CELEBRATE ASIAN HERITAGE MONTH WITH DGC ONTARIO CREATIVES

“We celebrated having a multi-faceted romantic leading Asian male on our series. It’s a story that is not often seen. With more of these stories, we hope to normalize them. Asian love stories matter.”  

Teresa Ho

“Don’t get it right, get it written — get it right in the rewrites. There’s always something and there is a way. Everyone operates from either love or fear. As a Director you have to know that, and put your team in the best situation to be successful as possible.”

Warren Sonoda

“I put a lot of myself into anything I direct. And what originally drew me to Kim’s Convenience was the dynamic amongst the family. It was something I really connected to.“

Renuka Jeyapalan

“The Pham family in [Run the ‘Burbs] is Vietnamese-Indian and many of the episodes included cultural references from those communities. In order to make sure both cultures were reflected properly, the show brought in cultural consultants to lend their expertise and we worked together with them to shape and inform our creative choices.”

Joyce Wong

“Toronto has an amazing established and emerging pool of talent to collaborate with. It is a pleasure to grow as a Production Designer and see our city creatively rise to meet our expanding industry’s demands.“

Danielle Sahota

“It’s always nice when Canadian shows are recognized abroad, but it’s especially great when it’s a show you’ve worked on. Since Workin’ Moms hit Netflix, I have friends from Singapore to Berlin messaging me about how much they love the show.”

Aleysa Young

“The whole experience, walking into the studio, working with the wonderful cast (even behind masks), and just getting the chance to be a part of this final season is so special to me. Representation matters, and I’m proud to have been a cog in this machine, hopefully paving the way for more BIPOC creatives.“

Sherren Lee

“I couldn’t be prouder of the grandmothers in my film. I know they never thought their stories would make such an impact, but I knew that this is what they deserved. They’ve moved beyond survivors and are now heroes for the next generation.”

Tiffany Hsuing

“I believe it is important to have these diversity initiatives led by those with marginalized voices rather than having others speak for us. I still struggle to find my own voice due to years of internalized conditioning based on my identity, and I don’t want future filmmakers to ever feel like they can’t speak up for themselves.”

Kim Sison

“I think representation is at the core of a good story, and the more authentically we can tell stories, the richer they will be.”

Randall Okita

“A week before I got the call to make this film, my daughter and I experienced an anti-Asian racist incident in our Toronto west-end neighbourhood. I channelled the anger and confusion around this incident into the film by trying to humanize the people of Wuhan city.”

Yung Chang

“At its heart, Funny Boy is about the oppression of minorities and how nothing good comes from hatred. We are all looking for love and acceptance for who we are.”

Deepa Mehta

“One day, the Costume Designer, Production Designer and Art Director of a movie walked in to buy some things. When they presented their tax exemption form, I saw that it was for Universal Studios, and I said, “Hey, guys, I’m starting Film School in three weeks. Let me know if you need a volunteer!” Sure enough, two days later, they offered me a job in the very busy wardrobe department when I was 18.”

Naz Goshtasbpour

“Taking an intersectionalist point-of-view means that I need to be constantly acknowledging that feminist portrayals on screen should also consider examinations of race, gender, sexuality, class, and ability. I will be the first to admit I do not always get this right, but I have made it my mission to honour these explorations more carefully in my work.”

Jasmin Mozaffari