You don't want it to be a replica or an imitation. You want to create something fresh, original, very unique.

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

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.

The only way you can influence your fate is to put your soul into your performance and hope it registers with the audience.

It's very important to stretch, because while it's good to look pumped, a lot of the moves are split legs, and twisting fast. So you really, really have to stay supple.

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.