Ask Laurel
Laurel Answers Your Questions. Check Back Often for More Answers.
Answers Will Be Posted When Received Back From Laurel.
email your questions to asklaurel@laurelholloman.net
Nov 18th
Diane McEliney: This e-mail is probably one of many that asks for your analysis of that webisode. It's always interesting reading/hearing your point-of-view on your characters' perspective. We haven't heard your 'take' on this scene. Obviously, it seemed to be out of left field for a beloved character of the show. How was it to come into this scene when you were never given (or much of) a back story to draw from during 6 seasons?
Thanks for taking the time for inquiring minds.....
LH: Diane, I was always frustrated along with the fans that there was no back story. I always felt Tina would have this great mom that would have been a cool grandparent. All I can say is, too many characters, too little time. And on the last episode, I just did what I did to make it work, which is to find whatever truth I could. The cool thing is I feel that Ilene isn't afraid of dark histories in her characters, so as an actor, it's still fun to play. The show was ending, I was sad and also very ready, in some ways, so it was just a very strange time. Thanks, Diane.
--------------
Sue: Hi Laurel. What's the best or most interesting question you've ever been asked?
LH: Sue, I don't have a best question. I find all the questions interesting because our fans are so loyal and intelligent. I can think of lots of dumb questions the press has asked though.
--------------
Oct 13th
From Heartofartemis: My favorite episode from all six L Word seasons is episode 209, when Bette and Tina re-connect after the sonogram (known as the OMFG scene). My question is, after Bette left and Helena arrived, I have always believed that Tina didn't really want to have sex with Helena that night after her encounter with Bette that afternoon. I think she knew that by being aggressive, Helena would be turned off. What was Tina really doing? Maybe I'm looking at this scene through my hopelessly rose-colored Tibette glasses!
LH: Wow, that scene seems like such a blur. Tony Goldwyn directed it and he was one of my favorites. Basically, I think she wanted to sleep with Bette, but she tried to push the feelings into her relationship with Helena. We really wanted to show the moodiness and horniness of pregnancy. Sounds crazy, but sometimes the hormones can make you behave strangely. You have to remember Bette betrayed her, so her feelings are conflicted. I love that they wrote that scene. It was so much fun to play because it really turned pregnancy stereotypes upside down. I'm not saying that she didn't love Bette, I think she just thought she could close her eyes and fuck Helena and make it all go away. It was probably unconscious, but you can't play that as an actor, you have to play the verb, what you want in that moment. Not sweet, but human beings behave that way. It was great and very revealing for Helena's character because she really hates being out of the drivers seat. Also, Rachel is a great friend and a joy to work with. We had some great laughs. I was 8 months then. Honestly, I remember by the end, I just wanted to sleep. Tony was like, "I can't believe you are still working". I didn't know any better. Thank you.
--------------
From Within Temptation : Thanks so much that you recommend movie, music and share your painting and sketch with us. You do what you like and enjoy it. So great! Which painting technique is your favorite and be good at it, and do you like Chinese traditional painting? – as an example, Shui-mo which loosely termed watercolor or brush painting, the painting with calligraphy, it’s wonderful.
LH: My husband would say I'm good with combining mediums, blending colors, and capturing my emotions on canvas. I usually paint best when I'm sad or angry. Music has to be loud and sometimes I paint faster than most people would expect. My best work came after my first daughter was born. I have no formal training besides undergrad. But my undergrad art teacher tried to get me to pursue art instead of theater, and I was like 'no way'. It feels weird to talk about painting. I really do it for a release - it's sensual to me and tactile. I love that I can be alone with it. Acting requires so many people. I have a real loner side that often conflicts with acting. I mostly paint from my heart and my emotions. Its all modern and abstract. I also paint many layers and scrape and reveal. Gosh, don't know how to talk about it. It feels so subjective and although I love to paint, I loathe the pretention of the art world. I dated a painter (he was quite good) in New York in my twenties and I hated going to all the art parties. I just know I'm usually just drawn to things that move me in some way. The first painter I was blown away by was Francis Bacon. I just felt really drawn into the rawness of his work. I'm more familar with Japanese art, as I just went to the Japanese Pavillion at LACMA. I would love to see more Chinese traditional painting. Thank you.
Do Not reproduce without permission