It’s slow, but it’s building. What I’m waiting for us to see, in a much more significant way, is the difference between its being open and its actually growing. Let’s say, something for the Asian-American community: It’s not that there’s just suddenly jobs available, right? We’re talking from the beginning, where people are being trained — that people are able to let go of being a doctor and a lawyer and feel free to want to be an artist. It’s not only in Hollywood, it’s within our own community, to be able to see that there is a place for us, and for us to step into that place. It’s difficult if we don’t feel that there is a place for us. So the opening of opportunity has to not only be there, but be there in a much more muscular way.

And it’s also moving into the places of complex storytelling. It’s growing the depth of who we see ourselves to be, and who we see ourselves as — and that it’s not just one type of face or one gender.

[Judd Apatow on “The Zen Diaries of Garry Shandling.” | Benedict Cumberbatch on “Patrick Melrose.”]

You’ve been nominated five times before this for your performance on “Grey’s Anatomy,” but that was for best supporting actress. What has it been like for you to finally no longer be the best friend or the side character?

I take it extremely seriously to do absolutely the best work possible, and the truest work possible, because I feel like that is what’s going to resonate not only for myself but hopefully for an audience. And there just aren’t yet a lot of varieties of images that my community can pull from.

But I am absolutely aware of the significance and take it very seriously because we need it. Not only just for my community — and hopefully what that means to be represented and seen — but also for culture. We’re a part of it. Let us not only see ourselves, but let others see us.

Do you have a favorite moment that resonated with you while exploring your character, something you discovered about her that really delighted and surprised you?