Kung Fu Stuntmen (2020) - full transcript

"Kung fu stuntman" is a traditional term
that originates from the opera troupe.

Specifically, the Cantonese opera.

The term was also used in film later on.

Here in Hong Kong

we are called "stuntmen."

We're called "kung fu specialists"
in mainland China.

Let me emphasize that

we are "action actors"

because we do act in the films.

Stuntmen are in high demand in the
cinema industry.

Most martial arts in Hong Kong
consist of Beijing opera and gymnastics.



We tend to introduce our own troupe fellows

into the business.

Our community is relatively small.

Kung fu stuntmen
don't fear getting injuries

but are scared of talking
in front of the camera.

Our generation is more able to suffer
a little. Really,

it's all hardcore.

Ready, 1,2,3!

Cut!

Grab here

like this.

Bang, bang

wave and block.

Ready, 1,2,3!



As for me,

I know very little about society.

Things such as finance, stocks etc.

I know nothing but film.

At that time,

we were trained professionally
by opera troupes

that had the skillset needed in film.

Our predecessors moved

from mainland China to Hong Kong.

The film industry was transforming
while we entered the field.

People like us fit in right away.

When China was invaded by Japan,

most of the Peking opera teachers

migrated from the north to Hong Kong.

Yuen Siu-tien, Chow Siu-loi, Kwan
Ching-liang, Chui Chung-hok, Han Ying-chieh,

all the masters from various Peking
opera troupes

followed Yu Jim-yuen all way
down from Shanghai.

One of the well-known pioneers
was master Yuen Siu-tien.

He merged his Peking opera
expertise of martial arts

into our Cantonese style.

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

It's my training style.

Peking opera performers speak Mandarin.

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

What else can they do?

Nothing but teaching.

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

Simple as that.

A group of apprentices were well trained

such as Sammo Hung, Jackie chan

Yuen Tak, Yuen Wah etc.

They all became action directors later on.

In Hong Kong,

there were four Peking opera schools
back then.

Madame Fen Chu-hua was one
of the instructors.

I started learning Peking opera at age 10.

Stephen Tung, Austin Wai

Mang Hoi and John Lone,

master Ti Tang as well.

Ti Tang was my master.

My fellows were Ching Siu-tung,
Poon Kin-kwan,

Alan Chui and Yeung Sai-gwan.

And master Ma Shing-chi.

We grew up in master Ma Shing-chi's school.

We might be the very first generation.

Basic training lasted for three years.

Regardless of the roles:
Sheng, Dan,

everyone practiced
the same set of basic skills.

Headstands, split kicks, and back bends.

So the basic requirements were all alike.

After that, masters
would evaluate both our quality

and appearance to
decide the best role type,

whether wusheng,

wuchou, or jing.

Master Yu Jim—yuen trained
a group named "Seven Little Fortunes."

In our school,
we were called "Nine Wonder Kids."

We had two extra.

Here was the back door of our school.

Back then, the whole class came out

and gathered here around 6 AM.

We practiced headstands,
back bends, and swings.

30 minutes is the minimum requirement
for headstands.

Some of the senior students

were even capable of
maintaining the pose for one hour.

Stephen Tung was one of them.

We began to be trained
strenuously at age seven.

I can say that

we studied very well.

Most plays can be done very well.

The four opera academies were
China Opera School,

China Opera Academy,
Spring & Autumn Academy,

and Oriental Opera Academy

where it all began.

There were no jobs after graduation because
Peking opera was a dead end.

Master Yu,

staring from next week,

you no longer need to come.

In fact,

my master hated film.

He was still committed to Peking opera.

Eventually, he accepted reality.

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

there's no chance for opera."

As far as we were concerned,
training was essential.

Whatever master had taught us

benefits us to this day.

Performing various moves in action films

depends on our basis of martial arts skills.

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

also helps to build a career
in the film industry.

You might find this very odd,

but the folks who played main roles
at school couldn't survive,

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

I started acting when I was 14.

I've been attracted to it deeply

ever since I became a stuntman.

It's essential for stuntmen to find a mentor.

You won't make it on your own.

Rookies couldn't make it on their own.

No.19 Pak Hoi street was where
we gathered on workdays.

All stuntmen would meet up here

once we received calls.

Each film asked for

approximately 30 to 40 stuntmen.

When there were 7 or 8 films shooting at once,

the space was filled with between 100 to 200 stuntmen.

Heading to Shaw studio by bus.

Here is Shaw studio.

It was occupied 25 to 26 days per month at least.

That was amazing.

My career took off ever since some action

directors had noticed my talent.

Once I mastered the back bounce,

I could get roles as a stunt double every day.

Back then,

I experienced working full time for a month,

with no breaks.

Those were the days.

All my fellow brothers were busy.

The daily schedule consisted of three groups:

morning, afternoon, and evening shifts.

We switched between stunt and stand-in roles.

To double each time, the pay was
150 Hong Kong dollars (HKD).

I could double for three actors each day.

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

people called me "Shadow Queen."

Why?

Because I never once had the chance

to show my face.

The entry salary for stunts was 60 HKD per day.

The standard rate increased later but mine didn't.

Sammo Hung suffered more.

He was too fat

to be a stand-in.

Double Lydia Shum was the only opportunity.

We could earn between 2,000 and 3,000
HKD monthly on average

while the common rate of salary was only 100 HKD.

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

It was common to see 250 cars line
up outside of Shaw studio.

It took 1.1 kilometers to reach the end.

Just use your imagination and guess
how much we were paid.

Kung fu movies were all based on a similar concept.

The fight scenes lasted close to 10 minutes.

We had no choice.

Fights were long, like the musical
scenes in Bollywood.

However, all the repetition caused
aesthetic fatigue over time.

So I started to wonder about how to develop it.

And then, there was Bruce Lee.

His style was a bit like bushido.

The atmosphere was rendered impressively
to highlight the scene.

But the whole fight was finished
in the blink of an eye.

With just a couple of moves.

Golden Harvest studio wasn't
optimistic about The Big Boss.

Come on!

After the film was released,

audiences went crazy.

Flurries of applause, we were all shocked.

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

He studied in the US and then
came back to Hong Kong.

His kung fu style was more practical,

different from ours.

We were more deceptive.

We fought like dancers on stage.

Quite dramatic and mechanical.

When Bruce Lee was in a film,

he took charge of action directing.

He criticized and modified the old school.

He demanded all our stuntmen

to meet his requirements.

How to react when your head is hit.

How to react when your belly is attacked.

Totally revolutionized our performing style.

There are two kinds of roles,
leading and supporting.

Actors in general played primary roles

and we had to support them in their roles.

It's like dancing.

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

You have to count and then
move or fight accordingly.

50 out of 80 stuntmen followed this way.

They took turns passing in
front of the lead actor.

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

you should shout out at the same time,

and that meant you were "killed."

Why were there so many shouts

in fight scenes as you can see?

In fact, shouting was meant to signal
the next step in a series of moves.

Sometimes the actors forgot where they should hit.

So stuntmen shouted to

help remind the actor

of what he should do next.

When you were going to be knifed,

a blood bag was carried.

Goofs had to be avoided.

Bloopers weren't allowed.

So stuntmen had to hide the
blood bag with their hands

and let the "blood" flow out.

We paid close attention to the camera

and we were always aware of its location.

If an actor walked to a wrong position,

his double would make up for it.

Each scene was completed and completed.

Each scene was completed and completed.

They were actually a group of "dancers."

Everyone worked in coordination.

The process was very happy and enjoyable.

The fight scenes looked different.

Bruce Lee improved our performance skills.

He really cared about us.

Bruce understood how important we were.

We all gave our best effort to fight for him.

Bruce came to seek practitioners.

We were rookies.

"Newbie?" Bruce asked. "Yes!" I responded.

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

"Well, remember, I'll parry your cudgel

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

I followed his instructions.

I made the second move right after he parried.

But he failed.

Pow! I directly hit his head.

Bruce got mad and grumbled

"Damn! I failed to parry the cudgel!"

Then he ran aside and started drinking Vitasoy.

How dare you cut Buddha's head.

We do not believe in god!

Bruce's diet was a bit unusual.

Yes, raw beef, milk powder, and egg!

He mixed the ingredients in
a blender and made drinks.

That shake must make you feel powerful.

Bruce was very fond of Yuen Wah.

He would be pissed if Yuen Wah was hurt.

As if he himself had been injured.

Yuen Wah was like his "better half."

When Bruce saw Yuen Wah somersaulting,

he would be overjoyed.

People used to call me "King of Somersaults."

We have to admit that some people
are born with certain gifts.

We hung out with Bruce Lee outside of work.

He would talk about his instruments.

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

He tutored us and encouraged us

to exercise in his gym.

His daily workout routine included electric shock.

It was impossible for us to stand,

but he was fine.

He could bear a certain level of kilowatts.

Like level 7.

We couldn't even bear level 1 or 2.

Bruce brought Hong Kong films to Hollywood.

He made such a huge contribution that

he became the icon of Chinese kung fu.

If Bruce didn't die young,

I believe he would guide Hong Kong
and Chinese action cinema

to achieve further accomplishments.

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

Lee Jun-fan, known professionally as Bruce Lee

was born in San Francisco, USA 1940.

It happened during the shooting
of Game of Death in 1973.

We practiced under his guidance
in the morning.

Bruce returned home at noon while
we were still rehearsing.

Later on, we got a phone call.

The person who called us was Wu Ngan, his butler.

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

Wow, are you kidding me?

We were all lodged in at the hotel.

We first thought it was just a
publicity stunt by Golden Harvest.

Filming had just begun.

How could they publicize a rumor like this?

It must be some sort of joke by
the public relations department.

We didn't believe a word

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

We had already signed contracts

for his Hollywood plan.

There were at least six or seven folks.

It was miserable. I didn't know how to feel.

The most impossible thing had just happened

and my brain went blank.

After Bruce Lee passed away,

no action movies were scheduled for production.

No one dared to shoot.

It's quite ordinary in our industry to

have 10 years of prosperity followed
by 10 years of depression.

Probably from 1974 to 1976

only literature and art films were made.

The depression lasted a while

and stuntmen faced various difficulties.

Restaurant and cafe table cloths

were taken to public laundromats.

We drove to deliver and launder all the packages.

I once drove an unlicensed taxi.

After the death of Bruce Lee,

I was unemployed for around three to four months.

I was even forced to sell my blood at a
rate of about 100 HKD for 300 CCs.

It was quite odd.

The action genre was done for five long years.

Until Sammo Hung

and Lau Kar-leung arose.

Then the market started to flourish again.

Lau Kar-leung was a "representative character."

He integrated his authentic kung fu
foundation into films.

Because he comes from a family of martial artists.

Lau Kar-leung was a master of

Hung Gar.

We would normally speed up
frames when shooting action

in order to make fight scenes look much cooler.

But on the contrary,

we needed to slow down the
frames to shoot master Lau.

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

Hong Gar is originally from

the southern Shaolin style.

Master Lau would normally choreograph
60 to 70 movements into one fight,

and the actors had to remember it all.

It became dangerous when
real weaponry was involved.

I recall fighting against Gordon Liu
in Lau Kar-leung's film.

I said, "avoid using real swords."

"Don't worry. It's real, as it should be." Lau said.

Lau Kar-leung wanted to perform

with real weapons.

Performers could be injured
if they mistimed a reaction.

Lau Kar-leung always demanded
the use of authentic kung fu

ever since he began to direct.

All moves were executed
with substantial strength,

like punching into flesh.

Stuntmen feared Lau's style the most.

Ti Lung for example.

He practiced boxing from a young age.

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

Stuntmen were trained to avoid hitting for real.

But Ti Lung wasn't aware of

how to pull his punches

and so he hurt stuntmen unintentionally.

He would move outside of the frame to continue
fighting even after "cut" was announced.

Because most of Lau's stunt team members
practiced real kung fu

at the time, he also
needed skilled people.

Later, my younger martial brother,
Hou Hsia, entered Lau's stunt team.

I worked in Hung's stunt team
before I joined Lau's stunt team

but master Lau insisted on
the authenticity of martial arts.

This is called a three-sectional nunchaku.

Sammo Hung focused on variations.

I think he is the most extraordinary
action director.

Sammo Hung made it in his early 30s.

Back then, he had already filmed
a number of classic works.

I guess it all started from Iron Fisted Monk.

My style of action became popular.

After that,

movies such as Snake in the Eagle's Shadow
came out.

I don't care whether or not I was imitated.

Indeed, there was no such style before.

Ng See-yuen asked me to be the director.

My very first time,

I wondered how to make something unique?

It occurred to me that Jackie Chan
was well trained

and had a good sense of humor.

Therefore I asked him to star
in Snake in the Eagle's Shadow.

The public feedback was quite positive,

then I directed Drunken Master.

Thus, a trend of action comedy began.

Master, so strong!

What kind of wine is this?

Sanbian jiu!

Good wine!

After Jackie Chan made Snake in the
Eagle's Shadow and Drunken Master,

he made the movie Dragon Lord in 1980.

A lot more stuntmen participated.

Also, he began to choreograph larger scenes.

Jackie wasn't conscious of
his physical well being.

He took bigger and bigger risks on stunts.

Especially after he starred in The Big Brawl

and Cannonball Run in Hollywood,

he realized the audience
could accept and enjoy stunts.

For instance, he decided to "upgrade"
Hong Kong films when he returned.

There was a scene where I was
to be kicked by Whang Ing-sik,

and fall down from a great height.

However, there was nothing
to lay on the ground.

They just scraped the ground ahead
of time to loosen up the earth.

I was worried about being injured.

So I suggested postponing the scene

and shooting it at the end if necessary.

Despite my expectation, the shot
passed after only three takes.

On the other hand, the biggest
challenge was catching Jackie.

We tried for 15 takes.

Either we weren't close enough
to the position, or beyond it.

Once he managed to fall
down before I was even up.

But I still managed to
catch him many times.

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

It caused me to lay flat in bed for two months.

We continued to design more
and more difficult stunts.

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

He was meant to fall down
from one awning to another.

No one knew how much force
each awning would reduce.

The evaluation was simply
based on our experience

with a stuntman called Mars.

Because Mars's weight
was similar to Jackie.

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

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

so he came to me

for supervising.

I signaled: Ready, action, and jump.

But Jackie didn't,

so I started to curse him.

Finally, Jackie let go and it was done.

Ah Lung, are you okay?

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

Proved what?

There truly is gravity in the world.

Jackie Chan intended to make improvements,

so his actions were changing all the time.

1980s.

It was the peak of difficulty
in Hong Kong action cinema.

Jackie Chan's acrobatic scene
in Police Story

demonstrated how to put one's life on the line.

Nothing was added in post-production.

The most impressive scene I can
recall was in Police Story.

Stuntmen needed to move through a moving bus.

We planned to block it with a car.

When the bus driver slammed on the brakes,

two stuntmen on the upper deck would fall off.

It was an action that no one dared to do.

I said it was too dangerous.

If paper boxes were laid out to break
the fall we might be able to do it.

If not, it was too dangerous to do.

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

People above just screamed

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

They pushed through the windows

directly in front of Jackie.

Because there was a lack of force.

The shot wasn't officially filmed yet.
What do we do?

The outtake wasn't ideal,
but it was pretty good,

so we just took it.

We were all amazed after
seeing the footage.

We did it.

There were more than a dozen
members of Jackie's stunt team.

If seven of them performed a stunt

and you didn't,

you would show respect and say:

"please, have a seat" during meal break.

Here was the former site of Golden Harvest.

The workshops were split in
A, B, C, and D. Four buildings.

They were located on hills.

All of them have been demolished and
replaced by these tall buildings.

Most of the films presented by Golden Harvest

were filmed on the mountain right behind me.

Four buildings were filled with

one or two productions.

Jackie Chan and Sammo Hung
filmed most of the time.

"Finished? My turn. Construction shall

begin for my scene today."

Jackie and Sammo often competed
for workshops here.

They were fellows trained by the same master.

It was actually a good sign,
a healthy competition.

Jackie Chan was the eldest brother
when Sammo was absent.

If Sammo Hung appeared, Jackie
became the second.

That remained the same since early childhood.

Each of them had found their own team,

such as Jackie Chan's stunt team,

Sammo Hung's stunt team,

Yuen Woo-ping's stunt team,

and Lau Kar-leung's stunt team.

You were paid to serve your brother.

It's true.

I dare to say that

Sammo Hung's stunt team was second to none.

Sammo Hung's Stunt Team

My standard was relatively high.

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

For example,

Sammo gave me a list

and said: "I need 10 stuntmen tomorrow,

make calls and gather them for me."

I got anxious,

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

I could tell what a stuntman's skills were

and was fully aware of

what they were capable of.

If you pretended to be helpless, then forget it.

Remember to react when the camera is rolling.

Sammo evaluated all his stuntmen's abilities

and was able to pick the right ones.

Whoever was asked to perform
an action, had better do it,

or else they would never be asked to return.

If you know you can help me out,

you must do it.

If it was beyond your capability,
I wouldn't even bother asking.

This is how I work.

You can't cheat Sammo Hung.

If you say the stunt is impossible, he does it himself.

Sammo has sympathy for others.

What should I do

for instance, if he called a
stuntman who refused to help?

Then I would have to do it for sure.

Sammo selects roles for each stuntman

that match their greatest talents.

Sammo Hung always called on me to perform stunts.

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

I needed to fall right through the center.

Let me see.

Back somersault.

I climbed high and jumped.

Bang!

Everything went blank.

Sammo Hung reached over and helped me up.

It was business as usual for us stuntmen.

I've survived a few accidents with luck.

If not, I would have already
died several times over.

We seriously risked our lives while filming

action scenes with wires.

Yuen Mo was here when I
joined Hung's stunt team.

He was my death squad brother

who was willing to do anything.

I recall a scene in My Lucky Stars.

Yuen Mo doubled for me

when I was supposed to
be kicked by Jackie Chan.

I was kicked out of a window.

After breaking through the glass.

After breaking through the glass.

The stunt was followed by bumping
his head against the ground

right after his waist collided.

Extremely dangerous.

I advised Yuen Mo on where to land
and how to control his body.

Otherwise, he could die.

Kick me,

hit the glass,

change the camera position,

and control the moving force and distance.

It was a one-shot long take,

but director Hung edited it.

It was a fantastic stunt.

Yuen Mo wasn't hurt.

Then Sammo Hung suggested
to give it another shot.

Because we prepared two pieces of glasses.

Yuen Mo got injured when repeating the stunt.

"Action," he pushed through the glass,

his waist hit the edge, then
his head hit the ground.

Yuen Mo was rushed to the hospital right after.

I happened to come across.

The most risky era for stuntmen.

I remember Yuen Mo once starred as an undercover

officer who was shot and fell from a high floor,

down to the middle of an ice rink.

It was a real fall.

When stuntmen from abroad visited our scene,

they were shocked and questioned

how we could do such actions.

Whoever does it may die.

I didn't dare to think about it.

Who the hell designed it?

I kept telling the action director

before filming the scene that

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

by Sammo Hung.

I was fully aware of the possibility

of being hospitalized after doing such a stunt.

Because of the great height.

Because no cushioning was prepared below.

It was an ice floor. And it was hard!

Moreover, I wasn't asked to jump down, feet first.

I was required to fall down backwards, onto my back.

I was thoroughly wrapped in padding.

However, I still lost consciousness.

Working with Sammo Hung for decades,

I had many happy days.

Of course, injuries were inevitable.

Because we were stuntmen.

Almost everyone had been injured.

Chin Kar-lok was the last member of the team.

Therefore, he was like a treasure.

Chin Kar-lok was the final addition to the team.

He was matchless.

Whenever Jackie Chan asked if I'm capable,

I would definitely say yes.

He wanted me to perform a spin

while falling down.

I accepted.

I was too excited to feel pain at all.

I totally ignored the percussive force.

Why was Chin Kar-lok a treasure to us?

Because he would dare to do anything.

If you've never been injured,

you'll believe you can do anything.

But once you get injured,

you may realize a lack of luck.

Besides, serious injuries have long term effects.

You might not be as good as before.

I was hurt.

Why would I end up in the hospital?

Because I worked too hard

on getting through the glass.

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

The original shot needed for me

to break through the glass,

then fall on the awning to reduce the force before

landing on the ground.

I missed the awning

due to over exertion,

fell down just as the car arrived.

The whole world went dark.

The car stopped right in front of me.

It hurt.

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

I said I jumped from the third floor.

He was shocked. "Were you trying to mimic Superman?"

I explained that we were shooting a film.

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

We always teased:
"Hey boss, please don't look upwards."

When we were out scouting locations,

you knew a falling stunt was being
planned once the boss looked up.

Wherever worked, he chose it.

While filming Heart of Dragon by Sammo Hung,

a shot took place on the 7th
floor of Royal Park Hotel

at Sha Tin.

I dare to say Heart of Dragon was
the film that really frightened me

the most throughout my entire career.

Seven to eight stuntmen were required to fall

from the 7th floor.

A simultaneous action.

It was shot in coordination with an explosion.

When Sammo Hung counted "1, 2, 3,"

all of us would fall down with the explosion.

Some experienced stuntmen quit
right after viewing the set.

It was really dangerous.

Such a scene wasn't normal for
our usual routine, right?

We didn't have a chance to practice in advance.

The crew bought 3,000 cardboard boxes

and 100 rubber mattresses.

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

Although rubber mattresses, tatami mats,

and cardboard boxes were laid on the ground,

seven floors was too high of a fall.

Both the height and the bomb
were potentially lethal to us.

The pyrotechnic operator didn't
dare to press the button.

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

Some stuntmen became scared

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

Sure, but you should tell
director Hung instead of me.

I told them that you couldn't get injured

apart from one thing.

We had prepared the ground.

You could only be hurt by other
stuntmen falling on top of you.

Me, Yuen Mo, Yuen Tak,
Lau Chau-sang, Hsio Pang,

Er Bao, Ah Fu, and Yuen Wah, right?

It was my first time experiencing eight guys
doing the same stunt simultaneously.

Everyone prepared

to get ready for such serious conditions.

Director Hung signaled:

Explosion-Ok

Stuntmen-Ok

All-Ok

Rolling!

Ouch!

Everyone felt hopeless.

My heart pounded like "tatatatata."

When Sammo Hung was ready
to call "action," I said "ouch!"

A nail stuck straight

into my foot.

I stepped on it

when I heard "rolling."

After the nail was removed,
Yuen Mo continued his work.

Ready! One!

Two!

Three!

Bang!

The one in the middle was me.

Yep, that one.

Chin Kar-lok was placed in
the most dangerous position.

There was a board on the 3rd floor.

Which blocked the view underneath.

He needed to strike the board

before he could go down further.

I was the one who landed before the others.

Kneeling on the cardboard
boxes after the sound "bang!"

Alright, everything was okay!

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

When I turned around again

bang, bang, bang, others kept falling down.

I heard Sammo Hung. "Cut and rescue!"

Wow, he called to rescue people
instead of calling it a day.

It would've been terrible if I had moved earlier.

There were injuries because of
people bumping into each other.

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

you may have to do many stupid things.

Tenacious and risky,

you may even risk your life
in an unreasonable way.

For stuntmen, there's also a kind of pride in it.

Although he's a stuntman,

he has an opportunity to say

"it's my film

and my shot."

Reliving the past

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

Being a stuntman made me understand

why Hong Kong action films could
conquer Hollywood back then.

Compete with CGI?

There's no chance.

Stuntmen are the reason why
Hong Kong action cinema

earned its global status.

Due to a lack of technology,

we're forced to rely on physicality.

So called "low tech" was what we used

to compete with Hollywood films.

We felt extremely pressured to film car chases.

The government didn't permit
the blocking of roads,

so we needed to escape after a shoot.

Gunfire wasn't permitted either.

There was one scene of a robbery shot

on Nathan Road with fake guns.

The scene was filmed with hidden cameras.

We made a deal with a jewelry store
ahead of time and hid cameras properly.

However, two policemen in
plain clothes ran into us

while we finished robbing.

They weren't aware that it was staged.

So the crew all ended up in the police station.

Coming through,

this way, smile.

Coming through.

The conditions and budgets

didn't allow us to make such mistakes.

The easiest thing to film
turned out to be kung fu.

Directors didn't bother to care
about action design in general.

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

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

Each battle was suggested to last

for two minutes at least.

What should we do?

We brainstormed on moves
happening in one scene.

The fights took place in firecracker factories,

grocery shops, hospitals

kitchens, and so on.

Wires, towels and ties could all become weapons.

Every element and scene featured kung fu.

This was something that we were forced to do.

We could literally fight with anything.

This was something we needed to do.

The audience had become professionals by that time.

There were plenty of choices available to watch.

Audiences could totally recognize how good

an actor was as soon

as they posed.

The competition was intense.

Midnight premiers were essential for us to watch.

Then meeting to discuss right after.

Wondering how to make our action better

because certain difficult stunts
were achieved in other films.

For example, one scene involved a fall

from the 8th floor down to a pool.

We were amazed.

We thought we should be able to do it as well.

Then the stunt was upgraded to a fall
from the 9th floor and into flames.

Midnight premiers served as a measure in Hong Kong.

If your film was screened at midnight

and attracted limited popularity,

then the box office must be moderate.

It's the most vigorous period
of Hong Kong action cinema.

Productions and stories became better and better.

Records were constantly broken.

One after the other.

You could observe

the excitement of the
audience in the theaters,

like ecstasy.

There were 800 to 1000 seats
in one theater at that time,

where you could get responses on the spot.

Audiences were very straightforward.

If they liked your film, they would applaud.

If they didn't, they would scold and curse loudly.

Even if the audience was aware that the film's crew

and casts were present for publicity,

they would still intentionally
curse right in front of them.

So the directors were often under huge pressure.

What two fools!

Yuen Woo-ping was an odd one.

He always chose to sneak into theaters at midnight

but never watched his own films.

I guess he was afraid of failure.

Filmmaking doesn't have to be difficult.

Transforming fake sets into reality

is the key to the technique.

Yuen Woo-ping specializes in the
concept of real martial arts.

I starred in Iron Monkey and
fought against Donnie Yen.

That was directed by Yuen Woo-ping.

Eagle fist!

Director Yuen asked me to fight using real kung fu.

He believed you should fight with actual moves

if you have martial arts training.

I fought against Donnie Yen among the wood piles.

Director Yuen said "Attention,
it must be done in one take."

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

and the whole building would collapse.

So there would be no second chance,

which made me super nervous.

Well, we rehearsed ahead.

Donnie Yen was proficient at kung fu.

I grabbed at his shoulder during a rehearsal

and he snapped back at my hand.

My thumb was dislocated.

That's real kung fu!

Director Yuen would create
about 50 moves in one scene.

We had to memorize them all and perform

in order to interact with the rival.

For instance, actors were required
to have a series basic skills.

Being a top-ranking stuntman

is all about timing of motion.

A matter of seconds.

Stuntmen shouldn't hesitate.

His choreography contains romantic looks.

Looks.

I mean looks aren't limited to costumes or styles.

They're also in combat postures.

Remarkable ones you wouldn't forget.

The reason I directed Wong Fei-hung

I was influenced by the series I watched in my youth.

The kids applauded together when the theme song played.

Major choreography was done for the ladder fight.

Yuen Cheung—yan, Yuen Woo—ping's little
brother was in charge of action.

But there was a schedule conflict.

So, Yuen Woo-ping came to help us out.

He showed up and

said that he didn't care to be credited.

He only wanted to help finish what
Yuen Cheung-yan had promised.

Jet Li was wounded.

The fight really pushed the limit.

Every movement has to be performed by a double.

Doubling every move was an impossible
mission for most individuals.

Me, Xiong Xin-xin,

and a younger fellow named Tony Ling

The main point was featured
by the changes of ladders.

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

We filmed 16 hours per day for 31 days,

just for this particular scene.

At first, Xin-xin doubled Jet Li
and doubled Yen Shi-kwan.

Then we alternated the next day.

We constantly changed costumes
to double different roles.

Some action scenes in the Wong Fei-hung series,

such as bouncing in the air,

followed by turning around,

falling, and then bouncing again:

few people can accomplish that now.

The action requires accurate timing

and to interact with good expression.

I am truly proud to say that

I used to be a stuntman.

Master Yan, we are done.

The fighting method of Hong Kong kung fu

was brought to Hollywood.

Boxing style was the only
action seen in western films.

There was a lack of change,

so it was fresh for them to watch ours.

Hong Kong action films were based on creativity

from the 1960s to the 1980s,

our productions presented the best.

It's also more demanding.

The pressure they put on themselves is also high.

There are four team members.

Think about how strong the competition will be?

Competition is necessary to make progress

is what we thought at that time.

With a 50% chance of success, we'll definitely do it.

Sometimes 30%, sure we'll try to do it.

In some ways.

Your creations, encourage

others.

There is no such thing as rest.

No time limit.

Many times Yuen Woo-ping himself works

with no sleep for 48 hours.

He'll forget to eat if not reminded.

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

How are these people fighting this war every day.

He'll literally hit his head against the
wall if he doesn't capture good shots.

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

He really says things like that.

At that time, I didn't do action
directing so I didn't understand

and said "don't hit the wall."

Then I did my own action directing and I understood.

What did I understand?

For example, a scene may have ten actions.

The scene is difficult to shoot.

You make it to the ninth action, then the tenth.

Almost got it.

He would just be like...

You'll understand. Just a little bit closer.

The shot is complete.

I've tried hitting my head against walls.

I used to break wooden boxes.

But it didn't help.

It's better to calm down and think to be effective.

Before, it was common to think hard.

But there are few producers who do so today.

Now, if things don't go as planned,

just use CGI!

Back in the old days, being a
stuntman was vigorous work.

Our capabilities were put to the test regularly.

Nothing would be achieved if we hadn't

trained hard back in opera school.

We weren't ambitious.

None of the members in Yuen's stunt team

graduated from elementary school.

We'd never dreamed of being directors.

We didn't dare to.

I was born into a common family

and I grew up with six siblings

in a slum district.

A typical Hong Kong family.

Hong Kong was still poor in the 1970s.

I started to take care of my younger brothers

at around nine or ten years old.

I helped my family out

because my parents had to go out to work.

Five of us lived in a tiny room,

that was less than eight square meters.

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

We were often bullied by the landlady.

There was a field where
people practiced martial arts,

so I learned secretly on the way to school.

My aim was to protect my grandma when I grew up.

It was a shame that

we didn't study hard.

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

I started to work after that,

and had no idea what my future would be.

Many of us were under-educated.

The industry didn't require much education,

so we had an opportunity

to strive hard to survive.

I preferred doing martial arts instead of working.

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

I was about age 15 when my older brother,

who was already a stuntman,
and helped my uncle out,

said "Come to make a living

if you don't want to study."

I accepted the offer.

Stuntmen were simple and pure,

inspired by the spirit of Chinese tradition.

Once I joined a stunt team,

the big brother was my lifelong teacher.

Our "insurance" was Sammo Hung

who always looked after us.

It was about mutual trust of each other.

We never hesitated when receiving
an order from the big brother.

Because none of the outsider
stuntmen were willing to do it.

That's why the Hung stunt team and
Jackie Chan stunt team were found.

Team members are promised full medical

coverage by the big brothers while working.

It's guaranteed that the big brothers

will cover all costs if you're wounded.

They would support you for various injuries.

If you broke your arms, feet, etc.

As a stuntman, how long

can your physical strength last?

Everything's fine if you're in your 30s,

but it becomes difficult in your 40s.

I had to rely on interpersonal

relationships to get jobs

between the age of 40 and 50.

If you chat with the producers about our industry,

they'll tell you that scriptwriters, photographers,

costume designers, and other crews

can continue working just the same

in their 40s as when they were younger.

But for stuntmen in their 40s,

their physical condition
would not be sufficient.

For instance, we usually

pay a higher salary for stunts

whenever we can.

Stuntmen used to receive

a high daily income.

They weren't aware of managing finances,

so they spent it all right away.

All the money they earned

went towards food and horse-race gambling.

Few of them had any savings.

Just smoking, partying, and gambling.

Gambling was my favorite.

I gambled whenever I was free.

I was called "Overnight Tea."

The first thing a tea drinker does each day

is pour out any overnight tea and boil a fresh pot.

Like them, my first mission each
day was to pour out my money.

Northern kung fu practitioners
were popular back then.

We could be doubles and we could act.

Film crews needed us

because of our capabilities.

If we had any sense about saving,

our money could have been invested in
houses, land, or even gold.

I didn't think much while making quick cash.

It's become impossible to make
financial plans now as an elder.

That's why many famous actors,

action directors, and especially stuntmen

lack money or happiness late in their lives.

They had little savings

and often needed to see doctors

to tend to old injuries.

We had no personal healthcare insurance.

200,000 HKD was the cost for full coverage.

Film companies would prefer to settle
in cash rather than pay for insurance.

I often wondered why.

No cash would be needed if the injury

was covered by the insurance.

But I wasn't given any reasons.

If I chose to pay for my own insurance,

I had to select "kung fu tutor" as my

profession, instead of "stuntman."

Otherwise I wouldn't be able to get insurance.

No exceptions.

In order to make a living, I had to do stunts.

It all depends on your destiny.

Sometimes it's pure luck,

I survived several accidents.

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

It was unpredictable as long
as I worked in the field.

Stuntmen used to refuse to wear body
armor or any kind of protection.

Kick me. Hit me in the face.

It was fine if my right side was swollen.

Just hit my left side instead.

A stuntman never says no.

Stuntmen never say no.

Can you do it? Can you do it?

If not, just quit.

There was no place for hesitation. Who would say no?

Even if they were frightened, no-one would back off.

Protective measures were refused

because you would be teased

by the others for using them.

Others might question your ability
if you wore full protection.

When we were filming Millionaires' Express,

I saw a stuntman in his 30s crying.

He was asked to perform a stunt.

He refused with tears in his eyes.

It sounds funny now but

it shows the sprit of Hong Kong stuntmen.

Of course, that atmosphere was very unhealthy.

The older generation of stuntmen

should be wounded as rarely as possible

but dozens of stitches were received on both legs.

Fingers and collar bones were broken.

Backs, knees, and heels

were also badly injured multiple times.

Some people were paralyzed.

And some were killed.

There were some who fell backwards
and died from hitting the wires.

Some had their lower body
paralyzed after jumping from

the 3rd floor where the ground
was covered with boxes.

One time, I was wounded by six gasoline bombs.

My head was swollen, face was
black, and eyebrows were gone.

My mom saw me injured for the first time

when she entered the room with my older brother.

Oops. I made my mom worry too much.

Then I told myself that I

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

Most stuntmen are miserable.

Only a few masters have made it
and continue to contribute.

While other unknown heroes just disappeared quietly.

Some have gone on to

make a living as vendor or busboy.

Some became taxi drivers.

But others also take risks and become thieves.

Whenever we were stopped by police
and questioned about our occupation,

we'd say "stuntman."

"Stuntman? You must be a good fighter!"

The police would force us against
the wall and search us.

With no respect at all.

Especially for those of us who

were professionally trained,

it was nothing

less than humiliating.

Stuntmen are like football players.

You can become a coach if you
stand out in your profession.

If you're lucky, you can be a team leader.

Yet for us,

only a few can become action directors.

Every stuntman wants to
become an action director.

But few can be successful among
all the action directors.

There's no guarantee that you'll
become the next Sammo Hung or Lau Kar-leung.

Of course, being an actor is different.

If you can,

try to switch and it'll

make for a longer living.

To be an actor, it's essential to be popular.

What if you're not? It'll be frustrating of course.

I switched to acting for three years and had

an experience where someone recognized
me while I was dining out.

"Are you Yuen Tak?"

"You've got the wrong person."

It was hopeless.

I couldn't make a fortune or a living.

I was desperate and mentally distraught.

However, I soon made up my mind.

I wanted a change, but didn't know how?

I'd need money to do that.

Otherwise, there'd be no way.

Every profession has a hierarchy.

For example, my position here
has reached level eight or nine.

If I switch to a new field,

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

I gave birth to my child in 1995.

After that, I continued to learn tai chi.

I won four championships in a row.

Then I went back to teaching.

I could afford a basic living

and was still able to help my elders out.

It's comforting.

So I just ignored the idea of changing.

I began my own career after leaving
Jackie Chan's stunt team.

No matter what the job:

action director, stuntman,

even wiring.

I like kung fu

and doing fun things.

So I just followed my heart.

Make enough room for four to five guys.

Avoid getting too close. Measure it.

Golden Harvest.

1993, 1994, 1995, 1996.

Did Golden Harvest disappear in 1998?

Was it 1998?

Since 1998?

20 years.

I'm not sure which part
of Golden Harvest it is.

AV workshops were located on the lower level.

It's all changed. I can't recognize it anymore.

Here stairs were featured
in rolling action daily.

We fully utilized the surroundings.

Up and down, all the way.

The history of stuntmen
took place right here.

But now that's all changed.

Everything.

No more Golden Harvest film company.

These are all new buildings.

Like a brand new place.

Shaw Brothers films had better production

and less danger.

It was easy at that time.

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

Shaw Brothers film company closed down.

I guess I have to say goodbye

to what remains of Shaw Brothers studio here.

The biggest problem with the
Hong Kong movie industry is that

we're resting on previous successes.

When the market was thriving,

we didn't have the power to dominate.

We no longer have a complete
film industry system.

Filmmakers keep repeating the same genres.

We have nowhere to produce film.

With all the abnormal economic growth

dominated by property developers,

the rent for office buildings has skyrocketed.

Hong Kong cinema has fallen into

a predicament based on these issues.

Hong Kong is compelled to find solutions.

It's good that we learn to be flexible

instead of taking it for granted.

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

No money, no action.

No action films, no stuntmen.

All the big investors are on the mainland.

20 million HKD production fees
are too much to ask for here.

Investors might be reluctant.

I want to help other stuntmen out.

I don't even have a job.

How am I supposed to help
someone else find a job?

There's a number of master stuntmen.

Like Yuen Wah, Yuen Bun, Hsiao Hou, and so on.

They're all outstanding.

A new generation of stuntmen has appeared.

It's rare to find hard-working actors these days.

There's too few to count.

Hardly any.

The current society is different.

These days people focus on reading,
science, and technology.

The majority have studied computers.

We're the last remnants of stuntmen.

You'd be hard pressed to find ten stuntmen today.

They're all in their 40s and 50s.

It's hard for anyone to become an action director.

Do you want me to run into a wall?

We're forced to rise

and keep moving forward.

Or be eliminated.

Or succeed.

The purpose of this training course is

to remedy the stuntmen talent shortage.

Some may question why is it that

well-trained stuntmen struggle to

find jobs and make decent money.

Why are we scrambling to develop new talent?

Let me explain.

Stuntmen not finding work

is an issue affecting the whole market.

The lack of resources aren't
caused by the new stuntmen.

An increase in talent can allow for
the market to thrive and bounce back.

Who can act like Sammo Hung?

Ok, thanks.

I clicked to apply as soon as I saw

the recruitment ad posted on Facebook.

The training course includes a primary level,

an internship period, and an advanced program.

Leung Siu-hung is one of the instructors.

He emphasizes details such as facial expressions,

and makes us value self-improvement.

I feel less self-accomplishment while

working in other professions as compared to here.

So I'm grateful that some of my predecessors

have always been supportive and caring.

When someone quits, it's like a punch

to my heart and it makes me wonder

"Why am I still here?"

I worked as an office lady
after graduating from college.

Secretary to the president.

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

Studying was easy for me.

Yet as I love sports so much,

I got the chance to enter this profession.

To be a stuntman requires talent,

bold spirit, and toughness.

More importantly, I'm willing to take risks.

There are fewer opportunities today

and it's hard to make a living
as a stuntman for sure.

The total income I received
from working last year

barely covered my living
expenses in Hong Kong.

Stuntmen work hard to be doubles and act,

yet our faces won't appear on screen.

Sometimes you feel wronged.

Sometimes it can be very rewarding.

However, if I can participate in
one or two great works,

great works worth cherishing,

then that's enough.

And I'd remember it forever.

Hello, master!

Hello, everyone.

Well, I'd like to say a few words.

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

Let's give a warm round of applause
to director Stephen Tung,

director Yuen Cheung-yan,

Mr. Chui Jong-shin,

and director Billy Chan.

The current Hong Kong stuntmen
are trained to meet filming demands.

Targeted training rather than
being limited to martial arts.

Such as stunts for car-chasing,

stunts for falling down,

stunts for clashing.

We compartmentalized stunts
into specific categories.

Ready? Action!

The local stunt industry is in recession.

The standards for action are high,

which makes the training process miserable.

The reduction in Hong Kong film talent is due to

the low pay rate.

Filming requires training.

It's rare to find stuntmen.

So I'm less demanding.

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

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

We witnessed a golden era of
Hong Kong kung fu films in the 1980s.

Every young man had a dream to become a star,

the next Jackie Chan or Yuen Biao

through tough training.

Due to the lack of opportunities,

we can't even promise them such dream.

Actually, I do want to help,

but I'm facing difficulties of my own.

I'm not sure what I should do.

Their skills are very limited.

They don't even know how to wrestle,

or how to throw forward, or
backward, or how to hit a wall.

They can't do much besides somersaults.

Ok. Ready. Go.

First one up. Melody Chen.

There are lots of resources

such as martial arts schools in mainland China.

We can easily discover some excellent stuntmen.

But it's hard to find superstars.

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

Newbies can start as attendants.

The amateurs here may become professionals someday.

There's countless projects.

Do you know how many?

In Hengdian, there are over 40 stunt crews.

We elevate the concepts

and techniques of Hong Kong cinema

to the mainland through work.

My first film was a battle of wits.

The action director was Stephen Tung.

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

Spin, lean back,

extend the leg and land,

followed by a stunt.

According to my experience,

there's hardly anyone who
has worked on their own,

without following a Hong Kong mentor.

The situation is a bit different currently.

Local action directors take
most of the available positions.

But these locals were taught by Hong Kong masters.

If we look back

and learn the history.

The new generation is impressive.

They're all professional athletes.

Nothing is impossible once
they've been fully prepared.

Pengfei, despite his size,

could jump onto a table

without making a noise.

Don't jump...

Also, this is Liu Ming-zhe,

who has helped me for a long time.

Started from the film Hero.

They're all occupied,

non-stop. It's amazing.

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

Thanks for your patronage.

My pleasure.

Yes, I live in Tongzhou district.

The industrial park is located in Shuangqiao.

Correct.

After living in mainland China for several years,

I've found that the stuntmen here are

only interested in becoming directors.

Actually, I'd rather be an
action director than a director.

Everything is easier and less stressful.

I can go home at the end of the day

without considering the non-action parts.

Now, I need to take care of both the action

and the non-action script as a director.

It's quite ironic.

Thank you to all my friends, producers, investors,

and agencies for giving me the opportunity

to become a senior director

and to set up a studio here.

At the beginning of the 1990s,

when the film market was
expanding and we went up north,

the style started blending
in with local cultures.

Beijing, Sichuan, Henan, and Hebei. Our team

members come from a wide range of domestic areas.

It has revolutionized.

It has evolved.

Now it's a Chinese kung fu movie culture.

A few that struggle to
survive in Hong Kong now are

Ah Hui,

Ah Ji,

Chin Kar-lok.

Ready.

1,2,3.

Let me know if it's too dark

for me to place one more set there.

Again, it's a little more difficult.

Have you ever been here before? Once?

7 out of 10, right?

I feel obligated.

I feel very obligated.

It's not just my contribution.

It's the joint effort of the entire

Hong Kong stuntmen association.

So, I hope that the young fellows

here can participate actively.

If you don't join us, we

can't do anything in return.

Actors can hardly survive when business is

slow, which means stuntmen have it even worse.

This is the current market.

A senior stuntman came over and sat next

to me one day while I was working at TVB.

We chatted for a while.

"Hi, fatty, here you are."

I responded.

He wondered what my side job was.

"I'm a real estate broker."
He said "That's good,

it's wise to have another job

and do stunt work as neither

a part-time or full-time job.

"Why?"

He said if you get the chance, quit.

Wow. So pessimistic.

The basic salary is low in real estate.

But it's better than nothing.

I have some income from teaching boxing,

along with income from being a stuntman.

I can manage my life for now,

however, how could I afford
healthcare for an accident?

Girlfriend?

I can't imagine dating a girl now.

My income is too low to afford it.

Sammo is here. Please stand in the middle.

Sammo Hung is here to support Chin Kar-lok today.

I've worked in this business for four years

and feel grateful for all the experience.

I'm very lucky.

These memories are the most
precious moments in my life.

This is my boss.

The first ever.

I followed him when I was a kid.

Simon Chui. I will never forget his name.

We like to gather all the strongest stuntmen here.

Including masters and seniors.

It has always led us.

Long time no see.

We miss the old days, bearing
bitter hardships together.

We hold a tea party every three months.

There will be a party on the new year.

We invite senior stuntmen to join us

and pay tribute to them.

We won't forget them.

Patience is the sky.

Try your best.

Don't underestimate yourself.

Stuntmen shall get

a chance one day.

Life is not easy,

but we are closely united.

Like a family.

Stuntmen are a large group with power.

I am also a stuntman.

I believe our tradition won't disappear

due to the inheritance of this new generation.

But what the pioneers have
accomplished in the past,

maybe no-one will achieve that again.

I was 18 when I first became an action director.

It's hard to make an action movie.

The hard work is not physical.

It's about intelligence.

There's no more real kung fu.

It's all special effects now.

The characters all seem invincible.

The stunt industry's decline

was not caused by any of the masters.

It had nothing to do with personal issues.

It had nothing to do with Jackie Chan.

The success of a film depends on public acceptance.

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

Audiences always appreciate movies

that are filmed with true passion.

I've finally returned to where I was born.

In the future, I'd like to visit Grand Street.

Technology is so advanced, right?

Physical labor has been made obsolete.

Technology is tough to compete with.

It's hard to do manual labor
when you're in your 50s.

Looking back,

I see that working as a
stuntman broadened my vision.

Due to various film productions,

I was able to visit many places around the world.

I also experienced ups and downs,

successes and failures,

and encountered difficulties

in interpersonal relationships.

It's complex.

I was fortunate to be able to branch out beyond

the structure of traditional Chinese martial arts

and incorporate MMA

into it.

Sorry for my mistake.

It's alright. Take your time. Safety is the key.

Everything alright?

Yes.

Thank you all. I am grateful.

I love Hong Kong cinema.

Stunt work is a hard and painful job,

but it also can create a lot of happiness.

I'm grateful to have survived this long.

I met my wife, had children,

found a career due to working in the business.

It's hard to imagine

that I've made a living by teaching
people how to "fight and kill."

This stunt career will last my whole life,

and it's very interesting.

Lam Ching-ying was the best of the best.

Every member of Sammo Hung's
stunt team was proficient.

But Lam Ching-ying was nearly perfect.

When we filmed Paper Marriage,

he did stunts without any mattresses.

Action, 1, 2, 3.

Bang, cut.

We worried, "Master Lam!"

"Leave me alone," he said.

Lam was writhing in pain

for over three minutes.

We heard nothing but moaning.

Lam Ching-ying's compensation
was over one million HKD

while starring in the Mr. Vampire films.

Despite his respected status,

Lam Ching-ying was fully committed
to Sammo Hung's stunt team.

He was always very independent.

He was definitely a role model.

Mr. Vampire was my first time
in charge of cinematography.

Lam Ching-ying said:

"Andrew Lau,

take your time, until you're

completely satisfied with your shots."