A Quote by Gene Luen Yang

One of the ways [racism] pops up is when they turn a comic into a live-action movie and there's this temptation to make Asian characters white. — © Gene Luen Yang
One of the ways [racism] pops up is when they turn a comic into a live-action movie and there's this temptation to make Asian characters white.
I felt pretty good growing up. I didn't feel a lot of prejudice or racism. But I do remember, if there was going to be a movie or a television show with Asian characters, I would go out of my way to avoid them, because they portrayed all Asians as either ridiculously good or ridiculously bad; you know, the whole Charlie Chan-Fu Manchu thing.
I felt pretty good growing up. I didnt feel a lot of prejudice or racism. But I do remember, if there was going to be a movie or a television show with Asian characters, I would go out of my way to avoid them, because they portrayed all Asians as either ridiculously good or ridiculously bad; you know, the whole Charlie Chan-Fu Manchu thing.
I looked at Tank Girl, which is the coolest comic, ever. The movie didn't make the comic book any less cool. The comic is still the comic.
It is not like the white Republican, the conservative, who clears it up for you and says, "I don't like you", to your face and then you know immediately he is an antagonist. Racism operates in a lot of ways, and so I live it every day.
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
Growing up as an Asian American in this society, there were a lot of times where you feel isolated or out of place as an Asian. And growing up in White America, that's absolutely my experience. And I think that's why I got into acting because I wanted to be anybody else but Asian.
The idea right now - and it may evolve - would be a live-action movie where some of his characters would be animated. To me, this movie is very much about the creative process.
If white people are constantly told how culturally different their Asian neighbors are, and if Asians are told to be vigilant against white racism, both groups might conclude that they have little in common and much to fear from their neighbours.
I get asked a lot if I'd want to get into live-action movies, and the answer, honestly, is 'no.' I'm an illustrator, and I think animation is an extension of that way of expressing myself. That's not to say I'd never make a live-action movie, but I don't strive for it.
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.
Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.
I see racism as institutional: the rules are different for me because I'm black. It's not necessarily someone's specific attitude against me; it's just the fact that I, as a black man, have a much harder time making an art-house movie and getting it released than a white person does about their very white point of view. That's racism.
I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.
Another response to racism has been the establishment of unlearning racism workshops, which are often led by white women. These workshops are important, yet they tend to focus primarily on cathartic individual psychological personal prejudice without stressing the need for corresponding change in political commitment and action. A woman who attends an unlearning racism workshop and learns to acknowledge that she is racist is no less a threat than one who does not. Acknowledgment of racism is significant when it leads to transformation.
I think we make the movies, initially, with the one movie in mind. But we do love the characters, and so we kind of miss the characters when the movie is over. But I think what happens is, every now and then you realize there's more to tell, or an idea comes up.
White people need to wake up and tell the truth about US history and the inequality and the ways in which racism is so entrenched.
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