Sammo Hung Masterclass

Sammo Hung Masterclass

Finally, the man of the hour enters with presence as he strides up the stage. Despite entering his golden years, his stature remains strong and commanding, and an aura of authority follows him. He brings a genial but powerful energy to the theater, and it’s immediately obvious to even those who might not know him as well that he’s a highly respected veteran and a pop culture icon.

Hung’s masterclass sees him doling out wisdom not necessarily just on how to make films, but how to persist as a creative and an artist against all odds. As traditional and cliche as the mantra to work hard might be, there are a few grains of truth buried in them. Hung recounts his childhood, when he asked his grandfather to enrol him in his master Yu Jim-yuen’s school to learn Peking opera, only to regret it soon enough. As shown in his short from Septet: The Story of Hong Kong, the training was exceptionally tough, with Hung having to do handstands on a wooden stool until his arms gave way.

It wasn’t until he made his own foray into the film industry that he appreciated his master’s tough love and austerity. Hong Kong’s film industry was a pressure cooker, and if you couldn’t or weren’t willing to do it, someone else would gladly take your place. One of Hung’s first directorial efforts, Warriors Two (1978), is a classic story of revenge. While it possesses the hallmark tropes of the genre, it’s memorable because Hung plays the comic relief. We know he could easily trounce his enemies, but he chooses to do otherwise. When asked how many takes it requires to shoot action scenes where there are both close-ups and wide shots, Hung’s response is simply “It depends on how smart the actors are. If they’re smart, we need less takes.” It’s this wit and humour that peppers the whole masterclass, even as Singapore Film Society’s chairman, Kenneth Tan, fires several spontaneous questions at Hung.

Perhaps what set Hung apart was his penchant for casting as leading roles his fellow actors and stuntmen instead of making himself the star of the show. A part of it was to ensure commercial success of course, and an action star like Jackie Chan in Winners and Sinners (1983) could rake in the box office. For Hung though, casting different actors gave each a chance to showcase their talents, adding to the dynamics of the film. It’s why his films often had comic relief such as Dean Shek alongside skilled martial artists like Yuen Biao. Hung attributes his success to the hard work and trust given by his stunt team.

As for being one of the progenitors of the jiangshi (hopping zombie) genre, Hung remarked that it was quite by accident. A longstanding part of Chinese mythology, the jiangshi has been a horror trope often used for comedic effect. In Encounters of the Spooky Kind (1980), the suspense created by the horror is displaced by the comedy that takes place afterwards. Hung joked that after the success of that film, Hong Kong was filled with hopping vampires since many directors were trying to cash in on the popularity.

Of course, Hung too went under the tutelage of the old masters, most notably Lau Kar-leung, a prominent figure who himself was known for many martial arts films. The director would be influential to Hung’s style of shooting in earlier films in order to best capture the action choreography. Over the years, as the martial arts genre evolved along with audience’s expectations of the films, so has Hung’s style. When asked what he thinks of modern filmmaking technology, his reply is that one can only do their best to make things look real, and the discerning audience will judge for themselves. Of course he also admits that if it were possible to do it well digitally, he would welcome the change.

Like other Hong Kong actors, Hung also had his brush with Hollywood trying to capitalise on the martial arts craze in the 1990s. Initially reluctant to work on Martial Law (1998 - 2000) due to the language barrier and different film making styles, he eventually agreed with his wife Joyce Godenzi helping him to learn English. One thing Hung noted while working on Martial Law, was that the cast were provided with more welfare than those in Hong Kong, which would not be as receptive to the needs of the actors.

As for the future of the Hong Kong film industry, while many lament the bygone eras of its heyday, Hung still sees potential in it. He explains that in today’s media landscape, funding a film is the biggest initial hurdle to cross, with the box office being the biggest concern on the minds of producers. Hung still remains active in the film industry even if not directing, most recently starring in Soi Cheang’s Twilight of the Warriors: Walled In (2024) as the antagonist.

In spite of how venerated Hung is, the man is a humble, salt-of-the-earth type of filmmaker. Perhaps what can be truly gleaned from the masterclass is not the finesse from elaborate stunts or complex action choreography, but to possess the tenacity and be open to opportunities. We might not all make it, but we can still try.

About the Author:  Ivan Chin has a penchant for Hong Kong cinema and science-fiction films, but enjoys anything from blockbusters to the avant-garde. His favourite directors include Johnnie To, Denis Villeneuve and Stanley Kubrick. He also fervently hopes to see local films blossom. In his free time, he can usually be found wandering around cinemas.

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The Sammo Hung Masterclass was co-organised by SIngapore Film Society and Asian Film Awards Academy.

Sammo Hung stars in his latest movie- TWILIGHT OF THE WARRIRORS: WALLED IN (2024). Now showing in theatres!

Anyone can sign up for SFS Membership here: https://www.singaporefilmsociety.com/membership