Pop-Culturalist.com

In his deeply personal and emotionally resonant film, All That We Love, co-writer and director Yen Tan exemplifies the timeless advice to ‘write what you know.’ After the loss of his beloved dog, Tanner, Yen found himself searching for a film that could help him navigate the complexities of his grief. He longed for a narrative that mirrored his own journey, one that could provide solace and understanding during such a vulnerable time. However, he realized that there was a distinct absence of stories specifically exploring life after the loss of a pet—a relationship that often holds profound emotional significance. This gap in representation inspired him to create his own story, one that would delve into the nuanced and often overlooked aspects of grieving a non-human companion, hoping to offer comfort to others experiencing similar losses.

In Yen’s heartfelt comedy, the death of her family dog propels Emma (Margaret Cho) into a profound midlife awakening, intricately weaving together grief and renewal. This pivotal moment profoundly affects her relationships, impacting not only her best friend Stan (Jesse Tyler Ferguson) but also her lively daughter Maggie (Alice Lee). Complicating matters further, Emma’s estranged ex-husband Andy (Kenneth Choi) returns from Singapore, down on his professional luck and eager to reconnect with his former love, setting the stage for a series of comedic entanglements.

Pop Culturalist had the pleasure of speaking with Yen about All That We Love, the exploration of grief and life after, his star-studded cast bring their personal stories to his own, and more.

PC: One of the most beautiful things about art is the ways in which it can help us all heal. All That We Love is such a beautiful exploration of grief, second chances, and family. It was inspired by losses that you experienced in your own life. How did you ultimately know when it was the right time for you in this process to put pen to paper?
Yen: The script was written about a decade ago. It was very much inspired by the loss that I had experienced at that point in time, which was my dog Tanner. He had passed away. A couple of months after he passed, it was interesting on an interpersonal level to see how my relationships shifted with my friends and family. I used the observations from those few months as a launching point to explore what it means to reexamine your life again after losing a pet because that experience by itself can unfold in very interesting ways.

PC: There’s a subtle line within the film where Andy (Kenneth Choi) talks about being typecast as an actor. Through this film, you’ve given opportunities for all these actors, often known for one thing, to show a different side of their artistry, particularly Margaret. Can you talk a bit about putting this ensemble together? Was that something you were mindful of during the casting process?
Yen: Absolutely. This story was written from a very personal point of view. Making the creative decision to cast Asian Americans in these roles was something that came together in a way that was possible. What I mean by that is it wasn’t that long ago when, if you wanted to cast predominantly Asian Americans in a movie, it was very challenging to secure financing. There was this perception that Asian American films were seen as very niche and didn’t have commercial appeal. Thankfully, that has changed dramatically in the past couple of years. We’re able to make a film in this manner and not have it viewed as an anomaly. For me personally, I liked the idea of telling a story featuring Asian American talent.

Yet thematically, it doesn’t really have anything to do with being Asian. It’s about people being themselves, and ultimately, that’s the space I want to explore. I want to continue exploring representation where it’s not about discussing race.

PC: I also appreciate the ways in which you were able to incorporate humor throughout this film, which feels very slice of life. Even in the darkest of moments, sometimes you can’t help but laugh. It makes those emotionally vulnerable moments that much more poignant. How were you and your co-writer Clay [Liford] able to find that balance and walk that tightrope so seamlessly?
Yen: It was drawn from actual experiences, whether mine, Clay’s, or our collective experiences as good friends for many years, and the evolving dynamics between him and me, and how it interplays, consciously or subconsciously, into the relationship between Emma (played by Margaret Cho) and Stan (played by Jesse Tyler Ferguson). A lot of that comes from things that we went through and putting them into this fictional context. It allows us to think about these things in a more conscious way. When I put it to paper and subsequently put it on camera, it presents opportunities to shift it and make it into something more interesting.

PC: That friendship between Emma and Stan is beautiful to see on screen. While they may not always agree with each other’s choices, that friendship is so rooted in love. Who were the people in your own life who have held space for you in a similar way?
Yen: Clay is definitely one of them. I’m queer and he’s straight. Right now in my life, I’m very grateful that I have different friends who have played different roles in my life. I feel very privileged to be able to say that everyone fulfills my needs in different ways. Yet, they all complete me in one way or another. I cannot imagine not having any of them in my life.

PC: As the co-writer and director, I imagine you have such a strong sense of who these characters are, but when you cast your actors, you want them to bring their own interpretations to them. How did you create the environment for your ensemble to take ownership of these characters and explore, especially as so many of them are versed in the comedy space?
Yen: Margaret Cho feels like someone that a lot of us have known for a long time. I feel like I grew up with her over all these years. There’s a part of me that has always been curious about her and comedians in general. There’s a lot of what they do that is ultimately about finding emotional truth and that’s good humor. But I’ve always thought that emotional truth can be easily conveyed dramatically as well. So I’ve always felt that she’s able to tap into that because she’s had a really long career. She’s gone through a lot of experiences in her life. She’s gone through a lot of highs and lows. In terms of giving her space to explore the sadness of Emma was something that I was excited to see and I imagine it’s something that will be exciting for audiences to see as well. It’s a completely different side to her.

That goes down the line, whether it’s Kenneth Choi, Atsuko Okatsuka, Alice Lee—I know their body of work, but I also leaned in and wondered what if we did something that was more sensitive and grounded. It’s the grounded, everyday reality that I’ve always been drawn to. We were very fortunate to have the talent that we have and let them play in that space. There are so many things that come from a very personal place, and I think they see it and they identify with it in their individual ways. They’re also able to bring their own experiences into it. What resulted was this interesting merger of things that came from me personally and their own personal touches to it.

PC: You touched upon this earlier, but this film is such a celebration of Asian excellence, both in front of and behind the camera. We talked about the fact that this industry has made really slow strides in terms of greater representation. How do you hope this project will continue to open doors for our community?
Yen: I’m just one piece of the puzzle. Ultimately, it’s a pretty big picture. It’s very much something that takes a village. What I hope to do, at least with All That We Love, is that audiences watch the film and they’re moved by it, and feel like it’s something that they can identify with personally, regardless of their ethnicity or their backgrounds. It enables them to watch films like how a lot of us Asian Americans have watched non-Asian American films and see ourselves in those stories. Ultimately, I would like to be in a place of equity where we’re seeing humans on the screen and not race.

To keep up with Yen, follow him on Instagram. All That We Love is making its world premiere at the Tribeca Film Festival. Screenings below:

• SVA Theatre – Sat June 08 – 2:00 PM
• Village East by Angelika – Sun June 09 – 8:45 PM
• Village East by Angelika – Tue June 11 – 2:00 PM

Photo Credit: Hutch