Ryan Reynolds Posts Naked Video w_ Sandra Bullock For Birthday Tribute
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00:00 Ryan Reynolds is wishing Sandra Bullock a happy birthday with a not safe for work post.
00:07 The actor took to Instagram to celebrate Sandra's 59th birthday by posting a hilarious and rather
00:13 risque clip from their hit 2009 rom-com The Proposal.
00:18 In the scene, Ryan's character Andrew and his boss Margaret, who is played by Sandra,
00:23 accidentally run into one another while naked.
00:26 Quote, "Happy birthday to the inimitable and stunning Sandra Bullock.
00:30 For your birthday this year I got us both intimacy coordinators and an HR department
00:36 and clothing."
00:38 Ryan quipped.
00:39 And Ryan isn't the only one marking the actress's big birthday.
00:42 Access Hollywood is also celebrating by going into our vault and playing our 1997 interview
00:48 with Sandra.
00:49 In our sit down, Sandra talks about Speed 2, her friendship with Keanu Reeves, and much
00:54 more.
00:55 So as we sit here on a huge cruise ship, not a bad.
00:58 Just a lovely seaborne legend.
01:00 How is life right now?
01:01 Life right now is really good.
01:02 I'm, it's just, it's, it can't, how can it be bad?
01:07 It's, you know, as strenuous as the days were and as scary and as dangerous, we would go
01:11 home at the end of the day and this is where my room was, right there.
01:15 Right behind us?
01:16 I think it was like the queen mod room right there.
01:18 That's where a lot of action did not take place.
01:21 That was Jason's room over there.
01:22 Jan's room was right there, which he was never in.
01:25 He had a little villa over.
01:26 I heard you had keys to everybody's room.
01:28 Of course I did.
01:29 I had to make the rounds.
01:30 You're the little snooper.
01:31 Oh, I'm so bad at that.
01:32 I give people absolutely no respect.
01:34 But then when they're on a cruise ship, you know, they should open their doors.
01:38 It should be something.
01:39 So yeah, Jason a lot of times would, you know, be like napping or having conversations and
01:42 I would just walk in.
01:43 No kidding.
01:44 What are you doing?
01:45 Oh, you're naked.
01:46 That's interesting.
01:47 So no, I would, I would, yeah, I would go into people's rooms.
01:51 I have no problem with that.
01:53 It wasn't very long ago, really, when you think about it, eight years when you were
01:56 doing your first film, Who Shot?
01:59 Who Shot Pat?
02:00 It was in New York while I was still studying.
02:02 Yeah, that was Who Shot Pat, which was like a great small documentary, sort of docu-style
02:07 story of the director's life.
02:09 I did a lot of NYU film, student films, low budget films where you got paid $25 a day
02:14 and you learned how to hit your mark.
02:16 I mean, unfortunately those things are still around.
02:18 You're like, this is her first film where she missed her mark and she's looking for
02:22 a new start.
02:23 Actually, you know, have you looked at that film lately?
02:25 Which one?
02:26 Who Shot Pat?
02:27 It's pretty good.
02:28 It's a beautiful story.
02:29 It's a beautiful small story.
02:31 That's one of my favorites.
02:32 I mean, the great thing is, is that you never know.
02:34 I mean, you find somebody who's passionate about a story and you're sucked into that
02:38 and you hope that it turns out well.
02:40 Most of the time it does not.
02:41 Every once in a while something becomes a gem and Who Shot Patikango was wonderful.
02:45 I mean, we had our $50 a day.
02:48 We would cart ourselves and you'd bring your own little sweater and you'd make a film
02:52 about this time in this director's life.
02:54 And it was so sweet and great.
02:58 I mean, that's what's so nice about, that's why every time I do a film, you know, you
03:01 do something of this magnitude, you feel compelled to go do something small.
03:06 Do a short film with your friends, do a theater project, do something where everyone has to
03:09 do at least two to three things where you're part of its growth rather than you waiting
03:15 in your trailer with your cookies and wait for somebody to say that they're ready, which
03:19 is, takes away.
03:21 I mean, you get lazy.
03:22 You get, you get, it doesn't do, it's not beneficial.
03:25 What does it add?
03:26 Nothing.
03:27 You know, you try to pick new hobbies.
03:28 Knitting.
03:29 See, everyone gets sweaters for Christmas.
03:33 So um, which you just did, making your own film.
03:36 I make sweaters too, by the way.
03:37 Oh, you do?
03:38 Yes, I knit.
03:39 I'll give you my address.
03:40 Okay.
03:41 Yeah, I made a short.
03:43 This time I, you know, we, we, we, I had produced one before that someone else directed
03:47 and wrote and I, you know, was lucky enough to get to Sundance and then I did this one
03:51 and then we don't know, I think another girlfriend of mine is going to do the next one and so
03:54 we'll all support her, we'll all do either craft service or wardrobe.
03:57 I'm good in those areas with food and clothes.
03:59 Really?
04:00 Yeah.
04:01 So you would show up and do craft service?
04:02 That's what everybody does.
04:03 Everybody does it for each other.
04:04 You know, it's, it's, you know, on the short film that I did, Pam, my makeup artist, decided
04:08 she wanted to be a first AD and I said, well, if you're going to be the first AD, you have
04:11 to be the line producer and there she was in the middle of the night for three months
04:13 pre-production going, I hate you so much, but she was amazing.
04:17 So anybody who wants to do something new can as long as they do the job right.
04:20 You know, when I was looking through some of your old, I looked through everything I
04:23 could get my hands on.
04:24 Oh, bless your heart.
04:25 Yeah.
04:26 And you, you've been pretty good for quite a while actually is what I discovered, but
04:29 I mean, like when I was, No, no, I mean like who shot Pat?
04:34 I did twice.
04:35 I'm kidding.
04:36 From a long time ago, you just see the same sort of honesty.
04:39 Well, I mean, that's, I mean, it's like the thing that I studied, I studied something
04:43 called the Meisner technique, which is being truthful in imaginary circumstances and nothing
04:48 else made sense to me.
04:50 This sort of interpreting the scene first, you have to feel like you're bacon frying
04:54 in a pan.
04:55 So I'm like, I'll never be bacon and you know, not like I'm gonna lay myself in a frying
04:58 pan and experience it.
04:59 The only thing I can draw on is what I know and that's the thing that I've learned and
05:03 that's why my progression in my work grows in smaller increments because I can't do anything
05:09 else but what I've learned or have some sort of sense that I can draw on or I'll be faking
05:14 it and I don't want to do that.
05:15 And I think by the time I'm 60, well, I've evolved is as much as I would like to.
05:22 There are people who are better character actors than I am.
05:24 I love doing character work, but it's in smaller, smaller increments.
05:28 So I know what my limitations are and I know what my abilities are, but they are long,
05:34 they're a ways away.
05:35 So, but so I could, you know, be truthful and you've got half the game mastered there,
05:41 but you know, there's a lot to learn.
05:43 But yeah, that's the technique of that time is just be truthful in that circumstance.
05:47 Tell me about the truthfulness of Bionic Showdown.
05:49 Oh my God.
05:50 Well, the truthfulness of that is that the first day I showed up, really good.
05:55 I showed up with my wardrobe and it was about this big, that little running thing.
05:58 I was like, you've got to be kidding me.
06:01 And what was funny about that is when I was in New York studying and you know, you do
06:05 your amount of theater and whatever job you get, you're lucky.
06:08 And I was lucky to get that job.
06:10 It was one of those things where I auditioned and the guy said, you know what, I like her
06:12 and I couldn't figure out why, but it was, it was even in the scene where I was in the
06:16 wheelchair and I had to decide, you know, when Lee Majors and Lindsay Wagner came in,
06:20 does she have this operation?
06:21 It might work, it might not.
06:22 You know, it was supposed, my, where I'd come from was I have to roll off and do my emotional
06:28 prep to come back in and feel that, you know, and it, it, it wasn't great filmmaking.
06:33 I know that, but it was, once again, I got to learn, people paid me money to learn, to
06:39 do what I do because you can't learn that in school.
06:41 You can't learn the difference between theater acting and film acting because the differences
06:45 are so great.
06:47 So I got on the job training.
06:49 The only thing is, if you look back and if you regret anything you've done, it's on celluloid
06:53 for the rest of your life.
06:54 Okay, Jason did that.
06:56 I know he did.
06:57 Jason!
06:58 Treat me with respect!
07:01 You know what else he said, speaking of which, since he's...
07:03 See, he throws me money.
07:05 I said something to him about, that I thought you brought something out of him.
07:08 Yeah.
07:09 And he said, oh, I just throw her a bone once in a while.
07:11 Jason!
07:12 I brought something out of you!
07:15 I told her that...
07:16 I told her you said you just threw her a bone once in a while.
07:19 That she didn't bring anything out.
07:20 Why do you talk like that?
07:21 You know how I feel about your potty mouth.
07:22 What?
07:23 Oh, you're funny.
07:24 You're funny.
07:25 Just popped up.
07:26 Say nice things.
07:27 Go away.
07:28 He's giving us the go away.
07:29 You look really handsome today, by the way.
07:30 He looks really handsome.
07:31 See, look how nice you are.
07:32 He initiated it.
07:33 But look how handsome.
07:34 Look how handsome.
07:35 See, it's like kill him with kindness.
07:36 As mean as he gets with me, I send back the love.
07:37 He's a loving person.
07:38 He's just afraid of his, how much he has inside because he has a lot of love.
07:39 And his shirt matches his eyes.
07:40 I don't know if you noticed that.
07:41 Yeah, we all know.
07:42 I'm a little bit jealous.
07:44 I plan this dress to match my three-tone hair color.
07:45 You see the four colors that are going on here?
07:46 They're kind of the same colors that are going on in my hair.
07:47 Your hair is looking good.
07:48 Well, it's migrating towards the next film I'm doing because Jenna Rollins plays my mother
07:49 and my daughter is also very light and I sort of have to find that balance.
07:50 And I'm going to be a little bit more feminine.
07:51 I'm going to be a little bit more feminine.
07:52 I'm going to be a little bit more feminine.
07:53 I'm going to be a little bit more feminine.
07:54 I'm going to be a little bit more feminine.
07:55 I'm going to be a little bit more feminine.
07:56 I'm going to be a little bit more feminine.
07:57 I'm going to be a little bit more feminine.
07:58 I'm going to be a little bit more feminine.
07:59 I'm going to be a little bit more feminine.
08:17 I'm going to be a little bit more feminine.
08:43 I'm going to be a little bit more feminine.
08:50 I'm going to be a little bit more feminine.
08:51 I'm going to be a little bit more feminine.
08:52 I'm going to be a little bit more feminine.
08:53 I'm going to be a little bit more feminine.
08:54 I'm going to be a little bit more feminine.
08:55 I'm going to be a little bit more feminine.
08:56 I'm going to be a little bit more feminine.
08:57 I'm going to be a little bit more feminine.
08:58 I'm going to be a little bit more feminine.
08:59 I'm going to be a little bit more feminine.
09:00 I'm going to be a little bit more feminine.
09:01 I'm going to be a little bit more feminine.
09:02 I'm going to be a little bit more feminine.
09:03 I'm going to be a little bit more feminine.
09:04 I'm going to be a little bit more feminine.
09:05 I'm going to be a little bit more feminine.
09:33 They allowed her to be so from where she was.
09:37 She was imperfect.
09:38 She had that tone in her voice that a lot of people from Long Island do,
09:42 which is not the most pleasant to listen to, but all together it worked.
09:46 Even the seagulls, they reacted.
09:48 Thank you. Thank you very much. Thank you.
09:50 My biggest fans.
09:52 The thing about that was once we started filming,
09:55 I think so many irons being in the fire, and it having been television,
09:59 nobody wanted to hear someone talking like this.
10:01 And nobody, they wanted to sort of glaze over it and make it generic,
10:05 which was so disheartening to me.
10:07 And here I was having gotten involved in something that I was so excited about,
10:11 and which was such a great stepping stone for me,
10:13 where all of a sudden every line that I got, I was the straight man.
10:17 I was not allowed to do the accent.
10:19 They toned everything down, and it was so hard for me.
10:22 Every week going to work was one of the most difficult experiences I'd ever had.
10:27 And it was, and once again, though, it was, I'm so glad it happened,
10:30 because it reminds you when you go into the next thing,
10:33 if there's certain things that are a strong part of the script,
10:37 make sure that they're going to stay that way.
10:39 You just learn to ask different questions.
10:41 I didn't know what to ask. I didn't know that I could fight for things.
10:43 I didn't know how to fight for things.
10:45 And it was really hard.
10:47 It was really hard because I felt I could do so much better and wasn't allowed.
10:51 And when people are operating on fear where the network wants it to do well,
10:55 everyone wants a certain thing from it,
10:57 you forget that the thing that made the movie work was exactly what they'd taken away.
11:02 So that was really hard.
11:04 But like anything, that led to the next thing.
11:07 That led to this little film that I did called "Love Push" number nine,
11:10 where the first half of that film is one of my favorite films.
11:12 It's one of the favorite things I've ever done.
11:14 I loved it. I absolutely loved it.
11:17 You were so cute with the glasses and the hair.
11:19 The hair over the lip and the mono brow and the buck teeth, yeah.
11:22 But stuff like that I love to do. I love that stuff so much.
11:26 Working Girl, if that hadn't happened, I wouldn't have gotten that.
11:29 And if I hadn't gotten that, I wouldn't have gotten the next thing.
11:32 Everything is like the domino effect.
11:34 If it wasn't for, and as ridiculous as it sounds, Bionic Showdown,
11:38 I wouldn't have gotten Working Girl.
11:40 I wouldn't have gotten Love Push number. I wouldn't have gotten The Vanishing.
11:42 Were you able to see that at the time?
11:44 That one was leading to the next?
11:46 Yeah, because you could hear people saying,
11:48 "Well, we watched this of her and we saw that she could maybe do this based on what we saw."
11:52 If they didn't have that piece of tape right there,
11:55 I never would have seen it.
11:57 And once again, even with Bionic Showdown,
12:01 I said, "Who is Wonder Woman's sister?"
12:07 Oh, you got me.
12:09 No, you know who Wonder Woman's sister was?
12:12 Trivia guys.
12:14 Oh, Shadowlands! Deborah Winger!
12:16 Deborah Winger was Wonder Woman's sister.
12:18 And I said, "If Deborah Winger can be Wonder Woman's sister,
12:20 I'll give you the Bionic Girl."
12:22 It's a start. It's an absolute start.
12:25 I was Taft Hartley, which is where they make you sag,
12:28 and usually you can't become sag.
12:30 But I was given so many shots, like Speed.
12:33 Jan didn't have to cast me because the studio wanted somebody else.
12:36 He said no, and this was his first film.
12:38 So I owe him so much, but I also owe those people along the line
12:43 that everybody was supposed to cast somebody else, but they didn't.
12:47 But really, that reflects what you just said about Jan.
12:49 He said he saw in you, I'm sure...
12:51 A bus driver. Literally, he did.
12:53 He said he saw somebody who he could see handling a bus.
12:55 And that has to come from some of your prior work, looking at...
12:58 Yeah, absolutely, and also when I auditioned for it.
13:00 If you're rolling around on the floor with Keanu Reeves playing bus driver,
13:03 it's not too hard to audition.
13:05 "Oh, Keanu."
13:06 And when you're sitting in a chair and you have to mime driving a bus,
13:09 see how well I did that? I did it unconsciously.
13:11 That was good.
13:12 Because you don't drive like this, bus wheels are like that.
13:14 How many times were you asked during those interviews,
13:16 "Could you really drive a bus now?"
13:18 I'm actually licensed. I passed my driver's test,
13:20 and I have my union, and now everyone knows this.
13:22 I think I'm union number 200 in the bus driver's Santa Monica,
13:25 bus driver's union.
13:27 Speaking of Keanu, you've had some pretty amazing leading men.
13:31 You know what? I've really lucked out.
13:33 You don't think about it while you're working,
13:35 because you see them as normal people who are fellow actors,
13:37 but when you go into malls and you realize who you're working with,
13:40 they're like, "Oh, my God, I would like to kiss Keanu Reeves!"
13:43 And you're like, "Um, okay, hold on."
13:46 You know, I've been-- Not only-- I've had such a great--
13:50 You look at Richard Harris, Robert Duvall,
13:53 you know, Keanu, Jason, Matthew--
13:56 Sylvester.
13:57 Sylvester Sly, who was, by the way,
13:59 one of my favorite people to work with in general.
14:04 All across the board.
14:05 And at the end of the film he said,
14:06 "If you can work with me, you can do absolutely anything."
14:09 Because he'd put me through the wringer.
14:10 I was like his-- He was like my satanic older brother.
14:14 He was just-- But he was so incredibly good to me and nice,
14:19 and I was so scared.
14:20 Because I'd just come off of "Wrestling on a Stemming Way,"
14:22 which was a small film, this gorgeous film that I did,
14:25 and I was in the midst of a $70 million huge action--
14:30 The future was a futuristic film, you know, Joel Silver production,
14:34 which, you know, it was something I totally didn't understand,
14:37 and he knew I was scared.
14:38 And I just-- Here I am, method actor, going,
14:40 "Well, this-- She wouldn't really say this."
14:42 And I'm like, "It's the future! Shut up, say it!"
14:44 And I'm like, "Okay."
14:45 So you learn how to-- You know, I'm trying to sneak in the Meisner method,
14:48 and they just want the explosion to go off.
14:50 I never had to wait for a camera to come up and the explosion to go off
14:54 and then say your line.
14:55 Everything was always character motivated,
14:56 and this was, you know, other things motivated.
14:59 And he was very, very, very kind to me and just funny.
15:04 He's a good man.
15:05 How important is work to you?
15:06 How much a part of your life--
15:07 It's a little too important, I think.
15:09 I mean, it is everything right now.
15:11 I mean, I've always said when my priorities change,
15:14 when I have a family, when I become married and have children,
15:17 my priorities will shift drastically.
15:19 But I can have a child on one hip and, you know,
15:22 messing in a film with the other.
15:24 It just won't be as great.
15:25 That's why when I set up the production company,
15:28 I'm setting up things, stories that I love and I'm passionate about
15:31 that have nothing to do with me,
15:32 that are stories that I've always wanted to see and tell,
15:34 but where I'm not in them.
15:36 And I can still be a part of the creative process
15:38 but not be responsible for telling the story.
15:41 Yeah.
15:42 Is it hard to find balance?
15:44 Do you struggle with that?
15:45 Right now, the balance is perfect for me right now.
15:47 But once--I feel pretty harmonious.
15:50 I feel like sometimes I'm way too at home at work
15:53 because if I'm sitting by myself for a week, I go nuts,
15:56 and I have to be productive.
15:57 That's why I, you know, rip down another wall in the house
15:59 or find another fixture that belongs in.
16:01 You know, I feel like I need to be doing something productive.
16:05 But just work ethic to me in general is very important.
16:08 I feel very driven by that.
16:11 But not to always work, but just to be productive, I think.
16:14 When you look at the standard Bullet career,
16:16 no matter how far it goes, one timeline will be speed.
16:19 How much has your life changed?
16:22 It changed dramatically.
16:25 Before, it was a slow progression where everything--
16:28 you saw what you worked for.
16:29 You auditioned, you auditioned, you auditioned.
16:31 Usually it's three.
16:32 You screen test. You didn't get it, you got it.
16:34 You audition, audition, audition, screen test.
16:36 One speed happened, all of a sudden this luxury happened,
16:38 which to me is still uncomfortable and fearful
16:40 because people say, "Here, do this script,"
16:42 and I can look at these scripts, and you say,
16:46 "How do you think I can do that?"
16:48 Because I can't do this right now.
16:49 I might be able to do this in a year, but there's no way.
16:52 And I don't want it to become sort of an ego thing
16:54 where like, "Oh, of course I can do it."
16:55 I have to keep check of myself because, like I said,
16:58 my steps are smaller than most.
17:01 And it's an uncomfortable thing.
17:04 It's an honor to not have to audition, believe me.
17:06 I mean, there's a part of that process
17:07 that's incredibly grueling,
17:08 but there's also a sense of accomplishment
17:10 because you earned it.
17:11 A lot of times I don't feel like I've earned,
17:13 and I need to feel like I've earned it,
17:14 and I think that's why I've gotten into the production end of things
17:17 because I was responsible for putting it--
17:19 you know, getting it started, going through the mess,
17:22 because that's where the mess is in pre-production.
17:24 It's not once you start shooting.
17:25 That's damage control.
17:26 That's the mess, and I want to be part of that.
17:28 So I think it's a sense of feeling like you deserve what you get
17:32 rather than having something handed,
17:33 and then everyone else does all the work,
17:35 and then it becomes successful,
17:36 and you're like, "I had nothing to do with this.
17:38 I wore the wardrobe, and that was it."
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