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Once you get into your stride, the camera becomes like another person in the room. It's like being in a very small theatre where there is no getting away with anything because the audience is centimetres away from you.

No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.

Before I film a movie, I look at how the character will move and walk.

I think one day I want to be on the other side of the camera-maybe directing.

Scenes change all the time. Scenes will change while you're shooting them, and you just have to roll with it 'cause that's what makes it funny. It's not being stuck in your character and how you're gonna do something, but to react to other people and to really have a real-life conversation.

One of the defining things about my career on camera is I like to play different characters. That gets difficult to do. People don't trust you to do something different. In animation, it's all about trust and how far can you go away from yourself. It's a really marvelous environment that's extremely creative.

A strange thing happens to me that I'm sure happens to a lot of actors when the camera starts rolling. I'm not 'me' any more.

There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.