Alan Tudyk quotes:

BB-8 [from Star Wars] his accent is so thick. You can't make out a damn word he says.

It was great. We knew we were going back when we finished the movie. It was such a big movie [Star Wars].

Those in power at Disney, the very generous figures at Disney Animation, have convinced themselves I'm a good-luck charm for their movies, which is great. It's working out really well for me, and it seems to be a mutually beneficial arrangement.

[ Gareth Edwards] never wanted to force anything that wasn't true. He's very much an actor's director, and it was loose.

That's where I'm comfortable - playing a jackass on the scene, rolling in with my pocket watch and my buffoon hairdo, with my shoes.

R2-D2 is like that, but I think because he doesn't speak actual words, his jokes don't land. It's really a hindrance. And the same with BB-8. But Artoo is a lot stronger.

Vince Vaughn is a master improviser.

C-3PO is flappable [in Star Wars]. [Kaytoo is] very unflappable compared to C-3PO, who is just flapping all over the place.

I like comedies, and my brain sort of spins in that direction. So I'm really happy to say there were several smartass comments that come from me [on Star Wars].

[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.

The wrinklier the raisin, the sweeter the fruit.

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.

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.

I'm not a big horror movie fan. I am afraid of them; they scare me.

What's casual for a robot isn't necessarily what's casual for a human.

I don't wear jewelry, as a man.

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.

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.

The reason I got into acting was the audience is right there and if you did something great they were right there and you knew it.

I trained as a stage actor and was given a lot of technical tools to play with.

I was going to be credited as Wray Nerely, my role in Con Man. It got cut in the reshoots. I was like, "Wait a second. I'm cut." It's a better telling of the story, but unfortunately, Wray Nerely gets cut, which is actually exactly right because if Wray Nerely was ever in Star Wars, he wouldn't make it to the final edit.

It's just like they approach things on every movie I've worked on, very much as if it was a live-action movie. The character you're playing, even though he's a rooster and is really stupid, you approach it in the same way you would approach Hamlet, which is exactly how I approached it. But they give you the circumstances. "You're on the boat. You didn't expect to be here. You just climbed in a boat to maybe sleep. You don't even know why you climbed in the boat. You're really that dumb.

This is reverent. This is Star Wars, damn it. You don't screw around with it. The things that were improv'd or added that developed on set weren't huge departures as far as storyline or anything like that goes. They just were clarifications in character or, at the best moments, they spoke to the moment in the story in a way that, at least with Kaytoo, tended to be funny.

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.

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.

Kaytoo [from the Star Wars] is more even-keeled. And he's a badass. He comes from the Empire, and he's a security droid. Some people call him an enforcer droid. He has the ability to enforce things. That was what he was built for. He's tall. He has an intimidating frame.

Going back was like a reunion for all the cast. We were all there. It was weird to have been away from it for a few months, and then, "Hey look, here we all are. I can still walk on these stilts. Wow, we all still fit in our costumes." It was nice to connect again, and then we went to Star Wars Celebration right after that. It's neat.

I've signed a few Kaytoo photos and things and a couple of action figures [on ComicCon], but really it's not that many.

I feel much more comfortable as an artist collaborating with others because I feel more mature.

I wrote and directed and acted in it and produced it, every job I have since that - and Star Wars included - I look at it completely different now. Now that I've seen how it gets made, I can appreciate the jobs that people are doing, and it's also become a different learning experience for me to work on things because I'm watching pros at the top of their field do their jobs and just picking up on their tricks and all of their expertise and stashing them away in my brain.

It's closer to just acting in a film because it was a six-month commitment. We got to fly all over the world.

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.

This movie [Moana] has a very small cast, and this was the role [Heihei] that they offered me. I loved voicing him.

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.

[Heihei] is stupidest chicken on planet Earth and mascot.

[Heihei] a really dumb rooster. You have to just turn the rooster so his head ends up hitting the grain. He's not smart enough to eat.

It's amazing how much actual chicken sounds lend themselves to stupidity.

I actually oddly have done another robot motion capture. I did Sonny in I, Robot.

Because I'm CGI, [John Swartz] gave me a role of an Imperial pilot in one scene, so I had a day where I was on camera dressed as a black suit and a little cap that they wear.

I feel like it'll change after the movie [Star Wars] comes out, if it does. It's really the other way around, surprisingly, as far as Con Man goes.

I haven't been to too many cons since Star Wars, and I don't think it's really going to change until it comes out.

[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 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.

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.

[I'm] a huge defender of clowns around the world.

[Clowns] gotten a really bad rap in the last few years. People have really given into their own fears and have celebrated their fears in that way. American Horror Story didn't help.

I definitely knew how to fly. That's something you don't forget. One spaceship is pretty much like another when it comes to flying.

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.

You do a film and you have hopes for it, and you read it, and you see it one way in your head, and you shoot it, and it'll always change from what you started out. Sometimes it turns out better, sometimes it turns out; I don't know, but as movies go I've never experienced seeing and likening what I've read, and I liked what I read.

I consider theater, this is a vacation for me from LA, I sort of view this as I get to have this vacation and during my vacation I get to work on acting. It's like an acting class. And if I go too long without doing a play, I just feel empty. Like approaching a role, I feel like the pool is very shallow, like I'm drawn from it. So I need to come back and do a play, fortunately I've been able to, every couple of years.