1 00:00:00,040 --> 00:00:02,880 Speaker 1: I'm Alec Baldwin and you're listening to Here's the thing 2 00:00:07,600 --> 00:00:10,320 Speaker 1: in Hollywood. When someone shines a light on what happens 3 00:00:10,360 --> 00:00:14,560 Speaker 1: off screen. It's not always pretty, but director Tony Zeira's 4 00:00:14,600 --> 00:00:19,239 Speaker 1: documentary Film Worker reveals the best of movie making. It 5 00:00:19,360 --> 00:00:22,480 Speaker 1: tells the story of the unsung hero, the film worker, 6 00:00:22,840 --> 00:00:26,159 Speaker 1: whose name appears in the credits after most moviegoers have 7 00:00:26,239 --> 00:00:32,960 Speaker 1: already left the theater. The focus is Leon Vitali, who 8 00:00:32,960 --> 00:00:36,720 Speaker 1: at turned his back on a promising acting career to 9 00:00:36,800 --> 00:00:42,040 Speaker 1: serve as Stanley Kubrick's right hand man. Vitally, the working 10 00:00:42,080 --> 00:00:46,200 Speaker 1: class kid from outside Birmingham, England, trained as an actor 11 00:00:46,280 --> 00:00:50,159 Speaker 1: and got his break in Kubrick's period masterpiece Barry Linden. 12 00:00:51,000 --> 00:00:57,720 Speaker 1: Mr Ridman Barry. The last occasion on which we met, 13 00:00:59,240 --> 00:01:04,000 Speaker 1: you want to was me injury and dishonor in such 14 00:01:04,040 --> 00:01:06,399 Speaker 1: a manner and to such an extent as to which 15 00:01:06,440 --> 00:01:14,200 Speaker 1: no gentleman can willingly suffer without demanding satisfaction. However much 16 00:01:14,280 --> 00:01:22,959 Speaker 1: time intervenes, I have now come to claim that satisfaction. 17 00:01:24,680 --> 00:01:27,959 Speaker 1: But after that, Batali's name goes from the top of 18 00:01:28,000 --> 00:01:33,000 Speaker 1: the credits to the bottom. Casting costumes and personal assistant 19 00:01:33,040 --> 00:01:36,880 Speaker 1: to Mr Kubrick fatally turned his life over fully to 20 00:01:37,040 --> 00:01:41,360 Speaker 1: realizing the creative vision of his visionary boss. But for 21 00:01:41,480 --> 00:01:44,959 Speaker 1: actors of a certain age, his brilliant turn in Barry 22 00:01:45,040 --> 00:01:48,240 Speaker 1: Linden will always hold a special place in our hearts. 23 00:01:48,920 --> 00:01:52,240 Speaker 1: So that's where I started when I moderated a discussion 24 00:01:52,280 --> 00:01:56,080 Speaker 1: with Leon Battali and Film Worker director Tony Sierra at 25 00:01:56,120 --> 00:01:59,880 Speaker 1: the Hampton's International Film Festival. Every actor in the world 26 00:02:00,840 --> 00:02:04,320 Speaker 1: is obsessed with Barry Lyndon. We all would say lines 27 00:02:04,600 --> 00:02:08,080 Speaker 1: likely on the Tally, the snarkiest snark in the history 28 00:02:08,080 --> 00:02:13,720 Speaker 1: of cinema, Mr Ridman, by the indignation, the condemnation. You 29 00:02:13,760 --> 00:02:17,200 Speaker 1: know when he says to you in the dual scene, 30 00:02:17,480 --> 00:02:21,200 Speaker 1: have you had satisfaction? And your responsive what's the exact 31 00:02:21,240 --> 00:02:26,720 Speaker 1: word you say? I have not received obviously. I actually 32 00:02:26,720 --> 00:02:29,280 Speaker 1: know friends of mine who have used that with people 33 00:02:29,280 --> 00:02:35,519 Speaker 1: in bed. It's this great voluptuous performance in this movie 34 00:02:36,000 --> 00:02:40,520 Speaker 1: Leon the Tally uh, and he got He's gone. And 35 00:02:40,560 --> 00:02:42,519 Speaker 1: then as these films come out, you see his name 36 00:02:42,520 --> 00:02:44,360 Speaker 1: in the cuestions like what the hell is he doing? 37 00:02:44,800 --> 00:02:47,600 Speaker 1: And of course this film offers us an explanation to 38 00:02:47,680 --> 00:02:51,040 Speaker 1: that of like where where did Leon the tally Uh 39 00:02:51,320 --> 00:02:54,280 Speaker 1: detour into from his acting career. I would like to 40 00:02:54,280 --> 00:02:56,760 Speaker 1: welcome please the director of film. Please stand up, Tony Sierra, 41 00:02:58,000 --> 00:03:01,680 Speaker 1: thank you so much for coming, and please have a 42 00:03:01,720 --> 00:03:07,840 Speaker 1: warm welcome for Leon Vitality. Yeah, the dock that became 43 00:03:07,960 --> 00:03:12,119 Speaker 1: film Worker started out as something different. Zierira set out 44 00:03:12,160 --> 00:03:16,480 Speaker 1: to make the definitive account of Kubrick's thirteenth and final movie, 45 00:03:16,880 --> 00:03:21,639 Speaker 1: Eyes Wide Shot. The project was called SK thirteen. I'm 46 00:03:21,680 --> 00:03:24,400 Speaker 1: gonna sit here in the middle for Tony. I want 47 00:03:24,400 --> 00:03:26,280 Speaker 1: to ask what the genesis of the film was in 48 00:03:26,400 --> 00:03:31,000 Speaker 1: the idea of making Leon the protagonist. We finished filming 49 00:03:31,200 --> 00:03:34,320 Speaker 1: and Leon was the last person that I went to 50 00:03:34,360 --> 00:03:38,120 Speaker 1: film with um. And really the premise of SKA thirteen, 51 00:03:38,160 --> 00:03:41,640 Speaker 1: which we haven't started editing yet, was about really what 52 00:03:41,720 --> 00:03:43,880 Speaker 1: was going on with Stanley towards the end, because Eyes 53 00:03:43,920 --> 00:03:46,680 Speaker 1: Watch is a bit controversial a little bit, and I 54 00:03:46,720 --> 00:03:49,920 Speaker 1: wanted to see, like as a lot of people, well, 55 00:03:50,000 --> 00:03:52,160 Speaker 1: they said that he lost it towards the end. Some 56 00:03:52,200 --> 00:03:55,120 Speaker 1: people said that it was Tom and Nicole destroyed the film, 57 00:03:55,200 --> 00:03:59,320 Speaker 1: and some people said he really never finished editing, and 58 00:03:59,320 --> 00:04:02,320 Speaker 1: and people really surprised by casting and it just there 59 00:04:02,360 --> 00:04:07,440 Speaker 1: were a lot of unanswered. Um So I figured in 60 00:04:07,520 --> 00:04:09,840 Speaker 1: order to understand it, I needed to research Kubrick from 61 00:04:09,880 --> 00:04:12,800 Speaker 1: all the way from the beginning to today and see why, 62 00:04:12,920 --> 00:04:15,280 Speaker 1: why did he really want to make the film, because 63 00:04:15,280 --> 00:04:18,440 Speaker 1: obviously he owned the book for thirty years. And so 64 00:04:18,680 --> 00:04:20,760 Speaker 1: Leon was the last one because I knew he was 65 00:04:20,839 --> 00:04:23,120 Speaker 1: close to Warner Brothers, and I knew he was working 66 00:04:23,120 --> 00:04:25,200 Speaker 1: with the state, and I didn't want anybody to shut 67 00:04:25,240 --> 00:04:28,680 Speaker 1: me down. So I left Leon last. And then when 68 00:04:28,680 --> 00:04:31,880 Speaker 1: I met him at his house, I was, well, first 69 00:04:31,920 --> 00:04:33,440 Speaker 1: I had this image of him that I thought I 70 00:04:33,480 --> 00:04:34,880 Speaker 1: was just gonna get there and there's gonna be this 71 00:04:35,000 --> 00:04:38,560 Speaker 1: nice mansion and he's you know, and and he still 72 00:04:38,720 --> 00:04:42,000 Speaker 1: We're still in the UK in l a off Venice Boulevard, 73 00:04:42,040 --> 00:04:43,960 Speaker 1: and I just got there and it was just like 74 00:04:44,000 --> 00:04:47,120 Speaker 1: this amazing, lovely lovely and it just came out and 75 00:04:47,120 --> 00:04:49,760 Speaker 1: it's like carried all my equipment with me and we 76 00:04:49,920 --> 00:04:51,840 Speaker 1: just hit her off. And I was like, this is 77 00:04:51,880 --> 00:04:55,560 Speaker 1: like film history lives in that little house by himself. 78 00:04:56,400 --> 00:04:59,680 Speaker 1: And um So we decided to put the sk th 79 00:04:59,800 --> 00:05:03,080 Speaker 1: team footage away and tell his story because I think 80 00:05:03,080 --> 00:05:10,160 Speaker 1: he really needs to be acknowledged and honored because it's true, 81 00:05:12,080 --> 00:05:14,919 Speaker 1: so we um, you know. At first, it's like because 82 00:05:14,920 --> 00:05:16,720 Speaker 1: every time I would talk to someone I did a 83 00:05:16,800 --> 00:05:20,480 Speaker 1: lot of I mean six years on Ice and Stanley, 84 00:05:20,720 --> 00:05:24,720 Speaker 1: and the name always came up in different conversations of like, 85 00:05:24,960 --> 00:05:26,840 Speaker 1: if I was talking to someone about casting, they say 86 00:05:26,920 --> 00:05:30,000 Speaker 1: Leon Vitali. If I'll talk to someone about training actors, 87 00:05:30,000 --> 00:05:31,720 Speaker 1: it was Leon Vitali. If I go to the lab, 88 00:05:31,800 --> 00:05:34,919 Speaker 1: it's Leon Vitali. I mean, what actor that starts or 89 00:05:35,000 --> 00:05:37,559 Speaker 1: starts as an actor becomes the assistant And he color 90 00:05:37,600 --> 00:05:41,080 Speaker 1: corrected cha. So I was like, this is too good 91 00:05:41,120 --> 00:05:44,720 Speaker 1: to be true. It can't I mean the level of 92 00:05:44,720 --> 00:05:47,680 Speaker 1: of the jobs and the and the stuff that he did. 93 00:05:47,839 --> 00:05:50,400 Speaker 1: So I had to actually go back to so many 94 00:05:50,440 --> 00:05:52,840 Speaker 1: people who was again like is this really for real? 95 00:05:53,400 --> 00:05:56,000 Speaker 1: And I really found that I was. I knew this 96 00:05:56,160 --> 00:05:59,760 Speaker 1: much because he's really done a lot and he's humble 97 00:05:59,800 --> 00:06:05,359 Speaker 1: about Now. Cooper begins shooting eyes wide shot when he 98 00:06:05,480 --> 00:06:09,480 Speaker 1: died in nine. I think this is the autumn seven 99 00:06:09,520 --> 00:06:13,760 Speaker 1: we actually started shooting shooting, I think, yeah, yeah. And 100 00:06:13,800 --> 00:06:17,920 Speaker 1: the shooting goes on for how long, well year and 101 00:06:17,960 --> 00:06:20,280 Speaker 1: a half year and half yeah, yeah. And there were 102 00:06:20,320 --> 00:06:23,360 Speaker 1: there were a couple of breaks in there, but not long. 103 00:06:23,480 --> 00:06:25,760 Speaker 1: Yeah yeah, yeah, yeah, I can't do not stop for 104 00:06:25,800 --> 00:06:28,840 Speaker 1: a year half, you know, you can't. But but but 105 00:06:28,880 --> 00:06:32,839 Speaker 1: the uh And then he dies in March of ninety nine. 106 00:06:33,240 --> 00:06:35,960 Speaker 1: So he completed principal photography before he died. Oh yeah. 107 00:06:35,960 --> 00:06:38,760 Speaker 1: And he completed his final cart I mean, and he 108 00:06:39,320 --> 00:06:42,400 Speaker 1: sent it to New York for Tom and Nicole and 109 00:06:42,520 --> 00:06:45,279 Speaker 1: Terry Samuel, who was ahead of Warner Brothers in time, 110 00:06:45,680 --> 00:06:47,839 Speaker 1: and just said, this is it. I mean, all that 111 00:06:48,000 --> 00:06:50,560 Speaker 1: is left. He'd chosen the music, so all that was 112 00:06:50,680 --> 00:06:54,200 Speaker 1: left there was to re record that and fit it 113 00:06:54,200 --> 00:06:58,680 Speaker 1: in um and basically you know, just do the you know, 114 00:06:58,839 --> 00:07:02,479 Speaker 1: the sort of fine modeling job on it and all 115 00:07:02,480 --> 00:07:06,080 Speaker 1: the what can you say, There's so much to do 116 00:07:06,160 --> 00:07:09,960 Speaker 1: in post production, especially when you get closer to finishing 117 00:07:10,120 --> 00:07:17,080 Speaker 1: a movie for release. Was this film particularly difficult from him? Well, 118 00:07:17,400 --> 00:07:20,480 Speaker 1: you know, you know, he was getting tired because towards 119 00:07:20,520 --> 00:07:23,120 Speaker 1: the end, of course, he didn't really spare himself. I mean, 120 00:07:23,640 --> 00:07:27,520 Speaker 1: we wouldn't get back to the house until very often 121 00:07:27,560 --> 00:07:31,080 Speaker 1: to three in the morning, you know, and there'd be 122 00:07:31,120 --> 00:07:34,600 Speaker 1: a kind of a normal call in the you know, 123 00:07:34,760 --> 00:07:38,840 Speaker 1: next morning would be you know, usual call times and 124 00:07:38,920 --> 00:07:43,920 Speaker 1: what have you? Um, she stan Ye. Actually we were 125 00:07:43,960 --> 00:07:47,640 Speaker 1: so looking forward to doing AI next. I was thought 126 00:07:47,680 --> 00:07:51,600 Speaker 1: of so exciting, thought of working the studio, you know, 127 00:07:51,640 --> 00:07:56,120 Speaker 1: and just slamming the door and focusing on just there 128 00:07:56,160 --> 00:08:01,400 Speaker 1: the shots and no distractions and and nothing. Um. And 129 00:08:01,520 --> 00:08:04,520 Speaker 1: I think with Eyes might chut, you know, he because 130 00:08:04,880 --> 00:08:07,760 Speaker 1: working indoors is a totally different environment, as you know, 131 00:08:07,920 --> 00:08:12,200 Speaker 1: I mean, it's there are no distractions, You're focusing on 132 00:08:12,360 --> 00:08:15,840 Speaker 1: exactly what needs to be done, and there's no doubt 133 00:08:15,880 --> 00:08:20,320 Speaker 1: about it. He preferred shooting indoors. Any difficulty about about 134 00:08:20,640 --> 00:08:24,560 Speaker 1: Eyes by chill he had, I think was really more 135 00:08:24,880 --> 00:08:28,080 Speaker 1: story and trying to sort of work it in a 136 00:08:28,120 --> 00:08:32,960 Speaker 1: way that it would mean something to people now. But 137 00:08:33,080 --> 00:08:37,480 Speaker 1: pre production took a year, and it often took that 138 00:08:37,559 --> 00:08:40,319 Speaker 1: along with him. One of the interesting things about Kubrick 139 00:08:40,360 --> 00:08:43,240 Speaker 1: for me, because he made films so rarely that when 140 00:08:43,240 --> 00:08:45,160 Speaker 1: you saw him he had aged quite a bit in 141 00:08:45,200 --> 00:08:50,640 Speaker 1: between films. Kubrick is round and kind of full bodied 142 00:08:50,720 --> 00:08:53,320 Speaker 1: and a thick mane of brown hair. Then you cut 143 00:08:53,320 --> 00:08:55,439 Speaker 1: the five and six and seven years later at a 144 00:08:55,480 --> 00:08:58,200 Speaker 1: different Kubrick and then a different coupric and he and 145 00:08:58,240 --> 00:09:00,680 Speaker 1: it looks whether it. He looks hired, you know, he 146 00:09:00,720 --> 00:09:04,080 Speaker 1: looks older. Yeah, he wasn't a health none, is what 147 00:09:04,120 --> 00:09:08,000 Speaker 1: I'm saying, No doubt about that. Um, but I think 148 00:09:08,400 --> 00:09:13,280 Speaker 1: just this, uh what can I say? This ongoing it's 149 00:09:13,320 --> 00:09:16,360 Speaker 1: almost like a grind, but not in a negative way, 150 00:09:16,760 --> 00:09:22,320 Speaker 1: but everything it's like a hab Yeah, yeah, you know exactly. Yeah. 151 00:09:22,920 --> 00:09:24,599 Speaker 1: What's interesting in the film that I love about the 152 00:09:24,600 --> 00:09:27,560 Speaker 1: film is that this film reveals that there's things he 153 00:09:27,600 --> 00:09:30,240 Speaker 1: couldn't do or wouldn't do, and that's what fell to 154 00:09:30,320 --> 00:09:32,480 Speaker 1: you to do. You know, he he if there's ten 155 00:09:32,559 --> 00:09:35,280 Speaker 1: things you need a director, and a director who's producing 156 00:09:35,320 --> 00:09:37,720 Speaker 1: and so hands on it his own or her own films, 157 00:09:38,120 --> 00:09:40,200 Speaker 1: that individual is so hands on it, there's ten things 158 00:09:40,200 --> 00:09:42,840 Speaker 1: they're gonna do. He would do five or six of 159 00:09:42,880 --> 00:09:46,320 Speaker 1: them on the deepest level. Then the other four of 160 00:09:46,360 --> 00:09:48,320 Speaker 1: them he relied on someone else to do. And that 161 00:09:48,400 --> 00:09:51,960 Speaker 1: felt to you to take care of the little boy 162 00:09:52,040 --> 00:09:54,160 Speaker 1: and to to to and to and to do it 163 00:09:54,240 --> 00:09:56,959 Speaker 1: a myriad of jobs. Forget all the technical jobs. Forget 164 00:09:57,000 --> 00:10:00,880 Speaker 1: about you as a as his curator of his of 165 00:10:01,040 --> 00:10:06,200 Speaker 1: his film stock and so forth. In the documentary film Worker, 166 00:10:06,400 --> 00:10:11,040 Speaker 1: my Guest, Leon Vitali describes what a taskmaster, Director Stanley 167 00:10:11,120 --> 00:10:14,360 Speaker 1: Kubrick was if anything, you even went home, you said, 168 00:10:14,679 --> 00:10:19,040 Speaker 1: it is your responsibility to make sure they understand exactly 169 00:10:19,080 --> 00:10:22,400 Speaker 1: what you want. And I could take two, three, four, five, 170 00:10:22,600 --> 00:10:27,040 Speaker 1: six tries to get it right if I felt like 171 00:10:27,480 --> 00:10:31,640 Speaker 1: I wasn't getting any response or people were kind of 172 00:10:32,760 --> 00:10:35,320 Speaker 1: for one of the better phrases, digging me around, you know, 173 00:10:35,360 --> 00:10:38,000 Speaker 1: saying they're gonna send something you never get sent, and 174 00:10:38,000 --> 00:10:39,600 Speaker 1: you've got to chase him up, and chase him up. 175 00:10:39,600 --> 00:10:42,760 Speaker 1: He'd say, Okay, Leon, tonight you get on the phone 176 00:10:43,120 --> 00:10:45,520 Speaker 1: and you say to them, if they're talking like that 177 00:10:45,679 --> 00:10:49,120 Speaker 1: to you, they're talking like that to me. It really 178 00:10:49,120 --> 00:10:51,720 Speaker 1: felt like there was a kind of a loyalty there. 179 00:10:52,760 --> 00:10:55,920 Speaker 1: So sometimes did you did you when you came on 180 00:10:55,960 --> 00:10:58,400 Speaker 1: the first job with him, after you did Barry Lyndon? 181 00:10:58,960 --> 00:11:01,120 Speaker 1: You shot Barry Lyndon? Of what period? You shot that 182 00:11:01,200 --> 00:11:04,240 Speaker 1: up for nine years? I'm kidding, Um, you shot that 183 00:11:04,360 --> 00:11:07,079 Speaker 1: what years? Um? I was actually told i'd got the 184 00:11:07,200 --> 00:11:10,320 Speaker 1: role and I went down to Salisbury where they were 185 00:11:10,320 --> 00:11:14,439 Speaker 1: shooting in the January of god, what was it seventy 186 00:11:14,480 --> 00:11:18,800 Speaker 1: three something like that? Um, time time has no meaning 187 00:11:18,800 --> 00:11:23,360 Speaker 1: when you've worked with him, you know, um seventy three 188 00:11:23,520 --> 00:11:27,959 Speaker 1: and I was supposed to be there for um thirteen 189 00:11:28,000 --> 00:11:30,560 Speaker 1: days or eight weeks, and in the end I was 190 00:11:30,640 --> 00:11:36,000 Speaker 1: there until the end of July seventy three. So um. 191 00:11:36,040 --> 00:11:39,720 Speaker 1: After that, of course, there was an incredibly long cutting 192 00:11:39,720 --> 00:11:43,720 Speaker 1: period and what heavy um. And then he he rang 193 00:11:43,840 --> 00:11:49,600 Speaker 1: me because I'd actually done another film job. I think 194 00:11:49,640 --> 00:11:51,720 Speaker 1: we saw it. They went back to acting. I went, 195 00:11:51,800 --> 00:11:54,120 Speaker 1: I went to acting, and I thought I could use 196 00:11:54,280 --> 00:11:57,400 Speaker 1: what little clout I had to calm my way into 197 00:11:58,520 --> 00:12:01,320 Speaker 1: Did you say, yeah, so you would. We were in 198 00:12:01,320 --> 00:12:04,920 Speaker 1: the editor for Frankistan Yeah, yeah, yeah. What does he 199 00:12:05,000 --> 00:12:08,679 Speaker 1: make next? After after after a barrel, Linda? What does 200 00:12:08,720 --> 00:12:11,000 Speaker 1: he make? I should know? The Shining Shining? And he 201 00:12:11,080 --> 00:12:13,600 Speaker 1: sent me that book. He sent me a book. I 202 00:12:13,679 --> 00:12:16,280 Speaker 1: told him what I was doing that I love that. 203 00:12:16,320 --> 00:12:18,079 Speaker 1: So it was an actor you can make ten films. 204 00:12:18,120 --> 00:12:20,839 Speaker 1: What he's thinking of his next film? Yeah? Yeah, yeah, 205 00:12:20,840 --> 00:12:22,480 Speaker 1: And he said he'll come with me make my next film. 206 00:12:23,160 --> 00:12:27,880 Speaker 1: He started. The Shining went like nineteen no, nineteen seventy seven. 207 00:12:28,440 --> 00:12:32,360 Speaker 1: I was sent out here to America to look for 208 00:12:32,880 --> 00:12:36,240 Speaker 1: Danny and then he called me. Towards the end of 209 00:12:36,280 --> 00:12:39,880 Speaker 1: that process, I mean it took seven months during she 210 00:12:40,640 --> 00:12:43,280 Speaker 1: not to find him, but to make sure there wasn't 211 00:12:43,320 --> 00:12:45,720 Speaker 1: anyone better than him, because I found him very early 212 00:12:45,800 --> 00:12:51,040 Speaker 1: in the process, funny enough. And so just towards the 213 00:12:51,120 --> 00:12:53,960 Speaker 1: end of that process, he said, well, while you're there, 214 00:12:54,240 --> 00:12:57,240 Speaker 1: go and take some interior photographs of hotels. And I 215 00:12:57,320 --> 00:13:01,320 Speaker 1: started doing that and that got you know, that wasn't 216 00:13:01,840 --> 00:13:03,360 Speaker 1: I thought it would just be going and take a 217 00:13:03,360 --> 00:13:06,160 Speaker 1: snap of a room, you know, but it wasn't. I mean, 218 00:13:06,200 --> 00:13:09,000 Speaker 1: we were talking about exposures and you've got to do this, 219 00:13:09,040 --> 00:13:11,920 Speaker 1: you got to do that night. But the only thing 220 00:13:11,960 --> 00:13:15,840 Speaker 1: I've never had was an instematic, you know. But it 221 00:13:15,880 --> 00:13:17,880 Speaker 1: was wonderful because he sort of stepped me through it 222 00:13:17,960 --> 00:13:21,480 Speaker 1: step by step, and he said, by the time life 223 00:13:22,679 --> 00:13:26,320 Speaker 1: series photography photography books, and so I did that and 224 00:13:26,360 --> 00:13:29,120 Speaker 1: so kind of reading those and learning and then he 225 00:13:29,200 --> 00:13:32,400 Speaker 1: was telling me and so towards the very end, just 226 00:13:32,440 --> 00:13:35,920 Speaker 1: before we came home, he rang me and uh, and 227 00:13:36,000 --> 00:13:38,920 Speaker 1: he said, what are you planning on doing after you 228 00:13:39,000 --> 00:13:42,640 Speaker 1: finished here? And I said I don't know. He said, okay, 229 00:13:42,720 --> 00:13:45,680 Speaker 1: then you're coming to London and that was it. I mean, 230 00:13:45,920 --> 00:13:50,480 Speaker 1: suddenly i I've got a job again. So there's some 231 00:13:50,520 --> 00:13:52,800 Speaker 1: people who are missing from the film in my mind, 232 00:13:52,920 --> 00:13:55,599 Speaker 1: or we don't appear in the film either Tom or 233 00:13:55,600 --> 00:13:57,880 Speaker 1: in the cold to talk about the eyes Watch experience, 234 00:13:58,000 --> 00:14:01,640 Speaker 1: or members of Kubrick's family, We did you approaching them 235 00:14:01,640 --> 00:14:05,520 Speaker 1: to do the film. Um, I'll be honest and UM 236 00:14:05,760 --> 00:14:08,840 Speaker 1: say that it's really hard. If you watched, I mean 237 00:14:08,920 --> 00:14:12,640 Speaker 1: you just saw the film. Um. Ryan O'Neil is there 238 00:14:12,720 --> 00:14:18,440 Speaker 1: because Leon was his co star le Ermie obviously always 239 00:14:18,720 --> 00:14:22,000 Speaker 1: pretty much everything he has for Leon and and he's 240 00:14:22,080 --> 00:14:27,440 Speaker 1: always working. Um. We go into the status issue and 241 00:14:27,520 --> 00:14:30,000 Speaker 1: a lot of people are not interested in filming with 242 00:14:30,040 --> 00:14:34,840 Speaker 1: you to talk about an assistant, and so obviously Ryan 243 00:14:34,880 --> 00:14:38,880 Speaker 1: would do it because they were co actors. UM. A 244 00:14:38,880 --> 00:14:42,320 Speaker 1: lot of people UM in Hollywood either it's either not 245 00:14:42,360 --> 00:14:45,280 Speaker 1: going to get the truth or they didn't know what 246 00:14:45,320 --> 00:14:47,760 Speaker 1: was going on on the set. And big stars are 247 00:14:47,880 --> 00:14:50,200 Speaker 1: like they're wrapped up in their own world. They're really 248 00:14:50,240 --> 00:14:53,720 Speaker 1: not aware of what's happening because they show up obviously 249 00:14:53,720 --> 00:14:56,640 Speaker 1: there's a lot of work to do. UM, so very 250 00:14:56,680 --> 00:14:59,280 Speaker 1: little they would really know what's going on with UM 251 00:14:59,320 --> 00:15:06,080 Speaker 1: the assistant who's running around and UM doing a billion things. Yeah. Yeah, 252 00:15:06,160 --> 00:15:10,040 Speaker 1: and families is the same thing, because, um, I don't 253 00:15:10,080 --> 00:15:12,280 Speaker 1: think they were going to sit with me again and say, well, 254 00:15:12,320 --> 00:15:14,640 Speaker 1: you know why, Yes, Stanley was really difficult and he 255 00:15:14,760 --> 00:15:17,760 Speaker 1: tortured ly on and I mean again, and you have 256 00:15:17,840 --> 00:15:21,920 Speaker 1: to be objective. It's I did approach some I wasn't 257 00:15:22,080 --> 00:15:25,560 Speaker 1: you know, some wan't say who. But some felt that, 258 00:15:25,600 --> 00:15:28,560 Speaker 1: like you know, they'll be undermining Stanley if they appear 259 00:15:29,080 --> 00:15:33,320 Speaker 1: they knew the truth. But they just not going to 260 00:15:33,400 --> 00:15:36,480 Speaker 1: sit in front of the camera and say, yes, this 261 00:15:36,520 --> 00:15:39,320 Speaker 1: man done all this stuff. So in the end, he 262 00:15:39,400 --> 00:15:42,400 Speaker 1: finished his eyes wide shot, he cuts eyewat eyes watching. 263 00:15:42,520 --> 00:15:45,560 Speaker 1: It's his final cut, and he dies soon after that. 264 00:15:45,760 --> 00:15:49,760 Speaker 1: And the controversy is about about what not the final 265 00:15:49,760 --> 00:15:51,640 Speaker 1: It was it about protecting the final cut, or was 266 00:15:51,680 --> 00:15:53,280 Speaker 1: about that I was going to be printed the film? 267 00:15:53,360 --> 00:15:56,560 Speaker 1: The technology of that were you stepped in and helped 268 00:15:56,720 --> 00:16:02,720 Speaker 1: to ensure what well, Fritzical we this um We were 269 00:16:03,120 --> 00:16:07,400 Speaker 1: in the midst of running tests with stocks, different stocks 270 00:16:07,400 --> 00:16:10,320 Speaker 1: of films for printing and what have you. Uh So 271 00:16:10,400 --> 00:16:15,880 Speaker 1: we resolved that impost. We talked about it, and we'd 272 00:16:15,960 --> 00:16:20,760 Speaker 1: favored we already sort of favoring one UM one kind 273 00:16:20,800 --> 00:16:24,480 Speaker 1: of film in particular, and we started sort of working 274 00:16:24,480 --> 00:16:28,240 Speaker 1: with and experimenting it. So I knew that was the 275 00:16:28,280 --> 00:16:31,360 Speaker 1: line we were going to be taking there and things 276 00:16:31,440 --> 00:16:34,920 Speaker 1: like all the rest of it, with the foot's and 277 00:16:34,960 --> 00:16:37,680 Speaker 1: the folio and the list and that, you know, all 278 00:16:37,680 --> 00:16:40,520 Speaker 1: those things. I followed the same pattern as we did 279 00:16:41,040 --> 00:16:43,760 Speaker 1: on full metal Jackets as close as we could, you know, 280 00:16:44,040 --> 00:16:47,720 Speaker 1: different films and what have you. But it was just 281 00:16:47,760 --> 00:16:50,800 Speaker 1: to follow a pattern, you know. I hate people to 282 00:16:50,880 --> 00:16:54,080 Speaker 1: think that. I just think, you know, wow, came up 283 00:16:54,120 --> 00:16:57,200 Speaker 1: with all these ideas, and you know, it was a 284 00:16:57,360 --> 00:16:59,560 Speaker 1: standy sort of had a way of working. And I 285 00:16:59,640 --> 00:17:02,200 Speaker 1: was able to stick with it because it was so clear, 286 00:17:02,960 --> 00:17:07,880 Speaker 1: you know, and it sounds crazy, but the criteria was 287 00:17:07,960 --> 00:17:12,520 Speaker 1: to you wipe out whatever ideas you might have had 288 00:17:12,560 --> 00:17:14,600 Speaker 1: about it. Was just shocked, could it be more this, 289 00:17:14,880 --> 00:17:19,840 Speaker 1: or more beautiful, or or contrast e and get it right? 290 00:17:20,560 --> 00:17:25,439 Speaker 1: You just stick with what I knew he wanted whereabouts. 291 00:17:25,480 --> 00:17:29,480 Speaker 1: He wanted it to be here again. Tony Zaira's documentary 292 00:17:29,600 --> 00:17:32,760 Speaker 1: film Workers that people think called somebody's in a system 293 00:17:32,840 --> 00:17:37,040 Speaker 1: for someone. You're doing layouts, you're you know, you're working 294 00:17:37,080 --> 00:17:41,480 Speaker 1: with lass, you're working with restoration, you're casting people, you're 295 00:17:41,560 --> 00:17:45,399 Speaker 1: working with the actors, and sometimes I was that the 296 00:17:45,400 --> 00:17:48,200 Speaker 1: title you were happy with, or was that you didn't 297 00:17:48,200 --> 00:17:50,760 Speaker 1: make any difference. You know something, when I traveled abroad 298 00:17:50,880 --> 00:17:53,080 Speaker 1: and I used to have to fill in these visas, 299 00:17:53,520 --> 00:17:56,040 Speaker 1: they used to say occupation. I always used to write 300 00:17:56,080 --> 00:17:59,760 Speaker 1: film worker. I mean, I'm a film worker. I'm a 301 00:18:00,720 --> 00:18:05,480 Speaker 1: That's what I do. So assistant to me is nothing 302 00:18:06,000 --> 00:18:11,119 Speaker 1: other than I am assisting somebody to fulfill what it 303 00:18:11,240 --> 00:18:15,280 Speaker 1: is they want to get up on a screen. I 304 00:18:15,400 --> 00:18:18,439 Speaker 1: was Donald coj. But but seeing what you do to 305 00:18:18,680 --> 00:18:22,399 Speaker 1: kind of barnacle yourself to that ship to work with 306 00:18:22,480 --> 00:18:26,680 Speaker 1: someone like that, I'm for one, look at this film 307 00:18:26,720 --> 00:18:28,760 Speaker 1: and I was just in tears when I watched this 308 00:18:28,800 --> 00:18:31,080 Speaker 1: film the first time in my computer because it was, 309 00:18:31,119 --> 00:18:32,960 Speaker 1: like God, it was worthy. You said the goal was 310 00:18:33,000 --> 00:18:35,480 Speaker 1: to got it right. Do you think you guys got 311 00:18:35,480 --> 00:18:39,040 Speaker 1: it right with the movies that you made. The answer 312 00:18:39,080 --> 00:18:44,840 Speaker 1: is yes, yes, you got it right. That's Leon de 313 00:18:44,960 --> 00:18:47,840 Speaker 1: Tally and the man who made a movie about him, 314 00:18:47,880 --> 00:18:52,560 Speaker 1: Tony Zeira. The documentary is called film Worker. Another director 315 00:18:52,640 --> 00:18:55,479 Speaker 1: with a reputation for respecting the men and women behind 316 00:18:55,520 --> 00:18:59,480 Speaker 1: the scenes is Chris Columbus, maker of many of America's 317 00:18:59,560 --> 00:19:04,040 Speaker 1: favorite family films, from Adventures in Babysitting to Harry Potter 318 00:19:04,320 --> 00:19:08,840 Speaker 1: and The Sorcerer's Stone. That respect has deep roots. My 319 00:19:09,119 --> 00:19:12,800 Speaker 1: future was basically working at either my father's aluminum factory 320 00:19:12,880 --> 00:19:16,600 Speaker 1: or my mother's automotive factory in the Only Escape. Really, 321 00:19:17,359 --> 00:19:20,480 Speaker 1: we're movies back then, and I would watch whatever film 322 00:19:20,520 --> 00:19:23,920 Speaker 1: came into town over and over, and I remember something 323 00:19:24,000 --> 00:19:26,880 Speaker 1: clicked when I saw Butch Cassidy and The Sundance Kid. 324 00:19:27,680 --> 00:19:30,639 Speaker 1: Here the rest of my conversation with Chris Columbus that 325 00:19:30,880 --> 00:19:33,840 Speaker 1: Here's the Thing dot org coming up, more of my 326 00:19:33,960 --> 00:19:37,960 Speaker 1: conversation with Stanley Kubrick's assistant Leon the Tally on the 327 00:19:38,040 --> 00:19:51,960 Speaker 1: lack of women in many of his films. I'm Alec Baldwin, 328 00:19:52,240 --> 00:19:55,080 Speaker 1: and you were listening to Here's the Thing. In his 329 00:19:55,280 --> 00:19:59,200 Speaker 1: new movie Film Worker, Tony Ziera has documented the whole 330 00:19:59,320 --> 00:20:03,040 Speaker 1: messy pro says of making a Kubrick film. A man 331 00:20:03,160 --> 00:20:06,439 Speaker 1: as obsessed as Stanley with controlling the shot might not 332 00:20:06,520 --> 00:20:12,879 Speaker 1: have been pleased. Even though Zeira's documentary Film Worker is 333 00:20:12,920 --> 00:20:16,480 Speaker 1: an inspiring story. There's one thing I and others have 334 00:20:16,640 --> 00:20:19,920 Speaker 1: noticed about Kubrick's uber One thing I want to ask 335 00:20:19,960 --> 00:20:21,719 Speaker 1: both of your opinion of which is, of course, there 336 00:20:21,720 --> 00:20:25,439 Speaker 1: are almost no women in Kubrick's films and uh women 337 00:20:25,720 --> 00:20:29,040 Speaker 1: without when you look at Lolita, obviously one is a 338 00:20:29,080 --> 00:20:33,520 Speaker 1: young uh sexual object tormenting him and the other is 339 00:20:33,560 --> 00:20:37,040 Speaker 1: his kind of silly her silly mother. There has to 340 00:20:37,080 --> 00:20:39,760 Speaker 1: be dealt with a certain way. And from Paths of 341 00:20:39,800 --> 00:20:42,800 Speaker 1: Glory on, you know, you've got some flight attendants as 342 00:20:42,840 --> 00:20:45,360 Speaker 1: they're taking the space shuttle up to the in two 343 00:20:45,400 --> 00:20:47,960 Speaker 1: thousand one. You don't have a lot of women in 344 00:20:48,040 --> 00:20:49,840 Speaker 1: future role. Then you get to Nicole obviously and the 345 00:20:50,280 --> 00:20:52,399 Speaker 1: big featured roman eyes watching. Well, what do you think 346 00:20:52,440 --> 00:20:55,439 Speaker 1: that was about with him? Actually, you know, researching and 347 00:20:55,600 --> 00:20:58,439 Speaker 1: talking to Leon he said the greatest thing to me, 348 00:20:58,440 --> 00:21:00,920 Speaker 1: which is he said that Lulita would she was that 349 00:21:01,119 --> 00:21:03,160 Speaker 1: she is the one that actually she was the hero 350 00:21:03,280 --> 00:21:04,920 Speaker 1: at then she's the one that walked away and got 351 00:21:04,920 --> 00:21:09,240 Speaker 1: her all figured out. And you could elaborate on that afterwards. Um. 352 00:21:09,280 --> 00:21:11,440 Speaker 1: But even the past the glory, the last scene with 353 00:21:11,880 --> 00:21:14,960 Speaker 1: Christiana Kubrick's wife, I think when the women came in 354 00:21:15,040 --> 00:21:19,280 Speaker 1: they were there for a very strong um message and 355 00:21:19,320 --> 00:21:22,400 Speaker 1: they kind of turned things around you could see obviously 356 00:21:22,400 --> 00:21:26,040 Speaker 1: in I but I think Leon Ready had he could 357 00:21:26,080 --> 00:21:29,040 Speaker 1: really talk about that a lot better than me. What 358 00:21:29,080 --> 00:21:30,480 Speaker 1: do you think that? Do you have any movies on 359 00:21:30,520 --> 00:21:32,640 Speaker 1: the drawing board that were from a woman's point of view? Ever? 360 00:21:32,720 --> 00:21:37,000 Speaker 1: Or no? Uh no, I wouldn't. I wouldn't say he. 361 00:21:38,240 --> 00:21:40,480 Speaker 1: I don't think he ever thought about making a movie 362 00:21:40,480 --> 00:21:42,800 Speaker 1: about you know, a man or a woman, or a 363 00:21:42,800 --> 00:21:45,560 Speaker 1: man's world or a woman's world or whatever. I mean, 364 00:21:45,960 --> 00:21:48,560 Speaker 1: it was always a story. First they called him, and 365 00:21:48,600 --> 00:21:53,240 Speaker 1: then very often, sadly, you know, the protagonists in most 366 00:21:53,280 --> 00:21:57,320 Speaker 1: literature up until recently have been it shall be male basically, 367 00:21:57,320 --> 00:22:00,520 Speaker 1: you know. Um, But this is what I've always I've 368 00:22:00,560 --> 00:22:02,840 Speaker 1: always said. You know, if you do look at Lolita 369 00:22:03,040 --> 00:22:07,480 Speaker 1: and you do think about what that poorgo went through 370 00:22:07,640 --> 00:22:12,040 Speaker 1: and even you know she wasn't in great harmony with 371 00:22:12,119 --> 00:22:15,760 Speaker 1: her mother either, Um, but she came through it all. 372 00:22:16,040 --> 00:22:19,080 Speaker 1: She got through it all. She was pretty tough at 373 00:22:19,080 --> 00:22:20,600 Speaker 1: the end of it, if you look at it and 374 00:22:20,840 --> 00:22:23,760 Speaker 1: you think about it. And she walked out for all 375 00:22:23,880 --> 00:22:27,640 Speaker 1: of a better word, a winner. He died in prison, 376 00:22:28,280 --> 00:22:33,080 Speaker 1: you know. Um. You know Seller's characters who one was 377 00:22:33,200 --> 00:22:38,840 Speaker 1: shot and the other she escaped from too um in shining, 378 00:22:38,920 --> 00:22:45,359 Speaker 1: who survives? I mean Shelley. She survived with a little boy, 379 00:22:45,520 --> 00:22:49,639 Speaker 1: and um and and so I and I think the 380 00:22:50,440 --> 00:22:54,000 Speaker 1: when you think about Barry Lindon, you know who survived 381 00:22:54,320 --> 00:22:58,040 Speaker 1: and kept you know, even though he wanted, he tried 382 00:22:58,080 --> 00:23:02,080 Speaker 1: his best to destroyed, she has, she kept her standing 383 00:23:02,160 --> 00:23:06,439 Speaker 1: and her you know her what can you call it? 384 00:23:06,680 --> 00:23:09,720 Speaker 1: A position in life of status and whatever? You so, 385 00:23:10,200 --> 00:23:12,760 Speaker 1: you know, I really do. I don't think you thought 386 00:23:12,760 --> 00:23:17,359 Speaker 1: about it in a sort of feminine, chauvinistic sort of terms. 387 00:23:17,359 --> 00:23:21,080 Speaker 1: And when you come to eyes right shut is definitely 388 00:23:21,880 --> 00:23:26,240 Speaker 1: it's definitely Nicole's rule. Who is the stronger one? I 389 00:23:26,280 --> 00:23:28,719 Speaker 1: mean from the very off, you know, when he's getting 390 00:23:28,720 --> 00:23:31,080 Speaker 1: ready to go to the party, and the first thing 391 00:23:31,160 --> 00:23:33,399 Speaker 1: she does is, you know, she tells him where his 392 00:23:33,480 --> 00:23:35,240 Speaker 1: keys are and blah blah blah. And as they're leaving, 393 00:23:36,040 --> 00:23:40,760 Speaker 1: she looks up and down like just like that, and 394 00:23:40,760 --> 00:23:43,640 Speaker 1: he sort of told me everything just that one gesture. 395 00:23:44,040 --> 00:23:47,560 Speaker 1: You know that she she's she's looking at him, she's 396 00:23:47,640 --> 00:23:50,119 Speaker 1: checking him out, and she's the one who thinks about 397 00:23:50,200 --> 00:23:53,720 Speaker 1: things and blah blah blah. You know it's I never 398 00:23:53,760 --> 00:23:59,879 Speaker 1: thought about his films as being chauvinistic at all. Was 399 00:24:00,040 --> 00:24:02,560 Speaker 1: giving a good performance in a Kubrick film A difficult 400 00:24:02,600 --> 00:24:05,520 Speaker 1: thing to do, uh, in terms of the pressure and 401 00:24:05,560 --> 00:24:07,720 Speaker 1: the intensity of it, because some of them ever coming 402 00:24:07,760 --> 00:24:10,200 Speaker 1: without naming names, ever coming to find you and say, 403 00:24:11,000 --> 00:24:14,680 Speaker 1: what the funk am I going to do? Well? I'll 404 00:24:14,760 --> 00:24:17,639 Speaker 1: start off and say, very briefly, know, there's a scene 405 00:24:17,680 --> 00:24:22,879 Speaker 1: there where I talk about how he used to rehearse us. 406 00:24:23,280 --> 00:24:25,280 Speaker 1: I mean, you need to kick everybody off. The said, 407 00:24:25,480 --> 00:24:28,040 Speaker 1: just keep the actors and just go over it. While 408 00:24:28,080 --> 00:24:30,760 Speaker 1: he was trying to find his first angle, and from 409 00:24:30,800 --> 00:24:34,960 Speaker 1: that first angle everything else would flow from that. But 410 00:24:35,280 --> 00:24:38,240 Speaker 1: to find that first angle was so difficult for him. 411 00:24:38,280 --> 00:24:41,520 Speaker 1: It really well, the first shot was so difficult, and 412 00:24:41,680 --> 00:24:44,399 Speaker 1: because he was finding so difficult, we were running it 413 00:24:44,440 --> 00:24:46,480 Speaker 1: and running it and running it and running it and 414 00:24:46,560 --> 00:24:49,920 Speaker 1: running it. And gradually what happens is you drop all 415 00:24:50,359 --> 00:24:55,120 Speaker 1: pretense about acting. You're getting there in a really normal, 416 00:24:55,240 --> 00:24:59,640 Speaker 1: natural kind of way, and and the way people don't 417 00:24:59,680 --> 00:25:02,560 Speaker 1: always stand there and think through every word before they 418 00:25:03,000 --> 00:25:06,680 Speaker 1: say it in life and order, these people not at all. 419 00:25:07,160 --> 00:25:11,879 Speaker 1: So the acting process starts to go away in new 420 00:25:12,040 --> 00:25:15,719 Speaker 1: road and you just start to be, You start to become. 421 00:25:16,560 --> 00:25:19,000 Speaker 1: And then of course we shot a lot of takes 422 00:25:19,119 --> 00:25:23,280 Speaker 1: and so you know, you would get pushed into that direction, 423 00:25:23,359 --> 00:25:26,320 Speaker 1: which was working with Stanley thought you were ready to 424 00:25:26,400 --> 00:25:29,960 Speaker 1: shoot um. And I know that a lot of actors 425 00:25:30,000 --> 00:25:32,199 Speaker 1: don't like the thought of doing that. I mean they 426 00:25:32,680 --> 00:25:35,400 Speaker 1: want to come in and do it straight off there. 427 00:25:36,400 --> 00:25:40,040 Speaker 1: Jack was someone who could do that, but always they 428 00:25:40,080 --> 00:25:42,560 Speaker 1: had long discussions. They go off for walks around the 429 00:25:42,600 --> 00:25:46,160 Speaker 1: set and talk and talk about, you know, what they 430 00:25:46,160 --> 00:25:48,600 Speaker 1: were doing. And I think you know, when you look 431 00:25:48,640 --> 00:25:51,600 Speaker 1: at the shining and then you look at which is 432 00:25:51,640 --> 00:25:54,520 Speaker 1: of east Wick, which he made quite soon after that, 433 00:25:55,240 --> 00:25:57,480 Speaker 1: you kind of see that. I think Jack was sort 434 00:25:57,520 --> 00:26:01,960 Speaker 1: of he'd kind of east that feeling of being able 435 00:26:02,000 --> 00:26:08,240 Speaker 1: to not act mad but eccentric, but to be mad 436 00:26:08,280 --> 00:26:11,399 Speaker 1: and eccentric. I mean it was an enacting job, not really, 437 00:26:11,720 --> 00:26:13,480 Speaker 1: And I think that's one of the reasons why you 438 00:26:13,640 --> 00:26:17,440 Speaker 1: understands his actors ever got any kind of Oscar recognition 439 00:26:17,560 --> 00:26:21,600 Speaker 1: or or even nominations, because they weren't exactly acting, they 440 00:26:21,600 --> 00:26:27,159 Speaker 1: were actually being You done it a million times and 441 00:26:27,240 --> 00:26:31,320 Speaker 1: you didn't remember your dialogue. You knew your dialogue because 442 00:26:31,320 --> 00:26:34,200 Speaker 1: it was right inside your soul. You got what you say, 443 00:26:34,240 --> 00:26:37,399 Speaker 1: that idea of that repetition thing is so real because 444 00:26:38,119 --> 00:26:41,199 Speaker 1: that you see actors who have that insecurity and that 445 00:26:41,320 --> 00:26:44,680 Speaker 1: fear and they know that time is like a hand 446 00:26:44,720 --> 00:26:47,320 Speaker 1: at your throat and you're sitting there shooting and you 447 00:26:47,359 --> 00:26:50,960 Speaker 1: want to get it right. Do you think that when 448 00:26:50,960 --> 00:26:53,320 Speaker 1: you talk to him that I don't want to go 449 00:26:53,400 --> 00:26:54,720 Speaker 1: too far on this limb, but do you think when 450 00:26:54,720 --> 00:26:56,399 Speaker 1: you talk to him and spend time with him and 451 00:26:56,440 --> 00:26:59,879 Speaker 1: you around him, could you see little moments throughout the 452 00:27:00,080 --> 00:27:03,000 Speaker 1: arc of the post Barylndon career that you think he 453 00:27:03,080 --> 00:27:09,200 Speaker 1: missed acting? Does he ever have doubts about giving up acting? Yeah, 454 00:27:09,240 --> 00:27:12,280 Speaker 1: we did talk a lot of the well, I mean, obviously, 455 00:27:12,280 --> 00:27:14,479 Speaker 1: well he got his gift and eyes ye child when 456 00:27:14,480 --> 00:27:16,639 Speaker 1: he got the phone call that he is Red Cloak 457 00:27:16,840 --> 00:27:18,560 Speaker 1: and and a lot of people didn't know he was 458 00:27:18,880 --> 00:27:22,600 Speaker 1: actually that was leon Um, but as he said, he 459 00:27:22,720 --> 00:27:24,680 Speaker 1: just the phone call came in and it's like you're 460 00:27:24,680 --> 00:27:27,159 Speaker 1: doing it. And I also talked to other people that 461 00:27:27,200 --> 00:27:29,600 Speaker 1: he was supposed to dub his voice because it's just 462 00:27:29,640 --> 00:27:33,240 Speaker 1: impossible to get this amazing voice behind the mask. And 463 00:27:33,440 --> 00:27:37,359 Speaker 1: Stanley called and said, nope, I'm keeping that voice's original voice. 464 00:27:37,400 --> 00:27:40,439 Speaker 1: It's not dubbed. It's just as le undone it because 465 00:27:41,040 --> 00:27:44,320 Speaker 1: Stanley just loved how he delivered it. So yeah, actually, 466 00:27:45,000 --> 00:27:48,119 Speaker 1: Leon we did talk about that and he said that 467 00:27:48,160 --> 00:27:50,440 Speaker 1: actually the one time he missed acting where the few 468 00:27:50,480 --> 00:27:54,200 Speaker 1: times was, um, the scene on the stairs you could 469 00:27:54,200 --> 00:27:57,480 Speaker 1: take it from there. No, yeah, the scene but it 470 00:27:57,600 --> 00:28:01,159 Speaker 1: was shining and yeah, give it a bat when And 471 00:28:01,240 --> 00:28:05,119 Speaker 1: that's a real It's another example of where you know, 472 00:28:05,640 --> 00:28:08,840 Speaker 1: Stanley had taken him through the process so much, so 473 00:28:08,920 --> 00:28:13,479 Speaker 1: much that when Jack started it looked as if he 474 00:28:13,560 --> 00:28:16,119 Speaker 1: was over playing it a little. But the more he 475 00:28:16,200 --> 00:28:18,760 Speaker 1: did it, the more he felt he could relax, and 476 00:28:18,800 --> 00:28:23,040 Speaker 1: he became more terrifying for it. You know. It's quite incredible. 477 00:28:23,080 --> 00:28:25,520 Speaker 1: And just a little point here, a little thing here, 478 00:28:25,520 --> 00:28:32,760 Speaker 1: which um, well, I was living with a girlfriend and 479 00:28:32,760 --> 00:28:35,199 Speaker 1: and I was doing a lot of television work, and 480 00:28:35,280 --> 00:28:37,920 Speaker 1: she would keep on saying, what time are you going 481 00:28:38,080 --> 00:28:42,120 Speaker 1: for practice? And I thought, now, Darlin, it's rehearsal. It's 482 00:28:42,160 --> 00:28:46,000 Speaker 1: called rehearsal. Yeah, but she never stopped calling it practice. 483 00:28:46,040 --> 00:28:48,000 Speaker 1: What time are you going to be back from practice? 484 00:28:48,640 --> 00:28:51,160 Speaker 1: And I suddenly kind of thought, well, wait a minute, 485 00:28:51,280 --> 00:28:54,840 Speaker 1: Especially in television, it becomes a little bit there. If 486 00:28:54,880 --> 00:28:57,959 Speaker 1: you're not careful, you know, you you learn the lines 487 00:28:58,160 --> 00:29:01,520 Speaker 1: and you set it up and it has to do 488 00:29:01,600 --> 00:29:05,360 Speaker 1: with time as well time and everything else. But people 489 00:29:05,440 --> 00:29:09,040 Speaker 1: do arrive sometimes this is how they're going to do it, 490 00:29:09,160 --> 00:29:12,080 Speaker 1: and that's you know what's going to happen. And nothing 491 00:29:12,120 --> 00:29:15,160 Speaker 1: can happen that will change it will make it surprising 492 00:29:15,280 --> 00:29:17,360 Speaker 1: or and it can happen with stay on stage. He 493 00:29:17,440 --> 00:29:20,680 Speaker 1: could happen anywhere. But it is that thing that you know, 494 00:29:21,760 --> 00:29:25,560 Speaker 1: a process is different to some people don't need it. 495 00:29:25,600 --> 00:29:28,120 Speaker 1: I mean, some people don't need I was raised standard 496 00:29:28,160 --> 00:29:32,160 Speaker 1: SASKI one of a better word, you know, um. But 497 00:29:32,360 --> 00:29:34,480 Speaker 1: some people don't need it. And you don't always need 498 00:29:34,520 --> 00:29:37,920 Speaker 1: it for you know, a sitcom at last thirty minutes, 499 00:29:38,560 --> 00:29:41,720 Speaker 1: but you know it's there and it's SIT's it's SIT's deep. 500 00:29:41,760 --> 00:29:45,080 Speaker 1: And so that you know, ability to be able to 501 00:29:45,160 --> 00:29:50,600 Speaker 1: shift and and immerse yourself in that way is just wonderful. 502 00:29:50,880 --> 00:29:54,640 Speaker 1: It's it's a wonderful thing to be able to do. UM. 503 00:29:54,800 --> 00:29:57,640 Speaker 1: So you know, that's that's really it's so hard to explain, 504 00:29:57,720 --> 00:29:59,880 Speaker 1: but you know what I mean, we're talking about acting 505 00:30:00,040 --> 00:30:03,400 Speaker 1: really not the most thing in the world, but yeah, yeah, 506 00:30:03,480 --> 00:30:06,240 Speaker 1: and for a few years and we would do the second, 507 00:30:06,360 --> 00:30:08,520 Speaker 1: we'd say, our job is to get right up to 508 00:30:08,600 --> 00:30:10,840 Speaker 1: the edge as close as we can to really bad 509 00:30:10,840 --> 00:30:14,120 Speaker 1: acting as far as we can. I must take a 510 00:30:14,160 --> 00:30:15,440 Speaker 1: couple of questions while we have a little bit with 511 00:30:15,480 --> 00:30:20,360 Speaker 1: the sjucer right here. Did you ever think about directing yourself? Um? Yeah, 512 00:30:20,360 --> 00:30:23,560 Speaker 1: I guess I did. And I found stories that I 513 00:30:23,600 --> 00:30:26,160 Speaker 1: thought I'd really like to have time, you know, to 514 00:30:26,200 --> 00:30:29,320 Speaker 1: really get into this and research it and and write 515 00:30:29,320 --> 00:30:33,680 Speaker 1: it and you know so, um, but it's a time thing. 516 00:30:33,880 --> 00:30:36,760 Speaker 1: And sometimes I know for me, you see, I know, 517 00:30:36,880 --> 00:30:39,560 Speaker 1: my focus has to be one on what I'm doing, 518 00:30:40,200 --> 00:30:43,080 Speaker 1: and uh it's I hate the thought of him to 519 00:30:43,120 --> 00:30:47,640 Speaker 1: work at anything piecemeal. Um. But as time has gone on, 520 00:30:47,960 --> 00:30:50,520 Speaker 1: I suddenly realized that there's a lot of times has 521 00:30:50,560 --> 00:30:54,760 Speaker 1: gone by and a project like that. So I don't know. 522 00:30:54,840 --> 00:30:56,840 Speaker 1: I mean, of course I thought about it a lot, 523 00:30:56,920 --> 00:31:00,320 Speaker 1: and I think about it now. Did Cooper ever believe 524 00:31:00,400 --> 00:31:04,880 Speaker 1: that that living in England hurt his career? That if 525 00:31:04,920 --> 00:31:06,440 Speaker 1: if he had lived in New York or in the 526 00:31:06,520 --> 00:31:09,440 Speaker 1: States and could really go to dinners and go to 527 00:31:09,600 --> 00:31:11,880 Speaker 1: meetings and pressure these people so he wouldn't be having 528 00:31:11,920 --> 00:31:15,400 Speaker 1: the shitty full metal jacket display at the video store, 529 00:31:15,480 --> 00:31:17,720 Speaker 1: and he could have things more his way. That it's 530 00:31:17,720 --> 00:31:19,880 Speaker 1: a squeaky wheel that gets the grease. Did you ever 531 00:31:19,920 --> 00:31:23,520 Speaker 1: feel that way? Uh No, And we talked about We 532 00:31:23,560 --> 00:31:25,840 Speaker 1: did talk about that a lot. I mean, he he 533 00:31:25,960 --> 00:31:30,480 Speaker 1: just said, Leon, I'm not one for going back, you know. 534 00:31:30,680 --> 00:31:35,400 Speaker 1: And he liked England because simply because he could push 535 00:31:35,400 --> 00:31:37,960 Speaker 1: all that away from him. You know, he kept or 536 00:31:38,080 --> 00:31:40,680 Speaker 1: he kept all the visits to a minimum and he 537 00:31:40,800 --> 00:31:43,040 Speaker 1: wasn't going to be having to turn up at a 538 00:31:43,200 --> 00:31:46,040 Speaker 1: meeting or a meeting turn up at his place. He 539 00:31:46,040 --> 00:31:51,200 Speaker 1: could more as dictate his timetable. Okay, over here right 540 00:31:51,240 --> 00:31:53,600 Speaker 1: when this gentleman right here? Oh yeah, there's this lady. 541 00:31:53,600 --> 00:31:56,479 Speaker 1: Here we go. Sorry. He talked in the film about 542 00:31:56,600 --> 00:31:59,480 Speaker 1: the set designers. Something was breakdown, and I was just 543 00:31:59,520 --> 00:32:02,560 Speaker 1: wondering how part you got with the setting side. When 544 00:32:02,760 --> 00:32:07,360 Speaker 1: you're talking about about intensing means that happened that he 545 00:32:08,200 --> 00:32:11,720 Speaker 1: set designers of yourself. I can't say I was actually 546 00:32:11,920 --> 00:32:15,360 Speaker 1: deeply involved in in that side of it. I was 547 00:32:15,400 --> 00:32:20,560 Speaker 1: there with Standy, but the detail is so important, and 548 00:32:21,160 --> 00:32:24,160 Speaker 1: with Standy or you always felt if there wasn't a 549 00:32:24,240 --> 00:32:27,880 Speaker 1: detail there, it's because he didn't want it there. Because 550 00:32:28,240 --> 00:32:30,680 Speaker 1: that's how you get this continuity thing to you know, 551 00:32:30,800 --> 00:32:34,040 Speaker 1: Stanley one, there's a shot of Jack in in a 552 00:32:34,200 --> 00:32:36,920 Speaker 1: room time writing and there's a chair and in a 553 00:32:37,040 --> 00:32:39,680 Speaker 1: shot there isn't a chair, and that's got to mean something, 554 00:32:40,080 --> 00:32:42,240 Speaker 1: and it's no, because he changed his angles and he 555 00:32:42,320 --> 00:32:44,800 Speaker 1: thought the chair funked up his job he started, you know. 556 00:32:44,840 --> 00:32:47,560 Speaker 1: I mean it was as simple as that basic. But 557 00:32:47,720 --> 00:32:51,080 Speaker 1: you know, I think for people like Anton First, who 558 00:32:51,240 --> 00:32:54,840 Speaker 1: was set you know, production designer on full metal jacket, 559 00:32:55,600 --> 00:32:59,040 Speaker 1: and and you know, I think all of them very 560 00:32:59,120 --> 00:33:02,400 Speaker 1: exacting because actually had to take material and shape it 561 00:33:02,440 --> 00:33:05,400 Speaker 1: into something. Shot at something like the bombed down ghetto 562 00:33:05,480 --> 00:33:09,040 Speaker 1: of London full medal, yeah, yeah, yeah, yeah, yeah. It 563 00:33:09,160 --> 00:33:11,800 Speaker 1: was like some distress. It was the gas station. And 564 00:33:11,840 --> 00:33:13,680 Speaker 1: the beautiful thing about it was that a lot of 565 00:33:13,760 --> 00:33:17,720 Speaker 1: the buildings were designed by the same French architects who 566 00:33:17,760 --> 00:33:21,600 Speaker 1: did a lot of work in into China, and so 567 00:33:21,680 --> 00:33:24,320 Speaker 1: we just went around and they grew in defunct, and 568 00:33:24,360 --> 00:33:27,040 Speaker 1: they were going to put build a freeway through it, 569 00:33:27,120 --> 00:33:29,280 Speaker 1: and so he just said, do what you like, So 570 00:33:29,360 --> 00:33:32,040 Speaker 1: we went rund and blew it up. It's like one 571 00:33:32,120 --> 00:33:34,760 Speaker 1: last question right here. I never thought of that put 572 00:33:34,760 --> 00:33:37,160 Speaker 1: the glasses. Let's let's do a quick question here we go. 573 00:33:37,320 --> 00:33:39,680 Speaker 1: Did you know his show fur and what did you 574 00:33:39,720 --> 00:33:42,880 Speaker 1: think of his documentary? Oh? Yeah, I knew, Yeah, I 575 00:33:42,960 --> 00:33:46,840 Speaker 1: knew media of course, but I haven't seen the documentary. 576 00:33:47,080 --> 00:33:48,840 Speaker 1: What does he say that driving to work in the morning, 577 00:33:48,840 --> 00:33:51,840 Speaker 1: he gave Stanley all the ideas in the car. I 578 00:33:51,880 --> 00:33:53,920 Speaker 1: needed to put a forty on their Stanley and gotta 579 00:33:54,000 --> 00:33:59,040 Speaker 1: come right. Actually, the troops, like actually everybody I shot with, 580 00:34:00,440 --> 00:34:02,800 Speaker 1: they all think they were the only ones that did 581 00:34:02,840 --> 00:34:06,360 Speaker 1: everything for Stanley, and they all feel or felt that 582 00:34:06,560 --> 00:34:10,759 Speaker 1: they're the ones that were tortured. But literally, honestly, like 583 00:34:11,239 --> 00:34:14,920 Speaker 1: from here to England to Sweden, this man was really 584 00:34:14,960 --> 00:34:20,479 Speaker 1: came across constantly. H he was the guy that really 585 00:34:20,480 --> 00:34:23,600 Speaker 1: pretty much did everything. And sometimes it makes other people 586 00:34:23,640 --> 00:34:27,240 Speaker 1: that were there furious, but he really deserves it because 587 00:34:27,280 --> 00:34:29,560 Speaker 1: it is the truth. Well, let me just say that 588 00:34:29,640 --> 00:34:33,640 Speaker 1: on behalf let's hear around the post, I mean half 589 00:34:33,680 --> 00:34:36,440 Speaker 1: of the film festival that has been our anniversary year. 590 00:34:36,520 --> 00:34:38,879 Speaker 1: I saw this film a link that they generously sent 591 00:34:38,920 --> 00:34:41,799 Speaker 1: to me to watch this film a while back, and 592 00:34:41,840 --> 00:34:43,239 Speaker 1: I fell in love with this film. I've been a 593 00:34:43,239 --> 00:34:46,120 Speaker 1: great admire of yours. I love you in that movie. 594 00:34:46,200 --> 00:34:48,320 Speaker 1: I've worship you in that movie, and I want to 595 00:34:48,360 --> 00:34:50,680 Speaker 1: say once again thank you both to Tony, thank you, 596 00:34:50,880 --> 00:34:52,920 Speaker 1: and and to and to Leon for coming well. Thank you, 597 00:34:52,960 --> 00:35:03,920 Speaker 1: thank you, thank you. MM. Whether or not Kubrick's approach 598 00:35:03,960 --> 00:35:08,040 Speaker 1: to directing actors was more method than madness is something 599 00:35:08,239 --> 00:35:15,240 Speaker 1: Leon and I could argue about Tony Zeerira's documentary film Worker. 600 00:35:15,560 --> 00:35:19,000 Speaker 1: It's about Samley Kubrick and Leon Vitally and everyone who 601 00:35:19,040 --> 00:35:23,359 Speaker 1: sacrifices sleep and sanity to make great art, whether their 602 00:35:23,440 --> 00:35:28,760 Speaker 1: names get remembered or not. I'm Alec Baldwin and you're 603 00:35:28,800 --> 00:35:30,040 Speaker 1: listening to hear. Is the thing