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Wu Jing says the fingerprints of Hong Kong action cinema are still on every wuxia film made today, including his own.
Speaking with Variety at the Malaysia International Film Festival (MIFFest), where he received the festival’s
Excellent Achievement in Film Award, the actor-producer reflected on Hong Kong cinema’s enduring influence while celebrating a special screening of “Blades of the Guardians: Wind Rises in the Desert.”
Directed by legendary Hong Kong action choreographer Yuen Woo-ping and adapted from Xu Xianzhe’s martial arts comic, the film was released during this year’s Lunar New Year holiday, grossing $215 million, and drew an enthusiastic response at the MIFFest screening.
“There are more than 3,000 shots across exactly 125 minutes and 48 seconds,” Wu said during the post-screening Q&A. “I remember every minute of it, even every sound.”
Asked whether he was satisfied with the finished film, Wu saied his feelings changed throughout the production process. “From the day we wrapped until the film was released, the score in my mind kept going up and down,” he says. “In the end, I give it no score, because once a film is released, it no longer belongs to me.”
Having worked as an actor, director, producer and investor, Wu says wearing multiple hats is simply part of filmmaking rather than something extraordinary. “Every role on a film set is essential,” he tells Variety. “During breaks, we often put on someone else’s costume and try playing different roles. Everything you encounter is valuable, and on a film set there are teachers everywhere you can learn from.”
Wu says working across different roles has also made him a more humble actor. “It teaches you to respect every single person who helps create a character.”
As technology evolves and short-form video increasingly dominates audiences’ attention, Wu says there is no definitive answer to how younger viewers will understand the wuxia genre.
“‘Blades of the Guardians’ is made of our passion for wuxia,” he says. “Those of us who love wuxia told ourselves that even if the genre was disappearing, we wanted to create one last great martial arts spectacle.” Wu also points to the film’s unusually broad cast, whose ages span nearly a century.”We have a master who introduced both Jet Li and me to the industry, and he’s nearly 100 years old,” Wu says. “Our youngest actor was born in 2020. That century-long age span reflects the history of wuxia itself.”
While visual effects can enhance martial arts on screen, Wu argues that authentic filmmaking still depends on performance. “Wuxia action can be enhanced with visual effects, but the real kung fu of filmmaking is expressing a character through your body and moving audiences with sincerity.”
Having worked on productions in different countries, Wu says one observation stands out above all others: the enduring influence of Hong Kong action cinema.
“Action choreography around the world traces its roots to Hong Kong.” he says. “Many action sequences today are built on techniques pioneered by Hong Kong cinema.”
Wu identifies two lasting legacies that Hong Kong cinema has contributed to the global film industry: action choreography and production expertise. “In Hong Kong, a producer could oversee three films at the same time,” he says. “That was the beginning of filmmaking as an industrialized process.”
Reflecting on the rise of short-form video and streaming platforms, Wu argues that technological change has always reshaped cinema without eliminating older art forms. “Cinema itself once replaced shadow puppetry. That didn’t mean Peking Opera or theater disappeared.” he notes. He believes the same will ultimately be true for cinema today.
“Forms of entertainment will inevitably change,” Wu says. “Film, as an art form, will continue to thrive in new forms.”
