Devon Bostick on SMALL TIME, Wimpy Kid, and life behind the camera
Devon Bostick, the Toronto-born actor best known for Rodrick in the Diary of a Wimpy Kid films, is promoting his latest feature SMALL TIME, which opens in select theatres soon. In a candid conversation, he shares how he began acting, his first on‑set memory, his evolving interests, and what audiences can expect from the new project across Canada and the United States.
How did you first become interested in acting?
He recalls joining a theatre camp in grade one after moving to a new neighbourhood. A friend invited him to try it, and he said yes even though he didn’t know what it meant at five. He played the old man in Jack and the Beanstalk, discovered the acting bug, and stuck with theatre camp for four more years before deciding to pursue acting professionally. He asked his mom how to get an agent and began building his credits from there.
What is your first memory of being on a film set?
He remembers it clearly. He was ten and had a single line in Odyssey 5, delivering a line to Peter Weller, the actor known for RoboCop. He recalls quipping, “That’s a lame costume, dude,” and the whole experience felt magical. The moment underscored the many moving parts on a set, and his early curiosity led him to ask lots of questions, a habit he learned to temper as he grew older and people had important jobs to do.
What other careers would you consider if you weren’t an actor?
He started acting so early that he focused almost exclusively on it, yet writing and producing have lately caught his interest. The draw is the chance to collaborate with the many talented people he’s met and to bring projects to life with them again.
What do you enjoy doing in your free time?
Recently, golf has become his new hobby, even if he’s not a natural. It’s a pastime that pairs well with hiking and other outdoor activities. He also loves writing and spends a lot of off‑set time at the keyboard, plus plenty of time with friends and some video games.
What’s his favourite video game?
As a Canadian, NHL 14 is his game of choice, a nod to his national roots and a longtime sports passion.
How does SMALL TIME differ from the Diary of a Wimpy Kid films when it comes to adapting from a script versus an existing book?
He explains that Wimpy Kid comes with an established fan base and preexisting material, so filmmakers must respect the source while meeting fans’ expectations. With SMALL TIME, an independent production built around an original script, the emphasis shifts to the artwork and collaboration, with less pressure from adaptation expectations. In short, one project carries a built‑in audience, while the other hinges on creative freedom and the team’s vision.
What was the most memorable moment while filming SMALL TIME?
He points to the days when the ensemble team came together, mentioning colleagues like Chris Meloni, Dean Norris, Kevin Nealon, and Ken Davitian. Watching them interact and play off one another in a distinct, shtick‑driven style was a highlight. The whole cast and crew embraced the script, making the filming experience joyful and collaborative.
What message should viewers take away from SMALL TIME?
The central takeaway centers on family—reconnecting with relatives and friends after years apart. The film balances humor with poignant moments, such as Freddy and his father trying to bridge lost time while Freddy lives with his mother for much of his life. The film also underscores that everyone has personal challenges, and family sometimes matters more than work or business.
How would you compare the Canadian and American film industries?
He sees similarities and differences. Money matters in some American productions, but the ultimate outcome still hinges on the script, the actors, and the execution. Both markets are welcoming and filled with talented people, though Canadian films can struggle for wide exposure. Independent projects can face similar visibility challenges in both countries.
If you could be part of any film era in history, which would you choose and why?
An enthusiast of both comedy and drama, he’d gravitate toward the 1980s for the bold, outrageous comedies and their carefree risk‑taking. He admits his heart also sits with smart, artsy dramas, but comedy keeps pulling him back for the laughter it delivers. He cites fond memories of 1990s classics and the era’s fearless humor.
What projects are on the horizon?
He has several irons in the fire. The 100 is currently on air on CW and available on Netflix Canada, a science‑fiction series set roughly a century after an apocalyptic event. The premise follows a space‑faring arc and a renewal of life on Earth. He is also attached to a project titled Regression, directed by Alejandro Amenábar and starring Ethan Hawke and Emma Watson. A web series called Superhouse, developed with McG’s company, is in development, adding to a busy slate.
SMALL TIME is set to release in Toronto theatres, on video‑on‑demand platforms and on iTunes, with a later DVD release. It marks a moment when Canadian‑made storytelling meets broader distribution, reflecting the cross‑border character of his career.
Attribution: Interview with Devon Bostick. Sources include promotional materials and press events related to SMALL TIME and the actor’s broader body of work.