![]() ![]() So if you work commercially, the reason Easter Sunday got made is because Crazy Rich Asians did so well. And you go, "Wow, that wasn't just Asian people going." I mean, it was all sorts of people were in that audience, and it worked commercially. I mean, and I think the thing to look at is Crazy Rich Asians and how well that did. Well, I don't judge the past by the present's new rules." They will look back on this time period in 2040 and go, "Ah, they were racist, and they didn't do enough of this." And it's like, "Okay. We've got to give ourselves a little bit of a break here. I've directed this movie with a largely Filipino cast and a couple of Indians, and it's progress. It wasn't wrong, it was just the way it was.īut we're progressing. I mean, there was a point where they'd play white guys in brown face with Peter Sellers. But it doesn't mean that was a bad time or that was wrong, it was just the way it was. And so more of the characters had their accents, and it was played for laughs, I mean. ![]() There was a point where it used to be, the immigrants were newer. How do you look at it, in terms of what's been going on in the last few years?ĬHANDRASEKHAR: I think that representation is a step-by-step thing. I feel like the last few years there's been more representation in Hollywood, not a ton, but more. So we agreed to just make sure we've made a full-on, funny movie. Then we'll also have all these Filipinos in it, and then that part will advance the cause. " They're not like, "Hey, Filipinos are in it, it's great." They're going to want to be a really funny movie. So I said to him, "We got to make a really funny movie because people are going to expect it to be. So I'm going to make these two shots perfect as though I would have singles." Then I sit with the head writer on set, and we shoot the show and I say, "If I were working for another company, I would shoot a bunch of singles here." He goes, "I'll never use them." I say, "Okay. I watch their pilot and go, "Okay, I get which lenses they're using." They seem to want to use a lot of two shots. What is it like for you as a director when you're stepping in on, say, Resident Alien or some of the other things you've done, trying to hit their thing, but also make it your own?ĬHANDRASEKHAR: Well, I just directed a show with Rob Lowe called UNstable, which is a new Netflix show that he and his son are doing, John Owen Lowe. Because every show has its own aesthetic and its own way of doing things. I'm just curious, what is it like for you stepping into the different. And it's a process, but eventually, we get there. We'll throw out entire plot lines and reorganize everything and bring back plot lines. But number two, and my last thing on this, but does a lot change between draft five and fifteen when you're writing, or are you just tweaking scenes?ĬHANDRASEKHAR: No, the five to fifteen, there a lot does change. I have a ton of questions, but I have to start with, for me, might be one of the most important things, which is what is actually happening with Super Troopers 3: Winter Soldiers ? I'm so happy when more of representation gets out there, so I really do hope it's a huge hit for you guys. Let me start by saying, I'm really happy the film was made. In addition, he talks about why he created the free app Vouch Vault, which is designed to share the things you like or love with friends and followers.Ĭheck out what Chandrasekhar had to say in the player above, or you can read our conversation below.ĬOLLIDER: I'm always happy to talk with you. During the wide-ranging interview, Chandrasekhar talked about what drew him to the project, how he ended up playing Koy’s agent in the film, the importance of representation, sticking to the script versus improv on set, what he learned from test screenings, how he shoots on set, and the status of Broken Lizard’s Super Troopers 3.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |