A recent network entertainment program offered a rare glimpse into the personal lives and professional rigors of Hong Kong film veterans Aaron Kwok, Francis Ng, and Alex Fong, alongside director Shu Mak, as they promoted their new film, The Goldfinger. Airing the second installment of the series, the episode provided a platform for candid revelations, focusing on maintaining discipline, navigating family relationships, and the strenuous demands of moviemaking.
Central to the discussion was Aaron Kwok’s famed physical regimen. Responding to the host’s inquiry regarding the long-standing rumor of maintaining a consistent 62-kilogram weight, Kwok confirmed the extraordinary discipline required, admitting to typically restricting his diet to the equivalent of one and a half meals per day across many years. However, the award-winning actor revealed a significant adjustment made for his family. Recognizing his wife, Moka Fang, relies on three regular meals daily, Kwok stated he actively participates to fulfill his roles as a husband and father. “As both a husband and a father, I must be present and accompany them in that routine,” he commented, signifying a conscious compromise between personal discipline and familial connection.
Meanwhile, Francis Ng addressed a more humorous family dynamic concerning his son, Feynman. Ng cheerfully rebutted claims that Feynman acts as his “antifan,” suggesting instead that his son possesses the instincts of a “natural-born paparazzo.” Ng shared that Feynman frequently snaps candid, sometimes unflattering photos when Ng is unaware or off-guard. The actor joked that he now employs a heightened sense of caution, recognizing that “the moment he pretends not to look at me, I know a camera is pointed my way.” Ng even replicated some of his reported “crazy behavior” often observed on the street, much to the amusement of the audience.
In a segment designed to test domestic vigilance, Alex Fong participated in a challenging “Daughter’s Trivia Quiz,” reportedly designed by his wife, former Miss Hong Kong Mok Hoi-yan, and daughter, Fu Ka-ching. The highly specific questions—ranging from his daughter’s shoe size to the precise date she began horseback riding lessons—resulted in a high error rate for the actor. Fong jokingly expressed exasperation, at one point asking the production team if the segment could be edited out. He also spoke candidly about his perceived position within his household hierarchy, suggesting he ranks “below the cat and dog,” and shared his ultimate boundary regarding his daughter’s behavior.
The conversation naturally turned to the production of The Goldfinger, highlighting the physical commitment of the cast. Kwok disclosed that approximately 90% of his fight sequences in the film were performed without a stunt double. He detailed spending “days and nights” performing continuous combat, often sustaining bruises. Kwok emphasized the need to conceal his injuries from his co-star, action choreographer Cheung Man-kit, who has a background in martial arts, to avoid disrupting the flow of filming. “He has a strong martial arts foundation, and his kick power is heavy! Essentially, I’d wear padding, but still be covered in bruises the next day, but I never told him so as not to affect his performance,” Kwok recalled, displaying a professional consideration for his colleagues.
The program also showcased behind-the-scenes footage from The Goldfinger, including Kwok performing demanding inverted stunts, visibly proving his enduring physical stamina even approaching the age of 60. The episode included archival clips, contrasting promotional material for the new film by showing footage of Kwok and Ng fighting in the 1999 film Midnight Sun, and an amusing throwback to Kwok’s youthful appearance as the deity Nezha in the 1989 series The Vixens of the Wudong. These insights underscore the dedication and longevity required to sustain a career in high-level Chinese cinema.
