Bruce Lee was born Lee Jun-fan on 27 November 1940 in San Francisco’s Chinatown, while his father, the Cantonese opera performer Lee Hoi-chuen, was touring the United States. The family returned to Hong Kong within months, and Lee grew up in Kowloon during the Japanese occupation and the difficult years that followed. He appeared in Hong Kong films as a child, racking up around twenty screen credits before he turned eighteen, and acquired the stage name Lee Siu Lung, meaning Little Dragon, according to Wikipedia.

As a teenager Lee trained in Wing Chun under the master Ip Man, took up Western boxing, and in 1958 won a Hong Kong cha-cha championship, a detail that says a good deal about the footwork that later defined his screen fighting. Street brawling brought him to the attention of the police, and in 1959 his parents sent him back to the United States. He finished school in Seattle, enrolled at the University of Washington, and began teaching martial arts, eventually opening the Jun Fan Gung Fu Institute and taking students of every background at a time when that was itself controversial.

A demonstration at the 1964 Long Beach International Karate Championships, where he performed his one-inch punch, brought Lee to the attention of Hollywood producers. He was cast as Kato in The Green Hornet, which ran for a single season from 1966 and made him better known in Hong Kong than in America. Frustrated by the supporting roles available to an Asian actor in Los Angeles, he returned to Hong Kong and signed with Raymond Chow’s new studio Golden Harvest. The Big Boss, released in 1971, broke box-office records across Asia and made him a star almost overnight.

Fist of Fury followed in 1972, then Way of the Dragon, which Lee wrote and directed himself and which culminates in a fight with Chuck Norris staged in the Roman Colosseum. Enter the Dragon, the first co-production between Hollywood and a Hong Kong studio, was released in 1973 and became one of the most profitable martial arts films ever made. Alongside the films he developed Jeet Kune Do, a deliberately unsystematic approach to fighting that rejected fixed forms in favour of adaptability, and which reshaped how martial arts were taught in the West.

Lee died weeks before Enter the Dragon opened, and his reputation grew rather than faded. He was named among Time magazine’s most influential people of the twentieth century, a bronze statue of him was unveiled on Hong Kong’s Avenue of Stars in 2005, and his stance and yellow tracksuit remain among the most imitated images in cinema. More than fifty years after his death he is still a reference point for fighters, choreographers and film-makers who were born long after he died.

Lee signed almost nothing in his lifetime; the endorsement income arrived posthumously. His image has been licensed to global campaigns for telecommunications and drinks brands, to video games, to apparel ranges and to an extensive line of collectibles. Not all of it has been uncontroversial: a computer-generated recreation of Lee used in a whisky advertisement in 2013 drew criticism from those who noted he did not drink, and it sharpened a wider debate about the digital resurrection of dead performers.

Lee’s most significant business decision was co-founding Concord Production Inc. with Raymond Chow, which gave him an ownership stake in his own films rather than a straight fee, and it was that stake rather than his salary that made his estate valuable. The commercial legacy is now managed by Bruce Lee Enterprises, run by his daughter Shannon Lee, which controls his name and likeness and licenses them for merchandise, publishing, exhibitions and games including Tekken and the EA Sports UFC series. The scale is not trivial: Forbes has ranked him among its Top-Earning Dead Celebrities, placing his annual posthumous earnings at around seven million dollars in the year it assessed him, and Forbes has tracked the periodic revivals of the brand since.

At the time of his death Lee owned a house at 41 Cumberland Road in Kowloon Tong, which he had bought after his Hong Kong success, along with a property in Los Angeles. The Cumberland Road house later became a love hotel and the subject of a long preservation campaign. The estate’s real asset, however, was never bricks and mortar: it is the intellectual property in his name, image and film participations, which has generated income every year for over five decades.