Donnie Yen: Yes, back in those days, the working conditions in Mainland weren't as conducive as today. That was the first time I was shooting in Mainland, in Dunhuang, in the sweltering desert, and wearing thick clothing.
Ching Siu Tung: 40, 50ºC.
Donnie Yen: At that time, director Ching favoured having wind blowing, sand swirling in the backdrop. But we did not have the equipments like today. To create the sandstorm, director Ching employed a gigantic jet propeller, when the propeller was turned on, you know how strong it was, not only were the sand being stirred up, but the pebbles too.
Even we were almost blown away. We had to act like knights-errant, while at the same time, the pebbles were hitting our faces. Left me a very deep impression. (No pun intended.)
Ching Siu Tung Awaits a Good Script
Host: Many people only remember Ching Siu Tung as a martial arts choreographer, but true genre fans know that you have been a director for many years. As I recall, when I was very young, in 88, 89, there was a film that was quite a sensation back then - Terra Cotta Warriors. Both Gong Li and Zhang Yimou acted in it. Zhang Yimou was an actor while you were the director.
Ching Siu Tung: I directed both the drama and action.
Host: So, in fact, you have been a director since the 80s, yet, you don't seem to have directed much works.
Ching Siu Tung: Indeed. (Why?) Basically, I have been very busy. In the past few years, I have been working as a martial arts choreographer for many big-time directors. Meanwhile, I have been waiting for a good script. Actually, I have directed quite a number of films, A Chinese Ghost Story, Swordsman III. I don't wish to ruin a film. So, when I received the script of An Empress and The Warriors, I found that it was to my liking, I thought it was great, so, I decided to direct.
Host: How did you come upon this script?
Ching Siu Tung: I was approached by the studio. After reading the script, I made some revisions. Mainly because of Donnie Yen. He has no problems with action scenes, but we hope to give Donnie Yen more chance in acting. Working with Donnie Yen has always brought me good luck. I won a Golden Horse award for New Dragon Inn. His career was thriving too. After he returned from US to shoot Hero, his has been doing very well. And I received Best Action award. This is our third collaboration, we hope to scale new heights. Be it action or drama, we hope there'd be a breakthrough.
Donnie Yen Won't be Directing for Now
Host: Donnie, what are your expectations for An Empress and the Warriors?
Donnie Yen: I'm treating it with equanimity. As director Ching just said, we had received recognitions on our previous two collaborations. I believe the outcome for this won't be that bad. But I won't give myself too much stress by having expectations. But I believe the results would be quite good.
Host: The audience - the ordinary audience - would be more familiar with you than director Ching, since you've been fighting quite often on the silver screen in the recent years, from SPL, through Dragon Tiger Gate, to Flash Point, and your choreography has been labelled as Yen-fu [In Chinese, Yen sounds very similar to real.] But this is a period film, it seems quite different from your recent works.
Donnie Yen: Since Flash Point, I have told myself, I would only be working as an actor. Firstly, I need time to recharge myself, so that when I direct again, I would have some new concepts, something new for the audience.
Secondly, I'm very excited to be approached by director Ching, for we haven't been in touch with each other since Hero. Director Ching is a master of wuxia films, and also a first-rate director, I believe that I'll be able to learn something new from him, be it technical aspects or wuxia concepts. It would be a big surprise to me. So, everyone should watch An Empress and The Warriors.
Ching Siu Tung Tells A Romantic Fairy Tale
Host: Director Ching, tell us about the historical setting of this film.
Ching Siu Tung: We don't wish to have any historical timeline. It would be a big burden. I merely wish to tell a love story, a very romantic story, one that is turned into a fairy tale, without being set against any historical backdrop.
Host: In the trailer, what strikes me most are the makeup and costume designs. Donnie Yen fighting single-handedly, his sacrificial spirit, and the armour, the impact is very strong. Next is Leon Lai, he's dressed like a Japanese wanderer. Actually, we know that Japanese costumes came from Tang dynasty. And the chariots scene makes me think that it's further back than Tang dynasty. Did Yee Chung Man take into account a specific historical period when he designed the costumes?
Ching Siu Tung: Basically, he would consider all these factors. While we did not specify any era in the film, we still needed a yardstick to do it.
Host: Donnie, was the armour very heavy?
Donnie Yen: It's humanly impossible to wear. One would need immense strength to be able to wear it. We have two sets of armours, one is for filming, another is for doing photo shoot. That one is really very heavy, 40 kg. When we just began filming, we merely did some light action scenes. After we completed those scenes, I forcibly put it on, I couldn't even walk.
Ching Siu Tung: It was very hot then. It was summer. Over 30ºC. We were filming in Beijing Huairou.
Donnie Yen: After each take, I would have to remove my helmet and place a cold towel over it. It's very easy to get heatstroke. We went from hot to cold weathers, the conditions were quite difficult.
Host: It's the first time you're wearing such heavy costume?
Donnie Yen: Yeah, moving like a robot.
Host: We can see how strict director Ching was.
Kelly Chen Changes Her Image to a Female Fighter
Host: I was under the impression that Kelly Chen was hired for the romance scenes. But, I have heard that Kelly Chen fights quite well.
Ching Siu Tung: When I approached Kelly Chen, I hope to repackage her as something never seen before, something groundbreaking. When Ching Siu Tung directs Kelly Chen, there must be action scenes. So, I designed for her action, wushu, and equestrian, all very difficult. Before filming, we let her train for three months, under various masters.
Host: Very tough.
Ching Siu Tung: Yes, she also wishes to achieve breakthrough. Not only her, Donnie Yen too. He said he was very happy with this film.
Host: So, Donnie Yen teaches Kelly Chen martial arts in the film?
Donnie Yen: Yes, onscreen.
Netizen: Director Ching, action films nowadays depends very much on special visual effects in order to create better visuals. Are there many special effects in An Empress and The Warriors, and in which scenes?
Ching Siu Tung: Actually, we don't use much special effects for the action scenes, all are realistic combats. But for props like arrows, we use CGIs. I believe that we shouldn't use too much special effects as far as action sequences are concerned, for everyone in the world loves Chinese wushu, loves the more realistic fights.
Host: Both director Ching and Donnie Yen represent completely different schools of martial arts choreography. Ching Siu Tung is more surreal and ethereal, while Donnei Yen is more realistic, aggressive. So, Donnie, you aren't used to relying on special effects either, do you?
Donnie Yen: Actually, I believe that the highest achievement, whether it's the director or martial arts director, we should pay attention to both the mellow and vigorous qualities, director Ching brings out might within gentleness, while I bring out the gentleness within forcefulness. It's not complete aggressiveness or tenderness. Whether we are the action director choreographing the action, or the actor executing the action, it's the characterisation, the look and feel of the project that matter most.
Netizen: Donnie Yen, when working with director Ching, do you follow all his instructions?
Donnie Yen: I merely carry out all his requests. Firstly, as said before, I wish to focus on being an actor. Secondly, I have utmost respect for director Ching, especially in period films. Right from the outset, I told director Ching, do not seek my opinions, I trust you completely, if you say it's ok, then, it's fine.
Ching Siu Tung Prefers Being a Director
Host: Director Ching has been a director and also a martial arts choreographer. What are differences between the two?
Ching Siu Tung: There's slightly more satisfaction to being a director, for it's like something you give birth to.
Host: Like your own baby?
Ching Siu Tung: Yes, like having my own baby. When working for others, it's like being a nanny, helping them take care of their kids. But when working with different big-time directors, I can learn from their strengths. So, it's worthwhile, yet different.
Donnie Yen Once Directed Three Films
Host: Donnie, you have been an action director for many films, but as far as directing...
Donnie Yen: I have directed three movies. Movies that do not stand comparisons. My first directorial was in 1996. All films without massive budget.
Host: The characters' names in the movie, Donnie Yen's Murong Xuehu, Kelly Chen's princess Yan Fei-er, Leon Lai's Duan Lan Quan, impart a very wuxia-esque flavour, especially Gu Long novels. Director Ching, which particular author do you like?
Ching Siu Tung: Actually, each author has their own merits. As said earlier about working with other directors, we should learn from their strengths. I do not have a preference for one author over another.
Host: Royal Tramp, Swordsman III are all Jin Yong adaptations. Have you thought of adapting Gu Long or other author's works?
Chign Siu Tung: I was the martial arts choreographer for Butterfly and Sword, a Gu Long adaptation.
Host: Did you approach them with different choreographies?
Ching Siu Tung: When we are filming, whether it's drama or action, we have to do things according to the script. Whatever the script says, we would choreograph the action scenes accordingly.
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