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 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].

[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 like purple too. I looked up color psychology before doing any house painting, because I was curious what the colors I like mean. And purple is very royal and creative.

I feel like having something that you're passionate about helps to keep you young.

I think there was a lot of working out the arc of how Manny [Daniel Radcliffe] talks. Scene to scene [in the Swiss army Man], if I would start talking a little too well, they would come in and say like, "Hey, you need to [dial back] your ability to speak" - things like that.