Cynthia Rothrock is an American martial artist and actress known as the “Queen of Martial Arts Films.” She holds black belts in multiple disciplines and was a world-champion competitor before starring in her first Hong Kong movie, Yes, Madam, co-starring Michelle Yeoh. Her recent work includes Black Creek and the upcoming horror film Steel Donkeys.
Q. I grew up watching Hong Kong action films in the late 80s and early 90s. You were a very cool martial art actress known as 罗芙洛 (Luo Fu Luo). I later learned that you are a world-class martial artist that holds multiple championship titles and black belts. Can you share how you started your career in Hong Kong, and what made you stick around in Hong Kong after filming Yes, Madam.
I actually went to Hong Kong due to an audition that happened with the West Coast demonstration team. Hong Kong film director Corey Yuen was holding auditions for Seasonal Films, and when I arrived, I was asked to perform forms, fight choreography, self-defense techniques, and weapons. At the time, Corey was really searching for a male actor—the “next Bruce Lee.” But after watching my routines, he surprised everyone by saying, “I want to go with the girl.” That decision led to my first trip to Hong Kong and my first film.
I went on to make Yes, Madam! with Michelle Yeoh, and honestly, I thought it would be my only movie. I was still competing then, and that year was meant to be my final year in martial arts competition. I had set a personal goal to remain undefeated for five years, competing more than 100 times, and I had achieved that—but I wasn’t sure what I was going to do next.
When Yes, Madam! became such a big hit, I started receiving offers from many different film companies in Hong Kong. What I thought would be a one-time experience suddenly turned into a new path. Looking back, I truly believe it was a blessing and that this was where I was meant to be. My journey naturally shifted from competition to film, and that’s what led me to continue making movies in Hong Kong.
Q. In Hong Kong, you worked with real martial artists who did real stunts and fight scenes. What did you take away from your time in Hong Kong in terms of filmmaking, and when you returned to the US in the early 90s, how did you bring that East-meets-West perspective to your work?
It’s funny—when I came back to America, my first film was China O’Brien, which was a Golden Harvest production. It was really a hybrid: half Hong Kong crew and half American crew. On set, I suddenly found myself getting very different directions. In Hong Kong, Corey Yuen was always telling me, “Hit harder, hit harder.” But in the U.S., the crew kept saying, “Don’t hit so hard.”
That contrast really stayed with me. What I took from my time in Hong Kong was the commitment to authenticity—real martial artists doing real stunts, putting power and precision into every movement. Instead of using simple or “easy” techniques, Hong Kong action encouraged making the choreography more intricate and visually exciting, while still being grounded in real martial arts.
When I brought that East-meets-West perspective back to the U.S., I tried to blend the two approaches: keeping things safe and cinematic, but also making the action sharper, more complex, and more believable. That balance became something I carried with me throughout my later films.
Q. What do you miss most about Hong Kong in the 80s? Have you ever been back to Hong Kong, or, if you ever go back, what would you most like to see or do?
What I miss most about Hong Kong in the 1980s is shooting films there. The level of creativity was incredible—the choreography teams were true geniuses. They were given the time to really build something special. For example, the final fight scene in Yes, Madam! took an entire month to shoot. When you compare that to American independent films, you rarely have that kind of time or freedom to be so elaborate and detailed.
I also really miss the Hong Kong film crews. Working in Hong Kong was such a unique experience for me—there was an energy and excitement on set that felt very special. And of course, I miss the city itself. Hong Kong is such a fun, vibrant place to live.
As for food, I definitely miss Chinese crab and dim sum. Those are flavors and experiences that really take me back to that time in my life.
Q. People are always nostalgic about the 80s that they say it was the golden age of martial arts films. You were one of the few women breaking into a male-dominated action film industry. In your opinion, what can the 80s teach us about film, martial arts, or breaking barriers today?
I think films from the ’80s and ’90s are very different from what we see today because the action was real. You didn’t rely on CGI, AI, or excessive stunt doubles. If you couldn’t actually fight, you couldn’t be in an action film—especially in Hong Kong. That authenticity is what made those movies so powerful and memorable.
For me, breaking into a male-dominated industry meant proving myself through skill and discipline. Martial arts didn’t care about gender—it was about ability, dedication, and respect. Those films remind us that real training, hard work, and taking risks still matter. That kind of realism and commitment is something I think today’s filmmakers and performers can continue to learn from.
Q. Looking at your recent productions like Black Creek and Lady Scorpions, martial arts are still front and center. Do martial arts still 100% define who you are today, or would you like to explore different kinds of roles if given the chance?
Of course I’d love to explore different kinds of roles, and I’m always open to new challenges. That said, martial arts and fighting are what I’m known for—and honestly, it’s what I love to do. Action is definitely still a priority for me.
I also think that’s what my fans want to see. They want to see me fighting, doing what I’ve trained my whole life to do. So if I had the choice, I would always gravitate toward action films. That’s where I feel most at home.
Q. I know you are also an adventure seeker. What kinds of adventures or expeditions have you been on, and what are some of the most unforgettable ones?
I’m definitely an adventure seeker. Any chance I get, I’m looking for the next extreme experience. Honestly, all of them are unforgettable in their own way, but a few really stand out.
My expedition to Antarctica was incredible, as was trekking to Everest Base Camp in Nepal. Scuba diving in Raja Ampat is another experience I’ll never forget. I’ve done so many extreme hikes and adventures over the years, but if I had to narrow it down, those three would definitely be at the top of the list.
Q. Any messages you would like to share with our readers?
I’d love to share what I’ve been working on. My latest production, Black Creek, a gritty western action film, is now streaming on several platforms, including Amazon Prime Video, Tubi, Fandango, DirecTV, and Apple TV and it will soon be available on airlines as well. My partner, Robert Clancy, and I are also in pre-production for the sequel to Black Creek, which is planned for release in 2027.
I also have a new book release titled Rothrock ‘n’ Roll with the Punches, which really fits in with this interview. It’s about my experiences filming in Hong Kong, told with a lot of humor, behind-the-scenes antics, and it gives readers a real sense of what it was like working in that era.
I stay very active on Facebook under my official page, where I post updates about films, appearances, film projects, and martial arts seminars I teach around the world, so people can check there to see where I’ll be next. I also have a YouTube channel where fans can find additional content.
And finally, I’m excited about upcoming plans to work with famed director Richard Stanley on a horror film titled Steel Donkeys. There’s a lot happening, and I’m grateful for all the continued support from fans.
All photographs credit: Cynthia Rothrock
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