Aside from the big-budget commercial films, arthouse films can also expand Chinese recognition overseas through participation in international festivals, such as Europe's most prestigious events in Cannes, Venice and Berlin, according to Tong.

Additionally, a shortage of talent is a longtime concern for the rapidly-expanding Chinese film industry.

Last year, the country's annual output accounted for more than 1,000 features but even the domestic market's highest-grossing films such as Operation Red Sea and Detective Chinatown 2 performed poorly outside China.

"The number of Chinese directors who are recognized by the international market is around 20. They are even more precious than pandas," he says, jokingly.

"If Chinese filmmakers want to tap into overseas markets, they need to raise their storytelling skills and understand what foreign audiences want to watch," adds Tong.

Approaching the Conference on Dialogue of Asian Civilizations, Tong says he believes such events, also including the Taihu World Cultural Forum held in Suzhou, Hangzhou, Shanghai, Macao and Beijing since 2008, will increase opportunities for Chinese filmmakers to communicate with counterparts from other countries.

He also suggests that Asian countries establish a cinema chain specializing in screening their films in areas surrounding American universities.

Coproduction is a vital element and must be targeted properly, he says. "Initially, a coproduction should look at which market is its main goal."

His Sino-Indian coproduction Kung Fu Yoga grossed 1.75 billion yuan ($254 million) to become China's fourth highest-grossing film in 2017, but the film received an average reception in India.

"Indian films usually run over three hours, and consist of a lot of dancing and singing. Music is an important part in the appeal of Indian films," he says. "But such a model does not work to attract Chinese audiences. As China already has a huge market, we decided to tailor it for the domestic audience."

With a childhood fascination for Chinese culture and literature, the Hong Kong-born, Canada-educated director reveals he will follow his most familiar formula to direct action films about Chinese heroes.

Just a few hours before the interview, Tong was busy shooting his latest film Vanguard, about a Chinafounded international security company, on the outskirts of Beijing. The film stars Chan, heartthrob Yang Yang and A-list comedian Ai Lun.

"The movie just concluded overseas filming in London, Dubai, India and Africa, and will finish shooting in around 20 days," he says.

The prolific director is also planning another film, which will depict China in 2035.

"I believe Chinese films will get better. It's just a matter of time."

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