Pittsburgh native Sujata Day is a performer, creator, writer, and director. She regularly performs in Upright Citizens Brigade’s hit “Asian AF” show. Day is known for her starring role as CeCe in Issa Rae’s “The Misadventures of Awkward Black Girl.” She recurred for three seasons on HBO’s “Insecure.” Day is a Sundance Lab fellow, Sundance Film Festival influencer, and Sundance Collab advisor. Her short film “Cowboy and Indian” sold to a major studio for series development with Day writing, producing, and starring. She directs “This Is My Story,” a series in which LeVar Burton narrates real-life personal experiences of everyday racism. “Definition Please” marks Day’s feature debut.
“Definition Please” is now available to stream on Netflix.
W&H: Describe the film for us in your own words.
SD: “Definition Please” is about a young woman who achieved the pinnacle of greatness as a kid and now is lost and kind of skating through life as a young woman still living at home with her mom. Her arrested development rears its ugly head when her estranged brother makes a surprise visit.
W&H: What drew you to this story?
SD: I wanted to make a sibling movie similar to so many indie films I loved like “The Skeleton Twins,” “The Savages,” and “You Can Count On Me.” My goal was to show that the trials and tribulations of a South Asian American family could be relatable to everyone.
W&H: What do you want people to think about after they watch the film?
SD: I want to normalize South Asian American stories. As an actor, I’ve been on so many stereotypical auditions and audiences get used to seeing these same depictions over and over. I’d love to audiences to feel a sense of hope and also see themselves or people they know in some of our characters and journeys.
W&H: What was the biggest challenge in making the film?
SD: We had a lot of little challenges along the way, like losing a location, and not anticipating rain during an outdoor shoot, but we made changes and quickly adapted to all of that.
The biggest challenge was finding distribution during a pandemic. Luckily we held out and found the perfect home with Array.
W&H: How did you get your film funded? Share some insights into how you got the film made.
SD: I funded a chunk of the film with a television sale I had recently made. Once I was the first investor, I told everyone I met that I was raising money for my film. If they themselves couldn’t invest, they could usually point me towards someone who was interested. Family and friends also chipped in.
W&H: What inspired you to become a filmmaker?
SD: My biggest inspiration was being a part of Issa Rae’s web series “Misadventures of Awkward Black Girl.” Experiencing our journey together gave me the push I needed to be more specific and hone my point-of-view in my writing. Issa put “Misadventures of Awkward Black Girl” on her credit cards so I didn’t think twice about putting “Definition Please” on mine.
W&H: What’s the best and worst advice you’ve received?
SD: The best advice is from my mom: she’s always reminding me to take time to rest.
The worst advice was that I should only focus on one aspect of the entertainment industry, like just acting or just writing. I think it’s essential to be a multi-hyphenate and create your own career.
W&H: What advice do you have for other women directors?
SD: Don’t be afraid to tap into your strengths. My two favorite directors I’ve ever worked with were on “Insecure.” Debbie Allen and Tina Mabry were confident, communicative, and nurturing. I try to channel their energy when I direct.
W&H: Name your favorite woman-directed film and why.
SD: Mira Nair’s “Monsoon Wedding.” Not since Satyajit Ray had I seen an Indian film tap into such a grounded, real, and engaging character-driven story. “Monsoon Wedding” was so specific, yet so relatable to all kinds of audiences. It inspired my own storytelling.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?
SD: I wrote three or four scripts during the pandemic, all of which I’m out pitching right now.
I watched shows and films I’d never seen before but that everyone always talked about like “The Sopranos,” “The Wire,” “Larry Sanders,” “Twin Peaks,” and “Goodfellas.” Everything I watched was incredible and inspiring and shaped what I was working on.
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?
SD: The hiring behind the scenes needs to get more aggressive in giving people from underrepresented groups their first or second shots. All the fellowships, workshops, and initiatives are fine but I see too many of my talented friends who are ready to be hired do these programs instead of booking real work. Once we see more inclusion behind the scenes, we’ll naturally see more representation onscreen.
