My wife once said that one of her great ambitions was to walk down the streets of Hong Kong with her children. So we all went to Asia on one occasion. Then she said she'd like to walk down the streets of Jerusalem with her children. So we arranged our family finances and all went to Jerusalem.
Hong Kong is a wonderful, mixed-up town where you've got great food and adventure. First and foremost, it's a great place to experience China in a relatively accessible way.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
A good choreographer is one that's going to collaborate, teach, guide - everything. The wonderful thing on 'Brotherhood of the Wolf' was that we had Philip Kwok - he choreographed John Woo's 'Hard Boiled,' and in the '70s, he was a martial arts actor, stunt man, fighter, choreographer in Hong Kong.
My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.
We've never had nannies. We've had great grandparents, great support from family, and the kids have been on every set: they've seen me play Gollum, King Kong, Captain Haddock, the lot. They totally get it, and they want to go into the business. Ruby, my daughter, is very keen to become an actress.
Because I became a refugee in Macau during 1941, we had this war in Hong Kong, I fought for the government as an air raid warden for 15 days. Our government surrendered, Hong Kong Government surrendered, so I took a junk and came to Macau in 16 hours and I was a refugee, so that's why I was so much indebted to Macau.
American stuntmen are smart - they think about safety. When they do a jump in a car, they calculate everything: the speed, the distance... But in Hong Kong, we don't know how to count. Everything we do is a guess. If you've got the guts, you do it. All of my stuntmen have gotten hurt.
After the Tiananmen Massacre, I felt compelled not only to continue writing but to actively resist the restrictions placed on freedom of speech. I set up the publishing company in Hong Kong, with offices in Shenzhen in mainland China, and managed to publish works of fiction, philosophy, and politics by unapproved authors.
We got to jump on, like, trampolines, learn flips, learn karate, kung fu, Hong Kong street fighting.