It's not quite the same as other kinds of performing, but I love animation. It is just a different kind of experience. The difference is that making a live action movie you are using your whole body.

It might have been really cool back in the '50s when it was less populated but I don't know.

Some kids are fine, but often I don't like what I see in child actors. My kids are young and they are already showing an interest, so I have to try to discourage them, squash that in them.

My mom [comes] to see my shows because she's so proud, but I'm talking about losing my virginity, my ex-wife and our sexual problems, and she's sitting in the front row smiling. I just go, "Mom, you can't sit in the front row, you can't smile. You have to go way in the back and dress in black. If I see you it's like you're breaking in when I'm having sex with my wife. It's just wrong."

Most of the great directors I've worked with - De Palma, Spike Lee - like rehearsals.

It's been great, I have to dig deep for really raw emotions and at the same time I have to use my intellect to say the ridiculous medical jargon while acting and treating a patient and then I have to try to have a personality and emotions as well. So it is definitely hard work.

But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.