wingman wednesday

The new crime mockumentary “American Vandal” debuts tomorrow on Netflix, and if the early buzz surrounding the series is any indication, you’ll be discussing it in depth around the water cooler, just like you did with “Making a Murderer,” one of the very shows it satirizes.

Tyler Alvarez stars as the primary P.I. (preadult investigator), a high school student who is trying to unravel the mystery surrounding a series of phallic faculty attacks. With a fellow classmate expelled, accused of spray-painting penises on the vehicles of staff, Alvarez dives deep into the crime, peeling back the layers to reveal that there’s more to the scandal than meets the eye.

Alvarez, who has previously starred in “Orange is the New Black,” and the Nickelodeon series “Every Witch Way,” is prepared for what “American Vandal” could do to for not only his career, but inadvertently, to his private life as well, though he knows there’s no guarantees in the business of Hollywood.

We recently sat down with the Bronx native to discuss the process of shooting “American Vandal,” why he thinks it works so well, and the weirdness of aging beyond his teens.

TrunkSpace: Your new Netflix series “American Vandal” is due out tomorrow. Are you pumped for it to be released and to see how it is received or do you kind of separate yourself from things once you wrap a project?
Alvarez: I’m really excited about the release. I try my best not to read the comments online and read reviews and stuff like that, because sometimes it can become addicting and consuming. So, I try my best to steer clear of it. I kind of try to get my information from other people. I try not to read it myself, though, because it can get a little consuming.

TrunkSpace: With it being an eight episode run and with how it’s all being rolled out at once, does it feel a bit more like a movie than a series in terms of the experience?
Alvarez: You know, we shot completely out of order, and since it’s a documentary, we cut back and we use the same scene eight different times throughout the entire series. It doesn’t feel like making a movie because of how fast we move. We filmed it pretty fast. The longest process, definitely, was the voiceover, the narration, because I narrate the entire series. My character tells the story. You see the story through my eyes. That was probably the most time consuming portion of it because it was so detailed and such a large portion of this project is told that way, so it took the most time.

TrunkSpace: Did you have to wait until it was all cut together before you did your voiceover portion?
Alvarez: Yeah, they would cut the episodes together as a rough cut, and then they would send it to me and I would be able to watch it. So, I’ve already seen the entire show, I just haven’t seen it fine-tuned and edited to a tee.

TrunkSpace: That must be an interesting process because you’ve technically walked away from the project as your character Peter, only to return to it from a different perspective?
Alvarez: Yeah. I’m narrating from a completely different perspective from when I was filming it. And, you know, as it plays in the script, it’s almost as if I narrated the episode, I filmed that episode, edited it, then I narrated it, and then I went out to film the next episode. So, I constantly had to check in on my point of view and where I was in the story, which can get a little confusing with a crime story and me as the investigator. I have to know every single detail about every single person. I really committed myself to learning and knowing everything. It was difficult to play, but it was so much fun.

TrunkSpace: It sounds like it was almost a project within a project.
Alvarez: It really was.

TrunkSpace: So, for you, in terms of your career, do you view this project as entering a new stage where you’re tackling more mature content?
Alvarez: Yeah, I do. You know, I worked with Nickelodeon as a kid… and I’m still a kid. I mean, I’m turning 20 next month. That’s a little weird. I’m no longer a teenager.

TrunkSpace: Wait until you turn 40! That’s where it gets really weird!
Alvarez: (Laughter) No, I know, I’m going to be saying that before I even know it.

But, yeah, it does. I’m really invested in doing stuff that I’m passionate about, and so doing that creatively sets a fire in my soul. I feel like this is one of the first times that I’ve worked on something where I’m really invested and proud of the art that I was making, and I really felt that I was creating something unique. I was also on “Orange is the New Black,” so that was kind of a venture also into the direction that I want to head in, but I’m a series recurring on that, so I’m not as prominent. This, where I’m the series lead, it really establishes my footing in this sort of direction.

TrunkSpace: And as far as concepts go, “American Vandal” is both unique and yet still recognizable because it satirizes some of what Netflix has already had great success with.
Alvarez: Oh yeah. I think once everyone sees it, they’re going to be like, “How didn’t we not think of this before?” Our creators, Dan (Perrault) and Tony (Yacenda), they really struck while the iron was hot with this one, and I’m really fortunate to be a part of that vision.

It’s so specific with the satire and how it’s satirizing “Making a Murderer,” and a lot of it also resembles “Serial.” But you also don’t necessarily need to know what exactly we’re satirizing to understand it and appreciate the show. It’s a comedy, but it’s just as compelling and interesting as it is funny, and I think that’s something that, when I read the scripts, I was really excited about. We weren’t pushing for jokes, you know? Everything is really planned out. As a writer or a director, I would never be able to put this thing together in my head. It’s so intricate. I would have gone crazy. I’m happy that I just got to see what it was and then memorize what I have to know. (Laughter)

TrunkSpace: We know you mentioned that you stay away from reviews and what’s being written about the show, but we saw one that said it was, “One of the best things Netflix has ever done.” Given the track record of Netflix, that’s high praise.
Alvarez: Yeah. I saw that also. I wouldn’t have seen that, but my director and my agents were like, “Did you see this?” They texted it and I was like, “No, don’t show this to me!” (Laughter)

See, I try my best, but it’s really hard.

TrunkSpace: With so many devices in our lives, it’s getting harder and harder not to pay attention to the stuff we’re trying to not pay attention to.
Alvarez: I really try to limit myself to Instagram with social media. I try to be like, “Okay, I’ll look through my Tweets and my captions and I’ll post a photo one time a day,” but that one time a day turns into like four times a day. But, again, I try.

TrunkSpace: By the end of the day tomorrow, people could have easily consumed all eight episodes and in doing so, your life could completely change overnight. Is that something you think about?
Alvarez: You know, that’s exciting, but something that I’ve been learning in my young adult life is that nothing’s guaranteed. So, I’m letting that be a possibility, but not getting attached to the end result. It’s definitely a possibility, and that would be awesome and also difficult at the same time, I think. Being in the public eye could also be very difficult, especially at a young age when you’re trying to figure things out. Life’s unpredictable.

TrunkSpace: It’s always said, don’t plan life to go one way because it will inevitably go the other way on you.
Alvarez: Always! I used to think that I was in control of everything. I thought that if I did A, B, and C, that D would happen, but I’m starting to realize you can do A, B, and C, and that’s just what you can do… try your best.

“American Vandal” debuts tomorrow on Netflix.

Some people just look like movie stars. They have that “it” factor, and we’re not talking about the kind brought to horrifying life by Stephen King. It’s indefinable, but you know it’s there, mostly because you can’t turn away when they’re on screen.

The bartender who served you your pumpkin beer with a cinnamon sugar rim this weekend may have it. The yoga instructor whose downward dog defies human flexibility may have it too. Many people have the look, but not necessarily the talent. In fact, finding the full package is a rarity.

Enter the solar eclipse of actors, Keenan Tracey, whose previous work includes “Bates Motel,” “The Returned,” and a memorable guest spot on “Supernatural.” Not only does he have the look, but he has the acting chops to back up the on-screen presence you can’t look away from. And with the direction his career is heading, you’ll have plenty of opportunities to not look away.

We recently sat down with Tracey to discuss the internal struggles of his “Supernatural” character, his upcoming horror movie “Polaroid,” and why music has so many parallels with acting.

TrunkSpace: You appeared on “Supernatural.” We have an unhealthy obsession with that show. We were hoping we could start there?
Tracey: Sounds good. (Laughter)

TrunkSpace: Your role as Christoph in the episode “The One You’ve Been Waiting For” seemed like it had a lot of meat on the bone. What was it like tackling such an interesting role, which was basically a son torn between his own feelings of what he felt was right and wrong and the beliefs of his father’s, who was working to bring Hitler back from the dead?
Tracey: I thought it was really current and also really personal. He’s dealing with huge issues, basically historically related, but also on more of a personal level he’s dealing with just appeasing his father, which I think most men kind of would relate to, at least on some level. So yeah, on top of it just being a global issue, it was more personal as well. It was like, “Do you go with your father and do what he wants you to do and let him screw over the world, or do you screw over your dad to save the world?”

TrunkSpace: You’ve done a bunch of television over the years, but was it at all intimidating coming into “Supernatural” knowing that it had been on the air for well over a decade and already had an established tone and feeling on set?
Tracey: No, I was encouraged. It was almost more comforting because they ran a tight ship already. That’s the kind of set you go onto and you just figure out how to fit into it because it’s already happening. The tone is already established, it’s already a show with or without you, so it kind of helps to have something that’s had seasons that have aired already and you can plug in. You can delve into the shows, you can do your homework, and you can really pick up on the tone and really know what you’re going to do. You can see how your character’s going to fit into it a lot better.

TrunkSpace: What’s really interesting is that your dad actually appeared on the series as well, the same season no less.
Tracey: Yeah. We were only an episode or two apart. It’s kind of a coincidence I suppose.

TrunkSpace: From a show called “Supernatural” to a movie about the supernatural, you’re set to appear in the upcoming film “Polaroid.” Can you walk us through what we can expect from the film and where your character falls into things?
Tracey: I guess the undertone would be about how vanity corrupts. Anyone taken by the camera, gets taken by it literally.

TrunkSpace: Which in a way, is a bit of an old theme because some cultures used to believe that a photograph would steal your soul.
Tracey: Yeah, and then you’re trapped eternally.

With my character, there’s a couple of scenes in the movie that allude to him being the one that’s skeptical about it, the one who questions the humanity around him and the vanity of the people around him.

TrunkSpace: The film was due out this summer, but recently got bumped to a December release date. As an actor, does it ever get frustrating when you’re anticipating something being released and using it to move your career forward in other areas, only to have the plans change on you in a way that is out of your control?
Tracey: Oh for sure. That being said, that’s a very natural part of the industry. At this point it’s kind of something you’ve come to accept. At a certain point, when you work on a job, you go there, you put the work in, and then you’ve kind of got to just let it go. Luckily the rewards don’t just come from it releasing. There are also rewards that come from shooting it, from getting it in the first place, from meeting the people you work with on set, and for getting the experience there. That’s satisfying enough that by the time you’ve done that, you almost forget that one, you’re getting paid for it, and two, that they’re releasing it and everyone else will get to see it someday.

So, I think working on it, and completing it, and feeling like you put the work in and did the part justice is what makes the job worth it in the first place. The cherry on top is that it gets released eventually.

TrunkSpace: And what is great about the current pop culture climate that we’re living in is, because of all of the various streaming platforms, projects have longer shelf lives once they do get released.
Tracey: The beauty of the internet is it has even further eternalized film, and TV especially. I mean, TV used to be so much more fleeting. You would have to catch it when it was airing, if it was still airing, and the only way to see it after that would be to have recorded it yourself and then play it later. Now everything releases and if you remember the title of it, and you have an internet connection, you can find it whenever you like on some sort of platform. So, I think that’s a really good thing for the entire industry, to be honest.

TrunkSpace: From a performance standpoint, it really adds an extra layer of oomph to guest spots for TV, because an actor’s role, even if it’s for one episode, lives on through the fandom and ongoing streams.
Tracey: I agree. And that’s something I’ve noticed change in the industry, even over the last half a decade. I mean, five years ago you could tell what was airing that you had been in, in what country, at what time based off of your Twitter traffic, or whatever. You could tell where things were happening based off of who was responding or writing what from where, but now it’s kind of all over the place at any time from anywhere really. Anybody can watch anything anywhere, so I’ve definitely found that the feedback online is definitely more diverse when it comes to the project.

TrunkSpace: You have worked on some great television shows like “Bates Motel” and “The Returned.” Does the experience working on a television series differ from something like “Polaroid,” just in terms of how you prepare and what you do day to day performance wise?
Tracey: Typically a film shoot will be considerably longer than one episode of something, so it kind of depends how much of a season you’re in when it comes to TV, or how much of the movie you’re in. A movie will typically take place over four to eight weeks, depending on the project and the budget. You usually have a longer amount of time with the script for film because it will usually have been written farther in advance. Pre-production will start sooner and you’ll just have more time with it, which I always love. I mean, the more time the better. It just gives you that much more to do with it and you get more time to prep it, and I think that’s everything. I think 90 percent of it is the work you put in before. You should craft your performance and figure out 90 percent of the stuff you’re going to do and leave 10 percent for a little surprise on the day, but basically hone in what you’re going to do before you even get to set. So, having that extra time is always nice when it’s a movie.

That being said, sometimes it is also nice to just get a script a week or 10 days before and not have too much time to also overthink it and just sort of go with the flow. Sometimes you’re coming onto a show like “Supernatural” that’s already been going for 12 years, so there’s just an established tone. You don’t want to have to make as many decisions on your character or make as many guesses about how the movie is going to go, or how the show’s going to go and how your character choices are going to fit into it. Or if you’re going to have to alter them on the day, which you’ve always got to be open to doing anyways. When it’s a show and there’s already an established tone, it’s easier to see how your character is going to fit into it without having to guess as much.

TrunkSpace: You’re also a musician. How do you compartmentalize the two creative worlds? Is acting completely separate from your band in terms of the focus?
Tracey: I’m pretty good at dividing the two. They are very parallel and I kind of use them to learn more about the other one because of how parallel they are, especially in steps. I just finished my first studio record, a full LP, and it was interesting to see how parallel the steps were and it really helped me understand the other one. Being my first record, I would constantly compare it to film. I would say, “Oh, this is the part that’s like that step in film.” You go through all the same steps really. You go through pre-production, you go through production, and then post-production and editing, and each minor step along the way would directly relate to something I could at least find a parallel to in film, so that was really interesting.

As for time management, luckily music is the kind of thing I can do at home, alone in my apartment with a guitar, and not have to get hired to do it. You just wake up in the morning and feel like it and do it, and I guess it yields that satisfaction immediately without having to learn lines, drive to a place, read it for somebody, hope they like it, hope they bring me back, do it again, maybe a third time, wait, do the part, and wait for it to get released. I would say music is an easier thing to satisfy yourself with personally when you’re alone, but there’s time for both.

The good thing about film is you’ll work intensely for weeks, or a month, or a couple of months, and then the project is over and then you’ll have time off. I don’t really like wasting time at all. I think it should always be utilized. And I’m not saying to work too hard, but to find work that brings you joy so that it’s also fun and then the work is the play and you can just be doing both of them all of the time and not wasting any of it.

“Polaroid” is set to arrive in theaters December 1.

Very seldom do 100 million dollar movies qualify for cult hit status, but “Starship Troopers” is no ordinary film. A political satire disguised as an effects-laden monster movie, the Paul Verhoeven-directed feature was released in 1997 and has only become more relevant as bipartisan lines continue to fade.

The latest sequel in the franchise, the CG animated “Starship Troopers: Traitor of Mars,” places original stars Casper Van Dien and Dina Meyer on the front lines of the ongoing bug conflict as fan-favorite characters Johnny Rico and Dizzy Flores. The film arrives on VOD, DVD, and Blu-ray September 19.

We recently sat down with Van Dien as he was on his way to the 20^th anniversary screening of “Starship Troopers” to discuss the ongoing interest in the franchise, seeing his character evolve in an animated world, and why he never seems to slow down when it comes to working.

Would you like to know more?

TrunkSpace: We’re living in a very divide world politically. The original “Starship Troopers,” which is celebrating its 20^th anniversary, seems just as topical as ever.
Van Dien: Well, it’s an amazing story. It is liked by people who are hardcore Democrats, and is it is loved by people who are hardcore Republicans. And I think what it is, it puts up different perspectives so that people can go and discuss things. It pokes fun at itself and fanaticism. It’s a chance for people to laugh at themselves and each other without doing it in a negative way. It’s not like, “You have to believe this or you’re an idiot!” I think that gives us discussion, and I think that’s the way we need to be more instead of treating each other like idiots in life.

TrunkSpace: It’s a bipartisan movie in partisan times.
Van Dien: Yeah, and it’s funny because Clinton loved it and Bush loved it, and people from both sides say that. People in the military say it and people who are pacifists loved this movie. So it’s just really funny to see and I think it is because they don’t treat either side like a complete idiot. They treat all sides like they’re a joke and they laugh at it. And they laugh at themselves, and I think that’s the genius of Paul Verhoeven and Ed Neumeier.

TrunkSpace: Looking beyond the story as well, the film always seemed ahead its time in terms of special effects. It really was a step ahead of most of the other films out during that period.
Van Dien: It’s amazing. It was nominated for Best Effects, Visual Effects, and it lost to “Titanic.” And I think everybody lost to “Titanic” that year, which was an incredible film. I’m not being negative about it, but I do think that the visual effects and special effects in “Starship Troopers” were superior to all movies at the time. They just were incredible. And “Titanic” was an amazing film, but I think they were creating a new life and new things with “Starship Troopers.” The visual effects people that worked on that movie are still making movies today and they say that audiences today will accept more cartoony-looking things, so they don’t have to work as hard, and they don’t have to put in the time and effort that they did. “Starship Troopers” was like a two-year process for them.

TrunkSpace: Speaking of cartoony, the latest installment of the franchise, “Starship Troopers: Traitor of Mars” is an animated feature. What has the medium enabled the franchise to accomplish that perhaps a live action installment wouldn’t?
Van Dien: Well, originally, with “Starship Troopers” they wanted to do the power suits, the big armor, but they could either choose the bugs or the power suits. Even though it was a 100 million dollar budget back then, they didn’t feel like they had enough money or time to do both, and visual effects weren’t up to par yet for what they wanted to do with it. Shinji Aramaki is an incredible director and he’s the number one mech suit designer in the world. He created Soundwave for the original “Transformers” cartoon and he did “Appleseed.” He’s a really talented man and he loved “Starship Troopers.” He became who he is because he saw a cover of the book of “Starship Troopers” when he was a kid, which came out in 1959. He saw the cover and said, “I can make those work.” And that’s how he became who he is. So he loves this. He loves this film and he got Ed and I to come in and be producers, consulting on the last film that he did, but he wanted to do a better job, and he wanted to do the power suits even better. He kind of combined the book a little bit with the movie to give the fans a little bit more of what they wanted.

TrunkSpace: What is it like from a performance standpoint to establish your character in the live action space and then see him grow and evolve in an animated world?
Van Dien: Well, it’s interesting for me in that way, too, because I didn’t get to do the motion capture. That was another actor who went over to Japan to do it. And when he did the last movie, he tried to sound as much like me as he could because he got to do the voiceover for that one. And then, this time, they wanted me to do the voiceover, but I wished they had brought me over to do the motion capture, too, because that just looked like a lot of fun to me. I got to do that in Robert Rodriguez’s “Alita: Battle Angel,” which I thought was just awesome. And for this film, I would have loved to have done that, but Ed Neumeier wrote it, and he knows me really well. We’ve been best friends for years now. He’s one of my closest friends, and he knows me really well, so to see the way he writes and the way he writes for me as he sees me or as he sees Rico growing… the emotional scars that he’s had and he puts it now in his face and his body… it’s just fascinating.

TrunkSpace: When you’re used to being the physical embodiment of Johnny Rico, is it hard to shut that off when you’re in the studio doing the voiceover work?
Van Dien: Oh, absolutely, but you’re in a little box, more or less, a soundproof box, and you’re watching the motion capture and you’re trying to say what this guy said and did and what was written in. It’s a lot of fun in this motion caption world, and it’s a lot of fun when you have these mech suits that you can put in because there’s also… your face is not seen all the time, so you can put in things that maybe weren’t written or that they wanted to add in or that Ed wanted in or even Robert Heinlein, the original author, had written in the book. I get to say, “On the bounce,” which is key to when I first read the book when I was 12, which I loved.

The power armor in the new “Traitor of Mars” is just awesome. It was a lot of fun to be a part of that. I always wanted to do that, and it’s one of the things I regretted not being able to do in the first film. I’m happy we got to do it in this film and how much he paid tribute to the original “Starship Troopers.” There’s not a day that goes by that somebody doesn’t say something to me about “Starship Troopers,” some quote or something. Quoting me, quoting Ed Neumeier or Robert Heinlein and what they wrote. My kids are coming with me to this premiere tonight, the 20^th anniversary, and one of them is wearing a Death From Above shirt, which is just so cool.

TrunkSpace: Looking over your career, you are constantly working. Do you keep that momentum going because you love the work, love to work, or is it a combination of both?
Van Dien: I think you’re right when you said is it both. I mean, I love films. I love watching films. I love being a part of them. I never feel more alive than when I’m on a set. And I’m a father. I love being a dad, and it’s one of the most important things to me, but… successful to me is if you’re putting your heart and soul into whatever you do. No matter what it is, I think, whatever job it is, you’ve got to put in your best effort. Even when I did all these other jobs that weren’t acting, I did it with the intention of doing the best I could to be, the best man I could be to be the best provider I could be for my life. I love working, and I love being on set, and I feel alive. I feel very fortunate to be able to continue to be doing this. It’s 30 years next year for me. I’m very lucky I get to do what I love and it’s just so much fun.

“Starship Troopers: Traitor of Mars” is available September 19.

“Starship Troopers” 20^th Anniversary 4K Ultra HD Edition is also available September 19.

Nadia Gray is not yet a household name, and although she would prefer to remain somewhat anonymous as she ventures forward in her career, the self-described “hardcore introvert” is going to find it difficult to maintain separation between her professional and personal lives following the release of her upcoming film “Bright.” Directed by David Ayer (“Fury,” “Suicide Squad”) and starring Will Smith (no credits needed), the Netflix original film is not only building a steady fanboy buzz leading up to its December premiere, but it could single-handedly change the way we consume big budget tentpole features.

We recently sat down with Gray to discuss working with one of the most sought after directors in Hollywood, how the film helped to change her professional focus, and why learning an elvish language had her feeling like she had left the planet.

TrunkSpace: “Bright” seems like the kind of movie that could be a real game changer in terms of how the industry operates, particularly at the theatrical level. Did it feel a bit revolutionary while you were filming it?
Gray: Yeah, I think right away I knew. I mean, with David Ayer in general, you’re just like, “Holy shit!” He’s the best at what he does.

TrunkSpace: And that’s just it… the caliber of talent involved should even further define its game changer status.
Gray: Yeah, I think it’ll be really interesting to see how it plays out. I personally can’t speak about what they’ll end up doing ultimately because I don’t even know if they figured it out yet. I just know that they’re really pro consumer choice and they’re totally changing the movie watching experience. It’s happening.

TrunkSpace: What about for you and your career? Does “Bright” feel like a personal game changer?
Gray: Oh yeah, absolutely. When I moved to Los Angeles, I didn’t know anyone, or anything really, about the business. As I kind of learned, I initially thought, “Sitcoms, oh my God, this is where I want to be!” Because you kind of have a little bit of stability at some point and a schedule. And a lot of those actors are able to fly under the radar still. Then I met David Ayer and he totally ruined my life, because now this is all I want to do. (Laughter) I’ve had the best time, so now I feel so spoiled. I just want more of this and that’s it.

TrunkSpace: You mentioned being drawn to sitcoms because of the possibility of being able to fly under the radar. This is a huge, high profile project. Are you worried what that could mean in terms of how the public starts to perceive you?
Gray: Oh yeah, I am terrified, which is why I think I’m so uncomfortable right now even. (Laughter) I’m a hardcore introvert to begin with and I’m super private. Even just the notion of having to be active on social media in a way that matters toward my career is stressful.

TrunkSpace: And in a lot of ways, you’re sort of contractually obligated to be active on social media with a lot of projects these days, right?
Gray: I think. I haven’t been hit with that yet, knock on wood, but I also want to participate in a way that shows that I’m a game player for the production and that I’m supportive of the project that I did. Of course, I want to promote the job that I was lucky enough to be a part of, but as a human, as Nadia, I don’t really.

I also feel like, who cares even? (Laughter) I have a hard time even rationalizing that in my mind, but I of course want to participate, and talk incessantly about this film I’m so excited about. That part is easy, but the personal stuff is…

TrunkSpace: It’s a slippery slope in the social media age. Even if you don’t want to put yourself out there, people will put you out there regardless.
Gray: Isn’t that weird? I feel like the age of the movie star doesn’t really exist anymore because you didn’t know anything about these people. They were these mysterious aliens and you were so consumed by whatever character they did because you knew nothing about them personally. I don’t think that exists anymore sadly.

TrunkSpace: Speaking of character, can you give us a little insight into Larika, your character from the film?
Gray: Yeah, without saying too much, she ends up doing a lot of bad shit that causes trouble for everybody. I know that’s so vague, but yeah. (Laughter)

TrunkSpace: So is she the catalyst that kicks off some of the story elements?
Gray: Yeah, totally. Where she fails is what kicks off a lot of the storyline… in terms of the repercussions of that.

TrunkSpace: And you’re playing an elf, which nowadays, people love to play for free at comic conventions, so to get paid for that… epic!
Gray: Right? (Laughter) It is the coolest.

I don’t know that I was attempting to play an elf. I think she is just a complicated person, like anyone else with her motives and her drives. So, I think that was kind of at the forefront, but of course learning Elvish from David Peterson, who created language for “Game of Thrones,” was like, “Holy shit, I am literally on another planet right now.” It was way cool.

TrunkSpace: But like you said, you approached her as a complicated human, which sort of speaks to how grounded in reality it is, right?
Gray: Absolutely. Very grounded, very realistic, and just, really, kind of this warped version of LA… this warped version of the world. It’s the gritty LA streets and the dirty cop world, which David Ayer just nails. He just takes you there and he makes it so authentic for you to be immersed in that.

TrunkSpace: You have mentioned David Ayer a few times now. What did you take from him and his direction that will stay with you and that you’ll apply to your acting and career moving forward?
Gray: Oh wow, so many things. I have to concentrate on just one thing?

Everything. He just is so impressive. Somebody with a name like his, he just is really approachable, cool, calm, a collected guy who treats his crew, his actors, every single person with respect. He just really took his time. Without even going too much into it, he just really cares, and I so appreciate that. He really gives a shit, and he talks to you on your level.

I can’t say enough about him. He’s wonderful. He’s like an evil genius. I’ve never seen anyone with attention to detail like his. Even small detail on my wardrobe… he would personally come and adjust, or give me a note about it. It’s just crazy. I’ve never experienced anything like that on set before.

TrunkSpace: It sounds like future directors you work with are going to have a lot to live up to!
Gray: I swear, I’m totally ruined now. It’s all his fault. (Laughter)

“Bright” premieres December 22 on Netflix.

Featured image by: Julio Duffoo

If you were to print Spencer Garrett’s filmography, you would need an entire ream of paper. With dozens upon dozens of interesting and brilliantly-performed roles under his belt, he consistently elevates every project he is a part of. Whereas many character actors help to round out the world in which they inhabit, Garrett becomes the world, blending into the cracks and crevices of the storytelling like performance putty.

Currently starring in the latest season of HBO’s “Insecure” while also prepping for the role of famed investigative journalist Bob Woodward in the upcoming film “The Front Runner,” the Los Angeles native, who has been acting professionally for nearly 30 years, feels like he is just now getting into his groove.

We recently sat down with the Garrett to discuss an abundance of political roles, the part that changed everything, and why he had to walk around on set with half of a Christmas tree sticking out of his stomach.

TrunkSpace: You’ve taken on so many roles in so many projects, which has us wondering, have you ever sat down and figured out just how many characters you’ve played over the course of your career?
Garrett: You know, I never have. I should probably sit down one day and do an algorithm. Jake Tapper, the wonderful CNN news anchor, is an old pal and I was with him not too long ago and he said, “How many people have you played in political films over the years?” And I did a count and I think it was something like 25, which is kind of a lot.

TrunkSpace: Wow. Yeah, that is impressive.
Garrett: I’m doing Jason Reitman’s new movie playing Bob Woodward, so we’re up to 26. (Laughter) I think I’m gonna bail out of political films at 30.

TrunkSpace: And like you said, that is only the political roles. Seeing all of them together is even more impressive.
Garrett: I haven’t really counted, but it’s been a helluva lot of fun, I can tell you that. And I feel like I’m kind of just getting my groove.

TrunkSpace: What is so fascinating is that you’re able in inhabit multiple characters within multiple projects across a relatively short period of time. Is that a sign of the times with there being so much content now… that there’s just more available to actors to be able to spread their talents across multiple projects?
Garrett: I don’t know… I still chase the same gigs that my colleagues do. I went in and read for something last week and saw 12 pals in the room that I’ve known for 25 years. We’re all kind of going after the same part sometimes and sometimes you get lucky and sometimes somebody else gets the long straw. I’ve just been fortunate. Sometimes there’s a little bit of overlap and I get two, three, four gigs that happen to go all at the same times. I haven’t run into the problem yet of being on so many things at once that I say the lines from one show in another show. Although…

One time I did. I was doing a movie called “Casino Jack” with the great Kevin Spacey that I was shooting in Toronto and then a little, kind of passion project thing that I produced called “Below the Beltway,” another political film. They were both political films, oddly enough, and I was shooting them at the same time, jumping back and forth from Toronto to DC. In one I was playing a Congressman, the other playing a Senator, both kind of morally questionable guys in expensive suits. And I did say the lines of Congressman Tom DeLay once in the other movie that I was in. And the director said, “Hang on, hang on. What are you doing?” And I said, “Oh sorry, that’s from the other movie.” That’s what you call champagne problems, I guess. (Laughter) But that’s the only time it’s ever happened.

TrunkSpace: You’ve done all of these fictional political roles, but these days, political truths really are stranger than fiction!
Garrett: Sadly, that’s true. It has become a little bit of a political theater, as it used to be called, and is now truly political theater. I feel like sometimes we’re living in a reality show that I don’t want to be a part of.

TrunkSpace: And your friend Jake can probably attest to this, but the anchors and news people are becoming pop culture icons now.
Garrett: They’re becoming pop culture icons and still maintaining their journalistic integrity and doing their job as best they can while getting epithets hurled at you and being called “fake news” and all that. They have to keep their hands on the rudder and do a good job. It’s tough, it’s a tough time to be a journalist and a really challenging time. So my hat’s off to all of those guys that are doing the work that they were trained to do.

TrunkSpace: There is so much amazing content being produced these days and almost all of it is so character-driven. Have you noticed a difference in the types of roles you’ve been taking in recent years as opposed to when you started your career?
Garrett: Definitely. I’ve gotten to play roles and characters that really wouldn’t have been thought of 10 years ago. People are seeing me in a different light as I’m getting older in my career and more established, I guess. People are allowing me to take more chances and push the envelope a little bit, which is thrilling for an actor. So when I get a chance to work on a show like “Insecure” on HBO, which is not something that I would have thought I would have been a part of, it’s an actor’s dream. You get to play in a different sandbox every week and work with really, really talented people.

TrunkSpace: And they’re so diverse. From “Insecure” to “Aquarius” to “Bosch,” the projects truly are different sandboxes.
Garrett: Absolutely. “Bosch” was a real treat. I’ve been a fan of Michael Connelly’s books for a long, long time. And Titus Welliver, who is a buddy of mine for 30 years, I love him as a guy and a pal, but as an actor I’ve always held him in very high esteem. And he’s a character guy. He’s a journeyman character guy who’s gone from one project to the next for years and years. And so as a journeyman character guy myself, it’s always such a buzz when you see somebody get to be the number one on the call sheet slot and get to be THE guy. And he fills that role so beautifully and is so great.

So getting to be a part of “Bosch” last year, I was so jazzed to be a part of that thing because I was a huge fan of season 1 and season 2. Every time I’d see Titus, we’d go out for a beer or whatever, and I’d kind of give him a little elbow like, “Hey man, I’m kind of free. I’ll be available.” (Laughter) It came right off of the heels of a really extraordinary experience with “Aquarius,” which is a great show that didn’t really catch fire the way we thought it would but I had such a great role on that. I thought, “I’ll never get a chance to have a role as juicy as that” and then a couple months later “Bosch” came along. So it was quite a gift.

TrunkSpace: Are there any characters that you wished you had more time to spend with?
Garrett: I wish I hadn’t gotten shot on page 42 of “Public Enemies.” (Laughter) That was a bummer. It was an extraordinary film to be a part of and it kind of changed my life in a lot of regards, but yeah, I would have liked to have seen a little more Tommy Carroll throughout the two hours of that movie. It was an experience playing that particular guy. I hope I’m talking to the seven people that saw the movie. (Laughter)

When I auditioned for that role for Michael Mann, it was my first experience with Michael and there have been now several, but going to read for that role, I said to the casting director, “I’m never going to get cast as this kind of gangster, thuggy guy. Can I come in and read for the FBI guy or the lawyer or guys that were more in my comfort zone?” And the casting director, to her great credit and vision, she said, “Spencer, I’ve followed your career for 20 years. I know what you can do and I’ve seen you play 8,000 lawyers. I want to see you do something different.” So she had me come back the next day and read for this other role and I got it and it kind of changed everything, which was really extraordinary.

I was playing a lot of pricks in suits, kind of one right after the other and getting pigeonholed and working consistently, but not feeling challenged. And I kind of got put in this box. And I said, “All right, maybe I’m not gonna take as many of these kinds of roles and try to find other things to do. Try to find other avenues, other characters.” And then after a while, because you’re in this for the long haul, I thought, “What am I complaining about? If this is how they see me, I’m gonna take every role I can get.” To a certain extent it’s difficult being pigeonholed and feeling like you’re put in a box, but at the end of the day, we want to work and we want to keep going. And right around that time, that’s when I got “Public Enemies” and it gave a sort of a Vitamin B-12 shot to the film opportunities that I was being given and it sort of changed everything.

TrunkSpace: One of our favorite things that you ever done was the sort of 1950s-inspired sitcom dad from the “Supernatural” episode, “A Very Supernatural Christmas.”
Garrett: Yes! I love that guy! That was a blast. Not so much walking around for half of the day with half of a Christmas tree stuck out of my stomach. (Laughter) They had this kind of tree branch that was sort of nailed to a board and then the board was strapped to the top half of my body and I was walking around with that all day. And that’s when I thought, “Man, they don’t teach you this at Juilliard. They don’t teach you this at the Neighborhood Playhouse.” Laughter)

I went to my first “Star Trek” convention a couple weeks ago… the 30th anniversary of “Star Trek: The Next Generation.” I always wanted to go and meet the fans. I brought some pictures from the “Supernatural” episode and it was staggering to see how many people were coming up and saying that was their favorite “Supernatural” episode. When I did the episode, I had no idea what a massive show that is. And those two guys, they’re in season 13 or something now, and they go all over the world to these conventions and the fans just adore them and they’re great to the fans. It’s a cool thing to be a part of when somebody comes up to me at an airport and says, “Hey you’re the crazy guy with the pipe who was killing babies in the basement with your wife.”

“That’s me!”

Follow Spencer Garrett on Twitter (@1spencergarrett) and on Instagram (@spencergarrett1)!

Kathrine Herzer is one of the coolest people working in television. Want to know how we know? Because we ruined “Game of Thrones” for her and she did not hang up on us. In fact, after our uncomfortable awkwardness subsided, the conversation went smoother than an Arya Stark execution as Herzer shared amazing insight into her career and her work on the hit television series “Madam Secretary.”

Seriously. We completely screwed the White Walker pooch on this one. (So be warned… SPOILER ALERTS AHEAD!)

We recently sat down with Herzer to apologize profusely, to discuss how she learned so much from her talented costars, and to discover why you’d have to proceed to fisticuffs in order to keep her from working towards positive change.

TrunkSpace: We saw on your Twitter page that you are a “Game of Thrones” fan. Thoughts on a White Walker dragon?
Herzer: Oh my god! I’m not caught up!

TrunkSpace: Oh no! We are so sorry! Nooooo!
Herzer: (Laughter) Oh my god! Spoiler alert! (Laughter)

TrunkSpace: We take it all back. That never happened. Totally rewinding this conversation.
Herzer: (Laughter) Oh my god! It’s already burned from my brain.

TrunkSpace: Seriously… so sorry!
Herzer: It’s okay. I already don’t even know what you said. I don’t even remember.

TrunkSpace: We’ve actually never seen “Game of Thrones,” so we don’t even know what we’re talking about.
Herzer: You had a dream last night and that’s what came to you.

TrunkSpace: That’s right. All a dream!
Herzer: (Laughter)

TrunkSpace: Soooooo… moving on to the non-GoT portion of this conversation, you’re still at such an early stage in your career and yet you’ve already experienced playing the same character for over 60 episodes. What has that experience been like for you, essentially growing as two people in front of an audience of millions?
Herzer: It’s so cool to see how someone develops over that amount of time. Three or four years with someone, they change so much, especially at this point in my life and this point in Alison’s life. I’ve really loved the moments where our lives have crossed paths, like when I’m struggling and I’m feeling down and it just so happens that episode is written the same way and I get to bring so much of my own life to it.

At the same time, Alison and I are completely, completely different people. Sometimes she makes me slow down in my real life and say, “Maybe this isn’t as black and white. Maybe it’s not as simple.” Because she looks at things from a not-as-jaded perspective. She’s really willing to look at things and learn about things and it’s a really nice contrast to me as a person. I love to learn too, but I’m a little bit more stubborn. (Laughter)

TrunkSpace: You mentioned bringing yourself into the character on those days when you’re feeling down, but does it ever work the other way around? Does something that Alison is going through ever carry over into your life?
Herzer: Definitely. It’s hard because when you have such a fun set, and I love all the people that we work with… the camera guys are like my best friends as are the wardrobe people… we’re all so close that we joke around so much, so sometimes when I have to come down and get into a more calm state or a sad state it can take a minute for me, but they’re also really supportive and everyone’s really respectful.

Most of the time we’re laughing and we’re having fun and that’s usually easier because the environment is so great. Even when I’m having a hard day I go to work and I love it. I see people that care about me and I care about them so much. People always say, “Sets are like families” and I just can’t imagine that anyone’s family feels like mine, but I guess everyone feels that way.

TrunkSpace: The great thing about your set is that it’s filled with all of these iconic actors and industry veterans. There must be a sense of, “This is not just a job, but also an education?”
Herzer: Oh my god, absolutely. My greatest education comes from Téa and Tim and just seeing how they work and seeing how they deal with material and people. That was the great part about the first year. I got to watch and learn and see different styles, and then the older I get I get to incorporate it more and become my own person and see how it fits with me and learning how to take on all of these different things I’ve learned from all these incredible people.

Like Bebe Neuwirth. She’s just such a legend. She was one of those people when I got on the show that I was just like, “Ahhhh! I can’t believe that I’m going to get to work with her because she’s just such a talent.” And she was one of the first people that just made me feel so good about my work and so proud of myself. I’m so sad she’s not coming back this season.

TrunkSpace: And the series also always has such great guest stars and directors.
Herzer: Morgan Freeman! I worked a lot with him in the episode he directed for season 4 and the first episode. That was the most time we had spent together. He’s just so full of wisdom and just being around him, being in his presence, you feel it. He enters a room and the hairs on your arm stick up. I don’t know how else to describe it, but he really is this presence and you know it. Téa’s is the same way. She walks into a room and she commands this force. I don’t even know how to describe it.

We have a powerful group of people that care about the world around them, so I’m getting to hear all of these really interesting conversations because of what’s going on politically and how that’s reflected through our show. Barbara (Hall) does such a beautiful job of feeling the pulse of what’s going on in the world and figuring out, “How can we make this digestible?” We have so, so much going on today in politics and I love that our show is giving people just a glimpse of hope.

TrunkSpace: And that’s the amazing thing about the world right now. You’re on a fictional drama about politics, but it’s probably grounded more in reality than the actual reality we’re living right now.
Herzer: Exactly! We talk a lot about “fake news” and I can’t wait for our audience to see that because it is so hard. It is so hard to figure out what’s real and what’s not in this political arena and it feels like such a game. I hate watching the news at this point. I am so sick of all of the bullshit that’s being thrown at me that I can’t even do it anymore, so I can’t imagine someone that maybe doesn’t enjoy it as much as I do or isn’t as focused on it as I am.

TrunkSpace: And therein lies the current draw of scripted television. Escapism. We can get away from everything that is terrifyingly real.
Herzer: Totally, and our show perfectly works with that because you’re not totally out of it and you really get to learn something. You have a full toolbox after watching our show to figure out the world that is the real world.

TrunkSpace: Obviously the buzzy place for viewers to land is cable and streaming platforms, but “Madam Secretary” is proof that networks can put out content of equal quality and draw a committed audience.
Herzer: Yeah, it really is an honor for us and especially because our show really gets better and better every season. We gel so much and it just becomes more and more every year. The writing gets better. We dive into the characters more, so it’s a shame to see all of these other shows that are getting cut so early because maybe if they had the same time that we got, things would have been different.

I love hearing how many young people are watching our show now. All of the time I get stopped and girls my age, guys my age, they say, “I love your show. It’s so fun.” There’s so many different elements, so it’s important not to brush-off network TV. I think network TV is still really the heart of television. Yeah, we love “Game of Thrones,” but we love it so much and that it…

TrunkSpace: We don’t even know what you’re talking about. What’s “Game of Thrones?”
Herzer: (Laughter) You’ve never heard of it.

But at the end of the day, we’re hitting a lot of people. A lot of people are watching our show and it’s very cool, especially now with the reach of Netflix. We’re getting the best of both worlds.

TrunkSpace: Has being seen by all of these people via the series altered your social life in anyway? Has it made things difficult, particularly when you hit college?
Herzer: It’s funny because I never put that upfront. I’m never like, “I’m on a TV show,” so it’s afforded me a lot of freedom. I get to experience a really normal college life for the most part because people don’t expect to see anyone. It’s a big campus. It’s a lot of people. I’ll be a parties and it’ll be like, “I was just watching TV and then all of a sudden I saw your face.” I feel very grounded and in a very normal world. I don’t feel like anyone’s watching me or anyone knows who I am or looks at me differently. I’m very lucky for that.

TrunkSpace: You star in a show about politics. You’ve previously interned for Al Gore. You’re involved in community programs. Is there a future for you in politics? Do you anticipate being drawn to trying to spearhead change?
Herzer: I think you’re going to have to fight me away from not trying to help and bring some sort of change. I’ve always been a really hands-on person. It’s so funny because I feel like a lot of people shy away from the word “activist,” but that’s such a shame. I think it’s the same sort of stigma that goes with calling yourself an “actor” or calling yourself an “artist.” Even if you paint, no one wants to say, “I’m an artist,” but everyone calls themselves, “a golfer.” That’s something we talk about a lot with the Creative Coalition that I work with.

I am absolutely going to do whatever I can, and I hate the news right now, but I’m not going to stop watching. I’m never going to stop watching and I’m never going to stop talking about what I feel like is injustice and what I feel like I can do to help.

Season 4 of “Madam Secretary” kicks off October 8 on CBS.

Feature image by: Jacob Jonas

Heather Storm has mastered the art of hosting a television series. Her natural ability to engage and entertain the viewer while simultaneously serving as a shoulder of support for those sharing their story on screen is the connective tissue that links the audience to Velocity’s popular series “Garage Squad.” For three years the Montana native has been traveling to Chicago, crashing garages to help repair and restore classic hot rods. Tonight she and her fix-em-up costars are back to kick off the latest season.

We recently sat down with Storm to discuss career diversity, what makes a successful host, and discovering the people of the Midwest.

TrunkSpace: One of the things that we have noticed in looking over your career is that the jobs you have taken on are so diverse. Have you actively worked to not be pigeonholed into any particular type of on-screen role?
Storm: Yeah. Actually it is by design. I really have varied interests and despite being told that I should pick a niche, I like to get out there and explore and learn about as many things as I can. I just said, “No, I don’t really want to. I want to keep learning about all the different things that I have opportunities to learn about and participate in.” So I just kind of take it and do what comes to me. I didn’t want to be pigeonholed because I just felt that there’s so much out there in the world to learn about and know about and experience.

TrunkSpace: And that’s the beauty of being human that gets lost on a lot of people… we have the ability to continue to learn and explore new things.
Storm: Absolutely. That’s what keeps us interesting. That’s what makes it fun.

I’m just someone who always wants to learn things constantly, so once I have an interest in something, I always kind of take it a little further… to the next level. “Maybe I’ll get certified in this. This is cool.” I take it a step further than a hobby.

TrunkSpace: So was hosting always a part of the game plan for you or did it come about more through a serendipitous channel?
Storm: Well, I moved to Los Angeles to be involved in the entertainment industry, so hosting was a part of that, and in my world I really thought that was a good way for me to showcase things that I already knew about and could get out there, as opposed to the TV world or theatrical world.

You get to be yourself and it’s liberating in a way. You’re told to just be yourself and I’m like, “Well I can do that. It’s what I do every day!” (Laughter) For me it’s natural and it’s fun and just getting to be yourself and getting paid for it, it’s a good thing.

TrunkSpace: When you’re going into an audition and presenting yourself as yourself, does that make the rejection aspect of the process harder?
Storm: It can, but I have pretty thick skin, which is why I can work in a garage with a bunch of guys. (Laughter)

I think that you just have to not take anything personal. I think that’s good advice in general, not just within the entertainment industry. Usually it’s not personal, it’s not about you, so just do your best and move on to the next thing.

TrunkSpace: What does a hosting audition look like exactly? Are there sides?
Storm: Well, the audition process for hosting is very similar to the other ones, the sides are just different. A lot of times you do have sides that they want you to prepare and then a lot of times there’s a lot of improv too because they want to see your personality and often copy can stifle a personality a little bit. Making it your own can feel very difficult, especially when you first start out because you’re really stuck on the words and your brain can’t think for itself. There’s nervousness usually for many people involved, regardless of what it is because you are gonna get in a room with people and you are gonna be judged and you are gonna have to remember things and all of the things that come with the pressure of performing in general are there. But then again, you get to be yourself. I don’t have to be worried about being in character or if I lose the character or get distracted, I can just be myself so there’s some freedom in that.

TrunkSpace: What makes for a successful host?
Storm: I think that anyone can just talk, but I think what makes the host successful is connecting with the audience and with the people that they’re speaking to on camera, like in the case of “Garage Squad” where we have a lot of the owners working in the garage with us. We have to talk to them about stuff and sometimes it’s personal. Sometimes it’s painful. You have to be delicate and aware of the emotions of the situation as well.

TrunkSpace: One of the things that we would imagine makes your job easier is having a great connection with your co-stars as well?
Storm: Absolutely. You’re very right. It’s really important to have camaraderie with the co-stars. We have a lot of fun and just keep it that way. A lot of people comment and say, “You guys have great chemistry in the garage.” We joke around a lot. We just keep it light. We’re having a good time in there, working on a project and there’s something that feels good about the teamwork of completing project after project together. We have built this trust in each other over time too and that’s important.

TrunkSpace: What’s great about “Garage Squad” in particular is that there is that project focus you mentioned, so there is a clear beginning, middle, and end to the story you’re telling.
Storm: Yes. I’m a project kinda girl. I need to know what we’re doing and what’s the plan and then I can help move it along. I know what my job is and I can go step-by-step and get it done. It feels good to accomplish something like that. It feels good to finish a project. Cars are huge projects.

TrunkSpace: Absolutely, and you pull it all off in a very short period of time, which is a feat in and of itself.
Storm: I’m impressed every day with ourselves. “Wow! We’re doing really good here! This is impressive!” (Laughter)

TrunkSpace: How has “Garage Squad” changed your life beyond career alone?
Storm: You ask a very good question. This show has been very impactful on my life. This is my third season working on it now that we’re about to wrap up and as you may or may not know, I spend almost half of the year in Chicago filming this show. I really have taken the opportunity during these shows we’re filming to really understand the Midwest more. I have never spent a lot of time in the Midwest. I had never been in Chicago before.

I had taken some time after we got done and wandered into a small town of 3,000 people. I ended up going to this wine bar. There’s only 3,000 people. The fact that there was a wine bar at all, I was shocked. There was one review on Yelp, since it’s a really small town, and it said that they had local Illinois wines only. I didn’t even know Illinois made wines. I went in there and started talking to the lady and she was super nice and there was a patron in there that recognized me from the show. I ended up staying there for like four hours and they closed the place down and ordered pizza and we were drinking all the wine in there and having a great time. Experiences like that have really affected to me. I went in just learning about their culture and what they have going on here in their town and just having a great time and getting to know each other and sharing different perspectives on life. I think that’s really what it’s about.

The season 4 premiere of “Garage Squad” begins tonight at 10PM ET/PT on Velocity.

Before the summer draws to a close, we’re going to be taking some time to visit the shores… “Chesapeake Shores.” The Hallmark Channel original series recently returned for season 2 and with it, even more critical acclaim.

We sat down with O’Brien family member Meghan Ory to discuss what drew her to the series, the post-hiatus rowdiness on set, and why Jensen Ackles hit her in the head with a two-by-four.

TrunkSpace: As far as your character Abby is concerned, did you spend time with Sherryl Woods’ books or did you want there to be separation between the television world and the literary world that already existed?
Ory: Yes, unfortunately I chose not to read the books, although I can’t wait to do so at some point. I was told when we started filming that the series wouldn’t follow the books exactly and I wanted to be able to look at the series scripts with fresh eyes. Sherryl is lovely though and has been very encouraging and supportive; which is so important as I want to do this world and character she created justice.

TrunkSpace: Usually it is the genre shows that attract the rabid, die hard fans, but from what we have seen, “Chesapeake Shores” has that as well. What is it about the series that has turned people into diehards as opposed to casual viewers?
Ory: Well, that is a million dollar question! I wish I knew. We spend our time filming in this little bubble and have no idea how what we are doing will be received. It is very exciting that people are enjoying the stories we are telling and the O’Brien family as much as we enjoy making it.

TrunkSpace: Most television is high concept these days. Everything has a spin to it. What’s nice about “Chesapeake Shores” is that it feels like a bit of a throwback… a family drama ABOUT the family. From an acting standpoint, does that allow you to focus more on character and performance than something that is steeped in a high concept world?
Ory: Yes, that is something that drew me to “Chesapeake Shores” in the beginning. In the same vein as shows like “Parenthood” and “This Is Us,” it is really nice to be able to delve into the details of these characters. I think it allows us as the actors and the audience to become intimate with these characters and spend time with people you enjoy.

TrunkSpace: In a series about family, what was it like returning to your on-set family after the hiatus between season 1 and season 2? Is it a bit like going back to school after a summer vacation?
Ory: (Laughter) Yes, it definitely is. It is certainly quite loud and rowdy on set for the first few weeks back. It’s hard to get our work done!

TrunkSpace: There’s something else that connects a lot of your castmates other than being on-screen O’Briens. Many of you have also guested on “Supernatural.” You grew up in Canada and started your career there. Is it a bit of a rite of passage to appear on that series with it having been on the air so long now?
Ory: “Supernatural” has definitely made its way through the Canadian actor pool. My episode of “Supernatural” was quite funny actually. I worked with Jensen years before on “Dark Angel” and our characters were in love, then when I appeared on “Supernatural,” I was evil and he had to hit me in the head with a two-by-four. It was quite the reunion. I think the fans got a kick out of that one.

TrunkSpace: In the episode you appeared, “Adventures in Babysitting,” you played a vetala. In a world where everything has been done and done again in film and television, it has to be pretty cool to have played one of the only vetalas to ever appear on screen… and quite possibly… that ever will appear? That’s Trivial Pursuit question territory!
Ory: I’ve never thought about that, very true though! It was definitely a fun character to play. I always enjoy playing a good villain!

TrunkSpace: We talked previously about passionate fanbases. You spent multiple seasons on the series “Once Upon a Time.” Do you think that series/character will stay with you forever? Will people always remember you as Ruby?
Ory: I loved that show from the first time I read a script for it. You could just tell it was a very unique and special world. It was a great opportunity to get to play the same character in different scenarios of life, so it was always interesting and exciting. Once will always have a special place in my heart and as I have said, you never know when Red might pop up again!

TrunkSpace: When you tap into a passionate fanbase, those fans then want to know everything they can about you. Is it getting increasingly more difficult to maintain a private life as a public figure due to the social media/instant gratification age? How do you strike a balance between the two worlds?
Ory: There are pros and cons to everything. It is so nice to be able to connect and communicate with fans and hear how they are liking what we are creating. For me, I feel like limiting the amount of social media I have makes a difference. I had to get off Twitter years ago, but really enjoy Instagram. I think it’s good to maintain a bit of mystery!

TrunkSpace: You have been acting professionally for some time now, but what aspect of the process still excites you the most and feels as fresh as it did on your very first acting gig?
Ory: It may sound cheesy, but anytime I am on set and the director says, “Action,” I am as excited as the first time I heard it. I feel very fortunate to have a job that I enjoy going to every day.

TrunkSpace: You have played so many interesting characters over the years. Are there any that you wish you could have spent more time with and could have seen developed out further, and if so, why?
Ory: That’s a great question. I always feel a little sad every time I finish a show and have to say goodbye to that character. They become a part of your life. I would have enjoyed seeing what a second season of “Intelligence” would have looked like. I loved playing that character.

And I will always be interested to see where else Adam (Horowitz) and Eddie (Kitsis) take Ruby on Once, if they chose to. Lana (Parrilla) and I used to joke that the evil queen needed a pet wolf!

TrunkSpace: With the new season of “Chesapeake Shores” now reaching viewers, what do you hope fans will walk away with when the season finishes up?
Ory: I don’t want to give anything away but the finale of season 2 is going to shock a lot of people, I think. I hope viewers finish the season feeling satisfied and hungry for a season 3!

“Chesapeake Shores” airs Sundays on Hallmark Channel.

Welcome to the seventh (and final) installment of our MYSTIC COSMIC PATROL WEEK ongoing feature!

Debuting yesterday at Funny or Die, “Mystic Cosmic Patrol” is a nostalgic sitcom romp of mystical proportions. Created as an homage to kid-friendly shows like “Power Rangers” and “Ultraman,” the fast-paced webisodes combine monsters and comedic mayhem to create a parody worth every bingeable minute.

We recently sat down with series star and producer Laura Monaco to discuss how ‘fun’ was always at its core, the joy she discovered in wearing multiple hats on the project, and how hugs may be in store for any future cosplayers who choose to dress up as her character.

TrunkSpace: From an outside perspective, it sure seems like the “Mystic Cosmic Patrol” experience was just as much fun as it was work?
Monaco: Yes. Absolutely. It’s a very, very fun project. Early on, Gavin (Hignight) and I talked about our goal, which was to just have a job that we could go to work and laugh every day, and feel good coming home and wrapping up. We definitely did that. It was a lot of work, but we definitely did accomplish that goal. We had such an amazing team around us. Everyone who worked on it was just as excited to be there, so it made it a really uplifting experience.

TrunkSpace: It just seems like a show that would not cost a network a fortune to produce, and yet, because of the nature of the series, the smaller production budgets wouldn’t hurt the look and tone of it either. A network could get a franchise at a relatively affordable price.
Monaco: I love that you get that. I’m very curious to see where it goes.

TrunkSpace: The trick there is, you don’t want to show them that you can make it for basically nothing because then they will give you basically nothing. (Laughter)
Monaco: (Laughter) Yeah. We can get away with some tricks, but we still need money.

TrunkSpace: You’re a producer on the project as well as starring in it as the yellow Mystic Cosmic Patrol member. Did you view your two separate jobs through a different set of eyes on set?
Monaco: For sure. It was an idea that Gavin had. We were working on another project together and I just got so excited about it. He and I would meet, and it started from there. The more we would talk about it, the more I just had so much I wanted to contribute creatively on both sides of it. It’s a little blurry for me where things kind of stopped and started with producing and acting, but it was just so amazing to be able to jump in creatively on both sides. I really enjoyed that.

TrunkSpace: Did you enjoy the problem solving aspect of producing? Putting out the fires that crop up on set?
Monaco: Definitely. And trying to find on the fly what’s going to work.

We kind of had an idea for some stuff and had creative discussions about how it was actually going to go down. Luckily, I had such a great team of producers that when it was time to act, I could really just go do that and enjoy being in that role and know that everybody else was running everything smoothly. We really had a good family on this.

TrunkSpace: Because “Mystic Cosmic Patrol” isn’t grounded in reality, were you able to approach performance from a different perspective than previous projects you’ve worked on?
Monaco: Yeah. I mean, it’s kind of funny because early on we had a few rehearsals and we had all of these ideas for different character work and things that we wanted to do. At one point they were just like, “Just be you.” I was like, “I don’t know if that’s good or bad that you just think it’s me living my life here.” (Laughter)

For us, it had to be reality. I basically am a girl who likes to be feminine, she likes to dress up and do all of these things, and she really takes her job seriously, too. Whether she’s good at it all the time or not depends, but she’s trying to do good in the world.

TrunkSpace: And getting to work with those costumed creatures, both in creation and in performance, must have been so much fun.
Monaco: It was unbelievable. The ideas that we have are one thing, but when Cig Neutron came on and created them, and then seeing Stewart put on the costume and moving around in it, I was just like, “What is happening right now?” (Laughter) It was so crazy.

TrunkSpace: The series is streaming on Funny or Die, but as far as long-term is concerned, are you hoping that it finds a home at a major network or on another platform?
Monaco: I could definitely see it on a network, but it’ll be interesting to see what Funny or Die has to offer and how this really goes down. This is the first time I’ve done anything in that format with them. It’ll be interesting to see what’s possible. But really, the way everything seems now, content can live in more places than it ever used to. It doesn’t seem like there’s anything quite so typical anymore.

TrunkSpace: And it’s a great show for what people need now more than ever… escapism.
Monaco: Yeah. It’s such a serious time, and there’s so much that people are trying to figure out, big issues in life… it’s so nice to escape to something that is totally silly. You can just really go into another world, play around for a little bit, and not take things too seriously. I feel like it’s a good time for that, for sure.

There’s heart behind the show as well, which I really appreciate. There’s silly humor for sure, but there’s heart involved, too. I think if anything, that will just keep growing.

TrunkSpace: If the series takes off and becomes a huge hit, and in a year from now you see someone cosplaying it up as your character at a convention, what would you think about that?
Monaco: That’s my dream! I would love if people were just having so much fun that they would want to dress like that and be part of it for a little while. I’d probably just want to run up and hug them, but I love that idea. So awesome!

“Mystic Cosmic Patrol” is available now at Funny or Die!

If you are a connoisseur of animation, you have not only heard about the upcoming TBS series “Final Space,” but you’re T-minus counting down for its launch. With a cast of voices that includes Conan O’Brien, Ron Perlman, and David Tennant, the sci-fi fun fest is one of the most anticipated series of the new year.

Another animated series turning heads is “Lion’s Blaze,” a cartoon/video game mashup that recently premiered on YouTube. The story centers on a group of friends trapped in an arcade game for 15 years who are then tasked with completing an epic quest after one of their own dies within the game.

What do both series have in common? Producer, actor, and content creator Olan Rogers.

We recently sat down with Rogers to discuss why he’d like to branch out beyond animation, how he manages to juggle so many balls simultaneously, and why he always writes what makes him laugh.

TrunkSpace: It feels like the pop culture world is on the cusp of an Olan Rogers takeover. With a number of high profile animated projects set to debut soon, have you given any thought to entering the same (seemingly exclusive) club of names like Seth MacFarlane and Matt Groening?
Rogers: (Laughter) That would be cool, but I don’t know… that’s a hard world to crack. I’m having a blast with animation right now but the goal is to get back to live action eventually, specifically features. I have a long way to go before I even get close to where they are.

TrunkSpace: Are there less creative restrictions when you’re working in animation than if you’re working in the live action space, if for no other reason than because if you can think it, it can be drawn without adding an additional million dollars to your budget?
Rogers: Actually, it has its own restrictions like the number of backgrounds you can have and how many characters you can have in a shot. And animation is SO expensive, so in one way it’s freeing, but in another you’re limited.

TrunkSpace: “Lion’s Blaze” has been receiving incredible praise since it made its debut a few weeks back. What does that acceptance mean to you after all the years of hard work to get where you are?
Rogers: Man, it’s killer. I have been doing the YouTube grind for 12 years and never broke out really, it’s always been by word of mouth. It’s definitely huge for me.

TrunkSpace: The series follows the adventures of a group of friends who have been trapped in an arcade game for 15 years. If we were interviewing 8 year old Olan and asked him, “What arcade game would you like to be trapped in and why?” what would his response be?
Rogers: Mario most likely. I mean, gold coins and traveling through tubes? I’m down.

TrunkSpace: You’re wearing multiple hats on “Lion’s Blaze.” What is your favorite hat to wear and what is it that excites you about that side of the process?
Rogers: Directing. That’s the end goal. I would love not to do all the voices, but it’s a budget thing. Because I cannot pay myself.

TrunkSpace: When working on something like “Lion’s Blaze,” do you write what makes you laugh or do you write from the perspective of what you think the audience will find funny? Is there a difference?
Rogers: I write what makes me laugh, always. It’s more enjoyable. And yes, there is most definitely a difference. Usually, people tend not to enjoy what they’re making if it’s designed for someone else.

TrunkSpace: In addition to “Lion’s Blaze,” you also have the highly-anticipated, Conan O’Brien-produced “Final Space” due out on TBS next year. The series features high profile voice talent, including Conan and Ron Perlman. Is there a level of butterfly belly involved in gearing up to release a project of that magnitude?
Rogers: Like you wouldn’t believe. I hope people like it. All I can really do is work hard and hope it’s as special as I think it is. And I mean, voice acting with these guys has been a dream come true. Ron Perlman fist bumped me twice in the recording booth. I’ll always remember that.

TrunkSpace: One of the great things about your work is that you can have a laugh and escape the craziness of the current social and political climate. It feels like a really healthy breather from reality. Is that one of the powers of comedy and pop culture related content in general… escapism?
Rogers: I think you hit the nail on the head. Comedy and laughter melt everything away for a brief moment. We need comedy, and even if it’s just a single laugh, it’s refreshing to escape for a few moments.

TrunkSpace: You’re a Nashville guy. We love Nashville. We have fond memories of nights of remembering barely nothing while visiting Nashville. On our next trip… where do we need to visit? Give us the inside scoop!
Rogers: Pepperfire has some awesome hot chicken and then, of course, my soda shop, The Soda Parlor.

TrunkSpace: As evidenced by your last answer, you also run various businesses outside of your work as a content creator, including an apparel company. Seriously, how the HELL do you find time for everything? (We feel bad even having you answer these questions!)
Rogers: I’ve surrounded myself with great people and they make it way easier to manage multiple things. (No worries, it’s a pleasure!)

TrunkSpace: With everything that you have going on, where are you hardest on yourself… as a creative person or businessman?
Rogers: Businessman because sometimes you have to make some really tough decisions and they are not fun all the time.

TrunkSpace: When you look at your career moving forward, what else would you like to accomplish? Do you have bucket list items that you want to check off in your career?
Rogers: Yes! Directing features and telling stories with a budget that can match my imagination.