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Post by Ally on Thu Oct 28, 2010 10:40 pm

A special Thank You to Marcy for giving us permission to post the interviews here

Windy city times interview

November, 22 2000
By: Lawrence Ferber

Question: Gale, are you or have you ever been a manipulative slut like Brian?

Gale Harold: "Everyone's a Brian at some point or another. That's why people relate to him. It's just like every archetypal character, it speaks about something all of us have inside. Whether we display that or not or can keep it up for extended periods of time is a different story but there are facets of my life, my own experience and things I've done that definitely have figured into the characterization and actions I've chosen to play."

Question: Using "Brian" as a verb, have you ever been Brianed?

GH: "(laughs) Yeah, I've been Brianed. I think everybody has and there's a whole vast range of people who have Brianed you. You can be Brianed by your mother if you're not careful, right?"

Question: How does your love life compare to Brian's, Gale?

GH: "Well, Brian is an archetype. He's a version of extreme reality and I think that at times I would wish for a love life like his and at times I thank God I don't have that kind of love life. Because Brian is not in control of what he's doing. I mean, he's a very controlling person, but he's out of control. It's great, it's fun for a while and I've definitely been through that, but to sustain that over years and years is ... you can't really have a professional life. I couldn't be having the life I have now and have a love life like his."

Question: How DID Randy's butt taste, Gale?

GH: "Salty. He's a fairly hygenic person I would think. Not like saltines, more like a neck. A little cumin I guess."

Question: Have you ever seduced a little, itty bitty young 'un like Justin, Gale?

GH: "I don't know if I want to get into that. I've got to save something, you know? As far as I'm concerned that's not a yes or no question. There's so much more to be done, right? So much more life to live I don't want the boundaries to get all hard and fast."

Question: Well, how about this question; are you a monogamist or sleaze?

GH: (pause) "You think I'm going to answer that question after not telling any tidbits? I can't give that up, it's too early. I'm not playing my hand that soon, no way. I'm saving it. There's no fucking way. We'll talk again."

Question: Peter Paige told me of the cast's "no fucking" rule. However, he did admit that extras have been getting busy during backroom scenes. Have you witnessed love and drama on the set?

GH: "I've seen it, just be assured that any time there's a hot sexual environment; where there's smoke there's fire."

Question: And what do you folk hope or expect queer viewers to get out of the show? And do you expect any ogling?

GH: "Something that's real, that's meaningful, that lets people see aspects of their own life portrayed in a real way, every level of it. Celebration of life, freedom, and love and the pain and struggle."

Copyright © 2008 | All rights reserved
Edited by Marcy

Last edited by Ally on Thu Nov 11, 2010 3:38 pm; edited 2 times in total

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Thu Oct 28, 2010 10:48 pm

Gale's chat on Showtime's Talk city

January 2001
Thanks to: Showtime
Edited by: Marcy

Showtime: Thanks for signing on for our chat with Gale Harold. Gale plays the bold and unapologetic Brian Kinney on "Queer as Folk." Gale's road to Hollywood has landed him on the stage, in film, and finally on Showtime starring in QAF. Ask Gale about his life before and during QAF. Welcome Gale! Let's get started!

Gale Harold: Hello! I hope you had a good time watching the Super Bowl.

Question: Hi Gale. Have you received a lot of positive mail from viewers?
Gale Harold: I haven't received any paper mail, and well, no.

Question: What is the significance of the shell bracelet? The one Brian wears when he goes "out."
Gale Harold: When I was 17, I seduced and romantically exploited Jacques Cousteau, and the whole crew on the ship "The Odyssey".

Question: Hey Brian, how did you become part of the cast on "Queer as Folk"?
Gale Harold: Well, I guess if I'm answering as Brian then I wouldn't know, because then I'd just be this guy living in Pittsburgh. Gale says, I auditioned, and then was cast through a regular audition process. And I really, really hated it.

Question: Hi Gale. How would you describe each of the guys on the set? I'm sure Hal Sparks is the clown; what about everyone else including yourself?
Gale Harold: Well, I mean, there is a lot of clowning, I think. But there is a lot of very serious acting going on too, it gets very heavy. (laughing to self) We just sort of show up and beat the sh*t out of each other for four or five hours, and we like it.

Question: What do you like the most about playing Brian?
Gale Harold: One of the great things about playing him is that, because of the way he has been created, and the way that he's written, I'm free to sort of just be very simple. And simply be what's on the page. And that's very freeing, you know, because then it's just about trying to feel what he would feel without having to manufacture too many reasons for every moment. He's just so clear and direct. And that can also be a little frustrating, because sometimes I feel like my main objective is to just return volleys from other characters, kind of like a racquetball court, or something. That's one of the things that's really kind of, you know. And it's fun, it's really invigorating to be such a wise ass.

Question: Where does it all takes place? Do you do all your shooting in Pittsburgh, or do they take place somewhere else? Where would I go to see you act and/or meet the cast?
Gale Harold: It's all taking place on a sound stage at the White House. And that's one of the few things that George W. is going to allow us to keep from the previous administration. Because he's a real pal!

Question: I think you are totally great in your role as Brian. I hope that the series goes well past its 22-episode run, as it touches a lot of people's lives. My question is, are you and the rest of the cast willing to stay on if it becomes a regular series?
Gale Harold: Yeah. The answer is that all of us, when you take the audition process to a certain point, you know that you're attempting to be cast in a project that could potentially have, with success, could have a lifespan of years, maybe. And you know that when you are going through the process, and that's part of the decision to even go to a certain part. We all of us love the project, and we were hoping to be cast, and hoping our involvement in the show would contribute to a successful audience response, and be the cause of subsequent seasons, and then the clowns came rushing in, and put a gun to my head.

Question: How difficult is it for you to keep a straight face during some of the more intimate scenes/dialogue? Has anyone completely lost it and halted shooting for more than a few seconds?
Gale Harold: Yeah! Well, I think cracking up, when you are shooting an intimate scene (if what is being implied here is a sex scene; Brian doesn't really have any love scenes yet) if you break up, I try not to do that because it might be conceived as insulting to the person I am working with. But other than that, we are cracking up all the time. But you are looking at someone with longing, and then realize, they have some crap in their eye, or you hear a strange sound, and look away. It's like life.

Question: You are the best actor of all time! You are great! Which episode has been your favorite so far?
Gale Harold: If I answer the question, does that mean I'm agreeing with you? (smiling) The episode that's my favorite hasn't been shown yet, so I can't give it away.

Question: Did you read the reviews and letters in today's New York Times, and if so what is your comment about the criticism of your show being too shallow and stereotypical?
Gale Harold: I haven't read the reviews and letters. But, my sort of meaningless response would be "stereotypical of what?" Anything could be stereotypical, so I guess it could be criticism. Criticism is a surreal state, like a good drug gone bad. When it's bad you wish it would stop, and when it's good, you can't get enough. Did they say it's shallow as a wading pool, or shallow as an open grave? And I guess the kicker of the whole thing is, I can't read. But I'm working on it.

Question: Do you find this role artistically satisfying?
Gale Harold: It's satisfying, yeah. There's a lot of things about it that are kind of interesting from varying perspectives, one of the things being that it's television, and it's kind of not the medium I expected to find myself working in. And with the success of things like "Oz" and "Sopranos" and now this thing coming out, this "Six Feet Under" thing, it's great to be involved in this cable format, even though it is a pay television format. It's really exciting to be involved in it, working in the medium of television, but doing something that doesn't make me cringe, because that, to me, is what is shallow. So, whatever the final impact of this show is, and how it is received, and whether people feel that it's meaningful and/or stereotypical, shallow, or whatever else, at least what I am feeling every morning when I wake up and go to work, and am presented with the scripts and the actors and the storylines, they are all good, it's all quality. And I realize that because of the nature of the characters and the nature of the subject matter a lot of people are going to have strong opinions, and that's satisfying, to be working on something that is provoking dialogue and response. I get the sense that people are really motivated to say something because they are feeling something. It's not just bland sort of rehashing what we were wearing, or whatever.

Question: Hi Gale, saw you in the Aztec commercial. Have you done any other commercials?
Gale Harold: Oh, that wasn't me. A lot of people get us confused. That was my brother.

Question: Hi Gale, I think you're an amazing actor! Do you plan on making more movies in the future?
Gale Harold: I plan on it. And I hope other people plan on it as well, because our plans must coexist in a state of symbiotic fatality.

Question: Gale, is it your choice not to do TV or print interviews right now? I've been searching for interviews and/or articles on you.
Gale Harold: Yeah, well, I'm saving it up because I'm doing a live appearance at the White House with George Bush Sr. and I didn't want to let the air out of it. I wanted it to hit really hard. We are going to be arm wrestling.

Question: If you hadn't been successful obtaining this role, where would you be now?
Gale Harold: I'd be in a crawl space under a house in Glendale, trying to fix a floor joist on the house that would probably be really screwed up. I don't know! I'm happy I got the job, I feel extremely lucky, I know they auditioned a lot of people for all the roles. I would probably be doing theater work with the company I worked with in Los Angeles, and going on auditions. And watching "Queer As Folk" and being really depressed that I wasn't on the show.

Question: You have such a beautiful intensity of spirit on screen--such a pleasure to watch. What motivates you as an artist?
Gale Harold: Wow, that was really nice! Music, I use music a lot to kind of inspire myself. I listen to a lot of different kinds of stuff. Lately I've been getting into this William Orbit record, from '99. It's called "Pieces in a Modern Style." I think it came out in '99; it's been out for a while. I use music, and that's one thing I've been listening to a lot lately. And I think this situation is really good, because sort of the relationships of people in the cast, and a lot of the crew, and the writers, there is a lot of good, positive sort of energetic interplay going on. And a lot of times, I get my own motivations for myself off the set, and then I get a lot of motivation from the people I'm working with. And I think that's kind of unique, and a fortunate situation for everyone.

Question: If you won an Emmy, who would you thank?
Gale Harold: Well, I'd thank Emmy, right? And I'd thank George Bush, of course. I don't think it would ever happen. Or maybe I should just say "The President," hee hee.

Question: Have you done modeling?
Gale Harold: No.

Question: It's obvious you are very talented, as I find myself reacting to the television. Where did you train? Did you go to school, and where?
Gale Harold: No, I never went to school. I wasn't allowed to. I had to stay home and work on the farm. I mean, the pharmacy.

Question: Are there any projects you currently working on?
Gale Harold: No. Sadly, no. Only "Queer As Folk" which is keeping me very busy. Although I am not giving up hope.

Question: Congratulations on handling this challenging role so well. Hal has said in interviews that he found preparing to kiss another man much like preparing to kiss a dog. How did you approach this part of your job?
Gale Harold: Well, I've been making out with dogs since I was three years old, so I really couldn't use that, it didn't bring me any sort of inspiration. In fact, I get bored when I think of dogs these days. I just approach it by, having my connection to my character. As an actor, I have what I try and maintain connections to his feelings, and his emotions, and his desires. And, Brian is very highly sexual and passionate in his own way, and that is what I am trying to feel, within myself. I try. My goal is to be real, whether I am having a conversation with someone, or just reacting to someone, a lot of the time, standing off to the side, giving a dirty look. It doesn't matter, it's part of the character's life, and that's my job; that's the exhilarating part of being an actor. To travel in someone else's mind and body, so I just try and feel it, and that's how I prepare.

Question: For Gale Harold, how long does it take to film a show from beginning to end?
Gale Harold: We shoot an episode in seven days. So, that's typically the schedule. Sometimes we have technical problems, or there are other reasons, but normally, seven days. And seven days is not a long time to get done as much as we do. We have an amazingly hardworking crew that helps us survive here in the White House, where we live. And pray.

Question: How is the community in Canada, as far as the taping of the show? Have you had any problems?
Gale Harold: No. No, it's been great. The people here are very, very cool. I had never even been to Canada before I got this job. Toronto is a great city. It's great to be off on location, I mean, I know it's not the same for everyone on the cast. But just in terms of being away from home, it's harder on some than it is on me to be away from home, but for me, I enjoy being on extended location, and I really like it here, even though it's F-ing cold, it's great!

Question: What do you consider Brian's primary motivation?
Gale Harold: To be the best Christian he can be. And to set a good example for all the impressionable young gangsters that might take his message the wrong way.

Question: Does this role let you express emotions that you would normally not get to express in everyday life?
Gale Harold: I think it allows me to express personality traits that I wouldn't be allowed to express in every day life. Maybe not allowed. It's the self-censoring apparatus of human consciousness, social correctness, political correctness, whatever, that Brian just doesn't give a sh*t about. That's one of the wonderful things about his character, that makes him fun and engaging for me to play, is the way he was created, even based on Stuart, the original character. I think the seeds were there, and I know Dan and Ron, the writers for the American version, their vision for Brian is that one of the primary facets of his character is that he has this utter disregard for social perceptions. And in the interest of honesty, no matter what he does that people may or may not consider appropriate, he's honest, according to his own iron clad version of the truth. And within that ideology, he just doesn't take any bullsh*t, and I'm not the kind of person that will. Even if I'm sensitive enough to know it about someone else, I'm not the kind of person to call it as I see it without holding back, the way he does. That's the kind of thing that I get to do as Brian that's encouraged, and even, they give me food when I do it, because they want me to do it again. But as far as emotions, I think Brian has got all the emotional problems of any highly self-conscious drug-addled disco freak.

Question: Brian is a complex character. Did you or do you know "where he is" as a person before filming, were you told, or did you find the character yourself?
Gale Harold: I had a few conversations with the writers about that, but very minimal, in terms of the time or the depth. And to be honest, the way that things worked, from the time that I got the job, I was told that I had the job, which is on a Thursday around noon, I was in Toronto shooting on the following Tuesday. So in terms of preparation, it was whatever I could figure out, between packing, traveling, wardrobe fittings, etc. I have ideas now. It's strange, because trying to go back in time to those early episodes in terms of where I was as an actor and where Brian was by watching those episodes and now, trying to go back and piece in the bits of his life that I didn't have a chance to comprehend at the beginning of this project, it's really surreal. It's like recovering from amnesia, kind of, and trying to use the scripts, and what we have already shot as clues to build it, because I feel like I kind of "woke up," and was running through a hospital, or having sex with Justin, and then the pieces of Brian's life that you don't see on the show are still sort of arranging themselves.

Question: For Gale Harold, did you know any of your co-actors before getting together to do QAF?
Gale Harold: No, I didn't. Of course, I knew who Sharon was. And I had seen Hal. It all kind of started to come to me after we read together. After we read together, it was like another kind of amnesia thing. I had seen him on "Talk Soup," I just couldn't remember where or when.

Question: Do you feel like this will limit what kind of roles you'll get after this, with the show being such a hit and this being your "big break"?
Gale Harold: Gary, well, the answer to that question is kind of two parts. If I am limited because of what people think of my performance, then that's a factor in anything you do. Anytime you step on stage or in front of the camera, there is the chance someone will draw conclusions about your performance that won't propel you to future roles. But I think you are getting to typecasting, and anyone who would typecast me based on this project, for something to make a decision not to use me in another role as an actor, if they were coming at it from that perspective, I wouldn't want to work with him anyway. I mean, it's 2001, right? We are well beyond that mindset. And I don't sit around wringing my hands hoping to get a job with some sort of commercial, corporate agenda that wouldn't allow someone to stretch.

Question: Is the nightclub in the show filmed in a real club or is it a very large sound stage?
Gale Harold: It's a real club. It's all true. All of the sweat is human sweat. And people are really dancing. They are not being manipulated by computers after the fact. There was one scene that we did shoot in a loading dock, and maybe that can be some sort of trivia, people can figure it out, Hal was in the scene, I was in the scene, and you see George W. Bush in the background, it will be a dead giveaway. He drops by the set a lot, just for a little sport. George Bush making out with Alfred E. Newman in Episode 21.

Question: Can you share any spoilers for your biggest fans?!
Gale Harold: Spoilers! Hmmm. Let's see. I heard rumors that Brian is going to get a new car, and if anyone out there has any suggestions, feel free. But if it's not a late '60s or early '70s American muscle car, I probably won't listen to what you are saying.

Question: Gale, do you think your show will help young gay people come to terms with their sexuality?
Gale Harold: Let me relay something that crossed my mind while filming the pilot. It was during, on the day that Randy and I were shooting one of our sex scenes, and at the time, I realized that things had been so hectic, and relocating, and getting ready to be on the show, and trying to be prepared and everything, there were so many thoughts running through my head, and I remember on that day thinking to myself, I did have an intuition about what was going to happen when young homosexuals saw themselves, in essence, on screen. With the character Justin. And because I am no stranger to ridicule, and I think, on some level, many people have experienced... Okay, let me start again. What I am trying to say is, it's a hard question to answer. I don't want it to come across that I'm taking credit, or we're taking credit, for something that is a serious issue, and I'm really happy that it may be happening that people are identifying with the character, in the sense that they are seeing aspects of their lives represented. It is scary for Justin, and I refer to him specifically because I think he's the focus of the answer of this question. It's really inspiring to me to feel like I'm a part of something that is giving people a chance to see themselves. It's scary for Justin, but he's having a blast, and let's be honest, Brian is a great person to hang out with, at least at first, then he can be a nightmare. It's like the British show, it's amazing, this show has been able to truthfully and honestly depict the lives of people who, because of so many f*d up social misconceptions have been kind of saddled with this stigma, that's still f*d up, and I think if that's one of the results of the show, that people can throw that off, and say now you have seen what my life is like, and I love my life. Life is hard, but I am having a good time too. Hopefully, it will in the end really sort of ratify people's lives. If there are young gay men seeing the show, and I'm not so bold to say that this show covers that whole question, or represents the entire spectrum, or is realistic, but if some 17 year old in America can watch the show and say, "Yeah, right on", then great. Another reason I feel really lucky to be a part of this.

Question: Hi Gale! Where do you see yourself 5 years from now?
Gale Harold: In a body cast. Driving a Cadillac. Listening to "Popcorn" by James Brown. And smoking with George W. Bush.

Gale Harold
: Happy Sunday night! Thank you for sharing your precious time with the people who are manipulating you into thinking you are actually talking with me! No, I'm just joking. Thank you all for coming, I hoped you liked the chicken, I know it was a little dry, but the microwave was broken.

Copyright © 2007 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Thu Oct 28, 2010 10:55 pm

Gale force: Uncle Bob

April, 19 2001

By: Jim Caruso
Edited by: Marcy
Gallery: Uncle Bob

Gale Harold, famous as the super-gay stud Brian in Queer as Folk on TV, switches gears to play a homophobe Off-Broadway in Uncle Bob.

Gale Harold is having a good year. As the star of Showtime's smash hit Queer as Folk, he has set tongues a-wagging and hearts aflutter in the role of the gay stud-sexpot Brian Kinney. Now, just to mix things up a bit, he's taken on the role of the homophobic nephew in Uncle Bob for the Rebellion Theatre Company. Written by Austin Pendleton, the two-character plays opens April 23 at the Soho Playhouse. It details the complicated relationship between a self-loathing victim of AIDS (played brilliantly by George Morfogen), who is facing a meaningless death, and his disturbed young nephew (Harold), who is facing a meaningless life. I caught up with Harold recently for a pre-opening interview.

JC: Let's start at the very beginning: Where are you from?

GH: I'm from Atlanta. A lot of my family is still there, but they're kind of all spread out. I moved around quite a bit after high school, then ended up at the San Francisco Art Institute.

JC: You're a painter?

GH: No, I'm a photographer and screen printer. Through that, I got to know a lot of performance artists and people in the local underground theater scene. When they started to get into more traditional stuff, I started to see that as a possibility for myself. I was never really able to make any connection as a visual artist, so I walked away from it all. It was an organic thing. I sort of drifted into the theater.

JC: This drifting is a rather recent event, correct?

GH: Yes. It was in 1995.

JC: So, you didn't dream of being an actor as a kid?

GH: No. My parents weren't theater people at all, so I didn't ever think about show business as a possibility.

JC: Your career is growing so fast, between the play and the TV series. I wonder if you have time to enjoy it all.

GH: I guess it's all kind of a swirl, but being able to do a show like Uncle Bob is exactly what I want. After I started studying, doing scene work, and rethinking what "drama" was all about, I only wanted to be in plays. I moved to L.A. so that I could study with a new the fact that I couldn't afford to live in San Francisco anymore!

JC: Where did you study in Los Angeles?

GH: The Actor's Conservatory Program at A Noise Within. They do classical work, and their outreach to young actors is great. It's a six-month program. Very intense.

JC: Tell me about your character, Josh, in Uncle Bob. Isn't it interesting that you're playing a homophobe in this play when you're playing such an out, gay character in Queer as Folk?

GH: Well, Josh isn't a fag-basher by any stretch. I think that, if his uncle hadn't been infected with the AIDS virus, he might not be so homophobic. The actual mechanics of Uncle Bob's sexuality have really screwed with Josh's head. He thinks his uncle is a genius, and he's the only person he has ever connected with.

JC: The play ends with a lot of unanswered questions; the audience is left to decide what happens. Have you chosen an outcome in your mind?

GH: No. I let the play end right where it ends. Uncle Bob is like a snapshot of life. The trajectory of the characters is clear; you see where they start and where they are headed, but there's no happy ending where the ends are tied up neatly. There's no structural resolution. I'm not sure what Austin's intention was, but you really get involved with the relationship of the characters. The play is about their struggle. That's so interesting for me, because it's like eavesdropping.

JC: You sure have a lot going on in your life right now. Not many actors working Off-Broadway have their faces plastered on a huge billboard for a TV series right in the middle of the theater district. Is there someone in your life that grounds you, the way Josh grounds Uncle Bob?

GH: Not really. Just working keeps me grounded. Plus, I didn't grow up dreaming of this, so I didn't have any high expectations. That keeps me completely engaged. It's a brand new experience on many different levels.

JC: With your TV success, have old friends and family been coming out of the woodwork to say hi?

GH: (laughing) I did get a very short e-mail from an old friend that just said, "Is that you?"

JC: I noticed on the Queer as Folk website message boards that most of your fans are female. That surprised me a little, considering your character's blatant homosexuality.

GH: I think it's the first time that women have had the chance to see this part of life, unless they're into buying male gay porn! It's very explicit. Men have been watching women make love to each other in magazines and films forever. If you're sexually attracted to men, it stands to reason that you might like to see two men in a sexual situation It's a real baseline dynamic! And it changes the power struggle, because women never got to see that. That's a bizarre sociological result of the show.

JC: What's the future of Queer as Folk?

GH: We've finished the first season and have been picked up for another. We're scheduled to start shooting again in July, although everything is hinging on the possible strike.

JC: How did you get the role of Brian?

GH: I auditioned, just like everyone else!

JC: Tell me about the character.

GH: He's very strong, extremely clear. He was created as a very sexualized, driven, unapologetic, unsentimental person. Since he's a gay man living in present-day America, the potential for being knocked out of his own orbit is really great. He lives his life at a fever pitch and seems like he's always stepping on hot rocks. I knew it would be a great role to play; but I'm learning that, working on episodic TV, you really don't get to evolve. If the character changes too much, it doesn't make a lot of sense to the audience. You have to let things happen slowly, which was difficult for me to conceptualize. Fortunately, Brian is not the type of guy to go through many changes!

JC: Who has inspired you as an actor?

GH: I saw The Play About the Baby, and Marian Seldes was so extremely alive in it. Of course, it's a brilliant role with great lines, but her delivery and timing were out of this world. It's like she's having a love affair with what she's doing on stage. At the time I saw her performance, I was trying to figure out how to deal with my character in Uncle Bob, and how to deal with the character of Uncle Bob. He's very sophisticated and impenetrable; Josh is trying to get through to him but, with his vernacular, speech patterns, and rhythms, Josh seems like a kid banging on a rock with a hammer. When I saw Marian Seldes, she made me realize what it means to be on stage. That feeling of communication is what pulled me from working with two-dimensional visual arts into the world of the theater.

Copyright © 2007 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:07 am

Jersey's talking: Uncle Bob

April, 6 2001
With: Con George Morfogen
Courtesy of: ENVOI
Edited by: Marcy

Della: Welcome back to Jersey's Talking, I'm Della Crews. My first guests are in the Off Broadway play "Uncle Bob," but you probably already recognize them for their TV work. George Morfogen is one of the most likeable characters in the HBO series "OZ," and Gale Harold stars in SHOWTIME's new series called "Queer as Folk." Welcome to the show gentleman, it's good to have both of you with us.
Gale and George: (in unison) Thank you very much.

Della: Alrighty. First of all, let's talk about "Uncle Bob." What is this play all about?
George: Well, this is a play about an uncle and a nephew. And this is a play which involves a relationship of enormous importance to both people...

Della: Enormous importance...
George: ENORMOUS importance. And actually in the course of the play is an interaction which you realize has never quite had this kind of privacy before.

Della: Uh huh...
George: And it's a play which reveals the importance that the nephew has to the uncle and the uncle has to the nephew. And there is an enormous kind of combustion and the interaction is not tranquil...

Della: Oh dear...
George: ...and it is unexpected and it is full of surprises.

Della: Do they butt heads because they are alot alike?
George: They butt heads because they are connected so strongly and so there is a kind of honesty between them which emerges through the play with all kinds of unexpected revelations.

Della: Now George, you just said something about being connected emotionally. You know it's typically not a male thing to admit you all even experience emotions. But these guys DO admit that...and they're honest about it...and they deal with it.
Gale: Well they...I mean they do...but um, it's not an overt sort of conversational thing. It's...the emotion is revealed through what they're going through with each other and their conflict that they're having and you know, the characters sort of, you know, my character Josh, reaching out to his uncle in a way that he feels, you know, almost subconsciously compelled to do, driven to do. And it's the response, you know, and the give and take between them and the action where the emotion comes out. I mean, it's a very emotional play but um, I think it's more a situation where you see things happening as a result of the conflict. It's not an outpouring, you's, it's more of a...
George: (taking over) Well you know, one of the things which Gale is circling is that, Bob is in crisis.

Della: What kind of a crisis?
George: He's in a health crisis.

Della: Okay so he's not feeling well.
George: He's not, he's in a serious health crisis.

Della: He's not terminally ill, or anything like that...
George: Yes, he is.

Della: Okay.
George: And that emerges first, so that's not telling any uh, secrets. I mean it emerges rather early in the experience that you know he's in crisis.

Della: Is that what brought the two of you back together?

Della: (interrupting) Because I assume Josh has been living his own life for a while...
George: Yes in fact, Josh has been living in the mid-west, and Bob is in Greenwich Village. And although those geographical things are not specifically designed you get a sense that it's the Village and a sense that he's coming from the mid-west, which is where I was raised, as a character. And so uh, he comes and it is in the course of the play you learn what motivates this visit. You know one of the things about this play which I remember, I have done this play before. But it is not like repeating a play. It's..we've done...I did it...the world premiere broadway, six years ago. And um, but we're returning as new collaborators. I mean we're not, I'm not...

Della: Have the two of you worked together before?
George & Gale: No, no... George:This is a new experience, and a new experience for me. And uh, but...the thing that I remember very strongly and if I can just say that the act...the first of the things that was said to me by the wonderful playright Romulus Linney who came backstage who I went to school with years and years ago...a LONG time ago (laughing)...

Della: Not THAT long ago...
George: You know that one of the great things about this evening for me, was that I never knew what was going to happen next.

Della: Really?
George: He said I was never ahead of this play. And he pointed to Austin who was sort of...had chaperoned him back through this maze in this little off broadway theater and he pointed at him and said "That guy just AMAZES me," about Austin

Della: Uh huh. He was on our show last week.
George: Yes, I heard that. And that's kind of a terrific endorsement I think.

Della: I imagine it is. Now coming from your standpoint Gale, not to cut you off over here George but...
George: No, not at all. I want...

Della: How do you feel about coming back to be in the same proximity, house, with your uncle? It's not like coming home to be with your father...
Gale: No, it's, it's...I mean, that's one of the things that unravels during the course of the play. And that's one of the aspects I think, that uh, illustrates you know, why you don't what's coming next. You don't know what to expect, and it's not a shock play, it's not, you know, things are being thrown at you to surprise you. But, you know, he comes back, part of it's a rescue mission. Part of it's um, sort of a breaking through. It's like a post coming-of-age metamorphosis. He's trying to find something in himself through making this last connection with his uncle, who he feels...
Della: (interrupting) Which was a choice he made...
Gale: Yeah, I mean this is the only person that he says it in the play, the only one he could ever talk to, the only one that he ever really loved...

Della: Awww....'s an isolated character who has this one connection who he's never been able to get connected to, and now that it's almost over he's, he's taking the chance to get there and try to grab that before it's gone.

Della: And what's the message you want people to walk away from?
George: Well you know first of all, one thing we haven't said which is very important, is that this play is very funny.

Della: (laughing) It's funny?
George: Yes, and I mean that isn't because we're courting laughs...but the CONTENT, the way that's not just soem ponderous dreary interaction. This is a very alive, very and at times, extremely funny...

Della: And it's written with real life humor as it happens...
George: Yes, exactly.

Della: Stay with us, we'll be right back with more of George and Gale... (commericial break)

Della: Welcome back to Jersey's Talking. I am Della Crews filling in for Lee Leonard tonight. I am talking with George Morfogen and Gale Harold from the upcoming off broadway show, "Uncle Bob." You've probably seen George on the HBO series which is now into it's fifth season called "OZ" and Gale on the new SHOWTIME series called "Queer as Folk." Alright, let's talk about OZ. Now that's a heavy duty show.
George: It's a show which is uh, has a kind of fantastic honesty.

Della: Really?
George: I, I think. And it's the thing that when I, all of us, most of us live in New York, and we get stopped a lot about the show. And people of all, different types of people, who are really involved with the, with the world of this rather brutal place.

Della: What kind of research did you do to make it seem so realistic?
George: Welp, um, Tom Fontana who created the show, and who writes the show, and who is one of the executive producers of the show. Uh, I haven't really talked to him much about what he did, in terms of preparing himself for this material, but now I think he's so at home in the world of this place, which is a prison, and he's so creative and so willing to take chances and so willing to explore these characters beyond just the fact that they're prisoners...but their personal lives, their lives connected to their past, their interactions which are very explicit. I mean you know, this is not a play, this is not a show which uh, skirts issues which prisons are involved with.

Della: You know, what a lot of people don't tend to want to get involved in news that occurs away from their neighborhood. Why do you think they'd be attracted to a show like this when it's like....these are just inmates and know, what do I feel about them?
George: I, I think it's because it really does not pretend. It really goes to gut stuff.

Della: Too much so?
George: Not too much so. It goes to gut stuff which people can believe in, and are fascinated by, and are not squeamish by. Now by the way, there are some people who have, who have trouble dealing with material that is this raw and open and honest.

Della: If they're not open-minded enough, I'm sure.
George: Yeah. But now I'm an inmate, I've been there a long time. I'm a lifer.

Della:(laughing) How does that feel playing the role of an inmate? I mean...
George: Well, I'm a survivor. I made it. That's kind of an accomplishment to make it.

Della: And you were sent to prison for...
George: For murder.

Della: Oooh.
George: With a rather witty backstory. Which is that I was going to be electrocuted in the 60's and then it was the night of the power failure.

Della: (laughing) What an ironic turn for you.
George: It's kind of fantastic. And of course for humanitarian reasons, they won't do it again. This man has a great series too (turning to Gale)...

Della: Yah definitely getting into yours. First of all, starting with the name "Queer as Folk..."
Gale:Uhm hm.

Della: We've become very bold here in the year 2001 using that as a title. Tell me about the premise of this one.
Gale: Well the title uh, even though it comes across as has a double meaning...I mean, it's an old, it's an old phrase uh, meaning that "there's nothing queer as folk," is basically the simple translation of it. Meaning that there's nothing stranger than everyday people. Uh, the show was created in England originally with uh, by Russell Davies, and SHOWTIME has adapted it. And it's a show about uh, gay men in Pittsburgh and their lives and...

Della: (interrupting) In Pittsburgh? Pittsburgh gets pick, pick, picked on alot, because I lived in Pittsburgh...
Gale:(interrupting) Yah well, it's just set there. We're not picking on Pittsburgh. That's where we live, and work, and play. And um, it's interesting, it's great to be working with George because um, we're both sort of on these shows on you know, pay television that uh, deal with really honest characters. And that's one of the things about our show too, it's um, showing a lifestyle that has never really been explored I don't think, you know, in a serial television way, that's extremely explicit, extremely true, and compelling, you know. It's the drama, and the story, and the truthfulness of the characters I think is what has been responsible for our show being able to survive the first season. People wanna see what happens.

Della: How realistic is your character and what do you bring to it, and how did you do your research?
Gale: Uh, my character is um of course based on a character that was already created for this other show but um, hopefully he's just as real as he can possibly be. He's a very, sort of brutally honest and somewhat iconoclastic personality. He has his version of what is his own truth and his own pursuit of happiness, which is being a totally liberated gay man in the United States with the rights and freedoms of anyone else, you know. He's not, he won't allow himself to be marginalized. So for me it's just, the writing is, is strong, is very strong, and the character is very clear and very strong so for me I mean, in terms of my performance, it's just playing him, what's on the page, because everything about him is there, and then you know, just adding nuances.
George: He's an extraordinary magnet.

Della: Is he?
George: Yes, he's an extraordinary magnet.

Della: Now I have to know. Given the sexual preferences aside, how are Brian and Gale anything alike? Or are they?
Gale:Well, it's a character. I'm an actor. I mean that's a question that we could you know, spend, you know, hours answering. I don't know exactly, I haven't figured that out yet. I mean I've figured certain things out but I'm still trying to learn this character myself and he's still being born. There are similarities that I think uh...that's the reason you get cast to play any character...because whoever is responsible for the production, they see you, and they see something about you that they want to see in this character, or they feel is there. So....

Della: How much input do the two of you get in the writing and the production of the show?
George: Input? You mean...I

Della: I'm assuming the writers listen to some of your ideas...
George and Gale: Yeah.
George: In my case, I have done very little of that. Um, I's not that I feel squeamish about perhaps sharing some ideas...there have been a couple...but Tom has really been running with the character. And last summer my character took extraordinary turns which were unexpected to me, as the actor. Uh, I would open the script and I'd say "Oh my goodness, what is THIS?" It was an extraordinary journey I took last summer, and people agreed. They told ME it was unexpected. They couldn't believe that this character who they'd sort of put in a sort of safe place, was suddenly doing things which were, well violent.

Della: But as an actor you find that challenging and exciting...and the same with you too (looking at Gale) when you get to take on a new dimension of your character.
Gale: There always, I mean, um, in my case there has been a little bit of collaboration but uh, there are still episodes that you know, bombs get dropped and you have to recover for a moment, and then you realize that that's what it's all about. That the challenge is something to work through. And the great thing about these changes is what it sets up for the future, you know.

Della: And at the end of the day you can go home and you can say you did a great job, the best you can.
George: Well WE can't say that, but somebody else can (laughing).

Della: Okay well it's been great talking to both of you. You on "OZ" and you on "Queer as Folk." And of course we've been talking to George Morforgen...I hope I'm saying your name correctly...
George: MORfogen...

Della: Morfogen, got it. And of course, Gale Harold. Thank you gentlemen. Keep up the good work.
George: Thank you very much.
Gale: Thanks, Della.

Copyright © 2008 | All rights reserved
Edited byMarcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:10 am

Style & Substance: Gale Harold

April, 22 2001

By: Farrah Weinstein
Edited by: Marcy

Gale Harold plays a homosexual heartthrob in the Showtime series "Queer as folk," a role he does so convincingly that many viewers wonder about Harold's real-life orientation. But the thirtysomething actor refuses to reveal any details on his sexuality. He has many fans in the gay community as well as many women supporters so, he prefers to remain mysterious rather than disillusion anyone.

He will, however, demurely admit that he's "not exactly" the lascivious lothario of his TV alter ego.

Growing up the son of avid churchgoers in Georgia, Harold was a soccer star and won a scholarship to AmericanUniversity in Washington, D.C., where he studied romance literature. After one semester, he transferred to the San Francisco Art Institute, though he eventually dropped out. He then worked as a mechanic on Italian motorcycles.

Harold relocated to Los Angeles in 1997 and studied drama for three years, which led to his theatrical debut in Gillian Plowman's "Me and My Friend" at the Los AngelesTheatreCenter.

He also made his feature-film debut, in Paul Scheuring's "36K," and studied with a classical theater company, where he did "The Misanthrope" and "Cymbeline."

Harold has performed in "QAF" (which has been dubbed the gay "Sex and the City") since it debuted last year. And he soon returns to the stage, playing a homophobic man in Austin Pendleton's "Uncle Bob," which opens tomorrow at the SoHo Playhouse (15 Vandam St., at Sixth Avenue).

The two-man show involves a man (Harold) and his uncle ("Oz" star George Morfogen) who is dying of AIDS, and their reflections on life.

Style: What is your personal style?
Gale: Pretty simple: stovepipe pants, cheap black glasses, used leather, rayon gabardine with lots of piping, hard woods, Spanish wine, Italian boots, loud music, long legs, big windows, salsa cruda, Republican-free futures.

Style: Do you enjoy dressing up?
Gale: I do. Especially if I have enough time to enjoy getting ready, like a summer night when the sun is setting late, condensation from the vodka tonic's leaving water rings on the furniture, maybe some Junior Wells on the stereo. The simple act of cinching a Windsor knot gets kinda deep.

Style: What do you wear for a night out?
Gale: Usually Levi's, boots or Pumas, and a T-shirt. If I'm dressing up, maybe a sharkskin suit. Or a microdress . . .

Style: Where do you like to shop?
Gale: I buy a lot of used stuff. Toronto - where we shoot - has great vintage shops. I found a really hot '60s pinstripe suit on Queen Street with a perfect shape. It's navy with blood-red lining. Unbeatable.

Style: Who are some of your favorite designers?
Gale: Paul Smith, Cesare Paciotti and Patrick Antosh.

Style: Do you shop alone?
Gale: Depends. I like to shop with the wardrobe designer for the show because he knows all the right spots. It's fun to kill a few hours going through piles of arcane stuff that fires me up but that I would probably never wear.

Style: Name an item of clothing or an accessory that you have splurged on.
Gale: I had a suit made here in Toronto [based on] this early '60s suit I found in San Francisco. [The vintage suit] was really nasty, like Carnaby Street mod-tapered and tight. I sort of destroyed it over the years, so I took it to a shop, Niagara Tailors in Little Italy, and had it reproduced.

Style: What do you do to relax?
Gale: Legally? Music, books, cycling. Being with friends-we're all pretty tight on the cast-is something I love to do to unwind.

Style: Do you follow a special diet?
Gale: Sort of the bastardized "Zone" - more protein than carbs, lots of greens, lots of sushi, lots of candy.

Style: What gives you substance?
Gale: My rattlesnake-skin Gideon's bible.

Copyright © 2006 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:39 am

Larry King Live -CNN

Aired: April, 24 2002 21,00
With:Larry King
Source: CNN
Edited by: Marcy

Larry King: Tonight, too hot for TV? Showtime's hit series "Queer as Folk" steams up the screen.
It's not another "Ellen." It's graphic, raw and controversial. And while it's produced by gays about gays, most of its stars are straight. We've got all the key players and they'll answer your calls and criticisms. The full scope on the show that's stirring up a major fuss, next on Larry King Live. They were supposed to be with us last week. It's good to have them back tonight. We're going to have the complete cast of "Queer as Folk" as our guests and a major discussion about that.

Larry King: Now, this is what we've been talking about and is our bulk of the show tonight. And if you've seen any magazines, New York Magazine with Randy Harrison -he'll be with us in a little while -on the cover. All these magazines -"OUT," et cetera, et cetera, regular magazines, gay magazines, straight magazines have been talking about a television show. That show is "Queer As Folk," the most successful show on Showtime.

Larry King: We begin with, here in Los Angeles, Peter Paige. He plays Emmett Honeycutt. And he's out as a gay man in real life. In Miami is Sharon Gless. You know her very well. She plays Debbie Novotny, the mother of Michael. Debby is overwhelmingly supportive of her gay son. In New York is Gale Harold, who plays Brian Kinney, a successful ad executive unapologetic about his feelings. Also in New York is Randy Harrison, who plays Justin Taylor. Justin is a teenager who lost his virginity to the much older Brian. And here in Los Angeles is Hal Sparks who plays Michael Novotny, the son of Sharon Gless. Michael is smart but somewhat naive.

Larry King: The only two actual gay characters on the show are Peter Paige here in Los Angeles and Randy Harrison here in New York. Why did you take this part, Peter?

PETER: I've always been drawn to controversial projects. I thought there was something really exciting, really dynamic here. What I think has caused so much of the controversy around this show is this combination of being about a group of gay men and women and its unapologetic use of sexuality as part of the dramatic storytelling. And I just think those are really human, human components.

Larry King: It's true.

PETER: It's true. That's exactly why. It's true.

Larry King: When did you come out?
PETER: I started coming out as a teenager. It's a life-long
process. I, you know, still am, I guess.

Larry King: And Randy is the only other actual gay person in the show. Why did you take the part?

RANDY: I took the part because I got it. (LOL) You know, I was excited to do it. I wanted to work. I just graduated
from school. And it was a great way to begin my professional career.

Larry King: Did you have any doubts about displaying the character this way?

RANDY: Not really. I mean, I felt the sexuality especially in Justin's case was a really important part of his development as a character. So, you know, I was actually excited to do it and ready to do it.

Larry King: Sharon Gless, how did they get you involved?

SHARON: Well, a friend of mind sneaked me the script. And I called Showtime and asked if the part had been cast. And they said no, nothing had been cast. And I said, well, I'd really like to have that part. So, they sent me to the producers and it was one of the most fun interviews I've ever been on.

Larry King: Why did you want it?

SHARON: Because I smelled trouble and I wanted to be part of that.

Larry King: You like trouble.

SHARON: Yes. And, actually, there's been very little trouble around this show. I was surprised. But it was very shocking, very graphic. I'd never read anything like that on television and I wanted to be there.

Larry King: Peter Paige -let me go to Peter. We want to get everyone established. Peter, who is a straight actor, right, Peter?

HAL: No, he's Peter.

Larry King: I'm sorry. You're Peter. Hal, as a straight actor, why did you take the role of a gay person?

HAL: Well, the script was excellent. And the character was something that I really felt like I could resonate to and find a heart for. And, frankly, a lot of other actors I heard were afraid to do it, gay and straight. They just wouldn't take a lot of the roles that were offered in the show. And any time I can be 200th choice for something and actually get the part, I'm there. But truthfully it was part of that. It was like other people wouldn't do this. And it felt important. It felt historic. And I felt like I could really bring something it.

Larry King: You liked the script you got?

HAL: Yes. Yes. It was impressive. And it had a lot of intelligence to it.

Larry King: In New York, Gale Harold, who is also straight. We have to point that out because it is unusual to have this kind of a complete program dealing with the gay lifestyle, male and female, and everyone but two on it is straight. So, Gale, why did you take it?

GALE: Because it was a very interesting, challenging part and compelling for those reasons initially. And the more I thought about it and considered what the impact was going to be, I think socially, it just was a challenge I couldn't really pass up, to at least pursue, you know. And when I got the job, I got the job.

Larry King: Was it tough, Gale, and also we'll ask Hal the same thing, was it tough to play scenes out of natural concept for you, that is, having to make love to a man?

GALE: It was new and different, but it wasn't -I wouldn't say tough. I mean, the implication there being that -I wouldn't want to say that it was anything other than a challenge. I mean, that is the character that I signed on to play. And very much a part of his persona, his personality is his sexual life. And so, I had to be committed to that. I knew that from the time I decided to go and test for the part. And that's just part of the job, you know.

Larry King: In other words, it's acting.

GALE: Of course, it's acting.

Larry King: Hal?

HAL: I took the part knowing full well what would be asked of us. But I also wasn't necessarily prepared in any way for what it would take. And for me, it is difficult. And I have no qualms about saying that. But it's still worth doing. So a lot of things I've done in my life are very hard to do, but they're important to do.

Larry King: I want to get everybody's thoughts and I wanted to establish everybody. We'll have everybody correctly identified, too. I'm Larry King. The show is a hit on Showtime, a major hit, in fact.

Larry King: You are seeing scenes from "Queer As Folk," the highest rated original series on Showtime, the premium cable network that brands itself with the phrase "No Limits." It is based on a highly successful British series of the same title, "Queer As Folk." Focuses on a group of gay men and women living in Pittsburgh. "Queer as Folk" is shot in Toronto. Returned for its second season on Showtime in January, is a major hit on that network.

Now, you know, Peter, that there are many gays complaining that they don't like the way this lifestyle is portrayed.
How do you respond?

PETER: Well, I think they're, A, not watching the show. I think they're only responding to the press about the show which is, oh, it's provocative. There's a lot of sex in it. There's drug use in it, which is true. My mainstay of all is that it's real. This is real. This happened. This is going on.

Larry King: This is the gay life?

PETER: The people who are complaining about it are either ashamed of their own lives and mad that we're telling secrets or they're looking for some sort of politically correct best foot forward, you know, "Cosby Show" type programming, which is not what this show set out to do. This show set out to tell the story of these people's lives, warts and all. And it is pissing people off. I don't apologize for that.

Larry King: Sharon Gless, you're a two-time Emmy winner for "Cagney and Lacey." This is not "Cagney and Lacey."

SHARON [laughing]: No.

Larry King: Is realism just more coming to the fore?

SHARON: I'm sorry, what?

Larry King: Is that what this is about, that television just gets more real all the time?

SHARON: More real? Well, I hope so. I hope so. I mean, that was the success of "Cagney and Lacey" was that it was so real, first time out for a show like that. And I say the same thing for this show. I mean, you can't get too real. I mean, it's...

Larry King: Can you understand where it's disturbing to people?

SHARON: Well, it depends on who the audience is. I imagine there's -yes, there are some audiences that it disturbs. But everyone I talked to loves it because it's -I hate that expression, ‘pushing the envelope.' But it is taking that next step towards showing the reality of the life of these kids. It is not everybody. It's just this group of youngsters.

Larry King: Randy, do we know who the audience is? Do we know who's watching?

RANDY: You know, it's a huge audience, a lot of straight people, a lot of teenagers, a lot of gay people, too. I think the fact that the show appeals to so many people on so many different levels sort of is a testament to the legitimacy of it.

Larry King: Hal, do you know -do you have friends who watch who are straight?

HAL: Oh, yes.

Larry King: And what do they say?

HAL: Yes, they're sort of, you know, as friends of mine they are proud of me for taking on the challenge, you know, and doing something that a lot of people wouldn't do.

Larry King: No one has complained to you? No one has said to you what are you doing?

HAL: No. Some guy friends of mine say, you know, I can't watch that part. I've got to turn that part off. Or, you know, I'll tape it and I'll fast forward through those things because it is hard for me. But they all agree that the storylines are compelling. The flashpoint of the show is the sex and that's what people attach themselves and go this is what it's about. But if you watch the show, it's really about relationships. And in a lot of ways, it portrays relationships honestly, in a way that even straight portrayal of relationships doesn't do anymore. It becomes part of a cliche. So the first time you're seeing people having real arguments, and a lot of times -I've said this before -but I have dialogue on the show where I'm saying -my character is saying to his boyfriend stuff that my ex-girlfriend has said to me. You know? And that's an interesting place to be in as a man, you know, and really come to terms with having those honest feelings.

Larry King: You play, Peter, the character you play, I understand, is really out there.

PETER: He's really out there.

Larry King: He's sort of ‘swishy' as you might say.

PETER [laughing]: You could say swishy. I wouldn't, but you could.

Larry King: Danger in stereotyping there or do you know people like that?

PETER: I know people like Emmett. I wanted very much -- what I think is so great about Emmett is he's very effeminate. He's out there, He's unapologetically gay and he really likes himself. He's sort of figured out that he was OK. Whether or not you think so doesn't really matter to him. And I thought that was really revolutionary to see on TV.

Larry King: Randy, as a gay man, does Peter's part offend you in any way?

RANDY: Oh, not at all. Not at all. It's really affirming actually.

Larry King: Because?

RANDY: Because you can see someone who is so out there and in a lot of ways, is so much of what people assume is negative about being gay or what people make fun of in homosexuality or the way they view potentially homosexual behavior. And you see someone who loves himself and is loved by everyone around them. And, you know, the audience loves him. You know, it is great.

Larry King
: Hal, did you know this show would be as controversial as it is?

HAL: Yes, absolutely.

Larry King: No doubt about it?

HAL: No doubt whatsoever. You could tell from the initial script, and from being a person out in the world and aware of how things presently are. This show is important because it pushed that envelope, and therefore it couldn't have -- even if the controversy isn't hyperverbal. You know, there isn't a lot of fighting between us and the moral majority going on. What controversy truly is there is between people and their own biases, their own homophobia that they didn't address.

Larry King: Gale, do you have any regrets over taking the part?


Larry King
: Not at all.

GALE: Not at all. I mean, I've had an amazing experience growing as an actor, growing with my fellow actors. I've learned and...

[Off-camera, we hear Randy whisper what sounds like "I love you" or "I love him"]

Larry King: What did he just whisper to you?

GALE: (grinning) I can't repeat it.

(Laughter in the studio)

Larry King: OK. We'll use that as a grabber. We'll take a break and come right back. We'll include some phone calls as well. At the bottom of the hour, other members of the cast and later, we'll meet the producers and a critic of "Queer As Folk." You're watching LARRY KING LIVE. Don't go away.

[Video clip from QAF is played]

DALE: There are many pleasures to be found here, places that you are afraid to even think of going. I can take you there. But first you must surrender to me completely. Do you surrender? TED: Yes, I surrender. DALE: Sir. You will call me sir.

Larry King: Randy, your character is 17 years old, as I understand it.

RANDY: He's 19 now, but he began at 17, yes.

Larry King: When he was 17, was there criticism over that since he's a minor?

RANDY: Some, yes, there was.

Larry King: Didn't bother you?

RANDY: Not really because it happens all the time. And, you know, I was happy to put it out there.

Larry King
: As we saw from that scene, Hal, your lover has HIV.

HAL: Yes. Michael's dating a character named Ben this year and he's HIV positive.

Larry King: Do you think this enlightens people about this?

HAL: Absolutely. I mean, when the episode where I meet him and all that, it first aired, Michael can't sleep with him. And he breaks up with him because he can't handle the HIV element in the relationship. And we got a lot of criticism from that. People picketed us. And then when they finally watched how the story progressed and how this relationship grows, I think it really opens a lot of people's eyes. And I'm really happy that that storyline came into the fore. KING: Peter, there are those who say Pittsburgh was a bad choice to be the city -- no, that the gay communities are more prevalent in San Francisco, Houston than in Pittsburgh.

PETER: Right. You know, I mean, I think you should talk about that with the producers. Obviously, that was their choice. But I think it's about being a real city. It's just about being a city with real people with people who might be neighbors.

Larry King: Just happened to be Pittsburgh.

PETER: Yes. Exactly.

Larry King: Tacoma, Washington, hello. Tacoma, are you there?

CALLER: This is Houston, Texas.

Larry King: OK. I was told Tacoma. I'm on five, but OK, Houston, go ahead.

CALLER: I just wanted to comment about the show. First of all, I love the show. Everybody is great on that show. I'm an African- American female who has dealt with discrimination in her own life and it's great to see how you all have overcome all of that.

Larry King: Do you have a question? Do you have a question, dear?

CALLER: Well, I just wanted to give a comment. I mean, I love the show. You're all doing great work. Keep it up. I mean, you've helped me and my family bridge...

HAL [speaking to the caller]: Thanks a lot.

Larry King: Thank you. Do you hear a lot of that?

PETER: We do quite a about it, actually. I think the universality of the relationships, I think, it touches people. And, you know, straight people, gay people, people of color, often come up and just say, I get it. That's my relationship. I understand that.

HAL: A big portion of our audience is straight women. And a lot of times it is because they're seeing emotions portrayed that they don't get to see anywhere else.

Larry King: Gale, do you have any fear that this could typecast you in a way that, oh, he's the guy that's on "Queer As Folk"?

GALE: The only real answer I have to that, you know -it is asked a lot is that I really wouldn't want to work with someone who would typecast me based on what I'm doing in this job. I mean, we're actors and we want to grow and we want to perform different parts. So if I'm going to take a part that's challenging to me and that's feeding me as an actor, if someone were going to typecast me because of that -I know that it has happened. But I really feel like it's 2002. Hopefully we're beyond that.

PETER: Amen.

GALE: My goal is to work with people like I'm working with now that have an interest in pushing forward ideas and issues that, you know, are important and speak to people.

Larry King: Randy, as a gay man, are you consulted by -- by the way, are the writers gay?

RANDY: Some of them.

Larry King: Are you ever consulted with questions like, does this happen?

RANDY: No. Sometimes, yes, sometimes.

Larry King: No?

RANDY: Not all the time. I mean, I think people are pretty aware that this sort of does happen. You know, in the show, it very much represents a small subgroup of the gay community. But you know, most people I know who watch the show are aware of the reality of these kinds of situations and relationships.

Larry King: Do you ever see a script, Peter, where you have to say, no, that's not the way it happens?

PETER: No. I've seen scripts where I said, I wonder about this. And we engage the producers in a great conversation about it. They're really collaborative and really open that way. And the only question I've ever been asked by other actors on the show was do you really do it like that?

Larry King
: And what do you say?

PETER: Harder.

Larry King
: Sharon, I know you've never shirked controversy. Did you expect what you've gotten out of this?

GLESS: I'm sorry, Larry. I couldn't hear you.

Larry King: Did you expect the controversy this has gotten?

GLESS: Yes. That's sort of reason I signed on because I thought -- I mean, I was up for the fight. But that's what's exciting about this show to me. There's never been anything like it. I've been getting trouble from that scene you just saw, from people writing me and talking to me on the street, how could you?

Larry King: There are conservatives, Hal, who are saying it glorifies a lifestyle.

HAL: I think TV has an opportunity to be a window. And that's what it is in this case. There are a lot worse lifestyles to glorify than a young man falling in love with a man who has HIV and persevering through that relationship, or a character such as Emmett who falls in love with a much older man and really has an enduring relationship with him. If that's what we're promoting, then, tough.

PETER: You know, it ain't glorifying what. These characters are flawed. They struggle. They have problems. It is drama. That's what it is.

GLESS: They're real people.

Larry King: It's a show.

PETER: It's a show. To say we're glorifying something I think is really inaccurate.

Larry King: Any script coming going deal with the Catholic church?

HAL: Boy, we've been really prophetic throughout. And, yes, that actually is addressed.

Larry King: Thank you all very much. We'll break and meet other members of the cast, four more coming. We thank Peter Paige, Sharon Gless, Gale Harold, Randy Harrison and Hal Sparks, all of the hit show "Queer As Folk." More to come and more phone calls. Don't go away.

Larry King: The subject is "Queer As Folk." And naturally lesbians play a part as well. Let's meet our next panel, here in Los Angeles... Scott Lowell plays Ted Schmidt. Ted is a gay, low-key, down-to-earth accountant. And by the way, he's also a straight man.

SCOTT: Not a lesbian.

Larry King: Not a lesbian. In New York is Robert Gant, he plays Ben Bruckner. Ben was not part of the first season. He is a professor of gay studies, also is HIV positive, also is straight.

Two straight ladies here in Los Angeles; Thea Gill, who plays Lindsay Peterson, a university professor in a committed lesbian relationship and Michelle Clunie who plays Melanie Marcus. Melanie is a tough lawyer in that committed lesbian relationship.

Why did you take this part, Scott?

SCOTT: Mostly because the character reminded me so much of myself in a certain stage of my life. Especially moving out to Los Angeles from Chicago. The gay club scene that's portrayed in "Queer As Folk" is exactly what Los Angeles is like. A world where youth and beauty and wealth is prized, and if you don't have those things, then you don't quite fit in, much as my character does. You end up on the rejected end of the post.

Larry King: Robert, you know there are some people who are complaining that heterosexuals shouldn't have been cast at all. It should have been an all-gay cast. How do you react to that?

ROBERT: Well, at the end of the day, it is about who best portrays a part. The reality is we know that Rock Hudson had been playing straight roles for how many years. This has been happening back and forth since the beginning of time. It's just -- I guess now that the tables are turned, people are -- I don't know.

Larry King: A good point. Thea, why did you take it?

THEA: I thought it was a lovely role. I felt very fortunate to be offered such a role. I love the emotional aspects of Lindsey and her relationship with her family. And the traditional qualities.

Larry King: Was it hard to play that scene we just saw, making love to a woman when I presume that you prefer men?

THEA: It was a breeze. Every time I'm working with Michelle it's a joy.

Larry King: Are you in love with Michelle, now?

MICHELLE [looking at Thea and taking her hand]: We are going to elope after this.

Larry King: No, was it hard to play that?

THEA: No, not at all. Not at all. It was very simple and it was very rooted for me. And every time I work on any scene that I am in with Michelle and anyone else in the show...

Larry King
: No conflicts for you.

THEA: None.

Larry King
: Michelle, what about you?

MICHELLE: Conflicts?

Larry King: You are heterosexual?

MICHELLE: Yes, yes, yes.

Larry King: Any difficulty?

MICHELLE: No. It's just a part of the job. And to me, I see love as love. I don't think that -I relate very much to the love that Melanie and Lindsey share. And it's very beautiful. And I think at the end of the day, you just -it is wonderful to get to play a character that has such a strong point of view and is feisty and you don't get to see on TV very often.

Larry King: How do you react to all the attention it's getting?

MICHELLE: I think it's wonderful.

Larry King: Even the bad, even those who are critical?

MICHELLE: Well, you know I don't really listen to those voices very much. When people are critical, I think that if you listen to that -- how do you get out of bed and create in the morning? I hear so much positive reinforcement that the critical voices... I don't know what you're talking about.

Larry King
: Is it hard, Scott, to play a love scene with a man?

SCOTT: No. I mean, although I do apologize to any woman I've kissed and given razor burn to over the years. That's the hardest part of it, I suppose. Is needing a good moisturizer afterwards.

Larry King: What's the hardest part, Robert, for you, about playing a gay person?

ROBERT: You know, I think at the end of the day, acting is acting. And you know, our lives -the whole point is that there's no real difference, that we tend to focus on how we're not the same. And what people are noticing about the show is they're starting to see our similarities. They're starting to see how we're the same. About how people at the end of the day, love the same. They argue the same. They have sex very similarly. And so really as an actor my job is to take my life experiences and to put them into, you know, into the scene that I'm playing. You know, there was -when I was having a love scene with -a romantic scene with Lea Thompson or Lisa Kudrow, kissing them, it's no different than kissing Hal in that I'm not in love with any of these people. I am looking inside of myself and finding those places where I remember being in love and bring that into the scene.

Larry King: Thea, the first time you had to kiss a woman, was that hard? Assuming it is something you've never done.

THEA: No, same thing that Bobby was talking about. It's another human being. It's another...

Larry King: Feel different?

THEA [smiling sweetly]: Softer and more gentle.

Larry King
: Oklahoma City. Hello.

CALLER: Yes. My mom and I are fans of the show. We were wondering for the straight actors, do they have appreciation for gay people now that they've portrayed them.

Larry King: Good question. Has it changed your thinking at all, Scott?

SCOTT: No, I've always appreciated gay people. I've known many. I have some in my family. They're people just like any of us. As has been mentioned earlier, the only thing that "Queer as Folk" has taught me is how much we're all alike and that all the fuss and the nonsense people make over the differences is absurd. We're all human beings.

Larry King: Bob, has it changed you at all, feelings towards gay people?

ROBERT: I'm just really proud to be a part of this. It's revolutionary. There was a time when there was a show that for the first time was about people of color. And it was controversial and caused people to talk and argue. And this show is doing exactly that. It's historic. And I'm just so glad to be a part of it and to watch the world changing. People don't realize this is opening minds and hearts and souls and you know, in the wake of September 11, I think we're all taking a look at love and life.

Larry King: Affected you in any way, Thea?

MICHELLE: Michelle?

Larry King: Michelle, I'm sorry.

MICHELLE: To be part of it? Yes, absolutely. I think the emotions that Melanie goes through as a character and being shut out of the hospital room and not being able to be with my baby and the woman that I love and having to go through that as an actress, it's made me even more compassionate where there already was compassion, it is so much deeper.

Larry King: Given us all a better understanding of the parts you play and I thank you very much. We'll meet the executive producers and a critic of this extraordinary program. You're watching LARRY KING LIVE. Don't go away.

Larry King: Joining us now here in Los Angeles are Ron Cowan and Daniel Lipman. They are the executive producers of "Queer as Folk". they were creators, executive producers and writers of the emmy winning network series. They earned an Emmy for writing the TV movie, "An Early Frost." They've won a Peabody Award as well. Both gentlemen are gay and have been personal as well as professional partners for more than 30 years. In New York, is Robert Peters. Robert is president of Morality in Media, a nonprofit national interfaith organization working through, it says, constitutional means to curb traffic and obscenity and to uphold standards of decency in the mainstream media. Before we get Robert's thoughts, how was this show conceived, Ron?

RON: It is based on an English series of the same name "Queer as Folk" which we saw. Showtime called, asked if we'd be interested in doing it. We said oh, absolutely. It would be a tremendous challenge, something exciting.

Larry King: Daniel, in England do they do it the same way, a cast of people, some straight, some gay?

DAN: You mean in terms of the actors?

Larry King: Yes.

DAN: I think that all the factors on that show, the leading roles were straight.

Larry King: Straight. Are scripts kind of similar stories involvement, lesbians, etc.?

DAN: Actually, our show is more of an ensemble show. It has turned into that. That's what the network wanted it to be. We actually used the British template the first episode or so because it was very very seminal in terms of this Brian and Justin relationship. After that we veered in our own direction.

Larry King: Where did the title come from?

RON: I understand it is from a Welsh expression.

DAN: Yorkshire...

RON: Yorkshire expression. It actually means there's nothing as strange as people. There's nothing as "Queer as Folk".

DAN: There's not as "Queer as Folk". There's nothing stranger than people.

Larry King: You knew you of course you were breaking new ground here?

RON: Yes.

Larry King: Any trepidation?

DAN: No, I don't think so. We wrote, as you mentioned, "Early Frost" which in its time was fairly groundbreaking. For us, I think there has been this, not by design, but this arc in our career of writing about gay characters. And where the world has gone, to go from something like "Early Frost" where we could barely have the characters touch each other to something like "Queer As Folk" is simply amazing.

Larry King: All right. Robert Peterson (sic) in New York, what's the rub? They're presenting a side of life. They're presenting it realistically. That's what life is about.

: Well, I really don't claim to be the whole expert on this program. I was asked to watch the first three episodes of "Queer as Folk" actually before they aired in order to comment on them for a television interview. And I watched them. And I could summarize my concerns with -- to make things simple, three Ps. And the first P is an old-fashioned word. It is pedorasty. And I think some of your viewers would know that's a high-falutin' word for man/boy love. It's often used, I think, in reference to a practice that was widely existed in Rome and ancient Greece, which is initiating young attractive boys into manhood through having sex with older men. And kind of what really shocked me about watching those first three episodes was not just that this man/boy love relationship was depicted in a very explicit fashion, but it really was the centerpiece. I mean, my second P is promiscuity. And I don't know how many people understand it, but there is still an AIDS epidemic in the United States of America that is affecting a lot of gay men. And so are -- there's an epidemic of other sexually transmitted diseases that is affecting gay men. Now, I won't go so far as to say that the program is promoting promiscuity, which I think arguably it is, but clearly it's non-judgmental. It is depicting this as the way things are. It's depicting it very erotically, very excitedly. I mean, whether it's promotion or just wallowing in something, it's there. And there was a study...

Larry King: All right. Robert, hold it one second. Before you get to the third P, I want to take a break and come back, and then you establish what the third reason was, and then Ron and Daniel will respond.

Larry King: "Queer as Folk" airs, by the way, at 10:00 p.m. Sunday nights on Showtime. And they repeat it Tuesday nights at 11:00 p.m. All right, Robert Peters, president of Morality in Media, what's the third P?

PETERS: Well, the third P is pornography. And pornography fits into the program in two ways. In one case, a lead character, a primary character, that's what he's into as a lifestyle. Now again, I'm not saying that the program, per se, promotes pornography. But like everything else, it is portrayed in a non-judgmental way. And certainly the sex scenes are, I think, by some definitions of pornography, pornographic. And I have two articles that were written by openly gay men, one published in the "New York Times," the other in "The Village Voice" where those authors use the term porn in describing how the sex is depicted. I can recall some mainstream television critics saying that in a mainstream TV program, this is the most explicit and prolonged sex that's ever been depicted on television, straight or gay. And I'm an opponent of pornography, I hasten to add, whether it is gay or straight. I really don't see any difference on that.

Larry King: OK, Robert. His points, Ron, on the three Ps are that you're appealing to base elements here, and that I gather -- I don't gather, he does think that you're taking this across the line. Your response?

RON: Well, first of all, we're on Showtime. And Showtime has lived up to its promise of "No Limits." I think they've been...

Larry King: That doesn't mean he can't criticize.

RON: Oh, no, not at all. I think -look, everybody's entitled to their opinion. It makes for conversation. The show is absolutely controversial. But I do think that we are portraying gay people as sexual people for the first time on television. Very few people have ever seen this in their lives. And I think it's very important to show gay people as having sex lives. Up until now, they've been pretty much portrayed as clowns and eunuchs.

Larry King: How about the non-judgmental that he brings up?

DAN: Well, I do want to say that I was hoping that a couple of these would be 'provocative' and 'pioneering.' But as far as non- judgmental, he's correct. We do not judge our characters. You know, this is a creative venture. And being creative, it does not take a politically correct view. That does not mean that there's an intent to harm or offend. It's just our job is to tell the truth about the world of this...

Larry King: What, Robert, do you want? Do you want the show not to be on or do you want someone to come in and say on the show at various times what you're doing is wrong? I mean, what is your goal?

PETERS: Well, I've been asked to criticize the program or comment on it, I suppose, several times over the past couple of years, and I've done so. I haven't wasted any sleep over the program. I'm thankful at one level that it's on Showtime because for the most part that means it's a consenting adult audience. Certainly on broadcast television, there are people talking today that whatever goes on on Showtime and HBO should be on broadcast television after 10:00 p.m. And I'd also hasten to add that from my own personal moral perspective, apart from the man/boy love thing, which is a highlight of "Queer as Folk," I don't see much difference morally from "Queer as Folk" which is on Showtime, and "Sex and the City" which is on HBO. If they're going to be on television, that's the place for them. Would America be a better place without both? In my opinion, yes. I'm not about to start a movement trying to get them off the air. And I haven't done that.

Larry King: I see. You're just offering your critique.

PETERS: Thank you.

Larry King
: Ron, what about the man/boy critique?

RON: Well, in all honesty, I don't see just reason...

Larry King: They are young boys in the scenes we've seen.

RON: When we started the show, Justin was about 17 and a half going on 18. He's a high school senior. I think we all know that a lot of high school seniors are sexually active. Realistically, a lot of gay men have sex for the first time with older men. It happens. Our job to portray -is to portray this world realistically. We're not making judgments here, but it does happen. It also happened by mutual consent. Now, when a young man is 18 years old, he is allowed to marry. He can vote. He can go in the Army. He can die for his country. I certainly think he should also be able to have sex with whomever he wants, provided that person wants to have sex with him, that it is by mutual consent and that it's done safely and that's exactly what we've shown on "Queer as Folk."

Larry King: Robert?

PETERS: When I watched these first three episodes, I was writing down what I observed. This is very quick, but this is one of the sex scenes involving the man and boy. A man gets in the shower with boy, man sodomizes boy in shower. Man says to another male friend, we have to take the child to school. They take boy to high school. Boy wants to see the man again. He says, I just saw the face of God. Boy at school looking at football players in the shower. Boy tells female friend that he's proud and happy that he had sex with a man and that he loves the man. Now, later in this program, that man/boy lover was in the bathroom and another man came in who happened to have -be married with two children, and part of the reality that was depicted in that episode, the two men, the man/boy lover and the married person with two children, they had sex in the stall. Now, undoubtedly this takes place, but is this really the kind of entertainment that uplifts the American people and the teenagers that, according to one of your former guests, watch this program?

Larry King: We only have 20 seconds. Does he have a point? Does it affect people?

DAN: Yes. This is not an Army training film. This is not devised to send out politically correct messages.

Larry King: We'll do more on this. I promised we've just touched the surface. Ron Cowen and Daniel Lipman, the co-executive producers; and Robert Peters, the president of Morality in Media.

You can download the video here: LARRY KING LIVE

Copyright © 2006 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:41 am

December, 1 2002
Edited by: Marcy

ENTERTAINMENT TONIGHT: First of all, let's talk a little bit about how unique this program is to American audiences.

: I think the thing that makes it really unique is that it's a show that doesn't sentimentalize the lives of the characters. It shows them completely real -- everything, the attractive and interesting aspects as well as the aspects that may or may not cause people to sit back from their television and say, "My God, I can't believe that person just did that." But, it's real life.

ET: Let's talk a little about what the show is about to those who haven't heard of "Queer as Folk." How would you describe it?

GALE: I think that I would describe it as a comedic drama about five gay men who live and work in Pittsburgh and their interaction with each other and their families. My character is an advertising executive, very successful. Very brash, outgoing, unapologetic for himself and his lifestyle and what he holds to be the truth. He has a relationship with his best friend since high school, Michael (HAL SPARKS) who is very honest and upright, but he's a bit scared of life.

Brian is somewhat his (Michael's) protector, but Brian is also somewhat exploitative in that relationship. And there's Emmett (PETER PAIGE) who's the more flamboyant, dynamic one of the bunch. Ted (SCOTT LOWELL) is sort of the analytical. I don't know how to describe Ted other than he tries to put a cap on things. But, all in all, five extremely real and ... oh, and Justin (RANDY HARRISON), my new boyfriend, a 17-year-old teenager just finding his way in the world and trying to experience in reality the feelings that he has inside. He's going straight to the top of the experiential heap, so to say.

ET: Why do you think that this show will be so groundbreaking? People will be saying that this is something that they've never seen before. Can you tell us specifically why you think heads will turn?

GALE: You're going to look at your television and you're going to see two men doing what they do and two men having an extremely intimate, extremely real, and extremely erotic and exciting relationship. That's one facet of it. The other facet is that the issues are extremely complex and are not curved to get around the impact that they have on people. We are not pulling any punches in terms of the issues of being a gay man in America, the dangers of that lifestyle, as well as the exhilaration of that lifestyle, which I don't think many people can relate to.

ET: When you first saw "Queer as Folk, were you surprised at how graphic and honest the depictions were?

GALE: I was surprised. The context is different in the U.K., but when you put that videocassette in your machine and you realize that it was something that was mind-blowing .... I knew of it. I knew what the show was about, the context, and I knew something of the characters, but I had never seen a full episode. I had seen sort of a bastardized version of it that wasn't very clean. You watch it and the first thing you realize is that it's so verité, so real. The characters are introduced right off the bat and are just saying, this is my life, this is our world, this is where I come from. So, you're set up to see everything and then, they don't pull any punches and they take you through all of these different twists and turns right off the bat. The next thing you know, you're saying to yourself, "How did they get away with that?"

ET: How similar will this series be to the one from the U.K.? Is it going to be as graphic or as provocative?

GALE: We hope so. The first thing that the two shows share is the quality of writing, the depth of the characters and the interlacing of those characters. It's going to share the same spirit which involves taking a character and putting him out there as vulnerable as possible to attain a state of revelation. I think that the filmmaking style of "Queer as Folk," really supports that. The way it's written is that in every scene the stakes are really high. There's no filler, there's no establishing moments. It's all almost at full speed.

It's life. It's a filmed version of life. So, the viewers can take that statement and imagine what their life is like and if they are interested in seeing that happen between two other people, they should watch the show. I mean, that's not the only reason they should watch it, but it's definitely all there.

ET: Is there a lot of nudity in this?

GALE: You're going to have to wait and see, but you've never seen anything like it. I guarantee that. When the work that we've done hits the screen, buy a new chair because you're going to have to sit down.

ET: People talk about how difficult it is to do love scenes, especially love scenes in the nude. Having seen the British series, there are no holds barred. How comfortable was it for you?

GALE: Well, in the moments leading up to it, it's very difficult. You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don't want to let your own self-consciousness block the flow of creativity that's coming out so that you can act and react, and play what the scene is all about.

So, yeah, in the moments before the greatest concern is that self-consciousness will limit or handicap the scene. For me, the only thing that you can do is step off and go for it. And when I did, it was amazing. For those scenes, it's some of the most relaxing and fulfilling work because you really have to forget about everything other than just playing the action and the moment. That really is an amazing sort of freedom because you don't always get to do that. The stakes are not that high usually.

ET: What steps do you think television and in film have made that allowed this program to now be on television?

GALE: Yeah, there has definitely been a lot of work done, but I also think that it's just time. I mean, let's face it, it's 2000 and people are beginning to wake up on some level. I think that, as I was saying earlier, there's just no denying the impact that showing people the truth can have. It allows people to understand themselves, and when you understand yourself you can understand the people around you. And then you can begin to let go of all the bullshit that leads into things like world wars, racism, stereotypes, and bigotry.

ET: Do you think that we'll ever see something like this on network television?

GALE: Yeah, hopefully. Hopefully.

ET: Are we far away from it?

GALE: There's no way for me to know that, you know? The show could hit; it could blow everyone's mind. There could be people running through the streets screaming for joy, but that doesn't mean that the people who are in control are going to -- I just think that it's probably pretty hard to shove commercials down people's throats and sell them meaningless products once their mind has been expanded past a certain point -- once life has grown more interesting than sitting on a couch watching a television show.

Copyright © 2006 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:45 am

May, 27 2004
Where: Regent theater
614 La Brea Av. Los Angeles
Edited by: Marcy


Henry LeRoy Finch (Roy), Writer/Director; Patrick Kelly, Director of Photography; Gus Carpentor, Editor; Blake Gibbons, Actor-Raymond; Gale Harold, Actor-Kyle; Dihlon McManne, Actor-Sebastian; Martin Landau, Actor-Older Sebastian; Dusty Paik, Actor-April; Chris Anderson, Co-composer/Sound Designer; Matthew Clark, Artist in Residence, Susie Landau Finch - Producer.

Audience Question
: What was the shooting schedule like for the movie, and was any of the dialogue improvised?

(Writer/Director): The shooting schedule, what you're seeing up on the screen, was a little over two weeks. The joke is that Susie and I were talking and I said, "let's just make a movie, we'll do it in six days, we'll post it in a couple of months, and we'll be done with it, you know, and here we are three years later." But the post production took the longest period of time.

And as far as improvisation, we had a fairly loose set, so I allowed the actors to improvise and work with the script, but we ended up not using as much of the improvisation as I thought we might, we ended coming back to the original script, but I think it kept things very fresh and alive. And there are a couple of great lines that are peppered in here and there that I know are improvised, but there are no scenes that are improvised, it's all scripted.

You guys are the first audience that we've played it to that actually get that it's funny. (Audience laughs) Believe it or not, we have played this with a dead blank reaction... and you don't know what they're thinking! So thank you for being sophisticated enough to get the dark humor.

Q: What time period is the film set in?

ROY: We consciously chose not to be specific about that. Working with Eric Matheson (production designer) and Matt Clark (art director), I didn't want any cell phones or anything, so we were thinking it's sort of this nebulous American time, late 40's to late 70's, it could be any rural place in the country possibly. And good old vinyl records, no CD's.

Q: Was there a lot of film cut out for character development in post production?

(Editor): Ah, we had some good characters to work with, and they're all up here and they were all up there, so yeah, stuff went in and out but mostly it was all them, "our boys." (audience laughs)

ROY: That's it pretty much. The rehearsal process really enabled them to become brothers and work on the characters so when we got to Maine to shoot, this was all shot within that house, they really had everything formulated in terms of their interplay and who they were.

Q: This is for Mr. Gibbons and Mr. Harold. When you work on creating your characters what kind of process do you go through?

(Raymond): Well the first thing I did was I called up Dionne Warwick at the Psychic Friends Network to see if she thought I should do this with Mr. Harold, and she said 'go ahead,' so that was my first step, how about you Mr. Harold. (audience laughter)

GALE HAROLD (Kyle): Well she said that I shouldn't, but probably that was a bad voice-mail....uh, you know, so you started it so you have to finish it.

BLAKE GIBBONS: Well, you know, we hung out a lot, obviously aside from the things we did separately. I knew Dihlon before we shot the film, but I didn't know Gale so it was perfect for this kind of relationship. These brothers who were simpatico and yet estranged. And being in Maine and working in that house in this kind of "flying-by-the-seat-of-your-pants" way, we were able to bond.

DIHLON McMANNE (Sebastian): We also slept together, that helped a lot. (audience laughter)

(Producer): I want to add to that a little bit. From the casting process all the way through watching them in rehearsal and then watching it come to life in Maine as a producer was really exciting, because the kernel of each character was in each person and they just kept growing. And there are scenes, like the black and white scenes, that were rehearsed in Los Angeles, then they did improvisations on those - that was source work, then they shot them and they were structured when they were shot, so all the work that went into all those steps is visible to me. I think you guys did an amazing job with that. And I think the music compliments that. So it was a lot of source work and exploration that then got structured in a very short period of time.

GALE: Also Roy wasn't very selfish on set, like he said, it was pretty loose, and a lot of the things that happened that maybe weren't seen or were seen, by their omission, happened there, you know they didn't really happen here or in rehearsal.

And there were a lot of days that were obviously, from a time point of view, like getting the day done, you know, fucked by the first 45 minutes, but that was because we were allowed to do things that provided a platform for us to connect on, and you can't really get that in 2 weeks of rehearsal, cause what is that, like 3 days, 4 days of rehearsal with all the driving and logistics factored in? So being able to do it in the room in the place with the person and being able to improvise on that, I mean even being able to sit in a room and look at somebody for 15 minutes while they're getting to do all the takes they should be getting to do.

BLAKE:Roy created an atmosphere of total play. He gave us the opportunity to be wrong and to experiment, and it was totally ego-less and supportive. And more importantly, instead of having a pre-determined plan and having us plug-in specific emotions at specific times, he allowed the story and the characters to evolve, so as time went on we were able to really get to know each other and things would change day by day. The more me and Gale hung out and got to know each other, and I don't mean talking about the movie, I mean just hanging out, me and Dihlon, things just kind of....if it was music it would be jazz.

ROY: And then of course, really none of that's true. It was all real whiskey! (audience laughter) That's actually real whiskey they're drinking the whole time, so that was the freedom. Nothing to do with ego-lessness or anything.

DIHLON:Roy also made me sign a special contract that I would be willing to humiliate myself in this movie. Being tied up and abused by my brothers. (audience laughter)

ROY: And a lot of that also was possible due to the editing process, because we had all this footage. We shot on digital so that means we could do some very long takes, but that also means it's more work for the editor who has to actually go through it and make some sense of it. Between Chris Anderson (co-composer) and Gus Carpenter (editor) , they really had a lot to do with the shape of this film ultimately.

Q: That music, it wasn't present during the actual shooting, it was just added in post-production?

ROY: Which music are you talking about?

Q: Well it's just that throughout the movie the humor was mixed with the creepy feeling of the music, and that was a great duality. I was just wondering if any of that was present during any of the shooting.

ROY: No it wasn't. Chris Anderson has done a lot of scores. He saw this and really got it, and we came together to create something. But some of the Ramsay Midwood (original songs) stuff we were playing on the set. So the party where everybody's kind of getting naked, that was on set, that particular piece, and I think that might have been the only one.

SUSIE:Roy co-composed the score with Chris, and his musical background I think was sort of driving a sense of rhythm in rehearsal and his work with the actors. So I think the music may have been present a little bit inside Roy before it was composed - co-composed.

Q: What cameras did you use?

PATRICK KELLY (Director of Photography): We used a SONY DSR-500 WSP - Widescreen PAL. We shot in PAL, we did all the post in PAL... 25 frames.

ROY: And then what you saw tonight is actually pulled down to 24. So it's a film rate which helps it look a little less like DV.

Q: Mr. Landau, thank you very much for being here. To the other actors, did you feel a sense of importance knowing that you were working with an Academy Award-winning actor?

MARTIN LANDAU(Older Sebastian): I am honored to work with them.

GALE: Absolutely! Have you ever heard of the phrase 'scared shitless?' No?

DIHLON: Yeah, it was a bit intimidating, that fact that I was essentially playing Martin Landau, but he's incredibly gracious and brilliant-

: Actually, he played the older Sebastian, I was the young one. (audience laughter)

Q: What was the budget on the film? Are we allowed to ask that?

ROY: Well under a million.

GALE: Well under the ground.

SUSIE: We'll just call it micro-budget.

Q: What was the source of the story?

(April):Roy's sick mind!

ROY: My own sick mind! My Mother had three brothers, and they're all good hearty drinkers. So a lot of it was just imagination, and just thinking of what they might have been like when they were younger.

And the house was a very strong character - I mean we were in Bath, Maine where my mother Maggie lives, and we saw this weird, old house and I thought, "what would it cost to make that as a set?" you know like a high-budget Hollywood movie. So we got to know the person who lived in the house, and he allowed us to shoot while he was still living there, and everybody got to know Gene Rittal quite well.

Gale was also an inspiration for this piece, for Kyle. So it was pretty much tailored - I wanted to tailor something that was quite different from the other material he was working with.

Q: What exactly happened in that shed that he (Kyle) keeps remembering? And what exactly did the other brother (Ray, played by Blake Gibbons) do to send himself to jail?

ROY: Ah, questions, these are questions... (audience laughter) We're purposely leaving it ambiguous. On a second viewing you might find one or two other clues that would help answer these questions.

MARTIN LANDAU: In life there are more questions than there are answers. (audience laughter)

Q: I was wondering if you added more footage to the shack scene?

GUS: No the shack scene was actually one of the first scenes I cut, and it has remained unchanged for about three years.

ROY: Also, one of the things that Echelon was kind enough to allow us to do was we bumped up to a High Definition Master. So that gave much more detail to what Patrick actually shot and Gus actually cut together. So it's always been there but the other screenings that we've done have been more low-tech, so a lot of the detail gets missed. Actually, what we're seeing now isn't even the high resolution master, this is still a standard definition print.

SUSIE: This was slightly lighter than the film usually plays, it usually looks a little more saturated.

ROY: Yeah, it has a more richness and tone to it than what you saw tonight, we had some technical issues tonight, but you know it's the struggles of independent filmmaking, and video.

Q: What are you all working on next?

ROY: We have another piece that I've written, that Susie is producing with Martin in it called "Sleepwalking." And Gloria and Eric also are involved with that in getting the funding together, and hopefully we'll be making that by the end of the year. It's very different from this.

SUSIE: And Roy also wrote a romantic comedy, sort of moved into very opposite material, so we're looking into doing that.

My father, Martin, just came back from Poland doing a performance we saw a trailer for the other day that was incredible. Do you want to talk about that?

MARTIN: I just finished a film in Poland. A World War II piece. It's quite wonderful, I think. It's basically, an English cast. And I just got back, I was there for five plus weeks. It's a piece about a Jewish industrialist who makes a deal with Heinrich Himmler, to give him everything: his steal plant, his art, his home, if Himmler allows thirty of his family asylum to Palestine. In which Himmler is a character, Adolf Eichmann is a character, and, uh, I'm a character. (audience laughter)

Q: These upcoming films of yours, are you going to shoot them in the same style with the same equipment? Are you going to shoot on film this time?

ROY: If you're writing the checks, I'm going to 35mm. (audience laughter). I love film, we really struggled a long time to get [Wake] to this point, trying to get it as far away from DV as possible. I know other directors embrace the medium, I'm not yet one of them.

Audience Member: You sacrifice a lot of those long takes if you go to film though.

ROY: That's true.

SUSIE: We'll at least go to HD. But for "Wake" it was designed to be done on the medium we did it on, so Patrick could move the cameras around and really work with the actors in that way, in say, the party scene. But "Sleepwalking" is a different kind of cinematic experience that needs slightly larger equipment and more planning.

ROY: So all that freedom these guys were talking about, that ego-lessness, it's all out the window now! (audience laughter) ...Kidding.

: Thank you so much for coming.

ROY: ... and thank you Martin and everyone for being here.

Copyright © 2008 | All rights reserved
Edited byMarcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:48 am

May, 27 2004
Where: Regent theater
614 La Brea Av. Los Angeles
Edited by: Marcy

Question: The character of Kyle must have been fun, a real departure from your role on the hit show "Queer As Folk".

Definitely – after nine months of playing a role on a series, you learn it’s a completely different approach to character development than in a film. I’d never worked on a TV series before, and the dynamics dictate that characters can’t really change very much, particularly in an ensemble show like "Queer As Folk." It’s just one of the stylistic trappings of television: you can’t move too far or too fast. You’re sort of in suspended animation, which is entirely different from film. You can’t have every character going through an arc every week. So the opportunity to explore and immerse myself in a role like Kyle, in a character-driven film such as this is something I really welcomed.

Question: How would you describe working with writer-director Henry Leroy Finch?

It really felt like a collaboration once we started. Roy had a vision for each of the characters, but he gave us the freedom to learn along with him about the characters; I never felt constrained by limitations. He had written the character of Kyle with potential for shading, and just by virtue of the fact that Kyle is one of four brothers, you have those interactions to consider. It makes for interesting dynamics, involving concrete relationships, shared history, and shared memories – though each of them may remember things differently. In a sense, the action of the story is a falling backward – backward into the past, from the brothers’ individual, subjective points-of-view.

Question: What about your co-stars? What was the ambience like on the set with them?

We developed a camaraderie very easily; in part because none of us took ourselves too seriously. We really sort of fell into a "brotherly" rapport rather quickly – there was the name-calling, the messing with each other. You have to remember that we were shooting very fast, which enabled us to connect quickly, and which protected us from falling out of character and losing momentum.

Question: Some of the cast and crew have remarked that Roy and (producer) Susie (Landau Finch) really created that atmosphere of camaraderie and a sense of “family” on-set.

It was very much like that. They’re so…not despotic in any way (laughs). A lot of that comes from Susie, in that she’s very gracious and welcoming. She’s a very good producer, and she has a real perspective on things, having worked on studio films where they have these excessive budgets and lots of resources at their disposal – and then she’s worked on more independent things like Wake, where everyone just gives their all. So knowing that, she made it as comfortable as possible for all of us.

And then with Roy, there was none of the mania of a first-time director; he’s not the least bit ego-ridden. Sometimes a new director can be like a spoiled kid who’s been given a very expensive car to drive – which can be a dangerous proposition. Roy’s the polar opposite - a collaborative artist who’s not interested in the Hollywood claptrap.

It was very cool to watch him. He had an intriguing approach to filmmaking, which was improvisational at times, with respect to the camera work, the sound, and our performances, to an extent. He’s dedicated to this approach, but he’s not dogmatic about it. If something traditional works better, he’ll use it – it’s not technical masturbation, since there’s always a point to why he chooses a particular camera technique and so on.

Question: This film touches on some potentially dark themes. Where do you see the humour and the life in the story?

That lighter side rests squarely on the shoulders of (co-star) Blake Gibbons. He’s a true ringleader, striding out to the middle of the Big Top. He never loses sight of his character. Without him, the piece just wouldn’t have those lighter moments. And Blake played Raymond very charming, like, "I’ll die for you." It was very good for my character to have Blake’s character to work against.

Question: The relationship between those two brothers, Raymond and Kyle, is a particularly intense one in the film.

Yes, that relationship was fascinating to me. It’s sort of "meta-family": in a sense, Ray and Kyle are 98% the same person, but that two percent that is different is so very potent. So Kyle is always in a state of knowing, yet-not-really-knowing, what Raymond is up to.

And Blake was great to work with, I really felt energized. We all did, because he had such a lust for life.

Question: What was it like working with the legendary Martin Landau?

I had actually met him before, and in fact, I didn’t get to do a scene with him in this film. He is a legend, he’s on another level entirely – as an actor, but also as a presence. He also shared his stories with us as we were all hanging around on the lawn in front of the house where we were shooting. As an actor, it was just fascinating for me to experience being around someone like that. He has so many facets, he’s very considerate, so constantly aware and accessible. Martin brings with him a comprehensive lifetime of experiences and reflections. Just observing his concentration is amazing because he is such a complete person.

Question: What insights do you think Wake offers into the way families or brothers interact? How does their story unfold?

This is not your typical story – there’s not a neat beginning, middle and end. It’s much more impressionistic, more emotional than linear. It’s really a snapshot of a family, and the nature of family is the nature of dysfunction. Ray (Blake Gibbons) and Jack (played by Johnny Philbrick) in particular try, however unsuccessfully, to make the past into the present. This film is a memory play, and the brothers try to manipulate each other’s memories.

Copyright © 2008 | All rights reserved
Edited by Marcy

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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:53 am

Fay Ann Lee on East Broadway

March 2006
By: Angela Lewis
Edited by: Marcy

Film director Fay Ann Lee puts Chinese America in the spotlight with East Broadway, a film about female investment banker Grace who has a sticky time when she dabbles in high society circles, while hiding her working class Chinatown roots. After an elite party brings the debonair Andrew Barrington (Gale Harold) into her life, events get very tricky indeed. Here, Fay talks to Angela Lewis about Asians in US movies, Gale Harold’s adventures with a Chinese dialect and East Broadway being one of a select band of films granted submission to the Tribeca Festival.

So Fay, who are you?

Well, interestingly that’s the question that is asked of my character, Grace, in East Broadway. But I’m guessing you’re just asking for a little background - born in Hong Kong, raised partly in Hong Kong and partly in the U.S.New York City is definitely where I call home.

Are you quite posh? Is it true that you went to school with Donald Trump's daughter?

Posh??? (lol) No, I wish I were as posh as the Trumps but I’m not. Just a first time filmmaker struggling to finish my first film. But the Donald, Ivanka and I do have The Wharton School in common. I believe even Donald’s dad went there. I wish that connection would inspire the Donald to give me finishing funds for my film…and no, I don’t know Ivanka otherwise she would be in the movie as one of the "ladies-who-lunch" that Grace so wishes she was.

Tell us something about your acting career in the years before East Broadway. You have been on Broadway, right?

Yes, I was on Broadway in Miss Saigon. It was actually my first job right out of school so I got very lucky. After that, I did a lot of regional theatre in different parts of the country as well as shows internationally. I also guest starred on prime time shows and had two recurring but marginal roles on All My Children and One Life To Live.

Is it true that every actor in New York at some point ends up working on Law and Order SVU? When did you appear on it and what was that like?

Well, I’ve never appeared on L&O SVU, but I have guest starred on the regular Law & Order (the one with Sam Waterston) as well as L&O: Criminal Intent. I guess many many…many actors in New York have been on these L&O shows - Lots of on-air crime to cover. Both times I got to work with the stars of the show - played a lawyer in court opposite Sam Waterston and had a pretty great experience working with Vincent D’Onofrio on his show.

Is it still difficult for Asian actors to get roles on Broadway and in Hollywood? Are the roles still quite stereotyped? What about the situation for Asian directors? How have things changed do you think, in the last five years, especially in independent movies?

I think it really is still quite difficult for Asian actors. There just aren’t enough roles written for us. It’s great to see Asian characters on a huge hit show like Lost but they really are few and far between. I think the casting people I know really do make a concerted effort, but they can only do so much if roles are not being written.

The good news is there appears to be more and more Asian writers/directors. Having jumped head first into the indie world of filmmaking, I’ve gotten to befriend some of them - like my pal, Michael Kang who had his film, The Motel, at Sundance, and my friend, Georgia Lee, who also had her feature, The Red Doors at The Tribeca Film Festival last year. So, it appears that there are generous financiers out there supporting burgeoning filmmakers like myself.

What difference does it make (if any) as a Chinese person writing a film that includes Chinese characters, as opposed to a non-Chinese who is directing Chinese characters? We are used to seeing films like Rush Hour and Memoirs of a Geisha, but how can a Chinese behind the camera and/or writing the script alter what is portrayed? How often have there been opportunities for Chinese females to direct films in a reasonably large budget in the US? You seem to be in a special, pretty unique situation.

Wow, you ask some tough and thoughtful questions. Let me see if I can be articulate about this. My initial answer to your first question would be that as a Chinese person, I know in my gut what a Chinese character would do in a scene vs. what a non-Asian director might think a Chinese character would do. For eg., there is a scene in my film where my editor (I should say my wonderful editor, Michelle Botticelli, because she’s been amazing) and I would have a completely different take on a scene. She wanted to see Grace be more loving to her father, but I was quite insistent that Grace would never be that openly affectionate because both father/daughter would be embarrassed by that gesture. Many things are unspoken in a Chinese family. Having said that, I do believe that a great director can help him/herself get to that place of authenticity. Look at Ang Lee and BrokebackMountain. He’s an incredible director, but it takes a lot of work, research and experience to get there. I know it’s difficult because I ended up having a much tougher time figuring out my non-Asian characters.

I am very lucky to have been able to write, produce and then direct my film. It’s certainly not a huge budget film at all. It is definitely a low budget indie romantic comedy, but nonetheless, I’m lucky it got from page to screen . The only Chinese female director I know that has helmed a big budget film is Joan Chen (Autumn in NY w/Richard Gere and Winona Ryder). But the good news is, there are definite up and coming female Asian directors like Alice Wu (who did an amazing job in Saving Face), and Georgia Lee (Red Doors) and hopefully, East Broadway will afford me more opportunities.

Moving on to the film, it seems that East Broadway has been a long time in gestation! Briefly tell us something about the background to its evolution. What is it about? Who is the other writer, Karen Rousso? And was it always a romantic comedy, or previously something harder-edged?

I finished a first draft of this script 7 years ago. So yes, it has been a long time coming. EB is about a woman from Chinatown who is not comfortable in her own skin and wants badly to be part of the elite Upper East Side socialite world. At a fancy party, she gets mistaken as a Hong Kong heiress and decides to play along. She meets and falls in love with one of the most eligible bachelors (Gale Harold) in NYC which complicates both his and her lives. Karen Rousso is a friend of mine who during a period of early re-writes stepped in and offered some great ideas and eventually co-wrote a few scenes with me. She was also the person who came up with the name "Social Grace" which also seemed like a great title at one point, but because I’ve done substantial rewriting which re-focused the story back to Grace’s Chinatown family, I thought going back to its original title, "East Broadway" was ultimately more appropriate.

Where exactly is East Broadway, and what does this area represent in your mind?

East Broadway is one of the biggest streets in New York Chinatown. Canal Street is the famous tourist street that everyone has heard of but I view East Broadway as the street that represents the pulse of authentic local Chinatown.

Last summer we heard that there were some re-shoots of East Broadway, which was the first time we knew that BD Wong was not involved anymore. What happened?

Well, B.D.’s vision of the film was ultimately different from the vision of the producing team. As you know, this can happen in any creative process. There is no right or wrong in art. It was just a matter of artistic difference. That’s really all it is.

And you ended up directing the film? What was the reason behind that?

Because I was the original writer of East Broadway who was also responsible for much of the rewrites, the producers asked me to direct the film as well. As an indie film, we had barely enough money to finish and realistically could not have been able to afford to hire anyone. Frankly, I think it was out of necessity that my producers asked me to direct.

How challenging was it being both the director and one of the main actors?

It was definitely challenging especially since I was constantly editing, writing and shooting. But I did two things that really helped me out as a director/actor. The most important thing I did was that I workshopped more than half the movie on digital camera first - meaning I actually shot many scenes on my cheap little mini-d.v. camera with my friends (some actual cast members, some stand-ins) before shooting the scenes on film. I had my editor cut the d.v. footage into the movie to make sure that I was going in the right direction. This is why it took me so long to complete this film. Some scenes I shot 3 or 4 times before I was satisfied. I did not want to spend my investors money and shoot on 35mm until I was certain I knew what I was doing. The other thing I did was when I actually did get to shoot on film, I hired my acting coach, Brad Calcaterra, to be on set with me for some of the re-shoots to keep a keen eye on my acting. It made me feel more secure.

Margaret Cho who plays Grace's pal is well known already, Ken Leung, the guy who is Grace's brother is in X-Men 3 and Gale Harold is in three new television shows this year. You must feel pretty fortunate with your cast.

Definitely. Very lucky indeed. I wrote the part of "Ming" for Ken Leung and I am very grateful that he accepted it. Ken is one of the actors who ended up workshopping all of our scenes on digital with me. So, yes, I feel incredibly grateful. I think he should be a huge star! And there is no doubt in my mind that Gale will be a household name very soon.

What were you looking for in a leading man - the person who is the Andrew Barrington figure? And does Gale deliver the goods?

I imagined Andrew as someone who was intelligent, worldly, slightly aloof and even uncomfortable with his privileged background, but deep down a really good person. I would say that Gale brought out all those qualities in the film, so yes, he definitely delivered the goods and more. Gale brings a certain intensity to the character that gives Andrew depth. He’s very interesting to watch because he’s not predictable at all.

Can Gale really speak any Cantonese, as he tries in this film?

Gale was such a trooper when it came to speaking Cantonese. I think he really enjoyed his "Chinese" scenes. And he speaks it with the most perfect "guiloh" accent. Very charming and funny. The audience loves it.

This film portrays a mixed race relationship. How do Chinese people feel nowadays about mixed-race relationships on screen?

I have to say I wasn’t sure if I was going to offend Asian people with Grace ending up with Andrew in the film. But having been to China earlier this year to Tsing Hua University where I screened a rough cut of the film to Communist Chinese students, I was relieved to know that they were not only accepting of a mixed race relationship, but welcomed it.

Is there much concern among American Chinese about loss of identity, their place in a multicultural society, etc?

I think there is always some concern about the loss of one’s ethnic identity. In the United States where White Americans still unquestionably dominate in almost every field, if one wanted to really fit in and rise in society, one must assimilate to the culture of the dominant. But what’s great about America is that if you work hard enough, and are ambitious enough, and happen also to be lucky, you get the feeling that anything can happen. That American dream really can come true. That, I do believe in.

Going back to Gale, did you know he had a big fan base due to QAF when he was cast?

I must admit that I didn’t really know who Gale was during casting. Of course I knew of Queer As Folk but I didn’t subscribe to Showtime at the time and so I had never seen the program. But Billy Hopkins had Gale on the list for Andrew as someone to pay attention to. When he first walked in the room in our first meeting, he had a full beard because he was working on a movie that required it, and I had no idea that "Gale Harold" had just walked in since he looked nothing like the headshot I had seen. But his energy was different than anyone I saw that day or that entire week. He completely stood out and I can’t even explain why. He has "IT."

What was he like to work with? He seems incredibly quiet, private, sensitive and a little bit intellectual. And did I mention gorgeous?

Gale was great to work with and cares very much about his work. He is all those things you mentioned. I think our work relationship was not your typical director/actor relationship because I was also his co-star. Because of that, I involved him in lots of the re-write. He really represented the character for me and his input was invaluable. He is definitely a very private person but he is also very candid and honest which made my experience fun and challenging at the same time.

When can we see the trailer?

Very soon we’ll have something on our website It's currently under construction.

How hard is it to get a film into Tribeca? And what can people expect of the festival experience?

I am guessing it is pretty hard to get in. There were over 4,000 films submitted this year, so yes, I am incredibly lucky. I think Tribeca is a great festival because it's kind of low-key but highly respected. I was at my friend’s screening last year and it was really fun and exciting to see his movie debut there, and to see him get on stage and talk about the film.

How crucial are all these festivals in the process of getting East Broadway picked up by a distributor? What is the likelihood that East Broadway will be shown on screens in different cities?

Tribeca is certainly the first door opener in terms of getting East Broadway in the consciousness of distributors. I have a feeling that getting a distributor will be more difficult than getting the film made and that was pretty damn hard, so I know what my full time job is for the next year. I think East Broadway will be a film that ultimately is a word-of-mouth film.

When can people buy tickets and will they have an opportunity to talk to you in person at the festival?

Please go to for screening times and ticket information. I will definitely be at the screenings to talk to anyone who is interested.

Copyright © 2006 | All rights reserved
Edited by Marcy

Last edited by Ally on Sat Nov 06, 2010 12:01 pm; edited 1 time in total

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Re: Interviews

Post by Ally on Sat Nov 06, 2010 11:59 am

Vanished: Star disappears into G man role

September, 10 2006
By: Amy Amatangelo
Edited by: Marcy

As the star of the new Fox drama “Vanished” (tomorrow at 9 p.m. on WFXT, Ch. 25), Gale Harold swears a lot less and wears a lot more clothes.

For five years, Harold was the sexy stud on Showtime’s “Queer as Folk.” Now as straight-laced FBI agent Graham Kelton, he must worry about not only his character but also advancing the show’s intricate plot.

“The more challenging parts of it are the procedural aspects of the show,” he said during a recent phone interview. “So I was scared of it at first and a little overwhelmed by it. But now that I’m in it, it’s really fun to try and keep those two things happening at the same time.”

Harold was approached for the role after he had a guest stint on “The Unit” last season and worked with executive producer Paul Redford.

“What was interesting to me about it as an actor was the new experience and challenge of playing someone who has such a basically conservative ideology, really a law-and-order person. He very much believes in this country with sort of an unshakable faith. That’s kind of how I approached it. At the same time, he’s sort of slowly being isolated from the people he should be able to rely on. There’s just a lot of inherent conflict in that and places to go.”

To prepare for the role, the Georgia native met with some of his character’s real-life counterparts.

“I’ve developed a newfound respect for the work that they do and the challenges and the stresses that come along with it. Understanding more clearly what it is - I think that was the most informative, enlightening and interesting experience so far with this work. It probably helped me mature a little bit as a member of society.”

He’s also prepared for viewers who may pester him for information about what’s coming up.

I know quite a lot, but I don’t know everything there is. I’m not going to tell anybody anything,” he said with a laugh. “I’m prepared for that for the rest of my life.”

Since the interview, rumors have circulated that Harold’s character may meet an early demise. Even if that turns about to be true, Harold has clearly enjoyed his time so far.

It’s the right project at the right time with the right people,” he said.

Copyright © 2006 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 12:05 pm

Stage to screens: A Chat with Gale Harold

October, 22 2006
By: Michael Buckley
Edited by: Marcy

This month we chat with Gale Harold, currently starring as Dr. Cukrowicz, opposite Blythe Danner and Carla Gugino, in Tennessee Williams' Suddenly Last Summer at the Roundabout's Laura Pels Theatre, where it officially premieres Nov. 15.Gale Harold, the Atlanta-born actor who grew up in Decatur, GA, gained fame as Brian Kinney in the Showtime series "Queer as Folk" (2000-05), appeared as Wyatt Earp in two episodes of HBO's "Deadwood" and played FBI Agent Graham Kelton for the first seven episodes of the FOX series "Vanished."

When asked whether "Queer as Folk" — the sometimes controversial series that concerned a group of gay and lesbian friends and the challenges they faced — was a good experience, the somewhat interview-wary Harold says, "It was full of different experiences. Working with the cast and the directors and pushing myself to places I didn't expect to be in was very positive and difficult and frightening. I'm very grateful that I had the experience to do it. It opened some doors to me. Overall, it was very positive."

“Playing Wyatt Earp in "Deadwood,"” claims Harold, "was fantastic! Working with David Milch [creator and head writer] and the actors and everybody on that show was really invigorating. I don't know what the best descriptive word would be. I loved it! I didn't want to leave."

A few weeks ago, his character on "Vanished" was killed, or at least seemed to be. "He's been shot. Three times in the chest with a nine-millimeter pistol. So we're going to have to assume that his chances are slim." [Laughs.] Then, he's definitely off the show? "I'm definitely doing the play," says Harold. So, the character is not slated to recover. "That's a question mark that could always be changed to a period or an ellipsis."

"My interests are not really with television, per se," he explains. "I was very fortunate, as a starving actor, to get a great job that offered me a lot of opportunity. But because of the way that television works and because of the way that it's exploited by the people who create it, all of a sudden you go from a point where you say, 'This is something I'm proud of,' or 'I'd rather not talk about this' to having everything you ever did out there."

Harold admits, "I'm very happy to be out of L.A. for awhile, even happier to be in New York and working on something that I really feel so excited about and connected to. I think I have some sort of affinity to [Williams'] work because I was raised in the South. And I was raised in similar conditions to some of the things that [Williams] writes about.”

"To be here, working on the play, and with Blythe Danner and Carla Gugino and [director] Mark Brokaw and for the Roundabout — those are the things I want to focus on. I'm really striving to continue having the opportunity to work here. That's what it's about for me right now."

Previously in New York, he appeared with George Morfogen in the 2000 Off Broadway play Uncle Bob. Harold rattles off names of plays in which he's appeared outside of New York: "Long Day's Journey, 'Tis a Pity She's a Whore, Cymbeline, The Misanthrope, Me and My Friend… It's somewhat scattered over the past ten years because I was on a series for five years."

Does he have a lock on his current role? "Not completely. It's an interesting play. Sort of a memory play, but at the same time a psychological examination that seems to go back and forth across the lines between characters and archetypal representation in such an explicit fashion. I'm not exactly sure what is going on. The doctor is definitely a functionary, a conduit between the battling forces of Mrs. Venable [Danner] and Miss Catherine [Gugino].”

"At this point, the other characters are much clearer to me than mine. It fits the action of the nature of the play. The doctor doesn't understand the situation because he doesn't have all the information. He's learning as the audience learns; he's sort of the eyes of the piece."

Did Harold research the role? "Yeah, I did. I researched the history of [lobotomy] and how it made its way from Europe to the U.S., and the background of the patients who were most commonly candidates for it. It seems to be — if not strictly autobiographical — definitely inspired by [Williams'] experience with his sister [who had a lobotomy] and his experience with analysis. The doctor's interesting because he's both a therapist and a surgeon."

Montgomery Clift played Dr. Cukrowicz in the 1959 film, which also starred Katharine Hepburn and Elizabeth Taylor. Harold's seen "parts of the film, a long time ago, but I did not go back and look at it again because so much is extrapolated from the play. I wanted to lock myself into the situations that we're working with. I do like to see other actors' performances of roles I might be interested in, or might have the opportunity to do. But that adaptation [the screenplay's credited to Gore Vidal and Williams] had a lot that was not in the play."

Originally a one-act play, Suddenly runs 90 minutes without intermission at the Laura Pels. It's Harold's first time working with his co stars and the director. "It's a very, very enriching experience — the work I'm being exposed to is incredibly good." His previous Williams encounters includes portraying Chance in “Sweet Bird of Youth” ("That was more of a workshop, in repertory with a class") and he's "worked on Brick" (Cat on a Hot Tin Roof). "I'm familiar with most of the plays. This is the first time I've taken such a close look at this one."

Harold confesses, "I’m a bad interview because I want to always feel like I'm being totally honest, but at the same time I'm absolutely paranoid. That combination results in a lot of spaces.” [Laughs] “I want to work on things that really mean a lot to me. This has been one of the best falls [the season] in my life for a long time."

Copyright © 2007 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 12:07 pm

Desperate housewives German interview

Year 2008
Source: ProSieben
Transcript by: Francesca
Edited by: Marcy

Question: Ok, so Gale it’s so fun that you now are on the show, that’s fantastic. We saw you really briefly… in Germany we’re still at the fourth season so we don’t know about you yet but we can still talk about it.


Question: What was your first reaction when they told you “hey you’re gonna be in the fifth season and you’re gonna make out with Susan!

Gale: Uhm.. hooray! *laugh* I mean, that’s great…

Question: So tell me, when on your first day you were here in the studio, like I know every journalist who walks down, everyone that works here, goes “Oh my God it really it’s real, all the houses are really there..” what was your reaction?

Gale:My first day was very late at night, that I worked, that we began our long session of making out and.. I don’t know it’s an historic set, I’d say even the show… it’s a great set, you know…

Question: So did Marc told you what really happened between Mike and Susan? Do you know what…


Question: You don’t know?

Gale:I don’t know.

Question: Did you ask?

Gale: No.

Question: So how is it on the set because Marc has so many secrets and he only reveals what’s necessary for that part. Do you guys talk about it?

Gale: Well you know, you speculate when you’re bored, you’re waiting for something else to happen. I think that it’s also fun not to know, you know. Keeps you engaged and wondering and… so I think that it’s fine for me, I kinda would rather not know, you know, what’s coming.

Question: So today you are in a short robe…

Gale:I am

Question: That’s basically..

Gale: …not right this moment, but yes.

Question:How comfortable is that now when you.. like..

Gale:Well it’s not very comfortable ‘cause it’s very hot today and that robe it’s terrycloth, so it’s somewhat… somewhat uncomfortable but, you know, it’s.. it’s.. that’s work you know?

Question: So how is it working with Teri Hatcher?

Gale: It’s great, it’s very good. She’s a very generous actor, and very fluid and very accessible so it’s been wonderful working with her.

Question:Then of course the question is now, in DH the women kinda swap the men once in a while so it might there be someone else there for you.. something…

Gale: I don’t know, I haven’t heard about that.

Question: Ok. Thank you so much

Gale:You’re welcome. Thanks.

Copyright © 2009 | All rights reserved
Transcript by Francesca edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 12:10 pm

Face to face with Gale Harold

July, 18 2008
By: Greg Hernandez
Edited by: Marcy

We all know Gale Harold as sexy and slutty Brian Kinney from the much-beloved "Queer as Folk" series. Of that amazing cast, he has found the most work on television including the lead in the short-lived Fox series "Vanished," a role on HBO's "Deadwood," and a stunning two-part guest spot on "Grey's Anatomy" as a paramedic who is a closet white supremicist. Now he has landed a role as a regular on "Desperate Housewives" which begins its fifth season this fall with the show jumping ahead five years.
Here is part of our conversation last night at the ABC party which was the culmination of the network's day on the Television Critics Association Press Tour.

Question: That is a very dramatic opening scene you had on the season finale of "Desperate Housewives." It was such a shock because Susan (Teri Hatcher) came home to you and not to Mike (James Denton). How have things been going so far?
Answer: I've worked about four days and it's been very nice, a very easy transition to go from being a complete stranger to all these people to just going to work and doing the work. (Teri) has a very ready grasp of what she needs to bring to the scene, she's a very fluid actress and it's been great to work with her."

Question: Do you feel like you've finally left Brian behind?
Answer: Brian behind? Is that a joke?

Question: it was such a great role. And you're doing such different stuff now and I'm starting to look at you in a different way.
Answer: I'm glad that you say that. That's kind of a baseline obstacle for an actor who comes from a place of obsurity then gets a big job and then they get associated with whatever that big job is. And when the job is really somewhat extreme then you worry. Everyone decides to get freaked out about typecasting at some point in their lives. But I really wasn't.... If I was never anything other than what I did on that show then maybe I would be typecast but I think I have the ability to consider the world at large and approach it."

At this point, some other "journalist" crashes our little chat and remarks that Brian Kinney "could have been straight or gay." I love Gale's response: "No, I think he could never have been straight. I mean, the guy was absolutely homosexual. It was part of what was interesting about playing him. He was what he was. He was, essentially, an absolutely-realized gay man living with no boundaries."

This same "journalist" who doesn'rt even let people finish their answers then asks Gale about his "Desperate Housewives" character which he has already covered. So, he jokes: "He's a self-possessed gay man, out and proud."

I wrestle control of the interview back and ask him about his fellow "Queer as Folk" castmates. Are they in touch?

"By the way, congratulations to Sharon Gless who was nominated for an Emmy today. That should be the lead, don't bury it, please. I had lunch with Scott Lowell (last) Saturday and I emailed Peter Paige this afternoon. Randy (Harrison) was in Paris and we talked a day after he got back about three weeks ago."

I wrap up my part of the interview when the other "journalist" starts asking questions like "Are you a nightlife guy?" "Are you an outdoors guy?"

I didn't stick around long enough to hear the answers to those STELLAR questions...

Copyright © 2008 | All rights reserved
Edited byMarcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 12:12 pm

Gale Harold's dream role would take him from Wisteria Lane to... Christmas Town?

December, 2 2008
By: Christie Keith
Edited by: Marcy

When it comes to his favorite roles, does Gale Harold prefer Liberty Avenue or Wisteria Lane? Neither, he told It turns out he's more of a ChristmasTown kind of guy.

We talked to Gale after he joined the cast of Desperate Housewives earlier this year. But when a serious motorcycle accident put him in the hospital with a brain injury and fractured shoulder in October, we put the piece on hold until we knew if he'd be all right, and whether or not he'd be able to return to the series.

Because editor Michael Jensen made the mistake of letting our readers know we'd done the interview, he started getting a steady stream of emails from Gale's fans wondering if and when it would see the light of day. We're still holding back on the Desperate Housewives parts – and some QAF comments, too – for a future article, but that's not all Gale talked about. And since a lot of what he did say was downright Christmas-y, we decided to take advantage of the holidays and share it with you.

Find out what role Gale would love to find in his stocking, after the jump!

Harold began his television career playing uber-gay bad boy Brian Kinney, acted in a number of small independent films, did a little Tennessee Williams on stage, and starred in the short-lived Fox crime drama Vanished before joining the cast of Desperate Housewives as Susan's (Teri Hatcher) artist boyfriend, Jackson Braddock. But what role would he most like to play that he hasn't yet?

"Sam, the Burl Ives role in Rudolph the Red-nosed Reindeer," he said firmly. "What Burl Ives brought to the studio when he was doing those voices… I mean, you think Brian Kinney had an impact? For anyone who grew up in the United States around the same time I was growing up, you’d know that voice, have seen the Christmas special with the stop motion animation. It's an iconic role. That's what I'm interested in."

He paused, and laughed. "Or the ice ape, the ice monster. The Abominable Snow Monster. Or… what was his name, Timmy?"

Did he mean Hermie, the elf who wanted to be a dentist? No, he said; he meant one of the toys on the Isle of Misfit Toys. ('s crack fact check team has concluded, perhaps wrongly, that Gale was referring to Charley-in-a-box.)

"It's only a few months until Christmas," Gale said. "Go with this. Make it the lead. Don't bury it."

Then he named a few backup careers if acting was off the table. "Real estate appraiser," he said. "Musician. The guy that runs the computer that makes the robots do their thing." He added sadly, "But you can’t get that job."

Unfortunately for Gale, it doesn't look like anyone's contemplating a re-make of Rudolph. On the bright side, he's finally out of the hospital. We checked in with his publicist, Nancy Seltzer, to see how he's doing and if he'll be back at work on Desperate Housewives in the near future. "Gale's doing really well," she said, but added, "As for when he will start shooting again, I'm afraid we don't know yet."

His fans hope he'll return to Wisteria Lane soon, but as a diehard Rudolph fan, I'm holding out for ChristmasTown.

Copyright © 2008 | All rights reserved
Tradotta da Sunshine e redatta da Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Sat Nov 06, 2010 12:37 pm

Gale Harold's First Post-Accident Interview

April, 15 2009
By: William Keck
Edited by: Marcy

DoAfter a near-fatal motorcycle accident sidelined Gale Harold last October, the actor finally returns to Desperate Housewives as Susan’s long-absent painter boy lover, Jackson, on May 3. “It’s taken him such a long time to get back to being almost normal,” says co-star Neal McDonough, who worked with Gale on his first day back on set. “And there are still many problems that he goes through.” Gale—whom Neal says “looks like a million”—has only one real complaint: he hasn’t been able to get back on the same Ducati motorcycle he had completely restored since the devastating crash. The actor talks to William Keck about his road to recovery and Wisteria Lane:

What happened the night of your accident?

It’s just something that happens when you take the risk of getting on a machine like that. As fantastic and exciting as it can be, after you’ve been safe for a number of years, you tend to become a little overly confidant. You can’t predict all the surprises out there.

Any scars?
Yeah, there was some repair work that was done to the front end of my bike that really makes me cry inside.

I was talking about scars on your body.
Obviously I was hurt. But you get better.

Who did you hear from after the accident?
I was supposed to be at work the next day, so Teri was checking in with my managers and my agents every other day. We had a really good thing going with these characters. It’s not every day you start a new job and immediately hit it off with the person you’re working with.

Did you watch the show after your accident?
I didn’t because I was a little worried about seeing something about my death delivered by letter—Jackson drowned in his cereal yesterday morning.

But didn’t they tell you that Jackson would eventually be coming back?
Yeah, I just didn’t want to get surprised by something they might not have been comfortable telling me. I was fortunate that they wanted me back. I wanted the executive producer to meet my doctors so he’d know I’d be a real person again. And when I came back, I wanted it to be in the same frame of mind as Jackson—not exactly sure how open the door is to Susan.

We heard your voice a few months ago in a phone call to Susan. What was your physical condition then?
I was probably almost there. It’s hard to say. With these kinds of injuries you recover at various rates. I had a very rapid recovery. I really feel back.

Why is Jackson returning to Wisteria Lane?
He’s back to try to rekindle their connection—whatever is left of it. He has a very important question for Susan.

What has Jackson been doing all this time?
He was pursuing his dream of working in a school as an art teacher. He’s been away, but realizes he needs Susan and needs to talk to her about things.

Word is when Jackson returns he will have to contend with Dave, who has his own intentions for Susan. Should we be worried about Jackson’s future?

Anytime you’ve got somebody like Dave Williams walking up and down the street, you’ve got to be worried about everybody. There are a number of bad scenarios that could take place. I have a scene with Dave and Orson where I’m thanking Dave for saving my butt from burning to death in the fire. But then Jackson realizes, “Wait a minute. You didn’t really save my ass, did you?” So it’s sets up the question of whether Jackson will realize that Dave actually locked him in the bathroom. It still remains to be seen whether Jackson will be around for the season finale.

Neal McDonough used to ride a motorcycle, but sold his Harley the day his wife learned she was pregnant, and hasn’t been back on since. Will you ride again?

I’m going to be back on board. I’m dying to ride again and am feeling very impatient. I’m giving myself a certain amount of time to know I feel good and safe.

Copyright © 2009 | All rights reserved
Edited byMarcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Tue Nov 09, 2010 1:21 pm

Gale Harold Back on The Set of ‘Desperate Housewives’: Talks Recovery & Popping a Question

April, 16 2009
By: Ann Murray-Yavar
Edited by: Marcy

Will someone pop the question on ‘Desperate Housewives’ this season?

Last week, series creator Marc Cherry touched upon Jackson Braddock (Gale Harold) having a “very important question for Susan — one that she’s kind of stunned by,” later this season. Now Harold has given us another juicy detail himself.

Gale Harold returns to DH after a painful recovery from a motorcycle accident last October. We sat down with the actor on the infamous Wisteria Lane set in Los Angeles yesterday. He talked to us about what got him through his difficult recovery after the six long months spent at the hospital, but also clued us in on what his character will be up to with Susan (Teri Hatcher), when he returns to the show May 3.

Well he comes back to talk to Susan about something fairly substantial,” he said to us. “He wants to know if she’d be interested in being a part of his life at an entirely different level in a more complicated way.”

Could this be the big “W” question? And most importantly (especially keeping in mind that both were pretty gun shy about the relationship) what will her answer be? Read on for more details.

Tell me about what your recovery was like. How did you get through it?
It was a little nerve wracking but all in all it was great. It was very rapid and very complete. And it was inspiring.

Why inspiring?

Well it showed me that I have a lot of very good people in my life and that I’m strong enough to make it back. They’re very simple answers but it’s important to be able to appreciate those things.

What do you think it was that got you through the whole process?
I think there are several people that were important in that. My family and other people that are very close to me that I will keep in my own private reserves. But it was definitely the people around me and the fact that I was in fairly decent condition before and I received good treatment.

Were you worried about whether or not you would be coming back?

I think that you go through a process of worrying about everything when you have an interruption in your life like that. My most important concern was getting better.

Are you still doing any type of physical therapy?

No, I’m back.

Was there any kind of welcome back party from the cast?

No, I got everything that I wanted which was just to be welcomed back by people that I really like and have a good relationship with. That was good enough.

What will we be treated to in the episode where you’re back?
It will consist of that blue Land Cruiser right there coming down the street [points to Jackson's car on the set]. And Jackson stops in front of the house and he sees Susan in the driveway getting in her car. And they have a conversation and he invites her to dinner. I think it will be more why would this guy just show up like this without calling to let me know that he’s around? But it’s heartwarming because there’s an immediate response between them. I think she’s happy to see him and he’s happy to see her. And they kind of play that.

So there is hope for Jackson and Susan?
I think there’s hope for them continuing where they were at and expanding on where they’ve been. I’m not sure if it will be the same, slightly different, or something else all together new.

Watch as Harold comes back to ‘Housewives’ May 3 on ABC.

Copyright © 2009 | All rights reserved
Edited byMarcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Tue Nov 09, 2010 1:31 pm

Access Hollywood

April, 16th 2009

Transcript by: hansardgal
Edited by: Marcy
Download interview
: Click

Question: You probably thought 'I'll never be asked back to that show.'
Gale: Um, I think in that guiltily 17-year-old reaction, yeah, you know, the last thing you want to do is cause a big delay at work, right? It was kind of that professional, um, sort of – what's the good term there, paranoia, professional paranoia, like, don't shut the game down when you're about to go on. Yeah, I, I, I just assumed that they would be moving on and solving that storyline however they needed to.

Question: Honestly, though, one of the main things on your mind was, 'Am I going to survive this?' What exactly happened?
Gale: Um, well, I mean, I had an accident, um, and, ah, I was very fortunate that I was able to handle it and I recovered very quickly. So any time you are in that situation on something that moves like that you can get into a problematic situation but that's, fortunately for me, not what happened. It was a combination of experience and some skill and good fortune. I had friends with me.

Question: Injury-wise, what happened to you, because I know there was a lot of reports that you were near death and you were in serious...
Gale: Well, yeah, I did die and then I came back to life and then I died again just as I was about to come back to work so I had to come back to life. And now life seems to be sticking, like, I haven't died again since the last time. So if I can make it to two that means I get one more, right?

Question: Don't you get nine?
Gale: No.

Question: You don't?
Gale: Strictly non-feline.

Question: But you were in bad shape.
Gale: I was in fairly uncomfortable shape, yeah.

Question: What can you tell us about what's going on with Jackson and Susan?
Gale: Jackson has come back into Susan's life because he has something that he would really like to speak to her about – a very important question – and I think he realised after being away from her that he really needed her. He needed her in his life and so he has come back to ask her a fairly important question and he rolls back into town.

Question: That question would be?
Gale: Would you marry me? Not you!"

Copyright © 2009 | All rights reserved
Transcript by hansardgal edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Tue Nov 09, 2010 1:34 pm

'Housewives' Hunk Returns After Crash - MSN TV News

April, 16th 2009

Transcript by: Minanda
Source: MSN NEWS
Edited by: Marcy
Download interview:

Gale: He comes back into Susan’s life. He just rolls up in his jeep and he just wants to say hello. He kind of surprises her but she doesn’t know that he is coming. He hasn’t called to let her know and so he basically drives up to her house and asks her out to dinner and that begins their sort of reunion. He brings up some other, some other ideas that he has that could potentially have very significant affect on her life but that remains with her as to whether or not she’ll respond in a way that would allow that to happen.

Interviewer: It has been since January since you were last on the show. Will it have resolved itself in the same way that it would have if you had not been absent?
Gale: I don’t think it’s necessarily direct repetition or I don’t think they were able to take the initial idea and extend it over time and use the same sort of resolution they would have. I don’t know that for sure but I would imagine that because of the time that has passed and the number of characters on the show that they probably needed some reconstruction. It seems very, very, very different to me in terms of the details; details are different. In other words, his character was to have gone away and been offered a job as an instructor, as a tenured professor at a school. That’s what we talked about. And then now that is not so much to the forefront. There’s another development that’s in the works.

Interviewer: Do you have any sort of residual effects from your accident? Is everything back to normal?
Gale: No, I don’t. I’ve had a very fortunate opportunity to recover from something that could have been problematic but I’ve come back 100%.

Interviewer: Do you remember the accident? What do you remember?
Gale: I remember being aware that I may do something unpleasant to one of my meaningful motorcycles and trying to prevent that from happening but it didn’t.

Interviewer: You’re mostly concerned about the motorcycle?
Gale: Always. No, no. You know you never want something that you love to get, to be hurt. I didn’t want it to hit the road, you know.

Interviewer: And are you riding again?
Gale: Not yet, no.

Interviewer: But you intend to?
Gale: I do. I do.

Interviewer: Have you talked to other people who have had accidents about getting back on? Are you nervous about it? Are you spooked?
Gale: No, I’m not. I’m not. I’m excited. I can’t wait, to be honest. I can’t wait. I’m just taking..I’m just taking sort of maximum time to make sure that the timeframe given by my doctors has reached its fulfillment and then I’ll get back into it.

Interviewer: And will we see you again in season six?
Gale: I don’t know. I’ve heard that it’s possible but I can’t give you a definite answer. It could be aliens. It could be spies. I’m not sure. I mean, I would love to but I don’t know

Copyright © 2009 | All rights reserved
Transcript by Minanda edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Tue Nov 09, 2010 1:43 pm "Start now" Desperate housewives: Gale Harold returns!

Aprile, 16th 2009

Transcript by: minanda
Source: ABC.COM
Edited by: Marcy
Download interview
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Interviewer: Hey guys, I’m Blake Peyrot and we’re on the set of Desperate Housewives in front of Susan Meyer’s house right on Wisteria Lane and I’m going to head inside and talk to Gale Harold who plays Jackson on the show and talk to him about his return to the show. C’mon, let’s go.

Interviewer: What has happened to you? Can you let us know what has happened to you, personally, what happened to you that kept you from being on the show?
Gale: Uh, I had a motorcycle accident and I, um, have been recovering from that and now I’m recovered and, uh, I was fortunate enough to be working for a show and a job that was interested in having me back. So, I’m very grateful to Marc and everyone here for bringing me back to work.

Interviewer: Can you let us know just where we left off with Jackson?
Gale: Well, they were progressing in their relationship toward a point to where they might be getting closer, more serious and then he left and took a job out of town. Maybe he didn’t, maybe he did. He wanted to be closer to her. She wanted to be closer to him but they kept stepping on each other’s toes and it wasn’t really working out. It was that classic get it wrong at the right time, get it right at the wrong time and so when he left, there was no real resolution. So I think he comes back now, realizing that he really needs Susan in his life in a way that she wasn’t. So he comes back to ask her to consider, be willing to do that.

Interviewer: And what’s it like being back on the set?
Gale: It’s been great. I see lots of familiar faces, a lot of friendly faces, a lot of smiles and you know being welcomed back has been very nice.

Interviewer: I bet Teri is very excited that her storyline will come back into the center because it took a little bit of a side step when you..
Gale: And I owe her a lot and I’m sorry for taking a break but I’m back now and as much as I can do to help, I will so..

Interviewer: There you go. Do you want to say anything to your fans cause like I said you have such huge fans on and they have been so supportive? They have been asking about Desperate Housewives series. They have been asking about you and the message boards have been crazy. Is there anything you want to say to them?
Gale: Um, I would just say thank you very much for your concern, your interest and don’t stop now because I’m back.

Interviewer: Perfect. Thank you.
Gale: Thank you.

Copyright © 2009 | All rights reserved
Transcript by Minanda edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Post by Ally on Tue Nov 09, 2010 1:45 pm

Campus Moviefest

June 12th, 2009
Transcript By: Francesca
Edited by: Marcy
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Q: What is it that attracted you to something like Campus MovieFest that promotes student filming, Gale?

Gale: Film making. Supporting people who are trying to bring it to life.

( The sound, here, wasn’t so good…so a few words might be not accurate )

Gale: You’re all film students, or becoming film students or maybe not being film students or whatever but I think we just wanted to have a chance to say that if you really wanna fucking do something, don’t give up and come up with something that you’re proud of and that means something beyond whatever this is about, right? That’s what matters, ‘cause it’s here, right? That’s kind of, that’s what I wanted to say… maybe it sounds… …

Stephen Kijack:That sounds good, yeah!

Gale nods and smiles


Gale: Good evening. Uh, I’m very happy to be here and it is my pleasure this evening to present the Golden Trypod Award for cinematography, uh… I guess we’ll get right to it and take a look at the nominees…


Gale: Rely on your heart and your dreams and……

Stephen Kijack: And your rich relatives!

Gale: And your rich relatives, and as many times as people tell you that you’re out of your mind or that it doesn’t quite make sense, or that it’s not violent enough or sexy enough, your dreams are really the point, right? So, and you know, you know what you believe, and stick with it. Yeah.

Copyright © 2009 | All rights reserved
Transcript by Francesca edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Tue Nov 09, 2010 1:50 pm

Gale Harold's radio interview with KPCC's Alex Cohen

January 14th 2010
By: Alex Cohen
Credits: Url-girl
Edited by: Marcy

Gale: He's a bit of a hustler -- in the best and the worst sense of the word -- and he's trying to, um, change. He gets waylaid in this town and, uh, he meets this woman, uh, lady, who owns this mercantile store, Lady Torrance. And they have some things in common that they discover during the play, when they find out that, uh, they kinda come from the same place, spiritually, I think, emotionally.

KPCC: Right now when you said he's trying to change, you winced a little bit when you said that. Do you know what that's about in that character?

GALE: I'm thinking about him, uh, me and him. He says to Lady this first night he meets her, he says, um, "Through with the life I've been leading. I've lived in the corruption, but I'm not corrupted. And this why my life's companion i- uh, my guitar, it washes me clean like water after anything unclean has touched me." And I think that he really... he loves music and it's all that he lives for. But just to survive and just because he's on his own, he's had to come up with some interesting ways to get paid, you know, that's not just playing and singing. [laughs]

KPCC: This is not one of Tennesse Williams' better known plays, and as I understand it, he worked on Orpheus Descending for something like 17 years. What about this play do you think required that much work and what about it appeals to you?

GALE: Well, it originated as Battle of Angels, I believe, which was, went down very early and he, uh, had a really... it was tough, very tough for him. And he actually says in his own words that he never stopped working on this play, ever. Because it kept growing and changing, and I think it was such an ambitious thing to try an, you know, an ad-- if you would even call it an adapt- an adaptation - of this Greek myth that's so, you know, kinda staggering and important and difficult to think about adapting that into the late '50s and the American South. So there's so many subtextural things going on, I think that the fascinating thing about it is that it is happening in the '50s in the Mississippi, but it's about this much bigger, you know, kind of eternal idea about, you know, making art and, uh, being free and, uh, it's very pre-Christian, you know. There's not these judgments about morality and I think that might've been a good thing for him to see to kind of idealize because he was really-- he struggled, you know, a lot, not being able to be free and, um. So and I think, you know, it's kind of, when you put that up in the '50s, in the '60s, in the United States at the time, it's kinda hard to tell that story without people being either very confused, 'cause it's difficult to put it up, you know. It's difficult to make it an honest, truthful, simple performance about rural America at the time, but knowing [laugh] the myth that you're up against, right, or that you're working with. So I think it's just daunting and I think it can be very possibly confusing and probably very difficult to bring out all the, you know, the latent ideas that are in it -- the racism, the sexuality, the... the American ideal, you know. It's tough. It's-- He was going for pretty much all the icons, you know, and he pulled them all down, which is beautiful. And he put 'em back up in a great way, so.

KPCC: Actors are supposed to be able to channel into any role despite whatever their actual real biographical background might be, but you're actually from the South. Do you think that helps you tap into the understanding of Tennessee Williams in a different way?

GALE: I-I'm not sure how... it... does on the real deep level that I'm still trying to find yet -- I mean, I haven't found that yet -- but I think, cadence-wise, the rhythm of his dialogue, the different, um, rhythms between the different characters, um, some of it is very country and very rural, some of it's, um, more Metropolitan, if that's the word. There-- You know, you've got a girl that would've grew up on a plantation who's very wealthy, you have some very poor people, and you've got some very dangerous people in this play. And then you have, you know, Uncle Pleasant, who is in a whole other level. And then my character, because he's from the Bayou and ended up in New Orlean, he has his own dialect -- they call him a "peculiar talker" -- he talks a little backwards, almost like a French-Italian kind of mélange; you know, like the verbs and the nouns are put out of place. Like when you hear-- when you translate something from Spanish or Italian, it's like, "Wow, how--", you know. So it's-- I mean, for me, right now, that's the thing that I really have some grip on, is like, hearing that. I fall into that very easily, even though I don't really understand what I'm saying, I think we're all discovering, "What am I saying tonight?", you know? I just f-- realized that these people are all speaking to each other in almost, um, like a chamber or like an orchestral kind of way and it's so beautiful and it's very hypnotic to even just say it, you know? So, maybe that?

KPCC: Gale Harold, I understand that before you got into acting you had a number of other jobs -- interesting jobs -- according to Wikipedia, at least--

GALE: *snortlaugh*

KPCC: --you were once a Ducati motorcycle mechanic, is that correct?

GALE: No. I have worked on Ducatis and I have ridden them avidly, but I worked primarily on Moto Guzzi, another Italian, and--

KPCC: But you were a motorcycle mechanic?

GALE: I was not a mechanic, I was a... amateur restorer and I did work in shops and sold parts and helped people. But it was, that was more of, as a functionary role. I love motorcycles and have for a long time and at one time I did try to do that professionally as a way to just survive financially in an interesting way. Cos I was running outta money and, um, seemed like a good idea. That's that story.

KPCC: Lesson learned. Never trust Wikipedia. What has been the most interesting non-acting job that you've ever worked?

GALE: Uuuuuuum... I used to drive an ice-cream truck when I lived in Atlanta. And, uh, I remember one day when I was doing that, listening to... you know, I've got the ice cream music and then I had my little, uh, beatbox in there that I was listening to, and I was, uh, very dirty and smelly and sweaty and had pretty long hair and ssssome little kid said something about, um, Guns & Roses [laughs].. and it was like, "Does this kid think maybe I'm in Guns & Roses or something..." And he just wanted a Bomb Pop, a three-stage, so... I gave it to him. And he dropped it on the ground. And it exploded, just like a bomb does. [laughs]

KPCC: What's next for you, after Orpheus Descending?

GALE: I don't know right now. I don't know. Um. We shall see. I mean, I'm really just, you know, nervous and excited and terrified right now, until we get up and get going. So I don't know, I don't know.

KPCC: Gale Harold appears in Orpheus Descending at Theater. Thank you very much.

GALE: Thank you!

Copyright © 2009 | All rights reserved
Edited by Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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Re: Interviews

Post by Ally on Tue Nov 09, 2010 1:59 pm

StageSceneLA: Gale Harold's Interview

January 2010
By: StageSceneLA
Edited by: Marcy

Soon after completing the Actor's Conservatory Program at A Noise Within in 2000, Gale Harold shot to international fame as Brian Kinney in the ground-breaking Showtime series Queer As Folk. This was followed by recurring roles in Grey’s Anatomy, Deadwood, and most recently, the role of Jackson Braddock on the ABC megahit Desperate Housewives. Gale’s film credits include Wake, Particles Of Truth (Tribeca Film Festival), Rhinoceros Eyes (Toronto Film Festival), Fathers And Sons, The Unseen, and Falling For Grace. Like many TV and film actors with roots in the theater, Gale has returned to the stage on numerous occasions, including Austin Pendelton’s Uncle Bob at the Soho Playhouse and most recently as Dr. Cukrowicz in the Roundabout Theatre production of Tennessee Williams’ Suddenly Last Summer. Gale and Tennessee are soon to be reunited as the Atlanta-born actor undertakes the role of Val in Orpheus Descending, in a production directed by Lou Pepe at L.A.’s Theatre/Theater. Gale recently took time from his busy rehearsal schedule to talk with StageSceneLA about his first L.A. stage appearance in ten years.

How the production came about:

I’d been working with my acting teacher Kim Gillingham for quite a while and I was feeling that feeling of really needing to get back someplace that I could trust, just being in a group of people that were putting themselves under some sort of pressure in a positive way from some interesting source, just a good place to work and stay alive. I checked in with her, and she said that a couple of her other students were thinking about trying to put together this production. We got together, and we all kind of hit it off. I liked the take they had on it and I think they liked my take on it. They asked me if I’d like to do it and I said “Hell yes!”

Tennessee and the characters he created:

Tennessee Williams, aside from being whatever you would describe him in terms of his prolific nature as a thinker and a writer, is such a powerhouse in the way his creativity flows. He’s got this way of working where he goes so deep into his own feelings. He couldn’t really say out loud the truths that he wanted to tell, but he was adept at looking back in a mirror of his own life in the body of the plays. To me (Tennessee’s characters are) all Tennessee. It’s all his mind, his heart, his family being represented by these outside characters. It’s all so alive, and when you put those characters up with the words that he writes and the poetry of his life, there’s not a character that you wouldn’t want to play.

The setting of Orpheus Descending:

The South in the ‘50s, as we’re setting it, is so alive with voodoo and latent racism and sexual inequality. The way that Williams works, it’s like he sees so far into the future while putting things in a contemporary setting and drawing on the past. He’s almost so good that it’s terrifying.

Why Orpheus Descending wasn’t a hit back in 1957:

I had a meeting with the director about this the other day and it’s kind of like the play is so far ahead of its time. It’s such a visceral, dangerous play, and the topics Williams is dealing with are so live-wire. I don’t know how you could present that to a late 1950’s Broadway theater crowd on a Friday evening or Saturday afternoon in a way that they could understand. And if you really tell the truth about it and play it out as it’s supposed to be played, I think you’d terrify people at that time.

Staging a Tennessee Williams play like Cat On A Hot Tin Roof back in the 1950s:

When you think about theatrical stylistics and theatrical arts and the way that parts were played in the 1950s, you can’t really tell Cat On A Hot Tin Roof a hundred percent as it should have been back then. It’s all subtext, because Tennessee couldn’t say it out loud. He couldn’t be, “Here’s the deal. Here’s the story.” It was all so couched in the poetry and the drama and the family relationships. If you played Brick like Brick’s supposed to be, and if all that honesty comes out, and Maggie responds to it like what she’s hearing and saying. I don’t know how you could do that before perhaps the mid-to-late 1970s in the United States without getting in a lot of trouble. There are certain postures on stage, there are certain communicative gestures you could do now that you couldn’t do then.

The expurgated film version of Cat On A Hot Tin Roof:

I can remember seeing Paul Newman, as a kid, as a teenager, on television once or twice, and what I see is a handsome, hard-drinking, injured white man in the South, and that’s absolutely true. Until I was in my mid-twenties and had thought a little more about Tennessee and life in general, I couldn’t have picked up the subtext. And who knows what the studio did, and how it was edited, and who knows what the restraints were.

Tennessee Williams’ stage directions for Orpheus Descending:

I think that this play has many of (the same aspects as Cat On A Hot Tin Roof) but it’s kind of overdriven by the fact that it goes from realism slowly spinning into a surrealist work, an incantation. And even in Tennessee’s stage directions. He worked on this play for so long that his stage directions got specific and annotated and revised. And whether you even stage the play like that or not, the way he describes the action is not just strictly how you would perform it, not just simply a structural observation of how to play it. It’s the sound and the feeling of the air and the feeling of the sound of someone’s voice, as a stage direction. This play is searching for something. It’s really like a call out into the underworld and to the history of human storytelling. I think it’s scary. I think it’s very gothic.

The many layers of meaning in a Tennessee Williams script:

The fascinating thing about Williams’ work is that if you pull these layers back and you get deeper and deeper, a simple three-word line could be a hundred feet deep depending on where you are and the level of communication between the different characters as you get to that line.

The musicality of Tennessee Williams’ writing:

We’ve discussed this a lot. As we started to coalesce as a group and all of the relationships in and out are starting to coalesce, now we can play riffs on what we played earlier. You start to hear these echoes within the dialog. The way that my character speaks is so different from the way that Lady speaks which is so different from the way that the sheriff speaks which is so much different from the way that Carol and Vee speak. They all have a different cadence, so that if you really orchestrate it, it’s like the counterpoint that you hear in a musical setting.

The rehearsal process:

You get through it, you do a run-through, you get it up, you run it again, you run it again, and all of a sudden you realize, my God, I have no idea what this play is about. I have no idea what I’m saying. I have no idea what we’re doing, or what the subtext is. But you do, but it’s like these flowers just popping up all the time.

Gale Harold and Tennessee Williams fans will be able to discover the garden that has bloomed during the Orpheus Descending rehearsal process beginning Friday January 15 at Theatre/Theater.This is one Opening Night StageSceneLA wouldn’t miss for the world.

Copyright © 2010 | All rights reserved
Edited by Marcy

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Re: Interviews

Post by Ally on Tue Nov 09, 2010 2:03 pm

Grigware Interviews

January 31st 2010

By: Don Grigware
Edited by: Marcy

Theatre/Theater in the rarely produced Orpheus Descending by Tennessee Williams through February 21.Talk about commitment to a role! On the night I attended the play the cast did a Q & A after the performance with audience at which time Harold shared a story about iconic teacher Stella Adler's script interpretation notes in which it was stated that she once shut a student down in scene study class for his "pedestrian interpretation" of Williams' lyric poetry in Valentine's monologue about the bird with no wings.

GH: She said something like "You cannot speak this as if you heard the story down on the dock." For an actor with great expectations, it gives you cold feet.

Q: You have obviously taken your preparation for this role to heart. As an actor, you are a very good listener, but so is Valentine. What do you feel this attribute contributes to his overall symbolism in the play? Is he a healer of sorts?

GH: I don't think Valentine's aware of that. Even though he's a hustler, he's had to survive by his wit and by his charm and by learning other things on the streets. When he communicates, I don't think what results he does consciously. I think it's just his spirit that's driving him. He loves to listen; he grew up all alone without family. There's that aspect of hearing things that probably most people couldn't hear. It's not what's coming through the words, but what's coming through your eyes and your heart. Like Stella (Adler) said, he listens to a voice, what's communicated through the soul. It's not something that we always come across.

Q: He's an unusual person. He's bigger than he knows.

GH: That's absolutely true. It's an allegory. He's a mythological character and a real person. You can't really be both if you know you're both. I'm treading very lightly on this, as I'm not really sophisticated to know.

Q: It's very complex and you're doing very well with it. What is the tune that Valentine keeps singing throughout?

GH: It's a poem that Williams wrote. The words of the's straightforward and simple. The meaning there is's almost this country blues kind of song about this bird who is or is not this boy who is or is not this bird that used to be free. When he walked, he walked in a way on the grass that was growing in heaven. He was up in the stars and he watched the stars and he watched the sky, and one day he fell to earth. When he was given birth, he came out of his mother, but he's not himself in a different place. A beautiful image...the whole idea of it, I think!

Q: You played Dr. Cukrowicz in another Tennessee Williams play, in a New York production of Suddenly Last Summer. Would you compare this character to Valentine?

GH: I enjoyed playing him immensely. The characters themselves, even though they are both listeners, they're similar structurally in that a lot of their function in the piece is to listen. Listen to the memories, the ideas, and the passions. But they're incredibly different. Cukrowicz is young, somewhat ambitious, but still in his early stages, dealing with the procedure of lobotomy, which was very, very new. Not much was known about it. It was experimental, dangerous. That character is much more restrained, more about being the sounding board between the female characters. Valentine is much more involved. He's a transient and has some real problems in terms of the things he's done and up against. He's under scrutiny and gets put in a vey dangerous situation. He's a much more lyrical, active part of the story. The ideas are much more complicated in Orpheus Descending. In our production, Lou Pepe (director) has done a great job. When you take a great myth and incorporate it into a modern story, you get vastly different aspects, ambitious and compelling.

Q: Do you have a role that you really yearn to play?

GH: There are so many. I don't like to talk about it, actually. I let those ideas kind of percolate out there.

Q: Is there one part that you've played that stands out in your mind?

GH: There've been some great ones, but I'm still waiting for that one... Valentine is probably the most encompassing. You do the background work and it grows on you. It's quite a fire.

Q: You have a good singing voice. Have you done musicals? If not, do you want to do one?

GH: I haven't. I'm an extreme novice. I'm so out of my league.

Q: How did you enjoy your role in Desperate Housewives?

GH: I enjoyed it. It was something very different, very new for me. The way that Marc Cherry writes, the way that he sees what's going was challenging. I'm not a comic and didn't have a lot of experience doing comedy. In that project, there's that fine line between comedy and dark drama. The things that are funny are not horrifying, but shocking or troubling. There's a very specific idea of timing and the way it works. And I immediately realized I had to say, "Marc, tell me, direct me, because I'm not sure where I'm really at!" It was fun.

Q: Are you more challenged with stage work than with doing film?

GH: In theatre, you go up, you do a performance each night, and you have things that change from night to night... the house, the way they're responding, the vibration that's coming back to you, or how they are not responding, your own nervousness, the fun of just being able to let it run every night. The other side is keeping your energy up, keeping your perspective clear. There's the challenge of making sure that you're playing each scene as if it's happening for the first time. On the other hand, I love films and working on film sets. And there's something that really fascinates me about getting into the light someone that may be over in 18 days or however long you're working. What seems banal is challenging. I love it all. If the material is good, and if the people that are putting it together are motivated and have a sense of humor and aren't afraid of really pushing each other to uncomfortable places, then there's nothing better.

Q: Good! What do you think is the real success of Queer as Folk?Why is it still so popular in rerun?

GH: It represents for many people something new and the way to have their voices expressed. There is a combination of...the way the original was (the British version), there's a bit of an anarchic: life is short, don't get put in a box, don't be scared to make choices that are not based on someone else's ideas, stay true to the things that you believe in whether they are good or bad, right or wrong. There's a bit of soul survivor, as in the role I was playing. That ideology was in the original and to some degree in ours, and also there's a lot of sex. Anytime you have something with a lot of sex, you're going to have fans. It's human nature. The American version had a bit of camp built into it. If you can hit the bullseye and make it funny and make it relevant, but still have some soul to it...

Q: What do you feel is your most important mission as an actor?

GH: Oh, God, I would hope it would be to ...on some level whatever the job is, whatever the part is try and find the truth in whatever you're doing. Nonjudgmental truth. And then communicating it so that it is believable, even if it is a lie, and that it is true for each person that watches it. Everybody knows eveybody on some level. We can all imagine. And that's why the arts, drama is so important, because it continually tells our story. It allows us to revisit and live on through it. Be a storyteller and get it out there so that it can be understood, make sense and do its job.

: Anything up and coming for Gale Harold?

GH: It's all pretty much up in the air at the moment.

Based on seeing this man in Orpheus Descending and talking with him, I sense that it won't be up in the air for long. He's a serious actor who is not afraid of taking risks, big risks and is therefore bound for glory.

Copyright © 2010 | All rights reserved
Edited by Marcy

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Re: Interviews

Post by Ally on Tue Nov 09, 2010 2:05 pm

Harold & Lee Make “Falling For Grace” Worth Falling For!

March 25th 2010
By: Ravi
Source: The Ravi Report
Edited by: Marcy

We enter the restaurant and female fans were already lined up to get his autograph. We sit down and pretty girls start to tap on the window just to get his attention and hopefully a picture. He obliges with a smile.

That’s just the kind of guy actor Gale Harold is. Respectful and unassuming. The talented actor was in NY recently promoting his new romantic comedy movie “Falling For Grace” which he co-stars with the beautiful and talented actress Faye Ann Lee. You want to see some on-screen great chemistry? Then you have got to see this movie folks!

“It’s not just a comedy. It’s relevant and culturally meaningful,” states the 40-year-old actor known for his most recent role as Terri Hatcher’s love interest Jackson Braddock in “Desperate Housewives” and for his provocative role as Brian Kinney in the 2005 Showtime television series “Queer As Folk“.

In “Falling For Grace”, Harold plays the role of Andrew James Barrington Jr., a rich, eligible bachelor who falls for the pretty and witty Grace Tang played by actress-writer-director- Fay Ann Lee. Without giving to much of the story away, the two accidently meet and with a few misunderstandings mixed in with a few white lies, you get a surprised romance that everyone will enjoy. The chemistry is written into the script so well that both Harold & Lee should do more movies together. Both are terrific actors by the way.

The LA based actor known mostly for his serious, dark and internal acting, takes on this light and comical role with ease. Lee is simply a natural born actress. The moment you see her, she lights up the screen!

“To be able to work in NY is a great think and I really enjoyed the script and the realistic aspects of it,” says the accomplished actor who travels back to the Big Apple whenever he gets an opportunity.

Actors Gale Harold and Clem Cheung attend the Q&A session after a special screening.

Harold has an impressive list of credentials. In addition to ”Desperate Housewives” the actor also has appeared on numerous top shows included “Grey’s Anatomy“, “Vanished” and “Deadwood“. This is his first comedy romance film.

” I would like to try to develope ideas for television involving comedy because I like comedy performance and maybe with the freedom & input to talk developement as well for other shows,” asserts the actor.

Maybe a little stand-up comedy action also?

” Oh boy, that’s not me…to me that is the most terrifying thing I have ever seen. I’m not that brave,” laughs the actor.

Since he’s done it all (stage, TV and film) Harold believes it’s all relative and that the quality of work has always been his first priority rather than the medium.

“I think as long as you are fortunate enough to get an opportunity to get good work at what you love doing, it’s worth it, ” expresses Harold.

Fond of French and Italian cuisine the actor likes to travel to places like Mexico and Paris and even enjoys Bollywood films on his days off.

“I would love to go to India and I loved Slumdog Millionaire,” smiles the actor who recently finished a limited engagement of Tennessee Williams “Orpheus Descending” in LA which opened to great reviews.

Ravi Yande, top model Richie Kul and beautiful actress Fay Ann Lee pose for The Ravi Report

Television and film actress Fay Ann Lee is driven. Plain and simple. She has not only proven that she can she act but also that she can write an outstanding script and direct a great film. The multi-talented Hong Kong born filmmaker is proactive in nature and thanks to her dedication and passion, “Falling For Grace” was born. Lee is hopeful that her film will create oppportunities other Asian actors who have not yet gotten their major break. The filmmaker started writing the script almost ten years ago while she was in “Ms. Saigon” because she felt there were no mainstream roles for Asians who are immensely talented actors she says and didn’t stop until her film was made. Not only did she direct, write and act in the film, she also spent years raising money to make the film then travelled around the country promoting it.

Harold is all smiles for The Ravi Report

Her efforts paid off when it became one of the opening films of the 2006 Tribeca Film Festival with a star-studded red carpet. The film has also been featured at other film festivals including Los Angeles Asian Film Festival and the Vancouver Asian Film Festival. The film also had a special star studded premiere in March at the world famous Asia Society in Manhattan.

The multi-talented astute actress has been nominated for an Emerging Artist Award by The White House Project so please you vote for this amazing actress by March 31st!! Time is ticking!!

The journey continues…

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Tradotta da Francesca e redatta da Marcy

"Love is something that straight people tell themselves they’re in so they can get laid. And then they end up hurting each other because it was all based on lies to begin with" - Brian Kinney


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