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00:00A lot of lines to remember.
00:05I don't know.
00:06This is the moment when I go,
00:07I wish I'd only done four movies.
00:12All right, here we go.
00:14Let's Dance.
00:15Well, obviously, that's Footloose.
00:17He started with a very, very easy one.
00:19Let's Dance!
00:21In the original cut of the movie,
00:24the second I said Let's Dance,
00:26the song started,
00:28but the movie went to slow motion
00:30and they tested it
00:32and audiences were not into the slow motion
00:35because they'd seen this whole thing.
00:37They wanted to see everybody dance.
00:39So we went back and re-shot the ending of that.
00:42We had shot the original movie in Utah
00:44and we went back to L.A.
00:46and they brought in some new dancers
00:48and so that whole last dance sequence
00:51was shot on a soundstage.
00:54All right.
00:55So long, Earth.
00:57Catch you on the flip side.
01:00Well, I'm guessing that's got to be Apollo 13, right?
01:04Yeah, okay.
01:05So long, Earth.
01:07Catch you on the flip side.
01:08NASA allowed us as civilians,
01:11which they really at that point rarely did,
01:14to experience the vomit comet,
01:16the KC-135,
01:18which is an airplane that they use
01:20to create zero gravity on Earth.
01:23And it flies out over the Gulf of Mexico
01:25and you go straight up
01:27and then you go straight down.
01:28The pilot, you know,
01:29just basically does this with the joystick.
01:31The gravitational pull of the Earth
01:34and the centrifugal force balance for 25 seconds
01:38and you float.
01:38Ron Howard was talking to Steven Spielberg.
01:41He said the weightlessness
01:42is going to be really hard to accomplish
01:44with wires and taking them out.
01:47It was a much different world
01:49in terms of computer-generated images.
01:52So why don't you build the setup there
01:53and shoot in the vomit comet?
01:56And that's what we did.
01:57And I didn't throw up,
02:00but I had a cameraman throw up on me,
02:02which is interesting in zero gravity
02:05because you kind of see it before it happens.
02:08Okay.
02:09It's going to storm.
02:11It's going to tear down that valley
02:13like a son of a gun.
02:17Are they supposed to get increasingly harder?
02:20Storm.
02:20It's going to tear down that valley
02:22like a son of a gun.
02:23I honestly don't know.
02:30Is it Friday the 13th?
02:33That's from Friday the 13th?
02:34It's going to storm.
02:35It's going to tear down that...
02:36Okay.
02:38It's going to storm.
02:41You can tear down that valley
02:42like a son of a gun.
02:43The thing is that back then
02:45a lot of these kind of teen-type slasher movies
02:50were morality tales.
02:51So if you had sex or you did drugs,
02:55you were going to die violently.
02:58And I did both in succession.
03:02And so, of course, I was going to go.
03:05Yeah, my death in the horror film world is famous.
03:08It's so famous that, unfortunately,
03:11when it comes to signing autographed pictures,
03:14the number one picture that I sign is of me dead,
03:16which I always find a little bit disconcerting
03:19when, you know, someone comes up
03:20and just, you know, says,
03:21hey, would you sign this for me?
03:22And it's like...
03:24I got a damn plan.
03:27This has to...
03:28I think this has to be Tremors.
03:31I got a goddamn plan!
03:34It's the only part that I've ever thought to myself,
03:36I really would want to see who this guy is now,
03:39you know, where we left him.
03:41Being out there was kind of a magical situation
03:44with Kira, nine months pregnant.
03:47There was a midwife about an hour away,
03:50and then the hospital was down in L.A.,
03:52which was like three and a half hours.
03:54It was kind of like the clock was ticking
03:56in order to get the shoot done
03:59and, you know, get her within swinging distance
04:03of someone who could deliver the baby.
04:06These are the facts of the case,
04:08and they are undisputed.
04:09This has to...
04:09I haven't played that many lawyers.
04:12I mean, this may be...
04:13Could this be the only lawyer I've ever played?
04:16Yeah, I think this is A Few Good Men.
04:18And doesn't that sound like an Aaron Sorkin line?
04:20These are the facts of the case,
04:22and they are undisputed.
04:23These are the facts of the case,
04:25and they are undisputed.
04:26Tom and Demi and Rob Reiner
04:29and Jack Nicholson clearly
04:30knocking it out of the park
04:32in that very iconic role
04:34and very iconic scene, you know.
04:37Kiefer and I would get together
04:38and play guitars outside of our trailer.
04:41Because we had those, you know,
04:43super short haircuts,
04:45I think he might have almost been
04:46had his head shaved or something.
04:47He had very, very short hair,
04:49and I had my, you know, marine thing.
04:51And we were in our marine uniforms,
04:54but, like, they were, you know,
04:55since they were not very comfortable,
04:57we were, they were usually, like,
04:59open and collar open,
05:00and we looked like some kind of, like,
05:03a strange punk band, you know.
05:07In reality, we're still 11-year-old boys
05:10locked in a cellar
05:10imagining what our lives would have been
05:12if we'd escaped.
05:13I know exactly what this is.
05:14This is Mystic River.
05:17We're still 11-year-old boys
05:19locked in a cellar
05:21imagining what our lives would have been
05:23if we'd escaped.
05:25Clint, you know, kind of famously,
05:27he doesn't like to put actors
05:28through meetings or auditions
05:31or any kind of stuff like that, you know.
05:33He just wants to give you the part
05:36or not give you the part.
05:37I would definitely put in my top five,
05:40if not top three,
05:41because we were all just, you know,
05:45dudes, you know,
05:46Tim and Sean and me and Fish,
05:49you know, just hanging out in Boston,
05:51having these great experiences
05:52with someone who we just found so iconic.
05:55And, you know,
05:56he famously is,
05:58shoots very short days
05:59and doesn't do a lot of takes.
06:01And it was a blast.
06:03Well, I don't give a fuck
06:06if you're hungry or not.
06:07You eat because I'm telling you to eat.
06:09Well, I don't give a fuck
06:10if you're hungry or not.
06:12You eat because I'm telling you to eat.
06:15That's sleepers.
06:18Well, I don't give a fuck
06:19if you're hungry or not.
06:21You eat because I'm telling you to eat.
06:24You know, I'm from Philly
06:24and rarely have I played characters
06:27that are from Philly.
06:28And when people do characters from Philly,
06:31they never do a Philadelphia.
06:33dialect. Everyone makes Philadelphians sound like they're from Brooklyn. It's just a thing. I don't
06:41really know why it is a thing, but it's a thing. So I went to Barry Levinson, in this case in
06:46Sleepers, and I said, you know, this Noakes guy, Noakes, see how I said it? Noakes. I think he
06:52resents these New York kids, and I think he's got a little bit, like, I think besides all of, you
06:57know, the fucked up shit that he does to these poor boys, some of it also spurs from this kind
07:02of deep Philadelphia resentment of New York, always thinking that it's cooler and better.
07:09You don't make history by following the rules. You make it by seizing the moment. You don't
07:14make history by following the rules. You make it by seizing the moment. Like maybe Frost
07:26Nixon? No. I can't believe I don't remember. Listen, there's been a lot of lines. A lot
07:33of lines to remember. I don't know. Hollow Man. Oh, wow. That doesn't sound like a Hollow
07:39Man line. Okay. You don't make history by following the rules. You make it by seizing
07:43the moment. I mean, the thing was is that you get part of somebody invisible, and you
07:47think, oh, this is awesome. I'll just record my lines, and I'll, you know, I'll be at home
07:52sleeping late. No. I was basically the green screen. People are familiar with the concept
07:56of green screen where you put the background in, you know, and the weather man does it or,
08:00you know, whatever. When you're doing, going the other way and taking my character out,
08:05I had to be green for most of it. Hollow Man, honestly, in a lot of ways, was one of the most
08:11physically challenging movies I ever did, and we also got shut down for about, I think, six
08:18months or something like that, right in the middle of it. So it went on and on and on,
08:23and there were times when I thought I was never going to do anything else in my life other
08:27than walk around in a green suit. I am a nice guy, just a different kind of nice guy. This
08:34is definitely the River Wild, right? I am a nice guy. Just a different kind of nice guy.
08:42Listen, when you get the call that you're going to be in a movie with Meryl Streep, and Meryl
08:46Streep to me was, and continues to be, probably the closest thing that I've had to an actor
08:51whose career I would want to model mine, you know, after, because she's done so many different
08:56kinds of things in so many different kinds of genres, embodying these characters that you really
09:02believe her every time, you know, and that is something that not a lot of people have
09:07accomplished, you know. There's people that give it a shot, but we really are mostly comfortable
09:12seeing them do one thing when you really think about it. People aren't always what they
09:17appear to be. Don't forget that. No idea. People aren't always what they appear to be.
09:22Don't forget that. No, I got no idea. Wild things. Ah, that's good.
09:28People aren't always what they appear to be. Don't forget that.
09:32We were out in the swamp one night, a lot of mosquitoes. Wow. And we're shooting some scene,
09:39I don't remember what it was, and by kind of a river. They had kind of floated a raft out there
09:45so that they could put a, you know, a light. All of a sudden I hear across the walkie-talkie,
09:51a, I think I just saw a floater, and it was a body that was floating by. It was kind of what,
10:00indicative of the vibe of the movie. Do you ever get the feeling there's something going on that we
10:06don't know about? I know that this is Diner. You ever get the feeling there's something going on
10:10we don't know about? This is one of the lines that people will come up and quote to me, you know.
10:17Barry Levinson, like I say, great writer. This is his first movie. He wrote a lot of great lines,
10:22and that's one of them. I don't know if I 100% got it, honestly, you know, but it just has a
10:29certain resonance. And they stole my truck, too. Oh, this must be The Bondsman. Yeah, yeah, yeah.
10:36Well, you hear, all of a sudden I slipped into Hub and stole my truck, too.
10:40And they stole my truck, too.
10:42I love doing this show. It was an absolute blast. Great, fun character. The combination of somebody who
10:50is a complete badass, demon ass-kicker, but also such a mama's boy. Can't get out of his mom's,
10:56you know, garage. Can't keep a marriage together or develop a meaningful relationship with his son,
11:03you know. I've always said, if I'm going to be the hero, I just want him to be complicated in some
11:08kind of way. Remain calm, all is well. Animal House, first movie, 19 years old, in acting school,
11:16no agent. I say, remain calm, all is well, and they flattened me into the sidewalk.
11:21Remain calm, all is well.
11:23Went back into acting school, went back, you know, being a busboy. What little money I made
11:31on the movie, I spent in about, you know, an hour. I was like, oh, okay, that's great,
11:36but you're not a movie star, you know, you're not, you're just in that movie, you know. You
11:41got to roll up your sleeves and get to work.