The actor and martial artist trains for more than a look, it is a foundation of his career and life.
Undoubtedly Joey Ansah is truly a one of a kind performer and athlete when you consider he’s an esteemed martial artist, an action star who famously fought Matt Damon in the THE BOURNE ULTIMATUM (considered by many to be the best fight in the whole series), and a talented writer and creative genius behind the exceptional STREET FIGHTER:ASSASSINS FIST (‘SFAF’).
Possessing true charisma, Joey has a clear carved from stone handsomeness — intense eyes and a sharp jawline that naturally affords him a commanding presence as was recently seen in THE RUNNING MAN with Glen Powell. It is highly evident he is both cinematic and authentically formidable, presenting a power in presence which is a rare feat these days.
It is easy to assert that he embodies what it is to be renaissance. He is classic yet also modern in his pursuits as immediate commodity and as an athlete. Even watching something like THE OLD GUARD where he starred alongside Charlize Theron, you appreciate him stepping into frame alongside the blonde beauty herself because he doesn’t simply occupy that space but defines it. That smouldering intensity fused with anaesthetic presence always makes him something unmistakable and enviable at the same time.
Physically, he is built in a way that defies the usual categories. He is not a bodybuilder, yet he carries a level of muscularity that warrants such a presumption. He is not a smaller martial artist, yet he moves with dexterity and speed of one. His physique is somewhere in between where mass, density, and agility coexist without compromise.
His spearheading SFAF from the ground up did not simply just revive a cinematic franchise of a multi-billion-dollar IP, it completely redefined what a video game adaptation could be in terms of high quality and capturing the true essence of what the fans appreciated in the first place. It was self-evident he studied meticulously and approached the material with respect, true depth and a martial artist’s understanding of what would make a fight scene so potent.
His portrayal of series anti-hero Akuma wasn’t a simplistic caricature but something that was terrifying, reflective and possessing a soulful quality which we see in Joey’s performances. But his mythic presence in creating the role evidently came from the physical transformation that he had undertaken. With mountain-like traps, large cap shoulders and condition for arms not to mention a dominant left wingspan he truly became larger than life and perfectly encapsulated the character to a tee – even speaking native Japanese.
But this is where the mind boggles even further regardless of that extra muscle mass and that powerful density. It was not achieved by forgoing his agility, by trading in his explosiveness or by losing his fluidity. Through a bodybuilding and fitness lens, it’s his density that is most striking. His musculature is densely compact with the ripped quality of a martial artist, a powerful chest thick shoulders and an impressive V taper that could easily pursue a venture undertaking the men’s physique category in the IFBB/NPC. It could be also asserted that this impressive build was honed through many thousands of hours undertaking drills and techniques mastering force generation and body mechanics that only a discipline like martial arts provides.
To be on the receiving end of the punch from Joey would not be a welcome prospect. However, given that his signature techniques appear to be his kicks (he possesses a background in taekwondo and capoeira after all) his lower body carries that same balance of mass and mobility while bringing him to deliver highly devastating and stunning looking kicks. This is why he looks akin to a classic Greek God and can quickly explode into any motion at any moment. This was the purpose of the machine that he built.
In addition to his acting he choreographs, he directs, he writes and this influences the cadence of the action that he performs as a thespian and as an athlete. Certainly, during his now legendary fight scene with Matt Damon, it is so apparent that he could easily command a scene with menacing stillness but then explode into action with devastating speed. He has that stoicism that creates an aura that is so unmistakably powerful, that brings a certain gravitas to every frame that he commands.
Through the lens of both cinema and the discipline of physical fitness, he presents something iconic that many would aspire to because it is that fusion of physical excellence, creative intelligence and martial arts pedigree that easily define him as a modern-day warrior. I was fortunate enough to sit down with Ansah, and whilst it was fascinating to discuss the intricacies of film and his working with some of the biggest names in Hollywood, the MUSCLE INSIDER lens sought to focus more on his physical fitness, training and more.
Joey Ansah Training Philosophy and Martial Arts Background
For readers who may be new to your work, can you give a concise snapshot of your martial arts lineage and how it informed your evolution into film and action choreography?
When I moved back to the UK, I trained in Bujinkan Taijitsu—an old-school, brutally tough environment filled with armed forces guys. The training was so intense that I would feel anxiety before sessions, knowing how hard it would be. Ninjutsu exposed me to grappling, samurai-based systems, and the “dirty” techniques designed for survival—eye attacks, smothering, fish-hooking, and submissions by any means necessary.
You’ve always brought a very specific physicality to your roles. How do you approach your own training — strength work, conditioning, nutrition, mindset — to stay at that level year after year?
I try and eat just below maintenance. I make sure my protein macros are where they need to be and don’t obsess over the rest. My body seems to respond better to higher carb, lower fat. If I up my fat even a moderate amount I really see it on the scales or body fat. For someone my size, I eat a lot less than you’d expect. Maybe one day when I work with a nutritionist I’ll find I get better results eating more.
Working on different film projects mean different training styles, were there contrasting methods and did you impart your own style to your fellow actors.
After my baptism of fire, during fight training for THE BOURNE ULTIMATUM, I try and make sure that I am very well versed in as many ways of combat as possible. If you call yourself a ‘kicker’ you should understand and be able to perform the mechanics of Karate vs WTF Taekwondo vs Muay Thai vs Kyokushin kicking. At first glance they may look like they all have similar techniques, but the mechanics of a Thai round kick is VERY different to a Karate or TKD round kick when you really analyse.
When I trained for THE BOURNE ULTIMATUM, I realised how much I needed to refine my boxing. I became obsessive about boxing theory—Cuban footwork, Tyson peekaboo, pendulum steps, switch steps. I wanted to be able to imitate five different boxing styles. I trained my left leg relentlessly so that my lead leg became like a jab—pumped sidekicks, pumped round kicks, all flowing naturally out of combinations. Whatever kick I threw, I wanted to be able to keep boxing out of it.
Joey Ansah Workout Routine for Film and Performance
In your experience, how essential is weight training for performers who need to balance screen presence, martial arts performance, and overall athletic longevity?
Pretty essential. A certain type of body or silhouette tells a story. Cinema is a visual medium, and certain roles/characters need a physical presence that instantly informs the audience of their past, or their latent ability.
Your transformation for Akuma in STREET FIGHTER: ASSASSIN’s FIST became almost mythologised in the community. What did that bulking phase look like behind the scenes — the training, the food, the strategy?
I fortunately had a long time to prep for Akuma. Big volume training. Trying to hit major body parts twice a week. Alongside the weights was a lot of callisthenic bar work as you can see in the Akuma training montage. I lived on my hands doing free standing handstand pushups as well as banging out 15 rep sets against the wall. To look good in those sleeveless gis I had to prioritise delts, traps (within reason), upper pecs, tris and bis. Forearms weren’t neglected either. I didn’t do much cardio other than martial arts and choreography practice. The whole shoot was 7.5 weeks. I got more ripped as the shoot went on without intending to. By the end I had lower ab veins, not something I’m used to seeing.
My split has been consistent for years: chest and back on Monday, legs on a separate day, shoulders on their own day, then biceps and triceps. Chest and back are the most taxing—big muscle groups, heavy lifts. I regret not dedicating myself to leg days earlier; the DOMS were so debilitating that I avoided them, and my legs lagged. Cables became a staple for me—maximum pec fibre recruitment, deep chest pumps, and that constant chase for mind–muscle connection.
Training alone limits how much risk I take. On flat and incline bench, I rarely go above 100–110kg. On incline dumbbells, I was pressing 45s. Handstand push-ups became a benchmark—ten strict freestanding reps, twenty against a wall. That kind of training builds monster delt strength. I used to be able to bounce on my hands—plyometric delts, explosive control.
Akuma required mass, but your movement stayed razorsharp. How did you maintain that agility and explosiveness while carrying that level of size?
Even though I was slamming on the size I was still training as if I hadn’t. I was coming back from an Achilles tendon repair which was not good as I couldn’t practice any gymnastics or jump kicks for six months, so you lose explosiveness. I remember while filming I had terrible patella tendonitis. I don’t know if that was from the extra weight I was carrying doing somersaults and flying sidekicks.
I have read that this was a tighter schedule, so what were your chosen exercises to ensure that ‘Akuma Pressence’
As mentioned before, a real focus on shoulders. Lots of handstand work and handstand pushups. I was military pressing and clean and pressing a lot. Close to body weight for some reps for sets. Although the pressure on lower back makes that not advisable in general especially if you want to flip etc. Incline bench was my friend. Even to this day my incline bench weight is essentially the same as my flat bench weight which says a lot for how much my body adapted to shifting weight in that plane.
How would you describe your diet and nutrition?
Whey protein and creatine, good omega 3 are not negotiables as supplements. Without whey I just wouldn’t hit my protein macros easily each day. I eat a lot of the same stuff daily. Eg. 1) 50g Brown rice flakes made to porridge with 40g whey added, (2) 5spoons of organic yoghurt with 40g whey, berries and a cube of dark chocolate (3) 250g of chicken breast in soy & garlic marinade, 125 to 250g of cooked jasmine rice, some steamed veg, (4) I’d maybe have the rice porridge whey mix meal again or a similar alternate. That would be it in a day if I’m looking to lose weight. I’m dropping 0.3 of a KG a day eating like that. Obviously, I mix it up and may have a 2nd whole food meal in there like salmon or steak etc, but I find I’ve got to eat similar food each day to not be obsessing over macro tracking (which I hate). I weigh myself each day so will adjust my food intake by eye based on which way the scales are going and my objectives are.
To bulk for SFAF I was eating Nando’s—chips and chicken—just to hit a calorie surplus. Then I cleaned up the diet. One thing that helped me get ripped was simply being on my feet all day—25–30 thousand steps. My body naturally sits at 92kg; ideally, I’d like to sit at 88. I keep carbs around 150–200g, protein high, and fats disciplined.
You’ve managed to retain an enviable build over the years. What does long-term physique maintenance look like for you — both practically and mentally?
It’s a way of life. To not train, to not put good fuel into my body would feel strange and torturous very quickly. When you are used to training a lot, doing a lot of mobility work etc, your body and mind adapt to it. To suddenly stop and be sedentary is a big shock to the body hormonally and functionally. If I don’t move for 2 days, I feel stiff and awful. You only get one body. It would be a real shame to dishonour it by not taking care of it and extracting close to its potential.
What is your take on Supplements?
I’ve dabbled with beta alanine. Never been big on pre-workout—just black coffee. Creatine is a staple: 10 grams every morning, plus electrolytes. During Assassin’s Fist, I took so much creatine that my sleep was affected and I was constantly peeing. One day, I’d love to work with a nutritionist.
Generally, what is your bodyfat and screen conditioning?
Fifteen percent body fat is lean for a guy. On screen, twelve percent looks great and is achievable in a few weeks. Single-digit body fat is IFBB territory—paper-thin skin, dehydrated, dangerous. Hugh Jackman as Wolverine was in that zone. Van Damme in Kickboxer wasn’t diced—he looked healthy, realistic.
Who are the physique or bodybuilding figures who’ve influenced you the most, and what about their approach or aesthetic resonates with you?
Arnold Schwarzenegger, Jean Claude Van Damme, Sylvester Stallone, Bruce Lee, Jason Scott Lee, Scott Adkins, Carl Weathers. Golden era bodybuilders, Sergio Oliva, Franco Columbu, Frank Zane, Serge Nubret.
We’ve seen a wave of dramatic Hollywood transformations — Hugh Jackman’s Wolverine being a prime example. What’s your take on the current landscape of physique expectations for action roles?
Jackman leads the way for show stopping condition, especially for his age! Very inspiring. Chris Hemsworth has showcased insane condition for many of his THOR performances. Tom Cruise particularly on the functionality side is unrivalled. Michael B Jordan has developed an impressive screen physique. Matt Damon is looking cut in Odyssey! Glen Powell, who I recently worked with in THE RUNNING MAN, turned up in the best condition of his life for that film. He took that very seriously. I think each role comes with its own unique requirements visually. An actor’s genetics will be at least 50% of what the audience get to see.
Ultimately, what is your Training Philosophy in a snapshot?
Stay ready so you don’t need to get ready. I train as if I’m going to be on a film set at any moment. Life is a marathon, not a sprint—balance matters.
To follow Joey Ansah’s ongoing work in film, martial arts, and training, you can connect with him on Instagram at @thejoeyansah and @ansatsu_action.
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