It was the next best thing to air once we lost Breaking Bad and didn’t know what to do with ourselves. True Detective wowed audiences and made them feel slightly disturbed, but none the less, wowed. Since the hit of Season 1 with Woody Harrelson & Matthew Mcconaughey we’ve been itching for season 2.

Since news broke on the follow up season, we have known Colin Farrell was in, but we hadn’t had any clarification of Vince Vaughns character and his inner thoughts on the show. In an recent interview with playboy, Vince reveals a little light on the upcoming season and his character:

Woody Harrelson and Matthew McConaughey certainly set a high bar with the first season of True Detective. You must feel a certain amount of pressure?

Honestly, no, because Nic Pizzolatto is such a great writer, and so much of this is driven by his stories. I thought Woody and Matthew did an exceptional job with the first season. This one’s very different, though. It’s a totally different story, with its own characters. The thing that’s consistent is the richness of the characters and the quality of the material. That was Louisiana. This is a California-based story, and it was kind of birthed from here. A lot of it is set in Los Angeles. I really like my character. Nic is so great about investigating characters and their complexities in an authentic and engaging way. I want to watch this show not because I’m in it but as a fan of the material.

How did the project come to you?

I was developing a movie version of The Rockford Files and met with Nic about writing it. He was really enthusiastic but was already working on a crime drama set in Los Angeles, and he gracefully said it was best for him to focus on True Detective. Then he reached out to me about doing that series, and I was beyond flattered and thrilled to collaborate with him. I was happy to work with Colin Farrell too, whom I’d never worked with before.

True Detective, Orange Is the New Black, Homeland, House of Cards, Game of Thrones —why is TV so much more interesting than movies right now?

I wouldn’t say more interesting; it’s just different. A film like The Way Way Back with Steve Carell and Sam Rockwell was as smart as anything you’d see in any format. But TV is definitely having its moment. It’s almost as if we’ve discovered how exciting it can be to tell a story over a longer time frame. In the 1990s we went through a run of independent films that captured the attention of critics and a certain type of audience member. Those movies were edgy, offbeat and risky and had fully drawn adult characters. You can’t do that as easily anymore on a big studio movie. If you can’t turn something into a franchise that gets people into seats that first weekend, you’re probably not going to get your movie made. Studios are huge corporate businesses, and they have to show their shareholders each quarter how well they’re doing. When money is what drives you, it’s a lot easier if you can say, “We have this third sequel opening now and that fifth sequel next month and the ninth sequel of something else coming this summer.”

You also have all these new avenues of financing and distribution, which have the studios running a little scared. Netflix, Amazon, other streaming outlets—they appear to have more patience to finance character-based stories. And not just dramas. I think Netflix in particular has been a fantastic place for documentaries to land and be seen. But the basics are still the same: You want a great story; you need good characters, good actors and someone in charge who’s running it well. I think it’s the most exciting time since probably the early 1970s for actors, writers and directors in terms of doing meaningful, intelligent, grown-up work, and that has a lot to do with these episodic shows.

Read the full interview: Playboy