Once Now You See Me proved that that tone could work, which I'm sure was a nightmare for them in post - is this too serious? Do we have to say that magic really does exist or not? - I can take that and have fun with the tone that they established.
It's important to say that the more challenging a scene is, in a way, the more fun it is because the more of my job I get to do.
We would choreograph [ with Paul Dano] before each scene [in Swiss Army Man] and very quickly got to a place where we could improvise physically in scene and know that the other person would respond in character appropriately. So that [dynamic] was a lot of fun.
A lot of modern horror can leave me cold, and I'm not good with blood and gore and all that stuff. It's not fun for me. There's nothing entertaining about watching a film like that.
For ages, in my lunch hours, I would just go round and choreograph fight scenes. For fun. So now I'm very good at being thrown around. I bounce, in the words of my friends.
It's really good to talk about it [ hydraulic penises and prosthetic butts], and it's very gratifying when people ask us about the other aspects of the film [Swiss Army Man], but [those things] are part of the movie and they're important and hilarious, a very fun part of the movie, so there's no sense from us of not wanting to talk about that. I think it's exciting that those things exist in a film that is also very heartfelt and emotional and profound.
It was a lot of fun to play a character [in Swiss Army Man] with no inhibitions, and with no knowledge of the world, and who comes into the world kind of like a blank slate. It means there's no template or blueprint for how you need to play certain scenes.
We sing a lot of the soundtrack in this film [Swiss Army Man] - me and Paul Dano - and on the last day of filming we had to just get into the back of our sound mixer's van and record a really crappy, rough version of the singing then. For some reason that was one of the most fun days.
