A Quote by Bowen Yang

All heist movies are about gadgetry, ultimately, which feels very queer. — © Bowen Yang
All heist movies are about gadgetry, ultimately, which feels very queer.
A lot of different people under the queer umbrella come together but Like there's something inherently queer about the heist genre, in some way. It's about just flying under the radar and procuring something furtively or, you know, that thing that is just so fun and high-stakes in the way that a lot of queer experiences are.
Man is by nature a pragmatic materialist, a mechanic, a lover of gadgets and gadgetry; and these are the qualities that characterize the "establishment" which regulates modern society: pragmatism, materialism, mechanization, and gadgetry. Woman, on the other hand, is a practical idealist, a humanitarian with a strong sense of noblesse oblige, an altruist rather than a capitalist.
I like heist movies. I like action movies that set all the elements into one and a chance to do something that comes from a great stable of writing.
'Tower Heist?' That is a movie that it's hard not to name-drop, but, it's a crew of five, and it's Ben Stiller, Eddie Murphy, me, Matthew Broderick, and Casey Affleck. And we're like, on a heist.
It's important to tell queer stories and to show queer relationships in a very normal setting.
What I love about Neill's Blomkamp work is that his stories are small human stories. But what's interesting about Neill's movies is that they're set in the future but they're so incredibly timely that it feels like maybe in the present in the next dimension. It feels like it's happening now. The universe is very recognizable, in many ways.
People often ask me why I choose to primarily play queer characters, and my answer is that as a queer man, I choose to align myself with projects in which I can be of service for a purpose greater than myself: to be for an audience of queer people of color, something I didn't have the privilege of seeing as a young man.
A lot of artists I like end up being queer. Or maybe it's a subconscious thing that you can identify of, like, 'Oh this person understands the nuances of the romantic narrative of a queer person, or the social narrative of a queer person.' And then you discover, lo and behold that they are a queer person.
I don't really watch many heist movies. Actually, I have quite eclectic tastes, but I tend to watch just foreign films. I don't know why that is. I'm not particularly deep or anything, I just like foreign movies.
Where would heist movies be without the Big Score - that payoff so irresistible it can lure the most jaded desperado out of hiding?
After the 'Fallon' set, I had a lot of queer people message me about how much it meant to see a queer perspective on late night TV.
It doesn't matter what you feel - ultimately, it's what the audience feels. You can finish a scene and think to yourself, 'Oh, God. I was so deep in that moment,' and find it just didn't play. I don't know if I have very good radar about that or not.
There has been a stigma around letting movies be seen on home screens on the same day as theatrical screens. Universal said they were going to do it with 'Tower Heist,' but they backed off when challenged by the theater owners. I understand where the theater owners are coming from on big studio movies.
Heist movies tend to be a bit superficial, glamorous, and fun. They don't tend to be emotionally engaging.
I care more about a 15-year-old queer kid in Iowa who wants to know that there's anything out there that resembles their experience and life than the hip queer person in Brooklyn.
Fear Street' subverts almost every stereotype that you can think of in the horror genre, which I love. We have a horror trilogy that's centered around a queer relationship. The main protagonist is a queer woman of color.
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