I regretted not being a person in shape many a day while we were making this film [Swiss Army Man].

[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.

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 was constantly surprised by how things took shape, whether it was something that was funny or [sharp] or some of these more simple, quiet moments in the woods. Honestly I would say everything and nothing. I honestly don't think it's different than on any other film [Swiss Army Man]. I think I would probably ask questions of everything always.

The less acting you have to do, the better, I think.

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.

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