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.
BRENT SPINERI 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.
More Brent Spiner Quotes
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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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It’s fun to do something different. And there are things you can do in a small palate that you can’t necessarily do in a larger role.
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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 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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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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I think I worked an average of about 10 minutes a day [in Big Bang Theory series]. It took longer to get to the studio than I actually worked. So I regard the driving there as the actual job. The work itself was just fun.
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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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In my heart, I’ve never left Brazil.
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I think the potential for man is so enormous, if we can stay alive long enough, we’re going to be seeing a lot of what Star Trek is projecting.
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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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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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[ 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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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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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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I think everyone agrees First Contact was our best film, and even at that, they’re kind of… I don’t know, they’re sort of movies. But they’re kind of really Star Trek movies, if you take my meaning. It’s hard for me to say. I was glad to be doing them.
BRENT SPINER