I approach every role from scratch.

I think carrying your gut, or your instincts, through all the learning, is one of the most important things. You learn to prepare for a part in different ways, you learn to experiment, what you do for the character - you try working in different ways.

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].

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.

For me, playing a really bad character is about figuring out what brought the person to where we need him.

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

I like purple too. I looked up color psychology before doing any house painting, because I was curious what the colors I like mean. And purple is very royal and creative.