Vietnamese Americans

"When you negotiate with the Communists, you shouldn't fix a deadline. You must not tell them that you want to repatriate the prisoners as soon as possible, to bring peace as soon as possible, otherwise they exploit you. Be patient. One must be patient with the Communists, more patient than they are."

"Of course, I would like to go down in history as the man who brought peace."

"We have told the Americans, that when you talk to the Communists, if they propose this or that solution, you just receive it and take it back and show it to us. Then we would give our views and you would inform them of our views."

"In any peace solution the final decision should be ours. Nobody can sign a cease‐fire agreement or peace settlement without the signature of the Government of the Republic of Vietnam."

"I have always said we are not afraid of a ceasefire, but our stance is that if there is a cease‐fire it must go along with a political settlement."

"It is so easy to be an enemy of the United States, but so difficult to be a friend."

"The Communists could only hope to win if our ally betrays us and sells us out. But our main ally will never betray us. He has invested so much blood and money."

"Rather than whether or not there is a future for combat photography, I think one of the big differences now is the role of the civilian—the amateur photographer. Conflicts will always be newsworthy, someone will always need to be there to document. Now the technology is such that anyone can be there and take a quick picture, post it, and send it out to the world. In these pictures you don’t look at the artistry anymore—if there is such a thing—it is just information."

"We never thought we could or would return to Vietnam. It was almost 20 years before the possibility arose. Memories are ever shifting when you live in exile."

"Landscape, at its best, is not a narrow category. It is a source of surprise. It allows for the sudden assertion of a place, like an unexpected time signature within a melody."

"One thing great journalists and artists have in common is a desire to be surprised, to find yourself with way more than you bargained for when you began an inquiry with little more than a sense of intuition."

"I am acutely aware of the complex role Vietnam plays, as both history and myth, in the country I have adopted as my own and in the culture I have raised my children. I can’t say I embrace every American characterisation of Vietnam. But I see the Hollywood clichés, the lasting psychic scars and even the cheap fetishes as expressions of something very real and very human. Vietnam remains an unavoidable and unresolved subject. As history, place and subject, it is still unfolding."

"I certainly want to give my viewer the ability to “step into” an image and have a physical and mental experience, so it is necessary that the print be large enough; for me, that’s fifty to sixty inches wide, which is rather modest."

"Biography can be a red herring in visual art. For writers it’s a genre and a process. They organize life stories, and I imagine that the craft of biography or autobiography is largely about organizing facts in a compelling way. For me, biography is interchangeable with curiosity. My story has been valuable to my work only because it provided me with intense curiosity about certain situations, places, and sensations."

"While my return to Vietnam was intensely emotional, connecting to the landscape allowed me to disengage somewhat and gain perspective. I wanted to show Vietnam in a way I had not seen it shown before—not devastated, not victimized, not romanticized. I felt I could do that best through my exploration of the landscape."

"I have always been terrified by the idea that my photographs would be “just” beautiful. Beauty is often seen as lacking in substance. Over time, I have become confident in my ability to apprehend situations that are defined by a kind of complicated beauty, when you are pulled in by the beauty but also pushed back by something problematic."

"The one constant in my life is the landscape, in a broad sense of the word. I love the openness of the land and worry about how we’ve built our lives upon it, how little we maintain it, and how we assault it. It’s one reason for me to want to photograph it."

"At this time of crisis, I find great comfort in returning to nature, the wilderness, the richness and vast scale of the land. It has shaped the American identity; circling back to the landscape gives me hope for the future."

"I think anyone can make one, two great photographs. It is the endeavor, the sustained effort and exploration of an idea or a subject that is more significant."

"Most art photographers understand and often benefit from or engage with the fact that their medium plays a role in journalism, as evidence, propaganda…this is something we know. But the ambitions of the grey areas of subjectivity and experimentations one finds in photography is what I relate too. Color brings my work dangerously close to photojournalism. I rely on the tension between the objective and subjective within a picture to complicate a photograph. I also depend on a carefully crafted sequence of images in a sort of “essay” form to explore a complicated subject."

"Art is always made against the backdrop of politics. Artists think historically. They think about the history of art, the history of their medium, they think about their personal history. Politicians should do more of that. At the current moment it seems that the aesthetics and artistry within how each political party or ideology is presented is vigorously critiqued."

"I feel that the early part of my life was dictated by American foreign policy. This idea of human lives being caught in a much larger web of uncontrollable events was impressed upon me so the notion of scale have always been important to me. My interest in human endeavor or culture within the larger context, within the landscape has been a continuing foundation for my work."

"I always take it one step at a time. I see each new project as a response to a certain dissatisfaction, to unanswered questions from the previous work. As we experience life, we change overtime and develop different concerns. Teaching, becoming a parent, losing a parent are some of the important markers that have influenced my work."

"The topic of the military raises questions in ways that other topics would not. There are photographers who have dealt with extreme poverty, or who have photographed horrific labor conditions, and they are not held accountable in the same way. They aren’t asked: what do you think of poverty? But the question of the military is so complicated that it riles up people’s opinions."

"I think artists deal with something messy, and they keep it messy. Which is frustrating for people, especially when it comes to topics in which everyone has an opinion. I think we do move the conversation forward, but I also like to keep it messy. It is not a math problem. In a way, we should approach these topics in the way one would write an essay."

"I do use the phrase “to take a picture,” but I think my work involves labor. It is a certain reworking of what you see and of the facts, in order to create this new fiction. It is certainly a making, a transformation."

"For me, the landscape has always been the constant in my work. I work with scale as a way to give context to human endeavors, military endeavors, and the history of power. In the end, Vietnam has endured many battles and gone through so many changes. The Chinese invasion, the Japanese occupation, the colonialism of the French, the Indochina War, the Americans—the constancy was always the landscape. And people change, cultures change over time, but there is something about the land. Even as our world modernizes, there is a certain consistency, a certain authenticity."

"I think at sea, it is always about some greater force. The forces of the weather, the sky, the wind, all these uncontrollable things, you really feel the greater force of nature. But at the same time, you are on this massive aircraft carrier that costs about one million dollars a day to run! You really see that tension between the natural world and the force of technology. I think for me, the sublime is always a tension of something that you can’t quite control. It creates these emotions in you that are rare, and that make you aware."

"War photographers were always placed on a pedestal. They put their lives at risk. Of course it is still very dangerous, but it also seems that now, there could just as easily be a civilian taking the picture. Maybe it is less a question of whether war photography will continue, and more a question of whether this idea of the heroic, self-sacrificing combat photographer will live on."

"Of course, it’s very nice. Because I’ve done this for a long time and just in life, I’ve learned to live with very little expectation. Then, you’re not let down. The more you expect, the more you’re going to be let down and disappointed. When everything comes together, it’s just a nice bonus. A lot of it has to do with trust because of who these people are. There’s an integrity behind it that I feel is genuine. I trust my own instincts. I saw the passion and the commitment they put into making sure that show is as good as it could be, in a respectful way, to Bruce Lee and the legacy that he left behind."

"One thing that I was aware of was that, whatever I do as an Asian American actor, I should try my best to bring something positive to the image of an Asian American."

"I never set out to be an actor. I always knew that I wanted to direct and produce movies. I’m well aware that I was very lucky. My career started out with a bang and I’ve had incredible opportunities to do very good projects and work with wonderful people. I would be lying to say that I wasn’t aware of the success and the fame that it brought me and the cast members of 21 Jump Street. At the height of the show, we literally couldn’t go anywhere. We all enjoyed that, but I had enough sense to know that all of that would be gone, at some point. Nothing lasts forever. So, I continued to keep working in any way that I could, but I never really thought of the trajectory of what kind of career I was going to have, and certainly not where I ended up today."

"You know, what's so funny is that I actually feel lighter than I ever have in my life — outside of what's happening. But sometimes I think the service of a song is just to capture a moment or an emotion, and I really loved the catharsis of a more plaintive and plain statement."

"Not ever in depth. When I was first starting out, it was so much about me and my ethnicity. I was really turned off to that. But now I’ve seen that it’s just really important to bolster that part of it as well, just so that there’s an example of someone—a woman of color—doing something that may or may not be within the realm of what is expected."

"I had these ideas, which propelled some of the songwriting, that I was moving to a different place with. I thought it would be more change. I thought, “Maybe I’ll call him,” or whatever, which I haven’t done. But it was really important to me. These were the songs that were going to exist in this time. I wanted to be performing songs that meant something emotionally to me, and it would be this vulnerability that is liberating and also necessary."

"I wanted to try to be a real live person, rather than just singing songs about them."

"The album was the creation of a space where all of the different lives I’ve led. My life has been really divided and this was a place where I could finally gather them all up and they would be in one place. So that my professional life and personal life exist together."

"The lyrics are the most important part for me and I spend most of my time on the lyrics. When I’m in that process, I try to write every morning. I wake up and write and then just spend as much time as I can generating content and lyrics. Nothing happens until the music exists and then I’m writing to the music. So the other stuff is just sort of like collecting ideas and trying to frame different narratives and capture different emotions that I want to convey."

"It’s been very freeing to get out the suspense stage and be able to play the songs live. I can’t be happier. I’m pretty surprised that with this kind of content and showing this kind of vulnerability, it’s really sweet to see how people have responded in kind with their own vulnerability. It’s a very humane interaction. I think that everyone has familial issues that they deal with, so it’s a common ground that’s immediately laid down. Even in interviews, music writers have been more forthcoming with their own personal encounters. It’s so different than the run-of-the-mill releasing a record and doing promo and whatever. The shows have been so sweet, and it’s very rewarding to be that emotional and that vulnerable in front of people."

"I don’t want [listeners] to be sad, but I appreciate that that’s a part of emotion, and if I can help bring it out if it needs to be brought out, then yes, it is an honor. Any time someone brings what you’ve made into their life and interprets it however is most beneficial to them, it’s a true honor."

"There are so few times in life where you are passionate about anything. And I think that if you can find that, you should just hold on to it and protect it at all costs and just follow it, because it's so rare."

"I truly did feel that I owed it to my parents, my grandparents, to do whatever it was that I wanted, because if I wasn't happy, if I wasn't being true to myself, then I wasn't living fully. They had given up so much so that I could live at the level that so many people are just automatically born into."

"You get the initial script, and then things sort of change here and there, but the whole thing is this sort of mushy collaboration, which I love."

"When I'm driving past the place I used to work, or when I'm driving past the comedy studio where I used to take photos in exchange for classes, or when I'm driving past the yoga studio I used to clean on the weekends - it's not that far removed from me yet. I get very sentimental over things like that."

"I never want to forget that I'm doing an impossible thing. How rare is it that you get to be part of something people love? It's really special. It's a very out-of-body experience to be a part of something so huge."

"I think, as an actor, you create things for your character that you think will make it more personal to you, because on the day, you want to make sure that you're truly there in the moment."

"I believe if you can have an open dialogue about anything, whether it's a book or a movie or TV show, it's this door that suddenly opens your mind to new ideas."

"I love educating myself on different cultures' dishes and foods that are important and celebrated within that culture. I also think food brings people together. It's unifying!"

"There's a misconception that I can't relate to the quote-unquote 'Asian-American experience' because I didn't grow up with an Asian mom and dad. And that's just not true. I am Asian American, and so playing a girl who is half Korean, half white, but her white dad tried really hard to connect with her mom's heritage - that's very familiar to me."

"When I was a kid, I honestly never thought about race. I didn't see differences."