I now have two different audiences. There's the one that has been watching my action films for 20 years, and the American family audience. American jokes, less fighting.
Every time I make American film I just trust American directors and American writers.
Even during the promotion I told people that I didn't like Rush Hour. The jokes I didn't understand and the fighting, compared to my Hong Kong films was terrible. A lot of people didn't like it. But mostly people did like it, they really liked it. Rush Hour really brought me to the American family audience.
I make American films for American audiences and Asian films for Asian audiences.
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
My wish is to bring my heroes to the big screen, and many of them have already appeared in my films.
Making a Hollywood film you don't have a very big movie because they have a Safety Captain and insurance people on the set. They have to check first. 'Don't do it. Let me check. Make sure everything is safe.'
When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!'
When I am making a film, I know what to do in front of a camera. What frightens me are the scenes with dialogue. Sometime they really want me to speak perfectly and I don't like that.
In the past decade, there have been a lot of friends or directors, either gossiping or telling me directly, "What you're doing now is the right thing, your main concern should be taking care of yourself, and not doing action at your age." Well, after first feeling angry, I'd think, to be honest, I really am older. So I thought, all right, but before I retire I'd like to make one last major action film, one good one.
It is totally different making films in the East than in the West. In the East, I make my own Jackie Chan films, and it's like my family. Sometimes I pick up the camera because I choreograph all the fighting scenes, even when I'm not fighting. I don't have my own chair. I just sit on the set with everybody.
I hope I can make some Hollywood-type action films like 'Batman' or 'Spiderman', action films like that. With some wire work, maybe wearing a mask. Like that.
When I'm making an American film, it's more safe because there are so many people on the set to watch me. Whatever I do, they say, 'What are you doing!? Tell me first!' There are so many restrictions.
Back in the Bruce Lee era, and in my era, Kung-Fu stirred up a kind of frenzy, and many people were learning martial arts from us. But about a decade ago, Hollywood began bringing in a number of our action choreographers, including two from my own stunt crew, where they became martial arts directors. Now, a decade later, Hollywood has learned it all, so when you look at the action films they're making now, they all use our action, our martial arts, and then add to that their own technology which is ten times better than ours, and it has to leave us dumbfounded: how did they film that?
Some people call Police Story the greatest action film of all time, and while I have to be humble and say that I disagree, it's definitely the favorite action film I've ever made.
I'm very pessimistic about that, no matter how hard we may try. The Chinese market is huge, but out of last year's $2 billion box office, $1.8 billion was taken in by foreign movies, and just $200 million by our own movies, no matter how much we have learned of their techniques, or their good practices. The Hollywood movies imported into China are all good movies; does the U.S. make lousy movies? Yes, too many lousy movies, but the imports are good films, so how can they not be box office hits? They're all hits.
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