Director Chia-Liang Liu and star Jackie Chan clashed often during filming. Among their disagreements, Liu had a particular style of filming which involved quick tracking shots, slow-motion and the use of wide-angle lenses to play with perspective, which Chan didn't appreciate, Liu wanted to have more of the realistic Huen-Gar style of fighting whereas Chan felt the fans wanted more of the drunken style and Liu wanted to use wires during the fight scenes, which Chan was categorically opposed to. Liu eventually left the film, with Chan taking over as director for the final fight scene.
The drunken boxing style exists in real life, originating from China. In Chinese it is called Zui Quan (sometimes called Zuijuquan). But unlike in the movie, it is dangerous to perform the art whilst drunk because serious injuries can occur.
The fight at the end was originally to be Jackie Chan versus Ho-Sung Pak, but Sung Pak repeatedly strained his ankle. Instead, Chan had his personal bodyguard 'Ken Lo (I)' train intensively (lots of stretching and fast kicking) for three months to take the part.
Miramax's North American theatrical distribution, Drunken Master II was cut the least. A scene in which Wong drunkenly sings at a café was re-cut slightly, making use of a few alternate takes not seen in the original Cantonese version. In addition, a 35 second cut was made to the concluding scene of the film which showed Wong blinded and mentally crippled as a result of drinking industrial alcohol during the film's ultimate fight. Played for laughs, the scene was considered to be in bad taste by Miramax.
The English dub makes references to animal kung fu styles such as Drunken Monkey as well as made-up names for random moves during the first two instances that Wong Fei-hung uses drunken boxing. The original dialogue actually references the Eight Drunken Immortals technique which was also featured in the original Drunken Master (1978) based on the real life Daoist style of Drunken Fist. The change was most likely done to compensate for the general western audience's unfamiliarity with Chinese mythology and the first film.