I've played different nationalities, and everything from vulnerable to strong to crooked to demented. It just increases your possibilities of work because, if people know you can do just about anything, then you're going to get more offers. That's what I want to do.

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It's a significant question: should black people only adopt black children, and white people white children?

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It's very important to stretch, because while it's good to look pumped, a lot of the moves are split legs, and twisting fast. So you really, really have to stay supple.

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Certainly, I look for different characters 'cause I always like to keep people guessing, and I also don't like to get typecast. I made a concerted effort, last year and this year, to get a range of characters, just to show people the range that I have, and for them to be able to see the artistry beyond the color.

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I'm known for playing bad guys, so this was an interesting departure from what I'm known to play, which is a softer, more likable, affable character.

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What you desire, as an actor, is to have an impact. That's why you did it. You want to move people, and you want to resonate with your audience. It's always a great compliment to have people appreciate and speak of the characters. I can go anywhere in the world, to places where people don't actually speak English, and people can say, verbatim, what I said on the show as Mr. Eko, which is great. That's fun!

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What I like about the Carpenter take on The Thing is the fact that it just has so much suspense. It seemed like a different story, with the horror elements. Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That's the really scary thing, not the slasher, macabre movies.

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The axe is fifteen pounds. You have to make sure you don't hurt or hit someone. And hit the beats, because they have five cameras. It has to look real. That in itself becomes challenging because you have to learn it straight away.

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The actual fights themselves are very demanding. You don't want to drain yourself. But it pumps you up, gets you in the zone. It's a good way of getting you into the zone for the scene.

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The only way you can influence your fate is to put your soul into your performance and hope it registers with the audience.

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