The main reason I like UFC is not just the martial arts aspect, but it's about one person against the other person. It's about being able to test yourself with the truth.

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.

In Hollywood, I'm lucky, I only do big movies like 'Blade.' It's much more comfortable: you have a trailer.

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.

There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.

Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.

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.'