The cast of “Crazy Rich Asians” had a chance to discuss how Hollywood’s relationship with stereotyping needs to change. Constance Wu, when asked which stereotype she’d like to see…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
The cast of “Crazy Rich Asians” had a chance to discuss how Hollywood’s relationship with stereotyping needs to change.
Constance Wu, when asked which stereotype she’d like to see completely retired in an interview with Variety, instead said that she doesn’t want stereotypes gotten rid of. Rather, she wants to see “the people who have been stereotyped given their own story.”
“The danger of a stereotype is that they’re one-dimensional,” she said. “I love that we have sexy Asian leading men, but I also want nerdy Asian men to feel that they are worthy of love, and the problem is when you make fun of them in the secondary role where you don’t explore their whole lives — that’s why I keep stressing this whole thing about being the center of the story.”
Michelle Yeoh remembered that when she first came to Hollywood, there always had to be a reason why someone in a project was Asian: “‘Oh, she comes from Chinatown; oh, she’s the waitress; oh, she’s from the laundromat or the takeout or something like this.’ Why do we have to be explained?”
Ken Jeong remarked that though many have commented on the fact that “Crazy Rich Asians” is the first film with a predominantly Asian cast in 25 years, ABC’s series “Fresh Off the Boat,” which also stars Wu, has been filling that gap for the past four years. Jeong said he believes “Fresh Off the Boat’s” continued success helped get “Crazy Rich Asians” made.
“I feel it’s a movement that’s continuing,” he said. “It’s not just out of nowhere, you have [‘Crazy Rich Asians’]. It doesn’t work that way.”
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