Manage episode 338148644 series 3334565
"There are still plenty of obstacles towards getting stories featuring people of color specifically made in Hollywood, even though there are all those various new outlets and paths for that material to find audiences. Easter Sunday is an anomaly because it is a major studio-produced feature that centers on a Filipino-American family.
There is still what I call Asian America 101 that has to happen, which is like this very basic education that we have to impart upon the gatekeepers and decision-makers in Hollywood.
When you look at it in that respect, it is a bit of additional labor that we as creatives of color have to undertake, fairly or unfairly - probably unfairly if I'm being frank - but it is required. And is there a day where we don't have to do that additional emotional labor and creative labor to validate our own experiences and validate our own stories for the sake of financing? I hope so. We're not quite there yet."
Ken Cheng is a writer/producer who has previously written for Wilfred, Betas, and Sin City Saints. Ken’s feature comedy Easter Sunday, which he co-wrote, and executive produced for Amblin Partners, Rideback, and Universal, is inspired by the life and comedy of standup comedian Jo Koy. Forthcoming projects include writing and executive producing the half-hour comedy series, House of Chow, for HBO, co-writing – along with his creative partners at Crab Club, Inc. - a feature film adaptation of the GQ Magazine article, “The Great Chinese Art Heist”, for Warner Bros., Conde Nast, and director Jon M. Chu, and writing/producing a feature adaptation of the New York Magazine article “Chateau Sucker” for Bound Entertainment.