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Enter the Dragon
Making Of
Making-Of
film
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Documentary
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Interview
James Coburn
Fred Weintraub
John Saxon
Robert Wall
Tung Wei
Sammo Hung
Ahna Capri
Lalo Schifrin
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Robert Clouse
Bruce Lee
Jim Kelly
Kien Shih
Bolo Yeung
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Western
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Martial Arts
Kung Fu
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00:00:03
[Music]
00:00:12
[Music]
00:00:26
[Music]
00:00:46
what do you know about how we are
00:00:49
investing in corruption we know
00:00:51
everything we can prove nothing we want
00:00:59
you to go in there as our agent get us
00:01:01
our evidence this is where you'll be
00:01:07
going fortress really
00:01:15
[Music]
00:01:27
sterling silicon programming she says
00:01:30
you may have you know Bruce Lee I said
00:01:32
no I don't know he's the great history
00:01:35
of sir absolutely greatest instructors
00:01:38
he's he's brilliant that you gotta meet
00:01:40
him we were just getting started and
00:01:47
have having been executives at Warner
00:01:51
Brothers and sterling silicon and James
00:01:53
Coburn came to us with a script called
00:01:55
the silent flute that sterling and
00:01:57
written for Brewster story and then
00:01:59
Bruce and I became great friends I mean
00:02:01
we went out we went to dinner we talked
00:02:03
about martial arts he showed me some of
00:02:05
the films and I got very interested in
00:02:08
the Chinese fighting thing which never
00:02:11
came over to America and we couldn't get
00:02:13
anybody one is interested in doing it
00:02:15
nobody was interested really in a
00:02:18
Chinese he you know he was really
00:02:20
anxious to become an American television
00:02:23
star he wanted I said there was no way
00:02:30
Bruce that you're gonna ever get to
00:02:34
really be seen here in America unless
00:02:37
you have a piece of film and it's not
00:02:39
just the Green Hornet that's television
00:02:41
Bruce was too much for television I mean
00:02:43
he was so when Raymond chow offered him
00:02:48
the I think was the big boss it was
00:02:51
called the first one he said well I'm
00:02:52
getting a little bit I said take it and
00:02:54
he went back to Hong Kong because he
00:02:56
didn't get the role and kung fu' after
00:02:59
Bruce went back to Hong Kong he became
00:03:02
miraculously successful I mean he became
00:03:04
like the people's that overnight hit and
00:03:06
the Far East
00:03:07
he'd never achieved that before in any
00:03:09
time it was on television
00:03:12
where I guess they had a group of
00:03:14
martial artists and they were all
00:03:17
breaking ice and bricks with their heads
00:03:20
and with her elbows and everything and
00:03:22
they asked Bruce who was sitting there
00:03:24
looking askance at all of that and said
00:03:26
well what do you think about all this
00:03:27
well I thinks if he can break ice with
00:03:30
his elbow break bricks what does that
00:03:33
have to do anything okay mr. Smith smart
00:03:37
ass let's see what you can do and he
00:03:39
says no I don't do any demonstrations
00:03:40
and they everybody in the audience and
00:03:44
so he says okay okay just wrap up three
00:03:47
of those square boards and foot rides
00:03:49
and put some tape on a minute so he
00:03:52
wrapped it in sidekick image just went
00:03:57
up in the lights and the lights went pow
00:03:59
pow pow and Bruce was so he said I was
00:04:01
so sure because he'd never done that
00:04:03
thing before it was just something that
00:04:04
came to his mind how he acted his way
00:04:07
back till he said nothing had happened I
00:04:09
mean after that you know of course run
00:04:11
run Shaw and Raymond chow when everybody
00:04:14
started vying for his attention Bruce
00:04:17
and I spend a lot of time when out Bruce
00:04:19
was interested in the project there was
00:04:21
no question Raymond on the other hand
00:04:23
was soft and why was Raymond sauce cuz
00:04:26
he didn't he was making so much money on
00:04:27
the pitches he still wanted to have
00:04:29
complete control and everything so
00:04:32
Raymond said well since the shame it's
00:04:34
not gonna work so we'll have dinner
00:04:36
tonight and so we went out to a Japanese
00:04:38
restaurant we sat down for dinner and as
00:04:40
we're going through the meal I said
00:04:42
Bruce I'm leaving tomorrow said why I
00:04:44
said well it's obvious that Raymond
00:04:46
doesn't want you to be an international
00:04:48
star he understands that you're great as
00:04:50
a local chop-socky guy but Raymond
00:04:53
doesn't and he turned around and Raymond
00:04:54
and said make the deal at which point
00:04:58
the next day Raymond
00:05:00
we found this young writer who'd had no
00:05:04
real credits but it's somebody that I
00:05:06
had had an eye on for a while and then
00:05:08
poured you got this cockamamie writer
00:05:11
who I had never heard of who you loved
00:05:14
Michael Allen you called me in and you
00:05:17
said we've got this wonderful amazing
00:05:19
guy named Bruce Lee he makes movies in
00:05:22
Hong Kong you've never seen anything
00:05:23
like it
00:05:24
guess what I want you to write a movie
00:05:26
for him and he came up and he turned out
00:05:28
a wonderful first first draft it was
00:05:30
wonderful because I didn't know anything
00:05:32
about martial arts I didn't know
00:05:34
anything about Hong Kong and I was
00:05:36
learning along the way we really blocked
00:05:39
it out it was so exciting and I'll tell
00:05:42
you how it the kind of energy we had of
00:05:44
it we did the first draft of the
00:05:46
screenplay in three weeks which is
00:05:49
unheard of it happened so quickly
00:05:52
because I think that Bruce was getting
00:05:56
so hot and he'd gone back to Hong Kong I
00:05:58
think in 71 and virtually in less than a
00:06:01
year he he couldn't walk down the street
00:06:03
he was he was a major Asian star in Hong
00:06:07
Kong he knew that if he kept making
00:06:09
Chinese chop-socky as he he'd stay in
00:06:11
China the rest of his life and he was
00:06:13
anxious to show coburn and McQueen and
00:06:15
all the rest that he was an
00:06:17
international you know star we wanted to
00:06:20
present him as as this as this
00:06:22
incredible like force of nature was
00:06:25
designed and executed for a particular
00:06:28
star in the genre and it had the real
00:06:32
purity in that sense but he needed to be
00:06:34
one of three he needed to be the coolest
00:06:37
of three heroes and we work very hard
00:06:39
consciously creating an international
00:06:42
kind of
00:06:44
movie that would present proofs properly
00:06:47
well when we got started and there was
00:06:49
very little time to do all these things
00:06:51
in the script had been sort of roughed
00:06:53
in and we knew a little bit about what
00:06:55
we needed and we really needed to get
00:06:57
some sets built if we were gonna ever
00:06:59
make the schedule when I was a kid I
00:07:01
grew up in this comic strip well Terry
00:07:03
and the Pirates and Terry and the
00:07:05
Pirates was about China and the Orient
00:07:08
and the mystery and dragon ladies it was
00:07:11
high chroma reds blues golds and it just
00:07:15
lent itself to this project so so
00:07:17
closely well I brought in a sketch
00:07:20
artist I knew named Dale Hennessy Dale
00:07:22
and I sat down and worked out the basic
00:07:25
sets for the piece the biggest one of
00:07:27
all the full studios I said was the cave
00:07:30
some of the prison areas that we Bruce
00:07:33
got caught in the cell doors clanging
00:07:36
down and then the other studio the
00:07:39
banquette a lot of we put together
00:07:43
enough material for me to bring over to
00:07:45
Hong Kong and turn over to the Chinese
00:07:47
designers and they in turn took it and
00:07:50
interpreted it and I think did an
00:07:53
outstanding job I think what Bob Klauss
00:07:56
the director and I tried to do was to
00:07:59
take the magical element of Hong Kong
00:08:03
and bring a photographic style to that
00:08:05
sometimes you'd look down a hallway and
00:08:09
not see anybody until they came into the
00:08:11
light and I remember Bob was very
00:08:14
insistent that he wanted it to be
00:08:16
absolutely black and then come into the
00:08:20
light and lighting why's that that's
00:08:22
kind of a challenge rather than light
00:08:24
the whole cave we use pools of lighting
00:08:27
to try and make it very dramatic where
00:08:29
you smoke to sort of ease it out Bob did
00:08:33
this very neat shot from up above and
00:08:37
looking at it it was kind of Wow
00:08:41
there's just a bunch of people walking
00:08:42
around on there so someone had the idea
00:08:44
to get like a hundred birdcage
00:08:47
so we shoot through the bird cages so
00:08:49
you couldn't really see what was going
00:08:50
on didn't really know who these people
00:08:52
were what was gonna happen so what we
00:08:55
try to do lighting wise is to add to
00:08:58
that to make a dramatic to make an
00:09:00
exotic Freddy and I talked about this I
00:09:03
think then the big problem is how do you
00:09:05
have a film loaded with action in a
00:09:09
contemporary situation where the hero
00:09:14
why doesn't somebody pause 45 and bang
00:09:18
settle it no no guns Han would never
00:09:22
allow guns on the island anyway he had a
00:09:24
bad experience with them once and he's
00:09:26
fearful of assassination can't really
00:09:29
blame him any bloody fool can pull a
00:09:32
trigger I guess I won't need anything
00:09:35
and the villain creates the hero you
00:09:38
need a really sensational I wanted time
00:09:40
to be the devil
00:09:48
gentlemen welcome you honor our island
00:09:53
but the devil who believed in something
00:09:56
it was dedicated to which is the
00:10:02
rigorous training
00:10:05
hey put into work an idea which we clear
00:10:10
with this Mart first of Hans Island Hans
00:10:13
Island never really existed I mean it we
00:10:16
needed to establish an island in the
00:10:18
film one of the actors was a pilot we
00:10:20
took off in his little single-engine
00:10:22
plane took the door off I got my camera
00:10:25
out and we started taking pictures of
00:10:27
islands - pictures of mansions and put
00:10:30
them all together into one composite
00:10:32
photograph that became the Hans Island
00:10:35
of the film the part of the plane was
00:10:38
Roy Chou who played the monk in the
00:10:41
monastery at the opening right away we
00:10:43
shot that on the tennis court
00:10:45
well we found this series of step tennis
00:10:47
courts that were just marvelous but
00:10:51
nobody notices even look closely at the
00:10:52
film you'll notice the lines on the
00:10:55
greenery we had to paint them all over
00:10:57
the green we they don't look like tennis
00:11:00
courts they looked like fields where a
00:11:03
man like Han would be working with its
00:11:05
army of martial artists I was used to
00:11:08
crews from Hollywood that were very
00:11:14
experienced and so the crew was like the
00:11:18
equipment taking a step back in time the
00:11:21
lab we used for developing the film was
00:11:24
the filthiest place I've ever seen
00:11:26
cobwebs hanging dust inches thick how we
00:11:30
got a film
00:11:32
it looks like the film we got out of
00:11:34
there
00:11:35
no and the tools for lighting were very
00:11:39
simple and Hollywood you have a lot of
00:11:42
tools to control lights and over there I
00:11:44
think we had window screen black paper
00:11:47
rope and closed in I think the most
00:11:50
difficult part of it was that we had
00:11:52
come up with a very ambitious film and
00:11:54
we worked very hard to pull it off the
00:11:57
whole electrical crew didn't speak any
00:12:00
English and so I tried to get a
00:12:03
communication going there when we
00:12:05
started all we had was Chinese crews so
00:12:08
I got about 10 words of Chinese and
00:12:12
wrote them on a little card you know
00:12:14
like turn the light on turn the light
00:12:16
off the whole process was slower than we
00:12:19
had hoped for I mean the biggest problem
00:12:21
was communication obviously my Chinese
00:12:24
wasn't very accurate because most of
00:12:26
times when I would say something they
00:12:28
just thought it's a funny thing in the
00:12:29
world as we went along we learned about
00:12:31
the crew they learned about us and we
00:12:34
came up with a very positive way of
00:12:36
making things work but we have a very
00:12:37
good time and they were very
00:12:38
hard-working
00:12:39
and and once we actually started doing
00:12:43
things where we would turn a light on
00:12:46
and I would go over and show them what
00:12:49
we wanted they were very accommodating
00:12:51
the skill of the Chinese craftsmen
00:12:53
working at things that they knew how to
00:12:56
do was just outstanding bob had an idea
00:12:59
for the island when we came there to
00:13:02
sort of fill up the frame with a lot of
00:13:04
flax so that some flags made and then we
00:13:07
needed some flag poles well there
00:13:09
weren't any so we had them made when
00:13:15
this old man came in with a bag of
00:13:17
plaster some sticks and wire at the end
00:13:20
of the day that be a 4-foot temple
00:13:23
dragon or a six foot statue of a Chinese
00:13:27
warrior and they just did a wonderful
00:13:29
job I mean the casting of the film was
00:13:32
really kind of amazing we selected John
00:13:35
Saxon because we heard that he was very
00:13:37
interested in martial arts the interest
00:13:39
in karate was spreading all over the
00:13:41
place that was the reason why I decided
00:13:43
to
00:13:45
I was surprised at how good he was yeah
00:13:47
talking over how to do the scene in the
00:13:50
golf course with Bob Krause and Fred
00:13:55
Weintraub I felt I had to demonstrate to
00:13:58
them what I meant
00:13:59
so I began doing all kinds of leaping
00:14:02
kicks that I could do at that time you
00:14:03
know this is a fixins one I know he
00:14:05
worked really hard during the shooting
00:14:07
but I felt that I had sufficient
00:14:09
preparation I thought to do a movie you
00:14:13
know I was a little over estimation and
00:14:17
well I think when he got the hunk on eat
00:14:18
he really saw these guys work it and he
00:14:21
was working every day it was I think
00:14:23
about eight days of continuous fight
00:14:27
scene stuff I gotta tell you but after
00:14:29
those eight days I had had enough of
00:14:31
doing the karate movie I didn't want to
00:14:33
do any more of these fights you know
00:14:34
come on give me back to something
00:14:35
there's a drama that is an internal
00:14:37
thing an emotional sort of situation I
00:14:40
was glad he's over in it Bruce had a lot
00:14:45
to say he had a lot of recommendations
00:14:47
in terms of the martial artists and we
00:14:49
we kind of deferred to him in the final
00:14:52
choice because he'd be the one to work
00:14:55
with them in their martial arts areas he
00:14:57
had worked with most of these guys in
00:14:59
America Bob knew Bruce I guess from
00:15:02
competition
00:15:03
Bruce's in my relationship was slow and
00:15:05
developing in a way we could have had a
00:15:08
tease each other normal us to say smart
00:15:10
aleck things to each other could have a
00:15:12
relationship for quite a while there's
00:15:14
no question there was some there was a
00:15:17
competitiveness there in the shooting of
00:15:20
the film when that accident between the
00:15:23
broken glass happened the keV way blown
00:15:25
out of proportion we shot that scene
00:15:27
several times eight times to be exact
00:15:29
the particular scene with the broken
00:15:30
bottles problem was believing another
00:15:32
very simple thing they didn't have
00:15:33
breakaway glass in Hong Kong at that
00:15:35
time and then you know rumors feed on
00:15:37
themselves they don't have to have a lot
00:15:38
of substance they use regular glass and
00:15:40
all that movie and so I eat time we'd
00:15:43
shoot the scene I'd have to break the
00:15:44
real bottles and Bruce instructed me to
00:15:47
take the jagged edge of my right hand
00:15:48
which I had one in each hand but lunge
00:15:50
with the right hand and his right pet
00:15:52
and Bruce's words were come at me as
00:15:54
fast as again
00:15:55
Bruce insisted that the action be so
00:15:57
realistic and he wanted to get it
00:15:59
perfect everything had to be perfectly
00:16:01
this it was a fraction of an inch and
00:16:03
who's got cut it was light and fast
00:16:05
I just lunge as fast as I could matter
00:16:07
it was over when Bruce had his right
00:16:09
hand up and each started to spin and as
00:16:10
he spent he jammed his fists into the
00:16:12
glass now it truly was an accident
00:16:14
truly an accident we were both there
00:16:16
under said I saw you know I told her how
00:16:19
sorry I was able to Bobby it's not your
00:16:21
fault just one of those things that
00:16:23
happened one of the most interesting
00:16:24
things about the selection of the act
00:16:27
this was how we finally got Jim Kelly it
00:16:29
was really a last-minute thing
00:16:31
because what happened is we had another
00:16:33
actor signed on to do it two days before
00:16:37
we ready to leave this martial artist
00:16:40
actor side he wasn't going to go and so
00:16:44
we had to find somebody else we went to
00:16:47
the studio and would you work in the
00:16:50
woods yeah and at night he went down
00:16:52
there and we saw Jim Kelly working he
00:16:55
looked great and it was one of my most
00:17:04
favorite players was Angela Mao who
00:17:07
played Bruce's sister she was so petite
00:17:10
so darling and what a martial artist
00:17:13
William that we saw her in a film that
00:17:16
she had played the lead in when we were
00:17:18
in Anka and she was presented to us we
00:17:21
flipped over and she was so cooperative
00:17:25
and such a good actor Boyle and I we
00:17:28
just thought this guy he just looked so
00:17:30
wonderful I mean he took his shirt off
00:17:32
you know we had to be in the movie
00:17:34
well Peter Archer was in Hong Kong I
00:17:37
believed at the time that we made the
00:17:39
film and that's where I can't mean I was
00:17:41
I was local martial artists in the
00:17:43
foreign or on the spot but he was really
00:17:45
quite good and I loved the scene in the
00:17:48
boat there was a there was a boat scene
00:17:50
on a junk heading out of aberdeen
00:17:51
harbour and one of the things that this
00:17:54
the scene call for was for me to jump
00:17:57
that off the deck of the junk and into
00:17:58
this little dinghy they think I was out
00:18:00
there on the board of this yeah you were
00:18:02
I was out there and I and Bruce was
00:18:05
something had happened between the two
00:18:08
of them but I was being towed behind the
00:18:10
junk at the end of the long run and he
00:18:14
wasn't supposed to stay out there that's
00:18:16
nothing from the boat and boots made the
00:18:18
kids not bring him in so fast and just
00:18:21
kept on the bullhorn on the back of the
00:18:24
junk was saying pull on the rope pull on
00:18:26
the rope get mad so I'm shaking my fist
00:18:29
and pulling on the rope the same time as
00:18:31
the bow of the dinghy was disappearing
00:18:33
under the waves whatever happened to the
00:18:37
boy wrong way that the boy who played a
00:18:40
little boy from the monastery whatever
00:18:43
happened he's a director now he do he's
00:18:45
a he's a important director in Hong Kong
00:18:49
hakuna yeah it's always easy to
00:18:52
understand you're welcome
00:18:54
yo keep wanting to see for nuclear
00:18:56
weapon at hand could someone seriously
00:18:58
recall how thank you come come oh please
00:19:05
understanding ma psycho understand even
00:19:07
a little procedure they go to eat I'm
00:19:10
okay
00:19:12
we were all packing it in and going home
00:19:14
and Bruce but that thing was so wound
00:19:16
that he didn't want to quit and he he
00:19:19
invented that little scene at the
00:19:21
monastery because I think after he saw
00:19:23
some of the rushes of the film he got
00:19:25
real excited and went back then shot
00:19:28
that yeah for that when he called Sammo
00:19:30
hung sama was one of his old good
00:19:32
friends and update the stuff this should
00:19:41
define me call me I want you to move e5
00:19:47
with me then we her so we don't do
00:19:50
anything we're just talking give you
00:19:52
punch okay ready to take action criminal
00:19:59
we just won't take okay one day okay as
00:20:00
we refresh we should only wanna have
00:20:03
that one the whole day the other one the
00:20:06
other day is lunch
00:20:10
[Music]
00:20:15
well we saved the dragon lady for last
00:20:19
anacapri and we're very fortunate
00:20:22
because anna took some home movies while
00:20:25
she was making the film back in those
00:20:28
days I loved going on location and I had
00:20:31
told my agent that at that particular
00:20:33
time I wanted to go anywhere on location
00:20:36
because my mom had just passed away and
00:20:38
I was I would welcome the opportunity to
00:20:40
work out of town my agent called me up
00:20:43
and he said you said you wanted to go to
00:20:45
look on location he said it's Hong Kong
00:20:47
far enough what are you talking about
00:20:52
and he said there's a film called Enter
00:20:55
the Dragon and it's starring a martial
00:20:58
artist called Bruce Lee he says have you
00:21:00
ever heard of him and I said I have
00:21:03
never heard of Bruce Lee nor martial
00:21:05
arts he said to me would you like to go
00:21:07
to Hong Kong and I said absolutely so I
00:21:10
think well good when should I go and he
00:21:11
said tonight no way I said well what's
00:21:17
the part because I don't have a frigging
00:21:18
idea but he you know they'll send you
00:21:20
this grip Packer and the luggage just
00:21:23
get on that plane I somehow miraculously
00:21:26
was on that plane going to Hong Kong
00:21:28
that night at midnight China Airlines my
00:21:31
dad had given me a little super 8 camera
00:21:35
for my birthday which was like a couple
00:21:37
months before I went and I just threw it
00:21:39
in the bag just to get past the time
00:21:41
just walking around and you know taking
00:21:43
some shots and Bruce and John and Jim
00:21:47
Kelly and Bob wall of course I'm sorry
00:21:50
that I didn't have more we just spliced
00:21:52
five three minute increments together so
00:21:55
it would be easy
00:21:56
you to show my friends and like I said
00:21:59
it was just for fun
00:22:00
and it wasn't really from the beginning
00:22:01
middle and end it was mostly just
00:22:03
nowhere they were filming the tournament
00:22:05
scenes when they first arrived that was
00:22:07
just down the steps from where we shot
00:22:10
the tournament scenes as a matter of
00:22:12
fact it's very interesting because I had
00:22:14
been invited to a formal lunch at this
00:22:18
rich palatial estate we're on a Sunday
00:22:22
afternoon and I went and the lunch was
00:22:25
basically held on a boat which was down
00:22:27
the steps from this palace I noticed
00:22:31
these yellow flags were flapping in the
00:22:33
wind I asked our host I said what her
00:22:36
Hall was yellow flags doing there and he
00:22:39
said to me tomorrow some movie company
00:22:42
is going to start shooting here for the
00:22:44
next two to three weeks and it's a film
00:22:47
starring Bruce Lee and I said I can't
00:22:50
believe that I said I'm the leading lady
00:22:52
in that role I've been in that movie and
00:22:55
he said you're kidding no we're gonna
00:22:58
start shooting here tomorrow but it was
00:23:02
mysteriously wonderful and beautiful at
00:23:04
the same time I mean I was fascinated
00:23:06
with it I loved Hong Kong well the
00:23:08
interesting thing is when we started the
00:23:10
film Bruce was so nervous he didn't want
00:23:12
it he didn't want to start we started
00:23:14
shooting the picture and boost did not
00:23:17
show up and when we had heard is that he
00:23:19
was nervous he was nervous
00:23:22
meanwhile we started shooting the movie
00:23:24
because I wanted to get going and we had
00:23:26
won his money and the guy from Warner
00:23:28
Brothers kept coming I said oh I'm
00:23:30
telling you it's really turning out
00:23:31
great I didn't have a bit of footage on
00:23:35
loose thread to going around the hills
00:23:38
of Hong Kong shooting scenic sand car
00:23:40
rides and everything to get before we
00:23:42
could get Bruce into the studio when the
00:23:44
first scene that he did in the studio he
00:23:47
was so nervous and so physically taking
00:23:50
we shot the scene where he's sitting
00:23:51
down in a chair and if they have just
00:23:54
sort of turned his head the only action
00:23:57
we gave him and then finally he got it
00:23:59
and I said Bob you got to keep going out
00:24:00
and then from then on Bruce now Tony was
00:24:03
with it like everything boosted he
00:24:05
became prettier if again what he did
00:24:07
great film corner stunt coordinator and
00:24:11
ultimately what we did in the screenplay
00:24:13
was when we came upon an action sequence
00:24:15
which was going to be a Bruce Lee kind
00:24:18
of showpiece of his good choreography to
00:24:21
be designed by the director of the star
00:24:23
a lot of Bruce's talent was with working
00:24:27
with other actors and choreographing a
00:24:31
scene and leading the whole operation
00:24:35
both in what he did and what happened
00:24:39
with other people in the fight and a lot
00:24:41
of it again with the director the
00:24:44
director had both eyes had a wonderful
00:24:47
sense of action in being a wonderful
00:24:50
visual to what what would make a good
00:24:52
action scene when I saw the fight
00:24:55
downstairs when he goes into the caves I
00:24:59
thought when we saw that the kind of
00:25:01
things that Bruce was doing was unusual
00:25:03
and different and he also had great
00:25:05
charisma and you know you watch the
00:25:07
other stunt guys watch Bruce you begin
00:25:09
to understand what happened I mean you
00:25:11
know I remember Jackie Chan was a step
00:25:13
friend on into the dragon everybody
00:25:16
began to understand that this was
00:25:18
something unusual and we were starting
00:25:20
to get the feeling being in Hong Kong
00:25:21
and seeing the way the people you know
00:25:24
consider him a hero you and when Bruce
00:25:28
liked something when Bruce saw something
00:25:30
he was very inventive
00:25:32
you know we'd walked through the sets
00:25:34
and we built these kind of marvelous
00:25:36
sets and as we'd find something as he'd
00:25:38
see something he was very very acting
00:25:41
genius at finding a way to incorporate
00:25:43
everything within it into his fight
00:25:45
sequences see what was a great thing is
00:25:47
was almost working progress as you saw things we
00:25:50
added that to give color to Michael
00:25:53
Allen Smith I sort of ran across the
00:25:55
phenomena and a little hotel in Hong
00:25:58
Kong repulse Bay on the way to the men's
00:26:01
room having lunch there there was this
00:26:03
sort of multiple paneled mirror and I
00:26:04
just looked in it like wow this is
00:26:06
amazing and they took Bruce and showed
00:26:10
it to him and he thought it was too
00:26:11
fragmented that you couldn't get any
00:26:13
action that would need anything out of
00:26:14
it about Klaus and I really fought hard
00:26:17
for it and we created this mirrored room
00:26:19
in the mirrored room is a great idea I'm
00:26:21
very visual we built it and and then we
00:26:25
walked some people through it and showed
00:26:27
Bruce how it looked and then he got
00:26:29
absolutely so we want to see ourselves
00:26:31
we just built like a closet in the
00:26:33
middle of the room that was movable with
00:26:35
mirrors on the outside it just blended
00:26:37
in to the other mirrors I remember that
00:26:39
I would always have to touch because if
00:26:42
I'm looking at something they might not
00:26:44
be there they might be over there each
00:26:47
angle was so carefully laid out in terms
00:26:50
of where people appeared and mirror
00:26:52
images appeared and we'd be doing a shot
00:26:56
of chicken and all of a sudden Bruce
00:26:57
would appear in the back and of course
00:27:00
that image was maybe six reflections
00:27:03
there was no place he could go that you
00:27:05
would any reflection might not be seen
00:27:07
so I found that I can only be in there
00:27:09
for a couple of hours and I'd have to go
00:27:11
out and sit down and look at a wall in
00:27:14
real dimension because it's like there
00:27:16
was a fourth dimension in there which
00:27:18
was unbelievable to work in
00:27:22
I get a call from Fred why to that one
00:27:29
our producers says Bruce Lee is in town
00:27:33
she wants to have lunch with you I
00:27:35
wanted to meet him but I didn't know
00:27:37
what to talk to him olala had done that
00:27:40
marvelous score for mission impossible
00:27:44
and then he said the reason I wanted to
00:27:46
meet you is that I practice in my dojo
00:27:48
in Hong Kong with the rhythm of your
00:27:50
music of Misha important he had the most
00:27:52
unusual instruments winning he found
00:27:55
things that we used an Enter the Dragon
00:27:57
that hadn't really been used much in
00:27:59
orchestration so I had to invent sounds
00:28:04
based on instruments that they are
00:28:08
accessible to the studio musicians that
00:28:12
would sound like from the audience he
00:28:16
wanted it to be modern but rather little
00:28:17
Chinese but not have a Chinese score and
00:28:20
I accomplished that
00:28:22
that was a relative factor the mirror
00:28:24
ground was exciting and sad at the same
00:28:27
moment of course Bruce had passed away
00:28:30
by there for the opening Wien had a
00:28:32
Chinese dragon race down Hollywood
00:28:35
Boulevard you remember that one dragon
00:28:38
from San Francisco and one dragon from
00:28:40
LA but it was all due to Bruce I mean
00:28:42
that's you have to understand everything
00:28:44
emanated from the fact that we caught a
00:28:46
star and I don't mean star movie star
00:28:50
you know comet comet you know and it was
00:28:53
the same that he wasn't there at the
00:28:55
opening to see it to regret then I think
00:28:58
we have at this moment does that bomb
00:29:00
cloud
00:29:01
isn't here with us anymore to be part of
00:29:03
this without Bob I don't think Enter the
00:29:07
Dragon would have been the film it is
00:29:09
and certainly would have been nothing
00:29:11
without Bruce Bob had a gentleness and
00:29:13
and an ability to see what what Bruce
00:29:17
could do
00:29:20
[Music]
00:29:37
[Music]
00:29:55
[Music]
00:30:05
[Music]
00:30:09
you

Description:

Blood and Steel: The Cast and Crew talk about "Enter the Dragon" (1973).

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