- 2 days ago
Category
🛠️
LifestyleTranscript
00:01.
00:01.
00:01.
00:01.
00:01.
00:03.
00:05.
00:06.
00:06.
00:06.
00:06.
00:07.
00:07.
00:12.
00:13.
00:16.
00:18.
00:21.
00:35When Bruce Lee died in 1973, he left behind an unquestioned legacy in his films.
00:43But beyond his films, there is another legacy, in his martial art, Jeet Kune Do.
00:50This is not a movie on Bruce Lee.
00:53It is the first and only training film on Jeet Kune Do by Bruce Lee himself.
00:59To compile this film, we have had the complete cooperation of the Bruce Lee estate, enabling
01:04us to draw for the first time from Bruce Lee's private training films and videos, as well
01:10as his audio records and his own training and research notes.
01:16The film is narrated by Bruce Lee, with additional input from his son, Brandon Lee, and from Dan
01:22Inosanto, the man Bruce chose to carry on his Jeet Kune Do.
01:28.
01:28.
01:28.
01:28.
01:28.
01:28.
01:29.
01:55My last name is Leap, I'm Bruce Leap.
01:57I was born in South Francisco, 1940.
02:01My martial art is in Cantonese, Jeet Kune Do, the way of the intercepting system.
02:09In case you have missed the recent news, Jeet Kune Do, of which I am the founder,
02:17has been elected and accepted into the Black Belt Hall of Fame in America.
02:22This marks the first time a recently developed form of martial art is nationally accepted.
02:33No, Jeet Kune Do is not thousands or even hundreds of years old.
02:38It started in around 1965 by a dedicated and intensified man called Bruce Lee.
02:49And my martial art is something that no serious martial artist can ignore.
02:58I met Bruce Lee in 1964 through Ed Parker who was my Kenpo Karate instructor at that time.
03:05And it was the first year of the first international karate championships held in Long Beach.
03:10When Bruce arrived in the United States, he had the training in Wu style Tai Chi,
03:17sometimes in Hong Kong they call it Oong Ga.
03:19And he had the course training in Western boxing.
03:22He had training in fencing from his brother.
03:28That's Epe, that goes from toe to head.
03:31He had training obviously in Wing Chun.
03:34And the other area was the training he had received.
03:37And they call it Buck Pie or it's Tam Toi.
03:42He used 12 sets in Tam Toi.
03:45And then I believe he traded with a Choi Lee Fat man.
03:50So those were the arts that Bruce brought into the United States.
03:55In the beginning, he used the Wing Chun as the base system or the first system.
04:02But as time went out, he went away from that,
04:05started to extract different things from different systems and put it to his personal use.
04:10That's why we say absorb what is useful and reject what is useless for you.
04:14That's the concept.
04:16He says using no way as a way.
04:18In other words, it's not a Japanese way, it's not a Chinese way, it's not a Korean way, it's not
04:21an Okinawan way.
04:22It's not a Filipino way, it's not an Indonesian way.
04:25He's saying using no way as the way.
04:28You are the way.
04:29Okay?
04:30Then he say using no limitation as a limitation.
04:32That's the concept in Chicano.
04:34That means I don't limit myself to a Filipino style or an Indonesian style or a Malaysian style.
04:39I use what is useful for me.
04:41Because at certain times, a certain art may be useful under a certain environment.
04:47Kung Fu is originated in China.
04:49It is the ancestor of Karate and Jiu Jitsu.
04:53It's more of a complete system and it's more fluid.
04:57Kung Fu can be practiced alone or with a partner.
05:00Practicing alone they involve form.
05:02Some imitate a crane, a monkey, a praying man.
05:08Martial art includes all the combative arts like Karate or Karate, Judo, Chinese Kung Fu or Chinese boxing, whatever you
05:19call it.
05:20All those.
05:21You see like Aikido, Korean, I can go on and on and on.
05:23But it's a combative form of fighting.
05:27I mean it's not...
05:27Some of them became sport.
05:30But some of them are still not.
05:33I mean they use for instance kicking to the groin, jabbing fingers in the eyes and things like that.
05:37He mixed his trapping and the grappling.
05:42He had 32 different sequences.
05:46As you could see in the Game of Dev and the Way of the Dragon, those two films, he was
05:51getting the grappling, the face locks, the head locks.
05:56Originally, Bruce taught us various different trapping methods.
05:59For instance, if the punch was to come and we would trap it, we would come back here and we
06:03would lock up.
06:04This would be the lock up positions that we would use.
06:06To me, okay, to me, ultimately martial art means honestly expressing yourself.
06:14Now it is very difficult to do.
06:16I mean it is easy for me to put on a show and be cocky and be flooded with a
06:22cocky feeling and then feel like pretty cool and all that.
06:26Or I can make all kinds of phony things, you see what I mean? Blinded by it.
06:31Or I can show you some really fancy movement.
06:34But to express oneself honestly, not lying to oneself, and to express myself honestly, that, my friend, is very hard
06:46to take.
06:46And the more, the more there is, yes.
07:16Before I think of devarly, I think that we could have a bit of a thought about it.
07:16You know, if you're a company, you are a person, you are a person.
07:20Ever since the Big Boss, there seems to be a wave, a hot wave, in fact, of finding another Bruce
07:29Lee among all types of people, particularly martial artists, ranging from Karate Man, Hapkido Man, Judo Man, etc., etc.
07:41Forgetting about whether or not they possess the ability to act, just so as they can halfway decent to kick
07:52or punch, and hopefully, knowing a few tricks or gimmicks, the producers will make them a star.
08:02Now, let's stop about here. Is it that simple to become a star?
08:08Well, I can assure you it's not that simple.
08:12Also, I can tell you that as more Bruce Lee's films are shown, the audience will soon realize not only
08:22in acting ability, but in physical skill as well, they will see the difference.
08:31For example, in The Way of the Dragon, my skill is matched with an American champion, Chuck Norris, who happens
08:41to be a seven-time winner of both the All-American Open and World Karate Championship as well.
08:50Then there is Bob Wall, the 1970 heavyweight karate champion, plus Wong Yan-jik, the seventh-degree Hapkido expert, which
09:03some audience have seen him in the film called Hapkido.
09:08Of course, it is only movie-making, people will say, but I'm sure that the audience are not so insensitive
09:17as to not be able to see and judge by themselves and compare these men's speed, power, rhythm, coordination, versatility,
09:30etc., etc.
09:34I started training with my dad really as soon as I could walk. I mean, my dad was a really
09:39diligent trainer. He always had people over at the house practicing.
09:43My dad had a circle of students that were close to him, and so they were friends of our family.
09:48And one of those men, Danny Inosanto, continued to be my teacher, so it was kind of a nice unbroken
09:53line.
09:54I have his books at home with all of his underlining and his notes in them, and it's fascinating to
09:59see where he drew his sources from, you know, from what sources he drew.
10:04He's got books on Western fencing at home that he would use, on boxing.
10:08I remember he always used to say that you want to try and absorb what is useful, discard what is
10:14useless, and add what is essentially your own, you know, and that was kind of his credo in creating Jeet
10:19Kune Do.
10:20When people ask me the question in interviews generally what my style is, I usually say, well, my father created
10:27the art Jeet Kune Do while he was alive, and I have been trained in that, because it's simple to
10:33say that.
10:34However, I actually truly feel that it's a little bit too simple to say that, because Jeet Kune Do was
10:39my father's very personal expression of the martial arts.
10:44He intended it to kill a lot of sacred cows, so I always feel a little bit silly saying that
10:50I practice Jeet Kune Do, although I certainly have been trained in it.
10:54Yeah.
10:54It would be more accurate to say that I practice my own interpretation of Jeet Kune Do, just as, frankly,
11:01everyone who practices Jeet Kune Do does, because that's what it was intended to be.
11:07Danny, my Sifu, always talks about teaching Jeet Kune Do concepts, in other words, teaching someone the concepts, a certain
11:15way of thinking behind the martial arts, as opposed to teaching them techniques.
11:20To me, that kind of illustrates the difference between giving someone a fish and teaching them how to fish, you
11:26know that old story, right?
11:27You can teach someone a certain block, and then they have that block, or you can teach someone the concept
11:35that lies behind such a block, and then you have given them an entire area of thinking that they can
11:41grow and evolve in themselves.
11:44They can say, ah, jeez, so if that's the concept, then you could probably also do this, right?
11:49Yeah, and that's, I think, a lot of what lies behind Jeet Kune Do, and that is then dedicated to
11:56creating a really creative, free-form martial artist.
12:01You see, actually, I do not teach, you know, karate, because I do not believe in styles anymore.
12:07I mean, I do not believe that there is such thing as, like, Chinese way of fighting, or the Japanese
12:15way of fighting, or whatever way of fighting,
12:18because unless human beings have three arms and four legs, we will have a different form of fighting.
12:26But basically, we have only two hands and two feet.
12:29Unless we have other groups of beings on Earth that are structurally different from us, then there might be a
12:36different style of fighting.
12:37Now, why is that? Because we have two hands and two legs now.
12:40The important thing is, how can we use it to the maximum in terms of paths?
12:48Well, straight lines, curved lines, round lines, they might be slow, but depending on the circumstances, sometimes, that might not
12:57be slow.
12:58And in terms of legs, you can kick up straight. Same thing, right?
13:02Now, and after all that, then you ask yourself, how can you honestly express yourself at that moment?
13:12And being yourself, when you punch, you really want to punch.
13:15Not you want to punch because trying to avoid not getting hit, but to really be in with it and
13:22express yourself.
13:23Now, that is, to me, the most important thing, and that is, how can I, in the process of learning
13:30how to use my body to understand myself?
13:33Now, the unfortunate thing is, now there's boxing, which use hands, judo, which is throwing.
13:39Now, I'm not putting them down, mind you, but I'm saying one thing that is a bad thing, and that
13:45is, because of style, people are separated.
13:49They are not united together, because styles became law, man, but the original founder of the style started with hypotheses,
14:01but now it has become the gospel truth, and people that go into it, man, became the problem of that.
14:12It doesn't matter how you are, who you are, how you are structured, how you are built, how you are
14:18made, it doesn't matter.
14:20You just go in there and be that product, and that's me, that's not right.
14:26So, styles tend to, not only separate men, you know, because they have their own doctrines, and then the doctrine
14:34became the gospel truth, you know, that you cannot change, you know.
14:39And, but if you do not have styles, if you just say, well, here I am, you know, as a
14:44human being, how can I express myself totally and completely?
14:50Now, that way, you won't create a style, because style is a crystallization, you know, I mean, that way, it's
14:58a process of continuing growth.
15:00First, we use the feet.
15:03And then we use the elbow.
15:07In fighting, there is a finger jab, there is a punch, there is a practice in the fighting.
15:14It depends on where you hit and what weapon you will be using.
15:19I can use my longest weapon, my sidekick, against the nearest target, your kneecap.
15:25This can be compared to your left jab in boxing, except it's much more damaging.
15:30You name it, man, we use it all.
15:32You have to, you see, because, I mean, that is the expression of the human body.
15:37I mean, everything, I mean, you know, not just a hand.
15:40And when you're talking about combat, well, I mean, if it is a sport, now you're talking about something else.
15:46You have regulations, you have rules.
15:48But when you're talking about fighting as it is, with no rules, well, then, baby, you better train every part
15:56of your body.
15:57A good martial artist is like water.
16:01Why?
16:01Because water is insubstantial.
16:04By that, I mean you cannot grasp all of it.
16:07You cannot punch it and hurt it.
16:09So be soft like water and flexible.
16:12Be formless, shapeless, like water.
16:17Now you put water into a cup, it becomes the cup.
16:22You put water into a bottle, it becomes the bottle.
16:24You put it in a teapot, it becomes the teapot.
16:27Now water can flow or it can crash.
16:31Be water, my friend.
16:33You put it in a teapot, it becomes the teapot.
17:04How can I maintain lightning speed without sacrificing tremendous punching power?
17:13I believe I found the cause of my ignorance.
17:19You'll see a Jeet Kune Do punch.
17:21It's very scientific and practical, especially in street situations.
17:29Okay, I'm going to start off with the basics.
17:31Normally we were taught in the right lead, but I like to go with the left and right lead, so
17:34I'm going to demonstrate in the right lead.
17:35Okay, now when the punch comes, you parry it across like this, and as you do so, you strike.
17:42Okay, slow motion, one, see, two.
17:45You can do it together or do it separate.
17:49You can catch and then go, or parry and then go, or do it together.
17:54When you do it together, you're going to hit it.
17:56I'm going to give you the side view over here.
17:57Slow motion, one.
17:59You're slipping on the outside, slipping on the outside.
18:02We do a lot of drills.
18:03As I said, we incorporate from many different systems.
18:06Okay, so the first basic is to slip and hit.
18:09Again, in slow motion, slip and hit.
18:12Okay, slip and hit, slip and hit.
18:15Now, as they punch, I'm going to slip inside and hit.
18:18Slow motion, slip, inside and hit.
18:21Slip, inside and hit.
18:22Now, you can do it together, or you can parry slightly a hit of your cross that comes this way,
18:27or you slip and hit, and hit an opposite side like that.
18:31Okay, that's your basics.
18:34Let me illustrate this over.
18:35As the focus lift comes out from your trainer, I want you to slip, cross, hook, cross.
18:43Slow again.
18:44Parry, cross, hook, cross.
18:46These are the basic drills that we were taught to follow up.
18:50They can be found in Western boxing.
18:53They can be found in Filipino boxing.
18:57This one here, when you slip, you cross, you hook, you cross.
19:02However, you can slip first, then hook, then cross, then hook.
19:07Again, slip, hook, cross, hook.
19:11We can also, when they jab, parry this hand, cross it here.
19:16When they move back, you cross, you hook, you cross.
19:19Again, slip, cross, cross, hook, cross.
19:24Again, slip, cross, hook, cross.
19:28Last time.
19:29Slip, okay, cross, hook, cross.
19:33Okay, that's your basics.
19:34Arm movement, watch now.
19:35You see, there was only arm and shoulder.
19:37Shoulder was kind of tense, too.
19:40No, definitely, it's a tense.
19:41Later on, you will, you know, check the difference.
19:44Now, the feet was involved a little bit just now.
19:46It was fine.
19:47Shoulders too tight.
19:49Notice that in the beginning, when I say that you just involve only arm and shoulder.
19:57Now, your hand, the last time when I saw you, was very, very good and fast.
20:04Now, let's see if, if this can do a lot.
20:10Now, that, let me see another one.
20:17You've got to involve your feet a little bit more.
20:20You see?
20:22Hand and feet.
20:24Got a hand and feet.
20:27Now, go.
20:28Pretty good.
20:29Now, watch.
20:30I think that when I attack you, you know, reactionary type of a thing that, uh, tightening on the shoulder.
20:36Now, watch now.
20:37You.
20:40Watch when, uh, when I try to attack you.
20:43I think when you react to it, you know, then you, you just do not tense yourself too much, you
20:50know.
20:50You just then react and just, boom, go into it.
20:59Now, that, I just say, you don't need a hand just now, I say.
21:03Now, boom.
21:04You see, when you move your hand and feet, boy, it makes a world of difference.
21:08You see, now.
21:09You should be a little bit more relaxing.
21:11Okay.
21:12Aha.
21:13It's getting there.
21:14Getting there, my friend.
21:21Now, watch now.
21:28Good.
21:29That one was pretty good.
21:35Pretty good.
21:40No.
21:41That was a little bit too tight.
21:43Now, watch this one.
21:45Now, that could be used in film.
21:48Here we go.
21:51Okay.
21:51Let's say that this person is standing here.
21:53At this point, for a purpose of illustration, I might use what they call the sashay, okay,
21:58that they use in sabat, which is like that, see.
22:01When I come in, I can go into Wing Chun.
22:05At that point, I might flow into Western boxing, okay.
22:10At another point, I might go into a lock similar that you might use in Jiu-Jitsu.
22:14And for the purpose of camera, I'll take the person down like this and lock the person here.
22:18And maybe go into any system that deploys this type of lock, whether it be Jiu-Jitsu or Aikido or
22:23Kali or Panjok Silat.
22:25Now, you notice that we went from system to system, we'll find a flow, okay.
22:31I might stay out here, use any particular kick, break into Wing Chun range, and right from here, use a
22:39Muay Thai elbow, all right.
22:41And for the purpose of camera, I'm going to go slow and come into the various lock position over here,
22:46okay.
22:47This is what we call the Jeet Kune Do blend.
22:50It is not a system where we go from discipline to discipline, we'll find a thought process.
22:55And this is very important in the concept of JKD.
22:59A karate punch is like an iron bar, whack.
23:02A Jeet Kune Do punch is like an iron chain with an iron bar attached to the end, and it
23:08goes whang, and it hurts inside.
23:38Let's go.
23:52And when you do punch, now I'm leaning forward a little bit, hoping not to hurt any camera angle, I
23:59mean you've got to put the whole hip into it, and snap it, and get all your energy in there,
24:05and make this into a weapon.
25:56motion and retreat in advance. Double advance, double retreat, double left and double right.
26:02This should be also done on the right lead as I'm doing here very slowly, okay, and switching
26:07over as so, okay. The basic footwork in which we use, okay. This method here he taught us
26:15also is slide step and slide step advance. So you slide the step and you take a step
26:21off, slide and then step, slide and step, slide and step. Left lead, it will look something
26:27like this, slide and step, slide and step back, slide and step back. Then you have something
26:33that looks like your step and slide shuffle but it's not. It's what they call a push shuffle.
26:37You push off and you push back. Rather than take a step here and slide, you push and you
26:43push back. This is what we refer to as the push shuffle on the right lead. Then you learn
26:48it on the left lead, push shuffle, push shuffle, push shuffle, push shuffle. Okay, after that
26:55he taught us to circle. The circling learned the quarter turn which means I'm going to turn
26:59as if your opponent is here, we move. As if your opponent turns that way, you move, okay.
27:05Turns this way, we move. Turns this way, we move. Now your opponent is circling this way,
27:11so we move. So we learn to circle around like this. He circles this way, we move. Circles
27:17this way, we move. We do this again, in the right lead also. Okay, so the man is circling
27:22this way, we move. Circles this way, we move. Circles this way, we move. Circles this way,
27:29we move. Circles this way, he moves. Then we reverse it. This way, your opponent is moving.
27:34So you just move, lateral, move around, moving around, okay. Alright, this is your transport system
27:41that we use, or what they call delivery system. This is on combination kicking. Now you will
27:48notice a difference. In the beginning, you tend to over chasing yourself. In other words,
27:55you covering too much distance. Therefore, when you kick, then your center of gravity is moving
28:02forward too much, and the form in kicking is greatly affected. Now the reason you're going
28:13back because your body was leaning too much back. Now that what is called a commitment kick. I mean,
28:20when you try to go through something, when you're trying to really kick to hurt, then you would lean
28:26back. But, but you won't do it in a combination kicking. Boom. Now, you see, you are rushing yourself
28:36there. I mean, you should really, you know, in the beginning, you know, just take your time,
28:41and just go boom, and boom, and now. You see, you still, it's not so much on the physical,
28:48you know, mentally, you are chasing yourself out, you know. Now, watch this now. In slow motion,
28:55boom, and boom. But you see, the body line is always there, instead of overreaching, you know what I mean?
29:04You kind of rest back. But as you progress on though, here we go. One, and two, just,
29:17easily, you know what I mean? Here we go. And one, that's good. Two, and
29:25uh-huh. Then once you get that, you know, then you go into the kicking form. Make sure that it
29:33is
29:33right. And two, and three. Uh-huh. Now, you are more in control now. You are more thinking of one,
29:43two, three. And don't just, you know, think of three already. Uh-huh. That's even better now.
29:51You know, there is snap at the end in this one too.
29:56The other one, you are just, you know, doing a form and a boom and a boom and a boom.
30:00You see?
30:01All you need to do is just really snap the leg and just step and slide into it.
30:07boom and a boom and a boom and a boom. That's right. Good.
30:14Uh-huh. Now, now you are not over chasing yourself. Now, you are pacing yourself right.
30:20Here we go. One, and a two, and a three. Good.
30:32Boom and a boom and a boom. Now, good. Now, the last one, though you were a little bit off
30:38balance, but there was definitely a boom, boom, boom in there. You know?
30:46Here we go. Kick me. Boom and a boom.
30:54Here we go. Boom. Boom. You got to bring the leg back. You see? You let it dangle out there
31:01too long.
31:02Bring it back. You got to bring it back. You got to bring it back.
31:06And a boom. And a boom. You see now? You see how you just boom, and then you lay it
31:12out there,
31:13but without bringing it back as soon as you can. Now, watch this again now.
31:20Boom. Boom. Boom. You know? You should go boom, check up back. Boom, check up back. You know what I
31:27mean?
31:27Boom. The fighting measure is the distance the fighter keeps in relation to his opponent.
31:33It is such that he cannot be hit unless his opponent lunges fully at him.
31:43Martial art has a very, very deep meaning as far as my life is concerned because
31:48as an actor, as a martial artist, as a human being, all these I have learned from martial art.
32:08To be continued...
32:11To be continued...
32:29To be continued...
32:33If you wish to train punching, then punch.
32:38If you wish to train kicking, then kick.
32:43The power from my kicks and punches are bursting.
32:48I demonstrated a sidekick on Ken Noobson, a powerful gold jewel stylist that moved so
32:57fast that he felt as though his eyeballs were still where he was standing.
33:03Now, first of all, I noticed that in this tape, that as it progresses, your feeling is
33:11more involved in the technique, and consequently, your technique also improved.
33:22Now, the foot at the ending position in impact is kind of dangling a little bit.
33:27Watch it now.
33:29Right?
33:30I mean, it's not a definite substantial straight line directed at it and, you know, hit it square
33:38and then come back.
33:41Good.
33:42Now, that was a pretty good reaction.
33:49Good.
33:50You're pretty loose here.
33:51I see your hands dangling.
33:53Loose.
33:53And.
33:57Uh-huh.
33:57Here we go.
34:03One more.
34:04One more time.
34:06Uh-huh.
34:12Yeah, Pup.
34:16Pretty good.
34:19Pup, na, Pup, now that was really quick too, you know.
34:22Did you notice that?
34:27see the thing to watch out really is the initial huh a little bit yawning there
34:34the thing to watch out is you have to the initial part has to be fast but also that when
34:41you finish
34:42the technique you've got to bring it back fast too so in other word you've got to be fast from
34:48beginning to end in the spin kick you will notice a very good lesson in there just now it was
35:02a little
35:02bit off the good lesson that I mentioned now you are very you're very much in control of the movement
35:12by too much control therefore you're kind of a concern about the execution therefore you kind
35:20of you know like really tight now that was a pretty smooth movement but now watch this now
35:28now right now I'm telling you to you know really just forget about just do it now boom you see
35:33right on the target when you just ease the burden of your mind you just do it now watch the
35:39next two
35:40kick now just go boom right on the head man and good speed too and boom boy right on the
35:48head see
35:48now now that's James Coburn in there kicking you see what I mean now you really just boom and go
35:56into
35:56it you can feel the difference when I put my body behind the kick I mean you got to put
36:01the whole
36:01hit into it and get all your energy in there and make your kick into a weapon now let's see
36:10what now
36:11oh in this one I want to see the initial speed and suddenness of your attack this is just a
36:20simple
36:20attack I think a side kick and I just want you to see how you know going now you're bouncing
36:28now for
36:29the sake of bouncing now boom now that one's not there now that one now very you have good intention
36:40you
36:40know you made up your mind you just go not there not there now notice your kick when you finish
36:50you
36:51just let it drop down you know you you do not bring it back quick enough now your initial was
36:55quick if
36:56you bring it back quick the whole cake would just look like a boom now okay you see you did
37:00not bring it
37:01back again very good suddenness again you notice your leg you did not bring it back oh good now I
37:17really like the suddenness you know of your maybe a little just a little step there but it's listen man
37:26it passed boom now you see you're moving your leg but your shoulder is a little bit now that was
37:33pretty good that was pretty good your shoulder may be a little bit tense the upper body and the lower
37:39body has to be united now you see now I don't think we mentioned it because your leg was you
37:45see you let
37:45it stay and then back now see I really definitely your initial move has boy really improved really
37:54improved now that was good that was good oh a little bit low
38:21good now this is the flexibility now now I want you to watch your left leg you know the stationary
38:26leg now watch the stationary leg went out the first one you didn't make it now the second one you
38:32didn't
38:34now watch this now watch boom you see how it really straighten out and you let all the weight rest
38:41on the
38:42heel and it just reach easily now this is the side kick going over now now listen this now I
38:50like your
38:50very good natural feeling on the first one though the kick was not too good I mean you see how
38:55it just
38:55really you know very smoothly it go up there now the second one you want to control your your foot
39:03position a little bit maybe you're too much control in there watch now you know I mean it it's you
39:11make
39:12it not as natural as the first one boom mm-hmm you see you see now when you do it
39:25right man when it touches
39:26your left leg is all stretched out and it's just an easy type of a thing now I think we
39:33are comparing I
39:34let your leg dangle out there this is I asked you to do it because you know so you will
39:39get a feeling of
39:40it now now now you're gonna bring it back quick now watch this now and easy it was kind of
39:49a little
39:49bit off balance in the last one but that's all right now you're gonna go sideways watch now I like
39:56the second one better than the first one there was more directional in it good here we go one more
40:07time too low second one's okay see you come back in one straight line here we go now watch this
40:20illustration you got to exaggerate to bring in the leg back you see back okay watch it again now
40:31you see exaggerate pulling of the leg back make it look much more faster and more forceful watch this
40:38now I like the naturalness of your kick watches now you see at the end it was really the feeling
40:45there you know
40:51watch this yeah you see oh god get your back jumping off the dock
40:58oh god
41:02punch one
41:08oh
41:09oh
41:21One more.
41:22One more.
41:23Yes, you have a really good day.
41:30You are serious.
41:33I see you.
41:34I see you.
42:11Physically, how can I be very so well coordinated that you have to be an athlete?
42:18That means you've got to have jogging and all this basic ingredient, right?
42:23Well, my dad made a point at the time that he was training that there were a lot of martial
42:27artists who weren't paying enough attention to their instrument, you know.
42:30And certainly the instrument of the body is what you're going to be using in your practice of the martial
42:35arts.
42:36So I think it's very important to keep up the temple, so to speak.
42:39I'm interested in that point you reach where you actually fail from exhaustion and something, whether it's a weight training
42:48exercise or a cardiovascular exercise.
42:51I'm interested in seeing just how much that point is a physical point and how much it's a mental point.
42:58And so that's what I do.
42:59I just, I jump a lot of rope, I run, I ride a life cycle.
43:04I much more prefer to go out and actually ride a bicycle or run and, you know, see some scenery.
43:08And then I work out down at the academy, which is on some levels a very cardiovascular workout.
43:14Some of the classes I take, like the Muay Thai kickboxing class, is a hell of a cardiovascular workout.
43:19And then some of the classes are more technique oriented, so you're not huffing and puffing so much as you
43:24are just learning individual techniques.
43:27And then I work out at the weightlifting gym, where I do two body parts a day, pretty much.
43:35And then I break that up occasionally, so I do, like, back and biceps on one day, chest and triceps
43:42on another day, or something else, and delts and legs on the third or something like that.
43:45And it was just a, you know, switch it.
43:47And I found that that was generally the best thing to do, whether it was with a high weight or
43:52a low weight.
43:52And what I understood the process to be was that working with heavy weights would build mass, whereas working with
44:00low weights was intended to build, like, density and really carve out the muscle a lot more.
44:05And since I personally have never been interested in getting large as much as just getting cut, I tended to
44:12work with a lower weight.
44:13But then, to me, getting cut is also mostly a question of vascularity.
44:18It has to do with how much body fat you're carrying.
44:21So I've always done a lot of cardiovascular work with this.
44:24That's also real-world power, too.
44:27I mean, I suppose it's good if you want to pick up heavy objects that have large muscles, but cardiovascular
44:34stamina is something that seems to come in handy a lot more often than a large muscle would.
44:39But, um, you go down to the academy and you try and do a three-minute round on the Thai
44:45pad, and I don't care how big your muscles are, if you don't have a real good cardiovascular system, you're
44:49going to be dead in about 45 seconds, and I'm still going to be going.
44:54Well, now!
44:56You want to kick it when it's coming to you?
44:58I'll try it.
45:01Hi!
45:01You let your foot jump.
45:08Drive it, son.
45:12Ah!
45:12You're pushing!
45:13Okay, now, Jim, go and kick a bean bag.
45:17And give me the...
45:18Thrust the sucker to kick them up.
45:25Oh, thank you!
45:27Now, Jim, Jim, Jim, face that sucker.
45:31Now, I'm gonna...
45:32You are cutting you half now.
45:34That's okay.
45:35How's that?
45:36Beautiful.
45:36You know, I mean, I want you to be half.
45:42You're still kicking a little bit off to the other side.
45:45Kick him directly now.
45:51Good.
45:52Now, don't kick it again, but don't turn your body so much when you finish.
45:56Try to still face him when you finish.
46:02Good.
46:03Now, kick the sucker when you come back.
46:04Not yet.
46:05Not yet.
46:06Not yet.
46:07Ah!
46:08During this time period, we used to train because we didn't have any tie pads.
46:11So, Sifu Bruce advocated the use of using the football forearm guard, which we don't use this anymore, but this
46:22was very prevalent during that time period.
46:24This here is the original punching shield.
46:32This is the original, his own personal punching shield effect.
46:59Some of the training tool that we used to use when we used to spar.
47:27Adel
47:27there are some people who are just gifted you know uh they are fast naturally um but i think
47:34training for speed on the whole is a question of muscle memory speed in an individual movement
47:42is something that i mean we're coming down to you know thousands of a second now if you and i
47:48or even if i and some completely untrained person were to stand side by side facing a focus pad and
47:55when a red light blink both flick out a jab i'd probably win by a couple hundredths of a second
48:00but once you're talking about speed with a repetition of movements you know to be able to
48:07go like that that's muscle memory an untrained person would be like you know they would falter
48:14in their movements because they haven't trained their muscles or they haven't trained their
48:18perception as well to be able to react quickly to a variety of different circumstances martial art
48:24is a combative form of the art of expressing the human body you have to train yourself into it
48:31i mean you better train every part of your body keeping the continuity going bending stretching
48:40everything you just keep it moving see the idea is running water never grows stale so you gotta just
48:46keep on flowing
48:52you
48:53you
49:16when the opponent expand i contract and when he contracts i expand and when there is an opportunity
49:25i do not hit
49:28it hits all by itself
49:31to me at least the way that went i mean when i teach it
49:36all type of knowledge ultimately means self-knowledge
49:41so therefore they are coming in to i mean for and ask me to teach them not so much of
49:48how to defend
49:48themselves or how to do somebody in rather they want to learn to express themselves through some
49:56movement be it anger be it determination or whatsoever so in other way what i'm saying therefore is that he
50:06is
50:06paying me to show him in combative form the art of expressing the human body jeet kundo is not a
50:17style
50:28i cannot teach you only help you to explore yourself nothing more here it is the natural
50:35instant and here is control you are to combine the two in harmony not if you have one to the
50:43extreme you
50:44will be very unscientific if you have another to the extreme you become all of a sudden a mechanical
50:51man now james colburn is a peace-loving man i mean he's really really nice i mean super
50:58mellow and all that i mean you know i mean now he appreciate the philosophical part of it
51:05therefore his understanding of it is deeper than steve
51:10the martial arts which are an integral part of my life come entirely from my father
51:19um but the martial arts i'm completely beholden to my dad for i mean he started me in the martial
51:24arts when i could walk he trained me my entire life until he passed away and and then even when
51:31i
51:31continued my training it was with one of his students you know what i want to think of myself
51:38as a human being because i mean i don't want it sounds like you know as confucius say
51:44but under the sky under the heaven man there is but one family it just so happened man that people
51:52are
51:52different a good martial artist does not become tense but ready not thinking yet not dreaming ready for
52:03whatever may come
52:08when you move down the road towards the mastery of the martial arts and you are constantly moving down
52:16that road you end up coming up against these barriers inside yourself that will attempt to stop
52:25you from continuing to pursue the mastery of the martial arts and these barriers are such things as
52:33when you come up against your own limitations when you come up against the limitations of your your will
52:40your ability your natural ability your courage you how you deal with success and failure as well for that
52:47matter and as you overcome each one of these barriers you end up learning something about yourself
52:54and sometimes the things you learn about yourself can to the individual seem to convey a certain
53:07spiritual sense along with them i don't believe in systems knowing methods and without systems without methods what to teach
53:17i found the cause of my ignorance
53:39so
53:51so
Comments