It's all kinds of these profound things crashing on you when your child arrives into the world. It's like you've met your reason to live.

Yeah, in every film that I've been lucky enough to do with Tim, there's always some form of torture, and the nails were Tim's idea. They were the length of the fingers and stuff, but it was okay because I had a troop of people who would help me go to the bathroom. They had to have treatment afterwards but they're okay now. That is true.

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.

I just watched cartoons for three years, and that had a strong affect on me.

I'm an old-fashioned guy... I want to be an old man with a beer belly sitting on a porch, looking at a lake or something.

Marlon [Brando] showed me that you could do the work and not have to shut yourself off from people or your family.

[The huge success of Curse of the Black Pearl] made perfect sense to me on the one hand, and at the same time, it made no sense at all, which I kind of enjoyed. Even now, with the dolls and the cereal boxes and snacks and fruit juices, it all just feels fun to me, in a Warholian way. It's absurd. It doesn't get more absurd.