For Part One of this interview, see Philip Ng on Making it in Martial Arts Movies

Philip Ng is the cover master of our November+December 2016 issue. He has been working in Hong Kong for well over a decade and has dozens of films to his credit. Recently, he starred in the U.S.-China film collaboration Birth of the Dragon. Phil is a longstanding member of our online discussion forum and even wrote a few articles for Kung Fu Tai Chi before he became a Hong Kong movie star including Shaolin Soccer's Stephen Chow
: Master of Big Screen Mayhem in our May+June 2003 issue and Punching to Miss in our July+August 2005 issue. This exclusive interview is the remainder of that conversation, what I couldn't fit into the cover story.

GC: Compare Hollywood filmmaking versus Chinese filmmaking.

PN: I just to make a joke to my Hong Kong compatriots when I came back, telling them that when I described to my U.S. producers and directors and some of the actors and the stunt men as well – anybody I could talk to – about the working conditions that we have in Hong Kong, they would think I was lying. Just looking for pity, or whatever (laughs). But I’m not. Because in America, I had a trailer, which included a bathroom and a working toilet, and a bar without anything in it but water (which is good), and a TV, the internet, a fireplace, a couch, a make-up table, a closet. It was a moving house. And with the living spaces in Hong Kong, it was probably the size of my house. I’m joking. And then you have this truck with food there, which is like restaurant quality. And then they have this thing called ‘crafties’ which is a table full of food that you can eat anytime. Except I didn’t really get to enjoy this because I had to keep my six pack unfortunately. Every time I had a break, I’d think I’m done with my topless scenes. Yay. And I’d go have donuts at the crafties. I remember the make-up girl, Taylor, she’s a great lady. She would run in with two donuts. “Yay! Here’s your reward!’ And then I had Christmas break to work those donuts off and come back. It’s alright

GC: What do you make of what's happening now with the Chinese film industry?

PN: There’s a lot of people in China. It’s an opportunity and new sources of revenue, and also sources of investment for ideas for movies. It doesn’t conflict with any of my philosophies. The type of movies I enjoy are harmless Kung Fu movies. My favorite genre of movies are light Kung Fu comedy like Wheels on Meals (1984) – my favorite favorite movie. It was a big influence on me. I like those kinds of movies. Once in a while I like something like The Raid (2011) where it’s kind of dark and violent and real visceral. I like that too but I do like the light Kung Fu comedy. I like those movies. For me, a movie is an artistic piece where you can imply certain messages through the story. But for me, I like to impart a happy feeling. If I can tell a happy story with some kind of moral, I’ll be happy. I want to entertain the audience. I want them to be happy. That’s the kind of movies I want to make. With China being so open to those kinds of productions, it’s good for me. I’m already lining up some investments for a movie I’m planning to co-produce next year. But that’s still in the works.

GC: You're trained in traditional Kung Fu while most martial arts actors are doing modern Wushu nowadays. How does that work out for you?

PN: Even though it's greater Asia, there's region specific types of choreography, if you really look closely. You know like the Southeast Asian, Indonesian, Thai-type of choreography, which is kind of like an evolution of the old 80s Hong Kong style with like tricks and all that. But they've evolved into their own style. Then there's like China style, or the mainland stunt style. It's quicker beats, and it's more Wushu-like.

GC: Is that the same in Hong Kong?

PN: A lot of the people that I talk to, a lot of the people that I watched when growing up who are now, fortunately, my co-workers and my friends – respected seniors that I hang out with (laughs) – I learn a lot from them. They are the reason that I took that risk and came back to Hong Kong and began my journey, my uphill climb to get to a position where I can be in creative control with projects that I'm doing and able to produce the kind of fighting movies that I watched as a kid. I'm able to do that now and it's quite a blessing.

GC: Do you get to hang out with your old Kung Fu movie idols?

PN: Dude, it’s surreal. It’s nuts, man, like making movies with Yuen Biao. I directed him. I choreographed him, dude! Sifu vs. Vampire (2014). It was harsh because I was kind of nervous. And he treats me like a kid because he’s known me since I was a kid. He gave me some of my first breaks. He introduced me to do Wing Chun (2007 TV series). I did a movie with him and he’s harsh on me, but because it’s out of love, and I appreciate it. I learn a lot. A lot of love. No less intimidating.

It’s great. I love that I get to make Kung Fu movies in Hong Kong for a living. Also I get to choreograph Hong Kong Kung Fu movies. It still sounds weird saying it, hearing it from my own mouth. It’s a dream come true. It really is. I’m a big fan boy.

GC: How’s your body holding up?

PN: Dude, I’m no spring chicken. But it’s alright.

GC: Hong Kong stars have to be multitalented. How's your singing and dancing coming along?

PN: (laughs) No, I don’t do that stuff. I mean I like to sing, but not professionally. I know where my strengths lie. I know where my value is, right? You see a Monet, you know it’s a Monet. It doesn’t matter what he paints, you know he did it. You know his style. He doesn’t sing about it. He’ll paint it. My body is my instrument. The camera is my paintbrush. That’s what I prefer to do. If someone said ‘Yo, go sing a song’ they better give me a few months. Seriously, I’d rather invest my time in punching and kicking on screen.

GC: We've been reading some press about traditional Kung Fu declining in Hong Kong. Are there still a lot of traditional schools?

PN: It’s bigger than I thought. A lot of it has to do with Lion Dancing. It’s kind of a hip new young person thing. They feature it in some of the dramas on TVB. There’s a lot of young people that do that now, more than I remember from when I was a kid. When I was a kid, it was a rarity. Right now, you see a lot of young kids but all they do is Lion Dancing. It’s almost like the Wushu equivalent to traditional Kung Fu – a lot of acrobatic tricks, the high level Muy Fa Jong. It’s crazy fun to watch. It became a sport on to itself. I think it’s become kind of a big thing and I’m happy for it. As long as you keep some traditions alive, there’s no problem with that.

Wing Chun obviously has grown quite a bit because of the Wing Chun movies. My Kung Fu brothers are doing real well. If you go out looking, there’s some. Choy Lay Fut seems to be doing pretty good. I have a Kung Fu relative, her Choy Lay Fut is quite good and she’s an actress on TVB. I’ve used her as a stunt double - Mandy Ho, she on facebook. Check her out. Her spear form gets a lot of hits apparently. She was one of the contestants on Kung Fu Star. I’m pretty impressed with her skills. So anyway, her Sifu has a lot of students, but mostly younger children. But I think right now, the craze is the same as everywhere: Kickboxing, MMA, CrossFit. It was Yogaa few years ago. Now it’s all CrossFit and MMA and Kickboxing…and BJJ, which I’m glad someone is doing something. Kung Fu people don’t market themselves as well. Here’s where try to help out. That’s why my Kung Fu brother is very successful. He’s good at marketing himself.

That’s what I’m trying to do with making movies too. I want make not just Kung Fu cool, but also Kung Fu plausible. That’s why the movies that I do aren’t very exaggerated. It’s all things that you think will work. It’s plausible to work. It’s an underlying philosophy of my choreography. Always sneak in a few Choy Lay Fut moves, a few Wing Chun moves. Put in some BJJ in there sometimes but that’s a little overused now so I try not to do that. Bring back things that were cool that were forgotten about – some basic trapping stuff that seems plausible. Stranger movements, striking from different angles, stuff that’s more Kung Fu-ish, but not so Kung Fu-ish that it seems ridiculous. Even if I do things that are obviously Kung Fu, I would make it work as it’s intended at that moment rather than make up an application for it, which is what people used to do with ground fighting. But now they can’t do that because everyone knows how to ground fight. Sometimes it’s very good, but sometimes, you know, it’s a fad. Just like wirework was very prominent in the 90s but not anymore because now it’s more like the Donnie Yen SPL (2005) hardcore kind of fighting – Ong Bak (2003), Tom Yum Goong (2005)- which mimics my evolution.

I always liked the Sammo Hung style because in essence, I’m his grand student, in terms of who took me in first. I really like that style – hardcore, hard hitting, but still with some flair so it’s not boring. I’m talking about his golden era. Dragons Forever (1998). I got that signed from him! I got Prodigal Son (1981) signed! I’m a nerd. I was like ‘Yo! Big Brother. Here. Sign this now.’ I’m a fan boy! I’m like great friend with his kids. We’re all around the same age. It’s funny. I’m like ‘Dude, I love your dad!’ I’m friends with all four of them, even his daughter. Sammy is the one I hang out with the most. I fought him in Wing Chun.

GC: Do you have any advice for our martial readers aspiring to pursue a career in film?

PN: I was in their shoes not that long ago. I used to write fan mail to people, like Kung Fu people. It’s like anything else. You got to be able to wait. You got to make sure that you can have that time to wait. It’s not like you get a degree and you interview for a job, you get it, you work nine to five. It’s project by project. You have to have some kind of value to be involved in these projects, especially if you want to be an actor and not just a stuntman or choreographer. There’s a lot of factors involved, a lot of things you need to know.

First, be good at your craft. That’s most important. That doesn’t mean flipping around and doing tricks by yourself. A lot of times we do screen a lot of kids who do that but it’s difficult for them to fight against other people. They can look really spectacular by themselves but they lack that rhythm and intention. If you want to be an onscreen fighter, those things are not the cake. It’s the cherry on top – the tricks. What you need is a good foundation, a solid foundation in some sort of martial art, not just doing forms but understanding these movements. When we do choreography, it’s not two people fighting. It’s two people delivering dialogue. When you’re delivering dialog, you need to understand the language you are using. Like I know what ‘screw you’ means, right? I know the intention of those words. I need to know the intention of this punch. I need to have punched something hard to know the intention of this punch. So have a solid understanding of your own martial arts and your own body mechanics. Hone your instrument because that’s what you’re going to be selling yourself on, your instrument.

You got to be a professional athlete. You have to work out all the time – not just work out, you have to work smart. Investigate on other parts of your body. Investigate your mind. Investigate on acting skills, and rhythm, and how to ‘sell’ a certain movement, how to ‘sell’ a certain emotion. Because being a martial actor, the key word is ‘actor.’ The reason why people watch movies instead of just going on YouTube and watching people flip around is because they are able to convey an emotion in you, which is greater when you watch the fight. Rather than just watching a performance, you’re watching a fight that you’re invested in. It’s like watching two sports teams playing against each other and one of the sports teams is from your home town, rather than watching two sports teams that are not from your home town

Also work on your people skills. Understand that there’s a lot of people that want to do what you want to do and what makes you stand out. You have to understand what you’re good at and what you’re not good at. And whatever you’re not good at, you have to improve that as soon possible. To be successful in anything, you really have to understand the game or understand the system of which that you’re trying to be a part of. I use my Wing Chun philosophy. Find the most simple and direct method to reach your goals. Sometimes it’s not a straight line.

GC: Our Kung Fu Tai Chi 25th Anniversary Festival is coming up in May 2017. Any chance I can get you to come over for that?

PN: It’s been like over ten years since I’ve been to a tournament. I totally want to go, dude. It’s kind of like a Comic-con, but for Kung Fu. I miss America. I was in L.A. for a while, choreographing the fight for Birth of the Dragon. I had to fly back for that. Corey was busy so I had to film the opening fight scene between Xia Yu and Wu Ye, the guy that plays Wong Jack Man and another Kung Fu actor. That was fun. I hadn’t been to L.A. since I was thirteen. It was great.

GC: At least you don't have to deal with that many fanboys in the U.S.

PN: I can totally be unrecognizable. I think in the internet age, kids aren’t as surprised to see you anymore. People wave to you or they give this look. Or they ask you for a picture which I’m glad to take. I take pictures with everybody. It’s cool man. Dude! I’m a freaking fanboy. Now I make Kung Fu movies. What the f**k. It’s like I totally broke out of the Matrix or something. It’s crazy.

It’s a different world though. There is a lot of politics. I kind of stay away from that and just do what I do. Maybe that’s why it took me so long. I struggle as much as anyone else, so it’s fine. You just have to hang in there and believe that you can do it for some reason.