It’s been a minute since we had the pleasure of talking with Corin Nemec, who has been busy with film projects as well as his new book, “Creating a Character for the Stage or Life.” He’s back to talk about all of the above as well as more memories from the production of Stargate SG-1 — and take your questions LIVE!

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Timecodes
0:00 – Splash Screen
3:57 – Opening Credits
4:32 – Welcome
4:45 – Guest Introduction
5:30 – Updates from Corin
8:02 – Most Prideful Projects
19:35 – Opportunity for Independent Streamers
21:18 – Dean Stockwell
23:10 – Christian Slater
24:35 – Corin’s Contemporaries
26:40 – Preparing Corin for Jonas
31:30 – Initially Skeptical
32:10 – “Descent” and the Swimming Scene
35:15 – Online Response to Jonas
37:55 – Pitching for Season Seven
39:07 – Jonas Found the Gym
41:55 – Time to Assimilate
45:20 – Creating a Character for the Stage or Life
46:57 – Manu Tupou, Corin’s Mentor
50:50 – Corin’s Acting Technique
59:12 – Communing with Nature
1:02:12 – Emptying Your Programming
1:08:00 – Characters Become You
1:11:06 – More to Deconstruct
1:13:30 – Place of Bones
1:14:45 – Thank You, Corin!
1:15:39 – Post-Interview Housekeeping
1:16:36 – End Credits

***

“Stargate” and all related materials are owned by MGM Studios and MGM Television.

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TRANSCRIPT
Find an error? Submit it here.

David Read:
Hello everyone and welcome to Episode 240 of Dial the Gate. The Stargate Oral History Project. My name is David Read. Thank you so much for joining me in this episode. I am so proud to welcome back Corin Nemec, Jonas Quinn of Stargate SG-1. And I’m also joined [by] my producer in this episode, Linda GateGabber Furey. We’re here to talk about a number of different things and catch up with Corin. Man, how are you doing?

Corin Nemec:
I’m doing very well, thank you. Just listening to the clippity cloppity clippity cloppity of the claws of my little corgi. You get wood floors and then you get a dog.

David Read:
That’s just how it works, man. Then you have to trim the nails of the dog just to keep it from driving you crazy.

Corin Nemec:
Exactly. He’s, like, Fred Astaire.

David Read:
That’s it. How are things going? You’ve been busy with so many different projects so what’s going on?

Corin Nemec:
I go by the Michael Caine school of workmanship and that’s, if the script is good enough and you see something in the character that you can bring that might not be there, and it’s an opportunity to act, you take the job. So, I keep myself working also through my relationship with producers, directors, and I produce and write projects myself. One is out right now called Deadly Justice that I wrote [and] produced, that has myself, Brian Krause, and Kelly Sullivan starring in it. And it’s a murder mystery thriller set in the Deep South. I think people enjoy that. It’s streaming on a bunch of different platforms.

David Read:
So Deadly Suspect did you say?

Corin Nemec:
Deadly Justice.

David Read:
Oh, Deadly Justice. Excuse me. I’m mixing up some of my… OK.

Corin Nemec:
I keep myself very busy. I have a bunch of projects coming up right now which is just nuts. Joe Baby, [in] which I actually play the title character. I don’t have a huge role in it, but a nice role. And that has Dichen Lachman.

David Read:
She’s great.

Corin Nemec:
And Ron Perlman. Harvey Keitel. It’s a great cast. A film called Place of Bones where I star opposite Heather Graham and Tom Hopper which is gonna be fantastic. It’s a thriller that’s set in the Wild West around late 1800s. And a film called I Feel Fine which is premiering in the Sunscreen Film Festival in St. Petersburg, FL down here, which is a fantastic drama that I co-star in as well. And then a whole series of… There’s probably five or six other films, too, coming out. There’s the one that’s dropping right now called Day Labor, which is a very dramatic action thriller. And I play all these really interesting different characters in all these different films so it’s nice to actually talk about that as well as what we’ll talk about later, which is the book.

David Read:
Absolutely. When you look back on your career, what are some of the projects that you are most proud of that you think really defined you? And what is stuff that… Because you have a teenage son now. What projects are you most proud of when looking at him as a person who is coming into this world, depending on how he reacts to you, like, “Yeah, dad, whatever,” that you’re most proud of that exist for him to discover?

Corin Nemec:
It goes in stages, really. There’s different… Fortunately, for me, I’ve been able to maintain consistency of labor from 1986 until present. [inaudible]

David Read:
Linda, can you hear him? I think we lost him.

Linda “GateGabber” Fury:
No. He’s muted.

Corin Nemec:
There’s been a number of someone trying to call me. I should turn that off. I don’t know how to. Whatever.

David Read:
It’s fine.

Corin Nemec:
Here we go. Different projects at different times. Early on, the first thing that was defining was the movie Tucker[: The Man and His Dream], playing the role of Noble Tucker in Francis Ford Coppola’s film as Jeff Bridges’ son in that. And it wasn’t a huge role or anything, but it was a fantastic film to be a part of. And incredible cast and incredible learning experience for a young actor who had only been acting for about a year or so professionally before getting that. Maybe even less than a year. So that was the initial defining moment. And then, I think, I Know My First Name Is Steven, the miniseries that garnered me an Emmy nomination against Danny Glover. I was competing against him for the nomination, who I later worked with on Operation Dumbo Drop. At 15 years old, the competition [of] him, Armand Assante, [and] I can’t remember all the others… The actors I was up against, the caliber, the level of work they had done, and here I was, basically almost a nobody out of Hollywood who had just a tiny, short list of performances under my belt. So that was a really defining moment. I think that Parker Lewis was and wasn’t a defining moment for me. In the pop culture world and all of that, it certainly was at the time. But that show, we didn’t do enough episodes for it to really get widely distributed later on in syndication. So, it lost a whole lot of its influence, at least in the Americas, over the years, and widely is somewhat forgotten. Over in Europe, it’s a different story. It played all the time. So, in a way, it didn’t, which is a good thing for me. Because I never wanted to be defined as a particular character on a show. That was never my objective, and I [inaudible].

David Read:
Lost him again. Hang on.

Corin Nemec:
[inaudible] Parker Lewis and did a dramatic movie of the week every hiatus. The first one I did [was] For the Very First Time, which was a great ensemble cast, starring opposite young Mädchen Amick, and a bunch of other great actors. It was a coming-of-age story. Then the next one was My Son Johnny, after Season Two [of Parker Lewis], which I did with Ricky Schroder, and [had] a very heavy dramatic role in that. And then after [the] third season, I did The Lifeforce Experiment with Donald Sutherland. And it was a real heavy drama. I was constantly trying to seed out there that I do other things I’m known for. I’m actually more known for my drama than my comedy. I wanted to remind people of that. I think The Stand was the second really defining moment in my career playing Harold Lauder. Because at that time, Parker Lewis had ended and there was an immediate rebarbative effect of being Parker Lewis in Hollywood at that time in the casting world. And I was having a hard time [inaudible].

David Read:
We lost him again.

Corin Nemec:
[inaudible] I got the project not that long after we wrapped up the final season of Parker Lewis. Still, I was going to a lot of auditions. I was having a lot of meetings after that. I was getting into a lot of rooms, but it was a lot of cold rooms. And a lot of people going, “Nah. Not interested in Parker Lewis.” So, I was really having to do a lot of re-evaluation. And that’s also when I got back into acting classes. Because I’d always been in acting classes all the way up until the second season of Parker Lewis and I just didn’t have time anymore, studying with different teachers. And at the same time period, after the third season, I ended up with the American Repertory Company, which the artistic director [of] was Manu Tupou, who became my mentor. I studied with him for 10 years, the longest I studied with any teacher ever throughout my career. He changed my life. [inaudible] is really because of being in that class. I don’t think I would have had the same longevity had I not gotten into his class and fell back in love with the creative process of acting. And paying to have the opportunity to act. Instead of being on the high horse with with the big Stetson and saying, “Hey, I’m the cowboy. Everybody comes to me.” It was great to be humbled again and to feel the same enthusiasm for my craft that I felt when I was 11 years old when I was first studying at Kevin McDermott’s company Center Stage L.A. as a youth. I was so excited to go to class every week that I was just losing my mind. Constantly preparing. Constantly rehearsing. Constantly, without anybody having to tell me a thing. It was my passion. It was what I wanted to do. So, I just kept working, and with The Stand, when I got that one… Mick Garris gave me the opportunity to do that when I auditioned for it. I read the character breakdown, [and] I was, like, “I’m not gonna get this role. It’s just another role I’m not right for. They’re just seeing me because it’s trendy to have in the room right now or whatever.” But when I read the script and all of that, I understood the character. I knew that I could be the character. That wasn’t a problem for me, but I did see the audition as a little ludicrous based on the character description and how I looked physically. But when I did the audition, Mick and Stephen had a conversation while I was in the room. A weird little quiet whispery conversation and stuff like that after the audition. And I didn’t know if that was bad or good or what was going on, but I got the offer, I think, maybe even later that day. And it turned out that Mick Garris… My good friend Brian Krause played in Sleepwalker, and I didn’t know it, but it was between me and him for the role of Sleepwalker. And I love Brian Krause. He’s a super talented actor. And Mick really loved me for that role, and they went with Brian Krause, which I think was a smart choice because I don’t think I would have done the same thing that he did. I think he made the right choices for that. But Mick Garris really loved me as a possibility for that role and saw something in me, and I guess in the process of casting for The Stand, he kept mentioning me to Stephen. And Stepehen was, like, “Look at this guy. Are you kidding me? That’s not Harold Lauder. Have you read the book?” And there was some point of comedic contention between the two of them until I auditioned. And then Stephen and [Mick Garris] were in the room, and I guess he was saying, “See? I told you that he could play [him].” And he was, like, “Oh yeah. You’re right. He can.” And then they cast me and that’s what gave me the next liftoff to be able to just start working again consistently. I did Drop Zone after that. Then I did Operation Dumbo Drop right after that. And then [I] did this movie Blackout right after that. And then again worked with John Badham shortly after that on Brother’s Keeper, and then just kept going. All the way up until Stargate in 2003. When people are looking at… The one thing that I didn’t do that I think may or may not have affected my career in one way or another, I just never engaged in the Hollywood politics, publicity, glory making, “shine a light”, all the red carpet, and all of that stuff. It was never really my thing. I was forced to do it at a young age. I didn’t like the way I was represented in the media. I didn’t feel it was an honest portrayal of who I was as an artist and as a person. It was just all so fake. Everything was so fake, and I finally was just, like, “I gotta just do this because I love to do it.”

David Read:
You have to find your way.

Corin Nemec:
It’s that and it’s about, “What’s the reason? Why am I doing this?” You know what I’m saying? It’s a very frustrating business to be in. You’re 98-99% rejection, and 1% good job. That’s what you have to live with pretty much your whole career unless you’re one of the rare actors out there who crosses that thin line and it’s just offers for the next 25-30 years. And that happens. But it’s such a thin line. You’re talking maybe about less than 1% of the members of SAG [who] have that experience.

David Read:
It’s absolutely true. It’s wild. With the industry contracting now, it’ll be interesting to see what happens with even that percentage.

Corin Nemec:
That’s an interesting conversation. Just to touch on it real quick. I think what’s being missed here is that there’s a huge opportunity for independent streaming platforms and all this to step in, and to offer really fair deals to the filmmakers and all of that, on the revenue side and everything. Whether it’s subscription based, or ad rev[enue] based, or a combination of the two. It’s about where’s the revenue from those shows going to. How much of it is going back to the people who are making those shows, who are doing them and all of that? Versus who’s just running the platform, and what is the machine behind it and how independent is it? I think in the music industry that needs to come about as well. I think that there’s a huge… Within that vacuum that is occurring right now. I think that there’s also more work than anybody’s ever seen. There’s more networks and streaming platforms than anybody’s ever seen but they’re all very corporately structured, and very formulaic in their approach. And I think that if that dynamic is broken and you have somebody step in who’s got enough power [and] enough clout, like Elon Musk did on Twitter with X. You have somebody of that magnitude open up a really fair streaming platform, [with] this [and] that, with the right people, like Angel Studios has done as well with their model, but something that’s a little bit more open socially. So, I’m excited about it actually. I think there’s some great opportunities ahead.

David Read:
People are gonna find a way, and it’s interesting you mentioned Tucker[: The Man and His Dream] earlier. Linda did some research and found a Stargate connection there. Linda?

Linda “GateGabber” Fury:
You actually start along Dean Stockwell in that. That was your first time working with him and then of course he was with you, being your mentor in [SG-1’s Shadow Play].

Corin Nemec:
I was very excited to work with him again because when we shot… I was in the big scene with his character. I was actually in [it] with him and Jeff Bridges. And he was just… Watching him and Jeff Bridges act together, I thought it was just, like, I was beside myself. It was epic. And it was funny because he’s so short that when they did the scene, and Jeff Bridges is so tall, they had to basically build a little scaffolding out of apple boxes and little planks of wood and stuff that followed this really long tracking shot. Long walk and talk shot with the two of them. And Howard Hughes is supposed to be really tall, so they had to get him taller than Jeff Bridges. And he is much shorter. So, they built this whole thing, and they shot the whole thing, and I’m sitting there, and I’m doing my, you know, whatever, and I’m watching it. And in the end, when you’re watching the scene, if anybody ever goes back and watch it, look at the waistlines, and you’re gonna go, “Oh my God. He’s all legs.” Because you’re gonna see he’s taller than Jeff Bridges but it doesn’t make sense in terms of his physical… And it’s, like, “Oh my gosh. He must have, like, three and half [or] four-foot-long legs, and, like, a three-foot torso.” It is pretty funny.

Linda “GateGabber” Fury:
That was very early in your career. Had you kept in touch with any of the people you worked on Tucker[: The Man and His Dream] with?

Corin Nemec:
The only one that I had seen on a somewhat regular bases was Christian Slater.

David Read:
He’s in your age group.

Corin Nemec:
Yeah, a little bit. He was probably, like, four [or] five years older than I was, something like that. In the acting circles then, like, at the media events, they have… I was always at the Special Olympics [which] was the one thing that I actually wanted to do every year. That was the one thing I was actually excited to go and be a part of. Most of the other stuff was just, like, tchotchke events as I called them. I’m, like, “I don’t even know what I’m here for. Just tell me where to stand and who to take a picture with. What is this?”

David Read:
Insert actor here.

Corin Nemec:
[inaudible] “Here. I’m down. We’re saving the whales today. Perfect. Let’s do this. Let’s save some whales.” So, I saw him at events and stuff like that and everything. We didn’t really hang out too much in the same social circles. Like I said, he’s a hint older than I was. I was hanging out with David Arquette, Balthazar Getty, Brian Green, Stephen Dorff. That was my whole crew.

Linda “GateGabber” Fury:
You mentioned you were at school with a lot of the actors of a similar age to you.

Corin Nemec:
Milla Jovovich. Christina Applegate. Johnny Whitworth. Soleil Moon Frye. Jenny Lewis. Chris Pettit, rest in peace. Poor guy. Seth Binzer, the lead singer from Crazy Town. [He’s] Shifty from Crazy Town, the band. He was in high school with me along with Justin Warfield who’s the lead singer of the indie band She Wants Revenge. All of us were in high school together. There’s even more people than that. Sometimes I forget. I go back and I look through my [photos], [and] I’m, like, “Oh my God. They went there too?” It was basically a school for young actors and artists that were working professionally under the age of 18. And we only went to school from 9:15am to 12:30pm every day. It was basically, like, a vacation from school. They had something called The Accelerated Learning Process which was supposedly teaching us way more about the subjects in a shorter amount of time than you’ve ever experienced before. I’m not even sure. Because one of our main teachers, Mr. Vaan, was this stoner surfer dude who used to set his clock ahead so he could sneak out and catch frosty breaks when the waves were coming in. He had a radio on his desk, and he’d listen to the tide report and stuff. And if a big break was coming, he’d literally set his clock ahead so he could leave early. And he’d lock the principles out of the room, like, “If they try to come in, don’t let them in until the bell rings,” trying to tell us to lock the principles out. He finally got fired for that. Those were our teachers.

David Read:
I wanna ask about Jonas. Last time we were on we found out how you got the gig at MGM. “I’m intrigued to hear about,” Andrew Graham asks, “how the show runners prepared you for this part?” Because Season Six wasn’t really a guarantee. They were gonna do something next. And then with Shanks stepping out [and] you stepping into this thing, that’s a big role to fill in the show. Was there anything that they assisted you with in terms of preparing you for what was gonna come next? I’m not talking about the fandom but talking about the part, you know, filling those shoes.

Corin Nemec:
Fortunately, and unfortunately, I had no idea about how successful the show was and what a cultish-like following it had worldwide. Because it was on Showtime for the first five seasons, [and] I didn’t have Showtime. I was really too busy to watch TV anyway throughout almost all of the late 80s and 90s. I vaguely remember watching TV a few times. I do remember seeing all of the posters for it when [a] new season was coming out. They had the billboards and all of this stuff so I knew that it was a big deal. And I was a huge fan of the feature film. The feature film was one of my all-time favorites sci-fi and I was shocked that it essentially flopped in its US release. I know that it made its money internationally, similar to Waterworld, but overall, in the US it was kind of a fizzler. And I feel its pain because I had done a movie that came out around the same time period called Solar Crisis which had myself, Jack Palance, Peter Boyle [and] Charlton Heston. An incredible, huge cast. And it was a huge sci-fi. It was $48 million in 1989, which is probably, like, $130 million now, or more. And it fizzled. It just totally died in the theater. I don’t know if it was something about sci-fi at that time, but it was a great movie. So, when they came to me with the opportunity to be in it, that’s all I knew. And I went to the producer [and] said, “Well, I need to catch up with the storyline.” And I got all five seasons, and I watched all five seasons in the lead up to working on the show. And when I first started working on it, I was still watching episodes. But I watched every single episode of the show so I could get caught up to what is this world that I’m in, and understand the background of the different characters, and know what I’m talking about so I’m not just, like, saying words, and trying to say them as relaxed as possible so that people don’t realize that I have no clue what this actually means. And Amanda Tapping, she had that same dilemma of, like, she has to say all this technobabble. But God bless her, she actually went, and she would research it, and she talked to the writers, and she’d figure [it] out. She knew exactly what she was talking about. That’s why she was able to do it so convincingly and memorize her dialogue so easily. Because she actually wasn’t a lazy actor. She did the research and figured out, “Well, even if it’s theoretical, what does it mean? What am I talking about? What are these…? Let me define this crazy word that’s as long as supercalifragilisticexpialidocious.” That was inspiring. And I’m the same way. I kind of work the same way. So, I entered the show just wanting to be a part of something that I respected, was blown away by, excited about, and wanted to deliver a character that I felt could fit the mold. And have fun and enjoy the process. I certainly didn’t wanna having to play some character who’s, like, disgruntled and grumpy about being away from his home planet of whatever, and all this.

David Read:
He’s a refugee.

Corin Nemec:
He’s a refugee. Totally, bro. But he loves the food. He’s stoked to be on planet Earth. You guys got way better [food]. We eat a lot of lizard back on Langara. Kelownan lizard. It’s not… It’s hammy but a lot of tendons.

David Read:
Linda, do you have a Jonas Quinn memory?

Linda “GateGabber” Fury:
I know that I was uncertain about the character at first. Because of how they set up your joining the show that here’s this character and it was Daniel who stepped up in that moment and stopped the bomb from going off. And I think a lot of the fans felt [that] “Well, that should have been Jonas. It was his planet.” But that was the script. That wasn’t anything you personally as a human being did or didn’t do.

David Read:
He wasn’t a hero yet.

Linda “GateGabber” Fury:
It set it up so we were skeptical about you. And I know the first moment that I fell in love with you was that swimming scene.

David Read:
Where he didn’t take a breath.

Linda “GateGabber” Fury:
And I was, like, “How long is he holding his breath?”

Corin Nemec:
A minute and 48 seconds.

David Read:
That was that long?

Linda “GateGabber” Fury:
And I was, like, “Oh my God. This guy is amazing.”

Corin Nemec:
They had to edit the scene down. I held my breath too long.

David Read:
And you’re not just sitting still. You’re moving. And you’re moving glass plates and everything. That was just wild.

Corin Nemec:
Oddly enough, unbeknownst to me, I had been training my whole life for this moment. When I grew up down in the South, I lived in a lot of the apartment complexes with the local pool and all of that stuff. And I was the champion of how many times you could swim back and forth from end to end without taking a breath. I could do, like, six times. I made it my mission for no one to be able to hold their breath longer than this guy.

David Read:
So, you were ready?

Corin Nemec:
Literally. So, it was hilarious when I read the part. I got there and I was gonna do the scene and I was, like, “They have no idea. I have years of training for this behind me.” And also, I had learned from this military dude when I was on the movie Operation Dumbo Drop. Our military advisor went through, like, his training and stuff like that and he taught me a breathing technique where you actually, like, basically hyperventilate yourself. You just overload your body with oxygen [and] then you do your final breath before you do any kind of underwater sneaky stuff. Because then you have this huge amount of oxygen in your system and if you’re calm, patient [and] relaxed, you can stay under water a remarkably long time. In fact, I could have gone longer than one minute and 48 seconds mark, but I was done with the beaten moment of the character.

David Read:
Yeah, the business down there.

Corin Nemec:
I had to get ringed out so that I could come splashing in the next location with a huge torrent of water as well, which was a lot of fun. I don’t know if anybody knows how I did that, but I was standing there and I basically had to just leap up into the air and just land face first on the ground to create that moment. It was painful but I did it.

David Read:
It’s one of the best shots in the show.

Corin Nemec:
I did it for you, you Stargate maniacs, you. Just for you.

Linda “GateGabber” Fury:
Seriously, David’s right. It’s one of the best scenes in the show. And that moment of “Boom,” and there he is with the big splash of water. It’s just a real [inaudible].

Corin Nemec:
Yeah, that was awesome.

David Read:
And I think that that is the redeeming moment for the character in many respects because now he’s the man… He’s been brooding this entire episode about, you know, “I was able to pull off an intellectual exercise over here. The gate goes up, not just down.” But also knowing, [and] he talks about it, what to do in the moment and taking action. And I think that that was when the character really began to earn his stripes. But when you look back… I don’t know how involved you were with reading fan responses at the time. I don’t know if that was something…

Corin Nemec:
Yeah, that subject. Well, actually they kept it completely… I’m not a huge fan of the internet to be honest. I love the fact that I can research stuff on it really easy, but I don’t necessarily trust all the sites I’m getting my research from. But it’s still unique. And I was really late getting into the social media thing. I started Twitter down in Australia at the convention because a whole group of fans at a Q&A and all of this stuff, demanded it of me, essentially. And I literally started my Twitter, which is X now, obviously, right there with all of them. And everybody was following, all at the same time. It was a fun interaction. I was, like, “OK. This is cool.” And I enjoyed it for a while but anonymity to me is one of the greatest blessings that we have in life, is being able to live privately, enjoy the private moments in life, enjoy the beauty and simplicity of life without all the rigmarole. I wasn’t savvy at all on the internet with what was going on. I do know that there was a writing campaign. I didn’t find out [about it] until much later on but, like, [there were] boxes of letters before my character even went on and started Season Six. And I think, one of the other tragic parts of it [was] that the show didn’t really start airing on Sci-Fi [yet]. All my episodes and everything really didn’t start airing on Sci-Fi until we were months and months into shooting. Halfway through the season. So, before any of my stuff is even really airing and people are making a final judgment on whether I’m right for the role or not, they had already gotten into panic mode and started trying to figure out a way to bring Daniel Jackson back. That was already in motion way before we wrapped Season Six. It wasn’t something that just happened [on the] spur of the moment after we finished Season Six. There was already something going on behind the scenes that I wasn’t privy to, that I’ve been promised had nothing to do with my performance, or the character, or anything else. It was just politics. It’s why they threw me a bone and let me write the story for one of the episodes [inaudible].

David Read:
Fallout, yeah.

Corin Nemec:
But that’s also because when they gave me carte blanche to go and pitch any show ideas that I had in mind, I was up in the writer’s nest all the time, just harassing them, like, “What about this idea? What about that,” and pitching. Actually, it was Joe Mallozzi, who I gotta give huge amounts of credit to, because he really helped me as a writer. I’d written before I started that show, and wrote after that as well, professionally that is, but I didn’t really understand the pitch process and how to streamline my beat sheet and how to do… There was certain elements of the writing process that he had honed down so perfectly, and he made my life way easier and a lot more fun. I love Joe Mallozzi for that.

David Read:
He’s a great guy. He’s also one of the ones who has his pulse on the response online. So, he has an idea of what’s happening. But you’re right. A lot of the show… You were almost halfway through the season before the show even aired.

Corin Nemec:
And thank God for it. Because, honestly, if I had any inkling whatsoever that my character wasn’t coming back, I would have been so distraught every day. Because I have made massive moves because I was told that my character was gonna continue on. So, I moved up there. I had gotten an apartment up there. I had gotten my daughter registered in school for the next year up there. I had gone through all of this stuff.

David Read:
Dude, how many pounds did you gain?

Corin Nemec:
I gained about 28 pounds.

David Read:
That is not the same man from Season Five to Season Six. He found the gym. That was an amazing transformation.

Corin Nemec:
Well, I had to. Because when I realized I was going on as a series regular with Chris Judge, [that’s] number one. And then with how tall RDA is, and he’s not a buff dude but he’s physically very fit. And Amanda Tapping, she’s, like, 5’11” and, like, as tall as I am, like, 5’11” and a half [or] 6 feet tall, whatever. So I was, like, “I can’t disappear on camera. I have to be able to…” and looking at how fit Michael Shanks was. And the months from when I found out that I got [cast]… I probably had about four months before I had to go up there to shoot. And within a four-month period I was doing weight gainer shakes, going to the gym, like, twice a day, [doing] legs in the morning, arms in the afternoon. Weight gainer. Weight gainer. Chicken [and] rice. Chicken [and] rice. Steak and pasta. I couldn’t wear anything. I went from a size 31 waist to 36.

David Read:
You were enormous.

Corin Nemec:
And I was glad to lose it all. Because if anybody saw… People always trip out, like, “Oh my God, you were so big in that. What happened to you? Are you sick?” I’m, like, “Dude, watch anything I was in before Stargate. Please. Go back. Or go all the way back to when I was 12. You’re gonna see that this is the natural me.” I gotta go really out of my way to get all of that mass on me. My mom and dad are both, like, T-straws. You can’t even suck liquid through them.

David Read:
Lockwatcher, “Your third episode, Descent, marked O’Neill’s acceptance of your character as a true member of SG1. Did you feel accepted by the cast and crew as well?” How long did it really take you to assimilate?

Corin Nemec:
Everybody was 100%. Look, if there had been any weirdness to why I had been brought on, if I had been forced upon them for some reason, or if I came in with some kind of attitude, like, “Yo, I’m the new guy on this show. Hey, man. This is me time…” I’m far more humble than that. I saw the opportunity for what it was. The incredible way to reinvent myself, get back on the series, which is the best work any actor can ever have. If any actor gets on the series and they get so better than thou that they think they’re better than the show they’re on and think they can go off and do bigger and better things, hell, maybe they can but I wouldn’t recommend it. I would recommend you ride the carriage until the wheels fall off when you get a series. Because there’s no guarantees or promises in the film business for work. I’m just absolutely so blessed to be as busy as I’ve remained over all of these years. And as motivated as I’ve remained over all these years and as interested in the business as I’ve remained all these years and non-complacent… Because when you reach a certain pinnacle of success, if you don’t plan right, you can find yourself, in a short time, right back where you were before you got your first job. And it can be even more difficult to get back in the rooms because people will have an idea of who they think you are. And that’s as far as it goes. And it’s very tough. A lot of the actors from a lot of the 80s and 90s sitcoms and family shows and stuff like that, who are tremendous talents, they can’t… There’s plenty of shows to be on today. Plenty of shows. What I notice a lot when I’m watching a lot of these shows is [that] I don’t know these people. And they’re all in the same age range as all of these actors who have tremendous talent and have a following from years back who could easily be portraying these [characters]. But Hollywood has no obligation to anybody. And there’s no seniority in our union. There’s no fight to keep the actors who’ve been in the union for the longest, to keep them working. There’s zero effort to assist veteran actors in maintaining enough work to make sense out of remaining even being an actor. It’s a terribly shallow and crass industry that you have to have a lot of heart to remain in for any long period of time.

David Read:
Linda?

Linda “GateGabber” Fury:
I feel this is a good place to start talking about your book.

David Read:
But before we do that, I’d love to have you back later this year to talk more about the industry and the process of going from a child actor to an adult, and the transition there. I really hope to be able to talk to you later again.

Corin Nemec:
Yeah, totally. For sure.

David Read:
But yes, Linda, go ahead. You’ve been busy writing, man.

Linda “GateGabber” Fury:
This is Corin’s new book, and you can see all my little marks that I put into it as I was reading when I found things that are really fascinating.

Corin Nemec:
I hope those aren’t grammatical errors. It is self-edited.
David Read:
So, this is Creating a Character for the Stage or Life. There is a link that is available in the description below for that. This is a self-published over on lulu.com. But Linda, you had the pleasure of reading this. Tell us about what you took away from it. We do have a few questions for Corin on this book.

Linda “GateGabber” Fury:
I was really fascinated to read it. I did competitive drama in high school. I lived in New England and the New England Drama Festival is, like, everything there when you’re in high school. So, any time a book on acting technique comes up I’m still really interested [in it], even though I’m a librarian these days.

Corin Nemec:
That’s great. I love libraries.

Linda “GateGabber” Fury:
Thank you. When I was reading it, I was seeing many similarities between what’s called method acting technique and method is… It sort of originated in New York and I’m sure you can tell us more about that. Lee Strasberg. But you talk about your mentor Manu Tupou ripping off from that and because of the potential damage that method acting technique, if it’s pushed too far, can do to a person. Method [acting] is taking your own life experiences and putting them into the character and if you have traumatic experiences that you’re being expected to draw on, that can bring back that trauma.

Corin Nemec:
And not only that [but] what behaviors or tendencies, if you’re too obsessed with that methodology of creating a character, if you’re completely engrossed… Because I did study it for a time with Larry Moss. And in fact, although Larry Moss is a fantastic teacher, I felt it damaged my ability to act more than it helped. Because previous to that I had no interaction with the method [acting] at all except for working with John Len for a short time when I was doing I Know My First Name is Steven. But even he wasn’t pushing too hard in that direction and the other teachers I studied with were really into improvisation and more of that kind of creative looseness which you need for teaching youth actors. So, when I started studying the method when I was 18, and trying to apply that in roles I did, especially with My Son Johnny with Rick[y] Schroder, it became very painful and difficult for me. Whereas when I did I Know My First Name is Steven, I just believed that I was Steven. His life was traumatic enough, what he went through was awful enough [and] I just believed that I was going through what he went through, and it was very natural. I left work that day and felt good about myself. Whereas when I was doing My Son Johnny, I was trying to use aspects of my own life and find things from my experiences to plug in for these emotional this and that and it became something that was more painful for me and more difficult and all that. So, when I ended up studying with Manu I realized, “Oh, I don’t need that to be a great actor.” Because it was, like, “All the great actors were using the method.” And that’s what I wanted. My dream was to be a senior member of the Actors Studio one day but when I started studying with Manu, and he was a senior member of the Actors Studio, and he was telling me that it’s hoopla, “Don’t bother. You’re gonna waste your time, and you’ll just be like all the rest of these crazy egomaniacs. That’s all you gonna end up like, thinking that your shit doesn’t stink.” And that’s what he used to tell us. He would say that he’s at the Actors Studio [and] he just has to sit around [with] everybody thinking that they know everything. There’s no conversation. I don’t know if it’s really like that because I didn’t study there so I won’t disparage the Actors Studio. I’m sure it’s a magical place to work and to create and a very free and liberating place, as an artist, without constraints on your performances. But studying with Manu opened me up to what’s called the new era acting technique and it’s a total creationist method. And he utilized certain exercises to achieve this goal which were very specific. The relaxation and creation exercises were the most specific to get our class started . So, we’d start by doing generally kind of Buddhistic meditation. Some people would amen in the class if they were super hippie out for it. But for me it’s just about, “You gotta let it go [inaudible] and you gotta let go of all of the crap from your life.” That was the other thing he said, “When you step on stage, your baggage stays behind the door. It stays out there in the world. You don’t bring your baggage to the stage.” Then you get on stage, you relax, [and] you let go of everything. You get loose with your feelings and then you do a creation exercise, which is, like, you create a pot of tea [or] you’re making a sandwich [or] you’re create having a picnic [or] create trimming a bush, whatever. And you just sit there in your place on the stage and create a shower or whatever your thing is, with your eyes closed. You create in a multi-dimensional space, whatever it is you’re doing. You wanna see the vividness of it in your mind, the textures. You wanna feel the weight of everything, you wanna create it because every time you’re doing a stage production or whatever, can you have real coffee in the cup? Can you have liquid in the cup? You’re on stage. You can’t spill the liquid. You have to pantomime everything. But is it cold? Is it hot? What is it? How many times do you watch, [and] I can’t stand it, TV shows with these actors and somebody sets down a cup of coffee at a diner and they just grab it and they’re [downing it], like, “What’s just happened there? Is the coffee that lukewarm?” If it was that lukewarm, I’d be, like, “Yo, send my coffee back. I need a blow on this for a couple of minutes before I…” This is terrible. You’re not crushing in what’s going on around you, with how your character feels about things. So, once we did a creation exercise, we’d come out of that and then we’d start getting into our scene work and stuff which was in three stages. One is the throwaway monologue or throwaway scene, [in] which basically you bring in… The private moment was central to that. Before he would even let you do a scene, you had to achieve the private moment. A private moment is where instead of doing an imagination exercise, you brought a real thing there. So, you wanna build a house of cards. You wanna set up a bunch of dominoes. You wanna fold some laundry. You wanna make a sandwich. You wanna do the things. And you come in [and] you do that. But how performative is it? How in present time is it? How much are you connected to just what it is that you’re doing that the fourth wall is so up, that when people are out there watching, they are so riveted watching you make this sandwich [that] they can’t take their eyes off of it because of the behavior. It’s, like, watching a dog. The reason why we’re so fascinated with what our pets are up to is because they’re fascinated and what it is they’re up to. And when you see somebody who’s interested in something, [like,] when you’re walking down the street and if you saw a guy with a notepad and a pen, and he’s staring at a building and he’s making notes, and he’s doing all these things, and he’s looking and he’s measuring stuff when you’re walking by, you’re gonna be, like, “God, what is that guy up to?” You’re gonna be interested in behavior. So, you wanna crush behavior into the scene work. Once he felt you achieved the private moment and you behaved naturally and organically without knowing the audience is there, then he’d say, “Now add dialogue to that.” So, you’d memorize your dialogue for a monologue or whatever and then you would do the same exact thing except you would say the words. You just say them. You’re just folding laundry and you’re just saying words and you’re just letting them spill off of you and all of that so you’re not paying attention to the behavior and the words at the same time. There’s a lot of actors who can’t behave and speak at the same time. They have to do one or the other. You can watch it.

Linda “GateGabber” Fury:
It’s the marrying of [the two].

Corin Nemec:
A lot of television actors and all of that stuff. There’s a lot of stuff you’ll see. Dinner scenes, this, that. A lot of it is because you wanna match. You’re worried about continuity and all of that. So, I’ll give [you] that you have to pay attention to that. But behaviorally, when they sit down for breakfast, none of them seem that hungry. None of them seem, like, “Is dinner late?” Are they just now…? They’re just talking and eating.

David Read:
It’s just a location to them.

Corin Nemec:
So how do you crush it in and make it all really believable where your world is as vivid? Because even environments… So, once you get your throwaway monologue done, and you felt you were able to just say the words and behave without any attachments, then you went on to your stage one which was starting to make some choices for your character. Starting to define its spine, its social and chronic conditions. A social condition would be, “How are they outwardly? What do they project to everybody? Do they project confidence and this, that, and the other?” But their chronic condition, when they close the door, is just fear and anxiety. So, what is that? When you find the juxtaposition of what’s going on in the characters’ lives, “Where are they coming from? Where are they going to? What are their needs and wants?” So, if your character is walking into the office and he’s delivering some paperwork and then he’s exiting, and you just, “Hey, here you go.” I’m not saying that everybody has to make wild and radical choices but it’s, like, “Is this guy about to shit himself?” Did they say, “Take this to the boss,” and he’s going, “No, no, no. I gotta go in there.” “No, no. You gotta get to the boss first.” And he’s, like, “OK. I’ll get it to the boss,” and he’s running, and he enters so quickly, “Here you go boss. Here you go,” and in and out so fast, you’re, like, “Whoa, where did that…?” Now it becomes interesting. A behavior was added to it, whatever, some character choice. Something was added to the moment, and that’s in that stage one [when] we start really bringing it to life and solidifying it. And then stage two is when we’ve honed down all of our choices. We know what our spine is, our need and want of the character. We know what our history of our character is. Where he’s from. Where he grew up. What economic strata he was in. What kind of education did the character have. All these things are fundamental. Because if you’re playing a sheriff, well, “Is this a sheriff who didn’t even finish high school? Or is this a sheriff who went and studied sociology or criminal whatever at school? Is this a sheriff who is just a good old boy? Who is the sheriff? What’s his history?” You’re not gonna know who the character is until you find out where he’s from. How he was raised? Who his parents are? What was his life experience growing up? Did he have a father that was good to him, or did he have a father that was bad to him? Did he have a father at all? All of these things change huge amounts of performative behavior in a character. Especially in terms of those, what we were talking about, the chronic condition[s], the private moment, when you catch the character when nobody else thinks that the character knows that somebody’s watching. So, the flamboyant boss who knows that his company is failing, and he squandered the money away, but he hasn’t told anybody yet, but he’s the nice guy around there. He’s always buying everybody lunches and everything. When somebody walks by and looks through the glass window and sees him when he thinks nobody else is seeing him, and he’s got his hands on the desk and he’s, like, “My life is ending,” and then they open the door and he’s, like, “Heeey!” Then you have a real crushing of worlds. And again, environmentally, we used to do this thing [called] communion with nature. And the communion with nature was going out into some place that’s stereotypically devoid of the mechanistic world and trying to get back in touch with the language that the grass is speaking, the trees are speaking, the wind is speaking, the bugs are speaking. All of the energy the creative universe is throwing at you. Because it was Manu’s belief, and it is mine too, that it is a frequency of communication from all sentient matter, including animal life [and] including mineral life. And all the way down, there’s a vibrational frequency that is communicating to you what it is, what it’s for [and] why it’s there. There was a part in my book where I talk[ed] about a book called The Cosmic Serpent which is just a great read. It’s a little lackluster in its ending because this guy doesn’t go through with the whole shamanic thing. He’s really not allowed to because he’s this Dutch anthropologist and he’s just not willing to go and… He’s got other things. He’s got a world back in the Netherlands. That’s calling his attention all the time and he can’t go through the whole process that the shamans do. So, it’s a failed attempt at him trying to… But what he does discover in the process is that the shamans were saying to him… He was asking, “How do you know how to make ayahuasca? How do you know how to make all of these tinctures and this stuff and everything?” And they’re, like, “The plants tell us what their [inaudible] is. It’s the plants. We just talk to the plants.” The plants say, “Hey, don’t eat us. You’ll die.” Or “If you take us and you mix us with this, it will help that.” Or whatever they’re saying. And at first, they were crazy. And now you[‘ve] got these people out there doing plant music, hooking up these electrodes to plant and they’re making sounds and you can hear the frequency of nature now, legitimately. And that’s the communication they’re talking about. So that communion with nature exercise was really fundamental in bringing us back down to Earth. And that also gets you in communication with your outward environment so when you walk into a space, is it the first time the character’s ever been in the space? How often do we see actors walking in and out of rooms that when you’re watching the movie, [it’s, like,] they’ve never been in that room before? And they’re just walking in and out of the room, saying a bunch of stuff, and leaving. Did they even see the room they were in? What’s this room to them? What does it mean to them? Or is their ego so superior to everything around them that the room is insignificant? That’s a great character choice. Because that also would go with food, with people, with pets, with whatever. That kind of arrogance. Now, when you sit down for dinner, [you go,] “I have to eat this with you, peasants? I guess I will. It’s disgusting.” Now you start getting character. So that’s what the whole book is really about, is about also dropping this… We had to also find our zero point after our meditation. That was the whole point of it, was to let go of who we think we are because the personality itself is totally programmed. It’s 100% programmed. No one in life is not suffering from years’ worth of psychological programming, and who they think they are. Just on their name, you ask somebody, “What is your name? Is that who you are?” “Yes, that’s who I am.” “So, you’re a bunch of letters on a piece of paper, down at the city hall that says ‘born’ on it? That’s who you are? You’re this name? OK. That’s interesting. How are you a name? How can you even possibly be a name?” It’s ridiculous. You can call yourself something. This is all just my opinion. You can call yourself, but you can’t be that thing. You can emulate it. You can tell people to call you that. That’s all the same with identifiers and all this today. We can identify with anything. “I’m a chair. I identify as that chair.” OK, psychologically we’re gonna have to agree with that because you’re saying that it’s true for you. But it’s all about agreements. How many people agree with it? If enough people in the room agree that Joe is a chair, and it only starts with one person going, “Yeah, I think Joe is a chair,” and then two, three, four, five and 10 [people agree], next thing you know, everywhere Joe goes, he’s now a chair. People are trying to sit on him. So, disagreement is the thing. Disagreeing with it all. That’s how you find your zero point. You disagree with the entirety of the universe and get down to just what is the vibe, what’s the sensation [and] what’s the experience of being me. Am I in turmoil? What’s my energy level? What’s my vibrational tone? What’s my frequency? Where am I? What am I resonating? And how am I dealing with all of the flows that are coming at me? Another short exercise he would have us do is just walking around the stage with all of the other actors and not allowing their energy to affect your space, no matter how close they got to you. And everybody’s doing that simultaneously. Sharing space but not being the effect of other people’s energy in your space. That’s also how you can remain non-effect. You can remain causative over every element of your life just by disagreeing with that one thing alone. I don’t have to agree with any of this reality. You can convince me, and if I’m determined in my skepticism that what you’re convincing me of is true to me then I’ll go into agreement with it. But in the meantime, everything is just based on how many people have agreed that it is what it is. If a table is sitting there, and you put your feet up on it, is the table the stool? If three people put their feet up on it, and they all say, “Hey, this makes much better stool or footrest than it does a table. I think we should just call it a stool from now on,” and now, suddenly, it’s a stool. So, the flexibility of personality is the same when we become programmed to be the person we think we are. We become fixated on the idea of self and that ego solidifies. It crystalizes into a metaphysical body. It actually determinatively has weight and substance to it but of a metaphysical nature that we’re projecting into our own universe. We’re projecting who we think we are. And everything is filtering through that. Then we’re out there and the universe [is] reacting and behaving to it under all of this programming. We gotta de-program ourselves. Get to a zero point. Breathe. Relax. And then you create. Then get in the causative. Then decide. And by no means am I some professional guru at applying this to my life. I’m not. I’m in the throws of ups and downs like everybody is and the frustrations and the trying to force reality to in the direction you want it to go in.

David Read:
But you’re recognizing that you have to rid yourself of your assumptions.

Corin Nemec:
Totally.

David Read:
If you’re gonna create anything new.

Corin Nemec:
Yeah, I think so. I think it’s the healthy way to do it. I think it’s the healthier way because then you also don’t have any attachments in the character development as well. When you leave the set every day, you put [inaudible] as soon as you take your wardrobe off the character’s thought. When you take your wardrobe off as a method actor, that character goes with you when you put on your own clothes. Because you are part of that character. You’ve projected some aspects of yourself into that character and it might be amazing, it might be great, but it’s [a] slippery slope [inaudible] find yourself believing that you are this character and all the hype about you. “Oh, he’s great. He’s fantastic. He’s awesome. We love what he has to say. He’s incredible.” And you believe that. Suddenly you become that. And now you’re not even… Now you’re totally compartmentalized in this idea.

David Read:
How much is you anymore?

Corin Nemec:
So strange. So that’s kind of what the book is about, too, is introducing this idea of a letting go of the necessity [and] the overwhelming need to be who we think we are. It’s exhausting.

David Read:
I don’t know if you’re… Linda, are you as riveted about this as I am?

Linda “GateGabber” Fury:
I am. It’s making great sense to me in that, one of the characters I played in high school drama festival was Irish. And I had to put on the accents and the mannerisms in that. And I’ve told David this story before. After the six months of playing this character which was the whole arc of the festival, and we won the gold medal and that was all wonderful, but then for, like, the next four years I couldn’t get rid of the Irish accent. It became a such a part of me that I changed schools at about that period of time and all the kids at the new school though I was Irish. They thought I was just over on the boat. And they thought I was this Irish person. And I’m not. I grew up in Salem, MA. But it became a part of me that I had to get rid of. And there are certain phrases that I say, and they only come out Irish because they were lines from the character.

Corin Nemec:
That’s crazy. You better learn a lot of limbers.

Linda “GateGabber” Fury:
It’s weird but it’s what you said, it took a long time to take that character off and put it to the side.

Corin Nemec:
Well, the thing is, the characters can become a lot of fun, too, though. You don’t wanna put them away. Especially when it has accents and stuff like that. I did one [where] I had to play a British kid in this movie Foreign Correspondents in the late 90s, and I worked so hard to get the accent. I would only talk in the accent. And we had a bunch of Brits, like, at least four on our crew, and I didn’t realize it but they thought I was from the UK. They honestly did.

David Read:
It was working.

Corin Nemec:
It wasn’t until, like, the second week of filming that they asked me, like, comfortable enough to just have a casual conversation or whatever, “So where you from over there?” And I was, like, “Arkansas.” And they’re, like, “What?” And they I just dropped the accent, “But I have to stay [in character]. I gotta keep this [accent].” And it became sort of a compulsive-obsessive thing, too, for a while. I would break it out on occasion. In fact, one time I got out of a ticket for drinking a beer on a beach with my buddy. He loves this story. Undercover cop walked up, we were out in Malibu, and we were just drinking a beer, each one of us, just a can of Tecate, nothing big. At first the guy walks up [and] he goes, “Hey, can I have one of those?” And we’re, like, “Yeah.” He goes, “At first, I thought that was a Dr. Pepper and then unzips his little bag and flips open his badge. He’s, like, “I caught you drinking a beer on the beach.” And I was, like, [in British accent] “Oh, right, mate. I’ve no idea…” And I went into my whole British thing, “I’ve no idea that we can’t drink on the beach.” And he ended up going, “OK, well, you’re obviously not from here but you should have known better,” and he wrote my buddy a ticket and let me off.

David Read:
Never know when those tools and that belt gonna come in handy, man.

Corin Nemec:
It was hilarious.

David Read:
I have had so many actors on, but I’ve never really gone through the process of deconstruing a role like we just have. Or deconstructing yourself in order to begin to find the role. Let’s please have you back later this year so we can discuss this more.

Corin Nemec:
Yeah, I’d love to.

David Read:
Because this is fascinating. Linda, will you come back on as well?

Linda “GateGabber” Fury:
I’d love to. I really would like to talk to you about how you applied this technique to Jonas and built him up. I think that would be really fascinating.

Corin Nemec:
Well, the food. Look at all the food. They had to ban me from eating at a certain point.

David Read:
Arica J asks, “Was this written into the script or was this your detail?”

Corin Nemec:
The food was all me because I thought the character is, like, environmental. He’s, like, “What’s the first thing he’s gonna come in contact with?” Food, the drinks, the stuff, and this is all new.

David Read:
The weather channel.

Corin Nemec:
The weather channel was their idea. But, like, me making a grilled cheese sandwich or whatever in the background, in the kitchen when we’re having that whole conversation. Or me with [the mug] drinking the tea all the time. Or me with the banana in outer space. All of that stuff was my idea. Eventually, they ended up not allowing me [to do that] if it wasn’t written. I forget which episode it was but we were pretty deep into it, maybe even close to the end of the sixth season. We were doing a scene up in the big conference room, and I had, like, one line in the whole entire scene. I’m, like, “Jeez, I’m Just gonna be standing around here for six pages. I guess no problem. I’ll just be listening. And I looked over and they had on the craft service, the table of food and stuff they always have up there. It was a big fruit basket and stuff, so I just grabbed an orange and started peeling an orange and I finally get to my line [and] I’m eating a bite of it, saying my line. Well, everything was fine. No one said a word about it. I did it every single take. They did it all through the thing. But when they got in the editing room, every time they cut to the wide shot [inaudible].

David Read:
Oh no!

Corin Nemec:
“Look at Jonas over there peeling this orange,” and they’re, like, “Stop peeling the orange. We can’t concentrate on anything else but that.

David Read:
You were concentrating on that orange, man. You made everyone else interested in you being interested in the orange.

Corin Nemec:
It was the nail in my coffin. It was a nail in my creative coffin.

David Read:
Last question. Kim Albright, “W​hen does Place of Bones come out?”

Corin Nemec:
It’s supposed to be June now. I don’t know. This is just the rumor mill. It’s screening right now at the Sunscreen Film Festival at St. Petersburg as well. I love it. It’s a fantastic film. Audrey Cummings, the director, just really knocked it out of the park. David Lipper, the executive producer on it, was gracious on set, creatively, to really let Audrey find the vision for this wonderful script that was written that we had a chance to bring to life. And the cinematographer, Andrzej [Sekula]. He did a bunch of films with Quentin Tarantino, so, his eye for lighting… It looks just as good as The Hateful Eight. Just as beautiful as The Hateful Eight. The lighting and all of that stuff. It’s absolutely gorgeous. I’m really excited about that film, and I think that it should do quite well in the western genre.

David Read:
Awesome. Linda, anything last to say?

Linda “GateGabber” Fury:
No. Just that this has been really wonderful talking to you.

David Read:
Yeah, this was cool.

Linda “GateGabber” Fury:
And thank you so much.

Corin Nemec:
You as well. We’ll do it again.

David Read:
And you are on Cameo.

Corin Nemec:
I am. I am on Cameo.

David Read:
All right. I put a link in the description below for that information. Corin, we’ll be in touch. Thank you so much. I wanna get more into the nitty-gritty of this.

Corin Nemec:
I love it.

David Read:
Thank you, sir.

Corin Nemec:
Cheers. Any time.

David Read:
And thank you, Linda. Corin Nemec. Jonas Quinn in Stargate SG-1. Thank you so much to Corin for joining us for this episode, and to Linda as well, my producer on Dial the Gate. I love having this guy on. He always got some interesting stories to tell and his perspective on life, especially starting off as a child actor in this industry. That’s a unique journey. Before I let you go, if you enjoy Stargate and you wanna see more content like this on YouTube, click the Subscribe button. It makes a difference with the show and really helps it grow its audience. And please consider sharing it with a Stargate friend as well. Or Parker Lewis fans out there. And The Stand, which is where I found Corin. And if you wanna get notified about future episodes, click the Subscribe icon. Giving the bell icon a click will notify you the moment a new video drops and you’ll get my notifications of any last minute guest changes. And clips from this live stream will be released over the course of the next few weeks on both Dial the Gate and gateworld.net YouTube channels. We’ve got quite an expansive list of programming for you on dialthegate.com. It has the complete list there. So, I’m truly excited about some of the stuff that’s coming down the pike. Join us for Wormhole X-Tremist on our companion YouTube channel. My name is David Read for Dial the Gate. I appreciate you tuning in and we’ll see you on the other side.