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Retro: Wu Jing Speaks
Logic
Films Fortnightly, Issue 630, June 2003
Li Mo
My impression of the bright, radiant and sunshine Wu Jing was derived from
occasional watching of Master of Taichi. Since last year, I have been hearing
about the Lau Clan coming to Shanghai to shoot Drunken Monkey. Subsequently, I
attended Drunken Monkey's premiere and was being assigned to accompany a few
seniors from various presses to interview Wu Jing. Their questions revolved
around Wu Jing - Jessica Hsuan romance. He was getting a little perturbed, but
still resolved the situation with his smiles. All of sudden, he turned his
attention towards me, on what I raised about martial arts ethos, philosophies,
and filming career. As if with the passion of meeting a "soul mate", he invited
me to fix another appointment for an interview, which lasted 3 hours. Frankly, I
thought this chap, whose looks 10 years younger than he really is, wasn't a
totally "martial cow."
On scurrilous news about Jessica Hsuan and him are seeing each other, causing
upset to his "girlfriend" Le Jia Tong, his co-star in Southern Shaolin, he
lamented unequivocally, "Much news has been publicised about this work (A
Chinese Ghost Story), but unfounded scandals and gossips about me get worse at
every turn. If I really had a girlfriend, she would be very watchful, she would
be very tense, it would affect my work, it's really awful. I build my career
with my hands, not based on scandals about relationships. I have not even
thought about marriage right now." His diligence could be attested to by the
production crew from A Chinese Ghost Story. Many said that Wu Jing was
especially hardworking, he would help out with everything. Once, when the
cinematographer lost consciousness due to the freezing weather, he
guest-operated the camera. Everyone said he's taking the chance to learn
shooting on the sly. There was nothing unusual about it for Wu Jing has at least
a movie script in his mind (He said he would often jot down his formative
ideas.) Basically, it's about a Chinese foot soldier and a few foreign soldiers,
misunderstandings that arise due to language barrier, and their friendship. It
seems structurally sound, and though I have been told to keep mum, I thought I
should just announce it. Of course, he's on very close terms with Tsui Hark, the
old imp, "One day, he took a break from filming, and looked me up to teach me
seven fencing techniques with the epee; On another occasion, we dissected the
fencing moves, seeking to find new forms, new changes." He said it in all
earnestness, rather than excitement.
During the three-hour talk with Wu Jing, I discovered three things that would
occur every one hour: 1) Gratitude, his praises for Cheung Sing Yim and Yuen Wo
Ping; 2)Answering the nature's call, 3) Applying eye drops. When filming A
Chinese Ghost Story, he had to be suspended on wires for an extended period of
time, during which he forced himself to hold the bladders, leading to days of
kidney problems. He has since then developed the habit of relieving himself when
needed. As for the use of eye drops, it was due his 300 degree short-sightedness
(As of February 2004, Wu Jing had undergone LASIK eye surgery to rectify his
poor eyesight). He doesn't feel comfortable without glasses. He isn't one who's
is beauty conscious, and it did not take long before he enquired, "May I put on
glasses?" Of course, when he's going to the toilet, he would politely excuse
himself. It's this mix of mature yet childish behaviour, which is quite comical,
that made me wonder about what the future has in store for rising youth.
Wu Jing put it this way, "The aim of shooting, of being able to star in
Hollywood blockbusters, or, a well-written role in a lesser-known movie, or a
story that relates to my thoughts, that could consider as having reached my
objectives. As for my career, it could go much further. What lies ahead is vast
and boundless, I would cross the bridge as I get to it." He shyly said he's
sponsoring two kids' educational and daily expenses. He hoped there would be
more chances in the future: "To build an elite sports school, train twenty
successors. Improve the qualities and fortify the standards of the national
athletes. It should begin from the foundations."
The mention of him being brought to Beijing Shishahai Sports School (where Jet
Li trained) brought about sweet yet acidic memories: "This place was called The
Second Model Prison. We had to get up at 6 am, do 20 minutes of morning
exercises. Returned to hostel at 7 am to wash our faces, brush our teeth and
then do area cleaning, and have breakfast. We attended academic classes at 8 am.
After lunch break, we had wushu training, until five plus. 7pm to 9pm was
self-study time. Lights off by ten. This was my childhood." Wu Jing once
successfully skipped classes for half a month. When discovered by his father
(His father and grandfather are all martial artists), he was given a kick which
sent him flying 10m. It was on the account of his doting grandmother that he was
spared the rod. He had to learn everything in school, the most fearsome being
weight-lifting, "This was where I learned to challenge the human limits," he
continued, "I specialise in sword, fist and spear, especially Taichi. Through
it, I begin to comprehend the universe, and focal point, from nothing to
something, to problem solving, all comes from thinking at the central point."
He is aware of how fortunate he is, as he analysed the number of elites in the
nation's athletes, "How many first-class sportsmen and sportswomen? Second
class, third class?" Perhaps he felt that he is not tall or handsome enough, so
he put in extra effort in acting, and cultivates his inner-self diligently. On
the other hand he feels that being too tall is not of much help to doing wushu,
as you have to expend more energy.
Wu Jing idolises Jet Li, he had once been to USA to perform wushu. Jet Li
advised him, "You need not say much, brush up your English first." And thus, Wu
Jing has been learning English seriously. He also admires Chow Yun Fatt, "I saw
him when I was visiting Eighth Master (Yuen Wo Ping). Even when he's sitting
down, taking a rest, he still exuded his unique charm."
Before going on about Tsui Hark, Yuen Wo Ping and Lau Kar Leung, whom he had
worked with, he declared frankly, "I'm forthright, and this can be a handicap
since I might offend someone unwittingly. So, I tend to keep a low profile in
front of the press. Once, I was even thought to be from Taiwan or Hong Kong by
the Mainlanders. Yuen Wo Ping and Liu Chia Liang are my mentors. They are the
grandmasters of Northern and Southern arts. Being grandmasters as they are, you
can pick no faults with them. Moreover, they are very experienced, and had their
own fortes. They have different demands for themselves and their actors and
actresses. Recently, I've become rather talkative, always asking Master Liu
about this and that, so as to have a thorough understanding and to do better.
The people around me told me not to bother him. Actually, sometimes, he would
listen to my suggestion. I feel that I gain a lot when filming with such a
grandmaster. As for Tsui Hark it's best you spend some time with him. Then, see
him again three months later, for what he says takes three months to digest!"
There are also times when Wu Jing is less polite, "In Hong Kong entertainment
scene, they work very hard. But it seems in Mainland, there aren't as many
people like me work like a Trojan." He said once someone got a stunt double for
him, "When he did a flip for me, it was only 4 feet high? Some champion he was?
How it rings true that younger generations are getting weaker, and the training
less demanding. You can verify with Eighth Master, when I was at that age, in
Master of Taichi, I did a 360 degree flip, it was over 6 feet. People thought I
was on wires!" This might be his reason for training 20 worthy sportsmen. I
guessed, perhaps, it was because of his "impoliteness" that made him an eyesore
to some people. However, I feel that what he said is very logical, full of
principles, and is mature beyond his age.
How to salvage a stagnant film industry? Wu Jing injected humbly, "Do according
to one's true wishes, with capable crew and cast, with deep understanding of
literature, without asking for astronomical fees, and channel most of the funds
to shooting, even if it's a small budget production, as long as it can move
people in the hearts, and encompasses every genre. For example, why are the
Korean productions becoming more widespread everywhere? I believe their script
and artistes are more realistic, more humane. Kungfu movies should not be
written to have fights for the sakes of having fights. Wushu is not about
fighting, it's a rhythm, a body language, a culture, a kind of mentality, it has
flesh and blood, it has its bankability. The use of CGIs is not a necessary evil
per se, but it can only be complementary, such as the remarkably lifelike eyes of
Gollum in Lord of The Rings. But it seems that humans form the basis of Chinese
stories for the most part. I belong to the 'blood and flesh camp', the wounds
and scars on my body are my testimonials!"
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