Jan. 17, 2025

Episode 618- Tim Russ Interview

Episode 618- Tim Russ Interview

Tim Russ talks about such things as:

- Tim Russ shares his excitement for the 30th anniversary of Star Trek Voyager.
- The importance of character backstory in developing Tuvok's character.
- Tim's experience working with Mel Brooks on Spaceballs was...

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Season 4Special GuestsStar Trek VoyagerStar Trek MoviesFan Films

Tim Russ talks about such things as:

  • Tim Russ shares his excitement for the 30th anniversary of Star Trek Voyager.
  • The importance of character backstory in developing Tuvok's character.
  • Tim's experience working with Mel Brooks on Spaceballs was brief but memorable.
  • Tim discusses the differences between working on feature films and TV series.
  • The Vulcan character serves as a commentary on the human condition.
  • Tuvok's character is complex, showcasing both logic and emotional depth.
  • The dynamic between Tuvok and Neelix adds depth to the series.
  • Tim reflects on the moral dilemmas faced by characters in Star Trek.
  • The filming of fan films presents unique challenges and experiences. The disorganization in filmmaking can lead to chaotic results.
  • Working with talented musicians can enhance an actor's performance.
  • A long career in music can shape an artist's style and preferences.
  • The Orville offers a unique blend of humor and homage to Star Trek.
  • Single-camera shooting requires precision and can be monotonous.
  • Tim Russ enjoyed the opportunity to work with Patrick Stewart.
  • The influence of new characters can change the dynamics on set.
  • Behind-the-scenes laughter can lighten the long hours of filming.
  • Music is a significant part of Tim's life and influences his work.
  • Indie projects often allow for more creative freedom than television.
  • Tim Russ has auctioned off his Tuvok ears for charity.
  • Directing offers a broader canvas for creative expression than acting.
  • Tim enjoys performing music and has several songs available online.
  • He has a biopic in development set during World War One.
  • Tim's music style is eclectic, featuring unique arrangements and mashups.
  • Tim's favorite episodes often involve unique storytelling and strong collaborations.
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Okay, Jean Ways Fox Beer Look is acting very weird.

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Captain Pikes, Cisco's wife, King ons and me after.

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Like Boimer, Tendi Stargarransom.

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Is very hard, Scot Drive black alert, Torgio has gone perserved,

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Pecha bad laugh, Edward is any Pakistan? Wolf is were

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Checkov's wearing red, Tita's cat cam back sat you has

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had enough for that? Penny up make it so, everybody, let's.

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Go about the series.

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As up the phone.

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Now talk about the series.

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I'm coming to your services. Now we talk about the series.

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Now, Jam.

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Well, good evening, Trekky's and Trekers around the globe. It's

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January sixteenth, twenty twenty five. Welcome to episode six hundred

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and nineteen of trek Talking. I'm your most excellent host,

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Uncle Jim, and we have a great show plan for

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you guys. Tonight we're gonna be talking with the one

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and only Tim Russ. But before we go too far,

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i'd like to introduce my treks perts. Will start off

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with Eric. Eric is out in Portland. How you doing tonight, Eric?

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I'm doing pretty good. Jim. I'm extremely excited, of course

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about tonight's show. As you know, I'm a huge Voyager

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fan and U two box my boys, So thanks Tim

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for being here.

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Also from Portland, we have Paul the toy guy. How

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you doing tonight?

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Paul?

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I am so much more than toys. Jim really don't

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narrowly can find me. I mean see the Holemie, but

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that's for another time. But I am as my friend Eric,

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just busting at the seams with many questions and curiosities

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for our wonderful guest tonight. So it's exciting, it's gonna

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be fun.

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And also from Portland, we have David. He's our Scottie

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on the show. How are you doing tonight? David?

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Pretty good? Pretty good. I'm actually really super excited as well.

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So I'm welcome Tim, and I hope you enjoyed.

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The show excellent. And believe it or not, he's not

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from Portland. We have Charles. He's out in Las Vegas.

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How you doing, Charles?

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Good? Uncle Jim. Glad to have rest Tim here and

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looking forward to the conversations and the story.

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Gonna be fun. You guys can go to trek talkin

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dot com and you can find all of our previous shows.

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There's also a little blue talkback mic in the bottom

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right hand corner. Wease feel free to click on that

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mic and leave us a message and we will play

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it on the very next podcast. You can also help

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support the podcast by visiting our Patreon page Trek Talking Podcast,

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which Charles is putting together for us. So check that

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out if you get a chance. And let me see.

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There's one thing I got to start off the show with.

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I got to say happy birthday to Star Trek Voyager,

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which turned thirty today. Believe it or not, it was

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today in nineteen ninety five when Caretaker aired and uckily

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for us, we have Tim Russ with us to share

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with us. That was just a stroke of luck, by

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the way, that wasn't planned. It just happened that way.

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So happy birthday to Star Trek Voyager, and we have

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mister Russ here to celebrate that with us. So I

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just want to feel you guys in a little bit.

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Everybody knows that Tim played mister Tuvac and he's been

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involved in Star Trek, and we're going to talk about

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a lot of that tonight. But in nineteen ninety five

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he also co wrote a story from Malibu Comics Trek

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Deep Space nine, number twenty nine and number thirty. So

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he's also delved into some comic books, and he performed

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voice acting roles as Tuvac for the Star Trek video

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game Star Trek Voyager, Elite Forces and Elite Forces too.

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He's also a director and he starred in the fan

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film series Star Trek of Gods and Men, which by

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the way, was filmed right here in tight Conder Roga

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not too far for where I'm sitting right now. And

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he also co starred in Star Trek Rennegades and reprised

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his role as the voice of Tubac and the massively

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multiplayer online game Star Trek Online. So welcome to the

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podcast him. It's great to have you here.

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Thank you very much for having me. Guys, thank you.

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And I want to start out by asking you a

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question about a little tiny part that you had in

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a little tiny movie quite a while ago, which I'm

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sure you get asked about a lot, And I just

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want to know what it was like working with mel

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Brooks on Spaceballs. You knew that had to come.

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Up Spaceballs, you know it was you know, it was

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just a day's worth of work. We shot out in

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you My Arizona, and it was just it was just

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one day's worth of work, and it was he was

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lovely to work. It's very nice. I got a picture

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with him and the whole thing, so it was great.

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But it was just a you know, just a day's

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worth of work. It didn't take that long to pop

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that off. And of course it's gone on to live

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in infamy as it were, become a cult classic, which

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I was not even thinking about when I worked on it.

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So twenty five thirty years later I discovered that it's

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extraordinarily popular.

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I think I think a lot of Sci fact fans

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go around quoting lines from that movie. It's just yeah,

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it's a great movie.

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Yeah, quite a few people actually, yeah.

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Yeah. And you you had the honor of working on

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that film, so that was great. Actually, we just just

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watched it the other night, just so that I could

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refresh myself on your lines such as they were.

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Yeah, you gotta work on those. It's a long, complicated piece.

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Yes. And I'm also I'm a huge Klingon fan, and

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I know I was reading in your bio that you

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played a Klingon on Star Trek Deep Space nine. Yes,

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and I wanted to ask you a little bit what

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was it, What was it like? Playing a kling on.

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First of all, how did you get into that cling

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on that warrior mode? And what was it like guest

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starring on a show like like Deep Space nine versus

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being a regular on Voyager.

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Well, you know, that was before Voyager, So it was

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just it was just a step along the line of

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working than the franchise that occurred, you know, prior to

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actually working on Generations, and the producers I think at

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the time Brick Berman was in charge, so he liked

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my work. He enjoyed, you know, working with me on

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the shows and the franchise, so he kept bringing me back,

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you know, eventually back on Generations and then eventually back

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on Voyager. And I was lucky enough to to be

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available and to be right for that role and Voyager

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when they put it together. Nothing but timing on all

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of that. So that that's how it turned out. And

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it could have been completely different, you know. Ah, you know,

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I could have just as easily ended up on a

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series Baywatch or something, you know, instead of that. It

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just came down to being right. The timing being right

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for me to be ready for that role.

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All worked out for the best in the end, Yeah,

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it did. Yeah, Now, what was it like working on

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on Generations versus working on a TV series.

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Generations was, well, the pace is generally slower feature films.

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You don't usually shoot that many pages per day, especially

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when they're you know, big budget movies like that. You know,

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the smaller budget stuff, the little independent b movies and

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things like that, those are typically more pages per day

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when you're shooting there. It's a very slow pace on

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a feature film and you're only shooting a few pages

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a day. And it was great. The director was great.

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I worked with Shatner, James Dowin that day, Walter Kanig, Walter,

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and George t Ka, So it was great to be

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on the bridge with all of them and to be

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able to to take part in that feature, ironically enough,

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playing a tactical officer in that but as a human,

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not as a bulk. But it was great. It was

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It was very easy, it was very smooth, and at

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the time I was working on Generations at that time.

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That week, Berman walked up to me two times, two

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different times and said, you know, we're working on a

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new series. You know that we're going to be casting

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in the summer of the of the next year, and

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so he and he said, I'm interested in having you

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read for one of the roles. So he told me

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that when I was working on Generations, so I knew

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that something was coming down the line, certainly a potential

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for another perhaps a full time job on a series

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Trek series, because he did tell me that that was

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a good possibility it was going to happen.

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Now, when when Star Trek Voyager did the episode Flashback,

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you had the opportunity to go back and work with

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George and the late Grace Lee Whitney.

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What was that like, Well, it was wonderful because you know,

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in that first of all, it was a backstory for

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the character. And you know, it's always good to have

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a backstory for the characters, to have a story that

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you know, gives them, defines them and gives them more depth,

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you know. And that's basically how it works, because you know,

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as you come on to the character to begin with,

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as the series begins, you sort of just you're sort

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of just working with a template. You know, you're just

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being the audience is just being introduced to this character.

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So you have a basic general template for that character.

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And I had a fortune of of of of having

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knee Moy's work and a couple of other Balkans here

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and there that I could sort of base my the

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template for two Bucks character on, so I can get off,

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you know, out of the gate and off the ramp,

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you know, at least demonstrating, you know, that I knew

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or could could portray this character so that the fans

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would believe that it's a Balkan character. It's got to

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be specific. I can't just go in there, you know,

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doing whatever I want to do. It had to be

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basically within that model, within that mode of what that

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character type is like. Otherwise nobody's going to buy it,

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and certainly the producers may not like it either. So

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it had to be It had to be reliable, had

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to be believable as a Vulcan character. And that was

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great to be able to be able to pull it

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off and keep it consistent. And then I think from there,

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flashback was the backstory, because the writers are going to

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start writing for you after they see what you do

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on screen and watch your character on screen. Then they

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start writing storylines based on the way that you're portraying

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this character, and flashback is a backstory. So I've got

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a story that explains where I came from, and all

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the characters kind of get that backstory thing, and almost

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all the series. And it was nice to be able

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to work with your George on that episode because we

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didn't when we shot it, the director did not want

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He initially did not want to use footage. We were

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going to use stock footage from the film from the

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movie and only show the angles that I wasn't in

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on the bridge and then pick me up with just

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single shots in a different part of the bridge and

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cut those into the sequence. That's how we were planning

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on doing. And the director wanted to shoot the entire

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sequence all over again from scratch, so we did. So

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we shot that sequence based on what it was that

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what was in the film, but we shot the whole thing,

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you know, from the ground up, you know, which was interesting.

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It allowed me to have more freedom on the bridge,

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so I didn't have to be stuck in one place,

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et cetera. So it was cool. And working with George,

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of course is amazing because he's wonderful and so easy

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to work with, so genuine, so gracious, and to have

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the honor of working with him, and that sequence was

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just a blest. It was wonderful.

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Now, were you a Star Trek fan before you ended

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the role on Voyager and did you have any idea

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that you would be talking about this character thirty years later.

225
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Well, at the time I was growing up, you know,

226
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we we only had three channels as it were, so

227
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for all the young uns out there, So there were

228
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a number of series that were playing all the time,

229
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and Star Trek was one of the original series. I

230
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can tell you as much about Star Trek, the original

231
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series as I can about Andy of Mayberry or Twilight

232
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Zone or I Love Lucy or you know, Gilligan's Island.

233
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I've seen them all a million times. So I was

234
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very familiar with Star Trek prior to doing this. I've

235
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obviously seen the series for years. It was that's all

236
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we had to watch. There was no VHS, there's no streaming,

237
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there was no cable, there was no nothing except re runs.

238
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That's what we had.

239
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Man. One more thing I wanted to ask you about

240
00:14:30.679 --> 00:14:34.320
working on Star Trek fan films, in particular of Gods

241
00:14:34.320 --> 00:14:38.360
and Men up Here with James Colly in Tykana Roga. Yeah,

242
00:14:38.759 --> 00:14:41.399
how did that come about? And you know, what was

243
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it like working on a fan film versus working on

244
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Voyager or generations.

245
00:14:46.039 --> 00:14:48.879
Well the Gods and Men.

246
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I was.

247
00:14:49.679 --> 00:14:54.759
It was just a phone call that came in one day,

248
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just randomly. They asked me if I wanted to direct

249
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this fan film. And the script hadn't even had not

250
00:15:03.000 --> 00:15:04.879
been written at that point in time. They were just

251
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getting ready to write the script, and so they asked

252
00:15:08.240 --> 00:15:11.960
me a couple of opinions for ideas for the storyline,

253
00:15:12.879 --> 00:15:18.960
concepts and things. But that there was just a random

254
00:15:19.039 --> 00:15:22.200
call out of the Blue Sky. Conway called me and

255
00:15:22.240 --> 00:15:24.360
said would you interested in direct this thing? So I

256
00:15:24.799 --> 00:15:26.960
was like, Okay, we'll put together the story and we'll

257
00:15:26.960 --> 00:15:30.080
see what happens. And we wanted me to be in

258
00:15:30.120 --> 00:15:31.799
it at some point in time as my character. I

259
00:15:31.840 --> 00:15:36.799
said fine. So we wrote the script with a couple

260
00:15:36.799 --> 00:15:39.919
of other writers, gave them a couple of ideas, a

261
00:15:39.919 --> 00:15:43.120
couple of concepts to work around, and they did a

262
00:15:43.200 --> 00:15:44.919
very good job of putting that together, I mean, a

263
00:15:45.000 --> 00:15:47.440
really cool job. And then we came up with the

264
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additional aspect of say, let's pull in some elements from

265
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the original series, either some characters or some elements. So

266
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we put the Guardian Gate the gate in there.

267
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We put.

268
00:16:00.240 --> 00:16:02.679
In there. We put the Carol, one of the characters, Charlie,

269
00:16:02.720 --> 00:16:06.440
and then we put these characters in there that were

270
00:16:06.480 --> 00:16:08.399
from the original series. And that was the sort of

271
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thing we wanted to the unique aspect we wanted to

272
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do with it. So that's how it ended up. And

273
00:16:14.039 --> 00:16:15.840
then we went and shot it up in upstate New

274
00:16:15.879 --> 00:16:22.039
York where the set had been built almost right down

275
00:16:22.039 --> 00:16:25.759
to the spec I mean, he had the set built perfectly,

276
00:16:26.720 --> 00:16:30.600
the actual plates on the transporter room where the plates

277
00:16:30.600 --> 00:16:33.039
from the original series, the plates that you stood on

278
00:16:33.360 --> 00:16:35.600
in the transporter room were the same plates from the

279
00:16:35.639 --> 00:16:39.440
original series. He had the carpet, the same carpet that

280
00:16:39.559 --> 00:16:42.840
was used on the floor of the bridge in the

281
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other parts of the ship. He had that carpet. He

282
00:16:44.799 --> 00:16:49.960
had the buttons, he had everything, everything that was to scale,

283
00:16:50.440 --> 00:16:52.240
and then includes the size of the bridge and it

284
00:16:52.279 --> 00:16:54.639
was three hundred and sixty degrees including the viewscreen. It

285
00:16:54.679 --> 00:17:00.759
was absolutely amazing what he managed to put together for

286
00:17:00.879 --> 00:17:03.720
us to shoot on. So it was ready to go

287
00:17:03.799 --> 00:17:07.359
and we could use it. And you know, although it

288
00:17:07.400 --> 00:17:10.559
was hot as blue blazes at that time of the

289
00:17:10.640 --> 00:17:14.000
year in Upstate New York and humid, and you know,

290
00:17:14.039 --> 00:17:17.160
so We ended up having to shoot at night time.

291
00:17:18.079 --> 00:17:19.880
It was too hot to shoot in the day. We

292
00:17:19.920 --> 00:17:22.640
had to shoot at night. There was no ac in

293
00:17:22.720 --> 00:17:26.680
the place we were shooting, so you know, it was

294
00:17:27.200 --> 00:17:31.240
miserably toasty in that space. But we managed to get

295
00:17:31.240 --> 00:17:31.599
it done.

296
00:17:32.920 --> 00:17:36.240
How long did it take to complete the project?

297
00:17:36.640 --> 00:17:39.000
We shot about eight days or nine days out in

298
00:17:39.119 --> 00:17:41.319
upstate New York, and then we shot another three days.

299
00:17:42.000 --> 00:17:43.799
I think it was three or four days here in

300
00:17:43.839 --> 00:17:46.599
Los Angeles. We shot in baskets rocks, and we shot

301
00:17:46.599 --> 00:17:50.000
in the valley at a house, and I think one

302
00:17:50.000 --> 00:17:52.240
other locations. So it took us about eight days, nine time,

303
00:17:52.400 --> 00:17:57.119
twelve twelve days, which was about right for that number

304
00:17:57.119 --> 00:17:59.240
of pages in a script and also the budget we had.

305
00:18:00.359 --> 00:18:03.160
But it was, you know, pretty elaborate. We had a

306
00:18:03.200 --> 00:18:05.960
lot of stuff that we managed to pull together to

307
00:18:06.079 --> 00:18:10.960
make that project. And uh, you know, for me, you know,

308
00:18:11.119 --> 00:18:13.440
it was just is mostly a directing gig for me,

309
00:18:13.519 --> 00:18:18.279
and I really I enjoyed. I liked how it turned out.

310
00:18:18.319 --> 00:18:19.960
I was very happy. But now it turned out.

311
00:18:21.279 --> 00:18:23.359
Have you been up to see the set tour since

312
00:18:23.400 --> 00:18:25.319
that time? Have you been up to Taykona Roga?

313
00:18:25.440 --> 00:18:27.279
Oh? No, no, no, I haven't been up there. The

314
00:18:27.279 --> 00:18:29.079
only time i'd go up there, you know, is if

315
00:18:29.640 --> 00:18:31.359
it was a job, you know that I had to

316
00:18:31.359 --> 00:18:34.880
go work. I not wouldn't be taking any trips across

317
00:18:34.880 --> 00:18:37.599
country just to see it. I worked on it plenty,

318
00:18:37.759 --> 00:18:39.240
so I'm very familiar with it.

319
00:18:40.240 --> 00:18:42.160
All right, Well, thank you so much. I'm going to

320
00:18:42.400 --> 00:18:45.000
turn the microphone over to Paul. Paul to take it away.

321
00:18:46.079 --> 00:18:49.519
My pleasure. And what a treat, Tim. It is so

322
00:18:49.799 --> 00:18:53.000
amazing to me to have you as our guest. It's

323
00:18:53.319 --> 00:18:55.920
I'm a little excited. I won't hold I won't hold back.

324
00:18:55.960 --> 00:18:59.359
I want try to overcome my shyness. And may I

325
00:18:59.400 --> 00:19:04.480
say big fan of your Twitter by the way as well,

326
00:19:04.599 --> 00:19:07.880
like your perspective a lot. I refuse to call it hex,

327
00:19:08.039 --> 00:19:12.160
can't do it, but yeah, you're very unfeiltered, my friend,

328
00:19:12.240 --> 00:19:14.240
and I think that's a wonderful thing.

329
00:19:15.319 --> 00:19:19.319
Well, you know, I you know the Facebook and Twitter,

330
00:19:19.440 --> 00:19:24.599
I do you know, I don't post pictures of dogs

331
00:19:24.680 --> 00:19:28.119
or the food I ate at the restaurant. That if

332
00:19:28.240 --> 00:19:30.480
I don't do any of that stuff, everything on there

333
00:19:30.640 --> 00:19:33.839
is probably going to be. You know, it's either a

334
00:19:34.000 --> 00:19:36.559
really good joke that I like a lot, or it's

335
00:19:36.599 --> 00:19:39.799
going to be political and a combination, a combination there.

336
00:19:40.119 --> 00:19:44.559
I have to you know, I've got somewhat of a

337
00:19:44.599 --> 00:19:49.000
public profile because of Voyager, and hopefully I can reach

338
00:19:49.039 --> 00:19:52.599
people who are not aware of what is happening. And

339
00:19:52.640 --> 00:19:56.480
I've been around too long, you know, to to not

340
00:19:56.640 --> 00:20:02.680
say something. It's just it's you know, it's it's beyond crazy,

341
00:20:02.960 --> 00:20:05.960
you know. I mean, it's an episode of the Twilight Zone.

342
00:20:06.000 --> 00:20:09.279
Hendor and R. Voyager at some point in time would

343
00:20:09.319 --> 00:20:14.759
be very cool to describe what is happening. So and

344
00:20:14.799 --> 00:20:18.759
it is a phenomenon, and it is it is unprecedented.

345
00:20:18.799 --> 00:20:20.720
I hate to use that work. It's always you know,

346
00:20:21.119 --> 00:20:26.519
a negative recently, so it's it's something I have to do.

347
00:20:27.640 --> 00:20:30.559
I am compelled to do because that platform needs to

348
00:20:30.599 --> 00:20:34.559
be used, you know. As Edward R. Murrow said back

349
00:20:34.559 --> 00:20:37.799
in the day of early television, television is such a

350
00:20:37.880 --> 00:20:42.559
potentially powerful tool that could be used to inform and

351
00:20:42.759 --> 00:20:46.519
educate people, and of course it just turned into mush.

352
00:20:46.599 --> 00:20:51.599
But basically, so I would choose to use that platform,

353
00:20:52.519 --> 00:20:54.960
not to put on a bunch of stupid crap. And

354
00:20:55.440 --> 00:20:59.160
we asked movies and god knows what I use that

355
00:20:59.480 --> 00:21:02.920
for every once in a while, I'll promote a project

356
00:21:02.920 --> 00:21:06.119
that I'm working on, I guess, and otherwise I'll put down,

357
00:21:07.240 --> 00:21:11.240
you know, talk about politics because this is extraordinarily important.

358
00:21:11.240 --> 00:21:13.720
I don't I mean less it just me. I don't know.

359
00:21:13.960 --> 00:21:15.759
Just now, I think you're about to get a lot

360
00:21:15.759 --> 00:21:19.720
of new material for maybe more than any of us

361
00:21:19.799 --> 00:21:20.359
ever wanted.

362
00:21:20.480 --> 00:21:20.640
So.

363
00:21:20.960 --> 00:21:24.480
But but I really want to dive into into your

364
00:21:24.519 --> 00:21:27.640
work because I'm just a big fan of what you

365
00:21:27.799 --> 00:21:31.799
do and what you've built. And I got to be honest,

366
00:21:31.960 --> 00:21:35.720
I personally find Tuvac to be, you know, one of

367
00:21:35.720 --> 00:21:40.039
the more complex and nuanced portrayals of a Vulcan in

368
00:21:40.200 --> 00:21:43.279
all of Star Trek. I just think it's phenomenal. He's

369
00:21:44.319 --> 00:21:48.400
he's clearly somebody who has strong emotions. He doesn't want

370
00:21:48.440 --> 00:21:50.039
to be like controlled by them.

371
00:21:50.519 --> 00:21:50.759
You know.

372
00:21:51.440 --> 00:21:55.039
You see him suppress flashes of anger, and he clearly

373
00:21:55.160 --> 00:21:58.519
feels deeply And I am just that was a really

374
00:21:59.359 --> 00:22:02.039
amazing take for me to watch that evolve over the

375
00:22:02.039 --> 00:22:04.880
course of many, many seasons. And now would you mind

376
00:22:04.960 --> 00:22:09.559
going into how you approach developing the character as an actor?

377
00:22:10.319 --> 00:22:16.000
Well, the base model concept for that character obviously number one.

378
00:22:16.039 --> 00:22:21.359
He's full vulcan. He's not half you know, spokes character

379
00:22:21.599 --> 00:22:25.839
was always in conflict and he had to choose one

380
00:22:25.920 --> 00:22:30.039
side or the other, whereas my character is full vulcan,

381
00:22:30.200 --> 00:22:33.839
so there's no conflict. He is what he is. And

382
00:22:35.319 --> 00:22:39.799
I think his experience having raised a family also, which

383
00:22:39.839 --> 00:22:44.279
is another element that spokes character didn't have. I've had children.

384
00:22:44.279 --> 00:22:47.440
I've got to raise a family, so that, as I

385
00:22:47.559 --> 00:22:53.119
think you is a human being, does change you somewhat.

386
00:22:53.400 --> 00:22:56.720
When you have kids, it changes you, and I think

387
00:22:56.759 --> 00:23:00.440
that that element sort of played another layer in his characters.

388
00:23:00.920 --> 00:23:04.519
On top of that, the Bulcans are always suppressing emotions.

389
00:23:04.519 --> 00:23:07.960
They are not without emotions. Their emotions are more volatile

390
00:23:08.000 --> 00:23:11.720
than humans on a on a massive scale, but they

391
00:23:11.880 --> 00:23:15.799
are They trained to meditation and things like that, use

392
00:23:15.839 --> 00:23:20.319
that to suppress those emotions. So I it's to me,

393
00:23:20.440 --> 00:23:23.559
it made it was much more interesting to watch him

394
00:23:24.640 --> 00:23:29.599
just walk that line and ever so subtly, as popa

395
00:23:29.640 --> 00:23:32.559
Carta would say, you play King Lear with an eyebrows, basically,

396
00:23:32.559 --> 00:23:37.480
what you're doing, it's it's just very subtle in how

397
00:23:37.519 --> 00:23:41.039
you react to what what human beings around you are doing.

398
00:23:42.160 --> 00:23:44.920
So if it's something you're basing annoyed with or something

399
00:23:44.920 --> 00:23:49.920
that that that's you know, making you angry, and that

400
00:23:49.920 --> 00:23:55.279
that's just just enough so that the audience can see it,

401
00:23:55.319 --> 00:24:01.079
but it's not displayed, you know, full ap. And that was,

402
00:24:01.279 --> 00:24:04.400
you know, to me, what made what would define him

403
00:24:04.519 --> 00:24:08.119
as the character. And that's what I worked with the

404
00:24:08.119 --> 00:24:09.200
writers on as well.

405
00:24:09.480 --> 00:24:14.720
Yeah, amazing, amazing, And just to watch that evolve over

406
00:24:14.759 --> 00:24:17.519
the course of years, it's just it's such a it's

407
00:24:17.559 --> 00:24:19.839
such an exciting thing to watch. And I don't know

408
00:24:19.880 --> 00:24:22.400
that this is always the first thing that people would

409
00:24:22.640 --> 00:24:25.400
focus on when they're talking about Tuvac, but I find him.

410
00:24:25.599 --> 00:24:28.519
You were just talking about how he reacts to others, right,

411
00:24:28.599 --> 00:24:30.559
and or if he's annoyed by others, And I just

412
00:24:30.599 --> 00:24:34.319
find Tuvac to be like the master of dead pan humor.

413
00:24:34.480 --> 00:24:36.880
I mean, he's just the way when he will like

414
00:24:37.119 --> 00:24:40.720
I'm reacting, but I'm not reacting. And it's did did

415
00:24:41.559 --> 00:24:44.920
did you start off including that aspect of the character?

416
00:24:45.079 --> 00:24:46.920
Did it just sort of evolve over time?

417
00:24:47.200 --> 00:24:50.799
Well, basically, you know, basically, as I said before, we

418
00:24:50.839 --> 00:24:53.079
start started off with sort of a template for that character,

419
00:24:53.680 --> 00:24:56.519
and I think it was a little bit more. It

420
00:24:56.599 --> 00:25:01.519
wasn't as pronounced at the very beginning, because myself and

421
00:25:01.559 --> 00:25:03.720
the writers were just getting our footing, and that's the

422
00:25:03.799 --> 00:25:05.880
way it is for all the characters. You're just starting

423
00:25:05.880 --> 00:25:08.720
to get your footing, you want to you're establishing that character.

424
00:25:09.359 --> 00:25:13.720
So out of the gate, the storylines were more focused

425
00:25:13.720 --> 00:25:16.400
on what was happening to us and the ship and

426
00:25:16.519 --> 00:25:19.680
what my orders were to do this and that. And

427
00:25:19.720 --> 00:25:22.920
then eventually, you know, being in the situation we were

428
00:25:23.000 --> 00:25:25.920
out in the middle of you know, uncharted space and

429
00:25:26.759 --> 00:25:31.599
just light years from home, that relationship with people on

430
00:25:31.640 --> 00:25:33.799
the on the humans on the ship is going to

431
00:25:33.920 --> 00:25:36.880
change over that time. It's inevitable that's going to change.

432
00:25:39.079 --> 00:25:41.279
You know, his character. He has to deal with Neelix,

433
00:25:41.880 --> 00:25:44.119
the first person you meet that Neelix makes in the ship,

434
00:25:44.640 --> 00:25:46.880
and we have something the entire time he's on there

435
00:25:46.960 --> 00:25:49.920
until he leaves. So all of those all of those

436
00:25:49.920 --> 00:25:53.119
things are introduced to this character along the way, and

437
00:25:53.160 --> 00:25:55.880
again the writers will put together the stories to flesh

438
00:25:55.880 --> 00:25:59.440
out that character. So from the very first episode to

439
00:25:59.480 --> 00:26:02.720
the very end, very different we see all kinds of

440
00:26:02.759 --> 00:26:06.480
things happening. You know, in that frame time frame between

441
00:26:06.480 --> 00:26:09.200
the beginning and the last episodes, A voyager. I mean,

442
00:26:09.240 --> 00:26:12.279
we even explored dementia with this character, which no one's

443
00:26:12.279 --> 00:26:17.000
ever seen the Vulcan character before, we explore Ponfar with

444
00:26:17.079 --> 00:26:19.799
another Vulcan. How does he relate to another Vulcan during

445
00:26:19.880 --> 00:26:23.640
Ponfar when that Vulcan has that is going through that process,

446
00:26:24.000 --> 00:26:26.319
you know, how does he relate to people? You know,

447
00:26:26.400 --> 00:26:29.920
a situation where a woman is very much in love

448
00:26:29.960 --> 00:26:33.599
with him and he cannot return her affection. I mean,

449
00:26:33.640 --> 00:26:36.920
all those, all those things, the choices he makes to

450
00:26:37.839 --> 00:26:41.039
counteract the commands of the captain. He has his orders

451
00:26:41.039 --> 00:26:43.279
from the captain and he disobeys them in order to

452
00:26:43.799 --> 00:26:47.759
save she and Shakote or to save her. Twice I

453
00:26:47.799 --> 00:26:51.559
did it during the series. I disobeyed her orders and

454
00:26:53.720 --> 00:26:56.599
was reprimanded for it. But that's you know, to make

455
00:26:56.640 --> 00:26:59.559
that choice to do that when you would think that

456
00:26:59.559 --> 00:27:03.319
he wouldn't just based on his you know, logic as

457
00:27:03.480 --> 00:27:05.559
a as a base, that he would not do that.

458
00:27:06.240 --> 00:27:08.759
He would follow the orders without any question. And twice

459
00:27:08.799 --> 00:27:13.440
in the series he broke those orders reluctantly, so on

460
00:27:13.480 --> 00:27:16.440
the second time, but he still did it. And I

461
00:27:16.480 --> 00:27:20.400
think that just has to do with how close those

462
00:27:20.440 --> 00:27:23.720
relationships would grow and how they how complex they would

463
00:27:23.720 --> 00:27:27.079
be in the situation that we were in, which was extraordinary.

464
00:27:27.279 --> 00:27:30.119
The situation was extraord We're in a lifeboat, you know,

465
00:27:30.119 --> 00:27:32.759
in the middle of the ocean basically and having to

466
00:27:32.799 --> 00:27:36.200
get along with each other under extraordinary circumstances. So you know,

467
00:27:36.319 --> 00:27:39.240
that's that all colors to couture the character over.

468
00:27:39.160 --> 00:27:43.000
Time, and it's just it's just fascinating to me though,

469
00:27:43.000 --> 00:27:44.720
because I think that's one of the reasons. I think,

470
00:27:45.160 --> 00:27:47.440
you know, we talk about the different alien races on

471
00:27:47.519 --> 00:27:49.799
Star Trek, right, the Klingons and the Vulcans, but it

472
00:27:49.839 --> 00:27:52.440
always ends up coming back to like, this is a

473
00:27:52.480 --> 00:27:55.720
way we're looking at ourselves in different a different way

474
00:27:55.759 --> 00:27:58.359
of looking at their aspects of humanity, and just I

475
00:27:58.440 --> 00:28:02.640
just think it's it's endlessly fascinating. You were talking about

476
00:28:02.640 --> 00:28:06.880
Nelix a minute ago, and I love their dynamic and

477
00:28:06.920 --> 00:28:10.839
their relationship, right, And I feel like in a lot

478
00:28:10.880 --> 00:28:15.599
of ways, Tuvac is you know, he kind of to

479
00:28:15.640 --> 00:28:19.519
me is like he's the cruise conscience sometimes, right, And

480
00:28:19.640 --> 00:28:21.640
I don't know if he maybe even start to be

481
00:28:21.680 --> 00:28:24.640
written to be like the audience's conscience sometimes. There was

482
00:28:24.680 --> 00:28:27.039
this one episode I think it was I don't remember

483
00:28:27.079 --> 00:28:29.319
what season it was. I think it was a logium

484
00:28:29.680 --> 00:28:31.920
and you're talking to Nelix and he's like, why would

485
00:28:31.920 --> 00:28:34.480
you teach a daughter anything different than you would teach

486
00:28:34.519 --> 00:28:38.599
a son, right, And I feel like that's kind of

487
00:28:38.640 --> 00:28:41.759
you know, like the audience can benefit from hearing that.

488
00:28:41.839 --> 00:28:46.680
In addition to Nelix and it, Tuvak gives great objective advice.

489
00:28:47.079 --> 00:28:50.680
He's got like a really good perspective that I think

490
00:28:50.880 --> 00:28:53.440
people keep wanting to hear. And I'm like, do you

491
00:28:53.480 --> 00:28:55.039
think you ever did you see him as like the

492
00:28:55.079 --> 00:28:56.279
moral compass.

493
00:28:55.839 --> 00:28:56.359
Of the show.

494
00:28:56.680 --> 00:29:02.079
Well, he's certainly in the commentary are commentary on the

495
00:29:02.119 --> 00:29:04.440
human condition. That's what we are with the Foils where there,

496
00:29:05.240 --> 00:29:08.160
you know, we're the ones that point out the differences

497
00:29:08.640 --> 00:29:11.920
and the aspects of humanity, of the human of humankind,

498
00:29:12.759 --> 00:29:18.839
the volatility, the unpredictability, the emotional ranges of human beings,

499
00:29:18.920 --> 00:29:22.960
and the motivations of human beings. That's what they're That's

500
00:29:23.000 --> 00:29:25.240
what the Falcon character does. It's ever since you know

501
00:29:25.359 --> 00:29:29.079
Roddenberry puts Fock's character, you know, there was always going

502
00:29:29.119 --> 00:29:32.920
to be the just pointing out of the difference, you know,

503
00:29:33.039 --> 00:29:37.920
between human beings and falcans and how you know, colorful.

504
00:29:38.440 --> 00:29:40.960
The characters are of human beings, that's what they are.

505
00:29:41.119 --> 00:29:44.440
And I think it's more I want to I want

506
00:29:44.440 --> 00:29:46.759
to say Greek chorus, that could be Greek course, but

507
00:29:46.799 --> 00:29:49.680
he's more commentary. I think it's what that's what that

508
00:29:49.839 --> 00:29:53.200
character does, and he comments on on the human condition

509
00:29:53.720 --> 00:29:54.799
more so than anything else.

510
00:29:55.839 --> 00:29:59.000
It's just his moments where he's it's almost like he's

511
00:29:59.000 --> 00:30:01.400
having a reaction and the only one who's seeing his

512
00:30:01.559 --> 00:30:03.880
reaction is just us as the audience. It's like the

513
00:30:03.920 --> 00:30:06.079
person he's like, I don't want you to know what

514
00:30:06.160 --> 00:30:09.279
I'm thinking, but it's just like he will turn away

515
00:30:09.279 --> 00:30:13.480
from them and you could just you communicate volumes with

516
00:30:13.599 --> 00:30:15.720
no dialogue. It's it's just amazing.

517
00:30:16.240 --> 00:30:19.160
Yeah, you have to. Like I said, everything is very

518
00:30:19.160 --> 00:30:23.519
subtle and it is readable. You can read it. And

519
00:30:23.559 --> 00:30:25.839
he's not a robot. That's the difference. I mean, if

520
00:30:25.839 --> 00:30:28.079
he was an android, yeah, you're not going to see

521
00:30:29.039 --> 00:30:32.480
any of that. If he was a machine, he's he's

522
00:30:32.920 --> 00:30:35.839
he's a vulcan with emotions and they do have them,

523
00:30:36.400 --> 00:30:38.200
you know. That's that is the difference.

524
00:30:39.559 --> 00:30:41.559
But when you're vexed and you don't want to show

525
00:30:41.599 --> 00:30:44.000
that you're vexed. It is incredibly entertaining.

526
00:30:43.839 --> 00:30:53.200
Just because it's going to be there just under Yeah.

527
00:30:51.400 --> 00:30:54.400
I've got other tre experts lining up to get to you, Tim,

528
00:30:54.400 --> 00:30:57.759
and I want to ask you one other question unrelated

529
00:30:57.759 --> 00:31:00.799
to I don't think it's related to your I'm as stubac,

530
00:31:00.880 --> 00:31:03.640
but I'm not sure, so I better find out. You

531
00:31:03.720 --> 00:31:08.319
have quite the reputation as a citizen astronomer friend, and

532
00:31:09.480 --> 00:31:12.359
is that an interest that you had prior to working

533
00:31:12.359 --> 00:31:16.079
on Star Trek? And as a follow up, what is

534
00:31:16.119 --> 00:31:19.359
the astronomical events are you most looking forward to in

535
00:31:19.400 --> 00:31:19.920
the year ahead.

536
00:31:21.759 --> 00:31:26.079
I started working as involving myself in astronomy thirty five

537
00:31:26.119 --> 00:31:28.519
years ago, so it would have been well before BOID.

538
00:31:29.519 --> 00:31:32.160
It was completely on my own. I did not have

539
00:31:32.200 --> 00:31:34.400
a mentor, I didn't have anybody that introduced me to it.

540
00:31:35.319 --> 00:31:38.240
I've always been a fan of space science. I've enjoyed

541
00:31:38.279 --> 00:31:42.039
studying space science and following space science, and so at

542
00:31:42.039 --> 00:31:43.519
the time I thought, you know, I'm going to go

543
00:31:43.559 --> 00:31:46.160
out and buy a telescope and I'm going to go

544
00:31:46.200 --> 00:31:48.519
out and I'm going to look at us, you know,

545
00:31:48.559 --> 00:31:52.480
celestial objects. And after seeing the planets through the eyepiece

546
00:31:52.519 --> 00:31:54.880
of a telescope. I was hooked, you know, and my

547
00:31:55.160 --> 00:31:57.920
primary goal is visual astronomy. That's what I do the most.

548
00:31:58.400 --> 00:32:01.200
So it's a telescope of an eyepiece, and that's basically it.

549
00:32:01.319 --> 00:32:05.599
I don't do astrophotography to speak in terms of spending

550
00:32:05.599 --> 00:32:07.559
all the time and money doing that. I like to

551
00:32:07.720 --> 00:32:10.680
look through the eyepiece and see the objects that are happening.

552
00:32:11.279 --> 00:32:13.319
And the main thing that I look forward to all

553
00:32:13.319 --> 00:32:17.720
the time in doing this hobby, besides just going out

554
00:32:17.799 --> 00:32:22.200
in general and using the telescopes I have for stargazing,

555
00:32:23.000 --> 00:32:25.240
what I really look forward to are the special events.

556
00:32:25.400 --> 00:32:28.359
So for example, when Shootmaker Levy nine, the comet that

557
00:32:28.440 --> 00:32:31.680
broke apart and collided into the surface of Jupiter, at

558
00:32:31.680 --> 00:32:33.960
the time, I had a telescope you know, that was

559
00:32:34.000 --> 00:32:37.119
large enough to see you know, the spots that were

560
00:32:37.200 --> 00:32:40.880
left behind by the the impact of that comet on

561
00:32:41.079 --> 00:32:45.599
the surface of Jupiter in real time. So I was

562
00:32:45.720 --> 00:32:48.799
that was absolutely amazing to me to see that that's

563
00:32:48.799 --> 00:32:50.799
once in a lifetime that you're probably going to be

564
00:32:50.799 --> 00:32:55.240
able to see, you know, two celestial objects collide with

565
00:32:55.279 --> 00:32:58.839
each other like that. It's very rare. And although Jupiter

566
00:32:59.480 --> 00:33:03.839
basically is our savior in terms of being crushed or

567
00:33:03.960 --> 00:33:06.599
hit by things because stupid or absorbs all of those

568
00:33:06.599 --> 00:33:09.599
things all the time. Not big enough to see, but

569
00:33:09.880 --> 00:33:14.440
it's there as our guardian. So that in comets, which

570
00:33:14.480 --> 00:33:18.279
are special events as they come by, I've imaged about

571
00:33:18.279 --> 00:33:20.839
three or four of them just recently. I love to

572
00:33:20.839 --> 00:33:23.880
see the comets either naked eye or again by imaging.

573
00:33:23.960 --> 00:33:31.559
And also Mars close approach fascinating every seventeen years. Right now,

574
00:33:31.759 --> 00:33:36.480
I've got the telescope that allows me to track asteroids.

575
00:33:37.160 --> 00:33:41.960
I can track exoplanets around other stars, and I did

576
00:33:41.960 --> 00:33:46.440
help with the Lucy mission for NASA by doing what's

577
00:33:46.480 --> 00:33:49.319
called an occultation, which is basically an asteroid crossing in

578
00:33:49.359 --> 00:33:52.319
front of a star and it casts a shadow on

579
00:33:52.359 --> 00:33:55.720
Earth and you're able to record that for NASA and

580
00:33:55.759 --> 00:33:59.119
then they can determine what the approximate shape and size

581
00:33:59.119 --> 00:34:02.319
of the asteroid is by the occultation. So I did

582
00:34:02.359 --> 00:34:04.599
that for them a couples a year and a half

583
00:34:04.640 --> 00:34:08.000
ago with the telescope that I have, so you know,

584
00:34:08.159 --> 00:34:11.079
to be able to do these really special events when

585
00:34:11.079 --> 00:34:17.480
these special things occur, that's that's the reason why I

586
00:34:17.559 --> 00:34:21.559
really really enjoy participating in the hobby and apart from

587
00:34:21.599 --> 00:34:24.320
just you know, doing the regular stargazing and things. And

588
00:34:24.320 --> 00:34:27.599
plus the technology now has changed, so I've got I've

589
00:34:27.599 --> 00:34:29.960
got telescopes that can do all that stuff I was

590
00:34:30.000 --> 00:34:33.039
just mentioning earlier that are just amazing and that didn't exist,

591
00:34:33.119 --> 00:34:34.719
you know, as little as five years ago.

592
00:34:36.199 --> 00:34:40.719
Incredible, incredible. Well, you're not a person who sits idly,

593
00:34:40.960 --> 00:34:44.000
is the impression I get to. So you play music

594
00:34:44.039 --> 00:34:47.000
a lot too, is what I understand. So I mean, yeah,

595
00:34:47.079 --> 00:34:50.239
you're a very busy guy. So so with that, I

596
00:34:50.239 --> 00:34:52.800
think it is just again, I just we all want

597
00:34:52.840 --> 00:34:55.800
to be able to just express our thanks to come

598
00:34:55.800 --> 00:34:58.079
by the show and be so generous with your time

599
00:34:58.679 --> 00:35:01.000
because I know how active things are. But this is

600
00:35:01.039 --> 00:35:04.159
just an incredible treat for us and I My friend

601
00:35:04.360 --> 00:35:07.440
Eric is he practically should be wearing a lobster bib.

602
00:35:07.480 --> 00:35:08.639
He's so excited.

603
00:35:08.280 --> 00:35:09.880
To start meeting.

604
00:35:10.079 --> 00:35:14.079
Yeah, he's like, let me at him.

605
00:35:14.159 --> 00:35:20.280
So this guy is such a voyager fan. It's unprecedent's

606
00:35:20.360 --> 00:35:22.599
unpresident taking away.

607
00:35:22.960 --> 00:35:25.639
Let me just before let me go ahead and get

608
00:35:26.320 --> 00:35:29.480
the charger on this laptop before it goes. We don't

609
00:35:29.480 --> 00:35:42.480
want to lose your Tim.

610
00:35:36.280 --> 00:35:39.599
You're all cute up, Eric, Thanks man, those are great questions,

611
00:35:40.480 --> 00:35:41.199
great questions.

612
00:35:41.280 --> 00:35:46.880
Yeah, Oh, come on, he's phenomenal on Eric listened to

613
00:35:47.000 --> 00:35:50.239
him talk all day. He's just great. He's just he's

614
00:35:50.280 --> 00:35:53.119
you know, you know, he's one of the good guys.

615
00:35:53.280 --> 00:35:54.840
I mean, he's just so great.

616
00:35:55.000 --> 00:35:57.559
Well and really diverse in the just number of things

617
00:35:57.559 --> 00:36:00.960
that he's involved with and you know interest that he

618
00:36:01.039 --> 00:36:03.800
has and all that kind of stuff. I I I also,

619
00:36:03.920 --> 00:36:07.599
you know, I've pretty much avoided being on on Twitter,

620
00:36:07.719 --> 00:36:11.559
but but this is you know, interesting enough that it

621
00:36:11.639 --> 00:36:14.159
might actually get me on the platform to see what

622
00:36:14.199 --> 00:36:14.960
he's talking about.

623
00:36:15.039 --> 00:36:17.760
It's it's like being on a planet with a thin atmosphere.

624
00:36:17.800 --> 00:36:21.039
I can only be there for like a few minutes.

625
00:36:23.599 --> 00:36:24.000
That's it.

626
00:36:24.039 --> 00:36:26.400
I gotta go, like I gotta open a window.

627
00:36:26.559 --> 00:36:31.400
Right Wow that no man, who said that?

628
00:36:31.599 --> 00:36:32.960
I'm just yeah.

629
00:36:33.039 --> 00:36:34.920
But it's like if I go to Tim Page, I

630
00:36:34.960 --> 00:36:38.599
know there's this sanity and like you know, is up

631
00:36:38.880 --> 00:36:42.639
and it's it's it's just refreshing. It's absolutely I'm gonna

632
00:36:42.639 --> 00:36:44.760
stop because it's this mouth won't stop.

633
00:36:44.880 --> 00:36:48.840
So Eric, well, well yeah, so so, I mean, I

634
00:36:48.840 --> 00:36:50.760
I guess just to kind of piggyback off some of

635
00:36:50.800 --> 00:36:52.559
the things that Paul was talking about a little bit.

636
00:36:52.559 --> 00:36:57.000
I mean, Voyager is probably my favorite series, and uh,

637
00:36:57.079 --> 00:36:58.840
you know, I just absolutely fell in love with it

638
00:36:58.920 --> 00:37:01.920
right from the get go. The the slightly different concept,

639
00:37:02.119 --> 00:37:06.400
the cool design of the ship, the sort of bringing

640
00:37:06.440 --> 00:37:09.480
together of all these myriad parties together, and I you know,

641
00:37:10.519 --> 00:37:13.679
not everybody loves Neelix. I love Neelix personally. I think

642
00:37:13.719 --> 00:37:17.159
he's a great character, and I love his relationship with Tuvac,

643
00:37:17.320 --> 00:37:21.639
and in fact, probably I think I'm not going too

644
00:37:21.679 --> 00:37:24.880
far to say that probably my favorite episode of Star

645
00:37:24.920 --> 00:37:30.000
Trek ever is season two, episode twenty four, which is

646
00:37:30.039 --> 00:37:32.880
two Vix And it's because I think Star Trek is

647
00:37:32.920 --> 00:37:37.880
at its best when it is asking questions that don't

648
00:37:37.920 --> 00:37:40.760
have a right answer, that really just make you think

649
00:37:41.119 --> 00:37:43.639
and make you kind of want to, you know, check

650
00:37:43.679 --> 00:37:46.280
your own moral compass and go into it a little bit.

651
00:37:46.320 --> 00:37:48.840
So obviously in that episode, this is the one where

652
00:37:49.320 --> 00:37:54.000
the DNA of Neelix and Tuvac gets combined together and

653
00:37:54.000 --> 00:37:59.039
they become a singular person named Tuovix, and Tuovis lives

654
00:37:59.119 --> 00:38:02.679
on the voyage for about a month or so as

655
00:38:02.719 --> 00:38:06.760
an individual and after the doctor goes through his various

656
00:38:06.800 --> 00:38:10.159
shenanigans to figure out how to re separate them, and

657
00:38:10.199 --> 00:38:14.360
after Tuovis has established his own identity. You know, Jane

658
00:38:14.400 --> 00:38:18.800
Way makes a really tough decision in the face of

659
00:38:19.000 --> 00:38:22.320
I don't want to die and decides to separate the

660
00:38:22.400 --> 00:38:25.920
two again. And so I'm just really curious, as you know,

661
00:38:26.320 --> 00:38:31.119
as fifty or forty nine percent of two Vix the Tuvac.

662
00:38:31.280 --> 00:38:34.760
You know, what do you Tim Russ think about this episode?

663
00:38:34.760 --> 00:38:38.800
Did Janeway make the right decision? Was there no right decision?

664
00:38:39.679 --> 00:38:41.360
Just your thoughts on that episode.

665
00:38:41.719 --> 00:38:46.360
Yeah, Janeway's primary responsibility as captain of the ship is

666
00:38:46.400 --> 00:38:51.119
the safety of her crew. She must keep her crew safe.

667
00:38:51.360 --> 00:38:53.599
That is her job, and especially in the situation that

668
00:38:53.639 --> 00:38:58.920
they were in in the middle of nowhere, they heard

669
00:38:58.960 --> 00:39:01.719
her obligation of it is a health and welfare and

670
00:39:01.760 --> 00:39:05.400
safety of the crew, and we are a priority. The

671
00:39:05.440 --> 00:39:08.559
one species that there is a result of an accident

672
00:39:08.639 --> 00:39:15.800
cannot appropriate, it cannot continue. So that's that that right there,

673
00:39:15.880 --> 00:39:18.960
those two factors right there. Negate her obligation to keep

674
00:39:19.000 --> 00:39:22.880
that accident alive. It's it's about bringing her crew back

675
00:39:22.880 --> 00:39:25.840
and she has to. She has no choice, and it's clear.

676
00:39:26.079 --> 00:39:28.360
The very last shot of the of the of the series,

677
00:39:28.400 --> 00:39:30.400
the episode is when she's walking down the aisleway. If

678
00:39:30.440 --> 00:39:33.360
she comes out of the sick bay and she's walking

679
00:39:33.400 --> 00:39:36.599
down the hallway and look on her face is it's tragic.

680
00:39:37.599 --> 00:39:41.679
She's absolutely devastated, devastated by what she had to do.

681
00:39:42.119 --> 00:39:45.280
It was not an easy decision, but that is what

682
00:39:45.440 --> 00:39:49.280
command is all about. That's her job, and no one

683
00:39:49.280 --> 00:39:51.239
else could make that decision. No one else could make

684
00:39:51.280 --> 00:39:55.840
that call except her, So you know, that's the way

685
00:39:55.840 --> 00:39:58.840
it goes. You know, it was the right decision to make.

686
00:40:00.599 --> 00:40:03.119
Yeah, yeah, I don't I don't disagree with you. I

687
00:40:03.119 --> 00:40:08.480
think that it's it's a tough scenario all around, to

688
00:40:08.639 --> 00:40:10.840
have to end a life to save other lives. And

689
00:40:10.880 --> 00:40:13.800
you know, the value that Tuvak had for the crew,

690
00:40:13.880 --> 00:40:16.039
I think that's partially what you're talking about, right. His

691
00:40:16.239 --> 00:40:19.800
value was so high that he was necessary for them

692
00:40:19.800 --> 00:40:20.760
to complete their journey.

693
00:40:22.400 --> 00:40:27.599
And like I said, it's the captain's obligation, and it's

694
00:40:28.119 --> 00:40:29.719
I don't know if it's written down anywhere else or

695
00:40:29.880 --> 00:40:32.239
but we all know that that is the job of

696
00:40:32.320 --> 00:40:36.159
the captain. The captain will sacrifice themselves to save their crew.

697
00:40:36.360 --> 00:40:39.119
That's the job of the captain is to save the

698
00:40:39.239 --> 00:40:44.039
ship and to save her crew, to preserve it. Yeah,

699
00:40:44.199 --> 00:40:46.679
that and I wouldn't have had any more work if

700
00:40:46.679 --> 00:40:47.480
they kept too bigger.

701
00:40:49.800 --> 00:40:55.119
Well, there are those practical but how many times on

702
00:40:55.199 --> 00:40:57.960
the series, I mean, the number of times that Janeway

703
00:40:58.079 --> 00:41:00.920
had to make those toughest decisions I think is one

704
00:41:00.920 --> 00:41:03.199
of the reasons that it became one of my favorite

705
00:41:03.199 --> 00:41:06.920
series because she's constantly put into these impossible situations and

706
00:41:07.000 --> 00:41:08.679
yet it has to find her way out of it

707
00:41:08.760 --> 00:41:12.440
with poise and dignity and you know, yes, taking care

708
00:41:12.440 --> 00:41:13.599
of as many people as possible.

709
00:41:13.840 --> 00:41:18.360
That is exactly what it's all about. And if every

710
00:41:18.440 --> 00:41:20.440
character on there and the regular cast can have a

711
00:41:20.480 --> 00:41:23.079
taste of that, it makes it even better. You know,

712
00:41:23.199 --> 00:41:26.559
each character having an opportunity in their own way to

713
00:41:26.719 --> 00:41:29.159
deal with the challenge of making a very tough decision

714
00:41:29.480 --> 00:41:32.679
or making a sacrifice or making you know, having to

715
00:41:32.960 --> 00:41:35.599
compromise something in order to get from point A to

716
00:41:35.599 --> 00:41:39.199
point B, to accomplish a goal, to to to learn

717
00:41:39.280 --> 00:41:43.119
a very difficult lesson. That's what Trek is, man, It's

718
00:41:43.159 --> 00:41:46.679
not you know, it's not a cut and dry, there's

719
00:41:46.679 --> 00:41:48.239
a good guy over here in a bad guy over there,

720
00:41:48.239 --> 00:41:49.719
and we're going to shoot at each other for the

721
00:41:49.760 --> 00:41:53.840
next you know, millennium. It is. It is about the stories,

722
00:41:53.920 --> 00:41:57.800
and it's about the challenges of the characters and the

723
00:41:57.880 --> 00:42:03.000
characters growing, characters learning. You know, people come up to

724
00:42:03.000 --> 00:42:04.440
me all the time and they just talk about their

725
00:42:04.480 --> 00:42:08.480
personal lives. Were affected so much by the show in general,

726
00:42:08.519 --> 00:42:11.960
and my character in many cases in particular, because of

727
00:42:12.000 --> 00:42:15.239
the character being so grounded and so logical and so

728
00:42:15.320 --> 00:42:19.559
practical and so you know those Let's deal with this situation,

729
00:42:20.320 --> 00:42:24.000
you know, straightforward and logically without getting emotional about it.

730
00:42:24.079 --> 00:42:26.079
Let's try to make let's look at it in a

731
00:42:26.119 --> 00:42:30.920
sensible sort of straightaway, you know, concept, and let's wrestle

732
00:42:30.960 --> 00:42:33.320
with it that way. Rather than going off the rails

733
00:42:33.320 --> 00:42:36.599
and getting all crazy and upset and depressed and all

734
00:42:36.639 --> 00:42:41.719
that stuff. Let's let's you know, subdue the emotions and

735
00:42:41.800 --> 00:42:43.960
let's deal with the reality. What are we going to

736
00:42:44.039 --> 00:42:45.679
do to solve this issue? What are we going to

737
00:42:45.719 --> 00:42:49.719
do to get through this problem? And people are are

738
00:42:49.719 --> 00:42:54.480
affected by how my character operates within the storylines, and

739
00:42:54.480 --> 00:42:57.480
they're also affected by how what the stories are When

740
00:42:57.519 --> 00:43:00.360
all these characters, those characters who are not BULCN have

741
00:43:00.519 --> 00:43:04.320
to deal with difficult situations and make difficult choices. And

742
00:43:04.360 --> 00:43:06.559
that is a very difficult choice that she had to

743
00:43:06.559 --> 00:43:11.159
make in two weeks. Extraordinary choice. I mean extraordinary because

744
00:43:11.199 --> 00:43:14.679
the character is also aware that that is what's coming,

745
00:43:15.199 --> 00:43:18.559
and the character does not want it, and he asks

746
00:43:18.599 --> 00:43:21.320
for it. Yeah, he's trying to make an argument, a

747
00:43:21.360 --> 00:43:24.639
case for staying alive. Man, you know, and you know

748
00:43:25.199 --> 00:43:29.280
it tugs at your heart to see to see that.

749
00:43:29.280 --> 00:43:34.360
That's really tough. I mean, that's brutal. And when you

750
00:43:34.440 --> 00:43:38.079
and people, if you're watching as an audience and you're

751
00:43:38.079 --> 00:43:41.480
going through some stuff, you know that's difficult, and you

752
00:43:41.480 --> 00:43:43.199
know decision has to be made that you may not

753
00:43:43.280 --> 00:43:45.559
want to make, or a choice you have to make

754
00:43:45.559 --> 00:43:47.400
that you don't want to make, whatever it might be.

755
00:43:48.519 --> 00:43:50.719
You know, you're watching example of it play out in

756
00:43:50.800 --> 00:43:53.800
the storyline it and I think for some people that

757
00:43:53.840 --> 00:43:57.800
can be very beneficial to see that just happen within

758
00:43:57.800 --> 00:44:00.039
a story and to be able to maybe adopt some

759
00:44:00.119 --> 00:44:04.679
of that courage, for some of that fortitude, you know,

760
00:44:05.000 --> 00:44:06.840
to carry that out.

761
00:44:08.519 --> 00:44:11.960
Yeah, and the idea of the greater good being more

762
00:44:12.000 --> 00:44:14.519
important than the individual. Of course, that's a theme that

763
00:44:14.519 --> 00:44:18.039
shows up throughout Star Trek, you know, myriad times.

764
00:44:18.320 --> 00:44:18.559
I know.

765
00:44:18.599 --> 00:44:22.239
The first time that I remember seeing it was back

766
00:44:22.239 --> 00:44:24.280
when I was a kid. We used to watch at

767
00:44:24.320 --> 00:44:27.400
the public library old episodes of Star Trek, the original

768
00:44:27.480 --> 00:44:30.480
series on sixteen millimeter film, and one of the episodes

769
00:44:30.519 --> 00:44:33.079
that I saw over and over again was Devil in

770
00:44:33.119 --> 00:44:36.440
the Dark and that idea that there was this creature

771
00:44:36.480 --> 00:44:43.519
that nobody understood, that the Enterprise crew used their special

772
00:44:43.519 --> 00:44:47.719
skills to you know, make to connect with and to

773
00:44:47.960 --> 00:44:52.920
sort of make part of part of their normal paradigm,

774
00:44:52.960 --> 00:44:56.840
even though the thing was so outside of what anybody

775
00:44:57.440 --> 00:44:59.840
was used to and was actually causing trouble for these

776
00:45:00.400 --> 00:45:02.639
on the planet and that sort of stuff. I Star

777
00:45:02.679 --> 00:45:06.360
Trek just does such a great job helping you connect

778
00:45:06.400 --> 00:45:11.920
to other people through its stories. Yeah yeah, so, uh,

779
00:45:12.280 --> 00:45:13.840
you know, I guess if I want to, I want

780
00:45:13.880 --> 00:45:15.639
to pivot just a little bit maybe away from Star

781
00:45:15.719 --> 00:45:17.840
Trek and talk about a couple of the other things

782
00:45:17.880 --> 00:45:22.199
that that you've been involved with. So a few years ago,

783
00:45:22.280 --> 00:45:26.079
there was a fun movie put together that you were

784
00:45:26.119 --> 00:45:31.559
part of, called Unbelievable, And I have to say that

785
00:45:31.679 --> 00:45:36.239
I I thought that movie was great. I completely loved

786
00:45:36.360 --> 00:45:41.639
its quirkiness, you know, it's uh audacity, its raunchiness a

787
00:45:41.719 --> 00:45:44.559
little bit, and I was just kind of wondering what

788
00:45:44.760 --> 00:45:47.920
that was like to work on such a quirky film

789
00:45:48.000 --> 00:45:49.559
like that. I mean, what was the setlight? Was it

790
00:45:49.639 --> 00:45:53.639
just party town all the time? Or you know what

791
00:45:53.719 --> 00:45:54.239
was that like?

792
00:45:56.039 --> 00:46:00.800
Unbelievable? Was just that word unbelievable? It was You're gotta

793
00:46:00.800 --> 00:46:02.960
be careful with titles and titles of projects. You don't

794
00:46:03.000 --> 00:46:05.039
want to you don't want to put them out there

795
00:46:05.079 --> 00:46:08.239
like that where they can be used three different ways.

796
00:46:08.760 --> 00:46:12.039
It was a very It was crazy. It was just crazy,

797
00:46:12.239 --> 00:46:13.719
all I can say. It was crazy. There were so

798
00:46:13.760 --> 00:46:17.519
many elements about that thing that weren't abnormal, abbynormal as

799
00:46:17.519 --> 00:46:21.880
it were they the director was, I think there was

800
00:46:21.880 --> 00:46:24.679
this first time doing any of that before. So it

801
00:46:24.719 --> 00:46:29.559
was very strange, you know, dealing with the inexperience of

802
00:46:29.599 --> 00:46:36.079
shooting there was the script was that thing was shot

803
00:46:36.119 --> 00:46:39.039
over a period of two or three years. It wasn't

804
00:46:39.079 --> 00:46:41.719
all done at once, you know, they shot it over

805
00:46:41.760 --> 00:46:45.519
a period of time, and working the actual days of

806
00:46:45.599 --> 00:46:49.159
work were an absolute kick because all we were doing

807
00:46:49.320 --> 00:46:53.320
was moving off most of the time and having a

808
00:46:53.400 --> 00:46:56.840
lap so the actual work on it was a breeze.

809
00:46:56.960 --> 00:47:00.880
It was very easy. The sets were great. Locations were

810
00:47:01.400 --> 00:47:05.480
unbelievably fabulous because we were shooting in these giant houses

811
00:47:05.559 --> 00:47:09.079
up the hills, and you know, they had a catering

812
00:47:09.079 --> 00:47:11.760
service that I like, I've never seen before, So there

813
00:47:11.840 --> 00:47:14.239
was There's a lot of nice things that were going

814
00:47:14.280 --> 00:47:16.320
on as far as it was very comfortable, very easy

815
00:47:16.360 --> 00:47:18.960
to work on, and a lot of fun to work

816
00:47:19.000 --> 00:47:21.159
with everybody on it. So I can say that much

817
00:47:21.199 --> 00:47:25.119
about it. You know, after I get my work done, man,

818
00:47:25.159 --> 00:47:27.840
it's it's behind me and I'm on to something else.

819
00:47:28.360 --> 00:47:31.159
I can't speak for the end result when it's done,

820
00:47:32.360 --> 00:47:35.000
so that's up to the people like yourself that watched

821
00:47:35.000 --> 00:47:38.400
it and either you like it or you don't. But

822
00:47:38.400 --> 00:47:41.920
but the actual working on it, it was as loose

823
00:47:41.960 --> 00:47:46.679
and haphazard as it could possibly be. Yeah, that's awesome.

824
00:47:46.719 --> 00:47:48.639
Did you get to meet Snoop Dog along the way

825
00:47:48.800 --> 00:47:49.440
or that.

826
00:47:49.559 --> 00:47:54.440
Was shot later on? Because months later, almost a year later.

827
00:47:54.880 --> 00:48:01.360
Yeah, well, the if it wasn't the dis organization sort of,

828
00:48:01.360 --> 00:48:03.320
I guess I'll say of that peek shot over so

829
00:48:03.400 --> 00:48:05.559
much time comes through in the film, which.

830
00:48:06.639 --> 00:48:10.159
But it does. So there was only five, six, eight

831
00:48:10.159 --> 00:48:13.119
different versions of the script that was just rewritten and changed,

832
00:48:13.159 --> 00:48:16.239
oh my gosh, added to and subtracted from and whatever.

833
00:48:16.440 --> 00:48:19.760
There was never a solid concept for that entire thing.

834
00:48:19.920 --> 00:48:22.639
So you know, yeah, well, you know, as Trek fans,

835
00:48:22.639 --> 00:48:24.320
I mean, we just like seeing all of our favorite

836
00:48:24.360 --> 00:48:27.519
characters in various cameos and sort of the ridiculousness of

837
00:48:27.559 --> 00:48:30.159
it all. So I can appreciate that at some level.

838
00:48:30.239 --> 00:48:33.920
For sure, there is some ridiculousness, that's for sure. That's

839
00:48:33.960 --> 00:48:36.280
the word I would use. Ridiculousness.

840
00:48:37.320 --> 00:48:40.199
Well, I guess pivoting back to something that was a

841
00:48:40.800 --> 00:48:43.400
was actually a pretty darn good film that you got

842
00:48:44.119 --> 00:48:46.800
that you were involved in. Back in nineteen eighty six,

843
00:48:46.920 --> 00:48:49.760
you got to play legendary blues guitarist Robert Johnson in

844
00:48:49.800 --> 00:48:55.880
the movie Crossroads. Yeah, and I I love that movie

845
00:48:56.760 --> 00:48:58.760
and I'm just wondering what that was like to work

846
00:48:58.800 --> 00:49:00.719
on that movie.

847
00:49:01.440 --> 00:49:03.760
Yeah, it was very cool. I got to work with

848
00:49:03.840 --> 00:49:08.719
ry Cooter to get the slide guitar stuff down, and

849
00:49:09.159 --> 00:49:11.039
I learned the song I sang with the song, played

850
00:49:11.039 --> 00:49:13.719
the song when we did it live. There were some

851
00:49:13.760 --> 00:49:15.880
other stuff we shot. They It wasn't in the film,

852
00:49:15.880 --> 00:49:18.000
but you know, it's just at the beginning to establish

853
00:49:18.079 --> 00:49:21.920
that character. And even when I'm playing, I play a

854
00:49:21.960 --> 00:49:25.119
couple of his songs live when I play with the band.

855
00:49:25.239 --> 00:49:28.360
So to be able to do that on screen and

856
00:49:28.400 --> 00:49:30.639
play that character was a real kick in the pants.

857
00:49:30.679 --> 00:49:34.079
I really enjoyed that. It was wonderful to be able

858
00:49:34.079 --> 00:49:37.679
to have that opportunity to do it. Yeah, that's that's

859
00:49:37.679 --> 00:49:38.760
something I'm very proud of.

860
00:49:39.719 --> 00:49:41.440
So you learned how to play slide for that?

861
00:49:41.800 --> 00:49:44.480
Yeah, learned. I learned how to play slide on specifically

862
00:49:44.480 --> 00:49:47.599
on that song because Robert Johnson's version of Crossroads it's

863
00:49:47.679 --> 00:49:50.880
very very different than like Clapton's version or the way

864
00:49:50.920 --> 00:49:52.960
that I played with the band. It's very different. It's

865
00:49:53.239 --> 00:49:56.840
almost a freestyle improv sort of thing, and so it

866
00:49:56.920 --> 00:50:00.639
was very tricky to learn what his He did it.

867
00:50:00.639 --> 00:50:02.880
It's a lot looser and a lot more freestyle and

868
00:50:02.920 --> 00:50:05.480
improv than than it would be because it's just him

869
00:50:05.519 --> 00:50:08.400
and the guitar and it's not there isn't a particular

870
00:50:08.440 --> 00:50:11.320
beat or groove that he's going to. It's freestyle. So

871
00:50:11.400 --> 00:50:13.719
it took a minute to figure out, you know, it's

872
00:50:13.760 --> 00:50:17.840
also detuning. You got to tune the guitar in order

873
00:50:17.880 --> 00:50:19.920
to a certain way in order to get that for

874
00:50:19.960 --> 00:50:22.960
the slide to work properly. So it was cool and

875
00:50:23.000 --> 00:50:25.360
I enjoyed. I enjoyed working on it. I enjoyed getting

876
00:50:25.360 --> 00:50:26.079
a chance to play it.

877
00:50:26.119 --> 00:50:29.159
By that, have you played guitar your entire life.

878
00:50:28.920 --> 00:50:32.119
Then fifty years? Roughly fifty years?

879
00:50:32.400 --> 00:50:34.039
Did you take lessons or did you just sort of

880
00:50:34.039 --> 00:50:35.360
pick it up and learn it along the way.

881
00:50:35.480 --> 00:50:37.320
Yeah, when I started, I took out. I took lessons

882
00:50:37.360 --> 00:50:40.159
when I first began, and then immediately shortly thereafter I

883
00:50:40.199 --> 00:50:43.719
was playing in bands and a lot of guitars. That's

884
00:50:43.719 --> 00:50:45.639
how they end up starting, is they just to get

885
00:50:45.679 --> 00:50:48.400
into a band and you start playing, you know, cover

886
00:50:48.480 --> 00:50:50.360
tunes and all kinds of stuff like that you like

887
00:50:50.400 --> 00:50:53.400
to play, and then you pick up bits and pieces

888
00:50:53.400 --> 00:50:56.679
along the way, just certain styles, and then you try

889
00:50:56.719 --> 00:50:57.840
to define your own style.

890
00:50:57.880 --> 00:50:58.719
At some point.

891
00:51:00.480 --> 00:51:03.239
In that fifty years, I wasn't playing consistently. There were

892
00:51:03.320 --> 00:51:08.880
breaks in that time where I wasn't playing, and also

893
00:51:09.320 --> 00:51:12.079
had I was playing a lot of different styles over

894
00:51:12.119 --> 00:51:14.440
that fifty years, I was playing you know, everything from

895
00:51:14.800 --> 00:51:18.599
hard rock back in the sixties seventies to R and

896
00:51:18.639 --> 00:51:21.559
B with big bands with horn sections and things, to

897
00:51:21.880 --> 00:51:26.400
folk rock, acoustic singer songwriter stuff, and then Top forty

898
00:51:27.679 --> 00:51:31.039
and then eventually my own stuff. And what I do

899
00:51:31.079 --> 00:51:34.199
now is B side covers, blues and roots music. So

900
00:51:35.280 --> 00:51:39.400
I've had that, you know, it's been a long, long path,

901
00:51:39.559 --> 00:51:40.079
as it were.

902
00:51:41.519 --> 00:51:43.760
Is what you're doing right now sort of your favorite

903
00:51:44.159 --> 00:51:46.800
style or your favorite genre to sort of focus on,

904
00:51:46.960 --> 00:51:48.280
or is just kind of what you're doing now?

905
00:51:48.400 --> 00:51:51.320
Yeah, what I'm doing now is a combination of It's

906
00:51:51.360 --> 00:51:55.079
a blend of different different types of music. So while

907
00:51:55.159 --> 00:51:57.679
I perform live, I'm singing vocally a lot of different

908
00:51:57.679 --> 00:52:01.920
styles and I enjoy doing that, you know, anywhere between,

909
00:52:02.000 --> 00:52:04.920
like I said, a sort of a classic rock, roots

910
00:52:05.000 --> 00:52:08.239
music sort of bass. Some of the stuff I do

911
00:52:08.320 --> 00:52:11.320
is is I've got some songs that are current or newer,

912
00:52:11.880 --> 00:52:14.559
but they're not as well known, they're not as popular

913
00:52:16.079 --> 00:52:17.960
maybe out of the audience, maybe one or two people

914
00:52:18.000 --> 00:52:21.800
have heard them before or not at all. So I

915
00:52:21.920 --> 00:52:24.079
just find these little gemstones every once in a while

916
00:52:24.119 --> 00:52:27.800
that I feel will work with my band, the makeup

917
00:52:27.840 --> 00:52:31.639
of my band and my voice what we have. So

918
00:52:32.679 --> 00:52:36.800
those are the songs I sort of gravitate too, and

919
00:52:37.000 --> 00:52:41.119
they're usually not as complicated in terms of the arrangements there.

920
00:52:41.920 --> 00:52:44.960
They'll slew and lean towards a simpler style of arrangement

921
00:52:45.039 --> 00:52:47.800
so that I can fit into, you know, if I

922
00:52:47.840 --> 00:52:49.360
want to play with another band or sit them with

923
00:52:49.360 --> 00:52:52.000
another band, I can bring that song in and use

924
00:52:52.039 --> 00:52:54.000
that song with another band if I got the opportunity

925
00:52:54.000 --> 00:52:54.360
to do it.

926
00:52:54.440 --> 00:52:58.440
So, yeah, do you I am guessing that you listen

927
00:52:58.480 --> 00:53:00.559
to music on a regular basis for enjoy as well.

928
00:53:00.719 --> 00:53:03.000
Sure, I listened to music absolutely. I got a bunch

929
00:53:03.000 --> 00:53:05.199
of it on my phone and it's it's a pretty

930
00:53:05.599 --> 00:53:08.880
eclectic mix of music, you know. I mean, I grew

931
00:53:08.920 --> 00:53:12.760
up with the supergroups of the sixties seventies, everything from

932
00:53:12.760 --> 00:53:17.840
the Beatles to Zeppelin to Peter Gabriel, Genesis, I like Cornsby,

933
00:53:18.119 --> 00:53:22.360
you know, any number of bands that are out there.

934
00:53:22.480 --> 00:53:25.400
Chicago I grew up with as well. Listening to Chicago,

935
00:53:25.480 --> 00:53:28.719
I love them. So there's a lot of Santana. So

936
00:53:28.920 --> 00:53:32.000
Santana and Chicago. It was a great influence in terms

937
00:53:32.000 --> 00:53:36.199
of the guitars, Santana's guitars and Terry kath As guitars,

938
00:53:36.280 --> 00:53:38.920
so that had an influence on me, but I've you know,

939
00:53:39.000 --> 00:53:41.320
the stuff I do now is I want to say tasty.

940
00:53:42.039 --> 00:53:44.000
It's not anything that you you know, you're sitting there

941
00:53:44.000 --> 00:53:46.320
scratching your head to wonder what you're listening to, and

942
00:53:46.519 --> 00:53:51.039
you know it's not complicated. It's pretty straightforward.

943
00:53:52.039 --> 00:53:52.320
Yeah.

944
00:53:52.960 --> 00:53:55.679
Well, Chicago is one of my favorite bands of all time.

945
00:53:55.760 --> 00:53:58.039
Chicago two is probably one of my favorite records of

946
00:53:58.079 --> 00:54:01.400
all time I have. I have listened to that record

947
00:54:01.559 --> 00:54:03.639
hundreds and hundreds and hundreds of times. I had to

948
00:54:03.920 --> 00:54:09.119
repurchase the record twice. I will word out so I

949
00:54:09.440 --> 00:54:10.360
get what you're saying there.

950
00:54:10.400 --> 00:54:11.800
Yeah, I love it, love it.

951
00:54:11.880 --> 00:54:15.119
Yeah, Yeah, it's so good, so good. Okay, Well, I

952
00:54:15.119 --> 00:54:17.079
guess before I let you go, ask you about one

953
00:54:17.159 --> 00:54:23.280
more role, which pivots over to a series that I

954
00:54:23.320 --> 00:54:26.880
think brings up some feelings for our trek experts, because

955
00:54:26.880 --> 00:54:29.119
some of us really like it and some of us don't.

956
00:54:30.760 --> 00:54:33.320
In twenty nineteen, you got to be on the Orville.

957
00:54:33.920 --> 00:54:39.639
You played doctor Sherman on season two, episode eleven, Lasting Impressions,

958
00:54:39.679 --> 00:54:42.559
And I'm curious what that was like, and you know,

959
00:54:42.599 --> 00:54:45.119
how did it compare or did it not compare to

960
00:54:45.880 --> 00:54:47.920
working on things like Star Trek, which is often, of

961
00:54:47.920 --> 00:54:49.400
course what the Orville is compared to.

962
00:54:50.239 --> 00:54:54.159
Well, specifically Seth MacFarlane is a big Star Trek fan

963
00:54:54.199 --> 00:54:56.280
to start with you and he I just worked with

964
00:54:56.320 --> 00:54:59.000
him on his series Ten for two episodes. I've done

965
00:54:59.000 --> 00:55:03.440
two episodes for him on that show, and working on Orville.

966
00:55:03.679 --> 00:55:07.280
The role was great because I love history to begin

967
00:55:07.320 --> 00:55:11.320
with as a subject, and this character is an historian

968
00:55:11.800 --> 00:55:15.960
an archaeologist and he's studying ancient Earth history, which is fabulous.

969
00:55:16.280 --> 00:55:18.880
I thought that concept and that storyline was just amazing.

970
00:55:18.880 --> 00:55:22.159
It was wonderful. So to have a chance to play

971
00:55:22.199 --> 00:55:25.599
that character, which is not a cardboard sort of cookie

972
00:55:25.599 --> 00:55:28.719
cutter TV show character that I end up usually playing

973
00:55:29.119 --> 00:55:31.079
a lot of the same stuff. It was different and

974
00:55:31.159 --> 00:55:33.679
I liked, you know, some of the humor that he

975
00:55:33.719 --> 00:55:38.400
wove into it. The shooting was very different because he

976
00:55:38.480 --> 00:55:42.920
did a lot of tapes and a lot more than

977
00:55:42.960 --> 00:55:47.599
I'm used to taking for especially for shots like Masters,

978
00:55:47.599 --> 00:55:49.599
where it's a big wide shot and you see everybody

979
00:55:49.639 --> 00:55:52.679
and it's just to establish where everybody is, and you

980
00:55:52.719 --> 00:55:57.639
know it's not something you usually live in. So there's

981
00:55:57.679 --> 00:56:00.480
the number of shots for the coverage and the Master

982
00:56:00.599 --> 00:56:04.599
it just took an eternity to get through all of

983
00:56:04.599 --> 00:56:08.440
that because set this in the scenes, and he's also

984
00:56:08.480 --> 00:56:10.760
executive producing the scene, so and he's director, so he's

985
00:56:10.760 --> 00:56:14.360
got to go back and forth to view all of

986
00:56:14.519 --> 00:56:17.000
the tapes. So it takes that much longer to get

987
00:56:17.039 --> 00:56:20.440
through the shooting of the scenes. That's all. I mean,

988
00:56:20.480 --> 00:56:24.920
That's that's what stood out as far as mechanically working

989
00:56:24.920 --> 00:56:27.320
on the show. And we had a director on Voyager

990
00:56:27.519 --> 00:56:29.320
who did the same thing. We had one of the

991
00:56:29.320 --> 00:56:31.840
guest directors who was also one of the supervising producers.

992
00:56:31.840 --> 00:56:34.239
He would come on and de face and we knew

993
00:56:34.280 --> 00:56:36.320
what was coming that week because we knew we were

994
00:56:36.360 --> 00:56:39.320
going to be doing two and twelve fifteen takes, you know,

995
00:56:39.360 --> 00:56:43.480
of every angle or more wow to get to get

996
00:56:43.519 --> 00:56:45.360
whatever he wanted because he couldn't make up his mind,

997
00:56:45.360 --> 00:56:47.039
which taking one of it was just and it drove

998
00:56:47.159 --> 00:56:50.119
us crazy, you know, because you don't need that many

999
00:56:50.159 --> 00:56:54.000
tastes so to get what you need, and you know,

1000
00:56:54.039 --> 00:56:56.199
he would just do it over and over and over

1001
00:56:56.440 --> 00:56:59.880
and over and over. It just takes that much longer

1002
00:56:59.920 --> 00:57:03.280
to get through the day, you know. So yeah, that's

1003
00:57:03.320 --> 00:57:06.159
the only thing. But I loved. I loved that episode.

1004
00:57:06.199 --> 00:57:08.480
I loved the character on Oraville. I loved, you know,

1005
00:57:08.639 --> 00:57:12.719
working with Seth. He's still wonderful, just wonderful. When I

1006
00:57:12.760 --> 00:57:15.320
worked with him just recently on Ted, it was very different.

1007
00:57:15.320 --> 00:57:17.360
We just it was just a few quick you just

1008
00:57:17.440 --> 00:57:19.320
let the camera roll. We just you know, pick it up,

1009
00:57:19.320 --> 00:57:21.400
to it again, do it again. Then we're done. And

1010
00:57:21.559 --> 00:57:24.639
it's much a much different pace. And it was a comedy,

1011
00:57:24.639 --> 00:57:27.400
so it's a little bit more fun. So yeah, yeah,

1012
00:57:27.400 --> 00:57:29.039
I enjoyed what sort of I hope to work with

1013
00:57:29.119 --> 00:57:29.920
him again at some point.

1014
00:57:30.760 --> 00:57:33.679
Well, he seems like just a fun person to be around,

1015
00:57:33.840 --> 00:57:36.280
which I would imagine actually makes it a little bit

1016
00:57:36.320 --> 00:57:38.239
more palatable to just be in the same room.

1017
00:57:38.079 --> 00:57:38.480
For a while.

1018
00:57:38.519 --> 00:57:39.719
Fabulous, he's wonderful.

1019
00:57:40.719 --> 00:57:43.000
Just what sort of what sort of director are you?

1020
00:57:43.039 --> 00:57:44.920
Are you sort of that more efficient type where you

1021
00:57:45.000 --> 00:57:46.480
have it in your head, you know what you want

1022
00:57:46.519 --> 00:57:47.599
to do and you just go out there and you

1023
00:57:47.679 --> 00:57:48.360
knock it out or.

1024
00:57:48.400 --> 00:57:51.960
It dirrect I shoot Clint Eastwood or George Clooney style.

1025
00:57:52.679 --> 00:57:52.880
Yeah.

1026
00:57:53.159 --> 00:57:55.719
I've worked with both of those directors, and it's I'll

1027
00:57:55.719 --> 00:57:57.599
get two or three takes that I like and then

1028
00:57:57.639 --> 00:58:00.159
I move on. So you know, if it takes a

1029
00:58:00.159 --> 00:58:02.000
few takes to get those two or three, then that's

1030
00:58:02.039 --> 00:58:04.039
one thing. The actor may want an extra take, I'll

1031
00:58:04.039 --> 00:58:06.280
give it to them, no problem. But if I get

1032
00:58:06.320 --> 00:58:10.920
two good solid takes, maybe three, depending upon how complex

1033
00:58:10.960 --> 00:58:14.000
the scene is, how deep the scene is, I'm just

1034
00:58:14.039 --> 00:58:16.880
going to get that on each angle of the camera,

1035
00:58:17.000 --> 00:58:19.360
so there's you know, that's not just one angle. And

1036
00:58:19.360 --> 00:58:22.239
if it's a master with no cuts, I'll get four

1037
00:58:22.320 --> 00:58:24.800
or five of those, maybe six, because I don't have

1038
00:58:24.840 --> 00:58:27.119
any cuts, So I've got to make that. If it's

1039
00:58:27.119 --> 00:58:29.440
a long shot with no cuts and no brakes, I've

1040
00:58:29.440 --> 00:58:32.920
got something I can work with. I generally don't beat

1041
00:58:32.960 --> 00:58:34.199
the feat it like a dead or so. I just

1042
00:58:34.239 --> 00:58:36.760
don't do that because it wears the actors out. You know,

1043
00:58:37.480 --> 00:58:39.719
it takes longer. I've got to I've got to make

1044
00:58:39.760 --> 00:58:40.559
the day, you know.

1045
00:58:40.639 --> 00:58:43.880
So yeah, yeah, and the quality of their performance likely

1046
00:58:43.920 --> 00:58:45.599
goes down as the day gets longer.

1047
00:58:45.960 --> 00:58:47.480
You can keep doing it over and over again and

1048
00:58:47.519 --> 00:58:49.519
it wears them out, and you don't need to eat

1049
00:58:49.559 --> 00:58:51.840
it while it's fresh. You're going to get that that

1050
00:58:52.000 --> 00:58:53.480
second or third or fourth take is going to be

1051
00:58:53.519 --> 00:58:53.960
the line.

1052
00:58:56.440 --> 00:59:00.840
Huh fantastic. All right, well, I really she being able

1053
00:59:00.840 --> 00:59:02.559
to talk to you, It's been a really special treat

1054
00:59:02.599 --> 00:59:05.400
for me. I'm gonna go ahead and ask uh this

1055
00:59:05.480 --> 00:59:08.800
microphone over to David.

1056
00:59:09.480 --> 00:59:09.599
Right.

1057
00:59:09.760 --> 00:59:13.880
Hey, Hey, thank you, and welcome to our podcast. I

1058
00:59:13.920 --> 00:59:16.039
just wanted to test some time and welcome you to

1059
00:59:16.159 --> 00:59:20.440
memory Lane. I hope you enjoyed a slide show. But

1060
00:59:20.679 --> 00:59:24.800
uh yeah, so uh, I just have a couple of questions.

1061
00:59:24.800 --> 00:59:29.360
Mine is an edge pittisticated to my other but I

1062
00:59:29.400 --> 00:59:31.159
did have a couple that I wanted to ask and

1063
00:59:31.800 --> 00:59:34.199
I first, can you tell us what it was like

1064
00:59:34.320 --> 00:59:38.039
working with the card on the TMG episode Starship Mine.

1065
00:59:38.159 --> 00:59:40.440
Oh yeah, hold on a s and a second. I'll

1066
00:59:40.440 --> 00:59:42.480
have to out for a second. I gotta take care

1067
00:59:42.480 --> 00:59:46.599
of something right quick coming up. Okay, hold on a seconds.

1068
00:59:47.719 --> 00:59:54.360
All right, that's awesome. I love talking about Mary. I

1069
00:59:54.400 --> 00:59:57.199
love talking about music with Tim Russ, like that when

1070
00:59:57.239 --> 00:59:59.480
he said Chicago, I about poot my Pants because that

1071
00:59:59.639 --> 01:00:02.159
is one of my favorite bands of all time. And

1072
01:00:02.280 --> 01:00:06.199
Santana and I had another Santana or a Santana record

1073
01:00:06.280 --> 01:00:09.679
in addition that I also wore out over time and

1074
01:00:10.039 --> 01:00:13.079
eventually replaced on CD. I did not replace that one

1075
01:00:13.159 --> 01:00:16.480
on vinyl, but I'm on my third copy of Chicago

1076
01:00:16.519 --> 01:00:19.440
two on vinyl right now, because that record is unbelievable.

1077
01:00:21.320 --> 01:00:23.840
Yeah. I have quite a few Chicago in my collection

1078
01:00:24.079 --> 01:00:26.920
and love some of the old stuff, love some of

1079
01:00:26.920 --> 01:00:29.079
the new, love some of the later stuff.

1080
01:00:30.480 --> 01:00:30.679
Yeah.

1081
01:00:30.679 --> 01:00:34.480
When CDs came around, I started collecting them and I

1082
01:00:35.599 --> 01:00:40.239
have I think I have thirty different albums of Chicago's

1083
01:00:40.280 --> 01:00:43.519
on compact disc and I'm not really sure how many

1084
01:00:43.559 --> 01:00:44.880
they have. I mean, they are one of those bands

1085
01:00:44.920 --> 01:00:47.320
that has a lot of sort of greatest hits albums

1086
01:00:47.360 --> 01:00:48.400
and that kind of stuff.

1087
01:00:48.159 --> 01:00:48.440
Too, but.

1088
01:00:50.039 --> 01:00:53.519
Just original you know, music albums. There's there's probably at

1089
01:00:53.599 --> 01:00:55.440
least thirty of them. I know, that's how many I have.

1090
01:00:55.559 --> 01:00:57.280
So such a great band.

1091
01:00:58.159 --> 01:01:06.559
Yeah, Genesis, Peter Gabriel, some good stuff, some good stuff

1092
01:01:06.920 --> 01:01:07.400
for sure.

1093
01:01:07.800 --> 01:01:15.639
Yeah. We also welcome some of the audience that with USh.

1094
01:01:17.159 --> 01:01:18.119
Nobody showed up.

1095
01:01:19.559 --> 01:01:20.519
Nobody showed up.

1096
01:01:21.639 --> 01:01:24.119
Nobody in the audience right now.

1097
01:01:24.239 --> 01:01:28.480
Yes, And if you click, I'm looking at one's named

1098
01:01:28.599 --> 01:01:30.159
Charles and one's named David.

1099
01:01:33.480 --> 01:01:34.639
I wonder who that would be.

1100
01:01:35.440 --> 01:01:42.320
Oh, never mind, Andy's here, I don't see Oh now,

1101
01:01:42.639 --> 01:01:44.480
now it's given me a whole bunch of people.

1102
01:01:46.400 --> 01:01:50.679
And I do have a question that somebody recorded for

1103
01:01:50.760 --> 01:01:53.599
us on our truck talking page, which I'm going to

1104
01:01:53.679 --> 01:02:00.840
play for Tim from San would be cool. Yeah, So Andy,

1105
01:02:00.920 --> 01:02:02.119
Andy is in the chat.

1106
01:02:02.000 --> 01:02:02.639
Room right now.

1107
01:02:03.679 --> 01:02:08.000
Andy is in there, and I had two and now

1108
01:02:08.039 --> 01:02:10.280
it's popped up to nine.

1109
01:02:10.679 --> 01:02:15.039
Okay, good, wow, Yeah, that's good. That's good when that happened.

1110
01:02:15.840 --> 01:02:18.960
Yeah, back here, welcome back, all right, David.

1111
01:02:19.760 --> 01:02:22.320
Okay, let me start over with my question here. So

1112
01:02:24.360 --> 01:02:26.039
can you tell us what it was like working with

1113
01:02:26.320 --> 01:02:30.360
Card on the TMG episode Scharship Mine and again later

1114
01:02:30.599 --> 01:02:33.360
in the Card shared of Shusion three.

1115
01:02:33.920 --> 01:02:40.760
Well, the Starship Mine, I worked that week only with

1116
01:02:41.679 --> 01:02:44.360
Patrick Stewart. There was nobody else there in the cast

1117
01:02:44.440 --> 01:02:47.800
because it was mostly he and the terrorists on the ship.

1118
01:02:47.880 --> 01:02:49.679
So I got a chance to sit and talk with

1119
01:02:49.760 --> 01:02:52.719
him between you know, lighting setups and things like that,

1120
01:02:52.760 --> 01:02:55.719
which was great because I had never met him before

1121
01:02:55.719 --> 01:02:58.079
and work with him, so he was wonderful to talk

1122
01:02:58.119 --> 01:03:01.599
to and spend time with off set and of course

1123
01:03:01.920 --> 01:03:04.239
just getting the scene done. Everything worked out very smoothly,

1124
01:03:04.320 --> 01:03:06.400
so it was akick. It was It was nice to

1125
01:03:06.480 --> 01:03:10.639
have a chance to break into the franchise working on

1126
01:03:10.639 --> 01:03:12.599
that episode. That was the first one I did for

1127
01:03:13.039 --> 01:03:16.519
Rick Berman and the franchise, and they liked it enough

1128
01:03:16.559 --> 01:03:18.639
that they ended up bringing me back again for the

1129
01:03:18.639 --> 01:03:22.119
subsequent episodes on the other show. So it was very cool.

1130
01:03:22.480 --> 01:03:27.719
Picard was different only in that I think that Dad

1131
01:03:27.760 --> 01:03:30.840
was working with Jonathan. I think Jerry Ryan was there

1132
01:03:30.840 --> 01:03:33.840
as well, but I didn't work with her directly, so

1133
01:03:33.920 --> 01:03:37.800
all of her material was shot separately. But I worked

1134
01:03:37.800 --> 01:03:40.000
with Jonathan that day because he ended up taking my

1135
01:03:40.079 --> 01:03:44.199
place in the chair when they do the transformation. So

1136
01:03:44.320 --> 01:03:46.920
it was very cool to have a chance to come

1137
01:03:46.960 --> 01:03:51.760
back and work on that show in the third near

1138
01:03:51.840 --> 01:03:55.000
the end of the third season of the of the series.

1139
01:03:55.559 --> 01:03:58.599
And you know, they didn't tell me, you know, hardly

1140
01:03:58.639 --> 01:04:02.719
anything about anything on because they were paranoid about any

1141
01:04:02.760 --> 01:04:06.199
of the story getting out, especially because it's a twist

1142
01:04:06.320 --> 01:04:09.599
with that character, so they kept all that very close

1143
01:04:09.639 --> 01:04:12.880
to the chest right up to the last minute on that.

1144
01:04:13.679 --> 01:04:15.840
And that was for both of those episodes.

1145
01:04:17.679 --> 01:04:22.239
Oh wow, Yeah, cool. Anything memorable to show from like

1146
01:04:22.320 --> 01:04:25.039
behind the stage any of those episodes or not.

1147
01:04:25.119 --> 01:04:29.880
Really, it's pretty straightforward, man, if I'm on set, you know,

1148
01:04:30.079 --> 01:04:33.199
I'm sitting down waiting for the lighting to be done,

1149
01:04:33.760 --> 01:04:36.119
be talking to Jerry or talking to Jonathan or something,

1150
01:04:36.440 --> 01:04:39.039
you know, while we're just waiting, and that's it. There's

1151
01:04:39.199 --> 01:04:44.280
you know, there's not a lot going on. If you're

1152
01:04:44.280 --> 01:04:48.000
shooting single camera on a project, you're either in your

1153
01:04:48.000 --> 01:04:50.800
trailer waiting for the lighting set up to happen, or

1154
01:04:50.800 --> 01:04:54.440
you're sitting with the other actors in a space where

1155
01:04:54.440 --> 01:04:57.960
they've got your set chairs and just waiting for and

1156
01:04:58.000 --> 01:04:59.920
you know, shooting the breeze until it's time to go back,

1157
01:05:00.960 --> 01:05:03.360
unless you've got a shitloaded dialogue, in which case you

1158
01:05:03.440 --> 01:05:06.119
got to make sure you've got your speeches or whatever

1159
01:05:06.239 --> 01:05:08.400
is your lines together and you're working on those. That's

1160
01:05:08.440 --> 01:05:10.239
basically all that happens.

1161
01:05:11.400 --> 01:05:15.599
Wow. Cool, Well, before I go on to my other questions,

1162
01:05:15.679 --> 01:05:18.760
I did actually have something to talk about with you,

1163
01:05:19.559 --> 01:05:22.360
cause you mentioned before that you were a space and

1164
01:05:22.400 --> 01:05:25.000
through gish like you look at the planets and sellectual

1165
01:05:25.000 --> 01:05:28.679
objects and everything like that, and so I myself am somewhat.

1166
01:05:28.800 --> 01:05:31.159
I grew up like that, and I actually had bought

1167
01:05:31.159 --> 01:05:33.039
my own telescope at one time, and I was looking

1168
01:05:33.039 --> 01:05:35.800
at all that stuff, and so I didn't go as

1169
01:05:35.800 --> 01:05:40.360
far as you did, of course, but my back in

1170
01:05:40.400 --> 01:05:43.239
the ninety to course, my telescope, what's all that great?

1171
01:05:43.280 --> 01:05:48.440
But I have been keeping my eye on actually with Nasha,

1172
01:05:48.840 --> 01:05:54.039
and just recently I heard that all the planets are

1173
01:05:54.079 --> 01:05:57.639
going to be aligned the coming January twenty fifth, Yes,

1174
01:05:57.679 --> 01:05:59.920
and I was wondering, are you going to be doing

1175
01:06:00.159 --> 01:06:02.480
a lot of picture taking with that kind of stuff?

1176
01:06:02.800 --> 01:06:07.519
No, I don't, Yeah, I don't. Typically I don't image

1177
01:06:07.639 --> 01:06:12.119
the planets that much. I've imaged Saturn with the telescope

1178
01:06:12.159 --> 01:06:14.840
that I have, the unistellar, which is what I use

1179
01:06:14.880 --> 01:06:18.280
for deep sky objects. I've imaged Saturn is so far.

1180
01:06:18.400 --> 01:06:21.320
I imaged Neptune, I believe once. I don't think I've

1181
01:06:21.320 --> 01:06:25.280
gotten Urinus yet on it. But the telescope tends to

1182
01:06:25.639 --> 01:06:31.960
do really well on large diffuse objects. The objects that

1183
01:06:32.000 --> 01:06:35.079
are faint objects that are you know, like clouds, like

1184
01:06:35.159 --> 01:06:38.559
galaxies and nebulas, things like that is what the telescope

1185
01:06:38.719 --> 01:06:42.320
does really well on. As far as imaging goes the planets,

1186
01:06:42.320 --> 01:06:44.360
I just prefer to look at the planet's naked eye.

1187
01:06:44.559 --> 01:06:48.639
That's the best way to see them. In my mind.

1188
01:06:49.199 --> 01:06:51.480
I can take a picture of them, but I'm more

1189
01:06:51.519 --> 01:06:55.199
interested in looking at them. So the scope that I have,

1190
01:06:55.400 --> 01:06:58.679
I've only imaged Saturn so far, which is okay, it's

1191
01:06:58.719 --> 01:07:02.679
decent enough. I think I have it posted. Is it

1192
01:07:02.679 --> 01:07:05.440
on Instagram? I think it's on my Instagram page as

1193
01:07:05.480 --> 01:07:07.000
a matter of fact, most of the other A lot

1194
01:07:07.000 --> 01:07:09.000
of the other stuff I've shot is on my Instagram

1195
01:07:09.039 --> 01:07:10.800
page as well, a lot of pictures on there. So

1196
01:07:11.960 --> 01:07:14.840
but yeah, otherwise, the alignment just means they're all up,

1197
01:07:15.639 --> 01:07:19.199
you know, one after the other, and you know you're

1198
01:07:19.199 --> 01:07:21.000
going out if you've got, you know, a good night

1199
01:07:21.079 --> 01:07:24.519
sky that's clear and you can see a good chunk

1200
01:07:24.559 --> 01:07:26.880
of the sky and it's not trees and mountains in

1201
01:07:26.880 --> 01:07:29.400
the way. You can see all the planets over a

1202
01:07:29.400 --> 01:07:32.639
period of time, one after the other. Yep. Pretty cool.

1203
01:07:32.719 --> 01:07:36.320
Yeah, it's really exciting. Yes, I'm actually really excited to

1204
01:07:36.480 --> 01:07:38.760
watch the sky for the twenty fifth show.

1205
01:07:39.199 --> 01:07:41.599
Yeah, yeah, you get that. You got to get the

1206
01:07:41.639 --> 01:07:44.199
telescope out and just pop off each one.

1207
01:07:44.199 --> 01:07:45.239
I got to go buy a new one.

1208
01:07:45.239 --> 01:07:51.039
But if you're gonna get a new one for the planets,

1209
01:07:51.039 --> 01:07:52.880
I would get a max suit off. That's the best

1210
01:07:52.880 --> 01:07:54.199
telescope you can use for that.

1211
01:07:55.079 --> 01:07:55.800
Max Cool.

1212
01:07:55.840 --> 01:07:57.000
Thanks for the tip cass a.

1213
01:07:57.039 --> 01:08:00.719
Grain is what they're called. I'd get anything five to

1214
01:08:00.760 --> 01:08:03.320
six inches in diameter as far as the mirror goes.

1215
01:08:03.920 --> 01:08:05.760
You can get bigger if you want, but you know

1216
01:08:05.960 --> 01:08:10.119
they're five to six inch max Udoff cast the grain.

1217
01:08:10.199 --> 01:08:14.639
With a really stable, really solid, stable tripod, you can't

1218
01:08:14.639 --> 01:08:17.680
you can't have a cheeseball tripod. It's got to be stable,

1219
01:08:17.800 --> 01:08:21.279
gotta be serious. Yeah, and that's what you look at.

1220
01:08:21.279 --> 01:08:23.680
That's really fabulous for looking at the planets. It's a

1221
01:08:23.680 --> 01:08:27.920
great telescope, very durable. Oh, doesn't need colimation at all

1222
01:08:28.000 --> 01:08:32.079
because it's got to fix secondary mirror on it. It's fabulous.

1223
01:08:33.119 --> 01:08:36.119
Nice. Cool. Well, I'm going to continue on with my

1224
01:08:36.720 --> 01:08:41.159
list of questions that I have here. So this one's

1225
01:08:41.239 --> 01:08:44.159
kind of a thing that I just kind of thought

1226
01:08:44.239 --> 01:08:45.880
up to the first thing I came up, and it

1227
01:08:45.960 --> 01:08:47.640
was just like I got to ask them this. So,

1228
01:08:48.560 --> 01:08:52.680
just like in the Ting, I heard that almost they

1229
01:08:52.720 --> 01:08:56.680
couldn't finish filming because they were just laughing so much.

1230
01:08:57.840 --> 01:09:00.359
Was that ever the same way as in Voyage were

1231
01:09:00.439 --> 01:09:02.600
just like there's so much laughter going on where the

1232
01:09:02.680 --> 01:09:04.359
guys couldn't really finish shooting.

1233
01:09:04.680 --> 01:09:08.960
Oh, there would definitely be times when when we were

1234
01:09:09.000 --> 01:09:11.520
cracking up or we were cutting up one of the

1235
01:09:11.520 --> 01:09:15.159
two m much of the chagrin of the supervising producer

1236
01:09:15.159 --> 01:09:18.920
who's always tapping his watch. So we did that. I

1237
01:09:18.960 --> 01:09:21.279
think when I worked on DS nine, I can't remember

1238
01:09:21.479 --> 01:09:24.760
was it was it the which one was it? I

1239
01:09:24.800 --> 01:09:29.000
worked on their mirror, that mirror mirror episode. There was

1240
01:09:29.039 --> 01:09:31.640
the mirror episode. I worked on that one, and they

1241
01:09:32.479 --> 01:09:36.039
one of the days, they could not stop laughing. They

1242
01:09:36.119 --> 01:09:38.359
could not stop laughing, and we were trying to get

1243
01:09:38.399 --> 01:09:40.840
through the scene and they were just avery and all

1244
01:09:40.840 --> 01:09:42.479
of them, they were just cracking up. And I don't

1245
01:09:42.520 --> 01:09:45.119
know what sparked it, because I was not in on

1246
01:09:45.199 --> 01:09:48.239
that joke, but I was in the scene and they were.

1247
01:09:48.359 --> 01:09:50.439
They got off and they couldn't come back, and it

1248
01:09:50.479 --> 01:09:52.199
was it took a minute for everything to come by

1249
01:09:52.680 --> 01:09:55.640
for us on Voyager. Yes, it did happen. Once in

1250
01:09:55.680 --> 01:09:59.479
a while, it did happen. Yeah, we would get to

1251
01:09:59.520 --> 01:10:01.520
going and goofing off on the set.

1252
01:10:01.800 --> 01:10:01.960
Man.

1253
01:10:02.039 --> 01:10:05.079
You know, we averaged sixteen hour days, so you know,

1254
01:10:05.880 --> 01:10:08.000
after a certain amount of time and you're exhausted, you

1255
01:10:08.119 --> 01:10:12.479
just start getting you know, kind of walking and and

1256
01:10:12.680 --> 01:10:16.640
nutty and that's what happens, you know. Definitely cool.

1257
01:10:17.800 --> 01:10:19.680
Yeah, that was just a question I had at the

1258
01:10:19.720 --> 01:10:21.199
top of my mind. I was like, Okay, cool, I

1259
01:10:21.279 --> 01:10:23.880
wonder yeah, oh.

1260
01:10:23.079 --> 01:10:24.760
Yeah, it happens.

1261
01:10:24.880 --> 01:10:26.800
I'd say it probably happens on more sets than you

1262
01:10:26.840 --> 01:10:28.039
can think of right now.

1263
01:10:28.279 --> 01:10:34.079
Yeah, yeah, probably cool. So my next question is what

1264
01:10:34.279 --> 01:10:37.039
are your favorite memories in any of the Star Trek

1265
01:10:37.119 --> 01:10:40.840
sharrees you were in and is there anything funny that

1266
01:10:40.920 --> 01:10:43.680
you might share with the rest of us that no

1267
01:10:43.720 --> 01:10:45.399
one else might know about?

1268
01:10:46.479 --> 01:10:48.640
That was that was I'm sory. What was the question

1269
01:10:48.640 --> 01:10:49.920
that were things.

1270
01:10:49.760 --> 01:10:54.079
That were oh, the things that were funny that you

1271
01:10:54.199 --> 01:10:57.199
might share with us that no one else might know about?

1272
01:10:58.079 --> 01:11:02.479
Oh, you know, as far as far as you know,

1273
01:11:02.640 --> 01:11:06.800
Voyager goes, there was nothing. I mean, in terms of

1274
01:11:06.840 --> 01:11:08.880
the other projects, not really that much that went on

1275
01:11:09.039 --> 01:11:10.960
that I worked on in the other pint. Those laughing

1276
01:11:10.960 --> 01:11:15.079
spells at well, yes, they're you know, on voyage or

1277
01:11:15.520 --> 01:11:18.800
every once in a while, like when we were in

1278
01:11:18.880 --> 01:11:22.199
the turbo lift, you know, all together. You know, there's

1279
01:11:22.319 --> 01:11:24.359
a whole lot of shenanigans going on in the turbo

1280
01:11:24.359 --> 01:11:28.439
lift before the doors open up, you know, and so

1281
01:11:28.720 --> 01:11:31.079
we would be in there, cutting up and grabbing each

1282
01:11:31.079 --> 01:11:33.640
other's ass and doing whatever you know in the turbo

1283
01:11:33.680 --> 01:11:36.239
lift just before the doors open up. And when they

1284
01:11:36.319 --> 01:11:38.520
and he says action, everybody straightens up and walks out.

1285
01:11:38.520 --> 01:11:41.279
But if you see those scenes every once in a while,

1286
01:11:42.119 --> 01:11:44.079
you know, you can imagine what's going on behind the

1287
01:11:44.119 --> 01:11:47.560
doors before they open. And there was times when we

1288
01:11:47.640 --> 01:11:49.840
walked into the doors by accident because the guy that

1289
01:11:49.880 --> 01:11:54.119
pulls them open didn't pull him fast enough. So there

1290
01:11:54.199 --> 01:11:56.000
there are times and when we walk straight into the

1291
01:11:56.000 --> 01:11:59.199
doors the turbo lift because they didn't open on time.

1292
01:12:00.199 --> 01:12:04.319
Props that were dropped or whatever every once in a

1293
01:12:04.399 --> 01:12:08.359
while or didn't work. You know, the sparks every time

1294
01:12:08.399 --> 01:12:11.239
they blew off the sparks on my station behind me,

1295
01:12:12.000 --> 01:12:15.319
you know, the special effects guy would always give me

1296
01:12:15.399 --> 01:12:17.439
this lecture about, oh, yeah, the sparks are going to

1297
01:12:17.479 --> 01:12:19.960
come across that we got the cannon set here and

1298
01:12:20.000 --> 01:12:22.119
it's going to shoot this way and it's going to

1299
01:12:22.159 --> 01:12:24.239
spray over here, and it's going to miss you completely. Well,

1300
01:12:24.239 --> 01:12:26.640
every time he did it, it didn't miss me completely.

1301
01:12:26.720 --> 01:12:29.760
Ended up burning my ass with the embers on my

1302
01:12:29.920 --> 01:12:33.880
chair almost every time. Yeah, even though he told me

1303
01:12:33.920 --> 01:12:35.640
and I would just say, yeah, yeah, whatever, and it's

1304
01:12:35.680 --> 01:12:37.039
going to happen. It's going to ans sure enough, that

1305
01:12:37.079 --> 01:12:42.119
always happened. So that was always the case. Yeah, there's

1306
01:12:42.239 --> 01:12:46.279
you know, little things, I mean, you know, not too many,

1307
01:12:46.439 --> 01:12:48.760
not too many practical jokes of the couple. Ever, once

1308
01:12:48.800 --> 01:12:51.560
in a while we'd do some practical jokes, you know,

1309
01:12:51.720 --> 01:12:54.640
on camera while the camera was running, you know that

1310
01:12:54.920 --> 01:12:58.520
the episode. I think there's a couple of them that

1311
01:12:58.560 --> 01:13:01.039
were actually online. You can actual we see them on YouTube,

1312
01:13:01.039 --> 01:13:03.640
the ones that had the practical jokes or gags that

1313
01:13:03.680 --> 01:13:06.439
went on, they're on there. And I think we did

1314
01:13:06.479 --> 01:13:09.479
one an Innocence, we did one in the Pond, one

1315
01:13:09.520 --> 01:13:12.680
of the one of the Doctor's Fantasy episodes. We did

1316
01:13:12.680 --> 01:13:14.920
a couple and so there are stuff that's actually out

1317
01:13:14.920 --> 01:13:20.439
there that were deliberate jokes. But without that, Yeah, sometimes

1318
01:13:20.479 --> 01:13:26.439
we'd end up like doing a musical number on the bridge,

1319
01:13:26.479 --> 01:13:30.359
like we're a Beltram would break out into something, Katie

1320
01:13:30.359 --> 01:13:32.479
would break out in something. We'd break out into some

1321
01:13:32.560 --> 01:13:36.960
kind of musical song on the bridge, and again, you know,

1322
01:13:38.199 --> 01:13:40.279
the supervising producers like, oh my god, we got to

1323
01:13:40.279 --> 01:13:42.079
get through the day, and we would just do it

1324
01:13:42.680 --> 01:13:45.079
because we were tired, you know, we wanted to get

1325
01:13:45.159 --> 01:13:46.920
you know, home at some point in time.

1326
01:13:47.079 --> 01:13:49.079
Yeah, that way, you ripped out your guitar and just

1327
01:13:49.079 --> 01:13:49.720
started playing.

1328
01:13:49.880 --> 01:13:53.880
Ah, I never brought the guitar. I did bring my

1329
01:13:53.920 --> 01:13:55.000
telescope on though.

1330
01:13:55.159 --> 01:14:03.319
Yeah. Cool. Yeah. So my next question is, Okay, so

1331
01:14:03.600 --> 01:14:06.880
we kind of already established which that you were kind

1332
01:14:06.880 --> 01:14:09.399
of a Star Trek fan from the beginning, show Which

1333
01:14:09.640 --> 01:14:13.840
Star Trek series is your favorite? Uh?

1334
01:14:14.560 --> 01:14:18.520
Well, it's hard to say, because you know, I didn't

1335
01:14:18.560 --> 01:14:21.920
watch that much. I haven't watched that much of the

1336
01:14:22.079 --> 01:14:25.720
newer reboots. I've only caught a few episodes here and

1337
01:14:25.760 --> 01:14:31.960
there of Next Gen or DS nine. So, you know,

1338
01:14:32.239 --> 01:14:37.199
the original series, I think because because they they were

1339
01:14:37.239 --> 01:14:40.039
breaking ground on some of the concepts that had so

1340
01:14:40.119 --> 01:14:43.680
much social commentary, and I was watching them when I

1341
01:14:43.720 --> 01:14:45.199
was growing up, so they would have had more of

1342
01:14:45.199 --> 01:14:47.720
an influence on me at the time. So I thought

1343
01:14:47.760 --> 01:14:49.720
those are pretty cool. I think out of my lout

1344
01:14:49.760 --> 01:14:51.479
of all of them, might be if I had to

1345
01:14:51.520 --> 01:14:54.159
pick one over, probably my favorite, I think right behind

1346
01:14:54.159 --> 01:14:57.159
it is some of the Voyager episodes, just because of

1347
01:14:57.199 --> 01:15:01.840
the concepts that we delved into, you know, which were

1348
01:15:01.840 --> 01:15:04.960
pretty cool. I mean everything from origins to you know,

1349
01:15:05.039 --> 01:15:11.680
there's religion, there's you know, concepts and theories about things

1350
01:15:11.680 --> 01:15:15.119
that go on that that you know, which is part

1351
01:15:15.159 --> 01:15:17.560
of the lore of Trek. That's what Trek is all about.

1352
01:15:18.039 --> 01:15:20.720
So I think the original seriesably first, and then just

1353
01:15:20.760 --> 01:15:23.600
behind it would be the episodes of Voyager. I haven't

1354
01:15:23.640 --> 01:15:27.920
watched that many of the Space nine or Next Gen,

1355
01:15:28.920 --> 01:15:31.479
which came out prior to my series. I haven't seen

1356
01:15:31.520 --> 01:15:33.359
that many, but I'll tell you what the ones I

1357
01:15:33.359 --> 01:15:34.399
have seen have been very.

1358
01:15:34.279 --> 01:15:39.720
Good, nice cool. Well, I think got one more question,

1359
01:15:39.880 --> 01:15:44.239
and I I don't know why I put this in there,

1360
01:15:44.279 --> 01:15:47.840
but could you tell us how Seven of Nine had

1361
01:15:47.880 --> 01:15:51.359
influenced a cast.

1362
01:15:51.640 --> 01:15:56.359
Well, let's see, when Jerry joined the cast, I had

1363
01:15:56.399 --> 01:16:00.560
a lot more good enough. That was good for men

1364
01:16:00.720 --> 01:16:05.119
to work as much. Yeah, you know, she when she

1365
01:16:05.199 --> 01:16:07.079
joined the cast, they had to focus on her character

1366
01:16:07.159 --> 01:16:10.159
and get her character up to speed. You've got to

1367
01:16:10.159 --> 01:16:12.520
get her character fleshed out and get her backstory and

1368
01:16:12.560 --> 01:16:16.119
all that good stuff going. Because she came in later

1369
01:16:16.159 --> 01:16:20.600
in the series, uh, in the series years. So that

1370
01:16:20.720 --> 01:16:23.039
was fine with me. I thought it was fine. You know,

1371
01:16:23.079 --> 01:16:25.279
it was great. We had a couple of moments together,

1372
01:16:25.880 --> 01:16:29.760
and her character was able to evolve, you know, to

1373
01:16:29.760 --> 01:16:32.720
to to becoming more and more human before it was over,

1374
01:16:33.720 --> 01:16:38.479
which was what it was all about. To me. It's

1375
01:16:38.560 --> 01:16:42.279
it was just, you know, all those days of going

1376
01:16:42.319 --> 01:16:49.439
in all blended together. I cannot remember partly any of them.

1377
01:16:50.359 --> 01:16:52.520
As far as doing all the scenes and working on it.

1378
01:16:52.880 --> 01:16:54.920
All that stuff is a blur because it's a long

1379
01:16:54.960 --> 01:16:58.840
time ago, and it was such a routine. I had

1380
01:16:58.840 --> 01:17:02.800
done it for seven years, so it was everything. You know,

1381
01:17:02.880 --> 01:17:05.880
it all starts to become a routine, and single camera

1382
01:17:05.920 --> 01:17:12.840
shooting is you know, monotonously boring. It's not exciting. The

1383
01:17:12.920 --> 01:17:18.520
process is not exciting. Four camera sitcoms with the live audience,

1384
01:17:18.600 --> 01:17:20.840
that's exciting, you know, if you want to work on

1385
01:17:20.880 --> 01:17:23.359
a show that's like doing theater and television at the

1386
01:17:23.399 --> 01:17:29.880
same time. Single camera anything is monotonous. It is tedious

1387
01:17:31.600 --> 01:17:36.479
and not a tremendous amount of fun. You know, there

1388
01:17:36.479 --> 01:17:40.279
are moments you might have that where you can really

1389
01:17:40.279 --> 01:17:44.520
do something interesting, or you have some freedom to do

1390
01:17:44.600 --> 01:17:47.960
something creative and expressive and whatever. You might have some

1391
01:17:48.000 --> 01:17:51.720
of those every once in a while, but at the

1392
01:17:51.800 --> 01:17:57.319
end of the day, the process is not that much

1393
01:17:57.359 --> 01:18:01.720
fun on any series, not just Boy, any single camera series.

1394
01:18:01.760 --> 01:18:03.800
All your single camera dramas, the ones that are that

1395
01:18:03.840 --> 01:18:07.079
you watch all the time. The dramas are single camera.

1396
01:18:07.720 --> 01:18:09.720
And even if they'll maw have they could have three

1397
01:18:09.760 --> 01:18:14.720
cameras running, but there's still a lot of time spent

1398
01:18:15.920 --> 01:18:18.760
doing this and doing that. It's very meticulous. It's also

1399
01:18:19.479 --> 01:18:21.720
you know, if you have a big, long speech that

1400
01:18:21.800 --> 01:18:23.560
you made and you made a perfect take of that

1401
01:18:23.600 --> 01:18:26.800
speech in your mind, you know, but the candle behind

1402
01:18:26.840 --> 01:18:29.720
you was out of focus, you know they'll have to

1403
01:18:29.720 --> 01:18:32.279
do it again. You see what I mean. And so

1404
01:18:32.720 --> 01:18:36.000
if you're working with inside this little box is what

1405
01:18:36.039 --> 01:18:39.840
it is, it's contained. It's all like that. You know.

1406
01:18:39.920 --> 01:18:42.840
I have to play an act opposite a piece of

1407
01:18:42.880 --> 01:18:47.039
red tape on a light stand. That's what I'm looking at.

1408
01:18:47.199 --> 01:18:50.680
That's what I'm doing at whatever emotional moment I have

1409
01:18:50.840 --> 01:18:54.640
with that person. The actors, I can't see them because

1410
01:18:54.960 --> 01:18:57.720
of the way the eyeline needs to be, you know.

1411
01:18:57.880 --> 01:18:59.560
Or the moman.

1412
01:18:59.319 --> 01:19:02.039
Space that you're in and what you're working within. They

1413
01:19:02.079 --> 01:19:03.720
may not be able to stand there because there's no

1414
01:19:03.760 --> 01:19:06.479
place for them to stand. So I'm working with a

1415
01:19:06.520 --> 01:19:11.560
piece of red tape. That's my eye line. And you

1416
01:19:11.560 --> 01:19:15.520
know too for an actor, that's not easy to do.

1417
01:19:15.720 --> 01:19:19.479
It's not as much fun is having somebody there to

1418
01:19:19.560 --> 01:19:25.159
work with, and that happens often. It's very technical. It's

1419
01:19:25.159 --> 01:19:30.279
all very very technical. If you're slightly out of focus,

1420
01:19:30.840 --> 01:19:34.520
you got to do the takeover again, just slightly, just

1421
01:19:34.560 --> 01:19:37.840
a moment. If you lean forward too much, you know,

1422
01:19:38.159 --> 01:19:41.399
you've got to sit still, you might block the other actor,

1423
01:19:42.079 --> 01:19:44.119
you see what I mean. So you're thinking about all this.

1424
01:19:45.119 --> 01:19:47.079
You know, you've got to hit your marks when you

1425
01:19:47.119 --> 01:19:49.439
walk in. You got to hit your marks. So if

1426
01:19:49.439 --> 01:19:51.159
you don't hit your marks, that take is no good.

1427
01:19:51.199 --> 01:19:53.800
I don't care what you're saying, because the camera guys

1428
01:19:53.840 --> 01:19:54.000
and the.

1429
01:19:54.000 --> 01:19:57.119
Amount of mental focus that takes is unbelievable.

1430
01:19:57.359 --> 01:20:00.720
Yeah, so crazy, it is. That's that's what this work is.

1431
01:20:01.520 --> 01:20:05.039
You know, it's not always a gas. Like I said,

1432
01:20:05.039 --> 01:20:08.520
four camera shows much easier because your spaces are wider.

1433
01:20:08.560 --> 01:20:10.920
They got four cameras, you've got a live audience. It's

1434
01:20:10.960 --> 01:20:13.600
a it's a different setup. You know, you still have

1435
01:20:13.640 --> 01:20:15.680
to hit your marks and some other things, but essentially

1436
01:20:16.520 --> 01:20:18.880
it's just more interesting and more fun. I've done them,

1437
01:20:19.119 --> 01:20:21.520
I know, they're a lot more fun. But single camera

1438
01:20:21.600 --> 01:20:24.560
is not. Single camera is very precise. I mean, you'd

1439
01:20:24.600 --> 01:20:26.920
have no idea. You watch you know, the feature film

1440
01:20:26.960 --> 01:20:28.600
what is it Dune and the rest of these other ones,

1441
01:20:28.600 --> 01:20:30.359
these big ones that are shipped. Man, you're an all

1442
01:20:30.439 --> 01:20:35.760
day shooting that stuff all day long, all day with

1443
01:20:37.239 --> 01:20:40.199
just a piece of that thing, just a piece of it,

1444
01:20:40.319 --> 01:20:45.479
just a fraction. That's single camera work. So it's not

1445
01:20:45.840 --> 01:20:49.239
you know, the actual I can tell you because we

1446
01:20:49.319 --> 01:20:53.159
would have guests of the show would come on to set,

1447
01:20:53.399 --> 01:20:55.760
we're on the bridge, and they would come into the

1448
01:20:56.000 --> 01:21:00.399
you know, into the soundstage, and they're standing there all

1449
01:21:00.479 --> 01:21:03.800
giddy and excited and happy, you know, guests of the producers,

1450
01:21:03.800 --> 01:21:06.319
guests of the writers, guest of the actors, guest of

1451
01:21:06.359 --> 01:21:09.680
the crew. Whatever. They come in and there and they're whatever,

1452
01:21:09.720 --> 01:21:13.199
and they're just excited to watch shooting. And you can

1453
01:21:13.239 --> 01:21:16.520
set your watch by the time at which they're going

1454
01:21:16.560 --> 01:21:18.640
to be standing their board out of their mind because

1455
01:21:18.640 --> 01:21:20.920
they're like, well, how many times are they going to

1456
01:21:20.960 --> 01:21:26.439
say that line? Yeah, because it gets boring. They're not

1457
01:21:26.560 --> 01:21:28.720
They're exciting to see what you see on television, and

1458
01:21:28.880 --> 01:21:30.159
that's not how it works.

1459
01:21:30.720 --> 01:21:34.479
Yeah, I'm assuming the one camera would take a lot Envoyager.

1460
01:21:35.399 --> 01:21:36.399
No happened a lot.

1461
01:21:36.520 --> 01:21:39.800
Nope, it did not happen a lot. No, Because then

1462
01:21:40.039 --> 01:21:43.319
the producers want to be able to control the editing

1463
01:21:43.439 --> 01:21:46.439
and the pace of the show. You also have time

1464
01:21:46.760 --> 01:21:50.640
that you have to cut for for commercials, so you

1465
01:21:50.680 --> 01:21:55.079
don't have breaks that they can manipulate and cut. You're

1466
01:21:55.119 --> 01:21:57.760
going to be in trouble. They'll take the air out

1467
01:21:57.760 --> 01:21:59.520
of one of your speeches. If you have a long

1468
01:21:59.560 --> 01:22:04.439
monologue speech, they'll cut the air between the phrases and

1469
01:22:04.479 --> 01:22:08.680
the words. And I've seen it done on a couple

1470
01:22:08.720 --> 01:22:11.239
of things I've done for regular TV where I've had

1471
01:22:11.279 --> 01:22:14.640
a good speech and I had pauses in there that

1472
01:22:14.760 --> 01:22:17.279
are dramatic pauses there, pauses so that you have a

1473
01:22:17.399 --> 01:22:20.640
change in thought, and so they cut the air out

1474
01:22:20.640 --> 01:22:22.760
of those so it sounds like you're going straight through it,

1475
01:22:22.840 --> 01:22:25.640
and that's not doesn't look and sound as good as

1476
01:22:25.680 --> 01:22:29.840
it would normally look. So you have that minute to

1477
01:22:29.880 --> 01:22:32.680
make the time for the commercials. Because we had commercials

1478
01:22:32.720 --> 01:22:35.680
when Voyager ran, so you've got to cut to forty

1479
01:22:35.720 --> 01:22:38.359
two minutes, and so you need to be able to

1480
01:22:38.359 --> 01:22:41.399
break up stuff in order to get it. I did

1481
01:22:41.439 --> 01:22:43.359
one a scene with a woner. I think we did

1482
01:22:43.399 --> 01:22:48.319
a wonder that was handheld when I was when I

1483
01:22:48.319 --> 01:22:51.239
had dementia near the end the very last episode or so,

1484
01:22:51.319 --> 01:22:54.000
when I had dementia and I was in the sick

1485
01:22:54.079 --> 01:22:56.319
bay and I was going crazy, and we did that

1486
01:22:56.439 --> 01:22:59.119
all is one take handheld, and that was a last

1487
01:22:59.119 --> 01:23:02.199
minute thought. It wasn't planned. We were going to cover it,

1488
01:23:02.720 --> 01:23:05.119
and I asked the director if we could do it

1489
01:23:05.159 --> 01:23:09.119
this way instead, and they said, yeah, let's do it.

1490
01:23:09.199 --> 01:23:11.880
And it worked out really well. It was much better

1491
01:23:12.039 --> 01:23:13.720
to do it that way because it was chaotic. The

1492
01:23:13.760 --> 01:23:16.680
scene was chaotic. It was chaos. It was going all

1493
01:23:16.680 --> 01:23:18.399
over the place saying all this stuff. It was all

1494
01:23:18.439 --> 01:23:21.720
crazy and it mimicked what the condition was that I

1495
01:23:21.800 --> 01:23:25.680
had of dementia. You know, it's just nuts. And so

1496
01:23:25.720 --> 01:23:28.079
it looked really good and I don't think we had

1497
01:23:28.800 --> 01:23:30.920
I don't remember if we had any pieces to cut

1498
01:23:30.920 --> 01:23:32.640
out of that in I think that was one good

1499
01:23:32.680 --> 01:23:36.600
long take and I don't believe we had anything that

1500
01:23:36.640 --> 01:23:39.680
we could cut away from. But typically, you know, the

1501
01:23:39.760 --> 01:23:42.319
producers want to have they want to have edits and

1502
01:23:42.359 --> 01:23:46.119
cuts and pieces, and almost all your television series stuff

1503
01:23:46.159 --> 01:23:48.640
is that way. You rarely see wonners. You see wonders

1504
01:23:48.680 --> 01:23:53.119
in feature films, movies. Movies, you see wonners because the

1505
01:23:53.199 --> 01:23:56.359
movie can be whatever length you wanted to be, so

1506
01:23:56.399 --> 01:23:58.119
you can get away with that stuff until the cows

1507
01:23:58.159 --> 01:24:00.640
come home. There's some classic films at have them, so

1508
01:24:01.560 --> 01:24:04.000
you know, to do wonders in a feature sure, not

1509
01:24:04.079 --> 01:24:06.880
a problem. You're not cutting away for commercials.

1510
01:24:08.359 --> 01:24:13.560
Wow, a lot of I can imagine KUVAC got set

1511
01:24:13.600 --> 01:24:16.119
on a whole new level there withhold Hold the I

1512
01:24:16.119 --> 01:24:18.000
mean you guys probably did a lot of single camera

1513
01:24:18.039 --> 01:24:20.039
shots and you having to look at that red tape

1514
01:24:20.399 --> 01:24:21.399
keeping that emotion in.

1515
01:24:21.520 --> 01:24:24.000
You know, yeah, whether you were doing that what I

1516
01:24:24.079 --> 01:24:25.960
was doing, or it was even harder for somebody who's

1517
01:24:25.960 --> 01:24:28.880
got to show emotions. You know, it's hard for me

1518
01:24:28.920 --> 01:24:30.920
to play what I play because you study as an

1519
01:24:30.960 --> 01:24:35.239
actor to show emotions, and let me tell you that's

1520
01:24:35.279 --> 01:24:39.680
a lot harder than it is not showing emotions. You

1521
01:24:39.760 --> 01:24:42.399
have to show emotions. If somebody is watching a human

1522
01:24:42.399 --> 01:24:46.960
being portraying a character, if the audience doesn't believe that

1523
01:24:47.119 --> 01:24:50.920
character is real, then you just lost the audience. So

1524
01:24:51.000 --> 01:24:53.840
the audience the character has to be played honestly, and

1525
01:24:53.880 --> 01:24:56.399
it has to be played believably. So if the character

1526
01:24:56.479 --> 01:24:59.359
is feeling something, you have to show those feelings, and

1527
01:24:59.439 --> 01:25:02.199
that can recor fire a lot of nuance, even within

1528
01:25:02.239 --> 01:25:05.119
the lines of the dialogue themselves, just within the line itself.

1529
01:25:05.239 --> 01:25:07.359
It made one phrase. In the next phrase you shift

1530
01:25:07.359 --> 01:25:09.359
gears and all of a sudden, there's something else they

1531
01:25:09.399 --> 01:25:11.680
want to see. That thought come across your head before

1532
01:25:11.720 --> 01:25:13.880
you say it. All of that stuff you have to

1533
01:25:13.960 --> 01:25:18.239
learn how to do as an actor doing human characters.

1534
01:25:18.479 --> 01:25:21.359
My character didn't have them. I was that could roll

1535
01:25:21.399 --> 01:25:23.039
out of bed, you know, and do this with my

1536
01:25:23.039 --> 01:25:26.479
eyes closed, an arm type on that. It's easy. It's

1537
01:25:26.560 --> 01:25:29.920
hard to show emotions on screen.

1538
01:25:30.439 --> 01:25:34.520
Yeah, hmmm, I haven't thought of it that that way.

1539
01:25:34.960 --> 01:25:39.000
Yeah, I can tell you it's miles different. You know,

1540
01:25:39.119 --> 01:25:40.920
you work with an actor, you work with a director

1541
01:25:40.960 --> 01:25:43.520
on a scene that's got a lot of emotion in it. Shit, man,

1542
01:25:43.520 --> 01:25:45.560
you can set yourself for a number of takes to

1543
01:25:45.560 --> 01:25:46.159
get that right.

1544
01:25:47.760 --> 01:25:48.119
Hmmm.

1545
01:25:48.319 --> 01:25:48.840
Yeah.

1546
01:25:49.079 --> 01:25:52.640
Cool. Well, I've taken up a lot of your time,

1547
01:25:52.640 --> 01:25:55.920
and I'm sure child's here would love to accution more question.

1548
01:25:56.000 --> 01:25:57.760
And I thank you very much for coming on to

1549
01:25:57.880 --> 01:25:58.399
a podcast.

1550
01:25:58.560 --> 01:26:01.920
Yeah, probably, pleasure take it.

1551
01:26:01.880 --> 01:26:02.439
Away, Jiles.

1552
01:26:03.560 --> 01:26:06.760
Welcome Tim. Let me start off with one of our

1553
01:26:06.880 --> 01:26:11.840
audience questions. Our friend Andy Bray knows the fact that

1554
01:26:12.079 --> 01:26:16.279
Lennar Nimoy famously got his ears. Did you get a

1555
01:26:16.399 --> 01:26:18.720
chance to get your tu boc ears or did you

1556
01:26:18.840 --> 01:26:20.359
manage to get anything yourself?

1557
01:26:22.039 --> 01:26:25.439
Yeah, I got several sets of ears when we got

1558
01:26:25.520 --> 01:26:27.479
off the Before we got off the show, I had

1559
01:26:28.399 --> 01:26:30.079
a number of them, but I have auctioned them off

1560
01:26:30.239 --> 01:26:32.439
mostly for charity. That's what I used them for. So

1561
01:26:33.760 --> 01:26:36.239
I think I may have one set left, maybe two.

1562
01:26:36.520 --> 01:26:39.520
I'm not sure. I got a double check, but yeah,

1563
01:26:39.560 --> 01:26:41.439
I did get several. Yeah, absolutely.

1564
01:26:43.920 --> 01:26:47.600
Okay, Now I'm going to jump into some stuff. One

1565
01:26:47.640 --> 01:26:50.039
of the stuff I ran into surprising. I haven't got

1566
01:26:50.119 --> 01:26:53.640
a chance to watch any of it yet, but I'm

1567
01:26:53.760 --> 01:26:59.039
curious about your activity with Surge of Power. I know

1568
01:26:59.159 --> 01:27:02.279
you were unaware there's smoke, but how did you yeah

1569
01:27:02.399 --> 01:27:03.239
with that project?

1570
01:27:03.600 --> 01:27:06.239
That was that was just a buddy of mine, Jeff Belker,

1571
01:27:06.920 --> 01:27:11.119
Jeff Rector. Jeff Rector asked me uh to come in

1572
01:27:11.239 --> 01:27:14.359
and play the role, and that was it. I didn't

1573
01:27:14.399 --> 01:27:17.319
know anything about that project until he called me and

1574
01:27:17.399 --> 01:27:19.039
he just asked me to come and play this role

1575
01:27:19.159 --> 01:27:22.399
on on that project, and at the time I had

1576
01:27:22.439 --> 01:27:25.640
the I was available to go do it, you know. Uh,

1577
01:27:25.960 --> 01:27:30.119
and they're paying, so it's a gig, you know, And

1578
01:27:30.239 --> 01:27:33.039
I did it. I haven't I've only seen the trailer.

1579
01:27:33.159 --> 01:27:36.439
I haven't really seen the whole thing. I've only seen

1580
01:27:36.439 --> 01:27:40.199
the trailer, uh thus far, so I don't know how

1581
01:27:40.279 --> 01:27:43.840
it care. I don't know how it turned out. But yeah,

1582
01:27:43.920 --> 01:27:45.159
he asked me to come and do it. I just

1583
01:27:45.199 --> 01:27:47.520
did it. And I've done a number of projects that,

1584
01:27:47.880 --> 01:27:49.880
you know, a couple of indie projects here and there

1585
01:27:49.920 --> 01:27:51.479
that people have asked me to come and work on,

1586
01:27:52.279 --> 01:27:54.760
and I'll go do them, you know, if if I

1587
01:27:54.800 --> 01:27:57.920
have the time, and you know, the role's okay and

1588
01:27:58.039 --> 01:28:00.640
it's written decently enough, you know, I'll come in and

1589
01:28:00.760 --> 01:28:04.199
do it. You know. I'll may change the dialogue here

1590
01:28:04.239 --> 01:28:05.880
and there to it if I'm not crazy about it,

1591
01:28:05.960 --> 01:28:07.960
but you know, I'll if I have the time and

1592
01:28:08.000 --> 01:28:11.000
I like the project or the people are that are

1593
01:28:11.199 --> 01:28:13.720
shooting it or halfway what they're doing, I'll go and

1594
01:28:14.399 --> 01:28:17.279
do it. You know. Sometimes the indie projects can be

1595
01:28:17.359 --> 01:28:20.720
interesting because they aren't so much cookie cutter, like TV

1596
01:28:20.840 --> 01:28:22.439
is kind of cookie cutter. A lot of the roles

1597
01:28:22.479 --> 01:28:25.640
on television are all the same. But the indie projects,

1598
01:28:25.680 --> 01:28:27.720
the only thing about them is that they you very

1599
01:28:27.760 --> 01:28:29.600
often get a role that you get roles that are

1600
01:28:30.319 --> 01:28:32.840
outside the box. There's something different the kids. They're like

1601
01:28:32.920 --> 01:28:36.840
more character roles. So once in a while, I don't

1602
01:28:36.880 --> 01:28:37.640
mind playing those.

1603
01:28:37.920 --> 01:28:43.199
You know, well, I was interested because I caught that

1604
01:28:43.319 --> 01:28:46.079
one all of a sudden that got mentioned somewhere and

1605
01:28:46.079 --> 01:28:47.840
it's like, wait a minute, where did that's come from.

1606
01:28:47.920 --> 01:28:50.960
It's like it's not easy to sometimes find them. Sound

1607
01:28:51.079 --> 01:28:55.479
like it was an interesting little movies and series. Yeah, yeah,

1608
01:28:55.640 --> 01:29:00.279
they they Yeah, I mean it's it's a it's a

1609
01:29:00.439 --> 01:29:03.680
it's he's done a couple of them. I think that's

1610
01:29:03.760 --> 01:29:08.159
the second one, second or thing. I think it's more

1611
01:29:08.239 --> 01:29:10.760
than that. Plus there's some YouTube stuff on there.

1612
01:29:11.239 --> 01:29:14.039
Yeah, there's there's several that he's done, so he's got

1613
01:29:14.239 --> 01:29:17.640
he's got a a sort of a legacy or a brand,

1614
01:29:17.720 --> 01:29:20.000
if you want to call it. That. Of those projects,

1615
01:29:20.319 --> 01:29:22.079
that's not his first one. I think there's at least

1616
01:29:22.079 --> 01:29:24.600
three that he did, and this is like the third

1617
01:29:24.640 --> 01:29:28.720
one or something. I I said, I haven't watched it yet,

1618
01:29:29.840 --> 01:29:31.760
have I followed it. I'll check it out at some

1619
01:29:31.840 --> 01:29:33.439
point in time. I didn't have that much to do

1620
01:29:33.560 --> 01:29:35.399
in it. I was just I think it was only

1621
01:29:35.439 --> 01:29:36.199
one scene.

1622
01:29:37.520 --> 01:29:38.199
And that was it.

1623
01:29:38.479 --> 01:29:41.960
So got in and got out and there you go. Yeah,

1624
01:29:42.079 --> 01:29:44.479
I you know, it's you know, it's like I said,

1625
01:29:44.520 --> 01:29:46.479
a number of projects. There's a couple other projects that

1626
01:29:46.520 --> 01:29:49.720
I've worked on that I haven't seen either I don't

1627
01:29:49.720 --> 01:29:51.399
know if they've been released or just haven't had a

1628
01:29:51.439 --> 01:29:53.960
chance to watch them all. And once in a while

1629
01:29:54.000 --> 01:29:55.439
I get a chance to go to a screening of

1630
01:29:55.520 --> 01:29:57.199
one and I get the chance to see the whole thing.

1631
01:29:58.000 --> 01:30:00.800
So it's just, you know, they're all gigs. They just

1632
01:30:00.880 --> 01:30:02.039
come and go, you know what I mean.

1633
01:30:04.039 --> 01:30:04.239
Yep.

1634
01:30:04.359 --> 01:30:10.000
Oh, And I was wandering through Facebook and noticed, man,

1635
01:30:10.079 --> 01:30:13.760
I wish I was closer to Los Angeles. When I

1636
01:30:14.000 --> 01:30:17.960
see Tim Russ crew is back in the the Kid.

1637
01:30:18.079 --> 01:30:23.079
It's Room Fairvax Avenue, Los Angeles on Friday.

1638
01:30:23.760 --> 01:30:28.199
That's right, tomorrow night, tomorrow night. Yep, I'm there.

1639
01:30:30.720 --> 01:30:35.199
Yeah, ten thirty, same stuff that you were talking about before,

1640
01:30:35.359 --> 01:30:36.039
same style.

1641
01:30:37.199 --> 01:30:39.760
Yeah, basically the set. I mean, I'll I vary the

1642
01:30:39.840 --> 01:30:43.239
sets between gigs like if I do another gig next week,

1643
01:30:43.279 --> 01:30:44.600
I got to do a gig at the Doll Hut,

1644
01:30:44.640 --> 01:30:46.279
which is going to be a different type of set.

1645
01:30:46.800 --> 01:30:49.800
It'll be a little, i want to say, a little harder,

1646
01:30:49.800 --> 01:30:52.880
a little bit more rockish on that one, because it's

1647
01:30:52.920 --> 01:30:55.720
sort of like a it's an old truck driver biker

1648
01:30:55.800 --> 01:30:59.840
bar kind of thing. So it's a rowdier crowd, and

1649
01:31:00.560 --> 01:31:03.239
so I'll change up. The material that I do there

1650
01:31:03.359 --> 01:31:05.479
is different than what I do at Thekibbitts Room, So

1651
01:31:05.600 --> 01:31:09.199
it'll be a little bit, you know, pretty rock and stuff,

1652
01:31:09.239 --> 01:31:13.720
a little grittier type of music, but it still blues

1653
01:31:13.760 --> 01:31:17.399
blues rock in that vein. Yeah, I'll do that and

1654
01:31:17.520 --> 01:31:20.760
more up tempo at the at the Doll than here

1655
01:31:21.960 --> 01:31:24.119
the Kibbit's Room. I can do a variety of stuff.

1656
01:31:24.159 --> 01:31:26.479
It's pretty wide range that I'll do with the Kibbitz.

1657
01:31:27.079 --> 01:31:31.520
So yeah, yeah, well.

1658
01:31:32.119 --> 01:31:34.640
That's kind of performance. I wish you could pop into

1659
01:31:34.760 --> 01:31:38.399
Star Trek Las Vegas and join the rat Pack show

1660
01:31:38.479 --> 01:31:39.079
on Sunday.

1661
01:31:40.199 --> 01:31:44.560
I think, well, I think I've performed in Vegas this

1662
01:31:44.720 --> 01:31:47.760
past August, and I'll be performing probably this August coming up.

1663
01:31:47.800 --> 01:31:52.279
I think my band might be there we'll be performing

1664
01:31:52.920 --> 01:31:54.960
on the cruise ship that's coming up in February, the

1665
01:31:55.000 --> 01:31:59.199
Star Trek Cruise. But I just performed recently in Philadelphia,

1666
01:31:59.199 --> 01:32:01.439
and I'll reformed recently in Vegas in August. I was

1667
01:32:01.439 --> 01:32:04.199
there with the Roddenberryes, sitting in with them and the

1668
01:32:04.279 --> 01:32:07.199
action for so it was a hell of a lot

1669
01:32:07.279 --> 01:32:10.520
of fun that was. And again, all of the music,

1670
01:32:10.960 --> 01:32:13.000
basically most of the music I have is on Apple

1671
01:32:14.319 --> 01:32:17.600
and it's also on Amazon, so there's there's music people

1672
01:32:17.680 --> 01:32:20.159
can check out and you know, get an idea of

1673
01:32:20.199 --> 01:32:22.439
what the style is that I have and the songs

1674
01:32:22.479 --> 01:32:24.479
that I do as well. Like I said, some of

1675
01:32:24.520 --> 01:32:27.920
them mostly obscure B side covers or songs that I

1676
01:32:28.079 --> 01:32:31.560
that are like credit roles on a film. I might

1677
01:32:32.199 --> 01:32:33.840
hear something I like on a credit role on a

1678
01:32:33.880 --> 01:32:36.039
movie and I'll pick it off and I'll say, okay,

1679
01:32:36.119 --> 01:32:38.319
let me do my own arrangement of it. I do

1680
01:32:38.399 --> 01:32:41.119
a couple of mashups as well, which is two songs

1681
01:32:41.159 --> 01:32:44.439
sort of singing one song with a different songs groove

1682
01:32:44.520 --> 01:32:46.840
on top of it, so it's kind of different. I

1683
01:32:47.000 --> 01:32:48.680
do one of those. I do two of those actually,

1684
01:32:49.359 --> 01:32:53.199
So the stuff is pretty you know, it's eclectic and unique,

1685
01:32:53.680 --> 01:32:55.840
but it's not something you can't wrap your head around.

1686
01:32:55.920 --> 01:33:00.560
That's the thing. And it's not all my music. I

1687
01:33:00.560 --> 01:33:01.880
don't write that much music.

1688
01:33:04.680 --> 01:33:07.439
Missed the one with Rodden Berries.

1689
01:33:07.479 --> 01:33:11.920
I loved of see oh man that that show is crazy.

1690
01:33:13.079 --> 01:33:15.880
That's amazing. You gotta We're gonna be there, probably in

1691
01:33:16.000 --> 01:33:19.760
Vegas again in August, so you know, if I'm able

1692
01:33:19.800 --> 01:33:21.399
to make it. I'm not working on something. I'll do

1693
01:33:21.520 --> 01:33:23.800
there and I'll sit in with those guys gigging at

1694
01:33:23.840 --> 01:33:26.039
that place as well with them. It's a it's at

1695
01:33:26.079 --> 01:33:28.800
the Rio. We do a show I've done to the

1696
01:33:28.920 --> 01:33:31.520
last two years i've sat in with so be fabulous.

1697
01:33:31.800 --> 01:33:35.720
Yeah, I knew about the rat Pack. I didn't realize

1698
01:33:35.840 --> 01:33:38.359
a Rottenberry to something else too. So I'm going to

1699
01:33:38.520 --> 01:33:39.680
keep an eye on for that one.

1700
01:33:40.159 --> 01:33:44.920
Rodden Berries. I'll post. I'll post the videos now and then.

1701
01:33:45.079 --> 01:33:47.479
I have a couple of videos on my YouTube channel,

1702
01:33:48.520 --> 01:33:50.720
uh so you can check them out there. I've got

1703
01:33:50.760 --> 01:33:53.880
a couple of music videos on my YouTube channel. One

1704
01:33:54.039 --> 01:33:57.199
is called we w E and the other one is

1705
01:33:57.279 --> 01:34:01.159
called lead Me Home. Those are music videos very different,

1706
01:34:02.239 --> 01:34:05.640
like you know, on opposite ends of the spectrum in

1707
01:34:05.800 --> 01:34:09.520
terms of style and in terms of what the songs

1708
01:34:09.560 --> 01:34:13.680
are and what they're about. And those are on my

1709
01:34:13.960 --> 01:34:15.920
YouTube channel. You can look them up. Anyone who can

1710
01:34:16.000 --> 01:34:20.000
watch them lead me home as one of them, which

1711
01:34:20.000 --> 01:34:21.800
is the Blues number, and the other one is called

1712
01:34:21.840 --> 01:34:24.079
we and we is mine. That's my song.

1713
01:34:25.680 --> 01:34:28.880
Yeah, yep, I think at I think at the end

1714
01:34:28.880 --> 01:34:31.199
of the show, we need to get you to list

1715
01:34:31.279 --> 01:34:35.600
some of places we can find you. Oh, you're on YouTube.

1716
01:34:35.680 --> 01:34:37.920
I will pop up on YouTube definitely for that.

1717
01:34:38.840 --> 01:34:41.119
Yeah, I've been my name and you know we'll be

1718
01:34:41.239 --> 01:34:44.760
on there, the songs and things like that on YouTube. Yeah.

1719
01:34:46.840 --> 01:34:47.159
Okay.

1720
01:34:47.239 --> 01:34:49.920
Do you have any future projects that you're working on

1721
01:34:51.039 --> 01:34:53.520
or stuff coming up or you've just recently done that

1722
01:34:53.600 --> 01:34:54.479
you want to talk about.

1723
01:34:55.760 --> 01:34:57.479
Yeah, I've got a couple of my own, which is

1724
01:34:57.560 --> 01:34:59.920
one is a biopic which takes place in World War One.

1725
01:35:01.840 --> 01:35:03.720
I've got a producer on the ground in Europe right

1726
01:35:03.760 --> 01:35:07.239
now that's trying to work with the production company to

1727
01:35:07.239 --> 01:35:09.199
figure out where the budget's going to be. Round five

1728
01:35:09.239 --> 01:35:12.760
point five million, five point six And we are just

1729
01:35:12.880 --> 01:35:17.479
looking at a lead actor, potentially a good African American

1730
01:35:17.600 --> 01:35:21.520
lead actor for their lead role who is interested. I'll

1731
01:35:21.560 --> 01:35:25.840
be talking with him on Monday and we'll see if

1732
01:35:25.840 --> 01:35:28.800
he's interested. He played the villain in the Guardians of

1733
01:35:28.840 --> 01:35:32.479
the Galaxy, the third one, he played the lead villain,

1734
01:35:33.840 --> 01:35:36.760
so we're looking at him. Chuck Weldon, so he's interested

1735
01:35:36.960 --> 01:35:41.000
in playing the lead role in this film, so we're

1736
01:35:41.079 --> 01:35:44.920
looking at casting him for that and getting into development.

1737
01:35:45.000 --> 01:35:47.000
That's a heavy lift. It's a period piece, so it's

1738
01:35:47.000 --> 01:35:48.720
a heavy lift. It's going. It takes some prep to

1739
01:35:48.800 --> 01:35:50.960
get ready and in the right amount of money to

1740
01:35:51.000 --> 01:35:53.359
pull it off. And the other one is called Myth

1741
01:35:53.439 --> 01:36:01.800
which is a contemporary creature flick and it takes place

1742
01:36:02.039 --> 01:36:05.279
in the city would be any city, but it's takes

1743
01:36:05.319 --> 01:36:08.600
place today, but it's a creature flick based on Greek mythology.

1744
01:36:09.760 --> 01:36:13.239
And that is that's a Netflix budget of five million,

1745
01:36:13.279 --> 01:36:17.720
which should be hopefully we'll be shooting by spring or

1746
01:36:17.800 --> 01:36:22.079
summer this year. They're in the process of also trying

1747
01:36:22.119 --> 01:36:24.600
to get a cast member that Netflix really likes that

1748
01:36:24.640 --> 01:36:28.119
they've worked with. And it's in a slate of two

1749
01:36:28.199 --> 01:36:29.960
or three projects, so I think it's number two in

1750
01:36:30.000 --> 01:36:32.520
the slate two or two or three in the slate

1751
01:36:33.279 --> 01:36:35.319
movies that are going to do. So it's gonna that's

1752
01:36:35.840 --> 01:36:38.800
probably for sure going to happen. That's much closer to

1753
01:36:38.840 --> 01:36:40.880
happening than the other one is. So those are the

1754
01:36:40.880 --> 01:36:44.439
two projects I'm working on this year, and that'll be

1755
01:36:44.520 --> 01:36:47.880
for directions. Yeah, sounds fascinating.

1756
01:36:47.920 --> 01:36:49.960
I'm going to give you a back, Jim and see

1757
01:36:49.960 --> 01:36:52.079
if any of our hosts and any other questions.

1758
01:36:53.600 --> 01:36:55.760
Yeah. So, Tim, I have a question that was left

1759
01:36:55.800 --> 01:36:59.319
for us on our Facebook page through our talkback mic,

1760
01:37:00.079 --> 01:37:01.760
and so I'm going to play this question from this

1761
01:37:01.920 --> 01:37:04.880
fan for you. Let me queue it up. Here we go.

1762
01:37:08.800 --> 01:37:09.239
Where is it?

1763
01:37:09.479 --> 01:37:09.600
Hi?

1764
01:37:09.680 --> 01:37:13.520
This is Charlene from Washington. Mister Tim Russ. What was

1765
01:37:13.560 --> 01:37:17.039
your favorite episode on Voyager and if you could tell

1766
01:37:17.079 --> 01:37:19.520
us a little bit about some of the funniest times

1767
01:37:19.560 --> 01:37:23.920
you had filming here your scenes.

1768
01:37:24.800 --> 01:37:29.239
Well, there's a the episode that I would consider my

1769
01:37:29.359 --> 01:37:32.880
favorites actually doubles as some of the funniest because of

1770
01:37:32.960 --> 01:37:36.880
who I was working with. But I worked on Futures

1771
01:37:36.960 --> 01:37:38.960
End one and two was some of my favorites to

1772
01:37:39.000 --> 01:37:41.920
work on because we were outside the studio, which is

1773
01:37:41.960 --> 01:37:45.000
a nice break. Let me tell you, it was beautiful

1774
01:37:45.039 --> 01:37:49.000
spring weather in Los Angeles and we shot in several locations,

1775
01:37:49.039 --> 01:37:53.279
including the beach in civilian clothes, and I was riding

1776
01:37:53.319 --> 01:37:58.039
around with Robbie McNeil and Sarah Silverman comedian. So let

1777
01:37:58.119 --> 01:38:01.680
me tell you how much craziness that was to be

1778
01:38:01.720 --> 01:38:04.600
able to work with her for a solid week on

1779
01:38:04.760 --> 01:38:07.640
this show in all these different places in Los Angeles

1780
01:38:09.800 --> 01:38:12.760
on a very on a cool time travel sort of piece,

1781
01:38:13.880 --> 01:38:16.000
which I love time travel. I think it's fascinating. So

1782
01:38:16.920 --> 01:38:19.720
that was Those two episodes, Futures and one and two

1783
01:38:19.800 --> 01:38:23.760
were my favorite to work on. You know, from my standpoint,

1784
01:38:23.840 --> 01:38:26.720
I'm working on those episodes, so yeah, those are my

1785
01:38:26.800 --> 01:38:33.880
favorites to work on. Absolutely, I enjoyed. I enjoyed afterwards.

1786
01:38:34.039 --> 01:38:38.800
I think watching and listening to is Rise with Ethan

1787
01:38:38.840 --> 01:38:44.880
Phillips the episode Rise, I enjoyed that story. It was

1788
01:38:44.960 --> 01:38:48.000
kind of a thriller mystery and it was and it

1789
01:38:48.119 --> 01:38:51.439
was contentious between myself and Ethan Phillips character as we

1790
01:38:51.520 --> 01:38:53.840
try to figure figure out this you know who done it?

1791
01:38:54.000 --> 01:38:54.159
Thing.

1792
01:38:54.680 --> 01:38:58.159
It was very cool and I enjoyed watching that episode.

1793
01:38:59.000 --> 01:39:01.880
So both of those episodes were a couple of my favorites.

1794
01:39:04.520 --> 01:39:07.560
Tim Do you enjoy being in front of the camera

1795
01:39:07.720 --> 01:39:10.560
or behind the camera? Which is your favorite acting or directing?

1796
01:39:10.720 --> 01:39:14.880
Well, directing is I would prefer right now, only because

1797
01:39:15.479 --> 01:39:18.359
it's more of a challenge, you know, in the sort

1798
01:39:18.359 --> 01:39:23.439
of evolutionary scale of working in this business. It's more

1799
01:39:23.439 --> 01:39:25.840
of a challenge because you have the entire canvas to

1800
01:39:25.920 --> 01:39:28.680
work with, not just a piece of the canvas. And

1801
01:39:29.920 --> 01:39:33.640
the challenge to bring a scripted material to life, to

1802
01:39:33.720 --> 01:39:35.640
bring it on, to bring it on its feet, to

1803
01:39:35.680 --> 01:39:38.239
put it on his feet and see how it plays visually,

1804
01:39:38.800 --> 01:39:41.399
to transform that into a visual medium is really a challenge,

1805
01:39:41.399 --> 01:39:43.479
and I enjoy the creative challenge of being able to

1806
01:39:44.399 --> 01:39:46.680
be in control of all of that, which is why

1807
01:39:46.760 --> 01:39:50.279
I tend to lean towards working on independent projects, film projects,

1808
01:39:50.960 --> 01:39:53.640
because the director has a lot more say so about

1809
01:39:53.680 --> 01:39:56.520
how that film is going to turn out, as opposed

1810
01:39:56.560 --> 01:39:59.520
to working on episodic television. Episodic television is great money

1811
01:39:59.560 --> 01:40:02.239
and it's assistant, but you have to work for the

1812
01:40:02.359 --> 01:40:05.319
your shooting for the executive producer. Television is an executive

1813
01:40:05.359 --> 01:40:08.600
producers medium, not a director's meetium. The director is hired

1814
01:40:08.920 --> 01:40:12.199
to come on and shoot basically the same way that

1815
01:40:12.520 --> 01:40:15.600
all the other episodes are shot, and whereas on a

1816
01:40:15.640 --> 01:40:18.119
feature film. You can do whatever you want. It's wide open,

1817
01:40:18.239 --> 01:40:22.680
so creatively you have a lot bigger latitude and much

1818
01:40:22.760 --> 01:40:23.920
broader canvas to work with.

1819
01:40:26.600 --> 01:40:29.840
All right, Well, I think we're pretty much we're pretty

1820
01:40:29.880 --> 01:40:31.720
much done as Eric, or do you have an a

1821
01:40:32.359 --> 01:40:33.399
final question for Tim?

1822
01:40:33.520 --> 01:40:33.680
Eric?

1823
01:40:34.119 --> 01:40:35.920
No, I think we've taken enough of Tim's time. We

1824
01:40:36.159 --> 01:40:38.760
really really appreciate you being here though, and you've stuck

1825
01:40:38.800 --> 01:40:41.279
with us for so long and all of your You're

1826
01:40:41.279 --> 01:40:43.479
just so interesting to listen to. So thank you so

1827
01:40:43.640 --> 01:40:47.199
much for talking about Star Trek and talking about music

1828
01:40:47.279 --> 01:40:49.640
and all the other things. It's just really been a pleasure.

1829
01:40:49.760 --> 01:40:51.720
Thank you very much. Appreciate you having me on.

1830
01:40:53.119 --> 01:40:55.279
Thank you very much. Tim, have a good night.

1831
01:40:55.439 --> 01:40:56.560
Yes, thank you.

1832
01:40:56.680 --> 01:40:57.960
We got some dinner than you.

1833
01:40:58.239 --> 01:41:02.680
Yeah, man, interviewers, take care of yourself.

1834
01:41:03.239 --> 01:41:06.079
Thank you, thank you, thank you.

1835
01:41:07.079 --> 01:41:09.680
All Right, that was mister Tim Ross. A lot of fun. Fun.

1836
01:41:10.760 --> 01:41:13.880
That was so cool. He just so fun to listen to,

1837
01:41:14.319 --> 01:41:18.039
and so many different stories and like what a great like.

1838
01:41:18.800 --> 01:41:21.920
He just was willing to talk about anything, which is fantastic.

1839
01:41:22.520 --> 01:41:25.560
Yeah, sometimes I get lucky and I land a good guest.

1840
01:41:27.399 --> 01:41:28.439
Jimmy do a great job.

1841
01:41:28.520 --> 01:41:29.039
We all know that.

1842
01:41:31.359 --> 01:41:32.199
I love this guy.

1843
01:41:32.359 --> 01:41:33.359
He's just fantastic.

1844
01:41:33.560 --> 01:41:35.680
He does not hold back, he's.

1845
01:41:35.600 --> 01:41:36.920
Super sharp, he's just great.

1846
01:41:37.840 --> 01:41:39.560
I have to admit I had a little bit of

1847
01:41:39.600 --> 01:41:43.159
adrenaline right before I got on. I was like, yeah,

1848
01:41:43.279 --> 01:41:46.760
it was it was really fun. Though I enjoyed it

1849
01:41:46.960 --> 01:41:49.720
was it was definitely a really fun experience.

1850
01:41:50.680 --> 01:41:52.720
So i'd let you guys know what's what's going on.

1851
01:41:52.920 --> 01:41:54.600
We're going to be talking to the one and only

1852
01:41:54.920 --> 01:41:57.520
Nicholas Meyer on January.

1853
01:41:57.199 --> 01:42:01.399
Sixth, Amazing Star Star Trek four, Star Trek.

1854
01:42:01.359 --> 01:42:06.119
Six, Science advisor for Star Trek Discovery Season one, writer

1855
01:42:06.239 --> 01:42:09.199
of SETI Alpha just goes on and on and on.

1856
01:42:09.359 --> 01:42:12.039
So you guys can head over to Trek Talking dot

1857
01:42:12.119 --> 01:42:14.880
com and leave us a message. I will play your

1858
01:42:14.960 --> 01:42:17.119
question on the air like I just did for I

1859
01:42:17.239 --> 01:42:23.359
was it Charlene Charlie, So you can from wash. It's

1860
01:42:23.479 --> 01:42:26.800
that simple, guys, Just go ahead, who might requard your

1861
01:42:26.920 --> 01:42:29.239
question and then listen to it on the show. We'll

1862
01:42:29.279 --> 01:42:31.880
play it for mister Meyer right here on the show.

1863
01:42:32.960 --> 01:42:35.960
So that's coming up. I'm also I also talked to

1864
01:42:36.479 --> 01:42:38.960
the one and only Andy Bray who's in our chat room,

1865
01:42:39.479 --> 01:42:41.159
and we're gonna have Andy Bray on now that we

1866
01:42:41.279 --> 01:42:43.520
have this nice video thing that David can set up,

1867
01:42:44.159 --> 01:42:47.720
and we're gonna be talking about the Gorn. And Andy

1868
01:42:47.800 --> 01:42:51.840
did a really great Gorn skit was it a couple

1869
01:42:51.840 --> 01:42:55.520
of years ago and we played the audio on the show.

1870
01:42:55.760 --> 01:42:57.399
But now that we can play video, we're going to

1871
01:42:57.479 --> 01:43:00.479
revisit that again. Especially with the Gorn coming back in

1872
01:43:00.560 --> 01:43:03.680
the Cliffhanger for Strange New Worlds, I thought it might

1873
01:43:03.760 --> 01:43:06.279
be fun to revisit that again. So we're gonna have

1874
01:43:06.399 --> 01:43:09.960
Andy on and we're gonna do that as well, and

1875
01:43:10.439 --> 01:43:13.079
we're gonna be talking about Star Trek Discovery. We're gonna

1876
01:43:13.119 --> 01:43:14.520
go back and take a look at it. I think

1877
01:43:14.560 --> 01:43:17.720
it's been it's been off long enough for it to

1878
01:43:17.840 --> 01:43:19.800
sink in and settle in and just go back and

1879
01:43:19.920 --> 01:43:22.359
talk about it now that we've had a chance to

1880
01:43:22.520 --> 01:43:25.600
digest it. And we're gonna be talking about lot of

1881
01:43:25.720 --> 01:43:29.159
fan films as well in the future. So we have

1882
01:43:29.239 --> 01:43:32.920
about forty episodes to phill because there's no new Star Trek.

1883
01:43:33.560 --> 01:43:36.039
We are definitely going to be doing Section thirty one

1884
01:43:36.239 --> 01:43:39.520
on the thirtieth because Section thirty one premieeres on the

1885
01:43:39.600 --> 01:43:43.119
twenty fourth, which is our Friday, so we'll have a

1886
01:43:43.159 --> 01:43:46.840
whole week before we can talk about that, and we're

1887
01:43:46.840 --> 01:43:50.039
gonna do that. And yeah, so if you guys, if

1888
01:43:50.039 --> 01:43:51.800
you guys know anybody that would like to come on

1889
01:43:51.960 --> 01:43:54.199
the show, or if you have an idea, maybe you

1890
01:43:54.279 --> 01:43:57.119
know a comic book artist or an author or somebody

1891
01:43:57.119 --> 01:43:59.760
who's producing a fan film that wants to get the

1892
01:43:59.800 --> 01:44:03.079
work about, reach out to me on Facebook and set

1893
01:44:03.159 --> 01:44:05.760
that up. Will make it happen, because we're all about

1894
01:44:05.760 --> 01:44:07.239
the fans here, so.

1895
01:44:10.199 --> 01:44:11.680
Well, I want to post I want to make the

1896
01:44:11.760 --> 01:44:17.359
comment that if you think this audio sounded great, go

1897
01:44:17.600 --> 01:44:22.159
check out, come join Patreon, because we've got the live

1898
01:44:22.520 --> 01:44:25.359
We're going to be putting on a live video on

1899
01:44:25.560 --> 01:44:31.199
this as you see Tim talking about these questions, you

1900
01:44:31.279 --> 01:44:34.000
guys don't get to see the slide show that Jim

1901
01:44:35.119 --> 01:44:39.960
and David put together. That's right, Come on and come

1902
01:44:40.000 --> 01:44:42.880
on and help support the channel, and you can see

1903
01:44:42.920 --> 01:44:46.079
the live feed of vctually watching us as we're sitting here,

1904
01:44:46.119 --> 01:44:50.399
sitting here waiting to talk to Tim and all the

1905
01:44:50.560 --> 01:44:52.039
fun stuff that was going on.

1906
01:44:53.359 --> 01:44:55.359
And and just to tantalize you guys a little bit,

1907
01:44:55.439 --> 01:44:58.760
I do put out these little minute long clips from

1908
01:44:58.840 --> 01:45:01.000
the show with the videos included so you can see

1909
01:45:01.000 --> 01:45:03.680
what you're missing. If you head over to the Patreon page,

1910
01:45:03.720 --> 01:45:07.439
you can see the full video live and unedited. You'll

1911
01:45:07.520 --> 01:45:09.840
be asking yourself is it live or is at memorys

1912
01:45:09.960 --> 01:45:15.920
And David knows about that. So that's just we haven't

1913
01:45:15.960 --> 01:45:17.840
planned for you, guys that we have in store for

1914
01:45:17.880 --> 01:45:22.319
you coming up for twenty twenty five. We also got

1915
01:45:22.439 --> 01:45:25.039
to talk to John Simpson. I had to cancel that

1916
01:45:25.119 --> 01:45:28.960
show because my father passed away. He played He played

1917
01:45:29.079 --> 01:45:31.479
Sarah actually and starts with five to the Final Frontier,

1918
01:45:31.600 --> 01:45:33.720
what I think is one of the best Star Trek

1919
01:45:33.840 --> 01:45:37.520
movies ever. And we'll talk to him. I'll swing back

1920
01:45:37.600 --> 01:45:40.439
around and reschedule that. So we've got a lot in

1921
01:45:40.520 --> 01:45:43.520
the pike going. I'd like to bring back Comic Corner

1922
01:45:43.800 --> 01:45:46.039
if you guys would like to talk about some comic books,

1923
01:45:47.560 --> 01:45:49.880
because with the slide show technology, David can get a

1924
01:45:49.920 --> 01:45:52.239
really nice slide show up with the comic book pages

1925
01:45:52.279 --> 01:45:56.079
as we talk about the artwork and stuff, maybe book nook.

1926
01:45:56.800 --> 01:45:58.560
So there's a lot a lot of stuff going on.

1927
01:45:59.239 --> 01:46:01.560
So anyways, I just wanted to say thank you.

1928
01:46:02.800 --> 01:46:06.079
Let's say Jim the Fact is also something one little

1929
01:46:06.119 --> 01:46:11.840
features we've got one Patreon. Guess what. That Patreon got

1930
01:46:11.920 --> 01:46:16.760
an invite to come come as an audience and see

1931
01:46:16.840 --> 01:46:19.399
why the show is being produced. And he happens to

1932
01:46:19.439 --> 01:46:21.880
be a friend of the show, so he's getting some

1933
01:46:22.600 --> 01:46:27.119
he's getting a special feature just like just like our

1934
01:46:27.199 --> 01:46:30.199
Patreon God, we actually get to be there. He gets

1935
01:46:30.199 --> 01:46:34.399
see the show live. He's in the chat room. He

1936
01:46:34.880 --> 01:46:37.199
threw out a question. It's like, okay, I'll throw out

1937
01:46:37.239 --> 01:46:40.520
that question. But if you're in Patreon, we will have

1938
01:46:40.680 --> 01:46:43.199
special shows that will invite you to come visit.

1939
01:46:44.319 --> 01:46:47.119
Yeah, thank you for mentioning that, Charles. I forgot about that.

1940
01:46:47.359 --> 01:46:50.079
We do have the ability to go live on this

1941
01:46:50.279 --> 01:46:53.960
format right here with Riverside FM. It's a little bit

1942
01:46:54.079 --> 01:46:58.159
different than we used to have on blog talk, whereas

1943
01:46:58.279 --> 01:47:01.600
you can't come on with your voice because I could

1944
01:47:01.640 --> 01:47:04.359
only have so many cameras on at one time, and

1945
01:47:04.560 --> 01:47:06.680
with all of us and the guests, that pretty much

1946
01:47:06.840 --> 01:47:10.520
max is out. But if you're a Patreon, we can

1947
01:47:10.600 --> 01:47:12.479
give you an invite and you can go in the

1948
01:47:12.560 --> 01:47:14.600
chat room. You can chat with the other fans, you

1949
01:47:14.640 --> 01:47:18.840
can ask a question which Charles will relay, which he did,

1950
01:47:19.199 --> 01:47:21.680
and you'll be able to watch the show live with

1951
01:47:21.920 --> 01:47:24.680
us just as it's happening, which is at a little

1952
01:47:24.840 --> 01:47:29.439
perk that you can get if you are a Patreon,

1953
01:47:29.520 --> 01:47:33.159
So keep that in mind as well, because some stuff

1954
01:47:33.239 --> 01:47:36.039
happens behind the scenes with us, you know that you

1955
01:47:36.079 --> 01:47:39.279
don't get to normally see on the show. So with

1956
01:47:39.399 --> 01:47:41.079
any rate, I just want to say thank you to

1957
01:47:41.119 --> 01:47:43.319
Tim Russ. It was It was a blast to talk

1958
01:47:43.399 --> 01:47:46.520
to Tim. A lot of fun. And I want to

1959
01:47:46.520 --> 01:47:49.079
say thank you so much to Eric for hanging out

1960
01:47:49.159 --> 01:47:51.760
and talking with Tim tonight and helping us celebrate the

1961
01:47:51.960 --> 01:47:56.159
thirtieth anniversary of Star Trek Voyager. Thank you, Eric.

1962
01:47:56.560 --> 01:47:58.720
Absolutely, I can't believe I didn't know that it was

1963
01:47:58.760 --> 01:48:00.800
the thirtieth anniversary. That feels I feel like I need

1964
01:48:00.880 --> 01:48:03.039
to go out and get myself a drink to celebrate.

1965
01:48:03.439 --> 01:48:06.760
And that was tonight. That was that was right now tonight.

1966
01:48:06.840 --> 01:48:08.279
Now they're all closed.

1967
01:48:09.039 --> 01:48:09.479
Very cool.

1968
01:48:09.880 --> 01:48:12.199
Yeah, that was tonight. What an odd I mean, I

1969
01:48:12.239 --> 01:48:13.479
couldn't have planned it any better.

1970
01:48:14.279 --> 01:48:16.159
Sometimes glim what do you know?

1971
01:48:16.600 --> 01:48:18.359
And thank you so much to Paul for hanging out

1972
01:48:18.399 --> 01:48:19.960
and talking with Tim with us. It was great to

1973
01:48:20.000 --> 01:48:20.720
have you on. Paul.

1974
01:48:21.239 --> 01:48:24.520
Yeah, it's weird to think, uh, It's like I couldn't

1975
01:48:24.520 --> 01:48:28.239
believe it when you were mentioning the premiere, you know,

1976
01:48:28.359 --> 01:48:30.359
back in like ninety five, I'm like, oh my god,

1977
01:48:30.520 --> 01:48:31.720
U pn I remember that.

1978
01:48:31.840 --> 01:48:33.840
It was just like you know it was the fourth network.

1979
01:48:34.319 --> 01:48:38.000
Oh god, like predated, like it was like the first,

1980
01:48:38.199 --> 01:48:40.479
like one of the first of all of the like horrific,

1981
01:48:40.720 --> 01:48:43.920
you know, iterations of like you know, beyond network, like

1982
01:48:44.079 --> 01:48:48.319
the WB, right, I mean, just like in all this

1983
01:48:48.640 --> 01:48:49.720
crazy programming.

1984
01:48:50.319 --> 01:48:55.600
Oh gosh. Yeah, well you're welcome to it, brother, That's.

1985
01:48:55.479 --> 01:48:56.199
All I could say.

1986
01:48:56.399 --> 01:49:00.800
But just you WB had Buffy, Okay, come yeah.

1987
01:49:01.960 --> 01:49:04.760
If you like if you like commercials, it's great. If

1988
01:49:04.800 --> 01:49:07.520
you like fast food, it's awesome. But I was just like,

1989
01:49:07.600 --> 01:49:09.880
oh my god, I just had a flashback when when

1990
01:49:10.159 --> 01:49:13.920
when Jim said, you know, you being like, oh my

1991
01:49:13.960 --> 01:49:16.479
god something, what a great guest, Tim rust Thous, Oh

1992
01:49:16.560 --> 01:49:19.239
my god, it was just awesome. I mean just just

1993
01:49:19.439 --> 01:49:22.800
you know, guys like that, I mean, put them in

1994
01:49:22.880 --> 01:49:24.880
charge of everything, you know. I mean, it's just he's

1995
01:49:25.199 --> 01:49:26.279
super smart and aware.

1996
01:49:26.760 --> 01:49:27.119
President.

1997
01:49:27.640 --> 01:49:30.399
Yeah, I'd vote, I vote for him. He's great. I've

1998
01:49:30.439 --> 01:49:33.159
also reached out to Todd Stashwick, who played the dip

1999
01:49:33.239 --> 01:49:37.239
ship from Chicago and in season three of Piccard and

2000
01:49:37.359 --> 01:49:41.000
the big One is Kate Mulgrew. And hopefully our interview

2001
01:49:41.039 --> 01:49:43.720
with Tim Russ went well enough that Kate Mulgrew will

2002
01:49:44.079 --> 01:49:46.520
I'll be able to work that out, make that happen, Eric,

2003
01:49:46.680 --> 01:49:52.359
So fingers crossed for Eric. Yeah, that'll be fun. And

2004
01:49:52.800 --> 01:49:54.720
thank you so much to David for hanging out with

2005
01:49:54.880 --> 01:49:57.439
us and all the great work you guys noticed the

2006
01:49:57.479 --> 01:50:01.159
star Field effect and stuff that that David came up

2007
01:50:01.199 --> 01:50:04.279
with an outstanding job. He's a miracle worker for sure,

2008
01:50:04.800 --> 01:50:08.039
and now that we can see his face it's even better.

2009
01:50:09.439 --> 01:50:11.279
I have lots of docker. That's the true.

2010
01:50:11.680 --> 01:50:13.880
I thought he was working for Section thirty one in

2011
01:50:13.960 --> 01:50:14.640
the Shadows.

2012
01:50:16.760 --> 01:50:20.000
Yeah, I retired that job. Apparently I got some new

2013
01:50:20.119 --> 01:50:22.479
light to shine on for I guess I know it.

2014
01:50:22.560 --> 01:50:24.520
Works out good. And of course, thank you so much

2015
01:50:24.520 --> 01:50:27.159
to Charles for hanging out truck, talking with us, talking

2016
01:50:27.199 --> 01:50:29.720
with Tim, and for handling our Patreon page. Thank you

2017
01:50:29.840 --> 01:50:32.479
so much, Charles, Thank you very much.

2018
01:50:32.600 --> 01:50:35.079
It was great. And of course, as Andy said, don't

2019
01:50:35.119 --> 01:50:38.199
forget the w he WB had the singing frog.

2020
01:50:39.880 --> 01:50:42.279
WB. That's right, I forgot about that.

2021
01:50:42.560 --> 01:50:46.279
I'm still trying to forget that. You know, no one,

2022
01:50:47.039 --> 01:50:49.479
no one's nostalgic over that ship, let me tell.

2023
01:50:49.319 --> 01:50:54.520
You not, you know. And I want to I want

2024
01:50:54.560 --> 01:50:56.159
to say thank you to Andy for hanging out in

2025
01:50:56.199 --> 01:50:59.159
the chat room. And Ken is in there, and uh,

2026
01:51:00.199 --> 01:51:02.720
there's a couple of other invites I sent out to

2027
01:51:02.880 --> 01:51:05.720
people to give this, this a live thing a try,

2028
01:51:06.600 --> 01:51:09.760
and uh, how did it work out? Is Andy still

2029
01:51:09.800 --> 01:51:10.039
in there?

2030
01:51:10.159 --> 01:51:11.560
Charles and still there?

2031
01:51:12.119 --> 01:51:18.399
And did it work out? Well?

2032
01:51:18.479 --> 01:51:18.760
Andy?

2033
01:51:18.840 --> 01:51:21.479
I think it's this is something we should continue to do.

2034
01:51:23.520 --> 01:51:26.840
I mean, yeah, so I think that we will continue

2035
01:51:26.920 --> 01:51:30.680
to have that open during the show. You know, I

2036
01:51:31.000 --> 01:51:33.520
can only monitor so much, so Charles will be taking

2037
01:51:33.600 --> 01:51:34.439
care of the chat room.

2038
01:51:34.520 --> 01:51:38.239
But when I when all of a sudden, I we said,

2039
01:51:38.319 --> 01:51:40.720
nobody was there, and all of a sudden, it'said work here.

2040
01:51:40.800 --> 01:51:43.159
It's like okay, all of a sudden, I hit my button.

2041
01:51:43.199 --> 01:51:46.199
It's like, oh, there's not two people in the chat,

2042
01:51:46.319 --> 01:51:47.920
there's nine people in the chat.

2043
01:51:47.960 --> 01:51:53.800
It's oh great, yep. So anyways, I'm your most excellent host,

2044
01:51:53.920 --> 01:51:56.319
uncle Jim. Let me tell you it is cold here

2045
01:51:56.359 --> 01:51:59.399
in Vermont tonight. So I don't know about where you

2046
01:51:59.479 --> 01:52:01.439
guys are, but it's pretty cold here.

2047
01:52:04.239 --> 01:52:05.079
Chile in Vegas.

2048
01:52:06.119 --> 01:52:08.199
Yeah, you saw. Leah was here a minute ago, so

2049
01:52:08.239 --> 01:52:10.760
I'm looking forward to curling up in bed. She lays

2050
01:52:10.840 --> 01:52:13.159
right right next to me and keeps me warm. She's

2051
01:52:13.199 --> 01:52:17.039
like a little furnace. I just love my puppy dog. Anyways, guys,

2052
01:52:17.119 --> 01:52:20.399
I'm your most excellent host, Uncle Jim. And please everybody

2053
01:52:20.479 --> 01:52:23.920
stay safe and be good to each other. Hailing frequencies

2054
01:52:24.119 --> 01:52:30.119
are closed. Good night. Everybody here.

2055
01:52:33.680 --> 01:52:40.439
Ready for departure, sir? Some problem, right, I'm just hoping

2056
01:52:40.560 --> 01:52:43.960
this isn't the usual way emissions will go, sir. Oh no, no, what,

2057
01:52:45.199 --> 01:52:51.680
I'm sure most will be much more interesting. Let's see

2058
01:52:51.720 --> 01:52:52.439
what's out there.
Tim Russ