Masami Moriya: [00:00:00] Hey Justin.

Justin Chon: Hey. Hey David, how you doing?

Masami Moriya: I’m doing all right today. How are you feeling?

Justin Chon: I’m good. I’m in the middle of a production, so is my day off. So I’m just trying to just survive.

I’m sure you got a lot of Andrea today too in between the times. Is that what’s going

Justin Chon: on? Yeah, no, it’s been good. It’s been good. and, and I’m more, I’m happy to do it. it’s just like 10 million things going on at once. yeah, so it’s crazy. It’s crazy.

Hawaii. I live in Hawaii now. I moved here in April. my kid starts preschool next week,we’re probably going to stay here for the foreseeable future, for my kid.

Masami Moriya: Cool. on man. And now you shot another film over there, a man up.

Justin Chon: My first film. yeah. Yeah. My first film I shot,, very good.

Very unique film.

I was actually, I was looking for it to today. I was like, I can only find it on Amazon, but it says it’s out. You can’t leave the country.

Justin Chon: Yeah. What happened was, lake shore bought it and they’re no longer around. So like lake shore had it and then they got bought by another company [00:01:00] and then the other company, they would just have it all their whole library.

At the top of the release list to do anything with, so it’s just been sitting there, but I get it back. I get the rights back to the film next September. So like basically in a year I get it back and then put it back up, find places for people to find it. But, I love that film, even though it’s just a, like a silly sort of stoner comedy, it’s like the impetus, to everything else.

I just saw like how powerful directing my own films can be. even though it’s like a silly film, I, I love that show.

Masami Moriya: Yeah. I saw the trailer and I was just like this, why haven’t I seen this? This is hilarious. I just want to check it out. So I can’t wait for it to come back.

Justin Chon: Thanks man. Thanks

Masami Moriya: for right now. thank you for taking some time to join us on the strong Asian lead podcast. I don’t know who, you’re in touch with us at all, but we’re new. I’m really glad to have you on and just, get to speak with you today. It’s pretty

Justin Chon: grad sweet.

Yeah, no, thanks for having me.

Masami Moriya: Yeah. I would love to know I grew up in Ontario, California, so suburbs of LA and, I grew up in orange county kind of [00:02:00] areas. what was your Asian American influence in community like during your growing up years? Did you have a lot of influence and people around you or is that something that came later?

Justin Chon: Yeah. So I was born in garden Grove, and garden Grove was a super sort of Korean area at the time. It’s not anymore, but so garden Grove and, little Saigon, like Westminster Bolsa, that whole area. I was born there. I did TaeKwonDo and all that stuff. I mostly grew up in Irvine and yeah.

go to garden Grove to do our grocery shopping and all that stuff. growing up, we would go to Korea town a few times a month,but my particular neighborhood. Was mostly white and Jewish. but by the time I got into junior high, there was a huge influx of,Taiwanese Chinese, Korean people into Irvine.

Justin Chon: And so when I went to junior high, I was like shocked. There are so many sort of Asian people, and that was like 92. and then, Yeah, 93 and 92 93 around there. And [00:03:00] then, yeah,I kinda got both. Is it like a super young, I got like some of that, like more suburban, white vibes and then.

And then junior high,to like super Asian American experience. Yeah.

Masami Moriya: Yeah. How did that change over time? Did that, was that a cultural influx of so many agents coming around make you feel like, you want to explore more of the culture or would you feel like an outsider? Because, I grew up, I’m happy.

Justin Chon: Yeah. What are you,what do you have

Masami Moriya: mixed Japanese American and fifth generation too. So I’m very like American. Wow.

yeah. So yeah, very different. My kid is, yeah. My kids also Hoppa so I wonder like my grandkids will probably look white. I don’t know. but, but, it was just a different time, I gotta say, with goop like that actually happened to my family.

Justin Chon: We got looted during the riots. My dad had a store in paramount right across the bridge from Compton. And we spent, I spent a lot of time there,in the south bay and, the nineties were. [00:04:00] Like pretty rough. It was a lot of gang-banging and just a different time. there was like a lot of shootings.

And at the time,even in the like Westminster was like a lot of home invasion robberies, and it was just a different wild time. now if you go to Westminster and even garden Grove or even Korea town, it’s way safer. So I think. This is a very, once in a lifetime experience, it’s no, never, I don’t think it will be like that again, in those areas and especially being Asian American, that’s that stuff isn’t tolerated anymore.

Masami Moriya: Speak up about it. you’ve got to get out there and change it. I think that’s when you know, you’ve just done that with just your film. Making people see what’s going on and what people are able to relate to it. And just film wise and make us feel proud of who we are. I think that’s really important as well.

Yeah, absolutely. Now, beginning of that, you went to business school and went to, did the Silicon valley thing, and I’ve heard other vendors just didn’t [00:05:00] like doing that. What brought you into the film scene? it could have been any other career out of the business world.

I majored in business because I didn’t know what.

it was like, there’s really not many things that interested me. And, and I just, it’s exposure to, there was nobody sitting me down saying, Hey, these are your choices. It was just like, figure it out, like you’re out in the world and you’re just trying to find your place. but, yeah, my dad was an actor in Korea, in the sixties.

Justin Chon: And you acted, from 10 to 25, he actually, John,the, woman who won the Oscar from NRA, my dad would do teleplays with her, as a kid. so like he did that. So I grew up, watching his black and whites. And, when I started to, when, after I did an internship in silicone valley, I just was trying to weigh my options.

I start. I just thought about my dad and I just enrolled in a two year acting program outside of USC. And it was more of an experiment, like at the time that was like early two thousands. I got into [00:06:00] college. What? 99, 2000. And so early two thousands. Yeah. You never saw Asian American actors really that, that didn’t have accents or weren’t delivery boys, or a part of the triad story of a CSI or whatever it was, so it wasn’t as viable, so was an experiment. And, but then I just fell in love with the art. I just fell in love with the idea that you could express yourself and that if you could get emotional and it was accepted, it was encouraged actually. And, Growing up, those things weren’t encouraged.

So it felt very, like liberal.

Masami Moriya: Yeah, I feel like that’s an Asian culture thing too. It’s just not being able to show the emotion, in Japanese culture is gone. Don’t, don’t show the emotion, be very tolerant to what’s going on and hold back all those emotions, but to play a character and be people who are, different emotional at that point, I think that’s,brings out a lot and it all that repression comes out.

Maybe that’s a lot to do work with it.

Justin Chon: Yeah. Yeah. Yeah.

Masami Moriya: Now he’s started as an actor. You’ve done acting [00:07:00] for years. I don’t know, like what, since 2005 ish, in full credits and maybe some more, what pushed you into doing writing, directing those stories that you want to build from?

in particular, there was a particular experience, I had.

Justin Chon: It was after man up, I felt okay, how come? None of these things that I see on television or film represent like my experience or authentically what I’ve been through as an Asian American. I may man up because I felt like YouTube was like really a level playing field, with Frazier Americans at the time, 2009, 2010, it just felt like they were dominating the space.

And like it showed the industry that like people consume their content, it’s not because it was a people deciding. teaming up with Kevin jumbo, it felt like, okay, we’re doing so. revolutionary and exciting at the time, this was before everything like this was 10 years ago before any of the, crazy rich Asians or any of that stuff.

and we just made a film, but after that, I did this television show, and there was a [00:08:00] particular director and he was having trouble blocking a scene. And I knew how to. So I try to raise my hand and talk and he stopped me very promptly. And he said, what is it that you’re paid to do here?

Justin Chon: And I was like, what do you mean? He’s what are you getting paid to do on the set? And I said, acting, you said exactly. So shut the F up and do your job. And it was like, wow. Okay. Okay, cool. I don’t know how you get there. Opportunity to be in this position of power and you don’t know how to do a simple thing.

It just felt really, it was good. It was good because it made me really evaluate what my position and the industry was. And what that was is I was just. Needed this type of character and I fit that role and I have a particular skillset of acting and I’m dependable.

Justin Chon: So just do your job. so with that in mind, [00:09:00] I was like, okay, I don’t want to be that anymore. I don’t want to just be, I want a little bit more autonomy and control about what ends up, on the screen. So it was really like a starting point for me to think about directing or writing in a much more substantial.

Yeah.

I’m mad about that. That was like years ago that pisses me off and that just some things like that and people just aren’t listening, man. I know actors are supposed to follow the directors and they don’t have a lot of power in anything, if you had to fix something, it’s a contributing factor.

this is a team effort here. If someone’s got an idea,

Justin Chon: it is, filmmaking is entirely like it’s contrary to what people think it requires a, an entire unit, a team, of course a director is like the captain and the, and steers the ship and it’s his vision. But everybody has an important job and it requires synergy and, and I, it’s not like.

I was just making a suggestion, and I, but what I realized there is as an Asian-American, I don’t have any power because I’m not a star. And I, [00:10:00] and,even beyond that, like the system, We’re not meant we’re not allowed to even become stars. very difficult, stars need to be made and constructed in a sense.

And we aren’t given those opportunities because when we try to make a film with Asian American men, they go, there’s nobody bankable. And I’m like, nobody can be bankable. Unless if you give them the shot, like how do we get the foreign sales numbers that they always talk about? where.

Like in Italy or something that you’re a bankable actor, if nobody’s ever allowed them to be in front of the screen. it’s this, systemically racist system that, that they use to justify, the gatekeeping of it all in. And, that’s more of the analytical way of looking at it.

but yeah. Having been in the industry. I don’t know how much is intentional,but I definitely think it’s present. It’s undeniable.

Masami Moriya: Yeah. And there’s, I keep getting DMS and emails all the time just saying, Hey, this happened to me. And one of the things that you can read in an earlier article you had, was that the [00:11:00] accents, auditioning with accents, they just asking for accents to do them.

I get that all the time has you’ve been in here for industry for long enough? Has the industry changed? has there been, significant change besides more representation on screen we’re proceeding, has the systemic issues. as it developed, in your opinion,

Justin Chon: we’re now allowed to be like part of the supporting cast.

and very rarely the leads, specifically gate for like bigger studio stuff. Like it’s very rare. there’s maybe one like, Henry Golding right now and maybe Steven Yeun soon. but other than that, No. If you talk to finance years or people putting together these movies, you say, Hey, what about this person?

Justin Chon: What about that person? They go, no, no foreign value. It’s very tough. You can be behind the camera. We have James wan, Justin Lin, John Chu. but your face is on the screen. so it’s changed. we have people like Asian-Americans have different creeds, orientations, men, women, all of that, but not necessarily is someone leading, projects where they’re in a position of [00:12:00] maximum visibility like you have, snake eyes.

But at the same time, yes, that’s a breakthrough, but did we not already have Jackie Chan and jet li doing the action stuff? Yeah, it’s always Yeah. And if it’s not even marshal, it’s still action. Like when are we allowed to do, Goodfellas? Are we allowed to do our fellows?

When are we allowed to do our sort of, not based on. source material content. That’s an original is almost impossible, I think.

Masami Moriya: Yeah. Yeah. I think there were we’re aching for that thing. Instead of basing it off of something that has the IP that they know, they think that’s going to already have a fan base or it’s based on something they can relate to.

We want something that does. original and that’s that is Asian-American or even just, yeah. Yeah.

Justin Chon: Let me look at, yeah, look at,will Smith has a film coming out, where he plays Venus and Serena Williams dad, would that story be allowed to be told if it was Asian-American? No, I very highly [00:13:00] doubt it right now.

Yeah. Iyou’d be a very tough. To they would try to input some sort of famous person in addition to that core story. it’d be incredibly difficult to get that film made with an Asian American cast.

Masami Moriya: Yeah. You always got to have somebody else to, to bank on.

yeah. and it’s and unfortunately it’s got to most likely be.

Justin Chon: White or a few African-Americans, it’s still got a, I’ve got a ways to go. It’s definitely got better though. I would say,

Masami Moriya: what do you think the biggest problem in Hollywood is when it comes to Asian storytelling? Is that the problem or is there something that you think is a bigger problem and what would be like a suggested solution?

Justin Chon: Yeah. filmmaking is very exciting. And I don’t blame these finance series. Like they want to mitigate the risk and it’s an investment, they have to, they’re beholden to, people who hold the string, and so it’s not simple, it’s not a simple solution, but because [00:14:00] filmmaking so expensive, it’s an expensive art form.

Like it takes resources and to get access to those resources. It just requires a lot of taking chances. So people have to be willing to lose a lot of money. How do you convince people to be okay with losing money? because it’s such a risky investment. so in terms of solutions, I don’t know, I’m not like,Guru in that sense.

I’m not, II don’t know. I don’t have the answers. The only thing I can do personally, is to make my own films and be vigilant about what I choose to make films about. you know, I can’t, I don’t think, like I be able to get resources to make a $30 million film about just an original Asian American story, but I can make a film for 5 million, I don’t know, like three to 5 million, but.

Even then it’s they want to know who’s in it and how it’s, what the financial bottle’s going to be. So I don’t have a specific solution. All I know is we can [00:15:00] just like Scorsese, DePalma, and Cassavetes, and all those people did in the seventies. They made films, independent films.

Speaking their truth. And they were able to make much more darker stories and stories that resonated with them, by doing independent film. And I think that is a way to become a part of the culture. and then slowly, maybe it’ll trigger it. continue to trickle it up towards the studio system.

I think television is much more of a space where people are willing to take more risks, especially with streamers and pushing on that front, I think will be super effective. I just directed half a season for a show called Pachinko based off of the book and,that’s super risky show, but it’s.

Justin Chon: And it’s streamer, it’s apple, so but it’s in English, Japanese and Korean, and it’s a very I think, a highly risky show, but,making films like glue by you, I think are very important, like they are truthful and, you can even see that a company is.

Influential his focus, feels there’s incredible value in it, and I think [00:16:00] approaching it that way, I think is very effective.

Masami Moriya: Yeah. And I think having, and having stories told like this, I don’t know if apple would tell something like this it needs to come from the community, and really take it.

Taking a real good look at the inequalities of our system, but also in our communities, because this is a story loop by use, not a story, we hear it very often. And speaking of blue by you, like, how did you, prepare for this role or where did this come from? you’ve done so much this for this film, wrote directed and acted in it.

so what other research and, where did this story come from?

so I had a lot of adoptive friends growing up. I’d been exposed to it even as a kid. that, that was a thing. but I started hearing through the community, I think 2015 or 16, that this was happening, that adoptees were being deported.

Justin Chon: And to me. It was just absolutely shocking because I would think that if a child is brought overseas, by us citizens, that you’re automatically granted citizenship. They had no choice [00:17:00] in coming over. Also money’s exchanged because these agencies, it’s a business for them. And. And also the U S government is acknowledging that a child is traveling from a different country and being taken by us family, so I just was very shocked.

and then, Asking, doing more research and, through articles and videos, and also through the community found out that it’s not like something that can be easily reversed once you’ve been ordered to deport, it’s a very long, hard process to even almost impossible for them to come back.

Justin Chon: because they look at you like you, you came into the country illegally. I also found out that nobody knew about this very few really understood that this was happening or, even with an Asian American community, let alone the rest of the United States. So I felt a conviction to, to tell the story and represent, the Asian American experience, not just like these, Stories that we know, but also like to include the adoptee experience into sort [00:18:00] of our Asian American, storytelling fabric. And I, it was a reason I wanted to do it. And also ultimately this film is for adoptees and it’s to possibly get the right people to watch it so that maybe something can change and the people who.

Are going through this now can either stay. And the people who have been deported can possibly come back. that’s a bigger picture. but,it, it’s definitely not been easy. It was very hard to get me. Yeah. Yeah.

the collective consciousness of this issue is not there. I have, three,Korean American adoptees cousins.

Masami Moriya: So my uncle at them. Yeah. I think you might have thought about this a couple of years ago, I was like, I hope that never happens to them because they’ve been here forever. And so I started to hear more stories and what people are doing and just even to see this film, it’s that’s really difficult.

Even the situation itself is just so hard. And so I feel like there’s, we don’t hear about it. People get deported and then we just, it doesn’t get noticed or anything like that. It doesn’t, it slips through the cracks. So [00:19:00] having this, visually seeing it could be seeing an NBC article and that would be something that would be passed over, but to see it on a family, go through such emotional turmoil is really powerful.

And that’s what makes it stick with you. That’s what’s really important here. So now, what did you, interview other adoptees who have been deported or who are afraid of being deported and yeah. How did you get your character to be so like real.

Justin Chon: I had,a bunch of adoptee, consultants.

That one in particular that, that stuck with me the entire time, but, hundreds of hours of talking and making sure I get the adoptee experience. no, in terms of the actual deportation of it all, I consulted with a immigration lawyer. and then, just research and then, before we filmed,sent the, I contacted, adoptees for advocacy and there to helping with legislation and ran the script by them.

And,this guy, Christopher Larson, who is, has [00:20:00] been ordered to deport and is awaiting the process to, and has been fighting to change legislation and, But also, I, I did a, it wasn’t before the film, but after filming, I spoke with a girl of a part of the same organization and Nisa Trudeau.

Who’s also in the end credits who has been deported to Panama. And we talked for awhile about her experience and, yeah,I try to do everything I could with my own resources too. Keep it as truthful and authentic as possible. but I’ll never understand what it feels like to be adopted or deported or ripped away from my family.

even when I was making Ms. Purple. There was somebody on my crew that had to leave early one day and, I didn’t really have too much of a problem, but I found out later he told me that he’s a dreamer and just, talking with him a bit. I understood man, this is no joke. I’m married to a Russian woman.

Justin Chon: And so we had to go through the whole process of getting our naturalized [00:21:00] and getting her into the country. And I didn’t realize how fortunate I was just being born in this country and how intense. The immigration process is, and how there’s a finality to it too. it’s once you mess up and you get, you actually get kicked out of the country, it’s a really long road trying to get back in.

Masami Moriya: Yeah. I hear too many stories like that and just people who are. Afraid of being that deported. that’s a scary thing, just being able to live your life here in America, you’re already lived most of your life here in America and either be discriminated against, put incarcerated, being deported, all that just family separation is just not a joke and people really need to, I don’t know.

I don’t know. I’m not a policy person, I’m an activist, but I don’t know how the policies work the best way. I hope that things would change, especially for something like this. You feel like you’ve been in America for most, if not, almost all your life and, would it be ripped away from your families?

It’s just dehumanizing and just like just [00:22:00] policy, it’s just you just want laws to govern our lives.

Justin Chon: Yeah. And I’m with you. I’m similar to you in the sense that I’m not really. Politically that knowledgeable or that active, but I would like to say that I do advocate and, it doesn’t make any sense to me.

there’s a child citizenship act of 2000 that allows people who are adopted after 2000 daughter may magically be granted citizenship. It doesn’t like there’s been horror stories where even then, like people still been deported, but. I just don’t understand why it’s not retroactive, like why there’s a hard line in the sand that it’s like after 2000, but not before 2000, like you’re saying it is really just policy and how do we.

Justin Chon: Change that. And how do we, find a way for it to be, for any adoptive brought from another country? That’s definitely above my pay grade, but the thing I can do is make a film,creating a conversation so that [00:23:00] maybe it gets to those people that makes those have.

Masami Moriya: Yeah, I think that’s what film and television is supposed to do to detour degree.

And it’s always the entertainment half of it, but the impact and the way it visualize society to show and say this is what happens in real life. And to say, how can we change it? And so if we’re not having that conversation, if art is not showing us and giving us the message to. Talk with our peers about it and understand it a lot better.

We’re not going to have the conversation. It just goes, wherever ahead, we don’t hear about it. Nothing. So yeah. What have you learned about the deportation process, in, through making this film as there something that was like really surprising to you?

Justin Chon: Yeah. it’s nothing to mess with. It’s so cute.

It’s so cutthroat and that, once you get caught up in that system, it’s. You’re in there tight grip, it’s hard to get out of an, any cost. The other thing that people don’t talk about is that how much money it costs, if you don’t have money, it’s almost, it’s [00:24:00] so incredibly difficult to even stay just for that fact, because.

Lawyers cost money. you’ve not every case has a pro bono case. the legal system is such a financially depleting system, So it’s when you get caught up in this, do you have the resources like to stick it out? it’s, that’s what I learned. it’s a very scary.

machine, my sister is a public defender and I know firsthand like that. it’s a costly system. and also it’s they expect you to know everything. And how are you possibly supposed to know everything about policy and the laws and the rules, especially if you were brought as an infant, You weren’t even thinking about, you didn’t even know to do anything. Like it’s just, that’s why I think it’s the government’s responsibility because they were brought here when they weren’t super conscience about what was going. Yeah. They

Masami Moriya: weren’t reading contracts and signing papers.

Justin Chon: Yeah. They weren’t the ones that were, should be even, should be responsible for dealing with [00:25:00] that.

These are children.

Masami Moriya: Yeah, it’s a really tough and, thanks for bringing this to light. it’s not something that I’ve thought about myself. So to see something like blue by you was really powerful to me, now going back to some filmmaking and productions, what have you learned about making this film after you’ve made so many other films?

It was the progression. Have you, what was the, the most biggest thing you’ve learned making this one?

Justin Chon: I think the fact that filmmaking is going to be hard no matter what is never going to be easy. no matter what, like any level of it, whether it’s a micro budget up to the biggest tentpole films, it’s all filmmaking.

It’s all similar in the terms of what you’re trying to do, but it’s never easy. That’s a common factor. it’s trying to get a lot of people together for a very concentrated amount of time to be on the same page about a certain vision and giving, getting everybody to operate a very high level for, stay focused is very hard.

what I have learned is. [00:26:00] Being honest and truthful in what you’re trying to do is always, you can’t go wrong in that. I don’t know if, it will always turn out like, great, but that’s something that is a north star that it’s purpose wise. It’s hard to go wrong. and ultimately, what I have learned is.

Justin Chon: To ask my self, why I’m making the film in the first place. And if I can’t answer that question just don’t do it. Yeah.

Masami Moriya: Yeah. Yeah. I think that’s, that is that guiding star. the why of doing it just as the director, as the storyteller, not just, it needs to be made. It’s why am I doing it?

Why should I be the person to do it?

Justin Chon: Yeah. Yeah, absolutely.

Masami Moriya: I have a couple of last questions. what’s the goal? What’s the dream in five, 10 years from now, do you have, to have that further north star?

I’m living the dream right now. I get to tell stories that matter to me, and I get to have,autonomy about how I do it.

and,I,getting the films out in a very, influential way in, in being considered. [00:27:00] In a critical sense and getting to showcase these type of films at festivals I can, and Sundance, and be recognized by those institutions. And, I don’t necessarily think I, I have to.

Justin Chon: Have a goal of doing like a $200 million film or that’s just not my purpose per se. if it aligns with my values and why I’m doing, operating behind the camera, then that’d be wonderful. but, I want to do more of this, I want to do, I want to do films that I can be emotionally invested in.

And that matter to me when I sit in the theater and watch it, that I’m still just as emotional, the day that I committed to making the film, you know, And that’s blue by you. To me, when I was in the theater, I can watching it with the audience for the first time. I was just as emotional and, just as convicted as I was when I first was like, this needs to be told.

and that’s a good feeling because I feel like my life has some sort of value.

Masami Moriya: Yeah, [00:28:00] no, that’s, I think it’s a lot of dreams. And so did he even just hear you say you’re living your own dream, it feels really good, inspiring to mess up and I’m sure a lot of other people is you’re, you’ve made it to your ideal place of being, I think it’s really cool, man.

I hope I can keep at it, it’s a very, it’s a difficult industry. It’s very in it’s. Can be fickle and, so for the time being, I feel very grateful.

Masami Moriya: Yeah. Do you have anybody who inspires you to continue to improve your craft?

Justin Chon: Oh, so many. Whether it’s the Korean directors were just such crazy visionaries to, the Scorsese of the world and the Coppola’s of what they did for their communities.

bringing, normalizing, their communities and down to even like the Safdie brothers and Sean Baker and what they do, they speak their truth and they are vigilant about the art that they make and, to people like Ava, DuVernay, who, and spike Lee, who have just like repping their, community from day one and just being consistent in that way.

but there’s so much more that I can do. and so many more stories to be [00:29:00] told we’re only scratching the surface.

Masami Moriya: Yeah. There’s a lot, Asian community is so diverse. And so in-depth that there is so many stories to tell. yeah. Thank you. It’s it’s a lot, not to be brought up to, last question.

What’s the final, not the final advice, but any advice for up and coming Asian, American filmmakers and storytellers, it’s always,keep doing and keep trying, but do you have anything that’s specific?

I feel like when I talked to a lot of younger creators want it all now.

they want it to happen now. They want it to just be, making huge films or whatever now. And it’s just typically not the way it works, because there’s so much money and pressure involved. Like it’s good to go through the ringer and learn and be patient. But , what I like to say is it’s treat it like your life depends on it.

it’s difficult. And if you expect it to be easy in any way, Ooh, you’re in for a [00:30:00] very difficult. The more, more difficult time, the sooner you can understand that it’s a very harsh industry and that you’re gonna have to be resilient and just no matter what people say and how they treat you to move forward, that’s the best advice I could give.

and don’t expect it to happen. and even in five years, like it’s, it’s a journey that doesn’t stop, it’s, if you think about it, if you think about it as something that like, oh yeah, I’ll do this till I’m 60 or something then automatically I think that skin you’re going to have a hard time.

Masami Moriya: No, I think that’s great patients, right? Everything’s patients

Justin Chon: patience and hard work. Like you’ve got to put, you have to put the work here. Yeah.

Justin thank you so much for spending some time with us. And I am looking forward to, when it premiers and coming out. Thank you. Thanks, David. Appreciate it so much. Take care. You too.