Stephanie Hsu recently revealed the lessons she has learned from her “Everything Everywhere All at Once” co-stars.
In an interview with Variety, Hsu, 32, shared what she has taken away from watching fellow actors Ke Huy Quan and Michelle Yeoh.
“Time is not linear, and love is infinite,” she told the publication. “Ke [Huy Quan] came back because his love for this was so big that he could not hold it anymore. I think sometimes our industry makes it feel like once you go, you can’t stop and it’s some sort of a momentum climb.”
“I think it’s important to remember that life, if you’re lucky, is long,” Hsu continued. “Artistic careers need ebbs and flow to evolve into the next chapter of yourself. It’s not meant to be a rat race.”
The Oscar-nominated actor also shared that if she does not win big at this year’s Academy Awards, she will still take pride in what she has accomplished so far.
“If I get to live to be 95, and I’m retired in a bingo hall, they will announce me as ‘Tonight’s winner for bingo is onetime Academy Award nominee Stephanie,” she said.
While “Everything Everywhere All at Once” continues to dominate award ceremonies left and right, Hsu already has more projects in store.
She will star in the Adele Lim-directed comedy film “Joy Ride” with “Emily in Paris” star Ashley Park, “Shortcomings” actor Sherry Cola and comedian Sabrina Wu. She is also attached to the upcoming film “Fall Guy,” which stars Ryan Gosling and is described as a love letter to stunt people.
She also reunites with several of her “Everything Everywhere All at Once” co-stars in the upcoming Disney Plus series “American Born Chinese.”
“It’ll be sweet. I pop in and out… but people are so excited that we’re all together,” she told Variety. “I am a ‘fly-by,’ but Destin Daniel Cretton is amazing. He’s definitely from the same cloth of heart space and scrappiness. The show is going to be really special.”
Hsu also talked about representation and responsibility in regard to her film projects, saying, “We have to remember that so much change continues to happen, and we’ve crossed a few thresholds in the last five to 10 years. I’m excited for us to cross that threshold and find new ways of including and measuring art. But for now, this system is the one that exists.”
“When I got to be a female lead on Broadway, or on ‘Marvelous Mrs. Maisel’ and played a bilingual Chinese woman in the 1950s on television, those barriers were in front of me before they were kicked down,” she continued. “I was brought up in an artistic community where regardless of identity, any opportunity you have is an opportunity to bring 10 other people with you. That is my greatest joy. This is beyond race, identity and sexuality. This is about making people who are good, good artists.