Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

Our saving grace! Um, as a species [humans] we can be pretty warm and fuzzy. But maybe for this, it's the adaptability, or the heart and soul. We're not all that bad. I don't really know!

So many people have that relationship. The companionship. The connection. To our - to other beings, our pets. I hate to call them pets. But you know, to other creatures that we share our lives with.

I attempt to connect with my muse and go on demon rides.

Sometimes, with the scale of a film, it's like when I walked on the sets of "The Matrix," especially in "Reloaded," there was the city square, or in "Revolutions" with some of the machine world, you're like, "Wow, this is a big playground," which is fun to watch. But the acting experience and the collaborating and creating the world, working on the piece, they're the same joys.

I hope I don't become just an animation [with a digital film].