Where The Fault Lies
July 11, 2008
Hang around Asian American film types, and you’re bound to hear some version of the following: “If I were white, I’d be a star by now,” “Hollywood won’t make my film because it’s a non-stereotypical look at Asian Americans,” “Hollywood is racist. … ”
What I sometimes find troubling about this is that almost always the blame is placed on external factors. There is certainly truth to this — Hollywood has not historically embraced our community with open arms — but it ignores another factor that’s just as important.
To paraphrase Shakespeare, the fault does not lie solely in the stars, but in ourselves.
We are not as good as we can be. And until we, as a community, can reach the levels of artistry of our non-Asian counterparts, no amount of bitching about racist Hollywood will make a difference.
There are exceptions: the success of director Justin Lin (Better Luck Tomorrow) and actors like Sandra Oh (Grey’s Anatomy) and Kal Penn (Harold and Kumar). They and a number of others have the potential to reach the highest levels. But overall, we’re nowhere near the accomplishments of our African American and Latino brethren.
The root of this problem: We’re not ready. We oftentimes don’t have the training or a true understanding of the craft and work necessary to make it.
Running an Asian American theater allows me to meet young Asian American artists. It’s true that many don’t have any extensive training, which isn’t too unusual. But what continually shocks me is the attitude of entitlement that some possess. They’re convinced they’ll become stars but are unwilling to do the work to get there. On more than one occasion, I’ve had actors with no experience say they would not take an understudy role in a play because they felt they should have the lead role.
I’ve been talking to people in Hollywood who are trying to increase Asian American representation in front of and behind the cameras, and the same stories come back: We’re trying to give Asian American artists a chance, but many times, they are not up to par.
One director wanted to cast an Asian American male for the lead in his movie. The studio executive overseeing the project offered this compromise — you can audition both Asian and non-Asian actors, and if you genuinely feel the Asian American is the best, you can hire him.
The Asian American actors who came to audition were not as prepared — frankly, not as good — and the director cast the person who he felt was best for the role: a non-Asian.
At a recent social event, talking to a group of Asian American filmmakers and actors, I was surprised that many had never seen The Godfather or Chinatown or a Kurosawa film. None of them had seen Casablanca or anything by Billy Wilder or Ingmar Bergman. No one could name a single film with Anna May Wong or shot by James Wong Howe. One of the actors said, “Those were made before my time. I don’t need to know them.”
At another recent event, a group of mostly Caucasian and African American filmmakers and actors spoke of their love for the films of Ozu, Hal Ashby, Fassbinder and John Ford. There were arguments over the auteur theory, why the French New Wave was overrated and which of the first two Godfather films is better. Geeky stuff to be sure, but these people had a passion and knowledge missing from the Asian American group.
None of this is to say that if our artists just took more classes or understudied in plays or studied old movies, everything would change. But if we truly want to affect a change in Hollywood, we have to demand artistic excellence from our artists. Criticizing the industry for its lack of Asian American representation will prove hollow, unless we have the talent en masse who can show Hollywood that we belong in the game.
Philip W. Chung is a writer and co-artistic director of Lodestone Theater Ensemble.
Comments
30 Responses to “Where The Fault Lies”
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You are a bit to optimistic and idealistic in your view. Hollywood is and always has been imposing constraints on how an Asian man & woman can be portrayed.
The veil on the Asian woman has been lifted disproportionatetly than on the Asian man. If you watch Jeff Adachi’s “The Slanted Screen”, you will learn from an industry panel discussion in the special features that there are certain steadfast rules that Hollywood abides by when an Asian actor is portrayed. That is not to say that there are never any exceptions, but just so there’s no confusion. Those are the “exceptions” and not the “rule”.
America needs to wake up to the double-standards in place in Hollywood. It is certainly not “our fault”. One comment by a casting director on the panel said clearly that in many cases, producers will instruct her on not only what roles she needs to cast but also the ethnicities they want for the roles.
Some more illuminating facts, the WGA (Writers Guild of America) is largely made up of White-American males. Until there is more diversity in both sex and race, you will see biased story-telling and representation. Another point for clarity is that often times, the producers will tell the writers what they want them to write about. So, again, back to the hands being tied for a casting director, even the writers don’t have full freedom to express themselves artistically.
The actress, Katerine Heigl said in one of AsianWeek’s recent articles about why she declined an award. She stated that she felt she didn’t deserve it considering the dialogs and parts she was given was too insubstantial and not worthy of the award… that the writers had not given her sufficient air-time compared to other female actresses who wer more deserving with their parts. She went on to say that it wasn’t the fault of just the writers as they are told what to write about by the producers.
In conclusion, there are a lot of forces at work. The audiences are never privy to that information. When you see Asian males seemingly get negatively portrayed more often times than not, don’t think it’s because they just aren’t “deserving” of better parts. I mean there are some real mean-spirited stuff out there to maintain the “pecking order” of a White-dominated society.
I will agree with you, however that regardless of the biases that are out there, we do need more deserving and talented Asian American actors and actresses to break through the veil or glass ceiling.
We need critical mass. By that, I mean we need more Asian American actors, writers, producers, and directors to bring our communities into the forefront or at least to be “on-par” with the Whites. Unfortunately, what often happens is once Asian American industry professionals become successful and get into the mainstream where they can really help the “greater” good and make a difference, they end up playing the politics, and like all good Americans, want their slice of the pie.
The article was written by a guy who wrote about how he “liked” the recent movie mocking Asians, “Balls of Fury”.
“Takin’ it and likin’ it? That’s why they keep dishin’ it.”
If Asians don’t protest more, they’ll just keep being the object of insults and humiliation.
If this doesn’t inflame you, nothing will: http://www.youtube.com/watch?v=JJ4Ei47EoFg
Notice the user ratings… racist Hollywood? More like racist America.
-B
Phils telling bad Asian actors not to blame hollywood. No kidding sherlock! Its an obvious point but it does NOT justify hollywoods lack of acceptance of good Asian actors in shows/movies.
Phil does NOT address the issue that there ARE good Asian actors and they are rarely on tv shows and movies.
I saw Better Luck Tomorrow and those actors were fantastic. No overacting like Sharon Stone. They didn’t speak in a monotone with a blank stare like Tobey Maquire or Natalie Portman.
They were very good and yes, I was pleasantly surprise at how good they are.
Those actors can be:
- a doctor in Grey’s Anatomy, Scrubs or House.
- a neighbor in Desparate Housewives
- a lawyer in Boston Legal
Instead, these shows bring in the same old actors and use new non Asian actors.
Phil got duped by the people in Hollywood who told him they’re trying to give Asian American artists a chance, but many times, they are not up to par. What else are they going to say? The truth and subject themselves to scrutiny? Hell no!
A better question to asked is what has hollywood done to harness Asian actors and filmmakers with great potential to grow and learn in hollywood.
ASIANS ACTORS MUST BITCH TO BE ON SHOWS AND PHIL NEED TO LEAD THE WAY.
Phil is in the industry and though he’s no Justin Lin, he must have seen his share of good Asian actors able to handle the role of a doctor or neighbor or lawyer. He can use his connections and fight for them and with them for roles. Instead of using his arrogant and ‘holier than thou’ tone on Asian filmmaker and actors about them lacking geeky film knowledge, he can use his geeky film knowledge to connect with the Scoresese’s and Tarantino’s to convince them to use the good Asian actors that ARE out there.
There will always be wannabes in all walks but consider this:
Barack Obama, young and inexperienced, and most likely will be our next prez.
Arnold Schwarzeneggar, never acted, never held any office. Yet, he became one of the highest paying actor and is governor of California.
And there are many more examples of this.
And to succeed, good Asian actors must have the roles to learn and grow their trade.
Watch the dvd Slanted Screen for a better perspective of Asians in hollywood.
Peace
I don’t think its just young Asian American actors who have a sense of entitlement. I think it’s young people in general. They live in the YouTube Age, and want the status without putting in the effort to learn the craft of whatever industry they are going into (not just Hollywood).
Now Justin Lin made stuff happen, because he didn’t ask for permission from Hollywood. Complaining about the lack of roles doesn’t get you respect. Going out there and making the roles does.
Guys:
On this “deep subject,” well, it’s complex even if the industry itself is essentially not all that profound, shallow even, mostly dollars and accounta, and, more to the point, publicists and hype.
Everyone foregoing, including the author of the issue, scores points, although B. Endo appears to be confusing critical license with apostasy.
The bottom line with Hollywood, AND “showbiz” in America, is that neither has much to do with anything other than MONEY, honey.
Facets and factors like “celebrity” and “popularity” are more beholden to the money that provides the “creators” and crafts(wo)men AND, more to the point, the pufflicists and the ad lineage that fuel the fires of attention and audience.
What’s “art” got to do with it? Hardly ever. If ever. Well, there ARE exceptions. To every rule. But, even there, the values lie in the “eyes” and reflexes of the beholders, who are beholden to their invididual predilections AND “cultural” references.
That said, Phil is correct about the onus of training, the dedication to craft, even if some “Method” proponents manage to “score” by way of direction and script.
But, the contributors here are also correct, in that said issue is moot, insofar as neither the qualified NOR the wannabe-entitled have, forgive the expression, a “Chinaman’s chance.”
Until that APA billionaire in Bel Air or that mogul in is it? the Wang empire or even that besieged Silicon Valley e-guru, who dished out 75-mil to alma mater Stanford? sees the significance of investing in showbiz, there is scant likelihood of anything improving for APA actors and directors and writers and craftspeople.
What THEY fail to “get” is that the “dream” factory of Gollywood has provided the template for American “empire” itself, by way of its reigning screen time presences, espcially that in the “home” these days rather than “theaters.”
It took decades, centuries?, for a “black” to play Otello, but, then, that’s because “blacks” acceded to the “white” notions, and accepted their Step’ns and Butterflys.
The only way I’il ol’ moi sees this “scenario” is that the Justin Lins can help blaze a trail that the Anna Mays and the Sessues couldn’t hope for.
Meanwhile, all troupers and wannabes should pay their dues in drama schools and study elocution and dance and, yes, investigate their crafts by way of research.
And be prepared to starve a little and hope a lot.
Some day, aside from the world-class creators in the Far East, some “American” APA filmmaker, producer, writer, AND performers will make that “universal” vehicle that transcends tribe and period and “culture” into the rarefied stratum of “art” and this entire matter is moot.
Even then, no minority of “color” can expect much more than “condescension,” even as we MUST demand the RESPECT the “majority” cannot seem to muster, much less fathom.
Frank Eng
P.S.: When you-all talk about the “success” of “blacks” and “Latinos” in tilms and telly, do you consider the likes of “Fresh Prince of Bel Air” or that Chicano sitcom either worthy or meaningful? No better and no worse than Cho’s Korean season? No, guys, I’d rather be ignored, and would prefer to be “hated,” as, indeed, we are in far too many precincts beyond Hollywood.
Watch Slanted Screen where Justin Lin talked about his challenges in making Better Luck Tommorrow and his other films.
He didn’t ask permission, he had to fight for it.
Bottom line is he put himself out there for the Asian actors instead of writing obvious dribble like Phil that doesn’t address nor help with the main problem for good asian actors.
As in other areas of our culture, Asians are not included in the entertainment social clique. Many are treated as outsiders of the inner circle, and as a result, do not develope the same tastes and culture as white actors. Then they blame us for not being as prepared or interested, blah blah blah… It’s very hard to talk the talk if you’re rarely included in the conversation.
Nate brings up an excellent point. We are the “black” sheep. We get accused for being “anti-social” when in reality, we are not “included” nor “invited” often times. It’s ironic that other ethnicities see us in that light when it’s “how” they see us that is really the point.
People sometimes aren’t aware of their own biases until other people (especially the ones close to them) point it out. And, then they go into denial after the fact. It isn’t until they spend ample time to really consider the truth, do they gradually come to accept their own prejudices.
The truth is we all are prejudiced in who we choose to associate with and who we think is “worthy” of our attentions.
People don’t live in reality and as a result have a “skewed” view on things.
Guys:
Putting Phil down here seems to me to be unfair. He is involved in “little theater” which is a great laboratory for actors-to-be, where they can even essay “roles” from drama to musicals that would NEVER be theirs.
And “making it” in Hollywood, OR Broadway, as a few have done all along, seems to me more about the money and the glitz than the craft and the practice of same.
Maybe some “entrepreneur” here could rally the troops behind Justin Lin and see how much coin could be raised and a workable, working “company” evolve that might address all “our” needs. Well, most of them.
But history demonstrates that it’s a rocky and risky road, even for “whites.”
Frank Eng
P.S,: As for getting on the “A” list of invites, forget it. That subject goes to the heart of the entire WASP model of “society,” which is closed and practices “trickle down” manners. Make your, “our,” own. The only one that matters here.
I agree with Phil’s article on why Asian Americans are not there yet in Hollywood with a disturbing truth from his examples in relation to my experience in theatre. And what he explains has more to do than Slanted Screen.
Sure we have some really good performers and filmmakers like; Justin Lin, Kal Penn, Margret Cho, Sung Kang, John Cho, Lynn Chen, Kerry-Anne Inabe and Michelle Krusiec. But some of the problems Phil’s addressing are lack of growth from underdeveloped performers to undeveloped or lack there of would be, self-proclaiming celebrity wannabee no-talents. And another I want to add is lack of familiarity in the entertainment business. We do need more Asian screenwriters, producers and execs in the major studios.
From my experience, I did theatre at CSU Sac. back in the early 90’s where I had to go through the whole process of learning how to be a performer on stage, reading and analyzing scripts, watching and learning other drama students’ auditions and performances. Trust me, it was all worth it! Then I auditioned for parts but it wasn’t just about getting ‘lead roles.’ No matter how big or small the parts were, I tried out for them to see what I could get. And like Justin Lin, I had to fight for my place with the other drama students when a female Caucasian playwright suggested/advised/told me to get out of the drama program and do something else saying, “you’re not talented enough.” As a newcomer at that time, her suggestion was discriminating when there was only me and two other Asians while majority were Caucasians. So I stayed on until I got parts in Brown Bag Theatre and a wonderful role performance at the ‘93 AIDS Convention that was in lieu of Tom Hank’s role in “Philadelphia.”
I’ve seen a number of old films that were before my time; “Rebel Without A Cause, Roman Holiday, The Birds, To Catch A Thief, The Wild Bunch, ” etc. And I enjoyed them. There’s a percentage of Asian Americans who have never seen any of these movies before or chose not to because there are no Asians in them. I encourage today’s Asian audiences to take a chance to see these old movies and see how well those screen legend actors perform. I still emulate from James Dean.
For those trying to become ‘lead role’ actors with no aspirations, no desire, no passion, no role models, no knowledge, no talent and no experience. What do you think your doing? Why do you want to be actors? Who referred you to Philip’s Theater Ensemble? What makes you think you’re a famous celebrity for auditioning? Or are you trying to be another ‘Asian face’ on screen?
But if I was directing a stage production and if any would be no-talent actors told me, “Those (old movies) were before my time. I don’t need to know them.” I’d say, “Really? Then you are dismissed. Let me know when you’ve seen The Flower Drum Song.”
So for those ‘lead role’ actor wannabees who decline to learn the craft of performance with lack of knowledge or lack of respect to Billy Wilder, Ingmar Bergman or Anna May Wong. Please don’t try to be something you’re not.
Frederick Lam:
Thank you. Wouldn’t even TRY to repeat your thoughts herein.
Not only are you, AND Phil, “right” about these matters, you have bearded these “lions” in their “dens” of “entitlement.”
I have “news” too, for these types, to wit:
At near-89, I can tell you that “persistence” outranks “talent” in showbiz, or ANYwhere else.
Those who have the need, the drive, the guts, to persist, will, in the long run, outlast even the James Deans.
This is where I “diverge” from your stance, Fred.
To me, James Dean was a “product” of Gollywood hype.
He was SO miscazst in “Giant” that I winced for him, dead or alive.
Sure, in “Rebel Without a Cause,” and even in “East of Eden,” he was arresting, MORE than interesting, but he was NOWHERES NEAR the fulfuillment of promise that the late Heath Ledger provided in “Brokeback Mountain.”
Yes, to each his/her own.
But I DO believe that cinematic “history” will eventually put BOTH Dean AND Marlon Brando in their proper niches, which is to say, OVERrated.
None of this matters, however, since John Lone’s Pu-yi wiill NEVER be acknowledged, much less lionized, in “western” annals of cineastes.
To me, the bottom line here is what I perceive as the confusion of “values,” most here blurring the lines between money and success and celebrity with the sine-qua-non, at least in my view, of craft and skill and PASSION, the last being the qualifying quality.
That said, there remains the only remaining fact that matters: APA actors, of either sex, would do well to repair to the FAR East for opportunity and “exposure.”
After all, the likes of Clark Gable, John Wayne, even Clint the Eastwood, never mind either Jack Nicholson OR even GeorgeClooney, all of whom are, at heart, more the creatures of promo/hype than innate range of talent.
Their distaff counterparts are equally “legend,” from Jean Harlow to Marilyn to today’s pin=up poppets.
So, what say you, Frederick Lam? Are you ready to audition for a “bit” or a walk-on at Lodestone?
I hope you are.
Frank Eng
P.S.: All the current hoop-la about Ledger’s one-upping of Nicholsin’s “Joker” in the “Batman” series is about as relevant to Thespis, skills therein that is, as Obama is to McCain in the media maelstrom.
Remember, “Batman” was/is a “cartoon,” totally two-dimensionzal, no matter WHAT significations can be crammed in thereto, and no amount of glitz and magick can alter said fact.
Ledger will no doubt get his Oscar, the one he should have received for his Ennis Del Mar, but that’s just another Academic lapsee, no?
So, ply your trade, your craft, your skills, and I hope you are getting enough nourishment, food, that is.
I find it ironic that some of the commenters here are using Justin Lin as an example of someone who is against this author’s philosophy. If anyone heard Lin speak at the various panels and events he participated in to promote Finishing the Game, you’ll know that the director mentioned in the story above is Lin. He tried to cast an Asian American lead in Tokyo Drift but found the actors who came in to be lacking and had to cast the Caucasian actor. He made the point that as problematic as Hollywood is, our people are not ready and implored our artists to get training. If this is coming from one of our community’s biggest advocates in Hollywood, I don’t think we can so easily dismiss it.
Peter, I find that hard to believe. Lucas Black played the lead in Tokyo Drift and he was one of the worst wooden actors I have ever seen. Anyone of the other Asian male actors in that movie would have been qualified to play the lead. i.e. Neonardo Lam, Sung Kang, or Brian Tee. I don’t believe for one second that Justin Lin couldn’t find a qualified Asian male actor to play the lead.
What Justin Lin DID do was give the producers an ultimatum in terms of casting the girlfriend of Brian Tee’s character. That’s the girlfriend that Lucas Black woo’s away from Brian Tee’s character. Justin Lin said that there was no way in hell he would cast an Asian female in that role. It would basically be a white knight character emmasculating an Asian man and stealing his girlfriend. So the characer was made Latina.
Peter,
It’s people like you that cause most of the world’s problems. You spread “false” information. Justin Lin was chosen as a director for the film which already had casting assignments given to him. However, it was due to his own insistence to make the friend of the lead character, played by a Caucasian male, an Asian male, played by actor Sung Kang.
So you see, you just made a big liar of yourself and not only that… you incorrectly led lots of readers astray with your incredibly uninformed comment.
Thank you Peter .
Everyone reading this article and comments… do yourself a favor and go see “The Slanted Screen”. And, your eyes will see clearer.
And, by the way… Sung Kang had to come in with very little notice and try out for the part, which he did win out over other candidates.
Don’t overthink this, its very simple actually.
In 1987, the Last Emperor won best picture and starring John Lone.
My white history teacher said he should have won best actor in academy awards.
Instead, it went to Michael douglas for Wall Street.
The nominees were:
Michael Douglas - Wall Street
William Hurt - Broadcast News
Marcello Mastroianni - Dark Eyes
Jack Nicholson - Ironweed
Robin Williams - Good Morning, Vietnam
It’s been a long drought since any Asian actor, male or female, has had a leading movie role. But look at the list of nominees and count all the roles they continue to get between 1987 to 2008.
Then ask what was so special about those roles that an Asian guy couldn’t play?
Jack Nicholson won another academy for ‘as good as it gets’ playing an obsessive-compulsive writer who’s mean and anti-gay. Are you kidding me?! There are many Asians that fit the bill.
The answer is simply because of marketing firstly. You cannot market a film starring Jin Tou Lee, Helen Hunt and Greg Kinnear when Helen and Greg were not as big a star as they are now.
Secondly, it is unrealistic to have Helen fall in love with an Asian man. It is realistic to have her fall in love with an old fart (being sarcastic here) and this bothers me deeply even though this is a great film.
Now, are we all clear of the double hollywood standard and the glass ceiling
My rebuttal,
Bull, we are ready. The problem is that we lack leadership.
Veteran Actors and Current Celebrity lack leadership skills and refuse to take risk. See my message at http://www.youtube.com/eCELItv
Dear Philip,
I love this article. And I agree, it can be hard and a little painful to take full responsibility for your own life and to accept that you can make it what you will.
True, there are barriers. But consistently blaming others and making obstacles bigger then they really are only serve to give our power away. Regardless of race, we are each full of incredible potential and more powerful then we even know.
Now go out and kick some butt!
Hi there, I am a 1/2 Chinese (1/2 Caucasian) woman who’s been studying acting since college beginning in 1990. I’ve studied in NYC and LA. And I’ve noticed that the number of Asian actors in my acting classes (scene study, improv - you name it), is dramatically lower than Caucasians, or other minorities even. I’ll see Asian actors at auditions, but never in class. Often, I’m the only Asian person in the class. (and I’m only 1/2!!) And I’ve been a reader at various auditions, and I would agree with Phil. Statistically speaking, there are more Asian actors who are unprepared compared to other races. Yes, there are other hurdles that Hollywood places in front of us, but the first place we need to conquer is being the best damn actor in every acting class we attend. (the implication being first we need to attend class) I believe it was Denzel Washington who said “my goal was to be the best damn actor in the room.”
Guys:
All true.
And all false as well.
The truth is in the proof of the pudding.
Is it Mel who cited the lack of “leadership”?
Sorry, kiddo, you will NEVER “make it” so long as you rely on someone elst to “lead” you.
You have to lead yourself.
INWARD.
To that which is you at heart.
Then seize the reins, damn the torpedoes, and steer your own ship the way only YOU can.
And whether or not ANYone else recognizess the fact, you WILL have achieved your goal(s).
And, of course, this only works if you are making your best efforts in something you truly love — and believe in.
Bon chance!
Frank Eng
Like I said last week, as long as Asians kill themselves over getting high grades and test scores and getting into the best schools and best paying jobs, that’s all we’re going to get. If you don’t put as much effort getting into show biz, don’t expect the same results as other groups who show more interest. The other problem is the Asian aversion to “stereotypes”. There were more famous Asians in the 60s, and even 70s and 80s before Asians started protesting every Asian part in a western movie as being a hideous stereotype. That’s also the reason Flower Drum Song was relegated to the vaults long after every other rogers and hammerstein musical was released on DVD. Most other groups exploit their stereotypes as a way to get into show biz, but Asians are just too smart for their own good.
BTW, Pixar’s latest has no Asian or Latino characters, and no speaking African American parts. Evidently they don’t read Asian Week. It’s a step backwards from Cars and Ratawhatever. Somebody over there walk over the bridge and picket Pixar for us.
It is a chicken and egg issue. If Hollywood has no opportunities for Asian actors, none will study in school or even want to become actors. Who the hell want to become actors when only parts you ever gonna get are loser parts in movies to make white men feel good about themselves? I have spoke to a couple of American born Asian actors who tried to make it in Hollywood about this issue. They said most of the parts they get called for are usually stereotypical parts and they had to use “Asian accent”. WTF? If you watch enough Asian movies and dramas, you know there are plenty of Asians who can act. Due to lack of opportunities in Hollywood, most Asian Americans simply don’t even pursue that career because it is an dead end. Hollywood as an industry have done nothing to encourage Asian Americans to pursue acting by offering even half way decent parts.
Justin Lin, BTW, had to fight hard with Hollywood execs to get Asian Americans in Tokyo Drift. Hollywood NEVER had any intention of putting an Asian man as a lead. He had to do the same in the number of other movies just so he can get some Asian actors some screen time. The guy Peter above has no clue what he is talking about.
I also recommend people watch “The Slanted Screen”. It is a documentary on Asian men in Hollywood. It interviewed Justin Lin and many others. Listen to their on the ground Hollywood experience and all the crap they had to put up with in Hollywood. Let’s be real here, until Hollywood execs are more diverse than the usual old white men, nothing will change. Here is the link to the Slanted Screen: http://www.slantedscreen.com/
Just for the record, I believe Hollywood execs are made up of 94% men and 6% women. You don’t need me to tell me what racial color 99.9% of these men are cause we already know the answer.
Asian Americans need to band together and boycott racist films period.
We watch a lot of movies and I agree that there are not many Asians appearing - in anything.
However, the movies coming out of China and a few I have seen from Japan are great.
I adore Asian faces. I’m prejudiced.
I do want to add that many of you seem to feel bad about yourselves.
If you knew how much love there is out there for Asians, you wouldn’t feel so bad.
Be happy. Your gifts are recognized.
Look up - and smile!
You have to remember that Hollywood producers are trying to appeal to the largest segment of the population. Asians are a tiny minority.
As businessmen, I can see why they try to get the faces that have the most potential to connect viewers.
I don’t think that Asians should take that personally.
In Japan and China, aren’t there few white faces in movies?
Lei, why do you speak about Asians in the 3rd person? You say “YOUR gifts are recognized” when you should have said “OUR” gifts are recognized. And why are you asking if there are few white faces in Asian movies when you’ve been telling us that you’ve watched so many???
Stop pretending to be Asian. And go back to the McCain camp. It is SO OBVIOUS that you are not Asian at all!!! They things you say are so stereotypical and then you refer to Asians in several posts in the 3rd person. LOL, do you get paid for coming here and writing this stuff???
Why don’t YOU look up and smile!
Oh I know why you don’t, because then we would all know that you’re NOT Asian.
Luanne:
We’re getting lost among the rubble of this war-of-words, but, I must respond to your reliance on, insistence?, that
“Asian” is a “race.”
Not your fault.
But, I truly doubt that the census-takers can rewrite Webster’s, any edition, in their fervor for simplifications.
If “Asian” can indeed be considered a single “race,” then so can “American” or “Latino” or “European” or, for that matter, “white” itself. “African”? And Gods help us with “Jewish” and/or “Muslim.”
We would have to consult the “scientists” who have tracked down the “families,” tribes?, of humankind over the millennia, and not just of the “recorded” type.
Six degrees of “separation”? Or should that be diaspora? Of ANY stripe.
Oh, today, we seem to have finally triumphed over the “hyphen,” but we also appear to have lost the battle for simple cognomens for organizations, diverse and diffuse as they are.
Oh, and when is “Chinese” “Han” and not “Tang” or Sung or Ming OR Manchu/Mongol?
Point is, or may be, that the sole “difference” here is “class,” as in Brahmin/Untouchable, mandarin/peasant, Pope/parishioner, “lord”/serf, ruler/ruled, bureaucrat/petitioner.
The MSMedia today “report” that Obama has called a time-out, in Hawai’i yet. Doesn’t he know thazt will surely stigmatize him? Either as a mongrel OR a Lotos-eater. Hey!, the media need meat, baby.
On the other hand, it is more than disquieting that “our” “man” continues to evince ALL the signs and portents of the compleat politico..
But, even if that “ploy” is seen as a necessity to success at the polls come November, the point is that joining the “enemy” in order to disarm him is much like the lady riding the tiger or the frog crossing the pond on the back of the scorpion. Er, belay the latter. How about tadpole on scorpion?
There are other scary headlines and pieces on Info Clearing House today, and they’re still counterpunching on that website, but people, hyphenated or not, who subxcribe to such sports as “Olympics” must be content with medal counts and nanosecond-timings. all of which is irrelevant and none significant. To “life” and “living” and humankind, that is. Of the rest of us who couldn’t afford or WANT a “ticket” to such spectacles, much less the airfare in these hydrocarbon days.
Tempus fugits and all the international Neros fiddle, tone-deaf and egomaniacally waving beatless batons.
Sorry, Luanne, the riddle is insoluble, and the best we can hope for is, per usual, the lesser of two “evils.”
The differences lying in the degree(s) of differences.
Oh, Hell!, vote anyway.
But let the movers and shakers KNOW you haven’t been conned.
Eurasian Girl and Bill Virgo:
Thank you for supporting my point as your comments were published (from Aug. 1 - 7, 2008) edition.
Once again I was extreamly dissapointed to see no Asian actor in High School Musical. I feel that asians should put some pressure on these companies since asian’s buying power is strong but we’re not speaking up and putting pressure to hollywood to add and create more asian role models in the film industry.