Navigation Bar - Text Links at Bottom of Page


About The Production (Continued)
Rounding out the cast is Carla Gugino who portrays Gabe's devoted wife, T.K., as well as Yulaw's girlfriend, Massie Walsh.

"Carla came in at the last minute," explains Morgan. "We were lucky she did. It's not a big role, but it's extremely important. If you don't like her, if you don't believe in her, then the whole story falls apart."

"Carla is one of those performers who will try anything and run with it," says Wong. "When she came on set as the different characters, even the crew didn't recognize her. She's the sexiest woman you'll ever see, and then she becomes this wonderful, grounded wife and professional woman. You see the different spin she puts on each character; it's a tribute to her talent."

"T.K. is a very pragmatic woman, and she loves Gabe very much," says Gugino. "From the moment we're introduced to her, she's in crisis because her husband who is a policeman is going through a very difficult time. We sense their love and the connection between them. She's a very real woman in every sense. Massie, on the other hand, is the quintessential femme fatale, a vixen who says very little but is effective in her own way.

"One of the first things jet expressed to me was how important the relationship between these two characters was," she says. "For Jet, the connection between Gabe and T.K. was the heart of the story. There is humanity here. I also liked the notion that one's soul is something more than our physical presence and that it might continue through more than just one life."

It was up to production designer David L. Snyder to create the look of the parallel universes in the movie. He tried to create diversity among them. "The fact that Jim Wong is also a writer made things a lot easier because he could express exactly what he wanted. I just made pictures from the words he and Glen wrote.

"The most interesting challenge was creating what we called Universe A and C," Snyder says. "They were supposed to look exactly alike except for little subtle changes. The audience will see what appears to be the same scene twice. It's really two different scenes in two different locations. We've changed the vehicles, the advertising, the color palette and the textures. It's very clever writing that allowed me to have fun.

"You always try to do something that's never been done before," Snyder says. "So we tried to bring a diversity to the different universes and not compare ourselves to other films. The future Multiverse Agency is very Spartan and utilitarian. There's not a scratch on the floor; there's not any dust; it's perfectly clean. But the current day factory has a lot of texture and grease and dirt. The home that Gabe and T.K. live in is beautifully kept, but it's worn with love and age. Every location was approached on its own merits."

Pre-production preparation also included designing many of the fight sequences. They were choreographed by world renowned fight director Cory Yuen (also known in China as Yuen Kwei). Because Yuen was in France overseeing the martial arts for "Kiss of the Dragon," he and his crew came to the United States to begin designing the scenes for "The One" a mere three weeks before cameras started to roll. Yuen's assistant fight director Jonathan Ke Quan and assistant fight coordinator David Lai acted as translators between the English-speaking actors and his all-Chinese crew.

"This movie is a little different than many martial arts movies audiences have seen, says Yuen. "We tried to keep the wire work to a minimum. We also utilized more of Jet's martial arts ability because he's so good at it. The audience wants to see the way he fights. But when the director asks for spectacular moves because the characters are in a particular universe or because we have to magnify a character's power, strength

Next Production Note Section


Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.

2018 4,  All Rights Reserved.


Find:  HELP!