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00:00Hi, I'm Brad Pitt.
00:03I got involved with the film
00:05because I was having early discussions
00:07with Tony
00:08about playing actually
00:11a much bigger role in the film.
00:13And to be honest,
00:15I really didn't quite get it.
00:16In retrospect to me, the film
00:19is kind of like a young
00:21guy's wet dream. You know, he gets
00:22the drugs, he gets the girl, he pulls off the
00:24heist and off
00:27into the sunset. I didn't get that at the
00:29time. I took it much too literally.
00:31And all I could
00:33see was that this
00:34guy on this romp, he gets his dad killed
00:37and then they make no
00:39mention of it afterwards.
00:41And it
00:42bothered me. I just took it too literally.
00:46And of course
00:47seeing it, I think it's fantastic. It's actually one of my
00:49favorites.
00:51But also I just finished California
00:52and it felt like a similar
00:55vein. And so
00:56I didn't think I was the right guy for it.
00:58I wasn't the guy. But I liked Tony so much.
01:00He had such laughs with him. I wanted to do
01:02something in it. And so
01:05reading through it,
01:06this one guy stuck out to me. He was a very
01:08small character, but he
01:10but because he opened his mouth,
01:12everyone else gets killed in the end.
01:15And I figure if you're going to make a film
01:16like, you know, that's going to go down this road,
01:18that's kind of interesting to me
01:20because of his indiscretion, because
01:22he's he has
01:24he shows all his cards. He gets
01:26everyone else in trouble. So that was
01:28kind of interesting. So I talked to Tony.
01:30I said, no, not for me or I'm not the guy,
01:32but I would
01:33like this little guy and I'll go do this.
01:36And I don't think anyone was in the film at that time.
01:39I had no idea they were going to load
01:40it with with James
01:42Gandolfini and Gary Oldman
01:44and Dennis Hopper and Walk
01:46and on and on and so forth.
01:49And it was really fortunate to kind of
01:50walk into that.
01:53And then as it got
01:54close to shooting time,
01:56we were getting my part off
01:58in two days and
02:00a couple days before I was supposed to be on
02:02set, I called Tony up
02:03and I asked him if I could make him a stoner.
02:07The idea behind
02:08making him a stoner is because he was always
02:10in one location. And I figure if
02:12he's
02:12he's sitting in the same
02:14spot, well, he's
02:16going to be a stoner.
02:18And
02:18I called him up and said, can we do this?
02:22He said, yeah. And I said,
02:23can we even, can we keep him on the couch
02:26in every scene? And he said, yeah.
02:29And
02:29then when I got to set,
02:32there was the bong.
02:35And the bong
02:36actually came from a climbing partner
02:38of Tony's. I think the bong's name is Russell.
02:41And
02:41I've heard
02:44that they sell him in headshots now.
02:46That's just
02:56about being a tough guy in your own mind,
02:58but
02:58really acting on it.
03:00Yeah, man.
03:03I'm positive.
03:05Yeah, we'll play.
03:06Let me just tell you, if we get lost, that's your ass.
03:08Hey, Floyd, why don't you get out of my beer, right?
03:10And get a fucking job.
03:11That's all ad-libbed by Rappaport.
03:13And we hit it off instantly.
03:15And we started, while they were setting the lights,
03:17just started riffing as characters,
03:19where I was the pain-in-the-ass roommate
03:22who always trashed the place
03:24and
03:24never helped out, in a sense.
03:28And we just kind of ran with that,
03:29and that became the flavor
03:31in any of this stuff.
03:32This hat, I actually found it in Venice,
03:45in the street.
03:48A couple weeks before, it'd been run over a few times,
03:50a few thousand times.
03:51And I threw it in the wash,
03:53and
03:53we
03:55used it for the flick.
03:57I got the part!
03:58What's that, man?
04:00That's great.
04:01It's wonderful.
04:01They didn't even want a call back.
04:03I can't believe it.
04:04That's great.
04:04You need a breath of the two-half.
04:06It's so good.
04:08Let it go.
04:09I got a seven o'clock call.
04:11That's great.
04:11All right, come on.
04:12Let's go.
04:12I want to hear all about it tomorrow, though.
04:14What do we do tomorrow?
04:14Come on.
04:15Hey, Clarence!
04:16Come on.
04:21Nothing.
04:23Forget it.
04:24Beautiful music.
04:25A little homage to Badlands.
04:28Hey, get some beer.
04:31And some...
04:33some cleaning products.
04:36This buddy I had, he was worthless.
04:39And he always wanted me to buy...
04:41I always had to pay for all the shit.
04:43And then he would act like he was going to help out.
04:45He'd tell me to pick up things, but he would...
04:47You know, of course, it's never there.
04:49Okay, so it's the last one.
04:51It's the last little segment.
04:52And here, uh...
04:54Tony says, all right, you can pick up the bonk.
04:58So, uh...
04:58And the rest is the rest.
05:03Oh, man.
05:04And the idea that this guy was so stoned that he actually...
05:07Just that side of guns is really cool.
05:09Oh, man, no.
05:11My take on this one was that he was on a game show or something.
05:17He had to get all the answers right.
05:19You can find him.
05:20Yes, I do.
05:22Oh.
05:24Oh, where?
05:26At the Beverly Ambassador.
05:30Where's that?
05:31Well...
05:32You go...
05:35No.
05:36Yeah, go down.
05:37Anyway, we got to make this whole little, uh...
05:39This character kind of on the spot with what Rappaport was riffing on.
05:44And, uh, the whole stoner aspect.
05:45And it was just a great time.
05:46Literally, in and out in two days.
05:48And that was it.
05:49And it's actually one of my favorite things I've been a part of.
05:52I'm Dennis Hopper.
05:57I play Christian Slater's father in the film.
06:00I think Christian Slater and Patricia Arquette are wonderful in this film.
06:03I think this is a wonderful film.
06:05Everywhere I go all over the world, I was just in China making a film.
06:08I was just in South Africa making a film.
06:10I made a film last year in, uh, Germany.
06:14And everywhere I go, uh, they talk about the scene.
06:18This is an exterior that was shot in Detroit.
06:20But as soon as I go through that door in the trailer, we're in Los Angeles on a soundstage.
06:31We shot this in one day.
06:33Chris Walken and I.
06:36And, uh, it was a wonderful, wonderful creative day.
06:45Do you know who I am, Mr. Wally?
06:47I give up.
06:51Who are you?
06:53The Antichrist.
06:55You got me in a vendetta car.
06:56When I first came in in the morning, uh, I saw that they were lit, uh, to do, uh, Chris
07:01Walken's, uh, part first.
07:04Uh, they had three cameras and, uh, they had lit the trailer that way.
07:08And Tony came up to me, uh, Tony Scott, the director.
07:13And he said, uh, I just talked to Chris and, uh, Chris has a problem going first.
07:19Uh, he'd like you to go first.
07:21Uh, do you mind that?
07:22And I said, as an actor, I don't mind.
07:24But as a director, I'd go crazy.
07:26How do you feel about it?
07:26You've got a two and a half hour lighting job to do here to turn it around.
07:30He said, doesn't bother me at all.
07:32Tony said.
07:32So I said, well, it's fine with me.
07:35So he relit the scene, took about two and a half hours, uh, turn it around and three
07:39cameras on me.
07:40I have a son, my own, about your boy's age.
07:44I can imagine how painful this must be for you.
07:47But Clarence and a bitch-hole girlfriend of his brought this all on themselves.
07:52I implore you not to go down that road with them.
07:56You can always take comfort in the fact you never had a choice.
07:59Look, I'd like to help you if I could, but I haven't seen Clarence.
08:10You see that?
08:14I'm smart, sonny.
08:16It's slammed in the nose.
08:18Fucks you all up.
08:20Get that pain shooting through your brain, your eyes fill up with water.
08:24That ain't any kind of fun.
08:26But what I have to...
08:27Morgan Creek made this.
08:29Tony Scott, a terrific director, one of the best I've ever worked with.
08:34I know that Morgan Creek put a lot of, um...
08:36They saw a Cadillac.
08:38A lot of money into promotion of this movie, but, uh...
08:41It wasn't successful when it was first released.
08:45Financially.
08:46Artistically, it was.
08:48And I was never at a preview that didn't have, uh, wonderful cards.
08:51It's a 90% approval rating.
08:55And the chance you're in the dark about some of this, let me shed some light.
08:59That whore your boy hangs around with, a pimp, is an associate of mine.
09:05I mean, just pimping and other affairs.
09:07He works for me in a courier capacity.
09:08Well, apparently, a dirty little whore found out when we're going to do some business.
09:14Because your son, the cowboy, his flame, came in the room blazing and didn't stop.
09:20Until they were pretty sure everybody was dead.
09:24What are you talking about?
09:27I sit in a chair, uh, pretty much without props.
09:30I have a handkerchief to dab my nose, and, uh, I have a cigarette later that I asked for.
09:40But walking, I never saw a guy work so well with props.
09:44He's got everything from his scarf to, like, uh...
09:48Cracking nuts off to the side.
09:52Pistachios.
09:53Eating them.
09:56On their honeymoon.
09:58Yeah, well.
10:00You're getting angry, asking the same question a second time.
10:06Where did they go?
10:07They didn't tell me.
10:09Now, you just wait a minute and listen to me.
10:11I haven't seen Clarence in three years.
10:15He shows up yesterday with a young girl, saying that he got married.
10:21He asked, uh, for, uh, some quick, uh, cash to go on a honeymoon.
10:27He asked me if, uh, he could borrow $500.
10:32I felt like helping him, so I wrote him out a check.
10:36We went to breakfast in the morning.
10:38And that's the last I saw of him.
10:42So help me God.
10:44They never thought to tell me where they were going.
10:48And I never thought to ask.
10:57James, uh, Galdifini is the guy behind me.
11:00He's on The Sopranos, who...
11:02The one that cuts my hand.
11:05No!
11:06Pours the alcohol into it.
11:08I think this picture has some of the best, uh, best performances, single performances, small performances.
11:31Chris Walken, mine, Gary Ullman, James Galdifini, Brad Pitt, just wonderful, wonderful actors.
11:44There are 17 different things a guy can do when he lies to give himself away.
11:50Guy's got 17 pantomimes.
11:52Woman's got 20.
11:53Guy's got 17.
11:54But if you know them like you know your own face, they'd be lie detectors all to hell.
12:00Now, what we got here is a little game of show and tell.
12:04You don't want to show me nothing, but you tell me everything.
12:06I know you know where they are, so tell me.
12:13Before I do some damage, you won't walk away from.
12:16And a lot of people think this scene was, uh, improvised, but basically, uh, this is one of those rare scenes in a movie that, uh, Tarantino wrote.
12:26And, uh, you have three pages of dialogue from one person, three pages dialogue from, from the other.
12:31And, uh, the only improvisation was at one point I say, you know, you're all part eggplant.
12:37And he says, yeah, and you're a cantaloupe.
12:39Those are the only improv lines in the whole, uh, the whole scene.
12:42The rest of it is word for word what Tarantino wrote.
12:47You're a Sicilian, huh?
12:50Sicilian.
12:55You know, I read a lot.
12:59Especially about things, uh, about history.
13:05I find that shit fascinating.
13:09Here's a fact.
13:10I don't know whether you know or not.
13:12Well, um, Sicilians were spawned by niggas.
13:27Come again?
13:27No, it, it, it's a fact.
13:32Yeah.
13:32You see, uh, Sicilians have, uh, black blood pumping through their hearts.
13:40And, and, no, if you, if you don't believe me, uh, you can look it up.
13:43Hundreds and hundreds of years ago, uh, you see, uh, the Moors conquered Sicily.
13:49And the Moors are niggers.
13:51You see, you see, way back then, uh, Sicilians were like, uh, wops from northern Italy.
13:59Uh, they all had blonde hair and blue eyes.
14:01But, uh, well, then the Moors moved in there and, uh, well, they changed the whole country.
14:10They did so much fucking with Sicilian women, huh, that they changed the whole bloodline forever.
14:18That's why blonde hair and blue eyes became black hair and dark skin.
14:26You know, it's absolutely amazing to me to think that to this day, hundreds of years later, that, uh, that Sicilians still carry that nigger gene.
14:43Now, this, no, I'm, no, I'm quoting history.
14:50It's written.
14:53It's a fact.
14:54It's written.
14:54I know this guy.
14:56I know this guy.
14:59Your ancestors are niggers.
15:04Uh-huh.
15:06Hey.
15:08Yeah.
15:09And, and your great, great, great, great grandmother.
15:13Fuck the nigger.
15:16Oh, yeah.
15:17And she had a half-nigger kid.
15:20Now, if that's a fact, tell me, am I lying?
15:31Because you, you're part eggplant.
15:37I remember what my teacher Lee Strasberg said.
15:42He said, uh, if you watch people on a soundstage or, like, in a, in a booth, a radio booth where you can't hear what they're saying, you can tell whether they're acting or not by just the way they're behaving.
15:55And, uh, looks like, uh, Chris and I are living and not acting here.
16:04Just before the shooting, uh, Tony said, now I've got this one gimmick where I'm going to put the gun right up to your head and he can fire it, uh, because they fixed the blanks so they won't come out.
16:15And you'll see flame coming out the sides, but everything will be, everything will be great.
16:22I said, I don't know.
16:22I don't really trust that.
16:23And he said, well, look, let me show you.
16:24I'll do it to myself.
16:25So he shot himself in the, shot himself in the forehead.
16:29Blood started coming, dripping down his face.
16:31And he said, oh, well, maybe I won't do it that way.
16:33And then he sent me a nice little card and he wrote on it.
16:36If you ever need a stunt man, it was a picture of him with his little bleeding on his forehead.
16:42Tony Scott couldn't have been more wonderful to work with.
16:46And, uh, Chris Walken is just brilliant.
16:49We were out doing press for the show at one point.
16:51And, uh, the interviewers, uh, the reporters were saying, you know, you two are such great actors.
16:57And Chris said, well, I don't know whether we're really great actors, but I'll tell you, you know, I started out as a dancer and Hopper
17:03and I really partner well together.
17:05I thought that was very appropriate.
17:12I'm Michael Rappaport, and I'm very proud to say that I play Dick Ritchie.
17:17Um, I got this movie.
17:20Um, I had originally gotten cast in a smaller part.
17:24And then they called me back to play Dick Ritchie, the actor, the struggling actor, because that's pretty much what I was at the time.
17:32Um, I came in on an audition on Saturday, and I told Tony Scott and Mary Vernu and Risa Brayman to not let me leave until I got the part right.
17:43And, um, they really sort of took their time with me on the audition.
17:47And, um, I got it.
17:49And, uh, my reaction to getting the part in True Romance was very similar to Dick Ritchie's reaction to getting his big break, uh, working with William Shatner.
17:59So, um, I was obviously very excited and thrilled to be a part of the movie, because Christian Slater, Patricia Arquette, Dennis Hopper, Val Kilmer, and Gary Ullman, Brad Pitt, all those people were already cast.
18:12So this was a big deal for me.
18:13I was very excited.
18:14And, you know, Reservoir Dogs had come out, and everybody was talking about this script in town.
18:19So, you know, I was, you know, happy as a, you know, actor could be at that time.
18:27So, it was a thrill.
18:38This was a fun scene to shoot for me, um, because Tony had showed me the footage of Patricia and Christian in the telephone booth that was already shot.
18:47And it was pretty sexy.
18:49I, I, I didn't know if they had actually, I don't know if what the hell they were doing, but it looked, uh, like they were having a lot of fun.
18:56And I was actually jealous that I wasn't playing Christian's part, because, as you can see, Patricia looks very nice.
19:04Um, this was on a soundstage, but with a real toilet.
19:08So, I was actually, you know, in the dumping position.
19:13Um, uh, and I think I, you know, this is where I started, uh, some, a couple of other things that, you know, we had sort of made.
19:22Brad Pitt had, you know, his part was very underwritten.
19:27And I think he, you know, brought a lot to the character.
19:31And, you know, I started talking about him a little bit more than he was actually in the script.
19:37Because, uh, he, his character of, of Floyd was so, uh, funny.
19:42You know, so I started making him more of a, a nuisance than he was.
19:45Like, I talk about him, Floyd this and Floyd that.
19:48Um, because after working with Brad on those first couple of days, he had made such a big impact with very, very little to do.
19:57There, there was so, so few lines for him.
20:00And he sort of just started running with it.
20:02A lot of that stuff he made up on his own.
20:03I'm sure he'd be too humble to say that.
20:06But a lot of those classic lines that, you know, people always ask me about, uh, like the cleaning products line and offering James Gandolfini the bong.
20:15That stuff was not in the script.
20:17I am for sure about that.
20:19And, um, so this, this was, uh, fun.
20:22And like I said, I, they look like they're having a great time in that phone booth.
20:25Um, I don't know what the hell.
20:28Tony Scott probably had a good time shooting this.
20:30It was, it's just an interesting stuff going on in that phone booth.
20:33I really, I never get those parts.
20:48I'm almost 100% sure that Tony Scott gave that car to Patricia Arquette as a rap gift, which was, he's a very, very generous guy, Tony.
20:58He had given me a stuffed zebra head as a rap gift because I had just done a film called Zebra Head.
21:05And that was weird when the delivery guy showed up at my house.
21:08So this was my first day with Brad Pitt shooting this scene.
21:12I remember some house on the hill.
21:14As you see, when I get up, there's a little stain on the back of my shirt, which people have accused of actually being some sort of, uh, right there.
21:23There's a little stain there.
21:24I don't know how it got there.
21:25It wasn't from my, you know, tushy or anything like that.
21:30See, Brad was so good in this.
21:32He's just making up all this stuff.
21:33Yeah.
21:35I was, I was in heaven here.
21:37This was Christian Slater, Brad Pitt, Patricia Arquette, Tony Scott, Quentin Tarantino.
21:42This is, I was like a kid in a candy store every day on this set because I was just like, I, this is like the second or third film I've ever done.
21:51And I was in here with people that I had been watching on TV for so long.
21:55So it was, uh, this is very exciting.
21:59I remember that day.
22:00I was very excited and poor Brad Pitt.
22:04He's just not a good looking guy.
22:06I remember shooting this scene in the car.
22:20One thing about the dynamic between the two of them, they, they were very close.
22:23They seemed very close.
22:25And, and because of the character or just the fact that they didn't, you know, know me or like me that much, I always felt like sort of an outsider, which I think worked because I was always trying to get their attention in these, in these, in these scenes.
22:37And in real life, I was begging for attention from Christian and, well, more from Patricia.
22:43I don't want to be redundant.
22:44Um, this was cool.
22:47Pulling into the hotel here.
22:50Uh, introducing the cocaine.
22:53I mean, this is some hotel in the valley.
22:56I can't remember where it was.
22:58Um, this is my Elvis shirt that a lot of people have asked about.
23:04I don't know where that Elvis shirt is with the accused shit stain on the back.
23:08I would, I wish I had kept that.
23:11Um, this is the cocaine stuff.
23:13And it was, I have never sniffed cocaine and I had never sniffed it at that time either.
23:18So this was very awkward for me to, to take a real, a little, uh, hit here.
23:23Just some kind of sugar substance, um, which had got me going.
23:30And I was very nervous shooting this scene because it was, you know, sort of my scene.
23:36And, uh, you know, I was, it was, uh, a big deal this day.
23:42I was quite nervous.
23:44And, uh, it was shot a lot and I think it turned out pretty good.
23:50There's more references to Floyd at the end of it.
23:53Because, like I said, uh, trying to add to the impact of Floyd, the roommate who stayed longer than he was supposed to.
24:04So, um, the good thing about Brad Pitt at this time, he wasn't like the Brad Pitt that we know now.
24:10He was, we knew, everybody knew like Brad Pitt was going to be a huge star.
24:14He had done Thelma and Louise and that other film.
24:17I forgot what it was.
24:19But it, you knew he was going to be a big star.
24:21So for him to do this small part, you know, there was just sort of a buzz about him as an actor at the time.
24:26And now he's, um, I think very rich and successful.
24:31And, um, if he comes down here to do this, you could ask him if I could borrow $20.
24:37Because I'm sure he could afford to lend it to me.
24:39I've got about half a million dollars worth of wife for 200 grand.
24:41You're telling me that's going to be difficult?
24:42Very difficult.
24:44You know, Quentin Tarantino's writing, it was such, such an easy, uh, such easy dialogue to get a hold of.
24:51Everything flows really well.
24:54Makes it very easy for the actors.
24:56Basically, Clarence, guys I don't know.
24:59And guys you don't know.
25:00And more importantly, they don't know you.
25:02That was my Al Pacino impression.
25:05That was big on Pacino then.
25:07Come on, dick.
25:10Tony, you know, was very supportive when we were doing this movie, particularly this day.
25:17Right.
25:18There's one guy that I know that could help you out, Clarence, but I'm not guaranteeing you anything.
25:25Is he big league?
25:27No.
25:28He's not big league.
25:30Okay?
25:30But he works as an assistant to a very big movie producer named Lee Donowitz.
25:36Lee Donowitz could afford and can use 200,000.
25:39This leads us into the amusement park scene with the Bronson Pinchot character who plays Elliot Blitzer and where we had to work at on the roller coaster, which the funny thing is, is I don't like roller coasters.
25:55And I was begging and pleading and trying to find a way to not be on the roller coaster.
25:59And they said, you just got to do it one time.
26:02And I sure enough did it one time.
26:04And they said, you just got to do it one more time.
26:07And sure enough, I threw up after the second time.
26:11And then I believe we had to do it another time.
26:14And I threw up.
26:15And everybody got a real kick out of that.
26:18Roller coaster.
26:18Because, you know, watching some poor prick throw up is always funny.
26:24We actually re-shot.
26:26This is the only scene in the movie that I worked on, probably just my luck, that we had to re-shoot.
26:32So after this day of roller coaster stuff, we came back two weeks later, re-shot it.
26:39And I could point out to you, the first day, you'll see my face.
26:43I'm totally miserable.
26:45The second time we came back to re-shoot it, which they begged and begged and promised me they would give me drugs to make it better.
26:51We re-shot it.
26:53And I'll point it out to you.
26:54Because the second time you'll see me in a blissful state, which is actually me doped up on some sort of a happy pill they gave me.
27:02I'll point it out to you right now.
27:06I'll show you.
27:08There's a happy me.
27:09That's happy me.
27:11And there's a quick shot of miserable me who's frightened.
27:17See, that was the second time around.
27:19Even being next to the beautiful...
27:22See, in the background, the next cut, I think, is from the first day.
27:26See, I was trying to act like nothing was wrong here.
27:30This is all great.
27:32And now, actually, the roller coaster is really going up.
27:35This is not trick photography.
27:38See, I'm high in the background there.
27:40I am...
27:41See that right there?
27:42I'm unhappy.
27:44And that was the first shoot.
27:46And then you're going to see me smiling.
27:48That's when I was doped up.
27:51And see, we're really going up...
27:53See, I'm shaking in the background there because I'm high.
27:56And then there's going to be another cut of me before I throw up.
28:01Which, uh...
28:02I don't know.
28:03This is just...
28:04You know, I'm trying to give you as much inside stuff about this movie as you, uh...
28:10See, that's in the background.
28:11That's not a happy person right there.
28:13That's somebody who's feeling like they're going to die.
28:17I thought I was going to die this day.
28:20And, um...
28:21Tony Scott, at the end, the still photographer, shot pictures of me throwing up.
28:26Tony Scott sent me a copy of that picture with the throw-up actually coming out of my mouth.
28:30And he wrote on the picture, thanks a lot, just one more time.
28:36See, because he kept saying, just one more time, Mike.
28:39And I'd say, okay.
28:40And then he kept doing it.
28:41And I kept puking.
28:44See?
28:45Uh...
28:46So that was weird how that worked out there for me.
28:49And I don't know.
28:50Maybe they didn't even need to reshoot it.
28:51Maybe they just...
28:52Some sick reason wanted to see me react to this again.
28:56But those are drugs being used in the background.
29:00See?
29:00Now you're going to see me.
29:02That's a scared, crying, grown man.
29:06So that was fun.
29:10Elliot, do I look like a beautiful blonde with big tits and an ass tastes like French vanilla ice cream?
29:15This was a scene...
29:16I was still early in my acting career, so I didn't pace myself on the eating.
29:19I remember I had eaten cheeseburgers in the rehearsal of the scene and every take that we were doing.
29:27Kept rehearsing.
29:28You want to fuck me?
29:29Clarence.
29:30He's sick.
29:31Let me handle this, all right?
29:32I think I pissed off Christian this day.
29:35I stepped on his line or something.
29:37But I liked working with him.
29:39He was very helpful and we had a nice rapport for the most part.
29:44He, uh...
29:45I, you know, grew up watching Christian Slater.
29:47And there I was playing his best friend, so I was shitting bricks most of the time.
29:50You're all so much in love with each other.
29:52What the hell are you doing here?
29:53I'm sure you've got better things to do with your time.
29:55Patricia looming in the background with that blouse.
29:58It's a very...
29:59I don't know, some kind of leopard print pants.
30:03A lot of my friends ask me about Patricia.
30:05And I say, what's to say?
30:08I mean, look at her.
30:08She's a great actress and she's, um...
30:12Not bad on the eyes.
30:14I mean, I'm not putting them down.
30:15And she looked beautiful in this whole film.
30:17And she's actually very, very nice.
30:19And, uh...
30:20Forever waiting for you guys to grow...
30:21I always think she's a good mother.
30:22She has a son.
30:24I think it's actually in the end of this movie.
30:27Very...
30:27She cares about her son a lot.
30:29Hi, Lee.
30:30Elliot, it's Sunday.
30:32Can you tell me why I'm talking to you on Sunday?
30:33This is the Lee, uh...
30:35Donowitz character, Saul Rubinick.
30:37I'm with that party that you wanted me to get together with, Lee.
30:40You know who I'm talking about?
30:42I don't believe this.
30:43Elliot, why the hell are you talking to me?
30:44I'm like, fool.
30:45Alabama are in the background.
30:47She's practicing with me for another audition.
30:48I'm hanging with the guy, and he insists I'm talking to you.
30:52Are you out of your fucking mind?
30:54Always loved the way those car scenes were shot with Saul Rubinick.
31:04First of all, Lee, I want to tell you, I'm a real good fan of yours.
31:06That's why I want to open Dr. Zhivago in L.A.,
31:08and I need you and your abilities to distribute.
31:11Uh, Clarence.
31:12Uh, I don't know, Clarence.
31:15Dr. Zhivago's a pretty big movie, you know?
31:17Biggest.
31:18Biggest movie you've ever dealt with, Lee.
31:19We're talking a lot of film here.
31:21A man would have to be an idiot not to be a little bit cautious
31:23about a movie like that.
31:25And, Lee, you are no idiot.
31:27No, no, no, no, no, no, no.
31:28I'm not saying I'm not interested, Clarence.
31:30It's just that being a distributor is not what I'm all about.
31:32I'm a movie producer, you know?
31:33I am on this earth to make good movies.
31:35Nothing more and nothing more.
31:37Well, maybe less sometimes.
31:38Hey!
31:40Choose a fucking lane!
31:43No, not you.
31:44Just some idiot.
31:44Don't give me the finger!
31:46I'll fucking have you killed!
31:48The bottom line is I am not paramount.
31:50You know what I'm saying?
31:51I actually think I might have asked who the hell knows.
31:55I know that I was staring at Patricia a lot on this particular day.
31:59I sound like some kind of pervert, but I know that I was staring at her a lot.
32:02I think that pissed her off.
32:03But I think I was doing something that I probably shouldn't have been doing.
32:11What the hell?
32:12This is a guy from New York who got a part in a big movie.
32:14What the hell do you expect?
32:15By the time, unfortunately, I would, I'd take you out and hold your hand and kiss your cheek
32:19at the door.
32:19But I'm not in that position.
32:21I need to know right now if you and I are in bed together or not.
32:24If you want my movie, Lee, you're going to have to come to terms with your fear.
32:27Every day was like a new event.
32:32You had Bronson Pinchot one day.
32:33You had Christopher Walken.
32:34I remember I showed up on the set the day that Christopher Walken and Dennis Hopper did
32:39their scene where they, uh, because you knew every day something special was going to
32:44happen.
32:45I showed up on the set actually when Gary Oldman was working because it was very special,
32:50very special, uh, film.
32:52It was the only film that I'd ever done that I actually knew was going to live up to its
32:57potential.
32:58The script was so good and the cast was so good.
33:01You knew that you were going to be a part of something special.
33:03So, but it was so exciting.
33:05I saw Rumeneck and then you had Tom Sizemore and Chris Penn one day and Val Kilmer another
33:10day.
33:11It must've been exciting for Tony because you get new, uh, energy each day and Samuel
33:17Jackson.
33:17It was just so much fun.
33:19So much fun.
33:20It was a very exciting film to be a part of.
33:24I'm fawning over it, but it actually, it deserves to be fawned over.
33:27This movie's just really good.
33:29Shut up for a second.
33:30Hey, you guys, this is what's going to happen.
33:33Three o'clock, Beverly Ambassador.
33:35He wants to see everybody.
33:36Mm-hmm.
33:37Okay.
33:37And, uh, he'll talk to you.
33:39If after talking to you, he likes you, wants to do with you.
33:41Bronson was very funny in this scene here.
33:43Fuck you.
33:44Shoot me down at every chance he could get a, get a shot at.
33:47For a second.
33:48Yeah.
33:49See, I think he improvised that.
33:50No problem on all counts.
33:52Great.
33:53Did you tell him I was an acrobat?
33:56Yes, I told him.
33:57You told him I was good?
33:58Yeah, I lied.
33:59A lot of cool movie posters on this set.
34:06Weird thing was, my first job ever was a script for, was a show called China Beach.
34:12And in the background there, you see a pile of scripts.
34:14And I actually found the script for my first job.
34:18And, uh, you know, the character is about to get his first acting job.
34:22So that was a little bit of irony.
34:23I found my copy of the China Beach script.
34:26Not my actual one, but, you know, a prop they had used.
34:29So I was, sort of felt like that was, made this scene special for me, because I really related.
34:35It wasn't too long before I got this part on True Romance that I had actually got my first movie.
34:40So this scene was very, it was a very real thing to me, shooting this scene.
34:45Because I related to it well, because, uh, I had just started acting.
34:49And, like, even when I got, like I said, the part in True Romance, it was like, I was this character.
34:54You know, this was such a big deal to me.
34:56And, uh, it was pretty, pretty easy to relate to.
35:11Brad Pitt, just so good in this character.
35:16I don't even think he had lines in this scene, and he comes up with this great line here at the end.
35:21I think he made this up.
35:22He really made a very small part into something so memorable and special.
35:29It's a real pleasure to work with, and did it really organically.
35:34Hey, get some, some beer.
35:37And some, some cleaning products.
35:41That line there, he made that up.
35:43All that stuff there.
35:44Yeah, though, this is the scene.
35:51This is the, smacks me in the face with the powder puff.
35:58See, that wasn't in the script there, but what are you going to do?
36:01I take it where I can get it.
36:06Pulling up, I don't know where the hell we shot this.
36:08The hotel scene took, like, a week and a half to shoot.
36:26And it was fun, because a lot of the actors were all there together.
36:28I know that, Richard, but one thing this last week has taught me.
36:31And, you know, it was great.
36:33It was sort of a social gathering.
36:35So many of us, and you come in and be like, did you die yet?
36:39You know, no, they just shot me.
36:40I'm going to die this afternoon.
36:42A lot of people ask me, what happens to Dick Ritchie?
36:45In the script, we never shot this scene.
36:47Like, when I'm running out of the room, you see me running out of the room.
36:50There was a scene where me and the gangster, who's holding the lobby hostage,
36:57I say, I don't have anything to do with this.
36:59It wasn't me.
37:00I'm just an actor.
37:01And I start begging and pleading and saying, I'm going to be on T.J. Hooker.
37:04And please let me go.
37:06Look at me.
37:07I could have never figured this out on my own.
37:09I'm innocent.
37:10And I'm begging.
37:10And when he thinks he's about to kill me, he goes, go ahead.
37:14We never got to shoot that.
37:15I was very disappointed that we didn't get to shoot that.
37:17But that's, you know, some people don't know if Dick Ritchie lived or died.
37:21I always bring up to Quentin when I see him, you know, that might mean for a sequel,
37:26the life and times of Dick Ritchie, which I'm still very open to if Quentin, you know,
37:32and Tony get inspired by that.
37:33And I could even bring in Christian and Patricia as, you know, they could sort of be my co-stars
37:39and I could hit Dick Ritchie above the title.
37:41I think the people want to see that.
37:44And Morgan Creek, you know, you could get me for cheap if you guys decide that you want
37:48to go that way.
37:49I could get some sort of a, you know, thing drawn up.
37:55I could get people to sign it, maybe, you know, asking for that.
38:02This was a fun scene in the elevator here.
38:05They were both so good.
38:06Christian was really strong here.
38:09And it's a really small, I think it was a real elevator or it was a set, but it was
38:14definitely confining space.
38:15And I remember always saying to myself, if he actually shot him, would their blood get
38:25on me?
38:26I remember thinking that.
38:29Christian was really good here.
38:30He didn't do anything.
38:32What the fuck?
38:33Shut up.
38:33All right, I'm going to blow this motherfucker away.
38:36Fuck you.
38:37This is a fun scene.
38:38Somebody would just come and get me because I don't like this anymore.
38:41Get a hold of yourself, you fucking sissy.
38:43Tom Sizemore and Chris Penn, you couldn't have got better guys to play those parts.
38:47They're both high energy guys.
38:51See Sizemore going bananas.
38:52He's good.
38:56This was a very funny scene.
38:59Elliot?
39:01Elliot?
39:02What?
39:03I'm sorry, you all right?
39:06I'm sorry.
39:07I'm sorry.
39:08Prince, I'm sorry.
39:11What the fuck's with this guy?
39:13I'm playing around.
39:14I'm going to be sure.
39:17That's all.
39:17That's all.
39:18I'm sure now, okay?
39:20I don't need to scare you.
39:22Oh, man.
39:24I like this.
39:25This is fun.
39:26This guy's crazy.
39:27This is a good movie, man.
39:32And this was, yeah, we started shooting this hotel scene, and I'm sure it must have took
39:36him more than a week.
39:39And this guy was odd.
39:42Bodyguards for Lee Donowitz.
39:44These two weird dudes.
39:47One guy I thought was having a little bit too much fun frisking me.
39:50You'll see me give a little oopsie when he gives me the frisk coming up in a second.
39:54I don't know what the hell that was.
39:56Kept really frisking me when the camera, watch there, see.
40:00You can see.
40:02I felt like I was being molested.
40:04Oh, you see that there?
40:07That was a...
40:08I don't know what that was.
40:11Like I said, I hate to be redundant.
40:15This is such an exciting film to shoot.
40:18And the end result, you know, really came out great.
40:23But while we were shooting this, man, I was just bouncing off the walls each day.
40:27Um, these guys were great.
40:29Saul Rubinick was just chewing up the scenery.
40:35I was just trying to, you know, hang in there with these guys.
40:38They're such good actors in this scene and in the whole film.
40:43I think that footage in the background, I believe Tony Scott told me that it was footage from
41:10Platoon, outtakes from Platoon, I think, that they got.
41:16I'm not sure, but it was some outtakes from some war movie.
41:19Which was cool.
41:21If you want, I'll take my gun out, I will lay it on the table.
41:23Just a little true romance fact.
41:28Oh, no, I don't think that's necessary.
41:30Boris, be nice.
41:31Make everybody some coffee.
41:32Okay?
41:33Yeah, Boris.
41:34It's a pleasure to meet you.
41:35Nice to meet you, too.
41:36Honey, sit down.
41:37Relax.
41:37Relax.
41:38This is another one of my favorite picture charquette outfits.
41:44The red polka dot dress.
41:46The red polka dot number.
41:48Hey, I like that one.
41:51Oh, I'm just teasing.
41:52You like my dailies there, Claire?
41:54Is that what these are, dailies?
41:56You like them?
41:56Yeah, they're great.
41:58Better fucking be great.
41:58They cost me enough.
41:59What'd that day cost me?
42:01$357,000.
42:04Elliot, I swear to God, somebody is stealing from me.
42:06What's this one called, anyway?
42:09It's a sequel.
42:11Body bags.
42:12Really?
42:12So, we don't have a title yet, but what is Joe like?
42:15Uh, body bags two.
42:18Ooh, that's imaginative.
42:20Got more taste in my penis.
42:24This guy's really fucking funny.
42:25You know, Lee, most of these movies that win a lot of Oscars, I can't stand them.
42:29They're all safe, geriatric coffee table dog shit, you know?
42:32We park our cars in the same garage.
42:35Sorry.
42:35All those assholes make her unwatchable movies from unreadable books.
42:39Mad Max, that's a movie.
42:41The good, the bad, and the ugly, that's a movie.
42:43Real Bravo, that's a movie.
42:45And Coming Home in a Body Bag, that was a fucking movie.
42:47It was the only movie up to that time to win a lot of Oscars with balls since, since Deer Hunter.
42:52I don't believe you.
42:55I love this moment.
42:56Do you like a little coffee with your sugar, or what?
42:58I don't believe you.
42:59Lee, I'm not satisfied until this woman stands for me.
43:00I think he's gonna ask her about that, but he doesn't.
43:03You need a coffee, will you?
43:04Yeah, Lee, my Uncle Roger, my Uncle Jerry, both of whom were in Nam, saw it coming home in a body bag.
43:10They said to me, Clarence, that is the most accurate Vietnam film they'd ever seen.
43:15I'll tell you something, Clarence, when veterans of that bullshit war say that about my project, makes the whole thing worthwhile.
43:20Well, here's to you.
43:22My friend, I'm calling you my friend, I just met you.
43:25You know why?
43:26I think because we've got the same interests.
43:28You know what I'd like to do right now?
43:30I'd like to see Dr. Zhivago.
43:34Where is it?
43:35Honestly, when we were shooting this scene, I didn't know what the hell was going on.
43:38Because I was just sort of paying attention to my own little stuff of my character.
43:44They're talking about Dr. Zhivago and Rio Bravo.
43:47I didn't know what the hell was happening here.
43:49And these goons come in, and they're gonna really start some trouble here.
43:58They're sniffing coke.
43:59There's a lot going on in this scene.
44:00Gunplay.
44:02Coke sniffing.
44:20I was actually originally cast for one of those gangster roles.
44:25And, you know, they had in cast Dick Ritchie.
44:31And I actually think they were looking to cast an African-American actor in the part.
44:37And, you know, it was getting close to shooting.
44:39And they suggested, Mary Venue and Risa Brayman suggested to bring me in,
44:45to give me a shot for that.
44:46And I was more than happy to try.
44:48And, you know, I came in on a Saturday and auditioned for about an hour and a half.
44:55And they walked me through it.
44:56And we did each scene a few times.
44:58And I said to Tony, I remember this, saying,
45:00Please don't let me leave until I get this right.
45:03You know, and they really worked with me.
45:05And I got cast in this part, man.
45:07And I was so excited.
45:10Because, like I said, Walken, and Dennis Hopper, and Patricia, and Sizemore, and Chris Penn,
45:18and they were all cast.
45:20Samuel Jackson, they were all cast already, man.
45:22So I knew this was going to be a special movie.
45:25And, you know, I really felt like I related to the character at this time in my life.
45:32The sort of eager, eager to please, you know, struggling young actor.
45:38And I couldn't, you know, I couldn't thank them.
45:43I know it was the casting directors really helped push that to happen for me.
45:46So, I appreciate it.
45:52Elliot tells me that you're fronting for a dirty cop.
45:57Elliot wasn't supposed to tell you anything.
45:59I mean, he's not a dirty cop.
46:01He's a good cop.
46:01He just, you know, he saw his chance and he took it.
46:03That's all.
46:04Why does he trust you?
46:07Well, we grew up together.
46:08That's why.
46:10Clarence, if you don't know shit, then why does he think that you can sell it?
46:17I'm bullshitting him.
46:23You are nuts!
46:25He's a wild man, this kid.
46:26Clarence, I like him.
46:28You're wild!
46:28I love him!
46:29Hey, look at him!
46:30I love this guy.
46:31He bullshitted him.
46:32You believe me?
46:32The thing about this character in this movie, I don't know for the other actors, but people
46:36know this character.
46:39They know Dick Ritchie by name, which says something a lot about the script.
46:43You know, every day, like I said, at least one person will say something.
46:46True romance or Dick Ritchie.
46:47Or maybe they're just calling me a dick.
46:50No, I'm just teasing.
46:51But no, this film really has, you know, stayed around even long since it's been in the theaters.
47:00I'm an actor.
47:01Dick, if you were just a fucking actor, you never would have got in the room.
47:04I feel like this film was way ahead of its time, too.
47:09Because after that, Jackie Brown and Pulp Fiction and a lot of these movies with the big ensemble
47:14cast, this was the first one with this sort of huge ensemble cast.
47:20Didn't do that good at the box office, strangely enough, which people always mention.
47:26It should have done a lot better.
47:27Had it come out about three or four years later, this movie would have been a huge financial
47:31success.
47:31But I guess it worked out better because we have longevity.
47:51And these guys come in and all hell's about to break loose.
47:54This scene has been copied so many different times since this movie's come out.
47:59You know, everybody's toting guns and screaming at each other.
48:03This tribute to Quentin.
48:06He really started something with this.
48:07All his movies.
48:09I know he's influenced by some other films, but he brought it over to America.
48:13And since he started doing this, it's been copied and copied a few times.
48:18I remember everybody yelling and screaming.
48:19This was so much fun.
48:20Male actors love to yell and scream and everybody was just screaming and yelling and screaming
48:25and yelling.
48:26I was the only one who didn't get to say anything.
48:28I was just shit in my pants.
48:32These guns are all fake, but it was, you know, nerve wracking having them all be pointed
48:36at you.
48:37So that's me there begging, pleading.
48:41And here comes more goons.
48:48Kevin Corrigan, Paul Ben-Victor, Victor Argo, and Frank Adonis as the unnamed gangsters.
48:54Man, this just raises the stakes of the scene.
48:59Because you got the cops, you got the crooked cops, you got gangsters, you got everything
49:07here.
49:10Michael Beach.
49:12There.
49:13The actor Michael Beach, the great actor Michael Beach.
49:16Been in plenty, plenty of different films.
49:18Now on that television show.
49:20On Fox.
49:21No, on NBC.
49:23What the hell is it in that show?
49:24With the fireman.
49:25But he's a great actor, Michael Beach.
49:27See, so many great actors took small parts in this film because, like I said, I think
49:31everybody knew this was going to be a special project to be a part of.
49:37I really think that people had a feeling that they were making something that was going
49:42to be good, which is not always the case.
49:45Sometimes you, you know, it's like a risk.
49:48It's a crapshoot.
49:48Tony Scott was so in charge of this scene.
49:56There was a lot to take on as a director.
49:58He really, you know, had it under control and it was a pleasure to work with.
50:04Tony Scott was the first director I had ever worked with where I was confident enough to
50:09offer my opinions and he didn't use all of my ideas for the character, but he listened
50:16to me.
50:18And that really means more than actually using them.
50:21He always seemed to listen to what I was saying.
50:23And it made me feel good because after walking away from working with him, to walk away and
50:29say, hey, you know, I threw some ideas at Tony Scott.
50:32Some of them he liked, some of them he didn't.
50:34But, you know, I was listened to by such a, you know, good director.
50:39Gave me confidence, you know, to start trying to trust myself.
50:44And the feathers are going to start flying.
51:06That was a lot of fun being underneath the table, all those guns shooting off.
51:10It wasn't hard to act scared because it was pretty scary.
51:13Now, like I said, Dick Ritchie is about to throw the money and run out of the room.
51:17Some people miss that because it's very quick.
51:19Not because I'm a quick runner, because I'm actually very slow and people laugh at the
51:24way I run out of the room, which is actually my real run.
51:27Every time I run in a movie, it turns into a comedic moment.
51:31Dick Ritchie lives.
51:32I want to reemphasize that Dick Ritchie is alive.
51:36He's gotten a couple of more acting gigs and people want to see more Dick Ritchie.
51:40Hint, hint, Quentin, Tony.
51:42People want to see more Dick Ritchie.
51:45You know, that's it.
51:46Michael Rappaport signing off.
51:48I hope you enjoyed the True Romance special edition DVD.
51:54And maybe like 50 years from now, we'll have a re-release party or something.
51:57That's it for me.
51:59Thank you.
52:04I'm so lonely.
52:08I'm so lonely.
52:10I'm so lonely.
52:12You could die.
52:13My name's Val Kilmer, and I play Clarence's mentor.
52:19I did makeup tests for Tony to look like Elvis, but I did look like a drag queen.
52:29And wisely, I'm just a voice now.
52:31Do you want to get down in the hall today?
52:34Christian and I work together.
52:36It's our third time now.
52:37This is the first time we work together.
52:39And he's just one of those actors that always seems to be ready.
52:44He knows what he's doing.
52:45I never see him trying to figure anything out.
52:47He's just ready all the time.
52:48He's kind of frustratingly thorough like that.
52:51He's just always ready and smiling.
52:54I do want to kill him, but I don't want to spend the rest of my life.
52:56Elvis was really radical in his day.
52:59To have sideburns that long and wear a pink suit was more radical than David Bowie coming out on stage in a dress.
53:08And I like that idea about Elvis that he's really out there.
53:14We kind of had, he's all together as one character now, the same guy who went into the army and playing with chimps in movies and, you know, sweet.
53:25But he was a teenager on the prowl.
53:27That's what I hope to be when I grow up.
53:29I like your clangers.
53:31Always have, always will.
53:33People come up to me and say that.
53:34They stab me in the eye and point their finger at me.
53:39Tony Scott's fantastic.
53:40He's really, he's a gentleman and an athlete and, what do you call him?
53:49He's a daredevil.
53:51Rides his motorcycle too fast.
53:54Climbs mountains.
53:56And he really is a very dedicated.
54:02The first time I worked with him was Top Gun and I don't think I'd worked enough to really appreciate the, his style at the time, which is really all, all encompassing.
54:17He really, really cares about every aspect of the story that he's telling on film.
54:21Just by example, for this film, I was working at the time and prior to this and they had very little time to work on it.
54:35And he sent me every single CD of Elvis's and every single film.
54:41I'd get three or four a week in the mail.
54:45So, and, uh, it was really fun to do this.
54:50It was really fun working with Tony.
54:51It was very fast.
54:53Uh, because of my schedule, I came in, I think it was two days.
54:58And, uh, there were 150 shoes laid out in a trailer and 80 suits.
55:05And, uh, Tony liked this gold jacket from the, the famous Elvis suit and had it made exactly the same.
55:13And, uh, but everything, the rings, the shades, uh, he was so thorough and so prepared.
55:20It was so much fun to walk into a, uh, character who was, uh, central, central to the mind of the lead in the story.
55:29And, uh, Tony made me feel like that as an actor, central to the story.
55:34He's like the, it's the way he works.
55:36And, uh, I didn't want it to end.
55:41I kind of hung around, uh, asking if I could get anyone coffee after.
55:47I still have the jacket.
55:48Tony let me keep it.
55:50Uh, it was fun to just get back into some of the, just his style.
55:55Such a unique character.
55:57I think it's three minutes of screen time.
56:01Three minutes of fuzzy screen time.
56:04And, uh...
56:04I'll wish me a...
56:06It was fantastic.
56:08Fantastic to prepare for it.
56:10Thank you.
56:11Thank you.
56:11Thank you.
56:12Thank you.
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