Yes I think it helps a lot. You got [great Costume Designer] Gigi Melton…and there is such care and attention put into it. It is a time and life when people really put a lot of care and concern, and attention into how they dressed. These people came out of the depression and didn’t have much, so you took real care of the things that you had.
I think especially for a lot of the gangster characters, you will get some really colorful characters and some really colorful costumes. I think what was interesting for me with Joe was he is really a guy who I think as an ex you know, an ex-marine and a vet coming back to LA. I think he sort of thinks that the flamboyance and the glamor of this city is pretty ridiculous, and I think he thinks Hollywood is pretty ridiculous. And so he is really sort of a blue collar guy, and I love what Gigi has done with his – with what he wears because there is something, you know, it is extremely practical and something extremely simple to the clothes that Joe wears yet it is still every day. You got to have a tie and a suit, and I think there is something very interesting about that. It is a different time. About your preparation for the role Joe, [what were your inspirations for the role?] Like did you read various pulp comics, watch various movies or any real life inspiration? Yes absolutely. Look, I will be honest with you, I didn’t know much about noir before this started. Frank gave me a pretty big, pretty rigorous crash course in it, but the characters that I drew from – I read a lot of [Raymond] Chandler, and obviously Philip Marlowe is an inspiration – I think that really came from Frank. But, you know, I will be honest with you, it is a little bit later on, but there is a book called White Jazz by [James Ellroy] that really had a big influence on me. The David Klein character…this is about 10 or 15 years later, but I really thought that this David Klein character really was the Joe Teague character 15 years down the road, just a little bit saltier. And I felt like another inspiration, strangely enough, is I loved Nick Nolte and 48 hours. It is a totally different genre, but it’s this sort of hardboiled detective. I have always been a huge Nolte fan, and that one really rang sort of honest with me. …I think what is interesting here with what Frank is trying to do is he’s not trying to do a kind of modern take on noir. He is trying to sort of do the classic take and put it on TV. Hopefully, the American TV audience will be down with it. I hope people dig it. This is such a rich period in Los Angeles’ history. I am curious how much study did you put into what was going on at the time and have you had any opportunity to talk to police officers or people who were around during all that time? Yes. The series was based off the book LA Noir, which is really a history of LA. It is a fascinating book and what excites me so much about this series is it takes of this fictional character of Joe Teague, and this little situation that he finds himself in with Hecky Nash, but what Frank has done is he is taken this fictional situation, these fictional characters, and he puts it in the middle of these non fictional events. And what the series will do as it unfolds, and as the problems spiral out of control…is these fictional characters and these fictional events will actually be affecting non-fictional mysteries in the history of Los Angeles. And that is one of the most exciting things about the series to me. I think just like in Forrest Gump, how Forrest Gump was a fictional character in the middle of all these historical situations. What Frank has done is he’s taken this fictional character, and he has actually said this is the guy, this is the situation that actually caused this nonfiction historical situation. So, as the series unfolds you will see many, many real characters from the history of Los Angeles pop up; real mysteries from the history of Los Angeles pop up and furthermore, I think you’re going to see fictional answers for these mysteries, which is really cool. You mentioned earlier that this is a classical noir and you are hoping audiences respond to it. So, first zombies, and now noir and gangsters. Why do you think television has become the haven for more ambitious genre fare as of late? That’s a really good question. I think it is – I mean it kind of all centers around the state of Hollywood moviemaking. You know, it is so rare now that movies are being made just because they are great stories, and great storytelling is taking a back seat in movies I think [for] franchises and [these] 50, 60, 70 million dollar dramas are just not being made anymore.