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DP/30 Emmywatch: Glee actor/Shameless writer, Mike O’Malley

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4 Responses to “DP/30 Emmywatch: Glee actor/Shameless writer, Mike O’Malley”

  1. LexG says:

    1) Shameless was the best new show of the past season, or at least tied with Lights Out, which is now RIP anyway. I hope it gets a shitload of Emmys, especially for Rossum and that girl who plays Cusack’s troubled daughter.

    I still haven’t gotten over Joel Murrary’s fate on the show, the most upsetting thing I saw on TV all year. Actually wish more people I knew watched it, since no one talks about it anywhere. Really loved it.


  2. Bob Burns says:

    another great interview.

    O’Malley is doing the industry availabilities while the Glee cast is touring. He’s moving up in my Emmy predictions in the competitive Supporting category.

    I was surprised, and happy, to see him nommed last year in Guest, which also has so many great candidates. From the outside looking in he appeared to be so much less well known than other potential niminees. Makes more sense listening to him…. he feels like a fit for Emmy voters – paid his dues, which seems to be an important attribute for that group.

    There was one question I missed. It’s been widely reported that Colfer has written a film that shoots later this summer, has had a pilot picked up by Disney, and a deal for two children’s books. I’m curious about their interaction as writers.

  3. hcat says:

    If Murray was on Shameless, I might have to check it out now. I was completly blindsided by his turn on Mad Men. The guy had been doing his wacky friend thing on sitcoms for like two decades and then gets to create this 3 dimensional completely sympathetic and tragic role, I was shocked by its depth. Suprised what many actors can do if given the oppurtunity.

  4. Paul MD (Stella's Boy) says:

    I watched Shameless Lex and overall liked it a lot. I think Justified is far superior (and Lights Out was a huge disappointment), but it’s funny and overall the cast is great. Really like Rossum and the kids who play Lip and Ian (young Damon in The Departed). I agree about Murray’s fate. He was excellent and I really felt for his character. His fate was stunning and very sad.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
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“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

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