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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!