Hong Kong martial arts legend Sammo Hung, prolific Japanese martial arts actor Yasuaki Kurata and action director Kenji Tanigaki discussed martial arts cinema and shared behind-the-scenes anecdotes Tokyo.
They appeared as part of a panel titled “Martial Arts on the Silver Screen: Past, Present, and Future” during TIFFCOM, the market held alongside the Tokyo International Film Festival.
“I have been practicing martial arts since I was young, learned from several masters and then worked very hard to return this blessing,” Hung said. “The essence of martial arts in Hong Kong is the spirit and our work ethic. We have really invested ourselves fully in our film work and we want to convey this spirit to the next generation.”
Hung is a pivotal figure in Hong Kong cinema, appearing in more than 200 films and elevating the territory’s martial arts genre.
He recently played in Soi Cheang’s Twilight of the Warriors: Walledwhich one became the highest-grossing domestic film of all time this year in Hong Kong. It is also Hong Kong’s Oscar submission for the best international feature film category.
Kurata said he first went to Hong Kong for auditions in 1969 after being frustrated by the lack of major roles for him in Japan.
“I was told to go to Hong Kong for auditions and one of my friends thought I was being scammed,” Kurata said. He soon found a role at Shaw Brothers Studio kung fu film Angry guestbut had to borrow money from his parents to pay for his travel and accommodation expenses in Hong Kong while working on the film.
Kurata said that the biggest difference he found between Hong Kong action films and Japanese action titles at the time was that martial arts were the central part of many Hong Kong films, while they were only a small part of Japanese films.
“I was amazed at the level of martial arts in Hong Kong,” Kurata said. “In Japan, films used martial arts a little here and there, but in Hong Kong the focus of the films was mainly on martial arts. There were more than 100 people who dedicated their lives to the film and they were united by the martial arts spirit. That’s why Hong Kong martial arts films really became popular worldwide. I would say that several American action films later inherited that kind of spirit.
Kurata was offered a one-year contract to work as an actor in Hong Kong, but he turned it down. Instead, he chose to work contract by contract on various films in Hong Kong. Kurata added that he became good friends with Hung and Jackie Chan during this time.
“They really wanted to be perfect. When I worked with Sammo Hung and Jackie Chan, there were more than 60 takes per take. They were so thorough. I am now 78 years old and I am still very fit, which I attribute to my years of practicing martial arts in Hong Kong films,” said Kurata.
For Tanigaki, he learned his craft after enrolling in the Kurata martial arts academy, located in Osaka. While in the academy, he practiced various types of martial arts and swordsmanship.
“However, when I acted in films in Kyoto, I didn’t find any opportunity to use those skills, so I started looking in other places,” Tanigaki said. “At that time, many masters from other places moved to Hong Kong because it was the center of kung fu and martial arts films. It’s like going to the US as a baseball player to become the best. I had the spirit and motivation to learn from the best, and Hong Kong had a very established system, with action leaders using very established methods, so I knew I had to go there.
Tanigaki recently wrapped production on his big martial arts movie The angry onewhich was filmed in Thailand. He was also the stunt coordinator Twilight of the Warriors: Walled and has worked regularly with top Hong Kong directors over the past twenty years of his career.
He added that in Hong Kong, many martial arts stars like Hung are well-versed in all aspects of the filmmaking process apart from action choreography, including camera work and editing, which takes the quality of their martial arts films to the next level.
When Hung was asked how martial arts legends like him planned to develop the next generation of actors in the industry, Hung’s tone became more serious.
“Even if I were to teach the newer generation, what would the outcome be for them?” Hung said. “Last time more people made kung fu films. Now there are only a few per year. There has to be a desire and a thought process to make these kinds of films so that there are opportunities for these young people. I should teach them the way my masters taught me, but there should be opportunities and results for them.
“Keep buying tickets for Hong Kong films. Bring your friends,” Hung added.