March 2022 | Debra Martin Chase HLS '81

by Aissata Bah

Debra Martin Chase has always been an avid lover of movies and television. Though Chase didn’t initially know how to enter the elusive world of entertainment, doing so was always the dream for her.

Chase studied political science at Mount Holyoke College and later attended Harvard Law School. While she was at HLS, Chase would visit revival theaters in Harvard Square in between study sessions at the library. Through watching old French movies and Hollywood classics at the theaters, Chase continued to nurture her creative interests and passions as a student. After graduating from HLS in 1981, Chase went on to practice corporate law until she had an epiphany. 

“I realized,” Chase said, “this is not what I want to do for the rest of my life. And I wanted to see if I could make the dream come true.”

Chase decided to change careers and spent a year researching the film and television industry as well as the various roles within it to identify the specific aspect of the business she wanted to be a part of. Chase gained admittance into a prestigious two-year executive development program at Columbia Pictures, which presented her the opportunity to learn more about the industry from within. While in the program, Chase met the chairman of Columbia Pictures and became his executive assistant. 

As an executive assistant, Chase polished her skills on how to develop scripts, find property, and produce. While her first few years in the industry were difficult at times, Chase says, “I was guided by my love for storytelling, and I just worked really hard to learn the job.” Her experience as an executive assistant was particularly invaluable as she was able to follow her boss into meetings, read scripts for him, and ask questions.

Chase soon joined the creative staff at Columbia. While walking across the Columbia lot one day, she saw Denzel Washington and took the chance to introduce herself to him. At the time, Washington was looking for someone to run his production company, Mundy Lane Entertainment, and soon offered her the role about a week later. Chase’s decision to join Washington’s company reflected her motivation for entering the entertainment industry in the first place. 

“I got into this business to tell different stories about people of color and women that had not been told prior to that,” Chase shares. “For me, it’s just really about finding stories that I’m passionate about, that inspire people, and that deserve to be told.” Chase specifically gravitates towards stories with positive messages about taking control of one’s destiny and empowering women. While at Mundy Lane, Chase worked on films such as The Pelican Brief and Crimson Tide as well as the Academy Award-nominated and Peabody Award-winning documentary Hank Aaron: Chasing the Dream

Chase then partnered with Whitney Houston’s Brown House Productions where they produced Cinderella in addition to the first Cheetah Girls and Princess Diaries films. Following the large-scale success of these films, Disney offered Chase the opportunity to create her own production company, which became Martin Chase Productions, and Chase became the first Black woman to have a production deal at a major studio. In the fifteen years that she partnered with Disney, Chase continued producing the Cheetah Girls and Princess Diaries franchises and also produced The Sisterhood of the Traveling Pants and Lemonade Mouth among other films.

At the beginning of Chase’s career, there were no figures in the industry that she looked up to or sought to emulate because there wasn’t anyone who was doing the work that she wanted to do. Finding fresh voices and surrounding herself with a strong team of talent has always been a priority to Chase. She has subsequently launched the career of several actors, writers, and producers, including Shonda Rhimes, who was a former intern of hers and whom Chase offered her first paid writing job.

With the emergence of film and television shows like Scandal, Black Panther, and Chase’s Harriet in the last decade that centered Black narratives and proved that racially diverse stories can be enormously successful, Chase believes that the entertainment industry is moving in the right direction. However, Chase also believes that there needs to be increased representation of people behind the screen. “There need to be even more people of color in decision-making positions at studios and networks,” and, she adds, especially on the feature side.

To aspiring creatives, Chase stresses the importance of honing one’s skills and researching how the film and television businesses work. But, at the end of the day, she emphasizes, “you’ve got to bet on yourself and take a chance. Hopefully, it works out, and if it doesn’t, you learn from your mistakes as much as or sometimes even more than your successes.”

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Aissata Bah is a sophomore at Harvard College originally from Atlanta, GA. She is an aspiring television writer majoring in Women, Gender, and Sexuality Studies with a minor in Statistics. She hopes to create stories that specifically center and affirm women of color.




February 2022 | Jeff Yang AB '89

by Sophie Kim

JEFF YANG launched one of the first Asian American national magazines, A. Magazine, in the late 1990s, and is now a frequent contributor to CNN, Quartz, Slate, the New York Times and National Public Radio. He has written/edited three books—Jackie Chan’s New York Times bestselling memoir I Am Jackie Chan, Once Upon a Time in China, and Eastern Standard Time—and three graphic novels, Secret Identities, Shattered andNew Frontiers. His elder son, Hudson Yang, starred as Eddie Huang in ABC's groundbreaking sitcom Fresh Off the Boat. Yang was born in New York and lives in Los Angeles. He holds a bachelor's degree in Psychology from Harvard University and was a Harvard National Scholar with coursework in Asian languages, literature, and civilizations, media studies, and economics.

Yang was born in Brooklyn, and raised in the white, conservative community of Staten Island. As a child, he struggled with his Asian American identity, and often wanted to “become invisible and erase [his] identity.” However, at Harvard, Yang was able to embrace his heritage and connect with other Asian Americans. While Yang initially believed he might go into medicine or law, he soon realized that he wanted to be a writer. Yang joined the Harvard Lampoon and, with a group of other Asian American students, relaunched East Wind, a Harvard student publication about East Asian American politics, identity, and culture. East Wind evolved into A. Magazine, an East Asian American focused magazine that, until it ceased publication in 2002, was the largest publication for English-speaking East Asian Americans in the United States.

After graduation, Yang decided to pursue a career in journalism, with a focus on Asian American identity and issues. Early in his career, he grappled with the idea of being pigeonholed as someone who only wrote about these issues. When he would reach out to interview artists and other personalities for A. Magazine, they would often downplay their Asian identities, saying things like “I'm not an Asian American writer. I'm a writer who happens to be Asian American.” This mentality frustrated Yang, who said that these statements felt like “direct assertions that being Asian American was a liability.” Yang purposefully chose to focus on Asian American identity in his reporting, and went on to become a columnist for publications such as Alternate Weekly and the San Francisco Chronicle.

Yang spoke about the importance of collaborating with other Asian Americans on projects such as Angry Asian Man (an Internet blog founded in 2001 with blogger Phil Yu), multiple graphic novels, and his newest book, RISE: A Pop History of Asian America from the Nineties to Now, which comes out in March 2022. “I think that collaboration, intrinsically, is how creativity happens. We are stronger when we come together,” Yang said.

Yang also spoke about how increased anti-Asian hate during the COVID-19 pandemic made him fear for the future of Asian American representation in entertainment and media. “We [Asian Americans] realized that everything that we thought we'd built on, from Fresh Off the Boat to Crazy Rich Asians, to the rise of the Gold Open, was in danger of going away. And we knew how long it took to build all that, and the kind of sweat and sacrifice that it took from predecessors of ours to get us here,” Yang said.

Yang’s desire to document this history was the driving force behind his newest book, RISE: A Pop History of Asian America from the Nineties to Now. The book, co-authored with film director Philip Wang and Phil Yu, comes out in March 2022. Yang emphasized that representing a diversity of Asian American voices in the book was important to him, as well as providing guidance to future generations. “We just said, we need to document this for future generations in case it all has to be rebuilt, in case we have to do it all over again, because we could be all torn down in an instant. That's the early lesson we thought we were getting from this pandemic,” Yang said.

Yang believes there is still progress to be made, especially in terms of uplifting multiracial perspectives and other identities that are underrepresented within the Asian American community. Yang also said that he felt encouraged by the growing numbers of Asian Americans who are involved in politics, and urged more Asian Americans to speak up and become more politically active in their communities.

Despite the setbacks of the COVID-29 pandemic, Yang remains hopeful for the future of Asian American representation. “I feel like we are resilient and stronger than we had feared and bigger than we'd hoped. I'm really looking forward to what happens next for all of us,” Yang said.

Lastly, Yang advised Asian American students to believe in themselves, pursue their goals, and collaborate with others. “Just know that there are people who are out there who are more willing to support and give you a chance than ever before,” Yang said.

RISE: A Pop History of Asian America from the Nineties to Now is available for pre-order.


Sophie Kim is an award-winning performance poet, playwright, filmmaker, lyricist/librettist, and author of the poetry collection, SING THE BIRDS HOME (2019, Penmanship Books). Kim served as the 2018-2019 Los Angeles County Youth Poet Laureate. Kim co-wrote THE FORTUNATES, an original musical that premiered virtually at Harvard College in spring 2021. Kim is currently working on a queer, heretical musical comedy about Judas Iscariot. Find Kim at


January 2022 | Rupak Ginn AB '05

Rupak Ginn is a Los Angeles based, New York raised actor who has appeared off-Broadway as well as in numerous TV shows and films including USA's "Royal Pains," Universal's "The High Note," and "The Stone Witch" off-Broadway. He is also the host of the upcoming food and travel show "Dhabas" for ITVS.

Rupak Ginn was raised in Harlem. The son of immigrants from India, he still marvels at his parents’ courage in “crossing the ocean to this strange new land where they knew no one”. They taught Rupak to work hard, for which he is extremely grateful.

Rupak caught the acting bug in high school, but it flourished once he arrived at Harvard. “I signed up for the Freshman Theater Program as soon as I got to Harvard. But I didn’t think about committing my life to performance until halfway through freshman year when I got my less-than-stellar first report card. I realized then that I had become more obsessed with speaking beautiful words out loud in the theater and trying to understand what makes us humans tick than doing problem sets for my classes. You are what you do, not what you say you do. You can imagine how awkward that first holiday break was when I told my hard-working immigrant parents that I wanted to cast aside the certainty of a respectable job post-Harvard for the precarious life of an artist. But I plunged headfirst anyway, taking all the acting courses I possibly could at the ART, performing as often as possible in undergrad productions, and even auditioning for local shows and commercials in Boston - somewhere out there there’s an ad starring a nineteen-year-old me telling folks to buckle their seatbelts in Spanish!”

After performing in the safe space of Harvard that allowed him to play substantive and multilayered roles, Los Angeles was a rude awakening. Rupak found himself often being slotted as a South Asian American actor into one of two categories: the terrorist or the comedic buffoon. Recent changes due to increased awareness about diversity and inclusion in the industry have made a difference to actors and Rupak feels it is long overdue: “Now we’ve entered this period where brown actors are getting the chance to have a much more significant impact, and it’s very exciting. It’s important that we are given the opportunity to carry shows on our shoulders because the lead actor often provides the gaze for the entire show, and differing perspectives are at the heart of empathy. It’s also good for business since a fresh POV is fascinating to everyone - just look at the run of recent success stories from Korea (Parasite, Squid Game, etc.). For me personally, I have found that writing also gives me a greater hand in sharing my point of view, not just in terms of ethnicity but ideology as well.”

Rupak is a member of a growing cohort of South Asian American creatives including Nisha Ganatra and Sami Khan, who support and challenge each other through their work. “Early on as an actor, I struggled with being fully seen as a 360-degree human in Hollywood. When I became lucky enough to start working with creatives with backgrounds like mine, I loved feeling like I wasn’t the colorful side garnish on a dish; I finally felt like I was permitted to be the main dish itself and encouraged to feel comfortable taking up that deserved space. Storytelling unapologetically while building communities is what I’ve dreamed of since childhood, and it’s what I’ve grown up watching others do. Some of our most well-known creators have told stories related to their own backgrounds and cultural identities and also brought our attention to fellow artists from their community in the process. The Italian American directors Martin Scorsese and Francis Ford Coppola rose alongside Robert De Niro and Al Pacino, who are also both of Italian heritage. Spike Lee and Denzel Washington similarly had some vital early collaborations. My point is that it’s wonderful to have South Asians on all sides of the camera to make our voices heard in their most authentic, nuanced and riveting power.”

Rupak also credited Harvardwood for providing a sense of community along the way as well. “I just need to say that I absolutely love Harvardwood. This organization has provided me with so much support and affection in an industry that can sometimes feel remote and isolating.”

Rupak’s latest project Dhabas, a food and travel series for ITVS, is co-produced with Sami Khan. The two have loved working together since their first feature Khoya, which Khan directed and Rupak starred in, about an adopted Canadian man who travels to India to find his birth family. Dhabas however, is something wholly different, an exploration of the world's best Indian food in the American heartland. “Sami and I have always been fond of vérité style filmmaking that incorporates a journey of exploration and discovery. Add to that the fact that we both love food, and we thought it would be really fun to do a show where I traveled across America meeting and eating with South Asians who’ve taken big risks in immigrating here to set up no-frills food stands called dhabas. In each episode of Dhabas I also invite my South Asian friends from different walks of life like entertainment, academia and business to join me in chowing down as I get to learn about their own uniquely gripping journeys. Particularly because of the level of xenophobia that’s struck the nation recently, we’re traveling to places like Alaska, Mississippi and New Mexico where you might not expect to find thriving South Asian communities and yet there they are. There’s this growing narrative that rural and small-town America are synonymous with hatred, but we aim to flip that script. We have to try - things can’t keep going as they are. The image of a brown man enjoying delicious Indian food in the deep south has a subtle power and a resonance that can reach beyond pettiness.”

Rupak also collaborated with Amar Shah on the screenplay Gas-N-Shop, which won the recent Harvardwood Writers Competition. “My co-writer and longtime friend Amar Shah and I were delightfully surprised when our pilot script Gas-N-Shop received the award. I feel lucky that we are able to explore the touching and humorous story of Amar’s family and their struggle to set up a gas station and convenience store in small-town Florida as they try to make their dreams come true against crazy odds. I feel doubly blessed because the year prior my pilot script for Uprising, set in the 1857 siege of Delhi during the fall of the Mughal empire and the rise of the British Raj, was also honored by Harvardwood. I co-wrote that with my Oscar nominated other brother-in-arts, Sami Khan. Both times the recognition has been helpful, and not just professionally. Knowing that our stories click with people gives me and my collaborators the confidence to keep pushing forward.” 

When asked what advice he would give Harvard students today, Rupak answered: “Never give up on your dream but develop enough awareness to realize when you may already be living your dreams in their most basic elements. And keep working on yourself. Especially if you’re a creative, realize that showbiz is not always a straightforward progression of A+B=C. Sometimes it’s B-A=C. There’s also a healthy dose of luck involved, so the best you can do is be prepared to fail more than you’re used to and keep doing the work in all areas from craft to consciousness so that when you do get an opportunity, you’ll be ready. I meditate every day because my main priority is maintaining balance and sanity as things come and go. I also love actor André De Shield’s advice which applies to this business and life in general: ’Surround yourself with people whose eyes light up when they see you coming’.”

Rupak also benefits from his partnership with wife Nancy Redd ‘03, an acclaimed author and media personality in her own right. Balancing family and dual entertainment careers is not easy, and Rupak hesitates to give advice but did note being aware of the need for balance required is important. “Nancy has been a dream partner for me, and it was pure luck that we happened to meet when and where we did. She was taking an acting class at Harvard for fun, and I was taking it to be an actor. She asked me to be her scene partner, and next thing I know we’re a couple! I’m immensely proud to be her husband and awed by her abilities to be both such a great wife and mother as well as host and author. We sometimes joke how random it is that an Indian-American from Harlem and a Black Baptist southern belle ended up walking down the aisle and around the sacred fire together, but then I guess that’s the only advice I can offer: stay open and life might exceed your ideas of it.”


December 2021 | Lance Oppenheim AB '19

by Sophie Kim 

Lance Oppenheim is a filmmaker from South Florida. His feature film, Some Kind of Heaven, premiered at the 2020 Sundance Film Festival. Oppenheim was a 2019 Sundance Ignite Fellow, and was named one of Filmmaker Magazine's "25 New Faces of Independent Film 2019.” He is also the youngest contributor to The New York Times Op-Docs. Oppenheim holds a Bachelor of Arts degree from Harvard University. 

Oppenheim first started making films in his early teens, and was drawn to documentaries because of how many interesting real-life stories were out there; a case of truth being stranger than fiction. “Making documentaries [seemed] almost like making science fiction films, because the kinds of behavior that I would see in my neighborhood, in my backyard, were bizarre,” Oppenheim said. 

Oppenheim knew he wanted to make films before coming to Harvard, and his experiences at Harvard further helped him on that journey. He decided to concentrate in Art, Film, and Visual Studies, or AFVS (formerly called Visual and Environmental Studies, or VES). Oppenheim credits the AFVS program with teaching him the vocabulary of film, and helping him to form artistic and mentorly connections. He was able to access the resources and time to shoot and edit films for classes, as well as benefit from critique from professors and fellow classmates. Oppenheim’s first feature film, a documentary called Some Kind of Heaven, which premiered at the 2020 Sundance Film Festival, actually started out as his thesis film. 

Oppenheim spoke about his inspiration behind Some Kind of Heaven, which is about a Florida retirement community called The Villages. He was fascinated by the way that entering The Villages felt like entering a different time and place. “I’m very interested in people who decide to cocoon themselves inside of a fantasy world, a world that they can control,” Oppenheim said. Oppenheim lived at The Villages, without a camera, in order to immerse himself in his subjects’ lives and gain their trust. He emphasized the importance of staying true to his subjects and the risk of exploitation. “I feel like, sadly, the most popular way that people make documentary films reminds me of a mosquito. It's a mosquito that, you know, bites someone and sucks their blood, and then paints a portrait of them with their blood, and then basically asks, at the end of the process, how do you like it? I'm always trying to kind of not do that,” Oppenheim said. 

Oppenheim described how acknowledging the construct of filmmaking allowed him to get closer to his subjects and produce more honest work. He was aware that, as a non-resident of The Villages, he “stuck out like a sore thumb,” because of both his profession and his age, and leaned into that. For example, he would occasionally tell his subjects to repeat a routine for the camera, or show them rough cuts of scenes. “It was like they were actors playing versions of themselves, being themselves for this movie. It's a magical realism, in a way,” Oppenheim said. He was also interested in the theatricality of the world of The Villages, describing it as “like a movie set”.

Oppenheim also spoke about his experiences with artistic block. He acknowledged that procrastination is “part of [the] process” and noted that absorbing inspiration from other sources can help jump-start the artistic process. “I think it's important to know how you work, trust how you work, you know, and don't beat yourself up, if you're, if you're not feeling it, you know, for a long time,” Oppenheim said. 

Oppenheim discussed how the COVID-19 pandemic impacted his work. Although the news cycle caused him to struggle to produce artistically at times, he was grateful that it forced him to take a break from working and spend more time with his family, which included the birth of his niece. 

Lastly, Oppenheim advised aspiring student filmmakers to foster relationships with professors and mentors in the arts, and to take advantage of Harvard student grants to fund their artistic projects. He also emphasized the importance of not just creating work, but publicizing it. Finally, he highlighted how being surrounded by driven, like-minded individuals at Harvard inspired him to create. “If you’re stressed about thinking about finding a crew, or finding people to work with, just shut those feelings down. See who's in front of you, and see who's around, and embrace what you have in front of you,” Oppenheim said.

Author Sophie Kim is an award-winning playwright, performance poet, filmmaker, and author of the poetry collection, SING THE BIRDS HOME (2019, Penmanship Books). Kim served as the 2018-2019 Los Angeles County Youth Poet Laureate, is currently writing an original musical that will premiere this April, and has worked on multiple theater productions at Harvard; find Kim at

November 2021 | Kelly Yang HLS '05

by Aissata Bah

When Kelly Yang immigrated to the United States at the age of 6, she didn’t speak any English. She sat through classes and nodded along, desperately trying to understand. At the end of her first year in the U.S., Kelly decided that she was going to work hard and try to find her voice. It was then that she said her first sentence. By the end of her second year, she wrote a piece about her feelings on the plane from China to the States. She ended up winning a writing contest with this piece.

While there may have been grammatical and spelling errors in the piece, winning the contest taught her that she could be a storyteller without having all the perfected skills. “I had the authenticity of emotion, which is the most important thing,” Kelly explains. 

Self-reflection and authenticity persist as key themes in Kelly’s storytelling. Her first book, the award-winning and best-selling FRONT DESK, which follows a ten-year-old immigrant girl who manages a motel, is inspired by her real-life experiences. At one point in her childhood, Kelly worked the front desk at the motel that her parents cleaned. She became more confident using her voice, partly out of necessity since she “had to pretend like [she] ran the place.” Through this experience, she encountered people from different walks of life and further developed as a storyteller.

Kelly graduated from U.C. Berkeley at 17 and enrolled at Harvard Law School with the intention of becoming a lawyer. After being sexually assaulted at HLS and the administration’s mishandling of her case, Kelly became disillusioned with law. Kelly moved to Hong Kong and sought to realign herself with what brought her joy. “The thing that gave me the most joy always, was writing,” Kelly states. “But, I wasn’t sure that I could do it.” So, she decided to follow her second love: teaching writing to whoever wanted to learn it. What started as a passion project blossomed into a business, The Kelly Yang Project, a leading writing and debate program for students in Asia.

While working as an educator to young children, Kelly served as a columnist for numerous publications including The New York Times and The Washington Post. Most of her pieces were about parenting, education, and immigration. Through these columns, she was able to find her bearing as a writer and master the art of writing succinctly, a skill she views as invaluable to her current career as a novelist. Kelly’s path to becoming a novelist arose from two seemingly disparate events: 1) the newspaper she was working for changed hands, subsequently laying off all of its columnists and 2) her oldest son got a really bad report card. 

After getting fired from her job as a columnist, a role that Kelly took very seriously, Kelly felt that her only platform had been taken away. “Let me just stop, take the summer off, and see what happens,” Kelly decided. That same summer, her oldest child—who was 8—didn't receive a great report card and his father wanted him to stay back in Hong Kong and reflect on it. Thus, he wasn’t able to go to the States with his two younger siblings as he usually did during summer vacation. Kelly wanted to take the chance to tell her oldest about her childhood and all of the remarkable experiences that she had. She decided to write a chapter a day and began assembling the drafts to what later became FRONT DESK, which she released in 2018.

Kelly compares her writing process to dating. “It took many dates to get to know the story—to feel comfortable bearing my soul.” Writing about such personal experiences was difficult, but Kelly began to understand that writing was just a constant process of revision, and she gave herself permission to keep going. 

As an Asian woman writing about nuanced topics such as poverty and race, Kelly faced a multitude of challenges to get FRONT DESK published. In fact, her first book was rejected by every single publisher except one. To the young writers who hope to tell stories grappling with topics of identity and find a place within the industry, Kelly offers these words of encouragement: “There are many examples of people who have broken through the gates and have shown that the world cares.” She adds, “We all have an obligation to portray our truth to the world as we see it. People are ready for these stories.”

Following the success of FRONT DESK, Kelly released its sequel, THREE KEYS in 2020, and the third installment of the series, ROOM TO DREAM, this past September. She also has a young adult novel entitled Parachutes that she released in May 2020, which has also received widespread critical acclaim.


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Aissata Bah is a sophomore at Harvard College originally from Atlanta, GA. She is an aspiring television writer majoring in Women, Gender, and Sexuality Studies with a minor in Statistics. She hopes to create stories that specifically center and affirm women of color.


October 2021 | Vinod Busjeet DBA ’80 - Harvardwood

Written by Dayna Wilkinson

Vinod Busjeet’s background in Mauritius—and his innate curiosity and powers of observation—prepared him well to write his 2021 debut novel, Silent Winds, Dry Seas. An island in the Indian Ocean off the coast of Madagascar, Mauritius was still a British colony during Vinod’s youth.  “Culturally I have a broad base,” he says. “The British education system exposed me to Mark Twain, Herman Melville, Longfellow--the classic American writers--and of course a lot of Shakespeare and Dickens,  a lot of the Romantic poets, and many post-World War I writers and poets. I was surprised when I met English majors at college in America who hadn’t read Chaucer; I read Chaucer in the original in high school.”

Vinod came to the U.S. and graduated from Wesleyan University. When interviewing for a job at a commercial bank, Vinod recalls, “the interviewer said ‘I’m not sure you’re ready for the business world. The profit motive has to be ingrained in you.’ He told me to go to business school ‘where people aren’t ashamed to talk about money.’”  Vinod trained for business and academic careers by getting an MBA from New York University followed by a DBA from Harvard Business School. In the end, he decided to join the World Bank, which promotes economic development around the globe. “It was more aligned with my values,” Vinod explains. “I’m from a developing country and wanted my work to improve the lives of people in similar countries.

“The job involved a lot of travel and I had no time to write, but I made notes on my surroundings,” Vinod says. “When people gave me their business cards, I’d jot something on the back to remind me of interesting details about them. Also, I often reflected on my childhood. I only started writing seriously after I retired. My first attempt was a screenplay.”

The protagonist of Silent Winds, Dry Seas is named Vishnu Bhushan, and one can be forgiven for seeing certain parallels between Vishnu’s early life and Vinod Busjeet’s. “The novel was a way to take stock of my life and to introduce Mauritius--with all its complexity, joys and sorrows--to American readers,” Vinod says.

“It covers the period leading to Mauritius’ independence, and is both Vishnu’s and Mauritius’ coming of age story.”

In addition to writing quite a few poems, Vinod has outlined his next novel and completed the first two chapters. He has this advice for aspiring writers: “enroll in writing workshops. If you isolate yourself, you won’t know how readers will react or how you compare with other writers.  If you’re writing with the goal of being published, you have to think of the reader.”

Published by Doubleday and endorsed by such bestselling authors as Edward P. Jones, Jennifer Haigh and Tim Johnston, Silent Winds, Dry Seas is available here.

To join Vinod on October 13th at 7pm ET/10pm PT for a Harvardwood Authors Craft Chat, register here.


Dayna Wilkinson is a proud New Yorker currently living, working
and writing in the Washington, D.C. metropolitan area


September 2021 | Jaime Dávila AB '07

Jaime Dávila AB '07 is the President of Campanario Entertainment, a prolific source of multilingual content and a production bridge between the U.S. and Latin America. He has various projects in development including Bridges, a multi-generational series to be produced in partnership with Eva Longoria’s UnbelieEVAble Entertainment at ABC. Dávila holds a Master of Science degree in Latin American Studies from the University of Oxford and a Bachelor of Arts degree from Harvard University. 

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written by Sophie Kim '24

Jaime Dávila is bringing diverse Latinx stories to the screen. Dávila is the founder and President of Campanario Entertainment, a Los Angeles-based production company that develops content by and for the Latinx community. Dávila founded the company in 2013 in order to address the lack of Latinx representation on-screen. With an authenticity to its Latinx roots and appeal for mainstream audiences, Dávila’s work includes Selena: The Series (a biography about Tejana star Selena Quintanilla) on Netflix, Mexican Dynasties on Bravo, immigration documentary Camelia la Texana for Telemundo and Netflix, the dramedy Como Sobrevivir Soltero, and the family separation and immigration documentary Colossus.

Dávila’s experiences at Harvard inspired him to pursue a career in entertainment. Being part of the Hasty Pudding Theatricals’ tech crew and helping to create theater productions from scratch was a highlight of his college experience. “I loved that you could work together with a bunch of people, have nothing, and then by the end of a few months have an entire show, it was just so cool,” Dávila said. After graduation, Dávila initially pursued graduate school. However, he was inspired by friends who moved to Los Angeles to start careers in Hollywood. After a year of graduate school, he moved to Los Angeles himself, and started working as an assistant. 

Dávila founded Campanario Entertainment in order to not just address the lack of Latinx representation in the media, but to bring Latinx stories to the mainstream. “This majority/minority thing is just not true, we’re already living in a multicultural America, and Latinos, Latinx, Latinas, we’re already part of this mainstream. And so that’s a big reason why I started the company, was to reinforce that message which I’ve always known but for some reason gets lost in the media landscape,” Dávila said. Dávila recounted times when he would be told that telling Latinx stories was “niche,” to which he responded by working hard to showcase Latinx stories and gain viewership. For example, of “Selena: The Series,” which was released in December 2020 and concluded in May 2021, “We proved that when you work with Latinx creators on both the writing side, the directing side, the production side, you could have a huge global hit,” Dávila said. 

Read more

August 2021 | Zadoc Angell AB '03

 Zadoc Angell AB '03 began his career as a TV Literary Agent at Paradigm, where he worked for seven years. Transitioning to Literary Management in 2010, Zadoc joined forces with manager Dave Brown and grew a team of literary managers which they brought with them to Echo Lake in 2013. You can read about his new Co-President position here.

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written by Brandon Boies

If I proclaimed that growing up on a 400-acre dairy farm could lead to an exciting and successful career as a television literary manager, there might be a few objections. Not from Zadoc Angell. I had the pleasure of talking with Zadoc, who was recently named Co-President of Echo Lake Entertainment’s Management Division, to discuss his life story, passions, and overall career as a TV literary manager. He was very personable, extremely motivated, and – as you may have guessed – grew up on a dairy farm in rural New York. 

That’s where we began our conversation. After all, it seemed a bit unexpected to start in a small-town setting and eventually take a career path that would adventure toward the glamorous lights in Los Angeles. Even Zadoc understood the unlikelihood of his own journey. “Few people ever got away,” he said. However, he always felt in tune with his creative side. “I always loved television and storytelling. I was just exploring all of these interests in a place that wasn’t very accommodating.” 

The answer to his problem? Applying to and attending Harvard, where he would study VES (Visual and Environmental Studies) with a focus on film. He reflected on his time there and how he enjoyed the city. More notably, he discussed how his upbringing paired nicely with the challenges he faced being in such a new place with the pressure Harvard creates. “I had this insane farmer work ethic. You have to have a really strong work ethic. And in my case, today, that means to keep fighting for my clients.” 

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July 2021 | Mynette Louie AB '97

What do the films Swallow, The Tale, Children of Invention, The Invitation and the upcoming I Carry You with Me have in common? They are all independent films. They are all lauded by critics. And they are all produced by Mynette Louie AB ’97, who has already made an indelible mark on the world of independent cinema in a remarkably short amount of time.

But it was never certain that Mynette would end up in the world of film, a point we returned to numerous times throughout our conversation. Born to working-class parents who immigrated from China and Hong Kong, Mynette didn’t have the opportunity to form industry connections until years after she graduated college. That doesn’t mean she wasn’t interested, however. In her characteristically peppy and charming manner, Mynette informed me, “I’ve been consuming films like crazy since I was a little kid.” She also attended Hunter College High School, which has produced the likes of Lin-Manuel Miranda and Robert Lopez. “So I’d been around that world, but I never thought it was a practical path,” she told me. “And it still isn’t, it’s a very impractical path. So, I decided to just do well in school and go to Harvard.”

At Harvard, Mynette concentrated in East Asian Studies but focused on Chinese literature and film, never relinquishing cinema from her life. “Leo Ou-fan Lee was one of my professors,” she said, “and he introduced me to a lot of film theory and cultural theory and feminist theory… a lot of my papers [took] a socio-political view of films.” Mynette said that taking East Asian Studies and, more specifically, classes like Lee’s that dealt with fifth generation Chinese films, “was a great education in Chinese sensibilities… and indirectly influenced how I approach story and the kinds of notes that I give.” It also instilled her with a need to make films that, while not overtly political, have something to say about the world around her. When we discussed her filmography, Mynette explained, “I Carry You with Me is about these two gay undocumented immigrants living in New York… The Tale was about child sexual abuse and dealing with trauma… [and] Swallow was about a woman feeling stifled by the patriarchy.” She paused for a moment. “They aim to be entertaining, you know, first and foremost, and compelling… [but] there is something that I want to say with my movies.”

These films would come years after she graduated from Harvard. “After graduating from Harvard with debt,” she laughed, “I was like, gotta find a job to pay [it] off!” She wound up working in marketing at Time Magazine and later in business development at “I didn’t love the jobs that I had right after college,” Mynette said, “But I thought it was a great general media business education that has served me well as a producer.” Our conversation was full of answers like these, because Mynette is someone who chooses not to focus on what a situation takes away from her, and instead on what she gained and how she can apply it to building herself and her career.

It was right after 9/11 that Mynette’s life took a dramatic turn. “A bunch of my colleagues [at] had been laid off and, you know, I was hoping to get laid off and get a severance package and that didn’t happen,” she told me, chuckling. “They [said], if you want to leave you have to quit.” I could almost hear her shrug over the phone. “So I actually did quit my job… and decided to figure out how to get into this film industry once and for all.”

Her decision was courageous, especially considering she still didn’t have any connections in the film industry. Her networking began when she answered an ad with a address. It belonged to a Harvard alumnus working on a PA-starved NYU graduate student film. Mynette worked as a PA on the short film for three days, her first hands-on foray into the film industry. She would go on to produce two more NYU graduate student films. “I feel like I got a free NYU film school education, just by producing these short films,” Mynette told me, laughing. “Then I moved on to co-producing my first feature, Mutual Appreciation.” 

Four years after Mutual Appreciation, Mynette got her first self-described big break when she produced the film Children of Invention, an even more impressive feat considering she was still learning on the job. “As lead producer, I didn’t have a lawyer,” she explained. “Our film was so small, it had a $150,000 budget… I basically had to read a bunch of books on film law, and [make] a bunch of my own contracts, and it was a very DIY effort.” The film got into Sundance and, according to Mynette, “just blew the doors wide open… I was able to build my network from there and continue to produce feature films.”

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June 2021 | Angela Chao AB '95 MBA '01

Angela Chao AB '95 MBA '01 has quickly made a name for herself in both the shipping and philanthropic worlds since graduating from Harvard College with a degree in Economics. After working with the mergers and acquisitions team at Smith Barney, she entered Harvard Business School and during her tenure wrote the case study ‘Ocean Carriers’, which has been added to the first-year curriculum for current HBS students. She currently serves as Chair and C.E.O. of Foremost Group, an American shipping company with worldwide operations.

Ms. Chao is the youngest daughter of Dr. James S. C. Chao and Ruth Mulan Chu Chao, and one of four daughters to attend Harvard Business School. Ms. Chao is well-known for her philanthropy and support of the arts, serving on multiple boards including Harvard Business School’s Board of Dean’s Advisors, as Co-Chair of The Asian American Foundation Advisory Council, The Metropolitan Opera and the Chairman’s Council of the Metropolitan Museum of Art. She has become a recent and generous supporter of Harvardwood, with a gift supporting Asian American artists for the coming year. 

Ms. Chao credits her family for both inspiration and motivation. “I am very fortunate that I come from a wonderful, loving family, and I have always worked to make them proud. My parents lived values-laden lives.  My mother passed on August 2, 2007, and we still try to honor her in every way we can.  My parents always emphasized curiosity, learning and contribution back to society and our communities.” These values quickly led her to both Harvard College and Harvard Business School.  “Matriculating to Harvard was a dream, and I still feel fortunate every day for my experiences there, which were hugely influential. It was without a doubt because of the people. As a female Asian American with a business career but also deeply involved in organizations that make a positive difference in the world, my leadership style is a direct result of my upbringing, my Harvard education, and the enduring friendships and inspiration from my classmates, many of whom are doing incredible work in fields that are very different from mine. This broad network and the multi-disciplinary approach to education, growth and leadership inform me every day.”

These friendships led her to the arts at Harvard. “I was involved with the arts, but mostly through my friends who were either musicians, artists, or performing artists. I was also involved through my coursework which I treasured. In fact, I nearly declared Art History as my concentration, but I later decided to pursue economics with an emphasis on women’s studies because as a child of first-generation immigrants, I was told I needed a more practical concentration to be able to find a job! I know that is something many of your members will relate to.  My experience demonstrates why Harvardwood is so important – because it gives more people the chance to explore opportunities in arts and media, especially when they don’t have family or other financial means to take such chances and pursue their passions.”

Ms. Chao agrees the past 15 months have been difficult for many in the arts community. “This has been a tough year. So many of our arts organizations are wondering how they will survive. I think it is crucial that we support artists and our arts organizations as much as we can. What I have always loved about art in all its forms is its ability to transcend and to help us see the world and our lives from different perspectives. Arts organizations like Harvardwood play an important role in fostering this creativity and can be a critical part of a necessary dialogue to improve understanding of our community and among communities to build a better, more inclusive world.”  

Ms. Chao continued, “I felt great pride when Chloe Zhao, a woman of Asian descent, won for best director and Nomadland won for best picture. Arts and media have always served as a strong bridge between many cultures, peoples and ideas, and that is especially true today. Sadly, we Asian Americans still face a lot of ‘otherness’, and so it is so critical that our fellow citizens understand our contributions and commitment to our country. We need to break free from old stereotypes and showcase the leadership that Asian Americans are providing across a host of industries. Harvardwood members can be goodwill ambassadors in this regard and help promote a more accurate and positive narrative of our community through their work.”

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