While Bruce Lee established the international status of Hong Kong movies, he did so in regards to martial arts movies, and while physical stunt work in Hong Kong is of such a high level, there have been other aspects of stunt work that have never been fully explored such as car and explosive stunts. It is much harder for Hong Kong to compete with Hollywood in this area of expertise.

Shoot what you think should be shot, that’s the easiest and most direct way to do things, experiment! Rid all difficulties till your aim achieved. Put your camera where you want and make your imagination into reality.

In Bloody Brotherhood, I used dynamite to turn a car and drop it from 135 feet, I then rolled a mini bus 360 degrees four times. I had only a single remote controlling all the explosions in Road Warriors, I exploded a bike while its rider was on fire in Princess Madam, and I exploded flying bikes and a bike doing a wheelie during Hard Boiled. Some of the scenes of people sliding and shooting were also designed by me. I used LPG (Liquid Petroleum Gas) to make a fireball for the first time in The Shootout with Aaron Kwok, and have used them extensively since in such films as Saviour of the Soul, Supercop, and Crime Story. In Twin Dragons, I was only responsible for the explosions and setting the stunt at the pier for the scenes with the stuntman flying off the boat.

I think A Moment Of Romance was just a prelude to Full Throttle for me. I hadn’t had a real chance to fully explore my ideas until Derek Yee made this film. He told me that he wanted something new, not the typical car or motorcycle racing. This was my chance to really push the boundaries and show people what I could do; I spent a lot of time and effort on this film. I spent more than a half a year preparing and testing new equipment to use on this film. I really put my heart and soul into this film, but it was worthwhile, Full Throttle was a serious breakthrough for my career and me, it gave me my first nomination at the Hong Kong Film Awards for Best Action Choreography. And there were no fighting or martial arts scenes in the film, just vehicle action. 1995 was also a bonus year because I had the chance to work on Thunderbolt with Jackie Chan.

I have had discussions with both the Hong Kong police and the Television and Entertainment Licensing Authority and helped them to work out a system that works for all of us. I have broken down our work and showed them how we make explosions, and fire stunts etc to help them understand what we want to do. They have given me their consent and understanding, and their respect for what we are doing. I was given the "001" pyrotechnic permit and granted approval, which is very important.