Q: 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.


Q: 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.


Q: 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.


Q: 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.


Q: THIS FILM TOUCHES ON SOME POTENTIALLY DARK THEMES. WHERE DO YOU SEE THE HUMOR 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.


Q: 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.


Q: 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.


Q: 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.