For the longest time, the Asian-American community would talk about representation, but I think it's also about the freedom to really shape, create, and explore issues that are important to us, regardless of whether it's positive or negative, as long as it's three dimensional.

After I made 'Better Luck Tomorrow' and started taking meetings in Hollywood, I quickly learned that Asian Americans weren't even in the conversation as a minority, since there wasn't even a significant enough audience, and especially an audience for Asian American content.

If I make a film like 'Better Luck Tomorrow' or 'Finishing the Game,' I'll protect it with everything I have.

There was something so pure about 'Better Luck Tomorrow' because money wasn't the currency. It was passion. The fact we were trying to do something even though no one was asking us to. It meant a lot.

We make movies and we all try our best and sometimes we connect with the audience, sometimes we don't.

I get to make movies; I get to do what I love.

That's in the mission statement when you're part of 'Trek.' It's our job to try to be bold and push forward. You have to be conscious of that.

I made a lot of mistakes along the way, but feel incredibly lucky to be in the position I am now and to be able to play a small part in trying to support talented, aspiring young filmmakers out there through a program like 'Interpretations' who, like me, had the desire and passion, but no connections to the industry.

I grew up peeling shrimp and making tartar sauce.