August 14, 2007: Chinese Action Films | 2007年8月14日: 談中國動作電影 | 2007年8月14日: 谈中国动作电影

I remember back after I finished filming "The Bodyguard from Beijing", the movie was banned from China due to the fact that, in reality, there would not be a situation as depicted in the film where a bodyguard would go to Hong Kong.  Later, with "My Father is a Hero", we did the best we could to make it realistic, yet it didn't pass inspection either.  At the time I understood the many rules related to co-financed/produced films in China.  Personally, I felt that films don't always have to be realistic.  In films there are many unrealistic things.  Movies depicting true real-life situations aren't in high quantity.  It is my hope that audiences can mature and develop to see the difference between a movie and real life; not everything needs to be realistic.

Actually, being an actor has it's difficulties, even for those who have "star power".  During project development there are many unknowns around every decision.

For example, while filming "Romeo Must Die", the U.S. studio was hoping to have the film shown in China.  But it didn't happen due to the subject matter relating to gangsters, and gangsters aren't appropriate.  Later came "Kiss of the Dragon", but it still couldn't be shown in China.  It has a negative image of a Chinese police officer going abroad to fight and kill.  There was an action scene in the French police station where the action director set up a fight for me against French police officers using a French flag.  At the time I asked the producer, Luc Besson, if this would result in a ban in France.  He assured me not to worry and go ahead; that the audience would understand that this is a movie and is not to be confused with reality.

Many foreign filmmakers have asked how to produce an action film that is acceptable in China.  Typically action films have good and bad characters.  If gangsters aren't appropriate and police officers aren't appropriate, then what type of character can there be that wouldn't start an argument?  Due to our skin color and language, we Asians have limited choices when it comes to types of characters.  Aside from playing immigrants, there are few characters to choose from.  We can't have an Ambassador go and fight, now can we?

There is also the story line of a foreign police officer chasing and arresting criminals in China.  That doens't work either, since China wouldn't allow foreign police officers in to the country without the proper permission to practice law enforcement.

So, Chinese police officers going abroad doesn't work, and foreign police officers coming to China doesn't work.  It leaves only the ancient Chinese stories to be produced.  Ancient martial art films have already been released in large numbers internationally.  And for futuristic science fiction films, China currently lacks the investment or techniques that are available to the American film industry.

I have been studying the process and learning to avoid conflict.  For example, in "Cradle 2 the Grave", the original story depicted a retired Chinese police officer taking nuclear materials to sell in America, and I played a Chinese police officer chasing him to the West.  At the time I thought the conflict would be great.  Even though it's a movie it could be easily misunderstood.  Then we thought of picking a place where there is no nuclear material and ended up with Taiwan.  Of course, it still didn't pass in China for me to play a Taiwanese police officer.

Later in "Unleashed" we worked from the human angle to develop the character.  The film told the story of how a person that only knew violence is no different than an animal.  How, through music and friendship, it can bring light and warmth to a cold, dark life.  I felt that this type of character avoided the gangster/police topic, and never thought it would end up bringing an issue of racism.  The movie still could not be shown.

For future Chinese films to enter the world market, and to bring investment into the Chinese market, or for Chinese actors working to push in to the international stage (especially with Chinese action movies for which we are known), then creating a character that is accepted by the audience within the rules of filming is very important.

With the Chinese movie market growing strong, many foreign investors want to invest in China.  How can we combine all of the positive attributes of the Eastern and Western film markets to become a global industry?

I am still in the learning process.  I hope that all of my friends on the internet can discuss what types of action film stories would be accepted by the audience in Chinese theaters.

What is your opinion?|記得以前我拍中南海保鏢(The Bodyguard from Beijing)的時候,電影不能再國內上映,因為現實中不會有中南海保鏢(Bodyguard from Beijing)去香港發生這樣的故事.後來在給爸爸的一封信(My Father Is a Hero),我們已經盡量更接近現實,在當時也沒通過審查.我能理解當時在國內合拍電影(co-finance/production films in China)的遊戲規則.我個人覺得電影未必要與現實符合,電影本來就有許多不現實的因素.畢竟根據真實故事改編的電影占少數.我希望觀眾愈來愈成熟,能看到電影和現實的差距,不可能完全是真實生活的表現.

其實做演員並不容易,即使是有票房號召力的演員,在選擇故事或角色的時候,不確定因素也很多.

舉例來說,拍致命羅密歐(Romeo Must Die)的時候,美國電影公司當然希望片子能在中國上映,但是故事背景是黑社會.既然黑社會角色不行,就拍了一部龍之吻（Kiss of the Dragon),但還是不能在大陸上映.原因是中國警察到國外打架殺人,是破壞中國形象.電影中有一場我在法國警察局的動作戲,動作導演(action director)設計我手拿法國國旗打法國警察.當時我就問影片監制呂克.貝松(Producer Luc Besson),會不會在法國禁演？他說你放心打,沒有問題.觀眾明白這是電影,不會和現實觀念混淆.

很多國外的電影工作者（filmmakers)都在問,如何才能創作在中國放映的動作電影？動作電影通常就有好人壞人.如果演黑社會不行,演警察也不行,那什麽角色能動武而不引起爭議?我們華人因為語言和膚色,在美國電影能選擇的角色很有限.除了新移民之外,也少有其他選擇,總不能要個外交官去打架吧?

也有外國警察到中國來追捕歹徒的故事,這也不合理.中國不可能允許外國警方未經允許在國內執法.所以中國警察出去也不行,外國警察進來也不行.那就只能往古裝或未來題材發展.古裝武俠電影已經在國際市場上飽荷;而大型未來科幻電影,中國又沒有資金或技術做到美國同類型電影的程度.

其實我在過程中一直在學習.也盡量減少摩擦.譬如致命搖籃(Cradle 2 the Grave),故事本來講述一個退役的大陸警察,把核武原料拿到美國賣,我演一個大陸警察追到美國.當時我認為爭議性過大,雖然是電影,卻容易引起誤會. 那就要找個沒有核武原料的地方.最後選擇了臺灣.當然在國內還是不通過,我扮演臺灣警察怎麽會通過呢？

後來的狼犬丹尼(Unleashed),從純人性的角度發展角色.片中講述若一個人只會暴力,那和動物沒有區別.而透過音樂,友情等人性中的溫暖,能為灰暗的人生帶來光明.我覺得這樣的角色已經避開了黑社會和警察的議題,沒想到卻引發種族歧視的爭議,電影仍舊無法上映.

為了將來中國電影走入世界,為了把外資引進中國拍片,或將中國演員推向世界舞臺, (特別是中國擅長的動作電影),那麽創造觀眾可接受,而且遊戲規則可允許的角色定位就很重要.

隨著中國電影市場的壯大,很多海外的投資者,有意願投資中國電影市場.如何做到發揮中西方電影的長處,做到全球電影一體化?我自己也仍在過程中學習,希望網友們一起來探討,怎樣的故事是觀眾可接受,又能在中國上映的時裝動作電影?你認為呢？

记得以前我拍中南海保镖(The Bodyguard from Beijing)的时候,电影不能再国内上映,因为现实中不会有中南海保镖(Bodyguard from Beijing)去香港发生这样的故事.后来在给爸爸的一封信(My Father Is a Hero),我们已经尽量更接近现实,在当时也没通过审查.我能理解当时在国内合拍电影(co-finance/production films in China)的游戏规则.我个人觉得电影未必要与现实符合,电影本来就有许多不现实的因素.毕竟根据真实故事改编的电影占少数.我希望观众愈来愈成熟,能 看到电影和现实的差距,不可能完全是真实生活的表现.

其实做演员并不容易,即使是有票房号召力的演员,在选择故事或角色的时候,不确定因素也很多.

举例来说,拍致命罗密欧(Romeo Must Die)的时候,美国电影公司当然希望片子能在中国上映,但是故事背景是黑社会.既然黑社会角色不行,就拍了一部龙之吻（Kiss of the Dragon),但还是不能在大陆上映.原因是中国警察到国外打架杀人,是破坏中国形象.电影中有一场我在法国警察局的动作戏,动作导演(action director)设计我手拿法国国旗打法国警察.当时我就问影片监制吕克.贝松(Producer Luc Besson),会不会在法国禁演？他说你放心打,没有问题.观众明白这是电影,不会和现实观念混淆.

很多国外的电影工作者（filmmakers)都在问,如何才能创作在中国放映的动作电影？动作电影通常就有好人坏人.如果演黑社会不行,演警察也 不行,那什么角色能动武而不引起争议?我们华人因为语言和肤色,在美国电影能选择的角色很有限.除了新移民之外,也少有其他选择,总不能要个外交官去打架 吧?

也有外国警察到中国来追捕歹徒的故事,这也不合理.中国不可能允许外国警方未经允许在国内执法.所以中国警察出去也不行,外国警察进来也不行.那就 只能往古装或未来题材发展.古装武侠电影已经在国际市场上饱荷;而大型未来科幻电影,中国又没有资金或技术做到美国同类型电影的程度.

其实我在过程中一直在学习.也尽量减少摩擦.譬如致命摇篮(Cradle 2 the Grave),故事本来讲述一个退役的大陆警察,把核武原料拿到美国卖,我演一个大陆警察追到美国.当时我认为争议性过大,虽然是电影,却容易引起误会. 那就要找个没有核武原料的地方.最后选择了台湾.当然在国内还是不通过,我扮演台湾警察怎么会通过呢？

后来的狼犬丹尼(Unleashed),从纯人性的角度发展角色.片中讲述若一个人只会暴力,那和动物没有区别.而透过音乐,友情等人性中的温暖,能为灰暗的人生带来光明.我觉得这样的角色已经避开了黑社会和警察的议题,没想到却引发种族歧视的争议,电影仍旧无法上映.

为了将来中国电影走入世界,为了把外资引进中国拍片,或将中国演员推向世界舞台, (特别是中国擅长的动作电影),那么创造观众可接受,而且游戏规则可允许的角色定位就很重要.

随着中国电影市场的壮大,很多海外的投资者,有意愿投资中国电影市场.如何做到发挥中西方电影的长处,做到全球电影一体化?我自己也仍在过程中学习,希望网友们一起来探讨,怎样的故事是观众可接受,又能在中国上映的时装动作电影?你认为呢？