The Loud Whisper Takeover
Featuring interviews with actors, stunts, dancers, filmmakers, action movie directors, athletes, Krav Maga teachers, acting coaches, and more.
Epic tales of changemakers, authentic personal stories, and top tips about the industry, the podcast is a treasure of knowledge helping storytellers of all kinds on their own journeys, and inspiring people to take action upon their own dreams.
Ever heard your inner voice getting louder and louder, urging you towards a new path? When our inner guidance starts to become so loud, we can no longer ignore it, and we MUST take action... This is often a time when life changes direction drastically. We are literally being called to take that leap of faith, make that phone call, write that script, make that film in other words, time to embrace our wildest dreams, shift gear, and grow exponentially.
Let's dive into the art of listening courageously to our inner compass. Because every one of us is destined to live a grand story and adventure while walking on planet Earth!
Headphones on, notebooks out, and buckle up!
Hosted by Cindy Claes.
The Loud Whisper Takeover
20: From Bollywood in London to Action Movies in Los Angeles
In today's episode we welcome Emiko Ishii, a remarkable action actress! Multidisciplinary on all fronts, she made a print in various industries: dance, film and in the world of martial arts.
So many actors dream about moving to L.A., but how do you plan this... the smart way? Emiko had a vision and made her dream come true! Listen to how she prepared her big move, from London to Los Angeles.
Award-winning choreographer and founder of Epica Dance, one of her debuts of mixing all her skills together was the making of a Bollywood 15-minute short film. Her experiences in film school then armed her with the knowledge needed to excel both behind and in front of the camera.
Emiko shares how her martial arts training have propelled her into the world of action acting. We discuss the value of physical discipline and the importance of a versatile skill set in landing mocap roles.
Collaboration is key for action actors, Emiko emphasises the significance of safety, adaptability, and trust, while candidly sharing the unpredictable nature of auditioning for action roles. With personal stories of overcoming challenges like a severe ACL tear, Emiko's dedication remains unwavering.
Contact Guest on Instagram:
@emikojaneishii
@epikadance
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Welcome to the Loudest for Takeover podcast. As you know by now, I'm an action actress that is also on the journey of making her own films. So, in the pursuit of making my own work, in the pursuit of becoming a better action actress, I'm just having a lot of extremely exciting conversations with artists all around the world. Today I have a special guest. She's actually a multidisciplinary Japanese actress who was born in London, went for the big dream, moved to LA. She's also an action actress. She's an award-winning choreographer, she has a background in dance and she will tell you more about what kind of dancing. She is the founder of Epica Dance. Please welcome Emiko Ishii. Hi Emiko, how are you doing?
Speaker 2:I'm good, thank you, and thank you so much for having me on the show. It's always great to connect with people that are in the same industry.
Speaker 1:It is so exciting to talk to you today. So obviously you are a multi-curious, multi-skilled artist. We will dive deeper into what you do as an action actress. First, let's dive a little bit into your world. Let's talk a little bit about dance. Let's talk a bit about mocap, because you also do motion capture, and then we'll talk about action acting and martial arts. So tell us more about Epica Dance and your background in the world of dance. What do you do as a choreographer and as a dancer?
Speaker 2:Oh my gosh, that is a very loaded question, but I'll try to answer it in a nutshell. I am a Japanese yes, accent dancer, but my main styles of dance is hip hop. I started ballet, but then halfway through my journey actually earlier on I used to love watching Indian cinema and that's where I encountered Indian dance and I trained in different styles of Indian dance from, of course, the Bollywood side of things, and then Kathak. And then, when I went to do my year abroad, I encountered Bhaglatian. I wrote Nakul Dev Mahajan and we competed nationally in dance competitions and I came back to UK and I decided to do extend my classical training in Kathak, which is classical Indian dance from North India, and then I decided to fuse everything together.
Speaker 2:I also do Japanese dance, nihonguyo, and I created Epica because I think, after dancing in different companies and everything, I had a vision of my own. But also I wanted to create more opportunities for people within the industry, especially South Asians, east Asians, because at the same time I was also in film school and I noticed that there was a lack of representation in the Asian community in film. So for me I wanted to marry those two together to give opportunities to everyone. So that's why I created Epta Dance and now I've been running it for goodness, I think 12 years now, and we've been very lucky to travel abroad sharing our passion for Indian dance. But also my dancers have come from student level to now professional level, so it's making dreams come true. If I'm able to do that, then I feel that I am giving back to the community, because I gained so much from dance alone and I would have never thought that I'd be making a career out of it, so I'm very grateful. So that is my journey.
Speaker 1:That is so powerful and also I can relate to that so much because for me as well, contributing to the next generations and empowering artists is a very big part of my work, and I feel that is also a big part of what you do is mentoring others, creating sort of programs that empower others and opening doors for other people, not just for yourself but also for other people. So you mentioned that you went to film school.
Speaker 2:I did. I went to the Met Film School because, having overachieving parents Asian parents they wanted me to go to university. I wanted to go to drama school, to be honest, to Guildford, but they wanted me to get a proper degree, as Asian parents do, and I'm very grateful for it. So if I couldn't be in front of the camera, I thought then I will create opportunities for others behind camera. So that's where I went to, of course, keane College, where I did film and American history, where I went to the Met Film School to learn about practical applications of film and how to create films from pre-production being part of the crew and post-production. And yes, and that's where I was able to do.
Speaker 2:My first film was about Japanese culture and then my second one was a Bollywood short, because Bollywood films are three hours long. Second one was the a Bollywood short because, as Bollywood films are three hours long, so I thought just let's twist it a bit. But also, if I can give 15 dancers an opportunity to present themselves on screen, then let's do a Bollywood short and make it appealing, because I absolutely love Bollywood films, but I understand that it's very long for a lot of people to sit down and watch, even with an interval, and then I think after that, that's when I started working in editing and I was a camera assistant in the Edinburgh TV Festival. I've worked in casting with Hubbard Casting as an intern. I've done all those elements so I got a very good idea of how it works behind camera and it has absolutely helped me to understand how to work in front of camera as well and just a quick question about this Bollywood short, because a Bollywood feature film, like you said, is three hours long.
Speaker 1:What would you consider a short in that world? Would that be a 10-15 minute thing or would that be an hour it?
Speaker 2:was a 15 minute film. Yeah, I literally cut it down to the bare minimum and we even did have a dance number in that as well. Yeah, I applied all those skills in one and um. And you know you're pretty much doing the writing, you're producing, you're directing it, I was choreographing it, casting, location finding, you know, going through all the red tape in terms of location. So it's not guerrilla filming. So you know you really understand the process and I think for anyone who's in this, you know industry. You have to understand the process because I think you also appreciate it more as an actor. You know you know that crew are the first ones there, they're the last ones to get out as well, and you do appreciate the whole process of filming, and so, uh, part of your work is in dance, part of your work is being an actress.
Speaker 1:Then another side of you in regards to movement, film and acting is mocap motion capture. Uh, can you tell us a little bit more? What kind of of training did you do and what sort of work are you involved now in regards to motion capture?
Speaker 2:With motion capture. I actually discovered it later and it's just because, of course, in the UK we're very lucky that we do have schools like Target 3D, the MoCap Vault, so they do offer the training to give you an insight into motion capture. And that is the future as well, with AI coming in as well. So in that sense, it just was a natural progression for me that I was able to use my movement skills as well as my fighting, as well as my firearm skills to transition into the mocap industry. In that sense, I did train back in UK with those two companies and then, when I came here, I also did a CQB2 course and one with the mocap vault so that I could apply my firearm skills into the film industry as well, into motion capture. So in that sense, that's where my training lies.
Speaker 2:But I've also I'm currently doing dance as well as also emulating artists so that I can represent them and to you know where they're going to be doing concerts in the future, so that people are going to be looking at you know, looking at the artists pretty much over like goggles. So it's just, it's incredible what motion capture does offer these days and I'm really grateful that I'm able to be a part of it. I'm actually going to a job right after this interview. I'm going to my mocap um work right after this and uh, you know you did.
Speaker 1:You did some training to do motion capture. Is it possible to dive into this industry if we have a movement background but we never had proper training or a specific qualification in mocap? Can we still have a go at the industry or we have to go through proper, qualified training?
Speaker 2:I always advise. It's good to understand the inner workings and the insight into the technical side of motion capture. You still have to understand how it works. You know from simple as the t-pose and you know get us obviously getting captured. But I think someone who is from a movement background is definitely able to assimilate faster because you understand movement, you understand, you know, you're more spatially aware, you understand how your body movements are and also in terms of what sector you want to go in.
Speaker 2:Is it more of the fighting side? Is it more of the acting side? And also because you're also capturing not just your physicality but also your face as well and if you want to do animal, for instance. So there's different techniques for each sector. So it's always good to, I think, at least a basic course in motion capture because you are, and when you have all the gear on, you know your motion is a bit more. It's not as free as you know if you had no gear on. So you do have to be acquainted with the things and of course, every company is different as well. So it's always good to be able to adapt and to understand and get an insight to it. So I so, to answer the question.
Speaker 1:Yes, anyone can do it, but I do think it's good to at least have a course in order to understand the the world of mocap and how it operates and what is the most exciting part for you as an artist when you are on a mocap set and you or you have a gig in that world, like, what do you feel is being expressed, you know, through your body? Or what are you the most excited about when you do that kind of jobs?
Speaker 2:You're transported into a different world, but you're in one place that visually you are transported into a different world. It could be anyone you want. You've got different avatars. One minute I can be you know a pop singer, and then next minute I'm this giant, you know animal, this ogre to a military personnel. And I think it's the most exciting thing is to be able to really understand and capture that character's movements, how they, you know, facially, also act as well, and I think it just gives you a lot of freedom. It's the freedom that you get.
Speaker 1:In regards to the jobs, is it your normal acting agent that gets you mocap jobs, or are they actually agents? Or production companies, I don't know or talent agencies that are specifically looking for mocap talents?
Speaker 2:I received my mocap job because of my agent, but also other mocap job because of my agent, but also other mocap. You know people who who appreciate that you have different skill sets that you could offer. So I think here it's all about networking. It's all about making sure that your skill you've got the skill set and the knowledge and someone who is adaptable and who's very reliable and professional to work with. I know that back in UK there are a lot of agencies, so you have that route as well. But also you know you can always put yourself forward.
Speaker 1:And now let's dive into the world of action. You as an action actress, so you're an actress, so you can play any roles. And then there is the movement aspect to it. Let's talk about the movement aspect first. So you said you mentioned that you are able to manipulate firearms. I've seen videos of you on Instagram like using swords and a whole lot of props to fight. You also do martial arts wrestling. How did you build all this knowledge? Basically, how did you? Was it on the job? Did you do like a training for every single skill, like, how did you build all that knowledge first?
Speaker 2:First and foremost, I've always done martial arts. Growing up I've always been very physical and very sporty and I think my passion for that side you know, kind of sparked my interest in anything physical. So it started with martial arts of karate, of course, I did the ballet and then I went into dancing but then I watched a lot of action films. So growing up my father would pretty much make me watch every action film there was Steven Seagal to Jackie Chan and Sylvester Stallone. So I grew up watching a lot of fighting and I was very inspired and I think every year he'll take me to watch James Bond films. So my birthday was literally watching the James Bond films. This was with Pierce Brosnan and I saw Michelle Yeoh and of course at the time she was the only Asian actress that I saw who was also badass and I thought she was like the badass Bond girl ever and I think after watching that that was like OK, if I could do something like she does, then I would love to do something like this.
Speaker 2:But at the time I had no knowledge of stunts, had no knowledge of where you could get the training or anything like that.
Speaker 2:So at the time I only did the martial arts side of things and competed, and then later on I think it was in 2013 or a bit earlier I discovered the British Action Academy, where they offered training for people that want to do fighting in film, and I think that was my first proper understanding of how fighting in the film industry works.
Speaker 2:So when you said, okay, you've done all of these things, initially, yes, because I've done the physical side of things, but the moment I understood that all of these things you know you could do in film, I started to add on to my training. I started to do a streamer, I did, of course, fire rounds, but I also was a part of the ULOTC and ROTC, so I had four years of military training, basic military training. So I already so in that sense, yeah, I love to challenge myself. So this again, fighting on screen seemed like a natural progression because I'm able to marry that acting as well as my passion for action. And I have to say the British Action Academy honestly has you know, I wouldn't be where I am today, I think, without their training as well, and I do value it who is run by Andreas Petraeus, and I very much respect him as a stunt coordinator as well as someone who teaches people to, to be a professional fight actress or you know fight or special action.
Speaker 1:So now I'd love to talk to you about how you made the dream a reality, because there are two layers, I think, to how you made it happen. Number one you moved country. You were born in London and then you were like OK, I've got, I see myself, I envision myself in LA, I'm going to give myself a chance in LA. This is a big move. It's a city where there is a lot of opportunities and, I'm sure, also a lot of competition. So how did you find your ways in LA? But then also, how did you? There's a difference between saying I have these skills and I'm being able to sell it, because you can tell your agent even hey, I'm doing this action stuff or whatever. But then there is also how did you sell yourself as an action actress? How did you start getting jobs in that field?
Speaker 2:First, and foremost, coming to America, getting your O-1 visa is a whole process in itself, but I think you know, mainly building up your credentials is extremely important, building your knowledge, and before coming here it's so important you do your research. Because at the end of the day, when you come here, you're coming in as someone who is completely new. You're, you know, I don't have a name here, even though you've got a lot of credentials back in another country you're from. It's important that you build your reputation here, your knowledge here. So I think that's, first and foremost, the biggest transition is understanding how everything operates here. Everyone is coming to LA because they want to be an actress, the next actress, action actress, stunts. But if you come in here completely blind, without doing the research, I think you know it is going to be more difficult. You do have to make your contacts, you do have to network. It is a hustle. I'm not going to lie, it's that is the reality of it. I think some people are very lucky to be able to go straight in. But I think you know, for me I thought, first and foremost, when I come here, I, I did my research.
Speaker 2:I always wanted to come here from a young age I've been talking about since I was like 15 years old and um, you know, and I made it happen because my whole training leading up till now was because I had this focus that I wanted to be here. I knew I had to be here to challenge myself and take myself to the next level. I continued with my screamer training. So, you know, you contact different places where you can still continue your training, but that also builds networking. Training at jam, here you know, as um or temple. So people, a lot of stunt artists, go to those places to train specifically and you, you make your connections.
Speaker 2:In terms of the acting, I'm still, of course, doing a lot of castings and because I have a background in production as well, I was able to work on a production and then get invited to audition as an actress and now I'm doing two films where I am doing acting and action at the same time and able to put my choreography skills within, fight choreography. So, you know, I think you just have to stay focused, determined, believe in your skill sets and believe in what you know, be reliable and professional, as anyone should in this industry, and yeah, and just make it happen, don't be afraid, and I just want to clarify a little bit.
Speaker 1:What do you do, or what do you? You know, what do you do most and what do you want to do? Are you more an actress that has an acting role and eventually that role is also fighting, or are you actually stepping in for another actor as a double, because the actor cannot do this choreographed fight? Are you doing both, or are you doing both, or are you doing one more than the other, or I do both.
Speaker 2:So I I do stand. I do, uh, doubling work. So whether it's a being a stunt, double, I do that as well. But here my focus is that I want to aim to be a TV series regular within film and doing pure acting, but doing my own stunts. So hence why the action actress being able to do both things? Because I've got both skills. So that is my goal here. But of course, you have to build. You have to build your skill set, you have to build your knowledge. I used to have to work on my craft as well. So it's constantly learning. You're constantly evolving.
Speaker 1:Yeah, and I hear that you're in continuous professional development, in continuous training, and I think that's what our industry is required. You know, it's like you cannot just settle and say, yeah, cool, I've got my degree now or I've got my little diploma in this or this, like your body needs to keep training. Well, even as an actor, we need to keep training. We need to be in this continuous development of our craft. So you've already mentioned that you're also a bit in production, so you were able to create your own opportunities. You also made some films and maybe you're going to make some films in the future as well. Um, when it comes to your relationship with your agent does, is it a specific agent that does action that is sort of very well networked in the action world, or do they understand your vision or how do you work with your agent in regards to that?
Speaker 2:I wanted an agent that is going to have my back no matter what and who understands me and appreciates that I've got three different skill sets, because I think a lot of the times you do get caught in the idea of, okay, I'm a pure actress, so I can't promote my other skill set here. I think you have to be, you have to know how you want to promote yourself and that comes into your own marketing, your own branding and who you are as a person and how you want to, how you want people to see you. I wanted people to know that I'm not just a pure actress. Yes, I do stunts, I do action, I do fight choreography, I also do dance and I am a multidisciplinary artist and I have trained specifically in everything individually as well, so I can be purest as well, but at the same time, at the same time, this is who I am.
Speaker 2:So when I was looking for an agent, I wanted an agent that appreciated all of those skills. Because that was the first question I asked Should I put my act, should I put my dance show? Cause I don't want them to see me as a dancer who is also trying to be an actress or vice versa, and and I'm confident that I know that I've trained in all of those things completely and utterly to expert level. So in that sense, when I look for my agent, she appreciated it, she understood that. In fact, she promotes it, she highlights it.
Speaker 2:So I think for anyone, if you're looking for an agent, a find that relationship where you know that you can work together to elevate because your success is her success as well as well as making sure that you know how you want to put yourself forward for castings. I do want my acting roles, pure acting roles, as well, as if there are action roles, I'm happy to do that. But also, yes, I want to also do some dance roles. But you have to be clear of what she wants and I believe that with my agent right now, I am very lucky that she appreciates all of those things and we're on the same page. So we've got the same goal and the same path.
Speaker 1:Okay, so you've got really one agent and you're fully aligned, but you don't have different agents for your different sort of skills, one agent that is able to understand you under this umbrella of skills that you have.
Speaker 2:Yes, and the next stage is a manager. I did have a manager prior, but, of course, when I moved here, I stuck to just the one agent now, but I will be looking for a manager here. You know so because in US this is normal as well, so that you are also. They're also helping you cultivate your branding, how you promote yourself, and giving you advice, and I think that's so important. You know that. You know that.
Speaker 2:You know in different countries things operate differently from headshots to how you show yourself on in your spotlight page, or actors access casting networks, which are all these places where you do, where you're seen by casting agents. So it's important that you've got a good agent or manager to be able to help you understand the inner workings and what works, what doesn't. I think that's so important and I went through 250 agencies and managers to find the one that that was right for me. Wow, that's a lot of research. It's a lot of research. I went through the whole SAG list of agents and managers and I even looked at their ethos. I looked at their website for those that did have websites, but I'm just one of those people that I like to do my research. I like to know who I'm working with and if they're going to help me with my career as well, and then my win is their win, and I'm going to put 200% into anything that.
Speaker 1:I do. This is so important because, obviously, this is the Loud Whisper Takeover podcast and this Loud Whisper, this intuition, this feeling aligned it's a theme that's very important and a lot of the people that I'm inviting as guests. I feel there is this theme of I searched for the person perfect to work with and being just aligned with the opportunity, the collaborator, and I think those are very important reminders for us as artists. Going back to your work as an action actress and you fighting in front of the camera, what do you feel is empowering about it? What attracted you to these kind of roles, outside of the fact that you know you had the physical abilities? What is this part of yourself that you express?
Speaker 2:You just feel you know great, that you're using your skill set and because I love these characters. I love strong characters, whether it's within fighting, being a villain or being a good cop. I think this with acting gives you the freedom to be anyone you want to be and you can create, you can evolve those characters and when you're adding the action element to it, that's another layer that you're doing. You're doing the movements that we still have to tell a story through the physicality of it. So I think that's why I absolutely love to being an action actress, because I get to marry the two together. I think you know, if you just have the action, you're not telling the story, you're not giving the intensity, the energy and the relationship between the person that you're fighting with. Then it just becomes a regular fight. I think people want to see a story and I think getting that autonomy as well as an action actress, it's so liberating and empowering as an action actress, you're obviously in touch with the stunt coordinator or the choreographer.
Speaker 1:Can you explain us a little bit more how you work with a stunt stunt coordinator or a fight choreographer and also what your relationship is with the director? Like, how are these collaborations happening on set?
Speaker 2:so with stunt coordinators. I've been very lucky to work with really good stunt coordinators who, of course, situation dictates. Whether you're handling weapons, whether you're doing unarmed combat, whether you're on firearms, you do get the training prior and, of course, understand the situation, what you're going to be doing. If you are lucky to have rehearsals and pre-biz, then great. But sometimes you're in a situation where you have to think on the spot and with the training they'll get you to create something and they'll make sure that everyone is safe. If you're working with people multiple people around you make sure that everyone is safe.
Speaker 2:If you're working with people, multiple people around you and this is including essays, um, you know, um extras or supporting artists you have to make sure that it's not only your fight partner that you're keeping safe, but also other people. So I think the stunt coordinators they really do they they have to also trust you. So you are being hired because you are skilled and knowledgeable in all of those things. So I always love working with different fight choreographers, stunt coordinators, because they have always something to offer. Different fight coordinators will have different ways of punching. Even a simple punch could be different. So adaptability, I think, is very key as an action actress or stunt person and safety as well. I think I'm very lucky that I've worked with stunt coordinators where I am doing falls on concrete or I'm, you know, getting jerked back and you know to make sure that I'm okay and the fact that you're very much aware of what is happening situationally in advance so that, yep, you can give the best performance they could possibly give for that scene.
Speaker 1:And what about directors? At what stage do they come in? Do you meet them on set? Do the directors of the movies already come to rehearsals? What is your relationship with them? Do you feel you receive a lot of directions of the director, or are you just and only sort of working with the stunt coordinators? How does that work? On bigger productions.
Speaker 2:Yes, if you're hired as a fight performer or a stunt, you're working closely with the stunt coordinators, the fight choreographing team or a second unit director. You do get an idea of what the director wants and, of course, they feed it to you in terms of the scenario, what character you have to be, what kind of fight style that you're going to be doing, what they want. So you do get the direction, but mostly you'll be working closely with the stunt coordinator or second unit director or the fight choreographer. But then when I'm doing action, acting for the films I have been doing recently, the director was very much feeding me okay, this is the character that I want, but he gave me freedom to be able to choreograph my own fights, for instance.
Speaker 2:And sometimes, when you're working on independent films or, if you're working on, you know, feature films whereby distribution is going to go fast, you have to be able to think on the spot. In that sense, I think I had to create a fight scene within five minutes and then, okay, we're ready to shoot now, so we're going to go now. So it's one of those things where you have to think on the spot. Okay, I'm this character and I have to deliver this final fight scene where I'm up against a six foot four guy. So how do I create this fight within five minutes, and also for someone who's not as experienced, who's also more of an actor than an action actor. So as long as you know what you're doing and as long as there's communication, then you're able to deliver. I think that's the main thing. And, of course, as long as you have the skill set and the knowledge to be able to work fast. But that comes with experience.
Speaker 1:I want to bounce back about rehearsals here and the amount of rehearsals, because a bit earlier on you said sometimes we have to just create something on the spot and then you said, oh yeah, when we have rehearsals or when they give you five minutes to create something. So first of all, I think my first question is when there's little time or no time to rehearse, is that due to budget or is that due to creative process? You know, is that a choice of the creative process or is that just literally? Look, there is no budget, we can't have rehearsals, so we're going to have to do with those five minutes here.
Speaker 2:It could be both, but it could be. I've worked on situations where it's just because they trust us, because we're from a certain academy whereby they know we're trained to be able to create our own fights. If we're background fighting, then you're just creating your own bits and mostly the stunt coordinator knew that we were from that academy. Like with the British Action Academy, they know that we are reliable to create our own things if they need us to and if there are specific scenes where you're in front of camera and you need to make sure that all of those hits and everything work for camera, and, of course, when everything is happening around you at the same time, of course you have time to be able to rehearse that. So I've had that luxury and, of course, doing the luxury of pre-visits for other things, where you literally create the fight scene from beginning to end, being able to film it prior to when you're actually going on set and then, of course, recently being in a situation where, yeah, I had to create it within five minutes, and that is due to that was due to timing, because they had to film everything in one place because of the location. It's sometimes because due to the fact that you only have one day to film in this one location where everything is happening in that one place.
Speaker 2:It could be due to budget. Yes, I've had times where it was due to budget. And then there are times where, even with the budget, you know you have the previs and everything. Not all of the fight scene is used. And you know because of time, because you know when you're doing hair and makeup and you know those things kind of factor in technical things happening on set. Anything can happen on set and that kind of whittles down your time. So it could be so many different factors but situation dictates and you just have to be prepared for any situation that happens.
Speaker 1:I have a question about your profile because, as actors, we are the product. Our physical outlook is the product. You know, whether we want it or not. You know I am a woman. I have a shaved head. It's a part of my brand, I guess as well well does your physicality, the way that you look, and and in that you know, I mean the fact that you are a woman. I believe you are petite. Am I right in saying that you are petite? Um, the fact that you're Asian, are there things that play in your favor or are there things that, on the contrary, make it hard for you to get casted or to get jobs in the world of action movies?
Speaker 2:I think my physicality sometimes. Of course, if I had to be an Amazonian woman, I will not be casted for that because purely because of my height, my physicality and everything, but at the same time that doesn't concern me, because I've been in auditions where I'm up against hundreds of people and then because of my firearm skills and the fact that maybe I am East Asian and there's not that many East Asian people that do a lot of the fighting, that I got hired. But I would like to think I scene where I look convinced, I'm convincing and I, you know, unbelievable, and I do everything technically sound how the director or the fight coordinator wants it, I believe that I'll get hired. And if not, it wasn't for me. But yes, there are times where you know I've been told oh, maybe you should do more of the child acting stuff. You know the child double, which I can do because I'm small and petite.
Speaker 2:But I've been very lucky. I've been with Secret Invasion, for instance. I was auditioning with hundreds of people and then myself and another actress with the only two females amongst 30, other 35 other guys and we were playing SAS and secret service and it was purely because of our firearm skills. So in that sense, I think more than anything I'm not thinking about my look when I'm doing certain roles. Of course, depending on the role, I would adapt to it. But if it is action, I would like to think that I was brought into audition for a reason. So I have just as much opportunity as anyone else in the room. I just have to believe in my skill and believe in my skill set and give it my best shot. And if I get hired, great. If not, then on to the next.
Speaker 1:And a word of encouragement towards women in this industry. Do you think we have to create more space and even claim more space, more roles for female action actresses, or do you think that at the moment, there are equal opportunities when it comes to action roles for men as much as action roles for women?
Speaker 2:I think there's a huge demand, I think there is a huge market for women in action and, of course, I've just met a very incredible stuntwoman recently who's just got pregnant. Of course, as women, we have to face the reality that if you want family and everything like that, that might take you away for a bit. But in general, I think there is so much space for women to represent and I think there is a need for women to, you know, to be in this space where we can represent as action artists, as stunt women, as strong women who's got so many skills to share, just as much as men. So I feel that there is such a huge opportunity right now for any woman. So, you know, get on it.
Speaker 1:So let's talk about auditions, because obviously when you go as an actress for a job, we might have auditions, or in person, and then you do some. Uh, you know, you learn a script, somebody gives you the lines or your self-tape. When you go for an action role, either as a pure as an action actress or a person, that is pure just the movement aspect of it for the film, what is the audition process like? Is it very different? Is it self-tape first? Is it? What sort of things do they ask you to do in an audition?
Speaker 2:Yeah, so I've had two different styles I've had in person. I just literally had one the other day where it was for fighting and to be a karate personnel, so, of course, all day, and it was very quick and sweet, you know, doing a couple of shadow boxing as well as presenting a kata or a form, and that's what they wanted to see. And then I had another audition whereby they were like you are basically an assassin, but you're interrogating a person and then an explosion happens and you have to enact a whole, um, enact a whole action scene in a self-tape in this with this background. You know, mid-shot, they don't want you to enact it. And then I had one where they were like can you please do this whole? You know I had one line but then the rest of it was action. You know where they wanted me to, um, you know, get strangled, be thrown from my back and roll in to deliver another line, and they wanted that in a location.
Speaker 2:So you know the audition process is, it varies in so many different ways. Um, so it's exciting on so many levels and it can be challenging because you're thinking, oh my gosh, I'm doing all of this for, for a casting where you know, I might not even hear back from this casting agent. I might be lucky to hear back and get the role, but it just goes to show that you know, you just have to love your craft because there's so many different scenarios that you're going to to get, and in fact, with the uh, the one I had to do, you know, in in this location, um, yeah, it's, you know, I I actually did um book the job, but it's just um, yeah, it's so many different factors, you know, you just have to be so aware and and this is another thing, I think, in this day and age, you have to know how to self-tape in different ways.
Speaker 1:That was a self-tape, the one that they asked you to roll over and where your hair was pulled and you had to be in a location. That was a self-tape, or that was actually. You had to go to the casting and you were in a location.
Speaker 2:I was in a location for that where I had to roll the other one where I had to be an assassin and the explosion happened and I had to fight someone on the space and it was like four different scenarios in that one casting the element of interrogation, then you know the fight, and then explosion happening, then a fight, another fight scene happening, and you're doing this to yourself, but you had to do it to a camera so that it makes it believable that you're fighting someone, and then in the end you go through a door and you're being arrested.
Speaker 2:So many different elements in one self-tape. As an actress and, of course, as a movement action artist. It's a very exciting self-tape. But at the same time it's a very exciting self-tape but at the same time it can be very challenging because of course, you would love the luxury of being able to fight someone else, but if it's a self-tape and I had limited time, I literally had four castings that day, so I literally was doing it within like the 30, 40 minutes. Actually, I was timing myself and I had to do it in two takes and get it right and remember that whole scenario, you know. So it's challenging, but this is what we do. This is what we live for, and if you know so, you have to have thick skin like dragon skin doing this job. I think let's talk about injuries.
Speaker 1:We are moving, we are movement artists, we are athlete artists. Injuries can happen, and that can happen in dance, that can happen in fights, that can happen in choreographed fights. I believe you had an injury that was quite impactful and it was a challenge that you had to overcome. Would you mind telling us a little bit more about what happened and how you overcame that challenge with positivity?
Speaker 2:so I've had multiple injuries in the past, the biggest one being an ACL tear on my right knee. And this was via dance and I slipped on the carpet because it was very slippery and then I dislocated my knee and full ACL tear and I had a hamstring reconstruction surgery. But that was probably the biggest injury I ever had because prior to that I had a lot of dislocations on my left shoulder from swimming and competing. But I think it's so easy to say and it's easy to say this when you're not injured and when you're healthy, is that, oh yeah, no, everything will be fine. But of course, when you're someone who relies solely, your whole career is your physicality and that's your job it of course it's mentally, emotionally, very difficult and debilitating. And I think at the time at first, when that happens because you know, I didn't know what the injury was about and I was told that I had to find out the career I was told that it's going to take me nine months to a year to recover from that injury. So I had to give up all my dance jobs. I was on a theater job at the time. I was a lead actress for the theater production, but I had to walk in that. So even after that injury, the next day in the rehearsal I was told please can you show me that you can walk without your crutches, because otherwise I'm going to have to replace you. So I think the reality of this industry is that you are very much replaceable. Expendable with the reality that hit me and of course, I had my cry. I was, you know, absolutely devastated because I thought this is the end of my career. I'm not going to be able to do my martial arts, I'm not going to be able to do my martial arts, I'm not going to be able to be an action artist. I'm going to have to do purely non-physical things which I felt defined me. But I think those are the opportunities. I think when you are someone who loves your sport, you love action, you love all of these physical things, you think those things are what define you as an artist. Without those things you don't exist anymore. But I think that gave me the opportunity to think okay, what can I do whilst my recovery is happening, to build myself more, not only as an artist but as a person? Because I think those things can be so emotionally debilitating that you can go spiral down in a negative space. So I think in those things, those are the opportunities.
Speaker 2:You think that this happened for a reason for you to either slow down at the time was probably to tell me to slow down and to really work on my acting, to work on my business, to work on the person that I am. To have purpose even without those things. Who am I? Strip everything that I have, the skill set, my, my skill set, who am I, in a nutshell, as a person? And it got me to work on those things. And I think once you have that down, you begin to understand this is not the end, this is just the beginning of developing yourself, and I believe that the greatest thing about anything like this is that you're of developing yourself. And I believe that the greatest thing about anything like this is that you're not conditioned to be the same person that you were 10 years ago to who you are now. You're constantly evolving.
Speaker 2:So, having said that, I have had a recent injury myself on a job, on a contracted job, and it was a freak accident and it's a show no-transcript moved here. I'm just starting my career and I, you know, got all of these bookings and everything, and now this has happened. Why and you think, why is it happening to me? But from why is it happening to me? I changed that mindset to okay, this has happened before.
Speaker 2:I know that I can recover faster than anyone because nine months was the time I was given and within one month I was back in dancing and doing a stunt job, which is very unusual for an ACL tear.
Speaker 2:But that's only because I was very focused to get back in. This is what I want to do. I've got no other choice. This is what I want to do as a career. So my mindset right now is I'm still able to do a lot of the jobs, thankfully, but of course I won't be able to do crazy stunts or anything like that. But this has given me again the opportunity to think okay, what do I want to do next until I'm able to fully function again after post-surgery? So now I'm having this opportunity to speak with you and again I'm able to say to you that I'm going to evolve again. I'm having to evolve again with the situation that's happened to me and I know as a fact that I'm going to come back stronger and I'm going to come back with different things. I've already planned what I'm going to be doing, while I'm probably going to be, you know, one month without being able to move physically.
Speaker 1:I absolutely love listening to your power, like the fire you have in your belly, as transpires really in every story that you're sharing. Just to wrap up this interview, because you are very passionate about empowering as well, like the next generation, Is there any top tip, word of wisdom, mantra that you can share with action actors? Action actresses that want to make it in this industry, whether it's in LA, in another country, but just move forward and keep on track with their dreams. What would be your words, your advice to them?
Speaker 2:My advice always is a Japanese proverb which is nanakorobi yaoki, which means you fall seven times, get up eight, no matter how much, because this industry, it can definitely emotionally strain you in a lot of ways. It's going to be mentally challenging, but at the same time, you always have to believe in your skill. You have to believe in yourself and you're the only person you can be your own cheerleader. No one else is going to do that for you, it's you.
Speaker 2:And I think once you are able to mentally prepare yourself, mentally condition yourself to be able to take any hit that comes, you'll be able to come back stronger and you'll be able to take any hit that comes. You'll be able to come back stronger and you'll be able to fight through any kind of obstacle that's going to come your way, because there's going to be a lot. There's going to be a lot of rejections, there's going to be a lot of wins, there's going to be a lot of highs and lows, but that is the whole process of this journey. There is no one direction. Well, there is one direction, but you know it's to get to the top of the mountain. You are going to have to take different ups and turns and everything. So you just have to keep going, never give up and believe in yourself and fight for what you want.
Speaker 1:Emiko, if people want to know more about you, follow your journey, know more about all the magnificent things you're up to, where can they find you?
Speaker 2:on social media they can find me on at emmycara jane ishi on instagram or, if you want to know more about the dancing side at epica dance, on instagram as well. But, yes, no, please do reach out. I'm always happy to answer questions. With what I know, there's so many different experts out there as well. Start networking, start talking to different people, but if there's anything that I can answer, I'm always here to answer any questions as well.
Speaker 1:Thank you so much, amiko. I really hope that our paths are going to cross and that we will work together one day, because I feel, yeah, I really absolutely love your vibe and your energy and your outlook on life. So thank you so much for being on this podcast today what a journey you have as well.
Speaker 2:So, absolutely, we have to connect and, you know, hopefully get a fight in. You know I'll be honest. Yes, thank you. Thank you so much.
