甄子丹吧 关注：292,939贴子：2,854,982
For three decades, Donnie Yen haskicked, punched and jumped his way up the rankings of martial-arts movie stars. “Wu Xia,” which opens next month, shows why he’s the genre’s current grand master.
“I think at a creative level I am at a peak,” says Mr. Yen, who’s vaulted to the top of A-list Asian actors in recent years, joining the ranks of legendary martial-arts stars Jet Li, Jackie Chan and Bruce Lee.
Superstardom came late for Mr. Yen, who turns 48 years old this year. Back in the 1980s, when he started out, Hong Kong action movies were “like the wild west—guerrilla filmmakers, anythinggoes,” he says. “Those were the primitive days. Back then we didn’t really have the budget. Nowadays, safety comes first.”
After appearing in dozens of moviesand television shows, he made leading-man turns in 2008’s “Ip Man” and its sequel—both based on the life of the 20th-century Chinese martial-arts master of the same name—that kicked his career into high gear.
In “Wu Xia,” from director Peter Chan, Mr. Yen plays a repentant killer living in a secluded village whose past catches up with him. The movie, set at the end of the Qing Dynasty in the early 20th century, cost $20 million and premiered last month at Cannes.
Mr. Yen spoke with The Wall Street Journal on the set of “Wu Xia.”
With action sequences, how much is preplanned and how much is improvised on the set?
It really depends. I also worked in Hollywood films—everything there ispreplanned, written, as much as possible. Ideally, that is the best way, because everybody knows what’s going on and is well prepared. But it is not necessarily the most creative result. Sometimes we get motivated and stimulated on the set. I remember the old days when I first started in the Hong Kongindustry— there was no such thing as planning. They start choreographing the moves on the set.
Does the drama lead the action or the action lead the drama?
I try to make films where the character drives the action. A lot of times films don’t turn out to be that way, especially commercial action movies. But with Peter Chan’s movies, everyone knows it is going to be powerful and dramatic—that’s one of the main reasons why I wanted to be in his film.
Did anyone ever tell you that to hit the big time, you had to go to Hollywood?
I don’t think anybody said those exact words, but for the longest time—in any country in the world— you have this image that if you’re in a Hollywood film, then you’re in international films. That is the ultimate. But I don’t think this is the case anymore, because the China market is getting so big. We have many, many years to catch up. But from a business point of view—and an opportunities point of view—in some ways we are very fortunate asChinese filmmakers.
What makes a successful action scene?
To get you excited—off your seat. But I think nowadays, most importantly, the audience has to love the character. That is way beyond what an action director can do. It takes a director, a story, a script and all the elements put together. That’s why I’m very happythat I get to work with Peter. I know that drama-wise, story-wise, he’ll make sure you’ll follow the character— that you’ll like the character and, hopefully, you’ll love the character.
“I think at a creative level I am at a peak,” says Mr. Yen, who’s vaulted to the top of A-list Asian actors in recent years, joining the ranks of legendary martial-arts stars Jet Li, Jackie Chan and Bruce Lee.
Superstardom came late for Mr. Yen, who turns 48 years old this year. Back in the 1980s, when he started out, Hong Kong action movies were “like the wild west—guerrilla filmmakers, anythinggoes,” he says. “Those were the primitive days. Back then we didn’t really have the budget. Nowadays, safety comes first.”
After appearing in dozens of moviesand television shows, he made leading-man turns in 2008’s “Ip Man” and its sequel—both based on the life of the 20th-century Chinese martial-arts master of the same name—that kicked his career into high gear.
In “Wu Xia,” from director Peter Chan, Mr. Yen plays a repentant killer living in a secluded village whose past catches up with him. The movie, set at the end of the Qing Dynasty in the early 20th century, cost $20 million and premiered last month at Cannes.
Mr. Yen spoke with The Wall Street Journal on the set of “Wu Xia.”
With action sequences, how much is preplanned and how much is improvised on the set?
It really depends. I also worked in Hollywood films—everything there ispreplanned, written, as much as possible. Ideally, that is the best way, because everybody knows what’s going on and is well prepared. But it is not necessarily the most creative result. Sometimes we get motivated and stimulated on the set. I remember the old days when I first started in the Hong Kongindustry— there was no such thing as planning. They start choreographing the moves on the set.
Does the drama lead the action or the action lead the drama?
I try to make films where the character drives the action. A lot of times films don’t turn out to be that way, especially commercial action movies. But with Peter Chan’s movies, everyone knows it is going to be powerful and dramatic—that’s one of the main reasons why I wanted to be in his film.
Did anyone ever tell you that to hit the big time, you had to go to Hollywood?
I don’t think anybody said those exact words, but for the longest time—in any country in the world— you have this image that if you’re in a Hollywood film, then you’re in international films. That is the ultimate. But I don’t think this is the case anymore, because the China market is getting so big. We have many, many years to catch up. But from a business point of view—and an opportunities point of view—in some ways we are very fortunate asChinese filmmakers.
What makes a successful action scene?
To get you excited—off your seat. But I think nowadays, most importantly, the audience has to love the character. That is way beyond what an action director can do. It takes a director, a story, a script and all the elements put together. That’s why I’m very happythat I get to work with Peter. I know that drama-wise, story-wise, he’ll make sure you’ll follow the character— that you’ll like the character and, hopefully, you’ll love the character.
Have you reached that goal in your recent fil***ook at “Ip Man”—it’s the same thing. The audience feels it: They clap, they cheer, they cry. It’s a simple concept: When you watch a movie, you want to pull yourself out of reality. You want to live in that world, and you want to live in that action moment. That’s my ultimate standard of a good action sequence.
Are audiences today more demanding?
Absolutely. When I first started doing action movies, there was no acting requirement. That’s why at the beginning of my career I could not act—I’m very blunt about it.
How do you compare your work with that of other dramatic actors?
On one hand, we shouldn’t look at action artists separately from any other kind of actors—actors are actors. As a matter of fact, I think being an action actor takes more skills because they need to tell a story with their body. When I’m fighting or being hit, I’m not actually hitting a person or really being hit. I’m acting. It takes more than just the conventional dramatic approach—especially martial-arts movies, because martial-arts movies take kung-fu mastery.
What’s next for your career?
I don’t want to do action forever. There are too many things in life. I spend too much time on the road. I’ve got to spend time with my family. I think everyone has to draw a line no matter how much passion they have for one thing. I’ll do as much as I can for the next few years. My goal is to take a step back— maybe direct, maybe produce—share my experience of all these decades in the action world. Hopefully, I can find some newcomers and push the standard a little bit more.
Have you found anyone?
I’m still looking. The action standards of today are so high. You can’t just find some young, good-looking kid that does great kung fu and expect him to carry the film. He has to have acting experience. There has to be chemistry between him and the audience.
Are audiences today more demanding?
Absolutely. When I first started doing action movies, there was no acting requirement. That’s why at the beginning of my career I could not act—I’m very blunt about it.
How do you compare your work with that of other dramatic actors?
On one hand, we shouldn’t look at action artists separately from any other kind of actors—actors are actors. As a matter of fact, I think being an action actor takes more skills because they need to tell a story with their body. When I’m fighting or being hit, I’m not actually hitting a person or really being hit. I’m acting. It takes more than just the conventional dramatic approach—especially martial-arts movies, because martial-arts movies take kung-fu mastery.
What’s next for your career?
I don’t want to do action forever. There are too many things in life. I spend too much time on the road. I’ve got to spend time with my family. I think everyone has to draw a line no matter how much passion they have for one thing. I’ll do as much as I can for the next few years. My goal is to take a step back— maybe direct, maybe produce—share my experience of all these decades in the action world. Hopefully, I can find some newcomers and push the standard a little bit more.
Have you found anyone?
I’m still looking. The action standards of today are so high. You can’t just find some young, good-looking kid that does great kung fu and expect him to carry the film. He has to have acting experience. There has to be chemistry between him and the audience.
亲们别急，还有下半段，丹哥里头讲得太好了，我忍不住献丑了~~我亲自翻译的哟~~~
甄子丹最后一位动作英雄
在这三十年间，甄子丹利用他精湛的腿功，用拳猛击的力量，使得他在武术电影明星道路上的地位暴涨，将要在下个月上映的【武侠】，展示了他为什么会成为这种如此受人们欢迎的武术风格的极好的大师。
“我认为在创作水平上，我达到了顶峰的时期。”正被今年间推举成为亚洲最顶级的动作影星，甚至超过了名扬四海的武术明星李连杰，成龙，李小龙的甄子丹说。
对于甄子丹，一个今年48岁的人来说，是大器晚成。回想在1980年的时候，当他刚刚出道，香港动作电影正力捧像西方游击式的制片人（这句翻译得很囧），但是万事成空，他说，在最初的日子，那时，我确实没有制作经费，但现在，安全第一。
在很多电影，电视节目出现之后，他主演的08年的叶问，主要饰演一位中国20世纪同名的武术宗师。让甄子丹从此名声大噪。
在陈可辛导演的【武侠】，甄先生，饰演一位悔改 的住在与世隔绝的村庄的杀手，这部电影时间安排在清末民初，花费二千万美元，上个月在戛纳首映。
甄先生在华尔街日报专访谈武侠
按照电影动作的序列，计划是怎样的，又有多少是因为临时事情而准备好？
甄：这确实得看情况，我曾经也在好莱坞电影里工作过，那一切都已预定的，像剧本，完全尽可能的做好准备。从完美来看，这是最好的方式，因为每个人都想知道接下来会怎样发展，和有更好的准备，但是在大多数的发展后的结果来看，这并不必要。有时候我们在片场就能得到激励，给自己一些动力。我记得当初的日子，我一开始在香港的公司工作，没有过想这样的把事情计划好的。他们都是在片场时才设计动作。
是剧本情节决定动作设计，还是动作设计决定剧本情节？
我一直努力于制作一部由演员个性驾驭电影动作的电影，可很多电影并不是以这种方式展现的，特别是商业性质的动作电影。但是陈可辛导演的电影，每个人都能感到一股力量和电影的戏剧魅力。这是我决定参演他的电影的主要原因之一。
甄子丹最后一位动作英雄
在这三十年间，甄子丹利用他精湛的腿功，用拳猛击的力量，使得他在武术电影明星道路上的地位暴涨，将要在下个月上映的【武侠】，展示了他为什么会成为这种如此受人们欢迎的武术风格的极好的大师。
“我认为在创作水平上，我达到了顶峰的时期。”正被今年间推举成为亚洲最顶级的动作影星，甚至超过了名扬四海的武术明星李连杰，成龙，李小龙的甄子丹说。
对于甄子丹，一个今年48岁的人来说，是大器晚成。回想在1980年的时候，当他刚刚出道，香港动作电影正力捧像西方游击式的制片人（这句翻译得很囧），但是万事成空，他说，在最初的日子，那时，我确实没有制作经费，但现在，安全第一。
在很多电影，电视节目出现之后，他主演的08年的叶问，主要饰演一位中国20世纪同名的武术宗师。让甄子丹从此名声大噪。
在陈可辛导演的【武侠】，甄先生，饰演一位悔改 的住在与世隔绝的村庄的杀手，这部电影时间安排在清末民初，花费二千万美元，上个月在戛纳首映。
甄先生在华尔街日报专访谈武侠
按照电影动作的序列，计划是怎样的，又有多少是因为临时事情而准备好？
甄：这确实得看情况，我曾经也在好莱坞电影里工作过，那一切都已预定的，像剧本，完全尽可能的做好准备。从完美来看，这是最好的方式，因为每个人都想知道接下来会怎样发展，和有更好的准备，但是在大多数的发展后的结果来看，这并不必要。有时候我们在片场就能得到激励，给自己一些动力。我记得当初的日子，我一开始在香港的公司工作，没有过想这样的把事情计划好的。他们都是在片场时才设计动作。
是剧本情节决定动作设计，还是动作设计决定剧本情节？
我一直努力于制作一部由演员个性驾驭电影动作的电影，可很多电影并不是以这种方式展现的，特别是商业性质的动作电影。但是陈可辛导演的电影，每个人都能感到一股力量和电影的戏剧魅力。这是我决定参演他的电影的主要原因之一。
在你最近的电影里，你完成了自己的目标了吗？
你可以看看叶问，就明白了，观众的感觉是，他们鼓掌，他们欢呼，他们哭泣，其实这是个很简单的概念，当你看一部电影，你想把自己抽离现实，你想生活在那个世界，你想处于那个发生这个动作的时刻，那么这就是我最终想要达到的动作电影的终极标准
今天的观众有更多苛刻的要求吗？
那是肯定的，我第一次开始做动作片，没有关于表演的，演技方面的要求，这就是为什么一开始我的职业生涯中，我不能充分表现在功夫和动作之余的表演技能，我显得十分迟钝。
你怎么把握，和比较你的工作和其他演员？
一方面，我们不应该把动作演员从演员这个大概念中分类出来，别觉得演员是演员，表演动作的演员是另一种演员。作为一个事实，我认为一个动作演员需要掌握更多的技能，因为他们需要他们的肢体语言来表现故事情节。当我在战斗或者被击中，我实际上并不是要真的去打一个人，或真的被击中， 我是在演戏，所以它需要跟多的不仅仅是约定俗成的戏剧性的武侠电影的表现方法，但武侠电影就必须先把功夫掌握好。
你可以看看叶问，就明白了，观众的感觉是，他们鼓掌，他们欢呼，他们哭泣，其实这是个很简单的概念，当你看一部电影，你想把自己抽离现实，你想生活在那个世界，你想处于那个发生这个动作的时刻，那么这就是我最终想要达到的动作电影的终极标准
今天的观众有更多苛刻的要求吗？
那是肯定的，我第一次开始做动作片，没有关于表演的，演技方面的要求，这就是为什么一开始我的职业生涯中，我不能充分表现在功夫和动作之余的表演技能，我显得十分迟钝。
你怎么把握，和比较你的工作和其他演员？
一方面，我们不应该把动作演员从演员这个大概念中分类出来，别觉得演员是演员，表演动作的演员是另一种演员。作为一个事实，我认为一个动作演员需要掌握更多的技能，因为他们需要他们的肢体语言来表现故事情节。当我在战斗或者被击中，我实际上并不是要真的去打一个人，或真的被击中， 我是在演戏，所以它需要跟多的不仅仅是约定俗成的戏剧性的武侠电影的表现方法，但武侠电影就必须先把功夫掌握好。
