Jon Xue Zhang

My Martial Arts Part 2

Jon Xue Zhang — Sun, 18 Oct 2026 18:30:51 GMT

In Part 1, I wrote about my background and philosophy. It’s still such a huge part of my life, 10 years on, I thought it would be nice to revisit those ideas and reflect on how my life has changed, whilst my approach to martial arts has for the most part, remained the same.

I’ve always chosen to train at times that aren’t particularly sociable or convenient; I think it’s important to train when you don’t want to so that you can fight when you have to, when all else fails. Of course, I’m not looking to get into fights, but I see martial arts training as a preventative measure; maintaining the skills and awareness that might one day help you avoid or deal with a confrontation.

I’ve also always kept my training diverse. Having trained for 33 years, I’ve made a conscious effort to develop a broad skill set rather than specialise in just one area. My instructor always told me that to master one thing, you must master all things. To me, that means keeping every tool in my toolbox sharp.

Training in different styles also allows me to work around the limitations of any one discipline, whilst adapting my training to how I feel physically and mentally. I therefore consider motivation largely irrelevant; discipline is what counts. By practicing complementary styles, I can continue to train regardless of my frame of mind or physical condition. For instance, if I’m tired or sore, I can still do something softer without sacrificing the quality of my training. The goal is consistency, not simply pushing through for the sake of it as that could result in injury.

Martial Arts splits into three main categories; fighting, health and performance. I still train to keep my fighting skills sharp, as mentioned earlier, but I also train to stay healthy and strong. However these days, performance has taken on a new meaning as I make my living as an actor.

Having trained in many different styles has proved particularly useful in my career as every role is different and each character has their own way of moving. My martial arts background gives me a broader physical vocabulary to draw from, allowing me to adapt my movement to the needs of a character rather than approaching every role in the same way.

At one point in my life, I would meditate for 3 hours every day. Not necessarily all at once, but it was an important way for me to connect with nature and cultivate a sense of calm equanimity. I was also working through some personal challenges at the time. The amount of time we employ a coping mechanism can sometimes say something about what we’re dealing with.

I still meditate, but my relationship with it has changed. My natural state of being is now much closer to the state I used to work towards through meditation, so I don’t need to spend nearly as long getting there. In fact, it doesn’t take long at all.

So where does that leave me and my training today?

In many ways, I’m still doing the same things. Life has changed, but my lifestyle hasn’t. I no longer work in security (thankfully!). Whilst I still teach, it’s considerably less frequently than I used to. These days, that means the occasional seminar, plenty of screen fighting and some private sessions.

My values haven’t changed, but I’d like to think my approach has become more concise; with experience comes a better understanding of what matters, what works and how to communicate those ideas more effectively. That’s one of the reasons I decided to rewrite my 2020 book and release a second edition; to reflect my development as a practitioner and express the same core concepts with greater clarity, efficiency and the perspective that comes with experience.

Handwriting

Jon Xue Zhang — Fri, 16 Oct 2026 13:46:00 GMT

I handwrite a lot and often get comments about it, so I thought I’d write a little something here. So usually at the end of a production, I’ll write a bunch of (mostly personalised) thank you cards to cast and crew, different departments etc. (93 for The Brothers Sun, 88 for Masters of the Universe etc. etc.); it takes absolutely ages, but showing appreciation to those I worked with and those who took care of me is really important to me.

I’ve always loved cursive handwriting; it’s just beautiful to look at. It’s an art form at the end of the day. I’ve been writing cursively for the last 30 or so years, it’s just a matter of refining it over time! It starts with knowing how to join your letters, before learning how certain letters will look different when written cursively (for instance a normal ‘f’ and a cursive ‘f’ look different)

I base my handwriting similarly to how you’d write music; I use the horizontal lines to structure the level of the letters.

Italicising the writing is just more comfortable in joining the letters together. Take the sentence ‘I think this is the best!’, I’ll start with ‘I’, then ‘think’, where I dot the ‘i’, loop it around to cross the ‘t’ and continue the line to start the ‘t’ in ‘this’, then dot the ‘i’ and loop it over the start of the next word, ‘is’, where I dot the ‘i’, loop it round and continue to start the ‘t’ in ‘the’. I’ll then cross the ‘t’ and extend it to start the ‘b’ in ‘best’, then cross the ‘t’ and extend it to form the body of the ‘!’.

Take another sentence, ‘I want to indicate that’, it’s only when I cross the ‘t’ in ‘want’ that I continue the line to start the ‘t’ in ‘to’, then write ‘indicate’. I’ll always dot the ‘i’ first before crossing the ‘t’; so I’ll dot the second ‘i’, loop it round to dot the first ‘i’, continue to cross the ‘t’, which then continues to start the ‘t’ in ‘that’.

The only time I don’t loop the ‘i’s or ‘t’s over the rest of the word is when there are ‘l’s in the word, like ‘illegitimate’, where I’d dot the last ‘i’, loop it over to dot the second, then the first ‘i’s. I don’t cross the ‘t’ with this continuous line because that crosses the ‘ll’s, which would make the word look like ‘ittegitimate’.

When I used to spend hours a day in the woods, I noticed that if you dug up the ground, all the roots of the trees would be connected. When you look up, a lot of branches at the top of each tree are also touching the branches of another trees. As such, my handwriting is somewhat inspired by the time I spent in nature, where the orientation is almost symbolised by a breeze. I love that I like that all the letters are connected in some way or form.

It all sounds a little complicated, it’s just how I’ve written for years; I find it forces me to be forward thinking and intentional with how I communicate my ideas when writing. As it’s an art form, I take my time to handwrite everything! If it’s rushed, it won’t be legible and won’t be art!

Here’s how the last paragraph looks:

On another note, at one point I was trying to learn how to write with my left hand, where I would write different words with both hands at once, in an ill advised way to make my time more efficient. So, I would write ‘Hello’ with my left hand and ‘how’ with my right, then ‘are’ with my left and ‘you’ with my right. In theory, I was certain that my piano playing and my ability to dual wield Kali sticks would help, but no; all it did was give me headaches!

Piano and dual Kali sticks have a harmonious coordination to them, whereas I was forcing my brain to divide a single linguistic sequence into two parallel streams, creating some kind of cognitive interference. I don’t think my hands were necessarily the problem, but rather the visual strain, concentration and muscle tension (not just in my hands, but probably my face too), especially trying to make the handwriting in my weaker hand consistent with the other, were probably the causes of the headaches...! My hands can move independently to one another but my brain can’t handle parallel handwriting processes particularly efficiently at the same time. Sad times. As such, I don’t do practice this anymore! ...I won’t ever be as cool as Ringo Yu in Iron Monkey, where he writes two separate medical prescriptions with both hands!

Even thinking about it gives me headaches…!

Interviews

Jon Xue Zhang — Wed, 14 Oct 2026 13:24:00 GMT

2026

2025

Stage and Screen with Me’Sha Bryan

2024

2023

2022

2021

2020

The Ross Trevena Project
Propaganda Forum with Derek James
Take 97: A Film Podcast
Modern Aikidoist Podcast
Kickback with Chris Jones Martial Arts Podcast
The Creative Venture
Gram Fitness
Ben’s House Party
The Supplement Review
The Sydney Bouncer

2019

2018

2017

Kung Fu Movie Guide Podcast

2016

Kung Fu Masters UK

2008

BBC Video Nation

Articles and Mentions

Jon Xue Zhang — Wed, 14 Oct 2026 12:07:12 GMT

2026

2025

2024

2023

2022

2021

2020

2019

2018

The Bucks Herald - Aylesbury Dead II

2017

2016

Oxford Mail - Take Me Out

Knuckle Conditioning

Jon Xue Zhang — Tue, 13 Oct 2026 15:39:16 GMT

The number of messages I receive asking how to develop similarly callused knuckles is rather substantial, so this article is really a response to a frequently asked question. My knuckles are heavily callused and to some people, they signify hard training and conditioning. To others, they’re a status symbol, much like cauliflower ear and to some, a source of envy. I promise you though, there’s really nothing to be envious of! Let’s be honest, they don’t exactly look pretty, either; definitely not winning any beauty contests! If anything, they’re a reminder that years of training don’t necessarily do your hands any favours aesthetically.

My knuckles are the result of 33 years of martial arts training and over that time, I’ve developed a fairly well rounded skill set and I never focused solely on the hands. That’s an important distinction, because I want to emphasise that the calluses are a by-product of the training, not the end goal. Training specifically to develop them is short-sighted; it’s like wanting cauliflower ear without the jiu-jitsu to back it up, or fingertip calluses without becoming a better guitarist. You’d be pursuing a physical consequence of an activity rather than developing the skill itself.

Calluses develop when the skin thickens in response to repeated friction and pressure. For instance, if you lift weights regularly, you’ll probably develop calluses on your palms over time so you can handle heavier loads. Your knuckles can respond similarly to repeated contact, although the skin, underlying tissues and structures involved are different, but I won’t go into that.

The appearance of conditioned knuckles also varies between martial arts. Some Karate practitioners develop prominent calluses over the first two knuckles, while some practitioners of Chinese martial arts may develop them across all four. The pattern largely depends on the techniques practiced and the type of contact involved.

…But is it important? Not particularly. Can it cause problems later in life? It can, especially if conditioning is approached improperly or excessive force is used. …And if your primary motivation is to develop calluses simply to look tough, you’re probably training for the wrong reasons in the first place and more likely to injure yourself.

I’m often asked whether I have any problems with my hands. Honestly, I don’t. I still play the piano regularly and do plenty of handwriting without any issues. I’m also asked whether my knuckles allow me to hit harder, to which my answer is yes, I hit slightly harder for slightly longer because they allow me to tolerate repeated contact. It must be said though, if you trained for the calluses, you may develop endurance, but that’s not the same as generating more power; callused skin doesn’t automatically make your bones, joints or connective tissues stronger, which is why it’s so important to train the technique. Punching power comes from proper alignment, efficient biomechanics and the effective transfer of force through the body; callused knuckles alone contribute nothing to the power of a punch.

Another question I’m asked is whether or not they serve any practical purpose in my day-to-day life. Absolutely not. Am I planning on hitting anyone again? No (unless all else fails of course, but it’s important to have a few more tools in your arsenal than just punching!)

That said, there is definite value in sensible and progressive conditioning within an appropriate martial arts context. Learning to use your hands correctly, developing sound technique and gradually adapting to the demands of your discipline are all worthwhile. However, there’s an important distinction between preparing your body for training and deliberately subjecting your hands to excessive impact in pursuit of a particular appearance. More punishment doesn’t automatically mean better conditioning and visible calluses aren’t a reliable measure of progress.

I’m certainly aware that this particular look can contribute to the appearance of being a tough fighter and I get it, but as a deterrent, I really wouldn’t put much faith in it. From personal experience and I’m fairly certain I can state this unanimously that someone who wants to start a fight with you is unlikely to inspect your knuckles before making a decision. In a nightclub for instance, people can be impulsive, intoxicated or so caught up in their own emotions, that they may not even notice your hands. Even something more visible such as cauliflower ear, isn’t a reliable deterrent. Looking intimidating is no substitute for avoiding a confrontation in the first place.

So, if you’re serious about martial arts, focus on what actually matters; technique, cardiovascular fitness, sound judgement, situational awareness and composure under pressure. Train to become a better martial artist, not to look like one.

If callused knuckles develop along the way, so be it. They’re a reminder of the training you’ve done, not a qualification in themselves.

…And lastly, if you can become a highly capable martial artist without ever developing them, you’ve lost absolutely nothing; don’t chase the cosmetic evidence of training at the expense of the training itself!

Rant over!

The Psychology of Performance Part 3

Jon Xue Zhang — Tue, 13 Oct 2026 14:41:21 GMT

Ultimately, effective performance preparation involves more than simply practicing the skills required for the task. It means understanding the environment, anticipating the demands of the situation and preparing yourself to respond appropriately when those demands arise.

You can train in the equipment you’ll be using, introduce realistic sounds and distractions into your practice and use mental rehearsal to familiarise yourself with the experience. You can practice under timed or observed conditions, develop strategies for dealing with unexpected events and learn to regulate your breathing when you notice your arousal increasing.

More importantly though, you can practice these techniques consistently, rather than waiting until you’re under pressure to try them for the first time. Remember, you don’t rise to the occasion, you fall to the level of your training.

Whether you’re stepping onto a competition mat, walking onto a film set, sitting an examination, taking a driving test or facing a difficult conversation, the same broad principles apply. The more effectively you prepare for the actual experience, the better equipped you may be to manage the demands of the moment.

It’s also important to accept that you can’t control every variable and you can’t guarantee that everything will go according to plan. What you can do is increase your familiarity with the situation, prepare your responses and develop the ability to bring your attention back to the task at hand.

Performance isn’t just about what you can do when everything is comfortable and familiar, it’s about how effectively and efficiently you can access those abilities when the conditions become more demanding.

…and this is absolutely something you can train.

The Psychology of Performance Part 2

Jon Xue Zhang — Tue, 13 Oct 2026 14:29:31 GMT

Following on from Part 1, these principles apply far beyond the sports. In fact, some of the most obvious examples can be found in acting, where the difference between practising a performance and delivering it under pressure can be substantial.

Imagine you’re an actor on set. You’ve learnt your lines, rehearsed your scenes and worked through the character’s emotional journey. You know the material and yet, when the cameras start rolling, the crew falls silent and everyone turns their attention towards you, something changes. You become acutely aware that you’re being watched. Your heart rate increases, your breathing becomes shallower, your muscles tense and your mind starts monitoring what you’re doing.

You might suddenly struggle to recall a line that you knew perfectly well a few minutes earlier. You become overly conscious of your movements, your delivery or the expression on your face. Instead of being immersed in the scene, you’re thinking about how you’re performing.

This is a form of performance anxiety, and the underlying mechanisms are not exclusive to acting. The same thing can happen to an athlete stepping onto the competition mat, a musician walking onto a stage or someone delivering a presentation in front of colleagues.

The challenge is that the skills you’ve developed in practice don’t necessarily disappear under pressure, but your ability to access and execute them can be affected by how you respond to the situation. Excessive self-monitoring, distraction and physiological arousal will often interfere with the automatic processes you’ve spent so long developing.

This is why preparation should account for the experience of being observed, not just the technical requirements of the task. An actor might rehearse in front of other people, practice scenes whilst being recorded or become familiar with the practical rhythm of a film set with all the crew members in the background. A public speaker might rehearse in the room where they’ll be presenting, practice with an audience or deliberately introduce distractions into their preparation.

The same principle applies to examinations. Revising your notes in a comfortable environment is one thing; sitting in silence under timed conditions, with an unfamiliar paper in front of you and the knowledge that your result matters, is quite another. Practicing under realistic exam conditions helps you become familiar with the time constraints, the format and the mental demands of the experience itself.

Likewise, if you’re preparing for a driving test, you can practice the routes and manoeuvres you’re likely to encounter, become familiar with the test format and rehearse responding calmly when you make a mistake. You can’t predict every instruction or road condition, but you can prepare for the general experience of being assessed. Across all these examples, the principle remains the same; don’t just prepare for the task; prepare for the conditions under which you’ll have to perform it.

Although on a side note here, I found what helped with my driving test was actually making conversation with the examiner, because that’s what I used to during the lessons with my instructor. So in a way, I did the opposite of training under the conditions of the test and instead, changed the conditions of the test to a more familiar environment.

Composure Under Pressure

Something I have emphasised the importance of many times over the years in articles, interviews, my book as well as my teachings, so I won’t harp on too long about this! Of course, familiarising yourself with the environment and mentally rehearsing the experience are only part of the equation. Eventually, the moment arrives when you’re actually required to put it all into practice and perform. You can have prepared meticulously, but how do you manage yourself when the pressure is real?

One of the most important things to understand is that composure is not simply a personality trait. It isn’t something that some people are naturally blessed with while others are destined to struggle without it. Although people differ in their temperaments and their responses to stress, composure is something you can practice and develop.

When we perceive a situation as threatening, demanding or particularly important, our bodies can enter a heightened state of arousal. Our heart rate may increase, our muscles can become tense, and our breathing can become faster and shallower. This response isn’t inherently bad; a degree of arousal can help mobilise us for action, sharpen our readiness and give us the energy we need to perform.

The problem arises when that response becomes excessive or poorly regulated for the task in front of us; we can become so caught up in the significance of the moment that our attention shifts away from what we’re actually trying to do.

A martial artist might become preoccupied with the consequences of losing rather than concentrating on the opponent in front of them.
Someone taking an exam might spend so much time worrying about their performance that they struggle to retrieve information they know perfectly well.
An actor might worry about making a mistake rather than connecting with the scene.

In each case, the challenge is not necessarily a lack of ability. It may be that the person’s response to pressure is getting in the way of that ability.

It starts with your breathing. One of the simplest and most accessible places to begin is with your breathing.

Breathing is particularly useful because it operates both automatically and voluntarily. We don’t need to think about every breath we take, but we can also deliberately change the rate and pattern of our breathing, which gives us a practical way of influencing our physiological state when we notice ourselves becoming overwhelmed or excessively tense.

When we’re anxious, we often begin breathing more rapidly and shallowly. Sometimes we hold our breath without even realising it, particularly when concentrating or anticipating something difficult. These changes can contribute to the sensations associated with anxiety and make it harder to settle ourselves.

By deliberately slowing our breathing, we can help regulate our arousal and encourage the body to move towards a calmer state. Slow, comfortable breathing can influence the autonomic nervous system, including mechanisms involved in heart rate regulation. It won’t necessarily make every feeling of anxiety disappear, but it gives us a practical starting point for managing our response. This is where the ‘danger’ is still present, but how you respond to it becomes a choice.

The key here is to practice this before you need it.

Try sitting comfortably and breathing at a steady, relaxed pace. Allow the breath to move naturally, without forcing it. Gradually slow the rhythm, keeping the inhale comfortable and allowing the exhale to be gentle and unhurried. You might find that breathing in for around four seconds and out for around six seconds works for you, although there is no single rhythm that suits everyone. If this feels uncomfortable, return to your normal breathing rather than forcing the pace.

Pay attention to how your body responds; notice whether your shoulders begin to relax, whether tension eases from your jaw and whether your thoughts begin to settle. The objective isn’t to take the biggest breath possible or to achieve a particular number, but rather to find a comfortable rhythm that helps you regulate your state.

With regular practice, you can become more familiar with the feeling of being physically settled. Should you then notice your breathing becoming rapid before a competition, a performance or an examination, you will have something practical to return to.

This is important because composure doesn’t mean pretending you aren’t nervous; it means recognising what’s happening and knowing how to respond. You may still feel the anticipation of the moment, but you don’t have to allow that feeling to dictate your behaviour.

It’s also worth remembering that the aim isn’t always to become completely relaxed. An athlete preparing to compete, or an actor preparing for an emotionally demanding scene may need energy, alertness and intensity. The goal is to regulate your arousal so that it serves the task rather than interferes with it.

Learning to control your breathing is one way of developing that awareness. Over time, you can begin to recognise the early signs of stress, intervene before they escalate and return your attention to what matters most. If you can handle yourself, you will always have an influence over the outcome of the situation rather than becoming a victim of your own nerves.

The Psychology of Performance Part 1

Jon Xue Zhang — Tue, 13 Oct 2026 14:09:43 GMT

This article will delve into more of the applied psychology of performance. As you may or may not know, I was previously the psychologist for the Saudi Arabian National Tae Kwon Do team some years back and have since been hired to deliver a number of seminars and training sessions with other martial artists, athletes, performers, as well as the occasional corporate function! I wasn’t sure which section to put this in, whether it was science, applied life skills or martial arts, so I’ll keep this fairly general and not overly sport-specific, allowing you to apply it to your own training and lifestyle.

First of all, I’d always say it’s important to identify the goal; is it a sporting event, a performance, a presentation, or even something like a driving test? Knowing what the end goal is gives you an indication of how to formulate your preparations. I’d always advise examining the conditions of the event itself. For instance, if it’s a competition, let’s take a look at what’s involved; there will be people watching and does your training account for this? Probably not, but it can absolutely play a huge factor in how you perform.

Preparing for the conditions, not just the event

One of the most overlooked aspects of preparation is that we often train for the activity itself without adequately preparing for the environment in which we’re expected to perform it. We might practice the physical skills, refine our technique and become increasingly proficient at what we do, but how much of that preparation accounts for the actual conditions on the day?

If you’re a martial artist, for example, you might spend hours perfecting your techniques in the dojo. However, the conditions of a competition are very different. You’re wearing your competition gear, you’re surrounded by other competitors, there are officials present and of course, there’s an audience watching. There may be noise, distractions and the added pressure of knowing that your performance matters. Suddenly, you’re no longer just executing a technique; you’re doing so in an environment that can influence your concentration, your confidence and your physiological response.

This is why I would always encourage people to acclimatise themselves to the conditions in which they’ll be expected to perform; if you’re competing in a particular uniform or set of equipment, then train in it. If you know there will be a crowd, introduce crowd noise into your training environment. If possible, practice in a venue that resembles the one you’ll be using on the day. The idea is to make the unfamiliar as familiar as possible.

There is a psychological benefit to this; when we encounter an unfamiliar environment, our attention is naturally drawn towards it. We notice the noise, the people, the surroundings and the fact that we’re being observed. These things can become distractions because we’re not accustomed to them. By exposing ourselves to similar conditions during preparation, we can reduce some of that pressure and free up more of our attention for the task itself.

You can even take this a step further by using crowd noise as part of your preparation outside of active training. For example, you might listen to recordings of a noisy sporting arena whilst going through your usual training routine. You could also play these sounds while sitting quietly or lying down, allowing yourself to become familiar with the auditory environment without having to perform a physical task at the same time. The purpose isn’t to eliminate every feeling of nervousness or to convince yourself that the real event will be exactly like your training, but rather to increase your familiarity with the conditions, so that when the day arrives, fewer things feel completely new or foreign.

Mental Rehearsal

Of course, we can’t always recreate every aspect of the environment in which we’ll be performing. We might not have access to the competition venue, an audience or the equipment we’ll be using. This is where mental rehearsal becomes particularly useful.

In an example I’ve used previously in an article I wrote about VR, imagine you’re preparing to run a race; you can mentally take yourself through the entire experience, from the moment you arrive at the venue to the sound of the starting gun, the first few strides, the rhythm of your breathing, the movement of your arms and legs and finally crossing the finish line. The more detailed and realistic you make this experience, the more useful the exercise can become.

Mental rehearsal isn’t simply a matter of daydreaming about success. You’re deliberately practicing the experience in your mind, where you can visualise the environment, imagine the sounds around you, rehearse your movements and anticipate the challenges you might encounter along the way. You can even practice how you’ll respond if something doesn’t go according to plan.

Interestingly, mental imagery isn’t necessarily a passive process; research into motor imagery has demonstrated that mentally rehearsing a movement can activate some of the same neural networks involved in physically performing it. In other words, when you mentally run a race from start to finish, your brain isn’t simply watching a film; it’s engaging with a representation of the movement itself. This is one reason mental rehearsal can be a useful addition to physical practice.

I think of this as preparing yourself holographically; you’re building a more complete representation of the experience, rather than focusing exclusively on one isolated component. You’re not just rehearsing the physical actions, the sensory environment, the sequence of events, but also your response to the pressure surrounding them.

The more realistic your rehearsal, the more you can familiarise yourself with the experience before you encounter it in real life. You can imagine the crowd, the noise, the anticipation and the sensations associated with performing. You can also rehearse maintaining your composure when you notice your heart rate rising or when something unexpected happens.

This doesn’t mean mental rehearsal will perfectly replicate the real event, nor does it replace physical training. It means you can use your imagination as another tool in your preparation. You’re giving yourself an opportunity to practise the experience before it happens.

In Part 2, I’ll relate this to how this applies to non-athletes!

Experiencing & Connecting with Reality Part 5

Jon Xue Zhang — Fri, 09 Oct 2026 16:26:42 GMT

As Part 4 was about recognising the stories that we tell ourselves, there is another important consideration; we have to understand that everybody else is telling themselves stories too.

Every person we meet is experiencing reality from a perspective that we can’t fully see; they have their own memories, experiences, insecurities, beliefs and emotions influencing how they interpret what is happening around them, just as we do.

We touched on this previously with family, but when you have a conversation with a parent, there can sometimes be more than just the adult you in the room; the child you once were can be there too. However, the same is true for them, the child they once were is in the room. Their parents are there through the influence they had on them, as are decades of experiences that occurred long before you were even born.

In a sense, when two people have a conversation, two entire histories are meeting in the present. This doesn’t mean that we should excuse somebody’s behaviour simply because we can understand where it may have come from; understanding and agreeing are two different things. Somebody can behave badly and we can maintain our boundaries whilst still recognising that we may not know everything that contributed to their behaviour.

This principle applies to disagreements; two people can experience the same situation and walk away with completely different interpretations of what happened. Each person remembers different details, places importance on different moments and interprets the other’s words through their own experiences.

The problem comes when our objective stops being understanding what happened and becomes proving that our interpretation is the correct one.

Often, we don’t listen to understand; we listen to respond, while the other person is talking, we’re already preparing our defence, looking for holes in their argument or waiting for an opportunity to explain why they’re wrong.

At that point, it can be worth asking ourselves whether we want to be right or if we want to understand.

Of course, being wrong can be uncomfortable, particularly when our opinions have become attached to our identity. Changing our minds can feel like losing, but there is no shame in changing your perspective in light of better evidence. In fact, the greater mistake would be discovering that something isn’t true and continuing to believe it simply because we don’t want to admit that we were wrong.

This doesn’t mean that every perspective is equally accurate because there are still facts and sometimes one person simply is wrong. Another thing to consider here is that empathy doesn’t require us to abandon objectivity. Instead, it means remaining open to the possibility that our own perspective is incomplete.

Think about an argument from years ago. At the time, you may have been absolutely certain that you were right. Looking back now, with distance, experience and information you didn’t have at the time, perhaps you see it differently. Reality didn’t change; your perspective did.

Perhaps this is another reason why awareness is so important. If we can recognise the stories that we tell ourselves, we can also recognise that other people are constructing their own interpretations of the same reality.

As mentioned in Part 2, we all develop filters through our beliefs, experiences and influences, through which we interpret the world around us. Being aware that these filters exist doesn’t necessarily remove them, but it can remind us that what we see through them may not be the complete picture.

The same is true of everybody else. We may be looking at the same reality, but we aren’t necessarily looking at it from the same place.

We don’t have to agree with them and we certainly don’t have to tolerate harmful behaviours, but understanding another person’s perspective can give us information that insisting on our own perspective cannot.

Reality doesn’t care who wins the argument. In Part 1, I wrote about the faculty of attention and how easily it can be placed on the wrong things. So perhaps attention isn’t only about noticing what is directly in front of us; it’s also about noticing where we’re looking from. So perhaps the question shouldn’t always be who is right. Sometimes the better question is ‘What am I not seeing?’

Experiencing & Connecting with Reality Part 4

Jon Xue Zhang — Fri, 09 Oct 2026 16:09:15 GMT

Throughout the previous parts, I have written about the importance of being present, being aware of our thoughts and surroundings and experiencing reality without allowing our thoughts to completely dictate that experience. However, there is another part of this that can be much harder to recognise; the stories we tell ourselves.

Something happens and almost immediately, we give it meaning.

Imagine sending somebody a message and they don’t reply. The reality of the situation is simply that you sent a message and haven’t received a reply. That’s all you actually know. However, that doesn’t necessarily stop the mind from filling in the blanks, assuming that you are being ignored or you’ve done something wrong, or any number of explanations that could potentially be true, but could just as easily be completely wrong. We might then think perhaps they’re busy or forgot to reply. Perhaps something has happened in their own life that you know nothing about.

Until you know, you just don’t.

This is where it is important to recognise the difference between what happened and what we think what happened means. The human mind doesn’t particularly like unanswered questions. When there is a gap in our knowledge, we naturally want to fill it, but the story that fills it can be influenced by our previous experiences, insecurities, expectations and current emotional state; we then often respond emotionally to that story as if it was an established fact.

This is especially noticeable when we are stressed, angry or anxious; an event itself may have lasted seconds, yet the story we create from it can occupy our minds for hours or even days.

It’s important to then realise that we are then no longer responding to reality; we are responding to our interpretation of it.

This is why being objective is so important. We can ask ourselves what we actually know, what we have observed as well as what we are assuming.

Of course, there isn’t anything wrong with interpretation; we couldn’t function without it. However, the problem begins when we stop recognising interpretation as interpretation and start treating it as fact.

Often, some of the most powerful statements are also the ones we tell ourselves about ourselves, such as not being good at something, stating that we are anxious or that things never work out for us.

If we repeat something about ourselves enough times, it can eventually become part of our identity. We then inadvertently begin looking for evidence that supports the story whilst overlooking evidence that contradicts it. Every mistake becomes proof that we were right, while success might be dismissed as luck. The story reinforces the behaviour and the behaviour reinforces the story.

Our past experiences can influence these stories too; something happening in the present may remind us of something that happened previously and without realising it, we begin responding not only to what is happening now, but also to what happened then. We often experience this when having conversations with parents or relatives. In a sense, there is more than just the adult you in the room; the child you once were is there too. Old family dynamics, emotions and patterns can resurface quickly, which is why we can sometimes find ourselves reacting more emotionally around family than we would if the exact same interaction happened with somebody else. We may be responding to the conversation happening today, but part of us may also be responding to years of conversations that came before it.

These experiences can teach us valuable lessons; the past should provide information rather than automatically determine our interpretation of the present. The person in front of you is not necessarily the person from your past, and you are no longer exactly the same person who originally experienced it.

One of the most difficult things we can learn, therefore, is to become comfortable with uncertainty. We want to know why somebody behaved a certain way, what somebody thinks of us, whether something will work out and whether the decisions we make will prove to be the right ones. Sometimes we simply don’t know yet.

There can be an enormous amount of freedom in accepting that. Not knowing does not have to be an admission of weakness.

This doesn’t mean becoming passive or ignoring our judgement. We can still use our experiences, intuition and reasoning to make decisions. It means remaining aware of where the facts end and our interpretation begins.

Meditation and awareness can help us observe this process as it happens. Just as we can observe a thought without allowing it to consume us, we can notice ourselves beginning to construct a story and ask whether that story is actually supported by what we know.

Reality doesn’t require us to understand it immediately. It exists regardless of whether we have worked out what it means.

Linking back to the previous parts of this series, connecting with reality isn’t about eliminating our thoughts, beliefs, memories or interpretations. These things are part of being human. Instead, it’s about being conscious of their influence and remembering that what exists in our minds is not necessarily what exists in front of us.

So whenever you find yourself becoming consumed by something that has happened, take a moment and ask yourself what actually happened, and what have I added to it. Sometimes the event and the story will be very different things.

From Passion to Picture Part 2

Jon Xue Zhang — Fri, 09 Oct 2026 15:34:41 GMT

Following on from Part 1, it’s also important to look at the attributes you need to be successful. You absolutely must stay on top of your admin! The amount of times I’ve seen talented people fail at the last hurdle because they weren’t organised.

Save copies of projects
Keep track of credits
Update your showreel / maintain your portfolio
Know where your documents, contracts and files are

Invoices, agreements, contracts and administration might not be the reason you wanted a career in film, but being organised means that when an opportunity appears, you’re able to respond to it immediately. You don’t want somebody asking for your showreel on Tuesday and still be editing one together on Friday.

Never assume you’ve finished learning; technology changes, platforms change, audiences and trends change, even the way content is produced and distributed changes. Following on from my point in Part 1 about doing more outside of the classroom; your education therefore shouldn’t end when your course does.

You want to remain curious because this is what compels you to take courses and watch tutorials, learn new software packages, experiment with free tools. Curiosity also extends to keeping an eye on what’s happening across the industry.

You don’t necessarily need to become an expert in every department, but understanding what the people around you do can make you better at your own job and better at collaborating with them. As I’ve worked in many different departments within the film industry (in pre and post production), I feel they have all contributed to me becoming a better performer.

Another thing is adaptability matters; as mentioned earlier about changes, the platforms and workflows you learn today may not be the one you’re using ten years from now.

Understanding that talent just isn’t enough. Of course it matters, but it’s essential to have other traits such as:

Being punctual
Doing what you said you would do
Meeting a deadline
Being able to work with other people when they’re tired or if something has gone wrong, especially if you’re tired yourself

It’s not just about technical ability, but also resilience, patience, curiosity, creativity, adaptability, work ethic, communication and collaboration all matters.

Productions often experience problems; locations change, equipment fails (or someone forgot to charge the batteries!), unfavourable weather, someone becomes unavailable, a shot doesn’t work, a deadline being brought forwards, the list goes on. If you’ve read my other articles. then you’ll know that I emphasise the importance of being able to remain calm, think critically and find solutions makes you valuable.

Doing things outside of the classroom can often expose you to those issues, which allows you to be able to respond well under pressure.

As mentioned earlier about your reputation, people not only remember the person who helped solve the problem, they also remember the person who created one. Your reputation isn’t something that suddenly appears once you’re successful; you’re building it from your earliest projects.

Dealing with rejection

Rejection really is part of a creative career; you won’t get every job, you won’t get a response to every email and not every film you submit to a festival will get selected. Every email won’t receive a response. You absolutely need a thick skin in this industry, which is why it’s important to treat rejection as redirection; not now never means not ever.

Not everything is personal either; sometimes you’re may not have been the right fit, there wasn’t enough budget, or they hired someone they already knew. So keep improving, keep creating and keep meeting people

…and of course, keep some perspective.

Don’t Quit Your Day Job

Certainly not yet. There can be a temptation, especially when you’re enthusiastic about a creative career or opportunity, to believe that commitment means going all in immediately. There is nothing shameful about having another job while establishing yourself. I worked full time, part time, evening and weekend jobs concurrently, like many others do. It’s a means to an end; in fact, removing some of the financial pressure can give you the time required to make sensible career decisions rather than accepting absolutely anything because you desperately need the money.

Taking care of yourself

Building a sustainable career can take time, so please take your time and look after yourself whilst you’re doing it.

This industry often involves uncertainty, rejection, long days and periods of intense pressure. Ambition is important, but so is knowing when to stop, breathe and reset. Your career matters, but it isn’t worth destroying yourself in pursuit of it. The final advice in my original lecture was deliberately simple; take good care of yourself. You can only donate money if you have money; you can only really give yourself if you first have yourself, so put yourself first.

You can’t control exactly when an opportunity will arrive. You can only control how prepared you are when it does. You can’t wing it (and those who do who get the job get found out eventually); you don’t rise to the occasion, you fall to the level of your training and preparedness.

The route from passion to picture is rarely straight. There will be diversions, quiet periods and rejection along the way, so keep creating anyway. Ultimately, the objective isn’t simply to break into the industry, but rather to build the skills, relationships, reputation and resilience that allow you to stay in it.

From Passion to Picture Part 1

Jon Xue Zhang — Fri, 09 Oct 2026 15:10:44 GMT

This is based lecture slides I wrote specifically for Media students who are trying to get their foot in the door.

There is no single route into the film and media industry. Ask ten people working in film how they got their first opportunity and you may well get ten completely different answers. Some studied film or media at university, whereas others started making videos with friends. Some got work experience at a production company, whereas others volunteered, knew somebody who knew somebody, or simply sent an email at exactly the right moment.

That uncertainty can make starting a career in the industry feel daunting, so we’ll go through some things in this article to help make things seem more manageable.

You don’t need to wait for somebody to give you permission to begin
- Whether you want to work in directing, cinematography, editing, sound, production, animation, design, writing or another role behind the camera, there are things you can be doing now to improve your skills, build your body of work and give people a reason to hire you.
- Don’t Wait for work to start working
- One of the most useful things you can do at the beginning of your career is to create things
- Start a YouTube channel, make short films, animations, design posters, even record a podcast, or experiment with different styles, genres and formats on social media.

Keep in mind that your early work doesn’t have to be brilliant. In fact, it probably won’t be. That’s part of the process; if you’re constantly working and progressing, looking back at your early work can often show you just how far you’ve come.

Creating regularly gives you an opportunity to experiment without the pressure of a professional production. You discover what you’re good at, what you enjoy and where the gaps in your knowledge are, which is your responsibility to patch.

I can’t state enough the importance of building a portfolio and providing that evidence of your interest as opposed to just declaring it; there is a real difference between saying that you want to be an editor and saying that you want to be an editor, whilst then proceeding to show the last few things you’ve edited.

Of course, your online presence can become part of that evidence too. Posting work and documenting your progress gives somebody the opportunity to see what you’re capable of before you’ve ever met them (I know so many people who got work because of their body of work, so you never know who may stumble upon your channels. I can attest to this from a personal perspective too). It’s also important to learn how different platforms work, specifically metrics and insights, which can teach you something about your audience and how people respond to your content.

I’ve often stated in interviews that when you’re not working in your craft, work on your craft. This doesn’t mean every waking hour needs to become productive, it means you don’t have to wait until somebody is paying you before you start becoming better at what you want to do. Put in the work now because you never rise to the occasion; you fall to the level of your training.

If you’re studying film, media or a related subject, your course gives you an environment in which to learn, but don’t allow your course to become the boundary of your experience. It’s important to get out of the classroom and make and do things.

Find the people around you who are equally enthusiastic and make something together. If somebody needs help with their short film, offer it. If somebody is putting together a shoot at the weekend, ask if they need another pair of hands. Not every project needs to be your project; helping somebody else can give you practical experience, another credit and perhaps most importantly, another relationship. Additionally, you may have to wear lots of different hats, which not only gives you experience in another skillset, but also the ability to handle yourself under pressure, whilst juggling multiple things at once.

In addition to social media, film festivals, competitions and online challenges can provide deadlines and motivation as well as opportunities for your work to be seen. Selection, recognition or an award can strengthen a portfolio, but even entering can teach you something about presenting your work professionally. At the same time, keep your portfolio up to date.

Networking

The film industry is intensely collaborative. A production involves people with different skills solving hundreds of problems together, often under significant time pressure. Learning how to work with other people is therefore not something separate from learning your craft. It’s part of your craft.

Look beyond your immediate circle as well; join filmmaking groups, online communities and local media organisations, volunteer at events or festivals and get involved with other students. Every project puts you around more people and every person potentially introduces you to another project. This is how a network begins.

Of course, networking is essential, but it doesn’t always mean walking into a room full of strangers and desperately trying to impress them. Instead, networking is really about building professional relationships. I would advise attending workshops, screenings, festivals and industry talks, where you can speak to people and ask them about what they do. You can also connect with your peers as well as people who are already established.

You never know, but your classmate today could be a producer, director, editor or cinematographer recommending you for a job five years from now.

One thing I would emphasise is not to approach every interaction by immediately asking what they can do for you. Instead, take an interest in them; help where you can, stay in contact, support other people’s projects, most importantly, be somebody people enjoy working with.

You will have heard the saying, ‘it’s not what you know, but who you know’, but it’s also who knows you; when somebody needs a crew member, they are unlikely to conduct an exhaustive search of every talented person in the country. Instead, they ask ‘who do we know?’

I would also advise proactively reaching out, especially if you have a body of work behind you. Research production companies, agencies, post-production houses, studios and professionals doing the kind of work that interests you.

You don’t necessarily have to ask for employment either; opportunities could include:

Shadowing someone for a period of time
Asking for advice
Any work placements or internships available

The worst outcome of many of these emails is simply that you don’t receive a reply, which can be disappointing, but it doesn’t leave you any worse off than you were before sending it.

Bear in mind that you don’t need to be looking at companies within the film industry to get opportunities; a lot of businesses will have a marketing department, where your skills may be directly relevant to the media they produce, where you can learn and gain more invaluable experience.

I’m on Substack!

Jon Xue Zhang — Fri, 09 Oct 2026 11:23:00 GMT

Hey everyone! So, I’ve decided to join Substack!

As an actor, visibility is really important. Since I wasn’t eligible to join Spotlight and didn’t have representation at the time, I made sure to build an online presence through Facebook, Instagram, IMDbPro and of course, my website. I also did a lot of interviews with media outlets and podcasts about my martial arts, film and other projects I was involved in, all to help get my name out there.

I’d had a website since the early 2000s, as I was always interested in web design as a kid. I used it to share the various projects I was working on, from training and music to science fiction and even articles about flexibility. In many ways, it was social media before social media existed! So when I decided to pursue acting, using a website to promote my work felt like a natural extension of what I was already doing.

My website and social media helped me land a lot of work in the early days of my career, so I must have been doing something right! IMDbPro was essential, too, as it gave me a professional profile with a photo (which was key to how I was found for The Brothers Sun).

Over time, my website became more of a passive archive, with the occasional update here and there. Eventually and ultimately, I took it down for ethical reasons. Reasons I’ll get into another time.

…But for now, I’m really excited to be here on Substack, where I can write about the things I like and care about. I’ve also reposted some of my old articles, dating them retrospectively. There are a few things I’d change about the writing and content, but I’ll leave them as they are for now. At their core, the values behind them are still ones I hold and practice today.

Film and TV

Jon Xue Zhang — Fri, 19 Jun 2026 13:27:00 GMT

I have worked as an actor and stunt performer on numerous productions such as 47 Ronin, 24, Dr Strange, Ganapath, Kraven The Hunter. I have worked as an actor as well as a fight coordinator for various projects. I have also worked on numerous short films, which have gone on to win awards in festivals, more recently with director, Daryn Castle. In addition to the performance side of things, I have taught at colleges and universities such as City of Oxford College, Oxford Brookes University and SAE Institute to deliver lectures on fight choreography, screen fighting as well as career guidance as a guest lecturer.

I have also worked on TV shows such as The Continental, CBBC’s The Wonton Warrior, Silent Witness , Eastenders, the Brit Awards, Gangs of London Season 2 and was a contestant on Take Me Out and even made the front cover of the Oxford Mail. More recently, I worked on the new Fast and Furious spin off, Hobbs and Shaw, The Gentlemen, Back In Action and Kraven The Hunter. I have also worked on The Complex and Mia and The Dragon Princess, which are interactive movies.

One of my career highlights to date is doubling for one of my heroes, Don Lee in Marvel Eternals, as well as for my very good friend, Hon Ping Tang in The Gentlemen series on Netflix.

As of 2021, I became a regular guest tutor at Stepping Stones Performing Arts and have taught screen fighting workshops in addition to helping actors and fellow stunt performers with their showreels, fight scenes as well as choreographing sequences for motion capture. More recently, I have been teaching workshops and seminars specifically for screenfighting and stunt work at Virtue Gymnastics.

In addition to this, I have also been working as a producer for other independent short films, such as Daughter, Scarlet and Mr Mimoto, which have done exceptionally well on the festival circuit. Mr Mimoto has currently won 23 awards; I am also honoured to have been the recipient of the Critic’s Choice Award for Best Actor from the Golden Lion International Film Festival.

As of 2022, I joined the cast of ‘The Brothers Sun’ series, starring Michelle Yeoh, created by Byron Wu and Brad Falchuk, directed by Kevin Tancharoen and Viet Nguyen, now available to stream on Netflix! A huge thank you to Jenny Jue from Downtown Casting! We hit 85% on Rotten Tomatoes and were in the top 5 most watched shows on Netflix.

In 2025, I was cast as Ram Man for the upcoming Masters of the Universe film, to be released in June 2026, distributed by Amazon MGM Studios, directed by Travis Knight, which has been doing exceptionally well on Prime Video. I was also cast for an upcoming arctic action thriller, Sirius, directed by Lee Smith, to release in 2027.

For castings:

Stride Management
I A G (Identity Agency Group)

The Martial Heart Book

Jon Xue Zhang — Fri, 10 Apr 2026 10:11:00 GMT

During the lockdown of 2020, I spent time working on a couple of personal projects, which included my piano album, Aethereality, but also my very first book, The Martial Heart. The book contains a lot of different aspects of martial arts, which I feel are often neglected in many martial arts schools, such as codes of conduct as well as other non-physical characteristics that can help to prevent a physically dangerous situation. As most schools do teach that fighting should only be used as a last resort, I have often questioned as to why the preventative measures to such a situation are neglected. The book also contains tips for physical training, which can be incorporated to your current routine.

For a few years now, I’ve been meaning to write another book, but after much thought, I decided to do a complete overhaul by writing and releasing a second edition of The Martial Heart, as an improved body of teachings and insights, with rewritten and revised content to make the concepts clearer, more practical, applicable and digestible with newly written chapters to further aid your training and way of life.

The contents of this book are lessons and principles I live by and have taught over the last 3 decades or so. As martial artists, we strive for continual improvement; this second edition of my 2020 book is therefore no different as I want it to reflect and share my own deeper understandings and developments as a practitioner and instructor.

The book is now available and published through Amazon directly as a hardback and on Kindle, which has considerably reduced the cost and is therefore more accessible to more people. (I can’t express just how much of a nightmare it was to format for Kindle, as well as getting the cover dimensions right for the hardback!

Those of you who have done it will know what I mean!). I’m so grateful to everyone who has already supported me with the first book and hope that you enjoy this second edition even more. If you enjoy the book, I’d be so grateful if you left a review. Thank you all so much, I really appreciate it and hope it helps you along your journey!

Lastly, I’d like to thank Muleya Sialwiindi for the cover photography and design.

Managing Anxiety in the Workplace Part 2

Jon Xue Zhang — Sat, 11 Oct 2025 15:20:00 GMT

Another often overlooked yet effective strategy for reducing stress is decluttering both your digital and physical workspace. A clean, organised environment helps to clear mental clutter and promotes focus. It’s much easier to think clearly and manage tasks when your desk and digital files aren’t drowning you in unnecessary distractions. By keeping things tidy, you can navigate your workday with more clarity, enabling you to focus on prioritising the tasks that truly matter, which as a result will reduce the feeling of being overwhelmed and burnout.

Additionally, managing interpersonal relationships is a crucial factor in reducing workplace stress. Clear, respectful communication can help prevent misunderstandings and unnecessary tension. Establishing open lines of communication with your colleagues allows for better collaboration and a shared understanding of each person’s workload and priorities. Active listening (the practice of fully concentrating, understanding, responding and remembering what someone is saying, as opposed to just passively hearing words) is a key component of this as it fosters empathy and ensures that everyone feels heard and understood, which can immediately reduce the potential for conflict or frustration.

Another important aspect is setting and respecting boundaries. In a fast-paced work environment, it’s easy for personal limits to be overlooked, leading to burnout. Setting clear boundaries with colleagues, whether it’s about how much time you can dedicate to certain tasks or when you’re available for meetings can help to preserve your mental energy and reduce stress. Likewise, it is important to be respectful of the boundaries of others, which can create a more balanced, less overwhelming work dynamic. Remember, it’s fine to say no, ask for help or to delegate when you need to prioritise your well being.

Sometimes, conflicts are inevitable. As you may know, conflict resolution is something I often focus on, especially in a martial arts context with real life situations that present danger, however exhibiting empathy and active learning can absolutely be applied to the workplace. As such, learning how to address someone calmly and constructively can make a significant difference in reducing interpersonal stress. If a disagreement arises, try to approach it with an open mind, focusing on solutions rather than assigning blame. Keep in mind that not every issue needs to escalate into a confrontation; sometimes, it’s best to recognise when it’s not the hill you want to die on. Picking your battles wisely ensures that you’re not wasting energy on matters that won’t significantly impact your work, well being or relationship with a colleague. Conflict resolution skills can therefore help you navigate difficult conversations without letting tension escalate, which is a great way to keep stress levels in check.

In conclusion, creating a routine that includes both structure and flexibility whilst prioritising self care and incorporating strategies like decluttering will set you up for a more manageable, less anxious work life. Start by implementing one small change today; try regularly planning the next day’s tasks, scheduling breaks, decluttering your workspace and fostering open communication with colleague and notice how it impacts your stress levels.

Managing Anxiety in the Workplace Part 1

Jon Xue Zhang — Fri, 10 Oct 2025 13:45:00 GMT

If you’ve ever found yourself feeling overwhelmed by the constant demands of work, you’re certainly not alone. Many people struggle to manage anxiety day to day, especially in a busy, high pressure work environment. This is something I get asked frequently, so in this article, I’ll explore how simple strategies, like creating structure and incorporating flexibility can help you regain control and reduce anxiety. If you’re someone who works a full time job and/or has many other commitments, you may likely spend more time with colleagues than you do with family and friends. I used to work behind a desk (and a whole load of other jobs in the evening and weekends), where time was always tight, so I quickly learned the importance of organising my schedule to manage everything effectively.

One thing I used to do everyday was to write my schedule and all the things that I needed to do for tomorrow, then review it at the end of the day so that I could hit the ground running as soon as I got to work the following morning. I would handwrite this but that was down to personal preference; using your calendar can also yield the same results, so long as you review it the day before.

Writing and reviewing tomorrow’s schedule today is a seemingly small but significant way to help us to manage anxieties; in a monotonous 9-5, having an element of predictability absolutely helps to reduce uncertainty when we have a guideline for the day. This also gives us an increased sense of control of our time and accountability where we know what needs to be done in a structured way that can be managed more practically, which will help to prevent us from becoming overwhelmed.

While structure provides a solid foundation to help manage anxiety, flexibility helps to ensure that we don’t feel trapped by rigid expectations; by allowing room for adjustments, whether it’s taking a break when needed or shifting priorities, we can adapt without feeling overwhelmed. Flexibility also extends to how we navigate interactions with colleagues, acknowledging their challenges and adjusting our approach to foster more supportive and less stressful relationships. In a workplace environment, understanding and adapting to the needs of others can create a more harmonious atmosphere and reduce interpersonal stress.

It sounds simple, but let’s go a little further. If we can schedule the tasks of tomorrow today, we can also factor in times where we may need breaks and time for ourselves. Taking breaks isn’t just about stepping away from work, it’s about recharging both mentally and physically. Short, intentional breaks throughout the day can help reset your focus, reduce stress, and prevent burnout. Schedule these breaks into your day, just like you would any other task, to ensure you’re taking care of yourself. I’ve said previously that you can only donate money if you have money; you can only really give yourself if you first have yourself, so put yourself first. Remember that you can’t give what you don’t have, so taking care of yourself is essential so you can show up for others too.

My Lifestyle

Jon Xue Zhang — Fri, 12 Sep 2025 14:40:00 GMT

This is just a little article on my lifestyle in terms of things I continue to do and I’m doing more of. I will have touched upon these topics over years in conversations, interviews and social media, but thought I’d consolidate it all into one place.

Things I continue to do:

Martial arts training
- 32 years of consistent training. As there are so many aspects of martial arts, I like to keep my training varied. I’ve always emphasised the importance of training when you don’t want to so you can fight when you have to do; this is an approach I’ve had for years, which proved invaluable for when I worked in more dangerous environments. It’s not easy nor necessarily enjoyable, but is a conscious decision as this is a physical form of insurance (in addition to my preparedness practices). As I’ve mentioned previously, martial arts splits into 3 categories; fighting, health and performance; I still train to be able to fight, when all else fails and I’ll train for health purposes but perform for a living.
Gym training
- 23 years of training 4-6 days a week and I still look forward to every session. Over the past couple years, I’ve cut down the volume considerably, shortening but intensifying my training even more, which is more challenging. Despite the job requiring me to look a certain way, health is still the most important aspect of gym training for me. Again, to address a frequently asked question, I am and always have been natural.
Meditation
- I used to meditate 3 hours a day in the woods for years. Sometimes not all at once, other times even longer. To be honest, I just loved the serenity. For the past decade or so, my emotional state baseline is usually quite close to my meditative state, so my meditative practices don’t take long for me to reach that level. That being said, I still meditate every day and especially prioritise it when I feel like I don’t have enough time for it.
Mindfulness
- I remind myself that I am in the driver’s seat of my thoughts and actions; I spend my thoughts as wisely as I would want to spend my money.
One meal a day
- This is something I started 5 years ago during lockdown. I must say, it’s not for everyone, so I would never prescribe this to anyone, but it just works for me. Certainly a contrast to eating 6+ meals a day every 2-3 hours! It’s mostly a way for me to control what comes in and in what amounts and makes me more appreciative and mindful of that one meal. Of course, I still have practical reasons as to why I do this as there will likely be a time where food will not be as readily available. OMAD works especially when I know I’m not going to be out all day and will be eating out with people.
Music
- Whilst I don’t play as much violin or viola these days, piano is still something I absolutely love. Music is just another language to express oneself and almost takes me elsewhere. Still learning guitar when I get the chance. Growing up, music, similar to martial arts (just far less physically painful!) was not the most enjoyable as I was working towards grades, shows and also competitions. Even after all that, it still took me 11 years to complete my album, which wasn’t at all easy to do (or remember!). So these days, I just play for enjoyment and I think that’s really underrated!
Being social
- Of course, I love seeing friends. I can’t express just how important it is to have a good group of people around you, who are supportive, honest and kind. It’s also important to be aware of your social battery too and take time out for yourself. I’m grateful to be in a position where these days, I do have more free time (in between jobs), where I can see and catch up with people. I really have a wonderful and pleasant life and I’m so grateful to have those around me and also to those who support me online.
Living within my means
- I’ve never been a big spender or wanted for expensive things. I live quite a simple life, especially as work isn’t always consistent. That being said, I’m never afraid to spend money (such as meals out, fun experiences, things that need fixing up etc.), I just don’t waste it.
Self study
- You never stop learning, even the smallest things, the shortest interactions are always learning experiences. I like to make the conscious effort to continue to read and educate myself further as well as challenging what I already know. That means taking up new activities, researching topics I know little about and also topics I do know about but update that knowledge base to become more informed. As such, I’m always willing to change the conclusions I formed in light of better knowledge and research as well as what works better as I get older.
Being kind and empathetic
- Y’know, the world just needs more of this.

Things I’m doing more of:

I started a bucket list, which I’m going through and adding to. Life is a collection of experiences; it’s what you do with it that makes it worth living, so I’ll always want to find new things to try and have a good time doing it, not to mention, choosing the right people to spend those times with. As I previously mentioned with music, I do a lot of things now just for enjoyment.
When I see something that needs doing, I don’t put it off; I’ll do it there and then. For instance, if there is a lightbulb or battery in a clock that needs changing, I’ll take the time to do it. Putting things off just adds to the list of things you need to do, which can end up getting overwhelming.
Setting boundaries and saying no (this is a big one and I’m still working on this), whilst standing firm when pressed.
Not being bothered about comparisons, competitions or who is better than who, just because we’re all at different stages of our lives and careers. There’s something to be learned from everyone, especially if it’s a realisation for yourself to practice patience. As such, I’m not as hard on myself as I used to be; I still have aspirations, but I won’t achieve them at the expense of anyone else.
Donate more money and resources. For the past few years, I’ve taught classes for free or where my cut either goes back to the school or to charitable causes. I give as I go along, especially to causes that mean so much to others. This also includes helping with film productions, where I can. In terms of donating time, I take on a lot of action design work for my friends’ passion projects as well as helping more behind the camera for charity events.
Being more present! Whilst I get a lot of messages each day, which to be honest, I’ve always been good and timely at responding to; when I’m with others, I make sure to prioritise my time with them as opposed to getting caught up with messages, which I know I’ll clear out at some point.
Reading more fiction. For years, I struggled with reading fiction. When I think, I don’t have a voice that narrates the words. As such, I think quickly because I’m not thinking my thoughts at the rate in which I speak. As such, I naturally tend to read quickly, which has always been an asset when reading research papers and textbooks, but can be difficult to absorb and process emotions when reading fiction. These days, I try to slow down the rate in which I read just to enjoy it more. This has certainly become more relevant in my life as an actor when reading scripts.
Not just visualising more, but embodying more of the attributes and traits my future self already has and resonate with the outcomes that I want to experience by being more of that person now.
Practicing more gratitude!

I’ll update this as I go along!

Healthy Relationships

Jon Xue Zhang — Tue, 09 Sep 2025 15:44:00 GMT

So, I frequently get asked for relationship advice (In fact, a lot of guys even ask me for romantic ideas for their partners). As I’ve been single for an extensive period of time, I’m not sure I’m fully qualified, but happy to share my thoughts, which come from my own values, experiences, observations as well as my work as a counsellor, not to mention, I am somewhat of a hopeless romantic who also has an entire Instagram account on (mostly original!) love and life quotes: @ilovethereforeilive! Instead of quotes, I’ll pad out what I think are the most important points. I’m fully aware that these principles are often easier said than done, but a healthy relationship is ultimately a commitment; one that requires ongoing effort, reflection and the willingness to do the work. So without further ado:

Self work
- Do as much self work as you can; this will always be an ongoing process. You never want to jeopardise or sabotage a relationship over something you could have fixed in yourself, for instance, jealousy, anger issues, insecurity or unprocessed experiences. This also includes past experiences and overly projecting them; keep in mind that there is no future when you make your present person for your past trauma. I always think it’s important to complete yourself first before you try to complete someone else.
Love when you’re ready, not when you’re lonely
- It’s such a cliché to say love yourself first and love will find you as self love and romantic love are entirely different. That being said, enjoying your own company is essential before you can expect anyone else to enjoy yours; without a healthy relationship with yourself, it’s hard to build one with someone else. When we are lonely, there is a tendency to lower standards and choose not so good company; it’s always far better to be alone than with the wrong people.
Appreciate and enjoy who your partner is
- Generally speaking, if you want them to change, then it’s not them that you want. If you fell in love with who they are, then let them be free and support them, believe in them. Of course, I’m aware that if they have genuinely harmful and destructive traits, then address what you can within reason and stay clear on your own boundaries and wellbeing. Remember that you don’t want to lose yourself trying to save someone else. .
Ego and self respect
- Know the difference between the two; value the relationship over one but not the other. This is where the importance of setting, maintaining and honouring boundaries really comes in.
Communication
- Good communication is a form of respect. Practice it, expect it and be aware of whether it’s being reciprocated. Healthy communication is not just talking; it’s listening, clarifying and understanding.
Effort
- The effort you put in at the beginning shouldn’t ever stop when you’re with them. Consistency, showing up, caring, trying and continuing to learn keeps the relationship alive and meaningful.
Accountability
- A healthy relationship isn’t about being perfect, it’s about taking responsibility when you’re not. Accountability means owning your mistakes, repairing when needed and being willing to grow. It builds trust faster than pretending to be right ever will.
Emotional safety
- A healthy relationship should feel like a safe space and not a battlefield. Emotional safety is knowing you can express yourself without fear of ridicule, manipulation or punishment. It’s the freedom to be vulnerable, make mistakes and still feel valued. When both people create an environment where honesty is met with understanding and respect rather than judgment, the trust becomes unshakeable.
Interdependency over codependency
- You don’t want two people who are fused together with no sense of self (or two people who function like unaligned entities). Interdependence is the balance, where you maintain your individuality and choose partnership with one another. In essence, I am me, you are you and we choose us.
Giving space and time
- Even the healthiest couples need time apart. Personal space, hobbies, friends and solitude all keep the relationship fresh and prevent resentment. Space isn’t a threat to your connection as such, it’s a form of nourishment; it gives you room to recharge, reflect and grow, so when you come back together, you’ll be coming in more full and more present versions of yourselves.
Shared values
- Love matters, but what is also essential is shared values that create a strong foundation. Values such as kindness, loyalty, conflict style, goals, lifestyle choices; these are what make long term compatibility possible. Values guide decisions and aligned decisions strengthen the relationship.
Dealing with conflict
- I have spoken much about dealing with conflict, but in terms of a relationship, you can love someone deeply and still argue. Conflict isn’t the problem per se, but rather how you handle it. When you handle an issue, it’s important to be fair, calm, empathetic, actively listening and avoiding cruelty or contempt to make disagreements productive instead of damaging. It’s never about winning; it’s about understanding.
Intimacy
- Intimacy isn’t just physical, it’s also emotional and intellectual. Routine intimacy such as daily check-ins, shared habits and private jokes can help to hold relationships together. Keep nurturing the parts that make you feel close in ways beyond the surface. True intimacy also means being sensitive to your partner’s needs and state of mind. There will be times when they’re not in the mood, when they’re tired, stressed or overwhelmed and respecting that is essential. This emphasises attunement; noticing, caring and adjusting, which ultimately helps to create safety. When intimacy is built on understanding rather than pressure, closeness becomes deeper, more genuine and far more connected.
Growing together through change
- People change over time and so will your relationship. Growth is natural and necessary and the goal isn’t to stay the same but to evolve and grow in ways that complement each other. Learn to adapt, to understand the shifts in each other’s dreams, needs and perspectives. When both people choose to grow together rather than apart, the relationship deepens. Change isn’t the enemy; growing in different directions without communicating is. Stay open, stay curious and allow each stage of life to teach you how to love each other better.
Choosing each other every day
- Love isn’t just a feeling, but rather it’s a choice that gets made repeatedly. Some days it will be easy and other days, you have to be intentional and conscious. Choosing each other daily means prioritising the relationship in small ways; showing appreciation, being present, apologising when needed and making the effort to stay connected. Consistency turns affection into partnership.
Breaking up and letting go
- I could write an entirely separate article about this, but for now as I’m in the flow, I’ll just put it all here. It’s important to know that not every relationship is meant to go the distance and that’s not a sign of failure; it’s a part of growth. Sometimes two good people simply stop growing in the same direction. Ending a relationship with honesty, respect and kindness is just as important as nurturing one. Letting go when something is no longer healthy protects both people’s futures. Breakups can be painful, but they also create space for clarity, healing and eventually a better fit. Love yourself enough to stay when it’s right and to walk away when it’s not.

In conclusion, healthy relationships aren’t built on luck, they’re built on self awareness, communication, effort, mutual respect and the willingness to grow together through every season of life. When two people show up for themselves and for each other with honesty, sensitivity and consistency, love becomes something steady rather than uncertain. It’s never about being perfect; it’s about choosing to grow, communicate and stay connected through every season together. Should a relationship reach a point where it can’t grow any further, choosing to end it with clarity and kindness is also an act of care; for yourself and for the other person. After a breakup, it’s important to return to yourself and incidentally, back to the first points of this article; continue your self-work, nurture your own company and enter a relationship when you’re truly ready. In every form, love is about growth; growing together when you can, growing apart when you must and approaching the next chapter with awareness, patience and a full heart.

As I mentioned at the start, I know these things are often easier said than done, but love is a commitment and doing the work is part of choosing each other every day. Once again, as much of my articles are mind dumps, I will probably add to this at some point! ...and if you followed my IG, I appreciate you so much!

Tips for Stunt Performers Part 2

Jon Xue Zhang — Wed, 18 Jun 2025 12:27:00 GMT

Performing on set is as much about mindset, awareness and professionalism as it is about skill. Here are some key tips to keep in mind, which are things I teach in my workshops:

Rest well beforehand. A good night’s sleep makes a huge difference, not just in your performance, but also in your mood and ability to work well with others.
Manage fatigue and nerves. Slow your breathing to calm your nervous system to return it back to what it is when it’s relaxed. Fatigue and anxiety can affect both your performance and your attitude, so take a moment to centre yourself before action.
Safety first. Always prioritise safety for yourself and everyone around you; check your equipment, communicate clearly and never take unnecessary risks to ‘look cool’. Remember, a safe performance is always a professional performance.
Further to this, make sure you bring your pads with you; be aware that sometimes you may have to lend them to other performers or even the actors themselves.
Intensity over speed. Slow down your movements slightly on set; your adrenaline will naturally speed them up. Controlled, deliberate movements not only reduce injury risk but also allow editors to make the shots look dynamic. Wide, clean actions read better on camera than rushed movements; when you slow it down, you can emphasise more on your performance and make those movements more aesthetic, which if needed, the editor can ramp up in speed; if you go too quickly, there is a tendency to cut the movements short, which will not look good.
Your reactions must be proportionate to actions. Remember that screen fighting is still acting; don’t oversell hits or falls. Screen fighting is acting and your reactions should match the force and context of the scene.
Expect multiple takes and direction. Be patient and adaptable. Directors and stunt coordinators may ask for small adjustments, so embrace feedback and refine your performance each time. It’s rarely personal, so make sure you don’t receive feedback too subjectively; there is a lot of pressure on set so the tone in which feedback is delivered to you may be more blunt, so keep that in mind,
Be aware of the camera. Understanding angles and framing helps your movements sell, ensuring that punches, falls, and reactions look convincing without compromising safety.
Focus amidst distractions. Between takes, there will be many things going on and many people around to make adjustments to you; hair and makeup, costume, audio, an assistant bringing you something to drink, the stunt coordinator/2nd unit director coming over to give you notes, so learn to filter out distractions and stay mentally present. Take this into account now so that you can drown out the noise and listen to what you need to do differently for the next take
Stay hydrated and warm. Setups can take time, so use breaks wisely to maintain energy and reduce the risk of injury.
Ask questions when unsure. Speaking up shows responsibility and professionalism; it’s far better to clarify than to risk mistakes or unsafe actions.
Know your limits. Physical and mental self-awareness is key. Pushing past your limits can lead to injury or accidents. Further to this, always keep in mind that mental exhaustion can affect how you interact with others. Be aware of redirected aggression.
Remember to pace yourself; it’s too easy to become complacent when you’re tired or frustrated, where your standards may drop. It’s important to realise that you may come to regret complacency when the final cut gets released and you know deep down that you could have done better.
Punctuality, reliability, and respect. Arriving on time, ready and respectful sets a strong foundation for lasting relationships on set. As a stunt performer, you’re often taking hits, reactions, or falls and not ‘winning’ in the scene, always so keep your ego in check.
Make a good impression. Skills will get you noticed, but your attitude and professionalism often get you hired again. Being courteous, approachable, and easy to work with can open doors just as much as your technical ability. People remember those who make the set a better place to work

Booking stunt jobs is a big deal; in this industry, it can be very much up and down, so don’t be disheartened. Keep that dream alive; not now doesn’t mean not ever! Keep your head down for the grind but your chin up for a healthy mind. The world’s big enough for everyone to have what they want to achieve and more; the next big thing is just not on your radar yet. Remember, when you’re not working in your craft, you should always be working on your craft, so that you’re ready for when the next job calls. Stay patient, stay committed and stay humble; your persistence and attitude will open doors just as much as your talent.