I think always as an actor. I go in knowing how I'm going to play it. That's about it.

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

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.

It's a significant question: should black people only adopt black children, and white people white children?

The only way I know how to deliver is to focus; some people can turn it on or off - I'd rather stay in character.

Personally, I love Toronto.

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