Thirty-seven years after her Hollywood breakthrough in The Last Emperor, Chen is back in new drama Dìdi. She discusses her roots in China, objectification and the protective power of creativity
Thirty-seven years after her Hollywood breakthrough in The Last Emperor, Chen is back in new drama Dìdi. She discusses her roots in China, objectification and the protective power of creativity
‘In all those movies about childhood, I never saw someone who looked like me’: Sean Wang on his debut, Dìdicardiologist, in 1992. She has two daughters, Audrey and Angela. She slowed down after having them, she says, but made sure not to stop working completely. “I didn’t want to be unfulfilled, just for the sake of staying at home. So I did leave, now and then, taking jobs. But that obviously took a toll on the family and the kids. I have regrets on both ends. You can’t have it all.
Even so, her family was not left unscathed by the harsh realities of the Cultural Revolution. When she was six, her grandfather killed himself after he was wrongly accused of being a counter-revolutionary and a spy. “That was the first time that I saw adults cry,” she says. “My mother cried, and my grandmother cried. That was very scary for me.”‘People were not writing for Asian Americans.
Dismayed by the lack of good roles in Hollywood, Chen made the move into directing in her 30s. “I felt my career wasn’t going anywhere. The parts were getting narrower and narrower; just evil women, dragon lady or whatever, uninteresting.” Xiu Xiu: The Sent-Down Girl, which she wrote and directed, was well-received by critics but her second project,, an age-gap romance starring Richard Gere and Winona Ryder, was universally savaged. Chen says her version was recut by the film’s distributor, MGM.
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