As a kid, I think I wanted to be the on-set dresser for 'Charlie's Angels'. My goals weren't lofty. No. I just wanted to someday quit my paper round and that was about it.

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

I like doing the mainstream, right-down-the-pike broad comedies as much as I like doing the kind of unorthodox different stuff.

Every time I've gotten myself into trouble, it's because I'm choosing a project based on a long-term career goal as opposed to something that speaks to me at the moment.

I firmly believe that you can't manufacture chemistry with anyone, let alone a kid.

It's just that... working on 'Green Lantern,' I saw how difficult it is to make that concept palatable, and how confused it all can be when you don't really know exactly where you're going with it or you don't really know how to access that world properly - that world comic book fans have been accessing for decades and falling in love with.

He has such a clear vision of exactly what he wanted out of each character, out of each set, out of each wardrobe change, out of each emotional beat, and action.

Four months after we finished shooting, I'd been in New Orleans shooting another movie and my agent and I were having a bite to eat - actually in London - and he's sitting there and goes, 'Wow, I just can't believe how ripped you are.'

I'm terrified that I'm genetically predisposed to only having boys. That's frightening. By the time I was 10 years old, and I'm not exaggerating, I knew how to patch drywall.

I was a really nervous kid. I was extremely sensitive. Incredibly perceptive.