Emily Ting is an award-winning writer, director, and producer. Her first feature, “Already Tomorrow in Hong Kong,” starring real life couple Jamie Chung and Bryan Greenberg, premiered at Los Angeles Film Festival and was distributed theatrically by Gravitas Ventures in 2016. Her second feature, “Go Back to China,” starring Anna Akana, Richard Ng, and Kelly Hu, premiered in competition at the 2019 SXSW Festival and was released theatrically in March 2020, a week before lockdown. Her producing credits include Lynn Chen’s “I Will Make You Mine” and Ishai Setton’s “The Kitchen.”
W&H: Describe the film for us in your own words.
ET: After her inspiring speech at the homecoming dance at the end of the first “Tall Girl,” Jodi (Ava Michelle) is no longer just the “tall girl” — she’s popular, confident, has a boyfriend, and just booked the lead role in this year’s school musical. But as the pressure of her newfound popularity intensifies, so do her insecurities. The bully this time is not the mean girl, but herself, as Jodi grapples with a negative inner voice that tries to break her down.
“Tall Girl 2” is about how Jodi learns to overcome her self-doubt in order to achieve her dreams.
W&H: What drew you to this story?
ET: Even though I adored the first “Tall Girl,” I found the sequel to be even more emotionally resonant. While not everyone can relate to being tall, everyone can relate to having self-doubt and insecurity. We have all heard those negative inner voices that tell us that we’re not good enough. It is a universal issue that everyone deals with, myself included.
As someone who was directing her first studio film, I found myself relating to Jodi’s journey in the film even more. And just like Jodi, I had to quiet that negative inner voice and learn to trust in my abilities and accept that I am deserving of this incredible opportunity.
W&H: What do you want people to think about after they watch the film?
ET: I want anyone who is dealing with any self-doubt or anxiety to know that they’re not alone and to know that they are good enough. I want this film to be a warm hug for them whenever they’re feeling insecure or down about themselves.
W&H: What was the biggest challenge in making the film?
ET: “Tall Girl 2” was my first studio film and a sequel to a hit film, so I felt a lot of pressure going in. Just like Jodi, I was grappling a lot with imposter syndrome — I thought I wasn’t deserving of this job and that I just got lucky. And having come from the indie world, there were so many things about the studio process that I was not used to, like needing to seek approval on certain creative choices and having to do notes that I didn’t always agree with. But in the end, it was such a great learning experience and I feel extremely fortunate to have been given this opportunity.
W&H: How did you get your film funded? Share some insights into how you got the film made.
ET: For once, I did not have to worry about how to get my film funded! This was a studio film, so the financing all came from Netflix!
W&H: What inspired you to become a filmmaker?
ET: I wanted to become a filmmaker to tell really personal stories like my first two indies, “Already Tomorrow in Hong Kong” and “Go Back to China.” Both films were very cathartic experiences that felt like really expensive therapy sessions! But now that I’ve gotten those stories out of my system, I just want to tell stories that speak to me or may help make a difference in someone’s life.
W&H: What’s the best and worst advice you’ve received?
ET: Best advice: You can’t expect someone else to believe in you if you don’t believe in yourself.
Worst advice: You should major in accounting because you’ll never make it in Hollywood.
W&H: What advice do you have for other women directors?
ET: Don’t wait for the gatekeepers to let you in. Go out and make your own opportunities. I was only allowed a seat at the table now because I went out and got two tiny indie films made on my own.
W&H: Name your favorite woman-directed film and why.
ET: Sofia Coppola’s “Lost in Translation” remains my favorite female-directed film of all time. I remember leaving the theater feeling totally elated and high on life, the way you feel after a really good first date. It was just the type of film I wanted to make, and a decade later, I directed my own homage with “Already Tomorrow in Hong Kong.”
More recently, I was really blown away by Maggie Gyllenhaal’s “The Lost Daughter” on Netflix. As a mom to toddler twins, the film just really hit home hard for me.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?
ET: “Tall Girl 2” was honestly such an unexpected gift during the pandemic. I found out that I booked the job, my first studio film no less, in November 2020. Because of the pandemic, I had become a full time stay-at-home mom in 2020. I truly thought that my race was run and that I was ready to be put out to pasture. In what world would a 42-year-old mom of twins get a first shot in Hollywood? And then I landed this dream job and ended up having the most creative, fulfilling year of my life. I feel incredibly fortunate.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make it more inclusive?
ET: We need to foster an environment where people of color are given the tools and opportunities to succeed in this industry. It should start from education and making film schools more accessible and equitable so that a new generation of film students from underrepresented communities can be created through proper training.
Agencies and managers need to take more chances on emerging BIPOC talent and Hollywood needs to start hiring them for jobs and be more open-minded about the type of stories they would like to tell.
