One of my favorite things in watching an actor is feeling, The story is safe in your hands. I can lean back and trust you with this.
The biggest thing about growing up in Canada is you know that Los Angeles and New York are not the only places in the world. They're not the only places where brilliant acting happens.
I think a lot of people try to plan things in their career. They feel like, If I don't get this done by the time I'm thirty, everything's over. But I've worked with a lot of people whose careers shot to the top later in life.
The biggest thing I've noticed with some of my favorite directors is their gift of sticking a bunch of strangers in a room together and making them comfortable and making them into a cohesive group. There's magic involved, because you don't know why anybody would pick this group of people.
Well, it's sort of funny to try and get that balance between just accepting the reality of my friend [co-star Satya Bhabha] flying in from the ceiling of the theatre and like starting to do a dance with demon hipster chicks. It's like, so how do we react when he throws fireballs? Are we surprised? Does this happen a lot?
I can't even vote in America!
One thing that has gone away from civil discussion in America is this idea that our neighbors are not out to ruin the world. We need to come at it from a civil place.
When you're in film and you're in close, charisma in the eyes and confidence can take over. But when someone's sitting twenty rows back, you need the whole body. You need to be encompassed by an actor.
The boys have been running Washington for a long-ass time. We're talking 200-some-odd years.
The script is a bible and it's this unchangeable document that somebody spent years and years on.
But it's been funny to try and carry the through line, but I think the main thing is the relationship that the band has because we have spent now all this time together that I think that's sort of what we returning to. And whenever we get to play together, it still sort of returns to that little shitty rehearsal space. So that's good.
Okay, I get kicked off the drums when I try and...the notes just keep coming at you and I'm like "Ahhhhh!" I can't do it. I have literally gotten booed off the stage way too many times. It's terrorizing. The rest of my band mates just are...they tell me to get off. I'm like, "I can play bass. Dunk, dunk, dunk, dunk."
And so getting to meet Aubrey Plaza and Mae Whitman and getting to know two awesome girls who are just kick-ass. It's been nice that way where we probably wouldn't have worked together on any other crazy project. And just like you know Chris Evans teaching us all the high-five because he's dealing with like non-jocks (laughter) and we're like yeah!
One of the great things about this cast is that we've been able to take actors of relatively the same age group that would never usually meet. You know, like bridging the comedy/drama world that for some reason casting directors never really want to bridge or you get into one community and that's kind of it.
The best thing about serial drama - especially about screwball comedy - is blocked love.
