I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.

The acting experience and the collaborating and creating the world, working on the piece, they're the same joys.

I just felt that if I went into Speed 2, I just... wouldn't have come up out of the water.

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.

You know what, I'd done an interview show when I was like 16 or 17. One of my first jobs. I did interviews for this television show in Toronto.

If we're talking about the science fiction or action genres, I've always tried when I could to do them in a way that's not just cookie-cutter - that they bring something fresh or original to it, have some kind of ideas to it. I've been fortunate, in some sense, to do those kinds of movies that are unique.

Violence within the context of policing has a sense of control and power to it, whether it is dominance, getting what you want, or acting out of emotion. At the same time, it is not ultimately satisfying and [you are] trapped in the cycle.