C: I was reading your online journal, and you wrote that there were so many people who come up to you and say that they are Ted. And, you know, the thing of it is, I've been Ted. SL: Yeah, everybody has. And, you know, that's what drew me to the character when I first read the script. He seemed so universal to me. And, I think he's, in some ways, kind of the safe character for straight people to attach to, as well. Because, I [remember when] I was first shooting the show, I was describing to a friend of mine the whole episode I had last season with Roger. C: Roger. That's... SL: Roger. That's back in the one with the dating service -- C: Ohhh. Right. SL: The guy who Ted was trying to fall for, but he just wasn't attracted to him. And he ends up kicking him out? C: Yeah. SL: You know, and -- and I'll bring up another story in a second, I promise you -- I described it to my friend, and he was like, God, I've been through the same thing, and I have, too. And the thing of it is, bad sex is just bad sex! And anybody can relate to that kind of feeling, that this person is so nice, I so wish this could work out, we have so much in common, it's just that, I keep focusing on the hair that keeps coming out of his ear, and I just can't do it. Or, you know, something's funky with the breath, and how do you tell them, and I can't do it! And I've kind of learned over time to take these things as little signs from whatever powers that be that this is just not the right person for you right now. But, it's something that everyone can relate to. And I think that most of the things that Ted goes through are that way, and that's why I liked him. And that's why I strongly related to him. And I know that I mentioned it before, but [I remember] when I moved to Los Angeles from Chicago, I completely felt like it destroyed whatever self-esteem I had. I thought I was some hot stud, and I move out [to L.A.], and you know, no one would look twice at me. You know, because I'm still driving the '88 Honda Accord, and -- C: [Laughs] Poor Scott! SL: No, it's okay. [Laughs] It's a phase you go through, but you find it eating away at whatever you've built up within yourself, and you can't help but let it affect you. And I think a lot of people have also been there and understand that. And it's why I also, you know [laughs], I kind of admired Dan and Ron for casting me. Other than just the sheer appreciation of it! When I read the script, and Ted was described as pudgy and balding and all this stuff, and so I didn't think I stood a chance physically, for the character, and I'm used to that. Especially after all the commercial auditions that I've [done] through the years, I'm very used to the fact that some of the casting is arbitrary. I've lost on some commercial work because they thought I was too sephardic-looking to sell their cars.
C: Oh, dear. SL: Well, you know, you just kind of let that stuff go, because there's nothing you can do about that. I look like what I look like. But I understood [Ted] so well psychologically. And Dan and Ron told me that they weren't really clear on the character, they didn't have a clear vision of what this character would be. They were looking for someone to come in and define him for them. And they were able to see, wow, there's something intriguing about someone who's somewhat attractive, but just feels so awful inside. And how he carries himself, his bearing and all that, makes him even less attractive. You know, Ted perpetuates his own rejections -- he sets himself up for it. There's a later episode in the season -- actually the episode we're shooting, [2-14] -- where Brian and Ted drunkenly get into a discussion about this very topic. And Brian just kind of lays Ted's problem out there for him. I think in some ways, it would have been easier casting someone who people would automatically look at and say, "Well, yeah, I wouldn't go for him." There is something a little more intriguing to the fact that he's not that bad. C: Well, yeah, there is, because, you know, you look at Ted, and realize that it's mostly about the environment he puts himself in. SL: Absolutely. C: I'll give you a for instance, just from my life. And I was really afraid that this was going to end up being all about me than you, by the way. [Laughs] SL: As well it should. People are tired of hearing all about my shit. They want to read about Camper! C: To heck with you! What about me? Speaking of which, how do you feel about me? SL: Exactly! C: Old joke! Well, no, I actually lived in D.C. for about five years. I moved to L.A. back in October. And it's sort of a different mentality on the East Coast? I mean, people are focused on different things. I had this theory that it had to do with the weather, and having to deal with seasons and that whole thing. They dress and act differently. They drink more. SL: Tell me about it. I'm in Toronto. C: Yes. Alcohol everywhere. It's a nice town, though. SL: It's a wonderful town. C: Yeah, I went and visited Wing there in August. Very clean. SL: It is. Delightfully so. C: So, you've noticed! SL: Yeah, it's like stages of clean for me. Chicago is much cleaner than New York and Toronto is much cleaner than Chicago. And DisneyWorld is a much cleaner...I don' t know.
C: It's like if Disney built a city, just with lots of bars. Well, no, not really. SL: Right. So, you're in Washington, D.C.? C: I'm sorry. Tangent! SL: No, no, it's okay. C: So, I'm in Washington, D.C., and there's a different mentality there, but I came out to L.A. and I stayed with a friend of mine, who's sort of a party girl. So, you know, she wanted to go to these bars, these clubs, and everyone's wearing tight, tight pants, and short short tops and high heels and I'm there in this GAP ensemble, going, "Hey, there, how's it going?" [Laughs] So, I think it's the environment Ted puts himself in. Like, he could just go to some other type of bar where the people are closer to his age, or closer to his, I don't know what you'd call it, demographic? SL: Absolutely. C: But he doesn't, he puts himself in these positions where he's dealing with these like, little blond boys who are only interested in other little blond boys. SL: Exactly. He just sets himself up. C: He totally sets himself up. SL: And that's his tragic flaw, in my mind. Yeah, he kind of goes for that which he, somewhere, must know he's never going to get. And, again, it's something that I can relate to. I've certainly been guilty of getting my crushes on women who are in no way going to give me the time of day. But I can't help it. C: Right. SL: So, then I mope around. And, uh, yeah, it's human nature. I think it happens. I think he's a very human character. I think also, what I love so much about the character -- and, you know, the show, when it's working at its best -- is how gray the characters can be, how much they can turn. And I'm going to go back to that episode with Roger, and I remember checking on some message boards on Showtime's site, and up to that point in time, Ted was coming out of his coma, and people were like, "Oh, I love Ted! Don't kill him off, I'm so happy he's alive, don't kill him off!" And then episode six came along, with Ted's rant about getting on a treadmill, and "do something about your breath," and afterwards, there were all these postings like, you know, "I wish Ted would go back in his coma! Who does he think he is? He's not so hot, who's he to talk?" And everyone just turned on him and I loved that! C: Just feeding off of that negative energy! SL: Exactly. [In toady British accent] Send me to the black pool of negativity! But it was great. That's when our show works best, is when these guys can be the sweetest people, the best friends, and the second, they're just the biggest shits in the world to each other.
C: And of course, that's human. SL: It's sooo human. Nobody is that sweet all the time. Their intentions may be good, but people fuck up. And you need to show that. So, anyway, that episode is a perfect example. C: What strikes me, from time to time when I'm not, you know, just trying to get the recap done [laughs] -- SL: Is it a chore? C'mon! C: No, it's just trying to fit it in between my -- SL: In between reruns of Falcon Crest? C: Aw, man! Don't be spilling all my secrets! No, I mean, in between work, and trying to get home and get something to eat, and you know, it actually takes, it's somewhere around eight hours. That's the first draft. SL: Wow. C: And a couple of hours to go over a few more times before sending it in. Anyway, there was a scene, I think it was last week, was that the award one? The third one? SL: Yeah. C: Yeah, where Melanie and Lindsay and Brian were at Mel and L.'s house. And Lindsay's on the couch eating a donut, and Brian's on the floor playing with the baby, and Melanie's running around trying to find her keys. SL: [Laughs] Very important! Crucial, crucial plot points. C: Exactly. And it was frozen on my TV screen at one point, and I looked up at it, and it just struck me that it was so...normal. SL: Yeah. C: It doesn't matter if they're gay or straight or anything. This could just be anybody. You know, Lindsay's like, "Hmm, this donut is so good. Why the hell aren't you going to the award ceremony, you bastard?!" SL: Nobody's listening to each other... C: Nobody's listening to each other. I think, to go back to the whole concept of Queer as Folk being a "groundbreaking" show, is that it's groundbreaking because it shows how normal gay life is. [QAF] just switches the sexes. But human emotions, [and] the human condition, are pretty universal. It's just two people trying to raise their kid. And their friend comes over and they have to talk to him about whatever, and it's [what everybody does]. SL: You're exactly right. And that's the strength of where it works best. And that's the struggle, too, and that's why, you know, Ron will get upset when people cast the show in a certain way, and he gets that sort of fuck 'em attitude, because it's like, these are just people.
C: Yeah, it's just people. SL: You're making such a big thing out of it, and we're trying to show these people's lives. It's not the entire gay community, but this group of people. This is what it's like -- people who are into the club scene, and whatnot, these things are important to them. But it's no different from the straight club scene. C: No, it's not. We like to pretend it is. SL: [Laughs] We like to pretend, yes. C: Well, we don' t have back rooms. SL: Yeah, well that's due to...I mean, come on [laughs], we know how men are. So, just double that. C: Right, and people get upset at me when I say that. I mean, give me a break, if straight men knew that they could have sex with women that easily... SL: Exactly. There would be back rooms all over this great land. There would be back rooms in Denny's! C: Ha! SL: Black people wouldn't be allowed in, but there would be back rooms there. No, no, I love Denny's. There goes my corporate sponsorship. C: So, so, so-oh going to get yourself into trouble. Your ass is so fuckin' fired! SL: Wow. Geez, God. Maybe there's openings on Will and Grace. C: You have been saving your money, right? SL: Exactly. I've been investing wisely, so I can afford to say these things. C: Not in Enron, though, right? SL: Exactly. C: Because I'm worried about you, Scott. SL: Many are. I'm okay, everybody. C: Whew. SL: God, there was such a good point to be made there. And it flew out the window. It might come back. C: Well, you know, we could take a moment. SL: Let me see, what was I going to say? C: Well, I could move on to...I actually had questions. Well, sort of. SL: Let's see what you've got. C: Okay, and um, there's actually going to be a point to this, but I've got to go into another tangent, so like... SL: Okay. [Fakes snoring.] C: Exactly. Last January or February, Hal and Michelle and Thea, is it "Tee-ah" or "Thay-ah"? SL: "Tay-ah." C: -- Showed up in Washington D.C. at, uh -- SL: American University. C: Yes, American Unviersity. I went to that. And there was a fairly large group of people there. And Hal is all used to this. And he kind of took over in answering questions and all that. And Michelle and Thea were looking around, like, wow. So, I mean, really, how jazzed are you? Is this cool, or what?
SL: I'm more jazzed than Ella Fitzgerald on a good night. When she was still with us. C: God rest her soul. SL: So, yeah, often. We're kind of in a bubble up here when we're shooting, as you can well imagine. You know, when you're shooting until eight in the morning, at times, you really kind of lose touch with what's going on out there. And especially last year, we really had no idea what this was all going to be about. So, after we wrapped, while they were in Washington, Peter and I were in New Orleans at the time. C: Lucky! SL: Yeah, it was nice. The Big Easy. It was great. But, yeah, our first stop was in New York, at the Gay Expo [laughs] at the Javitts Center, and we were supposed to take part in a panel discussion about the marketing of the show. C: Was it actually called "The Gay Expo"? SL: Yeah, I called it "The Big Gay Expo." C: "The Big! Gay! Expo!' SL: Just call it that. C: Okay! SL: [Laughs] Everyone will know what it is. "Oh, yeah, The Big Gay Expo." And, we went to this panel discussion, and they were selling tickets to it, and it was sponsored by The New York Times. And we walked in, and there were about five hundred people crammed into this tiny room, and they stood and cheered and clapped for about five minutes. And we just stood there. And it was really one of those moments that was just...wow. Just complete disbelief that we'd already had this kind of impact -- that people felt this strongly about the show so soon and so quickly. And, um, and even when we were going out, we went out to sign some articles of clothing or whatever out in the Expo. And we had to be kind of hustled out through the crowd, like the Backstreet Boys, and people were kind of reaching and grabbing us -- we called ourselves "The Back Door Boys" -- C: [Laughs] I'm so glad that you said that and I didn't. SL: I thought I'd save you. C: Yeah. Thanks. SL: And since then, it's only grown to where we've done this DVD tour, and it's overwhelming, it's shocking, and it always continues to amaze me. And every place we've gone for these events, the stores say, "We haven't had this kind of turn-out since Madonna. We haven't had this kind of turn-out since *NSync." Or what have you. And that it's reached that kind of status in a year is pretty phenomenal. Especially because Showtime doesn't seem to get their props out there for the show. So, it's been kind of a double-edged sword for them, because they know that the numbers they're getting for the show are maybe about half of who's actually watching it. Because they know that some people are taping it and giving it to people that they know. Every gay bar in town is playing the show, some of them with illegal feeds...all this kind of stuff. So it's really hard to tell. It's not until you get to these events, the signings, where it really hits you in the face. I mean, you know, when I was in Minneapolis for the signing at the Mall of America, there were two thousand people there, and it's just crazy!
C: Two thousand? SL: We were there for like, four hours plus, signing stuff. It's just remarkable. And you can't help getting excited about that. And, yeah, it definitely pumps you up to keep things going and try to do the best job you can. But it's constantly overwhelming and it scares me a little in some ways, too. I don't want to get too emotional here -- C: Don't get vulnerable! SL: It's weird. It's weird to be part of it, because you know, I'm just, "Actor Guy." And, to be part of something that's sort of a phenomenon is odd for me. I kind of never quite thought that was going to happen. And it's a little intimidating in some ways. C: Well, you're doing a really good job, Scott. SL: Well, thank you. C: Yay, you! SL: Yay, me! More me! C: Okay, let's talk about you. SL: Yes, back to me. C: Let's see more questions. Oh, yeah, John Wilkes Booth. You're doing a play about John Wilkes Booth? SL: Yeah. C: [Laughs] Is it a comedy? SL: It actually has some comedic elements to it. Funny, that I would write something like that, huh? Yeah, the one musical I ever did while I was in Chicago was The Assassins [a Sondheim play about various presidential assassins and would-be assassins]. And I played Booth in that, and while doing research for the character, I just became really intrigued by him, by stuff that I was unaware of before. I think we were all taught that some crazy actor shot the President, and there was just a lot more going on there. Kind of creepy, almost destiny kind of stuff, from a gypsy foretelling his future back when he was a "yout'," onward. That's something that I strongly believe in, fate and destiny. And, so, it just seemed to be a theatrical tale to me, too. So, yeah, I wrote [the play about Booth] when I was still in Chicago, and I did about two or three stage readings of it, the last of which I invited people from the major theaters to come to. I was at the point where I was tired of writing it and just wanted to do it, and have someone else take it over and kind of make it better, because I didn't know how to fix it anymore. And, uh, the response was tremendously positive and everyone kind of ended their praise with, you know, "but we're not comfortable with the subject matter." So it hasn't been produced yet. C: What were they uncomfortable with? SL: I don't know. I wouldn't say that I necessarily gave him a sympathetic point of view. It was important to me to make people understand his motives, in some ways. There was something oddly admirable in his love of country, that he generally believed that he was doing what was best for his country, in that case. And, well, what we've just been going through with this new era of flag-waving. It's still a little kind of...it feels a little kind of hollow to me.
C: [Laughing] "He says, from Canada." SL: [Laughs] "He says from Canada," exactly! C: I'm sorry, "He says, safely from Canada." SL: And safely years beyond the draft. C: [Laughs] Yes. SL: And I remember that I thought, at the time, that we just don't feel that way about our country anymore. That complete, you know, [lack of cynicism]. We've been through too much during the '70s, or something. Some of us who were alive back then! So, this belief in what America stands for, and this complete love of country, that you're willing to die for it, is so rare now. But we've obviously learned a very important lesson since September 11th, and it would be interesting to see how the public responded to the play now. That love that kind of turns into the unhealthy obsession that we spoke of earlier. Booth was misguided in what he did, but he truly believed he was doing it for the right reason. [The play] is an examination of what leads to that frame of mind. But you know, this was a guy who, at the time, was a huge matinee idol, who was considered one of the most charming, handsome men in the country. He had a lot to give up. [At this point, I had to both turn the tape around and answer call-waiting. I am the last person in Los Angeles without voicemail. Scott and I picked up talking about his round of appearances.] C: So, you guys are coming down [to Los Angeles] in March. SL: Yes, we're coming out on the 2nd for the Museum of Television and Radio event. C: So, it'll probably be me and 500,000 other people. SL: It'll be interesting to see what happens. C: People have been asking me, "Are you going to go?" And I'm like, oh, man, into that frenzy? SL: [Laughs] "Aw, man. Leave me alone." C: Yes, so I maybe, probably, will most likely be there. SL: "I don't even like the show, anyway." C: He-ey! SL: I'm just kidding. C: I like what the show is trying to do. SL: Oh, absolutely. C: I understand and support the point you're trying to make. [Laughs] It's just the execution I sometimes have a problem with. SL: And it's why we as the cast love reading [the recaps and message boards], because it's obvious [these] are big fans of the show. And you feel the same way we do. We see the potential, too, and we want it to be the best it can be. And the only way you can make fun of something like that is if you have, you know, affection for it.
C: Everybody really, really, really wants it to work. SL: Right. C: We really, really do. SL: We have to remind ourselves, too, you know, we have to keep reminding ourselves that we've got seven days to get each of these episodes done. It's not going to be perfect all the time. It's the nature of the beast. And also to realize that even at our worst, we're still better than 90% of the crap that's out there. And it's hard for us, because we're all perfectionists. And we would like every episode to be the best episode that it can be, and we try, but we don't get there all the time. C: Uh huh. SL: And that's, at times, frustrating for all of us. And when I consider a show like The Sopranos, which is easily considered one of the best shows on television, they've got a much easier production schedule than we do -- thirteen episodes, and they take, like, a year [to write them] before they start shooting the episodes. So they've really worked everything out. And we're just not able to do that. Like I said, there was literally a day or two turnaround between finishing the last episode and starting to write the second season, plus trying to find a new writing staff. And, you know, that's not to apologize for anything, but it's just, you know, that's the true nature of what's going on. But it's why I appreciate your site and the opinions [on it]. Because if you didn't give a damn, you wouldn't bother. And we're all the same way. We feel very strongly and passionately about the show, too, and you know, it gets there sometimes. C: I really did appreciate the last episode. For one thing, it took me a lot less time to get through it. And I was just sitting there going, oh, my God, this is really good. Call everybody! Tell the boards, tell everyone! So, go back and tell Ron and Dan that I said "thanks." SL: [Laughs]. I will. And, also, it's a lot like going back to school. When we got back from the first couple of episodes, it took a little bit of time to get the rust off. Plus, Dan and Ron very much wanted to make this season a little different from last year's. So the first two episodes [of this season] were these sort of cheese-filled combos, trying to do what last season did and make it more of an ensemble piece. So there were about nine million plot lines going on. But then there's a change with episode four, and then especially with the episode coming up, which is, acting-wise, one of the strongest of the season. And episode six is just one of our best episodes, period, I think, directed by Bruce McDonald. This week's episode was directed by David Wellington, one of our best "actor" directors. He gets wonderful performances out of people. He directed episode nineteen, the one with Brian's dad's funeral, and Ted finding Blake in the crackhouse. Which I think, performance-wise, is one of our better ones.
C: Yeah, it was. SL: And Bruce McDonald, who directed episode six, he's like the Kevin Smith of Canada. He's one of the pre-eminent independent film directors up here, so he brings, visually, a style to the show that I just loved. So, huh, where was I going with that? C: I don't know. [Laughs]You're tired. SL: I was saying that, yeah, when I saw five and six I was like, okay, we're finally settling in, now, we've finally settled in, we've hit our stride. For us, as actors, you know, it's a weird experience, to be with a character for nine months, and then take some time off, play other characters, and then have to come back and pick it back up again. It's tough to get back into it in some ways. So while the first two eps [this season] had some very strong moments in [them], my personal opinion was that they were not our best. C: Agreed. SL: And I think we're on a roll now after episode four, which dare I say it, was fun for us, despite what Ted went through. C: Well, you know, everybody's been there, one way or the other. SL: Everybody's been a pity fuck? Oh, I hope not. See, now we're getting into -- C: [Gasping] No! Not me! SL: Oh, nice! C: I mean[laughs], people I know. SL: Oh, of course. [Laughs] And I have to say I was disappointed. I was going to surprise you with some stuff today. C: Ooh, like what?! SL: But given the bad nature of our schedule, it couldn't happen. Well, we were planning on staging this fake thing where Gale, Peter, and Randy were going to stop by my apartment at different times, like this was something we do all the time. C: Is it something that you do all the time? Because we need to know. SL: We do -- I mean, we do hang out together. But we wanted to stage a little thing where they'd come over and you could talk to them as well. C: That would have been really cool. SL: But unfortunately, everybody's asleep. I know, I know! But you can talk to them on your own, I'm sure they'd love to talk to you on their own at some point in the future. C: That would be great. Let them know. SL: I will, indeed. But, yeah, you know, I think you're doing a good job. And it keeps us honest in some ways. [Laughs] And it's good -- you know, I would kind of prefer the perspective that you bring to the show instead of someone always coming up and going, [in a valley girl voice] "Oh, the show's awesome! You're so hot!"
C: But you know, there's a place for that. You guys do get that, though. You get that on the boards all the time. SL: Right, exactly. But for my own sensibilities, I'd rather someone call me "Eeyore." C: And I would just like to say that Eeyore is one of my favorite Disney characters. SL: Oh, sure. There's a lot of baggage that goes along with Eeyore. C: And he's purple. And fuzzy! SL: And you can hang a tail on him! Eeyore is, one of those odd, again, [coincidences]. Eeyore has been on my mind, he was in my mind initially as Ted, and Ted gets much of his posture from Eeyore. C: And I picked it out. I rule! SL: You're brilliant! And I secretly wear purple underwear, and so the purple is there...no. C: And people just fainted all over the internet. "Purple underwear! Aah!" Thump! SL: "Ted wears underwear!" C: See, they're still in a daze since you said Gale Harold visits the site, and they probably just snapped out of it in time to read about your underwear. SL: Yeah. Are they back, yet? Is anybody listening? No. "Gale!" We've caused mass electrocutions across the country, people drooling on their keyboards. C: You know, I've actually had a couple of people say that they've stopped reading the recaps because they're so negative. SL: Oh, really. C: And, since that's kind of the mission of the site, I was like, okay. Thanks. SL: [Laughs] Yeah. Thank for your input. C: But other than that, they're just really happy that [Queer As Folk is] here. [Following this was a discussion of why the site changed its name, and how it reminded Scott of Elvis Costello's song, "Town Without Pity." Then I had to admit that I admire Elvis Costello but I'm not familiar with any of his stuff other than "Veronica," which is the one song of his that Mr. Costello is known to hate. Scott only gave me a little shit about that, and not even my mastery of Crowded House's catalog stopped me from looking like a dork.] C: Okay. More questions. I should probably ask you about [being questioned about being gay], but you've pretty much covered that in the past. [Scott was interviewed by a magazine a few weeks ago, in which he was quoted as "making sure to point out" that he was straight, which he didn't. He wrote a letter to the editor to about it. The letter basically said (a) it doesn't matter, and (b) if someone thinks he's gay when they watch the show, then, duh, he's done his job.]
SL: Yeah. C: Yeah. Sorry about that. SL: Who cares? C: Yeah, seriously. Dude, it's art. It's acting. It's the-ah-tah! SL: Yeah, you know? I heard just the other day, from the scene that I mentioned that Gale and I just shot where Ted and Brian have a heart-to-heart at Woody's? I heard through the grapevine that one of the producers had spoken to the directors and asked, "Um, were they really drunk that night?" [In snotty British voice] "My dear sir, we call that acting." Thank you for the compliment, but no, I don't have to drink alcohol to act like I'm drunk. [Laughs] C: Me, neither. SL: Yeah, I go through life that way. C: Yeah. Don't I wish. SL: I don't need help slurring my words. C: Me, neither! SL: It's just a natural speech pattern. C: Exactly. Okay, then, so is there anything else you'd like to tell us before I wrap this up? SL: Nope, just uh, keep watching the show. Keep it up. Keep on keeping on, brothers and sisters. C: Great. Thanks, Scott.