1
00:00:00,633 --> 00:00:02,835
[ Film reel clicking ]

2
00:00:03,103 --> 00:00:04,403
[ Man speaking indistinctly ]

3
00:00:06,000 --> 00:00:12,074
Support us and become VIP member 
to remove all ads from www.OpenSubtitles.org

4
00:00:13,114 --> 00:00:14,513
Linklater:
So I got off the bus.

5
00:00:14,582 --> 00:00:17,116
The thought crossed my mind,
you know, just for a second

6
00:00:17,184 --> 00:00:18,717
about not taking a cab at all.

7
00:00:18,786 --> 00:00:20,552
But, you know, like,
maybe walking

8
00:00:20,621 --> 00:00:22,621
or bumming a ride
or something like that.

9
00:00:22,690 --> 00:00:23,689
You know,
I'm kind of broke right now.

10
00:00:23,758 --> 00:00:25,090
I should have done that,
probably.

11
00:00:25,159 --> 00:00:27,693
But just because
that thought crossed my mind,

12
00:00:27,762 --> 00:00:29,862
there now exists
at this very second

13
00:00:29,930 --> 00:00:31,230
a whole nother reality

14
00:00:31,298 --> 00:00:33,065
where I'm at the bus station,
you know,

15
00:00:33,134 --> 00:00:34,533
and you're probably
giving someone else a ride.

16
00:00:34,602 --> 00:00:35,968
You know?

17
00:00:36,037 --> 00:00:38,303
I mean, and that reality thinks
of itself as this --

18
00:00:38,372 --> 00:00:40,539
thinks of itself
as the only reality, you know?

19
00:00:40,608 --> 00:00:43,175
I mean, at this very second,
I'm in that.

20
00:00:43,244 --> 00:00:45,577
I'm back at the bus station,
just hanging out,

21
00:00:45,646 --> 00:00:47,212
you know, probably thumbing
through a paper.

22
00:00:47,281 --> 00:00:50,082
You know, say this beautiful
woman just comes up to me,

23
00:00:50,151 --> 00:00:53,352
just starts talking to me,
you know?

24
00:00:53,421 --> 00:00:54,753
Uh, she ends up
offering me a ride.

25
00:00:54,822 --> 00:00:56,255
You know, we're hitting it off.

26
00:00:56,323 --> 00:00:57,790
Go play a little pinball.

27
00:00:57,858 --> 00:00:59,224
And we -- we go back
to her apartment.

28
00:00:59,293 --> 00:01:00,859
I mean, she has this
great apartment, you know.

29
00:01:00,928 --> 00:01:03,529
I move in with her!
You know?

30
00:01:03,597 --> 00:01:05,364
And, see, if I -- say I have
a dream some night

31
00:01:05,433 --> 00:01:08,067
that I'm with some strange woman
I've never met,

32
00:01:08,135 --> 00:01:09,902
or I'm, you know,
living at some place

33
00:01:09,970 --> 00:01:11,437
I've never seen before, see,

34
00:01:11,505 --> 00:01:13,705
that's just a momentary
glimpse into this other reality

35
00:01:13,774 --> 00:01:15,974
that was all created back
there at the bus station.

36
00:01:16,043 --> 00:01:17,609
You know?
[Bleep]

37
00:01:17,678 --> 00:01:19,445
Man [bleep]

38
00:01:19,513 --> 00:01:21,380
I should have stayed
at the bus station.

39
00:01:32,693 --> 00:01:34,660
[ Birds chirping ]

40
00:01:40,634 --> 00:01:42,901
[ Indistinct chatter ]

41
00:01:42,970 --> 00:01:45,804
[ Camera shutters clicking ]

42
00:01:48,342 --> 00:01:51,376
We're just glad it's finished,
that we all survived 12 years.

43
00:01:53,214 --> 00:01:55,781
Pierson: What's beautiful to me
about "Boyhood"

44
00:01:55,850 --> 00:01:58,350
is that it encapsulates
all the things

45
00:01:58,419 --> 00:02:00,719
that he's been doing all along.

46
00:02:04,058 --> 00:02:08,527
Coltrane: He had an idea
and just kind of got lost in it

47
00:02:08,596 --> 00:02:10,996
and did it, and he never
really worried about,

48
00:02:11,065 --> 00:02:12,865
"Is it gonna happen?"

49
00:02:12,933 --> 00:02:15,100
Johansson: And the Spirit Award
goes to...

50
00:02:15,169 --> 00:02:16,401
Cruise: And the BAFTA goes to...

51
00:02:16,470 --> 00:02:17,703
Kingsley: The Critics'
Choice is...

52
00:02:17,771 --> 00:02:21,540
Streep: And the Golden Globe
goes to "Boyhood."

53
00:02:23,477 --> 00:02:25,477
Pierson: You know,
movies are really about time.

54
00:02:25,546 --> 00:02:28,347
And Rick, he's been making
movies that are about time.

55
00:02:28,415 --> 00:02:29,848
And he has from the start.

56
00:02:29,917 --> 00:02:31,517
Black: We have another call.
Let's take that.

57
00:02:31,585 --> 00:02:33,085
It's on line two.
It's Robert.

58
00:02:33,154 --> 00:02:34,920
Caller: Hello.

59
00:02:34,989 --> 00:02:36,555
I'd like to compliment
your gift.

60
00:02:36,624 --> 00:02:41,193
For once, somebody
not trying to make a film

61
00:02:41,262 --> 00:02:43,362
with a bunch of explosions...

62
00:02:43,430 --> 00:02:44,863
Linklater:
There was an explosion.

63
00:02:44,932 --> 00:02:47,766
Caller: ...blasts,
a big body count or anything.

64
00:02:47,835 --> 00:02:51,570
A film about people.

65
00:02:51,639 --> 00:02:55,073
You know, and I'd really like
to compliment you for that.

66
00:02:55,142 --> 00:02:56,675
Linklater:
Oh, well, thanks a lot.

67
00:02:56,744 --> 00:02:59,912
I think that's what I'm mainly
interested in, just in cinema.

68
00:02:59,980 --> 00:03:01,547
Make films about real people

69
00:03:01,615 --> 00:03:03,982
in real situations,
more or less.

70
00:03:04,051 --> 00:03:05,784
It was a film we could do

71
00:03:05,853 --> 00:03:07,452
in our own neighborhood
very inexpensively,

72
00:03:07,521 --> 00:03:09,555
so it kind of grew out
of our restrictions

73
00:03:09,623 --> 00:03:11,757
and our local environment,
I think.

74
00:03:11,825 --> 00:03:13,125
Run through in here.

75
00:03:13,194 --> 00:03:14,626
Woman:
I didn't like the world.

76
00:03:14,695 --> 00:03:18,297
Coltrane: He kind of has
to construct a different world

77
00:03:18,365 --> 00:03:21,567
to express what he feels
about this one.

78
00:03:21,635 --> 00:03:23,602
Man: I'm losing the light.
Can we shoot?

79
00:03:23,671 --> 00:03:24,970
Linklater: Okay.
Let's get this in here.

80
00:03:25,039 --> 00:03:27,439
Ron: Oh, it's gonna
be six weeks.

81
00:03:27,508 --> 00:03:28,774
Woman: What's six weeks, Ron?

82
00:03:28,842 --> 00:03:32,077
Ron: Six weeks
to get this scene shot.

83
00:03:32,146 --> 00:03:34,413
Man #1: Let's go.

84
00:03:34,481 --> 00:03:36,582
Woman: Are we running
through this, or what?

85
00:03:36,650 --> 00:03:38,684
Man #2: What angle is that?
Man #3: What angle is that?

86
00:03:38,752 --> 00:03:40,085
We're gonna do one run-through,
and then we're gonna shoot it.

87
00:03:40,154 --> 00:03:41,286
Linklater: Hey, we're gonna run
through it one more time

88
00:03:41,355 --> 00:03:43,722
and then put angles up, okay?

89
00:03:43,791 --> 00:03:46,491
Pallotta: I remember
the first time I saw "Slacker,"

90
00:03:46,560 --> 00:03:49,194
it felt like a snapshot in time.

91
00:03:49,263 --> 00:03:51,129
But I never would have
imagined that it would have

92
00:03:51,198 --> 00:03:53,465
a more universal appeal.

93
00:03:55,636 --> 00:03:58,370
Smith: In 1991,
making a movie anywhere

94
00:03:58,439 --> 00:04:01,440
but New York or Los Angeles
as an indie filmmaker,

95
00:04:01,508 --> 00:04:03,842
that was unheard of.

96
00:04:03,911 --> 00:04:06,478
Linklater: It was just a really
kind of exciting time.

97
00:04:06,547 --> 00:04:09,715
Like, a whole world
had opened up.

98
00:04:09,783 --> 00:04:14,286
Film had sort of taken
hold of me as worth my time.

99
00:04:14,355 --> 00:04:15,354
I was amazed looking back

100
00:04:15,422 --> 00:04:16,822
how much patience I had.

101
00:04:16,890 --> 00:04:18,123
[ Pinball machine dings ]

102
00:04:18,192 --> 00:04:21,226
It wasn't something
that just came overnight.

103
00:04:22,763 --> 00:04:24,229
Jesse: This is real life.

104
00:04:24,298 --> 00:04:25,964
It's not perfect, but it's real.

105
00:04:26,033 --> 00:04:28,634
Arquette:
Rick wasn't making movies

106
00:04:28,702 --> 00:04:31,770
according
to the blockbuster standard.

107
00:04:31,839 --> 00:04:32,938
Willis: Hey.

108
00:04:33,007 --> 00:04:34,473
Arquette: I think he just isn't

109
00:04:34,541 --> 00:04:35,807
willing to compromise.
Wyatt: Loosey-goosey.

110
00:04:38,312 --> 00:04:40,279
[ Crowd cheering ]

111
00:04:40,347 --> 00:04:43,682
McConaughey: He's an athlete,
and he's highly competitive.

112
00:04:43,751 --> 00:04:46,251
Welles: Our business together is
to create the best art we can.

113
00:04:46,320 --> 00:04:48,620
Pallotta: I think you see,

114
00:04:48,689 --> 00:04:50,088
with his body of work,

115
00:04:50,157 --> 00:04:51,990
a sort of consistency
and vision.

116
00:04:52,059 --> 00:04:54,359
And it's really amazing
how he's been able to navigate

117
00:04:54,428 --> 00:04:56,595
his stories and in his way.

118
00:04:56,664 --> 00:04:58,063
Girl: The moment seizes us.

119
00:04:58,132 --> 00:04:59,998
Mason: Yeah.

120
00:05:00,067 --> 00:05:01,566
Linklater: It's a lot of work,

121
00:05:01,635 --> 00:05:03,702
and people don't want
to hear that.

122
00:05:03,771 --> 00:05:07,139
No one wants to think how they
would have to alter their life.

123
00:05:07,207 --> 00:05:10,042
Man: Rolling.

124
00:05:10,110 --> 00:05:12,911
Hawke: Rick is not looking
through Hollywood's eyes.

125
00:05:12,980 --> 00:05:14,980
he doesn't care
how Hollywood sees him.

126
00:05:15,049 --> 00:05:17,716
He's -- It's a valuable tool.
He loves Hollywood.

127
00:05:17,785 --> 00:05:22,387
He doesn't need anybody else
to make his dreams come true.

128
00:05:22,456 --> 00:05:25,357
[ Indistinct chatter ]

129
00:05:27,828 --> 00:05:29,494
Linklater: All right, action!

130
00:05:31,231 --> 00:05:33,865
Black: When you see his process,
you don't go,

131
00:05:33,934 --> 00:05:35,634
"How the [bleep] does he do it?

132
00:05:35,703 --> 00:05:38,337
He's a [bleep] mad genius!

133
00:05:38,405 --> 00:05:40,906
If only I could think
like he thinks!"

134
00:05:40,974 --> 00:05:43,542
When you see
his process, you go,

135
00:05:43,610 --> 00:05:45,444
"Oh, it's just hard work."

136
00:05:47,114 --> 00:05:49,214
[ Vehicles passing ]

137
00:05:53,153 --> 00:05:55,053
[ Cicadas chirping ]

138
00:06:01,095 --> 00:06:04,730
Linklater: This is the sole
surviving thing.

139
00:06:04,798 --> 00:06:07,733
Like, having lost absolutely
everything in my archive,

140
00:06:07,801 --> 00:06:09,401
this is the non-archivable,

141
00:06:09,470 --> 00:06:13,238
not worthy of even -- stuff
I never thought twice about.

142
00:06:13,307 --> 00:06:18,076
This is, like, college
and just working offshore

143
00:06:18,145 --> 00:06:19,845
and moving to Austin
and trying --

144
00:06:19,913 --> 00:06:22,848
Like, the early film stuff.

145
00:06:22,916 --> 00:06:25,984
Just, like, I'm writing scripts
without even a film --

146
00:06:26,053 --> 00:06:27,686
just by hand and stuff.

147
00:06:27,755 --> 00:06:29,888
It's -- They're pretty --
pretty funny.

148
00:06:29,957 --> 00:06:32,557
It was kind of embarrassing.

149
00:06:32,626 --> 00:06:35,560
I think this is as far
as it got, I would think.

150
00:06:35,629 --> 00:06:36,695
It was all these things.

151
00:06:36,764 --> 00:06:39,498
Then I realized,
"Oh, I'm not ready

152
00:06:39,566 --> 00:06:42,167
to actually make
a movie-movie yet."

153
00:06:42,236 --> 00:06:44,269
And then by the time I was,
this was, like,

154
00:06:44,338 --> 00:06:49,207
no longer something
I was interested in expressing.

155
00:06:49,276 --> 00:06:51,243
You know, just, "Eh."

156
00:06:53,447 --> 00:06:55,781
Eh?

157
00:06:55,849 --> 00:06:57,949
Black: "The screen is filled
with a pair of hands

158
00:06:58,018 --> 00:06:59,785
fingering a deck of cards.

159
00:06:59,853 --> 00:07:03,388
The hands flip a card
toward the camera and continue."

160
00:07:03,457 --> 00:07:05,157
Linklater: See?
I had some cool shots.

161
00:07:05,225 --> 00:07:06,691
Black: It's a good shot.

162
00:07:06,760 --> 00:07:08,160
Linklater: It was all about --
I had some cool slow motion.

163
00:07:08,228 --> 00:07:09,461
It was all shots.

164
00:07:09,530 --> 00:07:11,263
I was gonna --
But I ended up doing shorts

165
00:07:11,331 --> 00:07:13,131
and getting that kind of crap
out of my system.

166
00:07:13,200 --> 00:07:15,300
Black: [ Chuckling ]
That's pretty amazing.

167
00:07:15,369 --> 00:07:16,635
Linklater: Yeah, I -- You know,

168
00:07:16,703 --> 00:07:18,804
I think I was always
working on something.

169
00:07:18,872 --> 00:07:20,172
Even though I wasn't ready,

170
00:07:20,240 --> 00:07:23,308
it was all leading up
to something.

171
00:07:23,377 --> 00:07:24,810
You know, when you grow up
in Huntsville, Texas,

172
00:07:24,878 --> 00:07:27,179
it doesn't cross your mind,
"Oh, I can make a film."

173
00:07:27,247 --> 00:07:29,614
I thought, at best,
wanted to be a novelist.

174
00:07:36,490 --> 00:07:39,024
[ Film reel clicking ]

175
00:07:56,810 --> 00:07:58,343
Yeah, I remember my --

176
00:07:58,412 --> 00:08:02,280
my teenage ambition was to be
a novelist and to...

177
00:08:02,349 --> 00:08:04,916
And also a Major League
Baseball player.

178
00:08:06,954 --> 00:08:08,854
I was serious about it.
I was reading and writing and --

179
00:08:08,922 --> 00:08:10,789
I realize now, looking back,

180
00:08:10,858 --> 00:08:12,023
I just was trying
to express something,

181
00:08:12,092 --> 00:08:13,258
you know,
trying to express myself,

182
00:08:13,327 --> 00:08:16,027
and writing felt
like the only way.

183
00:08:19,733 --> 00:08:22,901
Jacque Linklater: As he got
older and then we did notice,

184
00:08:22,970 --> 00:08:26,004
"Can I go stay a couple nights
in the cabin in the woods?"

185
00:08:26,073 --> 00:08:28,540
And he was going to
write a book or do -- [ Laughs ]

186
00:08:28,609 --> 00:08:31,309
Chuck Linklater:
Do a biography of Dostoevsky,

187
00:08:31,378 --> 00:08:35,547
which is pretty unusual
for a high-school senior.

188
00:08:38,519 --> 00:08:41,586
[ Paper rustles, pen scribbles ]

189
00:08:42,923 --> 00:08:45,824
He was one of these sharp kids

190
00:08:45,893 --> 00:08:48,293
that would kind of
pick up on anything.

191
00:08:48,362 --> 00:08:50,829
With Rick, he would do
something on his own.

192
00:08:50,898 --> 00:08:52,564
And all of a sudden,
out of nowhere,

193
00:08:52,633 --> 00:08:56,902
comes this express interest
in something.

194
00:09:05,546 --> 00:09:07,212
Tricia Linklater: We have
an older sister, Susan.

195
00:09:07,281 --> 00:09:08,213
I'm in the middle.

196
00:09:08,282 --> 00:09:09,881
And Rick is the youngest.

197
00:09:09,950 --> 00:09:11,883
All very close Catholic family.

198
00:09:11,952 --> 00:09:15,287
My parents stayed married
for 12 years.

199
00:09:15,355 --> 00:09:18,323
I was 9 when they divorced
and Rick would have been 8

200
00:09:18,392 --> 00:09:20,625
and we moved with Mom
up to Huntsville,

201
00:09:20,694 --> 00:09:22,961
a much smaller town
between Houston and Dallas,

202
00:09:23,030 --> 00:09:26,131
with 15,000 people
and one stop light.

203
00:09:26,199 --> 00:09:28,466
Prisons and farms and ranches --

204
00:09:28,535 --> 00:09:31,503
Huntsville was just,
you know, much more rural.

205
00:09:31,572 --> 00:09:35,941
And we were in this town
with one movie theater.

206
00:09:36,009 --> 00:09:38,243
Back then, kids just did
what they were told.

207
00:09:38,312 --> 00:09:39,444
And you -- you weren't allowed

208
00:09:39,513 --> 00:09:40,845
to have a lot
of opinions about it.

209
00:09:40,914 --> 00:09:42,447
It's just like, "Well,
this is what we're doing.

210
00:09:42,516 --> 00:09:44,049
We're moving and you're leaving
all your friends

211
00:09:44,117 --> 00:09:46,284
and here's our new house
and here's your new school

212
00:09:46,353 --> 00:09:48,753
and you'll figure it out."

213
00:09:51,525 --> 00:09:53,758
[ Paper rustling ]

214
00:09:53,827 --> 00:09:55,727
[ Pen scribbling ]

215
00:09:58,832 --> 00:10:01,399
Linklater: I drifted
into a playwriting class,

216
00:10:01,468 --> 00:10:03,101
and that really got me going,

217
00:10:03,170 --> 00:10:04,536
like, "Well, maybe that's" --
I had all these --

218
00:10:04,605 --> 00:10:07,072
These characters
were just kind of talking.

219
00:10:07,140 --> 00:10:09,107
That opened up a world to me.

220
00:10:19,753 --> 00:10:21,152
That second semester --

221
00:10:21,221 --> 00:10:26,057
That's probably the key semester
of my whole life was...

222
00:10:26,126 --> 00:10:28,059
I had had this
heart rhythmic problem,

223
00:10:28,128 --> 00:10:29,394
so I was on scholarship,

224
00:10:29,463 --> 00:10:30,895
but suddenly,
I-I couldn't play anymore.

225
00:10:30,964 --> 00:10:32,097
I couldn't run.

226
00:10:32,165 --> 00:10:34,366
So I had my afternoons
and evenings free.

227
00:10:34,434 --> 00:10:35,967
You know, when you're on --
When you're playing ball,

228
00:10:36,036 --> 00:10:37,569
that's kind of what you do.

229
00:10:37,638 --> 00:10:40,872
You go to class in the morning,
and then your life is baseball.

230
00:10:40,941 --> 00:10:44,943
So it was amazing to me
to suddenly have all this time.

231
00:10:45,012 --> 00:10:46,311
You know,
at 12:30 in the afternoon,

232
00:10:46,380 --> 00:10:49,581
I could go to the library
and leave at 11:00 at night

233
00:10:49,650 --> 00:10:52,050
and have read so much
and written,

234
00:10:52,119 --> 00:10:54,986
and I just --
That was my best semester ever.

235
00:10:55,055 --> 00:10:56,988
That was really
what my 20s were gonna be --

236
00:10:57,057 --> 00:10:58,923
just kind of me on my own,

237
00:10:58,992 --> 00:11:02,460
following my own motivations.

238
00:11:02,529 --> 00:11:03,728
Chuck Linklater:
So with Rick,

239
00:11:03,797 --> 00:11:05,630
it's nothing but
a work in progress.

240
00:11:05,699 --> 00:11:08,600
You know, he just sees
the potential in everything,

241
00:11:08,669 --> 00:11:12,037
and, you know,
once something turns out badly,

242
00:11:12,105 --> 00:11:13,271
well, then, you write it off

243
00:11:13,340 --> 00:11:15,940
and go on and look
for other opportunities.

244
00:11:16,009 --> 00:11:18,843
[ Helicopter blades whirring ]

245
00:11:18,912 --> 00:11:21,246
Linklater: And I got a job
working offshore,

246
00:11:21,314 --> 00:11:23,014
kind of a summer thing.

247
00:11:23,083 --> 00:11:24,616
And I thought, "Well,
if I can't play baseball,

248
00:11:24,685 --> 00:11:26,217
maybe I won't go back to school.
I'll just" --

249
00:11:26,286 --> 00:11:27,652
And I was making good money
for the first time.

250
00:11:27,721 --> 00:11:28,920
I never had a high-paying job.

251
00:11:28,989 --> 00:11:30,488
I was always the busboy.

252
00:11:30,557 --> 00:11:33,558
So I mean, it was manual labor,
but I was -- I didn't care.

253
00:11:33,627 --> 00:11:34,759
I was that young.

254
00:11:34,828 --> 00:11:36,795
You don't think
about stuff like that.

255
00:11:36,863 --> 00:11:39,731
You know, I was kind of
buying my way to freedom.

256
00:11:41,702 --> 00:11:44,102
I started off that summer
wanting to save up money

257
00:11:44,171 --> 00:11:45,904
and move to New York
and, you know,

258
00:11:45,972 --> 00:11:47,238
be an off-Broadway playwright.

259
00:11:47,307 --> 00:11:50,742
By the end of that summer,
I want to make movies.

260
00:11:50,811 --> 00:11:52,077
It's that simple.

261
00:11:52,145 --> 00:11:54,446
I-I had --
In my downtime in Houston,

262
00:11:54,514 --> 00:11:56,514
I just found myself
going to movies.

263
00:11:56,583 --> 00:11:58,983
I might be offshore
for 12 straight days,

264
00:11:59,052 --> 00:12:01,052
but the second I hit land,
you know,

265
00:12:01,121 --> 00:12:03,088
most of the guys out there
started going to bars.

266
00:12:03,156 --> 00:12:06,057
I just wanted to get home
and go to movies.

267
00:12:08,929 --> 00:12:11,129
And I think there was
a certain void in my life,

268
00:12:11,198 --> 00:12:13,765
and I just found myself
wandering into movie theaters.

269
00:12:13,834 --> 00:12:16,000
I just got really fascinated
in the history of film,

270
00:12:16,069 --> 00:12:17,335
the storytelling.

271
00:12:17,404 --> 00:12:19,938
I was just kind of falling
in love with cinema.

272
00:12:20,006 --> 00:12:22,807
[ Computer beeping ]

273
00:12:22,876 --> 00:12:25,343
Cassavetes talks about film
as a parallel universe

274
00:12:25,412 --> 00:12:27,278
for people who don't like
the real world.

275
00:12:27,347 --> 00:12:30,949
They don't know how to dress
or be normal or be official.

276
00:12:31,017 --> 00:12:32,350
And I think I agree.

277
00:12:32,419 --> 00:12:34,753
Like, film -- the film world
was just this other world

278
00:12:34,821 --> 00:12:36,788
that encompassed the world,

279
00:12:36,857 --> 00:12:38,923
but I preferred it.

280
00:12:41,895 --> 00:12:44,262
I think I discovered
my medium, you know?

281
00:12:44,331 --> 00:12:45,864
I felt that motivator.

282
00:12:45,932 --> 00:12:48,600
I could just see it.

283
00:12:48,668 --> 00:12:50,502
I just felt I could
make a movie.

284
00:12:54,574 --> 00:12:56,141
Jacque Linklater: And so we were
kind of excited.

285
00:12:56,209 --> 00:12:58,643
I was excited about
Rick moving to Austin.

286
00:12:58,712 --> 00:13:01,012
You know, we thought
he was going back to school.

287
00:13:01,081 --> 00:13:03,982
And he did, uh, in a way.
[ Laughs ]

288
00:13:04,050 --> 00:13:08,553
But this will be a good change
and a good experience for him.

289
00:13:14,861 --> 00:13:16,828
Walker: For Rick,
growing up in East Texas,

290
00:13:16,897 --> 00:13:18,963
we like to say
behind the pine curtain,

291
00:13:19,032 --> 00:13:22,200
Austin was literally
the way station to an escape.

292
00:13:22,269 --> 00:13:24,736
[ Horn honks, indistinct
announcement on P.A. system ]

293
00:13:24,805 --> 00:13:27,105
Once you made it that far,
you had a chance.

294
00:13:27,174 --> 00:13:28,807
You know,
you had a chance, finally.

295
00:13:28,875 --> 00:13:30,775
[ Pen scribbling ]

296
00:13:34,781 --> 00:13:36,181
Linklater: I had to pick
somewhere to live

297
00:13:36,249 --> 00:13:38,449
and thought New York, LA,
San Francisco

298
00:13:38,518 --> 00:13:40,351
much too big a leap.

299
00:13:43,323 --> 00:13:44,689
There were really cool niches,

300
00:13:44,758 --> 00:13:46,925
and I felt that moving
to Austin.

301
00:13:46,993 --> 00:13:50,695
Like, suddenly everyone I met
was an artist of some kind.

302
00:13:54,067 --> 00:13:56,000
Pallotta: And I think at that
time, you could sort of live

303
00:13:56,069 --> 00:13:57,869
on a small amount of money.

304
00:13:57,938 --> 00:13:59,370
You didn't have to work a lot.

305
00:13:59,439 --> 00:14:01,272
So in that sense, there was,
like, a lot of --

306
00:14:01,341 --> 00:14:03,675
a lot of hyper-educated people.

307
00:14:03,743 --> 00:14:06,511
And it just sort of
afforded you a lifestyle

308
00:14:06,580 --> 00:14:09,681
that you could make things
and take risks.

309
00:14:13,253 --> 00:14:14,686
Linklater: And then
I just bought, you know,

310
00:14:14,754 --> 00:14:17,655
some editing equipment,
a projector,

311
00:14:17,724 --> 00:14:20,291
some good sound gear
and a camera

312
00:14:20,360 --> 00:14:22,260
and a bunch of film stock
and just thought,

313
00:14:22,329 --> 00:14:24,395
"Okay, this is
what I'm gonna do."

314
00:14:31,471 --> 00:14:32,937
There was a group back then

315
00:14:33,006 --> 00:14:35,306
called the Heart of Texas
Filmmakers.

316
00:14:35,375 --> 00:14:37,475
And I kind of wandered
into a meeting,

317
00:14:37,544 --> 00:14:40,545
and there was a guy there
who had showed his student film

318
00:14:40,614 --> 00:14:42,247
that he had just completed
with two other people --

319
00:14:42,315 --> 00:14:44,182
"Le Dare," by Lee Daniel.

320
00:14:44,251 --> 00:14:46,050
He shot that on 16.

321
00:14:46,119 --> 00:14:48,119
But he was shooting
a lot of Super 8, too.

322
00:14:48,188 --> 00:14:50,054
So I kind of started
helping him out.

323
00:14:53,627 --> 00:14:54,792
Jacque Linklater: When he
started getting into film,

324
00:14:54,861 --> 00:14:56,694
it was kind of, like,
"Well, you know,

325
00:14:56,763 --> 00:14:58,863
can you make
a living doing this?

326
00:14:58,932 --> 00:15:00,298
You know, do you have
a background?"

327
00:15:00,367 --> 00:15:03,201
We really thought he would be
a sports writer.

328
00:15:03,270 --> 00:15:06,004
[ Birds chirping ]

329
00:15:10,944 --> 00:15:12,076
Tricia Linklater:
They were worried.

330
00:15:12,145 --> 00:15:14,279
They didn't know
what he would amount to.

331
00:15:14,347 --> 00:15:15,847
We didn't really know
what he was doing.

332
00:15:15,916 --> 00:15:21,152
Man: Woodstock afoot!
Woodstock rules! Aaaah!

333
00:15:21,221 --> 00:15:23,021
Demme: I became aware of Austin

334
00:15:23,089 --> 00:15:25,423
as kind of, like,
a cultural Mecca.

335
00:15:25,492 --> 00:15:26,858
In addition to all these
great young bands,

336
00:15:26,927 --> 00:15:29,460
there were great
young filmmakers.

337
00:15:29,529 --> 00:15:31,863
There's a sense of, like,
the music feeding the films,

338
00:15:31,932 --> 00:15:34,198
and vice versa,
from the get-go.

339
00:15:34,267 --> 00:15:35,500
It's like, "Wow!"

340
00:15:35,568 --> 00:15:38,369
Woman: Where do you work?

341
00:15:38,438 --> 00:15:39,570
Man:
I work at McDonald's,

342
00:15:39,639 --> 00:15:42,540
and this is my new album,
"Hi, How Are You?"

343
00:15:42,609 --> 00:15:44,609
Linklater: I really saw
those early films

344
00:15:44,678 --> 00:15:46,945
as just technical exercises.

345
00:15:47,013 --> 00:15:48,947
But it wasn't
so much storytelling.

346
00:15:49,015 --> 00:15:52,116
It's a long way
before your formal skills,

347
00:15:52,185 --> 00:15:54,652
technical abilities,
catch up with your ideas.

348
00:15:57,023 --> 00:15:59,123
I had kind of gotten
interested in minimalism

349
00:15:59,192 --> 00:16:00,959
and the narrative avant-garde

350
00:16:01,027 --> 00:16:02,760
because those films,
they're more conceptual.

351
00:16:02,829 --> 00:16:06,831
You know, I didn't require
a big crew or cast or anything.

352
00:16:06,900 --> 00:16:08,466
So I kind of conceived the film

353
00:16:08,535 --> 00:16:11,669
around the limitations
of where I was at.

354
00:16:11,738 --> 00:16:14,305
So I was taking a train trip

355
00:16:14,374 --> 00:16:16,341
to visit a high-school buddy
up in Montana.

356
00:16:16,409 --> 00:16:18,643
So I started the film
on that trip.

357
00:16:18,712 --> 00:16:22,213
It was really my own
little private film school.

358
00:16:22,282 --> 00:16:24,048
Yeah, I remember I turned 25.

359
00:16:24,117 --> 00:16:26,517
I was on the train,
staring out the window

360
00:16:26,586 --> 00:16:30,188
with my Super 8 camera shooting,

361
00:16:30,256 --> 00:16:32,557
going, "God, what was
Orson Welles doing at my...?"

362
00:16:32,625 --> 00:16:34,659
[ Laughs ]
What haunts every filmmaker.

363
00:16:34,728 --> 00:16:36,894
Maybe I'll have a better
second or third act.

364
00:16:39,532 --> 00:16:42,467
It was that test --
Could I conceptualize, do,

365
00:16:42,535 --> 00:16:43,901
and then finish,

366
00:16:43,970 --> 00:16:45,403
learn what I learned,
and then move on?

367
00:16:45,472 --> 00:16:47,939
Because I had ideas.

368
00:16:48,008 --> 00:16:50,408
I just had to get to them,
and I knew that was a step.

369
00:16:50,477 --> 00:16:53,144
Just finishing one thing
might propel something else.

370
00:16:53,213 --> 00:16:55,013
[ Water running ]

371
00:16:55,081 --> 00:16:56,714
Kind of built up
a little confidence, really,

372
00:16:56,783 --> 00:16:59,183
in myself as a filmmaker.

373
00:17:02,889 --> 00:17:05,289
Walker: I remember him
set up his little tripod,

374
00:17:05,358 --> 00:17:07,191
his 8-millimeter camera,
and he would turn it on

375
00:17:07,260 --> 00:17:08,860
and run around
in front of the camera

376
00:17:08,928 --> 00:17:11,262
and act out a scene
and run back and turn it off.

377
00:17:11,331 --> 00:17:13,097
And then he would reach down
to his waist,

378
00:17:13,166 --> 00:17:15,600
where he had
a Sony Walkman recorder,

379
00:17:15,668 --> 00:17:19,637
and switch that off 'cause he'd
been recording audio by himself.

380
00:17:19,706 --> 00:17:24,776
And he was making a film
by himself.

381
00:17:24,844 --> 00:17:26,911
And you can't stop
somebody like that.

382
00:17:26,980 --> 00:17:28,279
There's no way to stop them.

383
00:17:32,786 --> 00:17:34,485
Linklater: I needed community.
I wanted community.

384
00:17:34,554 --> 00:17:35,953
I didn't want it
to be a solo effort.

385
00:17:36,022 --> 00:17:37,355
Ultimately, I didn't want
to be a writer.

386
00:17:37,424 --> 00:17:38,589
That's a lonely thing.

387
00:17:38,658 --> 00:17:40,525
I wanted to be part
of an artistic troupe.

388
00:17:40,593 --> 00:17:42,760
I wanted to be part
of a group, you know?

389
00:17:42,829 --> 00:17:44,228
It's just so much more fun

390
00:17:44,297 --> 00:17:47,565
and collaborative
and just better.

391
00:17:49,436 --> 00:17:52,136
So the Film Society slowly
gets borne out of that desire

392
00:17:52,205 --> 00:17:54,472
to kind of create a --
have a community,

393
00:17:54,541 --> 00:17:57,742
and that's where
the Film Society starts in '85.

394
00:18:00,680 --> 00:18:02,380
I took the Film Society
very seriously.

395
00:18:02,449 --> 00:18:03,681
So I said,
"Yeah, we could be a nonprofit."

396
00:18:03,750 --> 00:18:05,049
You know, I was always
nurturing that,

397
00:18:05,118 --> 00:18:06,851
but I never really
differentiated --

398
00:18:06,920 --> 00:18:09,320
You know, I could be working
on my own parallel projects,

399
00:18:09,389 --> 00:18:12,590
but also, like, showing films
meant a lot to me.

400
00:18:12,659 --> 00:18:16,427
So it was all one.

401
00:18:16,496 --> 00:18:18,362
What is this?

402
00:18:23,603 --> 00:18:28,639
This is, like, a little
time capsule of some kind.

403
00:18:28,708 --> 00:18:31,476
These were the stickers
we were putting up everywhere.

404
00:18:31,544 --> 00:18:33,778
I could practically manage
a Kinko's at this point,

405
00:18:33,847 --> 00:18:35,079
having run the Film Society --

406
00:18:35,148 --> 00:18:36,881
you know, like,
making fliers and everything.

407
00:18:36,950 --> 00:18:39,617
So, yeah, we just manufactured
a ton of these.

408
00:18:39,686 --> 00:18:42,487
We were just kind of
putting them up everywhere.

409
00:18:42,555 --> 00:18:43,921
Just before anyone knew
what it was --

410
00:18:43,990 --> 00:18:46,991
"Is that a band?
What is it?"

411
00:18:47,060 --> 00:18:48,359
I think the Film Society
taught me

412
00:18:48,428 --> 00:18:50,194
everything I needed to know
to, like, hustle.

413
00:18:50,263 --> 00:18:51,896
Like, this is the kind of thing

414
00:18:51,965 --> 00:18:53,197
we would do
for the Film Society.

415
00:18:53,266 --> 00:18:54,832
It was just weird
five years later to be doing it

416
00:18:54,901 --> 00:18:57,235
for our own film.

417
00:18:57,303 --> 00:18:59,770
Okay, well, prickly pear --
not such a big laugh.

418
00:18:59,839 --> 00:19:02,874
Just a -- If anything,
a slight smirk, okay?

419
00:19:02,942 --> 00:19:04,408
Walker: I knew this guy
was hooked.

420
00:19:04,477 --> 00:19:07,712
He loved film as much as anyone
I've known ever loved film,

421
00:19:07,780 --> 00:19:11,616
and it bubbled over
into the impulse to make films.

422
00:19:11,684 --> 00:19:13,551
Man #1: Okay, Rick.
Man #2: Action.

423
00:19:18,124 --> 00:19:22,026
[ Indistinct conversations ]

424
00:19:22,095 --> 00:19:23,294
Man #3: Hey, got a cigarette?

425
00:19:23,363 --> 00:19:25,163
Pallotta: He'd been shooting
a Super 8 movie,

426
00:19:25,231 --> 00:19:27,031
and I think he was just
finishing that up and he's like,

427
00:19:27,100 --> 00:19:28,566
"Hey, I'm gonna do
another movie.

428
00:19:28,635 --> 00:19:30,301
This time it's gonna be
in 16-millimeter."

429
00:19:30,370 --> 00:19:32,136
And he brought out
a sheet of paper.

430
00:19:32,205 --> 00:19:33,371
"This is gonna be it."

431
00:19:33,439 --> 00:19:35,039
And I took it and I opened it up
and it was, like,

432
00:19:35,108 --> 00:19:37,441
a poster-sized piece of paper.

433
00:19:37,510 --> 00:19:39,076
And that was all he had.

434
00:19:39,145 --> 00:19:41,112
Like, and I didn't know
anything about movies,

435
00:19:41,181 --> 00:19:42,780
but I knew that, like,
you had a script,

436
00:19:42,849 --> 00:19:44,282
generally, and stuff like that.

437
00:19:44,350 --> 00:19:45,750
But he was like, "No, this is --

438
00:19:45,818 --> 00:19:47,218
This is how we're gonna
make this movie

439
00:19:47,287 --> 00:19:49,320
and I'm gonna get
distribution for it

440
00:19:49,389 --> 00:19:51,255
and everybody's gonna see it."

441
00:19:51,324 --> 00:19:53,291
And I said --
didn't believe him,

442
00:19:53,359 --> 00:19:55,793
but I thought he was
as broke as I was,

443
00:19:55,862 --> 00:19:57,461
but he somehow was making stuff,

444
00:19:57,530 --> 00:20:01,699
so I should probably watch
what this guy's doing.

445
00:20:01,768 --> 00:20:03,734
Walker: Austin in the 1980s
was at the tail end

446
00:20:03,803 --> 00:20:05,770
of another boom-and-bust cycle.

447
00:20:05,838 --> 00:20:09,173
There were a lot of abandoned
warehouses to be exploited.

448
00:20:09,242 --> 00:20:11,876
There was the freedom to do
what you wanted to do,

449
00:20:11,945 --> 00:20:15,546
and no one cared.

450
00:20:15,615 --> 00:20:17,615
When we set about
to film "Slacker,"

451
00:20:17,684 --> 00:20:19,183
we talked to each other
and said,

452
00:20:19,252 --> 00:20:20,851
"Where can we go make a movie

453
00:20:20,920 --> 00:20:24,689
where we cannot get permission
to film at a location,

454
00:20:24,757 --> 00:20:26,757
lay dolly track
across the street,

455
00:20:26,826 --> 00:20:31,028
interrupt traffic if we need to,
and basically do what we want?"

456
00:20:31,097 --> 00:20:34,899
The answer came --
downtown Austin.

457
00:20:34,968 --> 00:20:37,401
Downtown Austin was the place
where no one would bother us.

458
00:20:37,470 --> 00:20:38,836
And if you look in the scenes,

459
00:20:38,905 --> 00:20:40,938
there's no one wandering
in the background.

460
00:20:42,575 --> 00:20:45,476
Man: [ Whistling ]

461
00:20:51,918 --> 00:20:56,153
[ Indistinct chatter ]

462
00:20:56,222 --> 00:20:57,455
Man #2: Quit following me.

463
00:20:57,523 --> 00:21:00,424
You heard me.
Quit following me.

464
00:21:00,493 --> 00:21:01,993
Linklater: Well,
we were lucky to get you.

465
00:21:02,061 --> 00:21:05,029
Black: I wasn't gonna go 'cause
I -- These are film programmers!

466
00:21:05,098 --> 00:21:07,098
These are not filmma--
I mean, it's like,

467
00:21:07,166 --> 00:21:09,200
"These are not filmmakers!"

468
00:21:09,269 --> 00:21:10,268
Linklater:
Remember my direction to you?

469
00:21:10,336 --> 00:21:11,636
It's like, "Well, you're playing

470
00:21:11,704 --> 00:21:13,371
a really paranoid guy,"
and you went,

471
00:21:13,439 --> 00:21:15,139
"Well, I'm the most
paranoid person in the world.

472
00:21:15,208 --> 00:21:16,507
So that's no problem."

473
00:21:16,576 --> 00:21:18,309
And you nailed it.

474
00:21:18,378 --> 00:21:19,977
I think if we wouldn't
have gotten, you know,

475
00:21:20,046 --> 00:21:23,214
the Chronicle's free ad
support and editorial support,

476
00:21:23,283 --> 00:21:24,915
it might not have
gotten off the ground.

477
00:21:24,984 --> 00:21:26,350
So that's what I always say.

478
00:21:26,419 --> 00:21:29,120
Austin's a really cool town
for that access.

479
00:21:32,191 --> 00:21:35,593
Black: I'm fascinated by writers
and filmmakers and musicians

480
00:21:35,662 --> 00:21:38,696
who have got to do their work.

481
00:21:38,765 --> 00:21:43,100
And so I've spent much
of my career facilitating that.

482
00:21:44,637 --> 00:21:46,771
Pierson: The way things started
between me and Rick

483
00:21:46,839 --> 00:21:48,739
is he actually
wrote me a letter --

484
00:21:48,808 --> 00:21:51,175
a letter that reflected
the many aspects

485
00:21:51,244 --> 00:21:53,277
of his character
right from the get-go.

486
00:21:53,346 --> 00:21:55,513
And it made it clear
that just the degree

487
00:21:55,581 --> 00:21:59,784
to which he was training himself
to have a command

488
00:21:59,852 --> 00:22:01,852
of how the world worked
and how the --

489
00:22:01,921 --> 00:22:05,056
how the film might fit
into the bigger world.

490
00:22:05,124 --> 00:22:06,590
Man: Budding capitalist youth.

491
00:22:06,659 --> 00:22:07,958
Pierson: So it was a good time
for the growth

492
00:22:08,027 --> 00:22:09,327
of the American
independent film

493
00:22:09,395 --> 00:22:11,462
both artistically
and, I think, commercially.

494
00:22:11,531 --> 00:22:14,999
And "Slacker" certainly fit.

495
00:22:15,068 --> 00:22:16,767
But "independent film"
meant New York.

496
00:22:16,836 --> 00:22:19,236
So it was interesting
to have somebody working

497
00:22:19,305 --> 00:22:21,639
in another part of the country.

498
00:22:21,708 --> 00:22:24,842
The beauty of "Slacker"
is one of those stories

499
00:22:24,911 --> 00:22:27,778
that you figure out
retroactively.

500
00:22:27,847 --> 00:22:32,717
It fit into this sort of
generational tide, but it was --

501
00:22:32,785 --> 00:22:36,387
the whole idea was that it
somehow spoke for Generation X.

502
00:22:36,456 --> 00:22:41,392
And it became a part
of that cultural moment.

503
00:22:41,461 --> 00:22:44,328
And I think that had a lot to do
with why it got traction.

504
00:22:46,532 --> 00:22:49,166
Walker: The ones who are
looking to create

505
00:22:49,235 --> 00:22:50,701
something
that hasn't been done before,

506
00:22:50,770 --> 00:22:54,171
looking to find their own way
on the margins of society,

507
00:22:54,240 --> 00:22:55,873
looking for freedom,
which is, you know,

508
00:22:55,942 --> 00:22:59,977
not in the wide-open spaces.

509
00:23:00,046 --> 00:23:01,979
Pallotta: Rick -- In his mind,
he knew that he was gonna

510
00:23:02,048 --> 00:23:04,248
find an audience for this movie.

511
00:23:04,317 --> 00:23:06,283
I certainly didn't think
that it was gonna have

512
00:23:06,352 --> 00:23:08,119
the sort of cultural impact
that it had.

513
00:23:08,187 --> 00:23:09,387
It really sort of hit

514
00:23:09,455 --> 00:23:11,555
into some sort of zeitgeist
at that moment,

515
00:23:11,624 --> 00:23:14,125
and it became
a mainstream thing.

516
00:23:14,193 --> 00:23:16,727
Ebert: I enjoyed "Slacker"
simply because of the weird

517
00:23:16,796 --> 00:23:18,529
and eccentric people
it contains,

518
00:23:18,598 --> 00:23:21,866
most of them nonstop talkers
with bizarre theories.

519
00:23:21,934 --> 00:23:24,068
This movie is as close as
you can get to the experience

520
00:23:24,137 --> 00:23:26,303
of listening in
on every conversation

521
00:23:26,372 --> 00:23:30,040
in the off-campus neo-beatnik
coffee shop all at once.

522
00:23:30,109 --> 00:23:32,009
Siskel: Except that I didn't
that the collection of people

523
00:23:32,078 --> 00:23:33,944
that he found
were that interesting.

524
00:23:34,013 --> 00:23:36,947
And that's -- that's
my problem with the picture.

525
00:23:37,016 --> 00:23:38,816
But the spirit
of the enterprise

526
00:23:38,885 --> 00:23:40,384
I appreciate tremendously.

527
00:23:40,453 --> 00:23:43,187
In fact, my favorite scene
is the last scene,

528
00:23:43,256 --> 00:23:44,455
which is probably
your favorite, too.

529
00:23:44,524 --> 00:23:45,623
Linklater:
It got -- You know,

530
00:23:45,691 --> 00:23:47,191
we were showing up
in every magazine.

531
00:23:47,260 --> 00:23:48,426
Now I think you make
the same film,

532
00:23:48,494 --> 00:23:51,629
and it would be like,
"Oh, another indie film.

533
00:23:51,697 --> 00:23:53,030
Whoopie."

534
00:23:53,099 --> 00:23:54,398
You know, I don't -- I don't --

535
00:23:54,467 --> 00:23:56,867
I was definitely born
at the right time, I think,

536
00:23:56,936 --> 00:24:02,940
to catch the indie
as vibrant, cultural thing.

537
00:24:03,009 --> 00:24:05,176
You just don't -- I don't --

538
00:24:05,244 --> 00:24:09,547
I don't think you'd get
this kind of support now.

539
00:24:09,615 --> 00:24:11,248
Barker: What convinced us
to go for the movie

540
00:24:11,317 --> 00:24:13,884
is Newsweek had done
some sort of article

541
00:24:13,953 --> 00:24:16,454
where they alluded to the fact

542
00:24:16,522 --> 00:24:18,789
that the dictionary
was considering

543
00:24:18,858 --> 00:24:21,325
putting the word "slacker"
in the dictionary.

544
00:24:21,394 --> 00:24:24,662
so here was a movie that
didn't look commercial

545
00:24:24,730 --> 00:24:26,664
in any way, shape, or form,

546
00:24:26,732 --> 00:24:30,601
and we decided to pursue it
because it was a new voice.

547
00:24:33,072 --> 00:24:36,907
You hope that the critics
that love the film

548
00:24:36,976 --> 00:24:38,742
notice the things
that we've noticed.

549
00:24:38,811 --> 00:24:42,546
And we really toured Rick around
the country to promote

550
00:24:42,615 --> 00:24:45,583
because the film is him.

551
00:24:45,651 --> 00:24:49,320
Linklater: We were hoping
to self-distribute

552
00:24:49,388 --> 00:24:51,155
to some degree at best,

553
00:24:51,224 --> 00:24:52,556
put some videos out there,

554
00:24:52,625 --> 00:24:55,159
maybe get into
a film festival or two.

555
00:24:55,228 --> 00:24:58,929
Maybe European TV would buy
this weird thing from Texas.

556
00:24:58,998 --> 00:25:02,299
But the fact that this little
non-narrative from nowhere

557
00:25:02,368 --> 00:25:04,602
could fit into that world
didn't really --

558
00:25:04,670 --> 00:25:06,604
That was kind of a pipe dream.

559
00:25:06,672 --> 00:25:08,939
I would never say that out loud.

560
00:25:09,008 --> 00:25:11,408
You know,
that would be embarrassing.

561
00:25:15,047 --> 00:25:17,081
Pierson:
If you look at that moment

562
00:25:17,149 --> 00:25:19,250
in American
independent film history,

563
00:25:19,318 --> 00:25:21,752
you'll see films that succeed

564
00:25:21,821 --> 00:25:23,787
because they speak
for an audience

565
00:25:23,856 --> 00:25:26,724
that hadn't seen itself
onscreen very much.

566
00:25:28,661 --> 00:25:30,160
Delony: What do you think
the CIA's down there

567
00:25:30,229 --> 00:25:31,562
hacking the hell
out of that forest, huh?

568
00:25:31,631 --> 00:25:33,130
Make sense?
Sure it does.

569
00:25:33,199 --> 00:25:35,966
Yeah, this drug takes away
your long-term memory,

570
00:25:36,035 --> 00:25:37,268
leaves your short-term memory.

571
00:25:37,336 --> 00:25:38,769
So there you are.

572
00:25:38,838 --> 00:25:40,404
Pallotta: When you're making
something with him,

573
00:25:40,473 --> 00:25:42,072
you kind of feel
like it's very loose

574
00:25:42,141 --> 00:25:43,641
until you see the end result,

575
00:25:43,709 --> 00:25:46,577
and then you sort of realize,
like, how structured it is.

576
00:25:46,646 --> 00:25:49,513
And at that time, with, like,
the independent filmmaking

577
00:25:49,582 --> 00:25:52,416
hadn't really seen anything
like that at that time.

578
00:25:52,485 --> 00:25:54,919
So he was already sort of
bringing a level of --

579
00:25:54,987 --> 00:25:56,453
of craftsmanship to his movies,

580
00:25:56,522 --> 00:25:58,722
even though it had,
like, no budget.

581
00:26:00,793 --> 00:26:03,694
Rick's one of the best
collaborators I know.

582
00:26:03,763 --> 00:26:04,962
And he trusts people.

583
00:26:05,031 --> 00:26:07,898
And he expects people to --
to do their best.

584
00:26:07,967 --> 00:26:10,100
But it's --
it's always Rick's film.

585
00:26:10,169 --> 00:26:11,468
Delony: Tell you what.
Listen.

586
00:26:11,537 --> 00:26:13,404
I'm gonna stick around
outside just for a little while,

587
00:26:13,472 --> 00:26:15,472
you know, and, uh, kind of make
sure everything's okay.

588
00:26:15,541 --> 00:26:17,274
You know, make sure
we weren't followed.

589
00:26:17,343 --> 00:26:19,410
Smith: August 2, 1991.

590
00:26:19,478 --> 00:26:22,379
That's when I go see "Slacker,"
on my 21st birthday.

591
00:26:22,448 --> 00:26:26,150
I'd never imagined,
before seeing that movie,

592
00:26:26,218 --> 00:26:30,621
myself as a storyteller,
let alone a filmmaker.

593
00:26:30,690 --> 00:26:33,924
But he held a mirror
up to a world that I knew

594
00:26:33,993 --> 00:26:35,526
even though it was a world away.

595
00:26:35,595 --> 00:26:37,294
Man: Ready?
Woman: Waiting on Rick.

596
00:26:37,363 --> 00:26:39,630
Smith: Richard Linklater
made it seem possible.

597
00:26:39,699 --> 00:26:42,366
Man: Rolling.
Okay, Rick.

598
00:26:42,435 --> 00:26:44,201
Linklater: Action.

599
00:26:46,672 --> 00:26:49,006
Walker: I think we were
all surprised at the end

600
00:26:49,075 --> 00:26:50,941
of the process
of making "Slacker"

601
00:26:51,010 --> 00:26:53,844
that when it came time
to fill in the blanks,

602
00:26:53,913 --> 00:26:57,414
that, really, Rick had directed
and produced

603
00:26:57,483 --> 00:26:59,149
and written the picture.

604
00:26:59,218 --> 00:27:01,518
I think that's part of his skill
as a director

605
00:27:01,587 --> 00:27:03,487
is that he's getting
what he wants

606
00:27:03,556 --> 00:27:06,090
the way he knows how to do it,

607
00:27:06,158 --> 00:27:09,860
which is to include
everyone in his vision.

608
00:27:09,929 --> 00:27:11,195
But while you're doing it,

609
00:27:11,263 --> 00:27:13,197
you're pretty sure
it's your vision, too.

610
00:27:13,265 --> 00:27:15,199
[ Indistinct chatter ]

611
00:27:32,551 --> 00:27:33,984
Woman: I think he'll be having
his birthday.

612
00:27:34,053 --> 00:27:35,953
[ Laughter ]

613
00:27:51,537 --> 00:27:54,238
[ Laughter ]

614
00:28:01,013 --> 00:28:03,013
Whoo!

615
00:28:13,259 --> 00:28:16,026
Linklater: Being young
is to want, you know?

616
00:28:16,095 --> 00:28:18,328
These guys --
They sort of want everything,

617
00:28:18,397 --> 00:28:19,963
but then that's what youth is.

618
00:28:20,032 --> 00:28:21,265
You -- Not only do you
want everything.

619
00:28:21,333 --> 00:28:23,767
You kind of assume
it's yours, you think.

620
00:28:29,809 --> 00:28:33,343
Page 64, scene 44.

621
00:28:33,412 --> 00:28:35,746
[ Clears throat ]

622
00:28:35,815 --> 00:28:37,114
Okay, locker room.

623
00:28:37,183 --> 00:28:39,717
This feels like my second
or third movie.

624
00:28:39,785 --> 00:28:41,185
Just the approach
is very youthful.

625
00:28:41,253 --> 00:28:42,686
It's college.

626
00:28:42,755 --> 00:28:44,321
It feels like something I would
have done a long time ago.

627
00:28:44,390 --> 00:28:47,191
But I think I'm bringing to it
a lot more experience.

628
00:28:47,259 --> 00:28:49,393
So it kind of makes me
think a little bit,

629
00:28:49,462 --> 00:28:51,895
"Oh, how have I gotten --

630
00:28:51,964 --> 00:28:54,665
What have I learned over
the two decades or what --

631
00:28:54,734 --> 00:28:56,300
You know, what do I know?"

632
00:28:56,368 --> 00:28:57,601
And then you sort of
challenge yourself --

633
00:28:57,670 --> 00:28:59,436
"Can I still pull off
a movie like this?"

634
00:28:59,505 --> 00:29:00,804
But then it's like, "Well,
I've kind of maybe

635
00:29:00,873 --> 00:29:01,905
gotten better at it."

636
00:29:01,974 --> 00:29:03,107
Where's he going
with that beverage?

637
00:29:03,175 --> 00:29:04,808
I mean, you probably
want a little something.

638
00:29:04,877 --> 00:29:07,344
You don't mind if others hear,
but you would kind of...

639
00:29:07,413 --> 00:29:10,814
Black: When Rick decides to stay
in Austin after "Slacker,"

640
00:29:10,883 --> 00:29:13,450
the entire film scene
that we see today

641
00:29:13,519 --> 00:29:15,352
comes from that moment.

642
00:29:15,421 --> 00:29:17,321
Interviewer:
Do you have another film
that you're prepared to do?

643
00:29:17,389 --> 00:29:18,555
Is it gonna be
more narrative, or...?

644
00:29:18,624 --> 00:29:20,157
Linklater: Yeah, much more.

645
00:29:20,226 --> 00:29:22,092
A little more conventional,
but it'll still be pretty edgy,

646
00:29:22,161 --> 00:29:23,327
and also low-budget.

647
00:29:23,395 --> 00:29:24,762
I mean,
I hope to stay in Texas and --

648
00:29:24,830 --> 00:29:27,397
and make movies
for quite some time.

649
00:29:27,466 --> 00:29:28,932
Interviewer: But there's also
a really strong

650
00:29:29,001 --> 00:29:30,434
filmmaking scene
that's evolved.

651
00:29:30,503 --> 00:29:32,302
I mean, it's evolved
over the last 10 years.

652
00:29:32,371 --> 00:29:35,239
Linklater: Yeah, it --
it could be bigger.

653
00:29:35,307 --> 00:29:36,740
It's always a struggle.

654
00:29:36,809 --> 00:29:38,308
The industry isn't here,
so there's not the money,

655
00:29:38,377 --> 00:29:40,010
and it's a little tougher
to put things together.

656
00:29:40,079 --> 00:29:41,945
But on the brighter side,
I mean,

657
00:29:42,014 --> 00:29:44,281
there's -- there's crews.

658
00:29:44,350 --> 00:29:45,916
There's lots of support.

659
00:29:45,985 --> 00:29:47,151
People have, I think,
more of a passion

660
00:29:47,219 --> 00:29:48,652
and it's not quite a job.

661
00:29:48,721 --> 00:29:50,554
Like, "Slacker," like I said,
could not have been made

662
00:29:50,623 --> 00:29:52,022
in New York
or LA or anywhere else.

663
00:29:52,091 --> 00:29:53,257
I mean, it was just...

664
00:29:53,325 --> 00:29:56,226
Walker: It kind of became
the Rick show, sure.

665
00:29:56,295 --> 00:29:57,394
But he was good at it,

666
00:29:57,463 --> 00:29:59,263
and we made
a good film together.

667
00:29:59,331 --> 00:30:03,901
So it just --
You know, I think --

668
00:30:03,969 --> 00:30:06,236
I think Sam Huston knows

669
00:30:06,305 --> 00:30:08,872
that a volunteer army
fights one battle

670
00:30:08,941 --> 00:30:10,340
and then goes home.

671
00:30:10,409 --> 00:30:15,913
And so with "Slacker," we fought
one big battle, and we won.

672
00:30:22,755 --> 00:30:23,620
Assistant Director:
You're making out.

673
00:30:23,689 --> 00:30:24,822
You're drinking.

674
00:30:24,890 --> 00:30:27,057
Whatever you've been
assigned to do.

675
00:30:27,126 --> 00:30:30,027
When I say "move,"
you stop doing those things.

676
00:30:30,095 --> 00:30:32,796
You notice the fight,
and you move in.

677
00:30:32,865 --> 00:30:35,265
Now, anyone who doesn't
understand that,

678
00:30:35,334 --> 00:30:37,634
make yourself known right now.

679
00:30:37,703 --> 00:30:40,804
[ Indistinct chatter ]

680
00:30:40,873 --> 00:30:43,006
All right, so what are you
gonna do on background?

681
00:30:43,075 --> 00:30:45,576
What you've been doing
for the past three days.

682
00:30:45,644 --> 00:30:46,910
Start acting.

683
00:30:50,282 --> 00:30:53,951
[ Indistinct chatter ]

684
00:30:54,019 --> 00:30:56,220
Adair: I really knew
nothing about him.

685
00:30:56,288 --> 00:30:58,822
I had heard that he had made
a film named "Slacker"

686
00:30:58,891 --> 00:31:00,023
that I hadn't seen

687
00:31:00,092 --> 00:31:01,992
and that he was a young director

688
00:31:02,061 --> 00:31:04,294
and this was his first
real feature --

689
00:31:04,363 --> 00:31:07,064
a studio film and was
gonna have a decent budget

690
00:31:07,132 --> 00:31:10,801
and that they might
be looking for an editor.

691
00:31:10,870 --> 00:31:13,604
I wanted to work on this film
so bad,

692
00:31:13,672 --> 00:31:15,839
but I didn't know who he was.

693
00:31:15,908 --> 00:31:19,042
He was a complete stranger,
and very -- He was just --

694
00:31:19,111 --> 00:31:22,012
He didn't come off
and look like a director

695
00:31:22,081 --> 00:31:24,047
that would have the longevity
that he's had.

696
00:31:24,116 --> 00:31:26,783
He just looked like a young guy.

697
00:31:26,852 --> 00:31:28,819
He was a kid at that point.

698
00:31:31,891 --> 00:31:33,590
Pierson: To go from "Slacker"
to "Dazed and Confused"

699
00:31:33,659 --> 00:31:34,791
was kind of mind-blowing.

700
00:31:34,860 --> 00:31:36,493
Nobody would really
look at "Slacker,"

701
00:31:36,562 --> 00:31:38,462
which is essentially
a non-narrative film,

702
00:31:38,530 --> 00:31:40,264
or a constructed-narrative film,

703
00:31:40,332 --> 00:31:44,234
and think that he would make
something that was just so --

704
00:31:44,303 --> 00:31:48,171
so entertaining on --
on a so much more general level.

705
00:31:49,408 --> 00:31:53,844
в™Є Swe-e-e-e-e-e-t в™Є

706
00:31:53,913 --> 00:31:58,849
в™Є Emotion в™Є

707
00:31:58,918 --> 00:32:01,151
Linklater: I remember driving up
first day of production,

708
00:32:01,220 --> 00:32:02,252
and same kind of thing.

709
00:32:02,321 --> 00:32:03,787
I'm driving up in my own car,

710
00:32:03,856 --> 00:32:06,556
but I'm passing all these trucks
and all these things.

711
00:32:06,625 --> 00:32:08,859
I had visited film sets
over the years and said,

712
00:32:08,928 --> 00:32:09,993
"I'll never need this.

713
00:32:10,062 --> 00:32:11,495
I just need a camera
and a sound crew,

714
00:32:11,563 --> 00:32:13,530
and, you know,
I'm gonna keep it small.

715
00:32:13,599 --> 00:32:15,032
And I don't need
all that other stuff."

716
00:32:15,100 --> 00:32:18,168
But you realize, "Oh, you're
making a film for a studio."

717
00:32:18,237 --> 00:32:21,038
I had learned just enough to,
like, "Oh, it's all necessary.

718
00:32:21,106 --> 00:32:23,440
Here, it's called
a professional production.

719
00:32:23,509 --> 00:32:26,944
It's called how you do it."

720
00:32:32,051 --> 00:32:34,084
It must be like a pro athlete

721
00:32:34,153 --> 00:32:36,119
taking your first at bat
in the major leagues.

722
00:32:36,188 --> 00:32:37,487
You know, "I've been
in the minors, been in college,

723
00:32:37,556 --> 00:32:39,156
but suddenly,
there's 40,000 people.

724
00:32:39,224 --> 00:32:41,191
Like, okay, I'm at a new level.

725
00:32:41,260 --> 00:32:43,160
Well, this is where
you want to be.

726
00:32:43,228 --> 00:32:44,695
Okay.
You're ready.

727
00:32:44,763 --> 00:32:45,963
Go -- Go tell your story.

728
00:32:46,031 --> 00:32:48,165
Go make your movie."

729
00:32:48,233 --> 00:32:49,299
[ School bell rings ]

730
00:32:49,368 --> 00:32:50,534
Teacher: Hey, guys,
one more thing.

731
00:32:50,602 --> 00:32:52,502
Hey, this summer,
when you're being inundated

732
00:32:52,571 --> 00:32:54,104
with all this American
bicentennial

733
00:32:54,173 --> 00:32:55,939
4th of July brouhaha,

734
00:32:56,008 --> 00:32:57,341
don't forget what
you're celebrating,

735
00:32:57,409 --> 00:32:59,276
and that's the fact
that a bunch of slave-owning,

736
00:32:59,345 --> 00:33:01,345
aristocratic white males

737
00:33:01,413 --> 00:33:04,748
didn't want to pay their taxes.
Student: Yeah!

738
00:33:04,817 --> 00:33:06,817
Linklater: You know, you look
at a genre and just say,

739
00:33:06,885 --> 00:33:08,752
"Oh, I've got my own
teenage film to make."

740
00:33:08,821 --> 00:33:10,053
I was always trying
to capture, like,

741
00:33:10,122 --> 00:33:11,655
a moment or the essence of it.

742
00:33:11,724 --> 00:33:14,024
I didn't have a great plot, but
I had, like, the texture of it.

743
00:33:14,093 --> 00:33:16,760
I had, like, the feel of it.

744
00:33:16,829 --> 00:33:20,664
Darla: All right,
you little freshman bitches!

745
00:33:20,733 --> 00:33:23,166
Air raid!

746
00:33:23,235 --> 00:33:25,969
Linklater: It was kind
of magical, re-creating a period

747
00:33:26,038 --> 00:33:29,439
and the atmosphere
of a point in time.

748
00:33:31,710 --> 00:33:34,444
Nostalgia kind of suggests
a warm glow,

749
00:33:34,513 --> 00:33:35,912
like, "Oh, what a great time."

750
00:33:35,981 --> 00:33:37,581
I didn't have that feeling
about this.

751
00:33:37,649 --> 00:33:39,316
And I think that comes
through in the movie,

752
00:33:39,385 --> 00:33:41,151
if you really break it down.

753
00:33:41,220 --> 00:33:43,286
But yet you look back on it --

754
00:33:43,355 --> 00:33:47,557
You know, there's something
kind of great about it, too.

755
00:33:47,626 --> 00:33:50,093
[ Foghat's "Slow Ride" plays ]

756
00:33:50,162 --> 00:33:51,595
в™Є Slow ride в™Є

757
00:33:51,663 --> 00:33:54,064
Adair: There was
something about the footage

758
00:33:54,133 --> 00:33:57,034
that we were getting
that was so genuine.

759
00:33:57,102 --> 00:33:58,735
I felt like I'd really
never seen

760
00:33:58,804 --> 00:34:00,737
that kind of footage before.

761
00:34:00,806 --> 00:34:03,140
Whatever it was
that he managed to do,

762
00:34:03,208 --> 00:34:05,375
pulling that ensemble together,

763
00:34:05,444 --> 00:34:07,477
was an incredible experience
to be able

764
00:34:07,546 --> 00:34:09,112
to watch the dailies
and just go,

765
00:34:09,181 --> 00:34:11,314
"Oh, my God, these kids
are nailing it!"

766
00:34:11,383 --> 00:34:13,216
And the only reason
they're nailing it

767
00:34:13,285 --> 00:34:17,087
is because it was well-cast,
and they trust Rick.

768
00:34:17,156 --> 00:34:18,989
Linklater: And just read it
in your mind again.

769
00:34:19,058 --> 00:34:20,390
Woman: Yeah, okay.

770
00:34:20,459 --> 00:34:23,460
You know, I really like
Tony's last, um,

771
00:34:23,529 --> 00:34:25,062
column about this decade.

772
00:34:25,130 --> 00:34:26,530
What was that line?

773
00:34:26,598 --> 00:34:29,866
"The uncertainties of the '60s
have been sold out

774
00:34:29,935 --> 00:34:34,037
for the certainty of boredom
in the '70s."

775
00:34:34,106 --> 00:34:36,673
Maybe the '80s
will be radical, you know?

776
00:34:36,742 --> 00:34:38,208
I figure we'll be in our 20s.

777
00:34:38,277 --> 00:34:40,544
McConaughey: Rick gave all the
cast members albums and goes,

778
00:34:40,612 --> 00:34:41,878
"This is what I think your guy
or your girl

779
00:34:41,947 --> 00:34:43,647
would be listening to."

780
00:34:43,715 --> 00:34:46,516
That, number one, is brilliant
because it's not a director

781
00:34:46,585 --> 00:34:48,385
telling anyone what to do.

782
00:34:48,454 --> 00:34:49,553
You get to go off and listen

783
00:34:49,621 --> 00:34:51,054
to music from the time
and the place,

784
00:34:51,123 --> 00:34:53,890
and the director thinks it's
what you'd be listening to?

785
00:34:53,959 --> 00:34:56,626
Then the actor gets to own
whatever they come up with

786
00:34:56,695 --> 00:34:58,328
about what that means.

787
00:34:58,397 --> 00:34:59,930
We love that stuff.

788
00:34:59,998 --> 00:35:01,765
Ebert: This new film is
so well-written and acted

789
00:35:01,834 --> 00:35:03,467
it's almost
like anthropology.

790
00:35:03,535 --> 00:35:05,735
It knows exactly
how high-school kids

791
00:35:05,804 --> 00:35:07,771
of 15 or 20 years ago talked,

792
00:35:07,840 --> 00:35:10,006
dressed, thought, and behaved.

793
00:35:10,075 --> 00:35:11,808
There's no big plot
to get in the way

794
00:35:11,877 --> 00:35:13,376
because what the movie
wants to do

795
00:35:13,445 --> 00:35:14,878
is suggest the kind of world

796
00:35:14,947 --> 00:35:16,813
they're entering in the
sometimes dazed,

797
00:35:16,882 --> 00:35:19,182
sometimes confused,
sometimes hopeful,

798
00:35:19,251 --> 00:35:22,052
and sometimes promising
people that they are.

799
00:35:22,121 --> 00:35:23,753
Tricia Linklater: You only have
one shot at an opening,

800
00:35:23,822 --> 00:35:25,589
and it was a bad
opening weekend.

801
00:35:25,657 --> 00:35:27,924
The posters made it seem
like a drug movie,

802
00:35:27,993 --> 00:35:30,827
which wouldn't have
played well in the Midwest.

803
00:35:30,896 --> 00:35:33,130
It was really frustrating
for Rick.

804
00:35:33,198 --> 00:35:36,299
It was pretty contentious
at the end.

805
00:35:36,368 --> 00:35:38,268
[ Film reel clicking ]

806
00:35:40,372 --> 00:35:42,339
Linklater: The studio
just dumped it completely

807
00:35:42,407 --> 00:35:44,407
and gave it
to an indie distributor.

808
00:35:44,476 --> 00:35:46,143
That's when I knew I was
in trouble 'cause I thought,

809
00:35:46,211 --> 00:35:48,378
"Well, this is kind of
my commercial film, you know?

810
00:35:48,447 --> 00:35:52,149
This is a teenage rock 'n' roll,
fun movie.

811
00:35:52,217 --> 00:35:54,618
If this isn't commercial,
what am I doing," you know?

812
00:35:54,686 --> 00:35:57,220
So they did everything
they could for the film

813
00:35:57,289 --> 00:35:59,789
not to make money.

814
00:36:09,768 --> 00:36:12,869
I got very lucky
that I got that film made.

815
00:36:12,938 --> 00:36:14,571
I mean, every now and then,

816
00:36:14,640 --> 00:36:16,072
they kind of just want
to be in business with you

817
00:36:16,141 --> 00:36:17,407
and see what you've got.

818
00:36:17,476 --> 00:36:19,376
You know, they give you
that chance.

819
00:36:19,444 --> 00:36:21,444
And so you -- you take it.

820
00:36:36,261 --> 00:36:39,029
Oh, more poker group notes.

821
00:36:39,097 --> 00:36:40,230
Yeah.

822
00:36:40,299 --> 00:36:42,732
Black: This is what
you spend money on.

823
00:36:42,801 --> 00:36:43,900
Linklater: Oh, yeah.

824
00:36:43,969 --> 00:36:46,803
Black: "Beer, gas, movie,
Pepsi, movie,

825
00:36:46,872 --> 00:36:48,805
gas, Pepsi, breakfast,

826
00:36:48,874 --> 00:36:51,208
movie, movie, Pepsi, movie."

827
00:36:51,276 --> 00:36:52,542
Linklater: A lot of Pepsis
and movies.

828
00:36:52,611 --> 00:36:54,010
Isn't that funny?

829
00:36:54,079 --> 00:36:56,012
Black: "Movie,
Pepsi, movie, movie."

830
00:36:56,081 --> 00:36:58,148
Linklater: Even though I had
18 grand in the bank

831
00:36:58,217 --> 00:36:59,416
when I moved to Austin,
I was gonna --

832
00:36:59,484 --> 00:37:00,784
determined to live as cheap --

833
00:37:00,852 --> 00:37:03,253
I think by "Walden," you know,
and Thoreau writes,

834
00:37:03,322 --> 00:37:04,421
like, every penny.

835
00:37:04,489 --> 00:37:06,122
And I thought
I was kind of doing that.

836
00:37:06,191 --> 00:37:08,158
I said, "Well, how much
does it cost for me to live?"

837
00:37:08,227 --> 00:37:10,493
You know, my rent's
$150 a month, all bills paid.

838
00:37:10,562 --> 00:37:11,962
My gas -- So I kept a journal.

839
00:37:12,030 --> 00:37:15,865
I wrote every movie I saw and --
and every penny I spent

840
00:37:15,934 --> 00:37:18,802
just to do an analysis
of how long I could live

841
00:37:18,870 --> 00:37:20,937
on my --
how much money I had.

842
00:37:21,006 --> 00:37:23,340
Isn't that funny?
How much was a movie?

843
00:37:23,408 --> 00:37:25,709
Black: "Movie, Pepsi" -- $1.75.

844
00:37:25,777 --> 00:37:29,346
On 10/31, a movie, and on 11/1,
two movies and a Pepsi.

845
00:37:29,414 --> 00:37:30,747
Drinking a lot of Pepsi.

846
00:37:30,816 --> 00:37:32,816
Linklater: [ Laughs ] Pepsi.

847
00:37:32,884 --> 00:37:36,119
I haven't had a Pepsi
in 25 years.

848
00:37:36,188 --> 00:37:37,687
Man: It is with great pleasure
that we welcome you

849
00:37:37,756 --> 00:37:39,222
to the opening night
press conference

850
00:37:39,291 --> 00:37:42,592
of the 1995
Sundance Film Festival.

851
00:37:42,661 --> 00:37:43,960
We're really very pleased.

852
00:37:44,029 --> 00:37:46,162
We couldn't be more pleased
to have actually a group

853
00:37:46,231 --> 00:37:48,665
of old friends back
at the festival this year --

854
00:37:48,734 --> 00:37:50,934
Rick Linklater, who actually
premiered his --

855
00:37:51,003 --> 00:37:53,336
his first feature here,
"Slacker," several years ago.

856
00:37:53,405 --> 00:37:54,938
Julie, who was here last year.

857
00:37:55,007 --> 00:37:56,906
Ethan, who's been here I think
a couple of different times,

858
00:37:56,975 --> 00:37:58,942
both as a director
and as an actor.

859
00:37:59,011 --> 00:38:00,677
We're very, very pleased to have
everyone here

860
00:38:00,746 --> 00:38:03,079
for the world premiere of
tonight's opening night

861
00:38:03,148 --> 00:38:05,282
"Before Sunrise."
Without further ado...

862
00:38:05,350 --> 00:38:07,350
Sloss: Rick had written
"Before Sunrise"

863
00:38:07,419 --> 00:38:12,489
to be filmed on a train,
like, to San Antonio.

864
00:38:12,557 --> 00:38:14,758
And I just said
something simple, like,

865
00:38:14,826 --> 00:38:16,493
"Why don't we set it in Europe?

866
00:38:16,561 --> 00:38:17,661
That way, we can get --

867
00:38:17,729 --> 00:38:18,995
take advantage of
all these subsidies."

868
00:38:19,064 --> 00:38:20,730
'Cause back then,
there were no state subsidies.

869
00:38:20,799 --> 00:38:23,700
[ Train rails screech ]

870
00:38:23,769 --> 00:38:25,135
Jesse: I want to keep
talking to you, you know?

871
00:38:25,203 --> 00:38:28,605
I have no idea what
your situation is, but, uh --

872
00:38:28,674 --> 00:38:32,876
but I feel like we have
some kind of connection, right?

873
00:38:32,944 --> 00:38:34,311
Celine: Yeah, me, too.

874
00:38:34,379 --> 00:38:35,845
Jesse: Yeah, right.
Well, great.

875
00:38:35,914 --> 00:38:37,414
So listen. Here's the deal.
This is what we should do.

876
00:38:37,482 --> 00:38:38,848
You should get off the train
with me here in Vienna

877
00:38:38,917 --> 00:38:40,216
and come check out the town.

878
00:38:40,285 --> 00:38:41,518
Celine: What?
Jesse: Come on. It'll be fun.

879
00:38:41,586 --> 00:38:42,652
Come on.

880
00:38:42,721 --> 00:38:43,753
Celine: What would we do?

881
00:38:43,822 --> 00:38:45,288
Jesse: Um, I don't know.

882
00:38:45,357 --> 00:38:47,257
All I know is I have to catch
an Austrian Airlines flight

883
00:38:47,326 --> 00:38:49,159
tomorrow morning at 9:30,

884
00:38:49,227 --> 00:38:50,860
and I don't really have
enough money for a hotel,

885
00:38:50,929 --> 00:38:52,495
so I was just gonna walk around,

886
00:38:52,564 --> 00:38:54,764
and it would be a lot more fun
if you came with me.

887
00:38:59,204 --> 00:39:00,904
Delpy: He was looking
to explore romance

888
00:39:00,972 --> 00:39:03,907
maybe in a way that
he doesn't know how to explore.

889
00:39:03,975 --> 00:39:05,709
Rick is a very practical man.

890
00:39:05,777 --> 00:39:08,111
I'm sure he's romantic at times,
but his idea of romance

891
00:39:08,180 --> 00:39:10,480
is not at all
like those characters.

892
00:39:10,549 --> 00:39:14,617
And so I think in us,
he was looking for that romance

893
00:39:14,686 --> 00:39:18,121
that he's not fully in.

894
00:39:19,925 --> 00:39:21,991
Sloss:
The script for "Before Sunrise"
was a tough read.

895
00:39:22,060 --> 00:39:24,260
There was a lot of speechifying.

896
00:39:24,329 --> 00:39:26,863
There were huge Thomas Mann
quotes and things like that.

897
00:39:31,203 --> 00:39:34,371
Linklater: It was a tough film
to get off the ground.

898
00:39:34,439 --> 00:39:37,040
Celine: You know, I believe
if there's any kind of God,

899
00:39:37,109 --> 00:39:39,275
it wouldn't be in any of us --

900
00:39:39,344 --> 00:39:41,911
not you or me --

901
00:39:41,980 --> 00:39:44,614
but just this little
space in between.

902
00:39:44,683 --> 00:39:48,518
Hawke: It was an unprecedented
level of involvement

903
00:39:48,587 --> 00:39:50,820
that he was asking Julie and I
to do.

904
00:39:50,889 --> 00:39:54,958
And I'd never had anybody
want me to contribute.

905
00:39:55,026 --> 00:39:57,394
And he said, "I want
to make a movie

906
00:39:57,462 --> 00:39:59,896
about the most dramatic thing
that's ever happened to me,

907
00:39:59,965 --> 00:40:02,632
which is truly connecting
with another human being."

908
00:40:02,701 --> 00:40:04,701
Celine: If there's any kind
of magic in this world,

909
00:40:04,770 --> 00:40:06,469
it must be in the attempt

910
00:40:06,538 --> 00:40:09,739
of understanding someone,
sharing something.

911
00:40:09,808 --> 00:40:14,010
Hawke: He was very, very
interested in form and content

912
00:40:14,079 --> 00:40:16,346
and doing something new.

913
00:40:16,415 --> 00:40:18,348
Celine: After tomorrow
morning, we --

914
00:40:18,417 --> 00:40:21,451
we're probably never gonna
see each other again, right?

915
00:40:21,520 --> 00:40:23,386
Jesse: You don't think we'll
ever see each other again?

916
00:40:26,191 --> 00:40:27,724
Celine: What do you think?

917
00:40:31,296 --> 00:40:33,463
Linklater: It came down to there
were two guys, two girls,

918
00:40:33,532 --> 00:40:34,798
and I just mixed and matched

919
00:40:34,866 --> 00:40:36,499
and just saw them together,
and it's like,

920
00:40:36,568 --> 00:40:38,535
"Oh, Ethan and Julie
had the best chemistry,"

921
00:40:38,603 --> 00:40:40,270
or they had the --
the quickest minds.

922
00:40:40,338 --> 00:40:42,806
They were -- They were
what I was looking for.

923
00:40:42,874 --> 00:40:44,007
They seemed
the most creative, too,

924
00:40:44,075 --> 00:40:45,842
because I knew it was
gonna take --

925
00:40:45,911 --> 00:40:48,511
The intimacy
that would be required

926
00:40:48,580 --> 00:40:50,713
and the honesty that would
be required from them

927
00:40:50,782 --> 00:40:53,183
to make this thing connect,

928
00:40:53,251 --> 00:40:56,486
if it ever was going to,
was a big challenge.

929
00:40:56,555 --> 00:40:57,921
Celine:
We were in the lunch car,

930
00:40:57,989 --> 00:41:00,056
and he began to talk
about him as a little boy

931
00:41:00,125 --> 00:41:03,693
seeing his great-grandmother's
ghost.

932
00:41:03,762 --> 00:41:06,963
I think that's when
I fell for him.

933
00:41:07,032 --> 00:41:11,134
Just the idea of this little boy
with all those beautiful dreams.

934
00:41:11,203 --> 00:41:13,236
Adair: He knows his characters.

935
00:41:13,305 --> 00:41:15,405
He knows them so well.

936
00:41:15,474 --> 00:41:20,009
And he also understands the
kinds of films that he's making.

937
00:41:20,078 --> 00:41:23,680
One of Rick's most keen
talents is his ability

938
00:41:23,748 --> 00:41:26,149
to cast the right person
for the right part.

939
00:41:26,218 --> 00:41:28,284
Hawke: I-I always kind of wanted
to do a movie.

940
00:41:28,353 --> 00:41:30,420
Whenever you're doing a big,
complicated thing,

941
00:41:30,489 --> 00:41:32,455
you always say, "I really wish
I was doing a film

942
00:41:32,524 --> 00:41:35,158
about, you know, a guy and
a girl talking to each other."

943
00:41:35,227 --> 00:41:38,595
And then this one
kind of came about.

944
00:41:38,663 --> 00:41:42,532
And then I realized kind of what
a terrifying aspect that was.

945
00:41:42,601 --> 00:41:44,934
And figured you only get

946
00:41:45,003 --> 00:41:48,505
that kind of opportunity
every blue moon,

947
00:41:48,573 --> 00:41:50,707
so we took it.

948
00:41:50,775 --> 00:41:53,576
[ Insects chirping ]

949
00:41:53,645 --> 00:41:55,011
Celine: I know.

950
00:41:55,080 --> 00:41:55,945
Linklater: I think
I've always been trying

951
00:41:56,014 --> 00:41:57,780
to tell stories in a --

952
00:41:57,849 --> 00:41:59,849
in a way to me
that feels very organic

953
00:41:59,918 --> 00:42:01,417
to how life feels,

954
00:42:01,486 --> 00:42:03,887
but trying to make
that work in a --

955
00:42:03,955 --> 00:42:07,056
you know, the confines
of narrative expectation.

956
00:42:07,125 --> 00:42:11,528
[ Indistinct P.A. announcement ]

957
00:42:11,596 --> 00:42:13,263
Like, what do I have to offer?

958
00:42:13,331 --> 00:42:16,199
You know, I don't want
to just redo and mash up

959
00:42:16,268 --> 00:42:17,800
a bunch of stuff
that's been done before.

960
00:42:17,869 --> 00:42:21,271
I think I have -- I got my
own version of all this stuff.

961
00:42:21,339 --> 00:42:25,508
So, you know, you got
your own take on the world.

962
00:42:36,922 --> 00:42:39,856
[ Whistle blows ]

963
00:42:39,925 --> 00:42:41,224
People would ask, like,

964
00:42:41,293 --> 00:42:42,659
"Well, did they see each other
again six months later?"

965
00:42:42,727 --> 00:42:44,727
But no one said,
"Are you gonna do a sequel?"

966
00:42:44,796 --> 00:42:46,963
Just there were
three people in the world

967
00:42:47,032 --> 00:42:48,765
who maybe wanted
a sequel to that,

968
00:42:48,833 --> 00:42:50,500
and that was Julie
and Ethan and I.

969
00:42:52,337 --> 00:42:54,971
I-I think we were afraid
of the idea

970
00:42:55,040 --> 00:42:57,040
until I had a scene
in "Waking Life,"

971
00:42:57,108 --> 00:43:00,610
which we shot
in the summer of '99.

972
00:43:00,679 --> 00:43:03,346
And I think at the end
of that, we had fun,

973
00:43:03,415 --> 00:43:05,748
and we kind of looked at each
other and go, "You know,

974
00:43:05,817 --> 00:43:07,383
maybe we should think about" --

975
00:43:07,452 --> 00:43:09,419
because at that point, you know,

976
00:43:09,487 --> 00:43:10,653
we realized Celine and Jesse

977
00:43:10,722 --> 00:43:12,055
were still kind of with us.

978
00:43:12,123 --> 00:43:14,490
Man: Serving your life
from the perspective of...

979
00:43:14,559 --> 00:43:15,892
Adair: I started
hearing rumblings

980
00:43:15,961 --> 00:43:17,160
about there being a sequel.

981
00:43:17,228 --> 00:43:19,729
And I was in disbelief.
I was like, "What?!

982
00:43:19,798 --> 00:43:22,065
What are you talking about,
'There's gonna be a sequel'?"

983
00:43:22,133 --> 00:43:24,500
And then it started
to make sense.

984
00:43:24,569 --> 00:43:26,803
Yeah, catch up with them
nine years later.

985
00:43:26,871 --> 00:43:28,504
How -- What are they
gonna be up to?

986
00:43:30,008 --> 00:43:32,275
Jesse:
He says that we are the sum

987
00:43:32,344 --> 00:43:34,577
of all the moments of our lives

988
00:43:34,646 --> 00:43:36,212
and that, uh,
anybody who sits down

989
00:43:36,281 --> 00:43:38,214
to write is gonna use
the clay of their own life,

990
00:43:38,283 --> 00:43:41,150
that you can't avoid that.

991
00:43:41,219 --> 00:43:44,020
Linklater: We sort of decided
to take the first part of it --

992
00:43:44,089 --> 00:43:45,688
that encounter --

993
00:43:45,757 --> 00:43:48,691
and, "What if we did it
in actual real time?"

994
00:43:48,760 --> 00:43:49,826
Like, that would be
the narrative.

995
00:43:49,894 --> 00:43:50,893
You know, the sun's going down.

996
00:43:50,962 --> 00:43:52,762
We've got a flight to catch.

997
00:43:52,831 --> 00:43:54,063
Boom.

998
00:43:54,132 --> 00:43:56,799
It's almost like doing
a walking, talking play.

999
00:43:56,868 --> 00:43:58,968
You know, you can't
cut anything.

1000
00:43:59,037 --> 00:44:02,572
Technically, you've painted
yourself in a corner.

1001
00:44:02,641 --> 00:44:04,107
Jesse: Oh, yeah?
Celine: Yeah.

1002
00:44:04,175 --> 00:44:06,542
Adair: Many directors,
I think, would have shot,

1003
00:44:06,611 --> 00:44:09,679
you know, moving POVs
of the buildings

1004
00:44:09,748 --> 00:44:11,648
and the, you know, Eiffel Tower,

1005
00:44:11,716 --> 00:44:13,449
some of the scenery moving,

1006
00:44:13,518 --> 00:44:15,752
and he didn't really
shoot any of that.

1007
00:44:15,820 --> 00:44:18,988
And it's about what's happening
right there in that moment

1008
00:44:19,057 --> 00:44:21,624
right then and the power
of that moment.

1009
00:44:21,693 --> 00:44:22,925
Celine: I want to kill them.

1010
00:44:22,994 --> 00:44:24,494
Why didn't they ask me
to marry them?

1011
00:44:24,562 --> 00:44:26,829
I would have said no, but at
least they could have asked!

1012
00:44:26,898 --> 00:44:27,830
But it's my fault.

1013
00:44:27,899 --> 00:44:29,232
I know it's my fault because

1014
00:44:29,300 --> 00:44:31,901
I never felt it
was the right man, never!

1015
00:44:31,970 --> 00:44:33,469
But what does it mean,
"the right man"?

1016
00:44:33,538 --> 00:44:35,271
The love of your life?
The concept is absurd.

1017
00:44:35,340 --> 00:44:37,306
The idea that we can only be
complete with another person

1018
00:44:37,375 --> 00:44:40,143
is evil, right?
Jesse: Can I talk?

1019
00:44:40,211 --> 00:44:43,046
Delpy: I was fired
by my agent at the time

1020
00:44:43,114 --> 00:44:45,214
because he said to me,
"You're wasting your time

1021
00:44:45,283 --> 00:44:49,385
writing the sequel to a movie
that no one cared about,

1022
00:44:49,454 --> 00:44:51,154
a movie that no one
will want to see.

1023
00:44:51,222 --> 00:44:52,955
I mean, you know,
what are you doing,

1024
00:44:53,024 --> 00:44:56,559
instead of going to the audition
for 'Rush Hour 3'?"

1025
00:45:05,503 --> 00:45:08,071
Celine: Oh.

1026
00:45:08,139 --> 00:45:09,972
Ooh, yeah.
Mm-hmm.

1027
00:45:10,041 --> 00:45:11,974
[ Chuckles ]

1028
00:45:13,678 --> 00:45:15,178
Baby.

1029
00:45:15,246 --> 00:45:17,880
You are gonna miss that plane.

1030
00:45:17,949 --> 00:45:21,651
Hawke: "Before Sunset"
kind of saved my life.

1031
00:45:21,720 --> 00:45:23,986
I was really hurting
at that moment in my life,

1032
00:45:24,055 --> 00:45:28,858
and then there was this safe,
little bubble, this place,

1033
00:45:28,927 --> 00:45:31,394
this Jesse and Celine world,

1034
00:45:31,463 --> 00:45:34,063
you know, where the light
is always golden

1035
00:45:34,132 --> 00:45:36,165
and you always have
friends there.

1036
00:45:36,234 --> 00:45:40,903
And being in...

1037
00:45:40,972 --> 00:45:43,773
in that room, writing that movie
with the two of them

1038
00:45:43,842 --> 00:45:46,676
and acting with Julie
and running lines with Julie,

1039
00:45:46,745 --> 00:45:50,747
and I remember we did the first
shot of "Before Sunset"

1040
00:45:50,815 --> 00:45:52,682
when Jesse and Celine
were together.

1041
00:45:52,751 --> 00:45:54,951
Rick had this look on his face.

1042
00:45:55,019 --> 00:45:56,252
I go, "What is it?"

1043
00:45:56,321 --> 00:45:59,088
He goes, "I'm just so happy
to see them."

1044
00:46:03,328 --> 00:46:06,796
[ Indistinct chatter ]

1045
00:46:11,136 --> 00:46:15,171
Man: Cut the chatter, please.
We're rehearsing here.

1046
00:46:15,240 --> 00:46:17,640
Be quiet.

1047
00:46:24,582 --> 00:46:27,250
All right, everybody ready?

1048
00:46:27,318 --> 00:46:28,684
This is picture.

1049
00:46:28,753 --> 00:46:31,320
[ Applause ]

1050
00:46:36,694 --> 00:46:38,594
[ Indistinct conversations ]

1051
00:46:42,867 --> 00:46:44,667
Man: Do you mind
if I play off that

1052
00:46:44,736 --> 00:46:46,602
like, when he says...

1053
00:46:46,671 --> 00:46:49,405
[ Indistinct conversations ]

1054
00:46:56,014 --> 00:46:58,214
Man 1: Drafted out
of high school?

1055
00:46:58,283 --> 00:47:00,650
Man 2: No.

1056
00:47:00,718 --> 00:47:03,019
I don't know that we're --
Are we ready to shoot now?

1057
00:47:03,087 --> 00:47:05,254
Linklater: Well,
performance-wise we are.

1058
00:47:07,926 --> 00:47:10,293
If you're gonna make a lot
of movies, you're gonna have --

1059
00:47:10,361 --> 00:47:12,862
I just kind of count
my lucky stars.

1060
00:47:12,931 --> 00:47:15,665
You can't -- You just can't
predict or control

1061
00:47:15,733 --> 00:47:18,501
what happens to your movie
after you finish it.

1062
00:47:22,807 --> 00:47:26,976
Glasscock: According to the odds
and the gods...

1063
00:47:27,045 --> 00:47:29,979
you only get to make
one mistake with this.

1064
00:47:39,023 --> 00:47:41,591
We should probably leave now.

1065
00:47:41,659 --> 00:47:44,460
[ Explosion ]

1066
00:47:47,232 --> 00:47:49,165
Linklater: I had a similar
experience with the studio

1067
00:47:49,234 --> 00:47:50,733
that I had had on "Dazed,"

1068
00:47:50,802 --> 00:47:52,435
where I got the movie
that was in my heart --

1069
00:47:52,503 --> 00:47:53,870
I got it made,

1070
00:47:53,938 --> 00:47:56,172
and the studio behind it
just looked at it

1071
00:47:56,241 --> 00:47:57,573
and went, "It's" --

1072
00:47:57,642 --> 00:47:59,242
You know, they weren't
that interested in it.

1073
00:47:59,310 --> 00:48:00,443
I don't know.
What am I doing?

1074
00:48:00,511 --> 00:48:02,144
I'm the GenX guy.

1075
00:48:02,213 --> 00:48:04,347
"What are you -- You shouldn't
be making films like this."

1076
00:48:04,415 --> 00:48:06,182
That was the consensus.

1077
00:48:08,653 --> 00:48:09,719
Interviewer: You know, and
there's all this anxiety here

1078
00:48:09,787 --> 00:48:11,387
at the South by Southwest
Festival.

1079
00:48:11,456 --> 00:48:14,090
You know, people worry
about Hollywoodism and sell-out.

1080
00:48:14,158 --> 00:48:16,525
Linklater: I don't have any
problem taking someone's money

1081
00:48:16,594 --> 00:48:18,628
to make a movie
that I really want to make.

1082
00:48:18,696 --> 00:48:21,464
I'm not being hired by Hollywood
to do one of their films.

1083
00:48:21,532 --> 00:48:23,366
This is my own film.
You know, whatever level.

1084
00:48:23,434 --> 00:48:25,301
I've always admired
the Scorseses of the world

1085
00:48:25,370 --> 00:48:27,036
who can get
their own films made.

1086
00:48:27,105 --> 00:48:28,938
[ Theme music plays ]

1087
00:48:30,475 --> 00:48:33,576
Dock: How much is
a million dollars, exactly?

1088
00:48:33,645 --> 00:48:36,979
Willis: A million, hoss,
is a one...

1089
00:48:37,048 --> 00:48:38,648
that many zeroes.

1090
00:48:38,716 --> 00:48:40,616
Ebert: "The Newton Boys" was
directed by Richard Linklater,

1091
00:48:40,685 --> 00:48:42,785
a talented director
whose "Dazed and Confused"

1092
00:48:42,854 --> 00:48:46,555
and "Before Sunrise"
told contemporary stories.

1093
00:48:46,624 --> 00:48:48,090
This first period film
by him --

1094
00:48:48,159 --> 00:48:49,458
He doesn't do a very good job

1095
00:48:49,527 --> 00:48:50,993
of making the characters
stand out

1096
00:48:51,062 --> 00:48:53,162
from each other
as individuals,

1097
00:48:53,231 --> 00:48:55,631
and the meandering pace
is a problem.

1098
00:48:55,700 --> 00:48:58,067
Linklater: I understand,
you know, the disappointment,

1099
00:48:58,136 --> 00:48:59,568
I guess, when a film
doesn't perform.

1100
00:48:59,637 --> 00:49:02,305
But I haven't actually had
the bad experience creatively,

1101
00:49:02,373 --> 00:49:04,707
where the film got taken
from me, or I never --

1102
00:49:04,776 --> 00:49:07,910
the final film
isn't what I wanted at all.

1103
00:49:07,979 --> 00:49:09,478
That would be heartbreaking.

1104
00:49:09,547 --> 00:49:13,215
That might make you
want to quit filmmaking.

1105
00:49:15,586 --> 00:49:17,119
McConaughey: "Newton Boys"
laid where it laid,

1106
00:49:17,188 --> 00:49:20,222
but I don't think he carries
into the next day of, like,

1107
00:49:20,291 --> 00:49:23,092
"That was my studio shot."

1108
00:49:23,161 --> 00:49:25,127
Well, I say -- I always say
about Rick he's so Buddhist

1109
00:49:25,196 --> 00:49:27,663
he doesn't even know
he's Buddhist.

1110
00:49:27,732 --> 00:49:30,366
The clock in his truck
is somewhere between two

1111
00:49:30,435 --> 00:49:33,703
and nine hours off
of what the real time is.

1112
00:49:33,771 --> 00:49:36,839
The station in his truck --
Usually, if the station's 93.1,

1113
00:49:36,908 --> 00:49:38,240
it'll be on, like, 93.2

1114
00:49:38,309 --> 00:49:40,109
and have a little bit
of scratch coming into it.

1115
00:49:40,178 --> 00:49:42,345
[ Laughs ]

1116
00:49:42,413 --> 00:49:44,413
He wants to keep everything
just a little off,

1117
00:49:44,482 --> 00:49:46,115
and not
for manipulative reasons.

1118
00:49:46,184 --> 00:49:47,850
I think that's just
where he's comfortable.

1119
00:49:50,555 --> 00:49:52,788
Linklater: When I first
got the property,

1120
00:49:52,857 --> 00:49:54,156
as far as I could tell,
no one had really

1121
00:49:54,225 --> 00:49:56,625
been on the property
for at least 30 to 50 years.

1122
00:49:56,694 --> 00:49:59,128
There was no, like,
presence of anything.

1123
00:49:59,197 --> 00:50:03,065
But I clayed it in, and that
kept water in year round.

1124
00:50:03,134 --> 00:50:06,702
And that really kick-started
the ecosystem out here --

1125
00:50:06,771 --> 00:50:08,804
the birds, ducks, everything.

1126
00:50:08,873 --> 00:50:12,008
We have an endangered species
out here -- the Houston toad.

1127
00:50:12,076 --> 00:50:13,376
One big habitat.

1128
00:50:13,444 --> 00:50:14,677
You can hear them
croaking at night.

1129
00:50:14,746 --> 00:50:17,513
[ Ducks quacking ]

1130
00:50:17,582 --> 00:50:19,515
I've always used it
as kind of a refuge

1131
00:50:19,584 --> 00:50:21,550
from kind of a quiet place
to write,

1132
00:50:21,619 --> 00:50:23,619
which I think
I can maintain that

1133
00:50:23,688 --> 00:50:26,122
and still have it be a little
more production-related,

1134
00:50:26,190 --> 00:50:27,356
you know,
especially post-production.

1135
00:50:27,425 --> 00:50:29,291
Good place to edit.

1136
00:50:29,360 --> 00:50:32,194
Kind of my own
low-rent Skywalker Ranch.

1137
00:50:32,263 --> 00:50:34,230
You know,
people can come stay out here,

1138
00:50:34,298 --> 00:50:36,232
trying to bring the world
to me, you know?

1139
00:50:36,300 --> 00:50:38,467
[ Laughs ]
Best you can.

1140
00:50:40,905 --> 00:50:43,039
I like archways.

1141
00:50:46,244 --> 00:50:49,578
Once I was able to design
the spaces that you inhabit,

1142
00:50:49,647 --> 00:50:51,614
you live in, it's really
a special relationship.

1143
00:50:51,682 --> 00:50:55,017
Instead of moving into
some box someone else made,

1144
00:50:55,086 --> 00:50:56,352
kind of make your own box.

1145
00:50:56,421 --> 00:50:58,120
There's just kind of something
natural about it.

1146
00:50:58,189 --> 00:50:59,288
Really cool.

1147
00:50:59,357 --> 00:51:01,323
You kind of forgive
your own mistakes.

1148
00:51:04,162 --> 00:51:06,595
[ Ducks quacking ]

1149
00:51:11,035 --> 00:51:12,068
McConaughey:
Rick dreams a lot more

1150
00:51:12,136 --> 00:51:14,570
than a lot of people I know
daily.

1151
00:51:14,639 --> 00:51:16,238
Whatever he does out there
in Bastrop,

1152
00:51:16,307 --> 00:51:19,008
I think he's doing it
all the time.

1153
00:51:19,077 --> 00:51:22,578
[ Typewriter keys clacking ]

1154
00:51:22,647 --> 00:51:24,680
Pallotta:
After "Newton Boys,"

1155
00:51:24,749 --> 00:51:27,083
he wanted to be able
to make movies

1156
00:51:27,151 --> 00:51:29,351
and not have to depend
on anybody to make them.

1157
00:51:29,420 --> 00:51:32,721
So he wanted to find a way
to tell stories.

1158
00:51:32,790 --> 00:51:34,657
He didn't want to be dependent
on somebody telling you

1159
00:51:34,725 --> 00:51:36,492
how you could do that.

1160
00:51:36,561 --> 00:51:39,195
[ Clacking continues ]

1161
00:51:39,263 --> 00:51:42,164
Linklater: I had other films
I was trying to get made,

1162
00:51:42,233 --> 00:51:43,399
you know, just as always.

1163
00:51:43,468 --> 00:51:45,234
But I realized,
"Oh, I'm kind of" --

1164
00:51:45,303 --> 00:51:47,603
It's that moment
that year after, you go,

1165
00:51:47,672 --> 00:51:50,306
"Oh, I'm really --
I'm dead, you know?"

1166
00:51:50,374 --> 00:51:52,174
Like, no one will --

1167
00:51:52,243 --> 00:51:54,443
They'll have meetings,
but no one's gonna fund

1168
00:51:54,512 --> 00:51:56,212
this movie I'm trying to do
or that movie.

1169
00:51:56,280 --> 00:51:57,480
I was kind of at the --

1170
00:51:57,548 --> 00:52:00,649
kind of my pre-"Slacker"
mentality of, like,

1171
00:52:00,718 --> 00:52:03,586
"Okay, well,
you've just got to go do --

1172
00:52:03,654 --> 00:52:04,920
do something.

1173
00:52:04,989 --> 00:52:07,690
You know,
just make that crazy film

1174
00:52:07,758 --> 00:52:09,859
you've been thinking
about for a long time."

1175
00:52:12,997 --> 00:52:17,299
Okay, this'll be a series,
too, most likely.

1176
00:52:17,368 --> 00:52:18,834
Yeah, I got it down there.

1177
00:52:18,903 --> 00:52:20,970
Jones: In order to be
that independent,

1178
00:52:21,038 --> 00:52:26,008
he's gonna have to have
his ups and downs.

1179
00:52:26,077 --> 00:52:30,212
This is a guy who adapts
to circumstances.

1180
00:52:30,281 --> 00:52:32,281
Adair: I got the call --
"We're shooting this film

1181
00:52:32,350 --> 00:52:34,316
and we're shooting it
on DV cameras

1182
00:52:34,385 --> 00:52:37,520
and it's gonna be animated
and so we're gonna cut it

1183
00:52:37,588 --> 00:52:40,356
on this new platform
called Final Cut Pro."

1184
00:52:40,424 --> 00:52:42,725
And there were a lot
of new things

1185
00:52:42,793 --> 00:52:44,126
that were happening all at once.

1186
00:52:44,195 --> 00:52:49,431
And I think the DV camera format
allowed him the ease

1187
00:52:49,500 --> 00:52:52,835
of shooting
these films in Austin

1188
00:52:52,904 --> 00:52:55,237
with a very small budget.

1189
00:52:56,974 --> 00:52:58,841
Pallotta: And so I think it was
about him trying to --

1190
00:52:58,910 --> 00:53:00,876
to be completely free
and independent from the --

1191
00:53:00,945 --> 00:53:02,511
from the Hollywood system.

1192
00:53:05,917 --> 00:53:08,517
Girl: Pick another number.

1193
00:53:08,586 --> 00:53:11,053
Boy: Six.

1194
00:53:11,122 --> 00:53:12,488
Linklater: We felt that
with the animation,

1195
00:53:12,557 --> 00:53:15,958
it sort of made it
more engaging.

1196
00:53:16,027 --> 00:53:20,362
Girl: Dream is destiny.

1197
00:53:20,431 --> 00:53:21,830
Pallotta: You could actually
talk about more ideas

1198
00:53:21,899 --> 00:53:24,033
because visually,
you're seeing something

1199
00:53:24,101 --> 00:53:25,901
that you haven't
really ever seen before.

1200
00:53:25,970 --> 00:53:29,538
It allows you to go further in
terms of, like, experimenting.

1201
00:53:35,446 --> 00:53:36,312
Linklater: You don't want
to come back

1202
00:53:36,380 --> 00:53:38,080
to this exact same spot,

1203
00:53:38,149 --> 00:53:39,648
but you can't help it
through life.

1204
00:53:39,717 --> 00:53:40,950
It's a spiral.

1205
00:53:41,018 --> 00:53:42,718
You know, you kind of come
back to a new spot.

1206
00:53:42,787 --> 00:53:44,086
You're farther down the line,

1207
00:53:44,155 --> 00:53:46,789
but you're in
a similar position.

1208
00:53:46,857 --> 00:53:48,557
At the time I was doing
"Waking Life,"

1209
00:53:48,626 --> 00:53:51,193
I was kind of back
to a very similar spot.

1210
00:53:54,832 --> 00:53:55,698
Pallotta: It was
a great experience

1211
00:53:55,766 --> 00:53:57,366
because it felt so free,

1212
00:53:57,435 --> 00:54:00,603
and -- and it really felt like
we were sort of getting away

1213
00:54:00,671 --> 00:54:02,471
with something in the same way
that "Slacker" did.

1214
00:54:02,540 --> 00:54:04,373
And once again,
he was able to find

1215
00:54:04,442 --> 00:54:08,143
and connect with an audience
that was surprising to me.

1216
00:54:08,212 --> 00:54:10,179
Man #1: Ahoy there, matey!

1217
00:54:10,248 --> 00:54:12,081
You in for the long haul?

1218
00:54:12,149 --> 00:54:13,515
Do you need a little hitch
in your get-along,

1219
00:54:13,584 --> 00:54:15,718
a little lift
on down the line?

1220
00:54:15,786 --> 00:54:17,386
Man #2: Oh, um, yeah, actually,

1221
00:54:17,455 --> 00:54:18,520
I was waiting for a cab
or something,

1222
00:54:18,589 --> 00:54:20,122
but, uh, if you want to...

1223
00:54:20,191 --> 00:54:24,326
Man #1: All right.
Don't miss the boat.

1224
00:54:24,395 --> 00:54:25,327
Man #2: Hey, thanks.

1225
00:54:25,396 --> 00:54:27,129
Man #1: Not a problem.

1226
00:54:27,198 --> 00:54:29,198
Anchors aweigh!

1227
00:54:29,267 --> 00:54:31,834
Linklater: That was
a good moment for me, was, like,

1228
00:54:31,902 --> 00:54:34,169
to kind of feel like I was
starting over

1229
00:54:34,238 --> 00:54:36,338
in some strange way.

1230
00:54:36,407 --> 00:54:38,974
You know, if it's my last film,
it'll be something I...

1231
00:54:39,043 --> 00:54:40,809
I've never done a film
as a means to an end.

1232
00:54:40,878 --> 00:54:42,378
I don't think it ever
works that way.

1233
00:54:42,446 --> 00:54:44,847
Man #1:
So, where do you want out?

1234
00:54:44,915 --> 00:54:46,282
Linklater: Tell you what.

1235
00:54:46,350 --> 00:54:47,916
Go up three more streets,

1236
00:54:47,985 --> 00:54:50,686
take a right,
go two more blocks,

1237
00:54:50,755 --> 00:54:52,855
drop this guy off
on the next corner.

1238
00:54:55,159 --> 00:54:57,026
Man #2: Where's that?

1239
00:54:57,094 --> 00:54:59,428
Man #1: I don't know, either.
But it's somewhere.

1240
00:54:59,497 --> 00:55:02,398
And it's gonna determine the
course of the rest of your life.

1241
00:55:04,568 --> 00:55:07,102
All ashore that's going ashore.
[ Laughs ]

1242
00:55:07,171 --> 00:55:08,737
Linklater: But in my own
little way, I was like,

1243
00:55:08,806 --> 00:55:10,673
"Okay, I'm kind of kicked out
of a place

1244
00:55:10,741 --> 00:55:12,207
I wasn't a part of
to begin with.

1245
00:55:12,276 --> 00:55:13,776
So it's kind of hard
to be kicked out.

1246
00:55:13,844 --> 00:55:16,979
But I realized, "Okay, well, I
just have to do what I can do."

1247
00:55:17,048 --> 00:55:20,316
But I was always motivated
by the ones who found a way.

1248
00:55:20,384 --> 00:55:22,551
Mom:
We're moving to Houston.

1249
00:55:22,620 --> 00:55:23,919
Mason: When?

1250
00:55:23,988 --> 00:55:24,987
Mom: Well, soon.

1251
00:55:25,056 --> 00:55:26,288
We should be out by the 1st

1252
00:55:26,357 --> 00:55:28,624
so we don't have to pay
two rents next month.

1253
00:55:28,693 --> 00:55:30,726
[ Birds chirping ]

1254
00:55:32,163 --> 00:55:36,298
Linklater: You know, I had ideas
at age 5, 7, 12,

1255
00:55:36,367 --> 00:55:38,100
and, like,
"Well, how's that a movie?

1256
00:55:38,169 --> 00:55:39,401
You know, you recast."

1257
00:55:39,470 --> 00:55:42,104
It was really just
the practical consideration.

1258
00:55:42,173 --> 00:55:44,373
There's no cinematic form
for what I'm trying to --

1259
00:55:44,442 --> 00:55:46,041
to express here.

1260
00:55:46,110 --> 00:55:51,480
So I thought, "Okay, well,
I'm gonna return to my teenage

1261
00:55:51,549 --> 00:55:56,585
and early 20s ambition of,
you know, writing a novel.

1262
00:55:56,654 --> 00:55:59,922
I touched the keys, and a little
lightning bolt went off.

1263
00:55:59,990 --> 00:56:01,724
And it was like,
"Well, wait a second --

1264
00:56:01,792 --> 00:56:02,991
Why couldn't you --

1265
00:56:03,060 --> 00:56:04,960
If I filmed a little bit
every year,

1266
00:56:05,029 --> 00:56:07,496
that would solve
my problem of the kid" --

1267
00:56:07,565 --> 00:56:11,500
It just --
all in just a few minutes,

1268
00:56:11,569 --> 00:56:13,102
the whole idea
for "Boyhood" formed.

1269
00:56:13,170 --> 00:56:14,136
Just phwoo!

1270
00:56:17,341 --> 00:56:19,742
Coltrane: No idea.

1271
00:56:22,012 --> 00:56:26,315
Yeah, it's a long time
to shoot a movie.

1272
00:56:26,384 --> 00:56:28,083
Lorelei Linklater: I suppose
everybody wants to know

1273
00:56:28,152 --> 00:56:32,721
what everybody's doing
12 years from now.

1274
00:56:32,790 --> 00:56:34,556
Tricia Linklater: Rick and I
have been on opposite sides

1275
00:56:34,625 --> 00:56:35,824
of the business world.

1276
00:56:35,893 --> 00:56:39,428
Him very much in indie
and $3 million things,

1277
00:56:39,497 --> 00:56:41,230
and at the time, I'd be working
on "Spider-Man"

1278
00:56:41,298 --> 00:56:43,031
that might have hit
$300 million.

1279
00:56:43,100 --> 00:56:44,833
I'd always be home, like,
"Well, you either got

1280
00:56:44,902 --> 00:56:46,535
to make box office or awards.

1281
00:56:46,604 --> 00:56:47,870
I know you're very much
into indie,

1282
00:56:47,938 --> 00:56:49,838
but people will quit
giving you money

1283
00:56:49,907 --> 00:56:52,207
if you're not getting
one of these things."

1284
00:56:52,276 --> 00:56:55,511
[ Indistinct chatter ]

1285
00:56:55,579 --> 00:57:00,282
Sloss: In 2001,
we were at Venice together

1286
00:57:00,351 --> 00:57:02,885
with "Waking Life"
and "Tape."

1287
00:57:02,953 --> 00:57:06,855
And Rick pitched, I think,
the idea to me first.

1288
00:57:06,924 --> 00:57:08,657
"What do you think of this?
Is this anything?"

1289
00:57:08,726 --> 00:57:10,893
I said, "It's gonna be one
of the hardest things

1290
00:57:10,961 --> 00:57:12,461
to get financed on Earth

1291
00:57:12,530 --> 00:57:14,630
because who's gonna want
to make an investment

1292
00:57:14,698 --> 00:57:18,000
they have to wait 12 years
to start to realize a return on?

1293
00:57:18,068 --> 00:57:19,701
But let's see

1294
00:57:19,770 --> 00:57:22,271
what Jonathan Sehring
says about it."

1295
00:57:22,339 --> 00:57:25,274
Sehring: And Rick started
pitching "Boyhood."

1296
00:57:25,342 --> 00:57:26,809
It was not called "Boyhood."

1297
00:57:26,877 --> 00:57:29,244
It was either "Growing Up"
or "The 12-Year Project."

1298
00:57:29,313 --> 00:57:34,349
It's a hard concept,
but I got the drama of no drama.

1299
00:57:34,418 --> 00:57:36,185
Linklater: But it wasn't like
an immediate "Go,"

1300
00:57:36,253 --> 00:57:38,187
but it was like, "Huh.
Yeah.

1301
00:57:38,255 --> 00:57:40,155
Let's -- Let's talk more
about that."

1302
00:57:40,224 --> 00:57:41,990
Where I'd talk
to some other people,

1303
00:57:42,059 --> 00:57:43,792
some other producers
I had worked with,

1304
00:57:43,861 --> 00:57:45,494
and they were like,
"Hmm, good idea."

1305
00:57:45,563 --> 00:57:48,130
And then they'd just,
within a week or two,

1306
00:57:48,199 --> 00:57:49,798
just, "Eh, we can't.

1307
00:57:49,867 --> 00:57:51,533
That's just too much."

1308
00:57:51,602 --> 00:57:54,236
You know, "It's just too weird."

1309
00:57:54,305 --> 00:57:56,472
Coltrane: Well, next year,
are -- are you gonna --

1310
00:57:56,540 --> 00:57:58,140
are you gonna, like,
let it grow next year?

1311
00:57:58,209 --> 00:57:59,308
Linklater: Next year
I'm thinking your hair

1312
00:57:59,376 --> 00:58:01,610
will be kind of the way
it is when you --

1313
00:58:01,679 --> 00:58:03,579
the way we were
starting today.

1314
00:58:03,647 --> 00:58:05,247
Coltrane: Cool. And --
And will you keep it like that?

1315
00:58:05,316 --> 00:58:07,683
Linklater: So, see, the contrast
is better the shorter it is.

1316
00:58:07,751 --> 00:58:09,151
Then it's long.

1317
00:58:09,220 --> 00:58:11,820
It'll seem like, "Ooh,
a lot of time has gone by."

1318
00:58:11,889 --> 00:58:14,389
Sloss: When you see all of
the films that he has

1319
00:58:14,458 --> 00:58:17,159
that sort of defy
traditional narratives

1320
00:58:17,228 --> 00:58:18,961
yet seem to just work,

1321
00:58:19,029 --> 00:58:21,129
this struck me as a gimmick.

1322
00:58:21,198 --> 00:58:24,967
But as a gimmick in the right
hands could have been amazing.

1323
00:58:25,035 --> 00:58:26,869
Linklater: Action!

1324
00:58:26,937 --> 00:58:29,104
The end was so far that
we didn't even talk about it.

1325
00:58:29,173 --> 00:58:30,672
It was almost a joke.

1326
00:58:30,741 --> 00:58:33,976
You know, you just started.

1327
00:58:34,044 --> 00:58:35,210
Cut.

1328
00:58:35,279 --> 00:58:36,945
Interviewer: Do they get you
in Hollywood,

1329
00:58:37,014 --> 00:58:38,847
whether it's big Hollywood
or little Hollywood

1330
00:58:38,916 --> 00:58:40,249
or hybrid Hollywood?

1331
00:58:40,317 --> 00:58:41,683
Do you feel that you
as a director

1332
00:58:41,752 --> 00:58:43,252
and your work
is presented the way

1333
00:58:43,320 --> 00:58:44,987
that you would want it
to be presented?

1334
00:58:45,055 --> 00:58:46,922
Linklater: Less than half
the time, probably,

1335
00:58:46,991 --> 00:58:48,357
but I don't know.

1336
00:58:48,425 --> 00:58:50,993
It's hard to have
any kind of clear perception

1337
00:58:51,061 --> 00:58:52,427
of how you're perceived.

1338
00:58:52,496 --> 00:58:53,562
I don't know.

1339
00:58:53,631 --> 00:58:55,197
I like to live in
a delusional world

1340
00:58:55,266 --> 00:58:57,032
where, you know, people are --
Interviewer: We all do.

1341
00:58:57,101 --> 00:58:58,300
Linklater:
People are giving me a break

1342
00:58:58,369 --> 00:58:59,768
or kind of understand
what I'm about.

1343
00:58:59,837 --> 00:59:01,870
If I really get closer
to the reality, it --

1344
00:59:01,939 --> 00:59:04,106
it just depresses me
that, you know...

1345
00:59:04,174 --> 00:59:06,909
I'd say there's two films
of the 15 I've now made

1346
00:59:06,977 --> 00:59:09,378
that I would consider
industry films

1347
00:59:09,446 --> 00:59:12,281
that they would have been made
whether I was involved or not,

1348
00:59:12,349 --> 00:59:15,150
and that's "School of Rock"
and "Bad News Bears."

1349
00:59:15,219 --> 00:59:17,252
Wyatt: You guys, you know what,
you're nuts.

1350
00:59:17,321 --> 00:59:18,720
You're all nuts.

1351
00:59:18,789 --> 00:59:20,656
You've been focused so hard
on making it,

1352
00:59:20,724 --> 00:59:22,124
you forgot about
one little thing.

1353
00:59:22,192 --> 00:59:24,026
It's called the music!

1354
00:59:24,094 --> 00:59:25,027
And I don't even care.

1355
00:59:25,095 --> 00:59:26,895
You know what, so what?

1356
00:59:26,964 --> 00:59:28,564
I don't want to hang out
with a bunch of wannabe

1357
00:59:28,632 --> 00:59:29,765
corporate sellouts.

1358
00:59:29,833 --> 00:59:31,400
I'm gonna form my own band,

1359
00:59:31,468 --> 00:59:33,535
and we are gonna start
a revolution, okay?

1360
00:59:33,604 --> 00:59:37,339
And you're gonna be a funny
little footnote on my epic ass.

1361
00:59:37,408 --> 00:59:41,009
Black: We didn't have, uh,
Richard in mind.

1362
00:59:41,078 --> 00:59:43,812
It was Scott Rudin who said,

1363
00:59:43,881 --> 00:59:45,180
"I really think
you guys should --

1364
00:59:45,249 --> 00:59:48,183
should consider
Richard Linklater."

1365
00:59:48,252 --> 00:59:49,551
And at first, we were like,

1366
00:59:49,620 --> 00:59:52,287
"That doesn't make sense
because this is, like,

1367
00:59:52,356 --> 00:59:54,856
a feel-good hit-of-the-summer
type of thing."

1368
00:59:54,925 --> 00:59:57,225
And we both thought
of Richard Linklater

1369
00:59:57,294 --> 00:59:59,428
as more of an art-house
type of guy.

1370
00:59:59,496 --> 01:00:00,996
You know, you think "Slacker."

1371
01:00:01,065 --> 01:00:04,766
You don't think, I don't know,
whatever you think of

1372
01:00:04,835 --> 01:00:07,502
when you think of big,
commercial comedies.

1373
01:00:09,873 --> 01:00:11,106
Linklater: "Here's a script.

1374
01:00:11,175 --> 01:00:14,109
Jack Black's attached.

1375
01:00:14,178 --> 01:00:15,444
What do you think?"

1376
01:00:15,512 --> 01:00:17,746
I was like, you know, I'm like,

1377
01:00:17,815 --> 01:00:19,314
"Eh, I don't know
how to do this.

1378
01:00:19,383 --> 01:00:21,216
It's not" -- I passed.

1379
01:00:21,285 --> 01:00:23,085
I get a call saying,
"Well, Scott Rudin,

1380
01:00:23,153 --> 01:00:25,253
the producer,
isn't accepting your pass."

1381
01:00:25,322 --> 01:00:26,355
I'm like,
"What does that mean?!"

1382
01:00:26,423 --> 01:00:27,522
"He wants to talk."

1383
01:00:27,591 --> 01:00:30,626
And I'm like, "Okay."

1384
01:00:30,694 --> 01:00:34,162
And he was just sure I was
the right guy to pull this off.

1385
01:00:34,231 --> 01:00:35,430
I'm like, "Oh,
that's interesting.

1386
01:00:35,499 --> 01:00:36,965
You're not just going
through the Rolodex."

1387
01:00:37,034 --> 01:00:40,335
So it was a huge -- a different
thing to me to come aboard.

1388
01:00:40,404 --> 01:00:42,237
I was a color on his palette.

1389
01:00:42,306 --> 01:00:45,674
Someone else had cast me
as the right person

1390
01:00:45,743 --> 01:00:49,511
to perhaps realize this thing
that he thought had potential.

1391
01:00:52,282 --> 01:00:54,983
I was always a little frustrated
with a lot of studio comedies.

1392
01:00:55,052 --> 01:00:57,519
I just think they're --
they're not working hard enough,

1393
01:00:57,588 --> 01:00:58,987
or they could be better.

1394
01:00:59,056 --> 01:01:01,056
So I was like, "Okay, big mouth.

1395
01:01:01,125 --> 01:01:03,525
This is your chance to actually
make a studio comedy

1396
01:01:03,594 --> 01:01:07,029
that maybe works at that level."

1397
01:01:07,097 --> 01:01:08,864
And I said,
"Can I bring my methodology?

1398
01:01:08,932 --> 01:01:13,168
Can I bring the way I make films
to a new environment

1399
01:01:13,237 --> 01:01:14,936
and make my film within that?"

1400
01:01:15,005 --> 01:01:17,039
And the answer was yes.

1401
01:01:17,107 --> 01:01:19,141
Wyatt: Yeah.

1402
01:01:19,209 --> 01:01:20,809
Yes!

1403
01:01:24,748 --> 01:01:27,616
в™Є Come on, come on, come on,
come on now touch me, babe в™Є

1404
01:01:27,685 --> 01:01:28,884
в™Є Ba-da-ba-da в™Є

1405
01:01:28,952 --> 01:01:31,486
в™Є Can't you see
that I am not afraid в™Є

1406
01:01:31,555 --> 01:01:33,388
в™Є Sha-ka-ka-ka в™Є

1407
01:01:33,457 --> 01:01:37,025
в™Є Lawrence is good at piano в™Є

1408
01:01:37,094 --> 01:01:39,261
в™Є He shall be rocking
in my show в™Є

1409
01:01:39,329 --> 01:01:41,129
в™Є Ra-ka-ka-ka в™Є
Stop! That's perfect.

1410
01:01:43,033 --> 01:01:45,300
Linklater:
"I didn't read anything today.

1411
01:01:45,369 --> 01:01:47,169
Feel fortunate enough
to be writing."

1412
01:01:47,237 --> 01:01:49,671
I just felt like writing
something every day was good.

1413
01:01:49,740 --> 01:01:51,773
If you want to be a writer,
write every day.

1414
01:01:51,842 --> 01:01:54,009
Even if it's nothing
creative, just do that.

1415
01:01:54,078 --> 01:01:55,944
I think I was inspired --
You know, Tolstoy kept --

1416
01:01:56,013 --> 01:01:57,212
That was, like, an old notion

1417
01:01:57,281 --> 01:01:59,781
where you kept journals,
you know?

1418
01:01:59,850 --> 01:02:02,851
Black: I was told --
I can't remember by whom now,

1419
01:02:02,920 --> 01:02:04,553
but early on,
that if you want to be a writer,

1420
01:02:04,621 --> 01:02:07,022
you write every single day.
Linklater: Yeah.

1421
01:02:07,091 --> 01:02:10,859
Here's the day
after Thanksgiving.

1422
01:02:10,928 --> 01:02:12,961
"A very visual day.
Saw three movies today --

1423
01:02:13,030 --> 01:02:14,396
'Fitzcarraldo,'
'Bonnie and Clyde,'

1424
01:02:14,465 --> 01:02:15,897
and 'Taxi Driver.'"

1425
01:02:15,966 --> 01:02:17,332
That's a pretty good day.
Black: Not a bad day.

1426
01:02:17,401 --> 01:02:19,434
Linklater: [ Laughs ]

1427
01:02:19,503 --> 01:02:21,470
[ Pen scribbling ]

1428
01:02:25,542 --> 01:02:27,142
Whew.

1429
01:02:29,213 --> 01:02:32,514
It's painful, though,
to go back and feel the angst

1430
01:02:32,583 --> 01:02:35,784
and uncertainty of yourself
at an earlier time.

1431
01:02:35,853 --> 01:02:39,187
Not that there was any --

1432
01:02:39,256 --> 01:02:41,389
You know, that's just
how it was gonna be,

1433
01:02:41,458 --> 01:02:43,925
but I don't know.

1434
01:02:43,994 --> 01:02:47,462
You're so glad that you're not
in that head space anymore,

1435
01:02:47,531 --> 01:02:49,097
where everything was just so...

1436
01:02:49,166 --> 01:02:51,399
I can capture it, though.
I like to kind of --

1437
01:02:51,468 --> 01:02:53,201
I still remember it.

1438
01:02:53,270 --> 01:02:56,638
[ Pen scribbling ]

1439
01:02:56,707 --> 01:02:58,173
Man: Do you know where
your character's going?

1440
01:02:58,242 --> 01:03:00,575
Like, do you know
how it's gonna end?

1441
01:03:00,644 --> 01:03:01,977
Coltrane: Oh, not at all.

1442
01:03:02,045 --> 01:03:04,946
I mean, I know not --
No, not really.

1443
01:03:05,015 --> 01:03:08,316
I mean, if I knew
more about Rick's life,

1444
01:03:08,385 --> 01:03:10,886
then I might, but...

1445
01:03:10,954 --> 01:03:13,188
'Cause I know it's loosely based
on his childhood.

1446
01:03:13,257 --> 01:03:17,259
But, no, I mean, I don't
really -- It just kind of --

1447
01:03:17,327 --> 01:03:19,427
I just know year by year.

1448
01:03:23,267 --> 01:03:26,368
Mom: Bus'll be here
in 10 minutes.

1449
01:03:26,436 --> 01:03:30,205
Put that homework
in your backpack!

1450
01:03:30,274 --> 01:03:32,207
Go eat!

1451
01:03:32,276 --> 01:03:35,510
Adair: There was no
12-year script.

1452
01:03:35,579 --> 01:03:40,782
I never saw a 12-year script
until the film was finished.

1453
01:03:40,851 --> 01:03:44,886
The film was incredibly organic.

1454
01:03:44,955 --> 01:03:48,390
It came together
year by year by year.

1455
01:03:48,458 --> 01:03:50,692
Dad: Oh, look who's here!

1456
01:03:50,761 --> 01:03:52,694
[ Cheers and applause ]

1457
01:03:52,763 --> 01:03:56,531
Adair: But he didn't always know
what was gonna happen each year.

1458
01:03:56,600 --> 01:03:58,967
Clearly, he had
the characters in mind.

1459
01:03:59,036 --> 01:04:01,603
He knew these islands

1460
01:04:01,672 --> 01:04:04,372
that were gonna happen
in the film overall.

1461
01:04:04,441 --> 01:04:07,843
But the specifics of what
the dialogue was gonna be

1462
01:04:07,911 --> 01:04:10,278
and what the specific scenes
were gonna be each year,

1463
01:04:10,347 --> 01:04:13,381
I think those evolved
year by year.

1464
01:04:13,450 --> 01:04:16,017
Welbrock:
You think that's funny, huh?

1465
01:04:16,086 --> 01:04:18,019
You think that's [bleep] funny?

1466
01:04:18,088 --> 01:04:20,422
Mom: [ Gasps ]

1467
01:04:22,192 --> 01:04:25,393
Sloss: We'd show up once a year
and make the request of IFC,

1468
01:04:25,462 --> 01:04:27,796
and Rick would complain
that it wasn't enough money

1469
01:04:27,865 --> 01:04:29,965
and Jonathan would complain
that he's gonna get fired

1470
01:04:30,033 --> 01:04:32,367
and I would just
sort of sit on my hands

1471
01:04:32,436 --> 01:04:34,603
and watch it go through.

1472
01:04:36,273 --> 01:04:38,373
Sehring: So it --
Yes, my head was on the line,

1473
01:04:38,442 --> 01:04:39,841
and there were not years

1474
01:04:39,910 --> 01:04:42,143
where there weren't some
uncomfortable conversations,

1475
01:04:42,212 --> 01:04:43,612
and rightfully so.

1476
01:04:43,680 --> 01:04:45,881
You know, when you're
talking to finance people,

1477
01:04:45,949 --> 01:04:47,916
and they're like, "When are
we seeing our money back?

1478
01:04:47,985 --> 01:04:49,551
Are we ever seeing
our money back?"

1479
01:04:49,620 --> 01:04:51,720
They're the right questions
that they should be asking.

1480
01:04:51,788 --> 01:04:54,689
You can't say, like,
"We're in it for the art."

1481
01:04:54,758 --> 01:04:55,957
We're a business.

1482
01:04:56,026 --> 01:04:56,958
It's the film business.

1483
01:04:57,027 --> 01:04:58,426
Linklater: All right, action.

1484
01:04:58,495 --> 01:04:59,594
Hawke: The idea
that there would be fear

1485
01:04:59,663 --> 01:05:01,196
that he wouldn't finish
"Boyhood"

1486
01:05:01,265 --> 01:05:03,064
or fear that Hollywood's

1487
01:05:03,133 --> 01:05:05,967
gonna deem him too independent
or something

1488
01:05:06,036 --> 01:05:07,669
or they're not
gonna like him anymore

1489
01:05:07,738 --> 01:05:10,338
is to fundamentally
not understand Rick.

1490
01:05:10,407 --> 01:05:12,107
[ Indistinct chatter ]

1491
01:05:12,175 --> 01:05:13,775
Linklater: All right, cut!
Cut, cut, cut, cut, cut.

1492
01:05:13,844 --> 01:05:15,644
Jones: The point of being
an artist is that you want

1493
01:05:15,712 --> 01:05:17,479
to create something new, living.

1494
01:05:17,547 --> 01:05:18,747
You want to surprise
everybody else,

1495
01:05:18,815 --> 01:05:20,582
and you want to surprise
yourself, first of all.

1496
01:05:20,651 --> 01:05:22,751
So, you know, the reality
of selling a movie,

1497
01:05:22,819 --> 01:05:24,286
of course, is different.

1498
01:05:24,354 --> 01:05:27,989
He had a run of movies that
the press just didn't relate to,

1499
01:05:28,058 --> 01:05:30,358
and the audiences
didn't, either.

1500
01:05:30,427 --> 01:05:31,726
Man #1: And Entertainment Weekly
finds it

1501
01:05:31,795 --> 01:05:33,595
a swell, fair-ball remake.

1502
01:05:33,664 --> 01:05:35,030
Man #2: ...doesn't really take
enough chances.

1503
01:05:35,098 --> 01:05:38,333
Man #3: And it's almost like
he's willing to be boring.

1504
01:05:38,402 --> 01:05:41,503
I didn't care enough about what
the characters were after.

1505
01:05:41,571 --> 01:05:43,705
Man #4: Far too simple
and too detached to be art

1506
01:05:43,774 --> 01:05:45,273
and doesn't seem
the most obvious fit

1507
01:05:45,342 --> 01:05:46,775
for someone like Linklater.

1508
01:05:46,843 --> 01:05:48,343
Man #5: The direction
is all over the place.

1509
01:05:48,412 --> 01:05:49,544
There's some really
messy scenes.

1510
01:05:49,613 --> 01:05:51,746
What do you think?
Man #6: I say skip it.

1511
01:05:51,815 --> 01:05:54,582
Jones:
Particularly "A Scanner Darkly"
just weirded people out.

1512
01:05:54,651 --> 01:05:56,117
You know,
the idea of a movie that goes

1513
01:05:56,186 --> 01:05:58,420
that deep
into the drug experience,

1514
01:05:58,488 --> 01:06:01,089
I think, people
just couldn't deal with.

1515
01:06:01,158 --> 01:06:03,692
Freck: On my skin.
They're all over the place.

1516
01:06:03,760 --> 01:06:04,960
Jones: You know, and --
and a film that I think

1517
01:06:05,028 --> 01:06:07,696
is extremely underrated
and incredibly powerful.

1518
01:06:16,940 --> 01:06:18,239
Black:
I think if you look at most

1519
01:06:18,308 --> 01:06:20,275
science-fiction films,
for instance,

1520
01:06:20,344 --> 01:06:23,578
they're really about the doom
and tragedy awaiting us all.

1521
01:06:23,647 --> 01:06:25,747
Rick's films are,
"Tomorrow could be

1522
01:06:25,816 --> 01:06:29,484
a better day than today."

1523
01:06:29,553 --> 01:06:33,254
[ Indistinct conversations ]

1524
01:06:33,323 --> 01:06:35,423
Barker: It's a difficult
film to market

1525
01:06:35,492 --> 01:06:37,926
because films
about the theater

1526
01:06:37,995 --> 01:06:40,095
or films about film

1527
01:06:40,163 --> 01:06:43,565
always tend to be challenging
to get a major audience.

1528
01:06:43,633 --> 01:06:45,734
And it was -- It was like
the film that got away.

1529
01:06:45,802 --> 01:06:49,004
Welles: Sons of bitches,
what the hell is it now?

1530
01:06:49,072 --> 01:06:51,639
Is every single person
in this company against me?

1531
01:06:51,708 --> 01:06:54,242
Is this a goddamn conspiracy
to wreck my show?

1532
01:06:54,311 --> 01:06:56,077
[ Drumroll ]

1533
01:06:56,146 --> 01:06:58,146
This is completely inadequate.

1534
01:06:58,215 --> 01:07:00,682
Very possibly the worst-looking
thing I've ever seen in my life.

1535
01:07:00,751 --> 01:07:03,518
Houseman: We just had
50,000 of them printed.

1536
01:07:03,587 --> 01:07:06,388
Welles:
They're not entirely bad.

1537
01:07:06,456 --> 01:07:08,289
Can you play the ukulele?
[ Drumroll stops ]

1538
01:07:08,358 --> 01:07:09,758
Linklater:
You have those dark nights.

1539
01:07:09,826 --> 01:07:11,026
It's never with
the creative process.

1540
01:07:11,094 --> 01:07:12,660
It's with the industry.

1541
01:07:12,729 --> 01:07:15,530
You just feel out of sorts
in your industry.

1542
01:07:15,599 --> 01:07:19,300
You just feel kind of forgotten
or kind of not there.

1543
01:07:19,369 --> 01:07:20,468
Invisible.

1544
01:07:20,537 --> 01:07:21,503
[ Gunshot ]

1545
01:07:21,571 --> 01:07:22,804
Woman: She wasn't friendly.

1546
01:07:22,873 --> 01:07:25,340
She -- She really wasn't.

1547
01:07:25,409 --> 01:07:26,775
And she probably --

1548
01:07:26,843 --> 01:07:28,510
There are people in town, honey,

1549
01:07:28,578 --> 01:07:31,146
that would have shot her for $5.

1550
01:07:31,214 --> 01:07:32,380
You know?

1551
01:07:32,449 --> 01:07:34,082
Linklater: These are accents
I grew up around.

1552
01:07:34,151 --> 01:07:35,884
These are -- I think
I knew people like Bernie

1553
01:07:35,952 --> 01:07:38,086
and Danny Buck

1554
01:07:38,155 --> 01:07:39,988
and all the townspeople
and the gossips.

1555
01:07:40,057 --> 01:07:41,256
These are my mom's friends.

1556
01:07:41,324 --> 01:07:43,425
These are, you know --
So I don't know.

1557
01:07:43,493 --> 01:07:46,227
You -- You're driven by story,
but you also want

1558
01:07:46,296 --> 01:07:48,730
to kind of impart
something to the world.

1559
01:07:48,799 --> 01:07:52,567
Like, I kind of wanted
to pull back the pine curtain.

1560
01:07:54,204 --> 01:07:56,504
Bernie: Room service!
Hi.

1561
01:07:56,573 --> 01:07:57,872
Just dropping by again,
Mrs. Nugent,

1562
01:07:57,941 --> 01:07:59,407
to pay my respects.

1563
01:07:59,476 --> 01:08:01,176
Brought you some soaps
and a little bubble bath

1564
01:08:01,244 --> 01:08:02,644
to soothe you in the tub

1565
01:08:02,712 --> 01:08:05,613
and some chocolate cupcakes
for a late-night snack.

1566
01:08:05,682 --> 01:08:06,915
Nugent: Come in.
Bernie: Oh!

1567
01:08:06,983 --> 01:08:09,250
It would be my pleasure.

1568
01:08:09,319 --> 01:08:11,653
McConaughey: People that first
start to work with him --

1569
01:08:11,721 --> 01:08:14,189
I remember Shirley MacLaine
on "Bernie."

1570
01:08:14,257 --> 01:08:15,824
He'd be talking,
and she'd be, like,

1571
01:08:15,892 --> 01:08:18,726
"Right, but what do you want?"

1572
01:08:18,795 --> 01:08:22,430
And he'd be like, "Well, I mean,
you know, you know..."

1573
01:08:22,499 --> 01:08:28,169
That's -- That's Rick doing --
doing Rick, going, "You.

1574
01:08:28,238 --> 01:08:30,138
I want you."

1575
01:08:30,207 --> 01:08:33,174
I'll jump onboard sooner
than with any other director,

1576
01:08:33,243 --> 01:08:35,243
trusting that
we'll go create something

1577
01:08:35,312 --> 01:08:37,979
that I'll have an experience
in a movie

1578
01:08:38,048 --> 01:08:40,782
with him directing
that I want to be in.

1579
01:08:40,851 --> 01:08:44,452
Buck: After listening
to all the evidence,

1580
01:08:44,521 --> 01:08:47,088
I'm sure that you will agree

1581
01:08:47,157 --> 01:08:50,692
that the defendant is a liar,

1582
01:08:50,760 --> 01:08:52,660
a coward,

1583
01:08:52,729 --> 01:08:54,829
and a back-shooter.

1584
01:08:54,898 --> 01:08:57,866
Black: A lot of directors
and writers that are --

1585
01:08:57,934 --> 01:08:59,634
that are starting out
a project are --

1586
01:08:59,703 --> 01:09:02,337
are actually just looking
for good puppets.

1587
01:09:02,405 --> 01:09:03,771
They're looking for good cattle

1588
01:09:03,840 --> 01:09:06,574
that will speak the words
as they wrote them

1589
01:09:06,643 --> 01:09:08,243
and won't give them any guff

1590
01:09:08,311 --> 01:09:11,246
or any friction or any --
any talk-back.

1591
01:09:11,314 --> 01:09:12,614
And he's the opposite.

1592
01:09:12,682 --> 01:09:14,849
He's looking for people
with ideas that are fresh.

1593
01:09:14,918 --> 01:09:16,317
Bernie: Marjorie,
can you say something?

1594
01:09:16,386 --> 01:09:17,652
Oh, no, no, no, no!

1595
01:09:17,721 --> 01:09:19,354
Jesus, no, no, no!

1596
01:09:19,422 --> 01:09:20,688
What have I done?

1597
01:09:20,757 --> 01:09:22,657
[ Sobbing quietly ]

1598
01:09:22,726 --> 01:09:27,195
Oh, God, what have I done?

1599
01:09:27,264 --> 01:09:29,097
Please tell me what to do!

1600
01:09:29,166 --> 01:09:30,832
I'll do whatever
you want me to do!

1601
01:09:30,901 --> 01:09:34,035
Black: Where is your
emotional truth with that,

1602
01:09:34,104 --> 01:09:37,205
and how do you think
he would do that?

1603
01:09:37,274 --> 01:09:39,407
Is that resonating
with you in that way?

1604
01:09:39,476 --> 01:09:41,976
And then he's really asking you.

1605
01:09:42,045 --> 01:09:45,613
He actually wants to know
the truth of this for you.

1606
01:09:45,682 --> 01:09:46,814
Do you know what I mean?

1607
01:09:46,883 --> 01:09:48,349
There's a subtle thing there

1608
01:09:48,418 --> 01:09:49,984
that other [bleep]
directors don't give a [bleep]

1609
01:09:50,053 --> 01:09:52,020
about what you think.

1610
01:09:52,088 --> 01:09:53,555
They don't care.

1611
01:09:53,623 --> 01:09:59,627
But he really wants to know
because he sees value in that.

1612
01:09:59,696 --> 01:10:03,064
Man: How long you been thinking
about killing her, Bernie?

1613
01:10:03,133 --> 01:10:06,935
Bernie: I never thought
of me killing Mrs. Nugent.

1614
01:10:07,003 --> 01:10:09,037
I -- [ Sighs ]

1615
01:10:09,105 --> 01:10:11,472
I guess I fantasized
about her death,

1616
01:10:11,541 --> 01:10:14,342
but I was never
the one responsible for it.

1617
01:10:18,615 --> 01:10:20,181
Linklater: Whatever little
success you do have,

1618
01:10:20,250 --> 01:10:22,750
you have to kind of run with it.

1619
01:10:22,819 --> 01:10:24,886
You know, that's how
the film industry's

1620
01:10:24,955 --> 01:10:26,721
always worked, you know?
You just --

1621
01:10:26,790 --> 01:10:30,024
It's so nice when that happens,
but that's not my usual mode.

1622
01:10:30,093 --> 01:10:32,927
I go years and years
not in that mode,

1623
01:10:32,996 --> 01:10:34,996
of having no wind in the sails,

1624
01:10:35,065 --> 01:10:37,932
just trying to get
the next one made,

1625
01:10:38,001 --> 01:10:39,400
kind of in spite
of everything else.

1626
01:10:39,469 --> 01:10:40,568
[ Chuckles ]

1627
01:10:40,637 --> 01:10:43,171
Okay, let's do it.

1628
01:10:43,240 --> 01:10:44,739
Ready, Mason?
And action!

1629
01:10:44,808 --> 01:10:47,275
Man: Hey.
That's our car, huh?

1630
01:10:47,344 --> 01:10:48,509
Mason: Get in there, yeah.

1631
01:10:48,578 --> 01:10:50,044
Linklater: Is it enough?

1632
01:10:50,113 --> 01:10:52,547
Is it all gonna add up
to what I hope it is?

1633
01:10:52,616 --> 01:10:53,781
I was betting it all
that it would

1634
01:10:53,850 --> 01:10:56,117
just have this kind of
cumulative effect.

1635
01:10:56,186 --> 01:10:57,885
But sometimes I wonder,
"Am I squandering

1636
01:10:57,954 --> 01:11:00,421
this incredible opportunity

1637
01:11:00,490 --> 01:11:03,291
to express something bigger
with this canvas I'm creating?

1638
01:11:03,360 --> 01:11:05,593
And am I -- am I blowing it
by just making it

1639
01:11:05,662 --> 01:11:08,329
about such little, banal,
nothing stuff?"

1640
01:11:11,601 --> 01:11:12,767
Dad: All right?

1641
01:11:12,836 --> 01:11:14,435
I'm sorry if you had
other ideas about it,

1642
01:11:14,504 --> 01:11:15,737
but when you get older,
you can save up

1643
01:11:15,805 --> 01:11:17,338
and buy a car of your own.

1644
01:11:17,407 --> 01:11:20,808
Be cool like I used to be.

1645
01:11:20,877 --> 01:11:24,579
Or you can get a minivan.

1646
01:11:24,648 --> 01:11:28,983
Sehring: I always questioned
the commerciality of it

1647
01:11:29,052 --> 01:11:30,952
because when you look
at something

1648
01:11:31,021 --> 01:11:34,389
over and over and over again

1649
01:11:34,457 --> 01:11:36,691
and you become so familiar
with it,

1650
01:11:36,760 --> 01:11:38,192
you love it.

1651
01:11:38,261 --> 01:11:40,795
But you sit down, and if you
show it to somebody else,

1652
01:11:40,864 --> 01:11:43,598
you wonder if they're gonna be
bored to tears or not.

1653
01:11:43,667 --> 01:11:45,933
It's sort of like a guest
coming to look at home movies,

1654
01:11:46,002 --> 01:11:48,503
but you have no idea

1655
01:11:48,571 --> 01:11:50,772
when you introduce it
to the rest of the world how --

1656
01:11:50,840 --> 01:11:52,740
what the reaction's gonna be.

1657
01:11:54,944 --> 01:11:56,678
Jesse:
Is this really my life?

1658
01:11:56,746 --> 01:11:57,979
Celine: You're the same guy.
Jesse: Eh.

1659
01:11:58,048 --> 01:11:59,781
Celine: I mean, we always
think we're evolving,

1660
01:11:59,849 --> 01:12:01,649
but maybe we can't
change that much.

1661
01:12:01,718 --> 01:12:03,351
Jesse: You know how I think
I've changed the most?

1662
01:12:03,420 --> 01:12:04,852
Celine: How?

1663
01:12:04,921 --> 01:12:06,854
Jesse: When I was younger,
I just wanted time to speed up.

1664
01:12:06,923 --> 01:12:07,922
Celine: Why?

1665
01:12:07,991 --> 01:12:09,090
Jesse: Well,
so I could be on my own.

1666
01:12:09,159 --> 01:12:10,458
So I could be free
from my parents

1667
01:12:10,527 --> 01:12:11,626
and school and all that [bleep]

1668
01:12:11,695 --> 01:12:13,194
You know, I just wanted
to close my eyes

1669
01:12:13,263 --> 01:12:15,363
and wake up and be an adult.

1670
01:12:15,432 --> 01:12:16,597
And now I kind of feel
like that happened,

1671
01:12:16,666 --> 01:12:18,099
and I just want
everything to slow down.

1672
01:12:18,168 --> 01:12:19,867
Celine: Hmm. It's strange.
I've always had this...

1673
01:12:19,936 --> 01:12:21,869
Linklater: We always joked
it's the lowest-grossing film

1674
01:12:21,938 --> 01:12:23,671
to ever spawn a sequel,

1675
01:12:23,740 --> 01:12:25,873
but after doing a second one,

1676
01:12:25,942 --> 01:12:27,375
it just invites that question.

1677
01:12:27,444 --> 01:12:30,978
So the pressure the third time
was very different,

1678
01:12:31,047 --> 01:12:33,147
that there was anticipation
and there was --

1679
01:12:33,216 --> 01:12:35,249
Everybody was already
asking about it.

1680
01:12:35,318 --> 01:12:37,585
Jesse: And a decade later,
we ran into each other.

1681
01:12:37,654 --> 01:12:39,520
Celine: No, no, no. We didn't
run into each other, sweetie.

1682
01:12:39,589 --> 01:12:40,588
Jesse: We didn't?
Celine: No.

1683
01:12:40,657 --> 01:12:43,191
You wrote a book
inspired by our meeting.

1684
01:12:43,259 --> 01:12:44,525
Jesse:
Yeah, yeah, yeah, yeah.

1685
01:12:44,594 --> 01:12:45,893
Celine: And I read about it
and went to look for it.

1686
01:12:45,962 --> 01:12:47,261
Woman: That's very romantic.

1687
01:12:47,330 --> 01:12:48,796
Jesse: It was really romantic.
Celine: Not really.

1688
01:12:48,865 --> 01:12:50,131
Not really.
Not really.

1689
01:12:50,200 --> 01:12:51,999
It neglects to mention
he was married, had a kid.

1690
01:12:52,068 --> 01:12:53,201
Jesse: Details!
Details!

1691
01:12:53,269 --> 01:12:54,502
Celine: Yeah, that part
was a disaster.

1692
01:12:54,571 --> 01:12:56,037
Jesse: It wasn't a disaster.
It was inevitable.

1693
01:12:56,106 --> 01:12:57,372
Celine: Yeah, okay.

1694
01:12:57,440 --> 01:12:59,240
Linklater: This feels a lot
like life, you know?

1695
01:12:59,309 --> 01:13:01,943
You're kind of -- Yeah, you're
kind of in the middle section.

1696
01:13:02,011 --> 01:13:03,211
Is it as interesting?

1697
01:13:03,279 --> 01:13:06,114
Is it -- It's not what
people make films about.

1698
01:13:06,182 --> 01:13:08,649
You do the beginnings
of relationships and the end.

1699
01:13:08,718 --> 01:13:10,017
You don't --
No one does the in between.

1700
01:13:10,086 --> 01:13:11,486
And for a good reason.

1701
01:13:11,554 --> 01:13:14,222
'Cause there's less there
usually that's interesting.

1702
01:13:14,290 --> 01:13:17,925
So it was by far
the most challenging

1703
01:13:17,994 --> 01:13:19,761
to dig into that age

1704
01:13:19,829 --> 01:13:22,697
and to that place
in a relationship

1705
01:13:22,766 --> 01:13:27,468
and find it compelling
or something worth examining.

1706
01:13:27,537 --> 01:13:29,036
Hawke: When she comes
over here...

1707
01:13:29,105 --> 01:13:32,173
And the only way to do it
is to use the people

1708
01:13:32,242 --> 01:13:34,041
and have the connection be real.

1709
01:13:34,110 --> 01:13:36,411
You have to, like,
give a piece of yourself

1710
01:13:36,479 --> 01:13:38,446
and put it in the movie.

1711
01:13:38,515 --> 01:13:40,214
And that's what Rick
was asking us to do.

1712
01:13:40,283 --> 01:13:41,783
Celine: That "I forgot
to put in the back

1713
01:13:41,851 --> 01:13:43,684
the science project" look?

1714
01:13:43,753 --> 01:13:45,920
I know you blame me.
Jesse: I didn't say anything.

1715
01:13:45,989 --> 01:13:47,321
Celine: No.
You didn't say anything.

1716
01:13:47,390 --> 01:13:48,456
You didn't have to.

1717
01:13:48,525 --> 01:13:49,857
Yeah, yeah.
It's always my fault.

1718
01:13:49,926 --> 01:13:51,359
Jesse: Yeah, right.

1719
01:13:51,428 --> 01:13:55,563
Linklater: It was just so less,
like, "fun" in a way.

1720
01:13:55,632 --> 01:13:57,932
It mirrored the film itself.

1721
01:13:58,001 --> 01:14:00,401
While it was beautiful
and fulfilling,

1722
01:14:00,470 --> 01:14:03,004
it was still really difficult.

1723
01:14:03,072 --> 01:14:06,073
It was the hardest thing
I've ever been a part of.

1724
01:14:06,142 --> 01:14:08,409
Jesse: This is how you now want
to be spending this evening?

1725
01:14:08,478 --> 01:14:10,178
I mean, this is
what you want to do tonight?

1726
01:14:10,246 --> 01:14:11,412
Celine: Well, you started it.
Jesse: No.

1727
01:14:11,481 --> 01:14:14,916
You are the one who will not
shut up about it.

1728
01:14:14,984 --> 01:14:16,317
But if you want
to talk about it,

1729
01:14:16,386 --> 01:14:18,186
I mean, really talk about it,

1730
01:14:18,254 --> 01:14:21,222
I would prefer to have
an un-emotional,

1731
01:14:21,291 --> 01:14:22,356
rational conversation.

1732
01:14:22,425 --> 01:14:23,624
I mean, do you think
we could do that?

1733
01:14:23,693 --> 01:14:25,460
Would that be possible?
Celine: Here we go.

1734
01:14:25,528 --> 01:14:27,328
Un-emotional.
Rational.

1735
01:14:27,397 --> 01:14:30,665
You always play the part of
the one and only rational one.

1736
01:14:30,733 --> 01:14:32,867
And I'm the irrational,
hysterical,

1737
01:14:32,936 --> 01:14:35,670
hormone-crazy one
because I have emotions.

1738
01:14:35,738 --> 01:14:38,739
yeah, you sit back and you speak
from your big perspective,

1739
01:14:38,808 --> 01:14:41,275
which means everything you say
is level-headed and true.

1740
01:14:41,344 --> 01:14:42,477
Jesse: I don't always
do anything.

1741
01:14:42,545 --> 01:14:44,045
Celine: The world is [bleep]
by un-emotional,

1742
01:14:44,113 --> 01:14:46,380
rational men deciding [bleep]

1743
01:14:46,449 --> 01:14:48,382
Adair: There never would have
been a film

1744
01:14:48,451 --> 01:14:51,853
made as a sequel
to "Before Sunrise"

1745
01:14:51,921 --> 01:14:53,788
in two years time
or three years time

1746
01:14:53,857 --> 01:14:56,858
because it's just
not interesting.

1747
01:14:56,926 --> 01:14:58,826
What's interesting about
the length of time

1748
01:14:58,895 --> 01:15:02,563
between those films is that
those people have grown.

1749
01:15:02,632 --> 01:15:04,665
They've had experiences.
They've had lives.

1750
01:15:04,734 --> 01:15:07,869
And it --
it's what forms a person.

1751
01:15:14,377 --> 01:15:16,744
Hawke: I always think
a lot of Rick's movies --

1752
01:15:16,813 --> 01:15:18,112
I don't think he likes it
when I say this,

1753
01:15:18,181 --> 01:15:22,049
but that they're kind of
ideas everybody's had.

1754
01:15:22,118 --> 01:15:23,551
You know, like,
if you think about "Slacker,"

1755
01:15:23,620 --> 01:15:26,487
when I first saw "Slacker,"
I thought, "I had that idea!"

1756
01:15:26,556 --> 01:15:28,789
And I know everybody
I saw the movie with --

1757
01:15:28,858 --> 01:15:30,324
like, "I always wanted
to make a movie

1758
01:15:30,393 --> 01:15:33,060
where you just kind of follow
one person to the next and..."

1759
01:15:33,129 --> 01:15:35,496
"Before Sunrise," certainly.
"I want to make a movie

1760
01:15:35,565 --> 01:15:38,699
where it's just, like,
me and this girl hanging out."

1761
01:15:38,768 --> 01:15:40,968
And "Dazed and Confused" --
"I want to make a movie

1762
01:15:41,037 --> 01:15:42,169
about graduating high school,"

1763
01:15:42,238 --> 01:15:43,437
or "Waking Life" --

1764
01:15:43,506 --> 01:15:45,039
"I want to make a movie
about my dreams!"

1765
01:15:45,108 --> 01:15:46,207
You know what I mean?

1766
01:15:46,276 --> 01:15:49,110
It's kind of really
obvious things

1767
01:15:49,178 --> 01:15:50,444
that people want to talk about,

1768
01:15:50,513 --> 01:15:52,780
but they're impossible
to make a movie of.

1769
01:15:52,849 --> 01:15:55,783
And I think this falls
into that, too, of,

1770
01:15:55,852 --> 01:15:57,218
"I want to make a movie
about growing up,

1771
01:15:57,287 --> 01:15:58,853
where, you know,

1772
01:15:58,922 --> 01:16:01,989
you just follow
these little moments of...

1773
01:16:02,058 --> 01:16:03,357
But it would be
impossible to make."

1774
01:16:03,426 --> 01:16:07,094
But Rick's done it.

1775
01:16:07,163 --> 01:16:10,031
Mom: This is the worst day
of my life.

1776
01:16:10,099 --> 01:16:11,399
Mason: What are you
talking about?

1777
01:16:11,467 --> 01:16:12,633
Mom:
I knew this day was coming.

1778
01:16:12,702 --> 01:16:13,701
I just -- I didn't know
you were gonna be

1779
01:16:13,770 --> 01:16:16,938
so [bleep] happy to be leaving.

1780
01:16:17,006 --> 01:16:18,639
Mason: I mean,
it's not that I'm that happy.

1781
01:16:18,708 --> 01:16:21,008
What -- What do you --
What do you expect?

1782
01:16:21,077 --> 01:16:21,909
Mom: You know what
I'm realizing?

1783
01:16:21,978 --> 01:16:23,311
My life is just gonna go.

1784
01:16:23,379 --> 01:16:24,312
Like that.

1785
01:16:24,380 --> 01:16:26,614
This series of milestones.

1786
01:16:26,683 --> 01:16:30,117
Getting married, having kids,
getting divorced,

1787
01:16:30,186 --> 01:16:32,587
the time that we thought
you were dyslexic,

1788
01:16:32,655 --> 01:16:35,323
when I taught you
how to ride a bike,

1789
01:16:35,391 --> 01:16:36,991
getting divorced again,

1790
01:16:37,060 --> 01:16:38,526
getting my Master's degree,

1791
01:16:38,595 --> 01:16:40,361
finally getting the job
I wanted,

1792
01:16:40,430 --> 01:16:42,229
sending Samantha off to college,

1793
01:16:42,298 --> 01:16:44,265
sending you off to college.

1794
01:16:44,334 --> 01:16:45,466
You know what's next?

1795
01:16:45,535 --> 01:16:49,604
Huh?
It's my [bleep] funeral!

1796
01:16:49,672 --> 01:16:52,840
Arquette: I think a lot of
who we are as people

1797
01:16:52,909 --> 01:16:55,242
is made up of the moments

1798
01:16:55,311 --> 01:16:57,111
that aren't
the obvious moments.

1799
01:16:57,180 --> 01:17:04,752
These other little moments that
happen that are just your own.

1800
01:17:04,821 --> 01:17:10,324
Mom: I just...
thought there would be more.

1801
01:17:10,393 --> 01:17:12,360
[ Sighs ]

1802
01:17:16,532 --> 01:17:19,800
Sloss: I don't think even Rick
knew what this was going to be

1803
01:17:19,869 --> 01:17:22,203
until he wrapped the last year.

1804
01:17:22,271 --> 01:17:24,605
Linklater: Hover down
on top of the car.

1805
01:17:26,743 --> 01:17:28,676
Man: We're ready to go
when you are.

1806
01:17:28,745 --> 01:17:31,679
Linklater: All right.
Hey, Ellar, you good?

1807
01:17:31,748 --> 01:17:35,049
Man: Let's load. Anybody
that's following, let's load up.

1808
01:17:45,928 --> 01:17:48,462
Anybody that's following,
let's load up.

1809
01:17:54,937 --> 01:17:56,270
Linklater: Hey, everybody,

1810
01:17:56,339 --> 01:17:58,372
that's a picture finish
on Ellar!

1811
01:17:58,441 --> 01:18:00,641
[ Cheers and applause ]

1812
01:18:00,710 --> 01:18:05,680
Coltrane: I feel kind of
relieved and triumphant.

1813
01:18:08,351 --> 01:18:13,487
And...uncertain about my life

1814
01:18:13,556 --> 01:18:16,057
without this project in it.

1815
01:18:24,300 --> 01:18:25,766
[ Indistinct conversations ]

1816
01:18:25,835 --> 01:18:27,134
Sloss: And then he called me
and he said,

1817
01:18:27,203 --> 01:18:30,004
"I think we've got something
really special here."

1818
01:18:30,073 --> 01:18:33,174
He sent up a rough cut,
and we all --

1819
01:18:33,242 --> 01:18:34,842
the lights came up,
and we all looked at each other

1820
01:18:34,911 --> 01:18:37,712
like, "Holy..."
[ Clicks tongue ]

1821
01:18:37,780 --> 01:18:41,816
And we were off.

1822
01:18:41,884 --> 01:18:43,984
Off to the races.

1823
01:18:47,724 --> 01:18:50,424
[ Indistinct chatter ]

1824
01:19:03,339 --> 01:19:05,239
[ Camera shutter clicks ]

1825
01:19:05,308 --> 01:19:06,941
[ Applause ]

1826
01:19:07,009 --> 01:19:08,509
Affleck: All right!

1827
01:19:08,578 --> 01:19:10,311
And the Academy Award

1828
01:19:10,379 --> 01:19:13,447
for achievement
in directing goes to...

1829
01:19:14,717 --> 01:19:17,785
Alejandro G. IГ±ГЎrritu.
"Birdman."

1830
01:19:23,626 --> 01:19:27,194
Arquette: And it's stupid to
get, like, upset about an award.

1831
01:19:27,263 --> 01:19:29,396
And Rick certainly
doesn't really care about it.

1832
01:19:29,465 --> 01:19:33,334
But for me, the beautifulness
of that experience

1833
01:19:33,402 --> 01:19:34,735
and the bravery of it

1834
01:19:34,804 --> 01:19:37,204
and the opportunity
as an artist

1835
01:19:37,273 --> 01:19:42,409
to tell a story
about human beings is so rare.

1836
01:19:42,478 --> 01:19:48,482
And why I think that
award equates to something...

1837
01:19:48,551 --> 01:19:50,918
that I really wanted for him.

1838
01:19:50,987 --> 01:19:52,353
IГ±ГЎrritu: Thank you.

1839
01:19:52,421 --> 01:19:54,955
Rose: Whatever it is that
makes you want to be in Austin

1840
01:19:55,024 --> 01:19:56,991
rather than in Los Angeles

1841
01:19:57,059 --> 01:19:59,994
is what makes you make
the films that you do.

1842
01:20:00,062 --> 01:20:01,395
Linklater: You know,
they've called our industry

1843
01:20:01,464 --> 01:20:04,198
as kind of
a great dream industry,

1844
01:20:04,267 --> 01:20:06,100
but if you get too close
to the industry,

1845
01:20:06,169 --> 01:20:07,535
like, there's parts of LA,

1846
01:20:07,603 --> 01:20:10,070
and just anywhere
near the studio system,

1847
01:20:10,139 --> 01:20:11,539
where it kind
of thwarts dreaming

1848
01:20:11,607 --> 01:20:12,907
and it's very risk-averse.

1849
01:20:12,975 --> 01:20:15,576
I mean, it's --
it's more about the business.

1850
01:20:15,645 --> 01:20:18,546
So I prefer to kind of spend
most of my time

1851
01:20:18,614 --> 01:20:20,514
just still kind of dreaming
about stories.

1852
01:20:23,986 --> 01:20:26,020
So, hey, Blake,
I want to run the scene.

1853
01:20:26,088 --> 01:20:28,355
There's always a few
really huge challenges

1854
01:20:28,424 --> 01:20:30,558
that just make it not easy.

1855
01:20:30,626 --> 01:20:32,393
Yeah, so that's
a very long monologue.

1856
01:20:32,461 --> 01:20:34,128
We need to shorten that
to a couple of lines.

1857
01:20:34,197 --> 01:20:35,896
Man: Yeah, yeah, yeah.

1858
01:20:35,965 --> 01:20:37,198
Linklater:
I don't mind that, you know.

1859
01:20:37,266 --> 01:20:39,500
You got to -- I would --
I wouldn't know what to do

1860
01:20:39,569 --> 01:20:41,402
if I was heading into a movie
at this stage thinking,

1861
01:20:41,470 --> 01:20:42,570
"Okay, I got this."

1862
01:20:42,638 --> 01:20:43,704
There's always something.

1863
01:20:43,773 --> 01:20:45,172
You're pushing yourself

1864
01:20:45,241 --> 01:20:47,308
to get somewhere
you don't even know yet.

1865
01:20:47,376 --> 01:20:48,409
Let's just run it.

1866
01:20:48,477 --> 01:20:50,010
Let's run it in this variation.

1867
01:20:50,079 --> 01:20:51,345
Go.
Yeah.

1868
01:20:51,414 --> 01:20:53,147
Man: I can operate with a...
Linklater: Yeah.

1869
01:20:53,216 --> 01:20:54,949
One more.
Let's just run it.

1870
01:20:55,017 --> 01:20:56,817
Let's -- Let's do it moving now.

1871
01:20:56,886 --> 01:20:59,553
See if we can walk and chew gum.

1872
01:20:59,622 --> 01:21:02,223
I guess I have enough experience
to know we will get there.

1873
01:21:02,291 --> 01:21:03,524
You know,
when you're younger, you go,

1874
01:21:03,593 --> 01:21:05,593
"Oh, maybe I won't get there."

1875
01:21:05,661 --> 01:21:08,362
I still don't know any more than
I would have a long time ago

1876
01:21:08,431 --> 01:21:09,797
where we're going to,

1877
01:21:09,866 --> 01:21:12,499
but I do have more confidence
we will get there.

1878
01:21:12,568 --> 01:21:13,801
Man: I know
what we're doing here.

1879
01:21:13,870 --> 01:21:16,737
You know,
we're playing baseball.

1880
01:21:16,806 --> 01:21:19,406
Hawke: I don't think there's
any reason to doubt

1881
01:21:19,475 --> 01:21:21,275
that until his final breath,

1882
01:21:21,344 --> 01:21:25,012
Rick will be working
in the same way that he has

1883
01:21:25,081 --> 01:21:26,881
and having immense love
for all of it.

1884
01:21:26,949 --> 01:21:28,983
Man #1: All I want to do
is give it all I got this year,

1885
01:21:29,051 --> 01:21:30,651
be a part
of a championship team,

1886
01:21:30,720 --> 01:21:33,587
have as much fun as I can
in my last year of college.

1887
01:21:33,656 --> 01:21:35,422
Man #2: What do you think you're
gonna do after you graduate?

1888
01:21:35,491 --> 01:21:38,092
Man #1: My own thing.
That's for sure.

1889
01:21:41,998 --> 01:21:44,098
Linklater: Cut!

1890
01:21:46,903 --> 01:21:48,302
Pierson:
A lot of filmmakers think

1891
01:21:48,371 --> 01:21:50,271
about what they believe
their films can become,

1892
01:21:50,339 --> 01:21:51,572
and nothing ever happens.

1893
01:21:51,641 --> 01:21:54,642
But in his case,
it actually came true.

1894
01:21:55,305 --> 01:22:55,618
Support us and become VIP member 
to remove all ads from www.OpenSubtitles.org