It's pretty crazy. I was thinking about that today, how 'True Blood' has penetrated so much of the cultural zeitgeist. It's truly amazing; it's incredible! The cover of 'Rolling Stone' is major. What's next, the cover of 'Vanity Fair?' When I'm in a 'New Yorker' cartoon, then I will feel like I have made it.
— Denis O'Hare
There are values on Broadway that are dangerous: it's got to be Best Musical, it's got to make money, it's got to run a certain amount of time. Nowhere in this, of course, is there any mention of quality.
I received a phone call; my agent got a phone call from Ryan Murphy saying he wanted to talk to me... And he basically outlined 'American Horror Story' for me and said that there's a character named Larry the Burn Guy, and I'd like you to play it.
I think all the characters in 'American Horror Story,' which is why I love it, are looking for some sense of meaning, and also it's their form of happiness.
I guess I didn't even know the word 'genre' until I did 'True Blood.' That's how naive I was, and I didn't realize that there was a point of view about certain types of TV. And so I guess I found it disappointing that there is a segment of the critical community that looks at genre as something that is separate, less than.
I was actually a poetry major in college before I punted and decided to become a theater major. I wrote the poem that we put on the sauerkraut boxes in the style of Elling.
Probably I have more phobias, fear and eccentricities than I would care to admit. I don't think I'm in danger of losing my mind, but I do often question my own behavior. I have a very bad temper, and it's not always healthy for me and for others. I make my way in the world more difficult, and I could do with a little more yoga.
Comic-Con is a special kind of crazy.
Whether it's writing a monologue or writing standup or writing a screenplay or writing a play, I think staying involved in the creation of your own work empowers you in a way, even if you don't ever do it. It gives you a sense of ownership and a sense of purpose, which I think as an actor is really important.
I think it was 1987 - something like that - or '86, and I thought, 'When you go equity and you're gonna get paid, you'll finally be able to make a living.' But it was not to be so. I always bartended and waited tables so I ended up not doing theater for about a year because nobody would hire me.
It's highly dishonorable to ever quit a production. I never have done it, and I can't imagine ever doing it. However, I have been in productions before where, on the first in the read-through, you feel that someone is in trouble, and indeed, actors have been let go shortly after read-throughs. I've seen that happen before.
When you think of Grimm's fairy tales, they are deeply, deeply psychological. They're so powerful, so bloody, and really, really disturbing. Think about five-year-olds reading that stuff. Even 'Little Red Riding Hood' is a really freaky story. Grandma is gobbled up by a wolf, and the wolf is going to eat the girl. That's scary stuff.
I've been acting for a long time, and I've done a lot of things, and I've been maintaining my anonymity pretty well. I get recognized once a week, at most, here and there, so I'm reluctant to give that up.
I read 'Dracula' in high school. I've been around vampires forever.
I went on a Buddha jag. I read 'Confession of a Buddhist Atheist' by Stephen Batchelor and Karen Armstrong's biography of Buddha, which is a great book.
I'm a little bit of an obsessed artist, and I'm not very talented. But isn't Suzanne Somers a bad painter?
I guess the big thing to say about 'Pig Farm' is that none of us knows if it works, and we're going in blind. It's in the tradition of 'Urinetown,' kind of - but that's a pretty small tradition. It's possible that it can fail.
I was born in Missouri, but I was raised in Detroit. One of my stock and trades is accents.
And I guess I'm a kid at heart in that when I go for entertainment, I want to be totally transported. I want to go somewhere else; I want to encounter different things, different beings, different universes. And so I love that aspect of being able to play those things in both 'True Blood' and in 'American Horror Story.'
Michael Winterbottom is one of the great directors of this century.
I somewhat resist the whole gay rights-vampire rights metaphor because it is fraught with problems. I don't want to be seen as a gay man as a blood-sucking killer. I don't think it is the way to win hearts and minds.
'The Iliad' is about a war 1,200 years ago that solved nothing and achieved nothing. Most of our wars achieve very little. But whatever agenda I have gets buried in a work this great. If you're being honest, you realize that, as an artist, you're not a policy maker.
You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.
I've been watching 'Lost' on DVD recently. I keep thinking, 'Where are those actors now?' Nobody knows.
My first paying gig was a play called 'The Voice of the Prairie' at a theater that no longer exists in Chicago called Wisdom Bridge. I played a fast-talking radio huckster - a salesman of crystal sets in the 1920s - and I actually won an award. Look at that! And then promptly didn't get hired for a year.
I was a fan of 'Six Feet Under' and was very sad when it ended, so I was not ready to switch my allegiance to another show. So I was like, 'I'm not watching this 'True Blood.' Then a friend got a bootleg copy of the first four episodes, and by the third one, I was irrevocably hooked.
I love monsters, I love creatures, I love beings, I love aliens. That's more supernatural and more the stuff of fairy tales. Fairy tales are as ancient as we are. I love those stories. I think they're really interesting because they always have more than simply the fright aspect. There's something deeply psychological.
I'm 48, and I have been in love with vampires since I was six. I was born in 1962, so I've been through three or four waves of vampires. When I was growing up, we had vampire shows and movies. We were still dealing with Bela Lugosi, Boris Karloff and the old Christopher Lee vampires.
I moved to New York City in '92 and had no money. I had a lot of free time, as actors do. I would go to the New York Public Library at Lincoln Center.
When I did 'Racing Demon' by David Hare, I worked with Paul Giamatti, who had stacks of books in his dressing room. I was offstage a lot, so I would go read in his room. He was reading a four-part series on the Byzantine Empire by Alexander A. Vasiliev. I read two of those during the run of the play.
I hate singing. I hate dancing. I enjoyed doing 'Cabaret' and 'Assassins,' but I would wither up and die in 'The Music Man.'
If you see me in New York, you'll probably see me on my bicycle riding furiously between a city bus and a taxi cab, hitting one of them on the side and yelling at them.
Funnily enough, I was a big fan of the show and had been watching it - along with everybody else - and had never imagined that I would be on it. You kind of look at shows and think, 'Oh, I wish I had done that one.' But I didn't really see myself on 'True Blood.'
Especially when it comes to something like the awards, I find it kind of baffling that 'True Blood' has been snubbed so many times given the incredible range of acting they have on there; I mean, incredible storytelling and the incredible production values.
I was a serious poet for quite a while and had little notebooks filled with poetry.
Anybody who knows me has said, 'I had a Denis O'Hare moment.' I suppose in the kindest instance it means standing up for yourself. In the unkindest, it means the crazy guy in the street.
For all the import and message of 'The Iliad,' it's ultimately a story that's meant to be heard, and the person hearing 'The Iliad' determines what it means.
Generally, it's a great exercise to not get stuck in one medium too long because you begin to lose perspective on the peculiar drawbacks and strengths of the medium. For example, if I'm in the back of the stage and I want you to see my emotional change by a flicker of my eyelid, we're all going to be in for a long boring evening.
I was raised on the brothers Grimm, but my favorite fairy tales in the world are Oscar Wilde's - 'The Nightingale and the Rose,' 'The Selfish Giant.' The latter is probably my all-time favorite.
I went to Northwestern in Chicago, in Evanston, and then I ended up trickling down in Chicago theater. I did a bunch of plays, but I was non-equity. For a lot of people, non-equity means you're not yet professional. But for me, if you're in a mainstream theater, you're doing something real.
Between New York and L.A., and all of us who are actors, I feel like we're just one big, cast repertory company, all running back and forth between the coasts and between different shows. There is a wealth of great character actors, who show up, here and there, on different shows. I love the fact that we're allowed to do that.
Evil is such a simplistic way to describe any character, be it Iago or Caliban, or any character from history.
I was a big fan of 'Six Feet Under.' So, I got a bootleg copy of the first four episodes on videotape, watched them and was instantly into it. During the first episode, I was like, 'Eh.' By the time I got to the second one, I couldn't watch them fast enough. I got on the phone that night, called Time Warner cable and ordered HBO right then.
I read five books on the Constitution. My favorite was 'Plain, Honest Men' by Richard Beeman. I went on a science jag in the same way. I kept getting in arguments about evolution and being bested. So I read Charles Darwin's 'On the Origin of the Species,' a fantastic book that is not that difficult.
