It takes years of building that experience as a filmmaker, as well as physically. You have to have a high level understanding of martial arts.

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.

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.

Martial art is a form of expression, an expression from your inner self to your hands and legs.

When audiences look at an action actor like myself, sometimes we are very easily stereotyped or characterized as one type. They forget that we are actors, too.

I always tell younger filmmakers, it's not just about the acting or the art itself. It's about how big of an audience watches your film.

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.