Zachary Quinto thinks being out has helped his movie career

Zachary Quinto was on The Jonathan Ross Show with his Trekkie co-star Zoe Saldana, promoting the Star Trek sequel Star Trek: Into Darkness, and the host asked Quinto what his career has been like since coming out in 2011.

Quinto was inspired to come out after teenager Jamey Rodemeyer killed himself because he was being bullied for being gay. Quinto says the decision has only helped his career, putting to bed Rupert Everett’s theory that coming out is damaging for a Hollywood actor:

“For me I felt like it was the right time and the right way,” Quinto said. ”If people don’t want to work with me because of my sexual orientation, then I have no interest in working with them to begin with. It doesn’t really put me in a position where I feel like I’m limited.”

A steady stream of work has come Quinto’s way since he came out, and he has been cast as both gay and straight characters. He’s set to play Tom Wingfield in a Broadway revival of The Glass Menagerie, a character modelled after gay icon and playwright Tennessee Williams, and he stars as straight sci-fi sex symbol Spock in the Star Trek films. Although I have a Trekkie friend who showed me this clip, and so maybe the original Spock and Captain Kirk weren’t so straight after all? Dig it in there, Mr Spock!

Keep Reading

The cover of Perverts

‘Perverts’ shows the cost of sexual self-censorship

Mac Crane’s short-story collection follows queer and trans characters who are both stuck—and free
Sun

Rosalía’s ‘Lux’ tour taught me things I didn’t even know I could know

After years of pining, I finally went to the Catalan superstar’s concert. I wasn’t ready for what it did to me
The protagonists of Blood Lines embracing

The big twist in ‘Blood Lines’ is more than shocking

Gail Maurice’s queer Métis romance takes a massive risk—letting it dig deep into the pain and loss perpetuated by colonial structures
A still from Girls Like Girls

‘Girls Like Girls’ once meant everything to me. I’ve outgrown it

Hayley Kiyoko’s new movie tries to recapture the magic of the mid-2010s music video it’s based on. But time has dulled its revolutionary edge
Advertisement