LOS ANGELES — Smiles come easily for Yahya Abdul-Mateen II these days, especially when describing what it's like to be on "the train."

"I'm incredibly blessed," he says. "Life is good."

Since winning a supporting actor Emmy in 2020 for HBO's "Watchmen," Abdul-Mateen has been on a nonstop roll with multiple projects. His year kicked off on a high note with Disney+'s hit Marvel series "Wonder Man," which was quickly renewed for a second season. His future slate includes Apple's sci-fi thriller "Liminal" and the civil rights drama "By Any Means" with Mark Wahlberg.

But when asked if his upcoming Netflix drama "Man on Fire" could represent a risky gamble, the smile transforms into a full-throated laugh.

"Is that right?" Abdul-Mateen says, his chuckle filling a small room in one of the streamer's Hollywood offices.

The seven-episode drama is the latest adaptation of A.J. Quinnell's first two novels about former French Foreign Legion soldier John Creasy. The most well-known version — 2004's "Man on Fire" — repurposes Creasy as a burned-out counterterrorism agent who goes on the warpath after a young girl under his care is kidnapped.

That popular film starring Denzel Washington and Dakota Fanning stands as one of the most solid showcases of Washington's edgy, magnetic screen presence, and director Tony Scott's flashy, kinetic intensity.

"I love, love, love, love that movie," says Abdul-Mateen. "I love the performances of Denzel and Dakota. They were a team. There's a beautiful simplicity to their performances and their story."

He acknowledges that a new "Man on Fire" may be met with furrowed brows by fans of the film, admitting his own initial skepticism about taking on a vehicle so strongly identified with Washington.

"Sure, there was a responsible level of trepidation," Abdul-Mateen says. "That's respect — respect for myself, as well as Denzel and everyone who took part on that film. I had to respect that work to find a justification for doing this. Otherwise I'm just setting myself for guaranteed failure."

He adds, "I'm still setting myself up for the scrutinization. But that's fun. I can deal with that. I've got thick skin. I can take it."

The laugh erupts again.

But he also sees the series as another opportunity to demonstrate his craft and the strong self-confidence he has possessed ever since he was young.

"It's the light I have within me," he says. "I've always known it, but I also have humility about it. It allows me to try different things. It allows me to fail. It allows me to step into a 'Man on Fire.' Someone might say, 'You're crazy to touch that.' But I say, 'I don't mind stepping into the dangerous places. I don't mind failing or exploring publicly.'"

That confidence has propelled him through a diverse resume in the last several years. The actor played the villainous Black Manta in DC's "Aquaman" and "Aquaman and the Lost Kingdom," and his film roles have included "Ambulance," "Us," "The Greatest Showman" and 2021's reboot of the horror classic "Candyman."

He also has a track record of stepping into characters originated by other performers. In HBO's racially charged version of the comic book franchise "Watchmen," Abdul-Mateen played the mysterious Doctor Manhattan, who was portrayed by Billy Crudup in the 2009 "Watchmen" film.

And in "The Matrix Resurrections," the 2021 chapter of "The Matrix" franchise, Abdul-Mateen played Orpheus, a character previously portrayed by Laurence Fishburne.

All those projects represent what he calls his continuous "search for truth, sincerity and honesty which has created a body of work that leaves the viewer curious about what else I can do. Hopefully when people see my work, they see me after something, trying to figure something out."

This quest has proved to be particularly rewarding this year with the back-to-back debuts of "Wonder Man" and "Man on Fire": "I'm fortunate to be able to show my versatility as an artist, to show two different sides. You would never see these two guys in the same room. Hopefully there is a sense of honesty in both characters that shows a through line in my work."

He had a good feeling that Marvel's "Wonder Man" would strike a chord with audiences. The comedy-drama stars Abdul-Mateen as Simon Williams, a struggling Hollywood actor who wants to star in a remake of the superhero saga "Wonder Man" while hiding his own superpowers. Co-starring in the show is Ben Kingsley, who plays fellow actor Trevor Slattery.

"I always thought 'Wonder Man' was special, so I felt I had the win in my pocket even before we put it out," he says. "The win was in the making of it. That's what all my jobs should feel like. Ben Kingsley and I had a high level of respect for each other. The show really resonated with artists who didn't feel seen. Everyone has dreams, and that's what really resonated in that show."

"Plus," he adds, "I really wanted to remind people that I can smile, that there's a light."

Abdul-Mateen rarely smiles in "Man on Fire," which shares some parallels with the Washington film (the first film version released in 1987 and starring Scott Glenn is largely forgotten).

Kyle Killen, who created the series and is the showrunner, declared that he is also a huge fan of the Washington film. "It's a super-compelling character and narrative. I think that's why it's had so many adaptations. It lends itself to finding a place in the world even as it evolves."

Killen does not consider the series as a gamble: "We're not trying to copy anything. What the film does do is set a bar. There was something unique about the visual language and the way that all came together. That gave us license to try and find our own. "

The 2004 film is set in Mexico City and introduces Washington as Creasy, who is despondent and an alcoholic when he takes on the assignment of being a bodyguard to Pita (Fanning), the young daughter of wealthy automaker Samuel Ramos (Marc Anthony). When Pita is kidnapped, Creasy, who has formed a strong bond with the youngster, sets out on a blood-soaked mission of violence and torture.

The Netflix series takes more time in setting up Creasy's character, introducing him as a cocky Special Forces leader who descends into despair and alcoholism after a mission he's in charge of goes horribly wrong.

Following an unsuccessful suicide attempt, Creasy's best friend Paul Rayburn (Bobby Cannavale) recruits him to join him in Brazil and help lead an anti-terrorist operation. When the skyscraper where Rayburn and his family lives is destroyed in an explosion, Creasy attempts to regain his military prowess in his determination to protect Rayburn's rebellious teen daughter Poe (Billie Boullet), who has been targeted by the terrorists.

Adbul-Mateen characterizes Creasy as a great character who has reached the depths of desperation but sees a glimpse of hope: "If this alcoholic had some fight and military leadership skills, what would it look like for him to build himself back up long enough to keep his friend's daughter safe?"

He compares his Creasy to Hamlet or Othello. "He's incredibly hurt, human and broken," he says. "He was put in a position he was not ready for, and that was exciting for me. The whole time I was filming, I was saying to myself, 'This man should not be here.' So getting an opportunity to give my take on a great character helps a lot to push me out of the shadows of that large ghost that could otherwise be hanging over the project."

In addition to starring, Abdul-Mateen is an executive producer on the series, and says he took a direct approach to his behind-the-scenes role.

"I was always advocating for what's going to be the most honest and the most entertaining," he says. "I would ask, 'Why would he do that? Why would we do this?' or 'I'm talking too much.' The audience wants to see me work. They don't want to see me talk."

While feeling "extremely gracious" that he has kept busy, Adbul-Mateen is concerned about "some of my fellow actors who are working, but I would like to see them more."

He's founded a production company, House Eleven10, to develop projects for himself and those performers. "Where is the great material, the material that I want to do and that I know they want to do? I am driven to create that environment for myself and other artists."

It's all part, he says, of being "on the train."

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