I graduated from a place called Whitworth College in Spokane with a theater degree, then in 1993 I moved to L.A. and auditioned and did very well there. My first gig was playing a skinhead in John Singleton's 'Higher Learning', and I played Glenn Close's son in a TV movie called 'Serving In Silence.'

I miss the physicality of drumming. There's immediateness about it that I'm always striving for in my acting. Maybe I'm in the wrong profession. I certainly wish I could spend more time pursuing music. It feels like a part of me I'm neglecting.

When I'm acting, I like to think of myself as a non-actor, and a non-drummer when I'm drumming. It frees you up to not care how well you do.

I didn't go out for a soap until I moved to New York. I wasn't even considering soaps, but my agents talked me into it and said it's nice, steady work.

When you use the language of 'fact checking' to talk about a film, I think you're sort of fundamentally misunderstanding how art works. You don't fact check Monet's 'Water Lilies.' That's not what water lilies look like; that's what the sensation of experiencing water lilies feel like. That's the goal of the piece.

When I was first writing, I was writing mostly about sporting events, which was really what my assignments were. I was working on the Tour de France bike race and the Barcelona Olympic Games, and those songs tend to be very big, very bombastic-type music, which is the type of music that I love to write.

Settings are obviously important - and as a writer, you have to respect what was real at the time of the story you're writing. But the real key to success lies in finding the right characters to carry that story.

We embrace the shoestring budget. We like being limited by the constraints. It inspires creativity. I don't know what we would spend money on. We don't hire actors. We see budget constraints as a personal challenge. We're like survivalist local commercial directors.