All language subtitles for Kung.Fu.Stuntmen.

"Kungfu stuntmen" is a traditional term
from the opera troupe

specifically, the cantonese opera.

The term was also used in film later on.

Here in Hong Kong

we are called "stuntmen."

"Kung fu specialists"
are called in mainland China.

Let me emphasized that

we are "action actors"

because we do act in the films

the entire composition of stuntmen's
a cinematic industrial demand.

Most martial arts in Hong Kong
are Beijing opera and gymnastics.

We tend to introduce qwn troupe fellows

into the business.

Our community is relatively small.

Kung fu stuntman
don't fear getting injuries

but scared of talking
in front of the camera

our generation is
more able to suffer a little, really

it's all hardcore.

Ready, 1,2,3!

Cut!

Grab here

like this.

Bang, bang

wave and block.

Ready, 1,2,3!

For me,

I've known very little about society.

Things such as finance, stock and etc.

I know nothing but film.

At that time

we were trained in
profession by opera troupes

who have skill set were needed by film.

Our predecessors moved

from mainland China to Hong Kong.

The film industry was transforming
while we entered the field.

People like us fitted in right away.

When China was invaded by Japan,

most of the Peking opera teacher

migrated from north to Hong Kong.

Siu-tien yuen, siu-loi chow, ching-liang
kwan, chui chung-hok, han ying-chieh

all the masters from
various Peking opera troupes

followed Jim-yuen yu
all way down from Shanghai.

One of the well-known pioneers
was master siu-tien yuen.

He merged Peking opera
expertise of martial arts

into our cantonese style.

Apprentices should practice how to
fall down before learning other skills.

It's my training style.

Peking opera performers speak the mandarin

to be frank, only a few people here
would appreciate it.

What else can they do?

Nothing but teaching.

Children grew up in poor households
like us would choose to learn it.

Simile as that.

A group of apprentices were well trained

such as sammo hung, Jackie chan

yuen tak, yuen wah, etc.

They all became action directors later on.

In Hong Kong,

there were four
Peking opera schools back then.

Madame chu-hua fen
was one of the instructors.

I started learning Peking opera at age 10.

Stephen tung, Austin wai

mang hoi and John lone

master ti tang as well.

Tang ti was my master.

My fellows were siu-tung
ching, kin-kwan poon,

Alan chui and sai-gwan yeung.

And master shing-chi ma.

We grew up in master shing-chi ma's school.

We might be the very first generation.

Basic training lasted for 3 years.

Regardless of the roles:
Sheng, Dan,

everyone practiced
the same set of basic skills.

Headstands, split kicks and back bend.

So the basic requirements were all alike.

After that, masters
would evaluate both our quality

and appearance to
decide the best role type,

whether wusheng,

wuchou Or jing.

Master jim—yuen yu trained
a group named "seven little fortunes".

In our school,
we were called "nine wonder kids".

We had two extra.

Here was the back door of our school.

Back then, the whole class came out

and gathered here around 6am.

We practiced headstand,
back bend and swing.

30 minutes is the
minimum requirement for headstand.

Some of the senior students

we're even capable to
maintain the same pose for 1 hour.

Stephen tung was one of them.

We began to be trained
strenuously at age 7.

I can say that

we study very well

most plays can be done very well

the four opera academies,
China opera school

China opera academy,
spring and Autumn academy

and oriental opera academy

where it all began.

No job after graduation because
Peking opera was a dead end

Master yu

staring from next week,

you no longer need to come.

In fact,

my master hated film.

He still committed to Peking opera.

Eventually, he accepted the reality.

He said "you're all going to
make movies in the future,"

there's no chance for opera.

As far as we concerned,
training was essential.

Whatever master had taught

benefits us till present.

Performing various moves in action films

we're depend on
our basis of martial arts skills.

It allows us to grasp the essence easily
and achieve what's asked for,

that also helps to build
a career in the film industry.

You might find it very odd,

folks were main roles
at school couldn't surive,

but the ones who played
the walk-ons made it.

I started acting when I was 14.

I've been attracted to it deeply

ever since I became a stuntman.

Finding a mentor for stuntmen is essential.

You won't make it on your own

rookies couldn't make it on their own.

No.19 pak hoi street was
where we gathered on workdays.

All stuntmen would meet up here

once we received calls.

Each film asked for

approximately 30 to 40 stuntmen.

When there were
7 or 8 films shooting at once,

the space was filled up
with more than 100 to 200 stuntmen.

Heading to Shaw studio by bus.

Here is Shaw studio.

25 to 26 days per month
was occupied at lease.

That was amazing.

My career took off ever since some action

action directors had noticed my talent.

When I mastered the back bounce,

I could get roles as double every day.

Back then

I experienced working full time for a month

with no breaks.

Those were the days.

All my fellow brothers were busy.

The daily schedule was filled with 3 groups

day, mid and evening shifts.

We switched roles
between stunt and stand-in.

Double each time was paid hkd 150.

I could double for three casts each day.

I spent most of time working
in Shaw brothers studio and found out

people called me "shadow queen".

Why?

Because I never had one chance

I onto show my face.

The entry salary for
stunts was hkd60 per day.

The general price
increased later except mine.

Sammo hung suffered more.

He was too fat

to make a stand-in.

Double Lydia shum was the only opportunity.

We could earn hkd2, 000
to hkd3, 000 monthly on average

when common rate of salary was hk$100.

So I could easily afford
a new car less than a month.

It's easy to see 250 cars
line up outside of Shaw studio,

it took 1.1 kilometres to reach the end.

Free your imagination
and guess how much we were paid.

Kung fu movies
were based on the similar concept.

The fight scene lasted
close to 10 minutes...

We had no choice.

Battle fights were
alike musical scenes in bollywood.

However, repeating
caused aesthetic fatigue over time.

So I started to wonder
how to develop later on,

then, here was Bruce Lee.

His style was a bit like bushido.

The atmosphere was rendered
impressively to highlight the scene.

But the whole fight was
finished by a blink of an eye

within only a couple of moves.

Golden harvest film
wasn't optimistic about the big boss.

Come on!

After the film was released,

audiences went crazy.

Flurries of applause, we were all shocked.

Instantly, I felt Hong Kong's
kung fu films entered into a new era.

He Studied in u. S.
And came back to Hong Kong.

His kung fu style was more practical,

different from ours.

We were more deceptive.

We fought like dancers on stage.

Quite dramatic and mechanic.

When Bruce Lee was engaged,

he took charged in action directing.

He criticised and modified the old school.

He demanded all our stuntmen

to meet his requirements.

How to react when your head is hit.

How to react when your belly is attacked.

Totally revolutionised
our performing style.

There are two kinds of roles,
leading and supporting.

Actors in general played primary roles

and we had to support them in their roles.

It's like dancing.

1,2,3,4,5,6,7,8

you have to count the time
and move or fight accordingly

50 out of 80 stuntmen followed this way.

They took turns passing
in front of the lead actor.

When the lead actor "killed" an enemy
and moved forth his hand,

you should shout out concurrently

that means you were "killed"

why were there many shouts

in fighting scenes as you can see?

In fact, "shouting" meant to
signal the beat of moves.

Sometimes the actors
forgot where they should hit.

So stunts shouted in action

help to remind the actor

of what he should do next.

When you were knife,

a "blood bag" was carried.

Goofs must be avoided,

bloopers weren't allowed.

Therefore, stunts had to
cover the blood bag with hands

and let blood flow out.

We paid most attentions to the camera

and also were aware of its location.

If an actor walked to a wrong position

his double would make up foe it.

Each scene was completed and completed

each scene was Cooper and completed

they were actually a group of "dancers"

everyone worked in coordination.

The process was very happy and enjoyable.

The fighting scene looked different,

Bruce Lee improved our performance skills.

He really cared about us.

Bruce knew how important we were.

We all put efforts to fight for him.

Bruce came to seek practitioners.

We were rookies.

"Newbie?" Bruce asked, "yes!" I responded.

"What's your name?" "Ah wan!"

"Well, remember I'll parry your cudgel

when you try to attack
my head twice. Just do that!"

I followed his instruction.

And made the second move
right after he parried.

But he failed.

"Bounce", I directly hit head.

Bruce got mad and grumbled

"damn! I failed to parry the cudgel!"

Then he ran aside
and started to drink vitasoy.

How dare you cut Buddha's head.

We do not believe in god!

Bruce's diet was bit unusual.

Yes, raw beef, milk powder and egg!

Mixed all ingredients in
a blender and made drinks

that shake must make you feel powerful.

Bruce was very fond of yuen wah.

He would be pissed if yuen wah was hurt.

As he got self-injury.

Yuen wah was like his "better half."

When Bruce saw yuen wah somersaulting,

he would be overjoyed.

People used to call me "king of somersault"

we should admit that some people
were born with certain gifts.

We hung out with Bruce Lee in private.

He'll talk about his instruments

Bruce always invited us
over he found we were free at night.

He tutored and encouraged us

exercise in his gym.

He daily routine was about electricity.

It was impossible for us to stand,

but he was fine.

He could bear certain level of kilowatt.

Like level 7,

we couldn't even bear level 1or 2.

Bruce brought Hong
Kong films into Hollywood.

He made such a huge contribution that

he became the icon of Chinese kung fu.

If Bruce didn't die young

I believe he would guide
Hong Kong and Chinese action cinema

to achieve further accomplishment.

The sudden death of Bruce Lee
had shocked Hong Kong and the world.

Lee jun-fan, know
professionally as Bruce Lee

was born in San Francisco, usa 1940...

It happened during the
shooting period of game of death in 1973.

We were practiced under
his guidance in the morning

Bruce went back home at noon
while we were still rehearsing.

Later one, we got a phone call.

The person who called us
was "wu ngan", his Butler.

He said, "hello, Bruce just passed away."

Wow, are you kidding me?

We were all lodged in the hotel.

We thought it was a propaganda
made by the golden harvest.

The shooting just began,

how could they publicize
a rumour like this.

It must be some sort ofjokes
made by the propaganda department.

We didn't believe a word

until we arrived the hospital
one by one and found out the truth.

We'd already signed contracts

for his Hollywood plan.

There were at least 6 or 7 folks.

It was so miserable
that I couldn't tell my felling.

The most impossible thing just happened

and my brain went blank.

After Bruce Lee passed away

no action movie was scheduled;

no one dared to shoot.

It's quite ordinary in our industry,

10 years of prosperity followed
by 10 years of depression

probably from 1974 to 1976

there were only literature
and art films were made.

The depression lasted a while

and stuntmen confronted
various difficulties.

The table cloths of
cafes and restaurants

we're taken to public laundry.

We drove to deliver
and laundry all the packages.

I had once driven the unlicensed taxi.

After the death of Bruce Lee,

I was unemployed around 3 to 4 months.

I was even forced to sell blood,
about hk$100 for 3oocc

it was quite odd.

That action genre was
done for 5 years long.

Until sammo hung

and kar-leunglau aroes,

the market restarted to flourish again.

Kar-leung lau was a
"representative character"

he mixed authentic
kung fu foundation into films

because of his family
lineage of martial arts.

Kar-leung lau was the master of

hung ga.

We used to speed up
the frames to shoot the action

in order to make the
fighting scenes looked much cooler,

on the contrary,

we needed to slow
the frames to shoot master la...

Otherwise all his moves
were too fast to be seen clearly.

Hong ga is originally from

the southern Shaolin style.

Master lau normally designed
60 to 70 movements in one fight

which means the actors shall remember all.

It became even more dangerous
when real weaponry was engaged.

I recalled fighting against
Gordon liu in kar-leung lau's film.

I said, "avoid the real sword."

"No worries.
As real as it should be." Lau said.

Kar-leung lau requested to perform

with authentic weapons.

Other could totally
get injured if they missed reacting.

Kar-leung lau had always
demanded to use authentic kung fu

ever since he began to direct

all moves were accomplished
with enough strength

like punching into flesh.

Stuntmen feared lau's style the most.

Tik lung for example.

He practiced boxing from a young age

if he was told to hit, so it would be.

Stuntmen were
trained to avoid making real hits.

But tik lung wasn't aware

of illusive action

and hurt stuntmen unintentionally.

He would chase out the frame to fight
when "cut" was announced.

Because most of lau stunt team's members
practice real kung fu

at the time, he also
needed some skilled people

later, my younger martial brother,
hou hsia, entered lau stunt team

I worked in hung stunt team
before I joined iau stunt team

but master lau insisted
the authenticity of martial arts.

This is called 3-sectional nunchaku.

Sammo hung focused on variations.

I think he is the
most extraordinary action director.

Sammo hung made it in his early 303.

Back then, he had already
filmed numbers of classic works.

I guess it all started from
the iron fisted monk.

My style of action become popular.

After that,

movies such as snake in the
eagle's shadow Came out.

I don't care whether
people imitated mine or not,

indeed there was no such style before.

See-yuen ng asked me to be the director.

My very first time,

wondered how to make some unique?

It occurred to me that
Jackie chan was well trained

who had a good scene of humor.

Therefore I asked him
to star in the eagle's shadow.

The public feedback was quite positive,

then I directed the drunken master.

Thus, a trend of action comedy raised.

Master, so strong!

What kind of wine is this?

Sanbian jiu!

Good wine!

After Jackie chan made "snake in the
eagle's shadow" and "drunken master"

in 1980 he made the movie "dragon lord"

a lot more stuntmen participate.

Also began to are big scenes can see.

Jackie wasn't aware of himself.

Tending to Rick more
and more for making actions.

Especially after he starred
the big brawl

And the cannonball run In Hollywood

he realized the audience
could accept and enjoyed actions.

For instance, he chose to "upgrade"
Hong Kong films after he's back.

There was a move for me
to kicked by ing-sik whang.

And fell down from a height.

However, there was
nothing to lay on the ground.

They just scraped the ground ahead
to make the earth loosen up.

I was worried about being injured.

So, I suggested to skip the scene

and shoot in the end if it is necessary.

Out of my expectation,
the shot passed after 3 takes.

On the other hand, the most
challengeable shot was catching Jackie.

We tried for 15 takes.

Either we weren't in position,
or we surpassed it.

Somehow he fell down
before I was even up yet

but I still managed to
catch him many times.

But once I caught him on my back,
my waist was sprained.

It caused me lay flat in bed for 2 months.

We continued to design
more and more difficult moves.

Jackie jumped down from the top
of clock tower in project a.

He should fall from one
toward another on the tents.

No one knew about how much force
each tent would reduce from falling.

The evaluation was simply
based on our experience,

called out a stuntmen, Mars.

Because Mars's weight
was similar to Jackie.

If Mars didn't die from doing it,
then Jackie would do it himself.

Jackie chan didn't dare
to jump on the first day

so he came to me

for supervising.

I signalled in place:
Ready, action, and jump.

But Jackie didn't,

so I started to curse him.

Finally, Jackie let go and it's done.

Ah lung, are you okay?

I'm good, but I finally prove one thing.

To prove what?

There is truly gravity in the world.

Jackie chan intended to make improvements,

so his actions were changing all the time.

19808

it was the peak of difficulty
in Hong Kong action cinema

Jackie chan's acrobatic scene
in police story

Explained the local method
of putting the life to wrestle.

Nothing was added on in post-production.

The most impressive scene
I recalled was police story.

Stuntmen needed to
move through a running bus.

We designed to block it with a car.

When the bus slam on the brakes,

two stuntmen on upper layer would fall off.

It was an action that on one dared to do.

I said it's too danger

if there were paper boxes laying
we might be able to fall off.

If not, it was too dangerous to do so.

We weren't sure if the bus
could stop immediately.

People above just screamed

when the driver braked hard
and the stunts failed to fall as planned.

They pushed through the windows

directly in front of Jackie.

Because there was lack of impact force.

But the shot wasn't
officially filmed yet, what do we do?

Outtake Wasn't acceptable,
and it was pretty good,

so we just took it.

We were all amazed
after seeing this footage.

We did it

there were more than
a dozen members of jc stunt team.

7 of them did the action

and you weren't.

You should behave and say:

"Please, have a seat." During meal break.

Here was the former site of golden harvest.

The workshops were split in
a, b, c, d four buildings.

They were located on hills.

All of them were demolished
and replaced by these tall buildings now.

Most of films presented by golden harvest

were filmed on the
mountain right behind me.

4 buildings were filled with

1 or 2 productions.

Jackie chan and
sammo hung filmed most of time.

"Finished? My turn, construction shall

begin for my scene today."

Jackie and sammo often
competed for workshops here.

They were fellows trained by same master.

It was actually a good sign,
a healthy competition.

Jackie chan was the eldest brother
when sammo was absent.

If sammo hung appeared,
Jackie became the second.

They remained the same
since early childhood.

Each of them had found their own team,

such as Jackie chan stunt team,

sammo hung stunt team,

yuen woo-ping stunt team,

and lau kar-leung stunt team.

You were paid to serve your brother.

It's true.

I dare to say that

sammo hung stunt team was second to none.

Sammo hung stunt team

my standard was relatively high,

that's why many stuntmen
refused to participate in my films.

For example

sammo gave me a list

and said: "I need 10 stuntmen tomorrow,

make calls and gather them for me.

I got anxious,

because no one would come if
they found out it was for director hung.

I could tell your skills

and fully aware of

what are you capable of.

If you pretend to be
helpless, then leave it.

Remember to react after camera is rolling

sammo manifested all stunts' abilities

who was able to pick the right ones.

Whoever he asked for the action, just do it

or you would never be here.

If you know you can help me out,

you must do it

if it's out of your capability,
I won't even bother to ask.

This is my work method.

You couldn't cheat sammo hung

you say it's impossible.
He does it himself.

Feel for others

what should I do

for instance. If he called up
a stuntman who rejected to do so.

Then it would be my turn
to demonstrate for sure.

Sammo choose acting parts
for each stuntman he picked

that matched their most talented skills.

Sammo hung always called me to try out.

A square desk with
a piece of glass in the middle.

My action was required
to fall on the central point.

Let me see.

Back somersault.

I climbed high and jumped.

Bang!

Everything went blank.

Sammo hung ruched over and help me up.

It was our ordinary state as stuntmen.

I've been through few accidents with luck.

If not, I was already
died for several times.

We seriously ricked live while filming

action scenes with wires.

Yuen mo ws here when
I found hung stunt team.

He was my death squad

who's willing to do anything.

I recalled a scene
in five lucky stars.

Yuen mo doubled my place

when I supposed to
be kicked out by Jackie chan.

I was kicked put from a window.

Directly after getting through the glass.

After getting through the glass.

The move was followed by
bumping his head against the ground

right after the waist collided.

Extremely dangerous.

I advised yuen mo where
he should fall alongside of body control.

Otherwise, death.

Kick me

hit the glass

change the camera position

and control the moving force and distance.

It was a one-shot long take,

but director hung edited it.

It was a fantastic action.

Yuen mo wasn't hurt.

Then sammo hung
suggested to give another shot.

Because we prepared two pieces of glasses.

Yuen mo got injured
by repeating the action.

"Action", he pushed through

and his waist bumped the side
and head bumped on the other.

Yuna m0 was sent to hospital right after.

I happened to come across.

The most risky era for stuntmen.

I remember yuen mo starred an undercover

who was shot and
fell down the from the top floor

to the middle of the ice rink.

It was a real fall.

When action actors
from abroad visited our scene,

they were shock and questioned

how could you do such actions?

Whoever does it may die.

I didn't dare to think over.

Who the hell designed it?

I kept telling the action director

before filming the scene.

I would never do it if
the film wasn't invested

by sammo hung.

I was fully aware of the 100% possibilities

to be hospitalised after
doing such an action.

Because of the actual height,

and nothing was prepared underneath

it was ice floor, how hard it was!

Even more, I was not asked to jumped down.

I was required to fall down on my back.

I was thoroughly wrapped up;

however, I still lost my scene right after.

Working with sammo hung for decades,

I had may happy days.

Of course, injuries were inevitable.

Because we were stuntmen.

Almost everyone had been injured.

Ka-lok chin was the last one among us.

Therefore, he was like
a treasure in the team.

Ka-lok chin was the last one among us.

He was matchless.

Whenever Jackie chan asked if I'm capable,

I would debfunutely say yes

he wanted me to achieve a spinning

while falling down.

I accepted.

I was too excited to feel toil at all.

Totally ignored the percussive force.

Why was ka-lok chin a treasure to us?

Because you will dare to do anything

if you are never injured

you believe that you can do it.

Once you are hurt,

you might realized the lack of luckiness.

Besides, serious injuries also remain

you might not be as good as before

I was hurt

why would I end up in the hospital?

Because I worked too hard

on getting through the glass.

I should fall on top
of the tent, but I missed it.

The original shot was requested

to bump through the glass

fall on the tent to reduce the force before

ending on the ground.

Missed the tent

by overexertion,

fell down when the car arrived.

The world was in darkness
when I opened my eyes.

The car parked right above me.

It hurled.

My doctor wondered
what happened to me after an X-ray.

I said I jumped off from the third floor.

He shocked: "Did you
try to mimic Superman?"

I explained we were shooting a film.

"Luckily, you didn't
break your legs." He said

we always teased:
"Hey boss, don't look up, please?"

When we were on location scout.

A definite scene of falling would be
planned once the boss looked up.

Wherever worked, he chose it.

It was heart of dragon by sammo hung,

the shot took place on the
7th floor of royal park hotel

at sha tin.

I dare to say heart of dragon
was the film frightened me

the most through my entire career history.

7 to 8 stuntmen were required to fall

from the7th floor.

A combined action.

Was shot in coordination with an explosion.

When sammo hung counted "1, 2, 3",

all of us would fall
down with the explosion.

Some experienced stuntmen quit
right after viewing the set.

It was really dangerous.

Such a scene wasn't included
in daily routine, right?

We were lack of chance to practice aheaf.

The crew bought 3,000 cardboard boxes

and 100 rubber mattresses.

We paved the cardboard boxes
on the ground from 12am to 6am.

Although rubber mattresses, tarami

and cardboard boxes were laid on the ground

but 7 floors were too high to jump.

Both the height and the
bomb are deadly to us.

The pyrotechnical
didn't dare to press the button.

He said: "Director, can
you come and do it?"

Some stuntmen became scared

and said to me: "Can I skip this act?"

Sure, you should tell
director hung instead of me.

I told them that you could not get injured

apart from one thing.

We had paved the ground,

you could only get hurt by
other people who fall down right after.

Me, yuen mo, yuen tak,
chau-sang lau, hsio pang,

er bao, ah fu, and yuen wah, right?

It's my first time to experience 8 guys
doing same action simultaneously

everyone prepared

to get ready under
such a serious condition.

Director hung signalled:

Explosion-0k

stuntmen-ck

all-ok

rolling!

Ouch!

Everyone felt hopeless.

My heart pounded like "tatatatata".

When sammo hung was ready
to call "action", I should "ouch".

A nail stuck straight

into my foot,

I stepped on it

when I heard "rolling.

After the nail was removed,
yuen mo continued his work.

Ready! One!

Two!

Three

bang!

The one in the middle was me.

Yep, this one.

Ka-lok chin was placed
in the most dangerous position.

There was a board on the 3rd floor.

Which blocked the sight underneath.

He needed to strike the board

before he could go down further.

I was the one who
landed more quickly than others.

Kneeling on the cardboard
boxes after a sound "bang"

alright, everything was ok!

It occurred to me: "Don't move yet."
When I wanted to get up.

When I turned around again

bang-bang-bang, other kept falling down.

I heard sammo hung
showed: "Cut and rescue!"

Wow, he said rescuing people
instead of calling it a day.

It would be terrible if I moved earlier.

There were injuries because of
people bumping into each other.

In order to prove you are
the best in kung fu world,

you may do lots of stupid things.

Tenacious and risky,

you may even threat your life
in an unreasonable way.

For them, that's also a kind of pride.

Although he is a stuntman,

but he has an opportunity to say

it is my film

and my shot

reliving the pas

make us realize
"a sense of self-abusing vanity".

Being a stunt made me to understand

why hk action films could
conquer Hollywood back then

compete with cg?

There's no chance.

Stuntmen is the reason
that hk action cinema

had earned its global status.

Due to the lack of technical support,

we forced to rely on body language.

So called "low tech" was what we used

to compete with Hollywood films.

We felt extremely
pressured to film car race.

The government didn't
permit to block roads,

so we needed to escaped
whenever finished shooting

gun fire was not permitted either.

There was one scene of robbery shot

on Nathan road with fake guns.

The plan was filmed by hidden cameras.

We made a deal with the jewellery
store ahead and hid cameras properly.

However, two policemen
in plan clothes ran into us

while we finished robbing.

They weren't aware of the fact.

So the crews all
ended up in the police station.

Coming through,

this way, smile.

Coming through.

The conditions and budgets

didn't allow us to make such mistakes.

The easiest to film
turned out to be kung fu

directors didn't bother to care
the action design in general.

They only paid attention
to the total length of the action.

Whether 30 fighting scenes
were enough to last a 90-minute movie.

Each battle was suggested to last

for 2 minutes at least.

What should we do?

Brainstormed on moves
happening in one scene.

The battle fields took places
such as firecracker factory,

grocery shop, hospital

kitchen and so on.

Wire, towel and tie could
all become weapons.

Every elements and scenes
were featured with kung fu.

This was something
that we were forced to do.

We could literally fought with anything.

This was something that we forced to do.

The audience was nurtured
in profession at that time.

There were plenty choices to watch,

audiences could totally recognised how good

the actors as soon

as they pose.

The competition was intense.

Midnight premiers
were essential for us to watch.

Meeting to discuss right after.

Wondering how to make our action better

because of certain difficult
was achieved in others'

for example, a scene was about falling

from the 8th floor to a pool.

We were amazed.

Thought we should be able to do it as well.

Then the action was upgraded to
jumped from the 9th floor into flames.

Midnight premiers used to be
an "indicator" in Hong Kong.

If your film was screened at midnight

and attracted limited popularity.

Then the bos office must be moderate.

It's the most vigorous period
of hk action cinema.

Productions and
stories became better and better.

Records was constantly broken

by one and the other.

You could observe

the excitement of the
audience in the theatres

like having ecstasy.

There were 800 to 1000 seats
in one theatre at that time

where you could get
their responses on the spot.

Audiences were very straightforward.

If they liked your film,
they would applaud.

On the other hand,
they would also scold and curse loudly.

Even if audiences were
aware of the main crews

and casts were present for publicity,

they would still intentionally
curse right in front of them.

So the directors were
often under huge pressure.

What two fools!

Yuen woo-ping was the odd one.

He always chose to
sneak in midnight theatres

but never watched his own films.

Guess he was also afraid of failure.

Filmmaking didn't have to be desperate.

Transform fake shoots into real deal

is the key of technique

woo-ping yuen specialises
the concept of real martial arts.

I starred in iron monkey
and fought against Donnie yen

that was directed by woo-ping yuen.

Eagle fist!

Director yuen asked to
combat with real kung fu.

He believed we shall
fight with actual moves

if you had practiced martial arts.

I fought against Donnie yen
among the wood piles.

Director yuen said, "attention.
It should be done by one take."

The whole set was designed
to be tore down by one kick,

and the whole building would collapse.

So there is no second chance,

which made me super nervous.

Well, we rehearse ahead.

Donnie yen was proficient at kung fu.

I seized him during rehearsal

and he snapped me.

My thumb was dislocated immediately.

This is real kung fu!

Director yuen would create
probably around 50 moves in one scene.

We got to memorise all and perform

in order to interact with the rival

for instance, actors were
demanded to have series basic skills.

Being a top-ranking stunt

is all about timing of motion.

A matter of seconds,

stuntmen should not act in delay.

His choreography contains romantic looks.

Looks.

I mean looks aren't
limited in costumes or styles

but in postures of combat.

Remarkable ones you wouldn't forget.

The reason I directed wong fei-hung

Was influenced by the series
I watched in young age.

The kids applauded together
when theme song played.

The major choreography
was the ladder fight.

Cheung—yan yuen, woo—ping yuen's
little brother was in charge of action.

But there was a schedule conflict.

So, woo-ping yuen came to help us out.

He showed up and

said no credit needed.

He only wanted to help to finish
what yuen cheung-yan had promised.

Jet li was wounded.

The fight really pushed the limit.

Every movement has to be replaced.

Doubled every move was
a mission impossible for individuals.

Me, xin-xin xiong,

and a younger fellow named Tony ling

The main point was featured
by the changes of ladders.

However, the most challengeable shot
was catching Jackie when he fell.

We filmed 16 hours per day for 31 days,

just for this particular scene.

At first, xin-xin doubled jet li
and double yen shi-kwan.

Then we switched in turns nest day.

We constantly changed costumes
to double different roles.

Some action scenes, in
wong fei-hung series,

such as bouncing in air

followed by turning around

falling and then bouncing again.

Few people can accomplish it now.

The action requires to
be accurate on timing

and interact with good expression.

I am truly proud to announce that

I used to be a stuntman.

Master yan, we are done.

The fighting method of Hong Kong kung fu

was brought to Hollywood.

Boxing style was the
only action in the western films.

There was lack of changes,

so it was fresh for them to watch ours.

Hong Kong action films
were based on creativity

from 1960s to 1980s,

our productions had shown the best.

It is also more demanding.

The pressure they put
on themselves is also high.

There are four team members well.

Think about how strong
the competition will be?

There is competition to make progress

what we thought at that time.

With a half chance of
success will definitely do

sometimes thirty
percent sure will try to do.

In some ways.

Your creation, to each other

stimulate.

There is no such thing as rest

no time limit.

Many times woo-ping yuen himself leads

no sleep for 48 hours.

He doesn't eat by himself.

So when I first joined
the industry I was very uncomfortable.

How these people are
fighting a war every day.

He will hit his head against
the wall if he doesn't take good shots

I actually saw him and said "I'm dead."

He really says things like that.

At that time I did not do
action director I do not quite understand

and said, don't hit the wall

until I do my own
action director will understand

understand what?

For example, this shot has ten actions.

That shot is difficult to shoot.

The ninth action, soon the tenth.

Almost.

He would just oops! Oops!

You will understand
just a little bit closer.

This shot is complete.

I have tried hit my head against the wall,

first broken wooden boxes.

No effect.

It is better to calm down
to think to be effective.

Before is to play hard think

there are people who
do this nowadays, but rarely

now if it doesn't work

computer effects!

It's the most vigorous period
of stuntmen back in old days.

Our capability had
proven by trained skills.

Nothing would be achieve if we didn't

train hard back in school.

We were not ambitious.

None of the members in yuen stunt team

graduated from elementary school.

We've never dreamed to be directors.

Didn't dare to.

I was born in a common family

and I grew up with 6 siblings

in slum district.

A typical Hong Kong family.

Hong Kong was still poor in 1970s.

I started to take care of
younger brothers around 9 or 10 years old.

Around 9 or 10 years old.

Helped family out

because my parents had to go out for work.

Five of us lived in a tiny room,

that was less than eight square meters.

Some of us slept on the bed
and some on the floor.

We were often bullied by the landlord lady.

There was a field where
people practiced martial arts,

so I learnt secretly on the way to school.

Aiming to protect my
grandma when I grew up.

It was a shame

that we didn't study hard.

To be frank, I only have
a primary school diploma.

I began to work ever since,

have no idea about what my future would be.

Many of us were undereducated,

the industry didn't
require much profession,

so we got an opportunity

and strive hard to survive.

I enjoyed doing martial arts
related instead of working.

Finally, I was brought to the film industry
by my uncle and became a stuntman.

I was about 15 years when my older brother

had already be a stuntman
and helped my uncle out.

He said

"come to make a living
if you don't want to study."

I accepted the offer.

Stuntmen were simple and pure,

inspired by the spirit
of Chinese tradition.

Once I joined a stunt team,

the big brother would
be my lifelong teacher.

Our "insurance" was sammo hung

who always looked after us.

It was about mutual trust to each other.

We never hesitated if it's
an order from the big brother.

Because none of
the stunt outsiders were willing to.

That's why hung stunt team
and jc stunt team were found.

Fellows are promised to avoid death threat

by the big brothers while doing the action.

It's a guarantee that the brothers

shall cover all cost if you are wounded.

They would support you from various aspects

if you broke your arms and feet.

As stuntmen

how long can your physical strength last?

Everything is fine if you are in 30's,

but entering 40's would be difficult.

I couldn't avoid assuming

to rely on interpersonal
relationships forjobs

once I turn 40 or 50.

Chat with the producers about our industry.

Unlike scriptwriters, photographers,

costume designers and other crews.

They can continue working

the same in 40's

for stuntmen at their 403,

the physical condition would not fit.

For instance,

we shall pay more salary to the stunts

whenever we can.

Stuntmen used to

have high rated daily income.

They weren't aware of finance management,

but to expense right away.

All the money they earned

we're ingurgitated and
gambled on horse races.

Few of them had savings.

Smoke, party and gamble

gamble was my favourite.

Gambling whenever I'm free.

I was called "overnight tea".

The first thing for tea
drinker is poured out

the overnight tea and
replaced with fresh one.

Like them, my first mission was also
to "poured" Once I've been awake.

Northern kung fu practitioners
were popular back then.

We could both double and act.

Film crews needed us

because of our capability.

If there was a sense of saving,

money could be invested in
house, land, even gold.

I didn't think much
while making quick cash.

It became impossible to
make plans when I'm an elder now.

That's why many famous actors

action directors, and even more stuntmen

we're lack of fortune
or happiness later on.

They had little savings

and often needed to see the doctors

because of previous injures.

We had no insurance.

The maximum was around hkd200, 000.

Film companies rather agree to settle
in cash than pay or the in durance.

I often wondered why.

No cash needed as if injury is covered

buy insurance.

Yet I wasn't given any reasons

if I chose to pay self-insured,

the insurance company
was willing to accept "kung fu tutor"

instead of "stuntman".

Otherwise I would not
be able to get insured.

No acceptance.

In order to make a
living, stunts must do it.

It all depend on your destiny.

Sometimes it is pure luck,

I survived several accidents.

But I didn't know
when misfortune might fall on me.

Unpredictable as long
as I work in the field.

Stuntmen used to reject
body armour or protection.

Kick me, hit me in the face.

It's fine if my right side was swollen,

just hit the left instead.

Stuntman never say no

stuntmen never say no.

Can you do it? Can you do it?

If not, just quit.

No hesitation, who would say no?

Even if one got frightened,
no one would back off.

Protective measures were denied

because you would be teased

for using them

other might question your ability
if you dressed in full protection.

When we were filming
millionaire's express,

I saw a 30ish man was crying

when he was asked to handle the move

he admitted with tears.

It sounds funny now

yet it shows the sprit
of Hong Kong stuntmen.

Of course, that atmosphere
was very unhealthy.

Otherwise, the older generation of stunts

should be wounded as less as possible

Dozens of stitches were
received on both legs,

fingers and collarbone were all broken.

As well as back, knees and heels

were badly injured for 6 or 7 times.

Some people were paralyzed

and some were died.

There were ones who fell backward
and died from pulling the wire.

Some got the
lower body paralyzed after jumped from

the 3rd floor where the ground
was paved with paper boxes.

One time, I was wounded
by six gasoline bombs.

Head was swollen, face was black,
and eyebrows were gone.

My mum saw me injured for the first time

when she entered the room
with my older brother.

Oops. I made my mom worry too much.

Then I told myself

that I wouldn't let my mom
have the same expression again.

Most of stuntmen are very miserable.

Only a few masters have made it
and continued to contribute

other unknown heroes
just disappeared quietly.

Some people tended to

make a living as vender or busboy.

Some became taxi drivers.

But other might also
take risks to be thieves.

When we were caught by the police
and questioned occupation,

we'd say "stuntmen."

"Stuntmen? You must be a good fighter!"

The police would force against
the wall and search us

with no dignity at all.

Especially for us who have received

professional training.

It was nothing

less than humiliation.

Stuntmen are alike football players.

You can be a coach if you
stand out in profession

if you are lucky, you can be a team leader.

Yet for us,

only few can become action directors.

Everyone wants to be action director.

But few can be successful among
all the action directors.

There in no guarantee to become
hung kam-Bo or lau kar-ieung

of course, being an actor is different.

If you can

try to switch

and make a longer living.

To be an actor, popular is essential.

What if you are not, frustration of course.

I switch to act for 3 years and experienced

someone recognised
me while I was dining out.

"Are you yuen tak?"

"You get the wrong person."

It was hopeless

neither made a fortune nor make a living.

Desperate and psychologically unbalanced.

However, I changed my mind soon.

I was considering changing, but how?

Need money to do that,

otherwise there is no way.

Every profession has a hierarchy.

For example, my position here
has reached level 8 or 9.

If I plan switching to a new field,

I would have to start from
the bottom and work my way up.

I gave birth to my child in 1995.

After that, I continued to learn tai chi.

And won four championships in a row.

Return to teach then.

I could afford my basic living

and be able to help some eldest out,

it's comforting.

So I just ignored the idea of changing.

I began my own career
after leaving jc stunt team.

No matter what kind ofjobs,

action director, stuntman

even wiring.

Male is after female

the wires are for Mandy,
another set is here.

I like kung fu

and fun stuffs.

Followed my heart.

Make enough room for 4 to 5 guys.

Avoid to be close, measure it.

Golden harvest.

1993, 1994, 1995, 1996

did golden harvest disappear in 1998?

Is it 1998?

Since 1998?

20 years

I'm not sure which part
of golden harvest it is.

Ab workshops should locate on the layer.

All changed, I can't recognise any more.

Here stairs were featured
in rolling action daily.

Fully utilised the surrounding.

Up and down, all the way.

The history of stuntmen
took a place right here

but all changed.

Everything

no more golden harvest film company

there are all new buildings.

Like a brand new place

films of Shaw brothers
had better production

and less danger.

It was easy at that time.

But now I can't make
movies whenever I want.

Shaw brothers film company moved out.

Guess have to say goodbye

to the remain of Shaw studio here.

The biggest problem with
Hong Kong movies is that

we are resting on previous laurels

when the market was thriving,

we didn't have power to dominate.

We don't have a complete
film industry system.

Filmmakers kept repeating same genres

we have nowhere to produce film

with the abnormal economic growth

dominated by property developer's hegemony,

rent of office buildings
has gone skyrocketing.

Hong Kong cinema had fallen into

the predicament base on these issues.

Hong Kong is compelled to find solutions

it is good we learn to be flexible

instead of taking it for granted.

It takes a lot of money
to make an action movie.

No money, no action.

No action films, no stuntmen.

All the big investors are in mainland.

Hkd20 million production fee
is too much to ask here.

The investor might be reluctant.

I wish to help other stuntmen out,

I don't even have a job.

How am I supposed to help you find a job?

There were numbers of master stuntmen

like yuen wah, yuen
bun, hsia hou and so on.

There are all outstanding

the gap of generations has appeared.

It's rare to see actors
working so hard in present.

Too few for me to count.

Hardly.

The current society is different.

Nowadays people focus on reading,
science and technology.

The majority have studied
computer and it instead

we are the backbone of the stuntmen.

But it will be brutal to summon 10 stunts

they're all in their 403 and 503

it's hard for anyone
to be an action director.

Do you want me to run into a wall?

We are forced to rise

and keep moving forward.

Or be eliminated.

Or succeed.

The purpose of training course is to fix

the "talent shortage"
of stuntmen's inheritance,

some may question that
in recent Hong Kong film,

well trained fellow3
could hardly locate a job

and make enough money.

Why add a dozen new ones
to scramble for resources?

I have to explain

stunts get less job

It's an issue of the whole market.

Fewer resources are
not a result of new fellows.

The growth of talents thrive
can make the market bounce back.

Who can act like sammo hung?

Ok, thanks

I clicked to apply as soon as I saw

the recruitment posted on Facebook

the training course includes primary level,

internship period and advanced program.

Ap is instructed by siu-hung leung

he emphasises the details
such as facial expressions,

and makes us value self-improvement.

I feel less self-accomplishment

working in other
profession instead of here.

So I am grateful that
some of my predecessors

have always been supportive and caring.

Each time is like a punch to my heart

when someone quit and makes me wonder

"why am I still here?"

I worked as an office lady
after graduated from college,

I.e. Secretary to the president.

I couldn't stand wasting time on things
that I didn't enjoy.

Study was easy for me.

Yet as I love sports so much,

I got a chance to enter this profession.

To be a stuntman requires talent

bold spirit and toughness.

More importantly,
I'm willing to take risks.

There are fewer opportunities today

and hard to make a living
as a stuntman for sure.

The total income I
received working last year

barely covered my living
expenses in Hong Kong

stuntmen work hard to do double and act,

yet our face won't appear on screen.

Sometimes you feel wronged

sometimes it can be very rewarding.

However, if there is
1 or 2 representative works

representative work to Cherish.

Then that's enough

and I'd remember forever.

Hello, master!

Hello, everyone.

Well, I'd like say a few words.

First of all, thanks to
our predecessors for their support.

Let's give our warm applause
to director Stephen tung,

director yuen cheung-yan

mr. chui jong shinn

and director Billy chan.

The current hk stuntmen
are trained to serve filming demands.

Targeted training instead of
limited in martial arts.

Such as stunts for car-chasing,

stunts for falling down,

stunts for clashing.

We compartmentalised stunts
into specific categories.

Ready? Action!

The local stunt industry is in recession.

The standard of action is high,

which cause the training process miserable.

Hong Kong film talents
are draining is due to

the low operating rate.

Filming equals training.

It's rare to find stunts.

So I become less demanding.

If Hong Kong cinema
couldn't offer a bright future,

what's the point of
practicing hard for the newbies?

We witnessed a golden era of
Hong Kong kung fu films in 19803,

every young man had a
dream to become a star,

the next Jackie chan or yuen biao

through tough training.

Due to the lack of opportunities.

We can't even promise them such dream.

Actually, I do wish to offer a hand,

but I'm also facing various difficulties.

I'm not sure what I should do.

Their skills aren't good,

they didn't even know how to wrestle.

Neither throw forward
with back nor hit a wall.

They could do nothing after somersaults.

Ok. Ready go.

No.1 melody chen.

There are lots of resources

such as martial arts schools
in mainland China.

Easily discover some excellent stuntmen.

But, it's hard to tell whether
we can find some superstars.

In mainland China, there are many
opportunities offered to stuntmen.

Newbies can start as attendants,

amateurs here might
become professions someday.

Numberless projects.

Do you know the total?

In hengdian, there are
more than 40 groups of crews.

We bring up the concept

and techniques of Hong Kong cinema

to mainland through work.

My first film was a battle of wits

The action director was Stephen tung.

What impressed me the most was that
he always put safety first.

Spin, lean back

stretch out the leg and lands

followed by the move.

According to my experience,

there is hardly anyone
who worked on their own

without followed a Hong Kong tutor ahead

the situation shifts a bit in present,

local action directors
begin to take places.

But the locals were taught
by Hong Kong masters

if we trace back and learn

the history.

The new generation is impressive,

they are all professional athletes.

Nothing is impossible
once they have been fully prepared

pengfei, despite of his size,

he could jump to the table

without making any noise.

Don't jump...

Also, this is liu mingzhe

who helps me for a long time.

Started from the film hero.

They are all occupied,

non stop. It's amazing.

All of them have become
the top in the profession. Right?

Thanks for your patronage.

My pleasure.

Yes, I live in tongzhou district.

The industrial park is
located at shuangqiao.

Correct.

After living in
mainland China for several years.

I find the crews here accept the profession

of director only.

Actually I'd rather
be action director than director

when everything is
easier and less stressful.

I could go home after calling it day

without considering the non-action part.

Now, I need to take care of

both action and
non-action script a director.

It is quite ironic.

Thank you all my friends,
producers, investors

and agencies for giving me an opportunity

to become a "senior" new director

and set up a studio here.

In the beginning of 19903

when the film market
opened up and we went up north,

the style started blending
in with local cultures.

Beijing, sichuang,
henan and hebei, members of our team

are from domestic wide.

It has revolutionise

it has evolved

now it's Chinese kung fu movie culture

Ones who struggle to survive in
Hong Kong now as I recall,

a' hui,

a'ji

ka-lok chin

ready

1,2,3

Let me know if it's too dark.

For me to place one more set there

again, it's a little more difficult.

Have you ever been here before? Once?

7 out 10, right?

I feel obligated,

I feel being obligated

it is not my contribution

it's association

but the joint effort of
Hong Kong stuntman association.

So, I hope young fellows here

can participate actively.

If you don't join us,

we can do nothing in return.

Actors can hardly survive in bad days,

which means stuntmen have worse to face.

This is the current market.

A senior stunt came over and sat next to me

when I worked at tvb one day.

We chatted for a while.

"Hi, fatty, here you are."

Iresponded.

He continued to wonder my job.

I am a broker in real estate.
He said, that's good,

it's wise to have other jobs

and take stunt as neither a part-time

nor a full-time job.

Why?

He said if you get the chance, do it.

Wow, it's so pessimistic.

The basic salary is low in real estate.

But it's better than nothing

I have some income from teaching boxing,

along with income from being stuntman.

I could manage my life for now,

however, how could I
handle with any accident?

Girlfriend?

I don't dare to imagine dating a girl now.

Because my income couldn't afford it.

Sammo is here, please stand in the middle.

Sammo hung comes to
support ka-lok chin today.

I've worked in the profession for 4 years

and felt appreciated to
earn various experience.

I am very lucky

such memory is the most
precious moments in my life,

This is my boss

the first ever,

I followed him when I was a kid.

Simon chui, I will never forget his name.

We like to gather
all strengths of the stuntmen here

including masters and seniors.

It has always led us.

Long time no see.

We missed the old days
bearing bitter hardships together.

A tea party has been
held every three mouths

there will be a party in the new year.

We invite senior stuntmen to join us

and pay tribute to them.

We won't forget them.

Patience is the sky.

Try your best.

Don't underestimate yourself.

Stuntmen shall get

a chance one day.

Life is not easy,

but we are closely united.

Like a family.

Stuntmen are a large group with power,

I am also a stuntman.

I believe our tradition won't disappear

with the inheritance of new generation.

But what the pioneers
had accomplished earlier,

maybe no one will achieve
the same ever again.

I was 18 when I first did action director

it's hard to make an action movie

the hard work is not physical

it's about intelligence

there is no more real kung fu.

All are special effects.

The roles all seemed invincible.

The stunt industry went downfall,

was not affected by any master leads

this is nothing about personal issues.

It's none of Jackie chan's business.

The success of one film
is depended on the public acceptance.

It can fail if the style isn't the trend.

Audience always appreciate movies

that are filmed within true passion.

I finally return to
the original point of life today.

In the future,
I wish to embark onto the grand Avenue.

Intelligence is advanced, right?

Intensive labouring is easily obsoleted.

But intelligence can resist competition.

It is hard continue in manual labours
when you are in 503.

Back in time,

working as a stuntman
has broadened my vision.

Because of various film production,

I got to visit places around the world.

I also experienced up and down.

Success and failure,

and encountered difficulties

in interpersonal relationships

regardless, it's complex.

I was fortunate to jump out

the structure of
traditional Chinese martial arts

and extend the idea of MMA

into it.

Sorry for my mistake.

It's alright, take your
time. Safety is the key

everything alright?

Yes.

Thank you all tonight, I am grateful.

I love Hong Kong cinema.

Stuntmen is a hard and painful job,

which also creates a lot of happiness.

I am grateful to be
able to survive till now.

I met my wife, had children,

found a career due to work in profession.

I could not imagine

that I made a living by touring
people how to "fight and kill"

stunt career will last for my whole life,

and it's very interesting.

Fafly.

Siu-ming, siu-ming, siu siu-ming,

ching-ying I am was best of best

every member of hung
stunt team was proficient

but chi-ying I am was nearly perfect

when we filmed paper marriage

He do it without any rubber mattresses.

Action, 1, 2, 3.

Bang, cut

we worried: "Master I am."

"Leave me alone." He said.

Lam couldn't stop rolling
for more than 3mins

because of pain.

We heard nothing but humping

chi-ying lam's remuneration
was over 1 million

while starring mr. Vampire series.

Despite of his respected status,

chi-ying I am had fully
dedicated for hung stunt team

who always completed actions himself.

He was definitely a role model.

Mr.vampire Was my first time
in charge of cinematography.

Ching-ying I am said:

"Andrew lau,

take your time

until shots are satisfying."