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There's always been this unique charisma to Harrison.

No one's like him.

I think you just can't bear

to let a gorgeous guy like me out of your sight.

There's just something about a rogue, isn't there?

And he's, like, the ultimate rogue.

"I don't want a real job. Maybe I could be an actor."

I'm making this up as I go.

He is his own man, and he knows he's an action hero.

Let me see how it looks. Can we follow Harrison?

He's down-to-earth and has this very, kind of, wonderful, dry wit.

Water?

He is hilarious, magnetic and sexy and funny.

Go away!

He's not too weird-looking, and he's not too good-looking.

Who's scruffy-lookin'?

He hits that sweet spot.

It's very bouncy, Steve. Very bouncy.

George and Steven came into my life.

- That's Indiana Jones. - Things got better.

- In the rain. - It's raining.

It's raining. It's very wet.

Where's my man, my movie star?

Hi, Mom.

There any surprises in this film?

Oh.

I became very aware of this movie star-in-waiting.

- I'm in good hands.

We had this great power. We had great stories to tell.

I don't think there's been any actor

that's taken on two incredibly iconic roles like this

that have stood the test of time.

The hat, jacket and the whip. You're Indiana Jones.

In my own mind, I cannot separate Harrison from Indiana Jones.

Not a lot of us know him as Harrison, the private person, you know?

There's still a mystery about him, and this is his story.

This whole project started about ten years ago

when I had an idea to do a movie, an action-adventure kind of serial.

It was actually about the same time

that I came up with the idea for Star Wars...

but, uh, got more interested in Star Wars, so I put this one on the shelf.

Figured I'd get to it someday.

George and I, we were in Hawaii

getting ready to celebrate the opening of Star Wars.

We built our lucky sandcastle on the beach.

The tide did not take it, a good sign.

Then after the grosses started coming in, George was just ebullient.

The sense of relief that washed over him that day when he found out he had a hit.

He turned to me, and he said, "So what are you gonna do next?"

And I said, "Well, I've been trying to get the Broccolis to hire me

to direct a James Bond picture.

They keep turning me down."

And George says, "I got something better."

I had actually started working as a receptionist

for John Milius and for Steven.

So that was quite the introduction to Hollywood,

because there was a steady stream of who's who coming through the door.

I had met Steven about five years before

on the set of Daisy Miller in Rome, and he had noticed how I worked.

So when George asked him, "Who do you want to produce Raiders?"

He said, "Let's see if we can find that guy, Frank Marshall."

I had been writing without success.

And then I had written Continental Divide.

It sold in about two weeks, and there was a bidding war for it.

- Steven won the bidding.

And Steven says, "You know, I'm gonna do a movie with George Lucas.

We both think you could be the person to write this movie.

They had only the basic ideas.

The one big idea was that when George started talking to Phil Kaufman,

he said, "Oh, I know what the MacGuffin should be."

His orthodontist had told him when he was 11 years old

about the lost Ark of the Covenant.

An army which carries the Ark before it is invincible.

I said, "That's fantastic. It's perfect.

It's just what we're looking for."

And, uh, "Fit that into it. Flush the story out a little bit more."

George said, "The hero's named for my dog, Indiana."

"He wears a Fedora, and his weapon is a whip.

It's gonna be like the serials

where there's a cliffhanger all the time, you know?"

So, that's about the whole conversation.

George and Larry Kasdan and myself,

we pounded out all the beats to the story in three or four days,

and then Larry just went off and wrote a brilliant script on his own.

Steven said, "Why don't you write it at my office?"

'Cause I had no office. He said, "You can write it at my desk."

That's when I met Kathy Kennedy too.

I had been asked by Steven to come work as his assistant.

So I was sitting in the office, hadn't been in the business very long,

and he put a script in front of me, and he said,

"I'd really like you to read this and tell me what you think."

It was one of the first scripts I'd ever read.

It was just this incredible page-turner.

But how are we gonna do this?

There had been movies like this 50 years earlier,

but there had never been anything like this in recent memory.

And George and Steven had such a clear image of what that would be.

And you needed someone you couldn't take your eyes off.

George really believed in doing concept art

for the look of the movie and the character.

And so there were four or five paintings

that were done by this wonderful artist named Steranko.

We always talk about it as the silhouette of Indiana Jones.

Steven and George knew that they needed a character

that would really have that instant identification.

We didn't have the intention to redefine

what a hero is to global movie audiences.

We didn't have any delusions of grandeur about where this could go.

I felt, personally, this was a very risky project,

'cause nothing like this had ever been done

since the old days of the Republic serials.

I was thinking about how to insure all of us against failure

by finding a very charismatic Indiana Jones.

I was a philosophy and English major in college,

and I was not a good student.

I was a depressed student, and I didn't fit in.

And it was a small mid-Western liberal arts college in Wisconsin.

Very small school.

I was the first one in our family to go to college.

My father and mother worked hard

to make the money, uh, to send me to college.

And I didn't perform.

I found no peers there, really.

I felt, uh, isolated.

And then my grade point average got to the dangerous, uh, juncture

where I went through the course catalog to try and find something,

like basket weaving, that I couldn't fail at.

I went through B's, and there was no basket weaving,

and I came to C, D. Drama.

When I read the first line,

"Read plays and discuss them with your classmates."

I didn't read the rest.

The rest said, "And you have to be in plays."

Suddenly, I found myself on stage with my knees knocking,

and I was terrified.

That was something I had to learn to control.

I learned how to do that, how to not be terrified.

And I did find that the people that I was telling stories with

were the people I was missing.

I didn't see them until we were telling stories together, and I fit in.

I felt good there.

And I was, for the first time,

emotionally involved in something I was doing.

So, I said, "Well, maybe I could be an actor."

My father who had been a radio actor himself early on.

My grandfather, his father, was a vaudevillian.

So there's a bit of a tradition in the family of this.

Nobody thought I had a chance in hell of making a living at it.

All I knew about acting was you go to the East Coast or the West Coast.

So I flipped a coin. Came up West Coast.

So went to the West Coast and after a period of years,

I began to get an edge up in Hollywood.

I see the whole thing.

She's marrying me to rebel against you.

- Who? - Me?

No, you. And what she really wants is him.

- Me? - Yes, you!

I was under contract,

so they plugged me into tiny little parts in television shows.

Is there good money in being a contract player?

What do you gotta do to--

Oh, yeah. Not just money, but the respect.

- 150 dollars a week, yeah.

Anything then that they're doing, you have to show up and be in, right?

- That was the idea. - Yeah.

Any memorable appearances come into mind?

- No.

When I got out of that contract, I went under contract to, uh, Universal,

and I did another year and half at Universal.

And then I started doing episodic television.

The time has come to cut our losses.

What does that mean?

The Board of Directors is considering a different approach to the problem.

But I also was remodeling a house that we were able to buy

with my then-wife's legacy from her parents.

Then I started to remodel it, and I ran out of money

'cause I bought tools and materials.

And a friend of mine suggested that I take a job with Sérgio Mendes

to build a rehearsal room for him on his Encino estate.

And he forgot to ask me if I had ever done it before.

And I forgot to tell him, frankly.

But it turned out to be a 10-track professional recording studio

that I built in his backyard.

And I was never out of work again as a carpenter.

Would you charge more to a celebrity than you would to a regular civilian?

- Wouldn't you? - Yes.

It allowed me to not have to take every acting job that came along.

I wouldn't take another job unless the next job was better than that one,

that is bigger part, better billing,

more money.

Now, look. Don't get involved in this, Mr. Caul.

Those tapes are dangerous.

So, for about 15 years, I only worked five or six times.

But when I worked,

I worked in something that I really wanted to do.

And the first of those was American Graffiti.

Hey, you see this Milner, you tell him I'm lookin' for him, huh?

Tell him I aim to blow his ass right off the road.

When I was casting for American Graffiti,

the casting director was a good friend of Harrison's.

He wanted him maybe to play John or something,

but he was in his 30s and everybody else was in their 20s.

He wasn't right for that part.

So when we went on,

and we started casting Bob Falfa, the villain of the piece,

I immediately thought of Harrison.

Hey, you're supposed to be the fastest thing in the valley, man.

But that can't be your car.

It must be your mama's car.

We were shooting almost all nights.

George was holed up in a corner in a warm jacket and sometimes...

He kept falling asleep.

It was a very low-budget film.

Fun to do.

I was surprised that I was in something that was popular.

Well, I'm not gonna take you on an impossible chase across the galaxy.

I was paid to bring you here, and now you're here.

Give me my other 5000, and I'll be on my way.

You're on your own. I'm on my own. I'll let you off on the nearest system.

When I was actually, uh, doing the casting on Star Wars,

we went through quite a few actors.

We went through a lot of possibilities.

- Tell me, what was it about Harrison

that initially drew you to him as an actor?

Later, I found out it was the casting director that said,

"Here. Sit out right out in front of the office,

and pretend like you're building something."

- Oh, rubbish.

We had tests with him and Carrie and Mark,

and we went through the whole thing, and that was where the best chemistry was.

You know, he fit the part.

I thought the film was gonna be successful actually.

And I didn't think that anybody over the age of 15

was gonna be interested in it necessarily.

But I thought it would be successful as a kind of fairy tale.

Yahoo!

Everything about Star Wars was a surprise to the world, really.

I mean, no one was prepared for what it was.

And that cast was just part of that surprise, I think.

There was a callow youth, Mark.

There's a beautiful princess, Carrie.

There's a wise old warrior, Alec Guinness.

And there was a smart-ass, which is...

sort of a specialty.

Everything's perfectly all right now.

We're fine. We're all fine here now. Thank you.

How are you?

Han, he sort of drew everybody's attention,

because he was the grown-up in the scene.

Even though he was hot-tempered,

and he had this running, kind of, battle with, uh, Chewbacca.

They were, kind of, you know, the odd couple.

- Get in there you big, furry oaf!

I don't care what you smell!

- Get in there and don't worry about it.

He was kind of a throwback to an era of guys

who completely owned how masculine they were,

and were not apologetic about it.

And, in fact, his voice seemed ten years older than he did.

For a long time, that speaking voice had this weight

that made you think, "Who is this kid who sounds like a 50-year-old guy?"

Look, your worshipfulness, let's get one thing straight.

I take orders from just one person. Me!

That funny, self-effacing, scoundrel, jokester,

I think that permeates who he is all the time.

My theory of interstellar space travel:

Make sure you get enough per diem,

'cause you're gonna be out there for a real long time.

You just know, whether you're gonna go sit down and have coffee with him,

or have dinner, or watch him perform, you're gonna be entertained.

That's enough?

No point in pursuing that further.

And as far as Raiders of the Lost Ark, um...

- This was-- You were not his...

You were, uh, now this--

Does this make you feel odd that you were not his first choice for that film either?

- No. - Yeah.

No, it wouldn't have occurred to me that-- I didn't even know about the project.

I didn't know Spielberg.

And it didn't occur to me that I would have a chance of doing it.

We spent so much time trying to figure out how we were gonna cast Indiana Jones.

I didn't know who could play this guy.

I really thought,

"Well, the guy that should have played Indiana Jones

is Humphrey Bogart 50 years ago."

But we don't have him around anymore.

So we started looking around at young guys under 30

that could possibly play him.

And we did a number of tests. Actors coming in and reading

on video for the part of Indiana Jones.

And then Tom Selleck came in.

Hello, Marion.

And we went very far down the road to cast Tom Selleck as Indy.

In fact, we made him an offer.

But maybe it could do us both some good.

- Why start now? - Just shut up!

Shut up and listen to me. Now I need that piece your father had.

But he had a contract with CBS for Magnum,

and he couldn't get out of it.

Suddenly, we didn't have an actor.

I knew that Tom Selleck had the job,

but had to turn it down because he had a prior commitment.

So, uh, thank you again, Tom.

Tom Selleck had fallen out by the time they cast me.

And I auditioned with Tim Matheson.

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

but no matter how much I hated you, I always knew someday

you'd come through this door.

I fell in love with Marion.

She is everybody's kind of fantasy.

I think of, you know, who-- who a woman should be.

Nobody tells me what to do in my place.

I remember my agent at the time saying,

"Well, what do you think of it?"

I said, "I've never read a script like this.

It's just pages and pages of description."

He said, "Well, do you want to do it?"

And I said, "Of course I want to do it."

This is either going to be the biggest disaster of all time,

or it might just set a new fashion in filmmaking.

So, I think I had been cast for maybe a month or something

when suddenly they told me

that they had decided who would take on the role.

And then George had a screening of Empire Strikes Back.

George showed me a cut of The Empire Strikes Back.

I looked over at George and I said, "There's our Indiana Jones. That guy."

And George said, "Chewbacca?"

- And...

That's the guy. That's Indiana Jones.

And George's first reaction was,

"Well, you can't cast Han Solo as Indiana Jones, 'cause he's Han Solo."

And I said, "Yeah, but actors play all these different parts all the time.

Harrison can play Han Solo, and he can play Indiana Jones."

And George, I think, immediately saw the value in that.

I got a call from George saying,

"I want you to read the script this afternoon please.

I'm sending it to your house."

And I read the script. I said, "Ooh. Wow."

He said, "Okay. Go over and talk to Steven. He's waiting for you."

And I went over and then about,

I don't know, an hour later, I had the part.

I was excited to have the opportunity to work with him.

He was full of enthusiasm.

He loves to make movies. And he's damn good at it.

It feels great to work with Harrison.

When I do a close-up on Harrison,

I suddenly feel like a first unit director.

Gee, I've made it. I'm out of the mire, you know, and into the glory.

I remember that we got on the plane together,

and when we were sitting next to each other

we went through the script, literally for the first time.

Both of us read a scene, talk about it.

It's just, like, a dream collaboration that I'd never enjoy more.

- Suggestion? - Yeah.

I thought you were slithering. Are--

- No, so that's-- - Or--

Or you were slithering, or...

- I think it makes sense. You should go-- - All right.

I don't think it's a problem of all places.

I was always eager for an opportunity

to collaborate, rather than simply,

"You stand there. You say that. That. Okay?"

Such as when I was sick from eating local food,

and enjoying it terrifically on the way in,

but not so much on the way out.

Like, I couldn't stay out of my dressing room

for more than ten minutes.

He said, "I gotta go back to the hotel. What can you do in an hour?"

I said, "We have a three-day action scene to shoot!"

He said, "Hey, pal. It ain't gonna be today."

I said, "Let's just shoot this son of a bitch and go home."

We both take credit for this.

Either I said, "Why don't you just shoot the guy?"

Or Harrison said to me, "Why don't I just shoot the guy?"

But whoever said it, that's exactly what we did.

Poor guy. I mean, he'd been training for three months.

Because the two of you were supposed to have a whip and sword fight.

It was supposed to go on for three days.

To your right, Terry.

And they told him, you know,

"What we're gonna do is we're just gonna shoot you."

- He was really upset.

The first time I shot him,

it took him about a minute to lay down,

'cause he wanted to get something out of this.

So...

Oh, so torturous.

So, the second time we did it, I shot him before we slated.

That's the one that's in the movie.

So, I had my collaborative input as we were making the film.

It just made me feel much more comfortable in the character.

Harrison is incredibly inventive.

And he's got a tremendous command

of what the character not only should do in an action scene,

but what maybe the character can say that we hadn't scripted.

Like the great line...

It's not the years, honey, it's the mileage.

Harrison came up with that line.

That was his idea. He had a lot of lines in the movie.

And I think that was Harrison's way of distinguishing

the character of Indy from the character of Han.

It starts here with the rocks chasing you.

And it's just, literally, you know, it's about...

It's about that fast.

I always said that Indiana Jones was more about

what you can do in a movie for an audience.

How you can take them on an adventure,

surprise 'em, shock 'em, wring 'em out, and leave 'em happy.

We had real stunts.

I mean, all we did in Star Wars is run, jump and fall down.

I wouldn't call that stunts.

- Okay. Cut. - Cut it.

In Indiana Jones,

we were able to arrange some really close-up magic.

And use me in it.

I think I clipped him once or twice.

I think I might have caught his chin at least once.

I learned to hate you in the last ten years.

My stunt guy had done most of the action.

And I came back and had to plug myself into scenes.

Pick your head up just a little if you can. That's it.

And we came up with some real stuff that I could do

that I think was some of the best stunt stuff I had ever seen.

I'm sure it's not dangerous.

See, if it was dangerous,

they would've waited until we got more of the movie done.

Hold it. That's good.

I love Raiders.

He's an academic

who happens to somehow get out of scrapes with incredible aplomb.

And he's very lucky. Things break for him.

Bad dates.

He's kind of like Bugs Bunny or the Road Runner,

or Buster Keaton, in that sense.

That building falls on them, but they're standing where the window was.

Or the train turns just as the cannon goes off,

and then the cannonball hits the bad guy's train instead of his own.

We also identify that he has fears.

I hate snakes, Jock! I hate 'em!

All of Indiana Jones' eccentricities and anxieties

and neuroses are part of his appeal.

It's scary to go in a cave.

It's scary to get spiked with a spear.

You know, frightened of snakes...

Why did it have to be snakes?

He basically rolls his eyes, "Snakes."

It's not like he screams. He's like,

"I can't believe I'm a grown man who's afraid of snakes."

There is this-- this need to press on

that, to me, kind of felt quintessentially American about that character.

So, he may not have been invulnerable, but he was indomitable.

And Harrison's not afraid of snakes either?

Not at all. But he-- But he's an actor.

I like snakes. They don't scare me at all.

There was one really dangerous snake behind a piece of plexiglass.

Try to get him going.

That was a cobra. King cobra.

Let's put in five more,

and then we'll get ready to roll,

and we'll put in two more as we turn the cameras over.

Two more fresh ones, right?

There were people standing by with syringes of antivenom.

- Now he likes you.

But all the rest of the snakes were harmless.

They would bite you, but the bites were not deadly.

You traitor! You get your hands off of me!

We were having so much fun.

Never had a better time on a movie. It was crazy.

- Whoops!

- I'm standing still. - Hey.

- Couldn't be my fault.

No movie for a filmmaker is an adventure.

It's a lot of hard work.

We were globe hopping as the character of Indiana Jones was globe-trotting.

That's not an adventure.

That's a lot of long, boring airplane rides. It's a lot of jet lag.

That's a lot of moving into new hotel or motel rooms.

The only excitement for me happens when I get to the set.

- That's where the fun in it is for me.

Let's start shooting.

We got Harrison here. He's all ready to go.

He's got his hat on. Good. He's got his little satchel.

Whoa, whip him!

And the whip.

We had a guy, Glenn Randall, that taught me the basics of it.

But I would stand out in my driveway and practice. Hours.

When you first start, you'd take your ear almost off with the lash as it goes past.

That's it. That's it.

It's very dangerous.

It's hard to learn. But, uh, it was fun.

Is that how you got your scar on your chin?

No. It was a car crash.

A fast car crash on the way to sell, uh,

knickknacks and oil paintings at the Bullock's department store.

- It's a wrap!

Oh! Thank you, Dickie.

Thanks, baby.

You're coming to Hawaii with me. I'll thank you later.

The last week of shooting, we were in Kauai.

And the last week of shooting

was the entire opening of Raiders of the Lost Ark

where they're trekking through the jungle.

We're very nearly done. This is-- It feels good.

We worked almost every day.

Had about a day and a half off on the whole movie.

And, uh, been sore and bruised most of the time.

They're making a movie.

That reveal,

that close-up stepping in with the perfect eye light out of the shadows.

That's signature Steven.

It's funny that's one of the shots we did late in the schedule.

And I think Harrison, at that point, certainly knew who that character was.

And he knew that look that only Harrison can give.

He just owns the picture from the first frame to the last.

And it feels like a movie that was made for him to shine.

Any questions?

When I go into the editing room,

and I start to see these shots cut together into a sequence,

that's where I had my first rush of excitement.

Whoops.

And my first cautious rush of,

"Oh, this could be something amazing."

"This could work."

Steven invited me to come and see the first screening of it.

I was astonished.

I mean, you don't really put together the pieces of someone's performance

working with them in the scenes that you're in with them.

I didn't have a very clear sense...

What did you say?

...of Harrison as Indiana Jones until I saw the film.

I saw it on opening day, alone.

I mean, I was such a huge fan of everyone involved

that I still haven't forgotten where I sat and where I saw it, you know?

'Cause it was also the moment

when you're trying to figure out what you're doing with your life.

And it was one of the reasons I became a movie director.

Indiana Jones was a pretty life-changing experience for me.

My first sole producer credit. My first nomination.

The start of an incredible friendship

with a whole lot of wonderful people that I'm still friends with.

Everything about the creation of the movie

was going on with just that family, that handful of people.

We were all together all the time.

Yeah.

There's only two shots here that...

And I met my wife.

Yes. That's where I met my husband.

You know, I was married to the movies at that time.

And I thought, "Okay, I'm gonna do this.

I'm not gonna find somebody who loves making movies as much as I do."

And then I met Kathy. And we became great friends.

And I fell in love.

And I think that's a key to our relationship here, 37 years later,

is that we're still great friends.

We love working together, and we love making movies.

Hell, I'll be at this for another couple of years, I'm sure.

But I feel...

...but at least I get to go home for a while.

I'm very grateful for the opportunity to play that character.

It's led to other opportunities.

I had already become commercially viable,

and now I was in a fantastically successful second franchise.

When he became Indiana Jones,

and that was coupled with Han Solo,

I don't think he ever had a night where he could go to a restaurant,

or step outside without being pretty much mobbed.

Harrison told me something about stardom

that I thought was very interesting.

I hadn't thought about it, but he said,

"I feel for young people who get tremendous attention very early."

He said, "I was fortunate, I think,"

in that, um, before the huge spotlight was shone on him,

he'd been very successful as not just a carpenter and so on,

but restoring houses.

People would seek him out for restoration.

So, he had lived a life before he became a movie star,

when this great hurricane of fame hit him.

Okay, Harrison. Um, what I was asking you was,

do you feel yourself typecast at this stage

as a high-action actor, macho adventurer,

or are any other roles that you'd like to play?

Are you pretty happy with the type of roles that you're getting at this stage?

No, I--

I think it's true that I am somewhat typed in that area,

but I've had the opportunity to do a lot of things outside of that.

I've always wanted to work in different genres

when I had the opportunity.

I was now early 40s.

And I was, uh, suitable for casting in some of the great feature films

that were being made at that time by some of the great directors.

It was, basically, I'm gonna do one for them and one for me.

And "them" were the studios and the audience.

And then there was a film I just wanted to do,

regardless of whether it would be commercially successful or not.

This was a very voluble period of time in Hollywood history.

All these guys that were young, upcoming,

who were rebelling, really, against the studio system.

I mean, there were a bunch of guys. Steven, George, Coppola, Milius.

They wanted their vision. They wanted their independence.

They wanted to make their movies their way.

And very quickly they were. They were successful.

They were so successful that it changed Hollywood forever.

And it precipitated one of the greatest 20, 30 years of really quality movies.

Both out of these guys, and out of Sydney Pollack, Alan Pakula and Mike Nichols.

All the fantastic filmmakers that I got a chance to work with,

because I had reached that age where I could play some of these characters.

I never expected ever to be a leading man.

I thought I was, you know,

be lucky to get a regular part on a television series or something.

But I wanted to make a living as an actor. That's what I wanted to do.

Blade Runner was a big movie. It was a big-budget film.

And it was a son of a bitch to make, 'cause it was all night and in the rain.

A new life awaits you in the Off-world colonies.

It was a different kind of movie.

But that was the kind of film

that I was now in a position to be able to be considered for.

I liked him in Blade Runner.

I know he had problems with it. But it was a good character.

And, um, I liked him in Witness, which was a smaller film.

Uh, how do I look? I mean, do I look Amish?

You look plain.

The thing that I was really impressed with with Harrison

was when he did Witness.

That was a fantastic experience.

Jeff Katzenberg was putting it together at Paramount.

"Do you have any ideas of who should direct it?"

The first time I'd been asked.

And I had just seen Years of Living Dangerously.

And I said, "How about Peter Weir?"

They offered it to me, and they said,

"Come over. We'd like to meet you and you meet Harrison."

So, yeah, I was on a plane before I thought much about it.

Up into the mountains where he lived.

And I got off the plane, you know, a small regional airport.

And there he was to meet me.

And that surprised me.

Harrison?

He said, "Oh, we got to pick up some stuff at the mini-mart

on the way to the-- to my property."

As I walked along the corridor of the supermarket,

I noticed on the cereal box was Han Solo.

He was already a breakfast cereal.

You know, and here I am meeting him.

And I stayed at his place working over the script,

and talking about how we saw the film.

I've always worn a Panama hat from a very early age.

One evening at the end of the day's shooting, the sun just setting,

Harrison and I walking back to the hotel.

A fellow was coming toward me, a young fellow, glaring at me.

And I kind of looked away, but, no, he's still coming.

Passed close to me, too close, and said into my ear,

"There's only one, you know?"

And went on past and I said, "Harrison, did you hear that?

He was thinking it was like a hat like you wear in Indiana Jones."

We had a laugh about it, you know? But...

"There's only one you know." Yeah.

Witness was really when I thought,

"Wow, there's more to Harrison than meets the eye."

In Indy, there's not a lot of opportunity for real depth of emotion.

And I think, in Witness,

he was able to access that in a very believable and grounded way.

Because he's been doing a certain kind of archetypal role for so long,

we can forget that he's an actor.

The way he chose directors and sought those directors out,

that is not someone who's not a film buff.

That's not somebody who doesn't understand what filmmaking is.

In this period where the world was open to him, he was taking advantage of it.

We could see his ambition and being challenged by filmmakers.

Don't put 'em in the peaches.

I'd say, Harrison, he created his own shadow, in a sense,

with Han Solo and Indiana Jones.

He didn't want to be defined by them.

And that element of risk that was involved for him,

maybe it won't work, maybe it'll hurt his image, is thrilling.

When a star decides to take a risk,

it's very exciting, because it's like the beginning again.

And I think we both enjoyed that feeling on this film.

If we don't get it right, it could blow up in our faces,

which is true of any film.

There were moments of real joyful collaboration

between Peter and I, and everybody else involved.

And we-- we really had a good time.

I love that movie. It's really good.

You didn't even go when you were nominated for Best Actor, right?

- What? - Yeah.

You were nominated for Witness in 1986, and you did not attend the Oscars.

Well, I had-- I had a lot of homework.

I love all his movies.

I mean, I've watched The Fugitive 30 times.

I do remember The Fugitive

being the most breathless introduction to a character,

and then that film was just iconic when I was growing up.

And then I think it was Working Girl.

You know, maybe I just don't like you.

Me? Nah.

I feel there's so many different versions of Harrison the actor.

So, I feel like I rediscovered him so many times.

I love Regarding Henry as a courageous choice for Harrison.

I'd never seen Harrison do that on film before.

The other character I love is Allie Fox in Mosquito Coast.

I also loved him playing the President of the United States.

I'm the President of the United States.

There's guilty pleasures. There's Air Force One.

Get off my plane.

I'm so fascinated by all the choices that he's made over the years.

I followed his career, and he has this ability

to make you fall in love with him within five minutes of screen time.

Also this ability to pull you into the story,

and want you to be with him on this journey that his character goes on.

He pushes the envelope, man, in terms of intensity, tempo...

He's always pushing at the leading man's cage,

and trying to rattle the bars and see if he can expand what a leading man can be.

- Hi, Mom. We're in Sri Lanka. - Can you step out the shot now?

- Sri Lanka. - Let's put the actors on.

Not bad. It's good. Nice. People are great, friendly.

Nice elephants.

Here we are at our spontaneous best.

Let's make a movie.

George said, "If you commit to this first movie,

I need you to commit to three, 'cause I intend to make three of them."

"Absolutely," I said.

We shook hands on the beach that day in 1977.

- Action!

Cut. Lovely.

Great version. That's all we gotta do.

Oh, boy! And it was a good shot.

For me, there was nothing that was gonna beat Raiders,

because it's the first time you're plunged into that world.

But all those movies are wonderful.

And I looked forward to each one of them, seeing these characters again,

and seeing the filmmaker I so admire,

Steven Spielberg, flexing his own muscles trying different things.

Mr. Spielberg, how does it feel directing a musical?

Well, it feels just-- just swell.

- It was designed to set you up... - Yeah.

...to think you were in a different movie.

My mother actually thought that it was the wrong movie

for a good five minutes.

Each film, I wanted the audience

to learn something new about Indiana Jones.

Didn't want us to repeat the same thing over and over again.

His name is Henry.

He's your son.

I wanted part of the process of the storytelling to include

a character that would lead us into a greater knowledge,

or a situation we hadn't seen Indiana Jones in before.

He put two holes in my dress from Paris.

Kate was great. We had a ball.

She brought joy to the part and a lot of glamour.

- Ooh! - Oh, God.

My dress.

I was really excited to be cast.

Raiders of the Lost Ark took my breath away.

Steven Spielberg, what an amazing director.

And Harrison, it was perfect casting.

I met him on the plane.

He's very quiet. He doesn't talk a lot.

He's not chitchat.

But he's very clever and very smart.

When he talks, you listen.

Indy!

Don't even say Indy. Just...

- Should be a screech.

So the audience doesn't say, "I know what's gonna happen."

She's gonna put her hand into the hole and his hand will come out.

This was their second film. So, I would be the new kid on the block.

And they had a very easy rapport with each other.

They had their inside jokes.

A little joke between the joke, just burning up a lot of film.

It's between actor and the director.

I was thinking about what a gentleman Harrison is.

I felt very cared for.

He knew that I was the newbie. It was only my third film.

And it was such a big production.

So when he'd see me uncertain and not knowing what to do,

he became the host, you know, of his movie, and I was the guest.

Like, he brings what he needs to bring.

Action.

- Lao. - Lao.

The scenes are fast. They're furious. They're intense.

Come on.

You know, the unspoken character is the action.

It was hard work, but I thought it was so exciting.

I loved it. I loved it.

Huh?

Wow, holy smoke! Crash landing!

- There's a kid driving the car!

- Oh!

And Ke. Ke Huy Quan. Here's this little boy on the set.

Harrison and he were best pals.

We bow to the sha--

I bow to the shaman then you bow to the shaman.

He was, I guess, about eight years old when we did the movie.

I was actually 12 years old.

And he was fantastic in it.

Great fun. Great fun to work with.

This was a time where I've never seen Raiders.

So, I had no clue who Harrison Ford was, or what even Indiana Jones is.

I just remember him being, you know, very friendly, very kind.

They had a tremendously rich relationship.

Ke would crack Harrison up.

If Harrison was in a bad mood,

all I would do is stick Ke on him,

and Ke would go over and Harrison would snap out of that mood in a second.

He just spread joy everywhere.

Very funny!

- Very-- Ha ha ha! - Ha ha ha.

We would constantly make practical jokes on Steven.

When we were shooting the mine cart sequence,

they were serving ice cream at that time.

So, we would take these ice cream cones and we would smear it all over our faces.

We got in it, and when we came by the camera,

we popped up with our ice cream cones.

We played on the set a lot.

I remember Steven saying, "Oh, that is so funny. Love it. Print it."

- Come on! What you doing?

That was like a typical day on Temple of Doom.

That's fun!

One of my favorite partnerships on these movies was Last Crusade.

Well, Indiana Jones is coming back to the screen.

The movie opens tomorrow.

This time, Indiana Jones comes back with someone extra.

I talked about wanting to see my father,

and Steven came up with the idea and, of course, and the casting.

Junior?

Yes, sir.

- Yes, sir. Oh.

Come on. Get it right, boy.

- And action! - Junior!

Yes, sir!

Seeing Sean Connery and Harrison work together

was just fabulous.

I mean, these two, they were like champion boxers going at each other.

But it worked beautifully for the scene.

Why are you sitting there resting for when we're so near the end?

Come on!

Steven and Harrison and myself really worked very well together.

I think that in this one,

the Indiana Jones character gets more opportunity to be more human

because he had been very much a loner,

isolated, and never really establishes any kind of relationship with anybody.

The opportunity to express that

was terrifically refreshing to Harrison as an actor anyway.

And it was a bit of a release and a relief, as you think, for him too.

They're gonna break a bit of new ground.

I must say, it's been a lot of fun.

Is that what it was?

Brutal couple of years, huh, Charlie?

First Dad, then Marcus.

Along the way, obviously, we've lost some of our close friends.

There's a lot of sadness.

You know, when I think about River Phoenix

and what he brought to the character of Young Indy...

Harrison had suggested River Phoenix

because he had just worked with him on Mosquito Coast.

And he knew what a wonderful actor he was.

While doing Mosquito Coast, I kept a close eye on Harrison,

and I noticed some of his traits,

and I would, uh, sometimes mimic him and get a few laughs.

And it was fun. I wanted to be a younger Indy.

- Ready? - Yeah. Go.

All right. And then the lion lunges, and you go back right to there.

No farther than that.

I think the character is a great character,

and it's very well written.

And then you bring Harrison in, and he just-- He's so charming.

He's got it down.

He just guided me through stuff, um,

gave me a little more insight on the character.

Gave me a feeling for where it all comes from,

the way he reacts to things, um...

You know, what's going on in his head.

And I just played that, but younger,

and a little more innocence, a little, uh, more amateur.

Oh! Oh! Oh, no.

The sort of generosity that Harrison had with River,

River ate that up.

River was so thankful to Harrison for giving him that knowledge.

No, Dad. You listen to me.

- Junior! - One, two, three, four...

In Greek.

If I have to compare all the movies,

my favorite is Raiders of the Lost Ark.

And my second favorite, out of the four I made,

is the one with Sean Connery playing Indy's dad.

But the Temple of Doom, the second Indiana Jones movie,

absolutely changed my life.

And that is that the girl I cast to play Willie Scott turned out to be my wife.

So, in a sense, I owe more than I can ever express to that experience

for introducing me to Kate Capshaw.

Indiana Jones changed my life, absolutely.

It flipped it, completely.

- It's-- Oh, sorry.

Kathy, Frank, Harrison, Steven and me,

best friends, and it was so much fun.

Indiana Jones from Princeton, New Jersey.

What's happening in Europe? Is the war over?

Germans still hold most of Belgium.

I was so invested in Indiana Jones

that when that finally came to TV,

you just thought, "What's this going to be?

And how is it going to be realized?"

It was actually a show that ends up being as much about history,

in fact, more so than the movies do about real history.

And how this character interacts with history.

Good lord. This is not as you said it would be, Dr. Jones!

And to see him turn up in it-- And you didn't know,

'cause in those days we didn't get announcements.

We didn't have what they now call the Internet.

And so, it was nice to see him show up as a surprise.

Harrison will then come up to here. Saginaw will come up behind him.

Can we get both of them in if he does that?

It was a lot of fun doing this episode.

Uh, Harrison did us a favor, and it was a fun little weekend.

And it's fun. It's like visiting a friend and making a movie at the same time.

Want a cookie?

- No.

He just reminded me of how much I owe him.

No, I'm glad to do it. It's fun.

And besides, I live here.

First of all, it shows his devotion to the character.

And action.

We felt his sense of approval of what this show was trying to do.

And, I think, in terms of ambition,

it matched up with what he wanted to see from that character.

I think Harrison always looked forward to playing Indy.

He was so enthusiastic to get back into character.

Their treasure wasn't gold. It was knowledge.

Knowledge was their treasure.

When we finished the fourth one,

I remember Steven, very enthusiastically,

Steven Spielberg, talking about wanting to do a fifth one.

There was this feeling that there was more story to tell,

and that as Indiana Jones and Marion Ravenwood were getting married,

it indicated, you know, more to come.

I think that we all felt, you know, another one would happen,

and then a lot of time passed.

And it-- it started to feel less and less likely.

Well, I think all of us wanted to make one final Indiana Jones movie.

And I sort of felt that I had done four of them.

And that was gonna be it for me.

But I really was encouraging this fifth film to be made.

And so to sit here and really ask ourselves,

"Could you go make another Indiana Jones movie

with someone else playing Indiana Jones?"

It is a very clear no.

So the obvious challenge

is that you're returning to a genre without recasting.

You've got the same actor who was playing this in his mid-30s

playing it in his late 70s.

And I think that what had been perceived perhaps as a disadvantage,

i.e. this player is past, you know, his sell-by date, was all the advantage.

I always was ambitious for seeing Indiana Jones at this age,

because he was so much about his physicality,

so much about his passion,

so much about being a young man.

I wanted to see him in circumstances we had not seen him in before.

And I thought, obviously, the hook for that is age.

I wanted to make a movie about Indiana Jones near the end of his life.

On paper, the idea of doing another Indiana Jones movie was daunting.

Not only because you're following

one of the greatest filmmakers of all time in Steven Spielberg.

The reason I did it was honestly more personal than pragmatic.

I was thinking back to the noon show on opening day in 1981.

Very dangerous.

You go first.

And that all these people's names were on that movie, and they're all here,

somehow asking this kid from upstate New York to make one.

And that they'd work with me.

Such a full circle journey in my own life.

- And cut.

I couldn't resist.

Your father thought this thing could predict fissures in time.

I was thrilled with the script that we had--

the script that Jim Mangold developed with the Butterworth brothers,

English playwrights and screenwriters.

And they came up with a wonderful concept.

I knew the movie was about time.

Opportunities missed, opportunities lost,

choices made, irrevocable mistakes.

Indy was a hero in 1944.

Now Indy's 70, and these are our heroes.

The astronauts.

The world has, in a sense, moved on.

It really is a lot about watching him looking at himself,

and taking the measure of himself.

But not in a melancholy way.

It's a character assessing himself.

And there's some part of us that realizes

that maybe it's also Harrison assessing himself as a character,

and what that character's come to represent for all of us.

I wanted to start Indy as far as I could from being a hero again.

Those days have come and gone.

So we'd feel the elation when he stepped back into those shoes.

Ha! See you tomorrow, Indiana Jones.

There's always a character who Indy has a past with

who drags him into the narrative,

or gets dragged into the narrative with him.

What we were trying to do was create something new

that did have a familial aspect, or to have something to do with his past.

Phoebe and I had done Solo together.

So we went and had dinner and I said,

"Hey, I'm just gonna ask you something that I have no idea how you would respond.

But we would all love it if you would consider

taking the role opposite Harrison in the last Indiana Jones movie."

And she literally fell into the-- into the booth.

I mean, it's the kind of line you hear, and you think it's a joke,

'cause I remember just being like...

Can we have another bottle of wine, please?

And then she had a big like, "Yeah."

The bottle of wine came, and I was like, "This is hilarious."

She's like, "I'm serious."

She was my first choice for the part.

She brings a special kind of energy.

It was clear that we should cast her

even before we had started writing.

There was no one else we had in mind.

We were only writing it thinking of her voice.

The biggest terrifying moment

was when we finally gave the script to Phoebe to read

not knowing whether she would say yes,

and not having any idea where we'd go if she said no.

Harrison, he actually phoned me first,

and I had a voicemail that was just a really long pause.

And then... ..."Hey, this is, uh, Harrison Ford."

You know, I was just like, "What?"

- All right, let's go. - I got you. Ready.

All right, here we go. Background action.

And action!

We had a conversation about the film.

He was like, "I'm excited about this movie."

And I was, "When you come over,

I'd love to have a meal with you, a lunch, or a drink or something.

Maybe we should do that. It'd be really fun."

He was like, "Oh, no. I don't think so."

Then I was like, "Oh." Then he mentioned he played tennis.

I was like, "Maybe we should play tennis."

And he was like... ..."No, I'm good. Thanks."

I was like, "Okay. Well, I'll see you first day on set."

The first day, I was really nervous.

But Harrison was just, like, so warm and just open arms, and just like,

"Hey! Here we are. We're making this thing happen."

I don't need morality lessons from an aging grave robber!

I said to him, "At any point you think I'm shit, please tell me.

And I'd rather you just say it.

Or help me out, 'cause no one knows this craft better than you."

Whoo!

- He was like, "You're doing good, kid." - Cut!

That's all you really want, isn't it?

Harrison Ford to squeeze your shoulder and say, "You're doing good, kid."

I could barely keep up with her,

which is probably no surprise to anybody but me.

- No, she's fantastic. She's got-- - No, no.

- I'll do this. She's got long legs.

I'm blown away by the stamina of this guy.

'Cause I'm knackered after about four seconds of running.

Harrison inevitably will arrive to set poking and prodding at what we're doing.

What?

And the thing he's most looking for is ways to undermine the BS.

Harrison's interest is always in how to get closer to reality,

and then how to extract the fun.

They make each other laugh,

and they take each other incredibly seriously.

Indiana Jones wouldn't do that.

There is a sort of hurricane that happens when they're together.

Jim would push Harrison, and Harrison would push Jim.

I was really inspired by that to see that.

Even when they would disagree on something, it would be like...

Then they would be, "I love you"... ...afterwards.

Yeah, baby!

I loved both of their energies.

I mean, I loved the "Let's cut the bullshit" part of both of them.

You know, "Let's do it again. Uh, I wasn't happy."

"We'll do it again." I love it.

We don't have to chitchat too much about this.

We know what we're doing. Let's do it again.

- This is where I'm turning. - Yes.

If the director gets the cue right.

- Okay, you got it. I'll hit you there. - All right. Here we go.

We're a couple of pretty bodacious, uninhibited kind of guys.

And we yell at each other.

And I tell him he's full of shit, and he tells me I'm full of shit.

And we get along really well.

And we have fun.

- I just didn't know that you knew it.

- I know it. I know it.

There's this image of Harrison Ford that's out there that you're grumpy.

- That's horse

I think what irritates him

is somebody who's not a hundred percent involved in what they're doing.

Somebody who doesn't have

that passion and enthusiasm for making movies that we all have.

You've done whatever you've wanted your entire life, Indiana Jones.

And then someone else comes along who has their own opinion, and you get cranky.

Yeah, correct.

He doesn't put up with people who kind of phone it in.

Oh, yeah. That's because being in a bad movie scares the shit out of me.

What pisses Harrison off is people not being prepared,

people not being respectful of the job he's doing.

He likes there to be focus and attention on the set. It's about the movie.

And I think he demands that.

Which is great because it articulates expectation right up front.

- Ready? - Ready! Run around!

- Here we go. - Hurry up, you guys!

- Right away. - We're making a movie!

Thank you very much!

Excellent! Ready?

- Okay. Here we go. - Shut up.

He's always larger than life.

But he is so much fun,

and I think that that's always been at the core of his performances,

and why he's so relatable.

Everybody, this is my wife on the phone that can't be here for my birthday.

Hi, honey. I'll be home soon.

- Hey!

- Don't worry. - Hey, don't-- That's the wrong guy!

- Can't wait to see you. - Don't listen to him.

He's very funny.

He has a very wicked sense of humor.

It's potentially very dark, but very funny.

It's a contact sport

when you come into contact with a man like him.

Luckily, he sorted me out.

Next time things get messy, I've got that on.

So when I just need to do this, I just get him out of there.

It's great to see people who know what they're doing,

and enjoy their work, and work together.

It's a great crew. Hardworking people.

Very happy to be working with them.

The interesting thing with Harrison

is there is such an attention to detail.

He is a very, very meticulous person.

It's no surprise that he was a finish carpenter.

And that attention to detail goes into every single thing he does.

Carpentry depends on a logical sequence of events.

You take rough material, and you make it smooth.

You make it straight.

And then you decide how

the figure in the wood will give the most pleasant appearance.

In the same way, when you build a character or film role,

you want to proceed in the same way,

working from a foundation up into the cosmetic aspects of them.

- Hello, Harrison. - Hey, Mo.

Harrison said he was gonna pop down, and he came down on his push-bike.

He literally rode straight into the cage, and just went through his bits.

Took his time. Wasn't in a rush. Gave every piece a good bit of thought.

Tried bits on. I think his words were, "It's just a bit tatty."

So, fingers crossed. We're gonna show him that later on,

once it's had a cleanup.

I have to pinch myself sometimes that I'm actually doing this film.

It's funny, 'cause I showed Harrison yesterday a picture of my dad

who worked on the original film.

I've actually got to get my dad to autograph the photo

and give it back to Harrison.

He said that yesterday.

- Props! - Coming, sir.

- What took you so long?

It's basically just getting the costume right

for the scene that we're shooting.

I mean, such an honor to dress him.

He likes to put the hat himself.

I give the hat to him like that.

I give it. "There you go, Harrison."

And he is the one that puts it on, and he does it.

And he always does that... You know? Yeah.

That bit there. It's slightly big for me anyway.

I mean, you put it on, you're Indiana Jones.

That's all you need to have a character.

I think it was about a month into filming

before I saw him in the outfit.

We were in Sicily.

I had to follow him up a path and then into a cave.

And we had to be looking very serious.

And I kept getting Jim coming up to me and being like,

"Phoebe, you have to stop smiling.

You're walking behind him, and you're smiling."

I was like, "I'm not, I swear I'm not." And he was showing me.

Because Harrison first came on in the outfit and I was just...

And then in every scene after that, I was just... [laughs] ...behind him.

And, eventually, Jim was like, "You're scared.

This is high-stakes situation. Stop giggling."

Renny! Renaldo!

Ah!

He knows the impact that he produces in people

when he's working dressed as Indiana Jones.

So I'm very thankful to him because, psychologically, he knows very well

how to play with you in order to make you feel comfortable.

It made me feel participant immediately of the scene.

"What do you think about that? What are you--"

So you forget, actually, as soon as possible,

that you are in front of Indiana Jones and all that thing, you know?

So it's beautiful.

When I do it, do it again.

I'm gonna hit you to give you that direction.

- I'll go. Yeah, yeah. - Yeah.

Then over here a little bit more.

- Set. - All right, here we go!

And background.

170, anyone? Anyone. Going! Going!

- Gone.

What are you doing?

Harrison wants things to be real.

You know, he is a bit of an adventurer himself.

He wants to work hard.

He wants to learn how to handle that whip better than anybody can.

He wants to be the one riding the actual horse.

He doesn't want to rely on stunt people to do that.

And that was always a big issue of contention.

Everybody was very reluctantly having to say,

"Yeah, but, you know, you're not a kid anymore."

And he didn't care.

He wanted to be the one that was in there getting it done.

Anybody can ride a horse.

And there were a lot of concerns about my safety,

all of which both amused and infuriated me.

Should he do it? I don't know.

I mean, my wife always tells me that I shouldn't have done that stunt.

"Why did you do it?"

So who am I to tell Harrison that he shouldn't?

I understand exactly where it comes from.

He loves what he's doing.

And if he can do it, and he can do it better than the other ones, let him do it.

Seeing Harrison Ford at, what, now 79, do stunt stuff?

Pray, God, that I have such longevity

that when I'm nearly 80, that I'm able to throw a punch.

Like, that is incredible.

We gotta jump!

What about my dicky knee?

I've understood something about the nature of these films

that I hadn't fully taken seriously before.

Within the movies, it's very easy to hurt yourself.

I think of the life he's had making these movies,

and the injuries he's sustained--

It seems absolutely incredible.

You know, Harrison punches somebody in the jaw or something,

and he hurts his hand, like most of us would.

I heard it was 'cause he was punching a Nazi.

So, at least it was kind of doing something good.

Three, two, one, action!

I wanted to play a physical character,

and do the same kind of physical acting that I did when I was 40,

or 50, or 60, at 80.

So, it's like we start wide, we show how high you are...

And I wanted it to look rough and hard.

I wanted people to know how that feels to Indiana Jones.

I'm thinking about what the hell I'm doing up here,

40 feet in the air with crap shoulders,

crumbling vertebrae,

a plate in one leg, screws in the other.

Yeah, I get it. I get it.

No, you don't get it.

One of the things you face as you get older

is knowing the value of your remaining years on this Earth.

And wanting to do something useful.

This is it.

Does he have one last adventure in him?

Does he have the courage to face it again?

Get in the pool!

And I think the answer that I hope the movie offers audiences is yes.

How do you explain this guy's appeal?

He's not standard hero.

He's not standard leading man.

- Good looking son of a bitch, isn't he?

No. I mean, what do I know? You got the wrong guy to ask.

- The movies are very successful. - You are the guy to ask.

The movies, I'm not talking about their financial success.

I'm saying, as movies, they are very successful movies.

That's why. That's why we like them, because they work as movies.

And we like movies.

I think Indiana Jones didn't just change my life.

It actually changed the nature of film.

Give 'em hell, Indiana Jones!

Part of what is the DNA of an Indiana Jones film

is it's a kind of optimal display of all the crafts at their highest form.

This is a total art that needs a lot of attention.

And especially a movie like this,

where the people is gonna be with a magnifying glass,

looking to every detail.

And action!

It's everything. It's costumes.

The hat was good. Hat's good in this.

- It's props. - Props! Whip!

It's sound.

It's the costumes. It's the actors. It's the direction. It's the editing.

Big production values, action, adventure, great music.

That damn music follows me everywhere.

It was playing in the operating room when I went in for my colonoscopy.

"Raiders" is one of John's greatest scores.

Surely one of the greatest scores of all time.

It's mystically good.

You guys are gonna be all over us now.

John Williams bonded all of these films together,

and gave Harrison, as the character of Indiana Jones, a musical identity.

He played the march for me on the piano in his music room.

And I said, "Every high school marching band

is gonna adopt this and start playing this."

This is gonna outlive all of us, that march.

Indiana Jones was wonderful because it's never serious.

You know, Harrison Ford has this ability

to do the most dramatic scenes with a slight tongue in his cheek,

or twinkle in his eye, you know?

- I can't do that. - You wanna stop for a little lie-down?

Being in the room with a full orchestra

and watching his care and precision, the way he works,

and the great enormous respect

that the players have for him, and he for them.

It's just a wonderful experience.

Harrison, we love you, buddy.

We wouldn't be here without you.

- Yeah.

There hadn't been that many American intergenerational stories

built around a single character.

To have that level of consistency with Indiana Jones,

and also too, to have the level of filmmaking,

we shouldn't forget that.

I can't think of another series that's had that kind of mastery of craft,

where you can also feel the maturation of the filmmaker and the star together.

And I think that becomes this thing that people love sitting down with kids,

and parents and talking about it,

remembering where they were when they saw these movies.

One of the things we wanted to do is be able to pass these things along

that we love to people we love,

and have them understand what that means to us.

And you hope that they will carry that excitement on to somebody else.

We all realized the big reason

that we're able to make these movies again and again

is because of the audience, because of the fans.

Harrison's incredibly gracious.

And he gives as much time as they need to celebrate that.

Cefalù was very interesting because rumor and word spread quickly.

Harrison Ford was not the only Indiana Jones in town.

Various sightings of some doppelgängers were spotted roaming the streets.

We're just Italian fan of Indy and, of course, of Harrison Ford.

So we are just here and that we hope to meet Ford

because he should pass here, and I hope we will be lucky.

- Harrison!

Ciao!

Of course, Harrison made sure

that we were gonna detour to meet these, uh, impersonators.

And we rocked up on the golf buggy,

jumped out, and I think pretty much made their life.

- Three, two, one.

You have a sense of responsibility to your customers.

- And thank you very much.

I think of the people that go to my movies

more as customers than I do as fans.

And I'm responsible to them

for the quality of the service that I offer.

The shield is the second marker.

Just like your father.

- Giddy as a schoolboy.

The excitement that Harrison

brings to the character of Indy inspires kids.

I mean, how great is that?

Some of them were inspired not only to become filmmakers,

but to become teachers and archaeologists.

"Neo," meaning "new" and "lithic..."

- I-T-H... I-C.

When Raiders of the Lost Ark came out, it was like,

"I could make a career out of doing this."

It's not just a love of history. I could actually be a teacher.

I could be a professor.

When I come back, we'll discuss the difference

between migration and exodus.

It's always, kind of, been a running joke

that my name is Dr. Jones.

When my friends found out that I was gonna pursue archaeology,

I had a number of people running around saying,

"Dr. Jones, Dr. Jones," all the time.

Okey dokey, Dr. Jones. Hold on to your potatoes!

When I graduated, though,

one of my friends gave me the box set of the Indiana Jones films,

as well as a whip.

- Give me the whip! - Adiós, señor.

The fact that we've lived so long

with Harrison Ford as Indiana Jones gives us a sense of feeling

that we're growing up with him.

I was a graduate teacher

with Intro to Archaeology in 1989 when the third film came out...

- You call this archaeology? - Get out of there, Dad.

...and my class enrollment of ten

ballooned to 100 because of the film.

And I'll see each and every one of them in turn.

The number of people who went into archaeology

because those movies made it seem like a living thing.

It made history seem like a continuum of adventure stories,

which, if you go back to the Old Testament, they kind of are.

And that same sense of jeopardy.

Kneels before God.

- Kneel!

You feel like by being an archaeologist,

you're going to have those sorts of adventures. Sure.

Also, he was incredibly sexy,

so that's going to be, obviously, aspirational for many.

But, I think, also there was something so amazing about that character

in the fact that he cared about history and that he was so intelligent,

and him going on these huge adventures,

but always in the pursuit of protecting something precious.

- If you want to be a good archaeologist,

you got to get out of the library!

That duality of personality

is actually not that different from being an archaeologist,

because you can be on campus on the university, go to class,

but you really want to take off these street clothes, get on an airplane,

and go someplace like Egypt or to Arabia and actually find history.

There are people still doing explorations of little-known areas.

There are archaeologists going into places like that.

Uh, few of them, I think, carry bullwhips.

Bullwhips. I haven't quite figured out how that would really fit

into my archaeological tool kit yet.

The Ark of the Covenant.

Nothing else has come close.

That thing represents everything we got into archaeology for in the first place.

I'm thrilled when people come up and say, "Oh, I'm an archaeologist." You know?

"And never thought about it until I saw Indiana Jones."

I think the more exposure

that archaeology gets through popular media,

through films like Indiana Jones,

it does inspire new generations of people to come to us.

It used to be predominantly white male men.

Now what we see is a huge increase of women within the field.

And now we're starting to see more minorities in the field than ever before.

You're a teacher?

Part-time.

In 2007, my partner in all things Indy, Wes Dodgens,

and I created Adventures in Learning with Indiana Jones.

And it was a platform for teachers to come get inspired,

and find resources for teaching with Indy from all of his adventures.

There's so many lessons to be learned from his character.

One of them would be

the greatest treasures are the ones that you gain,

and you give away freely to others.

And it's not treasures that can be confined to the walls of a museum.

It's treasures that are developed in relationship between friends and family.

I thought I'd lost you, boy!

When I think about all the films about Indiana Jones,

you can learn a lot watching those films,

but I think you can learn a whole lot about a lot of things with Harrison Ford.

He can make fun of himself,

and while he's shooting the film,

he's able to see outside the scene and make comments.

He reminded me once, we were floating in the boat, and he said,

"Look, it's just a B-movie.

Don't sweat."

But he takes his role very seriously.

He has a lot of responsibility being Indiana Jones.

I learned so much from him,

from a, kind of, craft point of view.

Working with someone like that, you trust everything,

and you trust his process so much 'cause his standards are high,

and he wants it to feel real.

And I think his pursuit of things feeling real,

no matter how fantastical they are,

is what gives him that amazing grounded quality.

- Ready and action!

I love that he doesn't let up.

I will be driving my car to lunch and my phone will ring,

"Did you see the last three TV spots?"

Oh, my God.

He's actually looking at all the marketing material.

So, whether it's the early stages of development,

or you're at the tail end, he never lets up.

Sometimes it can make people crazy, but I think he's a hundred percent right.

I learned with Harrison that, on set, everyone is the same.

Oh, okay.

Actors are the same than directors, than technicians. We're all the same.

Harrison is friends with everyone on set.

There is no hierarchy. We're like a family.

Harrison Ford taught me how to swim.

I would always be by the pool and watch Harrison.

And he says, "Ke, come in the pool and have fun."

And I go, "Harrison, I don't know how to swim.

I-- I-- I can't. I don't want-- I'm afraid of water."

And he said, "Oh, what? Come here, get-- Come in here."

And he taught me how to swim. He's my role model.

It's incredible to be here at D23 and look out at all these fans.

We were at D23 when Ke Huy Quan and Harrison

saw each other for the first time.

All of us actually.

It's been well over 35 years since we saw Ke.

It's pretty wild to see Ke now doing so well,

and just seeing how he grew as an actor.

It's pretty great to realize that that started with Temple of Doom

and with Harrison.

The last time I saw him was when our movie premiered.

It's been 38 years.

It made our reunion at Disney's D23 so much better.

He's the same irrepressible and enthusiastic guy that he ever was,

and that was great to see him.

Much taller now.

He's not Short Round. He's Regular Round now.

I'm delighted for his success, and I'm very happy for him.

Thank you so much for welcoming me back!

I love you. Thank you. Thank you. Thank you!

To reunite with him in the same year that I made my return to acting

made it even more special.

- Especially when he presented... - And the Oscar goes to...

...the Oscar for Best Picture.

- ...Everything Everywhere All at Once.

I could not have asked for a better night with Harrison there.

It was a full circle moment for me.

I'm not done working,

but I am done with Indiana Jones.

Harrison, as we see in the last Indy film, he's still running.

He never stops running.

They run their sheep on my ground,

and then they attacked us when we came up on 'em.

Range war's already begun.

I love now, too, that in Shrinking

people get to see you be so hilariously funny.

What are you laugh--

Seeing him in Shrinking, he still can use that dryness of delivery.

It's now become so spare, it's almost austere.

I am so parched.

What can we get you to drink?

A Popsicle?

And again, for me, it's the voice,

because for so long, that voice was older than he was.

And now it's finally caught up with him.

It's like he's sort of grown up enough

that that voice belongs in Harrison Ford's chest.

You told me I had to tell Meg that I had Parkinson's.

And now she's flying down here tomorrow

to take charge of my care.

Harrison was cool.

I always thought he would come on set and be like, "I'm Harrison."

Then everybody would be like, "Yeah." But no. It was a good time.

It was him creating this character from the ground up,

so that he would be different

than the rest of those characters and fit in this world,

instead of fitting in every other world he, as an actor, has been in.

So that stuff was really unique.

I couldn't put a price on that lesson.

Harrison is still working. I love to see him being given space,

taking advantage of all these things at his age,

and just seeing him run with it.

It's maybe one of the most wonderful things ever.

Karen, this is your last day over here.

Tell us a little bit-- What's going on on set with it being your last day?

I'm not convinced that it is.

So, I don't-- I'm not-- As long as I'm not convinced that it is,

I don't have to, um...

I don't have to go through all that today.

Indiana Jones.

If this is going to be the last Indiana Jones movie ever made,

if it in fact is, then you can't do it without bringing back Marion Ravenwood.

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

It's a story that both Harrison and I have been involved in for 40 years.

Wait a minute.

Come here.

A little bossy, aren't you?

We both have a real sense of who these people are,

and we really like continuing to explore these characters together.

Indiana Jones.

I feel happy that we're having the opportunity to do that.

About time you showed up.

Mom!

She is the heat that has tempered his personality.

You still leaving a trail of human wreckage?

You looking for a date?

And to have her back is such an emotional opportunity,

I think, for the character and for the audience.

- How are you? - Very good. How are you?

Of course, it's odd to take an actress that capable and that awesome,

and hold her back until the final five minutes of the picture.

And I'm sure weirder for her stepping into a movie

where we've all been working for months

and been shooting millions of feet of film.

I was very much looking forward to coming here.

I came a few days on set,

and went up and just watched some rehearsals.

And I have to say, I was not for a moment disappointed.

Is he still the same?

Yes, of course.

I love the way he developed the character.

There is a, kind of, wonderful weathering to Indiana Jones.

It's not the years, it's the mileage, you know?

There's a lot more mileage on him.

Any excuse to get back together with the two of them

could not be avoided.

Indy.

One of the joys of one's life is watching a young actor, Harrison,

grow and establish himself

and just become stronger and better over the years.

He's turned himself into a real, great giant of the cinema.

That's been wonderful to behold.

Are you back, Indy?

They're wounded. They're two wounded people,

and people grieve differently.

And they seem to have found their way back to each other.

It was incredibly moving to watch.

Harrison has so much gravitas.

And especially after this huge adventure,

and, suddenly, we're just in his living room,

and he's basically in his pajamas.

And you just see the man,

and watching Harrison play the rawest version of that character

was really extraordinary.

Everything hurts.

We all knew we didn't want him to die.

- You can't stay here. - Yes, I can.

To me, it was much more about

him feeling out of step with the times, or marginalized,

and then feeling important again.

Understanding he's important again, that we all need heroes like him.

- The amazing, legendary,

dear friend, and forever Indiana Jones, Mr. Harrison Ford.

This journey of getting this final movie made,

it's been a process of letting go

that I think he didn't really quite realize

was gonna affect him as deeply as it has.

This is a great, great crew.

And I'm almost twice as old as everybody.

Once every generation, somebody emerges who, sort of,

takes the mantle of being a real movie star.

And I think Harrison was one of those.

I think that's why he stood the test of time.

Hardest thing is to keep your hat on.

That should do it.

I love Harrison.

He's not only a wonderful collaborator and artist,

but a dear friend.

And the reverence and genius with which he looks at his job

should be so inspiring to all actors.

Right there, guys.

Well, I certainly grew as a filmmaker through these films,

and watching Harrison work was like a film course

that you could never get anywhere else but being there.

Excuse me. How old are you?

I'm a lot younger than Harrison Ford.

The secret of being an iconic actor is they'll refer to him

when they're referring to a particular kind of actor.

So when they say, "Harrison Ford type," I guess that you've become an icon.

- Forty.

I'm only 38.

Indiana Jones would not exist in people's hearts and imaginations

without Harrison Ford playing him.

Impossible. He's not interchangeable. Other actors cannot fill those shoes.

And when Harrison stops making Indiana Jones movies,

they need to retire the number.

This job is really fun.

- You just got me killed!

Wait a second.

- It's back.

It's been an incredible finish. You are all much valued.

Thank you.

- Thank you.

- Let's drink!

Cheers!

I have enjoyed all of the different kinds of people,

and different opportunities that I've had.

And certainly amongst the most enjoyable are these films...

which are really hard to make,

but a whole lot of fun to finish.

Only Harrison can play Indiana Jones.

There is no one else on this planet that could come anywhere close,

and I think it's because... ...he is Indiana Jones.

- Hello. - Hello.

- Hello. - How are you?

I'm fine. How are you? Want some water?

Yeah, sure!

We should do this about five times a day.

Give everybody squirt guns!

Hello.

Just resting.

They make me do the most awful things.

"Don't bug me," you're supposed to say.

- Don't bug me. - Don't bug me.

- Did you put it on me? Get it away!

And lock--

Locked up!

- And... - What?

What did he say? Did you say something about me?

- Nah, you're fine.

How is Steven as a director?

Very funny. He's a generous man and a noble director.

And he's very handsome too.

- Larry, Moe and Curly. - Whoo! Whoo!

Okay, this is where we make a hard turn left, to right.

This way. This way. Okay?

Good.

Popping him in there. All right, that okay?

Yeah.

I was just-- That's acting.

Oh, this is the way I make my living. This is what I do for a living.

- Anyway.

We'll see you around campus.

Thank you.