So we just kind of created our own thing and that's part of the beauty of Athens: is that it's so off the map and there's no way you could ever be the East Village or an L.A. scene or a San Francisco scene that it just became its own thing.

I saw 'Taxi Driver ' and 'Taxi Driver' kind of saved my life. The scene where Robert De Niro is looking at himself in the mirror saying 'You talkin' to me? You talkin' to me? Who the hell else are you talkin' to?' That's the scene that changed my life by changing my attitude about acting.

It is the function of art to renew our perception. What we are familiar with we cease to see. The writer shakes up the familiar scene and as if by magic we see a new meaning in it.

I paint mostly from real life. It has to start with that. Real people real street scenes behind the curtain scenes live models paintings photographs staged setups architecture grids graphic design. Whatever it takes to make it work.

I just did a part in 'Sin City 2.' I got to do a scene with Ray Liotta. Amazing man extraordinary gentleman who was just so kind to me... I'm so excited about that I think it's gonna be very cool.

I'm always going to get more of a charge playing Chicago than I will Duluth or some place like that. Just because of the history and the people there are way more knowledgeable than a lot of other cities. It's an amazing music scene with some great bands and great musicians.

I never do any television without chocolate. That's my motto and I live by it. Quite often I write the scripts and I make sure there are chocolate scenes. Actually I'm a bit of a chocolate tart and will eat anything. It's amazing I'm so slim.

I was writing a scene where a guy was choking another guy to death. You can go online and type 'chokeholds' and watch scenes where martial artists choke each other out. You can hear what noises they make when they go unconscious see how their bodies flop and everything. YouTube is amazing for the more detailed stuff.

'The Dance Scene' is basically the most amazing dance show in the world and it follows me as a creative director. You see how I maintain that creativity.

When we're on set we kind of joke around and when we're rehearsing we change up the scenes and make each other laugh. We lighten up the mood. The blooper reel is going to be amazing on 'New Moon.'

It's been a fascinating thing because we didn't really know how to write when we started South Park at all. It's been like we've just sort of grown up a bit and it's amazing to just see how if you take Butters and Cartman and put them in any scene it works.

The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director you're shopping - you're picking this actor you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.

Costumes and scenery alone will not attract audiences.

The most boring scenes are the scenes where a character is alone.

Just call me a family man and an actor who digs his whole scene side interests and all. Just say I feel mighty good at the ripe old age of 27.

It begins and ends with money. It's absurd in this day and age when we need so much money for education health for people that a $100 million dollars can be spent on a film. It's obscene.

If you explode onto the scene at a very young age there are so many people pulling you in different directions. It takes time to recalibrate and see what's important.