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

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.

I would like to do something really big and then something really small, and see what it's like to work in that way, but in front of a live audience.

I feel like a lot of the films I do, part of the reason I like doing them is I'm not 100 percent sure what it's going to be. It's exciting. I read an equal amount of very generic scripts, and you kind of know exactly what those are and that doesn't whet my appetite. I already know what it is or I already know what the character is. It's just a lot harder to get interested.

[Swiss Armi Man] was a super joyful film to go make. I mean, there was stuff that was, like, totally bananas. But it was kind of par for the course every day with that stuff.

Reading the script [Insane Farting Corpse], by page two or three, I felt that way. I thought, I'm in. It was so beautiful and insane and funny and I wanted to see it happen.

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].