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Q: Yes, you go long on wild imaginings. There is a Mad Max storyline, a sasquatch and a unicorn fight. Those I would imagine would be very expensive in real life. It must be nice to have that creative freedom.

A: On the live-action show sometimes we would have ideas for gags that legally you couldn’t do. There was an episode in the live-action show where Brent was having a flashback and he was remembering when he was a little kid and he got a kite stuck up in a tree and Oscar’s solution to get it out was to strap a rocket to young Brent’s back — he was about four years old — and fire him up into the tree. Well we had to stop the flashback at the point where he had the rocket strapped to him and it was about to light because legally they won’t let you fire a kid up into a tree. But in the animated world if we want to do that we can. I could shoot the kid to the moon if I wanted.”

Photo by TBA / PROVINCE

Q: Is it weird actually not being live-action Brent, strange not moving around on a set?

A: No. I never really moved around. I leaned on a cash register. I sat on a stool in a diner. That was pretty much it. Our focus-puller on the show, Todd Irving, always said you’re the best elbow actor in the business.

Q: What was it like to go back after a handful of years and write for these characters?

A: It wasn’t so much exciting as it was comfortable, natural and nice.

Q: Corner Gas was very much an ensemble, relationships show. How did you go about recording the show?

A: I felt it was important that we act with each other in a scene, because that was part of the chemistry and part of the magic that worked in the show. You can do it piecemeal, but I said we have to get these people together, that’s where the magic is. So all the actors that live in Vancouver were in the studio at the same time and all the actors that live Toronto went into the studio. Then we are linked up live and acting and reacting with each other. It makes it feel like the show.