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Statistics :
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Interview Bey Logan
Interview : part 2 1/1 - Page 2
Author(s) : Arnaud Lanuque
Date : 28/12/2004
Type(s) : Interview
 Intext Links  
People :
Julien Carbon
Benny Chan Muk Sing
Gordon Chan Kar Shan
Jackie Chan
Teddy Chen Tak Sum
Cecilia Cheung Pak Chi
Raymond Chow Man Wai
Laurent Courtiaud
Mark Houghton
Aaron Kwok Fu Sing
Dante Lam Chiu Yin
Lau Kar Leung
Bruce Lee
Sam Lee Chan Sam
Jet Li
Maggie Q
Tsui Hark
Donnie Yen Chi Tan
Riley Yip Kam Hung
Corey Yuen Kwai
Yuen Woo Ping
Movies :
Around The World In 80 Days
Ballistic Kiss
The Big Boss
Drunken Master II
Drunken Monkey
Enter The Dragon
Fist Of Legend
The Game Of Death
Gen X Cops
Gen Y Cops
Heroic Duo
Iron Monkey
Jackie Chan : My Story
Jackie Chan : My Stunts
Just One Look
Legend Of The Wolf
The Medallion
Once Upon A Time In China
The Prodigal Son
Project A
Shanghai Knights
Shanghai Noon
The Touch
The Twins Effect
Companies :
Golden Harvest
Shaw Brothers
Lexic :
Hung Gar
< Previous
Page 1 : Interview : part 1
Interview made at the Zambra Cafe (Wan Chai, Hong Kong) on 11/04/03.

All our gratitude to Bey Logan for his availabily and kindness.

internationalisation of hong kong cinema
Arnaud Lanuque : A lot of Hollywood movies are trying very hard to integrate the HK action style. Do you think they are successful and don't you think it could be a threat considering the important production value of Hollywood films?
Bey Logan : Yeah, I agree with you, it is a threat. And it is a bit unfair because America is a place that's purpose-built to assimilate foreign cultures, so it's nothing for them to assimilate ours! In Hong Kong , really you have an ancient Chinese tradition, a very Chinese city, the main language is Chinese, and everything else is Chinese. So they are not so used in integrating western stuff into their lives, into their very, very Chinese film industry. This is one of our weaknesses, because it should be a two way street, we should say “hey what are those Americans doing? We should do the same thing here!” We should assimilate the best of what they're doing into our own films. The danger for HK industry is not that Hollywood is doing something well, the danger is what we are not doing. We put $40 million into The Medallion, I expect 35 or more on Titanium Rain , 20 on The Touch, these are Hollywood budgets! So why don't these films beat equivalently budgeted Hollywood action films? It's not the action. It's because we haven't taken things from Hollywood to use in Hong Kong, but Hollywood has taken all this things from Hong Kong to use very effectively. You can't stop Hollywood being effective. We should become more effective. I still think even given the fact that many Hong Kong action stars are in American movies, it's still far from the level of HK action. I haven't seen any scene in a Hollywood movie that excites me as much as the fights scenes in Prodigal Son, Jackie Chan's best movies Once Upon a Time in China ou Iron Monkey. Look at that scene where Donnie fight those monks in Iron Monkey . What scene in a Hollywood movie with a HK choreographer can match that for excitement?


Anthony Wong with gweilos in The Medaillon


HKCM : None yet, but they are slowly improving.
Bey Logan : That's correct. I was watching the DVD of The Transporter , a French movie, but shot in English. If you look on this DVD, they have as an extra the Corey Yuen  cut of the fights: It's so superior to what is in the film! Obviously the producers and the censors cut and cut... So that version that I prefer, the one the audience should prefer, should be the Hong Kong style, but that's cut from the international version! So our Hong Kong movies should have that, but we stopped making action films. Weird! The whole world says we'll buy apples and in HK we shoot oranges. When was the last great Hong Kong martial arts/action film?

HKCM : That's a good question ! I'm afraid I'll have to go back in the beginning of the 90s.
Bey Logan : Right. You're telling me that these Hong Kong choreographers working with Keanu Reeves and Jason Statham can do those movies in America and we can't do them here any more? Why? Is it their faults or our fault? It is our fault. So I'm obviously beating the drum now that we should do Hong Kong style action movies but we'll see how far I get!

when the return of art martial movies ?

HKCM : Let's continue on this subject. In HK now martial arts movies seems to be completely out of trend. Do you think it will come back and would it be by someone of the old generation like Liu Chia Liang (aka Lau Kar Leung) with Drunken Monkey or from some newcomers like Donnie Yen ?
Bey Logan : I wish it would, but I don't think it will ( talking of Drunken Monkey) . More likely it will be someone like Corey Yuen or Yuen Woo Ping, coming back to Hong Kong and making action films using the new youngsters, doing great action and that'll be a hit. As soon as it becomes a hit, everybody will follow and start making this kind of film again.

HKCM : You don't think Drunken Monkey has any chance to achieve success ?
Bey Logan : In my heart, yes, in my head, no. I know there is a guy called Wong Kar Hei, the producer, who is kind of looking back at the Shaw Brothers. period. He should really have retired a long time ago. Lau Sifu is great, but what he needs to do is to be an action choreographer and an actor in the film, but hire a cutting edge MTV Mc G style director to come in and make the film a fresh package. The local audience won't come see an old kung fu movie on the big screen. If they want that, they're just gonna buy more DVDs from Celestial to see Lau Sifu at his great height! I love Lau Sifu's work, I think he's a genius. When you look at Drunken Master 2, what a great level of ability he had there!

HKCM : Jackie had also his influence in it...
Bey Logan : Yeah that's true of course. But show me the last time that Jackie moves doing traditional kung fu like that? It doesn't happen. And still he was pushed to do it because it's that style of film, and because he's opposite Lau Sifu, who is a master. I love that style, I wish he'd do it more! I was waiting for it in Shanghai Kidand Shanghai Knights but unfortunately he didn't do classic kung fu. The films are fun, but the fights are still inferior to those films in his Hong Kong films. There's been a little bit of that, but the camera speed is wrong and everything. Even he doesn't get final cut, so what hope do the rest of us have!

HKCM : There was a theory that Jackie was not very willing to put the lights on his opponents.
Bey Logan : Yes, Drunken Master 2 was the last time, or maybe Gorgeous. Maybe there is a little bit of that as he's getting older now. He's less interested in one-on-one fight scenes now and more interested in all type of films. I'll be honest with you. I think the last great, great movie he did was Drunken Master 2, just as the last great movie Jet Li did was Fist of Legend. And for Donnie it was Iron Monkey . You have to go back at that era.

HKCM : Legend of the Wolf has some fans around the world.
Bey Logan : I like it too, but if I said to people tomorrow “We gonna watch Iron Monkey or Legend of the Wolf on the big screen ?”. They'll all want to watch Iron Monkey . Or Fist of Legend or Drunken Master 2 . The other films, you watch them on DVD, fast forward, fast forward... Artistically I think, honestly, Legend of the Wolfis much realised than Ballistic Kiss, even though I wrote the latter.

Donnie Yen in Ballistic Kiss


mark houghton, another gweilo
HKCM : It seems like Mark Houghton had a bad reputation in the industry. I may be wrong as it's difficult to gather information on this subject, but it's what seems to show from the few things I've found on the subject.
Bey Logan : I've seen the good and the bad of him. The good: An incredible martial artist! I've never seen someone train with the intensity he trained with!
HKCM : He was a student of Liu Chia Liang ?
Bey Logan : Later. He had another instructor, I can't remember his first instructor's name. I think it was Ho Kam Wai. Sorry if that's not right! Anyway, he had an instructor in Malaysia . Mark could really apply the Hung Gar. He really was the first to open my eyes to traditional kung fu, so I'm very grateful to him for that. And he was a good friend, a good and loyal friend. I think he was a very different person when he was teaching kung fu in England and when he was doing films in Hong Kong . I realise now he had an addictive personality. Whatever he did, he did it 100 %! And nothing would get in his way. So when he did kung fu, he did it 100 %, if he was womanizing he'd do it 100 %, if he was drinking he'd do it 100%... He didn't have a half speed, wich made him very exciting to know, but it also meant that if you fell out with him you'd fall out 100 % as well! But I think it was how his character was. And I think those two things have both helped him and obstructed him, because he got the way he got (as a martial artist), by being 100% with everything. Now, with my understanding of Kung Fu, I would say Hung Gar is not just hard, but soft as well. I think he was just too much of the hard. He didn't have the softness. “Hard as iron, soft the silk”. He had the hard as iron, but sometimes its better to just be soft the silk. I think I'm too much soft the silk and need to be more hard like iron! I'm learning the balance. So that was Mark, but I believe he's still healthy. I see him in the street and say hello but he had a very bad period a few years ago.

HKCM : have heard about a diving accident...
Bey Logan : Well, he tried to commit suicide... I was in Thailand making ‘The Medallion', then called ‘Highbinders', when that happened, and (the director) Gordon Chan told me at breakfast. I was very upset. I immediately tried to get a message through to Mark and I just said “Forget about any past trouble, and, if I can help when I come back to Hong Kong , please let me. Please don't think of anything stupid again. Life is beautiful, let's meet and maybe I can help, help for old friendship's sake”. I never heard any more. I know his character is very proud, so maybe he didn't get the message or he got the message and... you know. From my side, I wish no harm to him whatsoever. But he's just living his own life and I think he's happy, which is good.
HKCM : Does Maggie Q speak cantonese ?
Bey Logan : She does, but not like a native. She speaks both Mandarin and Cantonese.
HKCM : Because usually the local audience don't like when the main lead doesn't know how to speak the language, like with Michael Wong.
Bey Logan : I know. Michael Wong managed to get away with it for a long time cause all the films were dubbed. Then when they suddenly sync sound, it was like the end of the silent years of Hollywood . Before that, you could become a leading player even if you had [Bey Logan impersonates Michael Wong's voice ] an annoying voice. So he got in a lot of B and C movies. But in Maggie's case she's smart, she's turned down a lot of stuff and she still has a very good fan basis, so I think what'll happen (with the film) is that it'll be like a next step for her. We'll have her speak in a little Chinese and a lot of English and Sam will speak a lot of Chinese and a little English, which should be funny in and of itself. Ask me again about it in a year!
HKCM : Let's continue on your relationship with Donnie Yen, You've worked many times with him.
Bey Logan : He's a dear friend. You know, working with anyone is difficult. Working with your friends is even more difficult; it's almost like working with your family. It's tougher to work with your family because you have different pressures. You accept more and you expect more.
HKCM : He encountered a lot of difficulties in the industry...
Bey Logan : He's another one like Mark, in a way. More iron than silk, and I think he needs a better combination of both. And I think many of those guys need to look at Jackie. Jackie is totally loved by everybody, he's successful, and he's good at everything. And I had conversations with Donnie and other people where they've said, “yeah, I'm doing it my own way” and I thought, “Well you know, you can only be judged by the results”. For every action there is a reaction. If your action is such that you basically sustain a level of success, fulfil your goals, make money, be loved by everybody, and its consistent with your system of philosophy of the time, I'd then say your action was probably the right one. If that's not the case, which in his case its definitely not, then you have some problems. You have two choices then. You can do what Mark did, say it just won't be, and then living in isolation (from the industry), which is quite fine and do your own thing, or you do what Donnie's done by hanging in there and using your talent. At the same time, if you had a bit more softness as well as the hardness you could make things easier. Donnie's a genius, though... We had a big argument at the end of Twins Effect, we met at (a club called) dragon-i and I started off by saying “Look, your problem is not that you're a genius. Indisputably, you are. The thing is that you need to create an environment to show what you can do, and you do that by building creative relationships, with producers, writers, other directors…”. But Donnie's always going to be Donnie, bless him. He's my brother, so I love him, and he's a great martial artist and got a lot of good qualities, but the relationship between us can be difficult. And that's why we are not doing Kung Fu Master with him. But I'd work with him in an instant, putting on hold the stuff I'm making at the moment, if he called me tomorow and said I want you in on this project. Kung Fu Master is a little difficult, made more difficult by some people inside EMG. As I said : Working with people, always hard. Working with family, even more difficult !

HKCM : You're one of the few westerners script writers in Hong Kong , the only others are the french Julien Carbon and Laurent Courtiaud. What do you think of their works?
Bey Logan : I think it's a great sign of openness in Hong Kong that two French writers can come in and work here. I think that their ideas are very good. I think they've got a big problem in writing in English as a second language. It's like me trying to write in Cantonese, which is my second language. I have to say their English is better than my Cantonese, but it's still very hard. So I think they have an obstacle, because as they are writing in English they will be judged opposite native English writers, like me. It's like if I did Cyrano in French, started studying French, I think French people looking at my script would think “Hey, wait a minute, this guy doesn't really know French”. It's not really the same.

HKCM : I heard they had the same complaints as you on the differences between script and the final product on screen.
Bey Logan : Yeah, everything changes. I saw some of their scripts and I still think that their ideas are great, that their visualisation is fantastic, but the dialogue, which is a key ingredient, is not as strong because they have this barrier of second language. Given all those obstacles I think it's great what they've done and I wish them every success. The other thing I can say is that they are the nicest people. You will not find two nicer people. We did a panel a year ago, that's the last time I saw them, on the scriptwriting at the Hong Kong Literary Festival and they were great, they had a lot of stories to tell.

bey logan's wishes

HKCM : Are they some directors or actors in HK you would like to work with ?
Bey Logan : I'd love to work with anybody who is good and smart, and good to work with. I mean, I'd love to work with Sammo again. Medallion was a very tough experience for all of us. I want to keep working with Jackie, which is always a great experience. This was a real dream come true, to work with him on two documentaries, [note : Jackie Chan : My Stunt and Jackie Chan : My Story], then Gen X Cops, Gen Y Copsand Medallion . Actually, after Medallion, I got offered another film to work on, called Titanium Rain , but I turned it down because I wanted to do a film without Jackie, just for a change! And then I did Twins Effect and he joined the cast after we started production! Bless him, because he's always a joy to work with. I'd work with him again on anything, any time. And Tsui Hark, Yuen Woo Ping ... All the usual names.


Twin Effect

HKCM : No one in the new upcoming talents ?
Bey Logan : Sure. Dante Lam. Dante Lam is a good director. And Riley Yip, i love his last film, Just One Look. It didn't make a lot of money but it's an interesting film. Teddy Chen. I kind of worked with him on Purple Storm , which was a great film, one that still hasn't really been given its dues. I'm helping him with the English script for his film, Dark October . Benny Chan, even though we argued at the end of Gen-Y . His new film, Heroic Duo, is just great.

Anyway, anything which is a good and interesting project with nice people. Right now I'm into a different vision. When you make the film it takes 4 months, 6 months, whatever, and to watch a film takes 90 minutes or so, so what should be the better experience? You just don't know what the film will turn out, all you can do is you best work to make it good and have a good experience every day. When I look back at my life, what I appreciate is probably the friendships and the experiences. I remember when we were doing The Medallion I was filming in Dublin, in a middle of a field, a beautiful Irish green field in the countryside, just me and Jackie Chan. Jackie was wearing like an old English tweedy suit and there was a dog and we were throwing the ball for the dog. Just being there with Jackie Chan in this moment thinking, “Wow, when I was nineteen I was so into his films and Jackie was my idol”. And here I am working with Jackie! And I remember on Jackie Chan My Stunts there was, a lot of times, some political stuff going on and at the end of the shoot there was a party. I came in, I was the producer, and there was Jackie's table, but I didn't get to sit there. And when we did Highbinders 3 or 4 years later, we were in Dublin , and there was a big party at a restaurant and I came and was wondering where to sit and Jackie goes: “Hey, Bey, what are you doing? Come on over here! Sit at my table!”. So it's a progression. That's what I mean by tolerance through talent. If I was at the first dinner like “Hey, you fucking asshole, you don't want to let me sit with you?”. I would be out of the business by now, but, no, I tried to earn respect, so that when I do work with Jackie, he will say “come and sit here!” So you feel like you're somebody who earned this respect. To me that progression in my own life, it's more important than whether this film was a huge hit, or this film a masterpiece. Of course I would like to work on a masterpiece, but film is like a temporary phenomena. The most important thing is that you live your life every day the best you can.


HKCM : Do you hope to become a director one day ?
Bey Logan : I'd like to direct at least one film, if only because I've done just about every other job in this business! I have directed documentary material, and pieces of films. I just need to find the right project.

HKCM : It would make you the first western director in HK.
Bey Logan : That's right! I'd never thought of that. That's another good reason to do it! I wish more (western) people came over here to work, but, unfortunately, to date, most of the people who have wanted to do it are genuinely not qualified. They're just fans, they don't have the professional sense of how films are made or working professionally, the discipline involved. Or else they're professional, but they look over here and see it's difficult, the money, and the lack of respect… They don't feel confortable and prefer to work in Hollywood , England or Australia . It's unusual to work here. I know, because I had to make the transition from being a kind of fan to being a professional. And Media Asia was a good learning camp. Boot camp, sometimes!

HKCM : Do you plan to always work in action cinema or would you like to try other genres like comedies or dramas ?
Bey Logan : I'd love to do other films, but no one's ever offered me other films than action, thinking that's the only thing people like me are interested in. I've written a comedy called What You Wish For with Maggie Q and had planned to produce and direct that. We've been developing it for a while now, and everything got delayed a bit with business stuff, and later problems with the SARS... She just came back from Thailand where she was filming Around The World in 80 Days with Jackie [Chan] and we'll be talking about it again. No action, just romance and funny stuff. It's about a super model being stalked by one of her fans, the fan is played by Sam Lee. It will be half in Chinese, half in English, a lot of fun.

HKCM : Wish you good hope for this project !
Bey Logan : Thank you!

HKCM : Can you tell us about some of your other upcoming projects ? I've heard about a movie directed by Gordon Chan called Kung Fu Master and another one which seems very interesting, an adaptation of Cyrano de Bergerac .
Bey Logan : Oh yeah, Canton Moon , my dream project. I'm still doing it. Honestly I think it's the best script I've ever done. Sammo Hung plays the Gerard Depardieu role, and it's to be shot in southern China. My original idea was Sammo, Cecilia Cheung and Aaron Kwok. Cecilia is just so beautiful, everybody would fall in love with her and Sammo has got this unlikely exterior look but is so great inside. I sent my agent in America this script, but it's a hard sell. I showed it to both Claire Forlani and Julian Sands when we were doing Medallion and they all thought it was a very good script. This is my version of Cyrano and written by me. It's not a copy of another English translation. I really went back and got a very basic translation of the original French and took the things I liked. If you read the original there are so many detours in the story. I just kept a very basic idea of what I thought was the story and transposed it into China with action and everything, and I'm trying to get it done. Yeah, that's my dream project. It's good to have an answer for this question : “What's your dream project ?” “Here it is!” ( laughs ). Once it's made I will have to think of another one! Kung Fu Master is still moving forward at the moment. Gordon is not directing but we're still developing it. We are changing the cast, lots of things.

HKCM : It's still with Donnie Yen?
Bey Logan : Unfortunately not. There were a lot of problems behind the scenes, and primarily that he didn't like the script that much! He wanted to do the TV series again or nothing, and I didn't want to do the TV series again. Everybody in the west liked the script I wrote, so I said (to Donnie) why not do another film that you do like, something that you really want to do, a contemporary action film, and we'll find someone else to be the lead in this movie? So we are recasting at the moment, but it was unfortunate, cause he's a really good friend, but he just didn't have much faith in the project.
the lost footage of Game of the Death

HKCM : You've found the lost footage of The Game of Death . Can you tell us about how it happened ?

Bey Logan : You know there are two things on my shoulders, and because of them I will never be alone : On one shoulder is Jackie Chan, on the other is The Game of Deathfootage! People will always ask me about both of them, as long as I live.

So I was in the back lot of Golden Harvest digging through the chicken shit... No, that's not what happened, but I'm sure that, however many times I tell this story, people will continue to write in the Internet that I was digging through chicken shit and other things. The only chicken shit on the Internet is this guy, Darryl Pestilance, AKA Darryl Unger, who wrote all this crap about Donnie and me. There is no other chicken shit involved in this story! I joined Media Asia and had access to the library of films that Media Asia handled at that time. All of them were transferred from Golden Harvest to Media Asia. As an executive of Media Asia, I went to their warehouse, with that kind of power that you have to have. You have to be an executive to get in there, a fan could not. As an executive, I asked to see all the Bruce Lee, footage, so they had to show them to me. I didn't join the company for that reason, but I said to my Media Asia boss “I think I can find some more old Bruce Lee footage. It could be worth a lot of money” and he said “Go ahead”. So I went down and a guy said to me “oh it's funny you should ask, we transferred everything, but we still have some betacam tapes, some of them we don't know what it is, but you can take a look”. I was like “wow!”. I went in, in the air conditioned comfort of their archive, got a betacam tape, put it in the machine and watched. It was all old cuts from the 1978 Game of Death , credits and stuff like that. ( Bey makes the sound of fast forward ). Finally I wasn't sure where I was, so I played it, and I'm not one of those guys who know every shot from Bruce Lee's movies, but I thought “I don't think I've seen that before…” Then, suddenly, there is a scene with James Tien twirling a stick at Dan Inosanto. I thought : “Wait a minute ! These are the rushes from ‘ Game Of Death '!”. So I watched the whole thing and I timed it, there was about ninety minutes of footage. So I went back and said to my boss, I was super happy, you know, “You won't believe what I found!” and he was like “What?” “The rushes of Bruce Lee's unfinished masterpiece!” But it took a long time to make them understand the value of what I found. What changed was that Artport, a Japanese company, came in and spent huge amount of money to acquire the rights. And I'm famous at being bad with numbers, so, when their offer came in, my Media Asia boss of that time said to me “Oh you idiot! You put the zero in the wrong place!” and I said “No, that's their offer”. It was the first time, in my experience of dealing with Hong Kong film companies that a foreign company came in with an offer and they accepted it, without any negotiations! It was so far above their expectations for this footage. A huge amount of money. I won't say how much, but it's a lot of money. So we did that, then the deal with John Little. John Little, we had some kind of bad feeling between us because of a very bad book he wrote. He has written some very good books, but he wrote a very bad one, kind of “Bruce Lee's Method Of New Age Hippie Awareness” and I wrote that I thought it was crap and, understandably, he was upset with that. Then he started ringing my boss and saying that I, Bey Logan, shouldn't be allowed to use the footage.“You must not let Bey do it! You must not let Bey do it!”. Finally my boss said “I'm fed up hearing from this guy, Bey. What do you wanna do?” In fact, I hadn't found another way to use the lost footage. I didn't want another documentary, because no-one watches them and they don't make any money. I was looking at it the same way the guys looked at the ‘Game Of Death' footage in 1978 : “What to do with it ?”. It's basically Bruce Lee in an orangey- yellow costume fighting a bunch of guys who are now either dead or old, or both. So why don't we just make some money with it and move on to other things? I called John myself and I said “John, this is Bey Logan. Cut the crap, and don't keep calling my boss. Talk to me, I think it's a good idea to sell the footage to you. Let me negotiate the deal”. And that was it for me. I kind of felt I'd done that and I was out of the Bruce Lee business. Also, the best part, John and I became friends again, which was great!

HKCM : You think there's other existing footage for Game of Death available ?
Bey Logan : I've no doubt in my mind. I think it was only by accident that the footage was delivered to Media Asia. Golden Harvest didn't realise what they'd done. I went through the whole archive, seeing whatever was delivered from Golden Harvest to Media Asia...
HKCM : But seeing the good economical results you did with the discovery of this footage, don't you think it could give ideas to some studio executives they should dig out some of their stuff like that to exploit them ?
Bey Logan : It's not as simple as that. When Media Asia inherited the library, Golden Harvest shipped over all the material relevant to each film, you had all the stuff from Project A, all the stuff from Big Boss… And then, on Game of Death , by accident, they sent reels of the rushes. I don't think they meant to, but they sent them over anyway. And that's how I got to see them. So, now, there may be lots of other stuff stashed away, but Golden Harvest doesn't have the rights to it now, because the rights belong to Star TV. So first they have to find them, secondly they have do a deal in partnership with Star TV and I think there's some bad feeling there, because maybe they feel now that they sold it too cheaply. At the time they sold the films, having a film library was not the big thing it is now. Business wise, I have to think it's the worst move Raymond Chow  ever made! There may be things stashed in those warehouses but I can't conceive how they will be exploited. I'm stuck between being a fan, who wants to see this footage, and also a professional in the film industry, and being aware of all the rights issues relevant to the footage. I believe there probably are bits of footage owned by famous private collectors. It's a big kick for some of them to have that, it makes their day!

Game of the Death

Like Ahna Capri with her behind the scenes of Enter the Dragon. Why does she never release it? Because if she releases it she's not special anymore! As long as she never releases it, and she's like an old sweet lady now, people will still keep coming to see her. When she sells it no one will call her again, cause then she's not special. [Since this interview was conducted, Ahna has apparently sold the footage, but we're sure she is still special!] See, my attitude is different. I could have been that way with the Game of Death “I've got it and you haven't!”, but my attitude as I said is to communicate. My only small point of contention with John is that he does reference me having found the footage, but it's always kind of sounds like it should have been him! Anyway John is John, a smart guy, he got screwed by the Lee estate, but he's a good man and deserves to be better treated by the Bruce Lee fans.

last word

HKCM : Last question, do you have anything special to say to your french fans ?
BL : I think, in terms of my activities as an evangelist for Hong Kong action cinema, I should not be mistaken for the message, as I'm in fact the messenger. I'm like John the Baptist and Jackie is Jesus! So, if I have fans, I hope they just think about me as someone pointing the way to HK cinema for them, through the works with the books, commentary... If people are turned on by HK films, in part, because of me then I'm happy about that. And I'm constantly impressed by the loyalty and energy displayed by the fans. That's great! Of course like for Star Trek you have some people, you know, doing plastic surgery and stuff like that, who perhaps take it a bit far! But the majority are not like that. They are nice people. They find HK action cinema or martial arts movies genuinely enhance their life, which is good. My main goal, though, is to continue to be active as a film-maker, and tell the stories I've not yet told, and share the things I want to say.
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