"American Masters" Richard Linklater: Dream is Destiny

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