I've always had philosophy, which has been really helpful for me, getting into the business. I didn't have any connections. I didn't know anyone. It was just about my work.

In terms of drama school, what that will give you that you won't necessarily learn on a film set is the technical ability - ie, projecting your voice and stage craft.

There were some parts of the film [Swiss Army Man] that the Daniels [Kwan and Scheinert] really wanted to look as elegant as a piece of ballet. As Hank and Manny go on in the story, they get better and better at being with each other and more and more adept - Hank knows more and more what Manny's going to need at any given point, and having that choreography helps a bit.

I used to joke I was a point-and-click actor. My whole process has been about trusting your instincts and hitting your mark.

Realizing that other people have a problem with [homosexuality] was the weirdest thing for me. As a kid it wasn't even something that was mentioned. It was never something that was even explained to me. It was just, "That's Mark and he's gay." Mark was just another friend of my dad's who would talk about his boyfriend instead of his girlfriend. I was 5. I didn't care. It seemed perfectly normal, and still does.

The art world can be very intimidating because it's just so vast. You talk to people who are really clued in to all the young artists and coming into it you're never going to be able to catch up immediately, even though there's pressure to.

I have quite a rich inner life, and I'm constantly looking for a way to express that. I haven't found it yet in acting. When you're playing a character, you're only going to find outlets for very specific parts of your inner world.