In the late 1990s, you went to the U.S. to play the lead in the CBS series Martial Law, which had the distinction of being the first prime time hit show starring an East Asian actor. What was most memorable about your U.S. career?
It was a kind of miracle for Martial Law to have happened. I played a cop from China in the series. But at the end of the day, I realized that American writers weren’t able to write the experience and existence of an immigrant cop from China living and working in the U.S.
You founded the Sammo Hung Stuntmen Association in the 1970s, which was instrumental to the global success of Hong Kong action cinema. What are your thoughts on the future of Hong Kong action filmmaking?
Look at the younger generation in Hong Kong now: Where can you find kids who would learn and practice martial arts? There will be no new generation of action stars in Hong Kong now. When we were young, we looked up to the action stars on the big screen and aspired to be them someday. We trained and practiced. And now maybe a kid practices martial arts but then becomes a salesperson, which he can be anyway without any martial arts training. There is no one for him to look up to. Kids don’t dream of becoming action stars in movies anymore.
Martial arts is still practiced in China, but if you look at Chinese martial artists, it took time for them to have a breakthrough. For example, Jet Li, he was in Hong Kong for a long time before he became a star in Tsui Hark’s films. And Wu Jing [actor-director of Chinese mega-blockbusters Wolf Warrior 2 and The Wandering Earth] had been jobbing in the Hong Kong film industry for almost two decades before he finally made it to the top.
As a local industry champion, can you share more of your assessment of the present state of the Hong Kong film industry?
The state of the Hong Kong film industry now is lousy! The local studios, they don’t want to invest in big-budget films. We used to shoot one single scene in a month; now a whole film is shot in 11 days! And we used to spend HK$2-3 million shooting in one day; now no local film has that kind of budget. I’m not saying a big budget guarantees a good film, but we really don’t have that kind of scale anymore. What we need is a good, solid Hong Kong action film, the kind that made our mark in the world in the past. No one wants to invest in those films anymore. And Chinese co-productions, we only do those because we need the Chinese market, and if we don’t co-produce with Chinese companies, we can’t show our films in China. But Chinese co-productions can’t capture the genuine essence of the Hong Kong action film, and there are too many systematic limitations with Chinese co-productions.
Do you think Hong Kong film can maintain its unique position and idiosyncrasies? How can that legacy be preserved?
It is very difficult. I truly believe the Hong Kong government should do more to help the film industry. Look at South Korea. Twenty or thirty years ago, there was no film industry there. But the South Korean government gave it a big push, and now Korean films are on the world stage and everyone is watching Korean TV dramas. The policies the Hong Kong government has set for the local film industry, like when they give HK$2 million [for first-time directors to make a feature film, which recently was raised to HK$5.5 million] – what kind of film can be made with only HK$2 million? They are spending millions on events like the film festival, which is a very good thing, but if they don’t help preserve the Hong Kong film industry, they might as well give those millions to buy lunchboxes for the poor. Hong Kong cinema represents us.
The Hong Kong government announced an injection of HK$1 billion into the Film Development Fund, do you think that would help?
It depends on how they use that money. I’d say they should give me HK$300 million to make a film [chuckles].
With your experience in the film industry, have you taken up any advisory role for the Hong Kong government, such as for the Film Development Council?
No one has asked me, and I’m not sure if I’d want to. I’d only curse at people, and point out whatever is wrong today. I wouldn’t want to be like a nagging old lady, complaining all the time.
Do you blame the audience for their lack of interest in local films?
No, I don’t. If a film is bad, you can’t force people to go see it. What can you do, beat them with a stick?
You have cut down your film work in recent years, and have said that you enjoy spending time with your grandchildren. Do you plan to retire completely?
As long as I can still think, eat, sleep, walk, and be useful, I don’t think about retiring. I have the gifts of being able to think, eat, sleep, walk, and those are gifts from heaven, so I wouldn’t want to waste them and say I quit.
Have you thought about what you’ll share with the public at the Filmmaker in Focus seminar?
I’ll curse and swear at them [deadpans, then laughs].
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