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Speaker 1: I wonder if this is or if you're regarding this

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Speaker 1: as a spiritual preparation for.

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Speaker 2: The Resurrection movie you're about to embark on.

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Speaker 3: I feel like I'm, you know, I'm being stripped down

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Speaker 3: and prepared for something else.

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Speaker 4: Now that's maybe very personal, but.

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Speaker 3: I feel like I feel like the Almighty is preparing

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Speaker 3: me to do something big.

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Speaker 1: I'm raim an Arroyo. Welcome to Arroyo Grande. I'm so

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Speaker 1: glad you're here. This is our inaugural voyage into the

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Speaker 1: wild currents of this culture. My conversation with Mel Gibson

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Speaker 1: is straight ahead, and it's both moving and insightful. He

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Speaker 1: tells us about how he's recovering from the loss of

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Speaker 1: his home in the LA Fires, and later the backstory

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Speaker 1: of Braveheart, which I'd never heard before. Mel takes us

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Speaker 1: behind the scenes also of his latest project, Flight Risk. Okay,

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Speaker 1: before we dive in, I thought I should give you

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Speaker 1: a little itinerary of what I hope this applaudcast means

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Speaker 1: to you. I hate the term podcast. I use a

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Speaker 1: plodcast because when it's over, I want you to applaud.

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Speaker 1: I'm too broad for a podcast. We're not chickpeas and

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Speaker 1: we're not coffee. We'll call it what you want as

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Speaker 1: long as you subscribe to a Royo Grande and keep

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Speaker 1: checking in with us. As most of you know, I've

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Speaker 1: written a string of New York Times bestsellers for adults

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Speaker 1: and kids, some adults who act like kids. I've been

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Speaker 1: on TV for decades and I started in kindergarten. Yes

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Speaker 1: I did, But this is a new adventure for me.

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Speaker 1: It's more direct, not hemmed in by time limitations and

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Speaker 1: much else. On each Arroyo Grande show, I'm going to

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Speaker 1: navigate and analyze the culture with you. We'll hit lifestyle

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Speaker 1: trends and manners or lack thereof the arts, faith, pop culture,

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Speaker 1: comparing what is to what went before and sharing what

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Speaker 1: it all means. Will celebrate the best in the culture

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Speaker 1: while lampooning the rest. And along the way, we're going

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Speaker 1: to talk about and to some incredible people about their work,

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Speaker 1: their lives, their passions, and un earth practical advice in life,

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Speaker 1: lessons and examples that we can use in our daily lives.

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Speaker 1: And hopefully we'll have a few laughs along the way.

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Speaker 1: The Arroyo Grande in the title, by the way, does

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Speaker 1: not refer to big Ray. It's the grand flowing waters

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Speaker 1: of life that I'm interested in exploring. At the end

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Speaker 1: of this episode, I'll tell you why we're doing all

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Speaker 1: of this. That's called a cliffhanger, So hang with us.

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Speaker 1: But I'm going to start this and every episode with

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Speaker 1: what I call a free flow.

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Speaker 2: Here goes what happened to going to the movies? Oh?

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Speaker 1: I know, I know you're sitting home now, you're watching

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Speaker 1: Hulu and Netflix, but admit it wasn't going to the

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Speaker 1: theater fund I would argue it's also important to us

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Speaker 1: as a people we forget how long we've been watching

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Speaker 1: images in the dark. The first Nickelodeons were introduced in

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Speaker 1: nineteen oh five, We're moving images could be viewed. Soon

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Speaker 1: projectors gave way to incredible movie making, then the Talkies,

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Speaker 1: and by nineteen thirty three, drive ins were introduced. Like sports,

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Speaker 1: movies gave all Americans and the world a way to

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Speaker 1: relax and escape reality. Together, that all came to a

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Speaker 1: screeching halt in twenty twenty when COVID hit A recent

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Speaker 1: Harris poll found that two in three people prefer to watch.

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Speaker 2: Movies at home.

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Speaker 1: Now are they watching what I'm watching? Big Stars and

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Speaker 1: kind of pathetic, half baked vehicles.

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Speaker 2: Admit it.

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Speaker 1: Charlie's Sarren and a forgettable spy thriller is not exactly

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Speaker 1: mission impossible, And is Eddie Murphy doing another reboot of

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Speaker 1: a really great film this week? It all feels disposable,

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Speaker 1: and because we aren't watching it together, it is disposable.

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Speaker 2: It's like gum.

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Speaker 1: It might taste good for a few minutes, but you

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Speaker 1: won't share it with your neighbor, and you'll never discuss

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Speaker 1: it tomorrow with your coworkers. We just aren't going to

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Speaker 1: movie theaters that often, and that's bad for us and

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Speaker 1: it's bad for our kids. According to Advan in twenty

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Speaker 1: twenty four, attendance at the cineplex is still thirty three

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Speaker 1: percent below twenty nineteen pre COVID levels.

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Speaker 2: Look, I get it.

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Speaker 1: I've spoken to studio heads who say we've not had

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Speaker 1: enough consistent, high quality product, which broke the habit of

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Speaker 1: movie going. People still want to be entertained, but they

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Speaker 1: feel they can do it at home or in their

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Speaker 1: jammys or boxers. The studios have offered up mostly franchise

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Speaker 1: reboots Jurassic Park, Deadpool, Star Wars or whatever. Live action

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Speaker 1: remake Mess Disney is releasing this week. Little incidental question here,

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Speaker 1: how did CGI animation become live action? I'm asking for

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Speaker 1: a friend, Pinocchio, No wonder audiences are staying home only

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Speaker 1: Oppenheimer broke through the non franchise flick a few years ago.

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Speaker 2: And Barbie, but she.

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Speaker 1: Was kind of an established franchise. Come on, every girl

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Speaker 1: had one. Here's why it matters because when we come

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Speaker 1: together with strangers and we sit in the dark and

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Speaker 1: enter the dreamland of the filmmaker's imagination, something incredible happens

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Speaker 1: up there. Nicole Kidnan even looks younger. Heartbreak feels good

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Speaker 1: in a place like this, but not when you can't

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Speaker 1: keep the doors open or when the guy next to

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Speaker 1: you forgot to shower. There's a crucial cultural reason that

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Speaker 1: we should go to the movies as a group. When

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Speaker 1: you're in that darken theater, you're sharing a human experience

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Speaker 1: with others. It's not some isolated thing on your phone

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Speaker 1: via earbuds, but a shared moment as one. It's almost

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Speaker 1: sacred when it works. I would argue, like sporting events,

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Speaker 1: we need these times together. When you're being entertained as one,

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Speaker 1: it's easier to live together as one outside the theater.

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Speaker 1: Movies can be and we're for decades a source of

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Speaker 1: cultural unity. We shared the same references, We loved and

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Speaker 1: hated the same characters. Sam Spade and Indiana Jones and

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Speaker 1: Dorothy Gail, Rhett Butler, Fredo Corleone. We all knew these

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Speaker 1: character It's hard to come up with any contemporary examples

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Speaker 1: with that kind of ubiquity. Wolverine aside to try to

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Speaker 1: lure people in theater, owners have now gone from Technicolor

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Speaker 1: to three D, to Imax to those damn shaking seats

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Speaker 1: that make you want to hurl your snowcaps all over

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Speaker 1: the row in front of you. Now they brought booze

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Speaker 1: and lazy boys in that'll only lull the audience to

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Speaker 1: sleep and make them feel they could replicate the experience

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Speaker 1: at home in loungewear or underwear. To bring back movie going,

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Speaker 1: Hollywood has to improve their product make films rides we

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Speaker 1: all want to go on together. It's important for society

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Speaker 1: and the civility of our kids to develop the habit

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Speaker 1: of coming together and learning as a group and being

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Speaker 1: entertained at the same time. If we want to grow

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Speaker 1: as a people and if theater owners want to fill

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Speaker 1: their chairs, they should heed the words of that great oracle,

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Speaker 1: Nicole Kidman, who once said, we make movies better.

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Speaker 2: We'll see and that's a wrap. Okay, let's go into

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Speaker 2: the deep.

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Speaker 1: Here's a man who's been making movies better for forty years.

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Speaker 1: He's an Academy Award winning director for his Brave Heart,

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Speaker 1: and if there were any justice in the world, he

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Speaker 1: would have won Oscars for the Passion of the Christ

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Speaker 1: and Apocalypto as well. I sat down with Mel Gibson

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Speaker 1: twenty years ago on the set of The Passion, which

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Speaker 1: I can't believe, and conducted the first interview about.

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Speaker 2: That landmark film.

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Speaker 1: Now you're going to hear about his latest movie, a

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Speaker 1: thriller called Flight Risk. It's an interview we recorded at

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Speaker 1: his house, which is coming up. But when these horrible

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Speaker 1: fires struck la in January of twenty twenty five and

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Speaker 1: he lost his home, I wanted to see how he

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Speaker 1: was doing and talk to him about the recovery. Mel

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Speaker 1: Gibson joins me. Now, Mel, thank you for being here. Mel.

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Speaker 2: What did you think.

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Speaker 1: When you drove up to the beautiful room People will

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Speaker 1: see in just a moment where we conducted this interview.

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Speaker 1: When you saw your neighborhood, when you saw your entire community,

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Speaker 1: what was what did you imagine or think at that time?

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Speaker 3: Well, first, you know, I thought it was just oh deep,

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Speaker 3: bad luck, tragedy. But then I think I came to

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Speaker 3: realize that it was monumental mismanagement by our elected officials.

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Speaker 3: And that's the nicest thing you can say about it.

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Speaker 1: Yeah, I've been listening to your governor Gavin Newsom, and

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Speaker 1: he's promising LA two point zero, or reimagined Los Angeles.

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Speaker 1: He even says he has a Marshall Plan. Is that

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Speaker 1: what you and your neighbors want right now?

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Speaker 3: Well, you know, I mean, as a citizen here news

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Speaker 3: them at bath They want us to trust him to

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Speaker 3: reimagine the city, our city, you know, in how they

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Speaker 3: think it should be. And I mean, look what they've

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Speaker 3: done so far to this town, you know, I mean,

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Speaker 3: you got nothing but rampant crime, acute homelessness, high taxes,

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Speaker 3: mismanagement of water, firefighters, defunding the department. And we're supposed

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Speaker 3: to trust them with millions of dollars to sort of

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Speaker 3: remake where we live. It's our city, it's the city

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Speaker 3: of the people and they have another plan, and you

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Speaker 3: know he's saying, build back better. You know this concept

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Speaker 3: is that's man that's got whiskers on it. Everybody says it.

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Speaker 3: And have you ever seen government build back better? I

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Speaker 3: mean there's still people from the Woolsey fire living in

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Speaker 3: trailers and stuff.

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Speaker 4: Okay, when have you seen the government build back better?

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Speaker 3: Very very social engineering, environmental regulation and spending. That's the

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Speaker 3: last thing any of us have been burned out in

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Speaker 3: need or a bunch of bureaucrats telling us how to

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Speaker 3: rebuild our communities.

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Speaker 4: I just think it's.

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Speaker 5: At the very least it's insensitive.

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Speaker 1: Yeah, well, I mean and with the water challenges, I mean,

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Speaker 1: the just focusing on the water mill, the reservoir that

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Speaker 1: was left empty, which is the second largest in your

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Speaker 1: community in all of the state. That alone raises such

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Speaker 1: int tense questions. And it boggles the mind that now

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Speaker 1: you have these people saying, but we should be entrusted

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Speaker 1: with rebuilding the future.

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Speaker 2: You couldn't hold onto the present.

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Speaker 3: No, They've they've done, you know, they've bungled it. I think.

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Speaker 5: I mean, there are those who say, well, was it intentional?

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Speaker 5: Do they need to rebuild the Olympic village and clear

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Speaker 5: you know, like the cattle barrens clearing off land or

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Speaker 5: you know, I won't go that far, but it certainly was,

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Speaker 5: you know, the perfect storm of events, you know, with

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Speaker 5: no water, defunded fire department, not enough personnel, and the

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Speaker 5: second largest reservoir in the state, you know, to take

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Speaker 5: care of the communities of the Palisades Malibu, La County.

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Speaker 5: They should have had a backup plan, and they knew

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Speaker 5: it was coming, and they had other places where they

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Speaker 5: could pump.

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Speaker 4: The water from and actually fill that to be ready.

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Speaker 4: They knew it was coming. Yeah.

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Speaker 1: Well, look, as you know, I lost my house in Katrina.

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Speaker 1: Our family lost our house, and it was gutting and

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Speaker 1: it was awful. But you know, I came to see

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Speaker 1: it as a as a great blessing in my life

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Speaker 1: in time. I was struck. This week you did an

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Speaker 1: interview and you said in passing you see this loss

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Speaker 1: of your home as a purification.

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Speaker 2: How so, well, it was an.

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Speaker 3: Odd mixture of sadness and kind of a weird realization

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Speaker 3: and blessing. I think because I thought, you know, they're

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Speaker 3: just things. I mean, yeah, I'm going to miss some stuff.

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Speaker 3: There was valuable stuff. There was personal stuff that just

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Speaker 3: breaks my heart, you know. But you know, I feel

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Speaker 3: like I'm you know, I'm being stripped down and prepared

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Speaker 3: for something else.

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Speaker 4: Now that's maybe very personal, but I feel like I

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Speaker 4: feel like.

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Speaker 5: The Almighty is preparing me to do something big.

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Speaker 1: Well, I have to say when I when I heard that,

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Speaker 1: I thought, I wonder if this is or if you're

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Speaker 1: regarding this as a spiritual preparation.

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Speaker 2: For the Resurrection movie you're about to embark on.

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Speaker 4: Yeah, I think that's kind of it.

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Speaker 3: It's like, hey, look, God gives, God takes. We come

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Speaker 3: in with nothing. That's the same way we go out,

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Speaker 3: you know. And here's the deal. You'll always be okay.

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Speaker 3: If you seek first the Kingdom of.

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Speaker 5: God, you'll always be okay.

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Speaker 3: You'll get what you need. Look at the flowers of

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Speaker 3: the field, Look at the birds of the air. They

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Speaker 3: get fed, they get clothed. I mean, it's Matthew, I think,

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Speaker 3: but I'm a That was one of my dad's favorite passages.

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Speaker 3: He said, stop worrying about stuff, about money, about stuff.

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Speaker 4: So you know that that's I think.

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Speaker 3: I you know, he put that in my head when

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Speaker 3: I was very young, and it stayed and I believe it.

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Speaker 2: You know, Yeah, well, how has your faith gotten you

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Speaker 2: through the smell? I mean, I know you're in a faith.

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Speaker 2: I know you practice your faith devotions.

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Speaker 1: I mean what it's always a moment because people don't

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Speaker 1: understand unless you've gone through this, the geography of your life,

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Speaker 1: the daily visuals of your life are suddenly gone. It

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Speaker 1: is to me that was worse than losing the house,

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Speaker 1: mel losing the coffee shop, losing the friends, losing the

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Speaker 1: icons of my childhood that I you know that I

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Speaker 1: remembered that I that I reveled in every day.

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Speaker 3: Yeah, it's yeah, it's kind of an opportunity to recreate

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Speaker 3: your path.

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Speaker 4: I mean it's a.

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Speaker 3: You know, you gotta you've got to look at the

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Speaker 3: upside of this. I mean there's plenty of downside and

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Speaker 3: but honestly, I see it as kind of a blessing

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Speaker 3: and the purification. So, yeah, you lose, Yeah, it's going

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Speaker 3: to be murdered getting the insurance. I mean, everybody's renigging,

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Speaker 3: and you know it's going to be a real, a

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Speaker 3: real clusterbuster.

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Speaker 4: Yeah.

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Speaker 3: But uh yeah, anyway, that's all I had. I I

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Speaker 3: uh uh, you know, I got a lot of faith.

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Speaker 4: Yeah, not in our elected officials, no, no.

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Speaker 2: No, but it makes you free.

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Speaker 1: But personally it frees you in some ways from the

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Speaker 1: things you have to you've been carrying around for the

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Speaker 1: even you know, even the things you thought you needed,

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Speaker 1: you realize you don't need a whole lot.

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Speaker 4: No, you don't do the work.

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Speaker 3: I'll tell you a funny story. I mean, it's cold

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Speaker 3: at the moment where I'm at, and it's like this

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Speaker 3: guy calls me up. He's a friend of mine. He says, hey,

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Speaker 3: you got a warm coat. I said no, because you know,

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Speaker 3: I'm sorry. I'm just like Zelensky, but not by choice.

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Speaker 3: But he said, you got a warm coat, and I'm like, no,

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Speaker 3: I don't have a warm coat.

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Speaker 5: And he said I got one for you. And I

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Speaker 5: feel kind of like, oh, you know, I'll gee, that's

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Speaker 5: nice of you.

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Speaker 4: I said, is it going to fit me?

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Speaker 3: You're six feet three inches tall and he said, no problem,

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Speaker 3: it's gonna fit you because you gave it to me

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Speaker 3: during the Woolsey fire and.

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Speaker 4: Now I'm giving it back.

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Speaker 5: Wow, skate, you cheapskate, mother hugger, you know.

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Speaker 4: Paying it forward.

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Speaker 1: Indeed, look, yeah, you know, And there's something there's something

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Speaker 1: else here I don't want to leave on the table.

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Speaker 1: You said to Joe Rogan that the timing of the

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Speaker 1: Passion sequel the resurrection of the Christ twenty years later

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Speaker 1: is perfect. Why why do you think it's perfect now?

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Speaker 2: Mil Well?

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Speaker 3: I think you know, the cares and the weeds and

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Speaker 3: the flower you know, they've all grown up around us

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Speaker 3: in the last twenty years to a degree where I

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Speaker 3: think society is kind of devolving somehow, and I think

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Speaker 3: we need a reminder of, you know, the most basic

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Speaker 3: things and the things that forms our civilization, you know,

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Speaker 3: and I think, you know, as we watch it, kind

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Speaker 3: of you know, the civilization being threatened by the various

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Speaker 3: earmarks that you know are precursors of the loss of

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Speaker 3: any civilization.

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Speaker 4: So I believe it's it's not in my timing. I thought, Man,

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Speaker 4: it's too late. It's like twenty years. I mean, wow,

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Speaker 4: Jim's got wrinkles. What am I going to do?

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Speaker 5: You know?

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Speaker 1: And in a long time CG I thank goodness.

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Speaker 3: Yeah, you can do something, you know, put a little

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Speaker 3: vasseline on the lens, say Jim, turn around. He actually

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Speaker 3: actually I got to say, twenty years is not dent

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Speaker 3: Jim looks great still, so it's it's fantastic. I don't

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Speaker 3: look so good, but Jim does. But so I thought

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Speaker 3: it was like twenty twenty years maybe a bit a

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Speaker 3: bit too late, But I think now it's perfect because.

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Speaker 4: And you know, and I've.

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Speaker 3: Had all these things taken and it sort of frees

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Speaker 3: me up to to not worry about that stuff and

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Speaker 3: just move ahead and.

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Speaker 4: Do what I'm being called to do.

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Speaker 3: And I'm being called to do it. Wow, it's I

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Speaker 3: don't even know why it's the right time, but I

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Speaker 3: think you know it is.

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Speaker 2: No, it certainly feels to feel that. Yeah, it's been

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Speaker 2: a long time coming.

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Speaker 1: I know you've been toying with it and fighting with

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Speaker 1: it and wrestling with it for all of these twenty years.

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Speaker 3: Oh yeah, no, no, no, it's a it's a big subject

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Speaker 3: and very complex and it's taken all those years to

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Speaker 3: contemplate it, think about it, and distill it with the

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Speaker 3: help of two writers. And so it's it's it's a puzzle,

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Speaker 3: but I think I found a way in.

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Speaker 1: Yeah, what are you hearing from your neighbors, mel going

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Speaker 1: back to this tragedy. You all find yourselves in the

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Speaker 1: midst of do they want to move on? Do they

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Speaker 1: want to stay and rebuild the community in Malibu?

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Speaker 2: What are they? What are you hearing?

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Speaker 3: Well, a lot of people's spirits are broken, you know,

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Speaker 3: because it's you know, it happened, and then it happened again,

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Speaker 3: and then you realize that.

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Speaker 4: You know, you're elected leaders are not really I.

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Speaker 5: Don't you know, you.

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Speaker 3: Don't trust them, and isn't going to happen again, And

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Speaker 3: a lot of people just want to move on.

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Speaker 5: I mean people were already moving out of the state

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Speaker 5: in droves droves.

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Speaker 3: They go to Texas, they go to Idaho, they go

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Speaker 3: to South Carolina and all these different places to get

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Speaker 3: away from a political and a social climate developing here

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Speaker 3: that they did not dig and they wanted to go

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Speaker 3: someplace where they felt like free Americans, you know. So

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Speaker 3: I think they were already leaving in droves, and I

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Speaker 3: think this is just going to people are just going to.

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Speaker 4: Say, it's too hard. It's the too hard.

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Speaker 3: Basket we were hanging on, but you know, we got

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Speaker 3: to go find something else.

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Speaker 5: It's a lot of these middle class families, they haven't

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Speaker 5: got the.

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Speaker 4: Resources to rebuild.

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Speaker 3: And they I mean the insurance company, you know, they

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Speaker 3: all canceled their whole things beforehand, and it's just terrible.

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Speaker 3: You know, they send drones around. Oh you haven't got

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Speaker 3: a railing on your Oh you haven't got a screen

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Speaker 3: on your window? You got Oh sorry, we're canceling your insurance.

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Speaker 4: You know.

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Speaker 3: It's that kind of It's this crazy thing that's going on.

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Speaker 3: And then to have you know, no resources to fight

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Speaker 3: this disaster.

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Speaker 2: That goes on.

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Speaker 1: I mean, the thing that struck me mal Unlike Katrino,

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Speaker 1: which was a one and done, it was over in

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Speaker 1: twenty four hours, this thing has gone on and on,

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Speaker 1: and even with the national attention, they don't seem to

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Speaker 1: have marshaled the resources or the will or or the

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Speaker 1: organization to at least stop.

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Speaker 2: These fires and protect they're citizens.

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Speaker 3: That's what I Chemical spills in Ohio, look at that stuff, Yeah,

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Speaker 3: what did they do? Look at all these storms over

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Speaker 3: on the East coast now, I mean, really, you know,

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Speaker 3: it's just neglect, you know. And and then of course

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Speaker 3: we're giving all our money to other other people, and

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Speaker 3: you know, and neglecting our own, you know, and giving

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Speaker 3: it to giving it to people come you know, illegals

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Speaker 3: coming across the border and putting them up in hotels

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Speaker 3: and giving them phones and spending billions.

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Speaker 1: You know, it's a lack of focus on the citizenry

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Speaker 1: and the things that matter and the lasting infrastructure, which

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Speaker 1: I certainly see in New Orleans and other places I travel.

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Speaker 2: It's just crumbling.

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Speaker 1: Look, there are thousands of people now in North Carolina,

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Speaker 1: in Florida, now in LA trying to recover from disasters

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Speaker 1: and find home again. What has this experience taught you

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Speaker 1: and what would you offer them?

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Speaker 4: Well, I think you've got to be.

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Speaker 3: One has to depend on one's self and one's neighbors,

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Speaker 3: and one's family and one's friends and your community in

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Speaker 3: order to and to band together and to make your

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Speaker 3: voices heard. Because it's clear and all over the country

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Speaker 3: that are elected officials, I don't think they give it,

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Speaker 3: damn because they're not really doing much. So it's up

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Speaker 3: to us, I think so. And it's and and you know,

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Speaker 3: put your faith in God and and kind of move forward,

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Speaker 3: I think, and and and and that's that's hard to

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Speaker 3: do when your ass is on fire.

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Speaker 1: Yeah yeah, And you and the neighborhood around.

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Speaker 3: The neighbors, I mean, the people I've seen I may God, Oh,

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Speaker 3: you know, woman down the road she had. You know,

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Speaker 3: she's got two you know, two boys who are autistic

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Speaker 3: and she you know there they don't know what to

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Speaker 3: do without their environment, and you know, she's found a

404
00:21:46,680 --> 00:21:51,200
Speaker 3: way to some some special forces guys are doing really

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Speaker 3: good services and they're they're going around getting people places

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Speaker 3: to live and and and doing really good things. So

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Speaker 3: you know, it's in the community like that, and our

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00:22:01,960 --> 00:22:06,040
Speaker 3: community needs to you know, tell government what we need

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Speaker 3: and what we want.

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Speaker 1: And demand it happened, well, thank god to the demand. Yeah,

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Speaker 1: and look, we're praying for you, your family, all those

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Speaker 1: caught in the path of these fires melt and.

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Speaker 2: We have much more on the other side of this.

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Speaker 2: You know, we're going to talk.

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Speaker 1: About your upcoming film, because I do think in the

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Speaker 1: midst of tragedies like this, you need to find joy

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Speaker 1: and you need to find opportunities to come together as

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Speaker 1: a community. And your new film, Flight Risk, is a

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Speaker 1: great way to do that.

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Speaker 4: Well.

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Speaker 3: Yeah, it's kind of fun and it's it's just it's entertainment.

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Speaker 3: It's crazy, it's full of you know, thrills and spills,

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Speaker 3: and it doesn't last too long.

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Speaker 1: You don't have to No, it's a quick ride it's

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Speaker 1: a while way.

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Speaker 3: Yeah, you're not going to get a numb You're not

427
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Speaker 3: going to get a numb butt in the cinema. F

428
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Speaker 3: I'm sitting there watching it because it's you're in and

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Speaker 3: out in ninety minutes, and it's like it's fast and

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Speaker 3: crazy and hopefully and I think it's pretty entertaining.

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Speaker 5: Hey, it's the best I can do with no time.

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Speaker 1: Well, look, you do a fantastic job. The film is fantastic,

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Speaker 1: and we're going to talk about it on the other

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Speaker 1: side of this.

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Speaker 2: Thank you Melon.

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Speaker 1: Before we continue our conversation with Mel Gibson, I wanted

437
00:23:13,800 --> 00:23:18,200
Speaker 1: to tell you a little story about another landmark thriller

438
00:23:18,520 --> 00:23:22,240
Speaker 1: which reached the screen thanks to Mickey Mouse, some bloodshed

439
00:23:22,320 --> 00:23:25,159
Speaker 1: and copious amounts of booze, and you won't believe how

440
00:23:25,160 --> 00:23:29,080
Speaker 1: it ends. In nineteen sixty two, Alfred Hitchcock began shooting

441
00:23:29,160 --> 00:23:32,639
Speaker 1: his legendary film The Birds, his take on the Daphneed

442
00:23:32,920 --> 00:23:37,199
Speaker 1: Jamaria story. But as you know, a key part of

443
00:23:37,240 --> 00:23:42,400
Speaker 1: the story were those psychotic attacking birds. Hitch and Universal

444
00:23:42,440 --> 00:23:46,359
Speaker 1: Studios decided to create mechanical birds to torture Tippy Hedron

445
00:23:46,359 --> 00:23:50,640
Speaker 1: in the cast, but after spending hundreds of thousands of dollars.

446
00:23:51,520 --> 00:23:52,919
Speaker 2: The birds looked ridiculous.

447
00:23:53,280 --> 00:23:56,640
Speaker 1: They just didn't look real, so they hired animal trainer

448
00:23:57,080 --> 00:24:02,000
Speaker 1: Ray Berwick to wrangle live birds. Ravens and seagulls, crows

449
00:24:02,040 --> 00:24:05,320
Speaker 1: and sparrows were collected, but they were unpredictable and they

450
00:24:05,359 --> 00:24:09,159
Speaker 1: did not take direction well. The crew and actors endured

451
00:24:09,200 --> 00:24:12,959
Speaker 1: repeated bird attacks. Tippy Hedron was bloodied by the birds

452
00:24:13,000 --> 00:24:16,479
Speaker 1: and spent a week in a hospital recovering. The birds

453
00:24:16,480 --> 00:24:20,159
Speaker 1: were as vicious on screen as off, but Hitchcock couldn't

454
00:24:20,200 --> 00:24:23,240
Speaker 1: even get the fowls to stay still on a rooftop

455
00:24:23,640 --> 00:24:27,080
Speaker 1: during scenes, so they devised a solution.

456
00:24:28,160 --> 00:24:30,280
Speaker 2: Stay tuned or how it ends?

457
00:24:32,520 --> 00:24:35,320
Speaker 1: So, how did Alfred Hitchcock get those twenty five thousand

458
00:24:35,440 --> 00:24:38,560
Speaker 1: live birds to cooperate on the set of The Birds?

459
00:24:39,240 --> 00:24:41,760
Speaker 1: They had attacked his actors, his crew, and they would

460
00:24:41,760 --> 00:24:45,919
Speaker 1: not stay still long enough to capture on film. Actor

461
00:24:46,040 --> 00:24:50,840
Speaker 1: Rod Taylor revealed the untold story to Hello magazine. He

462
00:24:50,920 --> 00:24:54,359
Speaker 1: said the animal trainers devised a new technique for dealing

463
00:24:54,359 --> 00:24:57,960
Speaker 1: with those unruly birds. The only reason those birds stayed

464
00:24:58,000 --> 00:25:02,639
Speaker 1: still was because they were Taylor said. Apparently the birds

465
00:25:02,680 --> 00:25:07,600
Speaker 1: were given feed drenched in alcohol. They tied the drunken

466
00:25:07,680 --> 00:25:10,439
Speaker 1: birds to the rooftops to keep them in place, But

467
00:25:10,600 --> 00:25:15,320
Speaker 1: what about the flying attacks? For those, Hitchcock turned to

468
00:25:15,440 --> 00:25:20,120
Speaker 1: an animator, ub our Works, who was nominated for an

469
00:25:20,119 --> 00:25:23,760
Speaker 1: Oscar for his Flying Birds. Our Works had a talent

470
00:25:23,840 --> 00:25:26,680
Speaker 1: for animating animals. He was also the man who, in

471
00:25:26,720 --> 00:25:30,040
Speaker 1: the nineteen twenties took a rough sketch given to him

472
00:25:30,040 --> 00:25:35,000
Speaker 1: by his employer Won Walter Disney, and transformed that sketch

473
00:25:35,560 --> 00:25:36,560
Speaker 1: into Mickey Mouse.

474
00:25:37,320 --> 00:25:38,920
Speaker 2: And that's how it is.

475
00:25:39,000 --> 00:25:41,919
Speaker 1: Is Now we go back to Academy Award winning director

476
00:25:41,960 --> 00:25:46,360
Speaker 1: Mel Gibson, who just completed his own new thriller and

477
00:25:46,680 --> 00:25:51,159
Speaker 1: its escapism entertainment just when we need it most. This

478
00:25:51,320 --> 00:25:55,200
Speaker 1: is also the final interview recorded at Mel's Malibu home

479
00:25:55,600 --> 00:25:57,280
Speaker 1: before it burned down in.

480
00:25:57,240 --> 00:25:58,680
Speaker 2: Those Los Angeles fires.

481
00:25:58,960 --> 00:26:02,000
Speaker 1: We talked about his direct total approach, the sequel to

482
00:26:02,000 --> 00:26:05,160
Speaker 1: the Passion of the Christ, and his new film, Flight Risk,

483
00:26:05,600 --> 00:26:09,080
Speaker 1: a taut thriller about a government witness being flown out

484
00:26:09,119 --> 00:26:12,840
Speaker 1: of Alaska to stand trial when really bad things begin

485
00:26:12,960 --> 00:26:16,760
Speaker 1: to happen. It stars Mark Wahlberg in a frightening performance

486
00:26:16,840 --> 00:26:21,359
Speaker 1: and is directed by mister Gibson. Buckle your seat Belts.

487
00:26:21,440 --> 00:26:23,480
Speaker 1: Here's a glimpse of Flight Risk.

488
00:26:27,920 --> 00:26:31,640
Speaker 2: Debetie Hairs, Daryl Booth Hope, light Flying.

489
00:26:35,720 --> 00:26:38,159
Speaker 1: And then from the fugitive before Government witness not a

490
00:26:38,160 --> 00:26:39,159
Speaker 1: fugitive head a goo?

491
00:26:42,880 --> 00:26:49,000
Speaker 2: Is it always this bumpy? He used to it already

492
00:26:49,080 --> 00:26:51,200
Speaker 2: is very disappointed in you and he wants you dead.

493
00:26:51,600 --> 00:26:57,480
Speaker 1: Oh right, you need a pilot White Risk.

494
00:26:58,200 --> 00:27:00,560
Speaker 2: You think of Flight Risk as a buddy movie.

495
00:27:00,880 --> 00:27:03,800
Speaker 3: Yeah, why, Well, you know, you've got a couple of

496
00:27:03,920 --> 00:27:08,399
Speaker 3: characters who aren't necessarily It's like war. You know, you

497
00:27:08,480 --> 00:27:11,399
Speaker 3: put people together in a trench somewhere in some war,

498
00:27:12,160 --> 00:27:14,840
Speaker 3: and they don't come from the same background. They don't

499
00:27:14,840 --> 00:27:17,080
Speaker 3: even like one another. They just as soon punch each

500
00:27:17,080 --> 00:27:18,679
Speaker 3: other in the face. But you put them in an

501
00:27:18,720 --> 00:27:21,720
Speaker 3: adverse situation and they form a bond, and they form

502
00:27:21,760 --> 00:27:24,879
Speaker 3: a love for one another, almost better, more love for

503
00:27:24,920 --> 00:27:26,440
Speaker 3: their the guy they don't like.

504
00:27:26,400 --> 00:27:29,280
Speaker 4: Than for themselves because of the adversity. And this is

505
00:27:29,480 --> 00:27:32,560
Speaker 4: the situation here and lethal weapon vibe.

506
00:27:32,760 --> 00:27:35,840
Speaker 3: Yeah, yeah, yeah, you know. John Lovett used to have

507
00:27:35,880 --> 00:27:38,680
Speaker 3: a routine on Saturday Night Live. I Love John and

508
00:27:39,000 --> 00:27:43,119
Speaker 3: he and he said he was being a film producer.

509
00:27:43,119 --> 00:27:45,879
Speaker 3: He says, you meet coaches, Yeah, you don't like him,

510
00:27:46,400 --> 00:27:49,360
Speaker 3: you hate each other. But by the end of the movie, youah, friends, you.

511
00:27:49,280 --> 00:27:53,920
Speaker 4: Know he used to do that. Yeah, friends, Yeah.

512
00:27:53,600 --> 00:27:55,560
Speaker 3: I mean it's kind of and and you know there's

513
00:27:55,560 --> 00:27:59,480
Speaker 3: some challenges for these two and they have to work together.

514
00:28:00,119 --> 00:28:02,760
Speaker 1: Is a federal agent, the other is a witness in

515
00:28:02,960 --> 00:28:05,840
Speaker 1: a criminal against bad characters.

516
00:28:05,920 --> 00:28:10,359
Speaker 4: Yeah, and the other guy's a psycho psychopath as played

517
00:28:10,359 --> 00:28:11,160
Speaker 4: by Mark Wahlberg.

518
00:28:11,240 --> 00:28:13,600
Speaker 3: Yeah, you're trapped with a psycho in a wooden box,

519
00:28:13,640 --> 00:28:14,840
Speaker 3: in a flying death trap.

520
00:28:14,880 --> 00:28:17,520
Speaker 1: In Why cast Wohlburg in that character because we were

521
00:28:17,560 --> 00:28:19,040
Speaker 1: really unaccustomed to seeing him there.

522
00:28:19,040 --> 00:28:20,240
Speaker 4: He's usually no, you.

523
00:28:20,160 --> 00:28:23,200
Speaker 3: Don't see him like that, and like, there's he's got

524
00:28:23,200 --> 00:28:26,440
Speaker 3: that in him. Mark's got the madman in him, which

525
00:28:26,480 --> 00:28:28,800
Speaker 3: is like, you know why he's done so well. I

526
00:28:28,800 --> 00:28:30,600
Speaker 3: mean there's a kind of a maverick, a kind of

527
00:28:30,600 --> 00:28:33,480
Speaker 3: a wild side the Mark, and there's and it's a

528
00:28:33,560 --> 00:28:36,239
Speaker 3: dark edge to him and which he is aware of

529
00:28:36,359 --> 00:28:39,200
Speaker 3: and which he kind of like tries to discourage. I

530
00:28:39,240 --> 00:28:41,520
Speaker 3: think he throws a few shovelfuls of dirt on that

531
00:28:41,680 --> 00:28:44,520
Speaker 3: demon every day and then and but it's it's, uh,

532
00:28:44,640 --> 00:28:45,600
Speaker 3: he can draw from.

533
00:28:45,480 --> 00:28:47,560
Speaker 1: It, and he gets to take a walk and well,

534
00:28:47,560 --> 00:28:48,080
Speaker 1: that's right.

535
00:28:48,000 --> 00:28:50,880
Speaker 4: And that's therapeutic. Yeah, I think for an actor or

536
00:28:50,880 --> 00:28:52,200
Speaker 4: for anyone.

537
00:28:51,720 --> 00:28:54,400
Speaker 1: He's he looks very different in this movie too. I

538
00:28:54,400 --> 00:28:56,160
Speaker 1: don't know if we well we talked about it and

539
00:28:56,240 --> 00:28:59,960
Speaker 1: we've seen it in the trailer. Sure something's missing up top.

540
00:29:00,640 --> 00:29:04,280
Speaker 3: Yeah, he looks like Dennis Raider. You know, he's he's

541
00:29:04,320 --> 00:29:04,640
Speaker 3: got this.

542
00:29:05,120 --> 00:29:07,520
Speaker 4: He's got this nude nut, you know, bald head with

543
00:29:07,560 --> 00:29:10,600
Speaker 4: like scraggly hair on it, like.

544
00:29:09,760 --> 00:29:11,920
Speaker 3: Like that bt keg I used to have, which is

545
00:29:11,920 --> 00:29:14,760
Speaker 3: really kind of scary and uh and Mark's frightening.

546
00:29:14,880 --> 00:29:16,800
Speaker 4: He looks kind of terrified, you know.

547
00:29:16,880 --> 00:29:18,920
Speaker 1: He looks like that out of control little monster on

548
00:29:18,960 --> 00:29:21,320
Speaker 1: this this movie evolves. I won't give it away, but wow,

549
00:29:21,400 --> 00:29:23,880
Speaker 1: he really goes there and beyond.

550
00:29:24,000 --> 00:29:24,720
Speaker 4: Yeah, yeah, he does.

551
00:29:25,400 --> 00:29:27,120
Speaker 1: Whose idea was the bald head? It was his.

552
00:29:27,960 --> 00:29:30,280
Speaker 3: He came to me and he said, hey, man, I

553
00:29:30,320 --> 00:29:32,440
Speaker 3: had an idea that I said, like, I'm wearing a

554
00:29:32,520 --> 00:29:34,480
Speaker 3: rug and a hat. But then he gets knocked off

555
00:29:34,520 --> 00:29:37,080
Speaker 3: and I'm bald and I'm like, WHOA. I said, I

556
00:29:37,120 --> 00:29:38,800
Speaker 3: think that's great, but let me give me.

557
00:29:38,760 --> 00:29:40,640
Speaker 4: Twenty four hours to sleep on it. I don't know.

558
00:29:40,720 --> 00:29:42,560
Speaker 3: I mean, this is a decision you make, you can't

559
00:29:42,760 --> 00:29:45,880
Speaker 3: undo it if you start filming it. So but I

560
00:29:45,920 --> 00:29:47,720
Speaker 3: woke up the next day and I thought, that's kind

561
00:29:47,720 --> 00:29:48,720
Speaker 3: of a genius idea.

562
00:29:48,800 --> 00:29:50,280
Speaker 4: Yeah, parts idea.

563
00:29:50,880 --> 00:29:56,200
Speaker 3: It just symbolically and in many other ways, it just

564
00:29:56,360 --> 00:30:00,360
Speaker 3: like resets Mark and and and resets the ca character

565
00:30:00,440 --> 00:30:01,720
Speaker 3: and it's just bizarre.

566
00:30:01,840 --> 00:30:05,680
Speaker 1: It's another layer of fraud, yes, which I thought, yeah, wow,

567
00:30:06,280 --> 00:30:07,200
Speaker 1: not even the hair is real.

568
00:30:07,400 --> 00:30:11,240
Speaker 3: Yeah, to pay fraud, you know, I mean it's yours real, Yes,

569
00:30:11,320 --> 00:30:13,480
Speaker 3: mine's real for now, some of mine are. Yeah, well

570
00:30:14,240 --> 00:30:16,520
Speaker 3: you believe me. There's less to be real bout. But

571
00:30:16,600 --> 00:30:19,200
Speaker 3: it's what's there? Are you forming the monkey? But I

572
00:30:19,200 --> 00:30:20,040
Speaker 3: am I'm getting nil.

573
00:30:20,360 --> 00:30:21,280
Speaker 4: Yeah, there's that camera.

574
00:30:22,440 --> 00:30:24,240
Speaker 1: You notice I never let them shoot me from there?

575
00:30:24,720 --> 00:30:24,960
Speaker 4: There?

576
00:30:25,040 --> 00:30:29,280
Speaker 1: I see be good good, Mel, good Mel. How does

577
00:30:29,320 --> 00:30:33,280
Speaker 1: the actor in you? How does that change the way

578
00:30:33,320 --> 00:30:36,000
Speaker 1: you direct other actors? You were telling me about your

579
00:30:36,040 --> 00:30:38,200
Speaker 1: direction to the show in this movie.

580
00:30:38,080 --> 00:30:40,320
Speaker 4: Oh yeah, or Michelle or Mark or anyway.

581
00:30:40,360 --> 00:30:44,000
Speaker 3: I think I think I understand the actor's dilemma on film.

582
00:30:44,520 --> 00:30:48,400
Speaker 3: And you know, it's hard to just like turn up

583
00:30:48,400 --> 00:30:49,840
Speaker 3: and do stuff out of order.

584
00:30:49,680 --> 00:30:51,320
Speaker 4: And and uh and and.

585
00:30:51,240 --> 00:30:54,120
Speaker 3: It's hard to be totally self aware all the time

586
00:30:54,920 --> 00:30:58,520
Speaker 3: about how to gauge a performance. So I think it's

587
00:30:58,520 --> 00:31:02,760
Speaker 3: helpful for someone who's been there to actually help you

588
00:31:03,160 --> 00:31:06,680
Speaker 3: and be a completely objective pair of eyes to kind of.

589
00:31:08,440 --> 00:31:09,080
Speaker 4: Help on the way.

590
00:31:09,120 --> 00:31:11,920
Speaker 3: So you know, I have a lot of empathy for

591
00:31:11,960 --> 00:31:16,720
Speaker 3: actors and directors now, and and I think having having

592
00:31:17,440 --> 00:31:21,240
Speaker 3: you know, shouldered those responsibilities and use those tools, I'm

593
00:31:21,400 --> 00:31:23,760
Speaker 3: able better to instruct those who will have to do it.

594
00:31:23,840 --> 00:31:26,400
Speaker 1: Tell me about at one moment you had a particular

595
00:31:26,400 --> 00:31:28,280
Speaker 1: instruction to Michelle in this movie.

596
00:31:28,360 --> 00:31:30,600
Speaker 4: Oh yeah, it's her best moment. Tell me about that. Well,

597
00:31:30,680 --> 00:31:32,800
Speaker 4: she said, what do you mean? I said, Hey, Michelle,

598
00:31:32,880 --> 00:31:33,480
Speaker 4: go Greek. Here.

599
00:31:33,560 --> 00:31:35,640
Speaker 3: She says what I said, go Greek. I said, what

600
00:31:35,720 --> 00:31:37,480
Speaker 3: you mean, like, eat it dol made. I said no,

601
00:31:38,200 --> 00:31:41,960
Speaker 3: I says some columada olives. I said no, no, no, dispense.

602
00:31:41,640 --> 00:31:42,120
Speaker 4: With all that.

603
00:31:42,200 --> 00:31:45,320
Speaker 3: I just said, go Greek, tragedy, go big. And she

604
00:31:45,480 --> 00:31:48,280
Speaker 3: was like okay, and she did it and it's she

605
00:31:48,480 --> 00:31:49,400
Speaker 3: was fantastic.

606
00:31:49,480 --> 00:31:51,920
Speaker 4: She let that cut in. Oh yeah, she's great.

607
00:31:52,120 --> 00:31:55,520
Speaker 1: Yeah, wow, it's that sensitivity. Look, I've been on a

608
00:31:55,520 --> 00:31:58,840
Speaker 1: lot of sets. Most directors are asking these actors for

609
00:31:58,960 --> 00:32:03,760
Speaker 1: a result. Give me this, Give me that you work

610
00:32:03,760 --> 00:32:05,959
Speaker 1: in a different way because you are working through an

611
00:32:06,000 --> 00:32:08,720
Speaker 1: actor's instrument, kind of find a different way in.

612
00:32:08,880 --> 00:32:13,080
Speaker 3: Yeah, and I think you can't. You know, you can't

613
00:32:13,080 --> 00:32:15,160
Speaker 3: give them wine readings and all this. You got to

614
00:32:15,200 --> 00:32:18,680
Speaker 3: you gotta use their essence. And that's why you hired

615
00:32:18,720 --> 00:32:20,560
Speaker 3: them after all, because you trust them and I trust it.

616
00:32:20,600 --> 00:32:23,520
Speaker 3: And these are three very talented people. I mean, let's

617
00:32:23,800 --> 00:32:26,520
Speaker 3: let's not goof around here. I mean they've been doing

618
00:32:26,560 --> 00:32:29,360
Speaker 3: what they've been doing for a long time. And it's

619
00:32:29,360 --> 00:32:31,480
Speaker 3: like with Andrew Garfield or any of these guys. You know,

620
00:32:31,560 --> 00:32:35,040
Speaker 3: you just say action cut, that's great. You are really

621
00:32:35,160 --> 00:32:38,560
Speaker 3: you know, and you let them do it. And if

622
00:32:38,600 --> 00:32:40,680
Speaker 3: they ask for help, you give it. And if if

623
00:32:40,720 --> 00:32:43,000
Speaker 3: they don't, if it's not broken, you don't fix it.

624
00:32:43,080 --> 00:32:45,280
Speaker 4: You get out of the way. That's absolutely right.

625
00:32:45,360 --> 00:32:48,080
Speaker 1: What are the obstacles and advantages of working in a

626
00:32:48,200 --> 00:32:52,640
Speaker 1: tight space like this? This is a confined Cessna aircraft.

627
00:32:52,760 --> 00:32:54,600
Speaker 1: I don't know why you didn't shoot on a big Boeing,

628
00:32:54,640 --> 00:32:57,920
Speaker 1: but you can tell me that I'm shot on the

629
00:32:57,960 --> 00:32:59,120
Speaker 1: Boeing double wide.

630
00:32:59,280 --> 00:32:59,720
Speaker 4: Well it was.

631
00:32:59,800 --> 00:33:02,960
Speaker 3: It's it's kind of like it's more immediate, it's more claustrophobic,

632
00:33:04,040 --> 00:33:06,120
Speaker 3: not that I think claustrophoby is a great thing for

633
00:33:06,160 --> 00:33:08,840
Speaker 3: an audience, but it does have moments that really open

634
00:33:08,880 --> 00:33:12,160
Speaker 3: it up. So you're not I don't think you're not

635
00:33:12,240 --> 00:33:14,240
Speaker 3: on the plane very long. It's only eighty five minutes.

636
00:33:14,240 --> 00:33:16,080
Speaker 3: It's a fast, tight thriller.

637
00:33:16,720 --> 00:33:21,080
Speaker 4: But I think I don't know the space.

638
00:33:21,280 --> 00:33:23,840
Speaker 3: Just wanted it to be that, And I chose a

639
00:33:23,840 --> 00:33:26,880
Speaker 3: Cessna two eight because that was big enough to be

640
00:33:26,920 --> 00:33:28,960
Speaker 3: able to swing in cat or a dead mouse in

641
00:33:29,080 --> 00:33:31,760
Speaker 3: but like and get cameras and stuff in there and

642
00:33:31,800 --> 00:33:34,320
Speaker 3: do all that, but small enough to be confined and

643
00:33:34,680 --> 00:33:35,520
Speaker 3: believable as.

644
00:33:35,440 --> 00:33:36,920
Speaker 4: A bush plane in Alaska.

645
00:33:37,520 --> 00:33:39,600
Speaker 3: And those planes are indeed bush planes that are like

646
00:33:39,640 --> 00:33:42,000
Speaker 3: a FedEx plane, you know, yeah, yeah, yeah, a Cessna

647
00:33:42,040 --> 00:33:44,440
Speaker 3: two o eight, you know, with the T cross wings and.

648
00:33:44,480 --> 00:33:47,120
Speaker 1: You and you're shot in an actual Cessna or the

649
00:33:47,160 --> 00:33:47,960
Speaker 1: remnant of one.

650
00:33:48,000 --> 00:33:50,160
Speaker 4: We shot on the remnants of a of a real Cessna.

651
00:33:50,320 --> 00:33:53,400
Speaker 3: Yeah, so you know, like you adjusted, well, yeah, you

652
00:33:53,440 --> 00:33:55,760
Speaker 3: had four and a half feet high by five feet

653
00:33:55,840 --> 00:33:59,200
Speaker 3: seven wide with chairs and people and camera.

654
00:33:58,920 --> 00:34:00,800
Speaker 4: Guys and so you're in there pretty tight.

655
00:34:00,880 --> 00:34:04,080
Speaker 1: But I was fascinated by the volume wall you used

656
00:34:04,120 --> 00:34:06,040
Speaker 1: in this, which is kind of new technology. You shot

657
00:34:06,080 --> 00:34:07,640
Speaker 1: all of this in a warehouse.

658
00:34:07,600 --> 00:34:09,359
Speaker 3: Most of it in aware, some of it out on

659
00:34:09,719 --> 00:34:11,799
Speaker 3: your locations, like I had an airstrip and.

660
00:34:11,920 --> 00:34:14,000
Speaker 1: Yeah, all the opening close in the movie, but the

661
00:34:14,040 --> 00:34:16,040
Speaker 1: heart of the movie you're really shooting in a in

662
00:34:16,080 --> 00:34:18,960
Speaker 1: a one room. But it looks like you're flying over Alaska.

663
00:34:19,120 --> 00:34:21,200
Speaker 3: Oh my god, Dad, you've got you think you're over

664
00:34:21,239 --> 00:34:24,040
Speaker 3: the vastness of the Alaskan Alps and this tundra of

665
00:34:24,080 --> 00:34:27,200
Speaker 3: wilderness that's kind of scary and intimidating. And you see

666
00:34:27,239 --> 00:34:29,160
Speaker 3: it on film and you don't need to do rotoscoping

667
00:34:29,200 --> 00:34:31,000
Speaker 3: or green or blue screen any of that stuff.

668
00:34:31,280 --> 00:34:32,320
Speaker 4: It's real looking.

669
00:34:32,520 --> 00:34:34,239
Speaker 1: And that had to be all shot beforehand.

670
00:34:34,360 --> 00:34:36,440
Speaker 4: I shot those people, I shot the plates beforehand.

671
00:34:36,440 --> 00:34:38,560
Speaker 3: I got in a helicopter with a camera that looks

672
00:34:38,600 --> 00:34:41,320
Speaker 3: like a COVID virus. It has like the three sixty

673
00:34:41,400 --> 00:34:44,080
Speaker 3: degree like things sticking out all around it takes This is.

674
00:34:44,080 --> 00:34:47,360
Speaker 1: The old Disney magic carpet routine. Disney used to do

675
00:34:47,400 --> 00:34:50,799
Speaker 1: a ride coll in the sixties. Walt Disney devised that

676
00:34:50,960 --> 00:34:54,120
Speaker 1: technology home from the bottom of a helicopter. It had

677
00:34:54,200 --> 00:34:57,840
Speaker 1: multiple cameras and it was it was playing around you

678
00:34:57,920 --> 00:35:00,160
Speaker 1: in the round. Oh, people coming, and it gave you

679
00:35:00,200 --> 00:35:02,279
Speaker 1: the feeling that you were flying over things. Okay, that's

680
00:35:02,320 --> 00:35:04,120
Speaker 1: really what your volume wall is. That's it.

681
00:35:04,200 --> 00:35:08,360
Speaker 4: I think technologically it's quite advanced now. I mean the

682
00:35:08,400 --> 00:35:10,960
Speaker 4: image is like wow, unbelieve it's photo.

683
00:35:10,719 --> 00:35:14,040
Speaker 3: Reel and you put it up there and it moves,

684
00:35:14,120 --> 00:35:16,120
Speaker 3: and the actors were getting like, oh, give.

685
00:35:15,960 --> 00:35:16,520
Speaker 4: Me a bucket.

686
00:35:17,719 --> 00:35:19,880
Speaker 1: But so you had to shoot all the drops and

687
00:35:19,920 --> 00:35:22,760
Speaker 1: the nose dives and all that on that helicopter before

688
00:35:22,800 --> 00:35:24,080
Speaker 1: you ever got to principal.

689
00:35:24,400 --> 00:35:27,319
Speaker 3: We got all that stuff, and not all Some of

690
00:35:27,360 --> 00:35:30,759
Speaker 3: them were a few other tricks you can do. And

691
00:35:30,800 --> 00:35:32,760
Speaker 3: you know, I won't tell you anything. I'm like Colonel

692
00:35:32,800 --> 00:35:35,040
Speaker 3: Sando keeping the recipe in my breast pocket.

693
00:35:35,080 --> 00:35:35,759
Speaker 4: I don't blame you.

694
00:35:36,239 --> 00:35:38,160
Speaker 1: But you know he's dead now, so well I won't

695
00:35:38,200 --> 00:35:39,440
Speaker 1: bry any of them out of the bucket.

696
00:35:39,480 --> 00:35:39,640
Speaker 3: Yeah.

697
00:35:39,680 --> 00:35:41,319
Speaker 4: I worked for that. I work for the colonel. I

698
00:35:41,360 --> 00:35:44,040
Speaker 4: starved under the Corey many times.

699
00:35:44,080 --> 00:35:47,760
Speaker 3: Oh yeah, are at the old KFC. I'm a veteran. Yeah,

700
00:35:47,880 --> 00:35:50,600
Speaker 3: I got wounds. I got you a purple heart.

701
00:35:50,680 --> 00:35:54,040
Speaker 1: You know, I think that's I think that's your cardiologist.

702
00:35:54,680 --> 00:35:57,800
Speaker 1: Tell me about the casting here? Why these three principal actors.

703
00:35:57,840 --> 00:36:00,080
Speaker 1: You have lots of other actors. Why these three actors.

704
00:35:59,840 --> 00:36:01,879
Speaker 3: Are wonder and that's all there is to it. They're

705
00:36:01,920 --> 00:36:05,960
Speaker 3: just incredibly accomplished, talented performers and.

706
00:36:05,920 --> 00:36:07,400
Speaker 4: They kind of fit.

707
00:36:08,960 --> 00:36:12,359
Speaker 3: The archetype of what we needed to achieve here now,

708
00:36:12,800 --> 00:36:15,160
Speaker 3: you know. And sometimes you'll pluck somebody like Mark who

709
00:36:15,200 --> 00:36:19,200
Speaker 3: you don't usually associate with this kind of role, but man,

710
00:36:19,200 --> 00:36:21,960
Speaker 3: he was able to just deliver credible Michelle, of course,

711
00:36:22,080 --> 00:36:26,240
Speaker 3: is like the queen of subtlety and and can convey

712
00:36:26,719 --> 00:36:29,879
Speaker 3: so much with just the movement of the eye. I

713
00:36:29,920 --> 00:36:32,359
Speaker 3: was just kind of blown away. And Tofer has this

714
00:36:32,640 --> 00:36:36,040
Speaker 3: insane timing. He's really Yeah, he's funny, you know.

715
00:36:36,120 --> 00:36:37,160
Speaker 4: And they're all funny.

716
00:36:37,280 --> 00:36:40,000
Speaker 3: They all have their little weird, little humorous moments, so

717
00:36:40,440 --> 00:36:43,359
Speaker 3: and they understand that, all of them. So they kind

718
00:36:43,360 --> 00:36:46,680
Speaker 3: of and were able to work that timing amongst themselves,

719
00:36:46,680 --> 00:36:47,120
Speaker 3: most of them.

720
00:36:47,160 --> 00:36:50,920
Speaker 1: And you even cast your Vegas driver in one role,

721
00:36:50,960 --> 00:36:53,160
Speaker 1: which I don't know I can tell people about the role,

722
00:36:53,239 --> 00:36:56,560
Speaker 1: but it's pretty incredible, you know that the driver ended

723
00:36:56,640 --> 00:36:58,040
Speaker 1: up making it into the final cut.

724
00:36:58,120 --> 00:37:02,000
Speaker 3: He was amazing, This guy from from Bulgaria who used

725
00:37:02,000 --> 00:37:04,120
Speaker 3: to drive. He drove my car and I said, dude,

726
00:37:04,120 --> 00:37:04,919
Speaker 3: you ever been on film?

727
00:37:04,960 --> 00:37:07,640
Speaker 4: And he went, no, sir. I'm like, what where are

728
00:37:07,680 --> 00:37:10,680
Speaker 4: you from? And from Bulgaria, from Sofia, you know.

729
00:37:10,680 --> 00:37:13,920
Speaker 3: And I'm like, okay, hey, you want to be in

730
00:37:13,960 --> 00:37:15,920
Speaker 3: and he said, oh yeah, I do, you know?

731
00:37:16,040 --> 00:37:16,799
Speaker 4: And he looked great.

732
00:37:17,880 --> 00:37:21,799
Speaker 3: He's he's got this amazing kind of presence. So I thought,

733
00:37:22,000 --> 00:37:22,680
Speaker 3: I'm going to use it.

734
00:37:22,680 --> 00:37:24,840
Speaker 4: And it worked. Oh yeah, it works. You know exactly

735
00:37:24,840 --> 00:37:26,840
Speaker 4: who he is as soon as you see.

736
00:37:27,080 --> 00:37:28,879
Speaker 3: In fact, you know, the first time I saw him,

737
00:37:28,880 --> 00:37:30,000
Speaker 3: I said, I don't know if I want to drive

738
00:37:30,080 --> 00:37:32,160
Speaker 3: with this guy. But he's the nicest guy on earth,

739
00:37:32,160 --> 00:37:34,439
Speaker 3: you know. But he looks tough. Wow, he looks tough.

740
00:37:34,760 --> 00:37:36,279
Speaker 2: Tell me about Steven Rosenbloom.

741
00:37:36,280 --> 00:37:40,160
Speaker 4: Who have you've worked with before? Sure? Braveheart, brave heart.

742
00:37:40,239 --> 00:37:42,520
Speaker 3: He was my editor and he's the editor on this too,

743
00:37:43,120 --> 00:37:46,760
Speaker 3: And he does not mess around. He is a very

744
00:37:46,800 --> 00:37:50,160
Speaker 3: experienced editor, and he knows how to make a good

745
00:37:50,200 --> 00:37:53,440
Speaker 3: piece of entertainment and how to slice and dice it

746
00:37:53,600 --> 00:37:55,080
Speaker 3: just the way we all want it, you know.

747
00:37:55,160 --> 00:37:57,120
Speaker 4: So he's he's it's a treat to work with.

748
00:37:57,120 --> 00:37:59,920
Speaker 1: Stut do you just hand him the script and you're

749
00:38:00,120 --> 00:38:03,160
Speaker 1: and your cut? Would you give him notes let's watch it?

750
00:38:03,280 --> 00:38:04,160
Speaker 1: Or he does a cut?

751
00:38:04,520 --> 00:38:05,200
Speaker 4: I give it to.

752
00:38:05,200 --> 00:38:07,359
Speaker 3: Him, and I say, here, what can you make out

753
00:38:07,400 --> 00:38:09,600
Speaker 3: of this? You know, you make a silk purse out

754
00:38:09,640 --> 00:38:12,040
Speaker 3: of this? Sal's ear here, help me out here, buddy.

755
00:38:12,080 --> 00:38:14,120
Speaker 3: And he goes away and I leave him to his

756
00:38:14,120 --> 00:38:17,600
Speaker 3: own devices, and he invariably comes up with something great

757
00:38:17,719 --> 00:38:19,840
Speaker 3: and a lot of stuff I didn't even expect, and

758
00:38:19,920 --> 00:38:21,759
Speaker 3: I thought, wow, I didn't even know I shot that,

759
00:38:22,440 --> 00:38:25,120
Speaker 3: you know, and he's using things that I'm like, whoa so?

760
00:38:25,560 --> 00:38:27,440
Speaker 3: And then we get together and really kind of work

761
00:38:27,440 --> 00:38:29,759
Speaker 3: as a team and like you know, chip away, like

762
00:38:29,800 --> 00:38:32,200
Speaker 3: the old Michelangelo kind of film.

763
00:38:32,280 --> 00:38:32,440
Speaker 4: Ed it?

764
00:38:32,880 --> 00:38:35,840
Speaker 1: Did you cut this movie down in the edit? Uh?

765
00:38:36,600 --> 00:38:39,000
Speaker 4: It's pretty much. Has you got it much? We were

766
00:38:39,040 --> 00:38:41,600
Speaker 4: trying to like, we need more time and this is

767
00:38:41,719 --> 00:38:43,600
Speaker 4: so fast.

768
00:38:43,880 --> 00:38:46,840
Speaker 3: We actually did cut it down, yes, because whenever it

769
00:38:46,920 --> 00:38:52,279
Speaker 3: looked like it was like not moving, or if there

770
00:38:52,320 --> 00:38:55,360
Speaker 3: wasn't a beat that was furthering action plot, or wasn't

771
00:38:55,440 --> 00:38:58,560
Speaker 3: just a laugh in some sense or interesting in some.

772
00:38:58,440 --> 00:39:00,000
Speaker 4: Respect, we would.

773
00:39:01,280 --> 00:39:03,680
Speaker 3: Deviate from it and try and exclude it so that

774
00:39:03,719 --> 00:39:06,000
Speaker 3: what we had was kind of that you never get

775
00:39:06,040 --> 00:39:07,120
Speaker 3: a chance to get let down.

776
00:39:07,160 --> 00:39:09,000
Speaker 4: You're just kind of like watching the whole time.

777
00:39:09,880 --> 00:39:11,959
Speaker 1: There's something I see in all your films, and whether

778
00:39:12,000 --> 00:39:14,439
Speaker 1: it's look and these are some of these things are

779
00:39:14,480 --> 00:39:20,120
Speaker 1: frankly challenges that no other director would undertake or has undertaken.

780
00:39:20,400 --> 00:39:23,080
Speaker 1: When you look at Apocalypto, when you look at the

781
00:39:23,120 --> 00:39:26,280
Speaker 1: passion of the Christ, when you look at this project,

782
00:39:27,800 --> 00:39:30,960
Speaker 1: you direct from the audience point of view YouTube.

783
00:39:31,600 --> 00:39:35,600
Speaker 4: Yeah, that's an essential part. I am an audience.

784
00:39:35,239 --> 00:39:38,279
Speaker 3: Member first when I'm directing, And what do I want

785
00:39:38,320 --> 00:39:40,280
Speaker 3: to see? When I'm sitting in a dark room public

786
00:39:40,360 --> 00:39:42,759
Speaker 3: dreaming with like four hundred other people or whatever it

787
00:39:42,760 --> 00:39:43,399
Speaker 3: happens to be.

788
00:39:43,360 --> 00:39:45,359
Speaker 4: Even two other people, what do I want?

789
00:39:45,960 --> 00:39:51,279
Speaker 3: And you have to cater to the need of the

790
00:39:51,280 --> 00:39:53,880
Speaker 3: man in the dark room watching your dream, you know,

791
00:39:54,080 --> 00:39:55,640
Speaker 3: and having a dream with everybody else.

792
00:39:55,680 --> 00:39:58,160
Speaker 4: And who can you drag in? Who can you affect?

793
00:39:59,120 --> 00:40:01,239
Speaker 1: And there are a lot of directors to say no, no, no,

794
00:40:01,320 --> 00:40:05,720
Speaker 1: I write for me, I direct for me, I direct

795
00:40:05,719 --> 00:40:06,560
Speaker 1: for my vision.

796
00:40:07,040 --> 00:40:09,959
Speaker 3: Yeah, well that's partially true, I guess, because I mean, look,

797
00:40:10,320 --> 00:40:15,960
Speaker 3: it's undeniable. If whoever directs a film, they leave their mark. Yeah,

798
00:40:16,040 --> 00:40:19,000
Speaker 3: of course, so they are there and their sensibilities are there.

799
00:40:19,080 --> 00:40:23,680
Speaker 3: So in a sense that's true, but you cannot exclude.

800
00:40:25,200 --> 00:40:27,880
Speaker 3: If you're a chef and you're cooking a great meal,

801
00:40:28,960 --> 00:40:31,200
Speaker 3: you don't just need it yourself and say five stars.

802
00:40:31,680 --> 00:40:33,000
Speaker 4: You gotta share it with.

803
00:40:33,760 --> 00:40:36,920
Speaker 3: A bunch of hungry people who can then give you

804
00:40:36,960 --> 00:40:37,839
Speaker 3: feedback on it.

805
00:40:38,080 --> 00:40:39,280
Speaker 4: You feed them, they feedback.

806
00:40:39,800 --> 00:40:44,160
Speaker 3: If they feedback, you're in trouble. Yeah, but it's a

807
00:40:44,200 --> 00:40:47,319
Speaker 3: bit like any art. It is to be shared, and

808
00:40:47,360 --> 00:40:47,640
Speaker 3: it is.

809
00:40:47,600 --> 00:40:49,720
Speaker 1: To be but it's meant to be consumed by others.

810
00:40:49,760 --> 00:40:51,920
Speaker 1: It's not your little pet product. That's why I know

811
00:40:52,080 --> 00:40:53,680
Speaker 1: so many of these things are inaccessible.

812
00:40:53,880 --> 00:40:55,320
Speaker 4: Well a lot of them are. I mean, if you

813
00:40:55,400 --> 00:40:57,719
Speaker 4: make a film for an elite, you know.

814
00:40:59,680 --> 00:41:03,600
Speaker 3: It needs to work for as brought an audience as possible.

815
00:41:03,640 --> 00:41:07,040
Speaker 1: So tell me about Tell me about you related the

816
00:41:07,160 --> 00:41:09,799
Speaker 1: story of Braveheart, which I had not heard. How you

817
00:41:09,840 --> 00:41:12,680
Speaker 1: came to that project. Well, yeah, tell me about that

818
00:41:13,040 --> 00:41:15,319
Speaker 1: how because you this was not you had read the

819
00:41:15,320 --> 00:41:18,240
Speaker 1: script earlier and casked on it, thinking it.

820
00:41:18,200 --> 00:41:20,920
Speaker 3: Yes, but I liked it and it was it was

821
00:41:20,960 --> 00:41:23,239
Speaker 3: an acting offer, and I thought, oh wow.

822
00:41:23,360 --> 00:41:25,920
Speaker 4: You know, I read it and I was busy doing.

823
00:41:25,719 --> 00:41:28,839
Speaker 3: A bunch of stuff, and you know, I was in

824
00:41:28,840 --> 00:41:31,360
Speaker 3: my mid thirties and I was seriously busy at that.

825
00:41:31,440 --> 00:41:31,640
Speaker 4: Yeah.

826
00:41:31,680 --> 00:41:34,279
Speaker 3: Yeah, it was like I couldn't you know, oh you know,

827
00:41:34,360 --> 00:41:37,719
Speaker 3: I was turning things down and giving other people shots yep.

828
00:41:38,360 --> 00:41:43,560
Speaker 4: And and I, uh, I sort of just I read it.

829
00:41:43,760 --> 00:41:46,520
Speaker 4: I liked it, but I thought, no, not for me.

830
00:41:46,560 --> 00:41:49,319
Speaker 3: I don't think I can pull off the man. And

831
00:41:49,360 --> 00:41:53,239
Speaker 3: I killed you know thing, and then I sort of

832
00:41:53,239 --> 00:41:54,680
Speaker 3: walked away and did a bunch of other stuff, and

833
00:41:54,719 --> 00:41:57,120
Speaker 3: somebody said, well, what you know, what do you want

834
00:41:57,160 --> 00:41:57,600
Speaker 3: to do next?

835
00:41:57,640 --> 00:41:58,360
Speaker 4: I said, I don't know.

836
00:41:58,400 --> 00:42:00,440
Speaker 3: Man, I read this thing a couple of years years back.

837
00:42:00,480 --> 00:42:03,440
Speaker 3: I thought it was pretty good, and it kind of

838
00:42:03,600 --> 00:42:07,719
Speaker 3: it has some really big themes and and he said,

839
00:42:07,719 --> 00:42:09,720
Speaker 3: oh really, what was it? So I told him the story.

840
00:42:10,080 --> 00:42:14,160
Speaker 3: And but when I told him the story, I was like,

841
00:42:14,280 --> 00:42:15,960
Speaker 3: I was saying, non, you got this low angle here

842
00:42:15,960 --> 00:42:16,680
Speaker 3: with the guy doing.

843
00:42:16,680 --> 00:42:19,520
Speaker 4: You know, And it was like I was almost like

844
00:42:19,560 --> 00:42:21,399
Speaker 4: a shooting script. You were dreaming at your head.

845
00:42:21,640 --> 00:42:24,480
Speaker 3: And I realized that I had been thinking about this,

846
00:42:24,640 --> 00:42:26,879
Speaker 3: like in my wee hours before you go to sleep

847
00:42:26,880 --> 00:42:28,719
Speaker 3: at night. How would I fill that with that you know,

848
00:42:28,760 --> 00:42:30,480
Speaker 3: you know, low angle on the horse hoofs with the

849
00:42:30,719 --> 00:42:31,279
Speaker 3: you know and all.

850
00:42:31,160 --> 00:42:32,000
Speaker 4: This kind of stuff.

851
00:42:32,640 --> 00:42:35,959
Speaker 3: And I was constructing images in my head that sort

852
00:42:35,960 --> 00:42:39,719
Speaker 3: of like excited me. And and uh, and I said

853
00:42:39,719 --> 00:42:42,400
Speaker 3: to the guy, said that sounds amazing. And then we

854
00:42:42,440 --> 00:42:44,440
Speaker 3: got the script and it was Randy's script and it

855
00:42:44,480 --> 00:42:46,839
Speaker 3: was still as good as it was. And I thought, wow,

856
00:42:46,960 --> 00:42:49,000
Speaker 3: I think I need to direct this is because I

857
00:42:49,040 --> 00:42:51,359
Speaker 3: just want to shepherd what we see and how we

858
00:42:51,400 --> 00:42:53,359
Speaker 3: see it in up here.

859
00:42:53,560 --> 00:42:55,919
Speaker 4: Yeah, what I constructed over the time.

860
00:42:55,960 --> 00:42:59,560
Speaker 3: And then I said, and I had directed a small film,

861
00:42:59,719 --> 00:43:04,279
Speaker 3: so I put my toe in the water and and

862
00:43:04,360 --> 00:43:06,360
Speaker 3: so I I thought, let's try it on a bigger

863
00:43:06,360 --> 00:43:10,719
Speaker 3: scale here. And I said, Alan Ladd Junior, God rest

864
00:43:10,760 --> 00:43:12,840
Speaker 3: his soul. He's gone now. But he was a good dude.

865
00:43:13,760 --> 00:43:16,920
Speaker 3: You could never understand what he said. He was he mumbled,

866
00:43:17,360 --> 00:43:19,600
Speaker 3: and so it was like, you know, you go, what

867
00:43:19,520 --> 00:43:22,000
Speaker 3: what what? And he always has said something smart. He

868
00:43:22,040 --> 00:43:24,160
Speaker 3: was a smart guy. He just had this kind of

869
00:43:24,239 --> 00:43:27,240
Speaker 3: mumbling thing. And so he used to have a gag.

870
00:43:27,280 --> 00:43:29,320
Speaker 3: I used to say, well, you know, Alan Ladd Junior

871
00:43:29,400 --> 00:43:30,279
Speaker 3: told me one time.

872
00:43:32,680 --> 00:43:33,439
Speaker 4: Yeah, so.

873
00:43:35,200 --> 00:43:37,600
Speaker 3: And I even told Laddie that joke. So you know,

874
00:43:37,760 --> 00:43:39,880
Speaker 3: he cleared it with him. Yeah, he was a sweet

875
00:43:39,880 --> 00:43:42,319
Speaker 3: old guy. He's gone now, he's gone to he's gone

876
00:43:42,320 --> 00:43:42,720
Speaker 3: to Gallan.

877
00:43:44,040 --> 00:43:46,239
Speaker 1: He had the he was at MGM at the time.

878
00:43:46,520 --> 00:43:49,600
Speaker 3: He was at MGM uh and he I think he

879
00:43:49,680 --> 00:43:52,600
Speaker 3: got the Golden handshake over there they get, which means

880
00:43:52,640 --> 00:43:53,600
Speaker 3: like get out of here, buddy.

881
00:43:54,000 --> 00:43:54,440
Speaker 4: And uh.

882
00:43:54,600 --> 00:43:59,319
Speaker 3: He said, Okay, I'm leaving, but all right, but I'm

883
00:43:59,360 --> 00:44:02,640
Speaker 3: taking I'm taking two scripts with me. And he took

884
00:44:02,719 --> 00:44:05,960
Speaker 3: two scripts from MGM u A. He took The Brady

885
00:44:06,000 --> 00:44:08,080
Speaker 3: Bunch Yeah and Braveheart.

886
00:44:08,239 --> 00:44:10,239
Speaker 4: He only wanted to be title. Yeah, that must have

887
00:44:10,239 --> 00:44:13,640
Speaker 4: been at the top of the get to c ord.

888
00:44:14,160 --> 00:44:16,800
Speaker 3: So when I reconnected with the project, when I realized

889
00:44:16,800 --> 00:44:17,960
Speaker 3: I wanted to direct.

890
00:44:17,680 --> 00:44:17,920
Speaker 1: It, I.

891
00:44:19,640 --> 00:44:22,359
Speaker 3: Found out that it was at a different studio. It

892
00:44:22,400 --> 00:44:25,960
Speaker 3: had gone from MGM to param Paramount. He moved to Paramount.

893
00:44:26,160 --> 00:44:28,840
Speaker 3: He moved to Paramount, and so I and I said, Laddie,

894
00:44:29,560 --> 00:44:32,080
Speaker 3: you know, I've only done this once before, but I

895
00:44:32,080 --> 00:44:32,879
Speaker 3: want to direct it.

896
00:44:33,200 --> 00:44:36,360
Speaker 4: And he said I don't know, And I said, great,

897
00:44:38,120 --> 00:44:40,400
Speaker 4: we got a deal, right. Yeah.

898
00:44:40,440 --> 00:44:45,000
Speaker 3: So it was fantastic and one of the best, I

899
00:44:45,040 --> 00:44:48,319
Speaker 3: mean hard so funny, you know, seven days a week

900
00:44:48,400 --> 00:44:52,000
Speaker 3: sometimes what was the pre production on that snappy. It

901
00:44:52,080 --> 00:44:53,960
Speaker 3: was like as soon as I said, can I direct?

902
00:44:54,000 --> 00:44:56,120
Speaker 3: He said, I don't have a problem with that. I said, great,

903
00:44:56,200 --> 00:44:59,040
Speaker 3: let's go. Ten weeks of pre production on this is

904
00:44:59,200 --> 00:45:02,600
Speaker 3: lightning for any film, but on that, oh, my goodness.

905
00:45:02,239 --> 00:45:02,680
Speaker 4: An epic.

906
00:45:02,760 --> 00:45:05,560
Speaker 1: I mean all the just the people you have to move,

907
00:45:05,640 --> 00:45:07,279
Speaker 1: my gosh, that's incredible.

908
00:45:07,360 --> 00:45:09,560
Speaker 3: Well, I was fortunate and I had a really good

909
00:45:09,600 --> 00:45:12,200
Speaker 3: production team, you know, and and we were able to

910
00:45:12,239 --> 00:45:13,960
Speaker 3: go over and find what.

911
00:45:13,800 --> 00:45:15,000
Speaker 4: We needed in Europe.

912
00:45:15,760 --> 00:45:19,839
Speaker 3: Ireland was very helpful with not only tax credits, but

913
00:45:19,880 --> 00:45:25,680
Speaker 3: there resources and they bend over backwards and for and

914
00:45:25,760 --> 00:45:30,879
Speaker 3: forth but to and extended a hand, and we were

915
00:45:30,920 --> 00:45:34,719
Speaker 3: able to shoot it in Scotland, you know, and Ireland

916
00:45:35,000 --> 00:45:38,279
Speaker 3: and and get and get, and the UK really really

917
00:45:38,320 --> 00:45:39,640
Speaker 3: put out for a surprise.

918
00:45:39,920 --> 00:45:42,880
Speaker 1: I guess I'd forgotten. It didn't pop at the box

919
00:45:42,920 --> 00:45:44,440
Speaker 1: office when it first emerged.

920
00:45:45,000 --> 00:45:47,440
Speaker 4: It wasn't a huge box office on the screen. It

921
00:45:47,520 --> 00:45:49,120
Speaker 4: wasn't on the big screen.

922
00:45:49,160 --> 00:45:51,200
Speaker 3: I think it made like seventy five million or something,

923
00:45:51,239 --> 00:45:57,839
Speaker 3: which was not really okay, uh and uh, but We're

924
00:45:58,040 --> 00:45:58,799
Speaker 3: really did good.

925
00:45:58,880 --> 00:46:01,560
Speaker 4: Was on VHS. It went crazy on that won a

926
00:46:01,560 --> 00:46:02,879
Speaker 4: bunch of Academy Awards.

927
00:46:02,800 --> 00:46:05,160
Speaker 3: After it once, you know, one of you know, all

928
00:46:05,160 --> 00:46:08,879
Speaker 3: these Academy Awards, and then and then went big on BHS.

929
00:46:09,600 --> 00:46:12,239
Speaker 3: So hey, it came in, It slid, it slid into

930
00:46:12,239 --> 00:46:15,120
Speaker 3: Home played. Eventually it holds up. It's still a classic.

931
00:46:15,280 --> 00:46:15,960
Speaker 4: Yeah, it holds up.

932
00:46:16,600 --> 00:46:18,920
Speaker 3: It inspired a lot of other films because the battle

933
00:46:18,960 --> 00:46:22,520
Speaker 3: epic had been buying large abandoned, you know, with Charlie Neston,

934
00:46:22,560 --> 00:46:25,759
Speaker 3: you know, you know, l Sid or Spartacus or back

935
00:46:25,800 --> 00:46:28,279
Speaker 3: in the fifties, and then we kind of resurrected the

936
00:46:28,280 --> 00:46:31,880
Speaker 3: whole the big genre battle epic with that film. And

937
00:46:31,880 --> 00:46:34,319
Speaker 3: then of course Ridley and Tony saw it. Ridley and

938
00:46:34,360 --> 00:46:36,680
Speaker 3: Tony's saw they were like, whoa nobody does?

939
00:46:37,080 --> 00:46:39,480
Speaker 4: And it was like oh, and I was flattered. They

940
00:46:39,480 --> 00:46:40,840
Speaker 4: called me about it. They were like wow.

941
00:46:41,520 --> 00:46:43,840
Speaker 3: And then you know, it spawned things like Troy and

942
00:46:43,960 --> 00:46:47,960
Speaker 3: Gladiator and all the series of most good and some

943
00:46:47,960 --> 00:46:50,279
Speaker 3: good films, you know, and and and so you know,

944
00:46:50,320 --> 00:46:52,839
Speaker 3: it kind of brought those things back. Now, I think,

945
00:46:52,880 --> 00:46:54,719
Speaker 3: you know, you got to cool it on those things now.

946
00:46:54,800 --> 00:46:58,080
Speaker 3: But maybe there's a yeah, there's another.

947
00:46:57,920 --> 00:46:58,760
Speaker 4: One or two left.

948
00:46:58,880 --> 00:47:01,520
Speaker 3: There's a couple of big story out there that that

949
00:47:01,560 --> 00:47:02,480
Speaker 3: would really resonate.

950
00:47:03,080 --> 00:47:06,120
Speaker 1: Tell me about the viral you've released, these little viral

951
00:47:06,160 --> 00:47:08,799
Speaker 1: moments around flight risk kind of tie one of them

952
00:47:08,880 --> 00:47:09,920
Speaker 1: ties to Brave Heart.

953
00:47:10,040 --> 00:47:11,920
Speaker 4: Yeah, yeah, what's what were.

954
00:47:11,760 --> 00:47:12,960
Speaker 1: You trying to do with these?

955
00:47:13,840 --> 00:47:14,000
Speaker 4: Well?

956
00:47:14,040 --> 00:47:16,200
Speaker 3: Look, it was so it was so much fun to

957
00:47:16,360 --> 00:47:18,920
Speaker 3: work on. You know, it was fun to shoot with

958
00:47:18,960 --> 00:47:23,239
Speaker 3: these actors and stuff. And I just felt like, you know,

959
00:47:23,280 --> 00:47:26,640
Speaker 3: what we got was a little odd and a little

960
00:47:26,680 --> 00:47:28,640
Speaker 3: quirky and off to the side a little bit, but

961
00:47:28,719 --> 00:47:32,080
Speaker 3: still fast and entertaining. And I thought, you know, hey,

962
00:47:32,160 --> 00:47:34,239
Speaker 3: let's just keep the spirit of this thing going. And

963
00:47:34,280 --> 00:47:36,080
Speaker 3: I just wanted to kind of goof on it.

964
00:47:36,320 --> 00:47:40,239
Speaker 4: Yeah, and you know, and and and.

965
00:47:39,960 --> 00:47:43,000
Speaker 3: And let the audience know that, hey, don't take this

966
00:47:43,000 --> 00:47:46,160
Speaker 3: too seriously. This is just a nice thrill ride, a

967
00:47:46,160 --> 00:47:47,480
Speaker 3: fast piece of entertainment.

968
00:47:47,560 --> 00:47:49,239
Speaker 1: It's a lot of fun. It's a lot of fun.

969
00:47:49,440 --> 00:47:50,960
Speaker 1: And and and you are on the edge of your

970
00:47:50,960 --> 00:47:53,000
Speaker 1: seat and going, oh my, I mean, you don't hear

971
00:47:53,040 --> 00:47:57,120
Speaker 1: people gasp this way theater. It's very often to tell

972
00:47:57,120 --> 00:47:59,040
Speaker 1: me about the resurrection before we run out of time.

973
00:47:59,160 --> 00:48:03,839
Speaker 1: Obvious one of the great master works of your life. Yeah, sure,

974
00:48:03,840 --> 00:48:06,759
Speaker 1: And career people have been waiting for this movie for.

975
00:48:06,680 --> 00:48:09,359
Speaker 4: A long time. Yeah, like twenty years or so.

976
00:48:10,320 --> 00:48:12,879
Speaker 3: It'll be about it'll be even longer by the time

977
00:48:12,880 --> 00:48:14,520
Speaker 3: it actually makes it.

978
00:48:14,560 --> 00:48:16,000
Speaker 4: And I'm not sure when that is.

979
00:48:16,040 --> 00:48:19,279
Speaker 3: I know, I'm my focus now is on that. I'm

980
00:48:19,320 --> 00:48:25,560
Speaker 3: in a pre production mode. It's it's complex and it

981
00:48:25,600 --> 00:48:28,960
Speaker 3: took a long time. It's like it's like labor pains,

982
00:48:29,000 --> 00:48:32,799
Speaker 3: you know, it's like giving like birth to this to

983
00:48:32,880 --> 00:48:34,440
Speaker 3: this creation that's got to be.

984
00:48:34,560 --> 00:48:38,879
Speaker 4: You know, all working parts. And it's been a long labor.

985
00:48:39,760 --> 00:48:41,760
Speaker 1: And you told me last time we talked, this isn't

986
00:48:42,160 --> 00:48:46,400
Speaker 1: just Jesus rises acts of the apostles. It's much more complex.

987
00:48:47,080 --> 00:48:50,760
Speaker 3: Well, yes, because you have to ask the essential question

988
00:48:50,840 --> 00:48:58,480
Speaker 3: of you know, in our existence, why why are the

989
00:48:58,520 --> 00:49:01,919
Speaker 3: big realms of good and evil? And they exist, they're

990
00:49:01,920 --> 00:49:06,240
Speaker 3: as real as we are. Why are these realms slugging

991
00:49:06,320 --> 00:49:08,560
Speaker 3: it out for the souls of the hearts and souls

992
00:49:08,600 --> 00:49:09,279
Speaker 3: of mankind?

993
00:49:10,440 --> 00:49:15,600
Speaker 4: Why are we the meat in that sandwich? Little old us,

994
00:49:15,880 --> 00:49:20,560
Speaker 4: flawed us, imperfect us? Why why is that about us?

995
00:49:20,680 --> 00:49:23,000
Speaker 4: And I'm trying to answer that question. I don't know

996
00:49:23,040 --> 00:49:23,600
Speaker 4: if I can.

997
00:49:24,600 --> 00:49:29,600
Speaker 3: I've attempted, and maybe with God's help and with image

998
00:49:29,719 --> 00:49:32,240
Speaker 3: and with sound, and music.

999
00:49:32,960 --> 00:49:35,319
Speaker 4: We can deliver on.

1000
00:49:36,920 --> 00:49:42,440
Speaker 3: Some answers to some of those massive questions, these existential questions.

1001
00:49:42,680 --> 00:49:46,560
Speaker 4: I can't wait to see it. Yeah, that's pretty crazy.

1002
00:49:46,800 --> 00:49:50,160
Speaker 1: In the meantime, we'll go to flight risk. Yeah, why

1003
00:49:50,239 --> 00:49:51,439
Speaker 1: not go to flight risks?

1004
00:49:51,440 --> 00:49:51,799
Speaker 4: How fun?

1005
00:49:52,840 --> 00:49:53,040
Speaker 1: Yeah?

1006
00:49:53,920 --> 00:49:55,239
Speaker 4: Yeah, you don't want to you don't want to be

1007
00:49:55,280 --> 00:49:56,399
Speaker 4: going down on that not that one.

1008
00:49:56,400 --> 00:49:58,879
Speaker 1: No, I'd like to. I'll be in the freight downstairs.

1009
00:49:58,920 --> 00:50:01,120
Speaker 1: I'd rather not be with Wahlberg and company.

1010
00:50:01,239 --> 00:50:02,280
Speaker 4: Yeah. Two, I'm afraid.

1011
00:50:02,640 --> 00:50:07,319
Speaker 1: Yeah, Okay, here's the hole.

1012
00:50:07,440 --> 00:50:08,200
Speaker 2: The takeaway.

1013
00:50:08,640 --> 00:50:12,000
Speaker 1: Whatever you do, do it for others, whether you're an

1014
00:50:12,080 --> 00:50:14,839
Speaker 1: artist or a teacher, or a mechanic or a stay

1015
00:50:14,840 --> 00:50:17,080
Speaker 1: at home parent. The thing that struck me about that

1016
00:50:17,160 --> 00:50:21,759
Speaker 1: conversation was your gifts are for others. They should be

1017
00:50:21,760 --> 00:50:25,720
Speaker 1: our focus. In Mel's case, the audience is always front

1018
00:50:25,800 --> 00:50:28,160
Speaker 1: and center, and Mel reminds me every time I see

1019
00:50:28,239 --> 00:50:31,239
Speaker 1: him keep the humor in the forefront. I would argue

1020
00:50:31,280 --> 00:50:34,719
Speaker 1: it's one of his superpowers on screen or otherwise. He

1021
00:50:34,840 --> 00:50:38,960
Speaker 1: uses comedy to drive the drama and the thrills. Alfred

1022
00:50:39,080 --> 00:50:44,000
Speaker 1: Hitchcock once said suspense doesn't have any value if it's

1023
00:50:44,040 --> 00:50:45,800
Speaker 1: not balanced by humor.

1024
00:50:46,800 --> 00:50:50,200
Speaker 2: Neither does life. I hope you enjoyed the show come

1025
00:50:50,239 --> 00:50:50,960
Speaker 2: back next time.

1026
00:50:51,280 --> 00:50:54,080
Speaker 1: As I'm going to recall on every episode, why live

1027
00:50:54,120 --> 00:50:57,680
Speaker 1: a dry, narrow, constricted life when if you fill it

1028
00:50:57,719 --> 00:51:00,760
Speaker 1: with good things, it can flow into to a broad,

1029
00:51:01,200 --> 00:51:06,480
Speaker 1: thriving Arroyo Grande. I'm raiming Arroyo. Make sure you subscribe

1030
00:51:06,600 --> 00:51:10,080
Speaker 1: and like this episode. Thanks for diving in, and we'll

1031
00:51:10,080 --> 00:51:15,480
Speaker 1: see you next time. Arroyo Grande is produced in partnership

1032
00:51:15,480 --> 00:51:19,360
Speaker 1: with iHeart Podcasts and is available on the iHeartRadio app

1033
00:51:19,480 --> 00:51:21,680
Speaker 1: or wherever you get your podcasts