I'm into weird kind of, anything that resembles magical realism.

Every day the Daniels [Kwan and Scheinert] would come up with some amazing solution and [make it easy] to put yourself in their hands. There's something really lovely about knowing you're working with directors who know exactly what they want and exactly what they're looking for, and they're not going to move on until they have it. That, as an actor, frees you up a lot because you can [try different approaches] and they'll only use what's appropriate.

I was worried on a personal level because I wanted to be slightly taller than I am, ideally. But I've now accepted it. Basically, I came to the conclusion a while ago that you can either be really bitter about it or you can make loads of funny jokes.

I like science and I love gym. Oh, and I like art, but I'm really bad at it. I'm just a terrible drawer. I can't draw a circle. Even with a ruler, I can't draw a straight line.

As an artist, you have a path that you're on that evolves with the kinds of stories you want to tell.

I think it was pretty obvious early on that we had both come with kind of the same attitude of "Let's just [jump] in," and neither of us was going to be precious about it. I feel like the thing that we learned is, weirdly, the most intimate thing or a very intimate thing you can do to somebody is hold their tongue with your fingers. When Paul [Dano] is making me talk [in Swiss Army Man].

Being self-critical is good; being self-hating is destructive. There's a very fine line there somewhere, and I walk it carefully.