#90. A Conversation with Sarah Hagan

Jason Anders: So let's talk about you career even before Freaks and Geeks, when you made your television debut on Ally McBeal; What do you remember about that experience, and do you remember what originally inspired you to be an actress?

Sarah Hagan: I actually booked Ally McBeal after I filmed the pilot for Freaks and Geeks. My mom had to work and I couldn't find a ride to the audition, so my manager had a limo pick me up and take me to it. It was kind of my manager to book the limo for me, but when I found out that was my ride I was really embarrassed and nervous about going. I was expecting this stretch limo to pick me up cause I just assumed that's what limo meant, but thank goodness it was just a town car size. When we got to the studio, instead of parking in the garage like everyone else, the driver dropped me off right in front of the stage door where the other girls were waiting. I remember trying to get out of the car before the driver had a chance to come around and open my door, but he was too quick for me. I waited with some other girls in the lobby for what seemed like forever.

For the audition, we had to sing a song like a couple of girls in their bedroom singing to their favorite song on the radio. From the lobby, we could hear a girl in her audition just belting out her song. Eventually she finished her audition and started heading to her car, and the casting director ran after her and brought her back into the room. I immediately thought I was doomed... this girl definitely got the part. She finally left a second time and so did four or five other people in the room... I'm guessing all producers. The casting director called me in and it was just her sitting in the chair for the audition. I sang "All My Life" by KC and JoJo and played the air guitar. A few days later I got the part. I was very surprised, but at least the limo wasn't for nothing!

There was nothing really that inspired me to want to become an actress. I mean, I always enjoyed watching movies and shows when I was growing up, but I never thought about working in movies and shows myself. I was an extremely shy kid and my mom thought that if she put me in musical theatre then it would help me come out of my shell. Well, I fell in love with it and that's the story. I get tremendous satisfaction from acting.

JA: Who inspires you now in the world of acting? Do you have a top three list for favorite actors?

SH: Hands down, Meryl Streep. She is absolutely amazing in every role she takes on. There is something about her that just demands your attention. I think it's her eyes, they are always watery and glistening. And it never looks like she is trying to act at all, even when the role requires her to imitate an actual person. Like when she played Julia Child... while watching that movie never once did I say, "That's Meryl Streep trying to act like Julia Child"...nope, she was Julia Child and that's amazing. She is just brilliant and engaging. I could just go on and on. I aspire to be as great as her one day. Johnny Depp is another great actor. He always brings so much depth to his characters, not generic at all.

JA: If you could star in any television show of the past, which role would you take on and why?

SH: This is a really tough question! I know this TV show is not of the past yet, but I would love to be on Mad Men. I think the writing is just great, and the characters all have so much going on, it's really an actors dream! I can't say what role I would take on because the show's not over and there are so many good characters that are continually being introduced. Arrested Development is another great show with awesome characters. It looked like it would have been a really fun show to have been a part of. When I was younger, everyone used to say I looked like Punky Brewster. That definitely would have been a fun character to play... very mischievous!

JA: One of my favorite television shows ever is Freaks and Geeks- I'm sure you've been asked every question there is about the show already, but what are just your fondest memories of being involved with the series and working with the cast and creators? Are there specific moments or stories that come to mind which are defining for
you during that time?

SH: Being a part of Freaks and Geeks was amazing, it was my first experience of being a part of a television show. Everyone was so fresh and equally excited about the show and being a part of it. We would have table reads before most episodes, so the writers could hear the actors say the lines... they gave the actors a lot of opportunity to give their input on their characters and what they would say or do. I remember when we did the table read for the episode "Kim Kelly Is My Friend", Millie was talking to Lindsay about what she has heard about Kim Kelly. Millie says the line, "She fornicates." I remember reading it and thinking, "What? She fornicates what? The sentence doesn't make any sense." So, during the table read when it was time for me to say that line, I said, "She fornicates it." And they ended up keeping it that way. Needless to say, we were given a lot of freedom.

For the improv group during the assembly of the "Beers and Weirs" episode, we were given lines, but Jake Kasdan, who was the director for that episode, let us actors do a lot of our own improv as well for the scene. I was fifteen at the time, so I was required to do three hours of school on set every day I worked. John Daley and Martin Starr were also in the school trailer with me, and every once in a while I would see Seth Rogen sitting on the couch in the trailer doing some kind of school work... or at least acting like it. I remember there were two studio teachers and eventually one of them was assigned specifically to Martin because he was constantly disappearing. He needed special attention. He hated having to be in that school trailer, it was entertaining for me! John Daley and I used to ride around the backlot on our razor scooters. They had just come out at the time, and were really popular.

In fact, that was my first purchase with my Freaks and Geeks money. It cost 100 bucks, I think you can get them for like 20 bucks now. We would play follow the leader on them! Fun times! For Christmas, we did secret santa's. Every one picked a name and exchanged gifts on a certain day. I got Linda Cardellini's name and made a whole gift basket for her that included a pack of Uno cards! And crazy enough, she got my name! She gave me a shirt that said, "I love Tommy". It was a Tommy Hilfiger shirt... and, embarrassingly, I realized what it meant just a couple of years ago... it was a reference to Millie's boyfriend, Tommy. I have a lot of other great memories from that show. Everyone was so wonderful to work with and so talented!

JA: Which is your favorite episode of Freaks and Geeks?

SH: There are a lot of great episodes of Freaks and Geeks. I really like the pilot episode. The dodgeball scene is awesome! The slow-mo shot of Bill getting hit with the ball is priceless! I remember playing dodgeball in school and being scared to get hit by the ball and not wanting to get out because it would be embarrassing. I also really like the scene where Bill, Neil, and Colin fight Alan. The music is perfect when they are walking up the street. I love the homecoming dance. It is just a very heartwarming and an uncomfortably wonderful episode!

JA: Speaking of cult television shows, you were in the seventh and final season of Buffy the Vampire Slayer for ten episodes- I'd like to ask the same question as before about working on this series, what are your fondest memories of being involved and working alongside the other cast members?

SH: Buffy was different than what I had previously worked on. There was a lot of action going on, which was fun! We had to work with a stunt coordinator before fighting scenes to make sure we had our choreography down because if you didn't duck low enough, or if you threw the wrong punch, then you could get hurt. Whenever there were stunt scenes going on I would see a girl walking around dressed like my character and wearing a wig to match my hair... it was weird. It freaked me out the first time I saw my stunt double.

The sets were amazing on Buffy. They built this huge underground tunnel on the stage. And a big underground cliff that looked down to a whole other world that they had to CGI in. So, there was this huge blue screen that they would use to comp in hundreds of ubervamps that the slayers were going into battle with. Before we shot the scene, we got to watch a sample of what the blue screen was actually going to be, that was really cool. Buffy was just much more elaborate and epic than anything I had ever worked on before, it was an awesome experience! I learned how to knit on the set. Alyson Hannigan and Sarah Michelle would knit in between set-ups and scenes. Eventually most of the potential slayers learned how to knit, and the make-up/hair crew too. It was a huge knit-fest on set! It was great because I was a newbie- so at any time I needed help, it was there!

JA: What are your favorite movies of all time?

SH: I absolutely love One Flew Over the Cuckoo's Nest. All the characters are so dynamic and interesting. I like the scenes where the patients are in group therapy or all hanging out together...it's hilarious. My Girl is a really fun movie to watch and sad. I think it was the first time I cried during a movie, it was just so sad when Macaulay Culkin's character died. A more recent movie that is a favorite of mine is There Will Be Blood. The imagery, writing, and acting is just awesome. I can watch it over and over again and still find new things that I didn't notice before. Daniel Day Lewis is remarkable in that role. Him and Paul Dano are so interesting to watch together.

JA: If you had to pick three adjectives that best describe you, which words would you select?

SH: Creative, Loving, and Passionate.

JA: What is the best piece of advice you have either received or given involving a career in the entertainment industry?

SH: Well, when I was younger, my parents would always tell me to not give up if I really loved it. They said that I wouldn't get every role that I would audition for, but that there would always be new opportunities. Just keep your head up and keep going. So that's what I've done! If I were to give advice, it would be to only have a career in the entertainment industry if you really love it, if you can't see yourself doing anything else. Because this industry is harsh and unpredictable. I think I've heard this and given this advice, but patience is key. You have to be extremely patient in this industry because sometimes you will work all the time and sometimes it will be a year or so before your next job. So stay patient and strong-willed!

JA: What is your favorite thing to do when you're not working?

SH: I enjoy painting and drawing! I haven't done it a whole lot, but I've been doing it a lot more lately because I went back to school last fall to study studio arts. I've been taking sculpture classes and ceramics, as well as painting and drawing. I'm having a blast with it! I also enjoy hiking. My boyfriend, Clay, and I like to find new trails to explore. We take my 8 lb. chihuahua, Chloe, and she just loves it. Every lizard she sees, she goes darting after it. One time, we took her on what turned into being a nine mile hike, and we could definitely see her slowing down towards the last mile, but she didn't give up. The next couple of days after that she was feeling it. We would ask her to go for a walk, and usually she would jump around in circles and get really excited, but instead she would slowly get up and walk to the door. She was a little sore.

JA: If you had to sum up your life so far with just one word, which would it be?

SH: Wavelike.

#89. A Conversation with Stephen DeStefano

"Can you imagine if you walked into a studio today and no one had ever heard of Popeye, and you said- I've got a great new character! He's 75 years old, has swollen wrists, he's a chain-smoker, he's bald, he has a butt for a chin, and he beats the crap out of everybody... even his girlfriend. But when he beats up his girlfriend it's only by accident. Will you buy it from me?"

-John Kricfalusi

That is probably my favorite quote about Popeye the Sailor because it really sums up a few of my favorite elements that has made the character survive since he first appeared in the Thimble Theatre on January 17, 1929. It's something rare- a brutally hilarious cartoon that has finally received the treatment it deserves with the Warner Home Video release of shorts ranging from 1933 to 1943. The DVDs were released some time ago, but that doesn't mean it can't be revisited- In fact, the following "popumentary" is with Stephen DeStefano, the artist who created all the box art for release. So sit back, relax, and crack open a can of spinach as we discuss the the original character to blow you down.

Jason Anders: First off, tell me how you got involved with creating the box art for the Warner Home Video release of Popeye the Sailor theatrical shorts, and also about the challenges and creative aspects of designing the artwork for other releases with this series.

Stephen DeStefano: I've been drawing Popeye for King Features licensing a little over twenty years now. My drawings of the character have graced everything from t-shirts and coffee mugs, to billboards in Times Square.

If I remember correctly, the majority of drawings used for the first two volumes of the Warner released DVDs were from older style guides I'd designed for King Features, meaning I think I only did one new drawing for Warner Home Video. The third volume featured all new art by me (from layouts by my friend and super-talented graphic designer Jeff Schulz), and that was quite a treat, because I got to draw Popeye in his Navy whites. Because of legal issues and questions of ownership, I almost never got to draw Popeye as he appeared in animated cartoons post 1940.

Or at least, almost never- I did draw all new art for Warner's DVD release of the 1970's Hanna Barbera cartoons, again from layouts by designer Jeff Schulz. That was a little odd, because while the character designs somewhat resembled the Popeye comic strip of the era, they also had a very distinct H&B feeling to them as well.

JA: Let's talk first about the Popeye comic strips and the character development- what are your thoughts about Segar as an artist, and how do you think the quality of the comics held up after his death in 1938? Also, what stands out most to you in Segar's work?

SD: Segar is one of my three favorite cartoonists of all time. He may have had limitations as a draftsman, but I hardly think that matters- He knew what to draw and how to draw it for the story he wanted to tell. And he told stories beautifully. Segar's drawings are instantly funny- Just to look at them, without reading a balloon, is nearly laugh-inducing. His storytelling is straightforward and always clear. His action scenes are some of the most intense, violent, and breathtaking in comics history. His characterization is flawless, and on occasion, I find his narratives as close to poetry as any creator has ever gotten in comics.
If I had to note only one thing that stands out about Segar's work, I'd say this: I find his Popeye strips to be the funniest comics I've ever read. I don't laugh out loud when reading comics. Never. Except when I read Segar's Popeye. Following in the wake of genius is never easy, but I do believe there were some good Popeye comics created after Segar's death. Bud Sagendorf was, in my opinion, an exceptionally worthy successor, and I think some of the comics he created for Dell are absolutely brilliant. I also enjoy some of Tom Sim and Bela Zaboly's (the men who were given the Popeye strip after Segar's death) strips as well.
JA: Do you think that the personalities and stories in Popeye would ever work in a cartoon today?

SD: I think they would, and in some sense, I think they still do. The personalities are timeless- It's the trappings, the costumes, and the settings that are perhaps dated. In the 1930's, a sailor's life was considered an adventurous life. Thin spinsters with their hair in tight buns were more prominent, and easily satirized. But the idea of the little fellow with the secret super strength, the guy that stands up to the bully but looks absurd doing it- I'm sure we could point to any number of today's cartoons and see those motifs.
JA: What are your favorite Fleischer Popeye shorts? Give me some commentary on your favorites on what made them stand out to you.

SD: One of my absolute favorites is the bullfighting cartoon, where Popeye insists he "ain't gonna fight no bull!", which I think is hilarious. I love Goonland, and the first Jeep cartoon. I really like the cartoon where Wimpy's an organ grinder. Easily, three of my favorite Fleischer Popeyes are the color two reelers. I think the Popeye the Sailor Meets Sinbad the Sailor, Popeye the Sailor Meets Ali Baba's Forty Thieves and Popeye the Sailor Meets Aladdin and His Wonderful Lamp are near perfect as cartoons, as well as terrific examples of Popeye onscreen.

JA: What are your thoughts on the Famous Studios Popeye films, and give some specific examples of shorts from this period and why they worked or didn't work.

SD: I think Famous Studios created some very serviceable cartoons. They were handsomely produced, slick looking and well animated. I liked them as a kid, although they always paled next to a Fleischer cartoon. They simply weren't as funny. To some degree, I think the Famous producers can be cut some slack, as the Popeye gimmick that was set up by the Fleischer- the Olive/Popeye/Bluto love triangle, the reliance on spinach as the way to end every film- was bound to get tired, and in fact started to wear out for the Fleischers themselves. Famous Studios ran with the gimmick, but unfortunately ran it into the ground.

JA: Let's talk about the 1980 Robert Altman Popeye film- if you were a film critic sitting down to write a review for this picture, what would you say about it?

SD: It's funny, one of my very favorite film directors is Robert Altman, but Popeye is one film of his I really don't care for. Perhaps I should see it again, it's been a while since I've last viewed it. Some of the scenes that I can recall appear to have charm. I remember thinking Shelly Duvall was well cast as Olive, and quite good in the role, but I was never much of a Robin Williams fan, so that nearly sunk it for me right away. I just remember feeling very distracted as I watched it, and felt like the songs were embarrassing (despite being a fan of the composer, Harry Nillson). I recall one of the biggest things that pissed me off about the film is that Popeye spends nearly three-quarters of it in a white shirt. Sometimes I feel I ain't looking at the character unless he's wearing a black shirt!

JA: Did you have any Popeye toys growing up?

SD: Oh man! Several! The one I absolutely wish I still had was my Popeye water gun. For some reason, that remains a big deal in my mind. Maybe it's because my best friend got one first, and I was immediately promised I'd get one too, but it took several days for that promise to be fulfilled. The agony of waiting for my Popeye water gun!

JA: What are a few technical aspects of the art in the Fleischer shorts that surpass even today's animation?

SD: What I think is missing from today's cartoons, and what the Fleischer animators excelled at, is staging. Fleischer compositions were always beautiful and elegant. Characters had ample space around them so that they'd read instantly, and the backgrounds always complimented the characters (while creating tremendous amounts of depth, and being beautiful to look at). Action always comes across with real clarity to me in a Popeye cartoon. I know the modern sensibility for cartoon action is to show extreme angles, and have elements large and in your face, but that stuff is meaningless to me. Perhaps I'm old fashioned, but I much prefer the simplicity of the openness of the Fleischer canvas.

JA: How do you feel the re-issuing of the films by Warner Bros. was handled, and is there anything you would have done differently?

SD: No, I was quite pleased with how Warners handled the DVDs. I don't believe all of the Popeye cartoons have been released yet, and I thought that was the plan, so I only hope they go ahead and come out with a new set soon.

JA: Share your thoughts on the music of Popeye from the Fleischer period, and how their music compared to other studios such as Disney.

SD: My thoughts about the Fleischer music is that I like it! Not much more I have to say beyond that.

JA: Tell me about your upcoming graphic novel, and also, was there any influence from any of the work mentioned above?

SD: Popeye, Segar and the Fleischer Studio are a huge influence on all of my work. Partly because, having drawn the character for almost 25 years for King licensing, Popeye's look has permanently creeped into my personal style, and partly because I have such love and respect for the character.

My novel, Lucky In Love, which I co-created with writer George Chieffet, is set in the urban landscape of Hoboken, New Jersey, between the year 1942 to the present- So right off the bat the setting has that feeling for the city that the Fleischers portrayed so well in their cartoons. Our book is in black and white, although it will be printed in a dark brown and tan palette, and I strove while drawing it to attain that depth and atmosphere that were Fleischer hallmarks. It's a serious novel, telling the story of one man's relationship with the Hollywood dream. We follow the title character Lucky from his teenage years, to his time in the Pacific during WWII, and then his personal triumphs and tragedies in his post-war life. Despite the occasionally serious tone of our story, I drew it in a very traditional cartooning style, reminiscent of Popeye, but also other classic strips, like DeBeck's Barney Google, Chic Young's Blondie, and the work of Milt Gross. I've always liked the idea of combining a serious story with the look of a classic Sunday newspaper strip, and I felt like Lucky was my opportunity to do it.
I tried to remain extremely conscious as I was drawing layouts for the book, to stage things with absolute clarity and space, and again, this goes back to what I've learned from watching Fleischer cartoons. The book has lots of action in it (Lucky himself always seems to be running and jumping), which George attributes to my experience working in animated cartoons. Hopefully, any fan of Popeye or the Fleischer Studio will find themselves enjoying Lucky In Love!

Visit Stephen DeStefano's site here!
Also visit the Popeye Animators blog here!

#88. A Conversation with Samm Levine

Jason Anders: What is the most annoying question you're asked on a regular basis?

Samm Levine: I get asked a lot of the same questions, but I don't consider any of them annoying. A lot of people ask if I still keep in touch with the gang from Freaks and Geeks. That seems to be a pretty popular question.

JA: And what is your response to that question?

SL: I see John Daley all the time. He and I have been very close friends since we did the show, and the rest of the gang I see occasionally. We're all still very friendly with one another.

JA: Who are your favorite performers? Do you have a top three list of your favorite actors?

SL: There is an ever-changing answer to that question- Gary Oldman is always in the top three, I just think he is the finest actor of his generation and it's absolutely criminal that he doesn't have ten Oscars. You've gotta love Pacino. I've always loved Jeff Bridges. Edward Norton is a fine actor.

JA: Which is your favorite character that Gary Oldman played?

SL: I would say his character Drexel in True Romance. Do you remember that? I think that might have been the first movie I saw him in without realizing it was Gary Oldman, and then I saw him in something else and was like "wait, why does that guy look familiar?" I went back and was shocked to realize it was the same actor. I just said "holy crap, this guy is good!"

JA: I love that movie. You know what bothers me about it, though? Samuel L. Jackson's name is in the opening credits, and he appears onscreen for maybe five seconds.

SL: Well you know I'm in the opening credits for Inglorious Basterds, but how long am I onscreen? He might have shot a lot more than you saw.
JA: Did you shoot a lot more in Inglorious Basterds than we saw?

SL: Oh boy, did I! Oh yeah. Most of my scenes ended up on the cutting room floor. Most of the Basterd's stuff ended up on the cutting room floor, there was just so much of it- Quentin just had so many great scenes that he shot for this movie, and I'm sure it was like Sophie's Choice for him cutting it down. All in all, I was thrilled with how the movie turned out. I loved the movie. Obviously I wish more of the Basterd's stuff would have stayed in it, but I don't think I would change anything about the finished cut of this project.

JA: What was your experience like working with Quentin Tarantino? Were you geeking out the whole time?

SL: I kept my geek-outs confined to about the first two days. Working with Quentin was a dream come true for me- I've been a hardcore fan of his since Reservoir Dogs. In fact, a couple friends of mine dug up old interviews that I had done from ten years earlier- When I was asked about my career goals and who I wanted to work with, I apparently responded many times with, "I wanna work on whatever Quentin Tarantino is working on." So it was something I really wished would come to fruition, and it did.
He is everything you would expect him to be on the set. He is a mad genius. There were no problems that came up which he couldn't immediately figure out how to work past. He has such a creative vision when he is creating these characters, worlds, and scenes. Each scene in that movie stands in its own perfect little vignette, and watching him craft them is something I will treasure.

JA: Have you had other experiences where you were able to work with an actor or director whom you've always admired?

SL: That's a good question. I've certainly had high levels of admiration for a lot of the people I've gotten to work with. I've always loved Bill Paxton and thought he's a fantastic actor- I love him because he's one of those guys who does comedy as well as he does drama, and so it was a lot of fun for me when I got to work with him on a movie called Club Dread. Also Brad Pitt in Basterds- I mean, come on! Who doesn't love Brad Pitt?

Quentin does jump out as the front-runner there because of the impact he's had on me as an artist, and as a fan.

JA: Was it bizarre working alongside Biff Tannen in Freaks and Geeks?

SL: Now there's a guy who I bothered! Tom Wilson, who played Coach Fredricks, is the nicest guy in the world... completely different from Biff. We were doing the pilot and I started asking him questions about Back to the Future, and he was totally polite and answered all of them- But then the show gets picked up, and now he has to see me pretty much every day. I was just like, "Tell me about this scene, tell me about that scene. Why did this happen, why did that happen?"

He totally went with me for at least the first week or two, and then we got into about September of 1999 and he says to me, "You know what, Samm? Here's what I want you to do- I want you to go home and write down all the questions you think you have about Back to the Future, because come January 1st, 2000, I'm declaring a moratorium between you and me on discussing it. It will have been fifteen years that the movie has been out, so get all your questions in before the millennium... because after that, we're done."

JA: Did you actually prepare a list?

SL: I didn't make an actual list, but I did make sure and get all my pressing questions in before the deadline.
JA: Did a response from him stand out to you as anything you didn't already know about Back to the Future?

SL: Actually, no. (laughs) Being the intense fanboy, I already knew the answers to all the questions I had. But it was great to get to talk to him about all that- Just what a great experience it was for him, and how much I loved all of those movies growing up. I've often said that when it comes to me with film and television, I've always considered myself a fan first. It would be wrong of me to tell you I became an actor just because I wanted to, because that's not true- I wanted to become an actor because of all the wonderful acting, direction, and character work I watched growing up. I never wanted to lose that "fan" aspect and the admiration I have for the stuff that inspired me.

JA: So what were your favorite films growing up?

SL: Well I was a weird kid, so I liked A Clockwork Orange a lot. I really liked Stanley Kubrick. I was also a huge Marx Brothers fan. Of all the Marx Brothers movies that I watched, Animal Crackers was probably my favorite. Also Kurt Russell in Escape from New York- I thought that was the best futuristic action movie. What I love about that movie is that it came out in 1981 and it takes place in 1997- the future is now. You just look at stuff like that within the past ten years and have to laugh.

JA: So was it your idea to dress up as Groucho Marx on Freaks and Geeks?

SL: I have to believe that idea came out of me having a conversation with Judd Apatow or Paul Feig about me being a Marx Brothers fan. They based so many of the stories and little bits on that show on the actor's real lives. A perfect example is that my father on the show, played by Sam McMurray, was a dentist. In real life, my father is a dentist. They didn't know that until my father came to visit me on the set one day, and after I introduced them they made Neil's dad a dentist.

JA: That's awesome. Does your dad have the same license tag?

SL: He does not have the "IFLOSSEM" license tag, no. Nor has he ever been unfaithful to my mother, I'm happy to say.

JA: Okay- Forgetting every project you've worked on, if you could take on the role of any character in the history of television, which would it be and why?

SL: Chandler Bing on Friends. How easy was that question? You thought I'd be humming and hoeing over that question for ten minutes. Nope! That was it.

Matthew Perry as Chandler on Friends was a huge influence on me as a young man with my sense of comedic timing and delivery. There's no doubt that there was a period of at least a year where everything that I said sounded as if it were coming out of Chandler's mouth. I'm sure it was very annoying to my friends and family. I'm happy to say that I've moved past that phase, but certain aspects of it stayed with me. Any time that I have ever done any work on sitcoms where I have to be a quirky, offbeat, sarcastic character... it's me doing some variation of Chandler.

JA: Have you ever had the chance to tell him that?

SL: I have- I've met Matt a number of times and am happy to say I know him now. I've played poker with him a couple of times. He's a very funny, very nice guy.

JA: I'm going to go down a short list of projects you've worked on, and I just want you to give me the first thought that comes to mind when you hear it mentioned- Starting with Wet Hot American Summer.

SL: That was more or less an afterthought- I had nothing to do with the actual production of the film, that was David Wain calling me during post-production saying, "Hey, I hired the wrong kid. Can you come in and help me?" And I said "of course." I've always loved David Wain and The State, so I was very pleased to be a tiny, but fun, part of that project.

JA: Spin City.

SL: I loved playing young Richard Kind. Everyone in the poker world of Los Angeles has a Richard Kind impression. Everyone. So to actually get to play Richard on camera was a hoot for me.

JA: Did you spend any time around him prepping for that role?

SL: They sent me a bunch of tapes with episodes that centered around him, and I had met him previous to working on the show, (in a Richard Kind voice) "Wait. Wait a minute. You're telling me... that you... are gonna be playing me? Well this is great." And so on and so forth.

JA: Just Shoot Me.

SL: The best ensemble cast in comedy I've ever worked with, hands down. I can't give you specifics, because there was no weak link in that cast. They were such a well-oiled machine. Everyone in that cast had their beats and rhythms down perfectly. The writing on that show was so sharp. There was a wonderful mix of the writing matching up with spectacular actors and great direction. Pam Fryman directed the bulk of that series, and she is one of the best sitcom directors I have ever worked with.

JA: Undeclared.

SL: That was my first chance at playing a very different role from anything else I've played. I got to be the bad guy for the first time, and man did I have fun! I think Judd knew how much fun I was going to have, and they wrote a really great part for me. Working on that is what led me to being in Club Dread, because my episodes of Undeclared were directed by Jay Chandrasekhar... member of Broken Lizard, and director of Super Troopers and Club Dread. That was great fun.

JA: How I Met Your Mother.

SL: The producers of How I Met Your Mother are huge Freaks and Geeks fans. If you can believe this, I originally read for the role of Barney. I'm thrilled they didn't go with me, because I think that is definitely the best role for Neil Patrick Harris in his post-Doogie Howser, M.D. career. Since they are fans, Martin Starr and Busy Philipps have also been on the show.

They were in their first season when they asked me to come on, and when a show is in its first season everyone assumes they are about to get canceled. Anything they really want to do, they try and do in that season while they still have a studio willing to spend money on them. It was cool because I got to see my old pal Jason Segal, and Pam Fryman ended up being the director of that episode- So it was a wonderful reunion in a lot of ways for me.

JA: And finally, thoughts from being on Lost.

SL: That was a six-year dream in the making coming true for me. I've known Damon Lindelof, co-creator of Lost, for about ten years now- He's a wonderful, sweet Jewish boy from New Jersey... just like I am. We used to play poker at his house, and I came over early and he showed me the first hour of the two-hour pilot- I was riveted. When the game ended I made him stay up late and watch the second hour with me, because I couldn't leave until I'd seen the rest of it. From that moment on I was hooked, and it was my favorite show.

For six years Damon had been swearing that he was going to write me a part into the show. Because of story changes and the network it didn't work out. When it was winding down and the end episodes were coming I sent him an email saying, "What's the deal here? After six years and a ten year friendship you're going to let me down? I don't buy it." After that he called me and said that they wrote me a goofy little thing. I told them I didn't care if it was just one line, I'd do it. I loved the show that much. That was the most fun I've ever had filming a guest role, just because of how much that show meant to me as a fan.

JA: If you had to describe yourself using three words, which would you choose?

SL: What is this? A personality profile test? I don't know! Would "lazy" be one? You're putting me in a position where I either have to be funny and give you stupid answers, or try to be humble and not give ridiculous answers.

JA: It's the fork in the road.

SL: Yeah, this is tough! Introspective, curious, and skeptical.

JA: If you could live in any decade, which would you pick and why?

SL: I think about that all the time, and here's my question- Do I have the knowledge of what I know now living in a previous decade? Or am I just in that decade thinking that's as good as it's gonna get? I'll tell you what, I will give you both answers; Knowing what I know now, I would probably live in the 1950s. There would have been an opportunity to make a lot of money, and people say now who lived through the 1950s that it was the best decade in the past century. We weren't really at war, with the exception of Korea... but that wasn't as bloody as the others. The economy was booming, rock and roll was born... it just would have been a spectacular time to be alive, especially knowing what I know now.

Not knowing what I know now, if I could have been alive in any decade it probably would have been the 1970s... strictly for one reason only: Led Zeppelin. If I could have been there when Zeppelin was being discovered by Americans, and they had albums coming out every year, that would have been a nice time to be alive.
JA: Do you have a favorite Zeppelin album?

SL: Absolutely! I'm the weird guy. Led Zeppelin III is my favorite album. Widely considered to be their worst album, it's my favorite.

JA: I love Led Zeppelin III, I would nominate Presence as their worst album- would you agree or disagree?

SL: I don't think so. Can we count Coda? Does that really count as a Zeppelin album, at least after Bonham's death? It's hard for me to say what I consider to be their worst album, that's like a parent picking their least favorite child. It's hard for me to say which one I don't like the most. I have often said that Plant and Page have never put out a bad song.

JA: And the final question- What projects do you have coming up that we can be looking forward to?

SL: I'm happy to say that web series are finally starting to get to the quality of production that people have wanted for a long time, and I have one series now called Vamped Out. It's a very funny show directed by Kevin Pollak, and we're going to start shooting a second season at the end of this month. There's also another web series called Held Up by Randy & Jason Sklar, two very funny guys. I worked on a film called Columbus Circle with the steady cast of Kevin Pollak, Jason Lee, Selma Blair, Amy Smart, Beau Bridges, and Giovanni Ribisi.

JA: Well thank you so much for doing this interview- I'm sure we could easily turn it into a three hour conversation.

SL: I'm sure we could have, you've asked some very interesting questions. It's been my pleasure.

Visit Samm Levine's Twitter