Daniel Wu Famous Quotes
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I miss the Bay Area - the kind of laid-back lifestyle. Because in Hong Kong, you're going, like, 90 miles an hour, which is fun when you're young.
I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting - he was adept at all facets of Chinese culture.
I really want to take time and be in the moment with my kid for at least the first year. I know she's not going to remember that, but it's really for the family chemistry.
Because my master was this renaissance man, I wasn't just learning a fighting style, I was learning how kung fu permeates all aspects of life, from eating to healthy living to mental state.
I worked with Jackie Chan for a long time, and seeing how much pain he's in, I realized that that might not be a sustainable career for me. So I started to develop my career as a dramatic actor rather than as an action actor.
Asian Americans haven't had as many opportunities as other people to build their careers in Hollywood, just because there hasn't been that much of an interest, especially in Asian American males.
Part of the Hong Kong style is the fact that a lot of the performers can perform the moves, and we don't over-rehearse this stuff.
For Cantonese - because there's no standardized pinyin system - I have to have someone read it to me, and then I rewrite the whole script in my own Cantonese pinyin.
It was 'Shaolin Temple,' Jet Li's first movie. That was the movie that got me to want to learn martial arts. Then I became a huge Jet Li/Jackie Chan fan after that.
For us as Asian-Americans, I think the bane of our existence is one stereotype - 'Sixteen Candles,' the Long Duk Dong character.
I turned 40, got married, got a kid, and my mother passed away. I experienced life and death, with the enjoyment of creating life and the loss, within one year.
I went to Hong Kong in '97 to witness the handover after graduating university, and then I was gonna backpack around Asia and then come back here and look for a job.
For Mandarin scripts, there's software now where you can just insert the Chinese script, and it comes out all in pinyin.
There's a huge interest in the Chinese market, and Hollywood has a huge interest in the Chinese market with films like 'Transformers' making more money over there than here.
I think growing up in the States and Australia, we were exposed to a lot of different types of things. I used to go to Gilman to watch punk shows, and it's a complete different environment - you were inspired by so many different things, whereas in Hong Kong, there is nothing for anybody.
To do eleven fights in four months is pretty crazy. In some shows that we do in Asia, there are three or four fights over a six-month period, so you have time to recover and gain your stamina.
The two don't necessarily translate, especially if you're a prize fighter: you've fought all your life, you've fought all these fights, and now you're trying to do a movie. You see that happen a lot - a lot of professional fighters don't necessarily make it so well into the movie world.
I really feel that Hong Kong is my home, and Hong Kong is my identity as an actor.
In my 20s, it was easy. In your 40s, it's a lot more challenging. You have to look at it like you're an actor, but you're also a professional athlete. You have to train.
I really dislike the fact that Asian males are constantly emasculated, whether it's American TV or films. You see it all the time, and it's so weird that they don't see sexuality in Asian men.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
I came from doing Wushu and other martial arts, and then I got into movies, and I had to learn that as well - the language of martial arts movie fighting. It's a different thing; it's a different kind of logic.
I ended up falling in love with the whole movie-making experience.
In 'The Matrix,' you see the fight between Keanu Reeves and Lawrence Fishburne. It's an amazing fight. But I know that they've rehearsed it for months beforehand. Because in some of the moves you can see them anticipating blocks before they actually happen.
In my 20s, I could just power through stuff and be fine, but now, in your 40s? It's kind of like Kobe Bryant. He plays basketball a little bit differently than he did when he first started out.
We'll see what I do after 'Badlands' to show audiences that I have more in my repertoire besides martial arts.
At Diversion, we want to do genres that people are not doing - or, if we're doing genres that people are doing, to do them in a fresh way.
My sister Gloria asked me to try modeling.
After working on 'Europa,' I found it incredibly freeing to speak English in a film, so it kind of sparked an interest in me as an artist to improve my acting.
I think filmmaking is a gamble anyway, right? You never know the results from the start.
I graduated from university with a degree in architecture and then ended up doing a series of internships with different firms. And once I was in an office environment, I realized that at school what I was doing was 98 percent creative, 2 percent makework, but in the real world, it was the other way around.
I definitely don't think I'm going to have a mid-life crisis.
Bruce Lee was the first star I idolized. Growing up as a Chinese American, there weren't many people like me on the big screen.