As long as I keep getting cast, I don't care if it's typecast.

I went from 220 pounds that I cut down for 'Moneyball' to almost 270-280 pounds for 'Ten Year.'

You get to a point where you have to start planning, when you cross that line where you have enough value to get someone's movie made if you attach yourself to it, you have to be very thoughtful and have to plan. When you're starting out, you're willing to do anything.

If one day someone came up to me and was like, 'Look, you're never going to act again,' I don't know what I would do.

Most of the writers in TV are from L.A. or New York, and those are places where people are cynical and snarky. And they fly from L.A. to New York in an airplane over this vast, expansive land where people aren't snarky; they're a lot more like the Parks and Recreation characters.

I was confident and in good shape when I first came to L.A. but nobody would cast me in any well written roles. People assumed based on my looks I was an asshole and a one trick pony. They never let me improv or do comedy. It wasn't until I built a shlubby exterior, which stood in stark contrast to my inner confidence that people gave me room to play.

'Ten Year' was probably - I might say 'Ten Year' was my favorite filming experience of anything I ever worked on. It was totally different from 'Moneyball' in that it was a small budget, independent movie. It had a giant ensemble of actors, all of whom were basically working for free.