I think the way it works is that when you’re casting a movie, you usually want to work with people that you believe in.

Because it’s me playing the character, trying to find a way to make it believable and entertaining and interesting.

It isn’t so much that I choose the roles – I mean, I guess there’s a little bit of a selection process – but it’s more just what people offer you.

It’s not enough just to be real; you have to try to make it interesting or entertaining.

Maybe because I began as a writer, I have a good ear for dialogue, and maybe being an English major – and that I also read a lot as a kid – if I hear somebody say something that I think’s funny, or I find a situation or story, I’ll try to work that into the movie.

We didn’t know what the reception was going to be when we walked out on the runway, but it felt like we were in a rock band. People started cheering. It was a nice way to begin Zoolander 2, with that kind of reception.

I think of myself as a doom person. I’m a worrier. But I like the idea of being an optimist. Maybe I’m the kind of optimist who deep down knows it’s not going to work.

In Rome, I loved seeing the Caravaggios. There are churches in Rome that have Caravaggios, and there’s one, not far from Piazza Navona, that has the best, I think: St. Matthew with the money.

The first thing I remember is Alexander Calder – our school took us on a field trip to go see the Calder mobiles, and that always stuck in my memory.

It’s funny how it usually works out that I end up dying. It sort of works out, because by the time I die, I’m usually tired of working on that particular movie, so I look forward to it.