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.

Still, as much as I wish Ballistic Kiss could be a better film, the recognition it gained from critics and at festivals speaks for itself.

I spent a couple of years doing American films. I did a few.

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.

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.

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

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