The paparazzi were outside the theatre every single night, but we came up with a cunning ruse. I would wear the same outfit every time - a different T-shirt underneath, but I'd wear the same jacket and zip it up so they couldn't see what I was wearing underneath, and the same hat. So they could take pictures for six months, but it would look like the same day, so they became unpublishable. Which was hilarious, because there's nothing better than seeing paparazzi getting really frustrated.

I love just going out and sitting down in the park along with the thousands of other people who apparently have no work to do during the day. People come up to me, but they are generally really nice. New York makes it easier, for me at least. People manage to be enthusiastic and sort of sane at the same time. And that’s lovely.

I definitely think that theatre is something I'll keep coming back to in my career for as long as I can. I also think theatre's something you have to be very fit to do. I am fairly fit, but I don't think I could do it all the time.

You never want to be forced to do something. But the world around you starts to influence you in ways you never expected.

Those things [t hydraulic penises and prosthetic butts and all that] can be what's genuinely shocking about the movie [Swiss Army Man] because people wouldn't expect to be moved by any of it.

We would choreograph [ with Paul Dano] before each scene [in Swiss Army Man] and very quickly got to a place where we could improvise physically in scene and know that the other person would respond in character appropriately. So that [dynamic] was a lot of fun.

Franchises aren't to be avoided. They can be exciting, and they give you opportunities to do other films.