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

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

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

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

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

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

William Shatner sits down with Brent Spiner and Jonathan Frakes on Dropping Names and opens with the moment he still cannot let go of, the time Neil deGrasse Tyson answered him on camera by putting a hand in his face and pushing, hard enough that Shatner went backwards. From there he gets into the kidney stone a Canadian gambling company called him about a week after it was removed, the doctor who handed it back over, the seventy five thousand dollars it fetched at auction and the Habitat for Humanity house in Louisiana that money helped build. There is also the fresh cigar in Cabo San Lucas that put him on the cover of Cigar Aficionado, a full body scan at half past seven that morning, and a cardiologist telling him that two more years of medical advances buys him another ten.

He goes back to the early days too, to live television in New York when he was the twenty three year old with theatre training who could hit a mark and knew his lines while a camera the size of a bookcase rolled into his face, to Queens with a wife and a baby and a subway ride into town, to Harold Clurman nearly firing him from a play until Julie Harris intervened, and to Judgment at Nuremberg, where he sat at the lawyers table watching Judy Garland, Burt Lancaster and Spencer Tracy work. He talks about Yul Brynner on The Brothers Karamazov, Lorne Greene and Bonanza killing his series For the People in the ratings, Christopher Plummer coming back as a Klingon, and Brent remembering the Stephen Hawking poker game on The Next Generation. Then it turns to what he is chasing now, a podcast with his daughter, a Brad Paisley album, a heavy metal record, and a long conversation about feeding artificial intelligence the whole of human writing and what happened the night it wrote him a poem and he started to cry.

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

Leonard Maltin once walked Red Buttons over to say hello to Paramount's goodwill ambassador AC Lyles at Spago, and Red looked up and asked if he hadn't just been wondering whether AC was still alive. That is the register of this whole conversation, which finds Leonard and his daughter and podcast partner Jessie Maltin on Dropping Names with Brent Spiner and Jonathan Frakes, trading stories that only a man who reviewed films on Entertainment Tonight for thirty years and put his name on Leonard Maltin's Movie Guide could actually have. The centrepiece is the night Sammy Davis Jr. invited the Maltins up to Tower Road after a charity dinner, the gate swung open, a man at the door told them to let themselves in, and Leonard spent hours alone in Sammy's den studying the autographed photos, the Pac Man machine and the hole cut for the projection booth while the house stayed empty until nearly midnight.

There is also Katharine Hepburn in her Turtle Bay brownstone, talking freely about twenty seven years of never being seen in public with Spencer Tracy while an NBC publicist fumed off camera because nobody was discussing the television movie. Leonard describes being thirteen and finding Buster Keaton reading a newspaper in the back of a car near the Brooklyn Bridge on the Samuel Beckett shoot, getting a still signed and learning it was from Parlor Bedroom and Bath. He explains the strange on again off again decades with Burt Reynolds, who was convinced the bad reviews of Stroker Ace and Cannonball Run were personal, and Jessie remembers Matt Damon and Morgan Freeman shouting at Clint Eastwood through a junket door because he would not stop talking. Dale Evans came to Jessie's bat mitzvah in a wheelchair, Gloria Stuart came too, Fayard Nicholas taught her to dance, and the two of them close by talking about their new book, Family Movie Night, the first one credited to Maltin and Maltin.

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

Steven Weber joins Brent Spiner and Jonathan Frakes on Dropping Names to tell the story of taking over Leo Bloom from Matthew Broderick in The Producers on Broadway, opposite the acclaimed British actor Henry Goodman, who was abruptly fired about two weeks into the run for wanting to do something other than what Nathan Lane had done. Steven admits he was probably on the bubble himself, that he was doing an imitation of Broderick instead of finding his own Gene Wilder, and that the show was such a juggernaut you could have put two bowls of manure on that stage and the audience would have cheered. He also recalls Mel Brooks giving notes, sitting at the feet of Harvey Korman on Dracula Dead and Loving It with Leslie Nielsen and Amy Yasbeck, and Richard Kind currently grinding through Max Bialystok in London.

There is a lot more here from a career that runs from Wings with Tim Daly and Tony Shalhoub to Chicago Med with Oliver Platt and S. Epatha Merkerson. Steven talks about playing opposite Julianne Moore on As The World Turns when she was winning an Emmy playing her own twin, taking a gay lead in Jeffrey with Patrick Stewart in a pink beret and the moment a New Yorker on Christopher Street yelled Kirk at him, playing a Bajoran on Deep Space Nine, and watching Klingons smoke cigarettes on the Paramount lot. He performs the entire Tchaikovsky patter song from Lady in the Dark from memory, delivers his Burt Lancaster impression, the one that fooled Kevin Pollak into thinking he had found real archive tapes, and reads out the John Simon review that called him too comically homely for The Seagull.

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

Wil Wheaton joins Brent Spiner and Jonny Frakes on Dropping Names and starts with the movie everyone knows him for, Stand By Me, then keeps going to the part nobody talks about. He explains how a memo from David Gerrold about the kid from Stand By Me is the reason Wesley Crusher exists at all, and how narrating the Stephen King novella The Body four decades later triggered a full five senses flashback to the day they shot the Gordie and Chris scene, right down to River Phoenix in his eyeline and the boom operator in powder blue corduroy shorts. He also talks about the touring anniversary screenings with Jerry O'Connell and Corey Feldman, losing Rob Reiner, and standing in a tiny green room at the Oscars trying not to fall apart while telling Meg Ryan what Joe Versus the Volcano and When Harry Met Sally meant to him.

There is a lot more here than Star Trek: The Next Generation. Wil tells the story of meeting his hero Henry Rollins, recognising the Black Flag tattoo on the back of his neck, and then failing to get out of a locked recording studio door. He talks about the Family Ties job he lost to Star Trek, the director on The Buddy System who moved him around by the elbow while Susan Sarandon and Richard Dreyfuss looked after him, and the on set teacher Marion Fife who asked him what he wanted to do with his life when nobody else would. There is LeVar Burton blessing the podcast It's Story Time with Wil Wheaton, Ready Player One possibly being the best selling audiobook ever recorded, celebrity Jeopardy against Ike Barinholtz and Patton Oswalt, a public apology to Ken Jennings, his son Ryan growing wheat in the desert, and the line about Jonathan Frakes used to be cool that has followed Jonny around for thirty five years.

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

A few minutes in, Brent Spiner stops the interview cold to tell Noah Wyle, as a friend rather than a host, that The Pitt is the best thing on television and that Noah is the reason. The room changes right there, and what follows is two hours of shop talk between people who actually know each other. Noah is on Dropping Names with Brent and Jonny, and he takes them inside the ER of the mid nineties, where the casts were shooting ninety page scripts for a forty eight minute show and a young Steadicam operator in pyjamas reinvented what a television scene could look like. He remembers Quentin Tarantino turning up to direct an episode and inventing an entire unscripted piece of business about a slippery can of Diet Coke, a paper towel and a puddle for Sherry Stringfield to slip in, all of it worked out with the enthusiasm of an eight year old. He talks about the live episode, the Fail Safe broadcast with Richard Dreyfuss and George Clooney, and the moment he watched Tom Cruise walk into a rehearsal for A Few Good Men in a white t shirt and cowboy boots and understood what a star is.

The conversation keeps circling back to how The Pitt actually gets made: no dolly track, no lights on the floor, no sides, no phones, lighting dialled from a board offstage, a lending library on set with a rule against bringing rubbish, background performers living a fifteen hour patient journey behind him, and one of them hiding Harry Potter novels inside a prosthetic pregnant belly. Noah explains why the show has no score, and how two music free episodes of another series became the proof of concept, and why the cast all read and worked to a pay tier so a fifteen episode drama could be shot in Los Angeles again. Brent tells the story of the glass thermometer that ended his career as a hospital orderly at sixteen, Jonny brings up the Maasai village negotiators who outbid Noah's per diem while shooting The Librarians in Kenya, and there is David Crosby in a Malibu restaurant telling Brent's twelve year old son that his father is a hero all over the world. It ends with Noah telling Jonathan Frakes exactly what fifteen years of working together taught him, and it is not about directing.

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

Michelle Hurd sits down with Brent Spiner and Jonathan Frakes on Dropping Names and the first thing she gives them is her father. Hugh Hurd was 18 when he shipped out with a Black battalion in World War II, and he was one of the soldiers who walked through the gates of Dachau, where the prisoners who crawled out of hiding called the men who freed them black angels. Ten years later a hand reached out on a New York City bus to ask whether he thought a face like that could ever be forgotten. From there Michelle keeps going: her father in Shadows, the very first John Cassavetes film, Peter Falk pretending his glass eye had fallen out in Times Square, Godfrey Cambridge as her godfather, Maya Angelou raising money for Doctor Martin Luther King at cabarets her dad helped organize, and Hugh on Broadway in The Little Foxes with Elizabeth Taylor, who gave up her first class seat to go sit with the cast. She also explains why a Black father and a white mother sat their three daughters down in front of Star Trek every week so they could watch Nichelle Nichols take up space.

The rest is just as good. Michelle talks about playing Raffi Musiker on Star Trek Picard opposite Patrick Stewart and Michael Dorn as Worf, and Jonny confesses that he tried to make her look strung out for a scene and the makeup department told him she was simply too fine to ruin. She describes the survivor guilt of being the only member of the original Picard cast held over after the others were let go, and what Terry Matalas told her about why. There is a producer who once phoned to say their research proved a woman of color could only be taken seriously with straightened hair, which is exactly why Raffi has a mane of curls in the 25th century. There is Bruce Campbell climbing on top of the car from Ash vs Evil Dead to apologize to two hundred people, a story worth the whole episode on its own, and a Charles Bronson anecdote from Brent that lands as its perfect opposite. Plus her sister Adrian at Alvin Ailey, Sydney Sweeney and Glen Powell on Anyone But You, her husband Garrett Dillahunt on Deadwood, and a genuinely clear explanation from the secretary treasurer of SAG AFTRA about how actors lost their health insurance.

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