Gorgeous 1999 3

Entertainment 07

Bu (Shu Qi) is a beautiful young girl from a small Taiwanese fishing village who discovers a romantic message in a bottle. She heads for Hong Kong to find its writer, only to learn that it was in fact written by Albert (Tony Leung Chiu-wai), a lonely gay man. She then meets a wealthy recycling company owner, C.N. (Jackie Chan). They fall in love with each other. The plot is soon thickened by the rivalry between Howie Lo (Emil Chau) and C.N., who are both businessmen who have known each other since their childhood days.

Transcript

00:00He never died.

00:02So, I can't die.

00:04In this film...

00:06But I'm glad he didn't die.

00:08Because after that,

00:09We made movie 4,

00:11movie 5.

00:14So,

00:15we continue

00:16making movie 6,

00:207, 8, 9.

00:21I'm glad he didn't die on me.

00:23But this film wanted to lose.

00:24But the director said no.

00:26I can't lose.

00:28I can't lose.

00:29So, I'm glad that's not the case.

00:31I can't lose.

00:32So, no.

00:33no, no, no.

00:36Because of speed,

00:39because...

00:39Why did he always beat me?

00:47I don't like.

00:50But,

00:51In fact,

00:51in that film,

00:52I am very happy.

00:53That I can do something I enjoy.

00:56And also...

01:00In fact,

01:03In fact,

01:05In fact,

01:07In fact,

01:08In fact,

01:08that...

01:10In fact,

01:11In fact,

01:12In fact,

01:13In fact,

01:16In fact,

01:17In fact,

01:18In fact,

01:19In fact,

01:20In fact,

01:21In fact,

01:22In fact

01:22and...

01:23and...

01:24with the type of sound, of the box, of Al Pacino, of Dustin Hoffman.

01:32The actors are very good with the dialogue.

01:35If I'm talking about dialogue,

01:39I don't think I can act because I'm focused on my pronunciation.

01:45and focused on dialogue.

01:46And maybe I can't, for a shot,

01:52for three minutes, four minutes,

01:56for a shot,

01:57talk, talk, talk,

01:58like other types of Duxinghoff movies,

02:03like a message, like a message,

02:05with a message,

02:08no the tears,

02:09with the eyes of the box,

02:12for a shot.

02:13But I don't think I can act.

02:16But I believe that the creation of American products,

02:21the investment,

02:23the people,

02:24I still cannot participate in the dialogue,

02:25so I cannot participate in the dialogue,

02:29at the moment.

02:32But in Asia,

02:35I can participate in the dialogue.

02:37So I'm looking for some other dramas set in Asia.

02:45because I can speak my language,

02:50my language,

02:51channels,

02:52in Mandarin,

02:54and I can talk for five minutes,

02:57for a shot.

02:59AND...

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04:12I already proved the action movie, my action movie, not even successful in Asia,

04:19I also can success in America and Europe, everywhere.

04:22So now I want to change.

04:24But I only have the confidence to change, like I said before, in Asia, not in America.

04:32I don't think I can make drama versus Kramer versus Kramer, this kind of movie.

04:38I don't think the audience, they like it.

04:39I think one week's gone if I make this kind of movie.

04:44But in America, like I said, I still, I don't have the confidence to make this kind.

04:51But in Asia, the audience already knows Jackie already success in America already,

05:00then Jackie just wants to change.

05:03If the gorgeous fell, it doesn't matter.

05:07I can come back to the action.

05:11But in America, if you fell, you just fell.

05:15So I have no idea.

05:21I can really do something in Asia, but not, this time not in America.

05:28I don't have the guts to change right now.

05:30Even if I want to change the investment, the company, they won't let me change.

05:37First, tell me.

05:39Say yes.

05:41Okay.

05:42What do we do?

05:43Have fun.

05:49The movie inside the character almost, I think, 60% or 70% close to me.

06:04Why?

06:05Because the dress, the way I dress, the way I live, only thing doesn't look like me, the way I'm

06:18talking.

06:20The director wants me, really want to be the businessman, you know, I'm looking for the internet.

06:27Actually, I don't know how to type.

06:32Actually, I don't know how to deal with Wall Street, this kind of thing.

06:36That's not me.

06:37But besides talking about business, everything is about me, you know, even training scene, the way the dress I'm doing,

06:47the way I'm doing, the recycling, clean, yeah.

07:05The character sometimes, sometimes I'm very, very quiet.

07:10Sometimes I'm yelling a lot.

07:17Yes, yes.

07:19Sometimes I'm pretty quiet when I go to the office by myself.

07:24My office is very, very big.

07:26Like, I think, like, only one floor, more than, like, 5,000 square feet.

07:37My office has, like, a bedroom, bathroom, office table, meeting room, small meeting room, refrigerator, kitchen, training room, editing room,

07:59on one floor.

08:01That's my office.

08:02One day, you come to Hong Kong, if you can find a way to contact me, I'm really glad, invite

08:10you to come to see my office.

08:12So, actually, in the house, the art director, I invited the art director to come to my office.

08:21They want to really shoot in my office.

08:25The problem is my office in the third floor, because the lower floor is my car park.

08:31My office is in, like, a warehouse.

08:35My car can drive directly in.

08:39All my cars inside my Jeep, my Pajero, my sports car.

08:45Every car inside, we have a pool table in the lower ground.

08:52Then the lower, more lower ground have, like, a camera department.

08:57The second floor is, like, an accessory department with all the lighting department, with some office people.

09:05The third floor is my own.

09:08And the problem, the movie, just, that the art director said,

09:12Ah, Jackie, we really like your office, but only thing is, third floor.

09:18The camera movement and everything, it's not like a house.

09:23So, this is why we build a set.

09:26The set almost like my office.

09:28Yes.

09:30Love is like a radiant dream that quickly turns into an ugly nightmare.

09:36Oh, Ken Lo, Rester, Guy, in the film, they are my stuntmen.

09:47Because I already fight with Ken Lo already.

09:50If the audience you know, in Drunken Master II, I fight for Ken Lo.

09:58He's a very good fighter.

10:00He is also my bodyguard.

10:02And we are good friends.

10:06Until you figure out your feelings for Chan, don't let him see you.

10:10It's only fair.

10:12Oh, Ken Lo is the ball guy.

10:15He, also, that's, he's my bodyguard before.

10:23Now he's becoming an actor, very famous actor already.

10:28And he's still with me.

10:30And some other guy, the huge, giant guy, his name is William Dune.

10:37He is also my bodyguard.

10:42I always use my own people in the movie.

10:46Even my secretary behind the coffee shop.

10:50Even sometimes my manager walking around.

10:54Sometimes I use my father becoming the people who are walking on the street.

11:01It's fun.

11:02So, this is why I like movies.

11:05Why?

11:05Because I really can, it's not, movie is not my job.

11:10If, if you think that's my job, it's not fun at all.

11:15Movie is my, like my toys.

11:17I can play around.

11:19And I can play different day, different set.

11:23And I can meet different people.

11:26When I make a film in America, I know a lot of people in America.

11:30Then suddenly a few months later, I came back to Hong Kong and then I met another people.

11:34Then I'm going to South Africa, Rotheredame.

11:37You know, movie is really, really good fun.

11:44So, I can use everybody in the movie.

11:52Actually, in the movie, you can see everybody is my friends.

11:56Albert, do you want to sing with me?

11:59What do you think we're doing here, Louie?

12:00Karaoke?

12:01Come on, let's just drink our sake.

12:03I'm in a hurry.

12:04Here's to boo.

12:05That's too much.

12:05Want more?

12:06Allow me.

12:07Ah!

12:10Now, here's to my health.

12:13Oh, you be careful.

12:14You'll get drunk.

12:19Well, bottoms up.

12:20Ah!

12:24You need some sleep.

12:48I've got her with me here.

12:49She's all right.

12:55Sure, you can talk to her.

12:57Here.

12:57The difference between American film and Hong Kong film is when we create a film, we tell

13:04the photographer how to shoot the film, how to put the camera.

13:10It's not like American director just tell the camera director.

13:17I want this shot.

13:21No, I want this.

13:24I want to do this.

13:26How do you do it?

13:27Then the camera director tell the director how to make the film.

13:33And after you finish, as I know, there's a very few American director editing every day.

13:46They just go home, they let the editor, they have an editing director, they act, they just act with our

13:56director.

13:57But between American and Hong Kong is, we make the film, we tell the cameraman how to put the camera,

14:07and we go back at night, we tell the editor how to act.

14:11So, actually, I can say, when making Jackie Chan film, of course, the lighting man, I have to listen to

14:24the cameraman, the editor, the camera, the lighting director.

14:31But if you're talking about the editor, the camera angle, they just listen to me.

14:43They really don't have any courage.

14:46They may suggest a little bit, but later on, we just try.

14:49No, because when I make the film, I already know how to edit it.

14:52So, the editor has to follow my things.

15:00It's not, because we are not making, like, American film have a master shot.

15:06After that, show the shot, then close the different angle.

15:10Then they just throw it to the editor, the editor, they just act.

15:14Then the director, two days later, came to look, hmm, good.

15:17So, I'm just not used to this kind of way, because when I'm making a film, I already know how

15:26to edit it now.

15:28So, really, totally different than American film.

15:33We've been doing this kind more than, well, I've been doing the editing myself more than 30 years now.

15:41So, every day when I'm planning to shoot, I'm already editing my head already.

16:11Nothing can change, a man like love, for he's going nowhere, and yet so far.

16:22Meaning what?

16:24Going nowhere, and yet so far. So far.

16:29Yeah, yeah, I heard. It means...

16:32I don't know.

16:35I've been with you so long, and never saw you like this.

16:40Garbage tossed about.

16:42Try moving forward.

16:44Leave me alone.

16:46Move on.

16:48Beat it.

16:49A lot of movies, I want to create a bad guy, also a good guy.

16:55A special gorgeous.

16:58You don't know me twice.

17:01A special gorgeous.

17:03I want the whole movie.

17:06There's no bad guy.

17:07Always a good guy.

17:10Even the guy who fights with me,

17:14they make a lot of comedy, they go home,

17:17And even the bad guy says,

17:19I don't want to kill this guy.

17:24I just want to knock him down.

17:26I, myself, cannot knock him down,

17:28then I invite the guy to knock me down.

17:32He just wants to give me a few punch.

17:36That's all.

17:37If you look at the audience, please,

17:42I'm not advertising right now.

17:43Please look at gorgeous finish.

17:45If you have a chance, go to Chinatown to rent the movie called Miracle.

17:52You really enjoy fighting, don't you?

17:54Miracle, maybe there's another title.

17:57It's called Miss Canton, Sister Rose.

18:00Yeah.

18:01You can tell,

18:02inside I play a country boy suddenly becoming a triist, a mafia.

18:07Oh, you don't know much about the boxing game.

18:09Some others, the triists beat me and end up.

18:15Every, there's no bad guy.

18:17If you're talking about bad guy, everybody's bad guy,

18:20including myself, including the old lady.

18:23Everybody's cheating for the young lady.

18:26But everybody helping the young, the old lady.

18:29That's, I always like to create these kind of things.

18:35Because in this whole world right now,

18:37there's so many violence going on, so many bad things.

18:42When we create the movie, it's like a fantasy.

18:47I want to tell the audience,

18:49no matter how bad you are, you must have a good side.

18:55Maybe you just suddenly went bad,

19:02but mostly people, they, they, they, they very good.

19:05So I create my friend, email child,

19:09businessman, we're a partner, and good.

19:17What's going on?

19:19Even right now, I'm recording outside,

19:21It's like an earthquake.

19:26The guy outside, everybody, so nervous,

19:30except myself, still standing here,

19:32and talking with you.

19:34Don't worry.

20:16Good training.

20:38So, like I said before, everyone knows how to fight.

20:44How do you make every fight fresh?

20:48Mmm, I just keep on thinking.

20:52I, I make the, uh, boat fight before,

20:56but this kind of boat fight, I just make,

20:59you can tell, I, I make the, the William Dune,

21:02You know, go into the water.

21:04Then, there's like, uh, uh, continue comedy.

21:08He, he go down, come up, go down, come up,

21:12then, myself, I take off my clothes, I wear again, I take off my clothes.

21:15I just use my clothes for one sequence scene.

21:19Then, it's like, uh, clean, shot, shot, uh, very shot fight.

21:31And, uh, makes it fresh.

21:34That's how I'm create all the fighting scene.

21:36Um,

21:38Would it be alright if I asked if he's okay?

21:40Even the motorcycle scene, with all the baseball bat.

21:45Uh, even the end, I fight with the guy.

21:48He's all black, I'm all white.

21:51And even the white glove.

21:52Even the, uh, uh, the, uh, the, the, the, the, the scene, uh,

22:00we are fighting without, with glove.

22:03Because I want to email Chelsea, I, I don't want to kill him.

22:06I just want to, uh, knock him down.

22:09That's all.

22:09So, I think, with a glove fighting, it's a fair.

22:14Because, uh, you can tell a curator, the fighting scene,

22:18It's like a story.

22:20Before, uh, the Allen fight me, he gave me an eight ounce, uh, the glove.

22:25After, he knew my punch not power enough, then he, he changed.

22:31I changed a 16 ounce, uh, glove.

22:34Then, that means, he, he just, like, uh, he's shorter than me, uh,

22:40and the weight more, less than me, then he wears 16 ounce.

22:45It insults me.

22:48So, I try very hard, I cannot beat him.

22:52He knocked me down.

22:53Then I just, yes, I'm, I'm lost.

22:56Then he just said, you're good.

23:00And, you can say the sushi come to, to carry me.

23:05I, I just say, yeah, he's very good.

23:07Uh, I, I, I, I, I, I, I, without training.

23:09So, that means training is a very important.

23:14So, then the sushi said, training is a very boring, too.

23:19Then she said, okay, I go with you.

23:22So, that's my, my really life.

23:25Sometimes, by myself, training is a very, very boring.

23:30Actually, I, I, I, I speak the dialogue in the movie.

23:35Then, but when I'm training, there's no girl.

23:38Then we make the montage.

23:40I show the audience how I'm training, uh, with, with training.

23:46Then after that.

23:47Then, the end, I can fight with this guy, uh, Allen again.

23:51Then he, he wear the 16 ounce, then suddenly he found out my punch better than before.

23:57Now, be, be a fair.

23:59Then I take off the 16 ounce, then we carry the 8 ounce again.

24:04Then we fight, fight, fight.

24:06And after, I don't know how to end up the scene.

24:11How can I end up the scene?

24:13So, this is why I, uh, I do the dancing things.

24:17I make everybody, the, the eyes cross each other.

24:20And then, uh, then I have to tell the audience, no, no, no, no, my, my, my, my, my, my,

24:29my butler tell me, oh, uh, you win.

24:32I say, no, he wins.

24:33Because, uh, for the, for the way, from the height, if the same height, same way, I, I already lost.

24:42So, I, I, even I win, I, I make myself very humble to tell his win.

24:49And, um, so this is why, making a fighting scene for me, it's not the stunt.

25:00The stunt is easy.

25:02Jump over the bridge, jump over the building.

25:05You have the guts, you can do it.

25:06But, how you create the fighting, with all, uh, you can see, Rumble in the Bronze, Drunken Master, you know,

25:16punch kicking, everybody's same.

25:18How you create the fighting, the rhythm, the punch, the situation, the comedy, uh, the choreography, all the things.

25:26I think that's ten times different, difficult than doing the stunt.

25:31Um, maybe you can see later on my new movie from Distribute, from Disney.

25:38It's called Shanghai Noon.

25:41You can see inside another fighting, the stick fight, uh, the train, uh, uh, uh, uh, uh, the road, spear.

25:57The first time you see in the movie.

25:59You can, you can go to see it.

26:01I might talk to you next time again.

27:14If it looks like a bong, bong, bong, bong, bong, kick, kick, kick, kick, kick, it's boring.

27:23Why? Because I'm always editing by myself, so I can say.

27:29So you have to set the rhythm, like a tap dance.

27:43So when I discover that the dance is the same, if it's tap dance, people are tapping, tapping,

27:49taca, taca.

27:50It's a lot of fun.

27:51It's the same thing that happens.

27:55When I really decided to fight, I...

27:58...pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah,

28:03pah.

28:04And the eyes cleared.

28:05And we breathe them in.

28:08And the movements of the piece.

28:10And then come back...

28:11...pum, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah.

28:13And then return when Hefer Ranalki is on my path.

28:19Yhaba for all my master removal.

28:20And our luggage, if it costs, if it were below, write it down.

28:22...pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah.

28:27And we changed the maps...

28:29...pah, pah, pah, pah, pah, pah, pah, pah, pah, pah, pah.

28:32...

28:33We also have to kiss the rhythm.

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