Original subtitles

[Narrator] Some where...

in the middle of nowhere,

two of America’s most dangerous criminals...

are headed for the border

Earlier today, during a daylight liquor store robbery in Big Springs,

the Gecko brothers killed another Texas Ranger.

That changes the death toll to 76.

[Narrator] The night is all that stands between them and freedom.

Now this is my kind of place!

[Narrator] But it’s going to be one hell of a night

— [Man #1] Ready? — [Man #2] Yeah.

[Grunts]

Huh? Let's do it.

— [Tarantino] Ready? — [Clooney] Mm—hmm.

— Richie Gecko. — Seth Gecko.

Let's rock.

Hey, which way to the set?

[Woman] Through the door, down the hall. Can I see your hall pass, please?

— Here you go. — Thank you

— No, no. We don’t need yours. — You want—— You don't need mine? Okay, fine.

Oh, yeah.

Oh, yeah.

— Right this way, Mr. Kennedy. — [Laughing]

[Brakes Squealing Cars Crashing]

* Well, you can tell by the way I use my walk *

* I’m a woman’s man No time to talk *

* Music loud and women warm *

* I've been kicked around Since I was born *

* And now it’s all right It’s okay *

* You may look the other way *

* We can try to understand the New York Times’ effect on man *

* Whether you’re a brother or whether you’re a mother You’re stayin’ alive *

Guys, I'm waitin' on Quentin and George. Where in the hell are they?

— Let's go, guys. Move it. — Copy that, Doug. Looking.

— [Clooney] You gonna stall? — [Tarantino] I’m ready to go, man.

— "To set." "To set." Okay, gotcha. — "To set." Cool.

Okay Hey, hey, hey/ Ho, ho, ho, ho! Let’s go.

Guys, I need a 20 on Quentin and George, please, right away.

I need a 20 on Quentin and George, guys.

Anyone got a 20 on Clooney or Tarantino?

Rubber baby buggy bumper. La, la, la, la, la, la, la, la, la.

Ma. Ma. Ma, ma, one. Mo, mo, two.

[A.D.] Peter, let’s go. Get on it now

[Peter] Still looking

— [Tarantino Chattering] Great Excellent — [Clooney] Got it

— [Blowing] — Right.

Man, I gotta work on this.

Mr. Tarantino, I'm your biggest fan. I quit school because of you.

— Get the fuck outta here. I can't work with this shit. — Get lost. Piece of shit.

— Fuck. You know, goddamn it. — Yeah. Probably a little wuss.

— These fuckin' geeks just come by. — They come poppin’ out Yeah.

— Is that my fault? — No.

—All right, did I ask him to quit school? — Hey, I am the director.

— Yeah, how's it goin' pal? Suck one. — [Together] Fags.

Fuckin' shit. I don't need guys like that around.

— Geez, last time I make a movie in—— — Yeah, Every time, I hit dead ends.

Mr. Tarantino, Mr. Clooney Can I have your autograph?

— Sure. — Absolutely. Absolutely, darling. Absolutely. What's your name?

Scooter, let's go. Get on it now.

— Copy that, Doug. Still looking. — And—— What's your name again?

— Houston. Gimme an " H"! —Okay.

— Got some I.D.? [Laughing] — So how was that?

— I'm 18. Yeah. — Yeah, well, that's old enough.

— Here you go, Houston. Bye—bye. Thank you. — Thank you, guys.

— Bye—bye. Take—— Take care. — Oh, my God.

— Bye. Bye—bye. — [Both Laughing]

— Whoo. Teen slut. — All right!

— Put it there, motherfucker. — I could take her to the wrap party, that girl.

Guys, somebody had better be walkin' with 'em.

Get some fuckin' lights in here.

— Where the fuck is the stage, man? — Big—ass joint.

— Nancy's right. This is like a fuckin' fortress. — [Laughing]

— We’re gettin’ there. Cool, cool, cool, cool — Yeah, we’re gettin’ close now

— Here we go. — There it is. There we go.

— Rock and roll! — Hello, Cleveland! [Laughs]

—I think, uh—— No, it's left here, I think. —Okay.

What did I tell you? What did I say to you?

I said, "Buy the road map and leave."

— What the fuck am I supposed to do, Seth? He recognized us. — He didn't recognize shit.

Seth, I'm telling you, the way he looked at us—— you especially——

I knew he knew.

L ow profile. You understand the meaning of the words "low profile "?

"Hey, Richie, how’s your hand?" "It hurts like a fuckin’ son of a bitch, Seth.

— Thanks for asking. — Let me tell you what "low profile " is not!

And here to tell us all about it is the director of the film...

and one of the stars of the film.

Let's have a big "Fango" welcome for Robert Rodriguez, the director of Desperado,

and Quentin Tarantino, one of the stars of, uh, Desperado.

[Audience Cheering]

They're also collaborating this summer on a new horror film, From Dusk Till Dawn.

with effects created by Greg Nicotero and Robert Kirchman of K N B.

Well, it’s good to be here. Um, horror fans ourselves.

Um, Greg and Bob, demented minds.

Um, from the sick and deviant mind of Quentin Tarantino...

will be coming From Dusk Till Dawn.

a horror film that we're gonna be making sometime later in the summer.

Mixing that with the, uh, special effects and sick, deviant minds...

of greg and Bob, we should have a pretty sick and deviant picture.

Part of the advantage to the picture we’re doing is that..

there's no horror for the first half of the movie...

so that you can really invest yourself with the characters and feel part of the movie...

before anything happens to them that you don't want to happen to them...

so that you really, you know, feel the horror a little bit more.

A lot of horror films start delivering the horror too soon,

and you don't really have any eyes into the picture.

What this is enabling us to do is, uh, really get you to be a part of the picture...

before the horror element comes in, which is always the best thing about most horror novels.

[Tarantino] Yeah. That’s right

There's a lot of time spent with the characters before the horror comes in,

and then you care about them a lot more and then you're really part of the movie.

Not to compare ourselves in any way, shape or form, but let me——

One of the things that actually makes Stephen King's novels so scary when you read them is——

You know, he's never given credit for like——

He's a—— For like—— He's one of the best writers of characterization that there is.

I mean, you know, he writes these incredibly believable people,

who you really kind of embrace as yourself and take into your heart,

and then, after you've totally assimilated with these people,

then he literally puts them through hell, and you know——

'cause he's Stephen King, and you know the kind of stuff he's doing——

he's not afraid to take them anywhere.

— So now it—it's really painful, all right? — Right

Because you truly do care about these people. They're not stick figures, all right?

— Now, our characters are actually a bunch of jerks, all right? — But they’re fun jerks.

Yeah, but they're fun jerks, see? They're fun jerks. All right. But—— But——

But what's funny, though, is—— is the fact that, uh, um,

uh, you know, about an hour into the movie, all of a sudden, [Imitates Explosion]

all these vampires show up in our film, and, you know, the audience has——

There's been no indication that that will happen at any point in the movie...

until they just, in the blink of an eye, show up, and now they gotta deal with it, all right?

And so the audience is, like, completely caught unawares, like "What the hell's going on?"

Well, that's exactly what the characters are doing.

— They weren't expecting to bump into vampires either. — [Laughing]

So all of a sudden, they're just dealin' with it.

And you know what works, like in a Stephen King novel, for instance, is that...

you're enjoying the characters and the story so much, you don't even want the horror.

— You don't even need the horror element to come in, — Yeah.

and when it comes in, it almost gets in the way,

'cause it starts messing with all the characters and screwing them up.

_Oh__ — So this movie is the same way.

In the script, when you read Quentin's script, you can just follow the movie through...

and never have to bring in the horror,

and it would be an exciting enough, engaging movie...

because you like the characters and you like the situation.

To add that into the mix is what really starts churning the pot. So it's—— it's fun.

Let's go, guys. Clear, guys. If you don't need to be here, step out, folks.

— [People Chattering] — Step out, please. It's too noisy. It's too hot.

Step out. Step out if you're not workin' in this, guys.

It all boils down to it, you know.

Whatever his vision is, I——I try and facilitate it.

I try and get it in front of the camera on time, on schedule,

keep it on schedule and give him what he wants.

All right. Here we go, gang. Here we go. And... roll sound.

[Crew Chattering]

— [Aarniokoski] Robert? — Try one thing? We're gonna try it one more time?

I got most of the stuff she did, but I didn't get it all because——

'cause we couldn't get back far enough.

— So do you want to go back—— — I might overlap it—— I might overlap it later...

when we do, uh, "Sex Machine" on the full tape.

Lookin' back this way? So that'd be a Wednesday situation then.

—Yeah. —All right.

So bed's goin' back in its normal position. Camera comes out.

— Artsy. —We are lighting, guys.

We are lighting mode for the two—shot and singles on the bed, guys.

Gloria and Richard on the bed. So good night to camera. Good night, effects.

— Flight call sheets? — Good night, sound. Flight call sheets.

My first job in this business? I was a tour guide at Universal Studios.

— [Interviewer] No. — Yes.

Straight from Walnut Creek. I didn't know anybody in the business.

I couldn't figure out how to get on a studio lot...

to get the resume that I didn't have under somebody's door.

— Yeah. — So a friend of mine suggested—— Actually, my mother suggested...

that I be a tour guide at Universal...

because then, on my days off, I could walk around the back lot and pass out resumes.

— Wow That’s awesome. — So I took my mother's advice, and this is where I am.

Why do I love bein' an AD?

Can't think of any reason why I love bein' an AD.

Why are you one?

Ah, you know, my wife got me into this business,

and, uh, it's too late to get out, basically, you know.

But, I mean, it's better than sittin' behind a desk, you know, 40 hours a week.

— Yeah. — Yeah. It's the challenge. You're always working.

You're always doin' something, pushing your limits all the time.

It's a lot of stress but, you know, by the time you get home, you know——

If you can handle bein' an AD, it's a great job, but you gotta realize that when you go out——

When you start, you know, becomin' an AD, you know,

you're pretty much dedicated to bein' an AD, you know?

— Yeah. — You don't wanna go off and do somethin' else, you know.

But you start on non—union shows, you know, work your way up.

And once you get on, you know, the D.G.A., you know, you can make good money,

and you can work on big shows, and, you know, you can get residuals...

and be workin' with a lot of great people, you know?

Is that your goal?

That's my goal. My goal in this industry is to make a lot of money.

— Yeah? — Yep.

And how important is the creative product and process?

For me—— The creative process isn't that important to me, you know?

If I was producing, I could see it, you know, bein' an important part,

you know, or an aspect of my job,

but, you know, as an AD, it's not really that important to me,

—'cause an AD, basically, your job is to get the job done: — Right

talk to the director, find out what he wants in a shot,

you know, and if that's what he likes——

You can always, you know, give your input, you know,

and tell him exactly what you think—— you know, how the shot should be——

but most likely, you know, 80% of the time,

the director's gonna say, "Well, this is what I want.

Just get it done." You know?

Your job is to keep things movin' along as the day progresses.

Nothing should slow down because of the, you know, production department.

— Right — It should keep moving at a constant pace.

So, Brian, step on set, please, Brian. So camera's comin' out.

Bed's goin' back into position. Lighting mode is occurring. Lighting mode is occurring.

Thank you, everybody. Great first day.

— [Woman] Thank you Yea! — See you all tomorrow.

— Lighting mode. — [Howling]

—[Cheering] — And then that's a wrap.

— [Ringing] — Hello? George Clooney's office.

[Interviewer] Can we talk to you fora second?

Oh, there he is. I just got back from rush—hour hell.

— I—— What do you need? — What do you do?

I just went to fetch a coffee cup in rush—hour hell.

I've got to make Quentin his coffee. I—— I work for Quentin.

Vicky Lucai. Can you open this door, please?

—Sure. — Open this door. Just open it.

A typical day for me, as George's assistant?

Well, um, wake him up with a little hand release.

— Hello. — That's it! You're fuckin' fired!

Pack your shit and get out! Security!

I hit rush hour. Shut up. I can't believe this.

[Interviewer] Now, what is all this stuff you're carrying?

— Oh, oh, my God. We have to have our coffee specially made. — Uh—huh?

— It's right here. I got it. — And it’s a cup?

— Two hours to get it from your house. It's not even—— — Is that his special cup?

[Sighs] This is his little——

He has to have on every set. His "Wacky Wacer."

I make phone calls for George.

I go to the dry cleaners, go to the market.

He has to have his water 'cause he's really healthy.

So, I/icky, what does your job entail, basically?

Hang out with him on the set, find out who he doesn't want to talk to.

Oh, my God, I gotta make that phone call. I'm sorry.

Get back on the phone with those people and tell 'em how busy George is,

even when he's out playing basketball.

I gotta call—— Okay.

I—— I'll do it in a sec. Do you want me to wait until the coffee's done?

Pay the maid and feed the pig.

[Grunting]

If you want to follow me, you're more than welcome to do so,

but it entails——

I hate going to Taco Bell for him.

— Ugh. I hate that. — Why?

There's always a huge line.

When you put the word "personal" in front of "assistant,"

you basically give up your life for him.

Is this BMW you're driving, uh, part of the package of being George Clooney’s assistant?

Well, you know, George makes a lot of money,

and I get all the perks.

Can we just talk to you for one second? I know you have to go.

Really, what does your job entail?

Basically running his life.

What’re you getting Juliette? What’s George getting her?

We're getting Juliette a finger that goes like this.

— Why is that? — Because George flips off Juliette all the time.

Juliette flips of George all the time.

Because they like each other.

Oh, my God!

I can't believe that they invented these middle fingers.

— It's just for you. — Open this one. This one's——

It's a little art for you.

— Oh, no. I can't believe this. — Oh, yeah.

— [All Laughing] — It's beautiful. It's Tiffany.

— It's—— It's fine. It's Waterford. — What?

— It's Waterford. — It's Waterford.

— I know. I can't believe you. — He bought that at an auction at, uh——

— At which auction was that at? Uh—— — Smell the end of it. Just——

— I really was too*cause I'm tired. — [All Laughing]

Here you go. There. There.

I will never fiip you off again. You've, like, beaten me for five years.

— [Aarniokoski] Hold the talking here. — Yeah, right There we go.

George Clooney, everybody.

Hold the talk. Hold the talk.

[Grunting]

[Grunting]

[Aarniokoski] Cut it. Cut, cut, cut it.

[Men Shouting] Cut. Cut!

It's gonna bite. I mean——

— No, I know. It's all like—— It's all like bones and wood. — Yeah, right. Exactly.

- 50. — Just come at it aggressively.

— [Murmuring] — But you want me—— I should start the roll earlier than I did?

Yeah. Just watch the gun. You'll know when to start the roll.

— Okay. — Just be aggressive.

— Okay. No, you're right. — Do you wanna go upside down, so then you can be somewhere here?

Upside down, wood, bones. I mean, I don't know what's happening here.

— [Grunting] — [Stagehands Chattering]

— See my hesitancy? And then I'm trying to focus. —Yeah. Mm—hmm.

'Cause this is like the first time—— Aiming a gun at someone's head to kill them.

Yeah. first I was getting—— Well, you did it in reverse.

— first, you did the aiming, which I got. Then before that, I got—— — Yeah.

I mean, after that I had you do, which should come before that, which is you just...

responding to him telling you to kill him, which is more like... kinda sad.

I was gonna say, "I can't."

— Did you say you can't? You can say it. We can do it again. — No.

— Okay. You wanna do it again, or—— — Yeah.

While I’m comin’ in like that So on "Action, " I'm gonna start comin' in.

— You sayin’ it —— As I get a little bit closer, you say, "I can't" — Okay.

—And then, as I’m pulling back, aim—— — And then fire. Okay.

So you just come in once. I say, "I can't," pull back, shoot away. Okay.

I'm pulling back. Squint.

— [Men Grunting] — I can't.

I can't.

My whole thing about acting is that you're just lying.

It's plain and simple.

I'm not gonna try to really feel like death is near...

and really put myself in that head frame for hours on end.

I mean, I don't understand that. I just understand that acting is lying,

and you can lie a million different ways.

And—— And—— But you are faking it. That's what—— And——

But with that, you can step intojust pretending...

and becoming and just being something.

[Director] Action.

Richie, would you do me a favor and eat my pussy for me?

— [A arniokoski] Say the "Please "at the end — Okay.

Richie, would you do me a favor and eat my pussy for me?

Please?

— I'm hammin' it up. Let me just, uh, do one more. — 0kay

I'm just sweatin'. That fuckin' coffee is crazy. Okay. [Exhales]

[Interviewer] Kenny please explain.

— Every week, we do iced mochas. — Uh—huh.

It happens to be Wednesday's the day, but this is Friday, because he was out of town.

And there’s only six, so who are they for?

They're—— I'm—— I'm takin'—— There was ten,

and I'm takin' it to whoever grabs it, and then I go back and get more and whoever grabs——

— I'm bringin' one to Rick. — Yeah. — So, so——

— See? — Rick Stribling? — Yep.

— All right Key grip. — Key grip. Key grip.

— So how—— how much does this knock out of your budget then? — A hundred dollars.

A hundred dollars a week for iced mochas?

— Who’s that guy? — I don't know. [Laughing]

— All right Thanks again. — Okay. Thanks.

See you guys later.

What's absolutely amazing——

And, actually, Crash knows the only person who actually said this——

But apparently, the front—— There was actually—— There was act——

Believe this or not. There was actually—— It's probably Rick who said it.

There actually was a conversation with the front office where——

We were gonna get three kegs of beer,

and then somebody in the grip department said, "No. Two kegs'll be fine."

Are you serious? A grip said that?

— A grip said, "Two kegs will be fine." — That's almost sacrilegious.

— The producers are buying three kegs, and a grip—— — Wow Who? Who? Who?

— I don't—— Crash knows. He was there. — I'll find out.

— I thought it was you. — Oh, God, no. No!

— I know it wasn't me. I know it wasn't me. — Quentin. Quentin.

Am I the type of guy who would say, "Buy less beer?"

Well, Crash said it was a person that you wouldn't expect it either.

He wouldn't say who it was, but he witnessed it.

— All right? I had just heard about it. All right? — Oh, wow.

— And It was like—— It was like, I get there, and—— — fire him.

I get there like 45 minutes after the party started,

— and we are, like, draining the last bit out of the second keg. — Ooh.

— And be—because of the fucking grip department, we didn't have beer. — Wow.

We should time—out on this and cut the camera.

Many people perceive grips to be...

very large, ill—educated,

um, beer—drinking, sloppy people,

when actually, I think, it's, uh, a very demanding job ...

because it involves so many different departments.

You work with sound, in terms of getting rid of boom shadows with flags;

with camera, in terms of all the camera movement and what the camera sees;

with a—— you know, the electricians and the DP. on all the lighting

It’s actually a very demanding job and there is no time to sit around and be lazy..

and fall asleep on the truck and——

You know, the guys are constantly working

Beautiful.

We are building this facade, um, right here in this very spot.

We're going 30 feet that way and 30 feet on that way.

— And I think it's 20, Mayne? Inside? — [Mayne] Yes.

We're trying to get the permit from——

— What's the name of that institution? - BLM.

— The—— — [Woman] Bureau of Land Management

[Laughs] And we are waiting for that in order to start our work.

We don't yet have official permission to be on this property,

but our—— our first lumber order has just shown up. [Laughs]

You know, we've got about five tons of lumber on its way in here.

That's our construction trailer, which'll become our construction office.

That's scenery we built in Los Angeles, that we've brought out here.

This is all our support facilities. The toilets are on their way.

The electricity's on its way,

and we're, uh, we're full tilt boogie here, but we don't have a permit yet.

In typical fashion, the movie industry, everything——

We're always on a deadline, and we make a schedule, we hold to it

The government’s not quite as accurate, you know

[Montiel] We are taking our stakes out of the ground..

because we supposed not to be here,

and I’m—— I’m going to find out what’s going on.

[Laughs] Maybe the whole crew is—— We have to go back.

Or maybe we should have a beer...

— [All Laughing] — right down at the restaurant and wait.

— [Aarniokoski] And background action. — [Man] Do you know screaming?

[Man #2 Screaming]

[Screaming Continues]

[Aarniokoski] Cut. Cut it. Cut it. Cut it. Cut it. Cut it. Cut it.

On this film, it’s been very interesting because it’s Robert’s first effects movie.

So he doesn't really know, sort of, what he was getting himself into.

In the early preproduction stage, we were storyboarding and doing designs,

and he's like, "Yeah, that'll be cool. We'll do that, and we'll do this and that and this."

— And he got real—— real excited about it. — Mm—hmm.

And we were just building everything based on the designs and the storyboards.

And then suddenly, we got on the set, and he was like, "Wow. Did I—— Did I want that?"

There was one creature we have that its stomach rips open, and it bites people's heads off.

And we got on the set Quentin wouldn’t even come on the set to look at it He was too grossed

And he went, "Oh, no, it’s horrible. I don't want to look at that "

And everyone went, "Oh, it’s sick. Like, where did that come from?"

— We're like, "Robert designed that" — Robert Yeah, Robert

— He gave us a little sketch, and then, you know—— — Right

So what we have here is—— Gino, you wanna hold that up there?

Squinch down a tiny bit.

The—— The—— The gag is that we see this sort of hideous creature,

and as it is walking, it sort of straightens out, and this is gonna rip,

revealing hideous shark mouth.

And, of course, when Henrik walks and kind of does his sort of monster undulation,

the mouth looks like it’s opening and closing as it’s walking

[Screaming]

[Roaring]

[Aarniokoski] A ction.

Okay your finger’s pressin' it too much. Keep your fingers closer to your mouth.

And action.

There we go. And cut

— Okay we're cut here. We're cut We're cut — Cut!

All right, here we go, gang Here we go. One moment

— Pour it in. — Here you go, Norman.

[Crew man] It’s running right by here. Go to that——

— Have some—— — [Crew Chattering]

— Like that? Yeah. Yeah. — Okay.

— [Director] All right, here we go. Cameras goin’ up. — You like this.

— Oh, yeah. Do you? —I love it.

[Screaming]

— Spray. — [Spluttering]

[Screaming]

— Cut. — Cut it. Cut it. Cut it. Cut it. Cut it. Cut it.

— Cut. — Perfect.

— Perfect. You all right? Beautiful. — Can we do one more?

[All Laughing]

I just wanna try a little bit somethin' different.

— [Bones Crunching] — [Growling]

Yo, monkey man.

[Growling]

Anything you've got to say to them,

say to me first.

I started as, uh, Diahann Carroll's boyfriend in the Julia show...

and moved on to MASH, Spear Chucker,

moved on to Junie Moon and formed my own company,

and the rest is—— is theatrical history.

— And your—— And your own company was, um, formed—— — Is.

- Is ... — Po' Boy Productions.

— Poor Boy? — Po'.

— Po’? — "P—O apostrophe, B—O—Y Productions."

And, uh, what was your goal in the beginning for——

What was your reason for forming it?

Well, I had three set of rules that I had established in my mind...

that I wanted Hollywood to adhere to, but they would not do it.

That one was to win the fight, never die and always get the woman at the end of the movie,

and I feel that the only way I could do that was make my own movies.

[Roaring]

[Roaring Continues]

Goddamn it! [Grunting]

first film was No Way Back.

No Way Back I made for $75,000.

I put it under my arm, and I went to the Cannes Film Festival,

and I put a lot of little girls in tight T—shirts long before it was popular...

and I had 'em going around, selling my picture...

and I put my office on the Carleton Terrace at Cannes film Festival...

and I sold the hell out of No Way Back...

’Cause I believe in the bottom line.

I can——I can put the same kind of talent in a million—five picture...

that the majors put in a $10— or $20—million picture.

The last picture I made was South Beach.

I made it in Miami with Henry Fonda, uh,

Gary Busey and Vanity and myself and Robert Forrester and Isobel Stanford.

— I made it for $800,000. — And where did you make that?

— Miami, Florida. It was—— It was called South Beach. — Miami

So that's—— I mean, that's—— that's—— that's top—of—the—line talent.

— Yeah. — You know? I mean, these are names that people recognize.

So I don't need to spend $20 million.

I'm—— I'm interested in the bottom line, especially if it's my company,

'cause I—— I'm interested in knowing how much money I'm gonna make,

— not how much money I can spend. — Right.

[Chattering]

I'm not finished, though. See this? Oh, no.

"Fat—free." Bullshit.

[Bondy] A lot of fat—free food okay? All the fat—free cookies.

And a lot of people love that because they’re sugar—holics, and the y——

— [Interviewer] Right — But they need to be sure...

that it’s fat—free.

— What if you just really want a sugar high? Would you—— — Oh, the candy.

Yeah, the candy. And there's all kinds of cookies.

—I mean, Pepperidge Farm. You can't beat it. You know? — Right

— And you got your standard red vines in there. — Red vines.

And, of course, traditional, um, chips.

— How long have you been doing craft service? — A couple of years.

Yeah? How did you get into it?

Um, a friend of mine, he's one of the best craft service guys in the business.

— You know, basically, he pulled me along. — Uh—huh.

/was in Pulp fiction.

— Yes, I was. — Playing?

I did the coffee shop manager at the, uh, when they held up the restaurant.

"Hey, don't kill anybody! I'm not a hero!"

first time I ever worked extra. I mean, it's okay. It's a job.

A legitimate job, you know.

It's all work to me. It's all—— It's all showbiz.

The wonderful world of showbiz.

All I was before this was an old ex—marine and a dock worker.

So I love this business. I love it.

When I came into this business—— Hey, I'm from the south side ofChicago.

It opened a world to me I didn't even know existed.

And music and literature and art. I didn't even know that stuff was around, you know?

Probably saved my life.

I might have ended up in, uh——

playin' a game of rock hockey for the state, you know?

Could have very easily done so. A lot of guys I Crew up with did.

Yeah, I love this business.

A moment of silence for those pants.

[Men Wolf Whistling]

2) [Guitar]

[Howling]

— We had to have a moment of silence for those pants. — Actually, dear, I'm working.

Uh, basically we were told to provide bikers,

truckers and anyone that would, uh,

fit in this type of bar that's supposedly south of the border.

"You're not—everyday, normal—looking type of principal background actor.

We are a unique bunch that can play your character types such as bikers, gang,

thugs, tattoo types, punk rock, hookers, homeless, low—riders or whatever."

— And proud of it. And proud of it. — We are the people——

— We are the people your parents warned you about. — Yeah.

All right, let's go. Clear it up.

Wow. Extras come from all walks of life.

I—— There's really probably two types of extras, if you wanna look at it.

You have your—— your extras that are your professionals,

your, um, you know, career extras...

that do it every day and this is what they do for a living

And then you'll have your extra that maybe just does it for fun,

just to see what it’s all about and just to get out there,

maybe to become a star.

I don't care if our engine freezes 'cause I got my plastic Jesus

* Sittin' on the dashboard of my car *

* I don't care if I crack up 'cause he's held down by a suction cup *

* Sittin' on the dashboard of my car *

* Plastic Jesus Plastic Jesus *

* He's sittin' on the dashboard of my car *

— * Car * —* North, South East or West*

* He just sits there and never rests, sittin' on the dashboard of my car *

Rob Rodriguez’s birthday

— [Cheering] — If you could all join me in wishing him...

and singing him the happiest of birthdays!

* [Mariachi] *

[All Laughing, Singing]

Ai, yi, yi, yi!

— Ai,yi! — [Hooting]

Ai, yi, yi, yi, yi, yi, yi!

Lunch, one—half Lunch, one—half Happy birthday lunch.

* [Singing In Spanish]

I think Robert Rodriguez is a God

— Okay. He’s married. — Well, I know he's married.

I happen to think his wife is a goddess.

— Who do you have a crush on? — No.

Initials?

G.N. That's all I'm gonna say.

— Would that be GN or KNB? — [Laughing]

Who are you after around here? What's that?

Greg Nicotero. Greg Nicotero. He's just a little sexy. That's all.

Who's that? Who's Greg Nicotero?

The—— The guy with the long, blond hair.

— The guy that got his throat slashed on the thing? — Yeah. Yeah, yeah.

— Really? — Yeah.

Do you find Kenny attractive?

— Don't put me there, Sarah. Don't take me there. — You said so one time.

[Sarah Chattering] Do you notice any set romances going on?

— Um, I——I think I have, but I'm not quite sure. — Who?

— So I'm not sayin'. I'm not sayin'. — [All Chattering] Who?

No, no, no, no, no, no. I'm not gettin' in the middle of that. I'm on camera.

— Hey hey John. — Hey, hey, what?

— Who are you attracted to on the set? — Uh, other than Quentin?

Has Amy hooked up with anyone on the set?

— The question is, who hasn't she hooked up with? Okay? — Really?

There might be goin' somethin' with Stick Shift and Amy.

That's, uh, y—you know. Uh, I don't know.

Actually that’s not true. At that party the other night, he slipped me the tongue.

Todd? He did? Get out of here.

— I didn't tell you that? — No!

He did. I had sex with a German.

— His name is Franz. — His name is Jens.

— Oh, Jens. — I sleep with Noah's stand—in on "E.R."

[All Laughing]

You're kidding.

I don't know. You should try the, uh, actors here.

There has been a little bit of, uh, flirting around, uh, George Clooney's trailer.

— Who? — I'm not spreading rumors, but——

— Lots of set romances. — Really?

Oh, yeah.

— Um, well, no. Lots of people—— — [Indistinct]

Let me put it this way: Lots of people trying.

Lots of people trying. But, uh, I don't——

It doesn't hurt that there's a titty bar on set, and the girls are walking around naked.

Uh, George and a lot of the dancers. They seem to like him.

— I love George. I can't talk about his sex life. — Okay.

- Um ... — But he has one, though, doesn't he?

— A sex life? Oh, yeah. — Yeah. Okay.

Where's Quentin? Jesus Christ, get somebody out here who knows what they're talking about.

I could fuck every girl on this set if I wanted to. I don't.

— Oh, Quentin. — [Laughing]

Yeah——

Put me in your mo—— movie—— movie. Put it—— Put me——

Well, you remember when Bruce Willis said that on, uh, the Pulp set. Yeah.

"just so you know, Quentin, you could fuck any girl on this set.

Now maybe you already knew that. That's okay. You're just playin' it cool.

Maybe you already did. That's how they get the job. I don't know. All right?

In case you didn't know, let me inform you."

But I'm a good guy. I'm cool.

I'm just kinda work—minded. I've got a lot——

Just Johnny Responsible. That's me. Johnny Responsible.

— Bye, guys. Can you not get my ass, camera? — Bye. Okay

Seeing, since we had beautiful naked ladies running around the set..

the first, I'd say maybe four weeks of the show,

we decided to make it really nice...

and do a women—— female judging of the best butt.

Now, you see, there's very many contestants up here.

Many of them range from a little wide, a little small

We've got perfect round ones. We got a little, uh, ones that have——

We've even got a naked one right here. Look. Look at that

A naked butt. So there—— there—— there you go.

There's our best set butt contest.

We're gonna announce the winner at 7:00.

We've got a couple prizes,

and, uh, we're real excited about it.

[Laughing]

Is it true you won the butt contest yesterday?

Oh, yeah, of course. I cheated, though.

— Huh? — I promised everybody a free hair cut if they voted for me.

— Congratulations, Ermahn. — Oh, thank you.

Are you getting my butt, or not?

— Are you getting my butt? — You know we are.

I got Ermahn 'cause he won the butt contest

—I know. I announced it. — Did you vote for him?

— No, I didn't. — Who'd you vote for?

— I voted for 33. — [Ermahn] You didn’t vote for me?

One of the monster butts because he was wearing a tight——

— It was really tight, and you really saw his ass. — You did not vote for me?

It was a very full rump. That's——

— You still won. Who cares? — But I was debating on voting for him.

— Uh—huh. — It looked very nice.

— You gotta be nice to me. — Ooh!

Juliette's in the chair.

They call me a dictator, in a sense, and they said that, uh——

They didn't call me a dictator. They said the first thing that happens in a dictatorship,

implying that I'm a dictator,

is that they get rid of the police, and they get rid of the unions.

The reason I'm here is because of the possibility of a strike, what might happen, and if we——

Hopefully, we won't have any problems, but if we do, we're gonna keep the peace.

They've got the whole "union" Woody Guthrie thing on their side,

where public opinion, you know, switches to them.

They say, "Quentin's making two million dollars, and this grip over here...

is savin' money to buy a motorcycle."

All right. You know, who's wrong? Okay?

Well, if you break it down to a sound-byte, I'm an asshole.

It's not a situation where they're targeting it because there's unrest...

and because crew members have been calling up and saying, "We've been abused,"

or "We're not being paid well," or anything like that.

No. They are going after us.

Well, basically, I mean, Quentin and Robert——

I mean, Quentin and Lawrence have been——

have had a lot of success being independents,

and as a result, they're targeting them.

And my theory for them targeting Robert is the fact that he's a one—man show.

Um, he did Mariachi all by himself,

and then, on top of that, in Desperado, which is, you know, the second part of Mariachi,

he was the camera—ographer; he was the writer; he directed it.

He was the steady—cam operator. He was the editor.

He was just, you know, a lot of things.

He was able to still do—— be creative, you know, and—— and do the——

the things about filmmaking that he loves, you know, every single part of it.

And that's very hard for them to understand, because they're used to having...

all those positions filled by different people.

Part of the atmosphere that we create with our crew...

is that they are able to help each other out,

and there are no hard—line jurisdictions...

between the different departments...

um, and everybody's helping everybody,

um, in a very cooperative way.

Um, the union tends to set down guidelines with regards to what responsibilities——

hard—line responsibilities between the different departments.

And they—— they, uh—— It's just contrary to our philosophy of filmmaking.

The union started off on a really bad foot with me personally.

They came and struck my last movie. Didn't even give me a chance to negotiate.

I was very willing to, and they didn't allow me to do that.

So, um, they started a war with me.

And it wasn't like they said, "Let's be friends. Let's talk about negotiating."

Basically, I.A.T.S.E. should be responding to the people,

as opposed to their own agenda of just grabbing everybody.

All right? And if it were a situation where basically, look——

We're not gonna just make it a point to go after every——

I'll—— I'll say start with ten million and under show, which——

This show wouldn't apply, 'cause we're over ten million. All right? That's fine.

All right? Uh, if that were the case, it'd be fine.

They wouldn't respond unless the people—— unless the crew asked for them to respond,

unless the conditions were bad.

They're not gonna make it a point to go and attack.

The Health and Welfare Department doesn't go and just take your kids indiscriminately.

All right? You know, they——

You know, they hear that there's a problem first.

Then they investigate the problem. Then they do what they do.

We have to stand up to them because——

for—— for the very reason that we have had some success...

and that we have had, um——

We're—— We're higher profile than most independent filmmakers.

We are what is makin' them angry.

You know, they used to not target these films,

and if they did target them, these films fizzled out.

You know, we're not gonna fizzle out. We're gonna stand up to them,

and we're going to try to stand up for every independent filmmaker out there.

Two thousand.

[Phone Ringing]

Hi Lyle Trachtenberg, please. It’s Ronna Joy Glickman.

Hi, Lyle. This is Sarah Kelly calling,

and, um, we're here in Miami

Uh, I would very much appreciate a call back at 532——

Hi Can I have Lyle Trachtenberg, please?

We are staying o ver at the Shawnee Beach Resort

This is again with regards to a documentary film which we're shooting

This is Sarah Kelly calling again, and I'm with Ronna Joy Glickman.

We left him a note. I would very much appreciate a call back...

at 532-33"

— We really would love to talk to you — Ronna Joy Glickman.

And we are still over at the Shawnee Beach Resort

— Hi, can I have Lyle Trachtenberg’s room? — Lyle Trachtenberg, please.

— We'd love to have you call — I have called e very single day

and I’ve been in the office on three occasions and no one has relayed anything to me.

— Sarah Kelly calling again, and I'm with—— — He’s in a meeting?

And again, we're here because we want to get the I.A. side.

Talk to you soon, Lyle. Bye.

I wish I knew what Lyle looked like.

— [Man] Excuse me. — [Women Together] Lyle Trachtenberg?

— Um, let me see if he's inside, okay? —Okay

[Chattering]

— And ? — They’re looking for Lyle Trachtenberg

— Shut the—— Shut the door. — Sir, we're actually looking for Lyle Trachtenberg.

— Shut the door until—— — Sir, we just want to talk to Lyle Trachtenberg

Like I said, shut the door.

We're just—— We're just waiting to speak to Lyle Trachtenberg, and we're gonna get booted.

— I've got my buddy lookin' for him in another room. — Thank you.

Are you filmin' me sayin' that? Well, anyway, he's not here right now.

Thank you. Thank you, sir.

Upstairs, right?

We're looking for Lyle Trachtenberg Have you seen him ?

— Well, no. As a matter of fact, he's right down the hall here. — We're making——

— Thank you very much. — Thank you

Excuse me, sir. Do you know where we could find Lyle Trachtenberg?

Uh, geez, I haven't seen him around.

— If you hang on, I'll see if I can find him. —Okay.

— Who are you folks? — We're with a documentary crew. He knows us,

and, uh, we're just lookin' for him.

— I'll see if i can find him. — Thank you

— They're what? — We're supposed to escort them out of the building.

— Have a seat, group. — Thank you

[Murmuring]

— I'm a press agent. — Yes, sir?

— For whom? — We're just looking for Lyle Trachtenberg

— I'm sorry, but at this—— — We're gonna reopen.

Th—This is all part of the IA, and unless you're invited up, we have to ask you to leave.

We're just trying to find Lyle Trachtenberg

Hi. Lyle Trachtenberg.

Lyle! Ronna Joy Glickman.

— first of all, you shouldn't be up here. — That's what I tried to——

Yeah. Yeah. You've been told how this thing could be done, so, you know——

— We actually haven't — We haven't, Lyle. We've been trying to talk to you about it

— Wel I—— — fighting for an opportunity to sit down with you and talk.

Well, if you'd lock everything up, I'll be glad to take both of you aside...

and tell you what the situation is.

— We'll be happy to do that — Okay. Turn off everything.

—You two, come in, and I'll talk to you. —Okay. So cut.

Excuse me, folks.

[Trachtenberg] It’s the same thing I told you guys back in Los Angeles.

[Interviewer] So what was your experience, um,

in contacting Lawrence and Quentin about comments?

My experience was awful. We, uh, were——

"A"—— Well, they just didn't return phone calls.

I mean, over and over and over, they just would not return phone calls.

Quentin, Lawrence Bender, Miramax.

Nobody wanted to talk to us about this thing, and I don't know why.

I mean, all we wanted to get was their side of it, you know, put them on the record.

And, uh, theyjust——

Uh, maybe they wanted to talk to us,

but they certainly never showed it by returning a phone call...

and I called them half a dozen times each.

The issues in play here were not necessarily economic.

They had more to do with, uh, just again,

bad negotiating tactics, bad, uh, uh, communication skills,

uh, drawing sand—— lines in the sand and seeing each other as opponents...

rather than setting the rhetoric aside and finding, actually, the common ground.

'Cause if you listen to each party of the union and producers—— two parties——

uh, discuss it separately,

uh, they're really very close.

I think health insurance is probably the best thing...

right now about the LA.

That and that they protect you as far as your role...

at the time, and stuff like that.

I think, in my opinion, if, uh, independents...

would, uh, make sure that they didn't screw anybody over,

didn't work you to death, and—— and if they did, they paid you,

and, uh, if they supplied you with health insurance,

who knows what would happen?

Wow, is it hot.

Crane's gonna work. Stick around. We'll see you later.

[Man Screaming] Water! Water! Water!

No, we weren't supposed to burn the facade down. No. [Laughing]

[Aarniokoski] Cut!

Cut! Cut it! Cut it!

Hold it over here behind me. Over here! Get it behind me!

Don't let it kink. Don't let it kink.

Stevie, I'm tellin' ya, that hot spot keeps—— keeps smokin' right over there.

— Still burnin' over there? — Yeah.

Hi. Well, the set burned.

It has a brand—new look.

And it looks very good. I have to say it.

I think we are just going to rebuild parts of it,

but, um, we don't have to rebuild it all, and, uh——

— How long do you think that—— — I have no idea.

My crew is pretty tired.

We've been here for five weeks, and it's too hot. It's 122.

— Um, the winds are hard. — How are you feeling?

Emotionally, I'm okay, you know?

It's nothing that I can do...

more than to continue working. [Laughing]

Let's just spot—paint black the foam so we can get in here and start our reverse.

— Right. — finish all that stuff up. That looked great.

— It was great. — Fuckin' great. I'm sorry it burned out, but it looks cool.

We knew there was a chance of it catching fire.

As a matter of fact, we knew there would be fire.

We just didn't think there'd be this much fire.

Uh, if that happens, you know, uh,

sometimes the magic works perfectly, and sometimes it doesn't work perfectly.

— We'll do the ending of the movie with him and Juliette. — Right.

We'll go into the motor home, and then we'll do—— I mean, our day is still the same.

— Yeah, the same. We just don't do Cheech. — We just don't do tonight's.

And then tomorrow, we'll go do the gravy train. That'll give 'em a week to fix this,

and then we'll come back and do all the Harvey and Cheech stuff.

— That's all I was thinking about, was you guys. — Ohh.

—'Cause isn't that like your baby? — Yes, it is.

— What's happening? —I know. I know. It is.

It's like a baby.

Okay, guys, so once we're safe, guys, once we're safe, we're on a new deal.

We're out by the vehicles. We're on the reverse of George.

We're on the reverse of George from yesterday.

— So we need to get into the gravy train tomorrow. — Sure.

— So that we have to hustle on that, whatever we can do, okay? — No problem.

— Gravy train. — We'll have some time to fix this.

— What we need to do now is, for the shots we need to finish up—— — Uh—huh?

— Okay we're gonna play it like this as the ending of the movie. — Okay.

— Okay you see the spots in the foam? — Yes.

— You need to just get up there and paint all that black. — Okay.

— Let's do that now, and then we can get our shots goin'. — Okay. Sure.

—We'll still rock and roll, and our day is still the same, —Okay.

only it changes to the gravy train tomorrow.

Let me call some of my guys from construction.

— Yeah.just be concerned with all the foam. — Okay.

— So if you could just get it all black, so it looks charred. — All black. Okay.

Yeah. Okay, great.

Hollywood. You gotta fuckin' love it.

All right Check those gates, guys.

— [All Chattering] — [Clooney] I w1sh we were doing the movie Twister.

Okay, guys, as soon as this blows over, guys, we'll go.

[Aarniokoski] Guys, heads up.

Guys, we got dust comin’ in, guys. Heads up.

— [Man] Now you’re okay? — Yeah.

[Wind Whistling]

— Watch the bags, guys! — Look out, guys. Look out

Look out, look out.

Put it in the cab. Put it in the cab.

— [Camera Operator] I lost my fuckin’ eyepiece. — Here we go. That's good.

[Chattering]

Go take cover, guys. You don't need to stand out here in the dust.

We're makin' a movie. Keep shooting! Keep shooting!

Where are you going? Keep filming!

Okay we have a 4:30 leave. just—— Let’s call it a 4:00 leave.

Okay, so let's say we got a 4:00 leave. We'll get out of here by 4:30.

— Shooting at, let's say, 5:15, 5:30. — We're shooting at 5:30.

— We're shooting at 5:30. The sun is up at 5:00? —Yeah.

So we're not gonna—— We won't be shooting till 5:30.

Just because the sun is up doesn't mean we have enough light to actually shoot.

And they say, um, there's a possibility of rain, which would be very ugly...

because this would get like mud, and nobody could move.

The other bad, uh, possibility, which is a—— along shot, but it happens——

They say as it goes around, it circles around and comes back through the other direction.

So we'll see what happens, but hopefully we'll be shooting soon.

We're shooting at 5:30. It's gonna take us, say, five hours to get the shot.

Get the scene, it's 10:30.

We get to the next location, it's 1 1:30, because the next location is——

— Right. Then it's lunch. — And——

— Or box it in. — Or box it in. We've gotten here—— What time is crew call?

I was sleeping in the honey wagon over there,

and, uh, I woke up and I couldn't see anybody.

— So I went back to sleep. — You went back to sleep.

— Leaving before 4:30. — Leaving at 4:30.

So six hours is 10:30. So we've been—— Okay.

So we've gone past lunch an hour. They've eaten on the bus.

— Right. — So then we got eight hours past 1 1:30.

— Did you notice the bathroom for the motor home blew over? — [Interviewer] No way

Yeah. I gotta go check and see if there's anyone under there.

11:30 plus an hour rehearsal and lighting. That's 12:30.

— We want to go until 9:00. — So you're only lookin' at, like, a 9:00.

I mean, I'm saying, "only," but it's better than 1 1:00. I think people——

I mean, I don't know, I'm speaking personally.

I would rather get up in the morning and get home at 9:00 than get—— sleep in.

But I don't know how people, you know——

You're gonna get mixed reactions if you take a poll about it.

We're gonna wrap out tonight. Come in early tomorrow morning.

'Cause, uh, it's gonna kill us. We were lucky yesterday. We won't get this every day.

So we'll wrap out...

and start shooting early.

* [Dance]

— I got George Clooney. — And?

Quentin Tarantino.

There's a self—portrait.

I love George Clooney, and if he'll marry me, I'll marry him.

— Have you told him that? —Yes, I told him I'd marry him.

What did he say to that?

I don't remember. [Laughing]

George!

— What? — You know that I'll marry you, right?

— And he says he—— — Oh, Juliette scenes. A Juliette scene.

— He says he's old, but I make him young again. — Uh, yeah. I'm too old.

— I'm too old. — But I make you young again.

— I know you would. — Remember that?

* I'm flyin' away just to forget what's in my head *

* And I'm feelin' a little peculiar *

* And so I wake in the mornin' and I step outside *

* And I take a deep breath and I get real high *

* And I say at the top of my lungs What's goin' on *

* And I said Hey—ey—ey—ey *

* HEY'EY'EY *

* I say, hey *

* What's goin' on *

* And I said HEY'EY'EY' *

* Hey—ey—ey *

* I said, hey *

* What's goin' on *

* Yeah *

[Cheering]

* Ah *

* Yeah *

[Woman] Juliette Lewis for you guys.

[Cheering]

Come back anytime, Juliette. Anytime.

Let me get an autograph, and we'll start all over again.

— Here we go. — [Woman] I would love Mr. Clooney’s autograph.

Thank you.

— Thank you, you guys. — You've got a great voice. Thanks.

[Clooney] She did good, didn't she?

All right, she did a good job. Everybody, give her a hand again. A real good job.

— I'll tell you, it's hard. It gets claustrophobic. — [Interviewer] Yeah.

— It does. I could cry. But I just don't. — Yeah, yeah, yeah.

— It gets claustrophobic. — Quentin doesn't give a shit.

— I do. I've—— I've—— — It gets kind of oppressive.

When you have this goin' on all fuckin' night, you know, it gets kinda rough.

You know, uh,

it's one of the toils of fame.

[Woman] Bye, Juliette.

[Man] Bye, Juliette.

* [Guitar] *

* [Lyrics Indistinct] *

* [Indistinct] *

* In some nasty motel *

* But we'll keep on killin’ vamps *

* From dusk until dawn *

Yee—ha!

— You go that way. — Okay.

— So anyway, as I was saying, — * [Whistling] *

— Whoo! — I've been working in this business——

— You have to do like a jump there. — Oh, I'm sorry. Okay, do it.

— You ready? — Okay, go. I'm just standing here.

— Hey, look at that. — [Squealing] Oh, my God.

Sorry. I heard that. Oh, my God.

Wire's supposed to be in or out

[Indistinct]

— Hey, my man! — Okay, what——

— [Indistinct] —[Laughing]

Oh. Ow!

— Here we go. Spit next. — Okay, say something like...

uh, "I'm DannyThomas, Rusty's dad."

Okay. Rusty's dad.

Rusty's dad?

You know that I'm drinking this simultaneously.

— I'm DannyThomas. You say, " Rusty's dad." — Okay.

Oh, my God! Rusty’s dad!

—Oh! — [Laughing]

Thanks for teaching me.

— Give it to me. — You could do the opposite, where it's not a spit take.

It's a swallow take. you just keep drinking. So we'll do it again.

— I'm Danny Thomas, okay? — Rusty’s dad!

[Laughing]

Just passin' the time.

[Indistinct]

—Action. — Rusty's dad.

[Shriek]

[Laughing]

[Applause]

— [Woman] You guys are all here with what magazine? — [Man] We're freelance video.

I'm just wondering What is it that inspires people to hang out here in the desert?

— George Clooney. Quentin Tarantino. — Yeah?

— What would you do with videos like this? — Oh, we'd make out

I'd copy them for Inside Edition.

How’s it work legally? /'m really sincerely asking you out of curiosity

— You don't have releases for stuff like that — We don't need releases.

There's a three—person rule permit...

that exempts us from having to have a permit or any type or release.

— What’s that? — Pardon?

— Three—person rule? — If you have a crew of three people or less.

Oh, that’s impressive.

So you guys are just gonna hang out here all day and try to get photographs?

— Yep. — We'll try

— Thanks. — Oh—ho! Come on!

You're kiddin' me, right? The privacy shit, but you're jammin’ these guys?

— That’s too much. — Well, when you guys leave us alone,

I'll let 'em shoot the hell out of my trunk, all right?

Now, ER. hunk George Clooney.

On TV, he plays a clean—cut doctor, but we caught up with George backstage...

on the set of a new movie, and this time, he's playing it down and dirty.

Jody Baskerville has tonight's "Hollywood Exposed."

[Baskerville] Oh, really mature, George Clooney

The tele Vision star seems to be gushing o ver his crosso ver to feature films.

As this exclusive video shows, the E. R. heartthrob is fooling around..

on the set of his first movie, From Dusk to Dawn.

— [Sh ri eks] — George is leaving nice—guy Dr. Ross...

back in the emergency room and heading out to play the tattooed heavy...

in a movie scripted by blood—and—Cuts maestro Quentin Tarantino.

[Chattering]

All right Let’s go, guys. Let’s go!

— I can put it at—— Alco! — Come on. Let's go.

— Yeah. — Twenty—two frames.

—You got it, man. —Ah, 20 frames.

— [Chattering] — Twenty frames. Twenty frames.

* [Strumming] * I'll give you a little help.

Are you rolling? Are you guys here?

[Chattering]

— So this is up, in—— — I'm using it for when you turn over like that.

— That's where it started. — Pull in, reverse.

Elbow up, looking back, pull into there, get out of the car?

Should I not shut it off in case this car doesn't want to start up again?

— Don't shut it off. Don't get out. — Don't get out?

— Okay. — Let’s shoot, gentlemen.

Here we go, guys. Here we go. Lock up that corner.

— Driving up? —Yeah, it's right after you finished talking,

and he asked about the burgers.

— Okay. — He's backing up.

So we're not getting out of the car. It's just the car pulling up.

Let's go, guys! Run! Let's go! And!

Here we go!

— Roll camera. — Rolling

— [Beeping] — Speed

Set? Action, car.

— Do they have the X—rated channel? — No.

— Do they have a water bed? — Nope.

— What have they got? — They have four walls and a roof, and that's all we need.

* [Radio Playing Country—Western] *

[Radio] Texas.

[Music Stops]

All right, pop the trunk. Let's do this fast.

Okay it's like, we open up the trunk,

and he goes, "Don't say a word, " and then, to me, "Open the door. "

Don't say a word.

Me and you were talkin’ the other day and, uh, I said that..

somehow now, on this film, it seems as if...

I've come to understand the technique in a way...

that I had always heard it promised to be,

which is, it's just there is a tool...

for the actor to arrive at someplace, and that place is mysterious.

There is no formula for acting.

There is a technique to open the doors...

for the actor to enter someplace,

but in that place, it's up to you—— it's up to me——

to find our way...

and to allow all of our humanity in.

It seems somehow, during Dusk Till Dawn,

that's happened for me.

[Quentin] Now let me ask you a question.

You were talking about the fact that I felt like I’ve done the most moment—to—moment work...

that I’ve done on the film so far, and then you were saying you felt the same way..

about your performance.

— Yeah, well—— — Can you describe what you mean...

when we say "moment by moment"?

Well, I want to say, by the way, this is not particularly related to Dusk Till Dawn.

This is related to our work as actors...

from the moment we became interested in acting...

to the moment we decided to become storytellers,

to get involved in telling stories, which is what our work is really about.

Um, by "moment—to—moment," I mean...

what's going on right now between me, you and the, uh, the viewers.

We're not sure exactly what we're gonna do next.

We're not sure what our next thought's gonna be.

I do know I'm doing the interview.

I do know I'm talking to you. There's a camera on me.

There are people watching,

but in between all of that, there's my existence...

and it's that existence and the acceptance of that existence——

that mystery—— that we call "moment—to—moment" on the stage,

where you do not know what's going to happen in the next moment——

what your thought is going to be,

whether it'll be about God, your mother or your daughter,

what you had for breakfast, who you are in this universe,

the whole mystery of being here,

— how did that get to be here? —[Laughing]

I have been miserable.

It's been 120 degrees. I don't do well in the heat at all.

At all. It's just—— It's hot. I'm cranky.

It just—— It's dried out my skin.

It's just absolutely dry. It's horrible.

[Cheering, Applause, Whistling]

— Oh, what a day! — [Man Speaking, Indistinct]

—,;* [Guitar] — [Man] Too many hours?

I don't know how many hours I worked today.

I thinkI'm going on 17.

I am so tired and so mean right now.

Oh, the boom's in the shot? There you go.

— What do you want to know? — How many hours do you think you worked today?

I think we worked 18 hours today,

from 5:00 in the morning, you know, until, what, 11:00 tonight?

And it's Sunday. It's the sixth day. It's time and a half.

What more do you want to know? We're cranky. Bad food.

I kind of feel like, well, it's just not our fault.

So why are we being punished?

We had a piece of chicken and two pieces of bread and a melted brownie.

What do you want to know? That's not cool.

— [Man] And we got left. — And we got left.

The bus left without us. We're walkin' to the bus. Here's the camera crew. Whoosh.

We started today at 5:00 in the morning.

It's now 10:30 at night.

We're still on the bus, and I'm still workin' on my computer——

our time cards to make sure we're getting five meal penalties...

plus 50 bucks nontaxable cash,

um, because for lunch, we got...

plastic fuckin' trays...

—with aluminum foil and rice and yucky corn... — [Woman Speaking, Indistinct]

and dry sandwiches of chicken,

and it was horr——

— And, um —— — What’d you get for dinner?

And for dinner, I got nothin'.

I didn't even get my peanut—butter—and—jelly sandwich thatI requested.

Um, the guys made—— I tried to get them to make me a cheese sandwich,

and the people at the diner said they would not make me a cheese sandwich——

because I'm a vegetarian—— and that the only options were halibut, roast beef and chicken,

and since I didn't take any of those, production wouldn't pay for the cheese sandwich...

— Oh. — but besides that, I love the movie.

What are you gonna do tonight to relax?

I'm gonna swim, and I'm gonna drink heavily...

[Laughing] and, um——

[All Laughing]

And I'm just gonna fuck off.

* [Guitar] *

Personally, I have nothing against Seattle. I haven't been there in years.

I'm sure it's a nice town, but I got it 'cause of the front of the shirt.

— [Woman Speaking, Indistinct] — I know.

How many hours do you think you did today?

Seventeen. It was seventeen, I think is what we counted. Seventeen hours today,

and it was the sixth day of the week, which made it feel like about 28 hours.

—[Man]Oh! — [Laughing]

But now I thinkI have to go wash myself in the pool.

I talked to them and everything. There's a lot of people in particular around this area...

that have nothing to do with us, and they’re calling and the y’re complaining and stuff

—All right. I said, "Look. We're a film crew," — [Woman] Oh, yeah.

and we need to get together and socialize and blow off steam,

particularly since we've been working since 7:00 in the morning to 1 0:30 at night...

and everything, but we'll compromise.

We'll meet you halfway." Put away the instruments.

Put away the music, and just keep it at a normal level of conversation——

We've got no problem with these guys. They're gonna be totally cool.

You wanna sing "Mama Tried " as an encore, and then we'll just cut it off?

[All Laughing]

* Turned 21 in prison doin' life without parole *

* No one to see me ride but Mama tried *

* Mama tried, Mama tried to make me better *

* But a plea did I deny *

* There's only me to blame but Mama tried *

* I can't get her off my mind *

— I love you too. — * just a little bit *

— * just a little bit * — Uh—huh. What?

* just a little bit alone *

I know. You want a dog when I get off this show.

* just a little bit just a little bit * — [Knocking]

* just a little bit alone * — Henry wants a turtle? Okay.

— Earl, the hookers are here. — Uh—oh.

Little Earl, the hookers are here. I'm just joking. Let me talk to your mama.

Okay.

Hey, Mama. I miss you.

What do you mean, no, I don't?

I'm havin' a great time. I have this beautiful suite...

— that I share with four other drivers. —[Laughter]

I like the fact that within a radius of about maybe 1 50 feet,

there's usually at least four different rooms...

that are stocked to the gills with beer.

Um, only about maybe one out off our times do I have to pay for it.

Um, and let's see, uh,

and I like goin' out to someplace I would never go...

in a million years...

for any reason, EVE];

like the dry lake bed.

—[Laughter] — To say that I was on one of the hottest places on the planet...

in one particular day of my life,

and then to come and get sloppy drunk by the pool——

that's what I like about location.

Pretty much what I like about, uh, bein' on location...

is all the people we get to work with——

a lot of great people you get to meet.

I work with the greatest transportation crew...

— Yeah, that’s true. — in, uh, in the business,

and, like Don says, there's beer everywhere you go.

— [Laughter] — Okay what about Mr. Hellerman?

When I come home from a hard day,

it's the beer that I really—— I really look forward to.

Getting sloppy drunk by the pool and falling in.

Rumors are that the Teamsters are gonna come down with a big show of force tomorrow——

— And embarrass us, I believe was the word. — Exactly.

— Does that surprise you? — I'm getting really sick of this.

There's all this grumbling—— the unions grumbling again.

The strike, the union. Hello. We've got how many days left in the show,

and we're still talkin' about it?

You know, if the union was——

I mean, these are big words, but if the union was...

really out to look after these people,

I would really think that they would have stepped forward...

and been a lot more up—front with the whole show at an earlier date.

You know, we have—— what—— ten days of shooting left.

You know? I was—— and I don't know if I've mentioned this before——

I was brought up—— I was brought up a big union child.

You know, my father fought hard for the unions, and——

Within what industry?

Within the Screen Actors Guild, SAG/AFTRA. There's——

He belongs to like three or four unions. He still does, and for him——

I mean, he's 79 years old, and they're supporting him.

He's like got a great retirement, and, you know——

But he fed into this machine, and he fought hard for it...

because he was a little man.

You know, he was a little man that was being suppressed, as——

What the unions were about when they came forward, in my eyes,

were about that, were about protecting the man against the oppressors.

In my journey and where I'm at now and what I wanna do,

I'm really scratchin' my head because...

I'm being told what I can and can't do...

by the unions, you know,

and I don't know who the oppressor is anymore.

How seriously are you taking this?

We're taking it really seriously. We're making sure we have replacements, and——

You know, I was supposed to go to New York this morning for the market research screening.

— I didn't go, — [Man] All right, here we go.

and, you know, I'm just kind of sick of it, to be quite honest.

— A lot of wasted energy, as usual, you know? — Yeah.

[Woman Speaking, Indistinct]

— You know, you just have to take it that way and—— — About to take a shot here.

Yeah.

— And we're rolling camera. — We're rolling!

And—— Stand by.

Action, car. Action, car. Action, car.

[Radio Dispatcher] All units—— [Indistinct]

[Radio Dispatcher] That is George, Edward, Charlie, King, Oscar.

There's now shooters at a major intersection. Eight down.

D.B.s unknown at this time.

Quentin called somebody that knew me...

and said he wanted to meet me,

that he wanted me to read scripts—— some scripts.

He hadn't done any—— begun yet making pictures.

He hadn't made a picture.

SoI met with him and shot a couple of games of pool and chatted with him...

and encouraged him to keep writing,

and then I disappeared into the mountains...

because I was at liberty, and, uh——

Most of the time, I'm at liberty.

- Hi, Heidi. -Hi.

And then it turned around, and there he was——

Quentin Tarantino, all over the place.

He called me and asked me if I wanted to work in this.

I said I'd be glad to, that I would do radio if I had the chance.

— That's a joke, you know. —[Laughing]

I guess you heard about that shit up in Abilene. Bank robbery?

That's all that's been on the box all day.

They killed some people, didn’t they?

Yeah. Killed four rangers.

Three cops.

One civilian.

Took a lady bank teller hostage with 'em.

Supposed to be headed for the border, which would bring 'em right my way.

Get my hands on them crazy, sick fuckin' bastards. Payback time.

I mean——

Well, we'll get 'em. We'll get 'em.

You even told me that you’d written it..

as always supposed to be that Michael Parks kind of delivery,

so there's a lot of pauses and a lot of thinkin'.

It sounds cool. It's a different sound for a movie.

Yeah, it's like everyone else's lines are like da—da—da—da—da—da—da, you know,

but like I wrote it for Michael Parks, and I knew how he does it,

so I wrote it in his rhythm, so it's like, you know:

[Slowly] Yeah, they... killed some rangers and...

took a bank teller hostage.

We get 'em, we're talkin' payback time.

We'll get 'em. We'll get 'em.

— [Both Laughing] — Exactly.

What would you say is your personal favorite part about the filmmaking process?

Probably...

your curiosity about other people.

Investigation of other people.

Makes you think more of other people. I go that way.

I go the way Jean Renoir went. I don't go the way most actors, I don't believe——

Most actors are very self—indulgent,

and it's "my" character and "my" process...

and "my" motivation and blah, blah, blah, blah, blah.

But it's really finding out about other people when you act.

I mean, unless you're Cary Grant, you know.

I loved Cary Grant, by the way. Monty Clift.

Wonderful personality actors.

But if you enjoy character work, which I do,

you have to consider the humanity...

a lot more than you do most other work,

unless you're a writer,

which is the hardest.

The guy'd never cross a barrier just takin' care of that potato head.

[Indistinct]

...just takin' care of that potato head.

There's me, Quentin, and Cindy Crawford...

in this big water bed, and I said to her, "You know——"

[No Sound]

— You can't do that. — I can't believe it! That's wild, man!

[Clearing Throat] Hey, you guys.

Come on, guys. Take your conversations outside.

That means you, George Clooney

Doug is a specialist in tough love.

— Here we go. — He's tough love, Where? extraordinaire.

[Laughing]

He's the Casanova of tough love.

They were dickin' around this whole time. I just found out they're in his room.

— Go hurt somebody. — I just talked to them.

— He yells because he cares. — Get out, get out!

You walk out the door, okay?

After the shot is over, once we have cut, everybody needs to walk out.

There will be a lot of smoke in here probably, okay?

So just walk orderly out the door, and Deidre will be right at the door, okay?

So don't linger in here, guys. As soon as we cut, head out, please.

Just walk out. Let us clear it out.

This is not a question—and—answer session, sir. This is me telling you.

Most of you have been through this before,

but especially the paramedic type guys,

we love havin' you here.

We kind of have our own ritual

He'll go through his whole sequence. We'll put him out

If he has a problem, we will call you in and get on him.

Usually it goes real quick, and there's no problems.

And once again, people, you know, we don't need people rushin' in or anything.

of course, you've all seen this before, so you know the ritual.

Let's be safe. And, Charlie?

Same thing for us. We'll take care of any fires.

If, for any reason, we think that we're losin' this,

we'll just yell back to Doug for everyone to walk out..

quietly and calmly outside the door.

Hopefully it should go fine. There'll probably be quite a bit of smoke.

This is probably gonna be a little bigger...

than what we saw last time on our body burn, right?

Yes, this will probably be the most fire, by quite a bit, to tell you the truth.

This will definitely be a big flame. Roll camera.

— One! — Fuck!

—Two! — [Shrieking]

— Three! — Action!

[Flames Roaring, Glass Shattering]

[Screaming]

[Screaming Continues]

— You all right? You okay, man? — Stay out, guys. It’s still smoking

— [Chattering] — Yeah, fine. No, it's just toxic.

— You know, it was like—— [Spitting] — That was great.

— Can you go again? — Huh? Again?

— Can you go again? — Yeah, if you want.

So today we got some really good news, and Miramax has approved it,

and we have health care benefits for everybody on the crew——

Transpo and every—— every—— every uh, department

Anybody who’s worked on the show from 70 days up to 20 days...

we're gonna give three months of health care,

um, and from 20 days to 30 days, it'll be six months...

and anybody who worked over 30 days will get a full year of health care.

— [Woman] Awesome. — [Man] Whoo!

Yeah!

There are a couple of different options.

Couple of different options. We'll go over it.

Everyone wants to get out of here, so—— We'll go through it with you,

but we want to have it all done and signed up before this shoot is finished.

— That was our goal, and we did it — [Cheering, Whistling]

Thank you very much.

[Chattering]

[Indistinct]

I definitely plan on makin' movies with the unions, you know, and maybe again...

without them, depending on how my relationship goes with them in the future.

So, what I don't want to do—— even though I'm willing to fight them——

is to send an anti—union message actually—— necessarily——

'cause I think if there's a way that we can work something out, I would like to do that,

you know, and it'll be up to both of us, I think——

and not just me personally but the distributors, the other producers...

and the different locals and the international members...

as to whether or not we can come up with something that benefits independent filmmakers.

I think the unions are a little behind the times, in a sense.

I think the people who are running the unions——

the internationals and the locals——

are a little old—fashioned in terms of the way they think,

and now, there's a whole new breed of filmmakers out there.

They're makin' movies a whole different kind of a way.

You know, Robert edits and does his steady—cam and does hand—held himself.

There's so many different things that we do differently, um,

and so they need to learn to change and that's a big organization...

and that doesn't happen overnight.

I don't want to make it my cause celebre or whatever to go out and try to do that.

I want to just make movies, but because I'm makin' movies and I become high profile,

I guess I'm gonna have to take some responsibility in helping to have to change that somewhat.

"Where seldom is heard a discouraging word "

That's a great line.

— What? — "Where seldom is heard a discouraging word,

— and the skies are not cloudy all day." — [Thunder Rumbling]

[Crew Chattering]

We overcame all natural disasters:

sand, fire, rain——

— Unions. — Unions.

— And unions. What else? — [Indistinct]

— Exactly. — [All Laughing]

—And we got to play with George. — And George.

Total natural disaster.

— I think we're waiting for the frogs to hit. — Yeah.

We're waiting for the sun to pop out behind the rain clouds.

— [Thunder Rumbling] — So you can tell us that it is, in fact, raining right now?

It's drizzling. It's on its way out.

— This, too, shall pass? —Any minute, this film will be over,

— [Thunder Rumbling] — and then, people will know

We already got the shot. This is all just bonus shit.

We're about to blow up Benny's World of Liquor.

As you can tell, we're chanting the clouds away.

Right now, we're in a major holding pattern due to the fact that the clouds have come in...

and the sun no longer matches what we previously shot

So right now, this is what's known as—— Some people call it "holding pattern."

Some people call it "spanking." We're—— We're holding right now.

— All right? — And this shot would be?

This would be the explosion of Benny's World of Liquor,

and this will be the picture martini.

* [Chanting] *

* [Chanting Continues] *

— Come on, guys. — [Chanting Loudly]

[Man Shouting, Indistinct]

Action!

What did I tell you? What did I say to you? I said, "Buy the road map and leave."

What the fuck am I supposed to do? He recognized us.

— He didn't recognize shit. — Seth, I'm tellin' you, the way he looked at us——

you especially—— I knew he knew.

"Low profile."

You understand the meaning of the words "low profile"?

"Hey, Richie, how's your hand?" It hurts like a fuckin' son of a——

Let me tell you what "low profile" is not!

It is not "Take a girl hostage."

No, no. Don't you think the interviewer should come into the jacuzzi to interview?

— It couldn't hurt a bit. — In 20/20, they do that, don't they?

—[Laughter] — [Indistinct]

— So, come on, sir. — [Woman] Really?

W—WeII—— All right, then we just won't say anything.

There you go. Silence.

[Woman Speaking, Indistinct]

— [Laughing, Chattering] — A true reporter.

— Scalded. — That's right.

— There's no scalding. — There's no risk in over—hot water.

I gotta say, you will undoubtedly be disappointed by the temperature.

— Wow. Okay. — Yeah.

So here we are!

— [Laughing] — Hello, boys.

— Not to worry. — Not to worry. All right.

— All right. — Okay, let's just go around...

and just say why you work in this business, and then we'll cut it.

—I already did mine. — I wanna be filthy rich and be in the union...

—[Laughing] — so I don't have to do nonunion pictures anymore...

without getting fully compensated for my tortures.

— Hey spell it out — Doesn’t seem warm when you’re——

— U—N—I—O—N, baby. Union. —Ooh.

—I love famous people. —[Laughter]

I love'em. I like to watch them eat.

Anything like that. I love them.

Andy Watts, star fucker.

Yeah. I'd be a stalker...

if I actually wasn't paid to watch them.

— [Laughter] — * [Guitar] *

Why do you like working in the film industry?

— The pay. — The pay?

Money. The only reason is money.

— Big money. — It's kind of like that articulation of life.

Studying life.

It's those last hands, that moment,

that one—thousandth of a second as the shutter clicks, as everything's immortalized,

and I get a real rush out of that,

knowing that I could do like that, or that.

— [Man On Radio] Fourteen on my left. — It's just documenting history...

and a history that doesn't exist, and we're all making it up and it's life and I love it.

Uh, it's one of the conditions of my probation.

I don't know.

[Shrieking]

Why do I work in the film business?

How are you, sweetheart? That's why I work in the film business.

I don't have to have a real job.

I can work with a lot of people who don't want to have real jobs.

You're doing what you want and getting paid all that money,

and you get free meals and they pay for the hotel.

You don't find that in any other business.

Anyone that complains——

I never understood it.

"Oh, we're gonna have chicken again today?"

Really. filet mignon and lobster you have every night? You know.

'Cause of the craziness, the zaniness. I don't wanna——

I don't wanna work 9:00 to 5:00, so I'd rather work from 4:00 to 1:00.

—[Laughter] — 4:00 to 4:00.

When I was a kid, you know, I had a little black—and—white TV up in my room,

and I would stay up really late watchin' movies, just watchin' movies,

and, for me, all my life, the movies were, you know, my favorite art form.

So, for me, now to be able to have the chance to make those movies...

so that some other kid can be stayin' up all night in his room watchin' TV...

and watchin' the movies that I worked on.

I try and keep that going. Movies are just such a part ofAmerican life right now.

To have a say in that and be able to work on those, I think, is a privilege.

It's a damn good time, man.

Livin', lovin', workin', sweatin',

grindin', huggin', kissin'.

It's all—— It's all good.

It's art. Fun. It's all come together.

So, ladies and gentlemen, if I could have your attention, please.

Guys, thank you all very much for one hellacious job.

—[Howling] — That is a picture rap on From Dusk Till Dawn.

— [Hooting] — [Applause, Whistling]

Let’s go, guys.

Hey, hey. [Indistinct]

— It's pretty damn bad—— — [Man Yelling]

— [Laughing] — Hey, your hair's got pyro charge in it.

Yeah, one down.

— George, a good job. Pleasure. — A blast.

— Go, go. - No go.

[Laughing, Screaming]

[Indistinct Conversations]

Guys, let’s go. I need equipment trucks over here.

I need stake beds brought up front. Okay, let’s go.

This party ain't over yet, guys. Let's go.

I'll see you tonight.

Roll camera!

* [Drumming, Chanting] *

— [Laughter] — [Man] All back on Saturday!

Standby guys. Standby