I always refer to [Stardust Memories] as Sharon Stone’s and my first film.
BRENT SPINERThere is no question that everybody who works in show business is lucky because of the number of people who wish they where working in show business.
More Brent Spiner Quotes
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[The Aviator] came about through John Logan, who I’ve been friends with for many years.
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I went to New York out of college, and in my day, we were told that was the way you became a good actor. You don’t go to Hollywood, you go straight to New York and work in the theater. So that’s what most of the people I knew did.
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I didn’t really watch the show [Star Trek]. I still haven’t seen about 150 of them. So I didn’t really think of them too much in terms of episodes. I thought of them as kind of one long seven-year episode.
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A job is a job. And I like to work.
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The Dain Curse [Tom Fink] was a great job. I was in New York, and I was young – I think I’m 28 years old in that – and I got to work with James Coburn and Jean Simmons and Jason Miller. Plus, it was a Dashiell Hammett story, and I had a great character. It was fantastic to shoot.
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Marianne Williamson, who did A Course In Miracles, she was in my high-school drama class, too. So it was kind of an amazing class.
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I mean, what a man. Someone who’s done Preston Sturges movies, and I actually got to work with him? And he was great.
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That’s what kids were like then. So I really like the movie [Dude, Where’s My Car? ], I think it’s genuinely funny, and I wish I hadn’t been so arrogant about it. And, of course, I didn’t know it was going to be my best work, either.
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I know a guy who writes on the show, it was his episode, and he called and said, “Would you do it?” And I said, “Yeah.” There’s not really much else to tell, except that I was thrilled to be on The Simpsons, because it’s one of the greatest series in the history of television.
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I actually had some funny dialogue [ in Stardust Memories], a little piece, and we shot all day in this big ballroom.
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I love the South Park guys, Trey Parker and Matt Stone. They’re geniuses. I throw that word around a lot, but I really do mean it.
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Like, she had a caterer, she had wardrobe people, she had two makeup artists… I mean, we have makeup and we have wardrobe, but Felicia [Day] was, like, on it. She had two cameras operating, sets, extras everywhere. It was unbelievable.
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It wasn’t ’til I met Chris Ellis, who directed me in a little thing that was actually for a ride in Universal Singapore, for those of you who happen to be going to Universal Singapore.
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Im thinking of going into rehab. Im not addicted to anything, but I think its good way to jumpstart an acting career.
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I got Greg Aronowitz, who does [ Felicia Day] sets, to do mine as well, and he’s just amazing. He can work miracles with nothing.
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People think that being on Star Trek is career suicide, but it’s really just the opposite
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I’ve actually only seen it once, and it was in Hawaii, in a little theater in Oahu shortly after it was released. But Roland Emmerich is a really smart guy, and he makes really fun movies to watch.
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I don’t know what her budget was or is, but she had sponsors for her show, and we don’t have a sponsor yet, so basically, the difference is, our moms make our costumes.
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In my heart, I’ve never left Brazil.
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Most of the time, what I do, somewhere there is comedy in it.
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I think honestly, believe it or not, that Dude, Where’s My Car? in a way represents its time better than almost any film made around that.
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Actually, I had a really nice part in that movie [Ladies And Gentlemen, The Fabulous Stains]. I mean, I have, like, one second in the final-cut version, where I say “You’re fired” to Diane Lane. That’s about all you see of me.
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Pierre [from Dude, Where’s My Car?] could be the best thing I’ve ever done. When you distill it down to a minute and a half of work, that may be my finest effort.
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Of those, the only one that really stands out for me is Tales From The Darkside, for a couple of reasons, one in particular being who I got to work with on it, which was Eddie Bracken.
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I’ve toyed with this idea [of Fresh Hell] for a long time. I actually wrote a feature years ago with this sort of concept in mind, and it’s gone through several incarnations, and…
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We would literally grab a shot and run. But Rent Control… I think the total cost was $100,000, and to this director’s credit, I think it looks like $200,000.
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