Colin Hanks

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Colin Hanks

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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.
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