Following the 65-episode journey of Cobra Kai, I, as a diehard fan, can’t help but admire how director Jonathan Entwistle is working tirelessly to revive and redefine the iconic Karate Kid franchise on the big screen once more in Karate Kid: Legends.
The well-known British director, famous for creating offbeat streaming series like ‘End of the Fing World’ and ‘I Am Not Okay With This’, has crafted his first full-length film with a goal to bring together fans of the ‘Karate Kid’ and its sequel series ‘Cobra Kai’. This spans across generations, even those who grew up watching Jackie Chan’s 2010 remake of ‘The Karate Kid’. To accomplish this unique blend, Entwistle and screenwriter Rob Lieber decided to expand upon the Miyagi family dojo scene from John G. Avildsen’s ‘The Karate Kid Part II’ (1986).
400 years ago, Shimpo Miyagi, an ancestor of Mr. Miyagi (Pat Morita), lived in China for some time before returning to Okinawa, Japan. The creators of ‘Karate Kid: Legends’ imagined and animated how Shimpo was adopted by the ancestors of Mr. Han (Chan) and learned kung fu. Upon his return to Okinawa, he established Miyagi-Do Karate, a style that merged both families’ distinct martial arts. This fusion resulted in a lasting bond between the two families, which continued through Mr. Han and Mr. Miyagi.
Entwistle discovered an abundance of footage from The Karate Kid Part II, ensuring that he explored every possible angle in order to seamlessly connect and revise the series’ continuity.
In an interview with The Hollywood Reporter, Entwistle revealed that the concept for their team’s movie, which was released on May 30, 2010, was inspired by the second part of the original series. They took elements from this installment, such as the idea of Hans and Miyagis, to create their film. To ensure authenticity, they delved into old footage from Karate Kid Part II.
The movie by Entwistle is set three years after the events depicted in the popular Netflix series “Cobra Kai.” In this continuation, Mr. Han, portrayed by Chan, asks Daniel LaRusso, the original Karate Kid played by Ralph Macchio, to mentor his great-nephew Li Fong (Ben Wang) for a karate tournament in New York City. Interestingly, the movie was initially scheduled for release before the show’s planned series finale in February 2025. However, Macchio strongly advocated for a delay, and Entwistle is grateful that the studio decided against releasing it too close to the end of the series to avoid any potential confusion among viewers.
As a fellow enthusiast of Cobra Kai, let me clarify that our production is in no way connected to the Cobra Kai movies. It was never our intention to create a sequel or mimic the original series. Instead, we felt it necessary to give Cobra Kai its own unique space to thrive and develop. I didn’t see any point in merging the Karate Kid universe with Cobra Kai so closely, as it would have been confusing for the audience. It was essential that Cobra Kai had its concluding moment and was allowed to reach its end. Now, as a fan myself, I’m excited about this new opportunity to explore different stories and continue our journey together.
One distinctive feature of the franchise’s movies is that they often end with a victorious still image. However, Entwistle’s film also features a freeze frame, followed by him deciding to include an additional scene, known as an epilogue, during test screenings. This extra scene contains a surprising appearance by a character, which will be discussed further in the brief spoiler section of this interview.
As a fan, I can’t help but express my thoughts about the captivating conclusion of the film. It stopped abruptly on a frozen frame for what felt like an eternity, leaving me and many others questioning, “Where is Jackie? What happened to everyone else?” Entwistle explains. Despite this curiosity, we chose to preserve the freeze frame ending in the movie. The enigma remains, now accompanied by the logo that plays afterwards, leading us into the coda.
In a recent chat with THR, Entwistle delved into the challenging task of finding an actor fitting for a character like Li Fong, who resembles both Spider-Man characters, Peter Parker and Miles Morales.
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How did the creator behind the darkly humorous series, such as “The End of the Fing World” and “I Am Not Okay With This,” wind up producing a film based on “The Karate Kid”?
Pursuing a dream was what drove me to create a genuine theatrical film, which is an ambition shared by all directors. The thought of crafting a grand motion picture and imprinting my style, skills, and team, sparked my interest greatly. I had my long-time collaborators, cinematographer Justin Brown and production designer Maya Sigel, who had worked with me on numerous shows, and was eager to reinstate the martial arts aspect in a fresh way on the big screen. To me, this project presented an exciting chance to choreograph fights and action scenes differently than usual for movies of this genre.
Were Ralph Macchio and Jackie Chan part of the project when you joined, or were there more decisions to be made before everything was finalized?
When I joined the team, our focus was on transitioning back to the original theatrical versions of the story, particularly with Columbia Pictures. We asked ourselves, “What could be an engaging way to achieve this goal? How can we creatively revisit the past while also telling a fresh tale or adding another graphic novel to the series?”
When I joined, we wanted to bring attention back to the original story versions, especially with Columbia Pictures. We wondered, “How might we make it interesting to return to the past and still create something new?”, which led us to think about a cool way to tell a new chapter or graphic novel in the sequence.
In what year was it decided that the Miyagi family dojo scene from “The Karate Kid Part II” could be revised to incorporate Jackie Chan’s 2010 standalone reboot into the original series?
In 2010, we discovered that our team’s movie concept was inspired by a part from [the Karate Kid Part II] film. Specifically, they drew upon the idea of Hans and Miyagis for their creation. Delving into our storage and archives, we uncovered various footage remnants from that specific sequence in [The Karate Kid Part II] over time. The movie’s development had taken many forms, with different versions appearing on Blu-ray discs and television broadcasts at some point. Gathering all these diverse fragments of the filmmaking process was an enjoyable experience as we pieced them back together.
The film is set three years after the series finale of Cobra Kai. Was there anything off-limits concerning Cobra Kai when it came to the creation of this movie? For instance, if the villain’s dojo in the movie was intended to be named Cobra Kai, would that have caused complications?
Instead of limiting ourselves to just the elements seen in the films, we have the freedom to explore any idea or concept that originated from them. While characters like Daniel and Miyagi are part of our story, anything unique to the “Cobra Kai” series is not under the ownership of Columbia Pictures.
Instead of choosing Cobra Kai as the villain’s dojo, might it have been too explanatory to introduce an East Coast expansion?
Absolutely, I concur with your sentiment. The series “Cobra Kai” has concluded, and its end felt like we were wrapping up a significant chapter in our entertainment journey. “Cobra Kai” is an exceptional show, particularly because it revolves around the character of Johnny Lawrence, which adds to its charm. With the story now wrapped up, I found myself reflecting on how unique it was to have such a series available to me, and then I thought, why stop there? Let’s continue with another book in the series. This decision allowed us to reconnect with the big screen after spending a considerable time on television. I wondered, “What would be a 90-minute version of this story that we could bring to the big screen for all audiences?” Essentially, there are three primary audience groups: fans of “The Karate Kid”, supporters of “Cobra Kai”, and cinema-goers, which is a vast demographic. Therefore, it was crucial for me to prioritize the audience experience and create a theatergoing adventure that would be enjoyable for everyone.
While I did appreciate the show, let me clarify that I really do miss the grandeur and visual spectacle of movies. The breathtaking helicopter shot over the cliffside in Karate Kid Part III is a prime example of cinematic excellence, and the iconic Bill Conti score only added to its impact. It seems like you’ve managed to incorporate some of those aspects into your work, which I find quite pleasing.
Completely, my goal was to make every aspect of our production feel both dramatic (for stage) and cinematic. Luckily, we had the chance to do this. We constructed numerous sets. The grand New York cityscape parts, like the pizza shop and the adjacent alleyway, were set builds. We adopted a traditional filmmaking style, aiming to make New York feel warm and inviting, much like a movie-set New York. This is a very filmic approach, where we focus more on the overall atmosphere rather than specific details. Instead of running around capturing scenes at various locations, we were creating everything from scratch.
Just as we carefully designed the script, the same emphasis was placed on the music. We aimed for it to be custom-composed and tailored specifically. I strongly advocate for television content to be structured like tracks, while movies should have a score. Many parts in this movie that seem like distinct tracks are actually scored pieces, and I was particularly focused on merging themes with the original Conti orchestral style. We recorded in Burbank using a full orchestra, which is a filmic method to finalize the movie. Thus, there was a unified analog feel to the fight scenes, set construction, camera work, and color scheme. Everything was skillfully crafted with the goal of rejuvenating the franchise visually on the big screen.
In my assumption, Cobra Kai’s final season and Legends were both being filmed around the same period, leading me to believe that you managed to accomplish two tasks with a single effort by filming the Miyagi house scenes on the Atlanta set for both shows. However, it turns out that you constructed your own set in Montreal instead?
Indeed, we constructed the Miyagi home in Montreal. Incidentally, they were filming Cobra Kai simultaneously, making our Miyagi house part of their set. For the movie, we opted to recreate the original design of Miyagi’s house from The Karate Kid and how it would appear today. Regrettably, the authentic house in Canoga Park no longer exists; it was destroyed by a fire.
[The next question contains spoilers for Karate Kid: Legends’ mid-credit scene.]
As a die-hard fan, I always thought you drew inspiration from the heartwarming finale of the Miyagi house-set scene starring Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William “Billy” Zabka) in Cobra Kai. Can you share the story behind that memorable cameo?
The way everything wrapped up was simply ideal. It became evident that we were connecting all the dots and it seemed clear that Cobra Kai would conclude by the time viewers reach this point. As I mentioned earlier, this chapter belonged to Johnny, so bringing the two of them together to complete the story felt just right. Billy joined us on set, and much of it was improvised. A lot of it was simply Ralph and Billy, as they had worked together for many years and could effortlessly collaborate. We wanted to capture that magic and decided to place it at the end of the movie. This is not the end of Daniel LaRusso’s tale by any means. However, this film provided an opportunity to wrap up that aspect and pass something from Daniel to Li Fong, while also passing the torch from Ralph to Ben [Wang]. Their relationship was genuine and quite touching, I believe. Shooting them in the original Miyagi house, though a rebuild, held a unique charm.
[Spoiler talk for Karate Kid: Legends’ has now concluded.]
The initial idea was to debut Karate Kid: Legends in 2024 for the 40th anniversary of The Karate Kid, but conflicts arose. However, Ralph became strongly convinced that it should be released following Cobra Kai’s February 2025 finale because Legends unfolds three years later from there. Are you satisfied with the new release date?
I believe it’s crucial to present the tales in an appropriate manner. We are absolutely not a “Cobra Kai” film, and that was never our aim. Instead, “Cobra Kai” holds such significance within the broader context that it deserved its own space to thrive. Therefore, mixing it with a “Karate Kid” movie that follows “Cobra Kai” seemed unnecessary, especially for the audience. As a fan of “Cobra Kai”, I was glad to see it have its moment and conclude. Now, it’s like saying, “Hey everyone, there’s a different story here. Let’s move forward.” It can only add positively to the overall universe.
Finding the perfect actor for Ben Wang’s role has been like searching for a needle in a haystack, and as one of your producers pointed out, he possesses a striking resemblance to Michael J. Fox. Out of 10,000 actors auditioned for Li Fong, were you seeking performers with kung fu skills that needed acting guidance, or martial artists who had acting potential but required training in the art?
I was searching for an individual who could excel in various domains. The ideal candidate had to be fluent in Mandarin, have a deep understanding of American culture, display exceptional acting skills, and possess proficiency in martial arts. To me, the character of Li was reminiscent of Peter Parker or Miles Morales – this duality was crucial, not only for the martial arts sequences but also for the overall tone of the performance. When I first encountered Ben, I felt like I had found Marty McFly. I often say that I wanted a Morty from Rick and Morty, in the sense that he embodied the charm of Michael J. Fox.
In my search for the perfect actor, Ben stood out due to his acting skills. However, since martial arts were crucial to the film, I needed an assurance that we could perform authentic on-screen action without relying too heavily on visual effects. Therefore, it was essential that the actor possessed martial arts abilities, and Ben fit the bill. Despite the studio’s disapproval, I kept emphasizing the need for a fighter. When I met Ben, I hoped he could handle martial arts, and thankfully, he had prior experience in Daniel Cretton’s show, American Born Chinese. Upon seeing his footage, I was convinced and arranged for intensive 24/7 training. Working with the stunt team and Jackie Chan’s team, we elevated Ben’s skills to a whole new level. In the film, you will notice that Ben performs a significant portion of the stunts himself, showcasing his dedication to authenticity.
In this film, the move resembling a dragon’s kick is equivalent to the crane kick. Who determines which iconic move the movie will feature?
Instead of leading up to the fights in an unusual manner, I aimed to create a raw and intense experience, maximizing physical interaction. To achieve this, our exceptional stunt coordinator, Peng Zhang, scouted for a talented young performer named A.J., who could execute the desired move without relying on wires or visual effects. We sought someone capable of performing it from scratch so we could film and choreograph the scene accordingly. Intriguingly, our thoughts led us to ponder, “What would a kid proficient in kung fu look like when combining it with karate?” Consequently, we designed the fight sequences working backwards, resulting in the dragon kick that Li’s brother initially could not perform [but someone else eventually did].
In this movie, it’s not just Mr. Han and Daniel LaRusso who are legendary figures. There’s also Charlie Conway from The Mighty Ducks. Interestingly, Joshua Jackson, who plays a father to a teenage daughter (Sadie Stanley), is now being described as “old”. This left me feeling quite contemplative. It’s hard to believe that so much time has passed and Josh is now portraying an “old” dad!
(Chuckles.) I was raised on “Dawson’s Creek,” and I’m a die-hard fan. [Author’s Note: Entwistle also has a Mighty Ducks jersey in his office.] Josh might have been exasperated by the countless times I referenced “Dawson’s Creek” during filming. Consequently, he’s quite familiar with it and does an outstanding job in the movie. He fully immersed himself in the fight scenes and boxing. That’s just Josh. There wasn’t a stunt double for that entire sequence. He took every punch without fail. He was so dedicated because he witnessed how diligently the kids were training in martial arts, and when Jackie Chan appeared, you take every punch you can.
I’m really enjoying the resurgence of Josh’s talent, and collaborating with him on this film has been a delight. He added a tender quality and a subtle spark to his role. In the story, he portrays the character who is being mentored by the young man (Ben Wang as Li Fong). This means that he needed to convincingly play both the mentor and the mentee, but without learning any martial arts moves. Instead, the narrative explores the idea that, as a former boxer who now runs a pizzeria, he can still return to the ring, which is a heartwarming message about second chances.
If you were creating a Karate Kid film, did you find it necessary to include a concluding freeze frame at the end?
Absolutely, without a doubt. The film concludes definitively, lingering on a still image for quite some time until we found ourselves questioning, “What happened to Jackie? Where did everyone go?” Yet, we decided to preserve the ending with this prolonged freeze frame. We had planned from the start that this moment would be the freeze frame, and we experimented with various interpretations of how the freeze frame should appear. Was it a snapshot taken by Wyatt Oleff’s character at the end? We explored many possibilities, but the freeze frame was always intended to be the final scene. And it does remain in the movie, accompanied by the closing credits that follow.
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Karate Kid: Legends is now playing in movie theaters nationwide.
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2025-05-30 21:25