When “The O.C.” debuted in 2003, Adam Brody’s Seth Cohen expanded viewers’ ideas of what constitutes a heartthrob to include endearingly awkward guys. If “Nobody Wants This” is anything to go on, viewers’ appetite for Brody as a romantic lead hasn’t waned in the 21 years since; rather, like the actor himself, it’s evolved. On Erin Foster’s Netflix romcom, he plays Noah Roklov, a rabbi who falls for Joanne (Kristen Bell), the co-host of a sex and dating podcast.

In this wide-ranging conversation, Brody reflects on how his approach to acting has changed, his experiences filming “Nobody Wants This,” and why he’s purposely keeping himself in the dark about Season 2.

“I would say I had my bigger creative ideas during the blocking than I did in between action and cut. I had a lot of fun between action and cut, but the choices I’m more proud of [happened during] some of the discussions beforehand. For example, there’s a moment at the end of [Noah and Joanne’s] date in Episode 4 where I’m like, ‘You’re pulling away. What’s the deal?’ And she’s like, ‘I want to tell you something, but it’s hard. Turn around.’ And I don’t get what she’s getting at. And she goes, ‘Never mind; I’ll turn around.’ In the end, as scripted, she sort of turns back around. And it felt OK.

But as we’re blocking it, I decided halfway through that I’ll come up behind her and bridge the gap; I’ll put my hands on her shoulders and support her in that way. It was so effective in changing the dynamic of the scene; it said so much, wordlessly. You can’t really do that in the moment unless you’re shooting very cinéma vérité style, because you’ve got to hit your marks. But that stuff is so fun. You’re doing it while you’re intellectualizing it. You’re half feeling it, but then you’re half thinking about it and discussing it. And that’s a space I really like, creatively. That’s a very fun space for me.”

He’s been steering clear of the “Nobody Wants This” writers’ room before production on Season 2 begins in February.  

“I’ll have thoughts on their thoughts. In general, I’m blissfully unaware. I kind of don’t want to know, because they seem to have a well-oiled machine going. If I know and I like it, then I’m gonna go, Great, alright, let me think about: OK, now what? Now I’m gonna have to start coming up with ideas. And if I both like it and have some concerns, then I’d start to worry.

In my head right now, it’s all perfect and I don’t have to do anything. Even though this show is a real group effort and there’s a writers’ room and we have a bunch of talented people, it really is Erin’s voice, so it’s her story to tell. And I don’t think, especially at this point, I want to impose myself on it. Listen, when I ultimately see [Season 2], I will have no shortage of thoughts. There’ll be minute thoughts and broad thoughts and thoughts on the day and thoughts in the moment and thoughts well before. But for now, I’m very content to let them do their thing.”

Brody’s acting approach changed in a big way when he learned to do less. 

“Stillness is very powerful. I love economy; I like it in writing, too. I love cursing, but if you don’t say ‘fuck’ every second, when you do say it, it has real power. I like it in music, in everything. I’m a big fan of the art and effectiveness of economy, and acting is no different. Being still has its own charisma and power, and it also makes movement so much more impactful. I used to be much more restless, and I am still a fidgety person. It’s hard for me to watch ‘The O.C.’ now, because I’m so hyperactive and so hyper-verbal. Now, I just feel so much more confident and content to sit there and let it come to me. It’s incredibly fun. There’s such power in it.”

This interview has been edited for clarity and length.