Conversations with GoD: ‘The Forbidden Kingdom’ Co-Star Li Bing-Bing

Earlier this month, I spoke with The Forbidden Kingdom screenwriter John Fusco and his influences that helped forge the script. Now, I am lucky enough to speak with one of the film’s co-stars, Li Bing-Bing, who makes her Hollywood debut playing Ni Chang, better known as The Bride With White Hair.

Geeks Of Doom: Thank you for taking some time today to answer some questions about your current film, The Forbidden Kingdom which is your first English language film, after ten years of acting in Hong Kong cinema. Did you have any trouble adapting to an American production work schedule?

Li Bing-Bing: I was very lucky to be part of The Forbidden Kingdom. The Forbidden Kingdom has a fantastic filmmaking team with director Rob Minkoff, cinematographer Peter Pau, martial arts choreographer Yuen Woo-Ping, and Jet Li and Jackie as world class martial artists and teachers. Everyone was very professional. The Forbidden Kingdom cast and crew also had a great team spirit attitude — they had high expectation for all cast members, no matter that their backgrounds maybe. Everyone had the same treatment and everyone was thoughtful as well. I quickly became accustomed to the U.S. filmmaking culture and learned a lot from the experience.

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Conversations with GoD: ‘The Forbidden Kingdom’ Screenwriter John Fusco

John Fusco‘s latest screenplay to hit the big screen and about to be released on DVD this Tuesday is The Forbidden Kingdom, which will be remembered for the first on-screen appearance of both Jet Li and Jackie Chan. Fusco was the pen behind the Young Guns films, as well as the Viggo Mortensen flick Hidalgo, and he also scripted the Weinstein Company’s upcoming re-imagining of Akira Kurosawa’s The Seven Samurai.

Geeks Of Doom: Were you aware of the Chan and Li team-up when you began writing the script?

John Fusco: It actually began as a bedtime story for my young son who was beginning martial arts. Because I have a background in kung fu, I wanted to introduce him to what I felt was the right foundation: the philosophy and literature and mythology that informs the practice. If I had tried reading Lao Tzu or the Four Classics to him I would have lost him. So I made up a fun time travel journey that would be something of a primer.

While I was out in the desert with Casey Silver making Hidalgo I told him about this story I was making up for my kid and why. He felt that I was onto a movie and he encouraged me — and hired me — to start the screenplay.

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