All language subtitles for Icons.Unearthed.S12E05.The.Runaway.Production.1080p.AMZN.WEB-DL.DDP2.0.H.264-Kitsune_track3_[eng]

By the early '90s,

Harrison Ford had traveled a
long way from Indy to Jack.

Get down!

Harrison's combination
of action star

and thinking man's
action star.

Same day.

Made him a perfect Jack Ryan.

Hello.

Patriot Games
proved the life

of a mature action
hero was complicated.

The only person that disagreed
with me was Harrison Ford.

Harrison is the boss.

I hate this job.

Finally in
control of his career

and his films, his next project.

I am the fugitive, yes.

Probably the worst pitch I've
ever done in my entire life.

Would find
him chasing solutions

to problems he just
couldn't escape.

I read the script
and it didn't make a
lot of sense to me.

This
character was running away.

Your fugitive's name
is Dr. Richard Kimmel.

But what was
Harrison Ford running towards?

Well, you want the truth,
or you want me to bullshit you?

There's no way out
of here, Richard.

I said to Harrison,
"Where the fuck am I?"

You never give up.

On a film
where coming off the rails...

First cinematographer
had to be fired.

...was both a feature...

- They had one shot at it.
- ...and a bug.

We spent most of the night
trying to dig out the cameras.

You find this man.

And
exactly how much running

did the now middle-aged star
have left?

He twisted his knee
and he was in pain.

I mean, if you look at it,
you can see him limping.

As a film,

perpetually searching
for its own ending--

Everyone knew we were looking

for that third act
while we were shooting.

- What do you got?
- I got nothing.

Warner Bros.
sent an executive out

to fire me if I did not
put a love interest in.

What are your other hobbies?
Brain surgery?

Threatened to
serve up a Hollywood ending

of a different kind
for its star.

Tommy was like

"Ain't nobody gonna win
an Academy Award on this one."

"The Fugitive" doesn't work.

This is such a shit show,
we're never gonna work again.

- This is a career killer.
- Oh Jesus.

What if we told
you that Harrison Ford's career

owes a lot to the French?

The French Revolution, at least.

Actually, not as much
the revolution,

as a very
famous book about it.

It was based on
the Victor Hugo novel

about the French Revolution.

It's all to
do with the 1960s TV show

that copied Les
Miserables' storyline

about a wrongly
accused man on the run.

And Dr. Kimble must be found.

It was
a primetime drama

that needed only four seasons...

You like it?

I haven't seen much.

...to capture
an entire generation.

Had I ever watched
"The Fugitive"

with David Janssen?
Are you kidding me?

Oh,
so that big a fan?

Yep.

"The Fugitive" would
be Harrison Ford's

next big move in 1993.

But the story of that
film really begins

around 30 years earlier.

I was obsessed with that show.

Every week there
was a cliffhanger.

He's innocent.

The law says guilty.

He almost got caught.

Week
in and week out.

He almost caught the
one-armed man.

Almost.

Knowing
the one-armed man

would help prove Dr.
Kimble's innocence,

78 million tuned into
the series finale,

hoping for a happy ending.

I think the
number of viewers

for that last episode
was astronomical.

It had never been
anything like that before.

It was
just a matter of time

before someone thought
this beloved TV show

could become a beloved movie.

We felt that we could create
that tension as a feature.

Anne
Kopelson was one half

of a Hollywood power couple.

Her entertainment lawyer
husband Arnold saw potential

for "The Fugitive"
on the big screen.

He really wanted
to do this movie.

It was a big dream of his.

But first,
he needed the rights.

Arnold soon found out who owned
those when he met this man.

Well, I remembered
the TV series

with David Janssen.
It was a cult classic.

Keith
Barish knew the series,

but more importantly, he
knew the people in it.

I knew Dani Janssen,
his widow.

She used to give great
Academy Award parties

where most stars showed up

and we brought the
rights to "The Fugitive."

Now, Roy Huggins was attached
'cause he owned the rights.

And
Keith's company, Taft Barish,
already had plans

to make "The Fugitive"
into a movie.

David Twohy had
done one draft.

There was enough there to
see it would be a movie.

I knew one day I'd make it.

But Keith's
business partners

didn't want to make
"The Fugitive."

They didn't want to
make anything anymore.

Taft decided that they didn't
wanna make any more movies.

Not a chance! Now hands off.

Keith was
offered the rights

to one of their
two final pictures.

And they had "The
Fugitive," "The Flintstones."

Yabba-dabba-doo!

I chose "The Fugitive."

When
Arnold approached Keith

about "The Fugitive,"
he was telling Keith

exactly what any
producer wants to hear.

Arnold came to me and said,

"I can get the financing
for the movies."

I said,
"I've heard that before."

He said, "No, no,
no, I guarantee."

So it wasn't just
that he knew the law

and he knew all the players

'cause he was an
entertainment attorney,

but he was also a
charming, persuasive guy.

Now Arnold
just needed

to charm
the right studio.

Warner Bros. was the
one that really stepped up.

Warner Bros.
was a yes.

Now Arnold needed a writer to
get the script off the ground.

We were working on a
film called "Warlock,"

which had
David Twohy as the writer.

This is the
terrifying adventure

that could set
the world on fire.

David Twohy's
draft of "The Fugitive"

wasn't destined to
set the world on fire,

so much as to get him fired.

But he managed to leave
his mark on the script.

He did write the action
beats, the jumping,

the dam or the car,
the train crash.

He did have in place some
of those action elements,

But
before "The Fugitive"

could have a new beginning,
it needed a new ending.

I don't think it was an issue

that the writers didn't get it.

They had their own version

of what they thought
the ending should be.

Working out exactly

how the story would end
was newly-hired writer

Jeb Stuart's first job.

Not his first job
as a scriptwriter.

That was a little Christmas
movie called "Die Hard."

Happy trails, Hans.

Some of the best action
screenwriters of the early '90s

and the '80s had
taken a swing at this.

And by the way, there
was no star attached.

Which is where
Harrison Ford enters our story.

Or he would if Warner

could lure him into taking
on another franchise.

There was a pretty good
idea that he might be up

for multiple movies
based on "The Fugitive."

But Jeb was
thinking one and done.

I made it clear at the time
that I didn't want it to be,

you know, Fugitive One,
Fugitive Two, Fugitive Three.

I felt like it ought
to be a standalone.

Also up for debate,

exactly who should
be the bad guy.

They felt like that
the Gerard character

should be the bad guy.

I can't permit it.

Gerard was
the police Lieutenant

convinced Dr. Kimble was
guilty of murdering his wife.

I kind of pushed back that
there was a different bad guy.

It wasn't the one-armed man,
it's not Gerard.

Did you kill Helen Kimble?

Part of my whole thing
too is that I'm looking

for different kind of
investigative engines.

I didn't want the
Gerard character

to be the only one who is
trying to solve a mystery.

While Jeb was
contemplating his bad guy,

Warner Bros. was searching
for the right good guy.

The studio ultimately
would make that decision

because they needed

to have somebody who
could sell the movie.

If not
Harrison, then surely the man

who was trying desperately

to have the same
career, Alec Baldwin.

The studio did
not like that choice.

Alec had got a bite
for the Jack Ryan cherry

in "The Hunt for Red October."

How did you know that?

Before Harrison
took the Clancy cake.

You don't miss much, do you?

Unfortunately for Alec,

Harrison already
had a head start

and had just played a
man wrongly accused.

You think I killed her?

Well, Harrison and
his manager

was a woman
by the name of Pat McQueeney

and she was a longtime
manager of Harrison's.

And we established a
relationship with her

in hopes that she could
convince Harrison to do it.

While Jeb was still
thinking about his bad guy,

it unexpectedly
became his job

to land the good guy when
he received a summons.

So I got on a plane in
New York and I flew out,

and when I landed in LA I
was told, "We're flying out

to Jackson Hole on
the Warner's jet

and you're gonna pitch
Harrison your story."

A golden opportunity.
Except for one thing.

I didn't have a story.

I mean, I had some loose
thoughts in my head,

but we were at the
beginning of the process.

By the time
the Warner Bros.' jet

landed in Jackson Hole
in Wyoming...

Depending upon my pitch,

he may or may not
do "The Fugitive."

...Jeb had
conjured up something

to throw at Harrison Ford.

We sat down in
his living room.

But would it stick?

I proceeded to tell him
the story of "The Fugitive,"

which was probably
the worst pitch

I've ever done in
my entire life.

The missing link was if
Gerard's not the bad guy

and the one-armed man
is just the killer,

Who is the bad guy?

There's no point
in asking you again,
is there?

No, I'm afraid not.

And about this
time, about 20 minutes

or 30 minutes, it may
have been an hour.

It felt like five days

that I'm in this very
uncomfortable pitch.

I'm realizing that his eyes
are rolling back in his head.

And I know that behind
me, all the producers

and studio executives
are going like this.

It's not over yet.

Writer Jeb
Stuart was in the midst

of the worst pitch of his life.

But it was very,
very convoluted.

He needed someone
to throw him a lifeline.

Harrison outta the blue said,

"I hear you're a tennis player."

I was, before I became
a screenwriter,

I'd been a tennis pro
and taught tennis

and was pretty good.

He was a big tennis player

and had a court out at his ranch

and he said,
"Let's play a match."

It was
the perfect opportunity

to break the tension.

But that wouldn't be
the only thing to break.

In the process of the play,

Harrison's racket hit
the bridge of his nose.

It did some damage, let's
say, a lot of blood.

Harrison
hadn't even signed up

for "The Fugitive"

and already he was
bleeding for his art.

T-shirt's covered in blood.

His nose is all you
know, messed up.

It
looked to executives

like Jeb's pitch had
gone violently wrong

and Harrison wasn't going to
let his blood go to waste.

He says to me,
kind of devilishly,

"Let's not talk
about any of this.

Let's just go back in
and pitch the show."

And he sits down and he listens
to the rest of the pitch.

And nobody says a
word about the injury.

In need
of a doctor himself,

Harrison Ford announced his
intention to become one.

Love it, I'm in.

And everybody was
like, what happened?

You know, oh my God.

Well they were looking
at me, what happened?

Only
Harrison Ford knows

what changed on
that tennis court.

The good news for everybody
is that even without a script

or a fully formed idea,
he saw Dr. Richard Kimble

and it was the start of a
really good collaboration.

Maybe the
bleeding was an omen

because Harrison Ford had
just signed onto a film

destined to test his limits.

Warner slated "The Fugitive"

for release in less than a year.

And the film still didn't
have a finished script

or someone to direct it.

And that particular time,

we were invited to
see the movie "Under Siege."

And what is this, huh?

You're in the Navy, man,
you gotta look good, huh?

And after we saw the
movie Arnold, he said,

"I think we found our
director for 'The Fugitive.'"

Home Run.

I just finished "Under Siege,"
there was a wrap party

and Arnold Kopelson
came up to me and said,

"I know your next film."

Before
Andrew could even say yes--

Sunday night I got a
call from an executive,

the head of production, Bruce
Berman at Warner Bros.

congratulating me.
And I said, "What for?"

And he said, "Well, Harrison saw
'Under Siege' over the weekend

and he would like to have
you direct 'The Fugitive.'"

So they sent a script.

That
would be the script

that Jeb hadn't
really worked out yet.

I read the script
and it didn't make a
lot of sense to me.

But one thing
that did make sense to Andrew

was the idea of working
with Harrison Ford.

I said, "I better
figure out what to do,

'cause I wanted to
certainly do a movie

with Harrison Ford
called 'The Fugitive.'"

So I went to this meeting
and we talked and you know,

and I said, you know, I got
some problems with the script,

but it was, you know,
we're gonna continue

to work and make this better.

We'll figure out who's
gonna play Gerard.

Andrew already had
an idea for that.

I basically had Tommy.

Yes, of course,
hence the name.

Tommy Lee was in "Under Siege."

They were friends.

And Roadrunner, out.
Beep beep!

For the man
to play Tommy Lee's deputy,

Andrew's mind turned to
one of his first films.

The first movie
I was ever hired

to direct was a horror movie.

I don't know what the
title is. "The Final Terror"

or something like that.

Joey Pants played the monster
and the bad bus driver.

And we became dear
friends from that.

Wake up, pigs.

Joey Pants, aka--

Joseph Peter Pantoliano,
Joe Pantoliano,

Joey Pants.

And of course--

I played Cosmo Renfro
in "The Fugitive."

When I die, I wanna
come back just like you.

Oh, you mean
happy and handsome?

And Andy Davis called
me up one evening,

he explained that there
was gonna be a team

of Marshalls surrounding
Tommy Lee Jones.

He said that he needed
somebody like a comic relief,

somebody that could stand up,
not be intimidated.

Yes, all right,
Sammy, we got him.

But
Joe's involvement

depended on another blessing.

You know, and
Tommy had approval.

And
winning Tommy's approval

depended on whether
Joe liked the script.

Time for a drink.

So we opened a beer

and he said, "So what do
you think of the script?"

I decided to charm
him and I said,

"Well, you want the truth or you
want me to bullshit you?"

And he laughed.

He said, "Well,
you might as well,

you know,
hit me with the truth."

And I said, "Yeah, well,
these cardboard characters,

they don't even
have last names."

None of
that put Tommy off

because he agreed, and
there was work to be done.

And he started
strategizing with me.

Which meant I had the job.

My, my, my, my, my, what a mess.

It's a circus.

To play
opposite Harrison Ford--

Thank you, I was
just down to my last joke.

Actress Sela
Ward was personally approved

by Harrison to be Helen Kimble.

Sela, she's a lovely
woman, and she was in 110%.

Whatever needed to be done,
she was there to do it.

Thanks, honey.

L. Scott Caldwell

had to come from
nowhere to win her role.

The word came back to me
that the studio head said,

"No, not too sure about her."

Because there wasn't anything
on my reel that suggested

that I could do
this kind of movie.

So we put together this little
funky video and sent it in

and they liked the
fact that I did that.

And I got the role.

Care to revise
your statement, sir?

In the
role of Kimble's friend,

or rather frenemy, veteran
TV actor Richard Jordan.

I'm your friend, I understand.
We all go crazy once in a while.

Think we wanted someone who
was a kind of a waspy doctor,

who could be a real good
friend of Harrison's.

Julian
Moore also joined

in the role of Kimble's
new love interest.

You know, she'd just
done an Altman movie.

What are you talking about?

All these
pedigree actors came on board,

not because of the
script, but despite it.

The script was in
really bad shape.

It demanded a
first-page rewrite.

There were a lot
of script changes

as we, you know, went along.

But Andy knew

he had the actors
to deal with that.

And he wasn't afraid to
let his stars take flight.

Knew Tommy was the guy.

We had done a lot of
improvisation in "Under Siege."

Do I look like I need a
psychological evaluation?

- Not at all.
- And he wrote

some amazing
material that's in that movie.

And so I knew that
between Joey Pants...

Can you all hear me now?

...and Tommy Lee Jones...

Behold my finest work.

...we were gonna be able to
figure out what the essence

of each scene was and give
it language and words.

- The Fugitive.
- Also helping,

the fact that the bones
of the story

were already there
in black and white

on the
original TV show.

Now,
six months a fugitive,

this is Richard Kimble
with a new identity.

There were parts of the
story which were

part of "The Fugitive" lore,
which is the things that were,

you know, back in
the television part.

He's falsely accused
of killing his wife.

I found my wife
beaten to death.

- Check.
- There is a one-armed man.

- A man with one arm.
- Check.

There is a character named
Gerard. That didn't change.

Well, he told you about me.

Check,
but what about this?

We did have the train
wreck and the bus crash

because that was part

of the lore from the
television series.

Taking
almost everything

from the original TV show,

except these
spinning transitions.

We wanted to have that type

of DNA from the
television series,

but create a totally
different story.

But
Jeb was determined

to give his Dr. Kimble
character more punch.

- Not literally.
- No police.

So I was pushing Warner Bros.
back and saying

that Dr. Kimble has to be
the proactive character.

He has to be solving
who killed his wife,

okay, if it's not him.

That was a question

Jeb had to answer for himself

as he struggled with the
plot or rather, plots.

They had nine
different versions.

It was the one-armed man.

It wasn't the one-armed
man. It was the doctor.

It wasn't the doctor. At one
point, it was Kimble himself.

"The Fugitive"
was about to start shooting,

but it still lacked the one
thing no film can do without.

We had those two acts, but
we didn't have the third act.

It literally was a
slug for an ending.

And it's hard to imagine today

that a major studio
would allow that

to kind of sit
there undeveloped.

This
film about a fugitive

was now a production

chasing an ending that
appeared to be on the run.

We got a gofer.

And if you don't
have a third act,

you're hoping that the
first two acts are good enough

so that you can figure it out.

They would be
shooting a shot in the dark.

There was an ending to this,

but the threads were being
developed as we were shooting.

And there
was next to no time

to make it happen.

Open the door!

When shooting on "The Fugitive"
got underway in early 1993,

producers had barely six months

to finish the film in
time for a summer release.

But the story still
didn't have an ending.

To make matters worse, the
end had already arrived

for the man hired to shoot it.

First cinematographer
had to be fired.

He just wasn't cutting it.

Frank was unjustly let go.

He shouldn't have gotten fired.

We were shooting the murder

and Harrison didn't
quite understand

that those dailies were
just a separate style.

Today, he would
get it like that.

And so they brought
in Michael Chapman.

A man with
his own particular vision,

which he was keen to share
with his executive producer.

Michael was a very crotchety
person to begin with.

He would keep coming
up to Arnold every day

and saying, "I hate being here."

And Arnold would say,
"No, Michael, it's okay.

It's gonna be okay."

I didn't think he
liked Andy's style.

Everybody knows Andy
shoots a lot of film.

So there was a
lot of frustration.

And I think, you
know, it just happens.

Sometimes things
don't go as planned.

If that
sounds like a train wreck

waiting to happen.

You're right. That's exactly
what producers planned

for a hero action set piece.

Well, it had to
be in the beginning

because of the beard
and the trial.

The train wreck threatened

to become just that
before they even started.

I got a call from Andy saying,

"We can't find any of the
locations in southern Illinois."

And I said, "You need to
go to North Carolina.

You can wreck trains
and jump off dams

and everything in
North Carolina."

And so that's where they went.

North Carolina
gave "The Fugitive" a location,

but it fell to this
man to work out

how to make a real
train go off the rails

without taking the
production with it.

First car was going
to smash into the bus.

And Andy thought, how
could that possibly happen?

But
the only question

William had to consider was--

How are you gonna
make that work?

The
answer, two numbers.

13 cameras, one take.

- That's it.
- They had one shot at it.

We knew that we weren't
gonna have a motorized train,

so we had to figure out
a hidden cable system

that we could pull the
train and make it go

and plow through all the dirt.

It sure was
bigger than anyone expected...

The train was going so fast.

...by becoming
both the train wreck

and a wrecking ball.

So it went flying
all the way forward

and hit the mound

where our Vista
Vision camera was.

The
shot was in the can.

Now it was just a matter
of finding the can.

We spent most of the night
trying to dig out the camera

so we could unload it and
get the film into the lab.

As the film
that still had no ending

rumbled on, the actors
filled in the blanks

as they went along.

I know for a fact
that the ad-lib line

that really Tommy used
was the Peter Pan line

when Harrison
jumped off the dam.

The guy did a Peter Pan

right here off of
this dam right here.

Because I looked in the script
after that

and I didn't see it.

We were making that
stuff up every day.

Poole, you gotta
get some new boots.

I told you not
to wear the heels.

And it was sprinkled
throughout the final cut.

Well, think me up a cup
of coffee and a chocolate donut

with some of those
little sprinkles on top.

The best line that's
come up is, "I don't care."

I don't care.

I think Tommy
thought he made it up.

I think Jeb Stuart
thought he made it up.

And finally I said,
"Well here's one.

This might not work, but
let's just try, 'I don't care.'"

I don't care.

And Andy said, "Cut.
We got it. That's perfect."

They found an old, old
draft from Walter Hills,

that had the line in it.

Well, who
cares who dreamed it up?

The line was in the movie.

But all this ad-libbing
was keeping "The Fugitive"

in a state of flux.

Even the trailer for the
movie was more organized

than the movie it was
promoting. In fact--

Before we were finished
making the movie,

they were shooting
a trailer for it.

Unlike the
feature film, the script

for the trailer's main scene
was totally locked down.

The "Listen up" speech, which
is kind of the famous speech.

Listen up, ladies
and gentlemen.

Even though it
wasn't actually in the movie.

Well, somebody
at Warner Bros.

in the publicity department
found an old draft with it.

I remember Tommy
was like, "Oh Christ."

He didn't wanna do it.
He didn't like it.

You know, when he did it,
he was commenting on it.

I could tell he was pissed off.

"Your fugitive
is Dr. Richard Kimble."

Your fugitive's name
is Dr. Richard Kimble.

And in a classic
chicken and egg moment,
this happened.

One take, he just,
he just nailed it.

And then they put
it in the movie.

And it was great, by the way.

Go get him.

Even
the man who loved

to be in control
wasn't getting off

his marketing obligations
to the studio.

He went off in the
woods with somebody

to shoot him running through
the woods for the trailers,

all part of that
same trailer stuff.

The cart was most
definitely before the horse now,

and it was about to crash.

And he twisted his knee

and he was in pain.
It was serious.

While the movie
trailer for the movie
with no end

was completed, having
maimed its leading actor...

He actually had a limp
through the rest of the shoot.

...Tommy Lee Jones
almost suffered a worse fate.

When this chopper scene
saw his foot crushed,

nothing was going to plan.

Tommy, he would say,

"Well, this is
such a shit-show,

we're never gonna work again."

And how
is a movie with no end...

I hadn't tied the end
of the pieces together.

...possibly going
to end well for the cast.

Tommy was like,
ain't nobody gonna win

an Academy Award on this one.

Not for the
first time in his career,

Harrison Ford felt powerless

to save what looked certain
to be a high profile flop.

And I looked at Harrison

and then he could tell
what I was thinking.

And the
cost might be far greater

than Warner's Box office losses.

Well, you know, I had
a pretty good career.

This is a career killer.

The
production limping along,

it,

and its leading man limping,

feeling his end was certain.

"The Fugitive" moved to
Harrison Ford's hometown

for the rest of the shoot.

Background just
came in from Chicago.

And I've heard that
Harrison takes credit for it,

which he should because
he's from Chicago.

And I remember when I
first flew to see him

in Jackson Hole, Wyoming,
I got off the plane

and he says, "We're
going to Chicago."

Now on home
turf in the windy city,

Harrison tried to take control

of an out of control production,

Son of a bitch,
our boy came home.

And he
did so by letting go

of the script in the film's
most improvised scene yet.

The interrogation
scene was terrific.

Andy had given
Harrison a perfect setting

to make the crucial
Kimble interrogation scene

feel authentic.

He had a real cop

who had been in
three or four of my movies.

He had a guy who had been put
in jail for shooting a cop

and they were gonna
interrogate this rich doctor.

Did it happen
upstairs or downstairs?

The
people were real.

And so was the look of
genuine bewilderment

on Harrison's face.

I'm told that Harrison
didn't wanna know the line

so he could just respond to it,

which may have been
very smart on his part.

Is she insured?

Yes, she is.

We had shot Harrison

and he had
a 12-hour commitment

or 10-hour commitment,

he had to go back
to the hotel.

Filming continued
in Harrison's absence, until--

Harrison was in his
car ready to go home.

And he heard that we
were still shooting.

And he said, "What are they
doing? They can't shoot.

I gotta go back and play
off screen to these guys."

Coming back
to support his co-cast,

Harrison instead went deeper.

And I think that's
when the shot happened

where he really broke down

and the steady cam
moves in on him.

How tall is he?

He took everything from me.
Oh, Jesus.

And he's,
you know, teary-eyed.

So it was fate again

that allowed that
to happen like that.

While Harrison Ford

was trying to save the movie

with the sheer force
of his performance,

the studio was trying to
save it by issuing edicts.

Warner Bros.
sent an executive out

to fire me if I did not
put a love interest in.

I had made a pretty strong stand

that they should
read the script.

The man was convicted
of murdering his wife

and he's returned to Chicago

to prove that he
didn't kill his wife.

And that's probably
not a good place

to stick a love interest

that you're just gonna
hop in bed over, okay?

And they kept saying, yeah,

but we've got Julianne Moore.

Thanks, thank you very much.

But Julianne Moore,

the potential love interest,
was a very expensive

square peg in the
story's round hole.

As they were
rewriting the script,

they found that it was
just more of a burden.

And also it became an issue
that Harrison had lost his wife.

So the fact that he would
be having a love interest

seemed a little insincere.

Or to
put it another way--

Somewhat horrible,
if this guy starts,

you know, fucking the doctor.

His wife has just been
murdered, it just--

How can you develop
a relationship

in the midst of, you know,
what we're doing here?

Jeb
was holding firm.

They could have
Julianne Moore in love

or they could have him
on the project, not both.

Next thing you know,
there's a knock on my door

and an executive for
Warner Bros. says,

"Unless you put the love
interest in, you're fired."

And I said, "Go ahead
and fire me.

But you should
walk down the hall

and tell Harrison that
you've just fired me."

Which they did.

And about 15 minutes
later, they walked back

and said, "You're not fired.

Okay, we think it's
a terrible idea

to put a love interest in."

Who changed those orders?

Good
news for Harrison Ford

and his picture, bad
news for Julianne.

Andy sat her down

and just said, "You gotta
look at it the way it is."

And after the film
was done, everybody said,

you know, that would've been
on the cutting room floor.

Those scenes, you
know, for sure.

She was great. She was sweet.

I'm sure she
was really disappointed.

Probably still hates
me for this day.

I'd like to go home now.

Julianne's
role wasn't the only thing

that needed to be
drastically cut back,

following yet another
studio decree.

I remember that famous
phone call. The studio said,

"We are paying a lot of money

for Harrison Ford's wonderful
face, his very handsome face."

And Warner's
CEO felt Harrison's beard

was stealing his
high-priced show.

Bob Dailey said, "I don't
pay Harrison Ford this money

not to see his clean face."

He was, you know, an old
movie star, you know?

Harrison's beard,

part of his
character's disguise,

suddenly had to go mid-shoot.

So what did producers do?

But the timing
worked out fine.

They just
made it part of the story.

It was a good way for him

not to look like the
Ha-bearded doctor.

That scene, very
vivid in my mind

when he's in the bathroom
cutting his, you know.

That's a fantastic moment.

Harrison's
physical appearance

could be changed quickly.

But his physical well-being
remained a work in progress.

Only there was little progress.

Harrison blew out
his leg, his knee,

doing a stairway stunt.

Richard.

Already
carrying an injury,

Harrison had re-injured his
left knee. If not bleeding

for his art, then
definitely aching for it.

It swelled up
like a cantaloupe.

The film that
famously starred a one-armed man

was now at risk of
adding a one-legged lead.

We didn't have anything
else booked to shoot that day.

We'd shut down that whole area.

So Harrison insisted
on finishing shooting

with this horrendously
painful knee.

That's a pro.

I mean, if you look at it,
you could see him limping.

There was enough bad
luck going around.

But
Harrison's injury

would be put into perspective

when news broke of a
co-star's predicament.

We had some
tragedies on that job.

The guy that was
playing Dr. Nichols,

the actor that was
playing had a brain tumor.

Actor, Richard
Jordan, had suddenly fallen ill

after shooting
for just one week.

They discovered he had a
brain tumor and he had to leave.

And it was like, whoa.

A wonderful man and
a wonderful actor,

unfortunately
required an operation.

So he was sort of forced

to relinquish his
role in the picture.

They had already shot
all of Mr. Jordan's,

God rest his soul,
all of his scenes.

It was
time for Harrison

to make a clutch play to
keep the film rolling.

And it required a Hail Mary

to a relatively unknown
actor in Europe.

I said to Harrison,
"Where the fuck am I?"

"The
Fugitive" had just lost

e leading antagonist
to poor health mid-shoot.

Dr. Nichols, hi.

They had already shot
all of Mr. Jordan's

God rest his soul,
all of his scenes.

Recasting
and reshooting

had to happen almost
at the same time.

You're getting
pretty desperate,
aren't you, Mr. Gerard?

The
producers weren't grabbing

the nearest actor.
Quite the opposite.

Because I have
such a nice face.

That's why they choose me.

That face
belonged to Dutch actor,

Jeroen Krabbé.

Later on, I did hear
from Harrison Ford,

that was his idea.
He'd seen my movies.

Jeroen
was at home in Holland

when he received his
biggest call up yet.

I was in my bed

and I got a call from
my agent in Los Angeles

at three o'clock at night.

"Could you come to
Chicago tomorrow?"

Excuse me?

So it was only the flight.

It was like, you know, eight
hours to learn my lines.

Eight hours to read the script
to see what the character was

and so on and so forth.

Suddenly, Jeroen
found himself on a fast track

few actors ever get to see.

I went to wardrobe,
I got my costume.

Then they brought me,
they brought me to the set

and I met the director
and I met Harrison Ford.

And said, "Okay, ready."

There we go, and that
was my first scene.

- Dollar, mister? Spare change?
- No, I don't want it.

No, thank you very
much, I don't want it.

No! i--

Jeroen had
only just met his co-star,

but he already had a friend.

I said to Harrison,
"Where the am I?

What is this?

And he said, "Don't worry."

And he put his arm around me

and he said, "I'm going
to help you, buddy."

And he did, he did.

And I'm very grateful
forever that he did.

Following
a few hairy reshoots.

In the beginning with
Harrison's fake beard,

was just that I gave
him back the car keys.

Here, thanks for the loaner.

The beard
had to make an encore,

but this time it was fake.

Some eagle eye
probably saying,

"Wait a minute now, that
don't look the same."

Harrison had to wear
a phony beard for that.

I don't like the way it
looks, but we did it.

But phony beards

were not Andrew's
most pressing concern.

Fugitive, they were writing
it constantly on the set.

With shooting
set to wrap in just six weeks,

"The Fugitive" still had
no end and no end in sight.

So how are you,
what's going on?

We had a production
meeting the next morning

at eight o'clock and we
positively had to have

the last 15 pages of the script.

And by two o'clock
in the morning,

I suddenly had this
horrible feeling

that there wasn't an ending.

I finally turned off the
computer, turned off the light

and put my head down the pillow.

And I thought, well this
is the end of my career.

And maybe
it would've been,

but for a genuine
light bulb moment.

At exactly 3:05, I woke
up and turned on the light

and it just was all there.

You changed the
samples, didn't you, huh?

And I sat down
and for the next three hours,

typed up the last 15 pages.

But were
those pages any good?

Jeb did not have to
wait long for a verdict.

Everybody sat
down and had coffee

and were reading at the
table and they looked up

and they said,
"Well this is great.

What took so long to have this?"

And no one really knew at
that point how close we came

to not having an ending at all.

You know, I'm
glad, I need to rest.

Warner Bros.,
Harrison,

and director Andy Davis
all thought the final act

was a knockout.
But not Tommy Lee.

He was worried about
another knockout.

Nichols was gonna knock
out Tommy Lee with the beam,

and then Tommy was gonna wake up

and somehow save
Harrison's character.

And Tommy was like, "This is
it's not gonna work."

But this time

it was Joey's turn to
come to the rescue.

Hit me in the
head with the beam.

And the bad guy gets my gun.

Tommy Lee Jones saves the day.

It
was a great save.

The script was revised,

but when Joey read it.

They're gonna kill me.

He realized

he'd signed his own
character's death warrant.

So I go running
into Andy's trailer

and I go, "Andy,
Andy. You can't kill me.

What are you doing?

You're killing me. What?

And I see Harrison
Ford looking down at me

and he's shaking his
head. And I go, "What?"

And he goes,
"You should be dead."

I said, "Because what
if there's a sequel?"

And he looked at me for a
moment, and then he laughed.

Then he smiled and he said,
"There's not gonna be a sequel."

I said, "Why not?"

He said, "Because I'm not doing
this piece of again."

All right, it's all over
folks, let's just stay calm.

As shooting
drew to a close,

production raced to shoot
Jeb's newly scripted ending.

Even though it took
months, writing an ending

was still easier than
working out how to film it

with only days left to shoot.

The last scene in the Hilton,

the big fight
and everything.

That took like a week.

And it was actually Harrison

that set it all.

To Harrison, it's a normal thing
to do, a fight. Not for me.

And that's the way that
Harrison guided me through.

Fighting
his antagonists

and still fighting the
pain of his injuries,

Harrison Ford had
survived a grueling shoot.

But when principal
photography wrapped,

no one knew if the same
could be said for his career.

Pretty good career
up until here.

Then this is a career killer.

Good or bad, the
film finally had an ending.

Or so everyone thought.

Dennis Virkler,

who was the main
editor on the show,

realized that there
was a lot of shots

that they did not get.

It was now mid-May

and with less than three
months to complete the picture,

Harrison's work was
by no means done.

If Harrison says he
wants to come to dailies,
you don't say no.

It was horrendously difficult
for us in post-production.

As the movie
that didn't even have an end

untithe end
headed into post...

...it was suddenly the beginning
that was the problem.

Our fugitive
was not a fugitive

for the first 25
minutes of the movie.

We're reporting to you live

from the near North side
home of Dr. Richard Kimble.

We all knew that it was
good, but it took too long.

A
rough cut revealed

they really needed to get
the show on the road quickly.

The biggest thing was
trying to get him on the run.

We had to find
another approach.

Just as Jeb had plucked
an ending out of thin air

at the last minute, it was
going to take an editor

to do the same at the beginning.

Dennis was a really,
really smart, good editor.

Dennis was one

of six film editors
whose job was made harder

when "The Fugitive" became
the first studio feature

to employ digital editing.

And a lot of people were
terribly suspicious of it.

But not Dennis,

who mastered the Avid
software well enough

to pull a rabbit out of
a hat in just 48 hours.

He took it one Saturday

and he came back with this
incredibly intercut opening,

and it just worked.

With the
film in the can and cut,

the real test was
about to begin.

I remember when
Andy invited me

to an early screening of it.

The cast believed

it was most likely
career oblivion.

And I was so
nervous, I couldn't go.

My wife Nancy went
and then she came home

and she said it's really good.

And I said, come on.

Harrison got on the phone.

And he said to me, "Yeah,
we're gonna work again."

He said it was
really, really good.

Test
audiences agreed.

It got the highest numbers
of any Warner Bros. show

that had ever been tested.

It was 98% very
good and excellent.

First time Harrison saw it,

he leaned over and kissed me.

I got a call from Harrison.

"And I have to say one thing,

you made the movie.
Thank you for that."

And then I fainted,
I was on the floor.

The buzz
around "The Fugitive"

was building fast, and
when the movie premiered

in July of 1993, it seemed
everyone wanted to see it.

Everyone, except for one person.

I haven't seen the film.

I can't stand to
watch myself on film.

What?

But I hear it's
pretty terrific.

It got seven Academy
Award nominations.

The film
that for the longest time

had no ending, was about
to have the perfect ending

for one man.

Tommy was like,
ain't nobody gonna win

an Academy Award on this one.

The Oscar goes to Tommy
Lee Jones in "The Fugitive."

Tommy deserved that.

He was really
the glue on that movie.

Warner Bros.
had a critical

and commercial smash,

the best performing
picture in years.

It was just about as great

as it ever gets in
the movie business.

And it seemed
Joey Pants

had been
right all along,

just like he told Harrison.

"There's not gonna be a sequel."

And I looked at him
and I said, "Oh yeah?

you! We'll just chase
some other $20 million asshole

through the woods.

Joey Pants
got his sequel in 1998.

"US Marshals" was released.

US Marshall Renfro.
Listen, we're gonna need both.

And the $20
million actor they were chasing

was Wesley Snipes.

I'll take the gun.

"The Fugitive"
would ultimately run away

with nearly $370 million
in Global Box office

from a budget of
just 44 million.

We had everything
going for us.

We had the biggest movie star
who was a hero in the movie,

who hadn't been able to play

a kind of realistic character
like this for a while.

Oh, you know, there's
movies out there

people still talk
about, you know,

and I'm glad that
"Fugitive" is one of them.

Harrison Ford
had become a box office titan.

In fact, there was really only
one role left to ascend to.

All right, Mr. President.

I had this crazy idea.

The president as an action hero.

So who better to
play the Commander in Chief?

I'm on the phone
with Kevin Costner.

In a film
called "Air Force One..."

Here comes Harrison, taxis
right up by Air Force One.

...that could easily
turn into Air Force Dumb.

I said, Harrison, this
is gonna break the bank.

Sir, time to go.

I am certain it's
not gonna work.