It really depends on what the screenplay is asking of you, and what your responsibility is to that character. You have the author's intent to deal with, you have the filmmaker's vision, and then you have your own wants, desires and needs for the character. It's collaborative. But I knew, right off the bat, that there was no way to go into some sort of pink-haired, clown-nosed character with Ronald McDonald shoes.

While they'd be setting up shots, suddenly, there were 17 make-up chicks, just listening to Marlon telling these amazing stories that were probably lies. He was a fascinating individual. I learned a lot from him.

They stick you with those names, those labels -- ‘rebel’ or whatever; whatever they like to use. Because they need a label; they need a name. They need something to put the price tag on the back of.

The idea of directing a film is a strange one for me. I feel anti-mathematical, in a way, in that sense. I don't like when things make sense. I prefer if they don't.

I've always enjoyed hiding behind these characters. It's a strange thing, you're more comfortable as a character than you are in life. I could stand up in front of, it doesn't matter how many people, as a character. But if I had to do it as myself and give a speech, I would be liquid.

When I'm at our house in France I totally cut myself off from the rest of the world. I never have to listen to phones ringing and that's because - and Vanessa would confirm this - phones are banned from the house. We have a beautiful life and I feel that spending time in France has just calmed me down and made me stop worrying about things which aren't really important.

I actually did do a musical many years ago with John Waters called Cry-Baby, but technically it was only half me - it wasn't me singing. Tim's [ Burton] the only person brave enough to actually let me try to sing.