video for the James Marsters New England Comic Con Q&A. I highly recommend watching the videos to get the full effect, but if for some reason you can't, read on to find out what James thinks makes a good script, why Joss Whedon wanted to kill him off on "Buffy" and the moment he almost committed suicide.
James: You guys, you can ask me anything that you want, but I won’t necessarily answer. OK, right on. Seriously. Anybody? We got a mic. I think I see a mic right there if you all want to come up there, be a rock star. Put your lips on the mic, the beautiful mic. I taught my son that, the other weekend. I played with my son, in Santa Monica, and he rocked! And like the sound guy, the sound guy was on heroin. He was like ‘yeah, I’ll be right there, man’ all night and when we show up at 6:00, two hours later, two hours later, we’re like ‘uhh, do you have the microphone, please?’ And we sound checked like 15 minutes before they let the crowd in, and my son didn’t get no sound check, nothing. And I go to his band, he’s got his band and I’m like, ‘OK guys, this is rock ‘n’ roll. Just roll with it. Just roll, roll, roll and keep on rolling ‘til you get down the hill, man.’ And they did. They did and you know, they’re like 14 years old and like, ‘yeah, OK.’ Beautiful. OK, I love you. Brave, you’re the first one.
Q: So, my question is, what has been the most terrifying moment in your life?
James: That’s a really good question. Umm… Hmm… Like, the moment that should have been terrifying, like if I wasn’t a fool? Or the moment that I actually felt fear?
Q: I would say the moment you actually felt fear.
James: ‘Cause that’s my problem, that I don’t feel fear. Like when other intelligent people feel this feeling of fear, like ‘don’t put your hand on the stove’, I don’t feel that thing so, uhh… When my son was born. I have to say, man, I’ve had people come up and knife me, I’ve had people put a bottle in my face, stuff happened to me that just… but my son being born? That was a moment of true terror. Seriously. They say that a man’s cognitive abilities transform when he sees his first child. His ability to think ahead, to plan, to moderate his own emotion, all these cognitive abilities, they just kind of gear up when he sees, visually, his first child. I think the same is probably true for women, but they didn’t test that. It’s gotta be. But, I experienced this thing with this voice inside my head, I’m watching my little baby son get wiped off, the blood’s still on his body from the birth, and this voice comes into my head and it goes, ‘Go to Los Angeles. Whore yourself out. Do anything you need to do. Be ALF’s sidekick. Make money. This little, beautiful boy did not decide to be poor. You are sleeping in the back of your theater on rags, and you’re happy, but he’s not.’ So that’s why I came out to LA. That was the moment, the one true terror and that’s why I’m in front of you guys now. I have long answers, I’m sorry.
Q: I have a two-parter, both about Shakespeare. What’s your favorite Shakepearian play and what’s your dream role in any Shakespearian play?
James: I have to be honest, and you guys have heard this one. It’s Macbeth. It’s a play that’s almost never done correctly. Every time you see “Macbeth” it sucks. Mostly because they play Lady Macbeth like a ‘witch’ with a ‘b’. Alright? And the thing is, the whole point of the play is lost if you make that mistake. Lady Macbeth is not a castrating bitch. She’s not. She’s a criminal. She’s like Joe Pesci. Seriously, if Robert De Niro and Joe Pesci are jacking… I used to jack cars, right? You’ve got the jimmy in the door and you’re underneath the street light, and then De Niro goes ‘I don’t know man, I don’t feel so good about this, I’m having my second thoughts.’ You know what Pesci would say? ‘What are you a man or a mouse?! Get in there! Do the jimmy, you little girly boy!’ And that’s all she does. She calls him ‘girly boy, girly boy’ just like Pesci would do. ‘Cause they’re about to commit a murder, right then, and he goes, ‘eh, I don’t think so.’ And you can tell that, because every time she tries to emasculate him, he goes, ‘what? You’re not a man. If you’re arguing about what it is to become a woman, I’d listen to you. But you’ve never had a day in your life that you’ve been a man, so SHHH.’ And she tries it again, and he’s like ‘shut up!’ Tries it again, ‘Shut up.’ And then finally she says, ‘this is how we’ll get away with it: we’ll blame the guards.’ And he goes, ‘oh, you’re beautiful’. So if you don’t make that mistake, that play rocks. That play will hold the audience like glue. But if you make that mistake, they’ll flush you. And if Lady M is a bad person, then Macbeth is a tool for sticking with her, and we’re just waiting for him to die.
Q: I’m glad you said that, because Lady Macbeth is my favorite.
James: Right on! Lady M rocks! And in history, she actually rocked really hard. It’s Holinshed if you want to check the history. Yeah. Hey, I’m gonna sit down, because I’m lazy.
Q: Hi James. As fans, we spend a lot of time going over the minutiae of “Buffy” and talk to each other about, ‘well, when they put the chip in Spike’s head, how did that work?’
James: You know, with “Buffy”, the minutia is worth it, actually.
Q: So are you that kind of fan? Are you also a fan of “Buffy” or just an actor?
James: I ain’t ‘just’ anything . I’m a force of nature! It can be a very annoying thing to take a plane ride with.
Q: I’d like to try it.
James: [laughs] You’d find another TV show. Uhh, yeah, I was a fan. You know, I say in line all the time, this is one of my favorite things – you’ll probably hear me say this in line if you come for an autograph – if you give my a compliment on my acting, I’m going to turn around and tell you that the acting was good enough, but the writing was great. It was, seriously, the best writing on television since “The Honeymooners”. I didn’t write it, so I can brag, right? I didn’t direct it. I just stood on tape and did what I was told to do. So I can be a fan too. And I was waiting, except I got my tape on Monday night! So my day was Monday night, so I would hold out for Monday night, and I would put my tape in and I would watch and get all close to the TV and watch. I was a fan of “Buffy.”
Q: Hey James, I’m Matt, and I’m a student at Emerson. As an actor, when you’re reading these scripts, when you’re reading the writers or whatever and looking for a new project – I actually wrote a pilot with a character, and I based it on you, just throwing it out there. Got a copy.
James: Bring it on by, bro. I read voraciously. So stop by.
Q: I’d love to give it to you. What do you look for, in a new pilot, in a new character, in a recurring role?
James: Huh. That’s a really good question. Umm… I’m looking for forward momentum. A story can really be about anything, but there has to be a new piece of information, an interesting thing happening every few seconds. If you look at a really great film, like I was watching “The Third Man”, and every few, in that they’re coming so fast you have to watch it again. But there has to be new information, interesting information that the audience goes ‘wow’. Every, what, second and a half, five seconds, something like that, yeah in the script. If you do that consistently and you don’t fail in that, then you have what I call propulsion. You get this sense that there’s a train going, and it’s going to hit an object, and you’re on that train and there’s nothing you can do. It’s kind of this inevitable sense. One of my favorite scripts is “Runaway Train.” Great movie with Jon Voight and Eric Roberts. Fabulous film, but it has that sense of propulsion. Not only because it’s literally on a runaway train that’s going to smack into an object, but because the screenwriter realizes that that’s his metaphor and that’s a good story. Yeah, so not only do you have all the visuals, every two seconds those two characters find out something new about each other and it propulses, it goes forward. So it’s not really a question of whether it’s a period piece or whether my character’s cool or not cool or whatever. It’s just, is this thing chugging? And is it carrying me along, is it a page-turner?
Q: Thank you very much.
James: You’re welcome. God, I talk a lot. I’m going to go for brevity. OK, here we go.
James: F brevity.
Q: What was it like working on “Torchwood” vs working on “Buffy”?
James: [laughs] John Barrowman is the biggest freak in the galaxy. I don’t care how many planets we discover and how many new species we come up with, John Barrowman is going to be the most interesting of them all. Umm, I really can’t say enough about John. I love that guy. Uhh, I blew a stunt in the first episode, in the fight scene. The stunt guys are in it for like two shots, because John and I both like to fight, and I blew the stunt going through the glass, and I’m bleeding out through my costume on my thigh, right? I duct taped my thigh together for the next day’s shoot, because I didn’t want anyone to know that I blew the stunt. If you blow the stunt, they don’t give you other stunts, right? And, uh, duct tape didn’t work and it’s bleeding through the duct tape. John comes up to me and says, ‘you blew the stunt, didn’t you?’ I’m like ‘yeah, bro, I totally did. I’m trying just duck walking today.’ And he goes ‘go to your trailer, I’ll get you help.’ I go to my trailer. A surgeon, his personal surgeon comes, he stitches me up, anesthetizes everything. Then the costume department comes in, gives me new jeans, throws the old ones away, and the producer, unless he’s listening to this talkback, still doesn’t know. That’s John Barrowman. He’s an awesome leader. Fabulous. I really can’t say enough about what kind of leader he is. He’s the lead, so he called the shots on that set, a bit, and so it’s a very well-run, happy set. And if things get too, if people start taking each other too seriously, he’ll just drop his trousers. And everyone goes, ‘Whoa!’ Seriously, he’s a mutant. You just cannot take yourself too seriously when someone drops their pants. It’s like ‘we’re playing now’. So, umm, see “Buffy” was called “Buffy the weekend slayer”, ‘cause we shot 12 to 20 hours every day. So this is me on “Buffy” [acts tired] It was an exercise in tired. Knowing that we were doing something fabulous, but being to tired to enjoy it. I depressed that fans, oh no.
Q: Hi James. Huge fan. I have a “Buffy” question. As you know, vampires seem to have overrun the mainstream media, and “Buffy” kind of re-introduced the vampire, kind of re-launched their career. How do you think your portrayal of Spike helped re-introduce vampires into mainstream media?
James: That’s a really good question. Umm, Joss came up to me early on and he goes, ‘I don’t like that Anne Rice crap. I don’t, for me, vampires are supposed to be ugly. That’s why I put the makeup on you. And dead, really fast. Uh, you are a metaphor for all of the things that happen to a young person as they try to go between a childhood and an adulthood. And all of those messed up things in adolescence, you’re the metaphor for it, so don’t ever fool yourself, James, you’re gonna die.’ And, uh, I have to say, I was an impediment to the theme, the entire time that I was there, because, um, Joss got talked into one pretty vampire by his writing team. Actually, by his writing partner, David Greenwalt, and David came up with the character of Angel, and at first Joss was like ‘get another show, this is not Anne Rice. Go work with Anne, I don’t need these pretty vampires, I don’t want the audience to love them, at all.’ And, uh, he got talked into Angel, and Angel just took off, and now he’s got another spinoff show, but the theme is being imperiled, and then I come on the show, and he didn’t expect me to be pretty. He didn’t know the blonde hair was going to work so well. I was just supposed to be some dog toy for Drusilla, but all these people wrote in, right? And he was just like ‘you’re gonna die!’ Did I answer your question? I fell into a well of self-pity right there.
Q: Hi James, I was just wondering if you could describe any of your favorite scenes from “Buffy” or “Angel”, like what it was like to be on set filming something that you enjoyed?
James: Right on. Uhh, yeah, man. Umm, during the fight sequence when I finally kiss Buffy in the house that falls down. Whenever you fought Sarah, all the stunt guys, they would sell, like if this is Sarah [positions microphone], they would sell the hit like a mile away. They’d sell it out here. And me, I was the one person that could get away with clocking her, so she would feel the wind on my fist, right HOO-OOO, hi baby! So Sarah’s trained, and she kind of went [cocks head], and so then for like eight takes she just tipped my nose. ‘Hey baby, wanna get close? [pop]’ That was hot.
On “Torchwood”, my girlfriend directed the kiss that I kissed with John Barrowman. She, um, we kissed and then we turned to her, she’s on a barstool about five feet away, like ‘how was that take?’ and she was like ‘Oh, that was very good. That was a good take, but you guys need one more. One more.’ And the director was like, ‘you know what, this is perfect? I’m not gonna… your shot.’ He didn’t say a thing. Those are my best stories.
Q: Hi James. That was my old roommate, she’s the one who got me onto “Buffy”.
James: Good taste! Good taste!
Q: Anyway, I have a question. What was it like filming the musical episode?
James: I was in my trailer, right? And, uh, we’re doing what we all do in our trailers, which is sleep. And Joss [knocks], and he hands me a cassette and he goes ‘this is the new episode.’ And I’m like ‘well, usually we get a script, but OK.’ And, uh, he leaves, and I go over and I put the tape in, and I hear some music. And I’m like ‘what the?!’ And it’s Joss and his wife Kai, and Joss is playing the piano, and he can’t play to save his life. He’s pounding it out like a monkey. And he and his wife are two of the most beautiful people I’ve ever met in my life. I mean, really, if you go over for dinner at their house, you’ll never forget it, but they can’t sing at all. And I’m like ‘what? Joss, what?’ And I go out of my trailer and everyone else got the same tape at the same time and they’re all coming out of their trailers with the same look on their face, like ‘what?!’ And at that point, most of the cast, me and Tony Head were pretty comfortable because we were already singing in clubs. I’ve been singing in clubs since I was 14, so I was like, yeah, we’ll try it, you know, whatever. But for most of the cast, they were being asked to do something that they weren’t trained to do in front of millions of people, in front of the world. Right? So the cast went to Joss and said, ‘look, man, you’re going to ruin my career. If you ask me to juggle chainsaws, I’m going to cut my hands off. If you ask me to do a musical comedy, I’m going to flush my career. This is not what I’m prepared to do in front of an audience. I’m a dramatic actor for God’s sake.’ And he kept going, ‘yeah, whatever, you are now.’
And at some point, we all realized that he really was on a kick about this and he was not going to let us off and we really were going to film it. And so I watched the cast go from being really afraid and really not wanting to do something brave to really buttoning down and getting the vocal coaches in there, getting the dance instructors in there, doing the homework and just going for it. And I’ve never been more proud of the cast. I just saw them start to fly. Especially Sarah, who had the most to lose, and most work to do, and there was just so much egg flying around on her face, potentially. And she really buttoned down and did the work and did her best job that she could possibly do, and I was very proud of her for that.
Q: You mentioned the 12 to 20 hour days and I love hearing about any complications that arised during production and solutions that happened. So I was wondering if you can recall anything particularly challenging about “Buffy” and tell us about that.
James: Yeah, I mean, uh, they were all challenging. Seriously, it was known, it’s still known that if you directed “Buffy”, you could direct anything, because “Buffy” has makeup, it has computer effects, it has special effects, it has stunts, it has comedy, it has drama, it has everything. So if you can bring off all of those elements, you can work anywhere. So anyone that directed “Buffy” has a free ticket in Hollywood right now.
Umm, some funny stories, though, there was an episode where we spent a quarter of a million dollars on this big puppet that was going to be all wet and I’m going to fight the puppet. It was as big as, I don’t know, the room? It was huge piece of foam with like nine guys inside, sweating and making the thing scary. And, uhh, we get it on the set, and they didn’t plan for the fact that it was going to be in water, so it sucked up all the water like a sponge, and all the guys inside are about to die. They’re radioing, going ‘I gotta get out of here’. So they just let them go, because they don’t want to be sued, and so by the end of the day, this puppet is all sagged over. And I’m like, if you really watch that episode, it’s a lot like the puppet episode in “Angel”, because I’m doing the puppet, making it hit me. I’m taking this big foam arm right off screen and hitting myself, ‘Ahh! I’ll get you back now!’ Because really we were on set and everyone is like, ‘we’re screwed, we’re screwed. This episode is going to be the worst we’ve ever filmed in our life. What do we do? What do we do?’ I’m like ‘hey man, I’m a stage actor, gimme that thing, gimme that thing.’ So I fought myself with the puppet.
Q: My question seems kind of stupid now.
James: First of all, stupid questions are the best ones.
Q: First a small question. Dude, I thought you were British.
James: Yeah. When I go over to sign autographs in England, all the teenage girls are like ‘give us your sexy British accent, man.’ I’m like ‘what’s wrong with the American one? Ain’t that so sexy?’ ‘No, no.’
Q: My real question is, who would you rather kiss again, Sarah Michelle Gellar or John Barrowman?
James: [laughs] That is a great question! That is a great question. [sees sign in back] I don’t know what that sign means.
Volunteer: 15 minutes left.
James: Right on. Thank you. Umm, for me, umm, how do I say this? Umm, like when I kiss a girl, dude, I wanna be the director. I wanna say, ‘this girl’s gonna get kissed. Right now.’ But when there’s another director out there saying ‘kiss her now!’ and you’re getting paid, what’s your job description? Are you an actor or are you a prostitute? You have to ask yourself. So every time I have a love scene, I gotta deal with that. And some people have that thought, some people don’t, but I do. And so for me, if I’m going to kiss somebody, it really devolves down to, do I trust that person? Is that person my friend? Is that person going to help me through this weird day? And on that score, I’d rather kiss John than any other human being on Earth. I’ll kiss him every day. I bit him. The first time we did that scene, the first day, he’s like ‘Ouch!’ And I’m like, ‘well I haven’t seen you in like 100 years
Q: I wanted to know what you felt your most rewarding role was?
James: Wow. Ummm… Spike. I remember I went to Joss one day and I said, you know, I’m not going to compare you to Shakespeare, brother, ‘cause that’s just ridiculous and you’re going to know I’m lying to you now, but frankly, Shakespeare only had three and a half hours to explore the character of Hamlet. Or 3 ½ hours for Richard the Second, or Richard the Third, Macbeth. It’s about 3 ½ hours worth of experts you know really thinking about one individual, but I had six years of really good writing, and if I really look at the depth and where we went and what was said and the whole thing, and I compare it to Hamlet, I’m like, you know, Hamlet ain’t all that. There’s not as much there. So, umm, does that answer your question? I talk so much I forget what you asked.
Q: I have two questions for you. The first one, I know there’s a resource for this, and I could have looked it up, but I forgot so I’m just going to ask you here. Do you have a CD out of music?
James: I have 3.
Q: I had a feeling and I was like I don’t know so I just have to ask. Do you have any here to buy?
James: Uh, no.
Q: That’s OK. I’ll do it online, then.
James: Yeah, you can get them online. I was with a band called Ghost of the Robot. We did an album called “Mad Brilliant” which I think was pretty damn good. Then I did two solo projects after the band broke up. One was called “Civilized Man” the other was called “Like a Waterfall” and you can get both of those too. I paid for the band on “Like a Waterfall” and Ben Peeler who’s the guitarist for The Wallflowers plays on it and the drummer for Alanis Morissette plays on it too, so I paid so much money.
Q: The second part of my question, because I’m also a musician and a singer and I wonder, I’ll be putting you on the spot, you can say no, I was wondering if you remember enough of the very last part of the “Buffy” musical episode to sing it with me. The end, you know where they just leave, they go outside The Bronze, right before the kiss, which I don’t need to do.
James: It’s been so many years that I sing my own songs, I don’t remember.
Q: It’s like “I died so many years ago”… that’s all you really have to sing.
James: OK, I’ll do it. I’ll just sing that?
Q: Yeah, it’s like overlapping.
James: OK. Ready? 1… 2… 3… 4… “I died so many years ago” (overlapping w/ “I touch the fire and it freezes me. I look into it and it’s black”). Right on. You just took me back to that night, which is so much weirder than I should even say.
Q: I’m sure that all the castmembers are fun to work with, but I was wondering if there were one or two in particular that you had the most fun with on the set or best relationship with and if you guys hung out a lot off the set.
James: I was the one person who could put Sarah in her place, so I didn’t give her an inch. I actually had a lot of fun, dissing her. Like she’d come up, ‘I got this new chocolate covered raisin, you want one?’ ‘No. Whatever. Yeah, yeah, whatever.’ Because everyone was terrified of her. She was ‘Buffy the vampire slayer’. So I had a lot of fun messing with her. My favorite person, though, was Tony Head. He came up to me after the first episode I filmed and he goes, ‘We don’t say it like that, you prat. I’ve got to go home. I’ve got kids in England now and they’re gonna make fun of me for this show if you don’t get the accent right.’ So he would go through the script with me every episode, line by line, vowel by vowel, for the first half of the first season and get that accent right. And he was very… particular. But very kind. But also didn’t kiss my ass at all. ‘No, wrong. Wrong! Do it again!’ He sounds like Spike in real life, though.
Q: OK, this is kind of odd, but someone writes a fictional novel but it’s based on your life. What’s the title of it and what’s the genre? Is it romance, comedy, horror?
James: Definitely comedy. Uhh, that’s a good question. And it’s called “Let’s Try It Again”.
James: Hello beautiful.
Q: Oh, thank you very much. Now I forgot my question for a second. Is there any episode of any show you’ve ever done, whether it’s “Caprica” whether it’s “Buffy” or “Angel” where you said ‘I love the cast, I love the crew, but if I had to do that again, I’m not sure I could do it’? Like it was really rough physically or…
James: Every show. Seriously, every day, you go like, ‘did I do that? Did I just do that?’ I remember I was on “Dragonball” and I get out to the desert and I find out apparently I have no stunt man. ‘Cause they – I have a stuntman, Dan Hernandez, great guy. I mean really responsible for some of the best stunts you’ve ever seen. But they don’t want to make up Danny in the makeup they have for me. They just want to put a pullover mask on him and send him out, and the director, every time he sees Danny, he’s like, ‘that’s not Piccolo. Get James. Wake him up. Put him on the rail’. Right? And I did a gag, I come to set and Danny’s up on the wire and he’s WAY up on the wire, I dunno about 300 feet off the ground, right? And the gag is Piccolo’s standing on a rock face and he gets sucked in. And the gag is it’s supposed to look like he gets sucked off the cliff and starts spinning down. So the first shot of that sequence, you have to propel yourself off the rock face and start spinning on the wire, but you can’t get anything wrong or it’s very dangerous, so I’m watching Danny try it. Danny pushes off too much, right? So he flies back this way and comes crashing back into the rock face and just cheesegrates on it. Like they have to clean up the rock face because the costume is still on the rock face. And the director turns to me and goes ‘your turn.’ And I’m like, ‘uhh… whatever.’ And the thing is my girlfriend’s on the set and I’m showing off for her, right? So I’m like ‘yeah, put me up there man!’ So I do the gag, and the gag goes fine. We do about three, three takes, and all goes well, but them I’m sitting down at the base of the rock face and the stunt coordinator goes on the walkie-talkie, he goes ‘well, we got away with that one’ and he said it really loud, so I could hear it. Cause he was telling me, ‘dude, they’re making you do stuff you could get killed over. You do know that, right?’ But I was like, ‘hey that was fun! Let’s do it again.’
Q: I just wanted to let you know that I watched nine seasons of “Smallville” just for your character and I feel like I’ve been punished, but anyway…
James: [laughs] I’m not responsible for any shot that I’m not in.
Q: I wanna know, every single scene that you’re in, the other actors seem to do a much better job. Do you coach them?
James: [shakes head no] Yeah actually I get that a lot. Every time I act with another actor, some producer comes up to me and goes, ‘you guys have great chemistry.’ I’m like ‘yeah, well, we’re both actors.’ Ummm… what do I say about that? Actors feed each other. We create the reality that we exist in. So if the actor opposite you is going for all the effect and trying to look cool and not really letting their beautiful weird self out, then it’s a lie and they’re lying to your face every time they call ‘action.’ But if the actor is being honest and simple and letting those weird stuff out, then it’s a gift, and all you have to do is react in a normal way. So, umm, it’s a combination, you know? I don’t know what to say about that, ‘cause I might brag.
Q: Awkward question, but thank you, that was a good answer.
James: Yeah, right on. And by the way, Tom Welling? Total jerk, man. [crowd laughs] Just kidding. He’s the greatest guy in the world. He really is. I got a man-crush on him.
Q: So I just started high school and I wanted to know what you think about the younger generation re-discovering “Buffy”.
James: Good! [laughs] I remember going to the set, and I was always the nerd on the set going ‘boy, isn’t this great?! This script is even better than the last one, let’s do it really super good!’ And I remember telling Sarah we may go on to multi-million dollar contracts but we’re never going to touch the nerve of the Earth right now like we are right now. And she just looks at me and goes, ‘just shut up, I’m tired’ She was in every shot, she was just so tired all the time. Umm, yeah… I think I answered… I think frankly, I’m very proud to have been on Buffy, because I really, I’ve been in like 100 plays and I used to produce theater, and I’m just good enough to know that THAT was tight. Like, that writing was EXCELLENT, and as we were filming it, I fully expected it to last forever. As soon as I saw the first script I was like ‘this is going to last forever. I don’t care… people are going to say “Honeymooners?” What’s the Honeymooners?’
Q: I was thinking about Spike’s character and I think Spike and Willow, they had the best progression, they went through the most on the show. And I was thinking about how you said you were just a little dog in the beginning and to me you became this Lost Boy who wanted to pretend to be bad and you were growing on people. But then, how did you feel when you read that in the script, that rape scene with Buffy. That was so upsetting, and I was wondering what you thought and how you reacted when you first heard about it.
James: Yeah. I almost committed suicide. No, seriously, yeah. I remember going up to Steve DeKnight, who wrote that episode, the day we were filming it and I was shaking and I said, ‘dude, you don’t really realize what you make us do sometimes. Sometimes you write shit and you don’t understand what it takes to be a human being and go through it.’ And, I remember being on the concrete and just thinking if I bash my head against the concrete floor hard enough, I could fly through the concrete and just fly away from this situation. It was the absolute worst day of my life. I can’t watch it. In fact, because of that episode, I still don’t watch “Buffy”, because it was so painful. But it got me into therapy, thank God, and my girlfriend’s happy about that one.
James: Wow, that was serious! Can we have one more funny question, please? End on a good note? Because it was a good experience for me, but I don’t want to let anyone think that “Buffy” wasn’t an amazing experience, because it really was.
Q: This may be a spoiler, so you may say no, but will we see you again on “Hawaii Five-0”?
James: My love, I shoot McGarrett’s dad in the face. Don’t you think I wanna come back? Hey look, man, I don’t know.
Q: They haven’t found the body. They’ve said it two or three times.
James: That’s what I said. I’m like ‘oh, you never found me.’ Look at the original series. There is a cult figure in there that is always behind all the crime. And every time McGarrett thinks he found the bad guy, at the end of the episode, Mr. Hair finds out that, oh, it was not this guy, this guy just works for Mr. Magoo! It’s Mr. Magoo again! I’m Mr. Magoo. You’re not going to see me every episode. I may be in two or three a year, something like that, but I’m always the bad guy. I’m Mr. Bad.
James: Thank you guys, you guys were awesome. I hope I see you in line.