Woman of Vision: E. Samantha Cheng

In this episode, host Sandra Abrams chats with WIFV’s 2024 Women of Vision honoree E. Samantha Cheng about her long resume in the media world. She is a writer, director, and producer that has worked in New York City and London before making the DMV home. Her passion and support of the Asian American community has formed the foundation of her work which includes Norman Mineta, the Boy from San Jose, and Honor and Duty: The Mississippi Delta Chinese, which ran nationally on PBS. During this episode, Cheng shares details about her latest project, Dora Fugh Lee: A Life in Art, which ran on WETA, during Asian American and Pacific Islander Heritage Month, May 2024. 

To learn more about E. Samanatha and her educational documentaries, visit www.heritageseries.us

To learn more about WIFV’s long-running Women of Vision Awards, visit: www.wifv.org/women-of-vision-awards/

And to learn more about Gals ‘N’ Gear, check out: https://www.galsngear.tv/

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We on the Women in Film & Video (WIFV) Podcast/Communications Team work hard to make this show a great resource for our listeners, and we thank you for listening!

Transcript

00:01 - Speaker 1
Quiet on the set. 

00:06 - Speaker 2
And action. 

00:10 - Speaker 1
Welcome to Media and Monuments presented by Women in Film and Video in Washington DC. Media and Monuments features conversations with industry professionals speaking on a range of topics of interest to screen-based media makers. 

00:36 - Speaker 2
My guest today has devoted much of her media career to raising the visibility of Asian and Pacific Islander Americans and the amazing contributions they have made to US history. I'm your host, sandra Abrams, and I'll be chatting with E Samantha Chang. She's an award-winning American writer, producer, documentarian and seasoned journalist. I read on her resume that she worked for World News Tonight and, as we know, they don't hire just anybody. 

01:00
Samantha is based in the DC, maryland, virginia area. She's also a WIF member and she is president and co-founder of Heritage Series, an independent production company which specializes in educational programs about ethnic minorities in the US. She was a principal owner of the multimedia company Television Production Services and now she's very involved with Gals and Gears, and we're going to ask her about that. Samantha has a long list of awards to her credit, such as a 2017 San Francisco Emmy Award for a public service campaign. And, speaking of awards, this year Samantha is selected by Women in Film and Video as a Woman of Vision. Welcome, samantha, to the podcast and congratulations on your honor of being named a Woman of Vision. 

01:55 - Speaker 3
Thank you, sandra, happy to be here. 

01:59 - Speaker 2
Well, first of all, I want to thank you for being here and chatting with me. You're a very busy woman and you said you were on deadline the other day, so I wanted to know what's this project you're working on. 

02:15 - Speaker 3
Can you share any information with us? Well, I've just completed a documentary on the last noblewoman, or one of the last noblewomen, of the Qing Dynasty. Her name is Dora Foo Lee and she lives in the metro DC area. She has a very incredible history. She lived through the most tumultuous time in China. She lived through the second Japanese invasion of China. She lived through their occupation of Beijing. She lived through World War II. Her father was under house arrest for most of her young life before she was able to get out of China in 1949. It's an amazing story and it has been picked up by WIDA PBS and WIDA Metro and it will be airing in May during Asian Pacific American Heritage Month. 

03:19 - Speaker 2
Well, how do you find your stories? Because one of the stories that you had was Norman Mineta, the boy from San Jose, and I watched it and I learned new things about him. I didn't realize how involved he was in the Americans with Disabilities Act. So how do you find your subjects? 

03:39 - Speaker 3
They often find me, often find me so with the piece I did on Norm in 2000,. I was approached by the Asian Pacific American Center within the Smithsonian Institution because, believe it or not, people thought Norm Mineta was Italian and they were very, very fearful that Norm would be confused with being an Italian and wonder why the Asian American Center was worked out an opportunity to have his portrait hung in the National Portrait Gallery. So they approached me and asked me if I would develop a piece, a short biography on Norm, if I would develop a piece, a short biography on Norm, and I said absolutely I will do that. And that's how Norm came into my life. 

04:38
Shortly thereafter I did a series of programs for the US Capitol Historical Society featuring oral histories of Asian Pacific American members of Congress who served in the House, and we didn't have anyone in the Senate then. So I did a biography on Dilip Singh Sand, who was the first Asian, the first Indian and the first Sikh S-I-K-H to be elected as a member of Congress in the state of California. People voted for him because they thought he was Mexican. They couldn't figure out because he was a clean-shaven Sikh. He didn't wear a turban. Um, he was very eloquent in speech and, uh, he was an incredibly dynamic man. 

05:35
I've had the good fortune of doing biographies on people that you actually like. You know as, because oftentimes you're asked to do things and you find out, yeah, you don't really like that person or you don't like their politics, but you have to do the piece anyway and you have to be objective. And it's hard to be objective, but I've been very, very fortunate with my commissions that, um, every time I'm asked to do a piece on a specific person, it has turned out that the person is totally amazing and I end up falling in love with them, falling in love with their story, and it truly comes out in the piece itself. 

06:18 - Speaker 2
That sounds wonderful, and what you're working on right now sounds wonderful. I did notice, though, on your LinkedIn page that you went to school in New York City. You went to Baruch, you studied accounting. So all of a sudden, you're in the film business though. 

06:34 - Speaker 1
How did you make that? 

06:35 - Speaker 2
leap from you know Baruch, which for people who are not New Yorkers is considered the school to go to for accounting. You know, so you make that you go from there to film. How did that happen for you? 

06:53 - Speaker 3
I've had a very positive journey. I'm one of the luckiest women you will ever meet. I seem to find myself at the right place at the right time, meeting the right people. So I'm very, very blessed and I'm very grateful for the career path that I've had. I went to Baruch because, believe it or not, I didn't know that you could go out of state to go to college. I also started Baruch as a senior in high school. 

07:29 - Speaker 2
So why did you start? You just decided you wanted to go to school early. 

07:33 - Speaker 3
Well, I wanted to go to school early. Circumstance at home encouraged me to do so and it afforded me the opportunity to spread my wings a little. I went to Bayside High, which was an incredible, incredible school. I mean, I'm a product of the New York City public school system and I'm very fortunate, and I was very fortunate to go to school when the city had money. So things are very, very different now. We had music, we had money. So things are very, very different now. 

08:11
We had music, we had sports, we had speech therapy, because Chinese was my first language, so I didn't learn to speak English until I was in elementary school and they sent me to speech class for about four or five years, and that's unheard of. You don't have those opportunities now, so I speak with no accent and that has actually worked to my advantage, especially in this field, because you don't always see the person that you're talking to, but you hear them. So I've had many, many fortunate experiences from there and making the leap from business school. It wasn't that much of a leap. Ok, I did minor. In writing. 

08:57
I minored in journalism. It wasn't a proper elect, it wasn't a proper space of study, but there was English and it was a prerequisite. So I you know sort of finessed that with my professors and they actually turned me on to cable television before cable TV was even a thing. You know at the very onset. You know even a thing At the very onset the way cable came about, they had to cut a deal, because they didn't want to be governed by the FCC, that they offered public service channels to the public in order not to be governed by the FCC, which is, you know, we have C-SPAN because of that deal and we have public service channels in cable because of that deal. 

09:51
And I worked on the longest running video magazine show in college and after college called what's On Live, called what's On Live. So we recorded out of the 23rd Street studio which was right next door to HBO at the time, and I made some incredible contacts through that. And when I got out of school I decided to. You know, I went the corporate path and I worked for Revlon and Estee Lauder while at school and I shared my thoughts of wanting to do other things with my immediate supervisor, my boss, and he said, you know what? I think we need to introduce you to the people who do our commercials. So I was actually in commercial television work before I got into traditional broadcasting. So I worked for Tulchum Studios and Adrian Russo Productions. I met my husband during that time. So it was an incredible journey. I produced all the beauty commercials for Estee Lauder, revlon, and my first national spot was a 10-second ID for Evan Picon pantyhose which came out of ACNR advertising and that campaign won a Clio. 

11:29
So I mean I've been very, very, very, very lucky and fortunate in my mentors, in my experience. I mean even before I got out of, before I finished Baruch, I moved to England and worked for the BBC as an international intern. So I've you know I'm really truly one of the luckiest women you'll ever meet, because how I got that connection was I was a junior volunteer during UNICEF. So a junior high school is when UNICEF first organized in the early 70s and I read something I think it was in Time magazine that they wanted volunteers for UNICEF. So I, you know, wrote them a letter and said I would like to be a junior volunteer at the United Nations for UNICEF and spent the summer doing that From that opportunity, which is how I found out about the International Exchange Program with the British University's North America Club, which partnered with the International Educational Exchange Program, which got me a work permit to work for the BBC. 

12:42
So I mean, I truly am a very, very lucky woman, incredibly fortunate. So when I wanted to do something that was longer than 30 seconds, I was able to join ABC News and I started, as you know, a PA, not even a, I wasn't even a desk assistant, I was just a, you know a P. I went and got coffee for everybody, yeah, and then I learned whole code, simply time code, and then just took off from there. So, um, again, when I worked with ABC News, I worked out of the Washington DC Bureau, but I was attached to so you were already in DC when that happened, because that was one of my questions. 

13:33
How did you get from New York to ABC? So I came down to Washington right after covering STS-456, 7 and 8. So I did space launches eight space launches with ABC News, with a very special unit called Special Events, and the executive producer was a gentleman named Bob Siegenthaler he's since passed and my direct supervisor was a gentleman named. 

14:01 - Speaker 2
And his son is John. I think it was John Siegenthaler. 

14:04 - Speaker 3
No, no, it was Bob. 

14:05 - Speaker 2
Siegenthaler, because John Siegenthaler is a correspondent, right? 

14:10 - Speaker 3
Yeah, so John Siegenthaler was the executive director, executive producer for special events, which was not attached to news. It was not part of the entertainment team, but it did allow for special units to cover conventions disasters. I remember being in Florida on one of the STS space launches and Brezhnev died. So all of a sudden everyone had to move. So I remember scanning maybe 10 feet from Frank Reynolds and he was not a very tall man, so he and Jules Bergen were talking about who's going to stay at Kennedy Space Center and who's going to Russia and you know, jules was like I have to stay here, but you know we're fighting against the cosmonauts here. Yeah, so we have this sort of tussle. It was truly an amazing opportunity to be in the room. 

15:12 - Speaker 2
Right, and that's what people talk about. 

15:14 - Speaker 3
I was in the room and you can say Hartman was the anchor and of Good Morning America of Good Morning America, and David Hartman brought his children to the space launch and as I'm pulling code, he's like Samantha, can you just watch my kids for a little while? So I ended up babysitting, getting coffee running, do McDonald's runs and pulling time code. I did whatever was needed and fortunately I knew how to deal with equipment. So Florida is a free to work state, so you didn't have union issues, so I could actually fuss with the fax machine when there were fax machines, and fuss with the photocopier, the photocopier. So I got to teach everyone how to use the photocopier because we were now we were moving away from, you know, carbon paper scripts where you would have seven colors that have to be distributed to all these necessary people. It was a thrilling time and I was very, very fortunate. 

16:27 - Speaker 2
You met some amazing people and you were in the room, and there's not a lot of people who can say that they were there, but you can, and that's probably one of the reasons why we're calling you a woman of vision, a woman of luck. 

16:40 - Speaker 3
Okay, I'm truly, truly, very lucky and I'm grateful for all of my experiences and all my mentors. Because I have that personality, you either love me or you hate me. I don't know why you hate me, but I do instill some sort of dislike, immediate dislike, because I am, I present, differently. I'm Chinese, american, I'm not ugly, okay, and I speak well. So I somehow am imagined as either a threat or an ally, and you learn to negotiate that very early on. 

17:22 - Speaker 2
And what? What did you have to negotiate For people who may not understand? What did you have to negotiate? 

17:28 - Speaker 3
You have to sort of justify your existence for being there, because what do I have to do with the news? 

17:36
You know, I'm a young Chinese-American woman just trying to find her footing in a field that doesn't particularly like women. In the first place, I was very, very blessed to learn from a mentor in New York that I should not learn how to make coffee, and to this day, I really make very bad coffee and my husband has to make the coffee in the house because I stink at it. So it's been interesting. My mentor in New York, who you know I worked for Tultun Studios, ACNR, all these different independent production companies and my mentor, Harris Denzel in New York, had said to me you know, you have to be very, very cautious on who you interact with in this field because you're very young and you know, when I was in my twenties, I looked like I was 14. Okay, I was very young and very petite. So coming to Washington, that was a real problem in terms of people understanding who you are, what you're doing and why you have this position and why do you look like you're 12? 

18:55 - Speaker 2
Yeah, so Well, speaking of mentors, I wanted to ask you was there anybody, when you were moving through your different careers, that you wanted to emulate or that you looked up to, or someone that you said, oh, this person is you know, someone I see as a hero, and anything that you can share on that? 

19:18 - Speaker 3
I did have very strong women guide me. So Harris Stenzel, who is the executive producer of Tulch and Studios in New York, was my mentor for three or four years. Then there was a lovely woman named Susan Lippman who guided me through a couple of years as well in commercial production, and what I learned from them. The takeaway was be present, take direction, don't be sensitive or try not to take it personally and just keep your head down and do your work. And you know, if you get inoculated that's great, but don't expect one, which is why you know all this. All of this is this fuss about. Being a woman of vision is very flattering, but you know I'm just sort of not used to that because I keep moving forward. You know I don't have an opportunity. I do not afford myself the opportunity to rest on my laurels. I'm always working on the next project. So it's really interesting because of a colleague of mine or someone I met on the road while I was promoting some particular bill. Because I have a very varied background since I've been to Washington and I learned that the atrocities of being an Asian American in the United States. I did not learn that in New York City public schools, so that has become very close to my heart. And since leaving the network in the oh gosh, in the early the late 80s, early 90s, you're allowed to work on programs that early 90s. You're allowed to work on programs that you don't have to be censored or be cognizant of how it's going to impact. 

21:24
I don't editorialize my shows so I still approach it as a journalist where facts are facts. You present the facts and you present as many facts as possible that cover the whole spectrum to give context. But you leave it to your audience to decide which way they want to think. Or my programs are created to generate thought, that's all they are. I just want someone to ask a question or go or just take a moment and think. And some programs come at you too much, too quickly, very heavy, very intense, that you have to watch the show like five times to understand it. And I'm learning, you know I'm learning more about stretching and giving the audience time. So you're constantly learning in this profession, not just technology-wise, but how to present a story in an unbiased fashion. And that has always been my rule of thumb. You do not editorialize in your programs, which is why I stay in nonfiction. You know it keeps me safe. 

22:40 - Speaker 2
Well, you are in the nonfiction world, but you do want to promote Asian American. I wanted to ask you on the commercial side. We've seen a huge success in the past few years of Crazy Rich Asian, then Everything Everywhere All at Once, michelle Yeoh winning Best Actress Oscar. What do you think on the commercial side and all the success that we have seen with Asians? 

23:09 - Speaker 3
It's about time. 

23:10 - Speaker 2
In the past. 

23:12 - Speaker 3
It's been a long time coming, it really has. I mean, I love the fact that people are now, you know, recognizing anime wong for her contributions right from the 30s and she even ran like her own studio. 

23:26 - Speaker 2
Yeah, she did all these pictures. 

23:27 - Speaker 3
She was quite impressive, very. And you know a program that I also do is called apa legacy, where we feature, uh, where we create public service campaigns about the contributions of Asian Americans to US history and, you know, just doing those small vignettes. You know there are 60s and 90s, but mostly 90s, because it's hard to tell a story in 60 without getting that commercial edge to it. I've been very, very fortunate that I can develop these types of programs and put them out there. Those programs are are often partnerships, and I've been very blessed with my partnerships, you know, extending my, my myself and my using my skill set for good versus using my skill set in a manipulative political environment. So I don't particularly care for the world of fiction but I see the need for it because that's the opportunity for people to see someone who looks like themselves and that's terrific. So, to answer your question, it's about time. It's just about time and sadly this time is tied to AAPI hate. They go hand in hand because one is to counter the other. If you look at it chronologically, you'll recognize that. Whoa, there's some similarities here in terms of timing. So we're getting negative press from one person who says you know Kung Flu and you know, all Asian women are prostitutes. You know, going back to the 1800s, all Asian women are prostitutes. We couldn't even come into the country, you know. Mind you, even if you were born here, you couldn't get out of that servitude level. So it's about time level. So it's about time and I'm glad and I'm happy that people are recognizing the contributions of Asian Americans and I feel that the programs that I develop that are educational. I do so because A I don't have children, but I want my friends children, I want my, my families who have children to learn that they are not alone and that there was always someone before them. Now, granted, it didn't all start until like 1800s, several generations ago. I mean, I don't this is not part of women in film and video, but I worked on a bill to honor and recognize Chinese Americans who served in World War II, and that has taken off all on its own. And that comes from a documentary that I developed and wrote on the Chinese Americans in the Mississippi Delta, where people were like you have Chinese people in Mississippi and I'm like, yeah, it was like 500 families and they've been there since the late 1800s. So it was a really interesting program. And when I learned of the fact that Chinese Americans were never honored, mind you, recognized, for their service. In fact, I learned some really nasty parts of our history saying Chinese people who can serve. Chinese people can serve, but in the Navy they can only be a steward or work in the kitchen. It wasn't until we were two years into World War II that that law changed and that they could become a purser or a petty officer. Commissioned officers in World War II that were Chinese American, I think I can name five. Okay, that's shocking, considering that my research has identified over 22,000 Chinese Americans who served. And that's curious too, because there were only 100,000 Chinese Americans between mainland US Hawaii and Alaska, but on the mainland there were only 78,000. So that's over 20%. It's very curious. 

28:10
My work has been very fulfilling and rewarding. I come from a family of four service members of World War II my father, my grandfather on my mother's side, my grandfather on my father's side and my great uncle on my mother's side. They were all World War II veterans serving either in the Navy, the Army or the Merchant Marines, and I didn't really click to that until the bill was passed in Congress. So myself and a group of other people got together. We took other bills that were focused on ethnic minorities who served in World War II. We threw them in the blender, we mixed it up. We did not reinvent the wheel, we ripped off the language. We wrote a fabulous bill. It passed legislative council like in the first shot and then it was introduced less than three months after we wrote it. It was introduced in both the House and the Senate and we were able to turn that bill around in less than 18 months and to have that honor bestowed on these Chinese Americans who were so fearful to talk about their service because they were promised citizenship and almost all of them got it. 

29:44
But they were also remembering that this country did not want them here in the first place. So many of them came as paper sons, which we are the only ethnic group that has that unique qualification or designation as a paper son. Qualification or designation as a paper son. There's so much in American history that we must learn from our mistakes. My last big documentary is about Asian Americans and the law and how Asian Americans changed the face of how jurisprudence is practiced here in the US. So that truly is my last documentary Because I've already put in four years of my time in pre-production and research and it will take another four to maybe eight years to produce. 

30:44 - Speaker 2
It will take another four to maybe eight years to produce it, or a labor of love. Well, in reference to the military documentary, the name of that is Honor and Duty, the Mississippi Delta Chinese, and that was from 2016. Correct Is the title and that's actually in so many schools. 

31:02 - Speaker 3
now I mean many, many universities have bought the rights to that. There's an educator's guide. There's a book that I wrote which is huge. It's a compendium and it's like a thousand pages. 

31:18 - Speaker 2
That's wonderful. 

31:20 - Speaker 3
Yeah, I just I'm very, very blessed. Yeah, I just I very, very blessed. Well, speaking of blessed. 

31:27 - Speaker 2
I want to ask you about Gals and Gears. We haven't talked about Gals and Gears and I wanted to hear about your involvement in that, because that is very near and dear to women in film and videos. Heart so tell us about that. 

31:40 - Speaker 3
So Amy DeLuise, who's this is the brainchild of Amy, and I have known each other for over 30 years. She and I worked on a show together and Amy had just graduated from school, college and was getting her feet wet in the industry. I had left the network and I was picking up some freelance work and that's. We met on set and we've had a burgeoning friendship since. So at a with event, she said to me you know, samantha, you know I've been going to NAB and I, you know, I'm standing in the bathroom and there's no one in the bathroom in the women's room. How weird is that? 

32:24
I said, girlfriend, I've been coming to NAB for blah, blah, blah years and, yes, I'm glad someone else has finally noticed it, you know, because when I go to NAB, it's always for work, and Amy was for work with her, but she's much more in tune to things than I am, and I said whatever I could do to help you, please let me know. And we have been. She has invited me back every year since. I want to say, my first gals in gear was let me just look it up, I think it was like 20, 2018, 2017. 

33:04 - Speaker 2
And for people who don't know what is it. 

33:08 - Speaker 3
Okay, so Gals in Gear is a very unique program. The intention of the program is to support women in technology and give them a platform and a voice at a male dominated field. I have been in this field from forever and, because I can read and write and understand technology and then convey that message through either technical writing or marketing writing, I've been an active participant in NAB. It also helps that my partner, who is also my husband, is a technologist and he worked at ABC News and that's how we met. We actually met in the commercial industry because he edited my first national commercial, which won a Clio Award. 

34:01 - Speaker 2
Congratulations See that long list of awards. Thank you. 

34:04 - Speaker 3
That was so long ago ago, it was so freaking long ago. Um. So, gals in gear, we create a venue and a forum for young women to come and learn from mature women or women who have been in the industry five minutes longer than they are. Yeah, we have. So, amy, it's truly amazing what she does. She finds the students. She partners with a university and we've worked with you know, historically Black colleges. We've worked with universities in neighboring states to Las Vegas, where NAB is usually held. 

34:47
This year we're working with Arizona State University, the Cronkite School of Broadcasting, and she has partnered with Chiron, which is the character generator that everybody knows. But Chiron has developed a technology called Chiron Live, which has a built-in switcher where you can preview six channels and more through this one laptop device. So we are doing a staged show, sort of like the view, or it's a video magazine set up in the Chiron booth, and then we'll have a roving camera that's on the floor of NAB and then we will share control room responsibilities with a team that is at ASU in Phoenix, arizona. So it's very exciting. There's a lot of new tech coming out in this conversation. Amy has created an offshoot of Gals in Gear called Tech, what you Talk, where guests are invited from different broadcast develop entities and they're broadcast developers. So they're either doing this year they're doing new innovations in broadcasting. Last year it was drones and how you incorporate virtual um, you know, virtual reality into broadcasting all sorts of subjects and and it's truly amazing from pre-production all the way to post and everything in between. So you're going out through different mediums, different channels. Some of our sponsors have been with us since 2016, and it's so rewarding that they keep coming back. 

36:51
So this year is truly shocking and amazing and we're finally hitting our stride. 

36:58
So we have a leadership summit that allows that affords women young, old, middle profession to come in and interface with other women who are in the field of technology, and it's a nurturing and positive learning environment and we are very professional. We stick to a schedule. That's why people keep coming back is that we know our stuff. So we're not just giving these students an opportunity to use equipment that they would never have an opportunity to use in school or limited opportunities. We provide them a live environment, a real professional environment that is broadcast out. So it will stream on the Gals and Gear channels through YouTube and Facebook, but it will also stream on Chiron's channels and all of their socials, and NAB has its own channel which is called NAB Show Live, and that's switched out of Florida. So it's like the entire country comes together to get this incredible program out, and this year we're doing three hours of live broadcasting. So it's impressive, it's truly impressive, and the team that Amy has been able to pull together is across the country and she's just amazing. 

38:32 - Speaker 2
I can tell that you're very passionate about Gals and Gears and the work that you're doing with Amy, so it's wonderful to see how members of Women in Film and video are working together for the betterment of other women. So thank you for that, samantha, it's wonderful. So I want to also thank you for being a part of our podcast today. She has a new documentary that's coming up. 

38:58 - Speaker 3
It's going to be on PBS and the name of it again is Is Dora Foo Lee, a life in art and she is one of the last noble women of the Qing Dynasty. And when she came to the United States she saw color and the show is very touching, it's very emotional, it's moving and it's beautiful. It just flows so well. I mean Lenny Williams, who is a composer. He created the music originally, he scored the original composition for the piece and it just moves. It's so wonderful and we're airing three times on the network and six times on the local station, so it's also going to be streamed on PBS's streaming opportunities such as YouTube and Facebook, and they have Passport, so it will stream through PBS Passport as well. So those are wonderful opportunities and I gave them the rights for two years, so you'll see it. 

40:11 - Speaker 2
More things to look forward to from E Samantha Cheng. Thank you so much for talking to us. We appreciate it. 

40:20 - Speaker 3
Thank you. Thank you for having me, Sandra. 

40:55 - Speaker 1
Thank you for listening me, Sandra. That's a wrap. For more information about our podcast, visit mediaandmonumentscom. 

41:06 - Speaker 3
That's a wrap.