The fruit falls off the tree. You don't shake it off before it's ready to fall.

That's where humour lives for me. In the body. The Steve Martin kind of stuff or Jim Carrey, that's what I like. I've always felt that's what I would like to do.

When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.

A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.

Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.

It's so funny when people who are not used to making movies get into it. You just can't believe how insufferably boring it is. Waiting around and doing these lines over and over and finally having to go in and loop the lines and dub them.

If you get all tangled up, just tango on.