1 00:00:12,425 --> 00:00:15,407 2 00:00:18,389 --> 00:00:22,160 I read incessantly. 3 00:00:22,160 --> 00:00:24,560 When I'm reading a book, I'm one of those characters 4 00:00:24,560 --> 00:00:26,940 in that book. 5 00:00:26,940 --> 00:00:30,000 So I'm sitting there acting the same way when I read a script. 6 00:00:30,000 --> 00:00:30,710 So I'm sitting there acting the same way when I read a script. 7 00:00:30,710 --> 00:00:33,040 We just put ourselves in those situations, 8 00:00:33,040 --> 00:00:37,364 and you live those situations because that's what we do. 9 00:00:37,364 --> 00:00:42,140 The truth is, you're the weak. 10 00:00:42,140 --> 00:00:43,360 You like spy movies? 11 00:00:43,360 --> 00:00:46,300 Spent a third of my life in a hospital bed with nothing else 12 00:00:46,300 --> 00:00:47,410 to do but read. 13 00:00:47,410 --> 00:00:49,549 Never use "no" in a hostage situation. 14 00:00:49,549 --> 00:00:50,049 Zeus. 15 00:00:50,049 --> 00:00:54,450 Yeah, Zeus, as in father of Apollo, Mount Olympus. 16 00:00:54,450 --> 00:00:57,873 17 00:01:10,590 --> 00:01:12,150 I wanted to teach this master class 18 00:01:12,150 --> 00:01:17,760 so people could understand what I do and why I do it. 19 00:01:17,760 --> 00:01:21,010 If I could get up every day and go somewhere and act, 20 00:01:21,010 --> 00:01:23,100 I'd be the happiest person in the world, you know? 21 00:01:23,100 --> 00:01:24,808 Writers get up and write, painters get up 22 00:01:24,808 --> 00:01:27,570 and paint, why can't I get up and go act? 23 00:01:27,570 --> 00:01:29,680 Because somebody's got to hire you to do it. 24 00:01:29,680 --> 00:01:30,000 So when people start talking about, 25 00:01:30,000 --> 00:01:32,520 So when people start talking about, 26 00:01:32,520 --> 00:01:35,700 why you do this kind of thing, why you do that kind of thing. 27 00:01:35,700 --> 00:01:36,490 I love movies. 28 00:01:36,490 --> 00:01:39,180 I love movies that are dark and I love movies that are deep, 29 00:01:39,180 --> 00:01:41,880 and they have their purpose. 30 00:01:41,880 --> 00:01:45,300 But essentially, we're entertainers. 31 00:01:45,300 --> 00:01:46,950 We entertain people. 32 00:01:46,950 --> 00:01:49,690 We're supposed to distract them from their daily lives 33 00:01:49,690 --> 00:01:54,360 in a way that allows them to escape whatever pressures 34 00:01:54,360 --> 00:01:57,810 or things they have on them, and live in this moment with us 35 00:01:57,810 --> 00:02:00,000 for a while and experience it in a safe environment, 36 00:02:00,000 --> 00:02:01,200 for a while and experience it in a safe environment, 37 00:02:01,200 --> 00:02:05,220 and leave there and be energized by it and talk about it 38 00:02:05,220 --> 00:02:07,970 and love it. 39 00:02:07,970 --> 00:02:13,470 I don't look at acting as specifically a challenge, 40 00:02:13,470 --> 00:02:17,340 but more of an adventure to delve into, 41 00:02:17,340 --> 00:02:21,090 to grasp different things about a character, 42 00:02:21,090 --> 00:02:24,450 to find my way in a story. 43 00:02:24,450 --> 00:02:25,920 I don't find that difficult. That's 44 00:02:25,920 --> 00:02:30,000 always like a joy and a great period 45 00:02:30,000 --> 00:02:30,390 always like a joy and a great period 46 00:02:30,390 --> 00:02:32,340 of exploration and freedom. 47 00:02:32,340 --> 00:02:34,140 48 00:02:35,940 --> 00:02:39,660 A movie set is like one of my favorite places 49 00:02:39,660 --> 00:02:41,290 to be in the world. 50 00:02:41,290 --> 00:02:44,730 I love getting up and going to my job. 51 00:02:44,730 --> 00:02:48,630 Hopefully there's something to be learned, gleaned, 52 00:02:48,630 --> 00:02:52,480 or experienced while I'm doing it. 53 00:02:52,480 --> 00:02:57,510 And you know, sometimes it's just fun. 54 00:02:57,510 --> 00:03:00,000 I'm Samuel L. Jackson, and this is my master class. 55 00:03:00,000 --> 00:03:00,900 I'm Samuel L. Jackson, and this is my master class. 56 00:03:04,290 --> 00:03:07,110 Hey, I'm Samuel L. Jackson. 57 00:03:07,110 --> 00:03:09,466 Welcome to my master class, mother fuckers. 58 00:03:09,466 --> 00:03:11,340 You want to be a mother fucking better actor? 59 00:03:11,340 --> 00:03:13,315 Take my mother fucking class. 60 00:03:13,315 --> 00:03:14,869 When you're finished with this class, 61 00:03:14,869 --> 00:03:16,660 you're going to be an acting mother fucker. 62 00:03:16,660 --> 00:03:19,650 I'm Samuel L. Jackson, and this is my mother 63 00:03:19,650 --> 00:03:20,820 fucking master class! 64 00:03:23,820 --> 00:03:25,370 Yeah. 1 00:00:00,000 --> 00:00:02,420 2 00:00:12,100 --> 00:00:17,800 If there's source material, read it, especially if it's a book. 3 00:00:17,800 --> 00:00:20,740 Read a book, because writers tend 4 00:00:20,740 --> 00:00:24,580 to give you vital info about who the character is, where 5 00:00:24,580 --> 00:00:27,220 he came from, what he does. 6 00:00:27,220 --> 00:00:28,960 Sometimes they even try and explain 7 00:00:28,960 --> 00:00:30,000 why he's doing it, why he's doing a particular thing. 8 00:00:30,000 --> 00:00:33,670 why he's doing it, why he's doing a particular thing. 9 00:00:33,670 --> 00:00:37,630 And after you've done that, reread the story again 10 00:00:37,630 --> 00:00:39,700 to get the story in your mind. 11 00:00:39,700 --> 00:00:45,330 And after you've read that, figure out 12 00:00:45,330 --> 00:00:46,890 how you feel about that character 13 00:00:46,890 --> 00:00:48,930 and why he's doing those things that he's 14 00:00:48,930 --> 00:00:50,970 doing inside that script. 15 00:00:50,970 --> 00:00:55,620 And once you think you know why that character is doing 16 00:00:55,620 --> 00:00:57,990 those things, then you figure out, 17 00:00:57,990 --> 00:01:00,000 OK, where did he come from? 18 00:01:00,000 --> 00:01:00,790 OK, where did he come from? 19 00:01:00,790 --> 00:01:02,750 Who is he? 20 00:01:02,750 --> 00:01:03,890 How old is he? 21 00:01:06,401 --> 00:01:08,150 Does he feel that way about this character 22 00:01:08,150 --> 00:01:12,176 because he has a brother or sister that is that way? 23 00:01:12,176 --> 00:01:13,010 Who are his parents? 24 00:01:13,010 --> 00:01:15,362 What's his educational background? 25 00:01:15,362 --> 00:01:16,820 Does he have a military background? 26 00:01:16,820 --> 00:01:18,800 Did he go to the army? 27 00:01:18,800 --> 00:01:19,900 Has he ever been in jail? 28 00:01:19,900 --> 00:01:21,690 Is he out of jail? 29 00:01:21,690 --> 00:01:23,570 How educated is he? 30 00:01:23,570 --> 00:01:27,020 Is he smart, sort of smart, very smart? 31 00:01:30,630 --> 00:01:31,600 It's not there. 32 00:01:31,600 --> 00:01:34,259 And sometimes you will never have 33 00:01:34,259 --> 00:01:41,490 to explain that to an audience or to the other cast members. 34 00:01:41,490 --> 00:01:45,259 But it's important to you as a person, 35 00:01:45,259 --> 00:01:47,870 because all those kinds of things 36 00:01:47,870 --> 00:01:49,670 determine how you feel about people, 37 00:01:49,670 --> 00:01:54,500 how you look at them, how you interpret their actions, 38 00:01:54,500 --> 00:01:56,990 what your prejudices are toward those people 39 00:01:56,990 --> 00:01:58,460 in a particular way. 40 00:01:58,460 --> 00:01:59,940 Are they smarter than me? 41 00:01:59,940 --> 00:02:00,000 Do I like that? 42 00:02:00,000 --> 00:02:00,740 Do I like that? 43 00:02:00,740 --> 00:02:01,700 Do I not like that? 44 00:02:01,700 --> 00:02:03,030 Is he dumber than me? 45 00:02:03,030 --> 00:02:05,970 Am I going to manipulate him because of it? 46 00:02:05,970 --> 00:02:12,080 And it's stuff that an audience might, 47 00:02:12,080 --> 00:02:14,340 or they probably won't ever know. 48 00:02:14,340 --> 00:02:16,680 But for you as the actor, when you're 49 00:02:16,680 --> 00:02:18,450 interacting with that character that you 50 00:02:18,450 --> 00:02:20,970 think you're smarter than, it interprets 51 00:02:20,970 --> 00:02:23,880 how you approach that character and how 52 00:02:23,880 --> 00:02:26,579 you accept what they say to you or what you think of it 53 00:02:26,579 --> 00:02:28,110 or what you're trying to do. 54 00:02:28,110 --> 00:02:30,000 And all those things are dictated by what kind of person 55 00:02:30,000 --> 00:02:30,990 And all those things are dictated by what kind of person 56 00:02:30,990 --> 00:02:31,800 I am. 57 00:02:31,800 --> 00:02:33,480 And if there's no source material 58 00:02:33,480 --> 00:02:36,930 to tell me what kind of person I am, then it's incumbent upon me 59 00:02:36,930 --> 00:02:41,070 to create a human being that's inside that story that 60 00:02:41,070 --> 00:02:44,700 has a full life, that feels a certain way about things 61 00:02:44,700 --> 00:02:47,100 because this happened to him, that happened to him, 62 00:02:47,100 --> 00:02:48,510 this didn't happen to him. 63 00:02:48,510 --> 00:02:50,310 He didn't have this advantage growing up 64 00:02:50,310 --> 00:02:51,840 or he had this advantage. 65 00:02:51,840 --> 00:02:56,579 Or he had a woman who left him so he can't relate to women, 66 00:02:56,579 --> 00:03:00,000 because he thinks women are all whatever and he just cannot 67 00:03:00,000 --> 00:03:01,790 because he thinks women are all whatever and he just cannot 68 00:03:01,790 --> 00:03:04,530 deal with them or he doesn't understand the female psyche. 69 00:03:04,530 --> 00:03:09,270 Or his mom did something to him, so he can't handle family life. 70 00:03:09,270 --> 00:03:12,450 And he doesn't know how to be a father because he didn't have 71 00:03:12,450 --> 00:03:16,170 a father or the father he had had no idea how to treat him 72 00:03:16,170 --> 00:03:18,240 or he watched him treat his mother a certain way 73 00:03:18,240 --> 00:03:19,290 or didn't do this. 74 00:03:19,290 --> 00:03:21,748 All kinds of things that you can make up about that person, 75 00:03:21,748 --> 00:03:24,180 but what you need is a whole person, 76 00:03:24,180 --> 00:03:28,680 which is something Lloyd Richards imposed 77 00:03:28,680 --> 00:03:30,000 upon me, Douglas Turner Ward imposed upon me 78 00:03:30,000 --> 00:03:31,829 upon me, Douglas Turner Ward imposed upon me 79 00:03:31,829 --> 00:03:34,240 that says whenever you're onstage, 80 00:03:34,240 --> 00:03:36,090 you're coming from somewhere. 81 00:03:36,090 --> 00:03:38,370 And you're going somewhere when you leave. 82 00:03:38,370 --> 00:03:41,700 And do you want people to go with you when you go? 83 00:03:41,700 --> 00:03:44,050 So when you show up in there, you-- 84 00:03:44,050 --> 00:03:44,550 boom. 85 00:03:44,550 --> 00:03:45,616 You hit that moment. 86 00:03:45,616 --> 00:03:47,615 And when you leave, everybody's like well, shit. 87 00:03:47,615 --> 00:03:48,870 I want to go with him. 88 00:03:48,870 --> 00:03:50,160 Where is he going? 89 00:03:50,160 --> 00:03:54,240 That was-- he looks like he had something on his mind. 90 00:03:54,240 --> 00:03:56,260 And then I had another actor tell me once-- 91 00:03:56,260 --> 00:03:59,579 he was like, look, every time a camera passes you 92 00:03:59,579 --> 00:04:00,000 when you're on set, always look like there's 93 00:04:00,000 --> 00:04:01,600 when you're on set, always look like there's 94 00:04:01,600 --> 00:04:02,775 something on your mind. 95 00:04:02,775 --> 00:04:04,650 Don't be standing there waiting on your line. 96 00:04:04,650 --> 00:04:09,420 Thinking about something, either what that character just said 97 00:04:09,420 --> 00:04:13,230 or how you feel about the thing that character said 98 00:04:13,230 --> 00:04:15,930 or even if you thinking about I need to get out of here. 99 00:04:15,930 --> 00:04:17,339 I'm sick of being here. 100 00:04:17,339 --> 00:04:22,220 People need to see that on your face, not just-- 101 00:04:22,220 --> 00:04:25,910 unless you're playing an idiot. 102 00:04:25,910 --> 00:04:28,383 103 00:04:32,167 --> 00:04:35,260 Every scene in a movie is trying to accomplish something. 104 00:04:35,260 --> 00:04:36,990 So you figure out what are we trying 105 00:04:36,990 --> 00:04:40,740 to accomplish from page three to page nine 106 00:04:40,740 --> 00:04:42,600 when we're doing this scene? 107 00:04:42,600 --> 00:04:45,500 What is the goal of this particular scene for the movie? 108 00:04:45,500 --> 00:04:47,690 What information do we want to give the audience? 109 00:04:47,690 --> 00:04:49,231 And how do I want to give it to them? 110 00:04:49,231 --> 00:04:52,950 How does that relate to what's going to happen on page 99? 111 00:04:52,950 --> 00:04:56,071 But you can't anticipate what's going to happen on page 99, 112 00:04:56,071 --> 00:04:57,570 because you're not supposed to know. 113 00:04:57,570 --> 00:05:00,000 But you've got to figure out how you go from point A 114 00:05:00,000 --> 00:05:00,330 But you've got to figure out how you go from point A 115 00:05:00,330 --> 00:05:03,867 to point Z in every script, like you do a play, 116 00:05:03,867 --> 00:05:06,200 even though you're not going to do it every night, which 117 00:05:06,200 --> 00:05:07,116 is what I tell people. 118 00:05:07,116 --> 00:05:09,080 Doing movies, well movies ain't shit. 119 00:05:09,080 --> 00:05:10,060 It's easy. 120 00:05:10,060 --> 00:05:11,070 You show up. 121 00:05:11,070 --> 00:05:15,900 And some days all you got to do is get in the car and-- 122 00:05:15,900 --> 00:05:19,654 like that, or sit in the car and drive all day. 123 00:05:19,654 --> 00:05:21,570 But you've got to have something on your mind. 124 00:05:21,570 --> 00:05:22,950 You've got to have a goal. 125 00:05:22,950 --> 00:05:25,260 You have to know where you're going, why are you going, 126 00:05:25,260 --> 00:05:27,135 and what's going to happen when you get there 127 00:05:27,135 --> 00:05:29,290 or what you anticipate is going to happen. 128 00:05:29,290 --> 00:05:30,000 You can't know that after page nine 129 00:05:30,000 --> 00:05:32,870 You can't know that after page nine 130 00:05:32,870 --> 00:05:35,940 this thing that happens on page 10 is going to happen. 131 00:05:35,940 --> 00:05:38,060 You just have to know that you're going there. 132 00:05:38,060 --> 00:05:40,520 And what your goal is in that particular scene 133 00:05:40,520 --> 00:05:41,860 is to get to that place. 134 00:05:44,620 --> 00:05:45,690 Period. 135 00:05:45,690 --> 00:05:47,170 Don't think about the rest of it. 136 00:05:47,170 --> 00:05:51,010 So when you start to break it down, 137 00:05:51,010 --> 00:05:54,880 everything is a series of goals to get from point A 138 00:05:54,880 --> 00:05:58,070 to point B to point C to point D, all those things. 139 00:05:58,070 --> 00:06:00,000 140 00:06:00,000 --> 00:06:00,520 141 00:06:04,930 --> 00:06:08,260 Before you start even developing a character, like I said, 142 00:06:08,260 --> 00:06:10,090 you look at the script and you see 143 00:06:10,090 --> 00:06:13,570 what his relationships are to people in the scripts, 144 00:06:13,570 --> 00:06:14,280 if he has some. 145 00:06:16,970 --> 00:06:26,010 And based on that, you figure out the personality traits 146 00:06:26,010 --> 00:06:29,280 that go along with that relationship. 147 00:06:32,070 --> 00:06:33,409 Are they intimate? 148 00:06:33,409 --> 00:06:37,520 Are they just casual acquaintances? 149 00:06:37,520 --> 00:06:40,100 Is it a stranger that's attracted to you? 150 00:06:40,100 --> 00:06:42,020 What makes that character attracted to you? 151 00:06:42,020 --> 00:06:43,850 What attracts you to that character? 152 00:06:43,850 --> 00:06:45,980 Or what repulses you about that character that 153 00:06:45,980 --> 00:06:53,070 allows you to interact with them in a specific way? 154 00:06:53,070 --> 00:06:56,520 Do you have an idiosyncratic personality 155 00:06:56,520 --> 00:07:00,000 that might be off-putting to someone? 156 00:07:00,000 --> 00:07:00,610 that might be off-putting to someone? 157 00:07:00,610 --> 00:07:03,870 What do you do to try to fix that? 158 00:07:03,870 --> 00:07:08,400 Or are you awkward in your relationships with people? 159 00:07:08,400 --> 00:07:12,090 Or are you kind of deft at getting people 160 00:07:12,090 --> 00:07:16,200 to listen and be drawn to you? 161 00:07:16,200 --> 00:07:18,660 What is that thing that draws people to you? 162 00:07:18,660 --> 00:07:20,970 Is it your sense of humor? 163 00:07:20,970 --> 00:07:23,370 Is it something physical? 164 00:07:23,370 --> 00:07:25,020 Do people like the way you look? 165 00:07:25,020 --> 00:07:28,170 Are they repulsed by the way you look or smell? 166 00:07:28,170 --> 00:07:30,000 Or are you smug and just detestable in a way? 167 00:07:30,000 --> 00:07:35,420 Or are you smug and just detestable in a way? 168 00:07:35,420 --> 00:07:37,920 Or do you think you're great and nobody else 169 00:07:37,920 --> 00:07:39,150 thinks you're great? 170 00:07:39,150 --> 00:07:42,812 As you read that story, you figure out 171 00:07:42,812 --> 00:07:47,470 how you interact with various characters within that story 172 00:07:47,470 --> 00:07:48,869 and what that means. 173 00:07:48,869 --> 00:07:49,909 Are they people you know? 174 00:07:49,909 --> 00:07:52,180 Are they people you don't know? 175 00:07:52,180 --> 00:07:52,940 Do you like them? 176 00:07:52,940 --> 00:07:54,325 Do you not like them? 177 00:07:54,325 --> 00:07:58,900 Are you trying to coerce them into doing something for you, 178 00:07:58,900 --> 00:08:00,000 with you, to you, whatever? 179 00:08:00,000 --> 00:08:02,510 with you, to you, whatever? 180 00:08:02,510 --> 00:08:05,050 That's what happens when I'm sitting at home breaking down 181 00:08:05,050 --> 00:08:07,750 my character and what my relationships are 182 00:08:07,750 --> 00:08:10,950 inside that script and what I want from each character 183 00:08:10,950 --> 00:08:12,970 or what each character wants from me 184 00:08:12,970 --> 00:08:14,590 and how I'm going to respond to that. 185 00:08:14,590 --> 00:08:16,940 186 00:08:21,640 --> 00:08:23,650 There are prices to pay for everything 187 00:08:23,650 --> 00:08:25,690 that happens, for every-- 188 00:08:25,690 --> 00:08:27,400 everything has a consequence. 189 00:08:27,400 --> 00:08:29,980 What are the consequences of where you came from? 190 00:08:29,980 --> 00:08:30,000 Or you could be like the homeless woman 191 00:08:30,000 --> 00:08:32,320 Or you could be like the homeless woman 192 00:08:32,320 --> 00:08:35,179 they found in the subway back in the '80s when I was there. 193 00:08:35,179 --> 00:08:37,929 And somebody killed her. 194 00:08:37,929 --> 00:08:41,159 In the bags that she had, she had 195 00:08:41,159 --> 00:08:43,740 deeds to property in four different states 196 00:08:43,740 --> 00:08:45,920 and like $80,000 in cash. 197 00:08:45,920 --> 00:08:49,270 She used to be a broker on Wall Street and everything. 198 00:08:49,270 --> 00:08:52,070 But for some reason she dropped out, 199 00:08:52,070 --> 00:08:54,330 but she still had all that. 200 00:08:54,330 --> 00:08:56,000 Are you that person? 201 00:08:56,000 --> 00:08:57,440 Or are you a person with nothing? 202 00:08:57,440 --> 00:09:00,000 How would you, as that person, be? 203 00:09:00,000 --> 00:09:00,890 How would you, as that person, be? 204 00:09:00,890 --> 00:09:04,330 How would you change yourself in a mirror 205 00:09:04,330 --> 00:09:06,970 or wherever to look at yourself and say 206 00:09:06,970 --> 00:09:08,850 I don't want that person to touch me 207 00:09:08,850 --> 00:09:10,810 or I don't want to interact with that person? 208 00:09:10,810 --> 00:09:14,020 Or if I used to love that person, 209 00:09:14,020 --> 00:09:15,610 I don't love them anymore. 210 00:09:15,610 --> 00:09:21,790 Or do you look in the mirror and see a guy that you relate to? 211 00:09:21,790 --> 00:09:25,660 Or do you look in the mirror and see a stranger 212 00:09:25,660 --> 00:09:28,030 or a shadow of who you were? 213 00:09:28,030 --> 00:09:30,000 And if you were a shell of yourself who 214 00:09:30,000 --> 00:09:30,520 And if you were a shell of yourself who 215 00:09:30,520 --> 00:09:33,400 remembered only fragments of who you were, 216 00:09:33,400 --> 00:09:35,990 what would those fragments be? 217 00:09:35,990 --> 00:09:37,620 What are the fragments that you would 218 00:09:37,620 --> 00:09:41,780 hold onto if you were forced to be on the street, 219 00:09:41,780 --> 00:09:45,860 isolated, without love, companionship? 220 00:09:45,860 --> 00:09:48,530 How long would it take you to lose your mind? 221 00:09:48,530 --> 00:09:50,630 And what parts of your mind would you 222 00:09:50,630 --> 00:09:53,820 keep if you were there? 223 00:09:53,820 --> 00:09:55,020 Those are the things. 224 00:09:55,020 --> 00:09:57,720 Or what parts of that character's mind 225 00:09:57,720 --> 00:10:00,000 would you keep, according to who he was and what he's done? 226 00:10:00,000 --> 00:10:02,680 would you keep, according to who he was and what he's done? 227 00:10:02,680 --> 00:10:04,770 How would you live with that? 228 00:10:04,770 --> 00:10:09,480 What are the clothes that you either got from a shelter 229 00:10:09,480 --> 00:10:11,800 or that might have been yours? 230 00:10:11,800 --> 00:10:16,900 Or what was the taste that your sane character had 231 00:10:16,900 --> 00:10:18,670 that your insane character thinks 232 00:10:18,670 --> 00:10:22,990 he's mimicking when he puts on a specific kind of clothes, 233 00:10:22,990 --> 00:10:26,230 even if it's a suit, raggedy suit, overcoat, top coat-- 234 00:10:26,230 --> 00:10:28,130 how many top coats do you have? 235 00:10:28,130 --> 00:10:29,109 How many do you want? 236 00:10:29,109 --> 00:10:30,000 Would you have raggedy sneakers or would you have 237 00:10:30,000 --> 00:10:31,150 Would you have raggedy sneakers or would you have 238 00:10:31,150 --> 00:10:31,804 raggedy shoes? 239 00:10:31,804 --> 00:10:33,220 Would you have gone to the shelter 240 00:10:33,220 --> 00:10:34,600 and gotten something or not? 241 00:10:34,600 --> 00:10:36,010 Do you go to the shelter to eat? 242 00:10:36,010 --> 00:10:38,920 Or do you dumpster dive? 243 00:10:38,920 --> 00:10:40,510 You've got to make choices. 244 00:10:40,510 --> 00:10:44,320 Do you beg for money? 245 00:10:44,320 --> 00:10:46,120 Do you have that kind of thing in you? 246 00:10:46,120 --> 00:10:49,109 Are you that kind of person that would stand on the street 247 00:10:49,109 --> 00:10:50,650 and hold your hand out, beg for money 248 00:10:50,650 --> 00:10:52,360 and hold a sign or whatever? 249 00:10:52,360 --> 00:10:56,201 Or would you go around and pick up cans and bottles 250 00:10:56,201 --> 00:10:57,700 and take them to the recycling place 251 00:10:57,700 --> 00:10:59,470 to get money so you could eat? 252 00:10:59,470 --> 00:11:00,000 Or would you just depend on the kindness of strangers? 253 00:11:00,000 --> 00:11:03,610 Or would you just depend on the kindness of strangers? 254 00:11:03,610 --> 00:11:05,560 All those kinds of choices are choices 255 00:11:05,560 --> 00:11:08,560 that inform what kind of person you are, 256 00:11:08,560 --> 00:11:12,040 what your integrity level is, where you've gone, 257 00:11:12,040 --> 00:11:15,130 how far you've fallen, or what parts of your dignity 258 00:11:15,130 --> 00:11:17,472 you've held onto. 259 00:11:17,472 --> 00:11:22,960 All those things are things that young actors can do or are 260 00:11:22,960 --> 00:11:25,900 choices that you can ask and make for yourself when you 261 00:11:25,900 --> 00:11:28,500 do that, not just oh, I wear raggedy clothes 262 00:11:28,500 --> 00:11:30,000 and I live on the street and I lost my job. 263 00:11:30,000 --> 00:11:32,620 and I live on the street and I lost my job. 264 00:11:32,620 --> 00:11:37,144 So you have to make decisions about that person 265 00:11:37,144 --> 00:11:38,560 and who you want that person to be 266 00:11:38,560 --> 00:11:41,050 and how you want to present yourself to the audience that's 267 00:11:41,050 --> 00:11:44,532 watching this and what it means to the other characters 268 00:11:44,532 --> 00:11:46,240 in the script that you interact with when 269 00:11:46,240 --> 00:11:47,450 you interact with them. 270 00:11:47,450 --> 00:11:48,620 Do they feel sorry for you? 271 00:11:48,620 --> 00:11:50,312 And why do they feel sorry for you? 272 00:11:50,312 --> 00:11:52,270 Do they feel sorry for you because you're crazy 273 00:11:52,270 --> 00:11:54,820 or because you're homeless or both? 274 00:11:54,820 --> 00:11:58,920 Do they feel sorry for you because they love you, 275 00:11:58,920 --> 00:12:00,000 because you were a loving individual and they 276 00:12:00,000 --> 00:12:02,460 because you were a loving individual and they 277 00:12:02,460 --> 00:12:04,230 wish they had that person? 278 00:12:04,230 --> 00:12:06,220 They want to connect with that person. 279 00:12:06,220 --> 00:12:09,510 And you want to connect with them but you don't know how. 280 00:12:09,510 --> 00:12:12,240 Do you rave at those people because you remember 281 00:12:12,240 --> 00:12:16,770 them and you can't touch them because your crazy self will 282 00:12:16,770 --> 00:12:20,370 not allow you to reach out and be with that person 283 00:12:20,370 --> 00:12:24,070 and allow them to connect with you or love you in your state? 284 00:12:24,070 --> 00:12:25,920 Or do you feel sorry for yourself 285 00:12:25,920 --> 00:12:28,470 because you love that person too, 286 00:12:28,470 --> 00:12:30,000 but you can't stop being who you are? 287 00:12:30,000 --> 00:12:31,380 but you can't stop being who you are? 288 00:12:31,380 --> 00:12:34,260 You know you're crazy and you don't want to be crazy, 289 00:12:34,260 --> 00:12:36,210 but you can do nothing about it. 290 00:12:36,210 --> 00:12:37,380 There's that. 291 00:12:37,380 --> 00:12:38,380 All of those things. 292 00:12:38,380 --> 00:12:39,990 But you got to make those choices. 293 00:12:39,990 --> 00:12:43,110 And when you make them, you got to commit to them. 294 00:12:43,110 --> 00:12:45,470 And that's how that works. 295 00:12:45,470 --> 00:12:47,785 296 00:12:51,026 --> 00:12:55,060 Once I've talked to the director about what he wants the story 297 00:12:55,060 --> 00:12:57,670 to be and where he wants it to go 298 00:12:57,670 --> 00:13:00,000 and I speak to him about my character in terms of OK, then 299 00:13:00,000 --> 00:13:02,680 and I speak to him about my character in terms of OK, then 300 00:13:02,680 --> 00:13:06,190 how dominant do you want me to be in this particular situation 301 00:13:06,190 --> 00:13:09,790 or that particular situation or what 302 00:13:09,790 --> 00:13:13,450 do you need from me to make this particular thing work, 303 00:13:13,450 --> 00:13:16,300 then I can find some personality trait 304 00:13:16,300 --> 00:13:19,960 within what I've created to make that be OK 305 00:13:19,960 --> 00:13:22,860 or not be OK in terms of well, now 306 00:13:22,860 --> 00:13:25,150 I can act like I don't like that. 307 00:13:25,150 --> 00:13:28,180 Or I can be irritated in this particular place 308 00:13:28,180 --> 00:13:30,000 because I don't like people who talk like that 309 00:13:30,000 --> 00:13:30,850 because I don't like people who talk like that 310 00:13:30,850 --> 00:13:32,200 or treat me that way. 311 00:13:32,200 --> 00:13:36,110 And it's another color to add to that character, 312 00:13:36,110 --> 00:13:37,750 whether it's interpreted or not. 313 00:13:37,750 --> 00:13:41,340 And somebody might pay attention to that that's watching 314 00:13:41,340 --> 00:13:43,700 the movie, and maybe they won't. 315 00:13:43,700 --> 00:13:47,870 But I'll know because I'm completing that 316 00:13:47,870 --> 00:13:50,840 and I feel like I'm the human being 317 00:13:50,840 --> 00:13:53,750 in that particular situation that 318 00:13:53,750 --> 00:13:58,300 has that thing that nobody else has or the things that we have. 319 00:13:58,300 --> 00:14:00,000 Sometimes we go places and things 320 00:14:00,000 --> 00:14:00,530 Sometimes we go places and things 321 00:14:00,530 --> 00:14:03,520 happen where we thought it was going to be cool. 322 00:14:03,520 --> 00:14:05,520 And we get there and something starts happening. 323 00:14:05,520 --> 00:14:08,360 And you wish you could be somewhere else. 324 00:14:08,360 --> 00:14:10,190 And sometimes that's the interaction 325 00:14:10,190 --> 00:14:11,900 between people in a room. 326 00:14:11,900 --> 00:14:13,856 And you're talking to them, yeah. 327 00:14:13,856 --> 00:14:15,230 And you're trying to be pleasant. 328 00:14:15,230 --> 00:14:16,813 But all you want this to do is be over 329 00:14:16,813 --> 00:14:18,980 so you can get the fuck out. 330 00:14:18,980 --> 00:14:22,190 And sometimes that's what that scene is for you. 331 00:14:22,190 --> 00:14:25,820 And you got to figure out why you're that person. 332 00:14:25,820 --> 00:14:27,950 And if that's the situation, then 333 00:14:27,950 --> 00:14:30,000 what is making you uncomfortable in this particular room? 334 00:14:30,000 --> 00:14:31,350 what is making you uncomfortable in this particular room? 335 00:14:31,350 --> 00:14:33,980 You've got to go back and find something in that person 336 00:14:33,980 --> 00:14:35,960 and say oh, well maybe this happened. 337 00:14:35,960 --> 00:14:39,030 Or maybe he just doesn't like-- 338 00:14:39,030 --> 00:14:42,250 you find something to make it honest and real 339 00:14:42,250 --> 00:14:44,150 and this thing that you created for yourself. 340 00:14:44,150 --> 00:14:47,150 And like I said, whether you have to speak about that 341 00:14:47,150 --> 00:14:49,520 to somebody else on the set or not, you don't. 342 00:14:49,520 --> 00:14:53,630 But as that character grows in that story, 343 00:14:53,630 --> 00:14:54,680 people tend to feel him. 344 00:14:54,680 --> 00:14:57,620 Or people sitting in the audience go yeah, I know that. 345 00:14:57,620 --> 00:14:59,090 I know how that feels. 346 00:14:59,090 --> 00:15:00,000 Or yeah, I get that. 347 00:15:00,000 --> 00:15:02,330 Or yeah, I get that. 348 00:15:02,330 --> 00:15:05,870 And sometimes it's not pandering to an audience. 349 00:15:05,870 --> 00:15:08,150 It's giving them something that they can honestly 350 00:15:08,150 --> 00:15:12,530 latch onto as a feeling or a circumstance that 351 00:15:12,530 --> 00:15:15,620 allows them to invest themselves in the movie even more. 352 00:15:15,620 --> 00:15:18,200 We are there to entertain those people, 353 00:15:18,200 --> 00:15:22,710 so it's incumbent upon us to pull them in in a specific way 354 00:15:22,710 --> 00:15:25,130 so that they relate to the story or they relate 355 00:15:25,130 --> 00:15:26,630 to a character in that story. 356 00:15:26,630 --> 00:15:29,040 357 00:15:33,390 --> 00:15:36,030 When they hired me to do Die Hard, 358 00:15:36,030 --> 00:15:39,900 I realized that Zeus, my character in Die Hard, 359 00:15:39,900 --> 00:15:46,260 essentially is an audience member in a Die Hard movie. 360 00:15:46,260 --> 00:15:48,810 I'm supposed to react to John McClane 361 00:15:48,810 --> 00:15:51,061 the way anybody he might accidentally pull off 362 00:15:51,061 --> 00:15:52,560 the street and say come ride with me 363 00:15:52,560 --> 00:15:55,020 or come run with me will react. 364 00:15:55,020 --> 00:15:59,700 So I made Zeus that guy, that when John McClane did 365 00:15:59,700 --> 00:16:00,000 some crazy shit, it was kind of like me looking at him like, 366 00:16:00,000 --> 00:16:03,949 some crazy shit, it was kind of like me looking at him like, 367 00:16:03,949 --> 00:16:04,990 that's what you gonna do? 368 00:16:04,990 --> 00:16:05,698 [TIRES SQUEALING] 369 00:16:05,698 --> 00:16:07,387 [CAR HORNS] 370 00:16:07,387 --> 00:16:08,970 Where the hell are you going, McClane? 371 00:16:08,970 --> 00:16:11,170 I told you 9th Avenue was the quickest way south. 372 00:16:11,170 --> 00:16:11,640 Stop that goddamn yelling. 373 00:16:11,640 --> 00:16:12,574 I know what I'm doing. 374 00:16:12,574 --> 00:16:14,740 Not even God knows what you're doing. 375 00:16:14,740 --> 00:16:18,570 Or I thought you were smarter than that when he 376 00:16:18,570 --> 00:16:19,820 couldn't figure something out. 377 00:16:19,820 --> 00:16:21,487 It's like you're a fucking hero. 378 00:16:21,487 --> 00:16:22,570 You can't figure this out? 379 00:16:22,570 --> 00:16:23,590 Look, it's this simple. 380 00:16:25,584 --> 00:16:28,000 Because people in the audience had already figured it out. 381 00:16:28,000 --> 00:16:30,000 They're like yeah, it's like, look. 382 00:16:30,000 --> 00:16:30,280 They're like yeah, it's like, look. 383 00:16:30,280 --> 00:16:32,480 So you have to be that person. 384 00:16:32,480 --> 00:16:34,300 So you become them. 385 00:16:34,300 --> 00:16:37,550 And they can say right on, brother. 386 00:16:37,550 --> 00:16:38,050 See? 387 00:16:38,050 --> 00:16:39,160 Yeah, you got it. 388 00:16:39,160 --> 00:16:43,240 So you do ordinary things in an extraordinary situation 389 00:16:43,240 --> 00:16:46,415 so that you don't get caught up in the craziness of who 390 00:16:46,415 --> 00:16:47,820 the crazy person is. 391 00:16:47,820 --> 00:16:50,120 You And he's still the hero. 392 00:16:50,120 --> 00:16:52,540 But you're they guy they like, because you're them. 393 00:16:52,540 --> 00:16:54,146 You're like them. 394 00:16:54,146 --> 00:16:56,780 Whoa. 395 00:16:56,780 --> 00:16:58,770 That a bomb? 396 00:16:58,770 --> 00:16:59,270 Yeah. 397 00:16:59,270 --> 00:17:00,000 Go-- just go ahead and grab it. 398 00:17:00,000 --> 00:17:00,561 Go-- just go ahead and grab it. 399 00:17:00,561 --> 00:17:01,472 No, you're the cop. 400 00:17:01,472 --> 00:17:02,930 Your man Simon said you're supposed 401 00:17:02,930 --> 00:17:03,929 to be helping with this. 402 00:17:03,929 --> 00:17:04,534 I'm helping. 403 00:17:04,534 --> 00:17:06,284 Well, when are you going to start helping? 404 00:17:06,284 --> 00:17:07,579 After you get the bomb. 405 00:17:07,579 --> 00:17:08,780 So that's what you do. 406 00:17:08,780 --> 00:17:12,498 You go ahead and make yourself vulnerable and kind of-- 407 00:17:15,560 --> 00:17:17,170 when we're watching movies sometimes 408 00:17:17,170 --> 00:17:21,069 and we see people do some shit and we go really? 409 00:17:21,069 --> 00:17:23,569 That's what Zeus is like. 410 00:17:23,569 --> 00:17:24,079 Really? 411 00:17:24,079 --> 00:17:24,920 No. 412 00:17:24,920 --> 00:17:26,000 I'm not doing that. 413 00:17:26,000 --> 00:17:27,800 Or you gonna do that? 414 00:17:27,800 --> 00:17:28,860 Why don't you do this? 415 00:17:28,860 --> 00:17:30,000 It's simple to just do this. 416 00:17:30,000 --> 00:17:30,540 It's simple to just do this. 417 00:17:30,540 --> 00:17:34,130 So you create an honest situation 418 00:17:34,130 --> 00:17:38,000 so that the audience can be like, hey, that's like me. 419 00:17:38,000 --> 00:17:39,320 I would have done that, too. 420 00:17:39,320 --> 00:17:41,940 And that's what you want. 421 00:17:41,940 --> 00:17:43,176 Careful. 422 00:17:43,176 --> 00:17:44,450 I'm being careful. 423 00:17:44,450 --> 00:17:45,500 Don't open it. 424 00:17:45,500 --> 00:17:46,620 What? 425 00:17:46,620 --> 00:17:48,126 I got to open it. 426 00:17:48,126 --> 00:17:49,250 It's going to be all right. 427 00:18:01,700 --> 00:18:02,696 Shit. 428 00:18:02,696 --> 00:18:03,700 Shit! 429 00:18:03,700 --> 00:18:05,440 I told you not to open it. 430 00:18:05,440 --> 00:18:07,905 431 00:18:11,850 --> 00:18:18,490 Characters in stories are characters in stories. 432 00:18:18,490 --> 00:18:21,790 So I don't see myself approaching a villain any 433 00:18:21,790 --> 00:18:23,800 differently than I do a hero. 434 00:18:23,800 --> 00:18:30,000 They're both people in the human realm of possibility. 435 00:18:30,000 --> 00:18:30,400 They're both people in the human realm of possibility. 436 00:18:30,400 --> 00:18:37,930 And I don't think their approach to society changes 437 00:18:37,930 --> 00:18:41,860 in terms of who you are as a person who 438 00:18:41,860 --> 00:18:47,110 grew up somewhere, who has a specific set of morals, goals 439 00:18:47,110 --> 00:18:48,100 or whatever. 440 00:18:48,100 --> 00:18:50,920 Their goals are just different or at polar opposites. 441 00:18:50,920 --> 00:18:52,670 So I don't approach them any differently. 442 00:18:52,670 --> 00:18:54,960 I mean, if I did that, I couldn't 443 00:18:54,960 --> 00:18:57,010 have played Stephen in Django. 444 00:18:57,010 --> 00:19:00,000 I mean, when Quentin called me and told me to read it, 445 00:19:00,000 --> 00:19:00,830 I mean, when Quentin called me and told me to read it, 446 00:19:00,830 --> 00:19:02,330 he didn't tell me anything about it. 447 00:19:02,330 --> 00:19:03,876 And I finished and I called him back 448 00:19:03,876 --> 00:19:06,250 and said so you want me to play the most despicable negro 449 00:19:06,250 --> 00:19:07,180 in cinematic history? 450 00:19:07,180 --> 00:19:08,580 And he was like well, yeah. 451 00:19:08,580 --> 00:19:10,660 I go, OK let's do it. 452 00:19:10,660 --> 00:19:11,841 So I can't judge him. 453 00:19:11,841 --> 00:19:12,340 No. 454 00:19:12,340 --> 00:19:14,969 I don't judge people's-- 455 00:19:14,969 --> 00:19:17,260 I mean, people have their own reasons for doing things. 456 00:19:17,260 --> 00:19:19,810 And once I sit down and figure out who that person is 457 00:19:19,810 --> 00:19:22,030 and what they're doing and why they're doing it, 458 00:19:22,030 --> 00:19:23,770 then there's no moral judgment about it. 459 00:19:23,770 --> 00:19:25,960 That's just what they do. 460 00:19:25,960 --> 00:19:28,690 And that's how they operate in the world. 461 00:19:28,690 --> 00:19:30,000 Once you figure out the rules of that society and world 462 00:19:30,000 --> 00:19:32,200 Once you figure out the rules of that society and world 463 00:19:32,200 --> 00:19:34,150 that you're shooting the film in, 464 00:19:34,150 --> 00:19:36,432 then you build your character around that. 465 00:19:36,432 --> 00:19:38,890 And you don't make judgments about them being right, wrong, 466 00:19:38,890 --> 00:19:39,800 or otherwise. 467 00:19:39,800 --> 00:19:42,010 But like I tell people, killers-- 468 00:19:42,010 --> 00:19:44,040 killers don't sit around sharpening their knives 469 00:19:44,040 --> 00:19:45,607 and shining their bullets all day. 470 00:19:45,607 --> 00:19:46,690 They go to grocery stores. 471 00:19:46,690 --> 00:19:47,820 They drop their kids off. 472 00:19:47,820 --> 00:19:49,270 They got girlfriends. 473 00:19:49,270 --> 00:19:50,710 They might go to church. 474 00:19:50,710 --> 00:19:52,240 They do stuff. 475 00:19:52,240 --> 00:19:55,270 Jules grew up in the church. 476 00:19:55,270 --> 00:19:58,799 And he has a morality that finally shows up 477 00:19:58,799 --> 00:19:59,590 at a certain point. 478 00:19:59,590 --> 00:20:00,000 I mean, he stood there in cold blood. 479 00:20:00,000 --> 00:20:00,760 I mean, he stood there in cold blood. 480 00:20:00,760 --> 00:20:01,676 He just shot that kid. 481 00:20:01,676 --> 00:20:04,660 And then all of a sudden he believes 482 00:20:04,660 --> 00:20:07,330 God intervened and kept them from getting killed. 483 00:20:07,330 --> 00:20:10,090 All of a sudden his whole God thing shows up. 484 00:20:10,090 --> 00:20:12,490 But he's still not a moral person. 485 00:20:12,490 --> 00:20:16,900 So you can't judge your characters that way. 486 00:20:16,900 --> 00:20:19,320 I see people doing that. 487 00:20:19,320 --> 00:20:21,880 You watch movies and stuff and you 488 00:20:21,880 --> 00:20:23,350 see people twirling their mustache 489 00:20:23,350 --> 00:20:24,724 from the time the movie comes on. 490 00:20:24,724 --> 00:20:27,080 And you go oh yeah, bad guy. 491 00:20:27,080 --> 00:20:29,500 I don't want people to necessarily know that about me 492 00:20:29,500 --> 00:20:30,000 immediately unless the first thing you see me do 493 00:20:30,000 --> 00:20:31,690 immediately unless the first thing you see me do 494 00:20:31,690 --> 00:20:32,890 is kill somebody. 495 00:20:32,890 --> 00:20:34,600 And then you really don't know what 496 00:20:34,600 --> 00:20:38,500 my reason was for killing that person until I express it. 1 00:00:00,500 --> 00:00:03,960 2 00:00:12,390 --> 00:00:14,420 When you're creating characters, I 3 00:00:14,420 --> 00:00:18,060 mean aside from all that background crap 4 00:00:18,060 --> 00:00:20,620 that I'd, you know, throw in there that nobody knows about 5 00:00:20,620 --> 00:00:25,410 or cares about, there are things that you 6 00:00:25,410 --> 00:00:28,020 want to make a character different in some way 7 00:00:28,020 --> 00:00:30,000 aside from doing something to your face. 8 00:00:30,000 --> 00:00:31,120 aside from doing something to your face. 9 00:00:31,120 --> 00:00:35,160 My agent and managers had a real problem with me 10 00:00:35,160 --> 00:00:38,314 for a couple of years because I like to scar myself, 11 00:00:38,314 --> 00:00:40,480 and they were like, stop putting scars on your face. 12 00:00:40,480 --> 00:00:41,521 We like the way you look. 13 00:00:41,521 --> 00:00:47,370 You know and in the beginning when I first 14 00:00:47,370 --> 00:00:51,360 started doing movies I think early on in my career 15 00:00:51,360 --> 00:00:52,450 Laurence Olivier died. 16 00:00:52,450 --> 00:00:55,080 So Laurence Olivier died and I was sitting at home 17 00:00:55,080 --> 00:00:57,775 and his obituary came on. 18 00:00:57,775 --> 00:01:00,000 When they were talking about him and they put his face up 19 00:01:00,000 --> 00:01:00,150 When they were talking about him and they put his face up 20 00:01:00,150 --> 00:01:02,640 on the screen, and as they talked about him 21 00:01:02,640 --> 00:01:04,800 they morphed through all these different characters 22 00:01:04,800 --> 00:01:05,850 that he'd done on screen. 23 00:01:05,850 --> 00:01:09,330 And I was sitting there going wow, look at that. 24 00:01:09,330 --> 00:01:13,800 So that was the beginning of me and my hair, my hair career. 25 00:01:13,800 --> 00:01:14,910 You know my wig making. 26 00:01:14,910 --> 00:01:18,039 Doing all the different hair styles 27 00:01:18,039 --> 00:01:22,350 and ways that I could change my look through hair. 28 00:01:22,350 --> 00:01:23,940 And the other way you change yourself 29 00:01:23,940 --> 00:01:27,420 is through the physical movement of a character. 30 00:01:27,420 --> 00:01:30,000 How they move in terms of how they feel about themselves 31 00:01:30,000 --> 00:01:31,380 How they move in terms of how they feel about themselves 32 00:01:31,380 --> 00:01:36,330 or do they have any infirmities or we've all 33 00:01:36,330 --> 00:01:41,130 known people who have different gates and all kinds of things. 34 00:01:41,130 --> 00:01:43,259 When I did 187 and I was playing a school teacher 35 00:01:43,259 --> 00:01:45,644 because I had been around school teachers all my life. 36 00:01:45,644 --> 00:01:48,060 All I had to do was kind of amalgamate the school teachers 37 00:01:48,060 --> 00:01:51,390 that I knew and create this teacher who 38 00:01:51,390 --> 00:01:55,150 had a fear of students after he'd been stabbed in school. 39 00:01:55,150 --> 00:01:57,670 Being an upright nerdy kind of guy 40 00:01:57,670 --> 00:02:00,000 I decided to make him slew foot. 41 00:02:00,000 --> 00:02:01,750 I decided to make him slew foot. 42 00:02:01,750 --> 00:02:04,010 And he walked upright in a specific way with his feet 43 00:02:04,010 --> 00:02:04,510 like that. 44 00:02:04,510 --> 00:02:05,894 And he wobbled when he walked. 45 00:02:05,894 --> 00:02:07,810 With his glasses, and he pushed his glasses up 46 00:02:07,810 --> 00:02:09,070 on his face a lot. 47 00:02:09,070 --> 00:02:10,990 So that was him. 48 00:02:10,990 --> 00:02:19,530 In Time to Kill, that was my grandfather and his brothers. 49 00:02:19,530 --> 00:02:24,320 These old, country dudes that work the land, 50 00:02:24,320 --> 00:02:30,000 work a hard job, pigeon toed, kind of stooped, arms loose, 51 00:02:30,000 --> 00:02:31,400 work a hard job, pigeon toed, kind of stooped, arms loose, 52 00:02:31,400 --> 00:02:34,900 loping kind of swaying from side to side. 53 00:02:34,900 --> 00:02:37,170 You know, kind of a hangdog look. 54 00:02:37,170 --> 00:02:40,130 Always, always got that analyzation 55 00:02:40,130 --> 00:02:42,350 face on when they look at you. 56 00:02:42,350 --> 00:02:44,960 Brow wrinkled because they listening to you, 57 00:02:44,960 --> 00:02:46,870 but thinking something. 58 00:02:46,870 --> 00:02:48,200 You know there's that guy. 59 00:02:50,920 --> 00:02:51,420 Wow. 60 00:02:55,450 --> 00:02:57,010 Shaft. 61 00:02:57,010 --> 00:03:00,000 Shaft because Shaft attacks the world so fists clenched a lot. 62 00:03:00,000 --> 00:03:02,260 Shaft because Shaft attacks the world so fists clenched a lot. 63 00:03:02,260 --> 00:03:05,440 Walking upright, chest out, aggressive, 64 00:03:05,440 --> 00:03:09,365 leaning forward, into the wind, into every thing 65 00:03:09,365 --> 00:03:10,240 that's coming at him. 66 00:03:14,520 --> 00:03:20,490 Elijah in Unbreakable had a specific disease that-- 67 00:03:20,490 --> 00:03:22,570 I talked to people who had that disease. 68 00:03:22,570 --> 00:03:25,200 And I talk to parents with kids who had it. 69 00:03:25,200 --> 00:03:29,245 It's really crazy and kind of insane disease that you know, 70 00:03:29,245 --> 00:03:30,000 they have to, they have to think about the kind of covers 71 00:03:30,000 --> 00:03:31,620 they have to, they have to think about the kind of covers 72 00:03:31,620 --> 00:03:34,286 that they sleep under because if you pull you pull the covers up 73 00:03:34,286 --> 00:03:36,310 when you turn over you can break your ankle. 74 00:03:36,310 --> 00:03:38,220 You know, you can just snap your ankle 75 00:03:38,220 --> 00:03:41,579 when you turn over and pull the cover too tight or whatever. 76 00:03:41,579 --> 00:03:44,760 Or two people who had the disease who 77 00:03:44,760 --> 00:03:48,660 chose to have children, who get the disease. 78 00:03:48,660 --> 00:03:50,247 100% they're going to get it you know, 79 00:03:50,247 --> 00:03:52,079 but they figure we can figure out a safe way 80 00:03:52,079 --> 00:03:53,970 to raise this kid. 81 00:03:53,970 --> 00:03:58,440 So him going around in the world full of sharp edges 82 00:03:58,440 --> 00:04:00,000 and how he navigated that world, and how he carried himself 83 00:04:00,000 --> 00:04:01,170 and how he navigated that world, and how he carried himself 84 00:04:01,170 --> 00:04:03,672 in it, and being on that cane. 85 00:04:03,672 --> 00:04:05,880 I did ask for a glass cane, which is kind of obvious, 86 00:04:05,880 --> 00:04:08,332 but it was so cool I couldn't resist. 87 00:04:08,332 --> 00:04:09,040 I had to have it. 88 00:04:09,040 --> 00:04:12,519 89 00:04:15,010 --> 00:04:17,740 Finding that vulnerability in that character 90 00:04:17,740 --> 00:04:20,079 and how he approached everything, especially things 91 00:04:20,079 --> 00:04:21,481 that he didn't know. 92 00:04:21,481 --> 00:04:23,690 I think it's one of the greatest scenes in that movie 93 00:04:23,690 --> 00:04:25,520 is I'm standing at the top of those stairs. 94 00:04:25,520 --> 00:04:28,270 Everybody in the movie knows this is not going to end well. 95 00:04:28,270 --> 00:04:30,000 [LAUGHING] This is not going to end well. 96 00:04:30,000 --> 00:04:31,750 [LAUGHING] This is not going to end well. 97 00:04:31,750 --> 00:04:33,254 Oh my god. 98 00:04:33,254 --> 00:04:36,663 99 00:04:36,663 --> 00:04:39,487 I just want to ask you something. 100 00:04:49,730 --> 00:04:54,340 That fall in Unbreakable was just so nasty and so just 101 00:04:54,340 --> 00:04:54,840 horrid. 102 00:05:04,780 --> 00:05:10,270 103 00:05:10,270 --> 00:05:11,580 They have costume designers. 104 00:05:11,580 --> 00:05:13,800 But you have conversations with costume designers. 105 00:05:13,800 --> 00:05:15,200 I do. 106 00:05:15,200 --> 00:05:19,940 And when we start talking about who that person is 107 00:05:19,940 --> 00:05:22,310 and how they want to dress him. 108 00:05:25,500 --> 00:05:28,250 Do you dress him in a way that's attractive? 109 00:05:28,250 --> 00:05:30,000 Do you dress him in a way that's repulsive? 110 00:05:30,000 --> 00:05:30,600 Do you dress him in a way that's repulsive? 111 00:05:30,600 --> 00:05:34,800 Do you dress him in a way that automatically 112 00:05:34,800 --> 00:05:39,440 informs an audience who you are and what you do? 113 00:05:39,440 --> 00:05:43,620 Are you a lawyer in a three piece suit with a briefcase, 114 00:05:43,620 --> 00:05:44,380 or whatever? 115 00:05:44,380 --> 00:05:47,490 Are you, you know a street lawyer with a trench 116 00:05:47,490 --> 00:05:52,050 coat and a rumpled suit, and a battered kind of satchel, 117 00:05:52,050 --> 00:05:52,760 you know? 118 00:05:52,760 --> 00:05:55,230 There are all kinds of things that inform people 119 00:05:55,230 --> 00:05:56,560 of who you are, what you do. 120 00:05:56,560 --> 00:05:57,840 What kind of doctor are you? 121 00:05:57,840 --> 00:06:00,000 Are you a general practitioner? 122 00:06:00,000 --> 00:06:01,340 Are you a general practitioner? 123 00:06:01,340 --> 00:06:03,920 Are you a surgeon of sorts? 124 00:06:03,920 --> 00:06:08,030 Do you have skills, or are you a failed doctor, 125 00:06:08,030 --> 00:06:10,160 or are you a good surgeon, or are 126 00:06:10,160 --> 00:06:14,060 you a shaky surgeon, do you have drug issues, do you have 127 00:06:14,060 --> 00:06:16,730 alcohol issues, do you have family issues that 128 00:06:16,730 --> 00:06:20,360 interfere with your job and your judgment? 129 00:06:20,360 --> 00:06:26,010 There's just so many things that you put with people 130 00:06:26,010 --> 00:06:27,980 and what they do, or what they did 131 00:06:27,980 --> 00:06:30,000 before they do the thing that you see them doing on screen. 132 00:06:30,000 --> 00:06:31,440 before they do the thing that you see them doing on screen. 133 00:06:31,440 --> 00:06:38,020 134 00:06:38,020 --> 00:06:41,520 The first thing for me is always the story. 135 00:06:41,520 --> 00:06:44,300 And then the character on the inside of it. 136 00:06:44,300 --> 00:06:45,980 And if he has an interesting job, 137 00:06:45,980 --> 00:06:47,780 or he does something as interesting 138 00:06:47,780 --> 00:06:50,030 then I will go and explore. 139 00:06:50,030 --> 00:06:55,060 When I did Black Snake Moan it was like so serendipitous 140 00:06:55,060 --> 00:07:00,000 it was crazy because I was shooting the film in New York 141 00:07:00,000 --> 00:07:02,150 it was crazy because I was shooting the film in New York 142 00:07:02,150 --> 00:07:06,032 and I went to the Rock and Roll Hall of Fame ceremony one night 143 00:07:06,032 --> 00:07:08,240 and this voice behind me said you should play a blues 144 00:07:08,240 --> 00:07:09,680 musician in a movie. 145 00:07:09,680 --> 00:07:11,180 Let me teach you how to play guitar. 146 00:07:11,180 --> 00:07:14,090 And I turned around and it was this woman Felicia 147 00:07:14,090 --> 00:07:18,320 Collins who played guitar in David Letterman's band. 148 00:07:18,320 --> 00:07:21,800 And we laughed about it and talked for a minute 149 00:07:21,800 --> 00:07:25,026 and came back, went to the Academy Awards, presented 150 00:07:25,026 --> 00:07:26,900 and they were still giving gift baskets then. 151 00:07:26,900 --> 00:07:30,000 And one of the gifts in the gift basket was a Gibson guitar. 152 00:07:30,000 --> 00:07:31,370 And one of the gifts in the gift basket was a Gibson guitar. 153 00:07:31,370 --> 00:07:34,490 So I ordered it, and it came, and then 154 00:07:34,490 --> 00:07:38,180 the script for Black Snake Moan came, and I talked to Craig. 155 00:07:38,180 --> 00:07:40,820 And I went back to New York to shoot another film. 156 00:07:40,820 --> 00:07:44,192 Called Felicia to say, I'm playing a blues guitarist. 157 00:07:44,192 --> 00:07:45,650 I need to learn how to play guitar. 158 00:07:45,650 --> 00:07:47,870 So she started teaching me to play guitar. 159 00:07:47,870 --> 00:07:50,600 So I learned to play blues guitar from her. 160 00:07:50,600 --> 00:07:53,330 And then I went to Seattle to do Snakes On A Plane, 161 00:07:53,330 --> 00:07:56,630 and at that time I was carrying the guitar around 162 00:07:56,630 --> 00:07:59,360 on my back in a case, like I was a guitarist 163 00:07:59,360 --> 00:08:00,000 or something because I was practicing all the time. 164 00:08:00,000 --> 00:08:02,030 or something because I was practicing all the time. 165 00:08:02,030 --> 00:08:07,460 And the prop master on snakes on a plane was a guitarist 166 00:08:07,460 --> 00:08:09,650 and he played blues guitar. 167 00:08:09,650 --> 00:08:11,610 So he came to my trailer every day. 168 00:08:11,610 --> 00:08:13,550 And drilled me and taught me the songs that I 169 00:08:13,550 --> 00:08:15,200 had to play in the movie. 170 00:08:15,200 --> 00:08:19,370 And then I got to Memphis and the musical director 171 00:08:19,370 --> 00:08:22,250 of the film and Craig started taking me around 172 00:08:22,250 --> 00:08:24,890 to all these blues places, and meeting these blues musicians, 173 00:08:24,890 --> 00:08:27,720 and making me play with them, and do stuff. 174 00:08:27,720 --> 00:08:30,000 So before I knew it, I had corns on my fingers and everything 175 00:08:30,000 --> 00:08:32,270 So before I knew it, I had corns on my fingers and everything 176 00:08:32,270 --> 00:08:34,940 else and I could play. 177 00:08:34,940 --> 00:08:38,058 And you do that, and I knew the blues 178 00:08:38,058 --> 00:08:41,450 from my grandfather and his brothers, the country guys. 179 00:08:41,450 --> 00:08:43,789 And I listened to a lot of blues, played a lot of blues, 180 00:08:43,789 --> 00:08:46,280 hung out in the speakeasies with the guys 181 00:08:46,280 --> 00:08:49,780 and kind of found my way into that. 182 00:08:49,780 --> 00:08:54,330 When I did Caveman's Valentine I was playing a concert pianist 183 00:08:54,330 --> 00:08:57,090 who was schizophrenia. 184 00:08:57,090 --> 00:09:00,000 So I took piano lessons and learned 185 00:09:00,000 --> 00:09:00,620 So I took piano lessons and learned 186 00:09:00,620 --> 00:09:05,000 how to reach over, and under, and move my fingers, 187 00:09:05,000 --> 00:09:06,620 and do the whole thing so. 188 00:09:06,620 --> 00:09:08,420 And I actually kind of learned the songs 189 00:09:08,420 --> 00:09:11,930 that I had to play slowly but I could do them quickly 190 00:09:11,930 --> 00:09:13,100 on a mute piano. 191 00:09:13,100 --> 00:09:16,340 So I could do that and had that under control and studied. 192 00:09:16,340 --> 00:09:19,550 Studied a whole thing with people on schizophrenia 193 00:09:19,550 --> 00:09:21,800 and talked to doctors about it and did 194 00:09:21,800 --> 00:09:26,450 that so I would understand who he was, Romulus was, 195 00:09:26,450 --> 00:09:29,240 in terms of being in the world, and what he saw, what he felt, 196 00:09:29,240 --> 00:09:30,000 and what specific things I needed to accurately portray 197 00:09:30,000 --> 00:09:34,010 and what specific things I needed to accurately portray 198 00:09:34,010 --> 00:09:36,900 a schizophrenic. 199 00:09:36,900 --> 00:09:40,280 I learned to play cello for a movie once. 200 00:09:40,280 --> 00:09:43,830 So you learn these various skills and things. 201 00:09:43,830 --> 00:09:48,130 Even in gun movies I went to, wow 202 00:09:48,130 --> 00:09:51,050 when we did Swat we went to swat school. 203 00:09:51,050 --> 00:09:51,680 All of us. 204 00:09:51,680 --> 00:09:54,200 So we learned to be a SWAT team. 205 00:09:54,200 --> 00:09:58,960 We went to the gun range, fired live a lot at targets 206 00:09:58,960 --> 00:10:00,000 till we could hit them. 207 00:10:00,000 --> 00:10:00,394 till we could hit them. 208 00:10:00,394 --> 00:10:02,810 It looked like we knew what we were doing with those guns. 209 00:10:02,810 --> 00:10:07,010 I've been trained by at least four different branches 210 00:10:07,010 --> 00:10:10,310 of the service or law enforcement 211 00:10:10,310 --> 00:10:12,110 in terms of how they use their guns, 212 00:10:12,110 --> 00:10:14,630 how they hold them, what their guard positions are, 213 00:10:14,630 --> 00:10:18,770 what their firing positions are, for any number of gun movies. 214 00:10:18,770 --> 00:10:23,130 And went to Vietnam jungle school 215 00:10:23,130 --> 00:10:27,350 with Captain [? Die ?] for Rules of Engagement. 216 00:10:27,350 --> 00:10:30,000 We were in South Carolina. 217 00:10:30,000 --> 00:10:30,320 We were in South Carolina. 218 00:10:30,320 --> 00:10:32,410 Tommy Lee had a marine company. 219 00:10:32,410 --> 00:10:33,920 I had a marine company. 220 00:10:33,920 --> 00:10:38,770 And Captain [? Die ?] had a company of Vietnamese soldiers 221 00:10:38,770 --> 00:10:40,100 out in swamp. 222 00:10:40,100 --> 00:10:43,070 And every day we went looking for each other 223 00:10:43,070 --> 00:10:45,900 and set up ambushes and did all this stuff 224 00:10:45,900 --> 00:10:47,975 so that we would look like Vietnam soldiers. 225 00:10:47,975 --> 00:10:52,670 And it was nasty and leachy and all that. 226 00:10:52,670 --> 00:10:55,880 But you know you do these things. 227 00:10:55,880 --> 00:10:59,690 They're an extension, from me, of you 228 00:10:59,690 --> 00:11:00,000 know the gun games especially the kids games that I played. 229 00:11:00,000 --> 00:11:03,230 know the gun games especially the kids games that I played. 230 00:11:03,230 --> 00:11:07,687 I mean even in a Hateful Eight we went, at one point 231 00:11:07,687 --> 00:11:09,020 I was supposed to be on a horse. 232 00:11:09,020 --> 00:11:13,100 So, I had ridden horses when I was a kid, but we rode. 233 00:11:13,100 --> 00:11:14,810 We went to the stables and rode. 234 00:11:14,810 --> 00:11:16,820 We learned how to hitch and unhitch 235 00:11:16,820 --> 00:11:20,160 a six horse wagon while we were out there doing this stuff. 236 00:11:20,160 --> 00:11:21,770 So those are things that you learn 237 00:11:21,770 --> 00:11:25,559 that are specific to the craft so that you look natural 238 00:11:25,559 --> 00:11:27,350 when you're doing them and you feel natural 239 00:11:27,350 --> 00:11:28,340 when you're doing them. 240 00:11:28,340 --> 00:11:30,000 All those things count and they mean something, especially 241 00:11:30,000 --> 00:11:30,756 All those things count and they mean something, especially 242 00:11:30,756 --> 00:11:31,765 when you know-- 243 00:11:31,765 --> 00:11:33,140 like I always tell people there's 244 00:11:33,140 --> 00:11:34,730 going to be somebody sitting there in the audience that 245 00:11:34,730 --> 00:11:35,870 does his job. 246 00:11:35,870 --> 00:11:38,540 And if you don't look like you know what you're doing, 247 00:11:38,540 --> 00:11:40,610 you're going to take them out of the movie. 248 00:11:40,610 --> 00:11:43,270 And they'll just look at you like another actor just 249 00:11:43,270 --> 00:11:44,810 pretending and do what I do and not 250 00:11:44,810 --> 00:11:46,220 even pretending to do it right. 251 00:11:46,220 --> 00:11:49,594 252 00:11:52,560 --> 00:11:57,050 If the customer can do it, put on, do whatever, 253 00:11:57,050 --> 00:12:00,000 change yourself as many ways as you possibly can. 254 00:12:00,000 --> 00:12:00,860 change yourself as many ways as you possibly can. 255 00:12:00,860 --> 00:12:03,460 Change your hair, change your nose, 256 00:12:03,460 --> 00:12:05,460 you know if they got the money go to the dentist 257 00:12:05,460 --> 00:12:06,530 and get you some new teeth. 258 00:12:06,530 --> 00:12:08,980 Get your teeth all, something you can slid over your teeth 259 00:12:08,980 --> 00:12:11,540 and make them bad, good, or whatever. 260 00:12:11,540 --> 00:12:15,620 Do all the things that you have in your mind that 261 00:12:15,620 --> 00:12:18,320 will help you inform the audience when 262 00:12:18,320 --> 00:12:21,776 they see this character go, oh, that's who that is. 263 00:12:21,776 --> 00:12:24,110 Don't make them guess, unless it's 264 00:12:24,110 --> 00:12:27,027 all about a guessing game of them guessing who you are. 265 00:12:27,027 --> 00:12:28,610 Let them know who you are immediately, 266 00:12:28,610 --> 00:12:30,000 and then proceed to make that person real as you can. 267 00:12:30,000 --> 00:12:33,040 and then proceed to make that person real as you can. 1 00:00:00,000 --> 00:00:02,930 2 00:00:06,570 --> 00:00:11,460 Take a brilliant concert pianist, like Romulus 3 00:00:11,460 --> 00:00:15,690 in Caveman's Valentine who was a child prodigy. 4 00:00:15,690 --> 00:00:20,280 Whose home life's damaged. 5 00:00:20,280 --> 00:00:23,960 He's got a damaged home life, and they're 6 00:00:23,960 --> 00:00:30,000 in denial about his mental condition or his schizophrenia 7 00:00:30,000 --> 00:00:30,500 in denial about his mental condition or his schizophrenia 8 00:00:30,500 --> 00:00:35,390 to the point, you know, that when he does kind of succeed, 9 00:00:35,390 --> 00:00:43,600 he succeeds to the point that he can't handle the success. 10 00:00:43,600 --> 00:00:46,120 There has to be a reason for it. 11 00:00:46,120 --> 00:00:49,900 And the reason that he comes up with 12 00:00:49,900 --> 00:00:55,750 is a made-up guy who lives in this tower in New York that 13 00:00:55,750 --> 00:00:59,230 shoots rays into his head to the point 14 00:00:59,230 --> 00:01:00,000 that he can't touch a piano because it's painful. 15 00:01:00,000 --> 00:01:02,195 that he can't touch a piano because it's painful. 16 00:01:08,218 --> 00:01:11,100 Fight it, baby. 17 00:01:11,100 --> 00:01:14,520 Show Stuyvesant you're not scared of him. 18 00:01:14,520 --> 00:01:16,360 Play the damn thing. 19 00:01:16,360 --> 00:01:20,490 But he will do it sometimes just because he still 20 00:01:20,490 --> 00:01:22,948 has that need to play music. 21 00:01:22,948 --> 00:01:26,434 [PIANO MUSIC] 22 00:01:52,380 --> 00:01:55,590 When he forces himself to play, he plays in pain 23 00:01:55,590 --> 00:01:58,259 and he fights through that pain to the point 24 00:01:58,259 --> 00:02:00,000 that it becomes so excruciating that at some points, 25 00:02:00,000 --> 00:02:02,580 that it becomes so excruciating that at some points, 26 00:02:02,580 --> 00:02:03,405 it is ecstatic. 27 00:02:09,139 --> 00:02:14,990 It infuses him in a way that will exhaust him and make 28 00:02:14,990 --> 00:02:20,040 him even crazier to the point where he wonders if it is 29 00:02:20,040 --> 00:02:23,900 self-imposed or if it is real. 30 00:02:23,900 --> 00:02:28,340 He has a daughter that loves him. 31 00:02:28,340 --> 00:02:30,000 That not necessarily wants to help him, 32 00:02:30,000 --> 00:02:33,560 That not necessarily wants to help him, 33 00:02:33,560 --> 00:02:37,300 but wants to let him live his life, 34 00:02:37,300 --> 00:02:40,750 but to live his life not in danger. 35 00:02:43,310 --> 00:02:45,440 Because he looks the way he looks, 36 00:02:45,440 --> 00:02:49,340 he's a huge imposing figure with big coat 37 00:02:49,340 --> 00:02:53,750 and a fur hat and long dreadlocks. 38 00:02:53,750 --> 00:02:57,530 He's not Invisible to the people around him. 39 00:02:57,530 --> 00:03:00,000 His situation is invisible to the people 40 00:03:00,000 --> 00:03:01,790 His situation is invisible to the people 41 00:03:01,790 --> 00:03:06,170 that he passes, like most homeless people in New York. 42 00:03:06,170 --> 00:03:09,820 So New York becomes an imposing character in itself-- 43 00:03:09,820 --> 00:03:14,120 the city and how he deals with the city. 44 00:03:14,120 --> 00:03:17,790 He lives in the middle of New York City, 45 00:03:17,790 --> 00:03:21,020 but he lives in a cave in Central Park. 46 00:03:21,020 --> 00:03:22,780 So he's isolated anyway. 47 00:03:22,780 --> 00:03:25,214 I mean, if you're sleeping in a cardboard box, 48 00:03:25,214 --> 00:03:26,630 you're not isolated because people 49 00:03:26,630 --> 00:03:30,000 are walking by you every day, but they still don't see you. 50 00:03:30,000 --> 00:03:30,320 are walking by you every day, but they still don't see you. 51 00:03:30,320 --> 00:03:31,880 They don't interact with you. 52 00:03:31,880 --> 00:03:36,630 And quite frankly, you-- 53 00:03:36,630 --> 00:03:41,420 you're an imposition, or you're a sauce of shame for them, 54 00:03:41,420 --> 00:03:44,070 because you are there, whether they admit it or not. 55 00:03:44,070 --> 00:03:46,190 You are a source of shame for people 56 00:03:46,190 --> 00:03:49,290 who pass by you every day and don't do anything to help you, 57 00:03:49,290 --> 00:03:50,900 whether they admit it or not. 58 00:03:50,900 --> 00:03:52,130 They know that, you know? 59 00:03:52,130 --> 00:03:54,590 They see you but you think they don't. 60 00:03:54,590 --> 00:03:58,450 But he's there in the middle of that city and he's ranting, 61 00:03:58,450 --> 00:04:00,000 you know, a lot. 62 00:04:00,000 --> 00:04:00,110 you know, a lot. 63 00:04:00,110 --> 00:04:02,810 So people have to dodge and if they see him, 64 00:04:02,810 --> 00:04:06,440 they get out of his way, but they don't interact with him. 65 00:04:06,440 --> 00:04:07,550 in any way. 66 00:04:07,550 --> 00:04:12,510 So he is in that box of his own. 67 00:04:12,510 --> 00:04:16,596 But he's accepted that box, to the point that those people 68 00:04:16,596 --> 00:04:17,430 don't mean anything. 69 00:04:17,430 --> 00:04:21,750 He rushes through the city like he's on a mission all the time. 70 00:04:21,750 --> 00:04:23,880 I mean, there's something chasing him 71 00:04:23,880 --> 00:04:26,920 or he's dodging the rays from that building 72 00:04:26,920 --> 00:04:29,770 because he knows the guy's looking for him, 73 00:04:29,770 --> 00:04:30,000 he's just looking for a chance to shoot a ray into his head 74 00:04:30,000 --> 00:04:33,060 he's just looking for a chance to shoot a ray into his head 75 00:04:33,060 --> 00:04:36,570 so his eyes are constantly darting. 76 00:04:36,570 --> 00:04:39,900 Even though he's huge, he has a hunched thing 77 00:04:39,900 --> 00:04:43,830 because he's always on guard to duck a ray 78 00:04:43,830 --> 00:04:47,250 or whatever he's trying to get away from. 79 00:04:47,250 --> 00:04:49,400 He thinks musically. 80 00:04:49,400 --> 00:04:52,158 So he plays, he plays music in his head a lot. 81 00:04:52,158 --> 00:04:55,580 [PIANO MUSIC] 82 00:04:55,580 --> 00:04:59,490 He has been a part of a society that a lot of people 83 00:04:59,490 --> 00:05:00,000 never touch. 84 00:05:00,000 --> 00:05:01,280 never touch. 85 00:05:01,280 --> 00:05:02,930 He was a concert pianist. 86 00:05:02,930 --> 00:05:07,570 He played, you know, for people in tuxedos 87 00:05:07,570 --> 00:05:09,370 and went to Juilliard. 88 00:05:09,370 --> 00:05:12,820 He has all this stuff that was going for him 89 00:05:12,820 --> 00:05:17,260 that's now inaccessible to him. 90 00:05:17,260 --> 00:05:23,160 And when somebody does reach out to him and touch him, 91 00:05:23,160 --> 00:05:24,860 and this woman takes him into the house 92 00:05:24,860 --> 00:05:27,150 and bathes him and sleeps with him, 93 00:05:27,150 --> 00:05:29,940 it's kind of like all of a sudden, 94 00:05:29,940 --> 00:05:30,000 when his wife comes back to him, he's like facing this guilt, 95 00:05:30,000 --> 00:05:34,110 when his wife comes back to him, he's like facing this guilt, 96 00:05:34,110 --> 00:05:38,570 because he's cheating on a woman who's not even there, you know? 97 00:05:38,570 --> 00:05:42,720 But there she is, admonishing him for being there, 98 00:05:42,720 --> 00:05:45,930 in bed with this woman, and he's got 99 00:05:45,930 --> 00:05:50,050 to deal with that guilt of who he was and how he failed, 100 00:05:50,050 --> 00:05:50,550 you know? 101 00:05:50,550 --> 00:05:54,190 These people that care about him. 102 00:05:54,190 --> 00:06:00,000 And in creating that and that schizophrenia, like I said, 103 00:06:00,000 --> 00:06:01,390 And in creating that and that schizophrenia, like I said, 104 00:06:01,390 --> 00:06:05,300 I read about it, I visited places and watched people 105 00:06:05,300 --> 00:06:08,330 in rooms, locked rooms or whatever dealing with that. 106 00:06:08,330 --> 00:06:09,860 And, you know, I'm a-- 107 00:06:09,860 --> 00:06:11,730 I'm a people watcher. 108 00:06:11,730 --> 00:06:14,690 So all those years I spent on the subway 109 00:06:14,690 --> 00:06:16,520 watching people sleep on the train 110 00:06:16,520 --> 00:06:21,860 or get on the train and babble or do whatever they did or-- 111 00:06:21,860 --> 00:06:26,100 I remember one night I was coming from Brooklyn 112 00:06:26,100 --> 00:06:28,222 and I lived on 145th Street. 113 00:06:28,222 --> 00:06:30,000 So I was coming from the Billie Holiday Theater 114 00:06:30,000 --> 00:06:30,180 So I was coming from the Billie Holiday Theater 115 00:06:30,180 --> 00:06:33,000 all the way up to 145th Street on A train, 116 00:06:33,000 --> 00:06:38,010 and it took about almost an hour to do. 117 00:06:38,010 --> 00:06:39,370 I fell asleep. 118 00:06:39,370 --> 00:06:42,480 And when I woke up, I was kind of leaning on somebody 119 00:06:42,480 --> 00:06:44,890 and I was like, oh, I'm sorry, excuse me. 120 00:06:44,890 --> 00:06:47,909 And I looked and it was like this homeless dude. 121 00:06:47,909 --> 00:06:50,870 He was big, like Romulus. 122 00:06:50,870 --> 00:06:54,500 And I thought he had on like a fur coat. 123 00:06:54,500 --> 00:06:57,830 Well when I looked at the coat, the coat was moving. 124 00:06:57,830 --> 00:07:00,000 It was just bugs. 125 00:07:00,000 --> 00:07:00,420 It was just bugs. 126 00:07:00,420 --> 00:07:01,900 And I was like, oh, shit! 127 00:07:01,900 --> 00:07:03,967 And I jumped up and I was like, argh, argh! 128 00:07:03,967 --> 00:07:05,550 And I couldn't wait to get to my stop. 129 00:07:05,550 --> 00:07:07,590 And I ran in the house, turned the hot water on, 130 00:07:07,590 --> 00:07:09,490 jumped in the shower with all my clothes on. 131 00:07:09,490 --> 00:07:11,841 You know, just like, oh shit, I want want to die, 132 00:07:11,841 --> 00:07:13,590 I want to die, I'm going to die, you know? 133 00:07:13,590 --> 00:07:16,110 And that was my reaction to that guy, you know? 134 00:07:16,110 --> 00:07:19,890 And I wanted Romulus to be that guy. 135 00:07:19,890 --> 00:07:22,170 That if somebody bumped into him or touched him, 136 00:07:22,170 --> 00:07:24,090 they would feel like they immediately 137 00:07:24,090 --> 00:07:27,990 needed to go somewhere and disinfect themselves, you know? 138 00:07:27,990 --> 00:07:30,000 And only because he was that big and that powerful. 139 00:07:30,000 --> 00:07:30,750 And only because he was that big and that powerful. 140 00:07:30,750 --> 00:07:34,710 So when that woman takes him in and washes him and cleans him 141 00:07:34,710 --> 00:07:36,870 and I'm standing there naked in that scene, 142 00:07:36,870 --> 00:07:39,960 you know, it was a whole, like, cathartic kind of, 143 00:07:39,960 --> 00:07:43,890 oh my god, she tried to take me back to who I was 144 00:07:43,890 --> 00:07:47,909 and this is the closest thing I've been to a real human being 145 00:07:47,909 --> 00:07:52,141 in a very long time, when he puts that suit on. 146 00:07:52,141 --> 00:07:54,044 Here you go, Romulus. 147 00:07:54,044 --> 00:07:55,710 We wouldn't want you to freeze to death. 148 00:07:55,710 --> 00:07:57,770 [CHUCKLES] 149 00:07:57,770 --> 00:08:00,000 Until, you know, the mania comes back again and he realizes, 150 00:08:00,000 --> 00:08:02,730 Until, you know, the mania comes back again and he realizes, 151 00:08:02,730 --> 00:08:05,700 you know, the clothes have changed but I'm the same guy. 152 00:08:05,700 --> 00:08:07,380 We wouldn't want you to freeze to death! 153 00:08:07,380 --> 00:08:09,799 [FAKE LAUGHTER] I really love that one, Bob. 154 00:08:09,799 --> 00:08:11,590 Wouldn't want to find you popped in a tree! 155 00:08:11,590 --> 00:08:18,020 [FAKE LAUGHTER] 156 00:08:18,020 --> 00:08:20,370 This same thing is bothering me, I still can't-- 157 00:08:20,370 --> 00:08:24,840 I still can't play the piano and I still can't-- 158 00:08:24,840 --> 00:08:27,300 and this is close to where I was in the beginning 159 00:08:27,300 --> 00:08:28,710 of my craziness. 160 00:08:28,710 --> 00:08:30,000 And I'm a lot more comfortable being that Invisible 161 00:08:30,000 --> 00:08:32,820 And I'm a lot more comfortable being that Invisible 162 00:08:32,820 --> 00:08:38,750 dude with a big coat on and the hat than I am exposed like this 163 00:08:38,750 --> 00:08:42,640 as to who I used to be, so that people can see my soul bared 164 00:08:42,640 --> 00:08:44,274 and I'm abnormal. 165 00:08:44,274 --> 00:08:46,190 Then they can look at me and see I'm abnormal, 166 00:08:46,190 --> 00:08:49,040 but there's something about me looking like that that 167 00:08:49,040 --> 00:08:52,940 makes me normal as that guy. 168 00:08:52,940 --> 00:08:56,480 And like I said, New York plays a huge, huge part in that. 169 00:08:56,480 --> 00:08:59,870 Because I remember, we were between shots one day 170 00:08:59,870 --> 00:09:00,000 and I was sitting on the sidewalk waiting 171 00:09:00,000 --> 00:09:05,300 and I was sitting on the sidewalk waiting 172 00:09:05,300 --> 00:09:06,690 to shoot again. 173 00:09:06,690 --> 00:09:11,580 And people were walking by me and I 174 00:09:11,580 --> 00:09:14,041 think about five people would drop money in front of me 175 00:09:14,041 --> 00:09:15,540 while I was sitting there, because I 176 00:09:15,540 --> 00:09:18,450 was sitting there rocking, my hair in front of my eyes. 177 00:09:18,450 --> 00:09:22,140 When I looked up, there was money on the ground, you know. 178 00:09:22,140 --> 00:09:25,110 Being able to use the city in that way, 179 00:09:25,110 --> 00:09:29,220 as an energizing force that moves him, 180 00:09:29,220 --> 00:09:30,000 and using the energy of the city and the people 181 00:09:30,000 --> 00:09:31,970 and using the energy of the city and the people 182 00:09:31,970 --> 00:09:33,510 and rushing against the tide-- 183 00:09:33,510 --> 00:09:36,390 I always tried to walk against the tide of people coming 184 00:09:36,390 --> 00:09:40,470 toward me, I was always doing that as a character reference. 185 00:09:40,470 --> 00:09:43,170 But like I said, you know, being-- 186 00:09:43,170 --> 00:09:45,915 being a people person or an observer of people, 187 00:09:45,915 --> 00:09:47,910 you know, you look around and you 188 00:09:47,910 --> 00:09:50,100 find a lot of different things that you 189 00:09:50,100 --> 00:09:53,730 want to use to inform you of, you know, 190 00:09:53,730 --> 00:09:57,700 who your character is. 191 00:09:57,700 --> 00:09:58,660 I still do it now. 192 00:09:58,660 --> 00:09:59,980 I mean, I'm driving-- 193 00:09:59,980 --> 00:10:00,000 driving over here today, I saw a guy sitting 194 00:10:00,000 --> 00:10:02,650 driving over here today, I saw a guy sitting 195 00:10:02,650 --> 00:10:04,960 on the sidewalk talking to himself, 196 00:10:04,960 --> 00:10:07,060 or I see people sitting at bus stops 197 00:10:07,060 --> 00:10:09,430 talking to themselves all the time, you know? 198 00:10:09,430 --> 00:10:12,910 And I wonder what those conversations are. 199 00:10:12,910 --> 00:10:15,910 Because some of them seem to be having 200 00:10:15,910 --> 00:10:18,310 a conversation with someone. 201 00:10:18,310 --> 00:10:23,680 And some of them seem to be ruminating about whatever, 202 00:10:23,680 --> 00:10:25,840 you know, that's going on. 203 00:10:25,840 --> 00:10:30,000 And Romulus was always raging against something. 204 00:10:30,000 --> 00:10:33,160 And Romulus was always raging against something. 205 00:10:33,160 --> 00:10:38,360 And that rage in him, you know, was 206 00:10:38,360 --> 00:10:41,000 all about this person doing this thing to him 207 00:10:41,000 --> 00:10:44,120 and why was this person doing this to him so that he couldn't 208 00:10:44,120 --> 00:10:46,490 be a normal part of society, so that he 209 00:10:46,490 --> 00:10:50,690 couldn't do the thing that he loved, which was playing piano. 210 00:10:50,690 --> 00:10:55,355 And being able to explore that in a safe environment, 211 00:10:55,355 --> 00:10:59,380 you know, is really awesome. 1 00:00:00,000 --> 00:00:02,480 2 00:00:06,376 --> 00:00:07,250 All right, all right. 3 00:00:07,250 --> 00:00:08,530 [INAUDIBLE] 4 00:00:08,530 --> 00:00:09,659 [LAUGHTER] 5 00:00:09,659 --> 00:00:10,200 Good morning. 6 00:00:10,200 --> 00:00:10,835 Hey. 7 00:00:10,835 --> 00:00:11,376 Good morning. 8 00:00:11,376 --> 00:00:11,980 Good morning. 9 00:00:11,980 --> 00:00:12,330 How you doing? 10 00:00:12,330 --> 00:00:13,705 So thank you guys for being here. 11 00:00:13,705 --> 00:00:16,620 I'm glad you made it. 12 00:00:16,620 --> 00:00:18,872 Thank you for participating in this with me. 13 00:00:18,872 --> 00:00:19,830 New experience for me-- 14 00:00:19,830 --> 00:00:24,870 I never criticize people outside my own house. 15 00:00:24,870 --> 00:00:27,150 So this is going to be a whole new experience, 16 00:00:27,150 --> 00:00:30,000 just discussing it and seeing how it all rocks out. 17 00:00:30,000 --> 00:00:31,140 just discussing it and seeing how it all rocks out. 18 00:00:31,140 --> 00:00:33,470 So everybody happy? 19 00:00:33,470 --> 00:00:34,380 Nervous? 20 00:00:34,380 --> 00:00:34,970 Yeah. 21 00:00:34,970 --> 00:00:35,300 Both. 22 00:00:35,580 --> 00:00:36,205 No, we're good. 23 00:00:36,205 --> 00:00:36,800 Why? 24 00:00:36,800 --> 00:00:37,300 Why? 25 00:00:37,300 --> 00:00:40,106 There's no judgment here, I mean, real judgment. 26 00:00:40,106 --> 00:00:41,219 A bit-- a little judgment. 27 00:00:41,219 --> 00:00:42,010 Yeah, a little bit. 28 00:00:42,010 --> 00:00:42,599 Yeah. 29 00:00:42,599 --> 00:00:44,140 But it's nothing to be nervous about. 30 00:00:44,140 --> 00:00:48,300 It's just another day, another great acting opportunity. 31 00:00:48,300 --> 00:00:49,860 This is what you want to do. 32 00:00:49,860 --> 00:00:51,240 You want to be actors. 33 00:00:51,240 --> 00:00:55,230 And every acting opportunity is a blessing. 34 00:00:55,230 --> 00:00:57,690 Every opportunity, every audition 35 00:00:57,690 --> 00:01:00,000 is a chance to go in and prove to somebody that you're 36 00:01:00,000 --> 00:01:01,020 is a chance to go in and prove to somebody that you're 37 00:01:01,020 --> 00:01:02,270 good at what you do. 38 00:01:02,270 --> 00:01:07,140 And the level of confidence, the level of proficiency 39 00:01:07,140 --> 00:01:09,030 that you know you have-- 40 00:01:09,030 --> 00:01:10,620 exhibit it. 41 00:01:10,620 --> 00:01:15,690 Never think about getting a job or getting it right. 42 00:01:15,690 --> 00:01:17,310 Get it the way you wanted to do it 43 00:01:17,310 --> 00:01:22,950 when you go in there so that you show the best part of you. 44 00:01:22,950 --> 00:01:28,380 We're going to do this iconic scene from Pulp Fiction, which 45 00:01:28,380 --> 00:01:30,000 just happened to be the first thing we 46 00:01:30,000 --> 00:01:31,500 just happened to be the first thing we 47 00:01:31,500 --> 00:01:33,240 shot when we made this movie. 48 00:01:33,240 --> 00:01:37,390 This was the first scene that we did. 49 00:01:37,390 --> 00:01:40,690 An interesting piece of trivia that I 50 00:01:40,690 --> 00:01:43,750 don't think a lot of people know-- in the original script 51 00:01:43,750 --> 00:01:46,630 when this scene happens, there was 52 00:01:46,630 --> 00:01:52,229 a point where I closed my eyes and I 53 00:01:52,229 --> 00:01:58,289 shot Tim through the table and shot Honey Bunny off the bar. 54 00:01:58,289 --> 00:02:00,000 And when I opened my eyes, they were still there, 55 00:02:00,000 --> 00:02:01,770 And when I opened my eyes, they were still there, 56 00:02:01,770 --> 00:02:04,295 because that's what the old Jules would have done. 57 00:02:04,295 --> 00:02:04,920 Oh, yeah. yeah. 58 00:02:04,920 --> 00:02:05,832 Ah. 59 00:02:05,832 --> 00:02:08,910 Quentin didn't shoot it, because he said, now if I shoot it, 60 00:02:08,910 --> 00:02:09,440 I'll use it. 61 00:02:09,440 --> 00:02:11,856 And I can't stand how you do it-- 62 00:02:11,856 --> 00:02:14,670 So there's all kinds of things that should have been 63 00:02:14,670 --> 00:02:16,710 shot that were in the script. 64 00:02:16,710 --> 00:02:19,690 But that's just stuff. 65 00:02:19,690 --> 00:02:22,470 I just put it in your head so I could just kind of see 66 00:02:22,470 --> 00:02:24,090 what you'll do with that, knowing 67 00:02:24,090 --> 00:02:26,515 that that should have happened here, didn't happen here, 68 00:02:26,515 --> 00:02:27,015 whatever. 69 00:02:29,976 --> 00:02:30,000 OK. 70 00:02:30,000 --> 00:02:30,689 OK. 71 00:02:30,689 --> 00:02:31,230 And go ahead. 72 00:02:31,230 --> 00:02:31,730 Woo hoo! 73 00:02:31,730 --> 00:02:32,620 Let's knock it out. 74 00:02:32,620 --> 00:02:33,120 All right. 75 00:02:33,120 --> 00:02:33,828 Let's jump at it. 76 00:02:33,828 --> 00:02:35,860 [INTERPOSING VOICES] 77 00:02:35,860 --> 00:02:37,540 We have our coordination together? 78 00:02:37,540 --> 00:02:41,180 You want to practice pushing that top down and pulling 79 00:02:41,180 --> 00:02:42,446 that gun up at the same time? 80 00:02:42,446 --> 00:02:42,946 Mm-hmm. 81 00:02:42,946 --> 00:02:43,920 All right. 82 00:02:43,920 --> 00:02:46,280 So we start here? 83 00:02:46,280 --> 00:02:49,559 Have it turned around and open like that. 84 00:02:49,559 --> 00:02:50,350 So we're starting-- 85 00:02:50,350 --> 00:02:51,260 So we're starting with me here. 86 00:02:51,260 --> 00:02:52,551 Have it turned around and open. 87 00:02:52,551 --> 00:02:53,820 And she's asking-- 88 00:02:53,820 --> 00:02:54,590 [SIGH] 89 00:02:54,590 --> 00:02:55,905 Goddamn it, what is it? 90 00:02:55,905 --> 00:02:57,360 [INAUDIBLE] 91 00:02:58,329 --> 00:02:59,630 Let her go. 92 00:02:59,630 --> 00:03:00,000 Let her go. 93 00:03:00,000 --> 00:03:00,130 Let her go. 94 00:03:00,130 --> 00:03:00,620 I'll blow your fucking head off. 95 00:03:00,620 --> 00:03:01,450 Tell that bitch to be cool. 96 00:03:01,450 --> 00:03:02,330 Say bitch, be cool. 97 00:03:02,330 --> 00:03:03,210 Say bitch, be cool! 98 00:03:03,210 --> 00:03:04,040 Baby, be cool. 99 00:03:04,040 --> 00:03:04,942 Honey Bunny, be cool. 100 00:03:04,942 --> 00:03:06,150 Tell her it's going to be OK. 101 00:03:06,310 --> 00:03:06,850 Promise her. 102 00:03:06,850 --> 00:03:08,100 I promise it's going to be OK. 103 00:03:08,100 --> 00:03:08,540 Tell her to chill. 104 00:03:08,540 --> 00:03:09,530 You got to chill the fuck out. 105 00:03:09,530 --> 00:03:09,835 Chill out. 106 00:03:09,835 --> 00:03:10,501 What's her name? 107 00:03:10,501 --> 00:03:11,390 Honey Bun-- Yolanda. 108 00:03:11,390 --> 00:03:12,200 Yolanda? 109 00:03:12,200 --> 00:03:13,760 So we cool, Yolanda, right? 110 00:03:13,760 --> 00:03:16,270 Ain't nobody going to do nothing stupid. 111 00:03:16,270 --> 00:03:18,300 Let her go. 112 00:03:18,300 --> 00:03:19,270 Don't hurt her. 113 00:03:19,270 --> 00:03:20,010 Don't hurt her. 114 00:03:20,010 --> 00:03:23,250 Nobody's going to hurt anybody. 115 00:03:23,250 --> 00:03:25,620 We're all going to be like three Fonzie's, OK? 116 00:03:25,620 --> 00:03:27,950 And what's Fonzie like? 117 00:03:27,950 --> 00:03:29,050 Come on, Yolanda. 118 00:03:29,050 --> 00:03:30,000 What's Fonzie like? 119 00:03:30,000 --> 00:03:30,845 What's Fonzie like? 120 00:03:30,845 --> 00:03:32,210 He-- he's cool. 121 00:03:32,210 --> 00:03:33,299 Correctamundo. 122 00:03:33,299 --> 00:03:35,090 And that's what we're going to be like, OK? 123 00:03:35,090 --> 00:03:36,680 We're going to be cool. 124 00:03:36,680 --> 00:03:39,320 Now I'm going to count to three. 125 00:03:39,320 --> 00:03:42,680 And when I do, you're going to let your gun go. 126 00:03:42,680 --> 00:03:44,800 You're going to set your palms down on the table. 127 00:03:44,800 --> 00:03:46,091 You're going to sit over there. 128 00:03:46,091 --> 00:03:49,210 But when you do it, you're going to do it cool. 129 00:03:49,210 --> 00:03:50,880 OK? 130 00:03:50,880 --> 00:03:53,880 One, two, three. 131 00:03:58,315 --> 00:03:58,940 Now let her go. 132 00:03:58,940 --> 00:03:59,710 Come on, Yolanda! 133 00:03:59,710 --> 00:04:00,000 I thought you said you were going to be cool. 134 00:04:00,000 --> 00:04:01,584 I thought you said you were going to be cool. 135 00:04:05,050 --> 00:04:06,395 Now-- line? 136 00:04:06,395 --> 00:04:07,270 When you yell at me-- 137 00:04:07,270 --> 00:04:10,660 When you yell at me, it makes me nervous. 138 00:04:10,660 --> 00:04:13,400 And when I get nervous, I get scared. 139 00:04:13,400 --> 00:04:15,490 And when motherfuckers get scared, 140 00:04:15,490 --> 00:04:18,269 that's when motherfuckers get accidentally shot. 141 00:04:18,269 --> 00:04:20,500 Just so you know, you hurt him, you die. 142 00:04:20,500 --> 00:04:22,670 That seems to be the situation. 143 00:04:22,670 --> 00:04:24,710 Now I don't want that and you don't want that. 144 00:04:24,710 --> 00:04:26,270 And Ringo here don't want that. 145 00:04:26,270 --> 00:04:28,180 But here's the situation. 146 00:04:28,180 --> 00:04:30,000 Now normally both your asses would be 147 00:04:30,000 --> 00:04:30,760 Now normally both your asses would be 148 00:04:30,760 --> 00:04:33,007 dead as fucking fried chicken. 149 00:04:33,007 --> 00:04:34,840 But you happened to pull this shit while I'm 150 00:04:34,840 --> 00:04:37,000 in a transitional period. 151 00:04:37,000 --> 00:04:38,470 I don't want to hurt you. 152 00:04:38,470 --> 00:04:40,150 I want to help you. 153 00:04:40,150 --> 00:04:44,460 But I'm afraid I can't give you this case. 154 00:04:44,460 --> 00:04:45,769 See, it don't belong to me. 155 00:04:45,769 --> 00:04:47,810 I already went through too much shit this morning 156 00:04:47,810 --> 00:04:50,558 on account of this case to just hand it over to your asses. 157 00:04:50,558 --> 00:04:51,850 What the fuck is going on here? 158 00:04:51,850 --> 00:04:53,120 Vincent, it's cool. 159 00:04:53,120 --> 00:04:55,350 Vincent, just-- just chill out. 160 00:04:55,350 --> 00:04:57,710 Yolanda, we still cool, baby. 161 00:04:57,710 --> 00:04:58,307 We still cool. 162 00:04:58,307 --> 00:04:59,390 Tell her we're still cool. 163 00:04:59,390 --> 00:04:59,780 We're still cool, baby. 164 00:04:59,780 --> 00:05:00,000 We're still cool. 165 00:05:00,000 --> 00:05:00,510 We're still cool. 166 00:05:00,510 --> 00:05:01,330 Don't worry. 167 00:05:01,330 --> 00:05:02,930 Jules, what the fuck is going on? 168 00:05:02,930 --> 00:05:04,250 Nothing I can't handle. 169 00:05:04,250 --> 00:05:07,490 Now just chill the hell out and lay back 170 00:05:07,490 --> 00:05:10,010 unless it's absolutely necessary. 171 00:05:10,010 --> 00:05:13,587 Yolanda, how you doing, baby? 172 00:05:13,587 --> 00:05:14,170 I need to pee. 173 00:05:14,170 --> 00:05:15,220 And I want to go home. 174 00:05:15,220 --> 00:05:16,690 Just hang in there Yolanda. 175 00:05:16,690 --> 00:05:18,500 You're doing great. 176 00:05:18,500 --> 00:05:21,730 Your boyfriend's proud of you, and so am I, OK? 177 00:05:21,730 --> 00:05:22,930 Now this is almost over. 178 00:05:22,930 --> 00:05:25,930 Now what I want you to do is go in that bag 179 00:05:25,930 --> 00:05:28,024 and pull out my wallet. 180 00:05:28,024 --> 00:05:30,000 Go ahead. 181 00:05:30,000 --> 00:05:30,710 Go ahead. 182 00:05:30,710 --> 00:05:31,540 Which one is it? 183 00:05:31,540 --> 00:05:35,159 It's the one that says bad motherfucker on there. 184 00:05:35,159 --> 00:05:35,830 Come on. 185 00:05:35,830 --> 00:05:37,246 There, that's my bad motherfucker. 186 00:05:37,246 --> 00:05:39,580 Now open it up. 187 00:05:39,580 --> 00:05:41,300 Take out the cash. 188 00:05:41,300 --> 00:05:42,140 Take it. 189 00:05:42,140 --> 00:05:44,891 How much is there? 190 00:05:44,891 --> 00:05:45,390 Ah-- 191 00:05:45,390 --> 00:05:46,000 Come on. 192 00:05:46,000 --> 00:05:47,100 Like $1,500 193 00:05:47,100 --> 00:05:47,705 OK, yeah. 194 00:05:47,705 --> 00:05:49,020 Now put that in your pocket. 195 00:05:49,020 --> 00:05:50,460 That's yours. 196 00:05:50,460 --> 00:05:53,730 Now with the rest of the wallet and with the register, 197 00:05:53,730 --> 00:05:57,226 that makes this a pretty sizable little score now, don't it? 198 00:05:57,226 --> 00:05:58,690 Hm? 199 00:05:58,690 --> 00:06:00,000 Jules, you-- 200 00:06:00,000 --> 00:06:01,860 Jules, you-- 201 00:06:01,860 --> 00:06:02,360 What? 202 00:06:02,360 --> 00:06:04,517 --give these nimrods that $1,500, 203 00:06:04,517 --> 00:06:06,100 I'm killing them on general principle. 204 00:06:06,100 --> 00:06:07,960 You ain't going to do a goddamn thing. 205 00:06:07,960 --> 00:06:08,930 Now shut the fuck up. 206 00:06:08,930 --> 00:06:11,480 Besides, I ain't giving it to them, OK? 207 00:06:11,480 --> 00:06:12,980 I'm buying something for my money. 208 00:06:12,980 --> 00:06:15,040 You want to know what I'm buying, Ringo? 209 00:06:15,040 --> 00:06:15,980 What? 210 00:06:15,980 --> 00:06:17,770 Your life. 211 00:06:17,770 --> 00:06:22,160 I'm giving you that money so I don't have to kill yo ass. 212 00:06:22,160 --> 00:06:24,680 You ever read the Bible? 213 00:06:24,680 --> 00:06:25,610 No, not regularly. 214 00:06:25,610 --> 00:06:26,110 No. 215 00:06:26,110 --> 00:06:27,650 Well, there's a little passage, OK? 216 00:06:27,650 --> 00:06:28,970 I got it right here. 217 00:06:28,970 --> 00:06:30,000 Ezekiel 12:17. 218 00:06:30,000 --> 00:06:31,490 Ezekiel 12:17. 219 00:06:31,490 --> 00:06:35,330 "The path of the righteous man is beset on all sides 220 00:06:35,330 --> 00:06:39,820 by the iniquities of the selfish and the tyranny of evil men. 221 00:06:39,820 --> 00:06:42,860 Blessed is he who in the name of charity and goodwill 222 00:06:42,860 --> 00:06:45,409 shepherds the weak through the valley of the darkness, 223 00:06:45,409 --> 00:06:49,370 for he is truly his brother's keeper and the finder of lost 224 00:06:49,370 --> 00:06:50,030 children. 225 00:06:50,030 --> 00:06:53,780 And I will strike down upon thee with great vengeance 226 00:06:53,780 --> 00:06:56,690 and furious angers those who attempt to poison 227 00:06:56,690 --> 00:06:58,090 and destroy my brothers. 228 00:06:58,090 --> 00:07:00,000 And you will know that I am Lord when 229 00:07:00,000 --> 00:07:00,320 And you will know that I am Lord when 230 00:07:00,320 --> 00:07:04,650 I lay my vengeance upon you." 231 00:07:04,650 --> 00:07:07,900 Now I been saying that shit for years. 232 00:07:07,900 --> 00:07:12,610 And if you ever heard it, that meant your ass. 233 00:07:12,610 --> 00:07:15,070 Now I never really questioned what it meant. 234 00:07:15,070 --> 00:07:17,800 I thought it was just a cold-blooded thing 235 00:07:17,800 --> 00:07:20,440 to say to a motherfucker before you popped a cap in his ass. 236 00:07:20,440 --> 00:07:24,550 But I saw some shit this morning and made me think twice. 237 00:07:24,550 --> 00:07:26,800 Now I'm thinking it could mean-- 238 00:07:26,800 --> 00:07:28,420 it could mean you're the evil man 239 00:07:28,420 --> 00:07:30,000 and I'm the righteous man and Mr. 45 here, 240 00:07:30,000 --> 00:07:31,300 and I'm the righteous man and Mr. 45 here, 241 00:07:31,300 --> 00:07:33,190 he's the shepherd protecting my righteous ass 242 00:07:33,190 --> 00:07:35,450 in the valley of darkness. 243 00:07:35,450 --> 00:07:38,080 Or it could mean that you're the righteous man 244 00:07:38,080 --> 00:07:40,000 and I'm the shepherd and it's the world 245 00:07:40,000 --> 00:07:41,460 that's evil and selfish. 246 00:07:41,460 --> 00:07:43,706 And I'd like that. 247 00:07:43,706 --> 00:07:46,500 But this shit ain't the truth. 248 00:07:46,500 --> 00:07:48,909 The truth is you're weak. 249 00:07:48,909 --> 00:07:52,106 And I'm the tyranny of evil men. 250 00:07:52,106 --> 00:07:54,860 But I'm trying. 251 00:07:54,860 --> 00:07:58,936 I am trying real hard to be the shepherd. 252 00:07:58,936 --> 00:08:00,000 Good god. 253 00:08:00,000 --> 00:08:01,406 Good god. 254 00:08:01,406 --> 00:08:03,390 Um-- (LAUGHING) 255 00:08:03,390 --> 00:08:06,200 I kind of jumped into that without warning, didn't I? 256 00:08:06,200 --> 00:08:06,700 No. 257 00:08:06,700 --> 00:08:07,160 No, was that OK? 258 00:08:07,350 --> 00:08:07,851 OK. 259 00:08:07,851 --> 00:08:09,224 Felt like you guys weren't ready. 260 00:08:09,224 --> 00:08:09,940 I just like-- 261 00:08:09,940 --> 00:08:11,770 We sometimes jump in without warning. 262 00:08:11,770 --> 00:08:12,140 That's what we do. 263 00:08:12,140 --> 00:08:12,880 Then it was happening. 264 00:08:12,880 --> 00:08:13,640 It was too late to stop it. 265 00:08:13,640 --> 00:08:14,600 That's what we do. 266 00:08:14,600 --> 00:08:16,210 OK. 267 00:08:16,210 --> 00:08:18,860 OK, so awesome Honey Bunny. 268 00:08:18,860 --> 00:08:19,990 Oh, thank you. 269 00:08:19,990 --> 00:08:20,520 Good Jules. 270 00:08:20,520 --> 00:08:21,500 Way to go. 271 00:08:21,500 --> 00:08:22,000 Thank you. 272 00:08:22,000 --> 00:08:22,832 Thank you very much. 273 00:08:22,832 --> 00:08:25,120 I mean good Vincent-- 274 00:08:25,120 --> 00:08:29,714 menacing and as assholic as he needs to be in terms of-- 275 00:08:29,714 --> 00:08:30,000 Assholic? 276 00:08:30,000 --> 00:08:30,214 Assholic? 277 00:08:30,214 --> 00:08:34,941 --what he's supposed to be, showing up in there like that. 278 00:08:34,941 --> 00:08:36,315 The lion's share of the criticism 279 00:08:36,315 --> 00:08:37,828 is going to come to you, because you have the lion's 280 00:08:37,828 --> 00:08:38,745 share of the responsibility-- 281 00:08:38,745 --> 00:08:39,370 Yeah, bring it. 282 00:08:39,370 --> 00:08:40,030 --in the scene. 283 00:08:40,030 --> 00:08:43,119 OK, first things first, take your time. 284 00:08:47,740 --> 00:08:52,180 We want to understand what you're saying contextually. 285 00:08:52,180 --> 00:08:57,864 And we want to take this ride with you 286 00:08:57,864 --> 00:08:59,280 and what this means to you because 287 00:08:59,280 --> 00:09:00,000 of what's happened earlier in the day 288 00:09:00,000 --> 00:09:01,320 of what's happened earlier in the day 289 00:09:01,320 --> 00:09:04,320 and why you're actually not killing them 290 00:09:04,320 --> 00:09:06,030 as you normally would have done. 291 00:09:06,030 --> 00:09:08,410 You are in control of the situation. 292 00:09:08,410 --> 00:09:10,750 You're in control of how fast it goes. 293 00:09:10,750 --> 00:09:14,520 You're-- the only wild card here is that. 294 00:09:14,520 --> 00:09:17,040 And that's what you're trying to keep control of. 295 00:09:17,040 --> 00:09:19,950 And you know the best way to keep control of this wild card 296 00:09:19,950 --> 00:09:22,210 is by having this person control it. 297 00:09:22,210 --> 00:09:26,817 So you have to make sure this person commands that person 298 00:09:26,817 --> 00:09:28,650 and that person is paying attention to him-- 299 00:09:28,650 --> 00:09:30,000 paying more attention to him than to you-- 300 00:09:30,000 --> 00:09:30,814 paying more attention to him than to you-- 301 00:09:30,814 --> 00:09:31,730 That's why I look at-- 302 00:09:31,730 --> 00:09:33,690 --so that when Vincent shows up-- yeah, I know. 303 00:09:33,690 --> 00:09:34,500 You kept your eye on him. 304 00:09:34,500 --> 00:09:36,390 But when Vincent started talking, you looked over there. 305 00:09:36,390 --> 00:09:37,931 And she could have picked this gun up 306 00:09:37,931 --> 00:09:39,150 and shot you in the face. 307 00:09:39,150 --> 00:09:42,540 So if the gun is there, you've got to be aware of it. 308 00:09:42,540 --> 00:09:45,480 Or you can either reach over and move it or do something. 309 00:09:45,480 --> 00:09:47,254 But you can't just leave it there. 310 00:09:47,254 --> 00:09:48,670 People sitting in the audience are 311 00:09:48,670 --> 00:09:50,836 saying she could just pick that gun up and shoot her 312 00:09:50,836 --> 00:09:52,280 in the face with it. 313 00:09:52,280 --> 00:09:54,667 That's why I always made Tim leave it right there. 314 00:09:54,667 --> 00:09:55,750 You're in control of that. 315 00:09:55,750 --> 00:09:57,810 So you should make sure she places the gun right here 316 00:09:57,810 --> 00:09:59,226 in front of you so you can see it. 317 00:10:02,330 --> 00:10:05,380 Ezekiel 25:17. 318 00:10:05,380 --> 00:10:07,120 Everybody knows that. 319 00:10:07,120 --> 00:10:12,598 I know-- just so everybody knows that's watching this, 320 00:10:12,598 --> 00:10:14,950 this was kind of a wild card that 321 00:10:14,950 --> 00:10:17,340 was thrown in this morning. 322 00:10:17,340 --> 00:10:21,216 They learned up to that point and this speech wasn't there. 323 00:10:21,216 --> 00:10:22,840 And I thought the speech was essential, 324 00:10:22,840 --> 00:10:24,719 so I had them put it back in there 325 00:10:24,719 --> 00:10:26,260 so that you guys would have to do it, 326 00:10:26,260 --> 00:10:28,120 because it's a great acting piece to do. 327 00:10:28,120 --> 00:10:29,830 And people want to do it. 328 00:10:29,830 --> 00:10:30,000 It gives a chance for you to shine and exhibit 329 00:10:30,000 --> 00:10:34,110 It gives a chance for you to shine and exhibit 330 00:10:34,110 --> 00:10:36,640 a lot of different things. 331 00:10:36,640 --> 00:10:39,880 So knowing the speech would help you a lot more 332 00:10:39,880 --> 00:10:43,570 in your delivery of it. 333 00:10:43,570 --> 00:10:47,960 Interpretation of what's happening over here-- 334 00:10:47,960 --> 00:10:50,500 all these are different ideas. 335 00:10:50,500 --> 00:10:54,850 When you get past "I never really questioned 336 00:10:54,850 --> 00:10:55,660 what it meant. 337 00:10:55,660 --> 00:10:57,410 I just thought it was a cold-blooded thing 338 00:10:57,410 --> 00:11:00,000 to say to a motherfucker before I popped a cap in his ass," 339 00:11:00,000 --> 00:11:01,260 to say to a motherfucker before I popped a cap in his ass," 340 00:11:01,260 --> 00:11:07,090 then you go through why you had to rethink what it actually 341 00:11:07,090 --> 00:11:08,500 means. 342 00:11:08,500 --> 00:11:10,970 "I saw something this morning that made me think twice." 343 00:11:10,970 --> 00:11:15,310 So now I'm thinking of something else. 344 00:11:15,310 --> 00:11:18,340 So this particular passage, when you break it 345 00:11:18,340 --> 00:11:22,300 down into what it is or what he says all the time to get 346 00:11:22,300 --> 00:11:26,260 to this other thing where he's analyzing 347 00:11:26,260 --> 00:11:28,220 what he was saying to these people 348 00:11:28,220 --> 00:11:30,000 and what he thought it meant and finally realizing 349 00:11:30,000 --> 00:11:31,570 and what he thought it meant and finally realizing 350 00:11:31,570 --> 00:11:38,910 the truth of it all, that he's the tyranny of evil men. 351 00:11:38,910 --> 00:11:41,860 You're weak. 352 00:11:41,860 --> 00:11:45,662 And I'm the tyranny of evil men. 353 00:11:45,662 --> 00:11:46,870 But I'm trying. 354 00:11:46,870 --> 00:11:52,920 I'm really trying to fix my shit here, you know. 355 00:11:52,920 --> 00:11:56,280 But that passage has to be that-- 356 00:11:59,170 --> 00:12:00,000 I guess there's no way around it, is there? 357 00:12:00,000 --> 00:12:01,240 I guess there's no way around it, is there? 358 00:12:01,240 --> 00:12:06,252 There's this passage I got memorized, Ezekiel 25:17. 359 00:12:06,252 --> 00:12:09,790 The path for the righteous man is beset on all sides 360 00:12:09,790 --> 00:12:12,040 by the tyranny of evil men. 361 00:12:12,040 --> 00:12:14,080 "The path of righteous men is beset on all sides 362 00:12:14,080 --> 00:12:15,700 by the tyranny-- 363 00:12:15,700 --> 00:12:18,580 beset on all sides by the inequities of the selfish 364 00:12:18,580 --> 00:12:21,180 and the tyranny of evil men. 365 00:12:21,180 --> 00:12:23,790 Blessed is he who in the name of charity and good 366 00:12:23,790 --> 00:12:26,220 will shepherds the weak through the valley of darkness, 367 00:12:26,220 --> 00:12:30,000 for he is truly his brother's keeper and the finder of lost 368 00:12:30,000 --> 00:12:31,560 for he is truly his brother's keeper and the finder of lost 369 00:12:31,560 --> 00:12:33,500 children. 370 00:12:33,500 --> 00:12:37,400 And I will strike down upon thee with a great vengeance 371 00:12:37,400 --> 00:12:42,080 and furious anger those who attempt to poison 372 00:12:42,080 --> 00:12:44,890 and destroy my brother. 373 00:12:44,890 --> 00:12:49,390 And you know my name is the Lord when 374 00:12:49,390 --> 00:12:50,970 I lay my vengeance upon thee." 375 00:12:53,810 --> 00:12:58,170 Now normally if you heard that, that meant your ass. 376 00:12:58,170 --> 00:13:00,000 But I saw some shit this morning, 377 00:13:00,000 --> 00:13:01,930 But I saw some shit this morning, 378 00:13:01,930 --> 00:13:03,942 made me take another look at it. 379 00:13:03,942 --> 00:13:06,510 So you're almost like not believing those lines anymore. 380 00:13:06,510 --> 00:13:07,010 No, you're-- 381 00:13:07,010 --> 00:13:07,440 --not 382 00:13:07,440 --> 00:13:09,231 It's the first time he's really hearing it. 383 00:13:09,231 --> 00:13:10,560 It's menacing as fuck. 384 00:13:10,560 --> 00:13:16,156 But it's the first time I realized what I'm saying. 385 00:13:16,156 --> 00:13:18,030 I just said it because it was some cool shit. 386 00:13:18,030 --> 00:13:19,170 It sounded great. 387 00:13:19,170 --> 00:13:22,144 I never stopped to like give it any deep thought. 388 00:13:22,144 --> 00:13:23,060 Yeah, I see you like-- 389 00:13:23,060 --> 00:13:24,680 But all of a sudden, boom. 390 00:13:24,680 --> 00:13:26,890 Fuck, this is what it is. 391 00:13:26,890 --> 00:13:29,080 And then it says, now I'm thinking twice. 392 00:13:29,080 --> 00:13:30,000 It could mean I'm the evil man and you righteous and I'm 393 00:13:30,000 --> 00:13:32,820 It could mean I'm the evil man and you righteous and I'm 394 00:13:32,820 --> 00:13:34,890 leading you through the valley of darkness 395 00:13:34,890 --> 00:13:39,000 and I'm taking care of you, or I'm the shepherd 396 00:13:39,000 --> 00:13:40,920 and the world is all fucked up. 397 00:13:40,920 --> 00:13:45,180 But that shit ain't true. 398 00:13:45,180 --> 00:13:47,410 I'm a fucking killer. 399 00:13:47,410 --> 00:13:49,870 I kill people for a living is what I do. 400 00:13:49,870 --> 00:13:54,910 And I'm the tyranny of evil men. 401 00:13:54,910 --> 00:13:57,170 I'm that motherfucker. 402 00:13:57,170 --> 00:14:00,000 So I'm going to try to do something about that. 403 00:14:00,000 --> 00:14:00,524 So I'm going to try to do something about that. 404 00:14:00,524 --> 00:14:01,190 Imma work on it. 405 00:14:01,190 --> 00:14:02,900 It's like a born again situation. 406 00:14:02,900 --> 00:14:03,941 Yeah, Imma work on it. 407 00:14:03,941 --> 00:14:04,440 Yeah. 408 00:14:04,440 --> 00:14:05,110 Imma work on it. 409 00:14:05,110 --> 00:14:06,984 But that's what the whole conversation was he 410 00:14:06,984 --> 00:14:10,760 and John were having prior to this robbery happening. 411 00:14:10,760 --> 00:14:13,370 So when you're there-- 412 00:14:13,370 --> 00:14:16,070 and I do realize we dropped this on you this morning. 413 00:14:16,070 --> 00:14:17,645 But you know what? 414 00:14:17,645 --> 00:14:19,282 That happens on movie sets. 415 00:14:19,282 --> 00:14:21,740 People come to your trailer and they give you some new shit 416 00:14:21,740 --> 00:14:24,031 because they go, we had a thought last night [MUMBLING] 417 00:14:24,031 --> 00:14:24,870 boom. 418 00:14:24,870 --> 00:14:30,000 Learn this and we're going to shoot it in a half hour. 419 00:14:30,000 --> 00:14:30,020 Learn this and we're going to shoot it in a half hour. 420 00:14:30,020 --> 00:14:30,520 You know? 421 00:14:30,520 --> 00:14:37,550 Or when I was doing piano lesson at Yale, August Wilson-- 422 00:14:37,550 --> 00:14:39,500 when we got into previews, August Wilson 423 00:14:39,500 --> 00:14:42,330 would come in after seeing the play the night before. 424 00:14:42,330 --> 00:14:45,700 And he would bring in a five-page monologue 425 00:14:45,700 --> 00:14:48,800 and said we're going to put this in tonight. 426 00:14:48,800 --> 00:14:52,630 And you've got to knuckle the fuck down and be 427 00:14:52,630 --> 00:14:56,811 ready to go that night and hit it and (KNOCKING) word for word 428 00:14:56,811 --> 00:14:57,310 for word. 429 00:14:57,310 --> 00:14:58,720 But that's what we do. 430 00:14:58,720 --> 00:15:00,000 We accept challenges. 431 00:15:00,000 --> 00:15:00,250 We accept challenges. 432 00:15:00,250 --> 00:15:03,290 We want the challenge, so we do it that way. 433 00:15:03,290 --> 00:15:08,540 So when you look at it, and I realize you were nervous-- 434 00:15:08,540 --> 00:15:11,152 nerves played into it and then you were trying to read it. 435 00:15:11,152 --> 00:15:12,110 You were trying to act. 436 00:15:12,110 --> 00:15:13,120 You were trying to hold a gun. 437 00:15:13,120 --> 00:15:14,995 You're trying to do a lot of different things 438 00:15:14,995 --> 00:15:16,730 at the same time. 439 00:15:16,730 --> 00:15:20,050 So Imma cut you some slack for that. 440 00:15:20,050 --> 00:15:21,950 Imma let you have that. 441 00:15:21,950 --> 00:15:27,700 So let's reconfigure and do it again. 1 00:00:00,000 --> 00:00:01,972 2 00:00:06,304 --> 00:00:06,803 OK. 3 00:00:14,271 --> 00:00:14,770 Action. 4 00:00:14,770 --> 00:00:16,670 Show 5 00:00:16,670 --> 00:00:19,760 What is it? 6 00:00:19,760 --> 00:00:21,242 (ANXIOUSLY) Let him go! 7 00:00:21,242 --> 00:00:23,712 Let him go-- fucking go, or I'm going to fucking shoot you! 8 00:00:23,712 --> 00:00:24,617 Tell that bitch, be cool. 9 00:00:24,700 --> 00:00:25,110 Be cool, honey. 10 00:00:25,110 --> 00:00:25,500 I'm going-- 11 00:00:25,500 --> 00:00:25,890 Say bitch, be cool! 12 00:00:25,890 --> 00:00:26,280 --to fucking kill you! 13 00:00:26,280 --> 00:00:27,270 It's all right, honey. 14 00:00:27,480 --> 00:00:27,900 Be cool, baby. 15 00:00:27,900 --> 00:00:28,400 Let him go. 16 00:00:28,400 --> 00:00:28,972 Be cool. 17 00:00:28,972 --> 00:00:30,000 Now tell her everything's OK. 18 00:00:30,000 --> 00:00:30,180 Now tell her everything's OK. 19 00:00:30,180 --> 00:00:31,470 Everything's going to be all right, honey. 20 00:00:31,470 --> 00:00:32,000 Promise her. 21 00:00:32,000 --> 00:00:32,667 I promise, baby. 22 00:00:32,667 --> 00:00:33,583 Now tell her to chill. 23 00:00:33,583 --> 00:00:34,310 Just chill, baby. 24 00:00:34,310 --> 00:00:35,310 You're going to be cool. 25 00:00:35,310 --> 00:00:35,976 What's her name? 26 00:00:35,976 --> 00:00:36,810 Yolanda. 27 00:00:36,810 --> 00:00:37,867 Yolanda, we cool, right? 28 00:00:37,867 --> 00:00:39,950 You ain't going to do anything stupid now, are we? 29 00:00:39,950 --> 00:00:40,820 Don't you hurt him. 30 00:00:40,820 --> 00:00:42,486 Ain't nobody going going to hurt nobody. 31 00:00:42,486 --> 00:00:43,400 OK? 32 00:00:43,400 --> 00:00:45,900 We're going to be like three Fonzies up in here. 33 00:00:45,900 --> 00:00:47,810 You know what Fonzie is like, right? 34 00:00:47,810 --> 00:00:49,630 [CRYING] 35 00:00:49,630 --> 00:00:50,420 Come on, Yolanda! 36 00:00:50,420 --> 00:00:51,711 Do you know what Fonzie's like? 37 00:00:51,711 --> 00:00:52,890 He's-- he's cool. 38 00:00:52,890 --> 00:00:54,970 Correct-a-fucking-mundo. 39 00:00:54,970 --> 00:00:57,211 We going to be cool. 40 00:00:57,211 --> 00:01:00,000 Now, Ringo, I'm going to count to three. 41 00:01:00,000 --> 00:01:02,300 Now, Ringo, I'm going to count to three. 42 00:01:02,300 --> 00:01:04,060 And I want you to let go of this gun 43 00:01:04,060 --> 00:01:06,095 and lay your palms flat on this table. 44 00:01:06,095 --> 00:01:08,720 But when you do it, you do it cool. 45 00:01:08,720 --> 00:01:10,400 You ready? 46 00:01:10,400 --> 00:01:14,150 1, 2, 3. 47 00:01:17,398 --> 00:01:19,700 You let him go! 48 00:01:19,700 --> 00:01:23,182 Yolanda, I thought you said you were going to be cool. 49 00:01:23,182 --> 00:01:25,630 Because when you yell at me, it makes me nervous. 50 00:01:25,630 --> 00:01:28,234 And when I'm nervous, I get scared. 51 00:01:28,234 --> 00:01:29,650 And when motherfuckers get scared, 52 00:01:29,650 --> 00:01:30,000 that's when motherfuckers accidentally get shot. 53 00:01:30,000 --> 00:01:31,720 that's when motherfuckers accidentally get shot. 54 00:01:34,270 --> 00:01:37,800 Just know you hurt him, you die. 55 00:01:37,800 --> 00:01:40,570 That seems to be the situation now, doesn't it? 56 00:01:40,570 --> 00:01:42,610 And I don't want that, you don't want that, 57 00:01:42,610 --> 00:01:46,700 and Ringo here don't want that. 58 00:01:46,700 --> 00:01:49,104 So here's the situation. 59 00:01:49,104 --> 00:01:51,020 Normally your asses would be dead like fucking 60 00:01:51,020 --> 00:01:53,110 fried chicken. 61 00:01:53,110 --> 00:01:55,110 But you happen to be pulling this shit while I'm 62 00:01:55,110 --> 00:01:57,060 in a transitional period. 63 00:01:57,060 --> 00:01:59,360 And I don't want to kill you. 64 00:01:59,360 --> 00:02:00,000 I want to help you, right? 65 00:02:00,000 --> 00:02:02,840 I want to help you, right? 66 00:02:02,840 --> 00:02:06,680 But I can't give you this case here. 67 00:02:06,680 --> 00:02:08,070 It don't belong to me. 68 00:02:08,070 --> 00:02:09,720 Besides I've been through too much shit 69 00:02:09,720 --> 00:02:11,970 this morning on behalf of this case here 70 00:02:11,970 --> 00:02:14,270 to just hand it over to you. 71 00:02:14,270 --> 00:02:15,859 What the fuck is going on here? 72 00:02:15,859 --> 00:02:16,650 It's cool, Vincent! 73 00:02:16,650 --> 00:02:18,070 It's cool! 74 00:02:18,070 --> 00:02:20,651 Don't do a goddamn thing! 75 00:02:20,651 --> 00:02:22,829 Now, Yolanda, it's cool, baby. 76 00:02:22,829 --> 00:02:23,870 Be cool. 77 00:02:23,870 --> 00:02:25,150 Nothing's changed. 78 00:02:25,150 --> 00:02:26,390 We're still just talking. 79 00:02:26,390 --> 00:02:26,980 Tell her it's cool. 80 00:02:26,980 --> 00:02:27,646 It's cool, baby. 81 00:02:27,646 --> 00:02:28,965 We're still talking. 82 00:02:28,965 --> 00:02:30,000 What the hell is going on here, Jules? 83 00:02:30,000 --> 00:02:31,100 What the hell is going on here, Jules? 84 00:02:31,100 --> 00:02:32,750 Nothing I can't handle. 85 00:02:32,750 --> 00:02:34,790 I want you to hang back, and don't do anything 86 00:02:34,790 --> 00:02:36,390 unless it's absolutely necessary. 87 00:02:36,390 --> 00:02:37,010 Check. 88 00:02:37,010 --> 00:02:38,402 Now, Yolanda, how we doing, baby? 89 00:02:38,402 --> 00:02:39,360 [CRYING] I have to pee. 90 00:02:39,360 --> 00:02:40,260 I want to go home. 91 00:02:40,260 --> 00:02:41,030 You're doing all right. 92 00:02:41,030 --> 00:02:41,820 You're doing just fine. 93 00:02:41,820 --> 00:02:42,611 You're doing great. 94 00:02:42,611 --> 00:02:47,310 Ringo is proud of you, and so am I. It's almost over. 95 00:02:47,310 --> 00:02:52,105 Now I want you to go in that bag, find my wallet. 96 00:02:52,105 --> 00:02:53,430 Uh, which one is it? 97 00:02:53,430 --> 00:02:55,243 The one that says "bad motherfucker" on it. 98 00:02:58,630 --> 00:03:00,000 I want you to open it up. 99 00:03:00,000 --> 00:03:01,520 I want you to open it up. 100 00:03:01,520 --> 00:03:03,141 Take out the cash. 101 00:03:03,141 --> 00:03:05,910 How much is there? 102 00:03:05,910 --> 00:03:06,901 About $1,500. 103 00:03:06,901 --> 00:03:08,400 I want you to put it in your pocket. 104 00:03:08,400 --> 00:03:10,518 It's yours. 105 00:03:10,518 --> 00:03:13,820 Now that, along with the wallets and the register, 106 00:03:13,820 --> 00:03:16,570 makes it a cool little score. 107 00:03:16,570 --> 00:03:19,544 If you give this nimrod $1,500, I'm 108 00:03:19,544 --> 00:03:21,210 going to shoot him on general principle. 109 00:03:21,210 --> 00:03:23,810 You ain't going to do a goddamn thing. 110 00:03:23,810 --> 00:03:27,410 Now sit back and shut the fuck up. 111 00:03:27,410 --> 00:03:30,000 Besides I'm not just giving it to him. 112 00:03:30,000 --> 00:03:31,200 Besides I'm not just giving it to him. 113 00:03:31,200 --> 00:03:33,030 I'm buying something for my money. 114 00:03:33,030 --> 00:03:34,500 You know what I'm buying, Jules? 115 00:03:34,500 --> 00:03:35,060 What? 116 00:03:35,060 --> 00:03:36,710 Vincent? 117 00:03:36,710 --> 00:03:38,450 (QUIETLY) Thank, you sir. 118 00:03:38,450 --> 00:03:38,970 Your life. 119 00:03:42,950 --> 00:03:48,210 I'm giving you that money so I don't have to kill your ass. 120 00:03:48,210 --> 00:03:50,560 You read the Bible? 121 00:03:50,560 --> 00:03:53,510 Not regularly. 122 00:03:53,510 --> 00:03:54,340 There's a passage-- 123 00:03:54,340 --> 00:03:55,510 [SIGH] 124 00:03:55,510 --> 00:03:59,970 --I got memorized, Ezekiel 25:17. 125 00:03:59,970 --> 00:04:00,000 The path of the righteous man is be-- 126 00:04:00,000 --> 00:04:02,700 The path of the righteous man is be-- 127 00:04:02,700 --> 00:04:05,980 is beset on all sides by the inequities of the selfish 128 00:04:05,980 --> 00:04:08,250 and the tyranny of evil men. 129 00:04:08,250 --> 00:04:12,480 Blessed is he in the name of the charity and goodwill shepherds 130 00:04:12,480 --> 00:04:15,240 the weak through the valley of the darkness, 131 00:04:15,240 --> 00:04:19,470 for he is truly his brother's keeper and the finder of lost 132 00:04:19,470 --> 00:04:20,370 children. 133 00:04:20,370 --> 00:04:24,540 And I will strike down upon thee with great vengeance 134 00:04:24,540 --> 00:04:27,630 and furious anger those who attempt to poison 135 00:04:27,630 --> 00:04:30,000 and destroy my brother. 136 00:04:30,000 --> 00:04:30,255 and destroy my brother. 137 00:04:30,255 --> 00:04:36,659 And you will know I am Lord when I lay my vengeance upon you. 138 00:04:36,659 --> 00:04:40,190 I've been saying that shit for years. 139 00:04:40,190 --> 00:04:45,750 And if you ever heard it, it meant your ass. 140 00:04:45,750 --> 00:04:48,510 I never really questioned what it meant. 141 00:04:48,510 --> 00:04:50,659 I thought it was just a cool-blooded shit 142 00:04:50,659 --> 00:04:53,900 to say to a mother-- to a motherfucker 143 00:04:53,900 --> 00:04:56,470 before you pop the cap in his ass. 144 00:04:56,470 --> 00:04:57,970 But I saw him shit-- 145 00:04:57,970 --> 00:05:00,000 I saw some shit this morning made me think twice. 146 00:05:00,000 --> 00:05:00,970 I saw some shit this morning made me think twice. 147 00:05:00,970 --> 00:05:05,240 Now I'm thinking it could mean you're the evil man, 148 00:05:05,240 --> 00:05:06,730 and I'm the righteous man. 149 00:05:06,730 --> 00:05:08,990 And that Mister 45 here? 150 00:05:08,990 --> 00:05:10,880 He's the shepherd protecting my righteous ass 151 00:05:10,880 --> 00:05:12,950 in the valley of the darkness. 152 00:05:12,950 --> 00:05:15,530 Or it could be that you're the righteous man 153 00:05:15,530 --> 00:05:17,480 and I'm the shepherd, and it's the world 154 00:05:17,480 --> 00:05:20,050 that's evil and selfish. 155 00:05:20,050 --> 00:05:22,440 I'd like that. 156 00:05:22,440 --> 00:05:24,100 But that shit ain't the truth. 157 00:05:24,100 --> 00:05:27,595 The truth is you're weak, and I'm the tyranny of evil men. 158 00:05:27,595 --> 00:05:29,430 But I'm trying. 159 00:05:29,430 --> 00:05:30,000 I'm trying real hard to be the shepherd. 160 00:05:30,000 --> 00:05:34,680 I'm trying real hard to be the shepherd. 161 00:05:39,610 --> 00:05:40,210 Great. 162 00:05:40,210 --> 00:05:42,210 Cut. 163 00:05:42,210 --> 00:05:43,093 OK. 164 00:05:43,093 --> 00:05:45,360 Um, you rocked through the part you knew. 165 00:05:45,360 --> 00:05:46,220 [LAUGHTER] 166 00:05:46,220 --> 00:05:48,909 That was awesome. 167 00:05:48,909 --> 00:05:53,260 And you commanded the scene. 168 00:05:53,260 --> 00:05:54,510 You did what you needed to do. 169 00:05:54,510 --> 00:06:00,000 You made him give her orders, reassurance, do all the things. 170 00:06:00,000 --> 00:06:02,080 You made him give her orders, reassurance, do all the things. 171 00:06:02,080 --> 00:06:06,510 You're at this point when you're-- 172 00:06:06,510 --> 00:06:10,170 but I saw some shit this morning that made me think twice. 173 00:06:10,170 --> 00:06:13,894 So you ran through that like, (QUICKLY) I 174 00:06:13,894 --> 00:06:16,060 saw some shit this morning that made me think twice. 175 00:06:16,060 --> 00:06:17,809 Now I'm thinking-- no, you say, (SLOWLY) I 176 00:06:17,809 --> 00:06:21,470 saw some shit this morning that made me think twice. 177 00:06:21,470 --> 00:06:24,470 So now I'm thinking-- 178 00:06:24,470 --> 00:06:26,670 Twice. 179 00:06:26,670 --> 00:06:30,000 --it could mean that, you know, you are the evil man, 180 00:06:30,000 --> 00:06:30,720 --it could mean that, you know, you are the evil man, 181 00:06:30,720 --> 00:06:32,600 and I'm the righteous man. 182 00:06:32,600 --> 00:06:35,740 You got to go "you," "I." 183 00:06:35,740 --> 00:06:37,574 Make that total distinction between the two. 184 00:06:37,574 --> 00:06:39,448 Not (MUMBLING) you're the evil man and you're 185 00:06:39,448 --> 00:06:41,159 the righteous man, and I'm the evil man. 186 00:06:41,159 --> 00:06:43,201 You just got to, (SLOWLY AND DISTINCTLY) "you're" 187 00:06:43,201 --> 00:06:46,200 the evil man, and "I'm" the righteous man. 188 00:06:46,200 --> 00:06:49,170 Because you're hitting this thing yourself. 189 00:06:49,170 --> 00:06:50,990 You know, you're trying to make-- 190 00:06:50,990 --> 00:06:53,050 trying to make it makes some sense for you too. 191 00:06:53,050 --> 00:06:53,840 You know? 192 00:06:53,840 --> 00:07:00,000 And-- da-da-da-da-da-da-- I'm the shepherd, 193 00:07:00,000 --> 00:07:00,430 And-- da-da-da-da-da-da-- I'm the shepherd, 194 00:07:00,430 --> 00:07:01,952 and it's the "world." 195 00:07:01,952 --> 00:07:03,910 (QUICKLY) I'm the shepherd, and it's the world. 196 00:07:03,910 --> 00:07:05,710 You just ran through it. 197 00:07:05,710 --> 00:07:08,001 And I know you were reading it, but you ran through it. 198 00:07:08,001 --> 00:07:10,450 But you know, the important thing 199 00:07:10,450 --> 00:07:14,260 is to make an audience understand 200 00:07:14,260 --> 00:07:19,690 and for you to grasp the gravity of what it is. 201 00:07:19,690 --> 00:07:25,180 And you know, it's the "world" that's evil and selfish. 202 00:07:25,180 --> 00:07:26,992 You know? 203 00:07:26,992 --> 00:07:28,950 (SLOWLY AND DISTINCTLY) I'd like to think that. 204 00:07:28,950 --> 00:07:30,000 You know, I like that. 205 00:07:30,000 --> 00:07:34,159 But that shit ain't the truth. 206 00:07:34,159 --> 00:07:40,440 The truth is you're the weak. 207 00:07:40,440 --> 00:07:42,619 And I'm the tyranny. 208 00:07:42,619 --> 00:07:43,159 What is that? 209 00:07:43,159 --> 00:07:44,630 What is he, huh? 210 00:07:44,630 --> 00:07:45,350 What is it that? 211 00:07:45,620 --> 00:07:46,190 What is he saying? 212 00:07:46,190 --> 00:07:46,690 Yeah. 213 00:07:46,690 --> 00:07:49,010 The truth is that you are one of the weak people, 214 00:07:49,010 --> 00:07:50,810 and I'm one of the strong people. 215 00:07:50,810 --> 00:07:56,900 And I'm the evil of the world, and I have dominion over you. 216 00:07:56,900 --> 00:07:57,890 You know? 217 00:07:57,890 --> 00:08:00,000 And I don't want to be that person anymore. 218 00:08:00,000 --> 00:08:00,944 And I don't want to be that person anymore. 219 00:08:00,944 --> 00:08:01,610 Yeah, that's it. 220 00:08:01,610 --> 00:08:03,870 I'm trying. 221 00:08:03,870 --> 00:08:05,300 I'm trying to be the shepherd. 222 00:08:05,300 --> 00:08:07,470 I want to lead you through the valley of darkness. 223 00:08:07,470 --> 00:08:10,310 I don't want to be the bad shit that's in the valley 224 00:08:10,310 --> 00:08:12,600 of darkness that's-- that will fuck you up. 225 00:08:12,600 --> 00:08:13,100 Right. 226 00:08:13,100 --> 00:08:13,970 I'm here, you know. 227 00:08:13,970 --> 00:08:15,520 I want to be-- 228 00:08:15,520 --> 00:08:18,210 I want to be a productive member of society as opposed 229 00:08:18,210 --> 00:08:20,010 to what I am right now. 230 00:08:20,010 --> 00:08:22,440 You know, that's essentially what that speech is. 231 00:08:22,440 --> 00:08:24,440 I mean, it's almost like he's in the wrong place 232 00:08:24,440 --> 00:08:25,190 at the wrong time. 233 00:08:25,190 --> 00:08:27,530 Because he's had this epiphany in the morning, 234 00:08:27,530 --> 00:08:30,000 and now he's sitting at this diner and this shit went down. 235 00:08:30,000 --> 00:08:30,450 and now he's sitting at this diner and this shit went down. 236 00:08:30,450 --> 00:08:32,450 I mean, it's almost like he's in the right place 237 00:08:32,450 --> 00:08:33,350 at the right time, because-- 238 00:08:33,350 --> 00:08:34,099 Well, it's a test. 239 00:08:34,099 --> 00:08:35,419 It puts it into context of-- 240 00:08:35,419 --> 00:08:40,881 Well, it's-- it's his first test since he's made a decision that 241 00:08:40,881 --> 00:08:42,090 he's getting out of the life. 242 00:08:42,090 --> 00:08:42,590 Right? 243 00:08:42,590 --> 00:08:46,199 He just told Vincent, you know, I'm 244 00:08:46,199 --> 00:08:47,740 going to go walking around the world. 245 00:08:47,740 --> 00:08:49,176 Vincent says, so you're going to be a fucking bum? 246 00:08:49,176 --> 00:08:50,320 You know, he's saying, I'm just going 247 00:08:50,320 --> 00:08:52,306 to go walking around the world, you know, 248 00:08:52,306 --> 00:08:54,260 check out what's happening. 249 00:08:54,260 --> 00:08:56,370 He's turning the cane in kung fu. 250 00:08:56,370 --> 00:08:56,870 You know-- 251 00:08:56,870 --> 00:08:57,750 Yeah, yeah, yeah. 252 00:08:57,750 --> 00:08:58,370 --if you ever watch that. 253 00:08:58,370 --> 00:09:00,000 I'm going to just walk around and, you know, 254 00:09:00,000 --> 00:09:00,230 I'm going to just walk around and, you know, 255 00:09:00,230 --> 00:09:01,629 I'm going to get into adventures. 256 00:09:01,629 --> 00:09:03,170 I'm not going to stop killing people, 257 00:09:03,170 --> 00:09:04,961 but I'm going to kill the right people now. 258 00:09:04,961 --> 00:09:06,930 That's essentially what he's already told them 259 00:09:06,930 --> 00:09:08,010 he is going to do. 260 00:09:08,010 --> 00:09:10,110 And now he's facing his first test. 261 00:09:10,110 --> 00:09:12,410 Which is what I was saying, that Quentin actually 262 00:09:12,410 --> 00:09:16,160 wrote that he closed his eyes when he first walked 263 00:09:16,160 --> 00:09:17,660 up and asked him to open up the case 264 00:09:17,660 --> 00:09:19,250 and he says, I'm going to count to three 265 00:09:19,250 --> 00:09:20,312 and if you don't open that case I'm going 266 00:09:20,312 --> 00:09:21,790 to put a bullet in your face. 267 00:09:21,790 --> 00:09:23,960 And he goes 1, he closes his eyes, 268 00:09:23,960 --> 00:09:26,210 and he shot through the table, and he would kill him. 269 00:09:26,210 --> 00:09:27,709 And he would reach over, and then he 270 00:09:27,709 --> 00:09:29,040 would shoot her off the table. 271 00:09:29,040 --> 00:09:30,000 And by the time he got to 3, he opened his eyes, 272 00:09:30,000 --> 00:09:30,770 And by the time he got to 3, he opened his eyes, 273 00:09:30,770 --> 00:09:31,520 and they are still there. 274 00:09:31,520 --> 00:09:33,353 And he realizes that's what I would've done. 275 00:09:33,353 --> 00:09:35,990 So I'm not going to open the case. 276 00:09:35,990 --> 00:09:37,210 So that's what that is. 277 00:09:37,210 --> 00:09:41,135 That's his first test as this new man that you say you are. 278 00:09:41,135 --> 00:09:43,010 You know, because the audience would actually 279 00:09:43,010 --> 00:09:44,260 think that was some real shit. 280 00:09:44,260 --> 00:09:45,915 It's like, fucking Jules, he just 281 00:09:45,915 --> 00:09:46,640 killed those motherfuckers. 282 00:09:46,640 --> 00:09:48,223 And he woke up, and he opens his eyes, 283 00:09:48,223 --> 00:09:51,140 and it's, oh shit, I'm not that guy anymore. 284 00:09:51,140 --> 00:09:53,390 And that's why he tells him in the passage to say, 285 00:09:53,390 --> 00:09:54,470 I'm not that guy anymore. 286 00:09:54,470 --> 00:09:57,320 I'm trying not to be that guy that I used to be. 287 00:09:57,320 --> 00:10:00,000 I'm trying not to be this vicious killer or whatever. 288 00:10:00,000 --> 00:10:01,230 I'm trying not to be this vicious killer or whatever. 289 00:10:01,230 --> 00:10:06,290 But those are things that if you had time to study, and learn, 290 00:10:06,290 --> 00:10:10,880 and deal with the situation that you would come to hopefully. 291 00:10:10,880 --> 00:10:13,539 All good actors don't come to the same conclusions. 292 00:10:13,539 --> 00:10:15,080 People come to different conclusions. 293 00:10:15,080 --> 00:10:20,652 But when you're at home preparing those 294 00:10:20,652 --> 00:10:23,110 are the kind of things that you have options to think about 295 00:10:23,110 --> 00:10:24,340 before you get there. 296 00:10:24,340 --> 00:10:25,591 Or before you get to a room. 297 00:10:25,591 --> 00:10:28,090 Or if you were going to do this piece as an audition piece-- 298 00:10:28,090 --> 00:10:29,350 that speech-- 299 00:10:29,350 --> 00:10:30,000 you would have time to have thought about those things 300 00:10:30,000 --> 00:10:31,660 you would have time to have thought about those things 301 00:10:31,660 --> 00:10:33,790 and what each little piece of this means. 302 00:10:33,790 --> 00:10:36,910 You break down what all these sentences mean 303 00:10:36,910 --> 00:10:38,980 in terms of relating to each other 304 00:10:38,980 --> 00:10:43,090 and what he's trying to convey to the person he's speaking to 305 00:10:43,090 --> 00:10:45,820 and to the audience who is sitting there watching it. 306 00:10:45,820 --> 00:10:49,270 You're all going through this stuff prior to this, you know, 307 00:10:49,270 --> 00:10:52,540 very cleanly and like cool. 308 00:10:52,540 --> 00:10:53,420 And it's working. 309 00:10:53,420 --> 00:10:56,560 But that's just what that is-- 310 00:10:56,560 --> 00:11:00,000 the workings of time or how you prepare. 311 00:11:00,000 --> 00:11:02,169 the workings of time or how you prepare. 312 00:11:02,169 --> 00:11:04,210 I mean, I don't know how you prepare to do stuff, 313 00:11:04,210 --> 00:11:08,640 or what you do, or how you look at passages, 314 00:11:08,640 --> 00:11:11,740 or how you memorize them, or what your process is. 315 00:11:11,740 --> 00:11:14,420 And I'm sure each of you have a different process. 316 00:11:14,420 --> 00:11:15,210 Well what's-- 317 00:11:15,210 --> 00:11:15,655 Yeah, we want to-- 318 00:11:15,655 --> 00:11:16,154 --yours? 319 00:11:16,154 --> 00:11:16,990 What's your process? 320 00:11:16,990 --> 00:11:17,640 I don't have a process. 321 00:11:17,640 --> 00:11:18,139 [LAUGHTER] 322 00:11:18,139 --> 00:11:19,500 You just read, and that's it. 323 00:11:19,500 --> 00:11:22,440 No, not necessarily. 324 00:11:22,440 --> 00:11:30,000 Well you know, I go through passages, and I go through-- 325 00:11:30,000 --> 00:11:30,540 Well you know, I go through passages, and I go through-- 326 00:11:30,540 --> 00:11:34,760 I think every scene has a goal. 327 00:11:34,760 --> 00:11:36,910 So what are we trying to accomplish 328 00:11:36,910 --> 00:11:40,660 in this particular scene when we're in the diner? 329 00:11:40,660 --> 00:11:46,660 So I realized that my goal was to convince Vincent that I'm 330 00:11:46,660 --> 00:11:48,380 getting out of the life. 331 00:11:48,380 --> 00:11:52,840 And I'm not going to just randomly kill people for money 332 00:11:52,840 --> 00:11:53,540 anymore. 333 00:11:53,540 --> 00:11:56,590 I'm walking away from this whole thing. 334 00:11:56,590 --> 00:11:59,370 And this is the proof. 335 00:11:59,370 --> 00:12:00,000 This passage and what happens in this particular moment 336 00:12:00,000 --> 00:12:02,750 This passage and what happens in this particular moment 337 00:12:02,750 --> 00:12:04,190 is the proof of that. 338 00:12:04,190 --> 00:12:06,590 Because, like I said, what he would have done, 339 00:12:06,590 --> 00:12:07,840 you saw in his mind. 340 00:12:07,840 --> 00:12:09,470 It's a shame it's not in the movie. 341 00:12:09,470 --> 00:12:11,360 But what he would have done is there. 342 00:12:11,360 --> 00:12:15,650 But I had that information, because I had read the script. 343 00:12:15,650 --> 00:12:17,630 So I told you that before we did it 344 00:12:17,630 --> 00:12:19,970 so you would have that information, so 345 00:12:19,970 --> 00:12:22,910 that if you wanted to see that image and decide, OK, 346 00:12:22,910 --> 00:12:24,840 I'm not that guy anymore. 347 00:12:24,840 --> 00:12:27,440 And when you open your eyes, boom, they're still there. 348 00:12:27,440 --> 00:12:28,790 This is what happens. 349 00:12:28,790 --> 00:12:29,730 You know? 350 00:12:29,730 --> 00:12:30,000 I'm going to stop you from robbing these people, 351 00:12:30,000 --> 00:12:31,730 I'm going to stop you from robbing these people, 352 00:12:31,730 --> 00:12:32,854 but I'm not going kill you. 353 00:12:32,854 --> 00:12:34,640 I'm going do you a favor today. 354 00:12:34,640 --> 00:12:36,202 I'm going to give you my money. 355 00:12:36,202 --> 00:12:38,160 I'm going to give you all these people's money. 356 00:12:38,160 --> 00:12:41,380 And I'm going to let you walk out of this place alive. 357 00:12:41,380 --> 00:12:43,520 So now when you say that you think about the goal 358 00:12:43,520 --> 00:12:44,960 of the scene-- you think about the goal of the scene 359 00:12:44,960 --> 00:12:47,150 for your character and for the other characters-- 360 00:12:47,150 --> 00:12:50,480 do you also think about the goal of the scene in the context 361 00:12:50,480 --> 00:12:52,341 of the play or the-- 362 00:12:52,341 --> 00:12:52,840 Yes. 363 00:12:53,040 --> 00:12:53,540 --movie? 364 00:12:53,540 --> 00:12:54,080 Yeah, OK. 365 00:12:54,080 --> 00:12:55,820 Well that's essentially what I mean. 366 00:12:55,820 --> 00:12:56,630 Yeah, OK. 367 00:12:56,630 --> 00:12:57,985 The goal of this scene-- 368 00:12:57,985 --> 00:12:58,943 Why is this scene here? 369 00:12:58,943 --> 00:13:00,000 --in terms of the story. 370 00:13:00,000 --> 00:13:00,230 --in terms of the story. 371 00:13:00,230 --> 00:13:03,380 What am I doing in this scene for the story? 372 00:13:03,380 --> 00:13:06,050 Am I moving the story along to a certain place? 373 00:13:06,050 --> 00:13:09,570 Am I moving the story to a logical conclusion? 374 00:13:09,570 --> 00:13:11,660 This is a conclusion of what is happening 375 00:13:11,660 --> 00:13:13,160 in this particular scene. 376 00:13:13,160 --> 00:13:15,020 Now the problem with Pulp Fiction 377 00:13:15,020 --> 00:13:18,800 is that there's a bunch of different stories going on. 378 00:13:18,800 --> 00:13:25,160 So this is the conclusion of the Jules and Vincent adventure 379 00:13:25,160 --> 00:13:26,420 in this story. 380 00:13:26,420 --> 00:13:30,000 And I actually think the whole movie is about redemption. 381 00:13:30,000 --> 00:13:31,630 And I actually think the whole movie is about redemption. 382 00:13:31,630 --> 00:13:32,630 You know, things happen. 383 00:13:32,630 --> 00:13:35,330 People get a second chance to do whatever. 384 00:13:35,330 --> 00:13:36,890 I mean, Butch gets a second chance. 385 00:13:36,890 --> 00:13:38,876 Vincent gets a second chance. 386 00:13:38,876 --> 00:13:39,376 Uma. 387 00:13:39,376 --> 00:13:39,876 Uma. 388 00:13:39,876 --> 00:13:41,120 Uma's character, yeah. 389 00:13:41,120 --> 00:13:43,320 Even Honey Bunny and Pumpkin get a second chance. 390 00:13:43,320 --> 00:13:44,280 They totally get a second chance. 391 00:13:44,280 --> 00:13:44,779 Yeah. 392 00:13:44,779 --> 00:13:46,860 Marcel-- [INTERPOSING VOICES] 393 00:13:46,860 --> 00:13:49,100 Yeah, the whole movie is about redemption. 394 00:13:49,100 --> 00:13:53,420 So this is just this redemption story and how it works. 395 00:13:53,420 --> 00:13:56,660 But it also explains what Jules is going to do, 396 00:13:56,660 --> 00:13:59,990 how he has profoundly made a decision 397 00:13:59,990 --> 00:14:00,000 to be this new person that he claims-- 398 00:14:00,000 --> 00:14:02,114 to be this new person that he claims-- 399 00:14:02,114 --> 00:14:03,530 that he's been claiming he's going 400 00:14:03,530 --> 00:14:06,780 to be since they left the killing room in that car. 401 00:14:06,780 --> 00:14:08,420 When he said, I'm done. 402 00:14:08,420 --> 00:14:10,400 And John's not buying it-- you know, 403 00:14:10,400 --> 00:14:12,740 the whole deus ex machina-- 404 00:14:12,740 --> 00:14:14,390 you know, God came down and stopped 405 00:14:14,390 --> 00:14:16,400 the bullets and all that shit. 406 00:14:16,400 --> 00:14:18,950 But it's a continuation of that. 407 00:14:18,950 --> 00:14:21,050 So when you get to this, you have 408 00:14:21,050 --> 00:14:24,080 to go from whoever this cold-blooded person is. 409 00:14:24,080 --> 00:14:28,019 Because nobody's-- there's still a chance that he will kill him 410 00:14:28,019 --> 00:14:29,060 while he's sitting there. 411 00:14:29,060 --> 00:14:30,000 Until he says, I'm not going to kill you. 412 00:14:30,000 --> 00:14:31,599 Until he says, I'm not going to kill you. 413 00:14:31,599 --> 00:14:33,390 You know, normally when you hear that shit, 414 00:14:33,390 --> 00:14:35,360 that meant your ass, but-- 415 00:14:35,360 --> 00:14:37,790 you know, normally you'd be dead as fried chicken. 416 00:14:37,790 --> 00:14:40,315 But you caught me on a day I'm in transition. 417 00:14:40,315 --> 00:14:42,140 You know, what's that mean? 418 00:14:42,140 --> 00:14:45,340 I'm in transition because I think this, 419 00:14:45,340 --> 00:14:46,640 I think that, you know? 420 00:14:46,640 --> 00:14:47,140 When you-- 421 00:14:47,140 --> 00:14:49,580 Because I never thought about why that particular Bible 422 00:14:49,580 --> 00:14:52,441 verse was in my head or why I said it all the time. 423 00:14:52,441 --> 00:14:52,940 when you-- 424 00:14:52,940 --> 00:14:54,290 It was leading me to this. 425 00:14:54,290 --> 00:14:56,330 when you went over that passage there 426 00:14:56,330 --> 00:14:59,510 was a large quality of like intimacy, 427 00:14:59,510 --> 00:15:00,000 almost like nobody was in the room except for-- 428 00:15:00,000 --> 00:15:02,291 almost like nobody was in the room except for-- 429 00:15:02,291 --> 00:15:02,790 Me and him. 430 00:15:02,790 --> 00:15:03,850 You two. 431 00:15:03,850 --> 00:15:06,917 So you feel like that has to be there 432 00:15:06,917 --> 00:15:08,250 in the delivery of that passage? 433 00:15:08,330 --> 00:15:10,610 No, that's the way I did it because when you heard it 434 00:15:10,610 --> 00:15:12,420 the first time, I was in that room, 435 00:15:12,420 --> 00:15:14,715 and I'm standing in a pulpit and I'm-- 436 00:15:14,715 --> 00:15:16,790 Ah, the path of the righteous man! 437 00:15:16,790 --> 00:15:17,690 And da-da-da-da. 438 00:15:17,690 --> 00:15:20,200 And I will strike down upon thee. 439 00:15:20,200 --> 00:15:21,410 And boom! 440 00:15:21,410 --> 00:15:24,140 So the next time you hear it, it's 441 00:15:24,140 --> 00:15:28,160 kind of like the audience is like, oh shit, oh shit, oh man. 442 00:15:28,160 --> 00:15:30,000 And it sounds-- it's not just quiet, but it's also menacing. 443 00:15:30,000 --> 00:15:33,860 And it sounds-- it's not just quiet, but it's also menacing. 444 00:15:33,860 --> 00:15:37,110 You know, the menace of what that passage was 445 00:15:37,110 --> 00:15:38,670 is still there for him. 446 00:15:38,670 --> 00:15:44,130 So that when he says, I had a change of heart today. 447 00:15:44,130 --> 00:15:47,109 I saw some shit today made me think about this shit. 448 00:15:47,109 --> 00:15:49,400 I said it bigger too because in the beginning it's big. 449 00:15:49,400 --> 00:15:49,899 It's huge. 450 00:15:49,899 --> 00:15:51,910 You know, it's a before and after. 451 00:15:51,910 --> 00:15:52,870 That's deep. 452 00:15:52,870 --> 00:15:57,100 So you got to bring a contrast of what it is. 453 00:15:57,100 --> 00:16:00,000 So that by the time the payoff comes, the payoff is-- 454 00:16:00,000 --> 00:16:00,580 So that by the time the payoff comes, the payoff is-- 455 00:16:00,580 --> 00:16:03,700 the shock is I didn't kill him-- 456 00:16:03,700 --> 00:16:07,360 and the payoff is what it actually means to him. 457 00:16:07,360 --> 00:16:09,010 It's like, oh shit, you changed. 458 00:16:09,010 --> 00:16:12,460 But he did realize, you know, I'd 459 00:16:12,460 --> 00:16:16,106 like to think that I'm this nice cat. 460 00:16:16,106 --> 00:16:18,052 But I'm not. 461 00:16:18,052 --> 00:16:19,290 I'm not. 462 00:16:19,290 --> 00:16:22,487 I'm fucked up, but I'm trying. 463 00:16:22,487 --> 00:16:24,820 I'm trying, and that's why I'm letting you motherfuckers 464 00:16:24,820 --> 00:16:26,110 leave, you know. 465 00:16:26,110 --> 00:16:29,200 So go ahead and go. 466 00:16:29,200 --> 00:16:30,000 So you kind of-- 467 00:16:30,000 --> 00:16:31,672 So you kind of-- 468 00:16:31,672 --> 00:16:33,880 you've got to find a way to make yourself ready to be 469 00:16:33,880 --> 00:16:38,080 in and of all of that. 470 00:16:38,080 --> 00:16:39,830 But I digress. 471 00:16:39,830 --> 00:16:43,770 So let's do this again. 1 00:00:00,000 --> 00:00:02,904 2 00:00:06,780 --> 00:00:08,510 And are you guys, prepared? 3 00:00:08,510 --> 00:00:14,250 Take your time Do this with intent. 4 00:00:14,250 --> 00:00:16,620 Make us feel like we wish we were 5 00:00:16,620 --> 00:00:18,150 in this diner watching this. 6 00:00:18,150 --> 00:00:22,620 Or that we should have spent our $15 ticket in popcorn 7 00:00:22,620 --> 00:00:23,730 to see you do it. 8 00:00:23,730 --> 00:00:25,380 OK and, Action! 9 00:00:25,380 --> 00:00:26,460 See 10 00:00:26,460 --> 00:00:29,040 God damn it, what is it? 11 00:00:29,040 --> 00:00:30,000 Let him go! 12 00:00:30,000 --> 00:00:30,010 Let him go! 13 00:00:30,010 --> 00:00:30,517 Let him go-- 14 00:00:30,517 --> 00:00:31,350 Tell her to be cool. 15 00:00:31,350 --> 00:00:32,206 Say bitch be cool. 16 00:00:32,206 --> 00:00:33,058 Say bitch be cool. 17 00:00:33,058 --> 00:00:34,320 Chill-- chill out, honey, chill out. 18 00:00:34,320 --> 00:00:34,821 Chill out. 19 00:00:34,821 --> 00:00:36,319 Tell her it's going to be all right. 20 00:00:36,319 --> 00:00:37,780 Tell her it's going be all right. 21 00:00:38,450 --> 00:00:38,950 Cut! 22 00:00:38,950 --> 00:00:40,080 Danny, I can't hear you. 23 00:00:40,080 --> 00:00:44,220 You had to speak over her, so that he can hear you. 24 00:00:44,220 --> 00:00:49,440 And at some point, make him tell that bitch to be-- 25 00:00:49,440 --> 00:00:51,570 say bitch be cool! 26 00:00:51,570 --> 00:00:54,450 You know, shut that bitch up. 27 00:00:54,450 --> 00:00:56,310 All right. 28 00:00:56,310 --> 00:00:57,110 And action. 29 00:00:57,110 --> 00:00:59,900 God damn it, what is it? 30 00:00:59,900 --> 00:01:00,000 Let him go! 31 00:01:00,000 --> 00:01:00,694 Let him go! 32 00:01:00,694 --> 00:01:01,490 Let him go! 33 00:01:01,490 --> 00:01:02,573 I'm going to fucking kill. 34 00:01:02,573 --> 00:01:03,510 Say bitch be cool. 35 00:01:03,510 --> 00:01:05,397 Say bitch be cool. 36 00:01:05,397 --> 00:01:06,980 Tell her everything's going all right. 37 00:01:06,980 --> 00:01:08,360 I'm going to be OK. 38 00:01:08,360 --> 00:01:10,370 Tell her-- promise her, promise her. 39 00:01:10,370 --> 00:01:11,245 I promise, I promise. 40 00:01:11,245 --> 00:01:13,119 Tell her everything thing's going to be cool. 41 00:01:13,119 --> 00:01:14,180 Tell her to chill. 42 00:01:14,180 --> 00:01:14,900 Just chill out. 43 00:01:14,900 --> 00:01:16,600 OK what's her name? 44 00:01:16,600 --> 00:01:17,160 Yolanda. 45 00:01:17,160 --> 00:01:19,300 OK Yolanda, you're going to be cool right? 46 00:01:19,300 --> 00:01:21,220 Not going to anything stupid are we? 47 00:01:21,220 --> 00:01:22,300 Don't you hurt him. 48 00:01:22,300 --> 00:01:23,740 Nobody is going to hurt anybody. 49 00:01:23,740 --> 00:01:25,810 We're just going to be like three Fonzie's. 50 00:01:25,810 --> 00:01:27,380 What's Fonzie like? 51 00:01:27,380 --> 00:01:29,800 Come on Yolanda, what's Fonzie like? 52 00:01:29,800 --> 00:01:30,000 What's Fonzie like? 53 00:01:30,000 --> 00:01:30,730 What's Fonzie like? 54 00:01:30,870 --> 00:01:31,370 He's cool. 55 00:01:31,370 --> 00:01:32,140 He's cool. 56 00:01:32,140 --> 00:01:35,020 "Correct-a-mundo" And that's what we're going to be. 57 00:01:35,020 --> 00:01:36,470 We're going to be cool. 58 00:01:36,470 --> 00:01:39,003 Now Ringo on a count of three, I'm 59 00:01:39,003 --> 00:01:40,840 going to ask you to let go of your gun, 60 00:01:40,840 --> 00:01:42,920 and you're going to take a seat over there. 61 00:01:42,920 --> 00:01:45,130 But when you do it, you be cool. 62 00:01:45,130 --> 00:01:48,920 Ready, 1, 2, 3. 63 00:01:54,656 --> 00:01:56,487 OK, now let him go! 64 00:01:56,487 --> 00:01:58,320 Yolanda, I though you were going to be cool. 65 00:01:58,320 --> 00:02:00,000 Now, when you yell at me, you make me nervous. 66 00:02:00,000 --> 00:02:00,840 Now, when you yell at me, you make me nervous. 67 00:02:00,840 --> 00:02:02,444 And when I get nervous I get scared. 68 00:02:02,444 --> 00:02:03,860 And when motherfuckers get scared, 69 00:02:03,860 --> 00:02:06,210 that's when motherfuckers die. 70 00:02:06,210 --> 00:02:11,340 Just know, you hurt him, you die. 71 00:02:11,340 --> 00:02:13,150 That seems to be the situation. 72 00:02:13,150 --> 00:02:14,440 And I don't want to hurt him. 73 00:02:14,440 --> 00:02:15,830 And I know you don't want me to. 74 00:02:15,830 --> 00:02:17,986 And I know Ringo over here doesn't want me to. 75 00:02:17,986 --> 00:02:20,060 But this is the situation. 76 00:02:20,060 --> 00:02:21,960 Normally, both your asses would be 77 00:02:21,960 --> 00:02:26,950 dead as this, this fried fucking chicken. 78 00:02:26,950 --> 00:02:27,490 Line. 79 00:02:27,490 --> 00:02:28,700 That you happened to. 80 00:02:28,700 --> 00:02:30,000 But you happen to. 81 00:02:30,000 --> 00:02:31,980 But you happen to. 82 00:02:31,980 --> 00:02:33,262 Pull this shit. 83 00:02:33,262 --> 00:02:34,720 You happened to pull this shit when 84 00:02:34,720 --> 00:02:37,960 I'm in a transitional period, so I'm not going to shoot you. 85 00:02:37,960 --> 00:02:38,980 I'm going to help you. 86 00:02:38,980 --> 00:02:40,480 But I can't give you this briefcase. 87 00:02:40,480 --> 00:02:42,625 It don't belong to me. 88 00:02:42,625 --> 00:02:44,500 And I went through too much shit this morning 89 00:02:44,500 --> 00:02:47,410 on account this briefcase just to hand it over to your ass. 90 00:02:47,410 --> 00:02:49,380 What the fuck is going on. 91 00:02:49,380 --> 00:02:50,410 Vincent, be cool man. 92 00:02:50,410 --> 00:02:51,620 Don't do a goddamn thing. 93 00:02:51,620 --> 00:02:52,120 Louder. 94 00:02:52,120 --> 00:02:53,127 Vince, be cool. 95 00:02:53,127 --> 00:02:53,710 Be cool Vince. 96 00:02:53,710 --> 00:02:54,460 Don't do a goddamn 97 00:02:54,460 --> 00:02:57,040 Stop, don't look at that motherfucker. 98 00:02:57,040 --> 00:02:59,040 There's a gun on the table. 99 00:02:59,040 --> 00:02:59,650 Be cool Vince. 100 00:02:59,650 --> 00:03:00,000 Don't do a goddamn thing. 101 00:03:00,000 --> 00:03:01,030 Don't do a goddamn thing. 102 00:03:01,030 --> 00:03:01,757 Be cool. 103 00:03:01,757 --> 00:03:02,590 Tell her to be cool. 104 00:03:02,590 --> 00:03:04,170 Yolanda, we're still cool. 105 00:03:04,170 --> 00:03:05,003 Tell her to be cool. 106 00:03:05,003 --> 00:03:06,210 It's cool honeybunny. 107 00:03:06,210 --> 00:03:07,520 We're still cool. 108 00:03:07,520 --> 00:03:09,050 What the hell is going on here? 109 00:03:09,050 --> 00:03:11,076 Vince, I just want you to hang back, 110 00:03:11,076 --> 00:03:12,700 and don't do a goddamn thing until it's 111 00:03:12,700 --> 00:03:13,771 absolutely necessary. 112 00:03:13,771 --> 00:03:14,270 You got me? 113 00:03:14,270 --> 00:03:15,526 Yea, check. 114 00:03:15,526 --> 00:03:17,200 Okay, Yolanda you still cool baby? 115 00:03:17,200 --> 00:03:18,320 I want to go home. 116 00:03:18,320 --> 00:03:18,940 I know baby-- 117 00:03:18,940 --> 00:03:19,669 I gotta pee. 118 00:03:19,669 --> 00:03:21,460 I know baby this is-- we're almost through. 119 00:03:21,460 --> 00:03:22,293 I'm so proud of you. 120 00:03:22,293 --> 00:03:23,540 Ringo here is proud of you. 121 00:03:23,540 --> 00:03:24,775 This is almost over. 122 00:03:24,775 --> 00:03:26,920 Now, Ringo, I want you to reach into that bag 123 00:03:26,920 --> 00:03:29,550 and pull out my wallet. 124 00:03:29,550 --> 00:03:30,000 Which one is it? 125 00:03:30,000 --> 00:03:30,240 Which one is it? 126 00:03:30,240 --> 00:03:32,240 It's the one that says "bad motherfucker" on it. 127 00:03:34,256 --> 00:03:35,380 That's my bad motherfucker. 128 00:03:35,380 --> 00:03:36,300 Now open it up. 129 00:03:36,300 --> 00:03:37,890 Pull out the cash. 130 00:03:37,890 --> 00:03:40,090 How much is in there? 131 00:03:40,090 --> 00:03:41,170 About $1,500. 132 00:03:41,170 --> 00:03:42,400 Great, put in your pocket. 133 00:03:42,400 --> 00:03:43,360 That's yours. 134 00:03:43,360 --> 00:03:45,350 Along with the other wallets in the register. 135 00:03:45,350 --> 00:03:47,290 It's a pretty successful little score. 136 00:03:47,290 --> 00:03:49,905 You get this Nimrod $1,500 and I will shoot them 137 00:03:49,905 --> 00:03:50,780 on general principle. 138 00:03:50,780 --> 00:03:51,905 She ain't goint to do god-- 139 00:03:51,905 --> 00:03:53,829 Vince, shut the fuck up! 140 00:03:53,829 --> 00:03:55,350 I got this. 141 00:03:55,350 --> 00:03:57,130 And I'm not just giving him this money, 142 00:03:57,130 --> 00:03:58,672 I'm buying something from this money. 143 00:03:58,672 --> 00:04:00,000 And you know what I'm buying there Vince? 144 00:04:00,000 --> 00:04:00,379 And you know what I'm buying there Vince? 145 00:04:00,379 --> 00:04:01,052 What? 146 00:04:01,052 --> 00:04:03,790 I'm buying your life. 147 00:04:03,790 --> 00:04:08,030 I'm giving you that money so I don't have to kill your ass. 148 00:04:08,030 --> 00:04:10,136 You ever read the Bible? 149 00:04:10,136 --> 00:04:12,466 Not regularly. 150 00:04:12,466 --> 00:04:15,250 Well I got this thing memorized. 151 00:04:15,250 --> 00:04:22,680 Ezekiel 25:17 "in the path of the righteous man, 152 00:04:22,680 --> 00:04:27,670 is beset on all sides by the inequities of the selfish 153 00:04:27,670 --> 00:04:29,820 and the tyranny of evil men. 154 00:04:29,820 --> 00:04:30,000 Blessed is he, when in the name of charity and in goodwill 155 00:04:30,000 --> 00:04:33,420 Blessed is he, when in the name of charity and in goodwill 156 00:04:33,420 --> 00:04:35,970 shepherds the weak through the valley of darkness. 157 00:04:35,970 --> 00:04:37,170 For he is truly my brother. 158 00:04:40,210 --> 00:04:42,592 And the finder of lost children. 159 00:04:42,592 --> 00:04:44,800 And I will strike down upon Thee with great vengeance 160 00:04:44,800 --> 00:04:47,470 and furious anger those who attempt to poison 161 00:04:47,470 --> 00:04:49,300 and destroy my brothers. 162 00:04:49,300 --> 00:04:52,270 And you will know my name is the Lord when 163 00:04:52,270 --> 00:04:54,440 I lay the vengeance upon you. 164 00:04:54,440 --> 00:04:56,570 I have been saying that shit for years, 165 00:04:56,570 --> 00:05:00,000 and if you ever heard it, it probably meant your ass. 166 00:05:00,000 --> 00:05:01,480 and if you ever heard it, it probably meant your ass. 167 00:05:01,480 --> 00:05:04,280 And I never really questioned what it meant. 168 00:05:04,280 --> 00:05:06,530 I always thought it was just a cold-blooded thing 169 00:05:06,530 --> 00:05:08,154 to say to motherfuckers just before you 170 00:05:08,154 --> 00:05:10,370 pop a cap in their ass. 171 00:05:10,370 --> 00:05:13,760 But I saw something this morning that made me think twice. 172 00:05:13,760 --> 00:05:18,010 Now I'm thinking it could mean that you're the evil man, 173 00:05:18,010 --> 00:05:19,310 and I'm the righteous man. 174 00:05:19,310 --> 00:05:22,520 Mr. .45 here, he's the shepherd protecting the flock. 175 00:05:26,430 --> 00:05:29,370 Or it could be that you're the righteous man, 176 00:05:29,370 --> 00:05:30,000 and I'm the shepherd, and the world is evil and selfish. 177 00:05:30,000 --> 00:05:32,590 and I'm the shepherd, and the world is evil and selfish. 178 00:05:32,590 --> 00:05:34,790 I'd like that. 179 00:05:34,790 --> 00:05:36,300 But that shit ain't true. 180 00:05:36,300 --> 00:05:39,075 The truth is you're the weak, and I'm 181 00:05:39,075 --> 00:05:41,310 the tyranny of evil men. 182 00:05:41,310 --> 00:05:43,080 But I'm trying. 183 00:05:43,080 --> 00:05:46,530 I'm trying really hard to be the shepherd. 184 00:05:46,530 --> 00:05:47,409 OK, cut. 185 00:05:50,220 --> 00:05:50,880 What? 186 00:05:50,880 --> 00:05:52,909 How do you feel about that? 187 00:05:52,909 --> 00:05:55,470 I'd like to do it again. 188 00:05:55,470 --> 00:05:56,471 Why? 189 00:05:56,471 --> 00:05:58,470 What would you do different if you did it again? 190 00:06:04,310 --> 00:06:06,470 Just because you want to do it again? 191 00:06:06,470 --> 00:06:09,050 Or just because you would be more relaxed into it? 192 00:06:09,050 --> 00:06:13,790 Because you weren't relaxed at all, ever, ever. 193 00:06:13,790 --> 00:06:18,414 You had that energy of, I'm trying to get through it. 194 00:06:18,414 --> 00:06:19,830 Even after I said, take your time. 195 00:06:19,830 --> 00:06:20,455 Take your time. 196 00:06:20,455 --> 00:06:22,800 And I when I said louder, louder, 197 00:06:22,800 --> 00:06:25,130 giving yourself a chance to be loud, 198 00:06:25,130 --> 00:06:27,980 and expend that energy so you can relax back 199 00:06:27,980 --> 00:06:30,000 into what you need to relax into to calm yourself. 200 00:06:30,000 --> 00:06:33,920 into what you need to relax into to calm yourself. 201 00:06:33,920 --> 00:06:36,530 It was almost like somebody else in the room had a gun on you. 202 00:06:41,940 --> 00:06:46,010 It never felt like you were in control that you 203 00:06:46,010 --> 00:06:50,050 were being ruled by the words. 204 00:06:50,050 --> 00:06:54,890 You were being ruled by what you hoped my opinion of it 205 00:06:54,890 --> 00:06:55,650 was going to be. 206 00:06:58,710 --> 00:07:00,000 None of that means anything when you're in a moment of doing it. 207 00:07:00,000 --> 00:07:03,570 None of that means anything when you're in a moment of doing it. 208 00:07:03,570 --> 00:07:05,550 It's you, and him, and her. 209 00:07:08,210 --> 00:07:11,970 Talking about a gun, I feel like that's perfectly said. 210 00:07:11,970 --> 00:07:13,830 I feel like the gun, probably for me 211 00:07:13,830 --> 00:07:18,565 too, when I went am to do it is, the words have the gun on you. 212 00:07:18,565 --> 00:07:19,440 You know what I mean? 213 00:07:19,440 --> 00:07:21,685 Rather than focusing on the intention, 214 00:07:21,685 --> 00:07:23,560 I feel like a lot of us, our first go to was, 215 00:07:23,560 --> 00:07:25,202 I got be fucking word perfect. 216 00:07:25,202 --> 00:07:26,410 The words have to be perfect. 217 00:07:26,410 --> 00:07:27,810 Rather than saying, you know what? 218 00:07:27,810 --> 00:07:28,643 Here's my intention. 219 00:07:28,643 --> 00:07:30,000 Here's why I want him to fucking know. 220 00:07:30,000 --> 00:07:30,510 Here's why I want him to fucking know. 221 00:07:30,510 --> 00:07:33,390 Here's the transition that I'm going through today. 222 00:07:33,390 --> 00:07:37,320 Rather than we don't do actor first, we go well, 223 00:07:37,320 --> 00:07:39,930 Brandon's got to get these fucking words right. 224 00:07:39,930 --> 00:07:42,659 That's the problem. 225 00:07:42,659 --> 00:07:45,690 I was just trying to get through it. 226 00:07:45,690 --> 00:07:46,650 Fair enough. 227 00:07:46,650 --> 00:07:50,550 When you get to that point of understanding what 228 00:07:50,550 --> 00:07:53,850 I was talking about this last part of the speech. 229 00:07:53,850 --> 00:08:00,000 When you finally get to the truth is, or is 230 00:08:00,000 --> 00:08:03,340 When you finally get to the truth is, or is 231 00:08:03,340 --> 00:08:05,810 it could be you're the righteous man, and I'm the shepherd. 232 00:08:05,810 --> 00:08:09,710 And it's the world that's evil and selfish. 233 00:08:09,710 --> 00:08:10,250 I like that. 234 00:08:12,770 --> 00:08:14,430 But that ain't the truth. 235 00:08:14,430 --> 00:08:16,250 That ain't what it is. 236 00:08:16,250 --> 00:08:17,300 I really wish that was. 237 00:08:17,300 --> 00:08:22,680 I'd like for that to be truth, but it's not. 238 00:08:22,680 --> 00:08:30,000 The truth is, this is the truth of what it is. 239 00:08:30,000 --> 00:08:33,210 The truth is, this is the truth of what it is. 240 00:08:33,210 --> 00:08:36,840 It doesn't necessarily have to be laid out like that, 241 00:08:36,840 --> 00:08:38,308 I did it like that just because I 242 00:08:38,308 --> 00:08:42,950 wanted it to be heavy on the table, 243 00:08:42,950 --> 00:08:44,910 and in that particular thing. 244 00:08:44,910 --> 00:08:48,390 So that when I did let him out, there's 245 00:08:48,390 --> 00:08:50,820 a million ways to do things that are the right way. 246 00:08:53,890 --> 00:08:56,470 People tell you there's no right or wrong way, 247 00:08:56,470 --> 00:08:58,090 there's a wrong way to do shit. 248 00:08:58,090 --> 00:09:00,000 But there are also 200 right ways to do it. 249 00:09:00,000 --> 00:09:02,890 But there are also 200 right ways to do it. 250 00:09:02,890 --> 00:09:06,370 So you don't necessarily have to lay it out like that. 251 00:09:06,370 --> 00:09:12,006 It could be laid out in, I'd like 252 00:09:12,006 --> 00:09:13,256 that for that to be the truth. 253 00:09:13,256 --> 00:09:16,150 I'd like that, but that shit ain't true. 254 00:09:16,150 --> 00:09:22,681 The truth is, you're weak, and I'm the tyranny of evil men. 255 00:09:22,681 --> 00:09:23,530 But I'm trying. 256 00:09:26,802 --> 00:09:27,510 Yeah, I'm trying. 257 00:09:27,510 --> 00:09:29,602 Now get the fuck out of here. 258 00:09:29,602 --> 00:09:30,000 There's that way. 259 00:09:30,000 --> 00:09:30,990 There's that way. 260 00:09:30,990 --> 00:09:32,340 And there's the way I did it. 261 00:09:32,340 --> 00:09:35,640 Or there's another way you can find it funny. 262 00:09:35,640 --> 00:09:38,911 Yeah and I'm the shepherd, and it's the world 263 00:09:38,911 --> 00:09:39,910 that's evil and selfish. 264 00:09:39,910 --> 00:09:42,870 And I'd like that. 265 00:09:42,870 --> 00:09:48,490 But the truth is, you're the weak, 266 00:09:48,490 --> 00:09:53,950 and I'm the tyranny of evil men. 267 00:09:53,950 --> 00:09:57,510 Your a weak motherfucker and I'm the tyranny of evil men. 268 00:09:57,510 --> 00:10:00,000 But you know what, I'm trying. 269 00:10:00,000 --> 00:10:02,360 But you know what, I'm trying. 270 00:10:02,360 --> 00:10:04,040 I'm trying. 271 00:10:04,040 --> 00:10:06,860 That's right too. 272 00:10:06,860 --> 00:10:09,680 But it's who you are. 273 00:10:09,680 --> 00:10:14,340 You are a personality inflicted upon the truth of the dialogue 274 00:10:14,340 --> 00:10:15,740 that's written there. 275 00:10:15,740 --> 00:10:20,910 Because no matter what we say about creating characters 276 00:10:20,910 --> 00:10:24,970 and characterization. 277 00:10:24,970 --> 00:10:28,050 It's still you doing it. 278 00:10:28,050 --> 00:10:29,840 And we all have comfort zones. 279 00:10:33,360 --> 00:10:36,030 The hard work sometimes as an actor 280 00:10:36,030 --> 00:10:39,700 is getting out of your comfort zone. 281 00:10:39,700 --> 00:10:44,885 Which is one of the things when I don't have source material-- 282 00:10:44,885 --> 00:10:47,010 when you're doing something, and it's from a novel, 283 00:10:47,010 --> 00:10:48,325 you go read the book. 284 00:10:48,325 --> 00:10:49,950 They give you all kinds of information, 285 00:10:49,950 --> 00:10:51,366 they tell you what that person is, 286 00:10:51,366 --> 00:10:54,671 where they came from, where they live, what kind of food 287 00:10:54,671 --> 00:10:55,170 they eat. 288 00:10:55,170 --> 00:10:56,460 All that kind of shit. 289 00:10:56,460 --> 00:10:58,110 But when they don't tell you that, 290 00:10:58,110 --> 00:11:00,000 you have the liberty to do that. 291 00:11:00,000 --> 00:11:01,380 you have the liberty to do that. 292 00:11:01,380 --> 00:11:06,560 We are living in a world of make-believe, so make it up. 293 00:11:06,560 --> 00:11:10,582 It's a good exercise, whether you use it, 294 00:11:10,582 --> 00:11:12,290 you don't necessarily have to go and talk 295 00:11:12,290 --> 00:11:13,331 to the director about it. 296 00:11:13,331 --> 00:11:15,270 You don't talk to the other actors about it. 297 00:11:15,270 --> 00:11:21,484 But if you have a personal biography for your character, 298 00:11:21,484 --> 00:11:23,900 it's one of the things that makes people interested in you 299 00:11:23,900 --> 00:11:27,200 when you show up onscreen, because that character came 300 00:11:27,200 --> 00:11:28,460 from somewhere. 301 00:11:28,460 --> 00:11:30,000 You know how smart he is, how much education he's had. 302 00:11:30,000 --> 00:11:31,730 You know how smart he is, how much education he's had. 303 00:11:31,730 --> 00:11:33,380 Did he have two parents or one parent? 304 00:11:33,380 --> 00:11:34,730 Does he have a brother and sisters? 305 00:11:34,730 --> 00:11:35,896 How does he feel about that? 306 00:11:38,530 --> 00:11:39,260 Is he a loner? 307 00:11:39,260 --> 00:11:40,720 Does he have friends? 308 00:11:40,720 --> 00:11:43,230 Is he gregarious? 309 00:11:43,230 --> 00:11:45,540 Not gregarious? 310 00:11:45,540 --> 00:11:47,040 Why does he feel this particular way 311 00:11:47,040 --> 00:11:51,400 about this character in this story? 312 00:11:51,400 --> 00:11:54,420 Maybe he met somebody like that, he knew him, didn't like him, 313 00:11:54,420 --> 00:11:56,170 loved him, whatever. 314 00:11:56,170 --> 00:11:58,240 Why you feel a certain way about the character, 315 00:11:58,240 --> 00:12:00,000 or why you react to him aside from what they tell you 316 00:12:00,000 --> 00:12:00,448 or why you react to him aside from what they tell you 317 00:12:00,448 --> 00:12:04,210 about him, could be from something that's inside you, 318 00:12:04,210 --> 00:12:06,170 or what you had as that person. 319 00:12:06,170 --> 00:12:09,280 So that when you get there, how do you react? 320 00:12:09,280 --> 00:12:11,310 Is he a cynic? 321 00:12:11,310 --> 00:12:12,440 Does he believe this? 322 00:12:12,440 --> 00:12:13,140 Is he religious? 323 00:12:13,140 --> 00:12:14,340 Is he not religious? 324 00:12:14,340 --> 00:12:16,440 All those things inform a character. 325 00:12:16,440 --> 00:12:18,060 And they inform how you carry yourself 326 00:12:18,060 --> 00:12:20,870 when you come in a room as that character. 327 00:12:20,870 --> 00:12:23,500 Whether you talk to other actors about or not. 328 00:12:23,500 --> 00:12:26,006 But it makes you a whole human being and not 329 00:12:26,006 --> 00:12:28,380 just that one-dimensional person that they put on a page. 330 00:12:28,380 --> 00:12:30,000 Because they just want you to say the words. 331 00:12:30,000 --> 00:12:30,930 Because they just want you to say the words. 332 00:12:30,930 --> 00:12:33,630 And they want you say the words and look a certain way. 333 00:12:33,630 --> 00:12:36,210 But how you feel about saying those words 334 00:12:36,210 --> 00:12:40,420 comes from what you made that person be as a person. 335 00:12:40,420 --> 00:12:43,260 Sometimes it's you. 336 00:12:43,260 --> 00:12:46,110 Like I said, the base of all it is still you. 337 00:12:46,110 --> 00:12:47,850 It's your personality and what you know. 338 00:12:47,850 --> 00:12:50,670 Which is why I say you read about other people who 339 00:12:50,670 --> 00:12:52,219 come from other places so you know 340 00:12:52,219 --> 00:12:54,510 what their backgrounds are, what their experiences are. 341 00:12:54,510 --> 00:13:00,000 Or what kind of food, or did they have food? 342 00:13:00,000 --> 00:13:00,460 Or what kind of food, or did they have food? 343 00:13:00,460 --> 00:13:02,830 Were you hungry when you grew up? 344 00:13:02,830 --> 00:13:04,500 So you eat a certain way now. 345 00:13:04,500 --> 00:13:06,780 Or were there are a lot of people around you 346 00:13:06,780 --> 00:13:11,172 so that when you eat, you eat like this, as opposed 347 00:13:11,172 --> 00:13:12,630 to eating openly because you're not 348 00:13:12,630 --> 00:13:14,796 worried about somebody reaching across on your plate 349 00:13:14,796 --> 00:13:16,920 taking your shit. 350 00:13:16,920 --> 00:13:20,370 Or do you sit away from people or do 351 00:13:20,370 --> 00:13:22,440 you talk to people like this. 352 00:13:22,440 --> 00:13:25,930 Do you invade their space because you are that guy? 353 00:13:25,930 --> 00:13:27,840 A space invader. 354 00:13:27,840 --> 00:13:30,000 So all those things help how you inhabit 355 00:13:30,000 --> 00:13:35,150 So all those things help how you inhabit 356 00:13:35,150 --> 00:13:38,840 a space of a character when you've been that person, that 357 00:13:38,840 --> 00:13:40,501 has nothing to do with you, but yet you 358 00:13:40,501 --> 00:13:42,250 have to force yourself to try and be that. 359 00:13:42,250 --> 00:13:43,970 But once you've created that person who 360 00:13:43,970 --> 00:13:46,490 has this personality that's not yours, 361 00:13:46,490 --> 00:13:48,890 that has their own personality, that person 362 00:13:48,890 --> 00:13:52,900 can do all kinds of shit that you wouldn't normally do. 363 00:13:52,900 --> 00:13:57,700 So you've got to find who that is in the context of that story 364 00:13:57,700 --> 00:13:58,710 when you're there. 365 00:13:58,710 --> 00:14:00,000 When you're there doing it. 366 00:14:00,000 --> 00:14:00,430 When you're there doing it. 367 00:14:00,430 --> 00:14:02,750 And Jules has been doing shit. 368 00:14:02,750 --> 00:14:04,900 I know that none of you had the time 369 00:14:04,900 --> 00:14:07,360 to figure out that Jules had been 370 00:14:07,360 --> 00:14:09,120 killing people for a long time. 371 00:14:09,120 --> 00:14:11,020 Since he was a kid. 372 00:14:11,020 --> 00:14:12,750 He and Marsellus grew up together, 373 00:14:12,750 --> 00:14:14,530 were gang bangers together. 374 00:14:14,530 --> 00:14:17,590 He'd been killing people for Marsellus for a long time. 375 00:14:17,590 --> 00:14:21,550 And his mom and them probably like-- 376 00:14:21,550 --> 00:14:23,780 I told you about hanging out with that Marsellus boy. 377 00:14:23,780 --> 00:14:25,510 But he kept hanging out with that Marsellus boy, 378 00:14:25,510 --> 00:14:26,968 because he was going to church too. 379 00:14:26,968 --> 00:14:29,110 Which is why he knows this kind of shit. 380 00:14:29,110 --> 00:14:30,000 And he has that whole God thing that comes in. 381 00:14:30,000 --> 00:14:31,180 And he has that whole God thing that comes in. 382 00:14:31,180 --> 00:14:35,700 He's got some guilt. Because his parents put that shit in him. 383 00:14:35,700 --> 00:14:37,560 But he can't walk around with it. 384 00:14:37,560 --> 00:14:40,402 He's got to be Jules. 385 00:14:40,402 --> 00:14:42,110 But you didn't have time to get all that. 386 00:14:42,110 --> 00:14:44,740 But even like I said, if you're using 387 00:14:44,740 --> 00:14:46,240 this as an audition piece, you might 388 00:14:46,240 --> 00:14:47,960 sit down and think about that. 389 00:14:47,960 --> 00:14:50,080 But that's a way to get inside of and figure out, 390 00:14:50,080 --> 00:14:53,950 why does he talk this way, and why does he feel this way? 391 00:14:53,950 --> 00:14:55,810 And you can make that shit up. 392 00:14:55,810 --> 00:14:58,220 So it becomes a reality for you. 393 00:14:58,220 --> 00:15:00,000 So that when you say it, is not a speech on a page, 394 00:15:00,000 --> 00:15:01,359 So that when you say it, is not a speech on a page, 395 00:15:01,359 --> 00:15:03,400 it's a natural thing that comes out of his mouth. 396 00:15:05,960 --> 00:15:08,030 So that's what we're doing. 397 00:15:08,030 --> 00:15:10,730 Who hasn't been on this side of table yet. 1 00:00:00,000 --> 00:00:03,395 2 00:00:06,800 --> 00:00:09,555 OK. 3 00:00:09,555 --> 00:00:11,840 Action. 4 00:00:11,840 --> 00:00:15,000 Dammit, what's in it? 5 00:00:15,000 --> 00:00:16,430 Let him go! 6 00:00:16,430 --> 00:00:16,969 Let him go! 7 00:00:16,969 --> 00:00:17,760 Say, bitch be cool. 8 00:00:17,760 --> 00:00:18,551 Say, bitch be cool! 9 00:00:18,551 --> 00:00:19,307 I'll kill you! 10 00:00:19,307 --> 00:00:19,890 I'll kill you! 11 00:00:19,890 --> 00:00:21,894 I'll kill you dead! 12 00:00:21,894 --> 00:00:23,670 Start over- wait! 13 00:00:23,670 --> 00:00:27,750 You're not only talking to him, you're talking to her. 14 00:00:27,750 --> 00:00:29,207 Louder. 15 00:00:29,207 --> 00:00:30,000 You're a little bitty, you know. 16 00:00:30,000 --> 00:00:30,540 You're a little bitty, you know. 17 00:00:30,540 --> 00:00:31,331 Say, bitch be cool. 18 00:00:31,331 --> 00:00:32,170 Say, bitch be cool! 19 00:00:32,170 --> 00:00:32,670 Yep. 20 00:00:35,530 --> 00:00:36,940 Action. 21 00:00:36,940 --> 00:00:38,970 Goddammit, what's in it? 22 00:00:38,970 --> 00:00:40,010 Let him go! 23 00:00:40,010 --> 00:00:41,300 Say, bitch be cool. 24 00:00:41,300 --> 00:00:42,442 Say, bitch be cool! 25 00:00:42,442 --> 00:00:43,505 I'll kill you! 26 00:00:43,505 --> 00:00:44,960 Say, it's OK. 27 00:00:44,960 --> 00:00:46,420 Promise her it's OK. 28 00:00:46,420 --> 00:00:47,880 Say, it's OK. 29 00:00:47,880 --> 00:00:48,380 It's OK. 30 00:00:48,380 --> 00:00:48,879 It's chill. 31 00:00:48,879 --> 00:00:50,160 Say, chill! 32 00:00:50,160 --> 00:00:51,900 Just chill out, honey. 33 00:00:51,900 --> 00:00:52,650 What's her name? 34 00:00:52,650 --> 00:00:53,520 Yolanda. 35 00:00:53,520 --> 00:00:55,930 Yolanda, baby. 36 00:00:55,930 --> 00:00:56,820 You OK? 37 00:00:56,820 --> 00:00:58,895 You're not going to do anything stupid, right? 38 00:00:58,895 --> 00:01:00,000 You're not going to do anything stupid. 39 00:01:00,000 --> 00:01:00,520 You're not going to do anything stupid. 40 00:01:00,520 --> 00:01:01,540 Let him go! 41 00:01:01,540 --> 00:01:02,040 OK. 42 00:01:02,040 --> 00:01:03,330 I'm going to let him go. 43 00:01:03,330 --> 00:01:05,550 But let's just be cool, OK? 44 00:01:05,550 --> 00:01:07,290 We're going to be cool, the three of us. 45 00:01:07,290 --> 00:01:09,510 We're going to be like three Fonzies. 46 00:01:09,510 --> 00:01:10,320 All right? 47 00:01:10,320 --> 00:01:13,220 What's Fonzie like, Yolanda? 48 00:01:13,220 --> 00:01:16,100 Yolanda, what's Fonzie like? 49 00:01:16,100 --> 00:01:17,100 He's cool? 50 00:01:17,100 --> 00:01:19,170 That's right, correcto-fucking-moondo. 51 00:01:19,170 --> 00:01:20,370 And that's going to be us. 52 00:01:20,370 --> 00:01:21,890 We're going to be cool. 53 00:01:21,890 --> 00:01:22,390 OK. 54 00:01:22,390 --> 00:01:23,900 Ringo? 55 00:01:23,900 --> 00:01:25,385 I'm going to count to three, you're 56 00:01:25,385 --> 00:01:26,944 going to let go of your gun. 57 00:01:26,944 --> 00:01:28,360 You're going to sit your ass down, 58 00:01:28,360 --> 00:01:30,000 you're going to put your palms on the desk. 59 00:01:30,000 --> 00:01:31,210 you're going to put your palms on the desk. 60 00:01:31,210 --> 00:01:31,950 OK? 61 00:01:31,950 --> 00:01:35,070 When you do it, you're go to do it fucking cool. 62 00:01:35,070 --> 00:01:36,170 Ready? 63 00:01:36,170 --> 00:01:41,560 One, two, three. 64 00:01:45,200 --> 00:01:46,640 That's right. 65 00:01:46,640 --> 00:01:48,310 Let him go! 66 00:01:48,310 --> 00:01:48,949 Yolanda! 67 00:01:48,949 --> 00:01:50,740 I thought we were going to be fucking cool, 68 00:01:50,740 --> 00:01:52,610 but you yell at me and I get nervous. 69 00:01:52,610 --> 00:01:54,370 And when I get nervous, I get scared. 70 00:01:54,370 --> 00:01:55,960 And when I get fucking scared, that's 71 00:01:55,960 --> 00:01:57,270 when motherfuckers fucking die. 72 00:02:00,980 --> 00:02:04,520 Just know if you hurt him, you die. 73 00:02:04,520 --> 00:02:06,600 That seems like the situation. 74 00:02:06,600 --> 00:02:07,310 Yes it does. 75 00:02:09,900 --> 00:02:10,900 Line? 76 00:02:10,900 --> 00:02:12,010 I don't want that. 77 00:02:12,010 --> 00:02:13,750 No, I don't want that. 78 00:02:13,750 --> 00:02:14,640 You don't want that. 79 00:02:14,640 --> 00:02:16,630 Ringo over here definitely don't want that. 80 00:02:16,630 --> 00:02:18,970 So let's see what we're going to do. 81 00:02:18,970 --> 00:02:23,010 Here's the situation-- the situation is normally 82 00:02:23,010 --> 00:02:26,050 both your asses would be dead as motherfucking fried chicken. 83 00:02:26,050 --> 00:02:29,110 But you got me at sort of a transitional period, 84 00:02:29,110 --> 00:02:30,000 and I don't want to kill you. 85 00:02:30,000 --> 00:02:30,550 and I don't want to kill you. 86 00:02:30,550 --> 00:02:32,240 I want to help you. 87 00:02:32,240 --> 00:02:34,767 The thing is, I can't in this case, 88 00:02:34,767 --> 00:02:36,100 because it doesn't belong to me. 89 00:02:36,100 --> 00:02:38,500 And I have been through so much shit 90 00:02:38,500 --> 00:02:41,260 this morning on account of this motherfucking case 91 00:02:41,260 --> 00:02:43,510 to just hand it over to your asses. 92 00:02:43,510 --> 00:02:44,920 What the fuck is going on here? 93 00:02:44,920 --> 00:02:47,140 Vincent, just calm the fuck down. 94 00:02:47,140 --> 00:02:48,040 I got it. 95 00:02:48,040 --> 00:02:48,840 Just hang back. 96 00:02:48,840 --> 00:02:49,340 We're good. 97 00:02:49,340 --> 00:02:50,480 Yolanda, baby? 98 00:02:50,480 --> 00:02:51,862 Yolanda, tell-- we're fine. 99 00:02:51,862 --> 00:02:52,570 We're still cool. 100 00:02:52,570 --> 00:02:53,361 We're just talking. 101 00:02:53,361 --> 00:02:54,870 Tell her we're fine. 102 00:02:54,870 --> 00:02:55,750 Tell her to be cool. 103 00:02:55,750 --> 00:02:56,740 It's cool, honey. 104 00:02:56,740 --> 00:02:57,802 We're still cool. 105 00:02:57,802 --> 00:02:58,510 We're still cool. 106 00:02:58,510 --> 00:02:59,410 That's right. 107 00:02:59,410 --> 00:03:00,000 The hell's going on here, Jules? 108 00:03:00,000 --> 00:03:00,850 The hell's going on here, Jules? 109 00:03:00,850 --> 00:03:02,140 Just chill fuck out, Vincent. 110 00:03:02,140 --> 00:03:03,150 Nothing I can't handle. 111 00:03:03,150 --> 00:03:05,170 Just hang back, don't do anything 112 00:03:05,170 --> 00:03:07,060 until absolutely fucking necessary. 113 00:03:07,060 --> 00:03:08,050 You got it? 114 00:03:08,050 --> 00:03:10,270 Yolanda, baby, how we doing? 115 00:03:10,270 --> 00:03:11,070 How we doing, baby? 116 00:03:11,070 --> 00:03:11,690 I've got to pee. 117 00:03:11,690 --> 00:03:12,440 I want to go home. 118 00:03:12,440 --> 00:03:13,930 You're doing so good, Yolanda. 119 00:03:13,930 --> 00:03:15,332 You are doing so good. 120 00:03:15,332 --> 00:03:16,540 Tell her she's doing so good. 121 00:03:16,540 --> 00:03:17,415 You're doing so good. 122 00:03:17,415 --> 00:03:19,041 I'm proud of you, Ringo's proud of you. 123 00:03:19,041 --> 00:03:19,998 We're all proud of you. 124 00:03:19,998 --> 00:03:20,770 We're almost done. 125 00:03:20,770 --> 00:03:22,186 OK, here's what we're going to do. 126 00:03:22,186 --> 00:03:22,750 You ready? 127 00:03:22,750 --> 00:03:24,499 You're going to get in that bag and you're 128 00:03:24,499 --> 00:03:27,150 going to get my wallet out. 129 00:03:27,150 --> 00:03:27,650 Yep. 130 00:03:27,650 --> 00:03:28,630 Which one is it? 131 00:03:28,630 --> 00:03:30,000 It's the on that says, "bad motherfucker" on it. 132 00:03:30,000 --> 00:03:32,410 It's the on that says, "bad motherfucker" on it. 133 00:03:32,410 --> 00:03:33,610 That's my bad motherfucker. 134 00:03:33,610 --> 00:03:34,240 Look inside. 135 00:03:34,240 --> 00:03:36,220 How much cash is in there? 136 00:03:36,220 --> 00:03:37,780 It's like $1,500. 137 00:03:37,780 --> 00:03:38,572 $1,500. 138 00:03:38,572 --> 00:03:40,780 I want you to take that, and put that in your pocket. 139 00:03:40,780 --> 00:03:42,934 That's yours. 140 00:03:42,934 --> 00:03:44,890 Yep. 141 00:03:44,890 --> 00:03:45,579 That's for you. 142 00:03:50,011 --> 00:03:51,760 Now, the rest of those wallets and those-- 143 00:03:51,760 --> 00:03:52,260 Oh, sorry. 144 00:03:52,260 --> 00:03:55,180 But now the rest of those wallets, that's for you. 145 00:03:55,180 --> 00:03:57,760 And what's in the register, that's 146 00:03:57,760 --> 00:04:00,000 a pretty good little score right there for you. 147 00:04:00,000 --> 00:04:01,010 a pretty good little score right there for you. 148 00:04:01,010 --> 00:04:03,590 Vincent, if you give this nimrod $1,500, 149 00:04:03,590 --> 00:04:05,090 I'm going to shoot him on principal. 150 00:04:05,090 --> 00:04:06,720 You're not going to do a Goddamned motherfucking thing. 151 00:04:06,720 --> 00:04:08,094 You're going to shut the fuck up. 152 00:04:08,094 --> 00:04:10,169 And besides, I'm not giving you this money. 153 00:04:10,169 --> 00:04:11,710 I'm buying something with this money. 154 00:04:11,710 --> 00:04:13,200 You know what? 155 00:04:13,200 --> 00:04:15,100 I'm buying your fucking life. 156 00:04:15,100 --> 00:04:16,050 Yeah, that's right. 157 00:04:16,050 --> 00:04:20,209 I'm giving you $1,500 so I don't have to fucking kill your ass. 158 00:04:20,209 --> 00:04:20,709 Yeah. 159 00:04:20,709 --> 00:04:22,890 You ever read the Bible? 160 00:04:22,890 --> 00:04:25,280 Not regularly, no. 161 00:04:25,280 --> 00:04:28,610 OK, well, there's this passage I got memorized. 162 00:04:28,610 --> 00:04:30,000 Ezekiel 25:17. 163 00:04:30,000 --> 00:04:31,820 Ezekiel 25:17. 164 00:04:31,820 --> 00:04:34,880 "The path of the righteous man is beset on all sides 165 00:04:34,880 --> 00:04:39,680 by the inequities of the selfish and the tyranny of evil men. 166 00:04:39,680 --> 00:04:42,530 Blessed is he who in the name of charity and goodwill 167 00:04:42,530 --> 00:04:46,670 shepherds the weak through the valley of the darkness, 168 00:04:46,670 --> 00:04:49,909 for he is truly his brother's keeper and the finder of lost 169 00:04:49,909 --> 00:04:50,409 children. 170 00:04:50,409 --> 00:04:54,230 And I will strike down upon thee with great vengeance 171 00:04:54,230 --> 00:04:58,970 and furious anger those who attempt to poison 172 00:04:58,970 --> 00:05:00,000 and destroy my brothers. 173 00:05:00,000 --> 00:05:01,400 and destroy my brothers. 174 00:05:01,400 --> 00:05:03,410 And you will know I am the Lord when 175 00:05:03,410 --> 00:05:06,590 I lay my vengeance upon you." 176 00:05:06,590 --> 00:05:09,140 I've been saying that shit for fucking forever, 177 00:05:09,140 --> 00:05:12,440 and if you heard it you'd know, you'd bet your ass, 178 00:05:12,440 --> 00:05:15,020 I never really questioned what it meant. 179 00:05:15,020 --> 00:05:17,960 I thought I was just-- 180 00:05:17,960 --> 00:05:20,540 I thought it was just a cold blooded motherfucking thing 181 00:05:20,540 --> 00:05:22,693 to say when you kill a motherfucker. 182 00:05:22,693 --> 00:05:29,490 But I saw some shit this morning that made me think twice. 183 00:05:29,490 --> 00:05:30,000 So now I'm thinking, could mean you're the evil man 184 00:05:30,000 --> 00:05:34,320 So now I'm thinking, could mean you're the evil man 185 00:05:34,320 --> 00:05:36,270 and I'm the righteous man. 186 00:05:36,270 --> 00:05:38,400 And Mr. 45 here, he's the shepherd 187 00:05:38,400 --> 00:05:41,100 protecting my righteous ass in the valley of darkness. 188 00:05:41,100 --> 00:05:44,850 Or it could be you're the righteous man 189 00:05:44,850 --> 00:05:47,850 and I'm the shepherd, and it's the world 190 00:05:47,850 --> 00:05:51,000 that's evil and selfish. 191 00:05:51,000 --> 00:05:53,270 I like that. 192 00:05:53,270 --> 00:05:56,340 That shit ain't the truth. 193 00:05:56,340 --> 00:05:59,930 And the truth is, you're the weak. 194 00:05:59,930 --> 00:06:00,000 You're the weak, and I am the tyranny of evil men. 195 00:06:00,000 --> 00:06:04,670 You're the weak, and I am the tyranny of evil men. 196 00:06:08,630 --> 00:06:11,260 But I'm trying. 197 00:06:11,260 --> 00:06:13,210 I'm trying real hard to be the shepherd. 198 00:06:17,228 --> 00:06:18,660 Good. 199 00:06:18,660 --> 00:06:20,520 All right. 200 00:06:20,520 --> 00:06:21,356 Hell yeah. 201 00:06:21,356 --> 00:06:22,086 Yeah? 202 00:06:22,086 --> 00:06:23,960 So you watched it enough to figure out, oh, I 203 00:06:23,960 --> 00:06:25,370 can make this shit my own. 204 00:06:25,370 --> 00:06:26,240 I know! 205 00:06:26,240 --> 00:06:26,780 You cheated. 206 00:06:26,780 --> 00:06:28,330 I cheated. 207 00:06:28,330 --> 00:06:30,000 You watched enough to know, hey, I can try anything I want to 208 00:06:30,000 --> 00:06:30,885 You watched enough to know, hey, I can try anything I want to 209 00:06:30,885 --> 00:06:32,000 and it's cool. 210 00:06:32,000 --> 00:06:34,010 And that's great. 211 00:06:34,010 --> 00:06:36,250 Thank you so much. 212 00:06:36,250 --> 00:06:40,760 You made Jules this incredibly, you know, 213 00:06:40,760 --> 00:06:44,780 mocking femme fatale, which is awesome. 214 00:06:44,780 --> 00:06:46,940 It was great, because you were having a good time. 215 00:06:46,940 --> 00:06:49,070 You had fun doing it. 216 00:06:49,070 --> 00:06:54,020 You took command of the situation 217 00:06:54,020 --> 00:06:56,300 in a really great and interesting way. 218 00:06:56,300 --> 00:06:58,870 You looked at them like they were two idiots, you know, 219 00:06:58,870 --> 00:07:00,000 who had no idea who they fucking with. 220 00:07:00,000 --> 00:07:00,470 who had no idea who they fucking with. 221 00:07:00,470 --> 00:07:02,780 They had no idea what they stepped into. 222 00:07:02,780 --> 00:07:03,590 And you enjoyed it. 223 00:07:03,590 --> 00:07:05,640 You had great control. 224 00:07:05,640 --> 00:07:10,970 You sat back, like, you know, this is cool. 225 00:07:10,970 --> 00:07:12,950 Let me tell them what's up. 226 00:07:12,950 --> 00:07:16,580 And it was great to watch. 227 00:07:16,580 --> 00:07:19,700 Even your reading, you know, you actually found stuff in there 228 00:07:19,700 --> 00:07:22,130 that you found ways to turn the phrase 229 00:07:22,130 --> 00:07:26,810 to make it different from what people know it to be. 230 00:07:26,810 --> 00:07:29,332 You know, but I was hoping you would just decide, 231 00:07:29,332 --> 00:07:30,000 I'm not going to do it the way he did it. 232 00:07:30,000 --> 00:07:31,040 I'm not going to do it the way he did it. 233 00:07:31,040 --> 00:07:32,240 I'm going to do it this way. 234 00:07:32,240 --> 00:07:34,310 I'm not going to try to imitate any of that. 235 00:07:34,310 --> 00:07:35,440 And you didn't. 236 00:07:35,440 --> 00:07:40,100 You heard that that was freedom, that you could come in here 237 00:07:40,100 --> 00:07:43,300 and be any old person you wanted to be named Jules. 238 00:07:43,300 --> 00:07:45,430 You know, and do it. 239 00:07:45,430 --> 00:07:47,960 And that's what you did. 240 00:07:47,960 --> 00:07:52,760 All, you know, very, very fun and interesting 241 00:07:52,760 --> 00:07:53,990 and good to watch. 242 00:07:53,990 --> 00:07:56,670 You did a lot of really, really good things there. 243 00:07:59,350 --> 00:08:00,000 How'd you all feel about it? 244 00:08:00,000 --> 00:08:00,520 How'd you all feel about it? 245 00:08:00,520 --> 00:08:01,690 You were watching. 246 00:08:01,690 --> 00:08:03,990 Cool. 247 00:08:03,990 --> 00:08:05,010 Good, honeybun. 248 00:08:05,010 --> 00:08:06,650 [LAUGHING] 249 00:08:06,650 --> 00:08:08,580 You had your pee-dance going, that was good. 250 00:08:08,580 --> 00:08:09,600 I liked it. 251 00:08:09,600 --> 00:08:11,560 I liked it. 1 00:00:00,000 --> 00:00:02,910 2 00:00:12,620 --> 00:00:15,470 There are a lot of us, you know-- 3 00:00:15,470 --> 00:00:22,090 James Earl Jones, Bruce Willis, uh, Emily Blunt. 4 00:00:22,090 --> 00:00:23,325 I think I spent-- 5 00:00:23,325 --> 00:00:28,720 what was that-- my fourth-grade year, 6 00:00:28,720 --> 00:00:30,000 I got laughed at in class one day because I was [STUTTERING].. 7 00:00:30,000 --> 00:00:33,970 I got laughed at in class one day because I was [STUTTERING].. 8 00:00:33,970 --> 00:00:35,780 So I didn't talk for a year. 9 00:00:35,780 --> 00:00:40,246 So the teachers were sympathetic. 10 00:00:40,246 --> 00:00:41,370 And they knew I could read. 11 00:00:41,370 --> 00:00:44,337 So they didn't have to ask me to read out loud, you know, 12 00:00:44,337 --> 00:00:46,670 when they were trying to get people to read passages out 13 00:00:46,670 --> 00:00:48,836 loud to see if they could actually read or whatever. 14 00:00:48,836 --> 00:00:50,780 And I passed all the spelling tests, 15 00:00:50,780 --> 00:00:53,360 so I don't really need to do a lot of talking. 16 00:00:53,360 --> 00:01:00,000 The more confident I got in my intelligence and my persona, 17 00:01:00,000 --> 00:01:01,590 The more confident I got in my intelligence and my persona, 18 00:01:01,590 --> 00:01:04,170 the more able I was to deal with how 19 00:01:04,170 --> 00:01:10,350 I wanted to express myself and not use specific consonants 20 00:01:10,350 --> 00:01:15,210 or things that caught me, 'cause I would know early in the day 21 00:01:15,210 --> 00:01:19,980 if I was having a C day and it was cu-- cu-- cu. 22 00:01:19,980 --> 00:01:21,950 So I didn't use those words. 23 00:01:21,950 --> 00:01:26,070 Or if I'm having a B day, bu-- bu-- bu, the worst days 24 00:01:26,070 --> 00:01:29,520 are the W days, 'cause I still have things, 25 00:01:29,520 --> 00:01:30,000 sentences that start with what, why, when. 26 00:01:30,000 --> 00:01:32,450 sentences that start with what, why, when. 27 00:01:32,450 --> 00:01:38,340 It's like [STUTTERING],, 'cause it's hard to fix that, 28 00:01:38,340 --> 00:01:40,090 to find the alternative word that you 29 00:01:40,090 --> 00:01:42,110 can start a sentence with. 30 00:01:42,110 --> 00:01:45,083 Motherfucker was my, you know, Elmer Fudd word. 31 00:01:45,083 --> 00:01:49,285 You know, [STUTTERING] motherfucker, OK, I 32 00:01:49,285 --> 00:01:50,540 can get it out now. 33 00:01:50,540 --> 00:01:52,281 Yeah, yes, it was. 34 00:01:52,281 --> 00:01:54,530 And there are several movies that I can look at and go 35 00:01:54,530 --> 00:01:55,560 [LAUGHTER]. 36 00:01:55,560 --> 00:01:59,780 I mean, in "Jungle Fever," when I was trying to ask Spike what 37 00:01:59,780 --> 00:02:00,000 he did for a living in-- in-- 38 00:02:00,000 --> 00:02:01,970 he did for a living in-- in-- 39 00:02:01,970 --> 00:02:04,790 in the park, it was [STUTTERING].. 40 00:02:04,790 --> 00:02:07,850 And it worked for Gator, because he was just kind of caught up 41 00:02:07,850 --> 00:02:08,400 in whatever. 42 00:02:08,400 --> 00:02:11,510 But I could not get what is it you do again. 43 00:02:11,510 --> 00:02:16,625 [STAMMERING] And he just kept it in the movie, which is fine. 44 00:02:24,050 --> 00:02:27,270 I realized that we were doing a Bond spoof. 45 00:02:27,270 --> 00:02:29,180 And all Bond villains have something. 46 00:02:29,180 --> 00:02:30,000 You know, Goldfinger had something. 47 00:02:30,000 --> 00:02:33,940 You know, Goldfinger had something. 48 00:02:33,940 --> 00:02:36,365 Yaphet Kotto had whatever he had. 49 00:02:36,365 --> 00:02:40,280 And because I stuttered when I was a kid, 50 00:02:40,280 --> 00:02:44,490 I know people had this thing about people's speech patterns. 51 00:02:44,490 --> 00:02:49,650 And they think less of you when you have something, you know. 52 00:02:49,650 --> 00:02:51,810 And I didn't want to stutter. 53 00:02:51,810 --> 00:02:55,560 But I know that a lisp is one of those things 54 00:02:55,560 --> 00:02:56,430 that people look at. 55 00:02:56,430 --> 00:02:58,500 And they kind of go-- 56 00:02:58,500 --> 00:03:00,000 you know, they snigger at you when I have them. 57 00:03:00,000 --> 00:03:01,970 you know, they snigger at you when I have them. 58 00:03:01,970 --> 00:03:03,449 The clothes just happened. 59 00:03:03,449 --> 00:03:04,990 So all of a sudden, everybody thought 60 00:03:04,990 --> 00:03:07,180 I was doing a Russell Simmons impression. 61 00:03:07,180 --> 00:03:11,950 But, you know, I just chose that Valentine would do that. 62 00:03:11,950 --> 00:03:15,100 And the director wasn't sure about that for a minute. 63 00:03:15,100 --> 00:03:17,350 You know, the first time I showed up during rehearsal, 64 00:03:17,350 --> 00:03:19,360 and I did it, he was like, what are you doing? 65 00:03:19,360 --> 00:03:22,460 And I was like, I'm working on a character thing. 66 00:03:22,460 --> 00:03:25,525 And he was like, are you gonna do that the whole movie? 67 00:03:25,525 --> 00:03:26,530 I'm like, yeah. 68 00:03:26,530 --> 00:03:28,050 He was like, why? 69 00:03:28,050 --> 00:03:29,790 I was like, why not? 70 00:03:29,790 --> 00:03:30,000 It's a Bond movie. 71 00:03:30,000 --> 00:03:31,190 It's a Bond movie. 72 00:03:31,190 --> 00:03:34,332 And he was like, well, let me listen to it. 73 00:03:34,332 --> 00:03:35,290 You know, I don't know. 74 00:03:35,290 --> 00:03:36,160 And I'm like, look. 75 00:03:36,160 --> 00:03:38,340 One of the baddest people on the planet had a lisp. 76 00:03:38,340 --> 00:03:40,131 And he was like, who are you talking about? 77 00:03:40,131 --> 00:03:41,450 I was like, Mike Tyson. 78 00:03:41,450 --> 00:03:44,310 And he was like, oh, really. 79 00:03:44,310 --> 00:03:48,420 And over the course of a day, a day and a half, 80 00:03:48,420 --> 00:03:50,500 he got used to it, and he loved it. 81 00:03:50,500 --> 00:03:53,950 And for me, you know, it's easy to just step 82 00:03:53,950 --> 00:03:56,520 into a movie like that and just be me and do 83 00:03:56,520 --> 00:03:58,230 something kind of quirky. 84 00:03:58,230 --> 00:04:00,000 But having that lisp gave me focus. 85 00:04:00,000 --> 00:04:01,869 But having that lisp gave me focus. 86 00:04:01,869 --> 00:04:04,160 You know, it was something for me to focus on every day 87 00:04:04,160 --> 00:04:05,000 when I'm there. 88 00:04:05,000 --> 00:04:09,350 I have to make sure I pick the right words to, you know, 89 00:04:09,350 --> 00:04:10,490 lisp on. 90 00:04:10,490 --> 00:04:13,430 (WITH LISP) To make sure, sure, all the S's, 91 00:04:13,430 --> 00:04:17,269 all the S's, some of the T's, some of the W's, you 92 00:04:17,269 --> 00:04:20,060 know, all those things that work in a lisp, 93 00:04:20,060 --> 00:04:24,950 and you have to focus on that until it becomes something 94 00:04:24,950 --> 00:04:26,700 that I didn't have to think about. 95 00:04:26,700 --> 00:04:29,990 I just knew which word that was gonna be and how that worked. 96 00:04:29,990 --> 00:04:30,000 And it got to be, you know, natural and easy. 97 00:04:30,000 --> 00:04:35,240 And it got to be, you know, natural and easy. 98 00:04:35,240 --> 00:04:37,800 And he's a megalomaniac. 99 00:04:37,800 --> 00:04:40,010 He's got more money than God, you know, 100 00:04:40,010 --> 00:04:44,600 but he also knows that people tend to misjudge him 101 00:04:44,600 --> 00:04:48,670 because of the way he speaks, and he uses that 102 00:04:48,670 --> 00:04:49,920 to his advantage. 103 00:04:49,920 --> 00:04:53,680 You know, and it was fun for me to do that. 104 00:04:53,680 --> 00:04:55,470 Yo, man, you know me. 105 00:04:55,470 --> 00:04:56,965 Money is not my issue. 106 00:04:56,965 --> 00:04:59,560 I could have retired straight out of MIT, fucked off 107 00:04:59,560 --> 00:05:00,000 to some island, and let the business run itself. 108 00:05:00,000 --> 00:05:01,720 to some island, and let the business run itself. 109 00:05:01,720 --> 00:05:04,880 Nobody told me to try and save the planet. 110 00:05:04,880 --> 00:05:06,430 I wanted to. 111 00:05:06,430 --> 00:05:09,350 Climate-change research, lobbying, years of study, 112 00:05:09,350 --> 00:05:12,590 billions of dollars, and you know why I quit? 113 00:05:12,590 --> 00:05:15,470 Because the last time I checked, the planet 114 00:05:15,470 --> 00:05:20,420 was still fucked, hence my epiphany. 115 00:05:20,420 --> 00:05:23,480 Money won't solve this. 116 00:05:23,480 --> 00:05:25,840 Those idiots who call themselves politicians 117 00:05:25,840 --> 00:05:27,740 have buried their heads in the sand 118 00:05:27,740 --> 00:05:30,000 and stood for nothing but re-election. 119 00:05:30,000 --> 00:05:30,950 and stood for nothing but re-election. 120 00:05:30,950 --> 00:05:35,307 So I spent the last two years trying to find a real solution, 121 00:05:35,307 --> 00:05:36,768 and I found it. 122 00:05:43,586 --> 00:05:46,170 There was no trepidation about going back to the stage 123 00:05:46,170 --> 00:05:48,005 because that was-- 124 00:05:48,005 --> 00:05:49,090 that's my genesis. 125 00:05:49,090 --> 00:05:52,600 That's where I flourish in my mind, 126 00:05:52,600 --> 00:05:54,330 and I love the idea of it. 127 00:05:54,330 --> 00:06:00,000 So when I got there, or before the first day of rehearsal, 128 00:06:00,000 --> 00:06:00,064 So when I got there, or before the first day of rehearsal, 129 00:06:00,064 --> 00:06:01,730 when I was sitting at home, figuring out 130 00:06:01,730 --> 00:06:03,470 how I was going to make this thing work 131 00:06:03,470 --> 00:06:06,350 and how I was going to do it, I knew 132 00:06:06,350 --> 00:06:08,870 that I was not going to be onstage doing 133 00:06:08,870 --> 00:06:11,300 an imitation of Martin Luther King, 134 00:06:11,300 --> 00:06:14,286 you know, doing I have a dream. 135 00:06:14,286 --> 00:06:16,160 I couldn't do that because I know that people 136 00:06:16,160 --> 00:06:17,540 don't talk like that. 137 00:06:17,540 --> 00:06:21,670 And having been around those guys, 138 00:06:21,670 --> 00:06:27,260 you know, all my life, and especially the powers that 139 00:06:27,260 --> 00:06:29,720 be at Morehouse that were his contemporaries, 140 00:06:29,720 --> 00:06:30,000 and having seen him, you know, just orating or debating 141 00:06:30,000 --> 00:06:33,920 and having seen him, you know, just orating or debating 142 00:06:33,920 --> 00:06:36,230 with other people, I knew that that was not 143 00:06:36,230 --> 00:06:38,530 his normal speaking voice. 144 00:06:38,530 --> 00:06:40,850 That was his orator's voice. 145 00:06:40,850 --> 00:06:46,800 So finding who that southern preacher is 146 00:06:46,800 --> 00:06:51,720 and who that educated southern preacher is, 147 00:06:51,720 --> 00:06:56,640 not some jackleg southern preacher, but a Morehouse man 148 00:06:56,640 --> 00:06:59,820 from that particular era, I know that they 149 00:06:59,820 --> 00:07:00,000 have speech patterns that are indicative to our ears 150 00:07:00,000 --> 00:07:07,240 have speech patterns that are indicative to our ears 151 00:07:07,240 --> 00:07:09,310 because we hear them, because we're 152 00:07:09,310 --> 00:07:12,610 being taught by these people or we encounter them 153 00:07:12,610 --> 00:07:14,050 a lot more than most people. 154 00:07:14,050 --> 00:07:21,940 And there is a rhythmic and elongated pronunciation thing 155 00:07:21,940 --> 00:07:24,220 that they do sometimes. 156 00:07:24,220 --> 00:07:27,520 They mispronounce words because they're doing things 157 00:07:27,520 --> 00:07:30,000 to them so that when you say a word like there, 158 00:07:30,000 --> 00:07:32,950 to them so that when you say a word like there, 159 00:07:32,950 --> 00:07:34,000 it's not clipped. 160 00:07:34,000 --> 00:07:35,900 It becomes there. 161 00:07:35,900 --> 00:07:38,620 (WITH ACCENT) You know, there are certain ways 162 00:07:38,620 --> 00:07:41,350 that I am going to speak that will make you 163 00:07:41,350 --> 00:07:44,255 think that I'm very important. 164 00:07:44,255 --> 00:07:48,670 And it's like, oh, that middle, the drawing out of those words. 165 00:07:48,670 --> 00:07:51,230 And I had heard enough of them that when I heard it 166 00:07:51,230 --> 00:07:53,630 in my head, it sounded right. 167 00:07:53,630 --> 00:07:58,640 And it served me well because I didn't necessarily 168 00:07:58,640 --> 00:08:00,000 have to do that imitation that people wanted. 169 00:08:00,000 --> 00:08:01,800 have to do that imitation that people wanted. 170 00:08:01,800 --> 00:08:04,310 But when audiences sat there and listened to it, 171 00:08:04,310 --> 00:08:07,580 they immediately recognized, oh, that's that guy who 172 00:08:07,580 --> 00:08:10,730 was educated in this particular time, 173 00:08:10,730 --> 00:08:18,120 in this particular place that allows him to feel important. 174 00:08:18,120 --> 00:08:19,116 [SNICKERING] 175 00:08:26,100 --> 00:08:28,290 Now there's another strange thing, too, 176 00:08:28,290 --> 00:08:30,000 that I do that I don't know that other actors do. 177 00:08:30,000 --> 00:08:31,183 that I do that I don't know that other actors do. 178 00:08:31,183 --> 00:08:36,500 Um, most times, I don't hear my lines 179 00:08:36,500 --> 00:08:41,360 out loud until I rehearse them for the first time on camera. 180 00:08:41,360 --> 00:08:44,190 I don't sit at home and do my lines out loud. 181 00:08:44,190 --> 00:08:47,640 I do them in my head. 182 00:08:47,640 --> 00:08:48,535 I don't know. 183 00:08:48,535 --> 00:08:50,160 I just don't want-- well, first of all, 184 00:08:50,160 --> 00:08:51,780 I don't want to disturb my wife. 185 00:08:51,780 --> 00:08:53,841 Or I don't want her asking me, do you 186 00:08:53,841 --> 00:08:55,090 want me to run lines with you? 187 00:08:55,090 --> 00:08:57,540 No, I don't. 188 00:08:57,540 --> 00:08:59,170 And I've always done that. 189 00:08:59,170 --> 00:09:00,000 I mean, I can learn them by-- 190 00:09:00,000 --> 00:09:01,890 I mean, I can learn them by-- 191 00:09:01,890 --> 00:09:04,470 maybe by the third time I've read them, I know them. 192 00:09:04,470 --> 00:09:06,780 So I've got that capability. 193 00:09:06,780 --> 00:09:09,780 So after I've done that, then I start 194 00:09:09,780 --> 00:09:13,770 running through all the iterations of how they sound, 195 00:09:13,770 --> 00:09:14,926 you know, of what it is. 196 00:09:14,926 --> 00:09:16,050 Where is the emphasis here? 197 00:09:16,050 --> 00:09:16,700 Where is the emphasis there? 198 00:09:16,700 --> 00:09:17,580 Is this loud? 199 00:09:17,580 --> 00:09:18,971 Is this soft? 200 00:09:18,971 --> 00:09:19,720 Is this endearing? 201 00:09:19,720 --> 00:09:21,527 Is this angry? 202 00:09:21,527 --> 00:09:22,026 [SIGH] 203 00:09:22,026 --> 00:09:23,070 Is it fast? 204 00:09:23,070 --> 00:09:24,550 Is it slow? 205 00:09:24,550 --> 00:09:26,260 I can run them all through my head 206 00:09:26,260 --> 00:09:30,000 and choose the one that I think works in that situation 207 00:09:30,000 --> 00:09:32,980 and move on to the next thing to see if it fits with that. 208 00:09:32,980 --> 00:09:35,340 You know, or do I need to go back, change the way 209 00:09:35,340 --> 00:09:38,400 this works, the inflections here so that it leads them to this? 210 00:09:38,400 --> 00:09:40,800 But it all just happens in here. 211 00:09:40,800 --> 00:09:42,870 And when I go on set for the first time, 212 00:09:42,870 --> 00:09:45,060 and they say, let's rehearse, that's the first time 213 00:09:45,060 --> 00:09:46,260 I hear them out loud. 214 00:09:46,260 --> 00:09:57,100 The tone, the ambience, the volume, all those things 215 00:09:57,100 --> 00:10:00,000 change when you're in a real situation. 216 00:10:00,000 --> 00:10:01,740 change when you're in a real situation. 217 00:10:01,740 --> 00:10:06,130 There are things that inform it that I haven't done, 218 00:10:06,130 --> 00:10:11,870 like when there are props there, if I'm picking up a prop that's 219 00:10:11,870 --> 00:10:14,620 there, I haven't done that in my head 220 00:10:14,620 --> 00:10:17,910 because I didn't know what the room looked like. 221 00:10:17,910 --> 00:10:23,340 The unique value of being in a Tarantino film 222 00:10:23,340 --> 00:10:27,465 is we rehearsed for three weeks to a month. 223 00:10:27,465 --> 00:10:29,890 By the time we did "Pulp Fiction," 224 00:10:29,890 --> 00:10:30,000 we were in a studio for rehearsal for a month. 225 00:10:30,000 --> 00:10:34,450 we were in a studio for rehearsal for a month. 226 00:10:34,450 --> 00:10:36,820 The whole killing room was taped out. 227 00:10:36,820 --> 00:10:39,610 The hallway in the apartment building was taped out. 228 00:10:39,610 --> 00:10:43,210 I knew how many steps there were from the elevator to the door, 229 00:10:43,210 --> 00:10:46,750 to the door, to the hallway where 230 00:10:46,750 --> 00:10:49,210 John and I had the conversation, back to the door. 231 00:10:49,210 --> 00:10:51,190 We knew how many steps there were from the car 232 00:10:51,190 --> 00:10:53,770 to the front door, to the elevator. 233 00:10:53,770 --> 00:10:56,556 We'd rehearsed everything, you know, same thing 234 00:10:56,556 --> 00:10:57,430 with "Hateful Eight." 235 00:10:57,430 --> 00:11:00,000 We sat around that table in a studio. 236 00:11:00,000 --> 00:11:00,730 We sat around that table in a studio. 237 00:11:00,730 --> 00:11:03,820 They recreated Minnie's in a studio with props. 238 00:11:03,820 --> 00:11:06,440 So we got to practice with the props and everything else. 239 00:11:06,440 --> 00:11:07,210 So we knew. 240 00:11:07,210 --> 00:11:10,254 We knew how much stew we were eating. 241 00:11:10,254 --> 00:11:12,920 We knew everything, until we got there, and we started shooting. 242 00:11:12,920 --> 00:11:15,360 And we ate stew for, like, a week. 243 00:11:15,360 --> 00:11:16,600 It was horrid. 244 00:11:16,600 --> 00:11:18,080 We ate stew for a week. 245 00:11:18,080 --> 00:11:18,950 And Quentin was like, I don't want 246 00:11:18,950 --> 00:11:20,300 none of that goddamn moving eating, either. 247 00:11:20,300 --> 00:11:21,260 I want you eating. 248 00:11:21,260 --> 00:11:21,770 So we ate. 249 00:11:21,770 --> 00:11:24,800 [CHOMPING] You know, and so we were sick of stew. 250 00:11:24,800 --> 00:11:28,190 But sometimes, you don't know the props. 251 00:11:28,190 --> 00:11:30,000 But you get there, and you start doing the lines. 252 00:11:30,000 --> 00:11:30,980 But you get there, and you start doing the lines. 253 00:11:30,980 --> 00:11:33,290 And you pick something up that you hadn't picked up. 254 00:11:33,290 --> 00:11:35,030 In your mind, while you were rehearsing the lines, 255 00:11:35,030 --> 00:11:35,780 you pick something up. 256 00:11:35,780 --> 00:11:37,840 And, you know, you look at it while you're doing the lines. 257 00:11:37,840 --> 00:11:40,200 And you look at the person, and you handle that thing. 258 00:11:40,200 --> 00:11:42,590 You put it down, or you take a drink that wasn't there, 259 00:11:42,590 --> 00:11:45,010 you know, in your mind when you were rehearsing the lines. 260 00:11:45,010 --> 00:11:47,300 So there are things that change. 261 00:11:47,300 --> 00:11:51,710 But your plan, vocally and intentionally, 262 00:11:51,710 --> 00:11:52,710 remains the same. 263 00:11:59,300 --> 00:12:00,000 I tend to do vocal warm-ups more when 264 00:12:00,000 --> 00:12:04,660 I tend to do vocal warm-ups more when 265 00:12:04,660 --> 00:12:07,720 I'm in a theatrical setting, or I did them more 266 00:12:07,720 --> 00:12:10,120 when I was doing theater. 267 00:12:10,120 --> 00:12:13,870 I only do them now just perfunctorily 268 00:12:13,870 --> 00:12:15,610 before I do voiceover things. 269 00:12:15,610 --> 00:12:20,710 I mean, there are times when I'm going into an ADR session 270 00:12:20,710 --> 00:12:28,350 or before I'm going to do any kind of voiceover. 271 00:12:28,350 --> 00:12:30,000 I do go through consonants and vowels, you know, 272 00:12:30,000 --> 00:12:32,490 I do go through consonants and vowels, you know, 273 00:12:32,490 --> 00:12:36,130 A, E, I, O, U. A, E, I, O, U. A, E, I O, U. 274 00:12:36,130 --> 00:12:40,380 Or I will run through the alphabet sometimes. 275 00:12:40,380 --> 00:12:43,800 Doe, day, doe, day, doe, day, doe, A, E, A, E, A, E, A, A, E, 276 00:12:43,800 --> 00:12:48,450 I, O. Bo, bee, bo, bee, bo, bee, bo, bay, bee, by, bo, boo. 277 00:12:48,450 --> 00:12:51,030 I do every alphabet and go through it, you know, 278 00:12:51,030 --> 00:12:54,000 and then go from the highest point in my voice 279 00:12:54,000 --> 00:12:58,590 to the lowest, like [DESCENDING HUM].. 280 00:12:58,590 --> 00:13:00,000 So I'm letting my voice know that we're 281 00:13:00,000 --> 00:13:01,590 So I'm letting my voice know that we're 282 00:13:01,590 --> 00:13:03,270 about to do some work. 283 00:13:03,270 --> 00:13:06,240 So I limber up. 284 00:13:06,240 --> 00:13:07,920 [LAUGHTER] 285 00:13:08,420 --> 00:13:10,602 Yeah, I do some stretches. 286 00:13:17,000 --> 00:13:21,430 Voiceover acting is just an exercise in reading 287 00:13:21,430 --> 00:13:25,000 aloud, a lot of times alone. 288 00:13:25,000 --> 00:13:26,950 Occasionally, there are other actors there. 289 00:13:26,950 --> 00:13:30,000 But I think that one of the things that's 290 00:13:30,000 --> 00:13:31,720 But I think that one of the things that's 291 00:13:31,720 --> 00:13:39,520 served me very well in a venue like that is the fact that I 292 00:13:39,520 --> 00:13:42,110 did spend long evenings sitting on the porch 293 00:13:42,110 --> 00:13:45,400 with my grandfather, listening to radio drama 294 00:13:45,400 --> 00:13:48,140 and how people use their voices to tell stories, 295 00:13:48,140 --> 00:13:51,610 like Andy Griffith and listening to "Amos and Andy" 296 00:13:51,610 --> 00:13:55,510 and "Sergeant Preston of the Yukon" and "The Shadow," 297 00:13:55,510 --> 00:13:56,470 things like that. 298 00:13:56,470 --> 00:14:00,000 So I understand dramatic reading and the use 299 00:14:00,000 --> 00:14:00,310 So I understand dramatic reading and the use 300 00:14:00,310 --> 00:14:06,480 of your voice in terms of the ups and downs of excitement 301 00:14:06,480 --> 00:14:12,280 or the calm of exposition and being 302 00:14:12,280 --> 00:14:15,610 able to interpret what's going on. 303 00:14:15,610 --> 00:14:18,910 I mean, I've also had the privilege 304 00:14:18,910 --> 00:14:24,010 of actually doing an audio book, you know, which is kind of fun 305 00:14:24,010 --> 00:14:26,500 because I got to change my voice and do 306 00:14:26,500 --> 00:14:29,710 a bunch of different characters in the story 307 00:14:29,710 --> 00:14:30,000 and find distinctive sounds for each one. 308 00:14:30,000 --> 00:14:32,810 and find distinctive sounds for each one. 309 00:14:32,810 --> 00:14:37,410 So it's a matter of being able to read and interpret. 310 00:14:37,410 --> 00:14:39,847 And I think I have accomplished that. 311 00:14:39,847 --> 00:14:41,680 Like I said, you know, I read a lot, anyway. 312 00:14:41,680 --> 00:14:47,530 So when I read, I read in other people's voices in my head. 313 00:14:47,530 --> 00:14:51,160 After I've chosen the character that I am in that story 314 00:14:51,160 --> 00:14:54,280 and how I sound in that story, you 315 00:14:54,280 --> 00:14:58,300 hear different voices of people as you read. 316 00:14:58,300 --> 00:15:00,000 I guess the most difficult aspect of that was from time 317 00:15:00,000 --> 00:15:01,780 I guess the most difficult aspect of that was from time 318 00:15:01,780 --> 00:15:07,190 to time, you know, having to bounce from one character 319 00:15:07,190 --> 00:15:09,950 to another, or there were incidental characters that 320 00:15:09,950 --> 00:15:12,050 passed through every now and then, 321 00:15:12,050 --> 00:15:15,650 and remembering what that voice was when that character bounced 322 00:15:15,650 --> 00:15:21,980 into to the dialogue or the story at that point, you know, 323 00:15:21,980 --> 00:15:23,060 and being able to do it. 324 00:15:23,060 --> 00:15:26,420 You know, it's kind of fun and challenging when 325 00:15:26,420 --> 00:15:30,000 you have group scenes in a book and there 326 00:15:30,000 --> 00:15:31,610 you have group scenes in a book and there 327 00:15:31,610 --> 00:15:34,280 are multiple characters talking to each other 328 00:15:34,280 --> 00:15:36,260 and differentiating in those voices, when 329 00:15:36,260 --> 00:15:39,080 you have an opportunity to do it and remembering 330 00:15:39,080 --> 00:15:41,150 who sounds like what and who's speaking 331 00:15:41,150 --> 00:15:43,702 and distinctly making those voices different so 332 00:15:43,702 --> 00:15:45,910 that people will know that that character's speaking. 333 00:15:45,910 --> 00:15:46,850 That character's speaking. 334 00:15:46,850 --> 00:15:47,600 That character's speaking. 335 00:15:47,600 --> 00:15:48,683 That character's speaking. 336 00:15:54,960 --> 00:15:58,020 When I was approached to do "I am not Your Negro"-- 337 00:15:58,020 --> 00:16:00,000 I'm a huge fan of James Baldwin-- 338 00:16:00,000 --> 00:16:01,830 I'm a huge fan of James Baldwin-- 339 00:16:01,830 --> 00:16:08,490 I knew, or instinctively felt, that I didn't want to try 340 00:16:08,490 --> 00:16:11,550 and imitate James Baldwin. 341 00:16:11,550 --> 00:16:15,570 One of the things that I'm pretty certain I can't do 342 00:16:15,570 --> 00:16:19,145 is imitations. 343 00:16:19,145 --> 00:16:23,230 I envy people that can mimic other people's voices. 344 00:16:23,230 --> 00:16:24,280 I can't do it. 345 00:16:24,280 --> 00:16:28,390 I watch Jamie do it, and I watch a lot of other people do it. 346 00:16:28,390 --> 00:16:30,000 And they do it well. 347 00:16:30,000 --> 00:16:30,870 And they do it well. 348 00:16:30,870 --> 00:16:37,580 And in talking to Raoul about what was on the page 349 00:16:37,580 --> 00:16:40,280 and how he wanted it interpreted, 350 00:16:40,280 --> 00:16:47,180 he asked me to give him a quiet dignity of sorts, 351 00:16:47,180 --> 00:16:51,590 to use those words in the way that I would use 352 00:16:51,590 --> 00:16:57,190 those words, not necessarily in the way 353 00:16:57,190 --> 00:17:00,000 that Baldwin would say them, in terms of what his speech 354 00:17:00,000 --> 00:17:00,850 that Baldwin would say them, in terms of what his speech 355 00:17:00,850 --> 00:17:06,460 patterns were or what that would mean to an audience listening 356 00:17:06,460 --> 00:17:11,260 or people who knew his voice, but to give something 357 00:17:11,260 --> 00:17:18,339 that was universal but impactful in terms of allowing people 358 00:17:18,339 --> 00:17:21,520 to absorb the images that were on screen 359 00:17:21,520 --> 00:17:26,829 and still absorb the intellectual quality of what 360 00:17:26,829 --> 00:17:29,620 James Baldwin wrote. 361 00:17:29,620 --> 00:17:30,000 And we found this kind of quiet, intense voice 362 00:17:30,000 --> 00:17:38,640 And we found this kind of quiet, intense voice 363 00:17:38,640 --> 00:17:45,890 that I hoped would be soft enough 364 00:17:45,890 --> 00:17:49,580 that it would make people sit forward to listen, 365 00:17:49,580 --> 00:17:56,810 but making sure that the intonations and the inflections 366 00:17:56,810 --> 00:17:59,330 were clear enough that they would 367 00:17:59,330 --> 00:18:00,000 be universally understood. 368 00:18:00,000 --> 00:18:01,670 be universally understood. 369 00:18:08,390 --> 00:18:11,810 I watched a lot of cartoons when I was a kid, 370 00:18:11,810 --> 00:18:16,380 and I didn't think the voices weren't real. 371 00:18:16,380 --> 00:18:19,730 I just thought they were the voice of that particular animal 372 00:18:19,730 --> 00:18:20,950 or cartoon character. 373 00:18:20,950 --> 00:18:24,620 It's like Daffy Duck's voice is Daffy Duck's voice. 374 00:18:24,620 --> 00:18:29,250 Elmer Fudd's voice was Elmer Fudd's voice. 375 00:18:29,250 --> 00:18:30,000 So when I read it, I hear a voice. 376 00:18:30,000 --> 00:18:33,450 So when I read it, I hear a voice. 377 00:18:33,450 --> 00:18:37,321 And I think of the audience that it's for. 378 00:18:37,321 --> 00:18:38,820 I mean, it's kind of like baby talk. 379 00:18:38,820 --> 00:18:42,410 You know, when people talk to babies, [BABY TALK],, 380 00:18:42,410 --> 00:18:44,120 because they think babies like that. 381 00:18:44,120 --> 00:18:46,912 I never talk to my daughter that way because I was like, 382 00:18:46,912 --> 00:18:48,620 she needs to hear what people sound like. 383 00:18:48,620 --> 00:18:50,411 You know, and people talk baby talk to her. 384 00:18:50,411 --> 00:18:52,770 I always talk to her like I talk. 385 00:18:52,770 --> 00:18:54,570 That's fine. 386 00:18:54,570 --> 00:18:57,650 But when it's a youthful audience, 387 00:18:57,650 --> 00:18:59,870 there's something about voices with higher timbre's 388 00:18:59,870 --> 00:19:00,000 that they like. 389 00:19:00,000 --> 00:19:00,830 that they like. 390 00:19:00,830 --> 00:19:03,710 But the reality of my higher-timbre voice is still 391 00:19:03,710 --> 00:19:07,230 a real voice of a human being, and not something that's kind 392 00:19:07,230 --> 00:19:09,632 of not something they're going to hear, you know, 393 00:19:09,632 --> 00:19:12,090 because kids aren't going to go through life (HIGH-PITCHED) 394 00:19:12,090 --> 00:19:13,040 hearing people talk to them. 395 00:19:13,040 --> 00:19:13,640 Oh, you're so cute. 396 00:19:13,640 --> 00:19:14,806 They talk to them like that. 397 00:19:14,806 --> 00:19:16,760 So I talk like a normal person. 398 00:19:16,760 --> 00:19:20,690 But I will change the timbre, and the energy of my voice 399 00:19:20,690 --> 00:19:26,130 changes, because that's the energy of a child. 400 00:19:26,130 --> 00:19:28,980 And children like things that engage them. 401 00:19:28,980 --> 00:19:30,000 You know, and you want them to be engaged. 402 00:19:30,000 --> 00:19:30,910 You know, and you want them to be engaged. 403 00:19:30,910 --> 00:19:35,100 So when I'm doing movies that are specifically 404 00:19:35,100 --> 00:19:37,200 designed for a youthful audience, 405 00:19:37,200 --> 00:19:40,890 I try and use a voice that has energy, 406 00:19:40,890 --> 00:19:44,490 and there's something significant 407 00:19:44,490 --> 00:19:48,440 that they can attach to or be excited by. 1 00:00:06,860 --> 00:00:08,220 All right. 2 00:00:08,220 --> 00:00:11,390 Actor dates, here we go. 3 00:00:11,390 --> 00:00:14,321 Oh, so is this something you know? 4 00:00:14,321 --> 00:00:14,820 No. 5 00:00:14,820 --> 00:00:15,450 Or know of? 6 00:00:15,450 --> 00:00:17,220 Yeah. 7 00:00:17,220 --> 00:00:18,520 "The Negotiator?" 8 00:00:18,520 --> 00:00:19,020 Yep. 9 00:00:19,020 --> 00:00:19,940 All right. 10 00:00:19,940 --> 00:00:22,480 So I guess, you know, just by the title, 11 00:00:22,480 --> 00:00:26,920 we're talking about somebody who's a wordsmith, used 12 00:00:26,920 --> 00:00:30,000 to using words situationally. 13 00:00:30,000 --> 00:00:31,640 to using words situationally. 14 00:00:31,640 --> 00:00:34,470 So who do you think that Danny Roman is? 15 00:00:34,470 --> 00:00:36,734 The Michael Jordon of negotiations. 16 00:00:36,734 --> 00:00:37,990 OK. 17 00:00:37,990 --> 00:00:40,330 And the Kevin Spacey character on the other side, 18 00:00:40,330 --> 00:00:42,744 who's not in this particular scene, but he's also-- 19 00:00:42,744 --> 00:00:43,660 He's the Larry Bird. 20 00:00:43,660 --> 00:00:45,180 MAN: He's the Phil Jackson. 21 00:00:45,180 --> 00:00:47,300 Yeah, Sabian, he's that guy. 22 00:00:47,300 --> 00:00:50,320 So who do you think that guy on the other end 23 00:00:50,320 --> 00:00:51,370 of this conversation is? 24 00:00:51,370 --> 00:00:52,286 He's not in the NBA. 25 00:00:52,286 --> 00:00:53,820 The guy coming off of the bench. 26 00:00:53,820 --> 00:00:55,070 He's coming off the bench. 27 00:00:55,070 --> 00:00:59,170 He's a cop who's part of the hostage negotiation 28 00:00:59,170 --> 00:01:00,000 team, who's been around. 29 00:01:00,000 --> 00:01:02,740 team, who's been around. 30 00:01:02,740 --> 00:01:03,880 He's studying. 31 00:01:03,880 --> 00:01:04,720 He's learning. 32 00:01:04,720 --> 00:01:06,490 He learning the ropes. 33 00:01:06,490 --> 00:01:09,370 And you know, he's part of-- 34 00:01:09,370 --> 00:01:11,200 part of Danny's team. 35 00:01:11,200 --> 00:01:12,760 And Danny is-- 36 00:01:12,760 --> 00:01:16,550 Danny's gone rogue, essentially, in their minds. 37 00:01:16,550 --> 00:01:22,760 And he's called in to have a conversation with the other, 38 00:01:22,760 --> 00:01:24,230 you know, all-star-- 39 00:01:24,230 --> 00:01:26,940 negotiation all-star, who's not there. 40 00:01:26,940 --> 00:01:30,000 And this kid thinks, you know, maybe I 41 00:01:30,000 --> 00:01:31,040 And this kid thinks, you know, maybe I 42 00:01:31,040 --> 00:01:34,010 know enough that I can talk to him since Danny 43 00:01:34,010 --> 00:01:35,450 and I are friends. 44 00:01:35,450 --> 00:01:38,040 And let's see how that works out. 45 00:01:38,040 --> 00:01:40,970 So I don't know how much characterization 46 00:01:40,970 --> 00:01:42,800 you've done in your heads about who 47 00:01:42,800 --> 00:01:45,530 you wanted to be, how you want him to be, whatever. 48 00:01:45,530 --> 00:01:52,090 But, um we've got two very divergent personalities here. 49 00:01:52,090 --> 00:01:55,000 They're both very different guys. 50 00:01:55,000 --> 00:01:59,680 So let's see how you jumped in it. 51 00:01:59,680 --> 00:02:00,000 So Brendan, Rob, because these girls always want to go first. 52 00:02:00,000 --> 00:02:04,680 So Brendan, Rob, because these girls always want to go first. 53 00:02:04,680 --> 00:02:06,030 Let you watch. 54 00:02:06,030 --> 00:02:07,875 Let's watch and see what happens. 55 00:02:17,650 --> 00:02:20,730 And action. 56 00:02:20,730 --> 00:02:22,154 Sabian? 57 00:02:22,154 --> 00:02:23,570 Uh, [CLEARS THROAT] it's Farley. 58 00:02:23,570 --> 00:02:24,820 I told you I don't want to talk 59 00:02:24,820 --> 00:02:25,990 to anybody but Chris Sabian. 60 00:02:25,990 --> 00:02:28,260 Yeah, he-- he-- he's gonna be on his way real soon. 61 00:02:28,260 --> 00:02:29,420 Just-- we just need more time. 62 00:02:29,420 --> 00:02:30,000 We don't have more time, Farley. 63 00:02:30,000 --> 00:02:30,836 We don't have more time, Farley. 64 00:02:33,086 --> 00:02:34,460 What are you doing here, Danny? 65 00:02:34,460 --> 00:02:35,293 It's pretty serious. 66 00:02:35,293 --> 00:02:36,190 It is serious. 67 00:02:36,190 --> 00:02:37,815 And why aren't you taking me seriously? 68 00:02:37,815 --> 00:02:40,101 Well, we are. 69 00:02:40,101 --> 00:02:40,600 We are. 70 00:02:40,600 --> 00:02:42,990 Um, we are. 71 00:02:42,990 --> 00:02:47,970 We just-- [CLEARS THROAT] I just want to talk to you, OK? 72 00:02:47,970 --> 00:02:48,470 Wait. 73 00:02:48,470 --> 00:02:49,210 Wait. 74 00:02:49,210 --> 00:02:49,940 Whoa, hold on. 75 00:02:53,370 --> 00:02:55,655 You wanna-- you wanna talk me down? 76 00:02:55,655 --> 00:02:59,145 Uh, we need to, uh-- 77 00:02:59,145 --> 00:03:00,000 uh, tell me what you want. 78 00:03:00,000 --> 00:03:02,188 uh, tell me what you want. 79 00:03:02,188 --> 00:03:04,540 [LAUGHING] You want a shot. 80 00:03:04,540 --> 00:03:07,336 All right, I'll give you a shot. 81 00:03:07,336 --> 00:03:10,260 We got a little time before Sabian gets here. 82 00:03:10,260 --> 00:03:12,560 What do I want, hmm. 83 00:03:12,560 --> 00:03:15,786 [CHUCKLING] Let's see. 84 00:03:15,786 --> 00:03:20,306 Uh, how about, can I see a priest? 85 00:03:20,306 --> 00:03:23,050 [STAMMERING] No, you can't see a priest. 86 00:03:23,050 --> 00:03:24,100 Good, Farley. 87 00:03:24,100 --> 00:03:26,860 You don't want me seeing a priest because a priest is 88 00:03:26,860 --> 00:03:27,979 associated with death. 89 00:03:27,979 --> 00:03:29,770 And you don't want me thinking about death. 90 00:03:29,770 --> 00:03:30,000 But you said no, Farley. 91 00:03:30,000 --> 00:03:31,460 But you said no, Farley. 92 00:03:31,460 --> 00:03:32,720 You can't say no. 93 00:03:32,720 --> 00:03:34,220 Never say no in a hostage situation. 94 00:03:34,220 --> 00:03:36,636 Danny, can-- can--can you could just relax a little bit? 95 00:03:36,636 --> 00:03:37,350 I am relaxed! 96 00:03:39,785 --> 00:03:41,410 A little bit of advice for you, Farley. 97 00:03:44,700 --> 00:03:49,060 Never say no to a hostage taker, all right? 98 00:03:49,060 --> 00:03:51,155 It's in the manual. 99 00:03:51,155 --> 00:03:52,530 Are you gonna say no to me again? 100 00:03:52,530 --> 00:03:54,450 No. 101 00:03:54,450 --> 00:03:56,050 Wrong answer, Farley. 102 00:03:56,050 --> 00:03:58,000 Shut up. 103 00:03:58,000 --> 00:04:00,000 Never say no, can't, don't, or want. 104 00:04:00,000 --> 00:04:01,000 Never say no, can't, don't, or want. 105 00:04:01,000 --> 00:04:02,800 It eliminates options. 106 00:04:02,800 --> 00:04:05,860 And that leaves the only option is to shoot someone, all right? 107 00:04:05,860 --> 00:04:08,670 You understand? 108 00:04:08,670 --> 00:04:09,390 Yes. 109 00:04:09,390 --> 00:04:10,290 Yes. 110 00:04:10,290 --> 00:04:10,820 Good. 111 00:04:10,820 --> 00:04:11,410 See? 112 00:04:11,410 --> 00:04:12,877 Yes, is good. 113 00:04:12,877 --> 00:04:14,460 All right, you say no again, I'm going 114 00:04:14,460 --> 00:04:17,220 to kill somebody, all right? 115 00:04:17,220 --> 00:04:19,700 Now let's-- let's practice. 116 00:04:19,700 --> 00:04:21,640 Can I see a priest? 117 00:04:21,640 --> 00:04:22,630 Danny, you know what? 118 00:04:22,630 --> 00:04:23,890 Can-- can we just talk about this? 119 00:04:23,890 --> 00:04:24,850 You wanted to talk! 120 00:04:24,850 --> 00:04:25,884 We're talking. 121 00:04:25,884 --> 00:04:26,675 Can I see a priest? 122 00:04:29,330 --> 00:04:30,000 Hmm? 123 00:04:30,000 --> 00:04:31,250 Hmm? 124 00:04:31,250 --> 00:04:32,650 I'll look into that. 125 00:04:32,650 --> 00:04:33,470 Good, Farley. 126 00:04:33,470 --> 00:04:33,970 Better. 127 00:04:33,970 --> 00:04:36,000 You're doing better. 128 00:04:36,000 --> 00:04:38,640 Can I have a sub-machine gun to blow everybody away? 129 00:04:41,412 --> 00:04:43,410 I'll-- I'll see what I can do. 130 00:04:43,410 --> 00:04:44,550 Good, Farley. 131 00:04:44,550 --> 00:04:46,200 You ever cheat on your wife? 132 00:04:46,200 --> 00:04:47,430 No. 133 00:04:47,430 --> 00:04:49,536 Careful, I'll shoot somebody. 134 00:04:49,536 --> 00:04:52,520 You ever cheat on your wife, Farley? 135 00:04:52,520 --> 00:04:53,050 Answer me! 136 00:04:53,050 --> 00:04:54,426 I'll have to look into-- 137 00:04:54,426 --> 00:04:56,590 I'll-- I'll-- I'll have to think about that. 138 00:04:56,590 --> 00:04:58,531 I'll-- I'll-- I'll look into that. 139 00:04:58,531 --> 00:05:00,000 [CHUCKLING] Oh, you ever dress up like a schoolgirl, 140 00:05:00,000 --> 00:05:04,680 [CHUCKLING] Oh, you ever dress up like a schoolgirl, 141 00:05:04,680 --> 00:05:06,710 get your ass spanked, Farley? 142 00:05:06,710 --> 00:05:07,470 [LAUGHING] 143 00:05:07,470 --> 00:05:09,140 Danny, come on, man. 144 00:05:09,140 --> 00:05:10,330 I just want to talk to you. 145 00:05:10,330 --> 00:05:12,042 Oh, we are talking! 146 00:05:12,042 --> 00:05:13,500 You ever dress up like a schoolgirl 147 00:05:13,500 --> 00:05:14,600 and get your ass spanked? 148 00:05:19,660 --> 00:05:22,470 I'll have look into that, Danny. 149 00:05:22,470 --> 00:05:23,970 Well, it makes no difference to me 150 00:05:23,970 --> 00:05:25,255 if you dress up like a schoolgirl. 151 00:05:25,255 --> 00:05:26,837 I didn't know that about you, Farley. 152 00:05:26,837 --> 00:05:27,420 I just didn't. 153 00:05:27,420 --> 00:05:28,320 [CHUCKLING] 154 00:05:28,320 --> 00:05:30,000 This is a really, really unproductive. 155 00:05:30,000 --> 00:05:31,860 This is a really, really unproductive. 156 00:05:31,860 --> 00:05:34,060 Unproductive? 157 00:05:34,060 --> 00:05:35,890 Unproductive. 158 00:05:35,890 --> 00:05:36,550 You're right. 159 00:05:36,550 --> 00:05:37,987 It is unproductive. 160 00:05:37,987 --> 00:05:39,320 So why don't you tell me a joke. 161 00:05:39,320 --> 00:05:42,240 You got a good joke, Farley? 162 00:05:42,240 --> 00:05:43,040 No. 163 00:05:43,040 --> 00:05:43,780 No? 164 00:05:43,780 --> 00:05:45,760 You just cost somebody's life, game over. 165 00:05:49,180 --> 00:05:49,680 Switch. 166 00:06:05,380 --> 00:06:07,280 Watch the arm on that. 167 00:06:14,835 --> 00:06:15,335 Action. 168 00:06:19,040 --> 00:06:20,350 Sabian? 169 00:06:20,350 --> 00:06:22,190 It-- it's Farley. 170 00:06:22,190 --> 00:06:22,980 Now, I told you. 171 00:06:22,980 --> 00:06:24,450 I don't want to talk to anybody but Chris Sabian. 172 00:06:24,450 --> 00:06:26,070 Yeah, I know He's-- he's on his way. 173 00:06:26,070 --> 00:06:26,861 He'll be here soon. 174 00:06:26,861 --> 00:06:28,790 I-- I need a little more time. 175 00:06:28,790 --> 00:06:30,000 No, but you don't have any more time, Farley. 176 00:06:30,000 --> 00:06:32,930 No, but you don't have any more time, Farley. 177 00:06:32,930 --> 00:06:35,730 [SIGHING] What are you doing? 178 00:06:35,730 --> 00:06:36,780 This is pretty serious. 179 00:06:36,780 --> 00:06:38,119 Yeah, it's serious. 180 00:06:38,119 --> 00:06:38,660 It's serious. 181 00:06:38,660 --> 00:06:41,828 So why don't you take me seriously? 182 00:06:41,828 --> 00:06:43,390 [SIGHING] We-- we are. 183 00:06:43,390 --> 00:06:43,890 We are. 184 00:06:43,890 --> 00:06:51,130 We just-- look, I just want to talk to you, OK? 185 00:06:51,130 --> 00:06:51,630 Wait. 186 00:06:51,630 --> 00:06:52,130 Wait. 187 00:06:52,130 --> 00:06:53,009 Wait. 188 00:06:53,009 --> 00:06:54,300 You think you can talk me down? 189 00:06:58,270 --> 00:06:59,740 I need to-- 190 00:06:59,740 --> 00:07:00,000 just tell me what you want, Danny. 191 00:07:00,000 --> 00:07:02,680 just tell me what you want, Danny. 192 00:07:02,680 --> 00:07:04,370 Oh, you want a shot? 193 00:07:04,370 --> 00:07:05,155 OK. 194 00:07:05,155 --> 00:07:07,270 Yeah, I'll give you a shot. 195 00:07:07,270 --> 00:07:09,630 Got a little time before Sabian gets here. 196 00:07:09,630 --> 00:07:12,554 Let's see, what do I want? 197 00:07:12,554 --> 00:07:16,460 Uh, how about, let's see, can I see a priest? 198 00:07:16,460 --> 00:07:17,937 No, you can't see a priest. 199 00:07:17,937 --> 00:07:19,020 Ah, that's good, Farley. 200 00:07:19,020 --> 00:07:20,940 You should not let me see a priest. 201 00:07:20,940 --> 00:07:22,600 Priests are associated with death. 202 00:07:22,600 --> 00:07:25,200 You don't want me thinking about death. 203 00:07:25,200 --> 00:07:27,430 But you told me no, Farley. 204 00:07:27,430 --> 00:07:29,870 You know, you can't say no, never. 205 00:07:29,870 --> 00:07:30,000 Never say no in a hostage situation. 206 00:07:30,000 --> 00:07:33,270 Never say no in a hostage situation. 207 00:07:33,270 --> 00:07:36,930 Listen, Danny, just relax. 208 00:07:36,930 --> 00:07:38,780 I am relaxed, OK? 209 00:07:38,780 --> 00:07:40,370 A little advice for you. 210 00:07:40,370 --> 00:07:42,240 Never say no to a hostage taker. 211 00:07:42,240 --> 00:07:44,610 It's in the manual. 212 00:07:44,610 --> 00:07:46,150 You gonna tell me no again? 213 00:07:46,150 --> 00:07:46,705 No. 214 00:07:46,705 --> 00:07:47,205 Mrrr. 215 00:07:47,205 --> 00:07:48,320 Wrong. 216 00:07:48,320 --> 00:07:48,860 Wrong. 217 00:07:48,860 --> 00:07:49,840 Shut up. 218 00:07:49,840 --> 00:07:52,920 Don't say no-- no, don't, want, or can't. 219 00:07:52,920 --> 00:07:55,420 It eliminates options. 220 00:07:55,420 --> 00:07:58,110 Option that leaves to shoot someone. 221 00:07:58,110 --> 00:07:58,860 Ready to go again? 222 00:08:01,650 --> 00:08:02,610 Understand. 223 00:08:02,610 --> 00:08:04,090 Understand? 224 00:08:04,090 --> 00:08:04,590 Yes. 225 00:08:04,590 --> 00:08:06,130 Mm, yes. 226 00:08:06,130 --> 00:08:06,726 See? 227 00:08:06,726 --> 00:08:09,280 See, yes is good. 228 00:08:09,280 --> 00:08:11,770 Yes is good. 229 00:08:11,770 --> 00:08:15,220 Now, you tell me no again, I'm gonna shoot someone. 230 00:08:15,220 --> 00:08:17,100 Now can I see a priest? 231 00:08:17,100 --> 00:08:19,480 Danny, I just want to talk to you. 232 00:08:19,480 --> 00:08:20,280 You want to talk. 233 00:08:20,280 --> 00:08:21,940 We're talking. 234 00:08:21,940 --> 00:08:23,535 Can I see a priest? 235 00:08:26,080 --> 00:08:27,290 I'll see what I can do. 236 00:08:27,290 --> 00:08:28,570 That's good. 237 00:08:28,570 --> 00:08:29,740 That's good. 238 00:08:29,740 --> 00:08:30,000 Yes. 239 00:08:30,000 --> 00:08:30,550 Yes. 240 00:08:30,550 --> 00:08:31,090 Very good. 241 00:08:31,090 --> 00:08:31,805 You're learning. 242 00:08:31,805 --> 00:08:34,179 You know, I want a sub-machine gun to blow everyone away. 243 00:08:38,873 --> 00:08:39,789 I'll look into that. 244 00:08:39,789 --> 00:08:41,140 Oh, yeah. 245 00:08:41,140 --> 00:08:42,281 Very good. 246 00:08:42,281 --> 00:08:43,030 Very good, Farley. 247 00:08:43,030 --> 00:08:46,590 You-- you are learning. 248 00:08:46,590 --> 00:08:48,600 You ever cheat on your wife? 249 00:08:48,600 --> 00:08:49,100 No! 250 00:08:49,100 --> 00:08:52,400 Watch yourself, or I'll kill someone. 251 00:08:52,400 --> 00:08:54,700 You ever cheat on your wife? 252 00:08:54,700 --> 00:08:55,200 Answer! 253 00:08:55,200 --> 00:08:56,580 I-- I'll see what I can do. 254 00:08:56,580 --> 00:08:58,794 I-- I'll-- I'll have to-- 255 00:08:58,794 --> 00:08:59,710 I'll have to about it. 256 00:08:59,710 --> 00:09:00,000 I-- let me get back to you on that. 257 00:09:00,000 --> 00:09:02,720 I-- let me get back to you on that. 258 00:09:02,720 --> 00:09:03,220 Mm. 259 00:09:03,220 --> 00:09:05,110 You-- [LAUGHS] you-- you ever-- you ever 260 00:09:05,110 --> 00:09:06,770 dress up like-- like a schoolgirl and get your ass 261 00:09:06,770 --> 00:09:07,270 smacked? 262 00:09:10,080 --> 00:09:12,030 Danny, I just want to talk. 263 00:09:12,030 --> 00:09:12,530 No! 264 00:09:12,530 --> 00:09:14,160 We are talking! 265 00:09:14,160 --> 00:09:16,670 Did you or did you not dress up like a schoolgirl 266 00:09:16,670 --> 00:09:19,570 and get your ass spanked? 267 00:09:19,570 --> 00:09:21,426 I'll look into that. 268 00:09:21,426 --> 00:09:24,400 [CHUCKLING] Oh, man, I tell you what. 269 00:09:24,400 --> 00:09:26,733 Nothing-- nothing against dressing up like a girl. 270 00:09:26,733 --> 00:09:30,000 But I did not know that about you, Farley. 271 00:09:30,000 --> 00:09:31,190 But I did not know that about you, Farley. 272 00:09:31,190 --> 00:09:32,810 This is really unproductive, Danny. 273 00:09:32,810 --> 00:09:33,309 Mm. 274 00:09:33,309 --> 00:09:34,740 Unproductive? 275 00:09:34,740 --> 00:09:36,450 You're right, it is. 276 00:09:36,450 --> 00:09:38,566 Why don't you tell me a joke. 277 00:09:38,566 --> 00:09:39,690 You know any jokes, Farley? 278 00:09:39,690 --> 00:09:40,190 No. 279 00:09:40,190 --> 00:09:41,020 No? 280 00:09:41,020 --> 00:09:41,690 No? 281 00:09:41,690 --> 00:09:42,242 Game over. 282 00:09:42,242 --> 00:09:43,950 You just cost someone their life, Farley. 283 00:09:47,429 --> 00:09:49,420 All right, cool. 284 00:09:49,420 --> 00:09:53,230 So we did it that way so we could experience 285 00:09:53,230 --> 00:09:56,380 the immediate highs and lows on the opposite side 286 00:09:56,380 --> 00:09:58,950 of the emotional spectrum just to see 287 00:09:58,950 --> 00:10:00,000 the way it works, how it works for you, how you, you know, 288 00:10:00,000 --> 00:10:03,100 the way it works, how it works for you, how you, you know, 289 00:10:03,100 --> 00:10:08,495 deal with the emotional upheaval of being in charge and not 290 00:10:08,495 --> 00:10:08,995 in charge. 291 00:10:11,826 --> 00:10:14,450 Did you feel better as Danny, or did you feel better as Farley? 292 00:10:14,450 --> 00:10:17,040 Oh, Danny, of course. 293 00:10:17,040 --> 00:10:18,279 Why? 294 00:10:18,279 --> 00:10:19,320 Higher status, it felt. 295 00:10:19,320 --> 00:10:20,160 Mm-hmm. 296 00:10:20,160 --> 00:10:23,760 It always feels good to be of high status. 297 00:10:23,760 --> 00:10:27,110 And to be in control and to know what you're doing. 298 00:10:27,110 --> 00:10:30,000 So the exploration of bitterness and "assholity" 299 00:10:30,000 --> 00:10:40,500 So the exploration of bitterness and "assholity" 300 00:10:40,500 --> 00:10:45,150 feels better than being brought down 301 00:10:45,150 --> 00:10:49,710 or beat down emotionally by someone that you care about 302 00:10:49,710 --> 00:10:51,750 or hold in high esteem? 303 00:10:51,750 --> 00:10:56,110 On that side of the conversation, 304 00:10:56,110 --> 00:11:00,000 There are a lot of cops in that room, a lot of cops 305 00:11:00,000 --> 00:11:00,970 There are a lot of cops in that room, a lot of cops 306 00:11:00,970 --> 00:11:03,470 who want to kill Danny. 307 00:11:03,470 --> 00:11:04,160 You don't. 308 00:11:04,160 --> 00:11:05,150 You're on Danny's team. 309 00:11:05,150 --> 00:11:06,480 You're on his side. 310 00:11:06,480 --> 00:11:08,676 So when you're having that conversation with him, 311 00:11:08,676 --> 00:11:10,550 you've got to have that conversation with him 312 00:11:10,550 --> 00:11:15,330 kind of surreptitiously, kind of quietly. 313 00:11:15,330 --> 00:11:19,350 And Danny is your hero. 314 00:11:19,350 --> 00:11:22,700 And when he starts to fuck with you like this, 315 00:11:22,700 --> 00:11:26,760 it's heartbreaking. 316 00:11:26,760 --> 00:11:30,000 He's kind of destroying all the confidence 317 00:11:30,000 --> 00:11:30,570 He's kind of destroying all the confidence 318 00:11:30,570 --> 00:11:32,230 you have in what you think you've 319 00:11:32,230 --> 00:11:35,530 learned from being around him. 320 00:11:35,530 --> 00:11:38,730 Plus you didn't know he was just malicious. 321 00:11:38,730 --> 00:11:42,310 Danny's being malicious on the other side, 322 00:11:42,310 --> 00:11:45,310 because he is in a desperate situation. 323 00:11:45,310 --> 00:11:48,285 And he's kind of angry because they didn't have the guy there 324 00:11:48,285 --> 00:11:49,990 that he wanted to talk to. 325 00:11:49,990 --> 00:11:54,260 So he's taking out his frustration on, you know, 326 00:11:54,260 --> 00:11:54,760 Farley. 327 00:11:54,760 --> 00:11:57,340 He's fucking with him, you know. 328 00:11:57,340 --> 00:12:00,000 And he knows it, and he doesn't care. 329 00:12:00,000 --> 00:12:01,080 And he knows it, and he doesn't care. 330 00:12:01,080 --> 00:12:04,000 You know, he's in that place. 331 00:12:04,000 --> 00:12:06,340 So every time Farley does something wrong, 332 00:12:06,340 --> 00:12:09,570 he berates him to the point where the dude's almost 333 00:12:09,570 --> 00:12:11,920 in tears when this is over. 334 00:12:11,920 --> 00:12:17,010 You know, it's like his hero just ripped him a new asshole, 335 00:12:17,010 --> 00:12:17,730 you know? 336 00:12:17,730 --> 00:12:22,000 So that last time he says no, he says it. 337 00:12:22,000 --> 00:12:22,910 And he realizes it. 338 00:12:22,910 --> 00:12:26,230 And it fucks him up so bad because it's like, oh, fuck. 339 00:12:26,230 --> 00:12:28,620 Plus, Danny's on the other side doing some shit. 340 00:12:28,620 --> 00:12:30,000 And he is-- he is-- he is crazy to the point 341 00:12:30,000 --> 00:12:30,900 And he is-- he is-- he is crazy to the point 342 00:12:30,900 --> 00:12:32,640 where they don't know what he's doing. 343 00:12:32,640 --> 00:12:35,450 And they kind of think he's killed a cop. 344 00:12:35,450 --> 00:12:38,164 So that last time, when he asks Farley, 345 00:12:38,164 --> 00:12:39,580 do you know any jokes, blah, blah, 346 00:12:39,580 --> 00:12:42,691 blah, and he said, no, he like, pow, you just cost somebody 347 00:12:42,691 --> 00:12:43,190 their life. 348 00:12:43,190 --> 00:12:44,300 They heard a gunshot. 349 00:12:44,300 --> 00:12:47,000 You know, it fucks those guys who are in the room up. 350 00:12:47,000 --> 00:12:49,250 They're like running and scrambling, gunshot, gunshot! 351 00:12:49,250 --> 00:12:51,140 And you know, Farley's sitting there 352 00:12:51,140 --> 00:12:54,230 holding the phone like, oh, fuck, 353 00:12:54,230 --> 00:12:56,820 did I get somebody killed, you know? 354 00:12:56,820 --> 00:12:59,320 It's devastating. 355 00:12:59,320 --> 00:13:00,000 It's that kind of shit. 356 00:13:00,000 --> 00:13:01,270 It's that kind of shit. 357 00:13:01,270 --> 00:13:04,060 So we're gonna speed run through this shit 358 00:13:04,060 --> 00:13:06,400 again with that in mind, the maliciousness 359 00:13:06,400 --> 00:13:12,290 on this side, the oh, my god, maybe I can talk him down, 360 00:13:12,290 --> 00:13:12,950 you know. 361 00:13:12,950 --> 00:13:14,690 I know enough that he's my friend. 362 00:13:14,690 --> 00:13:18,740 Maybe he'll listen to me until he breaks your fucking heart. 363 00:13:18,740 --> 00:13:19,610 OK? 364 00:13:19,610 --> 00:13:21,080 Give me that. 365 00:13:21,080 --> 00:13:26,100 You know, let's explore that, you know, no depth of it's 366 00:13:26,100 --> 00:13:27,692 fucked up. 1 00:00:00,000 --> 00:00:02,802 2 00:00:05,604 --> 00:00:08,270 All right, action. 3 00:00:11,990 --> 00:00:13,190 Sabian? 4 00:00:13,190 --> 00:00:14,919 Danny, it-- it-- it's Farley. 5 00:00:14,919 --> 00:00:15,460 I told you. 6 00:00:15,460 --> 00:00:17,708 I don't want to talk to anybody but Chris Sabian. 7 00:00:17,708 --> 00:00:19,380 Um, yeah, he's coming. 8 00:00:19,380 --> 00:00:20,460 He's gonna be here soon. 9 00:00:20,460 --> 00:00:21,690 We just-- we just need more time. 10 00:00:21,690 --> 00:00:22,190 [SIGH] 11 00:00:22,190 --> 00:00:25,320 But you don't have more time, Farley. 12 00:00:25,320 --> 00:00:28,500 OK, just, um, Danny, what are you-- what are you doing? 13 00:00:28,500 --> 00:00:29,800 This is really serious. 14 00:00:29,800 --> 00:00:30,000 This is serious. 15 00:00:30,000 --> 00:00:31,110 This is serious. 16 00:00:31,110 --> 00:00:33,100 So why don't you take me seriously? 17 00:00:33,100 --> 00:00:33,750 We are. 18 00:00:33,750 --> 00:00:34,950 We are taking you seriously. 19 00:00:34,950 --> 00:00:36,890 We just-- [SIGH] I-- 20 00:00:36,890 --> 00:00:40,710 I just want to talk to you, OK, Danny? 21 00:00:40,710 --> 00:00:41,210 Wait. 22 00:00:41,210 --> 00:00:42,260 Wait, wait, wait. 23 00:00:42,260 --> 00:00:42,760 Wait. 24 00:00:42,760 --> 00:00:46,906 You-- you think you can talk me down? 25 00:00:46,906 --> 00:00:49,650 I have to. 26 00:00:49,650 --> 00:00:52,450 What do you want, Danny? 27 00:00:52,450 --> 00:00:54,470 You want a shot? 28 00:00:54,470 --> 00:00:55,740 OK, I'll give you a shot. 29 00:00:55,740 --> 00:00:58,640 [CLEARING THROAT] I got a little time before Sabian gets here. 30 00:00:58,640 --> 00:01:00,000 Oh, boy, what do I want? 31 00:01:00,000 --> 00:01:00,360 Oh, boy, what do I want? 32 00:01:00,360 --> 00:01:04,599 Um, how about let's see? 33 00:01:04,599 --> 00:01:06,971 Can I see a priest? 34 00:01:06,971 --> 00:01:08,470 No, you can't see a priest, Danny. 35 00:01:08,470 --> 00:01:10,010 Ah, see, that's good, Farley. 36 00:01:10,010 --> 00:01:10,510 That's good. 37 00:01:10,510 --> 00:01:11,991 You shouldn't let me see a priest. 38 00:01:11,991 --> 00:01:13,240 Shouldn't let me see a priest. 39 00:01:13,240 --> 00:01:15,280 Priest is associated with death, and you do not 40 00:01:15,280 --> 00:01:17,940 want me thinking about death. 41 00:01:17,940 --> 00:01:20,110 But you told me no, Farley. 42 00:01:20,110 --> 00:01:21,310 You can't say no. 43 00:01:21,310 --> 00:01:25,580 Never say no in a hostage situation. 44 00:01:25,580 --> 00:01:28,400 OK, why don't we just-- let's just relax a little bit, OK? 45 00:01:28,400 --> 00:01:30,000 I am relaxed. 46 00:01:30,000 --> 00:01:31,050 I am relaxed. 47 00:01:31,050 --> 00:01:31,800 Line. 48 00:01:31,800 --> 00:01:33,100 BOTH: Here's some advice. 49 00:01:33,100 --> 00:01:34,410 Here's some advice. 50 00:01:34,410 --> 00:01:36,990 Never say no to a hostage taker, OK? 51 00:01:36,990 --> 00:01:38,137 It's in the manual. 52 00:01:38,137 --> 00:01:39,720 All right, you gonna tell me no again? 53 00:01:39,720 --> 00:01:40,580 No, I'm not. 54 00:01:40,580 --> 00:01:41,770 Wrong answer. 55 00:01:41,770 --> 00:01:42,680 Shut up. 56 00:01:42,680 --> 00:01:45,950 Hey, never say no, don't, won't, or can't. 57 00:01:45,950 --> 00:01:48,120 OK, that eliminates options. 58 00:01:48,120 --> 00:01:51,110 That only option leaves is to shoot someone. 59 00:01:51,110 --> 00:01:52,370 Understand? 60 00:01:52,370 --> 00:01:52,870 Yes. 61 00:01:52,870 --> 00:01:55,100 Yes, good. 62 00:01:55,100 --> 00:01:56,120 Yes is good. 63 00:01:58,900 --> 00:02:00,000 Now you tell me no again, and I'm gonna shoot someone. 64 00:02:00,000 --> 00:02:01,450 Now you tell me no again, and I'm gonna shoot someone. 65 00:02:01,450 --> 00:02:03,780 Let's practice. 66 00:02:03,780 --> 00:02:06,017 Can I see a priest? 67 00:02:06,017 --> 00:02:07,475 Danny, we're just trying to talk. 68 00:02:07,475 --> 00:02:08,370 I'm trying to talk to you. 69 00:02:08,370 --> 00:02:09,161 You want to talk? 70 00:02:09,161 --> 00:02:10,240 I'm talking. 71 00:02:10,240 --> 00:02:12,150 Can I see a priest? 72 00:02:12,150 --> 00:02:14,300 I'd have to look into that, Danny. 73 00:02:14,300 --> 00:02:16,260 Good, good, good, good, good, Farley. 74 00:02:16,260 --> 00:02:17,295 You're learning. 75 00:02:17,295 --> 00:02:18,640 You're learning. 76 00:02:18,640 --> 00:02:24,050 Now I would love a submachine gun to blow everyone away. 77 00:02:24,050 --> 00:02:25,660 I'll see what I can do, Danny. 78 00:02:25,660 --> 00:02:27,400 That's good. 79 00:02:27,400 --> 00:02:27,900 That's good. 80 00:02:27,900 --> 00:02:28,690 Good job, Farley. 81 00:02:31,474 --> 00:02:34,000 You ever cheat on your wife? 82 00:02:34,000 --> 00:02:34,500 No. 83 00:02:34,500 --> 00:02:36,166 Ooh, whoa, whoa, whoa, watch yourself. 84 00:02:36,166 --> 00:02:37,570 I'll kill someone. 85 00:02:37,570 --> 00:02:39,741 You ever cheat on your wife? 86 00:02:39,741 --> 00:02:40,240 I-- 87 00:02:40,240 --> 00:02:40,790 Answer! 88 00:02:40,790 --> 00:02:42,030 I-- I-- 89 00:02:42,030 --> 00:02:43,120 I would have to see. 90 00:02:43,120 --> 00:02:45,270 I would look at it, and I'll see what I can do. 91 00:02:45,270 --> 00:02:48,200 I'd have to think about that. 92 00:02:48,200 --> 00:02:49,969 You ever dress up like a schoolgirl 93 00:02:49,969 --> 00:02:51,010 and get your ass spanked? 94 00:02:51,010 --> 00:02:52,080 Danny, we're just trying to-- 95 00:02:52,080 --> 00:02:53,580 I'm trying to talk to you right now. 96 00:02:53,580 --> 00:02:54,650 I am talking. 97 00:02:54,650 --> 00:02:57,350 Did you, or did you not, dress up like a schoolgirl 98 00:02:57,350 --> 00:02:58,415 and get your ass spanked? 99 00:03:02,350 --> 00:03:05,630 I'd have to look into that. 100 00:03:05,630 --> 00:03:10,200 Mm, nothing against dressing up like a schoolgirl, but I 101 00:03:10,200 --> 00:03:11,700 did not know that about you, Farley. 102 00:03:14,874 --> 00:03:17,150 This is really, really unproductive. 103 00:03:17,150 --> 00:03:18,110 [SIGH] 104 00:03:18,110 --> 00:03:19,070 [SCOFF] 105 00:03:20,510 --> 00:03:22,230 Unproductive? 106 00:03:22,230 --> 00:03:24,140 Yeah, yeah, it is. 107 00:03:24,140 --> 00:03:26,610 So why don't you tell me a joke, Farley? 108 00:03:26,610 --> 00:03:29,110 You know a joke? 109 00:03:29,110 --> 00:03:29,992 No? 110 00:03:29,992 --> 00:03:30,000 You just cost someone their life, Farley. 111 00:03:30,000 --> 00:03:31,700 You just cost someone their life, Farley. 112 00:03:31,700 --> 00:03:32,410 Game over. 113 00:03:36,346 --> 00:03:37,822 SAMUEL L. JACKSON: Good, good. 114 00:03:51,380 --> 00:03:51,880 Action. 115 00:03:56,710 --> 00:03:58,351 Sabian? 116 00:03:58,351 --> 00:04:00,000 It-- it's Farley. 117 00:04:00,000 --> 00:04:00,264 It-- it's Farley. 118 00:04:00,264 --> 00:04:01,680 I told you I don't want to speak 119 00:04:01,680 --> 00:04:03,180 to anybody but Chris Sabian. 120 00:04:03,180 --> 00:04:04,470 He's-- he's on his way. 121 00:04:04,470 --> 00:04:05,160 He's gonna be here real soon. 122 00:04:05,160 --> 00:04:06,890 We ju-- we just-- we just need more time. 123 00:04:06,890 --> 00:04:09,846 You ain't got no more time, Farley. 124 00:04:09,846 --> 00:04:12,655 OK, what are-- what are you doing here, Danny? 125 00:04:12,655 --> 00:04:14,500 This-- this is-- this is pretty serious. 126 00:04:14,500 --> 00:04:15,500 Yeah, this is serious. 127 00:04:15,500 --> 00:04:17,291 So why don't you start taking me seriously? 128 00:04:17,291 --> 00:04:19,915 Well, we are. 129 00:04:19,915 --> 00:04:21,400 We-- we are. 130 00:04:21,400 --> 00:04:21,899 We are. 131 00:04:21,899 --> 00:04:28,015 We just-- we just, uh, we just want to talk to you, OK? 132 00:04:28,015 --> 00:04:30,000 [LAUGHTER] 133 00:04:30,000 --> 00:04:30,798 [LAUGHTER] 134 00:04:31,298 --> 00:04:33,600 Wait, wait, wait, wait. 135 00:04:33,600 --> 00:04:37,110 You think that you can talk me down? 136 00:04:37,110 --> 00:04:38,055 We need to, uh-- 137 00:04:41,780 --> 00:04:43,322 tell me what you want. 138 00:04:43,322 --> 00:04:47,390 We-- oh, OK, you want a shot. 139 00:04:47,390 --> 00:04:49,350 All right, OK, I'll give you a shot. 140 00:04:49,350 --> 00:04:51,740 We got some time till Sabian gets here. 141 00:04:51,740 --> 00:04:52,560 Let me see. 142 00:04:52,560 --> 00:04:54,390 What do I want? 143 00:04:54,390 --> 00:04:59,392 Hmm, how about can I see a priest? 144 00:04:59,392 --> 00:05:00,000 No, you can't see a priest. 145 00:05:00,000 --> 00:05:00,600 No, you can't see a priest. 146 00:05:00,600 --> 00:05:01,810 No, I can't see a priest. 147 00:05:01,810 --> 00:05:02,830 That's good. 148 00:05:02,830 --> 00:05:04,420 That's good, Farley. 149 00:05:04,420 --> 00:05:07,080 You do not want to let me see a priest because a priest is 150 00:05:07,080 --> 00:05:08,580 associated with death, and you don't 151 00:05:08,580 --> 00:05:09,450 want me thinking about death. 152 00:05:09,450 --> 00:05:11,130 But you know what you did there, Farley? 153 00:05:11,130 --> 00:05:12,420 You said no to me. 154 00:05:12,420 --> 00:05:15,360 You never say no in a hostage situation. 155 00:05:18,334 --> 00:05:19,000 You know, Da-- 156 00:05:19,000 --> 00:05:21,060 Danny, can you just relax a little bit? 157 00:05:21,060 --> 00:05:22,170 I am fucking relaxed. 158 00:05:22,170 --> 00:05:23,172 I am relaxed. 159 00:05:23,172 --> 00:05:24,630 I'm trying to give you some advice. 160 00:05:24,630 --> 00:05:27,150 You never say no to a hostage taker. 161 00:05:27,150 --> 00:05:27,990 It's in the manual. 162 00:05:27,990 --> 00:05:29,240 You gonna say no to me again? 163 00:05:29,240 --> 00:05:29,740 No. 164 00:05:29,740 --> 00:05:30,000 No? 165 00:05:30,000 --> 00:05:30,836 No? 166 00:05:30,836 --> 00:05:32,100 Wrong answer. 167 00:05:32,100 --> 00:05:33,540 Shut the fuck up. 168 00:05:33,540 --> 00:05:36,020 Never say no, don't, won't, or can't. 169 00:05:36,020 --> 00:05:37,390 It eliminates options. 170 00:05:37,390 --> 00:05:39,870 The only option left is to fucking kill somebody. 171 00:05:39,870 --> 00:05:42,241 OK, you understand that? 172 00:05:42,241 --> 00:05:42,740 Yes. 173 00:05:42,740 --> 00:05:44,170 Yes. 174 00:05:44,170 --> 00:05:46,400 Yes, there we go. 175 00:05:46,400 --> 00:05:47,450 Yes is good. 176 00:05:47,450 --> 00:05:49,130 Yes I like. 177 00:05:49,130 --> 00:05:51,080 OK, now let's try this again. 178 00:05:51,080 --> 00:05:54,324 You say no again, I'm gonna fucking kill somebody. 179 00:05:54,324 --> 00:05:55,115 Can I see a priest? 180 00:05:57,990 --> 00:05:59,554 I'll see what I can do. 181 00:05:59,554 --> 00:06:00,000 You know what? 182 00:06:00,000 --> 00:06:00,220 You know what? 183 00:06:00,220 --> 00:06:02,750 Can we just talk? 184 00:06:02,750 --> 00:06:04,560 Can I see a priest? 185 00:06:04,560 --> 00:06:05,560 You know, Danny, can-- 186 00:06:05,560 --> 00:06:07,030 can-- can we just talk about this right now? 187 00:06:07,030 --> 00:06:07,470 You want to talk. 188 00:06:07,470 --> 00:06:08,386 We're fucking talking. 189 00:06:08,386 --> 00:06:11,370 Can I see a priest? 190 00:06:11,370 --> 00:06:12,950 I'll-- I'll see what I can do. 191 00:06:12,950 --> 00:06:13,750 I'll see what I-- 192 00:06:13,750 --> 00:06:15,320 OK, there we go. 193 00:06:15,320 --> 00:06:16,670 We're learning, Farley. 194 00:06:16,670 --> 00:06:20,120 How about, hmm, can I get a submachine gun 195 00:06:20,120 --> 00:06:23,590 to blow everyone away? 196 00:06:23,590 --> 00:06:25,050 I'll look into that. 197 00:06:25,050 --> 00:06:26,310 Very good, Farley. 198 00:06:26,310 --> 00:06:29,520 You ever cheated on your wife? 199 00:06:29,520 --> 00:06:30,000 No. 200 00:06:30,000 --> 00:06:30,600 No. 201 00:06:30,600 --> 00:06:31,100 What? 202 00:06:31,100 --> 00:06:31,860 Excuse me? 203 00:06:31,860 --> 00:06:33,860 No? 204 00:06:33,860 --> 00:06:35,050 You want to kill somebody? 205 00:06:35,050 --> 00:06:36,020 You want to fucking kill somebody. 206 00:06:36,020 --> 00:06:37,420 Did you cheat on your wife? 207 00:06:40,280 --> 00:06:40,871 Huh? 208 00:06:40,871 --> 00:06:41,370 Answer me. 209 00:06:41,370 --> 00:06:43,134 I have to look in-- 210 00:06:43,134 --> 00:06:44,300 I'll have to look into that. 211 00:06:44,300 --> 00:06:45,508 I'll-- I'll think about that. 212 00:06:45,508 --> 00:06:46,672 I-- I'll see what-- 213 00:06:46,672 --> 00:06:47,630 I'll see what I can do. 214 00:06:47,630 --> 00:06:49,088 You ever dress up as a schoolgirl 215 00:06:49,088 --> 00:06:51,151 and get your ass spanked? 216 00:06:51,151 --> 00:06:54,154 Danny, I just want to talk to you, OK? 217 00:06:54,154 --> 00:06:55,070 I am talking to you. 218 00:06:55,070 --> 00:06:58,070 Did you, or did you not, dress up as a schoolgirl 219 00:06:58,070 --> 00:06:59,215 and get that ass spanked? 220 00:07:02,550 --> 00:07:04,480 Hello? 221 00:07:04,480 --> 00:07:07,000 Have to look into that, Danny. 222 00:07:07,000 --> 00:07:09,250 Wow, I didn't know you dressed up as a girl, 223 00:07:09,250 --> 00:07:11,530 but, you know, I don't have a problem with it. 224 00:07:11,530 --> 00:07:13,196 Just didn't know that about you, Farley. 225 00:07:13,196 --> 00:07:15,330 This is very, very unproductive. 226 00:07:15,330 --> 00:07:17,290 Unproductive? 227 00:07:17,290 --> 00:07:18,010 You know what? 228 00:07:18,010 --> 00:07:19,826 It is unproductive. 229 00:07:19,826 --> 00:07:22,917 Do you know any jokes, Farley? 230 00:07:22,917 --> 00:07:23,875 You ain't got no jokes? 231 00:07:23,875 --> 00:07:24,830 No. 232 00:07:24,830 --> 00:07:26,890 Well, fuck, you just killed somebody. 233 00:07:26,890 --> 00:07:27,520 That's on you. 234 00:07:27,520 --> 00:07:28,210 Game over. 235 00:07:37,066 --> 00:07:38,050 Excellent. 236 00:07:46,906 --> 00:07:49,989 Um, you want to sit on this side? 237 00:07:49,989 --> 00:07:50,780 Yeah, you got it. 238 00:07:50,780 --> 00:07:51,279 Thank you. 239 00:07:55,910 --> 00:07:56,904 [SIGH] 240 00:07:57,195 --> 00:07:57,695 Action. 241 00:08:00,480 --> 00:08:01,410 Sabian? 242 00:08:01,410 --> 00:08:03,886 It-- it-- it's Farley. 243 00:08:03,886 --> 00:08:04,690 I told you. 244 00:08:04,690 --> 00:08:08,200 I don't want to talk to anybody but Chris Sabian. 245 00:08:08,200 --> 00:08:09,080 He's on his way. 246 00:08:09,080 --> 00:08:10,900 He-- he's just gonna take a little bit-- a little bit 247 00:08:10,900 --> 00:08:11,400 more time. 248 00:08:11,400 --> 00:08:14,756 Well, you don't have more time, Farley. 249 00:08:14,756 --> 00:08:16,130 What are you doing here, Danny? 250 00:08:16,130 --> 00:08:17,361 This is pretty serious. 251 00:08:17,361 --> 00:08:18,110 This is serious. 252 00:08:18,110 --> 00:08:20,345 So why aren't you taking me seriously? 253 00:08:20,345 --> 00:08:21,590 Well, we are. 254 00:08:21,590 --> 00:08:23,860 Are-- are-- we just-- we just want to talk, OK? 255 00:08:23,860 --> 00:08:25,002 What? 256 00:08:25,002 --> 00:08:26,445 What? 257 00:08:26,445 --> 00:08:30,000 But wa-- wait a-- 258 00:08:30,000 --> 00:08:30,050 But wa-- wait a-- 259 00:08:30,050 --> 00:08:32,591 you trying to talk me down? 260 00:08:32,591 --> 00:08:33,299 I-- I need to-- 261 00:08:33,299 --> 00:08:35,194 [LAUGHTER] 262 00:08:35,194 --> 00:08:36,110 OK. 263 00:08:36,110 --> 00:08:37,820 Tell me-- tell me what you want. 264 00:08:37,820 --> 00:08:40,640 OK, you-- you want a shot. 265 00:08:40,640 --> 00:08:42,740 OK, I'll give you a shot. 266 00:08:42,740 --> 00:08:49,465 All right, OK, we got some time before Sabian gets here. 267 00:08:49,465 --> 00:08:51,580 Let's see. 268 00:08:51,580 --> 00:08:54,760 What do I want? 269 00:08:54,760 --> 00:08:56,960 How about can I see a priest? 270 00:08:56,960 --> 00:08:58,830 No, you can't see a priest. 271 00:08:58,830 --> 00:09:00,000 Good, Farley, you don't want me 272 00:09:00,000 --> 00:09:01,190 Good, Farley, you don't want me 273 00:09:01,190 --> 00:09:04,379 to see a priest because a priest is associated with death. 274 00:09:04,379 --> 00:09:06,170 And you don't want me thinking about death. 275 00:09:06,170 --> 00:09:08,430 But you said no, Farley. 276 00:09:08,430 --> 00:09:10,080 You can't say no. 277 00:09:10,080 --> 00:09:12,850 Never say no in a hostage situation. 278 00:09:12,850 --> 00:09:15,060 Da-- Danny, would you just relax a little bit? 279 00:09:15,060 --> 00:09:15,705 I am relaxed. 280 00:09:15,705 --> 00:09:17,794 I just want to talk-- 281 00:09:17,794 --> 00:09:19,460 Here's a little bit of advice for you. 282 00:09:19,460 --> 00:09:21,809 Never say no to a hostage taker. 283 00:09:21,809 --> 00:09:22,600 It's in the manual. 284 00:09:22,600 --> 00:09:24,220 You gonna say no to me again? 285 00:09:24,220 --> 00:09:25,404 No. 286 00:09:25,404 --> 00:09:26,270 Wrong answer. 287 00:09:26,415 --> 00:09:27,123 SABIAN: Oh, shit. 288 00:09:29,980 --> 00:09:30,000 [MUMBLING] Now shut the fu-- 289 00:09:30,000 --> 00:09:32,574 [MUMBLING] Now shut the fu-- 290 00:09:32,574 --> 00:09:34,791 Yeah. 291 00:09:34,791 --> 00:09:35,290 Shut up. 292 00:09:35,290 --> 00:09:35,700 Never use my-- 293 00:09:35,700 --> 00:09:36,080 I got it. 294 00:09:36,080 --> 00:09:36,730 I was-- I'm playing it. 295 00:09:36,730 --> 00:09:37,520 My bad, I'm sorry. 296 00:09:37,520 --> 00:09:38,186 You were acting. 297 00:09:38,186 --> 00:09:39,432 My bad, want to start over? 298 00:09:39,432 --> 00:09:40,220 I fucked you up. 299 00:09:40,220 --> 00:09:41,250 Yeah, it's all good. 300 00:09:41,250 --> 00:09:41,750 All right. 301 00:09:41,750 --> 00:09:42,890 Uh-- 302 00:09:42,890 --> 00:09:44,450 No. 303 00:09:44,450 --> 00:09:46,070 Wrong answer. 304 00:09:46,070 --> 00:09:48,980 Shu-- shut up. 305 00:09:48,980 --> 00:09:52,150 Never say no, can't, don't, won't. 306 00:09:52,150 --> 00:09:53,730 It eliminates options. 307 00:09:53,730 --> 00:09:56,300 The only option that leaves is to kill somebody 308 00:09:56,300 --> 00:09:58,440 or to shoot someone. 309 00:09:58,440 --> 00:10:00,000 Understand? 310 00:10:00,000 --> 00:10:00,380 Understand? 311 00:10:00,380 --> 00:10:01,130 Yes. 312 00:10:01,130 --> 00:10:05,610 Yes, good, yes, see? 313 00:10:05,610 --> 00:10:07,580 Yes is good. 314 00:10:07,580 --> 00:10:10,646 You say no to me again, I'm gonna kill somebody. 315 00:10:10,646 --> 00:10:11,520 Now let's practice. 316 00:10:16,730 --> 00:10:18,042 Can I see a priest? 317 00:10:18,042 --> 00:10:19,000 You know what, Danny? 318 00:10:19,000 --> 00:10:20,583 Can we just talk about this right now? 319 00:10:20,583 --> 00:10:21,470 You wanted to talk. 320 00:10:21,470 --> 00:10:22,370 We're talking. 321 00:10:22,370 --> 00:10:25,100 Can I see a priest? 322 00:10:25,100 --> 00:10:26,890 I'll see what I can do. 323 00:10:26,890 --> 00:10:29,930 Good, Farley, you're learning. 324 00:10:29,930 --> 00:10:30,000 I'd like a submachine gun so I can blow everybody away. 325 00:10:30,000 --> 00:10:34,650 I'd like a submachine gun so I can blow everybody away. 326 00:10:34,650 --> 00:10:35,610 [SIGH] 327 00:10:37,009 --> 00:10:38,550 I'll-- I'll have to look into that. 328 00:10:38,550 --> 00:10:39,410 Good job, Farley. 329 00:10:39,410 --> 00:10:40,720 You ever cheat on your wife? 330 00:10:40,720 --> 00:10:42,080 No. 331 00:10:42,080 --> 00:10:46,340 Uh, watch it, Farley. 332 00:10:46,340 --> 00:10:47,790 I'll kill somebody. 333 00:10:47,790 --> 00:10:49,990 You ever cheat on your wife? 334 00:10:49,990 --> 00:10:51,717 Answer. 335 00:10:51,717 --> 00:10:53,050 I'll-- I'll see what I can do. 336 00:10:53,050 --> 00:10:54,508 I'll-- I'll have to look into that. 337 00:10:54,508 --> 00:10:55,370 I-- I-- I-- I'll-- 338 00:10:55,370 --> 00:10:56,650 I'll have to look into that. 339 00:10:56,650 --> 00:10:58,048 [CHUCKLING] 340 00:10:58,048 --> 00:11:00,000 Do you ever just dress up like a schoolgirl 341 00:11:00,000 --> 00:11:00,155 Do you ever just dress up like a schoolgirl 342 00:11:00,155 --> 00:11:03,390 and get your ass spanked, Farley? 343 00:11:03,390 --> 00:11:05,230 Look, Danny, all I wanted to do was talk. 344 00:11:05,230 --> 00:11:06,270 I am talking. 345 00:11:06,270 --> 00:11:09,070 Did you, or did you not, dress up like a schoolgirl 346 00:11:09,070 --> 00:11:12,012 and get your ass spanked? 347 00:11:12,012 --> 00:11:14,670 I'm gonna have to look into that, Danny. 348 00:11:14,670 --> 00:11:15,170 Look. 349 00:11:15,170 --> 00:11:16,500 It makes no difference to me if you want 350 00:11:16,500 --> 00:11:17,550 to dress up like a schoolgirl. 351 00:11:17,550 --> 00:11:19,230 I didn't know that about you, Charlie. 352 00:11:19,230 --> 00:11:21,568 I just didn't know that. 353 00:11:21,568 --> 00:11:23,760 You know, this is really, really unproductive. 354 00:11:23,760 --> 00:11:27,057 Unproductive, yes, yes, it is. 355 00:11:27,057 --> 00:11:28,390 So why don't you tell me a joke. 356 00:11:28,390 --> 00:11:29,880 You know any good jokes, Farley? 357 00:11:29,880 --> 00:11:30,000 No. 358 00:11:30,000 --> 00:11:30,380 No. 359 00:11:30,380 --> 00:11:30,879 No. 360 00:11:30,879 --> 00:11:32,780 You just cost somebody's life. 361 00:11:32,780 --> 00:11:34,581 Game over. 362 00:11:34,581 --> 00:11:35,081 Fuck. 363 00:11:38,003 --> 00:11:42,030 All right, so how did everybody feel about that? 364 00:11:42,030 --> 00:11:45,070 How-- how do you feel about it, in terms 365 00:11:45,070 --> 00:11:48,700 of how you accomplished the goals of what that is? 366 00:11:51,890 --> 00:11:54,311 Nobody felt good about it, huh? 367 00:11:54,311 --> 00:11:57,830 Um, there are a couple things, a couple things 368 00:11:57,830 --> 00:12:00,000 that would make this work in an interesting way. 369 00:12:00,000 --> 00:12:02,050 that would make this work in an interesting way. 370 00:12:02,050 --> 00:12:04,660 The position that you take over here when 371 00:12:04,660 --> 00:12:09,060 you're in a position of power, everybody 372 00:12:09,060 --> 00:12:11,490 used this one, for whatever reason, 373 00:12:11,490 --> 00:12:13,500 because that feels good to you or made 374 00:12:13,500 --> 00:12:17,190 you feel like you were empowered or in control. 375 00:12:17,190 --> 00:12:19,530 Everybody stood up and walked around a bit. 376 00:12:19,530 --> 00:12:20,820 You sat. 377 00:12:20,820 --> 00:12:21,810 You crossed your legs. 378 00:12:21,810 --> 00:12:29,110 You totally took command of it and reveled in digging Farley's 379 00:12:29,110 --> 00:12:30,000 ass like that. 380 00:12:30,000 --> 00:12:30,080 ass like that. 381 00:12:30,080 --> 00:12:32,395 You were just, no, really? 382 00:12:32,395 --> 00:12:33,352 [LAUGHTER] 383 00:12:33,352 --> 00:12:36,290 Yeah, motherfucker, you laughed and got some of that. 384 00:12:36,290 --> 00:12:40,670 So power positions are important when 385 00:12:40,670 --> 00:12:42,740 you're trying to convey that on stage, 386 00:12:42,740 --> 00:12:47,510 on screen, anywhere, you know, finding a place of power 387 00:12:47,510 --> 00:12:48,702 and sitting in it. 388 00:12:48,702 --> 00:12:50,660 You don't necessarily have to move because that 389 00:12:50,660 --> 00:12:52,430 means you're, like, thinking. 390 00:12:52,430 --> 00:12:56,870 The agitation that Danny has necessitates movement in a way, 391 00:12:56,870 --> 00:13:00,000 or tapping, or doing things, or just 392 00:13:00,000 --> 00:13:01,160 or tapping, or doing things, or just 393 00:13:01,160 --> 00:13:05,270 being in that thing that gives you that. 394 00:13:05,270 --> 00:13:11,470 But it also weakens you in a way because you're 395 00:13:11,470 --> 00:13:16,710 as perplexed as the person on the other side, 396 00:13:16,710 --> 00:13:19,870 because you're making a decision about what you're gonna do. 397 00:13:19,870 --> 00:13:25,390 And once you decide, oh, oh, oh, you want to talk me down? 398 00:13:25,390 --> 00:13:28,402 OK, all right, I'm gonna give you a shot. 399 00:13:28,402 --> 00:13:29,260 Let's see. 400 00:13:29,260 --> 00:13:30,000 So get set and get in that space. 401 00:13:30,000 --> 00:13:34,690 So get set and get in that space. 402 00:13:34,690 --> 00:13:36,590 And go at that motherfucker. 403 00:13:36,590 --> 00:13:37,090 Go at him. 404 00:13:37,090 --> 00:13:37,550 Go at him. 405 00:13:37,550 --> 00:13:38,070 Go at him. 406 00:13:38,070 --> 00:13:38,570 Go at him. 407 00:13:38,570 --> 00:13:41,340 Go at him until it's like, yeah, game over, boom. 408 00:13:41,340 --> 00:13:42,400 Pow, you shoot that. 409 00:13:42,400 --> 00:13:43,710 Pow, shoot the gun. 410 00:13:43,710 --> 00:13:44,880 Then you get up. 411 00:13:44,880 --> 00:13:46,160 It's like, goddamn it. 412 00:13:46,160 --> 00:13:48,630 I still didn't get to talk to who I needed to talk to. 413 00:13:48,630 --> 00:13:51,840 The other shit is distracting, in a way. 414 00:13:51,840 --> 00:13:53,580 Find a place of power and be in it, 415 00:13:53,580 --> 00:13:55,470 whether you're gonna stand there and be in it 416 00:13:55,470 --> 00:13:57,060 or sit here and be in it. 417 00:13:57,060 --> 00:13:59,040 But find that place of power. 418 00:13:59,040 --> 00:13:59,640 Get in there. 419 00:13:59,640 --> 00:14:00,000 Lock in, and lock in on the target. 420 00:14:00,000 --> 00:14:02,950 Lock in, and lock in on the target. 421 00:14:02,950 --> 00:14:06,120 Mm, the target's inside this fucking phone. 422 00:14:06,120 --> 00:14:09,810 In this case, he was on the other side. 423 00:14:09,810 --> 00:14:19,740 And this, there's the sense of weakness and defeat. 424 00:14:19,740 --> 00:14:23,440 And what happens when you get to weakness and defeat? 425 00:14:23,440 --> 00:14:26,260 When you first pick up the phone, you're talking to Danny. 426 00:14:26,260 --> 00:14:30,000 You know, you know, Danny, hey, it's me, Farley, you know. 427 00:14:30,000 --> 00:14:30,688 You know, you know, Danny, hey, it's me, Farley, you know. 428 00:14:30,688 --> 00:14:31,710 Hey. 429 00:14:31,710 --> 00:14:33,060 It's a friend. 430 00:14:33,060 --> 00:14:34,799 And he's like, oh, look. 431 00:14:34,799 --> 00:14:35,715 I'm waiting on Farley. 432 00:14:35,715 --> 00:14:36,715 Yeah, but he's not here. 433 00:14:36,715 --> 00:14:38,990 But, you know, can we talk? 434 00:14:38,990 --> 00:14:41,920 And it's not your intention to talk him down. 435 00:14:41,920 --> 00:14:44,320 When you say, can we talk, you really 436 00:14:44,320 --> 00:14:46,710 want to know what the fuck's going on, man? 437 00:14:46,710 --> 00:14:48,880 Uh, you know, did you shoot that dude? 438 00:14:48,880 --> 00:14:50,140 Or what happened? 439 00:14:50,140 --> 00:14:51,740 Did any of that-- 440 00:14:51,740 --> 00:14:52,859 is this shit true? 441 00:14:52,859 --> 00:14:53,650 I don't believe it. 442 00:14:53,650 --> 00:14:54,608 You know, I'm your boy. 443 00:14:54,608 --> 00:14:55,420 Tell me. 444 00:14:55,420 --> 00:14:57,370 Is there anything I can go out and-- 445 00:14:57,370 --> 00:14:59,930 who can I talk to that can help you get out of this shit? 446 00:14:59,930 --> 00:15:00,000 And he says, oh, wait a minute. 447 00:15:00,000 --> 00:15:01,360 And he says, oh, wait a minute. 448 00:15:01,360 --> 00:15:03,040 You-- you want to talk me down. 449 00:15:03,040 --> 00:15:05,310 It's like, well, no, not really. 450 00:15:05,310 --> 00:15:06,940 [LAUGHTER] 451 00:15:07,440 --> 00:15:09,190 No, I know better than that. 452 00:15:09,190 --> 00:15:10,170 I know I can't do that. 453 00:15:10,170 --> 00:15:12,586 And then the motherfucker says, I'm gonna give you a shot. 454 00:15:12,586 --> 00:15:15,550 It's like, you are never trying to talk that motherfucker down. 455 00:15:15,550 --> 00:15:17,230 He talked you into that shit. 456 00:15:17,230 --> 00:15:18,770 He tricked you. 457 00:15:18,770 --> 00:15:19,810 He's like, OK. 458 00:15:19,810 --> 00:15:21,180 I'm gonna-- I'm gonna-- 459 00:15:21,180 --> 00:15:22,263 I'm gonna give you a shot. 460 00:15:22,263 --> 00:15:23,630 Blah, blah, blah, blah, blah. 461 00:15:23,630 --> 00:15:25,492 Can I get a priest? 462 00:15:25,492 --> 00:15:26,700 No, you can't have no priest. 463 00:15:26,700 --> 00:15:28,405 Why-- I'm not trying to-- 464 00:15:28,405 --> 00:15:30,000 I-- I'm not in this game with you. 465 00:15:30,000 --> 00:15:30,660 I-- I'm not in this game with you. 466 00:15:30,660 --> 00:15:32,290 You don't want to be in the game. 467 00:15:32,290 --> 00:15:35,410 He's forcing you to be in the game because he needs that. 468 00:15:35,410 --> 00:15:36,250 That's his shit. 469 00:15:36,250 --> 00:15:40,780 He needs to fuck with somebody, so he's fucking with you. 470 00:15:40,780 --> 00:15:45,440 You're an unwitting pawn in his fucking game. 471 00:15:45,440 --> 00:15:47,320 You are getting fucking slapped around. 472 00:15:47,320 --> 00:15:49,760 It's like, you know, fuck. 473 00:15:49,760 --> 00:15:51,760 And these other motherfuckers are looking at you 474 00:15:51,760 --> 00:15:52,680 from time to time. 475 00:15:52,680 --> 00:15:54,250 And it's like, goddamn. 476 00:15:54,250 --> 00:15:57,100 You know, and the more shit he fucks with you, the lower-- 477 00:15:57,100 --> 00:16:00,000 it's almost like you're like, yeah, oh, fuck, man. 478 00:16:00,000 --> 00:16:00,750 it's almost like you're like, yeah, oh, fuck, man. 479 00:16:00,750 --> 00:16:03,760 You know, it almost takes you to that. 480 00:16:03,760 --> 00:16:07,780 So by the time the conversation is over, it's like, you know, 481 00:16:07,780 --> 00:16:09,730 this is really unproductive. 482 00:16:09,730 --> 00:16:12,180 But unproductive is not the word you want to use, 483 00:16:12,180 --> 00:16:15,280 but unproductive is the word that those motherfuckers might 484 00:16:15,280 --> 00:16:16,480 hear. 485 00:16:16,480 --> 00:16:20,595 But the word is, you know, you-- 486 00:16:20,595 --> 00:16:23,040 you-- you really hurt my feelings. 487 00:16:23,040 --> 00:16:25,460 You know, I mean, that motherfucker is broken. 488 00:16:25,460 --> 00:16:30,000 Like, you-- you hurt my feelings so bad. 489 00:16:30,000 --> 00:16:30,270 Like, you-- you hurt my feelings so bad. 490 00:16:30,270 --> 00:16:32,640 You know, he's fucking broken when this is over. 491 00:16:32,640 --> 00:16:37,110 So, you know, when he hears the gunshot go off, 492 00:16:37,110 --> 00:16:39,055 it's almost like he shot him. 493 00:16:39,055 --> 00:16:41,430 And he's sitting there, staring at the phone or whatever. 494 00:16:41,430 --> 00:16:45,920 And his shit's shaking, 'cause Danny has fucked him up. 495 00:16:45,920 --> 00:16:53,590 So you've got to be able to plumb that and all that stuff, 496 00:16:53,590 --> 00:16:59,420 that somewhere in you you've had a disappointment of some sort, 497 00:16:59,420 --> 00:17:00,000 or somebody has let you down, or somebody 498 00:17:00,000 --> 00:17:02,320 or somebody has let you down, or somebody 499 00:17:02,320 --> 00:17:05,230 who was your great friend said some shit about you. 500 00:17:05,230 --> 00:17:09,500 And you know they said it, and you can't figure out why, 501 00:17:09,500 --> 00:17:11,710 or how, or why they even want to make 502 00:17:11,710 --> 00:17:13,994 you feel that way, or what happened. 503 00:17:13,994 --> 00:17:15,160 And you can't figure it out. 504 00:17:15,160 --> 00:17:17,109 He can't figure out what happened with Danny 505 00:17:17,109 --> 00:17:18,550 or what the situation is. 506 00:17:18,550 --> 00:17:21,520 He wants to help him, but this motherfucker 507 00:17:21,520 --> 00:17:22,930 doesn't want him to help. 508 00:17:22,930 --> 00:17:28,940 He, you know, isolated himself, and he's further isolating 509 00:17:28,940 --> 00:17:30,000 himself by doing that shit. 510 00:17:30,000 --> 00:17:30,680 himself by doing that shit. 511 00:17:30,680 --> 00:17:35,480 But over here, there's a real emotion of I loved him. 512 00:17:35,480 --> 00:17:38,030 I looked up to him. 513 00:17:38,030 --> 00:17:39,060 I still do. 514 00:17:39,060 --> 00:17:40,960 He might understand it. 515 00:17:40,960 --> 00:17:42,750 You can play that. 516 00:17:42,750 --> 00:17:46,370 You might feel like, hey, I get why you feel that way 517 00:17:46,370 --> 00:17:49,020 or, you know, why you needed to do that. 518 00:17:49,020 --> 00:17:52,490 But most people aren't going to accept that in that way. 519 00:17:52,490 --> 00:17:55,640 It's-- it's just going to be a devastating moment that, 520 00:17:55,640 --> 00:17:59,450 you know, he's got to go to the bathroom and throw up or go 521 00:17:59,450 --> 00:18:00,000 somewhere and cry in the corner or whatever that is. 522 00:18:00,000 --> 00:18:02,940 somewhere and cry in the corner or whatever that is. 523 00:18:02,940 --> 00:18:07,790 But your body language has to convey how much that hurt. 524 00:18:07,790 --> 00:18:09,860 It's almost like he's physically standing there, 525 00:18:09,860 --> 00:18:11,760 pounding you in your body. 526 00:18:11,760 --> 00:18:16,010 So every blow fucking hurts, to the point where, you know, 527 00:18:16,010 --> 00:18:20,840 you're on the phone like this by the time that shit is over. 528 00:18:20,840 --> 00:18:23,880 It's like, this is really unproductive. 529 00:18:23,880 --> 00:18:25,190 Yeah, I know it's unproductive. 530 00:18:25,190 --> 00:18:26,390 Do you know any jokes? 531 00:18:26,390 --> 00:18:27,421 [STAMMERING] 532 00:18:27,920 --> 00:18:28,630 A joke? 533 00:18:28,630 --> 00:18:29,570 What the fuck? 534 00:18:29,570 --> 00:18:30,000 What is he-- you know, you don't really say no. 535 00:18:30,000 --> 00:18:33,830 What is he-- you know, you don't really say no. 536 00:18:33,830 --> 00:18:36,902 You just kind of go [STAMMERING] and it's enough for him. 537 00:18:36,902 --> 00:18:39,360 It sounded like no to him, then, like, [IMITATES GUNSHOT].. 538 00:18:39,360 --> 00:18:42,784 It's like, oh, shit. 539 00:18:42,784 --> 00:18:44,450 You know, because a lot of motherfuckers 540 00:18:44,450 --> 00:18:48,150 turned around 'cause you dropped the phone or you did something. 541 00:18:48,150 --> 00:18:54,400 But the emotional impact of a scene like this is great. 542 00:18:54,400 --> 00:18:58,360 But like I said, one person's got to be still and strong. 543 00:18:58,360 --> 00:19:00,000 And you make him squirm. 544 00:19:00,000 --> 00:19:00,200 And you make him squirm. 545 00:19:00,200 --> 00:19:03,130 The squirmer is on the other end because you're-- 546 00:19:03,130 --> 00:19:05,690 you're the fisherman with the worm on the hook. 547 00:19:05,690 --> 00:19:07,209 The worm is squirming. 548 00:19:07,209 --> 00:19:09,250 You're sitting there, calmly waiting on that fish 549 00:19:09,250 --> 00:19:09,958 to take the hook. 550 00:19:14,049 --> 00:19:15,090 That's how I would do it. 551 00:19:15,090 --> 00:19:17,257 It's not necessarily the right way, like I said. 552 00:19:17,257 --> 00:19:18,090 There's a right way. 553 00:19:18,090 --> 00:19:20,100 There's more than one right way to do something. 554 00:19:20,100 --> 00:19:24,500 But positions of strength and power, all you got to do 555 00:19:24,500 --> 00:19:27,360 is be still and be powerful. 556 00:19:27,360 --> 00:19:29,830 Stillness is powerful. 557 00:19:29,830 --> 00:19:30,000 You know, everybody is always trying to do shit and move. 558 00:19:30,000 --> 00:19:32,620 You know, everybody is always trying to do shit and move. 559 00:19:32,620 --> 00:19:35,840 And, you know, you don't have to do that. 560 00:19:35,840 --> 00:19:38,040 All you've got to do is be still. 561 00:19:38,040 --> 00:19:40,475 Be still, powerful. 562 00:19:40,475 --> 00:19:42,190 Let your voice do the work. 563 00:19:42,190 --> 00:19:46,020 Your body language says, I'm in control. 564 00:19:46,020 --> 00:19:50,240 Nothing can move me from this. 565 00:19:50,240 --> 00:19:53,550 I'm locked in on my shit. 566 00:19:53,550 --> 00:19:56,430 But like I said, you know, it's a good contrast 567 00:19:56,430 --> 00:19:57,640 between those two things. 568 00:19:57,640 --> 00:20:00,000 And you all made some great choices when you did this, 569 00:20:00,000 --> 00:20:01,320 And you all made some great choices when you did this, 570 00:20:01,320 --> 00:20:03,960 and you made interesting choices over there. 571 00:20:03,960 --> 00:20:07,820 None of you really went all the way with that. 572 00:20:07,820 --> 00:20:10,580 You played the nervousness of talking to Danny. 573 00:20:10,580 --> 00:20:13,790 But the pain of what he was doing to you never 574 00:20:13,790 --> 00:20:19,070 really resonated in a real kind of way, in terms of your hero 575 00:20:19,070 --> 00:20:22,080 destroying you in that particular moment. 576 00:20:22,080 --> 00:20:24,290 I mean, you all played the nervousness 577 00:20:24,290 --> 00:20:30,000 of trying to give him the right answer when he never wanted 578 00:20:30,000 --> 00:20:32,610 of trying to give him the right answer when he never wanted 579 00:20:32,610 --> 00:20:34,080 to give an answer at all. 580 00:20:34,080 --> 00:20:35,490 That's not what he was doing. 581 00:20:35,490 --> 00:20:37,150 I'm not trying to talk to down, which 582 00:20:37,150 --> 00:20:39,660 is basically what he should have been saying the whole time. 583 00:20:39,660 --> 00:20:42,130 Hey, I'm not trying to talk you down. 584 00:20:42,130 --> 00:20:44,340 You know, he's like, no, you want to talk me down. 585 00:20:44,340 --> 00:20:45,000 You want to talk me down. 586 00:20:45,000 --> 00:20:45,510 You want to talk me down. 587 00:20:45,510 --> 00:20:46,800 You want to talk me down. 588 00:20:46,800 --> 00:20:50,020 And that was never his intention. 589 00:20:50,020 --> 00:20:52,050 But good work. 590 00:20:52,050 --> 00:20:53,020 Good work in that. 591 00:20:53,020 --> 00:20:57,309 You know, everybody climbed in the space and did some stuff, 592 00:20:57,309 --> 00:20:58,600 you know, that was really good. 593 00:20:58,600 --> 00:20:59,600 It was fun watching you. 594 00:20:59,600 --> 00:21:00,000 It was fun watching you be humble. 595 00:21:00,000 --> 00:21:02,180 It was fun watching you be humble. 596 00:21:02,180 --> 00:21:06,625 You know, I just wanted him to hurt more. 597 00:21:06,625 --> 00:21:10,690 I wanted him to be more bit by that. 598 00:21:10,690 --> 00:21:14,380 And like I said, you know, power positions and not so powerful, 599 00:21:14,380 --> 00:21:17,570 we all learn to do that when we're on stage. 600 00:21:17,570 --> 00:21:20,890 And you assume it on screen in certain aspects, when 601 00:21:20,890 --> 00:21:22,600 people are above you or below you, 602 00:21:22,600 --> 00:21:25,510 or you slouch in a certain way, or do 603 00:21:25,510 --> 00:21:28,750 that whole thing where if somebody is talking to 604 00:21:28,750 --> 00:21:30,000 you and you want them to actively listen to you, you-- 605 00:21:30,000 --> 00:21:31,680 you and you want them to actively listen to you, you-- 606 00:21:31,680 --> 00:21:33,970 I mean, you actively listen to someone that's talking. 607 00:21:33,970 --> 00:21:35,428 And you're not in the conversation. 608 00:21:35,428 --> 00:21:38,400 And your body language is toward them, 609 00:21:38,400 --> 00:21:41,710 and your ear is kind of turned so people know you're listening 610 00:21:41,710 --> 00:21:42,430 or whatever. 611 00:21:42,430 --> 00:21:45,430 You know, it's those little bullshit tricks 612 00:21:45,430 --> 00:21:47,620 that make people know. 613 00:21:47,620 --> 00:21:48,750 Use your voice. 614 00:21:48,750 --> 00:21:50,130 Use your body. 615 00:21:50,130 --> 00:21:50,880 That's what we do. 616 00:21:50,880 --> 00:21:51,820 Those are our tools. 617 00:21:51,820 --> 00:21:54,420 You know, our voices and our bodies are what we got. 618 00:21:54,420 --> 00:21:56,510 That's what we do. 1 00:00:12,340 --> 00:00:16,400 Let's remember, we are in the business of make believe. 2 00:00:16,400 --> 00:00:21,310 So there is no limit to what you can make believe. 3 00:00:21,310 --> 00:00:23,120 Go as far as you can go. 4 00:00:23,120 --> 00:00:26,560 One of the things I always tend to do when I show up to do 5 00:00:26,560 --> 00:00:29,230 anything is show with too much. 6 00:00:29,230 --> 00:00:30,000 It's way easier for a director to ask 7 00:00:30,000 --> 00:00:31,420 It's way easier for a director to ask 8 00:00:31,420 --> 00:00:34,790 you to drop this, drop that, don't use this, don't do that, 9 00:00:34,790 --> 00:00:36,790 than it is for him to try and pull something out 10 00:00:36,790 --> 00:00:38,289 of you that you haven't figured out, 11 00:00:38,289 --> 00:00:40,240 or you need to figure out because he's 12 00:00:40,240 --> 00:00:42,550 trying to pull the performance out of you. 13 00:00:42,550 --> 00:00:43,990 Show up with much shit. 14 00:00:43,990 --> 00:00:45,611 It's easy to drop something than it 15 00:00:45,611 --> 00:00:47,110 is to find something and pick it up. 16 00:00:53,690 --> 00:01:00,000 The actor-director relationship, in the theater, it's one thing. 17 00:01:00,000 --> 00:01:04,610 The actor-director relationship, in the theater, it's one thing. 18 00:01:04,610 --> 00:01:08,350 In the movies, there's a couple of different things, 19 00:01:08,350 --> 00:01:11,380 because you have guys who are shooters, 20 00:01:11,380 --> 00:01:19,960 and you have guys who are writer/directors. 21 00:01:19,960 --> 00:01:26,130 And you have guys who are lucky to be there. 22 00:01:29,070 --> 00:01:30,000 So the shooters, the shooters hired you, 23 00:01:30,000 --> 00:01:35,420 So the shooters, the shooters hired you, 24 00:01:35,420 --> 00:01:39,860 and they're glad you're there, because they're 25 00:01:39,860 --> 00:01:42,470 going to leave you alone to do the performance so they 26 00:01:42,470 --> 00:01:43,770 can get it. 27 00:01:43,770 --> 00:01:49,250 So all they're concerned with is composition of shot. 28 00:01:49,250 --> 00:01:51,740 They just want to make sure they got their shot composed, 29 00:01:51,740 --> 00:01:53,870 and they trust you to do what you do. 30 00:01:53,870 --> 00:01:57,110 Those guys, I love them, because I 31 00:01:57,110 --> 00:01:59,334 mean you hired me for a reason, and hopefully I'm 32 00:01:59,334 --> 00:02:00,000 going to give you what you want, and you hired some other people 33 00:02:00,000 --> 00:02:02,000 going to give you what you want, and you hired some other people 34 00:02:02,000 --> 00:02:03,708 that are going to give you what you want, 35 00:02:03,708 --> 00:02:05,339 and everything is going to be fabulous. 36 00:02:05,339 --> 00:02:07,630 All you got to do is make sure you get it in the camera 37 00:02:07,630 --> 00:02:10,560 and shoot it. 38 00:02:10,560 --> 00:02:16,710 Writer/directors, depending upon who they are, 39 00:02:16,710 --> 00:02:19,000 sometimes they know what they wrote. 40 00:02:19,000 --> 00:02:20,130 And sometimes they don't. 41 00:02:23,720 --> 00:02:27,380 And hopefully, they're not very precious about what they wrote, 42 00:02:27,380 --> 00:02:30,000 because one thing's for sure when you hire me, 43 00:02:30,000 --> 00:02:35,460 because one thing's for sure when you hire me, 44 00:02:35,460 --> 00:02:37,720 you're getting a black actor. 45 00:02:37,720 --> 00:02:40,810 And if you wrote it, and you didn't see a black actor 46 00:02:40,810 --> 00:02:44,170 when you wrote it, or even if you saw one, sometimes what 47 00:02:44,170 --> 00:02:46,510 you put in my mouth is not how I talk, 48 00:02:46,510 --> 00:02:50,130 depending upon what I read. 49 00:02:50,130 --> 00:02:55,050 You created a character who's a lot more educated 50 00:02:55,050 --> 00:02:56,840 than you allow him to speak. 51 00:02:56,840 --> 00:02:58,440 You know, I can conjugate. 52 00:02:58,440 --> 00:03:00,000 And a lot of people can't. 53 00:03:00,000 --> 00:03:00,910 And a lot of people can't. 54 00:03:00,910 --> 00:03:05,310 So I don't need you to write black vernacular for me. 55 00:03:05,310 --> 00:03:07,440 I can say what you want said, but you 56 00:03:07,440 --> 00:03:09,160 need to say it this way. 57 00:03:09,160 --> 00:03:12,760 If I'm from somewhere else, I can say it that way. 58 00:03:12,760 --> 00:03:16,350 But from what you have here, and who this character is, 59 00:03:16,350 --> 00:03:19,170 he's a lot smarter and more educated 60 00:03:19,170 --> 00:03:22,750 than you made him speak. 61 00:03:22,750 --> 00:03:26,460 We don't all speak like somebody on a rap video. 62 00:03:26,460 --> 00:03:29,790 So I can fix that for you if you'll let me. 63 00:03:29,790 --> 00:03:30,000 And if your ego is not too precious, then all I'm doing 64 00:03:30,000 --> 00:03:34,290 And if your ego is not too precious, then all I'm doing 65 00:03:34,290 --> 00:03:36,690 is making your movie better, I hope. 66 00:03:36,690 --> 00:03:39,540 Sometimes you have to go back the other way. 67 00:03:39,540 --> 00:03:43,110 You've written this character, you've elevated this character, 68 00:03:43,110 --> 00:03:44,790 but that's not who that character is. 69 00:03:44,790 --> 00:03:48,900 He needs to not be able to conjugate as well 70 00:03:48,900 --> 00:03:50,440 as this character. 71 00:03:50,440 --> 00:03:54,870 And there are things about him that 72 00:03:54,870 --> 00:04:00,000 are very different in terms of the way he looks at the world, 73 00:04:00,000 --> 00:04:01,520 are very different in terms of the way he looks at the world, 74 00:04:01,520 --> 00:04:04,940 in terms of right, wrong, and otherwise, 75 00:04:04,940 --> 00:04:08,850 that impact on how he reacts with the other people 76 00:04:08,850 --> 00:04:11,370 in the script, and we can talk about that. 77 00:04:11,370 --> 00:04:13,200 And a lot of those writer/directors 78 00:04:13,200 --> 00:04:15,900 are open to that, you know, that works. 79 00:04:15,900 --> 00:04:18,839 Sometimes they push back, and then I 80 00:04:18,839 --> 00:04:20,760 go OK, well, let's just look at it, 81 00:04:20,760 --> 00:04:23,100 and hopefully we can have a constructive conversation 82 00:04:23,100 --> 00:04:24,420 about it. 83 00:04:24,420 --> 00:04:26,760 And most times that happens. 84 00:04:26,760 --> 00:04:30,000 They got me there for a reason, and hopefully I can help you. 85 00:04:30,000 --> 00:04:30,860 They got me there for a reason, and hopefully I can help you. 86 00:04:30,860 --> 00:04:35,441 And like I said, then there are lucky to be there ones. 87 00:04:35,441 --> 00:04:37,440 Sometimes they can be difficult, because they're 88 00:04:37,440 --> 00:04:41,220 trying to figure it out and figure out if I'm the director, 89 00:04:41,220 --> 00:04:43,320 does that mean I'm the boss? 90 00:04:43,320 --> 00:04:46,950 Or does that mean I need to listen to these people 91 00:04:46,950 --> 00:04:50,610 around me, because they've surrounded me with a good team? 92 00:04:50,610 --> 00:04:54,390 And there been a few people who let their team work for them, 93 00:04:54,390 --> 00:04:56,640 and I worked for a few people who didn't let that team 94 00:04:56,640 --> 00:04:59,220 work for them, or who worked against that team, 95 00:04:59,220 --> 00:05:00,000 and they got lucky anyway. 96 00:05:00,000 --> 00:05:03,470 and they got lucky anyway. 97 00:05:03,470 --> 00:05:05,780 One thing I do know about directors 98 00:05:05,780 --> 00:05:10,160 is that the majority of the time, on a movie set, 99 00:05:10,160 --> 00:05:12,440 the director is the person on the set that 100 00:05:12,440 --> 00:05:16,420 has been on the least number of movie sets. 101 00:05:16,420 --> 00:05:22,300 Everybody else has been on more movie sets than that director. 102 00:05:22,300 --> 00:05:24,850 And the smart ones know that, and they 103 00:05:24,850 --> 00:05:29,770 let everybody do their job, because they've done it more. 104 00:05:29,770 --> 00:05:30,000 And they know how to get it done. 105 00:05:30,000 --> 00:05:32,380 And they know how to get it done. 106 00:05:32,380 --> 00:05:35,290 And there are some that are not so smart that 107 00:05:35,290 --> 00:05:37,850 get in the way of the process. 108 00:05:37,850 --> 00:05:40,090 But if you know that, and we know 109 00:05:40,090 --> 00:05:43,420 that that's a collaborative process, 110 00:05:43,420 --> 00:05:48,015 then let the people who know more do what they do, 111 00:05:48,015 --> 00:05:48,890 and they'll help you. 112 00:05:55,910 --> 00:05:58,400 During the audition process, something 113 00:05:58,400 --> 00:06:00,000 has happened that has connected you to that he gave you a job. 114 00:06:00,000 --> 00:06:04,400 has happened that has connected you to that he gave you a job. 115 00:06:04,400 --> 00:06:08,270 Sometimes it's incumbent upon you to find out what that was, 116 00:06:08,270 --> 00:06:13,250 which generally means what the director's expectations of you 117 00:06:13,250 --> 00:06:15,920 are when you show up at the job. 118 00:06:15,920 --> 00:06:18,570 So you'll know what he expects you to do. 119 00:06:18,570 --> 00:06:25,692 And if you made some choices, once you've 120 00:06:25,692 --> 00:06:27,900 gotten the word that you had the job, before you meet 121 00:06:27,900 --> 00:06:30,000 the director, it's incumbent upon you 122 00:06:30,000 --> 00:06:30,240 the director, it's incumbent upon you 123 00:06:30,240 --> 00:06:32,820 to inform him of those choices that you've 124 00:06:32,820 --> 00:06:34,860 made that are going to work on the script, 125 00:06:34,860 --> 00:06:39,270 or how you perceive the evolution of that 126 00:06:39,270 --> 00:06:42,030 character from the beginning, from the first time 127 00:06:42,030 --> 00:06:46,280 you see him, until he exits the screenplay, 128 00:06:46,280 --> 00:06:50,280 to find out what his thought process is about what 129 00:06:50,280 --> 00:06:54,270 the story is, what the story means 130 00:06:54,270 --> 00:06:56,520 in terms of what he's trying to accomplish by making 131 00:06:56,520 --> 00:06:58,590 this particular movie. 132 00:06:58,590 --> 00:07:00,000 And you can make adjustments accordingly 133 00:07:00,000 --> 00:07:03,720 And you can make adjustments accordingly 134 00:07:03,720 --> 00:07:06,440 to what his goals are. 135 00:07:06,440 --> 00:07:08,720 Because directors should have goals in terms 136 00:07:08,720 --> 00:07:11,180 of what he's making and why he's making it and how 137 00:07:11,180 --> 00:07:15,470 he wants it to be seen and received. 138 00:07:15,470 --> 00:07:19,130 That's one way to develop your relationship. 139 00:07:19,130 --> 00:07:25,190 I guess the other way is by showing up and doing 140 00:07:25,190 --> 00:07:30,000 your job in an efficient and intelligent way that 141 00:07:30,000 --> 00:07:36,040 your job in an efficient and intelligent way that 142 00:07:36,040 --> 00:07:38,920 shows that you're not just worried about what 143 00:07:38,920 --> 00:07:42,250 your performance is, but what everybody else's is also 144 00:07:42,250 --> 00:07:45,235 and what it means for you to be part of that ensemble. 145 00:07:52,390 --> 00:07:55,580 I'm not one of those people that goes to the monitor and watch 146 00:07:55,580 --> 00:07:57,940 playback. 147 00:07:57,940 --> 00:08:00,000 I want to watch the movie when it's done. 148 00:08:00,000 --> 00:08:01,930 I want to watch the movie when it's done. 149 00:08:01,930 --> 00:08:07,120 And I have a feeling about whether a scene worked or not, 150 00:08:07,120 --> 00:08:10,120 and I know there are actors who are 151 00:08:10,120 --> 00:08:14,170 needy in a specific kind of way, who have to go and ask 152 00:08:14,170 --> 00:08:17,371 the director how was that. 153 00:08:17,371 --> 00:08:17,870 I don't. 154 00:08:20,440 --> 00:08:22,190 One of the things I learned in the theater 155 00:08:22,190 --> 00:08:25,880 a long time ago when you finish your rehearsal and people were 156 00:08:25,880 --> 00:08:29,270 getting notes, if you don't get any, that doesn't mean 157 00:08:29,270 --> 00:08:30,000 the director is ignoring you. 158 00:08:30,000 --> 00:08:31,580 the director is ignoring you. 159 00:08:31,580 --> 00:08:33,980 It just means you don't need any notes. 160 00:08:33,980 --> 00:08:35,970 Keep doing what you're doing. 161 00:08:35,970 --> 00:08:37,490 So that's what I do. 162 00:08:37,490 --> 00:08:40,220 So if they don't come to me and say that was horrible 163 00:08:40,220 --> 00:08:43,760 or whatever, I don't go to ask why they're not talking to me. 164 00:08:43,760 --> 00:08:46,910 I just assume they got what they want and they're moving on, 165 00:08:46,910 --> 00:08:47,600 and that's good. 166 00:08:54,120 --> 00:08:57,660 I've watched actors listen to a stupid direction 167 00:08:57,660 --> 00:09:00,000 from a director and pretend they didn't understand 168 00:09:00,000 --> 00:09:03,490 from a director and pretend they didn't understand 169 00:09:03,490 --> 00:09:05,320 and just do the right thing. 170 00:09:05,320 --> 00:09:08,740 Then I've watched actors take the stupid director's direction 171 00:09:08,740 --> 00:09:15,290 and do it and kind of look at them, just kind of go wow. 172 00:09:15,290 --> 00:09:17,470 That's too bad. 173 00:09:17,470 --> 00:09:19,630 And keep on. 174 00:09:19,630 --> 00:09:21,670 But I might pull them to the side later on, 175 00:09:21,670 --> 00:09:26,260 and say look I know you're supposed 176 00:09:26,260 --> 00:09:30,000 to do what the director asked you to do, and there are times 177 00:09:30,000 --> 00:09:30,640 to do what the director asked you to do, and there are times 178 00:09:30,640 --> 00:09:36,450 that when you feel right, ask them 179 00:09:36,450 --> 00:09:40,440 if they don't mind if you do it this way one time 180 00:09:40,440 --> 00:09:43,370 and then do it that way. 181 00:09:43,370 --> 00:09:46,540 I have the option of, if a director says, 182 00:09:46,540 --> 00:09:48,670 well, you think we can do it this way once. 183 00:09:48,670 --> 00:09:51,370 We'll do it your way one time, and then 184 00:09:51,370 --> 00:09:54,640 just give me this thing so I can have it in the editing room. 185 00:09:54,640 --> 00:09:59,770 And I say no, because I don't get to go to the editing room, 186 00:09:59,770 --> 00:10:00,000 and because that's the thing you like. 187 00:10:00,000 --> 00:10:02,050 and because that's the thing you like. 188 00:10:02,050 --> 00:10:04,220 That's the first thing you're going to look at. 189 00:10:04,220 --> 00:10:06,010 And that's the thing that you're going to think is right, 190 00:10:06,010 --> 00:10:07,510 and if I don't give it to you then I 191 00:10:07,510 --> 00:10:09,910 don't have to worry about fucking up my performance. 192 00:10:09,910 --> 00:10:14,062 And they go, OK. 193 00:10:14,062 --> 00:10:15,054 All right. 194 00:10:21,010 --> 00:10:26,220 There are few directors that I know have a complete idea 195 00:10:26,220 --> 00:10:28,750 about what they're doing. 196 00:10:28,750 --> 00:10:30,000 And there are directors that can say certain things to you 197 00:10:30,000 --> 00:10:32,610 And there are directors that can say certain things to you 198 00:10:32,610 --> 00:10:35,790 that you don't know, that you know that they understand 199 00:10:35,790 --> 00:10:45,110 the material in a way, that is inspiring in the moment of what 200 00:10:45,110 --> 00:10:47,720 you're doing, that gives you an opportunity 201 00:10:47,720 --> 00:10:52,027 to say you know what, that's an interesting choice. 202 00:10:52,027 --> 00:10:53,360 I want to explore that with you. 203 00:10:53,360 --> 00:10:56,010 OK, let's do that. 204 00:10:56,010 --> 00:10:58,140 And you don't have that a lot. 205 00:10:58,140 --> 00:11:00,000 But those directors generally come from somewhere else. 206 00:11:00,000 --> 00:11:01,100 But those directors generally come from somewhere else. 207 00:11:01,100 --> 00:11:03,520 It's like when I was doing "Red Violin" 208 00:11:03,520 --> 00:11:06,930 and Francoise Girard came from the opera. 209 00:11:06,930 --> 00:11:08,850 So he had that. 210 00:11:08,850 --> 00:11:11,850 When I was doing "Changing Lanes," 211 00:11:11,850 --> 00:11:14,730 Roger Michell came from the theater, and all 212 00:11:14,730 --> 00:11:19,320 these other places, and he had this wonderful, insightful way 213 00:11:19,320 --> 00:11:22,930 of looking at stuff after you'd done it. 214 00:11:22,930 --> 00:11:26,880 And the wonderful thing was when he came to me, 215 00:11:26,880 --> 00:11:30,000 he had a notebook, and he had notes, like in the theater. 216 00:11:30,000 --> 00:11:31,820 he had a notebook, and he had notes, like in the theater. 217 00:11:31,820 --> 00:11:34,470 When you finished rehearsing, director's got notes on a pad, 218 00:11:34,470 --> 00:11:36,720 and he goes through his notes, and scratches them out. 219 00:11:36,720 --> 00:11:37,636 And that's what he do. 220 00:11:37,636 --> 00:11:41,580 He will say, on this line when you said, 221 00:11:41,580 --> 00:11:45,650 the emphasis on this word is great, 222 00:11:45,650 --> 00:11:50,100 but if you soften it and emphasize this, 223 00:11:50,100 --> 00:11:53,240 then that makes what you say in the next line much more 224 00:11:53,240 --> 00:11:55,500 effective in this way. 225 00:11:55,500 --> 00:12:00,000 And I could go, wow, yeah, you're right. 226 00:12:00,000 --> 00:12:00,610 And I could go, wow, yeah, you're right. 227 00:12:00,610 --> 00:12:01,320 OK. 228 00:12:01,320 --> 00:12:03,130 And I could do that. 229 00:12:03,130 --> 00:12:10,230 And he could pull meaning from someplace that was-- 230 00:12:10,230 --> 00:12:14,110 he could take something from the obvious to the subtle that 231 00:12:14,110 --> 00:12:16,330 enhanced the performance in a way 232 00:12:16,330 --> 00:12:21,370 that most directors can't, and then you 233 00:12:21,370 --> 00:12:24,640 gain trust in that person because of it. 1 00:00:00,000 --> 00:00:02,898 2 00:00:12,560 --> 00:00:15,780 The on-set environment is different according 3 00:00:15,780 --> 00:00:18,420 to the budget. 4 00:00:18,420 --> 00:00:22,290 So if you're on an indie, there's 5 00:00:22,290 --> 00:00:26,182 a real familial kind of feeling on an indie film, 6 00:00:26,182 --> 00:00:28,140 because everybody knows there's not much money. 7 00:00:28,140 --> 00:00:30,000 And everybody is there for a reason. 8 00:00:30,000 --> 00:00:30,620 And everybody is there for a reason. 9 00:00:30,620 --> 00:00:33,120 They're doing it because they know the person that wrote it, 10 00:00:33,120 --> 00:00:36,130 that's directing it, or that has something to do with it. 11 00:00:36,130 --> 00:00:40,200 So the familial aspect of it is very different, 12 00:00:40,200 --> 00:00:42,300 and everybody is working toward a common goal 13 00:00:42,300 --> 00:00:47,500 to get this thing done, because they know, you know, it's 14 00:00:47,500 --> 00:00:50,650 a love project or whatever. 15 00:00:50,650 --> 00:00:52,930 Big studio films, kind of different, 16 00:00:52,930 --> 00:00:59,590 you know, there are a lot of different elements. 17 00:00:59,590 --> 00:01:00,000 It's a moving circus. 18 00:01:00,000 --> 00:01:02,410 It's a moving circus. 19 00:01:02,410 --> 00:01:04,780 Sometimes, you know all the actors that are there. 20 00:01:04,780 --> 00:01:06,400 Sometimes, you don't. 21 00:01:06,400 --> 00:01:08,290 Sometimes, you meet a person for one day, 22 00:01:08,290 --> 00:01:09,873 and that person is there for that day. 23 00:01:09,873 --> 00:01:11,950 And they're gone, in and out. 24 00:01:11,950 --> 00:01:15,310 If you're on a movie for a long haul with people, 25 00:01:15,310 --> 00:01:19,060 you'll run into them in the mornings in the makeup trailer. 26 00:01:19,060 --> 00:01:21,640 And you'll either talk about what you did last night. 27 00:01:21,640 --> 00:01:23,590 Or how's it going with you? 28 00:01:23,590 --> 00:01:26,750 Or there's music playing, and stuff's happening. 29 00:01:26,750 --> 00:01:30,000 And once you get on set, you can interact with whoever 30 00:01:30,000 --> 00:01:30,250 And once you get on set, you can interact with whoever 31 00:01:30,250 --> 00:01:31,590 you want to interact with. 32 00:01:31,590 --> 00:01:36,670 I'm generally making jokes with whoever's around. 33 00:01:36,670 --> 00:01:39,870 Back in the day, when they used to pull a tape 34 00:01:39,870 --> 00:01:42,420 measure to your nose to see if you were in focus, you know, 35 00:01:42,420 --> 00:01:44,610 I was always doing stuff like that 36 00:01:44,610 --> 00:01:47,530 and trying to figure out how long the tape measure was 37 00:01:47,530 --> 00:01:49,490 and making fun of the camera crew. 38 00:01:49,490 --> 00:01:53,670 So I'm generally one of those people that knows 39 00:01:53,670 --> 00:01:55,050 everybody on the camera crew. 40 00:01:55,050 --> 00:01:56,610 I know who the grips are. 41 00:01:56,610 --> 00:01:59,400 I know who the PAs are, the prop masters, 42 00:01:59,400 --> 00:02:00,000 and everything that's going on. 43 00:02:00,000 --> 00:02:00,930 and everything that's going on. 44 00:02:00,930 --> 00:02:04,810 And I'm talking to everybody because I'm just that guy. 45 00:02:04,810 --> 00:02:08,880 And I don't have to be in the moment until they say action. 46 00:02:08,880 --> 00:02:10,620 Everybody's not like that. 47 00:02:10,620 --> 00:02:12,635 Some actors like to talk to you between shots. 48 00:02:12,635 --> 00:02:14,760 Some actors like to think about what they just did. 49 00:02:14,760 --> 00:02:17,040 Or some actors run straight to the monitor 50 00:02:17,040 --> 00:02:21,390 and look to see what they did, not what we did. 51 00:02:21,390 --> 00:02:23,350 [LAUGHTER] 52 00:02:29,730 --> 00:02:30,000 It's important to me that when I'm on set 53 00:02:30,000 --> 00:02:34,320 It's important to me that when I'm on set 54 00:02:34,320 --> 00:02:39,750 or I'm on stage that every actor understands that it's 55 00:02:39,750 --> 00:02:43,350 more than just the performance aspect of it, 56 00:02:43,350 --> 00:02:51,030 that when I got into theater, Dr. [INAUDIBLE] thing 57 00:02:51,030 --> 00:02:53,890 was, OK, rehearsal is at 7 o'clock. 58 00:02:53,890 --> 00:02:56,020 And when I got to New York, I was 59 00:02:56,020 --> 00:02:58,456 amazed when somebody said rehearsal was at 10 o'clock. 60 00:02:58,456 --> 00:02:59,830 And people show up at 10 o'clock, 61 00:02:59,830 --> 00:03:00,000 and they want to sit down and have 62 00:03:00,000 --> 00:03:01,246 and they want to sit down and have 63 00:03:01,246 --> 00:03:03,190 their coffee and their, you know, 64 00:03:03,190 --> 00:03:05,060 muffin or their sandwich or whatever. 65 00:03:05,060 --> 00:03:06,760 When rehearsal is at 7 o'clock, that 66 00:03:06,760 --> 00:03:08,910 means you get there at 6:30. 67 00:03:08,910 --> 00:03:09,850 You have your coffee. 68 00:03:09,850 --> 00:03:12,520 You have your sandwich so at 7 o'clock you're in place, 69 00:03:12,520 --> 00:03:14,930 so they can say action or let's go. 70 00:03:14,930 --> 00:03:17,060 Let's pick it up from this place, this place, 71 00:03:17,060 --> 00:03:18,040 or that place. 72 00:03:18,040 --> 00:03:27,300 So always on time, always know my lines, probably know yours, 73 00:03:27,300 --> 00:03:29,186 I've done my homework. 74 00:03:29,186 --> 00:03:30,000 I am character-driven and know what that character is 75 00:03:30,000 --> 00:03:31,800 I am character-driven and know what that character is 76 00:03:31,800 --> 00:03:34,884 and what that character is going to do. 77 00:03:34,884 --> 00:03:38,440 I, you know, don't get in your way. 78 00:03:38,440 --> 00:03:40,720 I will help you all I can. 79 00:03:40,720 --> 00:03:43,680 It's professional responsibility. 80 00:03:43,680 --> 00:03:49,020 And the best way for me to convey that to young actors 81 00:03:49,020 --> 00:03:50,340 is that. 82 00:03:50,340 --> 00:03:51,840 I've been on movie sets where, you 83 00:03:51,840 --> 00:03:53,850 know, whoever is number one always 84 00:03:53,850 --> 00:03:56,130 tends to be the last person on set, you know, 85 00:03:56,130 --> 00:03:57,280 whatever that means. 86 00:03:57,280 --> 00:03:59,790 But when they say, you know, places, I just hit it. 87 00:03:59,790 --> 00:04:00,000 I'm there, and I'm ready to go. 88 00:04:00,000 --> 00:04:01,440 I'm there, and I'm ready to go. 89 00:04:04,030 --> 00:04:05,080 Sometimes, I stand there. 90 00:04:05,080 --> 00:04:06,120 I have to watch the process. 91 00:04:06,120 --> 00:04:07,320 And it's kind of like, you know, why are you 92 00:04:07,320 --> 00:04:09,990 calling me if you're gonna take 15 minutes to reset a light? 93 00:04:09,990 --> 00:04:11,580 You know, call me when you're ready. 94 00:04:11,580 --> 00:04:15,460 But that's on my aggravating, irritating days. 95 00:04:15,460 --> 00:04:18,910 But most times, you know, first one there, ready to go. 96 00:04:18,910 --> 00:04:19,529 Let's do it. 97 00:04:19,529 --> 00:04:21,480 You know, I'm not asking for a line. 98 00:04:21,480 --> 00:04:23,312 I'm not confused. 99 00:04:23,312 --> 00:04:25,020 You know, I'm not going to change things. 100 00:04:25,020 --> 00:04:26,770 I just do what I do. 101 00:04:26,770 --> 00:04:28,633 It's about responsibility because part 102 00:04:28,633 --> 00:04:30,000 of the responsibility as a movie actor is 103 00:04:30,000 --> 00:04:31,920 of the responsibility as a movie actor is 104 00:04:31,920 --> 00:04:34,080 don't waste people's time. 105 00:04:34,080 --> 00:04:37,290 You know, time is money on a movie set. 106 00:04:37,290 --> 00:04:39,510 So I'm not trying to do six takes. 107 00:04:39,510 --> 00:04:42,030 I'm not asking, oh, I need to do another one. 108 00:04:42,030 --> 00:04:44,210 You know, I'm just there. 109 00:04:44,210 --> 00:04:46,670 I'm just, you know, responsible. 110 00:04:54,010 --> 00:04:59,110 I'm excited by new characters and the journey 111 00:04:59,110 --> 00:05:00,000 that they're going to take inside the story, 112 00:05:00,000 --> 00:05:02,640 that they're going to take inside the story, 113 00:05:02,640 --> 00:05:13,180 the experience of the emotion that's done in a safe place. 114 00:05:13,180 --> 00:05:15,670 You know, it's really great that you 115 00:05:15,670 --> 00:05:26,050 can experience fear, danger, sadness, joy, um, 116 00:05:26,050 --> 00:05:30,000 insanity in a safe environment so that when somebody says cut, 117 00:05:30,000 --> 00:05:30,780 insanity in a safe environment so that when somebody says cut, 118 00:05:30,780 --> 00:05:34,170 you can, like, come back and be you. 119 00:05:34,170 --> 00:05:36,210 I'm not that guy that shows up to work, 120 00:05:36,210 --> 00:05:39,300 and you can't talk to me all day because I'm 121 00:05:39,300 --> 00:05:42,450 doing something else or I'm engrossed 122 00:05:42,450 --> 00:05:46,470 in being this character who doesn't know you 123 00:05:46,470 --> 00:05:48,510 when you talk to me. 124 00:05:48,510 --> 00:05:50,490 I've done all that before I get to work. 125 00:05:50,490 --> 00:05:53,430 And when they say, cut, you know, my manager might call. 126 00:05:53,430 --> 00:05:55,340 And I need to talk about my next job. 127 00:05:55,340 --> 00:05:57,340 And I'm going to be able to do that. 128 00:05:57,340 --> 00:06:00,000 So if you're, you know, that kind of actor 129 00:06:00,000 --> 00:06:02,110 So if you're, you know, that kind of actor 130 00:06:02,110 --> 00:06:04,589 that people can't talk to, or you're 131 00:06:04,589 --> 00:06:06,380 running around being the character all day, 132 00:06:06,380 --> 00:06:07,780 then that's one thing. 133 00:06:07,780 --> 00:06:10,900 But you should be able to multitask and do what you do. 134 00:06:10,900 --> 00:06:13,940 You know, it is acting. 135 00:06:13,940 --> 00:06:15,440 It's not living. 136 00:06:15,440 --> 00:06:19,840 So, no, I'm not that immersed all day in it, you know. 137 00:06:19,840 --> 00:06:21,670 When somebody says action, I'm immersed. 138 00:06:21,670 --> 00:06:23,620 When they say cut, I'm not. 139 00:06:23,620 --> 00:06:25,600 And I love it when actors are like that. 140 00:06:25,600 --> 00:06:29,770 I remember when I was doing a movie with Julianne Moore. 141 00:06:29,770 --> 00:06:30,000 And Julianne is amazing. 142 00:06:30,000 --> 00:06:32,320 And Julianne is amazing. 143 00:06:32,320 --> 00:06:35,380 And we were standing there, and she started talking to me. 144 00:06:35,380 --> 00:06:36,190 It was, oh, my God. 145 00:06:36,190 --> 00:06:37,898 Did you watch "American Idol" last night? 146 00:06:37,898 --> 00:06:38,646 It was so good. 147 00:06:38,646 --> 00:06:41,540 It was just [MUMBLING] and this thing. 148 00:06:41,540 --> 00:06:42,360 They say, action. 149 00:06:42,360 --> 00:06:43,270 [SOBBING] 150 00:06:43,770 --> 00:06:44,870 She's breaking down. 151 00:06:44,870 --> 00:06:46,300 She's traumatized. 152 00:06:46,300 --> 00:06:47,240 Cut. 153 00:06:47,240 --> 00:06:50,320 But it was so good because at the end of it, 154 00:06:50,320 --> 00:06:51,930 they actually won. 155 00:06:51,930 --> 00:06:54,460 She's right out of it, right back to who she is. 156 00:06:54,460 --> 00:06:56,670 And it's like, damn. 157 00:06:56,670 --> 00:06:57,700 That's amazing. 158 00:06:57,700 --> 00:07:00,000 I mean, I can kind of do that, you know, 159 00:07:00,000 --> 00:07:00,010 I mean, I can kind of do that, you know, 160 00:07:00,010 --> 00:07:02,789 but I don't know if I can do it on the level of believability 161 00:07:02,789 --> 00:07:03,580 that she can do it. 162 00:07:03,580 --> 00:07:06,340 But that's what I'm talking about. 163 00:07:06,340 --> 00:07:09,070 You know, we know it's pretend. 164 00:07:09,070 --> 00:07:11,210 It's fun. 165 00:07:11,210 --> 00:07:12,306 It's what it is. 166 00:07:12,306 --> 00:07:13,930 And to be able to do it great and to be 167 00:07:13,930 --> 00:07:17,180 able to do it effectively in that moment is the task. 168 00:07:24,130 --> 00:07:25,900 I do the same thing on every take. 169 00:07:25,900 --> 00:07:30,000 I don't care if it's a master shot, medium, close up, 170 00:07:30,000 --> 00:07:30,520 I don't care if it's a master shot, medium, close up, 171 00:07:30,520 --> 00:07:31,420 extreme close up. 172 00:07:31,420 --> 00:07:32,830 I do the same thing. 173 00:07:32,830 --> 00:07:35,560 And when editors watch it, they always come to me later, 174 00:07:35,560 --> 00:07:37,565 you know, and say, I'm the editor of that movie. 175 00:07:37,565 --> 00:07:39,450 Thank you. 176 00:07:39,450 --> 00:07:41,170 I don't care what shot they're doing, 177 00:07:41,170 --> 00:07:42,430 I can use any shot you want. 178 00:07:42,430 --> 00:07:43,471 And I can cut it any way. 179 00:07:43,471 --> 00:07:45,070 I pick the glass up on the same word. 180 00:07:45,070 --> 00:07:45,520 I put it down. 181 00:07:45,520 --> 00:07:46,300 It's part of the game. 182 00:07:46,300 --> 00:07:48,430 You do it because you know that they got to do it. 183 00:07:48,430 --> 00:07:50,140 And you don't want them cutting stuff. 184 00:07:50,140 --> 00:07:52,600 You don't want them doing, you know-- 185 00:07:52,600 --> 00:07:54,559 the worst thing is folks with cigarettes. 186 00:07:54,559 --> 00:07:56,100 You know, the cigarette is this long. 187 00:07:56,100 --> 00:07:56,860 Then it's that long. 188 00:07:56,860 --> 00:07:57,820 Then it's this long again. 189 00:07:57,820 --> 00:07:58,653 Then it's that long. 190 00:07:58,653 --> 00:07:59,715 The water is that high. 191 00:07:59,715 --> 00:08:00,000 It's that high. 192 00:08:00,000 --> 00:08:00,340 It's that high. 193 00:08:00,340 --> 00:08:01,280 [MUMBLING] 194 00:08:01,780 --> 00:08:06,560 But you try and help so that they can do their job, too. 195 00:08:06,560 --> 00:08:09,670 It's just little stuff that you know. 196 00:08:09,670 --> 00:08:12,760 It's like I said, I realize in a lot of times, 197 00:08:12,760 --> 00:08:15,760 we are the most unimportant part of what's happening, especially 198 00:08:15,760 --> 00:08:17,306 in, you know, cinema. 199 00:08:17,306 --> 00:08:20,590 It's good that we're there, but, I mean, 200 00:08:20,590 --> 00:08:23,620 they can have a bad person do the same thing I'm doing. 201 00:08:23,620 --> 00:08:26,827 And it'll mean the same thing to the process. 202 00:08:26,827 --> 00:08:28,660 It won't mean the same thing to an audience. 203 00:08:28,660 --> 00:08:30,000 But to the process, it's fine, you know, 204 00:08:30,000 --> 00:08:31,040 But to the process, it's fine, you know, 205 00:08:31,040 --> 00:08:34,240 if that actor is bad, as long as he gets it out there. 206 00:08:34,240 --> 00:08:35,740 But, you know, being good at what 207 00:08:35,740 --> 00:08:40,314 you do is a bonus for the process, 208 00:08:40,314 --> 00:08:42,730 and for the people watching it, and for the people who are 209 00:08:42,730 --> 00:08:44,350 trying to make money off of it. 210 00:08:44,350 --> 00:08:46,209 So, yeah, it's all a collaborative effort. 211 00:08:46,209 --> 00:08:47,000 It ain't about you. 212 00:08:54,220 --> 00:08:56,230 I tell everybody, if you want to work 213 00:08:56,230 --> 00:09:00,000 on the most harmonious process in the world, 214 00:09:00,000 --> 00:09:00,020 on the most harmonious process in the world, 215 00:09:00,020 --> 00:09:03,400 you should do a Tarantino movie. 216 00:09:03,400 --> 00:09:07,090 The one thing that I think is great about Quintin's sets 217 00:09:07,090 --> 00:09:08,800 is there are no electronics. 218 00:09:08,800 --> 00:09:11,980 There is nothing with an on-off switch on set. 219 00:09:11,980 --> 00:09:14,620 So when he says cut, nobody pulls out their phone 220 00:09:14,620 --> 00:09:17,040 and starts texting and looking at stuff. 221 00:09:17,040 --> 00:09:19,960 You have to leave your phone at a phone station 222 00:09:19,960 --> 00:09:21,430 they have outside. 223 00:09:21,430 --> 00:09:24,640 They play music between setups. 224 00:09:24,640 --> 00:09:25,510 So people sing. 225 00:09:25,510 --> 00:09:26,560 People dance. 226 00:09:26,560 --> 00:09:30,000 You talk to everybody around about, you know, their day 227 00:09:30,000 --> 00:09:30,664 You talk to everybody around about, you know, their day 228 00:09:30,664 --> 00:09:32,080 or whatever they're talking about. 229 00:09:32,080 --> 00:09:34,420 Or Quentin tells a story that relates 230 00:09:34,420 --> 00:09:37,090 to what we're shooting that day of a scene that was in a movie 231 00:09:37,090 --> 00:09:39,850 that he stole something from and he's using. 232 00:09:39,850 --> 00:09:41,660 Or there's a movie similar to this. 233 00:09:41,660 --> 00:09:44,230 Or if I had cast this movie in 1950, 234 00:09:44,230 --> 00:09:46,010 this is who would be in the movie. 235 00:09:46,010 --> 00:09:48,580 You know, you try and make the movie 236 00:09:48,580 --> 00:09:52,120 set as light and as inclusive as you possibly 237 00:09:52,120 --> 00:09:55,210 can so that everybody knows that, you know, 238 00:09:55,210 --> 00:09:57,310 my job is no more important than yours. 239 00:09:57,310 --> 00:09:59,710 And we're all here to do this together. 240 00:09:59,710 --> 00:10:00,000 And I think, you know, sometimes directors see that, 241 00:10:00,000 --> 00:10:02,590 And I think, you know, sometimes directors see that, 242 00:10:02,590 --> 00:10:07,930 and they see that you're a convivial and gregarious 243 00:10:07,930 --> 00:10:08,920 spirit. 244 00:10:08,920 --> 00:10:11,020 And that changes the tone of everything 245 00:10:11,020 --> 00:10:13,970 that's going on around and makes his set a better place to be. 246 00:10:20,710 --> 00:10:23,599 There are a lot of people that make a movie set work. 247 00:10:23,599 --> 00:10:26,140 And I remember there was a sign on the wall in the "Die Hard" 248 00:10:26,140 --> 00:10:28,720 office that I never forgot that said, "be careful of the toes 249 00:10:28,720 --> 00:10:30,000 you step on today, for they could 250 00:10:30,000 --> 00:10:30,890 you step on today, for they could 251 00:10:30,890 --> 00:10:34,280 be connected to the ass you have to kiss tomorrow." 252 00:10:34,280 --> 00:10:38,900 So I've been nice to PAs and everybody and everything else. 253 00:10:38,900 --> 00:10:41,330 And some of those PAs became producers and gave me jobs 254 00:10:41,330 --> 00:10:44,731 because they said, I remember when I was a PA on so and so 255 00:10:44,731 --> 00:10:45,230 and so. 256 00:10:45,230 --> 00:10:46,449 You never hassled me. 257 00:10:46,449 --> 00:10:47,990 You didn't make me run and get stuff, 258 00:10:47,990 --> 00:10:49,400 and you spoke to me every day. 259 00:10:49,400 --> 00:10:51,530 And you were cordial, duh, duh, duh. 260 00:10:51,530 --> 00:10:53,870 You know, it's nothing. 261 00:10:53,870 --> 00:10:56,240 I mean, we're almost the least important cog 262 00:10:56,240 --> 00:10:59,450 in the movie-making machine when you come down to it. 263 00:10:59,450 --> 00:11:00,000 So, you know, be nice to that lighting guy because your ass 264 00:11:00,000 --> 00:11:03,800 So, you know, be nice to that lighting guy because your ass 265 00:11:03,800 --> 00:11:04,850 could be in the dark. 266 00:11:04,850 --> 00:11:08,027 Especially camera people, they can make you fuzzy. 267 00:11:08,027 --> 00:11:09,360 They can make you a little soft. 268 00:11:09,360 --> 00:11:11,830 [LAUGHTER] 269 00:11:12,820 --> 00:11:14,940 Or, you know, they can shoot from an angle that 270 00:11:14,940 --> 00:11:18,780 makes you look fat or whatever. 271 00:11:18,780 --> 00:11:21,730 You know, everybody's there, doing the same job. 272 00:11:21,730 --> 00:11:24,930 So you show up, and you try and make 273 00:11:24,930 --> 00:11:28,710 the day as pleasant as you want the day to be for you. 274 00:11:28,710 --> 00:11:30,000 You know, you can have as much or as little fun 275 00:11:30,000 --> 00:11:32,490 You know, you can have as much or as little fun 276 00:11:32,490 --> 00:11:34,590 as you want to have on a movie set, 277 00:11:34,590 --> 00:11:38,100 depending upon your personality and how you present yourself 278 00:11:38,100 --> 00:11:40,140 to the people that are around there. 279 00:11:40,140 --> 00:11:42,187 I mean, you're no better than the guy 280 00:11:42,187 --> 00:11:44,270 that's sweeping the floor at night when you leave. 281 00:11:44,270 --> 00:11:45,061 Just remember that. 282 00:11:51,910 --> 00:11:53,494 Be late. 283 00:11:53,494 --> 00:11:56,770 Um, not know your lines. 284 00:11:56,770 --> 00:12:00,000 Um, ask for autographs. 285 00:12:00,000 --> 00:12:04,690 Um, ask for autographs. 286 00:12:04,690 --> 00:12:05,850 Take pictures now. 287 00:12:05,850 --> 00:12:08,100 You know, can we post? 288 00:12:08,100 --> 00:12:10,529 Can we get this shot? 289 00:12:10,529 --> 00:12:11,435 [SIGH] 290 00:12:13,700 --> 00:12:15,882 Steal another actor's actions. 291 00:12:15,882 --> 00:12:20,022 Um, ask for more lines. 292 00:12:20,022 --> 00:12:27,800 Uh, wow, uh, be discourteous to the other people around you 293 00:12:27,800 --> 00:12:30,000 or think because you're an actor and they're a crew member, 294 00:12:30,000 --> 00:12:31,100 or think because you're an actor and they're a crew member, 295 00:12:31,100 --> 00:12:34,000 they're not as good or as important as you. 296 00:12:37,870 --> 00:12:43,580 To mistreat the PAs, oh, my God, a lot of that, you know, 297 00:12:43,580 --> 00:12:51,540 it's like, change things that shouldn't be changed, 298 00:12:51,540 --> 00:12:55,560 not just your lines, but, you know, your look. 299 00:12:55,560 --> 00:12:57,830 Asking for things in the makeup trailer 300 00:12:57,830 --> 00:13:00,000 or spending too much time in the makeup trailer 301 00:13:00,000 --> 00:13:01,870 because you want to look glamorous, 302 00:13:01,870 --> 00:13:05,520 and it's not your job to be that. 303 00:13:05,520 --> 00:13:09,140 There are all kinds of inappropriate things to do. 304 00:13:09,140 --> 00:13:13,980 But the most inappropriate thing is to show up unprepared. 1 00:00:00,000 --> 00:00:02,928 2 00:00:06,040 --> 00:00:10,080 OK, so you saw the movie. 3 00:00:10,080 --> 00:00:11,790 You know what the set-up is. 4 00:00:11,790 --> 00:00:14,930 It's "Kingsman." 5 00:00:14,930 --> 00:00:19,920 I made an interesting choice as Valentine, 6 00:00:19,920 --> 00:00:22,350 mostly to keep myself entertained, you know, 7 00:00:22,350 --> 00:00:24,169 because you do a movie like this, 8 00:00:24,169 --> 00:00:26,210 it's kind of easy to just go through the motions. 9 00:00:26,210 --> 00:00:27,140 You come in. 10 00:00:27,140 --> 00:00:29,010 You're supposed to be a bad guy. 11 00:00:29,010 --> 00:00:30,000 You do bad things or whatever, and you say funny things. 12 00:00:30,000 --> 00:00:31,890 You do bad things or whatever, and you say funny things. 13 00:00:31,890 --> 00:00:35,280 But it's a parody of a Bond movie. 14 00:00:35,280 --> 00:00:40,510 All Bond villains have a quirk of some sort. 15 00:00:40,510 --> 00:00:42,720 So hopefully, while you were learning, reading, 16 00:00:42,720 --> 00:00:46,060 thinking of this, you created a quirk of your own. 17 00:00:46,060 --> 00:00:49,170 So I don't expect you to have a lisp. 18 00:00:49,170 --> 00:00:51,110 I hope you don't. 19 00:00:51,110 --> 00:00:52,920 I want you to have your own unique take 20 00:00:52,920 --> 00:00:57,540 on who Richmond Valentine is, and what he does, 21 00:00:57,540 --> 00:00:59,790 and who Harry is. 22 00:00:59,790 --> 00:01:00,000 Harry's a gentleman spy. 23 00:01:00,000 --> 00:01:01,710 Harry's a gentleman spy. 24 00:01:01,710 --> 00:01:02,540 We know that. 25 00:01:02,540 --> 00:01:05,530 So I don't expect you to have a British accent. 26 00:01:05,530 --> 00:01:06,910 If you want one, do it. 27 00:01:06,910 --> 00:01:09,910 If you want him-- he can be whatever you want him to be. 28 00:01:09,910 --> 00:01:13,420 You have the freedom to create and bring 29 00:01:13,420 --> 00:01:18,520 to life whatever thing you think will make this thing more 30 00:01:18,520 --> 00:01:20,890 interesting than two guys sitting down, having 31 00:01:20,890 --> 00:01:24,020 a conversation at dinner. 32 00:01:24,020 --> 00:01:29,170 And there are things going on here. 33 00:01:29,170 --> 00:01:30,000 There's a play on words that mean other things, that mean, 34 00:01:30,000 --> 00:01:35,000 There's a play on words that mean other things, that mean, 35 00:01:35,000 --> 00:01:38,330 you know, I know who you are, you know I am, 36 00:01:38,330 --> 00:01:42,760 you know, we are now engaged, so let the games begin. 37 00:01:50,610 --> 00:01:52,664 And acción. 38 00:01:52,664 --> 00:02:00,000 [LAUGHS] So I hear you want to donate to my foundation. 39 00:02:00,000 --> 00:02:01,697 [LAUGHS] So I hear you want to donate to my foundation. 40 00:02:01,697 --> 00:02:02,920 [LAUGHS] 41 00:02:02,920 --> 00:02:03,480 Well-- 42 00:02:03,480 --> 00:02:05,729 You are aware that I wound things down in that area. 43 00:02:05,729 --> 00:02:06,240 Right? 44 00:02:06,240 --> 00:02:07,590 I am. 45 00:02:07,590 --> 00:02:09,750 Climate change is a threat to us all. 46 00:02:09,750 --> 00:02:12,551 And you are one of the most power-- 47 00:02:12,551 --> 00:02:13,050 No, no. 48 00:02:13,050 --> 00:02:13,650 You are. 49 00:02:13,650 --> 00:02:16,950 You're one of the most powerful women who, I believe, 50 00:02:16,950 --> 00:02:18,210 shares in my concerns. 51 00:02:18,210 --> 00:02:18,900 Am I wrong? 52 00:02:18,900 --> 00:02:25,280 No, I shut things down because it wasn't going anywhere. 53 00:02:25,280 --> 00:02:27,490 Every bit of research kept pointing 54 00:02:27,490 --> 00:02:29,770 to the same conclusion. 55 00:02:29,770 --> 00:02:30,000 Right, right. 56 00:02:30,000 --> 00:02:30,640 Right, right. 57 00:02:30,640 --> 00:02:35,620 Is it that carbon emissions are a red herring perhaps? 58 00:02:35,620 --> 00:02:38,170 And that no matter what we do, the remedial actions 59 00:02:38,170 --> 00:02:39,820 will not change anything. 60 00:02:39,820 --> 00:02:41,266 [LAUGHS] 61 00:02:41,266 --> 00:02:43,194 [LAUGHS] 62 00:02:43,194 --> 00:02:45,122 [SNORTS] Ha! 63 00:02:45,122 --> 00:02:46,568 You know your shit. 64 00:02:46,568 --> 00:02:47,532 I know my shit. 65 00:02:47,532 --> 00:02:48,496 I do. 66 00:02:48,496 --> 00:02:49,900 You know, I actually-- 67 00:02:49,900 --> 00:02:52,870 I do envy the blissfully ignorant 68 00:02:52,870 --> 00:02:55,210 who are less well-versed in their shit. 69 00:02:55,210 --> 00:02:55,970 Hmm. 70 00:02:55,970 --> 00:03:00,000 As Professor Arnold once said, humankind 71 00:03:00,000 --> 00:03:01,840 As Professor Arnold once said, humankind 72 00:03:01,840 --> 00:03:07,780 is the only virus cursed with the knowledge of their host's 73 00:03:07,780 --> 00:03:08,850 fragile mortality. 74 00:03:08,850 --> 00:03:09,600 You like that? 75 00:03:09,600 --> 00:03:10,762 [LAUGHS] 76 00:03:10,762 --> 00:03:11,470 You're welcome. 77 00:03:14,910 --> 00:03:19,760 You know, not too many people know about him. 78 00:03:22,700 --> 00:03:27,580 You like spy movies, huh, Miss DeVere? 79 00:03:27,580 --> 00:03:30,000 Well, spy movies today, a little serious for my taste. 80 00:03:30,000 --> 00:03:33,590 Well, spy movies today, a little serious for my taste. 81 00:03:33,590 --> 00:03:36,870 But oh, the old ones, marvelous, yes. 82 00:03:36,870 --> 00:03:40,480 Mmm, mmm, mmm, mmm, the old Bond movies! 83 00:03:40,480 --> 00:03:42,748 Yes! 84 00:03:42,748 --> 00:03:46,460 Oh, oh, man. 85 00:03:46,460 --> 00:03:49,830 When I was a kid, I-- 86 00:03:49,830 --> 00:03:58,050 that was my dream job, gentlemen spy. 87 00:03:58,050 --> 00:04:00,000 You know? 88 00:04:00,000 --> 00:04:00,060 You know? 89 00:04:00,060 --> 00:04:02,160 I've always felt the Bond movies were only 90 00:04:02,160 --> 00:04:06,810 as good as their villain. 91 00:04:06,810 --> 00:04:07,310 Right? 92 00:04:07,310 --> 00:04:09,185 [BOTH LAUGH] 93 00:04:11,162 --> 00:04:14,330 When I was a kid, I fancied a future 94 00:04:14,330 --> 00:04:16,480 as a colorful megalomaniac. 95 00:04:16,480 --> 00:04:19,050 [LAUGHS] 96 00:04:20,839 --> 00:04:24,950 What a shame we both had to grow up. 97 00:04:24,950 --> 00:04:26,410 Damn shame. 98 00:04:26,410 --> 00:04:29,910 Well, bon appetit. 99 00:04:29,910 --> 00:04:30,000 Bon appetit. 100 00:04:30,000 --> 00:04:30,540 Bon appetit. 101 00:04:30,540 --> 00:04:32,940 [LAUGHS] 102 00:04:32,940 --> 00:04:34,786 OK, so [CLEARS THROAT] got that. 103 00:04:44,720 --> 00:04:48,510 This time, I want you to pretend to be a bleeding heart 104 00:04:48,510 --> 00:04:53,940 environmentalist until you decide that you're 105 00:04:53,940 --> 00:04:55,845 going to kill this person. 106 00:04:55,845 --> 00:04:57,330 OK. 107 00:04:57,330 --> 00:04:59,010 I mean, you're here to fool her 108 00:04:59,010 --> 00:05:00,000 into believing that you're donating money to her thing. 109 00:05:00,000 --> 00:05:05,350 into believing that you're donating money to her thing. 110 00:05:05,350 --> 00:05:07,740 And you know enough about environment for her 111 00:05:07,740 --> 00:05:09,050 to say you know your shit. 112 00:05:09,050 --> 00:05:10,150 Wow. 113 00:05:10,150 --> 00:05:16,867 But you tip your hand when you start talking about Professor-- 114 00:05:16,867 --> 00:05:17,450 WOMAN: Arnold. 115 00:05:17,450 --> 00:05:18,260 Arnold. 116 00:05:18,260 --> 00:05:23,670 When she says Professor Arnold, switch. 117 00:05:23,670 --> 00:05:25,630 You know-- oh, you know that motherfucker. 118 00:05:25,630 --> 00:05:30,000 See, for me, when he got killed in the movie, I-- 119 00:05:30,000 --> 00:05:32,540 we kind of changed the lines to, oh, Professor-- 120 00:05:32,540 --> 00:05:36,120 I loved Professor Arnold, and they killed him. oh, fuck. 121 00:05:36,120 --> 00:05:37,510 That was so fucked up. 122 00:05:40,470 --> 00:05:46,880 But the fact that she knows who he is is another sign of you've 123 00:05:46,880 --> 00:05:48,320 got too much information. 124 00:05:48,320 --> 00:05:50,090 And I know why you're here anyway. 125 00:05:50,090 --> 00:05:53,030 But oh, now, you're just going to tell me? 126 00:05:53,030 --> 00:05:54,200 It's like that? 127 00:05:54,200 --> 00:05:57,350 And you either realize the mistake, 128 00:05:57,350 --> 00:05:59,180 or you did it on purpose. 129 00:05:59,180 --> 00:06:00,000 And you start to go, yeah, I'm here to fuck you up. 130 00:06:00,000 --> 00:06:01,670 And you start to go, yeah, I'm here to fuck you up. 131 00:06:01,670 --> 00:06:03,500 Like, it makes me mad that she thinks 132 00:06:03,500 --> 00:06:05,262 I'm that dumb that she can just say that? 133 00:06:05,262 --> 00:06:06,220 Is that what you mean-- 134 00:06:06,220 --> 00:06:07,636 No, that's just some information 135 00:06:07,636 --> 00:06:10,340 that you just get that changes your attitude about him. 136 00:06:10,340 --> 00:06:12,710 Oh, oh, so you know Professor-- oh. 137 00:06:12,710 --> 00:06:13,750 Yeah. 138 00:06:13,750 --> 00:06:15,680 Not a lot of people knew about him. 139 00:06:15,680 --> 00:06:19,520 Or, oh, yeah, oh, yeah, oh, man. 140 00:06:19,520 --> 00:06:20,710 Not many people knew him. 141 00:06:20,710 --> 00:06:23,420 OK. 142 00:06:23,420 --> 00:06:26,930 I like the relaxation of it. 143 00:06:26,930 --> 00:06:29,690 But like I said, this is a Bond movie. 144 00:06:29,690 --> 00:06:30,000 It has its own set of rules. 145 00:06:30,000 --> 00:06:32,450 It has its own set of rules. 146 00:06:32,450 --> 00:06:34,670 Bond movies live in their own world. 147 00:06:34,670 --> 00:06:36,830 So the rules of those worlds have 148 00:06:36,830 --> 00:06:38,360 to be adhered to in a certain way. 149 00:06:38,360 --> 00:06:40,470 You know, it's like being in the Marvel universe. 150 00:06:40,470 --> 00:06:43,130 There's a universe where there's superheroes. 151 00:06:43,130 --> 00:06:44,020 So it's not the same. 152 00:06:44,020 --> 00:06:49,130 The rules in the world aren't the same as in a Bourne movie. 153 00:06:49,130 --> 00:06:50,340 So button it back up. 154 00:06:50,340 --> 00:06:51,340 SAMUEL L. JACKSON: Yeah. 155 00:06:51,340 --> 00:06:53,620 So I'm going to give you a character to be. 156 00:06:53,620 --> 00:06:54,560 OK. 157 00:06:54,560 --> 00:06:56,406 I want you to be-- 158 00:06:56,406 --> 00:07:00,000 the original Valentine is a black person 159 00:07:00,000 --> 00:07:01,480 the original Valentine is a black person 160 00:07:01,480 --> 00:07:03,840 that people have specific ideas about. 161 00:07:03,840 --> 00:07:07,690 You know, he's a megalomaniac. 162 00:07:07,690 --> 00:07:12,550 I used a lisp because I wanted people to dismiss him 163 00:07:12,550 --> 00:07:13,800 in an interesting sort of way. 164 00:07:13,800 --> 00:07:16,817 When we know people who have speech impediments, 165 00:07:16,817 --> 00:07:18,400 we have a certain attitude about them. 166 00:07:18,400 --> 00:07:21,370 People who stutter, people who lisp, 167 00:07:21,370 --> 00:07:24,670 people who don't pronounce their words correctly, 168 00:07:24,670 --> 00:07:26,590 whatever, you immediately think they're 169 00:07:26,590 --> 00:07:30,000 less than, they're not as smart as, or whatever. 170 00:07:30,000 --> 00:07:30,310 less than, they're not as smart as, or whatever. 171 00:07:30,310 --> 00:07:34,440 So I want you to be a rich fucking hood 172 00:07:34,440 --> 00:07:43,280 rat that's smart who chose not to be evidently genius. 173 00:07:43,280 --> 00:07:46,580 You embrace your hoodism. 174 00:07:46,580 --> 00:07:49,730 That's your Bond villain persona. 175 00:07:49,730 --> 00:07:50,960 You know? 176 00:07:50,960 --> 00:07:53,480 James Bond had never met a hood rat. 177 00:07:53,480 --> 00:07:54,360 All right? 178 00:07:54,360 --> 00:07:56,810 So give me that. 179 00:07:56,810 --> 00:07:57,905 Let's see how that works. 180 00:07:57,905 --> 00:07:59,821 MAN: I like how your swag turned on when you-- 181 00:07:59,821 --> 00:08:00,000 when you were telling her that. 182 00:08:00,000 --> 00:08:01,371 when you were telling her that. 183 00:08:01,371 --> 00:08:01,870 [LAUGHS] 184 00:08:01,870 --> 00:08:02,370 Did it? 185 00:08:02,370 --> 00:08:04,203 Yeah, I started walking different. (SINGING) 186 00:08:04,203 --> 00:08:05,345 The king's in the building. 187 00:08:05,345 --> 00:08:06,050 MAN: You had a slight limp. 188 00:08:06,050 --> 00:08:06,966 You had a slight limp. 189 00:08:06,966 --> 00:08:08,910 Yeah, yeah, I got my limp on? 190 00:08:08,910 --> 00:08:09,800 MAN: Yeah. 191 00:08:09,800 --> 00:08:12,970 All right, action. 192 00:08:12,970 --> 00:08:19,004 So you want to donate to my foundation. 193 00:08:19,004 --> 00:08:21,170 You are aware that I wound things down in that area. 194 00:08:21,170 --> 00:08:21,830 Right? 195 00:08:21,830 --> 00:08:23,720 Climate change is a threat that affects us 196 00:08:23,720 --> 00:08:24,890 all, Mr. Valentine. 197 00:08:24,890 --> 00:08:28,040 And I believe that you are one of the few powerful women 198 00:08:28,040 --> 00:08:29,790 that share in my concerns. 199 00:08:29,790 --> 00:08:30,000 No, no, no, no, no, no, no. 200 00:08:30,000 --> 00:08:31,100 No, no, no, no, no, no, no. 201 00:08:31,100 --> 00:08:35,950 I shut things down because I wasn't getting anywhere. 202 00:08:35,950 --> 00:08:37,780 You know, all-- all the evidence kept 203 00:08:37,780 --> 00:08:39,370 pointing to the same thing. 204 00:08:39,370 --> 00:08:41,440 That carbon emissions are a red herring? 205 00:08:41,440 --> 00:08:43,720 That we're too far past the point of no return 206 00:08:43,720 --> 00:08:44,890 for any remedial actions? 207 00:08:44,890 --> 00:08:49,691 [LAUGHS] Girl, you know your shit. 208 00:08:49,691 --> 00:08:51,134 [LAUGHS] 209 00:08:51,134 --> 00:08:56,260 Yeah, yeah, well, I often envy those so blissfully ignorant 210 00:08:56,260 --> 00:08:58,100 with their own shit. 211 00:08:58,100 --> 00:09:00,000 As Professor Arnold always said, humankind 212 00:09:00,000 --> 00:09:01,270 As Professor Arnold always said, humankind 213 00:09:01,270 --> 00:09:04,750 is the only virus cursed with the knowledge of its host's 214 00:09:04,750 --> 00:09:05,380 mortality. 215 00:09:05,380 --> 00:09:09,140 Aw, Professor Arnold. 216 00:09:09,140 --> 00:09:11,200 Man. 217 00:09:11,200 --> 00:09:15,880 You know, not too many people knew about him. 218 00:09:15,880 --> 00:09:19,680 You like spy movies, Miss DeVere? 219 00:09:19,680 --> 00:09:21,680 Hmm? 220 00:09:21,680 --> 00:09:24,810 These days, they're a little serious for me. 221 00:09:24,810 --> 00:09:28,000 But the old ones, marvelous. 222 00:09:28,000 --> 00:09:30,000 Give me a far-fetched theatrical plot any day. 223 00:09:30,000 --> 00:09:31,600 Give me a far-fetched theatrical plot any day. 224 00:09:31,600 --> 00:09:33,340 Oh snap! 225 00:09:33,340 --> 00:09:35,730 Those old-- those old Bond films, man, 226 00:09:35,730 --> 00:09:36,910 now, that was the shit. 227 00:09:40,630 --> 00:09:43,510 When I was a kid, that was my dream job. 228 00:09:43,510 --> 00:09:46,110 You know? 229 00:09:46,110 --> 00:09:47,300 Lady spy. 230 00:09:47,300 --> 00:09:48,242 Hmm. 231 00:09:48,242 --> 00:09:50,597 [LAUGHS] 232 00:09:52,446 --> 00:09:54,320 I've always felt that Bond movies were only 233 00:09:54,320 --> 00:09:57,390 as good as their villains. 234 00:09:57,390 --> 00:10:00,000 As a child, I fancied a future as a colorful megalomaniac. 235 00:10:00,000 --> 00:10:03,740 As a child, I fancied a future as a colorful megalomaniac. 236 00:10:03,740 --> 00:10:10,070 Well, girl, it is a shame we both had to grow up. 237 00:10:10,070 --> 00:10:11,800 Bon appetit. 238 00:10:11,800 --> 00:10:14,750 SAMUEL L. JACKSON: All right, good. 239 00:10:14,750 --> 00:10:17,180 You do know that's an insult. Right? 240 00:10:17,180 --> 00:10:17,820 Bon appetit? 241 00:10:17,820 --> 00:10:22,400 No, the Bond films are only as good as their villains. 242 00:10:22,400 --> 00:10:23,000 Oh, yeah. 243 00:10:23,000 --> 00:10:24,410 You know? 244 00:10:24,410 --> 00:10:30,000 That I'm the shit, and you know, if you're 245 00:10:30,000 --> 00:10:30,680 That I'm the shit, and you know, if you're 246 00:10:30,680 --> 00:10:33,360 going to be a Bond villain, the villain's got to be the shit. 247 00:10:33,360 --> 00:10:36,260 You know, so she insulted you in that way 248 00:10:36,260 --> 00:10:40,370 by saying hopefully you can come up to my standards. 249 00:10:40,370 --> 00:10:43,580 And it's kind of like, really, bitch? 250 00:10:43,580 --> 00:10:45,470 You know. 251 00:10:45,470 --> 00:10:49,140 And you still-- 252 00:10:49,140 --> 00:10:51,360 Holler back? 253 00:10:51,360 --> 00:10:58,490 Yeah, I mean, you want to be a person, 254 00:10:58,490 --> 00:11:00,000 if a director asks you to be a person that people don't 255 00:11:00,000 --> 00:11:04,540 if a director asks you to be a person that people don't 256 00:11:04,540 --> 00:11:09,140 respect, and you have all this power, 257 00:11:09,140 --> 00:11:11,120 that you have all this money, and you've 258 00:11:11,120 --> 00:11:13,700 invented all these things, it's almost 259 00:11:13,700 --> 00:11:17,405 like people want to believe that you hired 260 00:11:17,405 --> 00:11:19,530 a whole bunch of people because you had this money, 261 00:11:19,530 --> 00:11:21,150 and they invented that shit, not you, 262 00:11:21,150 --> 00:11:24,220 and you just take the credit for it. 263 00:11:24,220 --> 00:11:26,260 So if I asked you to be this hood rat, 264 00:11:26,260 --> 00:11:29,490 then you got to be that so that when you're 265 00:11:29,490 --> 00:11:30,000 talking to this person, they're kind of shocked in a way 266 00:11:30,000 --> 00:11:35,740 talking to this person, they're kind of shocked in a way 267 00:11:35,740 --> 00:11:39,760 to hear you say, you know I shut that shit down, right? 268 00:11:39,760 --> 00:11:40,970 Right? 269 00:11:40,970 --> 00:11:43,730 Because I wasn't gettin' nowhere with that shit. 270 00:11:43,730 --> 00:11:46,807 It's kind of like, yeah, it's a shame that people are-- yeah, 271 00:11:46,807 --> 00:11:49,730 uh-huh, yeah. 272 00:11:49,730 --> 00:11:51,700 Oh, you know your shit. 273 00:11:51,700 --> 00:11:52,870 All right. 274 00:11:52,870 --> 00:11:54,130 You know your shit. 275 00:11:54,130 --> 00:11:55,560 Oh, damn. 276 00:11:55,560 --> 00:11:58,840 It's almost like you're this person that's 277 00:11:58,840 --> 00:12:00,000 pretending to be this person that you don't want anybody 278 00:12:00,000 --> 00:12:02,530 pretending to be this person that you don't want anybody 279 00:12:02,530 --> 00:12:04,240 to see who you really are. 280 00:12:04,240 --> 00:12:05,050 You know? 281 00:12:05,050 --> 00:12:08,140 Because you are this thing that's just powerful, 282 00:12:08,140 --> 00:12:11,560 smarter than everybody in the room thing 283 00:12:11,560 --> 00:12:14,790 that you don't need to let them know that you know it. 284 00:12:14,790 --> 00:12:16,150 You know? 285 00:12:16,150 --> 00:12:18,520 You have the power over the room. 286 00:12:18,520 --> 00:12:20,205 People want to be you. 287 00:12:20,205 --> 00:12:21,740 You know? 288 00:12:21,740 --> 00:12:23,180 That's who Valentine is. 289 00:12:23,180 --> 00:12:26,140 He is a guy people want to be without the speech 290 00:12:26,140 --> 00:12:30,000 impediment or the whatever, or the whatever he's got. 291 00:12:30,000 --> 00:12:30,500 impediment or the whatever, or the whatever he's got. 292 00:12:30,500 --> 00:12:31,000 You know? 293 00:12:31,000 --> 00:12:32,050 But OK, but thank you. 294 00:12:32,050 --> 00:12:33,420 Y'all did great. 295 00:12:33,420 --> 00:12:36,589 It's just (WHISPERS) take direction. 296 00:12:36,589 --> 00:12:37,630 We're gonna work on that. 297 00:12:37,630 --> 00:12:37,870 All right. 298 00:12:37,870 --> 00:12:38,370 OK. 299 00:12:45,470 --> 00:12:50,300 All right, Danny and Brandon, B, the Bs. 300 00:12:50,300 --> 00:12:51,240 Put the Bs up here. 301 00:12:54,090 --> 00:12:55,520 Um, create. 302 00:12:58,148 --> 00:12:59,170 You be Valentine. 303 00:12:59,170 --> 00:12:59,990 Is that OK? 304 00:12:59,990 --> 00:13:00,000 Yeah. 305 00:13:00,000 --> 00:13:00,490 Yeah. 306 00:13:00,490 --> 00:13:03,480 Giving you time to figure your shit out. 307 00:13:03,480 --> 00:13:04,330 I see you doing it. 308 00:13:04,330 --> 00:13:05,668 You're like, [MUTTERS]. 309 00:13:10,060 --> 00:13:12,990 Uh, acción. 310 00:13:12,990 --> 00:13:17,550 So you want to donate to my foundation? 311 00:13:17,550 --> 00:13:19,300 You know I wound things down in that area. 312 00:13:19,300 --> 00:13:19,800 Right? 313 00:13:19,800 --> 00:13:21,058 [HIGH-PITCHED LAUGH] 314 00:13:23,002 --> 00:13:25,330 Uh, you are-- 315 00:13:25,330 --> 00:13:26,440 I am aware of that. 316 00:13:26,440 --> 00:13:29,360 But you are the few powerful people that share 317 00:13:29,360 --> 00:13:30,000 in my concerns, Mr. Valentine. 318 00:13:30,000 --> 00:13:30,880 in my concerns, Mr. Valentine. 319 00:13:30,880 --> 00:13:33,270 Eh. 320 00:13:33,270 --> 00:13:35,848 I shut things down because I wasn't getting anywhere. 321 00:13:39,200 --> 00:13:40,720 Line? 322 00:13:40,720 --> 00:13:42,440 Every bit of research I kept pointing to 323 00:13:42,440 --> 00:13:44,790 kept saying the same thing. 324 00:13:44,790 --> 00:13:46,670 That carbon emissions is a red herring? 325 00:13:46,670 --> 00:13:49,010 That we've gone past the point of no return? 326 00:13:49,010 --> 00:13:51,500 [HIGH-PITCHED LAUGH] 327 00:13:51,500 --> 00:13:53,270 No matter what remedial action we take. 328 00:13:53,270 --> 00:13:58,720 [HIGH-PITCHED LAUGH] You know your shit. 329 00:13:58,720 --> 00:14:00,000 I often envy those that are far less 330 00:14:00,000 --> 00:14:01,820 I often envy those that are far less 331 00:14:01,820 --> 00:14:04,290 knowledgeable of their shit. 332 00:14:04,290 --> 00:14:08,070 As Professor Arnold always said, humankind 333 00:14:08,070 --> 00:14:12,900 is a virus cursed to live with the horrific knowledge 334 00:14:12,900 --> 00:14:16,970 of its impending morality. 335 00:14:16,970 --> 00:14:20,180 PA, not a lot of people know about him. 336 00:14:23,180 --> 00:14:29,280 Do you like spy movies, Mr. DeVere? 337 00:14:29,280 --> 00:14:30,000 Nowadays, they're a little too serious for me. 338 00:14:30,000 --> 00:14:33,140 Nowadays, they're a little too serious for me. 339 00:14:33,140 --> 00:14:35,750 Give me a far-fetched theatrical plot any day. 340 00:14:39,089 --> 00:14:42,080 Ah, but those old Bond movies, oh, man, 341 00:14:42,080 --> 00:14:44,655 I've always wanted to be a gentleman spy. 342 00:14:44,655 --> 00:14:46,030 SAMUEL L. JACKSON: What the fuck? 343 00:14:46,030 --> 00:14:46,430 That's his line. 344 00:14:46,430 --> 00:14:46,988 I know. 345 00:14:46,988 --> 00:14:47,532 I'm sorry. 346 00:14:47,532 --> 00:14:47,804 I forgot. 347 00:14:47,804 --> 00:14:48,620 What the fuck's wrong with you? 348 00:14:48,620 --> 00:14:49,440 MAN: I'm sorry, man. 349 00:14:49,440 --> 00:14:49,800 I skipped. 350 00:14:49,800 --> 00:14:50,300 I skipped. 351 00:14:50,300 --> 00:14:52,250 OK, anyway, stop anyway. 352 00:14:52,250 --> 00:14:53,920 All right, stop anyway. 353 00:14:53,920 --> 00:14:58,199 As I-- I feel I hear you trying to be-- 354 00:14:58,199 --> 00:15:00,000 Trying to find a quirk that isn't big or distracting. 355 00:15:00,000 --> 00:15:00,490 Trying to find a quirk that isn't big or distracting. 356 00:15:00,490 --> 00:15:03,500 Trying to find a quirk that you're not comfortable with. 357 00:15:03,500 --> 00:15:04,790 Yeah, yeah, yeah. 358 00:15:04,790 --> 00:15:06,330 I don't care if it's distracting. 359 00:15:06,330 --> 00:15:10,040 I mean, it can be distracting or whatever. 360 00:15:10,040 --> 00:15:12,490 It can be physical. 361 00:15:12,490 --> 00:15:12,990 You know? 362 00:15:12,990 --> 00:15:14,954 I mean, you could have-- 363 00:15:14,954 --> 00:15:15,840 fuck it. 364 00:15:15,840 --> 00:15:18,560 You could have Tourette's if you want. 365 00:15:18,560 --> 00:15:20,429 I mean, you can twitch, jerk. 366 00:15:20,429 --> 00:15:21,970 You can do whatever the hell you want 367 00:15:21,970 --> 00:15:25,950 to do, but give yourself something that makes you 368 00:15:25,950 --> 00:15:27,240 an interesting Bond villain. 369 00:15:30,840 --> 00:15:33,721 You sound like a businessman, a lawyer or some shit. 370 00:15:33,721 --> 00:15:34,220 You know? 371 00:15:38,290 --> 00:15:39,510 You have exotic voices. 372 00:15:39,510 --> 00:15:41,600 Be Egyptian for a minute. 373 00:15:41,600 --> 00:15:42,160 Yeah. 374 00:15:42,160 --> 00:15:45,850 You know, do something that adds color to this bland ass 375 00:15:45,850 --> 00:15:49,640 conversation that's here. 376 00:15:49,640 --> 00:15:52,210 But give yourself something. 377 00:15:52,210 --> 00:15:55,150 If you don't want to be just sitting there, 378 00:15:55,150 --> 00:15:57,770 you can stand up and sit into it if you want. 379 00:15:57,770 --> 00:16:00,000 Do what you want, but give yourself something. 380 00:16:00,000 --> 00:16:01,190 Do what you want, but give yourself something. 381 00:16:01,190 --> 00:16:03,640 I mean, even if you want to walk around the table 382 00:16:03,640 --> 00:16:06,630 while he's talking, and drag your leg like Igor, 383 00:16:06,630 --> 00:16:08,700 [GROANS] whatever. 384 00:16:08,700 --> 00:16:11,020 But give yourself something to play with 385 00:16:11,020 --> 00:16:13,890 rather than just the words. 386 00:16:13,890 --> 00:16:18,160 And I know you didn't learn them in some mindset of doing that. 387 00:16:18,160 --> 00:16:21,820 But it's what the director wants. 388 00:16:25,000 --> 00:16:27,101 Action. 389 00:16:27,101 --> 00:16:30,000 [TAPS TABLE] 390 00:16:30,000 --> 00:16:30,023 [TAPS TABLE] 391 00:16:31,980 --> 00:16:38,060 So-- [TAPS TABLE] you want to donate to my foundation. 392 00:16:38,060 --> 00:16:40,806 You are aware-- 393 00:16:40,806 --> 00:16:41,712 [HONKS] 394 00:16:43,530 --> 00:16:48,190 --that I wound things down in that area. 395 00:16:48,190 --> 00:16:49,650 Right? 396 00:16:49,650 --> 00:16:53,969 But the climate changes affect us all, Mr. Valentine. 397 00:16:53,969 --> 00:16:54,510 No, no, no. 398 00:16:54,510 --> 00:16:55,635 No, no, no, no, no, no, no. 399 00:16:55,635 --> 00:16:58,934 See, I wound things down in that area 400 00:16:58,934 --> 00:17:00,000 because I wasn't getting anywhere. 401 00:17:00,000 --> 00:17:00,350 because I wasn't getting anywhere. 402 00:17:00,350 --> 00:17:01,258 [HONKS] 403 00:17:03,530 --> 00:17:09,010 Every bit of research kept pointing to the same thhhhing. 404 00:17:09,010 --> 00:17:12,490 That carbon emissions are a red herring, and that we 405 00:17:12,490 --> 00:17:14,589 have gone past the point of no return, 406 00:17:14,589 --> 00:17:16,579 no matter what remedial action we take? 407 00:17:16,579 --> 00:17:17,079 Bonk. 408 00:17:17,079 --> 00:17:17,578 Bonk. 409 00:17:17,578 --> 00:17:18,160 Bonk. 410 00:17:18,160 --> 00:17:20,119 Correct. 411 00:17:20,119 --> 00:17:22,967 You-- [LAUGHS] 412 00:17:23,901 --> 00:17:26,770 You know your shit. 413 00:17:26,770 --> 00:17:29,190 [LAUGHS] 414 00:17:29,190 --> 00:17:30,000 I often envy those that are far less 415 00:17:30,000 --> 00:17:31,980 I often envy those that are far less 416 00:17:31,980 --> 00:17:34,680 knowledgeable of their shit. 417 00:17:34,680 --> 00:17:36,724 As Professor Arnold always said-- 418 00:17:36,724 --> 00:17:38,340 [TICKING] 419 00:17:38,340 --> 00:17:41,400 --humankind is the only virus cursed to live with 420 00:17:41,400 --> 00:17:44,730 the knowledge of its impending morality. 421 00:17:48,230 --> 00:17:50,663 [HONKS] Not a lot of people know about him. 422 00:17:50,663 --> 00:17:52,142 [SIGHS] 423 00:17:55,600 --> 00:17:57,600 You like-- you like spy movies, Mr.-- 424 00:17:57,600 --> 00:17:59,739 Mr. DeVere? 425 00:17:59,739 --> 00:18:00,000 Nowadays, they are a little too serious for me. 426 00:18:00,000 --> 00:18:01,780 Nowadays, they are a little too serious for me. 427 00:18:01,780 --> 00:18:05,260 But uh, the-- the old ones were marvelous. 428 00:18:05,260 --> 00:18:08,320 Give me a far-fetched theatrical plot any day. 429 00:18:08,320 --> 00:18:10,410 Mm, mmm, mmm, mm, mmm. 430 00:18:10,410 --> 00:18:16,810 See-- [CLICKS TONGUE] [HONKS] I really felt like a Bond movie 431 00:18:16,810 --> 00:18:23,740 was only as good as its villain. 432 00:18:23,740 --> 00:18:25,850 You know? 433 00:18:25,850 --> 00:18:27,162 Like a line? 434 00:18:27,162 --> 00:18:29,120 WOMAN: When I was a kid, that was my dream job, 435 00:18:29,120 --> 00:18:29,830 gentleman spy. 436 00:18:29,830 --> 00:18:30,000 When I was a kid, that was my dream job. 437 00:18:30,000 --> 00:18:33,530 When I was a kid, that was my dream job. 438 00:18:33,530 --> 00:18:36,090 No, no, no, not-- not-- not-- not-- sorry, not-- 439 00:18:36,090 --> 00:18:36,680 not a villain. 440 00:18:39,510 --> 00:18:41,610 When I was a kid, that-- that-- 441 00:18:41,610 --> 00:18:46,600 that was my dream job, gentlemen-- gentlemen-- 442 00:18:46,600 --> 00:18:48,775 gentlemen-- gentlemen spy. 443 00:18:48,775 --> 00:18:50,900 Well, I always thought that those old Bond movies 444 00:18:50,900 --> 00:18:53,710 were as good as their villains. 445 00:18:53,710 --> 00:18:57,660 Yeah, well, it's a shame. 446 00:18:57,660 --> 00:19:00,000 It's a shame to-- 447 00:19:00,000 --> 00:19:00,520 It's a shame to-- 448 00:19:00,520 --> 00:19:02,300 As a child, I always fancied myself 449 00:19:02,300 --> 00:19:04,425 as a colorful megalomaniac. 450 00:19:04,425 --> 00:19:04,925 Yeah. 451 00:19:04,925 --> 00:19:05,425 Yeah. 452 00:19:09,380 --> 00:19:12,030 It's a shame we had to both grow up. 453 00:19:12,030 --> 00:19:12,530 Right? 454 00:19:12,530 --> 00:19:13,030 Yes. 455 00:19:13,030 --> 00:19:15,052 Yes. 456 00:19:15,052 --> 00:19:16,930 Well, bon appetit. 457 00:19:16,930 --> 00:19:18,550 Cut. 458 00:19:18,550 --> 00:19:20,420 OK, good effort. 459 00:19:20,420 --> 00:19:22,180 It's kind of restless legs syndrome 460 00:19:22,180 --> 00:19:24,360 of sorts, some kind of hyper-- 461 00:19:24,360 --> 00:19:27,850 Yes, you reacted to him irritating you in a way. 462 00:19:27,850 --> 00:19:29,440 That's good. 463 00:19:29,440 --> 00:19:30,000 You do know that that last line, it's 464 00:19:30,000 --> 00:19:32,260 You do know that that last line, it's 465 00:19:32,260 --> 00:19:35,080 a shame we both had to grow up, you know what that means. 466 00:19:35,080 --> 00:19:36,990 Right? 467 00:19:36,990 --> 00:19:39,870 Yeah, because the roles are flipped. 468 00:19:39,870 --> 00:19:40,710 No. 469 00:19:40,710 --> 00:19:44,970 It's a shame you both had to grow up because now you're 470 00:19:44,970 --> 00:19:48,010 not playing at being anything. 471 00:19:48,010 --> 00:19:49,820 We are what we are. 472 00:19:49,820 --> 00:19:53,031 And one of us is going to kill the other one. 473 00:19:53,031 --> 00:19:53,530 You know? 474 00:19:53,530 --> 00:19:54,970 It's a threat. 475 00:19:54,970 --> 00:19:57,520 [LAUGHS] It's a threat. 476 00:20:00,030 --> 00:20:03,870 It's a shame we both had to grow up. 477 00:20:03,870 --> 00:20:06,270 I mean, that's the one moment where 478 00:20:06,270 --> 00:20:09,150 all the levity bullshit, everything goes out 479 00:20:09,150 --> 00:20:11,500 the window in the scene. 480 00:20:11,500 --> 00:20:17,440 That's-- that's the point of the scene. 481 00:20:17,440 --> 00:20:19,610 Yeah, it was fanciful thinking about that bullshit 482 00:20:19,610 --> 00:20:23,480 when we were kids, blah, blah, blah, blah, blah, blah. 483 00:20:23,480 --> 00:20:26,550 We're grown now. 484 00:20:26,550 --> 00:20:28,845 I know who you are. 485 00:20:28,845 --> 00:20:30,000 And you know who I am. 486 00:20:30,000 --> 00:20:31,050 And you know who I am. 487 00:20:31,050 --> 00:20:33,270 We both know who we are. 488 00:20:33,270 --> 00:20:35,130 You're the Bond villain. 489 00:20:35,130 --> 00:20:37,180 I'm Bond. 490 00:20:37,180 --> 00:20:37,850 You know? 491 00:20:37,850 --> 00:20:38,540 We're grown. 492 00:20:38,540 --> 00:20:41,890 We're not playing at anything anymore. 493 00:20:41,890 --> 00:20:43,610 Shit's on. 494 00:20:43,610 --> 00:20:44,469 You know? 495 00:20:44,469 --> 00:20:45,510 But thanks for coming by. 496 00:20:45,510 --> 00:20:47,050 Nice seeing you. 497 00:20:47,050 --> 00:20:48,330 I'll be in touch. 498 00:20:48,330 --> 00:20:48,851 You know. 499 00:20:48,851 --> 00:20:49,350 MAN: Yeah. 500 00:20:49,350 --> 00:20:53,190 It's kind of like [GRUNTS] that's the one time they look 501 00:20:53,190 --> 00:20:54,930 in each other's faces and they know. 502 00:20:54,930 --> 00:20:56,850 You know? 503 00:20:56,850 --> 00:21:00,000 You're my enemy, you're my enemy. 504 00:21:00,000 --> 00:21:00,210 You're my enemy, you're my enemy. 505 00:21:00,210 --> 00:21:03,600 But I'm not going to just say that out loud to you, 506 00:21:03,600 --> 00:21:05,630 just so you know. 1 00:00:06,554 --> 00:00:07,470 You've been resting. 2 00:00:07,470 --> 00:00:10,250 Come on. 3 00:00:10,250 --> 00:00:10,750 All right? 4 00:00:10,750 --> 00:00:11,856 All right. 5 00:00:11,856 --> 00:00:12,810 All right. 6 00:00:12,810 --> 00:00:15,415 And Axion. 7 00:00:15,415 --> 00:00:15,915 Yo. 8 00:00:15,915 --> 00:00:16,170 Yo. 9 00:00:16,170 --> 00:00:16,490 Yo. 10 00:00:16,490 --> 00:00:16,890 Yo. 11 00:00:16,890 --> 00:00:17,210 Yo. 12 00:00:17,210 --> 00:00:17,760 Yo. 13 00:00:17,760 --> 00:00:18,420 Yo. 14 00:00:18,420 --> 00:00:18,920 Yo. 15 00:00:18,920 --> 00:00:25,066 So, you, you want to donate to my foundation. 16 00:00:25,066 --> 00:00:29,135 Well, you are aware that I, uh, wound things down in that area 17 00:00:29,135 --> 00:00:30,000 or whatever, you know? 18 00:00:30,000 --> 00:00:30,240 or whatever, you know? 19 00:00:30,240 --> 00:00:33,900 Well, climate change is, uh, a threat that affects us 20 00:00:33,900 --> 00:00:36,620 all, Miss Devere. 21 00:00:36,620 --> 00:00:37,500 No. 22 00:00:37,500 --> 00:00:40,130 And you are one of the most powerful 23 00:00:40,130 --> 00:00:42,630 that seems to share my concern. 24 00:00:42,630 --> 00:00:44,807 [LAUGHING] Nah, nah, nah, nah, nah, man. 25 00:00:44,807 --> 00:00:45,390 Nah, nah, nah. 26 00:00:45,390 --> 00:00:49,660 I shut things down 'cause that shit wasn't going anywhere 27 00:00:49,660 --> 00:00:50,160 you know? 28 00:00:50,160 --> 00:00:53,550 Every bit of research, it was just 29 00:00:53,550 --> 00:00:55,570 in the same direction and whatever. 30 00:00:55,570 --> 00:00:58,740 Mm-hm, that climate-- uh, that carbon emission's a red 31 00:00:58,740 --> 00:01:00,000 herring. 32 00:01:00,000 --> 00:01:00,030 herring. 33 00:01:00,030 --> 00:01:02,080 We're way past the point of no return. 34 00:01:02,080 --> 00:01:04,250 And no matter the remedial actions we take-- 35 00:01:04,250 --> 00:01:06,130 [LAUGHTER] 36 00:01:07,540 --> 00:01:08,960 Man, you know your shit! 37 00:01:08,960 --> 00:01:10,919 You know your shit. 38 00:01:10,919 --> 00:01:11,419 Yeah. 39 00:01:11,419 --> 00:01:11,919 Yes. 40 00:01:11,919 --> 00:01:13,864 Yes. 41 00:01:13,864 --> 00:01:15,820 Uh. 42 00:01:15,820 --> 00:01:23,430 I, uh-- I sometimes, uh, envy the blissful ignorance of-- 43 00:01:23,430 --> 00:01:24,450 knowing line? 44 00:01:24,450 --> 00:01:26,850 MAN: Those less well-versed. 45 00:01:26,850 --> 00:01:30,000 Those less well-versed in their shit. 46 00:01:30,000 --> 00:01:30,512 Those less well-versed in their shit. 47 00:01:30,512 --> 00:01:31,865 [LAUGHTER] 48 00:01:31,865 --> 00:01:33,360 Ah, yo. 49 00:01:33,360 --> 00:01:35,535 As, uh, Professor Arnold always said, 50 00:01:35,535 --> 00:01:40,020 uh, that humankind is a virus that is cursed with the, uh, 51 00:01:40,020 --> 00:01:44,406 horrifying knowledge of its host's fragile mortality. 52 00:01:44,406 --> 00:01:50,325 Oh, Professor Arnold, man. 53 00:01:50,325 --> 00:01:50,825 Oh, man. 54 00:01:53,795 --> 00:02:00,000 You know, not a lot of people knew about that guy. 55 00:02:00,000 --> 00:02:00,780 You know, not a lot of people knew about that guy. 56 00:02:00,780 --> 00:02:06,085 Yo, yo, you like spy movies, Mr. Devere? 57 00:02:06,085 --> 00:02:11,950 Ah, nowadays they're [LAUGHS] way too serious for my taste. 58 00:02:11,950 --> 00:02:13,090 But the old ones? 59 00:02:13,090 --> 00:02:14,250 Oh! 60 00:02:14,250 --> 00:02:17,196 Marvelous, yes. 61 00:02:17,196 --> 00:02:20,946 Uh, give me a, uh, theatrical plot any day. 62 00:02:20,946 --> 00:02:24,775 Oh, man, those old Bond movies, now that's the shit. 63 00:02:24,775 --> 00:02:25,275 Mm. 64 00:02:25,275 --> 00:02:25,775 Mm. 65 00:02:25,775 --> 00:02:27,930 That's what's up. 66 00:02:27,930 --> 00:02:30,000 You know, when I was coming up, I, uh-- 67 00:02:30,000 --> 00:02:31,390 You know, when I was coming up, I, uh-- 68 00:02:31,390 --> 00:02:33,000 [LAUGHS] it's kind of embarrassing. 69 00:02:33,000 --> 00:02:41,895 I often-- That was my dream job, yo, gentleman spy. 70 00:02:44,720 --> 00:02:48,030 Hell yeah. 71 00:02:48,030 --> 00:02:52,350 The old Bond movies, I always thought they're only 72 00:02:52,350 --> 00:02:55,960 as good as the villain. 73 00:02:55,960 --> 00:03:00,000 As a child, I fancied a future as a colorful megalomaniac. 74 00:03:00,000 --> 00:03:02,390 As a child, I fancied a future as a colorful megalomaniac. 75 00:03:06,205 --> 00:03:08,580 Well, it's a fucking shame we both had to grow up then, 76 00:03:08,580 --> 00:03:09,910 isn't it? 77 00:03:09,910 --> 00:03:13,820 Bon appetit, motherfucker. 78 00:03:13,820 --> 00:03:15,210 Very good. 79 00:03:15,210 --> 00:03:16,600 Thank you. 80 00:03:16,600 --> 00:03:17,110 Awesome. 81 00:03:17,110 --> 00:03:20,900 A great-- a great, great, great, great, great contrast there. 82 00:03:20,900 --> 00:03:24,240 You committed to something that was perfect, 83 00:03:24,240 --> 00:03:26,110 you know, great cover. 84 00:03:26,110 --> 00:03:29,200 Who this guy is, you know? 85 00:03:29,200 --> 00:03:30,000 You walked into the 'hood finally. 86 00:03:30,000 --> 00:03:31,195 You walked into the 'hood finally. 87 00:03:31,195 --> 00:03:33,025 [LAUGHTER] 88 00:03:33,025 --> 00:03:35,161 Stepped yourself in there, you know? 89 00:03:35,161 --> 00:03:35,660 Good. 90 00:03:35,660 --> 00:03:38,030 You know, great choices, great, you 91 00:03:38,030 --> 00:03:41,966 know, way to make this happen. 92 00:03:41,966 --> 00:03:43,280 Wow, how'd you feel about it? 93 00:03:43,280 --> 00:03:45,630 I almost lost it in the middle there because-- 94 00:03:45,630 --> 00:03:48,520 Well, you asked for a line, but, you know. 95 00:03:48,520 --> 00:03:50,930 That's why you have, you know, cut. 96 00:03:50,930 --> 00:03:51,430 Takes. 97 00:03:51,430 --> 00:03:51,660 Yeah. 98 00:03:51,660 --> 00:03:51,960 Yeah. 99 00:03:51,960 --> 00:03:52,460 Yeah. 100 00:03:52,460 --> 00:03:55,240 Yeah, but you were in that. 101 00:03:55,240 --> 00:03:58,870 I could see you carrying that guy through a whole film, 102 00:03:58,870 --> 00:03:59,980 you know. 103 00:03:59,980 --> 00:04:00,000 So that when the transition comes in 104 00:04:00,000 --> 00:04:01,555 So that when the transition comes in 105 00:04:01,555 --> 00:04:05,470 and he does things like that, then it's like, whoa. 106 00:04:05,470 --> 00:04:06,020 So good. 107 00:04:10,060 --> 00:04:11,620 How'd you feel about Hoody? 108 00:04:11,620 --> 00:04:12,990 It was fun. 109 00:04:12,990 --> 00:04:14,170 You enjoyed it because you didn't think as much this time. 110 00:04:14,170 --> 00:04:14,830 WOMAN: Yeah. 111 00:04:14,830 --> 00:04:15,850 You just let it be. 112 00:04:15,850 --> 00:04:16,589 I let it go. 113 00:04:16,589 --> 00:04:18,550 Let it go, be in that. 114 00:04:18,550 --> 00:04:20,980 Feel-- feel confident in, you know, 115 00:04:20,980 --> 00:04:22,400 the words and the character. 116 00:04:22,400 --> 00:04:23,850 That's who he is, you know? 117 00:04:23,850 --> 00:04:25,086 I'm-- I'm here. 118 00:04:25,086 --> 00:04:26,710 And it's cool because then, you know, 119 00:04:26,710 --> 00:04:29,670 you can find things as you go because it wasn't preplanned. 120 00:04:29,670 --> 00:04:30,000 So, yeah. 121 00:04:30,000 --> 00:04:30,870 So, yeah. 122 00:04:30,870 --> 00:04:32,550 I mean, that was a lot of good-- 123 00:04:32,550 --> 00:04:35,125 lot of good discovery in that interchange, you know. 124 00:04:35,125 --> 00:04:37,120 And that's what you want sometimes, you know. 125 00:04:37,120 --> 00:04:38,490 OK, now you switch. 126 00:04:38,490 --> 00:04:41,230 See what happens. 127 00:04:41,230 --> 00:04:41,895 Switch roles. 128 00:04:45,091 --> 00:04:45,590 Action. 129 00:05:06,278 --> 00:05:10,560 So, do you want to donate to my foundation? 130 00:05:12,777 --> 00:05:15,110 You-- you are aware I've wound things down in that area, 131 00:05:15,110 --> 00:05:15,610 right? 132 00:05:19,900 --> 00:05:25,670 Climate change is a threat to us all, Mr. Valentine. 133 00:05:25,670 --> 00:05:30,000 And you are one of the few powerful men 134 00:05:30,000 --> 00:05:33,170 And you are one of the few powerful men 135 00:05:33,170 --> 00:05:34,580 who seems to share my concerns. 136 00:05:37,910 --> 00:05:43,180 Well, I shut things down because things 137 00:05:43,180 --> 00:05:44,640 weren't working for me. 138 00:05:44,640 --> 00:05:47,320 All the research kept pointing to the same thing. 139 00:05:47,320 --> 00:05:53,815 That, um, carbon emissions are a red herring? 140 00:05:53,815 --> 00:05:55,240 Hm? 141 00:05:55,240 --> 00:05:58,870 And that we're past the point of no return, 142 00:05:58,870 --> 00:06:00,000 no matter what remedial actions we take? 143 00:06:00,000 --> 00:06:02,646 no matter what remedial actions we take? 144 00:06:02,646 --> 00:06:04,981 [CHUCKLING] You know your shit. 145 00:06:04,981 --> 00:06:05,480 Mm. 146 00:06:05,480 --> 00:06:06,908 [LAUGHTER] 147 00:06:09,290 --> 00:06:14,560 Yes, I sometimes envy the, uh, blissful ignorance of those 148 00:06:14,560 --> 00:06:18,090 less well-versed in their shit. 149 00:06:21,660 --> 00:06:30,000 As Professor Arnold always said, humankind 150 00:06:30,000 --> 00:06:30,680 As Professor Arnold always said, humankind 151 00:06:30,680 --> 00:06:39,770 is the only virus cursed to live with the horrifying knowledge 152 00:06:39,770 --> 00:06:45,430 of its host's fragile mortality. 153 00:06:59,692 --> 00:07:00,000 You know, not too many people know about him. 154 00:07:00,000 --> 00:07:01,650 You know, not too many people know about him. 155 00:07:05,420 --> 00:07:09,540 Do you like spy movies, Miss Devere? 156 00:07:09,540 --> 00:07:15,000 Well, nowadays they're all a little serious for my taste. 157 00:07:15,000 --> 00:07:16,110 But the old ones? 158 00:07:18,930 --> 00:07:20,810 Marvelous. 159 00:07:20,810 --> 00:07:28,031 Give me a far-fetched theatrical plot any day. 160 00:07:28,031 --> 00:07:29,420 Mm-hmm. 161 00:07:29,420 --> 00:07:30,000 [CHUCKLES] The old Bond movies, oh, man, when I was a kid, 162 00:07:30,000 --> 00:07:36,330 [CHUCKLES] The old Bond movies, oh, man, when I was a kid, 163 00:07:36,330 --> 00:07:42,805 that was my dream job, gentleman spy. 164 00:07:42,805 --> 00:07:46,130 [LAUGHS] 165 00:07:46,130 --> 00:07:48,887 You know, I always felt the old Bond films were only 166 00:07:48,887 --> 00:07:49,845 as good as the villain. 167 00:07:55,475 --> 00:07:58,160 [CHUCKLES] As a child, I rather fancied myself 168 00:07:58,160 --> 00:08:00,000 as a colorful megalomaniac. 169 00:08:00,000 --> 00:08:03,491 as a colorful megalomaniac. 170 00:08:03,491 --> 00:08:03,990 Mm-hmm. 171 00:08:03,990 --> 00:08:09,136 [LAUGHS] Well, it's a shame we both had to grow up, huh? 172 00:08:09,136 --> 00:08:11,030 [LAUGHS] 173 00:08:11,030 --> 00:08:13,110 Is it? 174 00:08:13,110 --> 00:08:14,884 Bon appetit. 175 00:08:14,884 --> 00:08:16,760 Mm. 176 00:08:16,760 --> 00:08:18,630 Yes! 177 00:08:18,630 --> 00:08:19,840 Committed to that shit. 178 00:08:19,840 --> 00:08:20,790 Love it! 179 00:08:20,790 --> 00:08:22,360 Fuck yeah. 180 00:08:22,360 --> 00:08:24,640 And see, you committed to this. 181 00:08:24,640 --> 00:08:27,460 I mean, you were being alluring and all this other shit 182 00:08:27,460 --> 00:08:30,000 to keep his mind off who you really are and-- 183 00:08:30,000 --> 00:08:31,150 to keep his mind off who you really are and-- 184 00:08:31,150 --> 00:08:33,380 awesome choice, awesome. 185 00:08:33,380 --> 00:08:34,690 I mean, I believed all of that. 186 00:08:34,690 --> 00:08:37,990 And I mean, come on, bond villains are quirky. 187 00:08:37,990 --> 00:08:38,830 That was quirky. 188 00:08:38,830 --> 00:08:40,246 I mean, you could have been moving 189 00:08:40,246 --> 00:08:42,990 this shit the whole time, too, moved your shoes. 190 00:08:42,990 --> 00:08:46,750 You could have put them closer and closer to you. 191 00:08:46,750 --> 00:08:49,570 There's all kinds-- but once you made that choice, 192 00:08:49,570 --> 00:08:51,100 you committed to it. 193 00:08:51,100 --> 00:08:52,900 You lived in it. 194 00:08:52,900 --> 00:08:54,880 Pulled yourself into who you were, 195 00:08:54,880 --> 00:08:58,480 you know, and let her think-- 196 00:08:58,480 --> 00:09:00,000 let her think she cracked your shell. 197 00:09:00,000 --> 00:09:00,860 let her think she cracked your shell. 198 00:09:00,860 --> 00:09:04,550 You opened up just enough, like, yeah, bitch, all right, 199 00:09:04,550 --> 00:09:06,010 I'm here, OK. 200 00:09:06,010 --> 00:09:07,540 All right. 201 00:09:07,540 --> 00:09:10,030 Or were you pretending to be open to her 202 00:09:10,030 --> 00:09:12,530 so that you could pull her in to your shit? 203 00:09:12,530 --> 00:09:15,310 So, yes, that's what we're talking about. 204 00:09:15,310 --> 00:09:20,182 Those are the choices that make shit like this interesting, 205 00:09:20,182 --> 00:09:21,390 because it could be anything. 206 00:09:28,390 --> 00:09:30,000 So you've all had a chance to see it and feel about it. 207 00:09:30,000 --> 00:09:32,740 So you've all had a chance to see it and feel about it. 208 00:09:32,740 --> 00:09:36,046 Any new ideas anybody want to try? 209 00:09:36,046 --> 00:09:37,260 Um, Harry. 210 00:09:37,260 --> 00:09:38,400 Formidable man there. 211 00:09:38,400 --> 00:09:39,200 You're Harry. 212 00:09:48,620 --> 00:09:49,120 Action. 213 00:09:53,090 --> 00:09:55,037 So you want to donate to my foundation. 214 00:09:58,389 --> 00:10:00,000 You are aware that I've wound things down in that area, 215 00:10:00,000 --> 00:10:00,680 You are aware that I've wound things down in that area, 216 00:10:00,680 --> 00:10:02,660 right? 217 00:10:02,660 --> 00:10:05,720 Climate change is a threat that affects 218 00:10:05,720 --> 00:10:06,920 all of us, Mr. Valentine. 219 00:10:06,920 --> 00:10:07,419 Mm. 220 00:10:07,419 --> 00:10:08,570 Hmm. 221 00:10:08,570 --> 00:10:14,092 And you're one of the few powerful men 222 00:10:14,092 --> 00:10:16,420 that seems to share my concern. 223 00:10:16,420 --> 00:10:16,920 Mm. 224 00:10:16,920 --> 00:10:19,040 Hmm. 225 00:10:19,040 --> 00:10:23,704 Mm, I wound things down because I wasn't getting anywhere. 226 00:10:26,430 --> 00:10:28,535 You know, all the-- 227 00:10:28,535 --> 00:10:30,000 all the evidence kept pointing to the same thing. 228 00:10:30,000 --> 00:10:30,980 all the evidence kept pointing to the same thing. 229 00:10:34,080 --> 00:10:38,530 That carbon emissions are a red herring? 230 00:10:38,530 --> 00:10:39,030 Ha. 231 00:10:39,030 --> 00:10:39,530 Yeah. 232 00:10:39,530 --> 00:10:40,550 [LAUGHTER] 233 00:10:40,550 --> 00:10:42,920 And that we're way past the point of no return, 234 00:10:42,920 --> 00:10:44,914 no matter what remedial actions we take? 235 00:10:44,914 --> 00:10:47,830 [LAUGHING] You know your shit. 236 00:10:50,560 --> 00:10:56,060 Well, I sometimes envy the blissful ignorance of those 237 00:10:56,060 --> 00:10:57,780 less well-versed in their shit. 238 00:10:57,780 --> 00:10:58,280 Mm-hmm. 239 00:10:58,280 --> 00:10:59,457 Mm-hmm. 240 00:10:59,457 --> 00:11:00,000 Professor Arnold-- 241 00:11:00,000 --> 00:11:00,290 Professor Arnold-- 242 00:11:03,227 --> 00:11:03,727 [SPITS] 243 00:11:03,727 --> 00:11:09,940 --used to say that humankind is the only virus cursed with 244 00:11:09,940 --> 00:11:16,220 the horrifying knowledge of its host's fragile mortality. 245 00:11:16,220 --> 00:11:18,080 Hm. 246 00:11:18,080 --> 00:11:21,160 You know, not a lot of people know about him. 247 00:11:25,370 --> 00:11:28,800 Do you like spy movies, Mr. Devere? 248 00:11:28,800 --> 00:11:29,610 Come again? 249 00:11:29,610 --> 00:11:30,000 You like spy movies, Mr. Devere? 250 00:11:30,000 --> 00:11:32,516 You like spy movies, Mr. Devere? 251 00:11:32,516 --> 00:11:36,850 Oh, uh, nowadays they're rather serious for my taste. 252 00:11:36,850 --> 00:11:37,350 Hmm. 253 00:11:37,350 --> 00:11:39,092 But the old ones, marvelous. 254 00:11:39,092 --> 00:11:44,876 [CHUCKLES] 255 00:11:44,876 --> 00:11:48,637 Give me a far-fetched theatrical plot any day. 256 00:11:48,637 --> 00:11:55,620 Ah, the old Bond movies, oh, man, when I was a kid, 257 00:11:55,620 --> 00:12:00,000 that's what I wanted to be, a gentlemen spy. 258 00:12:00,000 --> 00:12:00,245 that's what I wanted to be, a gentlemen spy. 259 00:12:04,100 --> 00:12:07,960 I always thought that the old spy movies-- 260 00:12:07,960 --> 00:12:13,390 old Bond movies, only as good as their villains. 261 00:12:13,390 --> 00:12:20,804 As a child, I fancied a future of a colorful megalomania. 262 00:12:20,804 --> 00:12:25,081 [LAUGHS] Shame we all had to grow up. 263 00:12:25,081 --> 00:12:25,580 Mm. 264 00:12:25,580 --> 00:12:27,504 Bon appetit. 265 00:12:27,504 --> 00:12:30,000 [LAUGHS] That was great. 266 00:12:30,000 --> 00:12:30,680 [LAUGHS] That was great. 267 00:12:30,680 --> 00:12:31,988 Fuck, yeah, you laughed! 268 00:12:31,988 --> 00:12:32,992 [LAUGHTER] 269 00:12:32,992 --> 00:12:33,950 Yeah, that was great. 270 00:12:33,950 --> 00:12:34,642 Awesome. 271 00:12:34,642 --> 00:12:36,285 That was awesome. 272 00:12:36,285 --> 00:12:38,630 Yeah. 273 00:12:38,630 --> 00:12:40,680 And great that you paid attention to it. 274 00:12:40,680 --> 00:12:42,330 You're looking at him like that. 275 00:12:42,330 --> 00:12:44,730 Only thing I wish you had done was-- 276 00:12:44,730 --> 00:12:45,360 [INAUDIBLE]. 277 00:12:45,360 --> 00:12:45,859 No. 278 00:12:45,859 --> 00:12:49,482 Was when you made your Bond gun, if you pointed it at him. 279 00:12:49,482 --> 00:12:50,940 And when you pointed it at him, you 280 00:12:50,940 --> 00:12:55,350 went like on your thumb 'cause you saw some shit. 281 00:12:55,350 --> 00:12:57,010 It's like, aw, shit. 282 00:12:57,010 --> 00:12:57,742 [LAUGHTER] 283 00:12:57,742 --> 00:12:59,270 Kept the gun pointed at him. 284 00:12:59,270 --> 00:13:00,000 That was nails. 285 00:13:00,000 --> 00:13:00,090 That was nails. 286 00:13:00,090 --> 00:13:00,767 Oh, yeah. 287 00:13:00,767 --> 00:13:02,850 If we were talking Bond, I mean, it's like, ooh. 288 00:13:02,850 --> 00:13:03,640 That was nails. 289 00:13:03,640 --> 00:13:04,414 Oh, OK. 290 00:13:04,414 --> 00:13:05,100 All right. 291 00:13:05,100 --> 00:13:05,600 Yeah. 292 00:13:05,600 --> 00:13:06,110 Yeah. 293 00:13:06,110 --> 00:13:06,570 Yeah. 294 00:13:06,570 --> 00:13:06,910 Yeah. 295 00:13:06,910 --> 00:13:07,410 Yeah. 296 00:13:07,410 --> 00:13:09,128 [LAUGHTER] 297 00:13:10,470 --> 00:13:12,630 But, yeah, excellent choices. 298 00:13:12,630 --> 00:13:14,480 Excellent way to be there. 299 00:13:14,480 --> 00:13:18,990 It's like they always tell you, you listen, you respond. 300 00:13:18,990 --> 00:13:23,370 You were responding to the visual thing that was being 301 00:13:23,370 --> 00:13:25,230 given to you, which is awesome. 302 00:13:25,230 --> 00:13:28,530 You were focused into your quirky shit, 303 00:13:28,530 --> 00:13:30,000 you know, and listened to him at the same time. 304 00:13:30,000 --> 00:13:30,860 you know, and listened to him at the same time. 305 00:13:30,860 --> 00:13:36,290 That Professor Arnold passage was really great. 306 00:13:36,290 --> 00:13:39,760 I liked the way you "bond villain-- bond movie's 307 00:13:39,760 --> 00:13:43,000 only as good as a villain" thing, how you, you know, 308 00:13:43,000 --> 00:13:43,800 rolled into that. 309 00:13:43,800 --> 00:13:45,530 That was great. 310 00:13:45,530 --> 00:13:48,715 But that's one of those studies in-- 311 00:13:48,715 --> 00:13:49,610 ah, come on in. 312 00:13:49,610 --> 00:13:52,700 Don't stand out there outside the camera. 313 00:13:52,700 --> 00:13:54,950 When somebody asks you to be a character 314 00:13:54,950 --> 00:13:59,070 and not being afraid to step into a space, take a chance, 315 00:13:59,070 --> 00:14:00,000 be uncomfortable, give yourself that latitude. 316 00:14:00,000 --> 00:14:07,230 be uncomfortable, give yourself that latitude. 317 00:14:07,230 --> 00:14:11,610 One thing about doing shit like that is when you do too much, 318 00:14:11,610 --> 00:14:13,140 they can always pull you back. 319 00:14:13,140 --> 00:14:16,209 When you don't do enough and as you, can you give me more? 320 00:14:16,209 --> 00:14:18,250 You got to start thinking, what's more, you know? 321 00:14:18,250 --> 00:14:21,360 Because it's easier to let go of shit 322 00:14:21,360 --> 00:14:22,890 than it is to try and have somebody 323 00:14:22,890 --> 00:14:24,390 pull some shit out of you. 324 00:14:24,390 --> 00:14:25,900 So that's what you want. 325 00:14:25,900 --> 00:14:28,440 You want to bring as much to the table 326 00:14:28,440 --> 00:14:30,000 as you can bring when you show up. 327 00:14:30,000 --> 00:14:30,570 as you can bring when you show up. 328 00:14:30,570 --> 00:14:32,760 Have a full bag of shit. 329 00:14:32,760 --> 00:14:35,460 So when they say, OK, you can lose that. 330 00:14:35,460 --> 00:14:36,060 You lose that. 331 00:14:36,060 --> 00:14:36,810 You can lose that. 332 00:14:36,810 --> 00:14:41,160 You still have a full thing, you know, there in front of you, 333 00:14:41,160 --> 00:14:43,540 a chance to do a performance or take a full swing 334 00:14:43,540 --> 00:14:44,696 at what's going on. 335 00:14:44,696 --> 00:14:46,470 That was awesome Thanks. 336 00:14:46,470 --> 00:14:47,010 Thank you. 337 00:14:47,010 --> 00:14:48,860 Thank you. 1 00:00:00,000 --> 00:00:02,898 2 00:00:12,560 --> 00:00:16,920 There are things you can do other than traditionally going 3 00:00:16,920 --> 00:00:23,120 to acting school or whatever to make yourself a better 4 00:00:23,120 --> 00:00:28,040 actor that are just everyday, common things like, you know, 5 00:00:28,040 --> 00:00:29,340 being observant. 6 00:00:29,340 --> 00:00:30,000 Let's go sit in the park and watch people. 7 00:00:30,000 --> 00:00:32,000 Let's go sit in the park and watch people. 8 00:00:32,000 --> 00:00:36,650 You know, or engage or sit in a restaurant and watch people. 9 00:00:36,650 --> 00:00:37,730 Watch people eat. 10 00:00:37,730 --> 00:00:38,660 See how people eat. 11 00:00:38,660 --> 00:00:40,159 Different people eat different ways. 12 00:00:40,159 --> 00:00:42,830 You know, figure that out. 13 00:00:42,830 --> 00:00:45,130 Go to museums. 14 00:00:45,130 --> 00:00:48,420 Watch people in museums and interact. 15 00:00:48,420 --> 00:00:55,430 Or look at paintings of places and situations and, you know, 16 00:00:55,430 --> 00:00:57,320 imagine yourself inside that. 17 00:00:59,870 --> 00:01:00,000 Wow, yeah, galleries, dance concerts, I mean, 18 00:01:00,000 --> 00:01:06,929 Wow, yeah, galleries, dance concerts, I mean, 19 00:01:06,929 --> 00:01:08,470 go to things that are foreign to you. 20 00:01:11,170 --> 00:01:13,810 See what the dynamic is. 21 00:01:13,810 --> 00:01:16,300 Go to places where there are people 22 00:01:16,300 --> 00:01:19,210 that aren't like you specifically so that you 23 00:01:19,210 --> 00:01:21,770 can see who those people are. 24 00:01:21,770 --> 00:01:22,780 Look at how they dress. 25 00:01:22,780 --> 00:01:24,940 Look at how they carry themselves. 26 00:01:24,940 --> 00:01:28,580 Look and how they interact with each other. 27 00:01:28,580 --> 00:01:30,000 It's a life of observance so that you can pull something 28 00:01:30,000 --> 00:01:34,060 It's a life of observance so that you can pull something 29 00:01:34,060 --> 00:01:35,500 from somewhere. 30 00:01:35,500 --> 00:01:39,310 I mean, there are moments when I walk down the street. 31 00:01:39,310 --> 00:01:40,930 Or I remember when we were getting 32 00:01:40,930 --> 00:01:42,250 ready to do "Negotiator." 33 00:01:42,250 --> 00:01:44,470 My hairdresser's sister came to see him. 34 00:01:44,470 --> 00:01:46,300 And I looked, and I saw her hair. 35 00:01:46,300 --> 00:01:48,577 And I went, that's the hair I want for this movie. 36 00:01:48,577 --> 00:01:50,160 And that's the hair I ended up having. 37 00:01:50,160 --> 00:01:53,856 I ended up with that red hair because she had it. 38 00:01:53,856 --> 00:01:55,230 It's just little things like that 39 00:01:55,230 --> 00:01:57,021 that will pop into your head that you think 40 00:01:57,021 --> 00:02:00,000 will make your character interesting 41 00:02:00,000 --> 00:02:00,700 will make your character interesting 42 00:02:00,700 --> 00:02:04,120 or change the dynamic of what you're trying to do. 43 00:02:11,250 --> 00:02:12,930 I read so much because I just like 44 00:02:12,930 --> 00:02:17,280 being outside of my reality, because I have one. 45 00:02:17,280 --> 00:02:18,150 I know what it is. 46 00:02:18,150 --> 00:02:19,050 I know what I do. 47 00:02:19,050 --> 00:02:21,630 You know, if I'm not working, I don't particularly 48 00:02:21,630 --> 00:02:23,550 want to just hang out in my world 49 00:02:23,550 --> 00:02:25,770 or do the honey-do's all day long. 50 00:02:25,770 --> 00:02:29,220 So I escape to another world and hang out 51 00:02:29,220 --> 00:02:30,000 with some other people that are doing exciting stuff, 52 00:02:30,000 --> 00:02:32,070 with some other people that are doing exciting stuff, 53 00:02:32,070 --> 00:02:34,050 or living in a world of intrigue, 54 00:02:34,050 --> 00:02:38,420 or sitting and watching a movie from Korea somewhere, 55 00:02:38,420 --> 00:02:40,920 doing something, watching other people do what I do, 56 00:02:40,920 --> 00:02:45,000 telling a story that's foreign to my experience 57 00:02:45,000 --> 00:02:48,870 and wondering how I would be in that situation 58 00:02:48,870 --> 00:02:52,200 and figuring that out so when that situation does pop up 59 00:02:52,200 --> 00:02:55,380 on a page or somewhere, I have a reference point. 60 00:02:55,380 --> 00:02:58,080 Or I have a particular kind of person 61 00:02:58,080 --> 00:03:00,000 that I've seen do that thing and remember 62 00:03:00,000 --> 00:03:01,140 that I've seen do that thing and remember 63 00:03:01,140 --> 00:03:06,630 how that person existed in that dilemma or that situation 64 00:03:06,630 --> 00:03:09,360 so that I can apply myself to it. 65 00:03:09,360 --> 00:03:10,990 And that's what reading does. 66 00:03:10,990 --> 00:03:13,749 It just allows me to expand and figure out 67 00:03:13,749 --> 00:03:14,790 who all these people are. 68 00:03:14,790 --> 00:03:17,590 There are all these jobs that I'm never gonna do. 69 00:03:17,590 --> 00:03:20,820 But I can read about people who do specific kinds of jobs 70 00:03:20,820 --> 00:03:23,320 that are foreign to mine and learn something about them. 71 00:03:23,320 --> 00:03:26,940 And if I get a job, and somebody wants me to be a carpenter, 72 00:03:26,940 --> 00:03:29,220 then I can remember a movie that I've 73 00:03:29,220 --> 00:03:30,000 seen about a carpenter or a story 74 00:03:30,000 --> 00:03:30,830 seen about a carpenter or a story 75 00:03:30,830 --> 00:03:32,080 that I read about a carpenter. 76 00:03:32,080 --> 00:03:34,580 Or I can pick up a book and read something about a carpenter 77 00:03:34,580 --> 00:03:36,570 and figure out what carpenters do. 78 00:03:36,570 --> 00:03:40,050 Carpenters, like everybody else, yeah, I build furniture, 79 00:03:40,050 --> 00:03:41,850 but my life is this. 80 00:03:41,850 --> 00:03:42,930 So I do this. 81 00:03:42,930 --> 00:03:46,400 I might be a carpenter, but I kill people, you know, 82 00:03:46,400 --> 00:03:49,302 whatever that is. 83 00:03:49,302 --> 00:03:50,760 But if you don't read, I don't know 84 00:03:50,760 --> 00:03:55,230 how you expand your horizons. 85 00:03:55,230 --> 00:03:57,330 I would think it would be important for an actor 86 00:03:57,330 --> 00:04:00,000 to read because that's what you do when you get a script. 87 00:04:00,000 --> 00:04:00,230 to read because that's what you do when you get a script. 88 00:04:00,230 --> 00:04:02,410 You've got to read it. 89 00:04:02,410 --> 00:04:07,270 And if you don't have the ability 90 00:04:07,270 --> 00:04:11,050 to read, interpret, and break down, 91 00:04:11,050 --> 00:04:12,940 I don't know how you get to where 92 00:04:12,940 --> 00:04:17,709 you need to get when you're, you know, doing your job, 93 00:04:17,709 --> 00:04:19,890 because an essential part of this job is reading. 94 00:04:19,890 --> 00:04:20,681 That's what you do. 95 00:04:20,681 --> 00:04:21,519 You read a script. 96 00:04:21,519 --> 00:04:23,440 Or they come in with changes, and you 97 00:04:23,440 --> 00:04:24,640 have to read those changes. 98 00:04:24,640 --> 00:04:26,348 Or if you're in television, they change-- 99 00:04:26,348 --> 00:04:29,080 you know, you've got pink pages, blue pages, yellow pages, 100 00:04:29,080 --> 00:04:30,000 orange pages, and black pages, whatever page comes up. 101 00:04:30,000 --> 00:04:31,810 orange pages, and black pages, whatever page comes up. 102 00:04:31,810 --> 00:04:34,580 They're constantly changing, so you're constantly reading. 103 00:04:34,580 --> 00:04:39,420 So if you can't read and interpret and put that 104 00:04:39,420 --> 00:04:41,800 in front of somebody, the things that you 105 00:04:41,800 --> 00:04:44,420 see on the inside of those pages, 106 00:04:44,420 --> 00:04:47,170 then you're lacking one of the tools 107 00:04:47,170 --> 00:04:48,850 for doing this particular job. 108 00:04:55,270 --> 00:04:57,340 When young actors say, what should I 109 00:04:57,340 --> 00:05:00,000 do to get where you are, I think the one thing 110 00:05:00,000 --> 00:05:02,110 do to get where you are, I think the one thing 111 00:05:02,110 --> 00:05:04,870 I always say is, you know, you need to go to New York. 112 00:05:04,870 --> 00:05:08,020 You know, I mean, everybody wants to be on TV 113 00:05:08,020 --> 00:05:09,382 or wants to be in the movies. 114 00:05:09,382 --> 00:05:10,840 And there's a great opportunity now 115 00:05:10,840 --> 00:05:12,381 because there are all these platforms 116 00:05:12,381 --> 00:05:16,800 for these young actors to work, and that's great. 117 00:05:16,800 --> 00:05:21,810 But there's something about being crafty that, you know, 118 00:05:21,810 --> 00:05:23,835 theater teaches you. 119 00:05:23,835 --> 00:05:27,480 There's something about the confidence 120 00:05:27,480 --> 00:05:30,000 you gain from being live in front of somebody eight times 121 00:05:30,000 --> 00:05:32,100 you gain from being live in front of somebody eight times 122 00:05:32,100 --> 00:05:36,300 a week and hearing them do that or stand up, 123 00:05:36,300 --> 00:05:40,140 or feeling the energy of an audience when they're with you 124 00:05:40,140 --> 00:05:40,950 on stage. 125 00:05:40,950 --> 00:05:42,060 They feel the emotion. 126 00:05:42,060 --> 00:05:42,780 They sigh. 127 00:05:42,780 --> 00:05:43,410 They cry. 128 00:05:43,410 --> 00:05:44,040 They laugh. 129 00:05:44,040 --> 00:05:45,540 They do these things. 130 00:05:45,540 --> 00:05:49,280 That says you can do it. 131 00:05:49,280 --> 00:05:53,970 You know, we can be in situations like this 132 00:05:53,970 --> 00:05:56,040 or like on a movie set. 133 00:05:56,040 --> 00:05:59,370 And you could do something, and you could do something great. 134 00:05:59,370 --> 00:06:00,000 But the only reason you know that is 135 00:06:00,000 --> 00:06:01,860 But the only reason you know that is 136 00:06:01,860 --> 00:06:04,470 because the director comes up and says, that was great. 137 00:06:04,470 --> 00:06:08,310 You know, I've been on movie sets 138 00:06:08,310 --> 00:06:10,260 when people broke into applause. 139 00:06:10,260 --> 00:06:14,300 But that's because I was doing something for Quintin. 140 00:06:14,300 --> 00:06:18,120 I mean, when we did the diner scene in "Pulp Fiction," 141 00:06:18,120 --> 00:06:22,030 you know, the first time at the end of the end part with me 142 00:06:22,030 --> 00:06:24,544 and Tim, you know, the crew broke into applause 143 00:06:24,544 --> 00:06:25,710 because they hadn't seen it. 144 00:06:25,710 --> 00:06:27,725 You know, it was kind of like, that was amazing. 145 00:06:27,725 --> 00:06:28,880 That was great. 146 00:06:28,880 --> 00:06:30,000 It's one of those things where Quentin writes movies. 147 00:06:30,000 --> 00:06:33,830 It's one of those things where Quentin writes movies. 148 00:06:33,830 --> 00:06:37,900 And he writes dialogue for characters that's theatrical. 149 00:06:38,400 --> 00:06:41,300 I mean, you don't often pick up, you know, a movie script, 150 00:06:41,300 --> 00:06:44,710 and you've got a two-page monologue. 151 00:06:44,710 --> 00:06:49,270 And there aren't a lot of actors that can do that, actually, 152 00:06:49,270 --> 00:06:52,270 honestly, that haven't done theater. 153 00:06:52,270 --> 00:06:54,730 So when you have an opportunity to do that, 154 00:06:54,730 --> 00:06:59,170 you have an opportunity to showcase skills 155 00:06:59,170 --> 00:07:00,000 that people don't have. 156 00:07:00,000 --> 00:07:02,080 that people don't have. 157 00:07:02,080 --> 00:07:04,720 It takes something to keep people's attention 158 00:07:04,720 --> 00:07:07,279 that long, even on screen when you're doing it, 159 00:07:07,279 --> 00:07:09,070 you know, so that they're paying attention, 160 00:07:09,070 --> 00:07:10,960 so they're listening to you, so that they're 161 00:07:10,960 --> 00:07:12,970 engaged with what you're doing. 162 00:07:12,970 --> 00:07:15,640 So you have an opportunity to do all those things 163 00:07:15,640 --> 00:07:16,380 that you learn. 164 00:07:22,940 --> 00:07:29,340 I would also encourage young actors, old actors, anybody, 165 00:07:29,340 --> 00:07:30,000 you know, to watch movies from other cultures. 166 00:07:30,000 --> 00:07:32,880 you know, to watch movies from other cultures. 167 00:07:32,880 --> 00:07:34,260 Watch foreign films. 168 00:07:34,260 --> 00:07:35,680 It's reading again. 169 00:07:35,680 --> 00:07:36,540 I know. 170 00:07:36,540 --> 00:07:38,040 People don't like reading movies. 171 00:07:38,040 --> 00:07:41,460 But you watch those films because you 172 00:07:41,460 --> 00:07:45,810 learn what acting techniques are in other cultures, what 173 00:07:45,810 --> 00:07:50,850 works in that particular culture, how they tell stories, 174 00:07:50,850 --> 00:07:54,300 how those actors' emotional dynamics are 175 00:07:54,300 --> 00:07:58,110 different from ours in terms of how things happen. 176 00:07:58,110 --> 00:08:00,000 Some cultures are depicted as cold. 177 00:08:00,000 --> 00:08:01,410 Some cultures are depicted as cold. 178 00:08:01,410 --> 00:08:03,720 Find out how people deal with disaster in that culture. 179 00:08:03,720 --> 00:08:06,010 You might be asked to do that. 180 00:08:06,010 --> 00:08:08,040 Or you might find it an interesting way 181 00:08:08,040 --> 00:08:12,240 to react to something tragic in a film or a situation 182 00:08:12,240 --> 00:08:16,800 or a story you're in that is more interesting than the way 183 00:08:16,800 --> 00:08:17,960 we normally do it. 184 00:08:17,960 --> 00:08:19,920 So watch foreign films. 185 00:08:19,920 --> 00:08:21,660 Go to the theater. 186 00:08:21,660 --> 00:08:26,760 Watch other actors work so you can see what succeeds for them 187 00:08:26,760 --> 00:08:29,220 or what works in a real situation for you 188 00:08:29,220 --> 00:08:30,000 as you watch an actor in real time doing what they do. 189 00:08:30,000 --> 00:08:32,610 as you watch an actor in real time doing what they do. 190 00:08:36,179 --> 00:08:39,120 Go to plays that have, you know, like, 191 00:08:39,120 --> 00:08:42,059 legendary Broadway stars in them, 192 00:08:42,059 --> 00:08:45,540 people that have theater reputations. 193 00:08:45,540 --> 00:08:48,120 And see why those people's reputations are 194 00:08:48,120 --> 00:08:51,600 what they are, how effective they are at what they do, 195 00:08:51,600 --> 00:08:54,510 and why they are that effective, and how you can incorporate 196 00:08:54,510 --> 00:08:58,170 that into what you do or how you approach 197 00:08:58,170 --> 00:09:00,000 how you want to do something. 198 00:09:00,000 --> 00:09:00,048 how you want to do something. 199 00:09:05,902 --> 00:09:07,360 The first time I see my performance 200 00:09:07,360 --> 00:09:08,850 is when they let me see the movie. 201 00:09:08,850 --> 00:09:11,070 So I'm sitting there watching that and figuring out 202 00:09:11,070 --> 00:09:13,970 what they kept, what they didn't keep, or how the edit works, 203 00:09:13,970 --> 00:09:15,480 or whatever. 204 00:09:15,480 --> 00:09:17,940 And if it's fine with me, then I go to the movie 205 00:09:17,940 --> 00:09:21,960 to enjoy the movie for the first time with an audience, 206 00:09:21,960 --> 00:09:23,820 to see what their general response is 207 00:09:23,820 --> 00:09:25,530 to what's on screen. 208 00:09:25,530 --> 00:09:29,760 You see yourself as everybody else sees you. 209 00:09:29,760 --> 00:09:30,000 Do you like what you see? 210 00:09:30,000 --> 00:09:30,810 Do you like what you see? 211 00:09:30,810 --> 00:09:34,200 Do you not like what you see? 212 00:09:34,200 --> 00:09:40,120 Do you believe yourself, number one, when you're watching it? 213 00:09:40,120 --> 00:09:41,440 Are you proud of what you did? 214 00:09:45,290 --> 00:09:47,210 If you're honest with yourself, can you 215 00:09:47,210 --> 00:09:50,120 give yourself an honest assessment of your performance 216 00:09:50,120 --> 00:09:53,000 and what you did in that particular story 217 00:09:53,000 --> 00:09:55,332 or in that film or how you related 218 00:09:55,332 --> 00:09:56,540 to the characters you wanted? 219 00:09:56,540 --> 00:09:58,730 Did the most important thing you wanted 220 00:09:58,730 --> 00:10:00,000 to convey about that particular character come out on screen 221 00:10:00,000 --> 00:10:03,074 to convey about that particular character come out on screen 222 00:10:03,074 --> 00:10:03,740 when you did it? 223 00:10:07,490 --> 00:10:09,320 Can you give yourself an honest assessment 224 00:10:09,320 --> 00:10:10,948 of whether you were any good or not? 225 00:10:10,948 --> 00:10:13,380 [LAUGHTER] 226 00:10:13,880 --> 00:10:16,975 You know, so sometimes maybe you're 227 00:10:16,975 --> 00:10:18,350 sitting there, watching yourself. 228 00:10:18,350 --> 00:10:20,187 And you decide maybe I need to direct. 229 00:10:20,187 --> 00:10:23,150 Yeah, OK, not be in front of the camera, 230 00:10:23,150 --> 00:10:25,320 maybe I need to be behind it, you know. 231 00:10:25,320 --> 00:10:27,930 Or what took them so long to find me? 232 00:10:27,930 --> 00:10:29,570 Any old, stupid thing can happen. 233 00:10:29,570 --> 00:10:30,000 But it's just a way to have an honest assessment of yourself. 234 00:10:30,000 --> 00:10:34,400 But it's just a way to have an honest assessment of yourself. 235 00:10:34,400 --> 00:10:39,110 You know, for me, it's all about the entertainment aspect of it, 236 00:10:39,110 --> 00:10:41,750 in terms of I wanted to be in this film 237 00:10:41,750 --> 00:10:43,520 because I wanted to be in this story. 238 00:10:43,520 --> 00:10:46,460 And is the story the story I thought it was going to be? 239 00:10:46,460 --> 00:10:48,740 And did I do the things that I wanted 240 00:10:48,740 --> 00:10:50,180 to accomplish in this story? 241 00:10:50,180 --> 00:10:52,610 And am I happy with it? 242 00:10:52,610 --> 00:10:54,460 That's it. 1 00:00:12,550 --> 00:00:15,197 I think actors, directors, and producers 2 00:00:15,197 --> 00:00:17,530 are sitting there waiting on the guy to walk in the door 3 00:00:17,530 --> 00:00:21,810 that they've visually seen in their minds in their movie. 4 00:00:21,810 --> 00:00:25,700 And if he's good enough, they'll cast him 5 00:00:25,700 --> 00:00:28,160 because it's the look that they want, 6 00:00:28,160 --> 00:00:30,000 because that's who they are, They're visual artists. 7 00:00:30,000 --> 00:00:30,410 because that's who they are, They're visual artists. 8 00:00:32,980 --> 00:00:36,990 When you go in a room, what you want to do 9 00:00:36,990 --> 00:00:39,830 is make a lasting impression. 10 00:00:39,830 --> 00:00:42,830 So no matter what you do when you go in there, 11 00:00:42,830 --> 00:00:44,990 you go in there, and you go in there 12 00:00:44,990 --> 00:00:49,430 with a vengeance artistically. 13 00:00:49,430 --> 00:00:54,320 Sometimes that can be extremely difficult 14 00:00:54,320 --> 00:00:57,980 because an audition is bullshit. 15 00:00:57,980 --> 00:00:59,130 I've been to those. 16 00:00:59,130 --> 00:01:00,000 I've been-- I auditioned for "My Cousin Vinny." 17 00:01:00,000 --> 00:01:02,270 I've been-- I auditioned for "My Cousin Vinny." 18 00:01:02,270 --> 00:01:04,220 I went in and auditioned. 19 00:01:04,220 --> 00:01:14,650 And the audition was seven words. 20 00:01:14,650 --> 00:01:17,480 Mud-- you got mud on your tires. 21 00:01:20,721 --> 00:01:23,430 Now, I don't know how you go in a room 22 00:01:23,430 --> 00:01:26,590 and you impress people by doing that. 23 00:01:26,590 --> 00:01:28,885 But you go in there, and that's when you go in there 24 00:01:28,885 --> 00:01:30,000 and hope you're the guy they were looking 25 00:01:30,000 --> 00:01:30,670 and hope you're the guy they were looking 26 00:01:30,670 --> 00:01:32,980 for when you walked in the door, because anybody 27 00:01:32,980 --> 00:01:34,327 can say that, mud-- 28 00:01:34,327 --> 00:01:35,410 you got mud on your tires. 29 00:01:35,410 --> 00:01:38,560 But there are some people who might go in there and say, mud? 30 00:01:38,560 --> 00:01:41,770 You got mud in your tires. 31 00:01:41,770 --> 00:01:42,927 Somebody'll do it wrong. 32 00:01:42,927 --> 00:01:45,510 And you hope that enough people go in there and did that wrong 33 00:01:45,510 --> 00:01:47,680 and you did it right that they'll cast you. 34 00:01:47,680 --> 00:01:50,170 But what you want to do when you go in 35 00:01:50,170 --> 00:01:56,410 that room is show them that you took the time to number one, 36 00:01:56,410 --> 00:01:57,740 learn that shit. 37 00:01:57,740 --> 00:02:00,000 Don't go in there with a piece of paper your hand reading it. 38 00:02:00,000 --> 00:02:00,410 Don't go in there with a piece of paper your hand reading it. 39 00:02:00,410 --> 00:02:04,990 Number two, you spent some time with it, 40 00:02:04,990 --> 00:02:08,949 and you want to know what's going on in that scene. 41 00:02:08,949 --> 00:02:11,230 That if you're connecting to somebody 42 00:02:11,230 --> 00:02:15,080 who's reading with you, then you connect with that person. 43 00:02:15,080 --> 00:02:17,260 Make eye contact with them. 44 00:02:17,260 --> 00:02:20,650 Be in that moment with that particular person. 45 00:02:20,650 --> 00:02:26,320 You also want to do it with a certain amount of energy 46 00:02:26,320 --> 00:02:30,000 and show them that you make choices, direct choices that 47 00:02:30,000 --> 00:02:32,610 and show them that you make choices, direct choices that 48 00:02:32,610 --> 00:02:35,010 mean something to that particular moment 49 00:02:35,010 --> 00:02:36,510 that you're acting in. 50 00:02:36,510 --> 00:02:40,620 That you're not just randomly throwing words around the room. 51 00:02:40,620 --> 00:02:45,130 That you're not just being loud or angry or crying. 52 00:02:45,130 --> 00:02:48,750 You know, take them on a roller coaster ride, go up and down, 53 00:02:48,750 --> 00:02:52,390 you know, start somewhere, have a middle, and an end. 54 00:02:52,390 --> 00:02:53,730 Know what that is. 55 00:02:53,730 --> 00:02:56,130 Know how you want to get there. 56 00:02:56,130 --> 00:02:58,200 Make them want to leave that room with you. 57 00:02:58,200 --> 00:03:00,000 Because when you're finished, you're going somewhere. 58 00:03:00,000 --> 00:03:00,960 Because when you're finished, you're going somewhere. 59 00:03:00,960 --> 00:03:03,930 And they might want to go with you because you're 60 00:03:03,930 --> 00:03:05,060 that interesting. 61 00:03:05,060 --> 00:03:07,020 Be that interesting when you go in and read. 62 00:03:14,330 --> 00:03:17,810 It's only OK to improvise in an audition if you're asked to. 63 00:03:21,770 --> 00:03:24,650 There's no need for you to change somebody's writing. 64 00:03:24,650 --> 00:03:28,810 They-- they gave you what they wanted to hear. 65 00:03:28,810 --> 00:03:30,000 Your-- your opportunity to improvise or fix something 66 00:03:30,000 --> 00:03:32,610 Your-- your opportunity to improvise or fix something 67 00:03:32,610 --> 00:03:34,220 is after you get the job. 68 00:03:34,220 --> 00:03:36,920 You can say to the director, you know, 69 00:03:36,920 --> 00:03:39,800 I was sitting at home thinking about this and dah, dah, dah. 70 00:03:39,800 --> 00:03:42,440 It would sound better if I said it this way. 71 00:03:42,440 --> 00:03:44,240 And they'll either say to you know, no, 72 00:03:44,240 --> 00:03:47,360 do what's on the page, or let me hear what you want to do. 73 00:03:47,360 --> 00:03:49,340 But don't try and surprise people 74 00:03:49,340 --> 00:03:52,070 by coming in there proving to them that not only am I 75 00:03:52,070 --> 00:03:54,140 a great actor, I'm a brilliant writer. 76 00:03:54,140 --> 00:03:55,940 I changed your shit to make it better. 77 00:04:03,020 --> 00:04:05,150 Even though I said they're waiting 78 00:04:05,150 --> 00:04:08,570 on what they have in mind to walk in the room, 79 00:04:08,570 --> 00:04:11,900 I am not an advocate for putting on a costume 80 00:04:11,900 --> 00:04:13,980 to go to an audition. 81 00:04:13,980 --> 00:04:16,310 They have a costumer.s that person 82 00:04:16,310 --> 00:04:19,040 will put you in the clothes if you get the job. 83 00:04:19,040 --> 00:04:20,959 Don't try and prove to them you understand 84 00:04:20,959 --> 00:04:24,150 what they have on the page because I'm already 85 00:04:24,150 --> 00:04:25,570 dressed for it. 86 00:04:25,570 --> 00:04:29,330 They're not going to ask you to wear your clothes. 87 00:04:29,330 --> 00:04:30,000 Number one, be off book, like I said. 88 00:04:30,000 --> 00:04:32,100 Number one, be off book, like I said. 89 00:04:32,100 --> 00:04:33,610 Always be off book. 90 00:04:33,610 --> 00:04:35,360 It's conscientious. 91 00:04:35,360 --> 00:04:38,190 It's professional. s It's proving 92 00:04:38,190 --> 00:04:39,630 that you can learn the lines. 93 00:04:39,630 --> 00:04:42,982 If you can't learn them to try and get the job, 94 00:04:42,982 --> 00:04:44,940 why would they think you're going to learn them 95 00:04:44,940 --> 00:04:46,350 once you got it, you know? 96 00:04:46,350 --> 00:04:50,220 So prove to them that you can learn them by learning them. 97 00:04:50,220 --> 00:04:50,730 Be there. 98 00:04:50,730 --> 00:04:51,480 Be off book. 99 00:04:54,450 --> 00:05:00,000 Have an emotional depth and range when you go in the room. 100 00:05:00,000 --> 00:05:00,700 Have an emotional depth and range when you go in the room. 101 00:05:00,700 --> 00:05:03,810 Even if you're supposed to be loud, angry, and abusive, 102 00:05:03,810 --> 00:05:07,800 there are depths and there are dimensions 103 00:05:07,800 --> 00:05:11,010 and there are channels that you can 104 00:05:11,010 --> 00:05:15,450 use to make that interesting and something more 105 00:05:15,450 --> 00:05:21,270 than just outright shouting and aggression. 106 00:05:21,270 --> 00:05:24,690 Figure that out. 107 00:05:24,690 --> 00:05:27,360 Always have an emotional arc. 108 00:05:27,360 --> 00:05:29,910 Have a place to begin, have a place 109 00:05:29,910 --> 00:05:30,000 to be in the center that crystallizes it, 110 00:05:30,000 --> 00:05:34,320 to be in the center that crystallizes it, 111 00:05:34,320 --> 00:05:37,820 and have a good ending for it. 112 00:05:37,820 --> 00:05:44,690 That is just the way conversations work. 113 00:05:44,690 --> 00:05:46,790 That's the way performances work. 114 00:05:51,459 --> 00:05:53,250 I don't want to say that there's difference 115 00:05:53,250 --> 00:05:56,400 between auditioning for a play and auditioning for a film. 116 00:05:56,400 --> 00:05:59,700 But there is. 117 00:05:59,700 --> 00:06:00,000 There is a-- a rule of thumb in theater 118 00:06:00,000 --> 00:06:05,670 There is a-- a rule of thumb in theater 119 00:06:05,670 --> 00:06:08,359 that you talk to the person in the last row. 120 00:06:08,359 --> 00:06:09,900 But you still have to be able to talk 121 00:06:09,900 --> 00:06:14,040 to that person in the last row with emotional dynamics-- 122 00:06:14,040 --> 00:06:17,070 up, down, middle, all those things. 123 00:06:17,070 --> 00:06:22,570 And movies, there is such thing as being too quiet. 124 00:06:25,204 --> 00:06:26,870 I work with actors that I've had to lean 125 00:06:26,870 --> 00:06:29,340 over trying to hear what they're saying 126 00:06:29,340 --> 00:06:30,000 or wait for them to stop moving their lips 127 00:06:30,000 --> 00:06:32,550 or wait for them to stop moving their lips 128 00:06:32,550 --> 00:06:35,130 so I know it's time for me to speak. 129 00:06:35,130 --> 00:06:37,060 Don't be that. 130 00:06:37,060 --> 00:06:41,440 Always let them hear what you're saying, enunciate. 131 00:06:41,440 --> 00:06:42,910 Don't mumble. 132 00:06:42,910 --> 00:06:45,300 There are some actors who made a career out of mumbling. 133 00:06:45,300 --> 00:06:47,200 If you're in an audition situation, 134 00:06:47,200 --> 00:06:49,240 you won't be one of them. 135 00:06:49,240 --> 00:06:52,390 So always enunciate. 136 00:06:52,390 --> 00:06:54,310 Be polite and listen. 137 00:06:54,310 --> 00:06:57,640 If you're given a direction, try and take it, 138 00:06:57,640 --> 00:07:00,000 even if you think it's wrong. 139 00:07:00,000 --> 00:07:00,070 even if you think it's wrong. 140 00:07:00,070 --> 00:07:04,040 Try and take it and do it, and do it and have it make sense. 141 00:07:04,040 --> 00:07:05,740 Don't be surprised in the moment. 142 00:07:05,740 --> 00:07:10,180 So before you go in that room, think about the different ways 143 00:07:10,180 --> 00:07:13,080 that you can do it. 144 00:07:13,080 --> 00:07:16,680 Try all those ways, either out loud, if that's how you do it, 145 00:07:16,680 --> 00:07:19,620 or in your head or in a mirror or wherever you do it. 146 00:07:19,620 --> 00:07:21,870 So that when they do ask you, you've 147 00:07:21,870 --> 00:07:24,840 thought of that possibility and you can take that direction 148 00:07:24,840 --> 00:07:27,510 and incorporate it into what you've already done 149 00:07:27,510 --> 00:07:30,000 or what you know to do or what you want to do. 150 00:07:30,000 --> 00:07:30,060 or what you know to do or what you want to do. 151 00:07:30,060 --> 00:07:32,730 Don't-- don't say to them, I don't think my character would 152 00:07:32,730 --> 00:07:38,039 do that, because they're right. 153 00:07:38,039 --> 00:07:38,580 You're right. 154 00:07:38,580 --> 00:07:42,120 Your character won't do that because you won't be hired, 155 00:07:42,120 --> 00:07:43,920 and you won't be getting that check. 156 00:07:43,920 --> 00:07:45,820 So don't do that. 157 00:07:45,820 --> 00:07:47,760 Don't ever say, I don't-- 158 00:07:47,760 --> 00:07:50,760 I don't think I'd do that, because you won't be doing it. 159 00:07:50,760 --> 00:07:52,186 Not a big deal. 160 00:07:52,186 --> 00:07:54,495 [CHUCKLES] And be on time. 161 00:07:57,170 --> 00:07:57,670 Be early. 162 00:08:06,870 --> 00:08:12,100 It's hard to say to you and it's a harsh thing for you to hear. 163 00:08:12,100 --> 00:08:15,060 But when they look at your resume, 164 00:08:15,060 --> 00:08:17,305 there's something right about actors who work, 165 00:08:17,305 --> 00:08:18,930 and there's something wrong with actors 166 00:08:18,930 --> 00:08:21,350 who haven't worked in a while. 167 00:08:21,350 --> 00:08:24,690 That's just who they are, and that's what it is. 168 00:08:24,690 --> 00:08:28,720 So if you're giving them your resume, 169 00:08:28,720 --> 00:08:30,000 don't tell them when that play was 170 00:08:30,000 --> 00:08:30,310 don't tell them when that play was 171 00:08:30,310 --> 00:08:33,789 or when that last thing you did was, or don't 172 00:08:33,789 --> 00:08:36,039 put on there a movie that came out 10 years ago, 173 00:08:36,039 --> 00:08:38,020 and that was the last thing you did. 174 00:08:38,020 --> 00:08:43,400 Give them your picture and take your resume off of it. 175 00:08:43,400 --> 00:08:46,670 Just give them your picture and go in there and do what you do. 176 00:08:46,670 --> 00:08:49,580 You know, they know you're there because you-- you're an actor. 177 00:08:49,580 --> 00:08:51,788 They don't have to know what the last time you acted. 178 00:08:58,700 --> 00:09:00,000 Back when you were auditioning-- 179 00:09:00,000 --> 00:09:00,290 Back when you were auditioning-- 180 00:09:00,290 --> 00:09:01,990 it's been a minute, I'm sure-- 181 00:09:01,990 --> 00:09:04,790 did you have a mantra, something that you 182 00:09:04,790 --> 00:09:07,120 said to yourself or an attitude, or did you 183 00:09:07,120 --> 00:09:10,244 give yourself a pep talk before you go and audition? 184 00:09:10,244 --> 00:09:12,160 In the beginning, I was like everybody else. 185 00:09:12,160 --> 00:09:13,640 I got sides. 186 00:09:13,640 --> 00:09:16,010 And I looked at what was happening in that moment 187 00:09:16,010 --> 00:09:18,140 and said, OK, what am I trying to accomplish 188 00:09:18,140 --> 00:09:20,120 in this particular moment? 189 00:09:20,120 --> 00:09:23,660 And what do I want to present myself as? 190 00:09:23,660 --> 00:09:28,070 And I present my best self with confidence and assurance. 191 00:09:28,070 --> 00:09:30,000 You know, I go in the room. 192 00:09:30,000 --> 00:09:30,080 You know, I go in the room. 193 00:09:30,080 --> 00:09:31,610 I know what I want to do. 194 00:09:31,610 --> 00:09:32,810 I do that thing. 195 00:09:32,810 --> 00:09:36,660 I do it well and hope they cast me. 196 00:09:36,660 --> 00:09:39,320 And like I said, when I left and if they didn't ask me, 197 00:09:39,320 --> 00:09:41,180 and I found out later somebody got that job, 198 00:09:41,180 --> 00:09:44,210 I felt sorry for them that they didn't cast me, you know, 199 00:09:44,210 --> 00:09:46,827 because they would have had a better movie with me in it, 200 00:09:46,827 --> 00:09:48,410 you know, or a better play or a better 201 00:09:48,410 --> 00:09:51,650 whatever I'd auditioned for. 202 00:09:51,650 --> 00:09:56,890 But every job's not yours. 203 00:09:56,890 --> 00:09:58,500 And that's how you got to look at it. 204 00:09:58,500 --> 00:10:00,000 That I can do every job, yeah. 205 00:10:00,000 --> 00:10:02,050 That I can do every job, yeah. 206 00:10:02,050 --> 00:10:05,780 But apparently every job's not for me, or I'd have them all, 207 00:10:05,780 --> 00:10:06,280 you know? 208 00:10:06,280 --> 00:10:09,210 Or I'd have every job that I go in and audition for. 209 00:10:09,210 --> 00:10:11,320 I mean, I've gone to auditions. 210 00:10:11,320 --> 00:10:13,210 The difference between what happens here 211 00:10:13,210 --> 00:10:16,540 and what happens when I was a young actor in New York and we 212 00:10:16,540 --> 00:10:19,210 were all going to auditions, if I went to an audition, 213 00:10:19,210 --> 00:10:21,490 I could do a great audition, but I would also 214 00:10:21,490 --> 00:10:24,220 know that this is not for me. 215 00:10:24,220 --> 00:10:26,020 But I knew who it was for. 216 00:10:26,020 --> 00:10:27,710 And I could call them and say, you know, 217 00:10:27,710 --> 00:10:29,293 they're reading people for this thing. 218 00:10:29,293 --> 00:10:30,000 You should go. 219 00:10:30,000 --> 00:10:30,250 You should go. 220 00:10:30,250 --> 00:10:31,930 You're the guy they're looking for. 221 00:10:31,930 --> 00:10:34,810 And that person could go down there, and 9 times out of 10, 222 00:10:34,810 --> 00:10:39,590 they got that job because I was right about it. 223 00:10:39,590 --> 00:10:44,470 But part of this is the giving aspect of it. 224 00:10:44,470 --> 00:10:46,810 That you can't go home and be bitter about the job 225 00:10:46,810 --> 00:10:48,730 you didn't get. 226 00:10:48,730 --> 00:10:50,980 And if you do have an opportunity 227 00:10:50,980 --> 00:10:55,120 to tell somebody that's in your age group that 228 00:10:55,120 --> 00:11:00,000 is right for that job to go and get that job, you should. 229 00:11:00,000 --> 00:11:00,174 is right for that job to go and get that job, you should. 230 00:11:00,174 --> 00:11:01,840 You shouldn't you know, hold people back 231 00:11:01,840 --> 00:11:04,830 because it gives back to you in the same way you give, 232 00:11:04,830 --> 00:11:07,510 you know? 233 00:11:07,510 --> 00:11:10,639 It's easy to look at somebody and go, oh, shit, 234 00:11:10,639 --> 00:11:11,680 that bitch is here again. 235 00:11:11,680 --> 00:11:14,910 She gets all the jobs, you know. 236 00:11:14,910 --> 00:11:16,650 She gonna be gone at some point. 237 00:11:16,650 --> 00:11:18,840 Or she'll be priced out of they're range. 238 00:11:18,840 --> 00:11:20,940 And you'll start getting those jobs. 239 00:11:20,940 --> 00:11:22,530 Don't worry about them. 240 00:11:22,530 --> 00:11:24,321 There's nothing you can do to control that. 241 00:11:24,321 --> 00:11:26,910 All you can do is go in and be the best you you can be. 242 00:11:26,910 --> 00:11:30,000 At a certain point, when I was doing theater, 243 00:11:30,000 --> 00:11:31,020 At a certain point, when I was doing theater, 244 00:11:31,020 --> 00:11:33,000 I lost sight of all this. 245 00:11:33,000 --> 00:11:35,960 This wasn't my goal. 246 00:11:35,960 --> 00:11:43,350 And a lot of times when you go into a room to audition, 247 00:11:43,350 --> 00:11:46,220 don't go in there looking for the job. 248 00:11:46,220 --> 00:11:49,900 Go in there to present your best self to those people. 249 00:11:49,900 --> 00:11:53,540 Because if that job is yours, you'll get it. 250 00:11:53,540 --> 00:11:55,780 But if you present your best self, 251 00:11:55,780 --> 00:11:58,540 those same people do other jobs they'll 252 00:11:58,540 --> 00:12:00,000 remember you when the job that's for you pops up in their head. 253 00:12:00,000 --> 00:12:03,612 remember you when the job that's for you pops up in their head. 254 00:12:03,612 --> 00:12:05,320 They're like, remember that girl that was 255 00:12:05,320 --> 00:12:07,090 in here that did that thing? 256 00:12:07,090 --> 00:12:09,010 She's perfect for this. 257 00:12:09,010 --> 00:12:11,590 Don't go in there thinking about the job. 258 00:12:11,590 --> 00:12:14,740 Go in there thinking about, wow, another great day 259 00:12:14,740 --> 00:12:16,750 to have an acting opportunity. 260 00:12:16,750 --> 00:12:19,420 I'm going to act for some people today and not just in a mirror 261 00:12:19,420 --> 00:12:20,990 or in a class. 262 00:12:20,990 --> 00:12:24,430 I'm actually going to act for some people that, you know, 263 00:12:24,430 --> 00:12:25,969 can do me some good. 264 00:12:25,969 --> 00:12:27,760 Not that going to acting class is not good. 265 00:12:27,760 --> 00:12:30,000 But just go in there to have that joy 266 00:12:30,000 --> 00:12:33,070 But just go in there to have that joy 267 00:12:33,070 --> 00:12:35,140 of acting in front of some people, 268 00:12:35,140 --> 00:12:36,700 because that's what we do. 269 00:12:36,700 --> 00:12:38,807 We do this for other people. 270 00:12:38,807 --> 00:12:40,390 We do it for ourselves because we need 271 00:12:40,390 --> 00:12:42,220 to be satisfied as artists. 272 00:12:42,220 --> 00:12:43,930 But we do it to present ourselves. 273 00:12:43,930 --> 00:12:45,642 This is a look-at-me business. 274 00:12:45,642 --> 00:12:47,600 You know, and all those actors that talk about, 275 00:12:47,600 --> 00:12:50,080 well, I can't stand to watch myself on screen, 276 00:12:50,080 --> 00:12:53,034 so why should anybody else pay $12 to look at your ass 277 00:12:53,034 --> 00:12:55,330 if you can't watch it, you know? 278 00:12:55,330 --> 00:12:59,660 So go in there and present your best self. 279 00:12:59,660 --> 00:13:00,000 Take it as this is a day I get to act for somebody else, 280 00:13:00,000 --> 00:13:03,870 Take it as this is a day I get to act for somebody else, 281 00:13:03,870 --> 00:13:04,370 you know. 282 00:13:04,370 --> 00:13:06,590 And be happy about it and be joyous about it, 283 00:13:06,590 --> 00:13:07,830 be confident in it. 284 00:13:07,830 --> 00:13:11,871 And go in there and rock the house. 285 00:13:11,871 --> 00:13:13,370 And you might have rocked the house. 286 00:13:13,370 --> 00:13:17,480 You just didn't get the job because they didn't see you. 287 00:13:17,480 --> 00:13:19,930 Best I can tell you. 1 00:00:00,000 --> 00:00:02,928 2 00:00:06,350 --> 00:00:10,190 When people ask me why I work so much, I go, 3 00:00:10,190 --> 00:00:12,680 it's because it's what I do. 4 00:00:12,680 --> 00:00:16,700 It's like any acting opportunity is a great opportunity for me. 5 00:00:16,700 --> 00:00:18,590 You know, if I could get up every day 6 00:00:18,590 --> 00:00:21,440 and go somewhere and act, I'd be the happiest person 7 00:00:21,440 --> 00:00:22,082 in the world. 8 00:00:22,082 --> 00:00:23,540 You know, writers get up and write. 9 00:00:23,540 --> 00:00:24,950 Painters get up and paint. 10 00:00:24,950 --> 00:00:26,320 Why can't I get up and go act? 11 00:00:33,300 --> 00:00:36,150 You've been quoted as saying that there is-- 12 00:00:36,150 --> 00:00:38,610 along your path, that there's no small role. 13 00:00:38,610 --> 00:00:39,140 Right. 14 00:00:39,140 --> 00:00:42,330 How has that evolved throughout your career, 15 00:00:42,330 --> 00:00:46,560 like, from start to where you are now? 16 00:00:46,560 --> 00:00:48,420 Any day that I have an opportunity 17 00:00:48,420 --> 00:00:51,450 to go act for somebody, I take it. 18 00:00:51,450 --> 00:00:53,610 I go do it. 19 00:00:53,610 --> 00:00:58,840 And [SIGH] it's a corny, little statement. 20 00:00:58,840 --> 00:01:00,000 You know, there are no small roles, only small actors. 21 00:01:00,000 --> 00:01:02,170 You know, there are no small roles, only small actors. 22 00:01:02,170 --> 00:01:06,210 But, you know, it's true. 23 00:01:06,210 --> 00:01:07,560 Every role is important. 24 00:01:07,560 --> 00:01:10,650 If somebody's got something to say or something to do, 25 00:01:10,650 --> 00:01:12,607 then it moves the story along. 26 00:01:12,607 --> 00:01:18,160 Um, but saying all that, I never worked as an extra. 27 00:01:18,160 --> 00:01:25,300 But that was because I was a stand-in for Robert Hooks when 28 00:01:25,300 --> 00:01:26,212 I was in college. 29 00:01:26,212 --> 00:01:28,170 They actually came to Atlanta and shot a movie, 30 00:01:28,170 --> 00:01:29,495 and I was his stand-in. 31 00:01:29,495 --> 00:01:30,000 I stood there while they set the lights 32 00:01:30,000 --> 00:01:31,120 I stood there while they set the lights 33 00:01:31,120 --> 00:01:33,400 and did the whole stand-in thing. 34 00:01:33,400 --> 00:01:37,720 And, you know, I ate when the actors ate. 35 00:01:37,720 --> 00:01:42,227 And, you know, people knew my name, and they treated me well. 36 00:01:42,227 --> 00:01:43,810 But I saw how they treated the extras. 37 00:01:43,810 --> 00:01:45,374 And I said, oh, shit. 38 00:01:45,374 --> 00:01:46,540 I ain't never gonna do that. 39 00:01:46,540 --> 00:01:47,660 [LAUGHTER] 40 00:01:47,660 --> 00:01:48,770 I'm not gonna do that. 41 00:01:48,770 --> 00:01:50,740 I'm not going to eat last and stand in the rain 42 00:01:50,740 --> 00:01:53,860 and not have nowhere to go pee, you know, all that. 43 00:01:53,860 --> 00:01:56,020 You know, so I never did that. 44 00:01:56,020 --> 00:01:58,210 But, no, there are no small roles. 45 00:01:58,210 --> 00:01:59,802 You take every chance you can to act, 46 00:01:59,802 --> 00:02:00,000 and you never know who's going to see you 47 00:02:00,000 --> 00:02:01,510 and you never know who's going to see you 48 00:02:01,510 --> 00:02:03,990 doing whatever it is you do. 49 00:02:03,990 --> 00:02:05,650 Breaks come from nowhere. 50 00:02:05,650 --> 00:02:06,730 That's the one thing. 51 00:02:06,730 --> 00:02:10,150 Nobody can teach you how to get your break. 52 00:02:10,150 --> 00:02:12,790 Your break always comes from being in the right place 53 00:02:12,790 --> 00:02:14,140 at the right time. 54 00:02:14,140 --> 00:02:15,910 And nobody can teach you that. 55 00:02:15,910 --> 00:02:20,080 You know, and that whole luck is the perfect meeting 56 00:02:20,080 --> 00:02:22,120 of preparation and opportunity. 57 00:02:22,120 --> 00:02:25,270 If you ain't prepared when opportunity knocks, 58 00:02:25,270 --> 00:02:28,000 who knows when he be coming back that way. 59 00:02:28,000 --> 00:02:30,000 You know, so do it. 60 00:02:30,000 --> 00:02:30,160 You know, so do it. 61 00:02:30,160 --> 00:02:31,840 Yeah, step up every time you can. 62 00:02:38,830 --> 00:02:40,590 So you think even as far as, like, 63 00:02:40,590 --> 00:02:44,590 a business decision, you still shouldn't say no to a job? 64 00:02:44,590 --> 00:02:46,984 For instance, like TV is concerned, 65 00:02:46,984 --> 00:02:49,150 I feel like a lot of times in television as an actor 66 00:02:49,150 --> 00:02:53,470 you can get stuck in what they call a costar actor, somebody 67 00:02:53,470 --> 00:02:56,230 who comes in, says a couple of things, and that's it. 68 00:02:56,230 --> 00:02:59,434 So I feel like you kind of get pigeonholed 69 00:02:59,434 --> 00:03:00,000 in that, rather than being thought 70 00:03:00,000 --> 00:03:00,850 in that, rather than being thought 71 00:03:00,850 --> 00:03:05,410 of for a top-of-show guest or a, you know, one-day guest star. 72 00:03:05,410 --> 00:03:10,870 So do you feel like it's still good to say yes to all of that, 73 00:03:10,870 --> 00:03:16,440 regardless of, like, being pigeonholed in a sense? 74 00:03:19,760 --> 00:03:21,890 Because in TV, you kind of get stuck. 75 00:03:21,890 --> 00:03:24,110 You know, if you let yourself, I feel 76 00:03:24,110 --> 00:03:26,800 like you can get stuck there, rather than saying, 77 00:03:26,800 --> 00:03:27,556 you know what? 78 00:03:27,556 --> 00:03:29,180 No, I'm not going to do cop number one. 79 00:03:29,180 --> 00:03:30,000 Thank you so much. 80 00:03:30,000 --> 00:03:30,129 Thank you so much. 81 00:03:30,129 --> 00:03:31,170 I have plenty of cop one. 82 00:03:31,170 --> 00:03:32,090 I'm not gonna do it anymore. 83 00:03:32,090 --> 00:03:32,690 Thank you. 84 00:03:32,690 --> 00:03:35,370 You can do that, if you feel like that's where it is. 85 00:03:35,370 --> 00:03:38,750 You know, I mean, I don't know about that. 86 00:03:38,750 --> 00:03:42,980 Or is cop number one always the same guy? 87 00:03:42,980 --> 00:03:43,950 You know what I mean? 88 00:03:43,950 --> 00:03:47,330 Can cop number one, you know, talk differently, 89 00:03:47,330 --> 00:03:49,130 look differently, whatever? 90 00:03:49,130 --> 00:03:52,610 Can you, you know, wear a wig? 91 00:03:52,610 --> 00:03:53,510 Right. 92 00:03:53,510 --> 00:03:56,720 Or not be shaven or grow a mustache 93 00:03:56,720 --> 00:04:00,000 or put a scar on your face or, you know, walk differently, 94 00:04:00,000 --> 00:04:00,740 or put a scar on your face or, you know, walk differently, 95 00:04:00,740 --> 00:04:03,350 carry yourself differently. 96 00:04:03,350 --> 00:04:09,620 You can always change you to do what that role calls for, 97 00:04:09,620 --> 00:04:12,170 as long as it's not distracting in, 98 00:04:12,170 --> 00:04:15,890 you know, some way that's way outside the story. 99 00:04:15,890 --> 00:04:21,290 But if you feel like you've done enough of that, then fine. 100 00:04:21,290 --> 00:04:26,360 And if you find yourself doing it too much, get a new agent. 101 00:04:26,360 --> 00:04:27,236 [CHUCKLING] 102 00:04:27,236 --> 00:04:27,860 Right, right. 103 00:04:27,860 --> 00:04:29,990 Find some more representation or somebody 104 00:04:29,990 --> 00:04:30,000 who can get you in front of the people 105 00:04:30,000 --> 00:04:32,480 who can get you in front of the people 106 00:04:32,480 --> 00:04:35,900 you want to get in front of for those bigger parts that 107 00:04:35,900 --> 00:04:38,570 can connect you to that thing that you think 108 00:04:38,570 --> 00:04:41,030 is going to project you to the next place. 109 00:04:41,030 --> 00:04:42,840 And maybe that's the thing. 110 00:04:42,840 --> 00:04:45,830 That's a business decision, and this is a business. 111 00:04:45,830 --> 00:04:48,770 And sometimes, you got to step off another cliff. 112 00:04:48,770 --> 00:04:50,694 You got to, you know, I mean, lose that-- 113 00:04:50,694 --> 00:04:51,860 Climb up another mountain. 114 00:04:51,860 --> 00:04:55,700 Yeah, man, lose that security blanket or those people who've 115 00:04:55,700 --> 00:04:57,500 been able to do what they did. 116 00:04:57,500 --> 00:05:00,000 And find that person that can take you 117 00:05:00,000 --> 00:05:00,260 And find that person that can take you 118 00:05:00,260 --> 00:05:02,510 to the next place, you know, that can put you 119 00:05:02,510 --> 00:05:05,120 in the room, that doesn't get the script after it's 120 00:05:05,120 --> 00:05:08,680 gone through five different levels of casting, you know. 121 00:05:14,920 --> 00:05:17,380 You have to make choices. 122 00:05:17,380 --> 00:05:21,430 And those choices dictate whether you 123 00:05:21,430 --> 00:05:25,590 flatline, bottom out, or go up. 124 00:05:25,590 --> 00:05:27,210 That's difficult. 125 00:05:27,210 --> 00:05:30,000 For me, I make choices that are things that make me happy. 126 00:05:30,000 --> 00:05:37,390 For me, I make choices that are things that make me happy. 127 00:05:37,390 --> 00:05:40,780 I make choices of films that I want to go see, 128 00:05:40,780 --> 00:05:44,060 that I want to go see with me in them, because that 129 00:05:44,060 --> 00:05:45,784 was one of those things. 130 00:05:45,784 --> 00:05:47,450 Like, when I was doing theater, I always 131 00:05:47,450 --> 00:05:49,160 wanted to go see the plays I was in, 132 00:05:49,160 --> 00:05:51,830 but I only wanted to see them if I was in them. 133 00:05:51,830 --> 00:05:53,030 Couldn't do that. 134 00:05:53,030 --> 00:05:54,950 Now with the movies, it's perfect. 135 00:05:54,950 --> 00:05:58,190 I get to pick things I want to see me in, and I can see them. 136 00:05:58,190 --> 00:05:59,930 So that's what I do. 137 00:05:59,930 --> 00:06:00,000 I choose things that I want to see me in. 138 00:06:00,000 --> 00:06:03,440 I choose things that I want to see me in. 139 00:06:03,440 --> 00:06:05,750 I don't chase things because-- 140 00:06:08,370 --> 00:06:10,140 I mean, my agent says things to me 141 00:06:10,140 --> 00:06:13,610 like, oh, this movie is so important. 142 00:06:13,610 --> 00:06:15,770 It's gonna be Oscar time. 143 00:06:15,770 --> 00:06:17,202 They're gonna [MUMBLING]. 144 00:06:17,202 --> 00:06:19,280 Uh, I don't chase Oscar bait. 145 00:06:19,280 --> 00:06:22,330 It's like I'd rather do "King Kong." 146 00:06:22,330 --> 00:06:24,215 I'd rather do a popcorn movie because I'm 147 00:06:24,215 --> 00:06:26,090 gonna have fun doing it, and people are gonna 148 00:06:26,090 --> 00:06:27,680 have fun coming to watch it. 149 00:06:27,680 --> 00:06:29,470 And that's who I am. 150 00:06:29,470 --> 00:06:30,000 I do movies that I tend to-- 151 00:06:30,000 --> 00:06:33,240 I do movies that I tend to-- 152 00:06:33,240 --> 00:06:36,280 that I would have gone and seen if I was a kid. 153 00:06:36,280 --> 00:06:39,270 So when somebody says, they're doing a King Kong movie, 154 00:06:39,270 --> 00:06:41,490 and they want you, I'm like, I'm in. 155 00:06:41,490 --> 00:06:43,170 I wanted to see me in a King Kong movie. 156 00:06:43,170 --> 00:06:45,295 I've been running from King Kong since I was a kid. 157 00:06:45,295 --> 00:06:47,900 So I get to really do it onscreen and watch me 158 00:06:47,900 --> 00:06:48,910 and King Kong in this? 159 00:06:48,910 --> 00:06:50,670 Hell, yeah, I'm in. 160 00:06:50,670 --> 00:06:56,130 You know, so the choices you make make what happens, 161 00:06:56,130 --> 00:06:58,410 or they move you. 162 00:06:58,410 --> 00:07:00,000 You know, people win Oscars. 163 00:07:00,000 --> 00:07:00,330 You know, people win Oscars. 164 00:07:00,330 --> 00:07:02,121 And, you know, the next thing you know, 165 00:07:02,121 --> 00:07:03,120 they're doing something. 166 00:07:03,120 --> 00:07:05,700 And you go, ooh, they did they do that? 167 00:07:05,700 --> 00:07:09,750 Or some people don't do movies until that season. 168 00:07:09,750 --> 00:07:12,350 I'm not that person. 169 00:07:12,350 --> 00:07:14,030 Like I said, the greatest reward I have 170 00:07:14,030 --> 00:07:16,190 is people spending their money to go and see 171 00:07:16,190 --> 00:07:21,770 the movie that I'm in, having a statue of some sort 172 00:07:21,770 --> 00:07:23,870 because I did something great one year. 173 00:07:23,870 --> 00:07:28,710 Or now, I'm starting to get Lifetime Achievement Awards. 174 00:07:28,710 --> 00:07:30,000 I'm just kind of like, oh, shit. 175 00:07:30,000 --> 00:07:30,200 I'm just kind of like, oh, shit. 176 00:07:30,200 --> 00:07:31,430 Am I done? 177 00:07:31,430 --> 00:07:32,390 What's happening? 178 00:07:32,390 --> 00:07:34,040 Is this it? 179 00:07:34,040 --> 00:07:35,870 I've gotten a couple of those, you know. 180 00:07:35,870 --> 00:07:41,190 Those are great honors that people are paying some homage 181 00:07:41,190 --> 00:07:43,650 to the fact that I worked, and I entertained them, 182 00:07:43,650 --> 00:07:46,810 and I did what I was supposed to do in my career, 183 00:07:46,810 --> 00:07:49,380 not necessarily that I was the greatest, but that I did it. 184 00:07:49,380 --> 00:07:51,630 And I did it often, and I did it often enough. 185 00:07:51,630 --> 00:07:54,980 And I entertained them enough that they appreciate me 186 00:07:54,980 --> 00:07:55,650 in that way. 187 00:07:55,650 --> 00:07:56,280 That's great. 188 00:07:56,280 --> 00:07:58,590 But, you know, winning an award for, 189 00:07:58,590 --> 00:08:00,000 you know, best this or best that, I mean, 190 00:08:00,000 --> 00:08:01,410 you know, best this or best that, I mean, 191 00:08:01,410 --> 00:08:03,380 the best in what moment? 192 00:08:10,120 --> 00:08:17,800 The fact that the writers, the younger writers and directors 193 00:08:17,800 --> 00:08:22,450 I think these days, live in a society that's 194 00:08:22,450 --> 00:08:26,830 very different from the one that the traditional Hollywood 195 00:08:26,830 --> 00:08:30,000 filmmaker used to live in allows us greater leeway 196 00:08:30,000 --> 00:08:32,850 filmmaker used to live in allows us greater leeway 197 00:08:32,850 --> 00:08:37,559 in terms of who we want to be in a story, which 198 00:08:37,559 --> 00:08:41,299 leads to that whole diversity issue that people talk about. 199 00:08:41,299 --> 00:08:46,980 Or I watched Charles Barclay's television show 200 00:08:46,980 --> 00:08:50,100 the other night on race, and the whole show 201 00:08:50,100 --> 00:08:53,800 was is Hollywood racist. 202 00:08:53,800 --> 00:09:00,000 And it was interesting only because they 203 00:09:00,000 --> 00:09:02,610 And it was interesting only because they 204 00:09:02,610 --> 00:09:06,030 were speaking to some young Korean actors, 205 00:09:06,030 --> 00:09:10,020 or Korean performers, who are probably in that place 206 00:09:10,020 --> 00:09:18,680 we were in in the '70s, '80s, you know, 207 00:09:18,680 --> 00:09:21,080 in terms of how they're portrayed on screen 208 00:09:21,080 --> 00:09:23,150 and how many opportunities they have 209 00:09:23,150 --> 00:09:27,260 to be whatever characters they think they should be on screen, 210 00:09:27,260 --> 00:09:30,000 which is any character. 211 00:09:30,000 --> 00:09:31,400 which is any character. 212 00:09:31,400 --> 00:09:33,800 And because these young screenwriters 213 00:09:33,800 --> 00:09:39,170 and these young directors grew up with all these ethnicities, 214 00:09:39,170 --> 00:09:43,040 they tend to populate their films with the world 215 00:09:43,040 --> 00:09:47,750 they grew up in, so that all the criminals aren't black. 216 00:09:47,750 --> 00:09:50,840 All the criminals aren't Hispanic. 217 00:09:50,840 --> 00:09:55,160 The lawyers, doctors, cops, everybody 218 00:09:55,160 --> 00:09:57,110 is of a different ethnicity. 219 00:09:57,110 --> 00:10:00,000 And, you know, if you're Asian, and they 220 00:10:00,000 --> 00:10:01,550 And, you know, if you're Asian, and they 221 00:10:01,550 --> 00:10:04,400 want you to be in a movie, and they ask you, 222 00:10:04,400 --> 00:10:08,870 do you know Kung Fu, I mean, don't get offended. 223 00:10:08,870 --> 00:10:10,590 That's what they know. 224 00:10:10,590 --> 00:10:12,150 Just say yes or no. 225 00:10:12,150 --> 00:10:15,590 And if you don't want to do it, you don't do it. 226 00:10:15,590 --> 00:10:17,995 I hear people say all the time, well, 227 00:10:17,995 --> 00:10:19,495 I'm not gonna play another criminal. 228 00:10:19,495 --> 00:10:22,370 Or I'm not gonna play another guy in jail. 229 00:10:22,370 --> 00:10:24,170 Or I'm not gonna do this. 230 00:10:24,170 --> 00:10:25,460 I'm not gonna do that. 231 00:10:25,460 --> 00:10:29,030 OK, well, not gonna do that means people are not 232 00:10:29,030 --> 00:10:30,000 gonna see you, either. 233 00:10:30,000 --> 00:10:30,410 gonna see you, either. 234 00:10:30,410 --> 00:10:36,192 So in my mind, I would take roles-- 235 00:10:36,192 --> 00:10:38,150 you know, it's like the robber in "McDowell's." 236 00:10:38,150 --> 00:10:39,460 Yeah, it was an Eddie Murphy movie, 237 00:10:39,460 --> 00:10:40,793 but it was still another robber. 238 00:10:40,793 --> 00:10:42,670 But I figured, I'm gonna go in here 239 00:10:42,670 --> 00:10:45,410 and be the most interesting robber they've ever seen, 240 00:10:45,410 --> 00:10:48,675 so that when I go in there, and I rob McDowell's, and I leave, 241 00:10:48,675 --> 00:10:50,800 people are gonna want to know, where are you going? 242 00:10:50,800 --> 00:10:54,940 You know, so in my mind, I'm robbing this place. 243 00:10:54,940 --> 00:10:56,770 I could have been a junkie, but no. 244 00:10:56,770 --> 00:10:59,770 For me, when I did it, I was, like, robbing McDowell's 245 00:10:59,770 --> 00:11:00,000 because my girlfriend had been on my ass 246 00:11:00,000 --> 00:11:03,100 because my girlfriend had been on my ass 247 00:11:03,100 --> 00:11:05,897 because I wasn't buying formula and diapers and whatever. 248 00:11:05,897 --> 00:11:07,480 And I couldn't afford them, and that's 249 00:11:07,480 --> 00:11:08,650 what I was in there doing. 250 00:11:08,650 --> 00:11:10,420 I was robbing them so I could get 251 00:11:10,420 --> 00:11:14,350 some formula and some diapers so my woman would leave me alone, 252 00:11:14,350 --> 00:11:18,400 and we could have sex and be in love again. 253 00:11:18,400 --> 00:11:21,460 So you can make up anything that makes it OK for you 254 00:11:21,460 --> 00:11:23,750 to go in and do something. 255 00:11:23,750 --> 00:11:26,140 Don't just not do something because you're 256 00:11:26,140 --> 00:11:27,730 sick of seeing that image, or you're 257 00:11:27,730 --> 00:11:29,260 sick of seeing that image. 258 00:11:29,260 --> 00:11:30,000 If you're sick of it, then change the way, 259 00:11:30,000 --> 00:11:32,260 If you're sick of it, then change the way, 260 00:11:32,260 --> 00:11:38,710 or change the rules, or change the purpose that 261 00:11:38,710 --> 00:11:40,810 sent you into that situation. 262 00:11:40,810 --> 00:11:44,020 Don't just do it because, OK, you're a junkie. 263 00:11:44,020 --> 00:11:45,700 And junkies rob people. 264 00:11:45,700 --> 00:11:46,540 Or I'm a crackhead. 265 00:11:46,540 --> 00:11:47,830 I'm gonna rob some people. 266 00:11:47,830 --> 00:11:49,900 You know, change all that up. 267 00:11:49,900 --> 00:11:52,960 And when you go in there, make that urgency something 268 00:11:52,960 --> 00:11:56,360 that people can feel or understand 269 00:11:56,360 --> 00:11:59,930 why you are committing that crime for a greater cause. 270 00:11:59,930 --> 00:12:00,000 That's personal. 271 00:12:00,000 --> 00:12:01,220 That's personal. 272 00:12:01,220 --> 00:12:04,280 That is life or death in that particular moment, 273 00:12:04,280 --> 00:12:06,920 and that creates dynamism for a person sitting there, 274 00:12:06,920 --> 00:12:07,980 watching you. 275 00:12:07,980 --> 00:12:12,480 Then you're not just some carbon-copy, cut-out, you know, 276 00:12:12,480 --> 00:12:15,710 robber, black-ass fool, robbing somebody. 277 00:12:15,710 --> 00:12:18,890 Or you're not that Asian dude that knows Kung Fu. 278 00:12:18,890 --> 00:12:21,590 Or you're not the Hispanic kid who's 279 00:12:21,590 --> 00:12:24,470 in the cartel or a gang-banger. 280 00:12:24,470 --> 00:12:27,130 You know, you're doing it because of. 281 00:12:27,130 --> 00:12:29,330 If you're a gang banger, OK, fine. 282 00:12:29,330 --> 00:12:30,000 It's family tradition. 283 00:12:30,000 --> 00:12:31,430 It's family tradition. 284 00:12:31,430 --> 00:12:33,200 My grandfather was in the gang. 285 00:12:33,200 --> 00:12:34,520 My dad was in the gang. 286 00:12:34,520 --> 00:12:35,690 I'm in the gang. 287 00:12:35,690 --> 00:12:37,520 It's a family tradition. 288 00:12:37,520 --> 00:12:38,942 It's a thing of pride. 289 00:12:38,942 --> 00:12:41,150 You either want to do it, or you don't want to do it. 290 00:12:41,150 --> 00:12:44,300 You can do it with relish, or you can do it with reluctance. 291 00:12:44,300 --> 00:12:46,130 But give it some dynamic. 292 00:12:46,130 --> 00:12:50,630 Give it something that is something out of the ordinary, 293 00:12:50,630 --> 00:12:52,880 even though you're playing some kind 294 00:12:52,880 --> 00:12:55,340 of standard, carbon-copy role. 295 00:12:55,340 --> 00:12:57,750 But it's an opportunity for you to be seen. 296 00:12:57,750 --> 00:12:59,730 It's an opportunity for you to work. 297 00:12:59,730 --> 00:13:00,000 And if you can do something that changes the dynamic of what 298 00:13:00,000 --> 00:13:03,200 And if you can do something that changes the dynamic of what 299 00:13:03,200 --> 00:13:05,450 that character is, with the purpose of what 300 00:13:05,450 --> 00:13:08,030 that character is in the story still being the same, 301 00:13:08,030 --> 00:13:09,560 people look at you differently. 302 00:13:09,560 --> 00:13:11,210 And the producers are gonna go, shit. 303 00:13:11,210 --> 00:13:12,780 We never thought of that. 304 00:13:12,780 --> 00:13:15,819 I mean, we didn't expect him to be all that. 305 00:13:15,819 --> 00:13:17,860 You know, so find a way to make yourself special. 306 00:13:26,930 --> 00:13:30,000 One of the things that served me well, when you get an agent, 307 00:13:30,000 --> 00:13:34,060 One of the things that served me well, when you get an agent, 308 00:13:34,060 --> 00:13:36,460 you have to make the agent understand 309 00:13:36,460 --> 00:13:39,200 how you want to work with him. 310 00:13:39,200 --> 00:13:41,170 I think one of the common mistakes 311 00:13:41,170 --> 00:13:45,890 that people make or young actors make is when you get an agent, 312 00:13:45,890 --> 00:13:48,280 you think you're working for somebody. 313 00:13:48,280 --> 00:13:49,330 Guess what. 314 00:13:49,330 --> 00:13:50,950 They're working for you. 315 00:13:50,950 --> 00:13:53,530 10% of nothing is nothing. 316 00:13:53,530 --> 00:13:57,340 One of the rules I had when I first got my agents 317 00:13:57,340 --> 00:14:00,000 and managers was not to send me in for roles that specifically 318 00:14:00,000 --> 00:14:03,400 and managers was not to send me in for roles that specifically 319 00:14:03,400 --> 00:14:06,280 say African-American. 320 00:14:06,280 --> 00:14:08,620 Let me see the breakdown of that script. 321 00:14:08,620 --> 00:14:10,690 And I want to go in, and I want to read 322 00:14:10,690 --> 00:14:13,480 for this role, that role, that role. 323 00:14:13,480 --> 00:14:16,000 I don't care what his race is, because it shouldn't matter. 324 00:14:16,000 --> 00:14:19,930 If it doesn't impact the story in a racial way, 325 00:14:19,930 --> 00:14:22,940 then it shouldn't matter what race that character is. 326 00:14:22,940 --> 00:14:26,080 So always insist on going in for just 327 00:14:26,080 --> 00:14:29,448 a character, not the African-American character. 328 00:14:35,800 --> 00:14:38,160 When I heard about managers, I just 329 00:14:38,160 --> 00:14:39,580 assumed it was another person that 330 00:14:39,580 --> 00:14:40,788 wanted some more of my money. 331 00:14:40,788 --> 00:14:43,440 But then I found out what managers actually do 332 00:14:43,440 --> 00:14:46,020 and the kinds of relationships they have that agents 333 00:14:46,020 --> 00:14:50,850 don't have that allow you to meet writers, producers, 334 00:14:50,850 --> 00:14:54,180 and other people that aren't just based 335 00:14:54,180 --> 00:14:55,740 in a specific project. 336 00:14:55,740 --> 00:14:57,210 These are people that are planning 337 00:14:57,210 --> 00:15:00,000 to do things, that could put you in their plans. 338 00:15:00,000 --> 00:15:01,050 to do things, that could put you in their plans. 339 00:15:01,050 --> 00:15:02,640 They can connect you with writers 340 00:15:02,640 --> 00:15:05,561 who can write specifically for you, because they're writing. 341 00:15:05,561 --> 00:15:07,310 And they've seen something that you're in, 342 00:15:07,310 --> 00:15:08,850 and they know that you can embody 343 00:15:08,850 --> 00:15:11,250 a character that they may create, 344 00:15:11,250 --> 00:15:13,140 you know, specifically for you. 345 00:15:13,140 --> 00:15:15,540 And they do put pressure on agents 346 00:15:15,540 --> 00:15:19,590 to produce and bring you more work, 347 00:15:19,590 --> 00:15:22,960 or they'll help you find an agent who can do that. 348 00:15:22,960 --> 00:15:25,300 So they're important. 349 00:15:25,300 --> 00:15:28,560 So if you can find a manager or one that 350 00:15:28,560 --> 00:15:30,000 believes in you to the extent that they exert pressure 351 00:15:30,000 --> 00:15:32,400 believes in you to the extent that they exert pressure 352 00:15:32,400 --> 00:15:35,090 in other places that an agent can't, you should get one. 353 00:15:41,650 --> 00:15:43,740 Well, the recommendation for actors 354 00:15:43,740 --> 00:15:47,160 who don't have representation yet is to, you know, 355 00:15:47,160 --> 00:15:49,440 do what I did. 356 00:15:49,440 --> 00:15:55,230 Go to auditions and wait until, you know, there's a break. 357 00:15:55,230 --> 00:15:56,670 Even when I didn't have an agent, 358 00:15:56,670 --> 00:16:00,000 I knew that there was a certain in the day when all those union 359 00:16:00,000 --> 00:16:00,510 I knew that there was a certain in the day when all those union 360 00:16:00,510 --> 00:16:02,670 people had been seen or whatever. 361 00:16:02,670 --> 00:16:04,420 And they're at the end of the day, 362 00:16:04,420 --> 00:16:06,390 and they might see that one dude that's just 363 00:16:06,390 --> 00:16:09,030 kind of hanging around there. 364 00:16:09,030 --> 00:16:10,455 I just wanted to come in. 365 00:16:10,455 --> 00:16:12,330 I heard you were doing something, so I'd say, 366 00:16:12,330 --> 00:16:13,746 I just wanted to come in and read. 367 00:16:13,746 --> 00:16:16,610 And they might let you do it. 368 00:16:16,610 --> 00:16:19,635 Sometimes, it just takes some sticktoitiveness, 369 00:16:19,635 --> 00:16:21,730 you know, to get in there and make that happen. 370 00:16:21,730 --> 00:16:22,736 Or sit there. 371 00:16:22,736 --> 00:16:24,610 See, and they see you all day, sitting there. 372 00:16:24,610 --> 00:16:26,910 And they go, you've been here all day. 373 00:16:26,910 --> 00:16:27,890 When's your time? 374 00:16:27,890 --> 00:16:30,000 Uh, hopefully now, 'cause, you know, I'm the last person here. 375 00:16:30,000 --> 00:16:31,350 Uh, hopefully now, 'cause, you know, I'm the last person here. 376 00:16:31,350 --> 00:16:32,520 Everybody else is gone. 377 00:16:32,520 --> 00:16:34,080 They might see you. 378 00:16:34,080 --> 00:16:35,130 Take that moment. 379 00:16:35,130 --> 00:16:36,570 So take a chance. 380 00:16:36,570 --> 00:16:37,620 Step off the ledge. 381 00:16:37,620 --> 00:16:39,294 Got nothing to lose, you know. 382 00:16:39,294 --> 00:16:39,960 That's for sure. 383 00:16:46,280 --> 00:16:49,980 A job well done is a job well done. 384 00:16:49,980 --> 00:16:53,850 You know, you do it to the best of your ability. 385 00:16:53,850 --> 00:16:57,910 And I think, too, that understanding 386 00:16:57,910 --> 00:17:00,000 that, even having a responsibility at home 387 00:17:00,000 --> 00:17:00,580 that, even having a responsibility at home 388 00:17:00,580 --> 00:17:05,560 to complete certain tasks or to meet a certain standard, 389 00:17:05,560 --> 00:17:07,630 means something. 390 00:17:07,630 --> 00:17:16,400 Having someone to answer to is very important in terms 391 00:17:16,400 --> 00:17:19,280 of who you become in your self-worth, 392 00:17:19,280 --> 00:17:22,940 because you have to have a standard for yourself. 393 00:17:22,940 --> 00:17:28,190 Having had people who set a certain bar, it's like for me 394 00:17:28,190 --> 00:17:30,000 when I was a kid, my job was going to school. 395 00:17:30,000 --> 00:17:32,420 when I was a kid, my job was going to school. 396 00:17:32,420 --> 00:17:35,930 My job was bringing home a certain kind of grade. 397 00:17:35,930 --> 00:17:40,500 And if that didn't happen, then there was consequence. 398 00:17:40,500 --> 00:17:45,391 There's no consequence for a lot of people anymore. 399 00:17:45,391 --> 00:17:46,890 They don't have people to answer to. 400 00:17:46,890 --> 00:17:50,130 Not only did I have to answer to my parents. 401 00:17:50,130 --> 00:17:53,730 I had people, teachers, who had an expectation. 402 00:17:53,730 --> 00:17:58,050 When you get to your professional lives, 403 00:17:58,050 --> 00:18:00,000 you have expectations, or people have expectations of you. 404 00:18:00,000 --> 00:18:01,980 you have expectations, or people have expectations of you. 405 00:18:01,980 --> 00:18:04,510 That's why they hired you. 406 00:18:04,510 --> 00:18:08,430 So the directors that I worked for had an expectation. 407 00:18:08,430 --> 00:18:12,330 At a certain point, the actors that you are performing with 408 00:18:12,330 --> 00:18:15,480 have an expectation of you also that when 409 00:18:15,480 --> 00:18:17,850 you're inside this story, the writer wrote the story. 410 00:18:17,850 --> 00:18:20,610 The writer expects you to bring that story 411 00:18:20,610 --> 00:18:22,950 to life in a realistic kind of way 412 00:18:22,950 --> 00:18:26,620 and to convey the meaning of what they wrote to an audience. 413 00:18:26,620 --> 00:18:29,100 So when audiences pay their money, 414 00:18:29,100 --> 00:18:30,000 they have an expectation of being entertained or satisfied 415 00:18:30,000 --> 00:18:33,360 they have an expectation of being entertained or satisfied 416 00:18:33,360 --> 00:18:34,840 in a specific way. 417 00:18:34,840 --> 00:18:37,380 So you have to work toward doing that. 418 00:18:37,380 --> 00:18:39,390 You don't have to consciously think about it. 419 00:18:39,390 --> 00:18:41,940 But the standard that you set for yourself 420 00:18:41,940 --> 00:18:45,810 allows that to happen just kind of automatically. 421 00:18:45,810 --> 00:18:47,430 Then an audience becomes satisfied 422 00:18:47,430 --> 00:18:53,940 because you satisfied the things that the writer wrote. 423 00:18:53,940 --> 00:18:56,850 You satisfied the director's expectation of it. 424 00:18:56,850 --> 00:18:59,160 And you and the actors on the inside of that 425 00:18:59,160 --> 00:19:00,000 have reached an agreement to set that standard 426 00:19:00,000 --> 00:19:04,480 have reached an agreement to set that standard 427 00:19:04,480 --> 00:19:07,150 for this particular story or this particular moment 428 00:19:07,150 --> 00:19:10,090 in the story that has to be effective and work 429 00:19:10,090 --> 00:19:11,680 in a specific way. 430 00:19:18,160 --> 00:19:21,700 I think any and every opportunity to act 431 00:19:21,700 --> 00:19:23,750 is a gift if you're an actor. 432 00:19:23,750 --> 00:19:27,270 You know, like I said, I went in and read seven words, 433 00:19:27,270 --> 00:19:29,230 did seven words. 434 00:19:29,230 --> 00:19:30,000 Any and every, my wife used to tell me, 435 00:19:30,000 --> 00:19:31,340 Any and every, my wife used to tell me, 436 00:19:31,340 --> 00:19:33,760 why you take that piddling-ass job? 437 00:19:33,760 --> 00:19:38,550 I said, well, [SIGH] I think that writer is talented. 438 00:19:38,550 --> 00:19:40,050 And I think the director is probably 439 00:19:40,050 --> 00:19:42,470 going to direct another movie at some point. 440 00:19:42,470 --> 00:19:44,550 And even if I don't get this job, 441 00:19:44,550 --> 00:19:47,190 they're gonna remember my black ass when I leave out of there. 442 00:19:47,190 --> 00:19:48,910 They're gonna know. 443 00:19:48,910 --> 00:19:51,580 I know exactly who to hire for this next movie. 444 00:19:51,580 --> 00:19:56,290 Or the casting person will go, oh, my God. 445 00:19:56,290 --> 00:19:59,800 And they'll call, and they'll send me to somebody else. 446 00:19:59,800 --> 00:20:00,000 Everything leads to something else, and you never know. 447 00:20:00,000 --> 00:20:03,670 Everything leads to something else, and you never know. 448 00:20:03,670 --> 00:20:06,420 Things happen. 449 00:20:06,420 --> 00:20:09,450 You know, I've auditioned for things 450 00:20:09,450 --> 00:20:11,340 that I didn't get and got a call. 451 00:20:11,340 --> 00:20:14,910 And they said, you know, you were so great in that audition. 452 00:20:14,910 --> 00:20:17,370 I didn't want to waste you in that little role right there, 453 00:20:17,370 --> 00:20:18,420 but I got this job. 454 00:20:18,420 --> 00:20:22,380 And you would have overpowered that guy, whoever the guy is 455 00:20:22,380 --> 00:20:23,880 who was gonna be the lead guy. 456 00:20:23,880 --> 00:20:25,810 And it's just the way it goes. 457 00:20:25,810 --> 00:20:29,600 But, you know, it's all about the experience. 1 00:00:00,000 --> 00:00:03,269 2 00:00:06,540 --> 00:00:08,160 This is what happened. 3 00:00:08,160 --> 00:00:12,060 When I got to New York, I was one of those people-- 4 00:00:12,060 --> 00:00:14,441 I mean, as savvy as I was supposed 5 00:00:14,441 --> 00:00:16,190 to be about the business, I thought acting 6 00:00:16,190 --> 00:00:17,231 was like everything else. 7 00:00:17,231 --> 00:00:19,830 You know, you start in the mail room. 8 00:00:19,830 --> 00:00:22,230 You end up at the corporate office, you know. 9 00:00:22,230 --> 00:00:23,970 So I figured, OK, I'm here. 10 00:00:23,970 --> 00:00:25,200 I'm doing theater. 11 00:00:25,200 --> 00:00:26,940 Blah, blah, blah, blah, you know. 12 00:00:26,940 --> 00:00:30,000 If I'm lucky, I get good enough, I got a soap opera. 13 00:00:30,000 --> 00:00:31,789 If I'm lucky, I get good enough, I got a soap opera. 14 00:00:31,789 --> 00:00:33,330 You know, I'll do a soap for a while. 15 00:00:33,330 --> 00:00:36,790 I'll go from soap opera to a real TV show, from TV show, 16 00:00:36,790 --> 00:00:39,600 I get a movie, and I'll become a movie star. 17 00:00:39,600 --> 00:00:41,070 I thought it was a progression. 18 00:00:41,070 --> 00:00:44,370 I didn't realize all these other things have to fall into place 19 00:00:44,370 --> 00:00:45,715 to make that happen. 20 00:00:45,715 --> 00:00:49,040 21 00:00:51,890 --> 00:00:55,680 Well, I moved through the Negro Ensemble Company. 22 00:00:55,680 --> 00:00:58,707 And I eventually started working at The Public. 23 00:00:58,707 --> 00:01:00,000 I think the first thing I did at The Public, 24 00:01:00,000 --> 00:01:00,540 I think the first thing I did at The Public, 25 00:01:00,540 --> 00:01:03,520 I did a production of "The Mighty Gents" 26 00:01:03,520 --> 00:01:06,160 that Ntozake directed. 27 00:01:06,160 --> 00:01:15,320 So it was me and Richard Lawson and Tucker Smallwood Otis 28 00:01:15,320 --> 00:01:18,770 Young-Smith, Gary Bolling. 29 00:01:18,770 --> 00:01:22,920 And something happened, and Tucker fell out. 30 00:01:22,920 --> 00:01:27,450 And this kid came in, his understudy, guy named 31 00:01:27,450 --> 00:01:30,000 Denzel Washington came in. 32 00:01:30,000 --> 00:01:30,090 Denzel Washington came in. 33 00:01:30,090 --> 00:01:32,260 And he ended up doing the part. 34 00:01:32,260 --> 00:01:33,630 So there we were. 35 00:01:33,630 --> 00:01:35,310 From that, I went to "Mother Courage" 36 00:01:35,310 --> 00:01:39,810 with Gloria Foster, Morgan, Robert Christian. 37 00:01:39,810 --> 00:01:42,540 It's amazing, amazing, talented people. 38 00:01:42,540 --> 00:01:44,620 In fact, I was Morgan's understudy, 39 00:01:44,620 --> 00:01:48,684 which is one of those funny things 40 00:01:48,684 --> 00:01:50,850 because you had to go to understudy rehearsal, like, 41 00:01:50,850 --> 00:01:51,391 twice a week. 42 00:01:51,391 --> 00:01:53,890 One day, for some reason, Morgan and Robert Christian 43 00:01:53,890 --> 00:01:55,330 were sitting in there. 44 00:01:55,330 --> 00:01:58,320 And after the understudy rehearsal, you know, 45 00:01:58,320 --> 00:02:00,000 Morgan was like, you don't really 46 00:02:00,000 --> 00:02:00,297 Morgan was like, you don't really 47 00:02:00,297 --> 00:02:02,880 need to work that hard because I'm never going to miss a show. 48 00:02:02,880 --> 00:02:04,781 But you do have something. 49 00:02:04,781 --> 00:02:05,780 You're going to make it. 50 00:02:05,780 --> 00:02:08,699 I was like, thank you. 51 00:02:08,699 --> 00:02:10,800 So that was that. 52 00:02:10,800 --> 00:02:15,720 But being in New York and being in a nurturing environment 53 00:02:15,720 --> 00:02:18,480 is that thing. 54 00:02:18,480 --> 00:02:22,170 I remember when I did "Coming to America," 55 00:02:22,170 --> 00:02:25,620 I was talking to the director, and he 56 00:02:25,620 --> 00:02:30,000 was saying that he'd never been in an audition situation where 57 00:02:30,000 --> 00:02:30,560 was saying that he'd never been in an audition situation where 58 00:02:30,560 --> 00:02:33,050 all the actors there in the room were sitting 59 00:02:33,050 --> 00:02:35,720 around talking to each other before it was their turn 60 00:02:35,720 --> 00:02:38,000 to go in the room. 61 00:02:38,000 --> 00:02:40,880 He was used to being here in LA where all actors come in, 62 00:02:40,880 --> 00:02:42,880 they're sitting there looking at their scripts-- 63 00:02:42,880 --> 00:02:43,850 blah, blah, blah. 64 00:02:43,850 --> 00:02:45,710 And I tell people the reason for that 65 00:02:45,710 --> 00:02:50,760 is because we know each other, in a way, 66 00:02:50,760 --> 00:02:53,820 in New York because we're generally 67 00:02:53,820 --> 00:02:55,500 going to the same auditions. 68 00:02:55,500 --> 00:02:58,350 So if we have to go on 14th Street 69 00:02:58,350 --> 00:03:00,000 to an audition and our next ones on 23rd, 70 00:03:00,000 --> 00:03:00,880 to an audition and our next ones on 23rd, 71 00:03:00,880 --> 00:03:03,342 we walk together to the next audition. 72 00:03:03,342 --> 00:03:05,820 Or the next audition's at 30-something Street, 73 00:03:05,820 --> 00:03:08,330 we walk from there to the next audition together. 74 00:03:08,330 --> 00:03:11,822 Or if I go to an audition and I know I'm not right for it, 75 00:03:11,822 --> 00:03:13,530 I'll pick up the phone and call my friend 76 00:03:13,530 --> 00:03:16,070 and go, hey, they are reading people for this thing 77 00:03:16,070 --> 00:03:17,070 that you're perfect for. 78 00:03:17,070 --> 00:03:19,050 You should go. 79 00:03:19,050 --> 00:03:25,050 And here, it's more of an adversarial situation 80 00:03:25,050 --> 00:03:29,184 because you're in your car and you drive to the audition. 81 00:03:29,184 --> 00:03:29,850 You go in there. 82 00:03:29,850 --> 00:03:30,000 You see the same dudes that you've 83 00:03:30,000 --> 00:03:31,266 You see the same dudes that you've 84 00:03:31,266 --> 00:03:34,200 been auditioning against, you know, all the time. 85 00:03:34,200 --> 00:03:36,154 You might be friends peripherally, or-- 86 00:03:36,154 --> 00:03:37,570 if you've done something together, 87 00:03:37,570 --> 00:03:40,650 maybe you'll say something or you'll say, hey. 88 00:03:40,650 --> 00:03:43,200 And then, you get in your car and you go somewhere else. 89 00:03:43,200 --> 00:03:45,130 And you don't really spend time together. 90 00:03:45,130 --> 00:03:46,920 We used to go to each other's place. 91 00:03:46,920 --> 00:03:50,470 We would go and watch each other work, go hang out after play, 92 00:03:50,470 --> 00:03:52,900 talk about the play, talk about what was going on. 93 00:03:52,900 --> 00:03:53,720 What are you doing tomorrow? 94 00:03:53,720 --> 00:03:55,678 Oh, I'm going to that, too, duh, duh, duh, duh. 95 00:03:55,678 --> 00:03:57,030 Or they'd come see your play. 96 00:03:57,030 --> 00:04:00,000 Or when we were all on unemployment, 97 00:04:00,000 --> 00:04:00,120 Or when we were all on unemployment, 98 00:04:00,120 --> 00:04:02,580 we all went to the same unemployment office. 99 00:04:02,580 --> 00:04:04,840 It was like, you know, Club 25. 100 00:04:04,840 --> 00:04:07,770 We would go there and we'd see each other every Wednesday, 101 00:04:07,770 --> 00:04:10,500 pick up our checks, go to the same check cashing place, 102 00:04:10,500 --> 00:04:12,600 cash our checks, go have a drink, 103 00:04:12,600 --> 00:04:13,860 do whatever, and hang out. 104 00:04:13,860 --> 00:04:16,740 But we were always together and we partied together. 105 00:04:16,740 --> 00:04:18,510 Somebody was having a party, everybody 106 00:04:18,510 --> 00:04:20,970 that was working in New York showed up at that party. 107 00:04:20,970 --> 00:04:25,740 So we had a relationship that was familial. 108 00:04:25,740 --> 00:04:30,000 We were a big arts family, a community 109 00:04:30,000 --> 00:04:30,630 We were a big arts family, a community 110 00:04:30,630 --> 00:04:35,450 that was a tight knit, wonderful, artistic, loving, 111 00:04:35,450 --> 00:04:36,990 and nurturing community. 112 00:04:36,990 --> 00:04:38,440 Everybody, you know, did that. 113 00:04:38,440 --> 00:04:40,630 And we even went to free readings 114 00:04:40,630 --> 00:04:42,300 at Frank Silvera Workshop. 115 00:04:42,300 --> 00:04:44,200 You know, you see the same people there. 116 00:04:44,200 --> 00:04:49,500 But it's an environment that's healthy. 117 00:04:49,500 --> 00:04:51,420 And you don't sit at home and wonder 118 00:04:51,420 --> 00:04:54,150 why you're not getting parts or why you're not doing this. 119 00:04:54,150 --> 00:04:57,040 Because I tell people, you know, you go to New York, 120 00:04:57,040 --> 00:04:58,950 you can connect with some writer's workshop 121 00:04:58,950 --> 00:05:00,000 and just read new works. 122 00:05:00,000 --> 00:05:01,060 and just read new works. 123 00:05:01,060 --> 00:05:03,210 It gives you an opportunity to do what you do-- 124 00:05:03,210 --> 00:05:04,040 perform. 125 00:05:04,040 --> 00:05:07,519 126 00:05:10,120 --> 00:05:11,890 Then, "A Soldier's Play" happened, 127 00:05:11,890 --> 00:05:15,400 which was like amazing, you know, 128 00:05:15,400 --> 00:05:19,480 the first time you're in a Pulitzer Prize-winning play, 129 00:05:19,480 --> 00:05:22,360 but the kind of thing that-- 130 00:05:22,360 --> 00:05:26,035 where-- when I read that play, it 131 00:05:26,035 --> 00:05:30,000 was like, wow, oh, my god, we're going to do this? 132 00:05:30,000 --> 00:05:30,490 was like, wow, oh, my god, we're going to do this? 133 00:05:30,490 --> 00:05:34,500 And then the first day of rehearsal, 134 00:05:34,500 --> 00:05:37,800 us sitting around the table and having all the different actors 135 00:05:37,800 --> 00:05:40,710 there and all the different voices, 136 00:05:40,710 --> 00:05:42,394 it was like everybody is reading. 137 00:05:42,394 --> 00:05:44,310 And by the time we finished it, everybody kind 138 00:05:44,310 --> 00:05:48,640 of looked up at everybody was like, oh, my god, 139 00:05:48,640 --> 00:05:51,070 this is going to be special. 140 00:05:51,070 --> 00:05:53,950 So the next day, the most amazing thing happened. 141 00:05:53,950 --> 00:05:58,620 Adolph Caesar comes in, and he says, 142 00:05:58,620 --> 00:06:00,000 ah, first day of rehearsal, ah-- he 143 00:06:00,000 --> 00:06:00,870 ah, first day of rehearsal, ah-- he 144 00:06:00,870 --> 00:06:03,767 threw his script across the room and was like, I'm ready, 145 00:06:03,767 --> 00:06:04,350 motherfuckers. 146 00:06:04,350 --> 00:06:05,475 What are y'all going to do? 147 00:06:05,475 --> 00:06:08,312 And everybody is like, psh, OK, you 148 00:06:08,312 --> 00:06:10,020 ain't the only one learned all this shit. 149 00:06:10,020 --> 00:06:10,950 Let's go. 150 00:06:10,950 --> 00:06:15,760 And everybody was off book, like, the second day, 151 00:06:15,760 --> 00:06:18,200 and we just started doing the play. 152 00:06:18,200 --> 00:06:20,570 And by the third week of rehearsal, we were like, 153 00:06:20,570 --> 00:06:22,296 can we get somebody to come watch us? 154 00:06:22,296 --> 00:06:23,920 I'm tired of doing this for each other. 155 00:06:23,920 --> 00:06:26,230 We-- you know, it's like-- 156 00:06:26,230 --> 00:06:26,730 [GRUNTING] 157 00:06:26,730 --> 00:06:28,010 --let's just do this. 158 00:06:28,010 --> 00:06:29,630 But it was that kind of play. 159 00:06:29,630 --> 00:06:30,000 So by the time it opened, it was like dynamite. 160 00:06:30,000 --> 00:06:33,400 So by the time it opened, it was like dynamite. 161 00:06:33,400 --> 00:06:34,390 It was explosive. 162 00:06:34,390 --> 00:06:35,050 We were at it. 163 00:06:35,050 --> 00:06:36,810 We felt it, you know. 164 00:06:36,810 --> 00:06:44,080 And that's one of the first Hollywood disappointments-- 165 00:06:44,080 --> 00:06:46,090 one of the things that directly correlates 166 00:06:46,090 --> 00:06:48,910 to, OK, so this is what the business is. 167 00:06:48,910 --> 00:06:51,280 So when Hollywood decided they were 168 00:06:51,280 --> 00:06:55,450 going to do that play as a movie, 169 00:06:55,450 --> 00:06:59,330 OK, they plucked Denzel and Larry and Adolph out of it. 170 00:06:59,330 --> 00:07:00,000 And now, the rest of us were like, we're not 171 00:07:00,000 --> 00:07:02,730 And now, the rest of us were like, we're not 172 00:07:02,730 --> 00:07:04,110 going to be in the movie? 173 00:07:04,110 --> 00:07:06,760 We've been doing this for, like, a year and a half. 174 00:07:06,760 --> 00:07:08,670 And one of the reasons "A Raisin in the Sun" 175 00:07:08,670 --> 00:07:11,164 is an enduring movie is because those people did the play. 176 00:07:11,164 --> 00:07:13,080 All those people did the play, and they did it 177 00:07:13,080 --> 00:07:14,130 for a long time. 178 00:07:14,130 --> 00:07:15,550 So you don't have to direct them. 179 00:07:15,550 --> 00:07:17,424 All you got to do is just turn the camera on. 180 00:07:17,424 --> 00:07:18,676 And we were those people. 181 00:07:18,676 --> 00:07:20,300 It's like, you don't have to direct us. 182 00:07:20,300 --> 00:07:22,383 All you got to do it turn the camera on and put us 183 00:07:22,383 --> 00:07:24,180 in the right setting. 184 00:07:24,180 --> 00:07:26,370 You'll have an awesome movie. 185 00:07:26,370 --> 00:07:28,650 Movie is just OK. 186 00:07:28,650 --> 00:07:30,000 And I mean, that's not to say that, you know, 187 00:07:30,000 --> 00:07:30,930 And I mean, that's not to say that, you know, 188 00:07:30,930 --> 00:07:32,340 Howard knows that is-- 189 00:07:32,340 --> 00:07:35,520 guy did a bad job because Howard was one of my best friends 190 00:07:35,520 --> 00:07:36,150 at the time. 191 00:07:36,150 --> 00:07:38,160 You know, we had done "Ragtime" together. 192 00:07:38,160 --> 00:07:41,220 And we did a thing called "Trial of the Moke" 193 00:07:41,220 --> 00:07:44,180 about the first graduate from West Point for PBS 194 00:07:44,180 --> 00:07:45,640 and "Milwaukee" together. 195 00:07:45,640 --> 00:07:46,890 So he and I were really close. 196 00:07:46,890 --> 00:07:50,340 But it's something about taking people 197 00:07:50,340 --> 00:07:54,270 that had lived, breathed, and understood those characters 198 00:07:54,270 --> 00:07:58,320 for over a year, and don't have to think about it, 199 00:07:58,320 --> 00:08:00,000 or instinctually know what's going on that allows something 200 00:08:00,000 --> 00:08:02,400 or instinctually know what's going on that allows something 201 00:08:02,400 --> 00:08:06,240 to live and breathe on a reality that nobody else can create 202 00:08:06,240 --> 00:08:10,680 in a short time that a movie theoretically allows you to do. 203 00:08:10,680 --> 00:08:14,280 But it was hurtful for all of us. 204 00:08:14,280 --> 00:08:16,950 And we did the play for a long time after that, you know, 205 00:08:16,950 --> 00:08:20,310 while they made that movie, even went on a national tour 206 00:08:20,310 --> 00:08:22,380 with the play, you know, after all that. 207 00:08:22,380 --> 00:08:25,782 208 00:08:28,710 --> 00:08:30,000 I directly correlate my sobriety to my success. 209 00:08:30,000 --> 00:08:36,929 I directly correlate my sobriety to my success. 210 00:08:36,929 --> 00:08:43,650 So I don't have the issue of relapsing or doing 211 00:08:43,650 --> 00:08:44,980 all these other things. 212 00:08:44,980 --> 00:08:47,200 You know, I mean, I-- 213 00:08:47,200 --> 00:08:49,980 I still have moments where like, you know, 214 00:08:49,980 --> 00:08:55,090 all addicts or alcoholics or whatever, I think I'm well. 215 00:08:55,090 --> 00:08:58,670 But that's just like one of those things. 216 00:08:58,670 --> 00:09:00,000 So when people say to me, well, you've been sober for 20 years. 217 00:09:00,000 --> 00:09:02,974 So when people say to me, well, you've been sober for 20 years. 218 00:09:02,974 --> 00:09:04,390 You can have a glass of champagne. 219 00:09:04,390 --> 00:09:05,306 And they stick it out. 220 00:09:05,306 --> 00:09:09,270 And I mean, we're trying to toast somebody. 221 00:09:09,270 --> 00:09:12,610 I never had one glass anything in my life, you know, 222 00:09:12,610 --> 00:09:14,530 so I don't drink. 223 00:09:14,530 --> 00:09:16,690 So I know I'm not well. 224 00:09:16,690 --> 00:09:18,580 And it's OK. 225 00:09:18,580 --> 00:09:20,980 Give me some sparkling water or something, 226 00:09:20,980 --> 00:09:22,990 so it looks like I'm doing that. 227 00:09:22,990 --> 00:09:24,640 But I directly correlate that. 228 00:09:24,640 --> 00:09:28,900 So I would think that if, OK, if I start drinking again 229 00:09:28,900 --> 00:09:30,000 or I start using again, I'm going to fall a lot faster than 230 00:09:30,000 --> 00:09:33,130 or I start using again, I'm going to fall a lot faster than 231 00:09:33,130 --> 00:09:36,160 I rose, because I know how to fall. 232 00:09:36,160 --> 00:09:37,240 I know what that is. 233 00:09:37,240 --> 00:09:38,950 It was hard rising. 234 00:09:38,950 --> 00:09:40,690 And I paid the price to do that. 235 00:09:40,690 --> 00:09:42,370 So I understand it. 236 00:09:42,370 --> 00:09:45,040 I was-- I was tortured by something, 237 00:09:45,040 --> 00:09:49,000 but what I was tortured by was something that 238 00:09:49,000 --> 00:09:52,150 was personal to me in terms of when 239 00:09:52,150 --> 00:09:57,440 I was in the throes of the end of my addiction. 240 00:09:57,440 --> 00:10:00,000 It was, oh, poor me in another kind of way. 241 00:10:00,000 --> 00:10:00,950 It was, oh, poor me in another kind of way. 242 00:10:00,950 --> 00:10:05,510 Because I had done "The Piano Lesson" at Yale 243 00:10:05,510 --> 00:10:07,970 and created the role of Boy Willie. 244 00:10:07,970 --> 00:10:10,340 But it was written for Charles Dutton. 245 00:10:10,340 --> 00:10:13,820 He happened to be off doing "Crocodile Dundee 2." 246 00:10:13,820 --> 00:10:15,960 so I did the play first at Yale. 247 00:10:15,960 --> 00:10:18,427 So when they got ready to go to Broadway, he was back. 248 00:10:18,427 --> 00:10:19,010 They took him. 249 00:10:19,010 --> 00:10:20,720 They made me is understudy. 250 00:10:20,720 --> 00:10:25,030 And in my stupidity, I took that job and I shouldn't 251 00:10:25,030 --> 00:10:29,420 have because I sat backstage and listened to him 252 00:10:29,420 --> 00:10:30,000 do that role every night and wished it was me. 253 00:10:30,000 --> 00:10:33,290 do that role every night and wished it was me. 254 00:10:33,290 --> 00:10:36,664 And that was something I had never done before. 255 00:10:36,664 --> 00:10:38,910 I wished I had somebody else's job. 256 00:10:38,910 --> 00:10:40,680 Because I always figured, you know, 257 00:10:40,680 --> 00:10:44,155 the job that person has is that person's job, it's not mine. 258 00:10:44,155 --> 00:10:46,030 I didn't get that job because it was his job. 259 00:10:46,030 --> 00:10:47,964 He was supposed to have that job or whatever. 260 00:10:47,964 --> 00:10:49,880 But there I was sitting back there doing that. 261 00:10:49,880 --> 00:10:54,030 And I'm listening to him and making myself crazy. 262 00:10:54,030 --> 00:10:56,650 I'm sitting on a fire escape behind the theater, 263 00:10:56,650 --> 00:10:59,040 you know, smoking, cocaine, listening to him doing it, 264 00:10:59,040 --> 00:11:00,000 thinking about how it should have been me. 265 00:11:00,000 --> 00:11:00,902 thinking about how it should have been me. 266 00:11:00,902 --> 00:11:02,360 And then he gets a Tony nomination, 267 00:11:02,360 --> 00:11:04,040 and I'm like really losing my mind. 268 00:11:04,040 --> 00:11:07,350 So that was the thing that made me crazy. 269 00:11:07,350 --> 00:11:11,730 And it led me to the end of my addiction to, 270 00:11:11,730 --> 00:11:14,430 you know, being so drunk and passed out on the floor 271 00:11:14,430 --> 00:11:18,150 that my wife and daughter found me passed out 272 00:11:18,150 --> 00:11:19,860 on the kitchen floor. 273 00:11:19,860 --> 00:11:22,350 And there I was. 274 00:11:22,350 --> 00:11:25,560 And the very next day, I was in rehabilitation, 275 00:11:25,560 --> 00:11:26,930 but didn't look back after that. 276 00:11:26,930 --> 00:11:30,000 277 00:11:30,000 --> 00:11:30,381 278 00:11:33,840 --> 00:11:35,290 When I was in rehab was when Spike 279 00:11:35,290 --> 00:11:40,510 called me to say, you know, in a usual Spike fashion, Sam! 280 00:11:40,510 --> 00:11:42,760 "Jungle Fever." 281 00:11:42,760 --> 00:11:43,475 June. 282 00:11:43,475 --> 00:11:44,889 I was like, Spike, I'm in rehab. 283 00:11:44,889 --> 00:11:45,430 Yeah, I know! 284 00:11:45,430 --> 00:11:45,850 I know! 285 00:11:45,850 --> 00:11:46,349 I know. 286 00:11:46,349 --> 00:11:48,250 He said, yes, you are playing a crack addict. 287 00:11:48,250 --> 00:11:49,958 I said, oh, cool, I've done the research. 288 00:11:49,958 --> 00:11:51,040 Let's do it. 289 00:11:51,040 --> 00:11:51,710 Click. 290 00:11:51,710 --> 00:11:52,430 Hung up. 291 00:11:52,430 --> 00:11:54,320 And I showed up. 292 00:11:54,320 --> 00:11:58,080 And I was two weeks, week and a half out of rehab 293 00:11:58,080 --> 00:11:59,080 when I showed up on set. 294 00:11:59,080 --> 00:11:59,810 I didn't need make up. 295 00:11:59,810 --> 00:12:00,000 I didn't need nothing. 296 00:12:00,000 --> 00:12:00,726 I didn't need nothing. 297 00:12:00,726 --> 00:12:03,200 I was still detoxing. 298 00:12:03,200 --> 00:12:04,850 It was great. 299 00:12:04,850 --> 00:12:08,060 And when Ossie shoots Gator and he dies there 300 00:12:08,060 --> 00:12:12,860 in the house on the floor, cathartically-- 301 00:12:12,860 --> 00:12:15,500 realistically in the movie, Gator's dead. 302 00:12:15,500 --> 00:12:20,600 Cathartically, the addict that was in me died on that floor. 303 00:12:20,600 --> 00:12:25,170 And it changed everything for me in that particular moment an 304 00:12:25,170 --> 00:12:28,400 then that particular instance. 305 00:12:28,400 --> 00:12:30,000 But like I said, Spike had a different conception 306 00:12:30,000 --> 00:12:33,320 But like I said, Spike had a different conception 307 00:12:33,320 --> 00:12:36,680 of who Gator was, so that when I got there 308 00:12:36,680 --> 00:12:39,950 and I started talking to him about who I wanted him to be 309 00:12:39,950 --> 00:12:44,240 and how I wanted him to use his parents, 310 00:12:44,240 --> 00:12:47,300 his brother, all the people around him 311 00:12:47,300 --> 00:12:50,750 to aid his addiction, or just get money from them, 312 00:12:50,750 --> 00:12:54,120 or use them or manipulate them in whatever way-- 313 00:12:54,120 --> 00:12:57,530 and I look high, in a way, but I'm not 314 00:12:57,530 --> 00:13:00,000 going to play I'm fucked up all the time. 315 00:13:00,000 --> 00:13:00,230 going to play I'm fucked up all the time. 316 00:13:00,230 --> 00:13:02,240 Because when you're not fucked up 317 00:13:02,240 --> 00:13:04,010 and you're trying to get something, 318 00:13:04,010 --> 00:13:08,000 it's another kind of desperation and cunning. 319 00:13:08,000 --> 00:13:10,220 And that's how I wanted to play Gator. 320 00:13:10,220 --> 00:13:12,710 And that's what I did, so that the result of that 321 00:13:12,710 --> 00:13:15,030 was, you know, people saying, oh, my god. 322 00:13:15,030 --> 00:13:15,800 That was my son. 323 00:13:15,800 --> 00:13:16,730 That was my brother. 324 00:13:16,730 --> 00:13:19,100 That was my cousin. 325 00:13:19,100 --> 00:13:22,610 That was, you know, my grandson who came to my house 326 00:13:22,610 --> 00:13:23,410 and stole-- 327 00:13:23,410 --> 00:13:27,120 stole my whatever or just went to my purse and took this. 328 00:13:27,120 --> 00:13:29,840 You know, people related to Gator in a very specific way 329 00:13:29,840 --> 00:13:30,000 for that specific time because everybody 330 00:13:30,000 --> 00:13:31,910 for that specific time because everybody 331 00:13:31,910 --> 00:13:34,130 had a Gator in their family. 332 00:13:34,130 --> 00:13:37,370 And I consider that, you know, job well done. 333 00:13:37,370 --> 00:13:41,390 And it was cathartic and wonderful. 334 00:13:41,390 --> 00:13:45,680 And like I said, it projected me to the next place. 335 00:13:45,680 --> 00:13:48,631 And I just kept going from there. 336 00:13:48,631 --> 00:13:51,998 337 00:13:54,890 --> 00:13:56,125 I used to call my agent. 338 00:13:56,125 --> 00:13:58,250 I had this game I had with agent where I would call 339 00:13:58,250 --> 00:14:00,000 and I would say, oh, Hollywood call today? 340 00:14:00,000 --> 00:14:01,550 She'd go, no. 341 00:14:01,550 --> 00:14:03,974 And Spike-- I saw Spike at a Knicks game. 342 00:14:03,974 --> 00:14:06,140 He said they would go to Cannes with "Jungle Fever," 343 00:14:06,140 --> 00:14:07,550 and I was like, oh, am I going? 344 00:14:07,550 --> 00:14:09,425 He was like, no, we're just taking the stars. 345 00:14:09,425 --> 00:14:10,730 I was like, oh. 346 00:14:10,730 --> 00:14:14,720 So they took the Turturro brothers 347 00:14:14,720 --> 00:14:19,280 and Annabella and Leslie and whoever else they took. 348 00:14:19,280 --> 00:14:24,080 And then, they created the Best Supporting Performer 349 00:14:24,080 --> 00:14:27,440 Award at Cannes for me. 350 00:14:27,440 --> 00:14:30,000 They'd never given it before and hadn't given it since. 351 00:14:30,000 --> 00:14:30,680 They'd never given it before and hadn't given it since. 352 00:14:30,680 --> 00:14:32,780 But they created that award for me. 353 00:14:32,780 --> 00:14:35,189 And I called my agent one day and said, hey, 354 00:14:35,189 --> 00:14:35,980 did Hollywood call? 355 00:14:35,980 --> 00:14:38,500 She said, as a matter of fact, yeah. 356 00:14:38,500 --> 00:14:41,000 They created some award for you at the Cannes Film Festival. 357 00:14:41,000 --> 00:14:43,083 And these people want to see you about this movie. 358 00:14:43,083 --> 00:14:44,550 I was like, what? 359 00:14:44,550 --> 00:14:46,040 She's like, yeah. 360 00:14:46,040 --> 00:14:50,600 So I ended up doing, you know, "White Sands" and not 361 00:14:50,600 --> 00:14:52,040 "Malcolm X." 362 00:14:52,040 --> 00:14:54,770 And that was-- that was the next [INAUDIBLE]---- 363 00:14:54,770 --> 00:14:56,950 my trajectory changed. 364 00:14:56,950 --> 00:15:00,000 So I'd-- oh, I'd auditioned for "Reservoir Dogs" in New York, 365 00:15:00,000 --> 00:15:03,020 So I'd-- oh, I'd auditioned for "Reservoir Dogs" in New York, 366 00:15:03,020 --> 00:15:07,560 and I was supposed to read with Tim Roth and Harvey Keitel. 367 00:15:07,560 --> 00:15:09,530 And when I got the audition, it was 368 00:15:09,530 --> 00:15:11,292 Quentin and Lawrence Bender. 369 00:15:11,292 --> 00:15:13,250 Now, I didn't know who either one of those guys 370 00:15:13,250 --> 00:15:16,860 were really, but those guys-- 371 00:15:16,860 --> 00:15:18,760 Quentin, I mean, Taran-- 372 00:15:18,760 --> 00:15:21,440 Tim and Harvey weren't there, so I had to read with them. 373 00:15:21,440 --> 00:15:23,070 And they were awful. 374 00:15:23,070 --> 00:15:23,990 They sucked. 375 00:15:23,990 --> 00:15:27,290 I was like, who are these guys and why am I reading with them? 376 00:15:27,290 --> 00:15:30,000 I left the audition going, shit, they fucked my audition. 377 00:15:30,000 --> 00:15:30,020 I left the audition going, shit, they fucked my audition. 378 00:15:30,020 --> 00:15:31,996 I'm never going to get-- they were so bad, 379 00:15:31,996 --> 00:15:33,620 I had to look like I was over, I think, 380 00:15:33,620 --> 00:15:35,699 because they had no idea what they were doing. 381 00:15:35,699 --> 00:15:36,740 And I didn't get the job. 382 00:15:36,740 --> 00:15:38,457 But then I am at Sundance, and it's 383 00:15:38,457 --> 00:15:40,290 the first screening of the "Reservoir Dogs," 384 00:15:40,290 --> 00:15:41,300 and I'm there. 385 00:15:41,300 --> 00:15:44,510 And when it's over, I go up to Quentin to tell him 386 00:15:44,510 --> 00:15:45,650 how much I liked the movie. 387 00:15:45,650 --> 00:15:48,242 And he's like, how did you like the guy who got your part? 388 00:15:48,242 --> 00:15:49,700 He remembered me from the audition. 389 00:15:49,700 --> 00:15:52,520 I'm going, well, your movie would have been better with me 390 00:15:52,520 --> 00:15:53,750 in it, but he's OK. 391 00:15:53,750 --> 00:15:55,040 He's a soap opera actor. 392 00:15:55,040 --> 00:15:56,840 You needed a movie star. 393 00:15:56,840 --> 00:15:57,580 [CHUCKLING] 394 00:15:57,580 --> 00:16:00,000 And he was like, eh, I'm writing something you're perfect for. 395 00:16:00,000 --> 00:16:00,290 And he was like, eh, I'm writing something you're perfect for. 396 00:16:00,290 --> 00:16:00,650 Don't worry. 397 00:16:00,650 --> 00:16:01,910 I'm writing something for you. 398 00:16:01,910 --> 00:16:04,089 And I forgot about it and went about my business. 399 00:16:04,089 --> 00:16:05,630 And I'm doing this movie in Virginia, 400 00:16:05,630 --> 00:16:09,620 and I get this script in a brown wrapper and it's "Pulp 401 00:16:09,620 --> 00:16:10,940 Fiction." 402 00:16:10,940 --> 00:16:12,230 I sit down. 403 00:16:12,230 --> 00:16:15,870 I read it front to back. 404 00:16:15,870 --> 00:16:16,830 And I stopped. 405 00:16:16,830 --> 00:16:18,860 I was like, no. 406 00:16:18,860 --> 00:16:21,320 I flipped it back over. 407 00:16:21,320 --> 00:16:22,740 Front to back again, read it. 408 00:16:22,740 --> 00:16:25,690 I was like, this is fucking amazing. 409 00:16:25,690 --> 00:16:27,190 And if the Weinstein's-- 410 00:16:27,190 --> 00:16:29,500 I didn't even really know who they were-- 411 00:16:29,500 --> 00:16:30,000 let him shoot this, this is going to be great. 412 00:16:30,000 --> 00:16:32,889 let him shoot this, this is going to be great. 413 00:16:32,889 --> 00:16:35,430 I don't know if everybody will love it, but I know I love it. 414 00:16:35,430 --> 00:16:36,430 My friends will love it. 415 00:16:36,430 --> 00:16:39,250 It will have a certain audience that's going to be like, 416 00:16:39,250 --> 00:16:39,760 oh, my god. 417 00:16:39,760 --> 00:16:40,750 This is great. 418 00:16:40,750 --> 00:16:42,700 And I do the movie. 419 00:16:42,700 --> 00:16:47,790 So after I shoot that movie, I end up in New York. 420 00:16:47,790 --> 00:16:50,855 And I'm shooting-- Quentin's editing and doing whatever. 421 00:16:50,855 --> 00:16:52,230 I'm in New York, and I'm shooting 422 00:16:52,230 --> 00:16:54,000 this movie called "Kiss of Death" 423 00:16:54,000 --> 00:16:58,510 with David Caruso and Nick Cage. 424 00:16:58,510 --> 00:17:00,000 And I had auditioned for "Waterworld." 425 00:17:00,000 --> 00:17:01,394 And I had auditioned for "Waterworld." 426 00:17:01,394 --> 00:17:03,060 And I was like, I hope I get that movie. 427 00:17:03,060 --> 00:17:06,460 I can go to Hawaii and kick it and play some golf in Hawaii. 428 00:17:06,460 --> 00:17:11,050 And somebody comes-- comes to me later that day and says, 429 00:17:11,050 --> 00:17:13,619 oh, you didn't get "Waterworld." 430 00:17:13,619 --> 00:17:14,839 Laurence Fishburne got it. 431 00:17:14,839 --> 00:17:16,869 And I was like, oh, OK. 432 00:17:16,869 --> 00:17:18,490 But he was supposed to do "Die Hard," 433 00:17:18,490 --> 00:17:21,000 but if you want to "Die Hard," you can do that. 434 00:17:21,000 --> 00:17:22,239 And I was like, really? 435 00:17:22,239 --> 00:17:22,869 "Die Hard?" 436 00:17:22,869 --> 00:17:23,950 Hell yeah! 437 00:17:23,950 --> 00:17:26,050 I've always wanted to be in a "Die Hard" movie 438 00:17:26,050 --> 00:17:28,520 because I remember I was watching "Die Hard 1." 439 00:17:28,520 --> 00:17:30,000 My friend Reggie VelJohnson plays the cop who's outside. 440 00:17:30,000 --> 00:17:31,800 My friend Reggie VelJohnson plays the cop who's outside. 441 00:17:31,800 --> 00:17:34,270 And I was sitting there going, how did Reggie get that job? 442 00:17:34,270 --> 00:17:35,380 When was that audition? 443 00:17:35,380 --> 00:17:37,109 Why didn't I go to that? 444 00:17:37,109 --> 00:17:38,650 But then, all right, here's my chance 445 00:17:38,650 --> 00:17:41,140 to be in a "Die Hard" movie, so I'm like, boom, great. 446 00:17:41,140 --> 00:17:42,190 Let's do it. 447 00:17:42,190 --> 00:17:45,550 And when I'm doing "Die Hard," I'm talking to Bruce. 448 00:17:45,550 --> 00:17:48,320 And Bruce goes, when this movie comes out, 449 00:17:48,320 --> 00:17:49,870 it's going to change your life. 450 00:17:49,870 --> 00:17:52,607 And I go, well, what about when "Pulp Fiction" comes out? 451 00:17:52,607 --> 00:17:53,190 We're in that. 452 00:17:53,190 --> 00:17:54,484 And he's like, "Pulp"-- 453 00:17:54,484 --> 00:17:55,900 Pulp"-- "Pulp's" going to be good, 454 00:17:55,900 --> 00:17:58,520 but this movie is going to change your life. 455 00:17:58,520 --> 00:18:00,000 And sure enough, "Pulp" comes out. 456 00:18:00,000 --> 00:18:00,880 And sure enough, "Pulp" comes out. 457 00:18:00,880 --> 00:18:01,540 It's great. 458 00:18:01,540 --> 00:18:02,830 I get the Oscar nomination. 459 00:18:02,830 --> 00:18:05,300 All is wonderful, well, and good. 460 00:18:05,300 --> 00:18:07,550 But when "Die Hard" comes out, it's 461 00:18:07,550 --> 00:18:11,100 the highest-grossing movie in the world. 462 00:18:11,100 --> 00:18:12,880 All of a sudden, people all over the world 463 00:18:12,880 --> 00:18:14,590 know who I am because we're doing press 464 00:18:14,590 --> 00:18:16,210 for it and everything else. 465 00:18:16,210 --> 00:18:18,850 And things do change. 466 00:18:18,850 --> 00:18:23,000 So I learned the difference between an artistic success, 467 00:18:23,000 --> 00:18:25,040 which "Pulp" was, which is great, 468 00:18:25,040 --> 00:18:29,470 and a box office bonanza success, which means everything 469 00:18:29,470 --> 00:18:30,000 to your career because, all of a sudden, 470 00:18:30,000 --> 00:18:31,960 to your career because, all of a sudden, 471 00:18:31,960 --> 00:18:34,990 you mean something to the box office. 472 00:18:34,990 --> 00:18:38,050 Now, granted, Bruce was the star of that movie, 473 00:18:38,050 --> 00:18:42,610 but people love Zeus, that character in that movie. 474 00:18:42,610 --> 00:18:46,495 So people are, you know, yelling my lines at me on the street 475 00:18:46,495 --> 00:18:48,320 and they're saying all this. 476 00:18:48,320 --> 00:18:49,840 And it's just happening. 477 00:18:49,840 --> 00:18:52,330 And it's like things change. 478 00:18:52,330 --> 00:18:55,510 And the way you can negotiate or the kinds 479 00:18:55,510 --> 00:18:58,220 of things that come at you after that are very different. 480 00:18:58,220 --> 00:19:00,000 So that's the break. 481 00:19:00,000 --> 00:19:00,580 So that's the break. 482 00:19:00,580 --> 00:19:01,860 "Pulp" was great. 483 00:19:01,860 --> 00:19:03,778 "Die Hard" was better. 1 00:00:00,000 --> 00:00:02,465 2 00:00:12,330 --> 00:00:14,940 There are, like, several really interesting lessons 3 00:00:14,940 --> 00:00:17,936 that I've had that stuck with me. 4 00:00:17,936 --> 00:00:23,540 The first one was in 1980 when I went to my first "Ragtime" 5 00:00:23,540 --> 00:00:24,920 interview. 6 00:00:24,920 --> 00:00:28,280 I was sitting outside, waiting to meet the director. 7 00:00:28,280 --> 00:00:30,000 And James Earl Jones came in, the preeminent black actor 8 00:00:30,000 --> 00:00:33,450 And James Earl Jones came in, the preeminent black actor 9 00:00:33,450 --> 00:00:36,930 of our time, at that time, in 1980. 10 00:00:36,930 --> 00:00:40,400 And I'd read the book and everything 11 00:00:40,400 --> 00:00:43,510 getting ready to come to this audition and be there. 12 00:00:43,510 --> 00:00:46,530 So I knew there was a Booker T. Washington role in this. 13 00:00:46,530 --> 00:00:48,100 So I figured, oh, James Earl Jones 14 00:00:48,100 --> 00:00:50,183 is going to be Booker T. Washington in this movie, 15 00:00:50,183 --> 00:00:51,200 blah, blah, blah. 16 00:00:51,200 --> 00:00:51,910 And he sat down. 17 00:00:51,910 --> 00:00:52,920 I introduced myself. 18 00:00:52,920 --> 00:00:55,003 Told him how much I admired him, blah, blah, blah. 19 00:00:55,003 --> 00:00:58,089 I said, so you're playing the role of Booker T. 20 00:00:58,089 --> 00:00:59,130 Washington in this movie. 21 00:00:59,130 --> 00:01:00,000 And he's like, no, I'm here for an interview, just like you. 22 00:01:00,000 --> 00:01:02,950 And he's like, no, I'm here for an interview, just like you. 23 00:01:02,950 --> 00:01:06,890 And I was like, oh. 24 00:01:06,890 --> 00:01:09,050 Shit. 25 00:01:09,050 --> 00:01:12,800 I just assumed because you're James Earl Jones and "Great 26 00:01:12,800 --> 00:01:16,772 White Hope," and [INAUDIBLE],, that there's 27 00:01:16,772 --> 00:01:18,480 scripts on your door that you're reading. 28 00:01:18,480 --> 00:01:20,520 He was like, mm-mm. 29 00:01:20,520 --> 00:01:25,250 I was like, oh, fuck, this what I got to look forward to? 30 00:01:25,250 --> 00:01:26,804 First lesson. 31 00:01:26,804 --> 00:01:27,758 [LAUGHS] 32 00:01:34,226 --> 00:01:37,430 In " A Time to Kill," the weight of what had happened in that 33 00:01:37,430 --> 00:01:41,690 film, I mean, that has a whole interesting kind of story 34 00:01:41,690 --> 00:01:45,740 in that, in that when I did that movie, 35 00:01:45,740 --> 00:01:49,730 I went into it with one intention. 36 00:01:49,730 --> 00:01:52,220 And I did that. 37 00:01:52,220 --> 00:01:58,750 And it was one of my first editing room lessons 38 00:01:58,750 --> 00:02:00,000 in Hollywood because in the book, and in my mind, 39 00:02:00,000 --> 00:02:04,540 in Hollywood because in the book, and in my mind, 40 00:02:04,540 --> 00:02:08,970 and in my heart when I did that, the movie, for me, 41 00:02:08,970 --> 00:02:12,630 was about a father letting his daughter know that no matter 42 00:02:12,630 --> 00:02:15,990 what happens to her in the world, he'll protect her, 43 00:02:15,990 --> 00:02:17,620 and he'll make the world a safe place. 44 00:02:17,620 --> 00:02:21,240 So when he killed those guys, he didn't kill them 45 00:02:21,240 --> 00:02:24,060 because they raped her. 46 00:02:24,060 --> 00:02:26,190 He killed them because he wanted her 47 00:02:26,190 --> 00:02:28,520 to know that those two guys will never be in the world 48 00:02:28,520 --> 00:02:30,000 to hurt you again. 49 00:02:30,000 --> 00:02:30,190 to hurt you again. 50 00:02:30,190 --> 00:02:31,890 And if anybody else does it to you, 51 00:02:31,890 --> 00:02:34,250 I'll be here to do that for you again. 52 00:02:34,250 --> 00:02:37,490 I am protecting you from the world. 53 00:02:37,490 --> 00:02:41,210 And all the scenes that I did where I expressed that verbally 54 00:02:41,210 --> 00:02:45,650 were taken out of film so that when you look at the film, 55 00:02:45,650 --> 00:02:50,757 you see Carl Lee as this conniving Negro who purposely 56 00:02:50,757 --> 00:02:52,340 killed these white guys, and now, he's 57 00:02:52,340 --> 00:02:55,790 trying to find a way to get out of it by using his daughter's 58 00:02:55,790 --> 00:02:57,620 rape as the crutch. 59 00:02:57,620 --> 00:03:00,000 And one of the biggest things that 60 00:03:00,000 --> 00:03:00,410 And one of the biggest things that 61 00:03:00,410 --> 00:03:03,320 happened for me was when I got that job 62 00:03:03,320 --> 00:03:07,070 and I got there, the first scene I shot in that movie 63 00:03:07,070 --> 00:03:12,900 was me going to Jake's office, Matthew McConaughey's office, 64 00:03:12,900 --> 00:03:15,050 and telling him that exact story that he tells 65 00:03:15,050 --> 00:03:20,580 the jury in the courtroom at the end of the movie, 66 00:03:20,580 --> 00:03:23,740 the exact-- almost exact same speech, how they raped her, 67 00:03:23,740 --> 00:03:25,207 what they did to her, they peed on 68 00:03:25,207 --> 00:03:27,790 on, they threw her out of truck, da, da, da, the whole speech. 69 00:03:27,790 --> 00:03:30,000 When I got through doing that, everybody in the room 70 00:03:30,000 --> 00:03:30,400 When I got through doing that, everybody in the room 71 00:03:30,400 --> 00:03:30,980 was crying. 72 00:03:30,980 --> 00:03:32,130 The cameraman was crying. 73 00:03:32,130 --> 00:03:33,739 The script supervisor was crying. 74 00:03:33,739 --> 00:03:36,030 The director, Joel, was just, [FAKE CRYING] oh, my god. 75 00:03:36,030 --> 00:03:36,794 This is amazing. 76 00:03:36,794 --> 00:03:38,440 You're gonna be great. 77 00:03:38,440 --> 00:03:43,970 And then when I saw the movie and it was gone, I was ruined. 78 00:03:43,970 --> 00:03:46,640 In my heart, I was just [GRUNTS].. 79 00:03:46,640 --> 00:03:51,600 You know, because at that time, I still had-- 80 00:03:51,600 --> 00:03:55,670 I still had that actor Oscar thing in my head. 81 00:03:55,670 --> 00:03:58,500 You know, because Oscars are won through moments. 82 00:03:58,500 --> 00:04:00,000 I know, because I'm just a movie bug-- 83 00:04:00,000 --> 00:04:03,200 I know, because I'm just a movie bug-- 84 00:04:03,200 --> 00:04:03,910 I watch movies. 85 00:04:03,910 --> 00:04:04,670 I'm a buff. 86 00:04:04,670 --> 00:04:08,150 I watch it-- that Academy Awards are sometimes 87 00:04:08,150 --> 00:04:09,665 based on whole performances. 88 00:04:09,665 --> 00:04:12,410 And sometimes they're just based on this dynamite ass 89 00:04:12,410 --> 00:04:14,300 moment that was in that movie that happened. 90 00:04:14,300 --> 00:04:15,050 You know? 91 00:04:15,050 --> 00:04:17,430 And they run that thing. 92 00:04:17,430 --> 00:04:21,680 And when that was gone from that particular role, I was like, 93 00:04:21,680 --> 00:04:25,070 the effectiveness of this movie is awesome. 94 00:04:25,070 --> 00:04:27,390 You know, it's great, and it's all of that. 95 00:04:27,390 --> 00:04:30,000 But when you take that part of the story from me, 96 00:04:30,000 --> 00:04:32,490 But when you take that part of the story from me, 97 00:04:32,490 --> 00:04:36,660 it changes who I am in the dynamic of the story 98 00:04:36,660 --> 00:04:38,370 without me knowing that you did that. 99 00:04:38,370 --> 00:04:41,140 Because I acted a whole nother role. 100 00:04:41,140 --> 00:04:43,990 But when it got edited, it became something else. 101 00:04:50,679 --> 00:04:52,220 After that conversation with Quentin, 102 00:04:52,220 --> 00:04:55,760 and me receiving "Pulp Fiction" in the mail, 103 00:04:55,760 --> 00:04:58,730 and being told that the role of Jules was mine, 104 00:04:58,730 --> 00:05:00,000 and we were going to make this movie, I'm in New York 105 00:05:00,000 --> 00:05:02,060 and we were going to make this movie, I'm in New York 106 00:05:02,060 --> 00:05:06,230 making a movie called "Fresh" with Lawrence 107 00:05:06,230 --> 00:05:11,004 Bender, the producer that I read with for "Reservoir Dogs." 108 00:05:11,004 --> 00:05:12,170 So I'm now working with him. 109 00:05:12,170 --> 00:05:14,365 And he's also a producer on "Pulp Fiction." 110 00:05:14,365 --> 00:05:15,740 And while I'm there, I get a call 111 00:05:15,740 --> 00:05:18,590 from my agent saying that some actor had 112 00:05:18,590 --> 00:05:22,760 come in and auditioned for "Pulp Fiction" for some other role, 113 00:05:22,760 --> 00:05:24,710 but he wanted to read Jules so they could 114 00:05:24,710 --> 00:05:26,199 see what he could really do. 115 00:05:26,199 --> 00:05:27,740 And all of a sudden, they were, like, 116 00:05:27,740 --> 00:05:30,000 so impressed with what he had done. 117 00:05:30,000 --> 00:05:30,030 so impressed with what he had done. 118 00:05:30,030 --> 00:05:32,230 Because I had been in and read Jules 119 00:05:32,230 --> 00:05:33,980 because they said they just wanted to hear 120 00:05:33,980 --> 00:05:34,980 what Jules sounded like. 121 00:05:34,980 --> 00:05:38,510 So I went in and I did this cursory reading with Quentin 122 00:05:38,510 --> 00:05:41,210 and, you know, some of the producers or whatever. 123 00:05:41,210 --> 00:05:43,070 And I went off to do "Fresh." 124 00:05:43,070 --> 00:05:46,520 And they said the guy was so great that they were, like-- 125 00:05:46,520 --> 00:05:50,097 might have to reconsider, and give him the job, and da, 126 00:05:50,097 --> 00:05:50,660 da, da. 127 00:05:50,660 --> 00:05:52,040 We know you came in and read. 128 00:05:52,040 --> 00:05:53,730 It was good, but this guy was great. 129 00:05:53,730 --> 00:05:56,060 And I was like, I was just reading. 130 00:05:56,060 --> 00:05:56,810 Wait a minute. 131 00:05:56,810 --> 00:05:59,450 So they called Harvey Weinstein. 132 00:05:59,450 --> 00:06:00,000 Harvey says, OK, you got to have an acting contest. 133 00:06:00,000 --> 00:06:03,230 Harvey says, OK, you got to have an acting contest. 134 00:06:03,230 --> 00:06:07,160 So bring that guy back, and bring Sam in. 135 00:06:07,160 --> 00:06:11,690 So now, I'm furious because I had 136 00:06:11,690 --> 00:06:16,190 to work that Friday, get on a plane, get on the red-eye 137 00:06:16,190 --> 00:06:16,720 that night. 138 00:06:16,720 --> 00:06:17,940 I got the script. 139 00:06:17,940 --> 00:06:23,330 I'm on the plane, furiously scribing notes in the margins, 140 00:06:23,330 --> 00:06:27,670 breaking down the speeches, hitting the hot points, 141 00:06:27,670 --> 00:06:30,000 underline this, do that, blah, blah, blah. 142 00:06:30,000 --> 00:06:30,230 underline this, do that, blah, blah, blah. 143 00:06:30,230 --> 00:06:31,690 What am I trying to achieve? 144 00:06:31,690 --> 00:06:34,140 I'm doing all the things that I learned in the theater 145 00:06:34,140 --> 00:06:37,520 to do when I'm breaking down a role because I 146 00:06:37,520 --> 00:06:38,840 wasn't there yet. 147 00:06:38,840 --> 00:06:42,020 And we had another month and a half 148 00:06:42,020 --> 00:06:44,120 before that movie was supposed to start. 149 00:06:44,120 --> 00:06:45,330 So I hadn't done it. 150 00:06:45,330 --> 00:06:47,870 I was engrossed in "Fresh." 151 00:06:47,870 --> 00:06:50,570 And that was a pretty cerebral part also. 152 00:06:50,570 --> 00:06:52,700 So I'm on the plane doing everything 153 00:06:52,700 --> 00:06:57,170 that I would do over a possible week, two-week period 154 00:06:57,170 --> 00:06:59,720 before I actually start diving into learning what 155 00:06:59,720 --> 00:07:00,000 was going on in the script. 156 00:07:00,000 --> 00:07:01,610 was going on in the script. 157 00:07:01,610 --> 00:07:04,790 And so I get to the audition that next morning. 158 00:07:04,790 --> 00:07:07,640 And nobody is there. 159 00:07:07,640 --> 00:07:09,122 I'm there by myself. 160 00:07:09,122 --> 00:07:11,330 They said, well, the other guy has been here already. 161 00:07:11,330 --> 00:07:13,390 They've gone to lunch. 162 00:07:13,390 --> 00:07:16,440 And then they come back and said, OK, we're ready. 163 00:07:16,440 --> 00:07:19,130 And they introduced me to all these people that I hadn't met. 164 00:07:19,130 --> 00:07:23,727 And there's one guy who's like, oh, you-- 165 00:07:23,727 --> 00:07:25,310 you don't need to introduce me to him. 166 00:07:25,310 --> 00:07:26,020 I know he is. 167 00:07:26,020 --> 00:07:29,180 And I love your work, Mr. Fishburne. 168 00:07:29,180 --> 00:07:30,000 And now, I'm like, heated, heated, heated. 169 00:07:30,000 --> 00:07:34,464 And now, I'm like, heated, heated, heated. 170 00:07:34,464 --> 00:07:36,755 And I got this hamburger in a bag because I'm starving. 171 00:07:36,755 --> 00:07:39,020 So I go in the room. 172 00:07:39,020 --> 00:07:43,500 And I'm eating a hamburger and doing the audition 173 00:07:43,500 --> 00:07:44,670 at same time. 174 00:07:44,670 --> 00:07:46,080 And we start doing it. 175 00:07:46,080 --> 00:07:48,990 And we're doing this scene in the car, me and this guy 176 00:07:48,990 --> 00:07:50,790 they hired as reader. 177 00:07:50,790 --> 00:07:52,780 And we're doing the scene. 178 00:07:52,780 --> 00:07:54,940 And I'm killing it. 179 00:07:54,940 --> 00:07:58,980 And this motherfucker gets lost on the page. 180 00:07:58,980 --> 00:08:00,000 And I'm like-- 181 00:08:00,000 --> 00:08:00,210 And I'm like-- 182 00:08:00,210 --> 00:08:01,480 I just stopped the audition. 183 00:08:01,480 --> 00:08:02,250 I went off on him. 184 00:08:02,250 --> 00:08:04,350 I cursed him out and told him, you know, 185 00:08:04,350 --> 00:08:06,850 if you-- if you can't do it, I can do both parts my fucking 186 00:08:06,850 --> 00:08:07,350 self. 187 00:08:07,350 --> 00:08:08,040 OK? 188 00:08:08,040 --> 00:08:10,550 So either get it right or get out. 189 00:08:10,550 --> 00:08:12,360 And boom, we do it. 190 00:08:12,360 --> 00:08:15,060 So I go through the audition, wham. 191 00:08:15,060 --> 00:08:17,850 Do every scene that Jules is supposed to do. 192 00:08:17,850 --> 00:08:20,880 Leave, get on the plane, go back. 193 00:08:20,880 --> 00:08:22,810 Start fresh Monday. 194 00:08:22,810 --> 00:08:24,890 Lawrence comes my trailer that morning and says, 195 00:08:24,890 --> 00:08:26,310 OK, the job is till yours. 196 00:08:26,310 --> 00:08:26,940 Don't worry. 197 00:08:26,940 --> 00:08:28,350 Everything's cool. 198 00:08:28,350 --> 00:08:30,000 But to be honest, we had really gone to lunch 199 00:08:30,000 --> 00:08:31,050 But to be honest, we had really gone to lunch 200 00:08:31,050 --> 00:08:32,490 to come back and try to figure out 201 00:08:32,490 --> 00:08:36,039 how to tell you that, you know, we got to cast this other guy. 202 00:08:36,039 --> 00:08:44,480 And it wasn't until you did the diner scene that you, like, 203 00:08:44,480 --> 00:08:47,900 rocked it, and knocked it out because we never 204 00:08:47,900 --> 00:08:50,270 knew how this movie was supposed to end 205 00:08:50,270 --> 00:08:53,330 until we saw you do that scene. 206 00:08:53,330 --> 00:08:59,960 So lesson in that is never accept the fact that somebody 207 00:08:59,960 --> 00:09:00,000 tells you that something is yours, 208 00:09:00,000 --> 00:09:02,000 tells you that something is yours, 209 00:09:02,000 --> 00:09:05,960 and never not do all the things that you've 210 00:09:05,960 --> 00:09:10,070 done to be the creative person that you are when you go 211 00:09:10,070 --> 00:09:12,710 into a room with some people no matter what they tell you, 212 00:09:12,710 --> 00:09:14,720 even if they tell you, well, we just want 213 00:09:14,720 --> 00:09:15,920 to hear what he sounds like. 214 00:09:15,920 --> 00:09:18,060 You don't have to have the performance down. 215 00:09:18,060 --> 00:09:19,650 Just-- just let us hear. 216 00:09:19,650 --> 00:09:20,810 That's bullshit. 217 00:09:20,810 --> 00:09:21,800 Always go in there. 218 00:09:21,800 --> 00:09:26,510 Every time you're in front of somebody, you're being judged. 219 00:09:26,510 --> 00:09:29,170 So that was-- that was that lesson. 1 00:00:00,000 --> 00:00:03,472 2 00:00:12,400 --> 00:00:14,920 So, wow. 3 00:00:14,920 --> 00:00:16,960 Thanks, guys, for being here today 4 00:00:16,960 --> 00:00:19,240 and for suffering through whatever it was I 5 00:00:19,240 --> 00:00:22,960 was throwing at you, and trying to see if I could pull out 6 00:00:22,960 --> 00:00:24,500 of you or whatever. 7 00:00:24,500 --> 00:00:27,190 Hopefully, you got something out of this, 8 00:00:27,190 --> 00:00:28,890 something that will be beneficial 9 00:00:28,890 --> 00:00:30,000 that you can use going forward in this business called show. 10 00:00:30,000 --> 00:00:35,300 that you can use going forward in this business called show. 11 00:00:35,300 --> 00:00:37,800 See how that works for you. 12 00:00:37,800 --> 00:00:39,530 At least things to think about. 13 00:00:39,530 --> 00:00:44,950 Things to try and do, things to enhance your thought 14 00:00:44,950 --> 00:00:46,827 process when you're looking at a script 15 00:00:46,827 --> 00:00:48,910 or looking at a character and trying to figure out 16 00:00:48,910 --> 00:00:52,880 how you want to go in a room and present your best self to them, 17 00:00:52,880 --> 00:00:53,910 you know, whatever. 18 00:00:53,910 --> 00:00:56,170 Or if you look at these films again and say, 19 00:00:56,170 --> 00:00:58,320 what was he talking about? 20 00:00:58,320 --> 00:01:00,000 That's not what they're doing. 21 00:01:00,000 --> 00:01:00,340 That's not what they're doing. 22 00:01:00,340 --> 00:01:04,900 But, you know, it's a tough business. 23 00:01:04,900 --> 00:01:07,720 You know, there are a lot of things that go your way, 24 00:01:07,720 --> 00:01:09,490 a lot of things don't-- mostly don't. 25 00:01:09,490 --> 00:01:10,760 You know, we here know a lot. 26 00:01:10,760 --> 00:01:12,557 We learn how to deal with it, you know. 27 00:01:12,557 --> 00:01:14,140 You guys are still going to auditions, 28 00:01:14,140 --> 00:01:15,820 so you know that, you know. 29 00:01:15,820 --> 00:01:19,510 That that's just the nature of the beast. 30 00:01:19,510 --> 00:01:25,442 It's designed to defeat you in a way. 31 00:01:25,442 --> 00:01:27,150 Is there anything, like, in particular, 32 00:01:27,150 --> 00:01:29,232 that you can think of, like one thing that you 33 00:01:29,232 --> 00:01:30,000 wish that you could go back and, like, tell yourself? 34 00:01:30,000 --> 00:01:31,440 wish that you could go back and, like, tell yourself? 35 00:01:35,040 --> 00:01:38,550 The one thing I wish I could go back and tell my young self 36 00:01:38,550 --> 00:01:42,270 is be patient, you know. 37 00:01:42,270 --> 00:01:44,930 Everything happens in its own time. 38 00:01:44,930 --> 00:01:49,560 I lost sight of this because I was doing 39 00:01:49,560 --> 00:01:51,500 Pulitzer Prize-winning plays. 40 00:01:51,500 --> 00:01:54,140 I was working with actors and directors who 41 00:01:54,140 --> 00:02:00,000 were helping me find my way inside of a character 42 00:02:00,000 --> 00:02:00,050 were helping me find my way inside of a character 43 00:02:00,050 --> 00:02:04,760 to develop and create a method of working that serves me 44 00:02:04,760 --> 00:02:06,950 well now. 45 00:02:06,950 --> 00:02:09,440 The kinds of things that we talked about in here today, 46 00:02:09,440 --> 00:02:12,320 were things that I learned how to explore character, 47 00:02:12,320 --> 00:02:16,010 and explore the meaning of what I was doing, 48 00:02:16,010 --> 00:02:19,920 and what was going on inside the story. 49 00:02:19,920 --> 00:02:26,330 And not wish for what this was, but that's it. 50 00:02:26,330 --> 00:02:28,779 I will teach myself patience, you know. 51 00:02:28,779 --> 00:02:30,000 But it's all about, it's all about getting up and going 52 00:02:30,000 --> 00:02:31,070 But it's all about, it's all about getting up and going 53 00:02:31,070 --> 00:02:33,252 to work, you know. 54 00:02:33,252 --> 00:02:35,756 Don't be afraid to get up and go to work. 55 00:02:35,756 --> 00:02:37,269 Well, you guys are great. 56 00:02:37,269 --> 00:02:38,810 Look forward to seeing you, hopefully 57 00:02:38,810 --> 00:02:40,811 somewhere on a movie set. 58 00:02:40,811 --> 00:02:41,310 Agreed. 59 00:02:44,660 --> 00:02:47,030 There is no formula for success. 60 00:02:47,030 --> 00:02:50,450 If there was and we could put it in a can, a lot of people 61 00:02:50,450 --> 00:02:51,000 would buy it. 62 00:02:51,000 --> 00:02:53,630 And that person would be rich. 63 00:02:53,630 --> 00:02:58,010 But the one thing for sure is success is, you know, 64 00:02:58,010 --> 00:03:00,000 the byproduct of hard work, you know. 65 00:03:00,000 --> 00:03:00,840 the byproduct of hard work, you know. 66 00:03:00,840 --> 00:03:01,730 Or what is that? 67 00:03:01,730 --> 00:03:05,370 Luck is the perfect meeting of preparation and opportunity, 68 00:03:05,370 --> 00:03:05,870 you know. 69 00:03:05,870 --> 00:03:08,856 If you're not prepared and opportunity knocks, 70 00:03:08,856 --> 00:03:11,330 I don't care how wide the door open is, you're not 71 00:03:11,330 --> 00:03:12,890 gonna get through it, you know. 72 00:03:12,890 --> 00:03:14,130 Gotta be prepared. 73 00:03:14,130 --> 00:03:16,520 So it's all about that and understanding 74 00:03:16,520 --> 00:03:21,060 the mechanics and fundamentals of what we do and how we do it. 75 00:03:21,060 --> 00:03:23,850 Those people tend to be more successful than the others, 76 00:03:23,850 --> 00:03:24,530 you know. 77 00:03:24,530 --> 00:03:26,988 You can't be a great basketball player if you can't dribble 78 00:03:26,988 --> 00:03:28,620 and you can't shoot, you know. 79 00:03:28,620 --> 00:03:30,000 You can't be a great actor if you can't understand 80 00:03:30,000 --> 00:03:31,660 You can't be a great actor if you can't understand 81 00:03:31,660 --> 00:03:34,230 and dissect the emotions of the people you're 82 00:03:34,230 --> 00:03:37,230 trying to interpret and interpret them in a way 83 00:03:37,230 --> 00:03:40,510 that people understand and recognize. 84 00:03:40,510 --> 00:03:41,580 So what do you want? 85 00:03:41,580 --> 00:03:43,920 Do you want to be, do you want to be an artist 86 00:03:43,920 --> 00:03:45,568 or do you want to be famous? 87 00:03:45,568 --> 00:03:48,436 88 00:03:51,790 --> 00:03:55,540 As independent as we want to be about who we are, 89 00:03:55,540 --> 00:03:59,620 we also have a responsibility to the rest 90 00:03:59,620 --> 00:04:00,000 of the people on this planet to be a certain kind of person 91 00:04:00,000 --> 00:04:03,550 of the people on this planet to be a certain kind of person 92 00:04:03,550 --> 00:04:05,290 to make this planet work. 93 00:04:05,290 --> 00:04:10,450 To, hopefully, make it a better place for everybody to be in. 94 00:04:10,450 --> 00:04:15,250 So when you have an opportunity to do something that makes that 95 00:04:15,250 --> 00:04:17,660 possible, you should do it. 96 00:04:17,660 --> 00:04:20,110 That's just the way of life. 97 00:04:20,110 --> 00:04:25,067 My grandmother fed hungry kids in my neighborhood who 98 00:04:25,067 --> 00:04:26,650 said they were coming to play with me, 99 00:04:26,650 --> 00:04:28,149 but they just came by my house cause 100 00:04:28,149 --> 00:04:30,000 they knew we had some food, and my grandmother fed them, 101 00:04:30,000 --> 00:04:30,550 they knew we had some food, and my grandmother fed them, 102 00:04:30,550 --> 00:04:31,990 you know, and she would feed them. 103 00:04:31,990 --> 00:04:35,590 Or my mom and my grandmother were bakers 104 00:04:35,590 --> 00:04:38,280 so every cake plate in my house had a cake on it 105 00:04:38,280 --> 00:04:40,480 and every cookie jar was full of cookies. 106 00:04:40,480 --> 00:04:44,100 And there was always fried pies on the back of the stove cause 107 00:04:44,100 --> 00:04:46,360 my grandfather ate them all day and every day. 108 00:04:46,360 --> 00:04:48,310 And, you know, there was just stuff. 109 00:04:48,310 --> 00:04:51,780 So they knew that those kids were coming by here. 110 00:04:51,780 --> 00:04:54,460 Sure, they played with me, but they fed them too, you know. 111 00:04:54,460 --> 00:04:57,001 Or kids that had too many kids in their house, they did that. 112 00:04:57,001 --> 00:04:59,761 Or if they see the neighbor down the street needed something, 113 00:04:59,761 --> 00:05:00,000 the old lady, you know-- 114 00:05:00,000 --> 00:05:00,760 the old lady, you know-- 115 00:05:00,760 --> 00:05:03,030 Sam, take this over to Miss so-and-so's house, 116 00:05:03,030 --> 00:05:06,070 and sit there and talk to her, you know. 117 00:05:06,070 --> 00:05:09,220 And bring my plate back. 118 00:05:09,220 --> 00:05:13,090 So, you know, you learn to answer to people. 119 00:05:13,090 --> 00:05:22,020 Having a responsibility to society and to yourself 120 00:05:22,020 --> 00:05:25,920 to set a standard that creates in you a thing that 121 00:05:25,920 --> 00:05:27,660 makes you the kind of person that 122 00:05:27,660 --> 00:05:29,700 can relate to other people. 123 00:05:29,700 --> 00:05:30,000 Actors should be able to relate to other people. 124 00:05:30,000 --> 00:05:32,520 Actors should be able to relate to other people. 125 00:05:32,520 --> 00:05:36,450 Actors are in the business of relaying their feelings-- 126 00:05:36,450 --> 00:05:39,320 or relaying the feelings of whatever their character is 127 00:05:39,320 --> 00:05:40,320 in that story-- 128 00:05:40,320 --> 00:05:41,820 to an audience out there. 129 00:05:41,820 --> 00:05:44,350 That's your responsibility. 130 00:05:44,350 --> 00:05:47,430 And when I hear actors say I can't stand to watch myself 131 00:05:47,430 --> 00:05:50,340 on screen, I go, well, why the hell should somebody 132 00:05:50,340 --> 00:05:54,059 pay $15 to watch you and you don't want to watch yourself? 133 00:05:54,059 --> 00:05:55,350 You know, what's your standard? 134 00:05:55,350 --> 00:05:56,975 If you don't watch yourself, how do you 135 00:05:56,975 --> 00:05:58,310 know you're doing it right? 136 00:05:58,310 --> 00:06:00,000 You know, so give me a break on that, you know. 137 00:06:00,000 --> 00:06:00,840 You know, so give me a break on that, you know. 138 00:06:00,840 --> 00:06:03,150 It's a look-at-me business. 139 00:06:03,150 --> 00:06:08,570 But having people to answer to and understanding 140 00:06:08,570 --> 00:06:13,340 that it's not an obligation, but it's 141 00:06:13,340 --> 00:06:17,570 something that's going to make your life better. 142 00:06:17,570 --> 00:06:21,640 Because when you meet that standard, there's a reward-- 143 00:06:21,640 --> 00:06:24,790 whether it's applause, whether it's 144 00:06:24,790 --> 00:06:27,610 a hug, whether it's a smile-- 145 00:06:27,610 --> 00:06:30,000 but the most important thing being, you know, job well done. 146 00:06:30,000 --> 00:06:31,930 but the most important thing being, you know, job well done. 147 00:06:31,930 --> 00:06:34,450 When you finish this course, first thing you should do 148 00:06:34,450 --> 00:06:39,130 is sit down, think about what you've seen, 149 00:06:39,130 --> 00:06:45,700 see how those things apply to you and try them. 150 00:06:45,700 --> 00:06:48,910 See how much fun you have or don't have. 151 00:06:48,910 --> 00:06:51,520 And then, send me a tweet telling me 152 00:06:51,520 --> 00:06:52,789 how much you loved it. 153 00:06:52,789 --> 00:06:56,212 154 00:07:04,050 --> 00:07:07,250 SAMUEL L. JACKSON: Fuck, that was awesome. 155 00:07:07,250 --> 00:07:08,395 CREW: That was amazing. 156 00:07:08,395 --> 00:07:09,270 CREW: Yeah, cut, cut. 157 00:07:09,270 --> 00:07:10,853 SAMUEL L. JACKSON: I don't feel like I 158 00:07:10,853 --> 00:07:12,250 can do it any better than that. 159 00:07:12,250 --> 00:07:13,800 I can't do it any better than that. 160 00:07:13,800 --> 00:07:14,520 That was-- 161 00:07:14,520 --> 00:07:14,970 CREW: That was nice. 162 00:07:14,970 --> 00:07:16,636 SAMUEL L. JACKSON: That was outstanding. 163 00:07:16,636 --> 00:07:17,450 CREW: Nice.