Well, filming in Hawaii, you know, is a blessing. It's one of the most beautiful places on this planet. It has a very mystic energy which informs you as an actor.

When a child wants to be accepted, he'll do anything. And if it means you're getting a certain amount of notoriety from a fight, that's what you'll do.

Certainly, I look for different characters 'cause I always like to keep people guessing, and I also don't like to get typecast.

My father was a lorry driver, very rarely at home. The house was run by my mother, and because there were 10 or so kids, there was no time for individual attention. It was about survival. It was about where the next meal was coming from.

It's the ones that deal with the inner fear, the unknown realms and the mysticisms that are scary. You had that in the Carpenter version, and you have that in this prequel. It's paying homage, very much, to that.

The actual fights themselves are very demanding. You don't want to drain yourself. But it pumps you up, gets you in the zone. It's a good way of getting you into the zone for the scene.

I remember in the Carpenter version, you got acquainted with the characters and really knew them. It was a real character piece. Each actor was serviced in the movie, and we tried to do that in this movie as well. I like the fact that there was a European, first-time director. I'd known of him because I'm from Europe. I knew him as a commercial director and thought one of his commercials was great. I thought it was an interesting take on such a big-budget cult classic.