Biographie

Likes to choreograph realistic, creative and unconventional fight scenes

Known for playing tough and impulsive characters in his films

Likes to execute various kicking techniques - including jumping splits-kick, jumping front-kick, jumping back-kick while running forward and chain-kicks while moving forward

Prefers to work with real martial artists in his films. His collaborations range from well-established practitioners such as Jet Li, Collin Chou, Jing Wu, Xing Yu, and Louis Fan to experienced fighters like John Salvitti, Michael Woods, Cung Le, and Mike Tyson

Frequently collaborates with Wilson Yip

Michelle Yeoh considers him to be the fastest martial artist she has ever worked with.

Classically trained pianist.

Was part of a Chinatown gang (non-organized street gang) in Boston, MA, in his early years. Due to his profound background in practical martial arts, he had a reputation as a street brawler. While Yen's degree/mastery of overall fighting ability is unknown, there's one reported occasion that confirms him being an efficient martial artist/self-defender. According to news reports by Hong Kong news channels in the late 1990s, he went clubbing with his then girlfriend, Yee-Man Man, and once inside the nightclub his girlfriend got harassed by a troublesome gang who took an interest in her. Yen warned them of leaving them alone but to no success. As they got out, the gang followed them and proceeded to prevent Yen from intervening by attacking him. This resulted in Yen beating the assailants up in self-defense and getting arrested by the police but was released the next day. This incident is still known in Hong Kong to this day - with people bringing it up in discussions concerning real fights as well as in relation to comparing credible fighting skills of various Hong Kong martial arts actors.

Cites Jet Li as his favorite among all martial arts actors he has worked with in his entire career.

Can speak fluent Cantonese, English and Mandarin. Can also speak casual Korean, since he learned it as a requirement for his character during the filming of Sept guerriers (2005).

(On the inspiration of becoming a director) I have always been a rebel, in my whole entire life, since I was just a martial artist. I always have questions in the back of my mind. Why does it have to be this way? Can it be that way? I always try to question and challenge that system and I guess that kind of attitude I brought into the film industry when I was just an actor. I see different films; I see how a director or choreographer would choreograph it. And I say to myself "it can be improved, it can be better and in less time". Or I'd wonder "how come this film is a good film and the other one a bad film, when the budget is not much different?" There are certain techniques, a certain system. When I was an action choreographer, when I used to work for Yuen Woo Ping, I used to grab a whole team of people and just raise questions. To the photographer, or to Yuen Woo Ping: "could it be that way? Could be it, be that? Why not try it this way?" Very soon, I established a kind of trust from Yuen Woo Ping, because I made a lot of his films happen with my suggestions.

(On learning from veteran Hong Kong action directors) Of course it's Yuen Wo Ping. He brought me into the circle. Some of his filming techniques and styles bear great influence on me. Actually, I admire the techniques of other martial arts directors too; they have their own unique ways of handling action scenes. I hope to learn from them. This is my pursuit of martial arts all along - mixed martial arts.

(On changing generic fight choreography) Nowadays, martial arts directors go along with the advancement in filming techniques. We can use some techniques to coordinate with non-martial artists. In my early days with Yuen Wo Ping, technology was rather backward, whatever we did depended on the raw skills of the actors themselves; but the actors nowadays are exceptionally fortunate. They could rely on editing, doubles, wires, and even special effects to make them look like they could fight well. But I believe, now that the audiences seek authenticity in martial arts, they could be cast aside. That's why we are looking into real combat.

(On martial arts training) Music and movement are both expressions of the same basic human energy. They are like paints used to color the screen.

When you watch my films, you're feeling my heart.