A Quote by Daniel Radcliffe

I think it was pretty obvious early on that we had both come with kind of the same attitude of "Let's just [jump] in," and neither of us was going to be precious about it. I feel like the thing that we learned is, weirdly, the most intimate thing or a very intimate thing you can do to somebody is hold their tongue with your fingers. When Paul [Dano] is making me talk [in Swiss Army Man].
Shooting of a sex scene is never going to something where you're having a wonderful time. It's a very intimate thing and a very intimate space to be put into - that's usually a space reserved for one. To have someone else in that proximity is pretty jarring, but we're all in the same boat and we're all experiencing the same anxieties.
I remember Paul [Dano] had said at one point that when he finished this film [Swiss Army Man] was the strongest he'd ever been just from lugging me around for [several] weeks.
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.
To me, it's pretty much the same thing - I just love playing music. But the cool thing about DJing is that I get to play other people's music, I can mix it up between our songs and a variety of musical genres. It also enables me to be more intimate with the audience.
From this new and intimate perspective, she learned a simple, obvious thing she had always known, and everyone knew; that a person is, among all else, a material thing, easily torn, not easily mended.
Paul [Dano] was amazing at carrying me around [in Swiss Army Man]. I wanted to be there as much as possible but didn't want to hurt Paul's back, but Paul often chose me over the dummy many times on the set. But yeah, to be honest, a little bit of preparation I did with my friend in my flat could never have prepared me for quite the level of physical reliance we would have on each other.
The marvellous thing about writing, whether it be fiction or journalism, is that it is simultaneously the most intimate and the most anonymous of meetings between people. It is profoundly intimate in reaching into the psyche of another, at the same time as being devoid of social characteristics, cultural characteristics, economic characteristics.
Kissing someone is pretty intimate, actually very intimate, and your heart always kind of skips a beat before you do that.
Actors are like Swiss Army knives - we're ready to use any lever at any moment. But I learned long ago that, unfortunately, this industry only sees the one thing sticking out that they know us from, and that's the only thing they can imagine.
I think there's just been this "thing" that's developed, this way that we have of talking about our music that alienates people. And I fall into that too! I learned that in graduate school. You just talk about your music in a specific way, and that separates people from you. But some composers like that. Schoenberg liked that. He wanted to feel that he was making music for an elite few. That's fine for him, but I want to set myself free from that sort of attitude.
I think the best thing about music is that someone could be writing a song that's so personal, and it tells so many other people's story at the same time. It kind of exemplifies that we are all kind of on the same wave[length] - it's amazing how comforting somebody else's story can be, because we have experienced their story in some way or another, and I can totally relate, and I get to feel that feeling and the expression of that emotion. I get to feel like as a listener, that somebody understands me, which is pretty incredible.
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.
North Korea was pretty insane. Like the first thing my mom taught me was don't even whisper, the birds and mice could hear me. She told me the most dangerous thing that I had in my body was my tongue.
I never want to feel complacent, and I had started to, a little bit. I had started to feel like "I have this thing I can do, it's worked a few times," but not only does that get boring, but you feel stagnant and unproductive. So I was feeling a lack of creativity and motivation, so I started making a more conscious choice to grow personally. It wasn't even an image-conscious thing, like, "I don't want people to think this way about me." It was really just a way to keep myself energized and feel excited about this thing I love doing. Like I went to couples therapy or something.
The hardest thing, and the most difficult thing, is to do the most simple thing. Because that means that you've had to weed out every other option. I kind of feel like that about a good pop song, too. When it's right, it's perfect, you know?
I think it speaks to the fact that other people are as excited about originality as we are. I think the thing that has been wonderfully communicated in the trailers and all the promotion for the movie [Swiss Army Man] is that it isn't like anything else you've ever seen, and we're not just saying that. I think that excites people.
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