It's hard in America as a writer of color, an actor of color, not to get caught up in race and culture. But you're also supposed to be able to write characters and scenes in a way where it's just a matter of fact, a component.
Interpretation
The quote addresses the challenges faced by writers and actors of color in America, highlighting the tension between race and their craft.
John Cho's quote reflects the difficulty that writers and actors of color encounter in navigating a creative landscape that is often mired in discussions of race and culture. While they are expected to convey their racial and cultural identities in their work, there is also an expectation that these elements should be portrayed as just one aspect of their characters, rather than the sole focus. This duality presents a complex challenge that speaks to broader issues of representation and identity in the arts.
In practice
In a panel discussion about diversity in Hollywood, this quote can emphasize the complexities of being a creator of color.
Because I sidestepped all the stereotypical roles, in a way I've made a career out of not being Asian - a lot of my roles weren't written as Asian - so there's an impulse in me that wants to take a U-turn and play a very grounded, real Asian character, maybe an immigrant.
Movies may be as close to a document of our national culture as there is; they're supposed to represent what we believe ourselves to be. So when you don't see yourself at all - or see yourself erased - that hurts.
You're trying to grow up, and you don't want to be like your parents, and that gets mixed up with being Korean... They brought their values from Korea, and I accepted them because I didn't know anything more. But as I grow older, I feel more Korean every year; it's very strange.
For a while, I was feeling like I was always playing characters that weren't specifically Korean or specifically Asian, even - that they were characters who were originally written white, and then they would cast me. And I used to consider that a badge of honor because that meant I had avoided stereotypes.
Early on, I played a Chinese delivery person, and even that, which was very innocuous, felt like I was somehow betraying myself. I felt very self-conscious on set doing that role, with a crew that was almost entirely white.
My wife and I were worried, when we had our firstborn, about how he was going to think of himself in a mostly white neighborhood. Particularly Asian men, I feel, we suffer more than Asian women, because we're told we're not worth anything in general.
Everybody comes to film differently; everybody has different backgrounds. Just find whatever your lane is naturally. Don't try to force yourself into someone else's vision or try to tell a story that you're not passionate about.
I never see one woman when I design, it's always a universe of women
I guess I've accepted that theatre is never going to be edgy in the way I want it to be. It's too expensive for a start. And, the audience seems to be complicit in the dullness.
The best way to execute French cooking is to get good and loaded and whack the hell out of a chicken.
Music is the tonal reflection of beauty.
Folk melodies are the embodiment of an artistic perfection of the highest order; in fact, they are models of the way in which a musical idea can be expressed with utmost perfection in terms of brevity of form and simplicity of means.
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