00:00Get your head in the game, we gotta get it, get it, get it, get it, head in the game.
00:03Woo!
00:05I really drilled all those shots.
00:07There's no CGI in there.
00:08I don't think we had to budget for that.
00:10That makes it feel good.
00:11Hi, I'm Zac Efron, and I'm going to rewatch some scenes from throughout my career.
00:15Some of these are probably going to be pretty visceral.
00:19But some of them are probably going to be really fun.
00:20I have no idea.
00:22All right, here we go.
00:30What are you wearing?
00:38What are you doing?
00:39We're throwing a Robert De Niro party.
00:41Oh.
00:42Should be pretty fucking loud.
00:44It's probably going to go pretty fucking late, too.
00:46I'm a taxi driver De Niro.
00:48Yeah, I meet the fuck as De Niro.
00:51I'm watching you.
00:52I'm watching you.
00:53That's dead on.
00:55Did you do that yourself?
00:56Yes, I did.
00:57Yes, I did, fucker.
00:59Oh my god, that's so funny.
01:02Wow.
01:02I remember this day, oddly, like very vividly.
01:05There was so much going on.
01:06Seth is so good at improv.
01:08He's like, Seth is, to this day, is one of my favorite actors of all time.
01:11In this scene in particular, I remember really not having a De Niro impression,
01:17like a very good one at all, and just kind of knowing I was going to be winging it,
01:21and hopefully betting on the fact the worse it was, the funnier it would be.
01:24And it worked out.
01:26I was blown away, though, when all of a sudden, out of nowhere,
01:29Dave Franco had completely nailed his De Niro impression.
01:34Like, he just crushes that.
01:37Are you talking to me?
01:39Yes.
01:39Yes.
01:40Are you talking to me?
01:40He literally looks like him.
01:42He looks like De Niro.
01:44So I'm here, like, up front, sucking, doing taxi De Niro.
01:48And then he comes out and says, yeah, you, fucker, I'm talking to you.
01:52I was like, did you practice this?
01:55It was so funny.
01:56I was like, what the fuck?
01:57Dave's killing this.
01:58Who are you?
01:59Oh, I'm Sam Jackson, you know, from Jackie Brown.
02:02What the fuck?
02:03Hoo-wah!
02:04Hoo-wah!
02:04Hoo-wah!
02:05Hoo-wah!
02:05Hoo-wah!
02:06Hoo-wah!
02:06That's not even, yeah.
02:07Scent of a woman?
02:08Hoo-wah!
02:08Hoo-wah!
02:09Hoo-wah!
02:09Hoo-wah!
02:10Hoo-wah!
02:10There's no persistence in here.
02:11Seth and Rose doing what they do so well, which was just naturally
02:14reacting to this ridiculousness outside the window.
02:17The hoo-wah, hoo-wah, like, that's not even De Niro.
02:20That's Pacino.
02:21And I don't remember who did it first, but someone did it.
02:23And we all just started copying it.
02:26Seth's reaction to it was very genuine.
02:28It was like, that's not even, you guys, it's not even an impression.
02:32And we just kept doing it to make him upset, because it was making him mad.
02:35And it stayed in.
02:36That's one of the most fun movies I've ever filmed.
02:38So grateful for that and that experience.
02:41Man, I feel like I'm back there.
02:42I haven't watched this.
02:43This is crazy.
02:43I never watch this stuff.
02:45This is insane.
02:46It's cool.
02:47I know they're making it look like I do this, but I don't do this.
02:49I really don't.
02:53["Fake Right and Break Left"]
02:57Coach said to fake right and break left.
03:00Watch out for the pick and keep an eye on the fence.
03:02Gotta run the give and go.
03:03Take the ball to the hole.
03:04And don't be afraid to shoot the outside, yeah.
03:08First thing that comes to mind is I really drilled all those shots.
03:11There's no CGI in there.
03:12I don't think we had to see the budget for that.
03:14So that makes me feel good.
03:15That just takes me back to where all of us were at, all the young men on that team.
03:21We were so young.
03:23And so incredibly motivated.
03:26Not many people know this, but High School Musical was just a made-for-TV movie.
03:30And it was very small.
03:31So we had a very condensed shooting schedule and very limited rehearsal time.
03:35Our choreographer, Chuck, he was actually in that shot.
03:37And Kenny Ortega had pretty big ambitions for this movie.
03:41But I think he was pleasantly surprised when all the boys were excited to not only fulfill what he wanted,
03:48but to take it one step further.
03:50This whole sequence with the basketballs and the dribbling in that movie,
03:53we started practicing with basketballs.
03:55And I think we might have practiced it for two days prior to doing all that in sync.
04:02We probably had maybe two, three-hour rehearsals with basketballs.
04:06After five takes, we nailed it.
04:08We got it all in one.
04:10They didn't cut from start to finish.
04:12And all of us were blown away.
04:13And I think that was the first time all of us went, is this going to be cool?
04:20It felt really cool.
04:21It was a really special moment.
04:22And I'm still just proud of all those guys for doing that.
04:26Because it was hard.
04:27It was hard.
04:27You can't predict where basketball is going.
04:30A lot of people got hit in the face.
04:32It was hilarious, man.
04:33It's so funny.
04:35I just see I look so light in my feet in that.
04:37Oh, my gosh.
04:38Oh, wow.
04:39Oh, I love you, Kenny.
04:40I miss you guys.
04:41Man, that's bringing it all back.
04:43I haven't watched that in years.
04:44That's crazy.
04:51Bye, Chris.
04:52Bye.
04:54See ya.
04:54Oh, my God.
04:55You're not Jack and Rose.
04:57Just get out of the car.
04:58Get out of the car.
05:04What do you want?
05:05I didn't come here looking to have sex with your mom, all right?
05:08I came to your house looking for you so I could offer you this job.
05:12Oh, God.
05:15Joey's so good in that scene.
05:16She's so great in that.
05:19You know, I had seen her earlier work from when she was a little bit younger,
05:23and I noticed back then that, like, she was just acting beyond, you know,
05:30anybody else I'd seen at her age.
05:31We had so much fun working together as we kind of got back to that place
05:34where we were in that De Niro scene.
05:35Like, that was the kind of the shape of the scene that we had planned,
05:39but a lot of that stuff we added our own, like, flavor to, which was really fun.
05:44Celebrity?
05:44She didn't sleep with a celebrity.
05:45That's derogatory, okay?
05:47I'm a movie star.
05:47She slept with a movie star.
05:49Okay, I don't remember saying that that way.
05:52I wanted there to be a clear delineation between Chris Cole and, like, myself.
05:58As much as I can relate in ways to things that Chris might be going through,
06:05I think the way that he handles it is very different from myself.
06:10I got to play, like, the worst version of somebody experiencing fame
06:15and sort of the fear and the imposter syndrome that comes with that.
06:19On the one hand, I'm still, like, starstruck every time I see her.
06:24So that's—and it's never—I don't think it's ever going to change.
06:26It's weird, even to this day.
06:28I really just am, in a sense, just always going to be in permanent awe of her.
06:32I don't know.
06:33I've got a deep trust and, like, respect for her that I think just makes it fun.
06:39Like, I look forward to scenes with her, and there's very little stress.
06:42I just got to get past that initial,
06:45you're Nicole Kidman, and we're doing a scene together.
06:48Okay, cool. Let's go.
07:13I saw that one back fairly recently.
07:15My friend invited me over for dinner, and he's got quite a few kids, and it was just on.
07:19I realized I had entered a trap.
07:21So I sat there, and 20 minutes later, we were all, like, up singing and dancing
07:26and doing, like, acrobatics on the couch.
07:29It was really fun.
07:30I mean, I love—musicals are very, very near and dear to my heart.
07:34I think they always will be.
07:36Michael Gracie.
07:37I think Michael Gracie and Hugh—
07:39they're incredibly special people.
07:40I think that Michael is such a visionary.
07:43I can admit that at the time that he came to me and sort of pitched this film to me,
07:48a musical was probably not the first thing I was looking for at the time.
07:52Then he sort of played me the music and talked me through his vision,
07:56and it was one of the most ambitious but also well-thought-out explanations of a story
08:05but also well-thought-out explanations of a story
08:08that I've ever experienced.
08:10This is—it's kind of similar to working with Sean Durkin on The Iron Claw.
08:14It was very clear that Michael Gracie had this in his dreams,
08:19and he was going to bring to life a very vivid dream
08:22that meant something very special to him and was not one to compromise.
08:27So if you're going to make a musical, you better make it damn good.
08:30And I felt like this was a chance to make it good.
08:36We're going to the other side.
08:38So if you feel like it, to the other side.
08:41So if you feel like it, we're going to the other side.
08:44The choreography for this scene was actually pretty extensive.
08:47All of those shot classes, we really did that.
08:49And the guy in the middle, his name's Cloud, he was extraordinarily talented.
08:53And we practiced for weeks and weeks to get that right.
08:56To not mess that up was—we had to catch them all in the right timing,
09:00drink them on the right timing, send them back, catch new ones,
09:04do dancing in the middle, and not mess up the words.
09:06And it was really hard.
09:07It looks effortless, and I'm happy that it looks that way,
09:09but that's how Cary Grant is.
09:12It seems effortless, but there's a lot of rehearsal that goes into that.
09:15I love seeing that back. That's wild. It's crazy.
09:28The way that he revealed Zendaya's character, that was such a cool thing.
09:32And bless her heart, she really did that.
09:34Every time, she flew from across the room on a trapeze,
09:38and then went into her close-up a lot.
09:41It was very impressive.
09:43I mean, Zen's the best. She's great.
09:45She's down for anything. She's super brave.
09:50I've got so much respect for Zen.
09:51I hope we get to do something again in the future. She's the best.
09:54I'll never forget it. It's really nice to watch this stuff with you guys.
09:57It's weird, I'm getting emotional over this. It's crazy.
10:02You okay, Dad?
10:04Hey, I'm sorry.
10:07I'm sorry, boys.
10:10You shouldn't see me like this.
10:13A man doesn't cry.
10:15Sean Durkin, the director of this movie,
10:19had a very carefully drawn-out plan for the execution of this film,
10:23and of course, on purpose, put this scene,
10:26probably very much last night,
10:29in the film, and I think it was for good reason.
10:31Kevin Von Erich was never meant to be seen crying,
10:34because the family was not allowed to show weakness.
10:37And I thought that was a really fantastic note from Sean,
10:40and a brilliant kind of thing to guide me through the movie.
10:42And there were a lot of scenes, I think, earlier in the film,
10:44that warranted tears.
10:46I wanted to cry a lot during this movie,
10:48and he was just saying,
10:50no, hold it back, hold it back for the right moment.
10:52But then this day came along. It was the last day of filming,
10:56and I couldn't hold back tears.
10:58And all I'm thinking here is,
11:00don't cry, dude, you're going to have to do it again.
11:02Like, Sean's not going to go for this.
11:04And when they said, you know,
11:06we'll be your brothers, I just lost it.
11:08We'll be your brothers, Dad.
11:10Yeah, Dad, we'll be your brothers.
11:12I thought I'd ruined the take at that point,
11:14but I decided to stay in it.
11:16And when we finished, the boys kind of ran away,
11:18and we continued the take, and I looked up at Sean.
11:20I was about to apologize.
11:22He's like, no, that was it.
11:25I was like, really?
11:27So this was the first time, I think,
11:29that he wanted Kevin to experience this emotion.
11:31So I was happy that Sean was happy.
11:33It's a cool scene.
11:37Well, thank you so much, Vanity Fair.
11:39Thank you for watching.
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