All language subtitles for Harry.Dean.Stanton.Partly.Fiction.2012.1080p.WEBRip.x264.AAC-[YTS.MX]

Downloaded from
YTS.MX

Official YIFY movies site:
YTS.MX

I've been doing this for 50 fucking years.

Being photographed and doing movies...

After a while I'm tired of it.

You think you give something away
by talking about yourself?

No.

Don't give anything away.

Blue moon...

you saw me standing alone...

without a dream in my heart

without a love of my own.

I feel so bad, I got a worried mind.

I'm so lonesome all the time.

Since I left my baby behind on Blue Bayou.

Save a nickle, save a dime.

Work until the sun don't shine.

Looking forward to happier times on Blue Bayou.

I'm going back some day

come what may to Blue Bayou.

Where the folks are fine

and the world is mine on Blue Bayou.

Where those fishing boats with their sails afloat

if I could only see

that familiar sunrise

through sleepy eyes

how happy I'd be.

Gonna see my baby again.

Gonna be with some of my friends.

Maybe I'll feel better again on Blue Bayou.

I'm going back some day

come what may to Blue Bayou.

Where you sleep all day

and the catfish play on Blue Bayou.

I gotta get in character and have a smoke.

Now, do I have any lines?

I don't want any lines.

How about doing nothing.

How about silence.

"PARIS, TEXAS"

Something must have cut your tongue off.

Either that or...

...you've got something to hide.

I'm gonna call up this number...

and see if they can tell me who you are.

"Voice of Wim Wenders"
I don't think Harry is a man of big words.

And I respect that actors can't open up that much

when they're just on their own

as themselves.

If you use your life and you use pain in your life

and you use mistakes in your life.

It's hard if you use that for a part

to then come out with it in a conversation.

It's something sacred in the actors heart

that allows him to do that and pull from it.

I think the actor needs to protect that
inside himself.

It means how far away I am from the land
where I was born.

Intense nostalgia invades my mind.

You couldn't sing that in English.

Here I am alone and sad like a leaf on the wind.

I wanna cry, I wanna die.

I feel so much for my home.

Oh land of the sun, I'm sighing to see you.

Now I'm far away, I live without light,
without love.

Here I am alone and sad like a leaf on the wind.

It's the theme song in Paris, Texas.

¡Que lejos estoy del suelo donde he nacido!

intensa nostalgia invade mi pensamiento;

y al ver me tan solo y triste cual hoja al viento,

quisiera llorar, quisiera morir de sentimiento.

¡Oh Tierra del Sol! Suspiro por verte

ahora que lejos yo vivo sin luz, sin amor;

y al verme tan solo y triste cual hoja al viento,

quisiera llorar, quisiera morir de sentimiento.

It's a blues song.

Homesick.

I see it as...

...when you're truly at home...
there is no more suffering...

no more leaf on the wind

no more crying.

Crying to get back to where you come from.

And do you know where you come from?

No, there's no answer to that.

Do you have memories from your childhood?

There's a lot of personal things
I don't want to talk about... Like...

Things with my mother...

Some things I don't wanna get into.

You mean talking about your mother or father?

Both.

Your mother would sing to you?

Yeah, she did. She taught me Irish songs.

Ultimately there's no answer to any of it.

It all just happens. It's what is.

We think we're in charge of our lives. We're not.

Be still-

and know.

And not know.

"ALIEN / Dir: Ridley Scott"

Kitty, kitty...

All that kitty crap.

Jones!

Jonesy?

Meow... meow...

God, do you believe we're going around the sun

in 17,000 mph, is that what it is?

Is that what you heard?

That makes me nervous, man.

17,000 miles an hour?

And there is nothing I can do about it, man.

Damn, look at that!

That is a cup of coffee.

"David Lynch"
Damn, Harry, it's like a swimming pool!

This is great.

It's Yuban.

Nice flavour.

How did you meet?　-Harry and I?

I got a list of all the films.

How many did we do. Two or three?

Harry, I'm gonna tell you.

I loved "Straight..."

"Straight Story".

Harry Dean was in "The Cowboy and the Frenchman",

"Wild at Heart",

"Hotel Room",

"The Straight Story",

"Inland Empire"
and "Twin Peaks, Fire Walk With Me".

We've done five.

1, 2, 3, 4, 5, 6 things together.

We're a team.

Yeah.

This is your first line.

For what. This speech?

No, coming in. When you come in he says:

"Freddie and I had a tea at the congressary".

And then you say this.

Dreadful?

Yeah.

That's already in the script.

But it's just "dreadful".

You can do the big gesture if you want.

Dreadful!

Dreadful. In the British sense.

Dreadful!

Yeah.

There you go!

If you look at all the characters he's played.

Just these... I mean he's been in 170 films.

Over 200.

Over 200.

250 maybe.

Sure, sure, sure.

I've lost count a long time ago.

You see many different characters.

He's got this quality...

It's funny talking about him, weird but...

He's got this innocence

and naturalness that's really rare.

and he says a line and it's just real.

It's so phenomenal.

And what he does in between the lines

is incredible.

A lot of people you can see them,
they're not really listening.

They're not within the thing in between the lines.

You see them start thinking about the next line.

Just a subtle little thing.

Not Harry. You watch him in between the lines,

he is there. Whatever there needs to be.
He's there.

"THE STRAIGHT STORY / Dir: David Lynch"

Sit down, Al.

Did you ride that thing all the way out here
to see me?

I did, Lyle.

Jack Nicholson called me.

He said: Harry, I got this part for you.

He said his name is Blind Dick Riley,
he wears a derby patch over one eye.

He said:
I don't want you to do anything in the movie.

I was already thinking along those lines anyway.

Just playing myself. Just play Harry Dean Stanton.

He said: Let the wardrobe do the character.

That solidified my whole approach from then on.

How would you describe yourself?

As nothing. There is no self.

How would you like to be remembered?

Doesn't matter.

What were your dreams as a child?

Nightmares.

"THE MISSOURI BREAKS / Dir: Arthur Penn"

I spent my first 18 years
on one of these damn things

working for my uncle that raised me.

And I worked myself cross-eyed too.

About the only thing I had for distraction
was this dog.

Now I had the dog since I was ten years old.

And uh he shot it for sticking its tongue
on a pad of butter.

So, I stayed one more night.

And I killed his seed bull.

I rustled every damn horse he had,

including a racer that I sold as a cow pony
to an Indian rancher.

And I took the whole damn Remuda.

And I come within a hair's breath of
sending his sorry hide to kingdom come.

I mean I was that close to shooting
that son of a bitch in the brain pan.

Where did you grow up, Harry?　-Kentucky.

I was born in a little town
called West Irvine, Kentucky.

West Irvine, not Irvine

Irvine was bigger, it had 40 people in it.

In the depression we moved to North Carolina.

He had a 300 acre tobacco farm.

Near where, in Durham, around Durham?

There's a little place called White Rock.
It's now no more.

It was only a huge general store
with a post office in it.

That was the town.　-Got you.

It's not there anymore.

And did you go to the war?　-Yeah.

What service were you in?　-In the Navy.

What kind of ship were you on?
-LST, landing ship tanks.

We carried troups,
but we ended up as an ammunition ship.

Where in the Pacific?

Battle of Okinawa.

So what are the other questions there?

Have you ever been married?　-No.

The next question was:
How did you meet your wife?

Did you ever wanted to get married?

I love the line: I was married two weeks once,

we tried everything, it didn't work.

Did what?　-Did you ever want to get married?

I think I proposed 2 or 3 times.

Two that I can recall.

Thank God they said no!

I was doing it because I thought
you're supposed to get married.

Not because I wanted to.

I just never felt psychologically wired or

capable of being in an institution of any kind.

I can see that Harry.

2 or 3 times girls said they were pregnant

just out of brief affairs.

Sad story.

Did you ever check on it to see if you...

I never had a DNA test, no.

But did you ever wonder about it?

One kid I'm pretty sure is mine.

I've been in touch with all of them off and on.

But I never really bonded with their mother
or them either.

I've just been a loner all my life.

It's they way it happened, I...

I learned this from Harry: Ancient pond...

Frog jumps in...

Old pond!

Old pond.　-Ancient pond!

No, old pond.　-You said ancient.

You've had it wrong all these years?

I swear I learned it from you.

You told me ancient.

No, it's old pond, frog jums in

Splash.　-Splash.

"REPO MAN / Dir: Alex Cox"

Jesus Christ!

Never broke into a car, never hotwired a car, kid.

Never broke into a trunk.

I shall not cause harm to any vehicle
nor the personal contents thereof

nor through inaction let that vehicle
and personal contents thereof come to harm.

It's what I call the Repo Code, kid.

Don't forget it. Etch it into your brain.

Not many people got a code to live by anymore.

Hey. Look. Look at that!
Look at those assholes over there.

Ordinary fucking people. I hate 'em.

Me, too.　-What do you know kid?

See. An ordinary person spends his life
avoiding tense situations.

Repo man spends his life
getting into tense situations.

Assholes. Lets go get a drink.

Okay, Harry Dean is so old I love him.

I love old people, I hate young people.

Spremne.

Tally ho!

So who are you now?

Ron.

Don't call me Don.

A lot of people pisses me off.

What do you do?

I'm actually in a space program now.

Are you an astronaut?
-A special division of a space program.

Michael, give me a vodka and cranberry juice.

I mean a tequila and cranberry juice.

Yes, Sir.　-Please.

Moline!

Harry Dean!

Harry Dean, I'm talking to you.

Yes, go on.
-Why don't you get married and stay home?

Get what?　-Get married and stay home!

Can't I just stay home?

I'm dying.

Michael, I'll have a cigarette with you.

Santa Monica Boulevard.

We are friends for 42 years.

42 years.

Yes, Sir. I know you 42 years.

What year did you start here?　-68.

68 and it opened in 64, right?　-Yes, Sir.

And you've been coming since 64.

You're one of the first customers in this place.

And you are great people, we love you.
You know that.

I know.

I'm jealous.

You got more girls than I did, those days.

I don't know why.

I've settled down since then.

Okay.

You don't talk too much.
But something you say lots.

You are simple and easy. You don't talk too much.

I don't, huh?　-No,

but when you say something, it means something.

That's good to know.

Who is that?

Get her in the movie.

Hey! Hey!

She's gone.

Another night in paradise.

Closer walk with Thee.

Grant it, Jesus, is my plea.

Daily walking

close to Thee.

Let it be, dear Lord,

Let it be.

"COOL HAND LUKE / Dir: Stuart Rosenberg"

Through the days of toil that's near.

If I fall, dear Lord, who cares?

Who but Thee my burden shares?

None but Thee, dear Lord, none but Thee.

Straight ahead.

Everybody talking at me...

This is a heroin song, by the way.

Written by Fred Neil.

It was inspired by Luke Askew, an actor.

Everybody talking at me...

Can't hear a word they're saying.

Only the echoes on my mind.

People stop and staring.

I can't see their faces.

Only shadows of their eyes.

I'm going where the sun keeps shining

through the pouring rain.

Going where the climat suits my clothes.

Backing off the north east wind.

Sailing on a summer breeze.

Skipping over the ocean like a stone.

Everybody Talking at me.

Can't hear a word they're saying.

Only the echoes of my mind.

And I won't let you leave my love behind.

No, I won't let you leave my love behind.

And I won't let you leave

my love behind.

Pretty song, huh?

Straight ahead.

That's what my old man used to say
when I was a kid:

Go straight ahead til you hit somehting.

This light is a black hole.

I was 14 in my aunt's house.

I got terrified out of nowhere. I was alone.

I started thinking there's nothing out there.

It's a void.

Terrified. I had to call somebody to see
if I was still connected.

Our family wasn't close. My mother and father.

It was hard because they didn't get along.

Finally they got a divorce
when I was in high school.

But we got close before she passed away.

I sent her a little ceramic heart
when she was in the hospital.

The nurse at the hospital broke it.

They sent it back and I glued it back together.

Mended the heart and sent it back to her.

That was our last memories. That was nice.

Oh the night's are so still,

not a baby will cry.

Not a chill wind will blow

disturbing the sky.

But there's no peace in me,

I'm burning for you.

I'm walking the floor,

in the devil's shoes.

When I get my rewards,

I will bring them to you.

I will ask for your love,

and swear mine is true.

Will you cast me aside,

and see me no more?

Or will I win your heart

when I get my rewards?

They say that your hand

can never touch mine.

That a poor boy can't hope

for a woman so fine.

But I will work till I fall,

determined to win.

Driven by need

to see you again.

Once you got famous, was your mother pleased?

Oh yeah. They were all impressed.

"PARIS, TEXAS / Dir: Wim Wenders"

I had this idea of a man,

completely estranged from the culture,

coming back from the desert, from Mexico.

Couldn't speak, no identity,

"Sam Shepard"
a complete unknown.

He appears out of nowhere.

We don't know anything about him.
And then he begins to...

piece together some mysterious past.

Slowly, hopefully over the course of things

it makes some kind of sense,

having to do with his brother and his family,

and things that happened to him in the past.

Wim wanted me to play the character,
and I said I didn't really want to.

I thought it was enought to write the damn thing.

We wrote it for 4 years or something,

and sometimes had the money, sometimes didn't.

It was a long process.

Finally I said: What about Harry Dean?

He'd been known up to that time

as a character actor, wonderful character actor.

And everybody said: Can he play a lead?

I said why not, he's a character actor.
I mean, what's the difference,

he just plays the lead.

"Wim Wenders"
I had a lead actor

who had been in movies for 30 years

and never played a lead.

Harry's big concern every now and then was

that he wasn't good enough.

Of course everybody confirmed that we loved him,

that he was fantastic and nothing was wrong.

But Harry had... sometimes...

30 years of playing supporting parts

got to him and he had doubts

that he was good enough as a leading man.

Every now and then that hit him

and we had to drive it back into his head

that he was perfect.

Harry allowed himself to be very vulnerable

in that part, and let us look into his soul.

And Harry is fragile.

Harry is vulnerable.

People are not used their leading men
to open up so much.

I think Harry touched a lot of people's hearts,

because he dared to be fragile.

Harry is an actor's actor.

Every actor who ever sees him admires him

for his craftsmanship and what he does
and who he is.

So you don't have to be a lead
to be well thought of.

In fact I think it's probably better not to be.

He's also one of those actors who knows

that his face is a story.

And he doesn't have to...

He just has to be in that thing

and his face is the story.

You read all kinds of things into it.

Harry told me a little bit about his life and

I realized we found an actor

who'd really be fully behind the character

who also understood a lot

about a man who had

left behind his family and his little boy.

Harry really in a big way with his whole persona,

with his whole biography, with everything he had

put himself behind the part.

And Harry, in an almost scary way,
got into character.

Do you remember your little boy?

Well he's with us.

He's been living with Anne and me
ever since you disappeared.

We didn't know what else to do,
so we just kept him.

One day he was just standin' at the door.

All he could tell us was,
somebody brought him there in a car.

He didn't know what had happened to you, or Jane.

So, we tried everything we could think of
to find you or Jane,

tried to locate her, she vanished, too.

We didn't know what else to do.

Harry did so many parts in this city
and in the movie industry

where he didn't have to show who he was.

I remember Harry in impossible parts.

I remember him in Young Doctors in Love.

Stuff like that

where acting was just a front
and had nothing to do with him.

When you prepared to play Travis what did you do?

He didn't talk for about a 1/2 hour in the movie.

So I did nothing.

I didn't prepare, I just didn't talk.

A student from UCLA,
working for nothing on the movie,

just to learn.

We were talking once and I asked her:

I said, I wonder why he doesn't talk.

And she said: I did that when I was a teenager.

You mind telling me where you're headed, Trav?

What's out there?

There is nothing out there.

I said, could you hear other people talking?

Oh yeah.

My mother would say I know she can talk.

But she wouldn't talk to anybody.

So finally I asked her, I said:

So why didn't you talk?

And she said:

I was afraid if I said anything, I would loose it.

Freak out.

And I could have used that more.

In the movie. But I had already done it.

But just not saying
anything is already a powerful statement.

Not talking. Being silent.

Silence is very powerful.

But when you talked it was great. That monologue

Yeah. That was Sam Shepard's writing.
Brilliant writing.

Suffering.

He... this girl and he was jealous.

I knew these people...

What people?

These two people.

They were in love with each other.

The girl was very young.

About seventeen or eighteen, I guess.

And the guy was quite a bit older.

And he was kind of raggedy and wild.

And she was very beautiful. You know?

Yeah.

And together, they turned everything
into a kind of an adventure.

And she liked that.

Just an ordinary trip down the grocery store
was full of adventure.

And they were always laughing at stupid things.

He liked making her laugh.

And they didn't much care for anything else.

Cause, all they wanted to do
was be with each other.

They were always together.

Sounds like they were very happy.

Yes. They were. They were real appy.

He loved her more than he ever felt possible.

He's searching for freedom like everybody, I think

Searching for liberation.

To be free of everything.

I think that's what everybody wants.

Freedom from the fear of death.

Freedom from facing the void without being afraid.

I think everybody is afraid. Most people.

It's fear you're gonna loose something.

It's attachment.

Everybody is attached.

But you're trying not to be attached.

That's love, when you're not attached.

That's real love.

In the twilight glow I see her.

Blue eyes crying in the rain.

When we kissed goodbye and parted

I knew we'd never meet again.

Love is like a dying amber.

Only memories remain.

And through the ages I'll remember

blue eyes crying in the rain.

And when we meet again up yonder

we'll stroll hand in hand again.

In a land that knows no parting

blue eyes crying in the rain

Blue eyes crying in the rain.

That's Rebecca's favorite song.

I left her crying in the rain once.

What did you do?

What did you do?

I don't know... A lot of things.

Many things.

How long were you together?

About a year and a half.

And did you live together?

Yeah, she lived up here.

And then what happened?

She left with Tom Cruise.

I got her in a movie with Tom Cruise

and she ended up with Tom for two years.

Risky Business.

Unapt the title.

How did you feel about that?

I didn't realize how attached I was to her.

I was heart broken.

Everybody evolves in their own way.
There's no answer to it.

I didn't commit.

Go out and drank and looked for women.

That was my life style.

Womanizer.

It's all a movie.

Including this conversation.

Nobody knows the ending.

It was hard for Harry to come to terms

with the fact that Sam and I in the end

were both adamant that the best ending was

and the most heroic effort was for him

to leave and let his son and his wife be together.

And that was almost a condition for them

to be able to be together that he stepped away.

And I always thought of it as a

beautiful act of love on his behalf.

And of course Harry knew what I meant,

but somehow in his heart
he really wanted us to find a twist

to give a little glimpse of hope
that there was a family afterwards.

I looked for love in all the same old places.

Found the bottom of the bottle always dry.

But when you poured out your heart,

I didn't waste it.

'Cause there's nothing like your love

to get me high.

You're as smooth as Tennessee whiskey.

You're as sweet as strawberry wine.

You're as warm as a glass of brandy.

And I stay stoned on your love all the time.

"Deborah Harry"
Hey Harry Dean, it's Debbie Harry.

Hi, good looking!

Oh, thank you!

I was gonna leave you a message and say:

Don't worry, I haven't mentioned
that night at my manager's house.

Deborah Harry... I didn't realize,

she wrote a song about me.

What is it, I want that man?

I wanna dance with Harry Dean.

Drive through Texas in a black limousine.

I don't know the rest... I can't remember.

I wanna piece of heaven before I die...

I think that's the next line.

It was about me in Paris, Texas
and I didn't realize at the time

what a great accolade she was giving me.

He found out about the song or
somebody told him about it.

So we had of course then to meet.

She called me

after the song had been out for years.

And we got together.

and... bonded.

He seems to me...

properly involved with the world of Hollywood.

He is always going to be an actor.

He has this good sense of proportion
about his values, I think.

He has managed to have long term relationships

which is very often not the case out there

because it's a competitive, focused environment.

People run through each others lives quickly

And he has maintained relationships

for many, many years with a lot of people.

And I think that really speaks well for him.

You lived with Jack Nicholson?

Yeah. About 2 1/2 years, up in Laurel Canyon.

That was a trip.

That's when he did Easy Rider.

That's got him started.

It was never boring.

We had arguments occasionally.

But you're still close, right?

Yeah, we've been close forever.

He's a loyal friend.

We did two or three films together.

Missouri Breaks with Marlon Brando and Jack.

Is that how you met Marlon Brando?

I might have met him briefly before.

He lived next to Jack.

That's when we first really met.

We didn't see each other for years

until the last 3 years of his life. We bonded.

We talked all the time for hours. On the phone.

He was great I love Marlon, miss him.

Everything. He was into everything.

Eastern religions. Poetry.

And he had a dark side. He was the...

macrocosm of man... of human being.
He had everything.

He was the greatest. Of all of them.

Him and Montgomery Clift.

Montgomery Clift influenced Marlon.

He said was a big influence on him.
Montgomery Clift.

He was one of the most truthful actors of all.

What advice would you give to a young actor?

Play yourself.

You have to work on every part you play.

Research. And you try to personalize everything.

And that's playing yourself.

Sometimes the words... it's an acting term

called the available stimulus.
The dialogue itself...

If it's good writing it has an influence on you.

What was that David Lynch film Dennis Hopper did?

Blue Velvet?

Blue Velvet. He wanted to meet me on that,

but I didn't want to deal with those emotions.

So you would have played the Dennis Hopper part?

Yeah.

I was trained on stage.

I did Shakespeare, Greek drama, everything.

But I wanted to be in the movies...

I didn't care about stage, I still don't.

It's too much work,

it takes too long and they don't pay enough.

I remember figuring that one out early on.

And you have a bigger audience in the movies.

And you get more money and you can travel.

And it help to meet women?

Of course. That's one reason I did it, I think.

Like every male. Every man wants to get laid.

That's all you think about.

I kind of do everything for him.

Everything from making coffee, buy his groceries,

"Logan Sparks / Harry's Assistant"
I learn his lines, I learn the lines

of all the people in the scene with him.

So we run his lines together, learn the scene.

It's like a master class a lot of the time.

When I travel with him, I coordinate his travel,

I run his security.

He gets a script and he works it 24 hours a day.

It's on his lap, he talks about it.
He'll call me and we'd do the lines.

He'll get on set, he'll do other people's lines.

"Mouse"
I'm talking to the famous Harry Dean Stanton?

And what would you like to say?

I'd like to say that I think you're phenomenal,

that you are a legend,

you're a hell of an actor,

and I think that you are a philosopher of life.

Yeah?

I put it like this:

Friendship is essential to the soul.

What?

Friendship is essential to the soul.

Friendship is a what?

Friendship is essential to the soul.

Friendship!

Is the what?

Is essential to the soul.

Essential...

To the soul.

Guess what. You've always been a friend of mine.

He says do nothing, all the time, right?

Which is bullshit. Because if he did nothing,

he'd still be on a fucking rocking chair
in Kentucky.

That's what doing nothing gets you,
is exactly that. Nothing.

He wanted to get out.

He never saw himself staying there.

Not ever. And he had two brothers that stayed.

Who lived by the bible and had families

and kids and the whole thing, grand kids.

That was never his gig,
not ever did he imagine himself that way.

I was just a good old boy
when you were born, right? In Kentucky.

You weren't even around when I was born.

No but my grandpoppy was around,
so who were they?

What were they?

Yeah. What were they?

People!

Okay. Alright then.

But actually I can tell in your heart

you didn't feel that. You didn't give a damn.

It was puzzling to me. The whole thing.

Why... What's wrong with black people?

... What the fuck, you know... What's going on?

Cause Harry don't ask questions... mother fucker.

God damn, man. I love you.

I love you, too. You're my man. You're cool.

When an older person, who's wildly successful,

it's very easy to look back and say I didn't try.

The truth is he tried his whole life.

He's still trying.

He's kind of the Forrest Gump of Hollywood.

Not by any means the lack of intelligence,

but in the way he stumbles
through extraordinary circumstances.

"CISCO PIKE / Dir: Bill L. Norton"

We gotta get a group together, buddy.

Who are you thinking about... Billy, Donny...

Yeah. You and me... maybe Swan and Fritz.

This time we save our money man.

We take our time, get it tight
and slip it in as slick as shit, man.

Sweet Jesus look at that little ass, man.

God, it's beautiful. They're all over the place!

We gotta get us some ladies tonight.
You know any?

That god damn Virginia, man!

A man's gotta have his outside womens, too,
you know that?

Yeah.

Lord would you look at you,
now that you're here ain't you,

proud of your peers
and the long way you've come...

Harry Dean got me into the first movie I did.

We were at the Troubadour, he brought me a script

and did a screen test with me, helped me through.

He was in the film with me.
It was called Cisco Pike.

"Kris Kristofferson"
God, he was so much a part of my life...

When I was still working at the Troubadour,

he'd get up and sing with me every now and then.

Usually he loved to sing Mexican songs.

Well, speak of the devil...

The big star has arrived

I'm barely mobile.

It's a Cisco Pike reunion.
-Cisco Pike, yeah, yeah

That's the first one we did, right?

That's the one you got me into
and did a screen test with me.

Oh yeah. And broke a bottle. Remember that?

Yes!

I never did anything like that in my life.

The director sticks his head out and says:

“When you come in, I want you to scare Kris."

He's a helicopter pilot, boxer, all American hero.

And I'm gonna scare him.

I was desperate and I saw a beer bottle,

sitting in the corner. Empty beer bottle.

I knocked on the door and started to open.

I broke the bottle on the knob,

grabbed him by the shirt
and stuck it under his chin.

And it worked.

We're both still working.

Come to Mexico Billy.

"PAT GARRETT AND BILLY THE KID
Dir: Sam Peckinpah"

People know you're here.

I'll say this is a friend.

Hell no Max, he ain't gonna be
nothing but another drunken Gringo

shitting out chili peppers
and waitin' for nothing.

It's got a good edge.

Gracias, amigo.

Remember when me and Dylan ran through his shot?

I forgotten about that, that was perfect.

We're shooting a scene at sunset.

It was supposed to be sunset for sunrise,

maybe you can have two takes,

but probably you only have one take,

when the sun is just perfect

and we're just half way through the scene,

when into the background comes Harry Dean

and Bob Dylan jogging.

It was incredible because it ruined the shot.

And you came back in and said...

Peckinpah: "What the fuck were you doin?"

He said: "You ruined the shot for the whole day!"

That we have to do it tomorrow.

And he says: "Sam, I was running after him,

trying to tell him to get out of there."

It was a total lie and everybody knew it.

Did you party a lot together?

Probably.　-Probably.

We hung out with the same people.

You were at Jack Nicholson's
every time I was there.

I thought you lived there.

Are you doing any films right now?

Yeah. I'm doing a film with Sean Penn.

I'm playing a guy

that invented the wheels for luggage.

Robert Plath.

He's still alive. I talked to him on the phone.

I remember you were so mad at the director

in Cisco Pike. We had our big scene in the car

that you got drunk.

I had to keep slapping you in between takes

to wake you up.

You were supposed to be wasted
in the scene anyway.

That's why I got drunk, I think...

I think it was...

And stoned, too probably.

Probably... and a problem when he's stoned.

You wanna do that one?

See him wasted on the sidewalk

in his jacket and his jeans

wearing yesterday's misfortunes like a smile.

Once he had a future

full of money, love, and dreams,

which he spent like they were going out of style.

And he keeps right on a changin'

for the better or the worse,

Searching for a shrine he's never found.

Never knowing if believing is a blessing
or a curse

or if the going up was worth the coming down.

He's a poet.

He's a picker.

He's a prophet, he's a pusher.

He's a pilgrim and a preacher.

And a problem when he's stoned.

He's a walking contradiction

partly truth and partly fiction,

taking every wrong direction,

on his lonely way back home.

And there's a lot of wrong directions

on that lonesome way back home.

That wasn't just about Harry Dean...

That was about me and Dennis...

Johnny Cash thought I wrote it about him.

He was part of it... and Waylon.

I think your heart is really into music.

More than anything else.

Oh yeah. I still love it and it's...

frustrating because I never pursued it.

I've avoided success artfully.

And that's a conflict. But it's what is.

There's something that's been wearing me.
I just gotta get it off my mind.

It's my age man, I mean I chose.

Oh man if you're still worried about that business
in the car forget it.

No no man that's not what I'm worried about.

I'm worried about when we get on that stage again,
under those lights man,

you know the wrinkles
maybe it don't look too good.

Oh geez man.

What? Hey man it's true.

Fuck me.

It ain't your god damned body
thereafter man, it's your soul.

It's all gonna go away.

You're gonna go, I'm gonna go,
everybody's gonna go.

The sun is burning out,

the earth is gonna go.

It's all transient. Everything is transient.

So it's ultimately not important.

It's all fleeting, passing.

And that's not a negative concept.

It's just what is.

It's liberating.

Just everything happens.

It's all one connected whole. No answer to it.

That's buddhistic, but I am not a Buddhist.

What are you?

Nothing.

It's a relief. Isn't that a relief?

When you're nothing, there is no problems.

At a time when the world seems to be spinning,

hopelessly out of control.

There's believers, and deceivers,
and old in-betweeners,

that seem to have no place to go.

It's the same old song, it's right and it's wrong,

and living is just something that I do.

And with no place to hide, I looked in your eyes,

and I found myself in you.

I looked to the stars, and tried all of the bars,

and I've nearly gone up in smoke.

But now my hand's on the wheel,

there's something that's real

and I feel like I am going home.

It's the same damn tune,

it's the man in the moon,

it's the way that I feel about you.

And with no place to hide,

I looked in your eyes,

and I found myself in you.

I looked to the stars,

tried all of the bars,

and I've nearly gone up in smoke.

But now my hand's on the wheel,

I have something that's real,

and I feel like I am going home...

It's good, huh?

Good words.

And there's a couple of mistakes,

but leave them in there. Who gives a fuck.

Doesn't matter?　-No.

That's the first thing you said to me

I remember when we first start doing gigs together,

one of the first thing you said to me was:
"There are no mistakes".

So now what?

That's it, I think...

We did Tennessee Whiskey, didn't we?

I didn't do an Irish song.

I'll do "Danny Boy", what the hell,
now I am warmed up

I should preface this song.

This was written by a father, singing to his son.

He had lost two sons in two other wars.

He's singing to his youngest son
who's going to the war.

It's his youngest son

and it's an Irish national anthem.

Give me the chord.

Oh Danny boy, the pipes, the pipes are calling.

From glen to glen, and down the mountain side.

The summer's gone, and all the leaves are falling.

It's you, it's you must go and I must bide.

But come ye back when summer's in the meadow.

Or when the valley's hushed and white with snow.

'Tis I'll be here in sunshine or in shadow.

Oh Danny boy, oh Danny boy, I love you so.

And if you come and all the leaves are dying.

And I am dead, as dead I well may be.

You'll come and find the place where I am lying.

And kneel and say an "Ave" there for me.

And I will hear, tho' soft you tread above me.

And all my dreams will warm and sweeter be.

If you'll just bend,

and tell me that you love me.

Then I will sleep in peace until you come to me.

That's it.