I think one reason I really like women and like working with women is because of my sisters.

I always think that I'm not going to be right for a movie or that there's someone else who can do it better.

I'm just shocked and thankful that I've gotten away with everything - experimenting here, trying at this, failing at that, being good in some things, not so good in others. It's kind of amazing that people are still sticking by me. When they come up to me in the street, I just want to write them all cheques.

Weirdly, for someone who wanted to be funny, I didn't like a lot of attention.

In terms of the parallels, I've never related less to a character than Riggan.

People always make these generalized statements about Hollywood, and there's all kinds of people in Hollywood.

Over the years, I think, people - actors, writers, whatever - lose their frame of reference. Their frame of reference is based on somebody else who did this or did that. Performances. So it just becomes a reflection of what already works. Like a warm-up. And that's an invitation to be inauthentic.

I don't know - sometimes I catch myself being dark, and it's annoying. I think, 'Get over it.' I bore myself. But sometimes, like everybody, I'm sure I am obsessive.

I find there are a few places where I like to meditate more than in other places. There's a little Catholic church that I go to, and there's another temple I go to - there are certain places where I just feel more comfortable.

From an art perspective, I don't know how you get better than 'Beetlejuice.' In terms of originality and a look, it's 100% unique.

I was an altar boy, which I loved and am very proud of. It was strict, but also really nice.

I never knew anyone who was cloned, but I played one in 'Multiplicity.'

I hope this doesn't sound pretentious, but I very often like the way Europeans make movies. I think sometimes that don't they care about having to clean certain things.

I really believed that Batman had the potential to be one of the coolest guys in cinema.

Show business is, essentially, a fear-based industry.

To make extra money, my parents would sell eggs and chickens. I was very little. I remember a chicken's head being chopped off with the chicken running around. I wasn't sure if my imagination was running away with me or if it really happened. It really happened.

I'm just shocked at how blatantly shallow people are sometimes.

My first day in grade school, I was plain scared. I left the comfort of my run-down house, which I loved, and went to school where it was cold, it smelled, the lighting was bad.

I'm envious of writers and musicians. I think it must be so difficult. Not just the frustration, but the discipline.

I grew up in rural Pennsylvania, in a really rundown old house. I'd stay out till 8:30, 9:00 at night. Just blow in. My mom and dad never really cared much. It was okay. We were pretty free to roam. I mean, I had no concept of stopping play. It just didn't occur to anyone.

I'm in a business that invites narcissism, self-involvement, and egos being blown out of proportion.

When I was in improv workshops or doing stand-up or writing comedy with others, or just doing comedy, I just laughed. Funny was funny; I loved to laugh. I always liked people I found generally funny.

Sometimes I don't feel like an actor. Sometimes I speak about it like it was another job, and then I go, 'Wait a minute - I am one!'

I remember my mom threatening me, half-serious: 'You know what? I should take you to Pittsburgh and put you in dance lessons just to keep you occupied.' Well, that brought everything to a screeching halt. 'Jeeze, dance lessons.' In retrospect, it would have been awesome, but then, 'Ugh, dancing - dancing's for sissies.'