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Daniel Wu Poster

Biography

Jump to: Overview (4)  | Mini Bio (1)  | Spouse (1)  | Trivia (18)  | Personal Quotes (42)

Overview (4)

Born in Berkeley, California, USA
Birth NameDaniel N. Wu
Nickname Dan
Height 5' 11¾" (1.82 m)

Mini Bio (1)

Daniel Wu was born on September 30, 1974 in Berkeley, California, USA as Daniel N. Wu. He is an actor and producer, known for San ging chaat goo si (2004), Wang jiao hei ye (2004) and Warcraft (2016). He has been married to Lisa S. since April 6, 2010. They have one child.

Spouse (1)

Lisa S. (6 April 2010 - present) ( 1 child)

Trivia (18)

Education: University of Oregon (BA of Architecture)
Speaks English, Shanghainese, Cantonese and Mandarin. Wu's parents are from Shanghai. He grew up speaking Shanghainese and English.
Hobbies: Kung Fu practice, travelling, photography
Has two older sisters
Physique: 39R W32 H37.
Favorite sports: basketball, boxing, wushu, boardsports.
His best friend is also bandmate Terence Yin.
Favorite movies: The Godfather (1972), Pulp Fiction (1994), Citizen Kane (1941)
Co-starred in Naked Weapon (2002) (aka 'Naked Weapon') along with ex-girlfriend Maggie Q.
Founder and first instructor of the University of Oregon Wushu (Chinese Martial Arts) Club.
Posed for renowned Singaporean photographer Leslie Kee for Kee's 2006 charity photo-book "Super Stars", dedicated to the victims of the 2004 Asian tsunami disaster, which consist of photographs (mostly erotic) of 300 Asian celebrities by Kee.
Is of Shanghainese descent.
He was born in Berkeley, California, grew up in Orinda, California and went to high school in Oakland, California.
He is referred to as Ng Yin-Cho (or Ng Yin-Jo) in Cantonese and Wu Yan-zu in Mandarin.
Together with Andrew Lin, Terence Yin and Conroy Chi-Chung Chan, created the Hong Kong boy band Alive. The band was created as a vehicle to make the film Sei dai tinwong (2006) (aka The Heavenly Kings), a mockumentary about the Hong Kong pop music industry based on their experience.
Hong Kong [October 2005]
His first English-speaking film was Dayyan Eng's Inseparable (2011) which also stars Kevin Spacey.
He has been living in Dublin, Ireland for the past year and attended the Irish Premiere of Tomb Raider (2018) on March 12th in Dublin.

Personal Quotes (42)

I really feel that Hong Kong is my home, and Hong Kong is my identity as an actor.
At Diversion, we want to do genres that people are not doing - or, if we're doing genres that people are doing, to do them in a fresh way.
You've gotta understand camera angles, camera movement - a kick that may not be very powerful may look very powerful from a certain angle.
If you're down to 6% body fat, which I've done before, you burn out really quickly. Like, in a couple hours, you're pretty much done, and then you're useless.
I went to Hong Kong in '97 to witness the handover after graduating university, and then I was gonna backpack around Asia and then come back here and look for a job.
In my 20s, it was easy. In your 40s, it's a lot more challenging. You have to look at it like you're an actor, but you're also a professional athlete. You have to train.
I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting - he was adept at all facets of Chinese culture.
Because my master was this renaissance man, I wasn't just learning a fighting style, I was learning how kung fu permeates all aspects of life, from eating to healthy living to mental state.
When I was a kid, I loved watching kung fu movies - in San Francisco, we had 'Kung Fu Theater' on TV on Saturdays, and they'd air old Shaw Brothers movies with English dubbing, things like that.
I graduated from university with a degree in architecture and then ended up doing a series of internships with different firms. And once I was in an office environment, I realized that at school what I was doing was 98 percent creative, 2 percent makework, but in the real world, it was the other way around.
In my 20s, I could just power through stuff and be fine, but now, in your 40s? It's kind of like Kobe Bryant. He plays basketball a little bit differently than he did when he first started out.
We'll see what I do after 'Badlands' to show audiences that I have more in my repertoire besides martial arts.
For us as Asian-Americans, I think the bane of our existence is one stereotype - 'Sixteen Candles,' the Long Duk Dong character.
I ended up falling in love with the whole movie-making experience.
In 'The Matrix,' you see the fight between Keanu Reeves and Lawrence Fishburne. It's an amazing fight. But I know that they've rehearsed it for months beforehand. Because in some of the moves you can see them anticipating blocks before they actually happen.
Part of the Hong Kong style is the fact that a lot of the performers can perform the moves, and we don't over-rehearse this stuff.
I've been lucky enough to build a career outside of America, where I got 18 years and over 60 films of experience.
It was 'Shaolin Temple,' Jet Li's first movie. That was the movie that got me to want to learn martial arts. Then I became a huge Jet Li/Jackie Chan fan after that.
Asian Americans haven't had as many opportunities as other people to build their careers in Hollywood, just because there hasn't been that much of an interest, especially in Asian American males.
I worked with Jackie Chan for a long time, and seeing how much pain he's in, I realized that that might not be a sustainable career for me. So I started to develop my career as a dramatic actor rather than as an action actor.
It's not at all my objective to become an Asian-American star.
There's a huge interest in the Chinese market, and Hollywood has a huge interest in the Chinese market with films like 'Transformers' making more money over there than here.
To do eleven fights in four months is pretty crazy. In some shows that we do in Asia, there are three or four fights over a six-month period, so you have time to recover and gain your stamina.
I've built a career in Asia for 18 years, playing roles that had nothing to do with my race because everybody's Chinese in the films.
Bruce Lee was the first star I idolized. Growing up as a Chinese American, there weren't many people like me on the big screen.
I turned 40, got married, got a kid, and my mother passed away. I experienced life and death, with the enjoyment of creating life and the loss, within one year.
For Mandarin scripts, there's software now where you can just insert the Chinese script, and it comes out all in pinyin.
My sister Gloria asked me to try modeling.
The two don't necessarily translate, especially if you're a prize fighter: you've fought all your life, you've fought all these fights, and now you're trying to do a movie. You see that happen a lot - a lot of professional fighters don't necessarily make it so well into the movie world.
I came from doing Wushu and other martial arts, and then I got into movies, and I had to learn that as well - the language of martial arts movie fighting. It's a different thing; it's a different kind of logic.
For most normal people, deadlifts stretch your hamstrings, but in my case, it tightened them, because I was already very flexible.
I really want to take time and be in the moment with my kid for at least the first year. I know she's not going to remember that, but it's really for the family chemistry.
What we did with 'Tai Chi Zero' and 'Tai Chi Hero' was break down the martial-arts genre and make it younger, hipper, and kind of cooler for the younger kids.
I think filmmaking is a gamble anyway, right? You never know the results from the start.
After working on 'Europa,' I found it incredibly freeing to speak English in a film, so it kind of sparked an interest in me as an artist to improve my acting.
I definitely don't think I'm going to have a mid-life crisis.
For Cantonese - because there's no standardized pinyin system - I have to have someone read it to me, and then I rewrite the whole script in my own Cantonese pinyin.
I think growing up in the States and Australia, we were exposed to a lot of different types of things. I used to go to Gilman to watch punk shows, and it's a complete different environment - you were inspired by so many different things, whereas in Hong Kong, there is nothing for anybody.
I really dislike the fact that Asian males are constantly emasculated, whether it's American TV or films. You see it all the time, and it's so weird that they don't see sexuality in Asian men.
What I miss from the States, I guess, is going to museums and to see small rock shows in small bars. We don't have that in Hong Kong. Unfortunately because the property market is so high, all rent is so expensive, they can't afford to have a rock music bar because those things don't make a lot of money, and they're paying a lot of rent.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
I miss the Bay Area - the kind of laid-back lifestyle. Because in Hong Kong, you're going, like, 90 miles an hour, which is fun when you're young.

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