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.

Everyone on the set has a mobile phone, and I found by pushing a few buttons, they could be programmed into different languages. I fixed Robbie's Coltrane to speak in Turkish.

I have described myself as being 'gently eccentric.'

It's interesting for myself, growing up as an Asian-American filmmaker. Coming into the industry, my parents always said, "No one's going to give you the opportunity. You just have to do the work. Be better than everyone else, so they can't deny it."

I'd love to play Puck in 'A Midsummer Night's Dream.'

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.

Because of the life I've had, I'd grown up quicker than most people.