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Dan Perri Talks The Art of the Title Sequence | Interview

The legendary title designer’s exhibit is on display at the Museum of the Moving Image now.

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Speaking with legendary title designer Dan Perri enlightened me to a whole new aspect of film. Sure, we’ve all seen the Star Wars opening crawl or the smoking opening credits of Raging Bull, but have you ever wondered what the creative process of that looks like?

I was lucky enough to chat with Dan about his career and exhibit at the Museum of the Moving Image and was very fortunate to be able to visit the exhibit for myself in Queens a week ago. In this interview, Dan and I talk about his career, working with Martin Scorsese and what to expect in his exhibit.

Thank you so much to the lovely folks at Sunshine Sachs for this opportunity and for allowing me the chance to see the exhibit myself!


Coastal House Media: Dan, let me first say thank you so much for your time. It’s really a pleasure and an honor to speak to you. I was looking through your filmography and you’ve worked on so many films that I’ve seen. It’s actually amazing. First I want to ask you just to start off, I haven’t spoken to a title designer, but could you tell me some sort of tidbit about doing this that maybe the average moviegoer doesn’t know?

Dan Perri: Well, in the future film business, and even independent and studio films, there are requirements that they have to have certain titles on screen because of tradition and contracts. So they have to present the name of the film, of course, and then usually there are contracts that tie the actors to the title. Like they have to be the same size, precede the title in some cases, and then other technical people might be tied to it as well. So there’s this whole string of requirements. 

Over the years, filmmakers have realized the benefit of [title sequences] since the titles have to be there. [They realized] that they could use that screen time while introducing the titles and help the viewer to get into the film. So they will hire someone like me who is a specialist at creating something that helps the storyteller tell his story.

So, I go trying to find the elements of the story, whether it be the character, the personality, the setting, the era [or] anything unique about the story that I could find images from to emphasize that and therefore introduce that main element to the viewer and at the same time knock off the titles.

So for me, the titles are not the most important thing. It’s the story that might be behind the titles that I try to embellish and bring to the film and the storyteller and incidentally, the titles take place. Now, of course, there are times that only the titles on the screen, you know, screen’s black or red or brown or whatever, and so the personality is the only thing there. Then the job gets harder because you gotta find elements in the type you’ve chosen. And all the subtleties of that. Once you’ve chosen the type style, how they’re set, how they’re arranged, how they’re stacked up, how they come in and out, what color are they, what adjustments to the design [of] the letters — maybe some letters that joined together to create a logo. There’s a myriad of things that you can do in the simplest form, [like] just typing over a background, but all those separate elements in that simplest form are relatively insignificant separately, but collectively, they make [an] impression and impact on the viewer and on the storytelling as well. 

Dan Perri and the Art of the Title Sequence — photo courtesy of Sunshine Sachs.

CHM: It sounds like you’re contacted by a studio for a certain film, what was the first big project that kind of got you started on doing all of these projects?

Perri: The first big studio film I did was for United Artists called Electro Glide in Blue. Robert Blake plays a cop in the film, so it’s widescreen and images. Conrad Hall shot it and it’s set in the West and it’s about these kinds of Western cowboys who are cops. So I brought these Western elements to it and selected shots from the film and treated them in a graphic way so that it felt like they were from the 1880s.

And I did hand lettering for all the titles and did free frames and subtle dissolves and fades and so on, and it worked very nicely with the music. So that was the first big studio film. And then I learned later that — this was 1973 — Billy Friedkin heard about the film [and] that it had really good sound, so he went to see the film one day to evaluate the sound, and he later hired that sound editor for The Exorcist but he saw my work on the film and it’s hired me to do the titles for The Exorcist

And once that film — which was one of the very first blockbusters — hit [theaters], I was known throughout the industry and everyone suddenly wanted me to work on their films. And I’ve been very fortunate [and] because of that and pretty much I’ve been working ever since.

CHM: Before I get into your exhibit, some of my favorites of your title sequences are your collaborations with Martin Scorsese — my favorite being the Raging Bull title design. it’s amazing. Do you have any tidbits about the work you’ve done with Scorsese? 

Perri: Yes, my first film with him was Taxi Driver, and then I did seven more in a row and I was kind of his in-house, well, that’s the wrong words. I wasn’t working for him, but on every film he did, it was just a given that I would do it. So whenever it was time, he call me [and] I’d come in. I mean, I was presenting ideas and competing with others and because of the way he works, he’s so collaborative and willing to work with all of his creative people and support them and encourage them rather than tell them exactly what to do. And so as a result of that, he gets the best work out of those people. 

And just the way he casts his actors, I see that he casts his costume designer and he casts his cameraman and he casts his title designer as well. So he chooses the right person and then he lets them do what they do. And as a result, he gets their best work. It then allows him collectively to do his best work. That’s why his films are so good.

I’ve done my best work with him cause of how he’s collaborated with me and supported me and always loved the ideas I’ve brought to him. So I can do them at my best, make all of the choices and the decisions along the way, and then bring the final product to him. 

Dan Perri and the Art of the Title Sequence — photo courtesy of Sunshine Sachs.

CHM: And a follow-up on that, just because I’m curious about how the process works, this can be in regards to any of the films you’ve done, but when you’re brought into a certain project, what have you seen at that point? Like, I don’t know if the film’s finished or if you have anything that you can base the font on and then how do you then come up with the ideas?

Perri: Well, I’m always brought in while the post-production process is taking place. Usually, they’re still cutting, so I need to see the film in whatever form it is in so I can have my own emotional reaction to it. And out of that ideas just come into my head. I still don’t know how that happens, it’s still a mystery, but fortunately, they still come.

And not just one idea; it’s always three or four or more ideas. So I have to sort through all of those as if another designer has brought me these ideas and I’ve gotta look at them all and decide which one I think is best. So I’m working with myself in that way, and these ideas come to me. I always work in the exact same way since the very beginning: an idea that pops into my head and I have to literally scramble and find a piece of paper, something to draw it on, on the paper with a pencil — it’s always a regular old pencil with me eraser on it so I can erase something and change it — but if I don’t jot it down right away, sometimes it goes away. It evaporates, it’s gone. I can’t even remember it. 

So it’s that process has always been present in my work. Ever since I was a kid, when I started designing graphics and doing sign painting when I was in high school, I work with a pencil and a piece of paper and that has worked for me. So it has never changed. Of course, after I’ve made the drawing, I will scan it and take it into the computer and then I can manipulate it. [When] I would do that on paper and, one after the other would paint and brush and now I use the computer for that. But the idea still comes the same way and putting it down to visualize it is the same way I’ve always done.

CHM: That’s amazing. It’s like a musician when they think of a melody or something and they’ve gotta run home and jot it down. 

Perri: Yeah, exactly. I was on a plane one time with Stevie Wonder — he was on the same flight [and] I wound up having dinner with him — but he and his assistant were together in two seats and every so often Stevie would motion to him and this guy would jump up and go to the overhead and bring down this little machine. It looked like a court reporter machine that Sony had made for him. And instead of typing letters and so on, it would type notes and anytime Steve would get a musical idea, he would write it on this machine that had been made for him. 

So he worked exactly the way I worked and I think a lot of creative people do. You have ideas and you get them out in some way that you can translate and develop them. It’s a successful way of operating. 

CHM: Not to keep you off of the topic at hand too much, but I do wanna transition to your exhibit. Is this the first time your work’s been in an exhibit before or have you done something similar to this before?

Dan Perri and the Art of the Title Sequence — photo courtesy of Sunshine Sachs.

Perri: It’s the first time. I’ve never shown my work except for occasional screenings I might have for friends who wanna see the body of work together. And this is the third phase of a program that I’ve wanted to develop and apply, and that is the process of sharing my work, which has come out of my desire as a teacher to pass on and share what I’ve done and what I know.

So it’s my knowledge and my work that I feel obligated to pass that on to mostly students because that’s who would benefit [from] it, but there are lots of people who are fans of the work and fans of film and of title design and so on and I regularly talk to those people. But it’s mostly students and schools that I visit. I’ve had tours all over London, France, the U.S. Two weeks ago, [I] spoke to USC, their film department, and I’m talking to Cal Arts out here in L.A. next week. So I keep getting invited to these different places and I simply show my sample reel, which is like a minute-and-a-half collection of just the logos of different films and then there are tons of questions and they wanna hear the stories and like [what it’s like] to work with Scorsese George Lucas or whatever it might be. So, I greatly enjoy that. The sharing is where it’s come from, and that’s the first stage is to teach and share it with students, the second phase is I wrote a book about my career, which I self-published. It’s now on my website, danperri.com, and people from all over the world are buying it. I’ve sold about 500 of the 1,000 that I printed, but I get orders all the time from every part of the world and I shipped them a lot myself personally. So that’s the second stage to reach more people and share the work.

And the third stage is to exhibit the work. So I approached, uh, the Museum of the Moving Image and suggested they do an exhibition of my work and they loved the idea. So over the months, we developed it and cultivated and discussed the approach and so on. Barbara Miller and her guest curator, Lola, who runs Art of the Title, you know that site [and she] collaborated with Barbara, and they together curated the show.

I haven’t seen it yet — I’ll see it Sunday when I go there for the reception opening of it. But I’ve seen pictures of it, I imagine you have too, and it looks wonderful. I’m really thrilled with what you’re done with it. 

CHM: Well, I’m going on Saturday and I’m so excited to see it. It seems like you had this yearning to start the exhibit, but how long did these conversations take and what exactly was being discussed? Was it hard to pick and choose what would go into the exhibits?

Perri: Uh, yes. Barbara initially had a good idea [when] noticing that a lot of films I’ve done happen to be set in New York or with New York directors. Like most of Marty [Scorsese]’s work is based in New York. Walter Hill, for example, did The Warriors which was set in New York so we were looking at the notion of the show being heavy on films that are set or take place in New York.

And so the films that Barbara selected were in that vein. But there are many that I felt were important to represent my work that wouldn’t have been in the show because they [weren’t] New York-based films, but still, they’re good examples of what I’ve done. So we kinda expanded that and there are now two video presentations.

One [features] sequences from the core films and then a group of others that are more general, that represent things I’ve done that were important to my growth as a designer and some of those films that are not as successful perhaps, but good pieces of work. So that’s how that happened. 

CHM: My last question for you is, I know you kind of mentioned that the presentation of some of your work, what else can people like myself that are gonna go expect to see? Are there storyboards or anything like that?

Perri: Uh, no, I don’t really do storyboards much. There’s, there’s one on, on, I think the, uh, excuse me, the Species sequence, which I hand-animated, but it’s just the opening of the actual title. So there’s a storyboard on that, but I don’t. I don’t find [that] storyboards are effective to present ideas.

There are lots of artifacts from different films. I like to create things in reality whenever I can. Like [with] Caddyshack, the idea was the golf ball instead of the word “Titleist,” it has the word “Caddyshack” and it’s in the same type style as the word “Titleist.” So I had a ball made and they couldn’t make it the size of a golf ball cause it’d be too small to properly letter the letters so they made it the size of a softball. I then filmed it, and without anything around it, it looks like the size of a golf — so it served the purpose. But that [the golf ball], that is in the show. It’s in a glass case somewhere. 

Dan Perri and the Art of the Title Sequence — photo courtesy of Sunshine Sachs.

The license plate that I had made from Star 80 is in the show, which I had made and had chrome-plated and filmed it live and moved lights around so it looked like it was alive. There’s the logo from Freebie and The Bean, which was a big saddle with multiple colors of neon lights on it. So I painted that by hand like an animator would, and I filmed it with a live camera and then superimposed it over shots from film. 

There are a number of original designs that I did on tissue paper and pasted down onto a piece of cardboard and put a flap on it and brought it to George Lucas on Star Wars. A few of the alternate ideas that are there in the case as well. There are the wooden letters that I used for Gangs of New York [which] were original letters that were used to print headlines in newspapers from the 1850s, which I found at an old type shop and assemble them, photographed them, and became the logo for the film. Those letters are there as well, and a few others that I can’t remember at this moment. 


Dan Perri and the Art of the Title Design is on display at the Museum of the Moving Image now until January 1, 2023. For more information, click here

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Andrew is an entertainment journalist and film "critic" who has written for the likes of Above the Line, Below the Line, Collider, Film Focus Online, /Film and The Hollywood Handle among others. Leader of the Kaitlyn Dever Fanclub.

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Charlie Michael Baker: Journey of Autism, Social Media and Working with Kylie Jenner (EXCLUSIVE)

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Charlie Michael Baker and Kylie Jenner

At just 17, Charlie Michael Baker is giving his all to change the world. Baker is a renowned author, entrepreneur, actor, and journalist and he is on a mission to help millions of people suffering from autism. Charlie Michael Baker previously told Costal House Media he raised over £400,000 to help people with autism. He faced many challenges since childhood but his determination and perseverance were the key to his success.

Baker is a Social Media sensation with over 1.2M followers on Instagram. Charlie Michael Baker is one of the many influencers being bullied on social media every day. He receives 300-500 rape and death threats daily!

Charlie Michael Baker

Charlie Michael Baker

We had the honor to connect with Charlie Michael Baker. You can read our conversation below.

Nikita Pahwa: Congratulations on launching your new book! What can you tell us about it?

Charlie Michael Baker: So my new book is about social media, specifically, the dangers of social media. All young kids now want to grow up and be ‘famous’ but don’t know the bad side of it all. I was one of those kids, I’d always wanted to be famous, it’s something I’d always dreamed of!

NP: How do you deal with death and rape threats?

CMB: The short answer is, I don’t, really. I stopped reading my DMs a few months back because of it all. I don’t deal with negativity and there’s too many trolls to block each and every one, so they all just get ignored.

Charlie Michael Baker Social Media and I

Charlie Michael Baker Social Media and I (Photo: @kaybeephotography2 on Instagram)

NP: What advice would you give to people in similar situations?

CMB: I’d say don’t listen to them, do what I do and just don’t read them. It’s better that way. What you don’t see can’t hurt you!

NP: If you could say one thing to people sending you threats, what would it be?

CMB: Without ruining my career *lol* I’d say just to be a bit kinder. If there’s something going on in your life that you’re not very happy with, ask someone for help. Speak to someone you trust rather than swaying to a life of being a keyboard warrior. It’s not nice!

NP: Is your new book related to Charlie Baker: Autism and Me?

CMB: It is! It will be written in the same – ish way BUT Charlie Michael Baker Social Media And I will be exclusively E – book sold on my website charliembaker.net.

NP: Are you currently working on a new venture with Kylie Jenner?

CMB: I am! We’re working with the same brand – glow beverages. We’re working alongside an NBA star too whose name I cannot remember for the life of me – oops lol.

Kylie Jenner and Charlie Michael Baker

Kylie Jenner and Charlie Michael Baker

NP: Are you planning to collaborate with more celebrities in the future?

CMB: I love working with celebrities. Mostly just to see what they’re like to be honest. Kylie is so nice though honestly I keep messaging her life updates!

NP: Last question, is it true that you’re working on the Charlie Baker: Autism and Me movie? Are we going to see it on the big screen?

CMB: Yes, it is! I’m filming something very very special this year with Creation Media 22 which should appear on Netflix and Prime Video which is so exciting! It will be my first time in front of an actual TV camera so it’s a bit different to daily vlogs!

You can get your Charlie Michael Baker Social Media And I E-copy on March, 1 for £0.01 (yes, a penny!). Get your Charlie Baker: Autism and Me copy on Amazon.

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INTERVIEW | ‘The Tiger’s Apprentice’ Stars Brandon Soo Hoo and Leah Lewis Discuss Representation, Positivity, and the Power of Belief

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Tiger's Apprentice
Tiger's Apprentice (Paramount+)

Paramount’s latest animated flick ‘The Tiger’s Apprentice’ has finally been released and garnered positive response from everywhere. Adapted from Laurence Yep’s beloved children’s book series, ‘The Tiger’s Apprentice’ brings to life the thrilling journey of Chinese American teen Tom Lee (portrayed by Brandon Soo Hoo). He is suddenly thrust into a realm he once believed existed only in bedtime tales. After a tragedy strikes his family, the young man discovers his identity as a Guardian. Subsequently, he is mentored by the mystical Tiger Hu (played by Henry Golding) to confront the evil Loo (portrayed by Michelle Yeoh). In between all this chaos, he develops a special friendship with a girl named Rav (played by Leah Lewis) who helps him in defeating the villain and saving the world.

It is one of those films that you can enjoy with your family. It is tender, beautifully crafted, and encourages you to think about how traditions play a crucial role in everyone’s lives. In this exclusive interview, Brandon Soo Hoo and Leah Lewis share their perspectives on the film’s themes, the significance of Asian American and Pacific Islander (AAPI) representation in media, and the impact of portraying multi-dimensional characters. The actors delve into the importance of maintaining positivity in the face of adversity, believing in oneself, and breaking stereotypes in the entertainment industry. From challenging outdated narratives to normalizing cultural heritage, Brandon and Leah express their excitement for viewers to experience the film’s adventurous and tender journey of self-discovery.

Tiger's Apprentice

A still from ‘The Tiger’s Apprentice’ (Paramount+)

Aayush Sharma: ‘The Tiger’s Apprentice’ is a mixture of so many great things love, care, culture, and family. But for you guys, what was the one thing that made you relate to this story and made you proud? And why do you think that particular thing is so important for people to see?

Brandon Soo Hoo: One of the favorite things that I related with my character was Tom has uncanny ability to maintain a positive outlook when things get really tough. And so, you know, he’ll drop in a humorous little quip here and there in the face of adversity. I think that’s such a powerful way to confront anything challenging because life isn’t that serious. And, if you really lean into the negative, and if you really lean into the dark side, I feel like it can really corrupt and taint you. I believe maintaining that light and positivity around you is like the ultimate protection that you have, from the dark stuff when life kind of gets you down. Because if you let life get too dark, then you won’t let enough of your inner light kind of radiate outwards and do what it needs to do. So, you know, hold on to your light, hold on to the positivity. I feel like it’s contagious. It’s very, very healing.

Leah Lewis: I think, for me, one of my favorite things about this film that I would take away, is really learning how to believe in yourself. And I know that’s such a simple statement, but it’s a big loaded one for me. I really feel like when it comes down, to believing in yourself, it’s the things that you care about, the people you care about, where you came from, where you’re going. You see this character, Tom, struggle with believing in himself in any aspect. I think that’s really important too. And I think, when you can believe in yourself too and present yourself, honestly, and vulnerably, that’s also when you find other people who are right for you in your life. You see Tom eventually learns how to be himself, and because of it, he fits into this Zodiac and kind of ends up finding a community that he never would have expected. So, I think that aspect is important for me.

AS: So, you know, besides showing so many great things, this is also an Asian story. The characters, the cast, the makers, and most of the people involved in this project, have an Asian background. But you know when we see the entertainment industry, we still see a lot of talented Asian actors stuck in a kind of stereotype. And they are cast in one kind of role. For you guys, how does Asian representation in movies intersect with a broader discussion about diversity and inclusion in the entertainment industry?

BS: I mean, it’s 2024, we’re past the era of having Asian people playing just submissive roles or playing like the tech support. I think that right now is like a renaissance for Asian entertainers and Asian artists to showcase that we are multi-dimensional people, that we can be the hero, we can be the cool guy. It’s all that stuff is like, we’re really seeing Asians being at the forefront of stories like that. And it’s so important because growing up, if you don’t see all of those things represented in media, it’s kind of hard to feel like, you can see that in yourself. So, it’s almost like this conditioning that we received from a really young age. So right now, we’re trying to reverse engineer all of that by showing you can be the hero of your own story, you know, you can save the day. And you could be more than just like whatever aesthetic or face that people want to put on you. You can kind of step out of those boundaries and as a human being, you can do whatever the heck you want. So, I think that it’s so important for us to be able to share with you all.

Brandon Soo Hoo (@brandonsoohoo/Instagram)

LL: I agree, I think, we’re living in a day and age where we’re moving towards a place where representation isn’t such a flashy, flashy thing. It’s a necessary and needed thing that should already be kind of embedded into our society. So, it’s a huge win for the AAPI community any time there’s an API lead or like, especially something like this film where it’s completely eccentric. But I also think the more and more we start to see those projects, like, it’s important to be able to normalize the difference in all these characters. You know, when I also look at, the list of like, Caucasian actors, I can think of an actor for every kind of character. I’m like, oh, yeah, I know, this actor played that, and this and that. But you know, for Asian, that’s been a long time coming, where it’s like, oh, it’s only Michelle Yeoh, who plays that or like, you know, we have the designated person who plays the geek or the kind of hero or like the dark character. And what’s so cool about this film, too, is like, Tom is just, he’s a cool, regular guy who hails from Chinese American culture. This film shows heritage and culture in a way where it’s so normalized, and just so kind of nuanced. I feel like that sense of representation is so cool for the people at home who are like, hey, casually, I like this guy, or I know those kinds of traditions, and I love the way he builds in this theme because I feel that way. I don’t know, I just, I also wish I had something like this growing up too. But like, now is the best time to see people that look like you, speak like you, or act like you on screen. It really recovers that belief in yourself that things are possible for you. Like we all watch TV. We all care about these characters to feel seen and feel like you know, you have a voice out there somewhere. There’s nothing better than that feeling. So, I hope that this film does that for a lot of people to me.

AS: You guys are working with such huge stars. Michelle Yeoh, Lucy Liu, Henry Golding, and more. What was your reaction when you heard these guys will be in the movie?

BS: Man, I mean, the reaction was and still is just like, almost like a surreal disbelief. I was like, these are people that I watched growing up when I was little, I was like, dang, these are some huge Asian names. They are the biggest names in our community. So yeah, I told my parents immediately about, like, who’s going to be in the project, and we all just like giggled about it together. So, I think just immense pride. It’s such a celebration, and it’s such a win, not just for me and my career, but it’s such a celebration for the Asian community. It’s like, man, look at all of us, like, together just being badass Zodiac warriors.

LL: I felt the same way. I mean, honestly, I tend to do this thing to where if someone tells me like this person is who you’re working with. I’m just like, wait, what? And I’m still like that, you know, like when we were able to even see Sandra Oh, at the premiere of like, let’s go, oh, my God, like, that’s really freakin’ cool. It’s also just like, I think it’s a really proud moment to finally see all different generations of AAPI actors coming together on one screen and to be able to see that there is space for more than just one or two. This whole cast is like a chock filled with it. And everyone is so talented, it’s been an honor. I’m really proud to be a part of it.

Leah Lewis and Sandra Oh

Leah Lewis and Sandra Oh (@leahmlewis/Instagram)

AS: The film has finally been released and it has opened to great reviews. If anyone hasn’t seen the movie, what’s your advice to them? And why should they watch ‘The Tiger’s Apprentice’?

BS: What do you what are you waiting for? Get in there. Watch this movie. It’s special, it’s beautiful. There’s something in there for everybody. And yeah, I think you’re really missing out on something that’s, that’s really beautiful and important. So go check it out. I hope they get to watch it with your family because there are a lot of beautiful lessons in there to share. So, go go check it out. You have to.

LL: It’s like, it’s a cool, like, genuinely cool. It has Steelo to it. Adventurous, tender film about finding yourself and I know we all want to do that. So, you should totally watch it and I hope you find a bit of yourself in this cool tender film.

‘The Tiger’s Apprentice’ is currently streaming on Paramount+.

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INTERVIEW | Sarayu Blue Dives Deep into ‘EXPATS’ Journey with Cultural Authenticity and Emotional Depth

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Sarayu Blue stars as Hilary Starr in Lulu Wang's 'EXPATS' (@sarayublue/Instagram)

After taking the world by storm with ‘The Farewell,’ director Lulu Wang is back and this time, she has taken her storytelling prowess to the small screen. Her series, ‘EXPATS,’ is a story mainly about three women trying to overcome guilt and grief in the most authentic way possible. The very first frame of the series encourages viewers to take a remarkable journey into the lives of characters that are connected in one way or the other. Nicole Kidman portrays Margaret in the series while Ji-young Yoo plays Mercy. Both stars have given spectacular performances in the six-part series, but one actor who has managed to nab all the attention is none other than Sarayu Blue, who plays the role of Hilary.

At first, Hilary seems to be a no-nonsense woman who has moved to Hong Kong to make strides in her professional life. She does brilliantly professionally, but her personal life is in a bit of turmoil. Her marriage is not going well, her best friend seems to have lost almost everything, and she is overburdened with the pressure of becoming a mother. Wang knows how to extract a powerful performance from an actor and Sarayu is no different. Sarayu’s portrayal of the character is truly magnificent, capturing Hilary’s frustration and compassion with authenticity on screen. I sat down (virtually) with Sarayu Blue and discussed several aspects of her character in the Prime Video series. The actress opened up about how she learned Punjabi to make her character more authentic and also, how South Asian parents show love most uniquely.

Sarayu Blue in a still from ‘EXPATS’ (Prime Video)

Aayush Sharma: Congratulations on the series. It’s getting such beautiful reactions. Your character is written so beautifully, but Lulu Wang made some alterations to your character’s journey in the series, particularly regarding her approach to motherhood. So, how, as an actor, approached the shift in your character’s arc? And what kind of discussions have you had with Wong regarding these changes?

Sarayu Blue: Actually, the changes had already happened before I came. Because in the book, Hillary is not written South Asian. And so that was one of the changes. And so, when I auditioned, it was already South Asian, of course. I think when I got on board, I was able to read all the scripts, and I just devoured them. I mean, in one sitting, it was like, you know, I couldn’t get enough. It was such an exciting experience to see this South Asian woman who’s so human, she’s so layered and complicated, and messy, and real, and beautiful, and funny and vulnerable, and raw and hurting. And so, then it just became the biggest gift I could ever imagine.

AS: One of the best things about your character was her backstory, and showing the kind of Sikh family she was born into. But what was that one thing that you wanted viewers to see in your character to understand why Hillary sees the world in the way she does? Also, how challenging was it for you to learn the Punjabi language to make your character sound more authentic?

SB: I’m so thankful to our team and our wonderful consultant, Inder, who was like the most patient and kind human. I kept reciting it repeatedly, because somebody who speaks Telugu, and I’ve tried to teach people Telugu, pronunciation is everything. It’s everything, along with the accent, and every emphasis that matters so much. So, I was so thankful for that support. Also, Sudha (Brinder) speaks Punjabi, so I had Masters constantly working with me, and I was so thankful. Meanwhile, I think as far as the view that Hillary has, or what was important to me, it was important to see the hurt for both Brinder and Hilary. You know, what I love about the dynamic you see in Episode Four is you really see that they’re both hurting, and there’s aggression because that’s how we speak to each other. (laughs) I mean, that part is so universal, because my mother and I have a very contentious love. But, you know, that hurt underneath, and the vulnerability underneath is why it feels so real. And that representation of that specific dynamic was very important to me.

AS: Yeah, I mean, I can understand as an Indian, I know the kind of relationship that we share with our parents. I mean, they would just bash us, and then say that’s how we show our love for you. That’s, that’s our love. (laughs)

SB: I said to my dad, my dad was calling. I was FaceTiming with him, and he said, ‘So what are you doing? Are you doing anything interesting?’ I said, ‘I’m just doing a lot of press for this show. Remember that show? I did EXPATS? And he said, ‘I remember that.’ He added, ‘So nothing. You’re not doing anything.’ (laughs) But I get it.

Sarayu Blue with Sudha Bhuchar and Jennifer Beveridge (@sarayublue/Instagram)

AS: Your Punjabi was so amazing in that scene because I’m a Punjabi and when I was hearing that conversation, I had to pause the episode and go to the internet to see if you had any Punjabi roots because your accent was so authentic.

SB: Let me tell you how much that means to me because it’s the most important thing for me. Because Telugu is not easy to speak. It’s not, and I was raised by a Telugu professor and a Telugu short story writer. Also, I’ve tried to teach Telugu to somebody, and if it doesn’t sound right, it won’t feel good. That’s why it’s all I wanted to show. You must speak the language with the right pronunciation. That’s very important.

AS: Now that EXPATS has premiered three episodes on Prime Video and receiving so much love. But for those who haven’t started the series, what would like to tell them and why they should be watching this show?

SB: I am so honored to be in this show. I really am. I get goosebumps even talking to you right now, seeing you smile, and having this conversation. I want people to watch the show for everyone. There’s so much good talent in this show. You know, Sudha who plays Brinder is extraordinary. Kavi Raz, who plays my dad in Episode Six, is brilliant. You know, all these actors, Ruby Ruiz, Ji-young Yoo, Brian Tee, there’s so much brilliance that I hope people just watch and realize how many actors of color are getting to do amazing work. It feels like a dream. But, of course, there’s so much to see in this show, you know.

Cast of ‘Expats’ with director Lulu Wang at the premiere. (Getty Images)

The first three episode of ‘EXPATS’ are currently streaming exclusively on Prime Video.

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