[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.

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.

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.

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

I always have an adjustment period where I'm so happy to be home, but then my sense of purpose is totally gone.

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.

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.