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>> HOLLYWOOD -- WHERE DREAMS ARE
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MADE, BUT ALSO WHERE DREAMS
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ARE CRUSHED.
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BUT, REST ASSURED, TONIGHT YOUR
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DREAMS WILL COME TRUE...
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REALLY TRUE.
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WELCOME TO "THE GREATEST EVENT
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IN TELEVISION HISTORY."
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>> LIVE FROM
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HOLLYWOOD, CALIFORNIA, IT'S THE
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LIVE COUNTDOWN TO "THE GREATEST
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EVENT IN TELEVISION HISTORY."
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AND NOW YOUR HOST, JEFF PROBST.
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>> HELLO, EVERYBODY.
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I'M JEFF PROBST, AND WELCOME
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BACK TO THIS.
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LAST YEAR, WE BROUGHT YOU WHAT
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WE WERE LED TO BELIEVE WAS THE
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GREATEST EVENT IN TELEVISION
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HISTORY -- A SHOT-FOR-SHOT
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RE-CREATION OF THE OPENING TITLE
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SEQUENCE TO THE 1980s HIT SHOW
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"SIMON & SIMON."
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WELL, AS IT TURNS OUT, IT WASN'T
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THE GREATEST EVENT IN TELEVISION
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HISTORY -- NOT EVEN [BLEEP]
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CLOSE.
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HOW DOES AN ERROR THIS EGREGIOUS
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HAPPEN?
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I DO NOT KNOW.
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BUT FOR CONFIRMATION, WE WENT TO
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THE TALLEST TELEVISION EXPERT IN
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NORTH HOLLYWOOD TO FIND OUT IF
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"SIMON & SIMON" WAS, IN FACT,
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THE GREATEST EVENT IN TELEVISION
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HISTORY.
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>> NO.
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>> TONIGHT WE BRING YOU WHAT WE
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HAVE BEEN ABSOLUTELY ASSURED IS
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THE GREATEST EVENT IN TELEVISION
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HISTORY -- A SHOT-FOR-SHOT
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RE-CREATION OF THE OPENING TITLE
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SEQUENCE FROM THE CLASSIC '80s
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TV SHOW "HART TO HART," WITH
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BELOVED STAR AMY POEHLER AND
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WORKING ACTOR ADAM SCOTT.
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ONCE AGAIN, WE'LL TAKE YOU
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INSIDE THE PROCESS OF CREATING
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HISTORY AGAIN.
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LET'S START THE CLOCK...
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AGAIN.
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WITH A BUDGET OF OVER
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$40 MILLION AND A CREW LARGER
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THAN ANY CREW WHO HAS WORKED ON
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A RE-CREATION OF THE
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FOURTH-SEASON OPENING CREDITS OF
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"HART TO HART," THE PROCESS
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BEGAN, AS IT ALWAYS DOES, WITH A
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GREAT PIECE OF DRAMATIC
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STORYTELLING IN THE REHEARSAL
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ROOM.
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[ INDISTINCT CHATTER ]
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>> HI, EVERYBODY. I'M AMY.
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HEY. HI, NICE TO MEET YOU.
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HI. HI, NICE TO MEET YOU.
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>> AS DIRECTOR, FIRST-TIMER
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PAUL RUST WAS SELECTED.
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>> JUST WONDERING, UH, HAVE YOU
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CAST MY CO-STAR YET?
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[ CHUCKLES ]
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>> WHO'S MR. HART, EH?
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>> [ CHUCKLES ] LET ME GUESS.
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>> OKAY.
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>> RYAN GOSLING?
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>> NO.
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>> BRADLEY COOPER?
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>> IT'S ADAM!
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>> ADAM SANDLER?
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>> HEY, HEY.
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IS THIS WHERE ALL THE KICK-ASS
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PEOPLE HANG OUT?
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>> [ CHUCKLES ] AH!
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>> [ CHUCKLES ] WHAT'S UP, BRO?
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>> LOOK AT THIS GUY.
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GOOD TO SEE YOU.
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YOU LOOK GREAT.
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>> YOU GOOD?
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>> MUCH BETTER NOW.
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HOW ARE YOU DOING?
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>> AH! I'M GOOD.
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>> ADAM -- LET'S HEAR IT FOR
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ADAM.
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>> HEY, EVERYBODY!
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HEY, HEY!
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AH, COME ON. COME ON.
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IT'S JUST ME.
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HOW YOU DOING, MAN?
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HEY, UH, WE FIGURED OUT WHO MY
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CO-STAR IS?
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>> GET READY.
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IT'S --
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>> NATALIE PORTMAN.
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>> AMY POEHLER.
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HUH?
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>> OKAY.
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I'M REALLY HAPPY ABOUT AMY
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BEING ON THE PROJECT.
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I THINK IT'S GREAT.
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IT'S A SURPRISE.
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WORKING WITH AMY IS A
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CHALLENGE, BUT WE WORK THROUGH
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IT, AND WE -- WE DO THE BEST WE
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CAN.
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>> BEFORE WE SET THINGS IN
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STONE, WE COULD JUST SWITCH
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REALLY FAST.
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>> SWITCH WHAT?
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>> HORATIO COULD PLAY MR. HART,
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AND YOU COULD PLAY MAX.
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>> HORATIO. WHAT'S UP?
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>> I'M PLAYING MAX.
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I'M ONLY REALLY IN LIKE THE
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FIRST MINUTE OF THE VIDEO, BUT
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THAT'S OKAY, BECAUSE WE'RE
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MAKING SOMETHING GOOD HERE, AND,
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LIKE, THERE'S NO SMALL PLAYERS
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IN THIS THING, YOU KNOW?
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>> I WOULD LOVE TO GET STARTED.
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ARE YOU GOOD WITH THAT?
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>> OH, I'M DEFINITELY GONNA DO
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IT.
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>> I'M DOING IT, TOO.
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>> OKAY.
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>> YOU'RE GONNA DO IT.
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>> I AM DOING IT.
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WE'RE ALL DOING IT.
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>> ALL RIGHT. GREAT.
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I'M HAPPY THAT I'M WORKING WITH
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ADAM.
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THE GREAT THING ABOUT WORKING
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WITH SOMEONE YOU KNOW IS THAT
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YOU KNOW ALL OF THEIR TRICKS, SO
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YOU ARE NEVER SURPRISED.
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IT CREATES A MUTUAL SENSE OF
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TRUST AND COMPLACENCY, AND
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THAT'S NICE, AS AN ACTOR, TO
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HAVE THE TIME TO PREPARE FOR THE
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THREE OR FOUR THINGS THAT HE
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DOES.
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SO, PAUL, I JUST HAD A QUICK
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QUESTION.
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>> YEAH?
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>> ADAM GETS TO DO THIS?
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BECAUSE I-I THOUGHT HE ALREADY
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DID ONE.
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PEOPLE GET TO DO TWO?
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>> YEAH, HE'S -- HE'S DOING TWO.
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>> WHY IS HE IN TWO?
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ADAM WAS TOLD HE'S GONNA BE IN
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THE GREATEST THING IN TV [BLEEP]
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WHATEVER.
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HE WASN'T. THEY PROVED IT.
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CASE [BLEEP] CLOSED.
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>> I'M ADAM, BY THE WAY.
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>> HENCEFORTH, CHECK THE [BLEEP]
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CONTRACT, BRO.
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ADAM'S IN THESE IN PERPETUITY,
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WHICH MEANS FOREVER.
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>> "I SAW YOU.
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WHAT ARE YOU LOOKING AT ME FOR?"
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LIKE THAT?
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>> NO.
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>> SHOULD WE GO BACK, OR --
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>> NO, YOU'RE THE ONE THAT
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SCREWED UP.
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SO WE CAN KEEP GOING.
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>> OKAY.
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REHEARSAL FOR ME IS WHEN I START
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SEARCHING FOR TRUTH, AND WHEN I
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SAY TRUTH, I MEAN THOSE TASTY
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LITTLE NUGGETS THAT WE CAN JUST
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GOBBLE UP SO WE CAN THEM SPIT
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THEM OUT TO THE AUDIENCE AND
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MAKE THEIR LIVES BETTER.
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AND THAT MAKES ME FEEL GOOD, AND
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THAT'S THE GOAL.
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>> PAUL, ONE MORE TIME -- WHY AM
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I SITTING?
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>> UH, 'CAUSE YOU'RE IN A CAR.
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>> I JUST DON'T KNOW IF I WOULD
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BE SITTING.
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I DON'T KNOW IF MY CHARACTER
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WOULD SIT.
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COULD I STAND?
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>> WHILE DRIVING?
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>> YEAH.
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THE REHEARSAL PROCESS HAS BEEN
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HARD BECAUSE WHAT WE'RE DOING IS
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WE'RE JUST KIND OF COPYING
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WHAT'S ALREADY BEEN DONE, AND IT
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COMES VERY EASILY TO ADAM.
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AND IT'S A CHALLENGE FOR ME,
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BECAUSE I'M SO CREATIVE AND
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ORIGINAL, AND IT JUST -- IT'S
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HARD FOR ME TO GET THERE.
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>> I WAS ACTUALLY THINKING, TOO,
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THAT MAYBE I'D BE STANDING?
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LIKE, MAYBE I'M ALSO STANDING.
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IS THAT OKAY WITH YOU?
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>> UM, IT IS. IT'S FINE.
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>> OKAY.
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>> IT'S JUST -- I DON'T KNOW --
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IF, LIKE -- IF WE'RE BOTH
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STANDING, IS SUDDENLY LIKE --
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YOU KNOW WHAT I MEAN?
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>> OH. YEAH, YOU'RE RIGHT.
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ACTUALLY, YEAH.
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YEAH. NO, YOU'RE RIGHT.
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>> NO, I-I --
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>> NO, I'LL STAND -- I'LL SIT.
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>> OR WE COULD DO IT LIKE IN THE
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ORIGINAL, WHERE, YOU KNOW, BOTH
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OF YOU ARE SITTING IN THE CAR.
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>> YEAH, THAT'S THE ONE.
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>> YEAH. MM-HMM.
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>> THAT'S WHAT WE SHOULD DO.
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>> YEAH.
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>> OKAY, COOL.
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>> THANK YOU.
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>> THAT'S GOOD.
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OR...MAYBE, LIKE, I'M THE ONE
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STANDING?
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LIKE, MAYBE I'M, LIKE -- YEAH.
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LIKE, MAYBE I'M STANDING, AND
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YOU'RE SITTING, AND -- IS
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THAT...
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>> AMY, UM...
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>> SURE, WHATEVER. YEAH.
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>> OKAY.
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OKAY, GREAT.
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>> GREAT. OKAY.
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>> AFTER AN EXHAUSTIVE TWO WEEKS
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OF REHEARSAL, THE "HART TO HART"
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TEAM WAS READY TO SHOOT.
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>> STANDBY.
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>> HI.
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>> MR. SCOTT, WE'RE WAITING FOR
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YOU ON SET.
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>> OH.
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IS AMY OUTSIDE, BY ANY CHANCE?
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>> NO, SHE'S WAITING FOR YOU TO
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LEAVE YOUR TRAILER.
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>> INTERESTING.
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I MEAN, I JUST DON'T WANT TO
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STEP OUT OF MY TRAILER TILL AMY
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STEPS OUT OF HER TRAILER.
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IT JUST, LIKE, SETS THIS BAD
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PRECEDENT.
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>> YEAH, UH, WELL, YOU KNOW
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WHAT?
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I CAN JUST TAKE YOU NOW.
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[ KNOCK ON DOOR ]
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>> HI.
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>> MS. POEHLER.
265
00:06:15,242 --> 00:06:16,742
ARE YOU GONNA COME TO SET TODAY?
266
00:06:16,744 --> 00:06:17,484
>> YEAH. SURE.
267
00:06:17,478 --> 00:06:18,078
WE READY TO GO?
268
00:06:18,078 --> 00:06:18,648
>> YEAH.
269
00:06:18,646 --> 00:06:20,246
>> OKAY. ADAM'S ON SET?
270
00:06:20,247 --> 00:06:21,517
>> YEAH, HE'S JUST WAITING FOR
271
00:06:21,515 --> 00:06:22,515
YOU TO LEAVE YOUR TRAILER.
272
00:06:22,516 --> 00:06:23,116
>> HE'S NOT ON SET?
273
00:06:23,116 --> 00:06:24,486
>> HE WANTED YOU TO LEAVE YOUR
274
00:06:24,485 --> 00:06:25,145
TRAILER FIRST, SO...
275
00:06:25,152 --> 00:06:25,992
>> DON'T BE UPSET.
276
00:06:25,986 --> 00:06:26,746
DON'T BE SCARED.
277
00:06:26,754 --> 00:06:27,254
[ CHUCKLES ]
278
00:06:27,254 --> 00:06:28,124
I'M NOT ANGRY AT YOU.
279
00:06:28,121 --> 00:06:29,491
I KNOW YOU HAVE NO POWER HERE.
280
00:06:29,490 --> 00:06:29,990
>> THANK YOU.
281
00:06:29,990 --> 00:06:30,920
>> THANK YOU SO MUCH.
282
00:06:30,924 --> 00:06:31,764
>> THANKS SO MUCH.
283
00:06:31,759 --> 00:06:32,259
>> OKAY. BYE.
284
00:06:32,259 --> 00:06:34,699
>> WELL, WE'RE READY.
285
00:06:34,695 --> 00:06:36,155
YOU KNOW, IT'S NORMALLY AN EASY
286
00:06:36,163 --> 00:06:36,703
JOB.
287
00:06:36,697 --> 00:06:38,027
UH, YOU JUST TELL PEOPLE WHEN
288
00:06:38,031 --> 00:06:39,601
IT'S TIME TO GO TO SET, UH, AND
289
00:06:39,600 --> 00:06:40,930
THEY GO, BUT THESE PEOPLE,
290
00:06:40,968 --> 00:06:42,638
NEITHER OF THEM WANT TO GO TO
291
00:06:42,636 --> 00:06:42,966
SET.
292
00:06:42,970 --> 00:06:44,670
>> PRODUCTION RESUMED AFTER
293
00:06:44,672 --> 00:06:46,172
BOTH AMY AND ADAM AGREED TO
294
00:06:46,173 --> 00:06:47,943
LEAVE THEIR TRAILERS AT THE
295
00:06:47,941 --> 00:06:49,511
EXACT SAME TIME.
296
00:06:49,510 --> 00:06:51,080
[ AIR HORN BLOWS ]
297
00:06:59,620 --> 00:07:01,790
HOWEVER, WALKING ONTO SET WAS
298
00:07:01,789 --> 00:07:03,989
SOMETHING ENTIRELY DIFFERENT.
299
00:07:10,831 --> 00:07:11,731
>> GO AHEAD.
300
00:07:11,732 --> 00:07:13,172
>> WHENEVER YOU'RE READY.
301
00:07:13,166 --> 00:07:14,636
>> I'M READY.
302
00:07:14,635 --> 00:07:16,165
>> TALENT AND ADAM ARE READY.
303
00:07:16,169 --> 00:07:17,709
>> I DON'T LIKE WASTING TIME.
304
00:07:17,705 --> 00:07:19,135
IT'S JUST SOMETHING I DON'T DO.
305
00:07:19,139 --> 00:07:20,569
I AM UNABLE TO WASTE TIME
306
00:07:20,574 --> 00:07:21,744
BECAUSE I THINK TIME IS
307
00:07:21,742 --> 00:07:24,652
PRECIOUS, AND WHEN I HEAR THAT
308
00:07:24,645 --> 00:07:26,645
THERE MIGHT BE TIME WASTED ON
309
00:07:26,647 --> 00:07:28,247
SET, I JUST WON'T GO, BECAUSE
310
00:07:28,248 --> 00:07:30,148
WHEN I GO ON SET, I WANT TO
311
00:07:30,150 --> 00:07:30,850
WORK.
312
00:07:30,851 --> 00:07:31,691
SHE'S ON THE SET.
313
00:07:31,685 --> 00:07:32,885
TECHNICALLY, SHE'S ON THE SET.
314
00:07:32,886 --> 00:07:33,986
>> OKAY, LET'S GET STARTED!
315
00:07:33,987 --> 00:07:34,917
>> [BLEEP]
316
00:07:34,922 --> 00:07:37,062
>> WITH AMY TECHNICALLY STEPPING
317
00:07:37,057 --> 00:07:39,087
ON SET FIRST, ADAM RELUCTANTLY
318
00:07:39,092 --> 00:07:42,932
AGREED TO GET STARTED.
319
00:07:42,930 --> 00:07:44,030
>> I THINK HE SAYS "CHEERS."
320
00:07:44,031 --> 00:07:45,931
>> OKAY, PAUL. ARE YOU HERE?
321
00:07:45,933 --> 00:07:47,233
>> YEAH. RIGHT HERE, BUDDY.
322
00:07:47,234 --> 00:07:48,004
WHAT'S UP?
323
00:07:48,001 --> 00:07:49,601
>> HEY.
324
00:07:49,603 --> 00:07:50,843
Can you -- can you tell Amy
325
00:07:50,838 --> 00:07:52,708
that, like, when -- when we do
326
00:07:52,706 --> 00:07:54,676
the -- the toast, the timing has
327
00:07:54,675 --> 00:07:55,935
to be -- it's like a
328
00:07:55,943 --> 00:07:57,243
one-two-three thing, but I feel
329
00:07:57,244 --> 00:07:58,614
like she's kind of going on
330
00:07:58,612 --> 00:07:58,912
four.
331
00:07:58,912 --> 00:07:59,852
I'm going on three.
332
00:07:59,847 --> 00:08:00,877
>> So, Adam was kind of
333
00:08:00,881 --> 00:08:01,581
concerned --
334
00:08:01,582 --> 00:08:02,852
>> Can you let Adam know that,
335
00:08:02,850 --> 00:08:04,020
um, finding rhythm can be
336
00:08:04,017 --> 00:08:05,247
difficult when a partner you're
337
00:08:05,252 --> 00:08:06,722
working with doesn't have any?
338
00:08:06,720 --> 00:08:07,220
>> PAUL.
339
00:08:07,220 --> 00:08:09,760
>> Do -- Do you know?
340
00:08:13,861 --> 00:08:14,931
>> WOULD YOU MIND TELLING AMY
341
00:08:14,928 --> 00:08:17,968
THAT, WHILE I AM EXHAUSTED BY
342
00:08:17,965 --> 00:08:20,365
HER, I ACTUALLY FIND HER LITTLE
343
00:08:20,367 --> 00:08:21,637
GAMES HILARIOUS.
344
00:08:21,635 --> 00:08:22,365
>> WHEN ADAM AND I WORK
345
00:08:22,369 --> 00:08:23,369
TOGETHER, THERE'S A CERTAIN,
346
00:08:23,370 --> 00:08:28,380
LIKE, UH, VOCABULARY THAT WE
347
00:08:28,375 --> 00:08:30,935
DON'T HAVE -- WE DON'T SHARE.
348
00:08:30,944 --> 00:08:33,754
>> WE CAN TALK ALL NIGHT LONG --
349
00:08:33,747 --> 00:08:34,977
ALL NIGHT LONG.
350
00:08:34,982 --> 00:08:36,052
WILL YOU LET AMY KNOW THAT?
351
00:08:36,049 --> 00:08:37,049
>> PAUL, WILL YOU LET ADAM
352
00:08:37,050 --> 00:08:38,090
KNOW -- AND YOU KNOW WHAT?
353
00:08:38,085 --> 00:08:40,985
LET HORATIO KNOW, TOO, THAT WHEN
354
00:08:40,988 --> 00:08:43,218
YOU'RE WORKING WITH A ROBOT,
355
00:08:43,223 --> 00:08:45,633
SOMETIMES YOU FORGET THAT THEY
356
00:08:45,626 --> 00:08:46,126
HAVE EMOTION.
357
00:08:46,126 --> 00:08:46,726
>> HORATIO.
358
00:08:46,727 --> 00:08:47,087
>> WHAT?
359
00:08:47,094 --> 00:08:47,904
>> AMY THINKS --
360
00:08:47,895 --> 00:08:48,395
>> I HEARD IT.
361
00:08:48,395 --> 00:08:49,725
I'VE BEEN AROUND THE SET FOR
362
00:08:49,730 --> 00:08:50,260
THREE DAYS NOW.
363
00:08:50,263 --> 00:08:51,973
OH, EXCUSE ME. THAT'S MY WATER.
364
00:08:51,965 --> 00:08:53,725
UH, YESTERDAY, I-I DIDN'T LEAVE
365
00:08:53,734 --> 00:08:55,004
A CHAIR FOR NINE HOURS.
366
00:08:55,002 --> 00:08:56,402
BUT THAT'S OKAY, BECAUSE WE'RE
367
00:08:56,403 --> 00:08:58,073
MAKING SOMETHING GOOD HERE, AND
368
00:08:58,071 --> 00:08:59,411
AS FAR AS AMY AND ADAM BEING
369
00:08:59,406 --> 00:09:00,736
MAYBE A LITTLE WEIRD OR
370
00:09:00,741 --> 00:09:02,111
SOMETHING ON THE SET, I DON'T
371
00:09:02,109 --> 00:09:02,639
KNOW.
372
00:09:02,676 --> 00:09:04,236
THEY CARE ABOUT THEIR WORK.
373
00:09:04,244 --> 00:09:05,184
SO, I DON'T KNOW.
374
00:09:05,178 --> 00:09:06,708
I TRY NOT TO GET INTO ALL THAT
375
00:09:06,747 --> 00:09:07,247
BUSINESS.
376
00:09:07,247 --> 00:09:07,847
"WHAT?
377
00:09:07,848 --> 00:09:09,118
THAT GUY'S A [BLEEP] DICK," OR,
378
00:09:09,116 --> 00:09:10,276
"WHAT A JACKOFF," OR, "I'LL
379
00:09:10,283 --> 00:09:11,693
NEVER WORK WITH THESE PEOPLE
380
00:09:11,685 --> 00:09:13,015
AGAIN," OR, "[BLEEP] 'A,' I HOPE
381
00:09:13,020 --> 00:09:14,320
THOSE GUYS DIE" -- YOU KNOW, YOU
382
00:09:14,321 --> 00:09:15,691
HEAR [BLEEP] LIKE THIS, AND
383
00:09:15,689 --> 00:09:16,959
YOU'RE LIKE, "WELL, WHATEVER."
384
00:09:16,957 --> 00:09:17,927
YOU KNOW WHAT I MEAN?
385
00:09:17,925 --> 00:09:18,955
HEY, GUYS, IT'S TACO TRUCK
386
00:09:18,959 --> 00:09:19,329
FRIDAYS.
387
00:09:19,326 --> 00:09:20,326
>> YOU KNOW WHAT, GUYS?
388
00:09:20,327 --> 00:09:21,697
YOU'LL HAVE TO EXCUSE ME FOR A
389
00:09:21,695 --> 00:09:21,955
SEC.
390
00:09:21,962 --> 00:09:23,862
I HAVE TO TAKE A [BLEEP]
391
00:09:23,864 --> 00:09:26,334
>> OKAY.
392
00:09:26,333 --> 00:09:27,673
BETTER GET THAT DONE BEFORE THEM
393
00:09:27,668 --> 00:09:28,798
TACOS.
394
00:09:28,802 --> 00:09:29,272
AMY.
395
00:09:29,269 --> 00:09:30,039
>> HEY.
396
00:09:30,037 --> 00:09:31,097
>> WHAT'S UP?
397
00:09:31,104 --> 00:09:32,044
WE HAVE A LOT OF PEOPLE ON THE
398
00:09:32,039 --> 00:09:32,439
SET.
399
00:09:32,439 --> 00:09:33,769
EVERYBODY'S TALKING ABOUT,
400
00:09:33,774 --> 00:09:34,784
"AMY'S KILLING IT, YOU KNOW?"
401
00:09:34,775 --> 00:09:35,275
>> AWW.
402
00:09:35,275 --> 00:09:36,135
>> "SHE'S DOING SO GREAT."
403
00:09:36,143 --> 00:09:37,013
>> WELL, THAT'S SO SWEET TO
404
00:09:37,010 --> 00:09:37,440
HEAR.
405
00:09:37,444 --> 00:09:37,984
>> YEAH.
406
00:09:37,978 --> 00:09:39,108
>> PEOPLE ARE REALLY NICE HERE.
407
00:09:39,112 --> 00:09:40,882
>> I'M A LITTLE WORRIED BECAUSE,
408
00:09:40,881 --> 00:09:42,351
YOU KNOW, WE'VE ONLY SHOT, YOU
409
00:09:42,349 --> 00:09:43,779
KNOW, 10 SECONDS OF FILM.
410
00:09:43,784 --> 00:09:45,194
>> SORRY. I WASN'T LISTENING.
411
00:09:45,185 --> 00:09:45,715
WHAT?
412
00:09:45,719 --> 00:09:46,219
>> AND CUT.
413
00:09:46,219 --> 00:09:46,949
[ BUZZER ]
414
00:09:46,954 --> 00:09:48,294
>> BUT WHAT AMY WAS DOING WASN'T
415
00:09:48,288 --> 00:09:49,688
WHAT THE INTRO WAS, EITHER.
416
00:09:49,690 --> 00:09:50,790
>> BUT IT WORKS. BUT IT WORKS.
417
00:09:50,791 --> 00:09:51,891
>> WHY DOES THAT WORK AND THIS
418
00:09:51,892 --> 00:09:54,032
DOESN'T WORK?
419
00:09:54,027 --> 00:09:55,127
PAUL, WOULD YOU MIND TELLING AMY
420
00:09:55,128 --> 00:09:56,128
I'D APPRECIATE IT IF SHE DIDN'T
421
00:09:56,129 --> 00:09:57,999
USE THE "N" WORD ON SET TODAY.
422
00:10:00,868 --> 00:10:01,898
>> AAH!
423
00:10:01,902 --> 00:10:02,472
>> SORRY.
424
00:10:02,469 --> 00:10:04,139
>> WITH THE PRODUCTION MAKING
425
00:10:04,137 --> 00:10:05,367
LITTLE TO NO PROGRESS,
426
00:10:05,372 --> 00:10:06,872
THERAPIST AND CHEMISTRY
427
00:10:06,874 --> 00:10:08,414
SPECIALIST BELL TAINT WAS
428
00:10:08,408 --> 00:10:10,208
BROUGHT IN TO HELP ADDRESS
429
00:10:10,210 --> 00:10:12,180
ON-SET TENSION AND IMPROVE AMY
430
00:10:12,179 --> 00:10:13,879
AND ADAM'S RELATIONSHIP.
431
00:10:13,881 --> 00:10:15,221
>> I AM JUST HAVING A HARD TIME
432
00:10:15,215 --> 00:10:16,815
CONNECTING RIGHT NOW BECAUSE OF
433
00:10:16,817 --> 00:10:17,317
THE GLASSES.
434
00:10:17,317 --> 00:10:18,847
I CAN'T SEE ADAM'S EYES, AND I
435
00:10:18,852 --> 00:10:20,252
THINK THAT'S INTERESTING, DON'T
436
00:10:20,253 --> 00:10:20,753
YOU?
437
00:10:20,754 --> 00:10:22,064
>> I THINK YOU'RE SAYING IT TO
438
00:10:22,089 --> 00:10:23,819
ME WHEN WHAT YOU REALLY WANT TO
439
00:10:23,824 --> 00:10:26,764
SAY IS TO ADAM.
440
00:10:26,760 --> 00:10:28,100
>> I JUST THINK IT'S INTERESTING
441
00:10:28,095 --> 00:10:29,325
THAT YOU'RE WEARING GLASSES
442
00:10:29,329 --> 00:10:30,759
WHILE WE DO THIS, UH, THERAPY
443
00:10:30,764 --> 00:10:31,874
SESSION, WHICH YOU --
444
00:10:31,865 --> 00:10:33,165
>> UH, HERE, LET'S TRY THIS
445
00:10:33,166 --> 00:10:34,936
EXERCISE.
446
00:10:34,935 --> 00:10:37,835
SO IT'S AN EXERCISE THAT I CALL
447
00:10:37,838 --> 00:10:39,068
"POST-IT."
448
00:10:39,072 --> 00:10:41,212
I'M GONNA GIVE EACH OF YOU A
449
00:10:41,208 --> 00:10:43,338
POST-IT.
450
00:10:43,343 --> 00:10:44,413
ONE FOR YOU, AMY.
451
00:10:44,411 --> 00:10:45,781
>> THANK YOU.
452
00:10:45,779 --> 00:10:47,079
>> WELL, DON'T SAY THANK YOU TO
453
00:10:47,080 --> 00:10:47,410
ME.
454
00:10:47,414 --> 00:10:48,524
SAY THANK YOU TO ADAM.
455
00:10:48,515 --> 00:10:50,015
THAT'S WHAT WE'RE TRYING TO DO
456
00:10:50,017 --> 00:10:50,347
HERE.
457
00:10:50,350 --> 00:10:51,120
>> THANK YOU.
458
00:10:51,118 --> 00:10:52,518
THANK YOU FOR, UH, BEING NEXT TO
459
00:10:52,519 --> 00:10:53,849
ME WHEN THE THERAPIST GAVE ME A
460
00:10:53,854 --> 00:10:54,224
POST-IT.
461
00:10:54,221 --> 00:10:54,921
>> ALL RIGHT.
462
00:10:54,922 --> 00:10:55,792
WELL, YOU KNOW WHAT?
463
00:10:55,789 --> 00:10:57,019
I THINK LET'S PUT A HOLD ON THAT
464
00:10:57,024 --> 00:10:58,364
'CAUSE I -- YOU'RE NOT READY.
465
00:10:58,358 --> 00:10:59,928
>> WELL, IT JUST IS CONFUSING.
466
00:10:59,927 --> 00:11:01,057
>> HERE IS YOUR POST-IT.
467
00:11:01,061 --> 00:11:02,261
>> IT'S REALLY DARK IN HERE.
468
00:11:02,262 --> 00:11:03,532
CAN WE GET SOME -- SOME LIGHTS
469
00:11:03,530 --> 00:11:04,400
ON OR SOMETHING?
470
00:11:04,397 --> 00:11:05,897
>> WHY DON'T YOU JUST TAKE YOUR
471
00:11:05,899 --> 00:11:06,399
GLASSES OFF?
472
00:11:06,399 --> 00:11:07,099
>> I CAN'T.
473
00:11:07,100 --> 00:11:09,540
THE LIGHTS ARE TOO BRIGHT.
474
00:11:09,536 --> 00:11:11,136
HMM. INTERESTING.
475
00:11:11,138 --> 00:11:12,438
>> HERE IS THE EXERCISE -- I
476
00:11:12,439 --> 00:11:13,969
WANT YOU TO EACH WRITE ON THE
477
00:11:13,974 --> 00:11:18,884
PAPER A LIST OF 15 MEMORIES THAT
478
00:11:18,879 --> 00:11:20,379
MEAN SOMETHING TO YOU ABOUT THE
479
00:11:20,380 --> 00:11:22,050
OTHER PERSON -- JUST A PARAGRAPH
480
00:11:22,049 --> 00:11:25,489
OR TWO ON EACH MEMORY.
481
00:11:25,485 --> 00:11:27,045
OKAY, LET'S SEE.
482
00:11:27,087 --> 00:11:33,057
SO YOU WROTE, "I LIKE TITTIES."
483
00:11:33,060 --> 00:11:34,260
OKAY.
484
00:11:34,261 --> 00:11:36,401
HAS A PICTURE OF A BUTT, AND IT
485
00:11:36,396 --> 00:11:38,396
SAYS, "I'M ADAM, AND I LIKE TO
486
00:11:38,398 --> 00:11:39,128
FART."
487
00:11:39,132 --> 00:11:40,572
AND THEN THERE IS A LITTLE LINE
488
00:11:40,567 --> 00:11:42,097
COMING OUT THAT, I'M GUESSING,
489
00:11:42,135 --> 00:11:43,435
SYMBOLIZES THE SMELL OF THE
490
00:11:43,436 --> 00:11:43,966
FART.
491
00:11:43,971 --> 00:11:45,241
IT'S CLEAR WHAT'S GOING ON WITH
492
00:11:45,238 --> 00:11:45,908
AMY AND ADAM.
493
00:11:45,906 --> 00:11:47,506
I MEAN, ADAM CLEARLY SUFFERS
494
00:11:47,507 --> 00:11:50,837
FROM A VERSION OF LUPUS THAT
495
00:11:50,844 --> 00:11:53,014
I'VE SEEN MANY TIMES, AND AMY'S
496
00:11:53,013 --> 00:11:55,583
WAY OF COPING WITH IT IS TO USE
497
00:11:55,582 --> 00:11:56,252
VIOLENCE.
498
00:11:56,249 --> 00:11:57,919
WHEN YOU HAVE A VIOLENT PERSON
499
00:11:57,918 --> 00:11:59,448
CONSTANTLY HITTING SOMEONE WITH
500
00:11:59,452 --> 00:12:00,852
LUPUS, THEY CALL IT THE
501
00:12:00,854 --> 00:12:01,594
LUPUS PUNCH.
502
00:12:01,588 --> 00:12:03,958
WHEN YOU GET HIT WITH A LUPUS
503
00:12:03,957 --> 00:12:06,127
PUNCH, YOU'RE WEAKER BECAUSE
504
00:12:06,126 --> 00:12:07,586
OF -- WELL, BECAUSE OF THE
505
00:12:07,594 --> 00:12:08,204
LUPUS.
506
00:12:08,195 --> 00:12:09,495
LOOK, I KNOW YOU GUYS ARE THE
507
00:12:09,496 --> 00:12:12,096
"ARTISTS" AMONG THE THREE OF US,
508
00:12:12,099 --> 00:12:15,369
BUT I HAVE DONE A FEW GIGS BACK
509
00:12:15,368 --> 00:12:18,038
IN THE DAY WITH A BLUES COMBO IN
510
00:12:18,038 --> 00:12:19,438
CLEVELAND, OHIO.
511
00:12:19,439 --> 00:12:22,179
UH, WE DID SPARKYS.
512
00:12:22,175 --> 00:12:24,605
WE DID GROMMS SANDWICH.
513
00:12:24,611 --> 00:12:26,111
UH, AND WE DID SPARKYS AGAIN.
514
00:12:26,113 --> 00:12:27,513
IS -- IS ANYONE DOING THE SCORE
515
00:12:27,514 --> 00:12:29,054
YET FOR THIS PIECE, BECAUSE --
516
00:12:29,049 --> 00:12:30,449
>> I DON'T KNOW. I DON'T KNOW.
517
00:12:30,450 --> 00:12:31,220
>> I THINK --
518
00:12:31,218 --> 00:12:32,518
>> I -- I DO KNOW WHAT I'M --
519
00:12:32,519 --> 00:12:34,049
>> I THINK THEY'RE JUST USING
520
00:12:34,054 --> 00:12:35,294
THE MUSIC FROM THE ORIGINAL
521
00:12:35,288 --> 00:12:35,618
SHOW.
522
00:12:35,622 --> 00:12:37,992
>> OKAY, 'CAUSE I DO HAVE SOME
523
00:12:37,991 --> 00:12:39,161
IDEA WHAT I'M DOING.
524
00:12:39,159 --> 00:12:40,859
I'M NOT JUST SAYING, "OH, YOU
525
00:12:40,894 --> 00:12:41,334
KNOW."
526
00:12:41,328 --> 00:12:42,498
YOU CAN CALL SPARKYS.
527
00:12:42,495 --> 00:12:44,055
>> WITH DR. TAINT'S THERAPY
528
00:12:44,064 --> 00:12:45,574
BEHIND THEM, AMY AND ADAM WERE
529
00:12:45,565 --> 00:12:47,165
ABLE TO SET ASIDE THEIR
530
00:12:47,167 --> 00:12:49,097
DIFFERENCES AND COMPLETE WORK ON
531
00:12:49,136 --> 00:12:50,396
THE PROJECT.
532
00:12:50,403 --> 00:12:55,043
[ COUNTRY MUSIC PLAYS ]
533
00:12:55,042 --> 00:12:56,942
>> WE GOT IT.IC PLAYS ]
534
00:13:07,320 --> 00:13:09,020
>> [ LAUGHING ]
535
00:13:09,022 --> 00:13:10,892
>> YOU SEE WHAT HE'S DOING?
536
00:13:10,891 --> 00:13:13,091
>> YOU SEE WHAT SHE'S DOING?
537
00:13:13,093 --> 00:13:14,933
IT'S LIKE SHE'S SUCKING MY...
538
00:13:14,928 --> 00:13:16,998
>> AND IT WAS ALL WORTH IT.
539
00:13:16,997 --> 00:13:18,497
WHAT YOU'RE ABOUT TO SEE IS WHAT
540
00:13:18,498 --> 00:13:21,268
WILL CERTAINLY BE KNOWN --
541
00:13:21,268 --> 00:13:22,898
CERTAINLY GO -- W-WILL SURELY GO
542
00:13:22,903 --> 00:13:23,573
DOWN AS, RIGHT?
543
00:13:23,570 --> 00:13:27,610
10...9...8...7...
544
00:13:27,607 --> 00:13:30,507
6...5...4...
545
00:13:30,510 --> 00:13:33,250
3...2...1...
546
00:13:33,246 --> 00:13:35,346
[ CROWD CHEERING ]
547
00:13:35,615 --> 00:13:37,885
[ THEME SONG PLAYS ]
548
00:13:40,053 --> 00:13:42,363
>> THIS IS MY BOSS,
549
00:13:42,355 --> 00:13:45,055
JONATHAN HART, A SELF-MADE
550
00:13:45,058 --> 00:13:46,588
MILLIONAIRE.
551
00:13:46,593 --> 00:13:51,033
HE'S QUITE A GUY.
552
00:13:51,031 --> 00:13:52,631
THIS IS MRS. H.
553
00:13:52,632 --> 00:13:54,472
SHE'S GORGEOUS.
554
00:13:54,467 --> 00:13:56,397
SHE'S ONE LADY WHO KNOWS HOW TO
555
00:13:56,403 --> 00:13:58,513
TAKE CARE OF HERSELF.
556
00:14:00,941 --> 00:14:04,411
BY THE WAY, MY NAME IS MAX.
557
00:14:04,411 --> 00:14:05,581
I TAKE CARE OF BOTH OF THEM,
558
00:14:05,578 --> 00:14:07,708
WHICH AIN'T EASY, 'CAUSE WHEN
559
00:14:07,714 --> 00:14:10,924
THEY MET, IT WAS MURDER!
560
00:14:37,077 --> 00:14:37,577
>> [ BARKS ]
561
00:14:53,293 --> 00:14:54,563
>> THANK YOU, AND GOODNI--
562
00:15:14,381 --> 00:15:16,421
[ THEME SONG PLAYS ]
563
00:15:19,652 --> 00:15:21,622
>> THIS IS MY BOSS,
564
00:15:21,621 --> 00:15:24,021
JONATHAN HART, A SELF-MADE
565
00:15:24,024 --> 00:15:25,534
MILLIONAIRE.
566
00:15:25,525 --> 00:15:30,125
HE'S QUITE A GUY.
567
00:15:30,130 --> 00:15:31,630
THIS IS MRS. H.
568
00:15:31,631 --> 00:15:33,301
SHE'S GORGEOUS.
569
00:15:33,300 --> 00:15:35,140
SHE'S ONE LADY WHO KNOWS HOW TO
570
00:15:35,135 --> 00:15:37,335
TAKE CARE OF HERSELF.
571
00:15:41,141 --> 00:15:43,081
BY THE WAY, MY NAME IS MAX.
572
00:15:43,076 --> 00:15:44,676
I TAKE CARE OF BOTH OF THEM,
573
00:15:44,677 --> 00:15:47,047
WHICH AIN'T EASY, 'CAUSE WHEN
574
00:15:47,047 --> 00:15:50,277
THEY MET, IT WAS MURDER!
575
00:16:15,675 --> 00:16:16,405
>> [ BARKS ]
576
00:16:32,625 --> 00:16:34,555
>> UH, YOU KNOW, WHEN PAUL RUST
577
00:16:34,561 --> 00:16:36,531
CAME TO ME, UH, AND SAID
578
00:16:36,529 --> 00:16:37,729
[CLEARS THROAT] YOU KNOW, WE
579
00:16:37,730 --> 00:16:40,230
WANT TO DO A LOT OF THIS STUFF
580
00:16:40,233 --> 00:16:41,533
IN POST, I -- YOU KNOW, I LOOKED
581
00:16:41,534 --> 00:16:43,274
AT HIM, I SAID, "YOU COULD JUST
582
00:16:43,270 --> 00:16:44,540
SHOOT THIS STUFF, BUT I
583
00:16:44,537 --> 00:16:46,137
UNDERSTAND WHY YOU'VE COME TO
584
00:16:46,139 --> 00:16:47,169
ME."
585
00:16:47,407 --> 00:16:49,107
WHAT I DO, WHAT I SPECIALIZE IN,
586
00:16:49,109 --> 00:16:50,609
IS TAKING EVERYDAY OBJECTS THAT
587
00:16:50,610 --> 00:16:52,810
YOU COULD SHOOT IN REALITY, AND
588
00:16:52,812 --> 00:16:53,882
I CGI THEM.
589
00:16:53,880 --> 00:16:55,380
SOMETIMES YOU'LL SEE A SHOT, AND
590
00:16:55,382 --> 00:16:56,552
THEY -- THEY CAN'T GET THE
591
00:16:56,549 --> 00:16:57,879
RIGHTS TO A SET OF CAR KEYS, SO
592
00:16:57,884 --> 00:16:59,294
WE'LL BUILD THOSE CAR KEYS IN
593
00:16:59,286 --> 00:16:59,586
POST.
594
00:16:59,586 --> 00:17:00,786
SOMETIMES PEOPLE DON'T HAVE
595
00:17:00,787 --> 00:17:01,547
FINGERNAILS.
596
00:17:01,554 --> 00:17:02,894
WE'LL BUILD THOSE FINGERNAILS IN
597
00:17:02,889 --> 00:17:03,389
POST.
598
00:17:03,390 --> 00:17:04,620
PEOPLE EATING TINFOIL, BECAUSE
599
00:17:04,624 --> 00:17:05,794
OF FILLINGS -- PEOPLE HAVE
600
00:17:05,792 --> 00:17:08,402
FILLINGS -- UH, IT CAN REACT.
601
00:17:08,395 --> 00:17:08,895
>> SURE.
602
00:17:08,895 --> 00:17:10,455
>> SO WE DON'T ACTUALLY HAVE
603
00:17:10,463 --> 00:17:11,603
PEOPLE -- WE'LL JUST HAVE PEOPLE
604
00:17:11,598 --> 00:17:14,168
EAT, UH, GREEN PAPER.
605
00:17:14,167 --> 00:17:15,467
AND THEN WE'LL MAKE IT INTO
606
00:17:15,468 --> 00:17:16,398
TINFOIL IN POST.
607
00:17:16,403 --> 00:17:17,573
PEOPLE ASK ME ALL THE TIME, AM I
608
00:17:17,570 --> 00:17:18,410
JEALOUS OF MY COUSIN
609
00:17:18,405 --> 00:17:19,565
MICHAEL BAY?
610
00:17:19,572 --> 00:17:21,612
UH, YOU KNOW, MICHAEL --
611
00:17:21,608 --> 00:17:22,678
I'M SORRY TO KEEP TALKING ABOUT
612
00:17:22,675 --> 00:17:23,735
MICHAEL, BUT IT'S LIKE -- IT'S
613
00:17:23,743 --> 00:17:24,643
SOMETHING I DEAL WITH ON A
614
00:17:24,644 --> 00:17:25,414
DAY-TO-DAY BASIS.
615
00:17:25,412 --> 00:17:26,452
AND MY WIFE IS LIKE, "NOBODY IS
616
00:17:26,446 --> 00:17:27,406
COMPARING YOU TO MICHAEL."
617
00:17:27,414 --> 00:17:29,154
I SAID, "I'M -- I AM -- TALK TO
618
00:17:29,149 --> 00:17:31,349
MY MOM, BECAUSE I GET ALL THE
619
00:17:31,351 --> 00:17:31,781
CLIPPINGS."
620
00:17:31,784 --> 00:17:32,924
I GET EVERY CLIPPING, EVERY
621
00:17:32,919 --> 00:17:34,349
ARTICLE, EVERY -- AND NOW, WITH
622
00:17:34,354 --> 00:17:35,294
THE INTERNET, ALL THE
623
00:17:35,288 --> 00:17:36,358
INTERVIEWS, ALL THE PRESS
624
00:17:36,356 --> 00:17:37,616
JUNKETS, I SEE EVERY ONE, AND I
625
00:17:37,624 --> 00:17:38,934
WATCH THEM ALL, 'CAUSE -- WHAT?
626
00:17:38,925 --> 00:17:39,585
HE'S MY COUSIN.
627
00:17:39,592 --> 00:17:40,362
I'M PROUD OF HIM.
628
00:17:40,360 --> 00:17:42,260
BUT TO SEE MICHAEL BAY SUCCEED
629
00:17:42,262 --> 00:17:43,932
AS HE HAS, AND TO KNOW THAT WE
630
00:17:43,930 --> 00:17:45,770
WERE -- GREW UP IN THE SANDBOX
631
00:17:45,765 --> 00:17:48,265
TOGETHER PLAYING AND -- AND, YOU
632
00:17:48,268 --> 00:17:50,298
KNOW, BOTH HAD PRETTY GRAND
633
00:17:50,303 --> 00:17:52,513
DREAMS, AND TO SEE HIM SUCCEED
634
00:17:52,505 --> 00:17:56,705
HOW HE HA-- HOW HE HAS, AND TO
635
00:17:56,709 --> 00:17:58,649
KNOW THAT I'M DOING FINE...
636
00:17:58,645 --> 00:18:00,445
UM, I'M MAKING A LIVING DOING
637
00:18:00,447 --> 00:18:01,807
WHAT I LOVE, WHICH IS TO
638
00:18:01,814 --> 00:18:04,554
RE-CREATE, UM, REAL-LIFE OBJECTS
639
00:18:04,551 --> 00:18:06,191
IN CGI.
640
00:18:06,186 --> 00:18:08,186
I HAVE A PROGRAM THAT MAKES
641
00:18:08,188 --> 00:18:09,858
LIQUID LOOK ALMOST REAL.
642
00:18:09,856 --> 00:18:11,356
ONE OF MY SPECIALTIES IS
643
00:18:11,358 --> 00:18:11,888
DIARRHEA.
644
00:18:11,891 --> 00:18:13,691
SO [CLEARS THROAT] NOT EVERYBODY
645
00:18:13,693 --> 00:18:15,463
WANTS TO ACTUALLY GET DIARRHEA
646
00:18:15,462 --> 00:18:16,232
IN A MOVIE.
647
00:18:16,229 --> 00:18:17,359
LET'S SAY SOMEONE NEEDS SOME
648
00:18:17,364 --> 00:18:18,634
DIARRHEA, YOU KNOW, FOR A MOVIE,
649
00:18:18,631 --> 00:18:19,831
AND THEY DON'T WANT -- THEN THEY
650
00:18:19,832 --> 00:18:20,972
COME TO ME, AND I BUILD IT IN
651
00:18:20,967 --> 00:18:21,727
POST, YOU KNOW?
652
00:18:21,734 --> 00:18:22,874
UM, AND IT'S EASY.
653
00:18:22,869 --> 00:18:23,839
WHAT CAN I SAY?
654
00:18:23,836 --> 00:18:25,206
I'M ONE OF THE BEST DIARRHEA
655
00:18:25,205 --> 00:18:26,305
GUYS IN THE BIZ.
40846
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