Zitat des Tages von Donnie Yen:
For me, shooting, editing, and scoring rely on rhythm.
I try to update my arsenal constantly. Learning different martial arts since childhood. To understand what's out there. To really be in tune.
I have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.
I like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.
I did a couple comedies to balance myself as an actor and balance how audiences see Donnie Yen as an actor, and I would even say as a celebrity or icon, to some fans. I want to show that I'm not Terminator.
I certainly hope 'Dragon' can leave some legacy behind.
For years, I looked to Bruce Lee as a mentor as being a Chinese and Asian man living in this country.
Still, as much as I wish Ballistic Kiss could be a better film, the recognition it gained from critics and at festivals speaks for itself.
There is also a strong following among the urbanites on the East Coast when it comes to martial arts films.
From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.
I love working with older actors because number one, I can learn so much from them because they have so much experience. And it's fun to hear their stories from their era, some of the jokes.
When you watch my films, you're feeling my heart.
There are two types of Chinese growing up in America. One is the kind that does really well in school, with thick, thick glasses. And the other is involved with the gangs.
I've always been in a rebel.
I'm a very emotional guy.
Better to be called something positive and inspirational than something negative.
I got nominated for my second film as best young director in the Aikido Film Festival in Japan.
I always used to wonder why American actors were getting fat, then I made a U.S. movie. I'm seeing all the food every day, and there's lots of waiting around because making an American movie is very slow.
Like any other actor, I draw on life experience.
I always tell younger filmmakers, it's not just about the acting or the art itself. It's about how big of an audience watches your film.
In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.
A lot of people don't realize, when you are acting in a martial arts film, you're not just performing martial arts. You're not just performing martial arts. You're actually acting as much as any other actor.
Doing a movie is a stressful thing. You spend months of you life focusing into that one project, and I want to make sure I do something I really like or I'm really passionate about.
There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.
My mum lives in Boston; she's famous for teaching wushu and t'ai chi. So from when I was young, my mum and aunt were like: 'You're training; you're not playing baseball or football.' Training every day was normal. Later, when I was almost a teenager, Bruce Lee became my idol.
I gained a lot of confidence after 'IP Man' as being a true actor. I went on to tackle what it is an actor is supposed to do before a film. Do a lot of research, get into the character. That's what I did with 'Dragon.'
Whether I'm acting or making it, at the end of the day it's telling the story; action, drama. You want the audience to feel it - the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
Many friends of mine told me that normally only guys like a kung fu movie and the girls would be turned off - they want to see a love story. But Ip Man is a family man, so the women see this and go: 'I want my husband to be like this man. He'll be a scholar, he'll be fighting, he'll care for the family.' So we had a bigger audience.
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
I think film, to me, as a director, is about telling a story.
