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Lisa Flyn: As I was looking over your biography, we all of course know your accomplishments from stage and screen but I was fascinated to learn of your other activities.
Your very involved in photography right now, of course you've written poetry, two autobiographies, you're very active in political scene and also in Jewish causes. What is your primary focus right now in your life?

Leonard Nimoy: The focus, no pun intended, is photography right now but it's been an interest of mine ever since I was a teenager.
I became fascinated with making images when I was about 13 or14 years old. I actually built my first enlarger myself. I didn't have the money to buy one so I made one. There have been times in my life when I actually thought of changing careers. I went to study very seriously at UCLA some years ago even after I had done three seasons of Star Trek and two seasons of Mission Impossible and I thought perhaps I'd gone as far as I wanted to as an actor and I considered photography but I realized I didn't want to do commercial photography.
I wanted to do fine art photography so I decided to stick with my day job and put the photography on the back burner but for the last 12 or 14 years, I've been concentrating almost essentially on photography.

LF: A number of years ago you had announced you'd retired from acting.
LN: True.

LF: You came back and there's another Star Trek Film.
LN: Yes, you're right. That could and did bring me back. I was intrigued by a very wonderful script and a very exciting, young director, a young gentleman named J.J. Abrams who contacted me and asked me to meet and read the material.
I loved the idea. It is the coming together of the original crew so there is the whole new cast of people playing the original character – Mr. Spock, Captain Kirk, Dr. McCoy and so forth. Very talented, wonderful group of young people and I am in the film playing an elder Spock in another timeline.
It becomes difficult to explain verbally but I think it works extremely well and I am very excited about the film. It opens next June.

LF: Let's start off with "The Planets" and what you'll be doing it with the Elgin Symphony tomorrow evening. This is something you've said you've done before.
LN: I have done it before at Wolftrap last year, for example, and I think I did it once previously – I don't quite recall but it's a very exciting presentation because its multi media. There is the footage you talked about, the film footage NASA has provided. A very interesting and entertaining script for me to read and the orchestra of course, the music is compelling. It's a lovely description verbally, musically and visually of the planets by Holst and I think it works extremely well for an audience.

LF: We're going to hear the very first movement, Mars, the bringer of war what do you talk about in your presentation.
LN: About the rage of Mars, of the anger of Mars. The horror of what a war actually is and I think it is reflected in the music and the footage.

LF: Here is the first movement of "The Planets" by Gustav Holst, "Mars, The Bringer Of War" with the Chicago Symphony Orchestra directed by James Levine.

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LF: That was "Mars, The Bringer Of War", the first movement of "The Planets" by Gustav Holst and that recording by the Chicago Symphony Orchestra directed by James Levine. The Planets will be presented tomorrow evening with the Elgin Symphony Orchestra in their season opening concert, their gala performance as we mentioned it will feature narration as read by Leonard Nimoy who is our guest this morning on WMFT for the next two hours. As I was listening to the music, which was written around 1914, 1915...
LN: Almost a hundred years ago. Ninety-two years ago, I think.

LF: Just before the onset of World War I.
LN: You wouldn't want to be around when Mars decided to go to war. Not a happy place to be. (laughing)
 

LF: Musically, that piece was so forward thinking. You listen to the film scores of today, especially science fiction film and you hear Holst through so much of it.
LN: Yes, absolutely, absolutely. It would work wonderfully against some of the films we're working on even today. That's right, very contemporary.
 

LF: Let's talk a little more about the narration you'll be doing with the presentation tomorrow night.
LN: Well the narration is I think I've mentioned is very personal. I think it was written for me. It makes reference to some of things I've been involved with in science fiction and in space. It's written as a lovely, rather poetic description of each of the planets in a various thematic kind of ways. The loveliness, the anger, the beauty, the mystery of traveling to each of these planets as variously described and I think extremely well, and works very, very well against the imagery and the music that we'll hear. I enjoyed doing it and I think that translates to the audience as well.

LF: And the imagery is taken from NASA, from the Hubble Space Telescope.
LN: That's right. Wonderful, really amazing footage.

LF: That sounds like a fascinating performance.
LN: It's going to be fun.
 

LF: Let's look at the other music you brought along, a whole range of music.
LN: My taste is all over the map. LF: Yes, I could see. LN: I brought some of my collections, yeah.

LF: Some Bruce Springsteen, from his recording a couple of years ago, looking back at the music of Pete Seeger.
LN: Yes, I think the album was called "Wish I'd Overcome the Seeger Sessions" and I'm really not a Rock'n Roll fan. I've been through a number of concerts because I have children and grandchildren and I have been going with them. At times I've enjoyed myself at times I kind of wondered what all the fuzz was about. Sometimes I get it, sometimes I don't.
I probably have respect for Seeger, for Seeger of course, I'm talking about Springsteen. His authenticity has always struck me, really, richly deserved, and deeply felt. So, I understood that about him, but when I heard the Seeger Session recording, it became terribly personal for me because the music is, was embedded in my brain, that kind of music meant an awful lot to me in the 60ies and 70ies. .

We were producing the original Star Trek series in the 60ies, 1967 and 68, and the music of the time meant a lot to me and I think Star Trek resonated with that music and the opposite as well.
It was about humanity, it was about social justice, it was about human dignity, it was about a struggle for a place in the world, all these common work-a-day issues that my family experienced. I grew up in a tenement neighborhood in an immigrant section of Boston. So, that music meant a lot to me, and when Springsteen did it and did it so well, I suddenly said to myself: "I'm now home with Springsteen, found my way to him."

LF: O.k., we're going to hear now "Erie Canal" from Bruce Springsteen of the Seeger Sessions..

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LF: A huge success it was, you saw that kind of coming in cycles, because there was a revival in the 50ies and 60ies and we're back again exploring it.
LN: Yeah, I'm so happy to see it happening and to hear it happening, and I think you're absolutely right. And to me it's the uplifting of work and labor, of striving, of hope and dedication to an idea and a job. I got that from my dad. My dad was a barber all his life, never complained, worked 10, 12 hours a day if he had to, to sustain a family during the depression, and worked with is hand on his feet all day long, never got to sit down, if things were good. If things were bad, and he got no customers, he got to sit down.
I just developed an admiration for that kind of mentality, for that kind of character. Springsteen's songs, particularly in that session, move me in that way, they remind me of that. I think it's wonderful that we got to hear that again...

LF: with the "Western Wind" "
LN: "Western Wind, exactly; ja."
 

LF: We are going to hear some Klezmer music with Itzhak Perlman in just a moment. You say, he is your favorite fiddler.
LN: Well, Perlman is such a constringent artist. A master of what he does, flawless, and also happens to bring a great personal flavor to the Klezmer music, to the understanding of Klezmer music.
I come from a background where I used to hear Klezmer music a lot in my family and the local synagogues. I actually had an uncle who had several son and they formed a Klezmer band, and they were quite successful in Boston. They played on Bar-Mizwahs and weddings and that sort of thing. They actually played at my parent's 50th anniversary, it was quite a thrill to have them there playing Klezmer music. So, I'm listening to Klezmer music with great nostalgia. It takes me straight back to my childhood, my roots and my family, means a lot to me. And I'm a great fan of Perlman. As I said he is a constringent artist, dedicated himself to doing great work with great music.

LF: And great work beyond music, great humanitarian as well.
LN: True, sure. LF: Here is Itzak Perlman from the CD "In The Fiddler's House" and he's joined by the Kletzmatics. ..

LF: We will hear Itzak Perlman again playing Tchaikovsky. Now I want to talk some more with Leonard Nimoy about your work in the Jewish community and also about your photography. Before we came on the air we were talking about your project, the Shekhina project. Tell us about that.
LN: First I must talk about Perlman and the Kletzmatics. My wife and I are members of the temple Israel in Hollywood. The congregation there is led by my wife's cousin Rabi John Rossow and for several years we sponsored concerts of Jewish music at the temple and the very first music we did was with the Kletzmatics. They came out there and they tore the place up. It was absolutely wonderful. People were dancing in the isle of the synagogue, it was absolutely great.
 
Yes, the Shekhina project is about a feminine deity which was written about in some of the Jewish writings, particularly amongst the Cabbalists. The concept is that God created a feminine aspect of himself for a mate and she is known as the Shekhina. And she is the person that orthodox Jews pray to or sing to on Sabbath night when they sing "Come, let us greet the Sabbath bride", that is the Shekhina. There is a mayor event that takes place in the services during the high holidays when the Khohanim, the members of the priestly tribe, get up to bless the congregation and they say in Hebrew what is known in English as: "May the Lord bless you and keep you, may the Lord cause his countenance to shine upon you, may the Lord turn his graciousness onto you and grant you peace." They say it in Hebrew of course.

When I was a child, I saw that blessing take place, the benediction, though I was supposed not to look. I was told not to look by my father, but I peeked. I saw the gentleman chanting and singing, they were ferment and they were theatrical and loud and I was taking in what was happening, and they reached out with their hand and the split fingers gestured towards the congregation, which I learned to do because I was so fascinated by it and I later introduced it as a Vulcan greeting in star Trek. So, that's where the gesture came from, but I learned later that you're not supposed to look because the belief is that during that benediction the Shekhina, the feminine aspect of God is coming into the sanctuary to bless the congregation. And you dare not see her because the light from her could be very damaging for a human, you might not survive, the very least, you'd be blinded, but you might not survive. Well, I managed to survive, but I was taken with that idea.
 

And I began working photographically to try to capture the sense of what this Shekhina was all about, the feminine aspect of God in photographs and published a book called Shekhina about 4, 5 years ago. It is somewhat controversial because the photographs are sensual and if you mix sensuality or even sexuality with religion you're gonna get some people who have things to say about that. But the book is quite successful, I'm quite proud of it.

LF: Well, our listeners can view your photography online, you do have a website.
LN: A website, yes, "leonardnimoyphotography.com"

LF: And the images are quite stunning. You work exclusively in black & white then?
LN: Mostly, I'm now doing some color-work, but you are right, most of the work on the website is in black & white. I think there is a touch of color showing up in my work.

LF: O.k.
LN: I'm doing some work now which calls more for color, but the Shekhina work was all about black & white. It was all about the light, actually. So, it didn't really call for color.

LF: Let's go for some more music. It's Itzak Perlman again with the Israel Philharmonic Orchestra directed by Zubin Mehta. We are going to hear the finale of Tchaikovsky's violin concerto in D.
LN: Itzak Perlman, Zubin Metha and the Israel Philharmonics, you get a lot of talent. (laughing)

LF: Yes. Before we went on you were saying you want to hear something Russian that's going back to your roots.
LN: Right

LF: You have a great fondness for Russian music.
LN: Exactly

LF: Well, here is the final moment of Tchaikovsky's violin concerto. 

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LF: Itzak Perlman by the Israel Philharmonic Orchestra directed by Zubin Metha recorded in concert in St. Petersburg in 1990.
LN: Bravo! Wow!

LF: You were saying that – coming up very soon- your home is in Los Angeles.
LN: Yeah. LF: And you'll be hearing the Israel Philharmonic Orchestra which will open the season I guess at Disney Hall. L: Yes, at Disney Hall. I think it's coming up in about two or three weeks, actually. And Zubin Metha will be conducting, very exciting young conductor. We saw him, my wife and I were there, we saw him work about two or three months ago in Disney Hall, which is a brilliant, brilliant construction. The sound in there is beautiful.
There is a story and I verified it with Frank Gehry who designed the place, that when they started rehearsing for the first time with the orchestra in the Hall after it had just been built and Frank Gehry was sitting out in the seats and somebody conducted for about four or five minutes and stopped the orchestra and turned to Frank Gehry and said: "Frank, we'll keep it." And Gehry burst in tears. There had been so much tension and concern about what the orchestra would sound like in the new hall and because the sound system is so unpredictable. It worked out beautifully and everybody was happy. I discussed it with Frank Gehry later and he confirmed that was true.

LF: I haven't been out there yet to hear, but I wonna get out there, too to hear it. And due to Mehta, we almost had him here in Chicago, but you'll have the chance to enjoy his artistry for many more years to come.
LN: That's exciting, it's exciting.

LF: Well, our guest host today is Leonard Nimoy, we'll get back to some more music here in just a moment on Chicago's classical experience 98.7 on wfmt.com. I'm here this morning with Leonard Nimoy who will be the guest narrator with the Elgin Symphony Orchestra tomorrow evening in their Seasoning Opening Concert. Robert Hanson, the conductor, along with the Elgin Children's Choirs. And Leonard Nimoy will be narrating their performance of "The Planets" by Gustav Holst. Getting back to some music now you said that back in the 60ies, when you were drawn to the music of Pete Seeger and of course Bob Dylan.
LN: What can one say about them what has not even been said? They had an enormous impact on me, enormous.
I actually took up the guitar because of Dylan. (laughing) and trying to understand how he was getting to what he was getting to. Of course he had put in a number of years, he had roadwork, and study and struggle like most artists do to come to the point where he was able to stand up and do what he did so well. And really did become the voice of a generation for a period of time.

LF: Sure.
LN: And then, in his own idiosyncratic says "I don't wonna be that voice, I want to be something else now. I want to move along; I don't want to remain in that poet singer, sort of folk singer category. I want to get more in touch with another kind of music that's happening." Incredibly eversible when he went to electric guitar. I was at a concert where he was actually booed because he played some of the newer things he wanted to do. And the audience came expecting him to play "Blowing in the wind" again and those songs he became famous for. And he just fought his way through.
I admire his determination to move on, to keep moving to keep exploring. An artist must, otherwise he becomes so terribly classified and you stay where you are. And there is no more excitement about your work. This is sort of all there and it is again, you know? Now to Dylan: he is a very important talent.

LF: That a mark about your career. You're shifting, well, you go from the acting which is part of your life since childhood and now you are exploring other parts.
LN: That's true. I went from acting to directing to photography and I'm kind of restless in a way, it's true. Looking for various new ways to express myself. Well, let's hear Bob Dylan in "Lay. Lady, Lay" (the music is played)

LF: Today our guest is Leonard Nimoy and we'll be getting to some more music in the next hour, sort of going along, you've assembled some of your favourite artists over the years and fragrant pieces of course connected to your career.
LN: Such a pleasure, to sit in and listen to it all. (laughing)

LF: He's got his headphones on and is enjoying the music, so, it's great to have you here this morning.
LN: Thank you. ...

LF: Some music now from incidental music that Georges Bizet wrote for the play L'arlésienne: This is actual music which you incorporated into a stage production, several decades ago I guess.
LN: That's right.

LF: About the life of Vincent van Gogh.
LN: Exactly. The production was called"Vincent"; I was portraying his brother Theo on stage. And the conceit was that this was taking place a week after Vincent's death and Theo had invited this audience to come and give him an opportunity to speak about his brother because, and this I gained from the letters that Theo had written to their mother, that when Vincent had passed away and Theo had so been attached to his brother Vincent, he went to Auberge Ravoux where Vincent had died and was present when he died and was present at the burial, but was too overcome with grief to speak. He wrote to his mother and said: Others spoke and I could not, I could not speak.

So, I developed a conceit that a week later Theo asked an audience to come and give him an opportunity to speak now about his brother, and that's what the play is: It is Theo telling his version of his brother's life. And at the opening of the second act we had this glorious collection of paintings being projected on a very large screen in the the theatre and this music of L'arlésienne which is based on the town of Arles where Vincent spent so much time and did so much of his great paintings. This music accompanied, and that was wonderful, Vincent van Gogh's paintings. LF: And this is the music of L'arlésienne by Bizet, a recording by the French National Orchestra with Seiji Ozawa conducting. (the piece of music is played)

LF: Excerpts of music by Bizet for the play L'arlésienne, that was the French National Orchestra directed by Seiji Ozawa, music that was used in a production on the life of Vincent van Gogh with Leonard Nimoy who is our guest here today. That was actually a play that you directed.
LN. That was a play that I performed in and directed as well. The idea came to me from a gentleman who had done a presentation of cottages using the letter Vincent had written to his brother Theo. There were something like 500 letters found after the death of both of the men. I performed the play around 130 times around the States including here in Chicago at the Art Institute. And eventually we videotaped it at the Guthrie Theatre in Minneapolis where I also performed a number of times. That video was shown on A&E and I'm very proud to say that we sent a copy to the Van Gogh Museum in Amsterdam with great trepidation worried about what they will think about my version of Vincent's story and they wrote back and thanked me and said they will put it in their education department.

LF: Wonderful.
LN: So, it is a proud accomplishment. I am very happy that I had this done.

LF: It's probably out there available on DVD?
LN: I believe it is, I hope, it is.

LF: Let's talk about your acting career; you began at a very early age.
LN: I started acting when I was eight. First time I stepped on stage I was in a production called "Hansel and Gretel" and I was playing Hansel. I used to hang around in a neighborhood settlement house when I was a kid after school.
It was a place to go and find some activity and be involved in sports and there was a theatre, a wonderful little theatre in the place, and one day ... I was cast as Hansel.
And then I found myself doing theatre for the next several years, nether thinking that that was going to be a career I just enjoyed doing it.
 

I guess I was able to memorize lines and to find my way around the stage, so I was useful.
But when I was about 17, a young Harvard student was directing plays in this theatre and I was put in touch with him and he placed me in a play called "Awake and Sing" by Clifford Odette. This was a very powerful playwright in the 30ies and 40ies. And the play was very much the story of my own family; it was three generations, immigrant family, living in an apartment together, and the struggles, the concerns, the emotional dynamics, the conflicts and so forth, much like it was going on in my own home. And I was portraying this young kid, 17 year old Juvenile having the same questions in his life that I had, like: Who are you supposed to be, how to find the right girl for yourself, how to find the right job or career. I was caught up with the idea that theatre and the art of performance and theatre could be meaningful to people, could touch people, could touch people's lives and illuminate their lives for them. And I decided I want to do this for the rest of my life. And I saved up some money and I went to California to study acting. When I was 18 I left home and I never lived at home again.

LF: After your career in television and film, seems that you've returned to the theatre with what you are doing tomorrow night with the Elgin Symphonic Orchestra as a form of theatre of course. We were talking about that connection with a life audience.
LN: It's exciting. I love working for an audience, it is terribly exciting. You don't reach the great masses of people but you do have a much more interactive experience with the audience. I am looking forward for tomorrow night with great expectation.

LF: Again, that's go to be at the Hammon's theatre in Elgin with Robert Hanson conducting the Orchestra along with the Elgin's Children's Choirs with the presentation of "The Planets" of Gustav Holst. This will be a multi – media presentation with images from NASA projected on a screen. The next music that you've chosen is "Kol Nidrei", the adagio on Hebrew Melodies for Cello and Orchestra by Max Bruch: As you mentioned earlier you are very involved in the Jewish community and you have produced a number of program which we featured regularly here on the WMFT.
LN: Yes, with the Western Wind ensemble.

LF: Right, this wonderful program that really has become a favourite of ours around the High Holidays...
LN: An annual standard...

LF: Ja, "The Birthday of the World". When did you record that?
LN: Several years ... I was contacted by the group about 5 or 6 years ago, maybe more. The time goes by very quickly for me these days, might have been even 7, 8 or 9 years ago. And I recorded a number of pieces for them and appeared with them once or twice in person, and also had them out for our Jewish music concerts at Temple Israel of Hollywood, several years ago. They are a wonderful group, very talented people, did very good work and I was very proud to be connected with this project. It is a lovely project, good music and well done.

LF: Well, I know every time when we play it, we get so many phone calls about the program. Did you have a part in putting together the narration and the text?
LN: No, I can't take credit for that. They brought in some very talented people to do that. It was authenticated by the appropriate people, and handed it to me and I studied it and worked around it and delivered a narration for them, sure.

LF: Well, here is "Kol Nidrei" of Max Bruch and the Cellist is Matt Haimovitz for the Chicago Symphony Orchestra.
LN: "Kol Nidrei" we should say is the music that comes near the very opening of the eve of Jom Kippur which is the day of Atonement and this is the song that the candidates sing representing the congregation asking for God's forgiveness of their transgressions. ...

LF: Nice piece of synergy. Matt Heimovitz will be performing with the Elgin's Symphony Orchestra later this season, coming up in January, hopefully.
LN: Very, very talented...

LF: I just quickly want to read to you an e-mail which I just received from a listener, Katherine Brock, who said she's enjoying your visit here in the WFMT and the music. She says "I saw your performance as Theo van Gogh when it was performed at the Paramount theatre in the Royal several years ago. It was one of my most memorable theatrical events. Thank you!"
LN: Wonderful. What a compliment, thank you.

LF: We are going to take another brake and for some more music here on WFMT, Chicago's classical experience 98.7 fm wfmt.com. ... Speaking of great vocal artists of the past we have got one great one coming up next: Maria Callas.
LN: I am very moved by what she accomplished and by any of the great artists who show so much devotion and dedication to reaching the height, the potential of their work. We too often take great artistry for granted. Not always, but we often do, and we don't realize how much effort, patience, time, struggle goes into the work in order to reach the moment where they can produce the kind of product that we finally listen to or see, that means so much to us.

There is an old story about an emperor, who commissions painters to do a portrait of him, and weeks and months go by and the portrait does not appear. And the emperor becomes very impatient and sends word repeatedly that he wants to see his portrait and no work comes back and finally he goes to the artist's studio and insists that the artist explains why the emperor hasn't seen the work. And the artists tell the emperor to please sit and the artist very quickly paints the most gorgeous portrait. Now the emperor is really angry and says "You kept me waiting all this time, and you could have done this in just minutes and I should separate you from your head." And the artist says: "Come with me, please.", and walks the emperor into the next studio where the emperor suddenly sees thousands of sketches of preparatory work that prepared the artist to do this final portrait. And the emperor understands what has gone into this final preparation to be able to create this work. And Callas to me personalizes that kind of career and that kind of life. She really devoted herself to creating great work. I'm not an opera buff, but I am a great admirer of the sound that she produces and the work that she did.

LF: Well, an artist not only musically but she's also known for her incredible acting ability on stage, and you can hear that through the music.
LN: Absolutely. Great communication.

LF: Here is Maria Callas in one of her best known roles, in Bellini's Norma, in the prayer Casta Diva.
 ... Back to some music you were influenced by, music by Leonard Cohen. He also had something to do with the Shekhina project?
LN: Cohen always intrigued me. I have been fascinated by his poetry and his sensibility and I admire his work.
I came across this particular moment in his music and was affected by it because there is a reference to a combination to sensuality and spirituality in one line of this song. The Shekhina project that I did was exactly that. It was an examination of those two elements: The sensuality and the spirituality of this deity and the light that the deity Zeus being the source of the power of this deity. And in this song Cohen refers to this sensuality and the spirituality and that light in one sentence. We can hear it and then talk about it.

LF: O.k. And the song is Waiting For the Miracle.
LN: Waiting For the Miracle is a song of Shagrin, he sings about the idea that he's been waiting for the miracle of love to happen and perhaps it is right outside the door waiting for him. There was somebody knocking at the door saying "Here is your love for you" and he hasn't recognized it and then finally, he does come to recognize it in the song. ...

LF: .. That was Leonard Cohen "Waiting For the Miracle" coming from the motion picture ...
LN: "Wonderboy" from the soundtrack. "I dreamed about you, baby, it was just the other night, mostly you was naked, but some of you was light." He captured in that line what I was pursuing in photography, in the Shekhina story which is a combination of sensuality and spirituality. I was quite touched by it.

LF: I think there is something that runs through the music you have brought for us this morning.
LN: Really?

LF: I think its story telling, that's the centre of your career from the very beginning.
LN: I love telling stories.

LF: Let's take another brief brake and then we will get back with more music. We are going to close with some music from Star trek. There is another film coming out ..
LN: Next June, 8th of June, made by a very talented filmmaker J.J. Abrams. I'm in it as well as some other people plying Spock. There are a number of Spocks in this movie. It is a timeline story. I get to appear with another part of myself so to speak. I think it's going to be quite good, I'm really excited about it.

LF: This film brought you out of acting retirement
LN: Exactly.

LF: You announced a number of years ago you're done with films
LN: Concentrating on photography, exactly. And this was a project that could bring me back and did, and I am so happy that I did it.

LF: What number is it?
LN: I think its number eleven.

LF: It's amazing.
LN: Amazing. We went on the air 1966, forty-two years ago last month and I had no idea that it would become this monstrous franchise. Enormously successful, year after year after year, in many incarnations, and I think this particular movie will re-integrate the franchise again.

LF: Great. Here is the music from Star Trek, music of Alexander Courage. ... Closing out our assignment this morning with Leonard Nimoy who has been our guest for the last two hours: You will be performing tomorrow night with the Elgin Symphony Orchestra starting at 6 o'clock with Robert Hanson conducting, will be a multi-media presentation of Gustav Holst's "The Planets" with narration by Leonard Nimoy and a stunning mass of videos accompanying the music.
LN: Very beautiful.

LF: And lot's of music on the program as well. ... We also like to mention your website one more time.
LN: Great. Leonardnimoyphotography.com all one word.

LF: You said it has been the focus of your career
LN: That's where my creative energy has gone for the last 12, 14 years.

LF: And of course there is the new Star Trek film coming out in June. You have finished?
LN: Yes, I have finished my portion. They are putting the final touches on the film now.

LF: What else is on your plan?
LN: That's enough for now. (laughing)

LF: IT has been a lot of fun having you here in this studio.
LN: I have had a wonderful time, Thank you for the invitation what a treat to sit here and listen to my favorite music. Thank you.
LF: Thank you