- 2 weeks ago
On the Roam - Season 2 Episode 2 - Julian Schnabel
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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
00:24doing with it, except for being the best, biggest fan, I'm ready, I'm ready, I'm ready.
00:33You might have to take your hat off in the movie, bro.
00:35Yeah, you gotta do it.
00:47This movie changed my life.
00:49Really?
00:49Yeah, it came out when 19, I was 16 years old.
00:54I'm 45 years old.
00:55First time you saw it, 16 years old?
00:57When it came out, yeah.
00:59It'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?
01:07Heck yeah.
01:07Are you a celebrity?
01:09Yes, he is.
01:10The guy sitting in front of you's the guy who made it.
01:11Yeah.
01:12He made it.
01:13Wow.
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.
02:00I am stripped of all but pride.
02:03So in her I do confide.
02:07On the beaten path I reign.
02:12Robo Wanderer.
02:14Nomad Vagabond.
02:15Don't be watching well.
02:21Forever I may roam.
02:28Forever I may roam.
02:32Yeah.
02:34There's one thing I just...
02:35Just from your questions right now that I just realized that...
02:38I think you should talk into this.
02:39I think you guys can hear me.
02:40I think you should talk into this.
02:43I think it's really dramatic.
02:45I find that I was.
02:47I've created shows, directed, written, I've done everything, I've done everything to this
02:56point.
02:57And I'm completely satisfied but I'm not because it's not like being a painter.
03:01He created for 40, 50 years paintings at the highest level.
03:08Still alive.
03:09Always evolving.
03:14Julian Schnabel is a painter and a filmmaker.
03:19The man walks and eats and moves art.
03:31It's a joy.
03:32Julian Schnabel colors.
03:33It's very much a painting right now.
03:35It seems like a big white striped through it.
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.
03:53He 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 out.
03:58No one of the painters don't have to listen.
04:01He has a book about this thick.
04:03That is just all of his paintings.
04:10Decades of paintings.
04:11And then he's like, I'm gonna go, you know, try some film out.
04:15Basquiat, Fortnite 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 is like one of my favorite movies.
04:24I can quote everything in it.
04:25I can't even see what's good anymore.
04:27You 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?
04:39Or, you know, I 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.
05:12Until I was 40 something, 42 years old.
05:28How did you first meet Julian?
05:30Oh my goodness.
05:32Pops, Julian 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.
05:48And I was hanging out in back.
05:50Just watching the show.
05:51And in walks Julian.
05:52And I'm just like, wow.
05:56Try not to geek out.
05:58And we just stayed in the back.
05:59We were both uncomfortable there.
06:02And just had some beers.
06:04And shot the shit.
06:05And I eventually, you know, told him who I was.
06:07And told him.
06:07The great thing is he had no idea who I was.
06:10Which is awesome.
06:10And we just got together talking about art.
06:14And that's, 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?
06:22You know?
06:22And, and, and it was so nice.
06:24And, and, and sweet.
06:26You know?
06:26I was like, it's the best place.
06:28We're just away from everybody.
06:31And we didn't want to be there.
06:32And I was like, oh my God.
06:33This 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 seems so familiar to me.
06:42I mean, it, we hardly know each other.
06:44But the fact is that I feel like we've been friends for years.
06:46Yeah.
06:47Past life.
06:49You've been in my life, my whole life.
06:52And 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.
06:57And I was a fucking science major.
06:59My parents were painters.
07:00And I saw things that most people didn't see.
07:03And 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.
07:13And I never knew this man.
07:14There's only two or three people that are alive now.
07:18That have such an impact on me.
07:20And you'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.
07:36And he came down.
07:37And 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,
07:47someday they'll come over to the studio.
07:48I don't know, this big studio.
07:49They'll sit down.
07:50And they'll see they didn't have to worry about it.
07:52Anyway, I pulled out some of these paintings
07:54that you were talking about.
07:55Oh.
07:56Now let's go look some paintings.
08:02That's what I got from getting raised in Iowa.
08:05The work boots.
08:07Iowa?
08:08Those are made after my grandfather's war boots.
08:10Okay.
08:11Okay.
08:13Hello.
08:16Hello.
08:21It is amazing.
08:22This mirror is amazing, too.
08:24Where is this?
08:261850.
08:30Hi.
08:30Hi.
08:31How are you doing, Jim?
08:31Thanks for helping with the back.
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.
08:55Okay?
08:55Okay.
08:55Because you have to just look.
08:56Oh, shit.
08:57This is it.
08:58Oh, man.
08:59Okay.
09:00Whew.
09:02You got this?
09:03You ready?
09:04Bro.
09:05Life changing.
09:09Can you see what's coming?
09:37Oh, my God.
09:40Oh, all right.
09:46Julian, come here.
09:47I haven't looked at it yet.
09:54Come here.
09:58Oh, my God, dude.
10:03Oh.
10:05Oh.
10:07Oh.
10:11Oh.
10:11Those are 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 when I painted those paintings.
10:37It's about him walking by, like this figure just walking by in the landscape somehow.
10:44I just made those marks, and then I painted them outside in Florida, so they were out in
10:51the weather, and that's why this burlap became that color.
11:01Oh, my God.
11:05The thing is, I've always had these affinity to burlap sacks, like my whole life, and brown
11:11paper bags and cardboard, and so how those things make me feel, and then also the amber.
11:17I don't know what it is, but I've always had it.
11:19My mom used to wrap my presents in brown paper bags.
11:21I used to write all my poetry in brown paper bags.
11:24Whether it be the colors and the textures, just the way that, how my heart feels when I
11:28look at this thing, and it makes me happy.
11:30Even if it made me mad, it's still like that's what art's supposed to do, you know?
11:38Hey, Julian.
11:41Since I want you to teach me how to do this, can you show me?
11:49Yeah.
11:50But when?
11:53Yeah, sure.
11:53In your lifetime, sometimes.
11:55Yeah, I mean, I'll just come out to Montauk.
11:57I'm just going to come out here.
11:58I never know what I'm going to be doing.
12:01I'm just going to come out here.
12:02I'll go play in the corner.
12:04I don't know.
12:05You can get in the middle of it.
12:08You know, I wasn't even scared to ask.
12:10It was like in his house.
12:11I mean, one day we'll paint together.
12:12He barely knew me.
12:13He's like, yeah, kid, whatever.
12:15You know, I got to throw it in there a little bit.
12:17You got to 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 is being able to go into an artist's studio and see it, just
12:43like see all the paint out and see what he's working on and see what inspires him.
12:48And like little things, like just the smallest things.
12:51I love seeing artists' studios.
12:55Some people that hate my work would think it's bad or not like it, whatever.
12:59But what I tried to do was make something that was uncompromised.
13:14The distance and the height changes everything.
13:18So just push in.
13:20Mm-hmm.
13:21Okay.
13:22And then just keep coming around.
13:24Yeah.
13:24It could be a little relax, relax, relax.
13:26It could be a little more fluid there.
13:28Ready?
13:30Now, let's step back a little teeny-weeny bit and see what we're looking at.
13:36It doesn't matter if you get shaky.
13:39Like Thelonious Monk says, there are no wrong notes.
13:42Mm-hmm.
13:54They're wooden panels with beveled edges.
13:58And then I cover them with plates glued together with auto body putty.
14:02Bondo.
14:03Yeah.
14:04That's the surface.
14:05That's a blank canvas to me.
14:06And then I just paint on it.
14:07So this is Bondo right here?
14:10No.
14:11Yeah.
14:11This is Bondo.
14:13All this is Bondo.
14:14Bondo.
14:15Auto body putty.
14:16Yeah.
14:16Auto body putty.
14:17And then he starts to actually everything on it.
14:19Okay.
14:20Well, then I glue them down with that, you know, with epoxy or with Bondo.
14:25Have you ever, have you ever, you know how like Warhol and Bosco did a thing together?
14:31Have you ever done that with anyone?
14:33No.
14:34Never.
14:34It's always been.
14:35Uh, I mean, they asked, or Bruno, they thought I would do it with them.
14:40I didn't feel like it.
14:41But I, I, obviously I liked, uh, I was the only person that bought a Basquiat Warhol collaboration
14:50painting at the beginning.
14:51Really?
14:52Yeah.
14:52They, nobody, because they thought, people thought.
14:54Please tell me something out of it.
14:55I sold it to Johnny Versace.
14:58Years later.
15:20Wow.
15:22Yes, darling.
15:26Oh my God.
15:27Okay.
15:27We're gonna get Pablo for you later.
15:28We'll call you back.
15:29Just the colors.
15:30They, they, they say, regard me, pay a clock, which means look at my flat feet.
15:35Look at my flat feet.
15:37Yeah.
15:40My mother was a painter.
15:42My father was a painter.
15:44My first love was seeing pictures by Cy Twombly.
15:48Then into Basquiat and Tapius.
15:51I love that world and that art world.
15:55And that was what Julian lived through.
15:58Look at this.
16:00Peter Beard took that picture of Andy Warhol.
16:02This is probably Peter Beard's masterpiece.
16:05Wow.
16:05Look, there's Andy Warhol in front of the house that I used to live in holding a dead seagull.
16:10Wow.
16:12It's nice, isn't it?
16:13Damn.
16:16No big deal.
16:17This is Peter Beard.
16:18Andy Warhol.
16:19Don't fall.
16:20I'm gonna fall.
16:21Alrighty.
16:22Back to him.
16:24Visiting his house.
16:26It's just a museum of all the most amazing things and art and everything in there has a story.
16:33I'm much the same way.
16:35If you come in, I just don't have a house like that.
16:37It's all just kind of in black boxes and shit everywhere.
16:40But eventually one day, I'll be able to display all my travels and things that I've collected
16:46and art that I've found all around the world.
16:48That's amazing.
16:49I want it to be a little dash of that and then, you know, a little dash of this.
16:57Guitars, motorcycles, that's it.
16:59If I do have a house, it's gonna be pretty weird.
17:08Not a bad spot.
17:11Here, you want to sleep in here tonight?
17:14Okay?
17:15Okay.
17:16Wonderful.
17:17Pretty munchy.
17:19Alright?
17:20Perfect.
17:23We'll go to the beach in a little bit, maybe for a minute.
17:28Should we put our trunks on and just get wet?
17:30Okay?
17:31Sure.
17:32Well, I don't know.
17:33Should definitely go see where you're painting.
17:36Okay.
17:42Okay.
17:47What'd you pour in there, Brian?
17:49I poured a terpenoid in there.
17:52And then I put some wax medium in there.
17:55Touch it?
17:57You can touch it.
18:11Okay, ready?
18:12Okay, you hold it like that.
18:14Yeah.
18:14Like that, right?
18:15Looks like I'm throwing a net.
18:17And think about this thing, which is actually somebody's, their heart is there.
18:23Yep.
18:25I think you want to go like that, like it's in a landscape.
18:29Like there's some figure in the landscape.
18:30So, when you do this, you kind of want to let it spread out.
18:34Okay.
18:35Okay.
18:35Ready?
18:36Yep.
18:36Yep.
18:36Give it enough air to do it.
18:39Ready?
18:39Yep.
18:39Ready.
19:04Do I think good art is only born out of pain?
19:08No.
19:09No.
19:09I think it's born out of joy.
19:12Down the mountain of dreams.
19:15Down the mountain of dreams.
19:16Down the mountain of dreams.
19:17Down the mountain of dreams.
19:18That's awesome!
19:20Down the mountain of dreams.
19:20There's this text.
19:21It's a text that Tarkovsky wrote.
19:24And basically, he said that all art is optimistic.
19:30Even if the subject matter is tragic.
19:33Because it's a representation of life instead of life.
19:38Life contains death.
19:40A representation of life doesn't.
19:43So, in fact, it's optimistic.
19:49You've been washed of all your sins.
19:51And all of your crimes.
19:54Down there by the train.
19:56From there to there.
19:58Just flat like a straight woman.
20:01From there to there.
20:02Down there by the train.
20:05Down there by the train.
20:08Down there by the train.
20:10Down there where the train goes slow.
20:19Down there by the train.
20:24Down there by the train.
20:27Down there by the train.
20:28Down there by the train.
20:29Down there by the train.
20:29Down there by the train.
20:32Down there by the train.
20:34Down there by the train.
20:34Down there by the train.
20:35Down there by the train.
20:36Down there by the train.
20:38Down there by the train.
20:40Down there by the train.
20:41Down there by the train.
20:43Down there by the train.
20:44but what was the thinking?
20:45The fish was a little too insignificant.
20:52It's looking.
20:54It's delicate.
20:57It's going to look pretty damn good when it's stretched.
21:02I think I just made a pan.
21:04I missed those super special.
21:09All you have is your art.
21:12That's the thing you have to fight for.
21:14If you're going to make art, there can be no compromise.
21:26It's that bad, huh?
21:28It's cold.
21:29How is it?
21:31I bet.
21:33I feel that cold of a shit.
21:35We could take a cold plunge and then take a hot shower.
21:38Where's the hot shower today?
21:39Right there.
21:40Sick.
21:45These are my 19, my 19, 20 fun caroos.
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, yeah, boy!
22:04That's amazing!
22:05When I jumped off the first time, I hit my nuts so bad.
22:15I've always wanted to paint.
22:16I'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.
22:36Being creative, man.
22:37And whatever sense that is and whatever your art form is.
22:40Or 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've got the clams, two different sauces, fresh tomatoes, fresh mozzarella.
22:59Ribetone.
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.
23:15Well, you're a good, you get in it.
23:17You have a quick learner and you can do it.
23:21Yeah.
23:23This is the best part because this book is your life's work in paintings.
23:30And there's probably more.
23:31And you go to me.
23:33He goes to me when I'm shooting Chief of War.
23:35He's just fascinated how I can do all these things.
23:38And I was directing and running around and doing all this 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.
23:53Seven 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 King.
24:30Go check it out.
24:31This place should be a museum.
24:34This painting is Hannibal crossing the Alps.
24:38So you see, here's Hannibal, Jason.
24:42Hannibal's wearing a chainmail hat, you know, well, armor.
24:47He's got a beard.
24:48He's got some feathers coming out of his hair.
24:50And 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 in all the time.
25:14He's one of my best friends.
25:16Anyway, look, these are drawings of mine.
25:18You might want to look at them, Brian, while we're doing that instead of us.
25:21Look how nice they look in your camera.
25:24Actually, go from there.
25:25Come, you can get in front of me.
25:27Where you just kind of can go like that and see how this happens like that.
25:34I feel very connected to the family.
25:36I tell them I'm the oldest and the oldest schnavo.
25:42They grow up constantly seeing their father doing these things.
25:45And those are the things that inspired me my whole life.
25:47What's this place?
25:50It's my room.
25:58That's the back.
25:58Look at that one.
25:59Look at that drum.
26:01What's the other side?
26:02Show them the other side you did.
26:04That's what you put.
26:05Ooh.
26:08Let's show them another one.
26:09Here, I'll give you a hand.
26:10That'll be your assistant.
26:12Eddie?
26:15Did 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?
26:28What 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.
26:37You know, it's got the, I'm the high-water version.
26:40Wait a minute.
26:40No, no, I think it's fine.
26:42I mean, you don't have to wear it with a bunch of boots.
26:43You know what?
26:44You can walk around in the thing.
26:46You can also cut the sleeves off.
26:49That's really good.
26:50What are you doing?
26:51You know why?
26:52What am I?
26:53I was playing dress-up with your papa.
26:56Actually, you take your shoes off.
26:59That's, yeah, that's just awesome.
27:02Eh?
27:03Let's see.
27:04Look at that.
27:06Eh?
27:06Cute.
27:08You know what Momo is in Japanese?
27:11Peach Boy.
27:12It's perfect.
27:13I'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 he sold the surgeon for $3,500.
27:39Yes.
27:39Was it worth that?
27:42$10 million.
27:47Wow.
27:50Oh, you know what we're lying on here?
27:52But it's not supposed to be on it?
27:53Um, you can be on it, but you know what it is?
27:56What?
27:57It's, watch your boots.
27:58It is, uh, Maximilian von Habsburg's tent cover, who was the emperor of Mexico, who was Carlotta's
28:10husband, who was killed in Mexico in 18, 1850 or whenever.
28:15It's amazing.
28:16This is, this 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, what, what, where was the definitive moment where you're like, I want to do film.
28:32Because I know you're a huge cinephile.
28:35You know, I always thought I was going to be a movie fan.
28:39I 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 and, and, and other people were very jealous about
28:48that too.
28:49And they didn't, because 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.
28:57I mean, but I was a painter and he was, and we had a different kind of relationship.
29:01He died and I was alive.
29:07And I went through all this stuff that he went through, except my parents were very loving
29:12to me and they were, you know, even if they didn't understand what I was doing, they loved
29:17me and they made me feel like I could do anything, I guess.
29:21He didn't have that.
29:23I 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.
29:32His death kind of solidified his, his, his, his historical presence, but something that
29:39really 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 got to tell you, that's, that's, so 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, both my parents were painters, but I hadn't talked
29:59to my father pretty much all of high school.
30:01He had like a kind of falling out.
30:07And, but that was the, that movie.
30:12More than any movie in the world has affected me.
30:14That's like the, the, the biggest root.
30:16And so you asked me one time where like, why, why does it feel so close?
30:19Why does it feel so close to you?
30:21And it's, anytime I'm depressed, anytime, anytime that, 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, that'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 for this.
30:38It's just so much art to be done and, and I'm doing my own way, whether that be inspiring
30:43people, whether like even in the show, but there's just such an appreciation for you and
30:48what you've done and all the things that you've, and the people you've met and how it's went
30:52through you and how you've spread it to the world.
30:54And I got to tell you this, you're one of a kind.
30:56The guy said last night, you're absolutely one of a kind.
30:59I'm very, very, very thankful to, um, I 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, your audience hasn't even been born yet.
31:14In retrospect, now I'm 72 years old.
31:17We're sitting here together.
31:18What are you, 45 now?
31:21And you say, hey, you made these things.
31:23I saw these things that you made.
31:25It defined my life in some way.
31:28It gave me choices that I didn't know that I had.
31:30I was able to do this and that because I saw this and I could take that and make my
31:35own version of it.
31:37Well, that's what it's about.
31:40That's why it's worth doing.
31:43Making art is a utilitarian activity, meaning you're working on something.
31:48And if you believe in the transcendental possibility of actually making something that somebody can, if it's accurate, if it's
31:57not compromised, they 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 money is just something you throw off the back of the train.
32:15And it's right.
32:16And it'll come back to you.
32:18I was raised by the right guys.
32:19What do I do?
32:21They call it Momoa math, but I just listen to Tom Waits and Julian Schaumbel.
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 watching Basquiat and then being able to paint with Julian
32:38Schaumbel.
32:39There were friends that can be able to talk about art and call him up.
32:42And 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 because this was the hardest script I've
32:51ever read in my life.
32:53And he's like my idol.
32:54So I'm like, you got to do it.
32:56And he's like, you're going to be fine.
32:57You're going to be fine.
32:58He believed in me more than I believed in myself.
33:00We did it.
33:01It's great.
33:01And I got to be in a Julian Schaumbel film.
33:21I mean, listen, I'm leaving my favorite director in the whole world to go to Venice Film Festival with my
33:28other 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 got to 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 going to 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, come back to the Venice Film Festival, release it there, be
34:18with that audience.
34:26Let it be simple.
34:29I can't believe this.
34:32Oh my God, sir.
34:34It's so nice to meet you.
34:36What are you screaming?
34:37Oh, what's up?
34:41Good to see you.
34:42How you been?
34:43Man, you got no curly hair now.
34:45Oh, no, man.
34:46Oh, no.
34:47Nui.
34:48Nui.
34:50Three Mamoas.
34:53Three Mamoas in Venice.
34:54Oh, yeah.
34:54Watch this, watch this.
34:55Flip it, flip it.
34:57I'm not going to lie to you.
34:58I'm a little scared.
35:11No, I've never done this before.
35:12I'm not used to the things that you do, sir.
35:15I'm not used to the things that you do, sir.
35:17I'm going to lie to you.
35:19I'm going to lie to you.
35:20My toes are all over here.
35:21I'm going to give you a look.
35:22I'm going to lie to you.
35:23My Brooklyn socks.
35:23And my ugly ass feet.
35:25But they're painted.
35:39Uh-huh.
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
35:51that 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,
36:01I guess a lot of it has to do with behavior
36:03and thinking that you can actually do anything.
36:16They mean that there are very many films
36:22We don't have a lot of films yet.
36:24We've got a lot of films,
36:24but we have to do it again,
36:27so we've got a lot of films that have to do it.
36:27That's a lot of films that have to do it.
36:30I can't see the movie is a different country,
36:30It's the movie is a former movie.
36:30I think so.
36:31I feel like that movie is a bit different.
36:36It's a father.
36:48Paintings everywhere. Paintings everywhere.
37:34Paintings everywhere.
38:04Paintings everywhere.
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