Jackie Chan

Twelve years ago, the "next big thing" to come out of Hong Kong returned home after roles in Cannonball Run II (1984) and The Protector (1985) failed. Jackie Chan returned to Hong Kong and directed what many consider to be his masterpiece of Hong Kong style action flicks, Police Story. A sequel and another spectacle, Drunken Master (and a sequel to that) followed. To American audiences, though, Chan had dropped off the face of the earth, until New Line Cinema brought Rumble in the Bronx to the American market. Since then, some of Jackie's most incredible, stunt filled flicks have reached our screens. Rush Hour, with co-star Chris Tucker, marks Jackie's return to American production standards. We talked about those differences and more in our StarTalk.

CrankyCritic: What's the biggest difference between Hong Kong and American movies?
Jackie Chan: In America, lots of dialog. In Asia, we fight first, then the drama, then quality.

CrankyCritic: English dialog is still the biggest challenge, then?
Jackie: More difficult. The dialog is more difficult. For 2 hours, I rehearse dialog. Useless. Chris Tucker never follows dialog. How can I follow? Everything he does changes.

CrankyCritic: Compared to some of your Hong Kong flicks, some of the stunts in Rush Hour look downright tame.
Jackie: When I film in America the good thing is the safety. We have to ask the 2 people from the insurance company to do things. They ask: Will we die? No. Do it? If they say no, I still have to do it. The tree jump in Rush Hour took 4 hours. I did it once with my team. I did it again for the director. Then they had to meet with insurance guy. Wires, pads, waiting. You have to ask.

CrankyCritic: Your team?
Jackie: Wherever I go I bring my own stunt people. 6 people come in. 2 students from Australia, 4 from Hong Kong.

CrankyCritic: Is there a big difference between Hong Kong and US audiences?
Jackie: I think it's a very big difference. Like international press. They don't understand American jokes. They can't follow Chris' jokes. They're used to long fights but now it's 30 seconds and the fight is finished. The Asian audience may not be satisfied. Some movies, like Titanic, can be successful all over the world. Some can't. American demands are higher. There's not enough quality to release my next film, Who Am I in America. It'll be on HBO.

CrankyCritic: When you're not in charge as director, what makes you decide to take an acting role?
Jackie: If something is bad for me, I don't do it. If it's good for me and good for comedy, I do it. I was called for Black Rain, with Michael Douglas. They wanted me to be the bad guy. No. In Stallone's new movie, they wanted me to be a drug dealer. No. No matter how much I want to play a bad guy, the Asian audience will not forgive me.

CrankyCritic: You can't be bad?
Jackie: No. I can't die, either. I can't be bad. Lots of companies would pay for commercials for cigarettes and alcohol. I won't do it.

CrankyCritic: Do you worry about injuries?
Jackie: No. I get more safety now. I get more money to hire people. Before, I was a stunt guy, it was --- boom! Action ! You OK? Yes! Ten or twenty years ago, there was no air bag or pads. Now we bring all the American technology back to Asia.

CrankyCritic: What part of your body have you hurt the most?
Jackie: [laughing] My butt. In Rush Hour, the slide down the banner at the end of the movie, it burns! And all the skin on my arms burned, too.

CrankyCritic: It's been twelve years since your last "American" movie...
Jackie: Slowly my dreams come true. I never thought I'd come to the US again. But I remember Stallone and Cliffhanger. I wanted a premiere at Mann's Chinese. I dreamed of a hand print. Now, 12 years later, with Rush Hour, I have a hand print and a premiere. I am happy.