I'm there [on Moana] with the other actors, so you play off one another. It's not just your idea of what the character is and what the world is like it would be in an animated [film], where it all sort of exists in your head. It's all right there, and if Diego's performance is doing what it's doing, it affects yours.
[Diego Luna Cassian] quite a smartass, and I really appreciate smartasses. He used to make fun of me for the stupid backpack I wore. There were a few situations where I couldn't [wear the stilts]. [When] I was on a cliffside or running in water and stuff like that, I had to wear this backpack with a telescoping head that came off the top, and it was really stupid looking.
I'm a geeky actor, in the way that I like the craft of acting. I trained as a stage actor and was given a lot of technical tools to play with. I like the craft of acting. It sounds geeky when I say it, but it's true.
It was a very interesting challenge [Heihei role] because he's limited to rooster-y, chicken-type noises, and he goes along on the whole adventure. It just becomes, "If that's how you express yourself, go for it.
I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.
Wray Nerely, the character in Con Man, he actually had a role in Rogue One, but he got cut. It sucked. John Swartz, the producer, is a big fan of Con Man. I even got to screen Con Man while we were shooting Star Wars. They had a theater there, and they let me screen one of the little 10-minute episodes for everyone. What sucked was I had to follow Star Wars.
I love Diego [ Luna Cassian]. Diego is very funny. He's a very cool guy. I'm looking forward to doing all the press stuff and getting to hang out with him and everybody again.
Gareth [Edwards] was very open to just shaping the performances and the scenes to fit what was happening with the actors and the storytelling that was emerging.
Reading is a heady thing. You can be into the action of someone's thoughts and take a whole trip down someone's ruminations while seconds tick by in the world that they're in, but you can't really do that in film. Some films can, but not too much.
[Making Moana] was like camping because we were all living together on the boat, and one night we came home and there was a whale shark. I got to go swimming with her. It was a magic, magic, magical time.
When we recorded [Moana], I would do all of the stuff and then save all the big screaming for last so that you can really blow it out and ratchet it up every time, get that perfect panicked pitch.
Gareth [Edwards] was very much about including everyone in what we were making, so he would cut together different scenes to show us what we were making. And the crew, cast, everyone would go into a theater there at Pinewood Studios and watch 10 minutes of what we were making. It was always so exciting. It looked amazing, and the music was huge.