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.

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.

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 started acting pretty young, so I haven't had too many odd jobs. But I used to sell candy out of my locker in middle school.

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

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

It's a constant learning process - not just what you need to learn for the character or as far as good actors - but as an actor, there's no limit. Every time now, you're learning so, I think that's a good thing though.