WEBVTT - Sylvester Stallone

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<v Speaker 1>For six consecutive decades, Sylvester Stallone has started in number

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<v Speaker 1>one box office hits. He's not only been Rambo and Rocky,

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<v Speaker 1>but also a scriptwriter, a producer, and now he's also

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<v Speaker 1>a painter. I sat down with him at the Library

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<v Speaker 1>of Congress recently to talk about his extraordinary multi decade

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<v Speaker 1>career as a leading person in Hollywood. I'm in the

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<v Speaker 1>Library of Congress today with Sylvester Stallone and Sylvester s Alone.

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<v Speaker 1>Thank you very much for giving us this time my pleasure.

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<v Speaker 1>David Now, the Library of Congress in two thousand and

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<v Speaker 1>six said that Rocky was a national treasure and put

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<v Speaker 1>it in our National Cultural Heritage list of films. Was

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<v Speaker 1>not a surprise to you that of all the films

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<v Speaker 1>this is one of the most important films ever made. Yeah,

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<v Speaker 1>that was a stunny revelation, because you know, when you

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<v Speaker 1>start out, I have my attentions were to do like

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<v Speaker 1>a little footage of what I did last summer kind

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<v Speaker 1>of film. I never thought it would ever get to

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<v Speaker 1>this magnitude. So yeah, So in that movie you um

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<v Speaker 1>conceived of Rocky and that you played Rocky. Was it

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<v Speaker 1>hard to get that movie sold to people? Very hard?

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<v Speaker 1>Because and I understand it, I was basically a classical nobody,

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<v Speaker 1>and at that time there were a few men in

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<v Speaker 1>Hollywood that actually considered himself rather Micheesmo, and they could

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<v Speaker 1>have filled the role in a sense. But I just

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<v Speaker 1>knew this was the crossroad moment and if I didn't

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<v Speaker 1>hang on, if I didn't go all in and the

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<v Speaker 1>film was a success, I would have never forgiven myself

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<v Speaker 1>a rest of my life. So so the idea for Rocky,

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<v Speaker 1>where did you come up with that idea? Well, you know,

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<v Speaker 1>there's a big misconception about that. Everyone thinks is oh,

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<v Speaker 1>I was watching Chuck Webner fight Mohammed Ali knocked him down.

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<v Speaker 1>That was the fabricated type story. Rocky Marciano, who was

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<v Speaker 1>basically my size, had a computer fight with Muhammad Ali

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<v Speaker 1>when he was suspended in the the vent and the light

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<v Speaker 1>bulb went off. I said, this is kind of interesting,

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<v Speaker 1>and that would But then again, no one in Hollywood

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<v Speaker 1>knew who Rocky Marcia. It was so in nineteen seventy five,

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<v Speaker 1>the truck what it was more contemporary, So I used

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<v Speaker 1>that at the reference of the I guess the bay

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<v Speaker 1>Oone Bleader or the neighborhood loser going to distance with

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<v Speaker 1>the champions. So does it surprise you, disappoint you, or

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<v Speaker 1>make you feel good that people actually think Rocky is

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<v Speaker 1>your life story and that you actually a boxer in life.

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<v Speaker 1>Be fuddles really does, because people think you really were

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<v Speaker 1>a boxer and this was your life story. I know,

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<v Speaker 1>I know they actually thought, oh, they found some fellow

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<v Speaker 1>who actually was a pug at one time, but and

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<v Speaker 1>that was that was actually Probably to this day a

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<v Speaker 1>lot of people think that I'm a little short on

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<v Speaker 1>the gray matter and number of Rocky esque character reality.

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<v Speaker 1>So to go back, you grew up Where were you born?

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<v Speaker 1>I was born in Hell's Kitchen, New York, and then

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<v Speaker 1>you grew up to some extent in Silver Spring, Marya.

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<v Speaker 1>The grandparents lived in Washington, d C. Then they sort

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<v Speaker 1>of migrated to Bethezida, then Silver Springs. Okay, and your parents,

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<v Speaker 1>what did your parents do? Well? My father was kind

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<v Speaker 1>of a real tough guy, but he focused on hair.

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<v Speaker 1>The FAA Stones and the family were very into cosmetology,

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<v Speaker 1>and my mother was too, and then she was the

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<v Speaker 1>first one to open up a woman's gym in New

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<v Speaker 1>York called, i mean Washington called Barbella's, which I thought,

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<v Speaker 1>great name for her daughter, Barbella. So were you a

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<v Speaker 1>great athlete when you were young and strong? And I

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<v Speaker 1>was completely manufactured. I wasn't a physical specimen at all.

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<v Speaker 1>I just had an epiphany when I went to see

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<v Speaker 1>Steve Reeves and Hercules and Hercules unchained. My head exploded.

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<v Speaker 1>I finally found that's the role model. So when you

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<v Speaker 1>told your parents what you want to do is be

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<v Speaker 1>an actor, that they say, get a real job or

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<v Speaker 1>something like that, Well that's the line in Rocky because

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<v Speaker 1>you know you weren't boring much of a brase, they

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<v Speaker 1>better start using your body. Uh. They didn't put much

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<v Speaker 1>uh faith in that that particular occupational choice. So I

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<v Speaker 1>just said, look, it's one of those things where they said,

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<v Speaker 1>we'll have something to fall back on. I go, what,

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<v Speaker 1>literally what? I I'm not good at anything other than

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<v Speaker 1>day dreaming and imagining. I'm not pragmatic at all. I'm

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<v Speaker 1>totally abstract. And they took me to I don't know

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<v Speaker 1>if I ever totally wanted at sixteen, and after being

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<v Speaker 1>expelled from eleven schools at sixteen, they took me to

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<v Speaker 1>the Drexel Institute of Technology, and they ran am a

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<v Speaker 1>battery of tests and any conclusion, and I still have it.

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<v Speaker 1>They said, Sylvester seems to be deficient and this in deficient,

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<v Speaker 1>and that we recommend him to be an electricians assistant

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<v Speaker 1>or a tabsorder, whatever that is. And I keep that

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<v Speaker 1>as a reminder. So you wrote the script called Rocky,

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<v Speaker 1>but before that you were an actor? Is that right?

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<v Speaker 1>But not exactly? A very successfuack? I mean, so how

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<v Speaker 1>did you support yourself in those early days? Well, I

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<v Speaker 1>cleaned lions cages. I cut fish heads. That was really good,

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<v Speaker 1>with sturgeon in the Delhi. I was kind of a

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<v Speaker 1>night watchman in this building. I just did a multitude

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<v Speaker 1>of things, delivery boy, you name it. But primarily I

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<v Speaker 1>did those things. And after four years of college that

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<v Speaker 1>I took these jobs so I would have my days

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<v Speaker 1>free so I could quote make the rounds. But you

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<v Speaker 1>were making the rounds as an actor, but people weren't saying,

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<v Speaker 1>we really want you so much. But you were writing

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<v Speaker 1>at night or what were you doing? What happened? I said,

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<v Speaker 1>my god, I'm not gonna make it this this is now.

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<v Speaker 1>I'm starting to get like around twenty six, so I

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<v Speaker 1>got a job as an usher, and people said, why

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<v Speaker 1>it's thirty nine dollars a week. Who could turn that down?

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<v Speaker 1>But more important, I could watch films all day long,

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<v Speaker 1>and I started to dissect him. At night. It had

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<v Speaker 1>a little one room thing and Sutton Niece, a little

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<v Speaker 1>kind of a transient hotel, and I would take a

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<v Speaker 1>little inexpensive tape recorder, record the soundtrack and the dialogue

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<v Speaker 1>and go home and try to replace the dialogue. No,

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<v Speaker 1>it's like a game. And after a while I started

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<v Speaker 1>picking up a little tempo and a little rhythm. And

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<v Speaker 1>the first five screenplays everywhere pretty horrendous. You know, it's

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<v Speaker 1>like what I did last summer, type screenplays. Until finally

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<v Speaker 1>I came to the New York Library and I went

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<v Speaker 1>down in the basement and they showed me parchments, writings

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<v Speaker 1>of Emberson, Dickinson, Dickenson, but egg around Poe. And that's

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<v Speaker 1>when the light went off and went po. Talk about

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<v Speaker 1>a misunderstood artist way ahead of his time, the literary

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<v Speaker 1>van go, And that's what triggered. That's what changed everything.

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<v Speaker 1>And how long it take to actually right rocky thing

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<v Speaker 1>the days, that's all. This is not a finished product,

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<v Speaker 1>but as you know, you're right it, but you had

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<v Speaker 1>the format. You had had a right long so a

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<v Speaker 1>producer or Mr Winkler. Right. So you give them the

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<v Speaker 1>scripts and they say, yes, we'll buy it, provided that

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<v Speaker 1>you are the writer not the actor. Totally absolutely, and

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<v Speaker 1>you said no. I say, guys, it's not for sale.

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<v Speaker 1>It's just not for sale. And at that time I

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<v Speaker 1>was broke. When I say broke, I mean broke. So

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<v Speaker 1>finally they said, okay, but I heard that they gave

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<v Speaker 1>you like a fifteen day trial period. They did, they did.

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<v Speaker 1>They had all kinds of morality closes. Basically, if you

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<v Speaker 1>like spin on the ground, we can replace you. And

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<v Speaker 1>the first thing we did was me shaking down the

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<v Speaker 1>fellow along the docks. You know, you know, come on,

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<v Speaker 1>give me a cookie and cold the long shot money.

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<v Speaker 1>You know, if you want to dance, you gotta pay

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<v Speaker 1>the band kind of a thing. And something happened. They saw, Wow,

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<v Speaker 1>this actually might work. So when the Academy Award nominations

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<v Speaker 1>come out, you get ten Academy Award nominations. You're nominated

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<v Speaker 1>for Best Scriptwriter and Best Actor. And it only happened

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<v Speaker 1>twice before Orson Welles and Charlie Chapman, who and also

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<v Speaker 1>the you know, the movie is nominated for Best Picture.

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<v Speaker 1>So were you all of a sudden amazed and astounded?

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<v Speaker 1>And what did all of a sudden your high school

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<v Speaker 1>friends call you up and say, I really knew you

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<v Speaker 1>were great? Can you give me a job? Everyone, all

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<v Speaker 1>the backs levelers were there, and yeah, it was mystifying.

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<v Speaker 1>And also it was it emboldened me in a negative

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<v Speaker 1>way too, because I said, I told you you know

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<v Speaker 1>what said of that kind of thing, see, and I

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<v Speaker 1>think I swung the peddle and way too far to

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<v Speaker 1>the obnoxious. Do you expect to win the account? Not

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<v Speaker 1>at all, because actually every film back then was kind

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<v Speaker 1>of a statement film. I mean all the President's Men,

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<v Speaker 1>Network and Going and Bound for Glory, and then there's Rocky,

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<v Speaker 1>which is no statement really, it's just about a man

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<v Speaker 1>wanting to have a little bit of respect and love.

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<v Speaker 1>So you get the Academy Award Picture, and then there's

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<v Speaker 1>your Your life changes all of a sudden, you're famous

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<v Speaker 1>and you're extremely wealthy. You made a lot of money

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<v Speaker 1>because you were the owner of all of the film. No,

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<v Speaker 1>I I don't know a percentage, there was some I

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<v Speaker 1>think it'll devious. Behind the scenes macinations there where. When

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<v Speaker 1>you're naive, you you're going to get burnt. So I

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<v Speaker 1>have no ownership. And George Lucas owned Star Wars everything.

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<v Speaker 1>He's smart man, and you own nothing. Brian, I'm an employee. Okay,

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<v Speaker 1>but you did, Okay, I did. So most actors are

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<v Speaker 1>thrilled if they have one um part like Rocky in

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<v Speaker 1>their whole career. You had another one Rambo. Now Rambo

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<v Speaker 1>was not something you created, is that right? No, Rambo

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<v Speaker 1>was a novel by David Morrell and eleven. I was

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<v Speaker 1>the eleventh choice everyone, and it was like, I don't

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<v Speaker 1>know who was next after me because they gone through

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<v Speaker 1>every one and the past, past, past, past, including three

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<v Speaker 1>different directors. So this had become sort of a a

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<v Speaker 1>pariah of sorts. The first time when you go in there,

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<v Speaker 1>Rambo was in the original screenp It was horrible. He

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<v Speaker 1>was a psychopath. He killed children, he killed Fisherman, this

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<v Speaker 1>and that. So I said, if I'm going to get

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<v Speaker 1>involved with this, I see the character going on beyond

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<v Speaker 1>this and this is what do you want to do?

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<v Speaker 1>I said, I want to rewrite the screenplay and I

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<v Speaker 1>want him to go right to the edge of violence,

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<v Speaker 1>right to the point where he's being pushed, but he

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<v Speaker 1>pulls back because, similar to James Dean and East Dividen,

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<v Speaker 1>he wanted to be accepted back into the family of man.

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<v Speaker 1>So if Rambo got in a fight with Rocky, who

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<v Speaker 1>would win? Rambo not even a fight unless it's in

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<v Speaker 1>the ring. First of all, Rambo is a killer for real.

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<v Speaker 1>He's almost a psychopath when he when it's which flips Rocky,

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<v Speaker 1>it's a guy you know, he has mercy. The other

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<v Speaker 1>one has no mercy. So when you do these movies,

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<v Speaker 1>let's say Rocky, you actually are performing in the fighting

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<v Speaker 1>scenes and and isn't that hard because you're not a

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<v Speaker 1>professional boxer, So how did you actually learn how to

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<v Speaker 1>do that and not get hurt? David? The hard part

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<v Speaker 1>is the choreography. It's trial and error because it's one

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<v Speaker 1>thing they just film a regular fight, but to create

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<v Speaker 1>dramatic beats in looks and whatever, it takes hours, months

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<v Speaker 1>of trial and error. So it ends up being written

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<v Speaker 1>down like notes left right, switch moved the head fate

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<v Speaker 1>And I thought, if I don't do this myself, it's

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<v Speaker 1>never going to be done right. But in the end,

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<v Speaker 1>when you're boxing in the movie, Rocky and the Rocky movies.

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<v Speaker 1>Somebody is hitting you all the time, And did anybody

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<v Speaker 1>really hurt you a lot? Oh? Yeah, I mean I

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<v Speaker 1>have a a lot of photos. Will you actually see distortion?

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<v Speaker 1>How many times have you been injured in doing movies?

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<v Speaker 1>Do you had like seventies some stunt injuries? Oh? I'd

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<v Speaker 1>probably say more than they wanted in the world I've had.

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<v Speaker 1>Why do your own stunts? Why don't you get a

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<v Speaker 1>I don't know, it's it's just something. It's like the

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<v Speaker 1>Call of the Wild Jack London novel. I just get

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<v Speaker 1>up there and I can do this. See, there's a

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<v Speaker 1>difference between stunts and when you hook yourself up to

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<v Speaker 1>for example, you're jumped me from train to train to

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<v Speaker 1>train and this and that, and that's just a certain

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<v Speaker 1>kind of actor doing those sorts of James bonding and stunts.

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<v Speaker 1>Then there's a time that you become very very physical

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<v Speaker 1>and you engage with other people and you do it

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<v Speaker 1>yourself completely, no doubles. That's going to lead to a

0:12:39.920 --> 0:12:44.040
<v Speaker 1>lot of injuries. And so I chose more of the

0:12:44.080 --> 0:12:48.400
<v Speaker 1>confrontational kind of stunts. Um, you know, jumping off a waterfall,

0:12:48.520 --> 0:12:51.319
<v Speaker 1>fire stunts. I mean of course, I would have some

0:12:51.520 --> 0:12:54.400
<v Speaker 1>very good doubles, like at the time, like Mark Allisan

0:12:54.559 --> 0:12:57.760
<v Speaker 1>during Diamonds farms Worth, But the majority of them you're

0:12:57.760 --> 0:13:00.560
<v Speaker 1>doing yourself and they come with a lot of injuries.

0:13:00.679 --> 0:13:03.000
<v Speaker 1>So you have a successful Rocky series and you have

0:13:03.040 --> 0:13:06.319
<v Speaker 1>a successful Rambo series. But after all these successes, at

0:13:06.320 --> 0:13:09.520
<v Speaker 1>some point people say to you, well, maybe you're too

0:13:09.559 --> 0:13:12.000
<v Speaker 1>old to play these parts, and all of a sudden,

0:13:12.040 --> 0:13:14.240
<v Speaker 1>your agent says, maybe we can't help you as much,

0:13:14.800 --> 0:13:17.880
<v Speaker 1>and you're seen as a washed up actor by some

0:13:18.360 --> 0:13:19.959
<v Speaker 1>How did that feel after you're at the top of

0:13:20.000 --> 0:13:22.000
<v Speaker 1>the mountain, all of a sudden, all the people tell

0:13:22.040 --> 0:13:23.560
<v Speaker 1>you how great you were, Now they're telling you they

0:13:23.600 --> 0:13:26.320
<v Speaker 1>can't help you. Was that a real disappointment? It was?

0:13:26.720 --> 0:13:31.040
<v Speaker 1>Then again, it's that fourth cross road. Okay, do I

0:13:31.160 --> 0:13:33.880
<v Speaker 1>listen to them or how do you feel? How do

0:13:33.920 --> 0:13:36.959
<v Speaker 1>you do you feel? Still competitive? Is there? As Rocky

0:13:36.960 --> 0:13:41.320
<v Speaker 1>would say, stuff in the basement, Yeah, but I just

0:13:41.360 --> 0:13:44.000
<v Speaker 1>have to do an age appropriate. That's when I came

0:13:44.080 --> 0:13:46.959
<v Speaker 1>up with the expendables. Well, you can't do it alone,

0:13:47.240 --> 0:13:52.480
<v Speaker 1>but I'll take together. I'll take a group of actors

0:13:52.480 --> 0:13:55.760
<v Speaker 1>that are not doing so well, and you put it

0:13:55.760 --> 0:13:58.440
<v Speaker 1>all together. And I got the idea when I took

0:13:58.480 --> 0:14:01.720
<v Speaker 1>my wife to a rock and roll revival. You have

0:14:01.880 --> 0:14:05.720
<v Speaker 1>like twenty groups, and each one was worse the next,

0:14:05.840 --> 0:14:10.920
<v Speaker 1>but together it was an interesting ticket, like, oh, look

0:14:10.960 --> 0:14:13.400
<v Speaker 1>at this, and I thought, why don't I do the same.

0:14:13.480 --> 0:14:16.680
<v Speaker 1>I take all these guys who perhaps on their own

0:14:16.880 --> 0:14:21.040
<v Speaker 1>were struggling, including myself, put him together and that I

0:14:21.080 --> 0:14:23.120
<v Speaker 1>want to see how this turns out. This is kind

0:14:23.120 --> 0:14:25.840
<v Speaker 1>of interesting. Okay, So you have the success of the

0:14:25.920 --> 0:14:29.080
<v Speaker 1>Rocky movies, and then you have a sequel, the Creed movies.

0:14:29.280 --> 0:14:31.640
<v Speaker 1>Right and by the way, on Creed, there's another Creed

0:14:31.640 --> 0:14:35.000
<v Speaker 1>movie coming out, I believe. So, yes, well you would know.

0:14:36.400 --> 0:14:39.360
<v Speaker 1>And but I'm told that you're not gonna reprise your

0:14:39.440 --> 0:14:42.680
<v Speaker 1>role as Rocky. It's Rocky ever gonna reappear on the screen.

0:14:43.320 --> 0:14:49.120
<v Speaker 1>Uh boy, you're really mm hmm. There is a possibility.

0:14:49.440 --> 0:14:53.920
<v Speaker 1>I've written half a screenplay because this is a story

0:14:54.280 --> 0:14:58.600
<v Speaker 1>where obviously his days in the ring or long gone,

0:14:59.480 --> 0:15:03.080
<v Speaker 1>where he now tries to save his neighborhood or he

0:15:03.120 --> 0:15:06.360
<v Speaker 1>thinks he can, because that area right now in Philadelphia

0:15:06.440 --> 0:15:11.440
<v Speaker 1>is just literally fentinal. It's terrible, and he involves himself

0:15:11.440 --> 0:15:14.440
<v Speaker 1>and he realized you can't save the neighborhood. You're you know,

0:15:14.560 --> 0:15:16.920
<v Speaker 1>Rocky in the simple mind, so you start to get

0:15:17.280 --> 0:15:19.560
<v Speaker 1>He starts to focus on a couple of these characters,

0:15:19.640 --> 0:15:22.840
<v Speaker 1>and it becomes like the New Adrian but with all

0:15:22.880 --> 0:15:27.240
<v Speaker 1>the problems of today. And then there's a fellow that

0:15:27.280 --> 0:15:29.520
<v Speaker 1>comes in from Mexico, and the Rocky takes him in

0:15:29.720 --> 0:15:32.480
<v Speaker 1>under his wing, and before you know it, it's the

0:15:32.640 --> 0:15:35.520
<v Speaker 1>Rocky and Adrian and he's sort of the mentoring this,

0:15:36.040 --> 0:15:45.200
<v Speaker 1>this horrible existence until it becomes tolerable. So what's more pleasurable? Writing? Acting, producing, directing?

0:15:45.240 --> 0:15:49.600
<v Speaker 1>Which of those do you like the most? Directing is fantastic,

0:15:49.760 --> 0:15:53.320
<v Speaker 1>but you lose your life. It's seven days a week.

0:15:53.400 --> 0:15:55.760
<v Speaker 1>You wake up in the middle of the night jotting notes.

0:15:56.200 --> 0:15:59.760
<v Speaker 1>Writing is a complete horror, complete horror. Have you ever

0:15:59.760 --> 0:16:05.720
<v Speaker 1>seen a truly well, I mean, fresh faced writer like

0:16:05.840 --> 0:16:09.840
<v Speaker 1>Edgar Allen Powell? Yeah, exactly My point. Just Haggard gone

0:16:10.360 --> 0:16:13.120
<v Speaker 1>dead at thirty nine, right is rough and I have

0:16:13.280 --> 0:16:18.960
<v Speaker 1>tremendous It's almost like being a composer. Every word, as

0:16:19.000 --> 0:16:23.000
<v Speaker 1>you know, is a note. It's not just typing. Anyone

0:16:23.040 --> 0:16:25.320
<v Speaker 1>can type, anyone can talk into the recorder, but they

0:16:25.320 --> 0:16:30.359
<v Speaker 1>actually get the fluidity and the essence of dialogue. It's beautiful,

0:16:30.720 --> 0:16:33.480
<v Speaker 1>but it's hard. So if you were starting today in

0:16:33.600 --> 0:16:37.440
<v Speaker 1>Hollywood and you're giving advice to a young actor, writer, producer,

0:16:37.640 --> 0:16:40.240
<v Speaker 1>what would you say. Would you say forget motion picture

0:16:40.360 --> 0:16:42.840
<v Speaker 1>theaters and just go into streaming or what that would

0:16:42.840 --> 0:16:45.640
<v Speaker 1>pretty much say that, Yeah, I think if you could

0:16:45.680 --> 0:16:49.200
<v Speaker 1>do a couple of indies to learn your chops of sorts.

0:16:49.240 --> 0:16:58.160
<v Speaker 1>But the day of the kind of entrepreneurial of grabbing

0:16:58.240 --> 0:17:00.360
<v Speaker 1>life by the seat of the parents, going when your

0:17:00.400 --> 0:17:04.360
<v Speaker 1>gut instinct is over. For example, that when Rocky Rockey

0:17:04.440 --> 0:17:07.359
<v Speaker 1>would never be made today, this this never would have happened.

0:17:07.359 --> 0:17:11.280
<v Speaker 1>It's over. The majority of The Godfather wouldn't be made today.

0:17:11.359 --> 0:17:14.200
<v Speaker 1>So today you think the motion picture business is changing,

0:17:14.240 --> 0:17:16.240
<v Speaker 1>such a streaming is taking over, and you think the

0:17:16.280 --> 0:17:19.560
<v Speaker 1>motion picture industry as you knew it it will thrive. Well,

0:17:20.160 --> 0:17:22.919
<v Speaker 1>I I don't think it's going to ever have the

0:17:23.000 --> 0:17:29.120
<v Speaker 1>golden era that has had by far, because the the audience,

0:17:29.119 --> 0:17:32.800
<v Speaker 1>the demographic is different. They're now watching films on an iPhone.

0:17:32.880 --> 0:17:36.240
<v Speaker 1>So it's not as though the theater has become this

0:17:37.280 --> 0:17:43.080
<v Speaker 1>habitual shrine to what to come in attractions and streaming.

0:17:43.400 --> 0:17:45.680
<v Speaker 1>This is where you actually, I'm gonna do one very

0:17:45.760 --> 0:17:50.560
<v Speaker 1>very soon called The Tulsa King or The King of Tulsa.

0:17:51.200 --> 0:17:54.480
<v Speaker 1>And it just allows you to breathe the character, to

0:17:54.520 --> 0:17:57.520
<v Speaker 1>breathe out to take ten weeks, which is beautiful. Is

0:17:57.560 --> 0:18:00.879
<v Speaker 1>that film? You have maybe nine minutes a hundred and

0:18:00.920 --> 0:18:05.360
<v Speaker 1>ten minutes and it's all a crap shoot in no words.

0:18:05.560 --> 0:18:09.200
<v Speaker 1>With films, you have a dreams mind film three million dollars,

0:18:09.640 --> 0:18:13.080
<v Speaker 1>you have one opening weekend. So when you do that

0:18:13.680 --> 0:18:17.359
<v Speaker 1>particular picture, Um, are you writing any of it? Are

0:18:17.359 --> 0:18:20.919
<v Speaker 1>you just acting in it? This one is being written

0:18:20.920 --> 0:18:24.720
<v Speaker 1>by Taylor Sheridan and of course, uh, Terry Terrence Winter

0:18:25.440 --> 0:18:30.080
<v Speaker 1>and I am kind of like the you know them,

0:18:30.119 --> 0:18:33.360
<v Speaker 1>the higher Gun. But you do, you do put your input.

0:18:33.440 --> 0:18:36.040
<v Speaker 1>You try to, as you say, it's a lot easier

0:18:36.080 --> 0:18:40.159
<v Speaker 1>to remember your own dialogue than someone else's, so you

0:18:40.200 --> 0:18:44.040
<v Speaker 1>try to construct the sentence so it's easier to reach. So, um,

0:18:44.080 --> 0:18:47.760
<v Speaker 1>do you have three daughters. With those three daughters, would

0:18:47.800 --> 0:18:51.240
<v Speaker 1>you recommend they go into the motion picture business? Uh,

0:18:51.280 --> 0:18:54.440
<v Speaker 1>if they're hyphen it's if they're gonna go in just

0:18:54.960 --> 0:18:59.439
<v Speaker 1>solely as Oh I am an actress. Rough rough the

0:18:59.560 --> 0:19:02.639
<v Speaker 1>day of the thirty year career, I think along gone,

0:19:03.240 --> 0:19:08.520
<v Speaker 1>I've been really fortunate, and I have something happened that

0:19:08.560 --> 0:19:11.440
<v Speaker 1>I think the mag which I'm very proud of. I'm

0:19:11.440 --> 0:19:13.400
<v Speaker 1>the only person I've ever had a number one film

0:19:13.480 --> 0:19:16.680
<v Speaker 1>with six different decades, which is remarkable. So as you

0:19:16.720 --> 0:19:18.800
<v Speaker 1>look back on your career, what would you say you're

0:19:18.840 --> 0:19:22.600
<v Speaker 1>most proud of. I was most proud of Rocky Balboa

0:19:22.760 --> 0:19:26.600
<v Speaker 1>the sixth one, because that was done with such skepticism.

0:19:26.680 --> 0:19:30.400
<v Speaker 1>And I was at my career low because it's all

0:19:30.960 --> 0:19:34.880
<v Speaker 1>peaks and valleys, peaks and valleys in any career, any sport, anything,

0:19:35.280 --> 0:19:38.120
<v Speaker 1>and I was in some serious valley of the unknown,

0:19:39.080 --> 0:19:44.040
<v Speaker 1>and I came up this idea at years old to

0:19:44.080 --> 0:19:46.919
<v Speaker 1>play Rocky a box there and this and that, and

0:19:46.960 --> 0:19:49.760
<v Speaker 1>they said, this is absurd. So if Rocky had not

0:19:49.840 --> 0:19:53.120
<v Speaker 1>worked and it had been a flop, the first one,

0:19:53.200 --> 0:19:56.320
<v Speaker 1>the first one, I've been a flop, And uh, what

0:19:56.359 --> 0:19:57.879
<v Speaker 1>would you have done with your career? Where do you

0:19:57.880 --> 0:20:01.159
<v Speaker 1>think you would have wound up? I've already something in

0:20:01.200 --> 0:20:05.479
<v Speaker 1>the question in the world. Yeah, because you're very interested

0:20:05.480 --> 0:20:08.000
<v Speaker 1>in horses, Yeah, I'm very I'm very I'm very good

0:20:08.040 --> 0:20:12.120
<v Speaker 1>on horses. Isn't that kind of dangerous? It's very dangerous,

0:20:12.160 --> 0:20:14.840
<v Speaker 1>but it's something I grew up with. Any regrets in

0:20:14.880 --> 0:20:18.800
<v Speaker 1>your career, Yeah, there's tons of regrets. There's always regrets,

0:20:18.920 --> 0:20:22.119
<v Speaker 1>and it's frustrating because obviously you can't do anything about it.

0:20:22.160 --> 0:20:25.720
<v Speaker 1>But there's certain roles you turned down. The politics weren't right,

0:20:26.280 --> 0:20:31.960
<v Speaker 1>and we get perhaps not being as adamant about surrounding

0:20:32.000 --> 0:20:36.080
<v Speaker 1>yourself with like minded people. And because you know, you're

0:20:36.080 --> 0:20:39.280
<v Speaker 1>dealing with very, very fragile egos and everyone is usually

0:20:39.359 --> 0:20:44.399
<v Speaker 1>running on a lot of fear. That's the fuel. And

0:20:45.160 --> 0:20:48.480
<v Speaker 1>you've got to like really trust your own instincts because

0:20:48.520 --> 0:20:51.040
<v Speaker 1>other people are looking out for there. They're part of it.

0:20:51.200 --> 0:20:53.680
<v Speaker 1>The directors looking out for his image, the writers looking

0:20:54.000 --> 0:20:56.280
<v Speaker 1>guarding the words, the actors look at hey do I

0:20:56.320 --> 0:20:58.280
<v Speaker 1>have more lines than that gouy next to me. It's

0:20:58.320 --> 0:21:02.280
<v Speaker 1>everyone has a for motive for what they do. So

0:21:02.400 --> 0:21:04.720
<v Speaker 1>do you have a bucket lists? Anything you haven't done

0:21:04.720 --> 0:21:07.080
<v Speaker 1>that you really want to do? I was thinking about

0:21:07.119 --> 0:21:09.639
<v Speaker 1>the nutcracker sweet, but my ankles are not is what

0:21:09.680 --> 0:21:13.159
<v Speaker 1>they were, So that's not happening. So today when you

0:21:13.520 --> 0:21:15.480
<v Speaker 1>go to a restaurant or you go out anywhere. Did

0:21:15.480 --> 0:21:17.600
<v Speaker 1>people come up to you all the time for pictures

0:21:17.680 --> 0:21:19.560
<v Speaker 1>autographs and people come up and say, I want to

0:21:19.640 --> 0:21:21.920
<v Speaker 1>arm wrestle you or something like that. They do all

0:21:21.960 --> 0:21:24.760
<v Speaker 1>the time, all the time, and usually with an arm

0:21:24.760 --> 0:21:29.080
<v Speaker 1>wrestler I go, having done in film about it. You

0:21:29.200 --> 0:21:32.240
<v Speaker 1>don't know who's the killer in the room. Some fellow

0:21:32.240 --> 0:21:34.680
<v Speaker 1>will come with you with pipe stem arms and he's

0:21:34.720 --> 0:21:37.359
<v Speaker 1>a savant and arm wrestling, so you never know. You

0:21:37.400 --> 0:21:39.760
<v Speaker 1>and I were having dinner not too long ago, and

0:21:39.800 --> 0:21:42.600
<v Speaker 1>a little boy came up, that's right, and he uh,

0:21:42.680 --> 0:21:44.919
<v Speaker 1>he wanted to arm wrestle you, and uh, your arm

0:21:44.960 --> 0:21:47.879
<v Speaker 1>wrestling man, You'll let him win, of course, because what

0:21:47.960 --> 0:21:49.840
<v Speaker 1>if he did win? This way, at least I can

0:21:49.840 --> 0:21:54.040
<v Speaker 1>fake it. Thanks for listening to hear more of my interviews.

0:21:54.040 --> 0:21:58.000
<v Speaker 1>You can subscribe and download my podcast on Spotify, Apple

0:21:58.240 --> 0:22:03.920
<v Speaker 1>or wherever you listen in s