To be a superstar you have to win and you have to have something special. For me, I hope that knocking people out is my something special because I can't sell myself, per se, and become a different person on camera and a different person off camera.

I'm a great defensive wrestler.

I love reading comments online.

With the way I fight, the UFC's not stupid. For one, they probably know that they're don't have me forever.

From a business standpoint, of course I'm not gonna fight someone that's unranked or something like that.

If I'm going to get tired, I'd rather it be from fighting and not from wrestling.

Everyone knows I'm going to come in there and I'm going to stop your takedowns.

I praise World Series of Fighting, they gave me every opportunity I had, and at the end, they were totally professional and did everything they could to help me out.

I want the best money, and obviously the highest ceiling that you can be the best is in the UFC. But yeah, I praise Bellator. They gave me a great offer.

I want to go to Brazil, I want to fight top Brazilians in Brazil. I want to go to Russia, fight Khabib in Russia.

I want to prove I'm the best in the world.

It sucks to say it, but if I was to go out there and get outclassed by James Vick, I'd have to hang them up. He's not good, he's slow.

I'm so much better than James Vick.

I'm a coachable person. I don't like to lead myself. I've been taught by great people, and I was able to listen to them.

I want to be a fighter, this is what I love to do, but it's totally taxing on the body and the mind. Especially the mind.

Georges St-Pierre's doing it the best. He made his money, made his name, and now he's able to make money not fighting. That's what I want to do.

I know for a fact entertainment is more important than winning.

You only have to go on a couple message boards to know what the fans want, and the fans want you to put it on the line and to entertain them.

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.