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"Kungfu stuntmen" is a traditional term from the opera troupe
specifically, the cantonese opera.
The term was also used in film later on.
Here in Hong Kong
we are called "stuntmen."
"Kung fu specialists" are called in mainland China.
Let me emphasized that
we are "action actors"
because we do act in the films
the entire composition of stuntmen's a cinematic industrial demand.
Most martial arts in Hong Kong are Beijing opera and gymnastics.
We tend to introduce qwn troupe fellows
into the business.
Our community is relatively small.
Kung fu stuntman don't fear getting injuries
but scared of talking in front of the camera
our generation is more able to suffer a little, really
it's all hardcore.
Ready, 1,2,3!
Cut!
Grab here
like this.
Bang, bang
wave and block.
Ready, 1,2,3!
For me,
I've known very little about society.
Things such as finance, stock and etc.
I know nothing but film.
At that time
we were trained in profession by opera troupes
who have skill set were needed by film.
Our predecessors moved
from mainland China to Hong Kong.
The film industry was transforming while we entered the field.
People like us fitted in right away.
When China was invaded by Japan,
most of the Peking opera teacher
migrated from north to Hong Kong.
Siu-tien yuen, siu-loi chow, ching-liang kwan, chui chung-hok, han ying-chieh
all the masters from various Peking opera troupes
followed Jim-yuen yu all way down from Shanghai.
One of the well-known pioneers was master siu-tien yuen.
He merged Peking opera expertise of martial arts
into our cantonese style.
Apprentices should practice how to fall down before learning other skills.
It's my training style.
Peking opera performers speak the mandarin
to be frank, only a few people here would appreciate it.
What else can they do?
Nothing but teaching.
Children grew up in poor households like us would choose to learn it.
Simile as that.
A group of apprentices were well trained
such as sammo hung, Jackie chan
yuen tak, yuen wah, etc.
They all became action directors later on.
In Hong Kong,
there were four Peking opera schools back then.
Madame chu-hua fen was one of the instructors.
I started learning Peking opera at age 10.
Stephen tung, Austin wai
mang hoi and John lone
master ti tang as well.
Tang ti was my master.
My fellows were siu-tung ching, kin-kwan poon,
Alan chui and sai-gwan yeung.
And master shing-chi ma.
We grew up in master shing-chi ma's school.
We might be the very first generation.
Basic training lasted for 3 years.
Regardless of the roles: Sheng, Dan,
everyone practiced the same set of basic skills.
Headstands, split kicks and back bend.
So the basic requirements were all alike.
After that, masters would evaluate both our quality
and appearance to decide the best role type,
whether wusheng,
wuchou Or jing.
Master jim—yuen yu trained a group named "seven little fortunes".
In our school, we were called "nine wonder kids".
We had two extra.
Here was the back door of our school.
Back then, the whole class came out
and gathered here around 6am.
We practiced headstand, back bend and swing.
30 minutes is the minimum requirement for headstand.
Some of the senior students
we're even capable to maintain the same pose for 1 hour.
Stephen tung was one of them.
We began to be trained strenuously at age 7.
I can say that
we study very well
most plays can be done very well
the four opera academies, China opera school
China opera academy, spring and Autumn academy
and oriental opera academy
where it all began.
No job after graduation because Peking opera was a dead end
Master yu
staring from next week,
you no longer need to come.
In fact,
my master hated film.
He still committed to Peking opera.
Eventually, he accepted the reality.
He said "you're all going to make movies in the future,"
there's no chance for opera.
As far as we concerned, training was essential.
Whatever master had taught
benefits us till present.
Performing various moves in action films
we're depend on our basis of martial arts skills.
It allows us to grasp the essence easily and achieve what's asked for,
that also helps to build a career in the film industry.
You might find it very odd,
folks were main roles at school couldn't surive,
but the ones who played the walk-ons made it.
I started acting when I was 14.
I've been attracted to it deeply
ever since I became a stuntman.
Finding a mentor for stuntmen is essential.
You won't make it on your own
rookies couldn't make it on their own.
No.19 pak hoi street was where we gathered on workdays.
All stuntmen would meet up here
once we received calls.
Each film asked for
approximately 30 to 40 stuntmen.
When there were 7 or 8 films shooting at once,
the space was filled up with more than 100 to 200 stuntmen.
Heading to Shaw studio by bus.
Here is Shaw studio.
25 to 26 days per month was occupied at lease.
That was amazing.
My career took off ever since some action
action directors had noticed my talent.
When I mastered the back bounce,
I could get roles as double every day.
Back then
I experienced working full time for a month
with no breaks.
Those were the days.
All my fellow brothers were busy.
The daily schedule was filled with 3 groups
day, mid and evening shifts.
We switched roles between stunt and stand-in.
Double each time was paid hkd 150.
I could double for three casts each day.
I spent most of time working in Shaw brothers studio and found out
people called me "shadow queen".
Why?
Because I never had one chance
I onto show my face.
The entry salary for stunts was hkd60 per day.
The general price increased later except mine.
Sammo hung suffered more.
He was too fat
to make a stand-in.
Double Lydia shum was the only opportunity.
We could earn hkd2, 000 to hkd3, 000 monthly on average
when common rate of salary was hk$100.
So I could easily afford a new car less than a month.
It's easy to see 250 cars line up outside of Shaw studio,
it took 1.1 kilometres to reach the end.
Free your imagination and guess how much we were paid.
Kung fu movies were based on the similar concept.
The fight scene lasted close to 10 minutes...
We had no choice.
Battle fights were alike musical scenes in bollywood.
However, repeating caused aesthetic fatigue over time.
So I started to wonder how to develop later on,
then, here was Bruce Lee.
His style was a bit like bushido.
The atmosphere was rendered impressively to highlight the scene.
But the whole fight was finished by a blink of an eye
within only a couple of moves.
Golden harvest film wasn't optimistic about the big boss.
Come on!
After the film was released,
audiences went crazy.
Flurries of applause, we were all shocked.
Instantly, I felt Hong Kong's kung fu films entered into a new era.
He Studied in u. S. And came back to Hong Kong.
His kung fu style was more practical,
different from ours.
We were more deceptive.
We fought like dancers on stage.
Quite dramatic and mechanic.
When Bruce Lee was engaged,
he took charged in action directing.
He criticised and modified the old school.
He demanded all our stuntmen
to meet his requirements.
How to react when your head is hit.
How to react when your belly is attacked.
Totally revolutionised our performing style.
There are two kinds of roles, leading and supporting.
Actors in general played primary roles
and we had to support them in their roles.
It's like dancing.
1,2,3,4,5,6,7,8
you have to count the time and move or fight accordingly
50 out of 80 stuntmen followed this way.
They took turns passing in front of the lead actor.
When the lead actor "killed" an enemy and moved forth his hand,
you should shout out concurrently
that means you were "killed"
why were there many shouts
in fighting scenes as you can see?
In fact, "shouting" meant to signal the beat of moves.
Sometimes the actors forgot where they should hit.
So stunts shouted in action
help to remind the actor
of what he should do next.
When you were knife,
a "blood bag" was carried.
Goofs must be avoided,
bloopers weren't allowed.
Therefore, stunts had to cover the blood bag with hands
and let blood flow out.
We paid most attentions to the camera
and also were aware of its location.
If an actor walked to a wrong position
his double would make up foe it.
Each scene was completed and completed
each scene was Cooper and completed
they were actually a group of "dancers"
everyone worked in coordination.
The process was very happy and enjoyable.
The fighting scene looked different,
Bruce Lee improved our performance skills.
He really cared about us.
Bruce knew how important we were.
We all put efforts to fight for him.
Bruce came to seek practitioners.
We were rookies.
"Newbie?" Bruce asked, "yes!" I responded.
"What's your name?" "Ah wan!"
"Well, remember I'll parry your cudgel
when you try to attack my head twice. Just do that!"
I followed his instruction.
And made the second move right after he parried.
But he failed.
"Bounce", I directly hit head.
Bruce got mad and grumbled
"damn! I failed to parry the cudgel!"
Then he ran aside and started to drink vitasoy.
How dare you cut Buddha's head.
We do not believe in god!
Bruce's diet was bit unusual.
Yes, raw beef, milk powder and egg!
Mixed all ingredients in a blender and made drinks
that shake must make you feel powerful.
Bruce was very fond of yuen wah.
He would be pissed if yuen wah was hurt.
As he got self-injury.
Yuen wah was like his "better half."
When Bruce saw yuen wah somersaulting,
he would be overjoyed.
People used to call me "king of somersault"
we should admit that some people were born with certain gifts.
We hung out with Bruce Lee in private.
He'll talk about his instruments
Bruce always invited us over he found we were free at night.
He tutored and encouraged us
exercise in his gym.
He daily routine was about electricity.
It was impossible for us to stand,
but he was fine.
He could bear certain level of kilowatt.
Like level 7,
we couldn't even bear level 1or 2.
Bruce brought Hong Kong films into Hollywood.
He made such a huge contribution that
he became the icon of Chinese kung fu.
If Bruce didn't die young
I believe he would guide Hong Kong and Chinese action cinema
to achieve further accomplishment.
The sudden death of Bruce Lee had shocked Hong Kong and the world.
Lee jun-fan, know professionally as Bruce Lee
was born in San Francisco, usa 1940...
It happened during the shooting period of game of death in 1973.
We were practiced under his guidance in the morning
Bruce went back home at noon while we were still rehearsing.
Later one, we got a phone call.
The person who called us was "wu ngan", his Butler.
He said, "hello, Bruce just passed away."
Wow, are you kidding me?
We were all lodged in the hotel.
We thought it was a propaganda made by the golden harvest.
The shooting just began,
how could they publicize a rumour like this.
It must be some sort ofjokes made by the propaganda department.
We didn't believe a word
until we arrived the hospital one by one and found out the truth.
We'd already signed contracts
for his Hollywood plan.
There were at least 6 or 7 folks.
It was so miserable that I couldn't tell my felling.
The most impossible thing just happened
and my brain went blank.
After Bruce Lee passed away
no action movie was scheduled;
no one dared to shoot.
It's quite ordinary in our industry,
10 years of prosperity followed by 10 years of depression
probably from 1974 to 1976
there were only literature and art films were made.
The depression lasted a while
and stuntmen confronted various difficulties.
The table cloths of cafes and restaurants
we're taken to public laundry.
We drove to deliver and laundry all the packages.
I had once driven the unlicensed taxi.
After the death of Bruce Lee,
I was unemployed around 3 to 4 months.
I was even forced to sell blood, about hk$100 for 3oocc
it was quite odd.
That action genre was done for 5 years long.
Until sammo hung
and kar-leunglau aroes,
the market restarted to flourish again.
Kar-leung lau was a "representative character"
he mixed authentic kung fu foundation into films
because of his family lineage of martial arts.
Kar-leung lau was the master of
hung ga.
We used to speed up the frames to shoot the action
in order to make the fighting scenes looked much cooler,
on the contrary,
we needed to slow the frames to shoot master la...
Otherwise all his moves were too fast to be seen clearly.
Hong ga is originally from
the southern Shaolin style.
Master lau normally designed 60 to 70 movements in one fight
which means the actors shall remember all.
It became even more dangerous when real weaponry was engaged.
I recalled fighting against Gordon liu in kar-leung lau's film.
I said, "avoid the real sword."
"No worries. As real as it should be." Lau said.
Kar-leung lau requested to perform
with authentic weapons.
Other could totally get injured if they missed reacting.
Kar-leung lau had always demanded to use authentic kung fu
ever since he began to direct
all moves were accomplished with enough strength
like punching into flesh.
Stuntmen feared lau's style the most.
Tik lung for example.
He practiced boxing from a young age
if he was told to hit, so it would be.
Stuntmen were trained to avoid making real hits.
But tik lung wasn't aware
of illusive action
and hurt stuntmen unintentionally.
He would chase out the frame to fight when "cut" was announced.
Because most of lau stunt team's members practice real kung fu
at the time, he also needed some skilled people
later, my younger martial brother, hou hsia, entered lau stunt team
I worked in hung stunt team before I joined iau stunt team
but master lau insisted the authenticity of martial arts.
This is called 3-sectional nunchaku.
Sammo hung focused on variations.
I think he is the most extraordinary action director.
Sammo hung made it in his early 303.
Back then, he had already filmed numbers of classic works.
I guess it all started from the iron fisted monk.
My style of action become popular.
After that,
movies such as snake in the eagle's shadow Came out.
I don't care whether people imitated mine or not,
indeed there was no such style before.
See-yuen ng asked me to be the director.
My very first time,
wondered how to make some unique?
It occurred to me that Jackie chan was well trained
who had a good scene of humor.
Therefore I asked him to star in the eagle's shadow.
The public feedback was quite positive,
then I directed the drunken master.
Thus, a trend of action comedy raised.
Master, so strong!
What kind of wine is this?
Sanbian jiu!
Good wine!
After Jackie chan made "snake in the eagle's shadow" and "drunken master"
in 1980 he made the movie "dragon lord"
a lot more stuntmen participate.
Also began to are big scenes can see.
Jackie wasn't aware of himself.
Tending to Rick more and more for making actions.
Especially after he starred the big brawl
And the cannonball run In Hollywood
he realized the audience could accept and enjoyed actions.
For instance, he chose to "upgrade" Hong Kong films after he's back.
There was a move for me to kicked by ing-sik whang.
And fell down from a height.
However, there was nothing to lay on the ground.
They just scraped the ground ahead to make the earth loosen up.
I was worried about being injured.
So, I suggested to skip the scene
and shoot in the end if it is necessary.
Out of my expectation, the shot passed after 3 takes.
On the other hand, the most challengeable shot was catching Jackie.
We tried for 15 takes.
Either we weren't in position, or we surpassed it.
Somehow he fell down before I was even up yet
but I still managed to catch him many times.
But once I caught him on my back, my waist was sprained.
It caused me lay flat in bed for 2 months.
We continued to design more and more difficult moves.
Jackie jumped down from the top of clock tower in project a.
He should fall from one toward another on the tents.
No one knew about how much force each tent would reduce from falling.
The evaluation was simply based on our experience,
called out a stuntmen, Mars.
Because Mars's weight was similar to Jackie.
If Mars didn't die from doing it, then Jackie would do it himself.
Jackie chan didn't dare to jump on the first day
so he came to me
for supervising.
I signalled in place: Ready, action, and jump.
But Jackie didn't,
so I started to curse him.
Finally, Jackie let go and it's done.
Ah lung, are you okay?
I'm good, but I finally prove one thing.
To prove what?
There is truly gravity in the world.
Jackie chan intended to make improvements,
so his actions were changing all the time.
19808
it was the peak of difficulty in Hong Kong action cinema
Jackie chan's acrobatic scene in police story
Explained the local method of putting the life to wrestle.
Nothing was added on in post-production.
The most impressive scene I recalled was police story.
Stuntmen needed to move through a running bus.
We designed to block it with a car.
When the bus slam on the brakes,
two stuntmen on upper layer would fall off.
It was an action that on one dared to do.
I said it's too danger
if there were paper boxes laying we might be able to fall off.
If not, it was too dangerous to do so.
We weren't sure if the bus could stop immediately.
People above just screamed
when the driver braked hard and the stunts failed to fall as planned.
They pushed through the windows
directly in front of Jackie.
Because there was lack of impact force.
But the shot wasn't officially filmed yet, what do we do?
Outtake Wasn't acceptable, and it was pretty good,
so we just took it.
We were all amazed after seeing this footage.
We did it
there were more than a dozen members of jc stunt team.
7 of them did the action
and you weren't.
You should behave and say:
"Please, have a seat." During meal break.
Here was the former site of golden harvest.
The workshops were split in a, b, c, d four buildings.
They were located on hills.
All of them were demolished and replaced by these tall buildings now.
Most of films presented by golden harvest
were filmed on the mountain right behind me.
4 buildings were filled with
1 or 2 productions.
Jackie chan and sammo hung filmed most of time.
"Finished? My turn, construction shall
begin for my scene today."
Jackie and sammo often competed for workshops here.
They were fellows trained by same master.
It was actually a good sign, a healthy competition.
Jackie chan was the eldest brother when sammo was absent.
If sammo hung appeared, Jackie became the second.
They remained the same since early childhood.
Each of them had found their own team,
such as Jackie chan stunt team,
sammo hung stunt team,
yuen woo-ping stunt team,
and lau kar-leung stunt team.
You were paid to serve your brother.
It's true.
I dare to say that
sammo hung stunt team was second to none.
Sammo hung stunt team
my standard was relatively high,
that's why many stuntmen refused to participate in my films.
For example
sammo gave me a list
and said: "I need 10 stuntmen tomorrow,
make calls and gather them for me.
I got anxious,
because no one would come if they found out it was for director hung.
I could tell your skills
and fully aware of
what are you capable of.
If you pretend to be helpless, then leave it.
Remember to react after camera is rolling
sammo manifested all stunts' abilities
who was able to pick the right ones.
Whoever he asked for the action, just do it
or you would never be here.
If you know you can help me out,
you must do it
if it's out of your capability, I won't even bother to ask.
This is my work method.
You couldn't cheat sammo hung
you say it's impossible. He does it himself.
Feel for others
what should I do
for instance. If he called up a stuntman who rejected to do so.
Then it would be my turn to demonstrate for sure.
Sammo choose acting parts for each stuntman he picked
that matched their most talented skills.
Sammo hung always called me to try out.
A square desk with a piece of glass in the middle.
My action was required to fall on the central point.
Let me see.
Back somersault.
I climbed high and jumped.
Bang!
Everything went blank.
Sammo hung ruched over and help me up.
It was our ordinary state as stuntmen.
I've been through few accidents with luck.
If not, I was already died for several times.
We seriously ricked live while filming
action scenes with wires.
Yuen mo ws here when I found hung stunt team.
He was my death squad
who's willing to do anything.
I recalled a scene in five lucky stars.
Yuen mo doubled my place
when I supposed to be kicked out by Jackie chan.
I was kicked put from a window.
Directly after getting through the glass.
After getting through the glass.
The move was followed by bumping his head against the ground
right after the waist collided.
Extremely dangerous.
I advised yuen mo where he should fall alongside of body control.
Otherwise, death.
Kick me
hit the glass
change the camera position
and control the moving force and distance.
It was a one-shot long take,
but director hung edited it.
It was a fantastic action.
Yuen mo wasn't hurt.
Then sammo hung suggested to give another shot.
Because we prepared two pieces of glasses.
Yuen mo got injured by repeating the action.
"Action", he pushed through
and his waist bumped the side and head bumped on the other.
Yuna m0 was sent to hospital right after.
I happened to come across.
The most risky era for stuntmen.
I remember yuen mo starred an undercover
who was shot and fell down the from the top floor
to the middle of the ice rink.
It was a real fall.
When action actors from abroad visited our scene,
they were shock and questioned
how could you do such actions?
Whoever does it may die.
I didn't dare to think over.
Who the hell designed it?
I kept telling the action director
before filming the scene.
I would never do it if the film wasn't invested
by sammo hung.
I was fully aware of the 100% possibilities
to be hospitalised after doing such an action.
Because of the actual height,
and nothing was prepared underneath
it was ice floor, how hard it was!
Even more, I was not asked to jumped down.
I was required to fall down on my back.
I was thoroughly wrapped up;
however, I still lost my scene right after.
Working with sammo hung for decades,
I had may happy days.
Of course, injuries were inevitable.
Because we were stuntmen.
Almost everyone had been injured.
Ka-lok chin was the last one among us.
Therefore, he was like a treasure in the team.
Ka-lok chin was the last one among us.
He was matchless.
Whenever Jackie chan asked if I'm capable,
I would debfunutely say yes
he wanted me to achieve a spinning
while falling down.
I accepted.
I was too excited to feel toil at all.
Totally ignored the percussive force.
Why was ka-lok chin a treasure to us?
Because you will dare to do anything
if you are never injured
you believe that you can do it.
Once you are hurt,
you might realized the lack of luckiness.
Besides, serious injuries also remain
you might not be as good as before
I was hurt
why would I end up in the hospital?
Because I worked too hard
on getting through the glass.
I should fall on top of the tent, but I missed it.
The original shot was requested
to bump through the glass
fall on the tent to reduce the force before
ending on the ground.
Missed the tent
by overexertion,
fell down when the car arrived.
The world was in darkness when I opened my eyes.
The car parked right above me.
It hurled.
My doctor wondered what happened to me after an X-ray.
I said I jumped off from the third floor.
He shocked: "Did you try to mimic Superman?"
I explained we were shooting a film.
"Luckily, you didn't break your legs." He said
we always teased: "Hey boss, don't look up, please?"
When we were on location scout.
A definite scene of falling would be planned once the boss looked up.
Wherever worked, he chose it.
It was heart of dragon by sammo hung,
the shot took place on the 7th floor of royal park hotel
at sha tin.
I dare to say heart of dragon was the film frightened me
the most through my entire career history.
7 to 8 stuntmen were required to fall
from the7th floor.
A combined action.
Was shot in coordination with an explosion.
When sammo hung counted "1, 2, 3",
all of us would fall down with the explosion.
Some experienced stuntmen quit right after viewing the set.
It was really dangerous.
Such a scene wasn't included in daily routine, right?
We were lack of chance to practice aheaf.
The crew bought 3,000 cardboard boxes
and 100 rubber mattresses.
We paved the cardboard boxes on the ground from 12am to 6am.
Although rubber mattresses, tarami
and cardboard boxes were laid on the ground
but 7 floors were too high to jump.
Both the height and the bomb are deadly to us.
The pyrotechnical didn't dare to press the button.
He said: "Director, can you come and do it?"
Some stuntmen became scared
and said to me: "Can I skip this act?"
Sure, you should tell director hung instead of me.
I told them that you could not get injured
apart from one thing.
We had paved the ground,
you could only get hurt by other people who fall down right after.
Me, yuen mo, yuen tak, chau-sang lau, hsio pang,
er bao, ah fu, and yuen wah, right?
It's my first time to experience 8 guys doing same action simultaneously
everyone prepared
to get ready under such a serious condition.
Director hung signalled:
Explosion-0k
stuntmen-ck
all-ok
rolling!
Ouch!
Everyone felt hopeless.
My heart pounded like "tatatatata".
When sammo hung was ready to call "action", I should "ouch".
A nail stuck straight
into my foot,
I stepped on it
when I heard "rolling.
After the nail was removed, yuen mo continued his work.
Ready! One!
Two!
Three
bang!
The one in the middle was me.
Yep, this one.
Ka-lok chin was placed in the most dangerous position.
There was a board on the 3rd floor.
Which blocked the sight underneath.
He needed to strike the board
before he could go down further.
I was the one who landed more quickly than others.
Kneeling on the cardboard boxes after a sound "bang"
alright, everything was ok!
It occurred to me: "Don't move yet." When I wanted to get up.
When I turned around again
bang-bang-bang, other kept falling down.
I heard sammo hung showed: "Cut and rescue!"
Wow, he said rescuing people instead of calling it a day.
It would be terrible if I moved earlier.
There were injuries because of people bumping into each other.
In order to prove you are the best in kung fu world,
you may do lots of stupid things.
Tenacious and risky,
you may even threat your life in an unreasonable way.
For them, that's also a kind of pride.
Although he is a stuntman,
but he has an opportunity to say
it is my film
and my shot
reliving the pas
make us realize "a sense of self-abusing vanity".
Being a stunt made me to understand
why hk action films could conquer Hollywood back then
compete with cg?
There's no chance.
Stuntmen is the reason that hk action cinema
had earned its global status.
Due to the lack of technical support,
we forced to rely on body language.
So called "low tech" was what we used
to compete with Hollywood films.
We felt extremely pressured to film car race.
The government didn't permit to block roads,
so we needed to escaped whenever finished shooting
gun fire was not permitted either.
There was one scene of robbery shot
on Nathan road with fake guns.
The plan was filmed by hidden cameras.
We made a deal with the jewellery store ahead and hid cameras properly.
However, two policemen in plan clothes ran into us
while we finished robbing.
They weren't aware of the fact.
So the crews all ended up in the police station.
Coming through,
this way, smile.
Coming through.
The conditions and budgets
didn't allow us to make such mistakes.
The easiest to film turned out to be kung fu
directors didn't bother to care the action design in general.
They only paid attention to the total length of the action.
Whether 30 fighting scenes were enough to last a 90-minute movie.
Each battle was suggested to last
for 2 minutes at least.
What should we do?
Brainstormed on moves happening in one scene.
The battle fields took places such as firecracker factory,
grocery shop, hospital
kitchen and so on.
Wire, towel and tie could all become weapons.
Every elements and scenes were featured with kung fu.
This was something that we were forced to do.
We could literally fought with anything.
This was something that we forced to do.
The audience was nurtured in profession at that time.
There were plenty choices to watch,
audiences could totally recognised how good
the actors as soon
as they pose.
The competition was intense.
Midnight premiers were essential for us to watch.
Meeting to discuss right after.
Wondering how to make our action better
because of certain difficult was achieved in others'
for example, a scene was about falling
from the 8th floor to a pool.
We were amazed.
Thought we should be able to do it as well.
Then the action was upgraded to jumped from the 9th floor into flames.
Midnight premiers used to be an "indicator" in Hong Kong.
If your film was screened at midnight
and attracted limited popularity.
Then the bos office must be moderate.
It's the most vigorous period of hk action cinema.
Productions and stories became better and better.
Records was constantly broken
by one and the other.
You could observe
the excitement of the audience in the theatres
like having ecstasy.
There were 800 to 1000 seats in one theatre at that time
where you could get their responses on the spot.
Audiences were very straightforward.
If they liked your film, they would applaud.
On the other hand, they would also scold and curse loudly.
Even if audiences were aware of the main crews
and casts were present for publicity,
they would still intentionally curse right in front of them.
So the directors were often under huge pressure.
What two fools!
Yuen woo-ping was the odd one.
He always chose to sneak in midnight theatres
but never watched his own films.
Guess he was also afraid of failure.
Filmmaking didn't have to be desperate.
Transform fake shoots into real deal
is the key of technique
woo-ping yuen specialises the concept of real martial arts.
I starred in iron monkey and fought against Donnie yen
that was directed by woo-ping yuen.
Eagle fist!
Director yuen asked to combat with real kung fu.
He believed we shall fight with actual moves
if you had practiced martial arts.
I fought against Donnie yen among the wood piles.
Director yuen said, "attention. It should be done by one take."
The whole set was designed to be tore down by one kick,
and the whole building would collapse.
So there is no second chance,
which made me super nervous.
Well, we rehearse ahead.
Donnie yen was proficient at kung fu.
I seized him during rehearsal
and he snapped me.
My thumb was dislocated immediately.
This is real kung fu!
Director yuen would create probably around 50 moves in one scene.
We got to memorise all and perform
in order to interact with the rival
for instance, actors were demanded to have series basic skills.
Being a top-ranking stunt
is all about timing of motion.
A matter of seconds,
stuntmen should not act in delay.
His choreography contains romantic looks.
Looks.
I mean looks aren't limited in costumes or styles
but in postures of combat.
Remarkable ones you wouldn't forget.
The reason I directed wong fei-hung
Was influenced by the series I watched in young age.
The kids applauded together when theme song played.
The major choreography was the ladder fight.
Cheung—yan yuen, woo—ping yuen's little brother was in charge of action.
But there was a schedule conflict.
So, woo-ping yuen came to help us out.
He showed up and
said no credit needed.
He only wanted to help to finish what yuen cheung-yan had promised.
Jet li was wounded.
The fight really pushed the limit.
Every movement has to be replaced.
Doubled every move was a mission impossible for individuals.
Me, xin-xin xiong,
and a younger fellow named Tony ling
The main point was featured by the changes of ladders.
However, the most challengeable shot was catching Jackie when he fell.
We filmed 16 hours per day for 31 days,
just for this particular scene.
At first, xin-xin doubled jet li and double yen shi-kwan.
Then we switched in turns nest day.
We constantly changed costumes to double different roles.
Some action scenes, in wong fei-hung series,
such as bouncing in air
followed by turning around
falling and then bouncing again.
Few people can accomplish it now.
The action requires to be accurate on timing
and interact with good expression.
I am truly proud to announce that
I used to be a stuntman.
Master yan, we are done.
The fighting method of Hong Kong kung fu
was brought to Hollywood.
Boxing style was the only action in the western films.
There was lack of changes,
so it was fresh for them to watch ours.
Hong Kong action films were based on creativity
from 1960s to 1980s,
our productions had shown the best.
It is also more demanding.
The pressure they put on themselves is also high.
There are four team members well.
Think about how strong the competition will be?
There is competition to make progress
what we thought at that time.
With a half chance of success will definitely do
sometimes thirty percent sure will try to do.
In some ways.
Your creation, to each other
stimulate.
There is no such thing as rest
no time limit.
Many times woo-ping yuen himself leads
no sleep for 48 hours.
He doesn't eat by himself.
So when I first joined the industry I was very uncomfortable.
How these people are fighting a war every day.
He will hit his head against the wall if he doesn't take good shots
I actually saw him and said "I'm dead."
He really says things like that.
At that time I did not do action director I do not quite understand
and said, don't hit the wall
until I do my own action director will understand
understand what?
For example, this shot has ten actions.
That shot is difficult to shoot.
The ninth action, soon the tenth.
Almost.
He would just oops! Oops!
You will understand just a little bit closer.
This shot is complete.
I have tried hit my head against the wall,
first broken wooden boxes.
No effect.
It is better to calm down to think to be effective.
Before is to play hard think
there are people who do this nowadays, but rarely
now if it doesn't work
computer effects!
It's the most vigorous period of stuntmen back in old days.
Our capability had proven by trained skills.
Nothing would be achieve if we didn't
train hard back in school.
We were not ambitious.
None of the members in yuen stunt team
graduated from elementary school.
We've never dreamed to be directors.
Didn't dare to.
I was born in a common family
and I grew up with 6 siblings
in slum district.
A typical Hong Kong family.
Hong Kong was still poor in 1970s.
I started to take care of younger brothers around 9 or 10 years old.
Around 9 or 10 years old.
Helped family out
because my parents had to go out for work.
Five of us lived in a tiny room,
that was less than eight square meters.
Some of us slept on the bed and some on the floor.
We were often bullied by the landlord lady.
There was a field where people practiced martial arts,
so I learnt secretly on the way to school.
Aiming to protect my grandma when I grew up.
It was a shame
that we didn't study hard.
To be frank, I only have a primary school diploma.
I began to work ever since,
have no idea about what my future would be.
Many of us were undereducated,
the industry didn't require much profession,
so we got an opportunity
and strive hard to survive.
I enjoyed doing martial arts related instead of working.
Finally, I was brought to the film industry by my uncle and became a stuntman.
I was about 15 years when my older brother
had already be a stuntman and helped my uncle out.
He said
"come to make a living if you don't want to study."
I accepted the offer.
Stuntmen were simple and pure,
inspired by the spirit of Chinese tradition.
Once I joined a stunt team,
the big brother would be my lifelong teacher.
Our "insurance" was sammo hung
who always looked after us.
It was about mutual trust to each other.
We never hesitated if it's an order from the big brother.
Because none of the stunt outsiders were willing to.
That's why hung stunt team and jc stunt team were found.
Fellows are promised to avoid death threat
by the big brothers while doing the action.
It's a guarantee that the brothers
shall cover all cost if you are wounded.
They would support you from various aspects
if you broke your arms and feet.
As stuntmen
how long can your physical strength last?
Everything is fine if you are in 30's,
but entering 40's would be difficult.
I couldn't avoid assuming
to rely on interpersonal relationships forjobs
once I turn 40 or 50.
Chat with the producers about our industry.
Unlike scriptwriters, photographers,
costume designers and other crews.
They can continue working
the same in 40's
for stuntmen at their 403,
the physical condition would not fit.
For instance,
we shall pay more salary to the stunts
whenever we can.
Stuntmen used to
have high rated daily income.
They weren't aware of finance management,
but to expense right away.
All the money they earned
we're ingurgitated and gambled on horse races.
Few of them had savings.
Smoke, party and gamble
gamble was my favourite.
Gambling whenever I'm free.
I was called "overnight tea".
The first thing for tea drinker is poured out
the overnight tea and replaced with fresh one.
Like them, my first mission was also to "poured" Once I've been awake.
Northern kung fu practitioners were popular back then.
We could both double and act.
Film crews needed us
because of our capability.
If there was a sense of saving,
money could be invested in house, land, even gold.
I didn't think much while making quick cash.
It became impossible to make plans when I'm an elder now.
That's why many famous actors
action directors, and even more stuntmen
we're lack of fortune or happiness later on.
They had little savings
and often needed to see the doctors
because of previous injures.
We had no insurance.
The maximum was around hkd200, 000.
Film companies rather agree to settle in cash than pay or the in durance.
I often wondered why.
No cash needed as if injury is covered
buy insurance.
Yet I wasn't given any reasons
if I chose to pay self-insured,
the insurance company was willing to accept "kung fu tutor"
instead of "stuntman".
Otherwise I would not be able to get insured.
No acceptance.
In order to make a living, stunts must do it.
It all depend on your destiny.
Sometimes it is pure luck,
I survived several accidents.
But I didn't know when misfortune might fall on me.
Unpredictable as long as I work in the field.
Stuntmen used to reject body armour or protection.
Kick me, hit me in the face.
It's fine if my right side was swollen,
just hit the left instead.
Stuntman never say no
stuntmen never say no.
Can you do it? Can you do it?
If not, just quit.
No hesitation, who would say no?
Even if one got frightened, no one would back off.
Protective measures were denied
because you would be teased
for using them
other might question your ability if you dressed in full protection.
When we were filming millionaire's express,
I saw a 30ish man was crying
when he was asked to handle the move
he admitted with tears.
It sounds funny now
yet it shows the sprit of Hong Kong stuntmen.
Of course, that atmosphere was very unhealthy.
Otherwise, the older generation of stunts
should be wounded as less as possible
Dozens of stitches were received on both legs,
fingers and collarbone were all broken.
As well as back, knees and heels
were badly injured for 6 or 7 times.
Some people were paralyzed
and some were died.
There were ones who fell backward and died from pulling the wire.
Some got the lower body paralyzed after jumped from
the 3rd floor where the ground was paved with paper boxes.
One time, I was wounded by six gasoline bombs.
Head was swollen, face was black, and eyebrows were gone.
My mum saw me injured for the first time
when she entered the room with my older brother.
Oops. I made my mom worry too much.
Then I told myself
that I wouldn't let my mom have the same expression again.
Most of stuntmen are very miserable.
Only a few masters have made it and continued to contribute
other unknown heroes just disappeared quietly.
Some people tended to
make a living as vender or busboy.
Some became taxi drivers.
But other might also take risks to be thieves.
When we were caught by the police and questioned occupation,
we'd say "stuntmen."
"Stuntmen? You must be a good fighter!"
The police would force against the wall and search us
with no dignity at all.
Especially for us who have received
professional training.
It was nothing
less than humiliation.
Stuntmen are alike football players.
You can be a coach if you stand out in profession
if you are lucky, you can be a team leader.
Yet for us,
only few can become action directors.
Everyone wants to be action director.
But few can be successful among all the action directors.
There in no guarantee to become hung kam-Bo or lau kar-ieung
of course, being an actor is different.
If you can
try to switch
and make a longer living.
To be an actor, popular is essential.
What if you are not, frustration of course.
I switch to act for 3 years and experienced
someone recognised me while I was dining out.
"Are you yuen tak?"
"You get the wrong person."
It was hopeless
neither made a fortune nor make a living.
Desperate and psychologically unbalanced.
However, I changed my mind soon.
I was considering changing, but how?
Need money to do that,
otherwise there is no way.
Every profession has a hierarchy.
For example, my position here has reached level 8 or 9.
If I plan switching to a new field,
I would have to start from the bottom and work my way up.
I gave birth to my child in 1995.
After that, I continued to learn tai chi.
And won four championships in a row.
Return to teach then.
I could afford my basic living
and be able to help some eldest out,
it's comforting.
So I just ignored the idea of changing.
I began my own career after leaving jc stunt team.
No matter what kind ofjobs,
action director, stuntman
even wiring.
Male is after female
the wires are for Mandy, another set is here.
I like kung fu
and fun stuffs.
Followed my heart.
Make enough room for 4 to 5 guys.
Avoid to be close, measure it.
Golden harvest.
1993, 1994, 1995, 1996
did golden harvest disappear in 1998?
Is it 1998?
Since 1998?
20 years
I'm not sure which part of golden harvest it is.
Ab workshops should locate on the layer.
All changed, I can't recognise any more.
Here stairs were featured in rolling action daily.
Fully utilised the surrounding.
Up and down, all the way.
The history of stuntmen took a place right here
but all changed.
Everything
no more golden harvest film company
there are all new buildings.
Like a brand new place
films of Shaw brothers had better production
and less danger.
It was easy at that time.
But now I can't make movies whenever I want.
Shaw brothers film company moved out.
Guess have to say goodbye
to the remain of Shaw studio here.
The biggest problem with Hong Kong movies is that
we are resting on previous laurels
when the market was thriving,
we didn't have power to dominate.
We don't have a complete film industry system.
Filmmakers kept repeating same genres
we have nowhere to produce film
with the abnormal economic growth
dominated by property developer's hegemony,
rent of office buildings has gone skyrocketing.
Hong Kong cinema had fallen into
the predicament base on these issues.
Hong Kong is compelled to find solutions
it is good we learn to be flexible
instead of taking it for granted.
It takes a lot of money to make an action movie.
No money, no action.
No action films, no stuntmen.
All the big investors are in mainland.
Hkd20 million production fee is too much to ask here.
The investor might be reluctant.
I wish to help other stuntmen out,
I don't even have a job.
How am I supposed to help you find a job?
There were numbers of master stuntmen
like yuen wah, yuen bun, hsia hou and so on.
There are all outstanding
the gap of generations has appeared.
It's rare to see actors working so hard in present.
Too few for me to count.
Hardly.
The current society is different.
Nowadays people focus on reading, science and technology.
The majority have studied computer and it instead
we are the backbone of the stuntmen.
But it will be brutal to summon 10 stunts
they're all in their 403 and 503
it's hard for anyone to be an action director.
Do you want me to run into a wall?
We are forced to rise
and keep moving forward.
Or be eliminated.
Or succeed.
The purpose of training course is to fix
the "talent shortage" of stuntmen's inheritance,
some may question that in recent Hong Kong film,
well trained fellow3 could hardly locate a job
and make enough money.
Why add a dozen new ones to scramble for resources?
I have to explain
stunts get less job
It's an issue of the whole market.
Fewer resources are not a result of new fellows.
The growth of talents thrive can make the market bounce back.
Who can act like sammo hung?
Ok, thanks
I clicked to apply as soon as I saw
the recruitment posted on Facebook
the training course includes primary level,
internship period and advanced program.
Ap is instructed by siu-hung leung
he emphasises the details such as facial expressions,
and makes us value self-improvement.
I feel less self-accomplishment
working in other profession instead of here.
So I am grateful that some of my predecessors
have always been supportive and caring.
Each time is like a punch to my heart
when someone quit and makes me wonder
"why am I still here?"
I worked as an office lady after graduated from college,
I.e. Secretary to the president.
I couldn't stand wasting time on things that I didn't enjoy.
Study was easy for me.
Yet as I love sports so much,
I got a chance to enter this profession.
To be a stuntman requires talent
bold spirit and toughness.
More importantly, I'm willing to take risks.
There are fewer opportunities today
and hard to make a living as a stuntman for sure.
The total income I received working last year
barely covered my living expenses in Hong Kong
stuntmen work hard to do double and act,
yet our face won't appear on screen.
Sometimes you feel wronged
sometimes it can be very rewarding.
However, if there is 1 or 2 representative works
representative work to Cherish.
Then that's enough
and I'd remember forever.
Hello, master!
Hello, everyone.
Well, I'd like say a few words.
First of all, thanks to our predecessors for their support.
Let's give our warm applause to director Stephen tung,
director yuen cheung-yan
mr. chui jong shinn
and director Billy chan.
The current hk stuntmen are trained to serve filming demands.
Targeted training instead of limited in martial arts.
Such as stunts for car-chasing,
stunts for falling down,
stunts for clashing.
We compartmentalised stunts into specific categories.
Ready? Action!
The local stunt industry is in recession.
The standard of action is high,
which cause the training process miserable.
Hong Kong film talents are draining is due to
the low operating rate.
Filming equals training.
It's rare to find stunts.
So I become less demanding.
If Hong Kong cinema couldn't offer a bright future,
what's the point of practicing hard for the newbies?
We witnessed a golden era of Hong Kong kung fu films in 19803,
every young man had a dream to become a star,
the next Jackie chan or yuen biao
through tough training.
Due to the lack of opportunities.
We can't even promise them such dream.
Actually, I do wish to offer a hand,
but I'm also facing various difficulties.
I'm not sure what I should do.
Their skills aren't good,
they didn't even know how to wrestle.
Neither throw forward with back nor hit a wall.
They could do nothing after somersaults.
Ok. Ready go.
No.1 melody chen.
There are lots of resources
such as martial arts schools in mainland China.
Easily discover some excellent stuntmen.
But, it's hard to tell whether we can find some superstars.
In mainland China, there are many opportunities offered to stuntmen.
Newbies can start as attendants,
amateurs here might become professions someday.
Numberless projects.
Do you know the total?
In hengdian, there are more than 40 groups of crews.
We bring up the concept
and techniques of Hong Kong cinema
to mainland through work.
My first film was a battle of wits
The action director was Stephen tung.
What impressed me the most was that he always put safety first.
Spin, lean back
stretch out the leg and lands
followed by the move.
According to my experience,
there is hardly anyone who worked on their own
without followed a Hong Kong tutor ahead
the situation shifts a bit in present,
local action directors begin to take places.
But the locals were taught by Hong Kong masters
if we trace back and learn
the history.
The new generation is impressive,
they are all professional athletes.
Nothing is impossible once they have been fully prepared
pengfei, despite of his size,
he could jump to the table
without making any noise.
Don't jump...
Also, this is liu mingzhe
who helps me for a long time.
Started from the film hero.
They are all occupied,
non stop. It's amazing.
All of them have become the top in the profession. Right?
Thanks for your patronage.
My pleasure.
Yes, I live in tongzhou district.
The industrial park is located at shuangqiao.
Correct.
After living in mainland China for several years.
I find the crews here accept the profession
of director only.
Actually I'd rather be action director than director
when everything is easier and less stressful.
I could go home after calling it day
without considering the non-action part.
Now, I need to take care of
both action and non-action script a director.
It is quite ironic.
Thank you all my friends, producers, investors
and agencies for giving me an opportunity
to become a "senior" new director
and set up a studio here.
In the beginning of 19903
when the film market opened up and we went up north,
the style started blending in with local cultures.
Beijing, sichuang, henan and hebei, members of our team
are from domestic wide.
It has revolutionise
it has evolved
now it's Chinese kung fu movie culture
Ones who struggle to survive in Hong Kong now as I recall,
a' hui,
a'ji
ka-lok chin
ready
1,2,3
Let me know if it's too dark.
For me to place one more set there
again, it's a little more difficult.
Have you ever been here before? Once?
7 out 10, right?
I feel obligated,
I feel being obligated
it is not my contribution
it's association
but the joint effort of Hong Kong stuntman association.
So, I hope young fellows here
can participate actively.
If you don't join us,
we can do nothing in return.
Actors can hardly survive in bad days,
which means stuntmen have worse to face.
This is the current market.
A senior stunt came over and sat next to me
when I worked at tvb one day.
We chatted for a while.
"Hi, fatty, here you are."
Iresponded.
He continued to wonder my job.
I am a broker in real estate. He said, that's good,
it's wise to have other jobs
and take stunt as neither a part-time
nor a full-time job.
Why?
He said if you get the chance, do it.
Wow, it's so pessimistic.
The basic salary is low in real estate.
But it's better than nothing
I have some income from teaching boxing,
along with income from being stuntman.
I could manage my life for now,
however, how could I handle with any accident?
Girlfriend?
I don't dare to imagine dating a girl now.
Because my income couldn't afford it.
Sammo is here, please stand in the middle.
Sammo hung comes to support ka-lok chin today.
I've worked in the profession for 4 years
and felt appreciated to earn various experience.
I am very lucky
such memory is the most precious moments in my life,
This is my boss
the first ever,
I followed him when I was a kid.
Simon chui, I will never forget his name.
We like to gather all strengths of the stuntmen here
including masters and seniors.
It has always led us.
Long time no see.
We missed the old days bearing bitter hardships together.
A tea party has been held every three mouths
there will be a party in the new year.
We invite senior stuntmen to join us
and pay tribute to them.
We won't forget them.
Patience is the sky.
Try your best.
Don't underestimate yourself.
Stuntmen shall get
a chance one day.
Life is not easy,
but we are closely united.
Like a family.
Stuntmen are a large group with power,
I am also a stuntman.
I believe our tradition won't disappear
with the inheritance of new generation.
But what the pioneers had accomplished earlier,
maybe no one will achieve the same ever again.
I was 18 when I first did action director
it's hard to make an action movie
the hard work is not physical
it's about intelligence
there is no more real kung fu.
All are special effects.
The roles all seemed invincible.
The stunt industry went downfall,
was not affected by any master leads
this is nothing about personal issues.
It's none of Jackie chan's business.
The success of one film is depended on the public acceptance.
It can fail if the style isn't the trend.
Audience always appreciate movies
that are filmed within true passion.
I finally return to the original point of life today.
In the future, I wish to embark onto the grand Avenue.
Intelligence is advanced, right?
Intensive labouring is easily obsoleted.
But intelligence can resist competition.
It is hard continue in manual labours when you are in 503.
Back in time,
working as a stuntman has broadened my vision.
Because of various film production,
I got to visit places around the world.
I also experienced up and down.
Success and failure,
and encountered difficulties
in interpersonal relationships
regardless, it's complex.
I was fortunate to jump out
the structure of traditional Chinese martial arts
and extend the idea of MMA
into it.
Sorry for my mistake.
It's alright, take your time. Safety is the key
everything alright?
Yes.
Thank you all tonight, I am grateful.
I love Hong Kong cinema.
Stuntmen is a hard and painful job,
which also creates a lot of happiness.
I am grateful to be able to survive till now.
I met my wife, had children,
found a career due to work in profession.
I could not imagine
that I made a living by touring people how to "fight and kill"
stunt career will last for my whole life,
and it's very interesting.
Fafly.
Siu-ming, siu-ming, siu siu-ming,
ching-ying I am was best of best
every member of hung stunt team was proficient
but chi-ying I am was nearly perfect
when we filmed paper marriage
He do it without any rubber mattresses.
Action, 1, 2, 3.
Bang, cut
we worried: "Master I am."
"Leave me alone." He said.
Lam couldn't stop rolling for more than 3mins
because of pain.
We heard nothing but humping
chi-ying lam's remuneration was over 1 million
while starring mr. Vampire series.
Despite of his respected status,
chi-ying I am had fully dedicated for hung stunt team
who always completed actions himself.
He was definitely a role model.
Mr.vampire Was my first time in charge of cinematography.
Ching-ying I am said:
"Andrew lau,
take your time
until shots are satisfying."