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♪♪ [ Piano: Ballad ]
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♪♪ [ Continues ]
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00:00:21,000 --> 00:00:23,000
That's funny, isn't it?
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00:00:23,000 --> 00:00:27,000
Yeah. That's William Shatner
walking down the stairs
in my house.
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00:00:27,000 --> 00:00:28,000
That's pretty funny.
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00:00:28,000 --> 00:00:30,000
What are you
doing here?
What?
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How'd you get up there?
That's the question.
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I'm looking at the works of art
all around here.
The works of art.
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Your wife is a work of art.
Did you know that?
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I beg your pardon?
Your wife
is a work of art.
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No, that's her parents.
That's not me.
How's that go?
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I had nothing to do with that.
Really? You didn't
fashion anything?
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I beg your pardon?
The two of you together,
forming--
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The two separate
making a whole.
Oh, man.
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You know, now you're
a biologist too.
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00:00:53,000 --> 00:00:55,000
Bill Shatner.
Avery Brooks.
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Hey.
Long time coming.
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Yeah, man, you know,
I told you, this is--
this is new, baby.
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I've never done
such a thing.
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Avery
had the capacity...
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00:01:07,000 --> 00:01:09,000
to be so enigmatic.
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His intellect
and the way he phrases
and articulates his feelings,
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they're advanced.
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He's a big man,
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but with his presence
he seems enormous.
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He's bold. He's soft.
He's mellow.
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With Avery, I felt like there
was a way we were communicating
without speaking.
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Avery Brooks is jazz.
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I think about him
more than probably any actor
I ever worked with.
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I wonder about him more.
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He really is not
that complicated.
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It's just that he's deep.
[ Laughs ]
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I still try
to unlock the mystery...
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of who the hell
is Avery Brooks.
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[ Narrating ]I'm William Shatner,
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and we're going close-upwith Avery Brooks.
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Every time you look
at a human being...
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you see something
that you did not know,
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especially if you didn't
know him at all.
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And you say, "Oh.
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Oh, my."
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♪♪ [ Piano ]
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[ Shatner Narrating ]To try and describea man like Avery Brooks is...
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futile.
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He's not comfortablewith lines of demarcation.
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He is someonewho demands your attention...
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and then rewards youfor giving it.
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An enigma to some,
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Mr. Brooks is a man of multiple layers and talent.
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Musician,
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theater, filmand television actor,
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husband, father,professor.
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But it was his roleas Captain Benjamin Siskoon Star Trek: Deep Space Nine...
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that would bring him into millions of our living rooms..
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for seven successful seasons.
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But don't be fooled.
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Mr. Brooks has no intentionof allowing any one thing...
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to define him.
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I'm interested
in the equation of
life saving and life giving.
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Period.
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It doesn't matter
what I'm doing.
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[ Shatner Narrating ]Avery's first major televisionsuccess came in 1985...
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when he landed the role of Hak in the ABC television series
Spenser for Hire...
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and its spin-off,
A Man Called Hawk.
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But in 1992,
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he was offered the roleof Commander Benjamin Siskoin Deep Space Nine,
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00:03:30,000 --> 00:03:34,000
the third installmentof the Star Trek
television franchise,
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which would bring himworldwide fame.
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I asked Averywhy he took the role.
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I wanted to put my children
through college.
That's it. Got it.
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00:03:44,000 --> 00:03:46,000
That was part of it.
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That's not really
what it was.
Wait. Don't retract that.
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No, no,
I'm not retracting.
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I'm just going on to say,
because I read the pilot.
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That's what happened.
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00:03:55,000 --> 00:03:59,000
And I said,
"Oh. Well. Oh.
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This is very interesting
to me."
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00:04:02,000 --> 00:04:05,000
One of the things
that attracted me
about the Star Trek...
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was that I did not
have prosthetic makeup
on my face,
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that somewhere,
some 400 years hence,
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that I would be human.
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Completely human.
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And brown... too.
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See?
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That is a beneficent...
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fiction...
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born out of
the imagination...
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of how we can be.
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I think Avery-- his performances
and in his personal life--
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he... pays attention.
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And it's a very, um,
dignified quality of his.
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He doesn't just
communicate to you with words.
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It's--
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It's like life
is more complicated
and layered than that.
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And he sees all that.
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He sees the layers,
feels the layers,
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and he's trying to communicate
all of that to you
in the simplest way.
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00:05:05,000 --> 00:05:10,000
And it demands from you
that you be-- that you be
relaxed, open...
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and just be yourself.
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00:05:12,000 --> 00:05:15,000
Otherwise, he can see
right through you.
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00:05:15,000 --> 00:05:19,000
You know, when Armin and I
would do a scene--
Quark and Odo--
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we would sort of--
"Oh, I screwed it up."
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And the crew and everybody
would be talking
and doing their thing.
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00:05:25,000 --> 00:05:29,000
But when you would
get in scenes with Avery,
there was a, you know--
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00:05:29,000 --> 00:05:30,000
down to business.
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When he's on the set,
everybody pays attention.
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Everybody
brings their "A" game.
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Everybody makes sure
that they're not wasting
his time or their time.
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'Cause he's making sure
that he's on top of it.
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[ Shatner Narrating ]Avery Brooks's professionalacting career began on stage,
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00:05:49,000 --> 00:05:51,000
as do so many fine actors.
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00:05:51,000 --> 00:05:55,000
His critically acclaimedperformances in productionssuch as Othello and King Lear...
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00:05:55,000 --> 00:05:58,000
and Christopher Marlowe's
Tamburlaine...
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00:05:58,000 --> 00:06:01,000
have captivated audiencessince the 1970s.
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00:06:01,000 --> 00:06:04,000
But it is his portrayalof Paul Robeson,
116
00:06:04,000 --> 00:06:07,000
the famous singer, actorand civil rights leader...
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in a one-man show...
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that has perhapsresonated the most with Avery,
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who is dedicated to preservingthe legacy of this greathistorical figure.
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In 1919, Robeson became one ofthe first African-Americans...
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to graduate fromRutgers University.
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00:06:24,000 --> 00:06:29,000
Fittingly, Averywould graduate from Rutgersover a half a century later.
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Avery has a sense of...
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himself and his--
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00:06:36,000 --> 00:06:41,000
and pride in who he is,
where he comes from,
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00:06:41,000 --> 00:06:43,000
hat his view
of the world is...
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00:06:43,000 --> 00:06:47,000
and his view of
working as an artist.
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00:06:47,000 --> 00:06:50,000
And there is tremendous
dignity and pride.
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00:06:50,000 --> 00:06:52,000
You're a latter-day
Paul Robeson.
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00:06:52,000 --> 00:06:54,000
No, I'm not.
Yes, you are.
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00:06:54,000 --> 00:06:57,000
He was, obviously,
a hero of yours--
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00:06:57,000 --> 00:06:59,000
Yeah.
for a long time.
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00:06:59,000 --> 00:07:00,000
Yes.
Even as a kid?
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00:07:00,000 --> 00:07:02,000
Oh, sure.
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00:07:02,000 --> 00:07:06,000
That is to say that
I grew up understanding...
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00:07:06,000 --> 00:07:10,000
the-- the people
in the culture
who move us forward.
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00:07:10,000 --> 00:07:14,000
I mean, my-my--
my heroes
are my parents.
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00:07:14,000 --> 00:07:17,000
And then, moving through
the neighborhood,
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00:07:17,000 --> 00:07:20,000
through the community,
that's what I knew.
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00:07:20,000 --> 00:07:21,000
I listened
to the great music.
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00:07:21,000 --> 00:07:24,000
I listened
to great people.
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00:07:24,000 --> 00:07:26,000
I understood
who Paul Robeson was.
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00:07:26,000 --> 00:07:30,000
I understood who Nat Turner was.
I understood who
Denmark Vesey was. You see?
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00:07:30,000 --> 00:07:34,000
Did Paul Robeson influence
your playing of Star Trek?
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00:07:34,000 --> 00:07:39,000
If you want to talk about
in the sum of what I know--
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00:07:39,000 --> 00:07:42,000
Well,
what influences you.
Yes. Yes, absolutely.
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00:07:42,000 --> 00:07:45,000
Because without
Paul Robeson,
I'm not on Star Trek.
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00:07:45,000 --> 00:07:48,000
What do you mean?
That is to say
that I wouldn't be here.
149
00:07:48,000 --> 00:07:51,000
I wouldn't be there
without Brock Peters.
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00:07:51,000 --> 00:07:53,000
I wouldn't be there
without Canada Lee.
151
00:07:53,000 --> 00:07:55,000
I wouldn't be there
without Sidney Poitier.
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00:07:55,000 --> 00:07:57,000
I wouldn't be there
without William Warfield.
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00:07:57,000 --> 00:08:00,000
I mean, I could go on and on.
That's the fact of the matter.
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00:08:00,000 --> 00:08:03,000
But you're talking about
cultural acceptance
of black guys being--
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00:08:03,000 --> 00:08:08,000
I'm talking about Hollywood,
baby, the way it works.
Okay, Hollywood.
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And I am not
in any way...
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00:08:10,000 --> 00:08:13,000
fooled, cajoled...
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00:08:13,000 --> 00:08:17,000
to think,
by virtue of Star Trek
or any other reality,
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00:08:17,000 --> 00:08:20,000
that I am in
some other place.
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00:08:20,000 --> 00:08:25,000
I'm-- You know, I'm exactly
who I was before the fact.
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When Deep Space Nine began,
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00:08:27,000 --> 00:08:31,000
we all knew we were go
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00:08:31,000 --> 00:08:34,000
and to be honest,
at the beginning
we had no idea...
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00:08:34,000 --> 00:08:37,000
how we were gonna deal
with the character of Sisko.
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00:08:37,000 --> 00:08:42,000
Avery Brooks was
the first African-American lead
in a Star Trek series,
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00:08:42,000 --> 00:08:44,000
but he wasn't cast
as a captain.
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He was cast as
Commander Benjamin Sisko.
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When Mike and Rick
originally conceived
the character of Ben Sisko,
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the idea was to make him
a commander,
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00:08:55,000 --> 00:08:59,000
a younger-- younger man,
less experienced.
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00:08:59,000 --> 00:09:03,000
Pete Fields and I, at the time,
were the only two guys on staff.
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00:09:03,000 --> 00:09:08,000
We came on and we were
already developing stories
before the show had been cast.
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00:09:08,000 --> 00:09:13,000
And then suddenly
they were all excited about
this audition they had just had,
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00:09:13,000 --> 00:09:15,000
and it was with Avery Brooks.
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I'm thinking,
"Avery Brooks from Hawk?"
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And here's a guy who's not
in any way a young man--
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he's a man with gravitas...
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and, uh, strength.
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And we're thinking,
commander?
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Why isn't he a captain?
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00:09:32,000 --> 00:09:33,000
[ Shatner ]
I just thought,
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00:09:33,000 --> 00:09:37,000
I haven't treated Star Trek
with the seriousness
that I had when I made it.
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00:09:37,000 --> 00:09:43,000
I realize that all these...
jocular things that have
been said about me--
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00:09:43,000 --> 00:09:45,000
Yes?
185
00:09:45,000 --> 00:09:48,000
And I thought, "Maybe Star Trek
isn't all that good."
186
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When people come up to me
and said, "My life changed
because of what you did,"
187
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I would think,
"They don't really mean that."
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Well, I-I don't know.
189
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I can't make the case.
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00:09:57,000 --> 00:09:59,000
But, you know,
except for the spandex--
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When we did
that crossover thing,
you know--
192
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Uh, Lieutenant--
Benjamin Sisko,
sir.tenant--
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00:10:06,000 --> 00:10:08,000
I've been on temporary
assignment here.
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00:10:08,000 --> 00:10:11,000
Before I leave,
I just want to say...
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00:10:11,000 --> 00:10:13,000
it's been an honor
serving with you, sir.
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The uniforms--
I mean, Lord. Huh?
197
00:10:18,000 --> 00:10:21,000
Huh! No lunch.
That was no fun, baby.
198
00:10:21,000 --> 00:10:23,000
But you did it,
and you were good at it.
199
00:10:23,000 --> 00:10:25,000
Come on.
That's what you did.
200
00:10:25,000 --> 00:10:27,000
What did you do?
201
00:10:28,000 --> 00:10:31,000
As Cagney
talked about it,
you know,
202
00:10:31,000 --> 00:10:33,000
you spend a nickel
and take a chance.
203
00:10:33,000 --> 00:10:35,000
I go to work every day.
204
00:10:35,000 --> 00:10:36,000
You know?
Just like that.
205
00:10:36,000 --> 00:10:38,000
I'm not thinking
about anything...
206
00:10:38,000 --> 00:10:42,000
but, you know, looking
and talking to the people
who are in front of me.
207
00:10:42,000 --> 00:10:44,000
That's all I'm doing.
208
00:10:44,000 --> 00:10:47,000
He wasn't on a starship
that was going places.
209
00:10:49,000 --> 00:10:52,000
He was in a station
that was stationary.
210
00:10:52,000 --> 00:10:53,000
What some people
complained about...
211
00:10:53,000 --> 00:10:56,000
was that he seemed to be
nothing more than
a hotel director...
212
00:10:56,000 --> 00:10:59,000
because he was
dealing with problems
in the restaurant...
213
00:10:59,000 --> 00:11:01,000
or he was dealing with
problems in the engineering
side of things.
214
00:11:01,000 --> 00:11:04,000
The stories didn't go anywhere.
They couldn't go anywhere.
215
00:11:04,000 --> 00:11:07,000
Which is one of the reasons
that it was hard
for the writers...
216
00:11:07,000 --> 00:11:10,000
to write the kind of episodes
that Star Trek was known for.
217
00:11:10,000 --> 00:11:14,000
It seemed like we were doing
The Love Boat without the lov.
218
00:11:14,000 --> 00:11:18,000
Kirk and Picard
were so clearly defined,
219
00:11:18,000 --> 00:11:21,000
whether they were fighting or
whether they were negotiating.
220
00:11:21,000 --> 00:11:24,000
You understood
why they were doing it.
221
00:11:24,000 --> 00:11:28,000
They had to find different ways
to involve the characters
with one another.
222
00:11:28,000 --> 00:11:31,000
It became the first
Star Trek series
that was character-driven.
223
00:11:31,000 --> 00:11:34,000
Prior to that, it had always
been story-driven.
224
00:11:34,000 --> 00:11:39,000
I think Deep Space Nine
may end up,
of those series,
225
00:11:39,000 --> 00:11:43,000
being the most complex
in terms of the characters.
226
00:11:43,000 --> 00:11:48,000
Every character
had some big, strange
problem, you know.
227
00:11:48,000 --> 00:11:52,000
When we started the show
he had hair and no goatee,
228
00:11:52,000 --> 00:11:58,000
and that bothered him
every second of every day
that we filmed.
229
00:11:58,000 --> 00:11:59,000
He hated it.
230
00:11:59,000 --> 00:12:05,000
With Sisko, he started out
as a guy who had lost his ship,
lost his wife,
231
00:12:05,000 --> 00:12:09,000
was not happy to be
at the place where he was.
232
00:12:09,000 --> 00:12:13,000
That's asking the audience
to make a huge left turn...
233
00:12:13,000 --> 00:12:15,000
in getting behind
this character.
234
00:12:15,000 --> 00:12:20,000
And it was very difficult
for them to do that.
235
00:12:20,000 --> 00:12:23,000
And we didn't make it easy
for them, unfortunately.
236
00:12:23,000 --> 00:12:27,000
He loved the character.
He wanted this character
to be precisely proposed.
237
00:12:27,000 --> 00:12:31,000
The bald head with the goatee
was part of the look.
238
00:12:31,000 --> 00:12:35,000
It was part of the defining
of who this person was.
239
00:12:35,000 --> 00:12:38,000
People used to ask me,
how does it feel
to be a brown person--
240
00:12:38,000 --> 00:12:40,000
the first black captain?
241
00:12:40,000 --> 00:12:43,000
I can't think about that.
No. Absolutely not.
242
00:12:43,000 --> 00:12:45,000
- You know,
you're almost brown. Look.
- I am.
243
00:12:45,000 --> 00:12:48,000
- I don't know
how to ask the question.
- Go on. Go on.
244
00:12:48,000 --> 00:12:51,000
Is there an anger?
Is there any resentment?
245
00:12:51,000 --> 00:12:54,000
Yeah. I'm angry about
the condition of the world.
246
00:12:54,000 --> 00:12:58,000
Why don't we start there?
It has nothing to do
with color.
247
00:12:58,000 --> 00:13:00,000
The intellect that I've been
given as a human being...
248
00:13:00,000 --> 00:13:03,000
allows me to talk
about the world,
249
00:13:03,000 --> 00:13:07,000
not in terms of color,
but in terms of circumstance
of the human condition.
250
00:13:07,000 --> 00:13:09,000
That's where I begin.
251
00:13:09,000 --> 00:13:13,000
Now, you want to put it
in terms of television
and Hollywood and all that,
252
00:13:13,000 --> 00:13:16,000
that's what
they're looking at--
here, here, here, here.
253
00:13:16,000 --> 00:13:18,000
They want me to be this way,
and I'm not.
254
00:13:18,000 --> 00:13:21,000
I'm not the black dude
in the pink hat.
255
00:13:21,000 --> 00:13:23,000
And that's what's so interesting
talking to you now.
256
00:13:23,000 --> 00:13:27,000
I could sit here
and talk about, you know,
some resentment or some anger,
257
00:13:27,000 --> 00:13:29,000
and I don't have that.
258
00:13:29,000 --> 00:13:31,000
How we treat each other.
259
00:13:31,000 --> 00:13:34,000
I have the rage about that.
260
00:13:34,000 --> 00:13:37,000
- You're firing me?
- I have no choice, Benny.
261
00:13:37,000 --> 00:13:39,000
It's his decision.
262
00:13:40,000 --> 00:13:43,000
Well... you can't fire me.
263
00:13:43,000 --> 00:13:44,000
I quit!
264
00:13:44,000 --> 00:13:47,000
To hell with you...
265
00:13:47,000 --> 00:13:49,000
and to hell with Stone!
266
00:13:50,000 --> 00:13:52,000
- Try to stay calm, Benny.
- No.
267
00:13:52,000 --> 00:13:56,000
I'm tired of being calm.
Calm never got me a damn thing.
268
00:13:57,000 --> 00:13:59,000
[ Brooks ]
Chinua Achebe--
269
00:13:59,000 --> 00:14:02,000
Nigerian,
brilliant novelist, thinker--
270
00:14:02,000 --> 00:14:06,000
talks about two kinds
of imagination.
271
00:14:06,000 --> 00:14:09,000
One benevolent,
the other malevolent.
272
00:14:09,000 --> 00:14:12,000
A set of people should not
exist on the planet.
273
00:14:12,000 --> 00:14:15,000
It's fiction.
It comes out of the imagination.
274
00:14:15,000 --> 00:14:20,000
There is this benevolent way
of imagining humankind
and our world,
275
00:14:20,000 --> 00:14:22,000
and there's another way.
276
00:14:22,000 --> 00:14:24,000
And that is our history.
277
00:14:24,000 --> 00:14:27,000
You know, of mankind.
278
00:14:27,000 --> 00:14:29,000
That's our history.
279
00:14:29,000 --> 00:14:31,000
In the third season,
280
00:14:31,000 --> 00:14:36,000
I went to see Avery
do his one-man show
as Paul Robeson,
281
00:14:36,000 --> 00:14:38,000
and I was blown away.
282
00:14:38,000 --> 00:14:41,000
He had such a life force
in him.
283
00:14:41,000 --> 00:14:43,000
He was funny.
He was personable.
284
00:14:43,000 --> 00:14:46,000
You felt and empathized
with him.
285
00:14:46,000 --> 00:14:49,000
I went back
to the writers room and said,
286
00:14:49,000 --> 00:14:52,000
you know, it's not him.
287
00:14:52,000 --> 00:14:54,000
It's us.
288
00:14:54,000 --> 00:14:57,000
We're not doing justice
to the actor.
289
00:14:57,000 --> 00:15:01,000
It wasn't until they made him
the captain of the Defiant...
290
00:15:01,000 --> 00:15:03,000
that it totally changed it
for the writers...
291
00:15:03,000 --> 00:15:05,000
and for him as an actor.
292
00:15:05,000 --> 00:15:09,000
He was a captain now.
He could command a crew
on a ship,
293
00:15:09,000 --> 00:15:10,000
and they could
go places.
294
00:15:10,000 --> 00:15:12,000
And it totally
changed it.
295
00:15:12,000 --> 00:15:15,000
In my opinion,
after the third season,
296
00:15:15,000 --> 00:15:17,000
we had the most interesting,
297
00:15:17,000 --> 00:15:20,000
most multidimensional
captain...
298
00:15:20,000 --> 00:15:22,000
in the history
of the franchise.
299
00:15:22,000 --> 00:15:25,000
I think that what Avery
and the Emissary...
300
00:15:25,000 --> 00:15:28,000
and Sisko all brought
to Deep Space Nine...
301
00:15:28,000 --> 00:15:31,000
was a great deal of the reason
that the audience continued
to tune in.
302
00:15:31,000 --> 00:15:33,000
He was the Emissary.
303
00:15:33,000 --> 00:15:37,000
He had something to him
that was an incredibly deep
and rich part of the captain...
304
00:15:37,000 --> 00:15:40,000
that I don't think any
of the other captains had.
305
00:15:40,000 --> 00:15:43,000
He was a leader.
He was a father.
306
00:15:43,000 --> 00:15:45,000
He was a friend.
He was a lover.
307
00:15:47,000 --> 00:15:49,000
And he turned out
to be God.
308
00:15:50,000 --> 00:15:52,000
[ Brooks ]
You love Sisko.
309
00:15:52,000 --> 00:15:54,000
You love what
the writers did.
310
00:15:54,000 --> 00:15:55,000
Then you love
Gene Roddenberry.
311
00:15:55,000 --> 00:15:59,000
You have to keep going
to talk about the things
and how it was created.
312
00:15:59,000 --> 00:16:01,000
You say,
"Oh, Captain Sisko."
So what?
313
00:16:01,000 --> 00:16:04,000
I didn't write it. Hmm?
314
00:16:04,000 --> 00:16:07,000
I spoke the words.
I surely did.
315
00:16:07,000 --> 00:16:11,000
I'm a very small part
of this huge, huge thing...
316
00:16:11,000 --> 00:16:14,000
that was going on
long before me.
317
00:16:14,000 --> 00:16:18,000
And so I acknowledge
where that power comes from.
318
00:16:20,000 --> 00:16:23,000
[ Shatner Narrating ]In 1976, Avery becamethe first African-American...
319
00:16:23,000 --> 00:16:26,000
to receive a Masterof Fine Arts degree...
320
00:16:26,000 --> 00:16:29,000
in Acting and Directingfrom Rutgers,
321
00:16:29,000 --> 00:16:32,000
where he is currentlya tenured professorof theater...
322
00:16:32,000 --> 00:16:35,000
at the Mason GrossSchool of the Arts.
323
00:16:35,000 --> 00:16:38,000
I came from teachers.
That's true.
324
00:16:38,000 --> 00:16:41,000
My mother--
teaching 40-plus years
in public school...
325
00:16:41,000 --> 00:16:43,000
and teaching
private lessons.
326
00:16:43,000 --> 00:16:46,000
Choral music,
piano, organ--
all that stuff.
327
00:16:46,000 --> 00:16:49,000
And then my grandmother--
Mississippi--
328
00:16:49,000 --> 00:16:53,000
you know, 44, whatever
those years were.
329
00:16:53,000 --> 00:16:56,000
You know, so if I live,
330
00:16:57,000 --> 00:17:00,000
then perhaps-- longer--
331
00:17:00,000 --> 00:17:02,000
then I'll have
something to teach.
332
00:17:02,000 --> 00:17:05,000
But I'm not fooled.
333
00:17:05,000 --> 00:17:07,000
I've gained information,
and I'm really
interested in it.
334
00:17:07,000 --> 00:17:10,000
What information
are you learning
in this school?
335
00:17:10,000 --> 00:17:15,000
Well, it's the exchange
of the discovery,
isn't it?
336
00:17:15,000 --> 00:17:18,000
The discovery--
Discovery.
Discovery of self.
337
00:17:18,000 --> 00:17:21,000
Oh, really?
Indeed.
It's not that easy.
338
00:17:21,000 --> 00:17:24,000
The classes aren't dull,
even though I haven't been
teaching full time for a while.
339
00:17:24,000 --> 00:17:27,000
You know, I'm gonna
sit in front of somebody
and say what?
340
00:17:27,000 --> 00:17:29,000
I'm gonna tell you the truth.
I'm gonna ask you a question.
341
00:17:29,000 --> 00:17:31,000
"Are you telling the truth?"
342
00:17:31,000 --> 00:17:33,000
But how do I know?
No, no, no.
343
00:17:33,000 --> 00:17:35,000
That's the point.
You have to answer it.
344
00:17:35,000 --> 00:17:37,000
Well, I'll answer it,
but how do I know
it's the truth?
345
00:17:37,000 --> 00:17:40,000
And how to you know that,
if it were the truth,
that it is the truth...
346
00:17:40,000 --> 00:17:44,000
or that I'm trying
to make something up
to please teacher?
347
00:17:44,000 --> 00:17:46,000
It's based on
belief and faith
and all that stuff...
348
00:17:46,000 --> 00:17:49,000
which moves us
into this, you know,
349
00:17:49,000 --> 00:17:50,000
these other places
I'm talking about.
350
00:17:50,000 --> 00:17:52,000
And it is
the "highfaluting"--
351
00:17:52,000 --> 00:17:58,000
It is the high-reaching place
of human expression...
352
00:17:58,000 --> 00:18:02,000
that I know is at the base
of what I come from.
353
00:18:02,000 --> 00:18:04,000
It is not about the job.
354
00:18:04,000 --> 00:18:06,000
It's not about the award
or the thing.
355
00:18:06,000 --> 00:18:08,000
It's about expression.
356
00:18:09,000 --> 00:18:14,000
On any set, be it Star Trek
or any TV series,
357
00:18:17,000 --> 00:18:19,000
the star of the show
sets the tone.
358
00:18:19,000 --> 00:18:24,000
And I think Avery
set the tone...
359
00:18:24,000 --> 00:18:29,000
in terms of what he saw
the show being.
360
00:18:29,000 --> 00:18:34,000
We didn't play a lot
of practical jokes
and pranks,
361
00:18:34,000 --> 00:18:36,000
which surprised the fans.
362
00:18:36,000 --> 00:18:38,000
They expected that we were,
you know,
363
00:18:38,000 --> 00:18:42,000
just as crazy and wild
as The Next Generation.
364
00:18:42,000 --> 00:18:45,000
Sometimes
The Next Generation--
365
00:18:45,000 --> 00:18:48,000
on the other side
of the alley
at the studio--
366
00:18:48,000 --> 00:18:50,000
would finish while DS Nine
was still shooting.
367
00:18:50,000 --> 00:18:52,000
And they would come over,
and they couldn't believe...
368
00:18:52,000 --> 00:18:54,000
how different the attitude
was on the set.
369
00:18:54,000 --> 00:19:00,000
What we did have
was a seriousness
and an intensity.
370
00:19:00,000 --> 00:19:04,000
And I do think
that it came across...
371
00:19:04,000 --> 00:19:06,000
when you watched the show.
372
00:19:06,000 --> 00:19:11,000
The Deep Space Nine set
was-- was...
373
00:19:11,000 --> 00:19:13,000
a place where people worked...
374
00:19:13,000 --> 00:19:17,000
rather than went
to kid around and have "fun."
375
00:19:17,000 --> 00:19:20,000
But I will say
it was a very welcoming set.
376
00:19:20,000 --> 00:19:23,000
Avery Brooks
is the only person...
377
00:19:23,000 --> 00:19:26,000
that knew everybody's name
on the set.
378
00:19:26,000 --> 00:19:27,000
Seven years later,
379
00:19:27,000 --> 00:19:30,000
sometimes you don't know
who that guy, you know,
380
00:19:30,000 --> 00:19:32,000
hanging up there,
what his name is.
381
00:19:32,000 --> 00:19:33,000
Avery did.
382
00:19:33,000 --> 00:19:37,000
He called everybody out
by their first and last name.
383
00:19:37,000 --> 00:19:42,000
It made you feel like...
this is important,
what's going on.
384
00:19:46,000 --> 00:19:49,000
wrap it around that pain
and toss them both away.
385
00:19:51,000 --> 00:19:53,000
But it doesn't
work like that.
386
00:19:54,000 --> 00:19:57,000
Running may help
for a little while,
387
00:19:57,000 --> 00:20:00,000
but, sooner or later,
the pain catches up with you.
388
00:20:00,000 --> 00:20:02,000
And the only way
to get rid of it...
389
00:20:02,000 --> 00:20:06,000
is to stand your ground
and face it.
390
00:20:06,000 --> 00:20:09,000
I believe
everything is music.
That's exactly right.
391
00:20:09,000 --> 00:20:12,000
I've done so many things--
the Shakespeare Theatre
in Washington,
392
00:20:12,000 --> 00:20:15,000
doing Christopher Marlowe's
Tamburlaine.
393
00:20:15,000 --> 00:20:18,000
You know, the free verse
and the meter.
394
00:20:18,000 --> 00:20:19,000
It's so large.
395
00:20:19,000 --> 00:20:22,000
This wild, enormous piece.
396
00:20:22,000 --> 00:20:26,000
So how else can
I think about it
except in terms of music?
397
00:20:26,000 --> 00:20:29,000
I can't.
I opened in Tamburlaine.
398
00:20:29,000 --> 00:20:31,000
In the Winter Garden,
Stratford, Ontario.
399
00:20:31,000 --> 00:20:33,000
What year was that?
Middle '50s.
400
00:20:33,000 --> 00:20:35,000
Guthrie's.
Yeah, yeah, yeah.
401
00:20:35,000 --> 00:20:37,000
Yeah, it was my introduction
to American television.
That's great.
402
00:20:37,000 --> 00:20:39,000
They-They filmed it?
403
00:20:39,000 --> 00:20:41,000
No, but the producers
came to see it,
404
00:20:41,000 --> 00:20:43,000
and I got some notices.
405
00:20:43,000 --> 00:20:46,000
And that was how I got--
broke into TV.
Is that right?
406
00:20:46,000 --> 00:20:48,000
I didn't know that.
Out of Tamburlaine.
407
00:20:48,000 --> 00:20:50,000
I played Usumcasane,
your--
408
00:20:50,000 --> 00:20:53,000
Oh, Usum-- Yeah.
I remember that.
409
00:20:53,000 --> 00:20:55,000
Isn't that wild?
Is that an incredible
coincidence--
410
00:20:55,000 --> 00:20:56,000
that the two of us
played that piece?
411
00:20:56,000 --> 00:20:59,000
Unknown piece. Who's ever heard
of Marlowe's Tamburlaine?
412
00:20:59,000 --> 00:21:01,000
Actually, that we should not
have played it together.
413
00:21:01,000 --> 00:21:04,000
We should have.
[ Laughs ]
414
00:21:04,000 --> 00:21:08,000
That's Avery Brooks.
He hits the high notes.
415
00:21:08,000 --> 00:21:11,000
And he can pause
and leave everybody still.
416
00:21:11,000 --> 00:21:13,000
Most of us had
huge theater backgrounds,
417
00:21:13,000 --> 00:21:17,000
and I do think it made
a very big difference.
418
00:21:17,000 --> 00:21:21,000
Not just in
our discipline working,
419
00:21:21,000 --> 00:21:23,000
but also the way
we interacted.
420
00:21:23,000 --> 00:21:25,000
What's he gonna say next?
421
00:21:25,000 --> 00:21:27,000
What's he gonna do next?
422
00:21:27,000 --> 00:21:30,000
It was exciting
to work with Avery...
423
00:21:30,000 --> 00:21:34,000
because it was like
you showed up
for a tennis game,
424
00:21:34,000 --> 00:21:37,000
and suddenly a basketball
would come at you.
425
00:21:37,000 --> 00:21:40,000
That's how we watch him.
We don't know--
What's he gonna do next?
426
00:21:40,000 --> 00:21:42,000
We just love it though.
427
00:21:42,000 --> 00:21:46,000
Any scene-- especially
two-character scenes--
428
00:21:46,000 --> 00:21:47,000
is like a sport.
429
00:21:47,000 --> 00:21:49,000
And you're playing it
together...
430
00:21:49,000 --> 00:21:51,000
and you want to get
the volleys going.
431
00:21:51,000 --> 00:21:53,000
You're not competing
with each other.
432
00:21:53,000 --> 00:21:55,000
But you are demanding
of each other...
433
00:21:55,000 --> 00:21:59,000
that you deliver the goods.
434
00:21:59,000 --> 00:22:00,000
♪♪ [ Ballad ]
435
00:22:00,000 --> 00:22:03,000
♪ I'll be tired of you ♪
436
00:22:03,000 --> 00:22:06,000
[ Both Laughing ]
437
00:22:06,000 --> 00:22:08,000
♪ Not before dinner ♪
438
00:22:08,000 --> 00:22:09,000
♪ When ♪
439
00:22:12,000 --> 00:22:15,000
♪ Grass is tired
of growing ♪
440
00:22:16,000 --> 00:22:18,000
Oh, that's fun.
441
00:22:18,000 --> 00:22:21,000
♪ I'll be tired of you ♪
442
00:22:21,000 --> 00:22:26,000
♪ When music
reaches its end ♪
443
00:22:26,000 --> 00:22:29,000
♪♪ [ Vocalizing ]
444
00:22:29,000 --> 00:22:31,000
Go on.
445
00:22:31,000 --> 00:22:33,000
♪ Music goes on ♪
446
00:22:33,000 --> 00:22:35,000
♪ And so does my love ♪
447
00:22:37,000 --> 00:22:40,000
♪ The notes go on ♪
448
00:22:40,000 --> 00:22:43,000
♪ Then I'll be tired ♪
449
00:22:43,000 --> 00:22:45,000
♪ Of you ♪
450
00:22:45,000 --> 00:22:48,000
♪ Of ♪
♪ You ♪♪
451
00:22:48,000 --> 00:22:48,000
Here.
452
00:22:48,000 --> 00:22:50,000
♪ You ♪
453
00:22:50,000 --> 00:22:51,000
[ In Different Keys ]
♪ You, you, you ♪
454
00:22:51,000 --> 00:22:53,000
No, no.
It's right here.
455
00:22:53,000 --> 00:22:55,000
♪ You ♪♪
B-natural.
456
00:22:55,000 --> 00:22:57,000
You're not gonna keep
most of this stuff,
so it's okay.
457
00:22:57,000 --> 00:22:59,000
What are you talking about?
That's what
I'm talking about.
458
00:22:59,000 --> 00:23:02,000
This is a special.
It's horizontal.
It's your show.
459
00:23:02,000 --> 00:23:05,000
And it's horizontal.
That's how it works.
460
00:23:05,000 --> 00:23:07,000
I don't know
what our show is,
461
00:23:07,000 --> 00:23:11,000
and I think what
we're doing here
is monumental actually.
462
00:23:11,000 --> 00:23:13,000
It's certainly unusual.
463
00:23:13,000 --> 00:23:16,000
It's-- Yeah.
I'd say.
464
00:23:16,000 --> 00:23:17,000
Unique probably.
465
00:23:17,000 --> 00:23:20,000
[ Shatner Narrating ]Listening to him play...
466
00:23:20,000 --> 00:23:23,000
reminded me of oneof the best decisions...
467
00:23:23,000 --> 00:23:27,000
I made during the production of my documentary, The Captains--
468
00:23:27,000 --> 00:23:29,000
bringing Avery aboard...
469
00:23:29,000 --> 00:23:32,000
as the music supervisorfor the film.
470
00:23:34,000 --> 00:23:38,000
Mr. Shatner called and said
that he would like me...
471
00:23:38,000 --> 00:23:40,000
to do this music.
472
00:23:40,000 --> 00:23:42,000
[ No Audible Dialogue ]
473
00:23:42,000 --> 00:23:46,000
And then I said,
"Well, I know who I need.
474
00:23:46,000 --> 00:23:48,000
His name is Andy Milne."
475
00:23:50,000 --> 00:23:54,000
He's one of the finest pianists
that I have ever heard,
476
00:23:54,000 --> 00:23:55,000
whose virtuosity...
477
00:23:57,000 --> 00:23:59,000
is in no way an impediment...
478
00:23:59,000 --> 00:24:03,000
to the breadth of empathy...
479
00:24:04,000 --> 00:24:06,000
and feeling.
480
00:24:12,000 --> 00:24:15,000
Avery Brooks called me
and asked me...
481
00:24:15,000 --> 00:24:18,000
if I'd be interested
to score the music...
482
00:24:18,000 --> 00:24:20,000
for a documentary about
the captains of Star Trek.
483
00:24:22,000 --> 00:24:25,000
The next thing you know,
Bill Shatner gave me a call...
484
00:24:25,000 --> 00:24:27,000
and said, "Are you
ready to do this?
485
00:24:27,000 --> 00:24:29,000
And I said, "Sure."
486
00:24:32,000 --> 00:24:36,000
[ Brooks ] His facility
is an understanding
of the piano,
487
00:24:38,000 --> 00:24:41,000
you know, in a way
that it's both percussive...
488
00:24:41,000 --> 00:24:44,000
and this incredible orchestra
in your hands.
489
00:24:47,000 --> 00:24:50,000
[ Milne ] Avery and I
have known each other
for several years.
490
00:24:50,000 --> 00:24:52,000
I've been performing
with him in New York...
491
00:24:52,000 --> 00:24:54,000
and recorded on his CD.
492
00:24:54,000 --> 00:24:55,000
♪♪ [ Jazz ]
♪ You and I ♪
493
00:24:55,000 --> 00:24:58,000
I've improvised
many aspects of this...
494
00:24:58,000 --> 00:25:03,000
in sort of dialogue
with the characters
and the actors in the film.
495
00:25:03,000 --> 00:25:07,000
And that's different than
taking musical ideas
and preparing them...
496
00:25:07,000 --> 00:25:10,000
and coming to the studio
to record them.
497
00:25:10,000 --> 00:25:12,000
I think when I was young,
498
00:25:12,000 --> 00:25:16,000
acting was, for me,
the great escape.
499
00:25:16,000 --> 00:25:18,000
My parents would disappear
for a few days,
500
00:25:18,000 --> 00:25:22,000
go to New York,
see a Broadway show
and come back home---
501
00:25:22,000 --> 00:25:25,000
[ Shatner ]
We're putting music...
502
00:25:25,000 --> 00:25:28,000
to a film
as it is happening,
503
00:25:28,000 --> 00:25:30,000
extemporaneously.
504
00:25:35,000 --> 00:25:38,000
[ Brooks ]
So it's real--
real fat.
505
00:25:38,000 --> 00:25:40,000
[ Andy ] Avery and I are
working back and forth
throwing ideas at each other,
506
00:25:40,000 --> 00:25:42,000
and somehow
it's coming together.
507
00:25:42,000 --> 00:25:45,000
It's magic actually.
I think it's a really
interesting process.
508
00:25:45,000 --> 00:25:47,000
What register it was,
that doesn't matter.
509
00:25:47,000 --> 00:25:49,000
No, I'm talking about
higher in key.
510
00:25:49,000 --> 00:25:53,000
Okay. With a "B"?
Up a tritone?
511
00:25:53,000 --> 00:25:55,000
♪♪ [ Chord ]
512
00:25:55,000 --> 00:25:56,000
Yeah.
513
00:25:58,000 --> 00:26:03,000
So we're in the midst
of it now. Deep in it.
514
00:26:03,000 --> 00:26:06,000
Let's get into Vegas
actually.
Let's do the second thing.
515
00:26:06,000 --> 00:26:08,000
- [ Shatner ]
You wanna see Vegas?
- [ Brooks ] Yes. Correct.
516
00:26:08,000 --> 00:26:09,000
Let's tackle that one.
517
00:26:09,000 --> 00:26:11,000
[ Milne ]
Part of me
feels like we're--
518
00:26:11,000 --> 00:26:14,000
There's something historic
happening here.
519
00:26:14,000 --> 00:26:18,000
And it's, like, pretty cool
to be engaged in it, you know.
520
00:26:18,000 --> 00:26:21,000
We're thrilled with it.
Okay? You cool?
521
00:26:21,000 --> 00:26:24,000
I had fun.
That's great.
You're cool?
522
00:26:24,000 --> 00:26:25,000
Yeah.
Okay.
523
00:26:25,000 --> 00:26:27,000
So now pressing on.
What's the next one?
524
00:26:27,000 --> 00:26:30,000
[ Brooks ]
The unknown...
525
00:26:30,000 --> 00:26:34,000
is part of the wonder
of living, after all.
526
00:26:34,000 --> 00:26:37,000
What may be orthodox
for one...
527
00:26:37,000 --> 00:26:39,000
[ No Audible Dialogue ]
528
00:26:39,000 --> 00:26:42,000
is certainly not
orthodox for all.
529
00:26:45,000 --> 00:26:48,000
♪♪ [ Jazz Ballad ]
530
00:26:50,000 --> 00:26:52,000
Those great songs.
531
00:27:14,000 --> 00:27:16,000
Whoa.
532
00:27:17,000 --> 00:27:19,000
♪♪ [ Loud Chord ]
533
00:27:20,000 --> 00:27:22,000
♪♪ [ Quiet Chord ]
[ Laughing ]
534
00:27:22,000 --> 00:27:23,000
We could go on.
535
00:27:23,000 --> 00:27:26,000
We could.
We could tour.
536
00:27:27,000 --> 00:27:29,000
You know we could.
[ Laughing ]
537
00:27:29,000 --> 00:27:31,000
Thank you so much.
538
00:27:31,000 --> 00:27:33,000
It's great to see
that aspect of you...
539
00:27:33,000 --> 00:27:35,000
and to get to know
that part of you.
540
00:27:35,000 --> 00:27:37,000
Or to become acquainted
with it.
541
00:27:41,000 --> 00:27:43,000
Hey, man.
542
00:27:43,000 --> 00:27:44,000
Over the shoulder.
543
00:27:44,000 --> 00:27:46,000
[ Both Laughing ]
544
00:27:46,000 --> 00:27:48,000
Yeah.
545
00:27:52,000 --> 00:27:54,000
[ Brooks ]
The wonder of being alive.
546
00:27:54,000 --> 00:27:56,000
The wonder of possibility.
547
00:28:01,000 --> 00:28:04,000
That's what Mr. Roddenberry
created, et cetera.
548
00:28:09,000 --> 00:28:13,000
Not alone,
but that's what he did.
549
00:28:13,000 --> 00:28:16,000
And then the people took it.
550
00:28:16,000 --> 00:28:17,000
[ Laughs ]
551
00:28:19,000 --> 00:28:20,000
You admire so many--
552
00:28:20,000 --> 00:28:23,000
Like for example, people like--
Well, me, I admire Brando.
553
00:28:23,000 --> 00:28:25,000
- I admire you.
- I admire you.
554
00:28:25,000 --> 00:28:27,000
- Okay.
- All right.
555
00:28:27,000 --> 00:28:30,000
- But I've had no influence
on your work.
- No, you haven't.
556
00:28:30,000 --> 00:28:32,000
- But yes, you have.
- How?
557
00:28:32,000 --> 00:28:36,000
And-And this-- this moment
is what we witness.
558
00:28:36,000 --> 00:28:39,000
See? That's
the beauty of it.
559
00:28:39,000 --> 00:28:41,000
- The moment of--
- Yes. You and I.
560
00:28:41,000 --> 00:28:43,000
- Right now.
- That's it.
561
00:28:43,000 --> 00:28:45,000
- The interaction.
- I think so.
562
00:28:45,000 --> 00:28:46,000
And you will have
influenced me.
563
00:28:46,000 --> 00:28:51,000
I will take from
this conversation you...
564
00:28:51,000 --> 00:28:54,000
and will remember
essences of you
until I die.
565
00:28:54,000 --> 00:28:56,000
Yeah. You could also
play it back.
566
00:28:56,000 --> 00:29:00,000
- Not fully.
- [ Laughing ]
567
00:29:00,000 --> 00:29:03,000
"Who was your favorite
character?" Child asked me.
568
00:29:03,000 --> 00:29:05,000
Huh? What do you mean,
569
00:29:05,000 --> 00:29:08,000
who's my favorite character
in Star Trek?
570
00:29:08,000 --> 00:29:10,000
It's gotta be Sisko.
What?
46364
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