Bruce Lee-Acting Career

            Bruce Lee (Chinese: 李小龍; born Lee Jun-fan; 27 November 1940 – 20 July 1973) was a Chinese American martial artist, Hong Kong action film actor, martial arts instructor and filmmaker. The founder of Jeet Kune Do, Lee was the son of Cantonese opera star Lee Hoi-Chuen. He is widely considered by commentators, critics, media and other martial artists to be one of the most influential martial artists of all time, and a pop culture icon of the 20th century. He is often credited with helping to change the way Asians were presented in American films.

Lee was introduced into films at a very young age and appeared in several films as a child. Lee had his first role as a baby who was carried onto the stage in the film Golden Gate Girl. By the time he was 18, he had appeared in twenty films.

            While in the United States from 1959 to 1964, Lee abandoned thoughts of a film career in favour of pursuing martial arts. However, a martial arts exhibition on Long Beach in 1964 eventually led to the invitation by William Dozier for an audition for a part in the pilot for "Number One Son". The show never aired, but Lee was invited for the role of Kato alongside Van Williams in the TV series The Green Hornet. The show lasted just one season, from 1966 to 1967. Lee also played Kato in three crossover episodes of Batman. This was followed by guest appearances in three television series: Ironside (1967), Here Come the Brides (1969), and Blondie (1969).

           At the time, two of Lee's martial arts students were Hollywood script writer Stirling Silliphant and actor James Coburn. In 1969 the three worked on a script for a film called The Silent Flute, and went together on a location hunt to India. The project was not realised at the time; but the 1978 film Circle of Iron, starring David Carradine, was based on the same plot. In 2010, producer Paul Maslansky was reported to plan and receive fundings for a film based on the original script for The Silent Flute. In 1969, Lee made a brief appearance in the Silliphant-penned film Marlowe where he played a henchman hired to intimidate private detective Philip Marlowe, (played by James Garner), by smashing up his office with leaping kicks and flashing punches, only to later accidentally jump off a tall building while trying to kick Marlowe off. The same year he also choreographed fight scenes for The Wrecking Crew starring Dean Martin, Sharon Tate, and featuring Chuck Norris in his first role. In 1970, he was responsible for fight choreography for A Walk in the Spring Rain starring Ingrid Bergman and Anthony Quinn, again written by Silliphant. In 1971, Lee appeared in four episodes of the television series Longstreet, written by Silliphant. Lee played the martial arts instructor of the title character Mike Longstreet (played by James Franciscus), and important aspects of his martial arts philosophy were written into the script.

             According to statements made by Lee, and also by Linda Lee Cadwell after Lee's death, in 1971 Lee pitched a television series of his own tentatively titled The Warrior, discussions which were also confirmed by Warner Bros. In a 9 December 1971 television interview on The Pierre Berton Show, Lee stated that both Paramount and Warner Brothers wanted him "to be in a modernized type of a thing, and that they think the Western idea is out, whereas I want to do the Western". According to Cadwell, however, Lee's concept was retooled and renamed Kung Fu, but Warner Bros. gave Lee no credit. Warner Brothers states that they had for some time been developing an identical concept,created by two writers and producers, Ed Spielman and Howard Friedlander. According to these sources, the reason Lee was not cast was in part because of his ethnicity, but more so because he had a thick accent. The role of the Shaolin monk in the Wild West, was eventually awarded to then-non-martial-artist David Carradine. In The Pierre Berton Show interview, Lee stated he understood Warner Brothers' attitudes towards casting in the series: "They think that business wise it is a risk. I don't blame them. If the situation were reversed, and an American star were to come to Hong Kong, and I was the man with the money, I would have my own concerns as to whether the acceptance would be there".

              Producer Fred Weintraub had advised Lee to return to Hong Kong and make a feature film which he could showcase to executives in Hollywood. Not happy with his supporting roles in the United States, Lee returned to Hong Kong. Unaware that The Green Hornet had been played to success in Hong Kong and was unofficially referred to as "The Kato Show", he was surprised to be recognised on the street as the star of the show. After negotiating with both Shaw Brothers Studio and Golden Harvest, Lee signed a film contract to star in two films produced by Golden Harvest. Lee played his first leading role in The Big Boss (1971) which proved to be an enormous box office success across Asia and catapulted him to stardom. He soon followed up with Fist of Fury (1972) which broke the box office records set previously by The Big Boss. Having finished his initial two-year contract, Lee negotiated a new deal with Golden Harvest. Lee later formed his own company, Concord Productions Inc. (協和電影公司), with Chow. For his third film, Way of the Dragon (1972), he was given complete control of the film's production as the writer, director, star, and choreographer of the fight scenes. In 1964, at a demonstration in Long Beach, California, Lee had met Karate champion Chuck Norris. In Way of the Dragon Lee introduced Norris to movie-goers as his opponent in the final death fight at the Colosseum in Rome, today considered one of Lee's most legendary fight scenes and one of the most memorable fight scenes in martial arts film history. The role was originally offered to American Karate champion Joe Lewis.

                  In late 1972, Lee began work on his fourth Golden Harvest Film, Game of Death. He began filming some scenes including his fight sequence with 7'2" American Basketball star Kareem Abdul-Jabbar, a former student. Production was stopped when Warner Brothers offered Lee the opportunity to star in Enter the Dragon, the first film to be produced jointly by Golden Harvest and Warner Bros. Filming commenced in Hong Kong in February 1973. One month into the filming, another production company, Starseas Motion Pictures, promoted Bruce Lee as a leading actor in Fist of Unicorn, although he had merely agreed to choreograph the fight sequences in the film as a favour to his long-time friend Unicorn Chan. Lee planned to sue the production company, but retained his friendship with Chan. However, only a few months after the completion of Enter the Dragon, and six days before its 26 July 1973 release, Lee died. Enter the Dragon would go on to become one of the year's highest grossing films and cement Lee as a martial arts legend. It was made for US$850,000 in 1973 (equivalent to $4 million adjusted for inflation as of 2007). To date, Enter the Dragon has grossed over $200 million worldwide. The film sparked a brief fad in martial arts, epitomised in songs such as "Kung Fu Fighting" and TV shows like Kung Fu.

             Robert Clouse, the director of Enter the Dragon and Golden Harvest revived Lee's unfinished film Game of Death. Lee had shot over 100 minutes of footage, including out-takes, for Game of Death before shooting was stopped to allow him to work on Enter the Dragon. In addition to Abdul-Jabbar, George Lazenby, Hapkido master Ji Han-Jae and another of Lee's students, Dan Inosanto, were also to appear in the film, which was to culminate in Lee's character, Hai Tien (clad in the now-famous yellow track suit) taking on a series of different challengers on each floor as they make their way through a five-level pagoda. In a controversial move, Robert Clouse finished the film using a look-alike and archive footage of Lee from his other films with a new storyline and cast, which was released in 1978. However, the cobbled-together film contained only fifteen minutes of actual footage of Lee (he had printed many unsuccessful takes) while the rest had a Lee look-alike, Kim Tai Chung, and Yuen Biao as stunt double. The unused footage Lee had filmed was recovered 22 years later and included in the documentary Bruce Lee: A Warrior's Journey.

            Apart from Game of Death, other future film projects were planned to feature Lee at the time. In 1972, after the success of The Big Boss and Fist of Fury, a third film was planned by Raymond Chow at Golden Harvest to be directed by Lo Wei, titled Yellow-Faced Tiger. However, at the time, Lee decided to direct and produce his own script for Way of the Dragon instead. Although Lee had formed a production company with Raymond Chow, a period film was also planned from September–November 1973 with the competing Shaw Brothers Studio, to be directed by either Chor Yuen or Cheng Kang, and written by Yi Kang and Chang Cheh, titled The Seven Sons of the Jade Dragon. Lee had also worked on several scripts himself. A tape containing a recording of Lee narrating the basic storyline to a film tentatively titled Southern Fist/Northern Leg exists, showing some similarities with the canned script for The Silent Flute (Circle of Iron). Another script had the title Green Bamboo Warrior, set in San Francisco, planned to co-star Bolo Yeung and to be produced by Andrew Vajna who later went on to produce First Blood. Photo shoot costume tests were also organized for some of these planned film projects.

Character on Camera (age 12+)

Playroom Productions invites you to join our unique two-day workshop. Do you long to be a screen star? Do you have a character you want to become? Now is the chance to fulfil your dreams! In two days you will write, perform and produce your own short film. This is a fun, creative workshop using improvisation and green screen filming to help you to bring out your inner film star. This workshop is taught by Deborah Roome. Deborah trained at the Guildhall School of Music and Drama and worked extensively, under stage name Deborah Popett, in TV and Theatre; including leads in West End musicals. She is now a primary school teacher.

You can book online through our website (www.signals.org.uk booking fee applies) or you can save the booking fee and call Signals direct on 01206 560255

Part 2 of Classic movie scenes: before and after special effects

Pirates of the Caribbean: Dead Man's Chest
We’re not sure which is scarier, the part-man part-sea monster crew of the Flying Dutchman, or Bill Nighy and co. in skin-tight onesies. But, by wearing mo-cap suits on-set, animators were saved plenty of hassle and could work with the raw footage. Captain Davy Jones’s skin texture was based on a coffee-stained Styrofoam cup.

The Matrix
Visual effects supervisor John Gaeta won an Oscar for creating ‘The Matrix’s’ pioneering action sequences. ‘Bullet Time’, now a registered trademark, was achieved by surrounding the actors with a ring of still-cameras, each timed to shoot a single frame in quick succession.

Godzilla

Actor Haruo Nakajima racked up an impressive 20-year career playing a smorgasbord of suited monstrosities in Japanese Kaiju movies. His most famous incarnation was the King of the Monsters, ‘Godzilla’. Here he takes a break from filming to practice smashing up the streets of Japan.

Life Of Pi

Previously undiscovered actor Suraj Sharma took a beating during Ang Lee’s ‘Life Of Pi’. The soon-to-be Oscar winning Lee shot for 10 weeks inside the World’s largest self-generating wave tank, then placing his young star at the centre of a state-of-the-art blue-screen boat rig to complete some of the more spectacular storm shots.We were very impressed.

Star Wars: Episode V - The Empire Strikes Back
Perhaps the most iconic and parodied moment from the entire original ‘Star Wars’ trilogy.It’s not quite as dramatic though with a pile of what looks like old mattresses dumped below the set.

Inception

‘Inception’s’ gravity-defying hallway fight scene took an arduous three weeks, and over 500 crew members, to shoot. Three different hallway sets were built, including an impressive 360-degree rotating corridor.Star Joseph Gordon-Levitt trained with the stunt team for two weeks straight to avoid making any dangerous dodgy steps.

District 9

Director Neill Blomkamp wanted ‘District 9’s' creepy “Prawns” to evoke a sense of disgust, using mentor Peter Jackson’s Weta Workshop to design the extraterrestrial refugees. Still, Blomkamp knew the aliens should still look slightly human-esque, otherwise we just wouldn’t relate – hence the lucky chap in the revealing mo-cap suit. Problem sold.

The Dark Knight
The Joker’s reign of terror came to an end when Ledger’s character was left dangling by the Bat, gift-wrapped for Gotham’s finest. In reality Heath Ledger was slightly safer with a convincing city backdrop later green screened in.

Jurassic Park
The greatest special effects sequence in movie history? We think so. Spielberg’s crew blended superb CGI and complex animatronics to play out the intense jeep attack scene. The 18 ft. tall T-Rex model soaked up so much rain during filming though that it caused the electronics to start malfunctioning. Apparently during one lunch break it came to life and the crew all scattered, screaming.

The places for Signals Summer Film Camp (age 12+)are going fast!! Book yours now!
Mon 19th to wed 21st August, 10-4pm

Our great new film camp is a three-day practical film school for young people providing the ultimate filmmaking experience. Participants will work in small groups to create a short film.

Activities include:

Day 1: Film Screenings and Ideas Discussion, Scriptwriting and Storyboarding, Camera and Sound Skills

Day 2: Production Roles, Filming

Day 3: Filming, Editing Skills Workshop, Post-Production and a Screening for friends and family.

You can book online through our website (www.signals.org.uk booking fee applies) or you can save the booking fee and call Signals direct on 01206 560255.

1. It’s not quite as dramatic though with a pile of what looks like old mattresses dumped below the set.

   
   

Classic movie scenes: before and after special effects Part 1

Star Wars
A long time ago in a galaxy far, far away, titles were tedious - then the opening ‘crawl’ of ‘Star Wars’ swept across the screen and made the simple act of reading as cinematic as any other part of the film. These titles (actually from 'The Empire Strikes Back') were produced surprisingly DIY-ish by slowly panning a camera along a 6 ft. piece of text.

300
To achieve the shot-from-short adaptation of Frank Miller’s Spartan comic, director Zack Snyder photocopied the graphic novel and built the set and each shot around it. The iconic cliff-top fight involved filming a few actors falling, and then replicating them in post-production for an army of tumbling warriors.

Ghostbusters

“He's a sailor, he's in New York; we get this guy laid, we won't have any trouble!” That was Bill Murray’s suggestion to deal with the 100 ft. marshmallow man terrorizing New York. Bodysuit actor and character creator Bill Bryan probably would have preferred that suggestion to being cooked alive by the Ghostbusters. The costume was made of two layers: an outer flammable layer and an inner fireproof suit.

Forrest Gump
‘Forrest Gump’ took a lot of critical flak for reinterpreting American history and CGI-ing Tom Hank’s naïve Gump into iconic newsreel footage. One thing that did quietly amaze though was how animators managed to amputate able-bodied actor Gary Sinise’s legs. The answer? Very clever socks.

Lord Of The Rings

To tackle the challenge of the Hobbit’s tiny size, director Peter Jackson used an array of simple, but very crafty camera tricks. Although size doubles were frequently used, for scenes that required the actors themselves (such as Frodo’s memorable cart ride with Gandalf), Jackson’s team designed clever props to achieve what’s called “forced perspective” - in this case an l-shaped cart.

Avatar
James Cameron’s ‘Avatar’, the highest grossing film of all time, was filmed entirely with state-of-the-art motion-capture technology that had been over a decade in the making. Still, the raw footage is surprisingly lacking in the epic. Actors Sam Worthington and Zoe Saldana spent 31 days wearing skullcaps and blue dots in an aircraft hanger to film their original scenes.

The Godfather

To achieve the realistic (and gruesome) effect of Sonny Corleone getting riddled with bullets, actor James Caan had fishing-wire attached to pieces of fake-flesh on his face. When the triggers were pulled, the crew tugged on the wire, making the bullets seemingly explode through Caan. Ouch.

Independence Day
There’s a reason ‘Independence Day’ bagged the Oscar for Best Visual Effects. Although the movie required over 3,000 SFX shots (a then-record), much of the movie’s dazzle was actually achieved through practical techniques – involving twice as many miniatures as had ever been used. The main alien craft itself was 65-foot wide.

Back To The Future

When the DeLorean hits 88 mph the flux-capacitor kicks in and ‘makes time travel possible’ - leaving the present day with nothing but some flaming tyre tracks. Alright, it’s not the most seamless use of green screen (look at the Doc’s feet), but it’s up there for iconic.

The places for Signals Summer Film Camp (age 12+)are going fast!! Book yours now!
Mon 19th to wed 21st August, 10-4pm

Our great new film camp is a three-day practical film school for young people providing the ultimate filmmaking experience. Participants will work in small groups to create a short film.

Activities include:

Day 1: Film Screenings and Ideas Discussion, Scriptwriting and Storyboarding, Camera and Sound Skills

Day 2: Production Roles, Filming

Day 3: Filming, Editing Skills Workshop, Post-Production and a Screening for friends and family.

You can book online through our website (www.signals.org.uk booking fee applies) or you can save the booking fee and call Signals direct on 01206 560255.

Working at Signals

That's Lisa at work at Signals 25th anniversary event last month.

Education Co-ordinator Position – A message from Lisa, the current post holder:

“I have worked at Signals for 5 years and in this time I have truly been able to shape the role according to the needs of our business and the industry. The great thing about this job is that no two days are the same. One day I’ll be meeting clients and networking at events, the next I’ll be jumping around excitedly explaining how animation works to primary school children and later on I’ll be busily writing a funding application for a new project. The role would be great for someone who is flexible, passionate and a great problem solver but also offers a creative individual the chance to put forwards their own ideas for projects and business opportunities. In 2009 I started Signals Youth Film Club, which is still going strong today and now gives young people the chance to gain experience of work by assisting on workshops and sitting on our Youth Panel in Board meetings. So it just goes to show that Signals is a supportive and encouraging environment to unleash your ideas.

Signals is a wonderful place to work. You will be part of a small, dedicated core team, but will have the opportunity to work with lots of other people including funders, freelancers and partner organisations. Someone who is personable, confident and a good leader should excel in this role. The team are always available to discuss day-to-day work and offer support. Having worked for large organisations before, it’s great to be able to sit down with a boss who knows your name and talk through any issues you may have in a relaxed setting!

If I could offer one tip for the person covering my maternity leave it would be to focus on nurturing existing partnerships and seek out funding sources for the coming year(s). Oh, and try not to judge my filing system too much ;-)  “

Lisa Wright

To find out more details about the job  click join the team from our website or click http://bit.ly/16oSTCI