This A-Profiler we bring you screenwriter/director, Myra Velasquez. Find out how Velasquez's latest film, Kung Fu Granny, came to fruition and how her diverse background and upbringing influences her work.

Your site URL:
www.myravee.com

You are a screenwriter and director, how did you get your start? Was this something you always knew you wanted to do?
As a kid I was always drawing & creating stories, serial comics, novels (often lurid, involving boys in English boarding schools!), writing, directing 'n acting in plays so I knew for sure I wanted to write. Many moons later, despondent re: lack of movement on a novella I'd scribed, my then boyfriend suggested I create a short screenplay to which his friend would contribute equipment and services. I took to the medium like a fish in water. And that's how my "grown up" -- (the jury is still out about that bit!) -- debut as director 'n writer of MOTHER'S BLOOD happened.

Being of Chinese, German and Mexican descent and yet growing up in Tokyo, then moving to NYC, how do you think your heritage and upbringing influences your work, if at all?
It influences everything. We all have our hoops 'n hurdles and me, in spite of economic comfort and in so many ways-- joyful -- childhood, I never expected the profound issues of identity, trust and self-esteem that faced me as I tried to find my way in the world: Think Kafka's Gregor Samsa meets Dante's Inferno Non Stop Nightmare for years! Key to my healing was a wonderful therapist and numerous trips to intensive zen monastery retreats. I then enrolled and graduated from Helix Institute, a four year training program in psychotherapy where much of the work is on oneself. Painful as those "Gregor" years were, I am a better person for them, infinitely more empathic with keener intuition and I am ever humbled by the spectacular trips our thoughts take us. All these aspects have helped me immensely in my writing and directing.

Your latest work, Kung Fu Granny, was a finalist in the BlueCat Short Screenplay Competition 2008. What was your inspiration for the Kung Fu Granny story and what has the reaction to the film been?
Kung Fu Granny emerged out of my dismay with the all too shabby treatment of older people. Who was it that said that a measure of how civilized we are as a people is in how we treat our more vulnerable members? Whoever it was, Granny says YO! Happy to share that response so far has been terrific. We premiered at a perfect KUNG FU GRANNY NYC theatre: AMC LOWES via 12th UrbanWorld Film Fest and was among Philaldephia Asian Film Fest Favorites. Granny next screens with NYWIFT in Tribeca, followed by 32nd Cleveland, 25th LA Pacific and Big Island FF and now in negotiation with our second distribution offer.

What approach do you use when writing a new script/ screenplay?
I don't have a general approach. This may sound a tad precious, but each new work tends to summon up its own set of "Do's". My job is to be attentive and open as they bubble up. I can say this also regards to directing. My film THE LOVERS is a love story between a Japanese man and Chinese American woman still very haunted by the horrors of war. It was essential for me to create a safe space for my 2 actors. Our rehearsals included deep chakra work, much music, dance and improv. When it came to shoot time, I think I can safely speak for Yasu and Connie that they were relaxed and jazzed at the same time. Above all, we had that solid foundation of trust which allowed them to go to all the places they needed to in the film. With my action comedy KUNG FU GRANNY, we basically had one full cast table reading -- and when next we all met it was -- (more or less) -- on set.

What can we expect in the future for projects you are working on?
I have two feature screenplays ready for their Close Up: They are DIANA, a coming of age story set in 1970's Tokyo, and THE SOLDIER, a black comedy set in 1930's Japanese military boot camp. Both are period pieces set in foreign countries, heavy in subtitles, niche market; in short, a producer's DREAM, HAHA, all the more so in these economic climes! But I'm very proud of these scripts and with Granny's blessings, who knows? I would also like to share with AArising readers that I am seeking a co-writer for my next draft of my KUNG FU GRANNY feature screenplay. If you have a great sense of humor, not into "formulaic" and can write snap zip! like a rocket, I'm interested to hear from you!

Where do you see yourself in 5 years?
5 years! Love that Bowie song! Right, let's see: My ever loyal servant Butkins is polishing my 3 gold statuettes and... Ok, seriously. I just really hope to be in a place where I'm growing wiser and happier from amazing new experiences, be it in film or no.

When you are not directing and screenwriting, what do you enjoy doing in your spare time?
You can catch me watching HGTV and Food Channel, having friends over to dinner, lots of nature walks, swimming 'n bouncing like a space bot in the NYU pool. And I'm nuts about animals. My pup Kuma is stuck to my hip; she's a very happy moon pup.

And finally, what advice do you have to aspiring screenplay writers and directors?
Here are two that came to me:

1. What REALLY matters to you? Write them down. Paste in some quotes that deeply inspire you. If the rejections start coming, take out that list. It'll help return you to your True North. Or lie down to that CD that soars for you. (Mine for a while was Philip Glass's score of KUNDUN.) And if folks get snarky or stone cold silent, look up at the Sky. Wow! And let the random thoughts float by, like: "Vladimir Putin, handsome but strange...."

2. Re: FILMING. Some people thrive in chaos. Herzog, one of my fav directors, and Kinski almost killed each other on set of FITZCARRALDO and there was threat of mutiny moment to moment from every direction. This kind of scenario: O Mein Gott! That's an extreme example of course but form me: drama only in front of the camera, please! So far, some of the key factors that have helped me keep it this way is:

a. tight-as-possible pre-production
b. stellar communication and trust in your DP whom you have hired not only for her talent but because you also like her as a person and vice versa.
c. sussing out and not feeding into ego games (including one's own).
d. Keep the humor. Play!

Would you like to be featured on this site? Click here for more info.

This issue of A-Profiler is brought to you by Nelson Wong.
Special thanks to Myra Velasquez.

Photos used with permission.
Copyright retained by original copyright holder(s).