All language subtitles for MV5BOTA189NzUw

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I FIRST MET RICHARD LINKLATER,
'CAUSE I WAS WILDLY, CRAZY,

MANICALLY IN LOVE, AND I WAS
TRYING TO IMPRESS THIS GIRL,

AND I BROUGHT HER
TO SEE "SLACKER".

AND, UH--
AND SHE DIDN'T LIKE IT,

AND SHE WAS OUT.

(chuckles)

"DAZED AND CONFUSED".
"SLACKER".

"BEFORE SUNRISE"
AND "BEFORE SUNSET".

"ME AND ORSON".

"A SCANNER DARKLY".
I WAS LIKE "WHAT?"

"NEWTON BOYS".

"TAPE".
"SUBURBIA".

"WAKING LIFE".
"BEFORE MIDNIGHT".

"BERNIE".
"SCHOOL OF ROCK".

AND THEN THERE'S
THE "BAD NEWS BEARS".

(TYPEWRITER CLICKING)

AH, K.A.T.

PRINCE VALIANT.

RICHARD LINKLATER.

HE'S A NICE GUY.

HE JUST MAKES IS ALL
LOOK SO EASY.

HE'S A FUCKIN' ASSHOLE,
BUT HE'S, LIKE,

FUCKIN', YOU KNOW--
HE'S GREAT.

RICK, AS A DIRECTOR,
KIND OF SNEAKS UP ON YOU.

HE'S A SNEAKY SHAKESPEARE.

VERY WISE
AND VERY LAID BACK.

HE'S ONTO SOMETHING SPECIAL
THAT'S UNIQUE TO HIM.

HE'S JUST A REGULAR DUDE.

THERE'S NOTHING ABOUT RICK
THAT'S UGLY.

HE DOESN'T HAVE, LIKE,
AN UGLY BONE IN HIM.

HE REALLY, UH, JUST
GATHERS PEOPLE AROUND

WITH HIS MIND SOMEHOW--
IT'S WEIRD.

THAT'S ONE OF THE MOST
INSPIRATIONAL THINGS

ABOUT HIS CAREER IS THAT
HE IS CONSTANTLY CHANGING,

AND FEARLESS IN HIS
APPROACH

TO EACH PROJECT
THAT HE DOES.

AS SOON AS HE KNOWS ENOUGH
ABOUT ONE THING,

HE GOES ON TO WHAT
HE DOESN'T NECESSARILY

KNOW EVERYTHING ABOUT.

AND HE DISCOVERS IT
THROUGH HIS FILMMAKING.

AND IT'S REALLY FANTASTIC.

HE'S JUST WANDERING AROUND
GOING FROM

INTERESTING THING
TO INTERESTING THING-

WHATEVER PIQUES
HIS INTEREST--

AND THEN NAILS IT.

THE PATIENCE, THE CALM,
THE ZEN...

HE'S THE MASTER.

HE IS ONE OF THESE GUYS
THAT JUST IS NAUSEATED

BY FORMULA OR BY CLICHE,

OR ANYTHING YOU'VE SEEN
A MILLION TIMES.

HE WON'T DO IT.
HE WON'T DO IT.

AND HE TAKES YOU DOWN
SOME NEW ROADS.

I'M PART OF A GENERATION
OF DIRECTORS

THAT BASICALLY CAME
RIGHT AFTER SODERBERGH

AND LINKLATER AND A BUNCH
OF INDEPENDENT DIRECTORS

WHO PAVED THE ROAD FOR
AMERICAN INDEPENDENT CINEMA.

HE OPENS WITH
THIS FILM "SLACKER",

THAT IS UNLIKE ANYTHING
I'D EVER SEEN,

AND PROBABLY UNLIKE ANYTHING

MOST PEOPLE WHO SAW IT
HAD EVER SEEN.

HE GOT HIS FRIENDS OUT,
HE HAD SOME IDEAS.

HE THREW THEM TOGETHER
AS ROUGHLY AS HE COULD.

HE WASN'T REALLY
A FILMMAKER AT THE TIME.

YOU KNOW, HE WAS A PHILOSOPHER
WHO CHOSE CELLULOID

TO DO SOME FUNNY
AND INTERESTING STUFF.

YOU JUST KIND OF
STREAM OF CONSCIOUSNESS.

AND THAT'S WHAT
"SLACKER" DOES.

YOU MEET THIS BOY
IN A TAXI CAB.

AND YOU'RE LIKE, "OKAY,
I GUESS THE MOVIE'S ABOUT

THIS GUY WHO HAD
A WEIRD DREAM.

AND REALLY, HE'S
SETTING YOU UP

FOR THE WHOLE MOVIE.

HE TELLS YOU WHAT
YOU'RE ABOUT TO SEE.

AND IT'S BEAUTIFUL, 'CAUSE
THAT'S THE DIRECTOR,

RICHARD LINKLATER.

EVERY THOUGHT YOU HAVE
CREATES ITS OWN REALITY.

YOU KNOW, IT'S LIKE EVERY
CHOICE OR DECISION YOU MAKE,

THE THING YOU CHOOSE
NOT TO DO FRACTIONS OFF

AND BECOMES
ITS OWN REALITY, YOU KNOW,

AND JUST GOES ON
FROM THERE.

I WAS RUNNING A LITTLE
INDEPENDENT THEATER COMPANY,

AND ONE OF THE GUYS IN THE PLAY
THAT WE WERE DOING

WAS IN "DAZED AND CONFUSED".

HIS NAME'S ANTHONY RAPP,
AND HE'S A GREAT ACTOR.

AND RICK CAME TO SEE ANTHONY
IN OUR PLAY.

OH, AND BEFORE
THAT HAD HAPPENED--

BEFORE RICK CAME,
ANTHONY SAID,

"HEY, YOU WANNA GO SEE
AN ADVANCED SCREENING

OF THIS MOVIE I'M IN,
'DAZED AND CONFUSED'?

IT'S THE GUY WHO
DIRECTED 'SLACKER'."

AND I WAS, LIKE,
"YEAH, OKAY."

AND THAT WAS THE FIRST TIME--

YOU KNOW, "DEAD POETS SOCIETY"
CAME OUT WHEN I WAS 18,

AND SO I WAS PRETTY
AMUSED WITH MYSELF

IN A LOT OF WAYS.

AND I SAW THAT MOVIE--

I ALMOST-- I ALMOST
COULDN'T ENJOY IT.

I WANED TO BE
INSIDE THAT MOVIE.

I WANTED TO BE THAT MOVIE,
AND I WAS SO JEALOUS.

(TYPEWRITER CLICKING)

(MAN) "DAZED AND CONFUSED",

CRUISING IN A MUSCLE CAR
AND LISTENING TO FOGHAT--

WOW, WHAT A FILM.

(SECOND MAN)
IT'S THE FIRST TIME
WE SEE BEN AFFLECK.

IT'S THE FIRST TIME
WE SEE McCONAUGHEY.

IT'S THE LAUNCH
OF SO MANY CAREERS,

IT'S THE LAUNCH
OF SO MANY ACTORS.

AND PEOPLE WHO, LIKE,

YOU KNOW, GIVE THE BEST
PERFORMANCE OF THEIR CAREER.

YOU CAN'T WATCH THAT FILM
AND NOT SEE YOURSELF

IN SO MANY OF THE CHARACTERS.

I JUST THOUGHT
IT WAS A PERFECT FILM.

EVERYBODY REMEMBERS
THE LAST DAY OF SCHOOL.

EVERYBODY REMEMBERS
SENIORITY,

AND EVERYONE REMEMBERS
YOU GOT THE HARD-ASSES,

AND YOU GOT THE STONERS.

IT'S JUST ALL THOSE PEOPLE
IN THERE--

YOU GET INTO IT AND YOU JUST
LIVE WITH EVERYBODY IN THERE.

I JUST IDENTIFIED
WITH IT.

I'LL NEVER FORGET
THE FIRST TIME

I SAW "DAZED AND CONFUSED".

YOU THINK YOU'RE JUST
AT THE PLACE WITH 'EM.

(McCONAUGHEY)
THE SPACE, IT'S NOT
NEW YORK CITY.

IT'S NOT GOING OUT THAT NIGHT
UP IN THE CLUB.

YOU GO IN THE COUNTRY,
THAT'S WHAT YOU DO.

YOU GO OUT AND YOU GET
ALL THE BEER YOU CAN

AND GO FIND A VACANT
DEAD END,

AND YOU GO PARTY IT UP
UNTIL THE COPS COME.

AND THEN YOU GET OUT,
AND HOPEFULLY

IT'S MOVING
TO SOMEBODY'S HOUSE.

YOU GUYS KNOW ANYTHING
ABOUT A PARTY HERE TONIGHT?

HE PUTS A CHARMING LIGHT
ON THINGS.

AND HE HAS THAT SORT
OF INNOCENCE

WITH THE LITTLE
BELOW-THE-BELT POKE,

BUT YET IT'S CHARMING.

HE LOVES CHARACTERS.

HE LOVES CHARACTERS
THAT CAN DRIVE

AND PUSH HIS STORY.

THERE'S OTHER POSITIONS
AND OTHER DIRECTORS

YOU CAN SIT WITH THAT ARE,
IN THE BACK OF THEIR MIND,

GOING, "YEAH, BUT I'M--"

THEY'RE THINKING ABOUT
JUST THE STORY,

AND NOT WORRIED ABOUT THAT
WITH THE CHARACTER.

HE LOVES THAT.

I ACTUALLY COVERED "DAZED AND
CONFUSED" FOR "TEXAS MONTHLY".

SO I WAS ON THE SET
A FEW TIMES.

I'M DRIVING ALONG,
AND THERE'S-- DOWN THIS ROAD--

AND ALL OF A SUDDEN,
THERE'S ALL THESE CARS PARKED,

AND THERE'S ALL
THESE TRUCKS PARKED.

YOU KNOW, THEN THERE'S
THE PUSSY WAGONS

AND ALL THAT STUFF PARKED.

THEN THERE'S THE LIGHTING TRUCKS

AND ALL THESE
EQUIPMENT THINGS PARKED.

AND I'M, LIKE, GOING,
"WHAT IS THIS?"

AND THERE AT THE CENTER
OF ALL THIS

IS RICK AND LEE,
MAKING THEIR MOVIE.

AND, GOD, ISN'T MATTHEW
BRILLIANT IN "DAZED"?

RICK TOLD ME WHEN MATTHEW
CAME ON SET

IS WHEN THE FILM
CAME TOGETHER.

IT WAS WORKING BEFORE, BUT
IT WAS WHEN MATTHEW

FIRST SHOWED UP ON SET
IN CHARACTER

THAT HE JUST BROUGHT
THE WHOLE FILM TOGETHER.

WOOD, YOU'RE GONNA
END UP IN JAIL SOMETIME,

THOUGH, THIS SUMMER,
I KNOW THAT FOR A FACT.

NO, MAN, NO, MAN,
I'LL TELL YOU.

THAT'S WHAT I LOVE ABOUT
THESE HIGH SCHOOL GIRLS, MAN.

I GET OLDER,
THEY STAY THE SAME AGE.

(LAUGHING)

YES, THEY DO.
YES, THEY DO.

WELL, THAT LINE
WAS, LIKE, PBBBT!

WHO'S THIS GUY?

I MEAN, WHO'S THE GUY
THAT BELIEVES THAT?

THAT'S NOT AN ATTITUDE.

THIS IS MORE LIKE
A MANTRA.

YOU KNOW, I KNEW THAT GUY.

IT'S THE GUY THAT MY
UNCLE MARK HUNG OUT WITH.

THOSE DUDES.

SECOND PERIOD
GYM CLASS?

IT WASN'T AN ATTITUDE
OR A COMMENT OR A, UH...

"CHECK ME OUT, THIS IS
HOW I SEE THINGS."

IT'S--
"IT'S WHO I AM, MAN."

SO THE STEP OUT
TO THE CURB WAS,

"I'M NOT TALKING TO
ANYONE IN PARTICULAR, MAN.

"I'M TALKING TO
EVERYONE IN PARTICULAR.

"I'M TALKING...
TO THE COSMOS.

"I'M TALKING TO THE CURB,
I'M TALKING TO THE CAR,

"I'M TALKING TO THE STREET,
I'M TALKING TO THE NIGHT.

"THIS IS IT.
AND YES, THEY DO, MAN.

"AND I GOT IT FIGURED OUT.
I SLEEP GREAT AT NIGHT,

AND I WAKE UP SMILING."

SO WE WORKED ON IT,
AND WHAT IT WAS

WAS A ROMANTICIZED VIEW
OF MY BROTHER PAT McCONAUGHEY,

WHO WAS 17 WHEN I WAS 11.

SO WHEN I SAW HIM
IN THE SMOKING SECTION

AT HIGH SCHOOL,
LEANING UP AGAINST THE WALL,

HE WAS SEVEN-FOOT TALL, MAN.

HE WAS COOLER THAN
JAMES DEAN.

WHEN I DROVE HIS
'81 Z/28,

IT WAS FASTER
THAN A ROCKET.

WHEN I LISTENED TO HIS
CONCORD SYSTEM 10 EQUALIZER,

IT WAS BETTER THAN
PHIL SPECTOR'S WALL OF SOUND.

IT WAS--
HE WAS THE MAN.

NOW, TO THIS DAY,
WHEN I SAY THAT,

HE'S ALWAYS, LIKE,
"THANKS A LOT, MAN."

YEAH.

AND EVERYBODY'S GREAT
IN THAT FILM, YOU KNOW.

EVERY TIME I WATCH IT
A LITTLE DIFFERENTLY,

I APPRECIATE
DIFFERENT PERFORMANCES.

YOU KNOW, PARKER POSEY,
WHERE SHE DID "AIR RAID,"

MADE EVERY SCENE
SHE WAS IN BETTER.

ALL RIGHT, YOU LITTLE
FRESHMEN BITCHES...

AIR RAID!

PEOPLE... EVERYWHERE
COME, YOU KNOW--

WALK BY AND SAY "AIR RAID"

AND ASK ME TO SAY "AIR RAID"
ON THEIR PHONE.

AND, OF COURSE, I DO.

TONY AND MIKE ARE
AT THIS HAZING, WATCHING IT,

AND IT'S ALTERNATELY
COMPLETELY DISGUSTING,

BUT ALSO KIND OF
WEIRDLY HILARIOUS,

BUT ALSO DISTURBING,

BUT YOU CAN'T TAKE YOUR EYES
OFF OF IT KINDA THING.

NOW, SEE, WHAT'S FASCINATING
IS THE WAY NOT ONLY THE SCHOOL,

BUT THE ENTIRE COMMUNITY
SEEMS TO BE SUPPORTING THIS,

OR, YOU KNOW, AT LEAST
TURN THEIR HEADS.

I MEAN, THEY APPARENTLY
HAVE PERMISSION

TO USE THE PARKING LOT.

NO PARENTS SEEM TO MIND.

THEY'RE SELLING
CONCESSIONS, YOU KNOW...

AND FROM SMALL-TOWN TEXAS,
AT THAT POINT IN TIME,

IT'S SO INFORMED.

MY AUNT WENT THROUGH
A HAZING PROCESS IN TEXAS

WHERE THEY WRAPPED
AN OYSTER WITH DENTAL FLOSS,

AND THEY MADE THE GIRLS
SWALLOW IT,

AND THEN THEY BROUGHT IT
BACK UP.

NO!

I THINK THERE WAS A CERTAIN KIND
OF DEBONAIR QUALITY

TO SOME OF THE DARKER
CHARACTERS,

LIKE PARKER AND BEN
AND ME.

IF I SEE A VILLAIN OR A GUY
WHO'S, LIKE, AN ASS,

AND I DON'T FEEL LIKE
THE PERSON PLAYING IT

IS INSIDE OF THAT PERSON,

I FEEL LIKE I'M
DISCONNECTED FROM THEM.

WHEN I'M WATCHING O'BANNION
BE AN ASS, I MEAN,

OF COURSE I'M THINKING
HE'S BEING A TOTAL ASS.

BUT I FEEL LIKE BEN
FOUND HIS JOY IN IT.

IT'S KIND OF PERVERSE,
BUT I THINK IT'S TRUE.

FUCK YOU!

FUCK ALL OF YOU.
FUCK YOU!

I THINK IT'S ONE OF BEN
AFFLECK'S GREAT PERFORMANCES.

I THINK IT'S
AN AMAZING PERFORMANCE.

ONE, BECAUSE I THINK THERE'S
A HOMO-EROTIC ELEMENT TO IT

THAT IS JUST UNBELIEVABLE.

JUST HOLD ONTO THAT
FENCE THERE, ALL RIGHT,

AND JUST SQUEAL LIKE A PIG.

YOU READY
TO SWITCH HIT?

OH, YEAH.
I'M FIRST.

ONE OF THE THINGS THAT
I LOVE SO MUCH ABOUT THE FILM

AND ABOUT MATTHEW'S WORK
OR BEN'S WORK

AS THESE GUYS WHO ARE
SORT OF OUTLANDISH

IS THAT THEY--
I FEEL LIKE THEY FOUND

THE HEARTBEAT
OF THESE GUYS, TOO.

LIKE, THEY'RE NOT
CONDESCENDING TO THEM.

THE SCENE WHERE McCONAUGHEY
AND I ARE LOOKING AT THE CARS.

WE GOT THE HOOD UP,
AND WE'RE THROWING OUT

ALL THIS MOTORHEAD SPEAK.

BUT MATTHEW'S FATHER
HAD JUST PASSED AWAY,

AND HE'S, LIKE, YOU KNOW,
"MY DAD WOULD HAVE WANTED ME

TO COME TO WORK."

BUT RICK CAME UP TO US
AND HE SAID, "I GOT AN IDEA."

AND WE WENT OVER
AND WE JUST IMPROVISED
THAT WHOLE THING.

I GOT 4-11 POSITRACK OUT BACK,
750 DOUBLE-PUMPER,

EDELBROCK INTAKES,
BORED OVER 30,

11-1 POP-UP PISTONS,
TURBO JET 390 HORSEPOWER.

WE'RE TALKIN'
SOME FUCKIN' MUSCLE.

HEY, MAN, I KNOW
YOU GOT THIS THING

OUT OF A COMIC BOOK.

I SAW THE AD--
$2.95.

IT WAS RIGHT NEXT
TO THE SEA MONKEYS, MAN.

YOU SEE THAT OVER THERE?
THAT'S WHITE LIGHTNING.

SEE THE SHOES ON THAT THING?
YOU GOTTA GET SOME TIRES ON IT.

THESE THINGS ARE
PIZZA CUTTERS, MAN.

(SARCASTIC CHUCKLE)

YOU KNOW, THERE'S A LITTLE--
A LITTLE FLAIR

TO THE UGLINESS.

HE'S EQUALLY INTERESTED
IN THE TEXTURES

OF WHAT HAPPENS
BETWEEN PEOPLE,

AND THE SORT OF QUIRKINESS
OF WHAT IT MEANS

TO BE IN RELATIONSHIPS.

AND ALL THAT OTHER STUFF--
ALL THE CORNERS

THAT HE IS INTERESTED
IN LOOKING AT--

THAT'S WHAT SEPARATES RICK,
I THINK.

BECAUSE, YOU KNOW, WOODERSON'S
PROBABLY BEEN WITH

ALL THE HOT CHICKS AND,
YOU KNOW...

STUDENT COUNCIL, CHEERLEADERS,
JUST, WELL, YOU THINK YOU'RE

BEING SOMETHING A LITTLE
SOMETHING DIFFERENT.

TWO WEEKS INTO SHOOTING
HE SAID...

"YOU KNOW, I REALLY WANT
TO FIND A LOVE INTEREST

FOR CYNTHIA."

"WHAT DO YOU THINK IF HE GOES
AFTER THE RED-HEADED
INTELLECTUAL?"

I'M LIKE,
"YEAH, HE WOULD."

AND THEN HE CAME,
AND HE GOES, "WOODERSON."

WELL, BOOM, WE GO TO THE SET,
I GET IN MY '70 CHEVELLE.

GONNA BE MY FIRST SCENE
IN A MOVIE.

AND I'M GOING, "FUCK,
HERE WE GO, MAN."

I'M PRETTY NERVOUS
FOR A REAL REASON.

I'M LIKE, WHO AM I,
WHAT AM I ABOUT?

WHAT'S MY MAN, WHAT'S MY MAN,
WHAT'S MY MAN, WHAT'S MY MAN?

AND I REMEMBER IN MY HEAD
HEARING WOODERSON'S VOICE

GOING, ALL RIGHT,
I'M ABOUT POT, ROCK AND ROLL,

MY CAR, AND PUSSY.

WELL, I'M HIGH,
I'M IN MY CHEVELLE,

I'M LISTENING TO NUGENT...
AND I HEARD, "ACTION."

AND I WENT,
"AND THERE'S THE PUSSY."

ALL RIGHT, ALL RIGHT,
ALL RIGHT.

THREE OUT OF FOUR,
GOING TO GET THE FOURTH.

(WOODERSON)
ALL RIGHT, ALL RIGHT.

OH, CHRIST.

HOW YOU DOIN'?

PRETTY GOOD.

(RAPP)
THE MYTH IS THAT
IT WAS SO IMPROVISED,

AND IT WAS SO, LIKE,
OFF THE CUFF...

AND IT'S SIMPLY NOT TRUE
BECAUSE MATTHEW AND MARISSA

HAD THE FUN IDEA OF--

HE SAID, "WHY DON'T YOU DITCH
THOSE GEEKS IN THE CAR

AND RIDE WITH ME?"

AND WE WOULD READ
THROUGH THE SCENE

AS IT WAS WRITTEN,
AND THEN RICK WOULD SAY,

"OKAY, WHAT DO YOU WANT
TO SAY?"

AND THEN WE WOULD IMPROVISE
IF WE WANTED TO.

AND IT WASN'T JUST
SORT OF, LIKE, A FREE-FOR-ALL.

NO, I GOT MY OWN CAR.
THANKS.

YEAH, WELL, LISTEN, YOU OUGHTA
DITCH THE TWO GEEKS

YOU'RE IN THE CAR WITH NOW
AND GET IN WITH US.

BUT THAT'S ALL RIGHT, WE'LL
WORRY ABOUT THAT LATER.

RICK ALWAYS HAD
A VERY CLEAR SENSE

OF WHAT WORKED
AND WHAT DIDN'T,

AND WHAT HE WANTED IT TO BE.

SO IT WAS THIS PERMISSION,
BUT IT WAS DEFINITELY INSIDE

OF THIS CONTEXT
OF FULFILLING A VISION.

THERE WAS THIS UNSPOKEN THING
OF YOU'RE HERE,

SO WE'RE KIND OF
IN THIS TOGETHER.

BUT NO, YOU FEEL LIKE IF THERE
IS SOME CALCULATION OR WHATEVER,

YOU WOULD NEVER KNOW.

EVERYTHING SEEMS REALLY--
YOU KNOW, IT SOUNDS CLICHE,

BUT REALLY ORGANIC.

I'VE LEARNED SO MUCH FROM HIM
JUST BY WHAT HE DOESN'T DO,

YOU KNOW?

AS OPPOSED TO SOMEBODY
BARKING AT YOU

FROM THE BACK OF A LIMO.

YOU SAID, "SOMEONE'S
TOKIN' SOME REEFER."

NO, MAYBE I SAID
I SMELLED SOME POT.

YOU KNOW, IT WAS
JUST AN OBSERVATION.

OH, AN OBSERVATION, HUH?

WELL, WHO THE HELL ARE YOU,
MAN, ISAAC FUCKIN' NEWTON?

AND HE ACTUALLY READ WITH ME.
HE READ ADAM GOLDBERG'S PART--

RICK DID.

"SOMEONE'S TOKIN' SOME REEFER."
HMM... I DON'T KNOW.

THERE'S NOT A DEMARCATION
OF BEHIND THE CAMERA

TO IN FRONT OF THE CAMERA.

AND THAT'S A REAL TALENT
THAT--

THAT I TRY TO CARRY ON
THROUGHOUT.

BECAUSE HE DOESN'T MAKE IT
FEEL PRECIOUS.

HE WANTS IT TO BE NATURAL.

"SO YOU GUYS ARE TALKING, LET'S
KEEP HAVING THE CONVERSATION

"RIGHT FROM BEHIND THE CAMERA
TO IN FRONT OF THE CAMERA,

AND KEEP ON CHATTING, AND OKAY,
WHENEVER YOU'RE READY...

IT'S ROLLING."

(GIRL)
TARA.

I NEVER MET A TARA BEFORE.
YOU'RE MY FIRST.

(KATT)
I REMEMBER, I THINK A STUNT
COORDINATOR BROKE UP THE FIGHT

'CAUSE HE THOUGHT
IT WAS REAL.

BUT YEAH, THAT WAS A CHALLENGE.
I WAS PRETTY NERVOUS.

BUT THAT'S PART OF THE BEAUTY
OF WORKING

WITH SOMEBODY LIKE THAT, AGAIN,
IS "I TRUST YOU."

THAT'S REALLY WHAT AND ACTOR
WANTS IS TO BE TRUSTED.

HE GENUINELY HAS LOVE
FOR THE PEOPLE

THAT HE'S WORKING WITH.

SO IT MAKES YOU WANT
TO DO WELL,

AND IT MAKES YOU WANT TO BE
THE PERSON HE THINKS YOU ARE.

YOU KNOW?

I REMEMBER THAT
FROM HIGH SCHOOL, TOO.

A GOOD COACH DOES THAT,
YOU KNOW.

A GOOD COACH REALLY BELIEVES
THAT YOU'RE GONNA GET

THAT BASE HIT
IN THE BOTTOM OF THE NINTH

TO DRIVE IN THE WINNING RUN.

YOU KNOW, HE BELIE--
HE WANTS YOU UP.

THERE ARE SO MANY PEOPLE
WHO YOU'RE SEEING

THE BEST VERSION
OF WHO THEY ARE.

AND THAT'S THE GREATEST
SIGN OF A DIRECTOR

IS A DIRECTOR WHO CAN
GET AN ACTOR TO BE

THE BEST VERSION
OF THEMSELF.

I DON'T THINK I'VE EVER
HEARD HIM SAY THE WORD "NO"

TO ANYBODY AS A DIRECTOR.

THAT'S THAT BUDDHIST
QUALITY OF RICK.

UH, YEAH.
EVERYTHING LENDS.

"YEAH, YEAH, YEAH.
LET'S TRY IT.

WANNA SHOOT IT?"
YOU KNOW?

SO HE PUTS THE OWNERSHIP
ON YOU AS AN ACTOR IMMEDIATELY.

AND WHETHER YOU'RE READY
FOR IT OR NOT,

IT'S DONE IN A WAY THAT
YOU DON'T FEEL LIKE

YOU'RE CARRYING
A HEAVY LOAD.

I REMEMBER HE DID A THING
ON "DAZED".

HE GAVE EVERY CHARACTER
CASSETTES AND SAID,

"THIS IS KIND OF
A SOUNDTRACK.

I THINK YOU'RE GONNA
BE LISTENING TO THIS."

THAT'S BEAUTIFUL AS AN ACTOR

BECAUSE IT'S NOT TELLING 'EM
WHAT TO DO.

IT'S PUTTING THEM
IN A WORLD AURALLY.

IT'S WHAT YOU HEAR,
HOW YOU FEEL,

HOW THE DIRECTOR SEES IT,

AND IT'S UP TO
YOUR INTERPRETATION.

I WOULD JUST LISTEN
TO THOSE SONGS OVER AND OVER,

AND THEY BECAME
LIKE A CHARACTER--

LIKE ANOTHER CHARACTER
IN THE MOVIE.

* SWEEEET... EMOTION

THE FIRST CD I EVER PUT
IN MY FIRST CAR

WAS THE SOUNDTRACK
TO "DAZED AND CONFUSED".

THERE'S A COUPLE SONGS
HE WANTS TO USE,

AND THEY DON'T WANT
TO PAY FOR THEM.

AT LEAST ONE OF 'EM
IS A DYLAN SONG.

FINALLY, RICK SAYS,
"I'LL FOREGO MY SHARE

OF THE SOUNDTRACK MONEY
IF YOU PAY FOR THESE SONGS."

THE SOUNDTRACK GOES ON
TO BECOME GOLD,

AND RICK DOESN'T SEE
ANY OF THAT MONEY

BECAUSE OF HIS PASSION
TO GET IT RIGHT.

LET ME TELL YOU THIS,
THE OLDER YOU DO GET,

THE MORE RULES THEY'RE GONNA
TRY TO GET YOU TO FOLLOW.

YOU JUST GOTTA
KEEP LIVIN', MAN.

L-I-V-I-N.

I FEEL LIKE THE FILM HAS
TREMENDOUS DEPTH TO IT,

AND IT'S NOT JUST A SILLY,
GOOFY TEENAGE MOVIE.

ALTHOUGH IT ALSO HAS
THOSE ASPECTS TO IT, TOO.

I MEAN, IT'S REALLY FUNNY
AND REALLY FUN.

BUT IT'S GOT A LOT
ON ITS MIND.

(LOUIS BLACK)
IT'S IN THE SAME NECK OF THE
WOODS AS "AMERICAN GRAFFITI",

AND I THINK IT'S
MUCH MORE MIMETIC.

I THINK IT HOLDS TOGETHER
BETTER.

I THINK IT'S MYTHIC, BUT
IT'S LESS-CONSCIOUSLY MYTHIC

IN THE WAYS THAT "AMERICAN
GRAFFITI" IS MORE

FICTIONALLY MYTHIC.

I'M JUST AMAZED,
AT THE END,

HOW THE CONVERSATION LAYERS.

EVERYTHING EVERYBODY SAY
TO EACH OTHER

FOR THE LAST 20 MINUTES
MAKES MEANING,

BASED ON EVERYTHING
THAT'S COME BEFORE

AND EVERYTHING THAT'S
GONNA COME AFTERWARDS,

AND THE REST OF THEIR LIVES.

I JUST WANNA
LOOK BACK AND SAY

THAT I DID IT
THE BEST I COULD

WHILE I WAS STUCK
IN THIS PLACE.

THERE IS SOMETHING FUNNY
ABOUT US

JUST STRUGGLING
AGAINST TIME.

AND I REMEMBER THERE'S A MOMENT
IN "DAZED AND CONFUSED"

WHERE THE GUY--
IT JUST FOLLOWS--

IT'S A NOTHING MOMENT
WHEN THE GUYS JUST GO,

"GOOD GAME, GOOD GAME,
GOOD GAME, GOOD GAME."

AND I'D NEVER SEEN
THAT MOMENT IN A MOVIE,

AND I REMEMBERED IT SO VIVIDLY
FROM YEARS OF PLAYING SPORTS.

AND THE KIND OF AMBIVALENCE
THAT YOU FEEL ABOUT IT,

AND THIS SHOW OF BEING
A GOOD PERSON.

BUT RICK DOES THINK LIKE AN
ATHLETE IN A LOT OF LOT OF WAYS.

HE MADE A DOCUMENTARY ABOUT
THE BASEBALL COACH AT U.T.

IT'S JUST BEAUTIFUL.

IT'S ALWAYS FUNNY
ABOUT DOCUMENTARIES

'CAUSE IN A WAY IT'S
ALSO A SELF-PORTRAIT.

THERE'S A LOT THAT COACH SAYS
THAT RICK COULD HAVE SAID.

(COACH)
THE ONLY REASON I THINK
BASEBALL'S IMPORTANT

IS BECAUSE WE'RE USING THE GAME
TO HELP PEOPLE

DISCOVER THINGS
ABOUT THEMSELVES.

HE'S WON FIVE NATIONAL
CHAMPIONSHIPS IN COLLEGE.

THEY ASK HIM WHY HAVEN'T YOU
EVER COACHED PRO?

AND HE SAYS, "WELL,
THE POINT OF COACHING

"IN THE PROFESSIONAL LEAGUES
IS TO WIN.

"AND THAT'S NOT MY GOAL.

"YOU KNOW, MY GOAL IS TO
PLAY THE GAME OF BASEBALL

AS WELL AS IT
CAN BE PLAYED.

AND THAT'S A WONDERFUL THING
TO BE A PART OF.

AND YOU CAN TAKE THAT
PHILOSOPHY ON A FILM SET.

THE POINT IS NOT
TO MAKE A MILLION BUCKS.

THE POINT IS NOT TO WIN,
THE POINT IS TO MAKE MOVIES,

TELL STORIES, CREATE ART
THAT IS VALUABLE.

(TYPEWRITER KEYS CLICKING)

(JACK BLACK)
"SCHOOL OF ROCK",
WHICH IS HIS MOST--

RICK'S MOST COMMERCIALLY
SUCCESSFUL FILM,

IS AMAZING BECAUSE, ONE,
IT'S ONE OF THE SMARTEST,

BEST FILMS ABOUT KIDS AND MUSIC,
ABOUT ROCK AND ROLL.

IT LOVES ROCK AND ROLL.

IN "SCHOOL OF ROCK",
IF YOU LOOK AT THAT TREE--

WE MADE A TREE ON THE CHALKBOARD
OF ALL THE--

THE BRANCHES OF ROCK AND ROLL.

BUT HE ALSO, AND I'D SAY
EVEN MORE SO,

IS AN AFICIONADO
OF THE PUNK ROCK.

ALL THOSE PUNK ROCK BRANCHES
WERE HIS.

AND HE OPENED MY EYES
TO A LOT OF GREAT MUSIC.

AND I-- I KNOW MY PUNK ROCK.
I LOVE MY PUNK ROCK.

BUT HE KNOWS IT
IN A MUCH DEEPER WAY,

AND HE TOOK ME TO SCHOOL.

IT'S A REALLY
WONDERFULLY MADE MOVIE.

IT'S A MOVIE WITH A PREMISE
THAT'S ALMOST--

ALMOST TOO THIN TO WORK.

IT'S, LIKE, ALMOST
A MISTAKEN-IDENTITY MOVIE.

BUT YOU BUY IT IMMEDIATELY
BECAUSE IT'S SUCH

A BEAUTIFUL MARRIAGE
BETWEEN THIS KIND OF LUNATIC

AND THESE KIDS.

AND ALL KIDS ARE LUNATICS
TO SOME LEVEL.

WE GET DOWN,
NOSE TO THE GRINDSTONE,

AND REALLY START WORKING
ON "SCHOOL OF ROCK".

AND RICK IS REAL HANDS-ON
WHEN IT COMES TO THE SCRIPT,

AND HE HAD SOME ISSUES
THAT HE WANTED TO ADDRESS--

JUST WHENEVER ANYTHING FELT
NOT GENUINE OR REAL TO HIM,

OR BELIEVABLE.

HE WAS REAL PARTICULAR
ABOUT WHEN THINGS GOT TO BE

A LITTLE "MOON BOOTS"--

WHEN THE GRAVITY
OF THE WHOLE THING

STARTED TO FLOAT
INTO OUTER SPACE.

HE WAS, LIKE, "COME ON,
THAT WOULDN'T HAPPEN.

"EVEN AFTER I DO THESE THINGS
TO MAKE IT MORE BELIEVABLE,

"IT'S STILL NOT GONNA BE
REALLY BELIEVABLE,

BUT IT'S GONNA BE MORE--
IT'S GONNA BE ROOTED."

HE REALLY WANTED
TO STRETCH OUT THE SCENE

WITH THE KIDS WHERE
I'M TEACHING THEM

SOME RIFFS, SOME LICKS.

IT WAS A LITTLE SCARY
FOR ME BECAUSE HE WAS ASKING

A LOT OF ME AS AN ACTOR.

HE WAS ASKING ME
TO WORK WITH HIM

IN THIS IMPROVISATIONAL WAY.

AND I'D NEVER REALLY WORKED
WITH KIDS BEFORE,

SO I WAS NERVOUS ABOUT IT.

HE PICKED SUCH INCREDIBLE KIDS
THAT IT MADE IT A LOT--

A LOT EASIER.

YOU KNOW, THEY'RE A LOT
LIKE HE IS.

THEY'RE VERY REAL.

NOT A LOT OF HOLLYWOOD
EXPERIENCE IN THE BUNCH.

THESE WERE, LIKE, MUSICIANS.

* COME ON, COME ON,
COME ON, COME ON NOW *

* TOUCH ME, BABE,
BA DA BA DA *

* CAN'T YOU SEE THAT
I AM NOT AFRAID? *

* SHA GA GA GA

* LAWRENCE IS GOOD
AT PIANO *

* HE SHALL BE ROCKING
IN THE SHOW *

* RA GA GA GA
STOP.

HE JUST MADE IT SO MUCH FUN
FOR EVERYBODY.

AND HE MADE ME REALLY FEEL--
EVEN THOUGH I WAS LITTLE--

LIKE, YOU KNOW,
I WAS REALLY AN ACTOR.

AND HE TREATED ME
LIKE EVERYBODY ELSE, SO...

YEAH, IT WAS DEFINITELY ONE OF
THE BEST EXPERIENCES I'VE HAD.

SUMMER, YOU'RE IN CHARGE
OF EVERYTHING.

OKAY.

HE ALSO WANTED
TO DO THAT SCENE

THAT THE SONG--

WHEN I FIRST PLAY A SONG
FOR THE CLASS

OF WHAT I THINK SHOULD BE
THE SONG THAT WE PLAY AS A BAND

IN ONE TAKE, ONE SHOT.
SLOW PULL-OUT...

I DIDN'T THINK
IT WAS GONNA WORK.

I SAID, "YOU SHOULD GET
SOME MORE COVERAGE OF IT

JUST IN CASE YOU WANT
TO CUT AWAY."

HE STUCK TO HIS GUNS.
I'M GLAD HE DID.

'CAUSE THAT WAS ONE
OF THE COOL THINGS.

* MINE!

* HOW CAN YOU KICK ME OUT
OF WHAT IS MINE? *

(COSGROVE)
IT WAS COOL THAT THAT WAS
ONE OF THE FIRST THINGS

THAT I EVER GOT TO DO, BECAUSE
THE TWO OF THEM TOGETHER--

LIKE, RICHARD'S REALLY
LAID BACK AND COOL,

AND THEN JACK'S KINDA CRAZY
AND FUNNY,

AND YOU NEVER KNOW
WHAT HE'S GONNA DO.

I THINK FROM TOP TO BOTTOM,

I THINK "SCHOOL OF ROCK" IS
HIS FUNNIEST FILM.

AND IT'S ALMOST LIKE
THE INVISIBLE WEAVING

OF A GOOD DIRECTOR.

"SCHOOL OF ROCK" WAS THE CLOSEST
TO WHO I AM

AS, YOU KNOW,
A PERFORMER.

IT HAD ALL THE ELEMENTS,
AND THE SUBJECT MATTER

WAS SOMETHING THAT
I'M PASSIONATE ABOUT.

YOU KNOW, MY LOVE OF ROCK.

I THINK IT ALL CAME OUT
IN THERE,

AND I WAS ABLE TO JUST GIVE
EVERYTHING I HAD TO THAT.

I JUST FEEL LIKE
IT'S MY BEST ONE

FROM THE WAY PEOPLE
TALK TO ME ABOUT IT.

A LOT OF PEOPLE LIKE "NACHO"
AND A COUPLE OTHERS,

BUT "SCHOOL OF ROCK" IS--
THAT'S MY TOMBSTONE.

THAT'S THE SHINING BEACON
FOR ME.

(GROWLING)

(TYPEWRITER KEYS CLICKING)

(THORNTON)
THERE ARE ONLY TWO STORIES--

A MAGICAL FROG
IN AN ORDINARY GARDEN,

OR AN ORDINARY FROG
IN A MAGICAL GARDEN.

AND THAT'S PRETTY TRUE.

"BAD NEWS BEARS" CAME ABOUT
BECAUSE I HAD DONE "BAD SANTA".

PEOPLE LIKE TO SEE ME
BE AN ASSHOLE.

HEY, HEY, HEY, HEY,
HEY, HEY!

STOP IT!

THAT SHIT'S EXPENSIVE.

AND RICK WAS A GREAT CHOICE,
YOU KNOW, AS DIRECTOR

BECAUSE HE WAS
A BASEBALL PLAYER.

WHAT DOES THAT DO
TO YOUR BATTING ORDER?

WELL, 1 GOES TO 4,
4 GOES TO 5,

2 GOES TO 3,
3 GOES TO 2,

6 GOES TO 1,
AND 7, 8, 9 ARE COOL.

I GUESS YOU KNOW WHAT
YOU'RE DOING, BUTTERMAKER.

YEAH, I DO.

AND, YOU KNOW, I DID MY THING
WITH THE SMOKING, DRINKING,

YOU KNOW, CURSING GUY,
WHICH IS FUN TO DO.

OKAY, COMIN' AT YOU.

(ALL)
WHOA!

AND RICK AND I WERE
ON THE SAME SIDE

ABOUT GETTING SAMMI KRAFT,
GOD REST HER SOUL,

WHO PASSED AWAY RECENTLY.

SHE WAS A PITCHER
IN THE BOYS' LEAGUE.

AND RICK, ABOVE ALL,
WANTED A GIRL

WHO COULD THROW THE BALL.

NOT EVERYBODY
WOULD HAVE DONE THAT.

GREG MADDUX MADE CARVING HITTERS
TO PIECES LOOK EASY.

AND RICK REALLY MAKES IT
LOOK EASY

WHEN HE'S DOING SOMETHING THAT--

SOMETIMES WHEN HE DOES IT--
LIKE "A SCANNER DARKLY", RIGHT?

WHO THOUGHT HE WAS EVER
THINKING UP THE SHIT HE DID?

I MEAN, I WOULDN'T HAVE THOUGHT
OF ANY OF THAT.

WAS THAT-- THAT WAS BASED
ON SOMETHING, THOUGH, RIGHT?

A PHILIP K. DICK NOVEL.

YEAH.
PHILIP K. DICK?

HE SAID "DICK."
(LAUGHTER)

I PUT IN "A SCANNER DARKLY",

AND I JUST REMEMBER THINKING,
LIKE, WHAT THE FREAK IS THIS?

WHAT IS GOING ON
RIGHT NOW?

(MOVIE NARRATOR)
THE NEXT THING HE KNEW,

A CREATURE FROM BETWEEN
DIMENSIONS

WAS STANDING BESIDE HIS BED
LOOKING DOWN AT HIM
DISAPPROVINGLY.

LIKE, WHERE HAVE I BEEN
TRANSPORTED TO,

AND, LIKE, HOW IS--
HOW IS RICK'S MIND--

HOW CAN HIS MIND BE IN ONE PLACE
TO MAKE THIS MOVIE?

I WAS, LIKE, CHECKING THE BOX
TO MAKE SURE

THAT RICK DID THIS FILM.

AND I WATCHED IT,
AND I WAS BLOWN AWAY.

I JUST REMEMBER GOING, LIKE,
HE IS--

HOW DOES THIS GUY
HAVE SO MANY INTERESTS

AND REALLY EXPLORE THESE
DIFFERENT KINDS OF FILMMAKING

AND THIS DIFFERENT PHOTOGRAPHY
AND THIS WHOLE ANIMATION ASPECT?

AND IT JUST--
IT'S KIND OF A TESTAMENT.

I THINK RICK'S GONNA, YOU KNOW--
HE'S ALWAYS SEARCHING

FOR SOMETHING NEW.

HE'S A DEEPER GUY

THAN WHAT YOU MAY THINK
WHEN YOU FIRST MEET HIM.

YOU KNOW, HE HAS FUN, HE'S AN
EASY-GOING GUY AND EVERYTHING.

BUT YOU KNOW, I THINK
THERE'S A--

THERE'S SOME REAL WEIGHT
IN RICK'S SOUL, I BELIEVE.

AND HE WAS NOT PRETENTIOUS.
I MEAN, I'M PRETENTIOUS.

BUT HE'S NOT PRETENTIOUS.

BECAUSE IT'S REALLY ROOTED
IN SOMETHING WITH HIM.

AND THE HUMOR IN RICK'S FILMS,
IT'S ALWAYS EASY.

IT'S ALWAYS VERY REAL
KIND OF--

REAL LIFE KINDA HUMOR,
YOU KNOW.

WHY DO YOU SAY
IT'S AN 18-SPEED

WHEN IT ONLY HAS
NINE GEARS?

HUH? WHAT?

UH, YEAH.
SIX RIGHT HERE,

THREE AT THE OTHER END
OF THE CHAIN,

SIX PLUS THREE
EQUALS NINE.

IT'S A NINE-SPEED BIKE.

ROBERT AND WOODY CAME OUT
I THINK A WEEK BEFORE.

AND RICHARD WOULD TAKE
SOME OF THE RIFFS

THAT PEOPLE WERE DOING
AND INCORPORATE THEM

INTO THE SCRIPT.

FOR "A SCANNER DARKLY,"
THERE WASN'T A LOT

OF DIALOGUE IMPROVISATION.

WHICH IS COOL.

HE'S A PRETTY TOUGH,
SMART GUY, AND RIGHTFULLY.

IF YOU WRITE THAT WELL,
YOU DON'T WANT SOMEONE LIKE ME

COMING IN AND FUCKING IT UP
'CAUSE WE HAVE A HISTORY.

SO I DID THE 12-YEAR PROJECT,
AND IT WAS ALL IMPROV.

AND IT WAS GREAT.
IT WAS LOOSE.

AND HE WAS VERY SUPPORTIVE
AND VERY ENTHUSIASTIC

ABOUT WHAT WE WERE DOING--
AND CLEAR.

BUT IT WAS COOL,
IT WAS LOOSE.

YOU KNOW, WE WERE ALL
JUST ACTING.

AND THEN I GET HIRED
FOR THIS PART

OF THE FUTURE COP.

SO I WENT IN AND I'M, LIKE,
THIS IS COOL.

I KNOW RICK.
WE'RE DOING IT AGAIN.

SO I GO OUT THERE,
AND THERE'S ONE COOL SCENE--

RORY COCHRANE--
HE'S TRIPPIN',

AND THEN HE IMAGINES
THAT HE'S BEING PULLED OVER.

AND I'M THE FUTURE COP, AND
I'M ANIMATED, WHICH WAS COOL.

(COP)
ALL RIGHT, WHAT'S YOUR NAME?

WELL, I MADE THE MISTAKE
OF NOT BEING--

I WAS A LITTLE LOOSE
WITH THE DIALOGUE

'CAUSE I THOUGHT, HEY,
MAN, IT'S RICK AND ME.

THIS IS HOW WE DO.

AND SO I DO IT
A COUPLE TIMES,

AND I'M SUPPOSED TO DO
THE MIRANDA RIGHTS,

I'M SUPPOSED TO FORGET THEM,
WHICH WAS FORTUNATE.

AND SO IT'S LIKE--

AND I'M MOVING,
IT'S GOING GREAT.

AND ALL OF A SUDDEN
RICK WALKS UP TO ME

AND HE GOES, UH,
"MAYBE YOU SHOULD GO
OFF THE SCRIPT."

I'M, LIKE, WHAT?
AND HE GOES, "YEAH.

I WROTE A SCRIPT, YOU SHOULD
MAYBE DO THE LINES AS WRITTEN."

AND HE WAS NICE AND EVERYTHING.

AND I'M, LIKE,
MAN, DON'T YOU REMEMBER?

FUCK THIS SHIT.

I FOUND OUT LATER
HIS REPUTATION IS THAT

EVERYTHING HE WRITES
IS VERBATIM.

IT JUST FEELS LIKE IMPROV.
BUT THE GUY--

THAT'S HOW GOOD HIS WRITING IS.
BUT I THOUGHT IT WAS, LIKE,

NO, MAN, WE'RE COLLABORATING.

IT TURNED OUT
NOT TO BE THE--

NOT TO BE THE CASE.

HE'LL TELL YOU
WHAT HE WANTS,

OR HE'LL KINDA,
"WHAT'S GONNA HAPPEN HERE?

LET'S SEE WHAT HAPPENS."

AND HE HAS A REAL ENTHUSIASM,
INTEREST, YOU KNOW.

AT LEAST THAT'S HOW HE WAS
ON "A SCANNER DARKLY."

YOU KNOW.
BUT YOU HEAR THINGS.

OKAY, MY COMPUTATIONS
ARE COMPLETE.

YOU ARE JUST HECKLE TWEAK,
BUT YOU ARE BUG-BITE SQUARED.

WHAT KIND OF BUG

ABOUT-TO-GET-FUCKED-UP
BITCH BEETLE.

THERE'S THIS FEELING
OF IMPROVISATION AND FORMALISM

TO RICHARD'S WRITING, AND
TO HIS CINEMA, TO HIS CAMERA,

WHICH IS ENTERTAINING,
AND ALSO A GREAT--

YOU KNOW,
THERE'S BEAUTY TO THEM.

THERE'S BEAUTY TO THE WORDS,
TO THE PERFORMANCES

THAT HE GETS
FROM HIS PERFORMERS,

AND TO HIS SCRIPTS
AND HIS SUBJECT MATTERS.

YOU KNOW, HE HAS
SOME THEMES.

ALIENATED PEOPLE WITH THESE
CONSTRUCTED, HAPPENSTANCE
FAMILIES.

RICK TENDS TO HAVE
LOVEABLE LOSERS IN HIS MOVIES.

SCREW THIS.

(THORNTON)
ONE OF THE KIDS IN THE MOVIE,

WHO PLAYS THE MAIN RASCAL--

HE REALLY WOULD, ON THE SET,
IF YOU WEREN'T LOOKING

EVERY MINUTE, HE WOULD JUST
HIT YOU IN THE NUTS...

WITH HIS BASEBALL GLOVE
OR SOMETHING, YOU KNOW?

AND IT WAS LIKE, HE WAS--
YOU KNOW,

IN REAL LIFE
HE WAS LIKE THAT.

HE WAS A GREAT KID--
I LOVED HIM--

BUT YOU KNOW, YOU JUST HAD
TO KEEP YOUR EYES PEELED
EVERY MINUTE.

PEOPLE WHO REALLY LOVE MOVIES,
I THINK,

ALWAYS LOVE
THE LOVEABLE LOSER,

OR THE PEOPLE WHO TRY TO LIVE
ABOVE THEIR ABILITY, MAYBE,

YOU KNOW...
REACHING FOR SOMETHING

THAT MAYBE THEY KNOW
THEY'LL NEVER ACHIEVE,

BUT THEY KEEP TRYING.

EVERYONE'S BROKEN...
AND EVERYONE'S COMING TOGETHER.

AND ALSO JUST, YOU KNOW,
HIS SOCIAL AWARENESS.

HIS KIND OF BIGGER PICTURE
UBER AWARENESS

DEALING WITH SOCIAL CONSTRUCTS--
ABOUT AMERICA...

CONSPIRACY, PARANOIA.

AND JUST WHAT THE HECK
IS GOING ON?

THERE'S JUST AN INVESTIGATION
OF PEOPLE'S THOUGHT,

PEOPLE'S FEELING,
AND CONSTANTLY.

YOU KNOW, AND HOW WE KIND OF
BUMP UP AGAINST EACH OTHER.

"A SCANNER DARKLY,"
I MEAN, HE DOES THAT,

AND HE DOES "BAD NEWS BEARS,"
AND HE DOES "SCHOOL OF ROCK,"

YOU KNOW, WHATEVER,
YOU KNOW.

I MEAN, HE'S JUST--
RICK'S SNEAKY, MAN.

YOU KNOW, HE'S GOT ALL KINDS
OF STUFF IN HIS HEAD.

WELL, HE'S EVOLVING
AS A MAN, OBVIOUSLY.

AND THAT'S REFLECTING
IN HIS WORK.

AND HIS SENSIBILITIES
ARE EVOLVING.

EITHER THEY'RE GALVANIZING
OLD IDEAS OR THEY'RE CREATING

OR MAKING HIM QUESTION
OLD IDEAS,

OR CREATING NEW IDEAS.

AND HE CAPTURES THEM, AND HE CAN
SEAMLESSLY GO BACK AND FORTH

BETWEEN WHAT LOOKS TO BE
ULTRA-INDIE,

AND SOMETHING THAT HAS
MORE PRODUCTION VALUE.

ON A GLOBAL LEVEL, I MEAN,
I JUST FEEL LIKE

RICK IS PROBABLY THE MOST
INTERESTING FILMMAKER

IN AMERICA RIGHT NOW
BECAUSE OF THE--

I MEAN, THE DIVERSITY
OF WHAT HE'S DOING.

HE'S DOING ANIMATED STUFF,
HE'S MAKING KIDS' FILMS,

HE'S MAKING HUGE
BLOCKBUSTER MOVIES.

HE'S MAKING MOVIES THAT
SPAN 25 YEARS.

NO ONE IS DOING THAT.
HE'S MAKING BREAKFAST.

HE DOES THAT, TOO.

(TYPEWRITER KEYS CLICKING)

(LOUIS BLACK)
THE "BEFORE SUNRISE,"
"BEFORE SUNSET,"

AND "BEFORE MIDNIGHT" TRILOGY
IS ONE OF THE JUST TRULY GREAT

WORKS OF AMERICAN FILM,

BECAUSE IT EXPLORES STUFF
NOBODY ELSE EXPLORES.

YOU KNOW, AT THE END
OF "THE GRADUATE,"

HE'S STANDING THERE
BY THE WINDOW SCREAMING FOR HER,

AND THEY GET ON THE BUS
TOGETHER, AND THERE THEY ARE

SITTING ON THE BACK OF THE BUS.

WHAT HAPPENS THEN?

RICK'S WORLD IS ABOUT
WHAT HAPPENS THEN.

SWEAR ON OUR KIDS YOU DIDN'T
FUCK THAT LADY FROM THE BOOK
STORE-- EMILY.

(LOUIS BLACK)
YOU WAKE UP THE NEXT MORNING--

WHO IS THIS PERSON
NEXT TO YOU?

AND THERE'S SO MANY FILMS THAT
THINK THAT THAT'S THE ANSWER.

AND THAT'S NOT THE ANSWER.
THE ANSWER IS

HOW DO YOU GET ON
WITH THE REST OF YOUR LIVES?

I AM GIVING YOU
MY WHOLE LIFE, OKAY?

I GOT NOTHING LARGER
TO GIVE.

I'M NOT GIVING IT
TO ANYBODY ELSE.

(HAWKE)
HE HAD BEEN TALKING TO ME
ABOUT THIS MOVIE

CALLED "BEFORE SUNRISE."
HE HAD THIS IDEA--

IT WAS A TRAIN,
IT WAS GONNA GO--

I WANT TO MAKE A MOVIE ABOUT
THE NIGHT I FELL IN LOVE.

AND I READ IT, AND IT WAS REALLY
VERY, VERY LONG-WINDED.

VERY BIZARRE SCRIPT.

HE SAID, "LOOK, DON'T WORRY
ABOUT THE SCRIPT SO MUCH.

"WHAT I WANT TO DO IS--

"I'VE NEVER BEEN
IN A HELICOPTER CRASH.

"I NEVER HAVE BEEN INVOLVED
IN SERIOUS GUNPLAY.

"I HAVE NEVER BEEN
ON A SUBMARINE,

"OR ALL THESE THINGS
THAT PEOPLE MAKE MOVIES ABOUT.

"AND YET MY LIFE FEELS TO ME
LIKE IT'S FULL OF DRAMA,

"AND WORTHY OF A STORY.

"AND ONE OF THE BEST THINGS
THAT EVER HAPPENED TO ME

"WAS ACTUALLY CONNECTING
WITH ANOTHER HUMAN BEING.

THAT FEELING, AND COULD WE
MAKE A MOVIE ABOUT THAT?"

AND THAT IS A VERY
MAGICAL THING TO CAPTURE.

AND THERE'S NO RECIPE
FOR THAT.

AND I THINK IT COMES DIRECTLY
FROM THE SPIRIT OF RICK.

AND ONCE YOU MEET RICK,
YOU KIND OF KNOW...

THIS IS HOW HE THINKS,
THIS IS HOW HE TALKS,

THIS IS HOW HE LIVES.

ETHAN HAWKE, OVER THE COURSE
OF THREE "SUNRISE",

"SUNSET", "MIDNIGHT" MOVIES
HAS BEEN A VESSEL

FOR RICK'S SPIRIT.

YOU KNOW, I JUST WANTED
TO CLOSE MY EYES

AND WAKE UP
AND BE AN ADULT.

AND NOW I KINDA FEEL LIKE
THAT HAPPENED,

AND I JUST WANT EVERYTHING
TO SLOW DOWN.

(MARK DUPLASS)
WHEN YOU WATCH THE FILMMAKING
OF THE FIRST ONE,

I CAN'T BELIEVE THAT SUCH
A YOUNG MAN MADE THAT MOVIE.

THERE'S SOMETHING OLD-MANISH
ABOUT THE CAMERA.

THE CAMERA WORK
IN "BEFORE SUNRISE",

IT'S JUST KIND OF KNOWING.

IN A WAY, IT'S YOUNG PEOPLE--

"I THINK, I WANT,
I'M NOT SURE.

DO YOU THINK?
DO YOU WANT?
WHAT DO YOU THINK?"

THE WALK AND TALKS...
ARE YOU KIDDING ME?

IT'S THEATER, BECAUSE
THE PACE OF IT,

THE RHYTHMS OF BACK AND FORTH--

THE INFORMATION
REFLECTS LIFE.

THE RELATIONSHIP
REFLECTS LIFE.

BUT THE BANTER REFLECTS ART.

YOU KNOW WHAT?
WHAT?

YOU WANNA STOP TALKING
ABOUT THIS?
YEAH.

(PRINCE)
IT'S AN INTERESTING THING.

IT'S LIKE WATCHING A PLAY,

BUT IT'S STEEPED IN REALISM,
EVEN THOUGH THE BANTER

IS SO QUICK AND SO TIGHT
THAT IT MAY NOT BE

COMPLETELY REFLECTIVE
OF HOW PEOPLE MAY PAUSE OR NOT.

IT'S SO MUCH BETTER
AND SO MUCH MORE INTERESTING.

I WANT TO HAVE KIDS SOMEDAY.
I'M JUST NOT READY YET.

(PRINCE)
BUT THAT, I GUARANTEE YOU,
THAT IS TO THE PERIOD

THAT THOSE ACTORS ARE
WORKING THROUGH HIS DIALOGUE.

HE'S A PHOTOJOURNALIST.
HE DOES WAR COVERAGE.

HE'S AWAY A LOT, WHICH
IN A WAY IS GOOD FOR ME

BECAUSE I'M SO BUSY.

YEAH, BUT ISN'T IT DANGEROUS?
I MEAN,

AREN'T A LOT OF THOSE GUYS
GETTING KILLED THESE DAYS?

HE PROMISES ME
HE DOESN'T TAKE RISKS.

(PRINCE)
THAT'S REALLY TOUGH WRITING,
REALLY GOOD ACTING,

REALLY INTERESTING STUFF,
AND THAT'S HIM, MAN.

I MEAN, ETHAN, AT ANY POINT,
COULD HAVE OPTED TO BECOME

A MAINSTREAM HOLLYWOOD STAR,
AND NOT DO THEATER,

AND NOT DO INDIE FILMS,
AND NOT WRITE NOVELS,

AND NOT MAKE HIS OWN MOVIES.

YOU KNOW, JULIE COULD HAVE
GONE THE STARLET ROUTE.

RICK COULD HAVE EASILY BECOME
A HOLLYWOOD DIRECTOR.

AND THEY RESISTED THAT.
I MEAN, IN A WAY,
IN THEIR OWN LIVES,

THEY REFLECT THE CHARACTERS--

THEY RESIST, YOU KNOW,
THE EASY OUT.

THEY DON'T TAKE
THE TRADITIONAL ROUTE.

AND THAT MAKES THE SECOND FILM
SO EXTRAORDINARY,

WHEN THE TWO COME TOGETHER,
BECAUSE THEY'VE BOTH

BEEN WEATHERED
BY REAL EXPERIENCE

AND BY REAL COMMITMENT
AND VISION.

WE WERE IN THE AGE, ETHAN AND I,
OF THE CHARACTERS,

AND WE WERE FEELING
THOSE THINGS FOR REAL.

I'M SURE THAT'S WHEN I'D KNOW
I'M REALLY IN LOVE.

IT'S PERSONAL FEELINGS THAT,
REALLY, ETHAN AND I HAD.

NOT FOR ONE ANOTHER,
BUT FOR, YOU KNOW, IN LIFE.

THOUGHTS WE REALLY HAD.

AND I THINK WHEN RICHARD
SENSED THAT, YOU KNOW,

A LITTLE BIT OF MELANCHOLY,
A LITTLE BIT OF ROMANTICISM

IN US AND STUFF, HE FELT
THAT WAS RIGHT.

YOU KNOW, ALL THIS BULLSHIT
WE'RE TALKING ABOUT

ABOUT NOT SEEING EACH OTHER
AGAIN-- I DON'T WANNA DO THAT.

YEAH, I DON'T WANT
TO DO THAT EITHER.

I WAS WAITING FOR YOU
TO SAY IT.

(HAWKE)
YOU KNOW WHEN THAT MOVIE
REALLY STARTS WORKING

IN A WAY THAT IS UNIQUE IS WHEN
WE'RE QUIET WITH EACH OTHER

IN THE LISTENING BOOTH.

WE GO INTO A LISTENING BOOTH
IN A RECORD SHOP,

AND WE WERE, LIKE, YOU KNOW,
IT'S SEEING TWO PEOPLE,

AND ACTUALLY IN
A NON-VERBAL STATE--

PARTICULARLY TWO
HIGHLY VERBAL PEOPLE.

FOR THESE TWO PEOPLE
TO REACH A PLACE OF QUIET
IS POWERFUL.

* BLOWS IN FROM THE NORTH

* AND IT SAYS THAT LOVING
TAKES ITS COURSE *

* COME HERE

* COME HERE

* NO I'M NOT IMPOSSIBLE
TO TOUCH *

* I HAVE NEVER
WANTED YOU SO MUCH *

* COME HERE

THEY WERE REALLY EASY.

THEY ARE KIND OF
EXPERIMENTAL,

THEY ARE SLIGHTLY DANGEROUS
IN THE MOVIE,

BUT IT WAS EASY TO DO, IT WAS
EXACTLY WHAT WE WANTED TO DO.

I WAS WORKING WITH
TWO PEOPLE THAT I LOVE.

I MEAN, NOBODY WANTED US
TO MAKE THAT SECOND MOVIE.

THAT WAS THE FUN OF IT.
WE WERE MAKING THE SEQUEL

TO A MOVIE-- THE LEAST-GROSSING
FILM OF ALL-TIME

TO EVER SPAWN A SEQUEL,
YOU KNOW?

AND WE WERE KIND OF
PROUD OF OURSELVES.

IT WAS LIKE WE WERE
THE ONLY THREE PEOPLE

THAT WANTED TO SEE
"BEFORE SUNSET".

WHY WE DID A SECOND FILM,
AND WHY WE WANTED

TO MAYBE DO A THIRD ONE
IS BECAUSE

WE REALLY HAVE
A LOT OF FUN.

I MEAN, LIKE--
LIKE LAUGHING.

CONSTANTLY, DURING
THE WRITING PERIOD,

NONSTOP.
NONSTOP LAUGHING.

AND EVEN, LIKE, THE MOMENT
THAT WE WROTE

THAT ARE ROMANTIC
AND ALL THAT,

OR MORE EMOTIONAL,
LAUGHING THE WHOLE TIME.

I KNOW, IT'S--
(LAUGHS)

IT'S VERY KIND OF A LETDOWN.

LIKE, OH, IT'S ALL
THOSE ROMANTIC IDEAS.

BUT IT'S LIKE, NO, NO,
WE'RE JUST HAVING A BALL.

HAVING THE BEST TIME EVER.

(LAUGHS)
YEAH, THAT IS,
RIGHT?

I GUESS.

I MEAN, IT'S HEALTHY
TO DESIRE, RIGHT?

YEAH.
I DON'T KNOW.

I MEAN, IT'S WHAT ALL
THOSE BUDDHIST GUYS SAY, RIGHT?

YOU KNOW, LIBERATE YOURSELF
FROM DESIRE

AND YOU'LL FIND THAT
YOU ALREADY HAVE

EVERYTHING YOU NEED.

YEAH, I FEEL
REALLY ALIVE

WHEN I WANT SOMETHING MORE
THAN JUST BASIC SURVIVAL NEEDS.

I MEAN, WANTING, WHETHER IT'S
INTIMACY WITH ANOTHER PERSON

OR A NEW PAIR OF SHOES
IS KING OF BEAUTIFUL.

I LIKE THAT WE HAVE THOSE
EVER-RENEWING DESIRES.

THE CONVERSATION IN "BEFORE
SUNSET" IS THE MOST ADULT

AND MATURE CONVERSATION
ABOUT ROMANCE

THAT I HAVE EVER HEARD.

IT IS SO GREAT.

THE ENDING OF THAT FILM
IS SO-- IT'S PERFECT.

THOSE FILMS ARE
IMPOSSIBLE TO END.

YOU KNOW, I MEAN THE BEST
OF THOSE FILMS END WEAKLY.

THIS FILM HAS
THE PERFECT ENDING.

I AM AS PROUD OF
THE ENDING OF THAT MOVIE

OF ANYTHING THAT I'VE EVER
BEEN ASSOCIATED--

I MEAN, IT'S-- YOU KNOW,
AND YOU JUST STUMBLE ON IT.

AND I REMEMBER
HOW IT HAPPENED.

LIKE I SAID, IT'S NOT LIKE
SOMEBODY PLANNED IT ALL.

IT JUST WAS RIGHT HOW
IT ALL CAME TOGETHER.

EVEN THOUGH AN AGENT
AT THE TIME THAT I HAD,

WHEN HE SAW THE FILM,
HE'S LIKE,

"WHAT A DISAPPOINTMENT.
THEY DON'T EVEN KISS."

I WAS, LIKE,
"OKAY, WHATEVER."

(LAUGHTER)

HE'S NOT MY AGENT ANYMORE,
JUST SO YOU KNOW.

THE STUDIO PEOPLE ASKED ME,
"PLEASE CALL HIM AND ASK HIM

IF HE COULD RE-SHOOT
THE ENDING."

THEY REALLY FELT THAT
JULIE AND I SHOULD KISS,

OR SOMETHING LIKE THAT.

AND I CALLED HIM UP--
I CALLED HIM UP

WITH EVERY INTENTION OF
BRINGING THE SUBJECT UP.

BUT WE STARTED TALKING
ABOUT THE U.T. BASEBALL TEAM.

THEN, BEFORE I KNEW IT,
I WAS TALKING ABOUT THE KNICKS,

AND BEFORE I KNEW IT,
I WAS TALKING ABOUT,

YOU KNOW, SOME
DOSTOYEVSKY BOOK
I WAS READING AT THE TIME.

THEN I WAS OFF THE PHONE.

AND THEN I CALLED
THE STUDIO BACK

AND I TOLD THEM, "I TOLD HIM.
HE'S REALLY THINKING ABOUT IT."

IT'S A LOT LIKE SAYING
AT THE END OF "KANE",

LET HIM TAKE THE SLED OUT
AND SHOW IT AROUND.

YOU KNOW, I MEAN IT'S LIKE
MISSING THE WHOLE POINT--

THE WHOLE POINT OF THAT MOVIE.

HER DANCING WITHOUT
THEM TOUCHING

IS ONE OF THE MOST
COMPLETELY EROTIC SCENES.

HE KINDA KNEW WHAT
HE WANTED TO BE DOING,

AND IT WAS FUN
TO BE HIS PROCESS--

THE WAY THAT HE LIKES TO WRITE
AND WORK WITH ACTORS,

AND ENCOURAGE YOU TO CONTRIBUTE
AND BRING YOURSELF TO IT.

SO THAT STARTED HAPPENING,

BUT I NEVER WOULD HAVE THOUGHT
WE WOULD HAVE DONE IT AGAIN.

AND HERE YOU ARE, 18 YEARS
LATER, HAVING MADE THREE OF 'EM.

WHEN I TALK ABOUT RICK'S
HUMANISM AND HIS OPTIMISM,

IT'S REALLY DEEPLY ROOTED
IN REAL LIFE,

AND IN THE PAIN AND TRAUMA
OF REAL LIFE.

AND SOMETIMES THERE'S
A VERY BLACK HUMOR.

I'M A TIME TRAVELER.

OKAY...

THAT GUY YOU VAGUELY REMEMBER--

THE SWEET, ROMANTIC ONE
YOU MET ON A TRAIN...

THAT IS ME.

HE'S REMINDING HIMSELF
THAT HE'S THAT GUY,

AND TO PLEASE SEE HER
WITH THOSE EYES

THAT HE SAW HER WITH THEN.

I MEAN, YOU KNOW,
HE'S TRYING TO ROOT HIMSELF

IN THAT REALITY.

(COUPLE ARGUING IN GERMAN)

YOU KNOW, THE FIRST ONE OPENS
WITH A COUPLE IN THEIR 40s

FIGHTING ON THE TRAIN,

AND JULIE AND I ARE BOTH
JUST EAVESDROPPING ON THIS.

AND WE SLOWLY BECOME
THAT COUPLE.

I'M TRYING
TO MAKE YOU LAUGH.

(BLACK)
IT'S SOME OF THE MOST
DISTURBING CONVERSATIONS

BETWEEN TWO LOVERS,
TWO MARRIED PEOPLE,

TWO PEOPLE IN A ROMANTIC
RELATIONSHIP THAT
YOU'VE EVER SEEN.

AND IF YOU THINK I'M JUST
SOME DOG WHO'S GONNA
KEEP COMING BACK,

THEN YOU'RE WRONG.

BUT IF YOU WANT TRUE LOVE,
THEN THIS IS IT.

THIS IS REAL LIFE.
IT'S NOT PERFECT,
BUT IT'S REAL.

AND IF YOU CAN'T SEE IT,
THEN YOU'RE BLIND, ALL RIGHT?

I GIVE UP.

(HAWKE)
I'VE READ A BUNCH
OF REVIEWS OF THE MOVIE

THAT TALK ABOUT HOW BRUTAL
THE FIGHT SCENE IS AT THE END,

BUT THE FACT THEY STILL
WANT THE OTHER ONE

TO UNDERSTAND THEM
SO BADLY,

THE FACT THAT
THEY'RE NOT GIVING UP,

I FIND IT REALLY
ROMANTIC AND PASSIONATE.

RICK'S SITTING THERE
TELLING THE WORLD

THAT ACTUAL REAL LIFE
IS BEAUTIFUL ENOUGH.

REAL LIFE IS MAGIC,
YOU KNOW.

AND WE ALL ARE JUST
SEEKING SOMETHING MORE.

AND WE HURT OURSELVES
WITH THAT.

SO WHAT ABOUT
THIS TIME MACHINE?

WHAT DO YOU MEAN?

HOW DOES IT WORK?

THE MODEL OF "BEFORE MIDNIGHT"
AND WHAT THAT WAS,

AND THE FACT THAT
RICHARD LINKLATER HAS SET,

I THINK, WHAT'S ONE OF THE
RECORDS TO BE MOST PROUD OF,

WHICH IS THE LOWEST-GROSSING
TRILOGY OF ALL-TIME.

(LAUGHTER)
THAT IS THE ESSENCE OF HIM.

HE'S REDEFINING
WHAT A TRILOGY--

A TRILOGY ABOUT TWO PEOPLE
WALKING AROUND

OVER THE COURSE OF 20 YEARS
IS WHAT'S SO GREAT ABOUT HIM.

IT IS A DARING,
BOLD MOVE.

BUT IT'S WHAT HE'S BEEN DOING
HIS WHOLE CAREER, YOU KNOW.

AND IT'S WHAT HE'S JUST
GONNA KEEP DOING.

MOVIE STARS LOVE HIM.

THEY'RE STARTING TO COME TO HIM
TO WORK WITH HIM SPECIFICALLY.

I SEE HIM SHRINKING
HIS SCOPE AND SIZE

SO THAT HE CAN DO
EXACTLY WHAT HE WANTS.

AND "BEFORE MIDNIGHT"
IS SUCH A GREAT EXAMPLE OF THAT.

AND I'M JUST, LIKE--
WE'RE JUST PUMPING HIM ON,

HOPING FOR MORE OF THAT.

WE'RE IN THE SECOND HALF
OF HIS CAREER NOW, YOU KNOW.

AND IT'S FUNNY--

I'VE SPENT THE LAST
20 YEARS AS HIS FRIEND

WONDERING WHEN THE WORLD
WAS GONNA REALIZE

THAT WE HAVE A SERIOUS
ARTIST AT WORK

DOWN HERE IN TEXAS.

(PRINCE)
I MEAN, YOU GO SEE
THE ORSON WELLES THING,

AND THAT'S JUST
A BEAUTIFUL PERIOD PIECE.

IT'S LIKE AN ARTIST
THAT STARTS REPRESENTATIONAL,

AND THEN GOES OFF-- YOU HAVE
TO KNOW HOW TO DO IT PERFECTLY

BEFORE YOU CAN GO OFF
AND DO THESE CREATIVE CHOICES.

AND HE DID IT
THE OTHER WAY AROUND,

BUT HE PROVED
HE COULD DO BOTH.

HE'S JUST REALLY
AN ARTIST.

IT'S BEAUTIFUL SHOT.
IT HOLDS UP

FROM JUST A CINEMATIC
ELEMENT.

HE CAN DO ALL OF IT.

HE REALLY CAPTURED
THE SORT OF MAGIC

AND EXCITEMENT
OF A THEATRICAL PRODUCTION.

COMING FROM A FAMILY
OF THEATER,

YOU KNOW, IT WAS VERY
MOVING TO ME,

SOME MOMENTS
ABOUT THE ACTORS.

IT'S, LIKE, SOMETHING
THAT REALLY MOVES ME.

YOU'LL BE FINE, GEORGE,
PERFECTLY FINE.

IT'S JUST THE OPENING ACT.
PLEASE!

MAN, WHEN I WORKED WITH RICK
I WAS 19 YEARS OLD,

IN THE MIDST OF DOING
"HIGH SCHOOL MUSICAL" AND STUFF.

I LITERALLY HADN'T FINISHED
THE THIRD ONE,

SO I WAS STILL
SORT OF STUCK--

NOT STUCK, BUT THERE WEREN'T
MANY DIRECTORS THAT WERE

LOOKING AT ME OUTSIDE
OF THAT SPECIFIC GENRE,

THAT KIND OF CHARACTER.

RICK WAS THE FIRST GUY THAT--
THAT SORT OF REALLY,

I GUESS, BELIEVED IN ME,
YOU KNOW.

AND HE, UH-- YEAH,
HE TOOK A FLIER ON ME

AND SENT ME THIS SCRIPT
FOR "ME AND ORSON WELLES".

AND I LOOKED AT THIS,
AND I WAS, LIKE,

GOD, THIS IS A REAL PART
WITH RICHARD LINKLATER?

ARE YOU KIDDING ME?

ARE YOU SURE THEY GOT
THE RIGHT GUY?

HERE, MY GOOD LORD.

WHAT? THOU SPEAKEST
DROWSILY...

WHERE'S THY UKULELE,
BOY?

I THINK SOME ASSHOLE
DOTH STOLE IT.

(EFRON)
I REMEMBER TELLING MY PARENTS
ABOUT THIS POTENTIAL ROLE

THAT I WAS KIND OF UP FOR.

AND THAT I WAS MEETING RICK
THE NEXT DAY.

AND THEY WERE JUST, LIKE,
HOLY COW, THIS MIGHT ACTUALLY--

THIS IS ACTUALLY
A GOOD THING.

YOU KNOW, "THIS IS, LIKE,
REALLY BIG FOR YOU."

YOU'LL CALL MY MOTHER...

YOU'LL TELL HER THAT I'M
AN IMPORTANT PART OF THE SHOW,

AND THAT IT'S NECESSARY
THAT I MISS SOME SCHOOL.

OF COURSE.

THE MOVIE WAS ABOUT A BUNCH
OF ACTORS PUTTING ON A PLAY

IN THE 1930s.

IT WAS 1930, RIGHT?

WAS IT? OKAY,
I'M JUST MAKING SURE.

'CAUSE RICK WOULD BE, LIKE,
"OH, COME ON."

HE KNEW SO MUCH
ABOUT THE ERA, LIKE, EVERYTHING.

THE COMMON CULTURE
OF THE TIME.

LIKE WHAT MUSIC
WAS INTERESTING,

WHO WAS THE MOST FAMOUS
OR, YOU KNOW,

MOST ACCOMPLISHED DRUMMER
OF THE ERA-- GENE KRUPA.

NOW I KNOW THAT,
'CAUSE RICK KNEW THAT.

WE ALL GOT ON AN AIRPLANE
AND FLEW TO THE ISLE OF MAN,

WHICH IS THIS TINY LITTLE ISLAND
IN THE MIDDLE OF NOWHERE.

AND THERE WAS A THEATER
THAT WE RENTED OUT.

IT'S THE KIND OF THING
ONLY RICK WOULD DO.

IT REALLY HAD THE LOOK
OF THE THEATER

THAT ORSON WAS A PART OF.

HEY, HAVE YOU GUYS SEEN
THE UKULELE.

THE, UH--
YOU KNOW, WITH THE LOOPS.

SORRY, KID.

I DIDN'T UNDERSTAND
THE MERCURY THEATER,

AND I'VE BEEN AN ORSON WELLES
FAN SINCE I WAS YOUNG.

I'VE READ THE PLAYS
IN THE MERCURY THEATER EDITIONS.

NOT THAT THEY'RE
ANY DIFFERENT, BUT STILL--

AND I'VE READ ABOUT
MERCURY THEATER,

AND I DIDN'T UNDERSTAND
WHAT THE MERCURY THEATER WAS

UNTIL RICK SHOWED IT
TO ME.

HOW THE HELL DO I TOP THIS?

(CHEERS AND APPLAUSE)

I REALLY WANTED TO MAKE
"SCHOOL OF ROCK II",

AND RICK SAID, "HOLD UP,
THERE IS ANOTHER THING

"THAT I'D LOVE YOU TO READ
THAT I'VE BEEN WANTING TO MAKE

FOR, LIKE, 12 YEARS."

AND I WAS, LIKE, WELL, YEAH,
SEND IT OVER.

LET ME READ THIS THING.

AND I READ IT,
AND I WAS, LIKE,

THIS IS NOT
"SCHOOL OF ROCK II".

* WHILE 110 CORNETS
BLAZED AWAY *

* TO THE RHYTHM
OF MARCH MARCH MARCH *

* ALL THE KIDS BEGAN
TO MARCH *

* AND THEY'RE MARCHING STILL
RIGHT TODAY *

(EXPLOSION)

THE STORY, THE NARRATIVE
THAT THE PRESS LIKES TO TELL

WAS THAT THEN RICK
KINDA SOLD OUT

AND DID A BIG
HOLLYWOOD MOVIE.

AND THEY KIND OF MISSED
THE POINT

OF WHAT "THE NEWTON BOYS" WAS,

WHICH WAS ULTIMATELY JUST
A BRILLIANT BIT OF THIEVERY

ON RICK'S PART TO GET
A BIG STUDIO TO PAY FOR

HIS VERY PERSONAL
LITTLE UVALDE, TEXAS,

BANK ROBBERY STORY.

WHAT'S COOL ABOUT THEM IS
THEY'RE THE MOST SUCCESSFUL

BANK ROBBERS IN THE HISTORY
OF THE UNITED STATES,

BUT YOU NEVER HEARD OF 'EM
'CAUSE THEY NEVER KILLED
ANYBODY.

(LOUIS BLACK)
RICK IS FASCINATED BY CRIMINALS.

YOU KNOW, "IN ORDER TO LIVE
OUTSIDE THE LAW,

YOU MUST BE HONEST"
IS WHAT DYLAN SAID.

AND NOBODY ILLUSTRATES THAT
BETTER THAN RICK'S FILM.

I THOUGHT THE FACT THAT
THEY NEVER KILLED ANYBODY

WAS A FLIP ON THE
BANK ROBBER/WESTERN,

AND VERY RICK.

GET OUT OF HERE!
GET OFF MY LEG!

GOD DAMN IT!
SHIT!

ALL OF HIS FILMS HAVE
A CERTAIN CHARM.

HE'S CHARMED BY
HIS SUBJECT MATTER
AND HIS PEOPLE.

NOW WE ARE GOING TO
SAUTE THE BROCCOLI

LIGHTLY IN OLIVE OIL
TILL IT'S JUST BRIGHT GREEN.

"BERNIE" IS AMAZING.
HOW CAN THIS--

I MEAN, WITHOUT IN ANY WAY
FALSELY REDEEMING THIS GUY.

HE MAKES THIS THE MOST HUMAN
OF HUMAN BEINGS.

AND IF YOU WOULDN'T
HAVE BEEN CAUGHT,

YOU'D STILL BE SPENDING
HER MONEY TODAY.

WOULDN'T YOU?
WOULDN'T YOU?

(GAVEL BANGS)

THERE WAS ALSO A FEELING
AND A PASSION FROM RICK.

BECAUSE THIS IS ONE
THAT HE WROTE HIMSELF
WITH HIS FRIEND,

AND HAD NURTURED.

THIS WAS MORE HIS BABY
THAN "SCHOOL OF ROCK" IN A WAY

BECAUSE HE WAS THERE
FROM THE VERY BEGINNING.

SO YEAH,
THERE'S A DIFFERENT VIBE,

A DIFFERENT TONE
TO THE PROCEEDINGS.

HE JUST LIKED THAT
I HAD SO MANY BERNIE QUALITIES.

YOU KNOW, I CAN SING.

BERNIE'S A VERY
MUSICAL DUDE.

IT WAS A BIG PART
OF THE CHARACTER.

HE SAW ME AS
A LIKEABLE GUY,

AND THAT WAS IMPORTANT
FOR BERNIE.

HE'S THE MOST POPULAR,
MOST LOVED GUY IN THIS TOWN,

AND THE LEAST LIKELY
TO MURDER.

ACTUALLY, WHEN I LOOKED
AT "BERNIE", I THOUGHT--

I THOUGHT IT WAS FOR
THE JACK BLACK ROLE.

YOU CANNOT HAVE GRIEF
TRAGICALLY BECOMING COMEDY.

WHICH EXTREMELY EXCITED ME.

AND I CALL HIM UP-- I WROTE HIM
THIS LONG EMAIL

ABOUT WHY THIS IS GONNA BE FUN,
CHECK THIS OUT.

AND HE WRITES BACK, HE GOES,
"HEY, UH...

"NO, MAN, SORRY, MAYBE
THERE'S A MISCOMMUNICATION.

I WAS TALKING ABOUT
THE DANNY BUCK CHARACTER."

I WAS, OH, REALLY?

AND I WAS, LIKE, JACK'S
PLAYING THAT OTHER PART?

I GO, FUCKING COME ON, MAN,
I WANNA AUDITION AGAINST HIM.

HE WAS, LIKE,
"WELL, NOW, I LOVE JACK."

AND HE LAUGHED, HE WAS, LIKE--
I WAS, LIKE, GOD...

'CAUSE I THOUGHT, AW, I COULD
KNOCK THAT OUT OF THE PARK.
GREAT.

AND HE WAS, LIKE,
"I REALLY DON'T SEE IT."

I WAS, LIKE, RICK,
I'M TELLING YOU

I CAN DO THAT.

AND HE WAS, LIKE,
"I BET YOU MAYBE COULD.

BUT NO, JACK'S THE ONE."

SO I SAID, ALL RIGHT, DANNY.
I WENT BACK AND READ THAT,

AND I WAS, LIKE, OH, OKAY.

WHEN THE TIME'S JUST RIGHT...

PHEW!
THAT'S WHEN I POUNCE.

WELL, "NEWTON BOYS", HE CAST
MY OLDEST BROTHER, ROOSTER,

WHOSE FAVORITE LINE TO THIS DAY
IS THAT HE SAYS THE WHOLE MOVIE,

"THEY MAY CALL IT A BIOGRAPHY,
BUT IT'S COMPLETE FICTION.

'CAUSE THERE AIN'T NO GODDAMN
WAY MY LITTLE BROTHER

COULD GIVE ME A RIGHT HOOK
AND KNOCK ME ON MY ASS.

SO IT'S COMPLETELY
FUCKIN' FICTION.

THAT'S HIS WHOLE TAKE
ON IT.

SO HE GETS MY BROTHER
IN THAT, AND THEN--

A SEE-THROUGH NIGHTGOWN
THAT SHOWED HER BREASTS.

(McCONAUGHEY)
MY MOM.

I MEAN, GIVE ME
A BREAK.

WHAT DOES A WOMAN HER AGE
WANTING TO DO SHOWING HER BOOBS?

I THOUGHT THE STORY WAS GOOD,
ORIGINAL, FUNNY.

I THOUGHT THE WHOLE SCRIPT
WAS, LIKE, OKAY, WE'RE TAKING

A 1,000-MILIMETER LENS,
AND WE'RE STICKING IT

THROUGH THAT PINE CURTAIN
AND HAVING A LOOK

BEHIND THE BIG THICKET
AT EAST TEXAS.

YOU KNOW, WHAT GOES ON
BACK THERE IN THAT PLACE?

'CAUSE THE REST OF THE WORLD
DON'T KNOW WHAT'S BACK THERE

AND HAS NEVER GONE.

AND MOST OF THE PEOPLE
BEHIND IT NEVER GET OUT.

CARTHAGE, THIS IS WHERE
THE SOUTH BEGINS.

THIS IS LIFE BEHIND
THE PINE CURTAIN.

AND TRUTH BE KNOWN,
IT'S A GOOD PLACE.

IT STARTS WITH THE WRITING,
THEN IT GOES TO ENVIRONMENT.

AND THEN YOU'RE CREATING
AN ENVIRONMENT, A TONE,

AND THEN YOU SLIP IN
THE ACTORS,

WHO ARE EQUALLY AS IMPORTANT,

BUT THEY HAVE TO HAVE
A PLACE TO EXIST.

(WOMAN)
TAKE IT, BOYS.

WELL, PLACE--

VERY PARTICULARLY IN "BERNIE",
BEHIND THE PINE CURTAIN.

WHERE NOBODY GOES.

PEOPLE IN OTHER PARTS
OF THE COUNTRY MAY THINK
THAT'S PLUTO.

WHO TALKS LIKE THAT?
WHAT ARE THOSE PEOPLE DOING?

THERE'S SOMETHING BEAUTIFUL
ABOUT THAT.

THEY'RE NOT LOOKING
TO THE OUTSIDE WORLD

TO GET THEIR IDENTITY.

THEY'RE THERE, AND THEY
HAVE THEIR IDENTITY,
BASED ON THAT.

YOU MAY BE FROM THE OUTSIDE,
YOU MAY LOOK LIKE AN ALIEN,

BUT "WHAT'D YOU DO
TO YOUR HAIR THERE?"

AT THE SAME TIME, THE PEOPLE
THERE WOULD GIVE YOU
THE SHIRT OFF THEIR BACK.

I MEAN, WHEN YOU LIVE
IN A SMALL TOWN,

YOU'VE GOTTA BE FRIENDLY
AND NICE TO FOLKS.

THEY'RE NOT CURMUDGEONLY,
THEY'RE NOT MISANTHROPES.

THEY'RE JUST PRETTY WONDERFUL.

I MEAN, SHE'D RIP YOU
A BRAND NEW THREE BEDROOM,

TWO BATH DOUBLE-WIDE
ASSHOLE.

(LOUIS BLACK)
IN "BERNIE", GUESSING
WHO'S AN ACTOR

AND WHO'S ACTUALLY
A REAL TOWNSPERSON
IS A LOT OF FUN.

BUT IT'S FILLED WITH
A LOVE OF HUMANITY

AND A REAL PASSION
FOR THE CHARACTERS.

IN THE LAST SCENE
IN THE MOVIE,
WE GET IN THERE

AND WE HAD THIS CAFE SCENE,
AND, UH...

WHO DOES HE SIT NEXT TO ME
AS IT'S IN THE SCENE?

MY MOM.

HE CONFESSED.
DANNY BUCK...

IT TURNED OUT BEING
REAL FUN AND REALLY GREAT,

BUT HE'S SNEAKY LIKE THAT.

OH, SHE'S WILD, MAN.
SHE'S WILD.

RICK LINKLATER DIRECTS
MIKE NICHOLS' "THE GRADUATE",

STARRING MATTHEW McCONAUGHEY
AND KAY McCONAUGHEY.

I DON'T THINK
HE'LL DO THAT ONE,

BUT I GUARANTEE YOU SHE'S
PITCHED THE IDEA TO HIM.

MANY TIMES.

WHY WILL IT WORK?
'CAUSE...

WELL, YOU MAY SAY IT'S SICK,
YOU MAY SAY IT'S INCESTUAL.

WELL, ASK KAY, AND SHE'LL SAY,
"HEY, I'VE SEEN IT BEFORE.

IT AIN'T NO BIG DEAL."

RICK LOVES HIS CHARACTERS.

RICK IS PASSIONATE
ABOUT HIS CHARACTERS,

AND HE'S FASCINATED BY THEM,
AND HE RESPECTS THEM.

AND THAT, I THINK, COMES THROUGH
IN ALL THE FILMS.

RICK IS FASCINATED
BY THE FRINGE.

HIS CRIMINALS,
THEY'RE ONLY VILLAINS

IF THEY'RE NOT HONEST.

I NEVER THOUGHT OF ME
KILLING MRS. NUGENT.

I--

I GUESS I FANTASIZED
ABOUT HER DEATH,

BUT I WAS NEVER THE ONE
RESPONSIBLE FOR IT.

(JACK BLACK)
I MEAN, THE SCENES
IN THE SCRIPT,

WHEN YOU READ THE SCRIPT
AS AN ACTOR

AND YOU CIRCLE AND YOU GO, OKAY,
I'VE GOT TO BE AWARE

OF WHEN WE'RE GONNA DO THIS
ON THE CALENDAR,

BECAUSE I'VE GOT TO
MENTALLY PREPARE

A FEW DAYS IN ADVANCE.

OBVIOUSLY, THE MURDER.

CAN YOU TALK TO ME?

(McCONAUGHEY)
THOSE SCENES...

OH, NO, NO, NO.
JESUS!

AN ACTOR CAN FEEL
PRECIOUS ABOUT THAT.

YOU CAN FEEL PRECIOUS
OR FEEL PRESSURE.

OH, GOD, WHAT HAVE I DONE?

PLEASE TELL ME
WHAT TO DO.

I'LL DO WHATEVER
YOU WANT ME TO DO.

YOU'RE AN ACTOR, AND YOU
GOT SOMETHING LIKE THAT,

AND YOU HEAR
A CREW GOING "SHH!"

THAT'S ALL SOME PRESSURE.

LIKE, COME ON, MAN.
YOU KNOW?

NOW I KNOW EVERYTHING'S
WAITING ON ME.
HANG ON, MAN.

THE SAME AMBIENCE,
WHETHER IT'S A,

I DON'T KNOW, CRASH SCENE,
DEATH SCENE, LAUGHING SCENE,

LOVE SCENE--
THE SAME AMBIENCE

THAT'S RIGHT ON
FOR AN ACTOR'S EXPERIENCE.

THERE'S NONE OF THAT,
(EXHALES)
OKAY... AND...

YOU'RE NOT THERE TO PERFORM.
YOU'RE NOT PERFORMING.

WHICH GOOD ACTING IS NOT ACTING.
YOU KNOW, YOU'RE BEHAVING.

HI.
HI, MRS. NUGENT.

I JUST WANTED YOU TO KNOW
THAT I WAS THINKING ABOUT YOU.

OH, THANK YOU.

THESE TIMES CAN BE HARD.

THE EASE WITH WHICH
THINGS SORT OF UNRAVEL.

SOME PEOPLE I'VE SEEN
GET FRUSTRATED WITH IT.

SHIRLEY MACLAINE GOT
FRUSTRATED WITH IT.

SHE'D BE, LIKE, "WHAT
DO YOU WANT ME TO DO?"

YOU KNOW?
"GIVE ME SOME DIRECTION."
YOU KNOW?

GO AHEAD, DESERT ME,
JUST LIKE EVERYBODY ELSE.

GO AHEAD, GO AHEAD,
GO AHEAD, GO AHEAD.
GO, GO GO.

BUT HE OUTLASTED HER.

HE JUST KINDA,
"YEAH, YOU KNOW, THAT."

AND SHE'S JUST, LIKE...

I AM NOT GOING TO
TAKE PART IN THIS ARGUMENT.

YOU KNOW I DON'T LIKE YOU,
AND THAT'S THAT.

WHAT'S HE DOING IS...
"DO YOU."

I KNOW YOU HATE ME,
LIKE EVERYBODY ELSE.

HE KNOWS IT.
I ALWAYS JOKE WITH HIM,

YOU'RE SO BUDDHIST YOU DON'T
EVEN KNOW YOU'RE--

YOU DON'T EVEN KNOW
YOU'RE BUDDHIST.

(JACK BLACK)
RICK DEFINITELY WAS ABLE
TO STEER ME AND GUIDE ME

WITHOUT GIVING ME
SPECIFIC LINE READINGS.

BUT HE GOT ME IN THE ZONE.

HE GOT ME IN THE AREA
OF REALITY

THAT I HAD NOT REALLY
BEEN BEFORE.

THERE'S A REALISM THAT
PEOPLE ARE DRAWN TO,

AND IT MAKES FOR MORE
INTERESTING STORYLINES,

MORE INTERESTING RELATIONSHIPS,
MORE INTERESTING CHARACTERS.

HE SENT ME TONS
OF VIDEO AND AUDIO OF BERNIE,

AND HE ALSO SUGGESTED
WE GO TO MEET HIM

IN THE MAXIMUM SECURITY
PRISON.

WE DID.

AND WHEN YOU'RE DEALING
WITH A TRUE STORY,

YOU'VE GOT A WHOLE
COMMUNITY OF PEOPLE

WHO KNOW WHAT REALLY
WENT DOWN.

SO THERE'S A CERTAIN PRESSURE
TO GET IT RIGHT,

OR ELSE PEOPLE COULD
COME HUNTING YOU DOWN

SAYING, "THAT'S NOT
HOW IT WENT."

YOU KNOW, THE LAST SHOT
OF "BERNIE",

WHERE BERNIE'S WALKING
DOWN THE HALL--

IT'S UNIMPORTANT AS TO
WHETHER HE'S GAY OR NOT,

OR WHETHER
HE'S EFFEMINATE OR NOT,

BUT JUST THE WAY
HE'S WALKING.

JACK BLACK HAS NEVER BEEN
AS BRILLIANT

AS HE IS IN THAT SCENE
WALKING DOWN THE HALL.

AND THERE'S NO FILMMAKER
WHO JUST SO WOULD COMPLETELY
TRUST HIS ACTOR.

I LEARNED A LOT.

YEAH, I OWE HIM A LOT.

HE CHANGED THE GAME
AND MODERNIZED SOME STUFF

THAT CASSAVETES
HAD STARTED,

AND TURNED IT INTO SOMETHING
THAT WAS A LITTLE BIT
MORE ACCESSIBLE,

AND TURNED SORT OF
HUMAN INTEREST

AND THE SUBTLETIES
OF HUMAN FRAILTY

AND THE SUBTLETIES
OF THE HUMAN EXPERIENCE

INTO SOMETHING THAT WAS
CINEMATIC.

AND THAT'S--
THAT'S BIG, MAN.

AND IT COMES BACK TO "SLACKER"
AND THEN STRAIGHT THROUGH.

RICK WAS A REGULAR GUY--
HE WORKED FOR A LIVING.

AND THERE WAS SOMETHING
BEFORE MOVIES.

HE WASN'T BORN WITH A,
YOU KNOW, COKE SPOON UP HIS ASS.

HE WORKED REALLY HARD.

WHEN I MET HIM, YOU KNOW,
THERE WAS A LOT ON THE LINE
FOR HIM IN A LOT OF WAYS.

LIKE, HE'D--

HE WORKED REALLY HARD
TO GET WHERE HE WAS.

HE WAS GONNA PLAY
PRO BALL,

AND THEN THINGS KINDA
TOOK A TURN FOR HIM

AND HE ENDED UP WORKING
ON AN OIL RIG

AND SAVED A BUNCH OF MONEY
AND MOVED TO AUSTIN

AND JUST STARTED
DRINKING IN FILM.

HE CAME TO ME AND HE SAID,
"I'M MAKING A FILM.

I'D LIKE YOU TO BE IN IT."

AND I PLAY THE PARANOID
NEWSPAPER READER.

SO IT HAD TO BE ME,
'CAUSE IT WAS CAST.

I'M IN THE SCENE
AT THE G&M STEAKHOUSE,

WHERE THERE'S A WOMAN
AT THE COUNTER

TALKING ABOUT SEXUAL
DYSFUNCTIONALITY.

AND FRANK ORRALL,
OF POI DOG PONDERING,

COMES IN, ORDERS A CUP
OF COFFEE, SITS DOWN,

AND I GO, "STOP FOLLOWING ME,
STOP FOLLOWING ME."

QUIT FOLLOWING ME.

YOU HEARD ME.
QUIT FOLLOWING ME!

AND DIDN'T THINK MUCH OF IT

UNTIL WHEN HE SHOWED IT
IN AUSTIN,

WE DID A FRONT-PAGE STORY
IN THE "CHRONICLE".

ONE OF OUR FILM WRITERS DID
A FRONT-PAGE STORY,

AND I READ THE STORY
AND I SAID WAIT,

THIS MOVIE'S ABOUT SOMETHING?

IT'S JUST CALLED "SLACKER".

I GUESS THAT'S JUST
WHAT THE MOVIE'S ABOUT.

RIGHT?
JUST "SLACKER".

JUST NOTHING GOING ON
HERE, RIGHT?

JUST GO TALK
AND ROLL THE CAMERA AND...

IT'S JUST "SLACKER".

(MARK DUPLASS)
IT'S NOT A DOCUMENTARY,

IT'S NOT REALLY A NARRATIVE.

(JAY DUPLASS)
YEAH, YEAH, FOR SURE.

TO ALL YOU WORKERS
OUT THERE.

EVERY SINGLE COMMODITY
YOU PRODUCE

IS A PIECE OF YOUR OWN DEATH.

WHAT WAS YOUR RELATIONSHIP LIKE
WITH YOUR--

END OF INTERVIEW.

IT WAS LIKE NOTHING
WE HAD SEEN BEFORE.

IT WAS CONFUSING AT FIRST.

IT WAS. IT WAS LIKE
WHAT IS IT?

BUT HE'S TRICKY.
HE'S TRICKY, OUR RICHARD.

THE FIRST TIME I SAW "SLACKER"
WAS ON LASERDISC.

AND THAT MAY BE YOUR ONLY
INTERVIEW WHO CAN ADMIT THAT.

I FOUND MY WAY INTO "SLACKER"
THROUGH "CLERKS",

WHICH I KNOW IS BACKWARDS.

BUT I SAW "CLERKS"
HERE IN L.A.

IN AN INDIE THEATER,
FELL IN LOVE WITH IT.

I BEGAN READING
ABOUT KEVIN SMITH.

AND KEVIN SMITH WOULD TALK
ABOUT THE FILM "SLACKER" A LOT.

HE WOULD TALK ABOUT LINKLATER,
ABOUT "SLACKER",

ABOUT HOW THAT FILM WAS MADE,
WHAT IT MEANT.

AND I THOUGH, OKAY,
I NEED TO SEE THIS.

(SMITH)
I SAID I SAW
THIS MOVIE "SLACKER".

THEY SAID WHERE?

I SAID I WENT TO THE CITY
TO SEE IT.

WHY? WHY WOULD YOU GO
TO THE CITY TO SEE A MOVIE?

WELL, THEY AIN'T PLAYING IT
IN THE MULTIPLEX.

THEY SAID, WHAT,
IS IT PORN?

AND I SAID NO,
IT'S NOT PORN, IT'S ART.

IT'S AN ART FILM.
AND MY FRIEND BRIAN'S LIKE,
THAT'S PORN.

I SAID NO, DUDE,
IT'S THIS MOVIE THAT,
LIKE, IT'S ABOUT--

AND I TRIED
TO EXPLAIN IT TO HIM,

AND THEY WERE JUST LIKE,
WELL, THERE'S NO PLOT?

WHAT'S-- WHO'S IN IT?

AND, YOU KNOW, ONCE I GET
TO THE END OF IT WITH 'EM
AND WHATNOT,

I TELL 'EM, LIKE, THIS MOVIE
MADE ME WANNA A FILMMAKER.

KEVIN SMITH TALKS
ABOUT THIS AD NAUSEAM,

BUT IT'S THE IDEA THAT
RICHARD MADE A FILM

THAT DIDN'T FOLLOW ANY
OF THE STORYTELLING RULES

IN THE MOVIES THAT
I GREW UP WATCHING,

THAT'S WHAT WAS
MOST EXCITING ABOUT IT,

THAT YOU COULD HAVE A FILM
WHERE THE NARRATIVE WAS

ONE CHARACTER WAS GONNA
TALK TO ANOTHER,

THEN THAT CHARACTER
WAS GONNA GO OFF.

AND THEY'D WALK BY
ANOTHER SET OF CHARACTERS,

WHO ARE GONNA WALK
INTO A RESTAURANT,

AND THEN ANOTHER GUY WAS
GONNA GET INTO A CAR.

AND THAT'S THE MOVIE.

AND THERE ISN'T
A TRADITIONAL PLOT,

AND THERE ISN'T
A TRADITIONAL TONE.

AND THAT'S OKAY.

THE FILM,
IF YOU'VE NEVER SEEN IT--

IF YOU'VE NEVER SEEN IT,
YOU'RE AN IDIOT.

YOU KNOW, SAY
THIS BEAUTIFUL WOMAN
JUST COMES UP TO ME,

JUST STARTS TALKING TO ME,
YOU KNOW?

SHE ENDS UP OFFERING ME
A RIDE.

YOU KNOW, WE'RE HITTING IT OFF.
GO PLAY A LITTLE PINBALL.

AND WE BACK TO HER APARTMENT.
SHE HAS THIS GREAT APARTMENT,
YOU KNOW.

I MOVE IN WITH HER.
YOU KNOW?

AND SEE, SAY I HAVE
A DREAM SOME NIGHT

THAT I'M WITH
SOME STRANGE WOMAN
I'VE NEVER MET.

OR I'M, YOU KNOW,
LIVING IN SOME PLACE

I'VE NEVER SEEN BEFORE.

SEE THAT'S JUST
A MOMENTARY GLIMPSE

INTO THIS OTHER REALITY
THAT WAS ALL CREATED

BACK THERE AT THE BUS
STATION... YOU KNOW?

(HAWKE)
I LOVED THAT.

AND I PARTICULARLY LOVED
WHOEVER THAT GUY WAS

AT THE OPENING OF THE MOVIE.

HE HAS THIS LITTLE SPEECH
ABOUT, YOU KNOW,

MAYBE REALITY ISN'T
WHAT WE THINK IT IS.

THAT'S KINDA THE BASIC
GIST OF IT.

THAT, LIKE, THIS IS MY DREAM
FROM THAT REALITY, YOU KNOW.

OF COURSE, THAT'S KIND OF LIKE
THAT DREAM I JUST, YOU KNOW,

HAD ON THE BUS, YOU KNOW,
THE WHOLE CYCLE TYPE OF THING.

MAN... SHIT.

I SHOULD HAVE STAYED
AT THE BUS STATION.

BY THE WAY, A REALLY
BRAVE FUCKIN' MOVE.

NO, I CAN'T IMAGINE PUTTING
MYSELF IN MY OWN FILM.

AND TO OPEN MY FILM
WITH MYSELF

AND BE ON THERE FOR
FOUR OR FIVE MINUTES

HAVING A REALLY TRICKY,
INTERESTING CONVERSATION

ABOUT DREAMS, AND LANDING
THAT JOKE AT THE END.

YOU KNOW, "I SHOULD HAVE
STAYED AT THE BUS STATION."

IT'S JUST--
IT'S A GREAT LINE,

AND YOU HAVE TO
THROW IT AWAY.

IT'S A HARD LINE TO PERFORM,

AND I'M GUESSING HE DIDN'T
HAVE THAT MANY TAKES.

I KNOW HE PROBABLY DIDN'T
HAVE THAT MUCH FILM STOCK.

SO HE HAD TO NAIL
THAT MONOLOGUE.

(SMITH)
JUST WHEN YOU KIND OF
GET INVESTED IN THIS DUDE,

HE'S GONE.
BOOM, HE'S OFF.

AND YOU'RE INTO ANOTHER STORY,
AND YOU FOLLOW THEM
FOR A WHILE,

AND THEN TO ANOTHER STORY.

WHAT HAPPENED?
WHAT'S GOING ON?

ACCIDENT. EVERYTHING'S
UNDER CONTROL.

WELL, GOOD, SO
YOU DON'T NEED ME?

NO, I DON'T THINK SO.
OKAY.

LOOK, CAN I HELP YOU OUT?

DO YOU NEED A RIDE
ANYWHERE OR ANYTHING?

NO, I DON 'T THINK SO.

TELL YOU WHAT, TAKE MY CARD,
GIMME A CALL.

I WISH I COULD STAY AND HELP,
BUT I GOTTA GO, REALLY.

BUT CALL ME, I'D LIKE
TO HEAR FROM YOU.

I MEAN IT.

WHOSE BODY IS THIS?

(WOMAN)
HERE, CALL THIS GUY.

THESE YOUR GROCERIES,
LADY?

(SMITH)
NOBODY WAS FAMOUS,
THERE WERE NO CAR CHASES.

THERE WAS NO CELEBRITIES,
NO PAYDAYS,

NO MASSIVE BUDGET--
NOTHING EXPLODED.

IT WAS ABOUT A SIMPLE DAY
IN THE LIFE OF THIS COMMUNITY.

AND BY THE END OF THE MOVIE,
LIKE, MY LORD,

HE USED EVERY FORMAT.

FOR AN EMERGING FILM GEEK,
AT THE TIME,

HE USED EVERY FORMAT HE COULD,
LIKE 16 MILLIMETER, SUPER 8.

HE HAD A FISHER-PRICE
PIXEL VISION CAMERA
IN THERE AT ONE POINT.

(MAN)
SHOOT WHATEVER YOU WANT,
PASS IT AROUND,

AND WE'LL SEE WHAT WE
COME UP WITH LATER ON, OKAY?

I MEAN, IT'S THE WORD
"SLACKER" ITSELF,

BECAUSE THE FILM "SLACKER"
IS NOT SLACKER.

I MEAN, THAT'S NOT A VERY
SLACKERISH FILM AT ALL.

YOU KNOW, WHEN YOU THINK OF IT
FROM A PRODUCTION STANDPOINT

OR A PERFORMANCE STANDPOINT,
THEY'RE, UH...

THEY'RE ON THEIR GAME.

IT'S BEAUTIFUL-- I MEAN,
IT'S BEAUTIFULLY SHOT.

ALMOST EVERY SHOT
IS A DOLLY SHOT.

I MEAN, IT MUST HAVE BEEN
REALLY HARD TO ACTUALLY MAKE.

ALSO, EVERYTHING WAS SHOT
AT THE RIGHT TIME OF DAY.

IT ALMOST REMINDS ME
OF THE PHOTOGRAPHY
OF STEPHEN SHORE

OR JOEL STERNFELD.

THERE'S THIS
RIGHT TIME OF DAY

WITH THIS BEAUTIFUL
SIDEWAYS LIGHT.

EVEN THE KIND OF--
THE COLORS OF THE CARS

IN THE BACKGROUND
ARE GORGEOUS.

AND IT'S THESE TRACKING SHOTS
THAT ARE LOVELY.

SO IT WAS BEAUTIFUL LOOKING,
AND THE STRUCTURE WAS

LIKE NOTHING I'D EVER
SEEN BEFORE.

THE NEXT PERSON
WHO PASSES US

WILL BE DEAD
WITHIN A FORTNIGHT.

SOME OF THOSE WALKING
AND TALKING SHOTS...

IT'S JUST LIKE...
THAT'S AMAZING.

'CAUSE I MEAN, I THINK--
A LOT OF THAT HE SHOT
ON 16, ISN'T IT?

16 MILLIMETER?

SO HOW LONG ARE
THOSE MAGS, RIGHT?

AS A DIRECTOR,
I'M WATCHING "SLACKER"

AND I GO, OKAY, THERE'S
NO CUTS IN THIS FILM.

WHICH MEANS THERE'S
NO CHEATING.

THESE ACTORS ACTUALLY
HAVE TO NAIL IT.

BUT THESE ARE ALSO
A COLLECTION OF PEOPLE

WHO AREN'T
PROFESSIONAL ACTORS.

THE IDEA THAT HE WAS ABLE
TO GET ALL THESE NATURAL
PERFORMANCES HIS FIRST TIME OUT

IS MIND-BLOWING IN A WAY
THAT I CAN'T QUITE

FATHOM HOW HE DID IT.

IT'S A MADONNA PAP SMEAR.

I KNOW IT'S KINDA CLOUDY...

I'M SITTING HERE AND I'M
ON CAMERA RIGHT NOW,

AND I'M NERVOUS,
YOU KNOW?

IT'S SCARY TO BE
IN FRONT OF A LENS.

AND TO GET PEOPLE
TO OPEN UP

AND DO THESE KIND OF
WALK-AND-TALK CONVERSATIONS,

AND DO MONOLOGUES
ABOUT PHILOSOPHY
FOR FIVE MINUTES...

WHICH, YOU KNOW, I'M SURE
RICHARD'S LAUGHING ABOUT NOW.

HE'S LIKE, "HA, I KNOW.
IT WAS THERE."

WHAT IS "SLACKER" ABOUT?
IT'S ABOUT DRIVEN PEOPLE

WHO ARE PURSUING
THE TRUTH,

WHO ARE PURSUING THEIR MUSE
OR PURSUING THEIR PASSION.

IT'S ABOUT PEOPLE WHO ARE
DRIVEN BY VISION,

DRIVEN BY CREATIVITY,

AND THEY'RE JUST NOT GONNA
PLAY BY THE RULES.

I WANNA SEE A GODDAMN BIG
MOTHERFUCKIN'

SHOOT 'EM UP, KILL 'EM,
BANG, STAB 'EM CRUSH.

(LOUIS BLACK)
AND THAT'S WHAT'S THERE
IN HIS FILMS.

WHETHER IT BE ROMANCE,
WHETHER IT BE CAREER,

WHETHER IT BE THEATER,
WHETHER IT BE FILMS,

THESE ARE PEOPLE
WHO ARE GOING TO CREATE.

AND THEY'RE G CREATE
DESPITE THE ODDS,

AND THEY'RE GONNA CREATE
WITH A REAL PASSION.

AND SOMETIMES THEY'RE
CREATING IN THEIR LIVES.

AND SOMETIMES THEY'RE
CREATING WORKS OF ART.

I THINK I'VE GROWN
TO APPRECIATE

RICHARD'S WORK MORE AND MORE
AS THE YEARS HAVE GONE BY.

YOU KNOW, I THINK WHEN
I FIRST SAW "SLACKER",

I DIDN'T KNOW HOW
TO APPRECIATE IT

AS MUCH AS I THINK
OF IT NOW.

"OH, I'M GONNA MAKE A MOVIE
WHERE THE CAMERA GOES

FROM ONE DUDE TO THE NEXT DUDE
TO THE NEXT DUDE
TO THE NEXT DUDE."

I REMEMBER WHEN I SAW "SLACKER"
I SAID I HAD THAT IDEA.

AND I KNOW, LIKE, 59 PEOPLE
SAID THE SAME THING TO ME.

YOU KNOW, "I THOUGHT--"
HE TOOK AN IDEA THAT

ALL OF US WONDERED
IF YOU COULD DO,
BUT HE DID IT.

IT WAS FILM SCHOOL
IN A 90-MINUTE SETTING.

IT'S LIKE FRENCH NEW WAVE...
(IMITATING CAMERA ROLLING)

CZECHOSLOVAKIA, 1932, PAN...

I WALKED OUT OF THAT MOVIE
AND I WAS LIKE, "I'M READY."

YOU KNOW, AND I WASN'T,
BUT THAT'S WHAT--

THAT MOVIE MAKES YOU FEEL
EMPOWERED, MAN.

THAT MOVIE MAKES YOU FEEL
LIKE YOU CAN MAKE ART YOURSELF.

I DIDN'T WALK INTO THAT THEATER
GOING "ONE DAY I'M GONNA BE
AN ARTIST."

BUT I DAMN SKIPPY
WALKED OUT OF THAT THEATER

GOING "I WANT TO BE AN ARTIST
LIKE THAT GUY."

(LOUIS BLACK)
WELL, "SLACKER" LAUNCHED
A THOUSAND FILMS, YOU KNOW.

"RETURN OF THE SECAUCUS 7"
AND "SLACKER"

CREATED MODERN AMERICAN
INDEPENDENT FILM

BECAUSE BOTH THOSE FILMS
LOOK SO EASY.

BUT EVERY PERSON WHO SAW IT
WENT OUT WITH A CAMERA

AND CREATED A MOVIE.

IT'S LIKE, YOU KNOW, THE WHOLE
PUNK/NEW WAVE SCENE.

WITHDRAWING IN DISGUST IS NOT
THE SAME THING AS APATHY.

* WOULD YOU SAY THAT
WITHDRAWAL IN DISGUST *

* IS NOT THE SAME
AS APATHY *

THE PROCESS WITH WHICH
HE MADE HIS FIRST FILMS,

AND RODRIGUEZ, TOO,

REALLY KINDA GAVE ME
A KICK IN THE ASS

AS FAR AS
"GO MAKE A MOVIE."

LITERALLY, RICK LOOKED AT YOU
AND SAID--

YOU'RE LYING AROUND IN THE
LIVING ROOM GETTING STONED

OR NOT GETTING STONED,
AND YOU'RE SAYING,

"IF ONLY I HAD THIS,
I COULD MAKE A MOVIE,"

OR "IF ONLY I HAD THIS,
I COULD WRITE A BOOK,"

OR "IF ONLY THIS WAS RIGHT,
I COULD GO DO SOMETHING."

AND RICK LOOKED AT YOU
WITH "SLACKER" AND HE SAID,
"GO DO IT.

"YOU GOT NO EXCUSE
IN THE WORLD.

GET UP AND GO DO IT."

THE FIRST SHORT FILM
WE MADE

THAT EVER DID ANYTHING
COST US $3

AND WAS SHOT IN OUR KITCHEN.

AND IT VERY MUCH CAME
OUT OF THAT FEELING

OF JUST LIKE, YOU KNOW,
FOR LACK OF A BETTER WORD,

LIKE, WHAT WOULD RICK
BE DOING HERE?

HOW WOULD HE HANDLE THIS?

AND THE VERY CLEAR
ANSWER IS JUST DON'T WAIT.

WELL, THE THING
ABOUT "SLACKER" IS

I HAD NEVER HEARD
OF AUSTIN, TEXAS,

BEFORE I SAW THAT MOVIE.

I GUESS IT WAS 1991
I SAW THAT MOVIE,

AND IT WAS A REVELATION.

I COULDN'T BELIEVE
THAT THERE WAS A TOWN

SO BOHEMIAN AND GROOVY,
AND I WANTED TO LIVE THERE.

I WANTED TO PICK UP
AND MOVE THERE

AND BE PART OF THAT CULTURE,

EVEN THOUGH IT SEEMED
A LITTLE GREASY.

IT'S LIKE A PLAY
THAT'S TAKING PLACE

ON AUSTIN'S CHEST
AND BALLS AND LEGS
AND, LIKE, FACE.

YOU KNOW, IT'S LIKE
THIS SCENE TAKES PLACE

ON MY FUCKIN' TIT.

MM-HMM.
OH... HA.

WE'RE JUST GONNA WALK
FROM THIS SHOE UP MY LEG,

AND WHAT'S GOING ON--
WHOA, LET'S GO BACK OVER HERE.

YEAH, IT'S LIKE YOU COULD
SEE THAT MOVIE,

AND THEN YOU COULD
GO TO THE TOWN,

AND THEN YOU COULD
JUST KIND OF KNOW
WHERE YOU KIND OF ARE.

IT WAS VERY "COME HITHER."
IT WAS VERY--

THERE WAS A REAL ROMANCE
ABOUT--

YOU KNOW, HE LOVES THAT TOWN,
AND IT CAME THROUGH.

SO HOW LONG
HAVE YOU LIVED HERE?

UH, SOMEWHERE
IN THE NEIGHBORHOOD
OF ABOUT SIX WEEKS.

THAT'S IT?

EHH, WELL, YOU KNOW.

I JUST SKIPPED OUT
OF MY OLD TOWN

AND I'VE BEEN CRASHING
ON COUCHES AND SHIT.

DO YOU LIKE IT HERE?
I LOVE IT HERE.

EXCEPT FOR THE FUCKIN' ADS.

AND THEN IN CENTRAL TEXAS
YOU GOT

THE PEOPLE'S REPUBLIC
OF AUSTIN,

WITH A BUNCH OF HAIRY-LEGGED
WOMEN AND LIBERAL FRUITCAKES.

I DON'T KNOW, AUSTIN IS
A PART OF RICK,

AND THE TWO GO GREAT
TOGETHER.

(LOUIS BLACK)
RICK CAME UP AND SAID
HE WAS GONNA START SHOWING FILMS

THE WAY THEY WERE MEANT
TO BE SHOWN,

WHICH WAS ON THE SCREEN.

AND HE WAS GONNA DO
TWO PROGRAMS OF SHORTS.

AND HE ASKED IF WE WOULD
GIVE HIM AN AD,

AND WE GAVE HIM AN AD
FOR BOTH SHOWS.

AND BOTH SHOWS SOLD OUT.

AND EVENTUALLY THAT WOULD
LEAD TO WHAT WOULD BECOME

THE AUSTIN FILM SOCIETY.

SO IT STARTS IN 1985,
AND FOR THE FIRST TEN YEARS

IT'S JUST ALL VOLUNTEERS.

IT'S RICK LINKLATER
AND HIS FRIENDS,

AND IT'S ABOUT POOLING
YOUR MONEY TO GET AHOLD

OF RARE PRINTS THAT YOU
COULDN'T SEE OTHERWISE.

(LOUIS BLACK)
THE MOST IMPORTANT THING
THAT HAPPENS

IN TERMS OF AUSTIN HISTORY,

AND IN TERMS OF
AMERICAN FILM,

IS THAT RICK DECIDES
TO STAY IN AUSTIN.

AND HE STAYED COMMITTED
TO PROGRAMMING FILMS,

HE STAYED INVOLVED
IN THE FILM SOCIETY

AND BEING ACTIVELY INVOLVED
IN FILM

AS PART OF THE COMMUNITY.

(CAMPBELL)
THE AUSTIN FILM SOCIETY
HAS EVOLVED

INTO A MULTI-FACETED,
SUPER-DYNAMIC ORGANIZATION.

REALLY, IT'S RICK'S VISION,
AND IT'S JUST KIND OF DONE SO

BY STEPPING INTO THE BREACH.

JUST EVERY TIME
WE SEE SOMETHING

THAT COULD HELP
THE FILM COMMUNITY,

JUST PLUNGING AHEAD.

(LOUIS BLACK)
RICK CALLS ME UP AND GOES,
"FEDERAL AND STATE MONEY

"IS RUNNING OUT--
THERE'S NO LONGER ARTS FUNDING.

"FILMMAKERS AND VIDEOMAKERS
CAN'T GET ANY ARTS FUNDING.

LET'S START THE TEXAS
FILMMAKERS PRODUCTION FUND."

HE'S MET THIS GUY NAMED QUENTIN
TARANTINO AT A SCREENING,

AND THE FIRST FILM THAT
REALLY SETS THE TONE HERE
IS "PULP FICTION".

AND HE SAYS, "WELL, MAYBE
I'LL BRING IT TO AUSTIN
AND SHOW IT."

AND RICK SAYS, "WE'LL DO IT
AS A FUNDRAISER."

AND THEN,
FOR A NUMBER OF YEARS,

WHENEVER ANYBODY HAD A FILM--
STEVEN SODERBERGH,
ROBERT RODRIGUEZ,

RICK LINKLATER,
QUENTIN TARANTINO, KEVIN SMITH--

ANY OF THIS GROUP
OF FRIENDS,

THEY WOULD FREQUENTLY SHOW IT
AT A PREMIERE IN AUSTIN,

RAISE MONEY, AND THAT WOULD
GO TO FILMMAKERS.

SO IT'S FILMMAKERS RAISING MONEY
FOR OTHER FILMMAKERS,

WHICH WAS EXTRAORDINARY.

(APPLAUSE)

(CAMPBELL)
FAST FORWARD, AND THAT FUND
HAS GIVEN OUT $1.3 MILLION

TO SOME 300 ARTISTS.

BUT WE DON'T STOP THERE,
BECAUSE THERE'S THIS
CRAZY OPPORTUNITY

WHEN THE OLD AIRPORT CLOSED.

(LOUIS BLACK)
RICK CALLED ME SOME YEARS LATER
AND SAID, "YOU KNOW,

"THEY'RE GONNA MOVE
THE AIRPORT.

"WHY DON'T WE GET
A COUPLE PEOPLE TOGETHER

AND MAKE A STUDIO
WITH THOSE HANGARS?"

DOZENS OF HOLLYWOOD FILMS,
LOW-BUDGET FILMS,

COMMERCIALS, MUSIC VIDEOS
ARE SHOT THERE.

AND AGAIN, IT WAS RICK
DRIVING IT.

(CAMPBELL)
IT'S REALLY AMAZING TO HAVE
SOMEBODY OF RICK'S CALIBER

KIND OF AT THE HELM
OF THE ORGANIZATION.

(LOUIS BLACK)
AWAY FROM L.A.,
HE FOLLOWS HIS OWN VISION,

HE DEVELOPS HIS OWN PROJECTS.

IT TAKES HIM FOREVER
TO GET FILMS MADE.

BUT I REALLY THINK
HIS ENORMOUS INTEGRITY
AS AN ARTIST

REALLY COMES THROUGH,
AND HIS CREATIVE VISION
REALLY COMES THROUGH.

AND THEN, HIS EFFECT ON AUSTIN
IS EXTRAORDINARY.

WHAT'S WONDERFUL ABOUT HIM
IS HE ISN'T WAITING

FOR ANYONE TO GIVE HIM
PERMISSION

OR GIVE HIM THE MONEY.

HE'S DOING IT
ONE WAY OR ANOTHER,

AND HE'S DOING IT
BACK IN AUSTIN.

I'VE MADE, LET'S SEE,
"BEFORE SUNRISE",
"BEFORE SUNSET".

AND WE DID "TAPE".

AND I HAVE A LITTLE PART
IN "WAKING LIFE",

AND A LITTLE PART
IN "FAST FOOD NATION".

AND, UM... AND THEN
I DID "THE NEWTON BOYS".

AND, UM, I'M DOING
THE 12-YEAR PROJECT,

WHICH IS THIS MOVIE THAT
WE'RE MAKING RIGHT NOW,

WHICH IS REALLY AMAZING.

AND WHAT ELSE HAVE
I MADE WITH RICK?

WELL, WE'VE WORKED
ON SEVERAL MOVIES
THAT DIDN'T GET MADE.

I SAY ALL THIS JUST TO SAY
THAT IF I REALLY COULD BE

TOTALLY 100% HONEST
WITH YOU

AFTER HAVING DONE
ALL THAT WORK,

IF YOU COULD TELL ME
I COULD DO WHATEVER
I WANTED NEXT,

WHAT I WOULD WANT TO DO IS
GET TO MAKE ANOTHER MOVIE

WITH MY FRIEND,
RICHARD LINKLATER.

HEY, WHAT'S UP, RICK?
LET'S PARTY.

WELL, I WANT TO THANK YOU
FOR BEING SUCH A HUGE
PART OF MY LIFE.

THERE'S NO SLACKER
IN THAT "SLACKER".

THERE'S A CERTAIN
ETHEREAL QUALITY TO RICK

THAT JUST NATURALLY
MAKES YOU WANT TO WORK FOR HIM.

(CELL PHONE RINGS)
GOD DAMN IT!

I'VE PUT DOWN
THE FUCKIN' INTERNET

AND CELL PHONES
ALL THE TIME,

AND MY FUCKIN' PHONE'S
THE FIRST ONE TO RING.

(LAUGHTER)

HEY, RICK, IT'S JOEY,
OBVIOUSLY.

I JUST WANT TO SAY
THANK YOU FOR BEING

SUCH A FUCKING COOL GUY.

YOU ROCK.

NO, I GOT NO--
CAN I DO THIS AGAIN?

CAN WE STOP THIS?
THIS IS LIKE--

I'LL GET RID OF MY SON

AND WE CAN WRITE
THIS DAMN FILM.

HEY, I DON'T KNOW.

YOU KNOW, RICK AND I
ALWAYS HAVE FUN

CHATTING ABOUT--
WE ALWAYS CHAT ABOUT

WHAT WOULD WOODERSON
BE DOING?

BUT I DON'T KNOW.
I DON'T KNOW.

(MAN)
I THINK MAYBE HE'S DALLAS
FROM "MAGIC MIKE".

WHO, WOODERSON?
WOODERSON.

THERE'S A CERTAIN
ODD KINSHIP THERE.

(LAUGHTER)

WELL, OBVIOUSLY,
HE IS.

SILLY ME.

SHOOT, RICK, THANKS
SO MUCH

FOR EVERYTHING
THAT YOU'VE DONE,

AND THE EXPERIENCE
OF "ME AND ORSON WELLES".

I HOPE WE DO IT
AGAIN SOON.

THAT BEING SAID,
WE ARE GONNA REMAKE

"BAD NEWS BEARS
GO TO JAPAN", PERSONALLY.

I DID NOT KNOW THAT.
YEAH, WE ARE DOING THIS.

(MAN LAUGHING)

EVERYBODY ALWAYS DOES
THE SHRUG WHEN THEY
IMITATE RICK.

HMM.
(LAUGHTER)

HMM.

HMM.
YEAH.

THIS BETTER NOT BE
IN THE FILM.

(MAN)
NO, NO, NO,
WE'LL CUT IT.

I'M NOT GONNA
SAY THIS ON RECORD.

ALL RIGHT, I AM NOT
GONNA DO THIS ON RECORD.

AND YOU BETTER NOT
QUOTE ME 0N ANY OF THIS.

(MAN)
DONE. DONE.

I'LL TRACK YOU DOWN.

LIKE, I'M GONNA DO ALL THIS,

AND THEN ALL YOU'RE GONNA
USE IN THE END IS
"SLACKER" IS GREAT.

I HOPE HE DOESN'T MIND
I'M ON HIS LAND.

(WOMAN)
MATTHEW, DO YOU HAVE
TO BE SOMEWHERE?

HUH?
DO YOU HAVE
TO BE SOMEWHERE?

YEAH.
WHAT TIME?

UM, WHAT TIME IS IT?
IT'S 4:20.

YEAH.

NO, RICK, WE ARE GONNA
WORK TOGETHER AGAIN SOON,

AND I'M VERY HAPPY
ABOUT THAT.

(MAN)
UM, WHAT HAVE I NOT
ASKED ABOUT

THAT I SHOULD ASK ABOUT?

BECAUSE I KNOW WE'RE
RUNNING CLOSE TO TIME.

(SECOND MAN)
I'VE ALWAYS BEEN CURIOUS
ABOUT RICK'S (INDISTINCT).

(OVERLAPPING CHATTER,
LAUGHTER)

YOU KNOW HOW
THEY LOOKED AT YOU?

JUST SO YOU KNOW.
HERE'S HOW THEY LOOKED AT YOU.

JUST LIKE, "DUDE, CAMERA GUY,
SHUT THE FUCK UP!"

(LAUGHTER)

I MEAN, THAT WAS
ALL HER THEIR FACE.

(LAUGHTER)

I MEAN, IT WAS LIKE
"HOW THE FUCK DARE YOU?

IS THIS CLOWN ASKING
A QUESTION?"

IT WAS ALL OVER
HER FACE.

LOVE YOU, MAN.
LOVE YOU A LOT.

SO TAKE IT EASY,
MY FRIEND.

LET'S GO BOWLING.

NO STRAGGLERS, PAL.

THE FIRST WORDS
I EVER SAID ON FILM,

AS I TOLD YOU THIS STORY,
AS YOU'LL SEE LATER ON
IN THIS MAYBE,

WHEN I WAS BATTING .750,
WANTING TO HIT 1.000--

"ALL RIGHT, ALL RIGHT,
ALL RIGHT."

RICKY-TIKY LINKLATER...
WELL, YOU WANT THE NAME FIRST.

YOU KNOW, I MEAN,
IT'S HARD TO,

YOU KNOW, TALK ABOUT
A GUY LIKE RICK

'CAUSE HE'S KIND OF OKAY.

YOU KNOW WHAT I MEAN?
WHEN YOU THINK ABOUT HIM,

IT'S LIKE, RICK'S FINE.

RICK DOESN'T NEED US
TO MAKE A DOCUMENTARY
ABOUT HIM, HE'S FINE.

(LAUGHTER)

(MAN)
CUT!