I think growing up the way I did has made me a lot more objective, and that's important in the process of writing and trying to look at subjective matter that way.

I think my real influences are out of my control, which are the things that entered my brain when I was a kid growing up.

Growing up, I never really felt like anything was my own. I moved a lot, and I never belonged anywhere.

On one hand, I think it's very important to talk about race and talk about gender, because if it's not talked about, then we won't progress. What I have a problem with is when it becomes another form of tokenization, of shrinking me into a symbol instead of a multilayered, female Asian artist.

There is a disconnect between Arkansas and Washington, D.C. The career politicians in Washington are not listening to people here in Arkansas, and this is the fundamental problem with politics.

When I came back to Hong Kong in 1992, I decided to pursue a new career challenge.

I've had losses in my career before, and I've always come back stronger from those losses.

In my career, there have been three things that were challenging: playing gay; playing a Jewish woman; and playing Chekhov. The scariest part was playing Chekhov!