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I'd always heard stories about how Harpo Marx was the most talkative of the Marx brothers. I found it interesting that someone you never got to hear speak in films would never not speak in real life.

I always find it actually funny that the analysis is that the characters I play in comedies are the manchild, the adolescent, characters that refuse to grow up. And yet, if you look back in the history of comedy all the way back to the Marx brothers, that's a big part of comedy.

The genius of the Marx Brothers is for parody. They never are themselves. They exist too abundantly to be content with being that - they must go on, by the rapidest of transitions, to being something else. Groucho, in my opinion the bright star among the three, is never anything but the thing he is at the moment pretending to be.

The Marx Brothers isn't subtle, and that's hilarious.

I was always a fan of Groucho Marx as a kid.

Human life is a combination of tragedy and comedy. The shapes and designs that surround us are the music accompanying this tragedy and this comedy.

Beethoven had a great look. It was very much about the drama of appearance.

Good comedy films, if you listen to the score, the music is not trying to be funny. It's always, in a way, underscoring the tragedy and struggle of the main character.

A comedy that is ironic, sometimes bitter, in some cases even dramatic, tragic: This is what Italian comedy is.

That straight man character is a short trip between comedy and drama in a project, so I can play the comedic beat on the same page as a dramatic beat. It gives me a lot of freedom as an actor to play scenes in multiple ways because I don't play the clown, nor do I play someone who is particularly maudlin.