I just want people to remember me like I remember Buster Keaton. When they talk about Buster Keaton or Gene Kelly, people say, ‚Ah yes, they good.‘ Maybe one day, they remember Jackie Chan that way.

It is totally different making films in the East than in the West. In the East, I make my own Jackie Chan films, and it’s like my family. Sometimes I pick up the camera because I choreograph all the fighting scenes, even when I’m not fighting. I don’t have my own chair. I just sit on the set with everybody.

I never wanted to be the next Bruce Lee. I just wanted to be the first Jackie Chan.

I’ve always been a follower of silent movies. I see film as a visual medium with a musical accompaniment, and dialogue is a raft that goes on with it.

Brad will tell you. He puts a movie on, I’m asleep in 10 minutes. I have no patience. But the kids love action movies with comedy, Jackie Chan and all that.

When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.

Comedy isn’t necessarily all dialogue. Think of Buster Keaton: the poker face and all this chaos going on all around him. Sometimes it’s a question of timing, of the proper rhythm.

When I make a film – I direct my own film, I write my own script – that’s what I want to hear from the audience. ‚Oh, thank you, Jackie!‘

After all those years in Asia, I don’t have to do promotion anymore. We just release a Jackie Chan movie and – Boom! – people go.

My schedule goes: wake up, running, exercise, downstairs, running shoes off, then to the shower. That’s the Jackie Chan diary.

Jackie Chan is a myth.