Interview with Yan Ju Zeng writer, actress
Full-time writer and part-time daydreamer, Yan Ju Zeng is known for This Is Not Love (Maxine/Max) and the upcoming feature Skimmer. She is developing a script and lives by, "You pay me to wait and the acting comes free."
Your credits include roles in both the short film This Is Not Love and the upcoming feature Skimmer. Can you share a key difference in the creative process or atmosphere when working on a short film versus a feature-length project?
I found the creative process between the short This Is Not Love and Skimmer very different. The filming and direction on set of This Is Not Love was incredibly concise, in comparison to the sprawling days of Skimmer. The director and crew of Skimmer were also a lot better funded and more experienced than that of This is Not Love, which made for a much larger set and more detailed design. While my time on both projects was relatively short, I loved working with both Mallory and Mariah on This is Not Love and Skimmer respectively.
In Skimmer, you played "Pool Tech #2." What kind of preparation went into a smaller, supporting role like that, and what was your experience like working on a film that is now in post-production?
I had a fantastic time working on set for Skimmer. The cast and crew were phenomenal, and the director Mariah was incredibly sweet and giving. Since my role was largely as somewhat featured background, I spent a majority of my prep on facial expressions. My character was very aware of how crazy the people around her were, and that allowed me to behave as more of an outside looking in- similar to the audience. I hope my character provides some laughs as she judges the antics of her cohorts along with viewers. My favorite moment was an improv line in response to Maurice (Bob Caso’s) abrupt question: “Do you ever smile?” It was a great moment, and though it didn’t quite make it into the final cut, I am proud to be heavily featured in the blooper reel as the cast and crew burst into laughter.
Your role in This Is Not Love was listed as "Maxine" and "Max (as Laura Zeng)." What was it like developing a character with two names, and what do you remember most about portraying her?
So, the character itself: Max/Maxine, is the same person. Maxine is the given name and Max is the nickname/preferred name. Originally, the character wasn’t in the script, but the writer Ora Tillman liked me enough to make a character for me. It was very gracious of him and I truly appreciated it. He was a delight to work with, and a good friend afterwards. He really drew from my sarcastic/dry wit, so I didn’t have to reach very far for who Max was inside.
You describe yourself as a "Full-time writer, part-time daydreamer." How do these two roles—writer and daydreamer—influence your perspective as an actor?
I think every creative needs to be a dreamer. We spend so long putting what’s in our heads on paper, I think the detailed recount of our dreams and ideas is practically mandatory. I know in school I spent a majority of my time staring off into space, dreaming up alternate realities or stories where life was just a bit more interesting. I wonder now if I looked a bit touched in the head, but the skill’s definitely fueled my writing and actor because I’m always envisioning a “What if?” of the universe.
You mentioned a script you are working on. What is the title of your current writing project? Can you tell us what your script is about, perhaps sharing the central theme or the logline?
So, the script I have in development with New Royalty Films is called A Floridian’s Guide to Coming Out. It’s a coming-of-age comedy about a Chinese adoptee in south Florida who’s in heavy denial about her queer identity.
As a Chinese Adoptee myself, I wrote this to be almost autobiographical. It was inspired by my own journey of self-discovery and heavily covered by my quirky Florida upbringing. From the fires to the hair-brained plan to get the attention of my actual crush’s boyfriend as a largely heteronormative performance, the story follows a similar path to my own. Albeit, with some creative liberties.
You have a great line in your bio: "You pay me to wait and the acting comes free." What inspired that statement, and how does it encapsulate your view on your career?
So, that saying was coined by Samuel L. Jackson, if my memory is correct. Or, at least I heard him say it in a masterclass on acting. But I really do try to live by it. It’s a hard life out there, and it’s so often that you see actors starving for a part. Since I really believe in doing what you love and following your passion, every moment where I get to work instead of wait around in a holding area is a gift I like to appreciate. At the end of the day, we’re all just people trying to live a life we love, and what I love is making stories. Do what you love, and the money will come, right?
What kind of roles are you currently seeking, or what are your next major career goals as both a writer and an actor?
Currently I’ve been writing a lot. I have three more feature scripts that I’m switching back and forth between as the inspiration waxes and wanes. All of them are pretty different in genre as well, so it’s been interesting for sure. Since I’m no longer writing AFGCO, it means I’m up for another project to focus on. Admittedly, I almost always write a part for myself, but there’s at least one script I’m working on where I haven’t done that. My goal for that one is to sell it.
- Project titles & Genres
- The Disappearing Act – Thriller
- Beating Bedlam (working title) – Period Drama
- Super High (Working Title) – Action/Comedy
https://www.imdb.com/user/ur133420958/?ref_=ext_shr_lnk
Yan Ju is an actress and writer from Florida, crafting stories where personal truth collides with the surreal. Her work lives in the space between heightened reality and raw intimacy, exploring the battles for identity, autonomy, and belonging. Drawing from her own experiences, she writes with a sharp, empathetic lens; whether navigating the humid chaos of a queer adolescence or the psychological aftershocks of trauma. As an actress, she is drawn to complex characters who are deconstructing the narratives imposed on them, bringing compelling authenticity to both dramatic and comedic roles. She is developing her debut feature film and several original series, all united by a distinct voice that finds the profound within the peculiar.
https://endertalon.blogspot.com/2024/12/interviews-with-clinton-r.html