A period film, where you, for example, where you have a traditional wardrobes, you are bound to act a certain way. But in a modern film, a lot of body gesture.

My mum lives in Boston; she's famous for teaching wushu and t'ai chi. So from when I was young, my mum and aunt were like: 'You're training; you're not playing baseball or football.' Training every day was normal. Later, when I was almost a teenager, Bruce Lee became my idol.

For years, I looked to Bruce Lee as a mentor as being a Chinese and Asian man living in this country.

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.

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.

I'm a very emotional guy.

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.