Original subtitles

Arnold Schwarzenegger and Sylvester Stallone

Downloaded from YTS.MX

were not just rivals in the movie biz,

they were out to get each other.

Official YIFY movies site: YTS.MX

I mean, as soon as I saw him, it was like, bang.

Two alphas hitting.

At first,

it was all about the venture.

Every time I read this is,

"Sly just got the new record number, $10 million."

"Son of a bitch."

And then the rivalry just got insane.

We ended up kind of like, "You killed 28 people in the movie.

I killed 32."

"I gotta top that."

For the first time, these two icons sit down together

and confess things each did

to torpedo the other.

You talked to my director?

- Yeah. - Oh, my God.

Over time, they bonded and became brothers in arms.

I wish I could be as passionate about things as he is.

- Is that true? - Absolutely.

- Really? - Are you kidding me?

What's Arnold's legacy?

He came, he saw, he conquered.

Two men who became the biggest action heroes of all time.

He has-- His shirt maker makes a shirt

that has it pulled underneath like diapers.

Magic's in the details, pal.

TMZ Presents: Arnold & Sly:

Rivals, Friends, Icons.

The way I see this is that both of you...

were kind of improbable movie stars,

and yet you conquered Hollywood.

You rose to the top of the mountain.

Really, there were only two of you at the top of the mountain.

So why did each of you feel the need

to push the other off the mountain?

I guess for that very reason.

There's not that much room up there, you know.

Everybody wants to be on the point.

I think it's something you're born with.

I would go out for parts I knew I was wrong for,

but I wanted them so bad.

And I would tell the producer, director, I said,

"I know. I'm half the size,

you want this and that, but I'll destroy this guy."

And when he came along, I went, "Okay, finally...

I have something that will really motivate me,"

because he is, dare I say, competition or threat,

whatever words you wanna use.

And, I mean, as soon as I saw him,

it was like, bang, two alphas hitting.

Yeah, if we walked into a party,

we'd be, like, staring at each other for a few seconds.

And then, "I got to get that guy." I don't know.

He didn't do anything wrong, but he will.

The one that started this whole thing was me

by opening up my mouth,

saying stupid things, being competitive.

You come around here. You wanna move in here with me?

Come on in! It's a nice house.

Rocky came out,

and I was, like, blown away by his acting...

- Oh, right, right. - ...and by the movie.

And then after that, we were at the Golden Globes.

And we both won.

And so it was plenty of room for everybody.

But that's not the way I understand this.

I thought you, when Rocky won Best Picture...

- Yes. - ...you threw a bowl of flowers at him.

I absolutely did. He was sitting across from me,

and I'm going-- He won Best Newcomer.

No offense, but Rocky was a pretty good debut,

and he's looking very proud of himself.

And I didn't think we were gonna win Best Picture.

Rocky.

We win, and I lost it.

And then I went and picked up this entire bouquet of flowers

and tossed them straight up in the air,

sort of aiming towards his side of the table.

And it all comes down.

He's just sitting there with the same kind of...

like, "Okay."

He just threw down the gun.

And I kind of think, "Here we go."

You remember that?

I remember the incident,

but it was not yet kind of like the point where I said, "Okay.

This is now the beginning of a battle."

It just developed then from then on.

Now I had to chase him.

And then he did, you know, Rocky II and then Rocky II,

and then he did all those movies

and it just kept going up and up.

And I made-- My salary was kind of like 10% of his.

You know, when he got now $2 million, I got $200,000.

I think you were overpaid, but don't say anything.

He made $5 million. I got the $500,000.

So it was like, I had to kind of, like, chase behind him.

I said, "This has to stop." And every time I read this is,

"Sly just got the new record number $10 million."

- You remember that? - No actor-- Yeah, yeah.

No actor ever got 10 mill--

Not even Marlon Brando got $10 million.

And I said...

-"Son of a bitch."

- So I didn't boycott his movies

or anything like this. I loved when he did Rambo,

- I loved when he did Rocky. - This is all news to me, but keep going.

I had to kind of catch up to that, right?

So, this was-- It gave me kind of a motivation,

and this is what the whole thing was about.

It became, then, very, very competitive, the whole thing.

I get what you're saying, that there were two of you

and then both far below other people,

but in a way,

were you guys a little bit in different lanes?

Your movies were fantastical.

They were almost science fiction-like.

Your clothes.

Give them to me. Now.

And you were more grounded in reality.

Why you doing me no favors?

You're embarrassing me in front of everybody.

You make me look bad in front of your sister.

See this cigar? I'll stick it in your ear.

Now don't do these things to me.

So did you still see yourselves, like, in the same lane,

or wasn't there kind of a separation

in what you were doing, at least at the beginning?

I always saw it as a big time separation.

For example, he was perfect for Terminator.

I would never have been chosen for--

You know, I have crooked mouth, drooping eyes.

If you're building something so technical

and, like, precise, playing a robot,

Arnold has the features, the chisel, the hair, the look.

And so, he was always a different kind of action guy, I think.

He was more of a precise,

you know, kind of a perfectionist.

I was more free-form and more grounded, like you say.

And I had to deal with what I had with,

you know, I didn't have his body.

So I dealt more movements

and being more stealth, more catlike.

Don't push it.

Don't push it, or I'll give you a war you won't believe.

And he was more powerful-like.

Yet we achieved the same goal.

Yeah, no, absolutely.

I think that you end up doing

the things that you can do.

And also, the things that people are buying in on.

And The Terminator, which was a science fiction character...

Right. - Yeah, you can't have a machine that slurs.

- It doesn't work.

And then with Total Recall and with all of these movies,

these were all-- and Running Man,

these were all kind of like science fiction

or futuristic type of movies.

Yes, he was on a different track than I was.

But still, it was an end where we ended up kind of like,

"Well, you killed 28 people in the movie.

I killed 32."

"I got to top that."

So body count mattered.

It was not a body count.

And then it was kind of like, "Well, what was your body fat?"

You know, "I was down to 7%," Sly said.

And I said, "I was down to 10%."

So it became a competition with the body.

- Yeah. - And then it was kind of like--

Then he started using machine guns

that were kind of like, huge machine guns.

I was running after him. He was not running after me.

So I said-- When we did Predator, I said,

"You got to get a machine gun that is normally

mounted on a tank or on a helicopter."

"Arnold, you can never hold it."

I said, "We figure out a way. Don't worry about it."

I got to have a bigger gun, a bigger machine gun

than Sly used in Rambo.

So this is how it went.

So then he killed 80 people, I had to kill 87 people.

And you got sucked into it too,

because the difference between

Rambo I and II and III and IV,

you got your guns bigger,

- more body count, the whole thing. Everything, yeah.

Franco Columbu,

- my training partner... - Right.

...was his trainer for Rambo.

Okay, throw it, throw it.

I got to tell you about Franco, man. This guy here,

- he was very eccentric. Would you say? - Yeah, yeah.

And we're working out, he goes, "Let's have a competition with bench press."

I said, "You won." He goes, "No, come," and he went.

I said, "Oh, man." So I go down, and it's maybe only 200.

I'm just warming up, and I hear, "pow!"

I go, "Ah!"

And I fall on the floor and I'm going, "Ugh!"

And then Franco goes, "Let me see."

And he jams his fingers.

I've torn my pec off the bone.

- Ugh! - I mean, it's bad. I could hear it go "rip."

And he's jamming his fingers in.

And I go, "Ah!" And I think I'm gonna black out.

So, I go home. I feel like my career is over.

I'm supposed to start Rocky II, directed everything in a month and a half.

And I think, you know,

I got to have this thing sewn up.

And, you know, and here's the difference.

And he would have done the same thing.

I can't use this arm. So, I'll change it,

and Rocky, he'll fight right-handed.

He's fighting right-handed! I don't believe it.

The southpaw from Philly is fighting right-handed!

Mickey goes, "At the very end, you'll switch and catch him off-guard,"

which is completely illogical.

But I said, "I'm not stopping this movie just for this."

- So this is a bad injury. - So you switched arms.

I switched arms. So in Rocky, it was one of the key things.

But it's interesting the way these incredible journeys happen.

But we don't stop. We don't quit.

- He punked you. - Yes, he did.

- You got suckered in. - Yeah.

- So he played you. - He did, and I'm stuck with that forever.

One of my favorite stories about you guys

was Stop! Or My Mom Will Shoot.

- Yeah. - He punked you.

- He punked you. - Yes, he did.

Because you knew it was a bad script

and acted like you wanted it.

- You got suckered in. - Yeah.

- So he played you. - Yes, he did.

He did, and I'm stuck with that forever.

First of all, when we talk about the movie,

I didn't talk him into because I never talked him about it.

But it was very clear that his agent

was telling my agent,

"Look, Sly is interested in doing it,

but I don't know if it's the right thing for him.

Let me know what you guys are thinking."

And then my agent said, "Well, you know, Arnold really loves it.

I think it's fantastic."

So then I called Roger Spottiswoode,

who was the director,

who just did the James Bond movie.

- Oh, my God. And so he was kind of the hot director.

So he was the right guy to go.

- Did you know this? - No.

So anyway, so he's-- I talked to Roger Spottiswoode.

You talked to my director?

- Yeah. - Oh, my God.

So my agent then said,

"Well, Arnold is talking to Roger Spottiswoode now,

and he's already-- he's really into it.

I think we're gonna take the project."

And then, of course, his agent,

knowing that he's competitive with me,

he said, "You cannot let that happen."

And so he then called the studio right away and says,

"Look, you've got to give this to Sly.

Don't give it to Schwarzenegger. You've got to give this to Sly."

And I said, "Fine, Sly got it." And so then he got the movie.

So I was, of course, absolutely in heaven,

because I said, "I felt like the only way that I could catch up with him

is if he has a stumble."

- Can you get more Machiavellian? - It is.

You got to go and have him have a failure.

- Unbelievable. It was psychological.

This is a whole thing about in Hollywood

when you're always as good as your last movie.

So I felt kind of like, "Okay, if Sly would stumble..."

And sure enough, when the movie came out, it was a disaster.

You know, so, I mean, so the day was hanging

and everyone was writing, you know,

"What a day-- the heydays are over for Sly."

So I said, "Okay, this is now a moment for me to catch up."

The way you talk, it makes me think

that neither of you would be as successful without the other.

I can't agree to that.

I think it helped

because we came along in a certain era

that the movies were transitioning.

There were no such thing as real action movies.

You saw a car chase. You saw some gunplay.

There was no action film where you actually said,

"Okay, from beginning to end, this guy is in movement.

He's doing things. He's making action happen."

- Hey, hey! Wait!

First Blood, which was almost a joke.

I was the 11th choice. It was a cursed film.

And that became my first action film.

Real action. No dialogue, no nothing.

And then Arnold,

his films also were very action-oriented.

So we kind of started something

that I don't think exists anymore.

At least it doesn't the way--

It was like a man against the world kind of thing.

Now it's more of ensemble against the world, you know.

But you said that he really kind of inspired you

to work harder, to do better.

So in a way, each of you help the other.

- Yeah. - Well, there's no two ways about that.

He was very helpful in my career

because I had something that I could chase

and that I could kind of, like,

"Oh, I have to be able to do this kind of work."

But at the same time, I think that what is important

and he did not mention yet is

- that we have created a certain kind of era. - Yeah.

And that is kind of like we were the first ones

that did action movies

and that were actually believable

that we could do the things that we did on the screen

because of our muscular development,

because of our bodies.

We were ripped. We had abs, we had deltas.

We looked totally believable

that we could do those kind of things.

And so then you saw other kind of action heroes

kind of changing quickly

and going and running to the gym,

getting personal trainers

and training and training and training,

and then coming out

and then looking also ripped and all this.

And all of a sudden, it spread in movies.

It spread on TV.

I have to stop right here and interrupt one time,

because you're absolutely right.

A lot of guys did come out, but they weren't action guys.

They were martial arts guys. A whole other thing.

And we didn't care about that.

We were more different in the way we fought back.

So I've only seen really maybe two or three real action guys

and the rest are kind of hyphenate martial arts guys,

which is a whole other thing.

You know, you come into a room

and you fight 20 guys and no one pulls a gun.

Our films were more of an adventure and totally different.

And neither one of us know a thing about martial arts,

but we know how to bust a head or two.

Run over him.

- Okay. - Go get 'em.

We created that era.

Now there are a lot of actors

that are living off that era

and they're copying that,

and they're very, very successful in doing so.

I'm a very emotional person.

I think that people that have had horrible upbringings,

it's a [bleep] terrible burden to lay on anyone.

I think that what drove me was,

I had such need to create my own world.

I had to get out of that misery at home.

What's your favorite Schwarzenegger movie?

Terminator 2 is, like, perfect film.

- Get down.

Wouldn't you agree?

It's like, everything about it was just spot on.

It had new CGI,

had new inventive, had a good villain.

I think he really-- he really excelled in that.

What about your favorite Sly movie?

Stop! Or My Mom Will Shoot. That's it.

I know you guys-- It's okay. And I'll say Junior.

- Rambo II. - Rambo II?

- Wow. - My favorite is Rambo IV.

Can I get psychological for a minute?

You both had really tough upbringings, both of you.

Almost horrific in a way.

There's this famous poem,

it's called "Children Learn What They Live."

And a part of the poem is,

"If children live with criticism, they learn to condemn.

If children live with hostility, they learn to fight."

When you guys look at your childhood,

because I'm really fascinated by it because I had a rough childhood too,

and I can relate to some of what you guys went through.

When you think about your childhood,

what carried forward with you to this day?

Because you don't shed it. You don't forget it.

It doesn't go away.

So what is it in your childhood

that is still part of you, good or bad?

Well, I have a lot of sadness,

you know, because I think about what could have been.

It didn't have to be so bad. And it was bad.

Yeah, both your parents, especially your mom,

were just abusive and cruel.

I think that a lot of people go,

"Oh, that's what made you what you are today."

I think it's a lie.

I think that you are-- I am who I am.

If I had been encouraged and someone was more supportive,

I think it would have been even better.

But instead, I had to try to overcome

all these insecurities and doubting

from the parents to overcome that and succeed.

But you bring with you

a lot of bittersweet feelings,

and you try not to convey that onto your new family.

But that's part of your makeup.

I don't believe that which does not kill you makes you stronger.

Usually, that which doesn't kill you kills you

or almost comes close to it.

And you carry scar tissue inside.

And it kills me.

I mean, I'm a very-- really emotional person.

And I think-- You know,

I think that people

that have had horrible upbringings,

it's a [bleep] terrible burden to lay on anyone.

And parents should just, like-- they don't realize it

because they were treated like crap.

And see, it's a vicious cycle that goes on.

So I can't just blame it on them.

Because when I go back and I look at my mother's upbringing,

you know, orphanages and this and that,

and my father's,

they had-- you know, they were angry.

They just thought, "That's the way I'm gonna pass it on.

You're not gonna be happy if I'm not happy."

Your dad was angry a lot, too.

Yeah, my dad was angry.

And, you know,

everyone after the Second World War

over there was angry.

They lost the war.

You know, the ass was handed to them by the Americans.

So my father came back from the war

with wounds, broken back, malaria,

shrapnel in his legs and stuff like that.

So he went through a lot of pain afterwards.

So because of the drinking, there was violence at home.

So he would come home and smack us around sometimes,

sometimes for reasons and sometimes for no reasons.

And he would show brutality sometimes to my mother.

And the reason why

I never kind of think back

in a negative way is,

unlike Sly, I don't.

I just don't have it in me to look at my father and say,

"You son of a bitch, why did you do that?" Or anything like that.

I felt kind of like--

I don't really know the pain he had and why he drank

and all the stuff that was in him and all that stuff.

And on top of it, I said to myself,

"If I would have grown up

like some people do with all the love in the world,

I would have never left home."

I would have stayed in Austria.

It's not the kind of life that would've made me happy.

I always felt kind of I was a citizen of the world,

not a citizen of Austria.

But you don't think you would've done that anyway?

- No. - Oh.

I think that what drove me was

I had such a need to create my own world.

I had to get out of that misery at home.

And you're almost turning the misery into a blessing.

Yeah, so it was a blessing in a way,

because, you know, so again,

I disagree with Sly because

my brother,

Meinhard, he died.

He died because his reaction was

to become an alcoholic himself.

One day driving with a car

and then hitting a telegraph post, you know,

one of those big things,

and just smashed into it and got killed.

So-- But that was because of that upbringing.

And this is why I do believe in

"What does not kill you make you stronger,"

because it killed my brother.

Mm-hmm. - But it made me stronger.

You and I had no choice.

We were gonna do something.

You escaped into bodybuilding,

I escaped into theatrics,

because I wasn't too happy with reality.

So I said, "This is my world because I don't like this one."

So I think that we were gonna do it no matter what.

It just would've been nice

with a little bit more encouragement, that's all.

And the Oscar goes to...

Robert Downey Jr.

When Robert Downey Jr. at the Oscars

said when he received his Oscar...

- I'd like to thank my terrible childhood.

I immediately could relate to that.

Yeah, absolutely. - Because he went through trouble and pain.

I don't know exactly the story, but to him--

for him to thank his [bleep] upbringing

means that that motivated him and got him going

into a different direction rather than staying in the [bleep].

I know you supported Arnold when he ran for governor.

- I did. What I'm wondering is,

did you do it so you could get him out of the movie business?

Yes, actually.

- You read through me, did you?

Oh, my God.

You both have kids who grew up with a lot of privilege.

- Yeah, yeah. Yeah. - That you didn't have.

So how did you guys raise kids

when they can't see what you saw?

- Right. - Other than the fact that

you're these incredibly famous, wealthy two guys

and they're looking at this-- you know, in this mansion.

How do you raise kids with those values?

I'll tell you, I've always said that

everyone's father is tougher than them.

You know, it's just their life was tougher, it was harder.

And then their grandfather. I mean, think about--

Yeah, the difference between you two and your parents is--

Exactly. Is world--

I mean, it's worlds apart.

Well, the difference between us and our children,

we really had to grovel.

And it was tougher back then.

Today, it's a whole different world.

They're presented with so much.

Not just rich people, even poor kids.

And I mean, there's so much technology, and that--

that I think it's really put a damper on people's inspiration

and this ability to go out and explore for themselves.

It comes right to you on a phone, all this stuff.

Who is giving you advice on what to wear on Golden Globe night?

Definitely not him.

- Definitely not him. - No, he's gotten better.

I get no respect, as you can tell, okay.

I try to teach my kids,

and maybe I think he does too,

is really understand that you are privileged.

And I just want you to be nice.

I want you to be empathetic to people.

I want you to be polite

and understand that you were given this gift.

It just didn't come out of the ground.

When you see a guy working there,

pushing a broom thing, working on a roof,

he doesn't wanna do that.

He wasn't born to say, "I can't wait to go

tar a roof in the summer."

So be empathetic to people that don't have what you have.

And my girls have been just fantastic.

And they've also-- they've picked up our habits,

and they are industrious.

They-- they imitate.

My wife is incredibly industrious,

so my daughters have carried on that tradition.

Our kids would not...

kind of create that same kind of hunger...

and that desire and that fire in the belly

that we had because of our upbringing.

- So that only comes with that upbringing. Yeah.

You know, your urge to move away,

to go and explore and to get out of there

because you get the beating all the time there.

So that hunger, I think,

would not be the case with our kids.

- No. - But...

that does not mean that you cannot bring them up

to be successful.

I was very lucky that I had a wife

that was really good in raising the kids.

Maria was excellent in that.

And so I was gone twice a year for three months,

sometimes six months on a movie set.

So, of course, she ended up 80% of the time,

to make up a number, raising the kids.

And she did an extraordinary job with the education,

with the moral codes and with all of those kind of things.

And my kids all had to wash their own clothes.

They all had to wash their own bedwear.

And every so often when I saw them cheating

and someone else did it,

I grabbed their mattresses

and I threw it off the balcony of the bedroom.

And sometimes into the-- sometimes, you know--

- Now we're getting somewhere. - Then the TV.

But then they have to drag it up again and they have to make the bed again

because I detected they didn't make the bed. It was too nicely made.

I just want to compliment you for a second and just say this:

one of the things that I learned over the years

of what great of a family man Sly is

and how he deals with his daughters

and with his family and the whole thing like this.

You know, when you go up to visit someone at their house

and you go to parties or do dinner or something like that,

you see the dynamics and what's going on there.

And I watch his reality TV show and all this stuff.

Hey! Come here, little-- [bleep].

And it is just really-- He's on it,

and he's supportive, and he's really terrific because of that.

And he's learned from what his father did

that he doesn't want to do.

- No. - And does the opposite.

So I-- I think it is really terrific.

I'm going to run for governor of the state of California.

I've always wanted to ask you this.

I know you supported Arnold when he ran for governor.

- I did. - What I'm wondering is,

did you do it so you could get him out of the movie business?

- Yes, actually.

You read through me, did you?

Oh, my God. I thought it was so insane, what he did.

I said, "I gotta-- I gotta see this."

And he pulled it off. Can you believe it?

It's just-- it's-- it's who he is.

- Did you ever have a plan B? - No.

- As a matter of fact... - There you go.

...in my book, Be Useful, I talk about,

"Don't have a plan B, there's no such thing as a plan B,"

because it's kind of like saying,

"I want a safety net."

I'm not the safety net kind of a guy.

It's you yourself that is doubting you,

and that's the most dangerous one.

Not that someone out there is doubting you,

but that you are doubting you.

- Now you're fighting yourself. Right.

And that is an absolute no-no.

This is a formula for disaster.

In 1987,

you went to a joint

that I used to have breakfast at,

Patrick's Roadhouse in Pacific Palisades.

And you had a secret breakfast meeting

talking about Rambo vs. Predator.

- Why didn't that happen? - I think--

Because we've had this happen a couple of times.

There was a John Hughes comedy, wasn't it, we were talking about?

Battling neighbors. Because we couldn't agree on that.

So at that time, it was kind of still strange.

Duke and Fluffy. Or something like that.

- Yeah, it was like that. - Duke and Fluffy? Who was Fluffy?

I was supposed to be a dog and he's supposed to be a cat.

And we're supposed to-- In the daytime,

we are regular neighbors that hate each other.

And at night, we are animals, you know,

and then we attack each other and all that.

- I kind of like that. - It was a funny idea.

But he went off doing a movie. So it never really happened.

What do you admire most about him?

His dedication and his passion.

I wish I could be as passionate about things as he is.

- He's so passionate. - Is that true?

- Really? - Absolutely. Are you kidding me?

When you talk about scripts

or when you talk about your characters that you play in movies,

or when you talk about movies,

it's-- there's just so much passion there.

I think it's really unbelievable.

And it must come from somewhere

because, you know, he's a very emotional guy,

which I'm not.

I'm emotional, but not like him.

You're very different, the two of you.

Very, very different in that way.

You can tell alone just the way we are dressed, right?

- I mean, he has, of course-- - I wasn't gonna dress like this.

This jacket, I guarantee you, cost $10,000

from David August or something like that.

Who knows who made it?

Mine is like a-- a second...

That'll come back someday, don't worry.

- ...leather jacket.

I have old cowboy boots on

and he-- Look at this, the alligator loafers.

Everyone would agree if there is a Mount Rushmore

of action heroes, you have two of the four spots.

I think everybody agrees with that.

- Who are the other two? - Oh, wow.

That's a tough one.

What do you admire about him most?

I'm not even finished yet with what I admire about him.

I always have painted my whole life, right?

For my children.

And so I painted in school,

you know, did little paintings like that.

Then I go and see his art

and his paintings.

I tell you, it is absolutely spectacular.

Oh, stop.

I do everything little.

Like this, I make fine lines,

and then make everything very accurate and all this, and he says, "No, no, no."

He says, "Arnold, you got to be more daring. Got to open up a little bit."

So I go up to his house, and he has this big paintbrush

with 15 kind of different colors,

goes in there like this, and he starts smacking it down on the canvas.

And I said to myself,

"Can you believe the balls this guy has?

He just makes a commitment with all of this paint.

And then he goes, and all of a sudden, in no time,

he creates this really colorful,

unbelievable kind of modern type of a painting and stuff like that."

His big paintings go sometimes for several hundred thousand dollars.

What I admire most about him

is he's rock steady.

He's like a season that doesn't change.

He's like bang on, bang on.

Very organized, very calculated, very thoughtful.

I'm not. And he's right, I'm very emotional.

And I tend to be swayed.

And things can upset logic quite often.

And that's when you make mistakes,

when your brain overwhelms your heart,

or your heart overwhelms your brain, I should say.

And that doesn't-- It-- He's--

I don't know what he's thinking. Do you know what I mean?

He's like a chess player. You don't know what's going on, but he gets it done.

And he really does have a big heart, he does.

I mean, you wouldn't think it, because we're action guys,

but we're more emotional than a lot of more dramatic actors.

Trust me, do not think for a second we're not hypersensitive,

especially coming from the way where we came from.

We're very-- Especially criticism.

It's very profound on us. Very profound.

So when you get bad reviews, they hurt.

Oh, yeah, don't just criticize.

"Stallone's career is more mysterious than crib death."

I mean, that's how bad it gets. I mean, brutal.

Well, you got one where they said you felt you got the worst review since Hitler.

- Here you go. - You said that.

Yeah, it's true.

- Did I really? - Yeah, you did.

Oh, my God, oh, my God, but it's true.

I remember when we did The Villain

with Kirk Douglas, Ann-Margret, they said to me,

the horse had better facial expressions than I had, I mean, what the hell?

- So, I pay no attention to this stuff.

There are a lot of differences with you guys,

what we've talked about.

The big similarity that I see

is both of you have put your bodies through hell.

The image that I always think of is the two of you on gurneys

getting ready for shoulder surgery at the same time.

That was by accident.

But was this worth it to put your body--

Because I know that it causes pain.

You've been in the hospital a bunch.

You've had all sorts of operations.

You've had, what, seven back operations?

Three neck fusion, shoulders, every knee.

Yeah, I had endless amount of heart surgeries.

You had back surgery.

I mean, we have our surgeries.

I have shoulder surgeries, this shoulder, this shoulder.

You know, the knees, both knees, hip replacement and all that kind of stuff.

I got a lot of injuries in this movie.

Believe me, I was attacked by wolves.

I was attacked by vulture.

Do you ever wake up, and just say, "Why did I do this?"

I do, I got-- The pleasure--

As Tony Robbins, "the pleasure was not worth the pain."

I liked doing some of it, but there was a point

when I should've slowed it down and used a pro.

Apollo unloading a left, really trying to get him up against the ropes.

- He's-- Oh! Rocky's things really

wiped me out from snapping the head all the time.

Hard left, again, a hard right.

Dolph Lundgren, you told him to hit you,

and you ended up in the hospital for nine days.

He almost killed me. Yeah.

That was a freakish accident, just freakish.

- But you asked for it. - I did ask for it.

But I didn't think he'd hit so hard.

You know, [bleep]. That kind of a thing.

Like, yeah, I think I talk to my wife every day about it.

It's absolutely not worth it in the sense

that you don't know when to quit.

I should have stopped right before the first Expendables.

That's what did me in.

I never was whole from that point on.

So it's always easy to go and say,

"Okay, now I'm 76 years old or 77,

and I should have not done this, done that,

because that's what hurt me," what does it matter?

The bottom line is, we had a great time what we did, we love to take risks.

You couldn't have stunt doubles, because you were so big,

so you did a lot of your own stuff.

Yeah, yeah, I did. There was no choice, really,

because when I was in Spain, there was no stunt guy around that looked like me--

But it's all flipped now,

that you have stunt guys

who are big like you were.

But now the action heroes

- are small. - Are small, I know, I know.

I mean, Timothée Chalamet, Mark Ruffalo,

- Austin Butler. I know.

Everyone would agree if there is a Mount Rushmore of action heroes,

you have two of the four spots.

I think everybody agrees with that.

Who are the other two?

Oh, wow. That's a tough one.

I would put Clint on it.

Clint Eastwood was always my hero,

my inspiration.

He was one of those guys just like Reg Park in bodybuilding

that spent time with me and talked to me.

The fourth guy, you have to come up with.

I already came up with one.

I think it goes to Bruce.

He's a very multifaceted guy.

He can do drama and comedy, whatever, and all the same.

But he was in quite a few seminal action films that really--

Like, Die Hard is a classic, and those things don't go away.

I'm a friend of Sarah Connor.

Can't see her. She's making a statement.

I'll be back.

What's Arnold's legacy?

Well, being the all-time triple threat.

He came, he saw, he conquered. That's it, really simple.

It's not original, but it's true.

What's his legacy?

Someone that did some of the most extraordinary movies.

Nothing is over! Nothing!

You just don't turn it off!

And inspired endless amount of people

to get in the movie business,

and to be writers and directors and actors.

Yeah.

His shirt maker makes a shirt

that has it pulled underneath like diapers,

and then pulled up on the other end.

I have to tell you guys...

you kind of changed my life.

Because both of you...

are so inspirational when it comes to risk-taking.

And you--

Just the idea that you so believed in what you were doing

that you were willing not to sell Rocky if it wasn't on your terms,

and you stuck by that.

And just all the things you did

that seemed so improbable,

that you came to the United States with 20 bucks.

And I knew about this early on in my career,

and it inspired me, and it made me work harder,

and it made me determined.

And this is such an honor. And I mean that.

And I thank you so much

for sitting with me and talking, it means the world to me.

- Well, thank you. That's very nice. - Thank you.

I bet any money Harvey is not ready for this interview.

- He's not ready? - No. No.

. - I guarantee you.

I'm tired of working with amateurs.

You guys did a good job. - Oh, thank you.

We're gonna exchange pacemakers. It'll be great.

Now Arnold and Sly's medical show.

Here we go. Oh, that's a good idea.

- Autopsies.

Is this the other jacket he wanted to put on, Jennifer?

Oh, God. Let me see if it's David August.

He's breaking my balls. 'Cause you feel like dressing like the--

It is David August. What did I say?

On the show, David August.

Oh, my God, you were right. You even knew his designer.

That's hysterical.

Feel this. Cashmere shirt, cashmere jacket.

No, khullu. Get it right.

Oh, my God, you got that to Sly?

- This is unbelievable. I'm telling you. - It's better than cashmere.

Sly has nicer clothes than me, so...

Yeah, he has definitely nicer clothes than all of us.

Look at this.

So I go to visit his set.

So then he goes, and he says,

"Arnold, I don't like when your shirts are baggy here."

So I said, "What am I gonna do about it?"

He said, "Sometimes when you go like this, it pulls out."

Then he said

"Come with me."

He goes in his dressing room, in his trailer,

and he pulls down his pants.

His shirt has something

that goes underneath his crotch

to keep the shirt pulled down.

Who thinks about this?

When he sat down, that's why you said that.

Who thinks about this?

I just ordered another dozen.

He has-- His shirt maker makes a shirt

that has it pulled underneath. It's like diapers.

And then pulled up on the other end

so the shirt stays down, because God forbid

you're doing a movie and there's a wrinkle in the shirt.

As if that is not natural.

Magic's in the details, pal.

So this is what goes on here.

Unless you wanna hold my tails down here, pal.

Mr. Cashmere. And look at the shoes.

Look at the alligator [bleep], the loafers.

- All right, man. - All right, thank you, guys.

I feel sorry for you.

Goodbye. See you.

That was so great.