Saigon Quotes
I was supporting the Buddhists. But the, the Buddhists in a a general uh strategy. You know, we have uh...India, Burma, Cambodia...uh Vietnam, Taiwan, and Japan. What we call that...it's a Yellow Bear. Yellow Bear to stop the red invasion. That's a kind of, of uh, uh...religion side of the fight again the Communists. So I was for the organization of kind of international Buddhists. And if you remember, we had a headquarters, international Buddhists at that time, in Saigon to all, to buil-build its forces, to face Communists red, "vague" of red, you know, invasion from the China, Indochina or Russian.
Nguyen Khanh
I staged the coup because uh...the leaders in Saigon at that time did not keep their word. Uh, you know, by example, not killing Diem. Uh, they killed Diem. Uh... secondly, by example... to try to do something better in the fight, in fighting the Communists. But, you remember, I mean uh, at that time, everybody remember that they are a good time in Saigon, you know uh...uh, just enjoy the victory over Diem. And also, the main thing is leader at that time, we feel, was for the French solution of Indochina, for DeGaulle at that time, you know, he want to neutralize South Vietnam and to impose a French solution for the whole Indochina. And leaders at that time were in Saigon, we feel, it was true later on, like by example, Duong Van Minh, you know, who surrender to the Communists at '75 and we know that now we tory we know that Minh was one of the men of the policemen in Saigon who took, took over. So, I think we were ah, ah right, we were right at that time to change the leadership in Saigon.
Nguyen Khanh
I was one of the Asian American theatre people who protested the casting of Jonathan Pryce as the Eurasian pimp in the musical MISS SAIGON when it came to Broadway, as an example of "Yellow Face” casting.. The intensity, vehemence, and anger I felt, on both sides of that issue, left me shaken for many years afterwards. So I wrote FACE VALUE, a comedy of mistaken racial identity, to explore the question, "What does it really mean to ‘play' another race?” As noted above, FACE VALUE became an infamous flop, but the idea of doing a comedy of mistaken racial identity stayed with me for the next fifteen years or so. Eventually, I found another way to realize this notion with YELLOW FACE.
David Henry Hwang