Jimmy Chin Quotes

I remember when I was 11, I did some Kung-fu demonstrations in Hong Kong in 1974.

Zhang Yimou tried to use martial arts to talk about Chinese culture, Chinese people. What do they think, what do they want and what do they hope.

When we were first creating the look of 'Kung Fu Panda,' we wanted to pay tribute to the beautiful tradition and culture of China.

I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting - he was adept at all facets of Chinese culture.

My mother is an immigrant from China, and she filled my head with stories about ghosts and fighting monks in China, so the world of 'Crouching Tiger, Hidden Dragon' was a very familiar one.

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.

I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.

China, with her five thousand years of history, her vast territory and her enormous population stands like a mountain peak among the nations of the world. Her contribution to the civilization of mankind is imperishable. She has been a keen lover of peace; she has had a deep respect for international justice.

Chinese people today have strong demand for culture, but we need effective supply, and China needs innovative cultural products.

The Chinese people, too, went through all kinds of vicissitudes in their religious development.

My father was a big Bruce Lee fan. He's Chinese-Hawaiian, and my mother is Chinese. He used to take us to all these really fantastical films with martial arts in them. And Bruce Lee was amazing.

I am a fan of wuxia.

During the long process of history, by relying on our own diligence, courage and wisdom, Chinese people have opened up a good and beautiful home where all ethnic groups live in harmony and fostered an excellent culture that never fades.

I think Ang Lee is a very, very talented director. He used martial arts to talk about love and girl, you know... But Zhang Yimou tried to use martial arts film to talk about Chinese culture, Chinese people. What do they think, what do they want and what do they hope the world will become.

I did a movie where my character was obsessed with Bruce Lee, so I learned everything about Bruce Lee, read everything, watched his movies.

My works are Chinese literature, which is part of world literature. They show the life of Chinese people as well as the country's unique culture and folk customs.

I always love China, especially the old China.

My father was, like, the token bad white guy in all the old Jackie Chan/Bruce Lee films.

Jackie Chan is a myth.

Wushu is a move in Chinese, a physical move. An attack. Wushu is like an art.

So many people are busy working now, but we need to go back to the old days when grandma and the neighbors helped raise the children, and we were all the better for it.

Qing Cheng Mountain was a direct influence on the mysterious final shot of 'Kung Fu Panda 2.'

Chinese combatants, men and women, inheritors of a millennial culture, are people of uncommon intelligence and an invincible spirit of struggle.

In much the same way Ip Man embodied the struggles of the Chinese people, I wanted Gong Er to represent the changing role of women.

To make a film like 'The Grandmaster,' I know I'm not going to make just a standard kung-fu film; it's not going to be just tricks or like wire works. So I spent seven years on the road interviewing different schools and a lot of real grandmasters from Chinese martial arts.