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There were also other pioneering [East and Southeast] Asian American actors like Benson Fong, Victor Sen Yung, Lotus Long, Suzanna Kim, Barbara Jean Wong, Fely Franquelli, Chester Gan, Honorable Wu, Kam Tong, Layne Tom Jr., Maurice Liu, Teru Shimada, Willie Fung and Wing Foo; all began their film careers in the 1930s and ‘40s.

With the relatively small percentage of actors that support themselves by acting, it was only logical that they should try to limit the available talent pool as much as possible. One way of doing this was by placing restrictions on minority actors, which, in the case of Asian actors, meant that they could usually only get roles as houseboys, cooks, laundrymen, and crazed war enemies, with the rare “white hero’s loyal sidekick” roles going to the big name actors. When the script called for a larger Asian role, it was almost inevitably given to a white actor. (A Brief History of Hollywood Yellowface)

“Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next subject when you’ve only got 1.8 seconds of time to do that. That theory of not having to move your eyes and being able to fast cut and it just goes bang, bang, bang, bang, bang, takes you into it, and the is basically the whole of the film. All we would hear all the time on the coms was George [Miller] saying “PUT THE CROSS-HAIRS ON HER NOSE! PUT THE CROSS-HAIRS ON HER NOSE!” and you put the cross-hairs on Charlize [Theron]’s nose. You didn’t offset to grab any of the information in the background, the camera had to be in the center, it was very disciplined that way, everything is symmetrical.” - John Seale, DoP Symmetry in Mad Max: Fury Road // 2015

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