(On the inspiration of becoming a director) I have always been a rebel, in my whole entire life, since I was just a martial artist. I always have questions in the back of my mind. Why does it have to be this way? Can it be that way? I always try to question and challenge that system and I guess that kind of attitude I brought into the film industry when I was just an actor. I see different films; I see how a director or choreographer would choreograph it. And I say to myself "it can be improved, it can be better and in less time". Or I'd wonder "how come this film is a good film and the other one a bad film, when the budget is not much different?" There are certain techniques, a certain system. When I was an action choreographer, when I used to work for Yuen Woo Ping, I used to grab a whole team of people and just raise questions. To the photographer, or to Yuen Woo Ping: "could it be that way? Could be it, be that? Why not try it this way?" Very soon, I established a kind of trust from Yuen Woo Ping, because I made a lot of his films happen with my suggestions. (On changing generic fight choreography) Nowadays, martial arts directors go along with the advancement in filming techniques. We can use some techniques to coordinate with non-martial artists. In my early days with Yuen Wo Ping, technology was rather backward, whatever we did depended on the raw skills of the actors themselves; but the actors nowadays are exceptionally fortunate. They could rely on editing, doubles, wires, and even special effects to make them look like they could fight well. But I believe, now that the audiences seek authenticity in martial arts, they could be cast aside. That's why we are looking into real combat. When you watch my films, you're feeling my heart. (On working locally and overseas) I don't identify a project as a Hong Kong project or a Hollywood project or whatever. The world's getting closer and closer. Who would think that "Crouching Tiger" would win an Oscar as Best Foreign Film? If the film is a good film, it will be seen by the world. I don't know where my home is. If it requires me to do a production in Europe, I go to Europe. If it's in Asian countries, I'll be in Asian countries. (On working overseas again) Anything goes! With the right project, right script I'll do it! But you can only make so many films a year; you have to choose the one that you want to make! (On the action choreography of Dou fo sin (2007)) The real challenge was in meeting my own expectations. I have such huge respect for MMA fighters, and I was determined that we should make every effort to present their art cinematically, without compromising on the techniques and "reality" of what they do. I underwent MMA training, I watched hours of fight footage and, in the end, I think we came close to capturing the MMA flavor in our fight scenes. The biggest challenge, for me was doing repeated takes of the movements that I choreographed for myself. Sometimes it really did feel like I'd been in a real fight!