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yuen biao, yuen wah, and yuen wu represent the efforts and achievements of generations of kung fu actors. their fighting styles and character creations have deeply influenced the audience and laid the foundation for the inheritance of the next generation. however, the aging of xie miao and shi xiaolong, as well as the lack of an excellent group of "young" actors, poses a huge challenge to kung fu movies.

action design is an important part of a film, especially in action films, where fighting scenes are the core element of a film. it requires a fusion of sophisticated technology and audience perception. in recent years, mainland action design has gradually matured, but there is a lack of a new generation of leading figures. yuan heping was the action director of the 1998 version of "water margin", which brought action design into a new stage and directly copied the moves into the scene where yan qing fights optimus prime. this is an important turning point in the history of the development of chinese action films.

the "flying school" is the representative of the action style of tsui hark and yuan heping. they used unique fighting methods and visual effects to create a unique martial arts film style. but times are changing, and the growth path of the younger generation of actors is difficult. many martial arts actors have to take care of other jobs besides being a stand-in. the pressure of life is huge, and it is difficult to devote themselves to action design and learning new skills. sammo hung once said: "at that time, many young people entered the martial arts industry and aspired to be jackie chan and yuen biao. how can we give these children hope now?"

nowadays, the generational gap of kung fu actors is becoming increasingly prominent. many young martial arts actors can only choose to be stand-ins in film and television dramas, or other part-time jobs, and it is difficult for them to get real development and opportunities. they lack career goals and find it difficult to learn and improve their skills, so it is difficult for them to become the next generation of kung fu actors.

the meaning of "real fighting" is also constantly evolving. audiences no longer pursue the pure sense of hitting, but hope to see more exciting performances and richer visual effects. this requires new technologies and new creative directions.