I want to make a good, solid kung fu movie.

You're playing and you think everything is going fine. Then one thing goes wrong. And then another. And another. You try to fight back, but the harder you fight, the deeper you sink. Until you can't move... you can't breathe... because you're in over your head. Like quicksand.

I believe in love at first sight. You want that connection, and then you want some problems.

'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

John Wick does different techniques. Everything is available to him. There isn't one way of working a weapon. I like the reload with the flick going outside. That movement of getting rid of the magazine is to go sideways with it.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

I don't know if that's philosophy or if that's something else, but to me it [digital filming] has an emotional feeling , that this materiality, the loss of the materiality.