is Horrible, Under and The Great Guys have gone on to see international success with the help of his talents. Audiences can soon expect the same from his upcoming features: Need, In the Middle of the Night, and Excel on the Highway.

The highlight of his career, however, came just last year when Shao worked on the film Once More. It perfectly showcased his talent and passion for cinematography, as the Director and Producer were eager to let him explore his creativity. He was also eager to share the story with the world.

“I was really moved by the story this movie tells. I believe in the importance of telling good-hearted stories and this one is a perfect example of that kind of story. Also, we had an amazing team who was working on the project and working with those folks was really a pleasure,” said Shao.

Once More explores the tale of a psychologically collapsed dancer who failed in a renowned competition and broke his left leg. As the remedy to this life, he intends to commit suicide, but he is accidentally saved by a neighbor girl he was in secret love with. This subtlety encourages him to get back to the stage by dancing with the bum leg.

“At the present time with the #TimesUp movement showing the toxic environment in the film industry that was exposed in the recent year, I think there’s still a lot of room for masculine vulnerability. In fact, that kind of trait in men actually gives me hope in our future. And this movie is a good example of bright and pure emotions that are left in men’s souls. I believe in importance of bringing up the stories that have to be heard but at the same time I know that good-hearted and kind stories is what will make this world a better place,” said Shao.

Once More premiered in March 2017 at the Hollywood International Moving Pictures where it was a semi-finalist on the festival program. From there, it saw great success at many international film festivals, and Shao himself was recognized at many of them, winning Best Cinematography at the American Movie Awards, the Hollywood International Moving Pictures Film Festival, Top Shorts!, Festigious International Film Festival, Los Angeles Film Awards, and more. In total, the film brought Shao seven awards for cinematography, and also numerous awards for Best Film, Best Director and Best Producer. Such acclaim could never have been possible without Shao’s artistic eye.

“I always knew that Yang is a talented cinematographer and always wanted to work with him. He brought his outstanding skill-set to the project. I’m looking forward to working more with Yang,” said Kees Van Oostrum, Executive Producer of Once More.

It was Van Oostrum that approached Shao to be a part of the film. He knew Shao’s cinematography style and that he would be vital to the production. As the cinematographer, Shao chose to use more of the natural light because the story is very elevated by itself and a lot of artificial light would only have hurt the picture in his opinion. A large portion of the movie takes place in a theater, and he made a decision to use abstract lighting to highlight the emotional state of the character and emphasize the stress that the protagonist was going through.

Coming from the East, Shao shot the story with an Asian flavor, bringing the best traditions of the eastern cinematography combined with his extensive experience working in the film industry. This allowed him to obtain angles many would not have, and this tactic was fully supported by the Director, Rachel Zhou and main actor, Jaeme Velez.

“I think we found something very precious there on set. When people’s energies start to bounce around and more importantly play in the same key, that’s when the real magic happens,” said Shao.

Above all else, however, Once More was special for Shao because of the story. He saw himself in the main character, connecting to the protagonist’s artistic journey. It provided a beacon of hope during a difficult time for the cinematographer, and he will never forget what it gave him.

“His passion and will resonated with me on a deeper level. His struggle and obstacles that were on his way to his dream are similar to mine in a way, and to most of the artists’ paths. There was a time in my life where the only thing that was left was hope and big desire to create something larger than myself. And actually, this film came along right around that time. It was like a big sign telling me to keep going, and I think in the end it paid off really well,” he concluded.

 

Written by Annabelle Lee

Chen Xu gets his hands “dirty” while creating sound for ‘The Shaft’

In 1999, Chen Xu dedicated himself to watching approximately 1,000 movies in order to absorb as much information as possible about sound design and sound mixing within the film industry. Interestingly enough, the overwhelming lesson that he learned was that regardless of a film’s genre or budget, a good sound design could always supplement a film’s visual stimuli and boost the viewer’s imagination beyond this imagery. Sound design has the ability to change the entire viewing experience and Xu felt confident that he possessed the skill set and creativity to be able to take any visual film component and take it to the next level with the addition of his sound design. Since then, he has earned a substantial amount of recognition for his talents, not only in the form of awards, but also in sheer demand for his work. Fortunately for Xu, sound design and sound mixing are a lifelong passion and he is one of the few people in this world who can say that they get to do what they truly love and call it “work.”

“Sound is not as specific as the film’s picture; however, it tends to be integral to our subconscious mind. The delicate organization and arrangement of sounds can greatly enhance a movie. On the surface, it appears to be a mere aid to the picture but in reality, the space and importance of the sound creation typically accounts for over half of the film. This gives me a sense of freedom in my work to express my own creativity. That’s where I really like sound,” said Xu.

Throughout his remarkable career, Xu has used his sound design and sound mixing expertise to enhance the scripts of a number of renowned films such as A Simple Goodbye and The Wasted Times. For his work on The Summer Is Gone, Xu received a nomination for Best Sound Effects Award at the 53rd Golden Horse Film Festival. For Xu, however, receiving awards and nominations are simply a bonus to being able to mix and design sounds for a living. In fact, the true highlights of his career come to life when he gets to work on projects enriched with culture and meaning. This is why, in 2015, when Xu was approached about working on The Shaft, he could not refuse.

The Shaft, which has earned over a dozen international awards, follows three intertwined stories of a father, a son, and a daughter fighting to hold onto hope and family as they face the harsh realities embedded within life in a poor Western-Chinese mining town. The story illuminates a number of complicated relationships hidden beneath the community’s hardened exterior and when Xu first read the film’s script, he knew it was something he had to be a part of. Xu credits the film’s realistic script as being the main draw to accepting this challenge. This meant that for the film, Xu would be in charge of all sound-related work, from production mixer to sound design to final mixing during the film’s post-production phase.

What Xu hadn’t necessarily anticipated when accepting the opportunity to work on The Shaft, was just how harsh the conditions would be. Due to the fact that the film deals with miners, many scenes were shot deep underground and as a result, Xu was tasked with ensuring that the film’s sounds remained as clear as possible given the setting constraints. In addition, the actors insisted on shooting their own scenes despite dangerous conditions, and therefore, Xu had to accompany them in the mines to shoot their scenes. Oftentimes, he would be covered in particles of soot at the end of a shoot. To his director’s appeal, Xu masterfully captured the realistic texture of the town and the state of those living within its conditions through his sound mixtures. In addition, he chose to enhance the importance of the film’s sound design by only using music at the conclusion of the film. In addition, he managed to capture the unique, untouched atmosphere of Guizhou Province in China. Given the fact that Guizhou Province has not yet fully integrated into the fast-growing Chinese economy, he knew that it would be extremely important to ensure that audiences could grasp the authenticity of the film’s location.

Where some sound designers may have found themselves intimidated by the challenges presented when working on The Shaft, Xu found himself energized by the opportunity to experiment in new areas of his art form and to help his colleagues tell this story in the most interesting fashion possible. The film’s director, Zhang Chi, requested that Xu stray away from the typical, clear-cut sound design principles and create a more “dirty” sound arrangement. This, however, did not require Xu to simply arrange the film’s sound elements, but to do so in an intentionally disorderly manner. Chi felt as though this would help to enhance the film’s objectivity. He did not want to criticize the characters, nor did he wish to sympathize with them. He wanted to present the world with an understanding of the social realities embedded within the Chinese culture today and to do so in a way that would resonate with his audiences.

In the coming year, Xu will take charge of the sound mixing and design for two feature length films and hopes to continue spreading his talents throughout the sound editing industry for years to come. To anyone else looking to pursue a career in sound mixing and sound design, Xu offered the following advice:

“Sound design and mixing is a very creative but oftentimes relatively boring job. If you want to become a good sound designer, you must first be able to endure loneliness and genuinely love movies, so that you can always maintain the vitality of your creation,” told Xu.

 

Written by Sean Desouza

Overcoming diversity barriers in the industry

My name is Xiao Sun. I was born and raised in China before coming to Canada nine years ago. The performing arts has always been my passion and I have been getting up on a stage to express myself since I was only five years old. I have had the opportunity to work alongside some of Hollywood’s elite, like Oscar winners Jennifer Lawrence, Javier Bardem, Charlize Theron, and most recently Seth Rogan, to name a few.

Like many in this industry, my path towards becoming an actress has been unique. I originally started off as a dancer, training for ten years in Chinese traditional dance. I travelled around China with my team, competing and learning along the way. My dance background taught me how to express myself through performing arts from a young age, and I was later hired as a dancer in Cirque du Soleil’s touring show Amalunain Montreal, Canada.

After moving to Montreal with my parents in 2009, I also began modeling. I joined Miss Universe Canada and was one of the top 10 national finalists and was awarded the Best Runway Model award. At the time, I was the first Asian contestant to ever receive this prestigious award. That was when I realized, maybe for the first time in a professional sense, that I had the power to overcome diversity barriers and become a role model for other Asians looking to make their way in North America’s fashion and entertainment industries.

It was after this experience when I began pursuing my truest passion: acting. Not too long afterwards, I booked my first ever film, Fatal (Universal Pictures), and my career kicked off. However, as the years went by, the only roles that I was getting were those that were specifically looking for Chinese actresses to play “hot girl” or “girlfriend” or “receptionist” or “best friend”. I was and still am very grateful for these roles and how they helped develop my career, but I was beginning to want more. Very few casting calls were looking for Chinese or Asian actors for leading roles, and none of the roles had any real substance.

Recently, the trends in the industry are changing. The success of Black Panther was just one of many awakenings for Hollywood, showing production companies that films not only starring minorities, but also celebrating them, can become massive successes both critically and at the box office.

Television is undergoing a similar paradigm shift. Just last month, Glamour published an article titled “Now Trending on TV: The Sexy Asian Hunk” highlighting the many hit shows that feature Asian actors in the starring roles, playing roles that go beyond the typical stereotype often associated with Asian characters. This is exactly what I, like many Asians in the industry, love to see. However, even with all the progress that has been made in the last two years, dynamic female Asian leads are still very underrepresented.

For the first few years of my acting career, I was building quite the resume, but was still finding myself playing secondary characters that showcased Asian women in a way I found stereotypical; I was either hot, or nerdy, or a funny best friend, or a combination of the three. I wanted to be able to develop a role, get into the substance of the character, and really show a wide range of emotions while reminding myself why I got into acting.

I decided to slightly change the roles I was going for. I started going to less auditions, as I started picking roles that I felt were more suited to what I felt I wanted, and what I thought would be more interesting roles for an Asian woman. This included my 2016 appearance on Syfy’s Incorporated. The story took place in a future where the United States was no more, and China had taken over as the global superpower. I played a public influencer that encouraged and inspired people to save the kids suffering in areas affected by natural disasters caused by climate change. In Mother,opposite Jennifer Lawrence and Javier Bardem, my character was a huge fan of poetry. I travelled days to see a famous poet (played by Bardem) to tell him how much I liked his work, and my character was just a normal human being on this planet. These roles did not require a specific ethnicity. These types of roles are the type we should all strive for.

My most recent role, in Seth Rogan and Charlize Theron’s film Flarsky, I once again had the opportunity to play a character that was proudly Chinese. Initially, the role did not specifically call for an Asian actress, as the film was still being written. After getting the role, the finer details were ironed out, and I was written as a powerful Chinese executive passionate about rescuing animals. This character is passionate and complicated, and the kind of character I always dreamed of playing when I first set out to become an actress.

For too long, Asians have lived on the edge of screens. Jackie Chan and Lucy Liu were pioneers in overcoming such barriers, and in recent years, minorities are having more and more opportunities to take on roles that highlight their culture but are not limited to that audience. Asian actors still have a long way to go, but I would encourage all looking to break out in the industry to keep trying. Go for roles that you are passionate about, write the character you want to play in the story you think is important to be told, be proud of your accent, and sooner or later, audiences will have their own Asian “Black Panther” to look up to.

 

Written by Xiao Sun