Donnie Yen is making a notable comeback to the director’s role with The Prosecutor, marking his first full directorial effort in nearly two decades. Yen’s journey in the film industry began in Hong Kong as a stuntman, where he gained prominence through the TV adaptation of Bruce Lee’s iconic work, Fist of Fury. His career continued to flourish as he choreographed and starred in acclaimed Hollywood action films like Blade II. Despite his extensive experience as an action director, Yen’s ventures as a full director are few, with credits including 1997’s Legend of the Wolf and 2004’s Protégé de la Rose Noire. It wasn’t until 2023’s Sakra that he returned to directing, highlighting his passion for storytelling.
In The Prosecutor, Yen collaborates once again with Edmong Wong, a writer known for his work on the Ip Man franchise, alongside producer Raymond Wong. In this film, Yen portrays Fok Chi-ho, a police detective who transitions into a public prosecutor after a gang leader avoids conviction. His first case involves a young man accused of drug trafficking, who insists he is innocent due to a misunderstanding about his address. As Fok taps into his investigative background, he uncovers deeper, more disturbing truths about the case.
The cast of The Prosecutor features an impressive line-up, including Julian Cheung, Michael Hui, Francis Ng, MC Cheung Tin-fu, Kent Cheng, Lau Kong, Yu Kang, Adam Pak, Locker Lam, Shirley Chan, Mason Fung, and Chu Pak Hong. Since its premiere in Hong Kong last December, the film has received critical acclaim, particularly for Yen’s dynamic direction and the intense action sequences, boasting a 90% approval rating on Rotten Tomatoes.
Before the film’s debut in the United States, ScreenRant had the opportunity to interview Donnie Yen about The Prosecutor. In the discussion, he shared insights on his initial hesitance to direct the thriller, the collaborative process with Edmong Wong to refine the script, and the incorporation of personal interests to develop the cast, notably reconnecting with Cheng from the Ip Man series.
Yen Initially “Turned It Down”When Presented with the Movie’s Script
“I said, ‘I don’t know anything about courtroom movies.’”
ScreenRant: As a huge fan, it’s an honor to chat with you about The Prosecutor. I watched it recently, and it captivated me not just with its action but also with its profound messages. What about Edmong’s script and storyline motivated you to not only participate in the film but also take the director’s seat again after such a long break?
Donnie Yen: That’s a great question. Initially, I was hesitant to take on this project. My friend Edmund Wong and his father, Raymond, who are key figures at Mandarin Motion Pictures, have been collaborators on the Ip Man series and Flash Point. When they presented this script, I declined because I felt out of my depth regarding courtroom dramas. I thought, “I don’t have the confidence to shoot something like this.”
It took them about two months of persuasion. Eventually, I agreed to revise the script. I worked on it extensively, seeking a way to narrate the story that wasn’t confined to traditional courtroom clichés. Combining the elements of action and courtroom drama was challenging. I aimed to portray real events while resisting the temptation to turn it into a documentary format. The key was to keep the storytelling engaging, ensuring the audience remained emotionally invested without sacrificing authenticity.
Yen Worked Closely with Wong to Avoid It Feeling Like Other Courtroom Dramas
“…my instinct would tell me that we’ve done this…”
Could you elaborate on the challenges you faced in finding that balance between legal thriller and action genres during the filming process?
Donnie Yen: To accurately portray legal dialogue and terminology, I conducted extensive research and engaged legal consultants to ensure every line adhered to the legal framework. However, after watching numerous courtroom films, I found that many aspects began to feel repetitive and, frankly, dull. I couldn’t let the film fall into that trap. Therefore, I focused on maintaining an engaging atmosphere while filming.
One of my major concerns was the pivotal court scene, which lasts between 15 to 20 minutes. It was crucial that this segment held the audience’s attention emotionally, rather than dragging on as a lengthy exposition. I structured it into three parts to maintain good pacing, weaving in humor and unexpected twists to keep viewers on their toes. By offering comedic elements and surprises, we ensured the narrative continuously progressed, providing an engaging experience for the audience.
Yen Built “90%”of The Prosecutor’s Cast “Personally”
“…I just directly went to find them.”
Uncle Ma and Ma Ka-kit’s characters infused much emotional weight into the story. Can you share what the casting process was like for these roles, given their significance in the film?
Donnie Yen: I believe my acting background provided an advantage in assembling the cast. I personally selected around 90% of the actors. I had a clear vision of how each character should resonate with the audience, so I directly sought them out. For instance, I remember watching interviews with Lau Kong, who portrayed Uncle Ma. I had worked with him over 30 years ago but was unaware of his recent struggles in finding work until I saw an interview he did, which highlighted his optimistic outlook despite his challenges. I knew immediately that he was the right fit for Uncle Ma.
Following that, I cast the judge, Michael Hui, because I wanted someone with an offbeat sense of humor to add an unexpected dynamic to the courtroom debates.
Was your experience similar when casting Kent Cheng, especially considering it was a reunion from Ip Man?
Donnie Yen: Certainly! Initially, the script called for a younger actor in that role, but I envisioned someone with more experience who embodied a traditional work ethic, someone who has been around long enough to understand their job’s significance. That was my reasoning behind casting Kent as a seasoned character.
Yen Has One Thing in Mind When Directing Action (Even a First-Person Sequence)
“…audiences may or may not understand how you define putting action on screen.”
Let’s shift focus to the action in the film, particularly the exceptional opening sequence. The fluid transition between first-person and third-person perspectives is impressive. What inspired you to incorporate a first-person viewpoint, and how did you execute it?
Donnie Yen: Having worked in action films for many years, I understand the nuances of presenting action on screen. There is a distinction between choreography, directing action, and directing action films. Choreography primarily focuses on the physical movements, whereas directing requires crafting a cohesive narrative that incorporates those movements effectively.
Directing an action film demands an understanding of how to weave action into storytelling seamlessly. Over time, I have realized that creating emotional connections with the audience is paramount; an audience must engage with the characters beyond just witnessing their physical prowess. Today, I collaborate with various choreographers who present their concepts, but my ultimate goal remains focused on how these movements contribute to the emotional story I wish to tell.
Choreography serves as a fundamental element of the narrative’s composition, and I aim for a harmonious blend of movements that resonate emotionally with viewers, avoiding action sequences that lack depth.
About The Prosecutor
The film follows a young man accused of drug trafficking, who, under pressure from his defense attorney, confesses to reduce his sentence. The story centers on Fok (Donnie Yen), an unconventional prosecutor who believes there’s more to the case than meets the eye. Fok takes it upon himself to conduct an investigation, risking both his career and life to reveal the truth and ensure that justice is served.
The Prosecutor is currently showcasing in select theaters across the US, distributed by Well Go USA Entertainment.
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