The Politics of "Passport" - An Interview with Actress Leah Taguba and Director Don De Leon

05.16 - Posted by Editor

The Politics of "Passport" All about the controversial short from director Don DeLeon and writer/performer Leah Taguba   A VC FilmFest 2001 report Interview by Chris Castillo

5.16.01 -- One of the most controversial pieces in this year's Visual Communications Festival is a short film titled" Passport." First shown at Cinemafest 2000 in Los Angeles, it created quite a stir with its hard hitting topic and its literally burning visuals. Actual heated discussions could be heard at the lobby just outside the theater after it was screened. A political as any in recent memory, this film provokes and makes the audience feel alive through the powerhouse performance of actress and writer Leah Taguba, who plays the poet, and the striking visuals of first time director and Cinegang member Don De Leon. I had a chance to sit down with both of them and discuss the evolution of "Passport."   Now Screening "Passport" screens 8 p.m., Saturday, May 19, at the DGA Theater in Los Angeles in Program 17 of the VC Film Fest 2001. For more information, visit www.vconline.org   AAF   "Passport" is very political in nature and it seems that it is also a very misunderstood film. How did the project come about?   LT  Well, I wrote this piece after my driver's license was stolen. I went with a group of friends to a bar and I had to use my passport to get in. While we were going in, a group of young white women were behind us and one of them basically said what I said in the movie, "At least we're American". I guess she was pissed off that "FOBs" got to go in before her. She fucking pissed me straight off. I get tired of that shit, ya know. I just want to be able to go out with my friends and not have to hear "how long have you been in this country," or "what are you," or "where are you from". I mean there is just so much rhetoric about how America has progressed and how it is becoming a color-blind society. There is no doubt that this country has changed - racism is no longer a blatant act, but now it is much more insidious, and more difficult to detect and to fight against. I wrote this to say that shit like this still happens, and that it affects people of color daily. What that woman said may seem like harmless words to some, but they are powerful weapons in shaping peoples' reality. Since I know this, I chose to use words for my own empowerment, and reclaiming control over my own reality.   DDL  I heard Leah perform her poem and I was amazed, and pissed off. The poem was so visual and so raw. I had to talk her into doing something different. We needed to bring this story out. It was great to see her create something so positive out of what came from a negative racial slur.   AAF   When was the first time you screened this film and how was the reaction?   DDL  Cinemafest 2000 was its debut. I received a lot of good and bad criticism. Some people thought the end was way overboard. People kept telling me how offended they were. Others were telling me how much they loved it, and what did you mean by this? Or how did we shoot that scene? I was pleased with the reaction. Our goal for the film was to get an emotional response out of people. Good or bad, just as long as people were talking.   LT  I was so nervous. I mean, that was me up there. I wasn't sure if people were going to hate it, or even understand it, but I knew it was gonna get some reaction. People had very strong opinions about it. Some identified with it and loved it. Others felt that it was just a little too raw for their taste, or that it was just plain racist. For me, I liked the fact that people had such strong feelings about it, whether or not it was good or bad is not the point, but the fact that the movie was strong enough to make an impact on their lives means we've done our jobs. A movie is supposed to make people think. And react.   AAF   Did you have problems getting this film shown?   DDL   Not a lot of people like this movie. Not a lot of people can understand it. We had our share of problems. "Passport" has a very specific audience. Festivals that screen "Passport" are festivals that are truly progressive, and are not worried about playing it safe, or afraid of offending anyone.   LT   It's very edgy and a difficult pill to swallow, and many of the film festivals just weren't ready to deal with a project such as this. I mean, if you saw an Asian girl basically telling White America to fuck off, one may think twice, maybe three times about screening it. Stylistically, films generally have not taken the shape of spoken word pieces, but beyond that, we have to bust stereotypes left and right about Asians in America, and that yeah, we really do have things to be angry about. I speak about very painful subjects, about gross assumptions and stereotypes, about racism and being considered a foreigner within a country that I was born and raised in. And no matter how many generations of my family have lived here, or how well I can speak English, I can always count on someone saying something like—go back to where you came from, (insert universal Asian derogatory word here, like Chink or Gook). Because there is this misconception about Asian Americans having nothing to complain about, I think that "Passport" made many people uncomfortable, or perhaps they could not understand the message, which is why many of the film festivals rejected it.   AAF   Much has been said about the multiple layers in this film. What are some that I may have missed?   DDL   In an earlier version of the movie when Leah first begins the poem the screen turns dark and stays dark for a about 10 seconds while she continues to narrate. We did this to slowly introduce the viewer that they were about to witness something a little different, to give them time to adjust and let them wonder. In the latest version when the screen would fade to darkness, we added the text of the poem. It would scroll through like subtitles, but in a very different way. The text would scroll from left to right coinciding with Leah's narration, but we reversed the words so you have to read from right to left. Doing that is drastically different, no one reads right to left. We wanted to establish a foreign type of feel. We are taking control over you, by making you do something you are not accustomed to, which forces you into our world. By doing so, we're not trying to change your mind but merely helping you to open it. For a moment, you'll be seeing things through Leah's eyes. When the movie is finished, you're left to make your own judgments.   LT   People have asked why the flag of the Philippines is upside down, and I understand that is a valid concern. What some don't know is the flag is not upside down, but War side up. During the time of war the flag is displayed inverted with the red side up, which is one of the themes of the movie. We are fighting a war, even now, for equality, for justice. The flag was layered over photos of Filipino WWII veterans, who are still fighting 50 years after the war, to get the benefits that other veterans get, and that they rightfully deserve. To this day, Filipino WWII vets have not received their full benefits or recognition, and are dying every day.   AAF   What is your take on the Asian American Film movement?   DDL   It's a good start. We really have a long way to go. We need a lot more people in our community to take part in the movement. We need people that are willing to take a risk. I see a lot of complacency in the Asian community, everyone is happy with their house and their cars. When you look at what Asians have done in the entertainment industry, it's easy to see we really haven't done much. There has to been an easier way for Asians to raise money so we can create, and get our vision out to the public. That's why Cinegang has been revolutionary in the fact that it has gathered filmmakers and artists all over the U.S and Canada and fostered a sense of community. Just people helping each other out to perfect our craft and get our voices heard.   LT   I feel really excited about the presence of Asian Americans in film, as writers, directors, producers, and actors. For one thing, we need more female Asian filmmakers to come up. Men, in general, dominate the industry, so Asians, and Asian women, more specifically, become even more scarce which explains a lot of things. But don't get me started on that. I look forward to the day that Asian American filmmakers can just tell our stories that don't necessarily depict us as super natural beings that can karate chop you to death, or exotic sex kittens that will whip white men into submission, or any other kind of 1-dimensional characterization. And I also look forward to the day that Asian American actors will be able to choose roles that aren't limited to those I mentioned earlier. Slowly but surely we are seeing things change, so I have hope.   AAF   What other projects are both of you working on?   DDL   Within the next couple of months, post-production work on a feature called The Sky Is Falling directed by a fellow Cinegang member. I'm close to pulling together the finishing pieces to do a feature I wrote called, "Virginia Is For Lovers." I'm also trying to pull some projects together with other members of Cinegang. As for shorts, I'm finishing two right now. One is actually for AsianAmericanFilm.com, the second is another experimental piece called "The Exit." I like to take risks with short films, but when it come to features, I'm going to tell stories that are appealing to the masses without dumbing them down.   LT   In terms of film, I am in post-production of my own short "Where's the Peanut Butter" that I wrote and directed, which I am really excited about. I have also been asked by Don and a couple other directors to write for them—a horror film sequel, an episode for an Internet series on hit men, and a segment in a feature film. Now that those are done, I have begun to write my own feature screenplay, Overtime. But I am also still developing my writing as a spoken word poet. I am part of a spoken word duo called Re: verse based in Washington DC. Giles Li, my partner, and I have just recently met with RP63's Record Division, and are now in the process of cutting a spoken word album. My experience with making Passport into a movie under RP63 Productions has definitely expanded my opportunities as a poet and filmmaker.   AAF   Where is the next place people could see "Passport"?   DDL   For now, Washington DC in October for the DC APA Film Festival. We're thinking about submitting to Urbanworld. I think this is the first year they added an Asian and Latino program. But we're still not sure because they failed to add Asians and Latinos to their screenplay competition. To me, that doesn't seem right.   Chris Castillo is a writer/producer /filmmaker based in Los Angeles. He is currently in post production on his feature length psychological thriller "The Sky is Falling." He is also the president of Cinegang. He can be reached at catalystfilms@attbi.com.     Return to top