Donnie Yen Quotes

Better to be called something positive and inspirational than something negative.

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

For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.

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 got nominated for my second film as best young director in the Aikido Film Festival in Japan.

I've always been in a rebel.

For years, I looked to Bruce Lee as a mentor as being a Chinese and Asian man living in this country.

There are two types of Chinese growing up in America. One is the kind that does really well in school, with thick, thick glasses. And the other is involved with the gangs.

The main reason I like UFC is not just the martial arts aspect, but it's about one person against the other person. It's about being able to test yourself with the truth.

I'm a very emotional guy.

Bruce is the man. He was definitely ahead of his time.

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.

When you watch my films, you're feeling my heart.

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.

Look at every action movie in Hollywood. Every leading man from Spider-Man to Batman to James Bond, 'Bourne Identity', every one of them possesses martial arts skills.

When audiences look at an action actor like myself, sometimes we are very easily stereotyped or characterized as one type. They forget that we are actors, too.

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.

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.

From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.

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.

I think every actor wants to try out different things.

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

I guess I'm pretty lucky because in childhood I studied so many martial arts styles and I never stopped researching them, my body is very adjustable and I can turn into different expressions with my body.

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

There is also a strong following among the urbanites on the East Coast when it comes to martial arts films.

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.

In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

I try to update my arsenal constantly. Learning different martial arts since childhood. To understand what's out there. To really be in tune.

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 love working with older actors because number one, I can learn so much from them because they have so much experience. And it's fun to hear their stories from their era, some of the jokes.

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.

Doing a movie is a stressful thing. You spend months of you life focusing into that one project, and I want to make sure I do something I really like or I'm really passionate about.

I don't make comparisons between any movies. I compare characters. All my actions, performances, all my films, they are driven by the characteristic. If I'm playing a cop, then I give him a particular style - I may not know that style, but as an actor I have to be responsible to do your homework and do your research and training and stuff like that.

I always used to wonder why American actors were getting fat, then I made a U.S. movie. I'm seeing all the food every day, and there's lots of waiting around because making an American movie is very slow.

If you're playing a cop in a modern film, you don't have to walk with your spine straight up and bow before a fight. There's a lot of free form of expressing yourself as an actor.

I think action movies bring more excitement than tears, but I always want to take it to another level. I mean I think if one appreciates anything in life to a certain degree, it could possibly bring tears to your eyes.

I have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.

Whether I'm acting or making it, at the end of the day it's telling the story; action, drama. You want the audience to feel it - the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.

As an action director I always try to bring something fresh and new.

I think a lot of people don't realize that martial arts are just an expression like anything else. It's just that most people are not trained to punch or kick, but you can walk or run or dance, which is also part of expression.

Like any other actor, I draw on life experience.

I think film, to me, as a director, is about telling a story.

I act according to the requirements of the character, and if I try to play the role, then I play it truthfully. In my daily life, I'm a laid-back, peaceful guy. I'm just doing my job to act.

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.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

A period film, where you, for example, where you have a traditional wardrobes, you are bound to act a certain way. But in a modern film, a lot of body gesture.

A lot of Chinese martial arts films were based on Chinese martial arts novels. And these novels created a world of putting history, calligraphy, and martial arts into one.

It's a blessing to be given a variety of roles to what I call an iconic action actor like myself.

I certainly hope 'Dragon' can leave some legacy behind.

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.