All language subtitles for Icons.Unearthed.S12E01.Dr.Jones.I.Presume.1080p.AMZN.WEB-DL.DDP2.0.H.264-Kitsune_track3_[eng]

Harrison Ford.

How can you not love the guy?

You probably
think of him as a star.

- Han Solo.
- I thought he was

so sexy and handsome.

As a
Hollywood legend.

He's the icon.

All right, an icon.

Oh God.

He's a very interesting man.

And he is.

Who woulda thunk it?

But no one
believed this ensemble actor

could be a leading man.

- This is our hero?
- Ow!

- This guy?
- Few thought

this former carpenter...

I didn't even know how
long it took to bake a potato

...could hold
much more than a hammer,

let alone a movie franchise.

Dr Jones.

Yes.

Harrison as a leading man.

But the
history of Harrison...

He had so much potential.

...is
the story of a man

who always knew what he wanted.

I didn't want to do the same
thing over and over again.

And always
worked to his own script.

He say you Blade Runner.

Tell him I'm eating.

He didn't like to rehearse.

- I love you.
- I know.

He just ad-libbed that.

From Han Solo...

Harrison became the star.

...to going solo.

His success was
not by accident.

From one big name...

George Steven.

...to the next,

dodging all the
snakes in between.

Is this a real snake?

I think I'm the only actress
in town that has a snake.

So join us.

Hold onto your potatoes.

For an adventure.

It's not necessarily a
fun...

...adventure.

It's a wonderful story.

With the man
who reinvented the genre.

It wasn't a sure thing.

And then
reinvented himself.

Action star.

I didn't kill my wife!

And thinking, man.

Harrison decided
that he wanted

to actually learn how to fly.

Get off my plane!

I hear the plane, "Zzz."

Crash.

Air Force One
is down!

I'll tell you a story
about Harrison that's true.

As told
by the people in the room.

What would be
the nice way to put it?

Harrison might've
called him lurch.

On set.

He broke my fucking rib.

I'm not doing this
piece of shit again.

Behind the camera.

He was acting all the way down

to the crotch and
I was shooting.

And on it.

I was like, what the
fuck are you doing?

What a lunatic!

Does the word
asshole come into mind?

What the fuck is
happening to my movie?

One man.

Get you
anything, Mr. Trainer?

Coffee, tea, me?

Almost 5
billion in box office.

Holy mother of God.

Across
nearly 50 years.

He was not there to
just read the script.

I told him to say that.

So say it with us.

Harrison Ford. Harrison
Ford. Harrison Ford.

Because this is

"Icons Unearthed:
Harrison Ford."

Right from
the get-go,

the young Harrison
Ford was ambitious,

but realistic about acting.

I had no discernible talent
for it, I think at first.

But he definitely
came from the creative pedigree.

His parents were involved

in the advertising
business in Chicago.

One quality that
would ultimately help Harrison

with his acting ambitions,

his desire to learn by doing.

He was a hands-on
guy. He was a carpenter.

We all knew
Harrison as the guy

who'd finished our
kitchens and did carpentry.

He did everything. He
did all kinds of stuff.

He was even
briefly a cook on a yacht.

I didn't even know how long
it took to bake a potato.

Yo, he hadn't paid rent,

when he was an
out-of-work actor.

His first
lines in a film were short.

Paging Mr. Ellis.
Paging Mr. Ellis.

You wanna hear
my whole dialogue?

Paging Mr. Ellis.

And even
his short appearance...

Room 607.

...wouldn't
deter him from getting

on the radar of just
the right people.

George Lucas gave him
his break, his big break.

That was in
1973's American Graffiti.

I wanted the job very badly.

But when the studio
came back with their offer...

I felt that what they were
offering me was just unfair.

Well,
if it's not fair,

someone should
check the numbers.

They went over the entire
budget and they called me back

and they offered me more money.

Sorry if I scared you.

And when I edited
American Graffiti,

I was just enamored with
Harrison's performance.

George's partner
in life and film, Marcia,

had a knack for
spotting talents,

and Ford was hard not to notice.

I thought he
was so sexy and...

So handsome and he
had so much potential.

Hey, doll, why don't you
come on and ride with me.

He made such an impression.

You're gonna
appreciate me soon.

After grappling
with a few minor roles

In Francis's
movie, The Conversation.

Don't get involved
in this, Mr. Khan.

And
Hi.

struggling
to land a punch.

I felt I never
had the opportunity

to develop a technique which
finally began to serve me.

But Harrison
quickly reunited with Lucas

for the breakout
rule of a lifetime.

Han Solo.

I'm captain of the
Millennium Falcon.

His big break is as Han Solo.

Great kid! Don't get cocky!

But as
for Star Wars, well,

we've already
un-earthed that saga.

Don't everybody
thank me at once.

But if
you want the full story

of how Harrison
picked up the blaster

before a fedora,

you can always
catch those episodes

on your favorite
streaming services.

But in the meantime,

when the galactic opera
first hit theaters.

We were in a crappy
hotel in Hawaii

with George and Marcia,
and he got a telegram.

I said, "You gotta watch
the news tonight, George."

Tonight there
was a strange happening

of lines around the block
from a movie

that hasn't even opened yet.

Star Wars
was a hit.

Yee-ha!

And
lucky for Harrison,

Lucas had something
else up his sleeve

and Steven Spielberg would
be the first to know.

We were in Maui.

And George told Steven about
this project that he had.

But George didn't
just turn to Steven.

He also confided in
Howard, a partner,

going back to the early
days of Lucasfilm.

George, they were talking
about taking old serials

and putting them together.

They wanted to do a cliffhanger
like episodic television.

I'm sure that
voice came from here.

Lucas wanted to
make a movie that reminded him

of his first love of cinema.

Like the old time
serials that we used

to see when we were kids.

And as you know, a
serial is a cliffhanger.

You see episode one and the
truck, a heroine is in it,

and the truck drives off the
cliff and you think she's dead.

Next week, episode two,

just before it
drives off the cliff,

she opens the door and
jumps out, she's safe.

Old fashioned serials,
but all in one.

The idea
was both old and new

and the serials had established
one thing George liked.

We had an archetype
that had been created.

The swashbuckling,

occasionally vine swinging hero.

Steven was very, very
clear about the archetype

of Indiana Jones.

And
the archetype needed

the right person behind it.

Costume designer, Deborah
Landis fit the bill.

I had a sketch
pad in front of me

and I asked Steven to
draw Indiana Jones.

And just like
that, Spielberg's sketched

what would go on to
become one of the

most iconic costumes
in Hollywood history.

With his jacket and
his hat and the fedora.

Of course, an archaeologist
carries a whip, doesn't he?

Not.

The costume had been worn

by Charlton Heston in
at least two films.

You hired me to pilot
your plane. Got that?

So they had
their archetypal hero.

The adventurer.

And the
style of storytelling.

An adventure picture.

But Howard knew

the most important
thing was still missing.

What is it we're after?

What is the treasure?

What is the McGuffin?

Whatever
the McGuffin,

it was a man with
a different name.

One of the local
filmmakers in San Francisco

was Phil Kaufman.

Who came
up with the McGuffin.

Great McGuffin.
The Ark of the Covenant.

The lost Ark?

The Ark of the Covenant is
the McGuffin, so to speak.

Nearly 3000 years,

man has been searching
for the lost Ark.

Where did Phil Kaufman
get that idea? His dentist.

They
had their mission,

but who was the hero on it?

Did this guy even have a name?

And George wanted to call
the hero Indiana Smith.

It could so
easy have been Dr. Smith.

But for one thing.

I wanted to have a baby,
and I had the baby crazies.

Except it became a
fur baby.

Because George wasn't ready
for a family just yet.

No, no, no.

His career wasn't really,
you know, all that great.

He said,
"But I'll get you a dog."

So then I said, "Okay, Great."

Then I call her "Indiana."

And that's how
Indiana got her name.

Which is
how Indiana got his name.

Indiana Jones.

He's named after the dog.

Jones just rolled off of your
tongue better than Smith.

George
Lucas had a great idea

led by a character
named after a dog,

but he was without
the one thing,

he really needed to
realize his dream.

So I remember sitting
out at the pool with George

and George was saying,
"I gotta find a writer."

"Where am I gonna go?"

"How am I gonna get a writer?"

"Who should I get for writing?"

The answer to
that question is gonna start

a career and kick off a
franchise at the same time.

If there was one thing

that has always been true in
Hollywood, it might be this.

There has to be a story.
Story, story, story.

George was
set on nearly every front,

except when it came to a writer.

Luckily, Empire Strikes
Back writer Lawrence Kasdan

was ready to step in.

So Larry and
Steven and George met

and they discussed the plot.

Kasdan
created a story big enough

to film many a movie matinee.

Larry went off
and wrote a draft,

which was very, very good.

Finally,
the film had a writer.

- Yes.
- Script.

- Yes.
- The money?

Mmm.

At last,
Indiana Jones had the writer

and script George
had been waiting for.

But could they
afford to make it?

No.

George didn't wanna fund
Raiders of the Lost Ark.

Lucas
wanted studio backing

and planned to leverage
his Star Wars clout.

I expect to be well paid.
I'm in it for the money.

And he had a name
behind him with success.

But
believe it or not,

George's partner,
Spielberg wasn't coming in

with the same box office
pedigree following

a real American disaster.

You're only as good
as your last picture.

No,
not Pearl Harbor ,

but Spielberg's movie about it.

Steven had just done 1941 .

Madness.

1941 was a catastrophe
for going over budget.

But Steven's
penchant for going over budget

wouldn't be the deal breaker.

The deal would be
the deal breaker.

George said, you pay
for it and I own it.

George Lucas owns the negative.

He owns merchandising,

he owns everything,
and he has control.

We had four pictures
that Steranko the
artist conceptualized

and I went out to
several of the studios

with the four pictures
and the script.

The first was Fox.

Who would
say no to the director

of the biggest
blockbuster of all time?

Fox had done Star Wars .

So Howard
and Co were not surprised

by Fox Head, Alan
Ladd Jr's, reaction.

And he said, "This
is a great picture."

It was a yes.

Mmm... No.

Alan Ladd was basically
on his way out.

He said, "I would say yes,
but I have no control here."

Ultimately
Fox said no.

But George
had other friends.

Because George had done
American Graffiti at Universal.

And I took it to Ned
Tannon, who I knew well.

He
sounds approachable.

Ned Tannon.

Monday morning he
handed me the script

and he says,

"Take the
Germans out of the picture."

And I just looked at him.

My brain is going,
"Take the Germans out?"

And he said, "It won't
do well in Germany."

If we refuse?

It was difficult to understand
why studios were saying no,

when you have George Lucas
and a Steven Spielberg.

They were very
powerful filmmakers

because their films
had made so much money.

We were only asking
for $20 million.

When films were
costing more than that.

But Howard
had at least one last door

that he could knock on.

We went to Paramount.

Paramount
head, Michael Eisner,

was among the many
executives not thrilled

about Lucas's terms.

Eisner didn't like the deal

and it had been the worst
deal ever offered him,

or probably any studio.

So
naturally he took it.

And they said, yes.

There's nothing to fear here.

Sounds
too good to be true.

That's what scares me.

Paramount
wanted insurance

for any potential booby
traps laid by the Lucas deal.

So there was a catch.

As long
as it was $20 million.

Any overage is
paid by Lucasfilm,

because Steven did not
have a good track record

about coming in on budget.

And avoiding
another 1941 scale disaster

was all on Howard.

'Cause you break
everything down.

Every car, every
airplane, every actor,

everything is detailed.

But as Howard
crunched the numbers,

one idea for the
finale stood out

and nearly threatened
to sink the entire film.

The sequence of
boarding the submarine.

Originally, the submarine
goes underwater.

A door opens up underwater

and arrives in a volcano.

But a
volcano on this budget?

Basically impossible to do.

It was too expensive.

And it changed.

With his own
money on the line for overages,

George Lucas wasn't relying
on the bonds of friendship.

Georgia had told Steven,
you shoot it like a B picture.

George told Steven, if he
brings the picture in on budget,

"I will give you
a $500,000 bonus."

Spielberg's
reputation for largess

hung over the budget
for every department.

Steven had said,
you know, Deborah,

we're making a B movie.

Okay, we're making
a B movie. I get it.

To keep
the studio at bay,

Howard saw fit to deploy
a little subterfuge.

Paramount said, how many
days are you gonna shoot it in?

And I told them 85.

The real number was 73.

By
scheduling extra days

and hopefully shooting fewer,

the production would appear
to be coming in under.

Steven knew of the 73,
and he liked that idea.

While Howard
was trying to work out how

to pay for this film.

Howard was the enforcer.

He had this walk softly and
carry a big stick attitude.

George and
Steven were still trying

to work out who to
pay as in who to cast.

George and Steven
interviewed a lot of actors

to play Indiana.

In a parallel
universe, Indiana Jones

could have been the
actor Tim Matheson.

Trust me, it'll
never get that far.

Or can
you imagine Nick Nolte?

Maybe you don't know what
the hell you're talking about.

How
about Chevy Chase?

A very qualified
acupuncturist.

In the end,
Lucas found his man.

George came up to me once.

He had a headshot of an actor.

He said, "We found our Indiana."

Definitely not Harrison Ford.

Tom Selleck.

Tom Selleck was
set to play Indiana Jones.

The team, can't
split up the team.

With the
leading man locked in,

attention shifted
to finding his counterpart.

We also saw tons of people.

They needed
someone with some fight in her.

In the screenplay
she was a spitfire.

They wanted an equal.

Spielberg had
his eye on a young actress

who already had a
reputation as a spitfire.

He flew me out. I
auditioned with Tom Selleck.

- Why start now?
- Just shut up!

Shut up and listen to me.

Sean had been
making waves on the East Coast.

And I was working on
Jane Austen in Manhattan.

I mean, once you found someone.

And Steven asked
to see the footage

that had been shot on me.

Steven said to me that I was
"too raw" is what he called it.

And so it came down
to Debra Winger.

Debra Winger was
Steven's first choice.

Who would not screen-test.

The thought of it just
makes me wanna puke.

- But--
- She wasn't available.

That's all I need.

Amy Irvin
was also in the frame.

Amy Irving, you know
this beautiful young woman.

But just
as casting focused

on solving one problem.

Who should play Marion?

The solution to the
original casting conundrum

turned back into a problem.

Tom Selleck suddenly
was not available.

A big one.

And all of a sudden
there was no Tom Selleck.

Actor
Tom Selleck was set

to become Indiana Jones.

Sometimes everything
goes exactly as planned.

George came and
said, "You know what?

"We can't get Tom Selleck."

He was signed to Universal.

And he is contractually
obligated on Magnum P.I .

And fate just
wouldn't do that to me.

Yet Tom
Selleck had chosen a Ferrari

over a fedora.

And the producer
Glen Larson

didn't wanna
release him.

Universal
wasn't giving up

TV's most famous mustache
because Selleck just happened

to be caught up in a
much bigger battle.

Lucasfilm and Fox...

In fact, you
could say it was a Battlestar.

...was suing Universal
or Battlestar Galactica,

'cause they felt there
was a ripoff of Star Wars .

But Howard
wasn't giving up.

With an actors strike looming,

Raiders planned to
shoot in the UK,

and that gave Howard
one last card to play.

And we said, we're gonna be
shooting the film in London,

not SAG, but under Equity.

That would allow
Selleck to work in the UK

while the strike hit LA.

The answer was no.
Geez.

So we still need
an Indiana Jones.

With
Tom driving off into

the Hawaiian sunset,
casting continued,

and so did the no's coming
from the first choice talent.

Danny DeVito.

I'm Louie De Palma.

Was the first
choice for Sallah.

We couldn't afford him.

Don't you wish!

Jonathan Rhys-Davies
was cast as Sallah.

I knew the Germans
would hire you, Sallah.

But the
producers were forced

to take a punt on untested
talent like Alfred Molina.

Poison is still
fresh three days.

Ronald
Lacey was menacing.

Good evening, Fraulein.

Was the character Toht.

Heil Hitler.

But for
his chief of menace...

I have the perfect man
for this kind of work.

...Spielberg
cast a favorite

of one of his favorite
directors, Stanley Kubrick.

My first film was
Barry Lyndon,

the Stanley Kubrick.

I am at your disposal.

And Steven knows all his
films. It was a wonderful script

and even had some humor as well.

My feeling exactly.

For the role
of Indiana's rival, Belloq,

Steven trusted his instincts.

I think he said there
was something untrustworthy

about my eyes.

The eyes headed
for British actor Paul Freeman.

I wasn't offended as
long as I got the job.

Casting
assistant, Marci Liroff

was still trying to put together

the right combination of leads.

It was more like a
chemistry coupling.

And to
concoct the perfect recipe--

We had this big
wide open kitchen.

It was part of
Lucas Film's headquarters,

known as the Egg Company.

Great offices.
Beautiful offices.

Perfect
for Marci's casting.

I would couple a guy and
a gal and have them cook.

We'd be watching
their chemistry.

One of the
first cooks in the kitchen

was a woman who had just
one movie under her belt.

Hanging around with
a bunch of animals

getting drunk every weekend.

But it was a hit.

In Animal House,
I knew nothing.

I'd never met an actor
who had been in a film.

I had never met a single human
being who had been in a film.

And then I got a
call to audition.

It was gonna be a screen test.

I'd never done a
screen test before.

I've learned to hate you
in these last 10 years,

but no matter how
much I hated you,

I always knew someday you'd
come through this door.

And I remember him
handing me the script

and seeing the title
Raiders of the Lost Ark

and thinking, well, that's
not a very good title

for a film.

Karen
hated the title,

but when it came
to her character.

I loved Marion Ravenwood.

I thought this is one of
the best introductions

to a character.

Must have slipped his mind.

That kind of fierceness

and a sort of independence.

A strength of character and a,

you know, what people
call feistiness.

Nobody tells me what
to do in my place.

Karen
seemed to be perfect.

But remember this depended on...

Chemistry.

But
chemistry with whom?

We didn't have a leading man.

For Howard, it
was as simple as two words.

Harrison Ford. Harrison
Ford. Harrison Ford.

Harrison Ford would be
a perfect Indiana Jones.

But
time was running out

to convince
Spielberg and Lucas.

So I arranged a
couple days later

for Harrison, George,
Steven, and myself

to meet when I suggested
why don't we have dinner?

I wanted George,
and especially Steven,

just to see Harrison
Ford, hear his voice.

Hello, Marion.

Look into his face.

Dinner was
scheduled and Harrison Ford

was on the menu.

And I said, "Well, what'd
you think about Harrison?"

And there was silence.

Spielberg
was about to make one

of the biggest calls in
his directing career.

And Steven said, "Look..."

By not
making the call.

"George, you pick
Indiana Jones

"and I'll pick
the leading lady."

Steven picked Karen Allen.

I'm your Goddamn partner!

And
George's picked for Indy?

George said, "Harrison Ford."

Steven called me and said,
"It's gonna be Harrison."

So in comes Harrison.

The news of
Harrison signing rippled

through the production.

We're devastated.

Every woman in the office.

Because Harrison shuffles in.

He had a quality of diffidence,

of shyness, introspection.

This is our hero? This guy?

Harrison, as a
leading man? Who knew?

Howard knew.

If he isn't Indiana
Jones, tell me who is.

It's not like he hadn't
been in other movies,

but always as ensemble actor.

But there was
no time for naval gazing.

The whole production
pivoted towards its leading man.

- Jones.
- It was

a whole new advert.

Jones!

The jackets that I made

for Tom Selleck were
these crummy jackets,

and we threw all of those out.

And I had to remake all
of them for Harrison.

Still, to be found,

an even more crucial item
that needed to fit just right.

With the
jacket scrapped,

the wardrobe team
faced a new dilemma.

Was the hat next?

Harrison comes
in for his fitting.

And we take these boxes and
I empty them at his feet.

He is now knee-deep in fedoras.

He puts one on and he
puts another one on.

Still
nothing sat just right.

And I went to Herbert Johnson,

and they had something called
their Australian model,

which sort of looked okay.

I essentially redesigned it.

Harrison
Ford was very happy

to talk about his look.

Your appearance is
exactly the way I imagined.

But when it
came to his character,

he was keeping mum.

Coming from the theater
we rehearse a lot.

We talk things through a lot.

We talk through scenes.

I remember trying to talk a
little bit to him about the film

and the characters.

And he said to me, "I
don't talk to other actors

"about the characters
and the story."

So I had to make
a big adjustment.

But
Harrison Ford was looking

to make his own adjustments
to the film script.

Steven wanted to have a
script conference with George.

He wants Indiana Jones
to be an alcoholic.

I like some complication in
the characters that I play.

And Steven, you know,

has to listen to his
actors, of course.

But I was against it.

I just didn't see
it in this movie.

Not
for the first time

in George Lucas's career--

Marcia speaks up.

The movie is about
an archaeologist

who's a college professor.

Hired by the federal government.

This is all
strictly confidential.

To find this Ark of
the Covenant before
the Nazis get it.

I'm gonna blow
up the Ark, Rene.

And you think they're
gonna hire an alcoholic?

I don't know.
Whatever I said worked.

Because Harrison did not
get to play an alcoholic.

While
Indiana was sober...

Whiskey!

...the fee paid
to Harrison Ford was enough

to drive any producer to drink.

Why? Are you willing
to offer more?

Well now Harrison
is locked in.

Harrison is being paid more
than our original budget.

$20 million to do
the movie, period.

At half
a million dollars,

Ford was getting five
times what was budgeted.

So now I have
to take things out

of various other departments.

And here was this miniature
plane with four engines.

It was a model for

a full-sized German flying
wing and building it

was costing even more
than Harrison Ford.

It's a million dollars. I
don't have it in the budget.

He says, "What do you
have in the budget?"

I said, "700,000."

He picks it up, grabs
it like this, and he...

And he breaks wings and
outer two engines off.

And he says, "Now
how expensive is it?"

And I said, "It's
in the budget."

Cameras
were all set to roll

in June of 1980 on the
west coast of France.

Finally, Harrison Ford
was all dressed up

with somewhere to go, until--

George and I were
walking the sets

before the Monday shoot.

And George said, "Oh, I
haven't seen Harrison's jacket,

"the leather jacket."

So I brought it in my
own luggage from London.

And she says, "Oh,
it's right here."

And he says, "That's
not what I want."

"Find a store and buy
me a bomber jacket."

But if
it was that easy,

you wouldn't need
costume designers.

It wasn't a jacket that
you could buy off the rack.

Instead,
Deborah made it work.

I designed it and
I custom-made it.

Like a fine wine.

It was all about
the aging process.

I literally aged
it the night before

we shot at La Rochelle
in the submarine.

And that's the one we
opened the picture with.

It's lovely.

And Harrison wasn't

the only cast member dealing
with costume troubles.

It's beautiful.

Belloq gives Marion
the white dress.

I would very much
like to see you in it.

That's not a dress that Marion

would ever have
chosen for herself.

She puts it on.

All right.

All I knew at the time
is I hate this dress.

Yeah, she, yeah.

Every time I put
it on, I was like...

She was not having
that ballgown.

I have a big bow on my butt.

It was like this big fruffly
thing and I was just like, ugh.

Ha! Ha!

Karen's struggle
with Marion's dress,

went straight to the top.

Nobody cared what I thought.

It was made very clear to me.

It was
Lucas's call on the dress.

George was the creative
eye for the costumes.

He was immovable.

And it worked for the character,

actually for me to
hate that dress.

Production
designer Norman Reynolds

quickly found out he had
a much bigger problem

than a frumpy dress.

My cabin is theirs.

Norman Reynolds
found the Bantu Wind

and he found out
that the Egyptians

who owned the boat
had just painted it

to make it look sparkling clean.

That's exactly opposite
of what everybody wanted.

And Norman was
going crazy saying,

"What happened to my boat?"

So we got a crew out there
and aged the boat down.

The boat was
just one big ticket item

threatening to blow out the
art department's budget.

- What's happening?
- We have most
important friends.

The submarine we had
researched was built

for Das Boot.

But getting
a submarine secondhand

definitely helped
keep costs down.

It was actually
not a submarine,

it was a submarine
based on barges.

Whatever it was,

it was seaworthy,
but only to a point.

Got in a small
motorboat to be taken out

to this model submarine,
which was bobbing

around in the waves and
was very unseaworthy.

So it was moving the whole time.

They said, you
can't take it out

in swells over 12 feet high.

And actually the swells
were higher than 12 feet.

Several people got seasick.

Finally, on set
and climbing into her role,

Karen discovered
she had enrolled

in an actor's finishing school,

and Harrison Ford
was her teacher.

I learned a lot from
him because he had a lot

of experience
working technically

in front of a camera,
which I did not.

Now maybe 'cause
she was nervous,

she didn't understand
what to do.

I'd only done three films and
a miniseries for television.

So I was very new to this world.

Steven worked
very hard with her.

And many times Steven would sit

at that little table
where they were drinking

and he would say,
you pick up the glass

and you drink it
and you do this.

That introduction
was tough for her.

Just by watching
Harrison work,

I was learning a lot about
that relationship, thank God.

But Karen
would still find ways

to bring her own
experience to the film.

In the original
script, as I remember,

the suggestion was that Marion

does have some sort of
romantic liaison with Belloq.

Marion, you are beautiful.

I kept thinking this
scene doesn't work.

Karen immediately
marched over to her director.

And I kept sort
of annoying Steven

by sort of pointing this out.

And he knew Karen and I

are both theater
actors originally.

"Well, if you guys can come up

"with something better,
we'll shoot it."

And we're perfectly happy

to rehearse it and go
away and improvise.

You pour.

This was all

a seasoned theater
actress needed to hear.

And we came up with this idea,

she's now gonna get him drunk.

And she's gonna escape.

Steven was delighted
with what we'd shown him.

It's great. We'll
do it that way.

Didn't ask us
to alter anything.

Harrison
wasn't one for devising

like his co-stars,

but he was about to
inject a touch of himself

into one of cinema's
most unforgettable props.

As the crew geared up
to shoot an action scene

for Indiana Jones,

the leading man had a
spark of inspiration.

Marion!

We're about to shoot
the Arab with the sword.

They rehearsed the fight,

and then overnight,
Harrison got really ill

with dysentery.

And when he arrived on
set, he couldn't do it.

Throughout the entire picture,

I take my whip out and
I fight the bad guys.

And he said, "Why don't
I just shoot the fucker?"

And Steven says, "All right,
we shoot the shorter version."

And then George said, "Wait,
well what happened to the scene

"with the Arab fighting
Indiana Jones?"

We go back and we shoot
what's in the script.

Now Steven seems to be wondering

if that was the right
direction to go.

The actors
certainly had agency

on Spielberg's set.

Indy, why does the floor move?

But there
were other performers

who would have their say too.

Then we did the snake pit.

Snakes.

Why did it have to be snakes?

It wasn't the most
relaxing set in the world.

Asps.

There were pythons on the set

that were quite aggressive.

And dangerous.

How dangerous?

Very dangerous.

You go first.

We needed an ambulance
out the stage door

and on the stage, a gurney

with a hypodermic
needle actually injected

into the serum.

I told you it
would be all right.

If you get it quick enough

I guess you can save
somebody's life.

But who wants to go there?

Dangerous
animals were the warm-up.

What happened next could
have been catastrophic.

When Harrison swings into the
water to get on the biplane,

the biplane takes off
with Harrison Ford.

You could hear the zzz...

I hear the plane crash

and my heart crashed with it.

I couldn't get down the river

and all I could do was
to yell to our security,

get down there and
see what happened.

And then it was all silent.

And then on a walkie-talkie,
"Everything's okay.

"Harrison is laughing."

He was laughing.

They pushed the door open,
pushing a door open on a plane,

doing 9,000 miles an hour
acts as a wind break.

Just pulled the
lever on the engine

and just went straight
into the mangoes.

That was my worst day.

May have been my worst day of
all the pictures I've done.

Thankfully,
principal photography
was wrapped.

But visual effects
supervisor, Richard Edlund,

still needed to find
himself some Nazis.

I had to cast
Marin County Nazis.

That
wasn't so easy in 1981.

This was for the wrath of God
sequence, because remember--

We could only
shoot the long shots.

So I wound up having to
shoot all of the closeups

of the Nazis getting.

Also on
Richard's to-do list,

a small matter of making
sure the Nazis lost face.

The deaths.

Our deaths.

Shut your eyes, Marion.

Don't look at it no
matter what happens.

I think I had probably
the biggest closeup

in the whole movie.

Not quite
the biggest closeup,

but certainly unforgettable.

I can't quite remember
what happened to my head.

I was going, he's gonna...

Here's a reminder.

Do I melt?

Blow up.

I know Wolf melts.

We didn't know what any

of the special
effects were gonna be.

Steven would stand there going,

and now you know their faces
are melting or whatever.

Of course,
the real melting moment

was saved for the nastiest Nazi.

Yes, Ronald Lacey.
It was pretty gross.

Thanks to some

excellent practical
makeup effects.

This is the analog era.

Chris Walas was
a great sculptor

and he basically
sculpted a head made

with colored layers, then
shot it with heat guns,

time lapse every two seconds
of frame, we'd shoot a frame.

And it just worked
out really great.

That was the end
of the schedule.

And we basically, that
was the last thing we did.

And we finished on
time and on budget.

Spielberg had achieved

a first in his young career.

Steven got a $500,000 bonus

and George told Steven

to put it towards
USCs building program.

And that is why
the scoring stage

at USC has Spielberg's
name on it.

Everything
was now finally in the can,

and Spielberg hit
the edit suite.

After several weeks
when he had a rough cut,

Steven brings the film
up for the first time

for George and I and
Marcia to look at it.

I watched it and
then the lights came on

and I thought, that's weird.

Something
didn't sit right for Marcia

and it wasn't Indy's fedora.

The whole movie's
about Indy and Marion

and he's saving her and they're
having all these adventures

and you're gonna leave
her tied up on the stick.

The
rough cut left Marion

right about here because...

That scene outside the
building with Marion and Indy.

- You don't look very happy.
- Fools.

Wasn't in the movie.

Steven said, we
didn't need that.

"We don't need it.
We didn't shoot it."

I think that would've
been very strange

to end the film with her
just tied to the stake.

And I stood up and
I said, I'm sorry,

but I do have a comment.

But you can't leave Marion
tied to the stick.

Indy!

Marcia had a point.

Marcia understands story.

George and Steven start
thinking about it.

George,
"Well, I'll shoot it."

George says, "I'll shoot it."

"I'll shoot it second unit."

And so
rather than ending here--

George shot the
tag of the picture

with our two leading
characters on the stairs.

They have
their finale on film.

There was just one last
piece to set in place.

Well, after we heard
the first main score.

♪ Indiana Jones theme ♪

George leans over past me

and he says to Steven,
"Sounds like Hogan's Heroes."

♪ Hogans Heroes theme ♪

Not the same.

It's nowhere the same.

Steven did not comment.

Maybe
he was fuming.

No other comment.

Well, at
least the next scene

would restore his
faith in the film.

Steven says, "Well, I thought
it worked better this way."

A little bit of silence.

During the first
viewing of Indiana Jones,

George's reaction to
seeing his street fight

turned into gun play,
had Steven worried.

Little bit of silence
and Steven says,

"Well, I thought it worked
better this way."

Worried
because George Lucas

still had final cut.

George puts back the fight

and Steven says, "I think
it works better without."

Time to
break another stalemate.

He says, "We'll have
two screenings, one right

"after each other with
a different audience.

"One with the shortened version
and the longer version."

Raiders was
test screened in May of 1981.

Sitting at the very
back of the theater.

And the first is the
Steven Spielberg version.

And the audience
screams and goes crazy.

And George turned
to Steven and says,

"Well, I guess that one works
better than the other one."

We never had the
second screening.

But even
with all the hype,

the marketing had audiences
more confused than convinced.

We did our own teaser trailer
and gave it to Paramount.

For
nearly 3000 years,

man has searched for the
Lost Ark of the Covenant.

It was just the ark
and some voiceover.

It is protected
by forces beyond imagination.

So it was suggested by
Paramount that we run it

with a real audience
at the Chinese theater.

And at the end,
they don't like it.

To many people, it was
baffling. What's that?

So we will go back and
change it, which we did.

And the mixed
reaction to the trailer

posed even bigger questions.

It wasn't a sure thing.

It was cutting a new
old genre. Cliffhanger.

One cliffhanger after another.

Would an audience accept that?

Did they want, you know,

something deeper and
more substantial?

Shoot it like a B picture.

But did
that mean George

and Steven had just
made Harrison Ford

into an overpaid B actor?

Always as ensemble actor.

Son of a bitch.

That
unknown quantity

would not be unknown for long.

You're about to become
a permanent addition

to this archaeological find.

Following
Raiders' release that June...

And I remember
the numbers came in.

...within three days,

all those questions
were answered.

We were astounded on Friday

and even more amazed on Saturday

and very happy on Sunday.

Raiders
of the Lost Ark

netted nearly 390
million worldwide

from its meager
$20 million budget.

Adjusted for inflation
would be over

a billion dollars today.

And despite
Universal's concerns.

It won't do well in Germany.

The crowds in
Deutschland had no quarrels.

You Americans,
you are all the same.

And for Deborah,

it had been a long road of
doubt and second guessing.

This is our hero?

But when she
saw the final product,

all the pieces
suddenly made sense.

Steve wanted to
be Indiana Jones.

George Lucas wants
to be Indiana Jones.

They all wanted to
be Indiana Jones.

Why, every man on the planet
wants to be Indiana Jones.

And every woman wants to
be with Indiana Jones.

But only one
guy was Indiana Jones.

- He's vulnerable.
- It hurts.

- He's competent.
- Stay out of the light.

He's trustworthy.

I am already missing you.

He's kind.

Man of many talents.

And
most importantly,

for audiences around the world.

They really fell in
love with Harrison Ford.

Harrison
Ford had arrived.

This is now Harrison
as the absolute.

This is his movie,
top to bottom.

And
yet his next picture

would be a sudden departure

into even more
uncertain territory.

Ridley's a little bit
of a, what's the word?

An artist.

He and Harrison have
a lot of conflicts.

I think I went to Ridley

and I said, "What the
fuck is he doing?"

And suddenly, Blade
Runner was in deep trouble.

Absolutely a bomb.