In a remote
part of China's southwest
on a cool autumn morning, three of Asia's top movie stars are waiting
for the action to begin.
Donnie Yen, Takeshi Kaneshiro and Tang Wei have traveled
with the rest of the 200-plus crew to this isolated spot near the border with Myanmar, where they have been camped out since late August.
'Wu Xia,' from director
Peter Chan, is a $20 million martial-arts drama slated for release
next summer. The story, which takes place during the end of the Qing Dynasty, is about a repentant killer living a simple life in a secluded village and whose past catches up with him.
Mr. Chan, one of Asia's most-successful filmmakers, is looking to put a new spin on the martial-arts genre with 'Wu Xia,' which translates roughly
as 'martial-arts chivalry.' He's assembled an A-list cast, two cinematographers, an award-winning costumedesigner
, and a visual-effects team from South Korea to bring what he describes as detailed authenticity to the film. Its ambition
underscores the current trend in Chinese cinema toward highly polished blockbusters.
Still, there is little Hollywood glamour out here on location
. Filming today is in a tiny village about an hour's drive from Tengchong, a city of several hundred thousand -- relatively
small by Chinese standards -- in western
Yunnan. Tengchong is home for the cast and crew during the shoot. Getting to today's location
involves a convoy of trucks, buses, vans and cars -- all of us sharing the road with villager
s and livestock along a series
of smooth two-lane highway
s and bumpy, unpaved paths through fields and forests. To get to the shoot, the crew and cast -- sporting shin-high rubber
boots to trek around in the mud -- hike across steep terrain marked by rocks and puddles to the river valley
'It's hard going down and exhausting going up,' Mr. Chan says as he arrives on the set.
Rain earlier in the week interrupted filming for a few days, but today the sun is out. 'We've been shooting here for two months and I can't remember a single day other than today that it hasn't rained at least a little bit,' he says. 'We've been fighting the weather all the way through.'
But irony has its revenge
: For a scene the next day, the crew has to create rain using two giant hoses.
Actors and dozens of extras roam around the set in period costume
s, looking more at home in the rural setting
than the crew in their jeans and T-shirts. Curious locals watch the bustle
and activity. Their dialect
to most of the crew, who come from places like Beijing, Shanghai and Hong Kong. Some villager
s from the area have been hired as extras. Li Xingli, a 51-year-old farmer, says she isn't familiar with the movie's star cast. 'But it's fun,' she says with a smile, 'and my husband supports me.'
Ms. Li, in fact, is workingalongside
three very recognizable actors. Mr. Yen is arguably Asia's leading martial-arts star following a string of recent hits including 'Ip Man' and its sequel, 'Bodyguards and Assassins' and 'Legend of the Fist: The Return of Chen Zhen.' Mr. Kaneshiro -- this is his third film with Mr. Chan -- has been a top leading man for nearly two decades. Ms. Tang, with just a handful
of films to her credit so far, is one of Asia's leading young actresses.
The cast also includes Jimmy Wang Yu, one of Hong Kong's biggest action stars from the 1960s and '70s, in his first film appearance in more than 15 years.
Mr. Chan sits under an orange tent about five meters from the actors. His blue director
's chair faces a video monitor
that shows what the audience
will see. Messrs. Yen and Kaneshiro arrive on the set in full costume
-- Mr. Yen dressed as an ordinary villager
with a long, single braid of hair that was customary
of the era, and Mr. Kaneshiro looking elegant
in a gray robe and brimmed hat -- and prepare for a scene on a small cliff over the riverbank. A few takes later, the director
and Mr. Yen huddle
in front of the monitor
to watch a playback. Mr. Yen returns in front of the camera to shoot another take after a couple minutes of quiet discussion
, although to the casualobserversubsequent
takes all look the same.
Mr. Chan later joins Mr. Yen, who also is the movie's action choreographer, for one of the film's action sequences. A character
in the scene is pushed over a bridge
. Above the heads of the crew, a highway
of carefully placed cables and wires are wrapped around the forest trees. The stunt isn't simple. On one end are the men maneuvering the wire, and on the other end a stuntman dangles above the whitewater rapids far below. After several takes, they wrap for the day.
'With Peter Chan, everyone
knows it's going to be a powerful, dramatic
movie,' Mr. Yen says. 'That's one of the main reasons why I want to be in this film in the first place.'
For Mr. Kaneshiro, he says working
with Mr. Chan is more important than the script
. 'The character
changed as we talked about the script
,' he says. 'I didn't know how to do this guy,' but one day they decided
to give the character
a Sichuan accent
and everything fell into place.
Ms. Tang also describes developing her character
with Mr. Chan -- a new experience compared with how she has worked on previous
films. ''I really love it, because it's really flexible
and very similar to film as a student in college.'
During the week, minor mishaps abound
on the set: A stunt coordinator slips on a rocky ledge, leaving large scratches along the side of his body; the continuity girl is bitten
by a wild dog in a bamboo
forest; and an assistant
is shoved around by a group of tourists eager to get to a scenic waterfall
blocked by the film crew.
'I think working
in China is somewhere between Hong Kong and Hollywood,' Mr. Chan says.
As movie budgets in China grow, the film industry has adopted a system
that's more similar to Hollywood. 'Production costs are getting higher and we have crews that are more professional,' he says. 'In a way we have developed, learned
, adapted and adopted a certain managementsystem
of Hollywood big movies, but at the same time we still have retained a lot of flexibility.'