John Woo
| John Woo | ||||||||||
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 John Woo attending the 2005 Cannes Film Festival |
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| Chinese name | 吳宇森 (Traditional) | |||||||||
| Chinese name | 吴宇森 (Simplified) | |||||||||
| Pinyin | Wú Yǔsēn (Mandarin) | |||||||||
| Jyutping | Ng4 Jyu5sam1 (Cantonese) | |||||||||
| Origin | Hong Kong | |||||||||
| Born | May 1, 1946 (1946-05-01) (age 62) Guangzhou, China |
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| Occupation | Director, producer | |||||||||
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John Woo Yu-Sen (born May 1, 1946) is an internationally and critically acclaimed Chinese film director and producer. Woo is widely known for his stylised movies which are renowned for their balletic action sequences, Mexican standoffs, and use of slow-motion.[1] He directed the notable Hong Kong action films, A Better Tomorrow, Hard Boiled, and The Killer.[1] His English-language movies include Hard Target, Broken Arrow, Face/Off, and Mission: Impossible 2.[1] As a young boy, Woo wanted to be a Christian minister; he later found a passion for movies influenced by European film, the French New Wave and Jean-Pierre Melville.[1] Woo has said he was shy and had difficulty speaking, but found making movies a way to explore his feelings and thinking and would "use movie as a language".[1] Woo cites his three favorite films as Lawrence of Arabia, Seven Samurai and Melville's Le Samouraï.[1] He also created the comic series Seven Brothers, published by Virgin Comics. Woo was described by Dave Kehr in The Observer in 2002 as "arguably the most influential director making movies today".[2]
Contents |
Biography
At age five Woo's parents were faced with persecution in China and his Christian family fled to Hong Kong. During this time, the Woo family led a hard life in the slums at Shek Kip Mei, since his father had tuberculosis and could not work[3][4]. Woo went to Concordia Lutheran School and received Christian education. In 1953 the family was rendered homeless, when their house was burned to the ground as part of the famous HK Shek Kip Mei fire[4]. Thanks to donations from charities, his family was able to move into another house. Unfortunately, by this time, a wave of crime and violence was beginning to infest Hong Kong's housing projects.
In order to escape his dismal surroundings, Woo would retreat to the local movie theater. Woo found his respite through musicals like The Wizard of Oz. During his youth, he enjoyed watching Western movies, especially the final scene in Butch Cassidy and the Sundance Kid where the two comrades run out gun blazing (where he got the inspiration of holding two guns). Woo is also a fan of Hollywood musicals.
Woo married Annie Woo Ngau Chun-lung in 1976 and has had three children[4]. He plans to continue living in the United States.
Hong Kong career history
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In 1969, when he was 23, Woo got a job as a script supervisor at Cathay Studios. In 1971, he became an assistant director at Shaw Studios, where the famous Chang Cheh took him under his wing.[citation needed] In 1974 he directed his first feature film The Young Dragons (鐵漢柔情, Tiě hàn róu qíng). Choreographed by Jackie Chan, it was a Kung fu action film that featured dynamic camera-work and elaborate action scenes. The film was picked up by Golden Harvest Studio where he went on to direct more martial arts films. He later had success as a comedy director with Money Crazy (發錢寒, Fā qián hàn) (1977), starring Hong Kong comedian Ricky Hui.
By the mid-1980s, Woo suffered a burnout. His films were failures at the box office and he retreated to Taiwan in exile. John Woo—once called the new comedy king of Hong Kong—seemed to be on his way out.[citation needed] It was then that director/producer Tsui Hark provided the funding for Woo to film a longtime pet project called A Better Tomorrow (1986).
The story of two brothers—one a cop, the other a criminal—the film became a sensational blockbuster. A Better Tomorrow singularly redefined Hong Kong action cinema[citation needed] with its emotional drama, slow-motion gun-battles and gritty atmosphere. The film's trenchcoat/sunglasses fashion sense, and combat style of using a gun in each hand in close quarters—often referred to as "gun fu"—would later inspire American filmmakers such as Robert Rodriguez, Quentin Tarantino and the Wachowski brothers.[citation needed]
Together with leading man Chow Yun-Fat, John Woo would make several more Heroic Bloodshed films in the late 1980s and early 1990s. His violent gangster thrillers typically focused on men who were steadfast in their honor and friendship, even though such values forced them to become outcasts in a rapidly-changing world that was more motivated by money and progress. In this respect, Woo's characters were modern-day knights who wielded guns instead of swords. He was heavily influenced by the films of French director Jean-Pierre Melville.[citation needed]
The most famous of these movies would be The Killer (1989)[citation needed], which brought Woo international recognition and began the Triad film movement. Often named as the best Hong Kong movie ever made, it was widely praised by critics and fans for its action sequences, acting and cinematography.[citation needed] With The Killer becoming the most successful Hong Kong film in the U.S. since Bruce Lee's Enter the Dragon (1973), John Woo became a cult favorite. One year later he made another masterpiece, Bullet in the Head, that he still considers his most personal work.[citation needed] The movie was a major commercial failure compared to the other films however.
It was only a matter of time before Hollywood took notice. By this time, John Woo had many American admirers, including the likes of Martin Scorsese, and Sam Raimi - who compared Woo's mastery of action to Hitchcock's mastery of suspense.[citation needed] Enormously impressed with his work, American executives green-lighted a contract for Woo to work in America. With the 1997 handover of Hong Kong fast approaching, Woo decided that it was indeed time to leave.[citation needed]
John Woo's last Hong Kong film before moving to the United States was Hard Boiled (1992), which he made as an antithesis to his movies that glorified gangsters. Upping the ante with an all-out action film, it featured a Hollywood-scale spectacle in its second half with policemen and criminals waging war inside a hospital, while helpless patients are caught in the crossfire. The sequence lasted nearly 30 minutes. There is a long take in this scene which follows Tequila and Alan go from one floor to another. It lasts 2 minutes and 42 seconds. On the Criterion DVD and laserdisc, this chapter is called 2 minutes, 42 seconds. The film climaxes with supercop Chow Yun-Fat singing a lullaby to a baby while gunning down incoming gangsters, and then jumping out of a window to safety below, baby in arm.
John Woo: Interviews (ISBN 1578067766) is the first authoritative English-language chronicle of Woo’s career.[citation needed] The volume includes a new 36-page interview with Woo by editor Robert K. Elder, which documents the years 1968 to 1990, from Woo’s early career in working on comedies and kung fu films (in which he gave Jackie Chan one of his first major movie roles), to his gun-powder morality plays in Hong Kong.
In 2008, Woo returned to Hong Kong cinema with the completion of his latest project, the big-budgeted, epic war film Red Cliff, based on a historical epic battle from Romance of the Three Kingdoms, which is his first film in China since he left Hong Kong for the USA. Part 1 of the film was released in most parts of Asia in July 2008 to positive reviews and strong box-office numbers, and Part 2 is slated for a January 2009 release there.
United States career history
In 1993, John Woo found himself in a new land with a new culture. He was commissioned by Universal Studios to direct the Jean-Claude Van Damme film Hard Target. While Woo was used to creative freedom in Hong Kong, he was forced to deal with a compressed production schedule. Like many foreign directors who come to Hollywood, Woo found himself hamstrung at every turn by the studios, having to deal with things such as how many people could be killed in each scene, how many bullets Van Damme could pump into somebody, how Van Damme could behave and so on. When initial cuts failed to yield an "R" rated film, the studio took the film from Woo's hands and pared it down themselves in order to produce a cut that was "suitable for American audiences". A "rough cut" of the film, supposedly his original unrated version, is still circulated among fans.
It would be three long years before Woo made another American directorial attempt. Starring John Travolta and Christian Slater, Broken Arrow was a frantic chase-picture with a bigger budget. Unfortunately, Woo once again found himself hampered by studio interference and editors who did not share his sense of aesthetics and filming style. What resulted was a film that, despite modest financial success, lacked Woo's trademark style.
Still smarting from his bitter experiences, Woo cautiously rejected the script for Face/Off several times until it was rewritten to suit him (by shifting the futuristic setting to a modern one). With Paramount Pictures offering him significantly more freedom this time around, Woo set out to craft a complex story of two enemies—a law enforcement agent played by John Travolta and a terrorist played by Nicolas Cage—who embark on a fantastical surgical procedure that allows them to switch faces. Trapped in each other's identities, they play a cat-and-mouse game that allowed Woo to do what he did best: emotional characterization and elaborate action. Face/Off opened in 1997 to critical acclaim and performed well at the box office, grossing over $100 million in the United States alone. As a result, John Woo became the first Asian director to hit mainstream, paving the way for other Asian filmmakers to follow in his footsteps. Many fans and critics consider this his best American film. In 2003, John Woo directed a pilot film entitled "The Robinsons: Lost In Space" for The WB Television Network, based on the 1960s television series "Lost In Space." The pilot was not purchased, although bootleg copies have been made available by fans.
John Woo has made three additional Hollywood films: Mission: Impossible II, Windtalkers and Paycheck. While Mission: Impossible II became a huge hit and the highest-grossing film of 2000, Windtalkers and Paycheck have been box office duds that were lambasted by critics. It is unclear whether Woo will be able to bounce back from these disappointments.
Recently, John Woo directed and produced a videogame called Stranglehold for games consoles and PC. It is a sequel to his 1992 film, Hard Boiled. He was also highly involved with and produced the 2007 anime movie, Appleseed: Ex Machina, the sequel to Shinji Aramaki's 2004 film Appleseed.
Future film projects
His future film on Mighty Mouse will either be animated or live-action with CGI, he will also direct a remake on Papillion. Ther are persistent rumors that Woo will direct a film version of the videogame property Metroid. He had optioned the rights at one point, but the option has long since expired.
Woo's next projects are The Divide, a western concerning a friendship between a Chinese man and an Irish man working together on the transcontinental railroad, while The Devil's Soldier is a biopic movie on Frederick Townsend Ward who is brought to China by the Emperor in the mid 19th century to help crush a rebellion. Rendezvous in Black will be an adaption of the drama/thriller novel of the same name, and Psi-Ops is a sci-fi thriller about a telepathic agent, and a remake on Blind Spot.
In 2009 he will direct Ninja Gold collaborating with video-game creator Warren Spector. He is also involved in numerous projects in a producing capacity.
In May 2008, Woo announced that his next movie will be 1949, an epic love story based on true events and that spans the end of World War II to the formation of the People's Republic of China. The announcement was made at Cannes Film Festival where Woo was in to promote Red Cliff. The shooting of 1949 will take place in China and Taiwan, with production set to begin by the end of 2008, theatrical release planned in December 2009. The film is to star South Korean actress Song Hye-kyo and Taiwanese actor Chang Chen, and was written by the scriptwriter of Ang Lee's Lust, Caution, Hui-Ling Wang. [5]
Quotes
By Woo
- Woo discovered then–television actor Chow Yun-Fat to star in A Better Tomorrow, not anticipating the level of stardom the actor would achieve. Woo said of Yun-Fat in a 1999 interview with Robert K. Elder, "This guy was so elegant and also had great charisma. He reminded me of Alain Delon, and Steve McQueen, Ken Takakura—all my great idols, all in him. And I thought, while we are shooting, I just felt, 'He’s a great actor; he will be popular.' But I didn’t know he’d be that popular, you know?"
- Woo was quoted in the June 2000 edition of Premiere magazine: "I love doves. I am a Christian. Doves represent the purity of love, beauty. They're spiritual. Also the dove is a messenger between people and God... When I shot The Killer, these two men, the killer and the cop, they work in different ways, but their souls are pure, because they do the right thing. In the church scene, I wanted to bring them together. I wanted to use a metaphor of the heart. I came up with doves—they're white. When the men die, I cut to the dove flying—it's the soul, rescued and safe and also pure of heart. So the dove became one of my habits: I used it in Hard Boiled, Face/Off, and in Mission: Impossible II".
- Woo likes the look of the Beretta 92F/FS pistol and had featured it in many of his movies. He stated in an interview that it "is a great character" and added that "it's so strong and elegant." He also mentioned that other pistols looked dumb to him.
By others
- In reply to a studio executive who said "I suppose Woo can only direct action scenes," Quentin Tarantino has been quoted as saying "Sure, and Michelangelo can only paint ceilings!"
- When Jean-Claude Van Damme was trying to get Woo for Hard Target he described him as "the Martin Scorsese of Asia".
- Sam Raimi called him the Alfred Hitchcock of action scenes.
References in other media
- In the anime series, R.O.D the TV which features three girls named after real life Hong Kong action stars, "John Woo" is the name of a mysterious carrier pigeon.
- In another anime series, FLCL, two characters can be seen watching the climactic end sequence of an action movie. Although the screen in not visible, it can be surmised that it is indeed a John Woo film, as one of the film's characters exclaims, "What are all these pigeons doing in here?" and a multitude of flapping wings heard. The screen was then broken, and a flock of white doves flew out of the TV set. Also the episode uses gun fu and frequent slow motion, as common in John Woo films. Also in the preview of the above mentioned episode (a preview of the next episode is alway shown at the end of the previous, as with most anime series), the character Haruko mentions humorous things to keep in mind when seeing a John Woo film.
- Japanese professional wrestler SUWA, of the promotions Dragon's Gate and Pro Wrestling NOAH, utilizes a seated dropkick that frequently sends its victim flying back-first into the corner. As a fan of Hong Kong action cinema, he calls this move the "John Woo", as a homage to the impact of shotgun blasts on the human body in Woo's films.
- In the video game Max Payne there are many homages and references to John Woo. For example, the black suit and tie Max is seen wearing at the beginning, as well as the dual guns and jumping and shooting in slow motion. One of the game's difficulty levels is named "Hard Boiled," and John Woo's name is mentioned as a password for entering into a gangster hideout, Also a quote by the main character when he is ambushed is "I made like Chow Yun Fat".
- In the PC game F.E.A.R., the developers admitted that they been inspired by John Woo action movies, in that they wanted the game's action sequences to play out as dramatic and elegant gunfights.
- On The Simpsons episode Half-Decent Proposal, Homer sternly tells Artie Ziff his terms for "selling" the billionaire a weekend with Marge: "No hand holding, kissing, or misdirected Woo...which is pretty much any John Woo movie." Ironically, this statement came in February 2002 when Woo had run off several successful Hollywood films, but in the following years Woo's American films were disappointments.
- On ER, Jeanie Boulet bonds with Dr. Ansapugh's sick son by asking him if he liked John Woo movies. The son asked her if she meant his Hong Kong or American entries, and they began talking.
- The Christian rock band Newsboys has a song called "John Woo" which makes reference to the religious symbolism he often employs in his films.
- "I've got more action than my man John Woo" is a lyric from the Beastie Boys song "Sure Shot" from Ill Communication.
- In one of the versions of the PC game "Unreal Tournament", when a character is killed by another wielding dual pistols, the deceased character is listed by the kill readout as having been "John Woo'd" by the victor.
- Typing the cheat code "JOHNWOO" in the PC game Rise of the Triad gives the player dual pistols.
- Picking up a second submachine gun in the PC game Shadow Warrior causes the player's avatar Lo Wang to quip "Be proud, Mr. Woo!"
- Comedian Daniel Tosh references John Woo in a joke on both his CD "True Stories I Made Up" and his DVD "Completely Serious." ("I want to be rich enough to release a dozen doves every time I walked into a room. Everyone would be like 'Did you see that guy come out of the bathroom? The one with doves!' 'I bet that's John Woo's kid.'")
- In the American Dad episode 'Homeland Insecurity', Stan describes what an argument with Francine is like and says "...and we have our little John Woo stand off..."
- Mathcore band Botch has a song titled John Woo.
- On an episode of the USA Network television show Psych entitled "The Greatest Adventure in the History of Basic Cable", Shawn Spencer comments in the middle of a Mexican standoff, "If there were doves flying around, this would be a John Woo movie."
Filmography
As director
| Year | Film |
|---|---|
| 1973 | Fist to Fist |
| 1974 | The Young Dragons |
| The Dragon Tamers | |
| 1975 | Hand of Death |
| Princess Chang Ping | |
| 1977 | From Riches to Rags |
| Money Crazy | |
| 1978 | Hello, Late Homecomers |
| Follow the Star | |
| 1979 | Last Hurrah for Chivalry |
| 1980 | From Riches to Rags |
| 1981 | To Hell with the Devil |
| Laughing Times | |
| 1982 | Plain Jane to the Rescue |
| 1984 | When You Need a Friend |
| 1985 | Run, Tiger, Run |
| 1986 | Heroes Shed No Tears |
| A Better Tomorrow | |
| 1987 | A Better Tomorrow II |
| 1989 | Just Heroes |
| The Killer | |
| 1990 | Bullet in the Head |
| 1991 | Once a Thief |
| 1992 | Hard Boiled |
| 1993 | Hard Target |
| 1996 | Broken Arrow |
| Once a Thief | |
| 1997 | Face/Off |
| 1998 | Blackjack |
| 2000 | Mission: Impossible II |
| 2001 | Windtalkers |
| 2003 | Paycheck |
| 2005 | All the Invisible Children |
| 2008 | Red Cliff |
| 2009 | 1949[5] |
| 2010 | Rainbow Six |
Other works
- Hostage (short BMW film) (2002)
- Stranglehold (video game) (2007)
- 7 Brothers (graphic novel) (2006–2007)
- Appleseed: Ex Machina (2007)
John Woo directed two Nike commercials, futebol airport and good vs evil.
See also
References
- ^ a b c d e f Pierce, Nev (2004). "Getting Direct With Directors: John Woo", BBC. Retrieved on 17 May 2007.
- ^ Kehr, Dave (2002-07-14). "Ballets full of bullets", The Observor. Retrieved on 17 May 2007.
- ^ Rawnsley, Gary D. Rawnsley, Ming-Yeh T. [2003] (2003). Political Communications in Greater China: the construction and reflection of identity. Routledge publishing. ISBN 070071734X.
- ^ a b c Elder, Robert K. [2005] (2005). John Woo Interviews. University Press of Mississippi. ISBN 1578067766
- ^ a b Foreman, Liza (2008-05-21). "Woo sets prod'n clock for '1949'". The Hollywood Reporter, The Daily from Cannes (Cannes) (8): p.22.
Further reading
In English
- Bliss, Michael. Between the Bullets: The Spiritual Cinema of John Woo. Filmmakers series, no. 92. Lanham, Md.: Scarecrow Press, 2002. ISBN 081084110X.
- Brown, Andrew M. J. Directing Hong Kong: The Political Cinema of John Woo and Wong Kar-Wai. Political Communications in Greater China: the Construction and Reflection of Identity. London: RoutledgeCurzon, 2001. ISBN 070071734X.
- Fang, Karen Y. John Woo's A Better Tomorrow. The New Hong Kong Cinema. Hong Kong: Hong Kong University Press, 2004. ISBN 9622096522.
- Hall, Kenneth E. John Woo: The Films. Jefferson, N.C.: McFarland, 1999. ISBN 0786406194.
- Heard, Christopher. Ten Thousand Bullets: The Cinematic Journey of John Woo. Los Angeles: Lone Eagle Publishing Co., 2000. ISBN 158065021X.
- Woo, John, and Robert K. Elder (ed.). John Woo: Interviews. Conversations with filmmakers series. Jackson, Miss.: University Press of Mississippi, 2005. ISBN 1578067758, ISBN 1578067766.
In other languages
- Berruezo, Pedro J. John Woo y el cine de acción de Hong Kong. Biblioteca Dr. Vértigo, 23. [Barcelona]: Ediciones Glénat, 2000. ISBN 8484490432. (Spanish)
- Bertolino, Marco, and Ettore Ridola. John Woo: la violenza come redenzione. Recco, Genova: Le mani, 1998. ISBN 8880120980. (Italian)
- Gaschler, Thomas, and Ralph Umard. Woo Leben und Werk. München: Belleville, 2005. ISBN 3933510481. (German)
- Nazzaro, Giona A., and Andrea Tagliacozzo. John Woo: la nuova leggenda del cinema d'azione. Contatti, 199. Roma: Castelvecchi, 2000. ISBN 8882102033. (Italian)
- Spanu, Massimiliano. John Woo. Il castoro cinema, 203. Milano: Castoro, 2001. ISBN 8880331922. (Italian)
- Vié-Toussaint, Caroline. John Woo. Paris: Dark star, 2001. ISBN 2914680015. (French)
External links
- John Woo at the Internet Movie Database
- John Woo at HKcinema.net
- Hardboiled.de (via Internet Archive)
- A John Woo Retrospective
- ACTION WEB - Your John Woo & Tsui Hark Resource
- John Woo - The Independents
- John Woo Interviews
- Ten HARD BOILED Moments - The Best of John Woo
- A John Woo inspired Short Prime Justice
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