YAN CUI : ACROSS BORDERS

Yan Cui is an independent filmmaker who has worked in China, Canada and the USA. In 1995/96 her film, ‘Chinese Chocolate’, won the International Confederation of Arts Cinemas Prize (CICAE) at the 46^th annual Berlin Film Festival. She then followed that up with a second feature, ‘Yellow Wedding’. Yan currently lives in Los Angeles working through her production company ‘Good Choice Productions’. AUSUS Magazine spoke to Yan about screening her film in Berlin, her current projects, and the challenges she faces being part of a minority group in America 

Q: Where were you born?

I was born in Beijing, China. I then moved to Canada in 1985. Now I live in Los Angeles. 

Q: Did you make films in Beijing?

No. I was working in the Beijing Film Studio as an actress and then later as an assistant director. 

Q: What inspired you to write ‘Chinese Chocolate’?

My friends, who had also emigrated from China, inspired me. The women especially inspired me. Of course, I also included my own feelings and experiences surrounding my family and my relationship. It was the point in my life that I felt I had to tell that story. 

Q: What was your experience like being at the Berlin Film Festival?

Berlin, I think, has the best audiences in the world. They are so intelligent and open-minded. I was thrilled to see a packed house at each of our screenings. They even added an extra screening to met the demand. And the debate after the initial screening was the most heated in all my festival experiences. I loved it. It made me feel like I’d made something that people really related to. It inspired me to make more movies. Many immigrant women from East Germany, India and Asia came and thanked me for telling their stories. That was very touching. Of course, the award was a big surprise, but it made me very happy. 

Q: Did the success of ‘Chinese Chocolate’ lead to other opportunities?

Yes. We made the second indie film, ‘Yellow Wedding’. We didn’t have much luck with it in Hollywood. However, I almost had the opportunity to make a bigger budget film but the producer was unable to get the go ahead on either the script or the casting. We finally lost the project. It was a pity. But it was probably meant to be. 

Q: What other films have you written?

‘Moon Goddess’, ‘Red Strings’, ‘Sweet Topsy Turvy’, ‘Heaven’s Island’, ‘Madame Goldenflower’, ‘My Private Tibet’, ‘Late Afternoon’, ‘Things In Between’, ‘There Try Alive’… 

Q: You’ve focused on many different areas. Do you have a favorite?

Definitely directing film! 

Q: What are you working on now?

I just finished the final version of ‘Moon Goddess’. We’re in the process of seeking financing and packaging. Getting the stars attached. I’m also just completing the ‘Madame Goldenflower’ script. And we’re pitching our drama/ comedy television series to the networks. 

Q: What prompted you to move to LA?

I think it’s easier here than in Canada. I want to make more commercial types of films that will draw more of an audience. I’ve done two art films. I wanted to try something else. Canada has it’s own system. Many people rely heavily on government funding. I got my funding from private sources for both of my films. I didn’t want to wait in line for ten years for government support. Coming to Hollywood has always been my dream. If other people can make it then I can too. It’s pretty hard to make a movie anywhere. I don’t mind the competition but I found that as an Asian filmmaker I’ve had to work ten times harder than other filmmakers. 

Q: How is it more difficult for you?

It’s difficult being from a minority group and living in the US, writing about predominantly Chinese stories. I’m often told that having the lead character be Chinese will make the project impossible to sell in the US market. Jackie Chan and Jet Li’s success in mainstream movies have changed the situation quite a bit in Hollywood, but it’s still difficult to sell a Chinese story to an American production company. The time hasn’t come yet. Maybe in 5 to 10 years things will change dramatically. I’m here to help to make that difference. I’m also trying to alter my stories by adding more Western characters, which will not only give me the possibility of selling them, but also adds the freshness of the elements of Chinese culture. 

Q: How did you meet your current producing partner?

We met at my friend’s movie premiere in 2001. Virginia was producing the sound track for the movie. We met and hit it off. 

Q: Do you have any mentors?

Yes. Ang Lee is my most important mentor. We have a similar background. We both came from the East and studied filmmaking in the West, and we both started making films with Asian characters in the lead roles, trying to bring the Eastern culture and tradition into Western stories. He has given me a lot of support over the years. I’m very lucky to have him as my friend. Norman Jewison is also my mentor. I went to his film center as the director in residence for a year and from there he has continued to support my career. He taught me how to tell a good story from a strong script and interesting characters. 

Q: Do you write from personal experience?

Most of the time I do. But my stories are bigger than life. Let’s just say I’m always inspired by my personal experiences! 

Q: How do you raise money for your films?

When I first started I’d raise money through private financing, friends, people who care. Now it’s through co-production treaties and independent production funding. 

Q: Do you have any plans to return to China to work?

Yes. I’m planning to work on a twenty episode dramatic series for television. It’s about Chinese teenagers in America and will go into production later this year. 

Q: What about working in Australia?

I’d love to shoot a movie in Australia one day. I love Australian films. I especially liked ‘Lantana’, a brilliant study on human dilemmas and choices in the gray area. 

Q: What does a typical day look like for you?

I’m a night person and love to stay up and write until three am. I then sleep for six or seven hours and wake up and go to any meetings I may have. I also always leave three to four hours free either in the afternoon or early evening to go to my favorite café to write. I like to watch people in public and I don’t mind the noise from the mix of music and conversation.

Q: Look back on your career at the end and tell me how you’d like to be remembered.