CraveOnline: I agree that I think any comedian has the tools to give a dramatic performance. Why do you think it’s still such a surprise to people? How many Jim Careys and Robin Williamses does it take, especially to critics who’ve seen it before?
Ken Jeong: You know, in critics’ defense, in the public’s defense, in the audience’s defense, I think that it’s natural. Any time you see someone one way, you see them another way, it’s transitions. It’s human nature. I don’t fault anyone for not thinking I could do a drama. I don’t take it personally. I think it’s a natural thing. I mean, hell, I’ll probably watch something, “Oh, that person…” We’re all guilty of the same thing so I never take it personally because I’m sure I’ll think of someone, “Oh, that person? Really?” We all do it and it’s just more of an instinctive thing as opposed to something that should be taken personally.
But I think when you have someone like Sarah Silverman who is so talented and who has such depth in her character, having met her a few times, a sweet sensitive soul, I’m not surprised at all. Of course she could do a great job. I’m sure she can do an outstanding job. So when I read that she’s doing that, I’m like, “Oh, that’s perfect. This is the right time for her.” But I’m in the business of comedy and I know those transitions but I just think it’s human nature that that happens. It’s up to us to take advantage of opportunities if we get them to do these things and make the most of it.
A lot of your comedy is in very angry characters. Was it nice to play a very kind man, a family man?
Yeah, it was nice. It was just nice to do something different, something I could access as a father of twin girls. My wife and I love the short film Advantageous so much and the themes are so universal, I really emotionally responded to that and really responded to the script. It was great to access a dramatic role that I could do within my skills and then have someone like Jen to guide me through with such specificity of what she wanted me to do and to be able to keep up with her. It was great.
How did you get involved as a producer of Advantageous?
Basically, I just told them whatever way I can help out, whether it be press, whether it be post-production, anything I can do to help out in any capacity, I want to do. As you know, producer is a catch all term in many ways. I was really more just like the utility guy. If they need me for this, or if they need me to promote, or if they need me to do whatever, I’m there for them unconditionally. Because I just felt so strongly about this project. I feel like this is a really important work.
It’s Asian-American female centric without screaming it. It’s not looking down the camera and saying it. They’re just doing it. It just happens to be how they organically weaved the fact that this is a female centric Asian-American drama without ever mentioning it, was heaven to me. That to me is true progress.
The film asks a lot of good questions too. You can download your brain into a new body if you’re sick or injured, but what if people are pressuring you to get a new body?
That’s just as relevant today of getting cosmetic procedures or anything like that so to me it’s universal. I think even beyond that, the note behind the note is are you going to listen to yourself or are you going to listen to other people? And just just for appearance. Are you just going to listen to yourself or are you going to listen to other people? Are you going to follow what you want or are you going to listen to what everybody wants for you or what you perceive everybody wants for you? So the true answer in an idyllic world, you want to follow what you want.
And technology never works the way it’s supposed to. They’re sending us movies to watch online that don’t play all the way through. We’re going to trust technology with our brains?
True.
