Queer as Folk U.S.
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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.
Queer as Folk U.S.