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VC Firm General Catalyst Hires Morgan Stanley’s Paul Kwan

March 16, 2023
Actor Ki Hoi Quan (51), who won the Best Supporting Actor award at the 95th Academy Awards held in Los Angeles, California on the 12th (local time), took a boat from Vietnam to a refugee camp in Hong Kong and then to California. He shed tears as he recalled his childhood. Kwan said, “How did I come to stand on the biggest stage in Hollywood after spending a year in a refugee camp? It’s a story that only appears in movies. I can’t believe what’s happening to me right now. The American Dream,” he said. Quan is the first Vietnamese actor to win an Academy Award, and actor Hong Chau, who was nominated for Best Supporting Actress for his role in ‘The Whale’ at the ceremony, is also an immigrant who fled Vietnam by boat. However, the local reaction in Vietnam is not hot. Reports in the de facto state-controlled Vietnamese media rarely mention Quan or Quan’s background. There are also reports that emphasize Chinese descent more than the fact that he is from Vietnam. In fact, Quan is a Vietnamese ethnic Chinese. Born in 1971 in Saigon, the capital of South Vietnam (Republic of Vietnam), Quan’s family were ethnic Chinese, and even today, a handful of commercially successful Chinese can be found in many parts of Southeast Asia. None of the Vietnamese media reports on the background of Kwan’s escape from Vietnam in a procession of so-called ‘boat people’ (immigrants who escaped on small boats after the end of the Vietnam War). The Vietnamese local ‘Than Nien’ newspaper said, “Kwan was born in Ho Chi Minh City in 1971. [‘사이공’의 공식 명칭]He was born into a Chinese family of 10,000, and immigrated to the United States in the late 1970s.”
Another local media outlet, Tuoi Tre, said, “Quan was born in Vietnam in 1971 to a mother from Hong Kong and a father from mainland China.”
‘VN Express’ only reported that Quan was “born to Chinese parents in the Zhe Ren area.”
Ho Chi Minh City’s Chao Lan is a commercial district traditionally inhabited by many Chinese. photo source, Getty Images
Kwan shed tears as he shared his acceptance speech
The Vietnamese government has not commented much on this, so it is not surprising that the Vietnamese Communist Party’s silent response. Why are Vietnamese authorities reluctant to embrace a successful and recognized actor on the international stage who openly acknowledges his Vietnamese roots as a national figure? The exodus of boat people in the 1970s and 1980s is one of the darkest events in Vietnam’s modern history. At that time, more than 1.5 million people made the perilous escape route by boat across the South China Sea. According to the United Nations High Commissioner for Refugees (UNHCR), 200,000 to 400,000 people died on the journey, some captured by vicious pirates. It is a piece of the past that the ruling Communist Party, which had just defeated the US military at the time and led the current remarkable economic growth, would rather forget. However, Kwan is winning an Academy Award and reviving all of this past. Meanwhile, the boat people’s tragic journey serves as a reminder of the strained relationship between Vietnam and its huge neighbor, China. The two communist countries were officially close during the formative years after World War II. North Vietnam received a lot of support from China during the period of confrontation, first against France and then against the United States. However, relations between the two countries deteriorated in April 1975 when North Vietnam won the Vietnam War and unified Vietnam. This is because the leadership of the Communist Party of Vietnam sided with the Soviet Union in the situation of the split between China and the Soviet Union and China’s rapprochement with the United States. And at this time, many Chinese people, including Kwan’s family, were in trouble. It was a situation in which the communists who had already won the war were suspected of continuing loyalty to the defeated South Vietnamese regime as the main capitalist group in South Vietnam. As a result, many people of Chinese descent were sent to transformation through education camps. At that time, Vietnam’s economy was in a serious state under the severe damage and isolation from the international community, severe damage and international isolation, and the rigid socialist policy of the new regime after the war. Those of Chinese descent, who could afford to bribe officials and buy boats, began to leave Vietnam en masse in September 1978. This procession of exodus continued for more than a decade, intensifying after February 1979, when anti-Chinese sentiment escalated with China’s attack on Vietnam. photo source, Getty Images
picture explanation,
Kwan with fellow cast members of ‘Everything Everywhere All At Once’, the film that swept the Academy this year
Relations between Vietnam and China are still not smooth today, but the Chinese called ‘Viet Kiu’, or fugitives, have since returned to Vietnam and are living comfortably. However, Beijing’s aggressive attitude over islands in the South China Sea and China’s growing economic influence are fueling strong anti-China sentiment among the Vietnamese people. Meanwhile, a social media user wrote on the BBC Vietnamese Facebook page that Quan was “not Vietnamese, but only Chinese-Vietnamese born in Vietnam. We need to make this clear,” he wrote. “Please make it clear that Quan is Chinese-American and only had Vietnamese nationality in the past! How can you be ‘Vietnamese’?”
However, another user insisted that “Quan was born in Vietnam and is of Chinese descent, so we should call him Vietnamese.”
Meanwhile, Ho Chi Minh City-based writer Tran Thien Dung commented on Facebook what Quan’s identity could be if he defined it as a “Saigon-Che-Len” person. “I believe Quan gained energy from his birthplace of Saigon-Che-Len, grew up in the United States and later rose to fame. So while congratulating Kwan (the news of the award), I want to share the joy with you all on social media.”
Meanwhile, Professor Nguyen Van Tuan, a professor of medicine at the University of New South Wales in Australia and also a member of the boat people, said it was regrettable that the (Vietnamese) state-run media ignored Quan’s past as a boat people. “The story of the boat people in the 1970s and 1980s is a tragic chapter in Vietnamese history. At that time, most Vietnamese refugees arriving in the United States, whether Chinese or ‘pure Vietnamese’, were very poor. I couldn’t even speak English. But they survived and thrived.”
“The generation living in Vietnam today cannot imagine the hardships of the refugees at that time. It is also why we did not learn about this sad and painful period in our history.”
Reporter Jonathan Head is a BBC Southeast Asia correspondent, and Correspondent Tran Bo is a BBC Vietnamese News correspondent based in Bangkok, Thailand.

Why Vietnam Doesn’t Welcome ‘Academy Best Supporting Actor’ Ki Hoi Quan

AP Film Writer
“This is not normal,” said Kwan, who directed the film with his creative partner, Daniel Scheinert. “This is kind of crazy.”
“Not normal” and “kind of crazy” are, increasingly, reasonable ways to describe Oscar best picture winners. Three years ago, Bong Joon Ho’s “Parasite,” a masterful Korean genre movie and class satire, became the first non-English language film to win Hollywood’s top prize . Last year, “CODA,” a modest and heartwarming indie drama released in August, took best picture, making history for the deaf community. If those films set out with little expectation of Oscar glory, the googly-eye-paved road for “Everything Everywhere All at Once” was even more unlikely. It’s not a hard and fast rule, but, historically speaking, movies with butt plug fights and hot dog fingers don’t win Oscars. They certainly don’t win seven of them. As a story about family and immigrant life, “Everything Everywhere All at Once” may be just as sentimental and old-fashioned, at heart, as plenty of Oscar winners before it. But it might be — and proudly so — the weirdest best-picture winner in the 95-year history of the Academy Awards. It’s a long ways from “Patton,” at least. There was much to reflect on what has and hasn’t changed in movies since that 1971 best picture winner during a ceremony that opened with Navy fighter jets flying overhead and saw best supporting actor winner Ke Huy Quan, whose family fled Vietnam as war refugees, emotionally speak about the surrealism of the American dream. “Everything Everywhere All at Once,” for which Michelle Yeoh became the first Asian best actress winner , is unquestionably an Asian American milestone. But for many reasons it’s a distinctly un-Oscar-like movie that, like “CODA” and “Parasite,” never — in any multiverse — expected any of this. “It feels like we’re in our movie sometimes,” Scheinert said in an interview ahead of the Oscars . “At some point we’re going to get pulled out of this joke and be back to our own lives and be like, ‘Oh, wouldn’t that be cool? Too bad.’”
Yet it was striking just how resoundingly the blissfully bonkers “Everything Everywhere All at Once” trounced the competition. With acting wins for Yeoh, Quan and Jamie Lee Curtis, it’s just the third film to win three acting Oscars, along with “A Streetcar Named Desire” and “Network.” No film has ever won more “above the line” Academy Awards. At the same time, much of the old guard was either absent or went home emptyhanded. Tom Cruise, whose “Top Gun: Maverick” was nominated for best picture, was a no show. So was James Cameron, whose “Avatar: The Way of Water” wasn’t considered a real challenger. Twenty-five years ago, it was Cameron who was “king of the world” at the Oscars, with “Titanic.”
“Maverick” won just for sound, “Avatar” for effects. The puny results for two films that have together collected nearly $4 billion in box office might have taken some viewers out of the broadcast. Academy voters signaled early in the ceremony that blockbusters weren’t on the menu, picking Curtis for supporting actress over Angela Bassett (“Black Panther: Wakanda Forever”), who would have been the first Marvel performer to win an Oscar. Steven Spielberg and “The Fabelmans” was also entirely shutout. Though nominated for seven awards, his most autobiographical film and the one he campaigned hardest for, didn’t win anything. Best director went to the Daniels, who at 35, are the second-youngest winners ever. The Oscars, more than ever, belong to underdogs. And the biggest loser might be Oscar bait. Certainly, many of the winners were conventional academy picks. Best actor winner Brendan Fraser’s prosthetic-aided comeback performance in “The Whale” ticked many of the standard boxes. And it would be unfair to label Spielberg thoughtful memory piece — which somehow lost the “mom” narrative to the Daniels’ film — as awards-driven. But Sunday’s Oscars suggested Hollywood — at least for the time being — is looking for Oscar movies that don’t seem too much like Oscar movies. Some of that could be attributed to the changed makeup of the academy, which has diversified and now numbers more than 10,000. That includes far more international voters, a subtle sea change that likely helped push the German-language WWI saga “All Quiet on the Western Front” to four Oscars and “Naatu Naatu” of the Indian sensation “RRR” to best song. But even the acting winners, while Hollywood veterans, were all first timers. The wins for Yeoh, Quan and Fraser may have all partly been to redress past wrongs to them by the industry. Fraser had been largely forgotten, and a victim of alleged abuse by a prominent Hollywood Foreign Press Association member. Yeoh, a massive star in Hong Kong, had found herself pigeonholed in Hollywood. Quan, an indelible face of the 1980s, had given up acting after years of struggle to find work. The Oscar telecast, emceed by Jimmy Kimmel, was fairly traditional, as the academy looked to quell the drama of last year’s show. So it would be easy to miss that the ground underneath the Academy Awards is shifting — and not just the carpet formerly colored red . But it’s more than a quirky blip when a couple of idiosyncratic, sensitive guys with an absurdist sense of humor win best picture for their only feature film beside the farting corpse one. “Everything Everywhere All at Once,” the Daniels’ second film after 2016’s “Swiss Army Man,” may have struck a chord because of how it channels our dizzying digital overload into multiple dimensions. “The world is changing rapidly and I fear our stories are not keeping that pace,” Kwan said on the Dolby Theatre stage, referring to the speed of the internet versus the slow-moving apparatus of cinema. The Oscars tend to seesaw between trends. The much-debated 2018 winner “Green Book” followed the landmark win for “Moonlight” the year prior. Barry Jenkins’ film was the first A24 best-picture winner, and now “Everything Everywhere All at Once” — A24’s biggest box-office hit with $107.4 million in box office — is the specialty label’s second. A24 swept all of the top awards Sunday, a first for any studio in Oscar history. Backstage at the Oscars, Kwan told reporters that their “shotgun blast of joy and absurdity and creativity” ultimately comes out of his own navigation through dark times and depression. “And I really hope that the next generation can watch a movie like ours and be just, like, oh, there’s another way to look at the bleakness and another way to kind of face it head on,” said Kwan. The victory for “Everything Everywhere All at Once” came as Hollywood and the Oscars continue to find their footing after several years of pandemic and the scandal of last year’s broadcast. While the industry has tried to revive moviegoing, originality has been in short supply in theaters. On Oscar weekend at the box office, a “VI” defeated a “III.”
But “Everything Everywhere All at Once,” a mad rush of originality with “Raccacoonie” strapped to its head, is surely beloved for daring to be different. And at the Oscars, its win might not be “not normal,” as Kwan said, after all. It might be the new normal. ___

One loser in ‘Everything Everywhere’ romp: Oscar bait

KTVZ
AP Film Writer
“This is not normal,” said Kwan, who directed the film with his creative partner, Daniel Scheinert. “This is kind of crazy.”
“Not normal” and “kind of crazy” are, increasingly, reasonable ways to describe Oscar best picture winners. Three years ago, Bong Joon Ho’s “Parasite,” a masterful Korean genre movie and class satire, became the first non-English language film to win Hollywood’s top prize . Last year, “CODA,” a modest and heartwarming indie drama released in August, took best picture, making history for the deaf community. If those films set out with little expectation of Oscar glory, the googly-eye-paved road for “Everything Everywhere All at Once” was even more unlikely. It’s not a hard and fast rule, but, historically speaking, movies with butt plug fights and hot dog fingers don’t win Oscars. They certainly don’t win seven of them. As a story about family and immigrant life, “Everything Everywhere All at Once” may be just as sentimental and old-fashioned, at heart, as plenty of Oscar winners before it. But it might be — and proudly so — the weirdest best-picture winner in the 95-year history of the Academy Awards. It’s a long ways from “Patton,” at least. There was much to reflect on what has and hasn’t changed in movies since that 1971 best picture winner during a ceremony that opened with Navy fighter jets flying overhead and saw best supporting actor winner Ke Huy Quan, whose family fled Vietnam as war refugees, emotionally speak about the surrealism of the American dream. “Everything Everywhere All at Once,” for which Michelle Yeoh became the first Asian best actress winner , is unquestionably an Asian American milestone. But for many reasons it’s a distinctly un-Oscar-like movie that, like “CODA” and “Parasite,” never — in any multiverse — expected any of this. “It feels like we’re in our movie sometimes,” Scheinert said in an interview ahead of the Oscars . “At some point we’re going to get pulled out of this joke and be back to our own lives and be like, ‘Oh, wouldn’t that be cool? Too bad.’”
Yet it was striking just how resoundingly the blissfully bonkers “Everything Everywhere All at Once” trounced the competition. With acting wins for Yeoh, Quan and Jamie Lee Curtis, it’s just the third film to win three acting Oscars, along with “A Streetcar Named Desire” and “Network.” No film has ever won more “above the line” Academy Awards. At the same time, much of the old guard was either absent or went home emptyhanded. Tom Cruise, whose “Top Gun: Maverick” was nominated for best picture, was a no show. So was James Cameron, whose “Avatar: The Way of Water” wasn’t considered a real challenger. Twenty-five years ago, it was Cameron who was “king of the world” at the Oscars, with “Titanic.”
“Maverick” won just for sound, “Avatar” for effects. The puny results for two films that have together collected nearly $4 billion in box office might have taken some viewers out of the broadcast. Academy voters signaled early in the ceremony that blockbusters weren’t on the menu, picking Curtis for supporting actress over Angela Bassett (“Black Panther: Wakanda Forever”), who would have been the first Marvel performer to win an Oscar. Steven Spielberg and “The Fabelmans” was also entirely shutout. Though nominated for seven awards, his most autobiographical film and the one he campaigned hardest for, didn’t win anything. Best director went to the Daniels, who at 35, are the second-youngest winners ever. The Oscars, more than ever, belong to underdogs. And the biggest loser might be Oscar bait. Certainly, many of the winners were conventional academy picks. Best actor winner Brendan Fraser’s prosthetic-aided comeback performance in “The Whale” ticked many of the standard boxes. And it would be unfair to label Spielberg thoughtful memory piece — which somehow lost the “mom” narrative to the Daniels’ film — as awards-driven. But Sunday’s Oscars suggested Hollywood — at least for the time being — is looking for Oscar movies that don’t seem too much like Oscar movies. Some of that could be attributed to the changed makeup of the academy, which has diversified and now numbers more than 10,000. That includes far more international voters, a subtle sea change that likely helped push the German-language WWI saga “All Quiet on the Western Front” to four Oscars and “Naatu Naatu” of the Indian sensation “RRR” to best song. But even the acting winners, while Hollywood veterans, were all first timers. The wins for Yeoh, Quan and Fraser may have all partly been to redress past wrongs to them by the industry. Fraser had been largely forgotten, and a victim of alleged abuse by a prominent Hollywood Foreign Press Association member. Yeoh, a massive star in Hong Kong, had found herself pigeonholed in Hollywood. Quan, an indelible face of the 1980s, had given up acting after years of struggle to find work. The Oscar telecast, emceed by Jimmy Kimmel, was fairly traditional, as the academy looked to quell the drama of last year’s show. So it would be easy to miss that the ground underneath the Academy Awards is shifting — and not just the carpet formerly colored red . But it’s more than a quirky blip when a couple of idiosyncratic, sensitive guys with an absurdist sense of humor win best picture for their only feature film beside the farting corpse one. “Everything Everywhere All at Once,” the Daniels’ second film after 2016’s “Swiss Army Man,” may have struck a chord because of how it channels our dizzying digital overload into multiple dimensions. “The world is changing rapidly and I fear our stories are not keeping that pace,” Kwan said on the Dolby Theatre stage, referring to the speed of the internet versus the slow-moving apparatus of cinema. The Oscars tend to seesaw between trends. The much-debated 2018 winner “Green Book” followed the landmark win for “Moonlight” the year prior. Barry Jenkins’ film was the first A24 best-picture winner, and now “Everything Everywhere All at Once” — A24’s biggest box-office hit with $107.4 million in box office — is the specialty label’s second. A24 swept all of the top awards Sunday, a first for any studio in Oscar history. Backstage at the Oscars, Kwan told reporters that their “shotgun blast of joy and absurdity and creativity” ultimately comes out of his own navigation through dark times and depression. “And I really hope that the next generation can watch a movie like ours and be just, like, oh, there’s another way to look at the bleakness and another way to kind of face it head on,” said Kwan. The victory for “Everything Everywhere All at Once” came as Hollywood and the Oscars continue to find their footing after several years of pandemic and the scandal of last year’s broadcast. While the industry has tried to revive moviegoing, originality has been in short supply in theaters. On Oscar weekend at the box office, a “VI” defeated a “III.”
But “Everything Everywhere All at Once,” a mad rush of originality with “Raccacoonie” strapped to its head, is surely beloved for daring to be different. And at the Oscars, its win might not be “not normal,” as Kwan said, after all. It might be the new normal. ___

Bitmex is a financial trading platform that aims to let anyone bet on anything. BitMEX offers leverage on Bitcoin and Altcoin futures.

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One of the reasons Kwan chose BitMEX was the exchange 's commitment to promoting women in STEM .

BitMEX’s New COO Angelina Kwan Joins the Crypto Space at “An Exciting Time” | #VentureCanvas

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