All language subtitles for Icons.Unearthed.S12E04.Whos.The.Boss.1080p.AMZN.WEB-DL.DDP2.0.H.264-Kitsune_track3_[eng]

Let's go!

Over the
course of two decades,

Harrison Ford had built
an impressive resume.

I'm Deckard, Blade Runner.

With an equally
impressive list of directors.

Behind the scenes,
some collaborations
were anything but.

Ridley would say,
"Mate, I hired you

because you're good
at what you do.

Just go do it."

Harrison's not like that.

He's a collaborator.

But after
completing his latest trilogy.

Henry Jones. Jr.

And
after Alec Baldwin

put Broadway ahead
of blockbusters.

The game is up.

Harrison
decided it was time

that he started
calling the shots.

And on his next project.

Harrison had
director approval.

The project,
bringing Tom Clancy

from the printed page
to the silver screen.

Everybody was reading
Tom Clancy novels.

- The role--
- Get down!

Harrison was a
perfect Jack Ryan.

You're going to jail, pal.

But to
become Jack Ryan,

Harrison Ford would
have to contend

with an eccentric author.

Tom Clancy
dressed in fatigues.

In a Sherman tank
out on the front lawn.

But would Harrison
approve the right director?

- I have a problem.
- Or would he once again

find himself at odds
with another filmmaker?

I will fucking destroy you.

He'd sent a message.

The script was inadequate.

Director was incompetent.

I did not sign up for this.

Harrison might have called
him Lurch behind his back,

or maybe not always
behind his back.

This Aussie upstart director

who thinks he knows everything.

Ford would either
take control or lose it.

He was aware that
he had this authority.

He had opinions
about every aspect

of the movie making process.

He said, "Roll the camera."

And I said, "No, Harrison,
I'm not gonna do it."

You don't talk that way to me.

Ford
had taken the wheel,

but would he crash and burn?

It would've gone
through his window

and it would've decapitated him.

We are shut down.

You've gotta get outta Mexico.

The audience were
just not happy.

It just was unrealistic.

This is impossible,
we're never gonna finish.

Jesus.

I thought this is my
last Hollywood movie

and probably my last movie ever.

The
1980s would be known

as the Decade of Blockbusters,

with Harrison Ford among
those leading the charge.

Thanks to groundbreaking
collaborations with--

George Lucas.

- And of course--
- Steven Spielberg.

Not to mention
collaborations with legends

- such as--
- Ridley Scott.

- I don't work here anymore.
- Mike Nichols.

- The Earth moved.
- Roman Polanski.

You picked up
the wrong suitcase.

Peter Weir.

"Witness," where he gets

his first Oscar
nomination, right?

Ford had
been the driving force

for countless filmmakers,

but was eager to take the
wheel and chart his own path.

And I don't think
he wants to direct,

but I think that he
has things to say.

"Say" is exactly
what Harrison was looking for.

"Say" in every aspect
from script to director.

His success as an actor
was not by accident.

I know what I'm doing.

He was not there to
just read the script.

Ford wanted more
influence and authorship.

He just needed
the right project.

- Captain?
- Yeah?

Harrison's combination
of action star,

and thinking man made
him a perfect Jack Ryan.

Jack
Ryan, the CIA analyst

who always ends up in
the field in danger.

But to tell that story,

we need to go back
to the early eighties

where an aspiring novelist was
first putting ink to paper.

Tom Clancy, before
his success as a writer,

he was an insurance salesman.

You're in
good hands with Allstate.

While supporting his family,

he was writing books on
the kitchen table at night.

Every
major publisher passed.

Clancy only found a home

when the tiny Navy focus
publisher strayed from its lane.

In October of 1984, Tom
Clancy's first book,

"The Hunt for Red
October" hit shelves.

And I was a big fan of
all that CIA spook stuff.

It was the story
of a Soviet submarine captain

who looked to defect
to the United States.

Clancy's novel
immediately caught the eye

of film producer Mace Neufeld.

"The Omen" was his first
feature film that he produced.

"The Hunt for Red October" was
brought to Mace's attention.

He thought it was fabulous.

To say Mace was
ahead of the Clancy curve

would be an understatement.

Mace Neufeld purchased
"Hunt for Red October"

when it was still in
a manuscript form.

And
being an early adopter

certainly had its perks.

Mace told me that they
got the rights for $5,000.

Mace
would eventually attach

director John McTiernan and
sell the picture to Paramount.

Paramount were very interested

and it was an
ongoing discussion.

And then eventually
it was green lit.

And when it
came to casting Jack Ryan,

Mace knew there was only
one man for the job.

It's dangerous out here.

Well, Mace had a very long
relationship with Harrison.

They had worked
together on "Frisco Kid"

years and years before.

What's more now, you
ain't got no money.

I believe that Mace
had talked to Harrison

about "Hunt for Red October."

"The
Hunt for Red October"

had the potential to reunite
Ford with his old movie dad.

Junior?

Sean Connery was
cast as Ramius.

A game of chess.

As well as
another famous movie dad.

It is useless to resist.

It was terrific to
have James Earl Jones

to play Admiral Greer.

What's important enough
to get you on a plane

in the middle of the night?

Everything was in place

to make an epic
Harrison Ford movie.

From my understanding, yes.

And he turned it down.

Oh, it turns out

while Harrison wanted a
larger role behind the camera,

he wasn't looking for a smaller
role in front of the camera.

"The Hunt for Red October"
is less Jack Ryan's story

because the Sean Connery
character, Ramius,

is so, so prominent.

The only sound they will
hear is our laughter.

So who landed
the coveted covert role?

Alec Baldwin.

How did you know that?

Alec Baldwin was terrific
in the Jack Ryan role.

You don't miss much do you?

But the role
of movie star, not so much.

At that point, he
was fairly young.

He was uncomfortable
being a star.

Eventually
Baldwin found his Jack Ryan.

I know how he's gonna
get the crew off the sub.

When "The
Hunt for Red October"

pulled into theaters
in March of 1990--

"Hunt for Red October" was
very, very well received.

The film was
enormously successful.

The Jack Ryan
adaptation grossed 200 million

on a $30 million budget,
which can only mean one thing.

Paramount Pictures
dearly wanted this

to become a tentpole franchise.

Clancy's Jack Ryan
catalog had grown by three,

yet the spotlight felt
squarely on "Patriot Games"

and "Clear and Present Danger."

The question Paramount faced,
did Jack Ryan have legs?

When Mace was coming
back from the premiere

with Frank Mancuso of Paramount,

they had a discussion about
optioning "Patriot Games"

and "Clear and Present Danger."

Centered on the clash

between Ireland and England,

"Patriot Games" came at a price.

Paramount shelled
out 2.5 million,

but not without
one major caveat.

The Paramount lawyers
were obviously smart enough

to own Jack Ryan in perpetuity.

And all
that was left to do

was to pick which Jack
Ryan story would be next.

John McTiernan had suggested

that the second film should
be "Clear and Present Danger."

So "Clear and
Present Danger" was on deck.

But Paramount and Mace
did not agree with him.

"Patriot Games" dealt
more with the family

and really setting up Jack
Ryan's personal background.

It was felt that that
would be the best story

to go with first.

Only John McTiernan
didn't see it that way.

He felt that the
subject matter was trite

and didn't have the same appeal

as "The Hunt for Red October."

Losing
John McTiernan would
be a huge setback,

but Paramount could
still move forward

as long as they had the face
of their budding franchise.

- Black coffee?
- I think I need some coffee.

Alec Baldwin was
walking into the offices

and charming the
hell outta everybody.

But there was a problem.

He wanted to go to
do the Broadway play--

Was it "A Streetcar
Named Desire"?

- It was.
- He wanted to change

the shooting dates so
he could go do this.

Back in the '90s,
you would claim a date

up to a year and a half

before you actually
had the film ready.

They had locked their dates.

It was a big deal.

As for Baldwin's
Broadway aspirations--

It wasn't possible to do both.

Cue
the negotiations.

- Margie.
- Rather than

look for a compromise,

Baldwin not only
held his ground,

he came back with even
more demands, including--

Total script approval.

Alec
Baldwin thought he held

all the cards, only--

As much as Alec was great
in "Hunt for Red October"

it was really Sean
Connery's movie.

- Any more tea, anyone?
- As a result--

I guess he expected
that when he left the shop,

the shopkeeper would run
out and say, "Okay, you win."

Yes?

But Paramount didn't.

So that's it?

What a bad mistake,
what a mistake.

This left
Paramount needing a new star.

Luckily Mace saw the
writing on the wall

and had already
begun discussions

with a potential successor.

Harrison was at
Paramount on another movie

that was in prep.

It was
a modern day Western,

bringing Ford back to his roots.

And then they had
some issues in prep.

I think their budget
was going one way

and so that was shut down.

- Which means--
- When it didn't move forward,

he became available.

Available
was only half the battle.

The question remained,
was he interested?

Paramount said to
send him the script.

Harrison's
only response? A number.

Harrison wanted 9 million.

That's
nearly a third

of "Hunt for Red
October's" budget.

The ball was in
Paramount's court.

All Mace Neufeld's
team could do was wait.

It was like a Sunday night.

And I get a call, Baldwin's
out and Harrison Ford's in.

Who had final approval
over the director.

Ford had gone from

every director's actor of choice

to the one choosing
the director.

And it was just the beginning.

Harrison wasn't
easy sometimes.

Paramount Studios
had granted Harrison Ford

final approval over the
director of "Patriot Games."

- Among the contenders--
- Kenneth Branagh.

Kenneth Branagh turned it down.

- The reason--
- He wasn't sure

if an Irish guy that
grew up in England

should be doing a
film that, you know--

Is about the
British-Irish conflict.

Yeah, fair point.

One country the Irish didn't
have a problem with, Australia.

I started making
films when I was 18

and then I sold
parts to my friends.

The more they paid me,
the bigger the role.

Sounds
like extortion.

But soon Noyce would find
international acclaim with

-"Dead Calm."
- Is there anybody on deck?

Not that I can see.

The film would
introduce Nicole Kidman

to international audiences.

- John Ingram, my wife, Rae.
- Hi.

And put
Phillip Noyce on the map.

Execs at Paramount knew of him

and he was put forth
for "Patriot Games"

And suddenly I'm on a plane

to Harrison's ranch in Wyoming.

But it
wasn't "Dead Calm"

that caught Ford's attention...

- Wow.
- ...but rather Noyce's

- political drama.
-"Newsfront."

As well as Noyce's
B-movie outing,

A low budget action
film starring Rutger Hauer

called "Blind Fury."

Nice doggy.

The two films couldn't
have been any more different,

but Harrison liked both of them.

More importantly,

the films showed Noyce's range.

Harrison responded
to the combination

of being able to direct action,

but also having
a political bent.

So I was pre-approved.

To celebrate,
Tom Clancy invited Harrison

and Phillip to his
home in Chesapeake Bay.

It had been a long
trip and I was jet lagged

and made the terrible
mistake of going to sleep.

This was perceived
as being an insult.

And that was the end of my
relationship with Clancy.

That
might be for the best.

Hopefully Clancy
would respond better

to screenwriter Peter
Iliff, who was hard at work

adapting the final
confrontation.

In the book, you're following
the POV of the bad guys,

penetrating the property.

Harrison Ford and
director Phillip Noyce

disagreed with
this point of view.

They felt the point of view
should be from Harrison Ford.

The rework
scene would pull inspiration

from one of cinema's
greatest invasion films.

Crowbars up.

My wife takes all the
credit for this scene.

She calls it the
"Home Alone" scene.

It was her idea.

I have to give my
wife, Ruthanne, credit.

Well, write it like
"Home Alone."

Okay, dear.

Ah!

But
for Ford and Noyce,

the home invasion was just
the tip of the POV iceberg.

Peter Iliff's script
was an accurate reflection

of Clancy's fevered
right wing story.

Harrison was more interested

in questioning the way
that power was used.

Something wrong?

There was a great deal of work

that then continued
on the script

once Harrison became involved.

No one wants to
upset someone so well versed

on how people die.

Tom did not like what
Harrison and Phillip Noyce

was doing with the movie.

Clancy went after the
head of the studio,

who was one of the most
lovely men I've ever met,

Brandon Tartikoff.

I always wanted to say this.

- Hello, viewers.
- Hello.

Clancy railed into him--

This was the day of
faxes, there was a fax.

Clancy faxed angry,

"You don't know what it's
like to lose a child."

But
Tom Clancy had made

one quite awful miscalculation.

Brandon Tartikoff,

his daughter, had been
severely injured in a car crash

in Lake Tahoe over
the winter holidays.

Certainly not the way

anyone wants to win an argument.

When Clancy found this
out, he was terribly ashamed

he had written this fax.

And Clancy now has to concede

because he's
embarrassed himself.

We reached a
ceasefire agreement.

So he agreed to
stop denigrating us

and to hold his words
on the finished product.

While Tom Clancy
was holding his tongue,

Harrison Ford had a lot
to say about casting.

Okay, we'll see you soon.
Bye.

Alec Baldwin and Harrison
were different ages,

so we needed to recast
his whole family.

We were at lunch talking
about the wife role

and of course every
name was brought up.

And he picked Annie Archer.

And
although Gates McFadden

wouldn't be returning.
Jack.

You're going to miss the plane.

This
development would lead

to another opportunity.

I am sure, Commander, there
are reasons for a First Officer

to want to demonstrate
his energy and alertness

to a new captain.

As for
Jack Ryan's daughter--

Thora Birch
was cast as their daughter.

Granted, I was only nine.

It was very nerve-racking
for me

because I was already a
huge Harrison Ford fan.

I mean "Indiana Jones."

In my mind, like, "Wow, if I
could pick a father to have

to be my real life dad,

I think I'm going
with Harrison Ford.

Definitely going
with Indiana Jones."

For the audition,

Thora was assigned
the home invasion scene.

I was just, like, having this

rapid-fire conversation
with myself.

Like, "Okay, just go crazy."

And so I went in screaming
like a crazy ninny.

And, but then at the end of
the audition, I saw Harrison,

he kinda, like, turned around
and he had, like,
a little tissue

and I think he was
batting a tear.

That's what some say.

So I was like, "Oh, okay.

I made Harrison Ford cry.

This is good."

And
stepping into the role

of Rebel Fighter, Sean Miller.

Inspector Robert Highland.

Sean Bean was very new.

None of us knew who Sean was.

With
the cast locked,

Harrison would stay hands-
on every step of the way.

Harrison had opinions
about every single aspect.

If there was a
pot, Ford's finger was in it.

There was always someone
looking over my shoulder

and that someone
was Harrison Ford.

But Noyce would
remain the driving force

behind pivotal scenes such as--

The attack on the royal car.

Noyce
had painstakingly
laid out the scene.

Drawing every
shot in the film,

then editing that and
re-editing it and re-editing it.

And then finally shooting
what you're left with.

This was all great until--

Harrison had some script
changes he wanted made.

And I'll never forget,

it's lunch and he has me
sitting in the very car

that the machine guns
had been turned on.

The windshield's all
splintered with bullet holes

and we're sitting in there

and he just wanted
a place to sit

where he could talk to
me about the script.

And I'm fiercely taking notes.

All of a sudden,
Harrison came in

with all these new storyboards.

Every shot, every move
has been talked about,

has been agreed upon

and has been visualized
in a storyboard.

Phillip
had the unenviable task

of telling Harrison Ford

what he wanted just
wasn't possible. Right.

Oh.

I believe what we
did was pretty close

to Harrison Ford's storyboards.

Noyce was not the veteran
filmmaker he is today.

What choice did he have?

I came to Hollywood having
made three or four films

in Australia, but I'd never
met the Hollywood animal.

While confidence
in the director's choices

seemed to be at an all time low,

the only thing that truly
mattered was the footage.

The studio did not like
some of the earlier dailies.

We had a little bit of
a rough start in London.

The studio did not like
some of the earlier dailies.

The
studio began to wonder,

was it a matter of production
finding their sea legs

or was it the man at the helm?

Specifically the
scene where Polly Walker

executes Jimmy Boy.

And some of the other
stuff from that week

with Cooley, the bookkeeper.

And to you.

Polly Walker's
wardrobe was all wrong.

The studio wanted
her to show up

not really drawing attention,
'cause she is a spy.

She's got this red wig,

but she had this bright
purple outfit on.

They made Phillip
Noyce reshoot a week.

It was very costly.

The reshoot, she's
wearing gray tones.

Good morning, Mr. Cooley.

Despite
eroding confidence

in the film's director,
cameras continue to roll

on "Patriot Games."

There's a sequence
where one of the Irishmen

is assassinated by
one of his rivals.

We'd written the
classic, really tense

sort of action sequence in there

and Noyce decided to
shoot it very subtle.

So it seemed to me that
setting the story to music

that was on the TV

was one way of invigorating
the storytelling

of this particular sequence.

Ford thought
the approach was, well--

- Crazy.
- The problem was

beyond storyboards.

Harrison complained to
the studio and the producer.

What is the problem?

But for once
Phillip had a supporter.

So I thought that was
an interesting choice

by getting more in the
minutia, the fight of it.

I said no.

Again, I was just told to
rewrite it as told.

But Phillip
wouldn't fall so easily.

I said, "Well look, you know,

why don't I show him
the cut sequence?"

Wanna come down,
look over what we got?

And I did a couple
of weeks later

and all the problems went away.

Phillip was
earning Ford's trust.

As for the script--

Clancy's novel also didn't
allow the Jack Ryan character

to question his own
values, his own morality.

You walk up to
the IRA's bagman

and in front of his
guys, you threaten him?

But
questioning the status quo

was never Peter
Iliff's strong suit.

You know, I'm just
taking orders, you know?

I'll write it, you know.
You tell me to write it

this point of view, that's
how you're gonna get it.

When it came
to portraying the CIA,

Phillip Noyce didn't
just want to rely

on Tom Clancy's novel.

It felt like it
was really important

that Harrison should
be taken to the CIA.

Turns out the
CIA were pretty big fans

of Tom Clancy, not to mention--

Marquee name Harrison Ford.

So, doors do get opened.

Tony Farrow.

Production
had unprecedented access.

We walked corridors

that probably no civilians
ever even walked.

I took with me my
11-year-old daughter

and it wasn't appropriate for
her to go on the whole tour.

So they offered a babysitter.

Seeing the
CIA didn't have a playroom,

they had to improvise.

There were all these people
coming up on the screen.

They were white,
sort of heat signature.

Well, she didn't explain
heat signature.

But that became basis
for the sequence.

- That is a kill.
- And what came next

would make everything
before look easy.

You wanna know what it is?

The finale of "Patriot Games."

A fight to the death between
Sean Bean's character

and Harrison Ford's character.

He's waiting.

The battle
was to take place

above the Chesapeake Bay.

Sean Bean and Harrison somehow
are at each other's throats

and they fall in the water

and they're so busy
strangling each other

that you're seeing a shot
of two bodies sinking.

And then disappear
into the ocean

in a vice-like grip.

And you don't know who's
gonna rise to the surface.

Leaving the audience
wondering, "Who was it?"

Well, I thought I wanted to
know, but now I'm not so sure.

Well, it's Harrison Ford.

The
understated ending

was a victory for Phillip Noyce.

We previewed that ending

and the audience
were just not happy.

Jack, you listening?
They felt that retribution

had to be more absolute.

Three weeks before
the film came out

there we were
reshooting the ending.

To do that,
they needed the cast.

Where are you taking me, Marty?

And
the Chesapeake Bay,

which happened to be on the
other side of the country.

There was a real
problem, we didn't

know how we were gonna do that.

The solution,
Paramount's own backlot tank.

We surround it with a wall
of black, probably 70 meters.

Wave machines, rain
towers, boats on gimbals.

Phillip
had everything he needed

to give the audience
exactly what they wanted.

Still, I hesitated
in giving the audience

the absolute kill shot
that they had demanded.

Mace
suggested it was time

to workshop a new ending.

And they were talking about
having the fight in the boat.

David Ellis, our second unit
director, made the suggestion

that perhaps Sean could
fall on the anchor.

And that way too, Jack
Ryan is not killing him.

It's an accident within a fight.

To
make the premiere,

reshoots went on all
hours of the night

and Ford did all he could
to keep spirits high.

More coffee, anyone?

I'd love some.
Yeah, I remember

two o'clock in the morning

he said, "You could do
with a cup of tea."

So he handed me
this cup of tea,

which was straight Scotch.

Is everyone all right?

With
a brand new ending,

"Patriot Games" was
released in June of 1992.

The first review
was from Variety

and it was extremely negative.

I read it in the newspaper.

But
perhaps the review

should have landed in
the literary column.

It attacked the
film for the politics

of the original novel.

And generally the
reviews were positive.

However, the film
was not as successful

as "The Hunt for Red
October," as it turned out.

Nevertheless,
"Patriot Games" was a hit,

pulling in nearly
$180 million worldwide

on its $45 million budget,
which was more than enough

to green light
Clancy's next book.

"Clear and Present Danger."

Ford was on board.

I want back in.
But it remained to be seen

what would become of the
film's polarizing director?

When John Goldwyn, head
of production at Paramount,

offered me the second
film, I jumped at it.

The director
and star were to be reunited,

only this time Harrison's
dominating presence

would only be the beginning
of Phillip Noyce's concerns.

And that led to
an enormous quarrel

between myself and Harrison.

In "Clear
and Present Danger,"

Jack Ryan would take on
Colombian drug traffickers.

To prepare, Director Phillip
Noyce had traveled to Bogota.

That country of Colombia
was not a safe place to visit

Because of the drug cartels.

Unfortunately,
Phil was there

to research drug cartels.

We made contact with some
journalists down there

and they arranged for me
to meet some of the people

in the Cali Cartel,
which was the rival

to Pablo Escobar's
Medellín Cartel.

I went to visit this woman who
was the chief money launderer

for the Cali Cartel.

- And these two are--?
- They're brothers.

Phillip had
created a cover story

for his fact-finding mission.

We were making a film
about an American gem dealer

that had worked in Colombia.

So his cover
was that he was making a

- different movie?
- Does that make any sense?

I don't know.

When she asked me
about the character,

I forgot who the
fictional character was

that we were supposedly
making the film about.

And the next minute
I feel the barrel

of an Uzi pressed into
the back of my neck.

She said, "I don't know
who you are,

but you better
get outta here."

Unscathed
and full of ideas,

Phillip Noyce returned to the US

eager to get to
work on the script.

Harrison, Mace Neufeld,
the producer and myself

all agreed we needed to
do substantial rewriting.

Because even with the
series screenwriter Don Stewart

returning for a third outing.

There was a lot of
detail in the novel

that Don Stewart hadn't
captured in his first pass.

So what we did, we divided the
script up into three parts.

Steve Zaillian
was tapped to write the scenes

with the president.

Let's turn this thing around.

While Donald Stewart
tackled the scenes

- with James Earl Jones.
- There's one of them now.

And that left one element

and that was the
action sequences.

And those writing
duties went to John Milius,

whose work ranged from
"Conan" to "Apocalypse Now."

He was brilliant. He was
outstanding in every way.

With the
new script in place,

it was time to bring
back the old cast.

The great James Earl
Jones was coming back.

Watch your back, Jack.

Jones wasn't
the only one returning.

Ann Archer was
back as Cathy Ryan.

Well what does that mean?

Along with Ford's
onscreen daughter, Sally.

When they asked me to return,

'cause I was just thrilled.

Until I read the length of
the part and then not so much.

- Bye, honey.
- Bye, dad.

New characters
would mean new additions

to the cast.

That was my first
Hollywood experience.

I was very nervous, which
was good for Ritter.

I'm not gonna be the only
one left without a chair

when the music stops.

Phillip Noyce says, "I
think he looks too young.

Don't you?"

We're gonna get
him some glasses.

We're gonna shave his
hair a little bit.

We're gonna gray it.

All right, he's old enough now

to be the Deputy
Director of Operations.

I call it the way I
see it, that's my job.

And when it
came to casting John Clark,

the no nonsense operative.

Revenge is a very, very,
very dangerous motivation.

We'd worked with
Willem Dafoe before

on John Milius's "Flight
of the Intruder."

Well, don't worry, it
won't affect my decision.

So it was fantastic to
have Willem come on board.

Looking forward
to taking some leave

with that young wife and kids?

Also joining
the cast, Ann Magnuson,

who was an unorthodox
choice at the time.

I wanna pump the
paw of the paparazzi

who popped it.

I had been appearing
on an ABC sitcom

called "Anything But Love"

with Jamie Lee Curtis
and Richard Lewis.

I'm having a Kodak moment.

While the
odds were against her,

Magnuson only needed
to impress one person.

Harrison made
the final decision.

Thank you, Harrison.

Inhabiting the
role of the duplicitous villain,

- Felix Cortez.
- Cortez. Cortez.

- Joaquim de Almeida.
- Phillip asked me

if I could put myself
on tape, well dressed.

And I put myself on camera.

And that's how I got the job.

No more senseless violence.

With
the cast assembled,

it was time to
start filming and--

I guess they're supposed
to be in Colombia,

even though it was
shot in Mexico.

Yeah, that's
probably for the best.

I feel an Uzi pressed
into the back of my neck.

You know, we wanted
to create the violence.

We didn't wanna
actually find it.

What they found

was the road ahead wasn't
getting any smoother.

Production struggled
to secure a location

affectionately known as--

We called it The Kill Zone.

A highly sophisticated
attack on four or five SUVs.

Because even
with Milius and Noyce

making constant
changes to the script--

He came to the set.

He was working with
Phillip on that script.

The location scouts
had found the perfect street,

and with rocket launchers
and explosives in tow,

all production needed was
a quick yes from the city.

What they got was a quick--

No.

Hard to believe

the people didn't want to
convert their local businesses

into a kill zone.

We looked all over
South America, no.

Mexico City, no.

Quito, Ecuador, no.

I realized that it was
gonna be impossible

to film in a real location.

We had to construct
our own street.

We actually built
that whole street.

Way out in the
middle of nowhere

on a soccer field
in Mexico City.

It was pretty much
built with telephone poles

to support the
facades of the street.

With
the street built,

all that was left
was blowing it up.

- We hired--
- Joe Lombardi

- and Paul, his son.
- Who had been responsible

for those extraordinary
explosions in "Apocalypse Now."

The Lombardis
had yet to meet a set

they couldn't obliterate.

What do you think?

They designed these
rocket propelled grenades

that really were
rocket propelled.

It's crazy.

But then they were
guided towards their target

by a line.

Did blow up as a
car would blow up.

Real explosions.

Those real
explosions caused real concern

when Harrison Ford insisted on
really doing his own stunts.

Harrison always wanted to
be as close to the action

as possible.

Ultimately,
the dangerous sequence

forced Phillip Noyce's hand.

But a director's nightmare

is that you injure
one of your actors.

And the recurring nightmare
is that I kill one of them.

I said, "It's just too dangerous

for you to do this
particular shot, Harrison."

Ford's response--

I did not sign up for this.

Sometimes there was things
between Harrison and Phillip.

And that led to
an enormous quarrel

between myself and Harrison.

Neither side
would budge until eventually--

Mace Neufeld calls
me in and he says,

"Listen, I can finish
this film without you,

but I can't finish
it without Harrison."

Harrison is the boss.

I mean, there's
nothing you can do.

So he drove in the scene.

Go!

It was all him.

Fortunately, nobody
got hurt on that.

After
watching the dailies,

Phillip realized how
valid his concerns were.

And we saw something

just in front of the windscreen
fly past.

It was a huge pole

that ended up a hundred yards

over the other side
of the football field

that we were filming on.

It would've gone
through his window

and it would've decapitated him.

As it turns out,

building and blowing
up a street takes time.

We only had four
days on paper to do it.

It just was unrealistic.

As word
of the drama in Mexico

made its way to Hollywood,

Paramount decided it was
time to put their foot down.

We're in a little cafe with
Phil Noyce having breakfast.

And he got this message
from the studio.

"Due to new
projections for overruns

in the first unit schedule

and the budget of
the entire film,

and per today's conversations
with Mace Neufeld..."

Nothing good
involves the word "per."

"...the following is to be
instigated immediately."

You've gotta be out of here.

They gave us an end date

and they said, "Okay you guys,

you've gotta get out of Mexico."

By Monday or any expenses
occurred by the production

will be charged against you.

And I said to Phil,
"What are you gonna do?"

So I looked at this message

and I'm thinking, "Okay,
well this is impossible.

We're never gonna finish."

"Clear
and Present Danger"

had run over schedule
and over budget.

As a result, Paramount
had given the production

mere days to leave Mexico.

So I looked at this message

and I'm thinking, "Okay,
well this is impossible.

We're never gonna finish."

And then it rained.

You would think
Phillip was a dust bull farmer,

but the rain was a miracle,

delaying the production's
stateside return.

We had one sequence
that required finishing,

which was Harrison running
across the building,

hopping onto the helicopter
and flying out of there.

Even Paramount
agreed this scene was essential.

But we couldn't film
it 'cause it was raining.

The rain delay
gave Phillip the window

he needed to shoot
the interior scenes.

Pick us up at the
Lindo Coffee Factory.

All these action
scenes with the soldiers.

Paramount didn't want him
to shoot all these scenes.

Rain saved me, saved all
of us from a massive mess.

Well, this is good news.

And it
didn't just rain one day.

And how long will
you be staying?

A few days.

It rained for nine days.

So during that nine days,

even though we were meant to
be out of there after two days,

we filmed for
another seven days.

Giving
Phillip Noyce time

to film crucial scenes
that had eluded him.

I will take care of
the one that got away.

But that was great

'cause then I did all
my ending altogether.

Including
the pivotal final battle

between Cortez and Ryan.

But even though
Harrison and Noyce

clashed over Ford's insistence

on doing his own stunts
throughout the production...

I said, it's
just too dangerous.

...Harrison had
one surprising request.

He didn't want me to
do the scene with him.

He wanted my double
to do the scene with him.

Needless to say--

Joaquim was, he
was mad about that.

I went to Phillip Noyce

and I said, "No, I
want to do the scene

because a double
cannot look back.

I want to do the scene.
I don't give a shit."

He was mad.

But it
was a matter of safety.

They didn't want
him to get hurt.

And by
him you would assume

they're talking about Joaquim.

Harrison was afraid

that Joaquim being inexperienced
in a close quarters fight,

would injure Harrison.

Now, is this another
of your theories, Ryan?

Eventually
Harrison relented.

I don't know what said
to him, but it was right.

While Joaquim
literally won the fight,

Harrison always wins the war.

I'm behind Phillip
and Harrison next to me

and I ask production person,

"Can you get me a
glass of water?"

And he looks at me, "Oh,
here, I haven't touched it."

So I take it, I put it--
Blah! It was vodka.

Right over Phillip.

Oh, they put
water in your room,

but I wouldn't trust it. I'd
stick with the bottled stuff.

I said, "Phillip, I'm sorry."

The
potential prank war

would be cut short as the
thing that brought them time...

- And then it rained.
- ...had ended,

leaving them only one
day left to shoot.

Harrison's extraction
from the roof.

Ford
muscled through the pain.

He was climbing up ladders

and running across a tiled roof,

so it didn't seem
to slow him down.

And
with clear skies,

it was time to roll cameras.

It also meant production
was on borrowed time.

We actually split
into two groups.

I took off with Don McAlpine

and we went up into the
coffee country and we blew,

we blew up the house.

Start the music.
Finding a house to film

can be a challenge, but finding
a house to film blowing up.

Now, that's impossible.

The lady that owned it

had gone through a
very bitter divorce.

Which
was great news.

Well, for production.

Target is set.

We approached her
about, you know,

maybe destroying the house.

She said, "Go for it.

I hate this place."

Target is
acquired, and lift.

Two
birds, one bomb.

But it wasn't that simple.

Unfortunately, we might
as well have done it

through visual effects.

When the explosion erupted,
the house was there one second,

and then a 10th
of a second later

it had disappeared completely
into a cloud of dust.

Boom.

Nothing was flying
through the air.

It was just obliterated by dust.

Mother of God!

So we ended up having to add
debris and so on to the shot

to make it look real.

But at the moment,
Phillip had his hands full

with the extraction scene.

He said, "Roll the camera."

And I said, "No, Harrison,
I'm not gonna do it."

Get outta my chopper.

The helicopter was
gonna go up at an angle

and I wanted to make sure
that Willem had a safety line.

Come on!

Once the
safety checks were complete,

the scene was shot.

But Ford's patience with his
director had reached its end.

For whatever reason,
I asked for another take

and he didn't want to do it.

No.

But it was
clear the honeymoon was over.

We need to talk.

After two
tumultuous productions,

tensions between Harrison Ford

and director Phillip Noyce
were at an all-time high.

I asked for another take
and he didn't want to do it.

Phillip's
hands were tied.

Harrison is the boss.

There's nothing you can do.

Which means--

We
didn't do take two.

In March of 1994,

principal photography
was wrapped.

On those two films,
I had a free reign.

I mean, the only person
that disagreed with me

- was Harrison Ford.
- Good morning.

After some time
in the edit,

Phillip thought it best
to loop in Harrison.

He felt that we needed
a greater connection

between Willem Dafoe
and his character.

What can you do to help me?

Eventually
Ford proposed a new scene.

And when Harrison pitches
something, one listens,

especially when he's
the lead in your film.

And so we filmed another scene

at Paramount in the foyer

of the Sherry
Lansing cinema there.

- Sorry I'm late.
- That was doubling as a hotel

- in Bogota.
- - Phillip quickly incorporated

the new scene for
Ford's approval.

And this time--

He's not happy with the cut.

And he wanted Paramount

to send an editor up to
Jackson Hole, Wyoming,

for him to be able to, you
know, try out a few things.

Which
would ostensibly

cut Phillip out of the process.

I thought, well,
this is the time

to play the only
card I've got here,

which is to demand
that we test.

If
this didn't work,

the next time Phillip
would see the film

would be in theaters.

So we took the film to test,

and the test went
through the roof.

It was a much
needed win for the director.

The movie started
in the eighties

and went as close to a
hundred as you could get.

And
if it's not broke--

Harrison was happy.

The studio were happy.

As a result,
the shadow of Ford

slowly lifted from
Phillip Noyce.

And I got to finish the
film exactly as I wanted.

In August of 1994,

"Clear and Present Danger"
exploded into theaters.

"Clear and Present Danger"
did extremely, extremely well.

The film turned
its $62 million budget

into a $215 million
box office haul.

It's also well-reviewed.

Good news for
Phillip Noyce and the franchise.

Harrison and I were contracted

to make a third Jack Ryan story,

"The Sum of all Fears."

Here we go again.

If you don't recall

Ford's third Jack Ryan
adventure, there's
a reason for that.

There was no
next Clancy movie.

I don't know what happened.

Harrison was having
difficulty with the script.

He just had trouble
with the story.

If made,
not only would it be

the darkest Jack Ryan story,

it would be the darkest
Harrison Ford film.

The premise--

The explosion
of an atomic bomb

and the killing of tens
of thousands of Americans.

But Phillip was determined
to salvage the script.

I went with a writer
to Harrison's apartment

for about three weeks

and then spent
several hours each day

talking about the adaptation.

Eventually, Harrison just said
he wasn't willing to commit.

Ford's
departure was a huge setback

for the franchise,

but Paramount believed they
just may have found a successor.

Paramount proposed Ben
Affleck as the new Jack Ryan.

- Are you Ryan?
- Yes, sir.

But
for Phillip Noyce,

there was only one Jack Ryan.

What is this, the paper chase?

And so I had,
I withdrew as well.

I mean, I loved seeing that

"Clear and Present" was
playing every night at midnight

or thereabouts for years.

Could you play that again?

I know that because
I have residuals.

And it should, it's a
great film for that genre.

Together,
the unlikely trio

of Tom Clancy, Phillip
Noyce, and Harrison Ford

redefined the action thriller.

Get down!

They were films that
were ahead of their time.

And despite
the clashes between star

and director over two films--

That he's involved in
every aspect of the films

that he makes, but he wields
that power with dignity,

restraint, respect.

That is inspirational,
not challenging.

As for Ford,

Harrison wanted to continue
making sophisticated thrillers.

And having played the hunter,

decided it was time
to play the hunted.

I didn't kill my wife.

I don't care.