00:03What makes Boyhood unique is probably the only time in my, you always get asked that question about every movie
00:10you do and you have to make up some answer because they're usually not very unique but I've been making
00:18movies since I was 14 years old and this is the first movie that I've ever done that is truly
00:23not like another movie.
00:25I mean, you know, Training Day was a great experience but it's a lot like French Connection or Dead Poets
00:30Society is like Goodbye Mr. Chips or, I mean, you know, everything is like something else.
00:36But Boyhood is a complete original.
00:39What makes it original is kind of obvious but we shot it over 12 years shooting, you know, somewhere between
00:464 and 10 days a year and tell the story of a family over the period of, you know, first
00:54grade to 12 years.
00:5512th grade into the kind of a gestation period that creates an adult and so it's a drama that, you
01:05know, that took, we filmed for 12 years, nobody's ever done that before.
01:08I felt 100% positive that I wanted to be involved in it.
01:13He wasn't sure he wanted me involved when it started because he knew what kind of huge commitment it was
01:18going to be and he was really worried about, you know, what happens if I ended up doing Lord of
01:21the Rings and was trapped in New Zealand for four years or something, you know.
01:27I met Richard Linklater auditioning for, well, not really, but around the time auditioning for Before Sunrise.
01:34We met before I auditioned, but well, the thing that separates Rick from most filmmakers, I mean, Mike Lee, you
01:41can compare it to and there's some others, is that he asks his collaborators to be a part of the
01:46vision and to have vision themselves.
01:49You know, there's a lot of, there's a school of directors that are kind of dictatorial and have these, they
01:56use that word vision as if the vision belongs to them and they're so unique and profound and they're incredible
02:02insight.
02:03And what Rick tries to do is kind of harness a collective imagination and get people aboard something larger than
02:11something one individual could do.
02:14And that's certainly true of boyhood.
02:17You know, Lorelei and Eller who play my kids, they contributed wildly to this, who they are, what interests them,
02:26what they wanted to talk about, what they wanted to write about, things they wanted to say.
02:31Yes, Richard had an overarching structure to the movie.
02:34The movie, oddly enough, despite all our contributions and everything like that, feels exactly like the movie Rick described to
02:41me.
02:42I mean, 12, 15 years ago when he first started talking about it.
02:47But, that said, we were all asked to participate.
02:51I got to use a lot of my experiences as a father and a lot of my experiences as a
02:57son and kind of contribute them to the pool of thought as did Lorelei and Eller and Patricia and all
03:04of us.
03:07The most impressive thing for me is, and the luckiest thing about it, there's so many ways in which this
03:12could have gone wrong.
03:14And the luckiest thing about it was Eller and Lorelei.
03:17And they're blossoming into young artists throughout this and their contribution.
03:22Watching them at first kind of just being little kids who kind of do cute things until they became contributors.
03:29And that was a real artistic contributors, you know, it's a little bit like they went to Richard Linklater's summer
03:35camp once a year.
03:36But their thesis graduation project is pretty damn good.
03:42So, thank you very much for watching.
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