Screen Talk: Bowen Yang

Bowen Yang discusses his career, including his roles in "Wicked," "Fire Island," and "The Wedding Banquet.

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Emmy-nominated comedian, actor, and writer Bowen Yang joined audiences for a Screen Talk event at the BFI Flare: London LGBTQIA+ Film Festival, which took place on 20 March 2025 at BFI Southbank. The event was hosted by Matt Rogers, a renowned comedian, actor, writer, podcaster, television host, and recording artist.

During the Screen Talk, Yang discussed his career, including his latest role in Andrew Ahn's The Wedding Banquet, which opened the 39th BFI Flare LGBTQIA+ Film Festival. The talk provided insights into his journey from being a writer and cast member on Saturday Night Live to his roles in films like Wicked and Fire Island, as well as his work on Las Culturistas.

SCREEN TALK: BOWEN YANG

MATT: Bowen, let's start with your cinematic moment. What was the culture that made you say culture was for you?

BOWEN: Titanic. It sparked everything for me : movies, awards, even Celine Dion. At seven, I thought Kate and Leo were really in love because they had sex in a car. Movies showed me the magic of creating reality without actually sinking a ship. Jackie Chan movies also mattered, especially Rush Hour’s bloopers. They showed how fun movie-making could be.

MATT: Growing up, movies and awards shows gave me a sense of community. You started in improv comedy, which is all about community. What does community mean to you now?

BOWEN: After last night's screening, we saw a friend from college, which reminded me how vital community has always been. Early comedy shows at 5 a.m. seemed tough at the time, but they shaped who I am. BFI Flare feels similar, it's built on community.

MATT: On our podcast, Cate Blanchett said projects succeed because of people. Let's look at a clip from Nicholas Stoller's Bros. You're known for yelling, Bowen—one of the best screamers around. How much did improv factor into Bros?

BOWEN: Improv was encouraged but didn't overshadow the script. Billy Eichner and Nick Stoller carefully crafted every line. Respecting the writers mattered to me. I added small touches but kept to their vision.

MATT: Shooting emotional scenes with close friends seemed intense. How did you handle that?

BOWEN: I underestimated the emotional toll. Playing a character struggling with rejection brought up feelings I thought I'd moved past. It was harder than expected, but valuable. Ensemble roles suit me better than leads, less emotional weight.

MATT: How do you handle the visibility pressure that comes with your work?‍

BOWEN: I don't conquer it; I just set it aside. Watching yourself on screen can be unsettling. Early on at SNL, I struggled imagining myself in that role. It's tough processing how others see you versus how you see yourself.

MATT: You worked closely with director Andrew Ahn on Fire Island. How did he support you?‍

BOWEN: Andrew gently guided me through difficult moments without ever overwhelming me. During one tough scene, he quietly reminded me, "You're mourning who you once were," and tears came instantly. His approach is precise yet gentle.

MATT: Cate Blanchett mentioned that self-criticism never fully goes away. Did you consider Fire Island your first real movie?‍

BOWEN: Definitely. It was where I faced my growing pains as an actor. Playing a version of myself forced me to confront difficult emotions. Fire Island itself is always mentally intense, regardless of how you appear outwardly.

MATT: Speaking of high stakes and spectacle, let's talk about your role in Jon M. Chu’s Wicked. What was it like engaging with massive sets and star power?

BOWEN: Jon Chu made sure the grand scale never felt overwhelming. Yes, moments like Cynthia performing “Defying Gravity” or Ariana singing “Popular” carried pressure, but overall, the atmosphere was surprisingly relaxed. Jon even asked me to improvise on set, which I thought was a joke. But then, seeing all my ad-libs in the film amazed me. My silly improvisations blended seamlessly into this huge production.

MATT: How did that passion affect the filming process?

BOWEN: Initially, it was intimidating because everyone brought such dedication. During my first choreography rehearsal, I worried I wouldn’t measure up. But we quickly realized we were all feeling the pressure together, which helped us bond. Everyone referred to it as “our Endgame,” yet we stayed focused. At the premiere, the co-writer, Dana Fox, pointed out my improvisations were essential, balancing the film’s sincerity with needed humour.

MATT: Wicked became more than just a blockbuster. It’s now critically acclaimed and award-worthy. How do you think it transcended expectations?

BOWEN: It combines specific, relatable details with fantasy elements, allowing audiences to connect personally. Wicked explores themes like racism, queerness, and even fascism subtly, letting people find their own meaning rather than forcing an allegory.

MATT: Speaking of memorable weddings, let's watch a clip from Andrew Ahn’s The Wedding Banquet. How was working with Youn Yuh-jung?

BOWEN: Incredible. She has a three-take rule, maximum, which pushed everyone to deliver their best immediately. She commands respect instantly—she’s essentially Korea’s Meryl Streep. Initially, Youn wasn’t sure about taking the role until her son, who is gay, encouraged her. This film became deeply personal for them, which touched me.

MATT: Andrew’s strength is clearly building that sense of family. Can you talk about how he created that?

BOWEN:Andrew’s great at bonding people together naturally. Before shooting Fire Island, he had the cast share favorite vacation memories. For Wedding Banquet, it was similar. We talked about weddings, marriage, relationships, and watched Couples Therapy between takes, sharing personal insights. By filming, we felt genuinely close, which made the chemistry easy.

MATT: How does Andrew achieve such authentic moments?

BOWEN:Andrew has an eye for subtle, atmospheric moments, like lingering shots or small details around the house. I always wanted a quiet indie-movie moment—like staring at the ceiling from bed—and he captured that. Even simple visuals like garden tools left outside help express deeper emotional shifts.

MATT: In Fire Island, you received a big romantic declaration; in Wedding Banquet, you deliver one. How did you ground such a big moment?

BOWEN: I was nervous, but Andrew frames big emotions inside real rituals, like a ceremony, so it doesn't feel overly sentimental. He knows exactly when to lean into a trope and when to subvert it. The sincerity comes through, but there’s always an element of surprise.

MATT: The film connects so well, especially with audiences. Now let’s take audience questions.

AUDIENCE QUESTIONS:

Question 1: Bowen, I deeply relate to your visible queerness and admire your confidence. How do you keep your self-assurance in spaces that aren't always welcoming?

BOWEN: Thank you. It wasn’t always easy. At first, negative comments affected me deeply, especially early at SNL, when people criticised my femininity or queerness. Eventually, I realized those perceptions weren’t my issue but theirs. Once you decide who you are, others can't change that. I’ve learned not to seek negativity online—why touch something you know will hurt? Reminding myself I'm safe helps separate external opinions from my own truth.

Matt Rogers: Watching the film Perfect Blue helped shift your perspective too, right?

Bowen Yang: Absolutely. Perfect Blue deals with someone fighting against a constructed online persona. It showed me how important it is to hold onto your authentic self despite external pressures.

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Question 2: I saw The Wedding Banquet yesterday and loved your serious role. How do you see the importance of queer cinema and events like BFI Flare today?

BOWEN: It's inspiring seeing BFI Flare celebrating 39 years. Queer cinema captures timeless emotional experiences. It’s about personal discovery, which remains powerful and relevant regardless of outside circumstances.

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Question 3: What was your relationship with the original Wedding Banquet film?

BOWEN: The original film impacted me deeply. It was about a gay landlord whose parents discover he's gay, leaving things unresolved. I saw it in college when I wasn’t fully out to my own parents. Our version updates the questions around marriage, not just whether we can, but whether we should. Personally, it reminds me how much things have evolved, both culturally and in my own life.

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Question 4: Less deep, but how chronically online are you both? Your SNL "No More Slay" sketch surprised me, did you help write it?

BOWEN: Celeste Yim came up with that sketch. It started as a joke about how we’ve wired ourselves to repeat phrases like "period." Originally set in a corporate meeting, we moved it to brunch to feel more real. I'm working on being less online these days—discovering books again helps!