John Woo - Wikipedia. John Woo. SBS (Ng Yu- Sum; born 1 May 1. Chinese- born Hong Kong film director, writer, and producer.[1] He is the owner of Lion Rock Productions.[2] He is considered a major influence on the action genre, known for his highly chaotic action sequences, Mexican standoffs, and frequent use of slow motion.[3] Woo has directed several notable Hong Kong action films, among them, A Better Tomorrow (1. The Killer (1. 98. Hard Boiled (1. 99. Red Cliff (2. 00. His Hollywood films include the action films Hard Target (1.

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Broken Arrow (1. 99. Face/Off (1. 99. 7) and the action spy film Mission: Impossible 2 (2. He also created the comic series Seven Brothers, published by Virgin Comics. Woo cites his three favorite films as David Lean's Lawrence of Arabia, Akira Kurosawa's Seven Samurai and Jean- Pierre Melville's Le Samouraï.[3]Early life[edit]Woo was born Wu Yu- Seng (Ng Yu- Sum in Cantonese) in Guangzhou, China, amidst the chaos of the Chinese Civil War at the end of October 1. Because of school age restrictions, his mother changed his birth date to 2. September 1. 94. 8, which is what remains on his passport.

The Christian Woo family, faced with persecution during Mao Zedong's early anti- bourgeois purges after the communist revolution in China, fled to Hong Kong when he was five.[4][5]: xv, 3. Impoverished, the Woo family lived in the slums at Shek Kip Mei. His father was a teacher, though rendered unable to work by tuberculosis, and his mother was a manual laborer on construction sites.[6] The family was rendered homeless by the big Shek Kip Mei fire of 1. Charitable donations from disaster relief efforts enabled the family to relocate; however, violent crime had by then become commonplace in Hong Kong housing projects.

At age three he was diagnosed with a serious medical condition. Following surgery on his spine, he was unable to walk correctly until eight years old, and as a result his right leg is shorter than his left leg.[7] His Christian background shows influences in his films.[8] As a young boy, Woo had wanted to be a Christian minister.

He later found a passion for movies influenced by the French New Wave especially Jean- Pierre Melville.[3] Woo has said he was shy and had difficulty speaking, but found making movies a way to explore his feelings and thinking and would "use movies as a language".[3]The local cinema would prove a haven of retreat. Woo found respite in musical films, such as The Wizard of Oz and in American Westerns. He has stated the final scene of Butch Cassidy and the Sundance Kid made a particular impression on him in his youth: the device of two comrades, each of whom fire pistols from each hand, is a recurrent spectacle later found in his own work. Woo married Annie Woo Ngau Chun- lung in 1. He has lived in the United States since 1. Hong Kong career[edit]In 1. Woo was hired as a script supervisor at Cathay Studios.

In 1. 97. 1, he became an assistant director at Shaw Studios. His directorial debut in 1. The Young Dragons (鐵漢柔情, Tiě hàn róu qíng).

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In the Kung fuaction genre, it was choreographed by Jackie Chan and featured dynamic camera- work and elaborate action scenes. The film was picked up by Golden Harvest Studio where he went on to direct more martial arts films. He later had success as a comedy director with Money Crazy (發錢寒, Fā qián hàn) (1. Hong Kong comedian Ricky Hui. By the mid- 1. 98. Woo was experiencing occupational burnout. Several of his films were commercial disappointments, and he felt a distinct lack of creative control.

It was during this period of self- imposed exile that director/producer Tsui Hark provided the funding for Woo to film a longtime pet project, A Better Tomorrow (1. The story of two brothers—one a law enforcement officer, the other a criminal—the film was a financial blockbuster. A Better Tomorrow became a defining achievement in Hong Kong action cinema[9] for its combination of emotional drama, slow- motion gunplay, and gritty atmospherics. Its signature visual device of two- handed, two- gunned shootouts within confined quarters—often referred to as "gun fu" was novel, and its diametrical inversion of the "good- guys- bad guys" formula in its characterization would influence later American films. Woo would make several more Heroic Bloodshed films in the late 1. Chow Yun- Fat. These violent gangsterthrillers typically focus on men bound by honor and loyalty, at odds with contemporary values of impermanence and expediency. The protagonists of these films, therefore, may be said to present a common lineage with the Chinese literary tradition of loyalty among generals depicted in classics such as "Romance of the Three Kingdoms".

Woo gained international recognition with the release of The Killer, which became the most successful Hong Kong film in American release since Bruce Lee's Enter the Dragon (1. Woo an American cult following.

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Bullet in the Head followed a year later failed to find an audience that accepted its political undertones, and failed to recoup its massive budget. His last Hong Kong film before emigrating to the United States was Hard Boiled (1. Most notable of its numerous action scenes is a 3. One particular long take follows two characters for exactly 2 minutes and 4. On the Criterion DVD and laserdisc, this chapter is referenced as "2 minutes, 4.

The film was considerably darker than most of Woo's previous films, depicting a police force nearly helpless to stop the influx of gangsters in the city, and the senseless slaughter of innocents. As a result, it did not match the success of his other films. John Woo: Interviews (ISBN 9. Woo by editor Robert K.

Elder, which documents the years 1. Woo’s early career in working on comedies and kung fu films (in which he gave Jackie Chan one of his first major film roles), to his gunpowder morality plays in Hong Kong. American career[edit]An émigré in 1. Universal Studios to direct Jean- Claude Van Damme in Hard Target.

As characteristics of other foreign national film directors confronted the Hollywood environment, Woo was unaccustomed to pervasive management concerns, such as limitations on violence and completion schedules. When initial cuts failed to yield an "R" rated film, the studio assumed control of the project and edited footage to produce a cut "suitable for American audiences". A "rough cut" of the film, supposedly the original unrated version, is still circulated among his admirers. A three- year hiatus saw Woo next direct John Travolta and Christian Slater in Broken Arrow. A frenetic chase- themed film, the director once again found himself hampered by studio management and editorial concerns.

Despite a larger budget than his previous Hard Target, the final feature lacked the trademark Woo style. Public reception saw modest financial success. Reluctant to pursue projects which would necessarily entail front- office controls, the director cautiously rejected the script for Face/Off several times until it was rewritten to suit him.

The futuristic setting was changed to a contemporary one.) Paramount Pictures also offered the director significantly more freedom to exercise his speciality: emotional characterisation and elaborate action. A complex story of adversaries—each of whom surgically alters their identity—law enforcement agent John Travolta and terrorist Nicolas Cage play a cat- and- mouse game, trapped in each other's outward appearance. Face/Off opened in 1. Grosses in the United States exceeded $1. The Girl In The Photographs Online Putlocker. Face/Off was also nominated for an Academy Award in the category Sound Effects Editing (Mark Stoeckinger) at the 7. Academy Awards. In 2. Mr. Woo directed a television pilot entitled The Robinsons: Lost in Space for The WB Television Network, based on the 1.

Lost in Space. The pilot was not purchased, although bootleg copies have been made available by fans. John Woo has made three additional films in Hollywood: Mission: Impossible 2, Windtalkers and Paycheck. Mission: Impossible 2 was the highest- grossing film in America in 2.