Beware of SPOILERS for the Web series Stargate Origins in this interview!
Captain James Beal was just an ordinary British officer, stationed in Cairo, Egypt in 1939. But when he met Catherine Langford, little did Beal know that he would be swept away on the adventure of a lifetime — leading to a life-and-death struggle against both a Nazi madman and a powerful alien race.
The actor behind Stargate Origins‘ leading man is Philip Alexander. A graduate of the London Academy of Music & Dramatic Art, Philip sat down with GateWorld to talk about the casting process (and discovering that the top-secret project was Stargate), his love of the 1994 Stargate feature film, Beal’s relationships with Catherine and Wasif, and the big change to his character’s fate that was decided in the midst of filming.
GateWorld’s interview with Philip runs about 35 minutes and is available via the player above for your listening pleasure! (You can also find the complete interview on our YouTube channel.) It is also transcribed below.
GateWorld: Hello and welcome! My name is Adam Barnard and on behalf of GateWorld.net, I’m here with Philip Alexander, who plays Captain Beal in Stargate Origins. Philip, thanks for joining us this afternoon.
Philip Alexander: Oh, thank you for having me. Happy to be here!GW: So this might be a surprise to some people (it was a surprise to me): You are actually not British.
PA: No! [Laughs]
GW: It’s so convincing! I was expecting to be calling across the pond, maybe someone who even lived in London, who was a proper theater actor … and you’re American, correct?
PA: Yes, I am. I’m American. I was raised overseas; my dad was a diplomat, so I moved around a lot as a kid in the Middle East and Europe. But I actually trained in London, at a school called LAMDA — the London Academy of Music & Dramatic Art, which is where guys like Benedict Cumberbatch, David Oyelowo, Ruth Wilson went. So maybe I cheated! [Laughs]
GW: So you got some of the influence, maybe, with the training?
PA: Yeah, and I made it a real point during my training. We had a fantastic department at LAMDA, and a lot of our training was in dialect coaching because, especially in England there are so many different dialects, regionally, that it’s very important to have a well-rounded career to be able to do things like Glaswegian, or obviously, RP [“received pronunciation”] standard British English, London, Belfast, West Irish, all those kinds of accents. So that was ingrained into their students and I made it a point while there to be able to do one as well as possible. I would do it for weeks at a time, because I was one of the few Americans there and I’d have my British friends critique me. They’d say, “No, that’s not it, you’re not getting it today,” and I’d go “Thank you, I appreciate it, that’s why I’m annoying you.”
GW: It’s interesting you mention that about dialects, because I grew up in the South and everyone who tried to do a British accent there failed dramatically. They had this very static, one-note impression, it was, [affects poor English accent] “Oh, hello, how you doing?” They didn’t really understand the variety, and they’d always move their voice up an octave like that was just a natural thing to do. And that’s not how you’re supposed to do it! So it’s interesting that you bring up how many different variations there are, regionally.
PA: Yeah, there’s a huge variation, and it’s something that is very much being acknowledged and supported in England as well. There’s a move towards more regional stories, because you have the standard English RP that was sort of invented, they call it “BBC English.” It was made and standardized and it comes from nowhere, so in that sense, some sort of regional voices are lost and become marginalized. And that’s why there’s a really cool movement of saying everyone’s stories from all over the country, because the lives of the people who speak certain dialects — that’s very much a part of their culture. There’s certain reasons and genealogies to how these accents formed. So it’s really cool, and it’s a great experience to be able to learn about that.GW: So you said, when you were growing, you actually traveled and ostensibly lived overseas for certain periods of time. Is that correct?
PA: That’s correct.
GW: Did that at all influence your character? Because I know the character of Beal is stationed at an African outpost. Did you find some kind of kindred connection to that?
PA: Yeah, I think there’s something to be said for being a bit uncomfortable in a situation where you’re given … because obviously, as a diplomat, privileges and benefits are given to you that maybe local people don’t even have, right? So I think maybe there was a discomfort there always being, “Oh look, I’m in another country and I’m sort of a tourist here, unless I really choose to get involved in the culture, but I’ll never really be from that place.”
But it did encourage me to always, as a young person and later in life to try to find commonalities with anyone that I met, and I think Beal is acutely aware of that. … Well, sometimes he is. It would be great to see how he and Wasif met, and their relationship up until then. But I think it was pretty well established, Beal thinks he knows it all, and Wasif has to remind him, “You don’t, you don’t even know things about me.” So there’s a presumptuousness to it, a helpful thing to have.
GW: What was it like portraying a character from a specific period in time, a Word War II-era character? Did he have any backstory? Or how did you approach him from an accent and culture perspective?
PA: I think Beal is from a well-to-do family, maybe not too well-to-do … My backstory for him was drawn on history; I mean I studied history and anthropology in university, so I sort of drew on those research methods to look into what it was like. Because it was a very different … pre-war British Army was not ready, right? It was a different system than certainly would have ramped up in the late 30s and early 40s, so the people who were career-military guys were often commissioned and there wasn’t a war-time emphasis. It was very much a “society” thing to do — join the military and it’s some esteem, and you just lived that career as part of the officer class.
I don’t know enough about British society. I’ve experienced some of it, but I would say that he was upper middle class and that was just something that you did: you went to boarding school, became a commissioned officer, and you were sent to wherever they sent you.
GW: So with him being like that, he has a bit of a swashbuckling, very educated side, but also I think, as Origins unwinds and expands you start to see more of the militaristic grit come out. Did you base any of that characterization on any kind of classic English film or literature? I only say that because I grew up on The Hardy Boys, or The Famous Five, or the Battle of Britain, Bridge on the River Kwai, A Bridge Too Far … all these war movies. And like I said earlier, when I saw your character, it just felt right. I thought you did a pitch-perfect depiction of someone who was plucked right out of that very classic era.
Was there anything specific that the show producers or Mercedes [Bryce Morgan, director] or you pulled upon for the character of Beal?
PA: “Plucked” is a good word because I think he’s very plucky. That’s a big part of his character. And I think, to be honest, a lot of it was just how well he was written. It was that clear, it jumps out at you and you don’t even have to do that much work. That’s the best part of being an actor, when you’re given a really good script and a character that stands out. So when I read him, I just knew — and obviously there’s training and whatnot that goes into figuring out certain things — but I just had an instinctual connection with him.
And I think in terms of any influences … I actually looked at a lot of what I could get my hands on — WWII footage, of guys in Egypt, around El Alamein in the desert campaigns against Rommel. And it’s funny because the footage is not … you know, maybe it’s sped up, there’s a certain energy to it that makes it seem like it’s maybe more optimistic than it is. I just wanted to see how — I’d look at, what did these guys look like, and how did they behave?
I think there is an optimism and a naivete for Beal. But I think there is an optimism when you see these guys and you hear about the horrible things that they went through in combat. But then you see these pictures and they’re all just … these little handheld videos, and they’re waving at each other and joking around on their tanks, right? Ready to go into battle. So I think that I pulled a lot from there. Certainly those movies, The Bridge on the River Kwai, The Longest Day — I saw those as a kid. I love war movies.
GW: Same here.
PA: And I felt … because there’s also a decision you have to make, as an actor, as to the genre that you’re working in, right? So there has to be a stylistic and a sort of world … I see it in terms of colors and sounds. You have to get the mood and you have to pitch it right. So this isn’t Saving Private Ryan which, even though that’s an amazing film in the same place, it’s not the same thing. It’s very much a different story.
I also pulled on one of my favorite movies ever, the 1999 Mummy. When I read that, I thought, “What a gift,” because that movie and Brendan Fraser’s performance in that really has this mix of levity and danger. I guess I pulled on things I love.
GW: You always have to put a part of yourself in the characters, I guess, to find that negative truth. I liked what you said about the optimism, because I think that’s something that England was known for in the war. Because they just got their butts kicked and pummeled domestically and in Africa, Dunkirk, the Battle of Britain, the bombing of London, and somehow through it all, they kept the best spirit. I think they had good leadership; maybe it’s part of their culture; but that’s something they are known for.
And that’s one of the reasons I liked seeing that energy in Beal. Even if he’s a little “fish out of water” going to Abydos with the group, he’s the one who has to maintain that sense of authority, militaristic discipline, and courage. It’s always nice to see human characters who find a lot of strength in these kinds of adventures.
PA: Yeah, and he has to keep his head on; that’s the crux of his character, and that was the crux, I think, of British philosophy: “Keep calm and carry on.” You just keep it together, because you’re getting blitzed and your cities are being bombed, and you keep going about your business and when the sirens go off, you just go underground. It’s so proper and so … they limit the emotion to what’s necessary. They don’t freak out. They’re able to keep some kind of discipline or calm core, which I always respected.
GW: So let’s get into the auditioning and the process of getting involved with Stargate Origins. Was Ellie [Gall] already on board as Catherine Langford and did you do chemistry reads with her? Or did you guys audition separately? Can you just walk us through what that process was like that led up to you getting cast?
PA: Sure. I think it was maybe September that I got a request for a self-tape for a code-named project that sort of gave this breakdown of a British officer. And I actually didn’t even have sides from the film. I was given some sides from another film — to do this character, to show what I’d do with a character given his description — because they didn’t want to release any information, obviously. So I sent them the self-tape and I thought nothing of it, because you never can — you have to just do it and forget about it.
I had moved to L.A. from London right after training in May, and then I got this. And I said, “I’m going to leave for three days, I can do it! I can afford it! I can afford to leave for three days!” And I’m at this wedding, the wedding celebrations are happening, and my manager calls and says, “You’ve got to come back you have a recall for the show.” And I was like, “Okay.” So I got another flight and left early, came back to L.A., and then they gave me actual sides …
GW: From the actual Origins script?
PA: From the actual Origins script. And I knew immediately that it was Stargate [laughs]. I had this funny interchange with Mercedes because we were doing this bit … my audition scene was the bit when we go through the gate, and Cat’s like, “Look at it!” And Beal’s like, “I am looking at it!” [Laughs] And I asked Mercedes a question — I said, “So, when we’re about to go through this sort of Stargate portal thing …” And she goes, “Wait …”
We had this sort of moment where we looked at each other and I was like, “Oh, it is Stargate, isn’t it?”
GW: You were testing her, right? Just seeing if she would notice?
PA: I was testing her! The next day I had a chemistry read with some other actors. Ellie was not there. And then I found out a week later that I got Beal, and only on the day of rehearsals did I meet Ellie.GW: Interesting!
PA: We had a day of rehearsals a few days before shooting. She walked into the rehearsal space, and I said something stupid like, “Oh, you’re the production team?” and she’s like, “No, I’m playing Catherine Langford.” [Laughter] And I’m like, “Of course you are!” Idiot.
GW: Everyone has an experience on set where they ask the star, “Are you the stunt team?” or something. I’ve done that too, it’s terrible, I know the feeling!
PA: But we had no idea, right? I had no idea of anyone else who was involved and who got it, which was neat, that was a cool part of it. Strangely enough, that was the coolest audition experience that I’ve had.
GW: It sounds like you were actually kind of familiar with Stargate before this audition. Had you seen SG-1, or the TV shows, or the movie? Did you watch it growing up, and did you have any personal experiences with the shows before then?
PA: I was a huge fan of the film, the 1994 film.
GW: Right, the thing that started it all!
PA: Started it all, man! I saw it when I was really young. My friend had it on VHS or something …
GW: VHS, yeah the things we now put in museums. It was so long ago!
PA: Right, the Smithsonian! But I watched it there and I loved it man, because I loved history from being a very young kid. I adored ancient history, ancient Egypt, ancient Rome, you know, just classical history, and when they had this thing combining aliens with ancient Egypt, with soldiers, and portals … I geeked out, completely.
I think … to be honest, the reason I missed the show was I was living overseas for a lot of that. I was moving around anyway, and I never got any access to it. I mean I knew it happened and I think I saw a few episodes of SG-1, and maybe of Atlantis, but for me the thing that always stuck in my mind was just watching the film as a kid. And that was around a time, you now, when there was a lot of late 90s movies. Like Independence Day, was I think, kind of when …
GW: Yeah, Independence Day was I think ’96, and Stargate was ’94. Roland Emmerich did those two pretty close together and they were both just titanic hits.
PA: Yeah, I think I saw them all. Maybe it was the early 2000s — I kind of found them all, and I watched them all.
GW: And it was definitely much harder to find content back then, because we didn’t have Netflix or iTunes or on-demand streaming. It was very much either airing, or if you were overseas you had to find it on a cable channel, or you had to search out the VHS or the DVDs. But back then it was very easy to miss something that came out because of the lack of extensive distribution that we have today.
GW: Now that you’ve been in Stargate!
PA: Now that I’ve been in it, I should probably watch the series.
But I do have such fond memories of it. Because I didn’t understand — it blew my mind, right, this film, because it was unlike anything I’d really seen before, because of the genre combinations. I mean, I thought it was really weird. You know, there’s some weird stuff — with Ra speaking in this voice, and this really … I think I said in my interview with Kieran it was “operatic.” It was like Wagner! The scale of it … it was just audacious, and bold, and we are going to do this, we are going to have a cosmic, ancient Egyptian demigod come down. It was just great.
GW: Yeah, I loved it, I think the Goa’uld are always into operatics and into this opulent display of power and control. I mean, that’s just part of what gets explored in the movie, as well as in the TV show with the System Lords. That’s what connected with me, as well. I just thought it was … it felt right, you know? It felt so connected to our heritage as a planet, and even the here-and-now with the modern-day military.
So yeah, I was the same way. What you described was exactly the same for me with Atlantis and with SG-1. It was in the early 2000s, as well.
So once you got cast in Origins and got to read the whole script, you must have been really excited, being a fan of the original movie, of how much Origins specifically relates to the original movie and has a lot of callbacks and connections. What was that like to read the whole script in its entirety?
PA: I read it the moment I got it — the whole thing, twice through, back-to-back. I can’t even remember if we knew how much it connected to the film. But I knew that it was talking about Catherine Langford and that amazing prologue from the initial film.
GW: Certainly, right — I mean that leads in straight to Origins. They tacked that on and it kind of gives you a bit of context about what young Catherine Langford did at the dig in Giza.
PA: Right. And obviously, as a fan, I was freaking out. I was absolutely losing my mind. I remember calling my parents and just saying, “You’re never gonna believe this!” It was really neat to be able to read that script from beginning to end, having the knowledge that I did of the film and knowing where it fit in. And I really just immersed in that time period from that moment. I had a lot of other, obviously, commitments that I had to deal with, but I said, “You know what, I’m actually just going to really enjoy this new story that takes place in a universe that I love very much.”And I downloaded it, because I remembered that the score was amazing, so I went and found it on YouTube because I couldn’t even find it to buy it anywhere. So I just listened to that. And it had this incredible magic. It was beautiful. It captured all these things, the sort of space opera with the sort of common musical themes that we have from films about Egypt — Lawrence of Arabia, those very noticeable scales …
GW: Right! Yeah, there’s certain tonalities, chord progressions, leads … I think a good theme can define a franchise, like Star Trek or Star Wars, or even Jurassic. John Williams is the master of doing those themes. But some other franchises like Stargate get a little overlooked for their music. It sets the tone, it gives the film or the TV show that kind of feeling. Joel Goldsmith — who is the son of Jerry Goldsmith, another legendary composer — did all the TV shows. And he did a great job with the themes and a lot of the recurring music.
Like you said: I love your approach because Stargate is more than just the mythology or the images. It’s about the adventure, the friendships. It’s about the visuals. It’s about a lot of things, and so it’s cool that you had a holistic approach to it.
PA: It was very holistic, and it was borne out of a gratitude — one, for MGM making the choice to do this, and knowing how much … you don’t realize how much something affects you, I think, until maybe sometimes later in life, after ten years, you think, “My goodness, I’ve been so inspired by this thing!” And you might forget the source of it until you revisit it again. Because I loved science fiction as well — Dune, and Star Wars, obviously — and so when you see how brilliantly they combined all those things into something and they pulled it off, the chance to immerse myself into something like that so early in my career, I feel I’m a bit spoiled now. [Laughter]
So there wasn’t a moment that went by that I wasn’t very aware of the privilege and of the gift that it was to act it out, something that I would play around in my house, you know, as a kid, run around with my blaster or whatever fighting whoever the alien of the day was.
GW: It’s a way for grown-ups to kind of capture the inner child and make pretend again like they used to as an adolescent, which is what I’ve had. I think that’s why everyone wants to go into filmmaking — because they have this dream, like all the things you watched when you were young, you want it to be real, you actually want to visit other planets and to act in Stargate or act in Star Wars. That is as close as you can get as an adult to actually going on these wild adventures.
ON THE SET
GW: In terms of the actual Origins set, I wanted to ask: What was it like to work with Mercedes, and what was her directing style like? Especially when it came to you and Catherine, you and Wasif. I’ve heard a lot of interesting and good things about her as a character director — the choices she made. So can you just talk a bit about the dynamic you cultivated of the characters?PA: Sure. Mercedes was so supportive of our work as actors. She said from the very beginning that she really wanted to help us — and facilitate in any way possible — us delivering the best performances that we possibly could. From answering any questions from thick-level stuff to the most mundane kind of things, [she] really helped focus from the very beginning on the relationship between Captain Beal and Wasif, and then that being a sort of core element and how that grew as they went on their adventure together.
But I think forming that was a real joy, to build on what was already there in the script. And she was always very open to interpretation, improvisation … I can’t tell you how safe and supported I felt on that set.
GW: That’s really good, because I think it can get very stressful to work on bigger projects and realize what’s ahead of you. But I think all the people — the directors I follow — say [that] you’ve just got to focus on what makes this scene work in the moment. It’s not about all the lights or the operatics of it; it’s about the characters and the performance and having an honest connection, I think.
PA: Of course. And she fostered that. That was an attitude that was just top-down. And it also helped that everyone else involved was incredible, as well. At the end of the day, it’s about serving the story, and the beautiful thing about making films is that every film that’s made is a miracle. It shouldn’t happen, and most films do fall apart before they even get made. So everyone knew, had an incredible investment, commitment, and love for the project.
And so what you’re seeing on film is not only the result of things that were planned, but many things that were unplanned, and improvisation. And that in a sense is a great sort of narrative, and metaphor … I was going to say “meta-metaphor,” but that’s the same thing! But that’s what happens on these space adventures, right? If everything went to plan, what’s the point?
GW: Did you guys have any instances like that, where some kind of problem came up, or you had a moment that just took a sharp left turn from the script — for the better?
PA: I remember one. The scene that always sticks out for me was a scene we shot in the desert, where the group is kind of breaking off. So Catherine is going off with Kasuf and I’m going off with Wasif back to the village, and it’s sort of sun-setting. And because of the scheduling and the environment and the shooting schedule, we got to that point and we had time for one take for that. We had minutes to nail this elaborate … I mean it was a complicated scene! There was a lot going on for this last take that we had.We did it, because the light — the sun was setting, and we got it. And it was beautiful. We were like, “We did it!” Okay, let’s move on.
There were so many times that I can’t even remember. I think … “Boniway,” when Dan Rashid — I mean that’s absolutely the brilliance of Dan Rashid! “Boni-way” and his comedic timing. And the whole film is just sprinkled with moments of that. And not just with the actors, but our director of photography, Nico Aguilar, he would just do things … the man was an absolute wizard.
GW: He’s young too, isn’t he? Like 23 or something?
PA: Yeah, he’s incredible, he’s something. He’s one to look out for. He would just move his hand through a shadow or through a beam of light, kind of test it out, and he’d go, “Okay, here’s what we’re going to do …” And this thing would occur on screen. And he’d captured it.
Then you had Mercedes — the amount of pressure on her was immense. And she would just do it. She’d make it happen, and she’d make really excellent, creative leadership choices.
GW: Directing requires a creativity as well as being an excellent manager. Some directors only have one or the other, but it’s so great to find one that has that ability to stay calm. I respect it; I don’t know how I would be able to stay calm if I was making something like the next Stargate, having all those things to deal with, you know?
PA: It’s a lot.
GW: I want to quickly and specifically talk about Beal and Catherine, because they’re very different characters from different backgrounds. Catherine’s upbringing is obviously very different from Beal’s, as we talked about earlier. They do have this interesting, feisty dynamic. But there’s also quite a bit of romance in it. How did you approach that?
PA: I think what’s neat about Catherine and Beal’s relationship is that this adventure takes place so soon after they meet, and it’s a kind of pressure that would put even the most long-term, tried and tested couples to the test. So what’s happening is that they’re discovering things about themselves and about each other under very high stakes. You’re faced with an intergalactic portal and whether or not to go through, and all those kinds of things. So they’re being faced with themselves and these choices that they never thought they’d have to make.
Ellie and I have a great friendship and a really good rapport, so it was easy to be able to play. Because like you said, both Beal and Catherine are very intelligent and very strong-willed, and seek adventure — perhaps with different strategies — but the writing obviously supported that as well. It’s fun! They’re having fun, too. There was never spite; it was never spiteful or mean-spirited. But these are sort of young kids who are really doing their best.GW: They definitely took turns to play with each other. That’s one thing I noticed. The first episode, where we start in the warehouse, she’s very much playing with you a little bit when her father’s around. As we get to Abydos, the tables might turn. It’s fun, it has that kind of spark, which I really liked.
In terms of the end, Beal’s fate — spoiler alert, obviously! — do you think he changes at all? Because he very much sacrifices his life for her. Is that just out of a sense of duty, like a British officer’s duty? Or is that something where you think he’d developed a love for her, and it was more about the romanticism of it?
PA: I think it’s love. I think when people are faced with those kinds of decisions, someone that they love is in danger, it’s just automatic. He had the training, obviously, to do these things, and I think his mind got in the way a lot of the time, of being as valiant maybe as he wanted to be, or thought he had the ability to be. But towards the end when they have to get home and the adventure is reaching its climax … he’s acting out of a place of instinct.
GW: So, a human evolutionary instinct to protect what you love and protect those around you, right?
PA: It’s the greatest adventure of his life, and it demands … and that’s the thing. These experiences change you, and some people have the opportunity to learn from them and to continue living their life, and say, “Wow, that was great!” And then for some other people like Beal, it was just his time. It wasn’t a sense of “Oh, this is me making this choice to save her life and sacrifice myself.” He just said, “We’ve got to get you through.” And when something happened to her and Dad, he didn’t know …
GW: Oh, when she was brainwashed or she essentially had her memory wiped by Aset, and she’s kind of in this trance where you find her in the very last episode …
PA: Yeah, and so he finds her, and he’s sort of accomplished all the things … and then he gets her through, and he fully expects that he’s going to make it too, but, he doesn’t.
GW: So, I interviewed Mark Ilvedson, the writer, recently. I’m not even sure if you’re aware of this, he said there was originally an alternate fate for Beal — where Beal made it through the gate and had like a Humphrey Bogart-type ending, where he didn’t have his memory wiped, so he had to keep shut about that experience, and stay away from Catherine.
So Catherine doesn’t remember him and he, as we talked about, he falls for Catherine, but he has to walk the other way for the greater good, because he can’t bring that through. Was that alternate ending discussed or did you play a part in how the final fate of the character was crafted at all?
PA: That was the original ending in the script that I got, when I was cast. That doesn’t mean that there weren’t other versions floating around in the writer’s room. But it was this thing where Beal understood that he was essentially erased from this journey, and he just left. And that was heartbreaking in a different way. I think, when I was told later through the shooting process that he was going to die, it felt better to me. Because that’s hard, too. Just from a story standpoint, I think, and also a character standpoint, it was the best way.
GW: Yeah, it’s bittersweet for sure. I think a lot of people have bittersweet endings, like Kasuf or Wasif — they might even survive, but it’s not exactly a happy ending where everything is resolved. But it does add to a sense of danger. It tugs at your heartstrings but in a way that — [like] you said, it’s right. Not everyone can survive these kinds of things, otherwise it’s not realistic anymore.PA: Right, no one can. And the editing that was done, and the way that the last thing he saw was Catherine kind of fading into nothing, that was … ooof! I mean that hit me. It’s tragic. But if he could choose, that’s how he’d go anyway.
GW: That’s awesome. Well, thank you so much for your time, Philip. I really appreciate you sitting down and examining this character of Beal. He was one of my favorites. I thought his adventurous spirit really helped define the tone of Stargate Origins, and that real chemistry between the three leads.
What’s next for you going forward? Do you have any projects or anything you can tease for us, any adventures besides acting you’re interested in that you can share with us?
PA: Sure. I’ve been working on several projects. [I’m] in several films, a few of which are being submitted to festivals at the moment — so I can’t, unfortunately, disclose what they are. I’ll be posting about them on social media when I can. The great thing about working on a project like Stargate is that I just got to meet so many wonderful creatives, and I’ve maintained friendships with many of them. And as an actor it’s an incredibly rewarding experience, but it also just enriches my life to be able to leave with friends and inspiring people. So I’ve been inspired to continue and grow, and I’m just really grateful to have been a part of it.
GW: Well it’s good to have you as part of the family. I know it can be a little intimidating sometimes — I mean Stargate fans can be a little possessive, but it’s because they care. And at the end of the day everyone does get ushered into the family; and however dysfunctional, it is a really great environment. And that’s something you have with you for your whole life. It’s part of your career legacy, because Stargate is such a big and almost “religious” experience for a lot of fans.
Thank you so much for sharing time with us and we absolutely wish you the best of luck in your future career.
PA: It was my pleasure. Thank you for having me.
Follow Philip Alexander on Twitter @pip_alexander!