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.

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 was actually thinking about starting like an app where you can watch videos of me carrying Daniel [Radcliffe in Swiss Army Man].

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 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].

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