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

I guess I'm pretty lucky because in childhood I studied so many martial arts styles and I never stopped researching them, my body is very adjustable and I can turn into different expressions with my body.

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.

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.

I gained a lot of confidence after 'IP Man' as being a true actor. I went on to tackle what it is an actor is supposed to do before a film. Do a lot of research, get into the character. That's what I did with 'Dragon.'

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