I'm of Nigerian descent, from the Yoruba tribe. Names are very significant in that culture. It basically states your purpose in life.

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I've never been really great at trusting anybody, just because of the way I grew up.

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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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You really have to act your pants off to stay alive. I thrive on that; I rise to the occasion of the circumstances.

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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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And then, with a European director and Norwegian actors speaking in Norwegian, it was going to be very interesting. So, whatever initial trepidation or fear I may have had was alleviated by those factors. I just said, "This is something to get on board with."

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When a child wants to be accepted, he'll do anything. And if it means you're getting a certain amount of notoriety from a fight, that's what you'll do.

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

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