When did you first learn that you had a huge following in North America? Was there a moment when you said to yourself, “Wow. I have many fans outside of China and Hong Kong”?
Yen Woo Ping: When I worked on “The Matrix” with the Wachowski brothers. When they contacted me the first time, I wasn't very interested. But they continued to insist. I accepted their invitation and went to America to listen to them and communicate. I thought that the combination of computer graphics and martial arts was a good way to combine Chinese martial arts and the Western film industry. That's why I decided to collaborate with them.
They say that it was because of “Fist of Legend” that they decided to choose you as the fight choreographer. Are you pleased to hear that films like “Fist of Legend” and “Iron Monkey” are being played outside of China; that foreign audiences appreciate your work? Were you surprised that they mentioned one of your earlier films; Were you glad that it crossed the Chinese border and became available to other people? What inspired others, and for this reason they decided to contact you?
Yen Woo Ping: I was not too surprised that foreign directors decided to contact me, since I am very confident that my films in other countries have earned success and audience sympathy. When people want to talk to me about my films, I welcome it.
You mentioned the possibility of combining martial arts and computer graphics in The Matrix. In True Legend, you took a traditional approach to martial arts and gave it a modern twist by slowing down fights whenever possible, emphasizing movements, focusing the camera on a specific strike, or giving certain sequences greater importance. Did you have any difficulties due to the fact that you were both a stage manager and a director, with the fact that you had to give a modern twist to traditional movements? Have you tried to emphasize your choreography in any other way, given that with the advent of modern technology you have more opportunities?
Yen Woo Ping: I prefer to focus on martial arts and make the actors do the same. This way, martial arts will look more realistic in the eyes of the audience. Computer graphics make the battles more visually attractive and highlight what is happening on the screen.
You prepared for filming, looked at the scene in the script, for example, Su Kang versus his brother-in-law Yuan on the platform above the waterfall. How do you go from script to filming, what does that process look like? Let our readers use this waterfall scene to understand your thinking. What is the work of a master?
Yen Woo Ping: The waterfall scene was not originally in the script. This was a serious fight, and I wanted to choose a location that would add visual appeal to the fight, the right mood and atmosphere. I searched for the place needed for this episode for about half a month. Found a waterfall near the Yellow River (Huang He). However, I encountered many difficulties. This is a tourist area, and for filming we had to clear it of tourists. In addition, the waterfall was very fast. I tried to attach the mannequins to the wires, but they broke and fell down. It was very dangerous. I couldn't insist that the actors do everything themselves; for some moments I had to use other fighters. After filming all the fight scenes, footage of the actors falling into the water was added using computer graphics.
It’s the same as if they filmed us near Niagara Falls in New York and Ontario, laid out the scenery and said: “Okay, fight over there.” I stood next to him. And I didn’t want to get any closer.
As fans of martial arts films, we are constantly looking to see what the future holds. We have long been fans of your work and such stars as Jackie Chan and Jet Li. We want to know about the future generation. Do you have anyone in mind, do you know any choreographers, for example, whom you would like to give the opportunity to show themselves or whose work deserves some attention? We are looking for a new generation to take up the baton. The bar is set high. Can anyone's work compare to YOURS? Is there anyone in the Chinese or Hong Kong film industry that we should pay attention to?
Yen Woo Ping: In the world of martial arts, after Jackie Chan, Jet Li and Donnie Yen, there was a gap. I'm trying to find new talented people in martial arts schools. In “The Real Legend” I used Vincent Jao, I wanted to give him a chance to show himself. If others appear, I will give them the same opportunity.
I don't want you to stop working in any way. It's a shame that the likes of Vincent and Jackie Wu don't have much of a chance because seeing them on screen makes me feel like martial arts has a promising future. It should be in good hands. When the time comes to pass the baton to someone, I don't want it to be any pop singers; although Nicholas Tse is not bad.
Anthony Wong: We have several projects in the works for Nicholas Tse. Around next year. He really likes Ian's work. To achieve this, we are ready to do everything in our power.
Of all the pop singers, Nicholas seems to be the most capable in terms of fighting.
Anthony Wong: Do you like him?
Very. For what it's worth, I really enjoyed “Gate of the Tiger and Dragon” and his work. You puzzled me with your question, now I’ll try to remember. “Invisible Target” with Jaycee Chan?
Anthony Wong: We are preparing two projects. The first is a traditional martial arts film. But in this film he will not have any fight scenes. Nicholas wants to film there. The second is a modern Hong Kong action film. Nicholas liked this film. Ian went to the Shaolin Temple a couple of weeks ago to look for someone to work with. But it’s very difficult to make an actor out of a person... It’s not only about martial arts, but also about acting.
This possibility exists, and something also depends on charisma. Just because you have certain skills doesn't mean your movies will sell because traditional martial arts training is different from the kind of martial arts that is recreated on screen. Like I said before: working out in the gym is not the same as what you do in front of the camera.
Anthony Wong: From what you said, I understand that you are a big fan of our work. You care about what is happening.
We care because we grew up with it. I have a copy of the videotape with “The Snake in the Eagle’s Shadow” at home. I understood that asking people to autograph it would be tactless on my part, so I didn’t bring it with me. We must behave professionally.
You received a lifetime achievement award. Congratulations. If you stood on stage and decided to surprise someone and give someone the same lifetime achievement award, who would you give it to? Who do you think, in the film industry or in the world of traditional martial arts, has not yet received the recognition they deserve? Many people talk about Jackie Chan or Jet Li, in the future we can talk about Donnie Yen. Maybe Lau Kar Lung, or someone else you've worked with throughout your career. Who did not receive recognition and who would you invite to your stage?
Yen Woo Ping: Liu Chia Liang (Mandarin name for Lau Kar Leung).
Anthony Wong: Liu Chia Liang is a very famous action director. “36 steps of Shaolin.”
Was he in Drunken Master 2 with Jackie Chan?
Anthony Wong: Yes.
And I named him Lau Kar Lun.
Yen Woo Ping/Anthony Wong: Right.
We want to give the award to the same person.
[everyone laughed together]
Author: Andrew Mack
Source: Twitch
Translation: EvilDollaR
Home » The Interview »
Tags: Vincent Zhao, Jackie Chan, Jet Li, Donnie Yen, Anthony Vaughn, Yuen Wu-Ping
Tags: Vincent Zhao, Jackie Chan, Jet Li, Donnie Yen, Anthony Vaughn, Yuen Wu-Ping
Thank you. super
Thanks for the translation.
Please. ;)