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.
BRENT SPINERI think there is something like 90% unemployment in the Screen Actors Guild, so we are the exception.
More Brent Spiner Quotes
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They were nicely written and nicely directed episodes [Star Trek: Enterprise]. I enjoyed working with Scott [Bakula]. So it was good to do, and, as you said, it did serve to enhance the Soong legacy.
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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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My own personal favorite Cher song is the unforgettable Gypsies, Tramps and Thieves.
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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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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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I think Rick Berman just called me and asked me if I wanted to do the show [Star Trek: Enterprise], and he said they’d write an arc if I’d do it.
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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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So it was a really pleasant surprise when [Independence Day] turned out to be a successful film. I don’t know if you’ve heard that they’re going to be re-releasing it next Fourth of July in 3-D.
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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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[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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[ 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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Timing is everything, as you know.
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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’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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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.
BRENT SPINER