I look at American movies, the big muscles, and try to apply that to Chinese film-making.

Mostly it's like, I get inspired by something and I want to learn that part of filmmaking, I want to delve into that kind of depth. And leading, also, a lot of people. A lot of people, for two years of their life they follow me, and they believe what I believe in. So that's some responsibility and I'd like to make it worth the effort.

Usually with this genre the first thing that happens is a good fight sequence to show that you're in good hands. So we broke that rule. I think a lot of that comes from the western audience.

In Taiwan, I'd be like Michael Jordan walking down the street.

Fighting for identity is something that is very much in my life.

I think doing period piece is easier, because after a certain distance, everybody is equal, I think. The relative contemporary is harder. I think that's the way it is.

After making several tragic movies in a row, I was looking to do a comedy, and one without cynicism.