I grew up with Apocalypse Now and Badlands, so I had a real awe thing going.

You need someone to tell you how to do things like hitting your marks, or driving a car so it looks right or getting out of a car so it doesn't take a million years of screen time.

It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things.

There is many different paths of a career. I bounce around and do a lot of different things. It suited me that hopefully I am prepared to do different kinds of styles, genres, or whatever you want to call it.

You don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed. So a lot of that doesn't take place on television, at least the television I was doing at the time when I first started.

I still like to listen to the people that I came of age on.

If you're onstage and you're improvising and nothing's happening, people are racing for the door. But the director can go shopping later and pick up pieces and moments and insert them.