Unknown: 0:00

You're listening to the Staffo Corner podcast, a staffertarian look at entertainment in life with your host, Greg Staffa?

Greg Staffa: 0:11

My guest in this episode is Melanie Butiu, she can be seen on shows like NCIS True Blood, no ordinary family, Desperate Housewives, Modern Family and countless others. You currently can see her in the comedy Easter Sunday, currently in theaters melody. Thanks for joining us today.

Melody Butiu: 0:44

Hi, thank you so much for having me.

Greg Staffa: 0:47

You have a wide range of shows and stuff that you've appeared on. What is it like entering these worlds? I mean, we, we always, you know, turn on the TV, and there's the Modern Family world, and there's the NCIS world is it still fun after doing it all these years to kind of enter in to those little individual bubble worlds, or?

Melody Butiu: 1:06

I mean, it is, it's, it's always fun, because it's just, it's a new environment, there are new people that you're connecting with, you're jumping into, you know, an established set. So it always feels like you're kind of a guest. visiting someone else's house. But I think if you approach it with this kind of a sense of curiosity, and play, there's always something fun to, to some fun to be had. And, you know, it's always great just to, you know, be be on set, help help tell the story, connect with other people and just have a good time.

Greg Staffa: 1:43

Just looking at your resume. It's looking at all these kind of environments that you walked into. It's like, it'd be kind of fun, just to, I mean, it's always nice to have like, longer lasting roles and stuff like that. What got you started in acting?

Melody Butiu: 1:56

Oh, gosh, you know, I actually started singing when I was a kid. I've always loved music. My parents were very musical and played a lot of music in the house. And so I've always loved singing as a child. And when I was in elementary school, I had a hard time reading out loud. So whenever there were school plays, they always just gave me the singing role, but speaking, but when I was in high school, I saw a musical theater production of Sweeney Todd, that just blew me away. And I wanted to try a drama class. So I started, I started primarily in high school, mainly doing musicals. And then when I was in college, I just kind of continued studying acting and theater. And I started doing more straight plays, I joined a theatre company and Asian American Theatre Company, with students from kind of all over Southern California, called the here and now and we would rehearse on the weekends, and then travel on the weekends to universities and colleges all around the country, and perform for students all over the country. And that's where I really kind of honed, let me know my love for for acting for storytelling for we would write and create our own original pieces and perform them. And in really, in colleges, is when I had a lot, a lot more experience acting beyond beyond musical theater. And, and then I just continued on, I got my master's degree from UC San Diego, and then have been working ever since

Greg Staffa: 3:40

the How was your family about this as far as the acting and kind of going around the country doing that gives you a real job? Or was it Were they supportive? Or how would they be? That'd be a hardship.

Melody Butiu: 3:54

Yeah, you know, they were they were the most part supportive. My mom passed away when I was much younger when I was 17. So she didn't see my career kind of grow beyond me just being in school plays and things like that. And even then, you know, I think like a lot of my extended family thought that it was a nice hobby. And, and then it was, it was be fine for a time but that you know, eventually I would buckle down and have a you know, a quote unquote real career. You know, a lot of my my family is in nursing a lot of my family I you know, my uncle's a doctor, things like that. My dad, you know, was was very supportive. He kind of has had a bunch of different has jobs throughout his life and everything from like administration to adoption to sales. So you know, he He wasn't really pressuring me to stick to just one career path. And he felt like, you know, you have a gift, if you want to share it, I'll support you. So I was, you know, I was grateful for that. And then as, as my career kept going, this is this is a long game, you know. So it's just definitely a lot about the longevity, you know, so as the years have gone by my my family and my extended family has certainly been supportive. They've, they've seen me in shows they've, they've cheered me on in the audience and things like that. So I'm, I'm grateful that that diamond determination has kind of helped me along the way.

Greg Staffa: 5:43

You said earlier that you were a better singer than talker, you weren't very good at communicating. Was that something that actively help you kind of overcome? Or what was the source of that?

Melody Butiu: 5:52

Yeah, I mean, I think so. I mean, I, when I was in elementary school, in, you know, you're auditioning for the school place, I would just stumble over the words or in I don't know, if it's necessarily that I was a bad reader, if that was just a story, I'm telling myself or if it was just nervousness, which is, you know, something that anyone faces. But I think as I got older, and especially, you know, turning to acting in high school, I do feel like it, it helps me to overcome that overcome that nervousness. And, you know, I am I'm actually a quick study, I actually, you know, really enjoy speaking, and sharing stories, and, you know, that kind of thing. So,

Greg Staffa: 6:45

what makes you take that next step into kind of going the Hollywood route?

Melody Butiu: 6:51

Oh, gosh, I, you know, it's not even like I thought, oh, I want to set out in the movie star or anything like that. I just wanted to tell stories. And I wanted to, you know, I know that I would see pieces, whether it's theater or film, you know, I would see things that inspired me. And I just wanted to, I just wanted to do that. I wanted to continue telling stories and continue working with people that I respect and admire. I ended up in California after I graduated school, like because some of us would some, some of us ended up in New York, some of us ended up in LA. I actually stayed in California, because I had a book on the west coast of San Diego. And I thought, well, let me start out in California and see what happens. That relationship came and went, but I was able to, you know, work with incredible artists in Los Angeles, la actually has a really exciting thriving theatre community as well. So even as I was pursuing a career, you know, doing these television shows, I was still able to work with, you know, inspiring theater artists around Los Angeles. And then from there, it just kind of branched out to do to do regional theater and perform in you know, theaters around the country, while cultivating a career in TV and film

Greg Staffa: 8:27

now on the surface, you know, theater, going into theater, and then going into Hollywood and doing, you know, modern families. So it sounds like a natural transition. But then when you think about it, really, it's very different. What was the biggest surprise, because theater, you're getting an immediate response, you know, you're getting feedback, if you're funny, they're laughing. If it's not, it's and with, you know, TV, that can be six, seven months before you your work is seen. And by then you've moved on, you've done other things. And it's kind of right.

Melody Butiu: 8:57

You don't even know if your part that cut, kept and

Greg Staffa: 9:01

what's not, was it as natural as a transition as it looks, you know, going from theater to film seems like a natural transition. But it's really night and day. If you think about it, did you find it to be almost difficult or natural? Or how did you see that transition going between the two.

Melody Butiu: 9:18

They're very different beasts. And the thing is, it's not like I went from theater and then I stopped doing theater and started doing on camera. I just kept I kept going back and forth. I still do you know, I still after I shot Easter Sunday, I did, you know, three plays back to back. So so there is there is a lot of differences, like you pointed out, when you're shooting something for TV or film, you're focusing on on moments, you know, the different scenes whereas when you're in theater, you're telling a story, beginning, middle and end every night, eight shows a week, and it's a very different beast. have the stamina required for, for doing a show eight shows a week and telling that story consistently is, is very different compared to the stamina required on when you're working on a TV show where there's a lot of downtime. So you have to remain in focus when you're when you're when you're back, you know, shooting the scenes, and then, you know, pausing for the setups and different things like that. But yeah, I think TV and film is is definitely a director's medium, because they're the it's their responsibility for the kind of keeping in mind the full storytelling. And then while we do have directors in theater, once, once the show was opened, the director leaves town and it's, you know, it's the actors and the stage manager and the crew that's telling the story day to day. And it does it the immediate reaction from the audience, it's a very different thing. Sometimes, like when you're doing, and there's less of them now. But when you were when I would do like a multicam show, where there is a studio audience, and then there's a little bit of that feedback. But even then, you know, it's a, it's a lot of stopping and starting and so very, very different beast than doing than doing a play or musical.

Greg Staffa: 11:20

So if someone came up to you now, I mean, your wealth, your crew, you're doing a balance of theater and TV and stuff like that, and said, Here's $2 million, here's financial stability for next two years, your family can go with you or not go with you, depending on whatever you want. I want you to choose theatre or I have a TV series for you. Which one? Should we like the medium that you'd I guess there's something that drives you more, but doesn't necessarily pay the bills? Or is it? Whatever it comes available? Or care what what kind of makes you go back and forth? Is it financial stability of I need my next paycheck? Or is there something kind of driven your choices? How does that, that we between theater and TV or movies or what goes into that decision?

Melody Butiu: 12:03

I love that? Well, financial stability is certainly a factor. But I think, for me, I am just I'm so excited by compelling writing, you know, compelling characters, what's exciting about a television series, especially I would think, because I have not been a series regular on television series, to have that opportunity, I would absolutely jumped at that. Because when you're given a script, either with a play, or with a movie, like you see, you see where it ends, yes, there's changes that can happen. But you have a beginning, middle and end, like it's like a finite story. Whereas with a TV series, you while there is that framework of where they where they think they want the story to go. So much of what the artists bring to it also informs the decisions that the writers make, and the writers room. And those, those ideas can evolve. As the show grows, you know, as the ensemble grows tighter, as the actors bring, bring forth, what they what they bring and their ideas. And then you can see the trajectory of of a of a TV show evolve over time and evolve, you know, based on based on just how the show how the show was growing, what the response is what the audiences are responding to. That's really exciting to me, because it just feels like there's so many possibilities. And I would you know, given $2 million, or just you know, given that circumstance, I would love the opportunity to to rise to that

Greg Staffa: 13:56

challenge. And it hasn't come up yet to be like a series regular, are you I mean, something that you want, but not necessarily activity are actively pursuing.

Melody Butiu: 14:06

I mean it. I mean, I was I would I definitely had the opportunity to audition for them. But I haven't I haven't had yet the opportunity to to tackle a series regular role not in my in my career yet. It's been mostly mostly guest and CO stars and you know, where where I am visiting someone else's house. Like I said, Easter Sunday was the first time that I was part of the main cast and that, you know, to be shooting for two and a half months to be with a cast to create a family together. That was an incredible experience for me and I would I would love that opportunity again, and to do that in you know, in the premise of a TV series would be fantastic. Yeah.

Greg Staffa: 14:55

And what what brought the Easter Sunday to you or what, how did that come about?

Melody Butiu: 15:00

You know, my manager submitted me when the when the auditions came out. And I had heard that the movie was being made. There, Joe coy is it. For people who don't know stand up comedy, he is a stand up comedian and an absolute superstar in the stand up world, he sells out stadiums all over the all over the world. Sometimes, you know, multiple days, he'll sell out, you know, 10s of 1000s of seats. And I was a fan of his already just from seeing his special. And I heard that they were making a movie with him at the center. And as soon as I even just heard that news that a movie, a movie was being made, I was like, I can't wait to see it. I'm so excited. And so my managers admitted me for this, for the audition for it and sent me sent me the breakdown, which is just, you know, the breakdown of the different characters and, and I thought, oh, I should audition for you know, I should audition for this particular character because she's American born. And that's my story. But then after reading the audition materials and things like that, I saw the character of pizza Yvonne and thought no, I really, I know who this person is, you know, even though like she is an immigrant and born in you know, born in the Philippines, like, this is so much of my family, I just I want to audition for this role as well. So I actually auditioned for two different roles in the game. And, and I was I was pinned for both of them, I heard that there was interest. That was the feedback that I got for both for both of the roles. And I just, I found out that I got it really, really kind of almost before they just started shooting like it was really, the turnaround was really fast. As far as from my finding out that I booked it to I'm flying to Vancouver to shoot I found out on I found out that I got it on a Sunday, they closed the deal. I got a COVID test on Monday and I flew out on Tuesday it was that fast. So that's how I got that's how I got involved. But it was really it was all from a self tape just submitted and and, and I was one of the lucky ones that that got it?

Greg Staffa: 17:27

Is that something that you see often that you can audition for more? I certainly don't know that sort of you can do often is audition for a couple of roles or?

Melody Butiu: 17:36

I mean, it depends if there's if you if you if you're called in for one role, but you see another role that really resonates for you can always ask, they can always like casting can say no, they can say oh, we actually think that you're more right for this role. And that's fine. But you know, you can always just ask and and see,

Greg Staffa: 17:56

casting is an amazing, amazing thing. I've always been fascinated and talking to casting people and I talked to the I don't know if you've ever watched the show Ted lasso. Oh, yeah, I love it. Jamie tart, the kind of bad guy on the show. They had written the character to be the, the Danny Rojas character. And they they're like, hey, auditioned, the guy that plays Jaime, and they're like, he's supposed to be the energetic one. And you know, and they just weren't seeing it. But they're like, Oh, we can put him into this bad boy. And then they had this one edition out of Mexico and they found any Rojas and just hearing the casting people say hearing them talk about how discoveries are made and how these chips fall into place of perfect roles is just a fascinating thing. Because you you wonder you know how these roles go had someone else cast you know, Mark Hamill as someone else to be Luke Skywalker, or if Indiana Jones had been Tom Selleck. And I don't think casting people get enough credit for kind of what goes into finding those pieces to say you know what, you are x character or you are, you know, this character in that character. So it's always interesting to see the casting process is done.

Melody Butiu: 19:14

Absolutely. And you know, the thing is, is like it's such a it's so fascinating all the different casting stories you hear like I remember hearing, I think the story of like Henry Winkler auditioning for the fonts where they initially had in mind, like a tall blonde, you know, a guy who just kind of had it all. But then you know, Henry Winkler walks in and just brings completely himself, you know, you just never know. I think what casting I've heard a casting director say, you know, yeah, we put down a breakdown of like the things that we think it is, but we just want to see you. So when people are bringing like their their full selves into an audition And that's what, you know, really strikes people and, you know, notions of what what initially goes down on a breakdown or, or a character description that can always that can always evolve. You know, like that story about Ted lasso or, you know, it's, it's, it's really exciting and then also just, you know, with like with Breaking Bad with the Aaron Paul character to know that that initially was only, you know, only slated for a few episodes and then he just becomes the crux and the partner to Bryan Cranston's character is so exciting to me, because it just it there, there is so much room for evolution and possibility.

Greg Staffa: 20:48

Like you said, TV shows, you know, you could sign up to be one thing in season one, and by season five, it's nothing at all what you thought you'd signed up for? And so it's yeah, that kind of, do you see you mentioned you had the COVID test? And then you went out there to film? Have you seen things getting back to normal now? Are we getting a little less COVID? And see, or how have things changed prior to COVID to now?

Melody Butiu: 21:14

Well, when I when I shot, Easter Sunday was still kind of in the height of COVID, it was mid 2021. So people in the US were just starting to get just starting to get vaccines. Whereas in Canada, where we were shooting, it was kind of more of a slower rollout. And the travel restrictions and quarantine restrictions were still very much in place. So when we went when I flew out there, there was very, very little travel into that country, and we had to quarantine for two weeks. Now, yes, you do see that a lot of the a lot of the restrictions are lifting. I think the the that the, you know, the virus is still very rampant. But you know, I think to a lot of the vaccinations, the effective has changed a bit. But, but, but you are seeing some of the restrictions lifted, but we still just have to be very mindful and careful, you know, as an actor auditioning for something, because I know, they're they're still testing and testing rigorously. I try to be as mindful as I can to stay safe. So especially like if I booked something I'm like, Okay, I'm not seeing anyone, isolate for a bit, you know, just to make sure that I'm testing negative when we when we, you know when we shoot because otherwise, it'll cause a delay in production. And you know, that's, that costs a lot of money. So

Greg Staffa: 23:03

where's your dad from originally?

Melody Butiu: 23:06

My dad is originally from the Philippines.

Greg Staffa: 23:10

What did he think of the Easter Sunday? He

Melody Butiu: 23:13

hasn't seen it yet, because it hasn't been released there. Yeah. Man. It's going to be released at the end of the month in the Philippines, August 31. I believe when it's being released in the Philippines. I know it's being released in Manila. He is actually in the southern most part because he actually lived in the Philippines. Now, again, and he's in Davao City, which is more of a metropolitan area. So hopefully, it'll be in theaters there soon. But he actually hasn't seen it yet. He's very excited. I know.

Greg Staffa: 23:50

I asked me now have you seen other stuff and does other stuff get translated and brought over there is just whatever you want you to or?

Melody Butiu: 23:58

Yeah, I mean, he's seen things. He's seen things that I've done when he lived in when he lived in the States. He's seen me in performances and see me and TV shows and things like that. But he just hasn't he hasn't seen Easter Sunday yet.

Greg Staffa: 24:15

Gotcha. Now, you've done many roles on many different shows. you've interacted with many stars and celebrities. Is there one in particular that still got you the little, you know, 14 year old girl have you excited and like oh my god I just met what? Or is it now? Is it all business?

Melody Butiu: 24:33

Oh, I mean, I still I still get giddy I'm sure you know, seeing seeing people working with people. I do try to remind myself you know, like, there are people you know, so I try not to to get too overly fancy earlier. You know, try another thing too. You know, too many pictures and things like that. I tried to just be like, You know what we're calling you ever sessional I'm here to work, you know, but they're always, you know, people that are you're just kind of excited to just meet and share space with.

Greg Staffa: 25:10

Certainly, sometimes you can help it.

Melody Butiu: 25:13

Yeah, you know, I, I did. I did this musical called Here Lies Love, which was this immersive disco musical about the rise and fall of Imelda Marcos, and it was written by David Byrne of the talking heads. And he, he's just a genius. You know, he's such a creative mind. He's so he was just so incredible to work with. And he was there, you know, throughout the rehearsal process, and just, he would be in the audience, when we were performing and singing along and just having the best time, he's like, I wrote it, I know what happens in the story, and I'm still so moved by it. So it's just, it's so wonderful to work with him, someone who I just think of as legendary, you know, but to like, you know, spend time and have him, you know, hang out in the green room, and just, and, and talk about how excited he was about the project and that kind of thing,

Greg Staffa: 26:21

you start realizing that just human, you know, hearing someone talking about doing their laundry, and it's like, oh, my god, yeah, that's right. You're a star, but you still have to have your clothes, Washington, your use. Some of these stars are just regular people that are doing a job. And it seems fascinated here that, you know, sometimes that is what it is, you know, choices that are made. Someone just left a popular TV show. There's a Superman show. And one of the actors just for his own mental health, well being, I had to step down, I show you that you start forgetting that these are real people with real things going on. It's like, well, how can you leave the show, you know, I was such a great show, how can anyone want to leave it, and you start realizing it's just like a job for, you know, a lot of times, you know, it's fun and exciting. But at the same time, it's stressful, and there's ups and downs, and it's really real job and yeah,

Melody Butiu: 27:17

forgive still have to be there, be mindful of your mental health and your physical health and all of that. Because, because this is you want to think of the longevity, not even just of just one acting job to the next but of your career, and then also of your life, you know, that your quality of life, and we can spend so much time trying to kind of twist ourselves into what we think other people want of us. And then we lose our own sense of self, our own sense of, you know, what we we need to take care of ourselves as individuals as, as human beings, you know, our it can be if you're getting so caught up in just the job and the Hollywood and the fame of it all, you can lose the, you know, that can add pressure to, you know, your relationships, your personal relationships, you know, how you take care of yourself on the day to day and, and we can't lose sight of that. How did you get into entertainment, interviews and things like that? How did you get into this passion?

Greg Staffa: 28:33

Long story, the short story was everybody I worked for an airline industry for about 10 years got injured. It became a big case, the employer said, Well, you're a big guy, so any injury must be your your fault, took the court and one of my court case, but the airlines decided not to honor it got into bigger mess and bigger mess. And next thing I knew, everything had crashed, I was out of work. And I wanted my kids, so we thought a big backflow money would come in, and it never did. And so I found myself homeless, bent 2009 and 2012. Homeless. And so during that time, I wrote a blog about how a TV show helped get me through homelessness, because so many people when you're homeless, you know, it's like, Oh, I gotta get a house and I gotta get a job, and I gotta get. And for me, it was like, No, I gotta get through next week. And I gotta find something that gets me through next week, so that I can get through the next week after that. And then I need to find somebody else to get me through that next week. After that, well guess what's on once a week, TV shows. And so it became something where I'm like, Okay, I'm gonna save up some money. I'm gonna get a hotel room for one night to watch my favorite TV show. And in the meantime, I'm looking for work. I'm going to have a bed for a night. I'm going to keep on making it and I'll make it through that next week. And then I'll do the same thing over again. Well, next thing I know I'm, I'm making it through two weeks and I'm making it through three weeks, and I'm building myself back up to the point where I'm able to, you know, get back on my feet, and a small entertainment site in Los Angeles site and said, hey, when you get back on your feet, you want to come right for us. And I said, Sure, I'll do that. And then started writing for them and doing celebrity interviews and stuff like that. And then a movie film festival, South by Southwest, invited me to speak down there in Austin, Texas. I had done some reviews on some shows in a network executive, some that I was down there. He's like, Well, I know you're not coming down here to review anything. Because South by Southwest asked me to speak. But how about you review one of our shows that we're airing here at South by Southwest? And then that turned into South by Southwest saying, why don't you come back next year and do with the red carpets and stuff like that for all the stuff. So I was reviewing shows from Minnesota, which is where I am. And then I'd go down to Texas once the once a year to do red carpet interviews of Pierce Brosnan and all the the actors doing their film festival down there. And then now with COVID, I started branching off into the podcast. But it all came from little shoulders kind of helping you get week to week. And

Melody Butiu: 31:07

yeah, it was like that one thing to look forward to.

Greg Staffa: 31:10

Yeah, cuz we look too far in the future. And when we don't get it right away. We feel like we failed. And so I needed smaller victories. And so I wrote a blog about how, you know, these small victories helped keep you going, because you got to keep going. And if it's like, if you're homeless and don't have a job, and you go look for a job for a week, and you don't get a job yet, then you feel like you've failed. Well, I needed something that kind of looked forward to. And that increment was about a week. And so that's incredible. It was a great show called white collar. And it wasn't anything. I mean, it's a lot. It was nothing, me winning, or you know, but it was for me, it was something I look forward to. So I started doing that and been fortunate. So let's back track up. Thank you for asking. Is there anyone that you wanted to work with you haven't worked with yet?

Melody Butiu: 32:05

Oh, my gosh. I mean, you know, I have been really fortunate to work with some incredible female directors, and I just find it so inspiring. So I, I kind of keep a running list of female artists that I would, you know, love to work with. And so it could be anything from you know, I love the stuff that Shonda Rhimes and Mindy Kaling has been producing Ava DuVernay Chloe's out, you know, I would just I find it so inspiring. And I would love to, you know, just continue working with, you know, exciting, powerful smart women.

Greg Staffa: 32:52

I have my own opinions. But to me, it seems like this is taking place over the last six or seven years, especially. When did you say I mean, women have always been directing, but it seems like almost ever since Patty Jenkins did Wonder Woman? Did it really open the floodgates? Is that just my own weird thinking? Or is that something that's kind of on track with what you what? Oh, because it really has opened up in the last several years that we're seeing more and more women. We're seeing, you know, the Howard woman, right, Howard? Directing, you know, Star Wars stuff, and we're seeing, I mean, they're, they're taking on bigger names, stuff. It's not just independent, things like that. Was there a change that you kind of tangibly saw? Or was it just?

Melody Butiu: 33:39

I mean, I think that is, I mean, I think it's just a sign of the times I think that it should it, you know, they should grow. And I think also just with the expansion of so many kinds of platforms and opportunities, people are kind of seizing those opportunities. And, and, and then you see it pay off, you know, I have worked with some incredible female directors in theater, and just the approach the the way they approach the work the way, you know, and obviously, even among women and people have different approaches. But it's just it's it's exciting and compelling to me to work with people who, you know, the first time I worked with an intimacy director in theater, was with a female director. You know, they brought someone in and they understood the challenges of the storytelling with intimacy, you know, talking about consent, talking about, you know, how you're crafting the storytelling, as opposed to, you know, someone just saying, Oh, just go for it and make out you know, so to have to have female directors who understood the importance of that was really eye opening for me. So as far as like TV and film, you know, I just think, I think breaking the rules of like how things should be done. And, and approaching it from a different perspective and storytelling from a different perspective, is, I think that's what these artists bring to the table. And that's, that's why I want to see the storytelling grow in that way, you know, I don't want to just see the same old stories, I want to sit in the same old approach, you know, so those are the things that are very exciting to me. And, you know, when, when you see it succeed, and also, you know, when you see it fail, I mean, we shouldn't be, we should all be allowed to fly and fail, you know, and have have, that have have a breadth of experiences. So I want, I just want to see more and more of those opportunities. And if I can be any part of that. That's what I want

Greg Staffa: 36:17

to walk into a little bit of a minefield, just playing off what you're talking about, let's talk a little bit about representation. Because that's the key word these these days is, you know, seeing yourself and stuff like that. And I believe it's truly important to be able to see yourself to see your culture as as of a debt. But there's also, I think, a risk involved, where it can go almost too far. And I wonder, just your opinion, I mean, I'm, I'm an old white guy, and it becomes easy to just miss, you know, an older white guy and say, well, he doesn't know anything like that. But like I did reviews for Ken Jong showed Dr. Ken. And we got to know each other from just my reviews. And we I've talked to him, and I've talked to others about it. It's, it's I never viewed it as an Asian show. But yet, that's what a lot of people don't have an Asian Doctor show, or you have Crazy Rich Asians is the Asian movie. And then to counter that we have, you know, Easter Sunday is now the Philippine, is there a risk of kind of putting something in a box like that, where it's, it's, I mean, because it is, is about family, and how we all can relate to that is important to see representation. Sure. Is it important to see some of the culture? Yes, but do we put ourselves in a box where we can we can no longer say, No, this is just a good family movie. Family issues, family struggles? Yeah, there's Filipino arrow heritage, there's this and that. But overall, it's a good family movie, regardless of what the ethnic ethnicity is. Go see it because it's a good family movie.

Melody Butiu: 37:58

I don't think yeah, I don't think that it's putting it in a box, I understand what you're saying. And actually, the whole goal is to show that it's universal. But I think the, what you don't want to do is water it down. So that it just feels so that everyone else feels comfortable. And everyone else recognizes the you know, the, the things in in it, you know, there are things that Filipino audiences will get right away. And then other people, you may maybe it goes over their head, but that's okay. I think when you embrace what makes you individual, when you embrace what makes what makes our people or you know, our family unique, then the more specific you are, the more universal that becomes. Of course, a family is a family and you want to see that. But you don't want to I don't want to see a Filipino family trying to keep up with the Joneses and and watered down all the things that make them Filipino in order to fit a white person's perspective. Do we want white audiences to come or non Filipino audiences to come and enjoy the movie? Absolutely. But if you can have a movie, like my big, fat Greek wedding that you know embraces a big boisterous Greek family, then you can do the same with a Filipino family. You know, and not feel like you're, you're boxing it in or you know, you want to embrace these characters. But this this is the thing when I when I grew up, there were no Filipino characters on TV. There were some Filipino actors, but they were not playing Filipino. Sometimes they played Chinese. Sometimes they played Mexican like Lou Diamond Phillips and stand and deliver. He is in our film. He's actually Philip. Oh, but he played he was he played Richie Valens in in you know, in La Bomba he you know, he played Mexican ascenders live or he played Native American In Young Guns, you know, and, and that was because that at the time, that's all that was available to him as an actor, you know, those were the opportunities, he sees them, he flew with them, he thrived in them. But he did not play Filipino roles. And as a child growing up, I did not see those characters. And then even as I started to work professionally, I was told, don't expect to play Filipino characters, they don't exist. These, you know, people, people in middle America don't even know where the Philippines is, they don't know what you know, so so it's not going to happen, you should maybe consider changing your name, you should maybe consider learning Spanish, because you look more spent, you look more Latino than you do Asian, like this was, this was the advice that I got, as I started working professionally. So to be able to come to this point, to be able to tell a story where it feels like in my bones, this is my family. I understand, you know, as an actor, we're transforming we're creating, we're playing characters that are different from ourselves, but at the same time to be able to see myself on screen. It's a huge accomplishment and such a huge feeling. Dad,

Greg Staffa: 41:21

I mean a month from now, to be able to not just his daughter, but his culture is gonna be represented. And to be able to see a Hollywood

Melody Butiu: 41:30

movie, you know, there have definitely been Filipino filmmakers, creating independent films, and certainly creating cinema in the Philippines itself. But to have like this be the first major Hollywood studio film centered around a Filipino American family that highlights not only the immigrant experience, but also the Filipino American experience of highlights being mixed race being half, half Filipino, half white, you know, all of those experiences, we have been here for generations. And we have not seen ourselves on screen

Greg Staffa: 42:07

is I mean, like, growing up, when I was in grade school, we we hosted a My dad was a teacher in Minneapolis, and we, we hosted a Filipino teacher, they kind of did like a student exchange. But this is a teacher exchange. And so I learned origami from this Filipino teacher and I still know some of the stuff that you taught me, but me, it's not like with this new discovery. Why is it that it's easier to say, hey, become Hispanic or change your name to Hispanic? Why? I mean, can no one

Melody Butiu: 42:38

because it's people buying into the notion of what is perceived as normal? What is perceived as relatable. You know, for so many years, even Joe has talked about being told that, oh, your stories do too specific, you know, like, people aren't going to relate. And yet, when he really kind of leaned in and told the stories about his family told the stories about his mom, and growing up in a Filipino household, when his career like, skyrocketed to where it is where it is now, you know, and he, his, his whole feeling was like, you know, just because my mom speaks with an accent and doesn't mean she doesn't have a point of view doesn't mean she doesn't have a voice. She deserves to use her voice. You know, we have been here for generations, and yet our stories have not been told, because people you know, in the higher ups, you know, the producers, the studio's whoever the big wigs are, who are making the decisions have decided that we're too niche of a market or whatever. And it's just, it's just not the case. You know, is this movie going to be the be all and end all and definitive? Filipino story? No, and it shouldn't be? It should be a door opening to allow us to tell more stories to allow us to tell not only comedies, but dramas, you know, like, Fox has the cleaning lady, which centers around a Filipino and Cambodian family, you know, and talks about issues of immigration. And that's a drama, you know, so we should be able to tell a wide range of stories, we should be able to fly and fail to try to, you know, to bring all these individual voices, but then open up for other people to share their voices and share their experiences and perspective. I think all of that. Oh, no, this okay, I was just gonna say, you know, there's there's been kind of like a backlash of like, oh, oh, this is Whoa, it's not necessary. Why do we need to see it? You know, like, like, that's a bad thing to have different perspective. And it's not it's like it's needed. audiences want it and I as an audience member, I want to see it because honestly, if I'm seeing Seeing a show that set in modern day. And it's, it's just all white people. I'm like, I'm not interested like what like, why it doesn't reflect my world I want I want what the stories that I consume to reflect my world and my world is colorful, my world is diverse, my world has so many different points of view. And that's, that's what I want to see.

Greg Staffa: 45:24

I think the key is, is I mean, you kind of said it earlier to have a natural representation of it, rather than kind of being forced fed or whitewash or whatnot into

Melody Butiu: 45:37

a token, can I write? Yeah, I think,

Greg Staffa: 45:40

surely. Sure. I think any show like this, you want to feel, I want to see a show like your, or a movie like this, and say, I can relate to this, this and this, I didn't quite understand this part of it, because of the cultural stuff. We know what kind of started, I want to learn a little bit more about that. I think, you know, movies like that, don't necessarily have to speak to me 100%. But get it to the point where I'm, I'm interested in going, I want to know a little bit more about that, or that what they're talking about or that reference. And I think we've kind of tuned out an ability to to learn about new cultures and stuff like that, which we can do. I think the important thing is, I just fear every once in a while when people put things in a box, and go, Well, this is the this is the Filipino Crazy Rich Asians. And then you're like, oh, no, it's not. It's a comedy about, you know, a family and who can relate to you know, or protective mother or mother that's dealing with this or that I mean, at its core, are a lot more similar than we realize him to put it into something where we're advertising it as, you know, this version of that it kind of seems. So I'm just curious of what I was trying to put down. And to you, I'm just more curious of, is there a risk of putting that down and, and whatnot of, kind of,

Melody Butiu: 46:57

I mean, I think, you know, yeah. I feel like people try to compartmentalize, and they try to give a category. So they're like, Ill This is the Filipino Crazy Rich Asians, but it's not like this does not have the opulence of Crazy Rich Asians, we are not rich, we are very middle class. You know, but also with this, it's a very different story. It's a very, it is a comedy, but it's a very different type of comedy. It's not, it's not like a full blown rom com type of movie, it's, it's more of a Filipino, you know, Big Fat Greek Wedding, but even Big Fat Greek Wedding was a calm through a rom com. So it's just something that that's in its own its own individual thing. So people have a hard time with that, you know, they want to like put it in a box, like you said, they want to put it in a category and compare it to one thing or another. But it is, here, it's different. And you do want, of course you want people to, to relate to the things that are that that really matter where with this movie, it's it's family, it's, you know, trying to, it's that idea of going home to see your family after so many years and you know, striking out on your own and kind of going after your own dreams, and then going home and then reverting back to being a kid again, or, you know, those roles you had when you were a kid and those expectations of trying to live up to your parents expectations, trying not to disappoint them, you know, all of those things that we all deal with when we try to go home. You know, those are very universal things. And, you know, how how we try to support each other as a family while still hanging on to our individuality. You know, those are all things that anyone can relate to, no matter what their background, and that is why I mean, you know, like when Joe is on tour, he's on his world tour right now. is funny is funny World Tour, they were just in Toronto, it's sold out like 12,000 seats, you know, his audience while there are Filipinos in the audience, there are people of every background in his audience, you know, who loves his comedy, because even though he does talk about being Filipino, he talks about so many other things, and they're inept, what they they relate to all of it, and they're able to laugh with us. That's what we want when people come to see the movie that they're not laughing at us because we're different, but they're laughing with us because they can relate.

Greg Staffa: 49:38

Well, I appreciate you coming on where can we see you next or what's what's up coming from a human meal?

Melody Butiu: 49:44

Oh, gosh, you know what's in true life as an actor form? It's just back to auditioning. Crying. I love working on new plays. So I have been doing readings of of different and developing plays. I may have an opportunity that I do have an opportunity that's coming up in December, but I have to wait to announce that. And then just, you know, back to back to the hustle hole.

Greg Staffa: 50:14

Thanks for coming on. I'm very envious of you. I can't imagine what would it be like to be your dad in a mommy notice? It's not just any. It's not just any role. You said you audition for you thought about auditioning for the woman that was born here. But you went with addition the woman that was not born here, correct? Yeah, so much more. I mean, so true. You're dead. I mean, that just means you can probably get anyway regardless of you know what it is, but to see his culture represented, while he's back home, that just be something uniquely special. So I'm a movie as to you, for you to something that's rare to share and your mom must be really proud of, you know, looking down to see. So I appreciate you coming on and thank you for your time and wish you all the luck.

Unknown: 51:08

Awesome. Thank you so much. Have a great one. Thank

Greg Staffa: 51:10

Thank you. That does it for this episode. Thank you for listening to the Stafford corner