![]() ![]() You mentioned some of the pyrotechnics that you used in earlier movies like Drunken Tai-Chi or Dreadnaught. Sometimes, when I worked with different actors, I would maybe overstep my bounds and say something that they didn’t like. So I would keep an eye out for camera angles and how to direct specific scenes. But sometimes, my father would just be an actor and would work with other action directors. At home, he would sometimes teach us one on one, or tell us about things that he had observed. There was no way that my father would take special care of me because it was a whole group of people working together. Training with my dad had a lot to do with observation: I took note of what he taught the other actors. There’s a famous Cantonese phrase that applies to martial arts actors: you walk in first and you die first. My brothers and I were often brought onto different productions because of our martial arts training. My father, at that point, was usually an action choreographer, or sometimes he’d be an actor. At age 20, my brothers and I were brought into the film industry. What was your learning curve like when you worked with your father? I’ve read you say that you, as a stuntman and an actor, would often die in your dad’s movies. That autobiographical element in your work is really compelling, as in recent films like Master Z and True Legend. ![]() That movie took about 170 days to complete. Remember: that was way before CGI, so there were several complex scenes - especially with explosions and other technical effects - that required a whole team to get a certain shot. Sometimes, that initial concept may not be exactly what you see onscreen, in which case my brothers helped to revise my ideas. Take Miracle Fighters, for example: I had a concept, and they all helped me to realize it. Can you talk a little about who did what on those earlier movies?Īnd not four brothers who went into film - six in film. I’m especially partial to the action-comedies that you made with your brothers in the Yuen Clan during the 1980s, like Miracle Fighters, Shaolin Drunkard, Taoism Drunkard, and Drunken Tai-Chi. You are, from what I’ve read, one of 12 children, four of which became filmmakers in some capacity. The Hollywood Reporter spoke with Yuen at NYAFF (with the help of translator Joanna Lee) about making movies with his father Simon Yuen and his brothers in “the Yuen Clan,” his preferred method of shooting action scenes, and some of his favorite titles from his still-growing filmography. Today, Yuen often directs his own movies, but his un-sentimental take on cinematic trends - from post-Bruce Lee martial-arts comedies of the 1980s to a more recent wave of “romanticism” and traditional narratives in mainland Chinese productions - is the real secret to his decades-long reputation as an innovative action filmmaker. A former ballet dancer, her dance training made her a natural for wire work and fight choreography in the Hong Kong film industry, and she quickly showed her chops for action movies.Shirley Anne Field, Actress in 'The Entertainer,' 'Alfie' and 'Saturday Night and Sunday Morning,' Dies at 87 The 1983 Miss Malaysia got her first break in Hong Kong, modeling watches alongside Jackie Chan and Chow Yun Fat. Because what he said was true… I do believe she was the right person to continue to tell the tale of this martial arts world.” “According to Harvey (Weinstein), he said, ‘I can’t make this movie without you, Michelle,” the 53-year-old actress said, breaking into a surprisingly good imitation of the movie mogul. Though she has backup in fellow Hong Kong veteran Donnie Yen, who will become more familiar to Western audiences after his tour of duty in the upcoming, “Rogue One: A Star Wars Story,” most of the supporting cast in “Crouching Tiger, Hidden Dragon: Sword of Destiny” are newbies like “Glee’s” Harry Shum, Jr. The film will air on Netflix and in 15 select theaters.
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