When I first joined SAG, there was another John Reilly. My dad was John Reilly, too, but growing up I was John John. Nobody in life calls me John C. It's more like, 'Hey you, Step Brother!'

I listen to a lot of Chicago blues, I suppose. It reminds me of growing up, I guess. But I'm also obsessed by close-harmony groups. Actually, I'm fascinated particularly by brother duos, how they blend together. The Everly Brothers, the Stanley Brothers, The McQuarrys. There's something inherently magical about harmony.

Surprising people is the key to career longevity for someone like me.

I considered a lot of different jobs as a kid. I thought about becoming a priest or a lawyer. My father had a big linen-supply business and I considered working for him. What dawned on me was: 'If I'm an actor, I get to do the fun parts of every job!' Without having to go to four years of law school.

The fashions of the ages vary in this direction and that, but they vary for the most part from a central road which was struck out by the imagination of Greece.

People put limitations on their creativity, believing they have to rely on what they know and what they have done.

I think we're returning to more of the original vibration of music and creativity through the removal of this distortion called the music industry. That's where we're heading. And it'll cut out a lot of music if people ever expected to make money.

The idea was always going to be that each year is a stand-alone story, which did make it easier on some level. It also requires the network to have the creative imagination to say, 'This is also 'Fargo,' you know what I mean?