I certainly hope 'Dragon' can leave some legacy behind.

For me, I like to have explosive moments, whether it is a particular movement itself in the whole sequence. I like to have shocking moments; for audiences to feel, like, 'Whoa!' It's always been my forte.

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.

Doing a movie is a stressful thing. You spend months of you life focusing into that one project, and I want to make sure I do something I really like or I'm really passionate about.

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.

I got nominated for my second film as best young director in the Aikido Film Festival in Japan.