For the longest time, the Asian-American community would talk about representation, but I think it's also about the freedom to really shape, create, and explore issues that are important to us, regardless of whether it's positive or negative, as long as it's three dimensional.

After I made 'Better Luck Tomorrow' and started taking meetings in Hollywood, I quickly learned that Asian Americans weren't even in the conversation as a minority, since there wasn't even a significant enough audience, and especially an audience for Asian American content.

If I make a film like 'Better Luck Tomorrow' or 'Finishing the Game,' I'll protect it with everything I have.

There was something so pure about 'Better Luck Tomorrow' because money wasn't the currency. It was passion. The fact we were trying to do something even though no one was asking us to. It meant a lot.

We make movies and we all try our best and sometimes we connect with the audience, sometimes we don't.

I get to make movies; I get to do what I love.

That's in the mission statement when you're part of 'Trek.' It's our job to try to be bold and push forward. You have to be conscious of that.

I made a lot of mistakes along the way, but feel incredibly lucky to be in the position I am now and to be able to play a small part in trying to support talented, aspiring young filmmakers out there through a program like 'Interpretations' who, like me, had the desire and passion, but no connections to the industry.

I grew up peeling shrimp and making tartar sauce.

That's the thing I truly enjoy, when you can work with good people who are very talented.

Growing up, my parents had this little fish and chips restaurant in Anaheim in the shadows of Disneyland, and they didn't close until 9 P.M. As a family, we didn't eat dinner until 10 P.M., and we would watch the original Star Trek every night at 11.

We had a pretty good life, growing up in Taiwan, and I think my dad really made a concerted effort to say hey, we're going to take a chance and go halfway around the world so that my kids can have more opportunities.

It's a privilege to go and have fun and do what you're passionate about for a living.

Do what you love. I've seen so many people through the years calculate and speculate on what films to do in order 'to make it.' And every time those projects crash and burn.

I'm living my dream.

The martial arts genre a lot of times has been relegated to B-level action.

There's no guidebook on how to be a filmmaker. I just try to do my best.

You can't expect Hollywood to take a risk.

Ang Lee and 'Hulk,' for instance - a movie about a guy with different-colored skin and a lot of repressed rage? Sounds like the perfect film for an Asian, to me!

I wanted to have fun after 'Annapolis,' and make a Western.

Sometimes, I think it's important to be a filmmaker first and be able to talk about whatever you want to after that.

As 'Warrior' comes together, I can't help but feel the pride of correcting a wrong and helping bring Bruce Lee's dream project to life.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

Sports is one of those few things left in our society where, as soon as you step on the court, or get in the ring, you are who you are.

For filmmakers that want to have certain control, there are certain things you can't do in VR.

My Taiwanese parents came to America with no money and supported my brothers and me as small business owners in Orange County, which is close to L.A. but about as far away from Hollywood as you can be.

He was never a kung fu guy. Now, he's Mr. Kung Fu. Oh, man. Even Chow Yun-Fat gets typed!

I think within the ideology of what 'Trek' is, that it actually makes the daunting task of making something new more manageable, because it's part of 'Trek's' very design to tackle new worlds and characters.

I remember when I was a kid, I'd watch 'Kung Fu Theater' on TV, and all the movies would star guys named things like 'Bruce Lai' - you'd never get the real Bruce Lee films. So when I finally saw 'Enter the Dragon,' I was like, 'Holy cow, who is this guy?'

When I go on set, it's very important, the lenses I choose, what I choose to frame or not frame and that's how I make my movies.

You sometimes get the sense that when people make sequels, they get conservative. If something worked, they do it over and over and over again.

There's a respect factor in filmmaking, like in sports, where certain things are kept in the locker room.

Working with Zhao Wei and Huang Xiaoming, they're not just Chinese stars, they're movie stars.

Like, action to me is no fun if it's not built around character.

The harder we push forward into the unknown the more it intensifies the reflection of humanity. That's what I really love about 'Star Trek.'

I've always admired Bruce Lee for his trailblazing efforts opening doors for Asians in entertainment and beyond.

I loved basketball and grew up with the Lakers and Magic Johnson. That was a big part of me.

We came over when I was 8 from Taiwan. That was my life: going to school, working at the restaurant, playing basketball.

Definitely the hardest thing is to find time to be grounded with real life, but without it, I don't think I'd be able to continue to grow as a filmmaker.

I loved 'Fast,' but I'm not a car guy.

All of my definitions of family were heavily influenced by my 'Star Trek' experience.

Growing up, I felt there was nothing my dad couldn't do, but didn't get the chance to do when we moved. I think he latched on to 'Trek' because of the sense of exploration and discovery, and hope. I think that's what he connected to.

Hollywood should be global.

As soon as I saw 'Chinglish' on Broadway, I began to envision this smart and insightful cross-cultural comedy as a film.

I'm extremely proud to be part of the 'Fast' franchise, it is an experience I will always treasure.

My parents were unconventional for Asian parents.

I've sat in so many meetings where they talk about converting movies to 3D just for the China market and just to make more money. I saw that people in China work long, long hours and that it's expensive to go to the movies, and you want to rip them off for even more money? I don't think that's right.

All my friends were 'Star Wars' kids but I didn't go to the movies, so I was the 'Star Trek' kid.

You want to have pressure and tell stories that you find a real reason to tell, aside from any business reason. If business is your only reason, that always goes badly.

For me, when I was growing up, everybody I knew was a 'Star Wars' kid.