Jet Li Full Movies In Tagalog Version Let It Go

Welcome back to another edition of listener supported KPBS and I'm a junkie podcast on Beth Accomando.Today's podcast comes to you earlier than usual because the San Diego Asian Film Festival kicks off tonight. And I wanted to talk about it's opening night offering as well as to talk about the passing of a Hong Kong Legend. Raymond Chow so what better way to do this than to have the San Diego Asian film festivals artistic director Bryan who come on the show and discuss both okay. If you don't live in San Diego I know you might be thinking why should you listen to a podcast that's going to tempt you with offerings that you won't be able to see. But you don't have to live in San Diego to appreciate the offerings of the film festival or this podcast because who highlights films that you can seek out streaming. Find them at art houses or maybe find them on DVD or Blu ray. But I will confess there are a few that might be near impossible to see outside of a film festival venue. Plus you might want to get some insights into the challenges of running a film festival or find out about trends in Asian cinema or maybe make a list of filmmakers that you need to watch. So join me on a journey through Asian cinema that begins by paying tribute to one of its towering figures.Raymond Chow died earlier this month at the age of 91. He launched so many careers including Jackie Chan Bruce Lee Jetly John Woo and he left his legacy of films. Since you program for the Asian Film Festival here in San Diego I wanted to talk to you a little bit about Raymond Chow and kind of what he means to the industry.Give me a little background on who he was and how he kind of came to be this producer of Hong Kong films.Well when he first started out it was the heyday of siob brothers and siob Brothers was the face of the famed studio based in Hong Kong that was taking over screens all over the world with especially with martial art films and reman tchau kind of he kind of looked in to his his. And what it became later his fortune was he signed on an actor that Shaw Brothers didn't really know what to do with.He was looseleaf.So it's not just that he sense that there's something special in Bruce or that Bruce the be movie star. It's also he knew how to market in New York sell him both domestically and internationally.So that's really his legacy.He did the Bruce Lee of course. You know there's no one like him. But what Raymond Chow did was he realized Well yeah when Bruce Lee. I can't just make Bruce Lee movies and Bruce Lee only made a few films just in his in his prime. And what Raymond shouted was he created a format and a familiarity with that famed Golden parvus logo that got the entire world buzzing about these films and that really stole the thunder away from Star brothers and revolutionized not just Hong Kong cinema but with Hong Kong cinema means internationally as a part of world cinema. I still can remember those tones that hit when the logo for Golden Harvest comes on. Yeah as a kid growing up in the 80s that's the only local perform movie I remember it wasn't really that I was into.Asian cinema that much as a kid growing up in L.A.. But something about Bell logo.When nihilo came on I was I felt like I was in good hands. And I think for Flaca for an action fan that that Golden Harvest logo is as important as the lions or for MGM or you know the the Pixar logo with the hopping desk lamp like it has that kind of stature. And the legend to it.So in looking at his body of work he worked as a producer he didn't direct he didn't write but did he leave a particular mark or brand on the films that he produced.Well I think the him as someone who's behind the scenes is the one who's funding it and greenlighting films. I think he he he created a format that was particularly conducive to just making as many movies again. I mean it takes a certain kind of investments or risk taking to say that's a format. Now if I can make dozens of films per month and how many of those need to be hits for me to sustain this. Once you figure that calculus out then you can run with it. And of course not all Golden Harvest films were hits a lot of them are not very good but when you have that kind of scale that where you you're pumping out these films at such velocity that some of them are going to be life changing but also means that you have to give filmmakers a lot of chances to try new things. Like if you're just a directors only making one movie a year you're probably going to stick to the script. If you're making two movies a week or something like that probably won't be a script. And as a result you have to be creative in new ways. Like maybe if it's not on the script maybe you have to think about this visually or how am I going to fix this and in post-production or how am I going to encourage my actors to act in a certain way that's going to fit this new. So my improv isn't improvisational mode of production and Dreman show created that opportunity and that to me I is what revolutionized Hong Kong cinema. Eighties in particular when you have just the most inventive approaches to cinematography and special effects and even to acting which doesn't get a whole lot of credit in Hong Kong cinema. Raymond Chow created the terms in which this could be possible.Are there other stars and directors that people might be familiar with that he helped launch we mentioned Jackie Chan who followed after Bruce Lee and Jetly and I believe John Wu did his first feature film with Raymond Chow.Are there any other people that people might recognize golden Jarvis's imprint is so deep in Hong Kong cinema that I'm actually not sure which ones are theirs and which ones are now called unharvested and also because these stars and directors worked with so many companies. Yeah I mean Jackie Chan is one that really was a very much a golden harvest person from the beginning. Pretty much anything the 80s.Would do you think his influence has been on Hong Kong. And are we seeing a legacy today that is reflected from kind of the groundwork or the foundation that he laid back in the 80s.I mean sadly I would say Hong Kong cinema is going in a different direction. If Raymond Chow was interested in films that were like let's just go make it doesn't matter if we don't have all the cash or the script isn't ready yet. Let's just make it and see what happens and our ingenuity will guide us. And now that Hong Kong cinema is becoming more and more intertwined with mainland cinema there is a sense that everything has to be controlled more not just in terms of the obvious like you to submit your script to the censors like those that kind of control of course but also just a sense that there's more at stake. There's more money to be made now because that market is so huge. Let's not mess this up so everything. Every project now is a lot more Hollywood in. Everything's contractual everything is you know like has to be calculated. So that sense of let's just go do it even if we don't know what the consequences are. That's kind of disappeared. But for the decades of Hong Kong's sort of its heyday the 80s and 90s that imprint was all over the industry and all these other studios most of them which came and went just that they were trying to capture that spirit that Raymond Chow created.Do you have a favorite one or two films that he produced.So for me it's not a one or two films but it's the series of films that