THE hands fly through the air at blurred speed. ''Bah, bah, bah,'' says Jackie Chan to superimpose sound effects for the rapid-fire kung fu blows he's delivering to an opponent. Chan is choreographing the closing and most dramatic fight scene for his latest movie, Drunken Master Two.
Jackie Chan, whose name is rarely mentioned without the prefix superstar, wants a big fight scene. He wants something new, something different, especially because this is a sequel to a movie already 10 years old.
A typhoon warning and driving rain had forced filming indoors to the Golden Harvest lot in Kowloon. Perched on a wooden box on a raised platform, Jackie took time out to talk about movie-making, his latest action film, and the pressures of being a star.
''It makes me worry. It is very difficult to choreograph and design all the fighting. I'm trying to do something new, but it's difficult, very difficult,'' said Chan shaking his head as he looked towards the two young actors who were standing by.
''I must make this guy very violent, but I don't want it too violent. I must show that this guy is very tough - how good he is; then I can knock him down, which makes me look good.
''But it is very difficult. If you show this guy is too good, like superman, how can I knock him down? That is the problem.'' As director and star, Chan finds the pressure unrelenting - with more than 100 sequences to shoot, he is following a patten of worrying, filming, then worrying again about the next scene.
