For me, shooting, editing, and scoring rely on rhythm.

I love working with older actors because number one, I can learn so much from them because they have so much experience. And it's fun to hear their stories from their era, some of the jokes.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

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.

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.

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.

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.