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There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

What I do is just go over and over and over my lines and learn the script so well that I can just be easy and relaxed. That's the way I always work.

I'm used to changing a lot of the dialogue. But if I feel like the script is working, I don't want to mess with it.

I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.

Sometimes I write them down in musical notation as a trigger to remind me about certain directions to go. Or I can be specific about a sound I'm looking for.

A different script calls for different things. It always takes me a long time to get to know the part, and know the logic behind the words. I have to be with the script for quite a long time before things start to fall into place, before they become part of the character.

I use this method to bring emotion into my performance. I recite my lines in English first, and then switch back to the original lines when shooting begins.

If I get two lines in the script, I somehow turn it into 20. I've got a bit of a bad habit of doing that, of just embellishing my little moment.

When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.