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On how his career was affected by the stereotyping that comes with a groundbreaking and long-running TV series: I appreciated and enjoyed it, so I can't really say it was negative. There have been times since when a filmmaker has said, "Jason is just too recognizable," but in many other instances it opens a door for you.

On whether people are surprised to find he's also a theater actor, producer and director: I think so. The easy thing is to say is, "Oh yeah, Jason, he was Brandon Walsh." Being an actor is about being different things and wanting to play different characters and have different experiences. In doing movies like "Love and Death on Long Island" and "Die Mommie Die!" I can expand my repertory of work.

On how he transcended the limitations of TV success, where others have failed: You have to be brave and not afraid to fail. Any time you try something, well, sometimes it's not gonna work. You have to keep going and do the next best thing.

On whom he based his "Die Mommie Die!" character of Tony, the gigolo: Tony is an amalgam of actors of the '60s, be it Tab Hunter or Rock Hudson. They were all just a little too earnest and stiff. That era had a definite acting style -- great actors -- but they were all trying too hard because that movie was going to be the big break.

On indie films resurrecting such off-Broadway, gender-bending plays as "Hedwig and the Angry Inch" and "Die Mommie Die!": The stigma that's classically been around being gay has been lifted. OK, L.A., New York, Miami and Chicago -- no one there has cared forever -- but for the 200 million people in between, well look at the success of "Will & Grace" or "Queer Eye for the Straight Guy." People are more accepting. That's great not only for entertainment but society as a whole.