By Jackie Edwards

Daryl Baskin is a veteran editor on both Star Trek: The Next Generation and later Star Trek: Voyager.

STC: Daryl, how did you get your start editing for Star Trek?

DB: I was working on a series called Sledgehammer, a half-hour comedy. And there was a rumor that there was an open cattle call for assistant editors for Star Trek: The Next Generation. They were looking for anyone who knew the Montage system, which is what they were cutting on at that time.

So I came over; I was working right around the corner, I hand-delivered my resume to Peter [Lauritson, post-production producer]. He called me the next day and said, no thank you, you don't have enough experience. I'd only been working for a few years and so I did not get the job. He and Rick Berman hired the editors, [current editing producer] J.P. Farrell] being one of the editors then -- and editors get to hire their own assistants. So, J.P. hired me.

STC: Why do you think J.P. hired you when Peter didn't?

DB: Well, Peter was going strictly by my resume. He wanted someone with more of a film background and someone with more experience. J.P. hired me ... well, this is kind of a funny story: At Laser Pacific, J.P. Farrell (at that time I didn't know that he was an editor because he worked for the lab as the go-between from electronic editing to film) was this man I saw each day and thought he was just a suit-and-tie person. So when he called and asked if I wanted to be an assistant editor, I said, are you an editor? And he said yeah, I've been doing this 20 years. I asked him, why do you want me? And he said well, I know of your reputation. And that was it. We didn't know each other at all. He wanted someone he could count on, and basically being an assistant on the Montage wasn't that difficult of a job. So I got it. And it's 12 years later.

Bob Justman (original supervising producer, ST:TNG) asked me to cut the gag reel for the wrap party the first year and he said, "On the first series when I asked an assistant to cut the gag reel, we promoted him to editor a few years later. I can't promise that with you, but will you cut the gag reel?" So I did two gag reels, two years in a row. But it took me six years to get bumped up here because it was such a great job for editors, no one ever left! I watched assistants leave "The Next Generation" and then get bumped up right away on those shows. ?(but) I liked the stability (here); I liked being able to take a hiatus. So I stuck it out and on the seventh year of The Next Generation I got bumped up to editor because J.P. got promoted to supervising editor of both shows, The Next Generation and Deep Space Nine. That's how I got started... well, that's how I got started in this job.

STC: But how did you get started into editing in the first place?

DB: I went to school at Cal State-Northridge as an RTVF [Radio, Television & Film] major but I was still lost and I thought I was going to end up at ABC in the mailroom. I wanted to be an agent, but it just didn't work out. And then, two weeks after graduating, I got a job as a PA [production assistant] at a small production company in Hollywood  and that was it. That was my schooling, because I never took a film class in college! Editing wasn't a choice for me; I didn't know anything about it... I didn't even want to do it. I never did a student film. I fell into this. When you're in a small company you get to try a lot of different things.

STC: What was the company?

DB: Andrew Solt Productions — he was "clip show" king, he did the Honeymooners specials, the Muppet anniversary specials, a lot of Disney specials... he's done a few feature films; something with John Lennon, something with Elvis. So 2 1/2 years at that company was my education in filmmaking.

STC: And from there you just decided you liked editing...?

DB: No! I hated it! Because it was freelance work with Disney material and one man's opinion, I watched editors work very hard with no script. At that time they were doing almost music videos... so they'd create something that was wonderful and they'd show it to Andrew Solt, who'd say, "I don't like it — start over."

STC: Oh, that's great.

DB: Yeah, it's all subjective. So when I left that company and got an ABC After School Special, that was the first time I worked on something that actually had a script. And that was directed by Anson Williams, his second directorial project. It was called Toma: The Drug-Not. ABC liked it so well that they never aired it as an after-school special, they aired it in prime time! It starred Tracey Nelson. But it was my first experience of seeing where an editor can follow a script, work with a director, and then it goes on TV! It changed my whole outlook. I said, well that I could do. And that was it — that's when I learned the Montage and I got in the union, and then I got Sledgehammer and then I got this job. That's how I got started.

STC: What's a typical day for you?

DB: Stress!

STC: Stress is a typical day?

DB: A lot of it's internal stress. Deadline stress. A typical day?... I'll give you a typical month. There are three editors here and we don't share shows, there's a rotation. When we have overlapping shows, Bob Lederman might have a few days off and I've got two shows I'm trying to work on. He won't come in and help cut my new show, so if they shoot for seven days, that means I have dailies (a prior shooting day's raw film) for seven days. So for seven days of the month I cut dailies. Then I'm alone for two days putting it in first cut and then on the third day a director walks in the room and sees it for the very first time. Then we're with the director for three days and then with J.P. for four days and Rick Berman for two days and then it on-lines (gets ready for post-production music, sound, FX) and the next day you start your new show. So it's really a typical month: nine days you're cutting, three days with the director, four days with J.P., and two days with Rick ... boom, it's your next show. It's a factory. It depends on if it's a director day or a Rick day...

STC: So which of those... nine days, four days, etc., is the most stressful?

DB: That's a good question. For me it's always dailies. For Tom [Benko, the third editor] and Bob, it's not; they seem to be faster — they come in, they cut, they go home. I don't know how they do it. They just throw it in the air and it comes down cut. I come in here and sweat bullets. A lot of times it's because of overlapping shows. Like right now: I just had to call a director who thought he was coming in today and I had to tell him he's coming in on Monday because I had to go back to my last show — that show was short and new scenes had to be shot and cut. I don't like to tell somebody, gee, I can't keep up the schedule ... I think it makes me look bad, but it's not my fault.

STC: And is that because they have to go back and fill in those parts of the show that were short?

DB: My last show was five minutes short. Five minutes! So they wrote four scenes and they just shot those and I just cut them in yesterday and showed J.P. today, I'll show Rick on Monday ...but I have to keep going back and it takes time from the new show.

STC: How has the equipment changed since you started with Star Trek?

DB: When I started we were on the Montage. We had three Montages and every Montage had 17 home Beta machines, so there was a lot of down time, a lot of machines breaking and then we went to the Montage II. Then the Montage III went digital and then we got the AVID; we've had the AVID for about five years.

STC: And do you like the AVID?

DB: Yeah, it's great. It'll do so much...what's nice about this system verses the Montage is this will do a lot of "temp" effects. In screenings before, like with Rick Berman, if the captain's talking to someone on the viewscreen, we'd cut to the viewscreen for 10 frames, do a slow dissolve to whoever's on the viewscreen, then slow dissolve back to the viewscreen so that they'd know where to put the shot in, and it was very distracting. Now we can do temp effects on the system that are so close to what's going to be on the screen that it makes screenings much easier. Rick used to say, "Well, what's that?" And instead of us saying, don't worry, it works — now he can just see it. There's a huge advantage in having the AVID verses the original Montage. For an assistant, when we used to build shows to show Rick, it used to take hours to build a one-hour show; now, it takes real time. In the old days the assistant would have to work 80-hour weeks; now they only have to work 50-hour weeks. So it's actually changed a lot since I've been on Star Trek.

STC: Did you always have aspirations to be an editor?

DB: Absolutely not. I wanted to be a producer in New York. My background is theater.

STC: Is that where you're from? New York?

DB: No, I was from L.A., but when I was growing up there was no theater in L.A. You wanted to produce theater, you went to New York. Now, I didn't know what a producer did, I just knew that you got to be involved in theater and it sounded good. So growing up they'd say I'm going to be a doctor or a lawyer and I'd say, no, I'm going to move to New York and produce theater. That was my original goal. Then when I got into college and I realized I didn't love it enough to starve, I changed my major from theatre to television production -- not knowing what that was either, but figuring I'd start at NBC in the mailroom and work my way up.

My aspirations changed when I saw that first Anson Williams project. It was night and day. That's when everything changed because I saw what an editor did, and what it could be like. And it's odd for me, because I'm a people person and I'm an outdoor person — and to be an editor you're alone 10-12 hours a day and you're in a room with no windows. So when I talk to people now who are in school and they ask me about this job. I ask them, well, are you a people person? Are you an outdoor person? Some people say, "I have to be a park ranger" or whatever. And I say well, I love working with people and I miss meeting the public on a daily basis but this is the best job I've ever had. I can get up every morning and say I like my job and I'm going to work. Another nice thing about this job is I wear jeans, T-shirts and tennis shoes!

STC: Is editing what you want to stay with or do you have your sights on another facet of production — directing? writing? producing?

DB: That's a good question. I'm the only editor on Voyager who hasn't written and/or directed an episode. And I'm thinking, what's the matter with me? Tom and Bob have both written for Voyager and DS9, and they've both directed:. Bob did "I, Borg" and Tom did "Devil's Due," both on TNG. So, to answer the question, no. I really like what I'm doing and I've only been doing it for five years. When people used to ask me that when I first got bumped up, I thought, well, wait — let me savor what I'm doing, this is a great job. So for now, no. I don't write, and directing looks easy, but it's really not. I like what I'm doing — even though I'd love the residuals!

STC: How much imput does an editor have in cutting an episode?

DB: A great deal. A script is written, so we have to follow a script. When a director says cut and print, he may have the actors do something 10 times but if he only prints two of those takes, he knows that whatever take I choose it's already been pre-approved by him. Then when they get in the cutting room they might say, well, try the other take or stick with yours. Some directors get much more involved than others — it always helps to have their ideas.

The input we have is amazing. If something's not working, it's up to us to try and make it work. A lot of times things read well in a script but sometimes it just doesn't translate well into film, and we have to try and make sense of it.

STC: Do the dailies have to be transferred from film to video? What are the steps the product goes through?

DB: Absolutely yes — that's a good question. They shoot on film, it's transferred first thing the next morning, and we get a 3/4-inch video copy here in the editing room. Then the assistant transfers that into the AVID and I have access to dailies; I spend a month on a show and once it's locked, the assistant will print out an edit decision list and that goes to our post-production facilities and they put up the masters that were transferred from the film ... one generation away from the film ... and their machines follow our edit decision list shot for shot. Every show has 400-900 edits, depending on the show; for example, action sequences have many more edits than a simple scene in the ready room.

STC: So is this edit decision list you send out what you decided to put in for the final cut?

DB: It's the final cut, shot by shot by shot. Depending on how cutty a show is, you can have up to 1,000 edits. When we're screening with Rick Berman, in the old days, if you had a show with 900 edits you'd get 900 notes but now that he's so busy with all of his projects, that's why he hired J.P. to supervise. He said, "I just want to see a finished show" — so now, we might get a quarter of the notes.

It's definitely transferred to video, we never go back to film. Only the visual effects go back to film. All of our effects are done on film and then transferred to video and then laid into the finished product because we don't deliver theatrically, we deliver for television. But it's definitely shot on film so it looks wonderful. The difference between shooting on film verses video is what you see on Star Trek and what you see on Three's Company. Anything that's taped looks ... taped. I think Cheers was one of the first TV sitcoms to be shot on film.

STC: And it did have a different look about it.

DB: Yeah, it really did. And it was one of the first.

STC: How and when are the visual effects combined with the film?

DB: We work with them all the way through. Right now the episode I'm working on, #215, B'Elanna Torres takes a sonic shower. So they shot it with a "temp" plate so we could have dailies and screenings with the director and producer, but then they did a second unit insert shoot. They shot B'Elanna in three stages; dirty, medium dirty and clean, and they shot her whole shower sequence in a green-screen effect. And then David Takemura came in yesterday and he helped ... usually I pick the insert shots but being he had to create something from different pieces of film for her to get clean, I let him pick the pieces of film that he wanted and I spliced them together. So the visual effects people are very involved when it's complicated. When it's not, they just tell us duration: "that shot has to be six seconds" and we put in a Chyron (title graphic) for screening purposes. I'd just type up, EXTERIOR SPACE - "VOYAGER" GETS BLASTED BY KAZON SHIP, or whatever. They usually just give us a list, shot by shot, of how long the Chyrons need to be and they replace that after the show is locked and I have nothing to do with it.

Simple things like beam-ins — the editor does. We just take a shot of the person "there" and the person "not there" and do a simple dissolve. The camera's set up in the transporter room, let's say: the (live effect) light goes on, the light goes off. Then the actor walks up and the light goes on and goes off. Then I match the lights, with and without the actor. The special effects people put in the sparkles and someone else will put in the sounds and then the music, but it starts with us. So beam-ins we do — and I do them so often it's kind of funny: when I talk to friends of mine in New York and they'll say," come over for lunch" and I say, "okay, I'll beam right over." So much of Star Trek has become part of my vocabulary... I just had a 20-year reunion and saw people I haven't seen in years and they'd say, what have you been doing? And I'd say," I've been out on location shooting planets." It goes right over their heads.

STC: Do you surf the net? What kind of sites do you like?

DB: No, only because I don't have a computer at home. I stare at monitors all day long at work and I was afraid if I got one at home I'd never get anything done! I'm fighting it... I don't even have e-mail. But I can't wait to start one day.

STC: How does editing for a feature film differ from television editing?

DB: From what I've heard, from talking to Bill Hoy when he used to work on The Next Generation ? we said, why are you leaving this good, steady TV gig? He said, "Well, I'm going to work on some movie with wolves." It was Dances With Wolves — and then his career took off! He's done a lot.

What I've heard is that the schedules are longer, which is bad — if you don't like a story, instead of being stuck with it for a month you're stuck with it for almost a whole year. In filmland, the editor and director work very closely every day. Here, by the time the director comes in the room, we're already in the first cut — a huge, huge difference; much more creativity here (for the editor).

STC: How many passes do you make through an entire episode?

DB: The rough cut ... there's always sound. Any sound that's attached to the dailies is attached to the picture. We don't have special effects sound, but we have dialogue. Insert shots come later, Foley (added sound effects), much, much later... all that post stuff I'm really not involved in except insert shots.

So for an editor, it's: first cut; director's cut; J.P. gets about three passes; and Rick Berman gets one pass. We end up building the show about 11 times. It just keeps changing and changing. If three people cut a scene, you have three different versions of a scene and none of them are right or wrong, they're just three different versions. So I put something in a first cut and then the director changes it and then J.P. changes it and then Rick changes it. There's no right or wrong, just an interpretation.

Sometimes a director shoots something that's not in the script, it's just in his head, and he doesn't send notes with the dailies. I can only follow the script, so when he or she gets here, and this has happened quite a few times, they get in the cutting room and look at the first cut and say, "That's interesting — I never thought of that and it works great." Or they'll say, "Well, that's interesting but let's try what I had in mind."

STC: As home editing systems become more and more accessible, do you expect to see more talent being discovered, or just a deluge of untrained editors?

DB: That's a good question. It's going to bring a different kind of talent. I never went to film school ... I learned everything as an assistant watching J.P. Farrell. When you see Voyager on TV, until the end of the episode, you don't know if it was cut by Tom, Daryl or Bob. There's only one style here and it's Rick Berman's. A good example was when Bob came over from MacGyver, the second year of The Next Generation, the producer he'd been working for liked everything "pre-lapped" [establishing or master shots used before an actual scene]: you're on the exterior of the police station and you hear a line or two of dialogue before you cut in to see who's talking. You can't really do that with an exterior space shot; Rick doesn't like that. Bob's first cut that he showed Rick Berman, he cut like the other producer's style; Rick hated it and he tore it apart. So there's only one way of cutting on Voyager and it's Rick Berman's style.

Brannon [Braga] has made a huge difference in our show, style-wise. He's brought on some new directors and he's let us do things that Rick would never have let us do in the past -- almost NYPD Blue style: cutting-wise, camera-wise ... Brannon's had a huge influence.

STC: What is your biggest obstacle in finishing an episode — meeting deadlines, conveying the story, padding or trimming for episode length?

DB: Every show has to be 43 minutes and 10 seconds. The biggest obstacle is always deadlines. As far as telling the story, sometimes something doesn't work and so we have to ... add a "captain's log" to explain something. Or we cut off of somebody and add a line or two of dialogue that will change the meaning of something. A lot of time you'll be sitting there with Rick and he'll say,"That doesn't make sense, how about if we add... whatever." But it's always deadlines. If we had an extra two weeks for each show, it'd be even better. And it's good now.

STC: When are the credits and music added?

DB: We spend a month on a show and not until the show is locked can anyone really start their job, because why would a composer score a scene that's going to be changed? Until the picture is locked ... of course visual effects is working all along, but otherwise...

What I do is called off-line editing. It's where you can make changes. So it's a month of off-line. You lock picture and then you go to the on-line bay. That's where they follow the edit decision list. And then those copies go to the sound department, the composer and the visual effects department. That's when picture is locked: the picture will never change.

STC: What's it like when you're not cutting a show, on the "off" week or weeks?

DB: The only 'off week' would be the hiatus! I'm always working. Maybe there's one day you get off and you kind of do your laundry or something, but for me, we're always here. But the greatest thing about this show, being that we're not on a network to get cancelled, is you can plan a vacation and you know you have a job to come back to. We're all very lucky and spoiled.

STC: Were you a fan of Star Trek before you got started working with it? Are you a fan now?

DB: I remember coming home and my brother and sister, who were older, would have it on so I watched it. And then growing up, I still watched it. Am I a fan now? I'd have to say, yes, I still watch it.

STC: Are there any particular episodes you've done work on that you're especially proud of? For example an episode that was very tough to edit, or called for a very creative solution to make up for a missing shot?

DB: I cut the series finale for The Next Generation, "All Good Things", which was nominated for an Emmy, so I'd have to say that. I cut the Voyager pilot, so that was fun and very exciting.

Our director (on "Latent Image") used to be an editor, and he needed a flashback. Usually, for the last 11 years here, when we want to go into a dream sequence or a flashback, we dissolve into white. You dissolve from whoever's face you're on to white and then you dissolve into the flashback. And then music will add something and it looks boring. This last show, being we're on the AVID now and the AVID does things I never knew it could do, the director came in and he said, try this. And we treated the color of both sides of the cut: the Doctor's face and the dream sequence. So, without having to put white in there, I took all of the color out of his face and all of the color out of what we were going to and then did a dissolve. There were six sections and eight dissolves and it took forever but the effect was great. So now, ? since J.P.'s seen it, he wants every editor to do it and they're all mad at me because I've done that. Because it's really hard! But it looks wonderful. Check it out in slow motion. We don't actually fade to white. We bleed all of the color out of the Doctor's face and then dissolve to the other shot, say to the shuttle, which has all the color taken out of it, and then you dissolve into the normal shot. It only takes about 40 frames, but it looks great.

(Director) David Livingston was cutting an episode with Tom Benko and he happened to come into my bay and he saw this effect. The last show that I did with David had a lot of flashbacks but we just did the old fade to white, and he got very depressed. He said, "Why couldn't my show look like that?"

STC: Who do you work with most closely?

DB: The people I work most closely with are my assistant editor, a director, J.P. Farrell, the supervising editor/producer, and Rick Berman. Once in a while a music editor, if there's music involved. But mostly, it's the same people over and over and over. And don't forget Rick's assistant, Maril Davis. Her notes from our screenings are very helpful.

STC: So how did you get your assistant?

DB: I interviewed 20 people and then narrowed it down and then Peter Lauritson said, "You interview people and give me the top three and I'll pick one." I said, "These are the top three, but this is the one I really want." I went to the head of post[-production] and asked who he would recommend, and he knew Keith, my assistant — he was an assistant on three-camera shows [sitcoms], but had never done a single camera show. He's worked out really well. But Keith doesn't want to be an editor — so like most assistants who said, "Let me cut, let me cut," he doesn't ask.

STC: So why is he doing this?

DB: It's a job and he's very good. He used to be a cameraman for CBS Sports. But I believe he wants to produce.

STC: What has been your favorite episode (to watch as well as edit)?

DB: Borg shows are always fun. I don't really have a favorite episode. A fun one to watch, though, was Kes' goodbye show ["The Gift"],where Seven of Nine was de-Borged. It was directed by Anson Williams, and it was very interesting because when Anson came on board and I was cutting it, he remembered me from ten years earlier on the After School special. I had come full circle.

STC: How well do you know the actors? Do you find that you feel as though you know them very well after watching hundreds (or thousands) of hours of footage, outtakes, etc.?

DB: Oh boy, yeah, I feel like I know all of them. The outtakes are funny. Most people are comedians. They're in character and they're serious and the director will yell "Cut!" and they break up or tell a joke.

I know the actors who have directed the most. I know them because they've spent a lot of time in editorial. They're nice, nice people. My story about LeVar Burton is that when I was an assistant editor on The Next Generation, we'd have to go down to the stage and talk to the script supervisor. Well, when I started on the show I was only 27 years old and I think I looked 22 years old and at that time the stages were closed, and I'll never forget LeVar would go up to security and say, "That kid snuck on again." I was standing right next to Elena, one of our guards at the time, and she said to LeVar, " 'That kid' works in editorial and if you don't lay off him, you're going to lose a close-up!" It was very funny. And then years later, LeVar directed and I cut one of his episodes and he was such a nice person. I've cut Voyager episodes directed by Bob Picardo, Tim Russ and Robbie McNeill, too.

I cut Robert Duncan McNeill's short film. We all volunteered and it turned out great. It was a nice way to spend my hiatus — my first film.

STC: Do you have to be on the lookout for gaffes such as when there is a continuity error or someone or something in the background isn't right? What do you do in a situation like that?

DB: Yes, it's up to us but if there's only one take there's not much we can do about it. But absolutely, we have to watch what's in the background. There's always the famous stories of how somebody will be taking a bite of a hamburger on one side and you cut to the other side and they're eating a French fry. But it works because you just see the motion. And if you're looking for stuff like that, you're not paying attention to the story. There was a fan who was in the hospital for six months, I heard, after an auto accident, and he used to have friends bring him Next Generation episodes on tape and he would slow motion them and send us editing notes for mis-continuity and stuff. This guy had too much time on his hands! It's like, just watch the story! Go watch Raging Bull. Nothing in there matches and it won the best editing Oscar! Actors are supposed to remember continuity and script supervisors are supposed to write things down. Actors are supposed to remember if on a certain line they pick up a book, then in a single-camera show, every time they've got to pick up that book on that line. And some of our actors are better at remembering than others.

STC: Are you able to go home and truly get away from work, or do you find yourself thinking of shots and continuing to edit even when away from the bay?

DB: That's a great question. Yes, I always think of the show but once we leave the studio -- that's another reason why this is such a great job — I can't take the AVID home with me. When I see my brother at family functions and his beeper goes off — he sells real estate — it's seven days a week, all day long, all night long. This is a great job if you don't want to take your work home with you. But yes, sometimes something bothers me and I think about it at night and I'll come in the next morning and try it and think, yeah, that was a great idea, or no, I must have had a nightmare, and I'll leave it alone. The nicest thing about cutting on video verses film is that you just hit the copy button. You don't have to order reprints of anything to experiment. So you can copy a whole scene and try it. Being on video has changed the relationship between an editor and a director. Directors used to ask editors to try things and editors would fight and say, it doesn't work or no, that'll take me an hour and you won't like it. But now they come in and say, please try it. It doesn't cost anything, you hit copy and you try it. And they can say yes let's use that or no, you were right, let's throw that out and stick with the original. It's great.

STC: Do you think film (celluloid) is going the way of the dinosaur?

DB: Yes, but what's going to replace it has not been invented yet. Right now they still use film in theatres. It's going to be gone, but I don't know when.

What's interesting is that my grandfather was a projectionist in New York. He and his brother owned a chain of silent movie houses in New York and my grandmother married him because she wanted to become an actress. Then sound came in and they sold all their movie houses and bought into one sound house. But they bought it in an area that was boycotting Jewish owned businesses, so it went under. So my grandmother never got to become an actress and my grandfather spent the rest of his life as a projectionist. I didn't learn that until I was an adult and I think it's interesting that I'm an editor.

STC: What other interests do you have, personally?

DB: Traveling, spending time with family. I like to work around my house. Someday I'd like to learn a foreign language.

STC: Do you think there is life beyond our planet?

DB: How could there not be? But that's because I've been on this show too long. But how could there not be? Why just ours? If there is, I don't think they all look like us with a ripple on their nose, though.

STC: What classes or training would help someone learning about editing? Are there skills that aren't obvious but you've found helpful now that you're doing it as a career?

DB: I'm of the school of, you learn as you go. Anything you learn in school has got to be a wonderful base, but you still learn as you go. And so much of what we do here is political. Sometimes trying to take what a director thinks he's shot, to actually what a director did shoot ... so much of being an editor is politics. Sometimes Rick Berman will say, "I know you have to make a director's cut, but if there's something you really disagree with, please show me what you did, too." He trusts us enough after all this time for that.

What's so nice about the video on the AVID is that the time codes are attached to the picture. When I first learned the system, it was on the convergence system. Everything was numbers. Now everything's video so the numbers are all attached to the film. The AVID is a big word processor with pictures.

STC: Who do you look up to? Do you have a mentor?

DB: It's got to be J.P., because I've learned so much from that man. I also have a lot of respect for Rick Berman and how he can get so many people that he trusts to pull things together.

STC: Have you seen Star Trek: Continuum? What did you think of it?

DB: I have not seen it but I've heard good things about it.

STC: Thanks, Daryl, for taking the time to meet with us and answer some questions today. Best of luck to you and your career!