When Andrew Lin showed up at the Mandarin Oriental Hotel to accept his awarddidn't start the boy band Alive in order to resurrect his flagging career, and he didn't invite Conroy Chan to be a member to make sure there was a member of the band that was worse than him. The above entertaining details and more came to light in the entertaining 2006 mockumentary The Heavenly Kings, which was produced by Lin and his bandmates Daniel Wu, Terence Yin, and Conroy Chan. Also directed by Wu, The Heavenly Kings was a breath of fresh air in the usally stale Hon

are first gained notice in the 1998 Ching Siu-Tung actioner The Blacksheep Affairs, opposite Zhao Wen-Zhou and Shu Qi, and made an impresson on audiences with his good looks and, for some fans our West, his agility with martial arts scenes. "xxxxxxxx" Blacksheep Affairs"

Other films"

Typecast as villains, ending in Naked Weapon: "Quote"

Lin was soon a hot commodity in Hong Kong Cinema, appearing in a variety of genres for different filmmakers, including directors Gordon Chan (2000 A.D.), Clifton Ko (Love Paradox), and Derek Chiu (Love au Zen), and producer Stanley Kwan (The Accident). However,

Unfortunately, the late nineties also saw a crisis for the Hong Kong film industry, with declining attendance, piracy, and reduced investment preventing actors and filmmakers from producing the variety and output of films that drove the industry to international promienence. As a result, many actors and filmmakers were marginalized, never getting the opportunities they might had received if the industry were more robust.

One could say Andrew Lin's career fell into that category, and he soon was often typecast in villain roles.

On the Hong Kong film Industry...

The Heavenly Kings....

Future projects...

Ninja commercial...

     Proclaiming that Kill Bill: Volume 1 is a movie for people who really love movies isn't an entirely accurate statement—it's actually tailor-made for a special kind of crowd. It's for people who love Spaghetti Westerns, bloody Chang Cheh flicks, and off-the-wall anime. It's for filmgoers who have an affinity for blaxploitation pictures and go around quoting Sam Raimi's Evil Dead series to their friends. This is a flick for chambara addicts, Zatoichi aficionados, and folks who just couldn't get enough of the shockingly bloody finale of Sanjuro. In short, it's the ultimate film geek experience.
     Volume 1 is certainly a bold film to say the least. Not many filmmakers would have the guts or the clout to put a Japanese language-only anime sequence (of O-Ren Ishii's origin) right smack dab in the middle of a mainstream, live action film. In fact, the sheer amount of sequences with English-subtitled, Japanese language-only dialogue is astounding. This decision to allow the characters to speak as they naturally would rather than forcing the Japanese actors to recite all their lines in broken English is a refreshing change of pace from the standard "East Meets West"

On some of his earlier films

—Sanjuro 10/20/03