I think I was almost 12, so I knew who George C. Scott was, but if I could work with George C. Scott now, I'd be so pumped.

I went to tranny bars and kind of got used to being around that and then getting dressed up.

I approach every role from scratch.

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 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.

I think it was a lot of trust as well [between me and Daniel Radcliffe]. If we didn't have that, it could be a very painful film [ Swiss Army Man] to go make.

Of course I think it's a movie for everybody [Insane Farting Corpse], but that's probably just because it's a movie for me.