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AE: One of the best examples of the way Boy Culture blends comedy and drama is the section of the movie where Andrew brings X [played by Derek Magyar] home with him for Jill's wedding. The scenes with Andrew and his family begin comically, and then evolve into the touching moment between Andrew and his mother. Shortly thereafter, there is that same mix of comedy and drama in scenes in the church at the wedding. Can you say something about playing those scenes?
DS: The scene with the mother, as we were preparing for it — to have a connection with a character like that was such a beautiful thing to act. I had a lot of emotion attached to it, going into it. And when we played it, when we actually had to shoot it, everything happens so fast, with one or two takes to make it happen, I honestly feel like it never really happened. … For me that was one of the biggest scenes in the film for that character; it was a big turning point. He was basically imagining that he was in the closet for most of the film, and the he comes home and realizes that he wasn't in the closet at all. I was looking forward to playing that, and when it was shot it felt like it never quite hit. It's nice to hear that it had an impact for you. That's a testament to the writing.

AE: And your performance, as well.
DS: It didn't feel like that for me, but thank you.

AE: You have made an impact on television with Noah's Arc. And now, especially with two movies making the festival circuit and then opening in theaters, you are a dominant force in film as well. Do you have ambitions to do stage work?
DS: I started in stage. I did theater for years in San Francisco. I was part of a theater troupe called Sassymouth, based out of the theater department at UC Berkley, which is where I went to school. That group went on to do professional theater in San Francisco for a couple of years. The writer/director of that troupe, John Fisher, is still working in San Francisco today, with Theater Rhinoceros. I did theater for about five years before moving to Los Angeles.

AE: What about the possibility of recording a CD of covers or your own material sometime in the near future?
DS: I wrote an album before I graduated, but just never committed to producing it. I look back on it now and giggle at what I thought was relevant [laughs]. At some point I'd probably like to explore music. It's a big part of my life. I always have my iPod on. It's a big thing for me.

AE: Do you think that your experiences as a gay, African-American performer may someday lead you to write a book about it?
DS: I don't discuss my sexuality with the press. For me, it's a matter of you can see the work and make your own assumptions. But because of the stage I'm at in my career, I don't see any relevance in talking about my personal life.

AE: But what about writing a book about your experiences?
DS: Maybe sometime in the future. I'm writing screenplays right now, and that's an artistic outlet.

AE: On July 15th, you received the Rising Star Award from the Philadelphia International Gay and Lesbian Film Festival. Can you say something about what that means to you?
DS: It's almost surreal. [Laughs.] I drive a beat-up car in L.A. I'm not living a glamorous life at all. I've got my friends who I am very close to. In Los Angeles, Logo isn't that big — all the cable companies aren't carrying it yet. I feel like in Los Angeles, I still have some degree of anonymity. When I come to places like Philly or New York, where people are a lot more hip to the show, I feel like, “Wow! I am actually making an impact.” To have someone in Philadelphia call me a rising star is a step in that surreal direction of people seeing my work and recognizing that I'm doing something. Because in my life I don't really see it like that [laughs]. I'm excited to get back home to start auditioning again. That's how I see it.

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