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.
BRENT SPINERI assumed, “Well, I must’ve sounded like Conan O’Brien, or a reasonable facsimile or something.” And there I am in the movie [South Park: Bigger, Longer & Uncut ]. I was very lucky.
More Brent Spiner Quotes
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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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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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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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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.
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I don’t know you could do a whole film about Dr. Okun from Independence Day.
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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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[The Aviator] came about through John Logan, who I’ve been friends with for many years.
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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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The one on Fresh Hell is a little easier, because we make it up. It’s a strange kind of hybrid of the real me and… Well, obviously it’s me standing there, and it’s my voice and my face, but it’s also kind of filtered through Harry Hannigan’s take on the character, the one he’s writing.
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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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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 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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That was a really interesting series [Threshold ] that I think would’ve been really great had it continued.
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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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Bill Prady and Chuck Lorre, the guys who run that show [Big Bang Theory], are really funny and really smart, and the cast is fantastic to work with.
BRENT SPINER