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 action follows my characters. If a character is a cop, you cannot be posing all the time, you cannot fly off the roof because it doesn't make any sense - it's not practical.

I think every actor wants to try out different things.

Like any other actor, I draw on life experience.

Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.

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 like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.