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Speaker 1: What's Up? This is Michael Rapport on today's brand new

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Speaker 1: smash Mouth episode of the I M. Rapp Report stereo podcast,

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Speaker 1: the Home of Disruptive Behavior, Me and G Moody last

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Speaker 1: name rhymes with duty breakdown. Who we think is the

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Speaker 1: sicker sick funk of the week. The Philadelphia Eagles fan

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Speaker 1: who patiently and deliberately ate horseship after the Super Bowl

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Speaker 1: or the burglars who robbed Rob Gronkowski's house while he

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Speaker 1: was playing in that Super Bowl? Okay, who do you

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Speaker 1: think is the sicker sick funk of the week. Plus,

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Speaker 1: we're discussing the Uma Thurman Quentin Tarantino situation, the car

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Speaker 1: accident that took place on Kill Bill, and we have

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Speaker 1: special guests. The Terminator is in the motherfucking house. Robert

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Speaker 1: Patrick from Terminator Too. You've seen him in Copland and

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Speaker 1: I got to work with him on that. He tried

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Speaker 1: to drown me in that. You've seen him in True Blood,

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Speaker 1: Gangster Squad, he saw him in Walk the Line, he

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Speaker 1: was in the Sopranos, Dope Ass Career. You see him

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Speaker 1: every single week on the hit show on CBS Scorpion.

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Speaker 1: Plus he's talking about his new movie that just came

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Speaker 1: out on Netflix. It's dope. It's based on a true

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Speaker 1: story called The Last Rampage, The Escape of Gary Tisson,

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Speaker 1: based on a true story that took place in nineteen

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Speaker 1: seventy five when these guys broke out of the Arizona

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Speaker 1: State Prison. My man, Robert Patrick, the Terminator is in

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Speaker 1: the motherfucking house. It's an interview that you're not gonna

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Speaker 1: want to miss. So much information, so many anecdotes from

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Speaker 1: all his films, different actors, who's the best he's ever

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Speaker 1: worked with, who's the worst, what it was like work

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Speaker 1: when slice the loane on Copland, and so much more.

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Speaker 1: Terminator two stories, how he almost called on fire on

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Speaker 1: the set of Terminator to Iron Wrappports stereo podcast Miles

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Speaker 1: Jordan's let me get something really, really really funky. You

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Speaker 1: know they did it. They did it. I think they

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Speaker 1: remade the classic better No Disrespect, No Disrespect, but the

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Speaker 1: new Death Wish film as a remake of the classic

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Speaker 1: Charles Bronson film was rebooted, remade with Bruce Willis. Bruce

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Speaker 1: Willis is back. I saw this movie. It's dope. It's badass.

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Speaker 1: Bruce Willis is kicking ass. You gotta see this on

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Speaker 1: the big screen for its action sequences. I'm telling you,

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Speaker 1: I saw it. The theme in this movie is really

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Speaker 1: how far would you go to protect your family? Huh

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Speaker 1: MGM Pictures presents director Elive Roth reimagining the nineteen four

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Speaker 1: revenge classic Death Wish. Dr Paul Kersey played by Bruce

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Speaker 1: Willis as a surgeon who only sees the aftermath of

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Speaker 1: his city's violence as it's rushed into the er until

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Speaker 1: his wife played by Elizabeth Shoo, and his college age

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Speaker 1: daughter are viciously attacked in their suburban home. With the

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Speaker 1: police overloaded with crimes, Paul, burning for revenge, hunts his

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Speaker 1: family's assailants down to deliver justice. I saw Death Wish.

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Speaker 1: It's dope. You should see it. To Death Wish, starring

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Speaker 1: Bruce Willis, in theaters March second. All right, see Iron

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Speaker 1: Rapports stereo podcasts coming live and direct. My name is

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Speaker 1: Michael Rapp Report a k A The Bobby Knight of podcasting.

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Speaker 1: A K is the White Folks a k. The Gringo

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Speaker 1: Man Dingo a k A White Mike here with G. Moody.

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Speaker 1: Last name rhymes with duty. That's in fact, yep. G

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Speaker 1: Monetti always ready you know the name, you know the game,

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Speaker 1: Have no fear. The I Am Wrap Reports Stereo podcast

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Speaker 1: is here. We're here. Um, as I told you, we

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Speaker 1: got a dope ass episode coming up today. Me and

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Speaker 1: Moody are gonna do our thing as always. Uh. Then

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Speaker 1: we have an iconic actor, been an iconic films, iconic

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Speaker 1: television shows. I worked with them on Copland, so on

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Speaker 1: the show Scorpion on CBS. Seen him in so many

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Speaker 1: different things, Gangster Squad, the Sopranos, Walk the Line, and

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Speaker 1: the motherfucking Terminator too. This is a dope interview if

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Speaker 1: you love movies, if you want to get some insight

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Speaker 1: and how movies are made, crazy directors, what actors and

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Speaker 1: directors will do to sometimes get the shot, to get

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Speaker 1: something to look real. This interview with Robert Patrick is dope.

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Speaker 1: It's been in so much Ship, Charlie's Angels, I mean,

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Speaker 1: just on and on and on and on and on

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Speaker 1: and on and on. Um. And like I told you,

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Speaker 1: we got dope Copland stories, Dope Terminated two Stories, just

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Speaker 1: a good dude and just I mean very prolific career.

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Speaker 1: So we're gonna talk about so many different things. But

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Speaker 1: this this, uh, well before we get into this Uma

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Speaker 1: Thurman Quentin Tarantino situation talking about crazy directors. We're gonna

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Speaker 1: double back to that, okay, Um. I want to shout

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Speaker 1: out the great Dennis Edwards, lead singer of the Temptations. Uh.

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Speaker 1: Soul singer, very prolific, very sort of. Uh. I don't

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Speaker 1: know his career, he had a lot of Listen, Dennis

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Speaker 1: Edwards hasn't been popping for a long time. Still an

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Speaker 1: icon still, I mean listen, lead singer of the Temptations.

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Speaker 1: It doesn't get any bigger than that. Some of the

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Speaker 1: greatest music ever made. And he has literally one of

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Speaker 1: the best R and B soul songs ever made that

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Speaker 1: he made. Uh, don't look any further, moles Q that beat.

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Speaker 1: There you go with, SAIDA Garrett. Everybody knows this beat

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Speaker 1: been sampled. Tupac rocked on it for hit him up.

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Speaker 1: Of course, Eric B and rock Kim rocked on it. Uh.

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Speaker 1: And and that's just the two off the top of

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Speaker 1: my head. E. P. M. D rocked on this beat, Uh,

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Speaker 1: Dennis Edwards, of course, David Ruffin. They had Eddie Kendricks Temptations,

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Speaker 1: I mean they had they had a very tumultuous a

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Speaker 1: group situation with those guys. The Great Dennis Edwards passed away.

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Speaker 1: Um sound of Motown, sound of Americana. Uh, Moody, you

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Speaker 1: gotta Dennis Edwards beat, didn't you samples? Didn't you do

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Speaker 1: some Dennis Edwards beats and Moody beats? No, it was

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Speaker 1: it was Temptations when he was in the when he

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Speaker 1: was in the group. But uh yeah, of course, then

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Speaker 1: Dennis said, was that that signature gravelly uh gospel? Uh voice?

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Speaker 1: What did a great soul sing is of all time?

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Speaker 1: Of all time? That that that kind of gravelly, soulful

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Speaker 1: bluesy bout it bout it Chicago voice. He's from it Alabama, Fairfield, Alabama.

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Speaker 1: I would have never been to Fairfield, Alabama. Okay, but

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Speaker 1: that's some that's some down south about it bout it shit.

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Speaker 1: Uh So, farewell to the great Dennis Edwards. Uh and

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Speaker 1: uh what can I say? Um? So super Bowl bad clash,

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Speaker 1: the sort of all the the news from the Super Bowl,

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Speaker 1: the Malcolm Butler of it, all the Philadelphia celebrations, the firing,

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Speaker 1: the looting, that Tom Brady being in the Illuminati or

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Speaker 1: not being in the Illuminati. People just can't stop talking

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Speaker 1: about that. Obviously, the sick fuck of the week who

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Speaker 1: doesn't even need the award. The fan in Philadelphia who

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Speaker 1: was on his hands and knees and and and was

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Speaker 1: smelling it. Was like, if you haven't seen the video

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Speaker 1: of the of the fan of Philadelphia who ate the

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Speaker 1: horse ship, Um, if you're into horseship eating videos, you

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Speaker 1: gotta check it out. Because the guy not only did

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Speaker 1: he eat horseshit, he he was on his hands and

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Speaker 1: knees and he was like smelling different piles of horseshit

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Speaker 1: to sort of figure it out which one he wanted

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Speaker 1: to eat. He didn't just like the guy in Cleveland

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Speaker 1: who just picked up the horse ship and ate it.

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Speaker 1: This guy was like obviously had a fetish for it.

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Speaker 1: He took his time, he found the exact pile he

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Speaker 1: wanted and then proceeded to eat it. Okay, scatting, scatting,

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Speaker 1: he's scat He scat the horses That's some caveman ship.

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Speaker 1: You can never get you can never get over that.

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Speaker 1: That's for the rest of his life. This guy fucking

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Speaker 1: disgraced his family. These guys, that guy is a piece

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Speaker 1: of ship on video. Did you know what kind of

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Speaker 1: shame this person's mother father, sister, cousins, his grandparents. Like,

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Speaker 1: I'm not a big drug and alcohol guy. I've never

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Speaker 1: sniffed anything. I've never taken any pills. I've never even

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Speaker 1: have you ever seen me be drunk? No, I've never seen. Yeah,

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Speaker 1: I'm not a drinker. Now, every now and then I

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Speaker 1: like to dabble in my weed, but even that I've

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Speaker 1: had to pull off of because of the bronchial situation. Yeah. Now,

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Speaker 1: I don't know what you have to be on. I

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Speaker 1: don't care if your team won the goddamn Super Bowl

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Speaker 1: ten times in a row. I don't care if the

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Speaker 1: Utah Jazz won the championship. I don't care if the

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Speaker 1: r Lawyer Orlando Magic this season somehow made it to

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Speaker 1: the finals and knocked off the Golden State Warriors this season.

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Speaker 1: There is never any reason, unless you were truly on

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Speaker 1: bath salts or a good dose of those gray skies

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Speaker 1: or that Hui, that you should be eating horse ship.

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Speaker 1: There's nothing that's so great. There's no celebration that should

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Speaker 1: ever prompt you to eat horseshit. Yeah, and it's it's

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Speaker 1: it's around the world. It's all. Everybody had the cameras

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Speaker 1: and this guy had no shame, no nothing, just doing

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Speaker 1: it and he like put it in his mouth and

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Speaker 1: like gargled it around. You pick the kind of guy

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Speaker 1: is that? This is this guy? I mean, it speaks

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Speaker 1: for itself. This is a this is a savage. Do

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Speaker 1: you think we should give him the sick funk of

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Speaker 1: the week or is or does he not have what

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Speaker 1: it takes to win the sick funk of the week?

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Speaker 1: Or is he the essence of the sick funk of

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Speaker 1: the week. I'm deferring to you on this. He is

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Speaker 1: the essence of it, because just looking at that repulses you.

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Speaker 1: And and and he got into his mouth like it's

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Speaker 1: scope miles cue the sick funk of the week. This

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Speaker 1: award is earned, not given. It's called the sick fucking

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Speaker 1: a week. This guy is really sick. Lock him off?

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Speaker 1: How could you do it? Don't let him out? Damn?

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Speaker 1: When the door you want you fuck the door? Why

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Speaker 1: would you fuck the dog? Why would you fuck your

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Speaker 1: girlfriend's dog? What? Sick? Fuck? The sick funk of the week.

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Speaker 1: It's earned, earned, not killing you didn't what no, no, no,

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Speaker 1: my friend in Philadelphia. It come early in the show

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Speaker 1: where we're gonna probably double back later on for some

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Speaker 1: more sick funcks of the week. But you're getting a

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Speaker 1: solo sick funk of the week, you nasty dog, animal

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Speaker 1: savage caveman. Fuck you. Shame on you. Shame on you.

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Speaker 1: When you hand in your resume to get a job,

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Speaker 1: make it a video clip of you eating the horseshit.

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Speaker 1: You think that's that's dope. You think you think you're

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Speaker 1: popping because you ate horseshit. You ain't popping, Damn you

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Speaker 1: ate horseshit because the team won the Super Bowl. You

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Speaker 1: will live in Philadelphia, my man, You're not in Cleveland.

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Speaker 1: At least the guy in Cleveland. His excuse can be

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Speaker 1: that I live in Cleveland. You know you never win

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Speaker 1: in the Championship again if you're a Cleveland Cavaliers fan.

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Speaker 1: So as sick as the Cleveland Cavaliers fan who ate

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Speaker 1: the horseshit on video? Is this guy in the fighting

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Speaker 1: city of Philadelphia. This is a great city, this is

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Speaker 1: a prominent city. You shamed Rocky Balboa, You shamed Paulie,

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Speaker 1: You shamed Adrian, You shamed Mickey God rest his soul.

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Speaker 1: You shamed Gazo, You shamed Dr j Ron Jaworski, Randall Cunningham,

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Speaker 1: Bobby Clark, Smoking Joe, Smoking Joe Fraser, gamble it Huff

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Speaker 1: are you you? You shamed Billy Preston, Billy Paul. I

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Speaker 1: mean you shamed everything great. You shamed Gino from Geno's

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Speaker 1: Steak and Cheese. You you shamed everything about Philadelphia. They

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Speaker 1: should send your ass to Cleveland. You're such a nasty motherfucker.

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Speaker 1: But as sick as this person is, as sick as

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Speaker 1: the ship eating bandit in Philadelphia is. You shamed Duke.

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Speaker 1: You shamed Apollo Creed and his trainer Duke played by

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Speaker 1: Tony Burton. You fucking shamed Drago and Tommy Gunns. You

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Speaker 1: fucking animal. You you shamed Creed. You shamed Michael B.

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Speaker 1: Jordan who played Creed. You shamed Bill Conti, who did

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Speaker 1: the Rocky theme. But as sick as the person is,

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Speaker 1: and he's sick, I mean really sick. While the Super

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Speaker 1: Bowl was going on just miles away from the New

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Speaker 1: England Patriots home stadium, where Rob Gronkowski for years has

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Speaker 1: been a beast, well, Rob Gronkowski, just two weeks ago,

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Speaker 1: took a blow to the head, was concussed, came back

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Speaker 1: and scored two touchdowns in the Super Bowl. Rob Gronkowskis

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Speaker 1: had back surgeries, broken legs, broken elbows, and nameless other

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Speaker 1: injuries that he probably didn't even report. Now it is

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Speaker 1: very public and very well documented that I cannot stand

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Speaker 1: the New England Patriots as much as I can't stand

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Speaker 1: Bill Belichick, Pencil, Dick Matt Patricia, Tom Brady and the

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Speaker 1: entire Patriot way, Robert Kraft and his weird fucking hair

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Speaker 1: and his overly stylized custom made suits. Yeah, slow talking.

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Speaker 1: Everybody that watches football, you can't hate Rob Gronkowski. You

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Speaker 1: might not be a fan, but you'd be hard pressed

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Speaker 1: to find somebody that vehemently hates Rob Gronkowski the way

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Speaker 1: they generally hate most of the Patriots. While Rob Gronkowski

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Speaker 1: was out there getting busy in the Super Bowl, which

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Speaker 1: was played in Minnesota, another sick fuck, and you know

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Speaker 1: it had to be an inside job. A sick fuck

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Speaker 1: burglarized probably two or three sick funs broke into Rob

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Speaker 1: Gronkowski's house or condo is probably a house just miles

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Speaker 1: away from Gillette Stadium, where the man has been a

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Speaker 1: savage a beast on the gridiron for years. Broke into

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Speaker 1: his house and robbed Rob Gronkowski. No, man, damn. I

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Speaker 1: mean probably roommates, you know, on the fucking roommates. He's

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Speaker 1: Rob Gronkowski. I think he has roommates. I mean, think

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Speaker 1: about that. You you you played a Super Bowl, you

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Speaker 1: play your heart out, You're just coming back from a concussion.

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Speaker 1: You've you've always come back, You've always answered the bell,

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Speaker 1: he's always showed up. Your team loses, and on top

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Speaker 1: of that, you come home to find out that your

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Speaker 1: house was burglarized just minutes away from the stadium, your stadium.

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Speaker 1: Mm hmm. They took multiple safes. We we don't know

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Speaker 1: what was in the safes. Um possibly guns. I'm sure

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Speaker 1: the gun where we're all legal and and and unknown things.

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Speaker 1: There's a rumor saying that his Super Bowl rings, or

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Speaker 1: one of his Super Bowl rings was was taken. You

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Speaker 1: did it to one of the most iconic Boston athletes ever.

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Speaker 1: He's up there with Larry Bird, Big Poppy, call your

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Speaker 1: strim Sky, the guy that deflated the footballs for Tom Brady.

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Speaker 1: I mean, as far as it's it's like this current team,

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Speaker 1: it's Brady Gronk. That's it. Like those are the two

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Speaker 1: most popular across the board. Guys, A Mendola is not

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Speaker 1: even the same fucking league as Rob Gronkowski. Damn well,

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Speaker 1: they'll get to the bottom of it. Oh, get to

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Speaker 1: the bottom of it. They're gonna they're gonna duct tape

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Speaker 1: the motherfucker's that robbed his house to the field goal

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Speaker 1: post in Gillette and apparently they're gonna have a public viewing.

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Speaker 1: Is Rob warn Kowski? Does Gronk spikes with a football

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Speaker 1: into the Burglars ass. He's gonna spike of football repetitively

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Speaker 1: right into the guy's ass until he walks off the

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Speaker 1: field bleeding. Donnall fucking teach you to rob Rob Gronkowski's house.

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Speaker 1: I mean, who's worse the guys that robbed Rob Gronkowski

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Speaker 1: that had to be from Massachusetts that probably have Rob

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Speaker 1: Gronkowski jerseys, or the guy who ate the ship in Philadelphia?

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Speaker 1: Who do you think is worse? Damn man, the tough call.

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Speaker 1: Huh um, We'll let the people decide. Um. I put

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Speaker 1: a pole up on Twitter. If you don't follow me

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Speaker 1: on Twitter, it's at Michael rappaport um and please answer

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Speaker 1: the poll because I found this very offensive and I'm

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Speaker 1: not even uh Patriots fan. I just found it, like

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Speaker 1: just to add insult to injury. The police report says

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Speaker 1: he has roommates and they are suspects. The roommates did it.

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Speaker 1: If it's it's an inside job, Oh, they're gonna find out.

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Speaker 1: They go and they get his safe, they know where

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Speaker 1: things are. The guy has roommates. It'll come out and

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Speaker 1: these guys set it up and they'll be caught. Hopefully

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Speaker 1: he'll get all that ship back. Yeah. Well, I'm I

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Speaker 1: mean roommates and caretakers or his dudes that live in

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Speaker 1: the guesthouse and who the fuck knows whatever it is.

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Speaker 1: The trust me, I'm sure this went to the top

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Speaker 1: of the cases in uh in Boston. Trust me, Rob Gronkowski,

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Speaker 1: he's beloved. Yeah. Um okay, So Saturday, last Saturday, a

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Speaker 1: few days ago. Uma Thurman, who has been connected to

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Speaker 1: the Harvey Weinstein. Uh, he's she's she's been. It's been

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Speaker 1: rumored and she's sort of verified it hasn't spoken about it.

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Speaker 1: She's been, Uh, one of Harvey Weinstein's victims. Yeah, he

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Speaker 1: attacked her, he sexually assaulted her. They had a relationship.

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Speaker 1: She goes into it in great detail, and I suggest

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Speaker 1: you read it in a New York Times article that

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Speaker 1: that she she co signed. She wrote it. I mean,

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Speaker 1: she didn't write it, but she you know, it's her.

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Speaker 1: It's her article. It's by her. It's not some fluff

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Speaker 1: piece written by TMZ or or some rag like The

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Speaker 1: Root or something like that. Like it's a first hand

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Speaker 1: account from Uma Thurman. Um. Obviously, Harvey Weinstein is a

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Speaker 1: piece of ship um And she breaks all that down

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Speaker 1: also in the article, which I don't understand why this

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Speaker 1: particular event was connected to the article about Harvey Weinstein's

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Speaker 1: sexual assault of Uma Thurman. UM. But they tie Quentin Tarantino,

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Speaker 1: who he said he kind of had an idea. I'm

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Speaker 1: I'm not quoting here, but because I don't want to,

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Speaker 1: I don't wanna it's it's too serious to make light of.

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Speaker 1: But he said that he felt like he didn't say

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Speaker 1: anything at the time, not just with Uma Thurman, but

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Speaker 1: just in general. Okay, he's publicly said that, um. But

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Speaker 1: in the article, for some reason, the article starts to

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Speaker 1: talk about a falling out that Uma Thurman had with

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Speaker 1: Tarantino on the set of Kill Bill. Now, kill Bill

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Speaker 1: obviously was a huge movie, and kill Bill was after

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Speaker 1: Pulp Fiction, which was one of the hugest movies of

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Speaker 1: all time both uh, financially, critically and listen, I don't

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Speaker 1: need to do an introduction for pulp fiction. It's it's iconic, uh,

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Speaker 1: you know film. But Pulp Fiction made Uma Thurman a

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Speaker 1: humongous star. I happened to work with Uma Thurman right

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Speaker 1: after that on Beautiful Girls, which we shot in Minnesota.

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Speaker 1: Me and Gerald have talked about our Minnesota chronicles often

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Speaker 1: on the Iron Wrap Ports Stereo podcast. Um. But she

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Speaker 1: talks about on the set of Kill Bill her being

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Speaker 1: sort of pushed into doing what would felt to be

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Speaker 1: a dangerous driving sequence. You know, the famous part of

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Speaker 1: the film which she's driving in the car on the

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Speaker 1: way to the fighter after the fight. Her hair is

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Speaker 1: flowing and it's it's it's very stylized, and I guess

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Speaker 1: she was concerned about the car and they were shirt

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Speaker 1: shooting on a narrow dirt road and her in Tarantino, who,

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Speaker 1: by the way, also I can't confirm her denyus, but

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Speaker 1: it is rumored. It is rumored that they were romantically

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Speaker 1: linked at some point. I would bet, I would bet.

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Speaker 1: Now this is just me my opinion based on everything

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Speaker 1: you've seen and know, and I funk with them both

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Speaker 1: that they did have some sort of romantic relationship throughout

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Speaker 1: their twentysomething year career working together. Okay, that's just my

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Speaker 1: gut instinct based on what I know, what I smell.

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Speaker 1: You can smell it, right, Tarantino, her in Tarantino, her

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Speaker 1: in Tarantino. Okay, but that's not the point, but it

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Speaker 1: is sort of the point. Anyway, they had a very passionate,

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Speaker 1: very successful um relationship as an actor, actress director. You know,

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Speaker 1: he obviously got the best out of whom with Thurman

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Speaker 1: in pulp Fiction and in kill Bill, and she brought

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Speaker 1: the best out of him as a writer director. Cut

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Speaker 1: to she talks about this car accident that happened on

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Speaker 1: the set of kill Bill, and some video footage finally surfaced.

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Speaker 1: It was sort of I guess was being held by

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Speaker 1: Harvey Weinstein, and I guess Tarantino wasn't helping. Uh, you know,

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Speaker 1: let the surface the video footage come out, and and

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Speaker 1: it finally came out, and it came out in uh

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Speaker 1: with this article, and you see her driving and then

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Speaker 1: you she gets into an accident and I guess, you know,

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Speaker 1: she banged her head and I don't I don't know

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Speaker 1: all the details because I don't fact check and I'm

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Speaker 1: not referencing the article. But she got fucking she got

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Speaker 1: sucked up. I think she had a little concussion, maybe

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Speaker 1: she had a busted rib something. And she's saying that,

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Speaker 1: you know, he sort of pushed her into doing the

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Speaker 1: driving stunt, and Tarantino just came back and saying, that's

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Speaker 1: not totally the case, but he did say, you know,

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Speaker 1: when you're making a movie, you know, you you get temperamental,

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Speaker 1: you know, and actors always want to please their directors.

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Speaker 1: And she says this in the article, and directors always

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Speaker 1: want their the actors to go further for them. It's

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Speaker 1: kind of like a basketball cult or a football coach,

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Speaker 1: you know. They demanded. Sometimes they might be like Rapp

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Speaker 1: before you fucking a ship, They say like Jim, go

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Speaker 1: outside in there, in there in the rain, run a mile,

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Speaker 1: you know, or Moody, you fucking blah blah blah, you're

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Speaker 1: not getting back on defense. Sit your fucking ass down.

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Speaker 1: This is when you're a kid. I've seen it happen

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Speaker 1: to you. I saw it happen to you when we

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Speaker 1: played the rest. They they it happens. They and that's

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Speaker 1: and that's just at the level we played. You know,

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Speaker 1: Bobby Knight obviously took things too far. You you see

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Speaker 1: it all the time, coaches flipping on kids, players flipping

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Speaker 1: on coaches, shout out to Latrullo's people. It's a temperamental thing.

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Speaker 1: I'm just trying to give you an analogy because I've

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Speaker 1: worked on films. I've been screamed at by directors. I've

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Speaker 1: screamed back at directors. I've screamed at cameraman. Cameraman have

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Speaker 1: screamed back at me. Harvey Kite Tell. We talked about

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Speaker 1: it later on in the interview with Robert Patrick. He

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Speaker 1: smacked my face. And when we were shooting scene from Copland.

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Speaker 1: You know it's three in the morning, you're on the

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Speaker 1: George Washington Bridge, you have two hours to shoot. Yeah,

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Speaker 1: and and and you know these things happened. I was

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Speaker 1: on the set of Higher Learning. I could have used

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Speaker 1: a stunt man me and Omar Epps in the scene

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Speaker 1: in the in the dorm where I pulled the gun

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Speaker 1: out on him and I'm talking all this ship to him.

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Speaker 1: You know, we get into it. Uh, you know, we're young,

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Speaker 1: we're fiery. He accidentally, um, you know, came down with

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Speaker 1: his knee on my ribs. I know for sure I

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Speaker 1: had a broken rib. I didn't say nothing about it,

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Speaker 1: never complained about it. I was twenty four years old.

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Speaker 1: We all want to be the next Robert de Niro.

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Speaker 1: We all want to be the next uh Marlon Brando.

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Speaker 1: You know the scene in Higher Learning where we're fighting

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Speaker 1: on the on the yard. You know it's an accident.

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Speaker 1: You all right, good, Yeah, I'm good, I'm good. You know,

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Speaker 1: you pick each other up. It's you're not really fighting.

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Speaker 1: Even in that movie, I'm playing a skinhead calling him

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Speaker 1: all sorts of thing. We're we're actors trying to do

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Speaker 1: our thing. Uh. The movie Kissing Death me David Caruso

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Speaker 1: and Nicolas Cage. There's a scene in that movie where uh,

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Speaker 1: Nicolas Cage and the stuntman choreographed doing a scene. It

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Speaker 1: was supposed to be with a stunt man. They worked

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Speaker 1: it out. Nicolas Cage pulls a guy out of uh

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Speaker 1: an eighteen wheeled truck. The guy's a stuntman. He's supposed

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Speaker 1: to pick him and throw him up against the truck. Well,

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Speaker 1: it didn't work. The guy drops like a fucking sandbag,

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Speaker 1: bust his head open, goes to the hospital. It's in

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Speaker 1: It's in the movie, right. I can't remember the name

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Speaker 1: of the uh, the Vincent Gallo with Able Ferrara, the

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Speaker 1: King of New York director. Uh. He got his nose

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Speaker 1: broke on the set when I was shooting White Famous.

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Speaker 1: It's in the episode of White Famous, the second episode

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Speaker 1: or third episode of White Famous. Jay farre I think

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Speaker 1: we met have talked about it when Jay Farrell was

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Speaker 1: on the show. Punched me in my fucking nose. We

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Speaker 1: could have a stunt people. We tried to do it.

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Speaker 1: Literally punched me on my nose. If he had been

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Speaker 1: an inch uh close, he would have broken my nose.

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Speaker 1: And I have a big fucking nose. This fucking thing

417
00:29:10,560 --> 00:29:15,760
Speaker 1: is hard to miss. Total accident, total accident. You know,

418
00:29:15,880 --> 00:29:18,040
Speaker 1: it was hurting, it was bleeding, it was hurting for

419
00:29:18,080 --> 00:29:20,560
Speaker 1: two weeks. It's still a little bit sore. This fucking noses.

420
00:29:21,120 --> 00:29:25,320
Speaker 1: It ain't easy to miss. You all right, you're good,

421
00:29:25,360 --> 00:29:27,440
Speaker 1: you're good. The doctors come, you need to go to

422
00:29:27,440 --> 00:29:29,800
Speaker 1: the hospital. Bloh, I'm good, I'm good, I'm good. It happens,

423
00:29:30,080 --> 00:29:34,400
Speaker 1: these things happen on on movie sets. It can get tense.

424
00:29:34,720 --> 00:29:38,920
Speaker 1: There's a lot of uh. Money, there's a lot of bruhah,

425
00:29:39,120 --> 00:29:41,480
Speaker 1: there's a lot of uh. You know, time is of

426
00:29:41,520 --> 00:29:44,280
Speaker 1: the essence, and I'm sure a lot of those things

427
00:29:44,480 --> 00:29:48,800
Speaker 1: had to do with Quentin Tarantino wanting what he wanted

428
00:29:49,160 --> 00:29:52,640
Speaker 1: from his star who he's rocked with and she's rocked

429
00:29:52,680 --> 00:29:57,360
Speaker 1: with him for years, which caused this car accident. You know,

430
00:29:57,440 --> 00:30:00,160
Speaker 1: these things happen. You know, people are saying, all is

431
00:30:00,520 --> 00:30:03,200
Speaker 1: he forced her, he took advantage of her. It was

432
00:30:03,400 --> 00:30:05,680
Speaker 1: it was a man with a woman. This has nothing

433
00:30:05,680 --> 00:30:08,160
Speaker 1: to do with a man. Everything isn't about fucking race

434
00:30:08,240 --> 00:30:12,120
Speaker 1: and gender. So this came out today about the the

435
00:30:12,160 --> 00:30:16,600
Speaker 1: accident that how long ago was the accident was fifteen

436
00:30:16,640 --> 00:30:18,640
Speaker 1: sixty years ago on on the on the set of

437
00:30:18,640 --> 00:30:22,640
Speaker 1: a kill Bill. But but she had been saying that

438
00:30:22,680 --> 00:30:24,960
Speaker 1: the footage was hidden because I think they were afraid

439
00:30:25,000 --> 00:30:27,640
Speaker 1: she was gonna do a lawsuit. I'm not talking about

440
00:30:27,640 --> 00:30:31,000
Speaker 1: the lawsuit. If she wants to sue him, sue him. Yeah.

441
00:30:31,160 --> 00:30:34,360
Speaker 1: The point that I'm talking about is that now Quentin Tarantino,

442
00:30:34,920 --> 00:30:37,440
Speaker 1: you know, he took advantage of his his female actress.

443
00:30:37,440 --> 00:30:41,000
Speaker 1: And I'm saying this is bullshit. This particular part of it,

444
00:30:41,400 --> 00:30:45,920
Speaker 1: not the Harvey Weinstein thing, Okay, has nothing to do

445
00:30:45,960 --> 00:30:48,160
Speaker 1: with the Harvey Wines. I'm talking about the accident on

446
00:30:48,200 --> 00:30:53,040
Speaker 1: the set of Kill Bill. This has happened over and

447
00:30:53,160 --> 00:30:55,560
Speaker 1: over and over. It happens all the time on TV

448
00:30:55,680 --> 00:31:00,600
Speaker 1: shows and on sets way worse things have happened. Well,

449
00:31:00,680 --> 00:31:04,600
Speaker 1: now it's piling on now, it's everything is magnified. So

450
00:31:04,960 --> 00:31:07,840
Speaker 1: when she says that, of course, you know, the people

451
00:31:08,160 --> 00:31:10,840
Speaker 1: who are on this ship are gonna use that. You

452
00:31:10,880 --> 00:31:12,600
Speaker 1: know they're gonna use that and say, look look what

453
00:31:12,680 --> 00:31:15,560
Speaker 1: he's doing. Look what the man is doing. Again the man,

454
00:31:15,680 --> 00:31:20,000
Speaker 1: Look he took advantage. So it's just unfortunate that it's

455
00:31:20,000 --> 00:31:22,640
Speaker 1: in this climate. So of course Quentin is gonna get

456
00:31:23,360 --> 00:31:28,960
Speaker 1: He's gonna get lambasted, completely lambasted. Anyway. Uh. You know,

457
00:31:29,160 --> 00:31:30,800
Speaker 1: at the time I spent with him with Therman on

458
00:31:30,840 --> 00:31:35,520
Speaker 1: Beautiful Girls, she was a fucking doll, classiest ship. Obviously.

459
00:31:36,080 --> 00:31:40,000
Speaker 1: You know, I've said it publicly, I've said it publicly.

460
00:31:40,560 --> 00:31:44,400
Speaker 1: I'll say it here right now. The only time I

461
00:31:44,480 --> 00:31:49,080
Speaker 1: was ever aroused doing a scene with a woman in

462
00:31:49,120 --> 00:31:52,200
Speaker 1: a show or a movie was on the set of

463
00:31:52,520 --> 00:31:57,520
Speaker 1: Beautiful Girls. During the dance scene I caught would Oh,

464
00:31:57,720 --> 00:32:01,160
Speaker 1: I don't blame you. She's bad. She's bad. Beautiful look

465
00:32:01,520 --> 00:32:05,040
Speaker 1: I mean. And she was in her zestful post pulp

466
00:32:05,160 --> 00:32:10,520
Speaker 1: fiction prime tall, like an amazon fucking goddess with big,

467
00:32:10,600 --> 00:32:15,400
Speaker 1: huge hands. Who who's her? Man? Who who's she messing with? Now?

468
00:32:15,560 --> 00:32:17,200
Speaker 1: I don't know she's messing with it, I tell you.

469
00:32:17,240 --> 00:32:22,200
Speaker 1: On the set of Beautiful Girls, she started dating Timothy Hutton,

470
00:32:22,280 --> 00:32:26,040
Speaker 1: the actor, and everybody was jealous. Every fucking body was jealous.

471
00:32:26,040 --> 00:32:30,840
Speaker 1: The actors were jealous, the proper people were jealous. T

472
00:32:31,080 --> 00:32:35,240
Speaker 1: Hutt T Hutt. Anyway, So I don't know how this

473
00:32:35,280 --> 00:32:37,000
Speaker 1: is gonna play out with them. I will bet this,

474
00:32:38,040 --> 00:32:41,280
Speaker 1: mark my words before it's all said and done, and

475
00:32:41,280 --> 00:32:44,040
Speaker 1: it might it might take twenty years. Uma Thurman will

476
00:32:44,040 --> 00:32:49,680
Speaker 1: work with Quentin Tarantino again in some capacity. That's my

477
00:32:49,840 --> 00:32:53,400
Speaker 1: That's my two cents, and I'm sticking to it. Uh.

478
00:32:53,520 --> 00:32:57,200
Speaker 1: Not every single thing is race and gender. Uh. Jay

479
00:32:57,240 --> 00:32:59,960
Speaker 1: Farrell punched me in my fucking nose. He felt terror

480
00:33:00,080 --> 00:33:03,840
Speaker 1: ball Kate Nick Cage threw the guy out of the

481
00:33:03,920 --> 00:33:07,120
Speaker 1: thing and kiss the death. Look it up. Halfway through

482
00:33:07,160 --> 00:33:11,720
Speaker 1: the movie with the big truck heist accident felt terrible.

483
00:33:11,760 --> 00:33:14,120
Speaker 1: I actually saw him crying. He was so worried about

484
00:33:14,120 --> 00:33:16,560
Speaker 1: the guy. He was crying because he felt like I

485
00:33:16,600 --> 00:33:20,320
Speaker 1: actually saw him crying. It was a fucking accident. It happens.

486
00:33:21,520 --> 00:33:23,560
Speaker 1: These things happened. The guy had to go to the hospital,

487
00:33:23,600 --> 00:33:26,640
Speaker 1: gets stitchers. He was knocked out cold. It was terrible.

488
00:33:27,640 --> 00:33:29,800
Speaker 1: If you look at my reaction in the scene, if

489
00:33:29,840 --> 00:33:32,160
Speaker 1: you could find it, you see me go like oh

490
00:33:32,200 --> 00:33:34,560
Speaker 1: and I think I look off camera like oh shit,

491
00:33:34,920 --> 00:33:37,280
Speaker 1: like he's really hurt. That's why it is right, it's

492
00:33:37,640 --> 00:33:39,680
Speaker 1: it's in tents. There's a lot of money involved, and

493
00:33:39,720 --> 00:33:42,760
Speaker 1: these directors, yo, their careers are on the line. I

494
00:33:42,840 --> 00:33:45,520
Speaker 1: understand it. And you're an actor, you should want to

495
00:33:45,520 --> 00:33:49,320
Speaker 1: be pushed to be the best bother you and sometimes

496
00:33:49,360 --> 00:33:51,320
Speaker 1: you know you might go over line. You talk about it,

497
00:33:51,400 --> 00:33:53,560
Speaker 1: you go forward, just like a basketball coach or a

498
00:33:53,560 --> 00:33:56,280
Speaker 1: football coach. You know you can't be on some Bobby

499
00:33:56,440 --> 00:33:59,360
Speaker 1: Night ship or like the Rutgers basketball coach where you're

500
00:33:59,360 --> 00:34:03,440
Speaker 1: throwing basket bowls at people, right, because that's what they

501
00:34:03,440 --> 00:34:05,640
Speaker 1: try to do, the Hughes brothers try to do to

502
00:34:05,720 --> 00:34:10,839
Speaker 1: Tupac and Tupac what they at that's not actually what

503
00:34:11,160 --> 00:34:15,319
Speaker 1: happened with the Hughes brothers in Tupac, the Tupac Cues

504
00:34:15,400 --> 00:34:21,400
Speaker 1: Brothers thing. How fact check. No, you're you're you're not

505
00:34:21,440 --> 00:34:24,040
Speaker 1: even in the fucking in the in the ballpark with that.

506
00:34:26,400 --> 00:34:28,319
Speaker 1: So that's dad. I don't know what else is going on,

507
00:34:29,800 --> 00:34:31,520
Speaker 1: all right? You know what, since we're talking about movies

508
00:34:31,600 --> 00:34:36,719
Speaker 1: and film, there's so much great conversation, so many anecdotes

509
00:34:37,280 --> 00:34:41,279
Speaker 1: about Terminator, Copland. I talked about Harvey Kitel smacking me,

510
00:34:42,560 --> 00:34:47,120
Speaker 1: working on The Sopranos with James Gandelfoeni, the greatness of

511
00:34:47,920 --> 00:34:50,799
Speaker 1: Joaquin Phoenix and walk the line. Let's get to it.

512
00:34:50,880 --> 00:34:53,160
Speaker 1: This is you know, if you like movies and television,

513
00:34:53,200 --> 00:34:55,120
Speaker 1: I am telling you this is as close as you're

514
00:34:55,120 --> 00:34:57,799
Speaker 1: going to get to court side seats on how things

515
00:34:57,800 --> 00:35:01,480
Speaker 1: are done, how things are made, and the greatness at

516
00:35:01,560 --> 00:35:05,120
Speaker 1: times of working on a film, an iconic film like

517
00:35:05,880 --> 00:35:10,280
Speaker 1: Terminator to Uh Gangster Squad, True Blood and the Sopranos.

518
00:35:10,320 --> 00:35:19,040
Speaker 1: Let's get to it with my man Robert Patrick. Ladies, gentlemen,

519
00:35:19,440 --> 00:35:24,320
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520
00:35:24,560 --> 00:35:28,480
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521
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522
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524
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525
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526
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541
00:36:42,920 --> 00:36:46,200
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542
00:36:46,920 --> 00:36:49,600
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543
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544
00:36:52,560 --> 00:36:57,840
Speaker 1: inside the box. All right, all right, this is me

545
00:36:58,000 --> 00:37:00,239
Speaker 1: testing one too. You've got a good level, got a

546
00:37:00,239 --> 00:37:02,880
Speaker 1: good voice, Robert, Thank you, buddy. I do some voice

547
00:37:02,880 --> 00:37:05,280
Speaker 1: over from time to time. I'm here with Robert Patrick,

548
00:37:06,360 --> 00:37:12,319
Speaker 1: the fucking Terminator, the cyborg co star with me and Copland, Sir.

549
00:37:13,040 --> 00:37:15,480
Speaker 1: Fun times I tried to drown you, tried to tried

550
00:37:15,480 --> 00:37:18,160
Speaker 1: to drown me. Was a traumatic event for you? Traumatic

551
00:37:18,200 --> 00:37:20,680
Speaker 1: event that was? Do you want to talk about it? Absolutely?

552
00:37:20,800 --> 00:37:25,920
Speaker 1: I think you should. You know. Unfortunately, cell phones they existed.

553
00:37:26,000 --> 00:37:28,000
Speaker 1: I think they had them, but I don't think we

554
00:37:28,000 --> 00:37:31,040
Speaker 1: could afford them though. But there wasn't not from that movie.

555
00:37:31,160 --> 00:37:33,480
Speaker 1: But there wasn't. There wasn't like it wasn't like Instagram

556
00:37:33,520 --> 00:37:35,920
Speaker 1: that but that would have been an Instagram smash hit

557
00:37:36,360 --> 00:37:38,279
Speaker 1: that scene. But what we'll get to that. Yeah, that

558
00:37:38,360 --> 00:37:42,200
Speaker 1: was amazing, amazing night. So I appreciate you coming here.

559
00:37:42,480 --> 00:37:44,399
Speaker 1: I'm thrilled to be here. By the way, for those

560
00:37:44,440 --> 00:37:46,880
Speaker 1: of you that haven't been to Mr Revaport's home. It

561
00:37:47,000 --> 00:37:51,240
Speaker 1: is beautiful. He's got a beautiful pad here. Thank you.

562
00:37:51,080 --> 00:37:54,440
Speaker 1: You got like you're in the hills right Ye, No,

563
00:37:54,520 --> 00:37:56,920
Speaker 1: I don't have horses. We we we got lucky in

564
00:37:58,000 --> 00:37:59,839
Speaker 1: right around when we were making coupland I think right

565
00:37:59,840 --> 00:38:01,719
Speaker 1: after I did Strip Tease, I made a bundle of

566
00:38:01,760 --> 00:38:05,080
Speaker 1: money and uh, I got a down payment on a

567
00:38:05,120 --> 00:38:08,319
Speaker 1: house right after the North through Jersey quakes. You know,

568
00:38:08,400 --> 00:38:12,120
Speaker 1: my wife she found the place that's uh two lots

569
00:38:12,160 --> 00:38:14,560
Speaker 1: that were tied together, just under an acre. But I

570
00:38:14,600 --> 00:38:17,480
Speaker 1: did what I did. But we were talking about. I

571
00:38:17,520 --> 00:38:21,000
Speaker 1: came in and it was it had been remodeled, but

572
00:38:21,040 --> 00:38:22,719
Speaker 1: it was kind of a I don't want to say

573
00:38:22,719 --> 00:38:24,319
Speaker 1: it was a shock of a house. But but but

574
00:38:24,640 --> 00:38:27,120
Speaker 1: we tore it down and moved out. You did that

575
00:38:27,160 --> 00:38:29,680
Speaker 1: thing that you were talking about, and an architect rebuild

576
00:38:29,719 --> 00:38:31,560
Speaker 1: it an arcas. But are you good with your hands?

577
00:38:31,600 --> 00:38:34,279
Speaker 1: Like can you get a drill and and put a

578
00:38:34,320 --> 00:38:36,520
Speaker 1: screw into a wall without sucking up the wall in

579
00:38:36,600 --> 00:38:39,600
Speaker 1: one chance? Yes? Okay, So if you put a drill

580
00:38:39,920 --> 00:38:43,520
Speaker 1: to a wall, you're not gonna have to like close

581
00:38:43,600 --> 00:38:45,759
Speaker 1: the whole. You could do that. I can do that.

582
00:38:45,920 --> 00:38:49,400
Speaker 1: Can you can you build um, Like, what's the extent

583
00:38:49,480 --> 00:38:52,640
Speaker 1: of your handiwork? I wouldn't be like a guy. Well

584
00:38:53,000 --> 00:38:56,040
Speaker 1: you're from the South, from the South, okay, so automatically

585
00:38:56,080 --> 00:38:59,400
Speaker 1: makes you a guy more of agotten me. But like,

586
00:38:59,480 --> 00:39:02,239
Speaker 1: so what's your handywork skills? Like? Where where? Where does

587
00:39:02,280 --> 00:39:05,040
Speaker 1: it stop? Where does it stop? I would not do

588
00:39:05,400 --> 00:39:08,080
Speaker 1: a bunch of electrical work, right, I'm a little shy

589
00:39:08,400 --> 00:39:11,400
Speaker 1: the electrical work. You need what you don't want to

590
00:39:11,400 --> 00:39:14,600
Speaker 1: burn your house down. I tried to put a dimmer.

591
00:39:14,680 --> 00:39:16,480
Speaker 1: This is like a ninety three. I tried to put

592
00:39:16,480 --> 00:39:19,600
Speaker 1: a dimmer in my apartment and I fucking knocked myself out.

593
00:39:19,680 --> 00:39:21,880
Speaker 1: I could have been dead. You could have been dead. Absolutely,

594
00:39:21,920 --> 00:39:26,200
Speaker 1: And that's what I watch. Electronics and stuff like that. Now, plumbing,

595
00:39:26,360 --> 00:39:28,360
Speaker 1: I'm not too big at plumbing, you know, I'm not.

596
00:39:28,440 --> 00:39:30,120
Speaker 1: I'm not good at that kind of stuff. But there

597
00:39:30,160 --> 00:39:33,799
Speaker 1: are certain little things that I can do around the

598
00:39:33,840 --> 00:39:35,600
Speaker 1: house to kind of keep it going. But even now,

599
00:39:35,680 --> 00:39:37,800
Speaker 1: you know, I got I got a handy uh handy

600
00:39:37,800 --> 00:39:41,360
Speaker 1: gal that comes by. My contractor was a woman. She

601
00:39:41,440 --> 00:39:43,120
Speaker 1: she'll she'll come by and kind of fix some of

602
00:39:43,160 --> 00:39:45,480
Speaker 1: the heavy duty stuff that goes wrong with stuff that

603
00:39:45,520 --> 00:39:48,480
Speaker 1: does go wrong, but I can nail. My first job

604
00:39:48,560 --> 00:39:52,359
Speaker 1: Michael I had, I worked with Uh. My best friend

605
00:39:52,440 --> 00:39:56,600
Speaker 1: was Brady Hoke, the former head Michigan football coach. We

606
00:39:56,719 --> 00:39:58,680
Speaker 1: we've known each of the since we were twelve. He

607
00:39:58,800 --> 00:40:01,879
Speaker 1: was right before hardball. That's cool. So our first job,

608
00:40:01,920 --> 00:40:04,920
Speaker 1: our dad's got us job just doing rough carpentury work.

609
00:40:05,440 --> 00:40:10,719
Speaker 1: So at thirteen, Michael I had a jackhammer. I was

610
00:40:10,840 --> 00:40:15,440
Speaker 1: busting up concrete. I love that ship. So you okay, okay,

611
00:40:15,480 --> 00:40:19,799
Speaker 1: so you did some hard being an actors like a joke. No,

612
00:40:20,960 --> 00:40:24,120
Speaker 1: in terms of like manual labor, it's hey, being an

613
00:40:24,120 --> 00:40:26,520
Speaker 1: actor is kind of a craft, right, being extra craft,

614
00:40:26,600 --> 00:40:29,400
Speaker 1: but just it's not fucking jackhammering, and it's not jackhammering. No,

615
00:40:29,480 --> 00:40:32,240
Speaker 1: it's not jackhammer and you gotta watch your toes. Alright.

616
00:40:32,280 --> 00:40:34,800
Speaker 1: I've done factory work, man. When I was in Detroit,

617
00:40:34,840 --> 00:40:37,840
Speaker 1: I worked in a die cast Liminum factory. I've painted,

618
00:40:38,560 --> 00:40:41,200
Speaker 1: so there's certain things that I can do. I got you,

619
00:40:41,280 --> 00:40:42,839
Speaker 1: I got you, all right, So you you you got

620
00:40:42,880 --> 00:40:44,920
Speaker 1: the you got the basic gist of it. But you

621
00:40:45,000 --> 00:40:47,680
Speaker 1: do have a handy girl when things get beyond I

622
00:40:47,719 --> 00:40:49,840
Speaker 1: do have a handy girl, which I think it's funny.

623
00:40:49,880 --> 00:40:51,560
Speaker 1: All right. I want to talk about your career. You've

624
00:40:51,600 --> 00:40:54,880
Speaker 1: had a great career. Um, I would say iconic career.

625
00:40:54,920 --> 00:40:58,680
Speaker 1: You've been in iconic films and you seem to come

626
00:40:58,920 --> 00:41:00,640
Speaker 1: I'm sure you get this old time, but you gotta

627
00:41:00,640 --> 00:41:02,239
Speaker 1: share it with my fans. And you also have done

628
00:41:02,280 --> 00:41:06,160
Speaker 1: so many sort of cult things, you know, like X Files.

629
00:41:06,400 --> 00:41:11,880
Speaker 1: X Files is cult um obviously Sopranos is beyond cult,

630
00:41:11,880 --> 00:41:14,479
Speaker 1: but there's a cult. There's like the all the fans

631
00:41:14,560 --> 00:41:17,319
Speaker 1: and there's a cult ish sort of quality to it.

632
00:41:17,640 --> 00:41:21,480
Speaker 1: And then of course Terminator, which at the time, I

633
00:41:21,520 --> 00:41:23,200
Speaker 1: mean like that's like on one of these that's one

634
00:41:23,200 --> 00:41:25,040
Speaker 1: of those films that's considered one of the greatest films

635
00:41:25,080 --> 00:41:30,320
Speaker 1: of all time. You know, it changed movies. It was um,

636
00:41:30,360 --> 00:41:33,520
Speaker 1: you know, I mean, how did you get that part?

637
00:41:33,520 --> 00:41:36,399
Speaker 1: Because before that you had done a few things, Like

638
00:41:36,560 --> 00:41:38,640
Speaker 1: how did you get that part? What was your auditioning

639
00:41:38,719 --> 00:41:41,799
Speaker 1: process to get Terminated? Because I was like, who the

640
00:41:41,880 --> 00:41:44,920
Speaker 1: fund is this guy? You were freaky scary. Your eyes

641
00:41:44,960 --> 00:41:48,359
Speaker 1: were like scary, like the all the c g I

642
00:41:48,440 --> 00:41:50,440
Speaker 1: like the men like you didn't know what I remember

643
00:41:50,480 --> 00:41:52,440
Speaker 1: seeing them and I'm not even a big sci fi guy.

644
00:41:52,680 --> 00:41:55,360
Speaker 1: But I remember I saw that film at a theater

645
00:41:55,440 --> 00:41:58,720
Speaker 1: on Third Avenue in sixties something street, sixties seven Street

646
00:41:58,960 --> 00:42:01,000
Speaker 1: in New York, and I remember, like what the funk like?

647
00:42:01,440 --> 00:42:03,720
Speaker 1: How like the c g I and the special effects

648
00:42:03,719 --> 00:42:06,640
Speaker 1: were like crazy. It's like it was a game changing movie.

649
00:42:06,640 --> 00:42:09,520
Speaker 1: So how did you get that film? I just sit

650
00:42:09,600 --> 00:42:13,080
Speaker 1: here watching you talk. I love you are so freaking entertaining, man,

651
00:42:13,200 --> 00:42:15,880
Speaker 1: I love watching you. Uh, I got it? You know

652
00:42:15,960 --> 00:42:19,120
Speaker 1: they what happened? Michael was Billy Idol was set to

653
00:42:19,120 --> 00:42:23,520
Speaker 1: do the role. Billy I was cast in the role

654
00:42:24,360 --> 00:42:25,840
Speaker 1: was he gonna do? He was gonna be the T

655
00:42:25,960 --> 00:42:29,480
Speaker 1: one thousand and he got in a motorcycle accident, so

656
00:42:29,680 --> 00:42:32,400
Speaker 1: it created this vac He was gonna be the T

657
00:42:32,560 --> 00:42:36,560
Speaker 1: one thousand and Mario Cassar and I believe Karrolko really

658
00:42:36,600 --> 00:42:39,000
Speaker 1: wanted him to do it, and uh he got in

659
00:42:39,000 --> 00:42:41,160
Speaker 1: a motorcycle actually couldn't do the physical part of it.

660
00:42:41,200 --> 00:42:44,480
Speaker 1: So Cameron, Jim Cameron had to find somebody, and what

661
00:42:44,560 --> 00:42:48,799
Speaker 1: he wanted originally wasn't unknown because of everything you just

662
00:42:48,840 --> 00:42:51,719
Speaker 1: talked about. Knowing would have any preconceived notion of who

663
00:42:51,760 --> 00:42:54,840
Speaker 1: I was, who is this guy? So you would accept

664
00:42:54,920 --> 00:42:57,440
Speaker 1: me in that role a lot easier than if it

665
00:42:57,560 --> 00:43:00,640
Speaker 1: was you know, Denzel Washington playing the t one right right,

666
00:43:01,040 --> 00:43:05,400
Speaker 1: right right, so complete unknown comes in. Uh. The audition

667
00:43:05,520 --> 00:43:09,320
Speaker 1: process was you'll love this. I didn't read the script.

668
00:43:09,680 --> 00:43:11,520
Speaker 1: They didn't give you the script. No, you got to

669
00:43:11,520 --> 00:43:15,600
Speaker 1: create an intense presence. They're looking for an intense presence.

670
00:43:15,640 --> 00:43:18,799
Speaker 1: And this is your first audition. This is my I've

671
00:43:18,840 --> 00:43:22,480
Speaker 1: had some auditions, I've done die hard. To first audition

672
00:43:22,600 --> 00:43:26,080
Speaker 1: for that film. Yes, so they say, coming intense president, Yes,

673
00:43:26,280 --> 00:43:30,680
Speaker 1: you can't read the script. Yeah, the top secret, top secret,

674
00:43:30,840 --> 00:43:35,759
Speaker 1: Jim Cameron, it's it's the Terminator's sequel. Um. I came

675
00:43:35,800 --> 00:43:37,919
Speaker 1: in and I met Malley Fenn. We sat with her.

676
00:43:38,160 --> 00:43:40,839
Speaker 1: Now she I had been sold to her as sort

677
00:43:40,840 --> 00:43:43,920
Speaker 1: of a cross between a James Dean and a David Bowie.

678
00:43:45,040 --> 00:43:48,840
Speaker 1: So they were intrigued with that. Right. So they're looking

679
00:43:48,880 --> 00:43:51,759
Speaker 1: at me and and I just decided to try to

680
00:43:51,840 --> 00:43:54,839
Speaker 1: catch her not looking at me. And when she looked

681
00:43:54,880 --> 00:43:58,319
Speaker 1: back at me, I was staring at her intensely, like

682
00:43:58,360 --> 00:44:00,080
Speaker 1: I wanted to take her head off, right, And you

683
00:44:00,120 --> 00:44:03,120
Speaker 1: have a good staring at you intensely like you want

684
00:44:03,120 --> 00:44:06,640
Speaker 1: to take your head off look like, especially at the time,

685
00:44:07,239 --> 00:44:09,680
Speaker 1: like you look fucking freaking I was a freaking like,

686
00:44:09,880 --> 00:44:13,240
Speaker 1: yeah's fucking freaking. I know. My kids saw the movie recently,

687
00:44:13,320 --> 00:44:15,560
Speaker 1: went like, Dad, Jesus did they had they ever seen

688
00:44:15,600 --> 00:44:17,319
Speaker 1: They had never seen it. They were like, Dad, Oh

689
00:44:17,360 --> 00:44:19,319
Speaker 1: my god, I see that now. I see why you

690
00:44:19,360 --> 00:44:22,160
Speaker 1: got it. That was That's a trip you were very tripular.

691
00:44:22,239 --> 00:44:25,840
Speaker 1: That's a trip um for a film for your kids

692
00:44:25,880 --> 00:44:29,120
Speaker 1: to see. Oh yeah, that's not a normal like, oh,

693
00:44:29,160 --> 00:44:30,640
Speaker 1: look at me. I mean, I'm on you know, a

694
00:44:30,680 --> 00:44:32,600
Speaker 1: TV show. I'm look look at me in this that's

695
00:44:32,600 --> 00:44:34,960
Speaker 1: like a weird fucking movie to be like your father.

696
00:44:35,080 --> 00:44:40,120
Speaker 1: That's my father's terminator. He's trying to kill John Connor.

697
00:44:40,360 --> 00:44:42,760
Speaker 1: So I get in there and I so I remember,

698
00:44:42,840 --> 00:44:45,879
Speaker 1: you know, I just remember being like, I'm gonna when

699
00:44:45,920 --> 00:44:47,840
Speaker 1: she looks back at me, I'm just gonna be staring

700
00:44:47,880 --> 00:44:50,600
Speaker 1: at her. And literally she did a you know, like

701
00:44:50,640 --> 00:44:52,640
Speaker 1: a double take, and she looked at me and went like,

702
00:44:53,680 --> 00:44:57,480
Speaker 1: all right, whatever you're doing right now, I want to

703
00:44:57,480 --> 00:44:59,640
Speaker 1: go get this on film. I'm gonna bring in a guy,

704
00:44:59,719 --> 00:45:02,960
Speaker 1: ste Quail. He's Jim's assistant. We're gonna go work with

705
00:45:03,000 --> 00:45:06,600
Speaker 1: a video camera, so then it became this free form,

706
00:45:06,920 --> 00:45:11,280
Speaker 1: free flow kind of of how do I create something

707
00:45:11,320 --> 00:45:14,560
Speaker 1: that's intense so you know, and there's no dialogue. No,

708
00:45:14,719 --> 00:45:16,520
Speaker 1: well there isn't the movie, but there's not for this

709
00:45:16,560 --> 00:45:19,640
Speaker 1: audition process. So it's not like I'm reading pages. It's

710
00:45:19,680 --> 00:45:22,239
Speaker 1: like I've got to walk around in this big warehouse

711
00:45:22,280 --> 00:45:25,759
Speaker 1: space and make you want to watch me and make

712
00:45:25,800 --> 00:45:29,719
Speaker 1: you be afraid of me. So I just started thinking, like, immediately,

713
00:45:30,239 --> 00:45:34,279
Speaker 1: what can I use for this? And I was going predators.

714
00:45:34,800 --> 00:45:37,759
Speaker 1: This guy's all about you know, he's got to be

715
00:45:37,840 --> 00:45:41,160
Speaker 1: some sort of predator. And I'm gonna slow things down

716
00:45:41,960 --> 00:45:45,080
Speaker 1: and I'm just gonna stalk. And then they said your

717
00:45:45,160 --> 00:45:49,160
Speaker 1: sense aware, and I started trying to try to physically

718
00:45:49,200 --> 00:45:53,239
Speaker 1: manifest what that must mean to be sense aware. So

719
00:45:53,320 --> 00:45:56,960
Speaker 1: I slowed things down and started looking around and and

720
00:45:57,040 --> 00:46:00,200
Speaker 1: just started moving. And it became this like damn, it's

721
00:46:00,200 --> 00:46:06,359
Speaker 1: a movement of bending down, feeling the ground of and

722
00:46:06,400 --> 00:46:09,400
Speaker 1: I slowed it down. I put myself in slow motion

723
00:46:10,400 --> 00:46:14,680
Speaker 1: and kept going, and they kept throwing out ideas to me, uh,

724
00:46:14,719 --> 00:46:20,239
Speaker 1: and it it was such a wonderful creative uh process

725
00:46:21,640 --> 00:46:24,279
Speaker 1: that everything was just coming to me. You know. It's

726
00:46:24,320 --> 00:46:26,600
Speaker 1: like anything and everything. I wasn't. I wasn't editing. I

727
00:46:26,640 --> 00:46:28,680
Speaker 1: wasn't self editing. I was just because I didn't have

728
00:46:28,719 --> 00:46:32,040
Speaker 1: anything to go by. But I was so on the money.

729
00:46:32,160 --> 00:46:33,920
Speaker 1: I had no idea how on the money I was.

730
00:46:34,320 --> 00:46:38,319
Speaker 1: Because everything I did in the initial audition is essentially

731
00:46:39,000 --> 00:46:42,600
Speaker 1: what I did in the film. That's crazy, right when

732
00:46:42,600 --> 00:46:45,359
Speaker 1: it's synchronicity like that, when it comes together, Yeah, when

733
00:46:45,360 --> 00:46:47,160
Speaker 1: it's a meant to be moment, that's like that was

734
00:46:47,160 --> 00:46:50,200
Speaker 1: your That was your fucking part, Like that was your part. Yeah,

735
00:46:50,280 --> 00:46:53,600
Speaker 1: it was the next day, you know, I got a

736
00:46:53,640 --> 00:46:55,759
Speaker 1: call that night, I remember on my rotary phone, I

737
00:46:55,760 --> 00:46:58,400
Speaker 1: got a cause living in Hollywood Towers over there, Franklin,

738
00:46:58,560 --> 00:47:01,719
Speaker 1: Argo and me and Barbara, and I got a call

739
00:47:01,880 --> 00:47:05,600
Speaker 1: from uh Jim Cameron his office saying, we really liked

740
00:47:05,640 --> 00:47:07,279
Speaker 1: what you did today. We'd like you to come back

741
00:47:07,320 --> 00:47:10,160
Speaker 1: tomorrow and work with Jim. So the next day was

742
00:47:10,239 --> 00:47:14,120
Speaker 1: still no script. Didn't tell me what I was. He

743
00:47:14,200 --> 00:47:18,400
Speaker 1: and I just a big part, like I didn't. I

744
00:47:18,440 --> 00:47:20,960
Speaker 1: didn't realize. I didn't realize how big it could have been.

745
00:47:21,000 --> 00:47:22,279
Speaker 1: It could have been a scene for all you know,

746
00:47:22,280 --> 00:47:24,080
Speaker 1: I didn't know. I had no idea all I knew

747
00:47:24,120 --> 00:47:26,640
Speaker 1: was there was this, you know. So we get in there,

748
00:47:26,719 --> 00:47:29,160
Speaker 1: we reform more, and we do more things, and he's

749
00:47:29,239 --> 00:47:31,360
Speaker 1: really encouraging me and he's liking what he's seeing. And

750
00:47:31,640 --> 00:47:34,480
Speaker 1: there's you're still no dialogue. No dialogue, so there's no

751
00:47:34,719 --> 00:47:36,480
Speaker 1: And by the way I showed up, I was in

752
00:47:36,760 --> 00:47:39,160
Speaker 1: I was the way Arnold was dressed in the movie.

753
00:47:39,520 --> 00:47:41,160
Speaker 1: Is the way I showed up for the audition. I

754
00:47:41,200 --> 00:47:43,160
Speaker 1: was wearing a biker jacket, you know, blah blah blah.

755
00:47:43,200 --> 00:47:45,640
Speaker 1: My hair and all that kind of stuff was exactly

756
00:47:45,719 --> 00:47:48,480
Speaker 1: you know, the way it looked in the movie. And

757
00:47:48,640 --> 00:47:52,600
Speaker 1: uh and and funny enough, I was wardrobe like Arnold.

758
00:47:52,840 --> 00:47:54,879
Speaker 1: But I uh, but Jim and I had a great time.

759
00:47:54,920 --> 00:47:58,080
Speaker 1: We hit it off, and and uh, I could feel

760
00:47:59,360 --> 00:48:02,879
Speaker 1: that this was mine. I felt it the first day.

761
00:48:02,960 --> 00:48:06,600
Speaker 1: I really felt it the second day. So we do

762
00:48:06,680 --> 00:48:08,839
Speaker 1: all this stuff and he throws me into these situations

763
00:48:08,880 --> 00:48:10,640
Speaker 1: that I wasn't sure what the meant at the time.

764
00:48:11,960 --> 00:48:14,280
Speaker 1: But that night I went home and they said, Okay,

765
00:48:14,360 --> 00:48:16,600
Speaker 1: we got another call saying now they want to screen

766
00:48:16,640 --> 00:48:18,920
Speaker 1: test you. There's a scene of dialogue they're gonna do,

767
00:48:19,320 --> 00:48:22,040
Speaker 1: and you're gonna get to read the script. Come back

768
00:48:22,040 --> 00:48:25,480
Speaker 1: the next day. So I come back the next day

769
00:48:25,719 --> 00:48:27,480
Speaker 1: and they say, we're gonna give you the script to reach.

770
00:48:27,480 --> 00:48:30,480
Speaker 1: So I read the script. It takes me five hours

771
00:48:30,520 --> 00:48:33,520
Speaker 1: to read the script because I'm blown away by what

772
00:48:33,560 --> 00:48:36,520
Speaker 1: I'm reading. I'm trying to was the script well written?

773
00:48:36,640 --> 00:48:40,840
Speaker 1: Oh yeah, we're the special effects articulated in the script? Yes,

774
00:48:41,040 --> 00:48:44,200
Speaker 1: And I was. And that's what was trying to wrap

775
00:48:44,280 --> 00:48:47,040
Speaker 1: my head around that and apply it to what I

776
00:48:47,120 --> 00:48:49,400
Speaker 1: was trying to do. Was the thing that was taking

777
00:48:49,400 --> 00:48:53,200
Speaker 1: me so long. And I was at that point like

778
00:48:53,280 --> 00:48:58,600
Speaker 1: a ball player. Oh my god, this is the nemesis

779
00:48:58,640 --> 00:49:02,359
Speaker 1: of Schwarzenegger. This is the villain, this is You've just

780
00:49:03,880 --> 00:49:06,120
Speaker 1: you've got a chance to be in the super Bowl.

781
00:49:07,120 --> 00:49:09,840
Speaker 1: It was that moment like all you've worked for, worked

782
00:49:09,840 --> 00:49:12,840
Speaker 1: for and struggling and struggling, and you're broke, and you

783
00:49:12,840 --> 00:49:17,600
Speaker 1: know here it is, here, it is now, don't choke, right,

784
00:49:18,680 --> 00:49:21,600
Speaker 1: So I read. I read the script, and I read

785
00:49:21,640 --> 00:49:23,759
Speaker 1: the scene he wanted me to do. I went in

786
00:49:23,840 --> 00:49:26,719
Speaker 1: and I did the scene. It was where I knocked

787
00:49:26,719 --> 00:49:28,839
Speaker 1: at the door and Xander Berkeley is there and I say,

788
00:49:28,880 --> 00:49:30,960
Speaker 1: are you the legal guardian of John Conner? What was

789
00:49:31,000 --> 00:49:34,480
Speaker 1: interesting about the scene was is you were a mometic,

790
00:49:34,520 --> 00:49:40,439
Speaker 1: Polly Alloy, a terminator, a cyborg, whatever you wanna call it, uh,

791
00:49:40,640 --> 00:49:43,880
Speaker 1: trying to be human, right, So it had to be

792
00:49:43,960 --> 00:49:50,640
Speaker 1: slightly affected and a little bit off, but you had

793
00:49:50,680 --> 00:49:52,759
Speaker 1: to believe that he could pass himself off as a

794
00:49:52,840 --> 00:49:54,839
Speaker 1: human being, even though like a sort of weird human,

795
00:49:54,880 --> 00:49:58,280
Speaker 1: but human, but a human, right, creepy human, creepy human.

796
00:49:58,440 --> 00:50:03,359
Speaker 1: And I wasn't sure how self where the terminator was

797
00:50:03,800 --> 00:50:08,600
Speaker 1: of himself, And uh, I think the fourth day I

798
00:50:08,600 --> 00:50:10,799
Speaker 1: went in there and I did the whole screen test

799
00:50:10,880 --> 00:50:12,520
Speaker 1: with the lighting he was gonna use, and I was

800
00:50:12,560 --> 00:50:15,359
Speaker 1: in the copy uniform and he had me do all

801
00:50:15,440 --> 00:50:17,719
Speaker 1: that and then you know, after that, I knew i'd

802
00:50:17,800 --> 00:50:19,680
Speaker 1: hit a home run. I really knew I hit a

803
00:50:19,680 --> 00:50:22,120
Speaker 1: home run. But when I got that call, I never

804
00:50:22,200 --> 00:50:24,440
Speaker 1: forget I was. I was sitting there and my, my, my,

805
00:50:24,640 --> 00:50:28,719
Speaker 1: uh Tidy Whitey's and I got the call, you got

806
00:50:28,760 --> 00:50:31,520
Speaker 1: the part, and I threw the fucking phone. I couldn't believe.

807
00:50:31,520 --> 00:50:33,279
Speaker 1: It was like, you know, It's just it was such

808
00:50:33,320 --> 00:50:36,360
Speaker 1: an incredible moment to uh, to realize that I was

809
00:50:36,400 --> 00:50:39,400
Speaker 1: gonna be going on this journey that's awesome. Yeah, it

810
00:50:39,520 --> 00:50:42,400
Speaker 1: was so cool man and and and and for the

811
00:50:42,520 --> 00:50:45,239
Speaker 1: next year, Like I got a train. I had to

812
00:50:45,280 --> 00:50:47,879
Speaker 1: train with the Hoosi gall the Special Forces commando guy.

813
00:50:47,880 --> 00:50:50,560
Speaker 1: They sent me that, you know. They take me from Hollywood,

814
00:50:50,600 --> 00:50:52,279
Speaker 1: they take me out to Van NAI's airport. They put

815
00:50:52,280 --> 00:50:53,720
Speaker 1: me on a plane. They fly me on a private

816
00:50:53,800 --> 00:50:55,719
Speaker 1: jet to I l M. I'm meeting all the I

817
00:50:55,920 --> 00:50:59,120
Speaker 1: l M guys and meeting Sam Winston. Now they're you know,

818
00:50:59,280 --> 00:51:01,879
Speaker 1: put me through the process of we're gonna we're gonna

819
00:51:01,960 --> 00:51:06,000
Speaker 1: digitize you. We're gonna make you three D. And this

820
00:51:06,040 --> 00:51:08,760
Speaker 1: is before like now every were they were they become

821
00:51:08,800 --> 00:51:11,320
Speaker 1: three D on your phone. They were inventing it. Steve

822
00:51:11,400 --> 00:51:15,439
Speaker 1: Spaz Williams and Mark Dupay, two young guys that worked

823
00:51:15,440 --> 00:51:18,880
Speaker 1: in industrial light and Magic, were inventing the process of

824
00:51:18,960 --> 00:51:23,040
Speaker 1: motion capture as we were going. Uh, they didn't know

825
00:51:23,120 --> 00:51:26,399
Speaker 1: what they were doing. They had an idea. They thought

826
00:51:26,480 --> 00:51:28,480
Speaker 1: it was gonna work. Cameron had seen it in the

827
00:51:28,480 --> 00:51:30,799
Speaker 1: Abyss that liquid things, so they were gonna try to

828
00:51:30,800 --> 00:51:32,560
Speaker 1: figure out how to do that with a human being.

829
00:51:33,239 --> 00:51:38,120
Speaker 1: So we had this collaboration. We started working together. Um,

830
00:51:38,200 --> 00:51:41,040
Speaker 1: and then you just had to find for the performance

831
00:51:41,080 --> 00:51:44,839
Speaker 1: that common denominator. What can I do physically to tie

832
00:51:44,880 --> 00:51:49,440
Speaker 1: in the stand win Winston Animatronics? Uh, how do I

833
00:51:49,560 --> 00:51:52,879
Speaker 1: pull together the industrial the industrial light and magic? Uh?

834
00:51:53,360 --> 00:51:57,920
Speaker 1: Their liquid metal parts. I showed them how I thought

835
00:51:58,000 --> 00:52:02,439
Speaker 1: the character would react in different stations, and we all

836
00:52:02,560 --> 00:52:06,399
Speaker 1: worked together. And Jim, you know, he orchestrated the whole deal.

837
00:52:06,640 --> 00:52:10,320
Speaker 1: So but when you're when well, two things you got cast?

838
00:52:11,480 --> 00:52:14,600
Speaker 1: How long was it before you started shooting the film?

839
00:52:14,640 --> 00:52:18,720
Speaker 1: I think uh? We there was three or four months

840
00:52:18,719 --> 00:52:21,839
Speaker 1: of training, physical training, physical training to get me ready.

841
00:52:21,880 --> 00:52:25,320
Speaker 1: During that time, when I got smoking, I quit drinking.

842
00:52:26,560 --> 00:52:28,080
Speaker 1: It was a big thing to do. Yeah, all of

843
00:52:28,120 --> 00:52:30,560
Speaker 1: a sudden I had I was this very gaunt guy.

844
00:52:30,600 --> 00:52:33,799
Speaker 1: I was doing a play and um, I wasn't the

845
00:52:33,840 --> 00:52:36,239
Speaker 1: healthiest guy in the world. Needed to hold were you

846
00:52:36,320 --> 00:52:38,839
Speaker 1: at the time? Thirty? Okay, so you're thirty and I

847
00:52:38,880 --> 00:52:42,160
Speaker 1: needed to get it together quick. So I knew I

848
00:52:42,160 --> 00:52:43,960
Speaker 1: I'm being an ex athlete. I knew I had to

849
00:52:43,960 --> 00:52:46,840
Speaker 1: get rid of all that stuff. Um, and I started

850
00:52:46,840 --> 00:52:49,640
Speaker 1: training with the guy whosy Goal special Forces commando guy

851
00:52:49,680 --> 00:52:53,720
Speaker 1: that Jim had personally selected for me to train with. Uh.

852
00:52:53,760 --> 00:52:58,080
Speaker 1: This Israeli badass dude who was training me four times

853
00:52:58,080 --> 00:53:00,719
Speaker 1: a day. We started at Santa Monica Pear. I'd be

854
00:53:00,719 --> 00:53:03,520
Speaker 1: out there meditating, watching the ocean. He wanted me to

855
00:53:03,520 --> 00:53:08,440
Speaker 1: to really observe the liquidity of water and and and

856
00:53:08,480 --> 00:53:11,160
Speaker 1: so they're training you for this role. And he would

857
00:53:11,200 --> 00:53:13,520
Speaker 1: only call me the team one thousand. That's what he

858
00:53:13,520 --> 00:53:15,480
Speaker 1: would call you. Yeah, and this guy who's he going?

859
00:53:15,520 --> 00:53:17,239
Speaker 1: You imagine this, Michael. I mean, I don't know if

860
00:53:17,239 --> 00:53:19,200
Speaker 1: the gun was named after him or he was named

861
00:53:19,200 --> 00:53:20,920
Speaker 1: after the gun. You know what I'm saying. I mean

862
00:53:20,920 --> 00:53:23,040
Speaker 1: he was a badass. You would only call me the

863
00:53:23,040 --> 00:53:24,880
Speaker 1: team one thousand. He would come up. I'd beat standing

864
00:53:24,880 --> 00:53:26,560
Speaker 1: there at four o'clock in the morning, Santa Margo. He

865
00:53:26,600 --> 00:53:30,239
Speaker 1: come tap me on the shoulder. We'd start running. We'd run,

866
00:53:30,400 --> 00:53:34,600
Speaker 1: We'd put sandbags on my back. This is Mr Miyagi

867
00:53:34,640 --> 00:53:38,600
Speaker 1: shit exactly what wipe b on white washaw Uh. Then

868
00:53:38,640 --> 00:53:40,879
Speaker 1: we would do that. Then I would go home. Then

869
00:53:40,920 --> 00:53:42,480
Speaker 1: I'd have to go to a gym over here at

870
00:53:42,640 --> 00:53:45,800
Speaker 1: at Wilshire and and start working out with weights and training.

871
00:53:46,680 --> 00:53:49,879
Speaker 1: Then I would do judo with this judo class. Then

872
00:53:49,880 --> 00:53:52,720
Speaker 1: I had weapons training. So it's like four four workouts

873
00:53:52,760 --> 00:53:55,160
Speaker 1: a day, and I'm broke and no one's given me

874
00:53:55,160 --> 00:53:57,920
Speaker 1: any money. You're not paying yeah, paying me this, and

875
00:53:57,920 --> 00:54:01,200
Speaker 1: I'm I'm not eating right And there one he's wondering like,

876
00:54:01,520 --> 00:54:04,319
Speaker 1: where's your stamina going? Why? Why can't you? And I was,

877
00:54:04,680 --> 00:54:06,880
Speaker 1: I can't afford a fucking meal man, So he started

878
00:54:06,880 --> 00:54:11,319
Speaker 1: buying me food. Man, he started buying me. This is

879
00:54:11,480 --> 00:54:16,239
Speaker 1: nineteen nine nine, nineteen ninety, nineteen nine eight is all

880
00:54:16,440 --> 00:54:21,359
Speaker 1: kind of a big somewhere in there. Um, oh my god.

881
00:54:21,440 --> 00:54:24,160
Speaker 1: And I was collecting unemployment, my wife Barbara was And

882
00:54:24,200 --> 00:54:25,719
Speaker 1: You're like, I'm gonna be in this big movie when

883
00:54:25,719 --> 00:54:28,880
Speaker 1: I'm broke. Yeah, yeah, exactly. And that's the secret. I

884
00:54:28,880 --> 00:54:30,879
Speaker 1: can't tell anybody about it. And you know, I can't

885
00:54:30,880 --> 00:54:32,399
Speaker 1: tell him what I'm doing. Are you like a non

886
00:54:32,440 --> 00:54:34,919
Speaker 1: disclosure thing? Like is it kind of like a secret. Yeah.

887
00:54:34,920 --> 00:54:36,560
Speaker 1: You had to sign for the script. First time I've

888
00:54:36,560 --> 00:54:38,160
Speaker 1: ever had to do that. You know, you gotta sign

889
00:54:38,239 --> 00:54:40,600
Speaker 1: for the script. It's it's all uh, you know, it

890
00:54:40,640 --> 00:54:42,400
Speaker 1: doesn't leave the premises. And you're like telling you if

891
00:54:42,400 --> 00:54:43,960
Speaker 1: I'm gonna be in this big movie, You're like, you know,

892
00:54:44,000 --> 00:54:45,919
Speaker 1: when you put your you'd be like, let me borrow

893
00:54:46,000 --> 00:54:48,879
Speaker 1: five dollars. I didn't have, you know, I I really

894
00:54:48,920 --> 00:54:51,120
Speaker 1: should have kind of come forward and come clean and said, hey,

895
00:54:51,560 --> 00:54:55,040
Speaker 1: uh I need a little help. Financial assistance during this

896
00:54:55,120 --> 00:54:57,840
Speaker 1: time would be good. But I didn't. But Oozy started

897
00:54:57,880 --> 00:55:00,440
Speaker 1: buying me stuff and we just started handing, and I

898
00:55:00,520 --> 00:55:02,640
Speaker 1: threw myself into it. I got. I got into the

899
00:55:02,800 --> 00:55:05,880
Speaker 1: best shape I've ever been in my career. I was

900
00:55:06,080 --> 00:55:08,600
Speaker 1: I was a freak. You know. He wanted me to

901
00:55:08,680 --> 00:55:11,320
Speaker 1: look reptilian. I had a six pack, I will send you.

902
00:55:12,239 --> 00:55:14,839
Speaker 1: I could run, I could run faster and I had

903
00:55:14,880 --> 00:55:17,680
Speaker 1: never run before in my life. As a matter of fact,

904
00:55:17,719 --> 00:55:19,560
Speaker 1: we shot that scene when I really originally go after

905
00:55:19,680 --> 00:55:21,520
Speaker 1: John Connor coming out of the garage, you know, that

906
00:55:21,600 --> 00:55:24,960
Speaker 1: whole big chasing. I caught the kid, uh huh, And

907
00:55:25,120 --> 00:55:28,919
Speaker 1: Cameron was like, what the fuck I mean, you guys

908
00:55:28,960 --> 00:55:31,560
Speaker 1: gotta go a little bit faster. Everybody's gotta cue this faster,

909
00:55:31,680 --> 00:55:35,040
Speaker 1: this the movie's over. That's funny, you know, Jim Jim

910
00:55:35,200 --> 00:55:38,320
Speaker 1: was talking about Jim was warning everybody goes, he's fast.

911
00:55:39,360 --> 00:55:41,080
Speaker 1: He's really fat. We don't know how fast he is,

912
00:55:41,120 --> 00:55:44,120
Speaker 1: but we know he's fast. And I literally caught the

913
00:55:44,200 --> 00:55:48,680
Speaker 1: kid on the bike and they had film. Yeah, yeah,

914
00:55:48,680 --> 00:55:50,400
Speaker 1: they had to They had to figure out re re

915
00:55:51,080 --> 00:55:53,320
Speaker 1: because that was all one big sequence I had to

916
00:55:53,600 --> 00:55:56,560
Speaker 1: go perfectly. It leads right into the tow truck thing,

917
00:55:56,719 --> 00:56:00,239
Speaker 1: and just an amazing, amazing thing to be a part of.

918
00:56:00,360 --> 00:56:02,239
Speaker 1: Even now when I think back over and I'm how

919
00:56:02,320 --> 00:56:05,200
Speaker 1: fortunate I am? I'm sure? And and what what what

920
00:56:05,440 --> 00:56:08,120
Speaker 1: was the craziest thing about the making of it, Like

921
00:56:08,200 --> 00:56:11,640
Speaker 1: in terms of like the hardest scene to shoot, like

922
00:56:11,800 --> 00:56:15,759
Speaker 1: the most intensive part of filming, because you guys were

923
00:56:15,800 --> 00:56:19,279
Speaker 1: shooting on film, so that's like that's a whole other thing.

924
00:56:19,440 --> 00:56:21,320
Speaker 1: It's like, I mean, you're shooting this is like a

925
00:56:21,480 --> 00:56:23,720
Speaker 1: big film at the time. This is when action movies

926
00:56:23,760 --> 00:56:27,480
Speaker 1: were fucking action movies. And Arnold's in his prime. You know,

927
00:56:27,880 --> 00:56:30,680
Speaker 1: this is pre Governor. He's fucking Jack the Funker. He's

928
00:56:30,719 --> 00:56:35,120
Speaker 1: like or so in forty eight and Arnold Swartz that's

929
00:56:35,120 --> 00:56:37,520
Speaker 1: like twenty five for normal people. Yeah, he's like, he's

930
00:56:37,560 --> 00:56:39,359
Speaker 1: like he was an incredible shape. As a matter of fact,

931
00:56:39,400 --> 00:56:41,239
Speaker 1: I think his weight. I asked him at one time

932
00:56:41,360 --> 00:56:43,239
Speaker 1: during the filming, so what are you what are you

933
00:56:43,280 --> 00:56:46,520
Speaker 1: weighing right now? And he said, and you know that

934
00:56:46,640 --> 00:56:48,600
Speaker 1: had another whole thing to it too, Like Arnold was

935
00:56:48,760 --> 00:56:51,680
Speaker 1: very you know, he's a competitive guy, right, and he

936
00:56:51,920 --> 00:56:54,480
Speaker 1: was as much as he was willing to give me

937
00:56:54,920 --> 00:56:58,320
Speaker 1: pats on the back and acknowledge what I was doing

938
00:56:58,480 --> 00:57:00,759
Speaker 1: and that he really thought it was cool. He was

939
00:57:00,840 --> 00:57:03,279
Speaker 1: also when I'd walk into that makeup trailer because we

940
00:57:03,400 --> 00:57:05,880
Speaker 1: both had our arrival scenes coming up, he grabbed my

941
00:57:05,960 --> 00:57:08,000
Speaker 1: T shirt and lifted up and see that six back

942
00:57:08,080 --> 00:57:10,400
Speaker 1: and kind of throw it down because you know, he

943
00:57:10,560 --> 00:57:12,680
Speaker 1: had to get to that level too. You know what

944
00:57:12,719 --> 00:57:15,120
Speaker 1: I'm saying. He was like he was doing the luferig

945
00:57:15,160 --> 00:57:19,440
Speaker 1: no no pumping iron, psychological warfare. But it was all

946
00:57:19,520 --> 00:57:22,680
Speaker 1: in good nature. I got you, and uh but Arnold

947
00:57:22,760 --> 00:57:25,480
Speaker 1: was great. And uh you know Linda, I mean, Jesus,

948
00:57:25,520 --> 00:57:27,240
Speaker 1: I had a crush on her and she was she

949
00:57:27,360 --> 00:57:31,880
Speaker 1: was just ripped. Everybody. Everybody's in sheet, everybody's stumping, everybody's

950
00:57:31,960 --> 00:57:35,360
Speaker 1: full throttle, everybody's going. Jim is at his height of

951
00:57:35,520 --> 00:57:37,960
Speaker 1: his creativity? What is he like as a director? What

952
00:57:38,160 --> 00:57:44,680
Speaker 1: was he like then? He was incredibly intense. Um, Michael,

953
00:57:44,960 --> 00:57:46,880
Speaker 1: I gotta tell you to be honest with you, buddy,

954
00:57:47,000 --> 00:57:49,040
Speaker 1: As much as all these good things I was saying

955
00:57:50,200 --> 00:57:52,640
Speaker 1: about the experience of getting it. Then there was this

956
00:57:52,760 --> 00:57:55,080
Speaker 1: insecure part of me that was worried I was going

957
00:57:55,120 --> 00:57:59,120
Speaker 1: to get fired. You know what, was it just in

958
00:57:59,200 --> 00:58:01,040
Speaker 1: your head or he it was in my head? I

959
00:58:01,120 --> 00:58:03,080
Speaker 1: don't know. It was in my head that was like,

960
00:58:03,840 --> 00:58:06,560
Speaker 1: I really got to do a good job. I mean,

961
00:58:06,640 --> 00:58:08,960
Speaker 1: there's so much there's so much pressure, you know, I've

962
00:58:09,000 --> 00:58:12,240
Speaker 1: got to pull this off. And if you know, God,

963
00:58:12,320 --> 00:58:14,000
Speaker 1: I don't, they don't fire me. I mean, this is

964
00:58:14,240 --> 00:58:16,240
Speaker 1: this is like the do the whole career is being

965
00:58:16,320 --> 00:58:18,480
Speaker 1: handed to you right now. And I had all that

966
00:58:18,600 --> 00:58:23,640
Speaker 1: crap going on in my head. Um, but uh, you know,

967
00:58:23,800 --> 00:58:27,640
Speaker 1: Jim was I The reason I bring that up is

968
00:58:27,800 --> 00:58:29,640
Speaker 1: the way I figured out how I wanted to deal

969
00:58:29,720 --> 00:58:34,520
Speaker 1: with Jim. It was I gave him full authority over me.

970
00:58:34,840 --> 00:58:40,920
Speaker 1: I Um, I saw him as my drill instructor. He

971
00:58:41,160 --> 00:58:44,680
Speaker 1: was my commander. I got you, and I'm I'm buying

972
00:58:44,760 --> 00:58:47,960
Speaker 1: into this. And whenever he tells me to do something,

973
00:58:48,000 --> 00:58:52,240
Speaker 1: there's two things. I say, yes, sir, right, And that's

974
00:58:52,280 --> 00:58:55,400
Speaker 1: how I addressed him. It was yes, sir, we want

975
00:58:55,480 --> 00:58:57,160
Speaker 1: you to do this, that you gotta go through here

976
00:58:57,200 --> 00:58:59,920
Speaker 1: and blah blah, blah blah, Yes, sir, I was very

977
00:59:00,760 --> 00:59:03,200
Speaker 1: I stuck to myself. I had a mental checklist of

978
00:59:03,320 --> 00:59:05,120
Speaker 1: things that I wanted to do to make sure that

979
00:59:05,200 --> 00:59:07,960
Speaker 1: I could pull the character off each day. But the

980
00:59:08,000 --> 00:59:10,480
Speaker 1: way I walked away, I stood all those things had

981
00:59:10,520 --> 00:59:12,880
Speaker 1: to be part of that common denominator, that that common

982
00:59:13,000 --> 00:59:14,800
Speaker 1: thing that I had that went from scene to scene

983
00:59:14,840 --> 00:59:16,800
Speaker 1: to scene. So I knew what I had to do,

984
00:59:16,920 --> 00:59:19,880
Speaker 1: and I stuck to myself. I didn't like bullshit on

985
00:59:19,920 --> 00:59:23,600
Speaker 1: the set. It was very you know, and and um

986
00:59:26,400 --> 00:59:29,840
Speaker 1: I gave him, you know, I I showed him that respect.

987
00:59:31,760 --> 00:59:33,640
Speaker 1: There was only that he would come to me from

988
00:59:33,840 --> 00:59:35,640
Speaker 1: from you know. Every once a while he would say

989
00:59:35,640 --> 00:59:37,880
Speaker 1: to me, what do you think about this? We want

990
00:59:37,960 --> 00:59:41,880
Speaker 1: you to search through this scene. And he's, you know,

991
00:59:42,000 --> 00:59:45,000
Speaker 1: he's creatively, he's secure enough to take an idea. It's

992
00:59:45,000 --> 00:59:48,000
Speaker 1: not like he's an insecure guy. He's he's he's willing

993
00:59:48,080 --> 00:59:50,200
Speaker 1: to take an idea. I said, instead of coming in

994
00:59:50,320 --> 00:59:53,200
Speaker 1: here and ripping this room apart, I think that I

995
00:59:53,240 --> 00:59:56,280
Speaker 1: should be like sense of weare like uh, like code

996
00:59:56,320 --> 00:59:58,760
Speaker 1: readers in a in a in a in a grocery store,

997
00:59:59,320 --> 01:00:02,280
Speaker 1: I should be able to sweep this room and since

998
01:00:02,360 --> 01:00:04,840
Speaker 1: and then when I find Yeah, and I find that

999
01:00:05,000 --> 01:00:08,360
Speaker 1: public Enemy poster and I rip it down, and I

1000
01:00:08,600 --> 01:00:11,520
Speaker 1: sensed that this is where John Connor has been storing

1001
01:00:11,720 --> 01:00:14,880
Speaker 1: his letters from his mother. It's a scene that later

1002
01:00:15,200 --> 01:00:18,720
Speaker 1: got edited, but I remember Jim going like, that's a

1003
01:00:18,840 --> 01:00:22,560
Speaker 1: great idea. So it was originally supposed to tear the

1004
01:00:22,600 --> 01:00:24,680
Speaker 1: whole place. I was kind of tearing the place apart,

1005
01:00:24,760 --> 01:00:27,360
Speaker 1: and I said, let me smoothly move through here and

1006
01:00:27,520 --> 01:00:32,400
Speaker 1: not cause any problems and just find it. And he

1007
01:00:32,560 --> 01:00:34,760
Speaker 1: was cool with that. He loved it. So even though

1008
01:00:34,760 --> 01:00:36,480
Speaker 1: I didn't make it to the movie, he loved it. So,

1009
01:00:36,680 --> 01:00:40,480
Speaker 1: so where were you when you first saw the final

1010
01:00:41,840 --> 01:00:45,440
Speaker 1: movie that everybody saw because for something like like again,

1011
01:00:45,920 --> 01:00:47,919
Speaker 1: you know, I'm only see myself in a big screen

1012
01:00:48,000 --> 01:00:51,720
Speaker 1: once before in a film at all, So then to

1013
01:00:51,800 --> 01:00:54,920
Speaker 1: see yourself in this crazy ship and you don't even

1014
01:00:55,000 --> 01:00:56,960
Speaker 1: know what Like now you can if you do a

1015
01:00:57,040 --> 01:00:58,720
Speaker 1: c G I movie, they can pretty much show you

1016
01:00:58,800 --> 01:01:01,160
Speaker 1: the movie before the movie with the green screens, like

1017
01:01:01,560 --> 01:01:04,320
Speaker 1: you know, the the special effects are. So it's twenty

1018
01:01:04,400 --> 01:01:07,680
Speaker 1: seven years ago, yeah, yeah, and it's everything that I

1019
01:01:07,800 --> 01:01:09,600
Speaker 1: was relying on everything to pull up. And there was

1020
01:01:09,680 --> 01:01:11,240
Speaker 1: moments while I was making a movie where I was

1021
01:01:11,320 --> 01:01:14,880
Speaker 1: going like, you know, to Jim, is this enough? You know,

1022
01:01:14,880 --> 01:01:17,000
Speaker 1: because I don't want to see anything on your face.

1023
01:01:17,680 --> 01:01:21,640
Speaker 1: There's no expression, no exertion when you you know, all

1024
01:01:21,680 --> 01:01:24,120
Speaker 1: that kind of stuff that was and I was kind of, God,

1025
01:01:24,240 --> 01:01:26,840
Speaker 1: is this enough? Is this enocause you can't see what's like,

1026
01:01:27,360 --> 01:01:29,120
Speaker 1: you can't see what he's seeing, and you're not seeing

1027
01:01:29,160 --> 01:01:31,600
Speaker 1: the special effects. Yeah, and I'm I'm kind of get

1028
01:01:31,680 --> 01:01:36,400
Speaker 1: a little concerned about that. And and uh, when I

1029
01:01:36,520 --> 01:01:39,800
Speaker 1: saw the movie, where were you? Where did you see it? First?

1030
01:01:40,120 --> 01:01:43,800
Speaker 1: At a press screen with with all the press and people,

1031
01:01:44,320 --> 01:01:46,520
Speaker 1: And that's the first time I saw it, and uh,

1032
01:01:47,040 --> 01:01:50,040
Speaker 1: and it blew my mind. It blew my mind. When

1033
01:01:50,040 --> 01:01:53,439
Speaker 1: I saw it, I was like, oh my god, they

1034
01:01:53,920 --> 01:01:56,000
Speaker 1: we have done it. You know, I think the audience

1035
01:01:56,120 --> 01:01:59,040
Speaker 1: is really gonna buy this. And it's amazing, you know,

1036
01:01:59,120 --> 01:02:02,000
Speaker 1: the walk out of a fire. I mean that day,

1037
01:02:02,080 --> 01:02:03,600
Speaker 1: that day alone, I remember being in the l A

1038
01:02:03,640 --> 01:02:07,160
Speaker 1: aqueduct with Jim and they had they had put me

1039
01:02:07,280 --> 01:02:09,720
Speaker 1: three dimensionally into the computer and they had me on

1040
01:02:09,760 --> 01:02:11,880
Speaker 1: a computer walking out. But they've never done this. They

1041
01:02:11,880 --> 01:02:14,880
Speaker 1: didn't have motion cap right, So now I had to

1042
01:02:14,960 --> 01:02:16,680
Speaker 1: run up into that fire. You had asked me what

1043
01:02:16,760 --> 01:02:18,280
Speaker 1: was one of the more difficult scenes. It was that

1044
01:02:18,440 --> 01:02:20,560
Speaker 1: scene run up there as close as I could to

1045
01:02:20,640 --> 01:02:26,240
Speaker 1: the fire without burning, and me over zealous and trying

1046
01:02:26,320 --> 01:02:28,960
Speaker 1: to prove how bad I was. I went way too

1047
01:02:29,040 --> 01:02:33,600
Speaker 1: close and my back of my shirt was starting to

1048
01:02:33,720 --> 01:02:36,320
Speaker 1: smoke and the back of my ears were getting singed.

1049
01:02:37,080 --> 01:02:39,720
Speaker 1: And when you're running away, well, and and then I

1050
01:02:39,800 --> 01:02:41,480
Speaker 1: have to I have to run in there and get

1051
01:02:41,560 --> 01:02:44,120
Speaker 1: to the point. And I'm waiting and all the effects

1052
01:02:44,160 --> 01:02:46,200
Speaker 1: are going and I'm kind of getting myself into my post,

1053
01:02:46,280 --> 01:02:48,640
Speaker 1: and you're thinking you're the real fucking terminator and I'm

1054
01:02:48,680 --> 01:02:51,280
Speaker 1: the real I'm thinking exactly. And then I'm watching them,

1055
01:02:51,360 --> 01:02:53,360
Speaker 1: and then they give me a queue, and now I

1056
01:02:53,480 --> 01:02:56,640
Speaker 1: can't just start walking like a normal person. I have

1057
01:02:56,800 --> 01:03:02,240
Speaker 1: to walk in stride and be going forward to match

1058
01:03:02,400 --> 01:03:05,560
Speaker 1: the computer thing that's coming in behind me. To walk

1059
01:03:05,640 --> 01:03:07,760
Speaker 1: into that close up to where you see me go

1060
01:03:08,000 --> 01:03:12,040
Speaker 1: from metal guy to me with real fire with real

1061
01:03:12,120 --> 01:03:15,800
Speaker 1: fire behind me, and out, and you were into a

1062
01:03:15,920 --> 01:03:19,080
Speaker 1: close up and then out and you go, as an

1063
01:03:19,120 --> 01:03:23,280
Speaker 1: audience member, you're going, oh my god, this guy, you know,

1064
01:03:24,320 --> 01:03:27,120
Speaker 1: that was tough and we did take after take after take,

1065
01:03:27,320 --> 01:03:31,040
Speaker 1: and then I'm gonna catch on fire. Now, Well, the

1066
01:03:31,160 --> 01:03:33,360
Speaker 1: next take they go, you know, like he was really concerned.

1067
01:03:33,360 --> 01:03:36,000
Speaker 1: He was like, Robert, you gotta dude, you can't do that.

1068
01:03:36,120 --> 01:03:38,480
Speaker 1: We're gonna they put fire blankets on me and I

1069
01:03:38,600 --> 01:03:40,520
Speaker 1: ran in there with fire blankets and they put some

1070
01:03:40,760 --> 01:03:42,720
Speaker 1: fire retarded to go on the back of my ears

1071
01:03:42,800 --> 01:03:46,560
Speaker 1: and did all this stuff to prevent it from having

1072
01:03:46,600 --> 01:03:48,800
Speaker 1: it again. But at the same time, when they would

1073
01:03:48,800 --> 01:03:51,680
Speaker 1: say ready, you gotta go, somebody would have to run

1074
01:03:51,720 --> 01:03:53,520
Speaker 1: and grab the blankets, and then I'd still have to

1075
01:03:53,600 --> 01:03:57,560
Speaker 1: kind of get set to go to do it. And uh,

1076
01:03:58,320 --> 01:04:00,880
Speaker 1: I was getting a little frustrated because I kept thinking

1077
01:04:00,880 --> 01:04:03,960
Speaker 1: it was something I was doing that wasn't wasn't working.

1078
01:04:04,600 --> 01:04:07,120
Speaker 1: And I remember Jim sitting there with me and he goes, buddy,

1079
01:04:08,160 --> 01:04:11,720
Speaker 1: we're making movie history here. What we're doing has never

1080
01:04:11,800 --> 01:04:15,120
Speaker 1: been done. We gotta just do it until we do

1081
01:04:15,280 --> 01:04:17,280
Speaker 1: it and we get it right. And we're all going

1082
01:04:17,360 --> 01:04:19,640
Speaker 1: to figure that out right now. That's what this day

1083
01:04:19,720 --> 01:04:24,280
Speaker 1: is all about. So just calm down, stay patient. You know,

1084
01:04:25,080 --> 01:04:27,280
Speaker 1: I know you're getting frustrated, because I would. I would

1085
01:04:27,320 --> 01:04:31,000
Speaker 1: get frustrated from the exactness of how you know, like

1086
01:04:31,160 --> 01:04:33,560
Speaker 1: walking to the bars. I mean, it's not it's stuff

1087
01:04:33,600 --> 01:04:35,280
Speaker 1: that you and I as actors, we don't think about

1088
01:04:35,400 --> 01:04:37,480
Speaker 1: hitting our mark and you know, we just do it.

1089
01:04:38,280 --> 01:04:41,720
Speaker 1: But this was different. You gotta hit your mark, you

1090
01:04:41,840 --> 01:04:43,640
Speaker 1: can't and and you gotta kind of walk up to

1091
01:04:43,720 --> 01:04:45,600
Speaker 1: the bar where it's here. But you've gotta be looking

1092
01:04:45,640 --> 01:04:47,560
Speaker 1: down the hall at Arnold and I don't want you

1093
01:04:47,640 --> 01:04:49,880
Speaker 1: to blink, and I want you to be gazing at

1094
01:04:49,960 --> 01:04:51,520
Speaker 1: him and hit that mark. And it's got to be

1095
01:04:51,640 --> 01:04:54,080
Speaker 1: exactly right. And I would do take after today, your

1096
01:04:54,160 --> 01:04:57,360
Speaker 1: quarter of an inch off, your native minute off. It

1097
01:04:57,520 --> 01:05:00,000
Speaker 1: was that exactly. It was like acting under a microscope,

1098
01:05:00,160 --> 01:05:01,880
Speaker 1: you know what I mean. And you're going like, oh

1099
01:05:01,960 --> 01:05:03,440
Speaker 1: my god, how do you know? I don't know how

1100
01:05:03,520 --> 01:05:06,520
Speaker 1: to do right? So you started to have some doubts. Anyway,

1101
01:05:06,760 --> 01:05:10,240
Speaker 1: it was an amazing experience. So what was the the

1102
01:05:10,360 --> 01:05:13,560
Speaker 1: movie comes out, it's your first big thing. What was

1103
01:05:13,640 --> 01:05:17,320
Speaker 1: the world when like of the success of that movie,

1104
01:05:17,720 --> 01:05:19,840
Speaker 1: like you know, like how did it change your life?

1105
01:05:19,920 --> 01:05:23,560
Speaker 1: Obviously you become a guy, you're you got pressed, you

1106
01:05:23,680 --> 01:05:26,280
Speaker 1: have a name, you know, Like what was the world

1107
01:05:26,280 --> 01:05:28,000
Speaker 1: wind of being in that big of a movie at

1108
01:05:28,040 --> 01:05:29,680
Speaker 1: the time for you who had you know, you had

1109
01:05:29,720 --> 01:05:31,800
Speaker 1: just done Die Hard to a small part of diet

1110
01:05:31,880 --> 01:05:34,280
Speaker 1: and a bunch of Roger Corman movies where Jim had

1111
01:05:34,320 --> 01:05:37,480
Speaker 1: started too. He had started with Roger Knight, so we

1112
01:05:37,600 --> 01:05:42,200
Speaker 1: had that income. Um. It was an interesting thing because

1113
01:05:42,280 --> 01:05:46,520
Speaker 1: being an unknown and then being launched in that movie

1114
01:05:46,760 --> 01:05:48,560
Speaker 1: probably one of the coolest roles you could ever be

1115
01:05:48,680 --> 01:05:58,280
Speaker 1: launched at. And I still feel people recognize me as

1116
01:05:58,360 --> 01:06:01,200
Speaker 1: the character, but they don't necessarily recognized the actor. It's

1117
01:06:01,200 --> 01:06:03,000
Speaker 1: sort of something I've been dealing with my whole career.

1118
01:06:03,520 --> 01:06:06,600
Speaker 1: It's not like you're going, oh, that's Robert Patrick. No,

1119
01:06:06,760 --> 01:06:10,120
Speaker 1: it's oh, that's the terminator guy, that's the liquid metal guy.

1120
01:06:11,160 --> 01:06:13,680
Speaker 1: That's that that's that guy. Still, who is that guy?

1121
01:06:13,840 --> 01:06:16,560
Speaker 1: What's his name? You know? It's still a lot like that,

1122
01:06:17,360 --> 01:06:18,840
Speaker 1: to be honest with it really is. I mean it's

1123
01:06:18,960 --> 01:06:23,440
Speaker 1: changed over the years. Uh, it's gotten better, but it's

1124
01:06:23,440 --> 01:06:28,080
Speaker 1: still something I kind of you know, I uh. When

1125
01:06:28,160 --> 01:06:29,840
Speaker 1: it first came out, it was the way I don't

1126
01:06:29,840 --> 01:06:32,160
Speaker 1: want to sound like you know, but I know We're

1127
01:06:32,160 --> 01:06:35,480
Speaker 1: spilt milk. That's just specific it was. It was just

1128
01:06:35,600 --> 01:06:39,280
Speaker 1: an iconic film and iconic role in iconic, game changing film,

1129
01:06:39,880 --> 01:06:42,560
Speaker 1: and you were so distinct in it, it's almost like

1130
01:06:42,640 --> 01:06:46,360
Speaker 1: you become typecast. I was. I didn't realize it, and

1131
01:06:46,480 --> 01:06:48,400
Speaker 1: people pressed were asking me about that. I was going,

1132
01:06:48,640 --> 01:06:52,320
Speaker 1: wh how could I be typecast? When that movie came out, Right,

1133
01:06:53,480 --> 01:06:57,160
Speaker 1: there has been no publicity about my character, right, I

1134
01:06:57,360 --> 01:06:59,880
Speaker 1: was the reveal. So now the movie comes out, it's

1135
01:07:00,040 --> 01:07:05,560
Speaker 1: big hit, and I've got the fact that I'm the terminator.

1136
01:07:06,840 --> 01:07:09,320
Speaker 1: And we pulled it off so well that when I

1137
01:07:09,360 --> 01:07:13,200
Speaker 1: would go meet with directors for subsequent movies, all they

1138
01:07:13,240 --> 01:07:15,360
Speaker 1: could see was determinating And all we want to talk

1139
01:07:15,440 --> 01:07:17,560
Speaker 1: to you about is like the conversation that I'm happy,

1140
01:07:18,080 --> 01:07:19,920
Speaker 1: and you're like, I want to move on. It's been

1141
01:07:19,960 --> 01:07:22,320
Speaker 1: two years, and you and and you do. Michael, You're

1142
01:07:22,360 --> 01:07:23,919
Speaker 1: kind of going like you're kind of going like, yeah,

1143
01:07:23,920 --> 01:07:26,480
Speaker 1: I want this fucking partner. It's just one part I did.

1144
01:07:26,920 --> 01:07:29,200
Speaker 1: I did it really well. But now it's up to

1145
01:07:29,280 --> 01:07:33,840
Speaker 1: you to get yourself going in a different direction. And

1146
01:07:35,640 --> 01:07:37,920
Speaker 1: after after not getting worked for like a year and

1147
01:07:37,920 --> 01:07:39,360
Speaker 1: a half, I mean I didn't worked for a year

1148
01:07:39,400 --> 01:07:41,640
Speaker 1: and a half after that movie because of just the

1149
01:07:42,000 --> 01:07:44,840
Speaker 1: iconic either I wasn't as good as I thought I was,

1150
01:07:45,320 --> 01:07:49,880
Speaker 1: or the robot was too good at it right physically

1151
01:07:49,920 --> 01:07:52,120
Speaker 1: and looked to be a normal person, Like you're like, yeah,

1152
01:07:52,720 --> 01:07:54,440
Speaker 1: you know, yeah, you're good at robot. And I was

1153
01:07:54,440 --> 01:07:57,600
Speaker 1: getting only offered robotic movies, you know, like I'm I'm

1154
01:07:57,600 --> 01:07:59,600
Speaker 1: gonna play like I feel like, yeah, yeah, I'm gonna

1155
01:07:59,640 --> 01:08:01,440
Speaker 1: do that. I'm to play another I was. It was

1156
01:08:01,440 --> 01:08:03,400
Speaker 1: funny thing it was. It was getting endorsements, like I

1157
01:08:03,440 --> 01:08:06,280
Speaker 1: remember I Beer company. I think it was bub Wiser.

1158
01:08:06,320 --> 01:08:07,600
Speaker 1: I don't know. They wanted me to maybe do the

1159
01:08:07,680 --> 01:08:10,840
Speaker 1: Team one thousand in a commercial kind of kind of

1160
01:08:10,920 --> 01:08:12,680
Speaker 1: a deal, and it was like, I don't. I don't

1161
01:08:12,680 --> 01:08:14,160
Speaker 1: want to do that ship. I don't want to just

1162
01:08:14,320 --> 01:08:17,800
Speaker 1: be known as this guy. That's not why I became

1163
01:08:17,840 --> 01:08:20,760
Speaker 1: an actor. I want to do Copland. You want to

1164
01:08:20,800 --> 01:08:25,560
Speaker 1: do the soprano. So I I think you wanted this,

1165
01:08:25,680 --> 01:08:28,200
Speaker 1: and then you get it and you're like now now, okay,

1166
01:08:28,280 --> 01:08:30,160
Speaker 1: now I'm that guy, and people are you know, people

1167
01:08:30,200 --> 01:08:33,640
Speaker 1: are like yeah, it's everybody's really kind of cool, like, hey, man,

1168
01:08:33,720 --> 01:08:36,760
Speaker 1: do the run. People would ask you to do the walk,

1169
01:08:37,160 --> 01:08:41,599
Speaker 1: let me see, and you're kind of going like okay, Finally,

1170
01:08:42,800 --> 01:08:45,720
Speaker 1: Barbara said to me, she said, well, you know, maybe

1171
01:08:45,760 --> 01:08:49,000
Speaker 1: it's a fluke. Maybe that was it. Maybe that's all

1172
01:08:49,040 --> 01:08:52,439
Speaker 1: you get. I said, I just can't believe God would

1173
01:08:52,479 --> 01:08:54,040
Speaker 1: bring me all the way here and then just dumped

1174
01:08:54,080 --> 01:08:56,559
Speaker 1: me on my ass and say, you know, figure it out.

1175
01:08:56,720 --> 01:09:00,760
Speaker 1: I just can't believe. So I finally did. Was. I

1176
01:09:00,960 --> 01:09:04,679
Speaker 1: altered my appearance. I grew my hair along, I grew

1177
01:09:04,720 --> 01:09:07,599
Speaker 1: a beard, I gained some weight. I put the team

1178
01:09:07,640 --> 01:09:09,880
Speaker 1: one thousand behind me. Did you think that about changing

1179
01:09:09,920 --> 01:09:12,600
Speaker 1: your eye color? Because your eye color was so like,

1180
01:09:12,840 --> 01:09:15,000
Speaker 1: it was like, what's up with this guy's fucking eyes? Man?

1181
01:09:15,080 --> 01:09:17,800
Speaker 1: Like you're freaking me out. It helped that he shot

1182
01:09:17,880 --> 01:09:23,960
Speaker 1: it all in blue, but uh uh, I did. I

1183
01:09:24,120 --> 01:09:28,200
Speaker 1: did alter myself to where Robert Lieberman, great director, Robert

1184
01:09:28,360 --> 01:09:32,080
Speaker 1: Robber Lieberman, was casting Fire in the Sky, and I

1185
01:09:32,200 --> 01:09:34,720
Speaker 1: know they were auditioning a bunch of guys and and

1186
01:09:34,840 --> 01:09:37,120
Speaker 1: I went in and he didn't realize I was the

1187
01:09:37,200 --> 01:09:40,599
Speaker 1: same guy. And he literally said to me, someone told

1188
01:09:40,640 --> 01:09:44,200
Speaker 1: me after I'd already cast you that you were that guy,

1189
01:09:44,880 --> 01:09:47,040
Speaker 1: and I couldn't believe it because you were such an

1190
01:09:47,120 --> 01:09:52,840
Speaker 1: emotional guy for our movie. And I didn't you know,

1191
01:09:52,960 --> 01:09:54,960
Speaker 1: I thought of you as like a wooden actor that

1192
01:09:55,200 --> 01:09:59,880
Speaker 1: would uh you know, that was it. So now I

1193
01:10:00,040 --> 01:10:01,680
Speaker 1: can say, you know, like I've been doing this for

1194
01:10:01,760 --> 01:10:04,080
Speaker 1: thirty or four years now, I think I've done enough

1195
01:10:04,200 --> 01:10:08,679
Speaker 1: work right that you know, I did leave it behind,

1196
01:10:09,439 --> 01:10:11,400
Speaker 1: and in a in a weird way, I would, you know,

1197
01:10:11,520 --> 01:10:13,479
Speaker 1: I kind of wonder about what I ever want to

1198
01:10:13,520 --> 01:10:15,639
Speaker 1: do it again? And then that brings up that point,

1199
01:10:15,680 --> 01:10:17,479
Speaker 1: will you ever want to do it again? And I'm like,

1200
01:10:17,640 --> 01:10:19,519
Speaker 1: I don't know, I don't I don't think I could

1201
01:10:19,560 --> 01:10:21,920
Speaker 1: ever do it like that, right right. I don't think

1202
01:10:21,920 --> 01:10:24,439
Speaker 1: I can get myself in that headspace right right, because

1203
01:10:24,479 --> 01:10:27,240
Speaker 1: because you're so hungry and the work and you know

1204
01:10:27,479 --> 01:10:30,559
Speaker 1: exactly what I'm talking. I mean, it's it's it's not jaded,

1205
01:10:30,640 --> 01:10:32,840
Speaker 1: but it's like you're you're not going next to the

1206
01:10:32,920 --> 01:10:35,080
Speaker 1: fire now. Now, it's like, get the fun stunted up,

1207
01:10:35,640 --> 01:10:38,080
Speaker 1: because when you're young, you're like, let's do Juno, let's

1208
01:10:38,120 --> 01:10:40,439
Speaker 1: fight for real. I'm gonna go near the fire, like listen,

1209
01:10:40,479 --> 01:10:43,720
Speaker 1: I'm gonna be a craft servicing its eminem. Get the

1210
01:10:43,800 --> 01:10:46,519
Speaker 1: fucking guy who wants to go next to cool Jim Cameron,

1211
01:10:46,800 --> 01:10:49,639
Speaker 1: that's cool, you're changing film, get another guy, because I'm

1212
01:10:49,640 --> 01:10:52,200
Speaker 1: not gonna catch on fucking fire. So I I know

1213
01:10:52,280 --> 01:10:56,160
Speaker 1: what you mean. What's your what's your tolerance and your patients?

1214
01:10:56,240 --> 01:10:58,719
Speaker 1: And you're you're you're eager. This is like a boxer almost.

1215
01:10:58,720 --> 01:11:00,439
Speaker 1: It's like, are you willing to take the want You'll

1216
01:11:00,479 --> 01:11:03,800
Speaker 1: take different punches, maybe just not catch on fire. Yeah,

1217
01:11:04,200 --> 01:11:06,120
Speaker 1: So I want to be a Navy seal. Yeah, I

1218
01:11:06,200 --> 01:11:08,680
Speaker 1: do really really bad. Cut to me twenty five years later,

1219
01:11:08,680 --> 01:11:10,519
Speaker 1: you want to be a Navy seal again? I don't

1220
01:11:10,520 --> 01:11:12,679
Speaker 1: know if you want to go through that drunken father.

1221
01:11:13,439 --> 01:11:18,800
Speaker 1: See exactly what you mean, he said to the young guys.

1222
01:11:18,920 --> 01:11:22,360
Speaker 1: It was the prime of my my physicality, and like

1223
01:11:22,520 --> 01:11:25,720
Speaker 1: an athlete, you know, you gotta acknowledge the fact that

1224
01:11:25,880 --> 01:11:29,599
Speaker 1: you know, I'm probably past my prime with that particular role.

1225
01:11:29,840 --> 01:11:32,680
Speaker 1: So Copland, which we were in it together, we had

1226
01:11:32,760 --> 01:11:35,439
Speaker 1: so much fun, so much funny. How I got that role?

1227
01:11:35,479 --> 01:11:36,680
Speaker 1: How did you get that point? You want to know?

1228
01:11:36,760 --> 01:11:39,799
Speaker 1: Because you're already on it. I was, you were already

1229
01:11:39,880 --> 01:11:43,960
Speaker 1: on it. Do we do we audition? You and I

1230
01:11:44,120 --> 01:11:46,760
Speaker 1: have run into each other on different things down the road,

1231
01:11:47,360 --> 01:11:54,040
Speaker 1: But that particular movie I was in New York and

1232
01:11:54,200 --> 01:11:58,719
Speaker 1: I was having drinks with Peter Berg at the Oak Room,

1233
01:12:00,120 --> 01:12:04,040
Speaker 1: uh at the Plaza, I remember, and Merrill Poster was

1234
01:12:04,160 --> 01:12:10,919
Speaker 1: with Peter with Harvey and they were having a difficult

1235
01:12:11,040 --> 01:12:14,600
Speaker 1: time casting that role. And she looked at me, and

1236
01:12:14,640 --> 01:12:17,519
Speaker 1: I had a goate. I looked different. I just done

1237
01:12:17,560 --> 01:12:20,719
Speaker 1: stripped tease. I was doing press, and she kept looking

1238
01:12:20,760 --> 01:12:23,360
Speaker 1: at me, and then she finally goes, what are you

1239
01:12:23,479 --> 01:12:26,120
Speaker 1: doing tomorrow? And I said, well, I got pressed all day.

1240
01:12:26,200 --> 01:12:27,640
Speaker 1: She goes, if I give you a script where you

1241
01:12:27,680 --> 01:12:29,240
Speaker 1: read it tonight, I want you to come by and

1242
01:12:29,280 --> 01:12:32,800
Speaker 1: I want you to meet this James Mangold. We're having

1243
01:12:32,840 --> 01:12:37,120
Speaker 1: a tough time casting this role. Okay. Now I knew

1244
01:12:37,160 --> 01:12:40,200
Speaker 1: about complain right, everybody knew about it. Everybody wanted to

1245
01:12:40,240 --> 01:12:41,920
Speaker 1: be in it. I wanted to be in it. They

1246
01:12:41,960 --> 01:12:44,439
Speaker 1: wouldn't see me for it. No one would see me.

1247
01:12:44,520 --> 01:12:46,800
Speaker 1: I couldn't get in for it right. So now Merrill

1248
01:12:46,840 --> 01:12:50,240
Speaker 1: Posters invited me to go meet James Mangold. So sure,

1249
01:12:50,320 --> 01:12:51,720
Speaker 1: ship you know. That night I went home and I

1250
01:12:51,760 --> 01:12:55,120
Speaker 1: read that script. Fantastic script. I go down the next day,

1251
01:12:55,200 --> 01:12:57,400
Speaker 1: I meet James, I meet Carrie Woods, I meet all

1252
01:12:57,439 --> 01:13:00,240
Speaker 1: them over there. And Jim says to me, will you

1253
01:13:00,360 --> 01:13:04,280
Speaker 1: read for me? And I said, abs fucking little, And

1254
01:13:04,760 --> 01:13:07,600
Speaker 1: I read a scene and he cast me. And he

1255
01:13:07,760 --> 01:13:09,920
Speaker 1: told me the reason he cast me not really for

1256
01:13:10,040 --> 01:13:12,000
Speaker 1: what I did in the scene, but the fact that

1257
01:13:12,080 --> 01:13:15,400
Speaker 1: I was willing to read for him cold and and

1258
01:13:15,479 --> 01:13:17,920
Speaker 1: and it's been a great friendship with James as you

1259
01:13:17,960 --> 01:13:19,760
Speaker 1: worked with him and walk Walk the Line, we worked

1260
01:13:19,760 --> 01:13:23,160
Speaker 1: together subsequently, and uh and I had a great experience

1261
01:13:23,240 --> 01:13:25,040
Speaker 1: working with him on Coplin. I don't know about you,

1262
01:13:25,240 --> 01:13:29,240
Speaker 1: but I remember distinctly learning some stuff, specifically camera technique

1263
01:13:29,280 --> 01:13:33,040
Speaker 1: wise that helped me considerably in my career. Afterwards with

1264
01:13:34,080 --> 01:13:36,720
Speaker 1: well what did you learn from him? Him kind of

1265
01:13:36,960 --> 01:13:39,080
Speaker 1: kind of like took me back a little bit and

1266
01:13:39,240 --> 01:13:41,800
Speaker 1: reminded me that this is thirty five times is big

1267
01:13:43,400 --> 01:13:45,280
Speaker 1: and I don't want you to you know that I

1268
01:13:45,400 --> 01:13:48,320
Speaker 1: want you. I want you to do nothing. His direction

1269
01:13:48,439 --> 01:13:50,679
Speaker 1: was always did he ever give you this direction? That's

1270
01:13:50,720 --> 01:13:53,040
Speaker 1: the six I want you to do a tend what

1271
01:13:53,400 --> 01:13:58,479
Speaker 1: he never did that you're you're out of five. I

1272
01:13:58,520 --> 01:14:01,479
Speaker 1: remember one scene it was like it was fucking late

1273
01:14:01,640 --> 01:14:03,320
Speaker 1: and they were like we gotta rap because it was,

1274
01:14:03,360 --> 01:14:05,240
Speaker 1: I mean everything every scene that I was in was like,

1275
01:14:05,280 --> 01:14:07,040
Speaker 1: we were on the bridge. Were you on the scene

1276
01:14:07,040 --> 01:14:08,880
Speaker 1: in the bridge? I was on the bridge. You remember,

1277
01:14:09,640 --> 01:14:12,040
Speaker 1: That's where we were hanging out and Harvey and then

1278
01:14:12,200 --> 01:14:16,040
Speaker 1: John Spencer you fucking jump off. You remember riding around

1279
01:14:16,040 --> 01:14:18,479
Speaker 1: the back of that cad lass. But do you remember

1280
01:14:18,520 --> 01:14:23,479
Speaker 1: Harvey and I doing that scene and Harvey was he saying, Harvey,

1281
01:14:23,520 --> 01:14:27,120
Speaker 1: now people go to our producer, producer, Harvey White scenes,

1282
01:14:27,200 --> 01:14:29,360
Speaker 1: we gotta be clear. But Harvey, I remember. Harvey was

1283
01:14:29,400 --> 01:14:31,200
Speaker 1: like I was. I had all this dialogue and it

1284
01:14:31,320 --> 01:14:33,800
Speaker 1: was like, no, I'm sucking Jimmy Connor. We're coming back

1285
01:14:33,840 --> 01:14:37,400
Speaker 1: from wherever the funk. And I was like, whoa, why why?

1286
01:14:38,200 --> 01:14:39,439
Speaker 1: I don't want to be in the middle of his

1287
01:14:39,560 --> 01:14:42,360
Speaker 1: scene with Junior Grafla White. What does it? And the

1288
01:14:42,560 --> 01:14:44,599
Speaker 1: James said to him, Harvey, his lines are just as

1289
01:14:44,640 --> 01:14:48,720
Speaker 1: important as yours. It was. It was a lot. There

1290
01:14:48,800 --> 01:14:50,400
Speaker 1: was a lot of throwing down on that, but it

1291
01:14:50,520 --> 01:14:55,080
Speaker 1: was a lot of fucking person remember, yes, I remember, Yeah,

1292
01:14:55,160 --> 01:14:57,840
Speaker 1: with the news that I remember that, I do remember that,

1293
01:14:58,000 --> 01:15:01,960
Speaker 1: and I'm like looking around at you what I'm going, Yeah,

1294
01:15:02,000 --> 01:15:04,320
Speaker 1: Harvey Kitell like I love hard I call him Uncle

1295
01:15:04,400 --> 01:15:08,280
Speaker 1: Harvey he's a great but he's he's intense. He slapped

1296
01:15:08,360 --> 01:15:11,240
Speaker 1: my fucking face on the bridge because they had the

1297
01:15:11,320 --> 01:15:14,040
Speaker 1: reason why they was. So it was even more the

1298
01:15:14,080 --> 01:15:16,600
Speaker 1: George Washington Bridge scene because they were like one of

1299
01:15:16,720 --> 01:15:19,760
Speaker 1: my favorite things. Two hours we had to shoot, they say,

1300
01:15:19,800 --> 01:15:21,400
Speaker 1: the whole thing on the bottom. It was like three.

1301
01:15:21,439 --> 01:15:23,439
Speaker 1: It was like you have from three to five. I mean,

1302
01:15:23,479 --> 01:15:25,519
Speaker 1: you could only rent the bridge for so long, so

1303
01:15:25,960 --> 01:15:28,160
Speaker 1: it was like you gotta get out there, shoot the

1304
01:15:28,200 --> 01:15:30,840
Speaker 1: ship and and fucking get the funk off the bridge,

1305
01:15:30,880 --> 01:15:33,360
Speaker 1: so you know, rush hour traffic, and we were, you know,

1306
01:15:33,560 --> 01:15:36,040
Speaker 1: arguing the scene and I'm like, n whatever the fucking

1307
01:15:36,120 --> 01:15:38,479
Speaker 1: character's name was, and I was standing in front of

1308
01:15:38,520 --> 01:15:42,680
Speaker 1: the camera and you couldn't hear the bridge above us

1309
01:15:42,800 --> 01:15:44,800
Speaker 1: was open, so it was like screaming and yelling and

1310
01:15:45,120 --> 01:15:47,680
Speaker 1: James manles like this and Harvey Kite tells there and

1311
01:15:48,080 --> 01:15:50,479
Speaker 1: you're it was just nuts. And I was standing like

1312
01:15:50,600 --> 01:15:53,720
Speaker 1: I gott in front and he smacked my face and

1313
01:15:53,920 --> 01:15:56,680
Speaker 1: it was sort of in the character, you know, but

1314
01:15:56,760 --> 01:15:58,360
Speaker 1: he was, you know, he was like, you know, shut

1315
01:15:58,400 --> 01:16:00,720
Speaker 1: the funk up, Murray and moved to the fucking way

1316
01:16:00,880 --> 01:16:02,640
Speaker 1: like he was and I don't know what you know,

1317
01:16:02,680 --> 01:16:04,400
Speaker 1: but it's Harvey kit Tell and it was like he

1318
01:16:04,560 --> 01:16:07,720
Speaker 1: smacked the ship out. Anybody smacked me, But I mean

1319
01:16:08,240 --> 01:16:16,760
Speaker 1: between Harvey Kitel, fucking uh, Robert de Niro, Stallone, ray Leota,

1320
01:16:17,600 --> 01:16:19,240
Speaker 1: I mean this is this is like a lot of

1321
01:16:19,360 --> 01:16:22,160
Speaker 1: ship going There's a lot of stuff going on. Well, okay,

1322
01:16:22,320 --> 01:16:24,240
Speaker 1: a couple of things. They popped my head right away.

1323
01:16:24,760 --> 01:16:27,759
Speaker 1: Harvey with you that night. I remember distint that happening.

1324
01:16:28,120 --> 01:16:31,120
Speaker 1: I do, And I remember we were all kind of like, wow,

1325
01:16:31,439 --> 01:16:35,000
Speaker 1: I remember John yeah, And I remember John Spencer was

1326
01:16:35,120 --> 01:16:37,840
Speaker 1: like he had some stuff going on and he was

1327
01:16:38,040 --> 01:16:40,639
Speaker 1: he was worried about some stuff that Harvey was trying

1328
01:16:40,680 --> 01:16:43,840
Speaker 1: to do, and he was really standing strong in his

1329
01:16:44,360 --> 01:16:46,840
Speaker 1: what he was doing. And then they gave me some

1330
01:16:46,960 --> 01:16:48,680
Speaker 1: cool stuff to do with planting the gun and I

1331
01:16:48,760 --> 01:16:51,280
Speaker 1: had that guy what is that guy's name? The actor.

1332
01:16:51,840 --> 01:16:53,560
Speaker 1: It's my favorite scene where I'm like, he goes, what

1333
01:16:53,680 --> 01:16:55,080
Speaker 1: the funk are you doing? I go with the morning,

1334
01:16:55,120 --> 01:16:56,680
Speaker 1: what the funk you mean, what the funk I'm doing?

1335
01:16:56,720 --> 01:16:58,640
Speaker 1: We we did this whole thing. It was one of

1336
01:16:58,720 --> 01:17:01,880
Speaker 1: my favorite things I've ever I've ever done. Um, what

1337
01:17:01,960 --> 01:17:04,880
Speaker 1: do you remember? Like? Who did you like? Stallone was

1338
01:17:05,000 --> 01:17:08,559
Speaker 1: cool as ship, but he was great. All my rocky

1339
01:17:08,720 --> 01:17:12,719
Speaker 1: fantasies come true, do you. Okay, here's one that pops

1340
01:17:12,760 --> 01:17:15,280
Speaker 1: into my mind my first day because you're from New York.

1341
01:17:15,640 --> 01:17:18,800
Speaker 1: I'm from sucking Atlanta, Boston, Dayton, Detroit, and Cleveland. So

1342
01:17:18,920 --> 01:17:21,679
Speaker 1: I'm a little worried about what am I gonna sound

1343
01:17:21,720 --> 01:17:24,559
Speaker 1: like because you're with all these New York guys, authentic guys.

1344
01:17:25,040 --> 01:17:28,559
Speaker 1: So now I fly in early and get a three

1345
01:17:28,640 --> 01:17:32,080
Speaker 1: week right along with the NYPD. Okay, I didn't get

1346
01:17:32,160 --> 01:17:35,720
Speaker 1: that if I requested it, man, I said, I gotta

1347
01:17:35,760 --> 01:17:37,280
Speaker 1: get with these guys. And the whole time I was

1348
01:17:37,320 --> 01:17:39,840
Speaker 1: with these guys, I was picking up there. I got

1349
01:17:39,880 --> 01:17:41,320
Speaker 1: a good ear, so I was picking it up and

1350
01:17:41,360 --> 01:17:43,240
Speaker 1: picking it up and picking it up, and I was

1351
01:17:43,280 --> 01:17:46,960
Speaker 1: feeling confident. But my first fucking day, we're at Edgewater

1352
01:17:47,400 --> 01:17:52,040
Speaker 1: and we're in that little the little coffee shop, and

1353
01:17:52,160 --> 01:17:56,840
Speaker 1: it's the day after we've hit you. Yes, okay, you

1354
01:17:57,040 --> 01:18:01,080
Speaker 1: jumped off the bridge right and and we're in there

1355
01:18:01,120 --> 01:18:06,680
Speaker 1: and it's me and Artur Nascarella, total New Yorker. I'll

1356
01:18:06,720 --> 01:18:10,680
Speaker 1: tell you a great story about New York who used

1357
01:18:10,680 --> 01:18:13,639
Speaker 1: to be a cop undercover like he's seen the real ship,

1358
01:18:13,800 --> 01:18:16,320
Speaker 1: knows how to act for for for real, for real,

1359
01:18:16,600 --> 01:18:18,720
Speaker 1: right for real for Yeah, he's undercover cops, so I

1360
01:18:18,720 --> 01:18:21,360
Speaker 1: acting it complin is like a fucking joke. I mean,

1361
01:18:21,439 --> 01:18:24,840
Speaker 1: make a cut. So he's there, and DeNiro's coming in,

1362
01:18:24,960 --> 01:18:29,840
Speaker 1: and Kitel's there, so me, Harvey, Arthur and and and

1363
01:18:30,160 --> 01:18:33,400
Speaker 1: DeNiro's coming in. Okay. So it's the start of the

1364
01:18:33,479 --> 01:18:36,599
Speaker 1: day and the lights coming in that window and we're

1365
01:18:36,640 --> 01:18:40,599
Speaker 1: all there, excuse me, by the window, and Jim's trying

1366
01:18:40,640 --> 01:18:42,439
Speaker 1: to figure out how he wants to shoot this thing,

1367
01:18:43,160 --> 01:18:45,760
Speaker 1: and DeNiro is gonna come in. But I think it

1368
01:18:45,880 --> 01:18:48,120
Speaker 1: was the first time deniroky Tail were on screen together

1369
01:18:48,160 --> 01:18:50,560
Speaker 1: a long time since, and there was a give and

1370
01:18:50,640 --> 01:18:53,360
Speaker 1: take that was not happening with them. Explain that well,

1371
01:18:53,720 --> 01:18:55,479
Speaker 1: DeNiro was trying to figure out how to get the

1372
01:18:55,520 --> 01:18:58,000
Speaker 1: advantage on Kytel, and Kytel was trying to figure out

1373
01:18:58,000 --> 01:19:00,160
Speaker 1: how to get the advantage on DeNiro, and then the

1374
01:19:00,160 --> 01:19:02,599
Speaker 1: good character or is it is sort of like it's

1375
01:19:02,800 --> 01:19:06,360
Speaker 1: I think it's all in one personally, Yeah, I think

1376
01:19:06,600 --> 01:19:09,760
Speaker 1: I think that Mr DeNiro is always looking out for

1377
01:19:09,920 --> 01:19:11,880
Speaker 1: Mr DeNiro, and I think that Mr kay Tell is

1378
01:19:11,920 --> 01:19:16,519
Speaker 1: looking out from Mr. Kit their friends, and you know, competitiveness, man,

1379
01:19:16,680 --> 01:19:19,680
Speaker 1: they're they're they're not friends in the movie, and you know,

1380
01:19:20,360 --> 01:19:23,719
Speaker 1: im playing out that territory. So this goes on Mikey.

1381
01:19:24,160 --> 01:19:26,720
Speaker 1: They come in and and DeNiro is going like, well,

1382
01:19:26,720 --> 01:19:28,400
Speaker 1: I think I should get to drop on him, and

1383
01:19:28,760 --> 01:19:30,720
Speaker 1: Harvey's like, well, I think I should see him first

1384
01:19:30,800 --> 01:19:33,080
Speaker 1: before he sees me, and we should. I don't think

1385
01:19:33,120 --> 01:19:35,920
Speaker 1: you know, this is off camera. This is what sides

1386
01:19:35,960 --> 01:19:38,479
Speaker 1: in their hands. They're trying to figure it out. They're

1387
01:19:38,479 --> 01:19:40,519
Speaker 1: trying to and what do you think of yourself? I'm

1388
01:19:40,520 --> 01:19:43,839
Speaker 1: just sitting there going, oh my god, that's Bobby DeNiro,

1389
01:19:44,160 --> 01:19:47,080
Speaker 1: that's Harvey Kaye tell and what the funk am I doing?

1390
01:19:47,120 --> 01:19:49,719
Speaker 1: And the fan of you? The fan And I'm sitting

1391
01:19:49,720 --> 01:19:52,240
Speaker 1: there and this Arthur Naescuarrella is the sweetest man in

1392
01:19:52,280 --> 01:19:54,120
Speaker 1: the world who was taking me under his wing and

1393
01:19:54,240 --> 01:19:57,280
Speaker 1: really helping me with my my accent, my dialogue. God

1394
01:19:57,360 --> 01:19:59,679
Speaker 1: bless him. He's a saint. He's you know, he's he's

1395
01:19:59,760 --> 01:20:02,160
Speaker 1: been even He's been given to me to help me right.

1396
01:20:02,439 --> 01:20:05,160
Speaker 1: So I was really tight with Arthur, and Arthur was

1397
01:20:05,240 --> 01:20:07,960
Speaker 1: like such a big brother to me. It was fantastic. Uh,

1398
01:20:08,360 --> 01:20:10,960
Speaker 1: we're watching him do it. And then there's James Mango

1399
01:20:11,280 --> 01:20:13,519
Speaker 1: comes walking around. He's going like and he says to

1400
01:20:13,600 --> 01:20:16,400
Speaker 1: me under his voice, Jesus Christ, if dis continues, I'm

1401
01:20:16,439 --> 01:20:20,120
Speaker 1: just gonna be a road kill. I gotta do something.

1402
01:20:20,600 --> 01:20:22,599
Speaker 1: And I hear him saying this to me as he's

1403
01:20:22,640 --> 01:20:25,599
Speaker 1: walking by. Stallone comes in and goes, what the fund

1404
01:20:25,800 --> 01:20:29,080
Speaker 1: is going on? Like not to them, to me, like

1405
01:20:29,240 --> 01:20:31,160
Speaker 1: I have the answers, and I'm looking at and going like,

1406
01:20:31,840 --> 01:20:35,880
Speaker 1: I don't know, man, They're really they're having are trying

1407
01:20:35,920 --> 01:20:37,840
Speaker 1: to block the scene out. I don't either one wants

1408
01:20:37,840 --> 01:20:40,160
Speaker 1: to yield to the other one. Summing's territory. Man, it's

1409
01:20:40,160 --> 01:20:42,920
Speaker 1: a territory thing. You know. That's what it looked like,

1410
01:20:43,320 --> 01:20:46,400
Speaker 1: right absolutely, And didn't you you know, it's interesting about

1411
01:20:46,479 --> 01:20:51,040
Speaker 1: the loan funny did Jim Jim had the wherewithal to

1412
01:20:51,160 --> 01:20:53,280
Speaker 1: know that he's got to stand up to these guys

1413
01:20:53,320 --> 01:20:58,120
Speaker 1: eventually and as sooner a certain point today because it's

1414
01:20:58,280 --> 01:21:01,160
Speaker 1: you know, you lose the film. Yeah, there's a lot

1415
01:21:01,240 --> 01:21:03,680
Speaker 1: of personalities. And the crazy thing about like even what

1416
01:21:03,760 --> 01:21:06,800
Speaker 1: you just said about Stallone is like Stallone, I mean

1417
01:21:08,040 --> 01:21:10,400
Speaker 1: when I worked with him on that film, listen. I

1418
01:21:10,479 --> 01:21:13,320
Speaker 1: saw Stallone a few years after that. He barely fucking

1419
01:21:13,400 --> 01:21:17,000
Speaker 1: remembered me. But but that's I mean, it was cool.

1420
01:21:17,000 --> 01:21:18,640
Speaker 1: I mean he was cool with me, and he was

1421
01:21:18,800 --> 01:21:21,439
Speaker 1: but it was like, you know, with for me, I'm

1422
01:21:21,479 --> 01:21:24,000
Speaker 1: like working with literally the guy the first movie that

1423
01:21:24,040 --> 01:21:26,360
Speaker 1: made an impression on me. For him, he's working with

1424
01:21:26,479 --> 01:21:28,439
Speaker 1: an actor, so it wasn't like it's not like the

1425
01:21:28,520 --> 01:21:31,200
Speaker 1: biggest deal for him. He was totally cool when we

1426
01:21:31,280 --> 01:21:32,800
Speaker 1: worked and he was fine when I saw him later,

1427
01:21:32,800 --> 01:21:34,400
Speaker 1: it wasn't me and I was just like, you know,

1428
01:21:34,840 --> 01:21:38,639
Speaker 1: the the uh he's onto he's on the seventeen different

1429
01:21:38,680 --> 01:21:41,400
Speaker 1: other things. So so. But but the interesting thing about

1430
01:21:41,560 --> 01:21:46,800
Speaker 1: the Stalloan's place in that film was that he, because

1431
01:21:46,800 --> 01:21:49,439
Speaker 1: of the character, was sort of a schlep and you know,

1432
01:21:49,560 --> 01:21:51,760
Speaker 1: he had put the weight on. He was sort of

1433
01:21:51,920 --> 01:21:54,360
Speaker 1: like one of the guys, and he was sort of

1434
01:21:54,479 --> 01:21:57,479
Speaker 1: sort of proving himself, so like if it's a Rambo

1435
01:21:57,560 --> 01:22:00,840
Speaker 1: film or a Rocky film, he's the authority, he's the door. Still,

1436
01:22:01,080 --> 01:22:03,200
Speaker 1: it was interesting because he sort of like, I'm just

1437
01:22:03,320 --> 01:22:05,320
Speaker 1: a guy here, like I want to like, he sort

1438
01:22:05,320 --> 01:22:08,439
Speaker 1: of lowered himself, like his he had checked his ego

1439
01:22:08,479 --> 01:22:10,680
Speaker 1: at the door. You know, you're absolutely right. Do you

1440
01:22:10,760 --> 01:22:13,519
Speaker 1: remember he showed me something he said, here's my character

1441
01:22:13,880 --> 01:22:15,719
Speaker 1: and it was something he was carrying in his pocket

1442
01:22:16,120 --> 01:22:19,800
Speaker 1: and he had a little jade turtle. Remember, right, that's

1443
01:22:19,840 --> 01:22:23,720
Speaker 1: my character. He was a turtle. I remember, I thought,

1444
01:22:23,760 --> 01:22:29,880
Speaker 1: how genius he here's this superstar that still that Yeah,

1445
01:22:30,000 --> 01:22:32,040
Speaker 1: that he takes it very very serious. Well, what else

1446
01:22:32,080 --> 01:22:34,080
Speaker 1: do you remember about like those guys on I just

1447
01:22:34,160 --> 01:22:37,280
Speaker 1: remember Harvard I tell yelling at Peter Burden, which to

1448
01:22:37,400 --> 01:22:40,320
Speaker 1: this day, yeah did. It was one of those like

1449
01:22:40,640 --> 01:22:42,680
Speaker 1: slapping you getting out of the moment. Think there was

1450
01:22:42,760 --> 01:22:44,840
Speaker 1: a thing. There was a scene like like my guy

1451
01:22:44,960 --> 01:22:48,960
Speaker 1: wanted to be Rayliota's guy, right, ray Leiota's guy was

1452
01:22:49,200 --> 01:22:52,760
Speaker 1: the guy my guy aspired to be. He was my hero, right.

1453
01:22:52,960 --> 01:22:55,280
Speaker 1: I looked up to him. Right, he disappointed me. You

1454
01:22:55,439 --> 01:22:57,800
Speaker 1: son of a bit, you trader. You moved off. You're

1455
01:22:57,800 --> 01:23:00,479
Speaker 1: fucking supposed to You're supposed to fun. I'm not check

1456
01:23:00,560 --> 01:23:02,840
Speaker 1: up with him whatever I say to him. Right. It

1457
01:23:03,000 --> 01:23:07,320
Speaker 1: was that scene in the little diner thing at Berg

1458
01:23:08,960 --> 01:23:14,439
Speaker 1: was standing up to Harvey talking off camera, not rolling

1459
01:23:14,880 --> 01:23:18,240
Speaker 1: and doing something and getting ready to do his scene

1460
01:23:18,280 --> 01:23:22,960
Speaker 1: where he's going to be addressing us, and Harvey just

1461
01:23:23,600 --> 01:23:31,880
Speaker 1: went shut the fucker, and I saw Peter just go

1462
01:23:33,240 --> 01:23:38,080
Speaker 1: what the fuck? And you know, it's like it really

1463
01:23:38,400 --> 01:23:40,760
Speaker 1: an unnerved thing, and I don't know what what what

1464
01:23:41,000 --> 01:23:43,160
Speaker 1: caused it. I was like, what the funk was that?

1465
01:23:44,040 --> 01:23:47,439
Speaker 1: Why is Harvey doing that? And then the scene and

1466
01:23:47,439 --> 01:23:49,479
Speaker 1: then the scenes happened and now after but now Peter

1467
01:23:49,560 --> 01:23:52,240
Speaker 1: is a little bit more cautious, so there was something

1468
01:23:52,320 --> 01:23:54,320
Speaker 1: behind it. It was crazy, there was some sort of

1469
01:23:54,360 --> 01:23:57,240
Speaker 1: agenda behind it was crazy. Like I was so excited

1470
01:23:57,280 --> 01:23:59,640
Speaker 1: to be in the movie, and like with the Moriarty's

1471
01:23:59,680 --> 01:24:04,040
Speaker 1: in it, every fucking body was in it. It was unbelievable.

1472
01:24:04,400 --> 01:24:07,160
Speaker 1: And those guys, I mean like like I remember the

1473
01:24:07,240 --> 01:24:12,960
Speaker 1: first day at work for me. Yeah, no, I had

1474
01:24:13,000 --> 01:24:15,679
Speaker 1: no because I had no Noah um from Beautiful Girls.

1475
01:24:15,840 --> 01:24:18,120
Speaker 1: But the first day that I shot, we were out

1476
01:24:18,200 --> 01:24:20,639
Speaker 1: there where we was the last scene in the film

1477
01:24:20,680 --> 01:24:23,320
Speaker 1: where they bring me into the policing and it's me

1478
01:24:24,439 --> 01:24:29,759
Speaker 1: Stallone Radiota and Robert DeNiro and I'm like, oh shit,

1479
01:24:30,439 --> 01:24:32,800
Speaker 1: Like I'm like I knew at the time. I was

1480
01:24:32,880 --> 01:24:34,320
Speaker 1: like I was like I know, I'm gonna kick as,

1481
01:24:34,439 --> 01:24:36,320
Speaker 1: I'm gonna do my thing. But when I was when

1482
01:24:36,360 --> 01:24:38,160
Speaker 1: we were reading the sides, like when we were just

1483
01:24:38,240 --> 01:24:40,439
Speaker 1: sort of getting there, and I remember distinctly James and

1484
01:24:40,479 --> 01:24:44,240
Speaker 1: Man going Mike, this is Bob and like, and he's

1485
01:24:44,280 --> 01:24:46,760
Speaker 1: talking about DeNiro and I'm like, hey, you doing Bob.

1486
01:24:47,280 --> 01:24:49,760
Speaker 1: But I had to like go, this is fucking game time.

1487
01:24:50,360 --> 01:24:52,120
Speaker 1: Like I had to check my fucking fan. And but

1488
01:24:52,200 --> 01:24:55,640
Speaker 1: I'm like, oh, ship, fucking Robert DeNiro's to to to

1489
01:24:55,800 --> 01:24:58,719
Speaker 1: the right of me, Harvey Kitels over here, and fucking

1490
01:24:58,800 --> 01:25:00,439
Speaker 1: Stallone is in front me, and I'm like, Yo, this

1491
01:25:00,600 --> 01:25:04,080
Speaker 1: is fucking crazy. This is nuts. That is the crazy

1492
01:25:04,200 --> 01:25:06,120
Speaker 1: part of it. It just as a fan, you gotta

1493
01:25:06,160 --> 01:25:08,400
Speaker 1: work within that environment with these guys that you you

1494
01:25:08,600 --> 01:25:12,519
Speaker 1: you you've admired to work for years. The Dimple Bobs

1495
01:25:12,520 --> 01:25:15,400
Speaker 1: has the The first time I'm seeing Robert Deals on

1496
01:25:15,479 --> 01:25:18,800
Speaker 1: the set, I'm like, oh shit, I'm like, he's got

1497
01:25:18,840 --> 01:25:20,800
Speaker 1: the mustache. I'm like, you know, you know what he's

1498
01:25:20,840 --> 01:25:22,680
Speaker 1: gonna do with his character's got his hair, he's got

1499
01:25:22,760 --> 01:25:24,479
Speaker 1: his suit. I was like, this is fucking crazy. You

1500
01:25:24,560 --> 01:25:30,040
Speaker 1: remember how he does this thing where he kind of yeah, okay,

1501
01:25:30,280 --> 01:25:33,840
Speaker 1: you see him do the face. That day I was

1502
01:25:33,880 --> 01:25:36,240
Speaker 1: talking to doing the dine the diner, right, and he's

1503
01:25:36,280 --> 01:25:38,759
Speaker 1: snapping this bag and it all becomes about this coffee

1504
01:25:38,800 --> 01:25:41,200
Speaker 1: that he's buying. And I'm over there with Harvey and

1505
01:25:41,240 --> 01:25:43,640
Speaker 1: those guys. This is the first day, and when we

1506
01:25:43,720 --> 01:25:45,679
Speaker 1: actually film it, he pops the bag and he puts

1507
01:25:45,720 --> 01:25:48,920
Speaker 1: the and he kind of does that face. You go, like,

1508
01:25:49,320 --> 01:25:55,439
Speaker 1: what the funk was that? I know, because the craziest

1509
01:25:55,439 --> 01:25:58,000
Speaker 1: thing also about the New York Like I've spent brief

1510
01:25:58,080 --> 01:26:00,400
Speaker 1: time with him off camera. I don't know him social

1511
01:26:00,520 --> 01:26:03,160
Speaker 1: to me. I see him at Tribeca Film nicest guy.

1512
01:26:03,560 --> 01:26:05,960
Speaker 1: But when you see him click on, you know, I

1513
01:26:06,080 --> 01:26:07,840
Speaker 1: know he's a great actor. There's a picture of me

1514
01:26:08,000 --> 01:26:10,120
Speaker 1: talking to him, like somebody took it when I was

1515
01:26:10,160 --> 01:26:13,599
Speaker 1: at the Tribeca Film Festival a few years ago. It's basically,

1516
01:26:13,720 --> 01:26:17,160
Speaker 1: how are you doing? What's going on? The conversation's sixty seconds,

1517
01:26:17,920 --> 01:26:20,080
Speaker 1: But when you look at him talking to me, it

1518
01:26:20,200 --> 01:26:23,000
Speaker 1: looked like we're in such deep conversation because just there's

1519
01:26:23,040 --> 01:26:27,160
Speaker 1: something about him. There's just something about his face, you know,

1520
01:26:27,280 --> 01:26:30,200
Speaker 1: like so much of acting to me as energy, Like

1521
01:26:30,520 --> 01:26:32,800
Speaker 1: you know, you have an energy, I have an energy.

1522
01:26:33,120 --> 01:26:36,200
Speaker 1: Christopher Walking has an energy. Harvey and your you know,

1523
01:26:36,400 --> 01:26:39,920
Speaker 1: your energy. You know, if it's unique, people take to it.

1524
01:26:40,320 --> 01:26:43,160
Speaker 1: You know, you you had a fucking creepy energy and terminal.

1525
01:26:43,240 --> 01:26:44,960
Speaker 1: You're trying to get rid of it, you know. And

1526
01:26:45,400 --> 01:26:47,360
Speaker 1: the thing like de Niro, like this picture is just

1527
01:26:47,479 --> 01:26:49,560
Speaker 1: like somebody took it on their cell phone. There's just

1528
01:26:49,720 --> 01:26:52,639
Speaker 1: something about his face, the way he looks at people

1529
01:26:52,800 --> 01:26:54,400
Speaker 1: that it looks like it looks like we're having this

1530
01:26:54,520 --> 01:26:58,320
Speaker 1: intensive conversation. And he literally was saying, how are you doing,

1531
01:26:58,640 --> 01:27:01,040
Speaker 1: Thanks for coming to the Tribeca Own Festival. But it

1532
01:27:01,120 --> 01:27:03,559
Speaker 1: looks like it's like there's some real ship. Cool. Well,

1533
01:27:03,840 --> 01:27:08,200
Speaker 1: that's cool. He was great to me that he threw

1534
01:27:08,280 --> 01:27:10,439
Speaker 1: some ad libs to me where I had to like

1535
01:27:10,720 --> 01:27:12,800
Speaker 1: use my accent for the first time, and I was like,

1536
01:27:13,880 --> 01:27:15,920
Speaker 1: you're doing a New York accident. I was kind of like,

1537
01:27:16,320 --> 01:27:19,040
Speaker 1: I went with it. I did it. I I proved myself.

1538
01:27:19,160 --> 01:27:22,160
Speaker 1: But you know, you've worked with so many great actors,

1539
01:27:22,240 --> 01:27:24,120
Speaker 1: like you know, and we've been talking so much about

1540
01:27:24,120 --> 01:27:25,920
Speaker 1: these two films. I want to throw names at you,

1541
01:27:26,160 --> 01:27:29,559
Speaker 1: like in terms of you know, what what makes them great?

1542
01:27:29,800 --> 01:27:33,280
Speaker 1: What makes them special? Like you work twice Joaquin Phoenix,

1543
01:27:34,200 --> 01:27:36,120
Speaker 1: what is he like on his set, like he's a

1544
01:27:36,280 --> 01:27:41,000
Speaker 1: fucking actor. That's an intense motherfucker. Yeah, he's incredibly intense.

1545
01:27:41,320 --> 01:27:43,840
Speaker 1: His whole process, the way he goes about it, I'm

1546
01:27:43,840 --> 01:27:46,120
Speaker 1: not I'm not even gonna say I can can completely

1547
01:27:46,200 --> 01:27:50,920
Speaker 1: understand it. He puts himself through such uh work to

1548
01:27:51,080 --> 01:27:52,760
Speaker 1: get to where he's gonna be to do what he's

1549
01:27:52,760 --> 01:27:56,360
Speaker 1: gonna do. There's a level of commitment that he has, uh,

1550
01:27:56,520 --> 01:27:59,759
Speaker 1: a sincerity to the art, and an appreciation. He doesn't

1551
01:27:59,880 --> 01:28:05,639
Speaker 1: ed it himself. He's he's uh, he's incredibly bright. Um.

1552
01:28:07,280 --> 01:28:12,040
Speaker 1: I've never seen Walk really struggle with the two films

1553
01:28:12,120 --> 01:28:16,519
Speaker 1: I was with him. He's always he's able to connect

1554
01:28:16,560 --> 01:28:18,840
Speaker 1: to it right away. I mean the work he must

1555
01:28:18,920 --> 01:28:21,559
Speaker 1: do at home that we don't see. That's what I'd

1556
01:28:21,560 --> 01:28:24,120
Speaker 1: be interested in, is is his process, to see what

1557
01:28:24,240 --> 01:28:26,160
Speaker 1: he actually does to get the worre he does. I

1558
01:28:26,240 --> 01:28:28,640
Speaker 1: know when we were doing Ladder forty nine and I

1559
01:28:28,760 --> 01:28:30,840
Speaker 1: met with James Mangold afterwards and he said, how was

1560
01:28:30,880 --> 01:28:32,880
Speaker 1: your experience working with Walking? And I said, I loved him.

1561
01:28:32,880 --> 01:28:34,439
Speaker 1: He was like a little brother to me. I loved him.

1562
01:28:35,120 --> 01:28:39,040
Speaker 1: I couldn't couldn't say anything but nice things about Joaukein. Uh,

1563
01:28:39,880 --> 01:28:43,240
Speaker 1: sweet caring, sensitive guy. Uh. He said, what do you

1564
01:28:43,240 --> 01:28:46,680
Speaker 1: think about playing his father for Walk the Line? And

1565
01:28:46,800 --> 01:28:52,120
Speaker 1: I said, wow, I would love that. I think the

1566
01:28:52,200 --> 01:28:54,000
Speaker 1: only thing that we should do out of respect to

1567
01:28:54,080 --> 01:28:56,719
Speaker 1: Joaukein is I don't want to be a distraction because

1568
01:28:56,800 --> 01:28:59,320
Speaker 1: we have become friends and if he's going to look

1569
01:28:59,360 --> 01:29:04,120
Speaker 1: across and see his buddy not his dad, I don't

1570
01:29:04,160 --> 01:29:07,160
Speaker 1: want to do it. So let's ask him. And he

1571
01:29:07,320 --> 01:29:09,439
Speaker 1: was all in. He loved the idea, and that's how

1572
01:29:09,520 --> 01:29:12,360
Speaker 1: I ended up doing Walk the Line, so uh, you

1573
01:29:12,439 --> 01:29:14,479
Speaker 1: know with Walks and yeah, I want you to do it.

1574
01:29:14,680 --> 01:29:17,839
Speaker 1: And and that's such a that is a dark, intense,

1575
01:29:18,120 --> 01:29:23,200
Speaker 1: impressive film from everybody. Oh yeah, what was going on

1576
01:29:23,320 --> 01:29:25,479
Speaker 1: when you were making that film? Like in terms of

1577
01:29:25,760 --> 01:29:29,040
Speaker 1: the vibe of the set that was it was a

1578
01:29:29,160 --> 01:29:31,559
Speaker 1: very intense film. It was another man go film. I mean,

1579
01:29:31,680 --> 01:29:34,640
Speaker 1: you know, Jimmy's I think one of the best filmmakers

1580
01:29:34,760 --> 01:29:38,280
Speaker 1: of our generation myself. The stuff he just did in

1581
01:29:38,400 --> 01:29:42,200
Speaker 1: Logan's incredible. Um, and I want to work with him again,

1582
01:29:42,240 --> 01:29:45,639
Speaker 1: as I know you do. Uh, you're all in. There's

1583
01:29:45,640 --> 01:29:48,839
Speaker 1: a there's a just a level of commitment that everybody

1584
01:29:48,960 --> 01:29:51,640
Speaker 1: has you know you're gonna make something very artistic. And

1585
01:29:51,720 --> 01:29:53,280
Speaker 1: I think we all knew what we were doing with

1586
01:29:53,360 --> 01:29:54,960
Speaker 1: Walk the Line, and I think there was also the

1587
01:29:55,040 --> 01:29:56,880
Speaker 1: underlying thing that we all wanted to do a nice

1588
01:29:56,920 --> 01:30:00,280
Speaker 1: tribute to Johnny Cash. I know how hard walking work

1589
01:30:00,360 --> 01:30:02,800
Speaker 1: to do. Johnny Cash just a task of a little

1590
01:30:02,880 --> 01:30:06,320
Speaker 1: five ft nine actor playing a six ft four giant

1591
01:30:06,760 --> 01:30:10,920
Speaker 1: of a physical stature, you know, I mean the whole

1592
01:30:10,960 --> 01:30:13,400
Speaker 1: way he approached it and pulled it off. I thought

1593
01:30:13,520 --> 01:30:18,839
Speaker 1: was amazing. Um, you know, I think uh Reese Witherspoon

1594
01:30:18,880 --> 01:30:22,920
Speaker 1: did an amazing uh and Mangold like, I mean, you

1595
01:30:22,960 --> 01:30:25,439
Speaker 1: know when they were doing those singing I remember what song,

1596
01:30:26,000 --> 01:30:28,400
Speaker 1: but there was this one like they clearly shot the

1597
01:30:28,439 --> 01:30:31,519
Speaker 1: whole thing through, you know, and I'm like, Yo, this

1598
01:30:31,720 --> 01:30:34,519
Speaker 1: is these motherfucker's are really doing this ship? Oh yeah,

1599
01:30:34,560 --> 01:30:36,880
Speaker 1: well what what what? I went over to Walkin's house,

1600
01:30:38,000 --> 01:30:41,320
Speaker 1: uh after latter forty nine, and he took me down

1601
01:30:41,360 --> 01:30:43,240
Speaker 1: in the sound studio and he said, I want to

1602
01:30:43,280 --> 01:30:49,080
Speaker 1: play something for you, and he played tracks from Walk

1603
01:30:49,160 --> 01:30:53,519
Speaker 1: the Line, the music that was already scored of him

1604
01:30:53,880 --> 01:30:58,200
Speaker 1: singing the Johnny Cash songs, and it was produced by

1605
01:30:58,240 --> 01:31:02,479
Speaker 1: t BO and Burnett who was unbelievable and it sounded

1606
01:31:02,520 --> 01:31:05,519
Speaker 1: like Johnny Cash. I was like, oh my god, that's

1607
01:31:05,600 --> 01:31:09,560
Speaker 1: you anyway, Yeah, that's me. What are you thinking? I

1608
01:31:09,680 --> 01:31:12,559
Speaker 1: was like, you fucking sound like Johnny Cash. Dude, you've

1609
01:31:12,600 --> 01:31:15,080
Speaker 1: nailed it. I mean it was so you know what

1610
01:31:15,160 --> 01:31:16,760
Speaker 1: I'm saying. There was there was a there was a

1611
01:31:17,120 --> 01:31:19,320
Speaker 1: and that's those are the actors that I That's what

1612
01:31:19,439 --> 01:31:22,760
Speaker 1: I appreciate most about acting, I think, and I think

1613
01:31:22,800 --> 01:31:24,680
Speaker 1: the ones that are really really great at it are

1614
01:31:24,680 --> 01:31:27,120
Speaker 1: the ones that have that commitment and and really rise

1615
01:31:27,200 --> 01:31:31,400
Speaker 1: to the occasion, uh and are willing to put themselves

1616
01:31:31,479 --> 01:31:34,000
Speaker 1: to whatever they got to put themselves through to get

1617
01:31:34,120 --> 01:31:37,280
Speaker 1: to that level. I admire that I respected. I mean

1618
01:31:37,320 --> 01:31:38,960
Speaker 1: when I got into acting, that was the kind of

1619
01:31:39,000 --> 01:31:42,120
Speaker 1: acting I wanted to do. I want to commit. You know,

1620
01:31:42,160 --> 01:31:46,160
Speaker 1: when I was working with Leota on Copland, he didn't

1621
01:31:46,200 --> 01:31:49,000
Speaker 1: give me the time of the day me neither. He

1622
01:31:49,439 --> 01:31:54,720
Speaker 1: fucking just intimidated the shift out of me. You see. Yeah,

1623
01:31:54,760 --> 01:31:56,400
Speaker 1: And I'm looking at him going like, what the fund

1624
01:31:56,439 --> 01:31:58,519
Speaker 1: did I do to that guy? What? Oh? I this

1625
01:31:58,760 --> 01:32:01,720
Speaker 1: is something It's part of his process. So you know

1626
01:32:01,840 --> 01:32:03,360
Speaker 1: that scene where he takes the dart and he shows

1627
01:32:03,400 --> 01:32:05,960
Speaker 1: me around, yes, and he slamming Around's got that dart

1628
01:32:06,040 --> 01:32:07,560
Speaker 1: end this just after I've stood up to him and

1629
01:32:08,800 --> 01:32:11,439
Speaker 1: he slamming me around. And you know that scene. We

1630
01:32:11,520 --> 01:32:14,000
Speaker 1: shot that all fucking day, and I mean, my nose

1631
01:32:14,120 --> 01:32:16,000
Speaker 1: is really bleeding by the end of it. I was damned.

1632
01:32:16,000 --> 01:32:17,640
Speaker 1: They're crying near the end of it. Man, He's just

1633
01:32:17,800 --> 01:32:21,600
Speaker 1: beating the funk out of me. And finally when it

1634
01:32:21,720 --> 01:32:24,479
Speaker 1: was over, he like threw me into the wall and

1635
01:32:24,520 --> 01:32:26,320
Speaker 1: I'm just sitting there kind of few and I'm I'm

1636
01:32:26,439 --> 01:32:29,360
Speaker 1: slumped down on the wall, and he goes, what are

1637
01:32:29,360 --> 01:32:33,680
Speaker 1: you think about that terminator? And from that moment on

1638
01:32:35,000 --> 01:32:38,000
Speaker 1: he became my friend. So he was sort of like winking.

1639
01:32:38,200 --> 01:32:41,160
Speaker 1: He did it to me all the way. He knew

1640
01:32:41,800 --> 01:32:44,040
Speaker 1: he was gonna treat me a certain way up until

1641
01:32:44,120 --> 01:32:45,840
Speaker 1: that scene, and then from then on we could be

1642
01:32:45,920 --> 01:32:48,240
Speaker 1: But I got you, So that was his process. I

1643
01:32:48,360 --> 01:32:50,160
Speaker 1: got you, and you gotta be hip to that. I

1644
01:32:50,280 --> 01:32:52,400
Speaker 1: got you because I think you gotta have a certain

1645
01:32:52,400 --> 01:32:55,240
Speaker 1: amount of respect for somebody to allow them to do

1646
01:32:55,360 --> 01:32:58,000
Speaker 1: their things and not and not like you don't want it.

1647
01:32:58,040 --> 01:33:00,200
Speaker 1: You don't want them to walk all over you either. Right,

1648
01:33:00,240 --> 01:33:02,519
Speaker 1: you don't want to take it too far, but but

1649
01:33:02,720 --> 01:33:05,400
Speaker 1: you like, I agree, I agree, you know, as long

1650
01:33:05,439 --> 01:33:09,280
Speaker 1: as it's done in a certain level of respect and

1651
01:33:09,479 --> 01:33:11,080
Speaker 1: and as long as you we could both get off

1652
01:33:11,080 --> 01:33:13,240
Speaker 1: and as long as nobody's getting hurt. And I said

1653
01:33:13,240 --> 01:33:14,960
Speaker 1: get off, I mean in terms of I could do

1654
01:33:15,080 --> 01:33:16,800
Speaker 1: my thing and you could do your thing, that we

1655
01:33:17,120 --> 01:33:20,479
Speaker 1: are supporting each other, which it means you fucking I mean,

1656
01:33:20,880 --> 01:33:22,519
Speaker 1: no one's gonna like, you know, like when I say,

1657
01:33:22,520 --> 01:33:24,439
Speaker 1: at Harvard Catch, he'll smack me. It wasn't like I said,

1658
01:33:24,520 --> 01:33:25,960
Speaker 1: Like I said, it wasn't like he hurt me, but

1659
01:33:26,040 --> 01:33:27,920
Speaker 1: I was like, it was enough to be like, smack

1660
01:33:28,000 --> 01:33:29,760
Speaker 1: my face. But also it's like it's kind of cool

1661
01:33:29,800 --> 01:33:32,000
Speaker 1: because I'm like, Harvard Catch, I'll smack my face, and

1662
01:33:32,080 --> 01:33:34,080
Speaker 1: he probably wouldn't even remember he smack my face. And

1663
01:33:34,120 --> 01:33:35,920
Speaker 1: I'm kind of like because he was in the moment, right,

1664
01:33:36,240 --> 01:33:37,840
Speaker 1: he was in the moment, right, and he's and it's

1665
01:33:37,880 --> 01:33:39,840
Speaker 1: in the context of the scene he's yelling at me.

1666
01:33:39,920 --> 01:33:43,559
Speaker 1: I'm he's my uncle. You you touched. Before we started

1667
01:33:43,600 --> 01:33:45,479
Speaker 1: this interview, we were talking about you want you were

1668
01:33:45,479 --> 01:33:48,080
Speaker 1: asking me some questions about Denzel Washington. How good is

1669
01:33:48,120 --> 01:33:50,080
Speaker 1: he And I want to bring this up because he's

1670
01:33:50,800 --> 01:33:54,280
Speaker 1: he's like a medal safe house and I gotta scene

1671
01:33:54,280 --> 01:33:57,640
Speaker 1: where I waterboards and we started shooting that scene for

1672
01:33:57,760 --> 01:33:59,960
Speaker 1: Daniel Espinosa, excuse me down in South to have a

1673
01:34:00,600 --> 01:34:02,759
Speaker 1: you're in South Africa. I was in South Africa shooting

1674
01:34:02,800 --> 01:34:05,560
Speaker 1: that film and I remember, and you know, he's this

1675
01:34:06,320 --> 01:34:09,519
Speaker 1: terrorist guy that is being brought in and we're in

1676
01:34:09,560 --> 01:34:12,920
Speaker 1: an elevator and we're CIA guys and we're bringing him

1677
01:34:12,960 --> 01:34:14,840
Speaker 1: into the safe house to hold him. And he's like

1678
01:34:14,920 --> 01:34:17,479
Speaker 1: one of the most wanted guys. He's an ex CI agent.

1679
01:34:17,560 --> 01:34:20,160
Speaker 1: It's gone bad, and he didn't he didn't want to

1680
01:34:20,200 --> 01:34:23,000
Speaker 1: talk to anybody. He was all method in between. Yeah,

1681
01:34:23,040 --> 01:34:25,200
Speaker 1: he was in there and he he was a prisoner.

1682
01:34:25,680 --> 01:34:29,000
Speaker 1: He was getting himself into his own thing, doing his thing,

1683
01:34:30,520 --> 01:34:32,560
Speaker 1: blocking into what he was doing. And then we go

1684
01:34:32,720 --> 01:34:34,160
Speaker 1: in and we're doing the scene and we got this

1685
01:34:34,240 --> 01:34:39,120
Speaker 1: whole dialogue scene that leads to me finally having the

1686
01:34:39,200 --> 01:34:42,320
Speaker 1: water boarding, and I don't want to do it. And

1687
01:34:42,400 --> 01:34:45,320
Speaker 1: Daniel Espinosa is a great director, young director. He said

1688
01:34:45,400 --> 01:34:48,800
Speaker 1: to me, look, I want you to play this where

1689
01:34:48,840 --> 01:34:51,360
Speaker 1: you've got the utmost respect for this guy, and you're

1690
01:34:51,400 --> 01:34:55,120
Speaker 1: so disappointed in what he's done. He's like your hero,

1691
01:34:55,600 --> 01:34:58,720
Speaker 1: he was like great above you at the at the

1692
01:34:58,880 --> 01:35:01,639
Speaker 1: CIA place where ever, you know, quanticle or whatever the hell,

1693
01:35:02,160 --> 01:35:05,840
Speaker 1: and you respect him, but you're so disappointed that he's

1694
01:35:05,880 --> 01:35:08,679
Speaker 1: gone rogue and how could he do that? And that's

1695
01:35:08,720 --> 01:35:10,080
Speaker 1: why you can do this. But I want there to

1696
01:35:10,160 --> 01:35:12,760
Speaker 1: be regret that you're about to do what you're gonna do,

1697
01:35:13,479 --> 01:35:15,400
Speaker 1: which was a great choice. I didn't really kind of

1698
01:35:15,479 --> 01:35:17,680
Speaker 1: see that coming, but that's the way we went with it.

1699
01:35:18,160 --> 01:35:21,760
Speaker 1: And I watched Denzel do this take after take, and

1700
01:35:21,840 --> 01:35:23,400
Speaker 1: then it came up to where we're actually gonna do

1701
01:35:23,479 --> 01:35:26,040
Speaker 1: the water boarding, and he actually did the water boarding.

1702
01:35:26,400 --> 01:35:30,799
Speaker 1: Ship that's what I said. I said, what the fuck

1703
01:35:31,479 --> 01:35:35,519
Speaker 1: you wait a minute, I got and I'm the guy. Okay,

1704
01:35:35,560 --> 01:35:37,880
Speaker 1: So Robert, here's how we're gonna do this. The stunt

1705
01:35:37,880 --> 01:35:41,400
Speaker 1: guy's going, Denzel is really gonna do this, Okay, So

1706
01:35:41,720 --> 01:35:44,679
Speaker 1: what's my responsibility. You gotta pour it, but you gotta

1707
01:35:44,720 --> 01:35:48,600
Speaker 1: do like a five six count five six beats, and

1708
01:35:48,680 --> 01:35:51,559
Speaker 1: you gotta stop. No matter what he's doing, you gotta stop.

1709
01:35:52,120 --> 01:35:57,360
Speaker 1: So pour it, do it, but keep mental clock going

1710
01:35:57,920 --> 01:36:00,479
Speaker 1: during the take, and you gotta stop, even if he's

1711
01:36:00,520 --> 01:36:03,599
Speaker 1: asking it like you have for his safety. For his safety,

1712
01:36:03,760 --> 01:36:06,800
Speaker 1: he's not gonna tell you that he's gonna he's gonna

1713
01:36:06,840 --> 01:36:11,840
Speaker 1: go for it. We're relying on you. So you've got

1714
01:36:13,640 --> 01:36:19,519
Speaker 1: just mega star, unbelievably talented actor that's fully committed to

1715
01:36:19,640 --> 01:36:22,840
Speaker 1: what he's doing, and his safety is now in your hands.

1716
01:36:22,920 --> 01:36:26,320
Speaker 1: And you've got a fucking bucket of water, and you've

1717
01:36:26,360 --> 01:36:29,760
Speaker 1: got to put you know, cloth over his head, over

1718
01:36:29,840 --> 01:36:33,320
Speaker 1: his mouth, and you gotta start pouring water into two

1719
01:36:34,400 --> 01:36:40,639
Speaker 1: your torture in the game for real. You know the pressure,

1720
01:36:40,880 --> 01:36:42,599
Speaker 1: the I don't want to you know, you just don't

1721
01:36:42,640 --> 01:36:46,320
Speaker 1: want to funk up your responsibility of this guy his safety.

1722
01:36:47,120 --> 01:36:49,639
Speaker 1: And man, he did a take after take after take.

1723
01:36:49,800 --> 01:36:52,160
Speaker 1: I could it's the damnest thing I've ever seen eye

1724
01:36:52,200 --> 01:36:57,400
Speaker 1: waterboarded Denzel Washington for real? And what was his response

1725
01:36:57,479 --> 01:37:00,559
Speaker 1: after each? Like he was piste off, you know as

1726
01:37:00,640 --> 01:37:03,799
Speaker 1: a character. I mean, you know, snot dude, the vanity,

1727
01:37:03,840 --> 01:37:06,400
Speaker 1: he had no vanity. He would come up from doing

1728
01:37:06,400 --> 01:37:10,519
Speaker 1: it and ship was coming out and boogers and crap

1729
01:37:10,680 --> 01:37:12,120
Speaker 1: was coming out of here. I mean, he was so

1730
01:37:12,400 --> 01:37:15,519
Speaker 1: into it. He was so into it. What what in

1731
01:37:15,640 --> 01:37:21,960
Speaker 1: my opinion, and he's so good, yeah, consistently good before

1732
01:37:22,120 --> 01:37:25,479
Speaker 1: safe house after safe house, every What do you think

1733
01:37:25,520 --> 01:37:29,080
Speaker 1: it is about specifically him? Like, what's your takeaway? And

1734
01:37:29,120 --> 01:37:31,360
Speaker 1: as a fan in his continuing to see what is

1735
01:37:31,400 --> 01:37:34,120
Speaker 1: it about him that makes him so special? I think

1736
01:37:34,200 --> 01:37:38,800
Speaker 1: he's just uh. I think he's so comfortable and relaxed

1737
01:37:39,920 --> 01:37:42,920
Speaker 1: and aware of his talent and knows what he has

1738
01:37:43,000 --> 01:37:47,000
Speaker 1: to do on whatever his process is, and he doesn't

1739
01:37:47,000 --> 01:37:50,200
Speaker 1: have any insecurity about that stuff. He's a very confident man,

1740
01:37:50,560 --> 01:37:53,679
Speaker 1: so whatever his process is. And you and I both

1741
01:37:53,800 --> 01:37:57,560
Speaker 1: know that acting is confidence because you have to have

1742
01:37:57,760 --> 01:38:01,640
Speaker 1: it and you you have to have have done the

1743
01:38:01,720 --> 01:38:05,120
Speaker 1: homework to prepare yourself to get in there and do

1744
01:38:05,280 --> 01:38:07,519
Speaker 1: at that moment, and people are relying on you to

1745
01:38:07,640 --> 01:38:10,920
Speaker 1: be a professional, to have your work done, to know

1746
01:38:11,040 --> 01:38:13,200
Speaker 1: your dialogue, to know what you know what you're supposed

1747
01:38:13,240 --> 01:38:14,600
Speaker 1: to do. You can't come in there wing it with

1748
01:38:14,680 --> 01:38:17,439
Speaker 1: these guys because they're not winging it. Not one of

1749
01:38:17,479 --> 01:38:20,760
Speaker 1: these guys that we're talking about is winging it. No,

1750
01:38:21,479 --> 01:38:23,240
Speaker 1: and there that that's why they're at the top of

1751
01:38:23,360 --> 01:38:26,400
Speaker 1: what they do. They take it very serious, respect for

1752
01:38:26,479 --> 01:38:31,519
Speaker 1: the craft, for each other and uh, you know, that's

1753
01:38:31,760 --> 01:38:34,240
Speaker 1: that's what I love about acting. I I were all

1754
01:38:34,280 --> 01:38:38,080
Speaker 1: striving to do something really, really great, and uh, Denzel's

1755
01:38:38,080 --> 01:38:40,400
Speaker 1: got it, man. And it's not an arrogance either, It's

1756
01:38:40,439 --> 01:38:44,800
Speaker 1: just a confidence. Yeah, I mean yeah, He's undoubtedly one

1757
01:38:44,840 --> 01:38:47,880
Speaker 1: of the best actors of our genera for sure. Sopranos

1758
01:38:48,880 --> 01:38:56,360
Speaker 1: obviously iconic show, iconic character, Tony Soprano, Tony s um

1759
01:38:56,640 --> 01:38:58,599
Speaker 1: I had the pleasure of working with him his first film,

1760
01:38:59,200 --> 01:39:02,000
Speaker 1: True Romance. Oh, that's right, And and it was just

1761
01:39:02,160 --> 01:39:04,000
Speaker 1: I mean, you know he has he with so many

1762
01:39:04,040 --> 01:39:06,360
Speaker 1: wonderful people in your career, and I mean he he

1763
01:39:06,600 --> 01:39:09,360
Speaker 1: was so like, I mean, we were all on that set,

1764
01:39:09,439 --> 01:39:11,040
Speaker 1: like what the funk are we doing here? And he

1765
01:39:11,200 --> 01:39:13,040
Speaker 1: was like, even more so than he had done nothing.

1766
01:39:13,120 --> 01:39:14,920
Speaker 1: He doesn't like something, and he was like, what the

1767
01:39:15,000 --> 01:39:16,519
Speaker 1: fun And he you know, he says And at the

1768
01:39:16,560 --> 01:39:19,360
Speaker 1: time he was like young James Gondalfinia. He looked I

1769
01:39:19,400 --> 01:39:21,519
Speaker 1: mean he was he wasn't he didn't have the belly

1770
01:39:21,800 --> 01:39:23,840
Speaker 1: of Tony sopran He was like a fucking hit man,

1771
01:39:24,400 --> 01:39:26,120
Speaker 1: and he played a hit man. He was a force

1772
01:39:26,200 --> 01:39:30,000
Speaker 1: and nature. So, I mean, Sopranos, you did three episodes.

1773
01:39:30,040 --> 01:39:33,639
Speaker 1: Sopran I did three episodes around by Tony Soprann Great

1774
01:39:33,760 --> 01:39:37,080
Speaker 1: the late Great James Gandelfini. He left us too soon, bitch,

1775
01:39:37,160 --> 01:39:40,360
Speaker 1: lapt I missing me. What a wonderful, wonderful man. I'm

1776
01:39:40,360 --> 01:39:44,599
Speaker 1: gonna tell you a cool story. Uh. My acting coach

1777
01:39:44,720 --> 01:39:47,759
Speaker 1: read that. And I had been offered to do another

1778
01:39:47,840 --> 01:39:51,479
Speaker 1: movie for a lot of money, piece of ship movie

1779
01:39:51,720 --> 01:39:53,519
Speaker 1: that we don't need to mention, one of those art

1780
01:39:53,560 --> 01:39:56,519
Speaker 1: box movies, or go do the Sopranos for scale or

1781
01:39:56,520 --> 01:39:59,519
Speaker 1: whatever the hell? The just three episodes? Yeah, yeah, not

1782
01:39:59,640 --> 01:40:01,880
Speaker 1: even a garantee of three, just one. And I had

1783
01:40:01,920 --> 01:40:04,800
Speaker 1: met David Chase and David Chase when I were friends.

1784
01:40:04,840 --> 01:40:06,479
Speaker 1: We had met a couple of years earlier before the

1785
01:40:06,520 --> 01:40:10,040
Speaker 1: Sopranos for something. But he called me up and said,

1786
01:40:10,360 --> 01:40:13,599
Speaker 1: no one would ever cast you this way. You gotta

1787
01:40:13,600 --> 01:40:15,320
Speaker 1: read the script and get back to me within twenty

1788
01:40:15,360 --> 01:40:18,400
Speaker 1: four hours. So I remember reading the script and saying,

1789
01:40:18,640 --> 01:40:23,320
Speaker 1: oh my god, this is this is fantastic. Did his

1790
01:40:23,400 --> 01:40:26,439
Speaker 1: scripts read well? Yeah? And I was like, I wasn't

1791
01:40:26,479 --> 01:40:28,439
Speaker 1: as familiar with the Sopranos as I should have been

1792
01:40:28,560 --> 01:40:30,639
Speaker 1: because it was kind of new. But my acting coach

1793
01:40:30,680 --> 01:40:32,800
Speaker 1: Steve Bridgewater said to me, said, you gotta do this.

1794
01:40:33,640 --> 01:40:36,640
Speaker 1: You do this. I still do. I still have a

1795
01:40:36,680 --> 01:40:38,240
Speaker 1: guy that I worked with. I I have a guy

1796
01:40:38,320 --> 01:40:41,920
Speaker 1: that I worked with. He's kind of like my mentor creatively, uh,

1797
01:40:42,400 --> 01:40:43,920
Speaker 1: and it helps me out with a lot of stuff

1798
01:40:43,960 --> 01:40:46,320
Speaker 1: that God, I love to think about stuff that's good

1799
01:40:46,479 --> 01:40:50,080
Speaker 1: with ideas. And I trust him very much. He um.

1800
01:40:51,240 --> 01:40:53,000
Speaker 1: So he said, you gotta do it. You gotta do it.

1801
01:40:53,040 --> 01:40:55,000
Speaker 1: Here's why you gotta do what he said, because everybody

1802
01:40:55,040 --> 01:40:57,880
Speaker 1: in Hollywood is watching this show. You pull this off.

1803
01:40:58,800 --> 01:41:01,040
Speaker 1: It's a pivotal point in your rear. You pull it off,

1804
01:41:02,120 --> 01:41:04,040
Speaker 1: It's gonna open up doors for you. And he was right.

1805
01:41:04,320 --> 01:41:06,080
Speaker 1: We worked our ass off on and I go there.

1806
01:41:06,120 --> 01:41:08,800
Speaker 1: I'm there at Silver Cup Studios and Queens. I fly

1807
01:41:08,920 --> 01:41:12,120
Speaker 1: in from the Venice Film Festival. I've never met James

1808
01:41:12,160 --> 01:41:14,560
Speaker 1: Gandefini before. This is the first time they're bringing in

1809
01:41:14,560 --> 01:41:16,360
Speaker 1: an actor from l A to come play a party.

1810
01:41:16,520 --> 01:41:19,160
Speaker 1: They would consider me like a movie star, like coming

1811
01:41:19,200 --> 01:41:21,080
Speaker 1: in to read for this part. And I'm kind of

1812
01:41:21,120 --> 01:41:24,080
Speaker 1: like whatever, a bunch of New York actors, right, And

1813
01:41:24,160 --> 01:41:28,240
Speaker 1: I'm on, I've read the script, I've I've prepped my scenes.

1814
01:41:28,360 --> 01:41:30,679
Speaker 1: I was ready at the at the at the read through,

1815
01:41:30,800 --> 01:41:33,479
Speaker 1: I was ready and they were all aware. And my

1816
01:41:33,560 --> 01:41:35,719
Speaker 1: coach and says up to me, said, you know, before

1817
01:41:35,800 --> 01:41:39,200
Speaker 1: you film that scene with Gandefini where he's gonna bit

1818
01:41:39,240 --> 01:41:42,640
Speaker 1: slap you around, tilling to bring his A game. So

1819
01:41:42,760 --> 01:41:44,560
Speaker 1: we're out in front of the Silver Cup studios and

1820
01:41:44,560 --> 01:41:46,120
Speaker 1: we're having a cigarette after the read too, and I

1821
01:41:46,200 --> 01:41:48,280
Speaker 1: say that. I say to Jim and we're talking. We're

1822
01:41:48,320 --> 01:41:50,000
Speaker 1: kind of getting to know each other. We're supposed to

1823
01:41:50,000 --> 01:41:53,960
Speaker 1: be high school buddies. I say, hey, tomorrow, make sure

1824
01:41:54,000 --> 01:41:57,479
Speaker 1: you bring your A game. Oh ship. He fucking stands

1825
01:41:57,560 --> 01:41:59,360
Speaker 1: up to me and looks at me like this. He's

1826
01:41:59,400 --> 01:42:01,360
Speaker 1: got a cigare. He goes, oh, I'll fucking bring my

1827
01:42:01,439 --> 01:42:05,519
Speaker 1: again tomorrow, and he flicked a cigarette and walked off. Right.

1828
01:42:06,000 --> 01:42:07,599
Speaker 1: So the next day I get there, you know, Jimmy

1829
01:42:08,000 --> 01:42:11,040
Speaker 1: next day I get there, this is the day he's

1830
01:42:11,040 --> 01:42:12,760
Speaker 1: gonna bit slap me and throw me all around. He's

1831
01:42:12,760 --> 01:42:14,800
Speaker 1: in my sporting good story's gonna collect the money. And

1832
01:42:14,880 --> 01:42:17,680
Speaker 1: he walks in and he's just reeks of alcohol and

1833
01:42:17,800 --> 01:42:22,280
Speaker 1: he's human. He's just like a fucking bull. He goes,

1834
01:42:22,720 --> 01:42:27,240
Speaker 1: how's your bass and I go, ah, they're all right,

1835
01:42:27,320 --> 01:42:30,280
Speaker 1: how's yours? He goes, I'm fucking hungover, Let's do this.

1836
01:42:31,280 --> 01:42:37,160
Speaker 1: I fuck it. It's like one take he's just on me,

1837
01:42:37,439 --> 01:42:40,200
Speaker 1: grabs me, throws me into a fucking wall. I'm crying

1838
01:42:40,240 --> 01:42:42,400
Speaker 1: like a little bit. He's throwing me around. No, no,

1839
01:42:42,800 --> 01:42:45,400
Speaker 1: on one fucking take and that was it. That was

1840
01:42:45,479 --> 01:42:50,040
Speaker 1: it unbelievable, the power of that guy, the intensity of that.

1841
01:42:50,479 --> 01:42:52,800
Speaker 1: But you know, we had the best time. I had

1842
01:42:52,880 --> 01:42:54,880
Speaker 1: lunch with him and his dad. There was such a

1843
01:42:55,000 --> 01:42:58,680
Speaker 1: nice mutual respect between me and Jimmy. Um. I was

1844
01:42:58,800 --> 01:43:00,960
Speaker 1: so happy to see where that show went because at

1845
01:43:01,000 --> 01:43:02,880
Speaker 1: the time when I was doing it, they had just

1846
01:43:03,160 --> 01:43:05,920
Speaker 1: come back from the Emmys and realized what a big

1847
01:43:06,000 --> 01:43:08,960
Speaker 1: deal they were. It was still it wasn't iconic, iconic.

1848
01:43:09,040 --> 01:43:11,360
Speaker 1: It was was popular, but it wasn't this game change

1849
01:43:11,560 --> 01:43:13,800
Speaker 1: thing yet now that now they were on their way

1850
01:43:13,920 --> 01:43:16,000
Speaker 1: and I was right in there right after that, Michael

1851
01:43:16,560 --> 01:43:19,040
Speaker 1: and uh and no, and I mean, it was just

1852
01:43:19,120 --> 01:43:21,320
Speaker 1: an amazing thing to see and it was such a

1853
01:43:21,439 --> 01:43:24,479
Speaker 1: gifted actors, so willing to try things so good. So

1854
01:43:25,080 --> 01:43:28,240
Speaker 1: about a year ago, I know, about six months ago,

1855
01:43:28,280 --> 01:43:30,120
Speaker 1: I get a get a phone call from a mutual

1856
01:43:30,200 --> 01:43:35,120
Speaker 1: friend that says, his son, Michael Gandefini, he wants to

1857
01:43:35,200 --> 01:43:38,599
Speaker 1: talk to me and he wants to get a tribute

1858
01:43:38,640 --> 01:43:42,240
Speaker 1: tattooed to his dad, and that he wanted me to

1859
01:43:42,360 --> 01:43:45,560
Speaker 1: take him to the place to get the tattoos, and

1860
01:43:45,640 --> 01:43:47,200
Speaker 1: did you take him? And I did, and he got

1861
01:43:47,280 --> 01:43:49,599
Speaker 1: a picture of that was the version of his father

1862
01:43:49,680 --> 01:43:51,600
Speaker 1: that he got. I don't know if Michael wants me

1863
01:43:51,680 --> 01:43:56,040
Speaker 1: to reveal that because it might be personally, but it

1864
01:43:56,200 --> 01:44:00,160
Speaker 1: was sweetest thing I ever saw. And and uh, it

1865
01:44:00,720 --> 01:44:03,960
Speaker 1: really meant a lot to me that for some reason

1866
01:44:04,040 --> 01:44:07,680
Speaker 1: I was in the position of taking James's son to

1867
01:44:08,200 --> 01:44:10,000
Speaker 1: get his first tattoo and it was a tribute to

1868
01:44:10,080 --> 01:44:13,639
Speaker 1: his dad. That's cool. That's cool, right, That's really cool. Um,

1869
01:44:14,120 --> 01:44:15,960
Speaker 1: I'm gonna a couple of quess I would rattle off,

1870
01:44:17,000 --> 01:44:19,840
Speaker 1: how quickly do you know when you're doing some something

1871
01:44:20,439 --> 01:44:22,679
Speaker 1: a piece of ship? Because I've always had a knack

1872
01:44:23,080 --> 01:44:25,040
Speaker 1: I listen, I have, I have my gifts and my

1873
01:44:25,240 --> 01:44:27,280
Speaker 1: my curses in my town. I've had a knack for

1874
01:44:27,400 --> 01:44:29,640
Speaker 1: knowing this is a piece of ship, like whether it's

1875
01:44:29,680 --> 01:44:32,320
Speaker 1: a piece of ship scene, piece of ship episode, piece

1876
01:44:32,320 --> 01:44:35,320
Speaker 1: of ship movie, I will know. Listen, you never intend,

1877
01:44:35,640 --> 01:44:37,760
Speaker 1: you know, fans of that sucked, I'm like, I know

1878
01:44:37,920 --> 01:44:40,320
Speaker 1: it sucked, motherfucker. You don't have to fucking tell me

1879
01:44:40,439 --> 01:44:42,639
Speaker 1: that it sucked. But like, do you know when you're

1880
01:44:42,640 --> 01:44:46,240
Speaker 1: doing something bad? Um? Because we know when we're doing

1881
01:44:46,360 --> 01:44:50,200
Speaker 1: something good. Yes, and you and you're elevating your game

1882
01:44:50,280 --> 01:44:52,639
Speaker 1: to that. The the toughest part for us is we've

1883
01:44:52,640 --> 01:44:55,360
Speaker 1: got to make a living. That's what people don't understand.

1884
01:44:55,760 --> 01:44:58,000
Speaker 1: And the toughest part for us is is, you know,

1885
01:44:58,320 --> 01:45:00,160
Speaker 1: just like everybody else, we have to have can is

1886
01:45:00,200 --> 01:45:04,920
Speaker 1: coming in. We've got bills, and we work sporadically. You know,

1887
01:45:05,000 --> 01:45:07,439
Speaker 1: when something's offered to us, we work, and other things

1888
01:45:07,479 --> 01:45:11,160
Speaker 1: are offered to us, so we'll make decisions. And we're

1889
01:45:11,200 --> 01:45:13,640
Speaker 1: not the only ones. You and I. Everybody does it

1890
01:45:13,720 --> 01:45:15,680
Speaker 1: where they go like, god, this is not really the

1891
01:45:15,720 --> 01:45:18,000
Speaker 1: best thing. I should not be doing this, but I

1892
01:45:18,120 --> 01:45:20,680
Speaker 1: really could use the money and I'm gonna do it

1893
01:45:21,080 --> 01:45:25,000
Speaker 1: and I want to work. So there's there's quite a

1894
01:45:25,080 --> 01:45:27,760
Speaker 1: few I would say, there's a bunch of things on

1895
01:45:27,920 --> 01:45:32,479
Speaker 1: my resume that I would say, it's not the best movie.

1896
01:45:34,000 --> 01:45:36,200
Speaker 1: I gave it my all. Do you know right away

1897
01:45:36,240 --> 01:45:38,880
Speaker 1: though yeah, you know right, me too. You know, you

1898
01:45:39,000 --> 01:45:41,080
Speaker 1: go in, you go in. I mean, I mean, I mean,

1899
01:45:41,120 --> 01:45:42,960
Speaker 1: who's kidding who? The whole reason I went and did

1900
01:45:43,000 --> 01:45:45,360
Speaker 1: the Sopranos was because a lot of these movies that

1901
01:45:45,400 --> 01:45:47,439
Speaker 1: I was doing, I was making big coin on We're

1902
01:45:47,479 --> 01:45:50,640
Speaker 1: going right to DVD? So who gave a ship the

1903
01:45:50,760 --> 01:45:52,960
Speaker 1: thing that that did? Finally for me doing the Sopranos,

1904
01:45:53,040 --> 01:45:56,040
Speaker 1: it opened up the door for for TV where all

1905
01:45:56,080 --> 01:45:58,760
Speaker 1: of a sudden I've realized, you know, the Sopranos is

1906
01:45:58,840 --> 01:46:01,120
Speaker 1: great writing. What else on TV is great writing, which

1907
01:46:01,120 --> 01:46:03,519
Speaker 1: opened up the door for the X Files great writing,

1908
01:46:03,640 --> 01:46:05,800
Speaker 1: which is another I mean, it's a great That was

1909
01:46:05,840 --> 01:46:07,880
Speaker 1: a great two years of my life. I love doing that.

1910
01:46:08,040 --> 01:46:10,960
Speaker 1: And they I mean, we're talking beginning about the cult stuff. Yeah,

1911
01:46:11,120 --> 01:46:14,000
Speaker 1: it's it's iconic and got a cult following, but talked

1912
01:46:14,000 --> 01:46:16,800
Speaker 1: about cult. But but I think that's the thing for

1913
01:46:16,880 --> 01:46:19,800
Speaker 1: an actor. Not all of us can be Daniel day Lewis,

1914
01:46:19,920 --> 01:46:22,160
Speaker 1: not Almos could be Leonardo and he could pick and

1915
01:46:22,280 --> 01:46:24,840
Speaker 1: choose and manufact I mean, I mean, make sure you

1916
01:46:24,920 --> 01:46:26,439
Speaker 1: know it's the best of the best of the best

1917
01:46:26,520 --> 01:46:28,559
Speaker 1: of the best. You work when you want the money's

1918
01:46:28,600 --> 01:46:31,519
Speaker 1: fucking coming out, you know, or Will Smith or Brad Pitt,

1919
01:46:31,680 --> 01:46:34,479
Speaker 1: so people exactly. But I tell people you listen like

1920
01:46:34,600 --> 01:46:36,320
Speaker 1: that was a piece of ship I got. I fucking no,

1921
01:46:37,360 --> 01:46:40,160
Speaker 1: you don't. Don't think that. I don't know. Yeah, but

1922
01:46:40,360 --> 01:46:43,679
Speaker 1: but here's the service for shipped to our Our creative

1923
01:46:43,720 --> 01:46:48,000
Speaker 1: integrity is solely based on our financial integrity. That's true.

1924
01:46:49,280 --> 01:46:52,200
Speaker 1: I'm a cocky motherfucker. If I got a big bank account,

1925
01:46:52,720 --> 01:46:57,320
Speaker 1: I'll turn that ship down. Turn that fucking day. Want

1926
01:46:57,400 --> 01:47:01,360
Speaker 1: me to come in and fucking me there out of here?

1927
01:47:01,520 --> 01:47:05,040
Speaker 1: I did talk to me where when he kids going

1928
01:47:05,120 --> 01:47:09,000
Speaker 1: to college? When fuck all right, how much is it sure?

1929
01:47:09,080 --> 01:47:11,080
Speaker 1: I'll try to make it work right? And then you

1930
01:47:11,120 --> 01:47:12,640
Speaker 1: know a lot of times when I've done things that

1931
01:47:12,720 --> 01:47:14,800
Speaker 1: aren't that great, you know, the thing is is like

1932
01:47:15,280 --> 01:47:18,880
Speaker 1: the the process, the doing of it. Like I've done

1933
01:47:19,160 --> 01:47:22,320
Speaker 1: a bunch of things that aren't great, walked away saying

1934
01:47:22,479 --> 01:47:24,439
Speaker 1: like if people say, what's your best time making a movie,

1935
01:47:24,479 --> 01:47:26,920
Speaker 1: I'm like, I can't even mention these. You wouldn't have

1936
01:47:27,080 --> 01:47:29,080
Speaker 1: never seen it because you you know, you give it

1937
01:47:29,160 --> 01:47:31,560
Speaker 1: your all, your work with it's the process and the

1938
01:47:31,680 --> 01:47:34,639
Speaker 1: going to work and who you're working with, where you're working,

1939
01:47:34,760 --> 01:47:36,559
Speaker 1: the time of year, what's going on in your life.

1940
01:47:36,920 --> 01:47:39,680
Speaker 1: It's sometimes different than the outcome. Uh you know, like

1941
01:47:39,920 --> 01:47:42,840
Speaker 1: Coplan wasn't the most fun movie to make because of

1942
01:47:43,240 --> 01:47:46,120
Speaker 1: the intensity. I mean it was fun as far as

1943
01:47:46,120 --> 01:47:48,320
Speaker 1: an actor, but it was like it was like funk

1944
01:47:48,400 --> 01:47:50,479
Speaker 1: is going, what's gonna what's gonna happen next here? Like

1945
01:47:50,520 --> 01:47:52,960
Speaker 1: I got James Man giving me directly that was the

1946
01:47:53,080 --> 01:47:55,280
Speaker 1: six I need you to bring a twelve. I got

1947
01:47:55,360 --> 01:47:58,800
Speaker 1: Harvey Kitel smacking me like ray Leona won't talk to me,

1948
01:47:58,880 --> 01:48:01,600
Speaker 1: and Robert Patrick and Artur Nascarrella trying to drown you

1949
01:48:01,640 --> 01:48:05,000
Speaker 1: in a pool like fun, what the fun? Yeah, it's

1950
01:48:05,000 --> 01:48:06,720
Speaker 1: not like it's like the most thing, but you know,

1951
01:48:06,800 --> 01:48:10,120
Speaker 1: so it's it's different things. All right, you're the star

1952
01:48:10,240 --> 01:48:16,240
Speaker 1: of Scorpion. Well, I'm one of the stars. Yes, it's

1953
01:48:16,320 --> 01:48:17,840
Speaker 1: it's a few stars. You're one of the stars of

1954
01:48:17,880 --> 01:48:21,000
Speaker 1: It's an ensemble. Yes, it's an ensemble show. Successful show.

1955
01:48:21,320 --> 01:48:25,479
Speaker 1: I saw the Last Rampage, which is coming on. Last Rampage.

1956
01:48:25,520 --> 01:48:27,640
Speaker 1: Thank you for seeing what's coming because I saw you

1957
01:48:27,720 --> 01:48:29,479
Speaker 1: at the Richising show and you told me to see it.

1958
01:48:29,560 --> 01:48:32,000
Speaker 1: I said, I'm gonna see it in a dark movie

1959
01:48:32,080 --> 01:48:34,439
Speaker 1: and that and you produced it. I did produce it.

1960
01:48:34,520 --> 01:48:36,840
Speaker 1: I didn't finance it, but I produced it with the

1961
01:48:37,120 --> 01:48:40,120
Speaker 1: White Little And how hard was it? How hard is

1962
01:48:40,160 --> 01:48:43,080
Speaker 1: it to get a small film made today? Really hard?

1963
01:48:43,320 --> 01:48:46,680
Speaker 1: Hardly explain what that means. Well, you gotta get the

1964
01:48:46,720 --> 01:48:49,280
Speaker 1: money together to shoot. We had a sparse script, which

1965
01:48:49,320 --> 01:48:53,360
Speaker 1: allowed us to you know, control the elements and the

1966
01:48:53,520 --> 01:48:55,200
Speaker 1: number of sets and all that kind of stuff. We

1967
01:48:55,240 --> 01:48:57,920
Speaker 1: had a very very sparse crew. We didn't pay the

1968
01:48:57,960 --> 01:49:01,320
Speaker 1: actors anything. The script it's up was the enticing thing,

1969
01:49:01,840 --> 01:49:05,519
Speaker 1: right because there was some great roles. However, you know,

1970
01:49:05,840 --> 01:49:07,560
Speaker 1: having looked at the film, I wish we would have

1971
01:49:07,560 --> 01:49:10,000
Speaker 1: given Bruce Davidson a little bit more to do. It's

1972
01:49:10,080 --> 01:49:13,519
Speaker 1: so heavy on my character and my guy is a

1973
01:49:13,680 --> 01:49:16,720
Speaker 1: piece of ship. Why would you like him? So we

1974
01:49:16,920 --> 01:49:18,840
Speaker 1: I think we're given Bruce a little bit more to do,

1975
01:49:19,040 --> 01:49:20,720
Speaker 1: maybe to made a movie a little bit better, or

1976
01:49:21,080 --> 01:49:22,920
Speaker 1: given more of a reason for why I was the

1977
01:49:23,000 --> 01:49:26,000
Speaker 1: way I was having said that, I'm damn proud of

1978
01:49:26,040 --> 01:49:29,439
Speaker 1: the performance because it's, uh, it's it's one of my

1979
01:49:29,560 --> 01:49:33,599
Speaker 1: favorite things I've ever done. But uh, it's so hard

1980
01:49:33,720 --> 01:49:36,760
Speaker 1: to get it made and then get it released and

1981
01:49:36,840 --> 01:49:40,040
Speaker 1: we did get a limited theatrical release. But in this

1982
01:49:40,400 --> 01:49:44,640
Speaker 1: this day and age, I mean, character driven stories are

1983
01:49:44,760 --> 01:49:47,680
Speaker 1: just not getting made. So the chance of what's the

1984
01:49:47,760 --> 01:49:51,240
Speaker 1: chance of a copline getting made now? I mean even

1985
01:49:51,360 --> 01:49:54,160
Speaker 1: with those those guys, I mean, we didn't get paid

1986
01:49:54,160 --> 01:49:57,080
Speaker 1: a lot when we made the movie. Even with those actors,

1987
01:49:57,600 --> 01:49:59,600
Speaker 1: that kind of film, It's like, who the fund is

1988
01:49:59,600 --> 01:50:01,840
Speaker 1: gonna go see this ship? Who's making those kind of movie?

1989
01:50:01,880 --> 01:50:04,920
Speaker 1: Who's making them? There's so much stuff on TV. There's

1990
01:50:04,960 --> 01:50:08,080
Speaker 1: so much Netflix, there's so much Amazon, there's so much Scorpion,

1991
01:50:08,120 --> 01:50:10,720
Speaker 1: there's so much good. There's so much. You know, you

1992
01:50:10,920 --> 01:50:13,160
Speaker 1: could stay on Instagram for two hours and you know,

1993
01:50:13,280 --> 01:50:15,920
Speaker 1: do it for free. So there's if the movie business

1994
01:50:15,960 --> 01:50:19,240
Speaker 1: has changed, the movie there has changed. The whole industry

1995
01:50:19,240 --> 01:50:22,240
Speaker 1: has changed since you and I've been doing it. Now

1996
01:50:22,640 --> 01:50:26,800
Speaker 1: you know we're doing TV. Uh, we'll do films. We'll

1997
01:50:26,880 --> 01:50:29,120
Speaker 1: jump in and do films. But it doesn't matter anymore. No,

1998
01:50:29,760 --> 01:50:33,200
Speaker 1: now it doesn't matter. You've got Jason Bateman doing Ozarks. Yeah,

1999
01:50:33,320 --> 01:50:36,439
Speaker 1: it's a great show. Ye, great writing. Alec Baldwin is

2000
01:50:36,479 --> 01:50:39,280
Speaker 1: doing another TV show. It's on Netflix, but its Netflix

2001
01:50:39,360 --> 01:50:41,320
Speaker 1: and TV show. I don't know because you're streaming on

2002
01:50:41,360 --> 01:50:43,519
Speaker 1: your TV. But what is it? I mean, there's the TV.

2003
01:50:44,000 --> 01:50:46,240
Speaker 1: I don't it's it's a whole other place. It's a

2004
01:50:46,320 --> 01:50:49,439
Speaker 1: new paradigm. It's a whole other fun you know the thing.

2005
01:50:49,720 --> 01:50:51,760
Speaker 1: And I think it's good. You know. The thing for

2006
01:50:51,880 --> 01:50:54,840
Speaker 1: me is a fan. I'm like, I just get and

2007
01:50:54,920 --> 01:50:56,400
Speaker 1: I'm part of it, you know, Like I haven't been

2008
01:50:56,439 --> 01:50:58,120
Speaker 1: to I don't go to the movies like I've used to.

2009
01:50:58,400 --> 01:51:03,880
Speaker 1: You screen it, so you get you know, you wait,

2010
01:51:04,040 --> 01:51:06,520
Speaker 1: You're like, oh, I'll just wait till it's on iTunes

2011
01:51:06,600 --> 01:51:08,560
Speaker 1: or Netflix. It's it's sort of sad to say, but

2012
01:51:08,760 --> 01:51:11,280
Speaker 1: when you do go, I know, when you do go

2013
01:51:11,360 --> 01:51:13,080
Speaker 1: to a movie, you remember what. Oh yeah, this is

2014
01:51:13,120 --> 01:51:15,120
Speaker 1: why I used to go to movies, because the whole

2015
01:51:15,160 --> 01:51:17,560
Speaker 1: experience it's different, and I don't want to lose that.

2016
01:51:17,760 --> 01:51:20,920
Speaker 1: I agree, But I'm culpable in the sense that I'm

2017
01:51:21,280 --> 01:51:23,160
Speaker 1: kind of sitting at home in my big screen TV

2018
01:51:23,360 --> 01:51:27,320
Speaker 1: and can recreate the experience of going to a theater,

2019
01:51:27,439 --> 01:51:30,000
Speaker 1: So why bother going out? I agree? I get you,

2020
01:51:30,439 --> 01:51:35,960
Speaker 1: all right, Rocket Patrick Mikey. It's so great, awesome, absolutely,

2021
01:51:36,040 --> 01:51:40,559
Speaker 1: it's scorpions so engaging. This guy is unbelieved I could

2022
01:51:40,560 --> 01:51:43,679
Speaker 1: watch him forever. The Last Rampage is on Netflix. It's

2023
01:51:43,760 --> 01:51:48,040
Speaker 1: Last Rampage. It's coming to Netflix February one. Uh, it's

2024
01:51:48,080 --> 01:51:51,439
Speaker 1: in red Box now, it is on demand film. It

2025
01:51:51,600 --> 01:51:57,160
Speaker 1: got great reviews. Uh. Scorpion is Monday nights, ten o'clock CBS,

2026
01:51:57,280 --> 01:52:00,320
Speaker 1: fourth season, fourth season. Or We're gonna keep going. We're

2027
01:52:00,320 --> 01:52:04,200
Speaker 1: gonna keep going. We're gonna keep going. Uh. Nick Santor

2028
01:52:04,280 --> 01:52:08,400
Speaker 1: a great writer, wonderful showrunner. Him. What's up? Come do

2029
01:52:08,520 --> 01:52:10,120
Speaker 1: this year? I do him? When he was a fucking lawyer,

2030
01:52:10,160 --> 01:52:13,200
Speaker 1: he say, I was with rapp Reports, he says, he says,

2031
01:52:13,280 --> 01:52:17,720
Speaker 1: he he inspired you. That's my guy. He's a good dude.

2032
01:52:18,720 --> 01:52:20,960
Speaker 1: Let's do it. You would be hilarious. Do it. I'll

2033
01:52:20,960 --> 01:52:24,439
Speaker 1: get nuts over there. You would be nuts. It's getting nuts,

2034
01:52:24,720 --> 01:52:29,120
Speaker 1: all right, buddy? Did I tell you I don't steer

2035
01:52:29,200 --> 01:52:32,680
Speaker 1: you wrong. I steer you strong. I want to thank

2036
01:52:32,760 --> 01:52:34,479
Speaker 1: my man Robert Patrick for rock on me on the

2037
01:52:34,520 --> 01:52:39,800
Speaker 1: Iron Rapports Stereo podcast. His show Scorpion. You can see

2038
01:52:39,800 --> 01:52:45,680
Speaker 1: it on CBS every single week. Great interview, great insight. UM,

2039
01:52:45,800 --> 01:52:50,320
Speaker 1: and I appreciate you coming on the Iron Rapports Stereo Podcast. Um,

2040
01:52:51,760 --> 01:52:53,840
Speaker 1: what else movie. I don't know what else? You know

2041
01:52:53,880 --> 01:52:54,920
Speaker 1: what I want to you know what I wanted to

2042
01:52:55,160 --> 01:53:00,280
Speaker 1: ask you about? Ge What's up? What's up? Um? This

2043
01:53:00,400 --> 01:53:02,559
Speaker 1: goes back to school e D, which brings us all

2044
01:53:02,600 --> 01:53:07,760
Speaker 1: the way back to the sick fucking Philadelphia who ate

2045
01:53:07,840 --> 01:53:11,920
Speaker 1: the ship the school e D A lyric looking at

2046
01:53:11,960 --> 01:53:15,000
Speaker 1: my Gucci. It's about that time Francy school e D

2047
01:53:15,120 --> 01:53:19,080
Speaker 1: to start busting a rhyme. Matter of fact, miles que

2048
01:53:19,200 --> 01:53:30,320
Speaker 1: School Ei D for a second. Sound okay, um, Gucci,

2049
01:53:31,360 --> 01:53:35,120
Speaker 1: Now I I know Gucci is is sort of from

2050
01:53:35,200 --> 01:53:39,360
Speaker 1: Fody from School e D and everybody before him. Gucci

2051
01:53:39,920 --> 01:53:43,360
Speaker 1: is very in sort of intertwined with clothes he wears.

2052
01:53:43,439 --> 01:53:45,960
Speaker 1: Dapper Dan is actually doing stuff with Gucci. If you

2053
01:53:45,960 --> 01:53:48,960
Speaker 1: don't know, Dapper Dan is uh going back to Eric

2054
01:53:49,040 --> 01:53:52,800
Speaker 1: being rock Kim paid in full. Dapper Dan is a

2055
01:53:52,840 --> 01:53:58,360
Speaker 1: guy who was making sort of hood hip hop versions

2056
01:53:58,760 --> 01:54:01,800
Speaker 1: of Gucci taken like the Gucci logo and freaking it

2057
01:54:01,880 --> 01:54:05,840
Speaker 1: and flipping it into a whole other things. So people

2058
01:54:06,200 --> 01:54:09,240
Speaker 1: think Gucci is dope, and obviously, in the terms of

2059
01:54:09,360 --> 01:54:13,600
Speaker 1: hip hop, it's about you know, opulent success, you know,

2060
01:54:13,800 --> 01:54:17,320
Speaker 1: euro This is the early stages of hip hop and

2061
01:54:17,520 --> 01:54:22,360
Speaker 1: all that, but I was looking at actual Gucci clothes.

2062
01:54:22,400 --> 01:54:24,320
Speaker 1: Somehow I woind up on the Gucci site. Now, I

2063
01:54:24,360 --> 01:54:26,960
Speaker 1: don't funk with Gucci Monetti. Have you ever owned any

2064
01:54:27,000 --> 01:54:34,080
Speaker 1: Gucci anything? No? Uh, why not? Never? It's too it's

2065
01:54:34,120 --> 01:54:37,360
Speaker 1: too fucking much. It's like, you know, it was too much.

2066
01:54:37,440 --> 01:54:39,720
Speaker 1: It's too rich for my blood. I can't afford that ship.

2067
01:54:40,200 --> 01:54:42,640
Speaker 1: And even if you could afford it. The thing I

2068
01:54:42,840 --> 01:54:47,640
Speaker 1: noticed about Gucci clothes and and the Gucci stuff out today,

2069
01:54:48,640 --> 01:54:53,000
Speaker 1: if it wasn't Gucci, you wouldn't be caught fucking dead

2070
01:54:53,200 --> 01:54:59,680
Speaker 1: in this stuff. The designs are so fucking tacky and

2071
01:55:00,200 --> 01:55:05,800
Speaker 1: gordy and over the top and just yuck like fucking

2072
01:55:05,920 --> 01:55:08,080
Speaker 1: I mean, just way the funk. I mean, I don't

2073
01:55:08,120 --> 01:55:11,680
Speaker 1: know why anybody, aside the fact that it's Gucci, would

2074
01:55:11,760 --> 01:55:14,680
Speaker 1: rock this ship with the with the watches and the

2075
01:55:14,800 --> 01:55:17,080
Speaker 1: fucking logos. And you know what it looks like now,

2076
01:55:17,440 --> 01:55:20,560
Speaker 1: you remember that brand Von Dutch that was popping in

2077
01:55:20,640 --> 01:55:22,800
Speaker 1: the early two thousand, like with the trucker hats and

2078
01:55:22,880 --> 01:55:26,879
Speaker 1: it has like tigers, and it looks like that. Gucci

2079
01:55:27,000 --> 01:55:29,120
Speaker 1: looks like Von Dutch. It looks like like who the

2080
01:55:29,240 --> 01:55:31,480
Speaker 1: fund is wearing this ship. Like maybe if you're at

2081
01:55:31,520 --> 01:55:35,800
Speaker 1: an Israel E D M party uh for New Year's

2082
01:55:35,800 --> 01:55:38,240
Speaker 1: even you want to get totally fucking nuts. But other

2083
01:55:38,320 --> 01:55:41,200
Speaker 1: than that, I don't see why anybody whever wear this

2084
01:55:41,320 --> 01:55:44,480
Speaker 1: fucking nonsense with the orange pants and the fucking and

2085
01:55:44,600 --> 01:55:47,800
Speaker 1: and it's got like pigeons and rabbit, you know, designs,

2086
01:55:47,840 --> 01:55:51,720
Speaker 1: And it's just who wears this ship? Yo? I know

2087
01:55:51,840 --> 01:55:56,760
Speaker 1: why if that G, that interlocking G wasn't on it,

2088
01:55:57,600 --> 01:55:59,600
Speaker 1: no one would wear it like like they're wearing it.

2089
01:56:00,120 --> 01:56:04,080
Speaker 1: People want to be branded like cows. And if you

2090
01:56:04,200 --> 01:56:08,080
Speaker 1: really know anything about manufacturing and clothing, you know they

2091
01:56:08,200 --> 01:56:11,000
Speaker 1: make these fucking clothes in the Third World ship pit,

2092
01:56:11,480 --> 01:56:15,520
Speaker 1: so that that ship that you pay fifteen hundred dollars

2093
01:56:15,600 --> 01:56:20,040
Speaker 1: for is of course ten dollars to produce. So who's

2094
01:56:20,080 --> 01:56:24,240
Speaker 1: the asshole? I don't know. I mean, I'm looking right now,

2095
01:56:24,640 --> 01:56:27,480
Speaker 1: I'm breaking rule number one of the Iron Rapports Stereo

2096
01:56:27,600 --> 01:56:30,960
Speaker 1: podcast to reference what I saw. I'm looking at an

2097
01:56:31,000 --> 01:56:37,680
Speaker 1: embroidered corduroy bomber jacket that's nine thousand, nine hundred and

2098
01:56:37,840 --> 01:56:44,800
Speaker 1: fifty dollars. It's got every fucking color in the crayon box.

2099
01:56:45,080 --> 01:56:49,480
Speaker 1: And it's got to fucking parakeets, twin parakeets on the front.

2100
01:56:50,120 --> 01:56:53,360
Speaker 1: I wouldn't be caught. You could give me this and

2101
01:56:53,480 --> 01:56:55,840
Speaker 1: I would bring it right the funk to the Salvation

2102
01:56:56,000 --> 01:56:58,120
Speaker 1: Army like I do with half the ship that I get.

2103
01:56:58,720 --> 01:57:01,640
Speaker 1: I would donate it. I wouldn't be caught dead. I

2104
01:57:01,680 --> 01:57:05,760
Speaker 1: wouldn't put it on my worst enemy. Yo. Yeah, I understand.

2105
01:57:06,200 --> 01:57:10,920
Speaker 1: Nine thousand and of course maybe no. No, nine thousand,

2106
01:57:11,000 --> 01:57:15,560
Speaker 1: nine hundred fifty dollars. The red and blue embroidered corduroy

2107
01:57:15,800 --> 01:57:21,960
Speaker 1: bomber jacket a thousand percent profit man, Gucci, Gucci, do

2108
01:57:22,000 --> 01:57:24,440
Speaker 1: any big man That ship don't cause nothing to produce.

2109
01:57:25,040 --> 01:57:27,160
Speaker 1: They don't make it here. They make it in some

2110
01:57:27,320 --> 01:57:30,080
Speaker 1: third world ship pit for like five dollars, and they

2111
01:57:30,200 --> 01:57:34,600
Speaker 1: fucking sell it to these guys here. So kudos for Gucci, y'all.

2112
01:57:34,680 --> 01:57:39,640
Speaker 1: Y'all doing it? Man, Alright, that's it. Listen see Iron

2113
01:57:39,720 --> 01:57:43,080
Speaker 1: Rapports stereo podcast, the best podcast in the world. No

2114
01:57:43,320 --> 01:57:47,840
Speaker 1: disrespect to anybody out there thugging their podcast. There's a

2115
01:57:47,920 --> 01:57:49,680
Speaker 1: lot of great ones out there, but if you listen,

2116
01:57:49,720 --> 01:57:53,600
Speaker 1: you always learn I said it from the beginning, have

2117
01:57:53,800 --> 01:57:56,960
Speaker 1: no fear the I am Rappaport Stereo podcast is here

2118
01:57:57,520 --> 01:58:03,040
Speaker 1: the home of disruptive behavior again. I want to thank

2119
01:58:03,120 --> 01:58:06,560
Speaker 1: my man Robert Patrick for all the stories, all the insight,

2120
01:58:07,080 --> 01:58:10,920
Speaker 1: all the information, all the anecdotes. Uh G Moody last

2121
01:58:11,000 --> 01:58:13,960
Speaker 1: name rhymes with duty. My name is Michael rapper word

2122
01:58:14,040 --> 01:58:18,400
Speaker 1: a k. The Bobby Knight of podcasting. Uh Miles Jordan's

2123
01:58:18,880 --> 01:58:23,960
Speaker 1: take us out again with that Dennis Edwards inspired beat

2124
01:58:24,800 --> 01:58:31,080
Speaker 1: crafted meticulously by Mr Moody Iron Rappor Stereo podcast. We're

2125
01:58:31,080 --> 01:59:06,960
Speaker 1: out me Po, we don't b