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So when PCM had the opportunity to chat with him, we jumped at the chance! He's always surprised us with his movie choices and his newest endeavor is no exception. Glover stars as the lead role of Ahab in Syfy's "Moby Dick" adaptation called Age of the Dragons, where Ahab and his crew hunt a Great White Dragon rather than whale (premiering June 30 at 9 p.m. on Syfy).

Given that "Moby Dick" is a literary pillar, we asked Glover what was the biggest challenge associated with doing a remake of a classic.

His answer was not only extremely thoughtful, but also showed how serious he took the task of adapting the actual story to a film. "Well, Melville's theme in the story is a tragedy; it's Shakespearean in some ways. It's such a great tragedy of man against nature, of man against beast, of man against himself," Glover began.

"Finding himself, and responsibility because there's a responsibility too as someone who's taken his role," Glover added, "but the obsession with this dragon or obsession with the whale itself, you know, clouds his degree of responsibility."

"And it really announces his madness now - this is one, as the beast he is conquered by the beast. He isn't conquered by the beast, it's the beast in himself basically and that's what man is always having to deal with, the beast himself," he expands. "It's the beast in himself, that part of him where he teeters on the edge of madness and sanity, or stability."

"Or chaos, all of that; all of those are kind of the emotion - the human emotion and great classics come out of that," Glover broached the topic of classics. "So whenever you're trying to remake them or reconfigurate them in some sort of way; it's always interesting. You find it in every single one, you can do it - you get a classic, every single one."

"Everyone - whatever generation you put Macbeth in, it still works because [its] the same human emotion; it could be post the [original period] or it could be as its own period in time. Or it can be in a modern time - in modern time it all works, the same emotions come up there," Glover rounded out. "So I think trying to find the connection between those emotions, that humanness in it; that human frailty is a challenge."

Glover had much, much more to share about the film, the experience and his career! Check it out below!

Can you talk about what it was like to play Captain Ahab and how you identified with his obsession?

Well first of all, there's so many who have read Melville's book or we saw the performance greatly affect, you know, it seems like eons ago. It's a film classic.

Certainly, the idea of not simply just playing someone who is physically mantled or dismantled, or physically just torn apart, the idea of it is emotional part of it which is what - which really attracted me to it, the idea of the kind of emotional torture as opposed to the physical - I'm trying to find the word - I'm going to say, it's just that he's crippled by that; he's crippled emotionally.

So all those kind of things that were important to me. And bringing that back to his childhood, Melville's book certainly focused on his obsession with the whale as a result of the fact that he has been - this is who he has been and the whale was his obsession, kind of need to kind of conquer this whale.

The same with him as a boy; he had panicked - the idea about him being afraid and panicked at a moment of crisis and trying to redeem himself as a result of that.

I think those are the kind of things that I think were enjoyable for me in trying to find a center for the character in the story.

What you found most challenging for you or was there something else that you found really challenging for you about that role?

Well the combination of the two things; certainly the physical part of that and the finding the kind of physical language for the character. There's a physical language for a character and finding center and yourself in it.

And the emotional language behind that, because as a point was revealed at the end was not only the obsession itself with the reason why and all the fear that is masked by the kind of - I guess you would say ugliness of the physical scar, the ugliness in the scene of that part of it.

And the fear evoked because of that; his authoritativeness comes from somewhere else that is centered his emotional pain. Always hiding his emotional pain is the one thing that I focus on and because there is the physical danger that we have of the beast itself - there's that physical danger of the beast itself.

And certainly in trying to find it where the deeper part of his emotional pain beyond the scars that were left from not only his - this attack on him as well as the scars left by the fact that his sibling had been murdered by the beast; all those things and he is his own fear and his own pain. All of that was the rich part that you have to play with, you know, and the script allowed you - the story allowed you to most of that - to find that too.

You know, obviously if we looked at your career; if we just look at two roles in particular, Leverage and this movie Age of the Dragons, I mean the characters couldn't be more different. What would you say is the key to your versatility as an actor?

Well I don't know, maybe I don't take myself seriously - could be part of it. And I think when I see the play mapped out on the board and the Director and Writer, Athol Fugard. Athol Fugard said that the one thing that he appreciated about me was that I gave whatever I had to give to the moment itself, to the truth of the story; that's what I gave, you know, all of that.

And that simply means that the story exists in itself and the story is bound by the character's relationship, emotions, et cetera like that; his relationship with himself and his relationship outside out that.

What I try to do is find as the story - the story's art focuses on that essentially through the characters and who they are, who they think they are who they are in real life and the relationship between each other; so that made the story and certainly redeems itself. So the idea is that I fit in to what that is, you know, I don't try to be bigger than the story, I don't try to dominate the story, I don't try to use myself in some sort of way in which it now circumvents what the story is about; I try to be right within the story itself whether it's "Sergeant Murtaugh" or whether it's "Mister" in The Color Purple or whatever it says.

Or whether it's Leverage or whether it's been the "Captain" in Age of the Dragons. So those are the kind of things that I think when I think about prying myself to think about who I am as an actor; those are the kind of things that focus on me whether I've been able to work, whether my face is the kind of face that is manageable in many situations, many characters or whatever it is.

But there's some part of it that - and I think that comes out and Sammy Davis Jr. said, "You remind me of the guy who lives next door to me" which killed me. I don't know whether it's a compliment or a compliment to my versatility or my ordinariness.

So we were wondering how you actually got involved with this particular project?

Well they came to me; they came to me and I read the script and an actor likes to work and an actor likes to feel that he's capable of needing the test of many challenges and everything else so I said, "What about this?"

It's kind of deformed - and that's the word I was looking for - deformed, mad; was not only deformed physically, but deformed emotionally, and some of those characters within stories themself are really dynamic to me.

So this deformed man; he's defined to some sense by his physical appearance of this deformity, but there's another emotional deformity as well. Fear - all those things are part of it. Fear, guilt -all those things of my part that I'm allowed to explore in this role; so that's how I got to it, they came to me.