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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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

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00:00:16,333 --> 00:00:19,767
MANICALLY IN LOVE, AND I WAS
TRYING TO IMPRESS THIS GIRL,

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00:00:19,800 --> 00:00:22,767
AND I BROUGHT HER
TO SEE "SLACKER".

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

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AND SHE WAS OUT.

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(chuckles)

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"DAZED AND CONFUSED".
"SLACKER".

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"BEFORE SUNRISE"
AND "BEFORE SUNSET".

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"ME AND ORSON".

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

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"NEWTON BOYS".

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"TAPE".
"SUBURBIA".

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"WAKING LIFE".
"BEFORE MIDNIGHT".

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"BERNIE".
"SCHOOL OF ROCK".

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

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(TYPEWRITER CLICKING)

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AH, K.A.T.

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PRINCE VALIANT.

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RICHARD LINKLATER.

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HE'S A NICE GUY.

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HE JUST MAKES IS ALL
LOOK SO EASY.

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

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00:02:03,800 --> 00:02:07,333
FUCKIN', YOU KNOW--
HE'S GREAT.

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

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HE'S A SNEAKY SHAKESPEARE.

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VERY WISE
AND VERY LAID BACK.

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

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HE'S JUST A REGULAR DUDE.

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THERE'S NOTHING ABOUT RICK
THAT'S UGLY.

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

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HE REALLY, UH, JUST
GATHERS PEOPLE AROUND

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WITH HIS MIND SOMEHOW--
IT'S WEIRD.

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THAT'S ONE OF THE MOST
INSPIRATIONAL THINGS

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ABOUT HIS CAREER IS THAT
HE IS CONSTANTLY CHANGING,

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AND FEARLESS IN HIS
APPROACH

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TO EACH PROJECT
THAT HE DOES.

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AS SOON AS HE KNOWS ENOUGH
ABOUT ONE THING,

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HE GOES ON TO WHAT
HE DOESN'T NECESSARILY

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KNOW EVERYTHING ABOUT.

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AND HE DISCOVERS IT
THROUGH HIS FILMMAKING.

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AND IT'S REALLY FANTASTIC.

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HE'S JUST WANDERING AROUND
GOING FROM

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INTERESTING THING
TO INTERESTING THING-

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WHATEVER PIQUES
HIS INTEREST--

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AND THEN NAILS IT.

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THE PATIENCE, THE CALM,
THE ZEN...

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HE'S THE MASTER.

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HE IS ONE OF THESE GUYS
THAT JUST IS NAUSEATED

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BY FORMULA OR BY CLICHE,

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OR ANYTHING YOU'VE SEEN
A MILLION TIMES.

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

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AND HE TAKES YOU DOWN
SOME NEW ROADS.

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I'M PART OF A GENERATION
OF DIRECTORS

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THAT BASICALLY CAME
RIGHT AFTER SODERBERGH

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AND LINKLATER AND A BUNCH
OF INDEPENDENT DIRECTORS

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WHO PAVED THE ROAD FOR
AMERICAN INDEPENDENT CINEMA.

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HE OPENS WITH
THIS FILM "SLACKER",

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THAT IS UNLIKE ANYTHING
I'D EVER SEEN,

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AND PROBABLY UNLIKE ANYTHING

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MOST PEOPLE WHO SAW IT
HAD EVER SEEN.

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HE GOT HIS FRIENDS OUT,
HE HAD SOME IDEAS.

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HE THREW THEM TOGETHER
AS ROUGHLY AS HE COULD.

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HE WASN'T REALLY
A FILMMAKER AT THE TIME.

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YOU KNOW, HE WAS A PHILOSOPHER
WHO CHOSE CELLULOID

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TO DO SOME FUNNY
AND INTERESTING STUFF.

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YOU JUST KIND OF
STREAM OF CONSCIOUSNESS.

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AND THAT'S WHAT
"SLACKER" DOES.

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YOU MEET THIS BOY
IN A TAXI CAB.

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

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THIS GUY WHO HAD
A WEIRD DREAM.

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AND REALLY, HE'S
SETTING YOU UP

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FOR THE WHOLE MOVIE.

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HE TELLS YOU WHAT
YOU'RE ABOUT TO SEE.

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

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RICHARD LINKLATER.

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EVERY THOUGHT YOU HAVE
CREATES ITS OWN REALITY.

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

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THE THING YOU CHOOSE
NOT TO DO FRACTIONS OFF

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AND BECOMES
ITS OWN REALITY, YOU KNOW,

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AND JUST GOES ON
FROM THERE.

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I WAS RUNNING A LITTLE
INDEPENDENT THEATER COMPANY,

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

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WAS IN "DAZED AND CONFUSED".

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

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AND RICK CAME TO SEE ANTHONY
IN OUR PLAY.

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OH, AND BEFORE
THAT HAD HAPPENED--

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BEFORE RICK CAME,
ANTHONY SAID,

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"HEY, YOU WANNA GO SEE
AN ADVANCED SCREENING

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

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

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

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AND THAT WAS THE FIRST TIME--

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

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AND SO I WAS PRETTY
AMUSED WITH MYSELF

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IN A LOT OF WAYS.

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AND I SAW THAT MOVIE--

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

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I WANED TO BE
INSIDE THAT MOVIE.

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

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(TYPEWRITER CLICKING)

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(MAN) "DAZED AND CONFUSED",

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CRUISING IN A MUSCLE CAR
AND LISTENING TO FOGHAT--

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WOW, WHAT A FILM.

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

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IT'S THE FIRST TIME
WE SEE McCONAUGHEY.

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IT'S THE LAUNCH
OF SO MANY CAREERS,

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IT'S THE LAUNCH
OF SO MANY ACTORS.

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AND PEOPLE WHO, LIKE,

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YOU KNOW, GIVE THE BEST
PERFORMANCE OF THEIR CAREER.

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YOU CAN'T WATCH THAT FILM
AND NOT SEE YOURSELF

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IN SO MANY OF THE CHARACTERS.

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I JUST THOUGHT
IT WAS A PERFECT FILM.

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EVERYBODY REMEMBERS
THE LAST DAY OF SCHOOL.

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EVERYBODY REMEMBERS
SENIORITY,

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AND EVERYONE REMEMBERS
YOU GOT THE HARD-ASSES,

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AND YOU GOT THE STONERS.

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IT'S JUST ALL THOSE PEOPLE
IN THERE--

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

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I JUST IDENTIFIED
WITH IT.

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I'LL NEVER FORGET
THE FIRST TIME

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I SAW "DAZED AND CONFUSED".

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

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

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

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

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YOU GO OUT AND YOU GET
ALL THE BEER YOU CAN

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AND GO FIND A VACANT
DEAD END,

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AND YOU GO PARTY IT UP
UNTIL THE COPS COME.

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AND THEN YOU GET OUT,
AND HOPEFULLY

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IT'S MOVING
TO SOMEBODY'S HOUSE.

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YOU GUYS KNOW ANYTHING
ABOUT A PARTY HERE TONIGHT?

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HE PUTS A CHARMING LIGHT
ON THINGS.

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AND HE HAS THAT SORT
OF INNOCENCE

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WITH THE LITTLE
BELOW-THE-BELT POKE,

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BUT YET IT'S CHARMING.

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HE LOVES CHARACTERS.

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HE LOVES CHARACTERS
THAT CAN DRIVE

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AND PUSH HIS STORY.

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THERE'S OTHER POSITIONS
AND OTHER DIRECTORS

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

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

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THEY'RE THINKING ABOUT
JUST THE STORY,

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AND NOT WORRIED ABOUT THAT
WITH THE CHARACTER.

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HE LOVES THAT.

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

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SO I WAS ON THE SET
A FEW TIMES.

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

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

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AND THERE'S ALL
THESE TRUCKS PARKED.

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YOU KNOW, THEN THERE'S
THE PUSSY WAGONS

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AND ALL THAT STUFF PARKED.

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THEN THERE'S THE LIGHTING TRUCKS

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AND ALL THESE
EQUIPMENT THINGS PARKED.

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

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AND THERE AT THE CENTER
OF ALL THIS

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IS RICK AND LEE,
MAKING THEIR MOVIE.

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

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RICK TOLD ME WHEN MATTHEW
CAME ON SET

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IS WHEN THE FILM
CAME TOGETHER.

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IT WAS WORKING BEFORE, BUT
IT WAS WHEN MATTHEW

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FIRST SHOWED UP ON SET
IN CHARACTER

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THAT HE JUST BROUGHT
THE WHOLE FILM TOGETHER.

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

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

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

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

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I GET OLDER,
THEY STAY THE SAME AGE.

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(LAUGHING)

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YES, THEY DO.
YES, THEY DO.

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WELL, THAT LINE
WAS, LIKE, PBBBT!

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WHO'S THIS GUY?

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

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THAT'S NOT AN ATTITUDE.

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THIS IS MORE LIKE
A MANTRA.

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00:07:46,233 --> 00:07:48,067
YOU KNOW, I KNEW THAT GUY.

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00:07:48,100 --> 00:07:51,167
IT'S THE GUY THAT MY
UNCLE MARK HUNG OUT WITH.

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00:07:51,200 --> 00:07:52,333
THOSE DUDES.

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00:07:52,367 --> 00:07:53,733
SECOND PERIOD
GYM CLASS?

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

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

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

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SO THE STEP OUT
TO THE CURB WAS,

185
00:08:04,433 --> 00:08:07,133
"I'M NOT TALKING TO
ANYONE IN PARTICULAR, MAN.

186
00:08:07,167 --> 00:08:08,667
"I'M TALKING TO
EVERYONE IN PARTICULAR.

187
00:08:08,700 --> 00:08:11,167
"I'M TALKING...
TO THE COSMOS.

188
00:08:11,200 --> 00:08:13,133
"I'M TALKING TO THE CURB,
I'M TALKING TO THE CAR,

189
00:08:13,167 --> 00:08:15,133
"I'M TALKING TO THE STREET,
I'M TALKING TO THE NIGHT.

190
00:08:15,167 --> 00:08:17,667
"THIS IS IT.
AND YES, THEY DO, MAN.

191
00:08:17,700 --> 00:08:20,300
"AND I GOT IT FIGURED OUT.
I SLEEP GREAT AT NIGHT,

192
00:08:20,333 --> 00:08:22,133
AND I WAKE UP SMILING."

193
00:08:22,167 --> 00:08:24,667
SO WE WORKED ON IT,
AND WHAT IT WAS

194
00:08:24,700 --> 00:08:27,267
WAS A ROMANTICIZED VIEW
OF MY BROTHER PAT McCONAUGHEY,

195
00:08:27,300 --> 00:08:29,267
WHO WAS 17 WHEN I WAS 11.

196
00:08:29,300 --> 00:08:31,233
SO WHEN I SAW HIM
IN THE SMOKING SECTION

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00:08:31,267 --> 00:08:33,500
AT HIGH SCHOOL,
LEANING UP AGAINST THE WALL,

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00:08:33,533 --> 00:08:35,033
HE WAS SEVEN-FOOT TALL, MAN.

199
00:08:35,067 --> 00:08:36,800
HE WAS COOLER THAN
JAMES DEAN.

200
00:08:36,833 --> 00:08:38,733
WHEN I DROVE HIS
'81 Z/28,

201
00:08:38,767 --> 00:08:40,267
IT WAS FASTER
THAN A ROCKET.

202
00:08:40,300 --> 00:08:43,333
WHEN I LISTENED TO HIS
CONCORD SYSTEM 10 EQUALIZER,

203
00:08:43,367 --> 00:08:46,533
IT WAS BETTER THAN
PHIL SPECTOR'S WALL OF SOUND.

204
00:08:46,567 --> 00:08:49,433
IT WAS--
HE WAS THE MAN.

205
00:08:49,467 --> 00:08:51,633
NOW, TO THIS DAY,
WHEN I SAY THAT,

206
00:08:51,667 --> 00:08:53,433
HE'S ALWAYS, LIKE,
"THANKS A LOT, MAN."

207
00:08:53,467 --> 00:08:55,767
YEAH.

208
00:08:55,800 --> 00:08:57,500
AND EVERYBODY'S GREAT
IN THAT FILM, YOU KNOW.

209
00:08:57,533 --> 00:08:59,400
EVERY TIME I WATCH IT
A LITTLE DIFFERENTLY,

210
00:08:59,433 --> 00:09:01,667
I APPRECIATE
DIFFERENT PERFORMANCES.

211
00:09:01,700 --> 00:09:04,667
YOU KNOW, PARKER POSEY,
WHERE SHE DID "AIR RAID,"

212
00:09:04,700 --> 00:09:06,600
MADE EVERY SCENE
SHE WAS IN BETTER.

213
00:09:06,633 --> 00:09:10,500
ALL RIGHT, YOU LITTLE
FRESHMEN BITCHES...

214
00:09:10,533 --> 00:09:13,100
AIR RAID!

215
00:09:13,133 --> 00:09:17,367
PEOPLE... EVERYWHERE
COME, YOU KNOW--

216
00:09:17,400 --> 00:09:19,800
WALK BY AND SAY "AIR RAID"

217
00:09:19,833 --> 00:09:22,433
AND ASK ME TO SAY "AIR RAID"
ON THEIR PHONE.

218
00:09:22,467 --> 00:09:24,367
AND, OF COURSE, I DO.

219
00:09:24,400 --> 00:09:28,433
TONY AND MIKE ARE
AT THIS HAZING, WATCHING IT,

220
00:09:28,467 --> 00:09:32,467
AND IT'S ALTERNATELY
COMPLETELY DISGUSTING,

221
00:09:32,500 --> 00:09:33,600
BUT ALSO KIND OF
WEIRDLY HILARIOUS,

222
00:09:33,633 --> 00:09:35,267
BUT ALSO DISTURBING,

223
00:09:35,300 --> 00:09:37,167
BUT YOU CAN'T TAKE YOUR EYES
OFF OF IT KINDA THING.

224
00:09:37,200 --> 00:09:39,500
NOW, SEE, WHAT'S FASCINATING
IS THE WAY NOT ONLY THE SCHOOL,

225
00:09:39,533 --> 00:09:41,133
BUT THE ENTIRE COMMUNITY
SEEMS TO BE SUPPORTING THIS,

226
00:09:41,167 --> 00:09:42,500
OR, YOU KNOW, AT LEAST
TURN THEIR HEADS.

227
00:09:42,533 --> 00:09:43,533
I MEAN, THEY APPARENTLY
HAVE PERMISSION

228
00:09:43,567 --> 00:09:44,567
TO USE THE PARKING LOT.

229
00:09:44,600 --> 00:09:46,167
NO PARENTS SEEM TO MIND.

230
00:09:46,200 --> 00:09:48,667
THEY'RE SELLING
CONCESSIONS, YOU KNOW...

231
00:09:48,700 --> 00:09:52,033
AND FROM SMALL-TOWN TEXAS,
AT THAT POINT IN TIME,

232
00:09:52,067 --> 00:09:53,467
IT'S SO INFORMED.

233
00:09:53,500 --> 00:09:57,567
MY AUNT WENT THROUGH
A HAZING PROCESS IN TEXAS

234
00:09:57,600 --> 00:10:02,133
WHERE THEY WRAPPED
AN OYSTER WITH DENTAL FLOSS,

235
00:10:02,167 --> 00:10:04,067
AND THEY MADE THE GIRLS
SWALLOW IT,

236
00:10:04,100 --> 00:10:05,067
AND THEN THEY BROUGHT IT
BACK UP.

237
00:10:05,100 --> 00:10:07,067
NO!

238
00:10:07,100 --> 00:10:10,567
I THINK THERE WAS A CERTAIN KIND
OF DEBONAIR QUALITY

239
00:10:10,600 --> 00:10:12,300
TO SOME OF THE DARKER
CHARACTERS,

240
00:10:12,333 --> 00:10:14,433
LIKE PARKER AND BEN
AND ME.

241
00:10:14,467 --> 00:10:18,167
IF I SEE A VILLAIN OR A GUY
WHO'S, LIKE, AN ASS,

242
00:10:18,200 --> 00:10:20,233
AND I DON'T FEEL LIKE
THE PERSON PLAYING IT

243
00:10:20,267 --> 00:10:21,467
IS INSIDE OF THAT PERSON,

244
00:10:21,500 --> 00:10:24,100
I FEEL LIKE I'M
DISCONNECTED FROM THEM.

245
00:10:24,133 --> 00:10:26,267
WHEN I'M WATCHING O'BANNION
BE AN ASS, I MEAN,

246
00:10:26,300 --> 00:10:28,367
OF COURSE I'M THINKING
HE'S BEING A TOTAL ASS.

247
00:10:28,400 --> 00:10:32,333
BUT I FEEL LIKE BEN
FOUND HIS JOY IN IT.

248
00:10:32,367 --> 00:10:36,100
IT'S KIND OF PERVERSE,
BUT I THINK IT'S TRUE.

249
00:10:36,133 --> 00:10:38,300
FUCK YOU!

250
00:10:38,333 --> 00:10:40,500
FUCK ALL OF YOU.
FUCK YOU!

251
00:10:40,533 --> 00:10:42,700
I THINK IT'S ONE OF BEN
AFFLECK'S GREAT PERFORMANCES.

252
00:10:42,733 --> 00:10:44,467
I THINK IT'S
AN AMAZING PERFORMANCE.

253
00:10:44,500 --> 00:10:47,100
ONE, BECAUSE I THINK THERE'S
A HOMO-EROTIC ELEMENT TO IT

254
00:10:47,133 --> 00:10:49,767
THAT IS JUST UNBELIEVABLE.

255
00:10:49,800 --> 00:10:51,700
JUST HOLD ONTO THAT
FENCE THERE, ALL RIGHT,

256
00:10:51,733 --> 00:10:53,400
AND JUST SQUEAL LIKE A PIG.

257
00:10:55,667 --> 00:10:56,633
YOU READY
TO SWITCH HIT?

258
00:10:56,667 --> 00:10:59,400
OH, YEAH.
I'M FIRST.

259
00:10:59,433 --> 00:11:01,033
ONE OF THE THINGS THAT
I LOVE SO MUCH ABOUT THE FILM

260
00:11:01,067 --> 00:11:03,167
AND ABOUT MATTHEW'S WORK
OR BEN'S WORK

261
00:11:03,200 --> 00:11:04,767
AS THESE GUYS WHO ARE
SORT OF OUTLANDISH

262
00:11:04,800 --> 00:11:06,700
IS THAT THEY--
I FEEL LIKE THEY FOUND

263
00:11:06,733 --> 00:11:08,767
THE HEARTBEAT
OF THESE GUYS, TOO.

264
00:11:08,800 --> 00:11:11,400
LIKE, THEY'RE NOT
CONDESCENDING TO THEM.

265
00:11:11,433 --> 00:11:14,133
THE SCENE WHERE McCONAUGHEY
AND I ARE LOOKING AT THE CARS.

266
00:11:14,167 --> 00:11:17,100
WE GOT THE HOOD UP,
AND WE'RE THROWING OUT

267
00:11:17,133 --> 00:11:19,300
ALL THIS MOTORHEAD SPEAK.

268
00:11:19,333 --> 00:11:21,567
BUT MATTHEW'S FATHER
HAD JUST PASSED AWAY,

269
00:11:21,600 --> 00:11:22,667
AND HE'S, LIKE, YOU KNOW,
"MY DAD WOULD HAVE WANTED ME

270
00:11:22,700 --> 00:11:24,367
TO COME TO WORK."

271
00:11:24,400 --> 00:11:26,400
BUT RICK CAME UP TO US
AND HE SAID, "I GOT AN IDEA."

272
00:11:26,433 --> 00:11:29,767
AND WE WENT OVER
AND WE JUST IMPROVISED
THAT WHOLE THING.

273
00:11:29,800 --> 00:11:32,733
I GOT 4-11 POSITRACK OUT BACK,
750 DOUBLE-PUMPER,

274
00:11:32,767 --> 00:11:34,767
EDELBROCK INTAKES,
BORED OVER 30,

275
00:11:34,800 --> 00:11:39,167
11-1 POP-UP PISTONS,
TURBO JET 390 HORSEPOWER.

276
00:11:39,200 --> 00:11:41,400
WE'RE TALKIN'
SOME FUCKIN' MUSCLE.

277
00:11:41,433 --> 00:11:43,167
HEY, MAN, I KNOW
YOU GOT THIS THING

278
00:11:43,200 --> 00:11:44,400
OUT OF A COMIC BOOK.

279
00:11:44,433 --> 00:11:45,700
I SAW THE AD--
$2.95.

280
00:11:45,733 --> 00:11:47,367
IT WAS RIGHT NEXT
TO THE SEA MONKEYS, MAN.

281
00:11:47,400 --> 00:11:49,200
YOU SEE THAT OVER THERE?
THAT'S WHITE LIGHTNING.

282
00:11:49,233 --> 00:11:51,367
SEE THE SHOES ON THAT THING?
YOU GOTTA GET SOME TIRES ON IT.

283
00:11:51,400 --> 00:11:52,567
THESE THINGS ARE
PIZZA CUTTERS, MAN.

284
00:11:52,600 --> 00:11:54,367
(SARCASTIC CHUCKLE)

285
00:11:54,400 --> 00:11:56,767
YOU KNOW, THERE'S A LITTLE--
A LITTLE FLAIR

286
00:11:56,800 --> 00:11:59,800
TO THE UGLINESS.

287
00:11:59,833 --> 00:12:03,300
HE'S EQUALLY INTERESTED
IN THE TEXTURES

288
00:12:03,333 --> 00:12:05,067
OF WHAT HAPPENS
BETWEEN PEOPLE,

289
00:12:05,100 --> 00:12:07,800
AND THE SORT OF QUIRKINESS
OF WHAT IT MEANS

290
00:12:07,833 --> 00:12:10,500
TO BE IN RELATIONSHIPS.

291
00:12:10,533 --> 00:12:12,767
AND ALL THAT OTHER STUFF--
ALL THE CORNERS

292
00:12:12,800 --> 00:12:14,567
THAT HE IS INTERESTED
IN LOOKING AT--

293
00:12:14,600 --> 00:12:17,333
THAT'S WHAT SEPARATES RICK,
I THINK.

294
00:12:17,367 --> 00:12:20,167
BECAUSE, YOU KNOW, WOODERSON'S
PROBABLY BEEN WITH

295
00:12:20,200 --> 00:12:23,233
ALL THE HOT CHICKS AND,
YOU KNOW...

296
00:12:23,267 --> 00:12:26,067
STUDENT COUNCIL, CHEERLEADERS,
JUST, WELL, YOU THINK YOU'RE

297
00:12:26,100 --> 00:12:27,300
BEING SOMETHING A LITTLE
SOMETHING DIFFERENT.

298
00:12:27,333 --> 00:12:30,700
TWO WEEKS INTO SHOOTING
HE SAID...

299
00:12:30,733 --> 00:12:32,500
"YOU KNOW, I REALLY WANT
TO FIND A LOVE INTEREST

300
00:12:32,533 --> 00:12:34,333
FOR CYNTHIA."

301
00:12:34,367 --> 00:12:37,167
"WHAT DO YOU THINK IF HE GOES
AFTER THE RED-HEADED
INTELLECTUAL?"

302
00:12:37,200 --> 00:12:39,400
I'M LIKE,
"YEAH, HE WOULD."

303
00:12:39,433 --> 00:12:42,033
AND THEN HE CAME,
AND HE GOES, "WOODERSON."

304
00:12:42,067 --> 00:12:45,533
WELL, BOOM, WE GO TO THE SET,
I GET IN MY '70 CHEVELLE.

305
00:12:45,567 --> 00:12:48,667
GONNA BE MY FIRST SCENE
IN A MOVIE.

306
00:12:48,700 --> 00:12:53,133
AND I'M GOING, "FUCK,
HERE WE GO, MAN."

307
00:12:53,167 --> 00:12:55,233
I'M PRETTY NERVOUS
FOR A REAL REASON.

308
00:12:55,267 --> 00:12:56,767
I'M LIKE, WHO AM I,
WHAT AM I ABOUT?

309
00:12:56,800 --> 00:12:58,400
WHAT'S MY MAN, WHAT'S MY MAN,
WHAT'S MY MAN, WHAT'S MY MAN?

310
00:12:58,433 --> 00:13:01,200
AND I REMEMBER IN MY HEAD
HEARING WOODERSON'S VOICE

311
00:13:01,233 --> 00:13:03,800
GOING, ALL RIGHT,
I'M ABOUT POT, ROCK AND ROLL,

312
00:13:03,833 --> 00:13:05,600
MY CAR, AND PUSSY.

313
00:13:05,633 --> 00:13:08,133
WELL, I'M HIGH,
I'M IN MY CHEVELLE,

314
00:13:08,167 --> 00:13:12,367
I'M LISTENING TO NUGENT...
AND I HEARD, "ACTION."

315
00:13:12,400 --> 00:13:15,133
AND I WENT,
"AND THERE'S THE PUSSY."

316
00:13:15,167 --> 00:13:16,767
ALL RIGHT, ALL RIGHT,
ALL RIGHT.

317
00:13:16,800 --> 00:13:18,500
THREE OUT OF FOUR,
GOING TO GET THE FOURTH.

318
00:13:18,533 --> 00:13:20,800
(WOODERSON)
ALL RIGHT, ALL RIGHT.

319
00:13:20,833 --> 00:13:23,333
OH, CHRIST.

320
00:13:23,367 --> 00:13:24,767
HOW YOU DOIN'?

321
00:13:24,800 --> 00:13:27,267
PRETTY GOOD.

322
00:13:27,300 --> 00:13:29,267
(RAPP)
THE MYTH IS THAT
IT WAS SO IMPROVISED,

323
00:13:29,300 --> 00:13:31,767
AND IT WAS SO, LIKE,
OFF THE CUFF...

324
00:13:31,800 --> 00:13:35,467
AND IT'S SIMPLY NOT TRUE
BECAUSE MATTHEW AND MARISSA

325
00:13:35,500 --> 00:13:37,633
HAD THE FUN IDEA OF--

326
00:13:37,667 --> 00:13:39,200
HE SAID, "WHY DON'T YOU DITCH
THOSE GEEKS IN THE CAR

327
00:13:39,233 --> 00:13:40,333
AND RIDE WITH ME?"

328
00:13:40,367 --> 00:13:41,567
AND WE WOULD READ
THROUGH THE SCENE

329
00:13:41,600 --> 00:13:43,300
AS IT WAS WRITTEN,
AND THEN RICK WOULD SAY,

330
00:13:43,333 --> 00:13:44,767
"OKAY, WHAT DO YOU WANT
TO SAY?"

331
00:13:44,800 --> 00:13:47,267
AND THEN WE WOULD IMPROVISE
IF WE WANTED TO.

332
00:13:47,300 --> 00:13:49,500
AND IT WASN'T JUST
SORT OF, LIKE, A FREE-FOR-ALL.

333
00:13:49,533 --> 00:13:51,400
NO, I GOT MY OWN CAR.
THANKS.

334
00:13:51,433 --> 00:13:53,233
YEAH, WELL, LISTEN, YOU OUGHTA
DITCH THE TWO GEEKS

335
00:13:53,267 --> 00:13:54,767
YOU'RE IN THE CAR WITH NOW
AND GET IN WITH US.

336
00:13:54,800 --> 00:13:57,167
BUT THAT'S ALL RIGHT, WE'LL
WORRY ABOUT THAT LATER.

337
00:13:57,200 --> 00:13:59,600
RICK ALWAYS HAD
A VERY CLEAR SENSE

338
00:13:59,633 --> 00:14:01,167
OF WHAT WORKED
AND WHAT DIDN'T,

339
00:14:01,200 --> 00:14:03,400
AND WHAT HE WANTED IT TO BE.

340
00:14:03,433 --> 00:14:06,500
SO IT WAS THIS PERMISSION,
BUT IT WAS DEFINITELY INSIDE

341
00:14:06,533 --> 00:14:09,300
OF THIS CONTEXT
OF FULFILLING A VISION.

342
00:14:09,333 --> 00:14:11,800
THERE WAS THIS UNSPOKEN THING
OF YOU'RE HERE,

343
00:14:11,833 --> 00:14:14,800
SO WE'RE KIND OF
IN THIS TOGETHER.

344
00:14:14,833 --> 00:14:18,233
BUT NO, YOU FEEL LIKE IF THERE
IS SOME CALCULATION OR WHATEVER,

345
00:14:18,267 --> 00:14:20,067
YOU WOULD NEVER KNOW.

346
00:14:20,100 --> 00:14:22,233
EVERYTHING SEEMS REALLY--
YOU KNOW, IT SOUNDS CLICHE,

347
00:14:22,267 --> 00:14:24,300
BUT REALLY ORGANIC.

348
00:14:24,333 --> 00:14:26,567
I'VE LEARNED SO MUCH FROM HIM
JUST BY WHAT HE DOESN'T DO,

349
00:14:26,600 --> 00:14:28,100
YOU KNOW?

350
00:14:28,133 --> 00:14:30,433
AS OPPOSED TO SOMEBODY
BARKING AT YOU

351
00:14:30,467 --> 00:14:31,767
FROM THE BACK OF A LIMO.

352
00:14:31,800 --> 00:14:34,333
YOU SAID, "SOMEONE'S
TOKIN' SOME REEFER."

353
00:14:34,367 --> 00:14:37,467
NO, MAYBE I SAID
I SMELLED SOME POT.

354
00:14:37,500 --> 00:14:38,633
YOU KNOW, IT WAS
JUST AN OBSERVATION.

355
00:14:38,667 --> 00:14:40,433
OH, AN OBSERVATION, HUH?

356
00:14:40,467 --> 00:14:43,533
WELL, WHO THE HELL ARE YOU,
MAN, ISAAC FUCKIN' NEWTON?

357
00:14:43,567 --> 00:14:46,100
AND HE ACTUALLY READ WITH ME.
HE READ ADAM GOLDBERG'S PART--

358
00:14:46,133 --> 00:14:49,233
RICK DID.

359
00:14:49,267 --> 00:14:53,300
"SOMEONE'S TOKIN' SOME REEFER."
HMM... I DON'T KNOW.

360
00:14:53,333 --> 00:14:55,300
THERE'S NOT A DEMARCATION
OF BEHIND THE CAMERA

361
00:14:55,333 --> 00:14:56,367
TO IN FRONT OF THE CAMERA.

362
00:14:56,400 --> 00:14:58,167
AND THAT'S A REAL TALENT
THAT--

363
00:14:58,200 --> 00:15:00,333
THAT I TRY TO CARRY ON
THROUGHOUT.

364
00:15:00,367 --> 00:15:03,767
BECAUSE HE DOESN'T MAKE IT
FEEL PRECIOUS.

365
00:15:03,800 --> 00:15:05,467
HE WANTS IT TO BE NATURAL.

366
00:15:05,500 --> 00:15:07,500
"SO YOU GUYS ARE TALKING, LET'S
KEEP HAVING THE CONVERSATION

367
00:15:07,533 --> 00:15:09,567
"RIGHT FROM BEHIND THE CAMERA
TO IN FRONT OF THE CAMERA,

368
00:15:09,600 --> 00:15:12,267
AND KEEP ON CHATTING, AND OKAY,
WHENEVER YOU'RE READY...

369
00:15:12,300 --> 00:15:13,400
IT'S ROLLING."

370
00:15:13,433 --> 00:15:15,167
(GIRL)
TARA.

371
00:15:15,200 --> 00:15:18,200
I NEVER MET A TARA BEFORE.
YOU'RE MY FIRST.

372
00:15:22,167 --> 00:15:24,500
(KATT)
I REMEMBER, I THINK A STUNT
COORDINATOR BROKE UP THE FIGHT

373
00:15:24,533 --> 00:15:27,200
'CAUSE HE THOUGHT
IT WAS REAL.

374
00:15:27,233 --> 00:15:29,300
BUT YEAH, THAT WAS A CHALLENGE.
I WAS PRETTY NERVOUS.

375
00:15:29,333 --> 00:15:31,233
BUT THAT'S PART OF THE BEAUTY
OF WORKING

376
00:15:31,267 --> 00:15:34,367
WITH SOMEBODY LIKE THAT, AGAIN,
IS "I TRUST YOU."

377
00:15:34,400 --> 00:15:36,567
THAT'S REALLY WHAT AND ACTOR
WANTS IS TO BE TRUSTED.

378
00:15:36,600 --> 00:15:40,033
HE GENUINELY HAS LOVE
FOR THE PEOPLE

379
00:15:40,067 --> 00:15:41,600
THAT HE'S WORKING WITH.

380
00:15:41,633 --> 00:15:44,033
SO IT MAKES YOU WANT
TO DO WELL,

381
00:15:44,067 --> 00:15:47,067
AND IT MAKES YOU WANT TO BE
THE PERSON HE THINKS YOU ARE.

382
00:15:47,100 --> 00:15:48,533
YOU KNOW?

383
00:15:48,567 --> 00:15:50,300
I REMEMBER THAT
FROM HIGH SCHOOL, TOO.

384
00:15:50,333 --> 00:15:53,267
A GOOD COACH DOES THAT,
YOU KNOW.

385
00:15:53,300 --> 00:15:56,033
A GOOD COACH REALLY BELIEVES
THAT YOU'RE GONNA GET

386
00:15:56,067 --> 00:15:58,567
THAT BASE HIT
IN THE BOTTOM OF THE NINTH

387
00:15:58,600 --> 00:15:59,800
TO DRIVE IN THE WINNING RUN.

388
00:15:59,833 --> 00:16:01,600
YOU KNOW, HE BELIE--
HE WANTS YOU UP.

389
00:16:01,633 --> 00:16:04,800
THERE ARE SO MANY PEOPLE
WHO YOU'RE SEEING

390
00:16:04,833 --> 00:16:06,367
THE BEST VERSION
OF WHO THEY ARE.

391
00:16:06,400 --> 00:16:08,533
AND THAT'S THE GREATEST
SIGN OF A DIRECTOR

392
00:16:08,567 --> 00:16:09,700
IS A DIRECTOR WHO CAN
GET AN ACTOR TO BE

393
00:16:09,733 --> 00:16:11,267
THE BEST VERSION
OF THEMSELF.

394
00:16:11,300 --> 00:16:12,733
I DON'T THINK I'VE EVER
HEARD HIM SAY THE WORD "NO"

395
00:16:12,767 --> 00:16:14,700
TO ANYBODY AS A DIRECTOR.

396
00:16:14,733 --> 00:16:16,700
THAT'S THAT BUDDHIST
QUALITY OF RICK.

397
00:16:16,733 --> 00:16:19,067
UH, YEAH.
EVERYTHING LENDS.

398
00:16:19,100 --> 00:16:21,233
"YEAH, YEAH, YEAH.
LET'S TRY IT.

399
00:16:21,267 --> 00:16:23,200
WANNA SHOOT IT?"
YOU KNOW?

400
00:16:23,233 --> 00:16:28,600
SO HE PUTS THE OWNERSHIP
ON YOU AS AN ACTOR IMMEDIATELY.

401
00:16:28,633 --> 00:16:30,100
AND WHETHER YOU'RE READY
FOR IT OR NOT,

402
00:16:30,133 --> 00:16:31,367
IT'S DONE IN A WAY THAT
YOU DON'T FEEL LIKE

403
00:16:31,400 --> 00:16:32,633
YOU'RE CARRYING
A HEAVY LOAD.

404
00:16:32,667 --> 00:16:34,200
I REMEMBER HE DID A THING
ON "DAZED".

405
00:16:34,233 --> 00:16:36,767
HE GAVE EVERY CHARACTER
CASSETTES AND SAID,

406
00:16:36,800 --> 00:16:38,233
"THIS IS KIND OF
A SOUNDTRACK.

407
00:16:38,267 --> 00:16:40,167
I THINK YOU'RE GONNA
BE LISTENING TO THIS."

408
00:16:40,200 --> 00:16:41,633
THAT'S BEAUTIFUL AS AN ACTOR

409
00:16:41,667 --> 00:16:43,467
BECAUSE IT'S NOT TELLING 'EM
WHAT TO DO.

410
00:16:43,500 --> 00:16:45,267
IT'S PUTTING THEM
IN A WORLD AURALLY.

411
00:16:45,300 --> 00:16:46,767
IT'S WHAT YOU HEAR,
HOW YOU FEEL,

412
00:16:46,800 --> 00:16:48,133
HOW THE DIRECTOR SEES IT,

413
00:16:48,167 --> 00:16:50,133
AND IT'S UP TO
YOUR INTERPRETATION.

414
00:16:50,167 --> 00:16:52,200
I WOULD JUST LISTEN
TO THOSE SONGS OVER AND OVER,

415
00:16:52,233 --> 00:16:54,100
AND THEY BECAME
LIKE A CHARACTER--

416
00:16:54,133 --> 00:16:57,033
LIKE ANOTHER CHARACTER
IN THE MOVIE.

417
00:16:57,067 --> 00:17:02,467
* SWEEEET... EMOTION

418
00:17:02,500 --> 00:17:05,133
THE FIRST CD I EVER PUT
IN MY FIRST CAR

419
00:17:05,167 --> 00:17:06,767
WAS THE SOUNDTRACK
TO "DAZED AND CONFUSED".

420
00:17:06,800 --> 00:17:08,300
THERE'S A COUPLE SONGS
HE WANTS TO USE,

421
00:17:08,333 --> 00:17:09,500
AND THEY DON'T WANT
TO PAY FOR THEM.

422
00:17:09,533 --> 00:17:11,067
AT LEAST ONE OF 'EM
IS A DYLAN SONG.

423
00:17:11,100 --> 00:17:13,633
FINALLY, RICK SAYS,
"I'LL FOREGO MY SHARE

424
00:17:13,667 --> 00:17:16,767
OF THE SOUNDTRACK MONEY
IF YOU PAY FOR THESE SONGS."

425
00:17:16,800 --> 00:17:19,167
THE SOUNDTRACK GOES ON
TO BECOME GOLD,

426
00:17:19,200 --> 00:17:21,033
AND RICK DOESN'T SEE
ANY OF THAT MONEY

427
00:17:21,067 --> 00:17:23,133
BECAUSE OF HIS PASSION
TO GET IT RIGHT.

428
00:17:23,167 --> 00:17:25,700
LET ME TELL YOU THIS,
THE OLDER YOU DO GET,

429
00:17:25,733 --> 00:17:28,567
THE MORE RULES THEY'RE GONNA
TRY TO GET YOU TO FOLLOW.

430
00:17:28,600 --> 00:17:31,067
YOU JUST GOTTA
KEEP LIVIN', MAN.

431
00:17:31,100 --> 00:17:32,533
L-I-V-I-N.

432
00:17:32,567 --> 00:17:34,500
I FEEL LIKE THE FILM HAS
TREMENDOUS DEPTH TO IT,

433
00:17:34,533 --> 00:17:37,767
AND IT'S NOT JUST A SILLY,
GOOFY TEENAGE MOVIE.

434
00:17:37,800 --> 00:17:40,133
ALTHOUGH IT ALSO HAS
THOSE ASPECTS TO IT, TOO.

435
00:17:40,167 --> 00:17:42,333
I MEAN, IT'S REALLY FUNNY
AND REALLY FUN.

436
00:17:42,367 --> 00:17:44,500
BUT IT'S GOT A LOT
ON ITS MIND.

437
00:17:44,533 --> 00:17:46,367
(LOUIS BLACK)
IT'S IN THE SAME NECK OF THE
WOODS AS "AMERICAN GRAFFITI",

438
00:17:46,400 --> 00:17:48,333
AND I THINK IT'S
MUCH MORE MIMETIC.

439
00:17:48,367 --> 00:17:50,167
I THINK IT HOLDS TOGETHER
BETTER.

440
00:17:50,200 --> 00:17:53,333
I THINK IT'S MYTHIC, BUT
IT'S LESS-CONSCIOUSLY MYTHIC

441
00:17:53,367 --> 00:17:55,233
IN THE WAYS THAT "AMERICAN
GRAFFITI" IS MORE

442
00:17:55,267 --> 00:17:56,500
FICTIONALLY MYTHIC.

443
00:17:56,533 --> 00:17:57,800
I'M JUST AMAZED,
AT THE END,

444
00:17:57,833 --> 00:18:00,067
HOW THE CONVERSATION LAYERS.

445
00:18:00,100 --> 00:18:01,300
EVERYTHING EVERYBODY SAY
TO EACH OTHER

446
00:18:01,333 --> 00:18:03,567
FOR THE LAST 20 MINUTES
MAKES MEANING,

447
00:18:03,600 --> 00:18:05,200
BASED ON EVERYTHING
THAT'S COME BEFORE

448
00:18:05,233 --> 00:18:06,767
AND EVERYTHING THAT'S
GONNA COME AFTERWARDS,

449
00:18:06,800 --> 00:18:08,333
AND THE REST OF THEIR LIVES.

450
00:18:08,367 --> 00:18:10,533
I JUST WANNA
LOOK BACK AND SAY

451
00:18:10,567 --> 00:18:13,200
THAT I DID IT
THE BEST I COULD

452
00:18:13,233 --> 00:18:15,800
WHILE I WAS STUCK
IN THIS PLACE.

453
00:18:15,833 --> 00:18:17,767
THERE IS SOMETHING FUNNY
ABOUT US

454
00:18:17,800 --> 00:18:20,167
JUST STRUGGLING
AGAINST TIME.

455
00:18:20,200 --> 00:18:23,333
AND I REMEMBER THERE'S A MOMENT
IN "DAZED AND CONFUSED"

456
00:18:23,367 --> 00:18:25,700
WHERE THE GUY--
IT JUST FOLLOWS--

457
00:18:25,733 --> 00:18:27,667
IT'S A NOTHING MOMENT
WHEN THE GUYS JUST GO,

458
00:18:27,700 --> 00:18:31,733
"GOOD GAME, GOOD GAME,
GOOD GAME, GOOD GAME."

459
00:18:31,767 --> 00:18:34,600
AND I'D NEVER SEEN
THAT MOMENT IN A MOVIE,

460
00:18:34,633 --> 00:18:39,433
AND I REMEMBERED IT SO VIVIDLY
FROM YEARS OF PLAYING SPORTS.

461
00:18:39,467 --> 00:18:42,333
AND THE KIND OF AMBIVALENCE
THAT YOU FEEL ABOUT IT,

462
00:18:42,367 --> 00:18:47,467
AND THIS SHOW OF BEING
A GOOD PERSON.

463
00:18:47,500 --> 00:18:51,100
BUT RICK DOES THINK LIKE AN
ATHLETE IN A LOT OF LOT OF WAYS.

464
00:18:51,133 --> 00:18:53,733
HE MADE A DOCUMENTARY ABOUT
THE BASEBALL COACH AT U.T.

465
00:18:53,767 --> 00:18:55,667
IT'S JUST BEAUTIFUL.

466
00:18:55,700 --> 00:18:57,467
IT'S ALWAYS FUNNY
ABOUT DOCUMENTARIES

467
00:18:57,500 --> 00:18:59,267
'CAUSE IN A WAY IT'S
ALSO A SELF-PORTRAIT.

468
00:18:59,300 --> 00:19:01,767
THERE'S A LOT THAT COACH SAYS
THAT RICK COULD HAVE SAID.

469
00:19:01,800 --> 00:19:04,167
(COACH)
THE ONLY REASON I THINK
BASEBALL'S IMPORTANT

470
00:19:04,200 --> 00:19:07,733
IS BECAUSE WE'RE USING THE GAME
TO HELP PEOPLE

471
00:19:07,767 --> 00:19:10,400
DISCOVER THINGS
ABOUT THEMSELVES.

472
00:19:10,433 --> 00:19:13,033
HE'S WON FIVE NATIONAL
CHAMPIONSHIPS IN COLLEGE.

473
00:19:13,067 --> 00:19:14,800
THEY ASK HIM WHY HAVEN'T YOU
EVER COACHED PRO?

474
00:19:14,833 --> 00:19:16,633
AND HE SAYS, "WELL,
THE POINT OF COACHING

475
00:19:16,667 --> 00:19:19,100
"IN THE PROFESSIONAL LEAGUES
IS TO WIN.

476
00:19:19,133 --> 00:19:21,267
"AND THAT'S NOT MY GOAL.

477
00:19:21,300 --> 00:19:23,467
"YOU KNOW, MY GOAL IS TO
PLAY THE GAME OF BASEBALL

478
00:19:23,500 --> 00:19:25,167
AS WELL AS IT
CAN BE PLAYED.

479
00:19:25,200 --> 00:19:27,733
AND THAT'S A WONDERFUL THING
TO BE A PART OF.

480
00:19:27,767 --> 00:19:29,600
AND YOU CAN TAKE THAT
PHILOSOPHY ON A FILM SET.

481
00:19:29,633 --> 00:19:31,333
THE POINT IS NOT
TO MAKE A MILLION BUCKS.

482
00:19:31,367 --> 00:19:33,533
THE POINT IS NOT TO WIN,
THE POINT IS TO MAKE MOVIES,

483
00:19:33,567 --> 00:19:36,400
TELL STORIES, CREATE ART
THAT IS VALUABLE.

484
00:19:36,433 --> 00:19:39,367
(TYPEWRITER KEYS CLICKING)

485
00:19:44,333 --> 00:19:45,733
(JACK BLACK)
"SCHOOL OF ROCK",
WHICH IS HIS MOST--

486
00:19:45,767 --> 00:19:47,367
RICK'S MOST COMMERCIALLY
SUCCESSFUL FILM,

487
00:19:47,400 --> 00:19:50,767
IS AMAZING BECAUSE, ONE,
IT'S ONE OF THE SMARTEST,

488
00:19:50,800 --> 00:19:53,767
BEST FILMS ABOUT KIDS AND MUSIC,
ABOUT ROCK AND ROLL.

489
00:19:53,800 --> 00:19:55,367
IT LOVES ROCK AND ROLL.

490
00:19:55,400 --> 00:19:57,667
IN "SCHOOL OF ROCK",
IF YOU LOOK AT THAT TREE--

491
00:19:57,700 --> 00:20:00,233
WE MADE A TREE ON THE CHALKBOARD
OF ALL THE--

492
00:20:00,267 --> 00:20:02,267
THE BRANCHES OF ROCK AND ROLL.

493
00:20:02,300 --> 00:20:05,433
BUT HE ALSO, AND I'D SAY
EVEN MORE SO,

494
00:20:05,467 --> 00:20:08,400
IS AN AFICIONADO
OF THE PUNK ROCK.

495
00:20:08,433 --> 00:20:11,233
ALL THOSE PUNK ROCK BRANCHES
WERE HIS.

496
00:20:11,267 --> 00:20:15,700
AND HE OPENED MY EYES
TO A LOT OF GREAT MUSIC.

497
00:20:15,733 --> 00:20:18,400
AND I-- I KNOW MY PUNK ROCK.
I LOVE MY PUNK ROCK.

498
00:20:18,433 --> 00:20:20,600
BUT HE KNOWS IT
IN A MUCH DEEPER WAY,

499
00:20:20,633 --> 00:20:23,367
AND HE TOOK ME TO SCHOOL.

500
00:20:23,400 --> 00:20:25,433
IT'S A REALLY
WONDERFULLY MADE MOVIE.

501
00:20:25,467 --> 00:20:28,533
IT'S A MOVIE WITH A PREMISE
THAT'S ALMOST--

502
00:20:28,567 --> 00:20:30,400
ALMOST TOO THIN TO WORK.

503
00:20:30,433 --> 00:20:33,133
IT'S, LIKE, ALMOST
A MISTAKEN-IDENTITY MOVIE.

504
00:20:33,167 --> 00:20:35,467
BUT YOU BUY IT IMMEDIATELY
BECAUSE IT'S SUCH

505
00:20:35,500 --> 00:20:39,233
A BEAUTIFUL MARRIAGE
BETWEEN THIS KIND OF LUNATIC

506
00:20:39,267 --> 00:20:40,567
AND THESE KIDS.

507
00:20:40,600 --> 00:20:42,100
AND ALL KIDS ARE LUNATICS
TO SOME LEVEL.

508
00:20:42,133 --> 00:20:44,067
WE GET DOWN,
NOSE TO THE GRINDSTONE,

509
00:20:44,100 --> 00:20:45,767
AND REALLY START WORKING
ON "SCHOOL OF ROCK".

510
00:20:45,800 --> 00:20:49,500
AND RICK IS REAL HANDS-ON
WHEN IT COMES TO THE SCRIPT,

511
00:20:49,533 --> 00:20:52,767
AND HE HAD SOME ISSUES
THAT HE WANTED TO ADDRESS--

512
00:20:52,800 --> 00:20:57,700
JUST WHENEVER ANYTHING FELT
NOT GENUINE OR REAL TO HIM,

513
00:20:57,733 --> 00:20:59,233
OR BELIEVABLE.

514
00:20:59,267 --> 00:21:02,600
HE WAS REAL PARTICULAR
ABOUT WHEN THINGS GOT TO BE

515
00:21:02,633 --> 00:21:03,767
A LITTLE "MOON BOOTS"--

516
00:21:03,800 --> 00:21:05,400
WHEN THE GRAVITY
OF THE WHOLE THING

517
00:21:05,433 --> 00:21:07,033
STARTED TO FLOAT
INTO OUTER SPACE.

518
00:21:07,067 --> 00:21:11,233
HE WAS, LIKE, "COME ON,
THAT WOULDN'T HAPPEN.

519
00:21:11,267 --> 00:21:14,600
"EVEN AFTER I DO THESE THINGS
TO MAKE IT MORE BELIEVABLE,

520
00:21:14,633 --> 00:21:16,267
"IT'S STILL NOT GONNA BE
REALLY BELIEVABLE,

521
00:21:16,300 --> 00:21:18,500
BUT IT'S GONNA BE MORE--
IT'S GONNA BE ROOTED."

522
00:21:18,533 --> 00:21:21,233
HE REALLY WANTED
TO STRETCH OUT THE SCENE

523
00:21:21,267 --> 00:21:23,233
WITH THE KIDS WHERE
I'M TEACHING THEM

524
00:21:23,267 --> 00:21:24,600
SOME RIFFS, SOME LICKS.

525
00:21:24,633 --> 00:21:26,600
IT WAS A LITTLE SCARY
FOR ME BECAUSE HE WAS ASKING

526
00:21:26,633 --> 00:21:27,767
A LOT OF ME AS AN ACTOR.

527
00:21:27,800 --> 00:21:29,033
HE WAS ASKING ME
TO WORK WITH HIM

528
00:21:29,067 --> 00:21:30,667
IN THIS IMPROVISATIONAL WAY.

529
00:21:30,700 --> 00:21:33,367
AND I'D NEVER REALLY WORKED
WITH KIDS BEFORE,

530
00:21:33,400 --> 00:21:35,333
SO I WAS NERVOUS ABOUT IT.

531
00:21:35,367 --> 00:21:38,533
HE PICKED SUCH INCREDIBLE KIDS
THAT IT MADE IT A LOT--

532
00:21:38,567 --> 00:21:39,767
A LOT EASIER.

533
00:21:39,800 --> 00:21:42,667
YOU KNOW, THEY'RE A LOT
LIKE HE IS.

534
00:21:42,700 --> 00:21:44,333
THEY'RE VERY REAL.

535
00:21:44,367 --> 00:21:47,767
NOT A LOT OF HOLLYWOOD
EXPERIENCE IN THE BUNCH.

536
00:21:47,800 --> 00:21:50,033
THESE WERE, LIKE, MUSICIANS.

537
00:21:50,067 --> 00:21:51,600
* COME ON, COME ON,
COME ON, COME ON NOW *

538
00:21:51,633 --> 00:21:54,067
* TOUCH ME, BABE,
BA DA BA DA *

539
00:21:54,100 --> 00:21:56,700
* CAN'T YOU SEE THAT
I AM NOT AFRAID? *

540
00:21:56,733 --> 00:21:58,300
* SHA GA GA GA

541
00:21:58,333 --> 00:22:02,067
* LAWRENCE IS GOOD
AT PIANO *

542
00:22:02,100 --> 00:22:04,367
* HE SHALL BE ROCKING
IN THE SHOW *

543
00:22:04,400 --> 00:22:05,733
* RA GA GA GA
STOP.

544
00:22:05,767 --> 00:22:08,100
HE JUST MADE IT SO MUCH FUN
FOR EVERYBODY.

545
00:22:08,133 --> 00:22:10,567
AND HE MADE ME REALLY FEEL--
EVEN THOUGH I WAS LITTLE--

546
00:22:10,600 --> 00:22:12,767
LIKE, YOU KNOW,
I WAS REALLY AN ACTOR.

547
00:22:12,800 --> 00:22:15,367
AND HE TREATED ME
LIKE EVERYBODY ELSE, SO...

548
00:22:15,400 --> 00:22:19,133
YEAH, IT WAS DEFINITELY ONE OF
THE BEST EXPERIENCES I'VE HAD.

549
00:22:19,167 --> 00:22:21,600
SUMMER, YOU'RE IN CHARGE
OF EVERYTHING.

550
00:22:21,633 --> 00:22:23,700
OKAY.

551
00:22:23,733 --> 00:22:26,167
HE ALSO WANTED
TO DO THAT SCENE

552
00:22:26,200 --> 00:22:27,600
THAT THE SONG--

553
00:22:27,633 --> 00:22:29,633
WHEN I FIRST PLAY A SONG
FOR THE CLASS

554
00:22:29,667 --> 00:22:32,433
OF WHAT I THINK SHOULD BE
THE SONG THAT WE PLAY AS A BAND

555
00:22:32,467 --> 00:22:36,367
IN ONE TAKE, ONE SHOT.
SLOW PULL-OUT...

556
00:22:36,400 --> 00:22:37,700
I DIDN'T THINK
IT WAS GONNA WORK.

557
00:22:37,733 --> 00:22:40,100
I SAID, "YOU SHOULD GET
SOME MORE COVERAGE OF IT

558
00:22:40,133 --> 00:22:41,800
JUST IN CASE YOU WANT
TO CUT AWAY."

559
00:22:41,833 --> 00:22:43,500
HE STUCK TO HIS GUNS.
I'M GLAD HE DID.

560
00:22:43,533 --> 00:22:45,333
'CAUSE THAT WAS ONE
OF THE COOL THINGS.

561
00:22:45,367 --> 00:22:47,267
* MINE!

562
00:22:47,300 --> 00:22:49,633
* HOW CAN YOU KICK ME OUT
OF WHAT IS MINE? *

563
00:22:49,667 --> 00:22:51,433
(COSGROVE)
IT WAS COOL THAT THAT WAS
ONE OF THE FIRST THINGS

564
00:22:51,467 --> 00:22:54,567
THAT I EVER GOT TO DO, BECAUSE
THE TWO OF THEM TOGETHER--

565
00:22:54,600 --> 00:22:56,167
LIKE, RICHARD'S REALLY
LAID BACK AND COOL,

566
00:22:56,200 --> 00:22:58,133
AND THEN JACK'S KINDA CRAZY
AND FUNNY,

567
00:22:58,167 --> 00:22:59,200
AND YOU NEVER KNOW
WHAT HE'S GONNA DO.

568
00:22:59,233 --> 00:23:01,633
I THINK FROM TOP TO BOTTOM,

569
00:23:01,667 --> 00:23:04,800
I THINK "SCHOOL OF ROCK" IS
HIS FUNNIEST FILM.

570
00:23:04,833 --> 00:23:08,167
AND IT'S ALMOST LIKE
THE INVISIBLE WEAVING

571
00:23:08,200 --> 00:23:09,500
OF A GOOD DIRECTOR.

572
00:23:09,533 --> 00:23:13,433
"SCHOOL OF ROCK" WAS THE CLOSEST
TO WHO I AM

573
00:23:13,467 --> 00:23:16,200
AS, YOU KNOW,
A PERFORMER.

574
00:23:16,233 --> 00:23:19,667
IT HAD ALL THE ELEMENTS,
AND THE SUBJECT MATTER

575
00:23:19,700 --> 00:23:21,700
WAS SOMETHING THAT
I'M PASSIONATE ABOUT.

576
00:23:21,733 --> 00:23:24,100
YOU KNOW, MY LOVE OF ROCK.

577
00:23:24,133 --> 00:23:25,667
I THINK IT ALL CAME OUT
IN THERE,

578
00:23:25,700 --> 00:23:31,500
AND I WAS ABLE TO JUST GIVE
EVERYTHING I HAD TO THAT.

579
00:23:31,533 --> 00:23:35,300
I JUST FEEL LIKE
IT'S MY BEST ONE

580
00:23:35,333 --> 00:23:39,100
FROM THE WAY PEOPLE
TALK TO ME ABOUT IT.

581
00:23:39,133 --> 00:23:42,500
A LOT OF PEOPLE LIKE "NACHO"
AND A COUPLE OTHERS,

582
00:23:42,533 --> 00:23:47,533
BUT "SCHOOL OF ROCK" IS--
THAT'S MY TOMBSTONE.

583
00:23:47,567 --> 00:23:50,467
THAT'S THE SHINING BEACON
FOR ME.

584
00:23:55,700 --> 00:23:59,433
(GROWLING)

585
00:23:59,467 --> 00:24:02,000
(TYPEWRITER KEYS CLICKING)

586
00:24:12,367 --> 00:24:13,767
(THORNTON)
THERE ARE ONLY TWO STORIES--

587
00:24:13,800 --> 00:24:16,533
A MAGICAL FROG
IN AN ORDINARY GARDEN,

588
00:24:16,567 --> 00:24:19,467
OR AN ORDINARY FROG
IN A MAGICAL GARDEN.

589
00:24:19,500 --> 00:24:21,367
AND THAT'S PRETTY TRUE.

590
00:24:21,400 --> 00:24:26,067
"BAD NEWS BEARS" CAME ABOUT
BECAUSE I HAD DONE "BAD SANTA".

591
00:24:26,100 --> 00:24:28,667
PEOPLE LIKE TO SEE ME
BE AN ASSHOLE.

592
00:24:28,700 --> 00:24:31,700
HEY, HEY, HEY, HEY,
HEY, HEY!

593
00:24:31,733 --> 00:24:34,367
STOP IT!

594
00:24:34,400 --> 00:24:36,200
THAT SHIT'S EXPENSIVE.

595
00:24:36,233 --> 00:24:39,067
AND RICK WAS A GREAT CHOICE,
YOU KNOW, AS DIRECTOR

596
00:24:39,100 --> 00:24:40,733
BECAUSE HE WAS
A BASEBALL PLAYER.

597
00:24:40,767 --> 00:24:42,767
WHAT DOES THAT DO
TO YOUR BATTING ORDER?

598
00:24:42,800 --> 00:24:45,367
WELL, 1 GOES TO 4,
4 GOES TO 5,

599
00:24:45,400 --> 00:24:47,633
2 GOES TO 3,
3 GOES TO 2,

600
00:24:47,667 --> 00:24:50,767
6 GOES TO 1,
AND 7, 8, 9 ARE COOL.

601
00:24:50,800 --> 00:24:52,433
I GUESS YOU KNOW WHAT
YOU'RE DOING, BUTTERMAKER.

602
00:24:52,467 --> 00:24:54,200
YEAH, I DO.

603
00:24:54,233 --> 00:24:58,333
AND, YOU KNOW, I DID MY THING
WITH THE SMOKING, DRINKING,

604
00:24:58,367 --> 00:25:01,367
YOU KNOW, CURSING GUY,
WHICH IS FUN TO DO.

605
00:25:04,567 --> 00:25:06,600
OKAY, COMIN' AT YOU.

606
00:25:07,833 --> 00:25:11,500
(ALL)
WHOA!

607
00:25:11,533 --> 00:25:14,033
AND RICK AND I WERE
ON THE SAME SIDE

608
00:25:14,067 --> 00:25:16,200
ABOUT GETTING SAMMI KRAFT,
GOD REST HER SOUL,

609
00:25:16,233 --> 00:25:17,533
WHO PASSED AWAY RECENTLY.

610
00:25:17,567 --> 00:25:20,600
SHE WAS A PITCHER
IN THE BOYS' LEAGUE.

611
00:25:20,633 --> 00:25:22,767
AND RICK, ABOVE ALL,
WANTED A GIRL

612
00:25:22,800 --> 00:25:24,233
WHO COULD THROW THE BALL.

613
00:25:24,267 --> 00:25:27,233
NOT EVERYBODY
WOULD HAVE DONE THAT.

614
00:25:27,267 --> 00:25:33,667
GREG MADDUX MADE CARVING HITTERS
TO PIECES LOOK EASY.

615
00:25:33,700 --> 00:25:36,333
AND RICK REALLY MAKES IT
LOOK EASY

616
00:25:36,367 --> 00:25:38,133
WHEN HE'S DOING SOMETHING THAT--

617
00:25:38,167 --> 00:25:41,333
SOMETIMES WHEN HE DOES IT--
LIKE "A SCANNER DARKLY", RIGHT?

618
00:25:41,367 --> 00:25:44,500
WHO THOUGHT HE WAS EVER
THINKING UP THE SHIT HE DID?

619
00:25:44,533 --> 00:25:47,067
I MEAN, I WOULDN'T HAVE THOUGHT
OF ANY OF THAT.

620
00:25:47,100 --> 00:25:49,467
WAS THAT-- THAT WAS BASED
ON SOMETHING, THOUGH, RIGHT?

621
00:25:49,500 --> 00:25:50,767
A PHILIP K. DICK NOVEL.

622
00:25:50,800 --> 00:25:52,567
YEAH.
PHILIP K. DICK?

623
00:25:52,600 --> 00:25:54,767
HE SAID "DICK."
(LAUGHTER)

624
00:25:54,800 --> 00:25:56,567
I PUT IN "A SCANNER DARKLY",

625
00:25:56,600 --> 00:26:01,500
AND I JUST REMEMBER THINKING,
LIKE, WHAT THE FREAK IS THIS?

626
00:26:01,533 --> 00:26:03,633
WHAT IS GOING ON
RIGHT NOW?

627
00:26:03,667 --> 00:26:05,333
(MOVIE NARRATOR)
THE NEXT THING HE KNEW,

628
00:26:05,367 --> 00:26:07,533
A CREATURE FROM BETWEEN
DIMENSIONS

629
00:26:07,567 --> 00:26:10,367
WAS STANDING BESIDE HIS BED
LOOKING DOWN AT HIM
DISAPPROVINGLY.

630
00:26:10,400 --> 00:26:12,533
LIKE, WHERE HAVE I BEEN
TRANSPORTED TO,

631
00:26:12,567 --> 00:26:15,733
AND, LIKE, HOW IS--
HOW IS RICK'S MIND--

632
00:26:15,767 --> 00:26:18,067
HOW CAN HIS MIND BE IN ONE PLACE
TO MAKE THIS MOVIE?

633
00:26:18,100 --> 00:26:20,700
I WAS, LIKE, CHECKING THE BOX
TO MAKE SURE

634
00:26:20,733 --> 00:26:22,633
THAT RICK DID THIS FILM.

635
00:26:22,667 --> 00:26:25,167
AND I WATCHED IT,
AND I WAS BLOWN AWAY.

636
00:26:25,200 --> 00:26:28,200
I JUST REMEMBER GOING, LIKE,
HE IS--

637
00:26:28,233 --> 00:26:30,500
HOW DOES THIS GUY
HAVE SO MANY INTERESTS

638
00:26:30,533 --> 00:26:34,267
AND REALLY EXPLORE THESE
DIFFERENT KINDS OF FILMMAKING

639
00:26:34,300 --> 00:26:38,200
AND THIS DIFFERENT PHOTOGRAPHY
AND THIS WHOLE ANIMATION ASPECT?

640
00:26:38,233 --> 00:26:41,067
AND IT JUST--
IT'S KIND OF A TESTAMENT.

641
00:26:41,100 --> 00:26:43,133
I THINK RICK'S GONNA, YOU KNOW--
HE'S ALWAYS SEARCHING

642
00:26:43,167 --> 00:26:44,433
FOR SOMETHING NEW.

643
00:26:44,467 --> 00:26:47,233
HE'S A DEEPER GUY

644
00:26:47,267 --> 00:26:50,500
THAN WHAT YOU MAY THINK
WHEN YOU FIRST MEET HIM.

645
00:26:50,533 --> 00:26:54,400
YOU KNOW, HE HAS FUN, HE'S AN
EASY-GOING GUY AND EVERYTHING.

646
00:26:54,433 --> 00:26:56,633
BUT YOU KNOW, I THINK
THERE'S A--

647
00:26:56,667 --> 00:27:00,633
THERE'S SOME REAL WEIGHT
IN RICK'S SOUL, I BELIEVE.

648
00:27:00,667 --> 00:27:02,767
AND HE WAS NOT PRETENTIOUS.
I MEAN, I'M PRETENTIOUS.

649
00:27:02,800 --> 00:27:07,133
BUT HE'S NOT PRETENTIOUS.

650
00:27:07,167 --> 00:27:09,767
BECAUSE IT'S REALLY ROOTED
IN SOMETHING WITH HIM.

651
00:27:09,800 --> 00:27:13,600
AND THE HUMOR IN RICK'S FILMS,
IT'S ALWAYS EASY.

652
00:27:13,633 --> 00:27:16,433
IT'S ALWAYS VERY REAL
KIND OF--

653
00:27:16,467 --> 00:27:17,633
REAL LIFE KINDA HUMOR,
YOU KNOW.

654
00:27:17,667 --> 00:27:19,733
WHY DO YOU SAY
IT'S AN 18-SPEED

655
00:27:19,767 --> 00:27:21,467
WHEN IT ONLY HAS
NINE GEARS?

656
00:27:21,500 --> 00:27:23,400
HUH? WHAT?

657
00:27:23,433 --> 00:27:26,033
UH, YEAH.
SIX RIGHT HERE,

658
00:27:26,067 --> 00:27:27,567
THREE AT THE OTHER END
OF THE CHAIN,

659
00:27:27,600 --> 00:27:31,300
SIX PLUS THREE
EQUALS NINE.

660
00:27:31,333 --> 00:27:32,633
IT'S A NINE-SPEED BIKE.

661
00:27:32,667 --> 00:27:36,233
ROBERT AND WOODY CAME OUT
I THINK A WEEK BEFORE.

662
00:27:36,267 --> 00:27:39,067
AND RICHARD WOULD TAKE
SOME OF THE RIFFS

663
00:27:39,100 --> 00:27:41,133
THAT PEOPLE WERE DOING
AND INCORPORATE THEM

664
00:27:41,167 --> 00:27:42,600
INTO THE SCRIPT.

665
00:27:42,633 --> 00:27:44,367
FOR "A SCANNER DARKLY,"
THERE WASN'T A LOT

666
00:27:44,400 --> 00:27:47,700
OF DIALOGUE IMPROVISATION.

667
00:27:47,733 --> 00:27:52,400
WHICH IS COOL.

668
00:27:52,433 --> 00:27:55,367
HE'S A PRETTY TOUGH,
SMART GUY, AND RIGHTFULLY.

669
00:27:55,400 --> 00:27:57,100
IF YOU WRITE THAT WELL,
YOU DON'T WANT SOMEONE LIKE ME

670
00:27:57,133 --> 00:27:59,467
COMING IN AND FUCKING IT UP
'CAUSE WE HAVE A HISTORY.

671
00:27:59,500 --> 00:28:02,600
SO I DID THE 12-YEAR PROJECT,
AND IT WAS ALL IMPROV.

672
00:28:02,633 --> 00:28:05,033
AND IT WAS GREAT.
IT WAS LOOSE.

673
00:28:05,067 --> 00:28:08,200
AND HE WAS VERY SUPPORTIVE
AND VERY ENTHUSIASTIC

674
00:28:08,233 --> 00:28:10,467
ABOUT WHAT WE WERE DOING--
AND CLEAR.

675
00:28:10,500 --> 00:28:12,300
BUT IT WAS COOL,
IT WAS LOOSE.

676
00:28:12,333 --> 00:28:14,467
YOU KNOW, WE WERE ALL
JUST ACTING.

677
00:28:14,500 --> 00:28:17,500
AND THEN I GET HIRED
FOR THIS PART

678
00:28:17,533 --> 00:28:19,467
OF THE FUTURE COP.

679
00:28:19,500 --> 00:28:21,233
SO I WENT IN AND I'M, LIKE,
THIS IS COOL.

680
00:28:21,267 --> 00:28:25,567
I KNOW RICK.
WE'RE DOING IT AGAIN.

681
00:28:25,600 --> 00:28:27,333
SO I GO OUT THERE,
AND THERE'S ONE COOL SCENE--

682
00:28:27,367 --> 00:28:29,367
RORY COCHRANE--
HE'S TRIPPIN',

683
00:28:29,400 --> 00:28:31,767
AND THEN HE IMAGINES
THAT HE'S BEING PULLED OVER.

684
00:28:31,800 --> 00:28:34,533
AND I'M THE FUTURE COP, AND
I'M ANIMATED, WHICH WAS COOL.

685
00:28:34,567 --> 00:28:35,800
(COP)
ALL RIGHT, WHAT'S YOUR NAME?

686
00:28:35,833 --> 00:28:37,267
WELL, I MADE THE MISTAKE
OF NOT BEING--

687
00:28:37,300 --> 00:28:38,667
I WAS A LITTLE LOOSE
WITH THE DIALOGUE

688
00:28:38,700 --> 00:28:40,767
'CAUSE I THOUGHT, HEY,
MAN, IT'S RICK AND ME.

689
00:28:40,800 --> 00:28:42,267
THIS IS HOW WE DO.

690
00:28:42,300 --> 00:28:44,267
AND SO I DO IT
A COUPLE TIMES,

691
00:28:44,300 --> 00:28:46,167
AND I'M SUPPOSED TO DO
THE MIRANDA RIGHTS,

692
00:28:46,200 --> 00:28:50,067
I'M SUPPOSED TO FORGET THEM,
WHICH WAS FORTUNATE.

693
00:28:50,100 --> 00:28:51,767
AND SO IT'S LIKE--

694
00:28:51,800 --> 00:28:53,400
AND I'M MOVING,
IT'S GOING GREAT.

695
00:28:53,433 --> 00:28:55,033
AND ALL OF A SUDDEN
RICK WALKS UP TO ME

696
00:28:55,067 --> 00:28:58,600
AND HE GOES, UH,
"MAYBE YOU SHOULD GO
OFF THE SCRIPT."

697
00:28:58,633 --> 00:29:00,700
I'M, LIKE, WHAT?
AND HE GOES, "YEAH.

698
00:29:00,733 --> 00:29:05,067
I WROTE A SCRIPT, YOU SHOULD
MAYBE DO THE LINES AS WRITTEN."

699
00:29:05,100 --> 00:29:06,567
AND HE WAS NICE AND EVERYTHING.

700
00:29:06,600 --> 00:29:08,500
AND I'M, LIKE,
MAN, DON'T YOU REMEMBER?

701
00:29:08,533 --> 00:29:10,600
FUCK THIS SHIT.

702
00:29:10,633 --> 00:29:12,533
I FOUND OUT LATER
HIS REPUTATION IS THAT

703
00:29:12,567 --> 00:29:14,433
EVERYTHING HE WRITES
IS VERBATIM.

704
00:29:14,467 --> 00:29:16,533
IT JUST FEELS LIKE IMPROV.
BUT THE GUY--

705
00:29:16,567 --> 00:29:19,200
THAT'S HOW GOOD HIS WRITING IS.
BUT I THOUGHT IT WAS, LIKE,

706
00:29:19,233 --> 00:29:20,733
NO, MAN, WE'RE COLLABORATING.

707
00:29:20,767 --> 00:29:23,300
IT TURNED OUT
NOT TO BE THE--

708
00:29:23,333 --> 00:29:24,400
NOT TO BE THE CASE.

709
00:29:24,433 --> 00:29:26,267
HE'LL TELL YOU
WHAT HE WANTS,

710
00:29:26,300 --> 00:29:28,367
OR HE'LL KINDA,
"WHAT'S GONNA HAPPEN HERE?

711
00:29:28,400 --> 00:29:30,133
LET'S SEE WHAT HAPPENS."

712
00:29:30,167 --> 00:29:33,500
AND HE HAS A REAL ENTHUSIASM,
INTEREST, YOU KNOW.

713
00:29:33,533 --> 00:29:37,667
AT LEAST THAT'S HOW HE WAS
ON "A SCANNER DARKLY."

714
00:29:37,700 --> 00:29:39,400
YOU KNOW.
BUT YOU HEAR THINGS.

715
00:29:39,433 --> 00:29:41,700
OKAY, MY COMPUTATIONS
ARE COMPLETE.

716
00:29:41,733 --> 00:29:45,467
YOU ARE JUST HECKLE TWEAK,
BUT YOU ARE BUG-BITE SQUARED.

717
00:29:45,500 --> 00:29:46,567
WHAT KIND OF BUG

718
00:29:46,600 --> 00:29:48,533
ABOUT-TO-GET-FUCKED-UP
BITCH BEETLE.

719
00:29:48,567 --> 00:29:52,067
THERE'S THIS FEELING
OF IMPROVISATION AND FORMALISM

720
00:29:52,100 --> 00:29:56,433
TO RICHARD'S WRITING, AND
TO HIS CINEMA, TO HIS CAMERA,

721
00:29:56,467 --> 00:30:01,733
WHICH IS ENTERTAINING,
AND ALSO A GREAT--

722
00:30:01,767 --> 00:30:03,567
YOU KNOW,
THERE'S BEAUTY TO THEM.

723
00:30:03,600 --> 00:30:05,767
THERE'S BEAUTY TO THE WORDS,
TO THE PERFORMANCES

724
00:30:05,800 --> 00:30:07,500
THAT HE GETS
FROM HIS PERFORMERS,

725
00:30:07,533 --> 00:30:11,133
AND TO HIS SCRIPTS
AND HIS SUBJECT MATTERS.

726
00:30:11,167 --> 00:30:12,767
YOU KNOW, HE HAS
SOME THEMES.

727
00:30:12,800 --> 00:30:16,600
ALIENATED PEOPLE WITH THESE
CONSTRUCTED, HAPPENSTANCE
FAMILIES.

728
00:30:16,633 --> 00:30:21,333
RICK TENDS TO HAVE
LOVEABLE LOSERS IN HIS MOVIES.

729
00:30:21,367 --> 00:30:22,633
SCREW THIS.

730
00:30:22,667 --> 00:30:23,767
(THORNTON)
ONE OF THE KIDS IN THE MOVIE,

731
00:30:23,800 --> 00:30:26,667
WHO PLAYS THE MAIN RASCAL--

732
00:30:26,700 --> 00:30:30,267
HE REALLY WOULD, ON THE SET,
IF YOU WEREN'T LOOKING

733
00:30:30,300 --> 00:30:33,567
EVERY MINUTE, HE WOULD JUST
HIT YOU IN THE NUTS...

734
00:30:33,600 --> 00:30:36,267
WITH HIS BASEBALL GLOVE
OR SOMETHING, YOU KNOW?

735
00:30:36,300 --> 00:30:37,733
AND IT WAS LIKE, HE WAS--
YOU KNOW,

736
00:30:37,767 --> 00:30:39,433
IN REAL LIFE
HE WAS LIKE THAT.

737
00:30:39,467 --> 00:30:41,467
HE WAS A GREAT KID--
I LOVED HIM--

738
00:30:41,500 --> 00:30:45,100
BUT YOU KNOW, YOU JUST HAD
TO KEEP YOUR EYES PEELED
EVERY MINUTE.

739
00:30:47,833 --> 00:30:50,267
PEOPLE WHO REALLY LOVE MOVIES,
I THINK,

740
00:30:50,300 --> 00:30:52,600
ALWAYS LOVE
THE LOVEABLE LOSER,

741
00:30:52,633 --> 00:30:57,133
OR THE PEOPLE WHO TRY TO LIVE
ABOVE THEIR ABILITY, MAYBE,

742
00:30:57,167 --> 00:30:59,800
YOU KNOW...
REACHING FOR SOMETHING

743
00:30:59,833 --> 00:31:02,567
THAT MAYBE THEY KNOW
THEY'LL NEVER ACHIEVE,

744
00:31:02,600 --> 00:31:04,133
BUT THEY KEEP TRYING.

745
00:31:04,167 --> 00:31:08,133
EVERYONE'S BROKEN...
AND EVERYONE'S COMING TOGETHER.

746
00:31:08,167 --> 00:31:10,567
AND ALSO JUST, YOU KNOW,
HIS SOCIAL AWARENESS.

747
00:31:10,600 --> 00:31:14,233
HIS KIND OF BIGGER PICTURE
UBER AWARENESS

748
00:31:14,267 --> 00:31:17,333
DEALING WITH SOCIAL CONSTRUCTS--
ABOUT AMERICA...

749
00:31:17,367 --> 00:31:19,733
CONSPIRACY, PARANOIA.

750
00:31:19,767 --> 00:31:22,500
AND JUST WHAT THE HECK
IS GOING ON?

751
00:31:22,533 --> 00:31:25,500
THERE'S JUST AN INVESTIGATION
OF PEOPLE'S THOUGHT,

752
00:31:25,533 --> 00:31:28,200
PEOPLE'S FEELING,
AND CONSTANTLY.

753
00:31:28,233 --> 00:31:31,500
YOU KNOW, AND HOW WE KIND OF
BUMP UP AGAINST EACH OTHER.

754
00:31:31,533 --> 00:31:33,367
"A SCANNER DARKLY,"
I MEAN, HE DOES THAT,

755
00:31:33,400 --> 00:31:36,100
AND HE DOES "BAD NEWS BEARS,"
AND HE DOES "SCHOOL OF ROCK,"

756
00:31:36,133 --> 00:31:38,167
YOU KNOW, WHATEVER,
YOU KNOW.

757
00:31:38,200 --> 00:31:41,133
I MEAN, HE'S JUST--
RICK'S SNEAKY, MAN.

758
00:31:41,167 --> 00:31:43,200
YOU KNOW, HE'S GOT ALL KINDS
OF STUFF IN HIS HEAD.

759
00:31:43,233 --> 00:31:46,767
WELL, HE'S EVOLVING
AS A MAN, OBVIOUSLY.

760
00:31:46,800 --> 00:31:48,233
AND THAT'S REFLECTING
IN HIS WORK.

761
00:31:48,267 --> 00:31:50,233
AND HIS SENSIBILITIES
ARE EVOLVING.

762
00:31:50,267 --> 00:31:52,533
EITHER THEY'RE GALVANIZING
OLD IDEAS OR THEY'RE CREATING

763
00:31:52,567 --> 00:31:54,267
OR MAKING HIM QUESTION
OLD IDEAS,

764
00:31:54,300 --> 00:31:55,767
OR CREATING NEW IDEAS.

765
00:31:55,800 --> 00:31:59,167
AND HE CAPTURES THEM, AND HE CAN
SEAMLESSLY GO BACK AND FORTH

766
00:31:59,200 --> 00:32:00,767
BETWEEN WHAT LOOKS TO BE
ULTRA-INDIE,

767
00:32:00,800 --> 00:32:02,333
AND SOMETHING THAT HAS
MORE PRODUCTION VALUE.

768
00:32:02,367 --> 00:32:04,767
ON A GLOBAL LEVEL, I MEAN,
I JUST FEEL LIKE

769
00:32:04,800 --> 00:32:08,467
RICK IS PROBABLY THE MOST
INTERESTING FILMMAKER

770
00:32:08,500 --> 00:32:11,133
IN AMERICA RIGHT NOW
BECAUSE OF THE--

771
00:32:11,167 --> 00:32:13,267
I MEAN, THE DIVERSITY
OF WHAT HE'S DOING.

772
00:32:13,300 --> 00:32:15,433
HE'S DOING ANIMATED STUFF,
HE'S MAKING KIDS' FILMS,

773
00:32:15,467 --> 00:32:16,767
HE'S MAKING HUGE
BLOCKBUSTER MOVIES.

774
00:32:16,800 --> 00:32:19,533
HE'S MAKING MOVIES THAT
SPAN 25 YEARS.

775
00:32:19,567 --> 00:32:21,400
NO ONE IS DOING THAT.
HE'S MAKING BREAKFAST.

776
00:32:21,433 --> 00:32:23,333
HE DOES THAT, TOO.

777
00:32:23,367 --> 00:32:26,033
(TYPEWRITER KEYS CLICKING)

778
00:32:34,333 --> 00:32:36,700
(LOUIS BLACK)
THE "BEFORE SUNRISE,"
"BEFORE SUNSET,"

779
00:32:36,733 --> 00:32:40,633
AND "BEFORE MIDNIGHT" TRILOGY
IS ONE OF THE JUST TRULY GREAT

780
00:32:40,667 --> 00:32:42,267
WORKS OF AMERICAN FILM,

781
00:32:42,300 --> 00:32:44,500
BECAUSE IT EXPLORES STUFF
NOBODY ELSE EXPLORES.

782
00:32:44,533 --> 00:32:46,167
YOU KNOW, AT THE END
OF "THE GRADUATE,"

783
00:32:46,200 --> 00:32:47,633
HE'S STANDING THERE
BY THE WINDOW SCREAMING FOR HER,

784
00:32:47,667 --> 00:32:49,133
AND THEY GET ON THE BUS
TOGETHER, AND THERE THEY ARE

785
00:32:49,167 --> 00:32:50,467
SITTING ON THE BACK OF THE BUS.

786
00:32:50,500 --> 00:32:52,100
WHAT HAPPENS THEN?

787
00:32:52,133 --> 00:32:54,167
RICK'S WORLD IS ABOUT
WHAT HAPPENS THEN.

788
00:32:54,200 --> 00:32:58,233
SWEAR ON OUR KIDS YOU DIDN'T
FUCK THAT LADY FROM THE BOOK
STORE-- EMILY.

789
00:32:58,267 --> 00:33:00,800
(LOUIS BLACK)
YOU WAKE UP THE NEXT MORNING--

790
00:33:00,833 --> 00:33:02,667
WHO IS THIS PERSON
NEXT TO YOU?

791
00:33:02,700 --> 00:33:05,533
AND THERE'S SO MANY FILMS THAT
THINK THAT THAT'S THE ANSWER.

792
00:33:05,567 --> 00:33:07,500
AND THAT'S NOT THE ANSWER.
THE ANSWER IS

793
00:33:07,533 --> 00:33:09,167
HOW DO YOU GET ON
WITH THE REST OF YOUR LIVES?

794
00:33:09,200 --> 00:33:12,700
I AM GIVING YOU
MY WHOLE LIFE, OKAY?

795
00:33:12,733 --> 00:33:15,300
I GOT NOTHING LARGER
TO GIVE.

796
00:33:15,333 --> 00:33:19,133
I'M NOT GIVING IT
TO ANYBODY ELSE.

797
00:33:19,167 --> 00:33:21,100
(HAWKE)
HE HAD BEEN TALKING TO ME
ABOUT THIS MOVIE

798
00:33:21,133 --> 00:33:22,500
CALLED "BEFORE SUNRISE."
HE HAD THIS IDEA--

799
00:33:22,533 --> 00:33:24,600
IT WAS A TRAIN,
IT WAS GONNA GO--

800
00:33:24,633 --> 00:33:27,800
I WANT TO MAKE A MOVIE ABOUT
THE NIGHT I FELL IN LOVE.

801
00:33:27,833 --> 00:33:31,300
AND I READ IT, AND IT WAS REALLY
VERY, VERY LONG-WINDED.

802
00:33:31,333 --> 00:33:33,033
VERY BIZARRE SCRIPT.

803
00:33:33,067 --> 00:33:37,033
HE SAID, "LOOK, DON'T WORRY
ABOUT THE SCRIPT SO MUCH.

804
00:33:37,067 --> 00:33:39,500
"WHAT I WANT TO DO IS--

805
00:33:39,533 --> 00:33:41,167
"I'VE NEVER BEEN
IN A HELICOPTER CRASH.

806
00:33:41,200 --> 00:33:45,700
"I NEVER HAVE BEEN INVOLVED
IN SERIOUS GUNPLAY.

807
00:33:45,733 --> 00:33:48,367
"I HAVE NEVER BEEN
ON A SUBMARINE,

808
00:33:48,400 --> 00:33:50,567
"OR ALL THESE THINGS
THAT PEOPLE MAKE MOVIES ABOUT.

809
00:33:50,600 --> 00:33:55,133
"AND YET MY LIFE FEELS TO ME
LIKE IT'S FULL OF DRAMA,

810
00:33:55,167 --> 00:33:57,467
"AND WORTHY OF A STORY.

811
00:33:57,500 --> 00:33:59,500
"AND ONE OF THE BEST THINGS
THAT EVER HAPPENED TO ME

812
00:33:59,533 --> 00:34:02,200
"WAS ACTUALLY CONNECTING
WITH ANOTHER HUMAN BEING.

813
00:34:02,233 --> 00:34:06,500
THAT FEELING, AND COULD WE
MAKE A MOVIE ABOUT THAT?"

814
00:34:13,500 --> 00:34:16,167
AND THAT IS A VERY
MAGICAL THING TO CAPTURE.

815
00:34:16,200 --> 00:34:17,733
AND THERE'S NO RECIPE
FOR THAT.

816
00:34:17,767 --> 00:34:19,767
AND I THINK IT COMES DIRECTLY
FROM THE SPIRIT OF RICK.

817
00:34:19,800 --> 00:34:22,267
AND ONCE YOU MEET RICK,
YOU KIND OF KNOW...

818
00:34:22,300 --> 00:34:24,167
THIS IS HOW HE THINKS,
THIS IS HOW HE TALKS,

819
00:34:24,200 --> 00:34:25,500
THIS IS HOW HE LIVES.

820
00:34:25,533 --> 00:34:28,433
ETHAN HAWKE, OVER THE COURSE
OF THREE "SUNRISE",

821
00:34:28,467 --> 00:34:30,667
"SUNSET", "MIDNIGHT" MOVIES
HAS BEEN A VESSEL

822
00:34:30,700 --> 00:34:32,300
FOR RICK'S SPIRIT.

823
00:34:32,333 --> 00:34:33,733
YOU KNOW, I JUST WANTED
TO CLOSE MY EYES

824
00:34:33,767 --> 00:34:35,567
AND WAKE UP
AND BE AN ADULT.

825
00:34:35,600 --> 00:34:37,100
AND NOW I KINDA FEEL LIKE
THAT HAPPENED,

826
00:34:37,133 --> 00:34:38,733
AND I JUST WANT EVERYTHING
TO SLOW DOWN.

827
00:34:38,767 --> 00:34:40,667
(MARK DUPLASS)
WHEN YOU WATCH THE FILMMAKING
OF THE FIRST ONE,

828
00:34:40,700 --> 00:34:43,133
I CAN'T BELIEVE THAT SUCH
A YOUNG MAN MADE THAT MOVIE.

829
00:34:43,167 --> 00:34:46,733
THERE'S SOMETHING OLD-MANISH
ABOUT THE CAMERA.

830
00:34:46,767 --> 00:34:48,567
THE CAMERA WORK
IN "BEFORE SUNRISE",

831
00:34:48,600 --> 00:34:50,567
IT'S JUST KIND OF KNOWING.

832
00:34:50,600 --> 00:34:52,667
IN A WAY, IT'S YOUNG PEOPLE--

833
00:34:52,700 --> 00:34:55,700
"I THINK, I WANT,
I'M NOT SURE.

834
00:34:55,733 --> 00:34:58,067
DO YOU THINK?
DO YOU WANT?
WHAT DO YOU THINK?"

835
00:34:58,100 --> 00:35:02,200
THE WALK AND TALKS...
ARE YOU KIDDING ME?

836
00:35:02,233 --> 00:35:05,033
IT'S THEATER, BECAUSE
THE PACE OF IT,

837
00:35:05,067 --> 00:35:07,167
THE RHYTHMS OF BACK AND FORTH--

838
00:35:07,200 --> 00:35:08,800
THE INFORMATION
REFLECTS LIFE.

839
00:35:08,833 --> 00:35:11,600
THE RELATIONSHIP
REFLECTS LIFE.

840
00:35:11,633 --> 00:35:13,533
BUT THE BANTER REFLECTS ART.

841
00:35:13,567 --> 00:35:15,033
YOU KNOW WHAT?
WHAT?

842
00:35:15,067 --> 00:35:16,267
YOU WANNA STOP TALKING
ABOUT THIS?
YEAH.

843
00:35:16,300 --> 00:35:17,500
(PRINCE)
IT'S AN INTERESTING THING.

844
00:35:17,533 --> 00:35:18,800
IT'S LIKE WATCHING A PLAY,

845
00:35:18,833 --> 00:35:21,367
BUT IT'S STEEPED IN REALISM,
EVEN THOUGH THE BANTER

846
00:35:21,400 --> 00:35:24,133
IS SO QUICK AND SO TIGHT
THAT IT MAY NOT BE

847
00:35:24,167 --> 00:35:26,600
COMPLETELY REFLECTIVE
OF HOW PEOPLE MAY PAUSE OR NOT.

848
00:35:26,633 --> 00:35:28,533
IT'S SO MUCH BETTER
AND SO MUCH MORE INTERESTING.

849
00:35:28,567 --> 00:35:30,467
I WANT TO HAVE KIDS SOMEDAY.
I'M JUST NOT READY YET.

850
00:35:30,500 --> 00:35:33,567
(PRINCE)
BUT THAT, I GUARANTEE YOU,
THAT IS TO THE PERIOD

851
00:35:33,600 --> 00:35:35,800
THAT THOSE ACTORS ARE
WORKING THROUGH HIS DIALOGUE.

852
00:35:35,833 --> 00:35:38,800
HE'S A PHOTOJOURNALIST.
HE DOES WAR COVERAGE.

853
00:35:38,833 --> 00:35:40,767
HE'S AWAY A LOT, WHICH
IN A WAY IS GOOD FOR ME

854
00:35:40,800 --> 00:35:42,100
BECAUSE I'M SO BUSY.

855
00:35:42,133 --> 00:35:43,500
YEAH, BUT ISN'T IT DANGEROUS?
I MEAN,

856
00:35:43,533 --> 00:35:46,067
AREN'T A LOT OF THOSE GUYS
GETTING KILLED THESE DAYS?

857
00:35:46,100 --> 00:35:48,367
HE PROMISES ME
HE DOESN'T TAKE RISKS.

858
00:35:48,400 --> 00:35:51,333
(PRINCE)
THAT'S REALLY TOUGH WRITING,
REALLY GOOD ACTING,

859
00:35:51,367 --> 00:35:54,067
REALLY INTERESTING STUFF,
AND THAT'S HIM, MAN.

860
00:35:54,100 --> 00:35:56,267
I MEAN, ETHAN, AT ANY POINT,
COULD HAVE OPTED TO BECOME

861
00:35:56,300 --> 00:35:59,200
A MAINSTREAM HOLLYWOOD STAR,
AND NOT DO THEATER,

862
00:35:59,233 --> 00:36:01,700
AND NOT DO INDIE FILMS,
AND NOT WRITE NOVELS,

863
00:36:01,733 --> 00:36:03,333
AND NOT MAKE HIS OWN MOVIES.

864
00:36:03,367 --> 00:36:06,533
YOU KNOW, JULIE COULD HAVE
GONE THE STARLET ROUTE.

865
00:36:06,567 --> 00:36:08,733
RICK COULD HAVE EASILY BECOME
A HOLLYWOOD DIRECTOR.

866
00:36:08,767 --> 00:36:11,667
AND THEY RESISTED THAT.
I MEAN, IN A WAY,
IN THEIR OWN LIVES,

867
00:36:11,700 --> 00:36:13,400
THEY REFLECT THE CHARACTERS--

868
00:36:13,433 --> 00:36:15,467
THEY RESIST, YOU KNOW,
THE EASY OUT.

869
00:36:15,500 --> 00:36:17,300
THEY DON'T TAKE
THE TRADITIONAL ROUTE.

870
00:36:17,333 --> 00:36:19,367
AND THAT MAKES THE SECOND FILM
SO EXTRAORDINARY,

871
00:36:19,400 --> 00:36:21,333
WHEN THE TWO COME TOGETHER,
BECAUSE THEY'VE BOTH

872
00:36:21,367 --> 00:36:23,433
BEEN WEATHERED
BY REAL EXPERIENCE

873
00:36:23,467 --> 00:36:25,167
AND BY REAL COMMITMENT
AND VISION.

874
00:36:25,200 --> 00:36:28,133
WE WERE IN THE AGE, ETHAN AND I,
OF THE CHARACTERS,

875
00:36:28,167 --> 00:36:30,100
AND WE WERE FEELING
THOSE THINGS FOR REAL.

876
00:36:32,733 --> 00:36:35,767
I'M SURE THAT'S WHEN I'D KNOW
I'M REALLY IN LOVE.

877
00:36:35,800 --> 00:36:40,267
IT'S PERSONAL FEELINGS THAT,
REALLY, ETHAN AND I HAD.

878
00:36:40,300 --> 00:36:43,733
NOT FOR ONE ANOTHER,
BUT FOR, YOU KNOW, IN LIFE.

879
00:36:43,767 --> 00:36:45,200
THOUGHTS WE REALLY HAD.

880
00:36:45,233 --> 00:36:47,700
AND I THINK WHEN RICHARD
SENSED THAT, YOU KNOW,

881
00:36:47,733 --> 00:36:50,400
A LITTLE BIT OF MELANCHOLY,
A LITTLE BIT OF ROMANTICISM

882
00:36:50,433 --> 00:36:52,400
IN US AND STUFF, HE FELT
THAT WAS RIGHT.

883
00:36:52,433 --> 00:36:54,267
YOU KNOW, ALL THIS BULLSHIT
WE'RE TALKING ABOUT

884
00:36:54,300 --> 00:36:56,333
ABOUT NOT SEEING EACH OTHER
AGAIN-- I DON'T WANNA DO THAT.

885
00:36:56,367 --> 00:36:58,133
YEAH, I DON'T WANT
TO DO THAT EITHER.

886
00:36:58,167 --> 00:36:59,800
I WAS WAITING FOR YOU
TO SAY IT.

887
00:36:59,833 --> 00:37:03,033
(HAWKE)
YOU KNOW WHEN THAT MOVIE
REALLY STARTS WORKING

888
00:37:03,067 --> 00:37:07,733
IN A WAY THAT IS UNIQUE IS WHEN
WE'RE QUIET WITH EACH OTHER

889
00:37:07,767 --> 00:37:10,133
IN THE LISTENING BOOTH.

890
00:37:10,167 --> 00:37:12,767
WE GO INTO A LISTENING BOOTH
IN A RECORD SHOP,

891
00:37:12,800 --> 00:37:16,167
AND WE WERE, LIKE, YOU KNOW,
IT'S SEEING TWO PEOPLE,

892
00:37:16,200 --> 00:37:18,567
AND ACTUALLY IN
A NON-VERBAL STATE--

893
00:37:18,600 --> 00:37:20,600
PARTICULARLY TWO
HIGHLY VERBAL PEOPLE.

894
00:37:20,633 --> 00:37:25,733
FOR THESE TWO PEOPLE
TO REACH A PLACE OF QUIET
IS POWERFUL.

895
00:37:25,767 --> 00:37:28,633
* BLOWS IN FROM THE NORTH

896
00:37:28,667 --> 00:37:34,200
* AND IT SAYS THAT LOVING
TAKES ITS COURSE *

897
00:37:34,233 --> 00:37:38,767
* COME HERE

898
00:37:38,800 --> 00:37:42,767
* COME HERE

899
00:37:42,800 --> 00:37:47,767
* NO I'M NOT IMPOSSIBLE
TO TOUCH *

900
00:37:47,800 --> 00:37:53,133
* I HAVE NEVER
WANTED YOU SO MUCH *

901
00:37:53,167 --> 00:37:54,767
* COME HERE

902
00:37:54,800 --> 00:37:56,433
THEY WERE REALLY EASY.

903
00:37:56,467 --> 00:37:57,800
THEY ARE KIND OF
EXPERIMENTAL,

904
00:37:57,833 --> 00:37:59,767
THEY ARE SLIGHTLY DANGEROUS
IN THE MOVIE,

905
00:37:59,800 --> 00:38:02,767
BUT IT WAS EASY TO DO, IT WAS
EXACTLY WHAT WE WANTED TO DO.

906
00:38:02,800 --> 00:38:06,233
I WAS WORKING WITH
TWO PEOPLE THAT I LOVE.

907
00:38:06,267 --> 00:38:08,600
I MEAN, NOBODY WANTED US
TO MAKE THAT SECOND MOVIE.

908
00:38:08,633 --> 00:38:10,633
THAT WAS THE FUN OF IT.
WE WERE MAKING THE SEQUEL

909
00:38:10,667 --> 00:38:14,500
TO A MOVIE-- THE LEAST-GROSSING
FILM OF ALL-TIME

910
00:38:14,533 --> 00:38:16,533
TO EVER SPAWN A SEQUEL,
YOU KNOW?

911
00:38:16,567 --> 00:38:19,433
AND WE WERE KIND OF
PROUD OF OURSELVES.

912
00:38:19,467 --> 00:38:21,267
IT WAS LIKE WE WERE
THE ONLY THREE PEOPLE

913
00:38:21,300 --> 00:38:23,400
THAT WANTED TO SEE
"BEFORE SUNSET".

914
00:38:23,433 --> 00:38:25,300
WHY WE DID A SECOND FILM,
AND WHY WE WANTED

915
00:38:25,333 --> 00:38:27,200
TO MAYBE DO A THIRD ONE
IS BECAUSE

916
00:38:27,233 --> 00:38:29,033
WE REALLY HAVE
A LOT OF FUN.

917
00:38:29,067 --> 00:38:31,200
I MEAN, LIKE--
LIKE LAUGHING.

918
00:38:31,233 --> 00:38:33,800
CONSTANTLY, DURING
THE WRITING PERIOD,

919
00:38:33,833 --> 00:38:36,733
NONSTOP.
NONSTOP LAUGHING.

920
00:38:36,767 --> 00:38:38,533
AND EVEN, LIKE, THE MOMENT
THAT WE WROTE

921
00:38:38,567 --> 00:38:39,767
THAT ARE ROMANTIC
AND ALL THAT,

922
00:38:39,800 --> 00:38:42,633
OR MORE EMOTIONAL,
LAUGHING THE WHOLE TIME.

923
00:38:42,667 --> 00:38:44,500
I KNOW, IT'S--
(LAUGHS)

924
00:38:44,533 --> 00:38:46,300
IT'S VERY KIND OF A LETDOWN.

925
00:38:46,333 --> 00:38:47,767
LIKE, OH, IT'S ALL
THOSE ROMANTIC IDEAS.

926
00:38:47,800 --> 00:38:50,433
BUT IT'S LIKE, NO, NO,
WE'RE JUST HAVING A BALL.

927
00:38:50,467 --> 00:38:52,033
HAVING THE BEST TIME EVER.

928
00:38:52,067 --> 00:38:53,700
(LAUGHS)
YEAH, THAT IS,
RIGHT?

929
00:38:53,733 --> 00:38:55,033
I GUESS.

930
00:38:55,067 --> 00:38:56,467
I MEAN, IT'S HEALTHY
TO DESIRE, RIGHT?

931
00:38:56,500 --> 00:38:58,533
YEAH.
I DON'T KNOW.

932
00:38:58,567 --> 00:39:00,400
I MEAN, IT'S WHAT ALL
THOSE BUDDHIST GUYS SAY, RIGHT?

933
00:39:00,433 --> 00:39:02,200
YOU KNOW, LIBERATE YOURSELF
FROM DESIRE

934
00:39:02,233 --> 00:39:03,400
AND YOU'LL FIND THAT
YOU ALREADY HAVE

935
00:39:03,433 --> 00:39:04,467
EVERYTHING YOU NEED.

936
00:39:04,500 --> 00:39:06,267
YEAH, I FEEL
REALLY ALIVE

937
00:39:06,300 --> 00:39:09,033
WHEN I WANT SOMETHING MORE
THAN JUST BASIC SURVIVAL NEEDS.

938
00:39:09,067 --> 00:39:12,333
I MEAN, WANTING, WHETHER IT'S
INTIMACY WITH ANOTHER PERSON

939
00:39:12,367 --> 00:39:14,267
OR A NEW PAIR OF SHOES
IS KING OF BEAUTIFUL.

940
00:39:14,300 --> 00:39:16,800
I LIKE THAT WE HAVE THOSE
EVER-RENEWING DESIRES.

941
00:39:16,833 --> 00:39:19,300
THE CONVERSATION IN "BEFORE
SUNSET" IS THE MOST ADULT

942
00:39:19,333 --> 00:39:21,800
AND MATURE CONVERSATION
ABOUT ROMANCE

943
00:39:21,833 --> 00:39:23,033
THAT I HAVE EVER HEARD.

944
00:39:23,067 --> 00:39:24,400
IT IS SO GREAT.

945
00:39:24,433 --> 00:39:27,067
THE ENDING OF THAT FILM
IS SO-- IT'S PERFECT.

946
00:39:27,100 --> 00:39:28,800
THOSE FILMS ARE
IMPOSSIBLE TO END.

947
00:39:28,833 --> 00:39:32,267
YOU KNOW, I MEAN THE BEST
OF THOSE FILMS END WEAKLY.

948
00:39:32,300 --> 00:39:34,133
THIS FILM HAS
THE PERFECT ENDING.

949
00:39:34,167 --> 00:39:36,500
I AM AS PROUD OF
THE ENDING OF THAT MOVIE

950
00:39:36,533 --> 00:39:39,300
OF ANYTHING THAT I'VE EVER
BEEN ASSOCIATED--

951
00:39:39,333 --> 00:39:42,233
I MEAN, IT'S-- YOU KNOW,
AND YOU JUST STUMBLE ON IT.

952
00:39:42,267 --> 00:39:43,733
AND I REMEMBER
HOW IT HAPPENED.

953
00:39:43,767 --> 00:39:46,467
LIKE I SAID, IT'S NOT LIKE
SOMEBODY PLANNED IT ALL.

954
00:39:46,500 --> 00:39:49,533
IT JUST WAS RIGHT HOW
IT ALL CAME TOGETHER.

955
00:39:49,567 --> 00:39:51,367
EVEN THOUGH AN AGENT
AT THE TIME THAT I HAD,

956
00:39:51,400 --> 00:39:52,767
WHEN HE SAW THE FILM,
HE'S LIKE,

957
00:39:52,800 --> 00:39:54,767
"WHAT A DISAPPOINTMENT.
THEY DON'T EVEN KISS."

958
00:39:54,800 --> 00:39:55,767
I WAS, LIKE,
"OKAY, WHATEVER."

959
00:39:55,800 --> 00:39:57,333
(LAUGHTER)

960
00:39:57,367 --> 00:40:00,333
HE'S NOT MY AGENT ANYMORE,
JUST SO YOU KNOW.

961
00:40:00,367 --> 00:40:03,467
THE STUDIO PEOPLE ASKED ME,
"PLEASE CALL HIM AND ASK HIM

962
00:40:03,500 --> 00:40:04,767
IF HE COULD RE-SHOOT
THE ENDING."

963
00:40:04,800 --> 00:40:07,667
THEY REALLY FELT THAT
JULIE AND I SHOULD KISS,

964
00:40:07,700 --> 00:40:09,133
OR SOMETHING LIKE THAT.

965
00:40:09,167 --> 00:40:10,567
AND I CALLED HIM UP--
I CALLED HIM UP

966
00:40:10,600 --> 00:40:14,633
WITH EVERY INTENTION OF
BRINGING THE SUBJECT UP.

967
00:40:14,667 --> 00:40:18,667
BUT WE STARTED TALKING
ABOUT THE U.T. BASEBALL TEAM.

968
00:40:18,700 --> 00:40:21,267
THEN, BEFORE I KNEW IT,
I WAS TALKING ABOUT THE KNICKS,

969
00:40:21,300 --> 00:40:23,167
AND BEFORE I KNEW IT,
I WAS TALKING ABOUT,

970
00:40:23,200 --> 00:40:28,167
YOU KNOW, SOME
DOSTOYEVSKY BOOK
I WAS READING AT THE TIME.

971
00:40:28,200 --> 00:40:29,400
THEN I WAS OFF THE PHONE.

972
00:40:29,433 --> 00:40:31,267
AND THEN I CALLED
THE STUDIO BACK

973
00:40:31,300 --> 00:40:35,767
AND I TOLD THEM, "I TOLD HIM.
HE'S REALLY THINKING ABOUT IT."

974
00:40:35,800 --> 00:40:38,300
IT'S A LOT LIKE SAYING
AT THE END OF "KANE",

975
00:40:38,333 --> 00:40:41,167
LET HIM TAKE THE SLED OUT
AND SHOW IT AROUND.

976
00:40:41,200 --> 00:40:43,700
YOU KNOW, I MEAN IT'S LIKE
MISSING THE WHOLE POINT--

977
00:40:43,733 --> 00:40:45,433
THE WHOLE POINT OF THAT MOVIE.

978
00:40:45,467 --> 00:40:48,167
HER DANCING WITHOUT
THEM TOUCHING

979
00:40:48,200 --> 00:40:50,800
IS ONE OF THE MOST
COMPLETELY EROTIC SCENES.

980
00:41:06,400 --> 00:41:08,667
HE KINDA KNEW WHAT
HE WANTED TO BE DOING,

981
00:41:08,700 --> 00:41:11,400
AND IT WAS FUN
TO BE HIS PROCESS--

982
00:41:11,433 --> 00:41:15,133
THE WAY THAT HE LIKES TO WRITE
AND WORK WITH ACTORS,

983
00:41:15,167 --> 00:41:20,733
AND ENCOURAGE YOU TO CONTRIBUTE
AND BRING YOURSELF TO IT.

984
00:41:20,767 --> 00:41:24,533
SO THAT STARTED HAPPENING,

985
00:41:24,567 --> 00:41:26,800
BUT I NEVER WOULD HAVE THOUGHT
WE WOULD HAVE DONE IT AGAIN.

986
00:41:26,833 --> 00:41:29,633
AND HERE YOU ARE, 18 YEARS
LATER, HAVING MADE THREE OF 'EM.

987
00:41:29,667 --> 00:41:32,267
WHEN I TALK ABOUT RICK'S
HUMANISM AND HIS OPTIMISM,

988
00:41:32,300 --> 00:41:35,067
IT'S REALLY DEEPLY ROOTED
IN REAL LIFE,

989
00:41:35,100 --> 00:41:36,567
AND IN THE PAIN AND TRAUMA
OF REAL LIFE.

990
00:41:36,600 --> 00:41:38,400
AND SOMETIMES THERE'S
A VERY BLACK HUMOR.

991
00:41:38,433 --> 00:41:40,733
I'M A TIME TRAVELER.

992
00:41:40,767 --> 00:41:42,167
OKAY...

993
00:41:42,200 --> 00:41:44,067
THAT GUY YOU VAGUELY REMEMBER--

994
00:41:44,100 --> 00:41:47,767
THE SWEET, ROMANTIC ONE
YOU MET ON A TRAIN...

995
00:41:47,800 --> 00:41:49,200
THAT IS ME.

996
00:41:49,233 --> 00:41:51,167
HE'S REMINDING HIMSELF
THAT HE'S THAT GUY,

997
00:41:51,200 --> 00:41:53,733
AND TO PLEASE SEE HER
WITH THOSE EYES

998
00:41:53,767 --> 00:41:55,633
THAT HE SAW HER WITH THEN.

999
00:41:55,667 --> 00:41:58,533
I MEAN, YOU KNOW,
HE'S TRYING TO ROOT HIMSELF

1000
00:41:58,567 --> 00:41:59,733
IN THAT REALITY.

1001
00:41:59,767 --> 00:42:03,433
(COUPLE ARGUING IN GERMAN)

1002
00:42:03,467 --> 00:42:08,267
YOU KNOW, THE FIRST ONE OPENS
WITH A COUPLE IN THEIR 40s

1003
00:42:08,300 --> 00:42:10,433
FIGHTING ON THE TRAIN,

1004
00:42:10,467 --> 00:42:13,433
AND JULIE AND I ARE BOTH
JUST EAVESDROPPING ON THIS.

1005
00:42:13,467 --> 00:42:15,700
AND WE SLOWLY BECOME
THAT COUPLE.

1006
00:42:15,733 --> 00:42:18,633
I'M TRYING
TO MAKE YOU LAUGH.

1007
00:42:18,667 --> 00:42:21,200
(BLACK)
IT'S SOME OF THE MOST
DISTURBING CONVERSATIONS

1008
00:42:21,233 --> 00:42:23,133
BETWEEN TWO LOVERS,
TWO MARRIED PEOPLE,

1009
00:42:23,167 --> 00:42:25,400
TWO PEOPLE IN A ROMANTIC
RELATIONSHIP THAT
YOU'VE EVER SEEN.

1010
00:42:25,433 --> 00:42:28,033
AND IF YOU THINK I'M JUST
SOME DOG WHO'S GONNA
KEEP COMING BACK,

1011
00:42:28,067 --> 00:42:30,033
THEN YOU'RE WRONG.

1012
00:42:30,067 --> 00:42:34,100
BUT IF YOU WANT TRUE LOVE,
THEN THIS IS IT.

1013
00:42:34,133 --> 00:42:36,767
THIS IS REAL LIFE.
IT'S NOT PERFECT,
BUT IT'S REAL.

1014
00:42:36,800 --> 00:42:39,233
AND IF YOU CAN'T SEE IT,
THEN YOU'RE BLIND, ALL RIGHT?

1015
00:42:39,267 --> 00:42:40,633
I GIVE UP.

1016
00:42:40,667 --> 00:42:42,500
(HAWKE)
I'VE READ A BUNCH
OF REVIEWS OF THE MOVIE

1017
00:42:42,533 --> 00:42:44,567
THAT TALK ABOUT HOW BRUTAL
THE FIGHT SCENE IS AT THE END,

1018
00:42:44,600 --> 00:42:46,733
BUT THE FACT THEY STILL
WANT THE OTHER ONE

1019
00:42:46,767 --> 00:42:48,533
TO UNDERSTAND THEM
SO BADLY,

1020
00:42:48,567 --> 00:42:50,633
THE FACT THAT
THEY'RE NOT GIVING UP,

1021
00:42:50,667 --> 00:42:53,333
I FIND IT REALLY
ROMANTIC AND PASSIONATE.

1022
00:42:53,367 --> 00:42:54,700
RICK'S SITTING THERE
TELLING THE WORLD

1023
00:42:54,733 --> 00:42:57,533
THAT ACTUAL REAL LIFE
IS BEAUTIFUL ENOUGH.

1024
00:42:57,567 --> 00:43:00,367
REAL LIFE IS MAGIC,
YOU KNOW.

1025
00:43:00,400 --> 00:43:03,467
AND WE ALL ARE JUST
SEEKING SOMETHING MORE.

1026
00:43:03,500 --> 00:43:07,333
AND WE HURT OURSELVES
WITH THAT.

1027
00:43:07,367 --> 00:43:10,000
SO WHAT ABOUT
THIS TIME MACHINE?

1028
00:43:13,100 --> 00:43:14,567
WHAT DO YOU MEAN?

1029
00:43:14,600 --> 00:43:16,367
HOW DOES IT WORK?

1030
00:43:16,400 --> 00:43:19,300
THE MODEL OF "BEFORE MIDNIGHT"
AND WHAT THAT WAS,

1031
00:43:19,333 --> 00:43:22,033
AND THE FACT THAT
RICHARD LINKLATER HAS SET,

1032
00:43:22,067 --> 00:43:24,767
I THINK, WHAT'S ONE OF THE
RECORDS TO BE MOST PROUD OF,

1033
00:43:24,800 --> 00:43:28,033
WHICH IS THE LOWEST-GROSSING
TRILOGY OF ALL-TIME.

1034
00:43:28,067 --> 00:43:29,700
(LAUGHTER)
THAT IS THE ESSENCE OF HIM.

1035
00:43:29,733 --> 00:43:31,433
HE'S REDEFINING
WHAT A TRILOGY--

1036
00:43:31,467 --> 00:43:33,500
A TRILOGY ABOUT TWO PEOPLE
WALKING AROUND

1037
00:43:33,533 --> 00:43:37,433
OVER THE COURSE OF 20 YEARS
IS WHAT'S SO GREAT ABOUT HIM.

1038
00:43:37,467 --> 00:43:43,133
IT IS A DARING,
BOLD MOVE.

1039
00:43:43,167 --> 00:43:46,200
BUT IT'S WHAT HE'S BEEN DOING
HIS WHOLE CAREER, YOU KNOW.

1040
00:43:46,233 --> 00:43:47,733
AND IT'S WHAT HE'S JUST
GONNA KEEP DOING.

1041
00:43:47,767 --> 00:43:49,533
MOVIE STARS LOVE HIM.

1042
00:43:49,567 --> 00:43:52,567
THEY'RE STARTING TO COME TO HIM
TO WORK WITH HIM SPECIFICALLY.

1043
00:43:52,600 --> 00:43:54,633
I SEE HIM SHRINKING
HIS SCOPE AND SIZE

1044
00:43:54,667 --> 00:43:56,433
SO THAT HE CAN DO
EXACTLY WHAT HE WANTS.

1045
00:43:56,467 --> 00:43:59,567
AND "BEFORE MIDNIGHT"
IS SUCH A GREAT EXAMPLE OF THAT.

1046
00:43:59,600 --> 00:44:01,133
AND I'M JUST, LIKE--
WE'RE JUST PUMPING HIM ON,

1047
00:44:01,167 --> 00:44:02,533
HOPING FOR MORE OF THAT.

1048
00:44:02,567 --> 00:44:06,167
WE'RE IN THE SECOND HALF
OF HIS CAREER NOW, YOU KNOW.

1049
00:44:06,200 --> 00:44:09,100
AND IT'S FUNNY--

1050
00:44:09,133 --> 00:44:11,167
I'VE SPENT THE LAST
20 YEARS AS HIS FRIEND

1051
00:44:11,200 --> 00:44:14,300
WONDERING WHEN THE WORLD
WAS GONNA REALIZE

1052
00:44:14,333 --> 00:44:17,567
THAT WE HAVE A SERIOUS
ARTIST AT WORK

1053
00:44:17,600 --> 00:44:19,300
DOWN HERE IN TEXAS.

1054
00:44:29,300 --> 00:44:30,633
(PRINCE)
I MEAN, YOU GO SEE
THE ORSON WELLES THING,

1055
00:44:30,667 --> 00:44:33,133
AND THAT'S JUST
A BEAUTIFUL PERIOD PIECE.

1056
00:44:33,167 --> 00:44:35,733
IT'S LIKE AN ARTIST
THAT STARTS REPRESENTATIONAL,

1057
00:44:35,767 --> 00:44:38,367
AND THEN GOES OFF-- YOU HAVE
TO KNOW HOW TO DO IT PERFECTLY

1058
00:44:38,400 --> 00:44:40,267
BEFORE YOU CAN GO OFF
AND DO THESE CREATIVE CHOICES.

1059
00:44:40,300 --> 00:44:41,500
AND HE DID IT
THE OTHER WAY AROUND,

1060
00:44:41,533 --> 00:44:42,533
BUT HE PROVED
HE COULD DO BOTH.

1061
00:44:42,567 --> 00:44:43,600
HE'S JUST REALLY
AN ARTIST.

1062
00:44:43,633 --> 00:44:45,433
IT'S BEAUTIFUL SHOT.
IT HOLDS UP

1063
00:44:45,467 --> 00:44:47,667
FROM JUST A CINEMATIC
ELEMENT.

1064
00:44:47,700 --> 00:44:50,500
HE CAN DO ALL OF IT.

1065
00:44:50,533 --> 00:44:53,500
HE REALLY CAPTURED
THE SORT OF MAGIC

1066
00:44:53,533 --> 00:44:56,067
AND EXCITEMENT
OF A THEATRICAL PRODUCTION.

1067
00:44:56,100 --> 00:44:57,767
COMING FROM A FAMILY
OF THEATER,

1068
00:44:57,800 --> 00:44:59,733
YOU KNOW, IT WAS VERY
MOVING TO ME,

1069
00:44:59,767 --> 00:45:01,300
SOME MOMENTS
ABOUT THE ACTORS.

1070
00:45:01,333 --> 00:45:03,200
IT'S, LIKE, SOMETHING
THAT REALLY MOVES ME.

1071
00:45:03,233 --> 00:45:05,067
YOU'LL BE FINE, GEORGE,
PERFECTLY FINE.

1072
00:45:05,100 --> 00:45:06,400
IT'S JUST THE OPENING ACT.
PLEASE!

1073
00:45:06,433 --> 00:45:09,767
MAN, WHEN I WORKED WITH RICK
I WAS 19 YEARS OLD,

1074
00:45:09,800 --> 00:45:12,133
IN THE MIDST OF DOING
"HIGH SCHOOL MUSICAL" AND STUFF.

1075
00:45:12,167 --> 00:45:14,567
I LITERALLY HADN'T FINISHED
THE THIRD ONE,

1076
00:45:14,600 --> 00:45:17,267
SO I WAS STILL
SORT OF STUCK--

1077
00:45:17,300 --> 00:45:19,567
NOT STUCK, BUT THERE WEREN'T
MANY DIRECTORS THAT WERE

1078
00:45:19,600 --> 00:45:22,667
LOOKING AT ME OUTSIDE
OF THAT SPECIFIC GENRE,

1079
00:45:22,700 --> 00:45:24,267
THAT KIND OF CHARACTER.

1080
00:45:24,300 --> 00:45:28,700
RICK WAS THE FIRST GUY THAT--
THAT SORT OF REALLY,

1081
00:45:28,733 --> 00:45:31,100
I GUESS, BELIEVED IN ME,
YOU KNOW.

1082
00:45:31,133 --> 00:45:33,800
AND HE, UH-- YEAH,
HE TOOK A FLIER ON ME

1083
00:45:33,833 --> 00:45:36,033
AND SENT ME THIS SCRIPT
FOR "ME AND ORSON WELLES".

1084
00:45:36,067 --> 00:45:37,433
AND I LOOKED AT THIS,
AND I WAS, LIKE,

1085
00:45:37,467 --> 00:45:40,100
GOD, THIS IS A REAL PART
WITH RICHARD LINKLATER?

1086
00:45:40,133 --> 00:45:41,700
ARE YOU KIDDING ME?

1087
00:45:41,733 --> 00:45:43,233
ARE YOU SURE THEY GOT
THE RIGHT GUY?

1088
00:45:43,267 --> 00:45:44,433
HERE, MY GOOD LORD.

1089
00:45:44,467 --> 00:45:48,733
WHAT? THOU SPEAKEST
DROWSILY...

1090
00:45:48,767 --> 00:45:51,067
WHERE'S THY UKULELE,
BOY?

1091
00:45:51,100 --> 00:45:53,400
I THINK SOME ASSHOLE
DOTH STOLE IT.

1092
00:45:53,433 --> 00:45:56,667
(EFRON)
I REMEMBER TELLING MY PARENTS
ABOUT THIS POTENTIAL ROLE

1093
00:45:56,700 --> 00:45:58,800
THAT I WAS KIND OF UP FOR.

1094
00:45:58,833 --> 00:46:01,100
AND THAT I WAS MEETING RICK
THE NEXT DAY.

1095
00:46:01,133 --> 00:46:03,733
AND THEY WERE JUST, LIKE,
HOLY COW, THIS MIGHT ACTUALLY--

1096
00:46:03,767 --> 00:46:05,333
THIS IS ACTUALLY
A GOOD THING.

1097
00:46:05,367 --> 00:46:08,667
YOU KNOW, "THIS IS, LIKE,
REALLY BIG FOR YOU."

1098
00:46:08,700 --> 00:46:10,800
YOU'LL CALL MY MOTHER...

1099
00:46:10,833 --> 00:46:12,633
YOU'LL TELL HER THAT I'M
AN IMPORTANT PART OF THE SHOW,

1100
00:46:12,667 --> 00:46:15,467
AND THAT IT'S NECESSARY
THAT I MISS SOME SCHOOL.

1101
00:46:15,500 --> 00:46:18,267
OF COURSE.

1102
00:46:18,300 --> 00:46:20,400
THE MOVIE WAS ABOUT A BUNCH
OF ACTORS PUTTING ON A PLAY

1103
00:46:20,433 --> 00:46:23,133
IN THE 1930s.

1104
00:46:23,167 --> 00:46:24,433
IT WAS 1930, RIGHT?

1105
00:46:24,467 --> 00:46:27,133
WAS IT? OKAY,
I'M JUST MAKING SURE.

1106
00:46:27,167 --> 00:46:30,000
'CAUSE RICK WOULD BE, LIKE,
"OH, COME ON."

1107
00:46:33,100 --> 00:46:35,333
HE KNEW SO MUCH
ABOUT THE ERA, LIKE, EVERYTHING.

1108
00:46:35,367 --> 00:46:36,433
THE COMMON CULTURE
OF THE TIME.

1109
00:46:36,467 --> 00:46:38,167
LIKE WHAT MUSIC
WAS INTERESTING,

1110
00:46:38,200 --> 00:46:40,533
WHO WAS THE MOST FAMOUS
OR, YOU KNOW,

1111
00:46:40,567 --> 00:46:43,267
MOST ACCOMPLISHED DRUMMER
OF THE ERA-- GENE KRUPA.

1112
00:46:43,300 --> 00:46:46,200
NOW I KNOW THAT,
'CAUSE RICK KNEW THAT.

1113
00:46:46,233 --> 00:46:49,233
WE ALL GOT ON AN AIRPLANE
AND FLEW TO THE ISLE OF MAN,

1114
00:46:49,267 --> 00:46:53,133
WHICH IS THIS TINY LITTLE ISLAND
IN THE MIDDLE OF NOWHERE.

1115
00:46:53,167 --> 00:46:54,733
AND THERE WAS A THEATER
THAT WE RENTED OUT.

1116
00:46:54,767 --> 00:46:56,767
IT'S THE KIND OF THING
ONLY RICK WOULD DO.

1117
00:46:56,800 --> 00:46:58,333
IT REALLY HAD THE LOOK
OF THE THEATER

1118
00:46:58,367 --> 00:47:01,333
THAT ORSON WAS A PART OF.

1119
00:47:01,367 --> 00:47:03,167
HEY, HAVE YOU GUYS SEEN
THE UKULELE.

1120
00:47:03,200 --> 00:47:04,633
THE, UH--
YOU KNOW, WITH THE LOOPS.

1121
00:47:04,667 --> 00:47:07,067
SORRY, KID.

1122
00:47:07,100 --> 00:47:08,600
I DIDN'T UNDERSTAND
THE MERCURY THEATER,

1123
00:47:08,633 --> 00:47:11,333
AND I'VE BEEN AN ORSON WELLES
FAN SINCE I WAS YOUNG.

1124
00:47:11,367 --> 00:47:14,033
I'VE READ THE PLAYS
IN THE MERCURY THEATER EDITIONS.

1125
00:47:14,067 --> 00:47:15,533
NOT THAT THEY'RE
ANY DIFFERENT, BUT STILL--

1126
00:47:15,567 --> 00:47:17,233
AND I'VE READ ABOUT
MERCURY THEATER,

1127
00:47:17,267 --> 00:47:19,233
AND I DIDN'T UNDERSTAND
WHAT THE MERCURY THEATER WAS

1128
00:47:19,267 --> 00:47:21,300
UNTIL RICK SHOWED IT
TO ME.

1129
00:47:21,333 --> 00:47:23,467
HOW THE HELL DO I TOP THIS?

1130
00:47:23,500 --> 00:47:26,133
(CHEERS AND APPLAUSE)

1131
00:47:41,500 --> 00:47:44,233
I REALLY WANTED TO MAKE
"SCHOOL OF ROCK II",

1132
00:47:44,267 --> 00:47:47,100
AND RICK SAID, "HOLD UP,
THERE IS ANOTHER THING

1133
00:47:47,133 --> 00:47:49,333
"THAT I'D LOVE YOU TO READ
THAT I'VE BEEN WANTING TO MAKE

1134
00:47:49,367 --> 00:47:50,700
FOR, LIKE, 12 YEARS."

1135
00:47:50,733 --> 00:47:53,567
AND I WAS, LIKE, WELL, YEAH,
SEND IT OVER.

1136
00:47:53,600 --> 00:47:54,667
LET ME READ THIS THING.

1137
00:47:54,700 --> 00:47:57,767
AND I READ IT,
AND I WAS, LIKE,

1138
00:47:57,800 --> 00:47:59,633
THIS IS NOT
"SCHOOL OF ROCK II".

1139
00:47:59,667 --> 00:48:02,567
* WHILE 110 CORNETS
BLAZED AWAY *

1140
00:48:02,600 --> 00:48:04,533
* TO THE RHYTHM
OF MARCH MARCH MARCH *

1141
00:48:04,567 --> 00:48:06,400
* ALL THE KIDS BEGAN
TO MARCH *

1142
00:48:06,433 --> 00:48:10,333
* AND THEY'RE MARCHING STILL
RIGHT TODAY *

1143
00:48:10,367 --> 00:48:11,700
(EXPLOSION)

1144
00:48:11,733 --> 00:48:14,800
THE STORY, THE NARRATIVE
THAT THE PRESS LIKES TO TELL

1145
00:48:14,833 --> 00:48:17,300
WAS THAT THEN RICK
KINDA SOLD OUT

1146
00:48:17,333 --> 00:48:19,800
AND DID A BIG
HOLLYWOOD MOVIE.

1147
00:48:19,833 --> 00:48:21,733
AND THEY KIND OF MISSED
THE POINT

1148
00:48:21,767 --> 00:48:23,467
OF WHAT "THE NEWTON BOYS" WAS,

1149
00:48:23,500 --> 00:48:27,233
WHICH WAS ULTIMATELY JUST
A BRILLIANT BIT OF THIEVERY

1150
00:48:27,267 --> 00:48:30,233
ON RICK'S PART TO GET
A BIG STUDIO TO PAY FOR

1151
00:48:30,267 --> 00:48:34,700
HIS VERY PERSONAL
LITTLE UVALDE, TEXAS,

1152
00:48:34,733 --> 00:48:36,433
BANK ROBBERY STORY.

1153
00:48:36,467 --> 00:48:38,333
WHAT'S COOL ABOUT THEM IS
THEY'RE THE MOST SUCCESSFUL

1154
00:48:38,367 --> 00:48:40,267
BANK ROBBERS IN THE HISTORY
OF THE UNITED STATES,

1155
00:48:40,300 --> 00:48:42,167
BUT YOU NEVER HEARD OF 'EM
'CAUSE THEY NEVER KILLED
ANYBODY.

1156
00:48:42,200 --> 00:48:44,367
(LOUIS BLACK)
RICK IS FASCINATED BY CRIMINALS.

1157
00:48:44,400 --> 00:48:45,800
YOU KNOW, "IN ORDER TO LIVE
OUTSIDE THE LAW,

1158
00:48:45,833 --> 00:48:47,800
YOU MUST BE HONEST"
IS WHAT DYLAN SAID.

1159
00:48:47,833 --> 00:48:50,533
AND NOBODY ILLUSTRATES THAT
BETTER THAN RICK'S FILM.

1160
00:48:50,567 --> 00:48:51,800
I THOUGHT THE FACT THAT
THEY NEVER KILLED ANYBODY

1161
00:48:51,833 --> 00:48:55,800
WAS A FLIP ON THE
BANK ROBBER/WESTERN,

1162
00:48:55,833 --> 00:48:57,367
AND VERY RICK.

1163
00:48:57,400 --> 00:49:00,100
GET OUT OF HERE!
GET OFF MY LEG!

1164
00:49:00,133 --> 00:49:02,467
GOD DAMN IT!
SHIT!

1165
00:49:02,500 --> 00:49:06,367
ALL OF HIS FILMS HAVE
A CERTAIN CHARM.

1166
00:49:06,400 --> 00:49:09,267
HE'S CHARMED BY
HIS SUBJECT MATTER
AND HIS PEOPLE.

1167
00:49:09,300 --> 00:49:13,367
NOW WE ARE GOING TO
SAUTE THE BROCCOLI

1168
00:49:13,400 --> 00:49:17,400
LIGHTLY IN OLIVE OIL
TILL IT'S JUST BRIGHT GREEN.

1169
00:49:17,433 --> 00:49:19,200
"BERNIE" IS AMAZING.
HOW CAN THIS--

1170
00:49:19,233 --> 00:49:23,233
I MEAN, WITHOUT IN ANY WAY
FALSELY REDEEMING THIS GUY.

1171
00:49:23,267 --> 00:49:26,267
HE MAKES THIS THE MOST HUMAN
OF HUMAN BEINGS.

1172
00:49:26,300 --> 00:49:27,600
AND IF YOU WOULDN'T
HAVE BEEN CAUGHT,

1173
00:49:27,633 --> 00:49:30,767
YOU'D STILL BE SPENDING
HER MONEY TODAY.

1174
00:49:30,800 --> 00:49:35,300
WOULDN'T YOU?
WOULDN'T YOU?

1175
00:49:35,333 --> 00:49:37,267
(GAVEL BANGS)

1176
00:49:37,300 --> 00:49:40,467
THERE WAS ALSO A FEELING
AND A PASSION FROM RICK.

1177
00:49:40,500 --> 00:49:44,200
BECAUSE THIS IS ONE
THAT HE WROTE HIMSELF
WITH HIS FRIEND,

1178
00:49:44,233 --> 00:49:45,733
AND HAD NURTURED.

1179
00:49:45,767 --> 00:49:49,433
THIS WAS MORE HIS BABY
THAN "SCHOOL OF ROCK" IN A WAY

1180
00:49:49,467 --> 00:49:52,433
BECAUSE HE WAS THERE
FROM THE VERY BEGINNING.

1181
00:49:52,467 --> 00:49:55,500
SO YEAH,
THERE'S A DIFFERENT VIBE,

1182
00:49:55,533 --> 00:49:57,533
A DIFFERENT TONE
TO THE PROCEEDINGS.

1183
00:49:57,567 --> 00:50:02,600
HE JUST LIKED THAT
I HAD SO MANY BERNIE QUALITIES.

1184
00:50:02,633 --> 00:50:04,167
YOU KNOW, I CAN SING.

1185
00:50:04,200 --> 00:50:06,200
BERNIE'S A VERY
MUSICAL DUDE.

1186
00:50:06,233 --> 00:50:08,300
IT WAS A BIG PART
OF THE CHARACTER.

1187
00:50:08,333 --> 00:50:11,067
HE SAW ME AS
A LIKEABLE GUY,

1188
00:50:11,100 --> 00:50:12,733
AND THAT WAS IMPORTANT
FOR BERNIE.

1189
00:50:12,767 --> 00:50:16,267
HE'S THE MOST POPULAR,
MOST LOVED GUY IN THIS TOWN,

1190
00:50:16,300 --> 00:50:21,067
AND THE LEAST LIKELY
TO MURDER.

1191
00:50:21,100 --> 00:50:24,067
ACTUALLY, WHEN I LOOKED
AT "BERNIE", I THOUGHT--

1192
00:50:24,100 --> 00:50:26,067
I THOUGHT IT WAS FOR
THE JACK BLACK ROLE.

1193
00:50:26,100 --> 00:50:30,600
YOU CANNOT HAVE GRIEF
TRAGICALLY BECOMING COMEDY.

1194
00:50:30,633 --> 00:50:32,600
WHICH EXTREMELY EXCITED ME.

1195
00:50:32,633 --> 00:50:34,733
AND I CALL HIM UP-- I WROTE HIM
THIS LONG EMAIL

1196
00:50:34,767 --> 00:50:37,367
ABOUT WHY THIS IS GONNA BE FUN,
CHECK THIS OUT.

1197
00:50:37,400 --> 00:50:41,200
AND HE WRITES BACK, HE GOES,
"HEY, UH...

1198
00:50:41,233 --> 00:50:43,367
"NO, MAN, SORRY, MAYBE
THERE'S A MISCOMMUNICATION.

1199
00:50:43,400 --> 00:50:45,767
I WAS TALKING ABOUT
THE DANNY BUCK CHARACTER."

1200
00:50:45,800 --> 00:50:47,467
I WAS, OH, REALLY?

1201
00:50:47,500 --> 00:50:49,133
AND I WAS, LIKE, JACK'S
PLAYING THAT OTHER PART?

1202
00:50:49,167 --> 00:50:53,167
I GO, FUCKING COME ON, MAN,
I WANNA AUDITION AGAINST HIM.

1203
00:50:53,200 --> 00:50:55,500
HE WAS, LIKE,
"WELL, NOW, I LOVE JACK."

1204
00:50:55,533 --> 00:50:57,600
AND HE LAUGHED, HE WAS, LIKE--
I WAS, LIKE, GOD...

1205
00:50:57,633 --> 00:51:00,500
'CAUSE I THOUGHT, AW, I COULD
KNOCK THAT OUT OF THE PARK.
GREAT.

1206
00:51:00,533 --> 00:51:01,667
AND HE WAS, LIKE,
"I REALLY DON'T SEE IT."

1207
00:51:01,700 --> 00:51:05,033
I WAS, LIKE, RICK,
I'M TELLING YOU

1208
00:51:05,067 --> 00:51:06,533
I CAN DO THAT.

1209
00:51:06,567 --> 00:51:08,600
AND HE WAS, LIKE,
"I BET YOU MAYBE COULD.

1210
00:51:08,633 --> 00:51:10,400
BUT NO, JACK'S THE ONE."

1211
00:51:10,433 --> 00:51:13,300
SO I SAID, ALL RIGHT, DANNY.
I WENT BACK AND READ THAT,

1212
00:51:13,333 --> 00:51:14,733
AND I WAS, LIKE, OH, OKAY.

1213
00:51:14,767 --> 00:51:17,400
WHEN THE TIME'S JUST RIGHT...

1214
00:51:17,433 --> 00:51:19,800
PHEW!
THAT'S WHEN I POUNCE.

1215
00:51:19,833 --> 00:51:24,100
WELL, "NEWTON BOYS", HE CAST
MY OLDEST BROTHER, ROOSTER,

1216
00:51:24,133 --> 00:51:28,433
WHOSE FAVORITE LINE TO THIS DAY
IS THAT HE SAYS THE WHOLE MOVIE,

1217
00:51:28,467 --> 00:51:31,333
"THEY MAY CALL IT A BIOGRAPHY,
BUT IT'S COMPLETE FICTION.

1218
00:51:31,367 --> 00:51:33,500
'CAUSE THERE AIN'T NO GODDAMN
WAY MY LITTLE BROTHER

1219
00:51:33,533 --> 00:51:35,767
COULD GIVE ME A RIGHT HOOK
AND KNOCK ME ON MY ASS.

1220
00:51:35,800 --> 00:51:38,767
SO IT'S COMPLETELY
FUCKIN' FICTION.

1221
00:51:38,800 --> 00:51:40,433
THAT'S HIS WHOLE TAKE
ON IT.

1222
00:51:40,467 --> 00:51:43,167
SO HE GETS MY BROTHER
IN THAT, AND THEN--

1223
00:51:43,200 --> 00:51:46,367
A SEE-THROUGH NIGHTGOWN
THAT SHOWED HER BREASTS.

1224
00:51:46,400 --> 00:51:48,133
(McCONAUGHEY)
MY MOM.

1225
00:51:48,167 --> 00:51:50,733
I MEAN, GIVE ME
A BREAK.

1226
00:51:50,767 --> 00:51:54,033
WHAT DOES A WOMAN HER AGE
WANTING TO DO SHOWING HER BOOBS?

1227
00:51:54,067 --> 00:51:57,500
I THOUGHT THE STORY WAS GOOD,
ORIGINAL, FUNNY.

1228
00:51:57,533 --> 00:52:00,167
I THOUGHT THE WHOLE SCRIPT
WAS, LIKE, OKAY, WE'RE TAKING

1229
00:52:00,200 --> 00:52:02,733
A 1,000-MILIMETER LENS,
AND WE'RE STICKING IT

1230
00:52:02,767 --> 00:52:04,733
THROUGH THAT PINE CURTAIN
AND HAVING A LOOK

1231
00:52:04,767 --> 00:52:07,467
BEHIND THE BIG THICKET
AT EAST TEXAS.

1232
00:52:07,500 --> 00:52:09,767
YOU KNOW, WHAT GOES ON
BACK THERE IN THAT PLACE?

1233
00:52:09,800 --> 00:52:12,300
'CAUSE THE REST OF THE WORLD
DON'T KNOW WHAT'S BACK THERE

1234
00:52:12,333 --> 00:52:13,600
AND HAS NEVER GONE.

1235
00:52:13,633 --> 00:52:15,533
AND MOST OF THE PEOPLE
BEHIND IT NEVER GET OUT.

1236
00:52:15,567 --> 00:52:19,067
CARTHAGE, THIS IS WHERE
THE SOUTH BEGINS.

1237
00:52:19,100 --> 00:52:22,033
THIS IS LIFE BEHIND
THE PINE CURTAIN.

1238
00:52:22,067 --> 00:52:24,600
AND TRUTH BE KNOWN,
IT'S A GOOD PLACE.

1239
00:52:24,633 --> 00:52:27,533
IT STARTS WITH THE WRITING,
THEN IT GOES TO ENVIRONMENT.

1240
00:52:27,567 --> 00:52:29,633
AND THEN YOU'RE CREATING
AN ENVIRONMENT, A TONE,

1241
00:52:29,667 --> 00:52:31,267
AND THEN YOU SLIP IN
THE ACTORS,

1242
00:52:31,300 --> 00:52:32,600
WHO ARE EQUALLY AS IMPORTANT,

1243
00:52:32,633 --> 00:52:36,300
BUT THEY HAVE TO HAVE
A PLACE TO EXIST.

1244
00:52:38,533 --> 00:52:39,767
(WOMAN)
TAKE IT, BOYS.

1245
00:52:39,800 --> 00:52:42,133
WELL, PLACE--

1246
00:52:42,167 --> 00:52:45,667
VERY PARTICULARLY IN "BERNIE",
BEHIND THE PINE CURTAIN.

1247
00:52:45,700 --> 00:52:47,567
WHERE NOBODY GOES.

1248
00:52:47,600 --> 00:52:50,200
PEOPLE IN OTHER PARTS
OF THE COUNTRY MAY THINK
THAT'S PLUTO.

1249
00:52:50,233 --> 00:52:52,467
WHO TALKS LIKE THAT?
WHAT ARE THOSE PEOPLE DOING?

1250
00:52:52,500 --> 00:52:53,800
THERE'S SOMETHING BEAUTIFUL
ABOUT THAT.

1251
00:52:53,833 --> 00:52:56,167
THEY'RE NOT LOOKING
TO THE OUTSIDE WORLD

1252
00:52:56,200 --> 00:52:57,800
TO GET THEIR IDENTITY.

1253
00:52:57,833 --> 00:53:00,767
THEY'RE THERE, AND THEY
HAVE THEIR IDENTITY,
BASED ON THAT.

1254
00:53:00,800 --> 00:53:02,700
YOU MAY BE FROM THE OUTSIDE,
YOU MAY LOOK LIKE AN ALIEN,

1255
00:53:02,733 --> 00:53:05,433
BUT "WHAT'D YOU DO
TO YOUR HAIR THERE?"

1256
00:53:05,467 --> 00:53:07,600
AT THE SAME TIME, THE PEOPLE
THERE WOULD GIVE YOU
THE SHIRT OFF THEIR BACK.

1257
00:53:07,633 --> 00:53:09,400
I MEAN, WHEN YOU LIVE
IN A SMALL TOWN,

1258
00:53:09,433 --> 00:53:11,600
YOU'VE GOTTA BE FRIENDLY
AND NICE TO FOLKS.

1259
00:53:11,633 --> 00:53:15,767
THEY'RE NOT CURMUDGEONLY,
THEY'RE NOT MISANTHROPES.

1260
00:53:15,800 --> 00:53:17,433
THEY'RE JUST PRETTY WONDERFUL.

1261
00:53:17,467 --> 00:53:20,067
I MEAN, SHE'D RIP YOU
A BRAND NEW THREE BEDROOM,

1262
00:53:20,100 --> 00:53:21,800
TWO BATH DOUBLE-WIDE
ASSHOLE.

1263
00:53:21,833 --> 00:53:24,167
(LOUIS BLACK)
IN "BERNIE", GUESSING
WHO'S AN ACTOR

1264
00:53:24,200 --> 00:53:27,133
AND WHO'S ACTUALLY
A REAL TOWNSPERSON
IS A LOT OF FUN.

1265
00:53:27,167 --> 00:53:29,433
BUT IT'S FILLED WITH
A LOVE OF HUMANITY

1266
00:53:29,467 --> 00:53:31,767
AND A REAL PASSION
FOR THE CHARACTERS.

1267
00:53:31,800 --> 00:53:33,500
IN THE LAST SCENE
IN THE MOVIE,
WE GET IN THERE

1268
00:53:33,533 --> 00:53:36,433
AND WE HAD THIS CAFE SCENE,
AND, UH...

1269
00:53:36,467 --> 00:53:38,700
WHO DOES HE SIT NEXT TO ME
AS IT'S IN THE SCENE?

1270
00:53:38,733 --> 00:53:40,467
MY MOM.

1271
00:53:40,500 --> 00:53:43,233
HE CONFESSED.
DANNY BUCK...

1272
00:53:43,267 --> 00:53:45,333
IT TURNED OUT BEING
REAL FUN AND REALLY GREAT,

1273
00:53:45,367 --> 00:53:46,400
BUT HE'S SNEAKY LIKE THAT.

1274
00:53:46,433 --> 00:53:49,433
OH, SHE'S WILD, MAN.
SHE'S WILD.

1275
00:53:49,467 --> 00:53:53,467
RICK LINKLATER DIRECTS
MIKE NICHOLS' "THE GRADUATE",

1276
00:53:53,500 --> 00:53:57,800
STARRING MATTHEW McCONAUGHEY
AND KAY McCONAUGHEY.

1277
00:53:57,833 --> 00:53:59,667
I DON'T THINK
HE'LL DO THAT ONE,

1278
00:53:59,700 --> 00:54:02,133
BUT I GUARANTEE YOU SHE'S
PITCHED THE IDEA TO HIM.

1279
00:54:02,167 --> 00:54:04,533
MANY TIMES.

1280
00:54:04,567 --> 00:54:07,633
WHY WILL IT WORK?
'CAUSE...

1281
00:54:07,667 --> 00:54:11,500
WELL, YOU MAY SAY IT'S SICK,
YOU MAY SAY IT'S INCESTUAL.

1282
00:54:11,533 --> 00:54:13,767
WELL, ASK KAY, AND SHE'LL SAY,
"HEY, I'VE SEEN IT BEFORE.

1283
00:54:13,800 --> 00:54:16,800
IT AIN'T NO BIG DEAL."

1284
00:54:16,833 --> 00:54:18,333
RICK LOVES HIS CHARACTERS.

1285
00:54:18,367 --> 00:54:20,400
RICK IS PASSIONATE
ABOUT HIS CHARACTERS,

1286
00:54:20,433 --> 00:54:22,800
AND HE'S FASCINATED BY THEM,
AND HE RESPECTS THEM.

1287
00:54:22,833 --> 00:54:25,367
AND THAT, I THINK, COMES THROUGH
IN ALL THE FILMS.

1288
00:54:25,400 --> 00:54:28,067
RICK IS FASCINATED
BY THE FRINGE.

1289
00:54:28,100 --> 00:54:29,533
HIS CRIMINALS,
THEY'RE ONLY VILLAINS

1290
00:54:29,567 --> 00:54:30,767
IF THEY'RE NOT HONEST.

1291
00:54:30,800 --> 00:54:34,167
I NEVER THOUGHT OF ME
KILLING MRS. NUGENT.

1292
00:54:34,200 --> 00:54:37,300
I--

1293
00:54:37,333 --> 00:54:39,267
I GUESS I FANTASIZED
ABOUT HER DEATH,

1294
00:54:39,300 --> 00:54:41,633
BUT I WAS NEVER THE ONE
RESPONSIBLE FOR IT.

1295
00:54:41,667 --> 00:54:44,367
(JACK BLACK)
I MEAN, THE SCENES
IN THE SCRIPT,

1296
00:54:44,400 --> 00:54:46,067
WHEN YOU READ THE SCRIPT
AS AN ACTOR

1297
00:54:46,100 --> 00:54:49,033
AND YOU CIRCLE AND YOU GO, OKAY,
I'VE GOT TO BE AWARE

1298
00:54:49,067 --> 00:54:50,600
OF WHEN WE'RE GONNA DO THIS
ON THE CALENDAR,

1299
00:54:50,633 --> 00:54:52,367
BECAUSE I'VE GOT TO
MENTALLY PREPARE

1300
00:54:52,400 --> 00:54:54,067
A FEW DAYS IN ADVANCE.

1301
00:54:54,100 --> 00:54:56,267
OBVIOUSLY, THE MURDER.

1302
00:54:56,300 --> 00:54:57,667
CAN YOU TALK TO ME?

1303
00:54:57,700 --> 00:54:59,133
(McCONAUGHEY)
THOSE SCENES...

1304
00:54:59,167 --> 00:55:00,700
OH, NO, NO, NO.
JESUS!

1305
00:55:00,733 --> 00:55:02,300
AN ACTOR CAN FEEL
PRECIOUS ABOUT THAT.

1306
00:55:02,333 --> 00:55:04,733
YOU CAN FEEL PRECIOUS
OR FEEL PRESSURE.

1307
00:55:04,767 --> 00:55:10,067
OH, GOD, WHAT HAVE I DONE?

1308
00:55:10,100 --> 00:55:11,433
PLEASE TELL ME
WHAT TO DO.

1309
00:55:11,467 --> 00:55:13,400
I'LL DO WHATEVER
YOU WANT ME TO DO.

1310
00:55:13,433 --> 00:55:15,167
YOU'RE AN ACTOR, AND YOU
GOT SOMETHING LIKE THAT,

1311
00:55:15,200 --> 00:55:16,800
AND YOU HEAR
A CREW GOING "SHH!"

1312
00:55:16,833 --> 00:55:18,233
THAT'S ALL SOME PRESSURE.

1313
00:55:18,267 --> 00:55:20,233
LIKE, COME ON, MAN.
YOU KNOW?

1314
00:55:20,267 --> 00:55:23,767
NOW I KNOW EVERYTHING'S
WAITING ON ME.
HANG ON, MAN.

1315
00:55:23,800 --> 00:55:27,300
THE SAME AMBIENCE,
WHETHER IT'S A,

1316
00:55:27,333 --> 00:55:32,233
I DON'T KNOW, CRASH SCENE,
DEATH SCENE, LAUGHING SCENE,

1317
00:55:32,267 --> 00:55:34,767
LOVE SCENE--
THE SAME AMBIENCE

1318
00:55:34,800 --> 00:55:39,067
THAT'S RIGHT ON
FOR AN ACTOR'S EXPERIENCE.

1319
00:55:39,100 --> 00:55:43,333
THERE'S NONE OF THAT,
(EXHALES)
OKAY... AND...

1320
00:55:43,367 --> 00:55:45,633
YOU'RE NOT THERE TO PERFORM.
YOU'RE NOT PERFORMING.

1321
00:55:45,667 --> 00:55:49,267
WHICH GOOD ACTING IS NOT ACTING.
YOU KNOW, YOU'RE BEHAVING.

1322
00:55:53,300 --> 00:55:55,767
HI.
HI, MRS. NUGENT.

1323
00:55:55,800 --> 00:55:58,800
I JUST WANTED YOU TO KNOW
THAT I WAS THINKING ABOUT YOU.

1324
00:55:58,833 --> 00:56:00,100
OH, THANK YOU.

1325
00:56:00,133 --> 00:56:01,600
THESE TIMES CAN BE HARD.

1326
00:56:01,633 --> 00:56:04,233
THE EASE WITH WHICH
THINGS SORT OF UNRAVEL.

1327
00:56:04,267 --> 00:56:05,600
SOME PEOPLE I'VE SEEN
GET FRUSTRATED WITH IT.

1328
00:56:05,633 --> 00:56:07,067
SHIRLEY MACLAINE GOT
FRUSTRATED WITH IT.

1329
00:56:07,100 --> 00:56:10,167
SHE'D BE, LIKE, "WHAT
DO YOU WANT ME TO DO?"

1330
00:56:10,200 --> 00:56:12,767
YOU KNOW?
"GIVE ME SOME DIRECTION."
YOU KNOW?

1331
00:56:12,800 --> 00:56:15,067
GO AHEAD, DESERT ME,
JUST LIKE EVERYBODY ELSE.

1332
00:56:15,100 --> 00:56:16,800
GO AHEAD, GO AHEAD,
GO AHEAD, GO AHEAD.
GO, GO GO.

1333
00:56:16,833 --> 00:56:19,167
BUT HE OUTLASTED HER.

1334
00:56:19,200 --> 00:56:21,167
HE JUST KINDA,
"YEAH, YOU KNOW, THAT."

1335
00:56:21,200 --> 00:56:22,700
AND SHE'S JUST, LIKE...

1336
00:56:22,733 --> 00:56:25,200
I AM NOT GOING TO
TAKE PART IN THIS ARGUMENT.

1337
00:56:25,233 --> 00:56:26,633
YOU KNOW I DON'T LIKE YOU,
AND THAT'S THAT.

1338
00:56:26,667 --> 00:56:30,367
WHAT'S HE DOING IS...
"DO YOU."

1339
00:56:30,400 --> 00:56:35,400
I KNOW YOU HATE ME,
LIKE EVERYBODY ELSE.

1340
00:56:35,433 --> 00:56:36,800
HE KNOWS IT.
I ALWAYS JOKE WITH HIM,

1341
00:56:36,833 --> 00:56:38,467
YOU'RE SO BUDDHIST YOU DON'T
EVEN KNOW YOU'RE--

1342
00:56:38,500 --> 00:56:41,067
YOU DON'T EVEN KNOW
YOU'RE BUDDHIST.

1343
00:56:41,100 --> 00:56:46,033
(JACK BLACK)
RICK DEFINITELY WAS ABLE
TO STEER ME AND GUIDE ME

1344
00:56:46,067 --> 00:56:51,100
WITHOUT GIVING ME
SPECIFIC LINE READINGS.

1345
00:56:51,133 --> 00:56:53,467
BUT HE GOT ME IN THE ZONE.

1346
00:56:53,500 --> 00:56:55,467
HE GOT ME IN THE AREA
OF REALITY

1347
00:56:55,500 --> 00:56:57,800
THAT I HAD NOT REALLY
BEEN BEFORE.

1348
00:56:57,833 --> 00:57:00,100
THERE'S A REALISM THAT
PEOPLE ARE DRAWN TO,

1349
00:57:00,133 --> 00:57:01,767
AND IT MAKES FOR MORE
INTERESTING STORYLINES,

1350
00:57:01,800 --> 00:57:04,267
MORE INTERESTING RELATIONSHIPS,
MORE INTERESTING CHARACTERS.

1351
00:57:04,300 --> 00:57:08,233
HE SENT ME TONS
OF VIDEO AND AUDIO OF BERNIE,

1352
00:57:08,267 --> 00:57:10,767
AND HE ALSO SUGGESTED
WE GO TO MEET HIM

1353
00:57:10,800 --> 00:57:12,733
IN THE MAXIMUM SECURITY
PRISON.

1354
00:57:12,767 --> 00:57:14,267
WE DID.

1355
00:57:14,300 --> 00:57:15,567
AND WHEN YOU'RE DEALING
WITH A TRUE STORY,

1356
00:57:15,600 --> 00:57:18,200
YOU'VE GOT A WHOLE
COMMUNITY OF PEOPLE

1357
00:57:18,233 --> 00:57:20,067
WHO KNOW WHAT REALLY
WENT DOWN.

1358
00:57:20,100 --> 00:57:23,033
SO THERE'S A CERTAIN PRESSURE
TO GET IT RIGHT,

1359
00:57:23,067 --> 00:57:24,767
OR ELSE PEOPLE COULD
COME HUNTING YOU DOWN

1360
00:57:24,800 --> 00:57:26,800
SAYING, "THAT'S NOT
HOW IT WENT."

1361
00:57:26,833 --> 00:57:28,567
YOU KNOW, THE LAST SHOT
OF "BERNIE",

1362
00:57:28,600 --> 00:57:30,567
WHERE BERNIE'S WALKING
DOWN THE HALL--

1363
00:57:30,600 --> 00:57:34,033
IT'S UNIMPORTANT AS TO
WHETHER HE'S GAY OR NOT,

1364
00:57:34,067 --> 00:57:36,267
OR WHETHER
HE'S EFFEMINATE OR NOT,

1365
00:57:36,300 --> 00:57:37,567
BUT JUST THE WAY
HE'S WALKING.

1366
00:57:37,600 --> 00:57:40,100
JACK BLACK HAS NEVER BEEN
AS BRILLIANT

1367
00:57:40,133 --> 00:57:42,433
AS HE IS IN THAT SCENE
WALKING DOWN THE HALL.

1368
00:57:42,467 --> 00:57:47,800
AND THERE'S NO FILMMAKER
WHO JUST SO WOULD COMPLETELY
TRUST HIS ACTOR.

1369
00:57:47,833 --> 00:57:50,067
I LEARNED A LOT.

1370
00:57:50,100 --> 00:57:53,333
YEAH, I OWE HIM A LOT.

1371
00:58:05,367 --> 00:58:09,467
HE CHANGED THE GAME
AND MODERNIZED SOME STUFF

1372
00:58:09,500 --> 00:58:11,367
THAT CASSAVETES
HAD STARTED,

1373
00:58:11,400 --> 00:58:13,800
AND TURNED IT INTO SOMETHING
THAT WAS A LITTLE BIT
MORE ACCESSIBLE,

1374
00:58:13,833 --> 00:58:17,433
AND TURNED SORT OF
HUMAN INTEREST

1375
00:58:17,467 --> 00:58:19,567
AND THE SUBTLETIES
OF HUMAN FRAILTY

1376
00:58:19,600 --> 00:58:21,133
AND THE SUBTLETIES
OF THE HUMAN EXPERIENCE

1377
00:58:21,167 --> 00:58:22,700
INTO SOMETHING THAT WAS
CINEMATIC.

1378
00:58:22,733 --> 00:58:24,767
AND THAT'S--
THAT'S BIG, MAN.

1379
00:58:24,800 --> 00:58:28,400
AND IT COMES BACK TO "SLACKER"
AND THEN STRAIGHT THROUGH.

1380
00:58:28,433 --> 00:58:30,733
RICK WAS A REGULAR GUY--
HE WORKED FOR A LIVING.

1381
00:58:30,767 --> 00:58:32,767
AND THERE WAS SOMETHING
BEFORE MOVIES.

1382
00:58:32,800 --> 00:58:38,300
HE WASN'T BORN WITH A,
YOU KNOW, COKE SPOON UP HIS ASS.

1383
00:58:38,333 --> 00:58:40,600
HE WORKED REALLY HARD.

1384
00:58:40,633 --> 00:58:45,133
WHEN I MET HIM, YOU KNOW,
THERE WAS A LOT ON THE LINE
FOR HIM IN A LOT OF WAYS.

1385
00:58:45,167 --> 00:58:47,633
LIKE, HE'D--

1386
00:58:47,667 --> 00:58:50,033
HE WORKED REALLY HARD
TO GET WHERE HE WAS.

1387
00:58:50,067 --> 00:58:51,700
HE WAS GONNA PLAY
PRO BALL,

1388
00:58:51,733 --> 00:58:54,667
AND THEN THINGS KINDA
TOOK A TURN FOR HIM

1389
00:58:54,700 --> 00:58:56,300
AND HE ENDED UP WORKING
ON AN OIL RIG

1390
00:58:56,333 --> 00:58:59,033
AND SAVED A BUNCH OF MONEY
AND MOVED TO AUSTIN

1391
00:58:59,067 --> 00:59:01,567
AND JUST STARTED
DRINKING IN FILM.

1392
00:59:01,600 --> 00:59:04,100
HE CAME TO ME AND HE SAID,
"I'M MAKING A FILM.

1393
00:59:04,133 --> 00:59:05,400
I'D LIKE YOU TO BE IN IT."

1394
00:59:05,433 --> 00:59:07,567
AND I PLAY THE PARANOID
NEWSPAPER READER.

1395
00:59:07,600 --> 00:59:09,467
SO IT HAD TO BE ME,
'CAUSE IT WAS CAST.

1396
00:59:09,500 --> 00:59:11,567
I'M IN THE SCENE
AT THE GandM STEAKHOUSE,

1397
00:59:11,600 --> 00:59:13,067
WHERE THERE'S A WOMAN
AT THE COUNTER

1398
00:59:13,100 --> 00:59:15,100
TALKING ABOUT SEXUAL
DYSFUNCTIONALITY.

1399
00:59:15,133 --> 00:59:17,333
AND FRANK ORRALL,
OF POI DOG PONDERING,

1400
00:59:17,367 --> 00:59:19,433
COMES IN, ORDERS A CUP
OF COFFEE, SITS DOWN,

1401
00:59:19,467 --> 00:59:21,500
AND I GO, "STOP FOLLOWING ME,
STOP FOLLOWING ME."

1402
00:59:21,533 --> 00:59:24,067
QUIT FOLLOWING ME.

1403
00:59:24,100 --> 00:59:25,800
YOU HEARD ME.
QUIT FOLLOWING ME!

1404
00:59:25,833 --> 00:59:27,500
AND DIDN'T THINK MUCH OF IT

1405
00:59:27,533 --> 00:59:29,533
UNTIL WHEN HE SHOWED IT
IN AUSTIN,

1406
00:59:29,567 --> 00:59:31,200
WE DID A FRONT-PAGE STORY
IN THE "CHRONICLE".

1407
00:59:31,233 --> 00:59:33,167
ONE OF OUR FILM WRITERS DID
A FRONT-PAGE STORY,

1408
00:59:33,200 --> 00:59:34,300
AND I READ THE STORY
AND I SAID WAIT,

1409
00:59:34,333 --> 00:59:35,767
THIS MOVIE'S ABOUT SOMETHING?

1410
00:59:35,800 --> 00:59:37,300
IT'S JUST CALLED "SLACKER".

1411
00:59:37,333 --> 00:59:38,767
I GUESS THAT'S JUST
WHAT THE MOVIE'S ABOUT.

1412
00:59:38,800 --> 00:59:40,100
RIGHT?
JUST "SLACKER".

1413
00:59:40,133 --> 00:59:41,533
JUST NOTHING GOING ON
HERE, RIGHT?

1414
00:59:41,567 --> 00:59:44,200
JUST GO TALK
AND ROLL THE CAMERA AND...

1415
00:59:44,233 --> 00:59:45,367
IT'S JUST "SLACKER".

1416
00:59:45,400 --> 00:59:46,367
(MARK DUPLASS)
IT'S NOT A DOCUMENTARY,

1417
00:59:46,400 --> 00:59:48,200
IT'S NOT REALLY A NARRATIVE.

1418
00:59:48,233 --> 00:59:49,800
(JAY DUPLASS)
YEAH, YEAH, FOR SURE.

1419
00:59:49,833 --> 00:59:52,467
TO ALL YOU WORKERS
OUT THERE.

1420
00:59:52,500 --> 00:59:54,333
EVERY SINGLE COMMODITY
YOU PRODUCE

1421
00:59:54,367 --> 00:59:56,767
IS A PIECE OF YOUR OWN DEATH.

1422
00:59:56,800 --> 00:59:59,167
WHAT WAS YOUR RELATIONSHIP LIKE
WITH YOUR--

1423
00:59:59,200 --> 01:00:00,667
END OF INTERVIEW.

1424
01:00:00,700 --> 01:00:03,333
IT WAS LIKE NOTHING
WE HAD SEEN BEFORE.

1425
01:00:03,367 --> 01:00:04,700
IT WAS CONFUSING AT FIRST.

1426
01:00:04,733 --> 01:00:06,567
IT WAS. IT WAS LIKE
WHAT IS IT?

1427
01:00:06,600 --> 01:00:10,100
BUT HE'S TRICKY.
HE'S TRICKY, OUR RICHARD.

1428
01:00:10,133 --> 01:00:11,767
THE FIRST TIME I SAW "SLACKER"
WAS ON LASERDISC.

1429
01:00:11,800 --> 01:00:14,733
AND THAT MAY BE YOUR ONLY
INTERVIEW WHO CAN ADMIT THAT.

1430
01:00:14,767 --> 01:00:17,100
I FOUND MY WAY INTO "SLACKER"
THROUGH "CLERKS",

1431
01:00:17,133 --> 01:00:18,367
WHICH I KNOW IS BACKWARDS.

1432
01:00:18,400 --> 01:00:20,767
BUT I SAW "CLERKS"
HERE IN L.A.

1433
01:00:20,800 --> 01:00:22,733
IN AN INDIE THEATER,
FELL IN LOVE WITH IT.

1434
01:00:22,767 --> 01:00:26,100
I BEGAN READING
ABOUT KEVIN SMITH.

1435
01:00:26,133 --> 01:00:29,267
AND KEVIN SMITH WOULD TALK
ABOUT THE FILM "SLACKER" A LOT.

1436
01:00:29,300 --> 01:00:31,100
HE WOULD TALK ABOUT LINKLATER,
ABOUT "SLACKER",

1437
01:00:31,133 --> 01:00:33,333
ABOUT HOW THAT FILM WAS MADE,
WHAT IT MEANT.

1438
01:00:33,367 --> 01:00:35,167
AND I THOUGH, OKAY,
I NEED TO SEE THIS.

1439
01:00:35,200 --> 01:00:37,100
(SMITH)
I SAID I SAW
THIS MOVIE "SLACKER".

1440
01:00:37,133 --> 01:00:38,433
THEY SAID WHERE?

1441
01:00:38,467 --> 01:00:40,200
I SAID I WENT TO THE CITY
TO SEE IT.

1442
01:00:40,233 --> 01:00:42,633
WHY? WHY WOULD YOU GO
TO THE CITY TO SEE A MOVIE?

1443
01:00:42,667 --> 01:00:44,767
WELL, THEY AIN'T PLAYING IT
IN THE MULTIPLEX.

1444
01:00:44,800 --> 01:00:46,167
THEY SAID, WHAT,
IS IT PORN?

1445
01:00:46,200 --> 01:00:49,533
AND I SAID NO,
IT'S NOT PORN, IT'S ART.

1446
01:00:49,567 --> 01:00:52,100
IT'S AN ART FILM.
AND MY FRIEND BRIAN'S LIKE,
THAT'S PORN.

1447
01:00:52,133 --> 01:00:55,167
I SAID NO, DUDE,
IT'S THIS MOVIE THAT,
LIKE, IT'S ABOUT--

1448
01:00:55,200 --> 01:00:56,533
AND I TRIED
TO EXPLAIN IT TO HIM,

1449
01:00:56,567 --> 01:00:58,133
AND THEY WERE JUST LIKE,
WELL, THERE'S NO PLOT?

1450
01:00:58,167 --> 01:01:00,167
WHAT'S-- WHO'S IN IT?

1451
01:01:00,200 --> 01:01:02,067
AND, YOU KNOW, ONCE I GET
TO THE END OF IT WITH 'EM
AND WHATNOT,

1452
01:01:02,100 --> 01:01:06,033
I TELL 'EM, LIKE, THIS MOVIE
MADE ME WANNA A FILMMAKER.

1453
01:01:06,067 --> 01:01:07,633
KEVIN SMITH TALKS
ABOUT THIS AD NAUSEAM,

1454
01:01:07,667 --> 01:01:12,200
BUT IT'S THE IDEA THAT
RICHARD MADE A FILM

1455
01:01:12,233 --> 01:01:14,400
THAT DIDN'T FOLLOW ANY
OF THE STORYTELLING RULES

1456
01:01:14,433 --> 01:01:16,067
IN THE MOVIES THAT
I GREW UP WATCHING,

1457
01:01:16,100 --> 01:01:17,767
THAT'S WHAT WAS
MOST EXCITING ABOUT IT,

1458
01:01:17,800 --> 01:01:22,100
THAT YOU COULD HAVE A FILM
WHERE THE NARRATIVE WAS

1459
01:01:22,133 --> 01:01:24,267
ONE CHARACTER WAS GONNA
TALK TO ANOTHER,

1460
01:01:24,300 --> 01:01:25,667
THEN THAT CHARACTER
WAS GONNA GO OFF.

1461
01:01:25,700 --> 01:01:27,133
AND THEY'D WALK BY
ANOTHER SET OF CHARACTERS,

1462
01:01:27,167 --> 01:01:28,433
WHO ARE GONNA WALK
INTO A RESTAURANT,

1463
01:01:28,467 --> 01:01:30,100
AND THEN ANOTHER GUY WAS
GONNA GET INTO A CAR.

1464
01:01:30,133 --> 01:01:31,767
AND THAT'S THE MOVIE.

1465
01:01:31,800 --> 01:01:34,067
AND THERE ISN'T
A TRADITIONAL PLOT,

1466
01:01:34,100 --> 01:01:35,667
AND THERE ISN'T
A TRADITIONAL TONE.

1467
01:01:35,700 --> 01:01:37,100
AND THAT'S OKAY.

1468
01:01:37,133 --> 01:01:38,333
THE FILM,
IF YOU'VE NEVER SEEN IT--

1469
01:01:38,367 --> 01:01:40,233
IF YOU'VE NEVER SEEN IT,
YOU'RE AN IDIOT.

1470
01:01:40,267 --> 01:01:43,500
YOU KNOW, SAY
THIS BEAUTIFUL WOMAN
JUST COMES UP TO ME,

1471
01:01:43,533 --> 01:01:46,733
JUST STARTS TALKING TO ME,
YOU KNOW?

1472
01:01:46,767 --> 01:01:48,767
SHE ENDS UP OFFERING ME
A RIDE.

1473
01:01:48,800 --> 01:01:51,467
YOU KNOW, WE'RE HITTING IT OFF.
GO PLAY A LITTLE PINBALL.

1474
01:01:51,500 --> 01:01:54,433
AND WE BACK TO HER APARTMENT.
SHE HAS THIS GREAT APARTMENT,
YOU KNOW.

1475
01:01:54,467 --> 01:01:57,100
I MOVE IN WITH HER.
YOU KNOW?

1476
01:01:57,133 --> 01:01:58,733
AND SEE, SAY I HAVE
A DREAM SOME NIGHT

1477
01:01:58,767 --> 01:02:01,467
THAT I'M WITH
SOME STRANGE WOMAN
I'VE NEVER MET.

1478
01:02:01,500 --> 01:02:03,533
OR I'M, YOU KNOW,
LIVING IN SOME PLACE

1479
01:02:03,567 --> 01:02:04,667
I'VE NEVER SEEN BEFORE.

1480
01:02:04,700 --> 01:02:06,133
SEE THAT'S JUST
A MOMENTARY GLIMPSE

1481
01:02:06,167 --> 01:02:08,167
INTO THIS OTHER REALITY
THAT WAS ALL CREATED

1482
01:02:08,200 --> 01:02:10,600
BACK THERE AT THE BUS
STATION... YOU KNOW?

1483
01:02:10,633 --> 01:02:12,067
(HAWKE)
I LOVED THAT.

1484
01:02:12,100 --> 01:02:16,100
AND I PARTICULARLY LOVED
WHOEVER THAT GUY WAS

1485
01:02:16,133 --> 01:02:17,467
AT THE OPENING OF THE MOVIE.

1486
01:02:17,500 --> 01:02:19,700
HE HAS THIS LITTLE SPEECH
ABOUT, YOU KNOW,

1487
01:02:19,733 --> 01:02:21,767
MAYBE REALITY ISN'T
WHAT WE THINK IT IS.

1488
01:02:21,800 --> 01:02:23,400
THAT'S KINDA THE BASIC
GIST OF IT.

1489
01:02:23,433 --> 01:02:26,500
THAT, LIKE, THIS IS MY DREAM
FROM THAT REALITY, YOU KNOW.

1490
01:02:26,533 --> 01:02:29,100
OF COURSE, THAT'S KIND OF LIKE
THAT DREAM I JUST, YOU KNOW,

1491
01:02:29,133 --> 01:02:31,800
HAD ON THE BUS, YOU KNOW,
THE WHOLE CYCLE TYPE OF THING.

1492
01:02:31,833 --> 01:02:34,067
MAN... SHIT.

1493
01:02:34,100 --> 01:02:35,767
I SHOULD HAVE STAYED
AT THE BUS STATION.

1494
01:02:35,800 --> 01:02:39,133
BY THE WAY, A REALLY
BRAVE FUCKIN' MOVE.

1495
01:02:39,167 --> 01:02:42,267
NO, I CAN'T IMAGINE PUTTING
MYSELF IN MY OWN FILM.

1496
01:02:42,300 --> 01:02:44,533
AND TO OPEN MY FILM
WITH MYSELF

1497
01:02:44,567 --> 01:02:47,700
AND BE ON THERE FOR
FOUR OR FIVE MINUTES

1498
01:02:47,733 --> 01:02:50,433
HAVING A REALLY TRICKY,
INTERESTING CONVERSATION

1499
01:02:50,467 --> 01:02:54,667
ABOUT DREAMS, AND LANDING
THAT JOKE AT THE END.

1500
01:02:54,700 --> 01:02:56,367
YOU KNOW, "I SHOULD HAVE
STAYED AT THE BUS STATION."

1501
01:02:56,400 --> 01:02:57,767
IT'S JUST--
IT'S A GREAT LINE,

1502
01:02:57,800 --> 01:02:59,167
AND YOU HAVE TO
THROW IT AWAY.

1503
01:02:59,200 --> 01:03:01,133
IT'S A HARD LINE TO PERFORM,

1504
01:03:01,167 --> 01:03:02,667
AND I'M GUESSING HE DIDN'T
HAVE THAT MANY TAKES.

1505
01:03:02,700 --> 01:03:04,233
I KNOW HE PROBABLY DIDN'T
HAVE THAT MUCH FILM STOCK.

1506
01:03:04,267 --> 01:03:06,400
SO HE HAD TO NAIL
THAT MONOLOGUE.

1507
01:03:06,433 --> 01:03:08,400
(SMITH)
JUST WHEN YOU KIND OF
GET INVESTED IN THIS DUDE,

1508
01:03:08,433 --> 01:03:10,433
HE'S GONE.
BOOM, HE'S OFF.

1509
01:03:10,467 --> 01:03:12,600
AND YOU'RE INTO ANOTHER STORY,
AND YOU FOLLOW THEM
FOR A WHILE,

1510
01:03:12,633 --> 01:03:14,167
AND THEN TO ANOTHER STORY.

1511
01:03:14,200 --> 01:03:16,200
WHAT HAPPENED?
WHAT'S GOING ON?

1512
01:03:16,233 --> 01:03:17,767
ACCIDENT. EVERYTHING'S
UNDER CONTROL.

1513
01:03:17,800 --> 01:03:19,700
WELL, GOOD, SO
YOU DON'T NEED ME?

1514
01:03:19,733 --> 01:03:22,667
NO, I DON'T THINK SO.
OKAY.

1515
01:03:22,700 --> 01:03:24,400
LOOK, CAN I HELP YOU OUT?

1516
01:03:24,433 --> 01:03:26,700
DO YOU NEED A RIDE
ANYWHERE OR ANYTHING?

1517
01:03:26,733 --> 01:03:28,433
NO, I DON 'T THINK SO.

1518
01:03:28,467 --> 01:03:31,200
TELL YOU WHAT, TAKE MY CARD,
GIMME A CALL.

1519
01:03:31,233 --> 01:03:33,300
I WISH I COULD STAY AND HELP,
BUT I GOTTA GO, REALLY.

1520
01:03:33,333 --> 01:03:35,567
BUT CALL ME, I'D LIKE
TO HEAR FROM YOU.

1521
01:03:35,600 --> 01:03:37,667
I MEAN IT.

1522
01:03:42,367 --> 01:03:44,200
WHOSE BODY IS THIS?

1523
01:03:44,233 --> 01:03:46,633
(WOMAN)
HERE, CALL THIS GUY.

1524
01:03:46,667 --> 01:03:50,733
THESE YOUR GROCERIES,
LADY?

1525
01:03:50,767 --> 01:03:53,567
(SMITH)
NOBODY WAS FAMOUS,
THERE WERE NO CAR CHASES.

1526
01:03:53,600 --> 01:03:56,233
THERE WAS NO CELEBRITIES,
NO PAYDAYS,

1527
01:03:56,267 --> 01:03:59,167
NO MASSIVE BUDGET--
NOTHING EXPLODED.

1528
01:03:59,200 --> 01:04:03,100
IT WAS ABOUT A SIMPLE DAY
IN THE LIFE OF THIS COMMUNITY.

1529
01:04:03,133 --> 01:04:06,167
AND BY THE END OF THE MOVIE,
LIKE, MY LORD,

1530
01:04:06,200 --> 01:04:07,467
HE USED EVERY FORMAT.

1531
01:04:07,500 --> 01:04:09,633
FOR AN EMERGING FILM GEEK,
AT THE TIME,

1532
01:04:09,667 --> 01:04:14,767
HE USED EVERY FORMAT HE COULD,
LIKE 16 MILLIMETER, SUPER 8.

1533
01:04:14,800 --> 01:04:17,800
HE HAD A FISHER-PRICE
PIXEL VISION CAMERA
IN THERE AT ONE POINT.

1534
01:04:17,833 --> 01:04:21,700
(MAN)
SHOOT WHATEVER YOU WANT,
PASS IT AROUND,

1535
01:04:21,733 --> 01:04:24,233
AND WE'LL SEE WHAT WE
COME UP WITH LATER ON, OKAY?

1536
01:04:24,267 --> 01:04:25,767
I MEAN, IT'S THE WORD
"SLACKER" ITSELF,

1537
01:04:25,800 --> 01:04:29,733
BECAUSE THE FILM "SLACKER"
IS NOT SLACKER.

1538
01:04:29,767 --> 01:04:34,033
I MEAN, THAT'S NOT A VERY
SLACKERISH FILM AT ALL.

1539
01:04:34,067 --> 01:04:36,533
YOU KNOW, WHEN YOU THINK OF IT
FROM A PRODUCTION STANDPOINT

1540
01:04:36,567 --> 01:04:40,700
OR A PERFORMANCE STANDPOINT,
THEY'RE, UH...

1541
01:04:40,733 --> 01:04:42,467
THEY'RE ON THEIR GAME.

1542
01:04:42,500 --> 01:04:44,800
IT'S BEAUTIFUL-- I MEAN,
IT'S BEAUTIFULLY SHOT.

1543
01:04:44,833 --> 01:04:48,133
ALMOST EVERY SHOT
IS A DOLLY SHOT.

1544
01:04:48,167 --> 01:04:50,600
I MEAN, IT MUST HAVE BEEN
REALLY HARD TO ACTUALLY MAKE.

1545
01:04:50,633 --> 01:04:52,767
ALSO, EVERYTHING WAS SHOT
AT THE RIGHT TIME OF DAY.

1546
01:04:52,800 --> 01:04:55,700
IT ALMOST REMINDS ME
OF THE PHOTOGRAPHY
OF STEPHEN SHORE

1547
01:04:55,733 --> 01:04:57,300
OR JOEL STERNFELD.

1548
01:04:57,333 --> 01:04:58,567
THERE'S THIS
RIGHT TIME OF DAY

1549
01:04:58,600 --> 01:05:00,133
WITH THIS BEAUTIFUL
SIDEWAYS LIGHT.

1550
01:05:00,167 --> 01:05:01,800
EVEN THE KIND OF--
THE COLORS OF THE CARS

1551
01:05:01,833 --> 01:05:03,733
IN THE BACKGROUND
ARE GORGEOUS.

1552
01:05:03,767 --> 01:05:06,200
AND IT'S THESE TRACKING SHOTS
THAT ARE LOVELY.

1553
01:05:06,233 --> 01:05:09,333
SO IT WAS BEAUTIFUL LOOKING,
AND THE STRUCTURE WAS

1554
01:05:09,367 --> 01:05:11,200
LIKE NOTHING I'D EVER
SEEN BEFORE.

1555
01:05:11,233 --> 01:05:14,133
THE NEXT PERSON
WHO PASSES US

1556
01:05:14,167 --> 01:05:18,433
WILL BE DEAD
WITHIN A FORTNIGHT.

1557
01:05:18,467 --> 01:05:21,733
SOME OF THOSE WALKING
AND TALKING SHOTS...

1558
01:05:21,767 --> 01:05:24,500
IT'S JUST LIKE...
THAT'S AMAZING.

1559
01:05:24,533 --> 01:05:27,633
'CAUSE I MEAN, I THINK--
A LOT OF THAT HE SHOT
ON 16, ISN'T IT?

1560
01:05:27,667 --> 01:05:29,433
16 MILLIMETER?

1561
01:05:29,467 --> 01:05:32,267
SO HOW LONG ARE
THOSE MAGS, RIGHT?

1562
01:05:32,300 --> 01:05:33,700
AS A DIRECTOR,
I'M WATCHING "SLACKER"

1563
01:05:33,733 --> 01:05:35,533
AND I GO, OKAY, THERE'S
NO CUTS IN THIS FILM.

1564
01:05:35,567 --> 01:05:37,600
WHICH MEANS THERE'S
NO CHEATING.

1565
01:05:37,633 --> 01:05:39,400
THESE ACTORS ACTUALLY
HAVE TO NAIL IT.

1566
01:05:39,433 --> 01:05:42,567
BUT THESE ARE ALSO
A COLLECTION OF PEOPLE

1567
01:05:42,600 --> 01:05:45,067
WHO AREN'T
PROFESSIONAL ACTORS.

1568
01:05:45,100 --> 01:05:49,400
THE IDEA THAT HE WAS ABLE
TO GET ALL THESE NATURAL
PERFORMANCES HIS FIRST TIME OUT

1569
01:05:49,433 --> 01:05:54,633
IS MIND-BLOWING IN A WAY
THAT I CAN'T QUITE

1570
01:05:54,667 --> 01:05:55,667
FATHOM HOW HE DID IT.

1571
01:05:55,700 --> 01:05:59,200
IT'S A MADONNA PAP SMEAR.

1572
01:05:59,233 --> 01:06:01,233
I KNOW IT'S KINDA CLOUDY...

1573
01:06:01,267 --> 01:06:02,700
I'M SITTING HERE AND I'M
ON CAMERA RIGHT NOW,

1574
01:06:02,733 --> 01:06:04,767
AND I'M NERVOUS,
YOU KNOW?

1575
01:06:04,800 --> 01:06:06,433
IT'S SCARY TO BE
IN FRONT OF A LENS.

1576
01:06:06,467 --> 01:06:09,400
AND TO GET PEOPLE
TO OPEN UP

1577
01:06:09,433 --> 01:06:11,600
AND DO THESE KIND OF
WALK-AND-TALK CONVERSATIONS,

1578
01:06:11,633 --> 01:06:14,400
AND DO MONOLOGUES
ABOUT PHILOSOPHY
FOR FIVE MINUTES...

1579
01:06:14,433 --> 01:06:16,733
WHICH, YOU KNOW, I'M SURE
RICHARD'S LAUGHING ABOUT NOW.

1580
01:06:16,767 --> 01:06:20,100
HE'S LIKE, "HA, I KNOW.
IT WAS THERE."

1581
01:06:20,133 --> 01:06:22,767
WHAT IS "SLACKER" ABOUT?
IT'S ABOUT DRIVEN PEOPLE

1582
01:06:22,800 --> 01:06:24,700
WHO ARE PURSUING
THE TRUTH,

1583
01:06:24,733 --> 01:06:27,400
WHO ARE PURSUING THEIR MUSE
OR PURSUING THEIR PASSION.

1584
01:06:27,433 --> 01:06:29,367
IT'S ABOUT PEOPLE WHO ARE
DRIVEN BY VISION,

1585
01:06:29,400 --> 01:06:30,767
DRIVEN BY CREATIVITY,

1586
01:06:30,800 --> 01:06:33,333
AND THEY'RE JUST NOT GONNA
PLAY BY THE RULES.

1587
01:06:33,367 --> 01:06:35,233
I WANNA SEE A GODDAMN BIG
MOTHERFUCKIN'

1588
01:06:35,267 --> 01:06:39,267
SHOOT 'EM UP, KILL 'EM,
BANG, STAB 'EM CRUSH.

1589
01:06:39,300 --> 01:06:41,233
(LOUIS BLACK)
AND THAT'S WHAT'S THERE
IN HIS FILMS.

1590
01:06:41,267 --> 01:06:43,500
WHETHER IT BE ROMANCE,
WHETHER IT BE CAREER,

1591
01:06:43,533 --> 01:06:46,233
WHETHER IT BE THEATER,
WHETHER IT BE FILMS,

1592
01:06:46,267 --> 01:06:48,700
THESE ARE PEOPLE
WHO ARE GOING TO CREATE.

1593
01:06:48,733 --> 01:06:50,600
AND THEY'RE G CREATE
DESPITE THE ODDS,

1594
01:06:50,633 --> 01:06:52,533
AND THEY'RE GONNA CREATE
WITH A REAL PASSION.

1595
01:06:52,567 --> 01:06:55,067
AND SOMETIMES THEY'RE
CREATING IN THEIR LIVES.

1596
01:06:55,100 --> 01:06:58,167
AND SOMETIMES THEY'RE
CREATING WORKS OF ART.

1597
01:06:58,200 --> 01:07:02,233
I THINK I'VE GROWN
TO APPRECIATE

1598
01:07:02,267 --> 01:07:06,133
RICHARD'S WORK MORE AND MORE
AS THE YEARS HAVE GONE BY.

1599
01:07:06,167 --> 01:07:09,367
YOU KNOW, I THINK WHEN
I FIRST SAW "SLACKER",

1600
01:07:09,400 --> 01:07:11,767
I DIDN'T KNOW HOW
TO APPRECIATE IT

1601
01:07:11,800 --> 01:07:14,333
AS MUCH AS I THINK
OF IT NOW.

1602
01:07:14,367 --> 01:07:16,700
"OH, I'M GONNA MAKE A MOVIE
WHERE THE CAMERA GOES

1603
01:07:16,733 --> 01:07:19,467
FROM ONE DUDE TO THE NEXT DUDE
TO THE NEXT DUDE
TO THE NEXT DUDE."

1604
01:07:19,500 --> 01:07:22,667
I REMEMBER WHEN I SAW "SLACKER"
I SAID I HAD THAT IDEA.

1605
01:07:22,700 --> 01:07:26,433
AND I KNOW, LIKE, 59 PEOPLE
SAID THE SAME THING TO ME.

1606
01:07:26,467 --> 01:07:28,367
YOU KNOW, "I THOUGHT--"
HE TOOK AN IDEA THAT

1607
01:07:28,400 --> 01:07:31,433
ALL OF US WONDERED
IF YOU COULD DO,
BUT HE DID IT.

1608
01:07:31,467 --> 01:07:34,667
IT WAS FILM SCHOOL
IN A 90-MINUTE SETTING.

1609
01:07:34,700 --> 01:07:36,600
IT'S LIKE FRENCH NEW WAVE...
(IMITATING CAMERA ROLLING)

1610
01:07:36,633 --> 01:07:40,100
CZECHOSLOVAKIA, 1932, PAN...

1611
01:07:40,133 --> 01:07:42,433
I WALKED OUT OF THAT MOVIE
AND I WAS LIKE, "I'M READY."

1612
01:07:42,467 --> 01:07:45,067
YOU KNOW, AND I WASN'T,
BUT THAT'S WHAT--

1613
01:07:45,100 --> 01:07:47,233
THAT MOVIE MAKES YOU FEEL
EMPOWERED, MAN.

1614
01:07:47,267 --> 01:07:50,633
THAT MOVIE MAKES YOU FEEL
LIKE YOU CAN MAKE ART YOURSELF.

1615
01:07:50,667 --> 01:07:53,500
I DIDN'T WALK INTO THAT THEATER
GOING "ONE DAY I'M GONNA BE
AN ARTIST."

1616
01:07:53,533 --> 01:07:55,533
BUT I DAMN SKIPPY
WALKED OUT OF THAT THEATER

1617
01:07:55,567 --> 01:07:57,700
GOING "I WANT TO BE AN ARTIST
LIKE THAT GUY."

1618
01:07:57,733 --> 01:08:00,233
(LOUIS BLACK)
WELL, "SLACKER" LAUNCHED
A THOUSAND FILMS, YOU KNOW.

1619
01:08:00,267 --> 01:08:02,133
"RETURN OF THE SECAUCUS 7"
AND "SLACKER"

1620
01:08:02,167 --> 01:08:04,167
CREATED MODERN AMERICAN
INDEPENDENT FILM

1621
01:08:04,200 --> 01:08:06,133
BECAUSE BOTH THOSE FILMS
LOOK SO EASY.

1622
01:08:06,167 --> 01:08:08,100
BUT EVERY PERSON WHO SAW IT
WENT OUT WITH A CAMERA

1623
01:08:08,133 --> 01:08:09,600
AND CREATED A MOVIE.

1624
01:08:09,633 --> 01:08:11,467
IT'S LIKE, YOU KNOW, THE WHOLE
PUNK/NEW WAVE SCENE.

1625
01:08:11,500 --> 01:08:15,267
WITHDRAWING IN DISGUST IS NOT
THE SAME THING AS APATHY.

1626
01:08:15,300 --> 01:08:17,633
* WOULD YOU SAY THAT
WITHDRAWAL IN DISGUST *

1627
01:08:17,667 --> 01:08:21,067
* IS NOT THE SAME
AS APATHY *

1628
01:08:21,100 --> 01:08:23,267
THE PROCESS WITH WHICH
HE MADE HIS FIRST FILMS,

1629
01:08:23,300 --> 01:08:25,800
AND RODRIGUEZ, TOO,

1630
01:08:25,833 --> 01:08:28,167
REALLY KINDA GAVE ME
A KICK IN THE ASS

1631
01:08:28,200 --> 01:08:31,267
AS FAR AS
"GO MAKE A MOVIE."

1632
01:08:31,300 --> 01:08:33,733
LITERALLY, RICK LOOKED AT YOU
AND SAID--

1633
01:08:33,767 --> 01:08:36,267
YOU'RE LYING AROUND IN THE
LIVING ROOM GETTING STONED

1634
01:08:36,300 --> 01:08:37,800
OR NOT GETTING STONED,
AND YOU'RE SAYING,

1635
01:08:37,833 --> 01:08:39,633
"IF ONLY I HAD THIS,
I COULD MAKE A MOVIE,"

1636
01:08:39,667 --> 01:08:41,467
OR "IF ONLY I HAD THIS,
I COULD WRITE A BOOK,"

1637
01:08:41,500 --> 01:08:43,633
OR "IF ONLY THIS WAS RIGHT,
I COULD GO DO SOMETHING."

1638
01:08:43,667 --> 01:08:46,467
AND RICK LOOKED AT YOU
WITH "SLACKER" AND HE SAID,
"GO DO IT.

1639
01:08:46,500 --> 01:08:49,067
"YOU GOT NO EXCUSE
IN THE WORLD.

1640
01:08:49,100 --> 01:08:50,467
GET UP AND GO DO IT."

1641
01:08:50,500 --> 01:08:52,367
THE FIRST SHORT FILM
WE MADE

1642
01:08:52,400 --> 01:08:54,700
THAT EVER DID ANYTHING
COST US $3

1643
01:08:54,733 --> 01:08:56,567
AND WAS SHOT IN OUR KITCHEN.

1644
01:08:56,600 --> 01:08:58,500
AND IT VERY MUCH CAME
OUT OF THAT FEELING

1645
01:08:58,533 --> 01:09:01,100
OF JUST LIKE, YOU KNOW,
FOR LACK OF A BETTER WORD,

1646
01:09:01,133 --> 01:09:04,100
LIKE, WHAT WOULD RICK
BE DOING HERE?

1647
01:09:04,133 --> 01:09:06,500
HOW WOULD HE HANDLE THIS?

1648
01:09:06,533 --> 01:09:11,300
AND THE VERY CLEAR
ANSWER IS JUST DON'T WAIT.

1649
01:09:11,333 --> 01:09:14,467
WELL, THE THING
ABOUT "SLACKER" IS

1650
01:09:14,500 --> 01:09:16,433
I HAD NEVER HEARD
OF AUSTIN, TEXAS,

1651
01:09:16,467 --> 01:09:18,167
BEFORE I SAW THAT MOVIE.

1652
01:09:18,200 --> 01:09:21,267
I GUESS IT WAS 1991
I SAW THAT MOVIE,

1653
01:09:21,300 --> 01:09:23,600
AND IT WAS A REVELATION.

1654
01:09:23,633 --> 01:09:27,433
I COULDN'T BELIEVE
THAT THERE WAS A TOWN

1655
01:09:27,467 --> 01:09:33,100
SO BOHEMIAN AND GROOVY,
AND I WANTED TO LIVE THERE.

1656
01:09:33,133 --> 01:09:34,700
I WANTED TO PICK UP
AND MOVE THERE

1657
01:09:34,733 --> 01:09:36,800
AND BE PART OF THAT CULTURE,

1658
01:09:36,833 --> 01:09:40,733
EVEN THOUGH IT SEEMED
A LITTLE GREASY.

1659
01:09:40,767 --> 01:09:43,167
IT'S LIKE A PLAY
THAT'S TAKING PLACE

1660
01:09:43,200 --> 01:09:48,233
ON AUSTIN'S CHEST
AND BALLS AND LEGS
AND, LIKE, FACE.

1661
01:09:48,267 --> 01:09:51,567
YOU KNOW, IT'S LIKE
THIS SCENE TAKES PLACE

1662
01:09:51,600 --> 01:09:53,500
ON MY FUCKIN' TIT.

1663
01:09:59,233 --> 01:10:02,433
MM-HMM.
OH... HA.

1664
01:10:02,467 --> 01:10:05,600
WE'RE JUST GONNA WALK
FROM THIS SHOE UP MY LEG,

1665
01:10:05,633 --> 01:10:08,700
AND WHAT'S GOING ON--
WHOA, LET'S GO BACK OVER HERE.

1666
01:10:08,733 --> 01:10:10,400
YEAH, IT'S LIKE YOU COULD
SEE THAT MOVIE,

1667
01:10:10,433 --> 01:10:12,133
AND THEN YOU COULD
GO TO THE TOWN,

1668
01:10:12,167 --> 01:10:15,100
AND THEN YOU COULD
JUST KIND OF KNOW
WHERE YOU KIND OF ARE.

1669
01:10:15,133 --> 01:10:16,633
IT WAS VERY "COME HITHER."
IT WAS VERY--

1670
01:10:16,667 --> 01:10:18,367
THERE WAS A REAL ROMANCE
ABOUT--

1671
01:10:18,400 --> 01:10:21,367
YOU KNOW, HE LOVES THAT TOWN,
AND IT CAME THROUGH.

1672
01:10:21,400 --> 01:10:23,267
SO HOW LONG
HAVE YOU LIVED HERE?

1673
01:10:23,300 --> 01:10:26,767
UH, SOMEWHERE
IN THE NEIGHBORHOOD
OF ABOUT SIX WEEKS.

1674
01:10:26,800 --> 01:10:27,800
THAT'S IT?

1675
01:10:27,833 --> 01:10:29,400
EHH, WELL, YOU KNOW.

1676
01:10:29,433 --> 01:10:31,133
I JUST SKIPPED OUT
OF MY OLD TOWN

1677
01:10:31,167 --> 01:10:32,767
AND I'VE BEEN CRASHING
ON COUCHES AND SHIT.

1678
01:10:32,800 --> 01:10:34,100
DO YOU LIKE IT HERE?
I LOVE IT HERE.

1679
01:10:34,133 --> 01:10:35,600
EXCEPT FOR THE FUCKIN' ADS.

1680
01:10:47,400 --> 01:10:49,200
AND THEN IN CENTRAL TEXAS
YOU GOT

1681
01:10:49,233 --> 01:10:51,767
THE PEOPLE'S REPUBLIC
OF AUSTIN,

1682
01:10:51,800 --> 01:10:56,800
WITH A BUNCH OF HAIRY-LEGGED
WOMEN AND LIBERAL FRUITCAKES.

1683
01:10:56,833 --> 01:10:59,233
I DON'T KNOW, AUSTIN IS
A PART OF RICK,

1684
01:10:59,267 --> 01:11:02,667
AND THE TWO GO GREAT
TOGETHER.

1685
01:11:07,767 --> 01:11:10,333
(LOUIS BLACK)
RICK CAME UP AND SAID
HE WAS GONNA START SHOWING FILMS

1686
01:11:10,367 --> 01:11:11,800
THE WAY THEY WERE MEANT
TO BE SHOWN,

1687
01:11:11,833 --> 01:11:13,333
WHICH WAS ON THE SCREEN.

1688
01:11:13,367 --> 01:11:16,167
AND HE WAS GONNA DO
TWO PROGRAMS OF SHORTS.

1689
01:11:16,200 --> 01:11:17,500
AND HE ASKED IF WE WOULD
GIVE HIM AN AD,

1690
01:11:17,533 --> 01:11:19,333
AND WE GAVE HIM AN AD
FOR BOTH SHOWS.

1691
01:11:19,367 --> 01:11:21,267
AND BOTH SHOWS SOLD OUT.

1692
01:11:21,300 --> 01:11:23,200
AND EVENTUALLY THAT WOULD
LEAD TO WHAT WOULD BECOME

1693
01:11:23,233 --> 01:11:25,733
THE AUSTIN FILM SOCIETY.

1694
01:11:28,233 --> 01:11:31,133
SO IT STARTS IN 1985,
AND FOR THE FIRST TEN YEARS

1695
01:11:31,167 --> 01:11:32,533
IT'S JUST ALL VOLUNTEERS.

1696
01:11:32,567 --> 01:11:34,233
IT'S RICK LINKLATER
AND HIS FRIENDS,

1697
01:11:34,267 --> 01:11:36,333
AND IT'S ABOUT POOLING
YOUR MONEY TO GET AHOLD

1698
01:11:36,367 --> 01:11:39,300
OF RARE PRINTS THAT YOU
COULDN'T SEE OTHERWISE.

1699
01:11:39,333 --> 01:11:40,767
(LOUIS BLACK)
THE MOST IMPORTANT THING
THAT HAPPENS

1700
01:11:40,800 --> 01:11:43,167
IN TERMS OF AUSTIN HISTORY,

1701
01:11:43,200 --> 01:11:45,067
AND IN TERMS OF
AMERICAN FILM,

1702
01:11:45,100 --> 01:11:47,467
IS THAT RICK DECIDES
TO STAY IN AUSTIN.

1703
01:11:47,500 --> 01:11:49,800
AND HE STAYED COMMITTED
TO PROGRAMMING FILMS,

1704
01:11:49,833 --> 01:11:51,400
HE STAYED INVOLVED
IN THE FILM SOCIETY

1705
01:11:51,433 --> 01:11:53,500
AND BEING ACTIVELY INVOLVED
IN FILM

1706
01:11:53,533 --> 01:11:55,567
AS PART OF THE COMMUNITY.

1707
01:11:57,600 --> 01:11:59,700
(CAMPBELL)
THE AUSTIN FILM SOCIETY
HAS EVOLVED

1708
01:11:59,733 --> 01:12:03,500
INTO A MULTI-FACETED,
SUPER-DYNAMIC ORGANIZATION.

1709
01:12:03,533 --> 01:12:06,700
REALLY, IT'S RICK'S VISION,
AND IT'S JUST KIND OF DONE SO

1710
01:12:06,733 --> 01:12:08,533
BY STEPPING INTO THE BREACH.

1711
01:12:08,567 --> 01:12:10,467
JUST EVERY TIME
WE SEE SOMETHING

1712
01:12:10,500 --> 01:12:12,467
THAT COULD HELP
THE FILM COMMUNITY,

1713
01:12:12,500 --> 01:12:13,500
JUST PLUNGING AHEAD.

1714
01:12:20,533 --> 01:12:23,633
(LOUIS BLACK)
RICK CALLS ME UP AND GOES,
"FEDERAL AND STATE MONEY

1715
01:12:23,667 --> 01:12:25,533
"IS RUNNING OUT--
THERE'S NO LONGER ARTS FUNDING.

1716
01:12:25,567 --> 01:12:28,033
"FILMMAKERS AND VIDEOMAKERS
CAN'T GET ANY ARTS FUNDING.

1717
01:12:28,067 --> 01:12:30,033
LET'S START THE TEXAS
FILMMAKERS PRODUCTION FUND."

1718
01:12:30,067 --> 01:12:32,667
HE'S MET THIS GUY NAMED QUENTIN
TARANTINO AT A SCREENING,

1719
01:12:32,700 --> 01:12:35,533
AND THE FIRST FILM THAT
REALLY SETS THE TONE HERE
IS "PULP FICTION".

1720
01:12:35,567 --> 01:12:37,300
AND HE SAYS, "WELL, MAYBE
I'LL BRING IT TO AUSTIN
AND SHOW IT."

1721
01:12:37,333 --> 01:12:39,233
AND RICK SAYS, "WE'LL DO IT
AS A FUNDRAISER."

1722
01:12:39,267 --> 01:12:41,300
AND THEN,
FOR A NUMBER OF YEARS,

1723
01:12:41,333 --> 01:12:44,200
WHENEVER ANYBODY HAD A FILM--
STEVEN SODERBERGH,
ROBERT RODRIGUEZ,

1724
01:12:44,233 --> 01:12:47,067
RICK LINKLATER,
QUENTIN TARANTINO, KEVIN SMITH--

1725
01:12:47,100 --> 01:12:48,567
ANY OF THIS GROUP
OF FRIENDS,

1726
01:12:48,600 --> 01:12:51,167
THEY WOULD FREQUENTLY SHOW IT
AT A PREMIERE IN AUSTIN,

1727
01:12:51,200 --> 01:12:53,633
RAISE MONEY, AND THAT WOULD
GO TO FILMMAKERS.

1728
01:12:53,667 --> 01:12:55,767
SO IT'S FILMMAKERS RAISING MONEY
FOR OTHER FILMMAKERS,

1729
01:12:55,800 --> 01:12:57,100
WHICH WAS EXTRAORDINARY.

1730
01:12:57,133 --> 01:12:59,533
(APPLAUSE)

1731
01:12:59,567 --> 01:13:02,800
(CAMPBELL)
FAST FORWARD, AND THAT FUND
HAS GIVEN OUT $1.3 MILLION

1732
01:13:02,833 --> 01:13:04,767
TO SOME 300 ARTISTS.

1733
01:13:04,800 --> 01:13:08,267
BUT WE DON'T STOP THERE,
BECAUSE THERE'S THIS
CRAZY OPPORTUNITY

1734
01:13:08,300 --> 01:13:10,633
WHEN THE OLD AIRPORT CLOSED.

1735
01:13:14,533 --> 01:13:16,367
(LOUIS BLACK)
RICK CALLED ME SOME YEARS LATER
AND SAID, "YOU KNOW,

1736
01:13:16,400 --> 01:13:17,667
"THEY'RE GONNA MOVE
THE AIRPORT.

1737
01:13:17,700 --> 01:13:19,300
"WHY DON'T WE GET
A COUPLE PEOPLE TOGETHER

1738
01:13:19,333 --> 01:13:20,767
AND MAKE A STUDIO
WITH THOSE HANGARS?"

1739
01:13:20,800 --> 01:13:23,333
DOZENS OF HOLLYWOOD FILMS,
LOW-BUDGET FILMS,

1740
01:13:23,367 --> 01:13:25,300
COMMERCIALS, MUSIC VIDEOS
ARE SHOT THERE.

1741
01:13:25,333 --> 01:13:27,367
AND AGAIN, IT WAS RICK
DRIVING IT.

1742
01:13:30,500 --> 01:13:34,533
(CAMPBELL)
IT'S REALLY AMAZING TO HAVE
SOMEBODY OF RICK'S CALIBER

1743
01:13:34,567 --> 01:13:36,467
KIND OF AT THE HELM
OF THE ORGANIZATION.

1744
01:13:36,500 --> 01:13:40,400
(LOUIS BLACK)
AWAY FROM L.A.,
HE FOLLOWS HIS OWN VISION,

1745
01:13:40,433 --> 01:13:41,700
HE DEVELOPS HIS OWN PROJECTS.

1746
01:13:41,733 --> 01:13:43,633
IT TAKES HIM FOREVER
TO GET FILMS MADE.

1747
01:13:43,667 --> 01:13:47,467
BUT I REALLY THINK
HIS ENORMOUS INTEGRITY
AS AN ARTIST

1748
01:13:47,500 --> 01:13:51,233
REALLY COMES THROUGH,
AND HIS CREATIVE VISION
REALLY COMES THROUGH.

1749
01:13:51,267 --> 01:13:56,267
AND THEN, HIS EFFECT ON AUSTIN
IS EXTRAORDINARY.

1750
01:13:56,300 --> 01:13:58,367
WHAT'S WONDERFUL ABOUT HIM
IS HE ISN'T WAITING

1751
01:13:58,400 --> 01:13:59,667
FOR ANYONE TO GIVE HIM
PERMISSION

1752
01:13:59,700 --> 01:14:02,433
OR GIVE HIM THE MONEY.

1753
01:14:02,467 --> 01:14:03,800
HE'S DOING IT
ONE WAY OR ANOTHER,

1754
01:14:03,833 --> 01:14:06,233
AND HE'S DOING IT
BACK IN AUSTIN.

1755
01:14:09,467 --> 01:14:12,800
I'VE MADE, LET'S SEE,
"BEFORE SUNRISE",
"BEFORE SUNSET".

1756
01:14:12,833 --> 01:14:14,500
AND WE DID "TAPE".

1757
01:14:14,533 --> 01:14:16,433
AND I HAVE A LITTLE PART
IN "WAKING LIFE",

1758
01:14:16,467 --> 01:14:18,500
AND A LITTLE PART
IN "FAST FOOD NATION".

1759
01:14:18,533 --> 01:14:21,633
AND, UM... AND THEN
I DID "THE NEWTON BOYS".

1760
01:14:21,667 --> 01:14:24,333
AND, UM, I'M DOING
THE 12-YEAR PROJECT,

1761
01:14:24,367 --> 01:14:26,667
WHICH IS THIS MOVIE THAT
WE'RE MAKING RIGHT NOW,

1762
01:14:26,700 --> 01:14:28,767
WHICH IS REALLY AMAZING.

1763
01:14:28,800 --> 01:14:32,367
AND WHAT ELSE HAVE
I MADE WITH RICK?

1764
01:14:32,400 --> 01:14:35,633
WELL, WE'VE WORKED
ON SEVERAL MOVIES
THAT DIDN'T GET MADE.

1765
01:14:35,667 --> 01:14:40,067
I SAY ALL THIS JUST TO SAY
THAT IF I REALLY COULD BE

1766
01:14:40,100 --> 01:14:41,500
TOTALLY 100% HONEST
WITH YOU

1767
01:14:41,533 --> 01:14:43,300
AFTER HAVING DONE
ALL THAT WORK,

1768
01:14:43,333 --> 01:14:46,400
IF YOU COULD TELL ME
I COULD DO WHATEVER
I WANTED NEXT,

1769
01:14:46,433 --> 01:14:48,767
WHAT I WOULD WANT TO DO IS
GET TO MAKE ANOTHER MOVIE

1770
01:14:48,800 --> 01:14:50,233
WITH MY FRIEND,
RICHARD LINKLATER.

1771
01:15:00,167 --> 01:15:04,033
HEY, WHAT'S UP, RICK?
LET'S PARTY.

1772
01:15:04,067 --> 01:15:08,533
WELL, I WANT TO THANK YOU
FOR BEING SUCH A HUGE
PART OF MY LIFE.

1773
01:15:08,567 --> 01:15:10,633
THERE'S NO SLACKER
IN THAT "SLACKER".

1774
01:15:10,667 --> 01:15:13,300
THERE'S A CERTAIN
ETHEREAL QUALITY TO RICK

1775
01:15:13,333 --> 01:15:16,167
THAT JUST NATURALLY
MAKES YOU WANT TO WORK FOR HIM.

1776
01:15:16,200 --> 01:15:18,667
(CELL PHONE RINGS)
GOD DAMN IT!

1777
01:15:18,700 --> 01:15:20,233
I'VE PUT DOWN
THE FUCKIN' INTERNET

1778
01:15:20,267 --> 01:15:21,667
AND CELL PHONES
ALL THE TIME,

1779
01:15:21,700 --> 01:15:23,600
AND MY FUCKIN' PHONE'S
THE FIRST ONE TO RING.

1780
01:15:23,633 --> 01:15:24,767
(LAUGHTER)

1781
01:15:24,800 --> 01:15:27,133
HEY, RICK, IT'S JOEY,
OBVIOUSLY.

1782
01:15:27,167 --> 01:15:28,500
I JUST WANT TO SAY
THANK YOU FOR BEING

1783
01:15:28,533 --> 01:15:30,767
SUCH A FUCKING COOL GUY.

1784
01:15:30,800 --> 01:15:32,700
YOU ROCK.

1785
01:15:32,733 --> 01:15:34,533
NO, I GOT NO--
CAN I DO THIS AGAIN?

1786
01:15:34,567 --> 01:15:36,733
CAN WE STOP THIS?
THIS IS LIKE--

1787
01:15:36,767 --> 01:15:38,400
I'LL GET RID OF MY SON

1788
01:15:38,433 --> 01:15:42,800
AND WE CAN WRITE
THIS DAMN FILM.

1789
01:15:42,833 --> 01:15:44,233
HEY, I DON'T KNOW.

1790
01:15:44,267 --> 01:15:45,800
YOU KNOW, RICK AND I
ALWAYS HAVE FUN

1791
01:15:45,833 --> 01:15:47,733
CHATTING ABOUT--
WE ALWAYS CHAT ABOUT

1792
01:15:47,767 --> 01:15:49,767
WHAT WOULD WOODERSON
BE DOING?

1793
01:15:49,800 --> 01:15:52,267
BUT I DON'T KNOW.
I DON'T KNOW.

1794
01:15:52,300 --> 01:15:55,733
(MAN)
I THINK MAYBE HE'S DALLAS
FROM "MAGIC MIKE".

1795
01:15:55,767 --> 01:15:59,167
WHO, WOODERSON?
WOODERSON.

1796
01:15:59,200 --> 01:16:02,733
THERE'S A CERTAIN
ODD KINSHIP THERE.

1797
01:16:02,767 --> 01:16:05,333
(LAUGHTER)

1798
01:16:05,367 --> 01:16:08,100
WELL, OBVIOUSLY,
HE IS.

1799
01:16:08,133 --> 01:16:09,300
SILLY ME.

1800
01:16:09,333 --> 01:16:11,767
SHOOT, RICK, THANKS
SO MUCH

1801
01:16:11,800 --> 01:16:14,433
FOR EVERYTHING
THAT YOU'VE DONE,

1802
01:16:14,467 --> 01:16:17,333
AND THE EXPERIENCE
OF "ME AND ORSON WELLES".

1803
01:16:17,367 --> 01:16:18,533
I HOPE WE DO IT
AGAIN SOON.

1804
01:16:18,567 --> 01:16:20,167
THAT BEING SAID,
WE ARE GONNA REMAKE

1805
01:16:20,200 --> 01:16:23,200
"BAD NEWS BEARS
GO TO JAPAN", PERSONALLY.

1806
01:16:23,233 --> 01:16:25,067
I DID NOT KNOW THAT.
YEAH, WE ARE DOING THIS.

1807
01:16:25,100 --> 01:16:26,767
(MAN LAUGHING)

1808
01:16:26,800 --> 01:16:30,400
EVERYBODY ALWAYS DOES
THE SHRUG WHEN THEY
IMITATE RICK.

1809
01:16:30,433 --> 01:16:33,633
HMM.
(LAUGHTER)

1810
01:16:33,667 --> 01:16:36,800
HMM.

1811
01:16:36,833 --> 01:16:41,033
HMM.
YEAH.

1812
01:16:41,067 --> 01:16:42,633
THIS BETTER NOT BE
IN THE FILM.

1813
01:16:42,667 --> 01:16:44,067
(MAN)
NO, NO, NO,
WE'LL CUT IT.

1814
01:16:44,100 --> 01:16:46,200
I'M NOT GONNA
SAY THIS ON RECORD.

1815
01:16:46,233 --> 01:16:48,467
ALL RIGHT, I AM NOT
GONNA DO THIS ON RECORD.

1816
01:16:48,500 --> 01:16:50,533
AND YOU BETTER NOT
QUOTE ME 0N ANY OF THIS.

1817
01:16:50,567 --> 01:16:51,767
(MAN)
DONE. DONE.

1818
01:16:51,800 --> 01:16:54,067
I'LL TRACK YOU DOWN.

1819
01:16:54,100 --> 01:16:56,100
LIKE, I'M GONNA DO ALL THIS,

1820
01:16:56,133 --> 01:16:58,233
AND THEN ALL YOU'RE GONNA
USE IN THE END IS
"SLACKER" IS GREAT.

1821
01:16:58,267 --> 01:17:01,167
I HOPE HE DOESN'T MIND
I'M ON HIS LAND.

1822
01:17:01,200 --> 01:17:03,233
(WOMAN)
MATTHEW, DO YOU HAVE
TO BE SOMEWHERE?

1823
01:17:03,267 --> 01:17:05,033
HUH?
DO YOU HAVE
TO BE SOMEWHERE?

1824
01:17:05,067 --> 01:17:06,300
YEAH.
WHAT TIME?

1825
01:17:06,333 --> 01:17:09,367
UM, WHAT TIME IS IT?
IT'S 4:20.

1826
01:17:09,400 --> 01:17:10,767
YEAH.

1827
01:17:10,800 --> 01:17:14,567
NO, RICK, WE ARE GONNA
WORK TOGETHER AGAIN SOON,

1828
01:17:14,600 --> 01:17:16,433
AND I'M VERY HAPPY
ABOUT THAT.

1829
01:17:16,467 --> 01:17:17,800
(MAN)
UM, WHAT HAVE I NOT
ASKED ABOUT

1830
01:17:17,833 --> 01:17:19,233
THAT I SHOULD ASK ABOUT?

1831
01:17:19,267 --> 01:17:22,567
BECAUSE I KNOW WE'RE
RUNNING CLOSE TO TIME.

1832
01:17:22,600 --> 01:17:26,567
(SECOND MAN)
I'VE ALWAYS BEEN CURIOUS
ABOUT RICK'S (INDISTINCT).

1833
01:17:26,600 --> 01:17:31,367
(OVERLAPPING CHATTER,
LAUGHTER)

1834
01:17:31,400 --> 01:17:33,433
YOU KNOW HOW
THEY LOOKED AT YOU?

1835
01:17:33,467 --> 01:17:35,767
JUST SO YOU KNOW.
HERE'S HOW THEY LOOKED AT YOU.

1836
01:17:35,800 --> 01:17:38,767
JUST LIKE, "DUDE, CAMERA GUY,
SHUT THE FUCK UP!"

1837
01:17:38,800 --> 01:17:40,200
(LAUGHTER)

1838
01:17:40,233 --> 01:17:41,767
I MEAN, THAT WAS
ALL HER THEIR FACE.

1839
01:17:41,800 --> 01:17:43,767
(LAUGHTER)

1840
01:17:43,800 --> 01:17:47,633
I MEAN, IT WAS LIKE
"HOW THE FUCK DARE YOU?

1841
01:17:47,667 --> 01:17:49,467
IS THIS CLOWN ASKING
A QUESTION?"

1842
01:17:49,500 --> 01:17:50,700
IT WAS ALL OVER
HER FACE.

1843
01:17:50,733 --> 01:17:53,267
LOVE YOU, MAN.
LOVE YOU A LOT.

1844
01:17:53,300 --> 01:17:56,200
SO TAKE IT EASY,
MY FRIEND.

1845
01:17:56,233 --> 01:17:59,067
LET'S GO BOWLING.

1846
01:17:59,100 --> 01:18:02,467
NO STRAGGLERS, PAL.

1847
01:18:02,500 --> 01:18:04,600
THE FIRST WORDS
I EVER SAID ON FILM,

1848
01:18:04,633 --> 01:18:07,500
AS I TOLD YOU THIS STORY,
AS YOU'LL SEE LATER ON
IN THIS MAYBE,

1849
01:18:07,533 --> 01:18:11,200
WHEN I WAS BATTING .750,
WANTING TO HIT 1.000--

1850
01:18:11,233 --> 01:18:13,667
"ALL RIGHT, ALL RIGHT,
ALL RIGHT."

1851
01:18:13,700 --> 01:18:18,233
RICKY-TIKY LINKLATER...
WELL, YOU WANT THE NAME FIRST.

1852
01:18:18,267 --> 01:18:20,567
YOU KNOW, I MEAN,
IT'S HARD TO,

1853
01:18:20,600 --> 01:18:23,767
YOU KNOW, TALK ABOUT
A GUY LIKE RICK

1854
01:18:23,800 --> 01:18:26,033
'CAUSE HE'S KIND OF OKAY.

1855
01:18:26,067 --> 01:18:28,700
YOU KNOW WHAT I MEAN?
WHEN YOU THINK ABOUT HIM,

1856
01:18:28,733 --> 01:18:31,067
IT'S LIKE, RICK'S FINE.

1857
01:18:31,100 --> 01:18:34,367
RICK DOESN'T NEED US
TO MAKE A DOCUMENTARY
ABOUT HIM, HE'S FINE.

1858
01:18:34,400 --> 01:18:37,100
(LAUGHTER)

1859
01:18:37,133 --> 01:18:38,333
(MAN)
CUT!