Every season I teach zombie school. The casting people in Georgia look for like 200 new recruits. They come in in groups of 20, and I audition them and grade them based on their look and their performance ability.

It's like when we get the transformer movies. It was all a bunch of smaller robot pieces and then you're on set, and you're watching them blow everything up and you see the movie and you say "wow there's a big giant spaceship crashes there and it turns into a transformer." It's stuff that you don't really see, because our involvement is so heavy.

I always say that, if you have great actors and great storytelling and great monsters, and you mix them together, nine times out of 10, it explodes in your face.

I really had the right nose for making the right decisions, in terms of which projects to do and which projects to stay away from. The people that I ended up becoming very close to in my career are the guys who inspire me.

It's funny, I worked with a lot of directors in the many years that I've been doing this, and generally when you hear a director yelling on set, everybody scatters in the other direction.

If the actor points a fake gun and pulls the trigger, and you have to fall to your knees, you really do have to sell it. Otherwise, it takes the viewer out of the moment.

There is something really so iconic about the original Predator, and it is exciting. It's not just special effects. It's not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.