A lot of times, good improv is when both people, or however many people are in the scene, really have no idea what the next thing you're going to say is.

I grew up listening to a lot of player-piano music in my house and a lot of old Tin Pan Alley songs and American standards. My dad listened to a lot of traditional Irish music and I grew up doing musical theater. So most of the music I was exposed to as a kid was pre-rock n' roll.

The truth is, when you're at the track, it was an interesting thing about stock car racing as a sport, is you almost get more out of it watching it on TV.

The thing I tried to remember when I was younger was 'Do something that's at least as good, if not better, than the last thing you did.' So I started with Brian De Palma and Sean Penn. I had a pretty high bar to start with.

I swear and it comes off a little angry, no matter how funny I'm trying to do it. If I use certain words with a certain intensity, it's like 'Whoa whoa whoa, buddy buddy!'

It's true that the skills required to be a conman are the same as those required for being an actor. Though those skills are in the service of something a bit more noble with acting, I hope.

Whatever the reasons that I turn things down, I'm always happy when there's a good result, and I can enjoy it as a movie, you know? I don't feel like, 'Oh man, that was really good. I should have done it.' You have to make the decisions you have to make, whether it has to do with your family or repeating a character or whatever it is.