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“Barrie and the wonderful characters he created, Lewis Carroll, even French literature, like Baudelaire or over in the States, Poe, you open those books, you open The Flowers of Evil and begin to read. If it were written today, you'd be absolutely stupefied by the work. It's this incredible period where the work is timeless, ageless. So yeah, I just love all those guys. It's my deep passion in those great 19th century writers.”

“The intimate conversations have its moments, because you have to sell the characters, because there is so much going on. It's so easy to get lost in the special effects and forget about the performances. The dialogue scenes have been great. It's been great working with Bryan and the writers to find where we're going and what's the story. Yeah, it's been really, really interesting.”

“Yeah, we've become really good friends. Our characters start dating in the book, and um, yeah, I think we - and we made up little back stories to our characters and little outtakes that we'd bring up to Edgar as a joke, and you know, kind of see different sides of stuff. So yeah, we have a really good time.”

“Losing builds character. So, if you're the loser in your family, don't worry. 'Cos twenty years form now, that perfect can do no wrong brother of yours is going to show up at your house, bald, fat, divorced, with six kids who all hate him and he's going to ask you for money. And because of your character, you're going to look him right in the eyes and you're going to say, You know what, I'll give you some money. If you mow my lawn and detail my car. Oh yeah, then you can shampoo the tail. Loser.”

“It was really the dream role, and when they first cast me, and I started playing Dolores [in the Westworlds] and all I knew was the analysis mode and her prairie-girl character, I thought, "Yeah, of course I can do this, and I'm good at it, but why did they pick me?" Not because I'm not capable, but I'm also kind of a tomboy, edgy, so I was curious.”

“Yorgos Lanthimos said, "What about if he's a bit soft?" And I said, "Yeah, I think you're right." He just comfort-eats a little bit too much. He's just asleep in his own life and has let himself go. And the mustache, I don't know if it was him or I suggested it. But I remember my sister was watching me eat and she was like, "God, does he have to be fat?" And in retrospect I couldn't think of David being any other way because it affected the way I moved. It really did. It slowed me down in a way that I felt was conducive to kind of tapping into the spirit of the character.”

“I like actors who just become that person and then react, and Adam [Driver] is completely reactive in that way. So every day working with him was really a pleasure. And he's in almost every scene in the film, so the poor guy had to work the - almost the entire 30 days of our film shoot. But, yeah, he was really a pleasure, and I really love what he - how he embodied this character.”

“I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."”

“Also to get to see over the course of time how they change, and how Andy [Hertzfeld], regardless of how he's treated, still maintains a friendship with Steve [Jobs] over the course of time. Enough to want to show up and cheer him on. It says a lot about his character, and also that he cares about Steve. Yeah, I find it moving, and I find it a lovely thing on Andy's part.”

“There were [in Wilson] a lot of clues in it that you don't normally get, you know, normally you use your imagination or whatever, you get some clues in the script, of course, but yeah, it was really helpful, and I really like the graphic novel. There's stuff in there, there's a couple things in there I really wanted to use that they couldn't get in the movie, but it's definitely, he's a unique guy, you know, I never read a character like this before.”

“A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."”

“You can't take yourself too seriously. Like, yeah, I'm doin' all that, but still I don't feel like I've done anything, really. I feel blessed 'cause I'm doin' all these things, but I'm not satisfied. I still have that feeling like, "Who am I? Who am I to have an ego? Who am I to change up and act like some Hollywood character?" Technically, in the grand scheme of things, I haven't done anything.”

“I'm not that complicated as an actor. I have a formula in which I work, yeah. But not like Sean Penn does. Sean is one of the few actors I know who can work like that, actually becoming the character he is playing, and get consistent results. I don't believe you can ever be someone else. You manifest different levels of your own personality to come up with a character.”

“There was all this loneliness in my cartoons and people would say, "Gee, these characters are so lonely, disconnected, depressed." And I'd say, 'Yeah well, that's not me. I'm just interested in that because I think it makes a funny drawing.' But later I understood it was me in many respects; my hand was doing it ahead of the head's understanding.”