Why are Chinese martial arts movies so good? Why are Sammo Hung's movies so great? Find out here!

Sammo Hung (aka Hung Kam-bo) is arguably the most versatile and prolific actor, director, producer, fight choreographer and stuntman in Hong Kong cinema. The oldest of five brothers, Sammo Hung began his training in acrobatics, acting, and song and dance during a stint at the renowned Peking Opera School when he was 9. At 16, he ventured into the world of cinema. Realizing the need for fighting skills, he strove to acquire martial arts experience. After training in karate, kung fu, taekwondo, aikido, wushu and Chinese boxing, he became one of Hong Kong’s hottest filmmakers.

Black Belt: Your early training took place at the Peking Opera School. What exactly is that?

Sammo Hung: The Peking Opera School is a lot of things. It is old-style teaching. In some schools, the master will look to see what you are good at. If you’re good at somersaults, then you just do somersaults. If you are a soldier, you can only be a soldier. If you are good at one thing, then you focus on that.

In my school, we learned everything: acrobatics, acting, dancing and singing. Because I am so big, when I first went to the school, I learned to be a girl. Everything had to be very slow; every movement had to be very little; my voice [had to be] very soft. I also played many different characters. Sometimes I would play an old woman.

Black Belt: What was it like being a student at the Peking Opera School?

Sammo Hung: The training was very hard. In the beginning, I got one day off, and I could go home to my family. But after one year, we started performing, and then we had no days off.

One time, I pulled my muscle, and my master said, “Keep going, keep going.” I said, “I cannot keep going. I pulled my muscle!” It’s not just the training; it’s what you are thinking.

[It’s a] very tough life. You get beaten up when you train. The master asks you to do an hour for each exercise, and [even] if you are crying, you cannot do less. If one [student] is bad, everybody gets beaten. And everybody respects the master. This kind of training is part of the culture.

The levels are very clear in the Peking Opera School. I was the oldest, then [came] the master. When the master was busy, I was in charge. It was very structured, and everyone had great respect for elders.

Black Belt: What did you mean when you said that everybody got beaten?

Sammo Hung: Everybody got beaten with a stick.

Black Belt: What is the worst injury you received there?

Sammo Hung: Every day [when I] woke up, [my] muscles hurt. Every day [I got] bruises, sometimes broken bones. One time, my master made me do a handstand on top of a small stool for one and a half hours. I said, “Master, I can’t hold it any longer!” I [fell], cracked open my head and passed out. But they never took me to the hospital. They just took [some] tobacco and put it on my head [to] seal the wound.

Jackie Chan and Sammo Hung

Black Belt: What did a typical training day at the school consist of?

Sammo Hung: In the Peking Opera School, everybody sleeps in one room — boys on one side, girls on one side. At 7:00 in the morning, [we would] wake up and roll the mats against the wall, then roll out the carpet for training. We started with stretching, then did some acrobatics and somersaults for a couple hours.

Then we had some breakfast, then trained again until lunchtime. [After] maybe one hour for lunch, we would train until dinner. We were always working on different skills, but most importantly the basics. After dinner we worked on singing, characters and more acrobatics. Then at 10:30, [we would] go to sleep.

Black Belt: What was it like to perform at such a young age?

Sammo Hung: It was very hard. Everyone spoke Cantonese in the opera, but we had to learn Mandarin for the shows because Mandarin is the official Chinese dialect. After one year of training, we performed every night for three years in a row. We trained during the day and did the shows at night. Three hours for each show.

We were always doing different kinds of shows. Each show is made up of many little movies. It is important to be creative and keep an open mind. If not, then the audience falls asleep.

Black Belt: Did you find the transition from opera to movies easy to make?

Sammo Hung: Yes, because my whole family comes from the movie business. My grandfather owned a big movie studio and was a big film producer. My grandmother was a big movie star in the 1930s.

Black Belt: What has been the secret of your success in the Hong Kong film industry?

Sammo Hung: I didn’t want to be just a stuntman, just a fight choreographer or just an actor. I wanted to be able to do everything. I wanted to learn everything: acting, directing, producing, lighting and stunts. [That’s why] I teach my stuntmen everything. My philosophy is, How can I expect others to do things if I can’t do them myself?

Black Belt: What is the major difference between action filmmaking in the United States and in Hong Kong?

Sammo Hung: Well, in U.S. filmmaking, they usually stay close to the script. In Hong Kong-style, sometimes they start with a script, but they don’t use it all the time. Sometimes by improvising they can get the point across better and make it more funny than the original dialogue. Sometimes [being] spontaneous is better.

Black Belt: Have you ever made a film that was all improvisation — and no script?

Sammo Hung: Yes, lots of times I didn’t have a story or script. One time, I had five characters in my mind. I had a writer script out dialogue for my story idea. When he brought the script to me, I didn’t like the dialogue, so I gave it back to him to make changes. It took so long for the writer to finish the changes that we went ahead and filmed the movie without the script.

Because the story and characters were so strong, we were able to show the message in each scene through the actions and words. When the writer came back and handed the script to me, I said, “The film is already finished.”

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Black Belt: Your films include some outrageous characters. Where do you get your inspiration?

Sammo Hung: I am a people-watcher. I used to go to bars and watch people. [Whenever] I see unique people, I keep their characters and personalities in my mind [so I will] have many to choose from when I need to think of one for a movie.

Black Belt: In Knock Off, there is an incredible scene in which you and Yuen Biao imitate monkeys. Where did that idea come from?

Sammo Hung: From watching monkeys. Yuen Biao and I went to the zoo. No, just kidding.

I thought to myself, What kind of animal do I want to be? What kind of character do I want to be? How can I be different, have a good style and a good character?

Also, the Chinese traditionally take their [martial arts] movements from animals: the monkey, tiger, snake, leopard, dragon and crane.

Black Belt: There is a lot of stunt work in Hong Kong films in which actors are suspended on wires. How do you manage to make the choreography so amazing?

Sammo Hung: Since we don’t have a lot of money in Hong Kong, instead of asking a computer artist what tricks the computer can do, we must do it for real. We just use the wires to help us make the movements more exciting and dynamic.

Black Belt: What advice would you give to martial artists who are interested in getting into stunt work and fight choreography?

Sammo Hung: Train! To prepare for stunts, some people know martial arts, and some are just normal people who have never done martial arts. It doesn’t matter. You must train morning, afternoon and night. You must learn how to do martial arts, how to do acrobatics, how to do reactions, how to do everything. To be very good, you must want to learn. Keep your mind open to new ideas and stay confident with your moves.

Black Belt: What do you look for when you are casting the lead roles in a movie? What qualities must a person have to become an action star? Looks, acting, martial arts, stunt abilities?

Sammo Hung: It is very hard to find a guy who can do everything. First, he must have good acting [skills]. He must look good and play the character [well]. This is most important. If he can fight and do some stunts, this is very good, too. But most important is the acting and character work.

Interview by Mike Chat, Black Belt’s 1997 Co-Competitor of the Year • Post Photos Courtesy of Sammo Hung • Thumbnail Photo Courtesy of CBS/Martial Law

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Do you want to maximize your self defense skills? Learn the game of combat chess and most importantly the queen of all moves.

Allow me to intercept those who would object to the title of this article. I'm not claiming that there's a secret move, shortcut or hack that will give you the edge in any fight. Even if there was an ultimate weapon or strategy, you likely would avoid it because you
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Many different types of "blocks" are taught in most martial arts school. We are taught high blocks, low blocks, middle blocks, knife hand blocks, etc. Some schools will also teach how to use the legs to block an attack, as well.

The purpose of this writing is to possibly open some minds to the possibilities of going outside the box and considering alternatives to the basics.

Blocking is taught as a way of protecting oneself from harm. Truly, we don't "block" anything, as a non-martial artist would think of it. What we call "blocking" is more of a redirection of an opponent's attack, or even a counterstrike against the opponent's attacking limb.

To block something would mean to put something, like your arm, leg or other body part directly in front of the attack. That would certainly hurt and possibly cause some damage. The goal should be to move the attack out of the way in order to prevent injury and provide a way to fight back. For example, many schools teach blocks as a limb moving toward the strike such as a circular high block.

The movement required for a block might have other uses, if you keep an open mind. The blocking techniques can also be used as attack techniques. For example, your "low block" may be used as a striking technique against the outer thigh of the attacker. Your high block might be used as a strike to the jaw. The set up for a block can be used as a deflection, as well as the actual block.

Doing a block or a series of blocks will most likely not end an attack. A block needs to be followed by a counterattack. While the block is usually taught as a separate technique in order to learn it correctly, it should also be used in combination with a counter.

The more you know, the more you realize how much you don't know. Intensive books can and have be written about basic techniques. With this writing, I am hoping to create interest in exploring the additional possibilities for what we have been taught and what we teach others.

About Grand Master Stevens

GM Stevens has been training in taekwondo for 47 years under the tutelage of the late legendary Grand Master Richard Chun. He holds an 8th degree black belt and is certified in the USA and in Korea. Grand Master Stevens is a member of the Board of Directors of the prestigious Richard Chun TaeKwonDo World Headquarters organization. He has been very active in his community and has been a volunteer with the Glen Rock Volunteer Ambulance Corps for over 11 years. He is a certified member of C.E.R.T. (Community Emergency Response Team).

Gary Stevens Taekwondo is located at 175 Rock Road in Glen Rock, New Jersey.

For more information: call (201) 670-7263, email: StevensTKD@aol.com or go to www.StevensTaeKwonDo.com

Having partners at or above your skill level is important for improving in your martial arts training. At some point, however, you will probably find yourself with a shortage of skilled partners, especially if you are an instructor.

This can happen for any number of reasons: students can move away, change their work schedules, start a family, etc., and just like that, you find that you're the highest-ranked student, or sole instructor, in your gym or dojo. This doesn't have to be a bad thing. In fact, if you take advantage of it, even working exclusively with lower-ranking classmates or students can improve your skills.

I used to host a twice-a-week training session at my dojo where I invited mostly black belts from other schools (as well as a few of my advanced students) to come and run drills. It was a blast. These were tough two- to three-hour sessions where I got to work with fighters of all different sizes, speeds, and technique preferences. My sparring improved dramatically over the next few months, and I don't think I've ever been in better shape. But unfortunately, it doesn't always work out that way. And as the old saying goes, "You gotta work with what ya got." So, make it hard on yourself.

I like to set handicaps when fighting my students. Specifically, I focus on forcing myself to work on improving my weak areas. Is you right leg weaker than the left? Then only kick with the right leg when sparring your students. Not much of an inside fighter? Don't kick at all. Training with partners of lesser skill not only helps you improve your weak points but gives them an opportunity to improve as well by working on strategy. It's also great for building their confidence. It can also be a low-cost opportunity to test new techniques and combinations, which benefits you as well.

In grappling, just like sparring, there is little benefit to wrapping lower ranking classmates into pretzels over and over, for them or you. Instead, let your partner put you in a bad situation. Let them get the mount; help them sink in that choke or armbar. If you start standing, such as in judo, allow your partner to get the superior grip before attempting a throw. This way you will get comfortable working out of a weaker position and your less-experienced partner can perfect their technique (and get experience using multiple techniques, if you get out of their first one).

You might think that giving advantages like these to students who may be far beneath your skill level is much of a challenge. Trust me, you'll reconsider that sentiment when you wind up sparring a 6'5" novice with zero control over his strength after deciding to only use your weak leg, or have a 250-pound green belt lying across your diaphragm trying to get an armlock after you let them get the pin. Remember, this is exactly what you signed up for: a challenge.

If you find yourself at the top of the heap without partners who are sufficiently challenging, there is no need to despair. Use it as a low-stress opportunity to improve your weaknesses and develop avenues to help your less experienced classmates and students to grow. You may even be surprised. One day they might present more of a challenge than you ever imagined!
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