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00:13Let's go, boom, for real, I made it, hold on, yeah, bro, I don't even know what I'm doing with
00:25him,
00:26except for being the best biggest fan, I'm ready.
00:32You might have to take your hat off in the movie, bro.
00:35Yeah, I'm gonna do it.
00:46This movie changed my life.
00:49Really?
00:49Yeah.
00:50It came out in 19, I was 16 years old.
00:5319?
00:54I'm 45 years old.
00:55First time you saw it, I'm 16 years old?
00:56Just put it when it came out?
00:58Yeah.
00:58It's now been turned into black and white.
01:01It was in colors or something?
01:02Yeah.
01:03Cool.
01:04Wow, you guys are in the fucking right place at the right time, aren't you?
01:07Yeah.
01:07Are you a celebrity?
01:09Yes, he is.
01:09The guy sitting in front of me is the guy that made it.
01:11Yeah.
01:12He made it.
01:14Wow.
01:14I've never met a celebrity before.
01:16I've never met any people as lucky as fucking you.
01:22I'm watching Boss Cut in the theater.
01:24How cool is this?
01:26So cool.
01:28There's limited people in here and they're all the coolest people in the world.
01:32Awesome.
01:56And the road becomes my pride.
01:59I am stripped of all but pride.
02:02So in her I do confide.
02:07On the beaten path I reign.
02:11Robo Wanderer.
02:13Nomad Vagabond.
02:15Call me what you will.
02:20Wherever I may roam.
02:28Wherever I may roam.
02:31Yeah.
02:34There's one thing I just, just from your questions right now that I just realized.
02:38I think you should talk into this.
02:39I'm sorry.
02:40I think you guys can hear me.
02:41I think you should talk into this.
02:43It's really dramatic.
02:45Alright.
02:45Fine.
02:46I'm blessed.
02:47I've created shows, directed, written.
02:52And I've done everything.
02:54I've done everything to this point.
02:57And I'm completely satisfied.
02:59But I'm not because it's not like being a painter.
03:02He created for 40, 50 years paintings at the highest level.
03:07Still alive.
03:09Always evolving.
03:15Julian Schnabel is a painter and a filmmaker.
03:19The man walks and eats and moves.
03:23Art.
03:30This is Julian.
03:32Julian Schnabel colors.
03:33It's very much a painting right now.
03:35It's like a big white striped hood.
03:40He's hands down one of my favorite filmmakers of all time.
03:43And he just so happens to be one of my favorite artists of all time.
03:49He never had to fucking compromise in his paintings.
03:52He did his paintings.
03:54He didn't have to listen to anyone else.
03:56Van Gogh didn't have to fucking listen.
03:57Free to call it.
03:58No one, painters don't have to listen.
04:01He has a book about this thick.
04:03That is just all of his paintings.
04:071979, the second by eight.
04:10Decades of paintings.
04:11And then he's like, I'm gonna go, you know, try some film out.
04:14Basquiat, Four Night Falls, Diving Bill and the Butterfly.
04:17I'm like, what are you talking about right now?
04:19Like, jump over to another art form and just destroy.
04:22Basquiat's like one of my favorite movies.
04:24I can quote everything in it.
04:25I can't even see what's good anymore.
04:26You know, in a small town of Norwalk, Iowa.
04:29Man, I saw the world.
04:30When I saw Basquiat, I was like, what the hell is this?
04:33How many people have seen this movie more than, I mean, twice or?
04:43You know?
04:43I mean, I know people that have seen this movie 50 times.
04:47Other films that I made also, because you can look at them the way you look at paintings.
04:52The way Julian directs the cameras, like a paintbrush, how he moves.
04:56And you see it in his films.
04:58Everything that he's done is like in my DNA.
05:03And the things that I love are because of the things that I've seen him do.
05:07So that's kind of like having an uncle.
05:09It's kind of having someone that you've looked up to your whole life.
05:11I just never met him until now until I was 40 something, 42 years old.
05:28How did you first meet Julian?
05:30Oh, my goodness.
05:32Pops.
05:33Julian Schnabel.
05:36What, what a crazy world.
05:39I was at the Oscars, which was really cool.
05:41That was my first time to the Oscars.
05:42But anyways, I just was uncomfortable there.
05:46And so I went to the bar and I was hanging out in back, just watching the show and in
05:51walks Julian.
05:52And I'm just like, wow, try not to geek out.
05:58And we just stayed in the back because we're both uncomfortable there.
06:02And just had some beers and shot the shit.
06:05And I eventually, you know, told him who I was and told him.
06:07The great thing is he had no idea who I was, which is awesome.
06:10And we just got together talking about art.
06:14And that's how our relationship started.
06:16Um, at the Oscars was when you put your arms around me.
06:20I thought, what the hell is going on over here, you know?
06:22And, and, and it was so nice and, and, and sweet, you know?
06:26I was like, it was the best place.
06:28We were just away from everybody.
06:31And really, we didn't want to be there.
06:32I was like, oh my God, this is the most perfect moment of life.
06:35I called you right away.
06:36I'm like, I'm fucking back, Julian Schnabel, bro.
06:39You know, he just basically seemed so familiar to me.
06:42I mean, it, we hardly know each other, but the fact is that I feel like we've been friends for
06:46years.
06:46Yeah, past life, shit.
06:49You've been in my life, my whole life, and inspired all of this, these things that I've done.
06:55I was being misrepresented.
06:56I was playing these things I didn't like, and I was a fucking science major.
06:59My parents were painters, and I saw things that most people didn't see.
07:02And I just had a different way of looking at things.
07:05He was like a dad to me that I never had.
07:08And everything that he liked, I liked.
07:10And so I just kind of felt like this deep connection to him, and I never knew this man.
07:14There's only two to two or three people that are alive now that have such an impact on me, and
07:20you're obviously one of them.
07:21So it was cool when you felt that.
07:28I was a cab driver.
07:30I was a cook in a restaurant.
07:31I did whatever, you know.
07:33I mean, my father saw me cooking in the restaurant.
07:35I had dyed blonde hair, and he came down, and he had blood all over my apron or whatever.
07:40I said, it's okay, Dad.
07:41I'm a painter, you know.
07:42It's okay.
07:42Don't worry.
07:44And ultimately, you know, as I always thought, someday they'll come over to the studio.
07:48I don't know, this big studio.
07:49They'll sit down, and they'll see they didn't have to worry about it.
07:52Anyway, I pulled out some of these paintings that you were talking about.
07:55Oh, let's go look some paintings.
08:02That's what I got from getting raised in Iowa.
08:04The work boots.
08:07Those are made after my grandfather's war boots.
08:10Okay, okay.
08:13Hello.
08:16Hello.
08:21It is amazing.
08:22This mirror is amazing, too.
08:24What is this?
08:261850.
08:30Hi.
08:30Hi.
08:31How are you doing, Jim?
08:31Thanks for helping with the bag.
08:40One right here?
08:41Yeah.
08:44Like right in front.
08:45Right in front of it.
08:49That's all the physical labor you need to do.
08:52I'll put the painting here now.
08:54Okay?
08:55Okay.
08:56Oh, shit.
08:57This is it.
08:57Oh, man.
08:59Okay.
09:00Whew.
09:02You got this?
09:03You ready?
09:04Bro.
09:05Life changing.
09:09Can you see what's coming?
09:35Oh, my God.
09:39Oh, my God.
09:40Oh, all right.
09:46Julian, come here.
09:47I haven't looked at it yet.
09:54Come here.
09:57Come here.
09:59Oh, my God, dude.
10:02Oh, bro.
10:07Oh, they're so beautiful.
10:26tell me about these ones
10:29you know what's funny about that
10:32I was thinking about Jean-Michel's hair
10:36when I painted those paintings
10:37about him walking by
10:39like this figure just walking by
10:42in the landscape somehow
10:44I just made those marks
10:45and then I painted them outside
10:49in Florida so they were out in the weather
10:52and that's why this burlap became that color
11:01oh my god
11:02the thing is I've always had these affinities
11:07to burlap sacks
11:09like my whole life
11:10and brown paper bags
11:11and cardboard
11:12and so how those things make me feel
11:15and then also the amber
11:17I don't know what it is
11:18but I've always had it
11:19my mom used to wrap my presents
11:20in brown paper bags
11:21I used to write all my poetry
11:22in brown paper bags
11:24whether it be the colors
11:25and the textures
11:25it's just the way
11:26how my heart feels
11:27when I look at this thing
11:28it makes me happy
11:29and you know
11:30even if it made me mad
11:32it's still like
11:32that's what art's supposed to do
11:34you know
11:37hey Julian
11:39since
11:41I want you to teach me how to do this
11:45can you show me?
11:49yeah
11:50but when
11:52yeah sure
11:53within your lifetime
11:54yeah I mean
11:55I just come out to Montauk
11:58I never know what I'm going to be doing
12:00I'm just going to come out
12:01and I'll go play in the corner
12:04I don't know
12:05you can get in the middle of it
12:07you know
12:08I was even scared to ask
12:09I was like
12:10in his house
12:11maybe one day we'll paint together
12:12he barely knew me
12:13he's like
12:13yeah kid whatever
12:15you know
12:15I gotta throw it in there a little bit
12:17you gotta ask
12:18you never know if you don't ask
12:26oh it's so good
12:27isn't that amazing?
12:40one of my favorite things
12:41is being able to go into an artist studio
12:42and see it
12:43just like see all the paint out
12:44and see what he's working on
12:45and see what
12:46what inspires him
12:47and like little things
12:49like
12:49just the smallest things
12:50I love seeing artist studios
12:55some people that hate my work
12:56would think it's bad
12:57or not like it
12:58whatever
12:58but what I tried to do
13:00was make something
13:01that was uncompromised
13:14the distance
13:15and the height
13:16changes everything
13:18so just push in
13:21okay
13:21and then just keep coming around
13:23yeah
13:24because it could be
13:25relax, relax, relax
13:26it could be a little more fluid there
13:28ready?
13:30now
13:30let's step back
13:32a little teeny weeny bit
13:34and see what we're looking at
13:36it doesn't matter
13:37if it gets shaky
13:38like Thelonious Monk says
13:40there are no wrong notes
13:41mm-hmm
13:54they're wooden panels
13:56with beveled edges
13:57and then I cover them with plates glued together with auto body putty
14:02bondo
14:02yeah
14:03that's the surface
14:04that's a blank canvas to me
14:06and then I just paint on it
14:07so this is bondo right here
14:09no
14:10yeah
14:11this is
14:12this is bondo
14:12all this is bondo
14:14bondo
14:15auto body putty
14:16yeah
14:16auto body putty
14:17and then he starts to actually
14:18everything on it
14:19okay
14:19well then I glue them down
14:21with that
14:21you know
14:22with
14:22with epoxy
14:24or with bondo
14:25have you ever
14:26have you ever
14:27you know how like
14:28Warhol and Basquiat
14:29did a thing together
14:30have you ever done that
14:31with anyone
14:33no
14:33never
14:34always been
14:35I mean
14:36they asked
14:37or Bruno
14:38they thought I would do it
14:39with them
14:39I didn't feel like it
14:41but I
14:42obviously I liked
14:43I was the only person
14:46that bought
14:47a Basquiat Warhol
14:49collaboration painting
14:50at the beginning
14:51good
14:51yeah
14:52they were nobody
14:53because they thought
14:53people thought
14:54please tell me
14:54some other
14:56sold it to Johnny
14:57Versace
14:58years later
15:21wow
15:22yes darling
15:25oh my god
15:27okay
15:27we're gonna get Pablo
15:28for you later
15:28we'll call you back
15:29just the colors
15:30they say
15:31regard me
15:32pay a clap
15:33which means
15:33look at my flat feet
15:34look at my flat feet
15:36yeah
15:38thank you
15:40my mother was a painter
15:41my father was a painter
15:44my first love
15:45was seeing pictures
15:46by Cy Twombly
15:47then into Basquiat
15:49and Tapias
15:51I love
15:52that world
15:53and that art world
15:54and that was what
15:55Julian lived through
15:58look at this
16:00Peter Beard took that picture
16:01of Andy Warhol
16:02this is probably
16:03Peter Beard's masterpiece
16:04wow
16:05look
16:05there's Andy Warhol
16:07in front of the house
16:08that I used to live in
16:08holding a dead seagull
16:10wow
16:11it's nice isn't it
16:13damn
16:15no big deal
16:16this is Peter Beard
16:17Andy Warhol
16:19I'll fall
16:24visiting his house
16:25it's just a museum
16:27of all the most amazing
16:28things and art
16:29and everything in there
16:31has a story
16:33I'm much the same way
16:34if you come in
16:35I just don't have a house
16:36like that
16:36it's all just kind of
16:38black boxes
16:38and shit everywhere
16:40but eventually one day
16:42I'll be able to
16:43display all my travels
16:44and things that I've collected
16:46and art that I've found
16:47all around the world
16:48it's amazing
16:49I want it to be
16:50a little dash of that
16:52and then a little dash of this
16:57guitars, motorcycles, stuff
16:58and that's it
16:59if I do have a house
17:00it's going to be pretty weird
17:07not a bad spot
17:10here you want
17:11you can sleep in here tonight
17:14okay?
17:15okay
17:16wonderful
17:17pretty munchy
17:19all right
17:20perfect
17:23we'll go to the beach
17:24we'll go to the beach
17:24in a little bit
17:24maybe for a minute
17:28should we put our trunks
17:29on to just get wet?
17:31sure
17:32I don't know
17:33you should definitely
17:34go see where you paint
17:36okay
17:42okay
17:43okay
17:47what did you pour in there
17:49I poured turpenoid in there
17:52and then I put some wax medium
17:54in there
17:55touch it
17:56you can touch it
18:10okay ready
18:11okay you hold it like that
18:13yeah
18:14like that
18:14right
18:15looks like I'm throwing a net
18:17and think about this thing
18:19which is actually somebody's
18:22their heart is there
18:23yep
18:25I think you want to
18:26go like that
18:27like it's in a landscape
18:28like there's some figure
18:29in the landscape
18:30so when you do this
18:31you kind of want to
18:32let it spread out
18:34okay
18:35okay ready
18:36give it enough
18:37air to do it
18:38ready
18:39yep ready
19:04do I think good art is only born out of pain
19:07no I think it's born out of joy
19:12down the mouth of the tree
19:15down the mouth of the tree
19:17down the mouth of the tree
19:18down the mouth of the tree
19:19down the mouth of the tree
19:20there's this text
19:21it's a text that Tarkovsky wrote
19:23and basically he said that
19:26all art is optimistic
19:30even if the subject matter is tragic
19:32because
19:33it's
19:34a representation of life
19:36instead of life
19:38life contains death
19:39a representation of life
19:42doesn't
19:43so
19:44in fact it's optimistic
19:54from there
19:57to there
19:57just flat like a straight woman
20:00from there to there
20:01down there by the train
20:04down there by the train
20:07down there where the train
20:11goes
20:12slow
20:34do it
20:36how'd you make that bigger
20:37huh
20:37how'd you do that
20:38the last part
20:39because I just felt like there's a little too
20:41you'll see when it's up you go
20:42I felt it looks better now, but what was I thinking?
20:45It just was a little too insignificant.
20:53It's looking...
20:53It's delicate.
20:57It's going to look pretty damn good when it's stretched.
21:02It looked like I just made a pan.
21:04And this thought was super special.
21:09All you have is your art.
21:10All of the passengers...
21:12That's the thing you have to fight for.
21:14If you're going to make art.
21:15There can be no compromise.
21:25Look at that there, huh?
21:28It's cold.
21:29How is it?
21:30Cold.
21:31Not bad.
21:34We could take a cold plunge and then take a hot shower.
21:38Where's the hot shower, is that?
21:39Right there.
21:39Sick.
21:45These are my 19...
21:47My 1920...
21:51I'm doing the high jump, bro.
21:53I don't know what you guys are talking about.
21:55Yeah, so I just finished painting today and then I was all like,
21:58Yeah, boy!
22:00Yeah, boy!
22:04That's amazing!
22:05When I jumped on the first time, I hit my nuts so bad.
22:15I've always wanted to paint and I've always wanted to just express myself that way.
22:21You just disappear.
22:22I feel like you're just in this creative space where just time stops.
22:27You're just playing and painting and it felt beautiful.
22:33I need to do that more.
22:34Everyone needs to do that more.
22:35Just being creative, man.
22:37Whatever sense that is and whatever your art form is.
22:39Or even if you don't know what the hell.
22:41I always wanted to try it.
22:42Try it.
22:43I disappear into that world of creativity.
22:49We got the clams, two different sauces, fresh, fresh tomatoes, fresh mozzarella,
22:58rip the tongue.
23:01Best day.
23:03Aren't we having fun?
23:04Huh?
23:05Yes.
23:06We made a painting together and it's a good fucking painting.
23:11You made a painting and you teach me some stuff.
23:14It was awesome.
23:14Well, you're a good, you get in it.
23:18You're a quick learner and you can do it.
23:21Yeah.
23:23This is the best part because this book is your life's work and paintings and there's
23:30probably more.
23:31And you go to me, he goes to me when I'm shooting Chief of War.
23:35He's just fascinated how I can do all these things and I was directing and running around
23:40doing all the stuff.
23:41He's like, how do you do it?
23:42I'm like, what are you talking about?
23:45Look at this book.
23:47Look at your seven films.
23:49Look at your six kids.
23:52Seven.
23:52Seven kids.
24:02It's pretty special to me.
24:04It's all pink.
24:05Maybe we can come on this side right here.
24:12Yeah, there we go.
24:14That's Palazzo Chupi.
24:16It's so weird.
24:18We're just very, super passionate about the color pink.
24:22It's crazy.
24:22I don't know if my mom raised me on Elvis or just because I knew Julian's been such a father
24:27figure in my life.
24:28But I love, I'm obsessed with pink.
24:30Check it out.
24:31This place should be a museum.
24:33This painting is Hannibal crossing the Alps.
24:38So you see, here's Hannibal, Jason.
24:42Hannibal's wearing a chain mail hat, you know, well, armor.
24:47He's got a beard.
24:48He's got some feathers come out of his hair and he's got, his cloak is going over the horse
24:53and he's riding by a frozen lake and some glaciers.
24:59Or it's whatever you want it to be.
25:06I FaceTime everybody.
25:08It's like an old man thing.
25:10But Julian FaceTime me all the time.
25:12We check it all the time.
25:14He's one of my best friends.
25:15Anyway, look, these are drawings of mine.
25:18You might want to look at them, Brian, while we're doing that instead of us.
25:21Yeah, guys.
25:21Look how nice they look in your camera.
25:23Go from, actually go from there and come.
25:25You can get in front of me.
25:27Or you just kind of can go like that.
25:29And see how this happens like that.
25:34I feel very connected to the family.
25:36I tell them I'm the oldest, I'm the oldest Schnabel.
25:42They grow up constantly seeing their father doing these things and those are the things that inspired me my whole
25:47life.
25:47What's this place?
25:49It's my room.
25:57That's the back. Look at that one. Look at that drum.
26:01That's the other side.
26:02Show them the other side you did, Desiree. Look.
26:05Ooh.
26:08Let's show them the other one.
26:09Here, I'll give you a hand. I'll be your assistant.
26:12Teddy?
26:15Should I show them?
26:16No.
26:17You want to do it?
26:20Wow.
26:22What is it?
26:24It's a cow.
26:25It's a cow?
26:28And what is this one?
26:30It's a pig.
26:31A pig.
26:33Does it fit?
26:35I'm in it.
26:36You're in it?
26:37Yeah, I'm in it. You know, I'm the high water version.
26:39Wait a minute. No, no. I think it's fine.
26:41I mean, you don't have to wear it with a bunch of boots. You know what?
26:44You can walk around in the thing. You can also cut the sleeves off.
26:49Those shoes are good.
26:50What are you doing?
26:51You know why?
26:52I was playing dress up with your papa.
26:56Actually, you take your shoes off.
26:59See, that's just awesome.
27:02Eh?
27:02Let's see.
27:04Look at that.
27:06Eh?
27:06Cute.
27:08You know what Momo is in Japanese?
27:11Peach Boy.
27:11Peach Boy.
27:12It's perfect. I'm Peach Boy.
27:14He's Peach Boy.
27:16That's the patients and the doctors.
27:19That's the first?
27:20That's the first plate painting.
27:28So I was 26 years old when I painted that.
27:31Wow.
27:33I sold that painting for $3,500.
27:36And then...
27:37You sold this original for $3,500?
27:38Yes.
27:39Was it worth that?
27:41$10 million.
27:46Wow.
27:50Oh, you know what we're lying on here?
27:52But it's not supposed to be on it?
27:54You can be on it, but you know what it is?
27:56What?
27:57It's...
27:57Watch your boots.
27:59It is...
28:04Maximilian von Habsburg's tent cover, who was the emperor of Mexico, who was...
28:09Carlotta's husband, who was killed in Mexico in 1850 or whenever.
28:14This...
28:15It's amazing.
28:16This is his tent cover.
28:18Velvet.
28:19It's a painting in itself.
28:22I just want to talk about where you were at in painting and what inspired you to go to Basquiat.
28:27Like, what...
28:28Where was the definitive moment where you were like, I want to do film?
28:31Because I know you're a huge citophile.
28:35You know, I always thought I was going to be a movie fan.
28:38I never thought I'd be a movie director.
28:41I never had a camera.
28:42I just knew who he was, and I knew him.
28:45And other people were very jealous about that, too.
28:48And they didn't...
28:49Because they didn't know what our relationship was like.
28:51Right.
28:52I didn't take heroin with Jean-Michel and do different things that some other people did.
28:56I mean, but I was a painter, and he was, and we had a different kind of relationship.
29:02He died, and I was alive.
29:07And I went through all this stuff that he went through, except my parents were very loving to me.
29:13And they were, you know, even if they didn't understand what I was doing, they loved me.
29:18And they made me feel like I could do anything, I guess.
29:21He didn't have that.
29:22I don't think he had the stability, and he was quite young also, to kind of live through a lot
29:30of the attention that we got.
29:31His death kind of solidified his historical presence.
29:38But something that really did that was the film.
29:41I think the film launched it.
29:43I mean, the film turned that into big dollars.
29:47Yeah.
29:48I gotta tell you, that's...
29:49So it came out in, what, 96?
29:51Yeah.
29:52Probably shot in 95?
29:53Yes.
29:53So I was 16 years old.
29:55You know, I hadn't been talking to my father.
29:57Both my parents were painters, but I hadn't talked to my father pretty much all of high school.
30:01We had, like, a kind of falling out.
30:06And, uh, but that was, that movie, more than any movie in the world, has affected me.
30:14That's, like, the biggest root.
30:16And so you asked me one time, we were like, why does it feel so close?
30:19Why does it feel so close to you?
30:22Any time I'm depressed, any time, any time, that film just, like, is, that's my film.
30:28Like, I'll never have that in me, to be able to do what you've done.
30:31And it's such a...
30:33That's why I can't sit still.
30:35You know, there's so many people.
30:36I mean, I look up to you so much where there's just so much art to be done.
30:39And I'd do it my own way.
30:42Whether that be inspiring people, whether, like, even in the show,
30:45but there's just such an appreciation for you and what you've done,
30:49and all the things that you, and the people you've met,
30:51and how it's went through you, and how you've spread it to the world.
30:54And I gotta tell you, you're one of a kind.
30:55The guy said last night, you're absolutely one of a kind.
30:58And I'm very, very, very thankful to, um...
31:03I mean, to have this, to have a relationship like this with you.
31:06Well, there's a line in Basquiat where Gary Oldman says to Jean-Michel,
31:11your audience hasn't even been born yet.
31:14In retrospect, now I'm 72 years old, we're sitting here together.
31:17What are you, 45 now?
31:20And you say, hey, you made these things.
31:23I saw these things that you made.
31:25It defined my life in some way.
31:27It gave me choices that I didn't know that I had.
31:30I was able to do this and that because I saw this,
31:33and I could take that and make my own version of it.
31:37Well, that's what it's about.
31:40That's why it's worth doing.
31:42Making art is a utilitarian activity, meaning you're working on something.
31:48And if you believe in the transcendental possibility of actually making something,
31:54that somebody can, if it's accurate, if it's not compromised,
31:58they could use it and do something with it for themselves.
32:01So, did I ever make any money making movies?
32:04No.
32:04Do I care about that?
32:06No.
32:07Is it because I'm rich?
32:08No.
32:09And, you know, Tom Waits says,
32:11money is just something you throw off the back of the train.
32:15And it's right, and it'll come back to you.
32:17I was raised by the right guys.
32:19What do we do?
32:21They call it Momoa math, but I just listen to Tom Waits and Julian Schnabel.
32:25I'm making art with my friends.
32:27I'm doing what I love to do.
32:28I'm creating.
32:29I love it.
32:32Never in a million years, never would I ever think,
32:36watching Basquiat and then being able to paint with Julian Schnabel.
32:39There were friends that could be able to talk about art and call him up.
32:41And now we're, you know, buddies and we paint the rest of our life together.
32:46And then he asked me to be in his movie, which was brutal,
32:49because this was the hardest script I've ever read in my life.
32:53And he's like my idol.
32:54So I'm like, you gotta do it.
32:56And he's like, you're gonna be fine.
32:57You're gonna be fine.
32:58He believed in me more than I believed in myself.
33:00We did it.
33:01It's great.
33:01And I gotta be in a Julian Schnabel film.
33:15Venice, bitch!
33:21Here we go.
33:22I mean, listen, I'm leaving my favorite director in the whole world
33:25to go to Venice Film Festival with my other favorite director.
33:29They both signed me in with the DGA.
33:31How cool is that?
33:33Hell yeah.
33:34Three Mamoas in Venice?
33:50I gotta bring my son and my nephew.
33:52He's 23 and my son's 16 and they're in Venice checking out Julian's film.
33:56It's like, it's gonna live with them forever.
33:59It's really important for my kids to see that kind of stuff too.
34:02So, awesome dad moments.
34:12It was so cool.
34:13I mean, that's the dream.
34:13You want to be able to do the movie,
34:15come back to the Venice Film Festival,
34:17release it there, be with that audience.
34:26Let it be simple.
34:29I can't believe this.
34:32Oh my gosh, I'm sorry.
34:34It's so nice to meet you.
34:36What are you screaming?
34:38Oh, what's up?
34:41Good to see you.
34:42Good to see you.
34:42How you been?
34:43Got no curly hair now.
34:45Come on, man.
34:47Nui.
34:48Nui.
34:49Three Mamoas.
34:52Three Mamoas in Venice.
34:54Hell yeah.
34:54Watch this, watch this.
34:55Flip it, flip it.
34:57I'm not gonna lie to you, I'm a little scared.
35:02Who's there?
35:03Three.
35:04Two, two, three.
35:05Look at the big, he's pumping it.
35:07What's that?
35:08Oh, buggy.
35:09You done this, Quinn?
35:11No, I've never done that before.
35:12Who's it?
35:12I'm not used to the things that you do, sir.
35:15Don't put me out on the big bucket.
35:17What's up, Joel?
35:18What's up, Joel?
35:19Wait, my toes?
35:20Hold on, hold on.
35:21Let me take a look.
35:22My broken socks and my ugly-ass feet,
35:24but they're panting.
35:27In Iowa, you don't have the ocean, mountains,
35:30and all these things around.
35:31You have to get very creative.
35:33You have to find these little niches
35:34and these little things.
35:35And I feel like...
35:37Yeah, my mom had movies, you know?
35:40Movies really, you know, they changed my life.
35:43I didn't ever want to become an actor,
35:44but they definitely helped me see the world.
35:48I owe a lot to Julian for the things that he's done in these films.
35:52They may not mean that much to him.
35:54They mean the world to me, you know?
35:58As we've been looking at my films recently,
36:00I guess a lot of it has to do with behavior
36:03and thinking that you can actually...
36:08do anything.
36:47do anything.
36:48Paintings everywhere.
36:49Paintings everywhere.
36:50Paintings everywhere.
36:59Paintings everywhere.
37:04Paintings everywhere.
37:12Paintings everywhere.
37:14Paintings everywhere.
37:16The separate vÃdeo abandoned everywhere.
37:17Healing in America.
37:17Thinking nothing thinks that you can事
37:17OK to get angry with it.
37:20A fire emergency?
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