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.

A lot of Chinese martial arts films were based on Chinese martial arts novels. And these novels created a world of putting history, calligraphy, and martial arts into one.

I gained a lot of confidence after 'IP Man' as being a true actor. I went on to tackle what it is an actor is supposed to do before a film. Do a lot of research, get into the character. That's what I did with 'Dragon.'

When you watch my films, you're feeling my heart.

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.

I like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.

My action follows my characters. If a character is a cop, you cannot be posing all the time, you cannot fly off the roof because it doesn't make any sense - it's not practical.