Warriors Two (1978) Making Of 贊先生與找錢華: 製作特輯 [English Subbed]

Warriors Two is a good film and we were very committed
at that time to making it good. For this film, all of us went
to learn Wing Chun Kung Fu. The Kung Fu in the film
was authentic Wing Chun. All the moves we had
were Wing Chun Kung Fu. The two main characters in the film
were respected historical figures. Even now, I still think of the film fondly. Woe had a Wing Chun specialist,
Sifu Lai Ying Chow, to teach us. He taught us all the moves of Wing Chun. He showed us Short-Hand moves
and we adapted the moves to our style. He also taught us how to flip and jump. In a lot of films at that time, even though Lau Ka Leung
directed Shaolin Martial Arts, there wasn’t one film
that explored Wing Chun in depth because Wing Chun is too simple,
three parts making up one set, and it’s not beautiful to watch. Standing there, just rotating… Yeah, it doesn’t look good on film. One day, when we were doing
Dirty Tiger, Crazy Frog, another film I did with Sammo, he asked if we could film using Wing Chun. I said that one could film in such a way
that made Wing Chun look good. He asked me about what I knew so I told him my thoughts
so we could try them out. After I’d finished,
he decided that it was doable. But to be realistic,
I said the most important factor was that the actors needed
a long period of time to practise. Golden Harvest was
a relatively big company then. They had many new martial artists
under contract. Everyone had to go to work so… Sammo, Sammo Hung,
had them issue a shooting schedule where he had me teaching them Wing Chun
between four and six o’clock every day. There was Lam Ching Ying,
Yuen Biao, Chan Wui Ngai, Chow Yun Fat and many others
who are now famous directors and stars. Everyone was young then,
so we would all hang out. 1 would teach them for two hours every day. Only after doing it for two to three months did we begin to communicate and
figure out the script for Warriors Two. Because Warriors Two was
the first film that I did using Wing Chun, 1 didn’t have the experience to know
how to best film this style of fist fighting. My job was to choreograph… how they fought in each scene and how to fight in a visually
pleasing way using Wing Chun so that fellow martial artists would
also recognise it as Wing Chun. Because Wing Chun
is a simple fist-fighting style, it’s difficult to show its specialness… We had to make the
taan, wong and fuk moves grander. The director would decide on
what type of fight scenes to film and I figured out
the fight choreography in each scene. Wing Chun is a very simple form
of fist-fighting martial arts. It uses very scientific theories
to explain its methodology. The shortest distance between
two objects is a straight line. So we don’t need to make
a circular movement to hit someone. Straight on, direct, very simple. Also, strictly speaking, Wing Chun
only has eight hand movements. Eight movements that combine
to make many other movements. For example, like A, B, C.
A and B are separate letters but when you combine letters,
they form a word which has meaning. Wing Chun is the same. “Taan sau” isn’t a punch,
“bong sau” isn’t a punch, but in combination,
“taan da” and “bong da” are Kung Fu. That’s why it’s simple and direct. There are two legends
attached to Wing Chun. The founder’s surname was Yim,
Yim Wing Chun. She was Ng Mui’s student and
it was passed on down the generations. That’s why our form of martial arts
has hardness within its softness, like having velvet fists. So it’s not that masculine and
many hand movements are very simple. Yim Wing Chun taught her husband
and from there it was passed down. There was Mr Jan, another was
Jan Chin Wa. Then there was Yip Man. If there hadn’t been a civil war in China
and he hadn’t needed to escape, then Hong Kong wouldn’t have
received this style of Kung Fu. Because this Kung Fu is very difficult to do… Because one person passes it down
to another person you can’t leamn it properly in groups of
ten or more people like other Kung Fu. You can’t leam it like that. So one person taught another person. So you had to be able to support your Sifu. Therefore, only the rich could afford to leamn. So to survive, to make a living
in Hong Kong, Mr Yip, my Sigung, that is, my teacher’s teacher,
started to teach Kung Fu. Actually, he didn’t really want
to teach Kung Fu. Wing Chun is one set of moves,
divided into three parts. The first part is called Siu Nim Tao.
The second is called Chum Kiu. The third is called Biu Jee. Together they make one set of
fist-fighting martial arts, Wing Chun. Knives are called Baat Jam Do,
not butterfly knives, because there are only eight moves. The pole’s called Luk Dim Boon Kwun,
as there are only 6.5 moves. That’s why it’s the simplest form
of fist-fighting martial arts. Muk Yan Jong is used when
you’ve learnt the hand moves. You need to control your movement
so that it doesn’t go astray. You cannot punch someone… If you punch someone, pow! Then you’ll hurt that person
but you won’t damage wood. Also when you practise every day
the wooden dummy will not get tired. You can hit it whenever you like and
it’s silent and you don’t need to support it. That’s why a Muk Yan Jong was invented. When we were learning as students, we practised a minimum
of four hours every day. Woe practised with
the wooden dummy all the time. Wing Chun is a girl’s martial art. When a boy does it,
how does one show the softness within the hardness and
still retain the beauty of it all? Then one has to relearn it all and it’s better that one hasn’t already
studied martial arts for a long time. In other words, if you’ve studied Hung Kuen
or karate for too long a time, then it’s really difficult to change
and leam Wing Chun. Chi Sao means… When you see someone about to hit you, your eye tells your brain to react so therefore your reaction is slower. Chi Sao is the most direct. For example, if I prick you with a needle,
you will naturally react by reflex. The fastest sense is touch. The fastest sense that you react to
is the sense of touch. So that’s why…
Because Wing Chun is about positions… If I stretch out my arm, when you hit me, I’m looking at you,
your arm is in between my arms. You always have to move past my arm
before you can hit my torso. As you’re moving past my arms,
1 would have already changed my position. That’s the use of Chi Sao, Sticking Hands.
There’s already a change in my position. When you press down here, this goes up. When there’s downwards pressure,
you immediately press upwards. That means the fastest reflex
action is always… the sense of touch. With the sense of sight,
you have to tell the brain to react. So that’s what’s good about Chi Sao. 1 like the pace of Wing Chun Kung Fu. The pace and the power.
The power of the strike. They could exert maximum power
in the shortest distance. Especially in movies,
Wing Chun is nicer to watch. That’s why I prefer Wing Chun. Even in my other films, I’ve put some Wing Chun style
into the choreography. Everyone thinks that I’ve studied
Wing Chun for a very long time, probably because I perform it so naturally. Wing Chun really has
very strong moves and pace. Even now when I am filming other films, my moves have a Wing Chun style. At that time, Short-Hand moves
were very popular. Kung Fu has two main types. First there was the big,
exaggerated movement, then the small and elaborate
type became popular. At that time, I was training
with Lau Kar Leung Sifu. 1 was learning Hung Kuen from him. The fight choreographers were
Yuen Biao and Lam Ching Ying. They were all working there. 1 would figure it out and they would transform it
for the film Warriors Two. It was July when we were filming.
Very hot. 1 was wearing head gear and a gown. I was trying not to show any sweat. The character was a skilful warrior and
shouldn’t break out in sweat. 1 didn’t allow any sweat to flow to the front,
only to the back. It wasn’t easy. Of course it affected me. Especially when the stunt was a difficult
one, like jumping down from the first floor. 1 had to do it myself, no stunt double. Of course it affected me a lot. It took one year and two months
to film Warriors Two. Nowadays, most movies
take two to three months, some just take one month to make. That film was well-received because we took a lot of time and used a lot of film. If something wasn’t good, we would redo it. Thanks to Sammo Hung’s hard work… He is very…
He has high standards. So whenever I plan
the action sequences, if he feels that it’s the same
as what was filmed earlier, he might say, “These moves look good
but you’re repeating yourself. “That won’t do, what can we do?” I’d reply, “No need to worry.” If I add something new
between the moves then the audience will feel that
we’re taking a different approach. He’d say, “Show me.” He’d go like this, looking at you. After I’d demonstrated, if I saw a smile then I can go,
I know that it was OK. If he’s like, “Hm!”,
then I know it won’t do. So it’s all due to good communication and
we’ve known each other for so long. There’s unspoken communication. None of us ever quarrelled. For example,
“This isn’t good, that’s not good…” Sifu, that is, Kung Fu Sifu,
they’re very stubborn. Very…”That’s the way I am, so there!”
1 won’t change.” But sometimes with “bong sau…”
This is how to do “bong sau”. This is “bong sau”.
This is “bong sau…” It doesn’t matter as long as it looks good. You don’t have to have your hand
in exactly the right place. It’s play-acting Kung Fu, not real fighting.
It’s important that people accept that. It was a product of
all the experience accumulated by Sammo Hung, Yuen Biao, Ching Ying and what I told them about Wing Chun. It wasn’t just me.
The credit lies with everyone. Actually the credit lies mostly with them
rather than with me because they were
more experienced in film work. With the scale
and the drama of the production, it was a very powerful film. The most popular actors in Asia
at the time were involved in this film. The filming took one year
to finish as I remember. Woe only did two scenes a day
for the ending. Two or three scenes a day. The ending took two months to film. There was a round table, I jumped over it, tumed 360 degrees and attacked. If they asked me to do that scene again,
1 don’t think I could. But at that time,
it was the first movie I’d appeared in. I had just left the marines. My Tae Kwan Do skills were
at their highest level at that time. I can still visualise that movement
in my head. He kicked my neck on the first take. 1 couldn’t breathe, so we took a break.
We continued after a drink. It was painful. I heard the actor opposite me
in the closing scene had to go into hospital for a month
after the film was finished. In Warriors Two, the wooden dummy alley
was a set built in a studio. Woe spent more than a week
filming that scene. Every day I had to fight
with the wooden dummies. That’s why my arms are well trained now.
Mr Tsan had to fight with the dummies. 1 didn’t have any practice before I fought
with the wooden dummies. It was painful. My arms were swollen. It lasted for about ten days.
More than ten hours a day. 1 had to clash with real wood. It was tiring.
And the studio was very stuffy. IR was also in July, a hot month.
1 was sweating a lot. Because of Mr Tsan’s character,
1 also had to fight single-handed. 1 could only use one leg and one hand. It was difficult, very laborious. In this scene, I had to jump from
the first floor and land on an animal trap. My leg was then locked by this trap. The trap was made of fibreglass. But even so, it still hurt a lot. There wasn’t much in the way of
actors’ welfare at that time. 1 had to fight with the trap
attached to my leg. After that scene, my leg was all bruised. It was painful and tiring. Before Mr Tsan died, he was smashed
on the head with a wine jar. It’s my head they smashed.
The wine jar was made from wax. A wax wine jar filled with water. Woe didn’t have stunt doubles at that time. Woe didn’t use a stunt double
unless I was injured. Only an injury like a broken bone
deserved a stunt double. “Are you all right? If you’re all right
we’ll not use a stunt double.” 1 didn’t use a stunt double for the scene
when my head was smashed. It was me. Sammo Hung is an extraordinary figure
in the film industry. He is an all-round director. Because he is a good actor,
he could teach us to act well. He’s also very strict with his actors. He’s been outstanding in directing
and action choreography for a long time. 1 think it’s rare to have
a genius like him in the film industry. He’s an all-rounder. He could do emotional scenes and comedy
effortlessly. He could even play a baddie. All with a convincing result.
He inspires me a lot. Most of my films now involve drama, comedy or me acting as a baddie. 1 learmnt a lot from him. Sammo Hung. When he was working in
a lion dance troupe, 1 used to like to go dancing,
and he would like to go dancing too. Woe both liked to go drinking together
and hang out together. He loves to make jokes
and is a very active person. When he was a child, he did Kung Fu
suited for the stage such as tumbling. Even though he’s overweight,
he’s very agile and very intelligent. Whatever you tell him, he may repeat it
to you three or four years later. So he’s really intelligent. Sammo is very easy to approach. He’s a very good director and actor. Sammo Hung is very demanding
when it comes to action sequences. There weren’t many people that
could perform to his satisfaction. When we were working together,
we got along well. He was also very satisfied with
the fight sequences we did together. So he continued to involve me. I learnt a lot from him over these years. I learnt a lot of Northern Kung Fu from him.
I also learnt the skills of filmmaking. Everything that I learned from Sammo
has helped me a lot, especially now when I am directing
or choreographing action scenes. My relationship with Mr Hung
began when I first went to Hong Kong. He taught me the technical aspects.
He coached me throughout the film. Mr Hung was the main person who
taught me what films were all about. The relationship between Mr Hung
and I may have been destiny. Director Hung and I
had a very good relationship. The way I see it, the movie we made
together was the best movie ever. Through that film and through Mr Hung,
I learned what films are about. The passion of the movie,
the focus of the movie and the love of the movie
all came from director Hung. Those memories hold
a special place in my heart. 1 admire and love him as a director. That’s why I got involved in the movie. The most important thing
was Mr Hung was enormously skilled as a martial artist
and as an action director and he knew what kind of skills
to expect from me as Casanova. He knew what kind of ability I had,
he had confidence in me. So whatever qualities he saw in me were what got me into
these martial arts films. Woe had a discussion about the film. 1 think my fighting moves will last
a long time in the minds of my fans. And the reason why
1 like director Hung is when a particular role
is beyond an actor’s ability, especially when a lot of risk is involved, he encourages the actor to perform. He definitely demands
difficult movements from the actor. If an actor puts 90% of himself into
the role, Mr Hung demands 120%. He has the ability
to get that extra 30% from the actor. When I compare him
with other directors, when I worked with them
it was a lot easier, there wasn’t as much risk involved
for the actor. But working with Mr Hung
requires a lot of hard work and it’s very risky work. But even though it was so hard
and so risky when we were filming, in spite of the risks, once the filming
was finished it was worth it. Watching the film on the screen
with the audience, I thought to myself, “Well, I did it! How did I do it?” I impressed myself. He made me surprised at my own abilities. Casanova Wong is
a top Tae Kwan Do expert in Korea. He has powerful kicks. It was Sammo Hung who cast him
and a few other Koreans in the film. I was picked up by Sammo Hung
of Golden Harvest when I was in Hankook gym. In 1976 I moved to Hong Kong
for the first time. This was the film that introduced me
to the Hong Kong movie business. For me, as a Korean, it wasn’t easy to get
a leading part in a movie. So I was very lucky to get it. I had a hard time
getting into the role. But I got a lot of support
from the other actors. It was their friendship and support
that enabled me to play the role. For me to make use of my Tae Kwan Do
to its full extent in the film was all due to action director Mr Hung. He was the one who enabled me
to show off those skills. They have real Kung Fu skills,
their kicks could kill. They also didn’t know how to control
their power and we weren’t using any pads. Woe had to take their kicks
without protection. Woe couldn’t breathe after that. The working conditions at that time
were tough, we didn’t have pads yet. It’s different now. Since we’re allowed
to use pads, we can take any kind of kicks. Casanova – he plays the cashier –
he and I have the most scenes together. He’s very nice. He knows a bit of Cantonese. There was no communication
problem between us. His Kung Fu and his body shape
were very good. At that time, there weren’t
many Korean action stars. Woe didn’t have any communication
problems, Casanova is a nice guy. Woe used basic English, like “not too hard”. “Don’t kick neck, don’t kick face,
kick here never mind, OK?” That’s how we communicated at that time. Woe were filming for about four months. Woe hung out together
and we became good friends. Director Sammo Hung
was my second benefactor. My first film with him was
Enter The Fat Dragon. I was playing a minor role, as a baddie. I had a long beard then. 1 was to fight with him for a scene. I was using a long pole
and he was using a round cane hoop. Shortly after that fight,
he started filming Warriors Two. One of the actors chosen to play in the film still had a contract with Shaw Brothers –
he couldn’t make it. One day before the shoot,
Sammo asked me to shave my beard. I shaved but didn’t know why. The next day I found out
that I was playing Mr Tsan. Leung Tsan Sifu is a specialist
in Wing Chun Kung Fu. 1 read a lot of his books and biographies
before we started filming. 1 learmnt about his character and
tried my best to portray him in the film. Before filming started, I had a month
of training in Wing Chun Kung Fu. All because of the character Mr Tsan. In portraying a historical figure, I tried to adhere as closely to the facts
as possible and be honest to the audience. It’s different from playing
fictional characters, like Chan Tai Mun. No one knows who Chan Tai Mun is.
Not his character, his persona and the rest. It’s different with
the Wing Chun specialist Leung Tsan. His life is very well documented. His stories, his personality and even his looks
have been recorded in books. For the role, I tried to adhere
as closely as possible to the literature about him. That’s how I did it. It’s more challenging to
portray a historical figure. The character and personality of Mr Tsan, since he’s such a skilful Kung Fu Sifu, he didn’t have to spend so much energy
when he fought and he hardly perspired. When he spoke he was very calm
and relaxed. When I was in character,
I tried to project this image. He’s a calm and collected old man. It also showed the vast experience
he had in Kung Fu. That’s how I portrayed the character.
1 didn’t have many expressions. I taught Leung Kar Yan
for almost three months, and I practised with him
for two to three hours every day. Because he was originally
a contract player, he’d studied in the studio’s acting classes, so he learned fast
and he was very smart too. And he was able to grasp
the rhythm of the moves so it was easier for him to leam. Leung Kar Yan is a very good actor. Whatever the action director wanted,
he’d deliver. He’s considered
one of the best upper-body fighters. Most of his fights were for the upper body. Leung Kar Yan is very cool and stable.
He hardly moves his upper body in fights. Those of us who were lower-body fighters
would move erratically. It wasn’t graceful. Leung Kar Yan got this right.
He was one of the best fighters at that time. It’d be great if I could play the role
once more. The characterisation would be so different.
Much better than before. 1 think now I look more like a Sifu,
and fight better. 1 was only in my twenties then. 1 was in my twenties
playing an old man of 70. It was difficult. Now I’m 70-odd, to play an old man
of 70 would be more convincing! I’m not 70-odd, I was joking. At that time Hong Kong
was the Far Eastern Hollywood. Our action films were like… They were in demand by every country
in the Far East and the rest of the world. They all wanted Hong Kong action films. But now it’s all gone downhill. At that time, it was very difficult to get into
action films if you didn’t know Kung Fu. It’s different now,
we didn’t have stunt doubles at that time. Even the most difficult actions
had to be done by the actor. A lot of them were bomn to martial arts. Sammo Hung was from an Opera family. They all knew Kung Fu. If you want to film an action movie now, you can hardly find someone who
knows Kung Fu to be in your film. That could be the one and only golden era
in the history of Kung Fu films. Of course it’s different.
In the past, we had to work harder. The demand on our skills and health
was greater in the past. It’s much more relaxed now. In a scene – that’s what we always say – we used to do at least
ten to 20 moves for a take. Woe had to use both hands and legs
in our sequence, our eyes also had to look right. Now we only have to do
two or three moves in a take. The risky moves will be done by a stuntman, or special effects people will come in. Now filming techniques can make a simple
action sequence look difficult and exciting. It wasn’t like that in the past.
Woe used to film more than ten hours a day. Woe had to use all our energy to perform
our stunts each time the camera rolled. It was very taxing on our health. In my opinion, the most laborious action
films in history were filmed in that period. That’s what I feel.


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