Reading the script [Insane Farting Corpse], by page two or three, I felt that way. I thought, I'm in. It was so beautiful and insane and funny and I wanted to see it happen.

The only constant I can find is hard work.

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.

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

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