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.
BRENT SPINERIt 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.
More Brent Spiner Quotes
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I always refer to [Stardust Memories] as Sharon Stone’s and my first film.
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I don’t know you could do a whole film about Dr. Okun from Independence Day.
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Any job you can go to and have a laugh everyday has got to be a good job.
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Timing is everything, as you know.
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It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.
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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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Martha Coolidge directed the movie [Introducing Dorothy Dandridge], giving me another shot, and it was an amazing experience.
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And I’m telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits.
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[ Felicia Day] is really figured it all out, and it was impressive. It was nothing like our set, because her set was like working on a real film.
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[Independence Day] was a sweet, sweet job, because it was one of those big surprises.
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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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[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what’s best in it and make it work. That’s what it was like.
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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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I did a great show Off-Broadway called Leave It To Beaver Is Dead that was at the Public Theater in New York. It was written by Des McAnuff, who’s an illustrious director now, and it starred…
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The only problem with that – and she was lovely – was that she was basically hired because [Gian Luigi Polidoro] thought she was [film producer] Ray Stark’s daughter. And he figured that if he ran out of money, her father would kick in some more.
BRENT SPINER