You try to get to know your character as best as you can before you start filming - whats written and not written.

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 feel like rumors get crazy and people blow up the whole internet with news. I feel like, once you're doing a job, you shouldn't talk about it.

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.

As your career progresses, you hope that you get some more opportunity, or some more choice.

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].

When somebody mentions that I did a play with George C. Scott, I'm like, it can't have happened. What was I doing on a Broadway stage at 11 years old? It's so far in the distance now.