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00:00I hate young Kevin Smith.
00:01I watch all the interviews with me and I can't stand him.
00:03I just want to sit him down and be like,
00:05don't you know you made Clerks?
00:06Smile, god damn it.
00:08Like, it's funny.
00:21When I started, I made a movie about my world.
00:24Son, Bob, you're a rude mother , you know that?
00:27Just cute as hell.
00:28Then I got to make another movie and I decided to connect those movies.
00:31Seems such a waste to just start a whole new story
00:34where the characters didn't know the characters from Clerks.
00:38I hate how fake Hollywood is.
00:40The idea of a continuity, of a universe.
00:42Don't tell me you have no idea there's a movie being made of the comic you two were the basis
00:47for.
00:48That came from growing up reading comic books.
00:51You know, Daredevil knew Spider-Man, Spider-Man knew Reed Richards,
00:54and they all knew each other because they lived in New York and Marvel Comics and stuff.
00:56That was the birth of the Askewniverse.
00:59Our production company was called View Askew.
01:01So I started referring to those movies connected as the Askewniverse.
01:05A lot of people are like,
01:06hey man, Marvel stole your idea.
01:08No, I stole Marvel's idea.
01:09I just took it from the comics.
01:11They came to movies, they took it right back.
01:12Like, thank you for looking out for universes for us.
01:15We got it from here.
01:17I love that place.
01:19It's where I came from.
01:19This is my world.
01:20I knew everybody there, and I like the people of New Jersey.
01:22This is my hometown.
01:23What, you're saying you're from the Burbs?
01:25Middletown, New Jersey.
01:26Get out of here.
01:27So when I started making movies, I set everything in New Jersey,
01:30like right where I was from.
01:31Didn't make sense to set it anyplace else.
01:33Why would I just be like, all right, well, this is set in Rhode Island.
01:36You know, I'd never been to Rhode Island.
01:42All the characters that I've written are archetypes of my world.
01:47Hey, I'm a firm believer in the philosophy of a ruling class.
01:50Most of the characters are incredibly erudite, over-educated, underemployed,
01:54as the boys and clerks work.
01:56Smarter than everybody else, but not smart enough to get themselves someplace else.
02:00How did I go from the verge of Hopler eating sex with Brandy to men
02:03have still coital debates with you in the food court?
02:05Just smart enough to realize this is all a scam and we're trapped,
02:09but not smart enough to get out of the box.
02:11Guys that look like you have a lot more to offer,
02:14because you'll always try harder than the pretty boy.
02:16Always very strong women in their lives,
02:20who shape them and kind of make them what they are.
02:23Forget about what you thought you were and just accept who you are.
02:28That's a bunch of horse .
02:29You know, I knew I could write dialogue, and I had a voice,
02:32an ear for dialogue in my head.
02:35Give me a blonde-haired white boy so I can enjoy that s**t.
02:39A lot of crudity.
02:40I try to keep it real and raunchy.
02:41And real raunchy.
02:42A lot of keeping it frank, you know,
02:44harsh language and stuff like that, which nowadays isn't even that harsh.
02:48What the f**k are you talking about?
02:49F**k you, pal.
02:50What the f**k is going on here?
02:51Motherf**ka, motherf**ka.
02:53What the f**k?
02:53F**king motherf**k.
02:54What the f**k?
02:55You said f**k.
02:56She said f**k.
02:57You said f**k to that girl.
02:58You said that you'd f**k her.
02:59That to me was like, well, let me reflect real life.
03:03Like, I just wanted to hear my characters talk like me and my friends talk.
03:07I'm like, f**k that, f**k that.
03:09You hear this f**king story?
03:10There was a kind of unspoken language by using cursing language that connected you with other people.
03:17So f**king cool.
03:19So I wanted to include that in all my characters, man.
03:22They had foul mouths but hearts of gold.
03:24You're acting really f**king weird right now.
03:28I'm not much of a director.
03:30You ask any critic, they'll tell you.
03:31I think like an editor.
03:33So I'm just like, all right.
03:34I read the scene and I'm like, six shots gets me out of here.
03:37And honestly, probably do it in four.
03:39Chasing Amy forward, I've edited everything.
03:42Sometimes with Scott and then the rest of the times by myself.
03:45Chasing Amy was the movie where I learned you don't have to go crazy and shoot a bunch of coverage.
03:50Only shoot what you need.
03:52And that was because we were shooting the scene at the end of the movie
03:55where Holden, Ben's character, suggests a three-way.
03:59I know what we have to do.
04:00As we headed into shooting that scene, most important scene in the movie,
04:03Dave Klein, our young DP, comes over to me and he goes,
04:07Please don't say it.
04:08I forgot to order film.
04:10So we basically have about three roles for this entire weekend.
04:13All right.
04:14So that night we shot so sparingly, literally just every line that we needed.
04:19And that's a wonderful scene.
04:27Pop culture made me what I am.
04:29I don't like the sound of them apples, Will.
04:31I loved movies and I loved TV, comic books, Star Wars.
04:36These were the things that I was passionate about.
04:39In Clerks, our characters talked about pop culture.
04:43What did you like better?
04:44Jedi or the Empire Strikes Back?
04:47Empire.
04:48Blasphemy.
04:48Like, it wasn't enough to just have them talking about the fake events in the movie.
04:52I liked that they were sitting around talking about, like, you know,
04:55the same me and my friends talked about.
04:57That came from Quentin.
04:58I saw Reservoir Dogs.
04:59It opens with this conversation about, you know, Madonna songs.
05:02Like a Virgin's not about some sensitive girl who meets a nice fella.
05:06And I know the movie's going to be about a bank heist,
05:08but these guys in suits sitting around a table talking about a Madonna song
05:11the same way me and my friends would sit around and talk about movies.
05:13That was a revelation.
05:15I said, you can do this?
05:18Jay and Silent Bob are in the hizzles.
05:21Wonderful thing about the Jay character is he seems to have no moral barometer,
05:24good or bad, so no filter between brain and mouth.
05:27So, what's up?
05:28You have a friend for Silent Bob or you can just do this bowl?
05:30If so, I'm first.
05:31I hate sloppy seconds.
05:33You're a man of principle.
05:35Because of the heart of the character, the character went over, connected,
05:38and I was able to take those characters beyond, like,
05:40the first movie into almost every movie I ever made.
05:43Snoochie, boochie, newchies.
05:44I had a heart attack a few months ago.
05:46Like, this was the year 2018 where I almost died.
05:49I believe him.
05:50When I was laying on the table, the only remote regret I had,
05:55this is an absolute true story.
05:56As I was laying there, I said to myself,
05:59man, I wish we had gotten to make Jay and Silent Bob reboot.
06:03Because right now, if I die, the last movie I made was Yoga Hosers.
06:07Oh my god!
06:08I'm going to go out on Yoga Hosers.
06:09I'm going to start with a great convenience store movie
06:11and go out on a convenience store movie nobody likes.
06:13It's pretty rude.
06:14But god, I wish I could live just to make one more movie to go out on.
06:17You gotta get back on the horse, man.
06:20When I wound up living, as soon as I was out of there,
06:22out of the hospital and off the table, I was like,
06:24we are making Jay and Silent Bob reboot.
06:26Yeah, badass, yeah!
06:29One year from the moment when I had my heart attack
06:32and I went to the hospital and was almost going to be dead,
06:35one year later, I'm going to be on a set making Jay and Silent Bob reboot.
06:38I'm not even supposed to be here today.
06:40That's my life.
06:41The idea that you're like, well, wouldn't that be cool?
06:44And then you just try to make it happen.
06:46That's all life is.
06:47Goddamn yoga hosers.