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I wanted 'Southland' to feel immediate, like a ride-along, and to make it the closest thing possible to a cop reality show. We've got real cops out there every day. A lot of times we'll say, 'You guys just do what you normally do and we'll film it.'

That's why I had to leave Hair on Broadway, because I did it for about a year, and one night I was doing the show, and I realized, well, this is not real. I told the director. He says, man, it was a killer show tonight.

John Wells and Christopher Chulack were pretty honest from the get-go in our first meeting about 'Southland.' They were looking to create characters that were believable in the environment of the LAPD - multi-dimensional, layered characters with real flaws; good-hearted cops mixed with the perfect amount of heroism and irony.

The hair is real - it's the head that's a fake.

We don't typically use music. We don't manipulate our audience into what we think it should feel. We tell the truth. That's 'Southland' Style'... and I love it!

I knew what kind of genre 'Casa de mi Padre' was going for. But my character, specifically, I think is very real.

Maybe I'm a little biased, but shows like 'Dexter' and 'Southland,' I'm just enthralled by that sort of storytelling, kind of clever and patient.

With fantasy and sci-fi, it's based in a real fandom. You're presenting to experts, and their source material is really important to them. They'll come up and ask: 'so when you turned your head slightly in that scene, what were you thinking?'

The hair department on 'Game of Thrones' is incredible.

I believed totally in the possibilities implied in the series. I never thought of it as fantasy. Far from it.