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00:00 Oh, God. Oh, man.
00:02 [ Groans ]
00:03 Ah, this is easy, too.
00:04 I could do this all day.
00:06 ♪♪
00:11 [ Sighs ]
00:13 So, you met my nurses.
00:15 They clean the copper out of my blood.
00:17 I know what this is.
00:19 This is "Speed 2."
00:20 So, you met my nurses.
00:22 They clean the copper out of my blood.
00:24 "Speed 2" -- a lot of people give me a hard time about that.
00:27 They teach me about the size of my performance.
00:29 That it was over the top.
00:31 But I swear to God, I stand by that performance
00:34 because there was no other way to do it.
00:36 I've got a pretty flexible face, an expressive face,
00:39 and I don't censor it.
00:41 I let it do its thing.
00:43 I don't put on faces,
00:45 but I know for a fact
00:46 that my face can do some really extreme things.
00:49 And so, when you freeze it into a meme,
00:51 yeah, you can get a lot of laughs out of that.
00:54 That's for sure.
00:55 Sometimes you do things,
00:56 and people just aren't ready for them,
00:58 or it's the wrong time, or the context is wrong.
01:03 Maybe I misread it.
01:04 But for my money, I stand by that movie.
01:08 "To say what you won't, to do what you can't,
01:12 to remove those in your way."
01:15 That sounds like a Spider-Man thing.
01:19 To say what you won't, to do what you can't,
01:24 to remove those in your way.
01:28 We did it in one take,
01:30 so you always had to switch between the two voices,
01:34 and also the camera was moving,
01:36 so you had to dance with the camera.
01:38 To prepare for it, Sam Raimi gave me --
01:40 Dr. Jekyll and Mr. Hyde said, "Check this out.
01:43 It may inspire you."
01:44 But then, 20 years later, to revisit it, it was really cool.
01:47 Norman? Norman's on sabbatical, honey.
01:51 Sometimes you run into people and say,
01:53 "Oh, I saw the original Spider-Man when I was a kid,
01:56 and now I took my son to it."
01:57 So it's kind of a sweet thing
01:59 that bridges two generations of moviegoers.
02:02 Oh.
02:07 I think I don't have this one.
02:10 "They exited out the front door.
02:12 They had no idea what they were in for."
02:15 I have no idea.
02:20 Oh, God!
02:21 Oh, man. I should have known this.
02:24 This is from "Boondock Saints."
02:27 "They exited out the front door.
02:29 They had no idea what they were in for."
02:32 It's an interesting movie because that's a movie
02:35 that basically got little to no release
02:38 and then became very popular, kind of on its own steam,
02:41 kind of became a cult hit.
02:43 And I know that only because I'd be anyplace in the world,
02:47 and people would -- you know, a guy --
02:50 it was normally a man, a young man,
02:53 a certain age, would come up and say,
02:55 "Hey, you know what I really like?"
02:57 And I could tell what he was talking about.
03:00 ♪ Oh, to the ♪
03:02 I don't know whose idea it was to dance around
03:05 explaining the shootout.
03:06 I don't want to take credit for it,
03:08 but I don't think it's something we discussed.
03:10 I think it's one of those things that happens,
03:13 which is the way most good things happen.
03:16 They don't happen as an idea.
03:18 They happen because it feels like the logical thing to do.
03:22 [Scoffs]
03:23 Ah, this is easy.
03:25 "You're fond of me lobster, say it.
03:28 You're fond of me lobster, say it."
03:30 That is definitely the lighthouse.
03:32 This is practically a meme, I think.
03:35 You're fond of me lobster.
03:39 Say it!
03:40 The accent I used was basically in my imagination.
03:43 Robert Eggers is a freak for research,
03:46 but he also is smart enough to know
03:48 that you can't film research.
03:49 So we tried lots of different things,
03:51 and very specific things,
03:53 studied lots of different accents,
03:56 and then basically returned to that basic pirate accent
04:01 that we know from movies.
04:02 I did have a dialogue coach that helped me with it, of course,
04:05 and that was important.
04:07 But at the heart of it, it was something in my imagination
04:10 and something I heard.
04:11 So although I studied,
04:13 it was sort of there already.
04:18 Ah, this is easy, too.
04:20 Sorry. [Chuckles]
04:21 "I love this place at night, the stars.
04:23 There's no right or wrong in them.
04:25 They're just there."
04:26 That's from "Platoon."
04:28 I love this place at night, the stars.
04:32 It's a moment where my character, Sergeant Elias,
04:35 is reflecting on the situation they're in,
04:38 and he says, "We're gonna lose this war."
04:40 He's talking to the Charlie Sheen character, Chris Taylor.
04:44 It's kind of a calm-before-the-storm moment.
04:47 ♪♪
04:50 When I heard about the Oscar nomination for "Platoon,"
04:54 I was at home,
04:55 and the thing that was really special about it
04:58 is my son's babysitter called me.
05:01 He's the one that told me.
05:02 Now, to be fair, he's a real cinephile.
05:05 I don't think I even knew
05:07 what day they were going to be announced,
05:09 where the second time I got nominated,
05:12 I was very aware of it.
05:14 [Laughs]
05:15 [Pages turn]
05:17 Ah.
05:19 "I feed the way old men pee.
05:21 Sometimes all at once, sometimes drop by drop."
05:26 This is "Shadow of the Vampire."
05:28 I feed the way old men pee.
05:33 The research I did for that time period,
05:35 it's all there because it was really a take
05:38 on something that already existed.
05:40 So I had a beautiful something to copy.
05:43 That character is in that movie, Nosferatu,
05:46 and I copied it, or at least I start there,
05:48 and then leaped off from it.
05:50 And I had this beautiful extreme makeup
05:52 that really becomes a mask,
05:53 and when you have a mask like that,
05:55 it really allows you to pretend
05:57 because you don't look like yourself,
05:58 you don't feel like yourself.
06:00 It's really key.
06:01 It's a trigger for your imagination.
06:03 We shot it in Luxembourg,
06:05 and there were some people on the crew
06:08 that never saw me out of makeup
06:09 because I was the first one there
06:11 and the last one out.
06:13 So I was always in makeup.
06:16 "I've always thought of you two as my dads."
06:19 That is Klaus from "Life Aquatic."
06:23 I've always thought of you two as my dads.
06:26 I was working at the Wooster Group,
06:28 a company that I worked with for many years in New York,
06:30 and I invited him to a show.
06:33 And he came and watched the show,
06:35 and then afterwards we went out and had dinner,
06:37 and got along fabulously.
06:39 And what's interesting is he said,
06:41 "I'd love to do something with you,
06:43 but I probably won't do another film
06:46 for like three, four, five years
06:48 because I've just prepared one,
06:50 and I'm gonna go off to Italy to shoot it very soon.
06:53 So it's all cast,
06:55 and so I'll see you in three or four years."
06:59 And I thought, "Oh, that's too bad."
07:00 And then I get a call a couple months later,
07:03 and he said, "Someone dropped out,
07:05 and there's a role that I think you'd be great for."
07:08 And he cast me as Klaus, and I came running,
07:11 and we did that film in Italy.
07:14 It was a beautiful experience.
07:15 That's a beautiful role.
07:16 He's kind of a blowhard German guy.
07:20 And also I met my wife on that movie,
07:22 so that was special.
07:23 Ah, "Maybe God Made Me a Painter
07:28 for People Who Aren't Born Yet."
07:29 At Eternity's Gate is the film.
07:32 The character is Vincent van Gogh.
07:34 Maybe God made me a painter for people who aren't born yet.
07:38 Doing this movie, the director, Julian Schnabel,
07:41 taught me how to paint, or at least gave me instruction,
07:44 and I was painting because there's no stunt painter
07:47 in the movie I'm actually painting.
07:49 And he really taught me how to see,
07:51 how to look at things in a different way.
07:53 So it was a very important experience for me.
07:56 And not only that, but then that became the key
07:59 to looking at van Gogh's paintings.
08:03 And I probably didn't appreciate him,
08:06 certainly not as much as I do now,
08:08 having gone through that experience,
08:09 because I feel like I have a personal relationship now.
08:14 I gotta say, these are all pretty easy so far.
08:17 We'll see.
08:17 If I was a woodcutter, I'd cut.
08:19 If I was a fire, I'd burn.
08:22 But I'm a heart and I love.
08:23 That's all I can do.
08:27 That's almost moving, just to say it.
08:29 That's a fella called Jesus Christ
08:32 from Martin Scorsese's "Last Temptation of Christ."
08:36 Yeah, I get moved just reading that.
08:38 If I was a woodcutter, I'd cut.
08:40 If I was a fire, I'd burn.
08:42 But I'm a heart and I love.
08:43 That's all I can do.
08:44 I did read the Bible, because of course,
08:46 we're telling a certain kind of story,
08:48 but also, if you look at the New Testament,
08:51 you basically have a bunch of different guys
08:54 telling the same story,
08:55 but they all have variations on it.
08:57 So it's nice to entertain those different points of view.
09:02 And to play Jesus is almost impossible.
09:05 But the whole point of the movie
09:07 is this guy is struggling with the idea of being Jesus,
09:11 of this task that he's been handed.
09:16 Like all great directors, he gives you a good setup.
09:20 You know, you often hear these stories,
09:22 you know, particularly about his collaborations
09:24 with Robert De Niro and probably with Leonardo DiCaprio now
09:29 that there's lengthy discussions
09:31 and you kind of feel like they talk a lot
09:33 about the psychology before.
09:36 There was none of that.
09:37 First of all, "Last Temptation" was a low budget movie
09:40 and we were really kind of shooting on the fly, you know.
09:44 One day, you'd be healing the blind
09:47 and then you'd be on the cross the next day.
09:49 I mean, there was no waiting.
09:51 There was no discussion.
09:53 We really had to get to it.
09:54 Ah, from this moment on,
09:59 you will now be known as Sharkbait.
10:02 That is Gil from "Finding Nemo."
10:05 - From this moment on,
10:06 you will now be known as Sharkbait.
10:09 - Gil is a, the type of fish is called a moorish idol.
10:14 He's kind of a rough guy,
10:16 not unlike Klaus in "Life Aquatic."
10:19 He's a little bit of a blowhard
10:21 and I think he's also fictionalizes some of his past.
10:25 So he really stands as a tough guy and a leader,
10:28 but I think deep down, he's a softy.
10:30 So I like those kinds of contradictions in a character.
10:33 It's a beautiful Pixar film,
10:35 directed by Andrew Stanton,
10:36 and it was really fun to do.
10:38 To work with him on the voice,
10:40 you just go back and forth, back and forth, back and forth,
10:43 and he just turns you on by suggesting things.
10:45 So you do every imaginable interpretation of the lines
10:50 and they just collect lots of material
10:52 and then put it together.
10:54 If I remember right, I think most of it was done wild.
10:58 That is, without looping to picture.
11:00 And then they animate after.
11:03 Speak in Italian, help me.
11:05 Please don't answer in English.
11:08 This is what I say to my wife all the time.
11:12 [laughs]
11:15 It's hard when you're trying to learn Italian
11:18 and your wife speaks many languages
11:21 and if you're speaking Italian with her,
11:25 she gets like a five-year-old version of yourself,
11:28 so it kind of puts the stress on the relationship.
11:31 But at the same time, I need her to speak in Italian
11:33 so I can learn.
11:34 Jeez Louise, this isn't from "English Patient," is it?
11:39 Oh, this is "Tommaso"?
11:42 When I speak to you in Italian, help me.
11:45 Please don't answer in English, huh?
11:47 That's close to home because "Tommaso" was,
11:50 although it wasn't my autobiography,
11:52 it's a totally improvised movie,
11:55 but it had a lot of elements
11:57 that the director, Abel Ferrara, and I,
11:59 who worked together very closely, were familiar with.
12:02 It's kind of funny that I make a joke about my wife
12:07 when in this, it's actually that.
12:10 That it's about a man, an American director,
12:13 who's living in Rome and he gets upset with his wife
12:17 because of the very thing that I said
12:19 I struggle with with my wife.
12:21 Fortunately, I speak a little better now.
12:23 My father once told me, no, I should say,
12:26 my father once told me, "Always carve with compassion.
12:30 "He was a fucking idiot, but it's not bad advice."
12:34 That wasn't exactly right.
12:36 I thought I'd try, I shouldn't show off.
12:38 But this is from the beautiful movie "Poor Things."
12:43 My father once told me, "Always carve with compassion.
12:47 "He was a fucking idiot."
12:48 I was a Yorgos Lanthimos fan
12:51 and I was a fan of Emma and they called me one day
12:54 and they just pitched to me and I liked it so much.
12:57 And the way they described the character,
12:59 I like the fact that he was a surgeon,
13:01 I come from a medical family,
13:03 and the fact that his face was disfigured,
13:05 there were many things that I thought,
13:07 ooh, this will be fun to play with.
13:08 This is fun, I could do this all day.
13:11 Aren't you aware that you put Nick's shoes
13:17 on wrong in this picture?
13:20 Is that Antichrist?
13:21 You're aware that you put Nick's shoes
13:25 on wrong in this picture?
13:26 A difficult movie, but beautiful
13:29 because it expresses very interesting things
13:32 about grief, about sexuality, about women's power,
13:37 about men's denial of women's power,
13:41 about their magical strength, about men's fear.
13:45 I think because of the violence in it, the horror elements,
13:49 it's very tough and also some of the subject matter.
13:53 I think the prologue and the epilogue of that movie
13:57 are pure cinema, they're really beautiful sequences
14:02 and I enjoy working with Lars so much
14:04 because I feel very challenged and engaged.
14:07 I've worked with him four or five times.
14:10 He's one of the greats.
14:11 He gets accused of being misogynist,
14:13 but in fact, I think he identifies
14:17 much more with women than men.
14:19 And he puts a lot into the questions
14:23 that his women characters have and sides with them
14:27 on certain struggles that they have.
14:29 And I think that's the beauty of cinema,
14:31 that it can make us see things that we don't normally see
14:35 and it can give us a broader understanding of life
14:39 and make us a little more compassionate,
14:41 a little more open to experience.
14:44 (laughs)
14:48 The last is the first, "We're Going Nowhere."
14:52 We're going nowhere, fast.
14:54 Okay, that's from a film called "The Loveless,"
14:58 which was essentially, for all practical purposes,
15:01 my first significant role.
15:04 - We're going nowhere.
15:05 Fast.
15:08 - It was Catherine Bigelow's first feature.
15:11 She co-directed and co-wrote it
15:14 with a man by the name of Monty Montgomery,
15:17 who then went on afterwards
15:18 to work with David Lynch as a producer.
15:21 But anyway, a very low-budget movie.
15:24 They saw me at the Wooster Group and said,
15:27 "I was the guy for the role."
15:28 They called me up, very direct.
15:30 I didn't have an agent in those days.
15:33 They said, "Do you wanna make this movie?"
15:34 They sent me the script.
15:35 I said, "Yeah," and that started my love affair with movies.
15:39 It got me started.
15:40 It made me love performing with a camera.
15:43 It made me love going with people to a place,
15:48 creating something, and having this adventure.
15:52 You know, I'm from the theater, and that was my identity,
15:55 but this was a whole new thing for me.
15:59 So I thought, "This is cool."
16:00 So that was the beginning of that, I'd say.
16:03 [upbeat music]
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16:13 [MUSIC]