A Quote by Jane Lynch
Unfortunately, I don’t actually don’t have any scenes with Michael Bolton. There’s an exposé done on Sue Sylvester, and he pops up on the screen to basically just say he has no idea who I am. That’s the father of my child!
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It's good for me to pull away from something that is just done for effect, which was basically Sue White in 'Green Wing.' In that, it was very much: if in trouble, gurn, or fall down. There was no character background to Sue. You didn't know who she was. She didn't have any toehold in any kind of reality.
George was the easy part. As for Michael, I had always liked the name, and my father's brother is named Michael. I thought it was a good idea because there are a lot of Greeks in England with the second name of Michael; as a child I had a Greek friend whose second name was Michael. It was like getting the name that I wanted without having to get rid of the Greek element.
You're the Sue Sylvester of NXT.
I think for my parents it was like "A Boy Named Sue," the Johnny Cash song. A guy named Sue tries to track down his father to take it out on his father for naming him Sue. And his father says, "Look, I knew I wasn't going to be around. So I gave you the name so that you would grow up strong enough to take the hits and fight back." So I like to believe that's why my parents gave me this stupid name.
I like for Sue Sylvester to be firing on all cylinders.
I've done movies with Oliver Stone and Michael Mann. And I've done quite a few dramas in my time, from the theatre to film work. I just think the audience is used to seeing me on 'Saturday Night Live,' and 'K-9,' and 'Curly Sue' and of course, 'According to Jim.' I think that my comedies have been the most popular.
When we have a lot of the running, which we do on green screen, that is actually the hardest... I swear I have, like, four separate scenes in a row running, and I'd only done one at a time before.
I am opposed to the idea of a child growing up with two gay parents. A child needs a mother and a father. I could not imagine my childhood without my mother. I also believe that it is cruel to take a baby away from its mother.
Kissing on screen is just, funny enough you're just acting so you're distracted by that more than anything. Or at least I am. I'm actually always coming away from those things going like, 'I wonder how I kissed just now.' Because I have no idea! I'm just thinking about what's happening.
As the cinema is changing, on-screen kissing, love-making scenes are becoming part of the narrative. I am not saying it is wrong, because it is the reflection of how our society has changed and become comfortable with it. But I am uncomfortable performing it on screen.
My job with Sue on 'Bake Off' was to look after the bakers - and to be honest, a lot of that was done off screen as well as on screen. It's very much the same on 'Let It Shine.' You get to know people, you get involved, you want things to be alright.
I think my cruelty hides beneath the surface a lot more than Sue Sylvester's.
Attachment is misery, but from the very beginning the child is taught for attachment. The mother will say to the child, "Love me; I am your mother." The father will say, "Love me; I am your father" - as if someone is a father or a mother so he becomes automatically lovable.
So much of Sue Sylvester, the angry woman, came from that part of my life, wanting to crush other people's dreams and judging others so harshly, which is always just a way of deflecting your own self-judgment.
I had always planned when I started directing in 1970 that after a few years I'd get tired of looking at myself on the screen and say: "Hey, let's not do that any more." But then every once in a while something pops up. I'm not saying it won't happen again but probably the odds get less as you set yourself for roles that fit your age group.
Now it would be foolish and impossible to try and prevent the manufacture of films containing Canadian snow scenes; but there is no vestige of a doubt that when exhibited overseas they have a detrimental effect of immigration . . . Everything that can be done should be done, to encourage the circulation of screen pictures that demonstrate that snow scenes and dog-trains are but a minor phase in Canadian life.
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