[Interview] "Hong Kong Cinema Needs the 'Lion Rock Spirit' Now" Directors Yang Kwan-yo and Yang Kwan-soon of 'Stuntman'

As part of 'Hong Kong Week 2025@Seoul', which introduces the arts and culture of Hong Kong, the film festival 'Making Waves - A New Wave of Hong Kong Cinema' was held from October 17 to 20 at Cinecube Gwanghwamun. Starting with the opening film 〈Last Song for You〉, starring Jung Yi-gun and Natalie Hsu, the festival showcased the latest trends in Hong Kong cinema, including 〈Last Dance: The Ritual of Rest〉, which broke the record for the highest box office in Hong Kong cinema history last year, and 〈Papa〉, which swept the Best Actor (Yau Cheung-wun), Best Actress (Kok Chiu-lam), and Best Newcomer awards at the Hong Kong Film Awards. Among the films screened, the 〈Stuntman〉 directed by Yang Kwan-yo and Yang Kwan-soon was an ambitious action film that recalls the golden age of Hong Kong action films in the 1980s, starting in the style of Jackie Chan's 〈Police Story〉.

As a martial arts director active during the golden age of Hong Kong action films in the 1980s, Ah Sam (Dong Wei) had been away from the industry for 30 years after a tragic stunt accident. One day, an old friend, a veteran director, wants to bring him back as a martial arts director for what will be his last directorial work. However, having spent 30 years away from the film industry doing other jobs like being a mansion security guard and having a strained relationship with his daughter Cherry (Choi Sa-un), he finds it hard to muster the courage. Moreover, the film's lead is Wei (O Yun-ryong), who was part of his old stunt team, making things even more awkward. After some persuasion, he accepts the position of martial arts director, but he clashes with Wei at every turn, while the young and ambitious stuntman Se-ryong (Ryu Jun-gyeom) cautiously observes them. Ultimately, they unite for the success of the film, resolving long-standing grudges as they continue filming. However, due to Ah Sam's stubbornness, while hastily shooting a robbery scene and a city shootout without official permission, civilians get injured, putting him at risk of being fired. Se-ryong, who has always supported him, also begins to turn away.

The story that unfolds thereafter embraces the past and present of the Hong Kong film industry, reflecting on the 'spirit of Hong Kong'. Dong Wei, who is known as the martial arts director of 〈A Better Tomorrow〉 or 〈The Young and Dangerous〉 and has worked on films like 〈2046〉, plays the lead role himself. Having starred in dozens of films such as 〈The Way of the Dragon〉 (1973), 〈The Big Boss〉 (1975), 〈The Four Heavenly Kings〉 (1977), and 〈The Heroic Ones〉 (1977), he has also served as a martial arts director for many films starting from 〈A Better Tomorrow〉 (1986) to 〈The Legend of the Drunken Master〉 (1994), 〈The Myth〉 (2005), 〈Beast Stalker〉 (2008), and 〈The Last Stand〉 (2009). He connects the past and present of Hong Kong cinema as both the protagonist and, in a way, a 'villain'. Additionally, we met the twin brother directors Yang Kwan-yo and Yang Kwan-soon, who directed the film 〈Stuntman〉, which has garnered attention for featuring actors Ryu Jun-gyeom, Choi Sa-un, and O Yun-ryong, all of whom gained popularity through 〈Kowloon Walled City: Lawless Zone〉.

I would like to hear a brief self-introduction and how you came to direct 〈Stuntman〉.

Yang Kwan-yo We both started as stuntmen. Due to various circumstances, we left the industry for about 10 years, but with the help of our senior actor Chan Ka-lok, we resumed our stunt acting careers, and my brother later worked in TV production before we met for this film. The first film I worked on as a stuntman was 〈The Twin Dragons〉 (2007), directed by director Kwang Do-ha, who was also the martial arts director of 〈Stuntman〉. It was a film that gained attention with stars like Jackie Chan, Ng Man-tat, and Yuen Wah, and I remember being nervous because I had to fight Yuen Wah from my first day on the job. (laughs)

Yang Kwan-soon I started working by appearing in the same film as my brother, and above all, Jackie Chan was like an idol to me. I couldn't believe I was in a film with him, and one day I brought a DVD of 〈The Young Master〉 (1980) to get his autograph. When he saw it, he smiled and said, "I can't make films like this anymore." He said that no matter how much money there is, the Hong Kong film industry lacks talent and resources, and most importantly, it doesn't have the passion or stamina of that time. Those words became the reason for starting this film about stuntmen as time passed.

I'm curious about the reason for casting the legendary martial arts director Dong Wei as the protagonist. What connection did you have?

Yang Kwan-soon Our mentor, martial arts director Kwang Do-ha, is very close to Dong Wei, and I was introduced to him. Later, at a wedding, I met director Dong Wei and sought his advice while conceptualizing a film that captures the energy of the golden age of Hong Kong cinema. During that conversation, he ended up participating in the film, and if we talk about the biggest icon of Hong Kong action cinema, it has to be Bruce Lee. Director Dong Wei also appeared in 〈The Way of the Dragon〉 (1972). I felt a sense of symbolism connecting the past and present, which was perfect for us.

It's interesting that actor Ryu Jun-gyeom, who gained popularity through 〈Kowloon Walled City: Lawless Zone〉 (2024), appears with a name that seems to parody Bruce Lee, 'Lee Se-ryong'.

Yang Kwan-yo Originally, I had envisioned the story of Ah Sam and Wei, but I felt the need for a new character, so I cast Ryu Jun-gyeom. He also appeared in 〈Kowloon Walled City: Lawless Zone〉 and I was in charge of his action acting guidance. He not only acted well but also had great talent for action acting, so I wanted to include him in the film. This was before he became the big star he is now. (laughs) I felt that we needed the perspective of young filmmakers in Hong Kong, and I wanted to attract young audiences to the theater. Dong Wei, O Yun-ryong, and Ryu Jun-gyeom represent the first generation of baby boomers in Hong Kong cinema, the second generation of millennials, and the third generation of Gen Z, respectively, and I wanted to depict a picture where these three generations coexist. Moreover, Choi Sa-un, who played Ah Sam's daughter Cherry, and Ryu Jun-gyeom are actually a couple and recently got married on October 16. Their immense popularity in Hong Kong has helped the film's box office.

For anyone who has traveled to Hong Kong, the Bruce Lee statue on Star Street in Tsim Sha Tsui is a familiar sight.

Yang Kwan-soon Bruce Lee is the person who introduced Hong Kong cinema to the world. I wanted to capture his presence in the film in some way, and I also wanted to include the scene of Dong Wei, who appeared in 〈The Way of the Dragon〉, standing in front of it. In the film, there is a line that says, "There is a statue in a remote area of Star Street, and the trees cover the statue," which reflects the reality that due to nearby hotel reconstruction, it has been pushed to the corner of Star Street.

Are the various incidents that occur on set, including the strained relationship with the daughter, perhaps reflective of Dong Wei's autobiographical story?

Yang Kwan-soon For 〈Stuntman〉, we met many filmmakers who were active in the past and incorporated their stories in various ways. When my brother and I worked as stuntmen, we often had long waiting times. During those times, we frequently met senior colleagues who had worked in Jackie Chan's stunt team, and the wedding episode with the daughter is something I heard during those times.

The opening action scene filmed in a department store evokes the action style and spatial utilization reminiscent of Jackie Chan's 〈Police Story〉 (1985). It seems that the filming was done in actual past filming locations, such as the footbridge outside the department store.

Yang Kwan-yo You saw it accurately. After Bruce Lee, isn't Jackie Chan the next? (laughs) In the 1980s, he was another icon that opened the golden age of Hong Kong action films centered around stuntmen. I directed the action movements and space to directly evoke 〈Police Story〉, and I actually wanted to shoot at Wing On Plaza in Tsim Sha Tsui East, where the climax of 〈Police Story〉 was filmed. The footbridge where Jackie Chan and Maggie Cheung stood is still there, so we could shoot there, but Wing On Plaza had closed down, so we had to go to the adjacent building to film. We were excited, and martial arts director Kwang Do-ha was delighted to recreate the old style, and with his extensive experience, we were able to finish filming in just one day.

An incident that serves as a turning point in the film occurs when Ah Sam stubbornly insists on filming without permission in the city, leading to a major accident. I understand that such incidents have often occurred in the past in the Hong Kong film industry, and I'm curious about the intention behind including that scene.

Yang Kwan-yo First, the scene where several thieves rob a jewelry store and escape is a homage to 〈The Heroic Ones〉 (1984). The film that Kwang Do-ha and Dong Wei both served as martial arts directors is Wong Kar-wai's debut film 〈The Young and Dangerous〉 (1988), and it is said that many scenes were filmed without permission. In 〈The Young and Dangerous〉, when actor Chow Yun-fat is chased by gangsters in Mong Kok, the people on the street are watching as if they are spectators. They would secretly film like that, and when the police arrived, the production manager would have his ID ready to be arrested instead. Of course, this method would not work at all nowadays, and filming secretly is impossible.

The film talks about the 'spirit of Hong Kong' several times. What do you both think the 'spirit of Hong Kong' is?

Yang Kwan-yo It's a spirit that doesn't know how to give up. The old Hong Kong action films attempted and achieved almost everything without CG or special effects. In other words, it is connected to what Hong Kong people always talk about when they mention Lion Rock, the representative mountain of Hong Kong, which is the 'Lion Rock Spirit' (獅子山精神, Lion Rock Spirit). It is a collective consciousness that embodies hope for the future and the determination to carve out a life against seemingly insurmountable adversity. Through 〈Stuntman〉, I wanted to show that this spirit continues through generations, and I felt it was needed in the current Hong Kong film industry.

Yang Kwan-soon I started working in films as a stuntman, then left the industry for a while to work a 9-to-6 office job. While I had a stable income, I had a strong desire to return to the film industry. As depicted in the film, I wanted to live a life where I was "waiting to go to work while coming home" rather than "waiting to come home while going to work." Like Se-ryong in the film, if I were to return to the film industry, it would certainly mean starting a daily life with significant risks again, but I thought I wanted to live for what I truly love and my dreams. That is the spirit of Hong Kong.

Finally, if you each had to pick your favorite Hong Kong action film.

Yang Kwan-soon Aside from the previously mentioned 〈The Young Master〉, it has to be Bruce Lee's 〈Way of the Dragon〉 (1972). I can say that I grew up watching films of Jackie Chan and Sammo Hung, and I think it was while watching 〈Way of the Dragon〉 that I first contemplated my own identity. The way the character Chen Zhen (Bruce Lee) represented the people living in the colony and spoke about our spirit seemed to connect with the 'spirit of Hong Kong'.

Yang Kwan-yo I really liked the films featuring Sammo Hung and Yuen Biao. I was also obsessed with 〈The Young Master〉, and among Yuen Biao's leading films, my favorite is 〈The Prodigal Son〉 (1981). I can't leave out Jet Li either, and among his films, my favorite is 〈Fearless〉 (2006). Anyway, it's really hard to pick just one or two from that incredible history. After the screening, I saw that Korean audiences also felt that nostalgia for Hong Kong cinema, and I want to come back when it is released in Korea next time. (laughs)