Nathan Lane is done sugarcoating it: Hollywood has a homophobia problem, and he’s living proof.
The Tony-winning star known for his flamboyant brilliance in The Birdcage and The Producers didn’t hold back in a recent interview, where he opened up about how being openly gay sabotaged his shot at more mainstream film roles. “Homophobia is alive and well,” Lane said, reflecting on a career that bloomed on stage but often hit a wall on screen.
The director saw me hosting the Tony Awards and thought that suggested I was too gay to play the part
Shut Out for Being “Too Gay”
Lane recalled how his breakout film performance in 1996’s The Birdcage—a comedy classic where he played a drag queen opposite Robin Williams—failed to unlock Hollywood’s gates. According to Lane, his then-agent told him bluntly: “Maybe if you weren’t so open about your lifestyle, it would have.” Oof.
And it didn’t stop there. That same year, Lane was in the running for a role in Space Jam, but was allegedly passed over for being too gay. “The director saw me hosting the Tony Awards and thought that suggested I was too gay to play the part,” Lane said. The part eventually went to Wayne Knight (aka Newman from Seinfeld), but the slight stuck. “I don’t know what goes on behind closed doors,” he admitted. “But I can’t help but think that [homophobia] played a part.”
It’s not just the sexuality—it’s the “theatre thing,” too. “There’s always that ‘he’s from the theatre’ thing,” Lane said, referencing the kind of coded language often used to mask anti-gay bias. “It’s either homophobia or it’s just, ‘He gives big performances because he comes from the theatre.’”
Thank You, Ryan Murphy
Lane did express gratitude to Glee and American Horror Story producer Ryan Murphy for casting him in substantial television roles in recent years, including turns as real-life figures Dominick Dunne and F. Lee Bailey. “Before I die,” Lane said with a wry smile, “it would be lovely to get to play a juicy, serious supporting role in some film.”
Despite the setbacks, Lane continues to be a pillar of queer representation in the arts, and his candidness exposes a persistent rot in Hollywood’s casting culture. For LGBTQ performers, the message has too often been: “Don’t be too much of who you are.” That’s a message The Pink Times rejects entirely.
Why It Matters to Us
Lane’s story is a reminder that the entertainment industry, for all its progressive branding, still boxes out queer talent when it matters most. His experience underscores how coded language, assumptions, and industry whispers combine to keep LGBTQ performers from reaching the heights they deserve. While Hollywood keeps patting itself on the back for a handful of gay leads and rainbow flags during Pride Month, veterans like Lane are here to remind us that representation without respect is just window dressing.
As Lane said best: “You have to get the part. You need a part to prove that.” Hollywood, it’s past time you stop typecasting and start casting talent—no matter how fabulous it is.