the job.
I looked at the pilot,
I saw an interesting,
uh, show...
and I saw the reason
why it didn't sell.
Everybody was taking themselves
so importantly...
Seriously.
So seriously, one,
and two is, there was no humor.
I guess they're related,
but it was ponderous
in that it went along,
along, along,
because everybody was
being out in space,
and the corollary of that
was there was no humor.
So, when I talked about that,
that was two things...
I don't know if you've ever
heard me talk about
the difference between
my playing
against Jeffrey Hunter
and playing against you.
Well,
you might find this interesting.
I've always said that one
of the reasons for the shift
in the Spock character
when you came on board,
was because when I was
working with Jeffrey Hunter...
Jeffrey Hunter
was a very internalized actor,
a very fine actor,
very intelligent man.
This was his style of work,
he was very internalized,
very thoughtful.
There's an old joke
about two actors
preparing to play a scene,
and one says to the other,
"What are you going to play
in this scene,"
and the fellow says,
"I'm playing nothing."
The other says,
"No, you can't play nothing,
I m playing nothing."
Ha ha ha.
So here's Jeffrey Hunter
playing this quiet,
internalized performance.
Ahh...
I felt the need
to help drive something
in opposition to that.
Otherwise,
we're both playing nothing.
And when you came on board
with your energy
and a sense of humor
and a twinkle in the eye,
I was able to then
become the core Spock.
You smiled in the first one
and never smiled again.
No, never again.
That's right.
And that is a tectonic shift.
And that required either
you worked from instinct...
the moment, and you realized
several days later,
"Hey I didn't smile,
and I'm not going to,"
or you planned it and said,
"I didn't like what I did there,
I think this is better."
No, I knew it was a mistake,
after the fact.
When I saw it, I thought,
it destroys a mystique,
it destroys the design
of this person.
This person smiling...
is not appropriate.
This person is not necessarily
a negative or dour person,
but this person is not
a frivolous person.
This person must be played
as a scientist
and a student
of what's going on.
But what is interesting
to me about that
is you chose to do...
to have the dignity
and the seriousness of purpose
that you talked about
being of yourself.
Yes.
You invested in the character.
You also carried that out
off-screen.
I couldn't help it.
We'd sit around the set
like this,
and I'd be telling
a joke about two actors
who said, "I'm playing nothing,
no, you can't."
And what would I do?
- You wouldn't laugh.
- No, no.
You would sit there
like you are now...
- I'd study it.
- You'd study it.
No matter how funny
I thought it was.
It was, uh...
Yeah, I had a problem with that.
I had a problem on weekends.
Ah, out of...
You play a character like that,
what, 8, 10, 12 hours a day,
days a week,
most of your waking life, then,
is in that character.
I found it very difficult
to turn it on and turn it off.
So, stepping out of the set
into a chair,
waiting for the next set-up,
I couldn't shift
out of it that easy.
Leonard, I'm going
to question you on that.
Okay.
Because it doesn't make
any sense to me.
Because you are
a professional actor,
and we know that we go to work,
we take on the character,
makeup, costume, wardrobe,
everything,
put on the voice,
put on the look,
try and make it real...
Cut! It's over!
A cup of coffee, cigarette,
"How are you doing?
What'd you do over the weekend?"
"End of day... Wrap!"
Take off the makeup,
Get a thing...
"Would you like
to go have a drink?"
"Would you like
to go to a party?"
"Okay, great..."
We carry on our lives.
Just because we're actors...
Your life went on, your real...
or the other life
of the non-actor...
Don't you carry home,
depending on the role
you'

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