Tonight we had the pleasure of interviewing Connor Jessup about his character Ben Mason on Falling Skies and to talk a little bit about his work behind the camera and his executive production credit on Amy George. read the interview below. The text of our chat is listed at the bottom of this page.
[audio:http://www.threeifbyspace.net/wp-content/uploads/2011/08/connorjessupinterview.mp3|titles=Connor Jessup Interview]
Connor will also be doing live Vokle video chats every Sunday starting September 4th at 8pm EST. He will also be doing these during the shoot for season 2 and is hoping to have some cast members there! Here are some links to save and watch.
Vokle.com – An innovative and cool way to video chat with people and submit video or text questions to the host. Signup here via your twitter account or make a new account.
Chat with Connor – Here is a direct link to Connor Jessup’s page on Vokle, use this link to RSVP for his upcoming video chats!
Transcription by @Sunshine6366?
Today we have a special guest with us, he plays Ben Mason in TNT Dreamworks TV production of Falling Skies: Connor Jessup. Hey Connor, thanks for talking with us tonight. Tell me a little bit about your character on Falling Skies, about Ben and a little bit about the show.
Sure! Well, Falling Skies, the show takes place six months after an alien invasion has decimated the human population, as you know, so our infrastructure, military, governments have all been wiped out and what’s left are some rag-tag resistance groups who are trying to survive and trying to fight back if they can. The characters of the show are members of one specific resistance group, the 2nd mass fighting in Massachusetts. Ben, my character, at the beginning of the series he’s been kidnapped by the aliens called skitters, because the aliens are kidnapping teenagers and putting these kind of weird symbiotic, biological harnesses on our backs. Ben’s been kidnapped and stays kind of a mystery, and then when he gets rescued he ties into a lot of the different plots of the series, and a lot of the mysteries, like: Why are they kidnapping teenagers? What do they want with teenagers? Why just teenagers? And more generally: Why are they here? What do they want? Who are they? So my character’s interesting that way. He ties in very, very importantly to a lot of the mysteries.
That seems to be an interesting aspect for your character because for the first half of season one you’re pretty much with the aliens, you’re harnessed, you’re kind of in a zombie-like state. What is it like to try to come up with the pose or the face that you put out there for the first half of that season where you kind of have to act like you’re looking through hollow eyes, if you will?
Well, honestly, I shouldn’t say this, but it was the easiest job in the world. As an actor there’s no direction easier than “stare blankly,” because all you have to do to do that is think of something else or just not think at all. The first four episodes really, I was working a little bit, but I didn’t have that much actual work to do, because again, my direction was always, “be blank, walk from here to here.” A lot of my job was taken care of for me, because if you notice some of the harnessed kids, or all of the harnessed kids have limps, a little bit, they all kind of walk in tandem, but that wasn’t acting that was just the fact that they put a little platform in our shoes to make us limp. So my job, for the first four episodes, was really that of an extra or a background member. I really didn’t do anything.
I heard that the harnesses that they put on you were rather uncomfortable at first, and you guys spent, sometimes, thirteen hours in them. What was it like getting used to that?
There’re two types of harnesses: One type was a foam, kind of lightweight, easy to wear type and that one was the one we wore the majority of the time. It was pretty, it was uncomfortable, for various reasons it was uncomfortable, but you did get used to it after a while. What happened though, the real problem was not from wearing it, but from wearing it, like you said, for an extended period of time because we would have days where we’d shoot twelve, thirteen hours, and have to be wearing these things all day. They became really, really itchy. The scenes where we shot with the harnesses were at the beginning of the series, which we shot in the height of summer, so it became really, really hot as well, which was a problem. That was one type of harness for the majority of the harness stuff. The other type of harness we used less often, but it was for the more detailed shots, so for the surgery scenes, for the scenes where there’re close-ups, they used a silicon, heavy-duty, intricately detailed harness. It had lights inside of it, so it had electronics running through it. It could glow and it could emit goo and it was really rather heavy. That one was particularly uncomfortable, but yeah, I’m not unhappy that we, that I got out of that harness.
I guess that leads you to the prosthetics of the spikes that they put on you each day. You said previously that that takes about a half hour to forty-five minutes. Do you find yourself sometimes running into those when you’re walking around set with those on, since you don’t always remember that they’re there?
A few times, they’re not very obtrusive so they don’t get in the way a lot. The harness itself got in the way more. It caused problems sitting down and such, but the spikes themselves were pretty… pretty easy to work with because most of the scenes the only spikes that were actual prosthetics were the four on my neck that are visible and the ones that you can see going down my back under my shirt are actually just part of the costume. The days where I had to get all of them done on my back, those ones were a lot more time consuming, and more uncomfortable to deal with, but the worst that would happen was that if I forgot about them and I sat down against something or I leaned against something, a couple times the actual spike itself would fall out or it would break or tear in half or something, but they had hundreds of those things lying around and they just stuck another one on. They were really rather well designed and easy to work with.
They looked very, very good on screen.
Yeah, they actually looked, they looked very good on screen, but even in real life, people would come up and put their faces right up to them and you couldn’t tell they weren’t real, even up close.
Even the close-up scenes with the harnesses, they were just really impressive. The way they came up with it, the goo, just everything was just very lifelike and almost a little bit gross.
A funny story about the harness is that when we shot the pilot originally two years ago, I only did the one scene in the pilot where I walked through but at that point, the harness looked very different than it did, than the one you know. The harness at that point was a lot more metallic. It looked kind of like an armored spine. It had, it looked like it was made out of the same material that the mechs were made out of. Then, so they shot the pilot, they put the pilot together, they showed it and I think it was Spielberg, or someone high up, who said, “The harnesses should look more biological. They should look more alive.” So they went back, and all the scenes in the pilot, if you watch the pilot, all the scenes in the pilot where you see the harnesses were reshoots. We went back and reshot all of that, so the scene where I walk through; the scene where Noah finds the kid down on the ground; all that was, had to be reshot when we came back to the series because the harness design had changed.
Wow! That is actually very interesting and that’s another point that Spielberg didn’t really show in season one was the actual harness being attached to the kids or where the aliens took them when they attached it. Is that something that you hope they might explore in season two?
Yeah. There’s, I know that there was a few drafts of scripts in the first season that explained things in a little bit more detail that I don’t want to go into, because it could come back later, but that’s definitely something I’m sure that they’ll explore again in season two or explore in more detail in season two.
Yeah, because I think a lot of people would definitely be interested to learn a little bit more about that, and I think with the way things ended up in season one, we’ll hopefully see quite a bit more on the alien side of things as we go into season two.
Yeah. With the cliffhanger at the end of season one, it really opens up a lot of potential for the beginning of season two because in season one, it really just follows the 2nd Mass and it follows the 2nd Mass mainly at the school, at the school location, that was our main location. That was comfortable and good, but then at the end of season one we get attacked and we leave the school and Tom goes on the ship – spoiler alert by the way – and all these things happen that kind of change the entire makeup of the series. So when we go into the beginning of season two, I’m very excited to see what happens because we definitely could give the writers a very good opportunity to further explore the aliens and their lifestyles. Up ‘til now all we really know of the aliens is from when we run into them and fight them. It’s going to be interesting to see the aliens in a non-combat mode.
It is very interesting because we’ve seen the aliens lie multiple times, to Ricky, to the tea lady – as we like to call her – and pretty much, probably to Tom. Of course we don’t know where the writers will go with it and they did an excellent job of leaving it open for very many avenues to go. It makes you wonder, would you like to see your character kind of go after Tom, I guess? And kind of take that more proactive role instead of kind of being in the background?
I would. Again, I don’t know anymore than you do about where the series is going because I haven’t read any scripts yet, but there’s a lot of things I’d like to see happen. There’s a lot for my character. I would like to see him get more involved. I’d like to see kind of more of the changes that are happening to him as far as his powers, I guess. I’d like to see those explored in more detail, but again, that’s not my decision to make.
But knowing Ben as I do, I know that he will feel guilty, or responsible in some way for what’s happened or might be happening or whatever to Tom because it was very explicitly said at the end that the reason Tom was going with them is because they threaten me. There’re a lot of interesting avenues my character can go down with the next season and I’m very, very excited to explore those.
It was really interesting and that was a lot of discussion amongst us fans that the aliens were very specific to mention Ben, and not just because it was Tom that was there, but as if there was something different about him versus any of the other kids or Ricky specifically. It seems as almost the aliens were intentionally attempting to bring you back and they wanted Tom as maybe leverage for you, but obviously we don’t know where the writers are going to go with that yet, so it’s speculation, but like I said, the writers did a good job.
It is speculation but it’s cool speculation, and because there’s such a big question mark, and there’s so many things the writers can do, that’s a really cool thing, because they haven’t in any way walked themselves into a beginning for next season. There’s an endless amount of possibilities.
There’s an endless amount of possibilities for my character. Whatever they come up with, I’m sure it’ll be a hundred times better than anything I could come up with. I’m very, very excited to read the scripts and to play the character and then down the line, way down the line, for you guys to see it and see what you think!
Oh, we’re excited too! When Ben was rescued starting in Silent Kill, you had a close-up there with a skitter – probably one of the top two creepiest scenes for a lot of people, with the skitters laying over all the kids – and then towards the end of the season we saw you kind of up close with the mechs going to attack the school. How much of that was CGI and how much of that was actual puppeteering that you got to actually see while you were acting?
Mechs in the series are all CGI. There’s no puppet for the mechs, so they’re all computer generated completely, so all you see for the mech scenes is just someone with a stick with a ball on the end and that’s it. With the skitters, it’s very different. For the scene with the skitter that you mentioned where he’s sleeping on top of us and whatever, that’s actually kind of three quarters puppet or suit and a quarter CGI. So what happens: there’s an actor on set who wears the suit and he wears the head. The head is animatronically controlled, so there’s a guy off camera with a remote control moving the eyes, moving the mandibles and I think for a few of the scenes they augmented the eyes with visual effects afterwards and then the actor controls the arms himself. The legs are being controlled by six or seven puppeteers who are lying on the ground in strategic locations moving the legs up and down. The actor is wearing green tights so his legs get edited out afterwards. But I couldn’t see that so it really did feel, from my advantage point on the ground, like a skitter sitting on top of me. I could see everything, it was like his arm movements, his head movements, his eye movements, were all exactly, I saw exactly what you guys saw in the final version, which I think helped add realism to that scene. That scene was actually difficult it was supposed to take a day and it took two, including the fight scene with Drew, where he has to struggle with it. The problem with the skitter suit was, that although it looks great, it’s very difficult to use and it’s very hot. And it’s very hard to breathe in so the actor, the poor actor, who had to wear the suit, he had to get fed oxygen in between takes, and he could barely sit down and he wore the suit for twelve to thirteen hours. He was probably the hardest working guy on set.
Yeah. I was very impressed with how that scene turned out. It looked great.
It really did and I also heard a little tidbit, I think from you, that your brother, Drew, was not too thrilled with the short period of time that he had to wear the harness for that particular scene.
Yeah. It was funny because there was a group of about seven or eight of us who were regular harness wearers and that, so there was me and like six or seven other extras who were the harness kids, I guess. So you see them, if you actually notice the same kids in the pilot and the same kids in all the other scenes with me with the harness at the beginning. So we were all kind of veteran harnessers. We’d worn them for weeks on end and we were used to them. There’s a sequence in Silent Kill where Drew has to put one on to try and sneak his way in, as you know. He was complaining and itching and scratching and moaning and groaning about the harness. We all just kind of looked at him and said, “Dude, you have no idea.”
I would imagine so. I would imagine so. After Silent Kill we move into a lot more of Ben, and we start to see that he’s not quite the same kid. He seems to be a little bit scared and unsure of himself; showing maybe signs of posttraumatic stress and uneasiness. How do you approach a character like that and learn to kind of act as someone who has those types of doubts about himself or that type of stress?
What I did for Ben was I, my kind of I guess conviction was that Ben was very much like I am before the invasion, so he had a very similar personality to mine, but before he was kidnapped. So where I kind of launched myself from, was I said, “okay so if that’s true, all right. If I accept that as fact, how would I, how would my personality change if I went through what Ben went through?” So I did, like you said, I did some research on posttraumatic stress disorder, on Stockholm syndrome, on a few other kind of psychological impacts, the psychological impact of war on children, things like that and I kind of tried to apply what I’d read and what I’d researched and learned to my personality. So I guess Ben is kind of an amalgamation of me, and trauma research I’ve done.
Well, it definitely showed on the screen and you did a really excellent job of displaying the different emotions that he goes through as he kind of comes out of his shell, and finally tells his father at the end what’s going on beyond what Dr. Glass has told him. In your on-screen family, which your father’s played by Noah Wyle, your two brothers, Drew Roy and Maxim Knight, did you guys get along on and off set and you guys were like a real family even off camera?
Yeah everybody got along well. Everyone got on, but the Mason family in particular, yeah we all, we all really did get along well, which is, it’s rare for a cast, for everyone to get along fantastically, but we hit jackpot I guess. Everyone liked each other. We didn’t have any divas or anything. It was awesome. Noah is amazing. Noah is one of my favorite people. He is an amazing actor; talented, experienced, everything you could hope for in a co-star, but he’s also an amazing guy. He’s really intelligent, really thoughtful, really compassionate, really nice, he’s everything; he’s just a great guy. Max is – you’ve talked to Max, I think – Max is great. He’s incredibly intelligent for his age.
Yes he is.
He’s very talented. He’s very interesting. He’s very kind. He’s great and Drew is the same. Drew is very passionate about his work. He’s very dedicated to his job. He’s a very nice guy, very kind of down-to-earth. It’s a great little group. We have chess games going on in between takes and in between shots.
It seems to be the game of choice for everybody. You guys like to play chess quite a bit on set.
Yes. I brought a chessboard to set one day and it turned out that Noah used to play a lot of chess. Max knew a little about it and Drew knew a little bit about it. We kind of got some games started, so it was me, Drew, Max, Noah, Michael, who was our camera operator on the show. He was the best one; I could never beat him. Noah was, Noah was pretty good; I only beat him a few times. Yeah, it’s a fun game, because the good thing about chess is that it’s a two-person game and you can play over a long period of time. So usually between takes or between shots, you’d only have five or ten minutes, so you can keep a game going all day. It’s really a good way to just kind of relax and decompress between shots.
Oh, yeah. Definitely and the closeness between your family definitely – I would think – helps make it a lot easier to interact in front of the camera as well, because you’re very familiar with each other.
Yeah and surprisingly, if you actually watch the series, you notice it and you look for it. There’re very few scenes in the show where the four of us are all together onscreen. There’re very, very few scenes – I can count them on one hand – where we’re all interacting together. The scenes where we were, were some of my favorite scenes to shoot, because it was a pleasure to work with all three of them at the same time.
Oh yeah. What was your favorite episode for season one to shoot as your character?
My favorite episode to shoot was probably – let me think – my favorite episode was the finale. By the “finale” I mean the second part of the finale, so it would be episode Eight Hours.
Those two episodes were shot separately. Eight Hours was awesome, because Ben finally got to do something. Before that he’s really just been walking around talking to people. A lot of the episode, Ben plays kind of an integral role in one part of the episode, so that was always fun. I loved Bruce Gray, who played Uncle Scott in the show. He’s an absolute delight to work with. He’s an amazing guy and I got to spend quite a bit of time with him in the second or third part of the series. He’s a really amazing actor and really, really he’s one of my favorite characters on the show. I got to work with him a lot, so that was awesome, and I got to run to the flagpole and work with some visual effects, it was, yeah, the finale was the most fun to shoot, I think.
It definitely had a lot going on for your character there and it was a lot of fun to watch. What was one of your hardest scenes to shoot?
Surprisingly, the hardest scenes I’ve had to shoot have nothing to do with acting or emotional difficulty or anything like that. They were actually physically difficult. Anyone who knows me at all will tell you that I’m out of shape and not very athletic and not very coordinated.
I’m 100% willing to accept that, but the writers didn’t seem to be willing to accept that, because every episode that I read it seemed like they’d throw more and more stuff at me for me to be doing. First it was sprinting, then it was push-ups, then it was skipping, then it was sprinting again, then every episode had something else. There was one scene in Sanctuary: Part 2 where – it’s actually a really quick, simple scene seemingly – where Dai and Tom pull up on motorcycles and I come sprinting down the road and I meet up with them and I tell them what’s happening at the sanctuary and blah, blah, blah. Although it’s a quick, it’s like a twenty-second scene, because of the complexities of trying to time everything out properly, so of trying to get the motorcycles to come in at the right time, the camerawork to go in at the right time and then me to come in at the right time, it took a lot of work. So we did like twenty/thirty takes of that one shot and of course, in that shot I have to start way down the road to time out properly. That was just like six or seven hours of sprinting, over and over and over and over again and I’m a horrible runner, so that was probably the hardest scene to shoot.
I don’t know if I would have been able to survive that many shoots myself running, so congrats on that one for lasting for thirty shoots on that because that’s not an easy task and I’m not in shape myself either.
Yeah. It’s definitely something that… my mom and dad like to laugh at me about how out of shape I am and they had so many laughs when we kept getting these scripts with skipping and push-ups and jumping and running and who knows what else happening. It was like the writers were purposely playing around with me.
Now for stunts we saw you did a jump out the window in Eight Hours.
Yes, after Rick and you were going to run after him. You did that stunt yourself, or did you have a stunt double?
That one I did myself. I was actually surprised when I was going out that window I felt like I was…I felt like I was slow and like kind of awkward, but when I saw the playback it actually looked pretty, pretty smooth, which I was happy about. Again, that was more…more examples of the athletic things I have to do. The window was very wide though, and it was, again, it was like when they were writing the script to jump out the window, you have a very certain image in your head of someone jumping out a window, but in reality it’s a ground floor room so jumping out a window is a lot like vaulting something. It’s a lot like going out a door that just happens to have something in the way. It wasn’t quite the spectacular leap from a third floor window that I pictured in my head when I read the script.
If in season two they decide to put more of those physical stunts in, is that something you would prefer doing yourself or would you get a body double for that?
They have body doubles. I do whatever I could myself, because I like, it’s easier for filmmakers; it’s easier for everyone. They have more options with their shots; that they can see my face, etc. It just makes everyone’s jobs easier when I can do it myself. I know the entire cast is of that mindset, but within reason. Like there’s things I obviously can’t do myself. I know, for example, that there was a scene where I’m chasing after Rick when he kind of does this little parkour thing where he jumps over the barrier, and although I’m sure Daniyah would have loved to do it, he doesn’t know that, he can’t, so they has to be a stunt double for that. If I can do it, I’ll try.
Oh. That’s awesome! So, we see that season two’s moving to Vancouver. Recently season one was in Toronto, which is in your backyard. Are you excited to be going to Vancouver? Have you ever been there before?
I’ve never been to Vancouver. I know a lot of people who have and I have a lot of friends and ex-colleagues who live there. From all accounts, it’s a very beautiful city. Yes, I’m looking forward to it. I love going to new places and living in new places; it’s one of the great pleasures of life, so I’m excited for it. Yeah.
Awesome! We know that you’re an avid film and movie buff. You enjoy work behind the camera almost as much as you do in front of it. Was there anything new that you learned, or that you were interested to watch when you weren’t in front of the camera on set?
Oh Loads, like endless amounts. There’re 150 people on set on Falling Skies, roughly, running around doing incredible jobs, very specific, very detailed, very technical jobs, setting up cameras, setting up lights, setting up sound, setting up costumes, doing everything. There’s an endless array of jobs to be done. It’s too much to watch at once, but when I’m on a set for four or five months continuously, you pick up an enormous amount of things. Watching Christopher Luna, our director of photography, work was incredible. Watching all our different directors work and their different styles was a great learning experience. The grips, the costume designers, the makeup designers, the prosthetic designers, it was… actually some of my best stories I heard on set were from one of the prosthetic special effects guys who kind of designed the harness and he built a lot of the stuff. He’d worked on a lot of movies – he worked on Dark Knight, Inception, and all these different movies – so he had some great stories about how to build stuff and how things were made and done. Learning things like that was always fun.
Oh. That’s very cool. We know that you have a few director and producer credits under your belt, including short films like Amy George and I Don’t Hurt Anymore. We heard just yesterday that the film that you executive produced, Amy George, was honored with a showing at the Toronto International Film Festival.
Amy George is a feature film I executive produced last spring.
Oh. Feature film. Okay.
A friend of mine directed and wrote it. I’m very proud of it. The Toronto International Film Festival is one of the, probably the second, might even be the first, for the biggest film festival in the world. It’s huge; it basically takes over the entire city for the month of September. It’s crazy and it’s incredibly prestigious. It’s probably TIFF, Cannes, and Sundance are three of biggest in the world, so yeah to have a film that had a budget of about $15,000, had a crew of about six or seven people, shoestring budget, shoestring crew, first feature, first to get in. We’re all very happy about it. It’s a great honor.
Well, it says a lot about your talent behind the camera and congratulations on that. Can you tell us a little bit about the film?
Yeah, sure. Amy George follows a thirteen year-old boy who desperately wants to be an artist; he desperately wants to make art. He feels that his kind of mundane, middle-class, liberal lifestyle is too mundane for it. He feels it doesn’t leave him prepared to be an artist, so he kind of, he reads some books, some Spanish books about art and he goes off on this journey, kind of, to discover what it means to be a true artist. It’s not a very plot oriented film, there’s no, it’s not traditional in that way. It’s more of a character-driven piece and like I said, I’m really good friends with the writers and directors and I think they are tremendously talented and have a tremendous future ahead of them in this business. I’m just happy to have been involved in it and to have learned from it.
Yeah, and you definitely have a presence in the industry that’s going to be going for a long time as well. When might we see Amy George outside of the festival in September?
I have no idea. It’s playing at a few festivals. It played at a few American ones earlier in the year. We don’t have a distributor yet, so movies all have a very complicated process of getting made and getting seen. We made it, we own all the rights, but if someone sees it at TIFF and someone likes it and buys it, there’re companies you know like Sony Picture Classics, Alliance, Atlantis, and all these different companies that can buy films then distribute them on DVDs or in theaters or whatever. We have our fingers crossed, obviously, for someone to see it and like it and buy it, but there’s no way to know for sure, so hopefully it’ll be available all over North America. That’s the best possible option, but I’m not sure. I’ll definitely keep everyone updated on it on Twitter and everything.
We’ll be keeping an eye on it for sure. Definitely. What are some of the things you like to do outside of acting on your time off?
There’re lots of things I like to do. I love traveling. I’m huge into traveling. I love watching movies. I spend the vast majority of my time watching movies or reading about movies, or writing movies. I love watching anime. I love playing board games, video games, hanging with friends, the usual stuff, really. I’m an avid reader. I don’t do anything exceptional; I don’t have any special talents or particularly interesting hobbies or anything like that. I don’t play any musical instruments, I don’t speak any other languages, but, yeah, the fact of the matter is that movies, the film business, whether watching them, being in them or making them, takes up a vast majority of my time; so free-time is hard to come by during the year.
Oh. I’d imagine so. Do you end up having to home school because of all that work? Or do you still go to a public school?
No. I go to public school. I know a lot of the actors, like Maxim for example, are home schooled, because it is easier, but I go to a school in Toronto that happens to be built for people like me, so it’s very flexible. People like Ellen Page and Drake went to my school, so it’s very good for what I do. It is difficult, because you are gone for a lot of school, you miss a lot, you have to do a lot of independent learning, but it’s worth it. It’s going to be harder this year, because I’m out of the city. Last year I could go to class on the odd day or if I had a day off I’d go in, but it’s a bit far to fly back to Toronto from Vancouver on a day off.
I would say so. Definitely. We also saw you announced today that you’re going to be doing a weekly live Vokle video chat starting September 4th on Sundays at 8 PM, which is really awesome of you to do for your fans. I’m sure you’ll get a pretty high turnout every Sunday. You going to be doing that while your doing the shooting in season two?
Yeah. I actually thought that would be a cool part of it. I thought, because shooting starts in October, I thought it’d be really cool to kind of fill people in weekly on what’s happening, how the shoot’s going. Maybe, because we’ll all be together in Vancouver with the cast, maybe have a few cast members over and say, “hi.” I really love Vokle. It’s an interface I discovered a few weeks ago and it’s really fantastic. I get a great amount of enjoyment out of it. So, yeah, I’m away for a couple weeks starting tomorrow, but as soon as I get back I’m looking forward to doing that weekly show and to answer your question, I guess in more succinctness, yes I will be doing it during the shooting of the show.
Well, that will be very cool for the fans. I know a lot of them were kind of bummed that they had to wait a full year for season two. We talk with a lot of the fans on Twitter and a lot of the cast members: you, Maxim, Peter and a few others and they’re very talkative and they love to talk to their fans and I think that’d be a really awesome thing to do that will keep everybody interested as we go through the fall season. Vokle, I saw for the first time when you did it the other night, and it is a very cool interface. Poor Maxim, he had to tell jokes for a little bit while you were having some technical difficulties.
Yeah, I know. My computer was doing weird things, so I appreciate what Max did, holding down the fort and I’m definitely going to have him on next time I go on. Hopefully I’ll have him on for a little bit, just to make up for him, so he can say hi to people and answer some questions.
Yeah and despite what everybody said after your computer went down, Macs are better than PC.
Well, I think that was all the questions I had, was there anything you wanted to add or say to the fans?
No, just I guess thanks so much to all of you for watching the show, for sticking with it for eight weeks, for being as avid fans as you have, for tweeting me so often, for posting on the fan boards, for sharing your theories and your hints with us, and hopefully you’ll stick with us. I know it’s a long gap between the finale and next season, but stick with us, check out my Vokle chats if you can, stay on twitter, and hopefully we’ll make the wait worth it.
Well, definitely and appreciate you keeping us up-to-date and I’m going to post some links on our site to the writers and directors for Amy George and to your Vokle chats and stuff, so that everybody can keep in contact and up-to-date. I appreciate you sending the autograph that you sent out to us a couple weeks ago, really appreciate that. Hopefully we haven’t been too annoying to you with all the tweets. I know I’ve said that a lot in the last couple of weeks.
I love it. It’s great. Twitter and Vokle and all these social networking interfaces are great to see what people are thinking and how people are reacting. It’s very rewarding and humbling for me to see how everyone is so into the show.
Yeah. Definitely. We really appreciate all of you cast members that have been so open and talkative with us. It makes us enjoy the show all the much more and we look forward to seeing sneak-peeks for season two as we go along and hopefully we’ll get to do a nice long interview with you again once you guys start doing your rounds for season two.
All right. Thanks for coming out, Connor. We really appreciate it.