You sign for a sequel for everything these days, just in case, options. In the past, you avoided them like the plague because it meant somewhere down the road you couldn't take a job because you had to do a sequel. Now it's a feature of pretty much any feature you do.

I have an enormous amount of respect for Nicole Kidman. She's just done so many great movies and she's been out there at the forefront of carrying films and being a movie star. On set, it really pays dividends because when you're performing with her, she knows exactly how to play it. You don't have to compensate for her in any way.

I just like voicing films in general. I do a lot of documentary work and it's a short hop really to narrating a character, especially if you're on film and you're there in a visual way. It sounds obvious, but voicing an animation really focuses you on the way that you're communicating through your voice. It's a very specific ability that you need to be able to have in order to pitch it just right.

I'm not a writer, inherently. Most of the writers I've met have stories they need to tell. I don't have that. I'm an interpreter. I like getting a script, seeing a character and thinking, "Oh, wow, I know what I can do with that."

You sign for a sequel for everything these days, just in case, options. In the past, you avoided them like the plague because it meant somewhere down the road you couldn't take a job because you had to do a sequel. Now it's a feature of pretty much any feature you do.

I've played lots of villains in my time and I think the reason they've been so successful is that they're not two-dimensional. They're not black and white. That's the gig.

In the movie, you have to decide as an actor how you are going to give a character presence. You can't really move, walk, and talk like yourself. This creates something so you have to find something "other".