Philip Ng is smashing faces and Hong Kong box office records
Meet one of the actors behind kung fu epic 'Twilight of the Warriors: Walled In'
Philip Ng as King in Twilight of the Warriors: Walled In
Well Go USA Entertainment
Words by Daniel Anderson
A claustrophobic metropolis of towering tenements and shadowy alleyways, Hong Kong’s Kowloon Walled City was a lawless abyss where survival was a brutal art. Twilight of the Warriors: Walled In plunges viewers into this infamous underworld, a cauldron of violence and desperation. Released on May 1st, the film shattered box office records in Hong Kong, becoming the most-watched local film of 2024 and the second highest grossing of all time.
Adapted from Andy Seto's graphic novel City of Darkness, and set against the backdrop of the 1980s, the film follows Chan Lok-kwun (Raymond Lam), a mainland refugee caught in a deadly game of cat and mouse with the city’s ruthless crime lords. When a botched heist lands him in the Walled City, he becomes a pawn in a high-stakes battle for power between the enigmatic Cyclone (Louis Koo) and the legendary Mr. Big (Sammo Hung). As tensions escalate, a new generation of fighters, including the flamboyant King (Philip Ng) and the formidable Shin, (Terrance Lau), emerge, their destinies intertwined with the city’s fate.
Its electrifying action sequences, complex characters, and unflinching portrayal of a bygone era have resonated with audiences of all ages.
Philip Ng, best known for Birth of the Dragon, Once Upon a Time in Shanghai and New Police Story, spoke with JoySauce about bringing the iconic character of King to life, the film’s extraordinary success, and the enduring power of Hong Kong cinema.
This interview has been edited for clarity and length.
Daniel Anderson: I’ve read that this film has been in development since the 2000s and it's gone through several different iterations. Can you tell me about how the project made it to you and what initially intrigued you about the role?
Philip Ng: I was talking to John Chong, the producer. He mentioned that the movie has been in development for about nine years. Being in the industry, I had heard bits and pieces about it, but nothing concrete. Before I was offered the role, Soi Cheang, the director, reached out. I’m a big fan of his work, so when his team contacted me, I jumped at the chance to meet him. I didn’t even know what project it was at first; I just knew they wanted to make a kung fu movie set in Hong Kong with Hong Kong kung fu actors. During our initial meetings, he asked about my background in kung fu, my thoughts on action choreography, and my approach to acting. By the third meeting, he offered me the role of King. The most memorable thing he said to me was that, while people know who Philip Ng is, he wanted this character to be unrecognizable to the audience. I was thrilled because I admire his work and was eager to see how he would help me create this character.
DA: King seems like such a fun character, especially with his flamboyant style and amazing fight scenes. I noticed that each character had unique fighting styles that reflected their personalities. Can you tell me about developing King's action sequences and how they showcased his personality?
PN: Kenji Tanigaki, our action director, is a good friend, and we’ve known each other for a long time, so I have a lot of trust in him. When you trust the choreographer, things can go really well because you can discuss and develop a way of moving that fits both the character and the actor. We had a training camp a month before production started, focusing a lot on choreographing fight scenes for Raymond and Terrance. Sammo Hung, German Cheung, who played AV, and I have more experience in action cinema, so our fight scenes were choreographed closer to when we shot, and I didn't shoot my action scenes until near the end of production. This was beneficial because they trusted I could handle it and pick up choreography quickly, plus it gave us time to develop the choreography while filming the dramatic scenes. My concern was they wanted unique movements for my character, which can sometimes involve a lot of wire work. I prefer grounded fight sequences. Seeing the choreography for Louis Koo and Sammo, I knew that was the style I wanted—grounded and powerful. We managed to create a unique but grounded style for King, thanks to the extra time we had to develop it.
DA: With you being such an experienced action choreographer yourself, was there a collaborative process? Did you get to share a lot of your insights and experiences?
PN: When I'm filming, I usually keep my input minimal, because as a choreographer, I prefer to have my own design without too much influence from others. I didn't want to overwhelm Kenji with too much input. However, I would honestly express my concerns, and because we know each other so well and he's so experienced, he was able to use his own methods to address my concerns and help create a design that fits both the character and me as an actor. It ended up working out for the best.
DA: The set design for Kowloon was incredible—it felt so lived-in, real, and tactile. How did being on set in that space enhance your performance and get you into the right headspace for the intricate and elaborate action sequences?
PN: The attention to detail is crazy right? They recreated props that no longer exist, like old shampoo and soap bottles, by going to the factories and making them. This level of detail makes it easy for actors to get into character and feel the physicality of the room, as opposed to working with a green screen. There were some green screen elements, but there was always something physical to interact with. The set was ingeniously designed like Lego pieces, allowing them to move and rearrange to create new areas. Additionally, there were two permanent sets built. A lot of money was spent on this, but Kowloon Walled City is essentially a character in the movie—it’s alive and breathing. The production design had to be perfect, and our team behind the camera was top-notch, resulting in a fantastic product.
DA: Is there a particular scene that you are most proud of accomplishing?
PN: The ending scene, where four characters fight King, was particularly memorable. It was a long and arduous shoot, spanning 20 days with 10-18 hour days focused solely on fighting. Despite the difficulty, it was fun, and everyone was committed. The camaraderie we built was irreplaceable, like fighting a battle with war buddies. On screen, it looks like we're fighting, but as soon as the camera cuts, we're all supportive of each other. If I had to pick a favorite scene, it would be my opening scene on the bus. We shot that after the ending, so we had a clear understanding of King’s character, making it a great introduction for him.
DA: Did you expect this film to become as big as it has?
PN: A most-watched movie in Hong Kong history and the second highest-grossing—we never anticipated this level of success. As filmmakers, we knew we had something special, but it's hard to predict audience reactions. I've worked on films I thought were great that didn’t reach wide audiences and others I thought were so-so that everyone loved. When I signed on, I thought I was making a kung fu movie for a specific audience. But when this movie was released in Hong Kong and the mainland, every demographic came out to watch it—from grandmas and grandpas to students. We aimed to make the best movie possible, and it felt like we achieved something beyond just a kung fu film; it had a cultural impact.
DA: Expanding on that, why do you think the film resonated as much as it did?
PN: They took a lot of risks with this movie, blending action with themes of brotherhood, love, and complex relationships. The film addresses generational struggles and presents these themes in a relatable and understandable way. Unlike typical kung fu movies where you’d expect characters like Cyclone and Mr. Big to fight until the end, this film takes unexpected turns. For instance, the resolution falls to the new generation, and there’s no romantic subplot, which is unusual for a movie of this caliber. These risks, which deviate from traditional expectations, may have contributed to the film’s resonance.
Twilight of the Warriors: Walled In will open in select U.S. theaters on Aug. 9.
Published on August 8, 2024
Words by Daniel Anderson
Daniel Anderson is a disabled Chinese American adoptee based in Seattle. His freelance writing specialties include K-pop, entertainment, and food. He believes that any restaurant can be a buffet, and the key to success is to take a nap each day. Follow his adventures on Instagram @danzstan.