You know how it is, somebody will see your work and like it and remember it, then decide to make it a role in their film.

Time is definitely money, so if you screw up a day or a shot, you may not get a chance to go back and get that shot and redo that day.

I don't approach a role by saying I'll be unsavory or unlikable.

There's always room. That's what the directors usually want. They want the performer to bring themselves and give what they have to give for the role. The smart ones allow that to happen because then it becomes even more organic within the performer's imagination. It becomes even more real. It's not always a given in other films, but when Gunn works, and we all work together in a collaborative way like that, it becomes a given that you bring it. It becomes a lot of fun.

Actors basically do their thing on the set, and then you put all the pieces together, switch them around, and maybe put them a different way that looks better. We just give him everything he needs, and then he goes in and does his thing.

I got my training here in Chicago at the Goodman School Of Drama, and a lot of my personal work is usually internal work and stuff. Everything else that goes on is icing on the cake - your wardrobe, your makeup, whatever else you have to do.

When you think of it I haven't really done a lot of horror. It's amazing: I have done some really good ones, but I haven't done a lot of them.