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.

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.

I did a couple comedies to balance myself as an actor and balance how audiences see Donnie Yen as an actor, and I would even say as a celebrity or icon, to some fans. I want to show that I'm not Terminator.

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.

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

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.