The HK movie industry has found in Bey Logan one of its best spokesperson! Bey Logan describes himself as a man of communication, an evangelist of HK action films. There is indeed no better definition of the lad. (2/2)

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Part 2

HK Cinemagic: 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 sounds very interesting, an adaptation of French classic 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 Chung 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!" (laughter). 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.

Is Donnie Yen still attached to the project?
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.

Let’s continue on your relation with Donnie Yen.
You’ve worked many times with him...
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.

He has encountered a lot of difficulties in the industry...
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 tomorrow 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 !

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You’re one of the few westerner scriptwriters in Hong Kong with the French Laurent Courtiaud and Julien Carbon. What do you think of their works?
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.

I heard they had the same complaints as you on the differences between script and the final product on screen.
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.

You’ve seen many action scenes in your career...
Oh, too many probably !

I’m sure it's made you have a very precise idea of how an action scene should be shot. So can you share with us your experience when you were involved in this kind of scenes?
Most of the people, it’s changing a bit now, but they have no idea of the demands. The one thing that people don’t realise is how many times you have to do the same motion with speed, power and acting again, again and again. You see the film, you see one shot: "It’s just one kick, I can do that !". But when you do it you have to kick forty times! It might not be your fault: The lighting’s wrong, the sound... It requires stamina, timing... I thought in my day I was, ok, a decent martial artist, but I never thought I was a great film fighter. I never had that timing. Real martial arts are about being out of beat with somebody, films martial arts is about being in beat with them. You need timing, if you miss one time, you’re going to be out of time with them and they will wonder what you are going to do.

How did you end up fighting Donnie Yen in Circus Kids?
We met this guy, met the producer, the producer wanted a western guy in the movie, but I don’t think it would’ve made much a difference. Donnie is so quick. It made it hard for me probably, but I’m glad I got to fight Donnie because I think it’s an honour. Even if I had a double and he had a double and we didn’t really show our different fighting styles, Donnie gives you the same kind of feeling as the guys who fought Bruce Lee (must have). The silly thing is, we could have done a fight where I got to do more stuff, but the stuff they were asking me to do... You see me doing stuff, but it’s evidently not a Southern (Chinese kung fu) style, but they ignored that. I could do some of those things with my hands, but they didn’t think it was good. They wanted more of those Northern movements, so I was saying "Why wouldn’t I do more powerful stuff, or do some more hand techniques?" That’s actually my forte! I think the choreographer was like kind of having a little fun with me, at my expense. "He can’t do it, we’ll double him, the double will do this..." If he was going to do something like Northern Leg and Southern Fist, I would be the Southern Fist and I’m confident I could do that. In the fight you see me doing this motion (Bey makes a Hung Gar movement with his hands) but we never really get the space to do that. And in Fist of Fury they wanted me to be a boxer. So I never really got to show the Hung Gar the way Mark (Houghton) did. And Mark’s much, much better than me, but I’d still have liked to show off a little bit!

Do you have any hope to do it in the future?
I’m really not interested in fighting roles. It’s a lot of hard work! I picked up a few injuries in the films I’ve done in the past. I did a little action on Twins Effect but you know it’s not my forte. I’m much better behind the cameras. I’m still training in martial arts for the fun, and train my kids or whatever. I can still kick over your head without warming up, which probably a lot of guys at 41 can’t! I’m still training for life, not films. I let the other guys do it... Scott Adkins, from England, I think he should be the next great thing in the martial arts. He’s great! We used him on Medallion, and he’s so good. He fights with Jackie and he’s doing the Jet Lee’s movie Danny The Dog. He’s the kind of guy who bypasses Hong Kong a little bit, but he’s the kind of guy who would have come to Hong Kong in the 80ies. He’s got a Brummie accent, but, then, nobody’s perfect…

 

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You think he will continue to work in HK?
Well, he did Black Mask 2 in Thailand.

I’m not sure Black Mask 2 will be a big box office hit and will help him much...
I couldn’t give you a precise answer on that, but I didn’t like it much.

Are there some directors or actors in HK you would like to work with?
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, then Gen X and Gen Y and 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.

Not any upcoming talents?
Sure. Dante Lam. Dante Lam is a good director. And Riley Yip, I loved 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 f****ng a***ole, 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.

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When you see the growing trend for HK movies and the growing number of fans in the world, do you feel a pride as being a part of this increasing interest through your works in magazines, DVDs and the industry?
If you said to me "What is the main motivation of your life ? Is it money or fame or what...?". I’d say it’s basically to communicate with people. So whether that’s writing a film, doing a book, doing a magazine article, talking to you or doing a DVD commentary. It’s communicating with people, sharing my goals, my ideas, my knowledge or experience, such as it is. I get a kick out of doing that. In terms of Hong Kong film fandom, I’m not one of those guys saying "Oh, all those other people are just coming on the bandwagon…" As it happens, I was there at the beginning, but it doesn’t really matter. Doesn’t matter when you joined the HK films fandom, all that matters is the way you are today, what you’re doing today. And if you’re doing stuff that satisfies you today, that’s all that matters. Ric Meyers, was around before any of us, and sometimes I experience from him a little resentment that he should be producing films or writing movies or should be doing this or doing that, because he was there first. It doesn’t matter when he was there, it matters what he can do now, today. Everybody has a part to play. But I’m very proud of the fact that I played a part in communicating Hong Kong cinema to the whole wide world, but I’m even more proud of the fact that I could actually be part of the industry.

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?
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 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 or 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?

None yet, but they are slowly improving.
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?

That’s a good question ! I’m afraid I’ll have to go back to the early 90s.
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!

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 thanks to someone of the old generation like Liu Chia Liang (AKA Lau Kar Leung) with Drunken Monkey or thanks to newer artists such as Donnie Yen?
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.

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Don’t you think that Drunken Monkey has any chance to be a hit?
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!

Jackie Chan also had influence in the quality of the movie...
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 Noon and 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!

There was a theory that Jackie was not very willing to put the lights on his opponents...
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 Lee did was Fist of Legend. And for Donnie it was Iron Monkey. You have to go back at that era.

Legend of the Wolf has some fans around the world...
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 Wolf is much better realised than Ballistic Kiss, even though I wrote the latter.

You’ve found the lost footage of The Game of Death. Can you tell us about how it happened?
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 Death footage! People will always ask me about both of them, as long as I live.

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. 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!

You think there’s other footages of Game of Death available?
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...

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But judging by the good economical results you did with the discovery of this footage, don’t you think it could give ideas to some studio executives and they should dig out more stuff like that to exploit them?
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! 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 question, do you have anything special to say to your fans?
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.

<<< Part 1

Many thanks to Bey Logan for his availability and kindness.
Some of the pictures here were kindly provided by Bey Logan.
Interview made by and collated by Arnaud Lanuque,
at the Zambra Cafe (Wan Chai, Hong Kong) on April 11, 2003.

No part of this page content can be used without prior permission from the webmaster

Filmography

2003
Kung Fu Master [Writer & Producer]
Wu jian dao 2 [Actor]
2046 [Actor]
2004 Dubbed and Dangerous 3 (Video) [Actor]
The Medallion [Writer]
Twins Effect [Actor & Producer]
2001
Hong Kong Superstars (TV) [Actor]
2000
Gen-Y Cops [Writer]
Bruce Lee in G.O.D. (Video) [Actor, Writer] (additional material)
Bruce Lee: A Warrior's Journey (Video) [Actor & Writer] (archive footage & additional material)
It's a Mad Mad Mad Kung Fu World [Actor]
1999
X-Mas Rave Fever [Actor]
Gen-X Cops [Actor & Writer] (English dialogue)
Jackie Chan: My Stunts (Video) [Writer]
1998
Ballistic Kiss [Writer]
Jackie Chan: My Story (Video) [Writer & Producer]
1996
White Tiger [Writer] (story)
1995
Asian Cops - High Voltage [Associate Producer]
1994
Circus Kid [Actor]
1993
Guns & Roses [Producer]

Source: imdb.com

 

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