On Tristan Rogers

"Tristan and I had a special connection that's really unique. When we first met, there was an animosity between us that was real--and it worked on the air. Through the years, we somehow were able to put it to rest. We're very similar. We're both Geminis, both outlaws. We both have a lot of disdain for the bullsh**. We're both a little rude--well he's really rude. I aspire to be as rude as Tristan. We're very tight and I trust him implicitly. That Luke and Scorpio connection! I don't think you've seen male friendships that were that complex--not very often anyway. I just wish Scorpio were back. They've never found his body, so I'm always hoping he'll wash up or turn up under some rock."

Soap Opera Magazine, November 19, 1996

On Elizabeth Taylor

"People still see daytime television as the bastard of the industry, but the fact that Elizabeth Taylor chose to come here because she's a fan must mean we're doing something right. It validated General Hospital for me."

People, November 16, 1981

 

"She worked hard and with humor. She wasn't tap-dancing. She hugged each member of the cast, she knew people's names. She treated me like a total peer--not like a clown or a freak."

People, November 16, 1981

 

"What can I say about Elizabeth that you can print? It was really a pleasure--well, it was more than a pleasure, it was a great thrill--to work with her and get to know her. She's a wonderful woman. Her humor is superb. She's one of the funniest, bawdiest people I've ever known. She has a wonderful, nasty laugh. Anything beyond that I'm saving for my book."

Soap Opera Magazine, November 19, 1996

On Jonathan Jackson

"I get a lump in my throat just to think about it, so much that I went to [the GH powers] and said, 'If we lose him, then let's kill Lucky.' Jonathan is too much a part of us to replace him. He is an inspiration, an amazing actor. We're riding on his coattails."

TV Guide, October 26, 1996

 

"I don't think it's relevant to Lucky. The rape has nothing to do with him. His parents love and adore each other now. It's none of his business, and I don't believe people need to tell everybody everything. But I think if it came up, Luke would try to be honest. Luke has always kept a close eye on Lucky because Luke sees a lot of himself in Lucky--probably to the point where it's not even healthy sometimes. He's identified and merged with Lucky over this Nikolas situation to the point where it's just a little bit sick--and I've done that on purpose. He looks for himself in Lucky, the good and the bad. Luke knows there's a lot of bad things about him, and those are the things he's on the lookout with Lucky about. He was on watch about Lucky's gambling. It didn't concern him as long as Lucky wasn't getting himself in a dangerous situation. If he saw Lucky obsessing about a young woman, Luke might keep a close eye on him, only because of his own past."

Soap Opera Magazine, November 19, 1996, on whether Luke should tell Lucky about the rape

 

"He never lies. He's one of the truest actors I've ever worked with. He doesn't push for results. He's so open and there--he's not shy with me or afraid of me. He's a total peer, and when we work, he's utterly my son. He has absorbed Genie and me. If you watch him, he's got a lot of her emotional turns, and he's picked up my rhythm. He moves like me. I've seen him in other things, and he doesn't do that. This is a choice he's made as Lucky. This is not just a kid who's worked with us so much that he's now like us. He just did a movie on Showtime--Prisoner of Zenda, Inc.--where he played two characters and neither one was Lucky. I worried for a while that he was absorbing so much of the two of us that he was losing his own identity. But he isn't, and I'm pleased to see that. But as Lucky, he's utterly our child. I really feel like, 'God, if I had a son, I'd want him to be just like Jonathan.' He's the perfect physicalization of Luke and Laura's love. He's a beautiful little guy, and he's a great actor who has a wonderful heart. He's intelligent."

Soap Opera Magazine, November 19, 1996

 

"That was fantastic. That's what's made me the happiest today. I found out about my nomination and the first person I called was Jonathan, who I knew wouldn't be up, but I spoke with his mother, and I told her as the father of the acting family I was standing very proud today. I think it would have been weird if we hadn't all been nominated. It's Genie's first and Jonathan's second, and it's particularly sweet that it's all three of us. I think if there had been a category for infants, LuLu would have been in there, too."

TV Guide website, April 2, 1997, on the Emmy nominations

 

"You know, so much of that sense of family that we have on this show has to do with Jonathan Jackson. He has absorbed us. I couldn't imagine anybody being more our kid--everything about him! I think Luke wants to be a good parent, a good dad--maybe he is and maybe he isn't--but this [pointing to Genie] is the real parent in the house. I look to Genie and Luke looks to Laura to lead the way in terms of parenting. As long as we're not conventional parents, I'm OK with that. I don't think Luke expected to be a dad. So if I ever became a dad, I would probably be similarly permissive, open and a little too dangerous. But who knows--with a girl--Luke might go the other direction.... I treat Jonathan--and Luke treats Lucky--more like a peer than a child. It's always dangerous when parents do that with their kids, but I figure that the balance is here [he gestures to Genie]. And somebody might get hip to that somewhere along the line and write us a nice story that incorporates those differences between us."

TV Guide website, May 14, 1997

 

"It's not a father/son relationship by any means. I might say I'm his mentor, but he is also my peer."

Soap Opera News, June 10, 1997

 

"I once told Jonathan Jackson, 'Date an actress, never marry one.' That will take him farther than any acting lesson I could ever impart."

Soap Opera News on June 10, 1997

 

"I think it's amazing that after this time of working with someone as cynical as me, you still have a joy of acting."

Soap Opera Weekly, February 24, 1998, to Jonathan

 

"You know what, Jonathan? You see that because often my cynicism won't play with you, because you're fresh. You're alive. You're looking for the reality of the moment. And that's a gift to the cynic any time of day. So the gift has gone both ways, and Genie would agree if she were here. Genie is a much more idealistic actor than I am. She needs more truth out of the moment than I do. My life is more a fantasy, therefore I can tap dance around the moment. She can't, and I love her for that. I think you're more like her. Idealistic is good. I do enjoy it. I am idealistic, but I'm also...old!"

Soap Opera Weekly, February 24, 1998

 

"The intent is to drive a big wedge between Lucky and the father he idolizes, which is going to be brutal and painful for both of them. It's really hard to believe the writers are doing it, because this is a very scary can of worms that could eat us all. It's put me in a very vulnerable place. I come to work a little shaky, I feel sick to my stomach by the time I get to the stage, then I go home and cry--all of which is good. I haven't had reason to be shaken up on this show in a long, long time. And Jonathan has been extraordinary. He's got such a handle on the story that I just hang onto him. As actors, we're now on the same level. I'm not teaching him anything anymore."

TV Guide, March 7, 1998

 

"Jonathan is quite simply terrific. He's one of the actors I respect the most--he's a peer. On a personal level, I'm sad that he's leaving and that I can't work with him anymore, but he's grown bigger than 'the box.'"

Soaps in Depth, May 18, 1999

On Kristina Wagner

"Part of that is because I purposely try to do something different with every take, to keep it alive for myself. I'm not interested in playing games with other people's heads, I'm not a practical joker. But I do believe in living in the moment. I change words sometimes, or someone will say something I think Luke needs to comment on. I had a scene with Kristina Wagner the other day and I decided Luke was just going to flirt like crazy with her because she's adorable--and his wife's outta town. So I lit a cigar and just flirted with Kristina, not Felicia. I tried to get into Kristina, past the Felicia facade, and that sometimes brings out surprising things for both of us. Is this making any sense? Oh, f---, I don't know what chemistry is.... And when they get too freaked out I don't do it to 'em. But most of the people I work with look forward to it--which may be one of the reasons they come to this party a little more on their toes. Like Kristina said before our scene, 'You're gonna f--- with me, aren't you?' I said, 'No, I'm not--you've got me mistaken with your husband!' [He flashes an evil grin.] And we laughed. She ended up having a good time. She wasn't dead in the scene--not that she ever is--but you can't be dead if you think the other actor might throw you a curve. I love curves! Jonathan Jackson will throw 'em, Genie throws 'em--anybody who's confident will throw 'em. And that ignites a scene more than anything a writer can provide you with."

TV Guide website, May 21, 1997

On Maurice Benard

"Luke has no investment in Sonny going straight. I don't think Luke ever believed that Sonny was fully out anyway because Luke's never been fully out. You're out when you die."

Soap Opera Digest, June 1, 1999

 

"I hope we get to work together. We've been two guys who can sit down and talk about what's going on in our lives."

Soap Opera Magazine, November 24, 1998, on Benard's return to the show

On Lynn Herring

"She's such fun--and an utter professional. The work she turns out is consistently terrific--and she's so beautiful. Luke looks at Lucy as his second daughter. There's an attraction to her that he doesn't want to deal with because he's a happily married man and all, so the way he handles it is to protect her like he would a daughter. I prefer the goofy Lucy, the sillier she is, the more fun I have with her. I think if there was ever anybody in town that Luke would actively go after if he weren't married, it would have to be Lucy."

Soap Opera Magazine, November 19, 1996

On John J. York

"Chemistry is an odd word. And what makes it I don't really know. I don't go into any scene saying, 'OK, there's gotta be chemistry.' There is no way to play that. It's either there or it isn't. I really try to look into the other person's head. I play a game where I try very hard to combine, say, John York with Mac Scorpio. The qualities I love about John become the person I call 'Bubba' and the qualities about Mac that I can't relate to become the person I call 'Scorpio.' I always try to find two or three different names for the other characters, because people do that--a guy like Luke has nicknames for everybody. Part of that is so I can clue into a certain part of that person. I just one day started calling John York 'Bubba' because he is--he's just a great big Bubba! A lovable sweetheart! And John brings that to Mac, and you can't deny the truth of that. So even when Luke thinks Mac is square or he disagrees with him, whatever, there's still a way to listen to him that embraces him. Even when Luke doesn't like characters, I try to embrace them. Even with a nemesis like Stefan. Tony Geary still likes Steve Nichols, so if I can pull things out of him...."

TV Guide website, May 21, 1997

On Sarah Brown

"I've really enjoyed the Carly scenes as well. I'm very happy that Sarah has been nominated in the younger actress category. She's very exciting to work with, and Luke's connection to Carly is a unique one."

TV Guide website, April 2, 1997