1 00:00:04,650 --> 00:00:10,350 My favorite road movies are Kings of the Road and Alice in the City. Obviously, 2 00:00:10,410 --> 00:00:14,430 Paper Moon and Bonnie and Clyde. Vanishing Point, Thelma and Louise. 3 00:00:14,950 --> 00:00:17,910 Grapes of Wrath and Easy Rider is a brilliant road movie. 4 00:00:18,130 --> 00:00:19,930 All the ones I can think of are the ones I've done. 5 00:00:20,210 --> 00:00:22,710 I've seen Five Easy Pieces many, many times. 6 00:00:23,110 --> 00:00:26,150 Dino Ricci's Il Serpasso. Straight Story, I love that. 7 00:00:26,450 --> 00:00:28,750 I don't have any one favorite. 8 00:00:29,010 --> 00:00:32,110 I kind of enjoy all of them, anything that has to do with it. 9 00:00:32,380 --> 00:00:36,520 cars going fast and round corners and raising hell with the cops and things 10 00:00:36,520 --> 00:00:37,840 like that. I kind of enjoy that. 11 00:01:04,740 --> 00:01:06,160 Explode into space 12 00:01:38,060 --> 00:01:45,000 Taking a drive crossing this country of 3,000 miles with such different terrain 13 00:01:45,000 --> 00:01:46,000 is extraordinary. 14 00:01:46,020 --> 00:01:48,440 It seems to be forever. 15 00:01:53,540 --> 00:01:58,800 I think there's something about America, that idea of mobility, being there from 16 00:01:58,800 --> 00:02:02,780 the beginning, starting with the pilgrims coming here from England. It's 17 00:02:02,780 --> 00:02:03,780 connected with this. 18 00:02:04,530 --> 00:02:08,810 romanticism about the american landscape that is such a part of our our national 19 00:02:08,810 --> 00:02:15,690 identity i was always fascinated by this country the size 20 00:02:15,690 --> 00:02:20,630 in europe you know you go 100 miles you're in a different country different 21 00:02:20,630 --> 00:02:27,590 language what i saw did blow my mind i must say it was everything i 22 00:02:27,590 --> 00:02:32,650 was hoping it was and so much more i meant to 23 00:02:33,370 --> 00:02:37,810 I never actually believed that it exists. 24 00:02:39,170 --> 00:02:43,890 I really love it more than any other landscape in the world because it is so 25 00:02:43,890 --> 00:02:50,050 resistant and so ancient and wise and full of strange beauty. 26 00:02:55,470 --> 00:02:58,850 You know what I love about this country, and I think Gertrude Stein said it, is 27 00:02:58,850 --> 00:03:02,190 that there's more empty space where there are no people than places where 28 00:03:02,190 --> 00:03:03,190 there are people. 29 00:03:03,550 --> 00:03:07,010 I'm astounded at the level of emptiness out there. 30 00:03:07,930 --> 00:03:11,210 There's something very freeing about being out in the middle of nowhere and 31 00:03:11,210 --> 00:03:15,650 nobody fucking knows where you are. I aspire to having landscape reflect, 32 00:03:15,870 --> 00:03:22,770 you know, exterior landscape reflect interior landscape, and you see 33 00:03:22,770 --> 00:03:24,430 that a lot in westerns. 34 00:03:27,880 --> 00:03:31,340 When people came to this country, there were no roads, so you could say that the 35 00:03:31,340 --> 00:03:34,220 history of this country was about the road in a way. 36 00:03:34,440 --> 00:03:39,660 There was that amazing time for maybe 100, 150 years when the road was open 37 00:03:39,660 --> 00:03:43,380 -ended. When it wasn't going from A to B, it was just going. 38 00:03:44,000 --> 00:03:46,140 We're about ready to fall out of that saddle. 39 00:03:46,600 --> 00:03:48,140 Why don't we rest up for a little? 40 00:03:48,360 --> 00:03:49,380 I'm not that tired. 41 00:03:49,860 --> 00:03:53,420 I think without the westerns, we would never have... I mean, I think road 42 00:03:53,420 --> 00:03:55,740 movies are just extensions of westerns. 43 00:03:57,260 --> 00:04:01,260 They fulfill the same fantasy element that Westerns did for sure. 44 00:04:01,460 --> 00:04:06,060 Of course there were no cars, but horses and carriages probably qualify. 45 00:04:06,420 --> 00:04:10,080 The real tradition of roads in this country is trails. 46 00:04:11,600 --> 00:04:13,200 You know, there were trails everywhere. 47 00:04:23,950 --> 00:04:29,690 The first round trip on air-filled tires was made in 1918 by trucks following 48 00:04:29,690 --> 00:04:32,450 wagon roads and the old Santa Fe Trail. 49 00:04:33,150 --> 00:04:37,990 The natural American inclination to wanderlust had found the perfect outlet. 50 00:04:38,430 --> 00:04:43,050 It's a country that kept moving west and so the culture is just one of movement. 51 00:04:43,330 --> 00:04:47,730 Keep going, keep going, you know, we'll find paradise someday. 52 00:04:55,240 --> 00:04:56,800 The dust storms never blow. 53 00:04:57,780 --> 00:05:00,640 I'm going where them dust storms never blow. 54 00:05:01,640 --> 00:05:07,040 I'm going where them dust storms never blow, blow, blow. And I ain't going to 55 00:05:07,040 --> 00:05:08,320 be treated this way. 56 00:05:09,360 --> 00:05:14,500 One of the reasons that people go on the road is because of economic pressures. 57 00:05:14,880 --> 00:05:20,080 And so that makes the Depression a perfect setting for the road movie. 58 00:05:20,300 --> 00:05:22,320 You've been looking for a job for over two months now. 59 00:05:22,600 --> 00:05:24,780 What good would it do for me to look for one? 60 00:05:25,160 --> 00:05:27,120 Even my father can't get work. 61 00:05:27,680 --> 00:05:29,600 Maybe it would be better in some other place. 62 00:05:30,220 --> 00:05:32,540 Any place would be better than this dumb town. 63 00:05:38,700 --> 00:05:41,080 Us three kids have been traveling around the country looking for work. 64 00:05:42,080 --> 00:05:43,880 You don't think we like the road, do you? 65 00:06:12,400 --> 00:06:17,460 In my memory, a great road picture was Grapes of Wrath, because I was born in 66 00:06:17,460 --> 00:06:22,120 the Dust Bowl during that period just after that in 1936 in Kansas, and the 67 00:06:22,120 --> 00:06:23,120 whole country had blown away. 68 00:06:23,440 --> 00:06:27,440 So I remember going to school, and I was like five years old with a gas mask, you 69 00:06:27,440 --> 00:06:30,160 know, part of the time, because I couldn't even see the sun. It was like a 70 00:06:30,160 --> 00:06:33,340 little, you know, I'd see a little orange ball every once in a while. I 71 00:06:33,340 --> 00:06:37,020 used to tell people the first light I saw was in a movie theater, you know, in 72 00:06:37,020 --> 00:06:38,020 a projector. 73 00:06:38,500 --> 00:06:39,500 What's your name? 74 00:06:40,460 --> 00:06:41,460 Jode. 75 00:06:41,710 --> 00:06:42,710 Tom Joad. 76 00:06:43,250 --> 00:06:47,510 Grapes of Wrath is probably the greatest, certainly the darkest road 77 00:06:47,510 --> 00:06:52,970 movie I can think of. One of the darkest movies made in the studio system. 78 00:06:53,610 --> 00:06:57,790 A hundred folks and no place to live but on the road. 79 00:06:58,390 --> 00:07:02,790 The Rances, the Peterses, the Perrys, the Jogses. 80 00:07:03,010 --> 00:07:05,690 One right after the other, they got thrown out. 81 00:07:06,350 --> 00:07:08,690 Half the folks, you and me know. 82 00:07:09,240 --> 00:07:10,980 It's thrown right down into the road. 83 00:07:11,720 --> 00:07:16,000 At the core of the road movie is a impulse of cultural critique. 84 00:07:16,400 --> 00:07:19,520 I'm going out on the road to find out what it's like to be poor and needy, and 85 00:07:19,520 --> 00:07:21,700 then I'm going to make a picture about it. If you'll permit me to say so, sir, 86 00:07:21,740 --> 00:07:23,120 the subject is not an interesting one. 87 00:07:23,340 --> 00:07:26,980 The poor know all about poverty, and only the morbid rich would find the 88 00:07:26,980 --> 00:07:27,819 topic glamorous. 89 00:07:27,820 --> 00:07:30,960 I love Sullivan's Travel. I think Sullivan's Travel is brilliant. 90 00:07:31,200 --> 00:07:34,080 I want to make O Brother Where Art Thou, and I'll tell you what I'm going to do 91 00:07:34,080 --> 00:07:35,079 first. 92 00:07:35,080 --> 00:07:38,200 I'm going down to the wardrobe and get some old clothes, some old shoes. 93 00:07:38,480 --> 00:07:41,880 Huh? And I'm going to start out with 10 cents in my pocket. What? I don't know 94 00:07:41,880 --> 00:07:44,760 where I'm going, but I'm not coming back till I know what trouble is. What? 95 00:07:45,040 --> 00:07:51,440 The film is about a movie director who, during the Depression, wants to make the 96 00:07:51,440 --> 00:07:56,840 social statement. So it's a parody of a lot of the social conscience films from 97 00:07:56,840 --> 00:07:59,560 the 30s. How do you feel about the labor situation? 98 00:08:03,370 --> 00:08:06,830 You know, another great road movie that had a great impact on me is It Happened 99 00:08:06,830 --> 00:08:07,830 One Night. 100 00:08:08,190 --> 00:08:10,870 I'll stop a car and I won't use my thumb. 101 00:08:11,150 --> 00:08:12,150 What are you going to do? 102 00:08:12,810 --> 00:08:14,690 It's a system on my own. 103 00:08:23,690 --> 00:08:27,970 It Happened One Night is just about a perfect screwball comedy, and it's a 104 00:08:27,970 --> 00:08:28,970 road movie. 105 00:08:30,090 --> 00:08:32,789 You've got a runaway heiress. 106 00:08:33,150 --> 00:08:35,010 She can't take care of herself. 107 00:08:35,909 --> 00:08:37,390 Donut. Thanks. 108 00:08:37,650 --> 00:08:41,530 It was very reassuring to the audience who were plunking down their ten cents 109 00:08:41,530 --> 00:08:47,010 to see that this rich girl wasn't happy. I've always been told what to do and how 110 00:08:47,010 --> 00:08:48,770 to do it and when and with whom. 111 00:08:49,110 --> 00:08:52,110 Furthermore, she didn't even know how to dunk her donut. 112 00:08:52,570 --> 00:08:54,310 Say, where'd you learn to dunk? In finishing school? 113 00:08:55,370 --> 00:08:59,090 It was a way of saying in the Depression, you may be poor, but the 114 00:08:59,090 --> 00:09:01,790 rich aren't really any better off than you are. 115 00:09:03,010 --> 00:09:09,130 There is some comments on the Depression, but they're kept at a 116 00:09:09,130 --> 00:09:11,890 minimum, and the romantic part is what counts. 117 00:09:12,310 --> 00:09:14,850 It's arguably Capra's most perfect picture. 118 00:09:19,250 --> 00:09:23,390 Victory and the lives of our own men in uniform depend upon you. 119 00:09:24,000 --> 00:09:29,120 Everything was upbeat in the war. People were together, focused to do this job. 120 00:09:29,320 --> 00:09:32,120 And then suddenly we did it, and now what? 121 00:09:32,480 --> 00:09:38,080 We're just going to make money and spend money and buy things and build things. 122 00:09:38,260 --> 00:09:45,040 I'm a rolling stone, all alone and lost. People felt 123 00:09:45,040 --> 00:09:47,020 something was wrong. 124 00:10:00,140 --> 00:10:04,500 You can't overstate the influence of film noir on the road movie. Keep 125 00:10:04,500 --> 00:10:08,980 driving. Going out on the road is going out into something that is unfamiliar 126 00:10:08,980 --> 00:10:11,540 and uncertain and can be very dangerous. 127 00:10:12,000 --> 00:10:14,720 The only way I could cross country was to thumb rides. 128 00:10:15,100 --> 00:10:18,020 Or even after hocking everything, I only had enough money to eat. 129 00:10:19,040 --> 00:10:20,040 Money. 130 00:10:20,340 --> 00:10:21,480 You know what that is. 131 00:10:22,320 --> 00:10:24,040 It's the stuff you never have enough of. 132 00:10:24,360 --> 00:10:27,620 Little green things with George Washington's picture that men slave for. 133 00:10:28,060 --> 00:10:29,860 commit crimes for, die for. 134 00:10:30,420 --> 00:10:32,400 Detour is one of my favorite movie's period. 135 00:10:32,820 --> 00:10:38,560 It has that existential spirit of being on the road more than any of the films 136 00:10:38,560 --> 00:10:39,560 of that period. 137 00:10:40,300 --> 00:10:43,960 You know, Emily Post ought to write a book of rules for guys thumbing rides. 138 00:10:44,820 --> 00:10:47,560 Because as it is now, you never know what's right and what's wrong. 139 00:10:47,960 --> 00:10:51,860 It is so... hopeless. 140 00:10:53,300 --> 00:10:54,300 Yes. 141 00:10:56,080 --> 00:11:02,980 Fate, or some mysterious force, can put the finger on you or me for no good 142 00:11:02,980 --> 00:11:03,980 reason at all. 143 00:11:09,260 --> 00:11:11,320 You know what we're gonna do when we get to Mexico? 144 00:11:12,900 --> 00:11:15,740 Buy ourselves a nice ranch and settle down. 145 00:11:16,120 --> 00:11:19,940 In most woke movies, the idea of family is like a dream. 146 00:11:20,580 --> 00:11:23,880 And these restless people, they have this vision. 147 00:11:24,380 --> 00:11:30,140 or that they desire to be grounded somewhere but then again they can't 148 00:11:30,140 --> 00:11:36,700 decide where it is that they belong the idea to make a decision 149 00:11:36,700 --> 00:11:41,580 to marry and have children they just can't make the decision because the 150 00:11:41,580 --> 00:11:47,140 temptation of going on is just too big look i don't want to look in that mirror 151 00:11:47,140 --> 00:11:49,600 and see nothing but a stick-up man staring back at me 152 00:11:52,200 --> 00:11:53,780 You better kiss me goodbye, Bart. 153 00:11:54,500 --> 00:12:00,060 In my hometown, nobody was talking about love is a many-splendored thing. People 154 00:12:00,060 --> 00:12:04,740 liked gun crazy because it was about guns, and it was about crazy, two things 155 00:12:04,740 --> 00:12:06,200 that we understood. 156 00:12:06,860 --> 00:12:07,860 I'll kill you. 157 00:12:23,720 --> 00:12:29,500 In the 50s, we're experiencing a disillusionment, a kind of post-war 158 00:12:29,500 --> 00:12:35,480 letdown. It comes out with the new need to make road pictures that appeal to the 159 00:12:35,480 --> 00:12:36,480 idea of escape. 160 00:13:13,260 --> 00:13:17,380 It gets really interesting with the advent of, like, suburbia, Americans 161 00:13:17,380 --> 00:13:20,040 being able to move around a lot. 162 00:13:20,340 --> 00:13:24,860 One of our modern points of pride or shame is the fact that you can go 163 00:13:24,860 --> 00:13:30,440 through a day, eat, take in a movie, do your laundry, shop, go to the library 164 00:13:30,440 --> 00:13:34,220 and bank, all without once having to leave your car. 165 00:13:34,500 --> 00:13:41,300 Now the American prosperity is starting, the baby boom is starting, and people... 166 00:13:41,550 --> 00:13:48,470 wanted to explore the country a tall lanky fellow in a gallon hat 167 00:13:48,470 --> 00:13:52,790 stopped his car on the wrong side of the road and came over to us he looked like 168 00:13:52,790 --> 00:13:58,650 a sheriff boy's going to get somewhere or just going we didn't understand his 169 00:13:58,650 --> 00:14:04,130 question and it was a damn good question in an odd way the first road movie is a 170 00:14:04,130 --> 00:14:10,230 book and it is on the road which really informed an enormous number 171 00:14:10,940 --> 00:14:12,380 of filmmakers as a book. 172 00:14:12,700 --> 00:14:17,740 These two guys, Sal and Dean, just keep driving back and forth across the 173 00:14:17,740 --> 00:14:19,760 country, and they keep having all these adventures. 174 00:14:20,400 --> 00:14:22,500 A magnificent car made the wind roar. 175 00:14:22,700 --> 00:14:27,420 It made the plains unfold like a roll of paper. It cast hot tar from itself for 176 00:14:27,420 --> 00:14:30,420 deference. It made me want to have a Hudson Hornet. 177 00:14:31,560 --> 00:14:33,940 That was the greatest stock car of its time. 178 00:14:34,260 --> 00:14:39,260 It looked like a big, deadly insect, but it goes very fast. They had a great 179 00:14:39,260 --> 00:14:40,260 engine. 180 00:14:41,200 --> 00:14:46,920 There was a whole feeling that you can't just accept everything. You have to get 181 00:14:46,920 --> 00:14:51,680 in there and do things. You have to look for who you are. You have to fight for 182 00:14:51,680 --> 00:14:52,680 who you are. 183 00:14:55,480 --> 00:14:59,440 The idea of the road, from Kerouac's point of view, quite radically different 184 00:14:59,440 --> 00:15:02,940 from people who were traveling those trails to get somewhere. 185 00:15:03,600 --> 00:15:05,500 They had a purpose. They had an objective. 186 00:15:06,500 --> 00:15:11,280 Whereas the Kerouac thing suddenly is nobody knows what to do, so let's just 187 00:15:11,280 --> 00:15:12,280 hit the road. 188 00:15:12,420 --> 00:15:13,940 It's a lostness, you know. 189 00:15:15,180 --> 00:15:18,180 Which is just the way the culture went, I think. 190 00:15:31,220 --> 00:15:34,500 I had been the art director of Escar Magazine. 191 00:15:35,070 --> 00:15:37,610 David Newman was one of the junior editors. 192 00:15:38,030 --> 00:15:41,050 It was our job to look for what was coming up next. 193 00:15:41,990 --> 00:15:48,890 And we were always looking at life for what was going to happen, for signs of 194 00:15:48,890 --> 00:15:49,890 change. 195 00:15:51,510 --> 00:15:55,010 And we saw a sign of change in The New Wave. 196 00:15:56,670 --> 00:15:59,550 I was like a fan of what was being done in Europe. 197 00:16:00,310 --> 00:16:01,750 With Truffaut, mostly. 198 00:16:01,950 --> 00:16:05,450 I mean, I liked Godard's ideas. I wasn't so fond of his movies, except for 199 00:16:05,450 --> 00:16:06,450 Breathless. 200 00:16:07,890 --> 00:16:13,050 It's Hollywood. A lot of things were done on sets or were done in studios. 201 00:16:13,330 --> 00:16:16,470 And I loved the idea of being able to go out in the street and shoot. 202 00:16:16,690 --> 00:16:21,830 The whole world's a soundstage. Those kind of ideas were so, so important to 203 00:16:21,830 --> 00:16:27,490 me. American movies had become very retro, had become stagnant. It was just 204 00:16:27,490 --> 00:16:28,950 a moment that everything... 205 00:16:29,560 --> 00:16:30,560 had to change. 206 00:16:35,500 --> 00:16:39,980 Bonnie and Clyde I consider to be really the foundation or the beginning of the 207 00:16:39,980 --> 00:16:40,980 road movie proper. 208 00:16:41,120 --> 00:16:45,420 It's a lot of this kind of new wave style jump cut editing. 209 00:16:48,400 --> 00:16:54,080 They wanted to take it out into the spaces where people like Bonnie and 210 00:16:54,080 --> 00:16:56,600 Clyde had actually done what they did. 211 00:17:04,140 --> 00:17:05,140 C.W. Moss. 212 00:17:05,319 --> 00:17:09,380 Well, I'm Miss Bonnie Parker, and this here's Mr. Clyde Barrow. 213 00:17:09,599 --> 00:17:11,220 We rob bank. 214 00:17:11,920 --> 00:17:13,000 I'll be all right. 215 00:17:14,560 --> 00:17:21,440 Bonnie and Clyde and C.W. and Buck and Blanche all form an ad 216 00:17:21,440 --> 00:17:25,420 hoc family, and their home is this car. 217 00:17:25,859 --> 00:17:31,280 Law enforcement officers throughout the Southwest are frankly amazed at the way 218 00:17:31,280 --> 00:17:33,620 in which the will of the West Bandit Clyde Barrow... 219 00:17:33,870 --> 00:17:38,190 and his yellow-haired companion, Bonnie Parker, continued to elude their would 220 00:17:38,190 --> 00:17:42,650 -be captors. We didn't want to see them as sociopaths. We didn't want to see 221 00:17:42,650 --> 00:17:48,930 them as psychopaths. We wanted them to be very much like all of us. So you are 222 00:17:48,930 --> 00:17:53,290 identified with Bonnie and Clark, and you cannot distance yourself 223 00:17:53,290 --> 00:17:57,330 emotionally. I think if they were just outlaws, they wouldn't have entered it. 224 00:17:57,390 --> 00:18:00,550 But the idea that they were separate from society. 225 00:18:02,000 --> 00:18:04,100 They couldn't have fit in normal society. 226 00:18:05,300 --> 00:18:06,820 They wouldn't have fit anywhere. 227 00:18:13,960 --> 00:18:15,420 Where are you going when you leave here? 228 00:18:16,780 --> 00:18:19,820 I mean, do you just ride around or do you go on some sort of a picnic or 229 00:18:19,820 --> 00:18:20,820 something? 230 00:18:22,200 --> 00:18:24,760 A picnic? Man, you are too square. 231 00:18:25,040 --> 00:18:26,700 I have to straighten you out. 232 00:18:28,040 --> 00:18:31,440 Now, listen, you don't go any one special place. That's cornball style. 233 00:18:31,900 --> 00:18:32,900 You just go. 234 00:18:34,360 --> 00:18:34,880 What 235 00:18:34,880 --> 00:18:43,900 are 236 00:18:43,900 --> 00:18:44,900 you leaving? 237 00:18:46,220 --> 00:18:47,220 Suburbia. 238 00:18:47,460 --> 00:18:49,980 What are you leaving? A 9-to-5 job. 239 00:18:50,240 --> 00:18:51,540 What are you leaving? The family. 240 00:18:52,200 --> 00:18:56,720 The whole thing of that is a country or is a nation resides in the... 241 00:18:56,960 --> 00:18:57,980 places where people live. 242 00:18:59,720 --> 00:19:02,080 And if you say, so long, Charlie. 243 00:19:02,780 --> 00:19:04,120 I'm not accepting this. 244 00:19:04,660 --> 00:19:05,660 Bye-bye. 245 00:19:05,880 --> 00:19:07,780 Then you really are turning your back. 246 00:19:09,800 --> 00:19:14,760 Showtime. No crowds to bark. Just go get it. The second part of the 60s. Now, 247 00:19:14,760 --> 00:19:18,480 these drive-in theaters, they ate up the B movies, you know, the exploitation 248 00:19:18,480 --> 00:19:23,960 films. And that's how it was born, you know, all these accent film, horror 249 00:19:23,960 --> 00:19:27,540 movies. and amongst other stuff, the Pike movies. 250 00:19:33,380 --> 00:19:35,960 Sex, violence, popcorn. 251 00:19:36,320 --> 00:19:40,180 I mean, these movies were really, really very cheaply made. 252 00:19:42,180 --> 00:19:44,020 Jack did Hell's Angels on Wheels. 253 00:19:44,220 --> 00:19:45,360 That was probably the best one. 254 00:19:46,300 --> 00:19:51,240 And then Peter had the biggest success with The Wild Angels, a big hit. In the 255 00:19:51,240 --> 00:19:55,160 Angel Gang, if you're one man's woman... You're his old lady. 256 00:19:55,460 --> 00:19:58,240 If you're a mama, you're every man's woman. 257 00:19:58,460 --> 00:20:03,080 There's no doubt that Peter Fonda and Dennis Hopper got together and said they 258 00:20:03,080 --> 00:20:05,940 wanted to do something like the Wild Angels, but different. 259 00:20:10,800 --> 00:20:16,400 I pulled into Nazareth, was feeling about half past dead. 260 00:20:17,500 --> 00:20:22,820 I just need some place where I can lay my head. 261 00:20:25,770 --> 00:20:31,070 Can you tell me where a man might find a band? A man went looking for America and 262 00:20:31,070 --> 00:20:32,070 couldn't find it anywhere? 263 00:20:33,570 --> 00:20:34,910 I don't know what it means. 264 00:20:36,890 --> 00:20:40,010 That was some publicist's idea of what the movie was about. 265 00:20:40,430 --> 00:20:44,690 The tagline's a little bit hyperbolic for Easy Rider. They couldn't find it 266 00:20:44,690 --> 00:20:48,350 anywhere. I don't think so. I think they find it. I think that when they're 267 00:20:48,350 --> 00:20:51,550 sitting around the campfire smoking on a joint and talking about freedom, that's 268 00:20:51,550 --> 00:20:55,940 America. You know, and these guys across a wide cultural divide connect. 269 00:20:56,200 --> 00:20:57,200 That's America. 270 00:20:57,240 --> 00:20:59,500 What the hell's wrong with freedom, man? That's what it's all about. 271 00:20:59,740 --> 00:21:02,480 Oh, yeah, that's right. That's what it's all about, all right. 272 00:21:03,920 --> 00:21:07,460 Of course, don't ever tell anybody that they're not free, because then they're 273 00:21:07,460 --> 00:21:11,460 going to get real busy killing and maiming to prove to you that they are. 274 00:21:12,280 --> 00:21:18,240 Each decade's road movies takes on whatever is a main issue of its time. 275 00:21:18,520 --> 00:21:19,560 Easy Rider. 276 00:21:20,490 --> 00:21:23,670 It put the drugs really overtly on the screen. 277 00:21:24,230 --> 00:21:30,650 It put the politics overtly on the screen. 278 00:21:48,620 --> 00:21:52,720 I made it at a time that the whole country was like in the middle of a 279 00:21:52,720 --> 00:21:53,720 riot. 280 00:21:54,260 --> 00:21:58,160 I mean, the universities were burning down. There was a war, an unpopular war 281 00:21:58,160 --> 00:21:59,099 going on. 282 00:21:59,100 --> 00:22:01,500 So there was a lot of different reaction. 283 00:22:02,140 --> 00:22:08,180 When I showed it in Los Angeles, they stood up and screamed, kill the pigs, 284 00:22:08,420 --> 00:22:10,860 screaming, kill the pigs, okay? 285 00:22:11,120 --> 00:22:12,019 All right. 286 00:22:12,020 --> 00:22:17,180 I see it in New Orleans, and they cheer. 287 00:22:17,850 --> 00:22:18,850 when we're shot. 288 00:22:20,550 --> 00:22:21,550 Okay. 289 00:22:21,770 --> 00:22:24,890 Now, I went, oh, wait a second. 290 00:22:25,290 --> 00:22:28,350 Maybe things aren't gonna change as much as I think. 291 00:22:32,650 --> 00:22:35,230 This used to be a hell of a good country. 292 00:23:13,200 --> 00:23:15,520 A journey is a person in itself. 293 00:23:15,740 --> 00:23:16,940 No two are alike. 294 00:23:17,300 --> 00:23:21,780 And all plans, safeguards, policing and coercion are fruitless. 295 00:23:22,220 --> 00:23:26,500 We find after years of struggle that we do not take a trip. 296 00:23:26,840 --> 00:23:28,760 A trip takes us. 297 00:23:55,340 --> 00:23:56,340 Just go? 298 00:23:59,760 --> 00:24:06,580 He pushes the toe of his boot across the burned black rubber skid mark, follows 299 00:24:06,580 --> 00:24:11,980 the crazy swerve of tires with his eyes, sour smell of rubber, sweet smell of 300 00:24:11,980 --> 00:24:12,980 sand sweltering. 301 00:24:13,720 --> 00:24:18,500 Now a lizard moves, makes a fragile fish-like... Could it be that Americans 302 00:24:18,500 --> 00:24:20,140 are a restless people? 303 00:24:20,380 --> 00:24:21,800 A mobile people? 304 00:24:22,280 --> 00:24:25,220 never satisfied with where they are as a matter of selection. 305 00:24:25,940 --> 00:24:28,260 Hell, what do I got to stay around here for? 306 00:24:30,260 --> 00:24:35,560 The pioneers, the immigrants who peopled the continent, were the restless ones in 307 00:24:35,560 --> 00:24:36,560 Europe. 308 00:24:38,880 --> 00:24:42,420 The steady-rooted ones stayed home and are still there. 309 00:24:44,320 --> 00:24:45,320 Where to? 310 00:24:47,460 --> 00:24:49,160 But every one of us... 311 00:24:49,630 --> 00:24:54,750 are descended from the restless ones, the wayward ones who are not content to 312 00:24:54,750 --> 00:24:55,750 stay at home. 313 00:24:56,630 --> 00:25:01,010 Wouldn't it be unusual if we had not inherited this tendency? 314 00:25:02,690 --> 00:25:06,430 Sort of why I got involved with films, because it was really an obsession with 315 00:25:06,430 --> 00:25:07,109 the road. 316 00:25:07,110 --> 00:25:11,890 So then I saw these moving images, which, you know, related to my own 317 00:25:11,890 --> 00:25:17,150 personal restlessness and, you know, obsession with keeping moving. 318 00:25:19,240 --> 00:25:23,820 In a car, out on the road, it's one of the places where you're actually truly 319 00:25:23,820 --> 00:25:27,100 free and without any kind of restrictions or boundaries, with the 320 00:25:27,100 --> 00:25:32,040 possible exception of, you know, a speed limit or how fast your car will go. 321 00:25:32,300 --> 00:25:36,440 Well, I drove a rocket car 620 miles an hour. Is that fast enough for you? 322 00:25:44,980 --> 00:25:46,720 Thunderous send-off to Hal Needham. 323 00:25:48,139 --> 00:25:49,880 Americans have a love for speed. 324 00:25:50,620 --> 00:25:57,600 Everybody has, at one time or another, tested it. See how long, you know, can 325 00:25:57,600 --> 00:26:00,900 I get by the cops? Can I get there in a certain length of time and everything? 326 00:26:01,540 --> 00:26:02,560 It's just natural. 327 00:26:02,800 --> 00:26:08,700 The whole idea of speed as it relates to American culture is sort of a crucial 328 00:26:08,700 --> 00:26:12,320 idea. Look at the acceleration that we're going in now. 329 00:26:12,940 --> 00:26:15,280 Everything is going faster and faster and faster. 330 00:26:15,540 --> 00:26:17,980 Cars are bigger and burn up more gas. 331 00:26:18,480 --> 00:26:22,780 So you feel that the faster you go, that really, inevitably, you're headed for an 332 00:26:22,780 --> 00:26:28,220 implosion. You know, you're headed for, at the very least, chaos or a brick 333 00:26:28,220 --> 00:26:29,220 wall. 334 00:26:40,170 --> 00:26:47,130 This radio station was named Kowalski in honor of the last American hero to whom 335 00:26:47,130 --> 00:26:50,030 speed means freedom of the soul. 336 00:26:50,530 --> 00:26:56,430 I saw it as an opportunity to shoot speed, or to learn how to shoot speed, 337 00:26:56,510 --> 00:26:58,930 or to reach into the molecule of speed. 338 00:27:00,430 --> 00:27:04,590 In Vanishing Point, the guy's sort of furiously driving for some reason that 339 00:27:04,590 --> 00:27:07,410 has nothing to do with anything. I mean, there's just some arbitrary... 340 00:27:08,000 --> 00:27:11,360 Bet that he could do it and the movies not really about that 341 00:27:11,360 --> 00:27:20,680 He's 342 00:27:20,680 --> 00:27:24,080 an outlaw, but they don't really know why so it's really about this kind of 343 00:27:24,080 --> 00:27:29,600 manic nihilistic driving That's what we all wish we could do. We wish we could 344 00:27:29,600 --> 00:27:34,260 just keep going and going going and not have to come back to work 345 00:27:37,900 --> 00:27:41,860 The vanishing point for me was, you know, I saw that when I was 16 or 17 in 346 00:27:41,860 --> 00:27:47,340 that rebellious stage, and for this guy to sort of just, you know, blow off 347 00:27:47,340 --> 00:27:51,900 authority and just dictate for himself what his life was going to be as 348 00:27:51,900 --> 00:27:57,100 represented by this white Dodge Challenger and his need to drive fast, I 349 00:27:57,100 --> 00:27:58,100 mean, it's thrilling. 350 00:27:58,400 --> 00:28:02,560 On one hand, American cinema does celebrate the road as freedom, you know, 351 00:28:02,560 --> 00:28:04,440 and that notion's fueled by advertising. 352 00:28:04,920 --> 00:28:06,900 Ride Ford's new wave with Mustang. 353 00:28:07,310 --> 00:28:11,130 But I think they also get the alienation, you know, and the 354 00:28:11,130 --> 00:28:14,450 aimlessness and the roads that lead to nowhere. 355 00:28:20,590 --> 00:28:25,570 I, Richard Nixon, do solemnly swear that I will faithfully execute the... I shall 356 00:28:25,570 --> 00:28:29,410 resign the presidency... As daylight came, Saigon streets were empty. All 357 00:28:29,410 --> 00:28:31,270 Americans are to be evacuated immediately. 358 00:28:31,710 --> 00:28:34,670 In the 70s, everything was changing in American society. 359 00:28:35,200 --> 00:28:37,680 and cinema was reflecting this as a mirror. 360 00:28:40,660 --> 00:28:45,080 In Five Easy Pieces, Jack Nicholson's character doesn't really know where he's 361 00:28:45,080 --> 00:28:47,340 going or what he's doing, and he's kind of wandering. 362 00:28:49,000 --> 00:28:51,060 I love it. 363 00:28:51,720 --> 00:28:56,820 Five Easy Pieces, that's like an insanely great American road movie. 364 00:28:57,160 --> 00:28:58,300 What the hell are they doing? 365 00:29:00,720 --> 00:29:04,100 And just picking people up along the road like that, you know, that now 366 00:29:04,100 --> 00:29:05,460 they're in your car. 367 00:29:08,000 --> 00:29:09,000 Hey, 368 00:29:09,300 --> 00:29:10,440 what the hell's going on? 369 00:29:11,560 --> 00:29:12,560 Rotate, Mac! 370 00:29:13,300 --> 00:29:18,800 He picks up these two women who are, you know, sort of leftover hippies. 371 00:29:19,100 --> 00:29:20,100 Where are you going? 372 00:29:21,120 --> 00:29:22,120 Alaska. 373 00:29:23,020 --> 00:29:25,260 Alaska? What, are you on vacation? 374 00:29:25,940 --> 00:29:28,240 She wants to live there, because it's cleaner. 375 00:29:29,340 --> 00:29:31,360 Cleaner? Cleaner than what? 376 00:29:31,640 --> 00:29:35,780 It's very cynical, and we're supposed to be very cynical about them because 377 00:29:35,780 --> 00:29:39,440 they're hippies, and that didn't work. Truck drivers are the only ones that 378 00:29:39,440 --> 00:29:42,660 know the best places to stop on the road. Salesmen and cops are the ones. 379 00:29:42,880 --> 00:29:44,640 If you'd have a waitress, honey, you'd know that. 380 00:29:45,040 --> 00:29:46,260 No substitutions. 381 00:29:47,360 --> 00:29:49,860 Okay, I'll make it as easy for you as I can. 382 00:29:50,220 --> 00:29:55,020 I'd like an omelet, plain, and a chicken salad sandwich on wheat toast. 383 00:29:55,340 --> 00:29:58,960 No mayonnaise, no butter, no lettuce, and a cup of coffee. 384 00:29:59,560 --> 00:30:01,260 And number two, chicken salad sandwich. 385 00:30:01,920 --> 00:30:05,660 Hold the butter, the lettuce, the mayonnaise, and a cup of coffee. 386 00:30:06,360 --> 00:30:07,360 Anything else? 387 00:30:07,560 --> 00:30:12,000 Yeah, now all you have to do is hold the chicken, bring me the toast, give me a 388 00:30:12,000 --> 00:30:15,080 check for the chicken salad sandwich, and you haven't broken any rules. 389 00:30:15,620 --> 00:30:17,720 You want me to hold the chicken, huh? 390 00:30:17,920 --> 00:30:20,220 I want you to hold it between your knees. 391 00:30:20,720 --> 00:30:25,200 I think that that character finds himself somehow without any self-esteem 392 00:30:25,200 --> 00:30:27,760 and without any real identity. 393 00:30:29,130 --> 00:30:35,350 He refuses to identify with his home, refuses to really follow through on his 394 00:30:35,350 --> 00:30:37,050 education and his musical training. 395 00:30:39,410 --> 00:30:46,130 The most glorious definition, 396 00:30:46,430 --> 00:30:48,610 I think, of being on the road is not wanting to arrive. 397 00:30:48,950 --> 00:30:52,030 And the more you do it, the less you want to get anywhere. 398 00:30:54,850 --> 00:30:57,050 He was a silent small boy. 399 00:30:58,000 --> 00:31:00,260 After a week, it could stand it no longer. 400 00:31:01,040 --> 00:31:04,540 He said, if you'll take me with you, why, I'll do anything. 401 00:31:06,120 --> 00:31:08,420 Unfortunately for me, I knew his longing. 402 00:31:09,140 --> 00:31:12,260 He had the dream I've had all my life. 403 00:31:13,920 --> 00:31:15,360 And there is no cure. 404 00:31:28,650 --> 00:31:29,690 Here we are on the road. 405 00:31:31,710 --> 00:31:33,270 Yeah, that's where we are, all right. 406 00:31:34,090 --> 00:31:40,870 I have a lot of filmmakers who come up to me and say that Julian Blacktop was 407 00:31:40,870 --> 00:31:43,630 the reason they decided to make movies. 408 00:31:43,890 --> 00:31:49,310 Maybe it's just this kind of nostalgia for a kind of freedom that's eroding 409 00:31:49,310 --> 00:31:50,830 more and more all the time. 410 00:31:58,890 --> 00:32:02,350 What I recall about Tulane Blacktop is that there really wasn't much action. It 411 00:32:02,350 --> 00:32:03,350 was about an aimlessness. 412 00:32:03,810 --> 00:32:04,810 Where to? 413 00:32:05,310 --> 00:32:06,310 You name it. 414 00:32:07,330 --> 00:32:12,070 I feel like I understand that girl just getting in the guy's car. 415 00:32:12,410 --> 00:32:16,670 She didn't even know that the car belonged to these two guys. She just got 416 00:32:16,670 --> 00:32:17,670 in. 417 00:32:18,490 --> 00:32:22,230 She knew it was going to be going on the road, and she got in with her shit. 418 00:32:22,770 --> 00:32:25,710 It's really bumpy back here. I totally understand that. 419 00:32:26,160 --> 00:32:27,720 Would I sleep with both of them? 420 00:32:27,940 --> 00:32:31,520 Absolutely. On the road back then. I mean, it's just the way that things 421 00:32:31,520 --> 00:32:32,520 were. 422 00:32:36,180 --> 00:32:40,600 I went out to the San Fernando Valley when I was in L.A. and just hung out 423 00:32:40,600 --> 00:32:42,360 with all these car freaks, you know? 424 00:32:42,800 --> 00:32:46,480 And it was like a new world to me. I was from New York. I didn't really know 425 00:32:46,480 --> 00:32:47,479 about cars. 426 00:32:47,480 --> 00:32:49,060 It was like learning a language. 427 00:32:49,320 --> 00:32:51,140 So I just thought it was amazing. 428 00:32:51,440 --> 00:32:52,440 It was like an art form. 429 00:32:52,740 --> 00:32:54,060 I knew you were a car nut. 430 00:32:55,210 --> 00:32:56,310 I can spot the type. 431 00:32:59,010 --> 00:33:01,370 But all that speed is going to run over you one of these days. 432 00:33:02,050 --> 00:33:03,710 You can't be a nomad forever. 433 00:33:09,050 --> 00:33:13,630 The road is a way to get away from home, but as you go further and further on the 434 00:33:13,630 --> 00:33:18,970 road and more and more towards the edge of the wedge, so to speak, the pull of 435 00:33:18,970 --> 00:33:20,750 home becomes more... 436 00:33:22,730 --> 00:33:28,070 Present because you're you get lost We'll build a house 437 00:33:28,070 --> 00:33:31,250 Yeah, we'll build a house 438 00:33:31,250 --> 00:33:38,250 Because if I'm not grounded pretty soon 439 00:33:38,250 --> 00:33:41,090 I'm gonna go into orbit 440 00:33:41,090 --> 00:33:47,510 Strange feelings from the orange sunlight 441 00:33:47,510 --> 00:33:50,650 on the sandy dry country so far from home 442 00:33:52,750 --> 00:33:56,130 Just the sort of unexplained sadness that comes from each afternoon. 443 00:33:56,950 --> 00:34:02,970 When the new day is gone forever, and there's nothing ahead but increasing 444 00:34:02,970 --> 00:34:03,970 darkness. 445 00:34:07,750 --> 00:34:11,750 At this moment, I didn't feel shame or fear. It just kind of blocked. 446 00:34:12,190 --> 00:34:15,150 Like when you're sitting there and all the water's run out of the bathtub. 447 00:34:16,989 --> 00:34:19,949 Badlands was amazing. You know, that was a great road film. 448 00:34:20,250 --> 00:34:21,250 You have to go. 449 00:34:21,280 --> 00:34:24,940 Pretty far to beat that one as far as a road movie goes. Of course, it's a 450 00:34:24,940 --> 00:34:26,320 little bit of a horror show, too. 451 00:34:27,520 --> 00:34:31,940 Little did I realize that what began in the alleys and backways of this quiet 452 00:34:31,940 --> 00:34:34,739 town would end in the badlands of Montana. 453 00:34:37,380 --> 00:34:42,880 It's really one of the best examples of this 1970s road movie mood. 454 00:34:46,420 --> 00:34:48,420 Kit took the bottle and spun it around. 455 00:34:48,920 --> 00:34:51,020 leaving to fate which direction we should take. 456 00:34:54,159 --> 00:35:00,940 The way that Malick conceives this outlaw couple in terms of this sense of 457 00:35:00,940 --> 00:35:03,760 alienation, this sense of disenchantment. 458 00:35:04,200 --> 00:35:07,460 We lived in utter loneliness, neither here nor there. 459 00:35:07,980 --> 00:35:12,300 Kit said that solitude was a better word because it meant more exactly what I 460 00:35:12,300 --> 00:35:13,300 wanted to say. 461 00:35:13,420 --> 00:35:15,020 I've got to tell you something about me. 462 00:35:17,320 --> 00:35:19,700 Look, it means something, but you're lying. You know what I mean? 463 00:35:21,180 --> 00:35:22,640 Yeah? I don't trust anybody. 464 00:35:24,060 --> 00:35:25,220 I don't love anybody. 465 00:35:26,540 --> 00:35:30,600 The first character, you know, Gene Hackman and Pacino, you know, they're 466 00:35:30,600 --> 00:35:31,860 hobos on the road. 467 00:35:32,220 --> 00:35:33,600 It's an exciting movie. 468 00:35:33,900 --> 00:35:34,980 Eat, kid, alone! 469 00:35:35,520 --> 00:35:37,840 You bell-eckin' right-nest-ass! 470 00:35:38,240 --> 00:35:41,020 Pacino was very young. He was frightened. 471 00:35:41,240 --> 00:35:43,480 His wife tells him he's gonna have a baby. 472 00:35:45,120 --> 00:35:46,500 Just couldn't handle it. 473 00:35:46,830 --> 00:35:48,630 He just wanted out. 474 00:35:49,910 --> 00:35:54,910 The other one was a rough, tough guy who just got into trouble all the time. 475 00:35:56,130 --> 00:36:00,270 Max, who doesn't want to talk to anybody, finally starts talking to this 476 00:36:00,270 --> 00:36:02,890 guy because he gave him his last match. He befriended him. 477 00:36:03,130 --> 00:36:08,950 They couldn't talk to their mothers or fathers or priests or something. They 478 00:36:08,950 --> 00:36:10,590 found each other they could talk to. 479 00:36:24,490 --> 00:36:26,130 You're sweating all over the damn place. 480 00:36:28,050 --> 00:36:29,050 Come here. 481 00:36:46,550 --> 00:36:50,990 and reformed and formed families and friendships according to what their 482 00:36:50,990 --> 00:36:54,130 circumstances were. And our movies really reflect that. 483 00:36:54,530 --> 00:36:58,410 Come on, Eddie, better get your things together. This nice man's going to take 484 00:36:58,410 --> 00:36:59,410 you to your aunt. 485 00:37:00,230 --> 00:37:01,770 How come you're taking me? 486 00:37:02,050 --> 00:37:04,170 Huh? How come you're taking me? 487 00:37:04,530 --> 00:37:05,670 Because I'm going that way, honey. 488 00:37:06,530 --> 00:37:10,550 I loved that movie so much, you know, and the two of them driving for those 489 00:37:10,550 --> 00:37:12,650 huge, vast expanses in that. 490 00:37:12,990 --> 00:37:17,730 car you were just falling in love with them the whole time the movement in a 491 00:37:17,730 --> 00:37:22,850 road movie is not simply a geographic movement it's often an interior movement 492 00:37:22,850 --> 00:37:29,770 within the characters you're my pa of course i ain't your pa i'll get you 493 00:37:29,770 --> 00:37:35,690 some relish when you see in paper moon the deepening and the love story between 494 00:37:35,690 --> 00:37:41,930 man and a child Evolve as they move and continue to move it seems to me to have 495 00:37:41,930 --> 00:37:47,470 that sense of myth I love it when you can see forever and roads that are like 496 00:37:47,470 --> 00:37:49,970 that Which is that's the kind of shot we always tried to get in flirting with 497 00:37:49,970 --> 00:37:54,650 disaster And I actually put that on my wedding invitation because I saw that as 498 00:37:54,650 --> 00:37:58,050 a metaphor for the unknown of a marriage You don't know is it gonna end in 499 00:37:58,050 --> 00:38:01,950 catastrophe or beauty or love or you know, who knows what's gonna happen 500 00:38:01,950 --> 00:38:02,950 ahead of you? 501 00:38:24,100 --> 00:38:29,700 Sugarland Express is interesting for how it kind of anticipates the next wave. 502 00:38:30,720 --> 00:38:35,480 I think that a lot of times the reason people went on the road was because 503 00:38:35,480 --> 00:38:39,720 their order and their traditional values had been threatened. 504 00:38:40,020 --> 00:38:42,620 I don't want my baby back. 505 00:38:42,860 --> 00:38:45,240 Are you going to help me or not? 506 00:38:45,780 --> 00:38:49,300 In Sugarland Express, you have character... 507 00:38:50,180 --> 00:38:52,320 trying to fight for her child. 508 00:38:52,640 --> 00:38:54,840 Just get your goddamn hands in the air. 509 00:38:56,620 --> 00:39:00,280 Know where we are, kidnappers? I don't care. We're on the road, ain't we? I 510 00:39:00,280 --> 00:39:01,340 really don't know what you're yelling at. 511 00:39:01,580 --> 00:39:03,780 Well, what are you doing with our man in there? 512 00:39:04,240 --> 00:39:08,300 He's just taking us to Sugar Land to get my boy Langston. What you have is sort 513 00:39:08,300 --> 00:39:13,540 of the outlaw couple with a twist. They sort of befriend the policeman, this 514 00:39:13,540 --> 00:39:16,820 representative of law and order. 515 00:39:17,240 --> 00:39:24,060 social convention domesticity and all those things he becomes 516 00:39:24,060 --> 00:39:30,880 their third buddy and actually 517 00:39:30,880 --> 00:39:36,580 ends up displacing the male outlaw who gets killed near the end and it's 518 00:39:36,580 --> 00:39:42,440 suggested that the law man is now going to fill his shoes sugarland express 519 00:39:42,440 --> 00:39:46,660 looks forward as of course it has to in many ways being directed by steven 520 00:39:46,660 --> 00:39:52,340 spielberg to the blockbuster 80s and the whole reagan era it's morning again in 521 00:39:52,340 --> 00:39:55,940 america please vote and please vote republicans 522 00:39:55,940 --> 00:40:04,620 charlie's 523 00:40:04,620 --> 00:40:07,340 a mild-mannered executive who's never been far from home 524 00:40:08,560 --> 00:40:13,660 Now Lulu's taking him all the way. There were a slew of movies about yuppies on 525 00:40:13,660 --> 00:40:14,538 the road. 526 00:40:14,540 --> 00:40:17,080 I mean, look straight, you know, but right down in here, that's where it 527 00:40:17,080 --> 00:40:18,080 counts. 528 00:40:20,620 --> 00:40:22,660 My wife and I have dropped out of society. 529 00:40:23,260 --> 00:40:28,140 We're going to roam across the country and find ourselves, just like they did 530 00:40:28,140 --> 00:40:29,140 in Easy Rider. 531 00:40:29,360 --> 00:40:30,360 Easy what? 532 00:40:30,480 --> 00:40:32,120 Easy Rider, the film. 533 00:40:32,400 --> 00:40:33,520 Oh, I didn't see that film. 534 00:40:33,760 --> 00:40:35,900 Great movie. You've got to see it. It's historic. 535 00:40:44,880 --> 00:40:46,120 You tire me, Ray. I know. 536 00:40:46,400 --> 00:40:48,840 We're going to drive to Los Angeles. We're going to drive to L.A. 537 00:40:49,600 --> 00:40:50,920 Okay? Come on, Ray. 538 00:40:51,640 --> 00:40:52,640 Ray? 539 00:40:54,460 --> 00:41:00,740 You have the Tom Cruise character who's living in the fast lane and living for 540 00:41:00,740 --> 00:41:01,740 the fast buck. 541 00:41:02,240 --> 00:41:08,740 His older brother can offer insights that are a moral corrective to the 542 00:41:08,740 --> 00:41:13,520 wayward immorality of yuppiedom and Reaganomics. 543 00:41:15,600 --> 00:41:21,200 The idea you were in a car, stuck with someone, and you can't truly communicate 544 00:41:21,200 --> 00:41:24,240 with that individual because you are a hustler. 545 00:41:24,700 --> 00:41:29,340 So you use words to manipulate people, and suddenly you are now faced with 546 00:41:29,340 --> 00:41:30,620 someone that you can't manipulate. 547 00:41:30,940 --> 00:41:35,320 You hear me. I know you hear me. You'll fool me with this shit for a second. 548 00:41:35,540 --> 00:41:38,360 You're just too tight. Ray, did you fucking hear what I said? 549 00:41:39,200 --> 00:41:40,200 Shut up! 550 00:41:41,960 --> 00:41:46,120 There's a magic to the road in how it'll affect characters. So a lot of things 551 00:41:46,120 --> 00:41:49,020 happened, because there was a lot of improvisational stuff that started in 552 00:41:49,020 --> 00:41:49,698 the car. 553 00:41:49,700 --> 00:41:51,280 We are not going to Cincinnati, and that's fine. 554 00:41:52,220 --> 00:41:55,000 That's actually how the big argument about underwear happened. 555 00:41:58,700 --> 00:42:03,200 What difference does it make? What difference does it make? Where do you 556 00:42:03,200 --> 00:42:04,200 buy underwear? 557 00:42:05,840 --> 00:42:08,060 Rain Man is a significant road movie. 558 00:42:08,410 --> 00:42:12,930 but often hollywood road movies they're not about anything other than 559 00:42:12,930 --> 00:42:16,510 pyrotechnics spectacle slapstick laugh 560 00:42:16,510 --> 00:42:23,350 this is 561 00:42:23,350 --> 00:42:28,850 smokey and the bandit the story about a lazy weekend in alabama texas 562 00:42:28,850 --> 00:42:35,790 mississippi arkansas smoky that was supposed to go 563 00:42:35,790 --> 00:42:37,170 from the land of georgia to 564 00:42:37,880 --> 00:42:38,920 Texarkana and back. 565 00:42:39,280 --> 00:42:43,120 But we shot the whole thing within 30 miles of downtown Atlanta, Georgia. 566 00:42:43,520 --> 00:42:45,540 A tree's a tree's a rock's a rock. 567 00:42:49,300 --> 00:42:54,240 It really doesn't matter to me what's in the background. 568 00:42:54,560 --> 00:42:58,240 I'm not doing Fiddler on the Roof or Gone with the Wind or anything like 569 00:42:58,240 --> 00:43:02,080 that. You know, I got a car going across the screen 90 miles an hour. What are 570 00:43:02,080 --> 00:43:03,140 you going to do, look at the background? 571 00:43:03,460 --> 00:43:05,580 What the hell is this, a drive-in movie? 572 00:43:09,290 --> 00:43:12,090 I shot that film for $4.3 million. 573 00:43:12,790 --> 00:43:15,870 To date, it's grossed over $300 million. 574 00:43:16,710 --> 00:43:17,710 Now, that's profit. 575 00:43:17,930 --> 00:43:19,450 There's something else of yours that I want. 576 00:43:19,650 --> 00:43:20,650 Oh, really? What's that? 577 00:43:21,150 --> 00:43:22,150 Your ass! 578 00:43:22,950 --> 00:43:26,810 If you look at those films, they're not about the road that much. They take 579 00:43:26,810 --> 00:43:32,570 place on the road, but it's a pretext for gags, gimmicks, mishaps. 580 00:43:38,000 --> 00:43:41,720 Phoebe Herman loves this bike more than anything. It gets stolen, and he has to 581 00:43:41,720 --> 00:43:42,720 go find it. 582 00:43:43,120 --> 00:43:46,960 All these different things I had been thinking about trying to incorporate 583 00:43:46,960 --> 00:43:52,120 into something could easily happen in a road picture because it was very easy to 584 00:43:52,120 --> 00:43:59,040 go, oh, bikers, cowboys, just lists of different people he would meet 585 00:43:59,040 --> 00:44:00,040 along the way. 586 00:44:04,750 --> 00:44:10,130 While Hollywood is doing these kooky comedies, Wim Wenders takes up the road 587 00:44:10,130 --> 00:44:11,230 movie helm. 588 00:44:16,270 --> 00:44:20,930 His films, like a lot of the early 70s American road movies, they're primarily 589 00:44:20,930 --> 00:44:22,330 about being on the road. 590 00:44:25,690 --> 00:44:31,250 I was fascinated by the roads in Europe, any roads, anything to drive on. 591 00:44:31,640 --> 00:44:36,720 and of course shooting in america was the perfection of my ideas of my idea of 592 00:44:36,720 --> 00:44:37,520 shooting on the road 593 00:44:37,520 --> 00:44:47,640 walker 594 00:44:47,640 --> 00:44:54,480 evans he's the first photographer who i really understood and i made 595 00:44:54,480 --> 00:44:58,120 kings of the road sort of with his photographs in mind 596 00:45:01,130 --> 00:45:06,330 I mean, all the aesthetics, all the corrugated iron that is so constantly 597 00:45:06,330 --> 00:45:09,430 fascinating, all those empty landscapes. 598 00:45:10,810 --> 00:45:15,730 Robbie, my cameraman, and I had a book of Walker Evans with us, and a lot of 599 00:45:15,730 --> 00:45:17,630 our framing came straight out of that book. 600 00:45:21,010 --> 00:45:25,370 Sam Shepard and I were kind of drunk down in Albuquerque, New Mexico. 601 00:45:25,770 --> 00:45:28,310 I told him I'd love to do just one... 602 00:45:29,070 --> 00:45:35,310 that had some intelligence and there was poetry in it and substance and all of 603 00:45:35,310 --> 00:45:36,310 that. 604 00:45:39,230 --> 00:45:43,910 So I got back to L.A. and he called me and said, you want to play the lead in 605 00:45:43,910 --> 00:45:46,270 my new movie, Paris, Texas? 606 00:45:49,950 --> 00:45:54,590 The origin of Paris, Texas is my friendship with Sam Shepard. 607 00:45:55,150 --> 00:45:57,190 We were in San Francisco at the time. 608 00:45:57,920 --> 00:46:02,060 Spent most of the time in the back room of Tosca's telling each other stories 609 00:46:02,060 --> 00:46:07,600 and out of all these stories emerged the character of Travis so the man who 610 00:46:07,600 --> 00:46:13,500 appeared out of nowhere was Looking for his family that he had lost and that was 611 00:46:13,500 --> 00:46:20,400 the beginning of the script Scene one desert 612 00:46:20,400 --> 00:46:22,320 landscape exterior day 613 00:46:23,820 --> 00:46:27,840 A fissured, empty, almost lunar landscape seen from bird's eye view. 614 00:46:28,360 --> 00:46:30,020 The camera hovers over it. 615 00:46:30,660 --> 00:46:32,700 In the distance, a lone man appears. 616 00:46:33,300 --> 00:46:34,980 He is crossing this desert. 617 00:46:35,820 --> 00:46:37,620 A hawk lands on a boulder. 618 00:46:39,220 --> 00:46:45,880 The man stops, looks at the bird, and 619 00:46:45,880 --> 00:46:49,460 continues down the bleak, hot plains that lie before him. 620 00:46:58,510 --> 00:47:03,370 I felt I had a very good relationship to the landscape and I had traveled 621 00:47:03,370 --> 00:47:05,650 extensively for about three months. 622 00:47:06,330 --> 00:47:10,570 So I was very familiar with the colors and with the light. 623 00:47:13,930 --> 00:47:17,710 The great thing about working with Vim is that we work from scratch. We just 624 00:47:17,710 --> 00:47:23,350 start scene by scene by scene. We don't have this big, long, huge idea of where 625 00:47:23,350 --> 00:47:26,630 it's going or how it wants to end up or anything like that. 626 00:47:27,980 --> 00:47:32,160 Would always in the morning appear on the set and look at the place and the 627 00:47:32,160 --> 00:47:36,020 landscape and only then Start thinking how to shoot it 628 00:47:36,020 --> 00:47:41,640 It 629 00:47:41,640 --> 00:47:48,560 went 630 00:47:48,560 --> 00:47:51,520 really well for half the shoot and then I run out of script 631 00:47:55,850 --> 00:47:58,570 I had no idea where we would find her or what would happen. 632 00:47:59,550 --> 00:48:03,010 I had no idea how that story could possibly end. 633 00:48:08,730 --> 00:48:12,270 I had to interrupt the shoot. Everybody was sent home. 634 00:48:13,770 --> 00:48:20,450 After a week, I was able to send Sam sort of a rough outline of the way I 635 00:48:20,450 --> 00:48:22,550 could possibly envision the second half. 636 00:48:23,980 --> 00:48:28,620 When you do a road movie, you have to be completely open to the unexpected, and 637 00:48:28,620 --> 00:48:32,980 you can't work with a very tight, dramatic structure. 638 00:48:33,660 --> 00:48:35,280 It's a little bit like playing jazz. 639 00:48:39,780 --> 00:48:44,680 By the time Paris, Texas comes out, you've got the birth of the New York 640 00:48:44,680 --> 00:48:49,980 independent film movement. All those guys are very much, I think, indebted to 641 00:48:49,980 --> 00:48:51,740 vendors, and a lot of those guys... 642 00:48:52,090 --> 00:48:58,870 our road movie directors paris texas was a really uh really big one for me which 643 00:48:58,870 --> 00:49:04,230 is a pretty great road movie that was pretty influential as a film 644 00:49:04,230 --> 00:49:10,530 on say like my own private idaho this road 645 00:49:10,530 --> 00:49:17,470 will never end it probably 646 00:49:17,470 --> 00:49:19,330 goes all 647 00:49:22,830 --> 00:49:24,330 around the world. 648 00:49:35,330 --> 00:49:40,450 Cold spring wind whistling through that old heap around our shivering, sick, 649 00:49:40,630 --> 00:49:41,630 sweating bodies. 650 00:49:43,450 --> 00:49:46,850 And the cold you always come down with when the junk runs out of you. 651 00:49:48,600 --> 00:49:53,640 on through the peeled landscape, dead armadillos in the road. 652 00:49:55,380 --> 00:49:58,280 I was once a shameless full-time dope fiend. 653 00:50:00,080 --> 00:50:02,800 Yeah, me, Bob, this sweet mother's son. 654 00:50:04,520 --> 00:50:09,280 Me and my crew robbed drugstores. I had done them all, up and down the Pacific 655 00:50:09,280 --> 00:50:11,620 Northwest with pharmacies open to close. 656 00:50:13,460 --> 00:50:18,040 I think I feel personally rootless, so I think I just sort of... 657 00:50:18,570 --> 00:50:22,990 put that into the characters or at least or I'm attracted to characters that I 658 00:50:22,990 --> 00:50:24,070 read about that are like that. 659 00:50:29,170 --> 00:50:35,430 I was a fan of Jack Kerouac and the characters in his books and Ginsberg's 660 00:50:35,430 --> 00:50:37,290 poetry and then Burroughs. 661 00:50:38,890 --> 00:50:44,390 When we made Drugstore Cowboy there was a character named Old Tom William S. 662 00:50:44,450 --> 00:50:45,450 Burroughs. 663 00:50:45,980 --> 00:50:48,500 He said he would play this character, but he wanted the guy to have something 664 00:50:48,500 --> 00:50:52,180 going. Instead of just this old man who'd wasted years of his life on drugs, 665 00:50:52,320 --> 00:50:54,280 he wanted this guy to be Tom the priest. 666 00:50:54,700 --> 00:50:55,700 Father Murphy. 667 00:50:58,480 --> 00:51:02,440 And he wrote all of his dialogue and made us shoot everything in one day, 668 00:51:02,600 --> 00:51:05,020 which was hard because he had a big part. 669 00:51:05,560 --> 00:51:10,100 These independent films reflect an awareness of the road movie as something 670 00:51:10,100 --> 00:51:13,380 that used to be subversive, but they sort of poke fun at that. 671 00:51:13,820 --> 00:51:18,820 With Stranger Than Paradise, immediately I'm thinking about their journey to 672 00:51:18,820 --> 00:51:25,440 Cleveland. And it's just a whole grainy white 673 00:51:25,440 --> 00:51:26,440 film. 674 00:51:29,880 --> 00:51:33,320 It's irony, you know, which is something the road can also be. 675 00:51:33,680 --> 00:51:39,260 That's why you have these great roadside attractions everywhere, you know, that 676 00:51:39,260 --> 00:51:42,260 you have Cadillac Ranch and you have... 677 00:51:43,040 --> 00:51:49,120 All of these crazy places along the American highway is just 678 00:51:49,120 --> 00:51:55,440 purely American irony, which we lack in our culture. Americans don't like irony. 679 00:51:55,760 --> 00:52:00,080 They either want to know, are you for it or against it, which is very true, you 680 00:52:00,080 --> 00:52:05,260 know? And so when you're on the road, you actually get a sense that actually 681 00:52:05,260 --> 00:52:07,500 we do have irony somewhere in us. 682 00:52:07,740 --> 00:52:08,940 Could we borrow a car from Max? 683 00:52:09,820 --> 00:52:10,820 Yeah, I guess. 684 00:52:12,200 --> 00:52:16,220 Stranger Than Paradise is a road movie about not moving, in a way. I mean, 685 00:52:16,240 --> 00:52:19,940 people talk about that film and how the characters don't say much or do much, 686 00:52:20,080 --> 00:52:23,880 but it is loosely draped over a journey structure. 687 00:52:24,360 --> 00:52:25,420 The woman arrives. 688 00:52:27,380 --> 00:52:28,620 And then nothing happens. 689 00:52:29,720 --> 00:52:31,080 And then they take this trip. 690 00:52:31,520 --> 00:52:32,960 You think we're in Ohio yet? 691 00:52:33,480 --> 00:52:34,780 And then nothing happens. 692 00:52:35,120 --> 00:52:36,180 You know, it's funny. 693 00:52:36,980 --> 00:52:40,460 You come to someplace new and everything looks just the same. 694 00:52:43,950 --> 00:52:46,150 Well, I guess you broke parole now. 695 00:52:46,990 --> 00:52:48,050 You guess. 696 00:52:48,450 --> 00:52:51,070 Wild at Heart is one of my favorite movies. 697 00:52:56,790 --> 00:53:00,450 It's so irreverent and so over the top. 698 00:53:08,680 --> 00:53:13,040 Road movies change according to the censorship and what the audience will 699 00:53:13,040 --> 00:53:16,360 tolerate and what the audience wants in that decade. 700 00:53:17,500 --> 00:53:22,800 When you see something like Natural Born Killers, you see a form of gun crazy 701 00:53:22,800 --> 00:53:29,300 that has in it the kinds of incredible violence that couldn't be depicted for 702 00:53:29,300 --> 00:53:31,480 the mass audience in the 1950s. 703 00:53:31,760 --> 00:53:34,900 It's a film that is a barrage to experience. 704 00:53:36,300 --> 00:53:40,120 And I think visually, as well as with its soundtrack, like the Yuppie Road 705 00:53:40,120 --> 00:53:42,180 movies, it reflects the time period. 706 00:53:43,160 --> 00:53:45,100 I'm standing on Highway 666. 707 00:53:45,460 --> 00:53:48,540 It is literally a candy lane of murder. 708 00:53:49,540 --> 00:53:54,180 What I think is so compelling is its political critique of mass media. 709 00:53:54,600 --> 00:53:58,160 I guess, Wayne, you just got to hold that old shotgun in your hand and it 710 00:53:58,160 --> 00:54:00,860 becomes clear like it did for me the first time. 711 00:54:01,480 --> 00:54:04,740 That's when I realized my one true calling in life. 712 00:54:05,580 --> 00:54:06,580 And what's that, Mickey? 713 00:54:07,480 --> 00:54:08,480 Shit, man. 714 00:54:09,580 --> 00:54:11,360 I'm a natural born killer. 715 00:54:13,240 --> 00:54:16,460 This man is sick! 716 00:54:59,470 --> 00:55:05,410 This bad boy is going to Washington DC for the million man I 717 00:55:05,410 --> 00:55:13,770 think 718 00:55:13,770 --> 00:55:17,950 the road movie belongs to everybody, you know when it started it was about the 719 00:55:17,950 --> 00:55:23,470 Western and I think that's a male genre and In the 90s, it really opened itself 720 00:55:23,470 --> 00:55:25,730 up to you know being about everybody 721 00:55:29,390 --> 00:55:32,870 Well, you don't know me very well, do you, Crepella? I'm the Latina Marilyn 722 00:55:32,870 --> 00:55:37,430 Monroe. I got more legs than a bucket of chicken. The road movie belongs to the 723 00:55:37,430 --> 00:55:43,830 drag queens and the Indians, the bikers and Easy Rider and the women in Thelma 724 00:55:43,830 --> 00:55:44,569 and Louise. 725 00:55:44,570 --> 00:55:46,430 It really belongs to all of us. 726 00:55:56,430 --> 00:55:58,450 I really wanted to see a movie. 727 00:55:58,760 --> 00:56:02,800 that was not about these women being supporting characters to other men. 728 00:56:03,060 --> 00:56:06,460 I said I'm not going to hurt you, all right? 729 00:56:07,160 --> 00:56:11,360 Relax. Stop it, please. I mean it. Thelma and Louise became outlaws because 730 00:56:11,360 --> 00:56:17,300 to protect themselves, they ended up doing things that, although not legally 731 00:56:17,300 --> 00:56:22,320 justifiable or rational, emotionally somehow made some kind of sense. 732 00:56:29,230 --> 00:56:32,550 A person unencumbered is a really amazing thing. 733 00:56:34,050 --> 00:56:35,830 I think they amaze themselves. 734 00:56:37,270 --> 00:56:39,450 We live such prescribed lives. 735 00:56:39,670 --> 00:56:43,870 Everybody has to be here at this time, there at this time. They have to think 736 00:56:43,870 --> 00:56:45,270 this, vote that. 737 00:56:46,450 --> 00:56:49,390 When you're out there, things just become more vivid. 738 00:56:49,650 --> 00:56:51,510 You feel more like yourself. 739 00:56:52,090 --> 00:56:53,170 I feel awake. 740 00:56:53,410 --> 00:56:54,410 Good. 741 00:56:55,390 --> 00:56:56,390 Wide awake. 742 00:56:57,450 --> 00:57:00,710 i don't remember ever feeling this awake thelma and louise is one of my favorite 743 00:57:00,710 --> 00:57:06,530 movies because they go all the way they decide we're going to keep going 744 00:57:06,530 --> 00:57:11,870 i 745 00:57:11,870 --> 00:57:18,530 saw them running out of world they had gotten so big 746 00:57:18,530 --> 00:57:21,830 that they ran out of world what in the hell is this 747 00:57:21,830 --> 00:57:28,430 i think that that in some way is the 748 00:57:28,430 --> 00:57:29,870 experience of a lot of women. 749 00:57:30,130 --> 00:57:31,910 The cage is too small. 750 00:57:32,130 --> 00:57:33,930 That's what all the bellyaching is about. 751 00:57:34,130 --> 00:57:35,130 It doesn't fit. 752 00:57:35,990 --> 00:57:36,990 Let's keep going. 753 00:57:38,610 --> 00:57:40,350 It was really their only choice. 754 00:57:54,480 --> 00:58:00,200 I began to see America as my own, a child's map over which my child and I 755 00:58:00,200 --> 00:58:01,460 could skim the light at will. 756 00:58:03,180 --> 00:58:04,920 We wanted to stay on the road forever. 757 00:58:14,160 --> 00:58:19,320 When I made Gas Food Lodging, it was the idea of, like, pulling off on one of the 758 00:58:19,320 --> 00:58:22,000 exits to the truck stop and then wondering... 759 00:58:22,240 --> 00:58:25,440 Who lives in this town? What types of lives do they live? 760 00:58:25,740 --> 00:58:28,300 As soon as I'm out of here, you can do whatever the fuck you want. 761 00:58:28,580 --> 00:58:29,740 Ooh, promises, promises. 762 00:58:30,200 --> 00:58:34,120 Everything in gas food lodging is kind of transient because they actually live 763 00:58:34,120 --> 00:58:38,320 in a trailer park, which, you know, even though trailers are static, they are on 764 00:58:38,320 --> 00:58:39,620 wheels, you know? 765 00:58:40,880 --> 00:58:44,820 There's always a sense that people could just pack that shit up really fast and 766 00:58:44,820 --> 00:58:45,820 get the hell out of town. 767 00:58:47,800 --> 00:58:49,460 So you clean carpets? 768 00:58:49,940 --> 00:58:50,940 Uh, yeah. 769 00:58:51,850 --> 00:58:52,930 Indian motels? 770 00:58:54,590 --> 00:58:55,630 Yeah, some. 771 00:58:56,950 --> 00:58:59,090 Mostly they clean their own coffees, though. 772 00:59:00,390 --> 00:59:01,530 Yeah, I know. 773 00:59:02,830 --> 00:59:03,830 That's where I live. 774 00:59:04,390 --> 00:59:05,570 In a motel. 775 00:59:08,110 --> 00:59:12,510 The seed for Mississippi Masala came from the fact that these people who were 776 00:59:12,510 --> 00:59:17,150 in one place for all their lives were now on the edge of a highway where they 777 00:59:17,150 --> 00:59:20,650 would only meet strangers forever is such a... 778 00:59:21,320 --> 00:59:23,380 deep and poignant thought. 779 00:59:27,040 --> 00:59:28,220 Hi. Hey. 780 00:59:31,060 --> 00:59:36,880 These characters in American road movies, they always go beyond the 781 00:59:36,880 --> 00:59:38,780 frontiers of their original families. 782 00:59:39,020 --> 00:59:40,020 What are you gonna do now? 783 00:59:40,180 --> 00:59:41,880 Thinking about going somewhere, I guess. 784 00:59:42,500 --> 00:59:46,360 Can I come with you? It's about not leaving a predetermined life. 785 00:59:46,580 --> 00:59:47,580 What? 786 00:59:48,110 --> 00:59:49,109 Can I come with you? 787 00:59:49,110 --> 00:59:53,050 It's about redefining what your place in the world can be. We're leaving 788 00:59:53,050 --> 00:59:54,730 Mississippi to see what we can do. 789 00:59:55,050 --> 00:59:59,430 They go beyond the frontiers of their social classes, in the case of Ernesto 790 00:59:59,430 --> 01:00:01,170 Guevara and the motorcycle diaries. 791 01:00:01,430 --> 01:00:03,550 They go beyond the frontiers of their own countries. 792 01:00:11,920 --> 01:00:16,320 The media always makes the American films be talked about much more. I mean, 793 01:00:16,340 --> 01:00:18,260 the fact is that the road exists everywhere. 794 01:00:41,020 --> 01:00:42,180 fully crystallized. 795 01:00:43,840 --> 01:00:48,320 I don't think that road movies can be very easily found in countries that are 796 01:00:48,320 --> 01:00:52,280 very crystallized. You don't see Swiss road movies. 797 01:00:54,260 --> 01:00:56,320 Did you guys got your passports? 798 01:00:57,180 --> 01:00:58,860 Passports? Yeah. 799 01:00:59,260 --> 01:01:03,800 You're leaving the res and you're going into a whole different country, cousin. 800 01:01:04,640 --> 01:01:06,240 But it's the United States. 801 01:01:06,640 --> 01:01:09,880 Damn right it is. That's as foreign as it gets. 802 01:01:13,520 --> 01:01:15,500 Don't you even know how to be a real Indian? 803 01:01:16,220 --> 01:01:17,220 I guess not. 804 01:01:18,160 --> 01:01:20,060 First of all, quit grinning like an idiot. 805 01:01:20,700 --> 01:01:23,360 Indians ain't supposed to smile like that. Get stoic. 806 01:01:26,120 --> 01:01:29,140 You gotta look mean or people won't respect you. 807 01:01:29,700 --> 01:01:32,880 White people will run all over you if you don't look mean. 808 01:01:34,280 --> 01:01:35,800 You gotta look like a warrior. 809 01:01:40,560 --> 01:01:43,820 Native peoples have been in movies since the very beginning. 810 01:01:44,100 --> 01:01:50,760 In 1894, there were penny kaleidoscopes. Indian people were the 811 01:01:50,760 --> 01:01:53,440 first subjects of those penny movies. 812 01:01:53,680 --> 01:01:59,780 It's just strange to me that John Ford never thought beyond the limitations of 813 01:01:59,780 --> 01:02:01,920 what he was taught or what he knew. 814 01:02:02,180 --> 01:02:03,520 John Wayne's teeth! 815 01:02:03,880 --> 01:02:05,120 John Wayne's teeth! 816 01:02:05,720 --> 01:02:09,320 Are they plastic or are they steel? 817 01:02:10,100 --> 01:02:12,100 Now that was kind of amazing. 818 01:02:12,700 --> 01:02:18,480 That you've got Indians traveling the American landscape on the road is just 819 01:02:18,480 --> 01:02:21,180 seriously deep to me. 820 01:02:22,740 --> 01:02:28,680 We love the road movie in America because it's about the ideology that we 821 01:02:28,680 --> 01:02:32,420 founded this country on. We wish we could just keep going. 822 01:02:34,250 --> 01:02:41,190 But we all want to get to this place of sanctuary, of home. 823 01:02:42,170 --> 01:02:47,570 For me, the road movie is really a metaphor for finding your way home. 824 01:02:49,650 --> 01:02:52,810 The ache for home lives in all of us. 825 01:02:55,550 --> 01:03:01,710 The safe place where we can go as we are and not be questioned. 826 01:03:10,320 --> 01:03:16,720 In the straight story, this elder gentleman rediscovers the meaning of 827 01:03:16,720 --> 01:03:19,060 home by virtue of being on the road. 828 01:03:22,040 --> 01:03:27,100 It was a true story, and it was filmed on the actual route that the guy took 829 01:03:27,100 --> 01:03:31,820 when he rode the lawnmower from, where was it, Iowa to Wisconsin? 830 01:03:32,500 --> 01:03:36,360 I think it was 365 miles he rode this lawnmower. 831 01:03:41,130 --> 01:03:45,610 In its straightforward simplicity, brilliant movie. 832 01:03:46,910 --> 01:03:48,090 Beautiful movie. 833 01:03:58,290 --> 01:04:01,490 I've often wondered what our old house would be like today. 834 01:04:02,510 --> 01:04:05,070 Funny, I never forgot the address. 835 01:04:05,590 --> 01:04:07,390 12 Locust Avenue. 836 01:04:08,390 --> 01:04:09,470 Yes, sir. 837 01:04:10,560 --> 01:04:12,140 12 Locust Avenue. 838 01:04:16,960 --> 01:04:17,980 Can I help you, sir? 839 01:04:19,840 --> 01:04:20,840 No, thanks. 840 01:04:20,900 --> 01:04:22,180 I'm just looking around. 841 01:04:24,320 --> 01:04:25,640 I used to live here. 842 01:04:26,860 --> 01:04:28,080 Here in the store? 843 01:04:28,960 --> 01:04:32,320 Yep. My childhood home was right on this spot. 844 01:04:34,440 --> 01:04:38,260 When I knew that Jack Nicholson was going to play the lead, I was aware. 845 01:04:38,750 --> 01:04:44,470 how he was an icon in those 70s films. I miss very much the cinema of alienation 846 01:04:44,470 --> 01:04:45,470 that we had then. 847 01:04:45,830 --> 01:04:52,370 There was a scene deleted that's on the DVD where we parody the famous 848 01:04:52,370 --> 01:04:55,730 scene in Five Easy Pieces where he insults the waitress. 849 01:04:56,590 --> 01:05:03,510 I'd like a plain omelet, no potatoes, tomatoes instead, cup of coffee, and 850 01:05:03,510 --> 01:05:04,510 wheat toast. 851 01:05:05,210 --> 01:05:06,670 No substitutions. 852 01:05:08,620 --> 01:05:09,620 Oh, fine. 853 01:05:10,260 --> 01:05:12,860 Um, I'll just have the potatoes. 854 01:05:13,420 --> 01:05:14,760 I'll be back with your coffee. 855 01:05:29,920 --> 01:05:34,900 In 72, I wanted to see more of the country and spent about two and a half 856 01:05:34,900 --> 01:05:35,900 months on the road. 857 01:05:38,120 --> 01:05:43,180 within a couple of days that what i wanted the trip to be was a source for a 858 01:05:43,180 --> 01:05:49,480 visual diary and started photographing every bed i slept in every person i met 859 01:05:49,480 --> 01:05:55,760 every meal i ate every toilet i used it was a very interesting time in american 860 01:05:55,760 --> 01:06:01,360 culture time of transition it was the beginning of strip culture 861 01:06:08,300 --> 01:06:13,980 when i was photographing some of the mom-and-pop places in the early 90s that 862 01:06:13,980 --> 01:06:18,580 was kind of the final flowering in a way of that like 50s road culture because 863 01:06:18,580 --> 01:06:24,580 now when i go past these places so much is relegated to abandonment so much is 864 01:06:24,580 --> 01:06:26,800 ruined now 865 01:06:39,180 --> 01:06:42,540 These days, it's the monocultural interstate. 866 01:06:46,100 --> 01:06:50,260 The old days of the road, they don't really exist. 867 01:06:55,160 --> 01:06:59,740 I feel like I've kind of updated my vision a little bit, getting into that 868 01:06:59,740 --> 01:07:02,380 idea of the homogenization of the American landscape. 869 01:07:04,040 --> 01:07:07,240 I'm working on a project that will be called Ubiquity. I'm taking one 870 01:07:07,240 --> 01:07:09,160 photograph of a strip mall in all 50 states. 871 01:07:23,120 --> 01:07:25,180 As Americans, we go through different stages. 872 01:07:25,930 --> 01:07:28,590 You know, you're out of college or you're beginning your career and you 873 01:07:28,590 --> 01:07:31,570 have sort of a blossoming and then there's kind of a maturing plateau that 874 01:07:31,570 --> 01:07:34,550 happens and you realize that a lot of the ambitions and everything that you 875 01:07:34,550 --> 01:07:37,990 had maybe were not really all that important or relevant. 876 01:07:38,810 --> 01:07:42,310 Life isn't about trying to attain all these accomplishments and things like 877 01:07:42,310 --> 01:07:47,930 that. It's, you know, maybe it's good enough to just be in the car and drive. 878 01:07:55,120 --> 01:08:00,120 do do do do do 879 01:09:21,200 --> 01:09:27,520 do do do do do do do do do do do 880 01:09:27,520 --> 01:09:29,040 do do do do