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Sung Kang on Han and the “Fast & Furious” franchise

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That kind of explains the origins of Han because your character and better luck tomorrow was also named Tonj in so. There's this really fun tongue in cheek bridge between select. Mara which he did with Justin and Jason Tobin another member of the fast and furious universe and took drift but as the French has got bigger and bigger and bigger. Han was like just a part of the family. Which is beautiful this huge multicultural. Multibillion dollar franchise you've got crazier and crazier action it. It it evolved into something so much more than you know. Just two hander. Very Brohi muscular to hinder that the first movie was and then six happened in which we said goodbye to seven and eight happened in further developments involving the introduction of Jason Stephens character as a character named Shaw who is then explained retroactively as person responsible for Hans stuff happened which kind of led in turn to something that nobody could have expected. Which is the Hashtag justice for Han Movement of fans who were kind of upset with how Hans Legacy was treated and I wonder if you can speak to what that was like for you that part of your relationship with this character or like I was saying earlier you know the love difficult relationship with the Han characters that the love part is that it did give such great opportunity and and perspective and open window into really what this business is the Hollywood business but then the difficult part is that GonNa look? We live in America. It comes down to data numbers right. I thought that after film like this maybe there would be more opportunities opening up Tokyo after Tokyo. Because you know obviously premier there's interviews. You see your picture online and stuff like that people are asking for Pictures. You Go from obscurity to all of a sudden the guy you know Asian Guy. They don't know your name but Jackie Chan but your guide and people start connecting with you. So you know. That's the difficult thing with fame. Is that all of a sudden. You know your normal life is not normal in this idea of fame or celebrity starts to feed expectations and then builds an ego right and ego is hard to define but it's deadly especially. I think as an artist and as a man that's growing into looking for his identity or purpose and then when the industry doesn't really support that it feels like. Oh this was all like illusion you know is like well. What's this and I thought we were actually doing something I thought at the end of it it was supposed to leads the more opportunity and I did not feel it on a personal level and so then you start blaming yourself and that's where I think a lot of artists are so insecure and I see the first one to admit that's probably why become actor but it starts the manifest and you go. Maybe I'm not good enough. Maybe I'm too Asian or I'm too tall too short Dr. Not all of it sedan. That starts to stunt your growth because then go into dish in. You're scared nervous. Because this is all you got. It's that one line and some episodic and you know you don't want to have ten jobs right and like. I was still working at a restaurant when I did Tokyo drift. So that's the reality now like you're in a fast and furious movie and all of a sudden you live in fast and furiously after the premier it's it's Cinderella. It turns back into a Pumpkin. And your back and all of a sudden. You really look like that guy from Tokyo. Not sure if right and that's tortured by your own success and so you go. Well how do I do this? Like how do I exist in this world without my ego coming in and going wait? I think I'm a slavery but it's actually a waiter. The opportunities were not there and all of your appetite gets bigger because I thought the world was accepted me but just because the audience or the fans except you does not mean to business exception. Because it's about money it's it's the old system can't take your personal. They're used to the way they do things. And you're not friends. It's a business your product crazy. Rich Asians wouldn't come on for like a dozen year year. Yeah you know I. I realized we'd better like tumor. That journey was like a lot of Asian American kids. College students and high school kids finally had something decalogue anecdote. That's me one of those characters they could identify with. Or ASPIRE. Or they just see their face nickel. That's me and after took your drift those like. Oh there's great possibility here to be a leading man to other opportunity and the problem was that I think the audience is like we just didn't have writers and other directors out there and you have to have studio executives and executives and you have to have other genres. You can't just have one film. You have to have crazy revisions then. You GotTa have searching. You've got to have them all. You have to young filmmakers like just gone coming in you know and redefining what? Asian American cinema is right so everybody needs to get together but when you're hungry you're starving and you're fighting for scraps to help each other. It's very hard like almost like like a Lobsterman. Talia crabs the fight over each other crabs in a barrel exactly. But it's so good that the you know that it's the industry not moving fast enough that it wasn't your work you know. That wasn't good

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