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刀 槍 不 入 一 僧 侶
Bulletproof Monk

故 事 大 綱

禪 宗 大 師 ( 周 潤 發 飾 演 ) 神 秘 無 名 ， 半 生 為 守 衛 手 上 一 張 捲 軸 而 四 方 奔 馳 。 原 來 捲 軸 內 隱 藏 了 操 控 世 界 的 至 高 力 量 ， 決 不 可 落 在 狂 徒 囊 中 。

無 名 僧 正 努 力 尋 找 新 一 任 守 護 人 ， 根 據 先 祖 預 言 ， 繼 承 他 的 是 一 個 名 叫 卡 ( 尚 威 廉 史 葛 飾 演 ) 的 浪 蕩 年 青 人 。 無 名 僧 雖 深 感 懷 疑 ， 卻 不 得 不 一 會 此 人 。

只 愛 四 圍 蒲 ， 崇 尚 個 人 主 義 的 卡 確 實 橫 看 豎 看 也 不 是 合 適 的 人 選 ， 但 在 無 名 僧 的 巧 妙 指 導 下 ， 卡 漸 漸 領 悟 真 義 ， 更 和 無 名 僧 並 肩 拍 檔 ， 合 力 對 抗 60 年 來 一 直 密 謀 搶 奪 捲 軸 的 惡 勢 力 。 最 後 ， 兩 人 更 在 一 名 綽 號 「 壞 女 孩 」 ( 珍 美 京 飾 演 ) 的 性 感 女 郎 協 力 下 ， 與 宇 宙 終 極 黑 暗 力 量 展 開 了 一 場 驚 天 動 地 的 反 擊 戰 ， 全 程 笑 料 百 出 ， 亦 驚 險 十 足 。

製 作 花 絮

「 吳 宇 森 、 張 家 振 、 周 潤 發 」 鐵 三 角 首 度 聯 手 震 撼 荷 里 活

千 呼 萬 喚 之 下 ， 越 洋 大 展 拳 腳 多 年 的 大 導 演 吳 宇 森 、 金 牌 監 製 張 家 振 以 及 國 際 巨 星 周 潤 發 ， 終 於 首 次 在 荷 里 活 攜 手 合 作 ， 炮 製 了 這 部 揉 合 美 國 幽 默 與 東 方 英 雄 本 色 的 動 作 鉅 獻 。 《 Bulletproof Monk 》 乃 改 編 自 美 國 Flypaper Press 於 90 年 代 尾 推 出 的 同 名 漫 畫 作 ， 張 家 振 及 吳 宇 森 在 看 過 這 個 反 傳 統 ， 又 帶 點 偏 鋒 的 超 型 格 英 雄 故 事 後 ， 馬 上 決 定 一 起 出 任 電 影 版 監 製 ， 並 相 信 為 漫 畫 英 雄 加 入 港 式 動 作 和 東 方 哲 學 後 ， 形 象 定 必 脫 胎 換 骨 ， 不 論 東 、 西 ， 觀 眾 肯 定 迷 倒 於 漫 畫 大 俠 雄 風 之 下 。

張 坦 言 ： 「 我 很 少 看 漫 畫 ， 但 這 個 是 非 一 般 的 漫 畫 ， 最 吸 引 我 的 是 故 事 有 靈 性 的 一 面 。 」 而 張 與 吳 亦 馬 上 想 到 這 個 充 滿 玄 機 、 神 秘 又 瀟 灑 的 無 名 僧 角 色 ， 非 他 們 的 老 拍 檔 周 潤 發 莫 屬 。

發 哥 首 次 參 與 角 色 創 作

對 發 哥 而 言 ， 今 次 除 了 是 在 荷 里 活 與 老 拍 檔 首 次 聚 頭 之 外 ， 更 是 第 一 次 有 機 會 參 與 構 思 自 己 的 角 色 以 及 部 分 情 節 。 發 哥 表 示 ： 「 因 為 影 片 一 開 始 便 決 定 由 我 主 演 ， 所 以 我 有 很 多 空 間 去 構 思 人 物 性 格 及 劇 情 ， 這 是 我 以 前 一 直 都 做 不 到 的 。 」 談 到 人 物 性 格 時 ， 發 哥 又 說 ： 「 這 個 角 色 很 好 玩 ， 他 充 滿 哲 理 ， 但 幽 默 感 十 足 ； 他 與 其 年 輕 『 弟 子 』 關 係 妙 絕 ， 他 們 不 是 一 般 的 師 徒 ， 反 而 似 死 黨 ， 亦 因 此 為 影 片 帶 來 更 多 溫 情 。 」

而 事 實 上 ， 原 著 中 的 無 名 僧 ， 形 象 虛 幻 ， 所 以 張 與 吳 請 來 了 紐 約 大 學 電 影 系 畢 業 的 年 青 編 劇 組 合 伊 頓 里 夫 (Ethan Reiff) 與 薛 雷 斯 禾 列 斯 (Cyrus Voris) 撰 寫 電 影 版 劇 本 ， 誰 知 里 夫 和 禾 列 斯 竟 然 是 發 哥 的 超 級 Fans 。 禾 列 斯 說 ： 「 張 家 振 找 我 和 里 夫 出 來 與 吳 宇 森 及 周 潤 發 食 飯 ， 問 我 們 覺 得 發 哥 做 刀 槍 不 入 一 僧 侶 如 何 ？ 其 實 發 哥 的 戲 我 們 全 都 看 過 ， 所 以 很 直 覺 發 哥 就 是 最 適 合 的 人 選 。 」 結 果 ， 他 們 在 保 留 原 著 的 寓 意 之 下 ， 為 發 哥 度 身 訂 造 了 一 個 前 所 未 有 的 漫 畫 英 雄 形 象 。

尚 威 廉 史 葛 亦 是 發 哥 狂 迷

至 於 飾 演 保 護 捲 軸 繼 承 人 的 尚 威 廉 史 葛 ， 原 來 亦 是 發 哥 的 狂 迷 ， 崇 拜 發 哥 多 年 的 他 說 ： 「 我 不 能 相 信 自 己 可 以 同 周 潤 發 做 對 手 戲 ， 簡 直 是 夢 境 成 真 一 樣 。 不 過 ， 最 初 我 仍 想 像 不 到 效 果 會 怎 樣 ， 直 至 我 跟 他 拍 了 頭 一 場 戲 ， 才 大 為 震 驚 ， 發 哥 演 戲 好 像 不 費 吹 灰 之 力 一 樣 ， 他 眼 神 閃 爍 ， 風 趣 好 玩 ， 對 人 人 都 充 滿 熱 情 ， 我 跟 發 哥 說 ： 『 若 我 能 做 到 你 的 一 半 ， 就 十 分 快 樂 滿 足 了 。 』 他 就 是 如 此 出 眾 的 一 個 人 。 」 發 哥 亦 顯 然 對 這 位 曾 演 出 兩 集 《 美 國 處 男 》 等 賣 座 愛 情 喜 劇 的 後 輩 大 為 欣 賞 ， 不 但 盛 讚 史 葛 演 技 一 流 ， 還 說 ： 「 很 高 興 片 中 有 那 麼 多 年 青 演 員 ， 他 們 帶 給 我 更 多 活 力 和 新 靈 感 。 」

嶄 新 武 打 設 計 史 葛 激 訓 ４ 個 月 勁 減 30 磅

而 本 片 秘 密 炮 製 的 連 串 嶄 新 武 打 場 面 亦 是 全 城 焦 點 所 在 ， 擔 任 本 片 武 術 顧 問 的 董 煒 聲 言 ： 「 片 中 動 作 及 招 式 全 都 要 求 演 員 花 上 大 量 時 間 練 習 及 綵 排 ， 並 必 須 跟 足 事 前 所 設 計 好 的 步 法 演 出 ， 以 達 至 最 佳 最 流 暢 的 節 奏 ， 絕 不 可 給 觀 眾 生 硬 的 感 覺 。 」 這 對 多 位 從 沒 武 打 經 驗 的 外 國 演 員 來 說 ， 簡 直 是 天 方 夜 譚 ！ 史 葛 惟 有 在 開 拍 前 展 開 長 達 ４ 個 月 的 地 獄 式 訓 練 ， 除 了 嚴 苛 節 食 ， 勁 減 30 磅 之 外 ， 還 同 時 進 行 一 系 列 健 身 修 身 運 動 ， 他 說 ： 「 以 往 我 經 常 要 增 肥 來 演 搞 笑 角 色 ， 但 今 次 角 色 應 該 瘦 削 一 點 ， 令 武 打 場 面 看 來 更 有 說 服 力 。 」 結 果 ， 史 葛 成 功 地 取 得 吳 宇 森 、 張 家 振 等 監 製 的 信 任 ， 親 身 上 演 大 部 分 打 鬥 戲 ， 很 可 惜 ， 影 片 開 拍 了 幾 天 ， 他 便 嘆 道 ： 「 我 以 為 自 己 操 得 好 Fit ， 點 知 拍 了 頭 幾 日 戲 ， 雙 腳 便 痛 到 連 坐 也 坐 不 下 來 ！ 」 幸 好 ， 他 很 快 便 習 慣 了 「 打 仔 」 生 涯 ， 不 用 替 身 ， 親 自 上 陣 演 出 了 多 場 打 戲 。

吊 威 也 苦 了 珍 美 京

不 過 ， 真 正 令 史 葛 以 及 飾 演 「 壞 女 孩 」 的 珍 美 京 叫 苦 連 天 的 是 一 條 威 也 ！ 史 葛 說 ： 「 即 使 在 地 上 練 好 所 有 動 作 ， 上 到 威 也 卻 變 成 另 一 回 事 ， 要 花 很 多 時 間 才 可 以 重 新 學 習 指 定 的 動 作 … 開 頭 幾 日 ， 我 覺 得 自 己 好 似 重 新 學 行 一 樣 ， 不 過 而 家 ， 哈 ， 我 識 跑 啦 。 」 京 亦 表 示 學 曉 在 威 也 上 演 戲 是 她 最 大 的 收 穫 ， 也 令 她 最 有 成 功 感 ： 「 在 牆 上 疾 走 、 於 空 中 拳 打 腳 踢 、 打 筋 斗 ， 簡 直 自 己 識 飛 一 樣 。 雖 然 開 始 時 ， 我 以 為 自 己 一 世 也 不 能 在 威 也 上 做 出 那 些 動 作 。 」

至 於 一 直 被 美 國 觀 眾 認 定 為 動 作 巨 星 的 發 哥 ， 則 強 調 自 己 並 非 武 打 明 星 ： 「 在 空 中 飛 來 飛 去 可 以 好 好 玩 ， 但 亦 要 視 乎 威 也 動 作 的 難 度 。 我 拍 過 很 多 要 打 功 夫 的 電 影 ， 但 我 其 實 更 鍾 情 於 戲 劇 性 及 愛 情 線 ， 」 發 哥 笑 言 ： 「 一 條 威 也 、 兩 支 槍 ？ 我 寧 願 要 一 個 女 仔 �� 。 」

泥 調 城 市 感 X 西 藏 色 彩

以 創 新 風 格 炮 製 了 多 個 人 氣 MV 及 CM 的 導 演 保 羅 亨 特 今 次 在 釐 定 影 片 視 覺 格 調 上 作 出 了 大 膽 嘗 試 。 他 與 美 指 狄 寶 娜 伊 雲 斯 均 認 為 片 中 的 現 代 都 市 景 觀 應 加 上 一 個 不 為 人 知 的 陰 暗 世 界 ， 並 起 用 了 泥 調 (earth tones) 作 為 貫 串 全 片 的 基 調 ， 由 服 飾 至 取 景 都 以 此 色 系 為 準 ； 同 時 又 加 強 了 西 藏 文 化 及 佛 教 色 彩 ， 並 特 別 請 來 了 一 位 西 藏 文 化 專 家 來 指 導 發 哥 等 人 的 口 音 、 禮 儀 和 衣 著 ， 譬 如 發 哥 的 戲 服 盡 量 做 得 脫 俗 、 跨 越 時 間 性 ， 以 示 其 超 脫 眾 生 的 形 象 。

奇 偉 場 景 盡 現 眼 前

籌 備 多 時 ， 影 片 終 於 在 2002 年 3 月 9 日 開 拍 ， 除 部 分 場 景 須 在 片 廠 搭 景 之 外 ， 大 部 分 情 節 都 在 多 倫 多 、 溫 哥 華 等 地 改 建 實 景 拍 攝 ， 如 攝 製 組 將 一 個 棄 置 了 的 大 型 食 肆 改 為 Mr. Funktastic 黨 羽 的 巢 穴 ， 並 在 屋 頂 拍 了 無 名 僧 與 卡 大 戰 坐 滿 Mercs 狂 徒 的 直 昇 機 一 場 戲 。

而 最 富 挑 戰 性 的 ， 則 是 攝 製 隊 在 離 多 倫 多 一 小 時 的 山 區 發 現 了 一 處 頹 壞 不 堪 的 採 石 場 ， 其 苟 延 聳 立 的 形 態 與 喜 瑪 拉 雅 山 脈 上 巨 大 廟 宇 的 景 觀 不 謀 而 合 。 結 果 ， 這 個 奇 景 在 加 上 電 腦 特 效 之 後 ， 儼 如 經 歷 了 300 年 風 雨 的 寺 院 馬 上 活 現 眼 前 。

陣 容 簡 介

永 遠 英 雄 周 潤 發

無 論 是 市 井 Look ， 抑 或 是 英 雄 人 物 ， 多 年 來 在 電 視 及 銀 幕 屢 創 經 典 角 色 的 「 發 哥 」 周 潤 發 ， 肯 定 是 香 港 人 最 擁 護 的 演 員 。 1955 年 出 生 ， 於 南 丫 島 長 大 的 他 ， 自 小 為 口 奔 馳 ， 17 歲 就 退 學 打 散 工 ， 後 來 在 朋 友 慫 恿 下 參 加 了 無 �� 電 視 台 的 藝 員 訓 練 班 ， 殊 不 知 自 此 展 開 光 輝 的 演 藝 事 業 。

起 初 只 能 做 茄 喱 啡 的 「 發 仔 」 ， 在 1976 年 憑 演 出 長 編 連 續 劇 《 狂 潮 》 一 鳴 驚 人 ， 馬 上 成 為 無 �� 劇 集 台 柱 ， 在 80 年 代 來 主 演 了 多 個 深 入 民 心 的 電 視 劇 集 ， 其 中 以 1983 年 的 《 上 海 灘 》 最 為 經 典 ， 不 但 瘋 魔 了 東 南 亞 每 一 個 家 庭 ， 「 許 文 強 」 更 成 為 家 喻 戶 曉 的 角 色 。

電 影 方 面 ， 「 發 哥 」 雖 然 一 出 道 便 有 參 演 電 影 ， 卻 直 至 1982 年 主 演 了 許 鞍 華 的 《 胡 越 的 故 事 》 才 得 以 奠 定 其 影 星 地 位 。 1985 年 ， 「 發 哥 」 憑 梁 普 智 執 導 的 《 等 待 黎 明 》 成 為 亞 洲 影 展 及 金 馬 獎 雙 料 影 帝 ； 翌 年 與 吳 宇 森 合 作 的 《 英 雄 本 色 》 更 獲 得 空 前 成 功 ， 除 在 本 港 破 紀 錄 收 逾 三 千 五 百 萬 元 票 房 之 外 ， Mark 哥 的 造 型 、 對 白 、 小 動 作 都 一 一 成 為 經 典 ， 讓 「 發 哥 」 首 度 登 上 香 港 電 影 金 像 獎 影 帝 。 而 吳 宇 森 式 的 「 暴 力 美 學 」 不 但 成 為 日 後 英 雄 片 的 典 範 ， 更 讓 香 港 動 作 片 起 死 回 生 ， 甚 至 影 響 了 昆 頓 塔 倫 天 奴 等 不 少 歐 美 新 導 演 。

除 了 與 吳 宇 森 導 演 合 作 了 《 喋 血 雙 雄 》 、 《 喋 血 街 頭 》 、 《 縱 橫 四 海 》 、 《 辣 手 神 探 》 等 大 作 之 外 ， 發 哥 亦 與 眾 多 香 港 大 導 炮 製 了 數 之 不 盡 的 話 題 作 ， 包 括 與 林 嶺 東 導 演 便 合 作 了 《 龍 虎 風 雲 》 、 兩 集 《 監 獄 風 雲 》 、 《 俠 盜 高 飛 》 和 《 伴 我 闖 天 涯 》 等 。 其 中 《 龍 虎 風 雲 》 更 為 「 發 哥 」 帶 來 美 國 電 影 協 會 頒 發 的 亞 洲 傑 出 演 員 獎 以 及 第 二 度 獲 得 香 港 電 影 金 像 獎 影 帝 殊 榮 ， 而 塔 倫 天 奴 更 坦 言 是 由 此 片 取 得 靈 感 拍 攝 其 成 名 作 《 落 水 狗 》 (Reservoir Dogs) 。 另 外 ， 「 發 哥 」 亦 與 王 晶 合 作 了 《 賭 神 》 、 《 八 星 報 喜 》 、 《 老 虎 出 更 》 、 《 花 旗 少 林 》 等 賣 座 電 影 。

「 發 哥 」 亦 是 文 藝 片 高 手 ， 早 在 1986 年 他 便 演 出 了 關 錦 鵬 的 首 部 電 影 《 地 下 情 》 ， 其 後 主 演 的 《 秋 天 的 童 話 》 和 《 阿 郎 的 故 事 》 更 堪 稱 愛 情 片 經 典 ， 兩 片 分 別 為 「 發 哥 」 贏 得 金 馬 獎 及 香 港 電 影 金 像 獎 最 佳 男 主 角 獎 。

1995 年 ， 在 香 港 已 拍 攝 了 逾 七 十 部 電 影 的 「 發 哥 」 以 《 和 平 飯 店 》 為 暫 別 香 港 影 壇 之 作 ， 從 此 全 力 投 身 荷 里 活 影 圈 。 1998 年 ， 發 哥 首 部 美 國 片 《 血 仍 未 冷 》 (The Replacement Killers) 登 場 ； 翌 年 ， 更 一 連 氣 推 出 《 再 戰 邊 緣 》 (The Corruptor) 及 史 詩 式 鉅 製 《 安 娜 與 國 王 》 (Anna and the King) 兩 片 ， 聲 勢 一 時 無 倆 。 1999 年 11 月 份 出 版 的 美 國 《 People 》 周 刊 便 選 了 「 發 哥 」 為 當 年 度 的 「 最 性 感 動 作 片 演 員 」 ， 與 「 99 年 至 性 感 男 性 」 李 察 基 爾 共 享 殊 榮 。 同 年 8 月 亦 榮 登 美 國 【 新 聞 周 刊 】 （ Newsweek ） 封 面 ， 內 文 更 形 容 周 潤 發 外 型 Cool 味 十 足 ， 有 點 像 尊 榮 和 占 士 甸 。 而 最 近 美 國 人 則 拜 倒 在 《 臥 虎 藏 龍 》 裡 「 發 哥 」 的 大 俠 輕 功 之 下 。

《 刀 槍 不 入 一 僧 侶 》 乃 周 潤 發 第 ４ 部 美 國 作 品 ， 下 一 部 新 作 則 是 萬 眾 期 待 的 吳 宇 森 作 品 《 華 工 血 淚 史 》 (Land of Destiny) 。

人 氣 青 春 笑 星 尚 威 廉 史 葛

憑 處 男 作 《 美 國 處 男 》 (American Pie) 一 炮 而 紅 的 尚 威 廉 史 葛 (Seann William Scott) 乃 現 時 美 國 最 受 歡 迎 的 青 春 喜 劇 男 星 之 一 ， 去 年 《 美 國 處 男 2 》 再 下 一 城 ， 全 球 狂 收 ３ 億 美 元 ， 連 帶 史 葛 亦 聲 名 大 噪 。 第 三 集 《 處 男 有 喜 》 （ American Wedding ） 已 鐵 定 於 2003 年 公 映 ， 相 信 史 葛 人 氣 會 愈 來 愈 勁 。

生 於 1977 年 的 史 葛 自 小 立 志 成 為 演 員 ， 讀 中 學 時 便 到 戲 院 打 工 ， 還 要 一 人 頂 兩 更 ， 藉 此 睇 盡 免 費 電 影 。 後 來 史 葛 索 性 提 早 一 個 學 期 退 學 ， 到 洛 杉 磯 勇 闖 。 一 直 浮 沉 電 視 圈 的 史 葛 直 至 被 選 中 演 出 《 美 國 處 男 》 才 建 立 了 其 青 春 笑 星 形 象 ， 亦 自 此 青 春 片 約 源 源 不 絕 ， 包 括 《 四 仔 旅 行 團 》 (Road Trip) 、 《 死 神 來 了 》 (Final Destination) 、 《 Dude, Where ' s My Car? 》 。 此 外 ， 史 葛 還 演 出 了 科 幻 笑 片 《 地 球 再 發 育 》 (Evolution) 以 及 客 串 了 獨 立 電 影 《 騎 呢 兩 兜 友 》 (Jay and Silent Bob Strike Back) 。

除 近 作 《 Stark Raving Mad 》 之 外 ， 於 2003 年 ， 史 葛 還 有 多 部 影 片 排 期 公 映 ， 包 括 重 溫 校 園 夢 喜 劇 《 Old School 》 及 追 債 笑 片 《 Helldorado 》 等 。

金 髮 超 模 珍 美 京

珍 美 京 （ Jamie King ， 又 名 珍 絲 京 James King ） ， 生 於 1979 ， 身 高 ５ 呎 ９ ， 憑 一 雙 大 眼 睛 和 一 頭 性 感 金 髮 在 模 特 兒 界 獨 當 一 面 。 珍 美 早 於 14 歲 時 便 被 紐 約 的 模 特 兒 公 司 發 掘 ， 且 旋 即 走 紅 ， 17 歲 前 已 於 【 Vogue 】 、 【 Glamour 】 、 【 Allure 】 、 【 Harper's Bazaar 】 、 【 Mademoiselle 】 等 權 威 時 裝 雜 誌 登 場 ， 更 長 年 期 滿 ， 跑 場 不 及 。 由 她 擔 當 模 特 兒 的 品 牌 亦 多 不 勝 數 ， 包 括 有 Christian Dior 、 Marithe and Francois Girbaud 以 及 Chanel 等 。

可 惜 ， 珍 美 不 能 承 受 成 名 帶 來 的 壓 力 ， 開 始 酗 酒 及 依 賴 毒 品 ， 甚 至 曾 吸 食 海 洛 英 。 直 至 她 的 時 裝 攝 影 師 男 友 David Sorrenti 於 1997 年 因 服 用 過 量 海 洛 英 身 亡 ， 珍 美 才 赫 然 醒 覺 ， 戒 毒 重 新 做 人 。

近 年 珍 美 再 度 活 躍 ， 得 到 不 少 片 商 垂 青 ， 在 《 毒 王 》 (Blow) 中 演 繹 尊 尼 特 普 (Johnny Depp) 的 反 叛 女 兒 ， 令 人 眼 前 一 亮 ； 於 《 珍 珠 港 》 (Pearl Harbor) 中 扮 演 的 大 眼 天 真 護 士 更 見 其 演 技 出 眾 。 珍 美 其 他 作 品 還 包 括 2001 年 辛 丹 斯 影 展 口 碑 作 、 青 春 恐 怖 片 《 Happy Campers 》 、 黑 色 喜 劇 《 Slackers 》 ， 以 及 祖 舒 亞 莊 遜 (Joshua Johnson) 合 演 的 《 Lone Star State of Mind 》 等 。

最 近 ， 珍 美 被 露 華 濃 (Revlon) 起 用 為 旗 下 化 妝 品 的 代 言 人 ， 並 擔 當 產 品 的 平 面 及 電 視 廣 告 模 特 兒 。

成 功 戒 除 了 毒 癮 的 珍 美 ， 最 近 卻 對 紋 身 上 了 癮 ： 左 右 手 腕 一 面 葵 扇 一 面 磚 ， 背 脊 兩 隻 小 神 仙 ， 肩 膞 中 央 的 姓 氏 「 King 」 等 等 。

導 演 保 羅 亨 特 影 象 觸 覺 創 潮 流

首 次 執 導 電 影 的 保 羅 亨 特 (Paul Hunter) ， 乃 美 國 MV 界 紅 人 ， 他 以 創 新 拍 攝 手 法 和 影 象 風 格 贏 得 一 眾 樂 壇 巨 星 支 持 ， 執 導 過 Jennifer Lopez 、 Lenny Kravitz 、 Christina Aguilera 、 Eminem 、 D ' Angelo 、 Courtney Love 、 Marilyn Manson 、 Sean " Puffy " Combs 、 Mariah Carey 、 Will Smith 及 Janet Jackson 等 頂 尖 歌 手 的 MV ， 當 中 更 憑 執 導 米 高 積 遜 的 " You Rock My World " MV 而 贏 得 NAACP Image Award ； 近 期 的 精 彩 MV 作 品 則 有 《 情 陷 紅 磨 坊 》 (Moulin Rouge) 原 聲 大 碟 中 的 大 熱 歌 曲 " Lady Marmalade " 、 Lenny Kravitz 的 " See You Again " 以 及 Aaliyah 的 遺 作 " We Need A Resolution " 。

在 大 學 主 修 廣 播 、 電 視 、 電 影 的 亨 特 ， 畢 業 後 即 投 身 廣 告 界 ， 不 久 便 憑 獨 特 風 格 贏 得 多 個 大 客 戶 的 垂 青 ， 導 演 了 The Gap 、 Coca-Cola 、 Nike 、 Air Jordan 等 多 個 廣 告 ， 其 中 Nike " Freestyle " 一 廣 告 片 就 獲 得 2001 年 倫 敦 國 際 廣 告 大 獎 ５ 項 提 名 ， 並 於 當 中 奪 得 最 佳 導 演 獎 及 最 佳 視 覺 聲 效 設 計 獎 ， 另 亦 於 同 年 獲 艾 美 獎 提 名 。 最 近 ， 亨 特 為 拍 攝 Holiday Gap 一 輯 廣 告 而 動 用 了 Seal 、 Alanis Morissette 、 Sheryl Crow 等 音 樂 紅 人 上 陣 ， 而 為 Dr. Pepper 搞 的 宣 傳 活 動 亦 請 來 Sugar Ray 、 The Black Eyed Peas 及 Thalia 出 場 ， 成 為 一 時 佳 話 。

紐 大 奇 才 編 劇 組 合 伊 頓 里 夫 ＋ 薛 雷 斯 禾 列 斯

本 片 編 劇 伊 頓 里 夫 (Ethan Reiff) 與 薛 雷 斯 禾 列 斯 (Cyrus Voris) 是 紐 約 大 學 電 影 系 同 期 畢 業 生 ， 但 兩 人 從 沒 有 選 相 同 的 課 堂 ， 直 至 在 畢 業 派 對 上 經 友 人 介 紹 才 一 拍 即 合 ， 並 自 此 成 為 撰 寫 電 影 劇 本 的 拍 檔 。 1995 年 ， 他 們 的 原 著 劇 本 《 幽 冥 怪 談 》 (Demon Knight) 首 次 被 搬 上 銀 幕 ， 得 到 祖 蕭 華 (Joel Silver) 、 羅 拔 森 米 基 斯 (Robert Zemeckis) 、 李 察 當 拿 (Richard Donner) 強 勁 幕 後 人 監 製 。 此 後 ， 兩 人 為 荷 里 活 片 執 筆 之 餘 ， 亦 創 作 及 監 製 了 《 Brimstone 》 等 人 氣 科 幻 電 視 片 集 。

里 夫 與 禾 列 斯 剛 完 成 了 全 新 原 著 劇 本 《 Labor Day 》 ， 這 部 講 述 一 名 美 國 律 師 為 拯 救 懷 孕 愛 妻 而 無 奈 與 黑 幫 合 作 的 動 作 驚 慄 片 ， 將 由 李 連 杰 主 演 ， 李 察 當 拿 金 牌 監 製 。 此 外 ， 夢 工 場 的 謝 菲 卡 辛 堡 (Jeffrey Katzenberg) 亦 買 下 了 他 們 的 原 創 動 畫 劇 本 ； 故 事 是 講 中 國 古 代 有 一 隻 名 為 阿 寶 的 大 懶 熊 貓 ， 但 它 竟 然 是 非 比 尋 常 的 功 夫 英 雄 。

監 製 查 理 斯 路 雲

從 事 電 視 監 製 工 作 逾 二 十 年 的 查 理 斯 路 雲 (Charles Roven) ， 乃 Atlas Entertainment 及 旗 下 公 司 Atlas/Third Rail Management 和 Third Rail Records 的 創 辦 人 之 一 ， 現 時 公 司 已 成 為 Mosaic Media Group 的 一 分 子 ， 共 同 發 展 多 媒 體 電 影 及 電 視 製 作 。

作 為 圈 內 最 多 元 的 製 片 人 之 一 ， 路 雲 自 1990 年 成 立 Atlas Entertainment 以 來 ， 便 策 劃 過 多 部 風 格 不 同 的 賣 座 電 影 ， 包 括 《 致 命 戀 人 》 (Final Analysis) 、 《 男 兒 當 衝 線 》 (Cool Runnings) 、 《 修 女 也 瘋 狂 續 集 》 (Sister Act II: Back in the Habit) 、 《 12 猴 子 》 (Twelve Monkeys) 、 《 奪 命 感 應 》 (Fallen) 、 《 天 使 多 情 》 (City of Angels) 、 《 奪 金 三 王 》 (Three Kings) 、 《 人 肉 戰 場 》 (Rollerball) 及 至 最 近 的 爆 笑 真 人 動 畫 片 《 狗 狗 震 》 (Scooby Doo) 。

此 外 ， 路 雲 亦 有 參 與 音 樂 製 作 ， 最 擅 長 為 電 影 監 修 原 聲 大 碟 ， 《 狗 狗 震 》 一 片 便 以 樂 隊 Outkast 的 single 做 出 先 聲 奪 人 的 效 果 。 1998 年 ， 他 有 份 策 劃 的 《 天 使 多 情 》 原 聲 大 碟 更 成 為 該 年 度 最 高 銷 量 的 電 影 原 聲 大 碟 ， 並 囊 括 了 ３ 項 格 林 美 獎 。

目 前 ， 路 雲 正 為 泰 利 基 廉 (Terry Gilliam) 執 導 的 新 作 《 Good Omens 》 以 及 預 期 於 2004 年 的 《 狗 狗 震 2 》 出 任 監 製 。

監 製 張 家 振

今 日 香 港 電 影 人 得 以 在 荷 里 活 大 展 拳 腳 ， 監 製 張 家 振 (Terence Chang) 實 在 應 記 一 功 。

於 美 國 俄 勒 岡 州 大 學 主 修 建 築 的 張 ， 因 熱 愛 電 影 ， 毅 然 放 棄 專 業 到 紐 約 大 學 修 讀 電 影 ； 1978 年 回 港 為 嘉 禾 《 神 偷 妙 探 手 多 多 》 、 《 死 亡 塔 》 兩 部 影 片 當 製 片 ； 翌 年 在 麗 的 電 視 任 職 製 作 。

早 於 80 年 代 ， 張 便 帶 港 產 片 到 海 外 ， 在 任 職 麥 當 雄 製 作 公 司 期 間 ， 其 監 製 的 《 靚 妹 仔 》 、 《 停 不 了 的 愛 》 便 被 選 為 1984 年 康 城 影 展 「 導 演 雙 周 」 的 作 品 。 1986-88 年 就 任 德 寶 電 影 時 ， 張 積 極 提 攜 楊 紫 瓊 及 李 國 豪 (Brandon Lee) 等 新 晉 打 星 ； 隨 後 加 入 「 電 影 工 作 室 」 ， 將 《 喋 血 雙 雄 》 、 《 笑 傲 江 湖 》 、 《 中 日 南 北 和 》 、 《 英 雄 本 色 III 》 、 《 倩 女 幽 魂 ２ 之 人 間 道 》 、 《 天 羅 地 網 》 等 多 部 富 有 港 產 片 特 色 卻 風 格 迥 異 的 影 片 成 功 推 銷 到 海 外 市 場 ， 可 說 為 香 港 影 人 到 美 國 發 展 鋪 好 路 。 1990 年 ， 他 與 吳 宇 森 合 組 製 作 公 司 「 新 里 程 」 ， 炮 製 了 《 縱 橫 四 海 》 和 《 辣 手 神 探 》 ， 更 擔 任 了 周 潤 發 和 著 名 作 家 李 碧 華 的 經 理 人 。 李 的 小 說 多 次 被 搬 上 銀 幕 ， 包 括 蜚 聲 國 際 的 《 霸 王 別 姬 》 和 《 川 島 芳 子 》 等 。

1993 年 ， 張 監 製 吳 宇 森 首 部 美 國 片 《 終 極 標 靶 》 ， 並 於 翌 年 與 吳 及 基 斯 杜 化 高 適 (Christopher Godsick) 成 立 WCG Entertainment ， 製 作 了 《 斷 箭 行 動 》 、 ２ 小 時 電 視 版 《 縱 橫 四 海 》 (John Woo ' s Once a Thief) 、 吳 宇 森 導 演 的 電 視 電 影 《 Blackjack 》 、 《 奪 面 雙 雄 》 、 《 血 仍 未 冷 》 、 《 無 字 頭 4 殺 手 》 (The Big Hit) 和 《 再 戰 邊 緣 》 等 ； 另 外 ， 又 為 吳 執 導 的 《 職 業 特 工 隊 2 》 擔 任 執 行 監 製 。

最 近 ， 張 家 振 與 吳 宇 森 組 成 Lion Rock Productions ， 作 為 美 高 梅 電 影 (MGM) 的 密 切 夥 伴 。 除 攝 製 電 影 之 外 ， Lion Rock 亦 有 發 展 電 視 製 作 。 繼 早 前 監 製 《 烈 血 追 風 》 之 後 ， 張 正 密 鑼 緊 鼓 籌 備 吳 的 新 作 《 Land of Destiny 》 。

監 製 吳 宇 森

晉 身 成 為 荷 里 活 大 導 的 吳 宇 森 (John Woo) 導 演 ， 今 年 剛 推 出 了 由 尼 古 拉 斯 基 治 主 演 的 二 戰 大 片 《 烈 血 追 風 》 (Windtalkers) ； 前 作 《 職 業 特 工 隊 2 》 (Mission: Impossible 2) 則 夥 拍 湯 告 魯 斯 橫 掃 全 球 票 房 ， 風 頭 一 時 無 倆 。 正 籌 備 得 如 火 如 荼 的 新 作 《 華 工 血 淚 史 》 (Land of Destiny) 將 匯 聚 大 導 兩 位 愛 將 周 潤 發 及 基 治 主 演 ， 乃 令 人 引 頸 而 待 之 鉅 製 。

1946 年 生 於 廣 東 省 ， 4 歲 隨 家 人 來 港 的 吳 宇 森 ， 19 歲 仍 在 就 讀 利 瑪 寶 書 院 時 便 開 始 拍 攝 實 驗 短 片 ， 並 嘗 試 踏 足 電 影 界 。 1971 年 ， 他 獲 邵 氏 聘 用 ? 助 理 導 演 ， 兩 年 後 ， 成 功 開 拍 首 部 電 影 《 鐵 漢 柔 情 》 ； 之 後 吳 加 盟 了 嘉 禾 電 影 公 司 ， 導 演 了 《 女 子 跆 拳 群 英 會 》 和 《 少 林 門 》 兩 部 賣 座 功 夫 片 ， 其 中 《 少 》 片 更 是 成 龍 第 一 次 擔 任 要 角 的 電 影 。 與 此 同 時 ， 吳 亦 導 演 了 《 帝 女 花 》 、 《 發 錢 寒 》 等 多 齣 喜 劇 。

1983 年 ， 吳 離 開 嘉 禾 轉 投 新 藝 城 ， 執 導 了 《 英 雄 本 色 》 、 《 喋 血 雙 雄 》 、 《 縱 橫 四 海 》 、 《 喋 血 街 頭 》 、 《 英 雄 本 色 Ⅱ 》 、 《 辣 手 神 探 》 等 多 部 開 創 潮 流 的 經 典 英 雄 片 ， 更 自 此 名 振 海 外 。

1993 年 ， 吳 宇 森 在 荷 里 活 執 導 了 首 部 電 影 《 終 極 標 靶 》 (Hard Target) ； 翌 年 與 拍 檔 張 家 振 成 立 了 製 作 公 司 WCG Entertainment ， 出 品 了 由 尊 特 拉 華 特 (John Travolta) 及 基 斯 頓 史 利 達 (Christian Slater) 合 演 的 《 斷 箭 行 動 》 (Broken Arrows) ， 結 果 成 績 驕 人 ， 奠 定 了 吳 在 美 國 影 壇 的 地 位 ； 之 後 執 導 的 第 三 部 荷 里 活 大 片 《 奪 面 雙 雄 》 (Face/Off) 更 一 致 好 評 ， 並 刷 新 了 多 項 票 房 紀 錄 。

目 前 ， 吳 手 頭 上 還 有 開 拍 科 幻 片 《 Paycheck 》 的 計 劃 ， 並 傳 聞 將 由 賓 艾 佛 力 (Ben Affleck) 主 演 。

Directed by
Paul Hunter

Starring
Chow Yun Fat
Seann William Scott
Jamie King

Producer
CHARLES ROVEN
TERENCE CHANG
JOHN WOO

Lakeshore Entertainment and Mosaic Media Group
present in association with Metro-Goldwyn-Mayer Pictures
a Lion Rock production
a Flypaper Press production

Chow Yun-Fat    Seann William Scott
Jaime King
Karel Roden    Victoria Smurfit
Marcus Jean    Pirae Mako    Roger Yuan

He has no name. He protects a powerful secret.

Now, to fulfill an ancient prophecy,
he has found the one who's supposed to take his place -
and it's the most unlikely candidate of all.

The Monk (Chow Yun-Fat) is a Zen-calm martial arts master whose duty has been to protect a powerful ancient scroll, a mysterious artifact that holds the key to unlimited power. Now, faced with finding the scroll's next guardian, the Monk's quest brings him to America. It seems according to an ancient prophecy - and to his disbelief - the Monk's successor is a charming, street-tough wild card named Kar (Seann William Scott). As the Monk instructs Kar in the ways of a protector, the unlikely duo become partners in shielding the scroll from a relentless power-monger who has been chasing it for 60 years. Amidst a flurry of high-flying acrobatics, martial arts action, and quick-witted humor, this comic odd couple have to work together to keep the scroll safe.

Metro-Goldwyn-Mayer Pictures is proud to present Chow Yun-Fat and Seann William Scott in BULLETPROOF MONK, in assocation with Lakeshore Entertainment and Mosaic Media Group, a Lion Rock production and Flypaper Press production. Directed by Paul Hunter, BULLETPROOF MONK also stars Jaime King, Karel Roden, and Victoria Smurfit. Produced by Charles Roven, Terence Chang, John Woo, and Douglas Segal, the screenplay was written by Ethan Reiff and Cyrus Voris, based upon the Flypaper Press comic book. The behind-the-scenes crew includes Stefan Czapsky as director of photography, production designer Deborah Evans, film editor Robert K. Lambert, and visual effects supervisor John Sullivan. Make-up effects were created by Greg Cannom and Keith Vanderlaan; the music was composed by Eric Serra. The film was executive produced by Kelley Smith-Wait, Michael Yanover, Gotham Chopra, and Caroline Macaulay, co-produced by Brent O'Connor and Alan G. Glazer. MGM is distributing the film in the U.S., Canada, and France, with Lakeshore Films handling the rest of the world.

ABOUT THE PRODUCTION

When presented with the idea for Bulletproof Monk, producers Terence Chang and John Woo were immediately intrigued. Originally published as a three-comic series by Flypaper Press in the late '90s, Bulletproof Monk was an ultra-cool, exciting departure from the traditional superhero format. It not only combined cutting edge Hong Kong-style action with classic comic book storytelling, heroism, and comedy, it also featured a hero with a philosophical side.

"I don't read a lot of comic books," says Chang, "but this one was different. The spiritual aspect of the story greatly appealed to me."

While the groundwork was there in the comic, the story needed a lot of development before it would become a screenplay. But the producers knew the material would provide an interesting vehicle for their long-time friend and star of many of their early movies, Chow Yun-Fat. Chang and Woo enlisted screenwriters Ethan Reiff and Cyrus Voris to write the screenplay.

"Terence invited Ethan and I out to dinner with him, John, and Chow Yun-Fat," says Voris. "They pulled out this comic book called Bulletproof Monk and said, 'We have this story, we need it developed, and by the way, what do you think of Chow Yun-Fat as the Bulletproof Monk?' Since we'd seen every movie Yun-Fat had ever been in, we thought it was a great idea. To be given the opportunity to write a script for a film with Chow Yun-Fat in the leading role - there was obviously no way we could say no."

Chang and Woo gave the writers two issues of the comic book, and Reiff and Voris got to work. Reiff says, "We went back to our office, read them, and thought they were cool, but the story was just coming together in those two issues. There was a setup, but no real ending. Also, the character of the Bulletproof Monk is not really in the comic book, he's more of a legendary story, which presented a problem since Yun-Fat was supposed to be in the movie. We decided to use the material as a springboard, and eventually came up with a draft that John and Terence really liked."

Chang acknowledges the story in the movie is vastly different from the story in the comic. "I told the writers that they should keep the philosophy of the original material," he says, "but that first and foremost, Bulletproof Monk should be a fun, action-adventure movie about the hero in all of us. The writers totally got it."

Producer Charles Roven read one of the early drafts of the screenplay and was also instantly attracted to the project. "The screenplay definitely connected with me," says Roven. "What immediately hit me was that this film was a fabulous cross between a contemporary Western buddy comedy and a kind of Eastern philosophical epic. It had wonderful aspects of time, spirituality and magic, but also had a lot of humorous and exciting moments. I was very happy when John and Terence invited me to be part of the process of making the movie."

With Roven on board, the filmmakers were ready to begin the search for a director. Upon discovering the acclaimed and groundbreaking signature music videos and commercials of director Paul Hunter, they tapped him to helm the film as his first feature project.

"Paul is a guy whose work in the commercial and music arenas really precedes him," says Roven. "He has done some of the most innovative commercials and greatest music videos across all music genres. When you watched his body of work, which was so stylish and cool, you knew it was just a matter of time before he was going to get his shot to direct a feature film. I had heard he was immensely talented and that he took making movies and storytelling very seriously. When I met him, I saw this was all true. Paul added wonderful character moments to the script that really allowed you to get into the souls of the actors, and once I saw his ability to work with actors, I really knew we had made the right choice."

Adds Chang, "We looked at a number of directors, but it was Paul's passion for the material that really sold us on him. We knew he was the one who would take the movie to a whole different level."

Hunter says the script appealed to him on a number of levels. "In order for me to get into a story, a script, a movie or anything, I have to personally identify with it," says Hunter. "It really appealed to me that this story was about unlikely heroes. I could really identify with that. I also have to admit I was very enticed by Chow Yun-Fat's involvement. I liked the idea of his playing a mentor to this young guy that has no direction. Their unlikely pairing provides for a lot of hysterical comedy in the film, and audiences have really responded to it."

As it has been said, Bulletproof Monk was developed with Chow Yun-Fat in mind to play the title role. "Yun-Fat has an amazing amount of integrity as a person, and that shows up on the screen," says Chang about his friend. "His sense of presence is overwhelming. He has stature and charisma and brings an elegance to the role in whatever he does. We were very happy to have the opportunity to work with him again."

For Chow, the role of the Bulletproof Monk not only provided him with the opportunity to work with his old friends, but to have a hand in shaping the material and his character as the story evolved. "Because I was involved since the beginning, I had a lot of room to create the Monk in a certain way, which I've never been able to do before," says Chow. "This character is a lot of fun. He is philosophical, but also has a sense of humor. He has a wonderful relationship with his young prot�mg�m. They're not just teacher and student, they're more like buddy and friend, which gives the movie a lot of heart."

To play the role of the Monk's successor, Kar, the filmmakers chose Seann William Scott. Scott has garnered acclaim and gained success for comedic roles in such popular films as American Pie I & II and Dude, Where's My Car. But he was eager for the opportunity to do something different, something a little more physical than previous roles had allowed. "I thought this was one of the coolest scripts I had ever read," says Scott. "I loved the character, I loved the adventure, I loved the comedy, and I loved the martial arts aspect. I totally went after this role. I said to the director and producers, 'I don't think anybody will work harder at this part than I will. This movie has elements of all the movies that made me want to be an actor, and at this point in my career, this is really what it's all about. I want to do this. I have to play this part.'"

"There were a number of things that interested us about Seann," says Roven. "At the top of the list, he is one of the most focused, dedicated actors any of us have ever met. From the time he came in to talk to us about the role, he has lived it, breathed it, and become Kar in every way. That dedication - coupled with the fact that he's a really terrific actor with incredible comic timing - made us realize it was time. He was perfectly poised in his career to take on a leading role like this."

Says Hunter, "Seann is an All-Star player; he gives you 150% all the time. Running, diving, falling, his back is hurting, he gets back up, he does it again, he doesn't complain - he is way more than I expected. He's the guy you want in the last two minutes of the game when you want the touchdown or the final hoop. Without a doubt, he was the absolute right choice for the character of Kar."

A long-time admirer of Chow's films, Scott couldn't have been more pleased with his on-screen mentor. "I couldn't believe I would be playing opposite Chow Yun-Fat. It was a dream come true," says Scott. "But I had no idea how amazing it would really be until we did our first scene together. He makes it so effortless. He's got this sparkle in his eyes and he makes it so fun; he is so great to everybody. I've said to him, 'If I can be half the guy you are, I'd be pretty happy.' He's just a remarkable person."

For his part, Chow says of his co-star, "I think Seann is very talented. I admire his work in the movie and I admire him as a friend. I'm glad to have the opportunity to work with him. I'm glad we have a lot of young actors in the movie. They give me energy and inspiration."

"So much of casting is finding the right chemistry between the players," says Roven. "And the chemistry - particularly the comedic chemistry - between Seann and Yun-Fat is really wonderful to watch. It's obvious they like and respect one another enormously."

Chemistry was also of paramount importance when it came to casting the female lead, the alluring and mysterious Jade (a.k.a. Bad Girl). The filmmakers looked at a number of actresses before their search ended with Jaime King.

"While the Monk and Kar have an incredibly strong relationship in the movie," says Roven, "so do Kar and Jade. There has to be chemistry between the actors playing them for their on-screen relationship to be credible. We asked her to come in and read with Seann and she really nailed it. She connected with Seann, she connected with the material, and we knew we had our Jade."

In describing what attracted her to Jade, King says, "Every role you choose is a huge learning process. You're undertaking another character and have to relate to them in some way, and I really related to Jade, really understood her. There was something about her that resonated as true to me. I could understand where she was coming from on a lot of different levels."

King was also attracted to the role because it allowed her to take on the physical aspects needed for the action scenes. "I really liked that this role was so physical," she says. "I'm pretty athletic, and it isn't often that you get to incorporate that into your craft."

Every hero - or pair of heroes - needs an anti-hero, a high-stakes villain to struggle against and, hopefully, defeat. Karel Roden was chosen by the filmmakers to portray the Monk's nemesis, Struker. Struker is the ambitious young commander of an SS unit dispatched to Tibet in 1943 to steal the all-powerful Scroll of the Ultimate. Seeing the Monk escape with the scroll fuelled the Nazi's obsession to possess it - and Struker has been pursuing the Monk ever since.

When speaking about the film, Roden cites several reasons for its appeal. "Struker has spent his whole life looking for the Monk," he says, "looking for this scroll, looking for this power. Now he's old and pissed off because he still doesn't have it." As an actor, Roden also appreciated the challenge of aging 60 years as his character. "It's interesting to go to work as a young man and five hours later look in the mirror and see yourself as very old. You immediately have to learn a completely different way of moving, talking."

The obvious way to play a villain like Struker would be to milk his bad guy qualities, but director Hunter was impressed with how Roden brought Struker to life. "Karel came onto the set and had all these really interesting ideas of how to make Struker a much more colorful and complex character," says Hunter. "He's had fun with the role, which has made for a much more interesting character."

Actress Victoria Smurfit plays Nina, Struker's determined and dangerous granddaughter. Enlisted by her grandfather to assist in his quest for the scroll, Nina has her own plans for power. "Nina's grandfather has spent his whole life looking for the Monk, looking for the scroll, looking for the power," says Smurfit. "And she's been brought up by him, so she has the passion for it as well. But her passion for the scroll has much more to do with getting control and power than the whole mystical element the scroll also possesses. Enlightenment? She has no interest in that. She is just interested in who has the power." Smurfit laughs. "It's great fun to play a vile, immoral bitch. You get paid to go to work and be horrible to everybody, get it all out of your system, then go home and be all fluffy. It's just so nice!"

Well in advance of the start of principal photography, Chow, Scott, King, and the rest of the cast spent long hours training and working out to prepare for the demanding physical and martial arts aspects of their roles. Performing intricately choreographed fight sequences both with and without wires demanded that everyone be at the top of their game. Chow had experience doing martial arts and working with wires in many of his early films - Scott and King were entirely new to the process, and there was much to learn before filming could begin.

Fight consultant and martial arts expert Stephen Tung emphasizes that coordination and flexibility are the key to a good fight sequence. "Many, many hours of practice and rehearsal are necessary to learn the movements and techniques," says Tung. "All the movements should be controlled but have a smooth continuous rhythm; nothing should look rehearsed."

Scott approached his training with incredible dedication and energy. Four months before filming, he went on a strict diet and physical program, culminating in his losing thirty pounds. "I've always gained weight to play a funny character," says Scott, "but I really felt this role demanded a lean look if the fight scenes were to be believable. I told the producers I wanted to do as many of my own stunts as possible. To do that, I knew I would have to get into amazing shape.

"The hardest thing for me was maintaining flexibility," Scott continues. "I'd played a lot of football so I had power and strength, but not a lot of flexibility. I thought I was in pretty good shape, but after the first couple of days I felt like I couldn't even sit down, my legs were so sore. But your legs start to get conditioned.

"The wire work was a totally different thing," continues Scott. "What you learn on the ground you have to relearn on the wires. There's a lot of timing involved and you have to get it just right. You have to really use the bungee, and because of where the picks are in your vest you have to lean a certain way. Eventually, it does get easier. It was hardest the first couple of months. I felt like I was trying to teach myself to walk all over again every single day. But now," he grins, "I can run."

King also began training the minute she got the role. "The most challenging part is just getting your body to do certain moves," she says. "Sometimes there's a kick you do over and over, and you're like, 'Oh my God, I can't get this kick right.' Then after a couple of days it clicks, and all of a sudden you do it. It's the most amazing feeling."

Although she enjoyed learning the more traditional martial arts moves, King says learning the wire work gave her the greatest sense of accomplishment. "For me, the wire work was the most fun and the most rewarding," says King. "I really enjoyed it - running up walls, doing kicks and spins - it's like flying. Who wouldn't want to be in the air flying around? There were times on the wires when I was so exhausted I thought I was never going to get the move. Then you look around and see your fight team, and you see the director and all the other actors, and all of a sudden you're just inspired. All this energy comes rushing through you and you get it right. It's the best feeling in the world to know you worked so hard for so long and then it all comes together perfectly in that one moment. That's got to be coolest thing."

Chow Yun-Fat began honing his martial arts skills well in advance of filming, working with a trainer in his native Hong Kong. Although North American audiences regard Chow as an action star, the actor does not consider himself a martial artist. "Flying though the air can be a lot of fun, depending on the difficulty of the wire work, and I've done many movies where I've had to do martial arts," says Chow. "But for me, I'm more dedicated to the drama and the romance. I'd rather have a girl than a wire or two guns," he smiles.

Second unit director and stunt supervisor Guy Norris says, "All the actors have taken their training extremely seriously. Seann, in particular, has gone from an actor who wanted to be involved in some of the fight work to being an actor who has done all of his own fight work. He's been on the wires constantly and has put his heart and soul into training. I think he's in the best condition of his life and physically can do stuff now I don't think he ever dreamed he would be able to do."

It was evident on the very first day of filming that the months of hard work had paid off. "On the first day we were doing this scene where my character, Kar, is training in front of a movie screen, and Yun-Fat's character is watching," says Scott. "It was one of the most amazing days I've ever had in my life. It was the one fight scene we'd only had three days to rehearse, and I was really freaking out - staying up late and training non-stop. On the day, Paul's got this great music playing and the screen was behind me and I'm doing all the martial arts moves in sync with the movie playing. Out of the corner of my eye, I can see the fight team rooting me on. Between takes they were congratulating me and telling me they were so proud. It was one of the best moments I'd ever had."

Norris and stunt coordinator Branko Racki worked hand-in-hand with stunt choreographer Tung, fight choreographer Wong "Jack" Wai Leung and their team to bring the film's complex stunt sequences to fruition. The high proportion of complicated stunts meant that for much of the filming, there were two full crews - the main filming unit and the stunt (or second) unit - working simultaneously.

"When you're making a movie with so many stunts, it's important to come up with things the audience hasn't seen and with original ways to execute them," says Roven. "It becomes a team effort. The stunt and second unit fight teams, the director, the producers, the actors - everyone gets involved, from brainstorming ideas to going over storyboards and designing sets to make it all work.

"The best action set pieces in movies come out of the story the movie is telling," Roven continues. "In our film, as everything escalates - as the story goes along, as Kar gains his enlightenment and skills, as the bad guy gains power and gets closer to the Scroll of the Ultimate - we wanted to make sure the stakes were raised by the story as well as by the kind of stunts and fighting we're doing."

Production designer Deborah Evans and art director Arv Grewal worked closely with director Hunter to come up with an overall vision for the film. In designing sets and selecting locations, it was important to the filmmakers to establish a backdrop for the film that illustrated the urban, contemporary landscape of a large city and to incorporate the lesser-seen, gritty tunnel world that exists below the surface. To establish a visual feel for the material, the designers put together a palette of earth tones which was incorporated throughout the film, from wardrobe selections to locations. To guarantee authenticity with regard to the film's many Tibetan and Buddhist references, a specialist on Tibetan culture was consulted regularly in matters ranging from dialect and mannerisms to set dressing and wardrobe.

Costume designer Delphine White pulled together a wide range of fashions for the film. From Jade's very studied and sophisticated look to Mr. Funktastic's eclectic street style, the wardrobe reflected each character's personality. White says that by giving each character a specific and personal style, the audience is able to immediately gain insight into that character. "For instance," says White, "we wanted the wardrobe of Yun-Fat's character - a man who had lived through the ages - to convey a timeless, other-worldly quality. Our approach was to have him wear different garments from different times, as if he had picked up various pieces throughout the years."

Principal photography on Bulletproof Monk began on March 9, 2002. Filming took place in a myriad of locations in Toronto, Vancouver, and surrounding environs. They ranged from the Toronto subway system to the grounds of City Hall to the rooftops of Vancouver. With the exception of a few studio-built sets, most of the locations utilized were practical, altered or dressed for the purposes of the story. A number of sites served dual purposes. An abandoned food terminal provided the backdrop for Mr. Funktastic's subterranean gang hangout as well as the rooftop location for the dramatic scene where Kar and the Monk battle a helicopter full of Mercs. Gooderham and Worts, a sprawling, historic distillery in downtown Toronto, provided the backdrop for a number of sets, including Kar's apartment and the pottery factory/secret temple. An old Vaudeville-era theater doubled as the film's Golden Palace, the movie house where Kar works as projectionist and "trains" with the silver screen martial arts heroes.

Additional locations included the historic Parkwood Estate in Oshawa, which served as Jade's family mansion, and a heritage bank building in downtown Hamilton which housed the Human Rights Center.

Among the more challenging sets created was the magnificent Himalayan monastery seen at the beginning of the movie. Unable to find a suitable replica in which to film, Evans and her team fashioned an authentic-looking exterior facade in a rock quarry located an hour outside of Toronto. The quarry provided a realistic locale which, when further enhanced by the magic of computer graphics, looked as though it had been sitting in that exact location for over 300 years.

One of the main set pieces of the film, Struker's "Nerve Center" was constructed by the designers on a Toronto soundstage. Spectacular in scope and design, the set took over ten weeks to build and was designed to accommodate the aerial rigging and special effects requirements necessary for part of the film's climactic action sequence. Built to resemble an old underground Hydro station with a labyrinth of tunnels and rooms and filled with high-tech implements of torture, the Nerve Center is the ultimate villain's lair.

ABOUT THE CAST

CHOW YUN-FAT (Monk With No Name) spent his childhood during the late 1950's in a fishing village on Lamma Island in Hong Kong. He moved to the city when he was ten, and at the age of 17 quit school to work at odd jobs. At the urging of a friend, he enrolled in an actor's training course at TBV - Hong Kong's most powerful television station. A year later he graduated and signed with TBV as a contract player.

Chow's abilities propelled him to leading man status in just a few short years. In 1976, Chow starred in the 128-episode drama series Hotel, which made him a top television star and household name in his native Hong Kong. Several years later Chow created another craze with the 1981 series The Bund in which he played a gangster in 1930's Shanghai. This time he became a household name in every Southeast Asian country.

Chow started making feature films in 1977. His big break came in 1982 when new wave director Ami Hui teamed with him in The Story of Woo Viet. At that time, cheap kung-fu pictures were flooding and destroying the market. The Story of Woo Viet became a milestone in Hong Kong's cinema history as the first 'serious' film to be both a critical and commercial success. It also established Chow as a movie star of the first magnitude.

In 1985 Chow won the Best Actor award at the Asian Pacific Film Festival and Taiwan's Golden Horse Award for his performance in Leong Po-Chie's drama Hong Kong, 1941. The next year, John Woo cast him in A Better Tomorrow.

A Better Tomorrow took in 35 million Hong Kong dollars in Hong Kong alone, and Chow won his first Best Actor award at the Hong Kong Academy Awards. He played the character's twin brother in the Woo-directed sequel, A Better Tomorrow 2, and showed how he acquired his prowess with a gun in the 1989 prequel, A Better Tomorrow 3, directed by Tsui Hark.

The genre Woo and Chow launched, substituting guns for kung-fu in modern versions of ancient Chinese stories of violent morality, gave new life to Hong Kong's action cinema and defined a new kind of hero for the '80s and '90s. Chow and Woo continued their collaboration with The Killer, Once A Thief, and Woo's phenomenal farewell to Hong Kong, Hard Boiled.

Another key Chow collaborator was Ringo Lam, whose first film with Chow, City On Fire, won Chow his second Best Actor award at the Hong Kong Oscars, inspired Quentin Tarantino's Reservoir Dogs, and led to three subsequent Chow-Lam collaborations: Wild Search, Prison On Fire, and Full Contact. Other Chow hits include Wong Jing's God of Gamblers, Witch from Nepal, The Eighth Happiness, Tiger on the Beat, and Treasure Hunt.

Throughout a career that already spans seventy films, Chow has always welcomed the opportunity to play in quality dramas, including 1986's Love Unto Waste; Mable Chen's tragicomic An Autumn's Tale; and Johnny To's All About Ah Long, which won Chow his third Hong Kong Oscar in 1989.

Chow made his American film debut in 1998's hit actioner The Replacement Killers, directed by Antoine Fuqua. It was followed by The Corruptor, co-starring Mark Wahlberg, and the epic drama Anna and the King, co-starring award-winning actress Jodie Foster. Chow went on to star in the Academy AwardR-winning film Crouching Tiger, Hidden Dragon with director Ang Lee and co-star Michelle Yeoh.

SEANN WILLIAM SCOTT (Kar) landed his first major motion picture role in the blockbuster comedy American Pie as wild man Steve Stifler. He next went on to star in Road Trip, the thriller Final Destination, and Dude, Where's My Car? opposite Ashton Kutcher.

Most recently, Scott reprised his classic role as Stifler in the box office hit American Pie II. The film premiered as the largest box office opening ever for an R-rated movie, grossing over $300 million dollars worldwide. In addition to his unforgettable cameos in Jay and Silent Bob Strike Back and Old School, Scott starred opposite Julianne Moore and David Duchovny in the sci-fi comedy Evolution directed by Ivan Reitman. He also joined the ranks of Hollywood greats who have hosted Saturday Night Live.

In 2002, Scott signed a first-look producing deal with Universal Pictures for projects he can both star in and produce. Next, Scott will star in American Wedding, the third installment of the smash hit comedy American Pie; the action-adventure Welcome to the Jungle with The Rock; and Stark Raving Mad, an independent feature for producers John Baldecchi and Lawrence Bender.

Scott has come a long way since 1995, when he worked double shifts at the local movie theater while completing high school in Cottage Grove, Minnesota. Inspired by all the free movies he could watch, Scott decided his future lay with acting. He finished high school a semester early and moved to Los Angeles, where he currently resides.

JAIME KING (Jade / Bad Girl) most recently starred opposite Jason Schwartzman and Devon Sawa in the dark comedy Slackers, marking the debut of famed photographer Dewey Nicks and produced by Neil Moritz. In the summer of 2001, King was seen in the epic film Pearl Harbor. Directed by Michael Bay and produced by Jerry Bruckheimer, King co-starred with Ben Affleck, Josh Hartnett and Kate Beckinsale. King was featured in Ted Demme's Blow opposite Johnny Depp. She has also completed production opposite Joshua Jackson in the comedy Lone Star State of Mind.

As a spokesmodel for Revlon, King appears in print and television advertisements for the cosmetics giant. She began her modeling career at the age of fifteen, after being discovered in her hometown of Omaha, Nebraska, by a well known New York modeling agent. Within months she was doing editorial shoots for fashion magazines such as Vogue, Allure and Seventeen.

King resides in Los Angeles.

KAREL RODEN (Struker), a celebrated Czechoslovakian actor, made his Hollywood debut starring opposite Robert De Niro and Edward Burns as the cool, clever, and media-manipulating murderer Emil Slovak in Fifteen Minutes. Most recently he was seen in Guillermo del Toro's Blade II.

Roden is a fifth generation actor who has appeared extensively in feature films produced in his homeland. His performance in Time of Servants was lauded at the Cannes, Geneva, and Montreal Film Festivals.

Equally at home on the stage, Roden has appeared in leading roles at the Prague City Theatre and Prague's Labyrinth Theatre, and has been a member of the Prague National Theatre since 1992. His performances in productions such as "Cold Shower" and "Don Juan and Faust" were received with great acclaim. Roden will next star in Hellboy for Revolution.

VICTORIA SMURFIT (Nina) was most recently seen in Chris and Paul Weitz's About A Boy, co-starring with Hugh Grant, Rachel Weisz and Toni Collette. Her other feature film credits include Danny Boyle's The Beach, Rami Dvir's The Wedding Tackle with Adrian Dunbar, John Duigan's The Leading Man, and Peter Yates' The Run of the Country with Albert Finney.

Smurfit's first major television appearance was in Ivanhoe playing Lady Rowena. She is well known for her portrayal of Orla in the BBC television series Ballykissangel. Currently on TV she plays the lead in Lynda LaPlante's Trial & Retribution. Other television work includes Granada's Cold Feet and the BBC's Berkeley Square.

Smurfit trained at the Bristol Old Vic Theatre School where she appeared in productions of "Mansfield Park," "King Lear," and "Love's Labours Lost." Since then her work in the theatre has included "Translations" for the Bristol Old Vic, "10 Rounds" at the Tricycle Theatre, and "Stags and Hens" at the Edinburgh Festival.

ABOUT THE FILMMAKERS

PAUL HUNTER (Director), after a long and successful career as a commercial and music video director, makes his feature length directorial debut with Bulletproof Monk.

With his inventive style, Paul is one of the most identifiable visionaries in music videos today. Having worked with celebrated musical artists including Jennifer Lopez, Lenny Kravitz, Christina Aguilera, Eminem, D'Angelo, Courtney Love, Marilyn Manson, Sean "Puffy" Combs, Mariah Carey, Will Smith, and Janet Jackson, Paul is among an elite group of directors who successfully segues between hip-hop and rock, fortifying a diverse client base.

A native Californian, Paul majored in Radio, TV, and Film at Cal State Northridge. His career began working on sets and shooting spec commercials. He continues his work in commercial directing by helming big budget product spots for major corporations, including The Gap and Coca Cola (Dasani).

Paul received overwhelming recognition for his work on projects for Nike and Jordan. The Nike commercial went on to win an Emmy Award. Paul directed the music video for Michael Jackson's You Rock My World. He directed the multiple award-winning "Divas" video for the soundtrack to the film Moulin Rouge featuring Christina Aguilera, Pink, Mya, Missy Elliott and Lil' Kim, as well as Aaliyah's video for her hit song Resolution.

He directed spots for the current Dr. Pepper campaign, and the 6 spots for the upcoming Nike campaign.

ETHAN REIFF & CYRUS VORIS (Writers) met at an NYU Film School graduation party thrown by a mutual friend. Although the two had never shared a single class, they were the only students they knew of actively engaged in writing feature-length screenplays. They began pooling their abilities soon after and have written together almost continuously ever since.

Their first collaborative effort - Demon Knight - also became the first of their original screenplays to be released by a major studio when it was produced in 1995 as the first Tales from the Crypt feature film. Produced by Joel Silver, Walter Hill, Richard Donner and Robert Zemekis, Demon Knight starred Billy Zane and Jada Pinkett. Since then Reiff and Voris have continued writing together, selling spec originals and doing adaptations and rewrites for every major studio in Hollywood. Along the way they branched out into the world of television, creating and producing Brimstone, a one-hour supernatural drama. The series, starring Peter Horton, aired on the Fox Network during the 1998 season and still retains a loyal cult following.

Reiff and Voris have recently completed work on another original script, Labor Day, for producer Richard Donner. An action-thriller about a U.S. Attorney who must team up with a Triad gangster in order to rescue his pregnant wife, Labor Day is set to star Jet Li. They are currently working on an original animated feature they sold to Jeffrey Katzenberg. It tells the tale of the most unlikely kung-fu hero in all of ancient China - of any species: a lazy, self-involved "slacker" Panda named Po.

CHARLES ROVEN (Producer) Distinguished by nearly two decades as a producer of motion pictures which have collectively grossed over $1 billion worldwide, Charles Roven is co-founder of Atlas Entertainment and its affiliated company Atlas/Third Rail Management, which in 1999 became part of Mosaic Media Group, an integrated multimedia film, television and management company where he serves as a founding principal. Having recently overseen the $275 million box office hit Scooby-Doo - a live-action version of the classic cartoon starring Freddie Prinze, Jr., Sarah Michelle Gellar, Matthew Lillard and Linda Cardellini - Roven is currently leading pre-production efforts on the sequel. He's also in preproduction on the action fantasy Brothers Grimm to be directed by Terry Gilliam.

Roven took the reins of Atlas after an eight-year partnership with music manager Robert Cavallo, who left in 1998. The company's success also benefited from the talents of Roven's now deceased wife, Dawn Steel, who joined the venture from her former post as president of Columbia Pictures. One of the industry's most diverse filmmakers, Roven has spearheaded a broad slate of projects, overseeing production or serving as producer of Final Analysis, Honey, I Blew Up the Kid, Cool Runnings, Man's Best Friend, Sister Act II: Back in the Habit, Angus, Twelve Monkeys, Fallen, City of Angels, and Three Kings. Previously, as an independent producer, he shepherded such films as Cadillac Man, Johnny Handsome, The Blood of Heroes, Made in the USA and his first project, Heart Like A Wheel. Roven began his career as a talent manager, subsequently bringing an attuned sensibility of working with artists to the realm of production.

While focusing on Mosaic's feature film activities, Roven also participates in the music management division. He was involved in the production of the Scooby-Doo soundtrack, utilizing one of the division's most prolific bands, Outkast, for the debut single in connection with the film's release. He is also noted for facilitating other synergy between the organization's music and film divisions. In 1998, the soundtrack for the motion picture City of Angels garnered three Grammy Awards, the coveted title of best-selling soundtrack of the year, and #1 singles for Atlas/Third Rail clients Alanis Morissette and The Goo Goo Dolls.

TERENCE CHANG (Producer) studied architecture at the University of Oregon before switching his focus to filmmaking at New York University. In 1978 he returned to his native Hong Kong to become a production manager for two Golden Harvest films, Itchy Fingers and Game of Death II.

He joined Rediffusion Television (RTV) in 1979 as an administration officer for the production department, where for two years he supervised the operations of all RTV's television productions. In 1981, he joined Johnny Mak Productions as a producer. While at Johnny Mak, he produced Lonely 15, Dragon Force, and Everlasting Love, which was selected to participate in the Director's Fortnight of the Cannes Festival in 1984.

From 1986 to 1988, he served as executive in charge of distribution at D&B Films, during which time he greatly contributed to launching the careers of Brandon Lee and Michelle Yeoh. In 1988, he joined Film Workshop as general manager, and was the executive in charge of production for The Killer, Swordsman, Spy Games, Love and Death in Saigon, A Chinese Ghost Story II, and Gunmen. He also successfully marketed these films internationally.

In 1990, Chang formed Milestone Pictures with director John Woo, and together they created Once a Thief and Hard-Boiled. At the same time he also became the manager of Asia's superstar Chow Yun-Fat and world-class writer Lilian Lee, whose books include Farewell, My Concubine and The Last Princess of Manchuria.

In 1993, Chang co-produced John Woo's American film debut, Hard Target. In 1994, he formed WCG Entertainment with partners John Woo and Christopher Godsick. He has since produced Broken Arrow, the two-hour television pilots John Woo's Once a Thief and Blackjack for Alliance Communications, Face/Off, Replacement Killers, The Big Hit, The Corruptor, Mission Impossible II, and Anna and the King.

With John Woo, Chang formed Lion Rock Productions and has produced Windtalkers for MGM. Currently, Chang is producing John Woo's Paycheck starring Ben Affleck.

JOHN WOO (Producer) Woo's illustrious career as a filmmaker began in Hong Kong where he spent over two decades at the center of a thriving film industry, directing over twenty-six feature films. He was known primarily as a comedy specialist until the mid-1980's when he created a series of inspired romantic and violent gangster dramas that broke box-office records.

Woo was born in Guangzhou, China, and came to Hong Kong with his family at age four. He was educated at Matteo Ricci College and, at age nineteen, began making experimental films. In lieu of film school, Woo sought entry-level positions in the flourishing Hong Kong film industry.

In 1983, Woo began a successful partnership directing actor Chow Yun-Fat with the gangster films A Better Tomorrow, A Better Tomorrow II, and the comedy caper Once A Thief. Woo's lush crime thrillers put him into film history books around the world; the most famous include the brilliantly choreographed, character-driven action films The Killer, Hard-Boiled and Bullet in the Head.

Woo made his U.S. feature film debut with Hard Target starring Jean-Claude Van Damme. In 1994, he formed WCG Entertainment with his producing partner Terence Chang. Under this banner, Woo had his first Hollywood hit, Broken Arrow, starring John Travolta and Christian Slater. Together with Chang, Woo executive produced the successful low budget films The Big Hit and Replacement Killers.

His third Hollywood film, Face/Off, stars John Travolta and Nicolas Cage and was praised as a masterpiece by critics around the world. Woo then directed Tom Cruise in Mission: Impossible II, which grossed over a billion dollars worldwide. His most recent film, WWII movie Windtalkers, reunited him with Face/Off star Nicolas Cage. Woo and Chang named their production company after a famous mountain in Hong Kong - Lion Rock Productions.

DOUGLAS SEGAL (Producer) is a graduate of New York University. He spent more than a decade in New York, writing and directing theater on and off Broadway. Segal also taught acting at the renowned Lee Strasbourg Theater Institute.

Upon moving to Los Angeles, Segal worked for Lifetime Television in its feature film division before becoming director of development for Dawn Steel's Steel Pictures. While there, Segal worked on the sleeper hit Cool Runnings, directed by Jon Turteltaub.

In 1994, Segal joined what was to become Atlas Entertainment, a division of Mosaic Media Group. He rose to executive vice president and eventually producer. During this time he associate produced Angus and developed and co-produced City of Angels, directed by Brad Silberling and starring Nicolas Cage and Meg Ryan. The film grossed $150 million worldwide. Following City of Angels, Segal worked with writer/director David O. Russell and co-produced the critically acclaimed Three Kings, starring George Clooney, Mark Wahlberg and Ice Cube.

STEFAN CZAPSKY (Director of Photography) was responsible for lensing such distinguished films as Ed Wood, Edward Scissorhands, and Batman Returns.

Born in Oldenberg, Germany, Czapsky came to the United States as an infant and grew up in Cleveland, Ohio. He studied film history and criticism at Case Western Reserve University and went on to attend Columbia University's post-graduate film program.

His real training was over ten years of on-the-job experience working as an assistant cameraman, gaffer and grip for several noted cinematographers, including two time Academy AwardR-winner Haskell Wexler (E.T. The Extra Terrestrial, Matewan), Allen Daviau (The Color Purple), Michael Ballhaus (After Hours) and Juan Ruiz-Anchia (At Close Range).

Rob Nilsson's On the Edge marked Czapsky's debut as a director of photography. He went on to shoot The Thin Blue Line, Vampire's Kiss, Sons, Flashback, Last Exit to Brooklyn, Child's Play 2, Prelude to a Kiss and Matilda.

DEBORAH EVANS (Production Designer) was the production designer on the feature films Con Air and Remember the Titans, both for producer Jerry Bruckheimer.

Evans emigrated from London to Los Angeles in 1981 with an ambition to design for motion pictures. After studying architecture and interior design at the University of California, Los Angeles, she worked as a set decorator on music videos and independent films. She later made the transition to production designer working on videos for such artists as Bob Dylan, Don Henley, Guns 'N' Roses and Madonna, as well as commercials for directors Michael Bay, Tom Dye, Dominec Sena, Tony Scott, Peter Smillie and Oliver Stone, to name a few. Evans previously collaborated with director Paul Hunter on the groundbreaking Nike "Freestyle" commercial.

ROBERT K. LAMBERT (Film Editor) most recently edited Bad Company, Rush Hour 2, Red Planet, Three Kings, and the upcoming feature Rob Zombie's House of 1000 Corpses. Additionally, Lambert was editor on such features as Without Limits, Blue Sky, Ed, Blue Chips, Above the Law, Last Action Hero, The Hotel New Hampshire, The Border, The Final Countdown, Sorcerer, The Driver, If This is Tuesday, This Must Be Belgium, and Critical Condition.

As second-unit director, Lambert's credits include Blue Sky, The Hotel New Hampshire, The Border, The Final Countdown and Phantom of the Opera.

Lambert edited the feature documentary Sting: Bring On the Night, which won a Grammy Award for Best Long Form Video. He was nominated for an EDDY Award for his work on The Secret Life of Plants and an Emmy Award for Women & Men: Stories of Seduction. He was also awarded The American Cinema Golden Eagle Award for co-producing and directing the short film Airpowered at Sea.

For television, Lambert edited such specials as David Wolper's I Will Fight No More Forever and Life Goes to the Movies, garnering Emmy nominations for both and winning an EDDY Award for the latter.

JOHN SULLIVAN (Visual Effects Supervisor) began working in film while doing a graduate studies program in motion picture production at the University of Southern California. While attending USC, he began working at the Howard Anderson Company. There, in a working environment he learned all aspects of film opticals, animation, and titles, as well as the techniques of matte painting, miniature photography, blue screen and process photography. The films he worked on during this period, Gray Lady Down and Doc Savage, Man of Bronze, stimulated his future interest in visual effects.

Sullivan did production camera work on films such as Mean Dog Blues and Tilt, and television programs such as Starsky and Hutch and Knott's Landing. He then went to work on the visual effects team for Star Trek: The Motion Picture. This was the start of a six-year association with Apogee that included such feature projects as Firefox, Caddy Shack, Never Say Never Again, Spaceballs, Lifeforce, Invaders From Mars, My Stepmother is an Alien, and Ghostdad.

As visual effects supervisor John has done Last Action Hero, The Santa Clause, Die Hard with a Vengeance, Eraser, The 13th Warrior, The Thomas Crown Affair, Little Nicky, and Rollerball. In addition to his role as visual effects supervisor, Sullivan has also directed second units and worked as director of photography for both visual effects and second units.

ERIC SERRA (Composer), born in Paris, began playing the guitar at age 11, and by age 15 he was playing professionally with recording artists such as Didier Lockwood, Catherine Lara, and Youssou N'Dour. In 1981 he began playing bass guitar and conducting for French singer Jacques Higelin, working with him for many years.

It was around that time that Serra first met French film director Luc Besson. Besson asked Serra to compose the music for his first film, The Last Battle, and a remarkable collaboration between the two men was born. Serra has composed, arranged, and produced the score for every Besson film: The Last Battle (1982), Subway (1984), The Big Blue (1988), La Femme Nikita (1990), Atlantis (1991), The Professional (1994), The Fifth Element (1997), and The Messenger (1999). He won a C�msar (the French OscarR) for his work on The Big Blue, and won the Victoire de la Musique (a French music award) for the films Subway, The Big Blue, and The Professional.

Serra's other credits include producing Doudou N'Diaye Rose's first album. He was the composer, arranger, and producer on the James Bond film GoldenEye, for which he won a BMI Film Music Award. In 1998 he released his first solo album, RXRA, which he produced with Rupert Hine. He co-produced the French version of the Tarzan soundtrack with Phil Collins and served as composer, arranger, and producer on the films L'Art D�mlicat de la S�mduction and Wasabi. He also served as producer and arranger on Pauvres Diables by Johnny Hallyday, and composed the score for Rollerball.

KELLEY SMITH-WAIT (Executive Producer) brings more than sixteen years of production experience to her role at Atlas Entertainment/Mosaic Media Group as both producer and head of physical production.

Currently, as executive producer, Smith-Wait is overseeing production on the highly anticipated sequel to the live-action version of the classic Hanna-Barbera cartoon Scooby-Doo starring Sarah Michelle Gellar and Freddie Prinze, Jr., as well as the upcoming adventure tale The Brothers Grimm to be directed by Terry Gilliam.

In addition, Kelley served as executive producer on the critically acclaimed Three Kings, written and directed by David O. Russell, and as co-producer on Brad Silberling's City of Angels, and Fallen starring Denzel Washington. Prior to these films, she was associate producer on Terry Gilliam's Twelve Monkeys, Angus and Final Analysis.

MICHAEL YANOVER (Executive Producer) is the president and owner of Flypaper Press Inc., a comic book and graphic novel publisher, which was formed in late 1997. The company published its first comic book series in 1998 and has since published 11 comic book series and graphic novels, including Bulletproof Monk and the first ever teen girl comic book series, BoHoS (written by a 15-year-old girl). Michael established Flypaper Press with two goals in mind. The first was to create new forms of superheroes - ones which, unlike their latex-clad predecessors, were more grounded in reality and relevant to today's youth. The second goal was to establish characters that could extend beyond the pages of comic books into film, television, and other entertainment.

Prior to forming Flypaper, Michael was a senior executive at Malibu Comics and was responsible for its film and television division. Malibu is credited with creating the original comic book series Men In Black, which was later adapted into the hit film starring Will Smith and Tommy Lee Jones. Prior to Malibu, Michael represented Dark Horse Comics on its film projects, including The Mask, Time Cop and Virus.

GOTHAM CHOPRA (Executive Producer), a multimedia voice on issues of spirituality, culture, and news, was the story editor on the Bulletproof Monk comic book. He is the author of Familiar Strangers (Doubleday Books 2002) - a non-fiction and spiritual chronicle of his travels and encounters at the frontlines of areas in conflict and transition - and Child of the Dawn, a novel published in 1996 and translated and published in 13 languages. He recorded "The Mythical Lover" on "A Gift of Love" - a recording of sensual poetry by the 13th century poet Rumi - and has served as researcher and lyrical advisor to Michael Jackson on the albums "Dangerous" and "History."

As anchor for Channel One News, an educational broadcast that reaches 12,500 schools and is seen every school day by upwards of 8 million students, Chopra has reported from Israel, the West Bank, Egypt, China, India, Sri Lanka, Pakistan, Honduras, Mexico, Colombia, Russia, Chechnya, Nicaragua and over 15 states in the U.S. in the past 2 years alone. He has interviewed a wide range of global leaders - from President Bush to the Dalai Lama to associates of Osama Bin Laden. He has hosted events from the Pope's pep rally in St. Louis to the fifty-yard line of the Super Bowl. Chopra's assignments have sent him on patrol with anti-militant commando units in war-torn Kashmir and have had him detained by the secret police in China and Iran.

CAROLINE MACAULAY (Executive Producer) Bulletproof Monk marks Macaulay's first credit as executive producer, having previously co-produced John Woo's World War II drama Windtalkers starring Nicolas Cage. For the past eight years, she has worked for John Woo and Terence Chang, holding different executive positions at their company, Lion Rock Productions, where they developed Bulletproof Monk from the original comic book.

Currently senior vice president of Lion Rock, Macaulay is also working on John Woo's next directorial effort, the science-fiction actioner Paycheck starring Ben Affleck, as well as the independent character thriller The Long Hello and Short Goodbye, among other films.

Macaulay started her career in 1993, working in the motion picture literary department of the William Morris Agency in Los Angeles. She is a 1992 graduate of Tufts University, where she was the editor-in-chief of the weekly school newspaper, The Observer, and a student reporter for The New York Times.

BRENT O'CONNOR (Co-Producer) is currently prepping the feature film Scooby Too starring the original cast from Scooby-Doo, including Sarah Michelle Gellar and Freddy Prinze. Previously, he co-produced K-19: The Widowmaker starring Harrison Ford and Liam Neeson.

As production manger, O'Connor's credits include the Arnold Schwarzenegger thriller The Sixth Day, the comedic romp Rat Race, the Academy AwardR-winning Good Will Hunting, and Seven Years in Tibet, with Brad Pitt. These projects had O'Connor shooting in locations such as Argentina, Toronto, Halifax, Calgary, Gimli Manitoba, Whistler, B.C., and the Northern Mountains of British Columbia. Additional production management projects in his native Vanouver include, Eye See You with Sylvester Stallone, Jumanji starring Robin Williams and Kirsten Dunst, Deep Rising, Disturbing Behavior, and Andre.

A native of Vancouver, O'Connor attended Hotchkiss Prep School and the University of St. Louis, playing ice hockey. Working in various aspects of the film and television industry, he gained experience and returned to university to study for his MBA at the University of Denver. Subsequent business opportunities led to two years in Brisbane, Australia, before returning to Vancouver. O'Connor spent two years as business representative for IATSE Local 891 before jumping back in to film production. He is a member of both the DGC and the DGA.

ALAN GLAZER (Co-Producer) is the vice president of publicity, marketing and distribution for Mosaic Media Group, where he works with all aspects of Mosaic's corporate and feature film publicity and marketing, both domestically and internationally. In addition, Glazer is involved with all international and domestic film distribution. Recently he was a co-producer on the live-action feature Scooby Doo, which has grossed over $275 million worldwide.

Glazer got his start in the agent trainee program at the William Morris Agency, after which he joined Roven Cavallo Productions as Chuck Roven's assistant in 1995. Soon after, he was promoted to director of physical production, marketing and business affairs. He remained at the company through the merger with Dawn Steel, which created Atlas Entertainment, and then the formation of Mosaic Media Group. Glazer has had his current position since 2000.

Glazer was a production executive on Fallen, starring Denzel Washington and Donald Sutherland. He executive produced Hamster Factor (a documentary on the making of 12 Monkeys); associate produced City of Angels, starring Nicholas Cage and Meg Ryan; produced the HBO special "Making of City of Angels;" and associate produced Three Kings, starring George Clooney, Mark Wahlberg and Ice Cube.

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