For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.

A lot of people don't realize, when you are acting in a martial arts film, you're not just performing martial arts. You're not just performing martial arts. You're actually acting as much as any other actor.

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.

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.

I just like to choose projects that will allow me as an artist to make my art.

Better to be called something positive and inspirational than something negative.

As an action director I always try to bring something fresh and new.