The producer and longtime creative partner of directing duo Daniels tells THR which scenes in the breakout best picture nominee were hardest to shoot, how it felt to bring Ke Huy Quan back into Hollywood and put Michelle Yeoh on the top of the call list, and why he thinks the movie is resonating with audiences.
'Women Talking' Producer Dede Gardner On How Sarah Polley's Film Reflects an Epidemic of "Violence Against Women"has become a success by all traditional measures, earning more than $100 million at the global box office on a $14 million budget and collecting dozens of awards, but also a few unexpected ones.spoke with Wang about bringing former child star Ke Huy Quan back into the Hollywood fold after he’d given up on acting, making Michelle Yeoh the lead of a U.S.
When we started talking about multiverses, I realized the immigrant experience writ large is existing in a multiverse. When they wanted to set it with a working-class Chinese family that would speak Chinese, English and Cantonese, it just felt very much like my story. At the end of the movie, there are two credits, the fake credits and the real credits. The first one says it’s produced by Alexander Wang, my dad, and then the movie at the very end is dedicated to him.
That storyline really hit a cultural chord. The reaction we’ve had from Asian audience members, especially queer Asian audience members, it means the world to them. Because they’ve had to come out to their parents many times. They have to keep telling their parents, “I’m gay.” It’s not that Asian parents don’t want to accept it, they just know how hard it is to exist in America as an immigrant.
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