Renegades, Issue 18: Brenda Hsueh (Writer)

Burning bright from page to screen in Pixar's Elemental

Brenda Hsueh

Writer, Pixar’s Elemental

Welcome to Renegades, a series spotlighting Asian Pacific leaders and creatives who are carving their own paths and defying stereotypes along the way.

This week, we’re featuring Brenda Hsueh, a Hollywood creative whose childhood aspirations of entrepreneurship evolved into a successful career in storytelling. From creating her brand, Sunshine Cards, to becoming a risk-taking force in Hollywood, her journey has been shaped by diverse experiences. Brenda discusses the challenges of bringing underrepresented stories to the screen and their personal connection to Elemental, the highest-grossing original animated film in the US in the last five years. Currently working on directing her sci-fi rom-com script, MATCH, her passion for storytelling continues to inspire.

What did you want to be when you were growing up, and how does that compare to what you do today? 

When I was a kid, I didn’t know what I wanted to be, but I do remember my parents who were immigrant entrepreneurs encouraging me to start my own business. I was an artistic kid, so for holidays and birthdays I used to draw cards for my family—I even created my own brand: Sunshine Cards with a logo and trademark. My dad would tell me that I should start my own greeting card company. I’m glad I didn’t because it’s not exactly a growth industry, but I like to think he instilled in me [an] entrepreneurial spirit which gave me the courage to pursue a risky career as a Hollywood creative.  

Tell us about your upbringing and how those experiences have influenced your writing and the projects you've chosen to partake in?

I grew up on Long Island as one of the few Asian kids, and I didn’t have many friends. So, my sister and I mostly played with each other, and we created a rich imaginary world with our stuffed animals called Dollyland. Each stuffed animal had its own personality, and we’d create elaborate stories and arcs for them. I realize now that’s what I do now for human actors. Also both my parents worked full time, so after school, I would walk to the public library and spend hours reading books. I’m sure that informed my own storytelling.

The creative process can vary significantly between working on sitcoms like How I Met Your Mother and animated films like Elemental. What is your approach when working on these different mediums, and what aspect is the most rewarding?

The main difference between working in TV and film is that in TV you work with a group of writers in an all-day meeting called the writer’s room, so it is much more collaborative. In features, you are the only writer, but at Pixar you work very closely with the director. It’s like a writer’s room of two, and then story artists who are visual storytellers join the process so it’s actually more like TV than most feature work. I loved working with story artists and thinking in a much more visual medium. It pushed me as [a] writer to get better at world-building, visual gags, and action sequences.

As a writer and producer, what challenges have you encountered when trying to bring diverse and underrepresented stories to the screen? 

In the beginning of my career, there were almost no Asian stories on screen. It was such a given to me that no one would buy Asian stories that I would edit myself.  For example, I wanted to write a show based on my relationship with my intense, stoic Asian dad who raised me to be like him, but I thought “I can’t sell a show about Asians, so what is the white equivalent of my dad?”  So, I made him into an intense stoic CIA dad. Thankfully we have a lot more Asian stories out there now, so I don’t have to turn my dad into a white guy.

Elemental is now the highest-grossing original animated film in the US in the last five years–congratulations! What was your vision for this story, and did you expect this overwhelming reception?

We actually did not have a good opening weekend at the box office because it’s hard to market an original concept in this world filled with IP-based stories and sequels which are known entities. Thankfully audience reaction has been positive, so Elemental has been holding at theaters because of good old-fashioned word of mouth. For this reason, I don’t think we should judge a film’s success on opening weekend box office. I also think people didn’t know from the marketing that Elemental is a culture clash rom-com. That premise of [whether] Fire and Water can be together is always what I wanted to lean into story-wise, not only because it would be Pixar’s first romance, but also because it’s such a fun visual metaphor for an interracial romance.

The story of Elemental is inspired by director Peter Sohn’s upbringing as a child of immigrants and portrays many themes related to immigrant communities. In what ways have you personally related to the film?

As a child of Chinese immigrants, I strongly related to Peter’s desire to make a movie that would be a love letter to his parents who worked so hard and sacrificed so much for him. Also, I’m really close with my dad—he really shaped who I am today, so I love how the main character Ember has such a tight bond with her dad. I wanted to explore how amazing that can be but also the challenges it poses. Ember, like a lot of kids of immigrants, struggles with feeling indebted to her parents but [is] also finding her own way. 

Animated films offer unique opportunities to address timely social issues, such as xenophobia. From your experiences, is it easier to tackle polarizing topics in animation, and what role can animated films play in fostering change and social commentary? 

I think an animated film at its best can make a social statement, but it’s so enjoyable you don’t realize you’re learning a lesson. What I think is so great about Elemental is it’s using a fun, spectacular animated world of elements to show the challenges and beauty of diversity. The Fire people represent the newest immigrants, and we see how the world is not built for them. The heart of the film which is so compelling to me is the question of can a Fire woman navigate a culture clash and physical clash romance with a Water guy. Also, I love that the movie is telling a POC immigrant story, but it’s not literally any [single] ethnicity, so any immigrant group can relate. I think that’s why it’s doing so well internationally.  

What exciting projects or initiatives are you currently working on that inspire you the most?

I’m currently trying to direct a feature script I wrote called MATCH. It’s a sci-fi rom-com like Eternal Sunshine of the Spotless Mind, [a]nd it’s actually the most personal story I’ve ever written. I love being a writer, but in features, you have to be the director to be in charge creatively and to make sure your vision is executed. So, that’s what I’m most excited about right now.    

Lightning Round

Daily Habit
At least half an hour of yoga

Most Productive Time of Day?
Morning or Night

Favorite Animated Film?
Toy Story Trilogy

Favorite Element?
Fire because I’m passionate about what I believe in.

What are you reading right now?
I just finished Bleak House, so now I’m reading something more fun: The Once and Future King.

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