The Muse: A Focus on Asian and Asian-American Storytellers

Dear Writers,

In the States, we recognize May as Asian American and Pacific Islander Heritage Month. This got me thinking about the ancient traditions of visual storytelling throughout Asia—from Japanese painted handscrolls to elaborate illustrated manuscripts from India—and how these may have influenced the rich cinematic culture that thrives across the region today.

One of the most prolific and celebrated Asian-American writer-directors is Ang Lee, who was born in Taiwan to Chinese parents and has been based in the US since his early twenties. Lee told Taiwan’s Central News Agency that “no matter where he shoots a film, it is a Taiwanese film.”

But how could that possibly be? What is Taiwanese about a family drama pulled from classic English literature (Sense and Sensibility, 1995) or a love story between two American cowboys (Brokeback Mountain, 2005)? Lee’s career trajectory may be the quintessential representation of the diaspora experience: the constant negotiation of weaving your own cultural background into that of your adopted land.

With Lee’s example in mind, I invite you to take a look at your own screenplays. What can you draw from your background and experiences that would enrich the story you’re working on now, even if it's set somewhere entirely different? Or, what qualities of your cultural background are so universal that they transcend man-made boundaries?

Meanwhile, read on below for insights and writing tips from the storytellers of the Sundance network.

See you on the page,

Happy Asian American Pacific Islander Heritage Month! Growing up, I was walking distance from a repertory theatre that programmed Asian cinema once a week, and so I was blessed to see myself represented on screen regularly. Bollywood, Shaw Brothers, anime—we were the heroes of our stories. From time to time, the theatre owner slipped in something from the Hong Kong New Wave, and I was introduced to the works of Ann Hui, Mabel Cheung, Wong Kar-wai, Stanley Kwan, and so many more. I even excitedly went to Chinese school as a kid to learn Cantonese, so I didn't have to chase the subtitles.

One film from that movement that remains my inspiration is Stanley Kwan's Centre Stage (1991), which is based on the very short life of China's silent film star, Ruan Lingyu. This is no traditional biopic. Kwan told this story through a seminal moment in Ruan's life, that was at once personal and political. Its structure is a blend of narrative and documentary, re-enactments and original footage of her films. And through these constructs, he gave Ruan a voice. Before I start writing any screenplay based on a life story, I inevitably think about Centre Stage, as it will forever be my touchstone.

A: For this question, we turned to Chloé Zhao, who is known for wearing multiple hats on her projects, such as the recent Oscar-winning film Nomadland, on which she is credited as Writer, Director, Editor, and one of the Producers. In her webinar on Finding Your Way as a Filmmaker, she shares that she doesn’t tend to separate these roles as "It's almost impossible in small films because you try and write something that you can pull off." What she means by this is that, if you know your budget constraints, you can write a movie that is more likely to get made sooner. According to Zhao, you have to ask yourself, "Do I want to wait four years for someone to give me money, or do I want to make this film in four months?"

One example of how to put this into practice is working with non-professional actors, as Zhao has done in multiple films. Instead of waiting for a budget that supports A-list talent, she suggests that you can "write your scene so this [non-professional actor] can be a version of themselves and give you the more authentic performance."

Working this way doesn't mean that the story should suffer or that you shouldn't have a strong emotional arc for your characters. In fact, Zhao uses it to her advantage. "Limitations are my best friend," she asserts. "When I don't have limitations, I'm completely lost." She says at the beginning of her process, she writes down some of the limitations regarding cast, location, or crew and keeps them in mind while writing. No matter the parameters, "There is a good story in every situation. There's a human story in every situation. I think it all depends how long you want to wait for your masterpiece to come out. I’m impatient."

Read more: Let Your Career Catch You Off Guard: Chloé Zhao on Navigating the Film Business

Exposition is tedious but sometimes we need to get it out of the way. If you have a scene where you feel that characters are simply talking to each other to deliver background information, consider changing the scene into a situation where providing information is expected: an interview, an interrogation, a first date, a breakup, a formal reunion, a bureaucratic questioning. Then, try to make your character reluctant to provide the information, and maybe they are even caught lying!

Things to think about:

Look for everyday situations that usually go unnoticed. The first time at a physician's office or enrolling a child in daycare or hiring a real estate agent are opportunities to reveal much about our characters.
When characters avoid answering or outright lie, it tells us just as much as characters who answer the questions truthfully.
You may discover that you don't need to give out quite as much concrete background information since we come to understand the character so well through their behavior in this scene.

For more prompts in a live setting, join our free Writers’ Cafe each Monday, Wednesday, and Friday.