The Gentlemen review

For F*** Magazine

THE GENTLEMEN

Director: Guy Ritchie
Cast : Mathew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant, Tom Wu
Genre: Crime/Drama/Comedy
Run Time : 1 h 53 mins
Opens : 27 February 2020
Rating : M18

When Guy Ritchie made the two Sherlock Holmes movies starring Robert Downey Jr, there still was a rough-and-tumble street quality to them. Then he made a movie version of the 60s spy-fi series The Man from U.N.C.L.E., which still had recognisable Ritchie elements. Then he made the medieval fantasy King Arthur: Legend of the Sword, and even more out of left field than that, directed the live-action remake of Disney’s Aladdin. With The Gentlemen, Guy Ritchie returns to his wheelhouse of street-level gangster mayhem, complete with crass irreverent dialogue and plenty of violence.

American-born Mickey Pearson (Matthew McConaughey) is the UK’s top marijuana kingpin – he reigns over a carefully cultivated empire and now, he’s looking to sell, to live a life of peace with his wife Rosalind (Michelle Dockery) who runs a custom car garage.  Fellow American Matthew Berger (Jeremy Strong) has his eye on Mickey’s operation and faces competition from Dry Eye (Henry Golding), the ambitious apprentice of crime boss Lord George (Tom Wu). Newspaper editor Big Dave (Eddie Marsan) hires private investigator Fletcher (Hugh Grant) to investigate Mickey’s dealings, after being snubbed by Mickey at a high society shindig. Fletcher offers to sell his findings to Mickey’s right-hand man Raymond (Charlie Hunnam), meeting Raymond to tell him all the juicy details.

This is vintage Guy Ritchie – rough-and-tumble, witty, twisty, stylish and entertaining. Taken by themselves, none of the individual components of The Gentlemen offer anything new, but Ritchie has assembled them into a whole that works. Ritchie balances the silly and the sinister – there’s a lot about The Gentlemen that’s intended to be funny, but there are also genuinely tense scenes in which characters face off and you’re not sure who’s going to make it out alive. While The Gentlemen is predictable overall, Ritchie’s strength is in creating the illusion of unpredictability in the moment. The movie’s framing device is a meeting between Fletcher and Raymond, which provides the ideal framework for expository details about each characters’ backstory without it seeming tedious. There is a playfulness to The Gentlemen – the meta-fictional component of Fletcher writing a screenplay means that the movie winks so hard a couple of eyelashes almost fly off, but there’s a bit of charm in that.

As with any filmmaker who has cultivated a recognisable style and has become a brand name, there will be those who find said style annoying. The Gentlemen is not a restrained movie, with the Ritchie-ness turned up to 11: adherents will be there for it, but those who aren’t already fans of the director might well be alienated. There are attempts to be shocking that are in line with what one might expect from a Guy Ritchie crime movie – many instances of the c word are dropped and there are many racial slurs used against Jews, East Asians and black people (the film is slightly too amused with the Vietnamese name “Phuc”). Sure, this is a gangster movie populated by unpleasant characters whom we expect to do and say unpleasant things, but there are times when it feels like Ritchie is straining for relevance, that he’s an old dog trying and not always succeeding at performing new tricks. The casual racism is more lazy than shocking. There’s so much going on to the point where it feels like all the subplots and digressions are there to distract the viewer from how rote it is.

Ritchie has assembled a strong ensemble – the casting largely makes sense. McConaughey is having a grand old time playing the wily American – for how over-the-top this movie often is, there’s a level of control to his performance which is quite impressive, even though this doesn’t seem like an acting challenge for McConaughey.

Grant plays against type as a weaselly private investigator who is flamboyant and all too pleased with himself. He plays off Hunnam, Ritchie’s King Arthur, who plays the gruff straight man. Some of the film’s best moments are the interactions between the two, during which it almost feels like a stage play.

Henry Golding plays against type as a young crime lord on the way up – it’s probably the role that’s the most different from the others he’s played in his relatively brief career, but is one that gives him acting cred – “gangster in a Guy Ritchie movie” just looks good on an actor’s CV. It’s a shame that the character is the target of most of the movie’s racism.

Colin Farrell is entertaining as a wrestling coach who wants nothing to do with the drug-dealers and gangsters but is drawn into the fray because his students have stolen from one of Mickey’s weed farms and filmed it, the video going viral. We’re grading on a curve, but he is likely the most decent, ethical character in the film.

Michelle Dockery is, as predicted, under-used – the movie wants to establish Rosalind as being as formidable as her husband, but the narrative always favours him, such that she takes a backseat because that is the nature of the story.

Summary: A vulgar, dirty crime comedy that’s often as dumb as it is clever, The Gentlemen is, for better and worse, trademark Guy Ritchie material.

RATING: 3.5 out of 5 Stars

Jedd Jong

 

Last Christmas review

For F*** Magazine

LAST CHRISTMAS

Director: Paul Feig
Cast : Emilia Clarke, Henry Golding, Michelle Yeoh, Emma Thompson, Lydia Leonard, Boris Isakovic, Peter Serafinowicz, Rob Delaney, Patti LuPone
Genre : Drama, Comedy
Run Time : 1 h 43 mins
Opens : 28 November 2019
Rating: NC16

Wham!’s “Last Christmas” is an infectiously inescapable ditty during the Holiday Season. This comedy directed by Paul Feig of Bridesmaids and Spy fame and co-written by Emma Thompson is inspired by the song. What plot can be mined from the lyrics of this beloved Christmas song/breakup anthem?

Kate (Emilia Clarke) has been plagued by a string of bad luck. She works in a shop selling Christmas decorations and is constantly berated by her boss “Santa” (Michelle Yeoh). She has had several one-night stands end disastrously, unsuccessfully auditioned for various shows on the West End and is a burden on all her friends. Kate doesn’t have the best relationship with her family who immigrated to the UK from former Yugoslavia and is always being nagged at by her mother Adelia (Emma Thompson). Kate’s luck seems to change when she meets Tom (Henry Golding), a cheerful young man who is always telling her to “look up”. However, she can’t quite figure Tom out or pin him down. Tom guides Kate on a journey of self-discovery as she attempts to put her life back together.

Last Christmas is sometimes charming thanks to a role that fits Emilia Clarke well and because of its Christmastime London setting. Londoners will be the first to tell you that it isn’t the most romantic city in the world, but when dressed up in fairy lights and shot by John Schwartzman, it is very pretty. The Yuletide store where Kate works is in Covent Garden, and Last Christmas depicts London in full-on fairy tale winter wonderland mode.

In addition to Clarke, the cast is good. Michelle Yeoh has a knack for playing characters who are outwardly stern but ultimately good-hearted, as her “Santa” character is here. Henry Golding is every inch the dashing, sweet and confident rom-com leading man. Emma Thompson’s role is largely comedic, but there’s also some sadness and unarticulated frustration there that she plays well.

Musical theatre fans will also enjoy the random cameo by Broadway superstar Patti LuPone, which she likely filmed while doing Company on the West End in 2018.

Last Christmas utterly overdoses on twee. It is trying to be reminiscent of Love Actually, but the story is all over the place and the movie seems to think it is much cleverer than it really is.

Clarke may be trying her best and she may suit the part well, but Kate as a character often borders on annoying. The by-now tired “manic pixie dream girl” archetype seems to apply to both Kate and Tom here. Kate is klutzy and dysfunctional, while Tom opens her eyes to the magic that is all around her and that she’s just never noticed. Sharing the cliché between two characters doesn’t make it any less of a cliché.

If you go back to look at the comments sections for this film’s early trailers, you can see people call the big reveal even back then. The movie’s twist has been done before and been done much better, such that when we’re told what has really been happening, it’s more likely to induce eye-rolls than gasps.

The screenplay was written by Thompson and Bryrony Kimmings, with Thompson and her husband Greg Wise receiving screen story credit. There are several ideas in the script that barely get explored, including that of the immigrant experience in the UK, especially in the aftermath of the Brexit referendum, as well as how the homeless and less fortunate spend their holidays. Kimmings is an artist known for her socially conscious work and one can tell that there is an attempt to make Last Christmas more meaningful than your average romantic comedy, but none of this really gels together.

In addition to “Last Christmas”, various other George Michael songs appear in the movie. The Kate character is a huge George Michael fan, and the film begins with a young Kate singing “Heal the Pain” with a church choir. The film also includes a previously unreleased track, “This Is How (We Want You To Get High)”. While the filmmakers’ affection for Michael’s music is palpable, it isn’t integrated into the storytelling that well. A key plot point is inspired by a horrifyingly literal reading of one George Michael lyric which is far more morbid than sweet.

If you love George Michael and have romantic fantasies about Covent Garden in the winter, maybe you’ll get something out of this, but otherwise this is an incredibly muddled romantic comedy that is a strange and discordant mishmash.

Summary: Last Christmas attempts to turn the romcom formula on its head, but by introducing various other elements into the mix, we end up with a Christmas pudding that leaves an odd aftertaste.

RATING: 2 out of 5 Stars

Jedd Jong

A Simple Favour movie review

A SIMPLE FAVOUR

Director : Paul Feig
Cast : Anna Kendrick, Blake Lively, Henry Golding, Ian Ho, Joshua Satine, Linda Cardellini, Jean Smart, Rupert Friend, Andrew Rannells, Bashir Salahuddin
Genre : Drama/Mystery/Comedy
Run Time : 117 mins
Opens : 13 September 2018
Rating : M18

Big secrets hide in a small town in this mystery thriller. Stephanie Smothers (Anna Kendrick) is a single mum who lives in the suburb of Warfield, Connecticut with her son Miles (Joshua Satine). She produces a mum-centric vlog, giving tutorials on cooking and craft projects. Her uncomplicated existence is upended when she befriends Emily Nelson (Blake Lively), whose son Nicky (Ian Ho) goes to school with Miles.

It seems like Emily has it all: a high-flying job as a PR executive for fashion mogul Dennis Nylon (Rupert Friend), an adorable son, and a dashing husband in the form of writer and lecturer Sean Townsend (Henry Golding). Emily asks a simple favour from Stephanie: to pick Nicky up after school and look after him. Two days go by without Stephanie hearing anything from Emily. Questions surrounding her disappearance begin to pile up, as Sean grows attracted to Emily and Emily is drawn into a web of sordid secrets and lies. What’s a regular mum vlogger to do?

A Simple Favour is based on the novel of the same name by Darcey Bell and is billed as a “stylish post-modern film noir”. The film rights to the book were snapped up even before its publishing. The film has been described as Gone Girl-esque, but there are many instances when it’s not quite clear what director Paul Feig was going for. Feig has helmed comedies like Bridesmaids, Spy and Ghostbusters (2016), so it’s natural to worry that his comedic instincts might intrude on the mystery thriller elements of the story. They do, and as a result, A Simple Favour is tonally quite weird.

The film’s weirdness does make it interesting – this reviewer spent most of the movie puzzling over how much of said weirdness was intentional, and how much was accidental. There are moments when the film obviously wants to be dark and dramatic, but it also comes dangerously close to a parody of the domestic mystery thriller subgenre. Theodore Shapiro’s score plays a big part in this: someone will utter a revelation, then there’ll be obvious low trembling strings to go with it.

To Feig and screenwriter Jessica Sharzer’s credit, the mystery is engaging, but we want to keep watching to find out what happens the same way clickbait works – “I shouldn’t click on this, but I do want to find out why Hollywood stop casting Brendan Fraser”. By the time we’re invested, the story goes all-out, full-on ridiculous, trucking out the most melodramatic of ‘deep dark family secret’ plot twists. It’s hard to say if this would’ve worked any better played dead straight.

Both Kendrick and Lively play exactly to type. Kendrick is endearing and silly as an over-eager, over-earnest mum who finds herself way in over her head. The character is renamed ‘Stephanie Smothers’ when her surname was ‘Ward’ in the book – Stephanie Smothers sounds so much sillier, so much more on-the-nose, conjuring up an image of cloying sweetness. It’s mainly a comedic performance, and that seems to lead where the rest of the film goes tonally. She brings much of her signature ‘adorkable-ness’ to bear, and it seems like it is by design that the character is out of place in a dark, lurid mystery thriller.

Lively’s Emily is an aggressive, confident, icy go-getter, decked out in ensembles that might make even Serena van der Woodsen envious. The dynamic between Emily and Stephanie, with the former completely dominating the latter, is what the plot turns on. Emily and her husband seem like the picture-perfect couple, but of course there’s trouble in paradise. There are times when like Kendrick’s performance, Lively’s veers too close to caricature.

Henry Golding’s casting in this is a pretty big deal – the film went into production before the release of Crazy Rich Asians, meaning there was buzz about him in Hollywood before that film became the hot-button movie it is now. In movies like this, the husband character in movies like this is either in on it, or just really stupid. This might only be Golding’s second movie, but it seems he already has a type he’ll be cast in – namely, handsome, charming and a little bit aloof. He’s not entirely convincing in some of the more dramatic scenes, but he does fit alongside the attractive leads.

The supporting characters all feel like they walked out of a comedy – Andrew Rannells plays one of the ‘mums’ who makes catty comments at Stephanie from the side-lines, while Rupert Friend plays Emily’s boss, a flamboyant style maven. Linda Cardellini shows up as a goth-punk artist who wears a Slayer t-shirt as she wields and paints knives.

A Simple Favour might not work on the level it was intended to, but while its extremely uneasy mix of comedy and sex-and-secrets-soaked mystery thriller results in it being silly, it also prevents the movie from being bland. Perhaps this would’ve worked better in the hands of someone who’s sensibilities were a bit more British, who could have brought more wicked brand of acid-dipped wit to the proceedings. As it stands, A Simple Favour is a curiousity that audiences might not love but should find interesting.

RATING: 3 out of 5 Stars

Jedd Jong

Crazy Rich Asians movie review

CRAZY RICH ASIANS

Director : Jon M. Chu
Cast : Constance Wu, Henry Golding, Michelle Yeoh, Gemma Chan, Awkwafina, Ken Jeong, Koh Chieng Mun, Chris Pang, Sonoya Mizuno, Pierre Png, Selena Tan, Nico Santos, Janice Koh, Remy Hii, Harry Shum Jr., Fiona Xie, Carmen Soo, Jimmy O. Yang
Genre : Comedy/Drama/Romance
Run Time : 120 mins
Opens : 22 August 2018
Rating : PG-13

Crazy Rich Asians, the film adaptation of Kevin Kwan’s 2013 novel of the same name, has arrived on the big screen. There are many hopes pinned on this film, which has generated its share of controversy and backlash from its earliest stages of development. Let’s head to sunny Singapore and break all this down.

The film centres on Rachel Chu (Constance Wu), a Chinese-American economics professor at NYU who has found the love of her life: the dashing Nicholas Young (Henry Golding). Nick is heading back home to Singapore for the wedding of his best friend Colin (Chris Pang) to his fiancé Araminta (Sonoya Mizuno). Nick suggests that Rachel come along and meet the family. What could possibly go wrong?

What Nick’s been hiding from Rachel all this time is that he is the heir to the wealthiest family in Singapore. Naturally, Rachel earns the ire and extreme jealousy of all the eligible society bachelorettes who thought they stood a chance with Nick. Rachel faces the condescension and rejection of Nick’s mother Eleanor (Michelle Yeoh). Rachel seems attacked on all sides, getting way in over her head. In her corner is her college friend Peik Lin (Awkwafina), who hails from a wealthy Singaporean family too. Rachel also has her loving mother Kerry (Tan Kheng Hua), who immigrated to the U.S. from China, supporting her. Rachel navigates the treacherous waters of Singaporean high society, as she faces questions of identity, self-worth, and whether Nick is worth all this trouble.

On the surface, Crazy Rich Asians is a frothy romantic comedy of manners. It’s a fish out of water story and is naturally being sold on its depictions of decadence, opulence, indulgence, and other things ending in -ence. There’s a lot more to Crazy Rich Asians than first appears – the story means to examine status, the true value of material wealth, the classification of people as ‘outsiders’ or ‘insiders’ – themes that have been explored before, but not in the context of Singapore’s sphere of affluence in a major Hollywood studio film.

There’s a lot of baggage that has been piled onto this movie, whether it deserves that or not. Hollywood is looking for more representation – or more cynically, to get credit for representation. Being the first Hollywood movie with a predominantly Asian cast since The Joy Luck Club back in 1993, many are looking to Crazy Rich Asians as a triumph for representation and diversity in mainstream Hollywood movies.

This is a film that will mean different things to different people – it’s important to note that the film’s protagonist is Chinese-American, and we see things from her perspective. The questions of her identity are framed by her encountering her boyfriend’s Singaporean family. The film has been decried by several Singaporeans for being an inaccurate portrayal of the island nation. Ethnic minorities like Malays and Indians are nowhere to be found, and nearly everyone speaks in posh English or brash New York-ish accents.

This reviewer would argue that Crazy Rich Asians does not have a responsibility to depict all of Singapore, nor should it be taken as a film about Singapore. Its focus on a tiny slice of Singapore society may come across as narrow, but the circumstances specified by the story justify this depiction. This reviewer would love to see Singapore depicted in all its facets in a Hollywood film – that’s not the goal of Crazy Rich Asians, nor does it mean to be, but the frustration at a skewed version of Singapore being presented for consumption worldwide is understandable.

Crazy Rich Asians falls victim somewhat to ‘have your cake and eat it too’ syndrome. This is going to be a weird example but bear with us: the 2009 sci-fi action film Gamer wanted to be an indictment of the mass-consumption of overly violent, crass media, while being an example of the very thing it is attempting to satirise. Crazy Rich Asians does this for the lifestyles of the uber-wealthy. We’re meant to question the ultimate intangible worth of having a lot of stuff and having every whim catered to, just as we’re meant to gaze upon tableaus of ridiculous luxury with voyeuristic pleasure. There is an undeniable novelty factor, however slight, at the thought that audiences in Des Moines, Iowa might walk into the multiplex and see Newton Hawker Centre and Gardens by the Bay on the big screen.

Director Jon M. Chu, who has a background in dance movies, stages the proceedings with visual panache to spare. As with any adaptation of a novel, things are whittled down, and there’s a lot of plot to get through. The movie barrels along like a freight train – there’s nary a dull moment, but there isn’t enough room for the story to breathe. Better that than things being boring, we figure.

This is a soap opera, and there are altogether too many characters to keep track of, but the film trains its focus on Rachel. Fresh Off the Boat star Constance Wu makes for an intelligent, lively, likeable and vulnerable lead. The scenes in which she matches wits with Michelle Yeoh’s Eleanor are a hoot, and a scene she shares with her mother, played by Tan Kheng Hua, brought this reviewer to tears.

Much ink has been spilled about Golding’s mixed heritage. It’s hard to talk about this without sounding like characters in Harry Potter throwing around phrases like “pureblood” and “half-blood”, so we won’t. He’s handsome and earnest and just bland enough in the way male leads in modern rom-coms often are. Nick is a decent person, while most of the people in his social circle aren’t, making us root for Rachel and Nick to end up together.

Michelle Yeoh gives the stock type of the glowering prospective mother-in-law just enough depth, and Eleanor articulates exactly why she’s so wary of Rachel. Yeoh’s performance is a savvy one, lending the proceedings gravitas. There’s a sly bit of commentary in seeing Eleanor lead a Bible study group comprised of her rich friends – the implication is that these are people who prize material gain over all else hiding behind the veneer of religious virtue.

The rest of the cast is comprised of a lot of attractive people doing attractive people things, and sometimes they can blend together a little. The camera lingers on Pierre Png’s bare torso as he exits the shower, and much is made of how physically beautiful the characters played by Gemma Chan and Sonoya Mizuno are. There are also many characters who are outwardly attractive but are awful on the inside.

Peik Lin and her family stand out by design – they’re outlandish, brash, and they’re rich but not pretentious. Awkwafina is utterly enjoyable, delivering a giddily infectious performance. Ken Jeong and Koh Chieng Mun are plenty of fun as Peik Lin’s parents. Nico Santos hams it up as Oliver, who calls himself the ‘rainbow sheep’ of the family. Oliver does fall a little too neatly into the ‘gay best friend’ role, but Santos gives the character welcome personality.

There are times when Crazy Rich Asians is a touch too ridiculous for its own good – there’s an Apocalypse Now homage (think helicopters and “Ride of the Valkyries”) that seems a little too on the nose. However, there are others when performers showcase excellent comic timing, and the film hits a pleasantly silly pitch.

Crazy Rich Asians is a lot of things, and there will be a wide range of reactions to it. There will be more social media comments hung up on the accents, and there will be thoughtful socio-political treatises deconstructing the film and what its existence means in the current film industry landscape. As a frothy, sometimes-clumsy, almost-emotional rom-com, Crazy Rich Asians works.

RATING: 3.5 out of 5 Stars

Jedd Jong

Crazy Rich Asians Constance Wu, Henry Golding and Michelle Yeoh interviews

For inSing 

A GIRL, A GUY AND A POTENTIAL MOTHER-IN-LAW

Stars Constance Wu, Henry Golding and Michelle Yeoh talk Crazy Rich Asians

By Jedd Jong

While visiting the Singapore set of Crazy Rich Asians last year, inSing spoke to stars Constance Wu, Henry Golding and Michelle Yeoh. Here’s what they had to say about the film:

CONSTANCE WU

Constance Wu plays Rachel, the lead character in Crazy Rich Asians. The actress is best known for playing Jessica Huang in the TV series Fresh Off the Boat and has appeared in TV shows like Torchwood, Covert Affairs and Law & Order: Special Victims Unit. Wu is an outspoken feminist and champion for Asian representation in mainstream Hollywood media. As a take-off on the #StarringJohnCho meme, the #StarringConstanceWu meme similarly served to highlight how many Hollywood films could’ve worked with Asian stars like Cho and Wu in lead roles.

Wu spoke to inSing about filming on location in Singapore, working with her co-stars Henry Golding and Michelle Yeoh, how she spent her downtime in Singapore, and the importance of Crazy Rich Asians in the Hollywood landscape.

inSing: What does being part of this project mean to you?

CONSTANCE WU: Being rich, being crazy and being Asian [laughs]. It’s great being part of an ensemble that really gets along really well, and is trying to make a story that’s really fun and wonderful.

What was it like filming in Singapore and Malaysia? Does the heat get to you?

We had such an incredible crew that once they realised that they needed to bring more air conditioners and stuff like that, the crew was so hardworking and so caring that they really took care of us. Even on days when it’s really hot, there are all these people with fans and water around. Even though it’s been hot, the local crews have been so wonderful, it’s so great.

Can you go out without being recognised here?

I got more recognised here than I did in Malaysia. But yeah, I think I can blend in. Sunglasses, baseball cap [laughs].

What is it like working with Michelle, is she intimidating?

Oh, no! Michelle is very kind, very down to earth, she’s not as intimidating as Eleanor. But when she plays Eleanor, she definitely brings that. But as a person, no, she’s very kind

How about working with Henry?

It was great. He was really eager to do well.

Henry has discussed the backlash he received because of the ethnicity of the character of Nick. He was saying that you can’t get more Asian than him, because he grew up in Asia and spent all this time in Asia. What was your response to that backlash?

I don’t think it’s true that you can’t get more Asian than anybody, than him, because that implies that there’s one standard, and I don’t think there’s any standard of what’s more Asian or not. I think you create your own identity, and the identity you create is borne of many things: where you choose to live, what language you speak, what language your parents speak, what music you love, what stories you love. Those are all factors that make you who you are, and there isn’t any one person who’s more Asian than another person. There are just individuals. And that’s why this movie is so great: it doesn’t show Asians as just one monolith. It shows the diversity amongst Asians. You have characters as different from Kitty Pong to Rachel. You couldn’t be more different, both of them are Asian. Diversity within an Asian cast shows the richness of character within a culture and the richness of individual spirits within a culture, that are influenced by the culture but still claiming individual identity.

Everyone loves you from Fresh Off the Boat, and now you’re in Crazy Rich Asians. Do you see yourself as the ideal Asian-American representative in Hollywood?

I don’t think I’m the [ideal] Asian representative. I really like bringing to life stories about being Asian in the world, because there aren’t a lot of them, and I think they’re beautiful stories. It’s an honour to work with Nina, with Jon, and with Kevin Kwan’s story. It’s based on very personal things that happened to him.

Have you met your fair share of crazy rich Asians?

I’ve never met many.

So you’re very much like Rachel, in that you’re not used to this opulence.

No, not at all. I don’t even think I’ve met a crazy rich person, Asian or not, any person. I grew up working-class [laughs] in Virginia, in the United States.

Awkafina has said that there have been projects where she feels like the token Asian on set, and in this movie, that’s totally gone and she feels happy to be among her peers. Do you feel that this is a landmark, moving forward?

Sure. We’ve actually never had a studio movie that starred all Asians that wasn’t a period piece. Because The Joy Luck Club, that came out I think 20 years ago, it was partially a period piece. A lot of the Asian cinema that we see in theatres are period pieces, like Crouching Tiger, Hidden Dragon. They’re all beautiful and I love that we have a lot of period pieces, but why don’t we ever see Asian-Americans in a contemporary context? Why don’t we see mainstream movies where they’re using cell phones, you know? [Laughs] It’s not because we don’t, you’re using your cell phone right now. It’s a way to include them in the current conversation by showing them in a contemporary context, saying that they are here and they are contemporary, and our stories matter. So that is really ground-breaking, and is part of the reason why I took on this project.

On your Instagram, we saw that you made The Rabbit Headquarters your first stop in Singapore. What made you want to visit them?

I love rabbits, I have a rabbit and I couldn’t bring her here.

What’s your rabbit’s name?

Her name is Lida Rose. She’s four-years-old and she’s very cute. I really missed her, I don’t know why, but I really love rabbits. So the first thing I wanted to do when I came to Singapore was to go see rabbits.

You also posted on Instagram that you went to watch Wonder Woman in Singapore. Do you think that that’s on the horizon, an Asian female-led genre piece in Hollywood?

I don’t know, but I do consider this film to be a female-led piece. Even though a lot of people think it’s a love story, I don’t think it’s a love story. I truly think this story is about women and the sacrifices they make to protect men. If you look at what Michelle’s character does, Eleanor, [she] makes a sacrifice to protect Nick. If you look at what Astrid does, Astrid makes a sacrifice so that Michael doesn’t feel inferior about his lack of wealth as well. It’s all about these quiet sacrifices that women make, they don’t need to show off, and how they navigate them through their female friendships, especially Rachel’s friendship with Peik Lin, played by Awkwafina.

I do think with movies like this movie and Wonder Woman that hopefully stories that have females who are not just objects of romance but who are making sacrifices and making choices and having agency in their lives, that those are stories we’ll see. If it happens in the context of a big Marvel blockbuster, that’s great too, but if it happens in the contemporary context of Crazy Rich Asians, that’s awesome too. I think the thing that we want is narrative plentitude, as opposed to narrative scarcity, so we want more stories, and not just one. If you don’t identify with one story, then maybe there’s another story you identify with.

When you were growing up, did you find that there weren’t enough female Asian characters to look up to?

Yeah, precisely because I’m not interested in actresses who are known for their beauty. I am interested in actresses who are known for their talent and their depth. This is not the fault of the actresses, but a lot of Hollywood movies try to sexualise or romanticise women, as if they’re just supposed to be there are be pretty. I don’t think there’s anything wrong with it, but that’s not what moves me. Growing up, I didn’t think about it too much, because you’re just a kid – you’re thinking about what you’re going to have for lunch [laughs]. You’re not thinking about those kinds of things.

I grew up in the theatre, and the theatre is very welcoming. Especially where I grew up, all the gay people went to theatre, because it’s a welcoming place. I always felt very welcome in the theatre, and that’s why I kept pursuing it, because it felt like family there.

We saw you filming a very emotional scene. How do you get into that headspace?

Oh, that’s boring. I don’t want to bore you with all the stuff I have to go to get into that. That’s the most boring stuff, actor’s stuff. I’ve trained my whole life as a serious actor. I’ve gone to a conservatory, I’ve done Shakespeare, I’ve done all of it – and it’s boring! It’s like if I taught you how to fix a car. It’s very boring [laughs].

But it gets you to that place.

Yeah. Different people have different techniques. You find the ones that work for you, and then you use them. But when the writing’s good, it’s pretty easy, and when the actors are good, it’s easy too.

HENRY GOLDING

The producers of Crazy Rich Asians searched far and wide for their dashing  male lead, and settled on British-Malaysian TV personality Henry Golding. Golding is best known as a TV presenter, having hosted several travel shows. Despite having no acting credits to his name prior to this film, Golding is poised for stardom, having clinched a role in the upcoming Paul Feig-directed thriller A Simple Favour opposite Anna Kendrick and Blake Lively. He is also set to play a gay Vietnamese man returning to his home country in the independent film Monsoon, from director Hong Khaou. The story goes that an accountant on Crazy Rich Asians mentioned to their line producer that they had seen Golding host a red carpet event, reducing most of the women there to jelly.

In this interview, Golding spoke about making his acting debut, addressed the backlash to his casting, discussed working with his onscreen mother Michelle Yeoh and the explained the predicament his character Nick Young finds himself in.

inSing: What has it been like filming the movie?

HENRY GOLDING: Filming has been insane. It’s been a real learning curve for myself, but the crew here have been nothing but welcoming. It’s just become this huge family. I think that really makes a difference, and the one person who spearheads that is Jon. Jon is like a big brother to everyone, he’s got the patience of a saint, and that trickles down. When you’ve got a good director who doesn’t stress or shout, it makes everybody’s job easier. It’s been nothing but an amazing experience. I have nothing bad to say about it!

What were the challenges you’ve had to overcome, seeing as this is your first feature film role?

I’ve had very little onscreen time in terms of acting experience, but through the years, I’ve always wanted to get into acting. Movies are a big, big passion of mine, and have been for such a long time. Whilst watching movies, I’ve been analysing this whole time, and I’ve identified bad acting, and in a way, my love of movies and actors really helped bring something of mine. Acting is being in the moment, and being very present. Being intuitive to emotions, you blend those together, and I hope I did a good job.

Did you feel nervous acting opposite performers who’ve been in the industry longer than you have?

That was the weird thing, not at all. If anybody, it would’ve been Michelle who would’ve freaked me out. Michelle is queen bee. She is classy, she’s the person you wish for Michelle to be, and much more. I’ve grown up watching her and when we first met, I called her up when we landed in KL and said “would you mind if we had tea [together]”, and she said “no, not at all!” So we had 2-3 hour tea and crumpets, just to get to know each other. From her side, there was zero diva, almost minus diva-ness. She’s really been everybody’s favourite, she’s a saint.

The producer Nina Jacobson said you are the ideal Nick, and you had everything they were looking for in Nick. But of course, there has been some backlash because of your ethnicity. What would you say to the critics?

There are plenty of directions we can always go with this. We’ll go through the spectrum. Historically, Asia, especially Southeast Asia, is such a mix of blood, in terms of Peranakan, you’ve got the Malacca and Penang, all those Dutch and Portuguese influences, there’s mixed blood everywhere. That’s something that the Westerners, even Chinese-Americans, don’t understand. We are such a melting pot here in Southeast Asia. What we should be proud of is we’re representing this side of the world. People are only concerned with Chinese-Americans in Hollywood. Then there’s the rest of us, who are maybe a little bit of Malay, a bit of Peranakan, everything.

When it comes to me being half-English, to me, I identify more with my Asian side. I’m from Sarawak. You cannot get more Asian than coming from five hours into the jungle. I would put myself against anybody from the States – how Asian do you have to be? I don’t understand. I’ve lived all my life in Asia, I align myself with the Asian cultures, but then it’s easy for somebody to say “he’s not Asian, he’s just a white guy!” They’ve never left wherever they’re from. It’s easy to point fingers, it’s easy to criticise, and it’s easy to always never be able to make everybody happy. That’s something we have to come to terms with. But for me, I’m extremely proud that I’m able to represent Singapore, Malaysia, all of us Southeast Asian countries. It’s very important that we’ve made it this far, and I take my hat off to Warner Bros. for taking it there. We’re breaking boundaries with this film.

Tell us about your character Nick.

Nick is…his own self. Nick has a very rich history, especially with Singapore. His family is of the old guard. For Nick, he is very acutely aware that he’s the heir apparent to these riches, that he’s Singapore’s poster child for that old system, but he wants to be his own person. He wants to shine as Nick Yong, not of Ah Ma’s creation or Eleanor’s creation. He left to find himself – he went to Oxford to study, then he went to New York, all under the guise of trying to find himself – and he found himself in Rachel. That bond is essentially the core of the story. It’s a love story. He is a bit silly in not explaining what is waiting for Rachel, but what he’s most afraid of is her judging him for that, and her thinking differently of the Nick that she fell in love with. He’s caught in between this hell and heaven, where he needs to introduce to that part of his life, but he doesn’t want to scare her. He doesn’t know how to put it across, because his grand idea would be to bring her over and throw her into that pot.

So it’s a little bit like Eddie Murphy’s character in Coming to America, in a way.

In a sense, in a sense. Thankfully, Rachel does enjoy herself, and ends up falling in love with Singapore, almost finding something in herself. She was never in touch with her ancestry, apart from her mother, her Asian-ness. For her, all of this is new. It goes back to how Asian you have to be to actually be Asian. For her, she’s a foreigner, coming to Singapore. She’s learning a culture that she’s not familiar with.

How strongly did you identify with the character?

It was very strange, because Nick shoes that I stepped into are very similar to my own, in a sense. His sense of not really identifying with the past – his identity is something he’s always had problems with. He’s not ashamed of his family, but he’s very aware that it can be very jarring for someone like Rachel. When I was growing up in England, I was seen as a foreigner, then when I’m back in Asia, I was a foreigner as well, so where do you belong? You’re a stranger everywhere. When I was creating Nick, it was more conceptualising the ideas and the memories that Nick had. Growing up with Colin, how he met Rachel, the process of him falling in love, and his relationship with his mother, one of the key components of this story. Those are the things I had to explore, and have those triggers ready for a scene which would bring those to the front.

MICHELLE YEOH

Malaysian actress Michelle Yeoh is no stranger to moviegoers in Asia, and has made considerable inroads into Hollywood as well. She is perhaps best known for her roles in the Bond film Tomorrow Never Dies and the Lee Ang-directed martial arts epic Crouching Tiger, Hidden Dragon. She has also taken on prestige pictures like the Aun Sung Suu Kyi biopic The Lady. Lately, Yeoh has appeared in sci-fi projects like Star Trek: Discovery and Guardians of the Galaxy: Vol. 2.

In Crazy Rich Asians, Yeoh plays Eleanor Young, who butts heads with protagonist Rachel Chu (Constance Wu), who is dating her beloved son Nick (Henry Golding). Much of the conflict derives from differences in culture and class, with Eleanor being the main obstacle standing in the way of Rachel finding happiness with Nick. In this interview, Yeoh told us about her character, working with co-star Golding and director Jon Chu, and the heart of the movie behind the sheen of material wealth.

inSing: How do you function in this heat without sweating buckets?

MICHELLE YEOH: There’s a crew behind us who runs around with fans [so] we don’t melt.

Throughout your career, you’ve worked with so many great directors. How does Jon Chu measure up?

Oh, wonderfully. I told him a couple of days ago, he reminds me of a young Ang Lee. The intensity, the way he works, the way he talks to himself, the way he visualises. He’s so hands-on. The way he runs around the set looking at all the details, I really enjoyed my experience working with Jon. He has been an absolute delight.

What was it like working with Henry Golding, see as it’s his first movie?

Fantastic. He’s like an old-timer. I’ve really, really enjoyed working with him. He’s very passionate, he’s very eager and he wants to do this well. I think if you ask anybody in the crew, they all adore him. Everyone wants to take him home to show their mother, and all the mothers want to take him home as their sons!

How do you approach a role like Eleanor?

It’s not difficult, because first of all, the book is there. I have a very close understanding with Jon, which is very important because as the director, he is really the soul of the film. We’ve done some major changes as well, we really worked on the relationship between the mother and son. I think this is very key for me as an actor, and key for the movie as well, otherwise what is it that holds all this craziness together? It’s that the mother would die for him. She would do anything for him – you know how Chinese mothers are. You know they would jump in front of a train for you. The thing is, we think that when we’re brought up in America, you’re like a banana. You’ve forgotten what it’s like to be respectful to your elders, you listen to them instead of just chasing your own dreams and things like that. In this movie, I think we approach this subject matter and deal with it accordingly. I think there’s no right or wrong, some of the old ways need to be changed, but I think with Eleanor, when I saw this, it was a very good opportunity. All the things you’ve heard about in the past, the Tiger Mom, the matriarch, the mother-in-law, even in the black-and-white movies – I think in this one, we try to break that cycle, if it’s possible at all.

Will this film dispel the myth of Crazy Rich Asians?

No! I hope it gives you a chance to laugh at them, and laugh with them. The thing is, we’re not trying to laugh at them, we’re trying to laugh with them. There’s nothing wrong with laughing at ourselves. I think we can take ourselves too seriously at times, that makes you miserable and makes the people around you miserable. Life is short, and can be very unpredictable, so if you don’t enjoy the moment you have, it’s a missed opportunity.

It’s there in the title, Crazy Rich Asians. How do you reconcile the materialism and the opulence with the heart?

I think there is always that balance. It doesn’t mean that if you can afford all these material things, you don’t have heart. When you are very rich, it’s how you spend the money. You can pamper yourself, but also be aware and compassionate to those around you who need it. Sometimes when you’re very young, and you have it, you haven’t got the sense of control or the sense of discipline yet, to understand what you can do. You think “me, my car, my plane, my ship, my my my my my!” I hope one day this person will have his eyes opened and be enlightened, or have a good mentor who can show him the right way.

How is this role different from the others in your career?

I hope that every time I come into a role, it is different, because otherwise, you just see Michelle Yeoh. When I get offered a role, I have to see “why am I doing this?” Do I love the script? Do I love the director? I don’t want to make a movie where you watch it and go “oh, that’s just Michelle Yeoh being Michelle Yeoh again”. It’s like when we designed for Eleanor, this is not what Michelle Yeoh would wear, this is not the kind of hairstyle I would have. My assistant went “you never wear that!” And I said “good, it’s not me in the movie!” You have to step into the roles of others, otherwise it will lose the fascination for me, and for the audience as well.

This film is seen as a very big step forward for the representation of Asian people in Hollywood? What do you see as the future for Asian actors in genre projects, stuff like Star Trek or Marvel?

I hope I have that magic ball to see! I think it’s very important that we keep pushing for these genre movies. It’s so rare, so few and [far] in between that we get [them]. We are such a big community. We have to be more united, to get out and push more of these projects out there. We have to create the box office, we have to create the marketplace. Just think about the African-Americans, and the Indians – they make these movies because there is an audience of it. If we Asians can stick together and demand more of these movies, then Crazy Rich Asians gets made.

 

Positively Preposterous Prosperity: Crazy Rich Asians set visit

POSITIVELY PREPOSTEROUS PROSPERITY

inSing witnesses the wealth and wackiness first-hand on the set of Crazy Rich Asians

By Jedd Jong

Sprawling mansions, multi-million-dollar weddings, a bachelor party on a converted container ship, private jets, limited edition supercars – oh, to live as the top 0.1% does. inSing got a whiff of that rarefied air when we visited the set of Crazy Rich Asians in Singapore. Besides taking in the luxury, we learned that, yes, rich people have their problems too. Please contain your outpourings of sympathy.

Crazy Rich Asians is based on Kevin Kwan’s best-selling novel of the same name. Kwan was born in Singapore, and his family relocated to the United States when he was 11. The story’s protagonist is Rachel Chu (Constance Wu), a Chinese-American economics professor at New York University. Rachel falls in love with Nick Young (Henry Golding), who hails from Singapore. Nick takes Rachel back to Singapore for the wedding of his best friend Colin Khoo (Chris Pang) to Araminta Lee (Sonoya Mizuno). It is only then that Rachel realises that Nick belongs to one of the wealthiest families in Asia, and as the girlfriend of an extremely eligible bachelor, she draws the ire of scores of Nick’s would-be suitors.

Rachel also butts heads with Nick’s mother Eleanor (Michelle Yeoh), who disapproves of her son’s choice. Rachel finds herself drawn into an intricate family drama, with players including Nick’s beautiful cousin Astrid (Gemma Chan); Astrid’s unfaithful husband Michael (Pierre Png); Peik Lin (Nora “Awkwafina” Lum), Rachel’s best friend in Singapore, rowdy groomsman Bernard Tai (Jimmy O. Yang); social-climbing Hong Kong soap opera starlet Kitty Pong (Fiona Xie); and various other colourful characters.

When we visited the set along with other members of the press, it was the penultimate day of filming in Singapore. It was a night shoot, which tends to be arduous on the cast and crew. The scene being shot that night was set after the wedding reception at the Gardens by the Bay in Marina Bay Sands. In the shadow of the towering Supertrees was a cluster of banquet tables, each with a roasted pig as its centrepiece. Food stylists would occasionally spritz the pig with oil to keep its skin glistening. A stage sat towards the front of the garden, with an ornate fan-like backdrop and a bandstand on it. The laminated dance floor before the stage was kept covered with a grey carpet. The scene of the dinner itself was shot the night before.

Observing from a distance through a bank of monitors, we watched a heated confrontation between Nick, Rachel and Eleanor, with Nick’s grandmother (Lisa Lu) witnessing the argument. In between takes, director Jon M. Chu rushed over to speak to us. While he was perspiring heavily from the muggy Equatorial weather, Chu appeared to be in good spirits. To keep the cast looking picture-perfect while shooting outdoors, Chu told us that the makeup department alone was 30 strong. “That’s the biggest makeup crew I’ve ever had, and I’ve done bigger movies,” he remarked, quipping “sometimes dressing nice to a wedding takes more effort that being ninjas on the side of a mountain” – referencing his earlier film, G.I. JOE: Retaliation.

Chu’s credits also include two Justin Bieber concert films, two films in the Step-Up series of dance movies, Jem and the Holograms and Now You See Me 2. He explained that after helming several sequels, he was ready for a change of pace and sought out material that would be more personal to him. “I grew up in a Chinese restaurant with my dad and mum who came over – my Mum is from Taiwan, and my Dad is from [Mainland] China,” Chu said. “There’s that side of me, the traditional part of it, but I also grew up in California, as a California boy my whole life, so I have this other side.”

It was the director’s sister who introduced him to the novel, which struck a chord with Chu. “It says everything that I feel, but in the most fun way, not so dark and deep or trying too hard,” Chu observed. He added that he was excited to showcase Singapore in his film, proclaiming that “The world has not seen this world on the big screen in a big American movie.”

Chu was effusive about his cast, saying “they’re hilarious, they’re amazing, they’re talented, they’re fresh, they’re excited to tell a great story.” Over the course of the night, we would consistently hear about the actors’ camaraderie on and off the set. “Our cast gets along better than any other cast. They go for karaoke every night,” Chu said, adding jokingly “Almost too much, I think it might be a problem.” He added that he wished he could hang out with them more, but alas, a director’s work is never done. As if to demonstrate this point, Chu was whisked back to work and away from the media, returning to direct another take.

Crew members were stationed across the Gardens by the Bay complex, with personnel shuttled to and fro on buggies and golf carts. A function room had been converted into a green room, where we would meet several cast and crew members when they weren’t needed on set. Producer Nina Jacobson ducked behind the partition curtain in the green room where we were waiting. Outlining the film’s appeal, Jacobson described Crazy Rich Asians as “a universal story but told in a way we haven’t seen, in a place we haven’t seen.” Jacobson co-produced the blockbuster Hunger Games franchise, so she knows cinematic potential in a book when she sees it. “When I first read the book, I couldn’t put it down,” Jacobson recalled, adding “I very much identify with Rachel, but I was also fascinated by this world.”

According to Jacobson, the film examines cultural attitudes in a way that hasn’t yet been seen on the big screen. Jacobson said one of the themes in the story is “Tension between family and duty and happiness and love,” and the film deals with negotiating those tensions in a global economy in which “increasingly, people have a foot in two worlds.” Jacobson credited Malaysian-born co-screenwriter Adele Lim with providing “insights into generational conflict,” and assured us that there would be nuance to the conflict presented in the film. “It’s not just everyone being mean to the American girl,” Jacobson clarified.

According to Jacobson, Constance Wu was the first choice for Rachel. Jacobson described her leading lady as “funny, smart, casual” and “a breath of fresh air”. Wu actively pursued the part, and didn’t even have to audition. Similarly, Michelle Yeoh was the top pick to play Eleanor.

Jacobson insisted that the filmmakers were “mindful about people’s heritage,” and were aiming to accurately represent the characters as written in the book. This led to the elephant in the room: leading man Henry Golding, born to an English father and a mother from the Iban tribe in Sarawak, Malaysia, plays Nick Young. The character is ethnic Chinese and is described in the book as resembling “Cantopop idols”. The casting received its share of backlash, with critics decrying the film as committing ‘partial whitewashing’. This seemed hypocritical, given that star Constance Wu has been an outspoken opponent of whitewashing in media.

Jacobson called Golding “by far the best person for the part,” adding that “he felt like how we always imagined Nick.” Jacobson justified the casting by pointing to how “Singapore is a very multicultural place.” Clearly prepared for the topic to be broached, Jacobson said “There are many people whose families have mixed backgrounds and we could get away with it here, especially with Michelle as his mother, who has a Malaysian background as well.” The producer explained that due diligence had been done, and that author Kwan and Warner Bros.’ international partners had all been consulted about Golding’s casting and given their approval. “He had to be both the kind of guy a girl wishes she could be with, and a guy wants to have a beer with,” Jacobson reasoned, saying that Golding struck that balance.

While Crazy Rich Asians can be loosely classified as a romantic comedy, Jacobson insisted that there is dramatic heft to the story too. “Oftentimes in romantic comedies, there’s a major contrivance or misunderstanding,” Jacobson said. “To me, a movie is as romantic as the conflict between the characters is great.” Jacobson broke down the components of the film, saying “There’s the comedy of manners, there’s the romantic comedy, but at the heart of it, there’s a real dramatic conflict.”

Production designer Nelson Coates gave us a sense of the logistical undertaking that making Crazy Rich Asians was. Principal production lasted a mere 40 days, with shooting taking place in three cities in Malaysia and in Singapore. Despite the stressful schedule and the daunting task of re-creating staggering opulence on a limited budget, Coates was easy-going and friendly. He described working with a crew from 18 different countries, saying “you have to tune your ear to different kinds of English.” He remarked on some of the challenges of working in an unfamiliar environment, saying “Singapore does a funny thing in that they blend metric and Imperial. You might get a 4’ by 8’ sheet of plywood, but it’s 16 mm thick.” Coates seemed to take it in his stride.

To create Tyersall Park, the Young family mansion, Coates turned to the Carcosa Seri Negara, formerly a luxury hotel in KL. The historic complex had been abandoned for some time, and the production team gave it a makeover to turn it into the stately home befitting the wealthiest of the wealthy. “There were bats and hornets and feral dogs, we had to do major cleans,” Coates recalled. Some movie magic was required to make multiple locations feel like they were part of the same mansion. Coates built the Tyersall Park kitchen in the Kuala Lumpur Craft Museum, earning the approval of one key cast member. “Michelle Yeoh walks in and she goes ‘how did you know?! How did you know about all the food?!’ She was so excited to see it,” Coates beamed. The gates were built near Champion’s Public Golf Course in Singapore, in a stretch that the production nicknamed “monkey road”.

Coates’ eyes lit up as he described a central set piece – a container ship that had been converted into a party yacht to host the bachelor party. “When you get in, you come down the stairs from where the helicopter’s landed, and there is the basketball court, and the pit that you can dive and do stunts into, and the cars that have been cut and turned into pool tables on the top, and a climbing wall, and a series of Ducati motorbikes in front of a huge electronic wall that has all the streets of Singapore going past you as fast as they can, so it looks like you’re in the ultimate videogame. Then there’s the gambling area, and the arcade area, and a stage where all the beauty queens from all over the world come out and do a little dance.” All this was built in a parking lot in Kuala Lumpur.

While striving for a fidelity to the source material, certain changes had to be made to accommodate filming. For example, a scene that takes place in the Lau Pa Sat hawker centre in the book is relocated to Newton Circus for the film. “I know it’s not the one that’s in the book, but we chose it because it’s triangular,” Coates said. “Everywhere you look, you see vendors. We wanted that full explosion of foods.” Coates became a big fan of Singaporean food, and was fond of one particular snack, exclaiming “I love those ice cream sandwiches!”

When actress/rapper Nora “Awkwafina” Lum swung by, the room lit up. Energetic and personable, Lum quickly put everyone at ease. Rocking a necklace shaped like an avocado, it was clear that while some characters in the film were bound by strict decorum, Lum’s Peik Lin was a little on the wacky side. “She’s fashionable, but not classy,” Lum said of her character, adding “she wears bunnies all the time”. It was easy for Lum to relate to the character. “She’s a little bit of myself – I’m crazy, I’m very eccentric, and I’m a different kind of Asian female for people to digest,” she proclaimed. “She’s not a stereotypical character – she’s not the brooding mother-in-law, she’s not the classic beauty, she’s just a little crazy – so I feel like I connect with that a lot.”

Lum’s onscreen dad is played by Ken Jeong, whom she was thrilled to work with. However, filming scenes with him was challenging in its own way. “He’s so funny that when we run takes, I can’t keep a straight face. I break character every time,” Lum laughed. “In America, we have a very limited icon list, and he’s one of the most famous prominent Asian-American entertainers that we have,” she said of Jeong. “He literally called Jon and was like ‘I don’t care if I get paid, I just want to be in this movie,” Lum revealed, adding “it’s that important for our community back home.”

The actress considers it a privilege to be part of the first Hollywood studio film in 25 years with a predominantly Asian cast. “It’s something I didn’t think I’d see in my lifetime, and definitely not something I thought I’d be a part of,” she admitted. Lum stated that it was “important for the next generation to understand that this is possible,” hoping it sets a precedent in the American entertainment industry. “I look at the cast and realise that we’ve all, at some point in our lives, been the minority on a set full of white people,” Lum said, turning vulnerable for a moment. “We’ve been ‘that Asian’ on set. And now, that dynamic doesn’t exist.”

Stay tuned for more of our coverage of Crazy Rich Asians! Up next – interviews with stars Constance Wu, Henry Golding and Michelle Yeoh.