How a five-week-long shoot in Changchun, China — complete with hoverboards, a banquet's worth of crab and a surprise visit from 300 dancing kindergarteners — resulted in an awards contender. Go inside the making of TheFarewell:
, a very special visitor rolled onto the set in a motorized wheelchair. It was director Lulu Wang’s nai nai — Mandarin for paternal grandmother — who spent that June day in 2018 watching Wang film in an apartment complex in the northeast Chinese city of Changchun. She had no idea that the movie being made in front of her was the story of her own impending death.
Weitz wasn’t the only one who’d heard the radio segment — he was just the first to have contacted Wang. Within 48 hours of the airing, she was bombarded with calls and emails from agents and studios. "I had no idea how to choose," she says. But she knew what she didn’t want. "Ethnic American films are almost like a genre in and of itself. As soon as you say, ‘This is about my family. There is a wedding. It’s Asian,’ it is immediately put into this box of a broad comedy like.
In another meta moment, Zhao — a star of the Chinese film and television world for six decades — actually met with Wang’s real grandmother, though there’s some dispute about whose idea that was. "Because Lulu thought it was important for me to faithfully portray her grandmother, she made a point to arrange a meeting for me to meet her," says Zhao. Wang remembers it differently. "She says I set up the meeting but she really set up the meeting.
The entire crew is in agreement that the climactic wedding banquet scene was the trickiest to pull off. Production designer Yong Ok Lee had to build out a false ceiling of draped fabrics to hide lighting equipment, but the heat emitted from the low-hanging bulbs baked the banquet meal, which consisted of hundreds of pounds of seafood. "You never think about how hot those lights are and how smelly crab can get," laughs producer Melia.
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