A Quote by John Cho

Even though there's a lot of horror from Asia in the American cinematic tradition, I hadn't seen Asians at the center of it. — © John Cho
Even though there's a lot of horror from Asia in the American cinematic tradition, I hadn't seen Asians at the center of it.
American policies toward Asians reached a nadir in 1924, with the implementation of a law that sought 'to preserve the idea of American homogeneity' and denied admission to the country to most non-whites. Immigration from Asia was banned completely, with the establishment of an 'Asiatic Barred Zone.'
I feel like there's this need that the Asian-American community has to feel like people. It's something that Asians in Asia do not understand about us.
I think New York is the center of fashion, even though L.A. has a lot of heritage and the glamour of Hollywood.
When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.
I've seen a lot of horror, but I'm not a horror guy.
I haven't seen 'The Exorcist,' but I've seen a lot of pictures of the girl in it. So now I don't actually want to see it. She scares me so much. I don't know what it is, but even though it's quite old now, it still has the best and scariest make-up I've ever seen in my life.
Obama has seen to the passage of the most radical legislation in recent American history and so-called 'progressives' should be thanking him for it - even as many of the rest of us rear in horror from its implications.
A lot of the people who live the lives of 'Crazy Rich Asians' don't see the humour of their lives simply because this is just who they are. Even though I'm from that part of the world, I'm no longer part of that world.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
This is what it is for Asians to be part of - support affirmative action, even though it may be against their interest, but they feel it's a matter of justice.
Because growing up as an Asian-American and growing up as someone who is not white, oftentimes in this country you can feel as though you're a foreigner, or you're reminded of being a foreigner, even though you're not. Even though inside, internally, you feel completely American.
Does people not asking me about Asian American literature mean they don't see it as its own literary tradition? I certainly believe in it as its own literary tradition, because your race plays a great factor in how you are seen by the world, and how you see the world; the fact that I'm an Asian American isn't incidental to who I am as a writer. Where it becomes difficult is defining what, if anything identifiable at all, makes an Asian American book an Asian American book, other than the fact of its creator being Asian. And I'd argue that there is nothing identifiable beyond that.
Most Americans, I think, know very little about East Asia or Southeast Asia. American businesspeople who have been here, they are very knowledgeable about this area, but the average American? No.
I don't even feel as if I'm the center of my own world, so how am I supposed to feel as though I'm the center of anyone else's?
The thing is, horror is a big part of 'Sherlock Holmes.' Doyle also wrote a lot of great horror stories, so there's a lot more horror in 'Holmes' that people possibly think of. There's a lot of curses and mysticism and real scares.
I've always had a fascination for everything surrounding things that are unexplainable. Not surprising that my first movie was a horror film, even though, of course, at the time I had no experience writing horror music.
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