Well after doing Glee, Heroes, Nip/Tuck and more contemporary roles, what’s it like to take on a project with so much history in it, especially filming in Ireland?
It was - funny enough it was something I had - sometimes when, you know, when you come home as an actor and you’re waiting to find out what your next move is going to be, you sort of try I guess make up what you would like it to be and Vikings, although I never imagined necessarily Vikings, but the idea of really being on a cable - what I like so much about cable these days is that they’re building worlds that are completely seamless and so thorough.
You know, where you can’t feel the edges of the set and Vikings in a way fulfilled that dream of mine of that really they built the world and then we step into it and we have to kind of go through the looking glass into a different world and a different time. There’s so much on this show that supports us as actors, the production design is absolutely transformative, the wardrobe, the commitment of the hair and make-up department, it’s standard of the other departments and the determination to create a world that was - that the audience could buy into.
And that we would really love the expectations, it was kind of infectious and I think as actors in a way, we really leaned on those departments to kind of complete that picture and felt really lucky that we were supported that way because it was a big leap I mean, you know, taking on a subject that has a lot of preconceived ideas and then we’re, you know, but we want to carry people into an experience where they can’t feel, you know, it’s - excuse me sometimes when I finish watching Downton Abbey in Britain and then I go to bed, I find myself sort of moving like Lady Mary.
And, you know, you want to bathe in that and I hope that we kind of give people that same experience where just for a second you’re transported and then you have to bring yourself back down into reality.