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Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It's great!

For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.

While filming 'The Matrix,' we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.

As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.

I think half the battle is just being comfortable in front of the camera - and I already am, doing so many videos and interviews, so then it just takes that extra step of trying to get into character.

If I could find a way to make a film that takes you into the mind of a fighter, where you have 36 minutes of combat with so many different emotions, so many highs and lows, so many obstacles to overcome, I'd do that.

I had written in another draft a completely different kind of fight, but they said they couldn't afford to shoot it. They needed a fight scene, though, so I was told to put a fight scene in, but not the one I had written.

I've done a lot of fight scenes, and I always find that it's better that they be meticulously choreographed. You want them to look as real as possible, but you don't want anyone to get hurt. So I believe in really working it out in rehearsal, and when you get to the set, just go for it 100 percent.

We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.