
The Lobit sisters
By Athena and Alyssa Lobit, Guest Bloggers
THE THINGS WE CARRY is an award-winning film about two sisters who reconnect after the death of their drug-addicted mother. The Lobit Sisters—Actress and Writer Alyssa and Producer Athena—made their feature debut with this drama. Inspired by their personal story, the film explores family dynamics, drug addiction and personal choices.
The Lobit sisters are of mixed ethnic heritage: their mother is Korean and the father is Caucasian. Their experience interacting with the Asian American film community on the festival circuit inspired them to examine the impact of their ethnic background on the film and their roles as filmmakers. Alyssa and Athena came up with three questions for each other to open up the conversation on what it means to be an Asian American filmmaker. Here’s what they had to say.
Athena: Do you identify with being (considered?) an Asian American filmmaker? (Why? Why not?)
Alyssa: It wasn’t until The Things We Carry played at Asian American film festivals that I identified with the AA filmmaking community, and even then, sometimes I felt like an impostor. But it’s been great to be welcomed into the community and I’m grateful for the warm reception.
Athena: How has your ethnic background shaped your experience in the entertainment industry?
Alyssa: I grew up always feeling “mixed” or “other”, or not thinking about it at all. My experience in the entertainment industry has brought my ethnicity into sharp focus… which was not always easy to deal with or make sense of. In Hollywood, I have been considered Asian, because Caucasian and Asian were mutually exclusive labels or types. Thankfully, these days, there are a few new categories, such as Mixed, Multi-Ethnic and Any Ethnicity. Being told I was “Asian” was very weird for a girl from the San Fernando Valley with a college education, who had little connection with the roles I’d be seen for, which included a Chinese village-girl who spoke broken English. It has been an interesting road, defining myself in an industry that, out of necessity or laziness, can be described as racist, or race-aware, at the very least. This race-confusion extended into my experience with the Asian American film community, as well. Hollywood called these people “Asian American”—and they agreed. I could see this reflected in the content of their projects, their platform and their “message”. It’s strange, but I looked upon the AA community much like I did any other ethnicity-based group. Would I feel like I’m a part of the African American filmmaking community? More power to them, but no, I would not feel like I belonged to that group. Add to this, in my personal life, I wasn’t considered “Asian” by most Asian people.
Athena: Do you consider The Things We Carry an Asian American film?
Alyssa: When we made The Things We Carry, our intent was to make a good movie, not an Asian American movie. This was key for me, from both an acting and filmmaking perspective. I wanted to act in a role and tell a story where the ethnicity of the leads was not the basis for the film. I wouldn’t have an accent, I wouldn’t play any of the “types” that have generally been assigned to actors of Asian descent, and any issues of immigrant marginalization were rooted only in the mother’s character (and not a focus of the film, either). In these ways, it was distinctly not the type of film I’d seen come out of the Asian American film community. It was also not the type of film I’d seen coming from mainstream Hollywood. The support we’ve received from the Asian American community has been wonderful. We’ve also connected very deeply with other communities, people of all races and ages. Honestly, I don’t know what makes a film Asian American. Is The Things We carry a movie where the lead actors and the producing team happen to be Asian? Yes. Does the film make special effort to explain Asian culture? No. But it also doesn’t shy away from including how this shows up naturally, in small ways, such as when the sisters eat Korean food. Are the issues addressed exclusive to Asian Americans? No. So… What was the question, again? J
Alyssa: What are your thoughts on being described as an Asian American Filmmaker?
Athena: As a description I don’t mind it because it’s true! Descriptions are oftentimes used to add distinction and can vary depending on the context. I’m a filmmaker and I’m Asian American.
Alyssa: What makes a film “Asian American” in your opinion?
Athena: This question has come up several times with other filmmakers and it seems to be a nebulous question for many of us – What’s the definition of “Asian American film”? What’s the criteria? At what point has a film reached the criteria? – Brokeback Mountain, Gran Torino and The Joy Luck Club are three films that feature Asian/Asian Americans in different capacities, both onscreen and off. Based on the qualifications that some people have had when discussing this topic, each film would qualify as “Asian American”. To be honest, I don’t know what makes a film “Asian American”. In order for a film to be tagged as “Asian American” though, there has to be something that justifies the tag (Actors, Director etc) and/or the content would need to be Asian American related. Otherwise, what justifies the tag? Just as tags are used to describe many elements of a single item, I do believe films can feature or promote people/stories from a certain group and not be a film specifically of that group.
For example, our film qualified for several Asian/Asian American film festivals but we didn’t set out to specifically make an “Asian American” film nor do we consider it to be solely defined as such. There are Asian American elements in that the story revolves around two half-Korean sisters and their Korean mother which then leads to some of the story’s context revolving around Asian/Asian American themes/environments, but the story itself is universal. The supporting characters are of different ethnicities, the Director of the movie is Caucasian, etc. (I mention the Director because the ethnicity/gender/etc. of the creatives behind making a film are oftentimes taken into consideration when classifying a film). Some may define our film as “Asian American” while others may not. Again, this goes back to – “What’s the definition of an “Asian American film”? What’s the criteria? And at what point has a film reached the criteria?”
We’ve received tremendous support from Asians and non-Asians alike and are grateful for all of the support we’ve received. Our main goal was to tell a meaningful story with the hope of connecting with audiences.
Alyssa: What, if any, are the benefits of being an Asian American Filmmaker, as opposed to just a Filmmaker?
Athena: I believe ALL Filmmakers have opportunities they can benefit from. As with any group or category that specializes in promoting people or work from that group/category there are certain elements a film must have in order to qualify for that platform. For example, our film benefited from qualifying for Asian/Asian American film festivals but didn’t qualify for festivals focused on comedy or the environment or a whole slew of other platforms. The world is diverse, tastes are diverse and there are so many groups/categories that I believe there’s something for everyone.
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In celebration of Asian Heritage Month, The Things We Carry can be viewed at DramaFever.com through May 2011.
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