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.

On set, the playground for the character, how much it takes varies. Is it like ballet, is it like jazz? The content always lends itself to the form, and it's really not mathematics.

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.

The first time I went to Daniel's [Radcliffe] apartment to just hang out before, because we're doing this crazy thing together, right away he said, "Do you want to put your hand in my mouth so we can get used to this?" And he was really ready to go. So we broke down any barriers pretty quick.

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 think there was a lot of working out the arc of how Manny [Daniel Radcliffe] talks. Scene to scene [in the Swiss army Man], if I would start talking a little too well, they would come in and say like, "Hey, you need to [dial back] your ability to speak" - things like that.

I remember going to the theatre when I was little and the lights going down and just getting really scared about what was going to happen up there.