Tobias Segal, a versatile actor known for his captivating performances across stage, television, and film, offers a compelling glimpse into his career, including his memorable role in Sneaky Pete. From his early theatrical experiences to his critically acclaimed roles in series like Mindhunter and Sneaky Pete, Segal’s journey is a testament to his dedication and passion for the craft. This in-depth interview delves into his formative years, his experiences working with renowned directors, and his insights into the acting world, with a special focus on his time with the Sneaky Pete cast.
DB: You were born in Pennsylvania. Can you tell us about your childhood and where you grew up?
TS: I was born in Bryn Mawr, just outside Philadelphia, in an area called the Main Line. It’s named so because it was initially where people working on the train line built their summer homes. My family’s first home was in Charlestown, a small farming township. It was a tiny house built in the 1820s or 30s, originally for mill workers. It was quite small, maybe 30 by 40 feet for the entire house, three stories tall. Later, when my brother was born, we moved near Phoenixville and then moved around the same general area quite a bit until I went to college. We lived in some unique places.
One house was right by train tracks, and we could walk onto an elevated section of tracks. If you walked about a third of a mile, there was a massive trestle bridge that frankly scared us. Trains were infrequent, mainly freight, but very loud when they passed. Another place was an old farmhouse with an incredibly long driveway. It was almost a third of a mile long, fording a stream and going through a barn before you reached the house. That winter was particularly tough, with frequent power outages. But it had a pond where we spent summers catching frogs. There was one giant frog, maybe six inches long, who we called the “King of the Pond.” It took us all summer to catch him with flimsy butterfly nets, and when we finally did, the net was completely bent out of shape. We released him at the top of the hill, watching him hilariously tumble down towards the pond.
DB: Did you move schools often with these moves?
TS: For elementary school, I started in the Phoenixville School District until 2nd grade. Then, in 3rd and 4th grade, my brother and I went to a private school, Montgomery School. When we moved again in 5th grade, I started in Charlestown, part of the Great Valley school system. Middle school was General Wayne for 6th to 8th grade, and then Great Valley High School for 9th to 12th. After that, I went to Temple University.
DB: What were your parents like?
TS: They are incredibly supportive and lovely. They’ve always championed my acting career. I know many people struggle to get family support, so I feel very fortunate. They’ve always said, ‘As long as you’re happy and not completely broke, we’re okay.’ And they’ve helped whenever they could.
DB: You were in a marching band in high school, playing the trumpet, right?
TS: Yes, I was. I started with the band in middle school because they needed more members. We were a small band compared to others at events, sometimes with bands of 150 people. It was hard work, but a great way to be involved in school. Music was a big part of my life throughout school. In 5th grade, when we could choose an instrument, I picked the trumpet. My mother’s family was musical, and my uncles had trumpets lying around. I ended up with a Stradivarius trumpet, a very nice instrument, though I didn’t realize it at the time. I still have it, but I don’t play anymore.
DB: Did you have formal trumpet lessons at school?
TS: Yes, throughout school. I took lessons with Lou Spagnola at Beams Music, the local music shop. He was very patient because I wasn’t naturally talented. I was in the concert band, jazz band, and orchestra. I participated in jazz band, but I never felt I was very good at it, even when I practiced hard enough to keep up.
DB: Besides bands, were you involved in other performing arts at school?
TS: Eventually, yes, I did musicals. I auditioned in middle school but didn’t get in. In freshman year of high school, I played in the pit orchestra. Watching the performers on stage made me jealous because I had always wanted to perform. The next year, they were doing Carnival, and I had always been fascinated by the circus, teaching myself to juggle and ride a unicycle. I even had stilts. I dreamed of being a clown or a juggler as a kid. Carnival needed people with circus skills, so I auditioned and got to juggle, unicycle, and use stilts in the show. It was a blast! I continued doing musicals for the next three years. We also did a fall play each year. One year, it was The Good Doctor, based on Chekhov short stories, which was really fun.
DB: Do you still keep up with your circus skills? (Both laugh)
TS: I juggle occasionally. I still have my unicycle, though I haven’t ridden it in years, and my stilts, which I haven’t touched in a long time. My stilts were just metal poles, and my dad even extended them, making them dangerously high. I can’t believe my parents let me use them! I fell constantly and had bruises all the time, but they just let me continue as long as I wasn’t seriously hurt.
DB: After high school, you went to Temple University. What did you study, and what was your experience like?
TS: I studied acting. Growing up in the suburbs, Philadelphia felt distant and exciting. College was a shock to the system in terms of social life. Suddenly, alcohol was readily available, and it was a big party scene for a while. Philadelphia is a great city, and the people at Temple were fantastic. The mix of ages and experiences among the students was really inspiring and made me more serious about acting. I chose theater as my major initially because I wasn’t sure what else I wanted to do. It was fun in high school, and I thought I’d try it and maybe switch to a ‘real’ major later.
But in my first year, I was cast in plays right away. I played Billy in One Flew Over The Cuckoo’s Nest, a graduate production. It was incredible to work with such focused and driven individuals. In high school, some people were serious, but this was a different level. These were older students with life experience, completely dedicated to their craft. That year, I continued working in productions, each one exciting and new. We did Corpus Christi, Disco Pigs, and my first Shakespeare, Twelfth Night, where I played Valentine, a small part, but a new experience nonetheless.
Sophomore year, I lost focus. Living off-campus and commuting, I became distracted, and my grades suffered. I was in a couple of smaller productions, but my motivation was low. Over the summer, I tried to refocus for school. A graduate from Temple, Heather, was working at The Mum Puppettheater in Philly, run by Robert Smythe. They were known for movement-based performances combining puppetry and dance but were planning their first non-original production, Equus. They needed an Alan, and Heather suggested I audition. Equus blew me away. I had never read anything like it. I knew I could do it and prepared intensely for the audition. I got the part. The show was scheduled at the start of the semester, so I had to choose between school and the play. I felt I needed to do this show, it was too important. I spoke to the school and arranged an independent study, writing about my experiences in the play. It became a magical experience, one of the greatest I’ve ever had on stage.
The theater was a tiny, intimate space, seating maybe 60 people in the round. The audience sat almost in horse stalls, with a dance ring in the center. The horses were created physically by movement artists, many from Dell’Arte school. Instead of masks and stilts, they used their bodies, covering themselves in rice flour. When I touched them, flour would fly off. The ride scenes were created by them. I would climb onto Sky’s shoulders, and he would prance around the ring, kneeling and running. The space was so small, it must have been intense for the audience, these incredible physical performers right in front of them. In a blinding scene, we created statues with our bodies in the dark, then they’d apply dark makeup around their eyes and drag my hands across their faces, just staring. Each shape was improvised in the moment by whoever was being blinded. It was incredible, and Bill Roudebush was a fantastic director to work with.
Greg Wood, a Philadelphia actor, played Martin. On the first day we were on our feet, rehearsing a scene with Greg, he delivered his long monologues completely off-book. I had never seen anyone come to rehearsal so prepared. It blew my mind. He finished, and the stage manager asked if he wanted line notes now or later. Greg said, ‘No, now is fine.’ The stage manager said, ‘You were perfect, except you missed “the” on page…’. Greg immediately knew the page and line. He had a photographic memory! It was incredible to witness. Equus was my first professional show.
DB: Is that the performance that won you an award?
TS: Yes, I won a Barrymore Award [for the Philadelphia area]. The entire cast and the play itself also won awards.
DB: When did you decide acting was definitely the career for you?
TS: After Equus, I did another show and tried to return to school, but by then, I knew I wanted to act professionally. I went back for a semester but realized school wasn’t my path anymore. I wanted to dive into acting. So, after that semester, I left, got more work, and decided it was time to fully commit to acting. Another year of school might have been okay, but I was working and didn’t want to stop.
DB: When did you move from Philadelphia to New York, and why?
TS: I did a show in Philly called According to Goldman. My current agents saw the show—their client Carmen Roman was in it, and Bruce, the playwright, was also their client. Mary Harden from the agency came to see it and invited me to New York to freelance with them. It’s a bit of an unusual story!
The first audition they sent me on was for Law and Order: Special Victims Unit, and I booked it immediately. It was a whirlwind since I hadn’t auditioned in New York before. Then, the week after auditioning, they called with good and bad news. The bad news was they rewrote the part, making it younger, so I was no longer playing it. The good news was it was too close to shooting to recast, so they would pay me for the episode anyway. So, I lost the job but still got paid.
DB: Paid for doing nothing.
TS: It was very strange. Later that week, they called again, ‘We have another audition for Special Victims Unit and a short film, both on the same day.’ I auditioned for the short film in the morning and got a callback right away for Special Victims Unit. I went from the short film callback to the Special Victims Unit audition. Meanwhile, the short film called and wanted to see me again, reading with the lead. That afternoon, I booked the short film, and right after, Special Victims Unit hired me for the next episode. I booked my first three auditions with these agents—mind-boggling! When I met them, they said, ‘Okay, sign with us!’ It was incredible. They are wonderful people, and I’ve been with them ever since. Of course, after booking those initial jobs, I then went six months without work.
DB: Resting.
TS: Yeah, ‘resting.’ I was still in shock. This was around 2003-04. For a couple of years, I lived in Philadelphia but worked with them, commuting to New York often. By the end of my time in Philly, I was spending a couple of days a week here for auditions, especially during pilot season when you had to be in the room. I remember weeks commuting three or four days, which was brutal—at least six hours of commuting daily. I did that for a few years, and I guess I was young enough not to be completely worn out. Eventually, I booked a show at Playwrights Horizons, Doris to Darlene, and that was it. I knew I needed to move. That same season, I did From Up Here, another incredible experience that solidified my decision to stay. At the start of that year, I decided if I could make it work for a year, earning enough to continue acting in plays, films, or TV, I would stay.
DB: From Up Here was an emotionally charged play, wasn’t it?
TS: Yes, very much so. It was dark and intense, dealing with a high school student who brought a weapon to school but didn’t use it. It was about his struggles at school and socially, and the mistake he made—this was post-Columbine, pre-Sandy Hook. The subject matter was still raw enough to examine the question: ‘What do we do about kids contemplating hurting themselves or others at school?’
Working with Julie White [in From Up Here] was incredible. Liz Flahive, the playwright who now works on Glow, is also fantastic. Julie is a force of nature, so talented and generous. The entire cast was top-notch; it was a perfect combination of events. It was a whirlwind because I was so immersed in it, it was hard to fully grasp what was happening. Liz and Leigh [Kilimanjaro, director] had an amazing rapport, able to make changes on the fly. Liz was great at holding onto her vision but also adapting to our strengths. I hadn’t worked on much new material before. Doris To Darlene was new, but Jordan Harrison, the playwright, was very set in his vision, and the play was more stylized, harder to change. Les Waters, the director, had a clear vision too. From Up Here felt more fluid. We could shift and build collaboratively, which was really exciting. It felt like we were creating something together as a group, which was a new experience for me.
DB: In 2009, you were at the Old Vic in London for The Bridge Project, directed by Sam Mendes. What was it like living in England and working on the London stage with him?
TS: That was an incredible experience. It was my first time out of the country as an adult. To be there with such a production and cast—Simon Russell Beale, Sinead Cusack, Rebecca Hall, Ethan Hawke—was very special. It was the inaugural year of this three-year project Sam Mendes and the Old Vic put together. It was exciting because it was new; we were figuring it out as we went. Originally, it was planned to be Shakespeare and Chekhov for all three years, but it evolved. The second year was two Shakespeare productions, and the final year was just Richard III. Sam Mendes is a strong and generous leader, bringing people together and drawing out performances. I was blown away by his presence and generosity. Working with someone like Simon Russell Beale, so present and intelligent, elevates the entire production to another level.
For The Bridge Project, we spent two weeks doing table work. We were indeed working at the table, hearing everyone discuss their roles and Sam’s vision. The first day on our feet, doing The Cherry Orchard, Sam put rugs on the floor to define the stage space in the middle of the room, with couches and chairs around for observers. Charlotte Parry and Simon Russell Beale did the first scene of The Cherry Orchard, and when Simon delivered Lopakhin’s opening speech, everyone was transfixed. It was a performance ready for an audience right then. It was a different level of acting.
I had never performed on a stage as big as the Brooklyn Academy of Music’s, so I was already impressed by the facilities. Our first stop was Singapore, which was like being shot out of a cannon. They treated us wonderfully. It was exciting and surreal. From urban, corporate Singapore, we went to Auckland, New Zealand, a total culture shock. New Zealand felt very sweet and laid-back, reminding me of Philadelphia.
Then we went to Europe, performing in Madrid and Recklinghausen for the Ruhrfestspielhaus in Germany. It was fascinating to see the audience differences. Singapore was a huge house, thousands of people. Auckland was smaller and relaxed. Madrid was incredibly passionate. Spanish audiences were practically fighting over the microphone during talkbacks, so excited to have us. It was beautiful to see such passionate audiences. Germany felt very intellectualized. Audiences were responsive but in a different way—reserved and critical, expecting a ‘who’s best?’ curtain call, which Sam wouldn’t do. We ended up with multiple curtain calls because they wouldn’t let us leave until they realized we weren’t doing individual bows. (Laughs)
London was incredible. I loved the city, the people, and the audiences. It felt similar to American audiences, a similar sensibility. We were there for about two and a half months of performances. The Old Vic was a great and unique theater, and they put us up in very cool apartments near Tower Bridge—a funky, extended stay in an old factory, open in the middle with skylights and views of the London Eye. I got a bike and rode to work, enjoying the nearby markets.
DB: Your first movie role was in Rocky Balboa, right?
TS: (Laughs) I had done a very small independent film called The Other America, which premiered at Slamdance, and a couple of student films, including a feature-length one that took years and will likely never be seen. Rocky Balboa was the first major feature I was in.
DB: What was it like being new to feature films on Rocky Balboa?
TS: It was really exciting! I had done some TV, which felt similar, but Sylvester Stallone was directing. Meeting someone like Stallone, a legend, larger than life, was a bit daunting. But it was a blast.
DB: What kind of director was Stallone?
TS: He was great. He was managing very large scenes, some with hundreds of extras, and another in a big bar. He was directing and wrangling at the same time, trying to keep everyone involved and engaged. He could switch from ‘Okay, everyone, let’s do this! Big scene, lots of energy!’ to ‘Here’s what I need from you in this moment.’ Performance-wise, he was hands-off with us because our roles were part of the story but not central. He was still attentive.
With more experience now, it makes more sense. Back then, I wondered, ‘Why aren’t we discussing character emotions deeply?’ You realize on these kinds of jobs, you prepare and bring your work. They trust you to do that. As a young actor, it’s easy to feel overwhelmed and think, ‘Am I being ignored? Why aren’t we more engaged?’ You have to create that engagement for yourself; that’s why you’re there—because they trust you to make it happen.
DB: To bring your A-game.
TS: Exactly, bring it. The sooner you realize that, the better.
DB: In 2012, you played Charlie Petunia in the comedy-drama Petunia, which was well-received. You were opposite Thora Birch, Michael Urie, and Christine Lahti.
TS: Yes, the cast was incredible. I was very lucky to get that role. I had never played a lead in a proper feature film before. It was independent but still a significant film, and I was so excited. Ash Christian, who wrote it with Theresa Bennett, wrote an incredible script. Reading it, I was blown away. Ash was a great director. We rehearsed beforehand, which is rare in film. I got to spend time with everyone before shooting. It was a lovely experience. My first scene was with Michael Urie, who was wonderful. I had admired his work and was a bit star-struck. He was so kind and helped me with my performance. The whole cast was great, everyone excited to work with Ash. I’m glad you enjoyed it.
DB: What was good about Petunia was it avoided predictable cheesiness, often found in that genre. It had rough edges to the characters.
TS: Yes, Brittany Snow and Michael’s relationship was fascinating. Christine Lahti was wonderful to work with. The scene where she and I smoke pot was fun to shoot.
DB: In The Drop, you had a brief scene with Tom Hardy and the late James Gandolfini.
TS: That was another wild experience. They shot it almost like an indie film, very intimate on set. It felt like cameras were set up, and then they let us go. I enjoyed it immensely. Both James and Tom were awesome. Meeting them, I was again blown away by their generosity and how they let things flow. They both seemed like ‘hard men,’ but Tom Hardy was a hugger—unexpected! He hugged a lot, which was very surprising and lovely. On our shooting day, during lunch break, Tom immediately went out to the crowd of onlookers and autograph seekers, greeting people and signing things.
DB: You’ve been in many TV shows, from early roles to Mindhunter. You were in The Good Wife, playing one of the often-hilarious NSA guys.
TS: That was a trip. I didn’t know what to expect because The Good Wife was such an institution, on air for so long with an incredible cast. It was funny because we didn’t interact much with the main cast—our role was to observe from a distance. People asked, ‘How are they?’ but I hadn’t met anyone until the show ended. Zach Woods was amazing to work with, just before he became incredibly busy. And working with Michael Urie again was great.
DB: Especially with the paper airplanes flying across the divide, it was funny.
TS: And the goats! Those kinds of details were a treat. You never know what they’ll write. I expected it to be a couple of episodes and done, but they brought us back occasionally, which was great.
DB: I also saw you in an episode of Fringe, playing a character called U-Gene.
TS: Fringe was the most bizarre TV experience ever! They wanted me to be invisible, mirroring the invisibility in Predator, where you still see an outline. Instead of digital effects or greenscreen, they decided to paint me green—shocking fluorescent green—for two days of shooting! Then, for scenes with UV light revealing me, they painted me with special white UV paint. So, two days of shooting in two different colors. In between, I shot another film, Reservoir, and when Fringe called for reshoots, I had cut all my hair. They had to put a Hulk-green hairpiece on me! It was a fun experience, and my first time in Canada. Vancouver was beautiful.
DB: Was that Vancouver?
TS: Yes, it was. Gorgeous, and a great time of year, near Gastown with cobblestones and everything.
DB: Then you were in one episode of The Following—getting murdered.
TS: Yes, The Following was very strange and dark, brutal! They just called and asked, ‘Hey, want to get killed?’ ‘Sure, why not?’ (Both laugh)
DB: What about Happyish? It lasted only a season with Steve Coogan. You played Gustaf, who only whispers in the other guy’s ear. What were the challenges? Were you actually saying anything, or pretending?
TS: Mostly pretending to say things. It was an incredible experience, watching Steve Coogan work—he’s brilliant. He and Bradley Whitford were an awesome pair. The first day of shooting, about half an hour in, they started talking about Marlon Brando, specifically The Godfather, and spent the rest of the day doing Marlon Brando impressions. Watching actors with their experience—Bradley Whitford, incredible actor, all of The West Wing is amazing—and Steve Coogan, hilarious! I felt lucky to see them work and be part of it.
DB: It’s a shame Happyish didn’t get a second season. I wondered if Gustaf would ever speak, because you almost did!
TS: That was exciting about it. Shalom Auslander, the creator, had so many ideas for where it could go. He’s a fascinating person. His autobiography, The Foreskin’s Lament, is amazing. (Both laugh) His dark humor is incredible. Ken Kwapis, who ran the show, was great and supportive. He stepped in after… We shot the pilot with Philip Seymour Hoffman, and it was a completely different show with him. The idea for Nils and my characters was this bizarre, heightened comedy. Ken tried to ground it more, but things weren’t working out. Then, Phil was clearly unhappy, and his overdose was devastating. I thought the show was over. The fact it came back was incredible. Philip Seymour Hoffman was one of the greatest. It was an honor to work with him, see him in action, and see how he worked with Shalom. It was clear he wasn’t doing well then. I didn’t know him well, but we rehearsed together. It was a huge blow. Thank goodness Steve Coogan could do it, but I was disappointed it only lasted a season.
DB: I thought Happyish was fabulous—different, off-the-wall, challenging, dark.
TS: I think the dark humor and genre-bending, with the cartoons, were unique. My family watched it and were upset by the language. (Both laugh) My mother asked, ‘Do people really talk like that to each other?’ ‘Mum… yes, they do.’ (Both laugh)
DB: Turning to Mindhunter, how did you get the role of Dwight Taylor?
TS: It was a long process. I taped for it, I think, a year before, booked it a couple of months after taping, and then it was put on hold. Between booking and shooting felt like almost two years, which is unusual.
DB: You sent tapes in, and then did they call you back?
TS: I think it was one where they cast from the first tape. By this point, it’s not unusual. I’ve done enough work that people can see it online and compare my auditions.
DB: How did you prepare for the role of Dwight Taylor in Mindhunter?
TS: I mainly focused on the scene’s dialogue because I didn’t have much more information than what was in the script. I tried to create a background for myself before filming. I didn’t communicate with anyone beforehand. They brought me in about a week before shooting to meet Asif Kapadia, the episode director, and get ready.
DB: And costuming as well?
TS: Yes, which was deliberately ‘gross.’ They were like, ‘Okay, that looks gross. We’ll go with that!’ (Laughs) ‘You look slimy, just don’t shave for a couple of days, and we’ll add some spots.’
DB: It wasn’t as deep or dark a role as some serial killer roles, so it probably didn’t have a lasting effect on you.
TS: No, I didn’t have to live in it too long, which was nice. Though, we smoked so many cigarettes during shooting. I got so sick! The first day, we went through maybe two packs of cigarettes—it was revolting!
DB: Were you smoking real cigarettes?
TS: Yes… it was such a bad idea. I thought, ‘Realism! Let’s do it!’ I was so sick by the time I got back to the hotel, I just collapsed in bed and hallucinated the rest of the evening. (Both laugh)
DB: How many days did you film for Mindhunter?
TS: Two days. It was amazing because the scene was very long—maybe five to eight pages, very unusual for TV. It felt like that was the approach throughout. They let you do the scenes in a way most shows don’t. They took their time to ensure everything was right. David Fincher was there, overseeing, but Asif was really directing his episode. I think things were going well because Fincher wasn’t stepping in, just joking around and seemed happy.
Fincher and Holt McCallany have known each other for a long time. Jonathan Groff was so sweet. For such dark subject matter, he is such a light presence, calm and still in a way that draws you in. He has a charming and disarming magnetism—perfect for his role. Holt was great, and Peter Murnik and Cynthia Mace, who played my parents, were also wonderful. We joked about how awful our characters were, while in real life, Cynthia is a lovely woman.
DB: Do you think Holt and Jonathan have different acting approaches?
TS: Yes, I do. Stepping onto a set like that, where they’ve been working together for a while, rehearsals are more about ensuring you’re on point. They’re generous and let me step into their world. We talked things through, but it’s about bringing your prepared work and presenting it. Their work styles mesh well. Holt has a specific, intense approach—he becomes the character, a bit brusque and focused. Jonathan seems more fluid.
DB: What was it like working with David Fincher?
TS: I was in rehearsals with him, which mainly consisted of reading through the scene once and then listening to him break down all the nuances. (Laughs) He was very engaging. It was a fascinating day watching him work. He’s very particular, knows what he wants, and knows how to tell a story. It was all business: get it done, everyone on the same page, move on. I heard his shooting style is the opposite—‘Let’s live in this moment as long as we can.’ Holt told me to be grateful I wasn’t working with David that day, smoking all those cigarettes, because we’d do it a hundred times! That’s just his process. Asif, who directed the episode, was lovely. I met him beforehand; he was the one who cast me, which was awesome. I’m grateful to him. He knew what he was looking for, wanted to talk everything through to ensure we were on the same page before getting to set, so we could just plug in and perform.
DB: Have you watched Mindhunter as a whole series?
TS: Yes, I did.
DB: What did you think of it overall?
TS: It was amazing! I was blown away by the entire production. My family teased me for recommending it to everyone, ‘Oh yeah, because you’re in it!’ (Both laugh) ‘Well, yes, but… it’s also a really good show.’ It’s unique because it lets you live in this space. The subject matter is dark and difficult to watch sometimes, not because of violence or gore, but because you’re listening to people discuss horror while still being human. How we deal with that is central to the show. Jonathan Groff’s character arc is incredible. It forces you to empathize with people who commit atrocities. Acting has given me experience looking at parts and asking, ‘This person did something horrible—how can I connect with that? Empathize, even when disgusted?’ Most people don’t have to confront such things. It makes you wonder. I discussed it with my stepfather, who asked how I could play these roles of terrible people without going crazy. We had a long conversation about it. You have to be careful because you’re constantly thinking about terrible things people do to each other. I really just want to do another comedy! (Laughs)
DB: It deliberately challenges the idea that these people are simply ‘evil.’
TS: Right! The psychology is about exploring how these people—yes, some are psychotic and psychopaths—but it’s more complex. No one doing such things is ‘normal’ in brain chemistry or personality. Something is triggered early in life that makes them lose the ability to be a normal, socialized human.
DB: Were you surprised by Mindhunter‘s overwhelmingly positive reception?
TS: I guess so. I didn’t know what to expect. I was intrigued being on set, but I had no idea what the rest of the show was like. I had read the book, so I knew the general direction, but I expected maybe more action, more violence—not what it became. I was positively surprised by the result. It felt genius. I didn’t know how others would react, and I’m so happy it got the response it did because it’s so different, so exciting, and such a unique story. They weren’t trying to make an action or cop show; they focused on the psychology, which has always been the most fascinating part of acting for me—delving into someone’s mind. I’ve played awful characters before, but seeing it presented beautifully, brutally honest, and unsettling was unique.
DB: Some actors watch their performances, some rarely, and some never. Do you normally watch yourself on screen?
TS: Ah! Some things I’ve avoided. I’ve become more uncomfortable watching myself as I’ve gotten older, oddly. I don’t necessarily enjoy it. Some things I can distance myself from. I did a part in John Wick 2, which was so over-the-top and weird, and I had a big beard, didn’t look like myself. Watching that, I think, ‘Oh yeah, I remember that weird dude!’ But with Sneaky Pete, I actually had to stop watching at times because I couldn’t watch myself. I finished the whole show, but when my scenes came on, I had to turn it off and go for a walk! (Both laugh)
DB: Are there other actors you really admire?
TS: Wow! I’ve been fortunate to meet a few. I’ve always loved Giovanni Ribisi’s work, and working with him on Sneaky Pete (he directed an episode) was exciting. Sam Rockwell is always great, and Frances McDormand—I think she’s just… Then I met Laurence Fishburne during John Wick. He’s been doing it for so long, since he was 15 in Apocalypse Now, with incredible life experience.
DB: Since filming Mindhunter, what have you been working on?
TS: We did the second season of Sneaky Pete, which came out in March 2018. I also had a very small scene in the new M. Night Shyamalan movie. He was lovely, and I worked with Sarah Paulson, who is awesome and really cool.
DB: I guess you can’t tell me anything about that because it’s shrouded in secrecy?
TS: Funny you say that, I couldn’t tell you anything because I know nothing about it! I shot a scene; I know my lines and Sarah Paulson’s lines, and that’s it. (Laughs). Sorry. It was lovely. I was there for a day, a quick scene, and he was very sweet. He had seen my Equus production way back, so I appreciated him bringing me in. I’m excited to see it because I have no idea what to expect!
DB: Any advice for someone considering an acting career?
TS: Trust in the work you put in and stay open. The biggest hurdle for me has been getting stuck in my own head. If you trust yourself and believe your hard work will pay off, you can stick with it. Everyone’s career path is different. There’s no way to know if what you’re doing will work until it’s done. Looking back, you might see things you could have done differently. Being a good and open person is crucial.
Music Questions
DB: What was the first single or album you ever bought?
TS: I don’t know what I bought myself, but the first single I remember owning was “Thriller.” We had it on cassette, and my brother and I played it constantly on our Fisher-Price tape deck—it scared me almost every time! My dad had a great record player and listened to The White Album. “Rocky Raccoon” always upset me because it seemed like such a devastating story of a man getting shot. And “The Man Who Shot Liberty Valance”—I loved that song so much I made a comic book out of it. Just realizing, two songs about people getting shot! Huh!
DB: Which music genres do you enjoy listening to?
TS: Anything, really. Recently, my roommate introduced me to Stars of the Lid, very ambient and deep, and I’ve been listening to Tortoise. But I also have the new St. Vincent album, which is excellent!
DB: Is there a song or songs that take you back to a special time in your life?
TS: Anything by Radiohead takes me back to the first time I heard them. They are in constant rotation for me. I’ll never forget hearing Kid A for the first time. OK Computer had been on repeat since it came out. A friend convinced me to get tickets to a special Kid A screening at an IMAX theater in town. They played a 3D film of undersea activities while Kid A played on a huge sound system. It was mind-boggling! Besides live music, I’d never experienced anything like it. I’ve never seen Radiohead live, but I’d love to. I saw their side project, Atoms for Peace, in Philly, which was awesome.
DB: Is there a movie soundtrack or theme you particularly love?
TS: I really enjoyed There Will Be Blood. The soundtrack by Jonny Greenwood, especially his use of Penderecki, was fascinating and inspiring.
DB: Which concert is the best you’ve ever been to?
TS: Seeing My Morning Jacket in Philadelphia once. I hadn’t heard them before, it was when Z came out. It was surprising and magical because I didn’t know their music at all.
DB: What was the most recent gig you went to?
TS: My friends Matt and Megan have a band called Pants—a pretty wild ride. They opened for King Missile a while ago, which was very entertaining.
DB: Is there an artist or band you haven’t seen live but would love to?
TS: Oh yeah! Radiohead for sure—I’d love to see them. And St. Vincent, she’s pretty awesome.
DB: Do you dance if dance music comes on?
TS: I dabble. I usually get laughed at, but it’s fun!
DB: I know that feeling, but we’re good, it’s just that others don’t appreciate our talent.
TS: Exactly! Thank you, great way of putting it! (Both laugh)
DB: What are your guilty music pleasures?
TS: Oh no! Something like Frightened Rabbit—really emotionally manipulative. Ryan Adams covering Taylor Swift was also awesomely pleasurable.
DB: What was the last song or album you heard that really excited you?
TS: I hadn’t listened to Tortoise’s Standards in a long time and put it on recently—forgotten how good it is. But for new music, Lean Year’s stuff is heart-rending. The new HAIM album was interesting, kind of poppy and fun.
Three questions we ask everyone:
DB: What is your favorite word?
TS: I’ve thought about this—I think ‘joy.’ It’s simple, means so much, hard to find sometimes, but magic when you do!
DB: How would you describe your perfect day?
TS: A trip out of the city. I’ve recently loved going to my parents’ and spending time with them. I don’t like travel, but I love being home. Just waking up with them and spending time, no matter what we’re doing. My mother and I recently spent a day making Christmas gifts, and it was lovely.
DB: What could you not possibly live without?
TS: (Laughs) I’ve always needed some form of graphic fiction—comic books or graphic novels. That form of storytelling fills me with pleasure. I don’t think I could center myself or calm down without a good graphic story. I just picked up an old Tony Millionaire Sock Monkey book, and I’ve always loved Chris Ware’s work and Sam Kieth’s The Maxx from when I was a kid—weird and fun. It’s both inspiring and a pleasant escape, which I think I need sometimes.
You can find Tobias on Twitter and Instagram
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[Since this interview, Tobias Segal can be seen on your screens in the Amazon Original Sneaky Pete Season 2, NBC’s The Blacklist Season 6, Blindspot S4, and the movies Glass and John Wick: Chapter 2 and Chapter 3]
Disclaimer: This interview has been edited for clarity and length. Any opinions or views expressed within the interview are the subject’s own, and publication does not imply endorsement of any such opinions or views by Absolute Music Chat or its personnel.
