“Sixteen Candles” actor Gedde Watanabe says it “didn’t really occur” to him in 1984 that his character Long Duk Dong “was a stereotype.”
“It didn’t really occur to me that it was a stereotype, because there wasn’t really anything out there for Asian actors at the time,” Watanabe told People magazine. “It was just so scarce. So I didn’t think it was stereotypical or racist. Isn’t that weird?”
In fact, Chinese exchange student Long Duk Dong exemplified anti-stereotypes in his social standing in the teen film, according to the actor. Long Duk Dong parties, becomes popular, and even gets a girlfriend despite speaking in broken English.
“That was really unusual in a sense, for the Asian character to get the girl and party and be in bliss like that,” he said. Watanabe was being interviewed as part of the magazine’s 40th anniversary celebration of the John Hughes film.
“It didn’t really occur to me that it was a stereotype, because there wasn’t really anything out there for Asian actors at the time,” Watanabe told People magazine. “It was just so scarce. So I didn’t think it was stereotypical or racist. Isn’t that weird?”
In fact, Chinese exchange student Long Duk Dong exemplified anti-stereotypes in his social standing in the teen film, according to the actor. Long Duk Dong parties, becomes popular, and even gets a girlfriend despite speaking in broken English.
“That was really unusual in a sense, for the Asian character to get the girl and party and be in bliss like that,” he said. Watanabe was being interviewed as part of the magazine’s 40th anniversary celebration of the John Hughes film.
- 5/6/2024
- by Samantha Bergeson
- Indiewire
Over the past couple of decades, John Hughes’ Sixteen Candles has been seen in a new light, with many calling out its portrayal of foreign exchange student Long Duk Dong, played by Gedde Watanabe, as racist. For the 40th anniversary of the 1984 classic, Watanabe reflected on the role in an interview with People magazine where he said that he initially didn’t think about whether the character was offensive.
At the time of playing the character, Watanabe says, he was just happy to get his first big paycheck. “Frankly I was like, this is a good job, and I’m going to get paid more doing one week in this movie than I did all the years I was in the theater,” he said.
As for whether he had any hesitations on taking on the role as Long Duk Dong, Watanabe noted, “It didn’t really occur to me that it was a stereotype,...
At the time of playing the character, Watanabe says, he was just happy to get his first big paycheck. “Frankly I was like, this is a good job, and I’m going to get paid more doing one week in this movie than I did all the years I was in the theater,” he said.
As for whether he had any hesitations on taking on the role as Long Duk Dong, Watanabe noted, “It didn’t really occur to me that it was a stereotype,...
- 5/6/2024
- by Tatiana Tenreyro
- The Hollywood Reporter - Movie News
Who would pass up $30 billion? Hollywood’s top decision-makers and gatekeepers, apparently.
Beginning in 2021, the consulting firm McKinsey has published a series of reports exploring the entertainment industry’s representation and inclusion of historically excluded people. Along the way, the analysts totaled up the potential financial revenue that Hollywood could stand to gain if it adopted more culturally inclusive business solutions: $10 billion per year from closing the Black inequity gap, an eye-popping $12 billion to $18 billion from properly valuing Latino professionals and consumers, and — in the latest report released today, conducted in collaboration with Gold House — $2 billion to $4.4 billion from more effectively tapping the Asian and Pacific Islander market.
The latter figure is calculated based on U.S. Bureau of Labor Statistics data that Asian Americans earn on average 30 percent more than non-Asian Americans but spend 35 percent less on media. Meanwhile, McKinsey’s own survey of Api consumers found that nearly...
Beginning in 2021, the consulting firm McKinsey has published a series of reports exploring the entertainment industry’s representation and inclusion of historically excluded people. Along the way, the analysts totaled up the potential financial revenue that Hollywood could stand to gain if it adopted more culturally inclusive business solutions: $10 billion per year from closing the Black inequity gap, an eye-popping $12 billion to $18 billion from properly valuing Latino professionals and consumers, and — in the latest report released today, conducted in collaboration with Gold House — $2 billion to $4.4 billion from more effectively tapping the Asian and Pacific Islander market.
The latter figure is calculated based on U.S. Bureau of Labor Statistics data that Asian Americans earn on average 30 percent more than non-Asian Americans but spend 35 percent less on media. Meanwhile, McKinsey’s own survey of Api consumers found that nearly...
- 4/24/2024
- by Rebecca Sun
- The Hollywood Reporter - Movie News
"This movie could never be made today" is an increasingly familiar refrain in our fractious times. As our society grows more diverse, and we reckon with the racism and sexism of less enlightened eras, some crotchety members of the old guard have a tendency to throw up their hands and lament that an assortment of classic films with perceived problematic content would never make it past development in modern Hollywood.
In certain, screamingly obvious cases, this is a very good thing. D.W. Griffith's "The Birth of a Nation," a virulently racist movie that celebrates the Ku Klux Klan's heroic lynching of a freed slave would be a one-way ticket to infamy (or a three-picture deal with The Daily Wire). The mere notion of Walt Disney's "Song of the South" would probably result in the creator being ousted from his own company (and maybe offered a gig as the chief...
In certain, screamingly obvious cases, this is a very good thing. D.W. Griffith's "The Birth of a Nation," a virulently racist movie that celebrates the Ku Klux Klan's heroic lynching of a freed slave would be a one-way ticket to infamy (or a three-picture deal with The Daily Wire). The mere notion of Walt Disney's "Song of the South" would probably result in the creator being ousted from his own company (and maybe offered a gig as the chief...
- 1/7/2023
- by Jeremy Smith
- Slash Film
John Hughes' "Sixteen Candles" is a beloved teen classic that follows a young girl (Hughes' muse Molly Ringwald) whose sweet sixteen turns sour when her entirely family forgets her birthday during preparations for her sister's wedding. While being relentlessly pursued by a randy geek (Anthony Michael Hall), Samantha pines for the dreamy senior Jake Ryan (Michael Schoeffling). "Sixteen Candles" has some problematic elements, such as the character of Long Duk Dong (Gedde Watanabe) and a scene that makes light of date rape; Molly Ringwald even revisited the film through a post-#MeToo lens in an essay for The New Yorker. Despite that, though, the...
The post The Sixteen Candles Scene John Hughes Quickly Wrote to Get Paul Dooley On Board appeared first on /Film.
The post The Sixteen Candles Scene John Hughes Quickly Wrote to Get Paul Dooley On Board appeared first on /Film.
- 6/1/2022
- by Caroline Madden
- Slash Film
Actor Gedde Watanabe was born in 1955 in Ogden, Ut, and he got bit by the acting bug as a teen. He performed in high school productions and worked the streets of San Francisco as a busker and public performer. His first notable film role didn't come until 1984, when he landed the role of Long Duk Dong in John Hughes coming-of-age comedy "Sixteen Candles." Long Duk Dong is a randy foreign exchange student, a comedy character whose function in "Sixteen Candles" is to highlight how his host sister Sam (Molly Ringwald) is having an overwhelmingly awful home life; Long Duk Dong's presence is...
The post Why Gedde Watanabe Thinks His Breakout Sixteen Candles' Role is Bittersweet appeared first on /Film.
The post Why Gedde Watanabe Thinks His Breakout Sixteen Candles' Role is Bittersweet appeared first on /Film.
- 5/13/2022
- by Witney Seibold
- Slash Film
This article contains F9 spoilers.
So quick question: How many folks in your theater stayed for the end credits of F9, the 10th film in the Fast and Furious saga? I know I can say everyone did in mine. That’s because with summer blockbusters back, we’ve all remembered our training to be good little Pavlovian dogs and stay for a treat after the film fades to black. And F9 just gave a juicy one too.
In a nondescript gym/vaguely insidious lair, Jason Statham’s Deckard Shaw beats a full-sized punching bag until his knuckles probably bleed. Only then do we realize he’s keeping some poor bastard wrapped up inside of the target. Full disclosure: I wasn’t sure if that was Otto—the sniveling silver spooned traitor who was working with John Cena’s Jakob in F9. He was honestly too smeared in blood to know for sure,...
So quick question: How many folks in your theater stayed for the end credits of F9, the 10th film in the Fast and Furious saga? I know I can say everyone did in mine. That’s because with summer blockbusters back, we’ve all remembered our training to be good little Pavlovian dogs and stay for a treat after the film fades to black. And F9 just gave a juicy one too.
In a nondescript gym/vaguely insidious lair, Jason Statham’s Deckard Shaw beats a full-sized punching bag until his knuckles probably bleed. Only then do we realize he’s keeping some poor bastard wrapped up inside of the target. Full disclosure: I wasn’t sure if that was Otto—the sniveling silver spooned traitor who was working with John Cena’s Jakob in F9. He was honestly too smeared in blood to know for sure,...
- 6/26/2021
- by David Crow
- Den of Geek
John Hughes’ breakthrough writing-directing hit still carries a glow that defuses its rougher edges, making it one of the best of ’80s Teen comedies. Even the savvy Soraya Roberts cuts it some slack, thanks to the authentic presence and fine performance of Molly Ringwald. Hughes’ amusing script comes up with at least ten moments that would have made Preston Sturges laugh, and his perfect casting for personalities young and old makes his direction look inspired. With great turns by Anthony Michael Hall, Haviland Morris, Debbie Pollack, Gedde Watanabe, Paul Dooley, and Michael Schoeffling.
Sixteen Candles
Special Collector’s Edition Blu-ray
Arrow Video
1984 / Color / 1:85 widescreen / 94, 92 min. / Street Date April 14, 2020 / Available from Arrow Video / 18.99
Starring: Molly Ringwald, Anthony Michael Hall, Justin Henry, Michael Schoeffling, Haviland Morris, Gedde Watanabe, Paul Dooley, Carlin Glynn, Blanche Baker, Edward Andrews, Carole Cook, Max Showalter, John Cusack, Debbie Pollack, Joan Cusack, Brian Doyle-Murray, Jami Gertz, John Kapelos,...
Sixteen Candles
Special Collector’s Edition Blu-ray
Arrow Video
1984 / Color / 1:85 widescreen / 94, 92 min. / Street Date April 14, 2020 / Available from Arrow Video / 18.99
Starring: Molly Ringwald, Anthony Michael Hall, Justin Henry, Michael Schoeffling, Haviland Morris, Gedde Watanabe, Paul Dooley, Carlin Glynn, Blanche Baker, Edward Andrews, Carole Cook, Max Showalter, John Cusack, Debbie Pollack, Joan Cusack, Brian Doyle-Murray, Jami Gertz, John Kapelos,...
- 6/6/2020
- by Glenn Erickson
- Trailers from Hell
John Hughes’ classic teen rom-com “Sixteen Candles” holds a place of honor in author Jenny Han’s novel “To All the Boys I’ve Loved Before.” Not only does it inform protagonist Lara Jean Song Covey’s concept of romance, but it also plays an integral part of her relationship with a boy. It’s only fitting that Susan Johnson (“Carrie Pilby”) also cites Hughes as an influence and inspiration when it came to directing the adaptation for Netflix.
“I grew up with the John Hughes movies, and those were very important to me as a teenager,” said Johnson in an interview with IndieWire. “I love the challenge of making a movie that wasn’t full of angst and judgment and anger.”
In “To All the Boys I’ve Loved Before,” awkward teenager Lara Jean (Lana Condor) has a life-changing junior year when the boys she once had secret crushes on learn of her feelings.
“I grew up with the John Hughes movies, and those were very important to me as a teenager,” said Johnson in an interview with IndieWire. “I love the challenge of making a movie that wasn’t full of angst and judgment and anger.”
In “To All the Boys I’ve Loved Before,” awkward teenager Lara Jean (Lana Condor) has a life-changing junior year when the boys she once had secret crushes on learn of her feelings.
- 8/16/2018
- by Hanh Nguyen
- Indiewire
The Harvey Weinstein scandal and the advent of the #MeToo and #TimesUp movements has forever changed Hollywood going forward. Should older films be reevaluated under the new rules, and is there a place for subversive comedy anymore? Molly Ringwald, teen star of John Hughes’ classic ‘80s coming of age trilogy Sixteen Candles, Pretty In Pink and The Breakfast Club, has written an article in the upcoming The New Yorker in which she re-watched her beloved films and was pretty horrified.
She credits Hughes for building films around female leads, and showing the troubles of disillusioned teens. That pride is tempered upon further review as she acknowledges his work “could also be considered racist, misogynistic, and, at times, homophobic. The words “fag” and “faggot” are tossed around with abandon; the character of Long Duk Dong, in Sixteen Candles, is a grotesque stereotype.” It has also been noted to Ringwald by young...
She credits Hughes for building films around female leads, and showing the troubles of disillusioned teens. That pride is tempered upon further review as she acknowledges his work “could also be considered racist, misogynistic, and, at times, homophobic. The words “fag” and “faggot” are tossed around with abandon; the character of Long Duk Dong, in Sixteen Candles, is a grotesque stereotype.” It has also been noted to Ringwald by young...
- 4/6/2018
- by Mike Fleming Jr
- Deadline Film + TV
Molly Ringwald rose to prominence as John Hughes’ muse in the hit films “Sixteen Candles,” “Pretty in Pink,” and “The Breakfast Club,” but her most beloved movies are troubling her in hindsight. In a new essay for The New Yorker, Ringwald salutes and critiques her collaborations with Hughes, finding certain scenes in the director’s films to be misogynistic and homophobic. The actress makes it clear she loves Hughes and is proud of their work together, but that doesn’t mean their films should not be analyzed under a contemporary context.
While Ringwald was showing her daughter “The Breakfast Club” for the first time, the moment in which Judd Nelson’s Bender peeks up her character’s skirt stood out and made Ringwald uncomfortable. The actress writes that she “kept thinking about the scene” long after the viewing ended, and it wasn’t the first time she was forced to...
While Ringwald was showing her daughter “The Breakfast Club” for the first time, the moment in which Judd Nelson’s Bender peeks up her character’s skirt stood out and made Ringwald uncomfortable. The actress writes that she “kept thinking about the scene” long after the viewing ended, and it wasn’t the first time she was forced to...
- 4/6/2018
- by Zack Sharf
- Indiewire
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.