When we were shooting in Shreveport, me and a couple of friends went down to Lafayette, because they had a big Zydeco music festival down there. We spent two days dancing to Zydeco music, eating fried alligator... It was one of the craziest festivals I've ever been to in my life, but I loved it.

For me, creatively, I'd suffocate if I played the same thing, over and over again. I want challenges. I want to sit down with a director and be like, "I've never done this before, but it's going to be exciting. It's scary, but really thrilling, so let's do it!"

I'm not interested in parts where they are looking for a good-looking guy. I want to be a weird little sidekick in a crazy comedy and then play like a dark drama or a thriller.

If you're a great documentary filmmaker, it doesn't necessarily mean that you're a great narrative filmmaker. There are fantastic documentary filmmakers that can't direct actors. You don't have to do that in a documentary, if it's a real documentary.

I have to be careful because there is something destructive within me, I think, and I can have a tendency to just search for the kicks. I can't really get too close to someone who's too destructive, or too dark, because then I might go down the rabbit hole myself.

When you meet a director who wants to remake a movie, you have to ask, does he or she have an interesting vision and idea, something that intrigues you - is there a reason why we should do this?

My plan was never to be an actor like my father...