Jacob Anderson dives into the final episode of “Interview with the Vampire” “Insane”

In terms of really committing, was that something you felt comfortable with right away? Does it require a degree of adjustment?

I remember reading parts of Dubai, and just trying to make that language easy to talk to but at the same time foreign is what I’m always aiming for. There’s a version of this show that I think is very serious and too serious, and I don’t think any of us ever wanted to do that show and thank God.

This may sound like a very random thing to say, but I had a strange bit of inspiration the night before my first day of filming. One of my favorite movies is Hot Bar with Andy Samberg. I think it has one of the best plots of any movie ever, and I think the acting in it is incredible. After all the preparation for the first season—learning tap dancing, learning long passages from the works of Anne Rice and Rolin Jones—I felt truly overwhelmed by the entire task ahead. I took a shower and watched Hot Bar on my laptop. Really, the commitment that everyone in that movie had to what they were doing, I realized that the only way for any story to be successful is for everyone to give it their all.

I don’t mean to sound condescending, because there’s so much great stuff being made right now. But this is never going to be a show where we just get to stock up on content and say our lines and go home. It can only work if we all allow ourselves to be as silly and emotional as possible.

That makes me think of the moment at the end, in your scene with Lestat, where there’s a very dramatic piece of music playing and we’re having this long-awaited meeting between the two of you—and then Lestat says, “Siri, stop.” The music coming from his phone suddenly stops.

That was one of my favorite moments! When those uplifting moments are delivered with humor, that’s what makes it real. That’s what makes these really big emotions. We’ve all slipped on banana peels on the worst day of our lives.

Episode five is one of the strongest episodes of the season, as we get to know Louis in the 1970s—and in one of his darkest moments. It also ends with you in a head-to-toe prosthetic suit, after Louis walks into the sun in a suicide attempt.

I have done a lot Jeff Goldblum IN Fly stuff. It feels reminiscent of that. I’ve done a lot of Jeff Goldblum impressions. [Laughs] There are things about Louis in San Francisco at that time [from Anne Rice’s books] wasn’t actually in the episode, but hopefully I tried to include some. That version of Louis is closer to Louis in the books, the way he talks about Lestat. There is a real conceit and detachment. I want to make sure that’s a little jarring, because in season one, when we first meet him, he’s very charming. As soon as they got back to the apartment, it subsided and he had no more energy. I always think about it like, Louis was an addict at that time. His moods are determined by his meals and by what his meals have put into their bodies, and so he is very moody. I want him to feel like he could flip over at any moment. He can burst into tears or he can do what he does.