kp: Tell us a Bob Fosse story!
kg: Well, Fosse was famous for playing with actors' minds to get them into a certain emotional state. I think that's what he was doing with me at one point. I was 17, and not very sexually experienced. So there I was being molested on camera by the three actresses playing the strippers, one of whom was actually a man, and another who was drunk and kept telling me how she wanted to fuck me when we were done. Creepy, and not the least bit sexy.

And then Fosse comes over and says to me, "It would be great if you could really get hard. It would look more real."

Well, that was the LAST thing that was going to happen, so I felt like a total failure as an actor and as a man. Looking back, I realize that was exactly what he was going for--getting that panic in my face. Not the nicest trick, but it probably worked.

kp: Do you still speak with Brian DePalma?
kg: Haven't talked to him in a while. We had lunch at the Montreal Film Festival a few years back.

kp: How much of an influence is he?
kg: He was a very big influence. Not just some of how he worked, but I knew nothing about the technical side of film before working with Brian. I learned a lot about 'film-grammar' just being around him. But I also liked the way he worked with actors. Very often, after we'd have a 'print' take, he'd say, "Let's try one more, more angry (or funny, or sad, or whatever)."

It really was freeing as an actor, because you didn't feel like you had one shot at it. He always printed two or three very different takes. That made for actors feeling more brave. If one approach to something sucked, no biggie.

kp: What other filmmakers influence you?
kg: Well, Stanley Kubrick was probably the biggest single influence. '2001' is what got me interested in films and filmmaking.

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