Any script, even like The Founder, if it's something that I imagine myself playing this character or that character - any of the characters, basically - how do we flesh these characters out to be good enough to have amazing actors that come in that make it really difficult for them to say no? Even though I'm not right for any of those parts, that's just kind of how we go about it.

I was always a singer. But I was always focused on being an actor as my trade. Music I do just for me. The movie business is very difficult but the music business is just impossible.

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.

People find themselves in ruts all the time. You're in a complacent lifestyle where you work 9 to 5 and then you add a mortgage and kids. You feel trapped, but guess what, brother? You constructed that life. If you're OK with it, there's nothing wrong with that. But if you've got unease, then you've got to make a change.

We had tried to get a couple books that were written about Ray Kroc, and one of the books, we called the publisher. The publisher actually said, "Call McDonald."

You have to wait for a big star to come in and generate interest on a project, and now that has become me, which is an amazing blessing.

There is definitely a sense of pride to it - it's more precious when you cook something up from the beginning and you see it all the way to the end, and you get a little bit more of a say.