When you had the fangs in, you wanted to be a little bit careful that you didn't actually pierce the jugular, kind of like my experience shaving Alan Rickman, which by the way neither of us want to do again, especially Alan.

I really approached the film as if it was a white big piece of paper and I was going to draw a picture on it. And whether that picture was good or bad, whatever people thought of it, what they could never take away was that it was my picture.

Growing old is unavoidable, but never growing up is possible. I believe you can retain certain things from your childhood if you protect them - certain traits, certain places where you don’t let the world go.

I have toyed with the idea of playing it straight. But, like I say, I really believe we are all out of our minds at some level.

I've always been frightened of karaoke, so I've never tried it. Karaoke scares the hell out of me!

Ironically, it was only maybe a year prior to Tim calling I had re-read Alice in Wonderland and Through the Looking Glass, and what I took away from it was these very strange, little cryptic nuggets that he'd thrown in there.

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.