You can get stuff done in New York that you can't in Los Angeles. If you wanted to get some milk and get your shoes repaired and drop something off at the dry cleaner, that's an all-day adventure in Los Angeles. In New York, you can bang that out in half an hour.

Though there is something cruel about being in Hawaii and you have a computer in front of you the whole time.

There was a time when doing "Zoolander 2" that I was literally flying between the "Zoolander" shoot and "The Leftovers" in Texas and at that point, I was getting comedy whiplash. It was a relief, though, to get to Rome and be like, "Oh my God, I get to laugh on set."

I didn't have a lot of ambition, which I think was a good thing. I mean, I was ambitious about quality, but I wasn't ambitious in the "I've got to get a pilot!" way. I never went out to L.A. for pilot season.

I mean the good thing about Marvel is that they're really good about reading what they call the shareholders - the fans. Because they really are the keepers of what keeps these movies going, you know?

Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.

Actually, I'm reading a lot of my scripts. When I'm working on something, it's hard to find time. You're always prepping new material. You don't want to be buried in a book. It splits your focus a little bit.