00:00 - You want to know my secret, Adrian Romanoff?
00:02 You want to know how I stay calm?
00:03 - To be honest with you,
00:04 I wasn't able to watch this ever before.
00:07 I kind of remember seeing this and just being like,
00:11 down in my seat.
00:14 Hi, I'm Mark Ruffalo,
00:16 and I'm going to rewatch some scenes throughout my career.
00:19 Here we go.
00:20 (upbeat music)
00:22 (upbeat music)
00:25 - Oh no, again.
00:39 - Maddie!
00:39 - You son of a bitch.
00:42 - Oh, she's amazing.
00:43 - I don't know what I'm doing.
00:44 I'm just a kid.
00:45 - I don't know these moves.
00:46 - I'm for the love of Peter Thomas.
00:46 - I haven't done this in years.
00:48 - Are you crazy?
00:50 - As much as she is dragging me onto that dance floor,
00:55 which was as much as she was actually dragging me
00:57 on the dance floor.
00:58 I did not know how to do this dance.
01:01 I had such a hard time with it.
01:04 Took her 60 minutes to learn this,
01:09 and it took me like four days.
01:12 God, it's such a time.
01:14 - Jenna, I'm sorry.
01:15 I gotta go.
01:16 I'm sorry.
01:18 - Wait, don't.
01:19 - What a time this was.
01:21 This is sort of the beginning of everything in a way.
01:24 You know, Kerry Winnick, who directed this,
01:25 was one of the great independent directors,
01:30 and he decided he was gonna cross over
01:32 and do this romantic comedy
01:35 and make it like an independent movie,
01:38 like have all that heart and soul and thoughtfulness
01:41 and try to have it have a message
01:44 while still being romantic.
01:46 You know, it's romantic comedy,
01:47 but it really is about innocence
01:49 and keeping your innocence and losing your innocence
01:53 and how we rush into that as young people.
01:57 I just think that that resonates with everybody.
01:59 Everyone remembers the moment
02:01 where they lost their innocence
02:02 or where they wish they'd still had it.
02:04 It's unrequited love, you know?
02:06 It's the ending that you don't wanna see
02:09 in a romantic comedy,
02:11 and then you get the ending you wanted to see.
02:13 Having that switch up, I think,
02:15 made it really special too.
02:17 [upbeat music]
02:19 [laughing]
02:25 - Better.
02:26 - What?
02:28 Why keep it in my mouth if it is revolting?
02:32 - Duncan Wedderburn, he's in a great tradition
02:35 of the English rake.
02:37 Terry Thomas is one of the people who come to mind.
02:42 A lot of it is in the dialogue.
02:44 He's controlling, he sees himself as a libertine.
02:48 He believes in free love, unless, of course,
02:51 it's the woman who wants to have free love.
02:54 A classic sort of misogynistic, you know,
02:58 sexually dominating man from the turn of the century.
03:04 Even to today, Andrew Tate comes to mind.
03:07 - I must go punch that baby.
03:08 [baby crying]
03:12 Jesus.
03:12 - That baby was really crying a lot.
03:17 I don't think it was hard for Emma
03:19 to build up those feelings of anger.
03:23 - Your behavior is unconscionable.
03:25 We behave.
03:26 - She's just one of the greatest actors, so present.
03:30 A lot of it is just responding to what she's giving you.
03:34 When an actor's present with you,
03:36 there's something happening in between the two of you.
03:39 - You are hurting, Bella.
03:40 - Sorry, reason does not penetrate.
03:44 Let us go.
03:45 Ow.
03:50 - She really slapped me hard that time.
03:54 What makes it so great is the mental process
03:59 of do I like that?
04:03 That was exhilarating.
04:05 I've never been slapped before.
04:08 Who is this woman?
04:09 Do I kiss her or bite her?
04:12 His response is, "Oh,"
04:15 which has a little bit of the pleasure in it
04:17 and his maybe wanting more, let's say.
04:21 His kink.
04:22 - What are you doing, Mr. Stark?
04:31 - Kind of been wondering the same thing about you.
04:33 You're supposed to be locating the Tesseract.
04:35 - Yeah, the model's locked
04:36 and we're sweeping for the signature now.
04:38 When we hit a hit--
04:39 - I don't know what the hell I'm talking about.
04:42 We get into the scientific jargon
04:46 and I just like, "Buh, buh, buh, buh, buh, buh."
04:48 All that was really difficult for me,
04:51 but I think we pull it.
04:53 Look at how great Downey looks.
04:56 - Sorry, computer was moving a little slow for me.
04:58 - Rogers, we gathered everything related to the Tesseract.
05:01 This does not mean that we're--
05:02 - I'm sorry, Nick.
05:04 What, were you lying?
05:05 - I was wrong, director.
05:07 The world hasn't changed a bit.
05:09 - Did you know about this?
05:10 - Busted.
05:10 - I knew you'd get a little twitchy.
05:11 I'd like to know why SHIELD is using the Tesseract
05:14 to build weapons of mass destruction.
05:16 - Because of him.
05:18 Me.
05:21 - I was scared to death.
05:22 All these other guys have had movies
05:25 made on their characters.
05:26 I just felt like I had big shoes to fill
05:29 with all of the other banners.
05:30 You know, my friend Ed Norton was amazing.
05:33 And then there's this big monologue coming.
05:35 It was a tough monologue,
05:37 and the language was difficult.
05:39 And there's an energy in there
05:40 that suits very well for where Banner is right now.
05:44 You know, do I fit in here?
05:46 That was me.
05:47 He has to prove himself to them here.
05:51 And I had to too.
05:52 And that's frustrating, you know?
05:55 And that has high stakes.
05:57 You're on this set with those actors,
06:00 and you had to come through,
06:02 and Banner has to come through.
06:04 And he has to take his place within this team.
06:07 That's what's playing here.
06:09 - The odd thing is, we also got gloves.
06:17 - Suspects?
06:18 - There's blood on them.
06:19 - Hey Pete?
06:22 - Yeah, Dave?
06:23 - Can I get in there?
06:24 - I wanna say it was three nights to film this sequence.
06:28 My memory's faulty,
06:29 but I know it was more than one night.
06:32 If you were doing any other movie,
06:35 you would do this sequence in half a day.
06:38 But I remember this night specifically
06:46 'cause Fincher had this idea where I come down the hill,
06:51 and it's like backlit.
06:53 And it's a sort of introduction to him
06:58 as this kind of lone figure.
07:02 And he explained the shot to me,
07:03 and I never had been in a film
07:07 where the director had planned a shot a certain way.
07:11 We would do 60, 70 takes, just out of hand.
07:16 My first day, he was coming towards me.
07:20 Jake and I had done a,
07:21 it's like a four-page walk and talk, lots of dialogue.
07:25 He's coming towards me.
07:27 Fincher, finally a take 30.
07:29 And I'm just like, okay, I did my best.
07:32 And he literally walks by me.
07:33 He moves a background artist like two inches.
07:37 And then he turns around, he walks and hits me on the back,
07:42 and he walks back to the monitor.
07:44 And I was like, oh, I'm only like 10% of the frame.
07:48 This guy just moved a background artist
07:52 two inches behind me.
07:54 He wants this thing perfection in 100%,
07:58 and I'm just 10% of it.
07:59 Every movie you do, you're on a journey with a director.
08:02 And the more you can give into them
08:04 and join them on their process and their journey,
08:06 the better it is for them, the better it is for you.
08:09 For me, that's what this was from the very beginning.
08:11 In this, you had to know your dialogue.
08:14 You had to know everything.
08:16 Like, you knew the back of your hand.
08:17 And if you didn't with Fincher, you're in trouble.
08:20 [laughs]
08:21 [upbeat music]
08:27 - I wonder if Father Gagin should not be reduced
08:29 to just weekend work while receiving some kind of therapy.
08:31 - Mike Resendiz, the guy I'm playing,
08:34 and just how much it costs these guys to do this.
08:39 And, you know, they're all Catholics,
08:41 and this is their world that they were exploding.
08:45 And it really took its toll on them emotionally.
08:50 - When did Gallant write your letter?
08:52 - 1984.
08:53 - And Lodge just ignored it.
08:54 - How do you ignore that freaking letter?
08:56 - We got 'em.
08:57 - Injustice is, you know, it's a power that hurts people,
09:02 and that people don't really have recourse to,
09:07 or defenses against people being,
09:13 their lives being turned upside down by fracking.
09:15 And I was on those frontline communities
09:18 where there really was no justice for people,
09:20 and they were being abused,
09:23 and the system wasn't protecting them
09:26 the way it was supposed to.
09:27 I'd had interactions that resembled that,
09:30 so I really knew that in a personal way.
09:35 - It's time, Robbie, it's time.
09:39 They knew, and they let it happen to kids, okay?
09:45 It could've been you, it could've been me,
09:47 it could've been any of us.
09:49 We gotta nail these scumbags,
09:51 we gotta show people that nobody can get away with this,
09:55 not a priest, or a cardinal, or a freaking pope!
09:58 - Well, the truth is is that no matter how you wanna
10:02 hold yourself outside of it, I mean, personally,
10:05 you gotta be honest that it is you.
10:08 I mean, you're the one there.
10:10 You're the one saying the lines,
10:12 you're the one who's having, you know,
10:16 showing up, who's living this life.
10:20 So I don't really separate 'em that much, personally.
10:24 You can't negate that you're there.
10:27 I just feel like, why even spend the energy doing that?
10:30 There's a sickness in just, I think,
10:32 just thinking you are becoming that character,
10:35 'cause that also isn't true.
10:37 It's always a dance between, you know,
10:40 yourself and the character, and your own experiences
10:45 and experiences that your character's going through.
10:47 Thanks for watching.
10:53 (upbeat music)
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