Up-and-comer Justin Lin is boldly making a name for himself in the film industry. “Better Luck Tomorrow” has become another “little indie that could,” the first of the year, in fact. On a grueling press tour, he stopped by Sacramento State and had lunch with me at the Java City in the University Union. We shot the breeze about his film and life, and here?s what he had to say:

Noeh Nazareno: Do you feel in particular that, you being an Asian American and the cast being Asian American, what are your thoughts on your perception that the movie will be seen as something of a breakout?

Justin Lin: What I?ve learned from the very beginning and also the whole thing of Sundance, getting acquired, is that reality is reality, and it?s true, a lot of it, whether you think it?s fair or unfair, there?s so much pressure being put on this film right now because this is the first time an independent Asian American film has been acquired by a studio, and their language is a little different than ours. For them, it?s like, “Is there a demographic for this?” The thing that I learned is that studios, it?s very simple, there?s not a lot of discrimination that goes on. Basically, if you pay money and everybody wants to see talking kangaroos, they?re gonna make a hundred of those. They have that simple rule and for the longest time, it wasn?t about, like, I don?t see them going, “Hey, let?s try to make Asian American films with three-dimensional Asian American characters and let?s see what happens.” Because that?s something we?d like to do, we can do on an independent level. And if we can prove ourselves, then you?re gonna see more. They?re always excited when there?s a potential market out there. For the viewer, if you?re Asian Americans, for anybody who ever complains about cookie cutter movies, I realize now that I want to support movies that take chances, that tell stories a little differently because when you buy that ticket, and then it shows up on their box office receipts, then they?re like, “People actually want to see this.” And they go with friends, they go with what people want to see, that?s how they do their business.

NN: Had you heard of the past weekend?s receipts for the film?

JL: Yeah, it was interesting. The first weekend, we started out in four cities and it?s what they call “platform release,” so it?s about proving yourself. I got the call Sunday morning saying that on the 13th of April we were the highest-grossing film in the nation per screen, which is awesome. In New York, some of the theaters had to kick out “Anger Management” to open up another screen for “Better Luck Tomorrow” (_____). We proved ourselves and it?s going to open wide, but it?s not over yet, it?s about people showing up and buying the tickets and watching it. You?re just not playing a level playing field. Like “Tomb Raider,” they?re gonna sink $40 million into advertising it. Our film, we have nothing. And hopefully, if people show that they want to see it, they?re gonna want to buy more ads. It?s always the thing, “How do you play with the big boys?” So that?s the challenge, that?s the reality.

NN: Has anybody mentioned that you don?t see the parents (in the movie)?

JL: People have brought that up, and it?s obviously a conscious choice. I do feel a lot of times, presence is felt when you don?t see something. I wanna do that because even though you don?t see them onscreen physically, a lot of the decisions and reactions these kids make connect directly to their relationship with their parents. And even though you don?t see them, hopefully you feel that they?re kind of hovering right outside of (the) frame. Because I think the statement, hopefully, you get out of it is that there is a disconnect between parents and youth, because a lot of times there?s a lot of assumptions that are made that can be dangerous. I work with kids, a lot of times I feel like parents automatically think that if their kids gets straight As, that they?re smart kids, good kids and that they can trust them. But in reality, those are three very separate issues, and sometimes the kids are so smart they can exploit that situation and create their own world.

NN: What would be some of your favorite movies?

JL: I love anything Stanley Kubrick, Robert Altman. I love “Badlands,” a lot of Scorsese?s earlier stuff. At the same time, I like “Jackass.” I think “Jackass” is actually a really good film. I just appreciate filmmakers that put a lot of thoughts into things and use formal elements to try to help tell a story. I just don?t like it when things are formulaic and clear, almost coming out of a factory. Sometimes, I?ll see a film, and like, “Aww, I respect it more than I like it, but that respect means a lot more to me as a film viewer.”

NN: Do you have any guilty pleasures?

JL: “Tommy Boy.” “Tommy Boy” is excellent, it?s a great film. It is what it is, and it?s not trying to be something it?s not. Also, the characters are really well drawn out, and the great chemistry, you know, between (Chris) Farley and (David) Spade. I wouldn?t vouch for any other Farley movie, but that one was good.

NN: What do you do in your spare time?

JL: I actually take joy in little things now. It?s so weird because in filmmaking, the goal is never like, if you play basketball, you know it?s 48 minutes and the game?s over, you know the score. But when it comes to something creative like filmmaking, there is no score to be kept. You?re writing, trying to be creative and you?re always trying to make it better. And that?s crazy. But now, I take joy in little things like, if you wash dishes, you know they?ll be clean. I?ve become just like a geek, man! It makes me appreciate the little things in life. To sleep in my own bed is like, “Ahh, a crappy-ass mattress bed! It feels so good to be home!” My goal, though, is to just to be able to go out and shoot hoops. When this is all over, I want to be able to play basketball again. That?s all, very simple.

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