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.

I would love to do a western. I would love to play an explorer. That is always something that has really captured my imagination since I was a kid, like James Cook or Magellan or Earnest Shackleton.

The way you get through having a shitty job is to laugh a lot and goof around.

I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here."

Whenever I work on something, I try and throw everything I have at it. Then if the director finds it useful they use it, and if not, they ignore it!

[Country Music] is the final destination for many punk rockers [...] Rockabilly is the mid-point and then [they] end up at Country [...] There's purity to that music and I think that appeals to a lot of punk rock people - the precision, the purity, and the directness of Country Music.

I love to improvise, but I always thought "Man, it's like the final frontier for improvisational actors, to really go for something emotional, something that's not just chasing the laugh."