korean-americans

"But there’s no doubt it stung when I felt like the people I was trying to respect and please the most were the ones who were critical of me. It was painful because, as my career since then has borne out, I take a great deal of pride in being Korean American. I know that not every representation is 100 percent something we can stand behind all the time, but I choose to look at things as whether they’re moving the needle of progress on a larger scale."

"There is as much wisdom in listening as there is in speaking - and that goes for all relationships, not just romantic ones."

"I think there are pluses and minuses to the emergence of Asian cinema in America. It's about time that a lot of these films got recognized because there are very talented people behind them - the directors, actors, writers. I don't think it is a coincidence that a lot of stories from Asia are being remade by American studios. They are really interesting stories and deserve to be shown here."

"You know, someone once said that we have, you know, a privilege card, because we are not necessarily African American or Latinx. And part of that privilege card has been perpetuated this idea, the model minority myth. But what we've been finding is that in times of stress that privilege card gets taken away very quickly and then we're reduced to someone--to a group of people who is considered other and not American."

"Be proud to be Asian. Be proud to be American. You've earned the right to be both and we can all work together to be a united America. That's the hope. That's the dream."

"As someone of Korean descent, I am certain my road was a bit hard. I have to say anyone who's an aspiring actor has a difficult road regardless of race."

"It's one thing to talk about lack of diversity and lack of representation. But that doesn't matter if you're not good at what you're supposed to be doing."

"The fact that you have representation on TV means that you can have an understanding of someone who doesn’t necessarily look like you and that understanding can bring acceptance and empathy. And so that’s why it’s important to have a positive but fully fleshed out portrayals of Asian Americans in the media."

"I think any time you have an ensemble of actors, everyone’s objectives are unique and individual. So it’s hard for me to collectively say whether they were allies in this…. I do know that the way things got spun by the end changed my relationships with them."

"Alone we are much weaker than if we are allied with others who care, not just about Asian Americans, but about the issue of hate and discrimination and bigotry in general. Now I wouldn’t deign to try and compare the Asian American experience to any other minorities’ experience in America, because each one is unique in their own ways. But what we do have in common is that we have all experienced bigotry. We have all experienced prejudice. What’s most important to understand is that this is a human issue. This is not just an Asian American one."

"It takes facing obstacles to grow strong enough to overcome them."

"For the most part, the roles Asians can get aren't necessarily well-rounded, and more often than not, they're stereotypes. But that's all we have. And then we see each other all the time at auditions, because we're all going for the same role. I've made a lot of friends that way."

"I think I can say that I am more in touch with my Korean side because of my upbringing and strong Korean Mom. Also, for the past 10 years, I have been taking care of my Korean Grandmother more…so their Korean traits have influenced me in my life. However, that still doesn’t take anything away from my Japanese roots. I think both cultures have instilled in me the morals, values, customs and traditions I live by. I’m in touch with both sides…it’s not a sense of “meaning” but a sense of “being” that I am proud of."

"It's the transformation that drives me. I want to do it all and never want to be boxed into something as a particular type or style. I never want people to think they know me. I hope to build a repertoire that one can look at and say, from to role to role, 'Was that Brian Tee?'"

"If we’re talking about purely historical content, I think having an understanding of one another definitely bridges certain gaps. I think this hate stems from fear, and if we can have that connection and historical factual sense of belonging and being here, I feel it would bridge certain gaps of hate and fear that we all live with today. At least we're trying to create progress in a larger way."

"No joke, it’s completely split down the middle. Half the people think I’m Japanese and the other half thinks that I’m Korean. The Koreans would want me to be Korean and the Japanese would want me to be Japanese. When I was in Korea, people just assumed I was Korean and when I was in Japan they assumed I was Japanese. And sometimes for the non-Koreans (or non-Japanese), I would get Chinese or general Asian."

"I’ve been fortunate to work with a lot of different people and we are all buddies from going to events and film festivals as you get to meet a lot of the same people. It’s kind of one big niche group that all knows one another. I’m just very fortunate to be a part of this industry and be a part of the Asian-American film family. Hopefully in the future we can all progress together and set a standard for Asian-Americans as well as how the mainstream looks upon us."

"I think we need people to be bold and brave. We need people to be conscious of what they're writing and the stories that they're telling. I feel like so many people are afraid about whether people will watch it, but the bottom line is our industry has proven that if it's good, people will watch it. If you find a good, compelling story, whether it's AAPI, multicultural or not, be brave to tell it. As far as the AAPI community is concerned, we as a community need to stand up, speak up and speak out much more. We need to be in the room where the decisions are made. We need to be in front of and behind the cameras, but also sharing our stories for the next generation. If you put all of those things together, we’ll have the progress that we need in order to create change."

"What I would say is, don’t even look at a screen. Get a notebook and pen. For me, I always prefer to start writing with a pen. For me, the blank page is just a possibility. It’s like, "What can I feel on this page?" That’s really exciting. But if I look at the blank page, it feels like pressure. With a notebook, you can scribble down whatever you want and you can move things around the page. It’s never really gone. You can always find it again. It feels a little less free for me on a computer. I guess that would be my tip. Just start really organically with paper and a pen."

"I don't plan anything out and I don't write in chronological order. The emotional tenor is what guides me, but a lot of it is feeling my way through the dark. That's okay if you have unlimited time to work and stumble upon things in a delightful way, but under a deadline it can be really stressful. The most joyful part of writing for me is when I am 90% there, and suddenly the story clicks into place and things finally start to make sense."

"It was definitely overwhelming and surprising. Going into it, I was just hoping that the fans of the book would feel happy and that it brought the story to life in a way that satisfied them. It was really gratifying to see so many people embrace it who were being introduced to it for the first time."

"When it comes to adapting a story for film, I think being able to understand what’s being asked of you and what you offer to the process is really important, and for me, I’ve always seen it as being the emissary: being the ambassador of the fans and understanding what they want. I’ve been with these books for a long time, so I understand what it is that readers like about them, and I wanted to make sure that that was still present in the movie. It was less important to me to have details correct about setting and more about the feeling that you get when you see the film, which is, I hope, a cozy and warm feeling that makes you feel really hopeful."

"There’s something very compelling about the immediacy and urgency of adolescence. As a storyteller, I’m drawn to first times and to how intense all of those emotions can feel in the moment. What’s interesting for me is being able to honor that and treat it with respect, and not think that because it’s about young people, it’s somehow less important of an experience."

"Immigrant parents don’t want their children to suffer or have to live harder than they did."

"Writing for me, 95% of the time, it's torture, because I'm basically walking through the forest blindfolded trying to feel my way through and then I'm almost there, and I can sort of take it off and then see where I'm at, and then I have to go back and sort of move things around and make sure it's all feeling cohesive. But the process itself can feel really arduous and a real struggle to get through. I think everyone has their own process and mine is particularly torturous."

"I don’t outline anything in advance. That can be really scary. I liken it to walking blindfolded. I’m trying to head towards somewhere, but I have no idea how to get there. I don’t write in order, either. I’m taking things as they come, following my fancy."

"I'm not one of those writers that drafts out 500 pages, and then cuts a bunch of stuff, and then does new stuff on the fly. I'm just a lot more slow. And my process is every word pretty much gets used. I don't really have a lot of stuff on the cutting room floor from the books. I mean, some conversations and smaller scenes, but I don't think there's any big plot point or anything that I wrote but didn't use."

"Well, I don’t ever plan anything in my books. Since I don’t outline, I tend to just go wherever my imagination leads me and where I feel excited to write about. I tend to write scenes that I would want to read."

"I think that with a book, you can excavate a story so much more because you're really in the character's head and you can go into much deeper detail. In a movie, what you might spend pages describing, you can do that in a flash. But there's also a feeling that you have to really streamline a movie too so it stays on the right track. And I think I would say that there are definitely changes made, but I think that to me, the spirit of the story is there. And that was what was most important to me, was just that people walked away with the same feeling that they had when they read the books, which is just, I hope, feeling a warm-hearted, cozy feeling."

"I think it was the only way to wrap the show up. I mean, I know that not everyone was thrilled about it – some people were really angry about the ending. It just shows you how much people put in their time and their passion for the show. You know a show like Lost is not going to [be like] every other show that I do – it’s a rare experience and I treasure it."

"At the same time, I think something like Lost is bringing something very different to the table, and I'm really proud to be a part of the first time in American television when they took the chance of writing Korean characters in to begin with -- but to have them speak Korean for thirty minutes in a one-hour show and have it subtitled? I think that was pretty gutsy of them. And it was received well; it wasn't like we dropped out of the ratings. People loved it, and this was the first time in American television, and hopefully this will bring a lot more different ethnic backgrounds to mass media like television or film -- because that's what America is all about, isn't it? It's like a mixed pot."

"Again, I said it before, but I’m always surrounded by amazing female friends and they’re the ones who are with me and kind of slap me around when I’m doing something wrong. And to do a show about all these characters I can relate, sympathize and really care about, it’s great. I mean, I see my friends in all of the characters, all of the female characters, which is really nice."

"There have been times when casting directors were talking loudly on the phone right outside the room where I was auditioning. I didn’t know what to do."

"I think flashbacks are important. I mean, each episode - that's what I love about watching Lost is every episode, you have your new favorite character. We take turns and that's where we get to look a little different, show different sides to that character. It's like peeling an onion. So I find flashbacks really useful, really crucial to the show. I hope that doesn't ever go away."

"I think it's so important for really young Asians growing up in America to have those positive images of themselves."

"In the US, my makeup artist was an elderly lady. She would put on my eyeliner using reading glasses. It’s something unimaginable in Korea."

"I love acting. Modeling is fun, too, but I feel like there is more room to stretch yourself and open yourself up to new experiences with acting. That's why I got into acting in the first place."

"I always feel like people misunderstand the difference between an Asian story and an Asian-American story. That's completely different, too. I have friends who grew up in Asia, and our experiences are so different. Even though we might look the same, I feel like being Asian and then being Asian-American is completely different."

"I grew up watching Buffy the Vampire Slayer and used to dream that I would grow up to be just like her. In a way, Teen Wolf has a lot of those kinds of characters. We're just kids by day, and yet we're trying to fight demons and werewolves and bad people and save people that we love."

"I've grown up with racism my entire life. I've been bullied, sent to the hospital, beat up, I've been called a Chink and a Gook. Every single racial slur an Asian person can be called, I've been called it."

"If you are friends with someone, and you're like 'Hey, what ethnicity are you,' that's cool. But you wouldn't walk up to a white person and say, 'What kind of white are you?'"

"We want to see women in more power positions, not just in front of the screen but behind the screen as well."

"I think the whole movement of #MeToo is not just calling out the sexual harassers, which is really important, but also crying out that we want equal pay, equal representation, equal opportunities, and that we want to see more female directors and photographers."

"The narrative needs to change. Asian-American actresses don't want to be the damsels in distress anymore. We don't want to be saved, especially by a white man."

"I view my career like a rubber-band ball in that every role is a new experience building toward something bigger."

"I didn't want to be known as the reality-show star trying to be an actress, so I kept a lot of the failed auditions to myself."

"There are these creative shows, all on cable, that are just so daring and out there. That's the stuff I really want to be a part of, like with 'Sucker Punch' and 'Hangover 2'. Those movies didn't hold back. They really went for it."

"We'd only speak Korean at home. They [parents] wouldn't let us have sleepovers and sent us away to Korean church camp during the summers. We had weird food concoctions, too, so instead of spaghetti bolognese, we had rice bolognese with kimchi."

"It's so important to work with material you can really mold and milk and create and evolve."

"If you feel good about what you put on your face - or body - that's really putting your best foot forward."