WEBVTT 00:14.700 --> 00:17.500 Well, I'm Andy Robinson and 00:17.500 --> 00:20.000 originally I'm from New York New England which is 00:20.000 --> 00:22.200 where my parents were moved around 00:22.200 --> 00:26.900 a lot when I was a kid. 00:26.900 --> 00:27.500 Well 00:27.500 --> 00:30.000 the career. 00:30.000 --> 00:31.300 We began 00:31.300 --> 00:33.700 when I got a Fulbright scholarship to study at 00:33.700 --> 00:36.400 the London Academy of Music and dramatic art 00:36.400 --> 00:38.400 in London, obviously, 00:38.400 --> 00:40.800 which was an extraordinary 00:40.800 --> 00:43.300 gift really from the United States government. 00:43.300 --> 00:45.700 Thank you very much. 00:45.700 --> 00:47.900 And it was that year while I was at 00:47.900 --> 00:49.700 Lambda 00:49.700 --> 00:50.700 incidentally lambdas. 00:50.700 --> 00:51.700 Also where 00:51.700 --> 00:53.700 Alexander siddig also went 00:53.700 --> 00:56.000 a lot of terrific people went there. 00:56.000 --> 00:57.800 It was during that year when I decided this 00:57.800 --> 01:00.000 is what I wanted to do for a living. 01:00.000 --> 01:01.700 I done, 01:01.700 --> 01:04.600 you know high school and college drama, 01:04.600 --> 01:07.200 but I didn't really think 01:07.200 --> 01:08.100 you know, 01:08.100 --> 01:10.200 this was in the late 50s early 60s that 01:10.200 --> 01:12.000 this was something that I could make a living 01:12.000 --> 01:12.200 at. 01:12.200 --> 01:14.900 It seemed like a rarefied profession, 01:14.900 --> 01:16.000 but when I got that 01:16.000 --> 01:18.000 Fulbright that that sort of brought it down to 01:18.000 --> 01:18.900 earth for me 01:18.900 --> 01:20.100 and 01:20.100 --> 01:24.900 never look back. 01:24.900 --> 01:26.600 It gave me a career 01:26.600 --> 01:29.000 and it 01:29.000 --> 01:31.900 effectively ended a certain part of my career at 01:31.900 --> 01:33.300 the same time. 01:33.300 --> 01:37.300 It ended a film career 01:37.300 --> 01:38.700 because 01:38.700 --> 01:41.000 I was not, you know, because of film and 01:41.000 --> 01:43.200 the nature of film and and that and that 01:43.200 --> 01:44.200 big 01:44.200 --> 01:47.200 screen and and the power of the image 01:47.200 --> 01:49.600 on the big screen. 01:49.600 --> 01:54.600 It makes such as such an effect on people 01:54.600 --> 01:57.700 and that in the business. 01:57.700 --> 02:02.800 once once you get associated with that with a 02:02.800 --> 02:06.700 character is defining and as strong as as the 02:06.700 --> 02:09.900 Scorpio killer people don't want to hire you for 02:09.900 --> 02:12.400 you know, the good guy for the poet for 02:12.400 --> 02:15.100 the dad, you know for the for the sympathetic 02:15.100 --> 02:20.200 character and therefore they'll hire you for the heavy 02:20.200 --> 02:23.600 but even then I was so identified with that 02:23.600 --> 02:27.800 one particular heavy because that particular kind of psychopathic 02:27.800 --> 02:30.000 What's the first of its kind really 02:30.000 --> 02:32.600 you had Richard Widmark you had a couple, 02:32.600 --> 02:33.900 you know 02:33.900 --> 02:37.100 harbingers of that character, but that was really the 02:37.100 --> 02:39.300 first postmodern 02:39.300 --> 02:42.100 psycho killer with no motivation. 02:42.100 --> 02:43.000 No history. 02:43.000 --> 02:47.100 No background just out there doing unspeakable things. 02:47.100 --> 02:48.300 So 02:48.300 --> 02:50.600 the only thing I got offered was more of 02:50.600 --> 02:51.300 that 02:51.300 --> 02:54.500 and so when I started turning down those because 02:54.500 --> 02:55.900 there's only so many of those that you know, 02:55.900 --> 02:56.800 the human, 02:56.800 --> 02:57.700 you know, 02:57.700 --> 03:00.700 Ian's and nervous system can take 03:00.700 --> 03:03.700 then that that was it 03:03.700 --> 03:06.200 and I went back to theater and and thank 03:06.200 --> 03:11.000 God there was television. 03:11.000 --> 03:13.700 I got the job on Deep Space 9 03:13.700 --> 03:16.500 because I didn't get Odo 03:16.500 --> 03:19.600 and it came down to I think three people 03:19.600 --> 03:21.100 Garrett Graham who 03:21.100 --> 03:22.900 later did lots of Star Trek 03:22.900 --> 03:24.000 obviously Rene 03:24.000 --> 03:25.800 auberjonois 03:25.800 --> 03:27.000 and myself 03:27.000 --> 03:28.000 and 03:28.000 --> 03:29.800 but they liked my audition 03:29.800 --> 03:30.800 a lot for Odo. 03:30.800 --> 03:32.800 So they asked me back for Garrett 03:32.800 --> 03:35.700 and the irony is 03:35.700 --> 03:36.700 I didn't want to go back. 03:36.700 --> 03:38.200 I thought well, they've already seen me 03:38.200 --> 03:39.600 what do they want me back? They've seen me 03:39.600 --> 03:40.800 several times for 03:40.800 --> 03:42.000 Of her Oda, what do they want to see 03:42.000 --> 03:42.700 me back 03:42.700 --> 03:43.600 this time for 03:43.600 --> 03:45.300 and it was my wife who convinced me to 03:45.300 --> 03:46.800 go to the audition. 03:46.800 --> 03:52.000 Thank God. 03:52.000 --> 03:52.900 They 03:52.900 --> 03:54.000 wanted 03:54.000 --> 03:56.100 a relationship for 03:56.100 --> 03:56.600 the better. 03:56.600 --> 03:57.000 Dr. 03:57.000 --> 03:58.300 Bashir character 03:58.300 --> 03:59.800 because they were trying it was that it was 03:59.800 --> 04:00.800 the 04:00.800 --> 04:02.800 first season and they were and they were trying 04:02.800 --> 04:05.800 to fit him into the flow of 04:05.800 --> 04:07.000 the show 04:07.000 --> 04:08.300 and 04:08.300 --> 04:10.500 they thought at the beginning that this would be 04:10.500 --> 04:13.200 an interesting relationship for basheer, but they weren't going 04:13.200 --> 04:14.400 to go any further with it. 04:14.400 --> 04:16.700 If it didn't work out between the two actors 04:16.700 --> 04:19.900 if there wasn't a certain amount of chemistry. 04:19.900 --> 04:20.800 I mean the 04:20.800 --> 04:22.000 from the moment 04:22.000 --> 04:23.900 we started acting get together. 04:23.900 --> 04:25.400 I mean that was 04:25.400 --> 04:27.100 that was no longer an issue. 04:27.100 --> 04:28.000 I mean I and 04:28.000 --> 04:29.600 and they actually loved 04:29.600 --> 04:35.500 this this this stuff would sit and I 04:35.500 --> 04:37.700 the only story that that really 04:37.700 --> 04:39.300 stays with me about 04:39.300 --> 04:41.000 in my experience with Deep Space. 04:41.000 --> 04:43.400 Nine is the very first time 04:43.400 --> 04:46.000 they put the makeup on me. 04:46.000 --> 04:47.900 I'm claustrophobic 04:47.900 --> 04:52.300 and the the makeup consists of seven prosthetic pieces 04:52.300 --> 04:54.000 plus 04:54.000 --> 04:55.200 a paint job. 04:55.200 --> 04:57.900 That would make Earl Scheib envious 04:57.900 --> 04:58.900 plus 04:58.900 --> 05:01.200 a costume that is built 05:01.200 --> 05:02.100 on 05:02.100 --> 05:04.700 the material that you make 05:04.700 --> 05:05.300 a post. 05:05.300 --> 05:07.100 Tree, 05:07.100 --> 05:08.300 so, it doesn't breathe 05:08.300 --> 05:09.600 nothing breathe. 05:09.600 --> 05:12.000 So it's like it's like being put in in 05:12.000 --> 05:15.400 a sense in this sort of like mobile coffin 05:15.400 --> 05:18.200 where you're just inside all of this stuff looking 05:18.200 --> 05:19.200 out 05:19.200 --> 05:20.500 and they put it in 05:20.500 --> 05:22.900 and they put it on me and I really 05:22.900 --> 05:25.100 had an attack and I thought 05:25.100 --> 05:26.300 I'm not going to be able to do this 05:26.300 --> 05:26.500 side. 05:26.500 --> 05:28.200 You know, I don't know how I can get 05:28.200 --> 05:29.400 out of this but you know, 05:29.400 --> 05:31.100 I was really going to call my agent and 05:31.100 --> 05:32.800 say listen, I you got to get me out 05:32.800 --> 05:35.200 of this because this is this is physically not 05:35.200 --> 05:37.400 possible for me. 05:37.400 --> 05:39.100 I looked in the mirror 05:39.100 --> 05:41.900 and I saw this creature facing 05:41.900 --> 05:43.800 staring back at me 05:43.800 --> 05:46.100 and I thought this is extraordinary. 05:46.100 --> 05:48.800 I have never seen anything like this. 05:48.800 --> 05:51.200 This is an actor's dream 05:51.200 --> 05:53.200 to be able to do a carrot to be 05:53.200 --> 05:55.800 inside of a character that looks 05:55.800 --> 05:58.500 like this. 05:58.500 --> 06:00.300 Claustrophobia one away. 06:00.300 --> 06:02.900 I never really had another attack for the further 06:02.900 --> 06:03.900 for the seven years. 06:03.900 --> 06:05.700 Although there were a couple of long days and 06:05.700 --> 06:07.600 you know, one of those 16 18 06:07.600 --> 06:10.500 hours Star Trek days that occasionally happened where I 06:10.500 --> 06:14.900 it got pretty old. 06:14.900 --> 06:17.800 the beautiful thing about doing gerecke 06:17.800 --> 06:20.200 was how the writers 06:20.200 --> 06:23.400 increasingly fell in love with the character 06:23.400 --> 06:24.300 and 06:24.300 --> 06:26.600 and they told me that they re every time 06:26.600 --> 06:29.900 there was an episode that included Garrick 06:29.900 --> 06:32.700 that sort of quick and their juices and and 06:32.700 --> 06:34.700 they and they wrote 06:34.700 --> 06:35.700 beautifully form 06:35.700 --> 06:38.000 and also they also picked up on 06:38.000 --> 06:39.400 business that I would 06:39.400 --> 06:42.500 I would I would come up with behavior 06:42.500 --> 06:44.600 and and amplify that and 06:44.600 --> 06:47.200 In the next script, I would see something that 06:47.200 --> 06:49.100 you know a piece of business or piece of 06:49.100 --> 06:50.000 behavior 06:50.000 --> 06:52.300 that I had pulled out of the bag in 06:52.300 --> 06:53.600 the previous episode.