Every movie is unknown.

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.

When I see something I like, that's all that counts. What they use, how they get there, I never bother them.

I have a lot of repression. So repression is what I make movies about.

Things that don't have a big impact seem to be crucial. Always when you go out to make a movie you have questions, "What if this doesn't work? What if that doesn't work?" you want to cover yourself, you want to bring back enough [footage] so you can do something.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.