Anglicon '97
Saturday, April 19, 1997
Q&A
Transcribed from audio tape with most of Peter's "ums," "I means,"
"kindas" and "y'knows" taken out. :-) Audience questions paraphrased
for brevity.
Q: How did you get the role of Methos? (photo by Dianne Smith)
Peter: How did I originally get this? I auditioned for it. I got
a phone call from my agent. It's how these things tend to start
off. You're sitting around, nothing particular on your mind, and
the phone rings.
I think the original deal was, was I interested in spending four
days filming in Paris? Yeah! I was interested, certainly. I knew
nothing at all about the show at that stage. I had seen... no, that's
a lie. I hadn't even seen the first movie then. I had heard of the
movies. So I had a vague idea of the existence of Highlander,
but I didn't know what it entailed at all.
And they didn't send me a whole script. They sent me a couple of
pages to look at. One of which —
[sees Marcus Testory enter the room] Good God! Ladies and gentlemen,
Marcus Testory! We now have half of the Four Horsemen of the Apocalypse.
Hey, we're putting the band back together! This is a very big surprise
for me, Marcus being in town. Marcus lives in Austria. That's in
Europe, okay?
When I arrived yesterday, somebody said, "Marcus is in the
bar."
"Marcus who?"
"Marcus Testory."
"Nah nah, you got the wrong guy here."
But "in the bar," yeah, that should have given it away,
really. [giggles]
Where was I? Oh yeah, I was going to Paris. They sent me these
couple of pages from the script. One was a big long conversation
with MacLeod that we eventually filmed walking by the — it
was the canal actually, it wasn't the Seine — where I was talking
about being on the stage with Caesar and also with the Rolling Stones.
And I was thinking, "What is this show about?!" And then
there was the big scene under the bridge where I offer him my head.
I say, "Chop my head off." So that was my —
[Marcus laughs] Hey! Is this some kind of double entendre? Offering
him my head? Stop it! If you're not going to behave, you can go
home.
Look at it. [gestures to the tattoo on Marcus' head] This is what
I call commitment to a role. Just for the show, he had that done.
[giggle] So yeah, I did an audition and I got the job. That's the
story. [giggle]
What are your favorite ad-libs that you've done on the show? Anything
we can put on a stamp?
[laughs] I think you do enough of that without my help!
I think my favorite ad-lib, well, episode really, was "Till
Death," where very little of that was in the script —
anywhere. That whole section where I said to him that I would do
this for him if he gives me his boat. And there's the scene where
[I said], "Okay, right. Gimme the boat then." That was
a very short scene but it just went on and on and on. And in the
end they've cut it down a lot from what we filmed. All that stuff
of taking his chair and then going and kicking things off the desk,
and then hucking stuff around the place — all of that was ad-libbed.
That whole episode was... [giggle] Who wrote that script? [giggle]
They didn't give us a writing credit on it, and I think they should.
Are we going to learn more about Methos' past?
For the future, I don't know, but there is definitely one in season
five, where there is another Methos flashback. Yep, yeah. And it's
quite different from the last one. [laughs] It's an episode called
"The Modern Prometheus," which Adrian directed again.
And, uh... [laughs] Somebody over there said [with sexy voice],
"He likes you!"
Actually, Adrian's directed four episodes, and I've been in three
of them, so I don't know if he gets casting approval... "The
Modern Prometheus" episode, the flashback stuff is very lyrical,
and the camera is also [doing] very flowing movements and [the look
is] sumptuous. The modern stuff is shot much more like a rock video,
very kinda jarring. I think it's a good episode. But he shot a lot
of —
Marcus: Good music.
— a lot of, oh yeah! [laughs] I'll pass you over to Marcus
in a moment to talk about the music in that episode. Adrian shot
a lot of stuff for that episode [after] which the producers said,
"You're not going to be able to show this on primetime TV.
It's just too explicit. [laughs] Yeah. And Marcus' band wrote the
music to it. [to Marcus] Say a bit about the music and what's —
Marcus: No.
— what you've done in that. No? There's a lot of stuff in
the contemporary setting. [It] is about a rock star, and Marcus'
band, M.E.L.T., [laughs] have been cutting together the music for
that. Which is why he's in town. I don't know why he's in this town
but... He's in this town for a free lunch!
I heard rumors thatwe'll hear your band play at the dance tonight.
Marcus: Well, I do have the promotional rough mix with me.
[laughs] "Rough mix" is the only way it comes with Marcus.
Marcus: [laughs] The actual CD is to be released mid-May in Europe.
I don't think you guys will have the chance to hear it.
There is talk of making a compilation of music from the show, developing
a CD from that.
Marcus: No comment.
Maybe in the future. Maybe soon in the future.
What do you think of the way the writers chose to resolve the
relationship between Methos and MacLeod after "Revelation"?
The way it wrapped up in the end of "Revelation" is really
good 'cause all that stuff is still there. It's not something you
can easily, just kind of talk it through with your therapist and
[say] "That's okay. We move on now." That stuff has changed
their relationship forever. And it's not clear whether they can
ever get back to the ease and security with each other again.
I don't think there's anything in the rest of the season that is
specific about that. It's all still very much up in the air. To
me — you'd have to ask Adrian about this — but I would
think that it's going to be very difficult for MacLeod to fully
trust Methos again. He's always going to have this thing of maybe
there's more stuff to appear. I don't know that he's actually physically
threatened by that, but there's going to be an edge to the relationship.
There has to be, yeah. That's gonna be there.
I want you to know that we worked out this question last night,
so it's a group effort.
Okay. [giggle] Be afraid. Be very afraid. This is bad. [giggle]
If you had to do a graphic love scene, what restrictions would
you place on it?
[laughs] It would have to be uh, kind of crucial to the
story.
I don't know. I don't have strong feelings about that. If a scene
within a film script is right, then I don't look and think, okay,
well, I wouldn't want, you know, I wouldn't want my bum to be seen.
Yeah. I — no, I don't have... [to himself] What restrictions
would I put on? I'd want as few people as possible on the set when
it was being filmed.
In Medics, I did a bed scene in the final episode of the
first season of that. And you wouldn't believe how many people suddenly
were really busy on set. All the electric guys and the props guys,
they're all suddenly really quiet and busying themselves.
I discovered after we'd filmed this... It was myself and a woman.
I guess she was about 15, 20 years older than me. We're doing this
scene. And it was supposed to be night, but we're filming it during
the day, so they put blacks on the walls — uh, on the windows
— to cut out the sunlight. We were filming in someone's house.
We were up on the first floor. [U.K. has the ground floor then the
first floor, which is actualy the second floor in North America.]
I discovered afterwards that a bunch of the grips had climbed up
the scaffolding and were between the windows and the blackout curtains,
watching the scene.
So [smiles] that kind of stuff doesn't help the scene generally,
if you know it's going on. That's about it though, really. If the
scene is right, and I understand what's going on in the scene, what
I'm supposed to be playing, as it were, then that's okay. [giggle]
How much medical training did you have?
Right. I spent five and a half years in medical school. Yeah. It's
a six-year training and I actually left four weeks before my final
exams. [laughs] Oh boy, the family were so proud of me! Geez. So
yeah, I don't know what the training is like in the States.
I trained six years past medical school.
Plus qualification?
Four years of college, four years of medical school, and my specialty
takes six years after that.
Right. Your specialty is what?
Oncology. [Cancer.]
Right, yeah. It's a serious business. As a student, it wasn't that
difficult to just bumble along with it and never really commit.
And it got towards the end of training and I — I feel that
medicine, it should be a complete commitment. It becomes your life,
and I wasn't able to give it that much [of] myself, which is why
in the end that I left. I didn't feel that I had — I mean,
I'm very kind of religious about these things, ridiculously obsessive.
I feel the same way about acting — it's either a total commitment
or it's really not worth doing.
I got to the end of my medical training and I hadn't at any point
fully committed to it. And it seemed wrong of me to try and con
my way through the exams and then be a doctor — and then go
off and act. So, yeah, I did quite a lot of the training, but I
didn't do the exams at the end. I didn't qualify.
What roles would you really like to play? What would you like
Methos to do?
[laughs] More bed scenes.
The direction I want to go varies. It really depends on what I've
last done. The thing that I tend to do whenever I can is seek out
jobs that are completely different from what I last did. That's
the great thing about playing Methos — is that within one role
you get to do that. I've said this before, but when the script for
"Horseman" turned up, it was just fantastic because it
was so unlike anything that I've been asked to do before. And it
was so demanding.
That's what I tend to look for. If I've been playing good guys
for a long time then it's nice to play a bad guy. But if I've been
playing bad guys for a long time then it's nice to do something
that's kind of gentle and more sensitive. I did a documentary drama
on the Welsh poet called Alun Lewis a couple years ago, and I was
playing someone who was very very sensitive and gentle, and that
was completely unlike anything I'd done for a long time. But then,
having done that, I then wanted to do something tougher.
I don't have great career plans. I try and take things as they're
offered and turn them down if they're not what I want to do.
How bizarre is it do to a quickening?
I'm not going down that alley. [laughs] Yeah, it's weird. It's
big-time weird. I'm trying to think how many quickenings I've had
on screen. The one in "Chivalry" is actually — it's
completely accidental that that was there. They weren't going to
film it. It was just that I, in the back of shot, just kind of went,
"Ah!" [throws head back] I was mucking about, but it's
in the show anyway.
The one at the end of "Revelation," we blue screened
it. I don't know how much you know about the technical stuff of
— everyone's nodding. Everyone knows what blue screen is. Right.
That is king-size weird because you're standing in the middle of
an aircraft hanger with a big blue sheet behind you and wind machines
blowing at you and lightning flickering off. But basically you're
just standing in the middle of nowhere faking an orgasm. It's like
—
I really like the sound effects.
Yeah. The sound effects —
Your sound effects.
After you finish filming these things, you then go into the ADR
[automatic dialogue replacement] studio and you just do the vocal
bit. That is one of the funniest things I've ever seen, was Stan
Kirsch doing his ADR for his quickening in, uh, was that "Messenger"?
Yeah? [laughs] Yeah. They did actually do an edit of Stan's quickening
there, but instead of the background that they have in the show,
they put waves so it looked like he's surfing. [giggle] It was so
Beach Boys, it was beautiful! [laughs]
Yeah, it's very very weird. The thing that I didn't expect because
I hadn't had a lot of practice at these things is how physically
tiring it is. If you watch Adrian when he does his quickenings,
he actually doesn't tense up very much. He's quite relaxed. I'm
holding this great big sword and I'm all tense. [mimes holding sword]
My arm for about three days was just cramp. Not a mistake I'll make
again.
Is there ever a point when you're acting that you're not thinking
about acting, that you become the character? The car scene in "Comes
a Horseman," for example?
Yeah, that tends to be afterwards that you're aware of that. But
sometimes during scenes, you just kind of get wrapped up in it and
stuff is going on that you're not consciously aware of. And you
see the rushes, or you see it cut together afterwards, and you think,
"Wow, did I do that? I wonder why I did that?" Just little
details or intonations or facial expressions or stuff. That's when
it works best, is when you don't plan stuff. It's very hard when
you got a big scene like that. You do look at it and think, "Oh,
it would be great if I burst into tears at that point." It
works best when you do stuff that you weren't expecting.
The part where you laughed in Duncan's face, is that something
you did consciously?
No, I didn't plan on that at all. That was because of something
Adrian did that I didn't expect him to do.
We did that scene about four, five times, maybe half a dozen, and
each time it wasn't quite like the previous times. It's a very tough
job for the camera team and the sound team to pick it up because
they don't know where we're going next. And it's a nightmare job
for the editors to then piece it together into one scene, because
it isn't. Each time we did it, there was a truth about it. But it's
very hard to take a bit of one and stick it to a bit of another.
Now that laugh, [giggle] what was I thinking?! But yeah, it's right.
It's horrible, but it's kind of right.
How do you handle scenes where you're not happy with your work?
I don't know. Most of the stuff from my, certainly my early work,
I just can't watch. I really can't. I try to be objective
about stuff. And it's very hard initially.
When you do a show, the first time you see it, it's just full of
"Oh my God, my hair looks ridiculous!" You get so used
to — you look in the mirror and if your hair looks crazy then
you just kind of move it. But you're looking at yourself [on screen]
and you can't do anything about it. So there's a lot of that the
first time you see anything. But after five or six months, you can
look at it and be quite objective.
The good thing about doing film work is you can actually learn
from it. You can learn when you tried to do something and it just
didn't work. But the stuff that I did in my early — I can't
watch Soldier Soldier and Medics these days. There
were moments in it that I can say, "Yeah, I like that."
But whole episodes, no, I'm floundering around too much. I'm learning
about being in front of the camera.
I'm not trying to be overly modest about this, I'm trying to be
practical. I'm rarely happy with a whole episode. There are always
bits, moments, lines, pieces here and there, that I just think,
"Nah, that didn't work. I can see you trying to make that happen
but it wasn't really happening."
Um, how do you deal with it? You have to be tough with yourself,
I think. It's a practical business, it's about trying to learn from
it. So you watch it and watch it and watch it till you're not emotionally
involved anymore. And then you can learn, you can take something
from it.
Who would you like to act with? Who are your idols?
That's a good question. [to Marcus] Why're you kicking me? Oh yeah!
Marcus Testory! I'd love to do a film with Marcus! [laughs]
That's a very good question. Idols from the past... Richard Burton,
I think. There's a huge spectrum of work that he did where a couple
of his films are just the most wonderful work. And then there's
a whole bundle of stuff that was just kind of money work. But I
would have loved to have worked with him. I've seen footage of his
Hamlet on Broadway, just the "to be or not to be" speech.
He's an extraordinary actor, incredibly passionate, but also a searing
intelligence to him and a mind like a clamp. I think he would have
been amazing to work with.
I'm trying to think of... comtemporary... I love Al Pacino. I think
he's just fantastic! A lot of actors that I've kind of followed,
watched all their films and so... De Niro, I used to be incredibly
impressed by, but he's kind of got trapped in a repeating of his
old roles, whereas Pacino doesn't seem to have fallen in that same
way. And Pacino's funny. He makes me laugh. Glengary Glenross, I
think, is just so... That's an incredible film because there's like
20 minutes, 25 minutes of wonderful actors being brilliant, and
then it just cuts to a really close shot of Pacino talking to Jonathan
Pryce [and] you just go, "Yeah, he's the best." But I
don't know, I think he might be really tough to work with because
he's quite closed off. I don't know... women... women... who would
I like to...? [giggle]
How do you play someone thousands of years old?
I think Marcus can take that one.
Marcus: No idea. [laughs] Just try to imagine. Just to imagine
how it could be, you know what I mean? Observe.
For me, it's kind of easy because I've been playing Methos for
a long time. And actually, for me it was easier to go back 3000
years when he wasn't quite so old. Because, yeah. Hey! Piece of
cake, you know? I was a baby!
In ways, the thing that you go for is trying to imagine that period
rather than that person. It's going back to what's important at
the time, and how different from now is that period gonna be. And
I specifically, because it was Methos' first real flashback, I wanted
to technically, physically, make things different. I wanted him
to sound different and physically be a different shape. I thought
that back in those times he would just be bigger physically because
he'd just be more active. He's been in a library for the last 20-odd
years. Back in those days he was riding a horse and, you know, going
out chasing deer with a stick. So I tried to go for physical stuff
to make a contrast, to consciously make a contrast.
In stage combat who are your favorite choreographers and who trained
you?
I was trained by a guy called John [Waller?] who now runs the armory
department at Leeds castle, I think, in England. He's great. He's
this little ginger guy who's built like a brick outhouse. And he
does all sorts of combat, but his main thing is jousting. He runs
the British Joust Festival or whatever. And he's a very funny guy
because he's like this little ancient Celtic warrior.
But I have to say, my favorite fight choreographer is F. Braun
McAsh, who does Highlander. He's fantastically good, because
his knowledge of different weapons throughout history. He choreographs
fights not just according to the script, the story and exactly what's
going on in the relationships between the people who're fighting,
but also in terms of how different weapons would be used, which
changes the moves that you do. Rather than just sitting down and
thinking, "Okay, we'll do a blow to the head and a blow to
the hip," he's always thinking about how a weapon actually
worked. I think he's terrific. So he would certainly be my fave.
He's a very frightening guy himself.
What do you do in your spare time?
Okay, I'll tell you what Marcus does and he can tell you what I
do. [laughs] Marcus goes out clubbing.
When we're filming "Revelation" in Bordeaux, [laughs]
the Four Horseman would go out as a gang, you know — sink a
few beers, bonding, all that stuff. And Richard Ridings, who's the
big guy [Silas], he's pretty tough. He's got some stamina. Me and
Valentine [Kronos], we hold our end up. We do our best. We'd go
out till like two, three in the morning and then we'd — we'd
have drunk a few beers by then — we'd head home.
Marcus would go out to another club.
We'd sleep for four or five hours. We'd get up — eight o'clock
— try and grab some breakfast before going out to film.
Marcus would be arriving back to the hotel. He'd grab a cup of
coffee and we'd be straight out to film. He doesn't sleep. That's
all. I mean, literally.
Marcus: Music business training.
Ah, music business... My spare time. What do I do in my spare time?
I run marathons. [giggle]
What's it like working with Adrian as a director? Is it different
that working with him as an actor?
Yeah, it is. I think Adrian is a terrifically good director, and
I think that a lot of that is because he has an actor's sensibility
about how things fit together. A lot of times when you're filming
a show, it's always under massive pressure. There's not enough time
to do as much as you want. And a lot of directors, what they're
thinking of all the time is the picture and paintings. And they
want the actors to be in a particular place and that's it.
Adrian is always from the other point of view. It's always about
"Okay, these people are there. What are they doing? What might
they be doing? What might be going on?" So the actors come
first. We rehearse it. We try and get a shape to it, something that
everyone's comfortable with, and then he brings in the camera team
and the lighting to film what's actually happening. And that's,
from an actor's point of view, that's fantastic.
I think he's got a terrific eye as well. As I said, he's directed
four episodes and three of which I've been in. And the three of
them are very very different. Particularly "The Modern Prometheus,"
there is a different feel to that episode because of the subject
matter. He's taken the script and thought "How can I reflect
that story in the camera moves? Should I make the camera still?
Should I make it flow?" I'm enormously impressed with him as
a director.
I think it also frees him in his acting because his mind is elsewhere.
He's actually concentrating on the business side, getting everything
— the camera team, the lighting, everything else — that's
all in his mind. He's then less worried about his acting, and consequently
more relaxed and free-er, and more interesting stuff often comes
out of that.
How do you feel about other people's opinions of your work. For
example, if someone tells you they loved you in something and you're
thinking "I sucked. I hated that."
[giggle] Yeah, you've been there, huh? There are a couple of people
in the world whose opinions on my work I really respect, and I think
that's the only kind of rational way you can hold it together. Everybody
has an opinion. I have an opinion on Al Pacino's work. Why should
he care? But everyone does have an opinion. That's absolutely their
right, but you can't give too much weight to everybody's view because
you don't know what else they feel about the world. There are a
couple of people who I do look to for comments, and they're the
people that are closest to me.
How do you handle being recognized in public?
It varies. At the moment I don't get mobbed when I go out in the
street. And that's good. That's real good news. Back in England,
I haven't been on screen very much for the last couple years. Highlander
is not a big show in England. So it's much less in England that
it was...
When I first became a [professional] actor — I suppose I'd
been an actor about a year — I did a series of commercials
for computer games where for about 18 months every time I went out
through the door, everybody that I walked past recognized me —
and [they were] not always sure why they recognized me. Advertising,
that subliminal thing — you'd just get all these people looking
at you and you see they're going, "I know you from somewhere
but I don't know..."
That's really tough 'cause some days you get up and you just don't
feel good about yourself. If you've got that kind of pressure, you
just don't wanna go out of the house. Some days, it's great because
you're feeling good, the sun's shining, and it's a very happy thing
— people saying hello to you, people, you know, being nice.
I cannot imagine what it must be like to be like Jack Nicholson
or people that everyone on earth pretty much knows. They can't even
go to a different country and not be recognized. I think that must
be very tough, and I don't envy it. I don't seek it. At the moment,
things are great because a few people recognize me but they tend
to be people that care a lot about the work that I'm doing.
Who's the biggest practical joker on the set?
Oh God, Adrian is the biggest practical joker, without a doubt.
The last episode we filmed in Canada, Stan was trying very hard
to get Adrian back and Adrian was... he kept getting these messages
coming through from someone called Deborah, I think, saying, "Last
night was great, and I'm really looking forward to..." But
these were always passed to Adrian via one of the production team.
It started off, it was just "Oh, I don't know what that's
about, forget it" but they keep coming through the day until
he was starting to get really mad about it. It was really starting
to bug him. And in the end, we tried to get him to believe that
this Deborah person was waiting in his trailer. Stan had got hold
of one of the dummies from the wardrobe department and dressed it
up in French knickers and a bra. And they were gonna try and take
photographs of Adrian as he walked into the trailer and found this
woman there. But they got the producer, Ken Gord, to break this
news to him. Ken's a terrible liar. So Adrian knew at that
stage something was up. But he's certainly the biggest practical
joker.
Do you joust?
I only just learned to ride, come on!
Marcus, can you tell us about your band? (photo by Dianne Smith)
Marcus: The band I'm with is called M.E.L.T. That stands for Mother
Earth Love Truth. That is like, uh... well, call it grunge if you
like, I don't know. What do you want to know especially about it?
This is my life; I'm a musician, first of all. I'm touring Europe.
I just finished an album that will be released in the middle of
May that is called M.E.L.T. that will feature three songs that used
to be on a known TV show. You know, that's about it. And there are
a couple of copies somewhere over there? Yeah, at the autograph
session.
So they might get played behind your back.
Did you have special camera training after drama school or did
you learn on your own?
My drama training didn't involve any camera work at all really.
We nominally had a session down at a small TV studio where we could
go and kind of work with the camera, but the camera's being operated
by other students. It bore no relation at all to real work.
No, you learn by getting a job and doing your best and then looking
at it and seeing what mistakes you're making. Which is a tough way
to learn because if you're really bad you don't get a second job:
"No, no, but I know how to do it now!" "It's too
late." You learn by watching.
I learned by watching films, by watching people being good at it
and trying to read about how they view work. And there, really,
it's a lot of making it up as you go along. Someone asked yesterday
about how I approach a role and, you know, I don't have a method,
a technique. I just try and think what it's like to be that person
and then to try and be that person while the camera's rolling, and
try not to act.
When I did National Youth Theatre, back in Wales, that was the
thing that the director of National Youth Theatre always used to
— he hated people acting. And I think that's really the advice
that I've tried to hang on to.
Did Methos start the Watchers?
It does have a nice kind of symmetry to it, doesn't it? I don't
think that at any point we've ruled it out. We certainly haven't
specified that yes, Methos did that. It seems kind of neat, doesn't
it? I think it's very possible.
Marcus, how did you get the role as a Horseman?
Good question.
Marcus: Well... well... Let's say there's a friend of mine drawing
storyboard [for Highlander]. He wrote the script [on storyboard].
Rang me up: "There's a guy in the script is just like you!"
And I was like, "Uh, nice?"
"No."
So he told me to "get on a horse, make a photograph, send
them to me [and] I'll show them to the director and we'll see what
happens."
And, well, it happened. So I had this little casting video done.
Ken Gord saw it. Ken Gord said, "Yep, that's the guy."
Oops, Bordeaux, here we go. And then I was there, and I was just
like, "Eh? What is this all about?"
Marcus didn't have any kind of publicity photos so [giggle] he
goes off and gets a horse and sits on the back of it. Yeah! This
is the character! They're not going to be that useful for Shakespeare
but... [laughs] Oh, I don't know, Macbeth.
Marcus: [laughs] No.
Highlander has a reputation for being a really happy set
and crew, especially with the rotating sidekick of the week —
[grins] You mean Adrian? You can tell him I said that. [laughs]
Is it true? And do you have any fun stories to share?
Is it true? Yeah, absolutely. I don't know why it's turned out
that way. I guess people that are no fun don't get asked back. But,
yeah, you can't fake that stuff. People either get on well or they
don't. And I think it's kind of from the people at the top. The
atmosphere is defined by the people at the top. Panzer loves the
show. Ken Gord loves the show. Adrian loves the show. People are
happy in their work. It's been going a long time now so people that
didn't quite fit in have been wheedled out [sic — he means
"weeded out"]. People that did fit in have been added
on.
I don't know... fun stories... just going in to work is a fun story.
This is the toughest job in the world — I get to work in Paris
and Vancouver playing a man who's 5000 years old. It's a great gig.
Marcus, what label is the CD on, and did you play any music with
Jim Byrnes?
Marcus: No music with Jim Byrnes. It's kind of a different style.
The label's called Whampire Records. That is a small German independent
label. We are distributed by different major distributors all over
the world. I don't know exactly but publicity... join the Internet.
Find Whampire Records.
Is that "Whampire" with a W or a V?
Marcus: W - H - WHAM-pire.
WHAM-pire.
Marcus: Whampire.
How did you get into Duncan's apartment and sprawl yourself on
his bed in "Messenger"? Did you use a key or did you break
in?
What are you implying? I have my own key! Think I've lived 5000
years without learning how to pick locks?
When we were doing that episode, I thought, "People are gonna
talk. It's a terrible idea!" But then, you look at the simultaneous
quickening at the end of "Revelation," so [giggle] I think
being on his bed is no big deal.
Is Methos a good guy or a bad guy? [gives examples from several
episodes of Methos being good and bad]
Man, you're so judgmental! [giggle] I think you've very eloquently
summed up why he's a terrific character. I can't tell you. It's
too complicated. That's why he's great to play. That's why I suspect
he's great to watch because you don't know where he's coming from.
So far as I know, reading all the scripts, the ideas that are coming
up, I still don't know.
I think it's entirely possible, from all the words that I've read,
that this could all be the master plan of a vicious bastard. But
the opposite is also true, and that's why it works.
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