WEBVTT - Mel Gibson: Fires, Faith, and Flight Risk

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<v Speaker 1>I wonder if this is or if you're regarding this

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<v Speaker 1>as a spiritual preparation for.

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<v Speaker 2>The Resurrection movie you're about to embark on.

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<v Speaker 3>I feel like I'm, you know, I'm being stripped down

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<v Speaker 3>and prepared for something else.

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<v Speaker 4>Now that's maybe very personal, but.

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<v Speaker 3>I feel like I feel like the Almighty is preparing

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<v Speaker 3>me to do something big.

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<v Speaker 1>I'm raim an Arroyo. Welcome to Arroyo Grande. I'm so

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<v Speaker 1>glad you're here. This is our inaugural voyage into the

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<v Speaker 1>wild currents of this culture. My conversation with Mel Gibson

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<v Speaker 1>is straight ahead, and it's both moving and insightful. He

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<v Speaker 1>tells us about how he's recovering from the loss of

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<v Speaker 1>his home in the LA Fires, and later the backstory

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<v Speaker 1>of Braveheart, which I'd never heard before. Mel takes us

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<v Speaker 1>behind the scenes also of his latest project, Flight Risk. Okay,

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<v Speaker 1>before we dive in, I thought I should give you

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<v Speaker 1>a little itinerary of what I hope this applaudcast means

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<v Speaker 1>to you. I hate the term podcast. I use a

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<v Speaker 1>plodcast because when it's over, I want you to applaud.

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<v Speaker 1>I'm too broad for a podcast. We're not chickpeas and

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<v Speaker 1>we're not coffee. We'll call it what you want as

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<v Speaker 1>long as you subscribe to a Royo Grande and keep

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<v Speaker 1>checking in with us. As most of you know, I've

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<v Speaker 1>written a string of New York Times bestsellers for adults

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<v Speaker 1>and kids, some adults who act like kids. I've been

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<v Speaker 1>on TV for decades and I started in kindergarten. Yes

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<v Speaker 1>I did, But this is a new adventure for me.

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<v Speaker 1>It's more direct, not hemmed in by time limitations and

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<v Speaker 1>much else. On each Arroyo Grande show, I'm going to

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<v Speaker 1>navigate and analyze the culture with you. We'll hit lifestyle

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<v Speaker 1>trends and manners or lack thereof the arts, faith, pop culture,

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<v Speaker 1>comparing what is to what went before and sharing what

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<v Speaker 1>it all means. Will celebrate the best in the culture

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<v Speaker 1>while lampooning the rest. And along the way, we're going

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<v Speaker 1>to talk about and to some incredible people about their work,

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<v Speaker 1>their lives, their passions, and un earth practical advice in life,

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<v Speaker 1>lessons and examples that we can use in our daily lives.

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<v Speaker 1>And hopefully we'll have a few laughs along the way.

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<v Speaker 1>The Arroyo Grande in the title, by the way, does

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<v Speaker 1>not refer to big Ray. It's the grand flowing waters

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<v Speaker 1>of life that I'm interested in exploring. At the end

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<v Speaker 1>of this episode, I'll tell you why we're doing all

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<v Speaker 1>of this. That's called a cliffhanger, So hang with us.

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<v Speaker 1>But I'm going to start this and every episode with

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<v Speaker 1>what I call a free flow.

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<v Speaker 2>Here goes what happened to going to the movies? Oh?

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<v Speaker 1>I know, I know you're sitting home now, you're watching

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<v Speaker 1>Hulu and Netflix, but admit it wasn't going to the

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<v Speaker 1>theater fund I would argue it's also important to us

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<v Speaker 1>as a people we forget how long we've been watching

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<v Speaker 1>images in the dark. The first Nickelodeons were introduced in

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<v Speaker 1>nineteen oh five, We're moving images could be viewed. Soon

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<v Speaker 1>projectors gave way to incredible movie making, then the Talkies,

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<v Speaker 1>and by nineteen thirty three, drive ins were introduced. Like sports,

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<v Speaker 1>movies gave all Americans and the world a way to

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<v Speaker 1>relax and escape reality. Together, that all came to a

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<v Speaker 1>screeching halt in twenty twenty when COVID hit A recent

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<v Speaker 1>Harris poll found that two in three people prefer to watch.

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<v Speaker 2>Movies at home.

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<v Speaker 1>Now are they watching what I'm watching? Big Stars and

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<v Speaker 1>kind of pathetic, half baked vehicles.

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<v Speaker 2>Admit it.

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<v Speaker 1>Charlie's Sarren and a forgettable spy thriller is not exactly

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<v Speaker 1>mission impossible, And is Eddie Murphy doing another reboot of

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<v Speaker 1>a really great film this week? It all feels disposable,

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<v Speaker 1>and because we aren't watching it together, it is disposable.

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<v Speaker 2>It's like gum.

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<v Speaker 1>It might taste good for a few minutes, but you

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<v Speaker 1>won't share it with your neighbor, and you'll never discuss

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<v Speaker 1>it tomorrow with your coworkers. We just aren't going to

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<v Speaker 1>movie theaters that often, and that's bad for us and

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<v Speaker 1>it's bad for our kids. According to Advan in twenty

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<v Speaker 1>twenty four, attendance at the cineplex is still thirty three

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<v Speaker 1>percent below twenty nineteen pre COVID levels.

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<v Speaker 2>Look, I get it.

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<v Speaker 1>I've spoken to studio heads who say we've not had

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<v Speaker 1>enough consistent, high quality product, which broke the habit of

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<v Speaker 1>movie going. People still want to be entertained, but they

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<v Speaker 1>feel they can do it at home or in their

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<v Speaker 1>jammys or boxers. The studios have offered up mostly franchise

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<v Speaker 1>reboots Jurassic Park, Deadpool, Star Wars or whatever. Live action

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<v Speaker 1>remake Mess Disney is releasing this week. Little incidental question here,

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<v Speaker 1>how did CGI animation become live action? I'm asking for

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<v Speaker 1>a friend, Pinocchio, No wonder audiences are staying home only

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<v Speaker 1>Oppenheimer broke through the non franchise flick a few years ago.

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<v Speaker 2>And Barbie, but she.

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<v Speaker 1>Was kind of an established franchise. Come on, every girl

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<v Speaker 1>had one. Here's why it matters because when we come

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<v Speaker 1>together with strangers and we sit in the dark and

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<v Speaker 1>enter the dreamland of the filmmaker's imagination, something incredible happens

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<v Speaker 1>up there. Nicole Kidnan even looks younger. Heartbreak feels good

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<v Speaker 1>in a place like this, but not when you can't

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<v Speaker 1>keep the doors open or when the guy next to

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<v Speaker 1>you forgot to shower. There's a crucial cultural reason that

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<v Speaker 1>we should go to the movies as a group. When

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<v Speaker 1>you're in that darken theater, you're sharing a human experience

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<v Speaker 1>with others. It's not some isolated thing on your phone

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<v Speaker 1>via earbuds, but a shared moment as one. It's almost

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<v Speaker 1>sacred when it works. I would argue, like sporting events,

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<v Speaker 1>we need these times together. When you're being entertained as one,

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<v Speaker 1>it's easier to live together as one outside the theater.

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<v Speaker 1>Movies can be and we're for decades a source of

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<v Speaker 1>cultural unity. We shared the same references, We loved and

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<v Speaker 1>hated the same characters. Sam Spade and Indiana Jones and

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<v Speaker 1>Dorothy Gail, Rhett Butler, Fredo Corleone. We all knew these

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<v Speaker 1>character It's hard to come up with any contemporary examples

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<v Speaker 1>with that kind of ubiquity. Wolverine aside to try to

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<v Speaker 1>lure people in theater, owners have now gone from Technicolor

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<v Speaker 1>to three D, to Imax to those damn shaking seats

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<v Speaker 1>that make you want to hurl your snowcaps all over

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<v Speaker 1>the row in front of you. Now they brought booze

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<v Speaker 1>and lazy boys in that'll only lull the audience to

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<v Speaker 1>sleep and make them feel they could replicate the experience

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<v Speaker 1>at home in loungewear or underwear. To bring back movie going,

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<v Speaker 1>Hollywood has to improve their product make films rides we

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<v Speaker 1>all want to go on together. It's important for society

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<v Speaker 1>and the civility of our kids to develop the habit

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<v Speaker 1>of coming together and learning as a group and being

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<v Speaker 1>entertained at the same time. If we want to grow

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<v Speaker 1>as a people and if theater owners want to fill

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<v Speaker 1>their chairs, they should heed the words of that great oracle,

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<v Speaker 1>Nicole Kidman, who once said, we make movies better.

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<v Speaker 2>We'll see and that's a wrap. Okay, let's go into

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<v Speaker 2>the deep.

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<v Speaker 1>Here's a man who's been making movies better for forty years.

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<v Speaker 1>He's an Academy Award winning director for his Brave Heart,

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<v Speaker 1>and if there were any justice in the world, he

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<v Speaker 1>would have won Oscars for the Passion of the Christ

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<v Speaker 1>and Apocalypto as well. I sat down with Mel Gibson

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<v Speaker 1>twenty years ago on the set of The Passion, which

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<v Speaker 1>I can't believe, and conducted the first interview about.

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<v Speaker 2>That landmark film.

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<v Speaker 1>Now you're going to hear about his latest movie, a

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<v Speaker 1>thriller called Flight Risk. It's an interview we recorded at

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<v Speaker 1>his house, which is coming up. But when these horrible

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<v Speaker 1>fires struck la in January of twenty twenty five and

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<v Speaker 1>he lost his home, I wanted to see how he

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<v Speaker 1>was doing and talk to him about the recovery. Mel

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<v Speaker 1>Gibson joins me. Now, Mel, thank you for being here. Mel.

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<v Speaker 2>What did you think.

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<v Speaker 1>When you drove up to the beautiful room People will

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<v Speaker 1>see in just a moment where we conducted this interview.

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<v Speaker 1>When you saw your neighborhood, when you saw your entire community,

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<v Speaker 1>what was what did you imagine or think at that time?

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<v Speaker 3>Well, first, you know, I thought it was just oh deep,

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<v Speaker 3>bad luck, tragedy. But then I think I came to

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<v Speaker 3>realize that it was monumental mismanagement by our elected officials.

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<v Speaker 3>And that's the nicest thing you can say about it.

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<v Speaker 1>Yeah, I've been listening to your governor Gavin Newsom, and

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<v Speaker 1>he's promising LA two point zero, or reimagined Los Angeles.

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<v Speaker 1>He even says he has a Marshall Plan. Is that

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<v Speaker 1>what you and your neighbors want right now?

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<v Speaker 3>Well, you know, I mean, as a citizen here news

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<v Speaker 3>them at bath They want us to trust him to

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<v Speaker 3>reimagine the city, our city, you know, in how they

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<v Speaker 3>think it should be. And I mean, look what they've

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<v Speaker 3>done so far to this town, you know, I mean,

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<v Speaker 3>you got nothing but rampant crime, acute homelessness, high taxes,

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<v Speaker 3>mismanagement of water, firefighters, defunding the department. And we're supposed

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<v Speaker 3>to trust them with millions of dollars to sort of

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<v Speaker 3>remake where we live. It's our city, it's the city

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<v Speaker 3>of the people and they have another plan, and you

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<v Speaker 3>know he's saying, build back better. You know this concept

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<v Speaker 3>is that's man that's got whiskers on it. Everybody says it.

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<v Speaker 3>And have you ever seen government build back better? I

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<v Speaker 3>mean there's still people from the Woolsey fire living in

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<v Speaker 3>trailers and stuff.

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<v Speaker 4>Okay, when have you seen the government build back better?

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<v Speaker 3>Very very social engineering, environmental regulation and spending. That's the

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<v Speaker 3>last thing any of us have been burned out in

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<v Speaker 3>need or a bunch of bureaucrats telling us how to

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<v Speaker 3>rebuild our communities.

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<v Speaker 4>I just think it's.

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<v Speaker 5>At the very least it's insensitive.

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<v Speaker 1>Yeah, well, I mean and with the water challenges, I mean,

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<v Speaker 1>the just focusing on the water mill, the reservoir that

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<v Speaker 1>was left empty, which is the second largest in your

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<v Speaker 1>community in all of the state. That alone raises such

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<v Speaker 1>int tense questions. And it boggles the mind that now

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<v Speaker 1>you have these people saying, but we should be entrusted

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<v Speaker 1>with rebuilding the future.

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<v Speaker 2>You couldn't hold onto the present.

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<v Speaker 3>No, They've they've done, you know, they've bungled it. I think.

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<v Speaker 5>I mean, there are those who say, well, was it intentional?

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<v Speaker 5>Do they need to rebuild the Olympic village and clear

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<v Speaker 5>you know, like the cattle barrens clearing off land or

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<v Speaker 5>you know, I won't go that far, but it certainly was,

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<v Speaker 5>you know, the perfect storm of events, you know, with

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<v Speaker 5>no water, defunded fire department, not enough personnel, and the

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<v Speaker 5>second largest reservoir in the state, you know, to take

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<v Speaker 5>care of the communities of the Palisades Malibu, La County.

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<v Speaker 5>They should have had a backup plan, and they knew

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<v Speaker 5>it was coming, and they had other places where they

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<v Speaker 5>could pump.

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<v Speaker 4>The water from and actually fill that to be ready.

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<v Speaker 4>They knew it was coming. Yeah.

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<v Speaker 1>Well, look, as you know, I lost my house in Katrina.

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<v Speaker 1>Our family lost our house, and it was gutting and

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<v Speaker 1>it was awful. But you know, I came to see

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<v Speaker 1>it as a as a great blessing in my life

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<v Speaker 1>in time. I was struck. This week you did an

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<v Speaker 1>interview and you said in passing you see this loss

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<v Speaker 1>of your home as a purification.

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<v Speaker 2>How so, well, it was an.

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<v Speaker 3>Odd mixture of sadness and kind of a weird realization

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<v Speaker 3>and blessing. I think because I thought, you know, they're

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<v Speaker 3>just things. I mean, yeah, I'm going to miss some stuff.

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<v Speaker 3>There was valuable stuff. There was personal stuff that just

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<v Speaker 3>breaks my heart, you know. But you know, I feel

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<v Speaker 3>like I'm you know, I'm being stripped down and prepared

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<v Speaker 3>for something else.

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<v Speaker 4>Now that's maybe very personal, but I feel like I

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<v Speaker 4>feel like.

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<v Speaker 5>The Almighty is preparing me to do something big.

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<v Speaker 1>Well, I have to say when I when I heard that,

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<v Speaker 1>I thought, I wonder if this is or if you're

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<v Speaker 1>regarding this as a spiritual preparation.

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<v Speaker 2>For the Resurrection movie you're about to embark on.

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<v Speaker 4>Yeah, I think that's kind of it.

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<v Speaker 3>It's like, hey, look, God gives, God takes. We come

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<v Speaker 3>in with nothing. That's the same way we go out,

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<v Speaker 3>you know. And here's the deal. You'll always be okay.

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<v Speaker 3>If you seek first the Kingdom of.

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<v Speaker 5>God, you'll always be okay.

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<v Speaker 3>You'll get what you need. Look at the flowers of

0:12:29.960 --> 0:12:31.520
<v Speaker 3>the field, Look at the birds of the air. They

0:12:31.520 --> 0:12:34.520
<v Speaker 3>get fed, they get clothed. I mean, it's Matthew, I think,

0:12:34.559 --> 0:12:37.720
<v Speaker 3>but I'm a That was one of my dad's favorite passages.

0:12:37.760 --> 0:12:40.800
<v Speaker 3>He said, stop worrying about stuff, about money, about stuff.

0:12:41.760 --> 0:12:45.240
<v Speaker 4>So you know that that's I think.

0:12:45.280 --> 0:12:47.400
<v Speaker 3>I you know, he put that in my head when

0:12:47.400 --> 0:12:49.560
<v Speaker 3>I was very young, and it stayed and I believe it.

0:12:49.720 --> 0:12:52.920
<v Speaker 2>You know, Yeah, well, how has your faith gotten you

0:12:52.960 --> 0:12:54.960
<v Speaker 2>through the smell? I mean, I know you're in a faith.

0:12:54.960 --> 0:12:58.000
<v Speaker 2>I know you practice your faith devotions.

0:12:58.080 --> 0:13:01.440
<v Speaker 1>I mean what it's always a moment because people don't

0:13:01.480 --> 0:13:05.240
<v Speaker 1>understand unless you've gone through this, the geography of your life,

0:13:05.679 --> 0:13:09.319
<v Speaker 1>the daily visuals of your life are suddenly gone. It

0:13:09.960 --> 0:13:11.920
<v Speaker 1>is to me that was worse than losing the house,

0:13:12.000 --> 0:13:14.679
<v Speaker 1>mel losing the coffee shop, losing the friends, losing the

0:13:15.640 --> 0:13:18.080
<v Speaker 1>icons of my childhood that I you know that I

0:13:18.160 --> 0:13:20.880
<v Speaker 1>remembered that I that I reveled in every day.

0:13:21.480 --> 0:13:25.760
<v Speaker 3>Yeah, it's yeah, it's kind of an opportunity to recreate

0:13:25.840 --> 0:13:26.400
<v Speaker 3>your path.

0:13:26.559 --> 0:13:27.200
<v Speaker 4>I mean it's a.

0:13:29.559 --> 0:13:30.920
<v Speaker 3>You know, you gotta you've got to look at the

0:13:30.960 --> 0:13:33.839
<v Speaker 3>upside of this. I mean there's plenty of downside and

0:13:35.120 --> 0:13:40.120
<v Speaker 3>but honestly, I see it as kind of a blessing

0:13:40.120 --> 0:13:44.880
<v Speaker 3>and the purification. So, yeah, you lose, Yeah, it's going

0:13:44.960 --> 0:13:48.040
<v Speaker 3>to be murdered getting the insurance. I mean, everybody's renigging,

0:13:48.040 --> 0:13:50.280
<v Speaker 3>and you know it's going to be a real, a

0:13:50.280 --> 0:13:51.319
<v Speaker 3>real clusterbuster.

0:13:51.920 --> 0:13:52.479
<v Speaker 4>Yeah.

0:13:52.520 --> 0:13:56.840
<v Speaker 3>But uh yeah, anyway, that's all I had. I I

0:13:57.040 --> 0:14:00.360
<v Speaker 3>uh uh, you know, I got a lot of faith.

0:14:00.760 --> 0:14:03.680
<v Speaker 4>Yeah, not in our elected officials, no, no.

0:14:03.840 --> 0:14:05.120
<v Speaker 2>No, but it makes you free.

0:14:05.240 --> 0:14:07.520
<v Speaker 1>But personally it frees you in some ways from the

0:14:07.559 --> 0:14:10.000
<v Speaker 1>things you have to you've been carrying around for the

0:14:10.120 --> 0:14:12.439
<v Speaker 1>even you know, even the things you thought you needed,

0:14:12.480 --> 0:14:14.720
<v Speaker 1>you realize you don't need a whole lot.

0:14:15.240 --> 0:14:16.720
<v Speaker 4>No, you don't do the work.

0:14:17.080 --> 0:14:18.800
<v Speaker 3>I'll tell you a funny story. I mean, it's cold

0:14:18.840 --> 0:14:22.360
<v Speaker 3>at the moment where I'm at, and it's like this

0:14:22.440 --> 0:14:24.440
<v Speaker 3>guy calls me up. He's a friend of mine. He says, hey,

0:14:24.480 --> 0:14:27.720
<v Speaker 3>you got a warm coat. I said no, because you know,

0:14:27.760 --> 0:14:31.040
<v Speaker 3>I'm sorry. I'm just like Zelensky, but not by choice.

0:14:31.440 --> 0:14:35.760
<v Speaker 3>But he said, you got a warm coat, and I'm like, no,

0:14:35.800 --> 0:14:36.720
<v Speaker 3>I don't have a warm coat.

0:14:36.760 --> 0:14:38.240
<v Speaker 5>And he said I got one for you. And I

0:14:38.280 --> 0:14:40.480
<v Speaker 5>feel kind of like, oh, you know, I'll gee, that's

0:14:40.640 --> 0:14:41.200
<v Speaker 5>nice of you.

0:14:41.600 --> 0:14:43.320
<v Speaker 4>I said, is it going to fit me?

0:14:43.400 --> 0:14:46.640
<v Speaker 3>You're six feet three inches tall and he said, no problem,

0:14:46.720 --> 0:14:49.280
<v Speaker 3>it's gonna fit you because you gave it to me

0:14:49.720 --> 0:14:51.640
<v Speaker 3>during the Woolsey fire and.

0:14:51.600 --> 0:14:52.600
<v Speaker 4>Now I'm giving it back.

0:14:53.880 --> 0:14:59.280
<v Speaker 5>Wow, skate, you cheapskate, mother hugger, you know.

0:15:00.800 --> 0:15:01.760
<v Speaker 4>Paying it forward.

0:15:01.920 --> 0:15:06.080
<v Speaker 1>Indeed, look, yeah, you know, And there's something there's something

0:15:06.120 --> 0:15:08.080
<v Speaker 1>else here I don't want to leave on the table.

0:15:08.600 --> 0:15:11.880
<v Speaker 1>You said to Joe Rogan that the timing of the

0:15:11.960 --> 0:15:15.720
<v Speaker 1>Passion sequel the resurrection of the Christ twenty years later

0:15:15.920 --> 0:15:19.880
<v Speaker 1>is perfect. Why why do you think it's perfect now?

0:15:20.000 --> 0:15:22.280
<v Speaker 2>Mil Well?

0:15:22.320 --> 0:15:25.800
<v Speaker 3>I think you know, the cares and the weeds and

0:15:25.840 --> 0:15:28.640
<v Speaker 3>the flower you know, they've all grown up around us

0:15:28.640 --> 0:15:32.040
<v Speaker 3>in the last twenty years to a degree where I

0:15:32.080 --> 0:15:36.000
<v Speaker 3>think society is kind of devolving somehow, and I think

0:15:36.240 --> 0:15:40.280
<v Speaker 3>we need a reminder of, you know, the most basic

0:15:40.400 --> 0:15:44.320
<v Speaker 3>things and the things that forms our civilization, you know,

0:15:44.640 --> 0:15:48.440
<v Speaker 3>and I think, you know, as we watch it, kind

0:15:48.480 --> 0:15:53.080
<v Speaker 3>of you know, the civilization being threatened by the various

0:15:53.160 --> 0:15:58.160
<v Speaker 3>earmarks that you know are precursors of the loss of

0:15:58.160 --> 0:15:59.120
<v Speaker 3>any civilization.

0:16:01.160 --> 0:16:05.320
<v Speaker 4>So I believe it's it's not in my timing. I thought, Man,

0:16:05.320 --> 0:16:08.000
<v Speaker 4>it's too late. It's like twenty years. I mean, wow,

0:16:08.320 --> 0:16:10.000
<v Speaker 4>Jim's got wrinkles. What am I going to do?

0:16:10.200 --> 0:16:10.480
<v Speaker 5>You know?

0:16:11.040 --> 0:16:15.360
<v Speaker 1>And in a long time CG I thank goodness.

0:16:15.640 --> 0:16:17.240
<v Speaker 3>Yeah, you can do something, you know, put a little

0:16:17.280 --> 0:16:21.520
<v Speaker 3>vasseline on the lens, say Jim, turn around. He actually

0:16:21.800 --> 0:16:25.880
<v Speaker 3>actually I got to say, twenty years is not dent

0:16:26.120 --> 0:16:29.400
<v Speaker 3>Jim looks great still, so it's it's fantastic. I don't

0:16:29.440 --> 0:16:34.880
<v Speaker 3>look so good, but Jim does. But so I thought

0:16:34.880 --> 0:16:37.920
<v Speaker 3>it was like twenty twenty years maybe a bit a

0:16:37.920 --> 0:16:42.320
<v Speaker 3>bit too late, But I think now it's perfect because.

0:16:43.560 --> 0:16:45.320
<v Speaker 4>And you know, and I've.

0:16:45.120 --> 0:16:49.280
<v Speaker 3>Had all these things taken and it sort of frees

0:16:49.400 --> 0:16:52.600
<v Speaker 3>me up to to not worry about that stuff and

0:16:52.720 --> 0:16:54.080
<v Speaker 3>just move ahead and.

0:16:54.960 --> 0:16:56.360
<v Speaker 4>Do what I'm being called to do.

0:16:56.400 --> 0:17:00.320
<v Speaker 3>And I'm being called to do it. Wow, it's I

0:17:00.600 --> 0:17:03.040
<v Speaker 3>don't even know why it's the right time, but I

0:17:03.080 --> 0:17:04.399
<v Speaker 3>think you know it is.

0:17:04.640 --> 0:17:07.919
<v Speaker 2>No, it certainly feels to feel that. Yeah, it's been

0:17:07.960 --> 0:17:08.680
<v Speaker 2>a long time coming.

0:17:08.720 --> 0:17:10.679
<v Speaker 1>I know you've been toying with it and fighting with

0:17:10.720 --> 0:17:13.760
<v Speaker 1>it and wrestling with it for all of these twenty years.

0:17:14.000 --> 0:17:16.760
<v Speaker 3>Oh yeah, no, no, no, it's a it's a big subject

0:17:16.960 --> 0:17:24.800
<v Speaker 3>and very complex and it's taken all those years to

0:17:24.840 --> 0:17:29.520
<v Speaker 3>contemplate it, think about it, and distill it with the

0:17:29.520 --> 0:17:37.040
<v Speaker 3>help of two writers. And so it's it's it's a puzzle,

0:17:37.040 --> 0:17:39.800
<v Speaker 3>but I think I found a way in.

0:17:40.160 --> 0:17:42.760
<v Speaker 1>Yeah, what are you hearing from your neighbors, mel going

0:17:42.800 --> 0:17:45.159
<v Speaker 1>back to this tragedy. You all find yourselves in the

0:17:45.160 --> 0:17:47.400
<v Speaker 1>midst of do they want to move on? Do they

0:17:47.400 --> 0:17:49.640
<v Speaker 1>want to stay and rebuild the community in Malibu?

0:17:49.680 --> 0:17:50.840
<v Speaker 2>What are they? What are you hearing?

0:17:51.600 --> 0:17:53.840
<v Speaker 3>Well, a lot of people's spirits are broken, you know,

0:17:53.920 --> 0:17:56.440
<v Speaker 3>because it's you know, it happened, and then it happened again,

0:17:56.520 --> 0:17:58.200
<v Speaker 3>and then you realize that.

0:18:01.320 --> 0:18:04.800
<v Speaker 4>You know, you're elected leaders are not really I.

0:18:04.720 --> 0:18:05.760
<v Speaker 5>Don't you know, you.

0:18:05.720 --> 0:18:08.480
<v Speaker 3>Don't trust them, and isn't going to happen again, And

0:18:08.520 --> 0:18:09.720
<v Speaker 3>a lot of people just want to move on.

0:18:09.840 --> 0:18:12.800
<v Speaker 5>I mean people were already moving out of the state

0:18:12.960 --> 0:18:15.880
<v Speaker 5>in droves droves.

0:18:15.960 --> 0:18:18.800
<v Speaker 3>They go to Texas, they go to Idaho, they go

0:18:18.880 --> 0:18:24.560
<v Speaker 3>to South Carolina and all these different places to get

0:18:24.600 --> 0:18:29.480
<v Speaker 3>away from a political and a social climate developing here

0:18:29.560 --> 0:18:32.520
<v Speaker 3>that they did not dig and they wanted to go

0:18:32.600 --> 0:18:35.919
<v Speaker 3>someplace where they felt like free Americans, you know. So

0:18:37.320 --> 0:18:39.800
<v Speaker 3>I think they were already leaving in droves, and I

0:18:39.800 --> 0:18:41.879
<v Speaker 3>think this is just going to people are just going to.

0:18:41.920 --> 0:18:43.800
<v Speaker 4>Say, it's too hard. It's the too hard.

0:18:43.680 --> 0:18:46.680
<v Speaker 3>Basket we were hanging on, but you know, we got

0:18:46.720 --> 0:18:47.800
<v Speaker 3>to go find something else.

0:18:47.960 --> 0:18:50.720
<v Speaker 5>It's a lot of these middle class families, they haven't

0:18:50.760 --> 0:18:51.360
<v Speaker 5>got the.

0:18:51.200 --> 0:18:52.440
<v Speaker 4>Resources to rebuild.

0:18:53.320 --> 0:18:56.200
<v Speaker 3>And they I mean the insurance company, you know, they

0:18:56.240 --> 0:19:00.000
<v Speaker 3>all canceled their whole things beforehand, and it's just terrible.

0:19:01.680 --> 0:19:03.600
<v Speaker 3>You know, they send drones around. Oh you haven't got

0:19:03.600 --> 0:19:05.160
<v Speaker 3>a railing on your Oh you haven't got a screen

0:19:05.200 --> 0:19:07.720
<v Speaker 3>on your window? You got Oh sorry, we're canceling your insurance.

0:19:07.720 --> 0:19:07.879
<v Speaker 4>You know.

0:19:07.920 --> 0:19:11.120
<v Speaker 3>It's that kind of It's this crazy thing that's going on.

0:19:11.840 --> 0:19:18.560
<v Speaker 3>And then to have you know, no resources to fight

0:19:18.640 --> 0:19:20.280
<v Speaker 3>this disaster.

0:19:20.600 --> 0:19:21.240
<v Speaker 2>That goes on.

0:19:21.440 --> 0:19:25.000
<v Speaker 1>I mean, the thing that struck me mal Unlike Katrino,

0:19:25.080 --> 0:19:27.480
<v Speaker 1>which was a one and done, it was over in

0:19:27.520 --> 0:19:31.320
<v Speaker 1>twenty four hours, this thing has gone on and on,

0:19:31.600 --> 0:19:34.720
<v Speaker 1>and even with the national attention, they don't seem to

0:19:34.720 --> 0:19:37.600
<v Speaker 1>have marshaled the resources or the will or or the

0:19:37.760 --> 0:19:40.119
<v Speaker 1>organization to at least stop.

0:19:39.960 --> 0:19:42.439
<v Speaker 2>These fires and protect they're citizens.

0:19:43.119 --> 0:19:47.120
<v Speaker 3>That's what I Chemical spills in Ohio, look at that stuff, Yeah,

0:19:47.160 --> 0:19:50.000
<v Speaker 3>what did they do? Look at all these storms over

0:19:50.080 --> 0:19:52.320
<v Speaker 3>on the East coast now, I mean, really, you know,

0:19:52.400 --> 0:19:56.960
<v Speaker 3>it's just neglect, you know. And and then of course

0:19:56.960 --> 0:20:00.040
<v Speaker 3>we're giving all our money to other other people, and

0:20:00.080 --> 0:20:03.480
<v Speaker 3>you know, and neglecting our own, you know, and giving

0:20:03.520 --> 0:20:06.840
<v Speaker 3>it to giving it to people come you know, illegals

0:20:06.880 --> 0:20:09.000
<v Speaker 3>coming across the border and putting them up in hotels

0:20:09.000 --> 0:20:12.440
<v Speaker 3>and giving them phones and spending billions.

0:20:12.520 --> 0:20:16.880
<v Speaker 1>You know, it's a lack of focus on the citizenry

0:20:16.960 --> 0:20:20.840
<v Speaker 1>and the things that matter and the lasting infrastructure, which

0:20:20.880 --> 0:20:23.320
<v Speaker 1>I certainly see in New Orleans and other places I travel.

0:20:23.359 --> 0:20:24.160
<v Speaker 2>It's just crumbling.

0:20:24.320 --> 0:20:27.080
<v Speaker 1>Look, there are thousands of people now in North Carolina,

0:20:27.240 --> 0:20:31.120
<v Speaker 1>in Florida, now in LA trying to recover from disasters

0:20:31.160 --> 0:20:36.000
<v Speaker 1>and find home again. What has this experience taught you

0:20:36.520 --> 0:20:37.680
<v Speaker 1>and what would you offer them?

0:20:38.560 --> 0:20:41.320
<v Speaker 4>Well, I think you've got to be.

0:20:43.160 --> 0:20:46.480
<v Speaker 3>One has to depend on one's self and one's neighbors,

0:20:47.280 --> 0:20:52.679
<v Speaker 3>and one's family and one's friends and your community in

0:20:52.840 --> 0:20:57.040
<v Speaker 3>order to and to band together and to make your

0:20:57.119 --> 0:21:03.360
<v Speaker 3>voices heard. Because it's clear and all over the country

0:21:03.840 --> 0:21:06.560
<v Speaker 3>that are elected officials, I don't think they give it,

0:21:06.680 --> 0:21:11.119
<v Speaker 3>damn because they're not really doing much. So it's up

0:21:11.119 --> 0:21:15.080
<v Speaker 3>to us, I think so. And it's and and you know,

0:21:15.160 --> 0:21:19.560
<v Speaker 3>put your faith in God and and kind of move forward,

0:21:20.040 --> 0:21:23.280
<v Speaker 3>I think, and and and and that's that's hard to

0:21:23.359 --> 0:21:25.639
<v Speaker 3>do when your ass is on fire.

0:21:26.960 --> 0:21:30.040
<v Speaker 1>Yeah yeah, And you and the neighborhood around.

0:21:29.800 --> 0:21:32.720
<v Speaker 3>The neighbors, I mean, the people I've seen I may God, Oh,

0:21:33.680 --> 0:21:35.840
<v Speaker 3>you know, woman down the road she had. You know,

0:21:37.160 --> 0:21:39.760
<v Speaker 3>she's got two you know, two boys who are autistic

0:21:39.880 --> 0:21:42.800
<v Speaker 3>and she you know there they don't know what to

0:21:42.920 --> 0:21:46.679
<v Speaker 3>do without their environment, and you know, she's found a

0:21:46.680 --> 0:21:51.200
<v Speaker 3>way to some some special forces guys are doing really

0:21:51.280 --> 0:21:55.680
<v Speaker 3>good services and they're they're going around getting people places

0:21:55.720 --> 0:21:59.399
<v Speaker 3>to live and and and doing really good things. So

0:21:59.680 --> 0:22:01.959
<v Speaker 3>you know, it's in the community like that, and our

0:22:01.960 --> 0:22:06.040
<v Speaker 3>community needs to you know, tell government what we need

0:22:06.080 --> 0:22:07.119
<v Speaker 3>and what we want.

0:22:07.640 --> 0:22:10.480
<v Speaker 1>And demand it happened, well, thank god to the demand. Yeah,

0:22:10.680 --> 0:22:13.160
<v Speaker 1>and look, we're praying for you, your family, all those

0:22:13.200 --> 0:22:15.120
<v Speaker 1>caught in the path of these fires melt and.

0:22:15.080 --> 0:22:16.920
<v Speaker 2>We have much more on the other side of this.

0:22:17.240 --> 0:22:18.159
<v Speaker 2>You know, we're going to talk.

0:22:18.040 --> 0:22:20.919
<v Speaker 1>About your upcoming film, because I do think in the

0:22:20.960 --> 0:22:23.840
<v Speaker 1>midst of tragedies like this, you need to find joy

0:22:24.000 --> 0:22:27.120
<v Speaker 1>and you need to find opportunities to come together as

0:22:27.160 --> 0:22:31.159
<v Speaker 1>a community. And your new film, Flight Risk, is a

0:22:31.160 --> 0:22:32.040
<v Speaker 1>great way to do that.

0:22:33.000 --> 0:22:33.119
<v Speaker 4>Well.

0:22:33.200 --> 0:22:37.400
<v Speaker 3>Yeah, it's kind of fun and it's it's just it's entertainment.

0:22:37.440 --> 0:22:40.160
<v Speaker 3>It's crazy, it's full of you know, thrills and spills,

0:22:40.240 --> 0:22:42.400
<v Speaker 3>and it doesn't last too long.

0:22:42.440 --> 0:22:44.200
<v Speaker 1>You don't have to No, it's a quick ride it's

0:22:44.200 --> 0:22:44.720
<v Speaker 1>a while way.

0:22:44.800 --> 0:22:49.199
<v Speaker 3>Yeah, you're not going to get a numb You're not

0:22:49.240 --> 0:22:51.199
<v Speaker 3>going to get a numb butt in the cinema. F

0:22:51.200 --> 0:22:53.560
<v Speaker 3>I'm sitting there watching it because it's you're in and

0:22:53.600 --> 0:22:55.960
<v Speaker 3>out in ninety minutes, and it's like it's fast and

0:22:56.840 --> 0:22:59.720
<v Speaker 3>crazy and hopefully and I think it's pretty entertaining.

0:23:00.200 --> 0:23:03.080
<v Speaker 5>Hey, it's the best I can do with no time.

0:23:03.359 --> 0:23:07.800
<v Speaker 1>Well, look, you do a fantastic job. The film is fantastic,

0:23:07.840 --> 0:23:09.200
<v Speaker 1>and we're going to talk about it on the other

0:23:09.240 --> 0:23:09.639
<v Speaker 1>side of this.

0:23:09.960 --> 0:23:10.639
<v Speaker 2>Thank you Melon.

0:23:10.920 --> 0:23:13.760
<v Speaker 1>Before we continue our conversation with Mel Gibson, I wanted

0:23:13.800 --> 0:23:18.200
<v Speaker 1>to tell you a little story about another landmark thriller

0:23:18.520 --> 0:23:22.240
<v Speaker 1>which reached the screen thanks to Mickey Mouse, some bloodshed

0:23:22.320 --> 0:23:25.159
<v Speaker 1>and copious amounts of booze, and you won't believe how

0:23:25.160 --> 0:23:29.080
<v Speaker 1>it ends. In nineteen sixty two, Alfred Hitchcock began shooting

0:23:29.160 --> 0:23:32.639
<v Speaker 1>his legendary film The Birds, his take on the Daphneed

0:23:32.920 --> 0:23:37.199
<v Speaker 1>Jamaria story. But as you know, a key part of

0:23:37.240 --> 0:23:42.400
<v Speaker 1>the story were those psychotic attacking birds. Hitch and Universal

0:23:42.440 --> 0:23:46.359
<v Speaker 1>Studios decided to create mechanical birds to torture Tippy Hedron

0:23:46.359 --> 0:23:50.640
<v Speaker 1>in the cast, but after spending hundreds of thousands of dollars.

0:23:51.520 --> 0:23:52.919
<v Speaker 2>The birds looked ridiculous.

0:23:53.280 --> 0:23:56.640
<v Speaker 1>They just didn't look real, so they hired animal trainer

0:23:57.080 --> 0:24:02.000
<v Speaker 1>Ray Berwick to wrangle live birds. Ravens and seagulls, crows

0:24:02.040 --> 0:24:05.320
<v Speaker 1>and sparrows were collected, but they were unpredictable and they

0:24:05.359 --> 0:24:09.159
<v Speaker 1>did not take direction well. The crew and actors endured

0:24:09.200 --> 0:24:12.959
<v Speaker 1>repeated bird attacks. Tippy Hedron was bloodied by the birds

0:24:13.000 --> 0:24:16.479
<v Speaker 1>and spent a week in a hospital recovering. The birds

0:24:16.480 --> 0:24:20.159
<v Speaker 1>were as vicious on screen as off, but Hitchcock couldn't

0:24:20.200 --> 0:24:23.240
<v Speaker 1>even get the fowls to stay still on a rooftop

0:24:23.640 --> 0:24:27.080
<v Speaker 1>during scenes, so they devised a solution.

0:24:28.160 --> 0:24:30.280
<v Speaker 2>Stay tuned or how it ends?

0:24:32.520 --> 0:24:35.320
<v Speaker 1>So, how did Alfred Hitchcock get those twenty five thousand

0:24:35.440 --> 0:24:38.560
<v Speaker 1>live birds to cooperate on the set of The Birds?

0:24:39.240 --> 0:24:41.760
<v Speaker 1>They had attacked his actors, his crew, and they would

0:24:41.760 --> 0:24:45.919
<v Speaker 1>not stay still long enough to capture on film. Actor

0:24:46.040 --> 0:24:50.840
<v Speaker 1>Rod Taylor revealed the untold story to Hello magazine. He

0:24:50.920 --> 0:24:54.359
<v Speaker 1>said the animal trainers devised a new technique for dealing

0:24:54.359 --> 0:24:57.960
<v Speaker 1>with those unruly birds. The only reason those birds stayed

0:24:58.000 --> 0:25:02.639
<v Speaker 1>still was because they were Taylor said. Apparently the birds

0:25:02.680 --> 0:25:07.600
<v Speaker 1>were given feed drenched in alcohol. They tied the drunken

0:25:07.680 --> 0:25:10.439
<v Speaker 1>birds to the rooftops to keep them in place, But

0:25:10.600 --> 0:25:15.320
<v Speaker 1>what about the flying attacks? For those, Hitchcock turned to

0:25:15.440 --> 0:25:20.120
<v Speaker 1>an animator, ub our Works, who was nominated for an

0:25:20.119 --> 0:25:23.760
<v Speaker 1>Oscar for his Flying Birds. Our Works had a talent

0:25:23.840 --> 0:25:26.680
<v Speaker 1>for animating animals. He was also the man who, in

0:25:26.720 --> 0:25:30.040
<v Speaker 1>the nineteen twenties took a rough sketch given to him

0:25:30.040 --> 0:25:35.000
<v Speaker 1>by his employer Won Walter Disney, and transformed that sketch

0:25:35.560 --> 0:25:36.560
<v Speaker 1>into Mickey Mouse.

0:25:37.320 --> 0:25:38.920
<v Speaker 2>And that's how it is.

0:25:39.000 --> 0:25:41.919
<v Speaker 1>Is Now we go back to Academy Award winning director

0:25:41.960 --> 0:25:46.360
<v Speaker 1>Mel Gibson, who just completed his own new thriller and

0:25:46.680 --> 0:25:51.159
<v Speaker 1>its escapism entertainment just when we need it most. This

0:25:51.320 --> 0:25:55.200
<v Speaker 1>is also the final interview recorded at Mel's Malibu home

0:25:55.600 --> 0:25:57.280
<v Speaker 1>before it burned down in.

0:25:57.240 --> 0:25:58.680
<v Speaker 2>Those Los Angeles fires.

0:25:58.960 --> 0:26:02.000
<v Speaker 1>We talked about his direct total approach, the sequel to

0:26:02.000 --> 0:26:05.160
<v Speaker 1>the Passion of the Christ, and his new film, Flight Risk,

0:26:05.600 --> 0:26:09.080
<v Speaker 1>a taut thriller about a government witness being flown out

0:26:09.119 --> 0:26:12.840
<v Speaker 1>of Alaska to stand trial when really bad things begin

0:26:12.960 --> 0:26:16.760
<v Speaker 1>to happen. It stars Mark Wahlberg in a frightening performance

0:26:16.840 --> 0:26:21.359
<v Speaker 1>and is directed by mister Gibson. Buckle your seat Belts.

0:26:21.440 --> 0:26:23.480
<v Speaker 1>Here's a glimpse of Flight Risk.

0:26:27.920 --> 0:26:31.640
<v Speaker 2>Debetie Hairs, Daryl Booth Hope, light Flying.

0:26:35.720 --> 0:26:38.159
<v Speaker 1>And then from the fugitive before Government witness not a

0:26:38.160 --> 0:26:39.159
<v Speaker 1>fugitive head a goo?

0:26:42.880 --> 0:26:49.000
<v Speaker 2>Is it always this bumpy? He used to it already

0:26:49.080 --> 0:26:51.200
<v Speaker 2>is very disappointed in you and he wants you dead.

0:26:51.600 --> 0:26:57.480
<v Speaker 1>Oh right, you need a pilot White Risk.

0:26:58.200 --> 0:27:00.560
<v Speaker 2>You think of Flight Risk as a buddy movie.

0:27:00.880 --> 0:27:03.800
<v Speaker 3>Yeah, why, Well, you know, you've got a couple of

0:27:03.920 --> 0:27:08.399
<v Speaker 3>characters who aren't necessarily It's like war. You know, you

0:27:08.480 --> 0:27:11.399
<v Speaker 3>put people together in a trench somewhere in some war,

0:27:12.160 --> 0:27:14.840
<v Speaker 3>and they don't come from the same background. They don't

0:27:14.840 --> 0:27:17.080
<v Speaker 3>even like one another. They just as soon punch each

0:27:17.080 --> 0:27:18.679
<v Speaker 3>other in the face. But you put them in an

0:27:18.720 --> 0:27:21.720
<v Speaker 3>adverse situation and they form a bond, and they form

0:27:21.760 --> 0:27:24.879
<v Speaker 3>a love for one another, almost better, more love for

0:27:24.920 --> 0:27:26.440
<v Speaker 3>their the guy they don't like.

0:27:26.400 --> 0:27:29.280
<v Speaker 4>Than for themselves because of the adversity. And this is

0:27:29.480 --> 0:27:32.560
<v Speaker 4>the situation here and lethal weapon vibe.

0:27:32.760 --> 0:27:35.840
<v Speaker 3>Yeah, yeah, yeah, you know. John Lovett used to have

0:27:35.880 --> 0:27:38.680
<v Speaker 3>a routine on Saturday Night Live. I Love John and

0:27:39.000 --> 0:27:43.119
<v Speaker 3>he and he said he was being a film producer.

0:27:43.119 --> 0:27:45.879
<v Speaker 3>He says, you meet coaches, Yeah, you don't like him,

0:27:46.400 --> 0:27:49.360
<v Speaker 3>you hate each other. But by the end of the movie, youah, friends, you.

0:27:49.280 --> 0:27:53.920
<v Speaker 4>Know he used to do that. Yeah, friends, Yeah.

0:27:53.600 --> 0:27:55.560
<v Speaker 3>I mean it's kind of and and you know there's

0:27:55.560 --> 0:27:59.480
<v Speaker 3>some challenges for these two and they have to work together.

0:28:00.119 --> 0:28:02.760
<v Speaker 1>Is a federal agent, the other is a witness in

0:28:02.960 --> 0:28:05.840
<v Speaker 1>a criminal against bad characters.

0:28:05.920 --> 0:28:10.359
<v Speaker 4>Yeah, and the other guy's a psycho psychopath as played

0:28:10.359 --> 0:28:11.160
<v Speaker 4>by Mark Wahlberg.

0:28:11.240 --> 0:28:13.600
<v Speaker 3>Yeah, you're trapped with a psycho in a wooden box,

0:28:13.640 --> 0:28:14.840
<v Speaker 3>in a flying death trap.

0:28:14.880 --> 0:28:17.520
<v Speaker 1>In Why cast Wohlburg in that character because we were

0:28:17.560 --> 0:28:19.040
<v Speaker 1>really unaccustomed to seeing him there.

0:28:19.040 --> 0:28:20.240
<v Speaker 4>He's usually no, you.

0:28:20.160 --> 0:28:23.200
<v Speaker 3>Don't see him like that, and like, there's he's got

0:28:23.200 --> 0:28:26.440
<v Speaker 3>that in him. Mark's got the madman in him, which

0:28:26.480 --> 0:28:28.800
<v Speaker 3>is like, you know why he's done so well. I

0:28:28.800 --> 0:28:30.600
<v Speaker 3>mean there's a kind of a maverick, a kind of

0:28:30.600 --> 0:28:33.480
<v Speaker 3>a wild side the Mark, and there's and it's a

0:28:33.560 --> 0:28:36.239
<v Speaker 3>dark edge to him and which he is aware of

0:28:36.359 --> 0:28:39.200
<v Speaker 3>and which he kind of like tries to discourage. I

0:28:39.240 --> 0:28:41.520
<v Speaker 3>think he throws a few shovelfuls of dirt on that

0:28:41.680 --> 0:28:44.520
<v Speaker 3>demon every day and then and but it's it's, uh,

0:28:44.640 --> 0:28:45.600
<v Speaker 3>he can draw from.

0:28:45.480 --> 0:28:47.560
<v Speaker 1>It, and he gets to take a walk and well,

0:28:47.560 --> 0:28:48.080
<v Speaker 1>that's right.

0:28:48.000 --> 0:28:50.880
<v Speaker 4>And that's therapeutic. Yeah, I think for an actor or

0:28:50.880 --> 0:28:52.200
<v Speaker 4>for anyone.

0:28:51.720 --> 0:28:54.400
<v Speaker 1>He's he looks very different in this movie too. I

0:28:54.400 --> 0:28:56.160
<v Speaker 1>don't know if we well we talked about it and

0:28:56.240 --> 0:28:59.960
<v Speaker 1>we've seen it in the trailer. Sure something's missing up top.

0:29:00.640 --> 0:29:04.280
<v Speaker 3>Yeah, he looks like Dennis Raider. You know, he's he's

0:29:04.320 --> 0:29:04.640
<v Speaker 3>got this.

0:29:05.120 --> 0:29:07.520
<v Speaker 4>He's got this nude nut, you know, bald head with

0:29:07.560 --> 0:29:10.600
<v Speaker 4>like scraggly hair on it, like.

0:29:09.760 --> 0:29:11.920
<v Speaker 3>Like that bt keg I used to have, which is

0:29:11.920 --> 0:29:14.760
<v Speaker 3>really kind of scary and uh and Mark's frightening.

0:29:14.880 --> 0:29:16.800
<v Speaker 4>He looks kind of terrified, you know.

0:29:16.880 --> 0:29:18.920
<v Speaker 1>He looks like that out of control little monster on

0:29:18.960 --> 0:29:21.320
<v Speaker 1>this this movie evolves. I won't give it away, but wow,

0:29:21.400 --> 0:29:23.880
<v Speaker 1>he really goes there and beyond.

0:29:24.000 --> 0:29:24.720
<v Speaker 4>Yeah, yeah, he does.

0:29:25.400 --> 0:29:27.120
<v Speaker 1>Whose idea was the bald head? It was his.

0:29:27.960 --> 0:29:30.280
<v Speaker 3>He came to me and he said, hey, man, I

0:29:30.320 --> 0:29:32.440
<v Speaker 3>had an idea that I said, like, I'm wearing a

0:29:32.520 --> 0:29:34.480
<v Speaker 3>rug and a hat. But then he gets knocked off

0:29:34.520 --> 0:29:37.080
<v Speaker 3>and I'm bald and I'm like, WHOA. I said, I

0:29:37.120 --> 0:29:38.800
<v Speaker 3>think that's great, but let me give me.

0:29:38.760 --> 0:29:40.640
<v Speaker 4>Twenty four hours to sleep on it. I don't know.

0:29:40.720 --> 0:29:42.560
<v Speaker 3>I mean, this is a decision you make, you can't

0:29:42.760 --> 0:29:45.880
<v Speaker 3>undo it if you start filming it. So but I

0:29:45.920 --> 0:29:47.720
<v Speaker 3>woke up the next day and I thought, that's kind

0:29:47.720 --> 0:29:48.720
<v Speaker 3>of a genius idea.

0:29:48.800 --> 0:29:50.280
<v Speaker 4>Yeah, parts idea.

0:29:50.880 --> 0:29:56.200
<v Speaker 3>It just symbolically and in many other ways, it just

0:29:56.360 --> 0:30:00.360
<v Speaker 3>like resets Mark and and and resets the ca character

0:30:00.440 --> 0:30:01.720
<v Speaker 3>and it's just bizarre.

0:30:01.840 --> 0:30:05.680
<v Speaker 1>It's another layer of fraud, yes, which I thought, yeah, wow,

0:30:06.280 --> 0:30:07.200
<v Speaker 1>not even the hair is real.

0:30:07.400 --> 0:30:11.240
<v Speaker 3>Yeah, to pay fraud, you know, I mean it's yours real, Yes,

0:30:11.320 --> 0:30:13.480
<v Speaker 3>mine's real for now, some of mine are. Yeah, well

0:30:14.240 --> 0:30:16.520
<v Speaker 3>you believe me. There's less to be real bout. But

0:30:16.600 --> 0:30:19.200
<v Speaker 3>it's what's there? Are you forming the monkey? But I

0:30:19.200 --> 0:30:20.040
<v Speaker 3>am I'm getting nil.

0:30:20.360 --> 0:30:21.280
<v Speaker 4>Yeah, there's that camera.

0:30:22.440 --> 0:30:24.240
<v Speaker 1>You notice I never let them shoot me from there?

0:30:24.720 --> 0:30:24.960
<v Speaker 4>There?

0:30:25.040 --> 0:30:29.280
<v Speaker 1>I see be good good, Mel, good Mel. How does

0:30:29.320 --> 0:30:33.280
<v Speaker 1>the actor in you? How does that change the way

0:30:33.320 --> 0:30:36.000
<v Speaker 1>you direct other actors? You were telling me about your

0:30:36.040 --> 0:30:38.200
<v Speaker 1>direction to the show in this movie.

0:30:38.080 --> 0:30:40.320
<v Speaker 4>Oh yeah, or Michelle or Mark or anyway.

0:30:40.360 --> 0:30:44.000
<v Speaker 3>I think I think I understand the actor's dilemma on film.

0:30:44.520 --> 0:30:48.400
<v Speaker 3>And you know, it's hard to just like turn up

0:30:48.400 --> 0:30:49.840
<v Speaker 3>and do stuff out of order.

0:30:49.680 --> 0:30:51.320
<v Speaker 4>And and uh and and.

0:30:51.240 --> 0:30:54.120
<v Speaker 3>It's hard to be totally self aware all the time

0:30:54.920 --> 0:30:58.520
<v Speaker 3>about how to gauge a performance. So I think it's

0:30:58.520 --> 0:31:02.760
<v Speaker 3>helpful for someone who's been there to actually help you

0:31:03.160 --> 0:31:06.680
<v Speaker 3>and be a completely objective pair of eyes to kind of.

0:31:08.440 --> 0:31:09.080
<v Speaker 4>Help on the way.

0:31:09.120 --> 0:31:11.920
<v Speaker 3>So you know, I have a lot of empathy for

0:31:11.960 --> 0:31:16.720
<v Speaker 3>actors and directors now, and and I think having having

0:31:17.440 --> 0:31:21.240
<v Speaker 3>you know, shouldered those responsibilities and use those tools, I'm

0:31:21.400 --> 0:31:23.760
<v Speaker 3>able better to instruct those who will have to do it.

0:31:23.840 --> 0:31:26.400
<v Speaker 1>Tell me about at one moment you had a particular

0:31:26.400 --> 0:31:28.280
<v Speaker 1>instruction to Michelle in this movie.

0:31:28.360 --> 0:31:30.600
<v Speaker 4>Oh yeah, it's her best moment. Tell me about that. Well,

0:31:30.680 --> 0:31:32.800
<v Speaker 4>she said, what do you mean? I said, Hey, Michelle,

0:31:32.880 --> 0:31:33.480
<v Speaker 4>go Greek. Here.

0:31:33.560 --> 0:31:35.640
<v Speaker 3>She says what I said, go Greek. I said, what

0:31:35.720 --> 0:31:37.480
<v Speaker 3>you mean, like, eat it dol made. I said no,

0:31:38.200 --> 0:31:41.960
<v Speaker 3>I says some columada olives. I said no, no, no, dispense.

0:31:41.640 --> 0:31:42.120
<v Speaker 4>With all that.

0:31:42.200 --> 0:31:45.320
<v Speaker 3>I just said, go Greek, tragedy, go big. And she

0:31:45.480 --> 0:31:48.280
<v Speaker 3>was like okay, and she did it and it's she

0:31:48.480 --> 0:31:49.400
<v Speaker 3>was fantastic.

0:31:49.480 --> 0:31:51.920
<v Speaker 4>She let that cut in. Oh yeah, she's great.

0:31:52.120 --> 0:31:55.520
<v Speaker 1>Yeah, wow, it's that sensitivity. Look, I've been on a

0:31:55.520 --> 0:31:58.840
<v Speaker 1>lot of sets. Most directors are asking these actors for

0:31:58.960 --> 0:32:03.760
<v Speaker 1>a result. Give me this, Give me that you work

0:32:03.760 --> 0:32:05.959
<v Speaker 1>in a different way because you are working through an

0:32:06.000 --> 0:32:08.720
<v Speaker 1>actor's instrument, kind of find a different way in.

0:32:08.880 --> 0:32:13.080
<v Speaker 3>Yeah, and I think you can't. You know, you can't

0:32:13.080 --> 0:32:15.160
<v Speaker 3>give them wine readings and all this. You got to

0:32:15.200 --> 0:32:18.680
<v Speaker 3>you gotta use their essence. And that's why you hired

0:32:18.720 --> 0:32:20.560
<v Speaker 3>them after all, because you trust them and I trust it.

0:32:20.600 --> 0:32:23.520
<v Speaker 3>And these are three very talented people. I mean, let's

0:32:23.800 --> 0:32:26.520
<v Speaker 3>let's not goof around here. I mean they've been doing

0:32:26.560 --> 0:32:29.360
<v Speaker 3>what they've been doing for a long time. And it's

0:32:29.360 --> 0:32:31.480
<v Speaker 3>like with Andrew Garfield or any of these guys. You know,

0:32:31.560 --> 0:32:35.040
<v Speaker 3>you just say action cut, that's great. You are really

0:32:35.160 --> 0:32:38.560
<v Speaker 3>you know, and you let them do it. And if

0:32:38.600 --> 0:32:40.680
<v Speaker 3>they ask for help, you give it. And if if

0:32:40.720 --> 0:32:43.000
<v Speaker 3>they don't, if it's not broken, you don't fix it.

0:32:43.080 --> 0:32:45.280
<v Speaker 4>You get out of the way. That's absolutely right.

0:32:45.360 --> 0:32:48.080
<v Speaker 1>What are the obstacles and advantages of working in a

0:32:48.200 --> 0:32:52.640
<v Speaker 1>tight space like this? This is a confined Cessna aircraft.

0:32:52.760 --> 0:32:54.600
<v Speaker 1>I don't know why you didn't shoot on a big Boeing,

0:32:54.640 --> 0:32:57.920
<v Speaker 1>but you can tell me that I'm shot on the

0:32:57.960 --> 0:32:59.120
<v Speaker 1>Boeing double wide.

0:32:59.280 --> 0:32:59.720
<v Speaker 4>Well it was.

0:32:59.800 --> 0:33:02.960
<v Speaker 3>It's it's kind of like it's more immediate, it's more claustrophobic,

0:33:04.040 --> 0:33:06.120
<v Speaker 3>not that I think claustrophoby is a great thing for

0:33:06.160 --> 0:33:08.840
<v Speaker 3>an audience, but it does have moments that really open

0:33:08.880 --> 0:33:12.160
<v Speaker 3>it up. So you're not I don't think you're not

0:33:12.240 --> 0:33:14.240
<v Speaker 3>on the plane very long. It's only eighty five minutes.

0:33:14.240 --> 0:33:16.080
<v Speaker 3>It's a fast, tight thriller.

0:33:16.720 --> 0:33:21.080
<v Speaker 4>But I think I don't know the space.

0:33:21.280 --> 0:33:23.840
<v Speaker 3>Just wanted it to be that, And I chose a

0:33:23.840 --> 0:33:26.880
<v Speaker 3>Cessna two eight because that was big enough to be

0:33:26.920 --> 0:33:28.960
<v Speaker 3>able to swing in cat or a dead mouse in

0:33:29.080 --> 0:33:31.760
<v Speaker 3>but like and get cameras and stuff in there and

0:33:31.800 --> 0:33:34.320
<v Speaker 3>do all that, but small enough to be confined and

0:33:34.680 --> 0:33:35.520
<v Speaker 3>believable as.

0:33:35.440 --> 0:33:36.920
<v Speaker 4>A bush plane in Alaska.

0:33:37.520 --> 0:33:39.600
<v Speaker 3>And those planes are indeed bush planes that are like

0:33:39.640 --> 0:33:42.000
<v Speaker 3>a FedEx plane, you know, yeah, yeah, yeah, a Cessna

0:33:42.040 --> 0:33:44.440
<v Speaker 3>two o eight, you know, with the T cross wings and.

0:33:44.480 --> 0:33:47.120
<v Speaker 1>You and you're shot in an actual Cessna or the

0:33:47.160 --> 0:33:47.960
<v Speaker 1>remnant of one.

0:33:48.000 --> 0:33:50.160
<v Speaker 4>We shot on the remnants of a of a real Cessna.

0:33:50.320 --> 0:33:53.400
<v Speaker 3>Yeah, so you know, like you adjusted, well, yeah, you

0:33:53.440 --> 0:33:55.760
<v Speaker 3>had four and a half feet high by five feet

0:33:55.840 --> 0:33:59.200
<v Speaker 3>seven wide with chairs and people and camera.

0:33:58.920 --> 0:34:00.800
<v Speaker 4>Guys and so you're in there pretty tight.

0:34:00.880 --> 0:34:04.080
<v Speaker 1>But I was fascinated by the volume wall you used

0:34:04.120 --> 0:34:06.040
<v Speaker 1>in this, which is kind of new technology. You shot

0:34:06.080 --> 0:34:07.640
<v Speaker 1>all of this in a warehouse.

0:34:07.600 --> 0:34:09.359
<v Speaker 3>Most of it in aware, some of it out on

0:34:09.719 --> 0:34:11.799
<v Speaker 3>your locations, like I had an airstrip and.

0:34:11.920 --> 0:34:14.000
<v Speaker 1>Yeah, all the opening close in the movie, but the

0:34:14.040 --> 0:34:16.040
<v Speaker 1>heart of the movie you're really shooting in a in

0:34:16.080 --> 0:34:18.960
<v Speaker 1>a one room. But it looks like you're flying over Alaska.

0:34:19.120 --> 0:34:21.200
<v Speaker 3>Oh my god, Dad, you've got you think you're over

0:34:21.239 --> 0:34:24.040
<v Speaker 3>the vastness of the Alaskan Alps and this tundra of

0:34:24.080 --> 0:34:27.200
<v Speaker 3>wilderness that's kind of scary and intimidating. And you see

0:34:27.239 --> 0:34:29.160
<v Speaker 3>it on film and you don't need to do rotoscoping

0:34:29.200 --> 0:34:31.000
<v Speaker 3>or green or blue screen any of that stuff.

0:34:31.280 --> 0:34:32.320
<v Speaker 4>It's real looking.

0:34:32.520 --> 0:34:34.239
<v Speaker 1>And that had to be all shot beforehand.

0:34:34.360 --> 0:34:36.440
<v Speaker 4>I shot those people, I shot the plates beforehand.

0:34:36.440 --> 0:34:38.560
<v Speaker 3>I got in a helicopter with a camera that looks

0:34:38.600 --> 0:34:41.320
<v Speaker 3>like a COVID virus. It has like the three sixty

0:34:41.400 --> 0:34:44.080
<v Speaker 3>degree like things sticking out all around it takes This is.

0:34:44.080 --> 0:34:47.360
<v Speaker 1>The old Disney magic carpet routine. Disney used to do

0:34:47.400 --> 0:34:50.799
<v Speaker 1>a ride coll in the sixties. Walt Disney devised that

0:34:50.960 --> 0:34:54.120
<v Speaker 1>technology home from the bottom of a helicopter. It had

0:34:54.200 --> 0:34:57.840
<v Speaker 1>multiple cameras and it was it was playing around you

0:34:57.920 --> 0:35:00.160
<v Speaker 1>in the round. Oh, people coming, and it gave you

0:35:00.200 --> 0:35:02.279
<v Speaker 1>the feeling that you were flying over things. Okay, that's

0:35:02.320 --> 0:35:04.120
<v Speaker 1>really what your volume wall is. That's it.

0:35:04.200 --> 0:35:08.360
<v Speaker 4>I think technologically it's quite advanced now. I mean the

0:35:08.400 --> 0:35:10.960
<v Speaker 4>image is like wow, unbelieve it's photo.

0:35:10.719 --> 0:35:14.040
<v Speaker 3>Reel and you put it up there and it moves,

0:35:14.120 --> 0:35:16.120
<v Speaker 3>and the actors were getting like, oh, give.

0:35:15.960 --> 0:35:16.520
<v Speaker 4>Me a bucket.

0:35:17.719 --> 0:35:19.880
<v Speaker 1>But so you had to shoot all the drops and

0:35:19.920 --> 0:35:22.760
<v Speaker 1>the nose dives and all that on that helicopter before

0:35:22.800 --> 0:35:24.080
<v Speaker 1>you ever got to principal.

0:35:24.400 --> 0:35:27.319
<v Speaker 3>We got all that stuff, and not all Some of

0:35:27.360 --> 0:35:30.759
<v Speaker 3>them were a few other tricks you can do. And

0:35:30.800 --> 0:35:32.760
<v Speaker 3>you know, I won't tell you anything. I'm like Colonel

0:35:32.800 --> 0:35:35.040
<v Speaker 3>Sando keeping the recipe in my breast pocket.

0:35:35.080 --> 0:35:35.759
<v Speaker 4>I don't blame you.

0:35:36.239 --> 0:35:38.160
<v Speaker 1>But you know he's dead now, so well I won't

0:35:38.200 --> 0:35:39.440
<v Speaker 1>bry any of them out of the bucket.

0:35:39.480 --> 0:35:39.640
<v Speaker 3>Yeah.

0:35:39.680 --> 0:35:41.319
<v Speaker 4>I worked for that. I work for the colonel. I

0:35:41.360 --> 0:35:44.040
<v Speaker 4>starved under the Corey many times.

0:35:44.080 --> 0:35:47.760
<v Speaker 3>Oh yeah, are at the old KFC. I'm a veteran. Yeah,

0:35:47.880 --> 0:35:50.600
<v Speaker 3>I got wounds. I got you a purple heart.

0:35:50.680 --> 0:35:54.040
<v Speaker 1>You know, I think that's I think that's your cardiologist.

0:35:54.680 --> 0:35:57.800
<v Speaker 1>Tell me about the casting here? Why these three principal actors.

0:35:57.840 --> 0:36:00.080
<v Speaker 1>You have lots of other actors. Why these three actors.

0:35:59.840 --> 0:36:01.879
<v Speaker 3>Are wonder and that's all there is to it. They're

0:36:01.920 --> 0:36:05.960
<v Speaker 3>just incredibly accomplished, talented performers and.

0:36:05.920 --> 0:36:07.400
<v Speaker 4>They kind of fit.

0:36:08.960 --> 0:36:12.359
<v Speaker 3>The archetype of what we needed to achieve here now,

0:36:12.800 --> 0:36:15.160
<v Speaker 3>you know. And sometimes you'll pluck somebody like Mark who

0:36:15.200 --> 0:36:19.200
<v Speaker 3>you don't usually associate with this kind of role, but man,

0:36:19.200 --> 0:36:21.960
<v Speaker 3>he was able to just deliver credible Michelle, of course,

0:36:22.080 --> 0:36:26.240
<v Speaker 3>is like the queen of subtlety and and can convey

0:36:26.719 --> 0:36:29.879
<v Speaker 3>so much with just the movement of the eye. I

0:36:29.920 --> 0:36:32.359
<v Speaker 3>was just kind of blown away. And Tofer has this

0:36:32.640 --> 0:36:36.040
<v Speaker 3>insane timing. He's really Yeah, he's funny, you know.

0:36:36.120 --> 0:36:37.160
<v Speaker 4>And they're all funny.

0:36:37.280 --> 0:36:40.000
<v Speaker 3>They all have their little weird, little humorous moments, so

0:36:40.440 --> 0:36:43.359
<v Speaker 3>and they understand that, all of them. So they kind

0:36:43.360 --> 0:36:46.680
<v Speaker 3>of and were able to work that timing amongst themselves,

0:36:46.680 --> 0:36:47.120
<v Speaker 3>most of them.

0:36:47.160 --> 0:36:50.920
<v Speaker 1>And you even cast your Vegas driver in one role,

0:36:50.960 --> 0:36:53.160
<v Speaker 1>which I don't know I can tell people about the role,

0:36:53.239 --> 0:36:56.560
<v Speaker 1>but it's pretty incredible, you know that the driver ended

0:36:56.640 --> 0:36:58.040
<v Speaker 1>up making it into the final cut.

0:36:58.120 --> 0:37:02.000
<v Speaker 3>He was amazing, This guy from from Bulgaria who used

0:37:02.000 --> 0:37:04.120
<v Speaker 3>to drive. He drove my car and I said, dude,

0:37:04.120 --> 0:37:04.919
<v Speaker 3>you ever been on film?

0:37:04.960 --> 0:37:07.640
<v Speaker 4>And he went, no, sir. I'm like, what where are

0:37:07.680 --> 0:37:10.680
<v Speaker 4>you from? And from Bulgaria, from Sofia, you know.

0:37:10.680 --> 0:37:13.920
<v Speaker 3>And I'm like, okay, hey, you want to be in

0:37:13.960 --> 0:37:15.920
<v Speaker 3>and he said, oh yeah, I do, you know?

0:37:16.040 --> 0:37:16.799
<v Speaker 4>And he looked great.

0:37:17.880 --> 0:37:21.799
<v Speaker 3>He's he's got this amazing kind of presence. So I thought,

0:37:22.000 --> 0:37:22.680
<v Speaker 3>I'm going to use it.

0:37:22.680 --> 0:37:24.840
<v Speaker 4>And it worked. Oh yeah, it works. You know exactly

0:37:24.840 --> 0:37:26.840
<v Speaker 4>who he is as soon as you see.

0:37:27.080 --> 0:37:28.879
<v Speaker 3>In fact, you know, the first time I saw him,

0:37:28.880 --> 0:37:30.000
<v Speaker 3>I said, I don't know if I want to drive

0:37:30.080 --> 0:37:32.160
<v Speaker 3>with this guy. But he's the nicest guy on earth,

0:37:32.160 --> 0:37:34.439
<v Speaker 3>you know. But he looks tough. Wow, he looks tough.

0:37:34.760 --> 0:37:36.279
<v Speaker 2>Tell me about Steven Rosenbloom.

0:37:36.280 --> 0:37:40.160
<v Speaker 4>Who have you've worked with before? Sure? Braveheart, brave heart.

0:37:40.239 --> 0:37:42.520
<v Speaker 3>He was my editor and he's the editor on this too,

0:37:43.120 --> 0:37:46.760
<v Speaker 3>And he does not mess around. He is a very

0:37:46.800 --> 0:37:50.160
<v Speaker 3>experienced editor, and he knows how to make a good

0:37:50.200 --> 0:37:53.440
<v Speaker 3>piece of entertainment and how to slice and dice it

0:37:53.600 --> 0:37:55.080
<v Speaker 3>just the way we all want it, you know.

0:37:55.160 --> 0:37:57.120
<v Speaker 4>So he's he's it's a treat to work with.

0:37:57.120 --> 0:37:59.920
<v Speaker 1>Stut do you just hand him the script and you're

0:38:00.120 --> 0:38:03.160
<v Speaker 1>and your cut? Would you give him notes let's watch it?

0:38:03.280 --> 0:38:04.160
<v Speaker 1>Or he does a cut?

0:38:04.520 --> 0:38:05.200
<v Speaker 4>I give it to.

0:38:05.200 --> 0:38:07.359
<v Speaker 3>Him, and I say, here, what can you make out

0:38:07.400 --> 0:38:09.600
<v Speaker 3>of this? You know, you make a silk purse out

0:38:09.640 --> 0:38:12.040
<v Speaker 3>of this? Sal's ear here, help me out here, buddy.

0:38:12.080 --> 0:38:14.120
<v Speaker 3>And he goes away and I leave him to his

0:38:14.120 --> 0:38:17.600
<v Speaker 3>own devices, and he invariably comes up with something great

0:38:17.719 --> 0:38:19.840
<v Speaker 3>and a lot of stuff I didn't even expect, and

0:38:19.920 --> 0:38:21.759
<v Speaker 3>I thought, wow, I didn't even know I shot that,

0:38:22.440 --> 0:38:25.120
<v Speaker 3>you know, and he's using things that I'm like, whoa so?

0:38:25.560 --> 0:38:27.440
<v Speaker 3>And then we get together and really kind of work

0:38:27.440 --> 0:38:29.759
<v Speaker 3>as a team and like you know, chip away, like

0:38:29.800 --> 0:38:32.200
<v Speaker 3>the old Michelangelo kind of film.

0:38:32.280 --> 0:38:32.440
<v Speaker 4>Ed it?

0:38:32.880 --> 0:38:35.840
<v Speaker 1>Did you cut this movie down in the edit? Uh?

0:38:36.600 --> 0:38:39.000
<v Speaker 4>It's pretty much. Has you got it much? We were

0:38:39.040 --> 0:38:41.600
<v Speaker 4>trying to like, we need more time and this is

0:38:41.719 --> 0:38:43.600
<v Speaker 4>so fast.

0:38:43.880 --> 0:38:46.840
<v Speaker 3>We actually did cut it down, yes, because whenever it

0:38:46.920 --> 0:38:52.279
<v Speaker 3>looked like it was like not moving, or if there

0:38:52.320 --> 0:38:55.360
<v Speaker 3>wasn't a beat that was furthering action plot, or wasn't

0:38:55.440 --> 0:38:58.560
<v Speaker 3>just a laugh in some sense or interesting in some.

0:38:58.440 --> 0:39:00.000
<v Speaker 4>Respect, we would.

0:39:01.280 --> 0:39:03.680
<v Speaker 3>Deviate from it and try and exclude it so that

0:39:03.719 --> 0:39:06.000
<v Speaker 3>what we had was kind of that you never get

0:39:06.040 --> 0:39:07.120
<v Speaker 3>a chance to get let down.

0:39:07.160 --> 0:39:09.000
<v Speaker 4>You're just kind of like watching the whole time.

0:39:09.880 --> 0:39:11.959
<v Speaker 1>There's something I see in all your films, and whether

0:39:12.000 --> 0:39:14.439
<v Speaker 1>it's look and these are some of these things are

0:39:14.480 --> 0:39:20.120
<v Speaker 1>frankly challenges that no other director would undertake or has undertaken.

0:39:20.400 --> 0:39:23.080
<v Speaker 1>When you look at Apocalypto, when you look at the

0:39:23.120 --> 0:39:26.280
<v Speaker 1>passion of the Christ, when you look at this project,

0:39:27.800 --> 0:39:30.960
<v Speaker 1>you direct from the audience point of view YouTube.

0:39:31.600 --> 0:39:35.600
<v Speaker 4>Yeah, that's an essential part. I am an audience.

0:39:35.239 --> 0:39:38.279
<v Speaker 3>Member first when I'm directing, And what do I want

0:39:38.320 --> 0:39:40.280
<v Speaker 3>to see? When I'm sitting in a dark room public

0:39:40.360 --> 0:39:42.759
<v Speaker 3>dreaming with like four hundred other people or whatever it

0:39:42.760 --> 0:39:43.399
<v Speaker 3>happens to be.

0:39:43.360 --> 0:39:45.359
<v Speaker 4>Even two other people, what do I want?

0:39:45.960 --> 0:39:51.279
<v Speaker 3>And you have to cater to the need of the

0:39:51.280 --> 0:39:53.880
<v Speaker 3>man in the dark room watching your dream, you know,

0:39:54.080 --> 0:39:55.640
<v Speaker 3>and having a dream with everybody else.

0:39:55.680 --> 0:39:58.160
<v Speaker 4>And who can you drag in? Who can you affect?

0:39:59.120 --> 0:40:01.239
<v Speaker 1>And there are a lot of directors to say no, no, no,

0:40:01.320 --> 0:40:05.720
<v Speaker 1>I write for me, I direct for me, I direct

0:40:05.719 --> 0:40:06.560
<v Speaker 1>for my vision.

0:40:07.040 --> 0:40:09.959
<v Speaker 3>Yeah, well that's partially true, I guess, because I mean, look,

0:40:10.320 --> 0:40:15.960
<v Speaker 3>it's undeniable. If whoever directs a film, they leave their mark. Yeah,

0:40:16.040 --> 0:40:19.000
<v Speaker 3>of course, so they are there and their sensibilities are there.

0:40:19.080 --> 0:40:23.680
<v Speaker 3>So in a sense that's true, but you cannot exclude.

0:40:25.200 --> 0:40:27.880
<v Speaker 3>If you're a chef and you're cooking a great meal,

0:40:28.960 --> 0:40:31.200
<v Speaker 3>you don't just need it yourself and say five stars.

0:40:31.680 --> 0:40:33.000
<v Speaker 4>You gotta share it with.

0:40:33.760 --> 0:40:36.920
<v Speaker 3>A bunch of hungry people who can then give you

0:40:36.960 --> 0:40:37.839
<v Speaker 3>feedback on it.

0:40:38.080 --> 0:40:39.280
<v Speaker 4>You feed them, they feedback.

0:40:39.800 --> 0:40:44.160
<v Speaker 3>If they feedback, you're in trouble. Yeah, but it's a

0:40:44.200 --> 0:40:47.319
<v Speaker 3>bit like any art. It is to be shared, and

0:40:47.360 --> 0:40:47.640
<v Speaker 3>it is.

0:40:47.600 --> 0:40:49.720
<v Speaker 1>To be but it's meant to be consumed by others.

0:40:49.760 --> 0:40:51.920
<v Speaker 1>It's not your little pet product. That's why I know

0:40:52.080 --> 0:40:53.680
<v Speaker 1>so many of these things are inaccessible.

0:40:53.880 --> 0:40:55.320
<v Speaker 4>Well a lot of them are. I mean, if you

0:40:55.400 --> 0:40:57.719
<v Speaker 4>make a film for an elite, you know.

0:40:59.680 --> 0:41:03.600
<v Speaker 3>It needs to work for as brought an audience as possible.

0:41:03.640 --> 0:41:07.040
<v Speaker 1>So tell me about Tell me about you related the

0:41:07.160 --> 0:41:09.799
<v Speaker 1>story of Braveheart, which I had not heard. How you

0:41:09.840 --> 0:41:12.680
<v Speaker 1>came to that project. Well, yeah, tell me about that

0:41:13.040 --> 0:41:15.319
<v Speaker 1>how because you this was not you had read the

0:41:15.320 --> 0:41:18.240
<v Speaker 1>script earlier and casked on it, thinking it.

0:41:18.200 --> 0:41:20.920
<v Speaker 3>Yes, but I liked it and it was it was

0:41:20.960 --> 0:41:23.239
<v Speaker 3>an acting offer, and I thought, oh wow.

0:41:23.360 --> 0:41:25.920
<v Speaker 4>You know, I read it and I was busy doing.

0:41:25.719 --> 0:41:28.839
<v Speaker 3>A bunch of stuff, and you know, I was in

0:41:28.840 --> 0:41:31.360
<v Speaker 3>my mid thirties and I was seriously busy at that.

0:41:31.440 --> 0:41:31.640
<v Speaker 4>Yeah.

0:41:31.680 --> 0:41:34.279
<v Speaker 3>Yeah, it was like I couldn't you know, oh you know,

0:41:34.360 --> 0:41:37.719
<v Speaker 3>I was turning things down and giving other people shots yep.

0:41:38.360 --> 0:41:43.560
<v Speaker 4>And and I, uh, I sort of just I read it.

0:41:43.760 --> 0:41:46.520
<v Speaker 4>I liked it, but I thought, no, not for me.

0:41:46.560 --> 0:41:49.319
<v Speaker 3>I don't think I can pull off the man. And

0:41:49.360 --> 0:41:53.239
<v Speaker 3>I killed you know thing, and then I sort of

0:41:53.239 --> 0:41:54.680
<v Speaker 3>walked away and did a bunch of other stuff, and

0:41:54.719 --> 0:41:57.120
<v Speaker 3>somebody said, well, what you know, what do you want

0:41:57.160 --> 0:41:57.600
<v Speaker 3>to do next?

0:41:57.640 --> 0:41:58.360
<v Speaker 4>I said, I don't know.

0:41:58.400 --> 0:42:00.440
<v Speaker 3>Man, I read this thing a couple of years years back.

0:42:00.480 --> 0:42:03.440
<v Speaker 3>I thought it was pretty good, and it kind of

0:42:03.600 --> 0:42:07.719
<v Speaker 3>it has some really big themes and and he said,

0:42:07.719 --> 0:42:09.720
<v Speaker 3>oh really, what was it? So I told him the story.

0:42:10.080 --> 0:42:14.160
<v Speaker 3>And but when I told him the story, I was like,

0:42:14.280 --> 0:42:15.960
<v Speaker 3>I was saying, non, you got this low angle here

0:42:15.960 --> 0:42:16.680
<v Speaker 3>with the guy doing.

0:42:16.680 --> 0:42:19.520
<v Speaker 4>You know, And it was like I was almost like

0:42:19.560 --> 0:42:21.399
<v Speaker 4>a shooting script. You were dreaming at your head.

0:42:21.640 --> 0:42:24.480
<v Speaker 3>And I realized that I had been thinking about this,

0:42:24.640 --> 0:42:26.879
<v Speaker 3>like in my wee hours before you go to sleep

0:42:26.880 --> 0:42:28.719
<v Speaker 3>at night. How would I fill that with that you know,

0:42:28.760 --> 0:42:30.480
<v Speaker 3>you know, low angle on the horse hoofs with the

0:42:30.719 --> 0:42:31.279
<v Speaker 3>you know and all.

0:42:31.160 --> 0:42:32.000
<v Speaker 4>This kind of stuff.

0:42:32.640 --> 0:42:35.959
<v Speaker 3>And I was constructing images in my head that sort

0:42:35.960 --> 0:42:39.719
<v Speaker 3>of like excited me. And and uh, and I said

0:42:39.719 --> 0:42:42.400
<v Speaker 3>to the guy, said that sounds amazing. And then we

0:42:42.440 --> 0:42:44.440
<v Speaker 3>got the script and it was Randy's script and it

0:42:44.480 --> 0:42:46.839
<v Speaker 3>was still as good as it was. And I thought, wow,

0:42:46.960 --> 0:42:49.000
<v Speaker 3>I think I need to direct this is because I

0:42:49.040 --> 0:42:51.359
<v Speaker 3>just want to shepherd what we see and how we

0:42:51.400 --> 0:42:53.359
<v Speaker 3>see it in up here.

0:42:53.560 --> 0:42:55.919
<v Speaker 4>Yeah, what I constructed over the time.

0:42:55.960 --> 0:42:59.560
<v Speaker 3>And then I said, and I had directed a small film,

0:42:59.719 --> 0:43:04.279
<v Speaker 3>so I put my toe in the water and and

0:43:04.360 --> 0:43:06.360
<v Speaker 3>so I I thought, let's try it on a bigger

0:43:06.360 --> 0:43:10.719
<v Speaker 3>scale here. And I said, Alan Ladd Junior, God rest

0:43:10.760 --> 0:43:12.840
<v Speaker 3>his soul. He's gone now. But he was a good dude.

0:43:13.760 --> 0:43:16.920
<v Speaker 3>You could never understand what he said. He was he mumbled,

0:43:17.360 --> 0:43:19.600
<v Speaker 3>and so it was like, you know, you go, what

0:43:19.520 --> 0:43:22.000
<v Speaker 3>what what? And he always has said something smart. He

0:43:22.040 --> 0:43:24.160
<v Speaker 3>was a smart guy. He just had this kind of

0:43:24.239 --> 0:43:27.240
<v Speaker 3>mumbling thing. And so he used to have a gag.

0:43:27.280 --> 0:43:29.320
<v Speaker 3>I used to say, well, you know, Alan Ladd Junior

0:43:29.400 --> 0:43:30.279
<v Speaker 3>told me one time.

0:43:32.680 --> 0:43:33.439
<v Speaker 4>Yeah, so.

0:43:35.200 --> 0:43:37.600
<v Speaker 3>And I even told Laddie that joke. So you know,

0:43:37.760 --> 0:43:39.880
<v Speaker 3>he cleared it with him. Yeah, he was a sweet

0:43:39.880 --> 0:43:42.319
<v Speaker 3>old guy. He's gone now, he's gone to he's gone

0:43:42.320 --> 0:43:42.720
<v Speaker 3>to Gallan.

0:43:44.040 --> 0:43:46.239
<v Speaker 1>He had the he was at MGM at the time.

0:43:46.520 --> 0:43:49.600
<v Speaker 3>He was at MGM uh and he I think he

0:43:49.680 --> 0:43:52.600
<v Speaker 3>got the Golden handshake over there they get, which means

0:43:52.640 --> 0:43:53.600
<v Speaker 3>like get out of here, buddy.

0:43:54.000 --> 0:43:54.440
<v Speaker 4>And uh.

0:43:54.600 --> 0:43:59.319
<v Speaker 3>He said, Okay, I'm leaving, but all right, but I'm

0:43:59.360 --> 0:44:02.640
<v Speaker 3>taking I'm taking two scripts with me. And he took

0:44:02.719 --> 0:44:05.960
<v Speaker 3>two scripts from MGM u A. He took The Brady

0:44:06.000 --> 0:44:08.080
<v Speaker 3>Bunch Yeah and Braveheart.

0:44:08.239 --> 0:44:10.239
<v Speaker 4>He only wanted to be title. Yeah, that must have

0:44:10.239 --> 0:44:13.640
<v Speaker 4>been at the top of the get to c ord.

0:44:14.160 --> 0:44:16.800
<v Speaker 3>So when I reconnected with the project, when I realized

0:44:16.800 --> 0:44:17.960
<v Speaker 3>I wanted to direct.

0:44:17.680 --> 0:44:17.920
<v Speaker 1>It, I.

0:44:19.640 --> 0:44:22.359
<v Speaker 3>Found out that it was at a different studio. It

0:44:22.400 --> 0:44:25.960
<v Speaker 3>had gone from MGM to param Paramount. He moved to Paramount.

0:44:26.160 --> 0:44:28.840
<v Speaker 3>He moved to Paramount, and so I and I said, Laddie,

0:44:29.560 --> 0:44:32.080
<v Speaker 3>you know, I've only done this once before, but I

0:44:32.080 --> 0:44:32.879
<v Speaker 3>want to direct it.

0:44:33.200 --> 0:44:36.360
<v Speaker 4>And he said I don't know, And I said, great,

0:44:38.120 --> 0:44:40.400
<v Speaker 4>we got a deal, right. Yeah.

0:44:40.440 --> 0:44:45.000
<v Speaker 3>So it was fantastic and one of the best, I

0:44:45.040 --> 0:44:48.319
<v Speaker 3>mean hard so funny, you know, seven days a week

0:44:48.400 --> 0:44:52.000
<v Speaker 3>sometimes what was the pre production on that snappy. It

0:44:52.080 --> 0:44:53.960
<v Speaker 3>was like as soon as I said, can I direct?

0:44:54.000 --> 0:44:56.120
<v Speaker 3>He said, I don't have a problem with that. I said, great,

0:44:56.200 --> 0:44:59.040
<v Speaker 3>let's go. Ten weeks of pre production on this is

0:44:59.200 --> 0:45:02.600
<v Speaker 3>lightning for any film, but on that, oh, my goodness.

0:45:02.239 --> 0:45:02.680
<v Speaker 4>An epic.

0:45:02.760 --> 0:45:05.560
<v Speaker 1>I mean all the just the people you have to move,

0:45:05.640 --> 0:45:07.279
<v Speaker 1>my gosh, that's incredible.

0:45:07.360 --> 0:45:09.560
<v Speaker 3>Well, I was fortunate and I had a really good

0:45:09.600 --> 0:45:12.200
<v Speaker 3>production team, you know, and and we were able to

0:45:12.239 --> 0:45:13.960
<v Speaker 3>go over and find what.

0:45:13.800 --> 0:45:15.000
<v Speaker 4>We needed in Europe.

0:45:15.760 --> 0:45:19.839
<v Speaker 3>Ireland was very helpful with not only tax credits, but

0:45:19.880 --> 0:45:25.680
<v Speaker 3>there resources and they bend over backwards and for and

0:45:25.760 --> 0:45:30.879
<v Speaker 3>forth but to and extended a hand, and we were

0:45:30.920 --> 0:45:34.719
<v Speaker 3>able to shoot it in Scotland, you know, and Ireland

0:45:35.000 --> 0:45:38.279
<v Speaker 3>and and get and get, and the UK really really

0:45:38.320 --> 0:45:39.640
<v Speaker 3>put out for a surprise.

0:45:39.920 --> 0:45:42.880
<v Speaker 1>I guess I'd forgotten. It didn't pop at the box

0:45:42.920 --> 0:45:44.440
<v Speaker 1>office when it first emerged.

0:45:45.000 --> 0:45:47.440
<v Speaker 4>It wasn't a huge box office on the screen. It

0:45:47.520 --> 0:45:49.120
<v Speaker 4>wasn't on the big screen.

0:45:49.160 --> 0:45:51.200
<v Speaker 3>I think it made like seventy five million or something,

0:45:51.239 --> 0:45:57.839
<v Speaker 3>which was not really okay, uh and uh, but We're

0:45:58.040 --> 0:45:58.799
<v Speaker 3>really did good.

0:45:58.880 --> 0:46:01.560
<v Speaker 4>Was on VHS. It went crazy on that won a

0:46:01.560 --> 0:46:02.879
<v Speaker 4>bunch of Academy Awards.

0:46:02.800 --> 0:46:05.160
<v Speaker 3>After it once, you know, one of you know, all

0:46:05.160 --> 0:46:08.879
<v Speaker 3>these Academy Awards, and then and then went big on BHS.

0:46:09.600 --> 0:46:12.239
<v Speaker 3>So hey, it came in, It slid, it slid into

0:46:12.239 --> 0:46:15.120
<v Speaker 3>Home played. Eventually it holds up. It's still a classic.

0:46:15.280 --> 0:46:15.960
<v Speaker 4>Yeah, it holds up.

0:46:16.600 --> 0:46:18.920
<v Speaker 3>It inspired a lot of other films because the battle

0:46:18.960 --> 0:46:22.520
<v Speaker 3>epic had been buying large abandoned, you know, with Charlie Neston,

0:46:22.560 --> 0:46:25.759
<v Speaker 3>you know, you know, l Sid or Spartacus or back

0:46:25.800 --> 0:46:28.279
<v Speaker 3>in the fifties, and then we kind of resurrected the

0:46:28.280 --> 0:46:31.880
<v Speaker 3>whole the big genre battle epic with that film. And

0:46:31.880 --> 0:46:34.319
<v Speaker 3>then of course Ridley and Tony saw it. Ridley and

0:46:34.360 --> 0:46:36.680
<v Speaker 3>Tony's saw they were like, whoa nobody does?

0:46:37.080 --> 0:46:39.480
<v Speaker 4>And it was like oh, and I was flattered. They

0:46:39.480 --> 0:46:40.840
<v Speaker 4>called me about it. They were like wow.

0:46:41.520 --> 0:46:43.840
<v Speaker 3>And then you know, it spawned things like Troy and

0:46:43.960 --> 0:46:47.960
<v Speaker 3>Gladiator and all the series of most good and some

0:46:47.960 --> 0:46:50.279
<v Speaker 3>good films, you know, and and and so you know,

0:46:50.320 --> 0:46:52.839
<v Speaker 3>it kind of brought those things back. Now, I think,

0:46:52.880 --> 0:46:54.719
<v Speaker 3>you know, you got to cool it on those things now.

0:46:54.800 --> 0:46:58.080
<v Speaker 3>But maybe there's a yeah, there's another.

0:46:57.920 --> 0:46:58.760
<v Speaker 4>One or two left.

0:46:58.880 --> 0:47:01.520
<v Speaker 3>There's a couple of big story out there that that

0:47:01.560 --> 0:47:02.480
<v Speaker 3>would really resonate.

0:47:03.080 --> 0:47:06.120
<v Speaker 1>Tell me about the viral you've released, these little viral

0:47:06.160 --> 0:47:08.799
<v Speaker 1>moments around flight risk kind of tie one of them

0:47:08.880 --> 0:47:09.920
<v Speaker 1>ties to Brave Heart.

0:47:10.040 --> 0:47:11.920
<v Speaker 4>Yeah, yeah, what's what were.

0:47:11.760 --> 0:47:12.960
<v Speaker 1>You trying to do with these?

0:47:13.840 --> 0:47:14.000
<v Speaker 4>Well?

0:47:14.040 --> 0:47:16.200
<v Speaker 3>Look, it was so it was so much fun to

0:47:16.360 --> 0:47:18.920
<v Speaker 3>work on. You know, it was fun to shoot with

0:47:18.960 --> 0:47:23.239
<v Speaker 3>these actors and stuff. And I just felt like, you know,

0:47:23.280 --> 0:47:26.640
<v Speaker 3>what we got was a little odd and a little

0:47:26.680 --> 0:47:28.640
<v Speaker 3>quirky and off to the side a little bit, but

0:47:28.719 --> 0:47:32.080
<v Speaker 3>still fast and entertaining. And I thought, you know, hey,

0:47:32.160 --> 0:47:34.239
<v Speaker 3>let's just keep the spirit of this thing going. And

0:47:34.280 --> 0:47:36.080
<v Speaker 3>I just wanted to kind of goof on it.

0:47:36.320 --> 0:47:40.239
<v Speaker 4>Yeah, and you know, and and and.

0:47:39.960 --> 0:47:43.000
<v Speaker 3>And let the audience know that, hey, don't take this

0:47:43.000 --> 0:47:46.160
<v Speaker 3>too seriously. This is just a nice thrill ride, a

0:47:46.160 --> 0:47:47.480
<v Speaker 3>fast piece of entertainment.

0:47:47.560 --> 0:47:49.239
<v Speaker 1>It's a lot of fun. It's a lot of fun.

0:47:49.440 --> 0:47:50.960
<v Speaker 1>And and and you are on the edge of your

0:47:50.960 --> 0:47:53.000
<v Speaker 1>seat and going, oh my, I mean, you don't hear

0:47:53.040 --> 0:47:57.120
<v Speaker 1>people gasp this way theater. It's very often to tell

0:47:57.120 --> 0:47:59.040
<v Speaker 1>me about the resurrection before we run out of time.

0:47:59.160 --> 0:48:03.839
<v Speaker 1>Obvious one of the great master works of your life. Yeah, sure,

0:48:03.840 --> 0:48:06.759
<v Speaker 1>And career people have been waiting for this movie for.

0:48:06.680 --> 0:48:09.359
<v Speaker 4>A long time. Yeah, like twenty years or so.

0:48:10.320 --> 0:48:12.879
<v Speaker 3>It'll be about it'll be even longer by the time

0:48:12.880 --> 0:48:14.520
<v Speaker 3>it actually makes it.

0:48:14.560 --> 0:48:16.000
<v Speaker 4>And I'm not sure when that is.

0:48:16.040 --> 0:48:19.279
<v Speaker 3>I know, I'm my focus now is on that. I'm

0:48:19.320 --> 0:48:25.560
<v Speaker 3>in a pre production mode. It's it's complex and it

0:48:25.600 --> 0:48:28.960
<v Speaker 3>took a long time. It's like it's like labor pains,

0:48:29.000 --> 0:48:32.799
<v Speaker 3>you know, it's like giving like birth to this to

0:48:32.880 --> 0:48:34.440
<v Speaker 3>this creation that's got to be.

0:48:34.560 --> 0:48:38.879
<v Speaker 4>You know, all working parts. And it's been a long labor.

0:48:39.760 --> 0:48:41.760
<v Speaker 1>And you told me last time we talked, this isn't

0:48:42.160 --> 0:48:46.400
<v Speaker 1>just Jesus rises acts of the apostles. It's much more complex.

0:48:47.080 --> 0:48:50.760
<v Speaker 3>Well, yes, because you have to ask the essential question

0:48:50.840 --> 0:48:58.480
<v Speaker 3>of you know, in our existence, why why are the

0:48:58.520 --> 0:49:01.919
<v Speaker 3>big realms of good and evil? And they exist, they're

0:49:01.920 --> 0:49:06.240
<v Speaker 3>as real as we are. Why are these realms slugging

0:49:06.320 --> 0:49:08.560
<v Speaker 3>it out for the souls of the hearts and souls

0:49:08.600 --> 0:49:09.279
<v Speaker 3>of mankind?

0:49:10.440 --> 0:49:15.600
<v Speaker 4>Why are we the meat in that sandwich? Little old us,

0:49:15.880 --> 0:49:20.560
<v Speaker 4>flawed us, imperfect us? Why why is that about us?

0:49:20.680 --> 0:49:23.000
<v Speaker 4>And I'm trying to answer that question. I don't know

0:49:23.040 --> 0:49:23.600
<v Speaker 4>if I can.

0:49:24.600 --> 0:49:29.600
<v Speaker 3>I've attempted, and maybe with God's help and with image

0:49:29.719 --> 0:49:32.240
<v Speaker 3>and with sound, and music.

0:49:32.960 --> 0:49:35.319
<v Speaker 4>We can deliver on.

0:49:36.920 --> 0:49:42.440
<v Speaker 3>Some answers to some of those massive questions, these existential questions.

0:49:42.680 --> 0:49:46.560
<v Speaker 4>I can't wait to see it. Yeah, that's pretty crazy.

0:49:46.800 --> 0:49:50.160
<v Speaker 1>In the meantime, we'll go to flight risk. Yeah, why

0:49:50.239 --> 0:49:51.439
<v Speaker 1>not go to flight risks?

0:49:51.440 --> 0:49:51.799
<v Speaker 4>How fun?

0:49:52.840 --> 0:49:53.040
<v Speaker 1>Yeah?

0:49:53.920 --> 0:49:55.239
<v Speaker 4>Yeah, you don't want to you don't want to be

0:49:55.280 --> 0:49:56.399
<v Speaker 4>going down on that not that one.

0:49:56.400 --> 0:49:58.879
<v Speaker 1>No, I'd like to. I'll be in the freight downstairs.

0:49:58.920 --> 0:50:01.120
<v Speaker 1>I'd rather not be with Wahlberg and company.

0:50:01.239 --> 0:50:02.280
<v Speaker 4>Yeah. Two, I'm afraid.

0:50:02.640 --> 0:50:07.319
<v Speaker 1>Yeah, Okay, here's the hole.

0:50:07.440 --> 0:50:08.200
<v Speaker 2>The takeaway.

0:50:08.640 --> 0:50:12.000
<v Speaker 1>Whatever you do, do it for others, whether you're an

0:50:12.080 --> 0:50:14.839
<v Speaker 1>artist or a teacher, or a mechanic or a stay

0:50:14.840 --> 0:50:17.080
<v Speaker 1>at home parent. The thing that struck me about that

0:50:17.160 --> 0:50:21.759
<v Speaker 1>conversation was your gifts are for others. They should be

0:50:21.760 --> 0:50:25.720
<v Speaker 1>our focus. In Mel's case, the audience is always front

0:50:25.800 --> 0:50:28.160
<v Speaker 1>and center, and Mel reminds me every time I see

0:50:28.239 --> 0:50:31.239
<v Speaker 1>him keep the humor in the forefront. I would argue

0:50:31.280 --> 0:50:34.719
<v Speaker 1>it's one of his superpowers on screen or otherwise. He

0:50:34.840 --> 0:50:38.960
<v Speaker 1>uses comedy to drive the drama and the thrills. Alfred

0:50:39.080 --> 0:50:44.000
<v Speaker 1>Hitchcock once said suspense doesn't have any value if it's

0:50:44.040 --> 0:50:45.800
<v Speaker 1>not balanced by humor.

0:50:46.800 --> 0:50:50.200
<v Speaker 2>Neither does life. I hope you enjoyed the show come

0:50:50.239 --> 0:50:50.960
<v Speaker 2>back next time.

0:50:51.280 --> 0:50:54.080
<v Speaker 1>As I'm going to recall on every episode, why live

0:50:54.120 --> 0:50:57.680
<v Speaker 1>a dry, narrow, constricted life when if you fill it

0:50:57.719 --> 0:51:00.760
<v Speaker 1>with good things, it can flow into to a broad,

0:51:01.200 --> 0:51:06.480
<v Speaker 1>thriving Arroyo Grande. I'm raiming Arroyo. Make sure you subscribe

0:51:06.600 --> 0:51:10.080
<v Speaker 1>and like this episode. Thanks for diving in, and we'll

0:51:10.080 --> 0:51:15.480
<v Speaker 1>see you next time. Arroyo Grande is produced in partnership

0:51:15.480 --> 0:51:19.360
<v Speaker 1>with iHeart Podcasts and is available on the iHeartRadio app

0:51:19.480 --> 0:51:21.680
<v Speaker 1>or wherever you get your podcasts