Chan, between Hong Kong and Hollywood

In the this Chinese greatest interview star of the moment it speaks about police New story and of its new films, it puts to comparison the production of Hong Kong with that hollywoodiana one, describes its martial formation and the training that follows today, what is important in a combat scene, what means to be stuntman and an other anchor

of Mike Leeder

Is difficult to believe that they are passed more than venticinque years from when Jackie Chan smashed in on the screen like star of classics in the innovation of the cinema of the martial limbs like "the snake to the shadow of the Aquila" (Snake in the eagles shadow) and "Drunken Master". Chan has carried the freschezza in the kind and while its star dulled in Asia during years Eighty, did not obtain the international happened one until late years Ninety, when the spread of one new edition of its film of Hong Kong "Earthquake in the Brox" (Rumble in the Bronx) sbancò botteghino the American and prepared the road for its true succeeding hollywoodiano one in film like "Rush hour
- Two wandering mines" (Rush hour 1)"Rush hour - large Blow for Drago Red" (Rush hour 1)"Chinese Bullets" (Shanghai noon) and "Two knights for London" (Shanghai knights). 2004 have seen Chan to make return to the cinema of action of Hong Kong like star and producer of police New story, a magnificent film of action that has sbancato botteghino the Asian end from its breaking in in the circuit. We have caught up Jackie in its office of Hong Kong for this interview, that it touches the past, the present and the future.
- Jackie, congratulations for the happened one to the botteghino of police New story. After to have in the first place passed the last years working to your hollywoodiane productions, it is beautiful to see to make return to you from trionfatore the cinema of action of Hong Kong; "Thanks, but I want in the first place that it turns out clearly that I have not never turned the shoulders R-al.mercato Asian and to that one of Hong Kong. I will not never forget that he has been the public of Hong Kong to accept to me, then that one about Taiwan, Japan and therefore via. It is my films is same I we have had much happening in Asia, much before that on the market American and that international one they knew who pits indeed. I cannot and I will not never forget my Asian market and the public. "Even hour, after to have turned many films ` hollywoodiani', I have not still used the way American to make film, (laughing) in particular the way American in order to make a film of Jackie Chan. "If my films considered Americans, also those of happening like the series Rush hour, Shanghai noon and Shanghai knights, are not to the hundreds for hundreds in the style of Jackie Chan. Even with Shanghai noon - you know that in order much time I have had intention to make a Chinese film of cowboy- I have given the script and the idea to they, and have adapted it for the public ` hollywoodiano' or ` internazionale'. Many of the ideas of my history have varied, have not never listened me. "In America there is a great number of producers of the present film on the set while it is turned. They have various methods and various rules in order to make film. And some of the producers and the investor do not know the job method indeed, if of they are simply in their office watching the figures, do not understand as one is created truly film. They are stopped to the ` budget', the ` programma', and is all. Some of they do not make case null' other, provided that the figure increments, do not make attention the quality. To times there are producers on the set that say ` Jackie to me, you must end oggi'. That me power of attorney much pressure and grattacapi, in order to perhaps make a film American goes well, but and a film of Jackie Chan is wanted to be made is much difficult one. "every Hour time that I end a film American return to Hong Kong and make a film of Hong Kong, but I have tried to proceed in way a po' various. After ` Rush hour' they are returned and I have made Gorgeous (In escape for Hong Kong) and ` Accidental spy' (Accidental Spy - Spy for case), but even when I have worked to film like ` Accidental spy' and ` Who am I ' (Without name and rules) and above all ` The medallion', all tried of diregermi in order creating films adapted R-al.mercato international, the same investor pushed to try to make ` film to me internazionali'; but, simply, every time does not work. "While we wrote ` Rumble in the Bronx' (Earthquake in the Bronx), we have been many lucky people for the magnificent way in which it has been received from the public not only in Asia, but also in America. But it has only worked in that occasion, we could not continue to make film in the same way, and to double the dialogue, the public American not chip ax the doppiaggio, and you know that our scripteriter is Chinese, also its way to think is Chinese. The director and same I assume many aliens, and when the dialogue is the moment of giving they, we indeed give it essential elements to they, ` that what you are watching, maledizione, ehi, you! You come here, here our way to see. Sure while we turned ` Rush hour' the scripteriter and the director did not think it never in this way. But while we worked to a film to Hong Kong also for the market American, we have not never caught up the better English dialogue, like for the scene of ` Rush hour' in swimming pool, where I have copied those that Chris Tucker was saying the individual that it wanted to be struck with me. We have not never written null of similar, we did not know if it were amusing or not. Which type of dialogue we have always written when we employ foreign actors? ` Stop! They are a policeman, a six drug dealer, you stop to strike to you with me, chase it, you kill it! Aid! Thanks for the aiuto'. "Task to speak English well, also some my directors like Stanley Tong (`Rumble in The Bronx'), Gordon Chan (`The medallion', ` Fist of legend') speak well in English but they are not English or Americans. Some scripteriters have studied in America or United Kingdom for ten years. They say to all ` Conosco the America, I understand the culture americana'. Not! They do not completely comprise the culture American and the sense of humour the American. In the same way some western scripteriters will write things on Hong Kong or China, in way much various one from as they are indeed. E' necessary to find the best scripteriters than every market, scripteriters Americans for films Americans and viceversa ".
- To my opinion one of the greater problems of your films of Hollywood is that they do not make yes that Jackie Chan is Jackie Chan! "I have always tried to convince the directors and the producers Americans of the fact who if they want to make a true film of Jackie Chan must make yes that he is indeed such, not changing null. Hour we begin to realize it, and want indeed to make film of Jackie Chan the way of Jackie Chan, but all it depends on the synchronization, and the rules that are usual to follow. Based on their style for a dialogue scene it is possible to turn for five days, but for one action scene only two days! Interesting what is that they will turn the beginning sequence of a combat, and then will interrupt and they will ask me like making to carry out the end of the combat, then we will turn the end of the combat and will pass to the dialogue scene, and later on we will complete all the dialogue; perhaps then it will be able to be returned behind, to the action scene, in order to resume the lacking sessions, perhaps but hour we have only two days for filmare the entire scene of the combat! And even if we cannot end the resumptions with the section centers them of the combat. We have the beginning and the end, therefore it is also possible to project the film! "Mike, you know that the action sequences are more difficult of the dialogue. But the producers and the directors Americans often do not understand it as far as films of my kind. E' always an annoyance for me, not is enough time in order to turn what I want, not is sufficient equipment. E' a po' difficult for me when we turn action scenes, above all if compared to as we turn the action in my films of Hong Kong ".
- I have spoken with one about your formerones about controfigure Andy Cheng (Us seals 2, The scorpion king, The rundown) R-with regard to working to Hollywood and has said that it has been a true fortune for he that in its first film level American the director Isaac Florentine has comprised the necessity of having of the time in order to turn the action and it has given the opportunity to it to make it. Since then Andy has worked constantly, but sincerely it is convinced of the fact that this film, even if minor, has given the chance to it to demonstrate those that could make, since has been given indeed an opportunity to it in so far as. "Exact, it is necessary to understand as to realize the action, when an action film is being turned! You know Brad Allan (Gorgeous, coordinator of combat for Peter Pan and Chronicles of Riddick) of my team, when she has become director of a film, exactly knew when it is necessary to frazionare the times, ok scene of dialogue in two days scene of action in five days (laughing). Here as we can produce good scenes of action ". "But of these times all studios the Americans give job to the directors who turn video trade them and musical in order to make film, therefore do not know like working with the action. And the responsibility of the film must be assumed and answer to the study and not to me, and to satisfy the house of production and the producer, solos then will be able to continue to work on the film. To times the director is not indeed the director, the producer directs the film. You are turning and the producer seated close to the director places questions, ` When you end? Task that for this scene is sufficient. We do not have more time, we must be moved for the next scene, catch up the next one ambientazione'. And the director must make those that she says herself, (shakes the sbigottito head) is indeed, indeed sad, is much difficult one for me to make film Americans. I could have said ` That what imports? Whichever thing you want that make, I will make it! Already they have been pagato'. But my way is not this to make the things, holds to my films, my only attempt is to make good films ".
- Task that the fact that you always have been proud of your job and has employed the necessary time is one of the reasons for which your career has been therefore solid: it is begun in 1978, year of ` Snake in the eagles shadow', and hard till now. Six never not fallen in the way to produce film "in series", turning mechanically tito it after tito it, until ten in a year, as many have made other Asian actors us. You have always taken time for your plans so as to to catch up the better quality; and, like found to the botteghino for police New story, it is the just thing to make. "Task is a coincidence, because if I have decided to return to Hong Kong after that we have ended ` Around the world in eighty days' (the turn of the world in 80 days), has been because single therefore I would have been in a position to making one ` police New story'. They are returned to Hong Kong because of it it earned the entire film. "I have created one new society, the Jce movies limited (situated Internet: www.jce.com.hk). Thanks to me hour someone means to invest money in the cinematographic industry, if they are been involved will help me to consolidate the society, that it will have me like producer. I have said of yes to someone like the businessman Albert Yeung, that great society to its shoulders has one; I have much support, it is not a great risk for me and we can stimulate the young generation. "we have made therefore the first film for the new society: ` Enter the Phoenix', directed from Stephen Fung, with Daniel Wu in prominent role and we have begun to work on a second film, ` Hainan chicken rice', with Martin Yan like protagonist! Therefore Benny Chan, director for a day, arrives and us delivery a script for a police film that it wants to make, I listen to the history and task that the main role is not adapted to Andy Lau (Infernal to affaire) or to Tony Leung Kar-you make (The lover), are I, Supercop! Initially the budget for the film was low, but speaking about the plan I convince myself that it could go well for me, task that can constitute one challenge; we come to an agreement ourselves in order to work with to the film, but it must change pochino a script; (laughing) you know that varied always the script, and sure also the budget is a lot increased. "While we turned the film, I thought to that what could render it more effective and better. I watched myself around in order to choose the acclimatizations of the film, I wanted that it was a film of Hong Kong to the hundreds for hundreds, therefore cannot go in other Countries; but as far as me, I have indeed turned ovunque to Hong Kong. Then we have authorized to turn the end to the Hong Kong convention center, that it was a new place for me; By now for me it is difficult to find places new because in past I have turned therefore a lot to Hong Kong. You know, if I go in an other Country, like when we have gone in Holland for ` Who am I ', I see the highest palace with the slanted facade and that me inspires the idea to turn the scene here in which slide down from the facade of the palace, therefore has been one chosen fortunate that one to turn to the convention center. "Then we decide to render the action scenes extend, and use still the double-decker, as we have made for it originates them Police Story, but this time boys to edge are not I to block to a bus with some bad ones you, are a bus in full escape of passengers. "the public of Hong Kong has given indeed a good answer to the film, and has made yes that I realized something in my country after that in all these years turned and I had acclimatized my films in other Countries. Persons who have a culture of Hong Kong love to still see film of Hong Kong. To moment, since in China there is a great market, much persons write script think always next to China and if same China will allow that the film is rendered public, changes part of the history in order to more render it consona to the public Chinese. In this case it will not be more a film than Hong Kong. Hard E' like a dietetic one, is not those that the persons want indeed. Therefore with ` police New story', we have made a true film of Hong Kong and the answer from Hong Kong, Singapore, Malaysia, Thailand and China has been indeed much good one, the botteghino and the impressions of the public have been indeed astounded to you ".
- Creed that we must return once again on what we have said, that your films have always caught up a sure level of quality. The persons have confidence in the fact who, as they know, a film of Jackie Chan is a quality product. "I want to show the public that is still Jackie Chan, even if to times I have tried to make something leggermente various, they are still same me and I can still make the type of film that they want to see. To make a film is a gambling, you never do not know if it will be happening or not. Memory to have before spoken I with you that Rumble in the Bronx' exited ` and has thought that perhaps would have had happened in Asia, I did not know that she would have gone therefore well in America and on international scale (laughing). Also with ` Rush hour' I was not sure of as the persons would have reacted, until it is not exited, and we have caught up the first place! "E' a gambling, to times tasks that this film will be a large one happening, and not it is, to times not tasks that the film will work and the public appreciate it indeed, you know that some films will render only money, because in the cast there are ` idoli' of the moment, or the history are popular, but later the persons will not appreciate it equally. E' always an incognito to make a film, is much happy one that is piaciuto ` police New story' ". - From police New story to memory originates them Police story... when the first film has gone in production: many would have intentional that the successive understood one it in the series constituted originates them Police Story, that it saw like protagonists you and Maggie Cheung. You have always spoken to make understanding it final in which you would have married, in the course of a travagliata history, the one who that in the series is your girl, Maggie Cheung. "I do not know, is one good idea! (laughing) Perhaps a day, before withdrawing, I will return behind and make end to me, a police Old story, in which I could marry the personage of Maggie. Because it originates it them ` Police story' has been one of the films that me have rendered famous, this series me is much beloved. I put very of same me in these films, turn many crobatic dangerous scenes, some actions much good ones, have many memories of when I have interpreted these films. Yes, perhaps to the end, I will marry Maggie and carry a.termine the series with a famous one lieta ".
- You offer a strongly dramatic interpretation in the film. You attract the attention of the public since the principle, that it sees a Jackie illividito and maltrattato Chan that lets to fall on the pavement, in order it are not struck in combat, but outside of himself from the desperation and for the drunkness. It was an idea that came outside while you turned, in order to take unprovided to the public? ", it was not in the script originates them that Benny Chan gave to me and is one of the things that me are piaciute, many expect that the beginning of the film is endured us fists and soccer, a great scene of action, and instead we begin with me that I fall drunk on the road, not a drunk happy, but obviously unfortunate. Immediately the public asks itself that what is happened, ` because he is in those conditions ' Then the flashback begins, on com' I was when I had my group of Supercops, and was the great hero, and then we show those that has gone storto ".
- Task that the director Benny Chan has made a job much bond, working with you in changing the nature of your personage. In passed task that some directors have tried to vary your personage while they turned film with you, and to times it has worked in the mistaken way. Benny has seemed of all the ready one, developing with you a Jackie Chan much various one from what the greater part of the public has seen. "Task is nearly time to change, must grow, show the public that I know that they are older, it is one of the reasons for which the script appeals to to me. I do not expect of being the young policeman, also when they are shown in happier times, I am still reciting based on my age. I want that the persons can see those that indeed I can make, many think next to Jackie Chan solo like to an action man, want to be an actor, not more only one star of action. As I can continue to always fight in order, they are not young, (laughing) I have cinquant' years!". "I want to make film in which I interpret only a recited role, nothing action! This film has given a good one to me chance to show this aspect of me, and hour there are a pair of other directors, included Yee Tung-shing (Cest the cheri ways Mon, hero Peoples), than they are themselves revolts to me with more plans than dramatic kind of which they are much content. I want to be ` a Robert De Niro', ` a Dustin Hoffman', want that one knows that they are an actor, I can recite in roles of action, commedie and serious roles, show that they are an actor to all round, that she can make some combat (laughing), if this is come to an agreement to the history. "To the day today anyone can fight, sees that in Internet there are many men of action, I see their photos and the video, and some of they are extraordinary, are incredible some of the movements and the actions that are in a position to making. While all can fight and enough, for me it is not more enough, I have need to have a good script, a good plan constructed around the action, is not like before, when the public wanted to only see the action, like in old films of Hong Kong, combat, combat. Hour is various. "there is a sensational plan that hour we want to realize to Taiwan between some time, I am exactly waiting for the director. Task that is enduring many pressures, rewrites the every script moment, trying to improve it. It is not in our normal style, we have an idea and we go to turn, this man cures the contour details very, than type of dresses it wears, because it wears them and therefore via. I speak with the director, I say it that I understand that wants to prepare all for the perfection, but to times it can too much be. I say that it appeals to the first drawing up to me, sure it appeals to to me, it is like one joke: when you make it for before the time is amusing, but if it continues to repeat it and to repeat it simply... some do not make too many trying in order to obtain the better version to you. When we were turning some of the scenes of ` police New story', when I had to cry, I made or two resumptions and I asked if the resumption were good, if therefore we could go; having to repeat the scene, resumption after resumption, I lose the emotion, it is not more spontaneous, it appears too much simulated, it is not truer, to times you have need of the taken one directed in order to obtain the real emotion ".
- In some way tasks that can be the problem that has some directors like Wong Kar-wai? It can employ five years making, resumption after resumption, turning, then abandoning how much turned one and recommencing all from head, and to times you lose the freschezza of an interpretation. "C$r-with regard to Wong Kar-wai task to know the problem, all make reference he, deal it like if he were the king of the cinema. E' like when I have seen for before turns films of Akira Kurosawa like ` Seven samurai' (the seven samurai), remained some so hit. But the critic happened one can make to feel it a king and then it succeeds in to ask what can make better in order to be of the last time. That renders much hard one to progress, because tasks too much. Here how much is happening with Wong Kar-wai, is a such pressure on he in order to better make the ` of the meglio', therefore it turns a scene, it see again it, it watches it, it decides that it does not go well, turns it of new, and still and still. Task that although this way exists still to filmare, rifinendo continuously the film, to times is necessary to make a step ahead. Good E' but wants the maximum, anch' I me is asked times if I had made the best that I could, if perhaps I would have had to try an other resumption. But hour it makes part of the past ".
- you refer to the days of "Dragon lord" (Dragon Lord - the two cousinses), when you have made therefore many resumptions of the scene of fly, and to "The Young master" (the fan white man), for which you have made something like 300 resumptions for the scene of the fan? "Exactly! (laughing). It is continued to try to obtain the perfect resumption, which is the best one? For many years me always they are asked, trying one resumption in more in order rendering all perfect. But I have begun to understand that to times it is sensato to proceed in this way, but often is not necessary if that moment is good, if it picks up the energy, the emotion that you want for the sequence, and then is sufficient. You know, if I say to me ` in più' is not in more, are others ten! Hour I have experience, for all these years have been rather fortunate to have had the support and the support of society like the Golden Harvest to my shoulders, with the attempt to support me for how much it concerns the time and the engagement that I invest in films. Task to have made a good job, but to times yes, I pass time too much trying to render all perfect, to times good is good. "the amusing thing is that hour the films child's step in fast way therefore, especially with the public Asian. To the escape of police New story enough I was taken care, I believed in the film, but I attended of knowing if the public would have accepted it. I wondered if they would have accepted this type of history, the fact that I interpreted this kind of personage. They want to only see Jackie Chan that it is struck? E' be a great relief that turns out you to the botteghino has been good, and that the public has accepted me in this role and this type of film. "But slowly slowly the public has begun to accept the changes in Jackie Chan, with ` police New story', great part of the public was a lot surprised to see to me in a dramatic role, and also more surprised of the fact that pits in a position to interpreting scenes of this type. Then the public returns with the memory to some of the others my film to mainly dramatic character, like ` Crime story' (Crime Story - Inspector Eddie Chan) and ` Heart of the dragon' (Heart of the dragon - the first mission), and thinks ` Wow, Jackie knows indeed recitare'. But if I continue to only make combat sequences, then the public will forget that I know to recite, will think that it is all those that Jackie Chan can make, to fight, to jump, to make acrobatics, to fight still (laughing); Here because I think that to be a Jackie Chan it is more difficult that to be Tony Leung or Maggie Cheung. Because they are not only an actor, I fight, I make acrobatics, I interpret the commedia, I direct, I prepare the witnesses, how many things in a film! And they are indeed content hour, of the fact that the public Asian has accepted to me like actor for this film.
- the scene that it has indeed hit me, without to reveal too much of the film, is when you rincontri with your girl, interpreted from Charlie Yeung. E' one scene indeed touching. "During the resumption of the scene, it did not know that I was in order to cry during the scene. The director has given beginning to the action, I have begun to sing for she ` Happy birthday' and at the same time I have begun to cry. And also you tasks within of you, must leave that the public knows that you are crying, but is still singing them the song of good birthday; you must hold to attends sliding of the tears and the broken off voice. Difficult E', is not only the fact to have begun to cry (Jackie hides the head lowering the look on the writing desk), is the easier thing, but it is to try to sing while it is cried not knowing that what to say or to make when you see your fiancèe. E' a shock for the public, also Charlie and Nicholas Tse, that they were in scene with me, indeed did not know like reacting, what it is looked at in the film is their more natural reaction since they did not know indeed that I was in order to cry. - When I have spoken with Yuen Wah (connects above all of Jackie to the school of the Work of Beijing, famous for its job like crobatic controfigura of Bruce Lee and for the roles from bad one in ` Eastern condors and Dragons forever'. They are said to me that there were many various things that could be made, that the public one had to still see all those that you can make. The fact is that the public stretches to fix a concept in the mind, Yuen Wah is always the bad one, Sammo Hung is always Bravo boy, and Jackie is the hero of Association of Bologna. But it has put in relief that all we are able a lot more. "Here because to times it is necessary to surprise the public! The great public is like that one of films western, he does not understand because in Asia Sammo or Chow Yun Fat also they are known for the roles of commedia beyond that for action films. The persons have an idea of you, and if you are not careful it is those who will always think about you. Like when I have begun my cinematographic career and have tried makes me to become the new Bruce Lee, it has not worked until have not left that pits the first Jackie Chan! You must show the public that is many sfaccettature of you in how much actor ".
- Hour, as we have had way to deepen, from one dramatic performance much fort in the film, but you still express one action performance much good one. I do not want to seem discourteous, but hour a six cinquantenne much juvenile one, you think that it is the much hardest one to express itself in the within of the action? "Yes, they are a cinquantenne! Sure it is harder than before. When I was young, whichever thing you wanted to make, to try, you could make it, you would not want to think more to the risks than then. Hour when turn an action I must think to us a little more, which is the angle-shot? I can jump down from three meters of height? As mine goes ginocchio, fatemi to try from 1,80 meters before and to see as my legs resist. I can still make it, I must only be more careful. Even if, remaining firm too much to along, it is possible that the ankle begins to gives me of the annoyances. Hard E', but since I love the action, same it pushes to me to go, to try. Perhaps if pits today sure that for the future I will not make more film of action, then I could not train to me more, to have time for rilassarmi, to watch a little tv. But hour I am still making action, after the interview I will return in arena to train me for a pair of hours. But, indeed, task that is to make film of action to maintain to me young ". - Six anchor in amazing shape, you have an age in which the greater part of the persons they are expectant to slow down. But it still seems in technical condition in order to obviously fight and six in a position to putting to sign of martial limbs and counterattacks, like always. Which it arranges of training you follow in these days? "Today my training is much various one. It is not like in past, when I had need to make practice of the shapes and one particular style. Hour instead I make many exercises of soccer and fist, and a lot jogging, is more important. I indeed do not have need to work on the power, I do not have to spread someone with a single fist, and job on the speed and the synchronization, I do not raise very many the weights, I make attention those that I eat and I drink, much similar race, exactly, and things ".
- We can make a short reference to your previous experience in the martial limbs. You have made sfoggio of one immense range of styles and techniques in the course of the years. But not task that many know indeed what you have studied and which you can consider like your style of base. "Sure my formation to the Work of Beijing is a base much fort for the ribaltamenti, soccer, the handling of the crews, the positions: many of my movements are retaggio of the years that I have passed studying in this school. But I have practiced to many other various styles in the course of the years, karate, taekwondo, hapkido, pak mei (kung was of sopracciglio the white man): this last style appeals to to me indeed! I have learned tai who, the shapes of the five animals, kickboxing, and a lot boxe western. But they are not a master of no style, I have learned many martial limbs for films, but they are not dedicated to one style to me in particular. If you asked to make an entire shape to me of a style, not task that I would be in a position to making it, I do not succeed to remember it to me. I can make a little this, a little that one, in the years the techniques have stirred entirety, hour is like a chop suey (laughing)!". "While you make film, you must indeed know many various styles, possess many different abilities. It is not like before, when Shaw Brothers said ok, we are making a film just on the fanatical style ` of the pugno' and all had to only make hung gar (popular style of the south of China) for the entire film. Therefore what you must make, you cannot continue every time to manifacture fanatical films for us of the hung gar. Sammo watches, also to he it appeals to to a lot wing chun (the other popular style of the south of the China rendered popular from Bruce Lee that practiced it in youth) and has made ` Warriors two' and ` The prodigal son', is a pair of years between a film and the other, but it is not possible to continue to make film with the same style of martial art. E' necessary to find one combat style that functions with the history. "Watching on Internet all the artists who make action cinema, I can say that the greater part of they is not true martial artists, they use the martial limbs stirred to the ginnastica. Some of they make ribaltamenti and deliver fists to the perfection, succeed to make indeed incredible games aerial. "I want indeed to invite some of they to work with me, but I must think to as I can insert them in a film, as I can use them in a combat scene without that they seem ridicules. As two persons can fight on the road if they make and incredible flying soccer only capriole, she does not have sense! Difficult E', I am not criticizing their abilities, are persons in a position to delivering soccer and making ribaltamenti better than me, but it must that there is a history that is lend, something that concurs you to use this action. "you have seen the film French ` Yamakazi' (Yamakazi - the new ones samurai)? With the acrobati ones that they run and they jump up and down from the walls and the palaces? According to me it is adapted to a pursuit sequence, can run on the walls, be dived in the windows, be swung on bamboo scaffoldings, and use all that in order to escape to the bad ones you. But it is much hard one to construct an entire film around to this, I try to think next to the scenario and to as I can take advantage of their abilities. Perhaps I would have to only make the director and to assume them to work like interpreters in the film, to indeed show their abilities in the just way, could be fantastic ".
- In the last years the style of Hong Kong to realize the combats has begun to appear in films Americans, tasks that understand the just way and the time adapted in order to use them in one combat scene? "beautiful E' to see that they have learned from we, that they are using crobatic actions in the style of Hong Kong. But to me he seems that they use them too much, I want to say that we use this type of movement like technique much powerful one or to the end of a combat, I hit to you with a fist or a soccer in which I have instilled all my power, and you make and endure the blow with one spectacular reaction, up in the air, and bang! You end to earth, six ended. But I see many films Americans, in which they carry out these crobatic reactions, they end hardly to earth and then they are raised and they continued to fight. You reduce the effect of this found scenica if it uses it too much. They employ the same reaction for every thing, do not think next to the reason for which it is useful to make it in that way a determined movement that it can provoke it.
- Than what tasks of those who use the traditional Chinese martial limbs on the set of some films acclimatize to you in modern age? "Task that seems much strange one in a modern film, if there are guns and automobiles, that they try to use styles of traditional martial limbs in one combat scene. It seems classic too much, too much old style, so that we use more modern styles, fists, soccer and projections if it is a realistic film. It depends exactly on the situation perhaps, if it is commedia or a scene of combat not too much serious, then I can play with the person with which I strike myself, a fist or a soccer even attacks me with and can counterattack and bloccarli using something like the style of the snake or that one of the drunk (laughing) If it is therefore, then the public will accept, understands it the situation and focuses the history ".
- In police New story we have seen you to work with to the new generation of the star of Hong Kong, included Nicholas Tse, that she interprets your colleague, and Daniel Wu (Around the world in eighty days), Andy On and Terrence Yin in the role of the bad ones you. While Andy and above all Daniel has experience in the martial limbs, similar to the intensive formation that you have received to the Work of Beijing, it is a problem to work with the new actors and attrici that do not have strong bases or experience in this field? "the greater problem is created when they must fight with me, all shake (laughing)! The new generation of actors does not have the same bases that we have I, Sammo, Gordon Liu and artists of this level. They do not understand the necessary rhythm and the synchronization when one is turned combat scene. Many of they do not have indeed bases in the martial limbs, and also those that of it they have, also they do not succeed to pick the synchronization, that it is indeed important when combat scene is participated to one. You have present when I have the two scenes of combat with that type in Daniels gang "
- Andy On, that it has toed make one's debut in "Black mask 2". Indeed I was hit from the progress that has made from when the slid year has appeared in the film of kickboxing Star runner. Hour faces you for two times in the film, good ones is two scenes of action much but I have noticed that for some of the more complicated and spectacular actions it was replaced from one of the Korean members of your team of controfigure, Park Hyun-Jin, otherwise famous like Mong Cha Cha. "Then you know that it is Mong Cha Cha? Hour Andy is in a position to fighting indeed, knows like delivering a fist or a soccer, knows the kickboxing. But it and the others do not understand that when we turn an action scene it must pick up the rhythm, work themselves with other persons in synchrony, in order to do good it. Therefore I have taken Mong Cha Cha in order to replace it for some of the synchronizations, and also in order to carry out some combinations of soccer much good ones. Memory when I was making ` Wheels on meals' (the mystery of conte the Lobos), Sammo and we have shown to Benny Vital Urquidez and Keith the times and the rhythm of the combat scenes. We have struck a rhythm with the hands on the legs for giving the idea of as we wanted the scene to turn, and at first have been surprises, then have understood what we were making. A combat scene does not regard only a person, you and various adversaries could be you and an antagonist or, and must understand the times and the rhythm. perhaps "To times you must push to me, you are bloccando my movements and that makes me to turn, but if it blocks to me too much hardly like in a real situation, that slows down my reaction, so that perhaps you must give one small push in order to allow me to me to turn to me in speed. If I am striking myself with our controfigure, Nicky Them, Brad Allan, Mong Cha-Cha, Paul Andreovski, Ken Low, is easy. We have worked entirety in order much time and training a lot to us entirety, so that we are accustoms the uni to you to the times and the rhythm of the others, we know like overwhelming the separation, to respect the choreography while it is turned. Daniel and Andy are both good ones, have upgrade them but they have need more time, greater training, at the moment the choreography of combat of the style of Hong Kong is too much new for they. "I have fought with many good martial artists much, some of they are champions of the World, but not always they understand exactly how much can be various to fight in a film regarding the true combat, and that what can cause problems. Memories high the western actor of the end of ` Who am I ' "
- That it would have to be superkicker the Dutch Ron Smoorenburg, that has worked with Yuen Kwai in ` Avenging fist' and with Donnie Yen in the series of tv German ` the Der puma' (the puma, gone in wave on Raidue). "E' he. E' indeed Bravo in combat, watches its soccer, is much beautiful. It has the flexibility and the true movements, but to that time its synchronization was not therefore good. It did not understand the rhythm of the combat, that it is necessary to both because is succeeded to obtain the same rhythm. You have seen the cuts, true? While we worked entirety I have known that it was its first film, and have supposed that it was under pressure, but has employed much time in order to truly understand the necessary rhythm for the combat scenes. Here because I have used a controfigura for some of the action scenes, not because he was not Bravo, you can see that she is a true martial artist, but in that moment it was not in a position to understanding the film.
- Watching today the team of controfigure I give Jackie famous Chan that more is not only composed from stuntman of Hong Kong. Your number two, Nicky, come from Hong Kong but almost all the rest of the team comes from China, Korea and also Australia. It finds the fact that frustrating there is a such deficiency of martial artists and controfigure prepare to you to high level today for Hong Kong? "the entire cinematographic industry of Hong Kong has been found in recession for a moment, is going better but it is not fort like was usual to be. Memories when six come to Hong Kong for before the time, all were making a such film number, but hour all is much more content, and for the greater part draft of productions with limited budget. There were always many stuntman much good to Hong Kong, but hour ce they are not neanche far how many ce n' were, many of they have abandoned the activity because not there was enough job. And hour not is a true one and own new generation of controfigure of Hong Kong, nobody seems here to want itself to form and to become stuntman. You go in China or Korea, also in America, Australia and England, there are more persons who attempt in martial limbs and ginnastica, and learn many of the techniques necessary in order to work to Hong Kong. Sad E', least persons to Hong Kong seem to have the time or desire to study martial limbs or the job of controfigura, many of the stuntman of old date, as I have said, has left the activity, hour has a various job. For this we have shortage of stuntman indeed characterized, and those that are here are becoming old, but we still have need to use those that are. But where we can find one new generation of stuntman? I cannot find them to Hong Kong and I address persons of other Countries, Korea, Australia, and above all China. The eighty for hundreds of my team come from the China and task that could more be in future. Here where it is possible to find persons that they are trained to high level, they want this opportunity and they have the ability to make how much is necessary that mine stuntman makes. "To the old times to Hong Kong martial limbs were studied, but hour they do not have more this interest. Young they do not want to dedicate of the time or to strain itself to study martial limbs, they want to find something that money in short time renders they, want an easy life, and they do not wish one life of hard job. And to be a stuntman is a job much hard one, must learn as well as and to make therefore many things, you must learn like fighting and answering to the attacks, you must learn to recite, and acquire many other abilities. If a six stuntman for Hong Kong and I ask you to jump outside the window and to go to the downstairs, you must make it. If you say to me that a six controfigura, for me is necessary that you are able to make many things, you cannot only be a kicker, you must be able to make many things various. If you say that a six stuntman and I ask you to make something, you must make it, even if not six sure one to the hundreds for hundreds of being in a position to making it in the just way. "it is not like in America, where there are a great number of stuntman that they are only specializes to you in or two particular techniques, you must only make great falls, an only six stuntman that ago acrobatics with the cars, or the fire, you only occupy of ginniche actions or reactions to the blows. Our way is not this to work, if a six stuntman, above all of my team, you must be in a position to making whichever thing. E' one of the reasons for which it is therefore difficult to find persons to Hong Kong with the ability or the will to learn to be one stuntman. E' sad to say it, but task that the days of the true ones stuntman of Hong Kong is passed for a long time ".
- you have often spoken about this, and have pointed out of having interest to open one officially Jackie Chan stuntman training school, school of formation for controfigure. "I am thinking indeed. I want to open one school that standards like being a bond stuntman, to all round, and a good interpreter. It is not enough to only know like being a stuntman, is necessary to know as to make the choreography, to plan, to choose the equipment, as to react and as to recite. I was a stuntman and have become actor and star, therefore also Sammo Hung, and Yuen Biao. We are all stuntman, and we are succeeds in to make things to you larger. Here because we have learned many things and we have gone ahead, we have learned to fight, to make acrobatics, have learned to recite, to make choreography, we have learned which angles-shot of the television camera are adapted for determines movements to you, we have learned like curing the realization of one film. We have held eyes and opened orecchie, this are a lot important. "Therefore I am indeed thinking to open one school in China in order to teach to all the aspects of the being one stuntman and a coordinator. I want to open the school to students from all the world, from China, Japan, America, Europe, ovunque. "I think also that if all, with different bases, from various Countries can come with learning something, will begin also to understand the others and their culture, it is a lot important. It must be able to understand various cultures and to communicate. "For productions turn to Hong Kong only trades them, we have a director American and I have used Brad Allan of my team like stunt coordinator and coreografo of combat for the film. Even if we turned to Hong Kong I have chosen Brad like coreografo. The necessary abilities have all, it has begun to work with me to ` Mr. Nice Guy' in Australia, and has worked in my films from then, was the main combatant in ` Gorgeous', has much talent and it is much given over one to its job. It has always intentional to learn, always it has been given to make and it is this that it appeals to to me, I try to push it more and more ahead. I have understood soon that it could make the job, has worked in some films Americans, ` Peter Pan' and film of Vin Diesels (`The chronicles of Riddick' and ` The pacifiers' tata Mission) like coreografo of combat and coordinator, and in this period I have carried it to work to this plan to Hong Kong. The abilities have all and can also communicate with me and my crobatic team in English and Chinese, and sure it can also directly rapportarsi to the producers Americans. Initially I have thought that some would have been surprises when I would have said that it had to make the choreography of this plan, but when we have stopped to turn, all were a lot hit from how much had made and it was much satisfying of my choice ".
- At the moment you are making a short pause from the working of "The myth", an action adventure that has re-united to you with collaborators accustoms them, Stanley Tong that previously has directed to you in "Police story 3: Supercop "and in" Rumble in the Bronx ", than what you can dirci with respect to the new film? "`Around the world in eighty days' it was above all a commedia, then I have continued with ` police New story', that it is the much most serious one, is a more dramatic film, more left, with action, therefore was thinking that I would have intentional to make something of various. In ` The myth', I interpret an archaeologist of the times today, but are also scenes acclimatized in the remote past, in which interpret a general. I have thought that it would have been a challenge to interpret two roles, the last time I have made it, in ` Twin dragons', but he was more similar to a commedia of action, I have interpreted the two roles more in order to laugh. But this time is much various one, and to me it appeals to to work with Stanley. They are always trusting when job with he. You want to know if the film is good? , you must well say it to me when you see the film, watches The medallion, when we have begun that film we had many expectations, but to the fine ones it was disappointing. Therefore as I have said, you never do not know the outcome of a film until does not exit ".
- Of recent your son Jaycee Chan it has made its income in the industry of the show of Hong Kong, with a prominent role in "Twins effect 2", in which you have made one appeared cameo, giving beginning to its career of singer. You have encouraged Jaycee? "Not! I do not have never intentional that entered in the show, I have always intentional that became a doctor, a dentist or a lawyer, here that what I wanted that it made. But he has decided to try this career, I do not know if he is because he possesses mine dna and he has it in the blood, therefore is trying. But more he is interested to the musical aspect of the job that to recite, he knows to write music, to compose its same songs, and loves to sing. Perhaps but other directors interested to that are many it makes more film, therefore will recite more in future. But hour is growing, so that I leave that it tests things for if same, if wants to make it, then can try ". - Which is your opinion with respect to the film happened one in language Chinese, like "Crouching tiger, hidden dragon" (the tiger and dragone) and than the more recent ` Hero', to botteghino the American. Which thing tasks of the happened one of these films on the international market? It does not find frustrating that your film as ` Drunken master 2-The legend of drunken master' (Drunken master 2) never has not been immessi on the market in language originates them, have had instead one spread limited in changed it version doubled and with tito. "Me it renders happy to see that the Chinese films go well to international level. Sure me it would be piaciuto that ` Drunken master 2' went better. Not task that the distributor knew indeed like commercializing the film then, but task indeed that a lot of this job must be made with technical timeliness and of the market researches. Task that to the day today the entire world is becoming more narrow when it makes use of films. I want to say, watches what is happening: the films Americans have much happening all over the world, the Korean films are become to you popular to Hong Kong in the last years, therefore Asian films are beginning to to have succeeded botteghino the American and European, sure this me renders happy. But it is not from much time that is going therefore well. ` Crouching tiger' laughed them to four years ago, and ` Hero' has been distributed only recently in the West. Task that the time between the distribution of two films has perhaps helped, has rendered the more interesting film for the western public, if they had distributed to too many films in Chinese language of this type one after the other, then task that the public would have ended in order to be bored a lot fastly. But distributing just films to the just moment, with the just marketing, you can have much happening. That demonstrates that there is interest for the Asian culture, but not task that will never have the universal callback that the films Americans have all over the world, where has two hundred or three hundred films distributed in every every Country year. They must be selects with cure for to have happened to you. Task that is the same thing with actors or Asian attrici who work in America, the issue is to find the just plans while we are in America. Above all for me, Jet Them, Chow Yun Fat, is much hard one to survive in America, has one choice limited in the United States. I do not know how many scripts me have been offers from the America, but in many of they my personage is the same one, the policeman of Hong Kong, the Chinese policeman, the killer of Hong Kong, the killer Chinese, even if some of the scripts are good are not like if Stephen Spielberg it came from me to dirmi ` Jackie, have this called film The terminal, can make it for me ' Not, the persons do not approach saying to me ` Godfather to me Two (the godfather leave II), six perfect one for questo'. They are reduced to the type of role that I can recite, anch' I I know to speak English, not perfectly, but I cannot recite in the role of a Chinese American, my English and my accent is not adapted to this. If pits be in a position to speaking to a perfect English like Daniel Wu or Michael Wong, that they are indeed Chinese Americans, if had been offered something to me like The terminal could have made it. But it is not therefore, they would have had to write the script for me on purpose, and have their idea of the type of role that I could recite, will not render me justice with a script like that one of Kramer against Kramer, or ` The terminal' or Castaway with Tom Hanks on its island. Also when the great study in America wants to make a film with me, it calls ten writers in order to develop the history, and in nearly all they are a policeman of Hong Kong, a Chinese policeman, a killer of Hong Kong. How many scripts like this for me, Jet Them or Chow Yun Fat. But hour I understand, if Tom Hanks had come to Hong Kong and had chosen to work here, how many scripts could have developed that they were adapted he, like policeman coming from American or killer from the America. Perhaps after one or two years it would have intentional to return in America and to wait for a good script, here that what I am making. They are returned in Asia and I will continue to make my films my way, if returned from me with a good script for me, like ` Rush hour 3', then ok, I will return behind and make an other film for you. In the meantime I have much to make here ".
- my final question could be: which thing is of new for Jackie Chan? There will be other plans to Hong Kong or a return to Hollywood with the just plans? It seems that "Rush hour 3" will be in via of development for some time, will be the next film of Jackie Chan? "we are touching classified issues (laughing), for me is easy, I have indeed appreciated those that the films ` Rush hour' have made for me, therefore I can work to the program who regards them, but we are waiting for Chris Tucker. Task that has many interests legacies to the script and to the way in which the things they have been defined for the film, as far as me, I know that it is a film American and if they are ready to leave, I can make it. I have many other plans and things of which taking cure to me, if it is terlo ` the Rush hour' then well, I can find the time in the within of my planning in order to make it, if we are not ready then ok, I have much to make here. I have a film with Yee Tung-shing, the dramatic film to Taiwan, I am developing an historical plan with respect to the famous Chinese general that I would have had to make the next year with Stanley, but we must end ` The before myth'. I want to interpret various personages in every film, for ` The myth' my personage is a po' like what I have interpreted in ` The accidental spy', are a Common Man that is found again been involved in an adventure. For the film of Yee Tung-shing, I interpret a personage more spiccatamente dramatic, like for ` Rush hour 3' (laughing). E' ` Rush hour 3', all know that type of personage I will interpret and the type of things that will happen in films ". "These are my next film plans, and in more I have all the others my interests of transactions of which taking cure to me, my restaurants, my lines of apparel, and the accessories. They are engaged also when I am not making film, does not appeal to to me not to have nothing to make, so that I try to keep itself engaged (laughing). Perhaps a day I will have wants to only put to me comfortable and rilassarmi, but not now ". Thanks to Jackie Chan in order to have found the time to speak with me. Special thankses go to Willie Chan, Solon So and Dorothy Wong for their collaboration in predisposing this interview.

Mike Leeder is one writer, producer, occasionally an actor, and a martial artist, resident to Hong Kong. E' editor of room to Hong Kong for Impact the magazine (www.martialartsltd.co.uk), writes also for the reviews Screen power and Jade screen. Mike has worked like producer and adviser in a number of documentaristici plans, included David Carradine: To martial arts journey, Art of action: martial arts in the movies, accommodated from Samuel L. Jackson and Alternative rock n' roll years of Discovery channels. E' be coautore of 100% Jackie Chan: The essential companion and works like film adviser for a great number of society of dvd of the Far East. Reperibile E' to the email: bigmike@sammohung.com or through the situated one www.hongkong-store.com