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開畫日期 Release Date   
片長（分鐘） Running Time (Min.)  
級別 Category  
上映戲院（首週） Cinema Line-Up  (First Week)  

超 強 班 底 組 合

導 演 ：     基 斯 拿 漢 (Chris Nahon)      

監 製 ：

洛 比 桑 (Luc Besson) 〈 這 個 殺 手 不 太 冷 〉 、 〈 第 五 元 素 〉 、 〈 極 速 的 士 〉 、 〈 墮 落 花 〉  
李 連 杰 (Jet Li) 〈 轟 天 炮 4 〉 、 〈 致 命 英 雄 〉 、 〈 黃 飛 鴻 I,II,III 〉 、 〈 少 林 寺 〉  
夏 碧 華 達 士 (Happy Walters) 〈 火 拼 時 速 〉 、 〈 奪 命 狂 呼 2 〉  
史 提 芬 查 士 文 (Steven Chasman)  

編 劇 ：

洛 比 桑 (Luc Besson)  

羅 拔 麥 卡 文 (Robert Mark Karmen)

 〈 第 五 元 素 〉 、 〈 轟 天 炮 3 〉  

攝 影 ：

費 利 亞 布 加 斯 (Thierry Arbogast, AFC) 〈 第 五 元 素 〉 、 〈 愛 在 天 地 蒼 茫 時 〉 兩 屆 法 國 電 影 攝 影 大 獎  
剪 接 ： 馬 可 基 夫 (Marco Cave)  
原 創 配 樂 ： 奇 勒 岩 士 唐 (Craig Armstrong)

〈 致 命 英 雄 〉 配 樂 大 師 ， 曾 兩 次 奪 得 奧 斯 卡 及 威 尼 斯 電 影 配 音 獎 項

 

音 響 設 計 ：

雲 遜 杜 利 (Vincent Tulli) 〈 極 速 的 士 〉 、 〈 聖 女 貞 德 〉 兩 屆 法 國 電 影 最 佳 音 響 大 獎  
製 作 設 計 ： 積 葵 布 諾 亞 (Jacques Bufnoir) 憑 〈 情 證 今 生 〉 奪 法 國 電 影 製 作 大 獎  

原 創 故 事 ：

李 連 杰 (Jet Li)  

聯 合 演 出 ：

李 連 杰 (Jet Li)  

碧 姬 芳 達 (Bridget Fonda)

 〈 教 父 三 集 〉 、 〈 危 險 關 係 〉 金 球 提 名 女 星  

德 基 卡 奧 (Tcheky Karyo)

 〈 鐵 金 鋼 之 金 眼 睛 〉 、 〈 孤 軍 雄 心 〉  

楊 歷 (Ric Young)

〈 再 戰 邊 緣 〉 、 〈 西 藏 七 年 〉 、 〈 驚 世 謊 言 - 尼 古 遜 〉  
麥 斯 賴 仁 (Max Ryan)  
羅 倫 斯 阿 士 理 (Laurence Ashley)  

2001 洛 比 桑 創 造 全 新 李 連 杰
龍 捲 全 球 ！

兩 大 巨 星 親 臨 香 江 　 暑 期 片 霸 盛 況 空 前

〈 這 個 殺 手 不 太 冷 〉 、 〈 第 五 元 素 〉 金 牌 導 演 洛 比 桑 (Luc Besson) 破 天 荒 夥 拍 〈 轟 天 炮 4 〉 武 打 巨 星 李 連 杰 (Jet Li) 及 〈 變 種 特 攻 〉 動 作 導 演 元 奎 (Cory Yuen) ， 創 造 荷 李 活 電 影 最 具 爆 炸 性 的 新 組 合 -- 〈 猛 龍 戰 警 〉 。 洛 比 桑 今 次 擔 任 監 製 和 編 劇 ， 李 連 杰 亦 首 次 兼 任 監 製 、 主 演 及 提 供 電 影 原 創 故 事 ； 洛 比 桑 極 具 氣 派 的 歐 陸 風 格 配 合 李 連 杰 快 如 閃 電 又 充 滿 勁 度 的 中 國 功 夫 ， 可 謂 影 壇 一 大 突 破 ， 保 證 帶 給 全 球 觀 眾 一 個 全 新 震 撼 感 覺 ！

監 製 洛 比 桑 無 論 在 形 象 或 性 格 上 都 把 李 連 杰 改 頭 換 面 ， 重 新 塑 造 ， 實 行 以 超 酷 、 超 勁 、 超 猛 來 重 新 演 繹 。 動 作 導 演 元 奎 亦 特 意 為 李 連 杰 設 計 了 全 新 致 命 武 打 招 式 ， 無 論 是 飛 拳 、 踢 腿 或 雙 節 棍 ， 全 都 拳 拳 到 肉 ， 下 下 應 棍 ， 多 場 槍 戰 場 面 更 是 一 絕 ， 令 觀 眾 喘 不 過 氣 來 。 在 拍 攝 場 地 方 面 ， 除 了 在 巴 黎 著 名 景 點 艾 菲 爾 鐵 塔 及 塞 納 河 實 地 取 景 外 ， 更 獲 准 深 入 當 地 警 方 高 度 防 衛 重 地 拍 攝 ， 實 在 難 能 可 貴 。 〈 猛 龍 戰 警 〉 早 前 在 康 城 影 片 市 場 首 映 了 六 分 鐘 動 作 精 華 片 段 ， 震 撼 全 場 ， 亦 吸 引 不 少 國 際 買 片 商 垂 青 和 傳 媒 爭 相 報 導 ， 李 連 杰 魅 力 可 見 一 斑 。 再 加 上 洛 比 桑 這 法 籍 導 演 的 功 力 ， 相 信 此 片 在 暑 假 一 定 「 大 展 拳 腳 」 ！

〈 猛 龍 戰 警 〉 的 製 作 空 前 絕 後 ， 就 連 久 未 露 面 的 李 連 杰 及 洛 比 桑 都 將 於 七 月 初 親 臨 香 江 ， 並 舉 行 一 連 串 龐 大 宣 傳 活 動 ， 包 括 一 個 全 亞 洲 區 的 記 者 招 待 會 以 及 盛 大 堂 煌 的 首 映 禮 ， 為 本 片 造 勢 ， 可 見 二 人 對 〈 猛 〉 片 特 別 重 視 ， 各 位 密 切 留 意 這 股 「 龍 捲 風 」 ！


〈 猛 龍 戰 警 〉 這 部 由 〈 這 個 殺 手 不 太 冷 〉 、 〈 第 五 元 素 〉 金 牌 導 演 洛 比 桑 (Luc Besson) 破 天 荒 夥 拍 〈 轟 天 炮 4 〉 動 作 巨 星 李 連 杰 (Jet Li) 及 〈 變 種 特 攻 〉 動 作 導 演 元 奎 (Cory Yuen) 的 暑 期 動 作 片 霸 ， 已 鐵 定 8 月 2 日 於 各 大 戲 院 正 式 上 演 。 早 前 主 角 李 連 杰 、 監 製 洛 比 桑 和 史 提 芬 查 士 文 親 臨 香 港 舉 行 了 一 連 串 的 宣 傳 活 動 ， 果 然 引 起 一 陣 龍 捲 全 球 的 熱 潮 。

洛 比 桑 擔 任 此 片 監 製 和 編 劇 ， 繼 〈 這 個 殺 手 不 太 冷 〉 及 〈 第 五 元 素 〉 後 ， 再 次 監 製 槍 戰 動 作 片 ， 在 形 格 上 把 李 連 杰 改 頭 換 面 ， 重 新 塑 造 ， 演 繹 超 酷 、 超 勁 、 超 猛 新 形 象 。 動 作 導 演 元 奎 亦 特 意 為 李 連 杰 設 計 了 全 新 致 命 武 打 招 式 ， 無 論 是 飛 拳 、 踢 腿 或 雙 節 棍 ， 全 都 硬 橋 硬 馬 ， 真 功 夫 上 陣 ， 令 觀 眾 喘 不 過 氣 來 。

整 套 電 影 特 別 動 用 了 逾 50 位 由 世 界 各 地 羅 致 的 武 術 高 手 拍 攝 ， 當 中 包 括 柔 道 、 空 手 道 、 拳 擊 等 ， 可 謂 高 手 雲 集 ， 國 際 搏 擊 。 因 為 洛 比 桑 與 李 連 杰 都 認 為 現 今 荷 李 活 風 行 武 打 動 作 場 面 的 電 影 ， 但 大 多 運 用 了 很 多 電 腦 特 技 及 「 威 也 」 (wire) 協 助 ， 例 如 ： 〈 變 種 特 攻 〉 、 〈 盜 墓 迷 城 〉 、 〈 神 探 俏 嬌 娃 〉 … 未 能 真 實 表 現 人 類 的 極 限 ， 於 是 彼 此 就 構 思 出 這 部 全 無 「 威 也 」 的 動 作 電 影 ， 實 行 用 最 直 接 的 打 鬥 去 拍 攝 。 李 連 杰 更 表 示 片 中 的 動 作 非 一 朝 一 夕 可 練 成 ， 所 有 演 員 必 須 是 學 武 之 人 ， 一 個 動 作 隨 時 練 上 數 年 。

就 戲 中 一 幕 李 連 杰 於 酒 店 的 桌 球 室 打 鬥 便 是 一 個 好 例 子 ， 李 連 杰 手 一 按 ， 腳 一 踢 ， 桌 球 便 飛 向 對 手 的 頭 顱 ， 簡 直 令 人 懾 服 ， 真 難 以 想 像 李 可 在 不 用 「 威 也 」 下 做 到 這 般 高 難 度 的 動 作 。 戲 中 的 所 有 打 鬥 、 槍 戰 及 爆 破 場 面 全 都 由 演 員 親 身 上 陣 ， 無 任 何 替 身 取 代 拍 攝 ， 無 任 何 電 腦 技 巧 ， 可 見 真 是 硬 橋 硬 馬 真 功 夫 ， 絕 不 欺 場 。

今 次 〈 猛 龍 戰 警 〉 的 幕 後 製 作 更 是 超 強 組 合 ， 因 為 多 位 製 作 人 員 都 是 洛 比 桑 系 列 電 影 的 舊 班 底 。 繼 有 〈 第 五 元 素 〉 編 戲 羅 拔 麥 卡 文 、 〈 這 個 殺 手 不 太 冷 〉 攝 影 費 利 亞 布 加 斯 及 〈 極 速 的 士 〉 音 響 設 計 雲 遜 杜 利 ， 大 家 互 有 默 契 拍 攝 工 序 相 得 益 彰 。 在 揀 選 場 面 拍 攝 方 面 ， 亦 是 一 項 創 舉 ， 因 為 法 國 政 府 大 表 支 持 洛 比 桑 的 電 影 拍 攝 ， 所 以 攝 製 隊 伍 可 在 巴 黎 著 名 景 點 凱 旋 門 、 艾 菲 爾 鐵 塔 及 塞 納 河 實 地 取 景 。 更 破 例 獲 准 於 塞 納 河 河 面 拍 攝 遊 輪 爆 炸 鏡 頭 ， 該 場 戲 更 是 〈 猛 龍 戰 警 〉 的 高 潮 所 在 ， 李 連 杰 以 一 敵 數 十 個 警 方 及 黑 幫 的 追 捕 ， 箇 中 劇 情 ， 精 采 萬 分 。 就 連 法 國 警 方 的 高 度 防 衛 重 地 亦 可 入 內 拍 攝 ， 可 見 洛 比 桑 在 法 國 有 一 定 的 影 響 力 。

至 於 動 作 導 演 元 奎 與 李 連 杰 可 說 是 親 密 戰 友 ， 因 為 元 奎 早 在 〈 方 世 玉 1 、 2 〉 、 〈 給 爸 爸 的 信 〉 時 彼 此 已 合 作 無 間 ， 其 後 揚 威 荷 李 活 的 〈 轟 天 炮 4 〉 及 〈 致 命 英 雄 〉 亦 是 元 奎 的 作 品 之 一 。 李 連 杰 的 每 一 個 動 作 ， 元 奎 都 瞭 如 指 掌 ， 所 以 在 設 計 武 打 特 技 及 動 作 上 ， 更 把 李 連 杰 的 「 武 功 」 發 揮 到 極 點 ， 動 作 場 面 亦 更 加 狠 勁 。

　 　 李 連 杰 早 前 接 受 美 國 傳 媒 所 說 ， 想 給 予 觀 眾 另 一 番 感 受 及 多 些 選 擇 ， 亦 想 滿 足 擁 躉 們 觀 看 真 功 夫 的 慾 望 ， 所 以 今 次 不 靠 任 何 電 腦 特 技 、 不 靠 任 何 「 威 也 」 ， 而 且 全 部 親 身 上 陣 拍 攝 。 縱 使 他 於 拍 此 片 之 前 已 有 七 處 傷 患 ， 包 括 ： 腿 、 手 肘 、 腰 … 但 都 堅 持 拍 攝 到 底 ， 可 見 李 對 本 片 重 視 之 極 。 〈 猛 龍 戰 警 〉 的 原 創 故 事 由 李 連 杰 個 人 構 思 ， 但 原 來 由 故 事 初 型 到 完 成 整 份 劇 本 ， 是 洛 比 桑 、 李 連 杰 及 羅 拔 麥 卡 文 ， 齊 齊 閉 關 一 星 期 才 寫 成 ， 每 日 定 時 「 度 橋 」 8 個 鐘 。 李 連 杰 一 邊 講 ， 羅 拔 麥 卡 文 一 邊 寫 ， 而 洛 比 桑 卻 一 邊 改 ， 三 個 大 男 人 就 在 不 斷 爭 拗 中 完 成 這 傑 作 。


李 連 杰 （ JET LI ）
〈 猛 龍 戰 警 〉 監 製 、 主 演 、 原 創 故 事

李 連 杰 於 出 生 於 中 國 北 京 ， 8 歲 便 入 讀 北 京 業 餘 運 動 員 學 院 ， 主 修 中 國 武 術 。 3 年 後 ， 首 次 贏 取 北 京 武 術 錦 標 賽 。 之 後 一 直 跟 隨 北 京 武 術 隊 作 世 界 性 的 巡 迴 表 演 ， 更 於 1974 年 應 美 國 白 宮 之 邀 請 ， 於 尼 克 遜 總 統 面 前 表 演 雙 人 武 術 對 打 ， 被 視 為 最 高 榮 譽 。 其 後 ， 連 續 4 年 衛 冕 中 國 全 國 武 術 錦 標 賽 冠 軍 ， 堪 稱 前 無 古 人 ！ 奠 定 其 中 國 武 術 界 的 超 級 巨 星 地 方 。

17 歲 時 ， 正 式 接 拍 張 鑫 焱 導 演 的 第 一 套 武 打 電 影 〈 少 林 寺 〉 ， 一 炮 而 紅 ， 其 後 亦 接 拍 多 套 以 中 國 武 術 為 題 材 的 電 影 ， 紅 透 中 、 港 、 台 ， 亦 掀 起 一 遍 武 打 片 熱 潮 。 1988 年 拍 攝 第 一 套 港 產 電 影 〈 龍 在 天 涯 〉 ， 為 香 港 電 影 打 開 新 的 一 頁 。 隨 後 的 〈 黃 飛 鴻 〉 和 〈 方 世 玉 〉 令 他 在 香 港 電 影 武 打 明 星 行 列 佔 一 席 位 。 〈 精 武 英 雄 〉 及 〈 黑 俠 〉 更 令 他 載 譽 全 球 。 1998 年 接 拍 第 一 套 荷 李 活 電 影 〈 轟 天 炮 4 〉 ， 破 天 荒 飾 演 反 派 及 超 卓 武 打 動 作 技 驚 四 座 ， 巨 星 鋒 芒 完 全 壓 倒 主 角 米 路 吉 遜 。 及 後 以 第 一 男 主 角 身 分 主 演 〈 致 命 英 雄 〉 也 獲 好 評 。 在 影 迷 強 烈 要 求 下 ， 李 連 杰 誓 言 再 向 高 難 度 挑 戰 ， 甚 至 不 惜 推 掉 〈 ２ ２ 世 紀 殺 人 網 絡 〉 續 集 ， 也 要 親 手 炮 製 一 部 不 用 威 也 、 不 靠 特 技 的 超 感 官 動 作 猛 片 〈 猛 龍 戰 警 〉 ， 今 次 更 首 次 兼 任 監 製 、 主 演 及 提 供 原 創 故 事 。

碧 姬 芳 達 （ Bridget Fonda ）

出 身 演 藝 世 家 的 碧 姬 芳 達 ， 祖 父 是 已 故 著 名 影 星 亨 利 芳 達 ， 父 親 是 演 員 兼 導 演 彼 得 芳 達 ， 其 家 族 中 最 出 名 的 成 員 當 然 是 姑 姑 珍 芳 達 和 碧 姬 芳 達 。 憑 住 天 賦 非 凡 魅 力 與 出 眾 演 技 ， 在 〈 危 險 關 係 〉 、 〈 橫 財 3 分 驚 〉 、 〈 疊 影 狂 花 〉 、 〈 教 父 第 三 集 〉 、 〈 單 身 一 族 〉 及 〈 小 活 佛 〉 等 名 片 ， 一 次 又 一 次 的 帶 給 觀 眾 驚 喜 。 碧 姬 芳 達 自 認 是 洛 比 桑 的 超 級 影 迷 ， 早 年 主 演

的 〈 舐 血 狂 花 〉 ， 正 是 洛 比 桑 傑 作 〈 墮 落 花 〉 的 荷 里 活 重 拍 版 本 ； 此 番 獲 邀 演 出 由 他 監 製 、 編 劇 的 〈 猛 龍 戰 警 〉 ， 自 不 會 放 過 這 個 跟 偶 像 合 作 的 難 得 機 會 ， 甚 至 乎 連 劇 本 也 不 用 看 就 馬 上 答 應 了 。

德 基 卡 奧 （ Tcheky Karyo ）

法 國 性 格 影 星 德 基 卡 奧 ， 參 演 過 〈 孤 軍 雄 心 〉 、 〈 發 達 草 〉 、 〈 新 鐵 金 剛 之 金 眼 睛 〉 、 〈 不 知 不 覺 愛 上 你 〉 、 〈 重 案 夢 幻 組 〉 、 〈 哥 倫 布 傳 〉 及 電 視 劇 集 〈 登 月 之 旅 〉 等 。 〈 猛 龍 戰 警 〉 是 繼 〈 墮 落 花 〉 及 〈 聖 女 貞 德 〉 之 後 ， 德 基 卡 奧 與 洛 比 桑 的 第 三 度 合 作 。

洛 比 桑 （ Luc Besson ）
〈 猛 龍 戰 警 〉 監 製 、 編 劇

洛 比 桑 17 歲 已 製 作 第 一 套 實 驗 電 影 ， 其 後 於 法 國 電 影 公 司 參 與 拍 攝 工 作 。 1983 年 正 式 拍 攝 個 人 第 一 套 黑 白 電 影 〈 最 後 決 戰 〉 ， 便 連 續 贏 取 超 過 20 個 世 界 性 的 電 影 獎 項 。 1990 年 進 軍 荷 李 活 ， 憑 〈 墮 落 花 〉 在 電 影 界 打 響 名 堂 ， 其 風 格 嶄 新 強 烈 ， 令 世 界 各 地 電 影 人 著 迷 ， 爭 取 模 仿 ， 美 國 版 有 碧 姬 芳 達 〈 舐 血 狂 花 〉 ， 香 港 版 有 梁 琤 〈 黑 貓 〉 。 94 年 再 憑 〈 這 個 殺 手 不 太 冷 〉 、 〈 第 五 元 素 〉 震 驚 全 球 ， 大 獲 好 評 ， 各 地 票 房 大 收 旺 場 。 其 充 滿 格 調 及 歐 陸 風 采 的 拍 攝 手 法 更 享 譽 全 球 ， 其 他 作 品 包 括 有 〈 亞 蘭 蒂 斯 〉 、 〈 極 速 的 士 〉 等 。

基 斯 拿 漢 (Chris Nahon)
〈 猛 龍 戰 警 〉 導 演

三 十 二 歲 的 基 斯 拿 漢 生 於 法 國 瓦 茲 河 谷 省 , 15 歲 赴 巴 黎 學 習 藝 術 ， 19 歲 時 當 上 業 餘 攝 影 師 ， 並 初 次 製 作 短 片 。 他 在 二 十 五 歲 時 創 立 製 作 公 司 V.A.M.O.S., 接 拍 廣 告 ， 錄 影 帶 及

短 片 。 其 後 製 作 公 司 轉 向 電 影 後 期 製 作 工 作 方 面 發 展 。 基 斯 擁 有 豐 富 幕 後 創 作 經 驗 ， 洛 比 桑 亦 慧 眼 識 英 雄 ， 邀 請 他 執 導 〈 猛 龍 戰 警 〉 。

元 奎 (Cory Yuen)
〈 猛 龍 戰 警 〉 動 作 導 演

元 奎 是 于 占 元 創 辦 著 名 的 中 國 戲 劇 學 院 的 畢 業 生 ， 也 是 " 七 小 福 " 的 成 員 之 一 ， 其 他 成 員 包 括 成 龍 、 洪 金 寶 和 元 彪 。 七 十 年 代 後 期 ， 元 和 其 他 " 七 小 福 " 成 員 轉 向 電 影 界 發 展 ， 往 後 二 十 多 年 間 ， 曾 擔 任 超 過 三 十 部 電 影 的 武 術 指 導 ， 並 曾 當 過 導 演 ， 演 員 ， 編 劇 ， 監 製 以 及 武 術 設 計 ， 具 有 豐 富 幕 後 工 作 經 驗 。 元 拍 了 多 部 膾 炙 人 口 的 港 產 片 ， 當 中 包 括 李 連 杰 主 演 的 〈 方 世 玉 〉 及 〈 方 世 玉 續 集 〉 ， 〈 中 南 海 保 鑣 〉 ， 〈 鼠 膽 龍 威 〉 及 〈 給 爸 爸 的 信 〉 。 他 和 李 連 杰 在 荷 里 活 電 影 〈 轟 天 炮 4 〉 及 〈 致 命 英 雄 〉 中 再 度 碰 頭 ， 今 次 兩 位 老 拍 檔 再 度 合 作 ， 更 加 相 得 益 彰 。

李 連 杰 飾 演 中 國 特 工 鍾 尼 ， 孤 軍 遠 赴 巴 黎 執 行 秘 密 任 務 ， 卻 慘 遭 當 地 警 官 李 察 ( 德 基 卡 奧 飾 ) 出 賣 ， 墮 入 驚 人 殺 局 ， 被 誤 會 為 謀 殺 嫌 疑 犯 。 連 番 被 警 方 及 黑 幫 追 殺 下 ， 鍾 尼 被 逼 躲 藏 於 唐 人 街 ， 其 間 巧 遇 被 李 察 幕 後 操 縱 的 妓 女 謝 茜 ( 碧 姬 芳 達 飾 ) ， 李 察 的 爪 牙 對 謝 茜 百 般 凌 辱 ， 令 鍾 尼 頓 起 憐 閔 之 心 幫 她 一 把 ， 正 因 如 此 鍾 尼 行 蹤 被 發 現 ， 整 條 唐 人 街 被 受 牽 連 。 於 是 鍾 尼 就 隻 身 闖 入 李 察 的 犯 罪 集 團 ， 展 開 反 擊 戰 及 拯 救 謝 茜 。 整 個 局 勢 變 得 更 加 複 雜 ， 一 場 驚 心 動 魄 、 鬥 智 鬥 力 的 地 下 戰 役 速 即 展 開 ， 勢 必 掀 起 一 陣 腥 風 血 雨 ！


【 故 事 簡 介 】

李 連 杰 飾 演 中 國 特 工 鍾 尼 ， 孤 軍 遠 赴 巴 黎 執 行 秘 密 任 務 ， 卻 慘 遭 當 地 拍 檔 李 察 ( 德 基 卡 奧 飾 ) 出 賣 ， 墮 入 驚 人 殺 局 ， 更 成 為 謀 殺 嫌 疑 犯 。 在 警 方 及 黑 幫 雙 雙 追 殺 下 ， 李 連 杰 進 退 兩 難 ， 惟 有 自 行 尋 找 幕 後 黑 手 ， 期 間 邂 逅 李 察 幕 後 操 縱 的 妓 女 謝 茜 ( 碧 姬 芳 達 飾 ) ， 令 局 勢 變 得 更 加 複 雜 ， 一 場 驚 險 刺 激 、 鬥 智 鬥 力 的 地 下 戰 役 一 觸 即 發 ， 勢 必 掀 起 一 陣 腥 風 血 雨 ！

 

Martial arts and cinema action superstar Jet Li and visionary filmmaker Luc Besson (The Professional, The Fifth Element) join forces on KISS OF THE DRAGON. Li plays Liu Jiuan, China's top government agent, who arrives in Paris from Shanghai to carry out a sensitive, top-secret mission. Liu is in Paris to assist Richard (Tcheky Karyo), an unorthodox police official with a small army to back him up. The mission goes horribly wrong, as the man Liu had come to help, betrays him.

Liu becomes trapped in a vast and deadly conspiracy - accused of murder he did not commit, and on the run in a city he doesn't know. With nowhere to turn, Liu is thrown together with an American woman, Jessica (Bridget Fonda), who Richard has forced into prostitution. As Jessica and Liu go up against the cunning and ruthless adversary who set their respective traps in motion, Liu makes a promise to Jessica that could compromise his career - and even his life.

Twentieth Century Fox presents a Europa Corp. production, in association with Quality Growth International Ltd, Current & Immortal Entertainment and Canal +, starring Jet Li, Bridget Fonda and Tcheky Karyo in KISS OF THE DRAGON. Chris Nahon directs the film, from a screenplay by Luc Besson & Robert Mark Kamen, based on a story by Jet Li. Luc Besson, Jet Li, Steven Chasman and Happy Walters are the producers. The director of photography is Thierry Arbogast, AFC; the production designer is Jacques Bufnoir, and the editor is Marco Cave. The action director is Cory Yuen, and the sound designer is Vincent Tulli. Original score is by Craig Armstrong, and the co-producer is Bernard Grenet.

For years, Jet Li has thrilled movie audiences - first in Hong Kong, then around the world - with his martial and acrobatic skills. After bursting on to the Hollywood scene with his English-language debut, Lethal Weapon IV, and the box-office hit Romeo Must Die, Li was ready to tackle an even more ambitious project. He envisioned a dramatic film that combined his trademark martial arts and action heroics with strong, recognizable characters.

Li came up with the idea of a government agent who, despite enormous proficiency and skills, becomes lost in a physical and moral landscape he can't comprehend. "I wasn't interested in making a movie about a big action hero who saves the day," Li explains. "My character, Liu Jiuan, is one of China's best agents, with tremendous abilities in martial arts and acupuncture. He's determined and driven. But he's not a superman; he's human. When his mission goes wrong, Liu initially doesn't know how to handle things."

When Liu meets Jessica, things become even more complicated. "My character doesn't know how to deal with her," Li comments. "At first he finds her annoying, then her pities her; finally he decides to help her. But his government won't let him. So does he keep his word or follow orders? For the first time, Liu has to take care of someone else, and be more than a fighter. He finally grows up.

"Of course, he also finds himself in a lot of action and fights," Li quickly adds with a smile.

To help bring the story, characters and relationships to life, Li turned to one of the world's most acclaimed and visionary filmmakers, Luc Besson. "I loved Luc's films, like The Professional, which combined drama, characters, story and action," Li comments. "I knew he had a special way, even in his thrillers, of focusing on the drama and characters. He tells stories differently than most American filmmakers do."

Besson, recognizing the potential of Li's ideas, came aboard as a producer, bringing his impressive production expertise as well as dramatic skills to the project.

With Li's story in hand, Besson asked screenwriter Robert Mark Kamen to collaborate on the KISS OF THE DRAGON script. The two had known each other for almost ten years, having previously worked together on The Fifth Element. According to Kamen, the writing process was a whirlwind of intensity and creativity. "Luc and I worked nonstop, eight hours a day, for weeks," Kamen recalls. "He has the most unbelievable concentration of anybody I've ever seen, and he just keeps pushing and pushing until he gets what he wants. And as he writes, he edits in his head.

"We have a shorthand where I know exactly what Luc's thinking, and I shape it to that, and then he edits," Kamen continues. "Luc just edits away in his head, and then it's there. I write 'long' and he'll say, 'No, we cut here, here, and here. We just know each other's beats."

Although Kamen was well into the writing before he had the chance to meet Li, the actor's personality and demeanor helped shaped the relationship between Liu Jiuan and Jessica. "We wanted to create a dynamic that was funny, dramatic and had a lot of humanity," Kamen relates. "Jet is the most straightforward and upstanding man I've ever met in my life, and we made Liu the same way. Luc and I asked ourselves what's the most uncomfortable position we could put the character in - besides having half of the Paris police force trying to kill him? And Luc said, 'Oh, it's very simple: she's a prostitute."

Kamen and Li immediately connected when they finally met. Kamen, like Li is a longtime martial arts practitioner, and the two shared many ideas about the Chinese internal arts of Taoism and Buddhism. That connection continued as Li provided specific ideas to the final script. Li even bestowed upon Kamen an honorary Chinese name, the translation of which is "Thunder/Lightning Hands." "Because I write so quickly," Kamen deadpans.

As writing progressed and locations were scouted, Besson began the additional principal casting. For the role of Jessica, he approached Bridget Fonda who, coincidentally, had starred in the American version of Besson's La Femme Nikita, Point of No Return. Fonda jumped at the chance to work with Besson - despite the as-yet-unfinished script and the cloak of secrecy that Besson had enveloped around the project. "I really am a great admirer of Luc's films and especially his female characters," says Fonda. "When I met him, he was very secretive about everything, and gave me only a couple of script pages to read. The next thing I know, he offered the part to me. I really didn't know what the film was about, or who the character was, but I took it on faith."

Fonda says her trust in Besson paid off when she finally did read the script, after arriving in Paris to begin filming. "I thought my character, Jessica, was really interesting - funny, sad and complex at the same time. She's a sweet but misguided person who really doesn't see beyond three feet in front of her at any given moment, and she's pretty much bereft of hope. Her life has turned into a nightmare, and the way she deals with it is to not look at things too closely. She has this strange sort of distance, like a dog that's been out in the rain too long and is grateful for any tiny moment of happiness."

Besson then cast veteran character actor Tcheky Karyo, whom Besson had directed in La Femme Nikita and The Messenger, to play the villainous Richard. Karyo, like Fonda, could not yet read the work-in-progress script. He believed he was in good hands, however. "Having worked with Luc, I knew without even reading the script that he was going to give me a strong character that I could really work on," Karyo points out.

Karyo's faith was also rewarded. Although Richard's evil obsession for power is unambiguous, the role gave Karyo several layers to play. "Richard really moves through a range of emotions," says Karyo, "from over-the-top, kind of expressionistic anger to a minimalism, as Richard plays with people's minds - maybe even being secretly in love with Jessica. I enjoyed going through this twisted character's labyrinth of emotions."

With Karyo, Fonda and, of course, Li signed on, Besson still had one key component missing: the director. Besson had long admired the work of French commercials director Chris Nahon, and thought Nahon could capture the emotion of the story, as well as its technical complexities. Nahon welcomed the opportunity to join Besson and Li in what became a satisfying creative alliance. "Luc and Jet brought great ideas to the production," says Nahon. "Luc has been making films for a long time, and Jet is very familiar with the large-scale action genre. Each of us brought something to the project. We were a team."

Nahon also was in sync with Li and Besson's vision of KISS OF THE DRAGON as both an action and dramatic piece. "The challenge was to make an action film that doesn't bore you between fight scenes," Nahon explains. "For KISS OF THE DRAGON, we wanted a real story and relationship between Jet and Bridget's characters.'

"There's a lot more going on than just action," agrees Fonda. "The dramatic moments and character vulnerabilities also make the action even more exciting, because you care about these people who are risking everything."

The balance of drama and action was critical to the film, the fulcrum being Jet Li. The actor's thespian and martial abilities impressed both cast and filmmakers. "Jet is poetry in motion," Fonda exclaims. "And this is from somebody who grew up on Bruce Lee, so I have an appreciation for kicking butt." Fonda also appreciated Li's many contradictions. "Jet's a combination of shy and strong, sweet yet dangerous, quiet and outspoken."

From the beginning, Karyo was amazed by Li's concentration. "For one scene, Jet put himself in front of me and suddenly his eyes seemed to disappear. You deal with people through their eyes - you catch their personalities and emotions through them - and Jet's just disappeared. I couldn't catch him anymore, so to speak."

Chris Nahon says the great discovery of making his feature film debut was Li's acting prowess. "I was honestly surprised because Jet was such a good actor. Not just a martial artist."

For the film's high-powered fight scenes, Li brought on a team headed by his longtime collaborator Cory Yuen, who serves as KISS OF THE DRAGON's action director. Li, Yuen, Besson and Nahon wanted to make sure that the martial arts scenes heightened the story and characters. They largely eschewed the use of wires and computer effects seen in films such as Crouching Tiger, Hidden Tiger and in The Matrix, opting instead to keep the action grounded and real, similar to street fighting style Li employed in his classic 1994 film Fist of Legend. Fist of Legend is a favorite of the many Jet Li fans who've followed his career, and whose postings on Li's Web site influenced Li's choice of fighting style for KISS OF THE DRAGON. "We went back to the basics," notes Li, "keeping the fighting simple and based more in reality." Liu Jiuan's principal fighting aid are acupuncture needles - healing tools that Liu can turn into a deadly weapon - and which play a key role in the mysterious "kiss of the dragon" revealed at the film's end.

The city of Paris not only figures prominently in this action. Liu's desperate search for clues and his flight from the pursuing authorities take him across the city. "It's almost like a travelogue," jokes Robert Mark Kamen, who, with Besson, made sure the script featured "cameo appearances" by Parisian landmarks, such as the Eiffel Tower, Arc de Triomphe, Place de la Concorde (Paris' largest public square), Basilique du Sacre-Coeur - even the city's "red-light" district, Place Pigalle.

After filming wrapped in Paris, world-renowned musician Craig Armstrong began work on the score, in his native Scotland. Armstrong had recently completed work on Moulin Rouge, an unabashed musical for which Armstrong used big orchestrations. While KISS OF THE DRAGON's big action scenes required what Armstrong calls "orchestral fireworks," he used something very different for the film's more intimate scenes. "Much of the score has a much more chamber feel," featuring more subtle and refined musical ideas. "In many ways, it's the opposite of Moulin Rouge, which was more about huge orchestral statements. KISS OF THE DRAGON is very small, very personal, in certain scenes. It's almost like a theater piece, in a way."

As scoring and other areas of post-production came to a close, director Chris Nahon reflected on KISS OF THE DRAGON's international flavor. "To me, the film is comprised of three different styles," he points out. "There's the Hong Kong style: fast, direct martial arts action, like many of Jet's previous films. Then there's definitely an American style: the scale is quite large, like an American action-adventure film; finally, there's the 'French' element - the more intimate, dramatic scenes between Jet and Bridget.

"I think it can make for a very interesting mix," Nahon concludes.


ABOUT THE CAST

World-renowned martial arts master and Asian film star JET LI (Liu Jiuan, Producer, Story) burst into Hollywood in 1998 with his first English-language film appearance in Lethal Weapon IV. After completing over 25 films in Hong Kong and China, Li took his first role as a villain starring opposite Mel Gibson, Danny Glover, Rene Russo and Chris Rock in the Richard Donner film.

Li has most recently garnered rave reviews for his performance in the box-office success Romeo Must Die. In this modern-day Romeo and Juliet, Li plays "Romeo" to singer Aaliyah Haughton's "Juliet." Produced by Joel Silver, the film blended hip-hop with kung fu, creating a new type of action picture.

Following KISS OF THE DRAGON, Li began production on the action-thriller The One, also starring Delroy Lindo and Jason Stathan. Li portrays a character who travels through hundreds of universes, in hopes of becoming a god - The One. The film is directed by James Wong.

On the horizon is the film First King, which Li will star in and co-produce with Joel Silver. Based on an original idea by Li, the film will combine the suspense, action and thriller elements depicted in the Indiana Jones films and The Mummy. In addition, Li has teamed with Mel Gibson's Icon Productions to produce a martial arts television series entitled Invincible. The series features the ancient martial art of Wushu and spectacularly choreographed action sequences in the Hong Kong filmmaking style.

Born in Beijing, Li began studying the art of Wushu (the genral Chinese term for martial arts) and was enrolled in the Beijing Amateur Sports School at age 8. After three years of extensive training, Li won his first national championship for the Beijing Wushu Team. As part of a world tour in 1974, he had the honor of performing a two-man fight for President Nixon on the White House lawn. For the next four years, Li remained the All-Around National Wushu Champion of China.

Shortly after retiring from the sport, at age 17, Li was offered many motion picture starring roles, beginning his film career with director Chang Hsin Yen in Shaolin Temple. Upon its release, Li was propelled into instant movie stardom, and the film was an enormous success that spawned two sequels. Li subsequently starred in 25 successful Asian films before coming to America.

Li currently resides in Los Angeles with his wife and daughter.

BRIDGET FONDA's (Jessica) recent credits include Monkeybone, Dwight Yoakam's directorial film debut, South of Heaven, West of Hell; the comedic thriller Lake Placid, the upcoming romantic comedy The Whole Shebang and the new comedy Delivering Milo also starring Albert Finney, Campbell Scott, Keith Gordon and Lesley Ann Warren.

Fonda appeared in the critically-acclaimed film A Simple Plan, opposite Bill Paxton and Billy Bob Thornton, and in Quentin Tarantino's Jackie Brown, with Robert DeNiro, Samuel L. Jackson and Michael Keaton.

A self-avowed film fan who loves all movie genres, Fonda has purposely chosen roles in a wide variety of films.

She made her feature debut in Franc Roddam's segment of Aria, a 1988 film composed of short works directed by ten filmmakers. Soon after, she starred in the comedy Shag, with Phoebe Cates, and in 1989, she earned critical acclaim and a Golden Globe nomination as Best Supporting Actress for Scandal, the story of the Profumo Affair which rocked the ruling party of Great Britain in the 1960's.

Fonda's other credits include City Hall, The Road to Wellville, Strapless, The Godfather Part III, Doc Hollywood, Single White Female, and Singles. She also starred in Touch, It Could Happen to You, Little Buddha, Point of No Return and Bodies, Rest and Motion.

On television, Fonda starred in PBS' critically acclaimed Jacob Have I Loved and an episode for HBO's The Edge series, in addition to her Emmy?nominated role in HBO's In the Gloaming, directed by Christopher Reeve.

TCH屮Y KARYO (Richard) appeared in Luc Besson's The Messenger and La Femme Nikita. Additional English-language film credits include The Patriot, Wing Commander, My Life So Far, Addicted to Love, Saving Grace, Goldeneye and Bad Boys, among many others. Karyo co-stars, opposite Nick Nolte and Emir Kusturica in the upcoming caper comedy Double Down, directed by Neil Jordan.

He also performed in Dobermann, King Is Dancing, Crying Freeman, Conquest of Paradise, La Balance, Nostradamus, The Return of Martin Guerre, and Les Nuits de la Pleine Lune.

Karyo's television credits include an episode of the HBO mini-series From the Earth to the Moon, directed by Tom Hanks; and The Band Played On, also for HBO. Born in Turkey, he resides in Paris.


ABOUT THE FILMMAKERS

CHRIS NAHON (Director), 32, was born in Soisy sous Montmorency in the Val D'Oise. At age 15, left his home to attend art school in Paris. At 19, following a stint as a freelance photographer, Nahon directed his first short film, shot in 35mm. Two years later he produced his second short.

At age 25, Nahon started his own production company, V.A.M.O.S., producing and directing commercials, videos and short films. Later, V.A.M.O.S. focused on post-production work while Nahon continued to direct commercials for other production companies.

At 30, Nahon wrote a feature film and slowed down the activities of his company. After directing another short film, he decided to devote his energies to feature film directing. A short time later, he got a call from Luc Besson to direct KISS OF THE DRAGON.

LUC BESSON (Producer, Co-Writer) was born in Paris on March 18, 1959, and spent most of his childhood living in the idyllic settings of various Mediterranean hideaways where his parents worked as diving instructors.

With Besson's surroundings and family influences, it seemed assured that he would embark on a similar maritime career. From the age of 10, after an encounter with a friendly dolphin, Besson was determined to become a maritime biologist, specializing in the study of the species.

Besson studied for this life plan throughout his teens until, at 17, a diving accident prevented him from ever diving again. His long-held dream cut short, Besson redirected his sights, deciding that he would become a filmmaker.

Besson dropped out of school to seek work in the French film industry, and started making his own experimental films in super-8. At the age of 19, he moved to Los Angeles, where he lived for three months working in the American film industry.

In 1983, after three years of experience as an assistant director, Besson made his first feature, Le Dernier Combat. Selected for competition in the Avoriaz Science Fiction Film Festival, the film won two major awards from the festival jury, which included Alan J. Pakula and Jean-Jacques Annaud among its members. It was nominated for a Cesar

Award and went on to win 12 awards around the world.

Besson's second film, Subway, starred Christopher Lambert in a Cesar-winning performance (one of 13 Cesar nominations garnered by the film), as a thief on the run who becomes involved with a fantastic subculture of Parisians living in the city's underground. The film gained Besson an international reputation, and is today regarded

worldwide as a cult classic.

Besson's 1988 film The Big Blue, expressing the dreams of Besson's Mediterranean youth, cast Jean Reno as an Italian diver with an unquenchable love for the sea. Besson's first film to be made in English, boasting an international cast, was distributed in the U.S. in a version that suffered various unauthorized alterations, including a changed ending and to Eric Serra's score. The intact version of Besson's film, nominated for seven Cesars, was a huge success throughout most of the world and is one of the top five films in French history. His original director's cut was released on DVD last year.

Besson's La Femme Nikita was the director's first global sensation, a film that inspired remakes in both the U.S. and Hong Kong. The story of a feral, drug-addicted girl forced to train as a government hit-woman made international stars of leads Anne Parrilaud and Jean Reno, and spawned a new form of thriller: the neo-noir action film. This influence still reverberates throughout world cinema.

In 1991, Besson's Atlantis, hailed by U.S. critics as an undersea Fantasia and an aquatic dream, was filmed in 16 months all around the world. An exercise in pure film imagery, Atlantis dispensed with dialogue and narrative in order to wed Eric Serra's wall-to-wall score to undersea images, a cinematic translation of the filmmaker's own love for the world hidden beneath the ocean.

In 1993, Besson began pre-production on The Fifth Element, working for over a year refining the script from his own story and with an international team of artists visualizing its 23rd century setting and characters. When budget concerns put the project at a standstill, Besson turned his hand to another original screenplay, The Professional.

The Professional returned to the themes examined in La Femme Nikita. It starred Jean Reno and Natalie Portman in the story of a hit man who is civilized by his paternal love for a young girl orphaned by a renegade government agent, played by Gary Oldman. The picture was an immediate worldwide success and garnered Cesar nominations for Best Picture and for Besson as Best Director.

In 1997, Besson's sci-fi opus The Fifth Element, starring Bruce Willis, was released to critical acclaim and box office success. Besson also recently won a British Academy Award for producing Nil By Mouth, with Gary Oldman.

Besson's eighth directorial effort, the historical epic The Messenger: The Story of Joan of Arc, starring Milla Jovovich in the title role, came in 1999. That year, he also produced Taxi 2, directed by Gerard Krawczyk, and The Dancer, helmed by Fred Garson.

Besson's recent producing credits include, in addition to KISS OF THE DRAGON, 15 Ao壻; Yamakasi, les Samourais des temps modernes; and Wasabi, a film shot in France and Japan, starring Jean Reno and directed by Gerard Krawczyk. He also is the founder, with Pierre-Ange Le Pogam, of a new European cinema studio named Europa, where he will not only produce between 4-8 films a year, but be involved in film distribution and foreign sales, video, and music publishing.

Co-screenwriter ROBERT MARK KAMEN's credits include Lethal Weapon 3, The Karate Kid, The Karate Kid II, A Walk in the Clouds, The Power of One, Taps, and Luc Besson's The Fifth Element.

Kamen received his B.A. in Literature from New York University and his Ph.D. in American Studies from the University of Pennsylvania in Literature. He lives in New York, and produces wine in Sonoma, California.

STEVEN CHASMAN (Producer) began his career as a lawyer. In 1993, Chasman joined the talent agency International Creative Management, where he worked as an agent representing actors and directors, and helped to build the off-field careers of athletes such as Deion Sanders, Ken Griffey, Jr. and Dennis Rodman.

After six years at ICM, Chasman founded Current Entertainment, which handles musicians, actors, directors and athletes. Current Entertainment's clients include Jet Li, Leelee Sobieski, Kris Kristofferson, Chayanne, Tcheky Karyo, Hong Kong-based action director Cory Yuen and basketball star/actor Dennis Rodman. Chasman is also producing the motion picture The One, starring Jet Li.

HAPPY WALTERS (Producer) graduated from The University of Michigan, before moving to Los Angeles to pursue a career in music. His early clients included Cypress Hill, House of Pain, Red Man and members of the Wu Tang Clan. Walters later started, with Sony Records, his own label, Immortal Records, working with such bands as Korn and Incubus.

In late 1999, Immortal changed corporate partners and formed an allegiance with Virgin Records. The current Immortal/Virgin roster includes; The Urge, Bare Jr., 30 Seconds to Mars, U.S. Crush and the tribute album Strait Up.

Following his highly successful work as a music supervisor and executive producer for the soundtrack to the film Judgment Night, Walters created a music supervision company called Sidewinder Music. The films they have created soundtracks for include Spawn, There's Something About Mary, Scream 2, The Next Best Thing, Family Man, Head Over Heels, American Pie and The Klumps: The Nutty Professor II.

In addition to his work in the record business and music supervision, Walters has also built a film and television production division, a live event entertainment arm and a management company working with musicians, actors and athletes.

Present film projects include Life Without Dick, starring Sarah Jessica Parker; the independent film Sol Goode; Chain of Fools, starring Jeff Goldblum, Salma Hayek and Steve Zahn and co-produced with Matt Weaver; and Ghetto Superstar, produced with Madonna and Guy Oseary.

With over 30 Hong Kong feature releases to his credit, action director CORY YUEN has mastered every aspect of filmmaking, either as director, star, writer, producer or action choreographer. His first U.S. project was the hit action comedy Lethal Weapon 4, for which he was martial arts choreographer, and he recently was second unit director/fight sequence for X-Men.

An alumnus from the prestigious Chinese Opera Academy, Yuen was one of the Seven Little Fortunes, a performing troupe that included fellow classmates Jackie Chan and Sammo Hung. By the late 70s, Yuen and the others had all gravitated toward film. For the next two decades Yuen was involved in some of the most popular films ever produced in Hong Kong. He directed Jet Li in such acclaimed Hong Kong pictures as The Legend of Fong Sai-Yuk, The Legend of Fong Sai-Yuk 2, High Risk, Bodyguard from Beijing, My Father is a Hero, and worked with Li on Lethal Weapon IV and the upcoming The One. Other credits include Hero, The Black Rose and Mahjong Dragon.

THIERRY ARBOGAST, AFC's (Director of Photography) credits include the Luc Besson-directed films The Fifth Element, The Professional, La Femme Nikita and The Messenger. Among his other feature credits are The Horseman on the Roof, Ridicule, Black Cat White Cat (for which he won a European Film Award) and My Favorite Season.

At the 1997 Cannes Film Festival, Arbogast received the Technical Grand Prize for his work in She's So Lovely. Arbogast also is a two-time Cesar Award winner in the category of Best Cinematography, for The Fifth Element and in The Horseman on the Roof.

JACQUES BUFNOIR (Production Designer) collaborated with internationally acclaimed director Claude Lelouch on such films as Hasards Ou Coincidences, Hommes Femmes Mode D'Eemploi, Les Miserables du XXE Siecle, Attention Bandits, Un Homme et Une Femme, 20 Ans Deja; Itineraire d'un Enfant Gate, Edith et Marcel and Partir Revenir. Bufnoir has also worked with directors James Ivory (A Soldier's Daughter Never Cries), Philippe de Broca (Chouans), Francis Veber (La Chevre) and Patrice Leconte (Les Specialistes), among others. He e won an Cesar Award for Best Designer for his work on Indochine, with the film winning a Best Foreign Film Oscar? Bufnoir has also worked in television, theater and opera.

MARCO CAVE's (Editor) feature film credits include La Bostella, directed by Edouard Baer; Coup de Vice, directed by Patrick Levy; and Adrenaline and Parano, both helmed by Yann Piquer. Cave also has worked extensively in commercials and on short films.

CRAIG ARMSTRONG (Music) studied at the Royal Academy of Music in London, where he specialized in composition and piano. During this time he won several awards, including the Charles Lucas Prize and the Harvey Lohr scholarship for composition. In his final year, he was awarded a Fellowship in Composition from Trinity College.

Since then, Armstrong has composed several concert works, film scores, solo projects, and collaborations. He has received commissions from the Scottish Chamber Orchestra, the BT Ensemble and, most recently, from the Royal Scottish National Orchestra. He has also worked extensively for the theater, composing several works for the Tron Theatre and recent works for the Royal Shakespeare Company.

Armstrong's film scores include Baz Luhrmann's newest effort, Moulin Rouge as well as the director's 1997 hit William Shakespeare's Romeo + Juliet (for which Armstrong received the Anthony Asquith BAFTA Award and an Ivor Novello Award for Best Original Score); Peter Mullans' trilogy Close, Fridge and A Good Day for the Bad Guys, as well as Orphans, which won Best Film at the 1999 Venice Film Festival. Armstrong also composed the film scores for The Bone Collector (for which he received the 1999 ASCAP Award), the Oscar-winning documentary One Day In September, Plunkett and MacLeane and Best Laid Plans.

Armstrong's orchestral work can be heard on various recordings, with such artists as Madonna, U2, Suede, The Future Sound of London, Luciano Pavarotti, The Pet Shop Boys and Massive Attack. Amstrong's first solo album was released on Massive Attack's label, Melankolic, which releases his second solo effort later this year.

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