Dial the Gate is privileged to welcome the return of our friend, Colin Cunningham! We are delighted to welcome back the “Major Davis” actor to update us on his life and discuss his new film, “He Never Left!”

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TRANSCRIPT
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David Read:
Welcome everyone to Episode 288 of Dial the Gate. The Stargate Oral History Project. My name is David Read. I appreciate you joining me for this episode. We have Colin Cunnigham, Major Paul Davis of Stargate SG-1, here with us today. How are you, sir.

Colin Cunnigham:
Doing well. It’s good to see you again, buddy.

David Read:
It’s good to see you again, my friend. If you are in the live chat and you have questions for Colin, get them over to my team, and they will be sure to include them in my side so I can see them before we wrap up. Colin, I had to have you on once I got a chance to take a look at your new film. It’s called He Never Left, and it is horror plus thriller. Is that a fair description?

Colin Cunnigham:
I see it as more of a thriller with a little horror. Look, it’s a… Technically it’s a thriller but it’s wrapped up in the horror kind of slasher genre. But there’s not too much slasher. It’s not like anybody’s getting their throat ripped out and somebody’s eating it in front of them. It’s more of a… It was James Morris and Michael Ballif, but James came up with this idea, and he said, “What would happen if we merged Friday the 13th with Hitchcock’s Rear Window?” And the idea really, really struck me. I was, like, “Wow. This is cool.” Because it was basically about a felon, a bad guy, who’s on the run from the law, and he’s got a hole up in a creepy old motel out in the middle of nowhere.

David Read:
Norman Bates style.

Colin Cunnigham:
Yeah, and he’s got to hang out there for two, three days, waiting for his ride to take them out. But he can’t leave, he can’t use the phone, he can’t let anybody see him. He can’t let anybody know that he’s there. And, of course, strange things begin to happen. He hears noises next door, what he thinks is a murder, and of course he can’t call the police, he can’t do anything about it, and he’s basically a guy that’s kind of trapped. Hey, David, if you don’t mind, people are probably wondering what that is.

David Read:
Yes, what is the story here before I play the trailer for the film? What happened to you, Colin?

Colin Cunnigham:
I’m working with a wonderful director by the name of Rob York, and we’re shooting Curse of Crom 2, which is awesome. I don’t know if anybody saw Curse of Crom 1, but it’s fantastic. Anyway, so last night, it shouldn’t have been a stunt, I was trying to get into a door, and… I hear screaming, I’m trying to get through the door, and I had to fake it.

David Read:
On camera.

Colin Cunnigham:
No, I had to fake it because it was somebody’s home, so we didn’t have a breakaway door. I couldn’t even really hit it that hard. And it’s hard to fake stuff. You need a little bit of something in there and then fake it. But anyway, because I was trying to do it safely, and not break the door, I ended up breaking my head. So, my head went right into the crease of the door frame and “Bam!” And it lit up. Oh my God, it was like a ping pong ball immediately sprung out, and I thought, “Uh-oh, we’re in trouble.” So, I iced for, like, three, four hours yesterday, and fortunately they had other things to shoot. But it could have destroyed the day. Anyway, so I’m just… I don’t have any makeup on it or anything. I thought, “Today’s my day off.”

David Read:
It looks good. It’s very manly.

Colin Cunnigham:
I thought I’d let it just chill but if anybody’s wondering, that’s what that is.

David Read:
I gotta know. Is that shot in the shot or was that… [Is it] gonna be in the movie or did you have to go and do it again?

Colin Cunnigham:
It’s so weird. Maybe, maybe not, because what’s weird about when things actually happen in a real way, they look awful for camera. You don’t even notice them on camera, like, somebody’s throwing a punch, you’ve gotta literally… If you do that and you pull… That’s nothing. That’s a punch. You gotta see fist hit the face, and then the punch has gotta go all the way through. It’s all camera stuff so it’s weird how sometimes, if you do something on set that’s totally real, a lot of times it’s, like, it didn’t look real. It looked fake.

David Read:
Well, I appreciate you taking one for the team there.

Colin Cunnigham:
Yeah, baby. Right here, man. Right here.

David Read:
What is it… What do they call it? Hazard… Just job hazard. I wanna show off the trailer for He Never Left, if that’s OK.

Colin Cunnigham:
Yes, please.

David Read:
So, we’re gonna be right back. You guys just hang tight and check this out. Well, well. I hope everyone enjoyed that because I just got to see this thing a couple of days ago, and I’m not the biggest slasher fan. I like horror in terms of thriller. I like screwing around with up here, and that’s what this movie does. Colin, what was it like going through that process? Tell us a little bit about this film. A little bit more.

Colin Cunnigham:
It was really, really intense. The whole thing has been such a ride, David. Because I was living in New York just before all the COVID crazy stuff happened, and lockdowns and all that stuff. And New York was getting a little weird even before then. But I could see the cloud coming, and I thought, “No, no. I am not gonna hang around for this party.” So, I had family in Utah, and… It’s obviously a fantastic place to visit. And it turned out… And I thought, “Well, I’ll wait out all this crazy stuff out there,” and while I was out there, I just assumed that my career would have just totally flatlined. New York shut down, LA shut down, and where I was living, I put on a mask maybe twice in three years. Both times were at Costco.

David Read:
There’s no one there. There’s wide open spaces.

Colin Cunnigham:
Well, it’s not that wide open. They just… It was like it was… But I was doing tons… All of a sudden, I got back doing theater again, and it was great. And the schools were open, and everybody went to work, and nobody was cutting themselves or killing themselves. Nobody went bankrupt. We all lived our lives and got through it. Anyway, but I assumed in terms of just work that that was it. And yet, you start meeting talented people because they’re everywhere. You just kind of think New York, LA is like the hub of everything, and it’s not. A lot of people have left those places because they got sick and tired of it. They couldn’t take it anymore. Anyway, so all that said, I was introduced to a guy by the name of James Morris, and Michael Ballif from the company called Witching Season. And James and Michael, they had this script called He Never Left, and they do horror stuff. They do Halloween slasher horror stuff. They love it to death. It’s just the greatest thing ever. But when I read the script, I didn’t see a horror film. I saw something else, and it really, really intrigued me. It was just one of the, say, the victims, and I spoke with James, and I said, “Let’s see if we can develop this a little bit more. Because the idea is fantastic. There’s a guy stuck in a room, and he can’t get out, and there’s stuff going on, and he thinks he’s going nuts. And of course he comes with his own amount of baggage. But as an actor, it was really something to sink your teeth into. I’m certainly grateful for Stargate or anything I’ve ever done in the past but…

David Read:
Major Davis has only so many notes, though.

Colin Cunnigham:
Look, I thrive… The great thing about Stargate is that it was good. It wasn’t crap. But a lot of times we get hired to… As an actor, you get hired to dignify crappy material. And even when you get some good material, they might get squeezed into a little box. You’re the lawyer, you’re whatever. I like working in characters that are nothing like me. John Pope from Falling Skies or Blood Drive or TC from Preacher. It’s, like, that’s where I love to absolutely disappear. And even then, it might a guest shot [or] it might be a recurring. It’s usually a smaller role. This was an opportunity to actually star in a movie, to be a lead in a film and to carry it, see if I had what it took to take something from the beginning, the middle, into the end. And that’s a challenge you’re not often afforded as an actor. You come in to support whoever they’ve hired to play that guy. Whereas I got an opportunity to play that guy. And I also got an opportunity to contribute to the material, which is just such a testament to these incredible two filmmakers. Because they could have said no but instead, they invited me to contribute. Because they haven’t made many films. I think it was just one film before this.

David Read:
You got to collaborate.

Colin Cunnigham:
Well, sometimes you do, sometimes you don’t. It’s so weird. Every film is so different. If you’re working with Mamet, it’s, like, “I’ll just take it as it is.” But sometimes, you can bring something to it. So, anyway, I just saw this as an incredible opportunity, but I didn’t see it as a horror film or a slasher film at all. I saw this as a tale of the wages of sin and atonement and redemption and sacrifice and grace and a lot of big themes. Big, big concepts. Because you’ve got a guy who’s not a good guy and he brings his own hell to this place. So, it’s almost… Instead of high school cheerleader and her boyfriend who ran out of gas, this is people who are already in hell, and yet they end up knocking on Satan’s door.

David Read:
You’ve got someone who’s not pure evil, who’s done his share of dark things, confronted with true malevolence.

Colin Cunnigham:
Absolutely. And to see if we could find a way within the structure of the format of a slasher horror flick, to see if we can find some kind of redemption for this guy. Some kind of atonement. Some kind of path. Some kind of journey where he can, I don’t know, become a little better, even if it’s just this much. So, anyway, just as an actor, it was something I could just sink my teeth into and do a deep dive. It’s not often you get to do that. I’m not a method guy. I don’t trip out but sometimes you’ll get material and you’re just, like, “Man, I can… There’s no bottom to this.” I can keep going, keep going, and it becomes an exploration. Anyway, so look, I’m proud of it. I really, really am. And the fact that these guys… We made it. We shot it. It was, like, six days, David. Nothing. I didn’t think that could be done to tell you the truth.

David Read:
No. Not with how much is in that film. I don’t know how you did it in six days.

Colin Cunnigham:
And I’ll tell you… Look, audience, people… Seriously, at the end of the day you either like it or you don’t. The movie’s either crap or it’s not. It doesn’t matter if you had a crew of 300, a 500-million-dollar budget or two bucks. The movie either stands on its own or it doesn’t. That’s just that. But having done this so much through so many decades, boy… Because you can go out and see a six-million-dollar movie or a 30-million-dollar movie and walk out saying, “That sucks.” But to make that same… But it’s a movie. It’s still a real movie. But if you can do that with two quarters and a corn dog… And then you can still have… Somebody’s gonna like it, somebody’s not gonna like it, but I do that with 100-million-dollar movies. And the really cool thing when you’re working on a small budget is, everybody’s hungry. Everybody really wants to be there. Nobody’s there for the paycheck. Nobody. So, you’re there because you really, really wanna be there, and we all did. And it was just a handful of people, and we all stayed at the motel, too. So, everybody had a room. I got to… I was sleeping in the room we shot in. Totally. And I’d just take whatever clothes I had, and I just put it in the closet. So, it was great. It was such an incredible experience to just spend time in this… You’re living on the set because the set is a real place. So, it was just wonderful, as an actor, and to do something different, and something that I can just creatively sink my teeth into. Because you don’t often get the opportunity to do it. So, I’m just blessed.

David Read:
I was surprised at the amount of rage that you got to portray in this film. I’ve had the privilege of seeing you in a few different things, even live. Like I’ve said before, you gave me and my friend nightmares that next night. Because it was… The experience was so intense. But with this, you really got to play with levels here. You are manic in some scenes. Something tells me you enjoy playing unhinged and manic because there was a lot of that here. This guy legitimately came unglued, for very legitimate reasons, and then got to be more quiet closer… And introspective as the movie went on, before pounding and pounding it again. And it was an ending that I did not expect, and I genuinely loved the film. I’m not gonna pretend to say that just to promote it. I loved this movie.

Colin Cunnigham:
Thank you.

David Read:
Partly because of the limited scale in which you had to do it. 100-million-dollar films, they’re gonna look great but the characters not necessarily have substance, and this one does.

Colin Cunnigham:
No. Story, story. I don’t care if you’re in one room or wherever you are, how many locations. If you’ve got that’s gripping, the location almost becomes secondary because it’s about the people that are going through this thing. But God, what was I gonna say? What were we just saying that you started with?

David Read:
Your range was from manic to quiet over the course of the film and it has a very clear sine wave to it.

Colin Cunnigham:
And it’s interesting because often, actors, they’ll do something [and] people say, “Wow, I never knew you could do that,” or whatever. And it’s not because they couldn’t do it, it’s just they never get a part where they can do it. And I’ll tell you, that’s across the board because most stuff you see, nobody’s really doing that. Not that to that extent. But what was also really cool about this, and this is how I wanted it, oftentimes you’ll get a movie, and you’ll have the quiet guy, and then a bunch of things happen, and he snaps. And he just starts kicking ass or he’s just… He loses it and then he becomes that guy. Whereas I wanted to start with a guy who was already like that. He’s paranoid, he’s a felon, he’s probably an ex-junkie. He’s actually accidentally killed somebody, and he brings that guilt into the room, and then weird things start happen.

David Read:
Literally.

Colin Cunnigham:
And he’s haunted by this experience in addition to things… He’s not even sure what’s going on. Because it is just in his head, “What the hell’s going on?” But by the end, and I told James this, I said, “When we get to the end, I want him to be like a Zen monk.” Just, “Boom.” Just bring it into complete and total silence. And that’s his arc, that he goes from… He basically goes from a really bad guy… Not an evil guy but he’s most certainly a bad guy.

David Read:
A person who’s made bad choices.

Colin Cunnigham:
Certainly, bad choices. Maybe had a couple of not good things happened to him earlier in life.

David Read:
Which we hear about.

Colin Cunnigham:
Which is cool but I just wanted him, by the end… And I don’t wanna give anything away but there’s an opportunity for him in the film to… He’s got an opportunity to leave but he realizes, to leave, to go down that road, is to go down the road he’s always gone down, and yet that’s his exit. And he can’t… Well, I don’t wanna give anything away but there’s just any… You just don’t see that in a typical horror flick. And again, I never saw it as a typical horror flick. And it’s interesting, and look… There’s some people [who] absolutely love it. They’re, like… Some of the horror fans out there are, like, “Oh God, thank God for this,” because they’re so used to the typical cookie cutter, and it’s just disposable people, and it’s just… And they’re just all Xerox copies. They’re all just copies of copies of copies of copies. Whereas this one is definitely not that, and it takes balls to do what they’ve done. Some of the critiques are, like, “This isn’t a horror movie. There’s not enough blood. There’s not enough bodies. The body count on this film, there’s hardly anybody at all.” So, OK, that’s fine, but what I appreciate about it is that it’s not that for the sake of that. There’s a story about people and they find themselves in this situation, and how to use this horrible series of events that transpire to change or to, I don’t know, be enlightened. Even if it just be for the last 10 minutes of your life, it won’t be like the first 40 years. The last 30 minutes of this guy’s life is probably the first time he’s ever felt free and not clean but…

David Read:
There’s absolution, I think. There’s… The Gabe… Character’s name is Gabe. He has an opportunity to make choices. When the chips are truly down, and someone is truly backed into a corner, they have two ways to go, and we see what he does. And it was a very satisfying character arc that I just relished watching you in.

Colin Cunnigham:
Well, I loved it. I really do, and thanks for watching it, David. Because look, it’s also weird. It’s, like, “Hey, I’m doing a movie,” or whatever. It’s, like… Ask somebody to watch a movie, it’s, like, “Hey, can I leave my anvil in your kitchen for the next six weeks?” “Yes, sure. That’s great. Sure, it’s awesome. We love having an anvil in the middle of the living room.”

David Read:
It’s got that kind of feel to it, for sure.

Colin Cunnigham:
And also look, I’ve also done a lot of movies, and they suck. They’re fun to do. I’m an actor. You show up, you’re having a great time and sometimes it’s just for the money or what have you, and that’s your job. But other times, you’re able to do something and this is why you chose this life path, is for a chance to get something like this and then pray that if you do, you do OK. And if you do OK, the movie in the end doesn’t suck. So, it’s nice to… Again, it’s not even a matter… You still like it, or you may not like it, but it doesn’t suck.

David Read:
At least you tried, and in some cases…

Colin Cunnigham:
Well, you know what I mean? That’s nice because just sometimes, it’s like… Sometimes things just suck whereas I think if you don’t like it, there’ll be reasons you don’t like it. I’ve seen movies, I’m, like, I hated it, but it was awesome.

David Read:
I’m glad that they did it, glad that they tried it. And then there are those where it’s, like, “This was a really great premise. I would love to see the premise again, but this one was executed poorly.” But the idea is good. This one, I think… I’m gonna be perfectly honest with you, I think the poster does it a disservice from what people think that it really is. I know that they were really pushing the horror before the thriller but this to me thriller before horror, and it is both of those. And I can’t wait to watch it again, frankly, and where can people see it now? It had its theatrical premiere before Halloween because it’s a Halloween-themed film.

Colin Cunnigham:
It’s a limited… I’m not entirely sure. I have to assume there’s one in LA, New York, Chicago kind of thing. So, it did come out on November 1st, but it’s November 5th… When is November 5th? Is that tomorrow?

David Read:
That is gonna be election day, my friend. Tuesday.

Colin Cunnigham:
Wow, there’s timing for it.

David Read:
Go vote and go watch this.

Colin Cunnigham:
It makes me think… Actually, as you know, I did… I was blessed to work with Kevin Costner on Horizon 1 and 2. And of course it didn’t do that well, and it’s unfortunate. Again, but it’s the way it is. You can make a movie for two dollars, and it blows up and you can make a movie for 500 million dollars, and it doesn’t. You never know because it’s just movies, too.

David Read:
I liked it. My folks and I, we saw… We played “Spot Colin” for two-and-a-half hour so it was a lot of fun.

Colin Cunnigham:
But what’s interesting is that when that film came out, again, the timing [was] not so good because it was during that very… Presidential debate between Trump and Biden. That one. I think there only was one, but it was that one. And that’s like driving a Ford Bronco, white Ford Bronco, right through the middle of your movie.

David Read:
White Ford Bronco. My God.

Colin Cunnigham:
A bit of bad luck. Anyway, but that said, the good thing is that it is a little film. It’s a little Halloween slasher movie. Again, I think it’s a little bit more than that. It’s not just that but it’s not a giant mega epic. So, it comes out on November 5th. You can stream it, you can rent it, buy it, and all that kind of wonderful stuff, pretty much everywhere, and then it’ll branch out from there, I suppose, go to various streaming services and what have you. But I’m just so happy for… Because it’s interesting… I was blessed… I was actually invited to go to Caan with Horizon, and when I was over there, He Never Left was a part of the market because there’s… As many films as are in the festival, there’s another thousand films at the market. And that’s where distributors go to buy and sell and all that kind of stuff. I was in Caan, and I had two movies, so it was super cool. Super, super cool.

David Read:
Let me play the clip that I have from the film for everybody. We’ll be right back. That lamp is almost an actor in itself in this movie. Let’s just put it that way.

Colin Cunnigham:
Well, it’s… I’ll tell you, I thought it was a brilliant device. James… It evolved and what have you but it originated with Jamess Morris, the director, and I think it was utilized maybe once in the script, and I said, “Wait a second. We can…”

David Read:
Leverage that.

Colin Cunnigham:
“We can use a great device,” because again, we’re stuck in a room. How do you build tension, even if it be small or whatever, we gotta build the tension. So, for anybody that sees the film, there’s a lamp, and there’s a situation with a lamp, and it’s… What I love about it is that it’s not unbelievable. It’s, like, “Yeah, well, the toilet’s stuff up, the lamp’s got the thing or the phone,” and how do you incorporate these things to ratchet up the tension. And it’s funny because one of the more, say, tense moments of the film involve a lamp, and it’s, like, “What?” It’s so… It’s all… It’s comical but because it’s possible the tension is still there but it was an utterly ridiculous kind of idea, and it’s, like, “This is great.”

David Read:
There were a couple of things going on in the movie just like that. The other one for me that I personally resonate with, because I deal with this every day, the cell phone that you have only works… Only has reception in the bathroom, on the toilet, against the window, and so…

Colin Cunnigham:
Yeah, “I’m trying to get reception.”

David Read:
Yeah, exactly. So, he can receive calls and other things in the room, but he can’t communicate with anyone unless he’s standing on the freaking toilet. And there are things that are like that in life that get leveraged as a plot device in this film, and it’s things like that where it’s, like, “I’ve been in that kind of situation before where I have to make a call.” Especially in this case, it’s his only communication with the outside world and it doesn’t work.

Colin Cunnigham:
And it’s also the only seat in the motel room. So, it’s pathetic. It’s so symbolic of this guy’s life. It’s, like, “Yeah, you’re a king on that throne.” It’s just the worst. Just the absolute worst.

David Read:
Would you work with these filmmakers again?

Colin Cunnigham:
Oh God, in a heartbeat.

David Read:
You see potential there for them? There’s still pretty early on in their careers, right?

Colin Cunnigham:
They’re such great guys, I think… I really fell in love with the both of them because James, the director, he’s a cop. He’s a police officer. That’s what he does for a living. But he’s so passionate. He loves movies. And the same with Michael Ballif, and they partnered up to create this Witching Season’s film, and they’ll do little shorts, or they’ll do audiobooks. Some really, really wicked stuff. And they made a film called They Live Inside Us, and it was that that turned me on to these guys because I was trying to get a film made. Of course you’re going from three million to one million, 700,000, 300,000. You can’t do it. But 100,000, I don’t know if I can do it. And somebody said, “These guys have made a film called They Live Inside Us for 10,000 dollars,” and I’m, like, “OK, sure, you can do that. It’s not a movie. It’s not any good and it looks like crap.” And it was a guy by the name of Adam Mast at The Electric Theater in St. George, he said, “No, no, no. It’s a movie. Check it out.” So, I’m, like, “OK.” Because I was looking to see how cheap I could make my film and I watched this film and of course there’s no stars in it but it looked like a movie, it sounded like a movie, and it had a beginning, a middle and an end, and I keep waiting for the eye roll, “Ah, there it is. 10 grand. Jeez.” It never happened.

David Read:
Wow. You couldn’t see the seams in it.

Colin Cunnigham:
No. It went to black, and I’m, like, “That was a movie,” and they did it for 10,000 dollars. So, that opened up the door. I could see the potential. It was, like, “If you can make that movie with me or with… Well, not me. Or jut with some actors that come from an acting background, this is a no-brainer.” So, it was James, he said, “Look…” I said, “You’re doing anything, you let me know.” And six-eight months later, he sent me the… He said, “I got this thing. He’s a convict and he’s holed up in this motel and the Paleface Killer,” and he gave me the pitch and then when I read it, I’m, like, “You got… This is cool.” Because I loved it. Because look… I can’t… There was nothing for me horror wise to do. It’s built into the cake. So, I just thought, “I’m gonna hit this character and I’m gonna play it real.” And Jessica Staples… I actually recommended her. She plays Carly, my partner in it, and I recommended her to James, and she’s fantastic. And we rehearsed for, oh God, I don’t know, maybe seven-eight weeks, a couple of months, before even showing up.

David Read:
You really got familiar with one another even more.

Colin Cunnigham:
Yeah, because the relationship had to be there. And when you show up…

David Read:
It’s tense.

Colin Cunnigham:
And also, there’s no rehearsing. There’s no time. So, we showed up and it was, like, “All right, let’s run one. Action. Boom, boom, boom,” and it was on. And James was just, like, “OK. Let’s put a camera here. Let’s put a camera here. And let’s capture it. Let’s just capture this,” like a Cassavetes kind of thing, “Just go.” And Michael Ballif who was the DP, producer, DP and camera operator… You wanna talk about instincts. Because a lot of this stuff was live. And somebody would exit, he’d decide to stay. Other times, such… And he… “No.” And he just felt, like, “I’m gonna go over here.” So, it really became that. There weren’t two actors in the room. It was… Michael Ballif was the third actor or the fourth actor. Because he was the fly on the wall. He was the witness. He was the point of view of how he saw things and just did an incredible job. But we showed ready to play. If anything, what was kind of interesting, is that the truth… It was so played for truth that it became a little weird because we’re making a little Halloween slasher movie. We’re not doing Arthur Miller. And I think one of the first original cuts, it’s, like… It was never supposed to really be that. It was supposed to be a fun, campy, spooky, and you got the guy, kind of thriller. And instead, I went on my deep dive, and Jessica went on hers, and so the film had to kind of come up to support that.

David Read:
Well, you’ve got themes that are bigger than the original nugget of the idea. You can plant and let grow.

Colin Cunnigham:
No, totally. And then everybody… It was just awesome. They gave me so much. God, what a gift they gave me. So much latitude and be able to contribute. Because a lot of times you’ll show up on set and stand on the piece of tape, say your line, shut up and then exit Camera Right.

David Read:
“Take your paycheck. Thanks.”

Colin Cunnigham:
Or “It’s great. That’s awesome,” but they never cut the cord and let you just go. And also, there’s different genres and things like that. That’s why episodic television is hard because you’re looking for moments where you can do that. I was blessed on Falling Skies that they let me play. I’d go off book. I would improvise. I’d throw in whatever just came out. And I guess because it worked enough times, they gave me some latitude. Because that’s how I like to work. I don’t wanna have any idea what I’m doing, and I mean that. I don’t know what I’m doing. When I’m at my best, I’m not even there, and you have to tell me what I did because I have no idea. No idea.

David Read:
Why? Why is that? Where are you going?

Colin Cunnigham:
Well, it’s no different than when you’re playing soccer or you’re racing. You’re not thinking about the wheel, the stick shift and the clutch. You’re navigating.

David Read:
Use instinct.

Colin Cunnigham:
You’re strategically thinking, “I’m gonna come up. I got it behind. But there’s that corner. I know this corner. I’m gonna go… I’m gonna…” You’re thinking about the goal. You’re thinking about getting the ball in the back of the net. You’re not thinking about how you kick it. You know what I mean? So, all that is prepped. All that is done. You’re done with your lines. You’ve memorized everything. It’s in your cellular fabric and all you need to do now is just show up because the lines mean nothing at that point. It’s all about what you’re doing, what you’re thinking, how you’re reacting, and the words are just gonna come out. So, you don’t even realize that you’re… There’s no more lines is what I mean. You’re not reciting lines. You’re not saying lines that were memorized. You’re just not there anymore. You’re having an argument with somebody, and they’re your words and they’re coming out… It’s like you’re saying nothing at all that’s in the script. “Cut, print. That was word perfect, Colin. Thank you.” I thought I was making it up, but I knew it so well and the beats and stuff, and it just… And that’s when it becomes magic. That’s when it becomes spark and it’s just light. It’s an amazing feeling because you’re in the zone. Zen.

David Read:
What percentage of the process then is prep to make it so it’s muscle memory, so that you can show up on the day and just deliver it? Is it 80 percent of the process so that you can just be reflexive and end up with the ball in the back of the net? “How did it get there? I just did it.”

Colin Cunnigham:
I’m gonna say it’s 99 percent prep and one percent forget that you prepped. And that one percent, that’s tough, because 99 percent of the work is what you’re there to do. The one percent is the leap of faith where you close your eyes, and you fall backwards, and you don’t know if anybody’s gonna catch you. You have to let it go. It’s like if you’re doing a stage show and you’re playing music. If you’re thinking about your notes, that’s a crappy ass show. It’s now about the show. It’s about what you’re doing. And you’re looking over the bass player and the drummer and there’s something happening. And it’s live and it may even change and then come back to the script. It’ll come back to the music. But it’s like, “Yeah.” That’s what you’re doing and somebody’s so in the zone, everyone else is feeling it, and you… It’s, like, “Let’s go there.” But you don’t know what you’re doing. You only know… Somebody just has to do playback for you. They have to tell you what you did or show you what you did. All you knew was that you were experiencing pure joy, pure creation, pure whatever. And technically you better know every single note on the guitar because if you don’t, you won’t be able to eyeball that girl in the fourth row and give her a wink and see if you can get her phone number later on. So, you’re not playing guitar anymore. You’re trying to get somebody’s phone number is what your job is. So, you’d better have all this done and just… It’s in your bones so now you can do it. You can just see… “Let’s see what happens.” And every now and again you’re lucky. This little finger will come down and touch a scene or touch a movie.

David Read:
It’ll engrace you.

Colin Cunnigham:
And you’re always praying for it. You work for it, and then it’s just a matter of… You’re just gonna… You need to be in a space to allow it, and it doesn’t always come to visit but I think it came to visit He Never Left and I’m so grateful for it.

David Read:
I agree. Thank you for sharing it with me, and I will be posting links everywhere on Tuesday when it comes out. I got some fan questions for you.

Colin Cunnigham:
Cool.

David Read:
Lockwatcher, “Your take as John Pope in Falling Skies was a 180 degree turn from the more reserved Major Davis. What was it like working on this series compared to your work on Stargate?” He says, [in] parenthesis, “Lot of rain and cold?” I’m not sure what that’s a reference to.

Colin Cunnigham:
We were shooting a lot more outside.

David Read:
OK, well, there we go.

Colin Cunnigham:
Versus the studio. I would say it’s a great question. When doing Major Davis on Stargate, I didn’t know what I was doing. First off, I didn’t know what Falling Skies was either, but I was younger, I was happy for the job. I [had] given it everything I could. I worked really, really hard on it but I was still kind of figuring things out as an actor. I wasn’t bringing myself consciously to it. I was just prepping and then doing it. Whereas with Pope, I think I was way… Because the character was also very chill and he was a thinker. And because I had the hair and the leather jacket, there was, in many ways, less to do, so you had to find that internal confidence, attitude, intellectual stuff. So, that was more me. That was me more as a creative. That was more of a character to create. I don’t think I really created Major Davis. Brad and all those guys, they wrote him, and they’d know what they’re doing. Put the guy in the blue suit, Air Force, and that’s it, and you’re good. Whereas Pope, I had to, or I was able to create something. So, that was a little bit more of me bringing my game to the table. Because again, I’ve never… I’ve always loved the characters. I didn’t get into acting to meet girls. I didn’t get into acting to be famous. I could give a rat’s ass about walking a red carpet. I don’t feel comfortable in any of those situations but acting… And all my favorite actors, Peter Sellers, Alec Guiness, Gary Oldman, Tom Hardy, these are my guys, and going way back to… I can go back to the 40s and the 30s. But I love disappearing. It’s great. I don’t wanna be me. I get me every day. I can see me in the mirror every freaking day of the week. So, it’s great to put on the costume and the makeup and to explore the world through those eyes. It’s fascinating and it’s wondrous. I just absolutely love it. The less people recognize me, the happier I am.

David Read:
I had interesting conversations with a whole bunch of you about, when you put on a specific costume and a specific set of makeup, you open your eyes [and] there’s the character. It’s right there, and I’m curious… I never really asked this. When you put those elements on, do you find your options narrowed to a specific set or do you find your options more unlimited as a result? In terms of the choices that you’re gonna make as a performer.

Colin Cunnigham:
It’s interesting because that doesn’t… You don’t… That’s discovered once you do that but sometimes, in many ways, you don’t… You have no idea who this guy is until that moment. Until That’s the jacket. That’s the wig. The long-haired one didn’t work but the curly one does,” or “Shave it. Just shave my damn head. That’s the guy. Now I get it.” That’ why I love it so much because it’s like this little muse that comes down and says, “This is the coat. That’s the wig.” Or whatever the makeup is or what have you and it’s cool. So, it dictates things. I love… Sometimes… Oftentimes… And I do a lot of comedy, too, but because I was limited with the size of the character or because the dialogue just wasn’t so great, I would come up with characters. Because if anybody sitting at home watching this show actually heard the words that were being said, they’d turn the damn channel, and I’d look stupid. So, you come up with things to make it not boring. Oftentimes that’s your job and I got to explore characters while doing it. But it’s interesting, David. So, I got an audition… It’s like a new L.A. Law, only it’s out of Toronto or New York. They’re saying… It was a new show. I don’t know it they’ll use that name, but it was the same folks. And big show. It was a big audition, but it was that. And I’m no good at that. It’s just not my thing. But he was a really brilliant guy. This lawyer was known. This was what he…. He was super, super, unusually intelligent. So, I thought, “How close to the spectrum, without actually getting into the spectrum, but how close can I make this,” where… Just add a little color. He’s a little off. He doesn’t speak, doesn’t end things where that period is, or doesn’t necessarily take a pause where that comma is. And he puts an inflection or puts importance on words that you wouldn’t necessarily put it on. Anyway, and I sent that off and the casting director, God bless her, reached out to my agent and thought that I was autistic. And she wasn’t sure, “Is he like…? But obviously something going on with this particular actor. There’s something we should know.” But it wasn’t full-blown ridiculous. It was just…

David Read:
It was in the performance.

Colin Cunnigham:
Just a thread. Because obviously they weren’t looking for that, or anything close to that. They wanted the super confidence, “I’ve got an IQ of 190 and I can tell you what’s going on,” and that is not the way I played it.” So, my agent was, like, “Can you just do it normal? Can you just give me an audition that doesn’t have all this crazy shit in it because I’m getting heat from the casting directors. You’re killing me over here.” But I can’t do it. And sometimes it’s absolutely to a… It’s a detriment. It’s to my own negative. It doesn’t help.

David Read:
You don’t… Your soda machine doesn’t put out all the normal flavors.

Colin Cunnigham:
But sometimes it’s just…

David Read:
You have a certain range, or a certain thing of content that you wanna perform. Otherwise, you’ll go nuts.

Colin Cunnigham:
I had an audition for… I didn’t know what it was at the time but God… I kind of did but I didn’t. I hadn’t seen the show. But that incredible show. Jason Bateman. He directed the pilot episode. It’s still… What was it? Where he’s hiding out. You know which I’m talking about?

David Read:
Bateman? The one he’s known for, right?

Colin Cunnigham:
It’s incredible. What’s it called?

David Read:
Ozark?

Colin Cunnigham:
Ozark, yes. So, I got an audition for Ozark and it’s a lawyer or something. And I already had three auditions for lawyers, and I’m just so bored out of my skull and their crap, and I’m so done. Like an idiot, you know what I did? I did the audition, only I put up a blind contact lens in my eye. You’re the… It’s just… It was too much.

David Read:
Your agent must be, like, “Is he screwing with me? Does he wanna work?”

Colin Cunnigham:
I just thought, “I wanna do it with just one eye.” It’s simple. “What are you doing you stupid ass?” Because what a… That’s a hell of a show to get on. I would have loved it but again, I just… Playing the lawyer, I don’t know. Give me something. No problem playing a lawyer, but he can’t just be a lawyer. He’s gotta have a problem [or] an issue. He’s gotta have a secret. There’s gotta be something else going on and then I know what to do.

David Read:
I would be afraid… I would wanna do that but part of me would be, like, “I’m afraid to do that because I don’t…” I would want it… I don’t want it to come off as, “This is really, guys… Thank you for inviting me on but this really is all about me.”

Colin Cunnigham:
No, fair enough. There is… You gotta walk that but I won’t send it off unless they actually think, “Is this guy close to the edge? Is he really blind?” It’s really getting them to go, “What?” If they don’t know me, to make them wonder.

David Read:
Because they’re calling and saying, “Is this really the way that this is?” That is a feather in your cap for the performance.

Colin Cunnigham:
I got like five wigs, I got dentures, I got a nose spreader. So, when I do something, if the casting director doesn’t know me, and it’s any good and they check my IMDB or what have you… But those that do, they know that I’m still putting up something. It’s not a cartoon. It’s legit.

David Read:
That’s right.

Colin Cunnigham:
Oh, I don’t know.

David Read:
Thank you, Lockwatcher. Great questions. Do you have a couple more minutes?

Colin Cunnigham:
Me? Hell yeah.

David Read:
OK, just wanna make sure. Because I told you 45 [minutes] and we’re over. Sally Whitesides…

Colin Cunnigham:
Hey Sally!

David Read:
“Colin, what’s your favorite play?” To either perform or to watch.

Colin Cunnigham:
This is gonna be a weird answer. I’m afraid to say it. The reason why…

David Read:
Is it Equus?

Colin Cunnigham:
The reason I’m afraid to say it is because it’s never been done.

David Read:
But you’ve read it?

Colin Cunnigham:
There was something… I actually saw it, but it wasn’t… It was for television, and it was from a very, very, very long time ago. They filmed it and it can be done as a play. I wanna do it as a stage play but I don’t wanna anybody else stealing the idea so I’m not…

David Read:
No, don’t.

Colin Cunnigham:
But I’m gonna say… You know what? I’ll go with the first play I ever saw because it blew my brains out. It was A View from the Bridge. Arthur Miller. I think I was maybe 10, maybe nine years old, and I’d already watched everything that Kagney and Jimmy Stewart, and Bob Hope and Bing Crosby and Danny Kaye… Seen everything because I grew up with it. My dad would just show me these films. Anyway, I finally got to see… Or you’d see a play and it would be, like, Barney the Clown or some ballet that they took 9-year-old kids to, and we’re supposed to be fascinated by it. And you’re, like, “This sucks.” But I finally got to see a play, a dramatic play, and it was at the Lee Strasberg Theatre on Melrose. I don’t even know what year it was. When I saw that and all the actors, they brought it, and I was in shock. Absolute shock. It was like a three-dimensional movie, and I couldn’t quite comprehend… And it was good. That’s the thing. You see a good movie and you need a week to recover. No different, you see a bad movie, you’re gonna… I need a month to recover. Same thing with theater. Theater, it’s too bad because there’s so much shit theater out there. You see one bad play, “OK. I’ll give it a chance.” You see another bad play and that’s it. You’re done. You’re never gonna go back. But if you actually are able to see a great play, it’ll change your life, and it changed mine. Because I remember at the end of the film when somebody dies and the mother’s bereaved, and she has a breakdown, and you could feel it. And then the play ended. And I remember the lights go down. That’s it. Everybody’s clapping. And then the actors came out to take their bows, and this woman could barely do it because she couldn’t break. She couldn’t break from it. And I’m, like, “What the hell is that? What is happening?”

David Read:
That’s real.

Colin Cunnigham:
It burned into my brain. I’m, like, “What the hell is this all about?” Because you know it’s… I was old enough to know it’s a play but young enough to just get hit with it [and] the reality of it. And then also at the end, as affected as I was, I still… They’re actors taking bows to the applause. And this woman was having trouble shaking it, and I thought, “Wow, wow, wow.”

David Read:
The experiences you put before us as actors are not always fake. Sometimes they’re real.

Colin Cunnigham:
Yes. Then you gotta stop acting. You gotta pull yourself back out. Because you can’t fake that stuff. You gotta be… If you don’t feel, I am not gonna feel it. And if I’m not feeling it, you’re not gonna feel it. It’s just this bullshit. It’s a lie. I didn’t buy it. I didn’t buy that, whatever it was or is, in a movie or play or what have you. Arthur Miller’s A View from the Bridge. Hey, you wanna know something cool? I don’t know if I’ve ever told you that, David. And I never forgot it. I never forgot this. I’m nine. God only knows how old she was. In the brochure, it was Kim Cattrall, and I think she was, like, 21 in it, just starting out.

David Read:
She’s good. She was the one who had the breakdown and who couldn’t shake herself out of it?

Colin Cunnigham:
No, no. She played one of the younger… She couldn’t have been 20 but she was young. And again, if I was nine, I don’t know, Kim’s maybe 10 [or] so many years older than me. But I remember the name because it was fun to say. Kim Cattrall. And I wanted to remember something. One of these actors, it was Kim Cattrall.

David Read:
Lo and behold.

Colin Cunnigham:
It’s interesting. It’s funny. Kim, if you ever see this, you got me started at acting. Thank you.

David Read:
Wow. I did not know that.

Colin Cunnigham:
She really, really did. That’s the first really… And I’ve always wanted to tell her. I remember I was working on a movie, and she was on it, and I remember… But we didn’t have any scenes together. But I remember I was waiting on front of her trailer for her to come back or to go or whatever, and she never showed up and I had to go. And again, she was a guest at the film festival in Whistler. And I knew her driver. And he called me, he says, “I’m driving Kim Cattrall.” I’m, like, “Tell me where you are. I’m coming.” “No, she doesn’t know. I’m not telling her anything.” I’m, like, “Don’t tell her. Just… Where are you?” He says, “I’m at the hotel. I’m waiting for her right now.” So, I went down. I waited in the lobby for two freaking hours while she was up in her room. She was supposed to come down in 10 minutes, and she didn’t come down, and then I had to go. So, I still owe Kim Cattrall a gigantic thank you because… And I’ve always wanted to give it to her. Because I wanted to tell her that story. I always wanted to tell her that story. “A View from the Bridge. I was 9 years old, sitting in the seventh row and you blew my brains apart.”

David Read:
I saw her for the first time in Star Trek VI, and I thought she was brilliant. I thought she was so good. But she doesn’t have a lot of range as a Vulcan you think, and then it goes places where it’s, like, “Wow. OK.” She’s great. I love her.

Colin Cunnigham:
Because she was given that. Again, “I didn’t know you had that range.” It’s, like, “I’ve never been given a part that I could do that.”

David Read:
Absolutely. Jeandiata Smith, “Have you done Shakespeare, Colin? Do you wanna?”

Colin Cunnigham:
I have not done any Shakespeare. I’m familiar.

David Read:
Of course.

Colin Cunnigham:
He’s the greatest writer… I don’t even wanna refer to him as a playwright. That’s almost an insult. That’s a different kind of acting again. You gotta find…

David Read:
It’s a whole language.

Colin Cunnigham:
It’s the whole pentameter and it’s just… But also, you gotta find it within really defined lines. I’m great when I can blur the lines, obliterate the lines, erase the lines, rewrite the lines. Whereas this, you’re no… You’re a train on a track and you can never go off that track. How do you find it? How do you make it real? It’d be one hell of a challenge. I’d love to but that’s a lot of work, too. I think when Daniel Day Lewis was doing Hamlet… I don’t know if you know the story.

David Read:
I don’t.

Colin Cunnigham:
He couldn’t finish and I don’t know if they even got started. But you’re playing a character who’s on the verge of a nervous breakdown, if not going through a nervous breakdown. And that’s a deep dive. That’s a dangerous dive. That’s a very dangerous dive with that kind of material.

David Read:
Antony wanted to know… We’re talking about all this intense stuff. “How do you come out of it, Colin, personally? How do you unwind? How do you break away?”

Colin Cunnigham:
I’m pretty easy with it. I can. Again, I’m not a method actor. I don’t understand it. It makes no sense to me. It’s kind of stupid. If you’re gonna do it, do it for a drama but it doesn’t work for anything else. It’s not gonna work for musical. It’s not gonna work for comedy. It’s just not gonna work. But, if you get a really, really complex character you can dig down and explore it. And it’s a wonderful thing to do. It really, really is. I will say that He Never Left took me a little… It took some time to get out of. And that was also because I was part of… I stayed with the project and with these filmmakers and we’re looking at cuts and different things like that, and there’s notes. Because what I was doing was directed towards a goal that we hadn’t yet achieved. Those came off the page. This is what we did in the room. But now we’re laying it out and I’m seeing an arc in a certain way. So, that took some time. I was still manic as hell, bouncing off walls on little auditions. I was, like, “Whoa, dude. You gotta learn how to breathe again. You gotta bring it down.”

David Read:
So how do you unwind from that? How do you chill? Music? A movie? Meditation?

Colin Cunnigham:
David, I don’t think I ever do.

David Read:
You just go off it?

Colin Cunnigham:
Well, here’s the thing. I just love the work. I just love to work, and it’s, like, I don’t have a yacht. I’m not cruising to the south of France. And you’re always looking for the next gig so you gotta jump. You gotta jump quick. And then you realize that you’ve brought the last guy with you on this part, and it’s, like, “Whoa, you gotta clock yourself.” So, I don’t know. I’m kind of drawing a blank. I don’t know.

David Read:
It’s OK.

Colin Cunnigham:
Maybe watch movies. Just watch them. Stop making them for a week or a couple of weeks. But you’re always just never know where your next gig’s coming from. So, you’re either planting seeds, you’re watering the ones you planted three weeks ago, “This one got some weeds around it,” that you planted four [or] six months ago. Then you’ve got a tree that is not old enough yet, and then you’ve got the other tree you planted 12 years ago. Because that was the seed you planted then and now you finally get to pluck an apple off of it. So, it’s just… It doesn’t end and you gotta… It’s having the plates on the sticks. You gotta keep them moving.

David Read:
Keep the ball spinning.

Colin Cunnigham:
You gotta keep them all going. You just don’t know. The greatest thing about this business is that I have no idea what’s gonna happen tomorrow. I just don’t know what it’s gonna be and it’s so exciting to not know. It really is an adventure. But the absolute worst is that I have no idea what’s gonna happen tomorrow. I don’t know if I’m gonna be working, what I’m gonna be working on, where I’m gonna be working, how I’m gonna take care of this [and] that, and the other thing[s] that we all deal with. All the normal shit. But I’ll take it. I’ll take it over a cubicle, checking off boxes on my calendar with a sharpie, looking at my horoscope, “What does it say today,” while I’m working some bullshit job that… That’ll kill me quicker. Or, if anything, I’d rather die younger and having lived something that I enjoyed doing.

David Read:
If the alternative was just a malaise.

Colin Cunnigham:
Just never knowing what you might have done or could have done or what was possible. I’d rather fail. I’d rather fall flat on my ass. I’d rather ram my head into a freaking door than never try. You don’t know. That’s what it’s about. It’s not the… You don’t wanna know. You wanna not know and then have faith and go with it and stay open to the things you don’t know. The best actors [and] the best directors I’ve ever worked with in my life… And I mean they’re as good as anybody’s ever gonna get. The really, really good ones at that level, they have no idea what they’re doing. And the reason they have no idea what they’re doing is usually because they’re attempting something that no one has ever done before. They don’t know. So, “How are we doing?” “I don’t know. We’ve never tried this before.” So, they’re always uncomfortable. They’re always insecure. They’ve got faith and they’re gonna figure it out. Maybe they’ll fail and they often do but they need to take a swing at it. That’s why I got so much respect for Costner. There was nothing to stop him, and I still don’t think there’s anything to stop him. And I’m looking forward to seeing [Horizon] 2 come out, because we shot 1 and 2. And 3 and 4, I’ve been told they pushed it to May. I really hope that it happens. Again, I can’t see anything stopping this man. He’s a unique human being. But until then, I’m blessed, David. I got He Never Left coming out on Tuesday. And right now, I’m working with Rob York on Curse of Crom 2, and these are… They’re good movies and they’re good people. The movies don’t suck and it’s great to be surrounded by a team of creatives and people that are into it as much as I am. It’s pretty awesome.

David Read:
At the end of the day, you can only be thankful to have the opportunity to be surrounded by people who broaden your horizons and open up new possibilities.

Colin Cunnigham:
For sure.

David Read:
Philippe Canat. Last question for you. “The reboot option seems more and more probable for Stargate, just going fresh out of the gate and trying something new. Were that to happen, what character could you see yourself playing? What type of person would you see yourself playing if invited to come back to the show in this new form?”

Colin Cunnigham:
I pray sincerely that I’m wrong. I can’t see how it would be possible for that show to come back. You cannot make that show today. You cannot do it. You can’t talk about what they talk about. You can’t have the… Do I have to say it? It’s repulsive and disgusting that I’m saying this. They won’t allow it, not as you knew it. Sure, there’ll be a new one. They’ll give it the name, but it won’t anything… It won’t have the same themes. It won’t have the same values. It won’t have the same focus. It won’t… What? Space Force? You release SG… The new one now, the reboot. OK. It’ll just… No. They won’t do it. Because of the politics. Because of the woke garbage shit, horseshit smelly crap. Awful, censorious. It’s disgusting. It’s terrible. It’s destroyed creativity. So, you’re not gonna get a show like Stargate. I don’t see it coming back as it was. You can’t get a show like Friends to come back, as it was. Some of the best damn shows in television will never be… They won’t do anything like it. It’s all paint by numbers, safe, check off all the different boxes, and if anything, it’s a testament, I think, how great the Stargate was because you had people fight to keep the bar high, to fight to keep that line true. They could have corrupted it 10 ways to Tuesday, and I’m sure the studios and pressure and all sorts of stuff… But you got Mallozzi and Brad and Martin…

David Read:
Cooper.

Colin Cunnigham:
Cooper. So, it’s like… I don’t think anybody has any ideas. And John Smith… The battles that had to happen to keep it there. Because otherwise, they bring in a bionic dog and it just becomes a Happy Meal or it’s some bullshit agenda. Instead, they really, really tried to make it right. But things today… A show based on honor, integrity, character, the right thing, trying to get… There’s good guys and there are bad guys, and yet we’re all learning a little bit about ourselves. You can’t do that anymore. I’m sorry. So, I can’t even think of a character I’d play because I can’t think of a show.

David Read:
Fandom has been having those conversations about, “OK, with the way that things are done now, what will Stargate look like?” And there are a fair number of people who are, like, “Don’t even attempt if you’re not gonna get it precisely right.” It’s a fair point.

Colin Cunnigham:
They gotta wrap it up in something but basically, the Air Force would certainly become the Space Force, and we can’t have that. You just can’t do it anymore. You can’t unless you add all this other crap that nobody wants to see, that nobody is seeing. They’re going broke. They’re losing hundreds of billions of dollars, and they don’t even give a rat’s ass. So, unfortunately, I don’t see that happening, at least not as… I don’t see a new Stargate coming out as a proper Stargate. It would just be some…

David Read:
It’d have its name.

Colin Cunnigham:
It would be whatever it is and it’s just unfortunate. But it gives us an opportunity to be grateful for what was done when it was done, the fact that it was done, and it’s out there. For the time being, until they ban it. So, collect your DVDs, keep them in your library, because God only knows what you’re no longer gonna be able to find online anymore.

David Read:
Colin, congratulations on this film. It means the world to me to be able to share and talk about it with you. I can’t wait for everyone to get a chance to see it and continued best of luck on all of your work, the work that you’re doing, the work that you’re gonna get, and everything in between.

Colin Cunnigham:
Thanks, David. I appreciate [it]. Because we’ve become friends and you’ve been there for me. You’ve seen and supported [me] outside of Stargate. And so, that’s cool. Because in many ways we’re doing the same thing. We’re trying to create and the things that we’re passionate about and that we love, and that’s a great thing about the SG community, and of course with your show, is that it cultivates that and it supports that, and so I’m proud to be a part of it. Thank you.

David Read:
Thank you, sir. I’m gonna go ahead and wrap it up on this side.

Colin Cunnigham:
All right, brother.

David Read:
Thanks, man. Colin Cunnigham. Major Davis in Stargate SG-1 and Atlantis. I appreciate you all tuning in. I appreciate your wonderful questions. Thanks so much to Summer and Antony for moderating this episode. I really could not do it without my team. If you enjoy Stargate and you wanna see more content like this on YouTube, do click the Subscribe… Excuse me, the Like icon. It does make a difference with the show and will continue to help grow our audience. Please also consider sharing with the Stargate friend, and if you wanna be notified about future episodes, click Subscribe. And giving the bell icon a click will notify you the moment a new video drops, and you’ll get my notifications about any last-minute guest changes. And clips from this stream will be released over the course of the next few weeks on the Dial the Gate YouTube channel. That’s what I’ve got for you here in this episode. Really appreciate you tuning in. We’ll have some more shows for you next week. This Tuesday is Election Day in the United States. We cover a show that talks about a military team that risks their lives, going to other worlds and defending us. In the U.S. here, it is your civic duty to vote. So, do it. That is all. Thanks so much for tuning in to Dial the Gate. My name is David Read, and I’ll see you on the other side.