In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.

I got nominated for my second film as best young director in the Aikido Film Festival in Japan.

For me, I like to have explosive moments, whether it is a particular movement itself in the whole sequence. I like to have shocking moments; for audiences to feel, like, 'Whoa!' It's always been my forte.

Doing a movie is a stressful thing. You spend months of you life focusing into that one project, and I want to make sure I do something I really like or I'm really passionate about.

It takes years of building that experience as a filmmaker, as well as physically. You have to have a high level understanding of martial arts.

I always tell younger filmmakers, it's not just about the acting or the art itself. It's about how big of an audience watches your film.