I love the idea of changing my look. I think one owes it to the audience, to go out there and give them something different each time, so as not to bore them to death.

The funny thing is you oddly don't really say goodbye to all the characters you've played. There's like a chest of drawers in your head that you can always access. They're always around. I'm not sure if that's healthy. But they're all there.

Me, I'm dishonest, and you can always trust a dishonest man to be dishonest. Honestly, it's the honest ones you have to watch out for.

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.

I trust kids far more than I do adults. Kids give you the honest opinion. They tell the truth.

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 toyed with the idea of what it might be like to live with some species of heatstroke that maybe didn't go away all that quickly. He's a pirate, which is about rum, sodomy and the lash, isn't it? So, to be able to keep things like that in my head, when I'm going to do a film for Disney, I'd been through the ringer. That was like infiltrating the enemy camp. I wasn't able to stop smiling.