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www.titlovi.com
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For most of his life, Jackie Chan
has been risking death for a living.
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As an actor and director,
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Jackie has redefined
the nature of world action cinema.
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What sets Jackie apart
from his rivals
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is his willingness to perform
his own spectacular stunts.
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In this film, Jackie returns to the
days of the period kung fu movies,
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and shows how he pioneered his
own brand of very special effects.
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We reveal the specialised
training that
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he and his stunt team undergo to
prepare themselves for the screen.
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Jackie returns to the locations of
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one of his greatest achievements,
'Police Story'
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and shows how he sets a new standard
in screen action.
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For the first time, we open the door
to the secret Jackie Chan Stunt Lab
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to explain the various tricks
of this dangerous trade,
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and Jackie himself
conducts a master class
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in film fight choreography.
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We follow Jackie onto the sets
of his hit films 'Who Am I? '
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and 'Rush Hour' and discover
how he and his team
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devise some of their most
daring stunt sequences.
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If action, if danger, if courage
have a name,
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that name is Jackie Chan.
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This is 'Jackie Chan: My Stunts'.
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JACKY CHAN: MY STUNTS
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Jackie began his career as
just another stuntman working
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on the Hong Kong movie treadmill.
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At that time,
the industry was devoted entirely
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to producing period
martial arts movies.
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These were divided into kung fu
and swordplay movies.
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In kung fu films, the characters
engaged in unarmed combat.
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In swordplay movies,
they often had supernatural powers,
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and fought using
a variety of bladed weapons.
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FILMS OF FURY
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Here, Jackie and his stuntmen
demonstrate
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a traditional martial arts
fight sequence.
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First, Jackie comes up
with a concept for the fight,
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00:03:04,741 --> 00:03:07,733
then carefully stages
each action and reaction.
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Though the combatants have to be
skilled kung fu exponents,
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it's equally important that they
possess the correct sense of timing,
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so that they can synchronise
their movements with one another.
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See? Pretty, right?
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From no knife.
Then I get one knife,
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two knives and three knives.
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At the end, I kicked the guy away.
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The most important aspect is the pose.
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I design it more like art fighting,
like dancing.
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That's much better.
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Even if I kick somebody,
there's no violence.
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I never use the knife
to cut anybody.
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I create this scene like this:
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after the fight,
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I just go away.
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It means I don't want to fight any more
because I've already won.
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I don't have to kill you.
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I've already got your knife,
but I'll throw it back to you.
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If you still want to fight,
I will steal your knife again.
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In this scene
from 'The Young Master',
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Jackie and opponent Yuen Biao
show off the virtuoso physical skills
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they learned at
a Chinese Opera school.
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In Chinese Opera,
the performers execute
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on-stage fight sequences in which
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they wield their weapons more like
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circus performers
than martial artists.
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It is this sense of the theatrical
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that Jackie brought to the
traditional kung fu movie genre.
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See? I will use anything
that's very pretty.
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For example, after the fight,
I will sit down.
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After the kick, he turns around.
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We were moving so quickly
that you wouldn't know,
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whether I hit his toes or not.
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Once more in slow-motion. Come. Look.
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In slow-motion,
I just hit here.
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Then he just does the reaction.
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The audience knows (what has happened).
Then I turn around,
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and give him a kick.
Then after the kick, maybe
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I'll sit down in a very nice position.
Let the audience go "Wow!"
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The funny thing is,
in modern days, of course,
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You use this kind of "Yah!" attitude.
You show this kind of face;
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"I want to kill somebody!"
But in the old days, you could tell,
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When we were fighting. Camera,
move back a little bit.
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You could see the toes
in every position.
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Look! You must put toes nicely,
and after fighting,
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no matter how you fight.
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Even like this.
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Those kind of positions are
very important.
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It's more difficult than
modern day fighting.
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This kind of thing.
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When Jackie made his American debut
in 'Battlecreek Brawl',
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he broke new ground by transposing
the kind of action
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seen in the period kung fu films
to a movie set in 1930s Chicago.
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At that time, Americans had
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no experience of this kind of
on-screen combat.
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Jackie had to fly in two of
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his stunt men to stage
a scene in which
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his character is challenged by
rival martial arts masters.
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Though limited by the fact that
he could not control the camera speed,
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as he does on a Hong Kong movie set,
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Jackie still kept some of his
trademark style.
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This is a chair. Of course,
when we do some actions,
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we have to make a special chair.
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Usually, you cannot kick
the real chair,
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but I want to show
how powerful the guy is.
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When I use these things,
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nobody can see them.
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Then we just put
a little bit of powder.
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Action!
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When he kicks me, I break it.
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It breaks into pieces.
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Now I show you how to do the editing,
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and how to do the fight scene
with the broken chair. Okay.
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For example. The camera is here.
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We fight and kick.
I push and he kicks. Cut!
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When we do this,
the movements are very fast.
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It's also done in wide-angle
and in a dark background.
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You cannot see all the wires.
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As soon as he kicks, cut.
We move the camera behind him,
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and we do it all over again. Okay.
I'll show you how we do the broken chair.
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Of course not this one.
Let's do it with the broken chair.
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See? Pretty, huh?
And that's a trick.
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So that's how we make a movie.
Unlike in America,
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I still believe they do nothing.
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The guy kicks, they can add the chair
using the computer,
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but I know it's very expensive,
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this is the cheap way
to make our own movies.
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Anyway it looks good, right?
Cheap, but good!
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Jackie also gets good value for money
out of a distinctly Chinese object
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that has both a practical use
and an artistic aspect.
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A fan. Everybody knows
Chinese fans look very pretty.
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Some of them worth more than a million,
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because they're antiques.
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So, when I get a fan,
I look at it carefully,
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I count the movements,
like these and these.
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When you fight,
you just put it like this,
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and this kind of thing,
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and, of course, it looks very easy,
but it's not easy.
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The most difficult thing is this;
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in one shot, I threw the fan away
and got it back.
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It took more than 120 takes!
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When you see those kind of scenes
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which last a few minutes or seconds, you
say "Oh Jackie's good" but it's not good.
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You can also do it
if you have the patience.
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Be calm. Try again and again,
until you make it.
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Besides the fan, kung fu movies
offer Jackie the chance
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to show off the skills needed
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to wield other classical
Chinese kung fu weapons.
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You have to know the tempo
and every movement.
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When we're making a movie,
we must be careful to do these
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and this kind of thing, and also,
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Ah Chi, okay, and also knives.
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This is a Chinese knife,
there're a lot of...
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skills like slices, the basic things.
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We call this a blood bag. It's cheating.
We put it in the hand like this.
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In the fighting scenes, we hold it and
you can't see it because we move so fast.
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When the guy hits me,
see the hand?
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Then you just
put it on the stomach.
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Either put it on the camera
or put it on the wall.
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It looks like blood,
but it's a sweet thing.
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Hong Kong stage blood is
a combination of food colouring,
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to give it the necessary redness,
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and cough syrup,
which gives it texture.
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In this classic swordplay film,
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an anonymous stunt man
dies horribly
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by using his hand-held blood bag.
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Another technique called
for a stunt man
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to spray a stream of blood
from his mouth.
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Ready. Action!
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See! See! This is the difference
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between low class
and high class stuntmen!
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See what I did? Right here!
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But that's too violent.
Sorry about that.
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What Jackie's film fights may
lack in blood and guts,
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they make up for in complexity.
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He is famous for choreographing
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hand-to-hand combat
encounters in which
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he deals with multiple foes
at the same time.
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See? In the old days, no matter
how many people fought me...
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Okay, there're four people,
but only one fights with me.
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Then the three people
are behind.
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Then after this, another comes.
Then another comes.
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00:12:21,497 --> 00:12:24,193
Why don't four people come together
to fight me?
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I'd rather stay here to punch
and kick. See?
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At least, they fight at the same time,
for one shot.
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Then everybody has to yell.
Everybody yells and that lets me know
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when they're coming. He yells 'Eeh'.
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If everybody yells with the same
"Eeh", I won't understand.
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00:13:00,970 --> 00:13:03,666
So he will yell, in front of me...
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they yell with the same "Ooh!".
But when he comes with "Oh!",
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I know "Oh!" is the punch.
Like this. See?
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That means a lot of people are
fighting me, or he gives me a punch.
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One, two, three! See? Then, come.
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This one comes at the same time.
Then I move the camera and duck.
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Why do I duck?
Because of the editing.
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Editing is one of the key elements
of film fight choreography.
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00:13:34,970 --> 00:13:37,165
Jackie's style relies
on a keen sense of
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camera movement, razor-sharp editing
and the unique communication
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that exists between him
and his stuntmen.
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See? It has become
our own language.
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"Jow" is go,
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00:13:54,690 --> 00:14:01,789
"Ley!" is come. When my men
hit me with the stick, jow!
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00:14:03,532 --> 00:14:10,734
he can make it very low
and in a very short time. Jow!
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That's what they'll do.
If some other people, two, three, jow,
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I'm really scared they'll hit me.
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00:14:24,887 --> 00:14:30,484
After fighting... Jow! See?
I'll react like this,
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because it's done by the people
I don't know.
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00:14:34,263 --> 00:14:38,757
If it's done by the people I know,
jow! see?
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00:14:38,968 --> 00:14:42,961
I don't care. If they hit me,
it's an accident.
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00:14:43,305 --> 00:14:46,706
Where American movies restrict
their flying characters to Superman
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and Peter Pan,
In Hong Kong swordplay films,
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00:14:49,712 --> 00:14:52,306
anyone who knows martial arts can fly.
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This is the knuckle.
Watch how we do it. It's for us.
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Do you know how much it costs?
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Less than five U.S. dollars.
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00:15:07,797 --> 00:15:09,697
Oh, two U.S. dollars.
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00:15:10,065 --> 00:15:16,470
I spend a lot of money buying
American products.
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00:15:16,705 --> 00:15:19,003
When I bring them back,
do you know what they do?
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00:15:19,241 --> 00:15:21,835
They still use the old things.
I don't know why,
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00:15:22,044 --> 00:15:25,741
They've been doing it for almost
40 years. It's easy to explain.
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00:15:25,981 --> 00:15:28,176
When I give you this,
you still don't know how to do it.
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00:15:28,484 --> 00:15:32,386
If you don't know how to do it,
it'll break right away.
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Sometimes it's narrower than this.
When we're doing these things
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I have to make sure
it's done by my own stunt guys.
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00:15:39,662 --> 00:15:42,153
It's done by them
and not other people.
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A little bit higher. Okay.
Try. Why do we test this?
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00:15:47,203 --> 00:15:49,103
We test the weight
and make sure everything's alright.
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00:16:00,115 --> 00:16:04,916
He's gone, see? How can I go up?
How can I jump like this? I can't.
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00:16:05,154 --> 00:16:15,257
So I have to do like...
It's not strong enough, but I'll try.
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00:16:16,098 --> 00:16:19,693
So, if somebody chases me,
I come here and look around to
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00:16:20,936 --> 00:16:23,427
make sure there're two sides.
Let the audience know it.
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00:16:24,340 --> 00:16:26,831
First look at this, then...
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00:16:28,811 --> 00:16:32,804
Then I just go up continually.
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Up and up.
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00:16:35,484 --> 00:16:37,975
Make sure those... See?
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00:16:38,521 --> 00:16:42,514
At least this way is more believable
than flying up there...
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00:17:00,209 --> 00:17:02,507
I like jumping up.
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00:17:11,587 --> 00:17:14,579
Some things are tricks.
Some things are ability.
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This is called ability.
237
00:17:16,692 --> 00:17:18,489
When staging a high fall stunt,
238
00:17:18,661 --> 00:17:20,561
Jackie and his team
use cardboard boxes,
239
00:17:20,763 --> 00:17:23,755
which they refer to as 'apple boxes',
to provide a safe landing.
240
00:17:23,966 --> 00:17:27,367
These are carefully piled up, and
mattresses are placed on top of them.
241
00:17:27,603 --> 00:17:29,298
Then comes the human factor.
242
00:17:31,807 --> 00:17:34,799
Before you jump,
you have to know three things;
243
00:17:34,977 --> 00:17:36,877
Firstly, you have to be brave.
244
00:17:37,046 --> 00:17:39,742
Secondly,
you have to know how to land.
245
00:17:40,149 --> 00:17:44,552
Otherwise, your knee
is likely to hit your mouth.
246
00:17:44,687 --> 00:17:50,091
It often happens. Thirdly,
you have to trust your men.
247
00:17:50,359 --> 00:17:53,954
They put those things down there.
So, I trust them.
248
00:17:56,966 --> 00:18:01,266
In America, they use an air-bag,
249
00:18:03,072 --> 00:18:06,769
but we cannot afford
this kind of expensive thing.
250
00:18:06,976 --> 00:18:10,070
We still use cardboard boxes
251
00:18:11,046 --> 00:18:14,743
and the mattresses, they've been
used for more than 30 years.
252
00:18:14,950 --> 00:18:18,442
We use them again and again.
After one jump, we put them aside.
253
00:18:19,555 --> 00:18:21,853
When we want to use them,
we take them out again.
254
00:18:26,161 --> 00:18:30,860
Now it's the 90s,
almost the 20th century. Strange.
255
00:18:30,966 --> 00:18:33,457
We still trust apple boxes.
256
00:18:33,702 --> 00:18:35,192
TRAINING FOR DANGER
257
00:18:36,171 --> 00:18:38,469
To prepare their bodies
for the kind of punishment
258
00:18:38,641 --> 00:18:40,939
their profession demands,
Jackie and his stunt team
259
00:18:41,210 --> 00:18:43,201
follow a tough physical
training regimen.
260
00:18:43,412 --> 00:18:45,312
This includes basic body conditioning
261
00:18:45,447 --> 00:18:47,347
and the honing of
their martial arts skills.
262
00:18:47,616 --> 00:18:51,211
For their lifestyle, this kind of
discipline is a necessity.
263
00:18:51,987 --> 00:18:54,478
Training, for us, is very important.
264
00:18:55,224 --> 00:19:00,025
For example, a lawyer has
to train his speech.
265
00:19:00,262 --> 00:19:02,753
A secretary has to learn
how to type.
266
00:19:02,998 --> 00:19:07,492
Students have to study very hard.
267
00:19:07,970 --> 00:19:13,169
We are physical stuntmen,
so we have to train every day,
268
00:19:13,475 --> 00:19:17,070
If you're a student,
you have to study every day
269
00:19:17,212 --> 00:19:23,310
until the examination.
You'll get an A grade or B grade.
270
00:19:23,686 --> 00:19:28,385
We're also training ourselves.
One day, you don't know which day.
271
00:19:28,691 --> 00:19:34,891
I'll ask any of them to do something.
This is our examination.
272
00:19:37,866 --> 00:19:39,356
Though the various falls and flips
273
00:19:39,568 --> 00:19:42,765
seen in the finished films may
seem both spontaneous and painful,
274
00:19:42,938 --> 00:19:45,736
they are the result of
countless hours of practice.
275
00:19:45,874 --> 00:19:47,569
Over the years, Jackie and his team
276
00:19:47,643 --> 00:19:50,237
have put together their own
alphabet of 'reaction' moves,
277
00:19:50,479 --> 00:19:52,674
with which they construct
each new fight scene.
278
00:19:54,817 --> 00:19:56,614
Training, of course, is important,
279
00:19:56,719 --> 00:20:01,019
but we can't make
ourselves very muscular.
280
00:20:01,790 --> 00:20:03,690
We have to be light and flexible.
281
00:20:03,892 --> 00:20:05,792
We have to train different
kinds of things.
282
00:20:05,994 --> 00:20:11,694
We do have our own ABCDE.
We even make our own kinds of falls.
283
00:20:11,900 --> 00:20:14,494
Sometimes I just ask the stuntman,
284
00:20:14,570 --> 00:20:15,468
"Show me some fall!
285
00:20:15,571 --> 00:20:16,469
I don't like that fall!
286
00:20:16,572 --> 00:20:17,664
Give me something. "
287
00:20:17,840 --> 00:20:25,747
Finally we end up with "360" or "180",
"violent fall".
288
00:20:25,948 --> 00:20:28,644
The names were invented by us.
They're Chinese, okay.
289
00:20:28,884 --> 00:20:31,284
Now I show you a set of basic things,
ABCDE.
290
00:20:33,188 --> 00:20:34,382
Fall on your stomach.
291
00:20:51,874 --> 00:20:54,468
Fall on your back.
292
00:21:14,363 --> 00:21:16,661
High back fall
293
00:21:53,969 --> 00:21:55,869
Twisting fall
294
00:22:30,572 --> 00:22:31,368
Dangerous
295
00:22:31,707 --> 00:22:33,004
POLICE STORY STORIES
296
00:22:33,609 --> 00:22:36,009
Jackie brought the Hong Kong
martial arts action movie
297
00:22:36,245 --> 00:22:38,236
into the 20th century with
'Police Story',
298
00:22:38,413 --> 00:22:41,405
the first film in which his stunt team
really showed what it could do.
299
00:22:41,650 --> 00:22:43,641
The film's success
led to two hit sequels,
300
00:22:43,886 --> 00:22:46,787
with Jackie and the team exploring
different areas of stunt work.
301
00:22:48,023 --> 00:22:51,117
Usually when you design
an action scene,
302
00:22:51,627 --> 00:22:57,429
there're two ways;
easy or difficult.
303
00:22:57,833 --> 00:23:04,238
In 'Police Story Part Two',
a guard was in front of the door.
304
00:23:04,473 --> 00:23:06,270
How could I cross the street?
305
00:23:06,575 --> 00:23:11,069
I think I should
do some difficult things.
306
00:23:11,246 --> 00:23:13,840
The guard was standing
in front of the door,
307
00:23:14,182 --> 00:23:15,581
So I could go from the second floor,
308
00:23:15,784 --> 00:23:22,690
jump to a bus and then,
a truck and jump over.
309
00:23:23,225 --> 00:23:27,525
I could do it in an easy way
by walking across the road,
310
00:23:27,763 --> 00:23:28,855
but I didn't want to do that.
311
00:23:28,964 --> 00:23:32,957
I like to make it different from
other movies.
312
00:23:33,936 --> 00:23:36,234
For example, when I was on the bus,
I saw something,
313
00:23:36,405 --> 00:23:37,599
I saw the signboards,
314
00:23:37,739 --> 00:23:40,333
then I put the signboards
a bit lower.
315
00:23:40,609 --> 00:23:44,010
The difficult thing is you have
to jump from the truck to the bus.
316
00:23:44,246 --> 00:23:46,544
If it goes wrong,
you just flip over.
317
00:23:46,748 --> 00:23:48,238
There's nothing to protect you.
318
00:23:49,451 --> 00:23:50,349
You just do it!
319
00:24:09,004 --> 00:24:10,995
But, of course,
when I went through the window.
320
00:24:11,173 --> 00:24:12,367
Not the window, the glass,
321
00:24:12,441 --> 00:24:17,640
I cut my hand. The skin peeled away
and I could see my bone.
322
00:24:18,046 --> 00:24:19,343
But it didn't matter. I made it.
323
00:24:36,431 --> 00:24:39,332
I believe everybody remembers in
'Police Story, Part One',
324
00:24:39,568 --> 00:24:40,660
I was hanging on the bus
325
00:24:41,036 --> 00:24:43,834
and several cars were coming,
326
00:24:43,972 --> 00:24:46,270
I raised my legs,
and did this kind of thing,
327
00:24:48,076 --> 00:24:49,270
doing all kinds of stunts.
328
00:25:02,657 --> 00:25:03,954
I think I'd better come up first.
329
00:25:09,297 --> 00:25:15,600
See? This is not a normal umbrella.
It's made of metal.
330
00:25:19,941 --> 00:25:20,737
See?
331
00:25:24,179 --> 00:25:27,876
This is a wooden umbrella.
332
00:25:28,016 --> 00:25:29,506
This is a metal umbrella.
333
00:25:29,751 --> 00:25:32,049
So, of course,
you must have the strength
334
00:25:32,921 --> 00:25:34,218
to hold on yourself.
335
00:25:40,028 --> 00:25:41,620
There's another stunt
I'm going to do, you know,
336
00:25:41,797 --> 00:25:44,197
before I chased the bus and
made it stop.
337
00:25:44,633 --> 00:25:46,328
I had to run down a slope.
338
00:25:53,875 --> 00:25:55,467
How could I go faster than the bus?
339
00:25:55,610 --> 00:25:57,407
The bus was going down and
340
00:25:57,579 --> 00:25:58,568
turning around and around.
341
00:26:01,550 --> 00:26:05,042
I had to run down the slope.
It was quite far away.
342
00:26:05,253 --> 00:26:07,244
And at that time,
I really didn't know
343
00:26:07,522 --> 00:26:09,717
what the danger was and
what the scare was.
344
00:26:09,958 --> 00:26:11,653
I just wanted to
complete the movie
345
00:26:11,860 --> 00:26:17,662
and to finish the whole day.
We're at the location,
346
00:26:17,933 --> 00:26:20,333
but I'm not going to
show you again myself,
347
00:26:20,502 --> 00:26:22,197
I'll show you with a ball.
348
00:26:26,241 --> 00:26:28,436
It has really changed a lot here.
349
00:26:28,510 --> 00:26:32,002
I remember when I was filming here
at that time, really,
350
00:26:32,214 --> 00:26:36,412
there were no houses or buildings.
There was nothing.
351
00:26:39,721 --> 00:26:43,316
Even the trees were about this high,
352
00:26:43,458 --> 00:26:45,358
but now they're much higher.
353
00:26:46,061 --> 00:26:49,656
It was dangerous.
When I ran down the slope,
354
00:26:49,998 --> 00:26:51,693
I thought it was about that steep,
355
00:26:52,467 --> 00:26:54,662
but when I went down
the second one,
356
00:26:54,836 --> 00:26:55,734
I found it was steeper.
357
00:26:56,571 --> 00:27:01,668
All my men were down there,
with all the mats.
358
00:27:01,943 --> 00:27:04,844
They didn't know where I'd go.
They just guessed.
359
00:27:05,514 --> 00:27:07,414
I knew if I fell down,
360
00:27:08,550 --> 00:27:12,850
I'd roll, non-stop,
just like a ball.
361
00:27:13,054 --> 00:27:16,854
That's why I want to show this to you,
look, this is what will happen.
362
00:27:51,993 --> 00:27:58,694
See? Non-stop.
But, if it happens to me,
363
00:27:59,367 --> 00:28:02,564
I won't die but
I will definitely be hurt badly!
364
00:28:12,547 --> 00:28:16,847
The action continued. As I pointed
the gun, the bus wouldn't stop
365
00:28:17,052 --> 00:28:20,749
because bad guys were up there,
so I made one shot.
366
00:28:23,058 --> 00:28:24,958
Then the bus hit the brake.
367
00:28:27,696 --> 00:28:30,597
I wanted one stunt guy
to go through the window,
368
00:28:31,266 --> 00:28:33,666
hit the car, and fall down.
369
00:28:36,905 --> 00:28:40,102
Then the other two stunt guys
who were up there
370
00:28:41,009 --> 00:28:44,103
would go through the other two windows.
371
00:28:44,346 --> 00:28:46,143
One stuntman hit here.
372
00:28:46,248 --> 00:28:49,240
another stuntman hit here,
the hood.
373
00:28:52,887 --> 00:28:54,878
Then the action would be complete.
374
00:28:59,160 --> 00:29:05,360
But it went wrong.
Do you know what happened?
375
00:29:05,600 --> 00:29:08,501
As the bus was unlike
the normal vehicle in the old days,
376
00:29:08,737 --> 00:29:09,931
which stopped at once.
377
00:29:10,138 --> 00:29:11,230
It had an air brake.
378
00:29:20,115 --> 00:29:21,707
When the stunt guy...
379
00:29:21,816 --> 00:29:24,011
when it hit the brake,
the first guy tried to go,
380
00:29:24,853 --> 00:29:26,753
but the bus went back.
381
00:29:29,891 --> 00:29:31,882
All the stunt guys
lost their balance.
382
00:29:33,528 --> 00:29:36,929
I knew there was something wrong
but I had to finish the whole shot.
383
00:29:37,198 --> 00:29:39,393
I just looked around,
384
00:29:40,035 --> 00:29:41,730
you know, when I said "cut",
385
00:29:41,903 --> 00:29:44,303
I turned around and
the three people were not...
386
00:29:44,506 --> 00:29:45,302
They landed on nothing.
387
00:29:53,682 --> 00:29:57,982
Just about two inches behind me.
388
00:29:58,753 --> 00:30:02,245
I didn't hear any sounds of
389
00:30:02,390 --> 00:30:04,881
the hood or the top.
I heard nothing.
390
00:30:05,126 --> 00:30:10,120
I just heard something
like "goom", and "Uurrgh!"
391
00:30:11,166 --> 00:30:13,066
The finale of 'Police Story'
was shot here,
392
00:30:13,201 --> 00:30:14,600
in a Hong Kong shopping mall.
393
00:30:14,736 --> 00:30:16,226
It saw Jackie and his stuntmen
394
00:30:16,338 --> 00:30:19,830
compete among themselves to perform
the most dangerous stunts possible.
395
00:30:20,075 --> 00:30:22,873
Okay. I wanted a stunt guy
to do some stunts here,
396
00:30:23,078 --> 00:30:26,673
I punched him.
Then he went rolling down.
397
00:30:32,020 --> 00:30:35,114
The bad guy went away, so I had
to use a short cut again.
398
00:30:35,357 --> 00:30:37,552
I jumped from there
to the escalator.
399
00:30:43,365 --> 00:30:45,060
On the shooting day,
400
00:30:45,133 --> 00:30:49,331
I stopped the escalator to try,
401
00:30:49,471 --> 00:30:52,463
I jumped once.
Then I tried once when it was moving,
402
00:30:52,707 --> 00:30:54,197
with all my men to catch me.
403
00:30:54,609 --> 00:30:58,705
Listen. Everybody knows
it's pretty strong.
404
00:30:58,880 --> 00:31:01,974
It's made of metal.
It hurts you when you fall down.
405
00:31:06,087 --> 00:31:09,579
We used a different pad.
It was a metal pad.
406
00:31:09,758 --> 00:31:17,062
The metal is like a ruler,
we put it one after another.
407
00:31:17,232 --> 00:31:18,529
Then I gave him a kick.
408
00:31:18,633 --> 00:31:21,431
Why didn't we use this one,
but this one,
409
00:31:21,636 --> 00:31:23,934
because this one is going down.
It's safer,
410
00:31:24,072 --> 00:31:25,562
and this one is more dangerous,
411
00:31:25,774 --> 00:31:27,071
so we decided to use this one,
412
00:31:27,242 --> 00:31:30,734
After going down, he bounced.
413
00:31:31,546 --> 00:31:35,346
It hurt a little bit,
but I think it's a great stunt.
414
00:31:36,317 --> 00:31:40,219
The final stunt caused even
Jackie himself to think twice.
415
00:31:41,556 --> 00:31:45,151
I was pretty scared.
I was standing there,
416
00:31:45,393 --> 00:31:49,386
I looked down. Nobody was there,
just myself. I thought.
417
00:31:49,597 --> 00:31:52,395
Then I thought
"Jackie, you can do it"
418
00:31:52,567 --> 00:31:56,264
Suddenly I heard "Rolling".
I said, "What? Rolling?"
419
00:31:56,504 --> 00:32:00,907
Then I heard 12 high-speed cameras
start rolling
420
00:32:01,242 --> 00:32:07,044
Then I said "Oh, I'm gonna die",
then suddenly on the screen,
421
00:32:07,248 --> 00:32:10,445
you could see I yell "Aaaaargh!"
422
00:32:23,631 --> 00:32:25,929
But, right now, I'm standing here.
I look back,
423
00:32:26,201 --> 00:32:28,601
I don't know how I did it. Really.
424
00:32:29,070 --> 00:32:30,264
WHO AM I?
425
00:32:41,783 --> 00:32:44,377
The finale of Jackie's film
'Who Am I? ' is set here,
426
00:32:44,619 --> 00:32:46,109
in the Dutch city of Rotterdam.
427
00:32:46,254 --> 00:32:47,949
A major fight sequence is to be shot
428
00:32:48,022 --> 00:32:50,718
on the bare roof of a
27-storey office building.
429
00:32:50,925 --> 00:32:53,621
Jackie and his team have to apply
all their creativity
430
00:32:53,761 --> 00:32:57,060
to stage a lengthy combat scene
in such an empty environment.
431
00:32:57,298 --> 00:33:00,597
While scouting the location,
Jackie examines various ideas,
432
00:33:00,802 --> 00:33:03,600
only some of which will be included
in the finished fight scene.
433
00:33:03,905 --> 00:33:06,703
The most obvious aspect
of the location is its height.
434
00:33:06,975 --> 00:33:08,374
On most Hollywood films,
435
00:33:08,510 --> 00:33:10,410
planning for such
a scene would be taken place
436
00:33:10,578 --> 00:33:11,875
in a production company office,
437
00:33:12,013 --> 00:33:14,004
with elaborate story-boards
being drawn up.
438
00:33:14,282 --> 00:33:17,274
In Jackie's films, the planning is
done on the actual location,
439
00:33:17,519 --> 00:33:19,316
with the story-boards
being drawn inside
440
00:33:19,521 --> 00:33:21,216
the minds of Jackie and his team.
441
00:33:21,356 --> 00:33:25,258
Their location scouting is almost
as dangerous as the actual filming.
442
00:33:25,894 --> 00:33:28,988
Together, Jackie and his stuntmen
devise a sequence in which
443
00:33:29,230 --> 00:33:32,222
the combatants will do battle at the
very edge of the roof.
444
00:33:32,367 --> 00:33:35,359
As they do not have access to either
green screen facilities
445
00:33:35,570 --> 00:33:37,265
or a ground level mock-up of the roof,
446
00:33:37,405 --> 00:33:40,897
this will add a very real element of
suspense to the action.
447
00:34:01,229 --> 00:34:02,821
The team also try and make use of
448
00:34:02,997 --> 00:34:04,988
some of the permanent features
of the rooftop.
449
00:34:05,266 --> 00:34:08,064
For example, the wind from a powerful
ventilator system
450
00:34:08,202 --> 00:34:09,499
inspires Jackie to choreograph
451
00:34:09,671 --> 00:34:11,764
an exchange of blows
right on top of it.
452
00:34:11,973 --> 00:34:13,065
This section of the fight
453
00:34:13,241 --> 00:34:15,937
will combine his trademarks
of action and comedy.
454
00:34:16,177 --> 00:34:18,168
Jackie plans to have
his opponent's tie be
455
00:34:18,379 --> 00:34:19,971
blown up and around by the wind.
456
00:34:20,048 --> 00:34:22,642
Jackie then seizes the man's tie
to keep him in range
457
00:34:22,850 --> 00:34:24,841
for a rapid fire series of punches.
458
00:34:25,053 --> 00:34:27,954
Seeing this, a second opponent
takes off his own tie.
459
00:34:43,371 --> 00:34:47,467
The powerful wind also gives Jackie
a chance to strike an heroic pose.
460
00:34:47,742 --> 00:34:50,734
This kind of shot gives the audience
a chance to catch their breath
461
00:34:50,979 --> 00:34:52,469
before the next round of action.
462
00:34:53,081 --> 00:34:55,072
The wind also powers this weathercock.
463
00:34:55,183 --> 00:34:56,673
Jackie, still looking for ways
464
00:34:56,851 --> 00:34:58,944
to use the existing environment
for the fight,
465
00:34:59,187 --> 00:35:00,779
considers ways
in which he can use this
466
00:35:00,955 --> 00:35:02,650
as a weapon against his attackers.
467
00:35:02,857 --> 00:35:04,256
However, this is one idea that
468
00:35:04,359 --> 00:35:06,156
doesn't make it
into the finished film.
469
00:35:09,197 --> 00:35:12,189
Besides making use of the existing
aspects of their locale,
470
00:35:12,433 --> 00:35:13,730
Jackie and his team introduce props
471
00:35:13,801 --> 00:35:16,702
that might logically be found in
this environment.
472
00:35:16,871 --> 00:35:18,566
For instance, the fight makes use of
473
00:35:18,640 --> 00:35:21,040
some bags supposedly filled
with cement powder.
474
00:35:21,309 --> 00:35:24,301
In fact, the 'cement'
is edible corn flour.
475
00:35:24,479 --> 00:35:26,276
It makes a strong visual impact
476
00:35:26,414 --> 00:35:28,905
as it flies off the performers'
clothes and hair.
477
00:35:35,590 --> 00:35:38,889
The flour has to be painstakingly
brushed off after each take,
478
00:35:39,093 --> 00:35:40,583
and just as carefully reapplied,
479
00:35:40,762 --> 00:35:42,957
which makes for
a time-consuming process.
480
00:35:51,272 --> 00:35:54,673
Having solved the problem of how to
best use such an empty location,
481
00:35:54,809 --> 00:35:56,504
Jackie and his team
turn their attention
482
00:35:56,678 --> 00:35:58,669
to choreographing
the fight sequence itself.
483
00:35:58,913 --> 00:36:02,110
It will see Jackie take on
two foes at the same time.
484
00:36:02,817 --> 00:36:05,718
This brings into focus
one of the problems the team faces.
485
00:36:05,920 --> 00:36:07,820
Most martial arts experts
are not trained
486
00:36:08,022 --> 00:36:10,320
in the kind of complicated film
fighting choreography
487
00:36:10,558 --> 00:36:12,856
that is the speciality of
Jackie and his team.
488
00:36:13,327 --> 00:36:15,124
Dutch performer
Ron Smoonenberg
489
00:36:15,296 --> 00:36:16,593
has impressive kicking skills,
490
00:36:16,764 --> 00:36:19,756
but no experience in shooting
this kind of action scene.
491
00:36:19,967 --> 00:36:21,264
This means that Jackie has to
492
00:36:21,369 --> 00:36:23,667
choreograph the most spectacular
fight possible,
493
00:36:23,905 --> 00:36:26,806
while trying to ensure that
he doesn't get kicked for real.
494
00:36:27,542 --> 00:36:30,636
Teaching Smoonenberg the necessary
sense of timing and distance
495
00:36:30,878 --> 00:36:33,073
to ensure a safe yet
dynamic duel taxes
496
00:36:33,314 --> 00:36:34,611
even Jackie's patience.
497
00:36:41,656 --> 00:36:43,351
No. You must not stop.
498
00:36:43,491 --> 00:36:47,086
Now, you just remember
your movements.
499
00:36:49,263 --> 00:36:50,560
You have to watch me.
500
00:36:50,732 --> 00:36:55,726
If you come too close, see?
I'm going this way.
501
00:36:56,170 --> 00:36:59,662
You have to find out. Ready, action.
Stay where you are!
502
00:36:59,874 --> 00:37:04,368
Stay where you are! Don't chase me.
See?
503
00:37:04,512 --> 00:37:07,208
Everybody, watch. Then come here,
one step.
504
00:37:09,383 --> 00:37:17,290
Come here. Listen and watch slowly
and carefully. Action. See?
505
00:37:20,361 --> 00:37:22,556
See? The distance.
506
00:37:28,236 --> 00:37:33,037
I'm not scared,
and the rhythm will come very nicely.
507
00:38:02,170 --> 00:38:03,660
Okay...
508
00:38:09,310 --> 00:38:11,210
Though Smoonenberg's
ability to execute
509
00:38:11,445 --> 00:38:12,844
the required movements improves,
510
00:38:12,980 --> 00:38:15,778
he still proves unable to
execute certain sequences
511
00:38:15,983 --> 00:38:17,075
with the correct rhythm.
512
00:38:17,218 --> 00:38:18,515
For one section of the fight,
513
00:38:18,619 --> 00:38:21,520
he is replaced by an Australian
Jackie Chan Stunt Team member
514
00:38:21,722 --> 00:38:24,919
who performs with the kind of speed
and timing that Jackie demands.
515
00:38:46,180 --> 00:38:48,171
The team apply some
unconventional methods
516
00:38:48,416 --> 00:38:51,317
to execute some of the more
complicated aspects of the scene.
517
00:38:51,519 --> 00:38:53,111
In one sequence, both Smoonenberg
518
00:38:53,254 --> 00:38:56,246
and a stuntman play the same role
in one shot.
519
00:38:56,457 --> 00:38:58,652
Smoonenberg delivers an initial kick,
520
00:38:58,826 --> 00:39:01,317
then backs off to let a Jackie Chan
stunt team member
521
00:39:01,562 --> 00:39:03,757
execute a close quarters
combat sequence.
522
00:39:05,433 --> 00:39:07,924
Sometimes the team
come up with choreography
523
00:39:08,169 --> 00:39:09,363
that is humanly impossible,
524
00:39:09,470 --> 00:39:11,768
so they come up with
a non-human solution.
525
00:39:12,340 --> 00:39:16,834
Here, a stuntman delivers a series
of kicks with the aid of a fake leg.
526
00:39:28,789 --> 00:39:30,689
This kind of trick
has risks of its own,
527
00:39:30,925 --> 00:39:32,324
as Jackie finds out.
528
00:39:42,837 --> 00:39:44,828
On one particularly energetic take,
529
00:39:45,006 --> 00:39:46,997
the shoe from the fake leg
is sent flying off
530
00:39:47,275 --> 00:39:48,970
the rooftop into the river below.
531
00:39:57,351 --> 00:40:00,047
Nice, home run!
532
00:40:01,822 --> 00:40:02,618
Action!
533
00:40:03,124 --> 00:40:05,115
During the course of shooting
this fight scene,
534
00:40:05,393 --> 00:40:08,988
Jackie's been kicked in his stomach,
injured his leg and damaged his knee.
535
00:40:09,163 --> 00:40:11,154
He's smashed his shin
against a metal rail,
536
00:40:11,432 --> 00:40:13,127
and even sustained a painful injury
537
00:40:13,200 --> 00:40:16,897
after falling back onto something
as simple as a plastic belt buckle.
538
00:40:22,009 --> 00:40:24,603
None of these injuries are apparent
from the finished fight,
539
00:40:24,812 --> 00:40:26,006
which is evidence that Jackie
540
00:40:26,147 --> 00:40:29,139
and his team can still come up with
something new and different.
541
00:41:13,828 --> 00:41:20,233
Okay, stand by everyone! Roll sound!
Roll camera
542
00:41:22,003 --> 00:41:24,597
and action!
Action car, action car.
543
00:41:32,813 --> 00:41:34,804
So many extravagant vehicle stunts
544
00:41:34,915 --> 00:41:36,610
have been performed
in Hollywood movies,
545
00:41:36,817 --> 00:41:39,115
it takes real imagination
to come up with something
546
00:41:39,353 --> 00:41:42,345
that hasn't been seen before.
For 'Who Am I? ',
547
00:41:42,556 --> 00:41:44,956
Jackie and his team
come up with a new approach.
548
00:41:45,159 --> 00:41:48,651
In this film, cars will flip
and spin just like they do.
549
00:41:57,071 --> 00:41:59,665
The vehicles needed to accomplish
this were supplied
550
00:41:59,907 --> 00:42:01,898
thanks to Jackie's
special relationship
551
00:42:02,076 --> 00:42:04,067
with the Japanese car giant
Mitsubishi.
552
00:42:04,445 --> 00:42:07,243
Four identical brand-new Mitsubishi
Evolution IV sports cars
553
00:42:07,448 --> 00:42:11,043
were shipped to South Africa and
Holland for Jackie to crash at will.
554
00:42:11,185 --> 00:42:13,881
The value of the cars involved
didn't prevent the crew
555
00:42:13,988 --> 00:42:16,786
from subjecting them to some extreme
wear and tear.
556
00:42:42,883 --> 00:42:45,875
Next time, why not tie our seat-belts!
Sorry!
557
00:43:05,873 --> 00:43:07,670
For one scene,
the Dutch car specialists
558
00:43:07,808 --> 00:43:10,106
spent three hours building
a sophisticated ramp
559
00:43:10,344 --> 00:43:11,936
to flip a car onto its side.
560
00:43:12,046 --> 00:43:14,241
However, the impatient
Jackie Chan Stunt Team
561
00:43:14,381 --> 00:43:16,576
decided to get the shot
the old-fashioned way.
562
00:43:16,750 --> 00:43:20,242
A stunt driver has to generate
enough speed to tip the car on cue,
563
00:43:20,488 --> 00:43:23,889
while maintaining enough momentum to
take it down the length of the alley.
564
00:43:27,061 --> 00:43:29,359
On the first take,
the car doesn't reach a speed
565
00:43:29,530 --> 00:43:30,827
sufficient to tip it over.
566
00:43:31,765 --> 00:43:34,359
On the second, the car goes
too fast, and crashes,
567
00:43:34,068 --> 00:43:35,467
almost hitting one of the cameras.
568
00:43:39,407 --> 00:43:41,602
The third time, the car tips on cue,
569
00:43:41,709 --> 00:43:44,109
but then gets stuck
half-way down the alley.
570
00:43:44,445 --> 00:43:46,936
Perhaps surprisingly,
no-one has been injured.
571
00:43:48,483 --> 00:43:50,678
Finally,
the car races out on its side,
572
00:43:51,164 --> 00:43:52,358
and the crew get the shot.
573
00:43:52,466 --> 00:43:54,161
What happens next is extra.
574
00:44:01,041 --> 00:44:04,033
To continue the action,
the car is dragged out on a trolley
575
00:44:04,177 --> 00:44:07,169
to allow for a close-up shot showing
one of the wheels spinning.
576
00:44:07,814 --> 00:44:10,908
Meanwhile, the bad guys decide to
abandon their own vehicle,
577
00:44:11,218 --> 00:44:12,310
and approach on foot.
578
00:44:12,552 --> 00:44:14,952
To escape capture,
the driver of the car has to
579
00:44:15,122 --> 00:44:17,613
get it into the right position
for it to right itself.
580
00:44:17,824 --> 00:44:20,918
This shot is accomplished with
the aid of twenty crew members.
581
00:44:21,161 --> 00:44:23,652
As the villains arrive,
the car spins round and round
582
00:44:23,930 --> 00:44:25,227
to keep them at bay.
583
00:44:25,432 --> 00:44:28,629
For this shot, the cameraman is
suspended above the car on a wire.
584
00:44:28,869 --> 00:44:32,168
Then a hood-mounted camera captures
a close-up of Jackie
585
00:44:32,372 --> 00:44:34,966
and his companions inside
the spinning vehicle.
586
00:44:38,445 --> 00:44:41,039
Finally, the crew man handle
the car into position
587
00:44:41,281 --> 00:44:43,772
to allow our heroes
to make their getaway.
588
00:45:48,648 --> 00:45:51,549
The scene in which a BMW
spins down to the ground
589
00:45:51,718 --> 00:45:55,119
like a Jackie Chan stuntman
is accomplished in three stages:
590
00:45:55,722 --> 00:45:57,815
First, the car is hoisted on a crane
591
00:45:57,924 --> 00:46:00,222
and swung into position at the edge
of the roof.
592
00:46:00,894 --> 00:46:02,794
A dummy is placed in the driving seat.
593
00:46:04,030 --> 00:46:06,430
Sandbags and silver balls
are put into position
594
00:46:06,633 --> 00:46:08,225
on the specially constructed metal
595
00:46:08,335 --> 00:46:12,431
and glass framework below the car
to enhance the impact of its descent.
596
00:46:13,406 --> 00:46:15,897
Five cameras are set up
to capture the stunt.
597
00:46:20,313 --> 00:46:23,612
Once the car is balanced on the edge
of the seven-storey parking lot,
598
00:46:23,817 --> 00:46:26,809
Jackie brings himself and the other
actors into the action.
599
00:46:27,487 --> 00:46:30,081
It is this human factor
that makes the car stunts
600
00:46:30,323 --> 00:46:31,722
in his films different from
601
00:46:31,892 --> 00:46:34,190
some of the spectacular
vehicle stunts seen in
602
00:46:34,361 --> 00:46:35,658
many of the other action films
603
00:46:35,795 --> 00:46:37,387
from and Hong Kong and Hollywood.
604
00:46:38,031 --> 00:46:40,329
Rather than just showing
a series of car collisions,
605
00:46:40,567 --> 00:46:43,058
Jackie places himself and
his fellow performers
606
00:46:43,170 --> 00:46:44,967
right at the centre of the action.
607
00:46:46,006 --> 00:46:47,496
Once the dialogue has been shot,
608
00:46:47,574 --> 00:46:50,873
the crew make their final preparations
to stage the fall itself.
609
00:46:51,077 --> 00:46:55,173
This particular car stunt depends on
manpower more than horsepower.
610
00:46:55,782 --> 00:46:57,773
On the street below,
the crew are watched by
611
00:46:57,951 --> 00:46:59,441
a curious crowd of on-lookers,
612
00:46:59,586 --> 00:47:02,282
and a state-of-the-art camera
is given primitive protection.
613
00:47:02,522 --> 00:47:05,013
The tension mounts.
Everyone knows that,
614
00:47:05,225 --> 00:47:07,716
given that they only have
one BMW to wreck,
615
00:47:07,928 --> 00:47:10,123
this is a one-take deal.
616
00:47:43,196 --> 00:47:44,390
STUNT LAB
617
00:47:54,107 --> 00:47:58,305
Welcome to the Jackie Chan Stunt Lab.
This is one of my laboratories,
618
00:47:58,445 --> 00:48:01,846
and also the training course.
Sometimes when we've a new stunt guy,
619
00:48:02,082 --> 00:48:05,574
I will call my men.
620
00:48:05,719 --> 00:48:07,710
Some actors or actresses
want to fight,
621
00:48:07,921 --> 00:48:10,412
but they don't know how to fight,
they want to fight.
622
00:48:10,624 --> 00:48:13,422
This is a good place
to train them.
623
00:48:13,760 --> 00:48:16,058
Also, sometimes while
I'm taking a shower or driving,
624
00:48:16,229 --> 00:48:18,322
I suddenly have some ideas.
Then I write them down.
625
00:48:18,565 --> 00:48:21,466
Then the next day I call all my men
to come for training,
626
00:48:21,701 --> 00:48:24,101
and we write down all the ideas,
so in the movie,
627
00:48:24,337 --> 00:48:25,634
there are a lot of
different technicians,
628
00:48:25,872 --> 00:48:27,169
they all come from here,
629
00:48:27,841 --> 00:48:31,743
and also we have a lot of
small things and equipment.
630
00:48:31,978 --> 00:48:34,776
Later on, I want to show you
some other kinds of tricks,
631
00:48:35,148 --> 00:48:39,744
part of my Jackie Chan style.
632
00:48:40,220 --> 00:48:41,517
Boys, let's get ready!
633
00:48:41,988 --> 00:48:44,582
Now Jackie and his team stage
their first demonstration,
634
00:48:44,824 --> 00:48:47,816
showing how the same wires that once
allowed kung fu fighters to fly
635
00:48:48,061 --> 00:48:51,258
are now used to enhance
the power of a kick or punch.
636
00:48:51,431 --> 00:48:53,729
A thin cord of
industrial strength steel wire
637
00:48:53,967 --> 00:48:56,367
is attached to a mesh harness
worn by the actor
638
00:48:56,503 --> 00:48:58,698
or stuntman preparing
to receive the blow.
639
00:48:59,205 --> 00:49:01,605
The on-screen effect
may be spectacular,
640
00:49:01,775 --> 00:49:04,175
but the mechanics
behind it remain basic.
641
00:49:05,145 --> 00:49:07,136
Pulling is not fast enough.
642
00:49:07,280 --> 00:49:08,975
We don't have machines
like those in America.
643
00:49:09,683 --> 00:49:12,675
We just use man power.
Like in this stunt,
644
00:49:12,919 --> 00:49:16,013
you have to make two stunt guys
stand on the ladder.
645
00:49:16,990 --> 00:49:20,892
When the "action!" comes, they have to
jump and also let go,
646
00:49:21,061 --> 00:49:23,154
let the guy fly and drop down.
647
00:49:23,263 --> 00:49:26,664
If they push it too hard,
the stunt guy will become a Superman!
648
00:49:26,866 --> 00:49:29,061
They have to push
with the right timing.
649
00:49:29,302 --> 00:49:31,395
Do you see those two guys
pushing the tatami?
650
00:49:31,671 --> 00:49:34,970
They have to let me land safely.
Of course, when the shooting comes,
651
00:49:35,175 --> 00:49:37,666
there's no mat, so
the whole set-up will be like this.
652
00:49:38,945 --> 00:49:40,242
One, two, three.
653
00:49:53,193 --> 00:49:56,390
That's what you call a kick.
Very simple thing.
654
00:49:56,596 --> 00:49:57,688
The actor or actress
655
00:49:57,764 --> 00:50:00,460
doesn't have to do anything,
but just like this. Gone.
656
00:50:13,980 --> 00:50:18,474
Usually when the film-maker
makes a movie, he uses the wire.
657
00:50:18,585 --> 00:50:23,579
They pull a thick wire and
fly around. The audience can tell
658
00:50:24,257 --> 00:50:27,351
"That's a wire",
but when I use the wire,
659
00:50:27,627 --> 00:50:29,322
I adopt a small technique.
660
00:50:29,396 --> 00:50:31,887
If I don't tell you,
you won't even know it.
661
00:50:33,867 --> 00:50:37,462
That's how I like to do it.
I use the small things.
662
00:50:37,737 --> 00:50:38,635
I show you how.
663
00:50:42,842 --> 00:50:46,437
See?
Though he made a very good fall,
664
00:50:46,613 --> 00:50:48,604
sometimes
it's still not good enough.
665
00:50:49,449 --> 00:50:55,649
Especially when I travel to
other countries to film,
666
00:50:55,822 --> 00:51:00,816
I use different people,
but not everybody is a stuntman.
667
00:51:00,994 --> 00:51:03,292
Then what can I do?
I use small tricks,
668
00:51:04,898 --> 00:51:07,492
I put the small wire in the shoes,
669
00:51:07,967 --> 00:51:12,461
At the bottom of the heels.
The whole thing will be like this.
670
00:51:12,705 --> 00:51:18,302
These shoes are exactly the same,
so we throw this one away.
671
00:51:18,545 --> 00:51:21,036
We use the one with the wire
under the shoe.
672
00:51:22,315 --> 00:51:24,715
When you wear it and stand there,
673
00:51:24,951 --> 00:51:28,751
the wire is on the floor,
so nobody can tell.
674
00:51:28,922 --> 00:51:33,018
We may need two or three people,
675
00:51:33,193 --> 00:51:34,888
depending on how fast I want it.
676
00:51:36,362 --> 00:51:40,264
So the wire is on the floor
like this, and also the pads.
677
00:51:40,500 --> 00:51:42,900
You have to know
where you put the pads.
678
00:51:43,102 --> 00:51:45,400
You have to put the pads
at certain points.
679
00:51:45,572 --> 00:51:47,665
One point, two point, three point,
680
00:51:47,841 --> 00:51:51,834
This is a wire. The pads are inside.
Then it depends on your luck.
681
00:51:52,111 --> 00:51:55,706
If you're unlucky,
you have to take off your shirt,
682
00:51:55,882 --> 00:52:00,182
and wear only underwear.
Then you don't have pads.
683
00:52:00,420 --> 00:52:02,320
If you wear short pants,
684
00:52:02,388 --> 00:52:04,481
you don't have a pad,
so that's bad luck.
685
00:52:04,657 --> 00:52:07,854
Somebody got hurt once.
We will show you again.
686
00:52:08,862 --> 00:52:09,760
A little trick.
687
00:52:14,767 --> 00:52:19,966
When we fall on the floor,
we only need a little bit of effects.
688
00:52:30,984 --> 00:52:35,182
See, this is what I mean,
faster and more powerful.
689
00:52:35,889 --> 00:52:40,087
And of course you have to know
when and how to use it.
690
00:52:40,260 --> 00:52:41,955
It's not like I use it like this.
691
00:52:42,061 --> 00:52:47,658
When you use it in a wrong place
at a wrong time. It's terrible.
692
00:52:47,867 --> 00:52:49,061
You have to know how to use it.
693
00:52:49,135 --> 00:52:50,033
And also, we use a lot of
694
00:52:50,270 --> 00:52:51,066
different things.
695
00:52:51,237 --> 00:52:52,636
We use this kind of thing
696
00:52:52,705 --> 00:52:55,105
and also the double legs.
697
00:52:55,508 --> 00:52:57,703
We use a fall, and side falls,
698
00:52:57,844 --> 00:53:00,142
and also with the shoes.
699
00:53:10,023 --> 00:53:11,615
One of the trademarks of
Jackie's style
700
00:53:11,858 --> 00:53:13,052
of screen fighting is that
701
00:53:13,126 --> 00:53:15,321
he and his stuntmen
really hit each other.
702
00:53:15,762 --> 00:53:18,458
I really want to have real contact.
703
00:53:18,765 --> 00:53:20,255
We can put the pads
704
00:53:20,433 --> 00:53:22,025
on the stomach and the back.
705
00:53:22,468 --> 00:53:23,958
What about the face?
706
00:53:34,614 --> 00:53:39,608
This shoe looks exactly
the same as the others.
707
00:53:42,288 --> 00:53:45,689
When we fight,
you really cannot tell.
708
00:53:58,972 --> 00:54:01,463
See? It touches him but
it doesn't hurt.
709
00:54:01,975 --> 00:54:04,773
Although Jackie specially designed
these foam shoes,
710
00:54:04,944 --> 00:54:05,842
he often makes use of
711
00:54:06,012 --> 00:54:08,606
common household objects
in an imaginative way.
712
00:54:10,817 --> 00:54:13,012
A towel can be used
for self-defence.
713
00:54:13,219 --> 00:54:16,313
A hat can become a chance for him
to show off his dexterity.
714
00:54:16,556 --> 00:54:20,856
We even use things like hats.
Ordinary people can do it.
715
00:54:21,060 --> 00:54:26,054
Sometimes the hat is too light.
I replace it with another one, why?
716
00:54:26,432 --> 00:54:30,835
There're a lot of coins inside.
717
00:54:31,537 --> 00:54:34,836
It depends. If there're too many,
you get rid of one.
718
00:54:35,475 --> 00:54:36,669
Then we make another one.
719
00:54:37,844 --> 00:54:40,938
It's here in the Stunt Lab that Jackie
and his team devise new ways
720
00:54:41,147 --> 00:54:43,445
they can stage
physical action sequences featuring
721
00:54:43,683 --> 00:54:45,173
such commonplace objects.
722
00:54:51,891 --> 00:54:54,587
Good examples of the finished work
are the use of a coat rack
723
00:54:54,827 --> 00:55:01,630
in 'Police Story' and
a bicycle in 'Project A'.
724
00:55:18,918 --> 00:55:22,115
Jackie's films feature some
very animated inanimate objects
725
00:55:22,321 --> 00:55:25,620
flying across the screen. Sometimes,
they are the real thing,
726
00:55:25,892 --> 00:55:28,986
and sometimes not exactly
what they appear to be.
727
00:55:58,057 --> 00:55:58,955
That is a good take.
728
00:56:01,494 --> 00:56:03,086
Come on! Hurry up!
729
00:56:12,438 --> 00:56:13,632
See? That is a good shot.
730
00:56:15,942 --> 00:56:21,244
Sometimes we do over 2000 takes.
731
00:56:21,414 --> 00:56:23,905
When you cross the camera and cut,
732
00:56:24,016 --> 00:56:27,008
you just make
the stuntmen stand here.
733
00:56:29,055 --> 00:56:29,851
One, two, three.
734
00:56:31,090 --> 00:56:32,887
See? That's the easiest way.
735
00:56:35,294 --> 00:56:36,591
See? Those kind of things.
736
00:56:37,530 --> 00:56:43,025
The real one is like this, see?
737
00:56:48,341 --> 00:56:49,831
It doesn't even hit the face.
738
00:56:50,343 --> 00:56:51,935
My foot would hurt.
739
00:56:52,078 --> 00:56:56,481
We make one like these
and you can't tell.
740
00:56:56,916 --> 00:56:58,816
Of course,
it's not used in a tight shoot.
741
00:56:59,051 --> 00:57:03,147
When you move, you need cover.
742
00:57:05,658 --> 00:57:09,355
When we hit faces,
we just put in sound effects.
743
00:57:11,597 --> 00:57:13,292
Then they make it real.
744
00:57:26,979 --> 00:57:30,574
And also, in my movie,
the action never stops.
745
00:57:58,644 --> 00:58:01,442
Jackie's films make frequent
use of glass stunts.
746
00:58:01,681 --> 00:58:04,377
His determination to give
his action scenes a foundation
747
00:58:04,584 --> 00:58:06,677
in reality can lead to him
and his stuntmen
748
00:58:06,886 --> 00:58:08,285
bleeding for their art.
749
00:58:18,631 --> 00:58:24,126
Glass isn't broken.
How can I break it? I'll show you.
750
00:58:24,537 --> 00:58:26,937
As this is a sheet of
genuine plate glass,
751
00:58:27,139 --> 00:58:30,336
it has to be specially prepared
for it to shatter on cue.
752
00:58:30,610 --> 00:58:34,205
A metal screw on top of a coin
is placed at each corner of the glass,
753
00:58:34,447 --> 00:58:37,245
so that it rests slightly above
the surface of the table.
754
00:58:37,783 --> 00:58:39,580
Okay. Now I show you the broken one.
755
00:58:51,297 --> 00:58:52,787
In 'Police Story, Part One',
756
00:58:52,965 --> 00:58:57,061
you can see
I use a lot of different glass.
757
00:58:59,105 --> 00:59:03,599
What haven't I used yet?
I think it's bottles.
758
00:59:03,743 --> 00:59:07,941
Comedy things. He kicks me and wants
to take the bottle. I kick it away.
759
00:59:08,080 --> 00:59:11,880
But in the alley scene,
I wanted that in the alley,
760
00:59:12,118 --> 00:59:16,316
someone would throw me a bottle.
We'd been looking for the location.
761
00:59:16,522 --> 00:59:23,121
In America, there're a lot of alleys,
which are very big alleys.
762
00:59:23,596 --> 00:59:27,498
When the people threw them at me,
I could just duck away,
763
00:59:27,633 --> 00:59:29,624
so I built my own alley.
764
00:59:29,835 --> 00:59:33,430
We found people
to create all the graffiti
765
00:59:33,673 --> 00:59:34,571
and this kind of thing.
766
00:59:34,674 --> 00:59:40,874
Then we had a small alley,
where they threw the bottles at me.
767
00:59:41,047 --> 00:59:45,040
But the funny thing is,
real bottles don't hurt me.
768
00:59:45,318 --> 00:59:48,219
Fake bottles are more dangerous than
the real ones.
769
00:59:48,454 --> 00:59:51,548
This is not fake. See? Hurt!
770
00:59:53,960 --> 00:59:58,761
When we hit fake glass,
it's still dangerous.
771
01:00:04,904 --> 01:00:05,802
Perfect!
772
01:00:06,339 --> 01:00:07,636
STUNT CHALLENGE
773
01:00:09,342 --> 01:00:10,741
If you think you're tough enough,
774
01:00:10,910 --> 01:00:12,901
join the Jackie Chan Stunt Team.
Watch this!
775
01:00:13,579 --> 01:00:16,878
The Jackie Chan Stunt Team.
The elite of their profession.
776
01:00:17,116 --> 01:00:20,415
Out of a thousand contenders,
only eight are chosen.
777
01:00:20,653 --> 01:00:22,348
Today, there can only be one,
778
01:00:22,455 --> 01:00:24,252
as they compete against each other
779
01:00:24,357 --> 01:00:26,257
to win the most coveted prize
780
01:00:26,392 --> 01:00:29,884
in the stunt community:
The Golden Elbow Pad.
781
01:02:18,337 --> 01:02:20,328
We are the Jackie Chan Stunt Team!
782
01:02:21,340 --> 01:02:22,637
WHEELS, BULLETS AND BANGS
783
01:02:42,194 --> 01:02:43,684
Besides his physical stunts,
784
01:02:43,829 --> 01:02:46,730
Jackie's films also contain
action sequences featuring
785
01:02:46,866 --> 01:02:50,859
such hardware as cars, guns
and explosive devices.
786
01:02:56,175 --> 01:02:58,268
Jackie first became
interested in gunplay
787
01:02:58,544 --> 01:02:59,738
after he made the transition
788
01:02:59,812 --> 01:03:02,303
from martial arts movies to modern
day action films.
789
01:03:02,648 --> 01:03:03,842
The first project in which
790
01:03:03,983 --> 01:03:07,180
he really got to fire
some heavy metals was 'The Protector'.
791
01:03:16,862 --> 01:03:19,057
American cowboys will make a lot of wow,
792
01:03:21,333 --> 01:03:22,527
but in the modern day
793
01:03:22,635 --> 01:03:26,935
we cannot do those kind of things
and then put them in the pocket,
794
01:03:27,173 --> 01:03:29,073
because even the pockets
are already different.
795
01:03:29,275 --> 01:03:30,469
But when I handle the gun now,
796
01:03:30,576 --> 01:03:31,770
I think about some tricks.
797
01:03:33,546 --> 01:03:39,746
Let others hold the gun like this.
798
01:03:39,985 --> 01:03:42,783
Also, if you really like
these kind of guns,
799
01:03:44,123 --> 01:03:45,420
when you know the guns,
800
01:03:45,591 --> 01:03:47,491
you can play a lot of tricks
with the guns.
801
01:03:47,760 --> 01:03:51,856
Like in 'Who Am I? ', the bad guy
wanted to take the gun,
802
01:03:52,064 --> 01:03:53,258
I just did something,
803
01:03:53,332 --> 01:03:57,735
I just got the whole piece off.
804
01:04:00,573 --> 01:04:02,973
When the actors or actresses fight,
it's like this,
805
01:04:04,777 --> 01:04:07,371
and the worst thing is
the slow-motion, you know.
806
01:04:09,448 --> 01:04:12,042
Then, even I'll look at myself,
807
01:04:12,218 --> 01:04:16,814
On the screen, I myself,
and everybody does.
808
01:04:16,889 --> 01:04:20,381
That's normal, but
in a movie, it isn't right.
809
01:04:20,559 --> 01:04:23,653
You have to be like this.
So how can I do that?
810
01:04:23,862 --> 01:04:28,458
When I film, before rolling,
I shoot it,
811
01:04:31,971 --> 01:04:33,461
so the eyes are always open.
812
01:04:43,515 --> 01:04:48,612
Because I really want to be
a professional, but you know what
813
01:04:48,787 --> 01:04:51,483
the dangerous thing is?
After I know more about guns,
814
01:04:52,891 --> 01:04:56,383
I know how terrible
and powerful they are.
815
01:04:56,562 --> 01:05:00,965
Don't think that if you hold a gun
you'll be a hero.
816
01:05:01,200 --> 01:05:03,600
Even if you get rid of a gun,
you'll still be a hero.
817
01:05:05,537 --> 01:05:08,938
Gunplay was not the only new element
found in Jackie's films
818
01:05:09,074 --> 01:05:12,066
after he began making contemporary
cops-and-robbers actioners.
819
01:05:12,311 --> 01:05:14,006
Since the very early days
of Hollywood,
820
01:05:14,179 --> 01:05:17,080
movie-makers have delighted
in offering more bang for your buck,
821
01:05:17,283 --> 01:05:19,774
in the form of
extravagant explosion sequences.
822
01:05:20,219 --> 01:05:22,210
Jackie's films often
feature scenes in which
823
01:05:22,488 --> 01:05:25,082
it looks like their leading man
is about to get flash-fried.
824
01:05:25,291 --> 01:05:28,283
Though the pyrotechnic displays
in his films are impressive,
825
01:05:28,494 --> 01:05:29,893
Jackie himself admits that,
826
01:05:30,029 --> 01:05:31,223
in terms of sheer scale,
827
01:05:31,363 --> 01:05:33,661
he can't compete with
Hollywood blockbusters.
828
01:05:33,866 --> 01:05:34,958
To compensate for this,
829
01:05:35,100 --> 01:05:38,399
he has developed his own
personal theory of the 'Big Bang':
830
01:05:39,538 --> 01:05:42,029
An explosion itself is boring, but
831
01:05:42,141 --> 01:05:44,632
when I'm in the explosion,
that's interesting.
832
01:05:46,445 --> 01:05:48,242
Don't believe everything you see.
833
01:05:48,414 --> 01:05:50,211
This is actually a sophisticated
834
01:05:50,249 --> 01:05:52,547
special effects shot,
with Jackie reacting
835
01:05:52,718 --> 01:05:55,915
to pre-recorded footage added
to a green screen background.
836
01:05:56,255 --> 01:05:58,655
The new technology being
developed in Hollywood
837
01:05:58,824 --> 01:06:02,726
allows actors to perform their stunts
in a safe yet spectacular fashion.
838
01:06:02,995 --> 01:06:06,988
By comparison, Jackie's own methods
have usually been much simpler.
839
01:06:07,132 --> 01:06:09,327
He stages
the biggest explosion possible,
840
01:06:09,601 --> 01:06:12,900
then runs away from it,
very fast, when the cameras roll.
841
01:06:26,819 --> 01:06:28,616
For the finale of
'Police Story II',
842
01:06:28,821 --> 01:06:31,119
Jackie devised
the biggest pyrotechnic stunt
843
01:06:31,357 --> 01:06:33,154
ever staged for an Asian film,
844
01:06:33,292 --> 01:06:35,089
demolishing a specially constructed
845
01:06:35,194 --> 01:06:37,685
Hong Kong factory
using tons of explosives.
846
01:06:37,963 --> 01:06:40,659
Given the risks involved,
he has often been asked
847
01:06:40,899 --> 01:06:44,096
why, given the advances
in special effects technology,
848
01:06:44,303 --> 01:06:47,397
he still feels the need
to risk life and limb...
849
01:06:56,715 --> 01:07:00,014
In America,
the actors don't have to do this.
850
01:07:00,352 --> 01:07:05,756
You just run in the blue background.
Then comes the explosion,
851
01:07:06,191 --> 01:07:10,491
but what I like is being on the set,
you really get the atmosphere,
852
01:07:11,630 --> 01:07:16,124
you know, the energy is
really good.
853
01:07:16,602 --> 01:07:18,297
Now we just test the things.
854
01:07:18,771 --> 01:07:24,767
In the movie, it'll appear bigger,
stronger and longer.
855
01:07:39,425 --> 01:07:42,223
I think what I want, maybe later on,
856
01:07:42,361 --> 01:07:45,762
I want the real set
with the real explosion
857
01:07:45,931 --> 01:07:47,330
and the blue background behind
858
01:07:47,499 --> 01:07:49,990
with the special effects
and the computer.
859
01:07:50,169 --> 01:07:52,763
Everything and
my real action together.
860
01:07:52,971 --> 01:07:56,463
I think maybe I'm going to do it
in the future,
861
01:07:56,775 --> 01:07:59,266
but right now I still
like to do the real thing.
862
01:07:59,878 --> 01:08:01,175
IDEA WALL
863
01:08:01,613 --> 01:08:03,513
As he plans each new film,
864
01:08:03,649 --> 01:08:06,948
Jackie is under constant pressure
to come up with fresh ideas.
865
01:08:07,085 --> 01:08:11,078
For inspiration, he speed reads books
and magazines from around the world,
866
01:08:11,256 --> 01:08:14,350
searching for intriguing
visual concepts for future use.
867
01:08:14,693 --> 01:08:17,389
Every day, I read
a lot of newspapers,
868
01:08:17,596 --> 01:08:19,791
books, and all kinds of things,
869
01:08:20,532 --> 01:08:23,501
I'll put everything I like on my wall.
870
01:08:23,535 --> 01:08:28,438
That's my Jackie Chan secret wall.
You know, see these.
871
01:08:28,674 --> 01:08:33,873
I used this in 'Who Am I? '
and I used this in 'A Nice Guy'.
872
01:08:34,146 --> 01:08:38,242
We've already used this car
in 'City Hunter'.
873
01:08:38,417 --> 01:08:42,717
There're many things
I haven't used yet.
874
01:08:43,922 --> 01:08:50,020
Like submarines,
this kind of thing,
875
01:08:52,364 --> 01:08:57,267
all are my ideas.
Everything is my idea.
876
01:08:57,469 --> 01:09:00,370
Like the things
I always carry in my wallet.
877
01:09:07,613 --> 01:09:12,482
They're with me more than...
I don't know how many years. See?
878
01:09:12,518 --> 01:09:19,617
Already broken.
I've already used it in 'Project A',
879
01:09:19,791 --> 01:09:20,780
I haven't used this yet.
880
01:09:20,926 --> 01:09:23,019
Every time when I do a new movie,
881
01:09:23,195 --> 01:09:29,998
I open all the things
to see what can be put in.
882
01:09:30,569 --> 01:09:33,868
I've shown all my secrets to you.
They're no longer secrets.
883
01:09:34,907 --> 01:09:36,306
PROPS AWAY
884
01:09:36,942 --> 01:09:39,934
Right now, I want to introduce
things in modern fights.
885
01:09:40,112 --> 01:09:43,206
Usually, when I design
the fighting scene,
886
01:09:43,348 --> 01:09:44,838
I let the art director
come to the set.
887
01:09:45,117 --> 01:09:47,312
He can put whatever he wants.
Then I come to the set.
888
01:09:47,486 --> 01:09:50,785
I look around and
think what I can use.
889
01:09:50,989 --> 01:09:52,889
I get rid of the things I can't use.
890
01:09:53,025 --> 01:09:55,425
The things I can use remain on the set,
891
01:09:55,561 --> 01:09:57,961
because everything can be a weapon.
892
01:09:58,163 --> 01:10:01,360
A car or even this kind of ball.
893
01:10:01,466 --> 01:10:08,872
You can make it more funny
and lively. I still kick and punch.
894
01:10:08,941 --> 01:10:12,240
Somebody chases me...
As soon as this one, I turn.
895
01:10:12,377 --> 01:10:16,575
I may give him a turning kick
because it looks more interesting.
896
01:10:17,749 --> 01:10:19,148
I'll show you how.
897
01:10:21,520 --> 01:10:23,511
Okay. We'll start to do this one.
898
01:10:23,655 --> 01:10:26,055
If we're on the set
we have this kind of big wheel,
899
01:10:26,258 --> 01:10:29,853
I design all the fighting.
Okay, for example, this guy,
900
01:10:30,028 --> 01:10:32,519
I push him, he goes back,
and this guy comes in.
901
01:10:32,731 --> 01:10:33,925
We fight, fight, and fight.
902
01:10:34,132 --> 01:10:37,124
Then he pushes. I duck.
At this moment,
903
01:10:37,369 --> 01:10:42,864
he gives me a kick. At the same time,
I crash and give him another kick
904
01:10:43,075 --> 01:10:44,474
on the face. He reacts.
905
01:10:45,611 --> 01:10:50,207
Then I push the wheel back.
It means he goes down.
906
01:10:50,949 --> 01:10:54,646
Then I turn and punch this guy,
907
01:10:54,820 --> 01:10:55,718
This guy comes back.
908
01:11:00,525 --> 01:11:06,122
Sometimes you go backwards
909
01:11:07,366 --> 01:11:11,359
or sometimes when the guy comes,
you can react.
910
01:11:12,938 --> 01:11:16,533
you can do a lot of things
with only one big wheel.
911
01:11:16,842 --> 01:11:18,241
Like this supermarket trolley.
912
01:11:18,343 --> 01:11:20,334
first I look at it and
think how I can use it.
913
01:11:20,579 --> 01:11:23,980
I can turn it around, push it,
these kinds of things.
914
01:11:24,616 --> 01:11:28,313
It's good for the reaction
and for me to go in.
915
01:11:29,021 --> 01:11:33,219
A lot of people say
"Why don't you use the big one?"
916
01:11:33,392 --> 01:11:36,190
If you go inside the big one,
there's still plenty of room.
917
01:11:36,428 --> 01:11:40,524
When you design the action,
you have to make it reasonable:
918
01:11:40,732 --> 01:11:45,533
Why do I go into it? Because it's
tiny. Okay. after fighting,
919
01:11:45,804 --> 01:11:49,103
this guy pushes it, I react,
and go down.
920
01:11:50,609 --> 01:11:56,809
I push it to this guy.
See? Reaction.
921
01:11:56,948 --> 01:11:59,246
After the reaction,
this guy hits me.
922
01:11:59,518 --> 01:12:00,917
I have nowhere to go,
923
01:12:01,119 --> 01:12:05,419
so I have to go inside
as soon as possible.
924
01:12:05,590 --> 01:12:11,586
Then this guy pushes the chair.
You stop and turn to give him a kick.
925
01:12:11,763 --> 01:12:15,358
Then I turn around
and give him a reaction.
926
01:12:15,701 --> 01:12:20,400
Then kick and push this guy.
Then whack him.
927
01:12:22,274 --> 01:12:27,371
This guy comes in.
Then we do a little bit of comedy.
928
01:12:27,746 --> 01:12:32,149
Like this, hurt his hand.
Then big reaction.
929
01:12:32,350 --> 01:12:38,846
For the end shot,
I come back, see?
930
01:12:40,025 --> 01:12:44,519
Sit down.
You turn the chair and stop.
931
01:12:44,696 --> 01:12:46,891
If somebody comes, you run.
932
01:12:47,132 --> 01:12:49,930
Boom, I push it back
and grab this.
933
01:12:50,135 --> 01:12:52,626
Usually,
the real fighting is like this,
934
01:12:53,505 --> 01:12:55,097
but it doesn't look nice.
935
01:12:55,240 --> 01:12:57,640
I always want my fights to be like
pretty dances.
936
01:13:00,378 --> 01:13:05,281
Then this guy punches me.
I step on the trash can
937
01:13:05,550 --> 01:13:11,955
and give him a kick. It's a comedy.
938
01:13:11,990 --> 01:13:17,189
More guys are coming? Turn around.
Throw all! See how pretty?
939
01:13:17,429 --> 01:13:19,329
I want pretty scenes, not fighting.
940
01:13:19,431 --> 01:13:20,921
I want to fight like dancing.
941
01:13:21,166 --> 01:13:23,464
So with the sound effects.
942
01:13:24,436 --> 01:13:26,131
Then the guy comes.
943
01:13:27,806 --> 01:13:30,604
I try to escape.
Then I see the light.
944
01:13:30,809 --> 01:13:33,004
Then I use the light
to hurt his hand. See?
945
01:13:33,278 --> 01:13:37,476
When he gets hurt, you turn around and
attack him on his nose.
946
01:13:37,616 --> 01:13:39,413
Then I come back.
I myself get hurt.
947
01:13:40,552 --> 01:13:46,650
Then come back
and give this guy a kick.
948
01:13:46,792 --> 01:13:49,989
I turn the chair again.
In comes a punch,
949
01:13:50,228 --> 01:13:53,720
I block the punch and
kick his stomach.
950
01:13:55,834 --> 01:13:59,031
As soon as he goes,
I pick up the ice-cream and eat it.
951
01:13:59,237 --> 01:14:01,228
Maybe like this,
there're some eggs.
952
01:14:01,640 --> 01:14:03,039
The eggs drop.
I take them too!
953
01:14:03,909 --> 01:14:05,501
I put them on his face.
954
01:14:05,577 --> 01:14:07,477
I grab him again and
put him in the washing machine.
955
01:14:07,712 --> 01:14:08,804
I start the machine.
956
01:14:10,115 --> 01:14:13,516
The guy comes.
You open the door to hit him.
957
01:14:13,685 --> 01:14:17,781
Another comes, like this.
Another guy comes.
958
01:14:18,089 --> 01:14:20,387
Then you jump in again,
turn around and sit down.
959
01:14:20,625 --> 01:14:23,617
If somebody hits you,
you lie down.
960
01:14:23,862 --> 01:14:26,660
Maybe you can give him a kick and,
come back here.
961
01:14:26,832 --> 01:14:29,824
The guys come.
Then you have to jump over.
962
01:14:30,068 --> 01:14:33,265
Kick and hurt his leg.
963
01:14:33,605 --> 01:14:36,699
Maybe another guy comes, so...
964
01:14:41,813 --> 01:14:51,415
Bamboo. This is a bamboo ladder.
This is an aluminium one.
965
01:14:51,656 --> 01:14:54,147
Whatever. You understand.
What ladder?
966
01:14:54,593 --> 01:14:56,993
Metal. A Metal ladder.
967
01:14:57,462 --> 01:15:01,762
When you use the bamboo one,
make sure you've polished it,
968
01:15:01,967 --> 01:15:06,165
It hurts if it goes into the hands.
Why do I do this?
969
01:15:06,771 --> 01:15:10,673
Because it can cut your hands.
I learnt it from experience.
970
01:15:11,042 --> 01:15:13,943
Before you do anything,
you have to make sure
971
01:15:15,547 --> 01:15:17,139
you won't cut yourself.
972
01:15:18,016 --> 01:15:26,014
You can use it to
go over and back.
973
01:15:27,525 --> 01:15:29,720
If a lot of people come,
I can turn it.
974
01:15:33,865 --> 01:15:40,270
You turn it like this and come back.
People chase you again.
975
01:15:41,006 --> 01:15:47,411
You come back and try to
come down quickly.
976
01:15:51,416 --> 01:15:57,412
You can either go to him or just
turn around and go this way.
977
01:15:59,324 --> 01:16:05,024
When somebody comes...
How many times can you do it?
978
01:16:05,830 --> 01:16:11,427
I cut my hands in just one shot.
Remember, don't do it at home.
979
01:16:12,537 --> 01:16:14,129
MASTER CLASS
980
01:16:14,706 --> 01:16:17,197
Just for you,
I choreographed some action scenes
981
01:16:17,475 --> 01:16:18,772
with my stuntmen.
982
01:16:18,877 --> 01:16:19,775
Let's take a look.
983
01:16:32,324 --> 01:16:34,815
Now let's take a look at
every shot in slow-motion.
984
01:16:35,026 --> 01:16:37,620
The first kick has no power,
and so visually,
985
01:16:37,862 --> 01:16:40,660
it doesn't make sense for
the other man to be flying back.
986
01:16:41,533 --> 01:16:44,434
This one is no good because of
the shirt obscuring the hit.
987
01:16:44,736 --> 01:16:50,436
This time the kick missed altogether,
and this take has the same problem.
988
01:16:50,642 --> 01:16:51,939
The kick didn't connect.
989
01:16:52,644 --> 01:16:55,340
This stuntman has to fly back
through the bamboo,
990
01:16:55,480 --> 01:16:58,972
but this take can't be used because
he's just sliding down to the ground.
991
01:16:59,250 --> 01:17:01,650
The idea is for him
to go through the bamboo,
992
01:17:01,820 --> 01:17:03,720
then fall down to the floor below.
993
01:17:04,155 --> 01:17:05,247
This is a good example of
994
01:17:05,390 --> 01:17:08,484
one of Jackie's basic approaches
to action film-making.
995
01:17:08,760 --> 01:17:11,354
In this shot,
the bamboo serves two purposes.
996
01:17:11,563 --> 01:17:13,360
It helps break the stuntman's fall,
997
01:17:13,565 --> 01:17:16,466
and make's the fall itself
seems more spectacular,
998
01:17:16,601 --> 01:17:19,001
with all the bamboo crashing down
around him.
999
01:17:19,204 --> 01:17:21,695
Jackie positions a second camera
at a low angle
1000
01:17:21,906 --> 01:17:24,306
to enhance the impact of the stunt.
1001
01:17:37,655 --> 01:17:39,646
This illustrates
the importance of timing.
1002
01:17:39,891 --> 01:17:42,291
The stuntman on the left
does a beautiful flying kick,
1003
01:17:42,494 --> 01:17:45,088
then his opponent flips upwards,
and bangs his head.
1004
01:17:45,363 --> 01:17:47,058
This kind of incidental injury
1005
01:17:47,098 --> 01:17:50,090
is all in a day's work
for the Jackie Chan Stunt Team.
1006
01:17:52,037 --> 01:17:55,029
Now we see how the camera angle
helps 'sell' technique.
1007
01:17:55,840 --> 01:17:59,037
This kick is too far away,
and obviously didn't connect.
1008
01:17:59,844 --> 01:18:02,745
Again, the gap between the foot
and the face is too obvious.
1009
01:18:03,581 --> 01:18:05,572
On the last take,
the angle is convincing,
1010
01:18:05,817 --> 01:18:07,512
and it looks like
the kick really hits.
1011
01:18:08,119 --> 01:18:09,518
Here the stuntman flips down,
1012
01:18:09,687 --> 01:18:11,587
and he's supposed to land on
the front of the hood.
1013
01:18:11,790 --> 01:18:13,587
On the first take,
he lands too far to the centre,
1014
01:18:13,892 --> 01:18:15,883
which means he has to
roll right across the hood,
1015
01:18:16,161 --> 01:18:17,253
then drop to the ground.
1016
01:18:17,328 --> 01:18:19,626
This doesn't have the same kind
of speed and impact.
1017
01:18:21,066 --> 01:18:22,761
On the second take, he does the flip
1018
01:18:22,867 --> 01:18:24,858
and lands in the right position
on the hood,
1019
01:18:25,036 --> 01:18:28,437
but when he rolls down to the ground,
he lands too close to the camera,
1020
01:18:28,606 --> 01:18:30,506
so he's obscuring the final shot.
1021
01:18:32,944 --> 01:18:35,936
This is the good take. As before,
he does a perfect flip,
1022
01:18:36,214 --> 01:18:39,411
and this time he hits the hood
in exactly the right place.
1023
01:18:39,617 --> 01:18:40,811
If you watch his expression,
1024
01:18:40,919 --> 01:18:43,217
you can see that
he's acting the whole time.
1025
01:18:43,421 --> 01:18:46,822
It's very important that a stuntman
is also able to act
1026
01:18:46,958 --> 01:18:50,257
to convince the audience that
what they are seeing is 'real'.
1027
01:18:50,995 --> 01:18:54,396
For this next stunt, the stuntman
is obviously moving very fast.
1028
01:18:54,632 --> 01:18:56,930
When he hits a ninety degree angle
above the stairs,
1029
01:18:57,102 --> 01:18:58,797
he looks down to check his position.
1030
01:18:58,937 --> 01:19:02,236
If he closes his eyes,
he won't be able to control his fall.
1031
01:19:02,507 --> 01:19:05,305
The stuntman must turn in the air
so as to land on his back.
1032
01:19:05,577 --> 01:19:07,772
Notice the powder
coming up from the stairs.
1033
01:19:07,979 --> 01:19:10,675
This is to increase the visual impact
of his fall.
1034
01:19:10,882 --> 01:19:12,873
Finally, he makes a safe landing.
1035
01:19:51,055 --> 01:19:53,956
In this sequence, one stuntman fights
several opponents.
1036
01:19:54,092 --> 01:19:55,491
Though the techniques may be simple,
1037
01:19:55,660 --> 01:19:58,561
they require a high degree of
timing and coordination.
1038
01:19:58,763 --> 01:20:00,663
Here, one of the stuntmen
moves in on cue,
1039
01:20:00,899 --> 01:20:01,797
but misses the block,
1040
01:20:01,966 --> 01:20:03,456
which puts him in the wrong position.
1041
01:20:03,768 --> 01:20:05,668
Then, after this one
technique is missed,
1042
01:20:05,904 --> 01:20:07,599
the whole sequence breaks down.
1043
01:20:07,872 --> 01:20:09,271
The next take starts well,
1044
01:20:09,340 --> 01:20:11,535
with the fighters interacting
with the right timing.
1045
01:20:11,709 --> 01:20:13,108
Then one of the fighters comes in
1046
01:20:13,178 --> 01:20:15,078
from the right and
he's positioned wrong,
1047
01:20:15,280 --> 01:20:17,475
and blocks the camera's
view of the action.
1048
01:20:17,782 --> 01:20:20,774
This stuntman swings at his opponent,
they're too close.
1049
01:20:21,019 --> 01:20:24,216
This means that our hero
can't execute his kick properly.
1050
01:20:24,489 --> 01:20:27,686
He's unable to kick the bottle,
and has to kick a second time.
1051
01:20:28,960 --> 01:20:30,655
This time, the sequence begins well,
1052
01:20:30,762 --> 01:20:33,560
with the stuntmen's movements
coordinated and in sync.
1053
01:20:33,731 --> 01:20:35,631
Here's the same scene
from a different angle.
1054
01:20:35,800 --> 01:20:38,200
This time, the stuntman swings in
too fast,
1055
01:20:38,436 --> 01:20:40,131
and everyone loses their rhythm.
1056
01:20:40,772 --> 01:20:41,966
With this kind of sequence,
1057
01:20:42,073 --> 01:20:43,665
even when everything goes well right
1058
01:20:43,775 --> 01:20:45,868
until the very end,
you can make one mistake
1059
01:20:46,110 --> 01:20:48,101
and get kicked in the face.
1060
01:20:48,313 --> 01:20:51,214
It's an occupational hazard
for a stuntman.
1061
01:20:59,824 --> 01:21:02,418
Using glass in a fight scene
adds an extra element
1062
01:21:02,694 --> 01:21:03,888
to challenge the stuntmen.
1063
01:21:03,962 --> 01:21:06,260
Even with sugar glass,
you still have to be careful
1064
01:21:06,431 --> 01:21:08,831
not to get flying splinters
of it in your eyes.
1065
01:21:11,302 --> 01:21:13,202
Here's the same scene
from a different angle.
1066
01:21:13,471 --> 01:21:15,769
This time, the attacker brings
the bottle in too high.
1067
01:21:16,007 --> 01:21:17,907
It should be nearer the middle
of the frame.
1068
01:21:19,444 --> 01:21:23,540
Camera awareness is a very important
attribute for a stuntman to develop.
1069
01:21:23,715 --> 01:21:26,616
Even the best techniques are useless
if the camera doesn't catch them.
1070
01:21:26,884 --> 01:21:29,978
Here, one wrong move means that
everything is positioned
1071
01:21:30,154 --> 01:21:31,553
slightly out of frame.
1072
01:21:32,223 --> 01:21:34,123
In this take,
the bottle is still too high,
1073
01:21:34,359 --> 01:21:35,951
but in the next one it's perfect.
1074
01:21:36,060 --> 01:21:38,358
The bottle comes in right
to the centre of the frame,
1075
01:21:38,496 --> 01:21:40,794
and the kick comes in
at the right angle to hit it.
1076
01:21:40,999 --> 01:21:43,194
After breaking the bottle,
the stuntman goes straight
1077
01:21:43,368 --> 01:21:44,562
into the drop kick.
1078
01:21:47,839 --> 01:21:49,830
The action continues,
with this stuntman kicking
1079
01:21:50,041 --> 01:21:51,235
as he falls to the floor.
1080
01:21:51,342 --> 01:21:53,139
However, his attacker
runs in too close,
1081
01:21:53,344 --> 01:21:56,541
and blocks the hero's head,
obscuring his facial expressions.
1082
01:21:59,317 --> 01:22:00,909
This time, he lands, flips up.
1083
01:22:01,052 --> 01:22:04,351
The other stuntman runs into shot
and delivers the kick right away.
1084
01:22:04,722 --> 01:22:07,520
In this take, the stuntman
throws his kick, but he misses,
1085
01:22:07,692 --> 01:22:09,683
and now the attacker running in
from out of shot
1086
01:22:09,927 --> 01:22:11,622
doesn't grab him fast enough.
1087
01:22:13,298 --> 01:22:14,595
This time, the stuntman jumps up
1088
01:22:14,732 --> 01:22:17,326
and executes a powerful kick
to his opponent's stomach,
1089
01:22:17,502 --> 01:22:19,800
but, again, the third man
is coming in too late.
1090
01:22:26,277 --> 01:22:29,075
This is a good take.
The stuntman throws his kick,
1091
01:22:29,280 --> 01:22:30,577
his opponent runs into frame
1092
01:22:30,648 --> 01:22:34,448
and everything happens consecutively,
with a kind of natural rhythm.
1093
01:22:35,119 --> 01:22:37,917
The worst thing a stuntman can do is
wait to get hit.
1094
01:22:38,122 --> 01:22:41,717
It has to look natural. Here,
this stuntman is waiting to get hit.
1095
01:22:42,360 --> 01:22:45,158
Also, this wooden wheel
is pushed into the shot too early.
1096
01:22:46,397 --> 01:22:48,991
For the second time,
the stuntman is waiting to get hit,
1097
01:22:49,200 --> 01:22:50,997
and gets kicked right in the groin.
1098
01:22:52,437 --> 01:22:55,133
Even though the early part of the take
isn't useable, notice that
1099
01:22:55,340 --> 01:22:58,639
the wooden wheel comes in from
left of frame with perfect timing.
1100
01:22:58,876 --> 01:23:00,969
As the wheel comes at him,
the stuntman turns,
1101
01:23:01,245 --> 01:23:03,042
and he reacts quite convincingly.
1102
01:23:03,214 --> 01:23:05,808
Despite this,
the scene has to be shot again.
1103
01:23:06,184 --> 01:23:07,276
This is the good take.
1104
01:23:07,385 --> 01:23:09,376
He kicks, drops,
and then the wheel comes in.
1105
01:23:09,620 --> 01:23:11,019
On the table, he splits his legs
1106
01:23:11,189 --> 01:23:13,384
apart for added effect,
with no delays.
1107
01:23:13,925 --> 01:23:16,325
In this outtake,
the stuntman jumps back on cue,
1108
01:23:16,561 --> 01:23:18,256
but he forgets
to split his legs apart.
1109
01:23:18,429 --> 01:23:21,830
Even though the breaking of the chair
just right, it's still a bad take.
1110
01:23:22,433 --> 01:23:24,128
This sequence shows
how important it is
1111
01:23:24,302 --> 01:23:26,099
to have coordination
between two stuntmen
1112
01:23:26,304 --> 01:23:28,204
when they perform
this kind of chasing scene.
1113
01:23:28,373 --> 01:23:30,364
They have to match their movements
second by second,
1114
01:23:30,641 --> 01:23:34,133
constantly reacting to one another,
or else the moves will look clumsy.
1115
01:23:34,679 --> 01:23:36,579
Here, one stuntman
grabs for the other,
1116
01:23:36,748 --> 01:23:38,147
but he's already out of reach.
1117
01:23:38,249 --> 01:23:40,945
If the two stuntmen failed to
react to each other properly,
1118
01:23:41,119 --> 01:23:42,916
anything can happen, including,
1119
01:23:42,954 --> 01:23:45,752
occasionally,
an unplanned flying shoe!
1120
01:23:48,292 --> 01:23:50,385
In this take,
they're completely out of sync.
1121
01:23:50,628 --> 01:23:53,119
The stuntman doing the chasing
is just grabbing at air,
1122
01:23:53,331 --> 01:23:55,128
and there doesn't
seem to be any real reason
1123
01:23:55,299 --> 01:23:57,790
for the other man to run away
from him. By the end,
1124
01:23:58,035 --> 01:24:00,128
the whole sequence has run out energy.
1125
01:24:00,304 --> 01:24:04,297
Given the complexity of the scene,
the unpredictable must be expected.
1126
01:24:08,146 --> 01:24:12,048
Here, the stuntman vaults over well,
when he lands, he waits too long.
1127
01:24:12,316 --> 01:24:16,013
The other stuntman runs into views,
but then he really gets kicked.
1128
01:24:21,692 --> 01:24:25,093
This is the good take, you can really
feel the timing between them.
1129
01:24:25,329 --> 01:24:27,024
The two stuntmen
have the rhythm right,
1130
01:24:27,198 --> 01:24:29,189
and they execute
each technique to the full.
1131
01:24:29,434 --> 01:24:31,925
The last kick looks like
it really connects.
1132
01:24:32,336 --> 01:24:34,031
The basic requirement
for this shot is that
1133
01:24:34,205 --> 01:24:36,105
the stuntman crash down
through the table,
1134
01:24:36,340 --> 01:24:37,932
through the glass and onto the floor.
1135
01:24:38,042 --> 01:24:41,239
In this outtake, we can tell that
it'll still hurt when he lands,
1136
01:24:41,412 --> 01:24:43,004
but the table breaks too easily.
1137
01:24:43,147 --> 01:24:44,637
This means that
the audience won't feel
1138
01:24:44,916 --> 01:24:47,111
the impact of the stuntman dropping
through it,
1139
01:24:47,251 --> 01:24:48,946
so the stunt doesn't really 'sell'.
1140
01:24:49,120 --> 01:24:50,314
This is the good take.
1141
01:24:50,488 --> 01:24:52,388
He gets some good height
on his jump back,
1142
01:24:52,590 --> 01:24:55,491
he drops down in just the right place,
the table shatters
1143
01:24:55,660 --> 01:24:59,255
and everyone feels the pain,
both the stuntman and the audience.
1144
01:24:59,797 --> 01:25:02,391
This defines the Jackie Chan style
1145
01:25:05,703 --> 01:25:07,796
Now you see how I use the set.
1146
01:25:08,573 --> 01:25:11,167
You don't need any special things
and effects.
1147
01:25:11,375 --> 01:25:15,573
Just use your imagination.
Use everything around you.
1148
01:25:15,813 --> 01:25:16,905
Whatever you see
1149
01:25:17,415 --> 01:25:20,907
can be used as comedy and
fighting implements.
1150
01:25:21,519 --> 01:25:23,817
What you see today
is Jackie Chan's style,
1151
01:25:24,455 --> 01:25:27,754
I hope I can see your style one day!
1152
01:25:28,392 --> 01:25:29,791
RUSH HOUR
1153
01:25:31,395 --> 01:25:33,590
In 'Rush Hour',
Jackie plays a tough cop.
1154
01:25:33,764 --> 01:25:36,858
This introductory scene sees him
take down a gang of smugglers.
1155
01:25:37,068 --> 01:25:39,969
It's the kind of sequence that would
usually need a week to shoot,
1156
01:25:40,171 --> 01:25:42,469
but Jackie, under pressure to
finish the movie on time,
1157
01:25:42,707 --> 01:25:45,403
only has enough budget
for one night's filming.
1158
01:25:45,610 --> 01:25:47,805
Everything has to move fast.
1159
01:25:47,979 --> 01:25:49,970
Very fast! Camera mark.
1160
01:26:16,607 --> 01:26:19,701
Cut! Got it. Jackie,
come here and look.
1161
01:26:20,111 --> 01:26:22,011
What do you want?
I don't like to look.
1162
01:26:25,616 --> 01:26:26,310
The exit...
1163
01:26:26,384 --> 01:26:28,375
Yeah. You want to try one more?
1164
01:26:28,619 --> 01:26:31,713
When you see I lock the handcuffs,
1165
01:26:31,889 --> 01:26:33,288
turn around, pick up the gun and
1166
01:26:33,424 --> 01:26:38,327
hit him, cut. You use this shot,
and later on when I handcuff him,
1167
01:26:38,529 --> 01:26:39,427
turn around, down, cut.
1168
01:26:39,564 --> 01:26:45,764
Then you use this shot. Good.
You want to do one more? Cleaner?
1169
01:26:52,376 --> 01:27:01,182
When I kick, cut. I turn around
to run and jump, cut!
1170
01:27:03,154 --> 01:27:04,348
The next shot will be here.
1171
01:27:06,791 --> 01:27:07,587
And this guy...
1172
01:27:09,460 --> 01:27:13,556
tight shot, this guy rolls over,
I look at the gun.
1173
01:27:20,805 --> 01:27:21,601
Action!
1174
01:27:27,078 --> 01:27:28,875
The next night
the production rushes across
1175
01:27:29,113 --> 01:27:31,308
to the studio mock-up
of an American museum.
1176
01:27:31,515 --> 01:27:33,312
Jackie's character tries to protect
1177
01:27:33,484 --> 01:27:35,475
some Chinese artifacts
from armed raiders,
1178
01:27:35,720 --> 01:27:37,711
despite the fact that
he doesn't have a gun.
1179
01:27:37,922 --> 01:27:41,221
He has to find ways to
make the confrontation convincing.
1180
01:27:42,560 --> 01:27:43,356
Don't shoot!
1181
01:27:45,997 --> 01:27:47,988
Jackie's hand-to-hand combat
is interrupted
1182
01:27:48,165 --> 01:27:50,156
by his efforts to keep
the treasure safe.
1183
01:27:51,902 --> 01:27:54,393
This approach is called
'character through action'.
1184
01:27:54,572 --> 01:27:57,769
The audience learns something about
the personality of Jackie's character.
1185
01:27:58,042 --> 01:28:00,636
He is a man with a
serious respect for tradition.
1186
01:28:00,911 --> 01:28:04,005
This enhances the audience's
emotional involvement in the scene,
1187
01:28:04,181 --> 01:28:06,172
as they begin to
care about both him,
1188
01:28:06,417 --> 01:28:08,408
and the antiques
he's trying to protect.
1189
01:28:08,819 --> 01:28:10,218
Jackie takes further punishment
1190
01:28:10,388 --> 01:28:11,480
as he fights to keep a
1191
01:28:11,555 --> 01:28:14,251
Tang dynasty vase safe
for the next generation.
1192
01:28:14,525 --> 01:28:15,924
He alternates moments of comedy
1193
01:28:16,060 --> 01:28:18,858
and drama to manipulate
the audience's feelings,
1194
01:28:19,030 --> 01:28:22,522
so that the eventual outcome of
the scene remains unpredictable.
1195
01:28:38,349 --> 01:28:41,841
From the sets of a thousand classic
Hong Kong martial arts movies
1196
01:28:42,019 --> 01:28:45,113
to the locations of a multi-million
dollar Hollywood production,
1197
01:28:45,322 --> 01:28:48,917
Jackie Chan has practiced
his extraordinary craft.
1198
01:28:49,226 --> 01:28:52,127
In this film, we have examined
many of the aspects
1199
01:28:52,329 --> 01:28:55,628
of one of the worlds
most respected action film-makers.
1200
01:28:55,833 --> 01:28:58,631
We've shown how Jackie
developed his unique style
1201
01:28:58,903 --> 01:29:02,100
and offered some behind-the-scenes
insights into
1202
01:29:02,273 --> 01:29:05,071
how he turns his
visions into reality.
1203
01:29:05,409 --> 01:29:09,004
For the man himself, though,
past glories are less important than
1204
01:29:09,213 --> 01:29:12,307
the next challenge,
and the next generation...
1205
01:29:13,184 --> 01:29:15,379
ONE FROM THE HEART
1206
01:29:15,753 --> 01:29:18,449
Now you've seen a lot of
different ways in which I make a film.
1207
01:29:19,256 --> 01:29:22,453
These are neither the best nor
the only way,
1208
01:29:22,760 --> 01:29:24,352
They're only my way,
Jackie Chan's way.
1209
01:29:26,030 --> 01:29:27,930
I just show you...
1210
01:29:28,099 --> 01:29:31,193
with a low budget, without money,
1211
01:29:31,435 --> 01:29:35,132
no blue backgrounds,
computer effects
1212
01:29:35,639 --> 01:29:39,040
or special effects, how we make a film.
1213
01:29:39,844 --> 01:29:42,642
If you really want
to be a film-maker,
1214
01:29:42,847 --> 01:29:45,247
really want to be a good director,
and actor,
1215
01:29:45,483 --> 01:29:47,280
you should learn
something from America.
1216
01:29:47,485 --> 01:29:50,784
There're many great directors
around the world,
1217
01:29:51,088 --> 01:29:54,683
and there're a lot of different ways
to make a film around the world.
1218
01:29:55,760 --> 01:29:58,558
Don't totally copy me,
but copy me a little bit.
1219
01:29:58,796 --> 01:30:02,698
Then create your own style
and make it your way.
1220
01:30:05,069 --> 01:30:09,665
The best is not the most important.
You have to be yourself
1221
01:30:10,341 --> 01:30:14,744
and more creative.
Thank you very much again.
1222
01:30:15,179 --> 01:30:18,580
Hope you've enjoyed the film.
Hope to see you next time. Bye-bye.
1223
01:30:25,856 --> 01:30:29,758
Digital effects may be funny.
One day I may use them.
1224
01:30:31,695 --> 01:30:33,993
But now you have to
see the real thing.
1225
01:30:36,993 --> 01:30:40,993
Preuzeto sa www.titlovi.com
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