Contact
  • HOME
  • / MEDIA /
  • Korean American Screenwriter’s Journey From Working in Advertising to Redefining Asian American Narratives in Hollywood

Stories

July 5, 2023

SHARE:

In the bustling world of Hollywood, where dreams are forged and narratives come to life, Korean American screenwriter William Yu has emerged as a rising force.

Hailing from Philadelphia, Hong Kong, Boston, and New York, and now based in Los Angeles, William has taken the leap from having a successful advertising career into the world of screenwriting, fueled by a desire to create ambitious stories with vibrant and nuanced characters and to challenge the boundaries of Asian American representation.

William writes sharp, biting stories about witty underdogs who rise to upend the systems that they’ve been held back by.

Projects like “Good Boy,” a dramedy exploring the clash between personal dreams and familial expectations, and his feature romantic comedy “It Was You,” recognized by the esteemed Black List, showcase William’s talent and ambition. As an alum of the prestigious Sundance Episodic Labs and the NBCU Launch TV Writers Program, his work not only contributes to the larger conversation on Asian American representation in the entertainment industry but also pushes the boundaries of storytelling.

In an interview with Asian Hustle Network, William gives us a front seat on his journey as a screenwriter. Join us as we delve into his inspiring story.

TRANSITIONING FROM HIS ADVERTISING CAREER TO BECOMING A SCREENWRITER

Before becoming a screenwriter, I worked in advertising as a Creative Strategist for some years. Having this professional background not only gave me the structure and discipline that I’ve carried over to writing but also instilled a self-starter mindset that gets excited by creative ideas that go against the grain.

Two things happened. The first: I hit a quarter-life crisis after finding a list of goals I had written down after I graduated college. I realized that I had accomplished most of these milestones, but was finding my mental health was quickly deteriorating to the point where I had to make a change.

The second: I had recently created a project called #StarringJohnCho that sparked a viral, global conversation about Asian representation in media. Seeing so many communities engage in this movement demonstrated to me that a profound cultural shift was happening. I could either sit on the sidelines in advertising and continue to critique Hollywood from the outside, or I could dive into this world, participate in the craft, and write the stories I wish I knew. So, I took the leap.

CHALLENGES OF BEING A SCREENWRITER FROM AN UNDERREPRESENTED BACKGROUND

I entered Hollywood because I wanted to expand the definition and labels that have traditionally been assigned to the Asian American community, to go from “good” and “bad” to “awkward” and “messy” and “joyful” and “gut-wrenching.” But as much as I want to create characters and narratives that are rooted in my experience, I need to write stories that are first and foremost–entertaining.

As a screenwriter from an underrepresented group, there is always a well-intentioned instinct to cast our people in a soft, non-offensive glow. But who wants to watch that film or TV series? Part of the representation that I want to add to is demonstrating that as much as we are brave and tenacious, we are also flawed and dangerous, whether that’s in a small indie project or a massive studio tentpole. I believe that the faster we can jump into that conversation, exciting stories are destined to follow.

ABOUT THE DRAMEDY “GOOD BOY”

The short film is a proof of concept for a TV series I’m developing that’s been workshopped through the Sundance Episodic Labs. It’s a personal story that’s loosely based on my time working at Bodega – the world-famous sneaker shop started in Boston – and various conversations and feelings that I’ve had with exes, best friends, my family, and other people that I love.

Streetwear is a world where the clash of cultures is the point. There is no “right answer” – It’s funny and ugly and inspiring. Isn’t that the case for life as well?

‘Good Boy’ was my way of reflecting on moments in my life when I’ve felt cared for, hurt, joyous, and lost. I tried to not just depict what I was feeling, but also reflect on why I felt those feelings. When I first started writing the original pilot script in the Fall of 2019, I was simultaneously embracing my own agency in my life. My hope is that this story might nudge others to also own their journeys moving forward.

MORE OF WILLIAM’S PROJECTS

I’m extremely proud of ‘It Was You,’ my feature romantic comedy that’s like if Nora Ephron’s ‘You’ve Got Mail’ was set in Manhattan Chinatown. The script was voted to the annual Black List – a compilation of the most well-liked unproduced scripts in Hollywood – and ‘Crazy Rich Asians’ director Jon M. Chu is attached as a producer. I’m such a massive fan of those ‘90s-era rom-coms and this story was such a light to write during the pandemic. 

My latest TV project is a political scandal drama called ‘Koreagate’ which is based on the true story set in the 1970s of a charming swindler in Washington D.C. known as “The Asian Gatsby” who was found to be bribing U.S. Congressmen in the name of South Korean interests. It’s a wild, pulpy, fast-paced tale in the vein of The Wolf Of Wall Street and The Post that showcases America at its best and its worst. And it all really happened!

WILLIAM’S CONTRIBUTION TO ASIAN AMERICAN REPRESENTATION IN THE ENTERTAINMENT INDUSTRY

My main goal as a storyteller is to create ambitious stories with vibrant and nuanced characters. If I can hold up my end of the equation, I believe the representation conversation will only expand and grow in complexity.

What’s so exciting is that this is a LARGE conversation, there are so many voices and stories from our community that have yet to come to the forefront. And when we all overlap and intersect and discuss, that’s when the magic happens.

WILLIAM’S ASPIRATIONS LOOKING FORWARD AS A SCREENWRITER

First off, my biggest hope right now is that the WGA strike ends soon and that the studios pay us writers what we deserve.

What excites me is continuing to push my ideas to new heights in terms of scale and wonder. Stories that push the boundaries of the imagination. That wink at you while flipping you off. I’ve been working on a family adventure blockbuster and romance crime drama lately, and have a romantic comedy feature script that takes a surprise turn into a thriller in the works next. Right now, I feel drawn to stories that feel twisted and that showcase characters brushing up against the extremities of who they are.

ADVICE TO THOSE WHO WANT TO START A CAREER IN THE ENTERTAINMENT INDUSTRY

I can only really speak for the screenwriting side of things. This industry may seem like it’s an image-driven business, but it’s actually a product-driven one.

Everyone has an idea for a story, so make sure you’re the one that has a script (or scripts!) ready to go when someone asks. Know that there are lots of stories of those who follow the “rules” or those who are “exceptions”, but know that there is no “right way” of making it in this industry. Lastly: Be kind.

CONNECT WITH WILLIAM

Instagram: @its_willyu

Twitter: @its_willyu

Website: itswillyu.com

Stream Good Boy

Good Boy Instagram: @goodboyteevee

Good Boy Twitter: @goodboyteevee

Good Boy Website: goodboytv.com

Related Articles

Image Source: Voyage LA

News

29-Year-Old Wedding Guitarist Made A Pandemic Pivot To Real Estate Earns $245K A Year

The best part is that playing weddings “doesn’t even feel like working. We’re just partying.” Moses Lin told CNBC Make It’s Millennial Money series.

Early in Lin’s career in 2016, he played at a coffee shop for three hours and got $3 tips. Today, his work takes him from New York to Hawaii, even to Cancun, and earns $175,000 before tips.

In the last two years, Lin has invested most of his wedding earnings into real estate.

Before becoming a real estate investor, Lin left college with just one semester left to pursue music full-time back in 2017. Several months later, Disney saw his YouTube videos and hired him to play in Disneyland’s hotels and restaurants. He took the job and decided he was never going back to college.

In the same year, Lin played a friend’s wedding as a favor and enjoyed it. He then charged $250 for his first wedding booking. After learning that wedding musician rates are $1200, he doubled his prices. Despite raising his rates, clients kept coming. Now, he charges $4,000 to $6,000 per wedding, depending on when the couple wants him to play. 

Lin became interested in real estate investing in 2014 and bought his first property in May 2020 as a “pandemic pivot” when Covid restrictions slowed his wedding gigs. He found a 4-bedroom house for $120,000 online and put down 20% plus $10,000 to renovate. His wedding earnings helped him buy a $40,000 home in Little Rock, including closing costs.

He rented the house for $1,425 and quickly found a tenant. He liked the process so much that he decided to buy a second property before the end of the year.

Today, Lin owns and rents out four properties in Little Rock. Lin didn’t turn a profit on his rental properties in 2021, but is in it for the long haul.

His goal with real estate is to get to a point where the passive income from his rentals pays all of his bills.

Lin pays a property manager to handle things on the ground, “so I’m able to focus 100% of my attention on weddings [and] on music, and real estate just makes money on the side.” he tells CNBC, “My whole master business plan is make money in weddings, dump it into real estate and let that grow itself.”

CONNECT WITH MOSES LIN

Instagram: instagram.com/moseslinmusic
Website: moseslinmusic.com

  • 2 min read
Image Source: kr-asia.com

Uncategorized

GGV Capital’s Jenny Lee: From Jet Engineer To One Of World’s Best Venture Capitalists

Recognized as one of the world’s top 100 venture capitalists by Forbes for 11 years in a row, Singaporean venture capitalist Jenny Lee stayed in her hometown to raise money for four new funds launched by her firm GGV Capital at the height of the pandemic in 2020. 

For four months, according to Forbes, the veteran VC barely slept as she made 250 zoom calls and remotely raised $2.5 billion from investors around the world. Lee and her team raised the most capital in GGV’s 22-year history, boosting assets by 27% to $9.2 billion. 

Long before she became one of Asia’s most powerful businesswomen, she earned a bachelor’s and master’s in Electrical Engineering at Cornell in 1995. She became an aviation engineer at Singapore’s ST Aerospace, where she modified F-16 fighter planes.

In 2001, the company sent Lee to attend Northwestern University’s Kellogg School of Management where she earned an M.B.A., but she had wanted to be a venture capitalist for a long time, so she quit her job that same year to follow her hidden passion.

Lee paid ST Aerospace $300,000 for not finishing the 11-year scholarship bond that paid for her bachelor’s, master’s, and M.B.A., but she has no regrets. For her, it was the best move.

She got her start as a venture capitalist at Morgan Stanley and Jafco Asia, but she made her name in China after joining GGV to create its office there in 2005. One of Lee’s more successful discoveries was the mobile phone maker Xiaomi before it had sold its first handphone.

Today, Lee is one of GGV’s top-tier managing partners along with Singaporean Jixun Foo, an early Grab investor. Hans Tung, who’s been on the Midas List 11 times. And VCs who have U.S. investment, industrial, and entrepreneurial expertise.

GGV’s 354 firms are balanced between Asia-Pacific and the Americas (GGV claims its investments include more than 85 unicorns). With the U.S. having more investments, at roughly 130, and 77 in China.

The company’s assets under management have expanded more than 50 times since its founding in 2000.

  • 2 min read
Image Source: Netflix

Uncategorized

Netflix’s Star-studded Series Avatar: The Last Airbender Includes George Takei, Utkarsh Ambudkar, Arden Cho, Danny Pudi

More actors have joined the cast of Netflix’s live-action version of “Avatar: The Last Airbender,” including George Takei, Utkarsh Ambudkar from the sitcom “Ghosts,” Arden Cho from Partner Tracks, and Danny Pudi from the comedy series “Mythic Quest.”

Avatar: The Last Airbender unites the “four nations”: Water Tribe, Earth Kingdom, Fire Nation, and Air Nomads with a diverse representation of Asian and Indigenous talent.

Star Trek’s Takei voices Koh, an ancient predatory spirit. Cho, Ambudkar, and Pudi all portray Earth Kingdom characters, with Cho as June, a vicious bounty hunter; Ambudkar as King Bumi, the elderly and mercurial king of Omashu; and Pudi as the mechanist, an eccentric inventor and engineer raising his kid in a war-torn country.

Cast members include Gordon Cormier as Aang, Kiawentiio as Katara, Ian Ousley as Sokka, Dallas Liu as Zuko, Elizabeth Yu as Azula, Paul Sun-Hyung Lee as Iroh, and Daniel Dae Kim as Fire Lord Ozai.

Executive produced by showrunner Albert Kim, Rideback’s Dan Lin and Lindsey Liberatore, and Michael Goi, “Avatar: The Last Airbender” is a live-action version of the animated Nickelodeon series of the same name. Directors include Goi, co-executive producer Roseanne Liang, Jabbar Raisani, and Jet Wilkinson.

Kim tells Netflix that the live-action adaptation creates “a chance to showcase Asian and Indigenous characters as living, breathing people. Not just in a cartoon, but in a world that truly exists, very similar to the one we live in.”

 

  • 2 min read
Image Source: CAA

Uncategorized

Constance Wu On Surviving Twitter, Producer’s Sexual Assault On Her New Memoir

Constance Wu is opening up about her time on “Fresh Off the Boat” and saying that a senior producer of the 2015–2020 ABC sitcom sexually harassed her.

She tells The New York Times about a producer’s “controlling behaviors” in her memoir Making a Scene. “Fresh Off the Boat was my first-ever TV show. I was thrown into this world,” she added, “I don’t have parents in the industry. And because I was 30, people thought I knew what I was doing. It made me paranoid and embarrassed.” 

Wu also told The Atlantic she hadn’t spoken about this before out of fear of repercussions. “I kept my mouth shut for a really long time about a lot of sexual harassment and intimidation that I received the first two seasons of the show,” Wu said. 

Once the show got successful after two seasons, she was able to say “no” to the producer’s harassment and intimidation. And, so she thought: ‘You know what? I handled it, nobody has to know, I don’t have to stain this Asian American producer’s reputation. I don’t have to stain the reputation of the show.”

The actress addressed the infamous tweet in spring 2019 when ABC renewed another season of the sitcom. “I was punished for being ungrateful,” she said. Wu publicly apologized, but she received backlash. 

She then sought psychiatric help and quit social media for three years. Wu had started writing a book back in 2016 but had lost momentum.

In the fall of 2019, she went back to work at “Fresh Off the Boat”, the final season, where she apologized to her colleagues in person.

The next year, the world stopped due to the pandemic. And she finished the book she was writing. In her memoir, Wu talks about how she felt alone, how racism affected her career, and how she’s moving on.

“I try not to make myself out to be a hero,” Ms. Wu told NYT. “I try to make myself out to be a pretty normal person who has flaws like everybody else. I’m not really into the actor memoir where it’s like, ‘I overcame the odds, and I’m this person who was humble and just kept working. I was the victim.’ It’s less black and white than simply victim and perpetrator.”

  • 2 min read