Documentaries

"... And this is the origin of pop music: it's a professional music which draws upon both folk music and fine arts music as well."

"A singer … is no more than an actor set to music."

"I learned more from Chuck Berry about America than I could have from the U.S. Information Service in London."

"I call my music the healing music… It makes the blind feel that they can see, the lame feel that they can walk, the deaf and dumb that they can hear and talk."

"It just happened. I like to sing, and well, I just started singing and folks just started listening. I can't tell folks that I worked and learned and studied, and overcame disappointments, because I didn't."

"Rock and roll is a music, and why should a music contribute to … juvenile delinquency? If people are going to be juvenile delinquents, they're going to be delinquents if they hear … Mother Goose rhymes."

"American country music … was and is … the soul music of white people."

"Elvis changed the country music scene quite a bit; he almost put country music out of business."

"You can't make a hit record out of nothing. … It's baseless to think you can make any recording a hit, just by playing it over and over and over again."

"Now my attitude is very simple: I must do what artistically pleases me."

"The things that were happening in 1955 were cosmic … in terms of music history."

"But now if I can wrap myself up in that song, and when that song gets to be a part of me, and affects me emotionally, then the emotions that I go through, chances are I’ll be able to communicate to you. Make the people out there become a part of the life of this song that you’re singing about. That’s soul when you can do that."

"God would be a very selfish god if he gave all the soul to one race. … When one sings from the heart and it reaches another heart, that's soul."

"I went to jail for 11 days for disturbing the peace; I was trying to disturb the war."

"I enjoyed all the records very much. I made them all from the heart. I made them all with art in mind, and all to reveal a picture of where I was when I made them."

"If I had as many love affairs as you've given me credit for, I would now be speaking to you from a jar at the Harvard Medical School."

"The day you open your mind to music, you're halfway to opening your mind to life."

"I was looking for a name like the Crickets that meant two things, and from crickets I got to beetles. And I changed [to] B E A because … B E E T L E S didn't mean two things, so I changed … the E to an A. And it meant two things then. … When you said it, people thought of crawly things; and when you read it, it was beat music."

"If you'd have asked me that question, 9 months ago, well, I would have been able to say, to come to America, to have a number one hit in America, and to play Carnegie Hall, to play the Palladium, to play in front of the Queen, and all that. ... The things we've done, they were our ambitions, say 9 months ago."

"We knew that America would make us or break us as world stars. In fact, she made us."

"I used to get mad about people recording my things; now I got a new thing going. … I don't get mad about them recording my material because they keep me alive."

"There's not many Americans, certainly not many of the teenagers I met when I first went to America, knew anything about [blues artists] at all. … They do now, which is very groovy."

"What I wanted to do with Bobby was just to get him to sound in the studio as natural, just as he was in person, and have that extraordinary personality come thru. … After all, he's not a great harmonica player, and he's not a great guitar player, and he's not a great singer. He just happens to be an original. And I just wanted to have that originality come thru."

"In the largest sense, every work of art is protest. … A lullaby is a propaganda song and any three-year-old knows it. … A hymn is a controversial song--sing one in the wrong church: you'll find out. …"

"I like them all. … They're all pictures of me when I wrote them. … I have no favorite songs."

"Very rich."

"Some fella said to me, "Have you had LSD, Paul?" And I said "Yes." And it was only 'cuz I was going to just be honest with him. There's no other reason. I didn't want to spread it or anything, you know. I'm not trying to do anything except answer his question. But he happened to be a reporter, and I happened to be a Beatle."

"What we call a hook hits you, ... then you're almost not writing, lyrics come to you, a sort of magic takes over, and it's not like work at all."

"Here, I'm going to make you a big star … and you don't have to pay any dues. … For that, you're going to get no respect from your contemporaries. … To me, that was the cruelest thing."

"Ringo [Starr] … is always underrated. … He's probably … the finest rock drummer in the world today. … Ringo is the one."

"The softer you sing, the louder you're heard."

"Respect is something Otis achieved for himself in a way few people do. Otis sang "Respect when I come home." And Otis has come home."

"Manhood is what we profess, and what we try to get across."

"Soul is truth, … no matter where it comes from, no matter how it is presented."

"To sing blues, you've got to be able to, ... be willing to, feel things."

"... I just know that, right now, … the biggest record selling business there is is rock and roll."

"Rhythm and blues used to be called race music; … this music was going on for years, but nobody paid any attention to it."

"I took song writing seriously when I discovered girls."

"[My] publicity agent … went to hear Father Divine and he had a sermon and his subject was 'you got to accentuate the positive and eliminate the negative.' And I said 'Wow, that's a colorful phrase!'"

"So many proposals happened on the dance floor to the pretty music where the guy'Il say, 'Honey, I love you. Will you marry me?' I've often wondered how a young man gets through to his lady friend today when she'd be doing her own little thing 15 feet away. He tries to get her attention, waves his arms and somebody walks in between and he says, "I love you," and the little girl in the middle … a stranger . . . says "who me?""

"A song would come out … a singer's song, right? Elmo [Tanner] would whistle it. Whatever he didn't want to whistle, I would sing. Now you can imagine what I used to sing. It was frightening. Elmo was the whole band, you know?""

"I … started out to become a jazz pianist; in the meantime I started singing and I sang the way I felt and that's just the way it came out."

"I think it's a great program. ... I made my wife go get me one of these radio recorders so that I could record the Pop Chronicles and have them for my own."

"For the serious aficionado of pop music and the casual listener alike, it's been a nearly unqualified success."

"A veritable schoolroom of the airwaves … significant records … leaving the story-telling … to the interview subjects."

"Five years after his passing, excerpts from the film Lee had worked so feverishly on during the final months and hours of his Life, are edited into a film featuring Lee's title, The Game of Death. But the film bears no comparison to Lee's original multi-level vision. Without Lee's choreography notes, script-outline and motif the producers are uncertain what to do with the 100 minutes of footage they have in their possession. Moreover, they discovery that Lee was such a perfectionist that of the 100 minutes of footage they have in hand, two-thirds turn out to be outtakes and retakes, shot that Lee himself had discarded for sequences in the film that he felt were beneath his standard of quality. They deem only 11 minutes and 7 seconds of the footage ti be worthy of inclusion in their film. The rest, approximately 21 minutes worth, they discard. Intercutting actual footage of Lee into fight sequences involving lookalikes and even using cardboard cutouts of Lee's head, the end result Is viewed by many as an exploitive and grotesque joke played on the great artist's legacy. By now, even Lee's most zealous fans are beginning to believe that the original footage Is gone. And that It will never be possible to see the footage Lee shot in its entirety nor to ever learn what his original storyline for the film was. In the fall of 1994, during research conducted for a multi-volume book series based on Lee's surviving writings, Lee's original script and choreograghy writings for The Game of Death are recovered. The writings confirm what had long been suspected that Lee had shot considerably more footage for The Game of Death than had been seen to date. Another unexpected surprise Is discovered among his choreography writings. His hand-written storyline, 12 pages in length and containing all scene breakdowns and select dialogue passages the original storyline stands in sharp contrast to the one presented in the film released under the same name. After the discovery of Lee's script notes a search to find the missing footage Is launched. It will last some six years, but then the miraculous happens. The original 35mm film footage Is located. After having been separated for over a quarter of a century Bruce Lee's original footage and script notes are finally reunited. Over the course of this film, you'll see this footage as Bruce Lee had intended for It to be shown, and you'll also come to understand the struggle he had to undergo in order to bring It to the big screen. And perhaps along the way, you'll come to know the real Bruce Lee the man behind the legend, a little better as well."

"In the battle of the third floor, Lee's character makes use of a green bamboo whip. The whip represents flexibility, an attribute which Lee felt a martial artist must possess if he was to be successful in combat. Since combat, like Life, Is not predictable, Lee held that one must possess a pliable adaptability in order to change with change. Lee has his character dressed in a one-piece yellow track suit to symbolize no affiliation with any known martial arts style."

"Then It's just two people who are being aware of their own movements who are observing the other person's movements and being able to fit in with that person's movements, so that there's no set pattern of movements. No well, when be does this, then I do this. It's just a total freedom to react to what the other person does. In fact, Bruce inscribes It perfectly on the back of this medallion where he wrote his motto, It says, Using no way as way having no limitations as limitations. Over the years this phrase has been somewhat misinterpreted. People think of using no way as way to mean anything I do is okay and anything I do is my way. I don't think Bruce really intended It to mean that way. He just meant not to be boxed in by a certain way, so that you never get into a situation where there's only one response. You adapt to what the situation calls for. I think Bruce had that down pretty well."

"When Bruce closed the schools, he felt he was unburdening himself of having to prove through his students that his system had merit. He didn't want to get into that. He wanted them to evolve and teach, but It was not a thing where you have to teach what I taught. You have to teach what you learned and that's going to be more than what he taught, hopefully for those students that understood what he was doing."

"Taky Kimura: [Lee had chosen his real-life senior-most student, Taky Kimura to play the guardian of the second floor. According to Kimura, Lee wanted him to utilize praying mantis gung fu as well as some elements of wing chun, both arts that emphasize infighting use of hands predominately, with kicks limited to below the waist] I think It was in October of '71-'72, in that era. He called me and said he wanted me to be in that movie. I said, Look, Bruce, I've got two left front feet. You know it and I know it. There's probably 1,000 people in Hong Kong that can do It better. Just let me sit here and enjoy the fruits of your success. You know me, I don't need ti be in that. He said, No, I want you in it. I'm the technical director and the co-producer. Don't worry about it. So, I reluctantly, for fear that he'd kick my butt if I said no, at that point, I said okay. He'd already sent me an airline ticket. And really, I think at this point in his life. I think he had transcended the gimmicks that are usually in these movies. And I think that he had gotten to that plateau where you could just simply do the simple, you know, normal things and yet create that excitement within that simplicity."

"His big advantage is that he gives no thought to life or death. And with no distracting thoughts, he is therefore free to concentrate on fighting against the attack from outside. [from dialogue cantonese (螳螂嘅最高優點，就係佢能將生死置諸度外，心無一念，全心全意去對付外來嘅侵犯。) with the English subtitles]"

"With his great size, he is going to find it difficult to keep getting up each time I knock him down. [from dialogue cantonese (呢個巨人越係身形高大，當我每次打中佢，跌低時，佢龐大嘅身體就越捱唔起。) with the English subtitles]"

"Look at him. Give him the fatigue bombing! [from dialogue cantonese (睇佢個樣，實行疲勞轟炸！) with the English subtitles]"

"I'm so tired. No, no! Hai Tien, he must be much more tired than you. Calm down your soul. [from dialogue cantonese (我已經好攰喇。唔係，唔係！海天，佢比你更攰，定吓神。) with the English subtitles]"

"You are my brother! I will let you do this first deed of merit. You go ahead. Wish you success"

"Pierre Berton: There are lines that express your philosophy. I don't know if you remember them Bruce Lee: I remember them Pierre Berton: Let's hear It Bruce Lee: I said... this Is what It Is, okay? I said, Empty your mind. Be formless. Shapeless, like water. Now, you put water into a cup, It becomes the cup. You put water into a bottle, It becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or It can crash. Be water my friend."

"Hai Tien: [prepares to fight with his bamboo whip] You know baby, this bamboo is longer, more flexible and very much alive, and if your flashy routine cannot keep up with the speed and elusiveness of this thing here, all I can say is you will be in deep trouble. 3rd Floor Guardian: That we will have to find out. Hai Tien: [fight proceeds] I am telling you it is difficult to have a rehearsed routine to fit in with broken rhythm … see, rehearsed routines, lack the flexibility to adapt."

"Since the death of Bruce Lee there have been many attempts at piecing together the incomplete footage that he shot for Game of Death. Two of the worst versions were Robert Clouse's 1978 version Ng Seee Yuen's 1981 version, also known as Tower of Death. Throughout the eighties and nineties there have also been many fan-based attempts to piece together the footage, with VHS tapes available through the martial art magazines' small ads sections. The most well-known of these attempts are the Staicool Internet edits which pooled all the available material to form what would have been the climax of Game of Death. It was in 1972 that Bruce Lee donned his yellow cat suit and began work on what would surely have been a better film than any that he did complete. But only now do we have the opportunity to see the little footage that was shot, edited into a coherent form. Using a twelve-page breakdown written by Bruce. Author and Bruce Lee fan John Little has put together the best edit of the available footage. The nearest we may ever get to seeing The Game of Death what Bruce Lee intended for Game of Death, in terms of accurate editing, is the thirty-five minutes of footage that is the subject of John Little's documentary Bruce Lee: A Warrior's Journey. Having successfully assembled the footage into its intended form, Little then set about adding a score and dubbing the dialogue. Chi Hon Joi and Kareem Abdul Jabar bridged the thirty-year gap band provided the dialogue for their respective Temple of Gold and Temple of the Unknown sequences. Little himself dubbed Bruce Lee's voice, and some sound effects. Considering that Little claims (quite accurately, I'm sure) to have seen Enter the Dragon over five hundred times, he is probably capable and entitled to have a stab at imitating the master. Dan Inosanto on the other hand, chose instead to offer the same service to the Japanese company Artport, who made a generally less successful, though occasionally superior, attempt at piecing together the same material. A Warrior's Journey runs for around one hour and forty minutes-consisting of an hour's well-structured documentary and interviews (with the usual suspects) leading up to the mentioned footage. Additional material is also taken from come movies released by Linda Lee, including Bruce presenting a trophy to Joe Lewis, along with clips from Longstreet, and a selection of out-takes and bloopers. The documentary was premiered on Irish TV in 1999 and was seen again at a fan convention in Bradford in 2000. By this time, before the official release, it had been widely bootlegged and was available to buy or trade. Brad Kaup who edited A Warrior's Journey, says that they used all the scenes that they had access to-discounting any alternative out-takes that is. He himself does not believe that there is Any "missing" footage, yet adds strangely that people should continue to search. It is speculated that the Lee estate my be holding on to genuine unseen footage from Game of Death. But unless it's their intention to maximize revenue by releasing the material piecemeal, it's hardly likely that they would continue to sit on any such material for reasons of privacy. Especially given their readiness to sanction the upcoming computer-generated movie, the X-box game, or Rob Cohen's movie, Dragon: A Life of Bruce Lee."

"Little had Bruce’s dialog notes for Bruce Lee: A Warrior's Journey [...] however Little [...] didn’t have dialog notes for one of Bruce’s lines, Little chose to leave the audio portion silent, with a “dialog missing” legend appearing on-screen [...] Bruce seems to say is, “Do you understand? This sword becomes a whip,” [...] Little used Jabbar and Ji Han Jae to dub their own voices [...] Bruce Lee: A Warrior's Journey features the dialog Bruce actually wrote for the movie [...] both English and Cantonese."

"Linda Lee Cadwell — Himself / archive image"

"Taky Kimura — Himself"

"Bruce Lee — Archive footage"

"Ji Han-jae — Himself"

"Kareem Abdul-Jabbar — Himself"

"Bruce Lee — Hai Tien"

"James Tien — (Tien)"

"Chieh Yuan — (Yuan)"

"Dan Inosanto — (3rd Floor Guardian)"

"Ji Han-jae — (4rd Floor Guardian)"

"Kareem Abdul-Jabbar — Mantis (5rd Floor Guardian)"

"Hwang In-shik — (1rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"Taky Kimura — (Candidate as 2nd Floor Guardian)"

"Hak-Kyu Kim — Hai Tien"

"Byung-Joo Kim — Tien"

"Sung-Woo Park — Yuan"

"Sun-Man Bae — First Tung"

"Hee-Soo Hwang — Sister"

"Kang-Kook Lee — Wong"

"Se-kyn Oh — Second Thung"

"Tong-il Pang — The Boss"

"Marty Rhodes — Narrator"

"Ho-You Yun — Kid"

"Bill Katz — American Fighter"

"The Story (Hand-written by Bruce Lee, for The Game of Death in 1972, is 12 pages in length, publesched in the book and after also as special features of the documentary)"

"An insider's account of the remaking of Bruce Lee's last movie, The Game of Death. Nearly 30 years after Lee's death, John Little discovered Lee's original scripting notes, directorial instructions and footage from the film. Working with Lee's widow, Linda Lee Cadwell, Little reshot the film according to Lee's original vision. The book, as well as looking at the making of the new movie, also looks at the philosophy behind the movie and Lee's own philosophical nature."

"Nora signed on for Game of Death shortly before Bruce stopped filming. No one knows what part she would’ve played [...] Most likely she would’ve played Bruce’s sister, as Bruce’s script outline, shown in Little’s “Bruce Lee: A Warrior’s Journey” book, states that Bruce was to play Hai Tien, a retired martial arts champion who travels to Korea with his sister and little brother."

"I included nearly every record I ever rem[em]ber hearing."

"I wanted to write about school because most of my audience at the particular time was of a school element."

"What they call rock and roll now is rhythm and blues: I've been playing for 15 years in New Orleans."

"Rock and roll music ... is not rhythm and blues music; it's not country and western music; it's not jazz; it's a combination of these things."

"Audio of 1978 edition"

"Since we were all born into a time when airplanes already existed,"

"[In ancient times], traveling from one distant place to another"

"In ancient times, we rarely traveled more than 20 miles from where we were born."

"When we mastered the sea,"

"[Referring to steam transport] Instead of harnessing power,"

"Airplanes liberated us from the ground."

"The network of airplanes is practically invisible,"

"When we enter an airport, we're entering a portal to the planet."

"We bridged the gap that once"

"[Referring to the ] Part plane, part boat:"

"In the age of airplanes,"

"Aviation's influence is all around us,"

"Although not everything in our homes is flown in,"

"[Aviation] even impact[s] those who've never flown."

"When we work together and combine our discoveries."

"We're truly living in a time of science fiction."

"If we couldn't fly, we probably wouldn't go."

"We tend to romanticize the past"

"In the world we've made, everything is connected,"

"While we may never know how The Game of Death would have turned out had Bruce Lee lived we do know, with unimpeachable certainty, the vision Lee had for the film during the time that he was filming its finale. According to his 12-page storyline the film would begin on an airplane that hade departed from Hong Kong. The character that Bruce Lee was to play in the film was named Hai Tien a retired, undefeated martial arts champion. Accompanying him on the flight would be his sister and young brother. The family are preparing to take a tour of Southheast Asia. When en route an annoucement is made that there will be a one-hour stopover in Korea. The plane then touches down and taxis into the gate at South Korea's Kimpo Airport."

"[ Dialogue ]"

"Later, in the training garden of the Boss,s home avery member of the team is training but Hai Tien who is still reticent and worried about the safety of his family."

"[ Dialogue: Hai Tien: I want you to remember me"

"Upon arriving at the compound the team must first fight their way through 10 guards all black belts in Karate. After dispatching the Karate men, the team heads for the pagoda. On man, the locksmith, opens the door to the temple. The martial artists enter the pagoda to do battle while the locksmith stands watch below. It was within the pagoda that the epic battles in The Game of Death were to take place as each floor of the pagoda was to be guarded by as killed martial arts stylist. On the first floor, one of the team would be killed. The second floor, The Floor of the Praying Mantis would see what was now the quartet lose another member of the team. Fortunately, the battle on the third floor of the pagoda and on the remaining floors as well, Bruce Lee captured on film."

"[1972 original footage]"

"At the end of the film an exhausted Hai Tien Staggers down the steps from the pagoda and departs the village. Although Bruce Lee never finalized the details for the ending of the film it is evident from his scene breakdowns that the boss would be arrested. Hai Tien, his sister and brother would be reunited after returning of the Korean airport. The storyline perfectly justified the action that would be required in the film while the choreography of the fight sequences served to related Lee's message of personal liberation in the art of combat."

"Good morning Fellas!"

"[ Announcer: Attention: there is a call for Mr. Tien. Mr. Hai Tien, please pick up the white courtesy phone at gate 16.(Hai Tien answers)] Voice (Tien): We've got your sister and little brother. Listen carefully - there is a car waiting for you outside. I want you to calmly walk out and get into the car. The lives of your sister and brother depend on you doing exactly what you are told."

"The Boss: This Is The Temple of the Leopard. It Is located there hours from here. This Temple contains one of our national treasures - It's irreplaceable and worth many millions of dollars to the Korean government. Your job will be to get it for me. As no guns are allowed here, the temple is guarded by trained fighters - martial artist. The temple has five floors - and we believe that the treasure Is on the top floor. The martial artists guard each level of the temple. I have acquired footage of some of them to let you know what you'll be up against. This man's specialty Is Escrima - a Filipino stick fighting art. He Is very dangerous and, I'm told, guards the third level of the pagoda the Hall of the Tiger. He has also been known to be an exponent of the nunchaku - a weapon I'm sure most of you gentlemen are familiar with. This man is a Hapkido master, 7th degree. He guards the fourth level. His skill is extraordinary. It may take all of you to subdue him. The first floor will be protected by this man. As you can see, his kicks are devastatingly powerful and incredibly fast. The entranceway will be blocked by karatemen. But you should be able to get past them. The real talent Is within the pagoda. If the door to the temple is locked Is locked - which It has been since our last attempt to get the treasure - our locksmith here should be able to pick the lock and let you in. Once inside the temple, I don't really know what you will be facing. There was a prior group that attempted to make It to the before you. Only one man from that group, Mr. Huang, survived. Seeing the members of his team killed by whomever guards that last level caused him considerable mental stress. He has since been committed to a local asylum. All he could tell us was Unbelievable agility and power. We don't know who guards the upper level, but whomever he is - he is extremely dangerous and skillful. Mr. Huang was a formidable martial artist in his own right - a very effective kicker - one of Hai Tien's students, I believe. I'm hoping that where the student fails, the master will succeed. Hai Tien and Mr. Tien will be in charge of the operation. That's It, gentlemen."

"Hai Tien Fans: Aren't you Hai Tien - the fighter? Hai Tien:Yes, I am Hai Tien Fans: I'm a huge fan of tours. May I please get your autograph? Hai Tien: Sure."

"Hai Tien: Will you excuse me a Moment?"

"Hai Tien: Nice weather"

"Hai Tien:Man! That's a big snake! That's more likes It - don't be so stiff. Hai Tien: It's very kind of Uncle Wong to have picked us up and allowed us to stay in his house while we are in Korea. The Boss: Ha, ha, ha. At last we have the pleasure of your company. Tien: "Lee Guo Hao," It's said that the foreigners call him "the yellow faced tiger." The Boss: I have five martial artist here that I would likes ti introduce to you. Hai Tien: Not yet Hai Tien: I thik there May be some Toys in your room. Hai Tien: Maybe you should go and help him look for them?Hai Tien: I'll be back in a Moment."

"Hai Tien: Do not let the kid know what's going on here. Stay insider and don't run around! sister: We'll be okay."

"The Boss: Ah, nice, of you rejoin us. These men Will all be taking part in our mission. This man is a fighter from America. This is Mr. Wong -- he is being paid $2000 - wich he needs for his mother for his mother's operations. This is Yuan, he is being paid only $700 but he is very strong. This is our locksmith, Mr. Kuan -- he makes me laugh. And this is Mr.Tien -- he has cost me the most because he is extremely efficient and is the current Asian Champion. Tien:By the way, I don't like retired and undefeated champions. I've Just spoken to you at the have forgotten my voice? Hai Tien:You know something, you sound tougheter than you look. The Boss: Hey, we're all froends here. Don't worry, I Will pay you for your part in this Mission! Hai Tien: I don't want your money The Boss: Perhaps not -- but you Will join us anyway because I know you want your brother and sister to remain healthy. We Will all meet back here in four hours to Watch a film of where we're going on our mission."

"Hai Tien: I would like to ask permissione to use your car to go to the asylum tomorrow mornig -- alone The Boss: To see Huang? Of course you can use my car but I can tell you it's a waste of time. Hai Tien: Thank you for letting just me go The Boss: That is why I like you: you know you HAVE to come back! For you know that if you don't, you Will never see your sister and brother again."

"Tien: I sure don't like the way you dress as a martial artist. Hai Tien: It's about what a martial artist wears. What really counts Is the ability of the man behind those clothes. By the way, have you looked at how you dress lately?"

"Huang: Unbelievable power and agility."

"Tien: You have a bad habit of being late! Hai Tien: You want your job done, don't you? The Boss: I can assurde you that the boy and girl are fine and know nothing about "our project." Hai Tien: You have no choice anyway - you need me and by the way, don't you or anyone in this house lay even one finger on either one of them! The Boss: I can assure you that my guardas personally Will take good care of then. And I might even be generous enough to let you see them anytime you want - but don't even try or think that you can leave this house. My generosity, you see, has a limit. Take today easy and conserve your energy. You can have a light workout later."

"Hai Tien: I want you to remember me"

"Another unexpected surprise Is discovered among his choreography writings. His hand-written storyline, 12 pages in length and containing all scene breakdowns and select dialogue passages the original storyline stands in sharp contrast to the one presented in the film released under the same name. After the discovery of Lee's script notes a search to find the [[The Game of Death (1972)|missing footage [1972 original footage]]] is launched."

"Hak-kyu Kim — Hai Tien"

"Byung-joo Kim — Tien"

"Sung-woo Park — Yuan"

"Sun-man Bae — First Tung"

"Hee-soo Hwang — Sister"

"Kang-kook Lee — Wong"

"Se-kyn Oh — Second Thung"

"Tong-il Pang — The Boss"

"Marty Rhodes — Narrator"

"Ho-you Yun — Kid"

"Bill Katz — American Fighter"

"Bruce Lee — Written by (for The Game of Death, 1972)"

"Bruce Lee — Hai Tien (only a 1972 short footage in credits cloused without dialogue)"

"Hwang In-shik — (1rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"Dan Inosanto — (3rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"Ji Han-jae — (4rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"I wouldn't reject my child. My approach would be to sit with them and discuss with them. I wouldn't shun them off, but I suppose they would expect that things aren't the same. If a child goes against your say general plan, expectation, if they go against you might feel, ok you're still my son, daughter, but I wasn't expecting that option."