I did a movie with Leonardo DiCaprio, and his skill level was eons ahead of mine. It was really more like an abattoir - he just slaughtered my character over and over again.

I went to an all-boys Catholic school, and not only were we not allowed to wear pajamas, we had to wear dress shirts, dress pants, a tie, dress shoes... they stopped making us wear blazers, like, two years before I started there, so pajamas... you wouldn't even get in the front door wearing pajamas at my school.

Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of über-objective is to make people laugh. You always have to have that in the back of your mind, "Eh, I've got to figure out a way to make this funny."

I hear actors complain about being stereotyped, and a lot of the time, you have yourself to blame. Just don't take the part if you feel like it's a stereotypical part for you. You have control over your life. We don't have the old studio system, where you have to do what they tell you.

I had [at school] my own little posse of people that all felt weird together so it wasn't so lonely.

I listen to a lot of Chicago blues, I suppose. It reminds me of growing up, I guess. But I'm also obsessed by close-harmony groups. Actually, I'm fascinated particularly by brother duos, how they blend together. The Everly Brothers, the Stanley Brothers, The McQuarrys. There's something inherently magical about harmony.

Improvisation, the main thing is it teaches you to be in the moment and present in the moment and be reactive and proactive for what's going on. Someone gives you something - a lot of actors are a little shut off, so they're just doing, "This is my character, these are my lines, I'm going to just send it to you then you send whatever you're sending." Improvisation teaches you to really be listening.