A Quote by Lulu Wang

As long as I'm making something from my voice, from my perspective there will be Asian American content because I am the storyteller. — © Lulu Wang
As long as I'm making something from my voice, from my perspective there will be Asian American content because I am the storyteller.
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.
Even if you look at 'American Idol,' or 'X-Factor,' or 'The Voice' or anything, it was always difficult to see an Asian or an Asian-American make it to a certain point.
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.
I am endorsing Barack Obama because he is a new kind of leader: he speaks with a different voice; he brings a new perspective and inspires a real excitement from the American people.
Kim's' gave me my first opportunity to portray an Asian character with significant story arcs and subtleties that most Western Asian actors can only dream of. The show was integral in allowing me to find my voice and shape the perspective and platform that I now have.
There were so few examples of Asian or Asian-American lead characters on American TV or even in the movies. And the ones that have existed for so long were either stereotypical or offensive in some way, or just not reflective of the lives of people in the community.
Because if Asian American content is seen as a trend, the way that like leggings are in, then that's not true representation or inclusion. The mainstream doesn't have to worry about that.
When you work in a writers room for a showrunner, you serve that story, and you serve that showrunner. I don't think it should be called writing; I think it should be called rendering content. Because you are there to render the content that is agreed upon in the room, and you're serving the voice of the main storyteller, which is the showrunner.
After I made 'Better Luck Tomorrow' and started taking meetings in Hollywood, I quickly learned that Asian Americans weren't even in the conversation as a minority, since there wasn't even a significant enough audience, and especially an audience for Asian American content.
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.
My brother often complains to me about the 'angry Asian male' in the United States. As a female, I haven't encountered this, but Asian-American men are angry. They're angry because, for so many years, they've been neglected as sex symbols. Asian women have it much easier, I think; we're accepted into various circles.
Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.
Asian Americans haven't had as many opportunities as other people to build their careers in Hollywood, just because there hasn't been that much of an interest, especially in Asian American males.
When I was growing up, Asians were so few and far between as to be almost invisible. And so the idea of an Asian American movement or an Asian American thrust in this country was unthinkable.
I think Anna and the King is a look at Asia from the Asian perspective, reflecting the Asian experience, which is very rare.
I wish reporters were more in tune to the difference between the Asian experience and the Asian-American experience. I think often they lump the two together and think that when I talk about Asian-American narratives that they can cite 'Crouching Tiger, Hidden Dragon' or 'Mulan' as proof of concept when it's a different experience.
This site uses cookies to ensure you get the best experience. More info...
Got it!