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.

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 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.

You try to get to know your character as best as you can before you start filming - whats written and not written.

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 try to leave my work at the door when I leave the set. It's almost like summer camp. You go in hard, then you leave, and it's done.

As your career progresses, you hope that you get some more opportunity, or some more choice.