Feb. 13, 2026
Episode 672 - ADAM NIMOY interview

In this engaging episode of Trek Talking and Beyond, host Uncle Jim and his crew welcomes Adam Nimoy, son of the legendary Leonard Nimoy, to discuss his experiences in the Star Trek universe, his journey as a director, and the impact of his father's legacy. The conversation delves into the pressures of directing, the importance of humor on set, and the emotional connections that Star Trek fosters among its fans. Adam shares personal stories about his family dynamics, the significance of diversity and inclusion in Star Trek, and his future projects, all while reflecting on the passion that drives his work in filmmaking. In this engaging conversation, Adam Nimoy reflects on his father's legacy, Leonard Nimoy, and the cultural impact of Star Trek. The discussion delves into personal anecdotes, behind-the-scenes memories, and the relationships that shaped the series. The hosts celebrate the contributions of various Star Trek films and music, while also engaging with their fan community through birthday shoutouts and remembrances.
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Continue with the operation.
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You may have been ready and.
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Your skin and again it's gone insane.
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Local six Cops that Jim and nine need a fixed
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printly NBC that heavily cannot see, Bumblebee, Kaine and the Doctor,
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wrankling online, Old Bob sand World stories, Settle, Twisting, turn
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battle to cemita death of tashi Ya, Flash Gordon, but protest,
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don't person Clone Wars, James Holden, Tweaky, John conigainst talk
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about the series.
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You can join us up.
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Now about the series to series.
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Well, good evening, trek Is and Treks around the Globe.
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It's Thursday, February twelve, twenty twenty six. Welcome to episode
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six hundred and seventy two of Trek Talking and Beyond.
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I'm your most excellent host, Uncle Jim, and boy, we
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got a great show planned for you guys today. Before
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we go through bar, I like to go around and
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reduce all of my trek sports. First of all, I
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want to say hello to vv is out in Virginia.
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How you do it tonight?
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I am good and if I appear blue, I don't
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know why, but I am not an entorian. I just
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keep on fading in and out with being blue. I
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don't know why of all the nice to look weird.
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To her, you look fine to me. And we also
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have with us Eric. Eric is out in Portland. How
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you doing tonight?
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I am doing great, Jim. I'm pumped for tonight's show.
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Very excited to chat with Adam, so yeah, let's do it.
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Absolutely. We also have with us David. He's our miracle worker.
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He's out in Portland as well. How you doing tonight, Ic.
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I'm sorry, David, I kind of look.
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Like, yeah, I'm doing but a good. Uh yeah, I'm
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super pumped. Well, I can't wait to get in and
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talk to Adam and see how this goes. Welcome Adam.
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And last but not least, we have with us child.
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Child is not in Las Vegas. How you doing tonight, Child?
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I'm doing good. Long day. Great to get to some
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Trek talking finally.
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Yep, it's been a long time. So without any further ado,
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we have with us right now live. We have Adam
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Eymoy and he's the son of the legendary Leonard Nimoy,
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mister Spot that we all know and love from Star Trek.
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He's also the ex husband of Terry Ferrell. That's from
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Deep Space nine. A lot of Star Trek connections here.
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He was the assistant to nuss Meyer on the set
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of Star Trek sixth The Undiscovered Country, and later directed
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the Starts with the Next Generation episodes Rascals and Time Skate.
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He's the author of two memoirs about his life, career,
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and relationship with his father, My Incredibly Wonderful, Miserable Life,
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originally published in two thousand and eight, and The Most Human,
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published in twenty twenty four. And with that, yep, there
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we go. He's got the book right there and without
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and further ado, I would like to introduce Adam and
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welcome him to the show. Welcome to the show, Adam.
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Thanks for having me. Jim appreciate it.
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I got to tell a little story before we get started,
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because that's what I do. I tell stray so.
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End of mine.
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Jerry Silver was at a synagogue in all but in
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New York where you were speaking, and he talked to
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you and he got how to get in touch with you,
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which I did, and then later on ended up having
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you at a convention in Schenecting in New York at
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practice theater called Fandom Best, and I ran into you
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over there as well, and we've been trying to work
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out your appearance on the show ever since that time.
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So I'm very very glad that we were able to
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finally get you on the show. Thank you so much.
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And I want to ask you a question that I
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asked every guest that comes on the show. What did
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you think about our intro song?
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I mean, get covered all the bases, that's for sure.
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It's just some images of things I hadn't seen or
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thought about in years.
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That's what we try to do. We try to have
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some fun. So I wanted to ask I wanted to
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talk to you a little bit about you're directing because
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your father, other than being you know, known as mister Spock,
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was also a great director, and you followed in his footsteps.
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And I wanted to know what was it like to
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direct your father because you actually had the opportunity to
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direct him. So what was it like to direct your father?
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Well, it was a great experience, actually, I mean it
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was kind of a big turning point in my directing career.
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It was my third episode. It was the Outer Limits
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episode that we made together. It was a remake of
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an episode that he was originally in back in the sixties,
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I robot and he had a supporting role in that episode.
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At the time, you know, my dad and I were
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doing pretty well together and he was trying to help
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me with my career. And I had directed the two
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Next Generation episodes but didn't know where to go next
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to try to.
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Find a job.
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It's very competitive finding these jobs directing one hour dramas.
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And my dad said, well, you know, we noticed that
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they were rebooting Showtime was was was rebooting the Outer
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Limits series and and my dad suggested going to them
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and pitching the idea of of remaking that episode with
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him in the in the lead role. He would be
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attached to it if I was attached to direct, and
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they agreed. So we got a script together and he
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and I went up to Vancouver to shoot it.
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It was great working with him.
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You know, my dad had helped me a lot in
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transitioning from practicing law into directing TV. He had given
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me a lot of advice and we sat down and
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broke down you know, scripts, and.
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He gave me a lot of assignments to.
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Do, and he was very helpful when we were on
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the show on the Otter Limits. He was he was
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nice in that it was great in that he was
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giving me a lot of feedback and positive instruction without
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acting in a condescending manner in front of the cast
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and crew.
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A lot of it.
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He would take me to the side and make suggestions
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to me about ways to economize on filmmaking, which was
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a big part of what he was all about, how
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to get great film quickly and save time because we're
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under so much time pressure when we made this show.
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Watching some of your father's movies, you know, what have
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you What did you learn from him? And how is
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your style different from his?
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Well, you know, with my dad, it's always on the page.
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It's got to be on the page. That's the whole
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deal is it's not on the page, it's not going
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to be in the show. You can't make a show
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in post production. You can't make a good film in
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post production. Being very specific about what the script looks like,
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what the theme of it is. My dad was very
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big on I mean, I learned a lot from him.
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The other thing was what is my personal connection to
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the story. He always felt that it was important to
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find some some way to connect on a personal level
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to what is the story that I was telling.
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It's the same thing with Dad and Spock. The reason
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why I think.
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Spock was so successful is that he had a personal
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identification with Fox Spock being the ultimate outsider, as was Leonard,
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coming from this bubble of an existence in the West
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End of Boston, the son of Russian immigrants at the time,
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and how to break out of that and get into
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American society. My dad was very much the outsider as well.
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So that kind of connection to the story or the
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character is critical to help you better tell that story
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or better play that character.
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Excellent. And I also want to ask when you were
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directing Star Trek, did you feel any pressure directing Star
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Trek being the son of Leonard Nimoy or what was
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that like the direct Star Trek.
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Well, there's always pressure. I mean, you know, you don't look.
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I was observing on that Next Generation for an entire
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season before Rick Berman gave me an episode to direct.
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You know, I was on my own dime.
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I was just following directors around, and there were a
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number of terrific directors, most notably David Carson, who shot
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the pilot for Deep Space nine. You know, I really
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glommed onto him because I really liked his style and
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his his the way he prepared to direct episodes.
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You know, it's all in the prep.
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This is another big you know, Leonard Nemoy school of
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directing is that you got to really do your homework
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before you get there. And David, you know, Carson was
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very big on that, you know, very detailed in his
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notes and his blocking and edit lists, cut lists, I mean,
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uh and and so I had to learn from these
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guys before I even got the episode.
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Well, when I finally got the episode, it's nothing.
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You know, you don't know what it's like until you're
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in it, and and directing you know yourself and you're
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in the in the driver's seat, it's a whole different perspective.
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And there was a lot of pressure, you know, and
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I made a lot of mistakes. Frankly, it was my
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first job, and I thought I knew what I was doing,
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but I didn't really. I mean, I directed a lot
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of short move films and scene work and but and
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the cast and crew were very good to me because
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I knew them well having been there for a year prior,
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so everybody was pretty patient with me. The second episode
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was more problematic because it was near the end of
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that season, and you know, after twenty two episodes, people
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are just tired and they are not as patient, you know,
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as they would otherwise be when they're fresher when you're
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starting the season out.
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So it was more challenging.
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It was more pressure then to try to step up
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to the plate and make less mistakes.
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But you just.
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Inevitably you do make mistakes.
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So good learning experiences. So grateful to the cast and crew.
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Marvin Rush and Jonathan West, you know, really helped me
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out on those I loved the cast of the Next Generation,
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all those people were very kind to me. And uh,
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and but it wasn't really until the Utter Limits that
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I came more into my own as a director. Uh.
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You know, when I started working with my dad on
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that episode, that's when I felt more confident and even
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though I made mistakes still, but I had more of
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a sense of what the rhythm is and what I
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needed to do to deliver a successful episode.
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Well. Uh, it was, as Patrick start, really the jokester
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on the sets when they're filming, like as we've heard.
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Well, I think it's freaks. I think the Franks is
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the biggest jokester on the side. I mean he's yeah,
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he's no, it's Jonathan.
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No.
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Not.
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When I worked with him, it wasn't Patrick.
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Uh.
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And and when I was watching them, it was it.
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Look they were all into it. After several seasons of
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these shows, you know, uh, you're just looking to break
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up the monotony sometimes so uh. And they did that
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on the first season of the original series. You know,
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Bill Shatner was always trying to get my dad to
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crack up and break character. They all work basically, That's
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why did that walk on on that first season, you know,
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to try to get a letter to start, you know,
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to laugh a little bit. You know, everybody, it's very,
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very difficult work. And this is a big part of
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directing that I discovered is is to look for the
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joke and make light of it, and to try to
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have fun and to bring enthusiasm to the project and
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a sense of preparedness, you know. I mean I taught
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directing for eight years at the New York Film Academy
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I at in Burbank. And and the fact of the
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matter is directing is performance art. Your audience is the
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cast and crew on that show. They're watching you because
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they want to know if you know what the hell
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you're doing because you know, it's a lot. It's a
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lot of work that has to get done in whatever
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it is, anywhere from six to eight to ten days,
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depending on your budget, and it's a pressure. So we're all.
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You know, I'm always looking for the joke. And one
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of the things I posted was I did it. I
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did this show with Michael Madson and I was really
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under pressure on that show to deliver and perform. I
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was called Vengeance Unlimited, and I was nervous my first day.
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Before Michael came on.
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You know, that guy had a reputation, you know, is
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being a bad boy in Hollywood. You know, fast cars,
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