For most of his film career, rapper/ actor Method Man of the Wu Tang Clan has played drug dealers. From 'How High' to 'Garden State', Method Man has played these roles almost too real. For his latest film, he once again plays a drug dealer in a film that centers on a pothead as well as explores the hip hop music of 1994.

Currently playing in limited theaters is an indie film called 'The Wackness'. It was awarded the Audience Award for Dramatic Film at the 2008 Sundance Film Festival. Directed by Jonathan Levine, the film also stars Josh Peck, Ben Kingsley, Olivia Thirlby, Mary-Kate Olson.

The Wackness centers upon a troubled high school student named Luke Shapiro (Josh Peck) - a teenage marijuana dealer who forms a friendship with Dr. Jeffrey Squires (Ben Kingsley), a psychiatrist and kindred lost soul. When the doctor proposes Luke trade him marijuana for therapy sessions, the two begin to explore both New York City and their own depression. Method Man plays Jamaican drug supplier Percy.

In an interview with Blackfilm.com's Brad Balfour, Method spoke about his role in the film, the music of 1994, and balancing the acting and music work.

How was it revisiting this historical moment in hip-hop, 1994, through this film?

Method Man: Well I didn't get that until I saw the film. When I did my scene it didn't have music. I just had to draw off what I read in the script and the scenes that I shot. When I saw the movie, the music could have gotten a credit that was pushing the story along in certain areas--I had a feeling of euphoria; and I had a feeling of nostalgia when listening to the music in the film. I was like, 'damn that's where I was at in that day.'

How does it feel being an actor in a hip hop environment rather then being a hip-hopper affecting the environment?

MM: I've come a long way to start off. It's a little crazy to sit there watch this film and hear a song that I did playing in the background of my scene; it's silly in a way, for a lack of a better word especially when it's you watching it. I don't know about it for everybody else, but for me it was a little silly.

This film seems to be a tribute to NYC hip-hop as the roots as opposed to the West Coast.

MM: It's a tribute to the city actually. As far the west coast goes, we always had a lot of love for the west coast, that's why I didn't understand why there's was no Snoop Dog songs in there's when he came out in '94 they almost played the whole album on the radio.

Were you happy to see this film portray an appreciation to the weed culture?

MM: Absolutely man. There is a culture out there of pot heads; we are growing bigger and bigger everyday. People are using it for medical purposes now.

Was it interesting looking at pot through that your character's Jamaican experience?

MM: When you are there and you're seeing how the whole thing works as far this guy goes... I've lived most of this shit so, I've sat inside "gates," that's what we call them and shit; the dread, if he likes you and shit, he'll talk to you. It ain't just a hand-over-fist type of thing. You get to talking now and then. That's the connection between Luke and Percy. Percy trusts Luke. You don't get a lot of that so you want to keep the people you trust around.

You must relate to the concept behind the film, for this kid to use hip-hop and pot as critical elements in his growing up?

MM: The music definitely pushes the story forward and Luke as well. The pot definitely bridged gaps between him and his psychiatrist; him and his supplier; and him and his love interest. The coming of age thing, this is a dude trying to find himself. he way the pot plays into it is exactly as I told you...

Did you find it weird being in a film with both Ben Kingsley and and Mary Kate Olsen?

MM: With Sir Ben it was bug because he doesn't leave the set. he chops it up a little. He's a real, genuine cool dude. It helped when we started shooting the scene because I was so comfortable around him it was like a cake walk. I didn't meet Mary Kate until Sundance and the first few interviews we did. Running into her so many times you get to chatting and she was real cool and calm, and down to earth, but doesn't get a fair shake in the tabloids She's a nice girl sweet girl.

How do you approach doing acting versus making music?

MM: It takes a lot more preparation. With music, It's just a vibe; I get a feeling then I sit down and I write what I feel. With acting, I go over certain things and do my repetitions to make sure I don't forget my lines then when I am on set, I see the other actors, and what I am working with. When we are shooting a scene, I see what the other actors are doing and see how I can play off that. In the end, it's silly too because it's just a bunch of grown ups playing pretend.

When you write how does it work?

MM: Sometimes the music will give you the theme, other times you can be watching, like, a teevee program and then it hits you, "I want to write about this." Then you sit down and jot like your first four lines and then you look for the proper beat that can match that and you continue writing the rest but in the midst of doing that you are jotting down little ideas on the side that you can put inside the whole stew once you start to cook it.

Do you miss Wu Tang; it represented this community in hip-hop.

MM: Yeah, we were always a tight-knit group and we still are but it's a little different now since we got kids. We've moved on to other things and other chapters in the entertainment business. It gets hard to stay in contact but I think the unit as a whole is as strong as ever especially through our children who still scream "Wu Tang." And I haven't done a show yet by myself or with the whole crew that people didn't scream "Wu Tang."

What about the new generation of hip hoppers; do you see an evolution--or not?

MM: We're recognized as big business but we're still not televise... our category.. at the Grammys. We're expendable now since so many people are doing it. It's like fast food; they're shipping it out so fast you can not grasp onto any artists long enough to even like 'em. By the time you do there's somebody comes out with the same sound or a similar song or dance mix or ringtone. When I started out it wasn't about the jewelry you had on. Not saying you didn't have the yin and yang... You had to have that. Cause Biggie [Smalls] and them was always fresh... They kept there jewelry.... Whereas Wu Tang was always grimy with no jewelry but the best part about the whole movement was the lyrics, the lyricism was there. There was no denying that New York cats had that certain edge over everybody else.

How did you make the transition for a musician to an actor, not as a star but as a character actor?

MM: I didn't go out looking; it was more thrown into my lap. I always thought of myself as a bit of a character anyway [laughs] I'm a Pisces and I've always had a bit of an imagination, I've always been a bit of a comic book fanatic. I used to watch the shows on TV and emulate what I saw, like what any kid does. If you can keep 30,000 people entertained for 45 minutes on stage then you can jump on the screen with one camera and do the same thing.

How do you balance it all?

MM: I would do it all at the same time if I could but sometimes it's impossible. So I have to find out what's in first position and I make sure that get's done.