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Andrew Lau Extends His “Legend” and Gets Punchy With “Fist”

Andrew Lau Extends His “Legend” and Gets Punchy With “Fist” (photo)

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This article originally ran as part of our coverage of the Toronto Film Festival 2010.

When talking to Andrew Lau, one of the first things to emerge is his tendency to drop in the ba-ba-ba sound of machine gun fire or plwww of explosions into casual conversation. Maybe it’s his way of being descriptive to an American journalist when English isn’t his first language, but then again, Mandarin might even be considered a second language to the auteur who has had an international impact on the vocabulary of action cinema. First as a protégé of the Shaw Brothers before becoming a cinematographer on films such as Ringo Lam’s “City on Fire” and “As Tears Go By” and then as the director of the “Infernal Affairs” trilogy (with Alan Mak), Lau has helped define an entire era of Hong Kong cinema.

His latest, “Legend of the Fist: The Return of Chen Zhen,” takes one of the most famous of Chinese legends – a masked hero bent on vengeance for the death of his master that’s so enduring it’s been the basis for Bruce Lee’s “Fist of Fury” and later Jet Li in “Fist of Legend” — and reinvented it for the modern era, filming an incredibly epic war sequence, particularly for a Chinese production, that becomes one of the most memorable first five minutes in recent memory when Donnie Yen appears on the battlefield of World War I as the mysterious leader of a group of Chinese laborers recruited to fight with the Allied Forces. Needless to say, the enemies’ guns are of little use when Yen’s Chen Zhen swoops out of the sky to clutch a soldier’s head between his thighs and proceeds to twist his neck before dismantling an entire army with just the speed and power of his fists and feet. A portion of that opening is here:

During the Toronto Film Festival, I caught up with Lau to talk about reinterpreting such a beloved figure in Chinese culture, his semi-legendary temper and pulling off the film’s bravura opening sequence.

09242010_LegendoftheFist1.jpgChen Zhen seems to be revived every decade. Why is it important to keep retelling this story?

It’s because of love. I loved Bruce [Lee] when I was a boy in 1972. Bruce was making movies when I was in primary school. When we went to go see Bruce, it was like ahhhhhh, so that is in my heart for so many years. So when Gordon [Chan, the screenwriter/producer] called me, I did have interest in making a movie about Chen Zhen, I said why not? But it must be something different, not like the 1972 Bruce version.

We must change the story and also we must change the image of Chen Zhen. [It can’t be] like the old days, just running and killing Japanese because the Japanese killed his master. The story must be changed totally. But I wanted to keep some images of Bruce and the nunchucks, And also, the sound “whaaaaaaa!!!” I like to keep it because the sound is always in my mind, and the white Chinese tunic suit. But everything else is new.

There are many Chinese films where heroes have superpowers, but few are called superheroes, as Chen Zhen is referred to once in the film. Was there an influence from American superhero films?

A hero is a hero. Superhero is too big for me. I just wanted to create a people’s hero. It’s more powerful. People’s hero is better. Also, I wanted to create Chen Zhen as a Chinese version of 007 because in my movie, Chen Zhen is intelligent, he is like a spy because he’s a special member of [the war squadron that is forced to go undercover] and because my movie’s background is 1925, Shanghai is [an international center] for so many countries like America, Italy, Germany, Russia — this is a very interesting background for my movie. I liked the nightclub in “Casablanca,” so it creates a nice background for my movie.

There have been a wave of strongly patriotic films out of China recently – “The Founding of a Republic” and “Bodyguards and Assassins,” and as you say, Chen Zhen is a people’s hero. Is that coincidence or is that important for the times?

Storywise, we put a lot of elements inside the story that are historical. It’s quite important for today. We have something in the movies, not only action ba-ba-ba-ba-ba. We tried to put a lot of elements inside because we want the audience to be happy. This is not an up movie. Up movies just tell Chen Zhen it’s ok. But for the commercial movies, we want to entertain, but to entertain, you must keep something [important]. Nowadays, the Chinese have a face. In 1925, the Chinese had a face, [but] everybody wanted to take something out of China. I used 1925, that year, but this is a little bit about [how] the old days [can] affect today.

09242010_LegendoftheFist2.jpgI read in an interview once that you had quite a temper on set because you have such intense focus. Have you tried to be more calm in recent years?

Yes, it’s true. I try [to get more calm]. When I go on the set, I’m so rushed. When I see the actors at rehearsal, when I love it, I want to keep the mood — my mood and the actors’ mood also. So I have to push the crew faster. I don’t want to lose the mood. Nowadays, some crews are quite lazy. [Some say,] “I want a day to set up.” I said, “hey, go away.” Before, you must set everything. At that moment, I lose my temper and concentration on my work. I want to capture that moment and that is why so many people say, “oh, he’s so bad tempered.” No, I just concentrate on my work and I want to capture the good moment.

The film opens with an epic World War I scene that’s of a scale you’ve never attempted before. Was it in any way more difficult?

I shoot a lot of action movies, so this time I tried to put all the [different] styles [together] – we tried our best to make a war scene. Before, Hong Kong movies are just action ka-ka-ka-ka, maybe some boom-boom-boom, but I want to challenge myself, like the opening scene, the first World War battle in Europe. When Gordon, the producer and screenwriter, wrote [the first scene set in] 1917 and goes to Europe to fight a war with the French troops, it’s hard to shoot. A Hollywood-budget movie, of course, can shoot that kind [of scale], but we’re a Hong Kong/Chinese movie. Our budget cannot afford that, a big battlefield. But this is interesting, so I thought about this for a long time and scraped some budget from the back. I said I want to shoot that part of the action, with these explosions, ba-ba-ba, running, tension, different things.

We were planning to do a lot of things. We found a set that looked like Europe and we had to buy brand new soldiers’ uniforms because [in China] they don’t have the German uniform or even the French. Also, preparing how to shoot the explosions [was different] because the [physical explosions] are not that much, so we hired a lot of special effect [technicians], about 50 people to do the explosions. After that, there was fire everywhere, – I was so impressed. Finally, we can shoot that kind of war scene. I was very happy when after the editing, we saw the whole sequence [and it worked], so next time we can shoot a war scene and safely. Nobody was injured. So I’m happy about that.

“Legend of the Fist: The Return of Chen Zhen” opens in L.A., New York, Portland and Hawaii on April 22nd before expanding on April 29th. A full list of playdates is here.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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