A couple of years ago, I slipped a disc in my back.  The pain was frustrating and the doctors basically told me to rest and try to keep the inflammation down.  This led to a ton of research on my end about various ways to keep inflammation at bay.  That, in turn, led to lots of conversations with people – old and young – who suffered from injuries leading to increased inflammation, arthritis and other conditions that would benefit from anti-inflammatory regimens. 
 
Now, inflammation in general is not a bad thing per se.  It can help our immune systems fight off disease and even help us repair damage so some short term inflammation IS good.  It’s the chronic inflammation that is worrisome and can cause harm to our bodies.  I collected a few general bits of advice here that seem to work for the majority of people I spoke with in healthily keeping that chronic type of inflammation at bay.  Obviously, this is not medical advice and you should consult a doctor you know and trust for any medical condition.  With that caveat, here goes:
 
The Top Three DO’s
 
1.  Eat:
TURMERIC
Turmeric is a natural anti-inflammatory.  It’s a spice and you probably know it best from Indian foods.  Read more about turmeric and its health benefits here.  A little trick is that mixing black pepper with turmeric boosts your body’s ability to use and take advantage of turmeric’s anti-inflammatory qualities.  Read more on that here.  Adding a bit of good fat is also incredibly helpful to maximize absorption.  Examples of good fats include a handful of nuts or seeds, an avocado or some raw, virgin flaxseed oil.
 
So, toss some turmeric and black pepper into your stir fry, stew, salad, smoothies, whatever!  I even add turmeric to melted dark chocolate, agave and shredded coconut for homemade chocolate sweets to munch on.
 
BLACK CURRENT OIL
You can get black current oil supplements at most heath food stores.  One I like is from “Health from the Sun” and is available from Swanson Vitamins here.  Black current oil gives you lots of omega 3and 6 fatty acids and gamma linolenic acid.  The gamma linolenic acid can particularly help with skin issues like eczema.  More info here 
 
KALE and SPINACH
Dark leafy greens are a tremendous source of Vitamin E which a lot of studies suggest plays an important role in protecting the body from chronic inflammation so eat your salad.  I now eat a small salad BEFORE every meal, even breakfast.  It helps me to make greens an automatic part of my diet at least three times a day.
 
BEETS
Beets are not only anti-inflammatory, they’re anti-cancer so yay!  My new favorite thing is beet noodles – spaghetti-like noodles made entirely of beets.  You can get them at a growing number of health food stores or make your own.  Example here.  I also make a “Beet The Detox Salad” I’ve blogged about before that’s delicious, filling and healthy.  I’ve also re-printed it below.
 
GINGER
Another nifty spice, ginger can also curb nausea if you’re sick or pregnant or on a boat in tumultuous seas.  Add some ginger to sautéed veggies, rice dishes, stews, soups, and even desserts for a little kick of healthy deliciousness.  I also grate ginger and melt it into dark chocolate with shredded coconut, agave and turmeric for a tasty sweet to have on hand (yeah, I know.  I mentioned that already in the turmeric section, above).
 
TART CHERRIES
Tart cherries also help soothe muscle soreness, prevent insomnia and help deal with jet lag.  I’ve used them to combat jet leg whenever I travel long distances for years (see my blog post here).  I only learned that they also help fight inflammation more recently.  Careful if you drink cherry juice only because there is a not insignificant amount of natural sugar so just keep it in mind if you’re watching your weight.  I dilute a little pure tart cherry juice with seltzer water at night for a yummy spritzer that also helps you sleep better.  See more cherry info here.
 
Dried “Just Cherries” are easy for carrying around and snacking on (perfect for travel) and, of course, fresh cherries are the best.  You can also throw them in smoothies, pies, tarts, salads, and all that jazz.  

CoQ10
Also referred to as ubiquinone.  Aim for 200 mg daily if you're taking a supplement to (better) get it through foods like green beans!
 
2.  Exercise
Moderate and consistent exercise is so good for you on every level.  Here is a cool study that looked into which types of exercise improve inflammation issues the most (https://breakingmuscle.com/learn/what-kind-of-exercise-improves-inflammation-the-most).
Just make it part of your routine.  It may suck at first but, if you force yourself to do it consistently, it will become routine and then you will start to love it.  Really.  You will.
 
3.  Use Healthy “Green” Beauty Products
A lot of personal care/beauty products contain inflammatory agents (dyes, fragrances, etc.).  Source your beauty products from companies that put customer health first.  “Natural” doesn’t really mean anything in terms of advertising.  It’s more of a marketing ploy.  I mean, plutonium is “natural” and you sure don’t want that in your moisturizer, right?  So, look for companies that are well known, endorsed by ethical and sustainable watch groups that you know and trust and that have ingredients that are ones you recognize. 
 
My top three favorite awesome skin care go-to’s (for the stuff I can’t make myself) are;

1. Acure, a sustainable, organic and very effective beauty brand  (https://www.acureorganics.com @acureorganics)
2. derma e, fabulous vegan skincare line that I adore (http://dermae.com  @derma_e) and
3. I also recently discovered a local New York brand called Cyrah’s Au Naturale, available at Health Nuts (@TheHealthNutsNY).  I bought the Vanilla Whipped Body Butter.  Not only does it smell good enough to eat, but it turns from this super soft mousse in your hands to a sultry oil on your body!  Cool, right?  If you’re not convenient to New York City, no problem!  They’re available on Etsy too at: https://www.etsy.com/shop/CyrahsauNaturale

 
The Top Three DON’T’s
 

1. Sugar– sorry, but no.  Avoid it.  
2. Saturated Fat – always bad.  For so many reasons.  How to avoid it?  Pretty much by avoiding overly processed food and fast food.  Your body will thank you.
3. Meat.  Especially red meat.  Not good.  Stay away!

 
DIY Body Balm for Calming Soreness:
 
Mix:
coconut oil
1/2 t cayenne pepper
2 drops peppermint oil
 
Rub it directly onto wherever is stiff and achy.  I tried this and, again, tingly and nice sensation but the cayenne is a little messy (don't wear white clothes while you do this) and it doesn't provide extreme relief - more like moderate, gentle, subtle relief.  Try it and see how it works for you.  I get the sense if you're someone who likes Tiger Balm (it doesn't work for me), this would be good for you.
More DIY balms here (http://jenniferbetityen.weebly.com/ethical-is-beautiful-be-beautiful-a-blog/more-uses-for-coconut-oil-as-a-skin-therapy). 
 
My Favorite Anti-Inflammatory Recipe:
 
Beet the Detox Salad
Beets are rich in butane, a natural digestive system helper (which is also fantastic for liver cleansing and digestion – bonus!).
Makes 4 side servings.
Ingredients:
 
1 large beet, coarsely grated
 
1 large carrot, coarsely grated
 
1 large apple, diced
 
2 tbsp almonds, chopped
 
2 tbsp flax, hemp, perilla, or pumpkin seed oil
 
2 tbsp lemon juice
 
4 cups mixed greens
 
Optional additions:
 
2 tbsp fresh dill or parsely, finely chopped
 
2 garlic cloves, minced
 
1/4 tsp gray sea salt or pink rock salt
 
Directions:
1.Toss all ingredients, except for the mixed greens, together in a large bowl. Mix in optional additions if using. You can make the dressing up to 2 days in advance and refrigerate.
2. Divide mixed greens between 4 plates and top with apple mixture
 
More recipes here 

 

Thanks to a generous grant from the New York Department of Cultural Affairs, the Film Lab has commissioned a special project to highlight the works and voices of amazing new filmmakers across the country.  I am thrilled to be able to use this blog to help.  This innovative project involves sharing the works, stories and voices of diverse filmmakers using their art in ways they feel will effectuate positive social change.  The featured artists have independently created works and are committed to sharing and collaborating with other like-minded artists. 
 
This is our final segment for this project and, as our finale interview, I'm delighted to be able to share the insights of director Katherine Filaseta.  It was a privilege being able to share the interviews of all these tremendous artists and I wish we could have interviewed many more!  Thank you to all who applied and please feel free always to share your works and ideas for collaboration and connection on the Film Lab's Facebook pages at: Film Lab, AAFL TV and 72 Hour Shootout.  Now, back to Katherine:

1.  Please tell us a little about yourself, your background and your work.
 
My name is Katherine Filaseta, and I am currently a director working in NYC. I really have no formal filmmaking background; my education was all over the place, from music to biology to international studies to acting, and what I think drew me to filmmaking was how it is probably the only place where all of these interests I have can smoothly overlap. That’s really what I enjoy doing and pride myself on with my work, as well: combining music, dance, camerawork, and other storytelling methods to tell a single, cohesive story.
 
2.  What are the most challenging and most rewarding aspects of your work and why?
 
The hardest part about being a filmmaker for me, personally, is convincing myself that this is a valid way to live my life. I definitely come from a supportive family that offered me a lot of privilege, but in such a way that they encouraged me to go into academia or medical school and at this point would be happiest if I took really any 9 to 5 job that comes with a W2 and health insurance. On top of that, I never grew up seeing women in the film industry on TV or in other media. So I have a lot of self-doubt because of this and sometimes feel like I’m trying to do the impossible, but at the same time just the fact of knowing that I am doing what I love with my life despite society’s invalidation is a huge reward. That, and hearing about hatred towards my work. I think within art, the more extreme feelings you can generate the more you’ve succeeded, even if those feelings are sometimes negative, so it always makes me happy when I see total strangers complaining about what I’ve made - it means they care enough to complain!
 
3.  How do race and/or gender and/or diversity play into your work?
 
In my work, emotional truth is the most important thing to me, and as a woman, I just naturally find it easiest to be truthful when the story I’m telling centers around women. It’s also tough, though, because as a straight cis able-bodied white woman, I feel an obligation to use the privilege I do have to help tell stories that are being told even less frequently than mine. So I’ve recently been working within stories that are truly mine with characters who are more intersectional, and then adding authenticity by working with diverse writers and actors (and other crew members when possible) who contribute their truths to my stories.
 
I also have very personal, although not first-hand, experience with things like inter-cultural adoption and disability in my family, and I struggle to find the ethically right way for me, an able-bodied white woman, to tell these other stories that are still very much mine, and that I know my sisters aren’t going to write/direct for themselves. It’s been tough figuring out the “right thing” to do as a minority storyteller who, compared to so many people, holds a lot of privilege. I don’t know that I’ll ever really figure out how to perfectly balance that in my work, but I am trying.
 
4.  What are the best and worst things that have happened to you, within the context of race or gender issues in entertainment, and what did you learn from them?
 
Along the lines of what I was talking about in the last question, I had a pretty negative situation recently when I was trying to source other people’s stories for a short script I was writing that was set in India, a place I am in no way from, even though I have spent a lot of time studying and living there. Because of this, I used social media to ask for stories from people who were from India, and received a lot of backlash along the lines of “why should YOU tell our stories?” Of course, because it’s the internet, it quickly got much nastier than that, and it put me in a difficult place because I was asking for these stories with the intention of gaining authenticity, and in the end it felt like I ended up just making things worse. I definitely am handling this particular situation the wrong way, because I’ve put the script on pause ever since then, but I guess what I have taken from the situation is just that it’s impossible to please everyone, especially in situations that involve things that people are as sensitive about as their own culture/race/gender. Of course I always will strive to do what is the most truthful and ethical in all of these situations, but it’s still probably going to make people upset, and it’s important to understand as soon as possible that this will regularly be a side effect, so that I can engage in those conversations while not losing confidence in myself and the stories I want to tell.
 
6.  As you know, AAFL TV promotes works that seek to effectuate positive and constructive social change through the medium of film.  Do you think filmmakers have an obligation to create diverse and/or morally and socially conscious content?  Why or why not?
 
I don’t think it’s an obligation of all filmmakers to create diverse/moral/socially conscious content, per se. Everyone’s story is valid, and there are people out there who just are not going to be able to tell stories that are both truthful and socially conscious. I personally feel that obligation, but I don’t think art that doesn’t is invalid as art. However, I do think that if someone makes content that isn’t socially aware, they need to be open to conversations and criticism about it.
 
7.  What are the most sage words of advice you can offer to new and emerging filmmakers?
 
This was said by the brilliant Victoria Alonso at the NYWIFT Muse Awards 2015 (the full speech is also something all women in the industry should watch): “The reason why we’re not there is because we walk in with fear because we don’t have everything together. Men walk in, have 50% of it, and they own a seat at the table. We walk in with 99.7%, and we doubt that .3%. Stop it!”
 
I know that advice is specifically directed towards women, but it’s the best words of advice that I’ve ever heard or followed. If we want to succeed as a group, it’s important to start by walking into a room and owning it as if we were all white men. Before we even get to a point of calling ourselves successful, we all know so much - so we should give ourselves credit for what we do know.
 
9.  What is the single most fun moment you've experienced in the entertainment industry?
 
Going to film festivals as a filmmaker is always fun. When you’re in front of the camera you have people constantly talking about how beautiful you are (both in real life and through the camera), but when you’re behind the scenes, life is generally much less glamorous - so it is always fun to go to a festival and feel glamorous for a change. It’s also just nice to relax with a few drinks while you watch those first crowds of people appreciating the product of all your hard work.
 
10.  What is the single most obnoxious moment you've experienced in the entertainment industry?
 
Honestly, the most obnoxious things I experienced were in “film school” (in quotations because it was just a very short three-month evenings-only class). Maybe some of my peers were more non-committal because it was a short-term class, but on my first ever directing project, I had an older man in my group show up five hours late to set with no communication that he was running later than 15 minutes. As soon as he showed up, he started giving creative input and generally starting all sort of conflict trying to take control of my project, which was both irritating in itself and felt like it was one of those situations where he thought even his five-hours-late opinions would always be more valid than the woman’s pre-prepared ones. Since I’ve been out of school, though, I’ve been involved with organizations like New York Women in Film & Television and Asian American Film Labs; by being a part of these groups, I’ve always had the opportunity to choose to work with people who realize that we’re all struggling to work towards the same goal, and as such, I’ve had very few obnoxious experiences.
 
11.  What lies ahead for you in terms of the entertainment biz?
 
I don’t necessarily have a five-year plan, but I should at least have some fun projects coming out in the next year or so. I’m currently in the final stages of post-production for a horror short; my first experience even consuming horror as a genre was in preparation for this film, so it was a fun experiment for me. After that, I’m in pre-production on a script for a short film that I’m directing, about an Indian-American girl graduating from college and grappling with her goals for herself vs her parents’ dreams for her, which will include some Bollywood-esque storytelling aspects that I’m super excited to play with. Then I’m also finishing up my own screenplay, my first serial script, about all the crazy behind-the-scenes drama and unique characters that go into making even just one night of an international film festival appear to run smoothly.
 
12.  What does the phrase "Ethical Is Beautiful Be Beautiful" mean to you and your work, if anything?
 
I think within art, to be ethical you just have to be truthful. What has been true about my life is that it has been a liberal bubble filled with diverse people, but if what is true about your life is that everyone is a rich white man wearing a “Make America Great Again” hat, that is still ethical and can still make a really interesting and beautiful story - and is still even a story that I might be interested in directing. Scripts from either bubble that rely on offensive jokes, cheap stereotypes, and/or one-dimensional characters whose whole personality is based on their appearance, on the other hand, would fall in the realm of ugly and unethical. To me, being ethical doesn’t necessarily have to mean I am telling a story that has a moral objective of any kind; it just means making sure my stories include a variety of three-dimensional characters that real people can actually relate to.
 

Thanks to a generous grant from the New York Department of Cultural Affairs, the Film Lab has commissioned a special project to highlight the works and voices of amazing new filmmakers across the country.  I am thrilled to be able to use this blog to help.  This innovative project involves sharing the works, stories and voices of diverse filmmakers using their art in ways they feel will effectuate positive social change.  The featured artists have independently created works and are committed to sharing and collaborating with other like-minded artists. 
 
I'm delighted to be able to share the insights of fabulous filmmaker Kevin Chew!  Like the last several featured artists, Kevin has competed several times in the 72 Hour Shootout, consistently placing among the top films.  Listen to a few words from Kevin here and read on to hear what he has to say!

1.  In a short paragraph, please tell us a little about yourself, your background and your work 
Actor turned filmmaker and stay at home Park Slope Chinese American Dad.  I love everything about movies so I've devoted my life to it.  Acting credits include The Blacklist, Step Up 3D, Blue Bloods and Caesar's Palace Atlantic City commercial where I met my wife on set.  Award Winning 72 Hour Shootout films include "One Chinese Dude," "My Two Faces," and "Good Morning America."

2.  What are the most challenging and most rewarding aspects of your work and why? 
The lack of Asian roles limits my opportunities so it's a privilege just to be able to get an audition.  And when you get the role, that's when the fun begins.

3.  How do race and/or gender and/or diversity play into your work? 
It's an obstacle that I try to make something positive out of.  

4.  What are the best and worst things that have happened to you, within the context of race or gender issues in entertainment, and what did you learn from them?   
The best and worst thing is getting cast for a role without auditioning for it.  Being the token Asian is sometimes the only way in.

5.  If you could share a single sentence of advice or insight for others in the entertainment business, what would it be?
 Make your own path because no one else is going to do it for you.

6.  As you know, AAFL TV promotes works that seek to effectuate positive and constructive social change through the medium of film.  Do you think filmmakers have an obligation to create diverse and/or morally and socially conscious content?  Why or why not?
They need to represent the reality of the world.

7.  What are the biggest challenges you face as a filmmaker and how do you deal with them (please list only non-criminal means of dealing with said problems)?
Having no budget is a challenge so I try to use it as a strength.

8.  What are the most sage words of advice you can offer to new and emerging filmmakers?
Being resourceful can unlock your creativity.

9.  What is the single most fun moment you've experienced in the entertainment industry?
 Seeing my character's name on my dressing room door, having a stand in, stunt double and a translator and getting to shoot a gun on "The Blacklist"

10.  What is the single most obnoxious moment you've experienced in the entertainment industry?
 Meeting one of my heroes and realizing that he's kind of an ass.  Maybe he was drunk?  Maybe I was kissing his butt too much?

11.  What lies ahead for you in terms of the entertainment biz?
 Apply for late nite tv show writer.

12.  What does the phrase "Ethical Is Beautiful Be Beautiful" mean to you and your work, if anything?
It's the world we live in!

Thanks to a generous grant from the New York Department of Cultural Affairs, the Film Lab has commissioned a special project to highlight the works and voices of amazing new filmmakers across the country.  I am thrilled to be able to use this blog to help.  This innovative project involves sharing the works, stories and voices of diverse filmmakers using their art in ways they feel will effectuate positive social change.  The featured artists have independently created works and are committed to sharing and collaborating with other like-minded artists. 
 
I'm delighted to be able to share the insights of filmmaker and actor Tyler Ham Pong.  Like Christina (the most recent prior featured artist), Tyler has competed several times in the 72 Hour Shootout, consistently placing among the top films.  Listen to a few words from Tyler here: https://youtu.be/UthXHnxPNgU and read on to hear his insights:  

1.  In a short paragraph, please tell us a little about yourself, your background and your work.
When I was 19 years old, I moved to the States from Canada to pursue acting. I was also interested in the storytelling process, so I honed my writing skills and produced theater on a shoestring. Later, I picked up a cheap flip cam and learned how to shoot and edit film, also on a shoestring. I think it’s important for an actor to branch out in that way. Learning about the mechanics of film definitely helped inform my performance.

2.  What are the most challenging and most rewarding aspects of your work and why?
For me, the most challenging aspect is business. I never expected to spend as much time on marketing, networking, etc., and it can be huge drag when I just want to be creative. Alternatively, the most rewarding part of when all that business pays off and I can finally focus on creativity. But you know, it’s back and forth.

3.  How do race and/or gender and/or diversity play into your work?
When writing, I try to be conscious of giving my characters depth that transcends race and gender, but it’s also very important for these characters to affected by their life experience. Even if it’s not on the surface, these factors are always in consideration.
 
4.  What are the best and worst things that have happened to you, within the context of race or gender issues in entertainment, and what did you learn from them?
Being mixed ethnicity, some people don’t realize that I’m half Chinese and may say something derogatory. I’ve been in situations where I tell a person I’m half Chinese, and they respond with something like “Oh, but you don't have slanty eyes.” Nevertheless, I’ve found amazing support from the Asian American film community, who help others obtain a better understanding of the Asian American experience the larger and louder we become.

5.  If you could share a single sentence of advice or insight for others in the entertainment business, what would it be?
Don't dream it, be it.

6.  As you know, AAFL TV promotes works that seek to effectuate positive and constructive social change through the medium of film.  Do you think filmmakers have an obligation to create diverse and/or morally and socially conscious content?  Why or why not?
Film has always held a mirror to society, whether it be on purpose or inadvertently. If you tell a story that expresses your truth, it will always have an impact of social change.

6B.  What are the biggest challenges you face as a filmmaker and how do you deal with them (please list only non-criminal means of dealing with said problems)?
Some of the biggest challenges are being heard and seen. I deal with them by creating my own opportunities and working hard to be noticed, whether I'm sending out e-mails or going beyond my field to expand my professional knowledge. I'll either come back to center, or find a new center.

7.  What are the most sage words of advice you can offer to new and emerging filmmakers?
Get as much hands-on experience as you can. I made one of my first movies on a flip cam. Sound was non-existent, so on my next film I rented sound gear. Lighting was terrible, so on my next film I borrowed someone's soft boxes. Etc., etc.

8.  Does your advice change at all if I ask you to focus on women and/or minority filmmakers?  If so, why and how.
Not particularly. But depending on what type of movies you make, you have to know your audience and know how to reach them.

9.  What is the single most fun moment you've experienced in the entertainment industry?
Whenever I look back at my work, I think about what I could have done better. So I think the most fun is the creative process. After everything's said and done, I want to apply what I've learned and make something else.

10.  What is the single most obnoxious moment you've experienced in the entertainment industry?
I once filmed in a diner and the owner refused to turn off the music. He claimed that the sound system was "n*ggery... it doesn't work." After he left, we asked one of his staff to turn off the music and he did. This moment has and always will make me emotional. There are people who enjoy being part of the problem, and it's hard to change anyone's mind directly. Social change is a collective effort and it's important to find collaborators you trust and believe.


11.  What lies ahead for you in terms of the entertainment biz?
Anything and everything.

12.  What does the phrase "Ethical Is Beautiful Be Beautiful" mean to you and your work, if anything?
There is always an underlying tone of ethics in art. You may agree with the message or not, but as long as it creates discussion, you've added to an ongoing dialogue.​

Thanks to a generous grant from the New York Department of Cultural Affairs, the Film Lab has commissioned a special project to highlight the works and voices of amazing new filmmakers across the country.  I am thrilled to be able to use this blog to help.  This innovative project involves sharing the works, stories and voices of diverse filmmakers using their art in ways they feel will effectuate positive social change.  The featured artists have independently created works and are committed to sharing and collaborating with other like-minded artists. 
 
I'm delighted to be able to share the insights of writer and director Christina Jun.  Christina has competed several times in the 72 Hour Shootout, consistently placing among the top films.  Listen to a few words from Christina here and read on to hear what she has to share:

1.  In a short paragraph, please tell us a little about yourself, your background and your work.
After earning my B.A. in creative writing, I moved to NYC to pursue a career as a theatre actor. I was fortunate enough to work with theatres like the Miami Theatre Center, the Goodman and the New American Theatre. Simultaneously, I wrote and directed a number of films, which earned screenings at multiple festivals including the Asian American International Film Festival and HBO's Philadelphia Asian American Film Festival. Two years ago, I made the switch to directing and writing full time. I am currently an MFA candidate at USC’s School of Cinematic Art and recently completed the theatre directing summer workshop at the Yale School of Drama. I current reside in Los Angeles.
 
2.  What are the most challenging and most rewarding aspects of your work and why?
I think the most challenging aspect tends to result in the most rewarding aspect of my work. Because my films are often Asian American or female centric, a lot of hurdles can arise in the process. Everything from casting to distribution is more difficult because you have to dig a little deeper to find the right collaborators and platforms. But the most rewarding aspect is when you’ve completed the film without making any compromises and having kept the integrity and your intention for the story intact.
 
3.  How do race and/or gender and/or diversity play into your work?
Race, gender and diversity are the driving forces behind everything that I do and this exists in my work in two ways. First, because I’ve been in the industry both on and off camera, I am acutely aware of the lack of representation in both areas. As a result, I make it a point to find the appropriate voices to tell each story that I am working on. For example, if it is a female-centric story, then both talent on and off camera will reflect this.
 
Ironically, the second way race, gender and diversity plays a role is the blatant opposite of this: complete color blind casting and hiring.  When a story is nonspecific to any gender or race, I cast and hire the best, most talented cast and crew regardless of their ethnicity, sexual preference or gender identity. What happens as a result of this is a gathering of unique and diverse artists that strengthen the story in ways that I could never have pre-planned if I had sought out a specific cast/crew based on gender or race.
 
4.  What are the best and worst things that have happened to you, within the context of race or gender issues in entertainment, and what did you learn from them?
By 2012, I had been a professional actor for roughly 4 years.  Though I had worked on several theatre productions and commercials, it was evident that in a majority of them, I played stereotypical Asian characters like, the manicurist or the concubine. The auditions I was called in for were no different. In the rare case that I auditioned for roles that were not Asian or Asian American specific, I usually didn’t book it. I remember often questioning my own talent and wondering if I would ever be good enough to play anything but stereotypes.

Then in that summer, AAPAC NYC released an article (read it here) with a statistic that reflected a mere 3% of the roles in the past five Broadway theater seasons went to Asian American actors. This works out to 54 roles of the 6,639 that were cast.
 
This was the best and worst moment of my career. I realize for the first time how dire the situation really was. I think before seeing the numbers, it was more of a vague feeling rather than a concrete understanding. But it made me realize that first, I wasn’t the problem but rather the industry that I was trying to maneuver in. Secondly, it made me realize my true goals as an artist. It became evident that this brick wall I was up against was a battle that a majority of Asian and Asian American actors were fighting and that as a writer and director, I could do something about it. That was the beginning of my shift from working on-camera to behind the camera full time.  
 
5.  If you could share a single sentence of advice or insight for others in the entertainment business, what would it be?
If you’re in this business, you’ve clearly chosen a life of art and expression over practicality. So, DON’T COMPROMISE and never let the current shape of the industry dictate your voice and vision.
 
6.  As you know, AAFL TV promotes works that seek to effectuate positive and constructive social change through the medium of film.  Do you think filmmakers have an obligation to create diverse and/or morally and socially conscious content?  Why or why not?
Yes, because film is not purely entertainment. The portrayal of communities and people in film/TV directly contributes to the society that we live in. For example, I played a Chinese character in a theatre production in Miami where there is little to no Asian community. After a show, a Caucasian woman approached me with her adopted 3-year-old Vietnamese daughter and asked if she could meet me as she has never met an Asian woman in person before. The mother was concerned that because of the lack of an Asian community in Miami, her daughter would never have a tangible access to her culture. I believe Film and TV have the power to bridge this void and absence of identity and culture in our society. With authentic representation, Asian and Asian American culture and people would be more accessible to our society and stereotypes and misconceptions would be eradicated.
  
6B.  What are the biggest challenges you face as a filmmaker and how do you deal with them (please list only non-criminal means of dealing with said problems)?
I think like many independent filmmaker, financing and exposure is the biggest challenge. But as an Asian American, female filmmaker, I believe the industry is making a great effort towards inclusion. So there are countless grants, labs and initiatives available that will support you in cultivating your vision.  

7.  What are the most sage words of advice you can offer to new and emerging filmmakers?
Take everything with a grain of salt. Every rule that you learn may not work for you. So definitely take the time to understand how things are done but don’t forget to figure out how they can work for you.
 
8.  Does your advice change at all if I ask you to focus on women and/or minority filmmakers?  If so, why and how.
I would also add that though the feeling of being disadvantaged or marginalized because of your gender or ethnicity is completely valid, what you do with it is completely up to you. It’s important to understand the current state of the industry that you are a part of but never let that be a reason to be discouraged. Rather, let it be the motivation behind the stories you tell: so you can change the game rather than be its prisoner. Every time someone tells you your Asian American centric story isn’t relevant because it’s niche and has a limited audience - instead of giving up or compromising your vision, let that be the reason why you tell that story. So that through it, you can broaden the audience and make Asian American stories mainstream.
 
9.  What is the single most fun moment you've experienced in the entertainment industry?
I think I have the most fun when I am directing on a set where there is great artistic chemistry among the cast and crew. Because though I believe what we do is vital to the progression of our society, at the end of the day, we are doing what we are most passionate about: storytelling. So, it’s important to enjoy the process and not take it too seriously.  
 
10.  What is the single most obnoxious moment you've experienced in the entertainment industry?
I often find myself in conversations with straight Caucasian men about the difficulties of being a minority woman in the industry. They counter the conversation by saying that they wish they were a woman or a minority so they could have a specific voice. These are, hands down, the MOST OBNOXIOUS experiences I have on a regular basis. Because this solidifies the misconception that they are not participants to the issue at hand. That discrimination, stereotypes and just the sheer lack of representation is our battle alone. When in fact, it is an issue that everyone should contribute to, in fixing.
 
11.  What lies ahead for you in terms of the entertainment biz?
As a director and writer, the subject and story are what attracts me most. Because of this, I find myself drawn to a variety of projects including fiction film, documentary and theatre. In the next few months, I will complete a short film, begin production on another as well as start development on a full-length play. 
 
12.  What does the phrase "Ethical Is Beautiful Be Beautiful" mean to you and your work, if anything?
It means to not compromise your integrity or your vision. Often it’s tempting to accommodate or abide by how the industry currently is because it’s easier to not make waves. But standing by your beliefs and acting on them in a steadfast way is vital to the growth and progression of both the industry as well as our society.

Want to learn more or connect with Christina?  Check out her SOCIAL MEDIA LINKS:
Website: www.ChristinaYRJun.com
Vimeo: https://vimeo.com/user7779014
Instagram: https://www.instagram.com/stinajun/

​Thanks to a generous grant from the New York Department of Cultural Affairs, the Film Lab has commissioned a special project to highlight the works and voices of amazing new filmmakers across the country.  I am thrilled to be able to use this blog to help.  This innovative project involves sharing the works, stories and voices of diverse filmmakers using their art in ways they feel will effectuate positive social change.  The featured artists have independently created works and are committed to sharing and collaborating with other like-minded artists. 
 
I'm delighted to be able to share the insights of the incredible director and editor, Allan Tsao.  Allan first contacted us to share the story about a narrative he wrote for his feature directorial debut, ‘Reawaken, ' a crime drama set against the backdrop of a post-earthquake Haiti about a suicidal prison guard and a displaced teenage mother who reluctantly unite to rescue her infant daughter from a notorious gang of kidnappers (think ‘City of God’ meets ‘The Professional').  
 
Unlike the classic tale of ‘Pocahontas’ or ‘Avatar,’ Allan wanted the protagonist to go through the inverse transformation from longing for a new life in a foreign land (America) to re-discovering the love and appreciation of his roots in Haiti. Allan chose Haiti after his close friend and a producer of the project, Michel, a Haitian filmmaker and photographer, was kidnapped (yes, KIDNAPPED!) by the gangs of Cite Soleil, one of the most dangerous slums in the Western Hemisphere.  At the time, Michel was working as a cameraman for the UN, filming a campaign against Gun Violence and made a wrong turn one day. The gangs accused him of spying with the camera and kept him captive for 2 hours while they interrogated him. As surreal an experience as it was, ironically, it was also Michel's film background that saved him. He mentioned to the gangsters he was in a film that they were actually fans of and some of them recognized him and let him go. But about a year later, a couple of Michel's family members were also captured by  gangs from the same slum. Luckily, no one was harmed and he got them back after paying a ransom.  Later, the 2010 catastrophic earthquake destroyed Michel's homeland and the death toll was in the hundred thousands. 
 
As an Asian-American, Allan admits he's " not exactly the poster child of what a Haitian voice would look like nor do I have any personal connection to the land and its people.  And indeed, I was hesitant to tackle a story in a setting so far removed from my own, but art is about inclusion and really at the heart of this Haitian story is a human story of survival, identity and redemption that blurs the line of color and culture. It is a story that demonstrates my passion for sharing tales of ordinary people in extraordinary circumstances and my belief that the personal can be social."
 
It’s estimated that there are 40 million slaves in the world today. That's more than any time in history and the majority are women and children but boys and men are impacted as well. As Allan notes, "Most people probably don’t know that child kidnapping since Haiti’s earthquake is a great contributor to this horrifying issue and, as Allen explains, some of our charitable contributions get into the wrong hands that breed this perpetuating problem."
 
Currently, Allan is working on an Indiegogo campaign to raise funds  to get to Haiti in January.  He told me that more than 75% of the funds will go to the people of Haiti.  Here is what more of what Allan had to say:
 
1.  In a short paragraph, please tell us a little about yourself, your background and your work
 
 I was born in Taipei, Taiwan and immigrated to the States when I was six. Grew up in New York. Went to NYU and studied film and television. Work professionally as an editor and in the process of getting my first feature film off the ground as a writer/director. I would consider myself, at the moment, an editor by practice, a director by art.
 
2.  What are the most challenging and most rewarding aspects of your work and why?
 
I would say the most challenging aspect of film is just having your voice heard. In a noisy world where there are many voices and so many outlets for voices to be projected, how does my voice set apart from the next person? What makes my voice unique that people want to take the time out of their day to listen? 
 
3.  How do race and/or gender and/or diversity play into your work?
 
I think my feature script speaks a lot of my views on diversity. As an Asian-American, I am not exactly the poster child of what a Haitian voice would look like nor do I have any personal connection to the land and its people.  And indeed, I was hesitant to tackle a story in a setting so far removed from my own, but art is about inclusion and really at the heart of this Haitian story is a human story of survival, identity and redemption that blurs the line of color and culture. It is a story that demonstrates my passion for sharing tales of ordinary people in extraordinary circumstances and my belief that the personal can be social.
 
4.  If you could share a single sentence of advice or insight for others in the entertainment business, what would it be?
 
 Network. This business is really about who you know. 
 
5.  Do you think filmmakers have an obligation to create diverse content?  Why or why not?

 I don’t necessarily think filmmakers have an “obligation” to create diverse content for the sake of diversity.  I think filmmakers have the obligation to tell stories that are true and genuine. And if such stories are diverse, don’t be afraid to have your voice heard even if you feel it might not be popular. 
 
6.  What are the biggest challenges you face as a filmmaker and how do you deal with them?
 
 Biggest challenge is to get others to believe in what you’re selling. To have them join your movement. To want to be a part of your team even if it means they have to abandon their own ship. But at the end of the day, it’s about putting out good quality of work. The rest will follow.
 
7.  What are the most sage words of advice you can offer to new and emerging filmmakers?
 
 I think so many filmmakers get caught up in the art of filmmaking that they forget to take into consideration the business side of it. Like any industry, the work you put out there still has to be sustainable.
 
8.  Does your advice change at all if I ask you to focus on women and/or minority filmmakers?  If so, why and how.
 
No.
 
9.  What is the single most fun moment you've experienced in the entertainment industry?

 When I shot my short film, ‘Ghost Soldier.' it was the last day of shooting and we were getting ready for the aftermath of an explosion scene. Had a fog machine running and someone forgot to close the door to the soundstage and the fog seeped out into the hallway. Someone, who wasn’t part of the crew, thought it was smoke and pulled the fire alarm. Five trucks showed up, the fire marshall, evacuated every NYU building on West 4th Street. My actors were all still in their Marine gear, bloodied. We caused quite a ruckus for that one shot but that’s the filmmaking. Can’t make an omelet without breaking a few eggs. 
 
10.  What is the single most obnoxious moment you've experienced in the entertainment industry?
 
 I haven’t necessarily experienced anything directed specifically towards me but, of course, diversity in film is something minorities struggle together. 
 
11.  What lies ahead for you in terms of the entertainment biz?
 
 Getting my first feature film off the ground. In the process of assembling a team, building traction for the script and attaching a named producer/actor.
 
12.  What does the phrase "Ethical Is Beautiful Be Beautiful" mean to you and your work, if anything?
 
To me the phrase is about embracing all stories that blur the line of color and culture. 

This past Christmas, I received a tank top that said in bright white letters: “I’m not always a bitch.  Just kidding.  Go fuck yourself.”  For some reason, that made me think of the “I’m sorry” issue that’s been in the news and all over the social media of some of my friends – you know, the one about how American women tend to apologize more than American men and should stop doing so.  Some women I know I know have even said to me, “I would normally apologize here but I’m not going to because, you know, women apologize too much so I am not going to say I am sorry.”  Hey, uh, what was the point of that whole statement?  If you did something wrong, say sorry.  If you didn’t, don’t.  If you think you might have, you probably did, so say sorry.  Unless you’re an ass.
 
Look, women may very well say “Sorry” more than men.  SO THE FUCK WHAT? What is wrong with being fucking nice?  What is wrong with saying fucking sorry?  I think that instead of reading the statement, “Women say sorry more than men” and immediately thinking “Well, men are always right so women shouldn’t be saying sorry so much!  Bad women!”  We should, instead, consider the fact that maybe MEN should be saying “Sorry” MORE.   Maybe the world would be a lot easier and nicer if we said sorry a little more often, if we took responsibility for our choices, accountability for our actions, admit it when we’re wrong so we can learn and grow from our errors.   Maybe it would be cooler if, instead of shoving people out of our way and not apologizing, we at least throw a “Sorry” over our shoulder as we barrel down the street.  Or, we could all act like total brats who couldn’t give a shit about anyone but ourselves.   From a utilitarian perspective, which is better?  From a “Who would I want to live with/near/in the same neighborhood as?” perspective, which is better? 
 
Is this an oversimplification of some gender issues?  Maybe…but maybe not.  Kind of depends why you were planning to say or not to say sorry.  Come on, if you’re saying you’re sorry for everything in the world when (a) these things aren’t your fault and (b) it’s become a verbal tic, yeah, then STOP IT already.  But a basic apology when the time calls for it is just basic common courtesy.  Or should be.
 
That’s it.  I am not going to go into a whole argument on gender and culture and the sexist attitudes that keep us all down (women and men because sexism is a human issue – news flash!).  I am just going to say that just because a majority of men do something, it doesn’t mean it’s good or right or that it’s anything we other humans should necessarily want to emulate.  Likewise, just because a majority of women do something, that doesn’t necessarily mean it’s bad or wrong or something we should avoid doing.   Me, I’m going to be super nice to nice people and I am going to do justice to my new tank top when dealing with non-nice people.
 
Someone told me recently women tend to smile more than men, too.  I did not think, “Wow, gee, if women tend to smile more than men, then it must be a sign of weakness and stupidity and I should just stop smiling right away.”   But, I bet someone did.