Jennifer Yuh Nelson Quotes

We want to make sure that we have the right products for Chinese people.

The BBC fulfils a wonderful cultural function. Maybe the problem is that it feels it needs to be everything to everybody.

I think the bar is higher these days in terms of audience expectations of authenticity.

I make American films for American audiences and Asian films for Asian audiences.

I don't think massification and globalization and all those other 'izations' are necessarily hostile to regionalism.

When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.

It will take very sophisticated marketing to achieve our aim of bringing more black people into the theater.

The impact of the black audience is expressing itself. They look to films to be more expressive of their needs, their lives. Hollywood has gotten that message - finally.

The theater is reaching as many different demographics as it can now.

My experience of Chinese culture is indirect, through echoes. When I approach the cashier at my local Chinese supermarket, they switch to English before I've even said a word. They somehow know that I'm not quite Chinese enough.

People have to identify with their own stories, with their own lives, so a movie belongs to a country and to a culture. Sometimes we can share, but it's very rare.

I'm Icelandic, from this small country where there was very limited access to fashion when I was growing up, and so, for me, it's really important to have a product that's relevant for this global customer.

Specificity is what makes good storytelling, and good storytelling is what makes money, and making money is then what encourages new producers to invest in different stories about Asians.

I wanted to make films that were culturally relevant in my own country, that challenged people, and that people talked about.

What's incredible about 'Hamilton,' and the reason you can't get a ticket, is because everyone's responding to it. Everyone is seeing a bit of themselves in it.

Part of the responsibility of being a modern storyteller is understanding modern audiences and trusting what they can handle. It's not just settling into what we think they want.

Also, the times have changed, the Punjabi cinema is growing. Movies and songs are being made in such a manner that even a non-Punjabi can relate to them.

Indians can identify with the Indian sensibilities, and rather than taking something from foreign films, it is always good to make a movie which has been enjoyed by a certain audience or in a certain part of India and make it available to a larger audience.

Audiences are more drawn in to what they can relate to, so it would be stupid not to have great Latino films for the Latino audience.

If you make a film too American, it won't travel. It will have no life outside of its own country.

I hope I can get to more and more of the Chinese audience and kind of lead the way to maybe, y'know, inspire seems like a big word, but y'know... inspire to get people into entertainment because I think we can be just as good as anybody else.

I was not grown up in the U.S., nor in Japan. In order to create a video game that people around the globe can enjoy and relate to, I can't draw things deeply rooted in the local culture that I'm not familiar with. That's why we are not doing games about football or samurai.

Bands speak for us in this inevitable way that you can't get anywhere else because it is this perfect balance of artistic expression and popular culture.

Chinese people need to be aware of their present and ask, 'What's our culture? What can we bring to the world?' I don't think there's anything wrong with that.

My South Indian audience matters to me a lot, so I like when they watch my Bollywood films. It feels great.