Donnie Yen Ïæäí íä

Donnie Yen is a famed martial artist, director, fight choreographer and Hong Kong movie hero and is no stranger to on-screen fighting. This Boston native has wielded his fists of fury in such Asian action films as “Tiger Cage 2,” “Dragon Gate Inn” and “The Butterfly Sword.” A long-time cult icon waiting to be cultivated, Yen looks set to win a whole new audience with his Hollywood debut roles in “Highlander: Endgame” and “Blade 2”.
Donnie Yen has been labelled as the “Last Dragon” to come out of the old school of famous Hong Kong martial artists. You have actors like Keanu Reeves or Cameron Diaz trying to throw a couple of kicks. But actors like Donnie Yen are the real deal, the ultimate martial artist bringing it on screen. It seems that along with Jackie Chan and Jet Li, they are the last of their kind.
Known for his good looks and probably the fastest legs in the business, Yen’s unique style of fighting is quite unpredictable as he effortlessly shifts gears of motion. One moment the audience is magnetized by his liquid motion, as his movements and form are hypnotically fluid and dance-like. And within moments, Donnie's fighting style has been transformed to a state of unparalleled speed and raw power without sacrificing proper technique.
Donnie Yen has the education and experience to transcend boundaries between Hollywood, East and West. Fluent in English, Cantonese and Mandarin; born on the Mainland but grew up in Hong Kong and later in Boston; spent his recent years in Hong Kong, and is now based between L.A. and New York, he gives new meaning to the phrase “man of the world.” His movies reflect his personal intensity and drive as well as the life of the world he observes around him. Filmmaking for Yen is pace and flow, the flow of images, the flow of music, and the flow of communication between the art and the audience.' We strongly believe that today he is the best martial arts actor, equal if not better than Jackie Chan and Jet Li in their prime. We were very disappointed to see that Wesley Snipes did not take advantage of such a talent in Blade 2. Donnie’s role was far too short. If they fought together, it could have just been one of the best fights ever filmed.
A rebel at heart, Donnie has made his own way. The road ahead hasn't always run smooth. Direct and honest in his opinions, he's probably made it harder on himself. The journey has shaped not only who he is today but the vision of the films he has directed.

Childhood Years

 

Donnie Yen Chi Tan was born in Canton in Mainland China. When he was about one and a half years old, he immigrated to Hong Kong with his father. His mother Bow Sim-Mark couldn't get permission to leave China at that time, and it was to be another eight years before they would be reunited as a family. During that time he met his mother once when he went back to China, so he could see what she looked like! When she finally came to Hong Kong, they lived there for about another two years before their whole family relocated to America and settled in Boston when he was about 11 years old.
Donnie Yen's mother began training her son in the martial arts almost as soon as he could walk (4 years old). When Don went to visit his mother in China, she would teach him a few basics, as would her teacher, but it wasn’t until they'd moved to America and she started the Chinese Wushu Research Institute, that he really started studying the martial arts.
With his mother, he mastered traditional and modern Chinese Wushu and Tai Chi, understanding internal and external principles. His mother was teaching him in the very traditional Chinese way, very conservative. Like most kids he was quite rebellious, especially against anything that was conservative or restrictive. He was always questioning; looking for the ultimate martial art. So he would run away from his mother's school and hang out with his friends who were studying other martial arts, even going to their schools sometimes and learning from them. He took up various other styles including the Korean art of Taekwondo. At that time most of his life was spent in and around Chinatown, so he was also watching a lot of Chinese movies, and this was when the Kung Fu Movie industry was at its peak. He was really inspired by watching all these movies, and of course there was also the main man, Bruce Lee. He was then, and still is, Yen’s idol. Bruce had a lot of influence on him, not only in the martial arts but a lot of other things. They kind of have some similarities in their backgrounds: they both came to America from Hong Kong, established lives for themselves in the US before going back to work in Hong Kong, etc. Bruce Lee has always been a big inspiration to him; Donnie thinks of him as a kind of mentor. He would watch all these movies, try and find out what styles were what, what looked good, what worked and what didn't. He read all the magazines and books on martial arts that he could get his hands on, and he'd always question things. Why do you have to throw this kick like this? Can you do it another way that's better? His mother started his training by teaching him Northern Shaolin which has a lot of similarities to Wushu, Tai Chi and Wu Dang styles but he has dabbled with Wing Chun, Taekwondo, Karate, Praying Mantis and a lot more. He was Kung Fu crazy for a long time; he'd skip school to practice martial arts with his friends. They’d draw a circle in the park, and practice Chi-Sao for hours; they'd beat each other up doing Mantis. And he was very much into Bruce Lee; he would be walking around in the full Bruce Lee get-up: kung fu uniform, sunglasses, and nunchucks in his socks. He was lucky that he had exposure to so many different styles and that he had so many friends who were into martial arts. While they were all studying various styles, when they got together, they would exchange what they had learnt. So he had this very big varied pool of martial arts to dip into, which has been very useful to him. It's the American way, to be open to everything useful, not like traditional Chinese martial arts culture where you learn one style and that's it. So he had this great mixed-up kung fu background anyway, and then of course the whole Wushu phenomenon came along in the early 1980's.

 

The Beijing Wushu Team  

 

The Beijing Wushu Team came over to America to do a National Tour and when they visited Boston, Donnie was given the opportunity to perform for the team’s two head coaches. They seemed to like what they saw and told him that he had the potential to go on and become a champion in China. Donnie thought it was a nice compliment but with there being so many people in China, even though he thought he was pretty good, he didn't actually think he could be one of the best. So he didn't really think much more about it until several months later. He was having some problems with his family, he and his father weren't talking, he'd moved out on his own and he was starting to get into all kinds of trouble. There are two types of Chinese growing up in America. One is the kind that does really well in school, with thick, thick glasses. And the other is involved with the gangs. Donnie was semi-involved with a gang and confused like any other kid. Most kids go through the same thing but he got himself together and chose the right path.
When his mother called him up and asked him if he wanted to go to China to study Wushu he pretty much knew that it would be the best thing for him to do at the time. He also knew that if he carried on the way he was carrying on in America at the time, he would either end up as a gangster or wind up dead. Neither of those two options really appealed to him, so he jumped at the chance to train in China. When he finally went to China, he found out that although the two coaches had indeed invited him to go to Beijing and study, it was more out of courtesy than being a genuine invitation. At that time China was still very much closed to the west and when he got there everybody was wearing Mao suits and needed food stamps to eat. So when he arrived, the two coaches froze up. They didn't want to get into any trouble because of him being there but there he was a 16year-old kid who'd just flown halfway around the world to train with them. He was suffering from culture shock and also having a major communication problem. Although he spent his childhood in Hong Kong and could speak Cantonese, and had visited China before, now he was in the middle of China where everybody only spoke Mandarin and nobody really seemed too happy that he was there. But somehow some strings got pulled, and the fact that he'd come all the way over put everybody on the spot and eventually forced them to let him stay and train there. He was the first foreigner to be officially accepted and spent the next two years training and living in Beijing. He had great success in learning Wushu. While training in Beijing, Donnie actually studied with the same master as Jet Li.

 

Yuen Woo Ping

 

At 19, en route back to the US, he made a side trip to Hong Kong and was introduced to film director Yuen Woo-ping, the action choreographer for 1999's “The Matrix.” Woo Ping, who had launched the career of Jackie Chan in “Snake in Eagle's Shadow” and “Drunken Master”, was looking for a new kung fu movie hero. In Yen, he found his man and so began a new journey. Woo Ping recognized Yen's extraordinary physical abilities so their series of films together led to a new direction in Hong Kong action cinema. Donnie would later star in a lot of  Hong Kong action movies , and with each, his progression as a martial artist and actor is there for all to see.

 

Martial Artist of the Year

In 1982, the martial arts magazine, 'Inside Kung-Fu' named Donnie Yen, 'Martial Artist of the Year'. Donnie is not the only member of the Yen family to practice martial arts. His sister, Yen Chi Ching, has won numerous medals in international martial arts competitions. His mother, Bow Sim Mark, is a very famous martial arts master of Tai Chi Chuan and Pa Kua Chang and she was named “Instructor of the Year” by 'Black Belt’ magazine and 'Woman of the Year' by 'Inside Kung Fu' magazine.

 

Back in the US.

 

With the strong success of his other films like "Iron Monkey," Donnie Yen has strong followings elsewhere - like in Europe. There is also a strong following among the urbanites on the East Coast when it comes to martial arts films. His moving to the US now seemed more natural. He didn't do this a couple of years before because maybe he just didn't have the experience.
What's interesting is how destiny plays itself out. There have been several occasions where the opportunity to crossover has been there. He was cast for the title role in "Dragon: The Bruce Lee Story." The casting director wanted to see him so he flew to L.A. but unfortunately, he didn't get the part. Jason Scott Lee did a pretty poor job. We think that Donnie could probably have done a better job (after all he is a true martial artist, unlike Jason Scott Lee). Soon after, he went back to do "Fists of Fury." He enjoyed working in this TV series because he is a big fan of Bruce Lee.
The second approach was just after he finished filming "Legend of the Wolf," and before it was distributed worldwide. According to Donnie, Francis Ford Coppola and the film company he formed with Wayne Wang called ‘Clone Dragon’ approached him. The objective of the company was to recruit Asian talent and use this talent to produce low budget films. He was asked if he wanted to meet with Coppola's people. He did and they gave him a script which he didn't like at all. The script perpetuated stereotypes and was very cliche about portraying Asian people. He refused to do that because he always had certain beliefs and would turn down certain projects if he didn’t believe in them. He said, "Look, I will do this film only if you let me come up with a brand new concept." He asked author, actor, and friend Bey Logan to make a movie with him. Bey came up with the concept and wrote the whole script. The film was named "Chinese Heart." The story was about a white man who always had dreams and images of assassins. He had a heart transplant from a Chinese male donor. But unfortunately, the bottom line, the film never happened.
The last story involved Steven Seagal. He wanted to do another film so he came to Hong Kong looking for talent and met with everybody under the sun including Jackie (Chan). Through word of mouth, he was told to check out Donnie’s work. He loved it. They talked and had it going. He flew Donnie in and took care of him in L.A. Steven Seagal respected him, talked to him, took him to his house, and never said bad things about him. Unfortunately, that film never launched. The next thing was he did another Leslie Cheung film as an action director.
1999 saw Yen take a new turn when he became the first Hong Kong Chinese film-maker to co-direct a German TV series, flying to Berlin to make “Codename: Puma.” The pilot episode was barely beaten in the ratings by the 8 o'clock news (which has held its time slot for thirty years' running). Eventually, Yen directed 8 episodes during the series' successful run.
Then one of his best friends in L.A, Curtis Wong, the publisher of Inside Kung-Fu magazine, heard that Miramax was looking for a new Chinese martial arts actor, and he showed them clips of Donnie. Luckily, he got a call asking if he wanted to be in “Highlander: Endgame”.
 

After signing a three-picture deal for Dimension Films (a division of Miramax), Yen made his first movie for them, “Highlander: Endgame.” While the film’s stars are Christopher Lambert and Adrian Paul as the Highlanders, Yen was action director and played a featured role as one of the conflicted Immortals. In the beginning they sent him a preliminary script, and he genuinely couldn't see who he was supposed to be playing. The main villain was a European role, and that had already been cast. They promised him that they'd be re-writing the script to create a character for him, and that they wanted his input. Everything they promised they delivered on, which is rather unusual in Hollywood
In the film, the main villain is an Immortal, and he has five other Immortals of different ethnic backgrounds working for him. There are four guys and a girl. Donnie’s character is called Jin. He worked with the director to develop a back-story for him where he's this actual historical character, an assassin who tried to kill a Chinese emperor centuries before.
He has two main fights in “Highlander: Endgame”. He worked on the choreography of his scenes, and even the camera positioning. The cinematographer, Doug Milsome, worked for Stanley Kubrick on “Full Metal Jacket” and “Eyes Wide Shut.” He asked Donnie for some help in shooting the martial arts action. Yen was really impressed that Doug had such a humble attitude. In the end, it was a good collaboration and that's why the fights came out so well.
Donnie feels that amongst the Hong Kong actor imports, Jet Li was lucky enough to bring in his own team. Donnie isn’t sure how Jet got his way, but he actually had people from Hong Kong shooting his stuff. That's very important in making sure the quality is under control. Unfortunately Donnie didn't really have that kind of freedom in “Highlander.” Luckily he has a lot of experience, both in working with different circumstance and being... diplomatic. He choreographed everything in the fights. He kind of manipulated it to the point where they could not really cut up the shots. The idea was, 'let's choreograph fundamental, basic movements.”
It was a kind of strange environment to try and bring that performance to the screen. But, at the end of the day, he saw the rough cuts and it looked all right. It was basic, but it was purely relying on the performance. He did two fights. The beginning fight scene where he beat up some people and a fight with Adrian Paul. It is very well shot and it is actually the best part of the film. Donnie “shines” so much that he draws more attention on him than the real stars of the film.
The director of photography often had to tell Donnie to slow down. All the people on the set were acknowledging his performance with their mouths open. They called him 'One-shot' or 'One-take' Donnie. They said that he was the fastest man they had ever seen on the screen. He realized that's the way to go especially if he was going to launch a career in the US. He had to get recognition; he had to get the hype going. He had to use the nature of his talent, which was his martial arts ability. “Highlander” changed his life because it was actually the first film of the three-picture deal he had with Miramax. Since making the film, he has relocated from Hong Kong to L.A. He was really excited about getting this opportunity, and he is going to make the best of it.

2001 saw Yen's Hong Kong classic “Iron Monkey” released in US theatres nationwide, bringing his earlier work to a new audience. Meantime Yen was already working as action director on “Shurayuki-Hime” (The Princess Blade) which took him to Japan, and the Wesley Snipes’ movie “Blade II: Bloodhunt.” With “Princess Blade,” Yen broke new ground by delivering his signature style in a Japanese produced film with an all Japanese cast and crew. The movie's been so popular that the producer now plans “Japanese Angel” (working title) for this summer, which Yen will direct. For the Hollywood produced “Blade II,” a martial arts vampire movie, Yen also has a cameo as Snowman, a samurai vampire who's "cold as ice." In Mainland director Zhang Yimou's “Hero,” he is reunited with Jet Li as co-stars in an action period piece and in which Yen plays an honourable assassin. Next Yen will co-star as the villain in “Shanghai Knights,” the latest Jackie Chan vehicle, also with Owen Wilson, a sequel to “Shanghai Noon.”
Donnie’s saga continues. He is young, talented and ambitious. We strongly believe that he could be the new martial arts mega-star. Unfortunately even the best fighter cannot fight his way to Hollywood success. Hollywood is full of talented people but there also are a lot of ignorant and prejudiced people as far as martial arts are concerned. We at Fightingmaster.com wish him all the luck! He surely needs it.

Donnie & Bruce Lee

Donnie Yen: " Bruce Lee  was the greatest."

According to Donnie Yen, Bruce Lee was definitely ahead of his time and is one of the greatest Chinese figures, more so than any of the leaders or historical legends. Bruce Lee has been a big influence for him. It was an interesting twist of fate that he shot some photos with Shannon Lee (Bruce’s daughter). When he gave her a hug, it was as if he gave half his mentor a hug. It meant a lot to him because when he gave her a hug, he felt this was something spiritual; he felt this certain energy. For years, he had looked to Bruce Lee as a mentor as being a Chinese man living in the US. He was such a pioneer for his time. He was really a larger-than-life personality, more than just his martial arts ability. That itself alone gave Donnie a lot of motivation. He wouldn't dare put himself in that level of achievement. At least he was trying to follow the same path, and trying to contribute to the knowledge.
“Bruce Lee is the man,” Donnie insists. He believes that no one comes close to him and he doesn't think anybody ever will. He thinks it is because of the kind of environment he grew up in, and all those elements that made up Bruce Lee. Unfortunately that kind of environment is hard to find as the world gets more complicated There's too many things to do in the world besides practice martial arts - it's not like the old days. Although Donnie didn't know Bruce personally, he has read about him, and has studied all his books and teachings.
According to him, Bruce was /is the greatest. We couldn’t agree more…

Donnie's debut as a director

 

 

 

 

 

Legend of the Wolf

 

Despite Yen's exceptional martial arts talent, he chose the less travelled path that led to his big-screen directorial debut with “Legend of the Wolf” in 1997. As apparent in the film and his television work, Yen's primary goal he says 'is to stir emotion in the hearts of the audience. Without that, there's nothing.' Many filmmakers can make things bigger, more complex, and more violent, but Yen wants his films to touch his audience, for them to take away with them 'tears, romance, and memory.' Though shot for a lot less than half a million US dollars, because of its unique style the film earned critical acclaim across Asia, and was particularly well-received in Japan where Yen became a cult icon among young film fans. “Legend of the Wolf” (a.k.a. “New Big Boss”) has since been distributed all over the world. Part twilight zone, part gang tale and all martial arts, “Legend” serves as an elegy for a time when kung fu movies reigned supreme. Yen himself stars as Man Hing (also known as Wolf), an aged former hitman who tries to dissuade potential clients form killing. Events are glimpsed in a series of flashbacks as a young man who has lost his memory knows only to wait for his lost love. Experimental camerawork and energetic rhythm can be glimpsed in this movie as well as his previous TV series.
“Legend of The Wolf” took 43 working days to shoot, which is quite short compared to Hollywood films. One of the difficulties of Yen trying to become a director was that for years he had been recognised as an action actor. Getting recognition as a director was the dream of a lifetime but he had to make it happen by himself. So he had to work on a very limited budget and try to make the best film he could. “Legend of The Wolf” was a low budget film but Donnie was hoping that when he earned that recognition, then the investors would invest more money and then he would be able to make something on a much grander scale.
With "Legend of the Wolf," he was too ambitious. He wanted the whole world. He wanted to express his anger, his desire, and ambition. He was ambitious in trying to express himself as an artist and as a fighter. He had done so many films and if he was going to direct a film and go back to the same pattern, the same editing style and choreography, he could not compete with Jackie Chan, Sammo Hung, or Yuen Woo Ping. It wasn't the lack of confidence or knowledge. It was the simple fact that he didn't have the budget. He had to find a way to identify himself. He chose to be creative with the editing; with the way he shot the fighting. He wasn't concentrating as much on the technique probably because the audience had seen it all. If in a certain film you throw 3 kicks in the air, what's it going to be next time? That's why people probably got tired of Van Damme because he is doing the same thing every time. Donnie had to make a really bold statement with his vision. Some people thought he was totally crazy with "Legend of the Wolf" with the cranking up the speed of the fighting. It was fast cut and they couldn't see it clearly. The conservative people in Hong Kong were very confused. Speed is basically a feeling. According to Yen, “If you can see it; it's not the ultimate speed.” A lot of the action directors say that the action has to be clean in a movie. However, Donnie thinks that his films do not need to be like instructional tapes. We have seen him doing 30 movements and the whole kung-fu forms in "Drunken Tai Chi". In “Legend of the Wolf," he just wanted to take the audience to another level. He wanted to give the viewers the satisfaction of watching martial arts films. His intention was to have them walking out of his films still shaking with these images, dreams, and nightmares. He wanted it to be ‘so damn fast that they would not sleep.’ He believes that he served his purpose and the martial arts approach. As a first time director, however, he was overly ambitious. He wanted to tap into philosophy; he wanted to compete with Tsui Hark; he wanted to prove that with a limited budget, he was just as good.


 

 

 

 

 

 

Ballistic Kiss

Having shot “Legend Of The Wolf” in what remains of the Hong Kong countryside, Yen made his next film, “Ballistic Kiss,” on the 24- hour streets of the city itself. Where his first film had focussed on martial arts action, “Ballistic Kiss” featured some of the most imaginative gunplay sequences ever committed to celluloid, accompanied by his signature kicks and daring editing. The film's score was composed by famed Japanese composer Yukie Nishimura, who volunteered to work on the project having been inspired by watching Yen's debut film, “Legend Of The Wolf.” Both films depict romance caught in the line of fire, and both give free reign to the unique visual style of one of Hong Kong's most exciting young directors. In “Kiss” Yen stars as the hitman Cat, who loves from afar. The film was shot for less than half a million dollars and under enormously difficult circumstances, yet Yen delivered big bang for the buck in a series of hyper-kinetic action sequences, along with arty camerawork and romantic lyricism. The film was not only a success with Hong Kong film critics but Yen was nominated for the Best Young Director Award at the 1998 Yubari Fantastic Film Festival in Japan and “Kiss” has been selected for screening at many other international festivals as well.
This second directorial project was very difficult to film. According to Yen, there were a lot of problems with that film in terms of the script, dialogue, acting; but most importantly there was a lack of budget. When he looks at this film, under those circumstances; the environment and lack of support, he admits that his willingness to pull it off despite all of that was surprising. After he made "Legend of the Wolf," they came back to him and wanted him to shoot more of those hard-core martial arts films; but he refused to do that. As a director who has a vision and dream, he wanted to do more modern films. His whole approach was going to be a whole English dialogue film. The first day he had problems with people speaking English, so one day he had to stop production entirely to translate into Chinese. It was a difficult process with all of the slang, the elements, and the structure since it was based on Western thinking. Switching to that local flavour was hard.
After a week of reconstructing the film, he realized he was filming in the middle of the Asian stock crisis. The money that was promised to back up his film was cut off so he had to invest his own money. That was the biggest problem. He was dealing with a catch 22 situation. As he was going into production, he was dealing with a money shortage, dealing with whether he should stop the whole production and call it off in order to not let it get any deeper. However, he was concerned that if he stopped production it would ruin his career as a director and people in the industry would no longer take him seriously. Everyday he was dealing with that type of situation, and at that point he was just wondering what he was going to do with "Ballistic Kiss?" Fortunately, he decided that he should go ahead and use his own money. He had done some films he did not really like so that he could make some money and back up his own film. Some scenes could have been shot better, but the reason he couldn't enhance it was that he didn't have the money. He tried to close the gap by putting a lot of time into editing because that really didn't cost much money. When he was editing, he was trying to cover up the problems with the film. He was very strong, determined and stubborn. He just wouldn’t have people laugh at him. He was going to make the best film possible regardless of the material that he lacked. He didn't have enough shots, enough footage and certain things were not right. He forced it out. He spent hours trying to make it as smooth as possible, pulling the right elements of music together. At the end of the day, he saw the film and he thought, "This is not a bad little film here." The next thing he knew, a couple of months later, someone from Japan called him to tell him that he had been nominated. Yen said of the experience, “Sometimes you have all your expectations in one thing, and they don't come out the way you want it. Sometimes in the worst situations things turn out to be a whole lot better than you expect.” Having gone through all these processes has made him a much better filmmaker. Now he can understand everyone's perspective: the distributor, investor, actor, producer, and writer. He knows how to handle all of them.


“Legend Of The Wolf,” “Ballistic Kiss,” Yen's television work, and his action choreography have earned him the reputation of being a focused filmmaker who has a vision and can bring it to the screen - but also as one who can keep within budgetary restraints or reliably work under pressure when there are bumps in the road. He never storyboards and, like John Woo, carries the film in his head. A good observer, he says that when he walks onto the set, he can take in the scene and determine which shots should go where, what angles, how actors should move. And Yen himself, ever passionate about his work, is moving on.
Donnie is very happy that the feedback for “Legend of the Wolf” and “Ballistic Kiss” is so positive because he worked very hard on both of those movies. He may not be totally satisfied with the films and although he would like to make them better, he believes that it will come with time. Anyway, expensive production is not everything. Talent is everything and passion in the heart of the artist. As Donnie says, “When you watch my films, you're feeling my heart.”

Donnie Yen’s Five Rules of Martial Arts Mastery

Excerpted from Stephan Berwick's "The Evolution of an American Martial Artist". Appearing in the June issue of Kung Fu Qigong Magazine


1. Turn your basic movements - regardless of style - into perfect jewels. If you accomplish this, you’ll have a good chance of becoming an advanced practitioner sooner than you may expect. Like good WuShu or even western boxing, extreme basic training is the only real secret for excellence.

2. Train your body athletically. Probably the most lacking aspect of modern practitioners, your overall physical condition, regardless of style - internal or external - is crucial to sustain long periods of often painful training.

3. Emphasize "fa jing" in your techniques. Top Western boxers exhibit fa jing as much as top Asian martial artists. Start with traditional Chinese styles to learn this crucial use of energy.

4. Strive for versatility and a wide exposure to different disciplines. After some years developing a specialty, force yourself to obtain at least intermediate skill in a few other styles completely different from yours.

5. Train for both combat and beauty of movement. Contrary to popular belief, a serious practitioner can achieve excellent fighting ability while looking fantastic. Always remember that top western boxers are as engaging to watch as contemporary WuShu athletes. Don’t be scared of one or the other.


Author's Byline: Stephan Berwick is a Washington, DC based martial artist who was mentored by Bow Sim Mark and studied under Zhao Chang Jun and Bai Wenxiang in China with Donnie Yen. After working in Hong Kong films for two years for Yuen Wo Ping, he became a disciple of Chen Taiji Master Ren Guang Yi. Mr. Berwick can be reached at stefanb@erols.com or at 703-820-4319.

“Fist of Fury” TV series

 

After the new wave of traditional kung fu films came to an end, Yen turned to the high-pressure world of Hong Kong television to develop his directing skills. He starred in and directed the action for two top-rated shows, “Kung Fu Master” and “Fist of Fury.” The former follows the story of a righteous martial artist, Hung Hei Kwun, during the subjugation of the Han people during the late Qing dynasty. The latter was inspired by Bruce Lee's 1971 classic “The Chinese Connection” (directed by Lo Wei), which is set in 1930s Shanghai in the international concession during the Japanese occupation. Others had taken on the Bruce Lee role of Chen Zhen, including Jet Li, in Corey Yuen's “Fist of Legend.” Now it was Yen's turn. His 30 episode series for Hong Kong's ATV allowed him the time to flesh out a back story for featured characters and narrate events leading up to those depicted in the earlier movie. He also quoted all the scenes and images audiences knew well from Lee's original, such as Chen Zhen, dressed in a white suit, mourning at his master's grave, or the hero taking on the Japanese dojo, encircled by Japanese fighters. He not only experimented with different styles of action but with camerawork, editing, soundtrack and chroma key effects, suggesting an epic sweep for these characters' lives. Romance, intrigue, and drama became key elements in Yen's storytelling. And it is Yen, not Jet Li, that Asian audiences call 'Chen Zhen' when they see him on the streets.
Deemed ATV’s most successful action series, “Fury” is Yen’s homage to his real-life hero Bruce Lee. It recreates the classic scenes from the original, and more astonishingly, captures its spirit. The fight scenes are amazing. Yen begins by drawing from traditional martial arts style action - linear blocking and movement with all the moves seen - as in the series’ opening sequence in which the Chinese martial art schoolmasters are gathered together to discuss their situation. However, as Chen Zhen develops his martial arts skills, the action becomes more and more daring and experimental. In an innovative fight with a villain played by Hung Yan Yan, for example, Yen draws inspiration from “Dragon Ball” and “Natural Born Killers.” Another outstanding and inventive scene takes place during the Japanese dojo fight in which Chen Zhen returns the signboard delivered by the Japanese to his school (the signboard is an insult, describing the Chinese as ‘the sick men of Asia’). In this version of the story, the Japanese are supported by the crime boss’ son, who delivers the sign to the Ching Wu Academy.
 

Yen knew he had to include this classic sequence from Bruce Lee’s “Chinese Connection” and in doing so, he shot the fight from an aerial view - a top shot - just as Lee had. A shirtless Chen Zhen stands out, encircled by the Japanese fighters and taking on all comers. However, Yen improvised the scene using not only his own team, but numerous enthusiastic extras who were instructed only to come in at him with all they had. Thus, through a combination of camera, energy, music, and Yen’s martial arts abilities, the sequence is daring and immediate, again demonstrating Yen’s ability to improvise with kung fu despite the rigid forms training of classical Chinese martial arts. In another amazing scene, Chen Zhen takes on a Japanese swordsman, himself using nunchakus in free flow movements, showing the genius of Yen’s action choreography. Also taken from Lee’s movie is the dramatic graveside scene in which Chen Zhen mourns his master. Yen’s scene occurs in the pouring rain as Chen Zhen falls to the grave and claws in anguish at the unearthed clay. It’s a gut-wrenching, emotional moment. While the fight sequences are inventive and exhilarating, for those who want drama and romance, this is the place to find them. This series features Donnie Yen at his best.

 

Donnie Yen 's Hong Kong films

 

 

 

 

 

 

 

Yuen Woo Ping

 

At 19, en route back to the US, he made a side trip to Hong Kong and was introduced to film director Yuen Woo-ping, the action choreographer for 1999's “The Matrix.” Woo Ping, who had launched the career of Jackie Chan in “Snake in Eagle's Shadow” and “Drunken Master”, was looking for a new kung fu movie hero. In Yen, he found his man and so began a new journey.
Donnie did not have any acting experience at the time. He had always been a big fan of Bruce Lee but it had never crossed his mind to become involved in movies. Yen first worked as a stunt double in “Miracle Fighters 2” before he was cast in ”Drunken Tai Chi.”
Yuen Woo Ping’s "Drunken Tai Chi" was the last of this kind of martial arts film. The market would no more allow such lavish productions. "Drunken Tai Chi" took 8 months to film. They would spend 1 month on a single fighting scene. In our days, most filmmakers spend 2-3 days filming a fight scene. Donnie had that training, the hardcore training that Jackie Chan had. He wanted to quit after the first month; it was so abusing both mentally and physically. These are the kind of things he had to do. He got up at 5:30 am and would fight all day. Literally, fight all day. He'd throw the same kick or the same punch over and over again. That kind of shooting would carry over to 2-3 a.m. and he would be hiding in the corner trying to get some rest. Yuen Woo Ping would call him over and say, "Let's continue the same movement that we were doing at 6 a.m." It was totally brutal on every actor’s body and Donnie had several injuries. That was total training for him. Later on his career, it was much easier. It was very primitive back in the old days, in terms of camera work. So, it was based purely on physical performance. Woo Ping would place the camera on wide shot and the actor got to do it. He had to be perfect. Later on in other films, where the camera was more sophisticated, Donnie would have maybe 5 moves instead of 30. "Drunken Tai Chi" was hard. There were movements that were humanly impossible but to Yuen Woo Ping, anything is possible. He would push Donnie’s limit to something almost inhuman. If Donnie jumped off a table and did a kick and stand on his right leg, Woo Ping would suddenly ask him, "Could you do it on your right toe?" That was the kind of expectation, the kind of requirements he had. With that kind of training, Donnie Yen was very fortunate because it helped him build a strong foundation. "Drunken Tai Chi" climaxes with an amazing final fight. Woo Ping recognized Yen's extraordinary physical abilities so their series of films together led to a new direction in Hong Kong action cinema. He would later star in other Woo Ping vehicles, and with each, his progression as a martial artist and actor is there for all to see.

 

Tsui Hark

 

The sophistication of the Martial arts film industry began to increase due to so many years of filming in Hong Kong. Proper editing and more carefully written drama replaced just shooting raw fight scenes. Other aspects of martial arts filmmaking such as lighting, wardrobe and music suddenly became as important as the fights themselves. Period martial arts movies returned to Hong Kong action cinema with director Tsui Hark's hit “Once Upon a Time in China 2.” Tsui, looking for the ultimate opponent for Jet Li (who had starred in the first movie), chose Yen.
The scene in "Once Upon a Time in China 2" where Donnie fought Jet Li was a whole lot easier than any scene in "Drunken Tai Chi." They shot it in 3 days. Basically, Yuen Woo Ping was like "Do this. Do that." Tsui Hark placed the shot and then they went at it. Indeed, Yen and Jet Li engage in two duels that have become classic action sequences, and in both, Yen creatively choreographed the movements, inventively using a rolled wet cloth as a weapon. He was also nominated for Best Supporting Actor at the 1992 Hong Kong Film Awards in recognition of his “Once Upon a Time in China 2” performance. The film firmly established him as a Kung Fu movie star.

 

 

Other Hong Kong Films

 

He went on to appear in such highly regarded productions as “The Butterfly Sword” with Michelle Yeoh, “New Dragon Gate Inn” with Maggie Cheung (a remake of King Hu's classic), and the cult favourite “Iron Monkey”, in which he plays Wong Key Ying, father to the young Wong Fei Hung. In “Iron Monkey,” Yen staged the well-known Shadowless Kick scene in which he fights renegade Shaolin monks, one of the most influential martial arts scenes of the decade. His versatility in the martial arts, so apparent in the “Tiger Cage” series, easily carried over into the period martial arts movies, demonstrating once more that he is 'master of all genres.’
Inspired by his idol, Bruce Lee, Yen not only explored a wide variety of different fighting styles, he also created his own unique martial arts system. His progression in the martial arts is paralleled onscreen by the assimilation and combinations of various martial arts styles displayed. Starting as early as “Drunken Tai Chi,” his immense physical capabilities were evident. In the “Tiger Cage” series, Yen showed his versatility with Western kickboxing. “Iron Monkey” showcased traditional kung fu style, and Yen's memorable performance as Wong Key Ying made the movie one of the most influential martial arts films of the decade. Here, he glorified the kung fu style of Hung Gar. Ironically, Yen explains he doesn't know Hung Gar but credits his ability onscreen to his martial arts philosophy. Throughout his film career, he has never stopped training and his martial arts have never stopped developing. The mental and the physical have become one, and the more elevated his art has become, the more Bruce Lee's philosophy has meant to him. Master of all and none, Yen has been involved with martial arts for so many years now that he doesn't really analyze them too much anymore. Basically he agrees with what Bruce Lee said, that ‘as human beings, we all have two arms and legs, so there can't really be many different styles of fighting.' Every style of martial arts has something to offer.
We will not cover all of Donnie’s Hong Kong films. We would just like to say that they all have interesting and exciting fighting scenes, even the ones that were cheap productions or had rather foolish scripts.

His Movies

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Director Credits

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Choreography Credits

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