They don't allow you to go any further unless you can do this bomb suit training, because it puts such a mental strain on your spirit. It dumbs you down about 25 to 30 IQ points. You start to hallucinate in the heat inside the suit after 20-30 minutes. So you try not to stay in it too dang long. So the preparation for that - it's either you have it, or you do not.

Yeah, yeah, it's all fun and games until someone loses an eye type of thing. There's that kind of irreverence to it the humor and in the reality of what's really going on that plays into this movie.

I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.

Fear is just not a part of my life - so much so that if it's involved in somebody else's life and they're close to me, I won't be around them.

So I take a little sleeping pill, pop it and realize nothing's happening - but something else was happening.

Why I'm so stimulated by [producing] is it becomes more proactive. Instead of waiting around for a script to come in, or some movie trying to go. You're waiting around always for that opportunity, which is great, but I like to be a little bit more proactive. I'm a very action-oriented guy - I'm a doer. The company really became this spearhead for that sort of attitude, and so that, to me, was the most exciting part of it.

We kept moving forward, kept pretty particular about certain things. Don Handfield is really great with story, so we kept working on it from that angle and developed a lot of IP over the years, which we became very proud of.