“The studio who made [The Next Best Thing] were completely into maximizing what they thought they could get out of me as a gay person. There had been posters on Sunset Boulevard; 20 million gay people in America, and they wanted to get to them.
We had a huge weekend in Miami, and they asked all these little gay magazines with poppers ads in the back to try to reach out to this elusive 20 million audience, which would have made me, by the way, if I’d managed it, into a huge star….
Career death is rather like real death, so it gives you an opportunity to see what real death feels like.
One minute, you’re careering ’round the corridors of power, and everybody’s going: ‘That’s a fabulous idea.’ The next minute, you’re still careering around but you’re like the Canterville Ghost: everybody’s walking right through you and you’ve died, and you didn’t realize.”—Actor Rupert Everett, talking to The Guardian about The Next Best Thing (2000), the critically-panned Madonna collaboration that effectively unmoored his career.