I listen to a lot of Chicago blues, I suppose. It reminds me of growing up, I guess. But I'm also obsessed by close-harmony groups. Actually, I'm fascinated particularly by brother duos, how they blend together. The Everly Brothers, the Stanley Brothers, The McQuarrys. There's something inherently magical about harmony.

For a long time, it was like I was part of some special forces unit: I'd land, meet everyone, five minutes later I'd have to do some amazing work, then - boom! - I'm out again. You know, playing supporting parts takes courage.

Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of ueber-objective is to make people laugh. You always have to have that in the back of your mind, 'Eh, I've got to figure out a way to make this funny.'

I was a solid C student because I was doing so many plays. I was a drama nerd, but I was also kind of a Zelig-like character; I would shift between different groups of people. But the people I spent most of my time with were either chorus or swing choir or the drama nerds.

Most boys' first hero is their father. That was definitely true of my dad. He was a proud Irish American and he taught me a lot about ethics and responsibility. He also introduced me to a lot of wonderful folk music.

I like working. I wish I could say I made a deliberate choice to comedy, but it's just what came my way. It's what the studios wanted to make. Some of my friends were doing it, like Will Ferrell and Adam McKay, and they offered me 'Talladega Nights.' It's just nice work if you can get it. It's a joyful day at work, making your friends laugh.

Animation is a great way to work. No early morning call times, no make-up chair. In live action, you're always fighting the clock; the sun is always going down too soon.

There's something about the water - that solitary kind of peaceful feeling. You're on Earth but not quite.

I did a movie with Leonardo DiCaprio, and his skill level was eons ahead of mine. It was really more like an abattoir - he just slaughtered my character over and over again.

I'm happy that people have watched and appreciated my work. That's why I'm doing it.

An amateur can be great in front of the camera, but you need an education to get on stage where you have full control as an actor.

We have nobility in Sweden, and it comes from the old British aristocracy.

We are all a unique person with everyone we meet.

A big moment for me was when I did a play that was a new adaptation of Dostojevskij's 'Crime and Punishment,' and I played Raskolnikov. It was actually the first thing I did when I got out of acting school.

What I enjoy most with acting is when it's a good scene with one or two other actors, and you feel a strong connection, and you don't know how you're going to respond, and everybody is listening to each other and getting affected by each other, and even though you've rehearsed it many times, it feels like it's happening right now.

Have you seen these Japanese hospital droids, or humanoids, or whatever they call it? They've perfected the skin, and the skin looks so real. They have these motors between the eyes for when they smile. It's just mind-blowing.

I'm not a method actor per se, but if I'm playing a character that, at its core of its persona, has experiences I don't have, I try to search out and get firsthand experiences of similar sorts so I have something to fantasize about.

I think that in Sweden and a lot of European countries, there's this whole mythology of the wounded artist: that you can't really do any great art unless you're suffering.

Mid-range to low-budget movies have to have a name in the lead to get financing for it.

I'm battling with keeping my narcissism at bay as it is, so Twitter was not a good thing for that.

I love 'Breaking Bad.' I'd watch Bryan Cranston read the phone book, for days.

It's very nice to be in a show where your vanity is completely out of the picture.

I'm a crybaby.

I'm a crybaby.