Shooting in Hong Kong, you can do whatever you want, even change the script every day. In Hollywood, you have to have a lot of meetings.
When you're tied to one show, you are very much at the mercy of the writers, so you can suddenly get a script where you have a heart attack and die.
How that works is our first season was the year we had a threatened writers' strike, so what we did was that instead of doing 22 episodes, we did 30. We put 10 in the bank.
Every script always goes through rewrites so that everyone loves it.
I believe really deeply in the pilot process because you learn things about tone and casting. Even some of our best shows have had substantial re-shoots and reworking before they've gone on the air.
Being in quite a few movies... there's always things that are changing about a film.
We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects.
I can't tell you the number of stories I've told with a female protagonist don't get bought, or they do get bought and get changed drastically. Or, I will literally write into the script different races, and they get cast all-white. I hope that stops and it opens the door for more voices to be heard in movies.
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.
