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Donnie Yen
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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. |
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Childhood Years
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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. |
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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. |
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Yuen Woo Ping
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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. |
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Martial
Artist of the Year |
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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.
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Back in the
US. |
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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”.
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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."
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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
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Legend
of the Wolf
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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.
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Ballistic Kiss |
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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
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“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.”
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Donnie Yen’s Five
Rules of Martial Arts Mastery
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Excerpted
from Stephan Berwick's "The Evolution of
an American Martial Artist". Appearing
in the June issue of Kung Fu Qigong
Magazine |
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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. |
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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. |
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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. |
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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. |
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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. |
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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 |
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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.
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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. |
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Donnie Yen
's Hong Kong films
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Yuen
Woo Ping
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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. |
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Tsui
Hark
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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. |
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Other Hong Kong Films
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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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