I knew I was Chinese, but growing up, it never occurred to me that that had any particular implication or that it should differentiate me in any way. I thought it was a minor detail, like having red hair.

I felt pretty good growing up. I didn't feel a lot of prejudice or racism. But I do remember, if there was going to be a movie or a television show with Asian characters, I would go out of my way to avoid them, because they portrayed all Asians as either ridiculously good or ridiculously bad; you know, the whole Charlie Chan-Fu Manchu thing.

With theatre, we all agree to suspend our disbelief about so many things, but not about race. It's totally OK to have one actor playing five roles - people are willing to believe that. But they won't believe it if there's a black or an Asian kid who has white parents. What does that say about us?

As Asian-Americans, the charge that is often lobbed against us is sort of the least original: the idea that somehow we're perpetual foreigners, that we can't be trusted, and that even my father, who was patriotic to the point that it was kind of a joke among his children, would be accused of being disloyal to America.

The beginning of my career was so brilliant. It wasn't until ten years later that I went, 'Oh, that was a big, fat fluke and, boy, was I ever lucky.'

I always encourage people in the early parts of their career to focus on writing. If you can communicate clearly, if you can articulate a thought, if you can write a great story, then you're going to be successful.

We are very fortunate to have Matt Carter join the Apollo board. Matt brings deep management, operations, marketing and international business expertise to the company, along with a track record of growing and strengthening well-known consumer brands.

Working with my friend Sir Antony Sher is truly one of the highlights of my career as an artist.