How a Room Full of Lifeless Westworld Robots Inspired Charles Yu’s Interior Chinatown

As a writer who has navigated the often unjust system of Hollywood, I can relate to the struggle of wanting to break free from the constraints of stereotypical roles while also trying to succeed within the industry. It’s like being stuck between a rock and a hard place, or in this case, a Kung Fu Guy and a rebel without a cause.

On one occasion when Charles Yu served as a writer for the dystopian sci-fi TV series “Westworld”, he visited the set and observed numerous actors lying stark-naked on the floor, portraying damaged robots awaiting reactivation. As he recollects, “Those are human bodies spread out on cold metal racks – and that’s someone’s occupation.” He added, “They come here to apply body makeup, remain motionless for hours in a 60-degree setting.

Observing the outer limits of a television screen and the raw truths of those earning their livelihood there partially sparked the creation of Yu’s novel, “Interior Chinatown“, which hit shelves in early 2020. This unique narrative with metafictional elements follows the tale of Willis, a seemingly generic Asian man stuck in the backdrop of a crime drama reminiscent of Law & Order, yearning to escape his insignificant and frequently degrading part. The novel not only lampooned TV’s restrictive formulas but also mirrored the experience of Asian Americans who have been relegated to society’s margins for a long time. It resonated powerfully during the pandemic and was awarded the National Book Award for Fiction.

The novel’s breakout success led to Yu receiving an opportunity he had not considered: Hulu calling and asking if he would be interested in turning Interior Chinatown into an actual television series. Such an adaptation would necessitate navigating a head-spinning stack of realities and mediums: to create a police procedural inside of a genre-busting action-dramedy, based on a novel written in the style of a TV screenplay. But Yu jumped at the opportunity, and signed on to write the adaptation and serve as the showrunner. “Going in, I should have been more mindful of the fact that literally everyone was like, this is going to be really hard,” Yu tells TIME. “I didn’t fully understand how hard it would be to crack it until I started doing it.” 

Four years on, the television series adaptation of “Interior Chinatown” debuts on Hulu on November 19, receiving favorable comments. Jimmy O. Yang (“Love Hard”) portrays Willis, alongside Chloe Bennet (“Agents of S.H.I.E.L.D.”) and Ronny Cheing (“The Daily Show”), as they strive to break free from their assigned societal roles and locate Willis’ missing brother. Taika Waititi (“Jojo Rabbit”, “Thor: Ragnarok”) serves as executive producer for the show, also directing the pilot episode.

Interior Chinatown presents an intriguing contradiction: it features a narrative where Asian-American voices remain marginalized, yet its protagonist is an Asian-American everyman. This paradox resonates with author Yu, who acknowledges his good fortune in creating this show while still expressing a desire to tell the stories of those less fortunate, such as his own parents and many recent immigrants.

During an interview, Yu discussed the current scenario of Asian American representation, the recent pushback against diversity programs, and the growing influence of Artificial Intelligence. The following is a summary of the dialogue that ensued.

TIME: Interior Chinatown was published in early 2020. How did everything that’s happened since impact how you wrote the TV adaptation? 

In 2022, we initiated a writers’ room over Zoom, and we were constantly pondering on how the world where we would reunite would significantly change: following George Floyd, January 6, the surge of anti-Asian sentiments. On one hand, the novel is about the invisibility of Asians in the American collective consciousness, which felt more pertinent than ever. However, I also believed it could encompass much more and should do so.

What advice do you have for anyone like Willis, who longs to become the main character of their own story?

Don’t let fear of appearing unknowledgeable hold you back. At 48, I wish I had been more open to learning when I was 28. Back then, the thought of speaking up at work or in front of a small group filled me with dread. Now, it seems obvious that if you want to grow beyond your current role, self-belief is key.

How much did writing for HBO’s Westworld shape Interior Chinatown? 

In numerous aspects, delving into the intricacies of producing a TV show sparked an immense enthusiasm within me to explore its inner mechanics further, whether by dissecting it or examining it closely from within. This experience ignited the notion of peering beyond the surface – understanding the narrative and the individuals who craft it. It instilled in me the belief that one can either be extremely exposed or completely concealed in this realm.

Working on the film set felt otherworldly. It was as though many of the robots were merely background characters with whom I might never interact. Pondering their existence left me feeling disoriented. I couldn’t help but wonder: Am I a robot, lost in some forgotten mission, while others ignore my storyline? What kind of life do I live then?

Some of the strongest parts of the novel are the characters’ interior thoughts and extensive histories, which they don’t speak out loud. Was it challenging to translate that for TV?

Absolutely, that presented quite a significant hurdle. In literature, we can delve into characters’ minds. Skilled directors understand how to convey subjectivity and emotional depth, crafting narratives that engage both the mind and heart. Through this process, I gained insight into utilizing pauses effectively and employing negative space more artfully.

What did you learn from Taika Waititi, who served as an EP and directed the pilot? 

He can take a script and loosen up the connective tissue, to both soften and scuff it up. He’s looking for both visual and emotional nuance: something that’s less polished but much more human.

One of the big conflicts in the book is Willis grappling with whether to climb his way up through an unjust system stacked against him—in which the most he can ever achieve is “Kung Fu Guy”—or to try to rebel from the system itself. Having worked your way up through Hollywood, can you relate?

That’s somewhat hot. I’ll do my best to avoid it. Yes, I’m quite disciplined. Growing up as a child of immigrants, I carried a moderate burden of guilt and responsibility: essentially, ‘Don’t squander our sacrifices.’ My path to success seemed to be through diligence, understanding the system’s rules, and adhering to them.

Initially, I encountered numerous obstacles along the way, which is similar to Willis’ experience. Some barriers were apparent, while others were hidden, and many of them stemmed from within. It’s not about discrimination specifically; rather, it’s about wanting to narrate the stories of those less fortunate, such as my parents and many recent immigrants. Despite my good fortune in creating this show, I still aspire to represent their struggles.

Essentially, the series portrays the idea that at some point, one encounters boundaries set by rules, and must venture into uncharted territories which can be intimidating. This is true for characters like Willis and others, as they explore multiple roles to discover aspects of themselves that cannot be fully captured by any single identity.

In 2020, you wrote an essay for TIME about the lack of Asian-American representation on screen. Has anything changed? 

There’s been significant growth, particularly from a Hollywood standpoint, in the diversity and detail of the narratives being presented. Previously, one might have counted the number of Asian representations on screen over the past decade on one hand. Now, it seems there are so many that it’s hard to keep track.

How should we make use of increased exposure, or what can we take advantage of when previously unavailable opportunities suddenly become accessible?

Amid Donald Trump’s re-election, what do you make of the growing backlash against diversity and inclusion efforts?

Initially, it’s crucial to listen to a variety of perspectives. However, what seems lacking in the dialogue is empathy, and I want to contribute that as well from my end. The discussion lacks a profound exploration of why a certain narrative holds significance—this tendency towards simplicity can sometimes develop into an assumed orthodoxy. No one appreciates being told something is significant without understanding the reasons behind it.

Currently, it’s not just a simple discussion we’re having. It could be that you haven’t encountered any literature on Native Americans, stories from Black Americans, or didn’t learn about the long history of Asian Americans in this country during your upbringing. This is a significant issue because it’s not reflective of reality.

As a fellow appreciator of diverse narratives, let’s strive to respect the unique value systems of those whose perspectives differ from ours. The purpose of delving into marginalized stories is to humanize them and foster empathy. However, this empathy should be mutual.

Having dealt with AI on Westworld, what do you make of its recent real-world advancements? 

It’s surprising to look back at projects from just a decade ago and find they’re not as futuristic as one might expect. Frankly, I’m convinced an AI could produce a more compelling romantic comedy or buddy film than I could. However, there are certain aspects that an AI may struggle to replicate, and there’s a kind of magic in those human-created elements. I don’t think we’ll ever see an AI like Taika Waititi, for example.

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2024-11-19 20:06