She Magazine L Word S2

Here’s an excerpt of the interview in She Magazine (Jan 05 issue) with Sarah & Rachel:

In the first season of The L Word, the show’s audience was introduced to a group of beautiful women whose lives and loves they followed throughout the year. With friendships and relationships having evolved, the second season will pick up with Tina (Laurel Holloman) rebuffing all attempts by Bette (Jennifer Beals) at reconciliation and Tina finds out she is five months pregnant. Marina (Karina Lombard) is gone, Alice (Leisha Hailey) and Dana (Erin Daniels) cannot seem to resist each other, Jenny (Mia Kirshner) prepares for an emotional farewell with Tim (Eric Mabius), Kit (Pam Grier) catches Ivan (Kelly Lynch) in an awkward position, and Shane (Kate Moennig) meets an attractive new lover, Carmen (Dallas native Sarah Shahi), a Latina production assistant who spends her evenings as a DJ-all this in the scandalous season opener. Causing a bit of turmoil in Bette’s life will be Helena Peabody (London native Rachel Shelley), the new administrator of a foundation that provides financial support to the Art Center. When Helena announces that she’s taking the group’s grant money in a different direction, Bette becomes distraught, consoling herself with alcohol and a one-night stand.

With new additions to the cast that will certainly heighten the level of drama, season two of The L Word is sure to be just as addictive as last year and will keep audiences tuning in and wanting more. She Magazine brings an exclusive interview with these two beautiful women on their characters, sex scenes, their relationship with the cast, being admired by gay women and much more.

Christina Radish: Why do you think you were chosen to join the cast?
Sarah Shahi: I paid them money. Lots of money. How can they refuse $12 million? [Laughs.] No. Why do I think I was chosen? I honestly don’t know. Maybe they just needed some new blood. I know the network has been making a lot of changes since last year, and maybe they just wanted to do something different with their shows. I will say that it was probably one of the easiest things that has ever happened to me. I read for the casting director and they put me on tape, and the next thing I knew, they were calling me saying, “They want to offer this to you.” So, it just dropped out of the sky, in terms of how it happened. I couldn’t have asked for an easier hiring situation.

Rachel Shelley: I know that they’d been looking for the actress to play the role of Helena for quite awhile, and I know that they were toying with the idea of making her English. By the time I got on the set, they were two episodes behind. Casting is all about tiny nuances of personality, which, for the most part, people are unaware of. I think, to some degree, we all have elements of our character that are innately in us. So, I guess they saw something in me that was innately Helena, which is a little disturbing because Helena is quite harsh. What’s funny is that, in my acting career previous to this, I’ve always played the sort of “butter would melt” kind of character. I’ve never been cast this way before, as the one who sort of ruffles peoples’ feathers. Also, I think there’s an element in American television to often cast British actors, male and female. Americans love to think that the English accent is kind of hard and slightly cruel and a bit superior, and quite often we’re cast as the baddies or the villains of the piece, and I think that’s partly true here. My English accent probably really helped me get cast just because it does, for American audiences, seem to lend that edge of arrogance or superiority.

Had you seen the first season of the show before you were cast?
Shahi: I’d only seen a few episodes here and there, when I was home on Sunday nights. I’d be like, “Oh, let’s see what’s on. Oh, okay, I’ll just watch this.” I was familiar with it, but not as much as I am now, obviously.

Shelley: Not prior to auditioning, no. I was in England and the show only came to England, I think, in the autumn of this year, and I was cast in the summer. But, I had heard quite a lot about it and I’d actually read and heard interviews with Ilene Chaiken. I’d read stuff with her talking about her script and what she was trying to do, so I was quite intrigued by the show and I knew the level it was at. I knew the kind of issues that it dealt with, but I had not seen anything.

What about your particular character attracted you most and made you want to do the show?
Shahi: Well, as an actor, you just want to try things that constantly challenge not only your skills as an actor, but as a person, too. It was just one of those things that you’d have to be dumb to pass up on. It’s so enriching, in my personal life, and as an actor. I feel like I get to play a dream role, in a sense that not many actresses have the opportunity to play the role that I’m playing. In the second season, you really don’t get to know that much of Carmen’s story—her own personal background. My storyline is intermixed with those I’m in relationship to. It’s not until the next season that we’re actually going to go into Carmen’s life and explore what it’s like being a gay Latina, and get to see her own family.

Interview Laurel Holloman

THE ADVOCATE – June 27, 1995

WOMEN IN LOVE
The two stars of Two Girls in Love find romance on the big screen an eye-opening experience

By Chastity Bono

"Before I did the film, I don't ever remember walking down the street, seeing another woman, and thinking, God, she's really beautiful ," says Laurel Holloman, costar of writer-director Maria Maggenti's feature film debut, The Incredibly True Adventures of Two Girls in Love , which opens in theatres June 13. "Now I'm 100% tuned-in to other women."

Nicole Parker, Holloman's onscreen lover and costar, also found being in a lesbian film a "broadening" experience. "Like Laurel, I have dated only men, but when I started shooting the film, it became easy for me to understand how simple it is to love a woman," recalls Parker, who just finished taping Divas, a television pilot for Fox. "So many of my gay friends have been through a lot of stress and social pressure. That made me really scared to explore my own homosexuality. But during the film it seemed so completely natural that my whole outlook has changed."

Although Holloman and Parker are both romantically involved with men, they agree that being a part of Two Girls in Love was a profound experience that will forever change the boundaries of their own sexuality. "I think what I define as sexy and attractive is not so standard anymore," says Parker. "Now I think women are extremely sexy and so beautiful, especially when they have short hair and are kind of masculine or when they're very feminine."

Holloman, 23, adds, "I felt like there were two parts of me that were starting to become whole. Before I did the movie, I thought of myself as a straight girl and that my only option was a boyfriend. That seems so small now. There are so many options, because for me it's the person who matters, not what sex they are."

Filmed in upstate New York in just 21 days, Two Girls in Love is a romantic comedy about coming of age and falling in love. It's the tale of two high school seniors: Randy Dean (Holloman), an underprivileged lesbian outcast, and Evie Roy (Parker), a beautiful, intelligent, and popular African-American girl. They meet, fall in love, and suffer the slings and arrows of outrageous dyke drama.

Although the film is essentially a lighthearted love story, Maggenti effortlessly interweaves a wide range of potentially heavy subjects, most notably lesbianism in a small town and interracial romance. And it was exactly these issues that made the movie so enticing to Holloman and Parker. "I felt completely grateful just to be able to get the part because it's such an amazing character," recalls Holloman. "I've played enough damn ingenues, daughters, and girlfriends that it was really great to play someone who is gay, completely out, and proud of it."

Parker, also 23, was equally enthusiastic about undertaking the role of Evie, but for a slightly different and more personal reason. "What was more exciting to me – even more than the sexuality issue," she says, "was the fact that I was getting a chance to put someone on-screen that I don't see very often but that I know personally – a young black woman who is both intelligent and educated."
_________________

Besides the opportunity to be able to play great characters, both Holloman and Parker really enjoyed the fact that Two Girls in Love was shot by an almost all-female crew, most of whom are lesbian or bisexual. "Ninety percent of the crew were women, and that was just amazing," remembers Parker. "There was a weird, intense energy on the set at all times that make it a very safe acting environment."

Holloman found her experience on the set to be an almost healing one. "I went to an all-girl prep school in the South where there was a lot of game playing and gossiping, which made me not trust women in general. Being on the set was very positive for me, because the women were so nurturing that it made me able to trust women again."

Maggenti, the woman responsible for creating such a positive working environment, had a very specific reason for wanting a female crew. "I believe having so many wonderful lesbians working on the film made a huge difference in the girls' performances," she says. "It gave them a sense of what it's really like to be gay. There is something very specific about a lesbian or gay experience; it's not something you can simply act because you kiss another woman."

Maggenti should know. Her own personal experience have made her well aware of the complexities of sexuality – a lesson she found harder to learn the second time she came out than the first. "When I can out as a lesbian, I felt great about myself," she says. "My attitude was, If you've got a problem with it, then it's your problem. It's pretty strange that 12 years later I would fall in love with a man, be totally traumatized by it, and have to come out again."

When Maggenti was originally casting the film, she had a very definite idea of the type of people she wanted for the leads. "I held open calls at the gay and lesbian community center," remembers Maggenti. "I was initially very committed to having two young lesbians play the roles of Randy and Evie. I found girls who were physically what I wanted but they had no acting experience, which concerned me." Casting the film turned out to be a tedious process, but Maggenti knew she had finally struck gold when she paired Holloman and Parker at the third set of callbacks. "I finally decided to go with them after they did an improvisation together that was so extraordinary, I ended up writing it into the script," Maggenti recalls. "After they left the room, I turned to everyone and said, ‘Oh my God, that was fantastic. It's them. It's them.'"

Maggenti's instinct to cast Holloman and Parker paid off. Their onscreen chemistry is undeniable. However, their lack of actual lesbian experiences prior to making this film does make one wonder how they pulled off this chemistry. "I think it helped that Laurel was fine and cute," Parker jokes. "My attraction to her came out of wanting to work with someone who was a good actress. I didn't want to take Laurel home, but sometimes when we were filming a scene, it felt like I actually did, which was all that really mattered."

Holloman found that the best way to act out the romantic scenes was to just play off of Parker. "You start to find the things that you would fall in love with if you were really falling in love with that person," says Holloman. "I didn't have to substitute Nicole for anybody else. I just worked off of her. There is something very mysterious and sensual about her, and I found that really attractive."

Although it's hard to imagine – after watching their passionate love scene – that there's nothing romantic between Holloman and Parker, the truth of the matter is that offscreen their relationship is based purely on friendship and mutual admiration. "I trusted Laurel immediately," says Parker. "She's just one of those people that you meet and want to share with. It was almost like I knew her already."

As far as Holloman is concerned, the feeling is very mutual: "I consider Nicole one of my really good friends. She's just one of those people you can be vulnerable around. Unfortunately, we don't get to see much of each other now that the movie is done."

No longer in the safe, lesbian-friendly environment of the set of Two Girls in Love, have Holloman and Parker changed their attitudes on the possibility of ever sharing their romantic lives with
women? "If I met the right woman and she was the one, then she would be the one," states Parker. "But right now I'm just working on learning to be a loving and caring individual."

Holloman, however, seems much more curious about a lesbian relationship in the future. "I would have to say that I would be completely open to being in a relationship with a woman," she says. "Though I have had experiences with women before, they never escalated into a relationship. Now I'm very curious about that. However, whether it's with a man or a woman, you never can plan love. It just sort of falls into your lap."

(kilde: BreathlessM / Media Blvd Forum  -> The L Word)

Tammy Lynn Michaels III.

Mrs. Etheridge Is Committed
by Daniel R. Coleridge

Popular grad Tammy Lynn Michaels (aka Mrs. Melissa Etheridge) is baaaack. An habitué of portraying wily, wacky women, she currently plays Tess, the shady nanny on NBC’s new Tuesday-night comedy, Committed (9:30 pm/ET). She also has a recurring role as Lacey, a loopy but lovable lesbian on Showtime’s The L Word (Season 2 begins Feb. 20). Here, the mouthy 30-year-old starlet candidly discusses her gigs as an actress, stepmom and rock star’s missus. Buckle your seat belts, folks…

TV Guide Online: Just curious. Do you mind being called “Mrs. Melissa Etheridge”?
Tammy Lynn Michaels: Are you kidding me? I took the name Etheridge. In my career, it’s Tammy Lynn Michaels. Around home, I’m Tammy Etheridge.

TVGO: Did you change it legally? Visiting the DMV to update your driver’s license must’ve been fun.
Michaels: Yeah, especially when the f—in’ government doesn’t even recognize the reason why you’re changing your name. That’s even more fun. But I’m flattered when people call me Mrs. Of course they can call me Mrs. Etheridge. I’m so flattered, it makes me want to cry! That’s an acknowledgment of my relationship to Melissa. Thank you very much. And if they continue subtly [saying that], maybe those flyover states will learn a lesson.

TVGO: OK, so then it’s safe to call you Mrs. Melissa Etheridge in our article.
Michaels: It’s fine. Some people bank on the importance of whom they’re married to and others don’t like being called Mr. or Mrs. So-and-so. I don’t give a s—. And you know what? I think there’s a lot of people who recognize me because of being Mrs. Melissa Etheridge and, fine, let that get ’em to the show!

TVGO: As one of Hollywood’s few out actresses, how hard has it been for you to find work?
Michaels: I’d probably have a better measure of how my coming out affected my career if I had continued to pursue it as aggressively as I had been. When I was finishing Popular, I went through a period of time — even before I met Melissa — of questioning if I really wanted to keep acting. Then I met Melissa, came out, the fur started flyin’ and I just ducked [out of sight]. I knew that any role I booked at that time — whether it was because of my talent or I’d slept with the casting director — people would say I was just riding Melissa’s coattails. I didn’t want that, so I stopped auditioning and started making lunches for my stepkids and went along on tour with Melissa.

TVGO: What lured you back to work?
Michaels: Fortunately, I have a great agent who did not listen to me when I told her I wanted to take a year off. She sent me the script to The L Word and I laughed out loud — which never happens — and Melissa very sweetly drove me to the audition. I booked the show and things have been in full swing ever since.

TVGO: What’s the status of Melissa’s sitcom? Would you ever guest-star?
Michaels: They made the development deal and a week later, she was diagnosed with cancer! She’s done with her chemotherapy now and she’ll be getting back on her feet in a couple of weeks, and then they’ll just pick up production again. Melissa and I have made jokes about [my guesting], but it’s gone no further than late-night-TV-watching jokes in bed. I wouldn’t mark it off my list; I’d do anything with Melissa. Who knows, she could have a dream in her new TV show where I come sliding down a fireman’s pole!

TVGO: You play so many off-kilter characters. What does that say about you?
Michaels: I am off-kilter! I was raised by so many colorful souls, and I’ve just got pieces of all of them in me.

(kilde: TV Guide)

L Word – links

særdeles rodet link-samling, men aldeles uundværlig….

Showtime (U.S. only) – brug Primedius eller Cloak for at skjule din ip
Showtime (non-U.S.)
AfterEllen
Crispy Soup Chef
IMDB
Katherine Moennig Fan Site
The L Web
The L Word Fan Site
The L Word Online
TV Tome
Transcripts
ItFinite
The CS Recap
The L Word Lexicon
L word pictures
Go With the Flow (Finnish fansite)
Yahoo Group/Board
The Unofficial L Word Board
Mr Piddles page
Ohio’s fanfic
Panfandom
SosnovskaSymposium> The L Word The Unofficial L Word
TWoP

MediaBoulevardForum
l-word discussion-board
L word soundtrack download
L word episode guide

Booze’s danske L-Word site

Nyeste linksliste

Random

L Word – episode guide

Episode list (cuz I lost track):

1.0 "Pilot1"
1.1 "Pilot2"
1.2 "Lets Do it"
1.3 "Longing"
1.4 "Lies, Lies, Lies"
1.5 "Lawfully"
1.6 "Losing It"
1.7 "L'Enniu"
1.8 "Listen Up"
1.9 "Luck, Next Time"
1.10 "Liberally"
1.11 "Looking Back" – og det er så i nat*)
1.12 "Locked Up"
1.13 "Limb From Limb"
__________________

(* – Plot: Bette hires an attractive contractor to set up for the gallery's new show; Tina, Jenny, Shane, Alice and Dana take an eventful trip to Palm Springs.

Interessant programlægning da det jo faktisk er denne weekend der er  Dinah Shore weekend i Palm Springs – og jo, der er også en golfturnering (!)


L Word Soundtrack – for hver episode:

S O U N D T R A C K 
1.0 / 1.1 Pilot

Marianne Faithful … Pleasure Song
Fundamental … Serve It
Fundamental … Borrito
Ralph Myerz and the Jack Herren Band … Nikita
Transientworld … At The Speed Of Light
Transientworld … Sadness
Transientworld … Uchi Mata
Paloma … Chocolate Cake
Paloma … If I Had A Reason
Paloma … Havana Disco Nap
Suzanne Little … Tragic Flaw
Dan Gagnon … Prodfill
Dan Gagnon … Acrobik
Dan Gagnon … Dee and Bee
Moka Only … Moon Burn
Sweatshop Union … Better Days
Joystick … Lady Love
Joystick … Gold N Green
Chris Tarry Group … Il Bambino
Kinnie Starr … Superclever
Kinnie Starr … Sun Again
Pavlo … Adieo
Mr. Airplane Man … How Long
Mr. Airplane Man … Up In The Room

slutsang: Damien Rice … Cannonball

S O U N D T R A C K 
1.2 Let's Do It

Joystick … Gold N Green
Patric Caird … Waiting
Mozart … Allegro Vivace 
AlphaYaya Diallo … Masibodji 
Futcher … Butter Chicken
Wild Strawberries … Blunt 
Flunk … Syrupsniph 
Rumba Calzada … Meneate 
Dan Gagnon … Tenos
Los Pinguous … Mi Manerade Amarte
Karaoke version of … Baby Got Back
Puentes Brothers …. Esta Noche
Transientworld … Chameleon
Transientworld … Vintage Chemicals
Broken Social Scene … Looks Just Like The Sun 

slutsang: Ella Fitzgerald … Let's Do It (Let's Fall In Love) 

S O U N D T R A C K 
1.3 Longing

Fundamental  … Revolution
Fundamental  … Borrito
Dan Gagnon … Rack 'Em
Dan Gagnon … Celly Q
Kinnie Starr … Discovered
Transientworld … At the Speed of Light
Shumann … Soaring
Chris Gestrin Trio … Where 2?
Joystick … Slowly

slutsang: Lucinda Williams … Right In Time 

S O U N D T R A C K 
1.4 Lies, Lies, Lies

Joystick … Lady Love
Broken Social Scene … Pacific Theme
Patric Caird … Husband and Wife
Fundamental  … Organic
Paloma … Last Night
Transientworld … Microphone
Sattalites … I'm Gonna Be The One
Hellenkeller … Clouds On Ground

slutsang: Leonard Cohen … In My Secret Life

S O U N D T R A C K 
1.5 Lawfully

Connie Francis … Everybody's Somebody's Fool
Latin Dance Project … Ran Kan Kan
Bet.e & Stef … Wish You Well 
Fundamental … Remix
Mark Petersen … Edge
5 Alarm … October Rain
5 Alarm … A Bit Of Bubbly
Dan Gagnon … Coco Love
Copyright … Rock Machine

slutsang: Nick Cave … People Ain't No Good

S O U N D T R A C K 
1.6 Losing It

Widelife … I Don't Want U
Earthmen … Sunday Funk
Fundamental … Buttergroove
Beans … All Suns 1
Metalwood … Venus
Joystick … Ooh Boy
Ridley Bent … Pastures Of Heaven
Kinnie Starr … Dreaming
Flunk … See Thru You

slutsang: Be Good Tanyas … In Spite Of All The Damage 

S O U N D T R A C K 
1.7 L'Ennui

Ultimate Opera … Connais-Tu Le Pays?
Luz Casal … Un Ano De Amor
Mercury Sound Cartel … It's Alright Now
Mercury Sound Cartel … Bittersweet Love
Moka Only … Love Can't Wait
Snow … Legal
Mercury Sound Cartel … Bahia Clouds
Latin Dance Mambo … Lupita
Monkey Boys … O Oh No Oh
Kia Kidari … Hands Up
Bob Beals … Seven
Transientworld … Chameleon
Kinnie Starr … Alright
Patric Caird … In Time
Patric Caird … R7 Jazz

slutsang: Lucinda Williams … Those Three Days

S O U N D T R A C K 
1.8 Listen Up

Tommy James & The Shondells … Crimson & Clover
Hissy Fit … Why Ask Why
Jason Collett … Blue Sky
5 Alarm … Sub Zero
Fundamental … Revolution
Joystick … Love Is My Middle Name
Bonobo … Flutter
Stinkmitt … Camel Toe

slutsang: Rufus Wainwright … Foolish Love

S O U N D T R A C K 
1.9 Luck, Next Time

Fantcha … Sol Jà Cambà
Kia Kidari … True Soul
Mercury Sound Cartel … Tomorrowland
Pam Grier & Snoop Dogg … It's The Real Thing
Mercury Sound Cartel … Lose Yourself
Coco Love Alcorn … Greatest Gift
Mirror … French Suspense
Mercury Sound Cartel … Seasons
Fundamental  … Why?
Social Deviantz … Sol's Favrit Beat
Joystick … Good Times

slutsang: Nick Cave … Into My Arms

S O U N D T R A C K
1.10 Liberally

Liz Phair … Flower
Hellenkeller … Fish N Chips
Family Man … Gloria's Song
Paloma … Canción De La Paloma
Kia Kidari …  New Foundation
Pam Grier … Never Say Goodbye
Kia Kidari … Good Foot
Meta 4 … Nu Deli
Bottleneck … Abilene
Auburn … Drivin' You
Transientworld … Aerial Dust
Mariachi Los Camperos De Nati Cano … Quiza, Quiza, Quiza
Mariachi Los Camperos De Nati Cano … No Me Quieras Tanto

slutsang: Rufus Wainwright … Hallelujah

S O U N D T R A C K 
1.11 Looking Back

(sung by some of the cast) … Closer To Fine (by Indigo Girls)
King Robbie feat. Snow … Don't Run Away
Mark Kleiner Power Trio … So Good To See You
Rick Threat … Jiggable
Paloma …  Doughnut Shop
Metalwood … U.B. The Monster
Chris Tarry … Anathemic

slutsang: Joan Armatrading … Weakness In Me

S O U N D T R A C K 
1.12 Locked Up

Frances Faye … Frances And Her Friends
Tommy Guerrero … Abiento
Philospher Kings … I Am the Man
Willy Deville … Savoir Faire
Paloma …  Havana Disco Nap
Fundamental … Buttergroove
Fundamental … Borrito
Kinnie Starr … Come
Murmurs … Genius
Mmo … Reddie 2 Partie 1

slutsang: Radiogram … Always Crawl

S O U N D T R A C K 
1.13 Limb from Limb

Portishead … Roads
Paloma … Ooh Ma
Mirror Keep … Your Head On
Transientworld … Levitate
Transientworld … Sadness
Edison Woods … Vivian
Leonard Cohen … I'm Your Man
Joseph Arthur … In The Sun

slutsang: Damien Rice … Blowers Daughter

 
SEASON ONE SOUNDTRACK

Available May 4, 2004
Pre-Order Here

EXCLUSIVE TRACK LISTING INFO FROM TOMMY BOY RECORDS

1.  The Murmurs "Genius"
2.  Lucinda Williams "Right In Time"
3.  Ella Fitzgerald with Louis Armstrong "Let's Do It  (Let's Fall In Love)"
4.  Fantcha "Sol Ja Camba"
5.  Joan Armatrading "The Weakness In Me"
6.  Connie Francis   "Everybody's Somebody's Fool"
7.  Shelley Campbell "Drivin' You"
8.  The Be Good Tanyas "In Spite Of All The Damage"
9.  Rufus Wainwright "Hallelujah"
10. Kinnie Starr "Alright"
11. Jason Collett "Blue Sky"
12. Marianne Faithfull "The Pleasure Song"
13. Joseph Arthur "In The Sun"
14. Frances Faye "Frances & Her Friends"

(kilde: L Word Online

Random

Tammy Lynn Michaels Lands New Pilot For NBC
The rumors are still early yet, but word has it that Tammy Lynn Michaels, partner of Melissa Etheridge and guest star on "The L Word" has her own new series in the works. According to Variety, Michaels has reportedly landed a part on a comedy pilot for NBC. We wonder if she'll get to stalk any hot lesbians on this show too….

(source: www.lesbianation.com)

tvguide interview Laurel Holloman

The L Word’s Pregnant Pause
by Ileane Rudolph

Laurel Holloman

We’ve seen plenty of pregnant ladies on TV, but never one like The L Word’s Tina Kennard, as played by real mommy-to-be Laurel Holloman. As befits the no-holds-barred lustiness of Showtime’s lesbian drama (Sundays at 10 pm/ET), Tina’s — and Laurel’s — expanding belly didn’t keep her from doing love scenes with ex-girlfriend Bette (Jennifer Beals) and the haughty Helena (Rachel Shelly). And how’s this for a twist on life imitating art: Now that Holloman has had her child (6-month-old Lola), Beals has revealed that she’s expecting! TVGuide.com touched base with Holloman a few weeks before she returned to Vancouver to shoot L Word’s third season.

TVGuide.com: So now that Jennifer Beals is pregnant, you’ll have to deal with her hormonal issues on the set. Fair play?
Laurel Holloman: [Laughs] We’re pretty good at it now. I’ll take care of her this year, because she really took care of me!

TVG: Will Ms. Beals’ pregnancy be written into the show like yours was? Holloman: Jennifer really didn’t want to be pregnant on the show, and everybody has come to the conclusion that it would just be repetitive [coming right after mine]. But she’ll look glowing in her close-ups!

TVG: You really struck a feminist blow by portraying a heavily pregnant woman as feeling strong sexual desires — and being very sexually appealing to others around her.
Holloman: I was really pregnant, and I had gestational diabetes and was on insulin, which didn’t make me feel so sexy. But I wanted to be part of something that was such a celebration of pregnancy and a womanly body. I thought it was very progressive. And a lot of women have sexual desire in the last part of their pregnancy, which is sort of interesting.

TVG: Kudos for your bravery. You were next to naked in love scenes and nude in the underwater labor scene.
Holloman: And I [had] gained 30 pounds! As it was happening, I wasn’t thinking about whether it was courageous or anything. I’d like to look at my career when I’m older and go, “Hey, I really did things that were hard.” As an actress, it’s one of the most cool things I’ve ever done. Also, I did The Incredibly True Adventures of Two Girls in Love at a young age, playing a little baby butch dyke. So very early on, I just dropped vanity and preconceived notions of what I’m supposed to look like.

TVG: You had some hot scenes with Helena, especially in the pool. Will Rachel Shelly be back even though your characters have broken up? Holloman: Yeah! Helena will definitely be back. She’s a great addition, and Rachel Shelly is a delight to work with. I was seven months pregnant in that scene.

TVG: Did your situation ever make you laugh? You were this massively pregnant, married heterosexual woman in steamy clinches with gorgeous women.
Holloman: It was a little comical the first time I had to do a love scene pregnant. I was in the pool, and Rachel and I were laughing because the baby was kicking! It was easy to do [pregnant love] scenes with Rachel and Jennifer. I don’t know if I could have done that with a man. [Laughs]

TVG: Speaking of men, what was your husband’s reaction? Holloman: He [Hollywood production designer Paul Macherey] was very proud of me. He’s an artist, so he would never tell me what to incorporate into my art, just like I would never tell him what to design.

TVG: You went through most of your pregnancy on camera. Holloman: In the first episode, I was four-and-a-half months pregnant — and I worked until the day before my water broke!

TVG: Wow!
Holloman: I didn’t make it to the last episode. I had an emergency Caesarian section, just like Tina. On my last day, I was supposed to have a meeting with [L Word creator] Ilene Chaikin. My water broke and I was in the hospital that night in labor. I had to do reshoots for the final show five weeks after the birth of my baby. It was pretty interesting; they pretty much shot the emergency C-section in the final scene, after I had a real one.

TVG: Talk about art imitating life! Was Tina’s story always written to include the emergency medical procedure?
Holloman: Yes. They wanted to show how unpredictable birth can be. Which it can! I [personally] had no intention of having an emergency C-section. [Laughs]

TVG: Can you give us any hints about next season?
Holloman: Everyone’s back — and throw whatever you expect out the window. There will be lots of twists and turns. And again, there is material that hasn’t been seen on the screen. It doesn’t always end in a picture-perfect way.

TVG: Please, no more suffering for Jenny (Mia Kirschner). We can’t take any more.
Holloman: Things will get better for her. But, for some characters where you think it will be all better, it might not be.

08.maj 2005

L word – fængselsscenerne

Her er så manuskriptet til de bortklippede fængselsscener:

<>:: L O C K E D  U P ::
#1.13
 

Thought that Shane, Alice and Dana were a tad missing from this episode?
The following are script excerpts that were written but never made it to our screens.

————-

INT. PADDY WAGON – AFTERNOON
Alice, Shane, Isabella and Candace on one side. Graham,
Marilyn and three other Coalition activists on the other.
All in handcuffs. The door opens and Dana stumbles in.

DANA
This isn't happening. My parents —

ALICE
Here's the upside. By comparison, your
parents will no longer think you being a
lesbian is such a big deal.

As she squeezes onto the bench next to Alice, the door
opens again.

BETTE (O.C.)
This is absurd. I ' m going to call my —

Bette flies acros6 the van over Dana, Shane and Alice and
lands on Candace's lap. She sighs, manoeuvres herself to a
sitting position. The paddy wagon door is locked from the
outside and it starts to move. Alice and Marilyn happen
to find themselves looking at one another. Alice winks.

ALICE
Hey, good lookin'.

Marilyn looks away, mortified.

EXT. CITY JAIL – PRISONER LOADING DOCK – AFTERNOON
The paddy wagon backs into a loading dock. Several police
officers stand on either side, and looming above them on
the steps, arms folded across her chest, looking for all
the world like the B movie icon she's fashioned after, is
the PRISON MATRON. The doors to the paddy wagon open and
our crew file out, men on one side, women on the other.
The matron looks them all over, leering. She especially
looks Shane up and down. Shane meets her gaze.

MATRON
You look like trouble.

ALICE
Oh, don't worry your honor. Just keep her
away from the ladies and you won't have
any trouble with her.

MATRON
Shut up.

SHANE
(hushed, to Alice)
Yeah, shut up.

INT. CITY JAIL – WOMEN'S PRISON – RECEPTION – LATER
A young, pretty POLICEWOMEN stands by the desk with a
clipboard, reading off names as the ladies file past. The
matron stands, watching.

POLICEWOMAN #l
Pernao, Isabella … Fairbanks, Dana…

DANA
I'd like to keep this out of the papers.

MATRON
Dream on, Fairbanks.

POLICEWOMAN #1
Havelock, Marilyn … Pie… Piesz…

ALICE
Pieszecki, okay? Pieszecki, Alice. What's
so hard about that?

MATRON
Shut up, Py-Zee-Kee.

We see Shane, about to be processed, and behind her
Candace and then Bette, who has her sunglasses on.

NT. WOMEN 'S PRISON – RECEPTION – MOMENTS LATER
Another pretty POLICEWOMAN continuing the processing.
Purses and handbags are piled on the counter top.

POLICEWOMAN #2
Remove your shoes, any hard objects
including combs or bobby pins, all
watches, cell phones —

She reaches for Shane's cell phone. Shane backs away like
a frightened deer.

ALICE
Oh boy. That's like taking away her life support.

Policewoman #1 steps toward Shane. Shane takes another
step away. She backs into Dana, who gently puts her arm
around her and eases the cell phone out of her hand.

DANA
It's okay, Shane. Hang tight. It's gonna
be okay.

POLICEWOMAN #2
I also need your jewellery, your eye
glasses —

Now it's Bette's turn to recoil.

BETTE
You're just high if you think you're
getting my Chanel sunglasses.

Policewomen #2 grabs Bette's sunglasses right off her
face, hands them back to Policewoman #1, who immediately
puts them on and takes out a mirror to admire herself.

BETTE
You'll be hearing from my lawyer.

INT. WOMEN'S PRISON – RECEPTION – MOMENTS LATER
Marilyn is stripped to her underwear as one of the pretty
policewomen takes liberties under the guise of doing a
strip search. The others wait in line behind her. Alice
pushes past Shane.

ALICE
Ooh eee, I'm next.

Shane pulls her back and reclaims her place in line.

SHANE
Wait your turn.

INT. WOMEN'S PRISON – MOMENTS LATER
The policewomen double teaming to fingerprint all of the
prisoners. Alice does her print, then turns and presses
her finger on Marilyn's nose, blows her a little kiss.

INT. WOMEN 'S PRISON – SHOT LINEUP – MOMENTS LATER
A series of quick cuts as each of the prisoners is
photographed. Dana tries to cover her face.

INT. CITY JAIL – HOLDING TANK – MOMENTS LATER
Alice, Shane, Dana, Isabella and Marilyn are shoved into
a large holding cell . Seven or eight other women in there —
mostly drunks and prostitutes. They look our girls
over like pastries in a pastry case. The meanest, MAISY,
clucks her tongue.

MAISY
My, my, what have we got here?

Another, DAISY, steps up to Dana and snarls.

DAISY
What are you in for?

DANA
(stutters)
Assault and disorderly conduct …

DAISY
(as if this were a boast)
Whoop de daa.

Maisy grabs Daisy, pulls her in close. Alice looks at Daisy.

ALICE
She your bitch?

DAISY
What's it to you?

Alice points to Marilyn, who is cowering behind them,
obviously finding them preferable to the other prisoners.

ALICE
She's my bitch.

Daisy looks Marilyn over, nods, impressed. A Latina
vixen, CARMEN, steps up to Shane and points to Dana.

CARMEN
She your bitch, mama?

SHANE
No, she's not my bitch.

CARMEN
Then I'm gonna make her my bitch.

Shane steps in between Carmen and Dana.

SHANE
Come on, back off.

Carmen whips out a switchblade. As she comes at Shane
with it, Isabella spins around and does a flying reverse
hook kick that sends it skittering across the cell.

ISABELLA
(in Spanish)
Don't try that again, bitch.

Everyone else in the cell takes a step back from
Isabella, even Daisy and Maisy.

INT. CITY JAIL – HOLDING TANK – NIGHT
Most of the prisoners are eating. Alice, Shane and Dana
just sit with their trays of slop in front of them. Maisy
comes and planks herself down in front of them.

MAISY
What's a matter? This food not good
enough for you?

She's staring them down. Alice and Dana look away, but
Shane takes her on. Without breaking eye contact, Shane
reaches slowly for her spoon, dips it in her bowl of
slop, brings it to her lips. She sucks the slap off the
spoon, tries to down it, and can't. It's vile.
Involuntarily, she spits. The slop goes all over Maisy.

MAISY
YOU LITTLE BITCH, YOU ASKED FOR IT!

Maisy scoops up a handful of Shane's mashed potatoes,
throws it at her. Alice takes a fistful of her soggy
vegetables and hurls it across the cell at Daisy; and you
know what happens after that.

INT. CITY JAIL – SHOWERS – MOMENTS LATER
Alice, Shane, Dana, Isabella, Marilyn, Daisy, Maisy,
Carmen and the two or three other women who were in the
holding cell, hosing down in the group shower.

ANOTHER ANGLE: The big fat prison matron, pressed against
the wall where no one can see her, watchi
ng, breathing
heavily.

INT. CITY JAIL – SHOWERS – MOMENTS LATER
Alice looks right, looks left, slips out from under the
shower stream. Sees clean prison scrubs piled on a bench
nearby. She considers, looks around – she goes for the
scrubs. Motions to Shane and Dana. They follow suit.
Alice leads them to the bathroom stalls, they quickly get
dressed. Alice then opens the door to the farthest stall.
There's a heating grate on the wall, just big enough for
a person to crawl in. Alice jogs it a few times and the
grate lifts off. Remarkably easily. Alice motions to
Shane and Dana.

DANA
No way. I'm not going in there.

INT. CITY JAIL – OFFICER'S LOUNGE – NIGHT
Policewoman #2 enters just in time to catch Alice, Shane
and Dana crawling out of the grate and into the lounge.
Alice sees her as she gets to her feet.

ALICE
Uh oh. Listen, I can explain …

POLICEWOMAN #2
Come on. Back in your pen.

SHANE
You're not gonna throw us in solitary
confinement are you?

POLICEWOMAN #2
Someone will be in for you in a few
minutes. You're outta here.

DANA
Where are we going?

They look at one another, terrified,

DANA
Damn you, Alice.

Alice looks sheepish.

INT. CITY JAIL HOLDING TANK
Policewoman #1 has opened the cell door.

POLICEWOMAN #1
McCutcheon, Fairbanks, Pie… pee. ..

ALICE
Pieszecki.

POLICEWOMAN #1
And Pernao. Let's go.

DANA
Are we being sent up the river?

Policewoman #1 stares at Dana for a moment.

POLICEWOMAN #1
You're being released.

The four get to their feet, eager to go. Maisy looks over
at Marilyn, sitting by herself on a bench, whimpering.
She saunters over and hovers in a predatory way.

MAISY
What's a matter doll face? You don't like
the company in here?

Alice steps in between Marilyn and Maisy.

ALICE
Back off!

Maisy leans toward Alice, menacing.

MAISY
Why should I?

ALICE
umm…Well…Because she's my woman.
And I will rip your heart out if you so
much as lay a finger on my woman.

Maisy stares at Alice for another beat, then backs off,
goes and sits down on the bench next to Daisy.
Shane, Dana and Isabella file out of the cell. Alice
follows after them, but looks back at Marilyn. Winks.
Marilyn ventures a little smile in return, though not a
very sincere one.

INT. CITY JAIL – -PRISON – RECEPTION – NIGHT
Alice, Shane, Dana and Isabella emerge. The three fling
their arms around Kit and Tina, ebullient.

ALICE
Oh my god, you guys —

KIT
Are you okay? Anybody mistreat you?

SHANE
Prison is wack, guys. Crime does not pay

DANA
Thank god you're here. You saved us.

(kilde: L Word Online)

——————————–

Kinnie Starr – "Sun Again" – wauv…."She rocks, rolls, raps, confronts, caresses, and defies…" – soo true ! Lucinda Williams – "Car wheels on gravel roads" samt "World without Tears" og selvfølgelig den nye med Melissa Etheridge: "Lucky" Skrevet af: Random

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