Actor's Corner: Hubbel Palmer, AMERICAN FORK

The success of films and performances is often measured by how long something stays with you. And frequently, the films and performances that do that come from the most unexpected places.

Chris Bowman's AMERICAN FORK (screening Wednesday, 3/28 at 5:15PM and Thursday, 3/29 at 10:30PM) most definitely falls in that category on both parts. The film follows the pursuit of a grocery store clerk who is as dedicated to his pursuit of something bigger than himself (which is saying something) as he is keeping his store running like a clock.

Hubbel Palmer (who also wrote the script) plays the lead with a deftness and finesse that is not that common for the majority of people carrying SAG cards in their wallets and purses, let alone someone with just a handful of credits fleshing out his own script.

Q: Was this a story you had knocking around for a while and you finally got it down in screenplay form? Or was it a canny decision to tailor something for yourself and your talents as an actor?

A: I worked at a grocery store in high school and I always liked that environment as a possible backdrop for a film. A few years ago I really felt the urge to write something and get it made. I wanted to tell a story where the scope of the drama was very small, about a character who would otherwise not be likely to have a film made about him. I came up with the character of Tracy and then work shopped the idea with a friend, filling in the world around him. I did want to write a part for myself, but not in a "this is gonna help my career" type way.

Q: William Baldwin, Kathleen Quinlan, Mary Lynn Rajskub, Bruce McGill in this great cast. And you're the star. How much did you lord that over them?

A: I was amazed to be working with them. I originally planned to make this film with all unknowns, but as interest in the script grew, we found ourselves in a position where we could recruit some real talent. They took a chance by agreeing to do this film with a first time director and a novice actor and I’m so grateful for their contributions.

Q: Did you research any grocery store assistant managers to get into their heads? And if you did get into the head of a grocery store assistant manager, did you find it a cold, unforgiving place with bad fluorescent lighting from which there was almost no return?

A: The head of a grocery store assistant manager is a cold, unforgiving place. And that's why I avoided them in my research for this film. I never climbed that far up the ladder during my tenure as a clerk. But I can certainly relate to wanting to.

Q: Chris Bowman was directing you from your script. Did the dynamic shift from working with him as a writer doing rewrites to being an actor playing what was settled on as the script?

A: Absolutely. There was a point, about two months before we started shooting, where I mentally stepped away from the script as a writer and re-approached it as an actor. I was able to do this because I completely trusted Chris's vision for the film. We had communicated so much over the previous year and a half that I knew I was in safe hands. There was even a moment in production when I asked Chris what a certain line meant. Billy Baldwin turned to me and asked, "Wait a minute. Didn't you write this thing?"

Q: Was there a scene you looked forward to playing as you were writing? Afterwards, watching the finished film, was that still the favorite scene?

A: I was always excited about shooting that first scene in the acting class, where Truman (Billy Baldwin) singles my character out in front of everyone. I felt like it captured the intended tone of the film better than any other single scene in the script. I still like that scene in the final version, but my favorite scene is one that I'm not even in. I like the scene in Peggy's (Mary Lynn Rajskub) room where she's showing Truman her stuffed animals. I like it because it lets you have a peek, however brief, into the inner life of a very quiet, precious person.

Q: What is your favorite Rutger Hauer role?

A: I actually worked with Rutger Hauer a few years ago, which was ironic because it was about a year after I had written this script. I had one very brief scene with him, but somehow I ended up getting to spend a lot of one-on-one time with him. He was great. So full of life. A great story teller. I asked him about Blade Runner (I think he's terrifying in that) and he told me all about it. But I like him best as Sasha in this TV movie from the 80s called ESCAPE FROM SOBIBOR.

By John Wildman, Staff Writer

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Actor's Corner: Leyla Milani, WRESTLEMANIAC

Jesse Baget's WRESTLEMANIAC (screening Friday 3/30 at 12:00PM and Saturday 3/31 at 9:45PM) lets you know immediately that it intends to scare you, gross you out, be in-your-face inappropriate and make you laugh. And educational? Well, you just might learn a little something about the Dirty Sanchez and Mexican Wrestling too.

Leyla Milani plays one of the cast members of a low budget soft core porn film that stumble on to the stomping grounds of a murderous psychopathic wrestler. And her tools for survival include a few talents not usually placed at the top of an adult starlet's resume.

Like her character, Milani is also quite the driven multi-talent, moving from acting roles to modeling/hosting (Deal or No Deal) to designing her own line of jeans.

Q: Were you a fan of horror films before you were cast in WRESTLEMANIAC?

A: Growing up, I can't say I was really a fan. Actually, up until WRESTLEMANIAC I was pretty afraid to see them. I don't know - something about the heart-stopping sound-effects and not knowing what's going to pop on the screen at any time. It just was never an enjoyable thing for me to watch. However, starring in WRESTLEMANIAC and taking on the bad guy definitely gave me the courage not only be able to watch horror films but now to enjoy them too.

Q: When no one was looking, did you ever try on one of the Mexican wrestling masks?

A: Don't tell anyone. But yes I tried all of them, but with my big hair it didn't look too good so I put them back like a good girl!

Q: For you, what is harder as an actress - get the laugh or convincingly act like you are frightened?

A: Probably frightened because you really have to dig deep to find that source of your fear. I think getting the laugh is easier for me because I'm just so comfortable and free when playing comedy roles. In my case, my source of fear was being wet in the freezing cold (mid-November), late at night (most of my scenes were at night) up in Valencia, CA! That was probably my source of fear and agony. But after seeing the final product, it was well worth it!

Q: If the two of us are on a road rip and the car breaks down, are you going to be more help getting the car started again or getting some guy to pick us up and give us a ride into town?

A: My character, Dallas, is quite the mechanic. I think I learned a thing or two about fixing cars from that scene alone. But realistically, I think Leyla would be better at finding someone else to fix the problem.

Q: What is the most money you have had in your case on Deal or No Deal? And did you have to use an armed escort to make it out of the studio that day?

A: Well, the top amount usually is $1 million. However, during our premier week early in the year the top amount was something like $3 million or $4 million and I ended up having it in my case. The contestant's heart was broken. But what can I say it's a game show. Luckily, no armed escorts were necessary.

Q: You were also a finalist in the WWE Raw Diva search. What is it with you and wrestling all the time? Can't you just be reasonable and talk things out once and awhile?

A: Well, wrestlers try to "talk it out" every once but that usually ends up turning into a good round of smack-talking followed by a full on battle in the ring. So the answer to your question: No! We gotta get right down physical to prove a point. Speaking of wrestling I can be seen in a series of commercials for (RAW-FANNATION) currently airing on the USA networks.

Q: You have your own line of jeans - Leyla Jeans Couture - which one can find at Forever 21 stores. Did you start the line because you wanted to start your own business or because you couldn't find jeans that flattered your assets well enough?

A: Flattered my assets. That's funny. Actually, that was exactly why I launched my own line, because I'm a jeans and t-shirt kind of girl and had always had a challenge finding the right fit. Leyla Jeans Couture is actually on hold for the time being as I'm focusing solely on my acting/hosting and briefcase handling career.

Q: Just between us, in real life - could you take Rey Misterio’s mask in a fair fight?

A: With my female charms - yes any day!

Milani will appear at the film's opening night screening on Friday, March 30th.

By John Wildman, Staff Writer

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Actor's Corner: Amy Davidson, NETHERBEAST INCORPORATED

The Ronalds Brothers' NETHERBEAST INCORPORATED (Screening Friday, 3/30 at 7:30PM and Saturday 3/31 at 9:45PM) takes a queasily gentle approach to teaching us all about vampires. The ones that live amongst us (and have, frankly, for years) that we have never been aware of. The inventive comic horror film boasts a roster of funny and quirky actors from Saturday Night Live's Darrell Hammond to Kids in the Hall veteran Dave Foley to Blue's Clues Steve Burns. And serving as our everywoman and the film's heroine is Amy Davidson, of 8 Simple Rules fame. Taking in the history of the secret and not so dangerous society of her co-workers as both they and she become threatened, Davidson doesn’t miss a step as she provides the perfect perky balance to the mock horror taking place around her.

Q: After being all over the TV for the first few years of your career, how did you take to the difference in the style and pace of film production working on NETHERBEAST INCORPORATED?

A: I love the differences between TV and film. Everything from the characters I've been fortunate to bring to life to the rhythm and flow of the shoot. I enjoyed having more time with the material vs. one week with a script in television. But on the flip side I was sad when the shoot was over. You become close with the people you work with and when the film is finished everyone goes their separate ways. In TV you see everyone the next season. I have to say that Netherbeast is an extremely special project. I felt that way from the very beginning! AND because it shot in Arizona, I was able to spend a lot of time with family and friends. It doesn’t get better than that!

Q: How did the dynamic work between you and the boys club (Dave Foley, Darrell Hammond, Steve Burns, Judd Nelson, etc.) that made up the majority of the cast of the film?

A: I loved being one of the only females in the film. You get lots of attention. All of the guys are wonderful! I received a warm welcome into the Boys Club!

Q: Seriously, how many of the guys were jealous of Steve Burns since he got to be your love interest?

A: Robert Wagner was probably the most jealous. I wish. (smiles.) What a lovely, lovely man. I had a special connection with RJ because of his friendship with James Garner.

Q: And, on the flip side, how upset was your former co-star and friend, Kaley Cuoco that you got to buddy up with the Blue's Clues guy in a movie?

A: Kaley cried daily!

Q: This is a very different vampire movie, really stretching the concept. Did you feel a little gypped that you weren't wearing some Victorian gowns or at the least doing battle with some dark seductive Dracula types?

A: One of the things I love most about NETHERBEAST INCORPORATED is that the "Nethermen" look just like us! There’s so much humor in that. And I did get to kick ass! He just wasn't hairy and scary looking. Yes I'd love to wear Victorian dresses and big hats! I guess I'll have to save that for my next film.

Q: What is your favorite vampire movie (not counting this one)?

A: Buffy the Vampire Slayer! I'm a chicken when it comes to scary movies!

Q: Saturday Night Live or Kids in the Hall - which is the funnier?

A: Not a fair question! Both shows were/are brilliant.

Q: You have an extensive dance background. How many times have you tried to convince a director or producer to add a dance sequence for you?

A: On 8 Simple Rules we talked about Kerry ballroom dancing. But we never got to that. That is my dream job! When I get to dance and act in the same film!

Amy Davidson will appear at NETHERBEAST INCORPORATED's opening night screening at 7:30 p.m. Friday @ Magnolia.

By John Wildman, Staff Writer

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Actor's Corner: Ricki Lake, PARK

Kurt Voelker's film, PARK (Screening Wednesday, 3/28 at 7:30PM and Thursday, 3/29 at 9:45PM) plays like a multi-character comedy of manners West Hollywood-style. Set in a handful of different cars parked but with several places to go. Among an eclectic cast including William Baldwin, Cheri Oteri and Treach is none other than Ricki Lake. Making a return to the big screen after eleven years, Lake teams with Oteri as a woman and her best friend spying on her cheating husband , which launches her into the possibilities and risks of a major life change.

Q: After several years focusing on television, what was it about PARK that brought you back to film?

A: After completing 11 years on my talk show, I was very excited about the idea of getting back into acting. I have two sons (ages 9 and 5) and I made a commitment to them to not go on location for long periods of time. Park turned out to be a wonderful script and just so happened to shoot in Los Angeles. I also loved the character of Peggy and could identify with her.

Q: You have had great success both acting and hosting - if you could only do one, which would you ultimately choose?

A: That is a really tough question. Hmm. I have been so lucky in my career that I have not had to choose. So many people think of me as solely a talk show host. People don’t know that I have worked on more than 15 films and a dozen TV shows. These days I can also be called executive producer. I have a documentary called The Business of Being Born premiering next month at The Tribeca Film Festival.

Q: How many takes were ruined because Cheri Oteri made you break on camera?

A: Cheri and I cracked each other up constantly. She is hilarious and a really good actress. We laughed the most during our lesbian kiss. I think she spit in my mouth a couple of times.

Q: What has the reaction been to your role from your gay and lesbian friends?

A: My friends, gay and straight thought my character's sexual identity crisis was very believable. My lesbian friends thought it was hot!

Q: Kurt Voelker said that your first day on the set included one of your most emotional scenes. How do you personally ramp it up with no warm up (so to speak) to pull off a scene like that without a couple scenes in character already under your belt?

A: I don't know. I think I just focused on my past memories from my own very difficult divorce.

Q: Because of the nature of everyone shooting scenes in their various cars, are there any cast members you have yet to meet?

A: I have since met the entire cast but I hadn’t met a lot of them during the shooting.

Lake will appear at PARK's first screening on Wednesday, March 28.

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Actor's Corner: Michael Beach, AMERICA THE BEAUTIFUL

What is pretty? Who looks good? Who are we trying to please when we scrutinize ourselves in the mirror? Darryl Roberts' documentary AMERICA THE BEAUTIFUL (7:15 p.m., March 26 @ Magnolia and again at 10 p.m. on March 28) poses the big and intimate questions about the assault the beauty industry makes on the female psyche on a day-to day basis. Actor Michael Beach steps behind the camera to support Roberts' film and mission after a career with successes on the big screen (from Short Cuts to Waiting to Exhale) to television (E.R. and Third Watch).

Q: After a decade of constantly being on screen or on TV, why become a producer now, and why executive produce a documentary about the psychological abuse of the beauty industry for your first time in that role?

A: Hard as it may seem, I've been on TV and film screens for over two decades now. But I decided to become one of the executive producers for this film because Darryl Roberts, the director, came to me with such a strong idea and some interesting footage. He had an idea but wasn't sure what direction to take it in yet. Of course, it made the rounds about which specific direction it should take but he always knew he wanted to investigate the problem that America had with our images of beauty. That was very interesting to me. And when I saw the footage of Gerren and a couple of other little girls, I thought immediately that it should center around what this "hard sell" was doing to young girls. Mainly because I have three daughters. We talked a little more and I was in. I never thought about this being my first time behind the camera or anything like that. I just thought that it was a strong subject and something that would be interesting to examine.

Q: Did you come into this project having a strong personal opinion about the beauty industry and its effect on the women in our country?

A: I've always thought that this country had an unhealthy obsession with the idea of beauty but have never actively done anything about it. Until now, I guess.

Q: After this experience, do you have a different appreciation of what it takes to get the cameras rolling?

A: Well, making a documentary is very different from making a narrative film. I've made a couple of short narrative films and am about to make a feature-length film. Documentaries are, or seem to be, primarily created in the editing room. Even though you have a strong idea about your subject from the beginning, things start coming together as you start editing. Then you start to realize that if you could get an interview with this type of specialist or someone from this line of work or someone with this point of view it would really help your piece. It starts to make sense and gain shape and come to life the more you edit. But Darryl did so much of that work. It really is his film. I just helped him out. But I definitely have an appreciation for the patience and tenacity it takes. Darryl did a hell of a job.

Q: Tyra Banks - Groundbreaking influence on young women who should be celebrated or dense self-promoting ex-model leading girls like Gerren down the wrong path?

A: I think Tyra Banks is continuing her career and trying to hold the industry that made her famous to a higher standard than they had when she was coming up. She knows so many inside details and I think that trying to take the industry down is useless. She seems to be letting the average person get a glimpse behind The Wizard's curtain and allowing everyone to see that none of these people are perfect. She has her own personal flair in the way she does it and that's okay with me. She has earned the right.

Q: After working on this project, do you watch commercials and look at ads differently?

A: Honestly, I don't watch much TV anymore. I have come very close to cutting it out of my life entirely. And the couple of shows I do watch are TiVoed anyway. So no commercials for me!

Q: Finally, could the French ever convince you that you weren't good looking?

A: Nothing against the French but I don't really listen to anything they say or do. So the answer would be no.

AMERICA THE BEAUTIFUL, 7:15 p.m. today (and again at 10 p.m. Wednesday) @ Magnolia. Michael Beach will appear at today's premiere screening.

By John Wildman, Staff Writer

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Actor's Corner: David Boyle, BIG DREAMS LITTLE TOKYO

Writer and director David Boyles comedy BIG DREAMS LITTLE TOKYO (Screening Saturday, 3/24 at 12:00PM and Sunday, 3/25 at 12:00PM) is a bizarre, yet charming story of an off beat teaming of a young American man yearning to be a Japanese businessman and his Japanese-American roommate who yearns to be a sumo wrestler. The film has a lot going for it, not the least of which is Boyle's odd ball performance as the young man desperate who can translate Japanese flawlessly, but struggles to translate the world he wants to be a part of with the one he actually lives in.

Q: You wrote and directed BIG DREAMS LITTLE TOKYO, but we are going to focus on your work as the star of the film. First off, do you think your director gave you enough close ups? And just between us, how much did you improvise from the script that was given you?

A: We had a really tight shooting schedule - about 19 days total - so there really wasn't any room to improvise that much. When Rachel Morihiro arrived to play the part of Mai, she and I ad libbed a little bit. But we tried to stick with the script as much as possible.

Q: Did you do a lot of rehearsals before shooting? And if so, do you think they benefited you more as an actor or as a director?

A: We did some rehearsal, but since most of our actors were out of LA, the time was extremely limited. For some scenes, our rehearsals were limited to a few times before we rolled camera.

Q: How difficult was it to deliver a performance as an actor when part of you had to focus on all of the other issues and challenges inherent with directing the film?

A: It was more exhausting than anything else. Luckily, the character I play is somewhat of a robot, so it didn’t take much to get into the deadpan mood of the role. The hardest thing was trying to be the infallible director at the same time that I was missing my marks and blowing my lines as an actor!

Q: Was there any point where you considered casting someone else in the lead role, or would that have been too difficult due to the language issues?

A: It was pretty much an uncastable role. I come from a garage band tradition of filmmaking where you do everything yourself, so it made sense to play the lead role. When I was younger, I wanted to be an Albert Brooks, or Woody Allen type actor-director, but now that I got it out of my system I can move on and do new things!

Q: How did you negotiate saying "cut" at the conclusion of a scene?

A: I had my First A.D. Jonny Craddock say both "action" and "cut" for any scene that I was in. That made things easier.

Q: Any schizophrenic moments on the set due to the different hats you were wearing?

A: No schizophrenic moments per se. But plenty of hectic ones. During the climactic Tatami Room negotiation scene, we were so short on time that I rarely had a chance to check the viewfinder (not to mention that I was in the background of many of the shots). I really had to trust my cinematographer, Bill Otto but somehow it magically turned out to be my favorite scene in the movie. It pays to have great collaborators.

Q: Honestly, how many takes did you choose in editing because you thought you looked really good in that scene?

A: Any shot where I looked good got cut! Honestly, I was trying to make my character look ridiculous wherever possible. Hopefully I succeeded. Some people watch the movie without ever knowing it's me, and I hope people don’t get my character mixed up with my true personality.

BIG DREAMS LITTLE TOKYO, today at noon @ AFC.

By John Wildman, Staff Writer

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Actor's Corner: Laura Jordan

Laura Jordan crosses generations in her most recent two roles

Actress Laura Jordan places her stamp on the AFI DALLAS International Film Festival by playing a punk rock bride to be in the comedy THE NIGHT OF THE WHITE PANTS (screening Friday 3/23 at 9:30PM) and a budding student movement war protester in the 60’s time capsule BERKELEY (screening Friday 3/23 at 10:15PM). Whether she is playing verbal ping pong between Nick Stahl and Academy Award nominee Tom Wilkinson in the
former or serving as the lead character’s fiery muse in the latter, Jordan makes both movies "go" whenever she's onscreen.

Q: Is it harder to play a character who does a lot of drugs and sleeps with another man several years older than her on her wedding night or a character who doesn't shave her legs?

A: Both Felicia (White Pants) and Sadie (Berkeley) are confident women with few inhibitions, and they don’t give a shit what people think. I have a lot of fun playing strong, impulsive women. There is maybe more Sadie in me, but I'd be lying if I said I didn't have a wild side too.

Q: You worked with a female director (Amy Talkington) in THE NIGHT OF THE WHITE PANTS and a male director (Bobby Roth) in BERKELEY. What is a general difference in style between the two that someone not on the set wouldn't naturally assume?

A: I'm not sure what people would naturally assume, but every director works differently and not necessarily because they are male or female. And every actor has different needs. This is a very special relationship. Both Bobby and Amy are friends with their actors, they support us and that's important for me. Bobby could be hard on me at times but that was a good thing.

Q: Both films were labors of love for the filmmakers. How much difference does that make for you as actor while you're filming? And afterwards?

A: It makes all the difference for me. These are the projects I look for. They don't have a huge budget, so everyone involved most likely feels some passion or connection to the project. And you have to fight to get it made. I like that.

Q: You studied French at The University of Paris. What would be your second choice of foreign university and language?

A: Oh, wow, that would be a great choice to have. I actually grew up speaking French and studied literature in Paris. This is tough, maybe somewhere completely different, like Japan. I spent time in Poland once and started to catch on a little - an Eastern European language would be cool too.

Q: What's it like to do a love scene with the director's son?

A: Ha, ha. Bobby would like that question. No, I don’t think it felt any different from the awkwardness of any make-out scene. You just sort of do it. I know when I auditioned for the role, I didn't know it was his son and I really challenged him, and Bobby got a kick out of it.

Q: Or an Academy Award nominee?

A: I don't think I was considering that in the moment.

Q: In real life would you be a punk rock bride or a traditional June bride?

A: Something simple and not too planned.

by John Wildman, Staff Writer

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Actor's Corner: Lou Diamond Phillips

Film noir is a beloved genre by anyone who has picked up a camera or instructed someone else where to point theirs. It is also the one of the easiest genres to become "lost" within (in a good way) as plot strands and veiled intentions lead often hapless lead characters to either their ruin or their salvation.

In Stephen Purvis' El Cortez (screening Friday March 23, 7:30pm, and Saturday March 24, 1:45pm), Lou Diamond Phillips strikes a chord that is at once measured and dynamic as his autistic man with a past finds his way to both of those destinations.

Q: Your role in EL CORTEZ is a real tightrope walk between near comic retentive and browbeaten behavior to simmering rage and explosively violent outbursts. What specific challenges did that pose for you?

A: In the script there was no mention of Manny being on the autistic spectrum. But I've done a lot of work with autism here in LA with the Center for Autism and Related Disorders. When I read the script I said, "Wow, it would be wonderful to play this character as somebody with autism." But I didn't want it to be RAIN MAN, which is what everybody thinks of when they think autism. There are a number of people with autism that hold down jobs and lead regular lives. You wouldn't even know they have autism. But they have issues like OCD, or they're restricted to rigid routines, or they have social issues like they can't look people in the eye. So I was seeing a lot of that in the character. I ran it by Dr. Doreen Granpeesheh, founder of the center, and she set me up with a man about my age. I was able to incorporate his mannerisms and such, but the thing I found really interesting was that he was really warm. People have this idea that autistic people are cold and distant. There's a comic element to him, but it's something that I didn't want to play for laughs.

Q: How much of that character was in the script and how much was layered on through the combined efforts of you and director Stephen Purvis?

A: When Stephen first gave me the part, he said to run with it. I spoke to him about playing Manny as somebody with autism and he was really excited. The autism explains not only why they put him in jail, but it also explains the issues he has. In fact, the wardrobe was Stephen's idea. The bow tie and all is a little Forest Gumpy, but
it gives the character and film a kind of classic/timeless feel. Although it's a contemporary film, there's an element that makes you question when it's happening. And there's kind a retro feel to the character.

Q: There seemed to be a bizarre joy to this character. Have you enjoyed playing any character more than this one?

A: This is one of my favorite characters. I'm happy that I can create a very fleshed-out figure that's a person who's totally different from me. I mean one of the reasons people get into acting is to take on roles that are different from themselves. Manny is right up there with Richie in La Bamba or Angel in Stand and Deliver. It let me use all the lessons I learned from my training at the University of Texas at Arlington and with Nita Cox. And I'm not just another cop, or bad guy, or a character that's in my "wheelhouse," as my manager likes to say. I tried not to be aware of how the character appeared. I usually always watch the monitor or the dailies. But on this one I avoided it like the plague. I wanted to do it 100 percent and trust Stephen's judgment. That way I wouldn't be able to think that the character was too goofy.

Q: What is your favorite classic film noir?

A: Wow! Casablanca is one of my favorites. I have two classic pieces from the film in my house. One is a frame from the actual film. I've always wanted to do a film noir in the way that Bogey did. But I never thought I'd be doing one as an autistic person! With Bogey, you can always see that he's carrying baggage. It's never really
explained, but you know it's there. It's in his eyes and his being. That's what I took from his character and applied to Manny. His baggage is that he always wants to do the right thing. He can be positive and sunny, but it's a way for him to control things. When Theta shows up it allows him to loosen up and be more himself.

Q: Let's be truthful here – were there a few extra push ups or calorie cutting before the sex scene with Tracy Middendorf?

A: Ha! I always try to stay in shape because action roles come along. I stay within striking distance, as I like to say. But for this role, I stopped working out. We even chose to make the wardrobe a size or two larger. Of course, when you drop the laundry there's no hiding what's underneath. I finally justified his physique by saying, hey, he's been in prison and working out. What else is there to do in prison? Anyway, one of the most difficult things you can do is a love scene, and this character made it a bit different. Everybody just jumped in and went for it. But I won't be coy, I took a few shots of tequila here and there.

Q: You seem to be constantly working, going back and forth from film to television. Is your life similar to being a musician, always on tour?

A: That's a perfect analogy. A lot of people in the theater say you're a gypsy. The thing is that there's not a lot of boundaries anymore. Even Broadway is opening up to American Idol and stuff. You do try to go to the work that's going to get you some attention. As an actor, you gotta feed the bulldog. But you try to make the best choices you can. For instance, I'm going to be doing A Few Good Men at Casa Manana in Fort Worth this summer. I get to go back home and work and see a bunch of good friends.

Q: How many times did you have to mediate debates between Bruce Weitz and James McDaniel over whose cop show (Hill Street Blues or NYPD Blue) was better?

A: The cop shows didn't come up a lot. There was the usual, "Hey man, I loved you on such and such show." With actors, I think we mostly tend to focus on what we’re doing now. Certain things don't go away, like La Bamba and the work they did on those shows, of course. La Bamba is always running on cable, and between us we like to talk about other stuff. But we all realize that if those projects hadn't happened for us, we wouldn't be where we are today.

Lou Diamond Phillips will appear at the El Cortez premiere at 7:30 p.m. today at AFC.

- by John Wildman, staff writer, AFI DALLAS Daily News

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