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.

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.

You really have to act your pants off to stay alive. I thrive on that; I rise to the occasion of the circumstances.

I've played different nationalities, and everything from vulnerable to strong to crooked to demented. It just increases your possibilities of work because, if people know you can do just about anything, then you're going to get more offers. That's what I want to do.

Certainly, I look for different characters 'cause I always like to keep people guessing, and I also don't like to get typecast. I made a concerted effort, last year and this year, to get a range of characters, just to show people the range that I have, and for them to be able to see the artistry beyond the color.

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.

I was always led to believe you should take care of yourself, trust in your abilities and you're the author of your own destiny.