crutching tiger hidden dragon spring and fall

Video: Michelle Yeoh on 'Crouching Tiger Hidden Dragon: Sword of Destiny' (03:52) Michelle appeared on the KTLA (Los Angeles) Morning News on Monday:

According to 'USA Today', there are surprises for Crouching Tiger fans: Netflix viewers can chose an English version, while the IMAX version is in Mandarin Chinese (just like the original). USA Today: Michelle Yeoh to Donny Yen: 'No touching' (00:22)Ĭrouching Tiger, Hidden Dragon: Sword of Destiny opens in the U.S. USA Today: Michelle Yeoh: Trust important in staging 'Crouching Tiger' stunts (01:16) Hollywood Reporter: 'Crouching Tiger, Hidden Dragon' Sequel to Play in 15 or Fewer Imax Theaters in U.S.Ĭomicbook: Crouching Tiger Hidden Dragon 2 Opens To $21M in China USA Today: Michelle Yeoh flies back to 'Crouching Tiger, Hidden Dragon' Stuff: Michelle Yeoh discusses her NZ-shot Crouching Tiger sequel experience Video: Exclusive Interview: Michelle Yeoh Talks Crouching Tiger, Hidden Dragon: Sword Of Destiny (10:17) Netflix video: Crouching Tiger, Hidden Dragon: Sword of Destiny - Trailer 3 (01:32) (3) Roger Yuan (Iron Crow) and Harry Shum Jr. (1) Natasha Liu Bordizzo as Snow Vase (2) Donnie Yen (Silent Wolf) and Jason Scott Lee (Hades Dai) Michelle Yeoh as Yu Shu Lien in Crouching Tiger, Hidden Dragon: Sword of Destiny Principal Filming: July 28 - Oct 17, 2014, New Zealand Producers: Harvey Weinstein, Peter Berg, Sarah AubreyĮxecutive Producers: Morten Tyldum, Ralph Winter, Taihe Ubiquitous Culture Media Co.,Ltd, China Film Co.,Ltd Production Companies: The Weinstein Company, Netflix, Pegasus & If at the end, someone says of the book, “It’s as good as the film,” then I’ll be delighted.Crouching Tiger, Hidden Dragon: Sword Of Destiny (a.k.a.

Writing this book was in many ways a homecoming for me, and a homage as well to a place I have loved as well as my home. It was fabulous to go back to China and play with the landscapes, characters and descriptions. I had Tan Dun’s brilliant theme music on repeat for hours as I wrote, and I went back to all the old Chinese masters like Wang Wei and Du Fu to get the right way of thinking, feeling and emoting. It wasn’t so much making the book characters look like the “real” life ones, as making sure the descriptions didn’t clash. I started writing the novel before filming started, but I was very conscious all along that it would have to tie in with the film, so was very diligent keeping up with news from the studio as they found various actors to fill the key roles. But I found the collaborative nature of this, working in a sense with two writers looking over my shoulder – John Fusco, who wrote the script, and Wang Dulu himself – a real pleasure. I’d never worked with anything more than a hazy outline of the way ahead and I’d never planned a novel almost scene by scene, or known the ending before I got there. It is a semi-fantasy setting, with strong historical roots, in many ways similar to Game of Thrones, where fantastical things can happen but most of the time the laws of the world are the same as we live in now.Īs a writing project, though, it exploded what I knew about writing. is set in a period of Chinese history that is both familiar and foreign. All changed when I sat down to read the script. Three of my first four books were set in either modern or Tang Dynasty China, and I thought my China writing days were over. But I went back to the whole Iron Crane Series, originally five books, and tried to bring parts of the story back that had been cut in the making of both films. One was that the story had been altered for the original film, meaning there were characters who died in that film who did not die in the books.

A simple translation of his work was not possible for a number of reasons. My first job was to become an expert on the work of Wang Dulu. Novels and films are very different mediums so I knew this book would have to stand on its own. “You’re the first foreigners to visit my village since the Japanese left in 1945,” she told us. She lived in a traditional Chinese compound, and her father had one light bulb, and followed us about from room to room, unscrewing it and screwing it in with great ceremony. I remember cycling 30 miles (people used to cycle in China, you know) to the house of one student whose village had just got electricity. In the ’90s there were still parts of China that had changed little since the Communist revolution in 1949, or even the fall of the Qing Dynasty in 1911.

In fact I’ve spent most of my adult life in China, mostly in small rural areas, and it was those experiences that I drew on to bring this novel to life. I certainly knew China well, having landed in the small rural town of Shanxi Province in the winter of 1992, fresh from university. “China’s your second home,” she said to me. Not entirely true, but there wasn’t a long list of people, and I knew the agent of the Wang Dulu estate, and she’d suggested me.

Crutching tiger hidden dragon spring and fall