From the very beginning, I've always just wanted to do something I've never done before. I'm still just trying to be on that path. It's all about working with filmmakers that you believe in.
You've got to be picky in this business - if you're not, then I don't think you have the option of longevity. You've got to be choosy and try and do something that's outside of the box and dangerous. I love doing stuff that excites me, gives me that adrenalin rush.
What's so great about Sundance is that they only accept such a small handful of films per year for dramatic competition, so you know when you're going to Sundance that you're going to see top-quality projects.
I always gravitate towards the independent side of things, just because those are the stories I always fall in love with, but you don't really get paid, and living in Los Angeles is expensive, and I have a mortgage to pay. So it's good to jump onto a studio film and then in all my other time do small passion projects.
I moved back to Idaho when I was 6 or 7 and then lived in a little town called Twin Falls and then moved to Boise. So quite different from L.A. I'd been to Disneyland a couple of times, and that was the closest I'd been to L.A.
I definitely had a very religious upbringing. My father was just instilling good morals into us at a very young age, and it wasn't super-strict, but it was a loving, warm household.
My first gig was a Corn Pops commercial. I did the first Vanilla Coke campaign. A Juicy Fruit commercial paid my bills for years.
You can tell if you're going to be into a script within the first five or ten pages - if I'm not completely engaged by page 20, I just have to give up on it.
I'm trying to have some longevity in this business. If that means not working for a while and just picking the right job, so be it.
With this film, 'Need For Speed,' with this, we had a blank canvas to work with. What we had to do was have fast cars, and that's it.