Andrew Scott knows a little about ghosts. His 'Elsinore' just swept into the Oscar race

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In the powerfully moving new film "Elsinore," Andrew Scott plays the real-life actor Ian Charleson, who, as he was secretly dying from AIDS, played Hamlet in a 1989 Royal National Theatre production. It's still considered one of the great performances in London theater history. Charleson was 40 at the time, known for playing Scottish Olympic athlete and missionary Eric Liddell in "Chariots of Fire." He died eight weeks after leaving the National Theatre stage. "Elsinore" captures that journey in all of its glories and taxing challenges.

"That he would go for treatment in the morning and then play this Olympian role is just endlessly moving," Scott says. "I don't know how he did it."

Scott shared more about the film with the Los Angeles Times while appearing at the Telluride Film Festival in Colorado.

Charleson playing Hamlet, scaling the Everest for actors, reminded me of David Bowie making "Blackstar" as he was dying. As an artist you're not often given the chance to shape the narrative of your own end.

Being offered Hamlet doesn't happen to every actor. To take it and turn it into something generous and useful — useful is a word I love about acting, that it's useful to people.

The last time we talked around the time of "Ripley," you wanted to put out into the universe the idea of starring in a musical or a comedy. That hasn't happened by the strictest definition. But you seem to be saying that genre labels don't matter.

The reason, hopefully, that "Elsinore" is moving is that we approach some of the stuff with quite a bit of lightness. The effect is tragic and there are some heavy things in it. But my job, what I prioritized, is keeping it light.

You are seen dancing to Ethel Merman's disco album. It doesn't get much lighter than that.

My favorite actors are the ones that are funny. I worked with Lisa Kudrow last year on "The Comeback," and yes, of course, she's very funny. But if you look at that performance she gives toward the end, it's so moving. People come away from things that are labeled comedies and go, "I just laughed at that." Or people come away from things that maybe were really sad and say, "I was just devastated by that." I think the job is to get rid of categorizing and make it more fluid.

Next month you're going to be celebrating a milestone, turning 50. Or not celebrating. I don't know how you feel about birthdays.

I don't love my birthday.

Any year?

My friends have said to me, "You gotta make some plans." I love a party. Which is to say, I love other people's parties. What I usually do is I leave it to the last minute and send texts around, saying, "I understand if you don't want to come, but I might do this." And then you do something small. I read something yesterday where you should go to your own parties like you're like you're a guest. I think that's a very good way to to do it.

The personal aspects of this movie are striking. In addition to producing "Elsinore," you yourself have played Hamlet onstage. You're also a gay actor portraying someone who, at the time, would have torpedoed his career by coming out.

When I was a kid, I was obsessed with the movies and would read Premiere and Empire magazine. Around 16 or 17, I started to realize that maybe if you're gay, you wouldn't be invited to movies. And I wasn't wrong in thinking that, because they're weren't many examples. So I would omit things in interviews. I wouldn't lie, but I really understood that about Ian's generation.

There's a melancholy moment in the movie where he says, "I wanted to be in the movies. I didn't scale the heights."

What a gorgeous little dream. A young boy goes, "I want to be in the movies." And then to have that knocked out of you bit by bit. You're not even going to be seen for the audition.

Did people tell you not to talk about being gay?

Very well-meaning people said to me, "Just keep that [private] because you're not obviously gay," which I often think is such an insult to say to people. "So maybe you can get away with it." And I was like, OK. And I did that for awhile. But it was so insidious. When audiences think of acting, they think of actors pretending, like you're putting yourself in somebody else's shoes. So the fact that there was this whole section of gay actors who weren't allowed to do that is awful. I'm so grateful that I get to do that.

Let's get back to Ethel Merman.

Please! [Laughs]

There's that stanza in "There's No Business Like Show Business" that goes: "There's no people like show people / They smile when they are low." Would you say that sums up the spirit of "Elsinore" about as well as any couplet could?

Yes, it's so much about the power of community and show people. It's about show people and smiling and getting on with the show.