Martial Artist Scott Adkins Breaks Down Fight

– I was fighting Matt Damon.

He kicked me low, he
kicked me in the balls

and I thought he was about
to say, “Oh sorry, mate,

“I’ve kicked you in the balls.”

I sort of opened my eyes
to say, “It’s okay,”

and all I saw was the face of Jason Bourne

peering down at me and he was frisking me.

When I saw that I was like, “Oh.”

And I felt stupid like I
was messing the film up.

[air whooshes] Hey GQ,

this is Scott Adkins,
actor and martial artist,

and this is “The Breakdown”.

[air whooshes] [upbeat instrumental music] [air whooshes] First up, “Ip Man”.

[air whooshes] [dramatic instrumental music] [air whooshes] See, he’s well up

for it, isn’t he?

He wants to fight 10 people.

Not one, not two, not three but 10 people

and you know he will and
he’ll kick the [beep]

out of all of them.

[air whooshes] [dramatic instrumental music] [man yells] [air whooshes] I mean look at that.

The man runs in with the jumping
back kick, or flying kick,

takes his down to the
floor and straight away

just stamps on his head
and it looks pretty real.

It’s a Hong Kong so probably
he actually stamps on his head.

[air whooshes] [man groans] [fist thuds]

Notice as he rolls over
his arm cracks and breaks.

[arm cracks] [dramatic instrumental music]

Sickening noise.

[leg cracks] [man yells]

Brutal, just snaps his leg back like that.

He’s not messing about.

[air whooshes] See, that was

the kick right there.

Quick hook kick.

I mean, Ip Man’s not gonna be doing that,

he’s a wing chun guy but I
just, you know, it’s Donnie Yen

so you gotta get a few in.

Not that I snapped anyone’s leg recently

but I don’t believe that
it would work that way,

especially not at the hip.

Maybe if it snaps at the
knee it would’ve been

a bit more believable.

I enjoyed it more
because it was a fake leg

and it looked a little bit fake.

“Ip Man” is mostly about
straight strikes, the wing chun.

It’s based on the guy that
taught Bruce Lee wing chun.

It’s considered to be a softer style

and it’s very simplistic in its attack.

Yeah, they don’t do a cycle of punches.

It’s all straight down the line like this.

So it’s like the intercepting
fist blocking and hitting

at the same time.

[air whooshes] [fist thuds] [man yells] [air whooshes] Just smashes him

into the ground.

How brilliant is that?

I tell you what, I love it when
they actually get hit hard.

Now, it’s tough being a stunt
guy, especially in Hong Kong

because you are expected
just to get [taps] slammed.

But it looks so damn good.

It really does look great.

[air whooshes] [dramatic instrumental music] [fists thud]

He’s punching him in the
face for real, right.

He’s just smashing him in the face.

[air whooshes] Now, I don’t know

about this film but I worked with Donnie.

There’s a scene in another
movie called “Flash Point”

where he actually punches
someone in the face.

That was crazy, he just
punched the guy in the face

and he told me that it turned out

that they had a rubber fist.

He would hold the rubber
fist, it would be on a stick,

and they’d put the sleeve up a bit

and he would just punch
him with the rubber fist.

So maybe they’ve done that here.

I was in “Ip Man 4”, I played the bad guy.

I had to take a few full
on fists to the face

for the art of filmmaking, as well.

I got kicked in the face,

I got punched [taps] in the face.

Now, there’s that line where
you’re not gonna go all out

and try and put me in the hospital.

I mean I believe Donnie Yen
wanted me to be in “Ip Man”

because he knew that I was gonna help him

do what we needed to do
less painfully and quicker

because if you have to do 10, 20 takes

because the other guy you’re doing it with

can’t get it right, that’s miserable.

It’s not easy.

Seemed like a good idea when I was 12.

Turns out it’s difficult.

[air whooshes] [dramatic instrumental music] [elbow thuds] [knee thuds]

And also look how hard he elbows this guy.

[air whooshes] It’s one of those things

in martial arts movies,

especially when you’re
gonna fight 10 people

[air whooshes] that as a stunt performer

you gotta be one of those
guys in the background

and you have to fill
space and try look busy

but obviously you’re just
waiting for your time

to run in and get your face punched.

[air whooshes] It’s very difficult

to choreograph anything
with more than one person.

It’s hard enough when it’s one on one

but how do you keep these people

from all just storming him at once?

I mean in reality, that’s
what’s going to happen.

One martial art that I had a
little bit of experience with

was krav maga so we
would always talk about

taking on multiple opponents

because that was a martial
art that was all about

realistic scenarios and how
you could deal with them.

If you’re dealing with a lot of opponents,

what you need to try and do is get them

all in front of you somehow.

That’s when you’re
gonna be in real trouble

if anyone gets behind you.

You don’t want five people
coming at you at once.

You wanna get into a position
where only one or maybe two

can come at you at once.

Not three, four, five.

You can’t plan what you’re gonna do.

I mean that’s the thing, you used to get

these martial arts books
where you would say,

oh if somebody tries to punch
you with a straight right

you need to do this and hit him there

and then take him down.

You don’t know what’s gonna happen.

So you just have to have enough experience

and a cool enough head
to be able to react.

[air whooshes] [dramatic instrumental music] [man yells] [man whooshes]

No, there’s no special effects
or stunt men for Donnie.

[air whooshes] Anyone that knows anything

about Donnie Yen knows that he’s up there

with the likes of Jet Li, Jackie Chan.

I mean he is the best.

He’s an incredible martial arts performer.

Not only that, he’s an action director

and director in his own right.

And I certainly learned a lot form him.

[air whooshes] Next up,

“The Bourne Supremacy”.

[air whooshes] – You have a car out front?

– The keys are in my coat
pocket but we should–

– What?

– Go out the back, I have another car.

[phone rings] [man groans]

– Look back at the phone.

How could Jason Bourne make that mistake?

Bloody hell.

[air whooshes] The Bourne films are great

[upbeat instrumental music] and I’m a huge fan of them

and a big fan of Greengrass

but I’ve always been
disappointed with the fights

in the Bourne franchise
because they’re so chaotic.

It’s very tense watching these fights.

You know, you feel the stress of it

and maybe that’s what he’s going for

but I always thought it
was a missed opportunity

to not actually show what’s going on

because you miss so much of the techniques

because it’s all this shaky cam stuff.

[air whooshes]

But I would say that the martial arts is

it’s close quarter fighting,
jeet kune do, escrima,

Filipino martial art, that sort of thing.

[glass crashes] [air whooshes] Why that kick there,

he throws the kick from
the one side of the camera

and then they jump the
line to the other side

so now you see the kick coming

from where the other guy was stood

[air whooshes] and that’s what confuses

the audience, you don’t
know who threw the kick.

They’re both wearing black.

[air whooshes] [man groans] [man thuds]

I’ve got no idea what’s going on.

[air whooshes] The fight scene that I did

in “The Bourne Ultimatum”,

Matt Damon did every
single bit of it himself.

[air whooshes] [men groan] [fists thud] [glass cracks] [air whooshes] He didn’t have a stunt double

and he’s really good

and he remembers the
choreography perfectly

And he was a really great screen fighter.

[air whooshes] [glass crashes]

That’s where the Bourne films
are great is they’ll use

[man groans] different elements

that are around them like the magazine

[air whooshes] and he’s got

this telephone wire now and he’s using it

to wrap the cord around his neck

and he’s using his shin
bone against his throat.

That’s a legit jiu-jitsu hold.

But I’ll tell you a funny story
on “The Bourne Ultimatum”,

I was fighting Matt Damon.

He kicked me low, he
kicked me in the balls.

I went down and it was okay,
it didn’t hurt too much

but it definitely stung a bit.

But no one said cut and
then I could feel Matt Damon

touching me like this and I
thought he was about to say,

“Oh sorry, mate, I’ve
kicked you in the balls.”

I sort of opened my eyes
to say, “It’s okay,”

and all I saw was the face of Jason Bourne

peering down at me and he was frisking me.

When I saw that I was like, “Oh.”

And I felt stupid like I
was messing the film up

’cause he was doing his Jason Bourne thing

and I was going, “Oh
no, don’t worry about–

“Oh.”

But yeah, Matt Damon is a great guy.

One of the nicest actors I’ve worked with.

[air whooshes] [upbeat instrumental music]

Next up, “The Karate Kid”.

[air whooshes] It’s a great film.

It really is.

I’d say it’s one of the best
martial arts films ever made,

honestly, and people laugh
at me when I say that.

It shows martial arts off and
karate in such an amazing way.

It shows everything that
is great about martial arts

but the fights are a little
bit dated so let’s take a look.

[air whooshes] [crowd cheers]

‘Cause if you’re doing the whole fight

from beginning to end,

[air whooshes] you can’t go full out

[upbeat instrumental music] 100% intensity

for the whole fight because number one,

you’re gonna be worried
that you’re gonna forget

the choreography, you’re
gonna make a mistake,

you’re gonna hit the guy.

He’s gonna throw a punch,
you’re not gonna duck.

But if you just chose
a section of the fight

and you rehearse it and
you know what you gonna do

then you can go full out, 100% intensity

but I can tell that that’s
not the way they did it here.

[air whooshes] [crowd yells] [air screeches] I mean that closeup shot there

you can see that he’s
throwing some techniques

but you can’t actually see the techniques.

Yeah, it’s kind of a wasted shot.

Let’s see what the choreography is.

Let’s see the technique.

I did a lot of taekwondo
tournaments back in the day

and you’d be paired up
with different fighters

throughout the day and
if you won your fight,

you’d go through to the next round

and through to the next round.

So in the arena there would be
all these fights taking place

so by the time you get to the semi-final,

everyone’s watching and
then of course, the final.

There everything stops,
everyone’s watching that mat

to see who’s going to win the
final of that weight category

or that belt, whatever.

So that is what it was like
and it probably still is like.

[air whooshes] [crowd yells] [air whooshes] You shouldn’t be allowed

to actually punch him in the face.

You know, normally the rules
are you can kick to the body,

you can punch to the body but
you can’t punch to the head.

Like in kyokushin karate,
you spar without pads.

You can kick to the head
’cause it’s harder to land

a kick on the head but you
can’t punch to the head

because people are gonna
be covered in blood.

You’re not wearing any protection,

just to keep it a little bit safe.

[air whooshes] Actually the ref here

is a guy called Pat Johnson,

legendary fight coordinator type guy.

[crowd yells] [dramatic instrumental music] [air whooshes] He’s not allowed to do that

because he’s trying to break his knee.

That’s definitely a bad move.

[air whooshes] [dramatic instrumental music]

– Finish him.

[air whooshes] – No,

I don’t think that happens.

He’d be more like,
“Finish him, finish him.”

Wouldn’t want anyone to hear them

’cause that’s not the done
thing in martial arts.

[air whooshes]

He knows he’s in trouble, he
knows he’s losing the fight.

[air whooshes] There’s a lot riding on this.

He’s got a girl that he wants to keep.

He’s gonna lose the
fight so what does he do?

He thinks okay, “I’m
gonna do the crane kick.

“I’m gonna bring one knee up,

“I’m gonna get these arms up like that.

“He’s never gonna see this coming.”

Let’s see what happens.

[air whooshes] [dramatic instrumental music] [crowd cheers]

He didn’t see that coming.

[air whooshes] How did he not

see that coming?

[air screeches] Let’s take another

look at that.

He must have just been confused.

Like what is he doing?

He’s standing there,
he’s trying to look like

some sort of stork.

What is he?

Is he a bat?

Is he a bird?

What’s going on?

He makes a move, bang.

That’s just one of those
techniques, I guess.

You just wouldn’t see it coming.

I mean, once he strikes that pose

it’s obvious he’s up to something.

So what I would do is
I would just back off

and let him get it out of his system

and then when he goes
back to normal fighting

we can continue.

34 years of martial arts training,

I have never come across
the crane kick in reality.

I only know it from “The
Karate Kid” movie. [laughs]

Yeah, it’s not gonna work in real life.

Back in mid ’80s, we were lapping it up.

It was great but he had
a bad knee, didn’t he,

so he had no choice.

I’ve gotta do the crane kick now

’cause I’ve only got one leg.

That kick has been used.

I mean I remember Lyoto
Machida doing that kick

against, I think, Randy Couture
and he knocks him out cold

and he knocks his tooth out.

And I’ve worked with Randy
and he didn’t see it coming.

[laughs] But because he
wasn’t in the stork position,

he did it from a normal fighting stance.

So you bring the one knee up,

they think you’re gonna kick with that leg

and it’s the other leg.

I think a lot of the time,
people think they’re gonna take

the front kick to the body
and they brace for impact,

and they’re not expecting
to get kicked in the head.

Back in those days, in the
UFC, to get a front kick

to the face was quite unusual

but then Anderson Silva did it,

Lyoto Machida did it and then
people were on notice then.

They knew to look out for
the front kick to the face.

You can certainly tell that Ralph Macchio

didn’t know what he was
doing with the martial arts

but it’s okay because his
character is learning karate

and he’s not meant to be
an expert, at this point.

But the other guy, he seems to know a bit.

I would be surprised to
learn that he hadn’t done

something before that movie.

Obviously, they went through some training

but he’s the better mover.

The whole thing was Danny’s fault.

He stole the guy’s girl and
then beat him up for it.

Not a nice guy really, that karate kid.

[air whooshes] Next up, “The Protector”.

[air whooshes] [dramatic instrumental music] [air whooshes] I’m a big fan of Tony Jaa.

This is a one-take fight,

legitimate one-take fight, no cuts.

I know, I spoke to Tony about
this fight and he told me

that he thinks they did it 10 times

and he believes that it was
number seven that they used

so they obviously weren’t
happy with the seventh take

and thought they could get it better.

I guess they never did get it better

so they settled for take number seven.

You can just see how fit this guy is

to be able to do this
whole thing in one take.

It’s quite incredible.

I would never have been
able to have done this.

I wouldn’t have had the
fitness, I don’t think.

[air whooshes] [dramatic instrumental music] [man thuds] [people scream]

As you can see, the take
starts now and they’ve put

a different lens on the camera.

It’s got kind of a fish
eye, very wide angle lens

’cause they wanna be able to
not miss any of the action.

[air whooshes] And this guy,

out of every guy working in
the martial arts film business,

this is the guy that hits people hard

and because he’s doing this as a one-take,

you know for sure that
he’s just hitting people

because you don’t wanna
risk making a mistake

and having to do the whole thing again

so if the guy’s there in
front of you, just hit him

and move on to the next guy.

[air whooshes] [dramatic instrumental music]

And also, this shows you the importance

of having a dedicated stunt team.

He’s got at least 10, 15, 20
stunt guys that are all there

to support Tony.

[air whooshes] It cannot be underestimated

the importance of stunts.

[air whooshes] [men yell]

So that’s a lovely Arabian
no-handed cartwheel

off the desk there.

He’s just so agile, so fit.

[air whooshes] He’s putting that in

at the beginning of this because he knows

he’s going to be
shattered by the end of it

and he wouldn’t be able
to do something like that

so best do it at the beginning.

[air whooshes] But he learnt to do

these moves and jumps
so high not realizing

that in the Hong Kong movies

[air whooshes] they were using wires.

He thought that you should
be able to jump that high

and it just shows you what’s possible

if you have no limits in your mind.

You can accomplish amazing
things like this guy.

[air whooshes] [railing bangs]

I mean that’s just a guy, he’s padded up

[air whooshes] and he’s smashing through

the banister and landing
flat on the floor.

It’s probably a padded floor.

And the other thing that
people don’t really think about

with stuff like this is
how fit is the camera guy?

[air whooshes] These cameras,

it’s a steadicam, it weighs quite a bit

and he’s got to get all
the way up these stairs.

[air whooshes] And also,

it’s very important to have a camera guy

that understands fighting, as well.

He needs to think like a stunt guy.

[air whooshes] [dramatic instrumental music] [men thud] [glass crashes] See what I mean?

He’s just leveled that guy,
smashed him through the door.

[air whooshes] Muay Thai is the art

of eight limbs, is what it is.

You’re using your fists,
your feet, your knees,

[taps] and your elbows.

A lot of it comes from knife fighting

and that translated
into fighting like this.

[air whooshes] But it is a very effective

form of fighting.

You see it in the UFC all the time.

They can break bones with their shins.

They can kick through baseball bats.

[air whooshes] It’s deadly.

It’s a deadly martial art.

[air whooshes] [chair cracks]

There’s a lot of breakaways.

Set design and all that
is coming into play.

Very important.

[man crashes] [air whooshes] I mean they had to set

that up for 10 different takes.

Clean it up and reset it and everything.

You want the breakaways
to look real and not fake

but you don’t want them
to actually be so tough

that they’re gonna hurt you either.

[air whooshes] [man yells]

Legitimate aikido technique there.

[air whooshes] You can see he’s starting

to get tired now.

He’s losing that explosiveness
and who can blame him.

So that guy that just
went off the top there,

they didn’t pan down.

Why didn’t they pan down?

Is it because we didn’t
want to see him die?

Or was it because they’ve
put down crash mats?

Probably they’ve put down some crash mats

even though they weren’t
there in the beginning.

They had people building
these boxes while he was doing

the rest of the take
ready for that guy to jump

into the boxes and keep him safe.

[air whooshes] [men yell] [vase cracks] [air whooshes] I mean they’re breakaways

but they can still cut you and bruise you.

I had a plate smashed
in my face in one film

and I felt like I’d just
been punched in the face.

Almost knocked me unconscious.

I think it’s because he
followed through with his fist.

[air whooshes] [men yell]

Look at him, you can see he’s tired now

[glass cracks] and this guy getting the knee

and he smashes into the glass there.

Good job.

[air whooshes] You’ll notice that some

of the stunt guys that
get hit in the head,

like him smashing his head back,

they’ve got bandanas on probably because

they’ve got some padding
underneath the bandana

just to keep them safe a little bit

’cause the guy kicks hard.

You can’t blame them, right.

[air whooshes] You can see now, though,

in this bit,

[air whooshes] this technique here

where he goes around, I
think what he wanted to do

was throw the guy over his back

but I think maybe it didn’t work as well

because he’s so tired.

And maybe that’s one of the reasons

why they wanted to do another take.

It still works ’cause it looks like

it breaks his arm anyway.

This is one of the most
amazing oners I’ve ever seen.

I don’t think there is a legitimate oner

with no hidden cuts that equals this.

[air whooshes] Next up, “Charlie’s Angels”.

[air whooshes] [upbeat instrumental music] [air whooshes] Wire work.

This was probably early 2000s, right.

“The Matrix” had just happened.

The wire work in “The
Matrix” it kinda works

because you’re in the matrix, right,

but it was all the rage back then.

You get Drew Barrymore doing
some stuff that would be

impossible to do without wires

[air whooshes] so that does not happen

in real life where you run up someone

and do a flash kick and
summersault off them.

[air whooshes] I’ve done that quite

a few times in quite a few of my movies

but I wouldn’t fancy trying
it on a Saturday night

outside the pub.

It’s not gonna go my way, I don’t think.

Especially with tight jeans on.

[air whooshes] – King Kong palm.

– SHe’s using some sort of kung fu style.

It was all the rage at this point

because “The Matrix” was such a big hit.

[air whooshes] Kung fu is great

for a woman to do, as well.

It suits, it’s very graceful.

Yeah, it looks brilliant
being performed by a lady.

[air whooshes] [upbeat instrumental music]

She’s doing a lot of
this stuff by herself.

I mean she seems to be
doing all the wire work.

[air whooshes] You can actually jump up

and do the splits over someone

[air whooshes] and then I have seen someone

kick off somebody and flip over

and kick someone behind them.

[air whooshes] That’s a very difficult

move to do, even for an
experienced stuntman.

It is possible.

And even to do it on the
wire is a good achievement.

[air whooshes] [people yell]

Did a pretty good job there.

[air whooshes] She back kicked that guy.

When you do the back kick
you really wanna have

your back facing as you kick.

[air whooshes] Her hip came out too much

but the follow-up kick
after the back kick,

it’s a nice inside crescent kick.

Good low angle, as well.

[air whooshes] [people yell] [air whooshes] That has got to be

the old put the shoe on the hand technique

and smack them in the face with it.

That’s an old, old favorite, that one.

[air whooshes] – And that’s kicking your ass.

[air whooshes] – When an actor gets involved

and does as much as they can themselves,

whether you’re on a wire or
not, I always respect that.

She coulda probably said,

“Oh, just have the stunt
double do all of it.”

But she did quite a
bit of this on her own.

In fact, most of it, it’s still not easy.

I hate being on a wire, that stuff hurts.

She made a good account of herself.

She did well.

[air whooshes] Next up,

“Undisputed II: Last Man Standing”.

[air whooshes] [crowd yells] [fighters gasp] [air whooshes] When I got the role

for this film, originally
they were thinking of somone

like Dolph Lundgren, you
know, the big Russian

but the director wanted
me to play the part

so I put on a lot of muscle.

I knew that Michael Jai
White was gonna be the hero

and I’m supposed to be the bad guy

and how the hell am I gonna
be able to intimidate this guy

looking like I do now?

So a lot of training went
into this to become Boyka.

But the extra weight, the extra muscle,

it made it more difficult to do

all the fancy kicks and everything.

[air whooshes] [fists thud] [crowd yells]

– [Coach] Keep your hands up.

[fists thud] [Boyka groans]

– It’s funny ’cause
what you end up doing is

I know I’ve got the blood in my mouth

and I’ve gotta take the
first hit and the second hit

but I don’t wanna let
the blood out of my mouth

until the third so you have to hold it

for the correct moment and
then let the blood flowing.

In between the next five
punches, or whatever it is,

I’m trying to get the gum
shield to come out of my mouth.

I’m trying to loosen it with my tongue

so that when he hits
me with the last punch,

[air whooshes] I can spit the gum shield

up in the air.

[dramatic instrumental music] [Boyka thuds] [air whooshes] See Boyka is an MMA guy

and this is one of the
first MMA films to come out.

MMA is mixed martial
arts and it’s basically

using whatever style works.

So when it first started
you had Royce Gracie

who was a jiu-jitsu guy and
he’d tore through the division.

He took everyone out with
jiu-jitsu and everyone was like,

“Oh okay, jiu-jitsu is the most dominant

“and best martial art.”

And for a long time, the
UFC was all grappling

at that point.

Wrestlers came in and still to this day,

it’s thought if you can control
where the fight takes place,

whether it takes place on the feet

or whether it takes place on the ground,

if I can control that,
I’m gonna win the fight.

The main disciplines of MMA
would be boxing, Thai boxing,

because we’re using the
elbows and knees as well,

jiu-jitsu, once it goes to the
ground but a jiu-jitsu guy,

they need to get it to the ground first.

So if you’re a jiu-jitsu guy
that doesn’t know wrestling,

you’re gonna find it hard
against these wrestlers

to get them to the ground.

[crowd yells] [fighters groans]

I remember that Mike,

[air whooshes] and he’s a tough guy

and he’s a legitimate martial artist,

that back kick [chuckles], that
back kick caught him flush.

[air whooshes] I had to apologize after that.

He was not happy.

[air whooshes] [crowd yells] [fighters groan]

So this is a kick that I’m most known for.

A lot of people call it the Boyka kick

but actually it’s called the Guyver kick.

Reason it’s called the Guyver
kick is it was first performed

by a guy called Akihiro
Noguchi who was a stuntman

in the Guyver series for a movie called

“Guyver: The Dark Hero”.

And he did this kick and
he actually gave it to me

on one of the movies we did
before this, “Special Forces”,

he was the fight coordinator.

So I feel I have legitimate
ownership of the move

because he gave it to me.

I’m gonna watch that again one more time

just for my benefit, forget about you lot.

[crowd yells] [fighters groan]

That is a good looking kick.

[air whooshes] That’s one of the kicks

that you would group under
the label of a suicide kick.

For anyone that wants to do that kick,

you gotta accept that you’re
gonna land on your back.

You know, it’s another
kick that would never work

in a real situation.

There’s zero power in
the bit that hits him

because your whole body
way is moving this way

and you just flick that but
[snaps]it’s just a touch.

But that’s what’s good
about performing this kick

for the movies is I can actually
try and hit the guy’s face.

Probably I won’t but even if I do,

it’s gonna be very, very slight.

So you’ve gotta jump up, lean back,

I’m gonna go high with the first leg

and then as he comes back up–

It’s actually tougher for the other guy.

The other guy’s gonna sell this kick

’cause he has to duck under and come up

and find the second part of
the kick and react to it.

You’re working as a partnership,
the two of you together.

It’s more like dancing than real fighting.

[crowd yells] [fighters groan]

That’s one of those times when
you get one of the stuntmen

just to run in to break
the fall of the actors.

We didn’t want to land
on the hard wooded floor.

We prefer to land on
the Bulgarian stunt guy.

This movement here where
I duck under his punch

and I hit him in the stomach,

I’m aware that the camera is behind me

and that if I don’t show the technique

by covering the camera with my back,

that’s gonna be the wrong thing to do.

So you’ll notice that I’m
showing the technique.

[crowd yells]

The last kick that I do on him
there is a 540, they call it.

So I’m actually landing on the foot

that I’m kicking him with.

What we should’ve done was
just finish the film there

and Boyka was the best and
he didn’t have to fight

Chambers again and get beaten.

We should have just left it at that.

No, it’s not a true
depicting of an MMA fight.

A true MMA fight as is very much

a stylized martial arts version

of what an MMA fight would be.

That kick, the Guyver kick, would not work

in the cage for real but it looked great

and it’s a bit of fun.

[air whooshes] Next up is “Rush Hour”.

[air whooshes] – You need to cut me loose

and let me go.

– No, no, LAPD.

[man yells] [air whooshes] – Now, Jackie Chan

is the master of using
furniture and whatever elements

are around him in the scene.

He will absolutely go to
the set and he’ll figure out

exactly how he’s gonna
use the surroundings

in the fight and he’s brilliant at that.

He’s gonna use as many
things inventively as he can.

[air whooshes] [dramatic instrumental music] [tray bangs] [men groan]

He directs, does his own fights,

[air whooshes] does his own stunts.

He writes.

The guy does everything.

He’s a legend, a living legend.

[air whooshes] [people groan]

Going over on the chair like that,

quintessential Jackie Chan stuff,

and then fighting over this gun.

[air whooshes] And he has

his whole team around him.

The guys that he’s fighting are members

of the Jackie Chan stunt team.

It’s like a dance but it
perfectly fits Jackie Chan’s style

which is always a comedic
way of doing things.

First time I ever saw
Jackie Chan was in a film

called “The Protector” and
it was an American movie

and for whatever reason, they
decided that they wanted him

to be like Clint Eastwood.

They didn’t want Jackie
Chan to be Jackie Chan.

I mean, he was famous for a reason.

He was famous for the
comedy slapstick stuff

and the fights that he was doing

and they tried to completely change him

because they didn’t think
that that would work

for an American audience.

I was unimpressed when I saw it.

I thought, “Who’s this guy
trying to be Bruce Lee?”

And the best thing that Brett
Ratner did when he brought

Jackie Chan over to do
the “Rush Hour” movies

was just say to Jackie, “You
take care of your fights.

“You do that thing.

“You’re amazing at it,
just do what you do.”

And of course the rest is history

because America completely
fell in love with Jackie Chan.

[air whooshes] [dramatic instrumental music] [people groan]

That’s Ken Leung, one of
the Jackie Chan stunt team,

amazing kicker.

[glass crashes]

You know, someone who
knows what they’re doing.

If they’ve got a gun, they’re
not gonna have that gun

close enough for you to grab it.

You need to just do whatever they say

and hope that they don’t shoot you.

But if he’s stupid enough
to come close enough

with that weapon then
there’s a lot of things

you could do to disarm the gun.

I guess kinda like what Al Pacino said

in “The Irishman”, right.

“You charge the gun,
you run from the knife.”

Yeah, if you’re Jackie Chan
you’ll be break dancing

around the gun.

[air whooshes] [people groan]

Chris Tucker getting in on the action.

Good job, Chris.

[people groan] [air whooshes] He did the crane kick

a little bit, didn’t he?

I don’t know how many takes they’ve done

but I’m willing to bet
that they’ve probably done

a few takes because the stuntman
that’s about to get kicked

by Chris Tucker, you can
see that he puts his arm

across his chest ’cause he’s thinking,

“Oh, I don’t wanna take
another one of these.

“These really hurt.”

[air whooshes] ‘Cause he’s not holding back,

Chris Tucker and look at
him how much he levels him.

[air whooshes] Sometimes actors they have

no respect for stuntmen
and they just really enjoy

kicking them hard.

Classically, the way it
works in Hong Kong is

they’ll make everything up on the day

and he’ll look around and he’ll think,

“Okay, I can use this maybe
and maybe we can use that.”

But he’s got the luxury of having

his whole stunt team around
him, like 10 or 20 people.

And they are very good themselves.

I mean and they’ve become action directors

in their own right.

He will say to them,
“Come up with some ideas,

“we’re gonna go for lunch.

“When I come back, I want
everyone to give me an idea.”

But yeah, it cannot be underestimated,

I mean the Jackie Chan stunt
team they are the best.

[air whooshes] [people groan]

– Carter!
[dramatic instrumental music] [gun clicks] – Freeze!

– I got invited to Shanghai to
the Jackie Chan Action Awards

and my film “Undisputed
IV” was in competition

and I ended up winning best
fight sequence and best actor.

And Chris Tucker was there
to give me the award.

That was one of the
greatest days of my life,

to get that award from Jackie Chan.

If you’re gonna get an award
for fighting from anyone,

you wanna get it from Jackie
Chan and Chris Tucker.

[air whooshes] [upbeat instrumental music]

Next up, “Debt Collectors”.

[air whooshes] We had half a day

to film this fight, not enough time.

I’m an Englishman in this one

and I’m fighting these Americans

who are taking the piss out of me

so I’m not too happy.

I’m gonna give these
Americans a good kicking.

[air whooshes] – It’s like good ole

King George always used to
say, “Come and [beep] get it.”

[man groans]

– Again, this is fighting
more than one person.

It’s always hard to choreograph.

You see, that’s one of those shots

where it’s nice and it holds.

It starts off on one angle an
the camera spins to the left

to reveal the other guy and
you can see, his name’s Dennis,

and he’s having to wait
but look like he’s kind of

dealing with the last punch he got

but he’s having to wait for the right time

in order to come in and
be in the correct position

to make the spin kick work.

But if he was a little
bit more to the right,

he would have blocked me and
you wouldn’t see the kick

but also he’s not too far left

because the kick will look like a miss

and then we’ll have to do another take.

Yeah, you wouldn’t want
to improve in the moment

and be like, “Well, I just
decided to throw a hook

“when I was gonna throw a straight.”

You know, if someone’s gonna get hit,

it has to be precise.

If you’re gonna adjust something
and change the choreography

for the camera, you need to
forget what you previously knew

and now we’re gonna do the new version,

and some people find it hard to forget

what they’ve been practicing
for however many days,

if they were lucky
enough to have rehearsal.

So yeah, you need to be able to change it

but don’t change it without
the other guy knowing

’cause then somebody’s gonna get hurt.

[air whooshes] These are veteran stunt guys.

Some of them were getting on a bit

but that was part of the fun
of the scene, the older guys,

but they’re still gonna do the fighting.

[air whooshes] It’s not easy.

[fists thud] [men groan]

Yeah, so that’s Anthony De Longis.

He was in the original “Road House”

[air whooshes] and he’s 70.

I’ve got to sidekick him
and I don’t want to hurt him

because we’re all there,
we’re all trying to do a job.

I need to find that sweet spot
of kicking him hard enough

so that it looks like I’m
actually trying to hurt him

but don’t kick him too hard.

Luckily we only did one
take and it was fine.

[air whooshes] [men groan] [man yells] [bottle clangs] [bottle crashes]

That was cool because,

[air whooshes] not that I’ve bottled anyone

for real, I don’t know but I would imagine

that sometimes the bottle won’t break

so it’s cool that it
doesn’t break on that guy

and then it does break
on the other guy’s head.

I mean, he’s a mixed martial
artist, this character,

but the flavor of this fight scene,

we wanted it to be like a
barroom brawl, which it is.

And we were inspired by
something like “Road House”

or westerns back in the day
with big looping punches.

So yeah, I’m throwing
some spin kicks in there.

So he’s like a kick boxer
with jiu-jitsu experience

but for this particular fight,
we just wanted a nice brawl.

[air whooshes] [people groan] [table crashes]

He took one for the team there.

[air whooshes] That was a great little stunt.

A nice low angle to see
all the props and the glass

come towards the camera.

Always try to make it
as exciting and possible

fill the frame with beautiful movement.

I don’t see the location
until the day of the shooting

so we’ll go in a gym and
we’ll choreograph the fight

but then when you get to the location,

you may well have to adjust things

because the table wasn’t where
you thought it was gonna be.

So you have to be able to
rearrange things if you have to.

Well, it’s very collaborative
and for this particular film,

I’m working with a guy, Jesse V. Johnson,

that I’ve worked with many times before.

I think this was our seventh
film, or something like that

and the reason is that
it is a collaboration

so when it comes to the action,
he absolutely trusts me.

I’m just so experienced
with fight scenes now.

I’ve been doing it since I was 23.

It’s a great relationship
working with Jesse

because I take care of the fights,

and he helps me with the rest of it.

[air whooshes] [man groans] [upbeat instrumental music] [man thuds]

Most of these clips that we have watched

had stuff in that would never happen

but when we have fights in the films,

it’s good to make it more exciting.

Jackie Chan does his thing.

It’s kinda slapsticky with the comedy.

It’s great for him.

The Bourne stuff is actually
probably the most realistic

of all of it.

It’s just a shame we
couldn’t see it properly.

And even in my film,
“The Debt Collectors”,

it’s pretty simple stuff, barroom brawl.

You’re probably not gonna
throw a spin kick in there

but we did that because
we just wanna make it

a little bit more
entertaining for the audience.

[air whooshes] Okay, thanks for watching

these clips with me.

I had a great time and I’ll see you again.

[remote clicks] [air whooshes]

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