Rick Berman says there were three strikes against the job: it was science fiction at a time when nobody made science fiction for television, it was a sequel, and it was going out in syndication instead of on a network. He and his wife Liz talked it over and, by his own count, it took about six minutes to decide to go for it. That decision gave us Star Trek: The Next Generation, Deep Space Nine, Voyager, Enterprise and the films, and it all traces back to an eye roll in a Paramount meeting that got him invited to lunch with Gene Roddenberry. On Dropping Names, Rick tells Brent and Jonny how Bob Justman came back from a reading at UCLA insisting Roddenberry meet an English actor named Patrick Stewart, how Gene declared that no bald Englishman was going to be his next captain, and how Rick decided that was not actually the end of the conversation. Along the way Brent admits he nearly walked out of his own audition rather than play Data as a machine, Jonathan confesses to wearing the same unwashed shirt through seven auditions for Riker, and Rick explains the rule that whoever said a name first set the pronunciation for the whole series, which is how Data became Data.

There is also the studio executive who told Patrick he had the role but had to lose the wig, the reason Colm Meaney could slip away to make features, Marlon Brando wanting the part that went to Malcolm McDowell in Generations, Isabella Rossellini reading for the Borg Queen before Alice Krige got it, and how Jonathan came to direct First Contact. Before any of that, Rick was a young documentary producer catching flies in the basement of a Horn and Hardart automat for a film John Lennon and Yoko Ono were shooting, which is why Yoko later tapped him on the shoulder at Lincoln Center and greeted him as the fly guy. He also worked two days at Groucho Marx's house, stood five seconds from Howard Hughes on a Las Vegas runway while Hughes fired his boss, took phone calls from Lenny Bruce in college, and shared a babysitter with George Gershwin, give or take fifty years. Michael Piller, Ira Steven Behr, Jerry Taylor and the green writers who became showrunners all get their due, and so does the night Elizabeth Taylor ended up face down on a floor two doors from Rick's house.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Colin Hanks sits down with Brent Spiner and Jonny Frakes on Dropping Names and starts where it started, on a sidewalk on the Fox lot in the late nineties, terrified before his Roswell screen test, when a passing Jonathan Frakes told him to do well and somehow made the whole day survivable. From there he opens up the parts of that story nobody knows: getting asked to test for two roles at once to double his odds, spending the day auditioning alongside Heath Ledger, sitting in a cast meeting about people not showing up while William Sadler quietly modeled how a professional behaves, and learning off camera eyelines from Julie Benz. Then comes the reveal about The Great Buck Howard, the film he made with John Malkovich, Emily Blunt, Steve Zahn and Adam Scott. His father Tom Hanks produced it and campaigned hard for a completely different actor in the lead, and the name is William Shatner. Colin also explains why a George Takei joke had to survive every draft, and why one small scene with Jack Carter still lands as the saddest moment in the picture.

There is a lot more where that came from. Colin talks about surviving Dallas in 108 degree heat on The Good Guys with Bradley Whitford, who invented the role of emotional stunt double and who still gets quoted every time Colin finishes a take. He tells the Kreskin story that saved his David Letterman appearance while he was doing 33 Variations on Broadway with Jane Fonda. He describes realizing during a three in the morning squib explosion on set that he could shoot an entire documentary on the same tiny camera, which became the Tower Records film, and how the Eagles of Death Metal doc about the band returning to Paris after the Bataclan attack took seven months and cost him something. Brent and Jonny push him on Nuremberg, on watching Russell Crowe and Rami Malek run twenty pages in a single take in Budapest, on the critics who savaged The Offer, on Matthew Goode as Robert Evans, on Orange County and King Kong with Jack Black and Peter Jackson, on Adam Sandler calling to talk about Emma Stone after The House Bunny, and on how he badgered his agents into a meeting with Matthew Weiner and ended up playing the priest on Mad Men. Plus the scoop on Silo season three with Rebecca Ferguson, the biggest production he has ever worked on, bigger than Kong.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Terry Matalas first walked into Alex Kurtzman's company, the show about bringing Jean Luc Picard back was already spoken for, and he was politely told to go away, kid. He ended up running Star Trek Picard season three anyway, and on Dropping Names he tells Brent and Jonny how it came together in about eight weeks, why the character we know as Data was very nearly called Datum until somebody worked out that data is already plural, and what Brent said to him on the phone that changed his mind. Jonathan Frakes remembers being asked if he was ready for a lot more Riker and answering that he would need to lose thirty pounds first. Terry also explains the last shot of the poker game, where he asked the cast to stop acting and simply deal, ran the cameras and let the credits roll over the real thing. Mary Howard, the producer who hired him as a production assistant and became his first boss, sat in the room for part of this one, which makes his stories about Rick Berman, firing shoes with tassels and the last Star Trek that ever came in on budget land even harder.

There is a lot more here than the Enterprise D, though Brent has plenty to say about how much smaller it felt the second time around and about hitting Patrick Stewart with a car. Terry talks about running 12 Monkeys for four seasons on Syfy after writing a time travel spec called Splinter, meeting Aaron Stanford and most of his crew on Nikita, working on Terra Nova and MacGyver with Henry Winkler giving notes in the edit bay, and the day Brannon Braga's assistant job put him at a sushi lunch where Ron Moore pitched the entire Battlestar Galactica reboot to him before anyone had made it. He is currently finishing the Marvel series Vision Quest with Paul Bettany, James Spader, Todd Stashwick and Orla Brady, and he refuses to name the one actor in it he is most excited about. Also covered: Christopher Lloyd shaving his own eyebrows on day one, the life sized Darth Vader that would not fit in the basement, the DeLorean time machine parts in Terry's garage, and Brent's very short career in the Star Wars radio drama.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.