Being actors is a strange job. To try to go live that out, it's a very strange thing to want to do when you step back and think about it.

I know that part of why I was excited to do this was the sense of play and childlike wonder and the spirit that's in the Daniels' work. I think we're tracking some issues that are actually quite sad or lonely but I think in a joyful, creative way. So I like that balance. I think singing in the woods, the music and spirit of that - there's something very pure about the film [Swiss Army Man].

I would say that the emotional content of the film [Swiss Army Man] took me by surprise, and sometimes I would probably want to capture the unique tone of it.

It just so happens that when I was, like, 19 or 20, I got a couple of auditions and got a couple parts with good people. Of the thousands of auditions where you don't get the part, I've done a couple of jobs where you do it and you're like, "Okay, this is good."

If I could get myself in an editing room, that'd be trouble. I mean, that's how it works, you know? You leave everything on the field. I would pick apart - I do, even on the first time. More than once is just too much self-destruction. I don't need that.

It's a constant learning process - not just what you need to learn for the character or as far as good actors - but as an actor, there's no limit. Every time now, you're learning so, I think that's a good thing though.

In tragedy, it's hard to find a good resolution; it's not black and white: it's a big fog of gray.