“I am so glad that I’m alive to see the embrace and the celebration of Korean culture and how that has now infiltrated into Western culture,” Sandra Oh says, in a new interview.
,” Viet Thanh Nguyen’s tragicomic novel on the Vietnamese refugee experience, which won the Pulitzer Prize in 2016. The project is slated for HBO, and one of its creative visionaries is the South Korean filmmaker Park Chan-wook.
How did you then feel when you found out the shooter was an older Asian man? There was also the shooting in Half Moon Bay, committed by an older Asian man. And, last year, another at a Taiwanese church in Orange County. What do you make of these cases involving Asian elders as perpetrators? Yes, I absolutely play her in this way. There’s this moment, I’m talking with Director Park, and I’m standing with his translator and his assistant, and I have to explain code-switching to him. You track where she is as a nisei, as in, like, second- or third-generation Asian American who has gone through the sixties. You’re going to track where she is by how she speaks to the professor, the white man, versus how she speaks to people at the Vietnamese longevity party.
It’s really fun and silly, and I love Nora so much. We had such a good time shooting it. I’m going to try and find a photograph. [] Maybe I shouldn’t show you a photograph, because you’re going to write about it. Someone snapped a photograph of me and Nora in our wardrobe, and it’s just really, really, really hilarious. It was written by Jen D’Angelo, and Nora and I play sisters who kind of go on a road trip to a game show.
I start with the fact that it’s amazing that there is opportunity. By the time “Turning Red” came to me, in 2020, they had already been working on it for, like, three or four years. So these are the opportunities that have been long fought for. I mean, I wanted that part so badly, mostly because it was set in Toronto. It’s a love letter to Toronto. I related quite deeply to the character of Meilin, the daughter, who really needs to embrace her inner panda.
It makes me wonder about your own relationship with your Koreanness and how that’s waxed or waned in your life. It wasn’t even Ottawa, dude. It was, like, a city suburb outside of Ottawa. I’d say the biggest influences for me were “The Carol Burnett Show” and “Fame.” When I think back to what those things sparked in me then, walking to and from school, how those shows stayed with me in some way and affected me. I think those two shows really did.
No. I’m taking this question as someone who is in their fifties, thinking about the person who I was at fourteen. I don’t think that I knew enough to protect myself, to not even dare to be idealistic about that, about a place for me in the filmmaking, entertainment landscape. I was just extremely lucky in my early career. I know the difference between luck and hard work. I was lucky.
What was so insidious about what she said was that she was coming at it from doing me a favor, telling me the truth, basically saying, “Listen, no one’s going to tell you the truth, so I will. You should go back home and become famous there and then try.” She’s saying, “I’m going to tell you the truth. No one’s going to tell you the truth. You don’t belong here.
I would pitch jokes and story lines with my character and Sara Ramirez’s character because it’s, like, let’s get some color in it. It was just not the tone of the show at that time. There were little bits of it, like Tsai Chin came on as my mom, and Diahann Carroll came on as Isaiah Washington’s mom. And there were huge things you could do within the Black community and the Asian community, but those were just not story lines that the show was interested in pursuing.
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