I would always choose the script. You get more creative control that way. But, when you're in a situation like this, where everyone is really funny and you really want to do it, that's the chance of a lifetime, so you want to do it. But, a script has longer legs than a performance and, in the end, is more satisfying. It's harder, but it's more satisfying.

After my parents got divorced, I had to go right into public school in the fourth grade. The Steiner school had never really taught me how to read, so it was a rude awakening. I was playing catch-up the whole time.

It's the fun part 'cause you don't have any of the real heavy-lifting to do. You just come in and shout and chew scenery, and just be awful and say a few jokes, and you don't have to carry the romantic storyline or the quest part of the story. You just pop up, every now and again.

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.

In the '90s, there was a big bell-bottom craze. Everyone was wearing grungy bell-bottoms. It was so repugnant to me.

It's like, once you've seen Tom Hanks win the Golden Globes, the Oscars, you've seen his wife, what kind of car he drives, when you watch his movies, you can't fully get really lost in them.

I was always acting. I was doing after-school plays and stuff like that.