King-Chu Lee was one of Chia-Liang Liu's right-hand men during his time at Shaw Brothers. Like other stuntmen and choreographers who officiated for, the man was trained at the Beijing opera. His career in film began in the mid-1970s as a stuntman. He debuts with Samo Hung (The Iron Fisted Monk) and with several members of Liu's regular team, for films like He Has Nothing But Kung Fu or Duel Of The Brave Ones. It is thanks to his works alongside these that King-Chu Lee will integrate Chia-Liang Liu's team. The collaboration with the master will go well and Lee will become a familiar face of almost all the upcoming films of Chia-Liang Liu. He will be one of Lo Lieh's main henchmen in Mad Monkey Kung Fu, one of My Young Auntie's elders or the real San Te in Return To The 36th Chamber. Under the guidance of the master, he will also start choreography and soon become an indispensable collaborator. All of Liu's films from 1980 to 1985 will be choreographed with the help of Lee. The end of the Shaw Brothers film production in 1985 will not stop him from continuing on his throwing but it will be without his mentor. He goes from one production to another, finding again one of his employers from the beginning, Samo Hung. By partnering with the veteran Billy Chan, his career takes a new take off. He becomes Chan's choreographer and also works solo, which allows him to tackle various genres: Girls With Guns (License To Steal), Heroic Bloodshed movies (Brotherhood), fantastic movies (The Spooky Family) or Wu Xia Pian (All Men Are Brothers: Blood Of the Leopard). He will try his hand at the end of the 1980s but his films will not make enough recipes for him to continue. Finally, after a final staging work for S.D.U. Mission In Mission, it definitively disappears from the big screens of Hong Kong.