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.

I think action movies bring more excitement than tears, but I always want to take it to another level. I mean I think if one appreciates anything in life to a certain degree, it could possibly bring tears to your eyes.

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.

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.

When you watch my films, you're feeling my heart.

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.

Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.