00:00That's something I actually said, huh?
00:02Don't put this in what I'm doing right now.
00:04Don't do it now, you guys.
00:06Woo-hoo!
00:08Woo!
00:14Okay.
00:16Okay, let's see what we got here.
00:19The do-de-binds.
00:20That's an easy one. That's, uh,
00:22the big Lebowski.
00:25The do-de-binds.
00:26There was a guy that Coen Brothers wrote about,
00:29you know, based on the script, a guy named
00:32Jeff Dowd,
00:34who called himself The Dude.
00:36I think he was known as The Dude.
00:38And there's a lot of The Dude in me,
00:40you know, so I use myself
00:42for the character quite a bit.
00:44Dowd is a cool guy. He came by the set
00:46and hung out a bit.
00:47So we got to know each other.
00:49I've been asked to perform a marriage.
00:52I've got to get my
00:54dude license. I'm not formally
00:56a dudist, but, uh,
00:58in spirit I certainly am.
01:00Okay.
01:03Trying to rid the world of weapons,
01:06you gave it the best one!
01:10And I'm gonna destroy you with it!
01:14Iron Man!
01:16Oh!
01:17Trying to rid the world of weapons,
01:19you gave it the best one ever!
01:22Well, they had Robert Downey Jr.
01:25and Jon Favreau,
01:27those two guys.
01:29Oh, see, I'm biased
01:31because I'm in the thing,
01:32but that's my favorite superhero movie.
01:34I think you'd, gosh, that was a good one.
01:37Jon Favreau, man.
01:38What a great artist.
01:40You know, we read the script,
01:42and the script wasn't working,
01:44and we said, uh, you know,
01:47Downey and Favreau,
01:48you know, I would meet in the trailer,
01:50you know, we'd work it out,
01:52we rehearsed for a long time,
01:53we were ready to go,
01:55and we showed this, what we'd come up with
01:58to the suits, you know,
01:59to the producers, the financiers,
02:02oh, no, this, you can't go.
02:03I said, what do you mean? What do we do?
02:05And so we had to write our scenes
02:09just before we filmed them.
02:11You know, we'd, all the crew
02:13would be in the, you know, soundstage
02:15waiting for us, we'd be in the trailer
02:17trying to come up with
02:19the dialogue for scenes
02:21and stuff, and pass it inspection
02:23to the, oh, God, it was crazy.
02:25It drove me
02:27just out of my mind until
02:29I finally made this little inner
02:31adjustment that really helped
02:33me. And I said, Jeff,
02:36don't worry about it,
02:37you're making a $200 million
02:39student film. You're just
02:41playing, you're just messing around.
02:42Like, alright, relax, just have fun.
02:45Look at the guys you get to play with.
02:47Oh, we had a ball.
02:52Let's see here.
02:54Where would King Arthur be without Guinevere?
03:11What a great time that was.
03:14Terry Gilliam, you know, the great
03:16producer.
03:17He really assembled an amazing cast.
03:20Robin, he was amazing.
03:22I can remember
03:25you would be working late in the
03:27nights. We'd all be exhausted.
03:30And Robin would get
03:31this kind of devilish look
03:33on his face and he would stand up
03:35and he would start
03:37busting everybody's chops,
03:39just go around like this,
03:41for about 10 minutes.
03:42And most directors would say,
03:44OK, Robin, let's get back to work.
03:46But Terry would egg him on and say,
03:48yeah, but what about him?
03:49Look at this guy with the glasses.
03:50You know, and so Robin
03:52was just so brilliant to work
03:55with. I could go on and on about
03:56Robin.
03:59Let's see.
04:01Fill your hand, you
04:02son of a bitch.
04:06That
04:08is
04:08from True Grit, right?
04:11Yeah, that was
04:13that was a fun one.
04:15Fill your hand, you
04:16son of a bitch!
04:18Remember the Coen
04:19brothers, we had a fake horse
04:21and all that to do, you know,
04:23put the rings in your teeth and shoot
04:25with a double gun. I don't know if it was Joel
04:27or Ethan, he came up to me and he said,
04:29do you think you could do it for real?
04:31I said, yeah, man, let's try it.
04:33And I got the...
04:36That was great fun.
04:38I remember when
04:39the brothers
04:41called me up and said, hey, we want to
04:43make this a remake
04:45of True Grit. I said, what do you want? Why
04:47man? John Wayne had this famous
04:49movie and they said, well, have you read the Charles
04:51Portis book?
04:53True Grit? I hadn't and I
04:55read it and then I saw why because it read
04:57just like a Coen brothers script.
04:59Wonderful story and they did a brilliant
05:01job.
05:07I gave you a baby tonight.
05:11Starman.
05:12Right. Yeah.
05:13I gave you a baby tonight.
05:16Karen Allen.
05:18Very special time
05:20in my life making that movie
05:22Starman. I take
05:23photographs when
05:26I'm making movies and it all started with
05:28Karen Allen who said, gee,
05:30I love these photographs
05:32that you're taking with this funny
05:33wide angle panning camera
05:36that you use. Why don't we make a
05:38book and give it as a gift
05:40to the cast and crew?
05:41So that started a long
05:43you know, history of me
05:46doing that and I've made, I think
05:48maybe 30 or so books.
05:50The camera that I use, the Wide Lux,
05:52that factory got burned down
05:54about 30 years ago.
05:55But my wife, Sue,
05:58who gave me a Wide Lux
06:00for our wedding anniversary
06:0249 years ago.
06:05We are bringing that camera
06:06back to life. We're calling it
06:08the Wide Lux X.
06:10I think the last book I made
06:12was from Bad Times
06:14at the El Royale.
06:20Okay, let's see.
06:21Greetings Programs.
06:24Ah, Tron.
06:27Greetings Programs.
06:29Tron, 1982.
06:32Now we shot that movie
06:33in 70 millimeter black and white.
06:37The sets were basically
06:39black duvetyne with white
06:41adhesive tape that they made glow.
06:45So the special effects were,
06:47you know, very primitive.
06:49All our costumes were black and white.
06:51The sets were all black and white.
06:53And I can remember
06:54going out of the soundstage
06:56and the colors of life
06:58would just boom, hit you
07:00like a ton of bricks.
07:02But there was very little
07:03special effects in those days.
07:06I mean, they're all practical.
07:08I want to talk about how bad
07:10you make this room look.
07:12I never knew what a dump it was
07:14until you came in here.
07:26And I said that to the fabulous
07:29Maggie Gyllenhaal.
07:31Such a wonderful actor.
07:32And her movies now, she's directing now.
07:35I don't know if you've seen The Bride,
07:37but it was just an incredible movie.
07:39And then you got Scott Cooper.
07:42That was his first movie, man.
07:44He directed that movie so brilliantly.
07:48And Bobby Duvall was the producer
07:51and so supportive of this young director
07:54who also wrote the film.
07:56And it's great to go out now
07:58and see his other movies that are so wonderful.
08:03Let's see.
08:05You'll never be done with it, no matter what.
08:09It's gonna haunt you, son,
08:10for the rest of your days.
08:12But you won't be alone.
08:14It's gonna haunt me too.
08:17Yeah.
08:21That is...
08:24I know they changed the title
08:26at the last moment of it.
08:28But it's gonna...
08:29Hell or high water, right?
08:30Yay!
08:31You'll never be done with it, no matter what.
08:34It's gonna haunt you, son,
08:35for the rest of your days.
08:37Another wonderful, wonderful experience.
08:39I love making that movie.
08:42Just how real it seemed.
08:44Joaquin Jackson was a real famous Texas Ranger
08:47who was on the set every day
08:49and really helped me so much.
08:52That one was so great.
08:53David McKenzie, you know, our director,
08:56brought together this amazing cast.
08:58Chris Pine.
09:01What's his name?
09:02I'm forgetting that.
09:03What's his name?
09:04Foster?
09:04Dan.
09:05And what's the other guy?
09:07Gil.
09:07Gil, yeah.
09:08This is like a bad dream.
09:10I can't remember these guys' names.
09:12I'm gonna try another take, too.
09:14He's saying,
09:14Oh, yeah.
09:16Heavens.
09:16No, I'm not forgetting the movie.
09:18Don't put this in, what I'm doing right now.
09:21Don't do it now, you guys.
09:24Hey.
09:24Gil Birmingham, Chris Pine, Ben Foster, and David McKenzie.
09:37Okay.
09:38David McKenzie, our director, brought together this phenomenal cast.
09:43You got Chris Pine, Ben Foster playing such wonderful brothers,
09:48and Gil Birmingham, who was my partner.
09:52Wow.
09:52It was so great to play with these guys.
09:55Had a great time on that one.
09:57If this scene is terrible, you will never work in this town again.
10:04And I said this, if this scene is terrible, oh, oh, oh, oh, oh.
10:14Minions and Monsters.
10:16Ah.
10:17Yeah.
10:18All right.
10:19Go see Minions and Monsters.
10:22It's a wonderful film.
10:23Woo.
10:24If this scene is terrible, you will never work in this town again.
10:29Looking at those drawings of Frank and Elwood, that gave me a big tip.
10:36And then also just the lines.
10:38You're reading the lines that they wrote.
10:40And then being there with Pierre Coffin, you know, the creator of this,
10:45throwing out a bunch of different ways of doing it,
10:48and we kind of narrowed it down.
10:50I had a ball doing it.
10:51I did, you know, one guy first.
10:53I think maybe the grumpy guy first, and then, you know,
10:58did the more joyous light cat, you know, later.
11:02They look exactly the same except have different mustache treatments,
11:07you know.
11:07I like that.
11:08I wasn't privy to these, you know, Despicable Me and all these other great films.
11:15Since then, I have seen some of them and got myself a bit up to speed.
11:19I love it that Minions and Monsters really is a whole new batch of minions
11:25and a completely different direction.
11:29You know, James and Henry and Ed, they break away from the minions
11:34who are, you know, all about assisting the most evil person that they can find.
11:39And they've fallen in love with making movies, which I can totally relate to.
11:44And so the essence of the movie for me is how love conquers evil, you know.
11:51Okay.
11:56Yeah, I'll see you in a year or two if I don't get shot.
12:00The Last Picture Show.
12:04Right?
12:05I'll see you in a year or two if I don't get shot.
12:07Peter Begdanovich, man.
12:09Wow.
12:10Timmy Bottoms.
12:11Ellen Burstyn.
12:13Yeah.
12:14I recently got into acting through my dad, Lloyd Bridges.
12:18I'm like a lot of parents who are in showbiz, you know, who say, oh, they, you know, kind of,
12:25they tell their kids, you don't want to get into this.
12:29It's too heartbreaking and it's too crazy.
12:32Both my parents love showbiz.
12:35And I can remember back in the late 50s, early 60s, my dad had a TV show called Sea Hunt.
12:42And he would come up to me.
12:44I'd be about eight years old or so.
12:45And he'd say, hey, you want to come to work with dad?
12:47Come on.
12:48I say, well, you get to get out of school, man.
12:52Come on.
12:52We'll have a lot of fun.
12:54And so he really enticed me that way.
12:58And I loved working with my dad.
13:00I got to work with him twice in a movie called Blown Away and another one called Tucker that
13:07Francis Coppola directed.
13:08And we had a great time pretending with each other, you know.
13:12But the main thing I learned from him, he approached the work with such joy and excitement whenever
13:19he would come on to a sound stage.
13:22And when I got to work with him as an adult, it was very apparent.
13:25His excitement and the sense of fun that he had was kind of contagious.
13:31And it would go through the company.
13:33And people would say, yeah, I guess this is kind of fun what we're doing.
13:37You know, when you have that sense of fun and joy, you relax.
13:43And with that relaxation, lets the good stuff bubble up, you know, more effortlessly.
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