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If you can walk into a set and feel the reality of it, then immediately you're not having to work to bring yourself into the character.

When I'm on the set, I'll come up with ideas if I'm sort of just between responsibilities, because there's a lot of sitting around on set. Invariably, though, the stuff I come up with on the set tends to be bad.

I tend to - every time I step onto the set until the time I go back to the hotel, I just try to be in character all the time.

No one set that I ever do is the same. I mean, if I go to a comedy club, and I perform three sets, all three sets are different because anything can happen in between sets.

It's hard to get lost in a scene, to get into a character when everyone's standing around you on the set.

Losing yourself in the character opens you up in a way that no amount of precise preparation can.

When I work on a novel, I usually have one character and a setting in mind.

As a writer, I'm driven by settings. Others are driven by characters or predicaments, but with me, settings come first.

I've been on sets my whole life.

I try to figure out how much of the character I can find in myself because you don't want to get outside of your skill-set.