00:00Dancing was definitely not encouraged,
00:02nor was smoking or drinking, you know,
00:04having premarital sex.
00:05These were all things that I'm very fond of.
00:07Hey, I'm Kevin Bacon and I have filmed in a lot of places.
00:12Let's see if I can remember that.
00:17All right, here we go.
00:22Oh, I think this is Utah.
00:24Must be Utah, right?
00:25This is probably the movie Footloose.
00:29Provo, or Orem, or Payson, or Lehigh.
00:37These were all the surrounding areas of Salt Lake City
00:41that we shot Footloose.
00:44And, you know, probably this is where the tractor race was,
00:49or something like that, yeah.
00:55The experience as a young man
00:58of being part of a troop and rolling into a town
01:03that was so far, I mean, when I landed here,
01:06I had never seen these mountains.
01:09I'd never seen mountains, even anything like this.
01:12It was completely mind blowing.
01:15I'll never forget.
01:16I mean, just literally, like, I'm looking out the window,
01:19and just, like, going, holy shit.
01:22But, you know, the fact that you get a chance
01:24to be on the road and learning how to survive,
01:28and nobody knows each other,
01:29and you sort of have to make friends with each other,
01:32with the crew, with the cast.
01:34You're all thrown into what was really very much like
01:38a foreign kind of land, in a way.
01:40I thought this was a party!
01:41Let's dance!
01:42I was a city kid who was thrown into a, you know,
01:46super rural world.
01:49And also a very, very strict, you know,
01:53people who were raised with a very strict
01:55religious upbringing.
01:56Dancing was definitely not encouraged in that community,
02:00nor was smoking or drinking or, you know,
02:05having premarital sex.
02:06These were all things that I was very fond of.
02:08Dancing, smoking, drinking, premarital sex.
02:11I'm not necessarily in that order.
02:12So, like, and I think that most of the crew
02:14and most of the cast was, you know,
02:16kind of in line with me.
02:18There was some stuff that was kind of scandalous, you know?
02:21I think John Lithgow was, went skinny dipping
02:26in the pool at the hotel.
02:28That sort of got around.
02:29I just feel closer to my lord out there.
02:32Do you remember any of those?
02:34A move?
02:35No.
02:36You don't remember any of the dance moves?
02:37No.
02:38No.
02:39Do people ask me that all the time?
02:40Yes.
02:41Okay, let's see what we got next.
02:48I think this is Lone Pine, California.
02:54When we were making Tremors,
02:59if I remember correctly, am I right?
03:02We're, like, jumping from rock to rock.
03:04Yeah, jumping.
03:05Pole vaulting.
03:11Pole vaulting from rock to rock,
03:13because the graboids can get through dirt,
03:18but they can't get up on the rocks or something like that.
03:21They were, a lot of Westerns were shot up there in the 50s,
03:26but also they were hotspots for people to go and do psychedelics,
03:32you know, peyote and mushrooms and stuff like that.
03:34And, you know, when you're up there,
03:36there is a kind of, like, psychedelic vibe to them,
03:38and you can, there's kind of carve outs.
03:41It's funny, you know, one of the few things that I know how to do
03:45is ride a horse, and I've never been in a Western.
03:50I think maybe Tremors is the closest I've ever gotten
03:52to being in a Western.
03:54And I did get a chance to ride a horse a little bit.
04:00I remember one time they wrapped me
04:05because of what we call turnaround.
04:08You know, you have to have 12 hours off between the time
04:11when you start shooting and the time when you wrap at night.
04:14And they decided to use a stunt double
04:19for this very, very wide, wide shot of Val and Earl
04:24galloping across the desert.
04:26And I was so pissed that they didn't let me do that.
04:30I was like, you know, and honestly, I wasn't that crazy
04:33about the way he was riding.
04:36Reba, I think, I feel like maybe Tremors was her first acting gig.
04:40Um, and of course, she was fantastic and hilarious.
04:51You didn't get penetration even with the elephant gun.
04:53Shit.
04:54It was also because of Reba's involvement
04:58and because of the fact that we were shooting in Lone Pine,
05:02which is even though it's probably about three, three hours
05:07or three and a half hours north of L.A.,
05:11the only
05:13options for radio, there weren't a lot of radio stations.
05:16The only radio stations I could get was country stations.
05:19And, you know, I'm a kid from Philly.
05:20And up until that point, I didn't really listen to
05:24or have much of an appreciation for country music at all.
05:27And between Reba's involvement
05:30and the fact that aside from my, you know, cassette player,
05:34the only thing I could listen to was country
05:37made me really start to appreciate it as a, as a, as a musical genre.
05:41So let's see what's next here.
05:44Oh, I know exactly.
05:47I have no idea where this is.
05:49Is it the Hellgate Bridge?
05:50No, that's not the Hellgate.
05:52It doesn't really look like New York.
05:54And it's, it's, it's, it's not Philly.
05:57Oh, Boston.
05:58This is Boston.
05:58This is the Tobin Bridge.
06:00Hey, Devine.
06:06What you looking at?
06:08The old neighborhood.
06:09We were making a movie, Mystic River.
06:11I believe I'm in this scene.
06:12Yeah, on the, on the, on this bridge.
06:16It's been a long time since I've seen the movie.
06:19And it was unheard of because this is one of the main arteries
06:23in and out of Boston and Eastwood closed it.
06:28And it was like this crazy, crazy traffic jam.
06:32People's heads are just exploding, but because it was Clint,
06:35it's like, yeah, we're just going to close the bridge and it'll be fine.
06:39But I think because of Clint, you know, Eastwood, who directed the film,
06:45he's so beloved and admired and, you know,
06:52kind of respected that for whatever reason
06:57we got Boston or he got Boston to, to open up their arms to Mystic River.
07:02And it was one of the most fun shoots that I've ever had.
07:07The one thing you can be sure of is that if you're doing a Boston accent,
07:11nobody from Boston is going to like it.
07:13They're just very, very protective of that accent.
07:17And I remember pulling into town.
07:23I think it was to start City on a Hill, which was another Boston-based character that I did.
07:29And I roll up to the hotel and I got my dog and I'm about to walk the dog in the common.
07:38And there's a guy sitting in a car there.
07:41This guy's window rolled down and he looks at me and says,
07:43Hey, how come you get to play all the Boston cops?
07:48And I said, well, he said, how come you get to play the cops?
07:51And I realized that he was probably, I don't know, an out-of-work actor or something.
08:00This might be, um, is this Camp Crystal Lake from Friday the 13th?
08:07Wow.
08:07I'm pretty good at this, actually.
08:09This is where we shot Friday the 13th, which was the first Friday the 13th, uh, in about,
08:16I don't know, 1979 or something like that.
08:20I know exactly where it was.
08:21It's in Blairstown, New Jersey.
08:29Yep.
08:30I remember that.
08:31This lake was so fucking cold.
08:35And the thing was, is that for some reason, we started, I feel like we started kind of like
08:41at the end of the summer.
08:43Maybe it started right after Labor Day or something like that.
08:45But as the movie goes on, you can see the leaves start to change.
08:51I remember somebody, you know, because I was learning about filmmaking.
08:54I remember someone talking about that, saying, you know, if the leaves are changing, this
08:57is going to be a problem.
08:58And we had scenes in the water, like swimming, like we had a swimming scene, but that was
09:04like at the end of the schedule.
09:06So I remember just thinking to myself, how are we going to jump in the water on this October
09:13day?
09:13But, uh, I guess we didn't.
09:16Let's see what we've got here.
09:18Ah, this is the Bondsman.
09:20This is Snowy, Georgia.
09:21This is a great place to shoot.
09:24Male enforcement, come out with your hands up.
09:26You know, the challenge is to not be on location.
09:33You know, the challenge is to, you know, try to absorb the character and the tone of a place
09:45if you're not in that place.
09:46But if you can get to a place that's close to the place that you're trying to shoot, it
09:54becomes like an actor's playground in a lot of ways.
09:56Even just tonally, you know, drivers that, you know, drive us to and from work, they tend
10:03to be of that place.
10:06You know, whether it's, you know, dialect or point of view or whatever, they are the people
10:12that live there and work there.
10:14They're not the DP who's coming in or the cast that's coming in or even the production
10:18designer that's coming in.
10:19A lot of that cruise, you know, outside, but the drivers are definitely local and just
10:26having that sort of like exchange with them to kick your day off in the morning or on the
10:32way home at night is, is, is valuable.
10:36Totally.
10:37A hundred percent.
10:38Yeah.
10:39A hundred percent.
10:39I mean, I can't think of anything specific.
10:42You know, I don't want to get sued.
10:43No, but no, a hundred percent.
10:44Yeah, I do.
10:45Yeah.
10:45I have many, many, many times, whether that's in Boston or.
10:49Or in Georgia or in Lone Pine or, you know, wherever.
10:54Well, I'm a victim of circumstance.
10:57How do I think I did?
10:59I think I did pretty well, I guess.
11:01I don't know.
11:01I didn't know it was a contest, but there's one more.
11:04We're going to skip it.
11:05We're going to skip it.
11:05Okay.
11:05It was a bad one anyway.
11:07Oh yeah.
11:07That's.
11:10Okay.
11:10You want to know what it is, right?
11:16Space.
11:19You want to know what it is, right?
11:21You want to know what it is, right?
11:21You want to know what it is, right?
11:22You want to know what it is, right?
11:23You want to know what it is, right?
11:24You want to know what it is, right?
11:24You want to know what it is, right?
11:24You want to know what it is, right?
11:25You want to know what it is, right?
11:26You want to know what it is, right?
11:27You want to know what it is, right?
11:28You want to know what it is, right?
11:29You want to know what it is, right?
11:30You want to know what it is, right?
11:31You want to know what it is, right?
11:32You want to know what it is, right?
11:33You want to know what it is, right?
11:34You want to know what it is, right?
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