Don’t we all know John C. Reilly by now? Does he still need a long introduction? Reilly seems to pride himself on being one of the “that guys,” but in the film community, he couldn’t be further from simply being a face you vaguely recall from one of his many films; if you’re reading this, you probably know him. So what’s the point of listing off Magnolia, Gangs of New York, Boogie Nights, The Good Girl, Casualties of War, The Year of the Dog, Cyrus, Sydney, and Step Brothers? There is no reason, even though I just did. I talked to Reilly about a year ago for Cyrus, and I found him to be both thoughtful and subtlety funny. He’d take time with his responses and put things in a new perspective, like the possible laziness digital cameras provide a crew. And as for the funny part, he’d do little things that some could easily misunderstand as seriousness, like moving blinds to look intensely out a window as if he’s stuck in a paranoia thriller or discussing how the hotel smelled like a mixture of puke and cheese (it did…) This time around, he expressed the same thoughtfulness from that interview we did last year. It was a pleasant chat about the honesty he strives for with his characters, bringing yourself to material, and the intense specificity of Roman Polanski.