I saw 'Joy Luck Club' when it came out, so that was early mid-'90s, and I remember seeing it with my long-time collaborator, Mina Shum. We'd just done 'Double Happiness,' and we saw this movie, and we were weeping. Like, shuddering weeping. Weeping more than really the film deserved.
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All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.
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I'd be so fascinated to talk to a psychologist or sociologist about the deep psychological impact of seeing oneself represented. I don't think we've really touched the surface of what it does to the psyche of a people if the only image of you out there is negative. Or if it's never out there.
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With small breasts, you don't have to wear a bra with dresses that have some support. It feels sexy without one.
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It takes a long time to free oneself from chatter - goals, social media, image, persona. And if you're able to move through in that way, you can actually start trying to create from a different place.
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When your life changes and you become a more public person, in some ways you need to be a more closed person, you know?
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People ask me what I'm writing. They think I'm Sandra Tsing Loh. Or they ask about stand-up. 'No, that's Margaret Cho.' I really think there is this kind of glomming, that they think we are somehow all the same person.
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For me, I just am so grateful to be an actor.
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Becoming an actor? If it's not a calling, don't do it. It's too hard.