I definitely worked really hard to evoke Frankie Valli, but not do a strict imitation, because I feel that a strict imitation is not as compelling to watch.

It's funny - Frankie Valli's story and that advice that he was just getting from, you know, Christopher Walken's character, is very true for someone who's in a creative field.

It was a surprise to me and a happy accident that it was such a skill [natural falsetto] - a latent skill and that there was a way to exploit it. And it was a key to playing great role Frankie Valli in such a huge show.

I think one of the ways that these young singers got started is that they would end up in clubs. And a lot of them were mafia owned. And so there was almost an unspoken kind of mafia sponsorship, which is just a very interesting part of that area's music history.

But when you get to know a character so well, you start to have insights that you can't show because you're confined to your script of your hit show.

I think you couldn't do this role or you couldn't be Frankie Valli himself unless you had a natural falsetto. And I had sort of discovered it by accident as a child or a young adult when you realize you have a special skill that you don't really have any use for you, and you just take it out at parties or to amuse your friends or to annoy your girlfriends.

I approach the singing kind of like with dialect thoughts in my mind. I have to sound like this on certain things to give that Frankie Valli flavor.