On his performance art exhibit: "The '#IAMSORRY' exhibit that I did in LA was about looking for the empathy of the internet, looking for the humanity of the networks. And if you're a guy being sh*t on by the world — when you're reading millions of tweets accusing you of megalomania and narcissism and sickness — it's hard to have hope. I was like, 'Whoa, f*ck, I'm a villain.' I was broken, and I used that. That piece was an exploration, almost like a test for myself."
On how his method acting in the play Orphans led to a feud with Alec Baldwin: "[Alec] Baldwin and I butted heads hard. I came in method. I was sleeping in the park. I'd wake up, walk to rehearsal. And my whole goal was to intimidate the f*ck out of Baldwin. That was the role. That was my job as an actor. And it wasn't going to be fake. I wanted him to be scared. So I went about doing that for three weeks of rehearsal, to the point that, in the end, it was unsustainable. I've made peace with Baldwin. He was the first dude to hit me up after I got out of court. He sent me an e-mail. It's really beautiful. I was crying on an airplane."
On his public apologies: "I don't see a big difference between method acting and performance art. My work in my film and my work in my life have influenced who I've become. Life imitates art. And so a lot of my choices, these characters that I've been playing, have actually built a person, they've raised me. The way I dealt with the crises in my life, I was very cynical. My apologies [for plagiarizing Daniel Clowes's Justin M. Damiano] on Twitter were stolen from other people's apologies as a wink, a very ironic way of apologizing. I was running with a philosophy to back the play of bad action. I took [Clowes's] work and tried to adapt it into a film out of insecurity, a fear of my own ideas. I ran with that and found that it put me in a f*cking corner. But that existential crisis forced me, like all tumultuousness does, to find new ideas."