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What are you currently working on? What is the latest on Chink?
(Koji) We are in the middle of post-production on my newest film, Chink. It is the first Asian American serial killer movie. It was directed by Stanley Yung and stars Jason Tobin (Better Luck Tomorrow), Eugenia Yuan (Memoirs of a Geisha) and Tzi Ma (Rush Hour). Also, I have a feature currently in production, Monster & Me. It’s a children’s Christmas movie. Other than that, I’m always writing 6-8 screenplays at a time.
How did you come to a film writing career? Did you pursue other types of writing before this? Other arts? Other careers altogether?
(Koji) I always dreamed of becoming a novelist and writing the cliché “great American novel.” I enrolled at USC’s Masters of Professional Writing program in the hopes of learning how to become an author. But it didn’t work out the way I had planned. My prose wasn’t as good as it needed to be and I even considered dropping out of school. But on a lark I decided to take a screenwriting class with Syd Field. That one class changed everything. I realized then that my calling was not to write the cliché great American novel but the cliché “great American movie” instead.
How does being Asian-American inform your career and project choices?
(Koji) This is a good question. I think a lot of other Asian Americans see being Asian American as being hurtful to their film/writing careers or at the very least making it more difficult for them. However, I don’t believe this. I believe that it can be helpful. Let me explain. One of the advantages of being Asian American in the film business is that there aren’t too many of us. So we all are connected at most by one or two people. I believe there is power in this. This means that if I want to work with another Asian American or just get advice, I can get to them. I don’t know a lot of other communities you can say the same thing.
Being Asian American has not affected my project choices too much. I look for good stories and good characters that I can be passionate about. Other than something overtly racist, I’m willing to try to write a script about it.
Are Asian-Americans supportive of AA films, or is there lack of awareness/ interest? What is the interest among non-AA? Who is the most supportive of AA work – diversity associations in general, friends & family, specific producers?
(Koji) There are many passionate Asian Americans who are very supportive of Asian American films. Because of them, Asian American film festivals and art/film nonprofit organizations have sprung up all over the country to support and foster Asian American filmmakers.
Outside the community though, most people don’t realize there are Asian American films. When they think of “Asian” movies at all, they think of movies from Japan, China, Korea, etc.
What is your creative process? How do you decide what to write about? What inspires you?
(Koji) I write every day. I always tell people the difference between a professional and amateur writer is that the professional writer writes every day and the amateur writer waits for inspiration.
How do I decide to write about? First, if someone is willing to pay me to write, I’ll write anything. Okay, I’m half joking. To be honest with you, I really do like to write anything and everything. Whenever I jump onto a project my trick is to try to turn it into something that I’d want to watch. Sometimes I have more successful at it than other times.
My inspiration? I dislike questions about inspiration because inspiration doesn’t push me to write. I write because I am a writer. I would write for the rest of my life even if it meant that no one would pay me – but obviously I prefer to make some money.
What was your inspiration specifically for Chink? Did you want to do a “first” (e.g., first AA serial killer movie)? Are you interested in serial killers or that genre?
Originally my producing partners (Quentin Lee and Stanley Yung) wanted to do two movies, one featuring an Asian American female lead and another featuring an Asian American male lead. We wanted to make movies with challenging characters for our actors to play. Roles that most movies (Asian American or otherwise) they don’t get to play. The People I’ve Slept With was the female movie and Chink became the male one. We didn’t set out to write a serial killer script per se, but it naturally developed into that after many many many drafts!
I’ve always been fascinated by serial killers. I’m curious how their brains work and why they do what they do. But I hope to never meet one in real life. 🙂
What do you know now about independent filmmaking that you wish you knew when you started?
(Koji) Advice? Not to make an independent movie. Just kidding. I knew it was hard to make an indie movie but I never really really really understood how hard it was until I started making them. If I can go back and talk to myself I would tell myself to relax and enjoy it while it’s happening and not to let all the stress and headaches of a set get me down.
What advice, whether creative or business focused, would you give to someone interested in writing, directing, producing, or otherwise working on independent films?
(Koji) My advice to anyone in a creative field is not to do it for the money. Because if you do it for the money, you’ll inevitably end up very disappointed. Do it for the love of it. And if you end up making any money at what you love, that’s just a bonus.
What’s next for you, in terms of future projects or career in general?
(Koji) People are going to laugh when they read this but anyone who knows me knows that my goal has always been to eventually write an X-Menmovie. After that, I will die a happy man.
How can people follow your work or learn more about you?
(Koji) Become a fan of my newest film, Chink. People can follow me on Twitter (https://twitter.com/ksakai1) or friend me on Facebook (http://www.facebook.com/koji.s.sakai). I’ll befriend anyone. You can also check me out some of my articles on 8Asians.com, a collaborative blog dedicated to Asian American culture and issues.
Interviewed by Caroline Ceniza-Levine, founding partner of FBC Films