- 23 時間前
The American Dreamer (1971) - Dennis Hopper Documentary
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00:00:14Let's talk about something.
00:00:18I want to go back to journalism.
00:00:21However, if this is going to be a documentary or a lifestyle film or whatever you want to call it,
00:00:27I mean, if it's going to be that kind of thing, then it should expose whatever.
00:00:33And that's why, at the same time, it's a destructive act.
00:00:37It's also a creative act for me, because it's a creative act to say,
00:00:40hey, I'm not going to hide in the closet anymore.
00:00:44I am going to be at least a witness to myself.
00:00:47If nothing else, I will say, hey, yeah, I dig sax, yeah, I dig chicks, yeah,
00:00:53you know, I smoke grass, and I drop occasionally, and I do those things,
00:00:59and whatever that means, and whoever hates me for that, terrific,
00:01:04and whoever loves me for it, terrific.
00:01:06Hey!
00:01:18Terrific.
00:01:20Yeah.
00:01:37The door just closed by itself.
00:01:39Okay, Chuck, don't turn off the camera.
00:01:41Just stay with me.
00:01:42Follow him.
00:01:51I can't believe it.
00:01:55Hi, Larry.
00:01:56Hi, Kit.
00:02:01I was washing my hair, you know.
00:02:09Can you go in a corner and not think about a white bear for five minutes?
00:02:12It's impossible.
00:02:13Because you go in the corner and you already are saying,
00:02:16okay, I'm not going to think about a white bear.
00:02:18Oh, shit.
00:02:18I thought about the white bear.
00:02:19You know, well, you can't do it.
00:02:21Just act naturally.
00:02:23Just act natural?
00:02:24Turn around here.
00:02:26Let's pretend you're not here.
00:02:35Oh, my God.
00:02:47Get a ticket.
00:02:51I said, easy rider, we'll see what you've done, done.
00:03:03Easy rider, see what you've done, done
00:03:12Easy rider, see what you've done, done
00:03:22You made me love you, now your man done
00:04:08If I had two women, and my buddy did not have done
00:04:18If I had two women, and my buddy did not have done
00:04:25If I had two women, and my buddy did not have done
00:04:36You know I'd be bound to give my buddy at once
00:04:57I'm born to Louisiana
00:04:59I'm not really going around
00:05:02Yeah, I'm going to Louisiana
00:05:09That's crossed the line
00:05:14I remember that I was driving along one time on the way from Dodge City to Garden City where the
00:05:19big farm was
00:05:20And whipping down this dirt road, and going about 70
00:05:26And there was a strong wind coming from the right, and I was really leaning into it really hard with
00:05:31my wheel
00:05:31But I didn't realize it because I'd been going that way for so long
00:05:34And suddenly there were some granaries off to the right, and it stopped the wind, and I went into the
00:05:39ditch
00:05:41I think that I've been fighting the wind, or fighting whatever it is, for so long
00:05:48That I really have a great fear that if I stop turning the wheel hard into the wind, that if
00:05:57something makes an obstacle, that I'll go into the ditch
00:06:01You know I'm going to Louisiana
00:06:06That's crossed the line
00:06:12I'll be seldom seen
00:06:13And you know I'll be hard to find
00:06:18And the wind
00:06:28Come on, relax
00:06:30You know
00:06:45When I was a child, like I thought as a child, when I became a man, I still thought as
00:06:49a child.
00:06:53I, as a child, was very, very unhappy, and I was very lonely,
00:06:57and the only way I felt I could stop being unhappy and stop being lonely
00:07:01was to become something like an artist that would be, you know,
00:07:05so creative and so beautiful that everybody would say, wow.
00:07:15And I remember, like, you know, the loneliness of holding your pillow
00:07:18and thinking it's Elizabeth Taylor and thinking it's Leslie Koran
00:07:24and not able to tell anyone and having to leave the room at school
00:07:30because you were so in love with Leslie Koran, you just couldn't bear it anymore
00:07:34and go to the bathroom and cry for a while.
00:07:39The time when you couldn't identify with your parents
00:07:42and you couldn't identify with anyone, any of your surroundings,
00:07:45so you wanted new surroundings and new dreams and new ideas
00:07:49and new people and new things, and, you know.
00:07:53I don't really know because, like, you know, I know that now I'm really lonely
00:07:56and I'm really, really alone and that the artist is really alone
00:08:00and the artist must really be alone.
00:08:02He has to be alone.
00:08:04And being alone is a painful scene.
00:08:05And so you never get beyond that.
00:08:08But maybe that's the way you give your thanks, being allowed to be that.
00:08:14Because the very loneliness that you wanted to get over
00:08:19only becomes compounded into work.
00:08:22More loneliness, more isolation, and more frenzy.
00:08:27So you never, you still end up with your pillow, huh?
00:08:32It may not be Leslie Koran anymore, or, uh,
00:08:37Elizabeth Taylor, or Michelle Phillips,
00:08:40but it's still your pillow.
00:08:41Well, I don't know, but it's, uh, it's a long way home.
00:08:50Oh, now, easy rider,
00:08:55see what you done, done, yeah.
00:09:01Easy rider,
00:09:03see what you done, done,
00:09:17you know, you made me love you,
00:09:20now your natural thing done, come.
00:09:27I was in Albuquerque the other night talking at the University of New Mexico,
00:09:31and, uh,
00:09:33these kids got up, these radicals got up and started screaming,
00:09:35uh, we want to witness to the revolution,
00:09:37we want to witness to the revolution.
00:09:39And, uh,
00:09:45when I made Easy Rider,
00:09:48I, uh,
00:09:50I, uh,
00:09:51made a movie that I thought was showing the criminal element,
00:09:55uh,
00:09:57of our society,
00:09:58because I consider our society, uh,
00:10:00society full of criminals.
00:10:02Uh,
00:10:04I didn't, uh,
00:10:05I don't see any difference between the young guys that we portrayed,
00:10:09uh,
00:10:10smuggling cocaine into the country,
00:10:12which is, uh,
00:10:13tax-free,
00:10:15than, uh,
00:10:16the examples their fathers have set for them by having munition plants,
00:10:20and smuggling, uh, uh,
00:10:22frozen funds out of the country,
00:10:23and putting it in banks in Switzerland.
00:10:25I,
00:10:25I'm not sure which is a bigger criminal act.
00:10:29Uh,
00:10:30I think that we are a society, uh,
00:10:32from our movies and our films
00:10:33that have glorified the criminal,
00:10:35have glorified the outlaw.
00:10:38Uh,
00:10:40the people at the end of Easy Rider
00:10:42that kill us,
00:10:43that shoot us off the bikes, uh,
00:10:45uh,
00:10:45what's the difference between, uh,
00:10:47the two on the bikes
00:10:48and the two in the truck.
00:10:50Uh,
00:10:52there's a revolution,
00:10:53they say.
00:10:55Uh,
00:10:56the blacks have been made criminals,
00:10:58the browns have been made criminals,
00:10:59the yellows have been made criminals,
00:11:02uh,
00:11:02and we're all criminals.
00:11:05I smoke marijuana,
00:11:06I'm a criminal.
00:11:08Society's made me a criminal.
00:11:11Sometimes a man must feel ill at ease
00:11:14for a chance to make his stand.
00:11:19He either lives inside set boundaries
00:11:22or takes his boundaries in the hand.
00:11:27To live inside the rational lines
00:11:32is for men draw.
00:11:36But to be a man
00:11:37who must be his own man
00:11:39and live outside the law.
00:11:55Bring them.
00:11:56Uh, well,
00:11:57they're,
00:11:57they're abroad.
00:11:58Now, wait,
00:11:59now, wait,
00:11:59let me,
00:11:59let me,
00:11:59let me ask some,
00:12:00let me ask some questions.
00:12:01Wait,
00:12:02just one second.
00:12:03Have we got broads coming,
00:12:04guys?
00:12:04Have we got broads?
00:12:07They think they got playgirls,
00:12:08play bunnies,
00:12:09something coming down.
00:12:11They're making this documentary
00:12:12called The American Dreamer,
00:12:13and I said,
00:12:13how can I be an American Dreamer
00:12:14without broads?
00:12:17Like, you know,
00:12:18they say they have some playgirls
00:12:19coming in,
00:12:19but they're not sure.
00:12:21Now,
00:12:21you know,
00:12:21if they got 30 bunnies
00:12:23coming down here,
00:12:23we're going to be occupied,
00:12:24Bob,
00:12:24you know what I mean?
00:12:27You wonder how you're
00:12:28backing them out?
00:12:30Don't take it,
00:12:31how?
00:12:31She looks a little like
00:12:32one of those Manson shits
00:12:33in the room.
00:12:35You sure are nosy?
00:12:36Right, thank you.
00:12:39I think I feel like
00:12:41you know,
00:12:41I can see.
00:12:43Oh, yeah.
00:12:44Right,
00:12:45we have that shoulder.
00:12:48Pour it down the ones.
00:12:53Oh, shit!
00:12:56You're a little devil.
00:13:08Have you ever had a fantasy
00:13:09about bowling a stewardess
00:13:10in the bathroom?
00:13:13No.
00:13:16I think I'm joined right now.
00:13:18There you go.
00:13:22There you go.
00:13:30There you go.
00:13:31That's hard for me
00:13:32to understand.
00:13:34Why?
00:13:35Do you think about
00:13:36sex very much?
00:13:38You think about
00:13:39sex all the time,
00:13:40my man.
00:13:40That's what I'm trying to say.
00:13:41Even if I'm thinking
00:13:42I don't want to think
00:13:43about it,
00:13:43I'm still thinking about it.
00:13:46You think about it.
00:13:48Do you have a懸ver?
00:13:49Um,
00:13:50listen,
00:13:51I'm ready to come out,
00:13:52man.
00:13:53They're done with a drain.
00:13:55Go else in.
00:13:59What have you been doing?
00:14:03Oh, my God.
00:14:05Look.
00:14:06I made it get in.
00:14:07Yeah.
00:14:08Here's this one.
00:14:09Here's this one.
00:14:09Here's this one.
00:14:10Here's this one.
00:14:11Here's this one.
00:14:19The power of film.
00:14:53The power of film.
00:15:12Okay good.
00:15:20That could be Richard, right?
00:15:30The one where he looks up here.
00:15:31Could be, could be Michael.
00:15:36You wanna touch the back of Roz when they're fighting, right?
00:15:42uh like when he breaks the chair over his head and so then you want to cut back to rod
00:15:46bring
00:15:46rod in like okay this is okay that's it and bring them over this way you might cut back
00:15:53to this angle as long as you can't see mitchum and uh john phillip lost i might cut back to
00:15:59the right angle where she's here and then cut back to this close as far as she moved
00:16:13i can tell you what happened you're talking about on your cut piece of that yeah what happens is you
00:16:17have him coming and darren's kicked out of his hand he looks at them and you pan back up to
00:16:22michael
00:16:22graham so like you know isn't this uh all you showed me was the close-up that he had before
00:16:28in a little piece of it there's a lot of time
00:16:30Would you call by the carton?
00:16:32Can you hold one?
00:16:34Bring me the carton, please.
00:17:00Here's to Mr. Hopper, who has traded in his chopper
00:17:06for a gamble in the South American sun.
00:17:12He got some heads from Hollywood
00:17:15who think things might be pretty good
00:17:19if they can figure out what Denny's done.
00:17:25And I love you more than heaven
00:17:28in this never-ending daydream
00:17:31as we fly across the universal mind.
00:17:37So won't you take my hand and tell me
00:17:41you'll be with me, dear, forever
00:17:44till we vanish past the edge of space and time.
00:17:50La-dee-dee.
00:17:53La-dee-da.
00:17:56Oh, we'll all have our freedom in the end.
00:18:02La-dee-dee.
00:18:05La-dee-da.
00:18:07La-dee-da.
00:18:09La-dee-da.
00:18:21La-dee-da.
00:18:34La-dee-da.
00:18:38La-dee-da.
00:18:55What's going to happen if the last movie is not accepted as Easy Rider was?
00:19:02What's going to happen to me? Nothing can happen to me.
00:19:05Because, like, you know, I was sleeping on a mattress when I edited Easy Rider.
00:19:11And I can sleep on a mattress again. I had friends.
00:19:15But, like, you know, the last movie is going to be acceptable.
00:19:19It's going to be accepted. It's going to be much better than Easy Rider.
00:19:22And if it's nothing more than, like, you know, the Magnificent Ambersons,
00:19:26which was Orson Welles' second film, and, like, Citizen Kane was his first, made no money,
00:19:30and Magnificent Ambersons made no money.
00:19:38I'll be a very happy man.
00:19:41Because, like, it'll be that good.
00:19:42And, like, if the audience can't accept it, that's another thing.
00:19:46But, like, you see, if the audience doesn't accept it,
00:19:49then there'll be a long, long, long time before we can dream about that audience I thought was there.
00:19:56I can become Orson Welles. Poor bastard.
00:20:00It's just been turned down by the studio that, like, I'm making this movie for, Universal International,
00:20:05when a half a million dollar picture, you know, for half a million dollars.
00:20:09I mean, if they can't build up Orson Welles making a movie for half a million dollars
00:20:15and show it in the universities, then fuck them.
00:20:19And fuck the universities. Fuck everybody, man.
00:20:22Because, like, you know, then there's no audience.
00:20:24It's only a lot of frivolous, like, you know, cheerleaders.
00:20:27God bless you, everyone, cheerleaders. I love you.
00:20:29I love your image on television.
00:20:31I enjoy you almost as much as the football game.
00:20:33I wish you had a little more coverage.
00:20:34However, you know, I mean, I really love pretty ladies and all that.
00:20:37But, man, hey, you know, I mean, if there isn't an audience for Orson Welles
00:20:42and a half a million dollars in the universities and for the people in this country,
00:20:46you know, then why are we making movies?
00:20:55I do believe that a man who doesn't protect himself is really a fool.
00:21:01You know, you know, that, uh, you have to protect yourself.
00:21:08What's your life right here?
00:21:10I think that's where, um, after the Arroyo Sec incident,
00:21:16they came by and shotgunned the front of the theater.
00:21:18What was that incident?
00:21:20That's where, uh, we, uh, we thought we were making, uh,
00:21:25a citizen's arrest.
00:21:26That's when they tried to beat us up, my brother and I and, uh, six guys,
00:21:29and we, uh, we made a citizen's arrest
00:21:32and held them at gunpoint until the police came.
00:21:34And, uh, then took them in.
00:21:36They let the guys go and booked my brother and I.
00:21:39Anyway, they came by and shotgunned the front of the theater,
00:21:41which I thought would be interesting, too.
00:21:45I got along with those.
00:21:47I mean, it's no, it's, it's...
00:21:48I never thought of myself beyond human rights.
00:21:51Maybe I thought of it.
00:21:52Oh, really?
00:21:53Often.
00:21:58What did you do before you came here to cut?
00:22:00She was a college graduate.
00:22:02It's, it screwed her up.
00:22:04I graduated from college last January,
00:22:07and a friend brought me up here,
00:22:09and, uh, I was living with a man who, uh,
00:22:13owned a restaurant in town,
00:22:15and met Dennis there.
00:22:18I mean, this summer,
00:22:20you, you and Owen spent a lot of time there.
00:22:23And Terry left, and I needed a job,
00:22:25and Dennis gave me one.
00:22:26I needed a cook.
00:22:28So, that's about it.
00:22:30Did it change the life?
00:22:33Yeah, but I'm not going to tell you how.
00:22:36That's too weird.
00:22:38I think Dennis and David,
00:22:40uh, that I've looked at them both
00:22:42since I've been here,
00:22:43and known them as teachers.
00:22:44This house is very out front.
00:22:47You constantly have to,
00:22:47you're constantly getting it off.
00:22:49If you don't, you, uh, you crack up.
00:22:52And I've never had,
00:22:53I've never had to get it off
00:22:55all the time before.
00:22:56I mean, never had to be honest all the time.
00:22:59Does this embarrass you?
00:23:00Yeah, it's really,
00:23:02I'm very uncomfortable.
00:23:03Why?
00:23:10You're going to,
00:23:10I really can't handle it.
00:23:12I'm sorry.
00:23:13This is very out front.
00:23:14Ah, it's not out front.
00:23:17It's coming to the house.
00:23:26How many cooks have you had here?
00:23:30Well, uh, let's see.
00:23:32Is this a home like you had
00:23:34when you were young,
00:23:35or is it a home that you...
00:23:37A home like I had in the years?
00:23:38No, I mean, is it like a home?
00:23:39You think of this place as a home,
00:23:41not as like a back or something like that?
00:23:43It varies.
00:23:44Sometimes I think of this place as a hotel,
00:23:46restaurant,
00:23:50and, uh...
00:23:51What are you here for?
00:23:53Oh, I live right nearby here.
00:23:55I just, uh, on my way to the store.
00:23:58It's just a six-pack of Coca-Cola.
00:24:03Let's just see what's happening, you know?
00:24:05It always seems things happening.
00:24:06There's new artwork coming in,
00:24:09some old artwork is going in.
00:24:13And, uh,
00:24:14it's changed my life dramatically.
00:24:29Yeah, you know,
00:24:30No!
00:24:31No!
00:24:35No!
00:24:36No!
00:24:38No, no!
00:25:06Yeah!
00:25:31It's very difficult at times to, if you believe in evolution, not to believe in revolution.
00:25:56It's very difficult at times to, if you believe in evolution, not to believe in evolution, not to believe in
00:26:08evolution, not to believe in evolution.
00:26:35It's very difficult at times to, if you believe in evolution, not to believe in evolution, not to believe in
00:26:38evolution.
00:27:08It's very difficult at times to, if you believe in evolution, not to believe in evolution, not to believe in
00:27:29evolution.
00:27:31But the sun, moon, and stars, and your love are keeping me together.
00:27:52It's very difficult at times to, if you believe in evolution, not to believe in evolution, not to believe in
00:28:00evolution, not to believe in evolution.
00:28:06And then I got talked into an April opening, you know, an Easter opening.
00:28:15Could you go in the room, Todd, and find out, or bring the script in here, please?
00:28:19Yeah.
00:28:20What's the most difficult thing about cutting, Dennis?
00:28:23Sitting here.
00:28:28You know, it's just a time, it's boring.
00:28:36Time, my girl.
00:28:39No, I love to look at beautiful women, you know.
00:28:44What type of woman do you want to live with you permanently?
00:28:48Married.
00:28:49I had the classic American concept.
00:28:52I wanted, I wanted the virgin that I married, who had my children and stayed at home.
00:28:58Then, when I discovered that I was a whore, I decided that I wanted the whore, you know, who could
00:29:05understand me and we could understand each other.
00:29:08So I'm, I don't know, really.
00:29:11I'm caught between two worlds, like I think everyone wants the virgin and wants the whore.
00:29:17But I'm just hoping that someday I will find a virgin whore, you know, who can be my image.
00:29:28I, I don't think that I'm going to change.
00:29:31But anyway, Margaret Clemente is a very, very sensitive girl.
00:29:38She arrived the day after I came back from Michelle.
00:29:41So, I saw her and I saw a very beautiful, beautiful face, sensitivity and so on.
00:29:50I immediately tried to take that virginity and turn her into a whore.
00:29:54But besides that, I really like her, you know.
00:29:59I really care about her.
00:30:02I don't think that I can ever really, really, really be involved at this point with one person again for
00:30:09an awful long time, you know.
00:30:12I don't believe that I can relate to one person anymore and give my trust to one person anymore.
00:30:22It's just really, it's really, it's just the time, you know.
00:30:31Getting the original idea, writing the screenplay, doing all that is like, you know, fun.
00:30:38Casting and getting the production together, even though it's maybe hard work is still fun.
00:30:42Finding locations, scouting them, building the sets, getting it together, finally shooting the picture.
00:30:49It's still, it's hard work, but it's still creative and fun.
00:30:52And like, I suppose like, you know, everybody says, well, this is really where the movie's made.
00:30:55And it may be, but it's still boring.
00:30:58It's also like, it's like having a child and cutting its arms off, putting its eyes out.
00:31:04Because you have a lot of, you know, we have 40 hours of film.
00:31:06You have some really beautiful, like, I mean, everything's beautiful.
00:31:11So you start throwing things out that you really like, you know.
00:31:18I can understand it saves them time and like, you know, it's, but...
00:31:22Well, you can have your own private, you know, five-minute thing for exhibitors.
00:31:26I mean, if you want to.
00:31:28And, uh, sit down with, uh, our boys.
00:31:34Sure.
00:31:34And then you can, but will you have a talk with Paul, meanwhile?
00:31:38I mean, like, so that you can be prepared to say to these guys with great authority, uh,
00:31:43Oh, absolutely. I will make available to you black and white and color pictures and synopses at such and such
00:31:49a date.
00:31:49Because Lipton is going to throw these questions at you.
00:31:52You know, when can we have this? When can we have that?
00:31:55And, uh, you know, I want you to be able to sync.
00:31:59I still, like, you know, I still want to keep the, keep the, uh, keep the autonomy of being able
00:32:03to choose.
00:32:04Well, you should. But I mean, that's what I mean.
00:32:05You don't have to turn over total contacts to them.
00:32:08I mean, you can turn over contacts, but they're anxious to use the, like, the pictures that you want.
00:32:12Like Milos, for instance, had, had, uh, 900 or 1,900 pictures on SPFC.
00:32:18But I mean, he picked the 54 that he thought would really be useful.
00:32:21You know, you'll make the same choices now that you will in three months.
00:32:24And, uh, the sooner, uh, you do it, the sooner I can get these guys off my back.
00:32:29You know, they're just going to be hounding me.
00:32:30When will, when will Mr. Hoffman make these choices?
00:32:32You know, when will Mr. Hoffman turn on his synopsis?
00:32:35But I mean, you should really have a chance to sit down with a little magnifying thing and do the,
00:32:39the ones that you think are best.
00:32:42Yeah.
00:32:43Because it's, uh, you should have that autonomy, absolutely.
00:32:46You know, but I mean, you should exercise it now rather than in February or March.
00:32:50Because they should know.
00:32:51Yeah.
00:32:52In Christ, they're dying to do these promos and they don't have any other.
00:32:56If we need job security, we have to give them job security.
00:32:59Yeah.
00:32:59But I can't stand their ego tropes.
00:33:02Well, I cut it and I directed Bob Weitz on that and I, uh, selected it and I, uh, I,
00:33:06I.
00:33:06I don't do it. I think they're full of shit to do it.
00:33:09I'm going to tell them to, by the way.
00:33:13Aye, aye, aye, aye.
00:33:14Aye, aye, aye.
00:33:15Aye, aye, aye, aye.
00:33:19Are you Mr. Hopper?
00:33:21Mm-hmm.
00:33:21My name is Lois, your son.
00:33:23And...
00:33:23What's your name?
00:33:24Lois.
00:33:25And I happen to see you and I'm an actress and, you know, I'm having such bad luck through the
00:33:29major studios and I'd like you to meet me.
00:33:32I'm, uh, well, I'm just going to go at lunch and see.
00:33:36Well, are you going to be free later today or some way I'll show you my pictures or tell you
00:33:40about my work?
00:33:40I just did a film in June.
00:33:42Do you have a pencil?
00:33:43Uh...
00:33:44Do you have a picture of something?
00:33:45Are you going to be around here for a while?
00:33:47I wasn't going to stop.
00:33:49I just impossibly ran back.
00:33:52I'd probably never have the opportunity of meeting you except for having to see you.
00:33:55I'm the easiest person in the world to meet you.
00:33:57Oh, good.
00:33:57Yeah.
00:33:57Would you like to know a secret just between you and me?
00:34:07Don't know where I'm going, man.
00:34:10Don't know where I'm gonna be.
00:34:14That's another side of this life.
00:34:18That's another side of this life.
00:34:19I've been leaving.
00:34:22That's just another side of this life.
00:34:44I've been leaving.
00:34:46That's just another side of this life.
00:34:50I've been leaving.
00:34:54That's just another side of this life.
00:35:00Well, I don't know what I'm doing.
00:35:17That's just another side of this life.
00:35:23Well, I don't know what I'm doing.
00:35:25That's just another side of this life.
00:35:33That's just another side of this life.
00:35:34Thank God so old and nasty.
00:35:36Way down in Tennessee.
00:35:40On this 10 cent life, I've been leaving here.
00:35:44I'm gonna be the dancing feet, baby.
00:35:49That's just another part of this life.
00:36:04It's people eating hamburgers at the window and so on, and they've got this money coming
00:36:07out of the top of their heads. I don't know what kind of thing this is. That's, uh, that's a
00:36:13riot
00:36:13in Los Angeles. The actors, and that's Bobby Walker. And I think that, like, I think that, like,
00:36:22I would include, like, you know, the love-ins with the civil rights things. You know, I'm just,
00:36:29I'm going, I'm just going to go through these. That man's shoulder isn't cropped like that. I mean,
00:36:34I don't shoot, I mean, you see his shoulder and you see something else here. You know what I mean?
00:36:39I don't believe in reading. I don't care about reading. It means nothing to me.
00:36:48Uh, I believe that by using your eyes and your ears, you will, uh, you'll find everything
00:36:55that there is. I mean, you don't have to read about it. Big billboard they're doing at the
00:36:58billboard company for to sell beer, and it looks just like Ronald Reagan. He just, uh, you know.
00:37:05I resent that being a little, a little left, and, uh, you know, I drink beer.
00:37:11You know what they're selling on Coca-Cola company for?
00:37:13Uh, huh? Huh? What are they selling on the ship?
00:37:21Seven.
00:37:22Seven thousand?
00:37:23Yeah, I wish.
00:37:24Dennis, what does a still photograph say, just opposed to what a moving photograph says?
00:37:30A still photograph says very little, and if you have sound with a motion picture, you, uh,
00:37:35no. Uh, what do you mean? What is it dramatically? Is there a difference between them?
00:37:40You've been involved with stills for a number of years of your life, and now you're involved
00:37:44behind the motion picture camera.
00:37:46I started out taking photographs because I wasn't allowed to, uh, to make movies.
00:37:52You didn't have, movies are very expensive.
00:37:54So, uh, I don't crop my photographs, as you don't crop a movie. I mean, you can, but it's
00:37:58terribly expensive.
00:38:00Um, so, uh, I started out because I was having my picture taken so much as a young man of
00:38:0818.
00:38:08And I started out, uh, uh, um, taking photographs, abstract photographs of walls and things, and
00:38:15avoided taking pictures of people. And then I left that and started taking real people on
00:38:19the street, trying to compose them in the same way that Brisson would do or someone like
00:38:23that.
00:38:25And then, uh, and then, uh, I finally, uh, started taking photographs of artists that
00:38:28I liked. And then that led me into taking pictures of personalities and finally getting interested
00:38:33in fashion because I could experiment more with fashion than I could, uh, you know, I was
00:38:38broke in those days and I went and I needed some bread. I'd never made really any money off
00:38:42photography. I'd probably made, uh, over a period of, uh, 18 years, I probably made maybe
00:38:48$3,000, but I certainly have incurred more expenses than that. But, uh, I, I did it because
00:38:53I wanted to start feeling that I could have an eye, you know, because I thought that was
00:38:57important to directing.
00:38:59Uh, and most of the things that I've done, uh, art and, uh, direction, I mean, art and,
00:39:07uh, acting and photography and writing, all those things were building up to the fact that
00:39:12the director of movies should be, uh, each one of those things. I mean, he should be a writer,
00:39:16he should be, uh, he should at least know something about acting, you know, a lot more
00:39:21than most of them do. And, uh, he should be a photographer, have a knowledge of it. Um,
00:39:31The daughter, I can't, I can't, uh, daughter and, and, uh, surrealism are the same thing.
00:39:38And they're out of place, really, with all these things.
00:39:41You know, if you like them, that's the kind of thing. You could have spoiled everything
00:39:44you like with them by keep taking attention away from one main piece, because all of them
00:39:49are very pretty. But you can't ever really love them to take one.
00:39:51They're not really pretty, do you think?
00:39:53Oh, but not in a pretty sense. I mean, they're all...
00:39:54I don't think they're pretty at all.
00:39:58Those dogs have more sense than we do, and they don't know anything about all of them.
00:40:01Yeah, I'm getting it.
00:40:04Uh, what do you think about that? Do you like that?
00:40:08Yeah, several of them. No, it's not confusing at all.
00:40:11What do you like?
00:40:12I find my husband very depressing.
00:40:14Yeah, what do you like?
00:40:15Why, why do you get more than you have so much of it?
00:40:17I find the time very depressing.
00:40:19Well, why make it more depressing?
00:40:21Because I think of, like, collecting art in the same way I think of, like, collecting
00:40:26something that should be saved, not because I should have it, but it's something that, like,
00:40:30somebody just ought to take and put away, you know, for a while, because it represents the time
00:40:34that we live. It's the Andy Warhol, uh, Dracula biting her throat, you know,
00:40:39was alone on that wall, or was alone with just that.
00:40:42The focus of attention is done by one main thing in the picture,
00:40:45and since your eyes keep going this way in that picture, you get lost, and you end up over this
00:40:50way. So you're looking here, and your eyes get stopped by this picture.
00:40:54Can I understand all of that? It's like, just the feeling of compassion, but they get brought back by
00:41:00this one, which looks back this direction. So you keep going sort of round and circle in here,
00:41:05and then the color on me sort of pull you around.
00:41:09The color on which?
00:41:11Your mask.
00:41:12Oh, the mask, right, yeah.
00:41:14Yeah.
00:41:16You're in the art, and I was into some ways.
00:41:18Oh, you're expecting the flat chest to go, right?
00:41:21The flat chest to go?
00:41:22Definitely.
00:41:23Do you know what this reminds me of? I mean, like, you know, our whole dialogue about art and
00:41:32everything. What it really gets me into is, like, thinking that I'm at a cocktail party,
00:41:37and that, like, now it's time to talk about art. You know, really, it really does. I mean,
00:41:42is that heavy? But it does.
00:41:43Yeah, yeah, I understand.
00:41:45And, like, you know, I know that you didn't mean it that way, and, uh, and I didn't mean
00:41:50my answers that way, but that's what it finally got to be. I mean, like, it seems like everybody
00:41:54needs a common denominator to talk about something so that they can sit close to each other or share
00:42:00a cigarette or, you know, they need that common denominator to constantly keep relating to that
00:42:05other thing or whatever. You know, to everything that was in my mind.
00:42:08Are you comfortable with Hugh Hefner's?
00:42:11Well, sure, I'm very comfortable there, because I know very much what's happening.
00:42:15And I know, you know, my role.
00:42:17You know the scene? You know the environment that you live in?
00:42:19Sure.
00:42:19What?
00:42:21The, uh, that guy?
00:42:23Yeah, but she was trying to give him away.
00:42:25Oh, man, that's bullshit. I'm getting tired of that. I'm getting tired of that. Every movie they've had,
00:42:30right? They've had the Vicious Silverman's.
00:42:32Every movie in the last two months.
00:42:34You're showing pupa care now.
00:42:35Yeah, right. Well, this is the new thing. This is their new bag.
00:42:38This last issue, that must have been what did it, because that's the first time they've had it.
00:42:42And the whole idea behind that is that, finally, that whole charisma around beautiful girls,
00:42:48but yet subdued, is over with now. Because, I mean, um, a beauty bath oil ad has that much in
00:42:55it.
00:42:55A girl with no clothes on whatsoever. You know, it's the same thing. So now they have to progress
00:43:00it a little farther. And the only thing that entices people is showing more. And the only thing
00:43:06that hasn't been shown is sort of private areas like that.
00:43:10I mean, like, you know, when a girl has her legs together, all you see is hair anyway.
00:43:13Right.
00:43:14Right. I mean, she's got to be pretty spread apart before you really get any look at what...
00:43:18To the majority of people, you know, the middle-class people, to do that is very,
00:43:22sort of infringing upon their private things.
00:43:24Yeah, right. Absolutely. And to flash like, you know, to flash like, you know, panties or to fly...
00:43:29See, like, women have a tremendous mystique, man. You've got to go into that for a minute, you know?
00:43:34Women have this tremendous mystique, which I think probably around the campfires,
00:43:38when the elders decided that women really were more sensual than men.
00:43:45They really are more sensual. That then they would make all these taboos.
00:43:48Well, finally, that has come out to be that the woman has all these tremendous mystiques,
00:43:55which a man doesn't have, you know? But I disagree with the fact that if you're really into something
00:44:00in sex, that by revealing it, that you're blowing it for yourself. I don't believe that.
00:44:05You know, I think all of us have, like, you know, Manson said that he went to Charles Manson,
00:44:10when I met with him, when he was in prison, a few weeks ago.
00:44:16He said that, like, you know, he was a big star, and like his whole life,
00:44:21that he had been acting out a movie, but there hadn't been any movie cameras yet.
00:44:25It's hard to say. If he was acting that whole thing out, you know, then he has to just act
00:44:32himself right into the same situation of punishment. You know, where does he go from there?
00:44:37Well, he says that he's already dead, so not to worry about him, and that you're dead too,
00:44:41and that we're all dead. He blames it on society. He says, if I did something, then like, you know,
00:44:47the garbage of society. If I'm your, if I'm, if I'm, you know, if I'm your problem, if I'm your
00:44:55garbage,
00:44:56you made me your garbage. I think if you're going to get involved in evolution, then you have,
00:45:02you know, which is like really gets to be very tricky, because you have to do an awful lot of
00:45:06thinking, which I really don't have time to do. But if you're going to get involved in evolution,
00:45:11I would think that, like, there are times when you'd have to take some life.
00:45:14You ever come close to killing something?
00:45:17Uh, not preconceiving it. I mean, emotionally, uh, I've been in some pretty bad fights.
00:45:24Are you capable of preconceiving an act like that, do you think?
00:45:28It'd have to be a pretty heavy goal, man. You know, I mean, it'd have to be really something that
00:45:33I felt
00:45:35was really important.
00:45:38It's very difficult for me to distinguish because I'm a very mystical, spiritual person in a way,
00:45:43you know, and, um, um, I think when you start enforcing things upon people against their will,
00:45:53you know, no matter what it is really, you know, but against their will, forcing them to do things
00:45:57they really hate, then you're bringing a lot of shit in, man. They were killed against their will.
00:46:06I believe in love and hate. You either, uh, you either love someone or you hate them.
00:46:16And if you're healthy, you try to spend the time with people that you love or the people that you
00:46:20hate.
00:46:22I'd rather give head to a beautiful woman than fuck her, really.
00:46:29What do you think about that?
00:46:33My conception, you mean of that whole idea that you've got?
00:46:35No, I just said that I'd rather give head to women than fuck them. I mean, do you think that's
00:46:39strange?
00:46:39No, it's not strange. It depends on...
00:46:41You think I'm a lesbian? I could be a lesbian. I think I'm a lesbian at times.
00:46:44You could all be a lesbian if you're a woman in disguise, you know.
00:46:47No, no, I didn't mean that, but I think that basically, like, I think as a lesbian, you know, much
00:46:51more than as, uh...
00:46:52No, I don't think that's so, because, like, a man...
00:46:55How can you say that? I mean, because if a man likes that, you know, with a woman...
00:46:58Because I'm into giving head and playing and games, and I'm concerned about a woman coming.
00:47:02I think that's very important. I don't think most men are into, like, trying to make a woman come.
00:47:05That doesn't make you a lesbian. It just makes you more concerned about the woman herself.
00:47:09Lesbians of the world, you get awfully frustrated with nymphos who can't come, don't you?
00:47:13God, it can be a... You really tire yourself out.
00:47:16No, but, uh... No, I mean, do you think... What do you think? I don't know. I've been rapping here.
00:47:22Well, okay.
00:47:23Can I take a vote?
00:47:25In a kind of attitude, um...
00:47:27No, I'm not into votes.
00:47:29I hate to reveal things about myself like this, you know.
00:47:33Why are you making this movie, then?
00:47:34Hmm?
00:47:36Yeah, it's got from the heart, and I've never had you before.
00:47:44Who nailed you up there
00:47:49And strung you limb from limb
00:47:56Who failed to judge you fair
00:48:01Were you betrayed by a friend?
00:48:11Why did they take your life away?
00:48:17Why didn't they take mine?
00:48:22Do you hang there all alone today?
00:48:27Are you aging with the times?
00:48:44Oh, where are you today?
00:48:53Oh, where are you today?
00:49:02My sympathetic scarecrow
00:49:08Come chase
00:49:11All my black clothes
00:49:13Draws away
00:49:18My
00:49:22Sympathetic scarecrow
00:49:41Private, ain't it?
00:49:44There comes a point where you say,
00:49:45Hey, man, you know what I'd really, really, really like to do?
00:49:49Because the other night, like, Birch Schneider's wife asked me what I'd really like to do
00:49:53Because, like, she said,
00:49:54Hey, man, you've been working too hard, and you're getting crazy
00:49:56And, you know, and I'm crazy, like, you know, I'm crazy because you're working too hard
00:50:00I've always been crazy
00:50:02She said, what would you really like to do if you could do anything in the world?
00:50:05And I said, I'd like to go for about a month with three chicks
00:50:09To hot springs, you know, to some hot springs
00:50:14And just poker them
00:50:18Suck them, eat them, lick them, kiss them
00:50:20And have them
00:50:21Bathe you and feed you and take care of you
00:50:24Three beautiful chicks
00:50:25And then Bert said, how about six?
00:50:28And I said, oh, anything up from 20, 30, 40, 100
00:50:32I'll go with it
00:50:42Shades of Topanga Kids
00:50:44Oh!
00:50:52Why aren't you filming them?
00:50:58This is brilliant
00:50:59This is all kinds of movie, um
00:51:09Oh, don't cover me in rap
00:51:12Don't cover me in me
00:51:13Just cover me in promises, baby
00:51:18Cause I like to save a lot
00:51:21In the bag, rich all the day
00:51:29Oh, now you're looking for a woman
00:51:31And you're looking for a star
00:51:33Well, baby, look around
00:51:35And where the hell you think of?
00:51:38Oh, now you're looking for the sun
00:51:40You say you're looking for a girl
00:51:42Well, baby, look around
00:51:44Because they could get this poor
00:51:49Don't look for the person
00:51:50You're looking for a star
00:51:52Well, how you know not all the things they should never try.
00:51:58Look at that.
00:51:59Look at that.
00:52:02Look at that.
00:52:03Look at that.
00:52:05Look at that.
00:52:05Look at that.
00:52:05Oh, baby.
00:52:06Why did I?
00:52:08You weren't going any way.
00:52:12Oh, baby, the way you love me, oh, when it grew.
00:52:16Oh, baby, baby, come to me, baby.
00:52:19You see that picture of Deasores and Psyche gave David?
00:52:27And Frida.
00:52:32Those were the original freaks here.
00:52:36The original freaks here.
00:53:06The original freaks here.
00:53:07A camera is always a questioning instrument.
00:53:09You know, it is an observer.
00:53:12It is an outside thing, an abrasive thing that comes in.
00:53:16It depends on how you use it, though.
00:53:19Do you think that you continue to make a flow happen?
00:53:23No, definitely not.
00:53:24I mean, you do feel that you are a little insensitive in certain areas.
00:53:27Yeah, but I feel that also if we were sitting with the cameras all the time and we're able to
00:53:31relax ourselves,
00:53:33I mean, we're put on guard by you and other people in the house also by the fact that people
00:53:38do get very uptight when we walk in with cameras.
00:53:40We tried sitting with cameras just in our hands and not shooting them.
00:53:43I mean, you're dealing with people in the house who have never dealt with film before.
00:53:47You and I have dealt with film, Larry.
00:53:48But there are other people...
00:53:49But, like, let me put it to you on another level.
00:53:51You asked to do something immediately after it's happened, but, like, you know, without any, like, you know, without any
00:54:00knowledge of how to work, like, you know, with an instrument.
00:54:05I mean, considering that every human being is an instrument.
00:54:08I mean, a sensitive being, you know, who has, through his fingers, his nose, his eyes, his mouth and his
00:54:17ears, he has a sensitive thing.
00:54:19So to, like, jam it in and say, would you put this mask on?
00:54:23Would you mind putting this mask on when I'm talking about girls at the Playboy Club?
00:54:26I suddenly go, you know, or if I'm saying, get the camera, repeat that, what you just did, when, like,
00:54:31you know, I've just gone through a whole scene, man, that, like, you know, I'm wasted.
00:54:35You know what I mean? I mean, like, you know, I don't need to have people make movies about me
00:54:39or, like, you know, any of that.
00:54:40I mean, it's all going to be up there eventually on the screen and they can see that movie.
00:54:44So this really, you know, it's a nice idea, you know, whether it's damaging or whether it isn't, it doesn't
00:54:50really matter to me.
00:54:51But what I really resent is, like, being shut off constantly from, like, you know, being able to reveal or
00:54:57talk.
00:54:58I mean, I think this is one of the most honest talks that we've had.
00:55:01What happens when the lights go on?
00:55:04What?
00:55:04Right. I was just going to say, that changes the whole, the whole consciousness.
00:55:09When those lights go on, you're like, oh, my eyes face.
00:55:11It's clear of the multitudes of reality, right?
00:55:14It would appear that Larry is going to shoot.
00:55:17Does it bother you now that the lights were turned over?
00:55:19Yeah.
00:55:19Why did we turn the lights off? Does that make a difference?
00:55:21Yeah.
00:55:22Or is it the camera that makes the difference? Which?
00:55:24No, I don't even know that you have that running now. But it's the lights that do it.
00:55:28Why did you shield your eyes when the lights went on first?
00:55:32Because I have an enormous headache.
00:55:34Why?
00:55:34It's a combination of all the different elements that have gone down today.
00:55:39Plus, I'm losing your mind and having to regain it.
00:55:42Are you getting nervous if the camera comes close?
00:55:43Yeah.
00:55:45Do you like some apple juice?
00:55:46Yes.
00:55:46No.
00:55:48I was eaten by a camera my last wife.
00:55:53Film is a very powerful medium.
00:55:56Can I share a chair with you?
00:55:58Are you nervous?
00:55:59Yeah.
00:56:00Why?
00:56:01Yeah.
00:56:04Are you nervous?
00:56:05Yeah, I started saying.
00:56:06Who?
00:56:07Me?
00:56:08Yeah.
00:56:10Do you like the film today?
00:56:12It's all right.
00:56:14It really was.
00:56:17Should he live or die at the end?
00:56:20I don't know.
00:56:21I never thought about it, really.
00:56:23I ate seven one day once.
00:56:30Is this getting boring now?
00:56:33Mm-hmm.
00:56:34Everybody wants a piece of your birthday cake.
00:56:41Fingers in the frosting that everybody wants to take.
00:56:47If you're giving on, you can bet they're gonna take a lay.
00:56:54Living in this world is living on a powder cake.
00:57:02Pass, pass me by.
00:57:07This is my price to pay.
00:57:10So pass me by.
00:57:14Pass, pass me by.
00:57:20This is my price to pay
00:57:26Sitting on a half fence
00:57:28Watching time pass me by
00:57:34Hoping that an answer comes
00:57:36Before it's time to die
00:57:41Which side is the side
00:57:43Bring a man peace of mind
00:57:49The longer I sit
00:57:51The harder it is to find
00:58:02Things have happened
00:58:03which you had no control over
00:58:06but just happened
00:58:08and one of the things
00:58:12that has happened up here
00:58:13like I was telling you earlier about
00:58:15was a friend of mine
00:58:18that works in very close proximity
00:58:22used to verbalize certain things
00:58:25about how he felt
00:58:26about women and his relationship with women
00:58:29and how he felt everybody should be free
00:58:31and so on and so forth
00:58:33and so that has come to be a reality
00:58:36I mean what he verbalized became a reality
00:58:40and when he saw that it was becoming a reality
00:58:46the feeling was not quite so free
00:58:52and one of the realities that has happened
00:58:55has been
00:59:00don't use that
00:59:01can't use that
00:59:03you know that's weird
00:59:04but it's just that
00:59:06I learned that
00:59:07don't ever say anything
00:59:08unless you want it to become
00:59:11a reality man
00:59:12and in this house
00:59:14it becomes a reality
00:59:15everything becomes a reality
00:59:17in this house
00:59:17and you get very confused
00:59:19between reality and fantasy
00:59:21am I sane or am I insane
00:59:23you know
00:59:23is it real or is it isn't real
00:59:25is this happening
00:59:25or isn't it happening
00:59:26you know
00:59:26because I really never know
00:59:27what did it mean to you
00:59:29walking down the street
00:59:31first of all
00:59:31it was Los Alamos
00:59:32right
00:59:32and second of all
00:59:34I was taking my clothes off
00:59:35and
00:59:38like I would never do that
00:59:39see
00:59:39I mean I would never just
00:59:40get into a car
00:59:42from Talos
00:59:42drive up to Los Alamos
00:59:43park my car around the corner
00:59:45go into a garage
00:59:46and walk out
00:59:47and take my clothes off
00:59:48and walk into the car
00:59:49I mean that's first of all
00:59:51I'd never do that
00:59:51but I thought symbolically
00:59:53taking your clothes off
00:59:54in scientific suburbia
00:59:57with
00:59:59the man who
01:00:00is doing all the big bombs
01:00:02and all the things
01:00:03and his wife who he hopes
01:00:04is taking care of the children
01:00:06and never stepping out on him
01:00:07and
01:00:08and
01:00:08he's got his new car
01:00:10and his
01:00:10his
01:00:12his early Hawaii in the house
01:00:14Hawaii never really had any design
01:00:16but whatever that means
01:00:19that
01:00:20that was really far out symbolically
01:00:23I was really self-conscious
01:00:26I really enjoy meeting different people
01:00:29I enjoy going out on the road
01:00:31and
01:00:31meeting various people
01:00:33because you get
01:00:33you come back
01:00:34it's like
01:00:35you come back
01:00:38and you can think about Chicago
01:00:39and have an idea of what it is
01:00:41or think about
01:00:41Detroit
01:00:42or Cleveland
01:00:43or Cincinnati
01:00:43or wherever
01:00:45and have some sort of idea
01:00:46of what that is there
01:00:47whereas like before Easy Rider
01:00:49Detroit was a fantasy
01:00:51and Cincinnati
01:00:52was a fantasy
01:00:53and Cleveland
01:00:53was a fantasy
01:00:54I had no idea
01:00:55now I can think of those places
01:00:57and I may see a smokestack
01:00:58or a theater
01:00:59or a person sitting across from you
01:01:01interviewing me
01:01:02and it's no longer
01:01:03as abstract as it was before
01:01:06and
01:01:06it also
01:01:07when you come back
01:01:08you get
01:01:10you have an idea about America again
01:01:12you know
01:01:12about what it really is
01:01:22you should photograph my photographs
01:01:23man
01:01:24that's all that's going to be left
01:01:25I'm only going to be ashes
01:01:27if I'm that
01:01:29if I'm lucky enough to be ashes
01:01:31that's all that I'm going to leave
01:01:33I'm going to leave this in my movies
01:01:34and all this is bullshit
01:01:36because a man only leaves his work
01:01:38it doesn't matter how much of this is done
01:01:39you know
01:01:49I came in here
01:01:51like you know
01:01:51it started off
01:01:52like you know
01:01:53and suddenly I was posing
01:01:54and I hate to pose
01:01:55I don't like to pose
01:01:56I don't like to pose
01:01:57as an actor
01:01:58or in my life
01:01:59and I find it really disgusting
01:02:00how do you feel
01:02:00you have to
01:02:01you just do it
01:02:02no because like you know
01:02:03neither does anybody else
01:02:04you're filming
01:02:05because they're all acting
01:02:07now I'm going to come in
01:02:08I'm going to relate
01:02:09to my photographs
01:02:09and it's going to be
01:02:11a little different
01:02:11because the other time
01:02:13I acted looking around
01:02:15I had to act to look at my life
01:02:16you know
01:02:17it is my life
01:02:18that I'm looking at
01:02:19you know
01:02:21the last 15 years of my life
01:02:23and uh
01:02:24oh hello
01:02:25there's a light on now
01:02:27but like you know
01:02:28um
01:02:28okay
01:02:29now what's your last line
01:02:31before you had to reload
01:02:32and where we were
01:02:33I said I'm going to have to reload
01:02:34we can't shoot
01:02:35I've got about a minute left
01:02:37okay
01:02:37okay
01:02:40all right now
01:02:41the way I work
01:02:42is like you know
01:02:42I try to
01:02:43um
01:02:45I try to get you
01:02:46in a situation
01:02:47where you really have to
01:02:47tell me that
01:02:50now
01:02:51how would I do that
01:02:52well
01:02:53ideally I'd have to be
01:02:54running out of tape again
01:02:55ideally you'd have to be
01:02:56running out of tape again
01:02:57okay well
01:02:58you are running out of tape
01:03:00right now
01:03:00I'm almost running out of tape
01:03:02hold it Dennis
01:03:03turn it on
01:03:04okay well say you're running out of tape
01:03:05and he's running out of film
01:03:06it's the same difference
01:03:07say it
01:03:08I shouldn't say that
01:03:09I'm not running out of tape
01:03:12there's no honest man
01:03:13in the booby business
01:03:14except me
01:03:15what are you
01:03:16oh you're in the sound business
01:03:17I see
01:03:17well you know
01:03:18light travels
01:03:19a lot quicker than sound
01:03:21I have to keep staying with him
01:03:22because he doesn't
01:03:23you know
01:03:23you know the way he is
01:03:24but you do understand
01:03:25that like all man leaves
01:03:26his work
01:03:28you do understand
01:03:29like you know
01:03:30someday I'll be dead
01:03:32what was that
01:03:33from that little bobble there
01:03:34that was no giggle
01:03:36that was like
01:03:36you were giggling
01:03:37what are you acting
01:03:38with the camera
01:03:43oh yeah
01:03:44oh I dig man
01:03:45like no is this way
01:03:46right
01:03:46terrific
01:03:47now my photographs
01:03:50my movies
01:03:54oh you girls
01:03:55I tell you
01:03:56I only do this for you
01:03:57I mean I'm not
01:04:00well you guys too man
01:04:01but like you know
01:04:02let's be macho
01:04:03you know what I mean
01:04:03let's have a lot of balls
01:04:04and like pretend
01:04:05but like you know
01:04:09I love every cruise out there
01:04:11are we running out of film
01:04:12soon
01:04:12we'll have to soon
01:04:13because we'll never get
01:04:14to the darkness again
01:04:15if we don't
01:04:16we're dealing with light here
01:04:18you know
01:04:18it's adventure of the lamp
01:04:19and all that
01:04:20and the camera
01:04:20we're recording light
01:04:22then a man of light
01:04:23there's only light
01:04:24within a man of darkness
01:04:25there's only darkness
01:04:26and God knows
01:04:28I've got my share of each
01:04:30where there's a will
01:04:32there's a way
01:04:33and I'm willing
01:04:36to get on home
01:04:38to you
01:04:40where there's a will
01:04:42there's a way
01:04:43and I'm willing
01:04:46to get on home
01:04:48to you
01:04:53and here we are again
01:04:54in the adventure palace
01:04:56I know
01:04:56the adventure of the lamp
01:04:58this is a small house
01:05:00where I live
01:05:02they won't show you
01:05:03I can't deal with this
01:05:05can you
01:05:22now girls
01:05:23I mean be reasonable
01:05:26and do I look like a bad guy
01:05:30do I look like a bad guy
01:05:32I mean really
01:05:34I mean maybe I want
01:05:35one, two, three, four, five
01:05:37six of you
01:05:38but you know
01:05:39I'm not going to ask you
01:05:40to kill anyone
01:05:41well I mean within reason
01:05:44you know what I mean
01:05:46and I've never snitched on anybody
01:05:49when I work with actors
01:05:51and actresses
01:05:53I observe them
01:05:56I ask them a lot of questions
01:05:59very often I don't get people
01:06:00past their bullshit
01:06:01but incorporate their bullshit
01:06:03because their bullshit
01:06:04is part of their life
01:06:07like you know
01:06:08they asked me
01:06:08because I said
01:06:09I was really bored
01:06:11they said
01:06:12what would you do man
01:06:13if you could do anything
01:06:13and I said
01:06:14I think I'd go to the hot springs
01:06:15with three chicks
01:06:15no I think it'd be six chicks
01:06:17no I think it'd be
01:06:1830
01:06:18day later
01:06:19they came and said
01:06:21we've got the chicks coming
01:06:22and I said
01:06:23you've got a good kid
01:06:24Dennis
01:06:24you dig it
01:06:25I mean can you dig it
01:06:26so like you know
01:06:26that was a fantasy
01:06:27that I had
01:06:28okay
01:06:29so now you're here
01:06:30so everything changes
01:06:31now it's something else
01:06:32Dennis did
01:06:33you dig
01:06:34because now it's about
01:06:35to become a reality
01:06:36wow
01:06:38which is really heavy
01:06:39we want honey
01:06:40we want whipped cream
01:06:41we want oranges
01:06:43cigarettes
01:06:43we want wine
01:06:48and one cross
01:06:49and one cross
01:06:51she wants a cross
01:06:52it was a time
01:06:55maybe not so different
01:06:56but it was a time
01:06:57when men
01:06:57like chicks
01:06:58were into such
01:06:59game things
01:07:00they still are
01:07:01in the heavy game things
01:07:01where the men
01:07:02is not allowed
01:07:03into their private world
01:07:04not all chicks
01:07:04like when you make
01:07:05the male into a male
01:07:06the male is no longer male
01:07:08when you make the female
01:07:09into a female
01:07:09you know
01:07:10she's no longer female
01:07:12and then when you make
01:07:13the male and the female
01:07:14the same thing
01:07:15and then when you make
01:07:16the two into one
01:07:18she's no longer male
01:07:19and female
01:07:20I'm not the man
01:07:22why?
01:07:23no I'm just another chick
01:07:24I got a cop
01:07:26you know
01:07:27and I get a cop
01:07:28nothing to do all that
01:07:29and I'm not a homosexual
01:07:31but I'm just another chick
01:07:33I'm a lesbian chick
01:07:36well actually I'm God
01:07:39I'm God
01:07:39and I've got this scene
01:07:40together
01:07:41because this really
01:07:42like you know
01:07:43this is really the scene
01:07:44that I
01:07:44I
01:07:45God
01:07:46man
01:07:47deserve
01:07:47no man
01:07:49there's a lot
01:07:49of this shit
01:07:50I see
01:07:50as bullshit
01:07:53you know
01:07:53you don't accept
01:07:54anything I say
01:07:56but you've got to learn
01:07:57to do it as a group
01:07:58because individually
01:07:59you're weak
01:08:00I'm into a group massage
01:08:02as long as Dennis
01:08:03is not the person massage
01:08:04I will be
01:08:05okay
01:08:08right on
01:08:09she gets the group
01:08:11massage
01:08:14hi you guys
01:08:19we've stopped
01:08:19relating as a
01:08:20beautiful
01:08:22I am the greatest movie
01:08:24director in the world
01:08:25and I am
01:08:25bullshit
01:08:26hey yeah
01:08:28right
01:08:28bullshit
01:08:29right
01:08:30right on
01:08:31I've tried to be God
01:08:35and I've tried goddesses
01:08:36and neither one
01:08:37have been successful
01:08:37so far
01:08:39I thought I'm just a human being
01:08:49he's emotionalizing
01:08:50oh no
01:08:51that's groovy
01:08:52I would think
01:08:56maybe you should hold her
01:08:57man
01:08:57like
01:08:58right
01:08:58right
01:09:00that's part of
01:09:01being a part of the room
01:09:12one person has to put
01:09:13their entire trust in the group
01:09:15because we're going to pick her up
01:09:17and like you know
01:09:19like you know
01:09:19you're going to make
01:09:20it seem as if you're dropping her
01:09:22and like you know
01:09:23she's got to believe
01:09:24that you're not going to drop
01:09:25oh
01:09:27he dropped us
01:09:28and the bed will drop
01:09:29before you drop her
01:09:31okay
01:09:32okay come on everybody
01:09:34come on man
01:09:34put your hands around
01:09:35uh oh
01:09:36now you're pushing me off
01:09:37come on man
01:09:39but we can't drop her
01:09:40because we're going to work together
01:09:41she doesn't fall
01:09:42so she can feel secure
01:09:43oh yeah
01:09:44okay now drop her suddenly man
01:09:46quick
01:09:46oh
01:09:47oh
01:09:47oh
01:09:48oh
01:09:49a group of people can
01:09:50fuck you over man
01:09:53and a group of people
01:09:54can help you
01:09:56I'm not talking about
01:09:57anything but just
01:09:59it's basic reality logic
01:10:02you're saying everyone man
01:10:03once someone's fucked you over
01:10:05I mean once someone's fucked you over righteously
01:10:07you know
01:10:08then naturally you're going to say
01:10:10oh
01:10:10yeah I've been fucked over righteously
01:10:12you've been fucked over righteously
01:10:13everybody in this room
01:10:14has one time or another
01:10:15been fucked over righteously
01:10:17by an individual
01:10:18or a group or both
01:10:21everyone in this room
01:10:22everyone in this world
01:10:24everyone in this world
01:10:26not just in this room
01:10:28I've been fucked over individually
01:10:30one individual to another
01:10:31or by a group of both
01:10:34I don't care whether they're one year old
01:10:36or whether they're 120 years old
01:10:38they've all had it
01:10:39but today's the first day
01:10:40today's not happening man
01:10:41I ain't thinking about that
01:10:42today's the first day
01:10:43so
01:10:44today's the first day of our lives
01:10:45right
01:10:45this moment is the first moment
01:10:47but I can't do a scene like this
01:10:49without giving my philosophy of life
01:10:51and why I think that we all bathe together
01:10:55and we all have group scenes together
01:10:58and we all work as a group
01:11:00that we can get it together
01:11:01because the individual is dead
01:11:06that's my philosophy
01:11:07and I don't want to impose it on anyone
01:11:09well I'm saying that she's an asshole
01:11:10if she still trusts and hurts
01:11:12and I'm saying that like at the same time
01:11:14if she can't trust a group of people
01:11:16who are here just for that
01:11:17you know listen for me
01:11:21listen listen you don't listen
01:11:23everybody gets emotional
01:11:24but they don't listen
01:11:25I listen
01:11:27if I listen
01:11:28if I listen why can't you
01:11:29how do you listen
01:11:29oh man
01:11:32wow isn't that fine
01:11:3572 hours of that can be really boring
01:11:39thank the chicks the house
01:11:41come back and trust us as a group
01:11:44do you know what I mean
01:11:45that the chicks at that house
01:11:47would come in
01:11:48and trust us as a group
01:11:50David's wife
01:11:53David's wife
01:11:54and Debra
01:11:55and Linda
01:11:56and Margaret
01:11:59and Margaret
01:12:01and the one who was with the guitar
01:12:05and she comes back now
01:12:07and let's show her as a group
01:12:10what we're into
01:12:11and let's all sit around
01:12:12and really be really tiny
01:12:14each person that comes in now
01:12:16as a group
01:12:17will take him in to us
01:12:18and hold him
01:12:18and lift him up
01:12:19or whatever
01:12:20and we'll sit him down with us
01:12:21man
01:12:22you know what I mean
01:12:26you know what I mean
01:12:27he ain't gonna make me afraid anymore
01:12:28because I can't support a group
01:12:30but someday there will be a group
01:12:32there has to be
01:12:33man
01:12:33it's the only way out of this
01:12:36but it's gotta be a group of people
01:12:37that you trust
01:12:38that they're your people
01:12:40that are like there man
01:12:41you know
01:12:42and like you know
01:12:44that have it together
01:12:45man
01:12:50I don't know
01:12:51I don't know
01:13:09this is exactly my fantasy
01:13:11I can get it together group for you
01:13:42don't tighten it
01:13:44you're tightening it
01:13:44let it loose
01:13:58when I saw the girls
01:14:00I realized that
01:14:02that they had
01:14:04to be allowed
01:14:05to trust me
01:14:06and that was almost impossible
01:14:09in this situation
01:14:10so that the
01:14:12the dream of
01:14:14going to the hot springs
01:14:15it being winter
01:14:17was
01:14:18no longer feasible
01:14:20and so we indulged
01:14:22in a sensitivity encounter
01:14:23whether I indulged
01:14:24in a sensitivity encounter
01:14:25with them
01:14:27I find that women
01:14:28are much more open
01:14:30with women
01:14:31than men are with men
01:14:33much more sensual
01:14:35and
01:14:38may even have a better time
01:14:42the scene with myself
01:14:44and the two girls
01:14:44in the bathtub
01:14:47also seemed very natural
01:14:48to me
01:14:49even though a lot of people
01:14:50probably think that's very decadent
01:14:52because of the sexual
01:14:55sexual things
01:14:56that we got into
01:14:59I don't even know
01:15:00whether
01:15:01it would be able to be shown
01:15:03but
01:15:04again
01:15:04I had the feeling
01:15:06that I should let it all hang out
01:15:07because I do have sex
01:15:09and I
01:15:10do enjoy group sex
01:15:11with
01:15:12with
01:15:14women
01:15:18it's
01:15:19very seldom a reality
01:15:21but
01:15:21it is certainly a reality
01:15:23occasionally
01:15:24and
01:15:26has always been a fantasy
01:15:27and I assume
01:15:28always will be a fantasy
01:15:29of mine
01:15:31I think that we could drop
01:15:32our clothes
01:15:33as little children
01:15:34and trample on them
01:15:35and
01:15:36be a lot closer
01:15:37to
01:15:40to the truth of life
01:15:42not so embarrassed
01:15:43and
01:15:43not so many guilts
01:15:45and not so many right, wrongs
01:15:46good or bads
01:15:47but
01:15:47to be more open
01:15:49I think we'll find that
01:15:52we can love
01:15:54more than one person
01:15:56that we don't have to make that person
01:15:58our possession
01:16:07uh, yeah
01:16:08well, you want to talk about 33 years, right?
01:16:13huh?
01:16:18after 33 years
01:16:20I was, um
01:16:30I was, uh
01:16:31involved in, um
01:16:33an area
01:16:34where I didn't know
01:16:34whether I'd ever be able to
01:16:35like, really do anything
01:16:36in it or not
01:16:37uh
01:16:41but I knew that if I, um
01:16:45if I was gonna do something
01:16:46in it
01:16:46that I should be prepared
01:16:47that's really about
01:16:48the only thing
01:16:48that got me through
01:16:49finally
01:16:50I think everybody
01:16:51should be forced
01:16:51to see things
01:16:52that they don't want to see
01:16:54but I don't really believe
01:16:55see, that people
01:16:56really don't want
01:16:56to see those things
01:16:58um
01:17:00because I think
01:17:01that if you look
01:17:01at something
01:17:02that you haven't looked at
01:17:03if somebody points
01:17:04their finger
01:17:05at something
01:17:05that, um
01:17:09that
01:17:09that's an experience
01:17:10too
01:17:11to see something
01:17:11that
01:17:12to see a different way
01:17:13of looking at something
01:17:14camera doesn't remind me
01:17:16of a gun
01:17:16but it does remind me
01:17:18of a weapon
01:17:18and, uh
01:17:21Lenin believed
01:17:22that, uh
01:17:25that
01:17:25the revolution
01:17:27would really be fought
01:17:28with the camera
01:17:29with films
01:17:30and, uh
01:17:33at a certain point
01:17:34guns would be unfeasible
01:17:35and that mines
01:17:37would be, uh
01:17:39won in the theater
01:17:40rather than
01:17:41on a battlefield
01:17:45I think Michelle Phillips
01:17:48is probably the only one
01:17:50who's really scared me
01:17:51really badly
01:17:51I mean scared me
01:17:53not scared me
01:17:53but really
01:17:55really got to my head
01:17:59I find that people
01:18:00people who play games
01:18:02are heavily involved
01:18:04in games
01:18:06that they
01:18:07can go
01:18:08and presuppose
01:18:10and work on something
01:18:11that is going to eventually
01:18:12cause something to happen
01:18:14those people
01:18:15scare the shit out of me
01:18:16I'd like to make movies
01:18:25I'd like to put people on
01:18:27but I'd like to tell you
01:18:28I'm putting you on
01:18:31I watched a fly
01:18:34beat itself to death
01:18:35in a window
01:18:37when if it settled down
01:18:38in a chair
01:18:39or something
01:18:39tried to feel
01:18:40the draft of the wind
01:18:41that it
01:18:44might have had a chance
01:18:45to get outside
01:18:54and I guess
01:18:55like, you know
01:18:55really
01:18:59Peter was the one
01:19:00that
01:19:02finally believed in me
01:19:04enough to give me
01:19:04a chance to
01:19:05do something
01:19:07think of all the things
01:19:09that money
01:19:11can buy
01:19:14a ranch
01:19:15in the mountains
01:19:16and a pleasure
01:19:18for your ride
01:19:21then maybe
01:19:22think of things
01:19:24that a dollar
01:19:25bill won't bring
01:19:28like someone
01:19:29to hold you close
01:19:31and a song
01:19:33for you
01:19:34to sing
01:19:42and then think
01:19:43of all the years
01:19:45that it takes
01:19:46to be a fool
01:19:49like the lessons
01:19:50you learn
01:19:51in a lifetime
01:19:52like your lifetime
01:19:53was a school
01:19:56and then think
01:19:58of things
01:19:58that don't turn out
01:20:00what they seem
01:20:03like the love
01:20:04you thought you owned
01:20:06and the American dream
01:20:17the American dream
01:20:20the American dreamer
01:20:20sometimes a thinker
01:20:22sometimes a schemer
01:20:23sometimes a child
01:20:26sometimes a wise man
01:20:30a lonely soul
01:20:33oh a great extremer
01:20:37but none the less
01:20:40the American dreamer
01:20:43but none the less
01:20:48the only
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