Full Tilt Boogie (1997) - full transcript

[Narrator] Some where...

in the middle of nowhere,

two of America’s
most dangerous criminals...

are headed
for the border

Earlier today, during
a daylight liquor store
robbery in Big Springs,

the Gecko brothers killed
another Texas Ranger.

That changes
the death toll to 76.

[Narrator]
The night is all that stands
between them and freedom.

Now this is
my kind of place!

[Narrator]
But it’s going to be
one hell of a night

— [Man #1] Ready?
— [Man #2] Yeah.



[Grunts]

Huh? Let's do it.

— [Tarantino] Ready?
— [Clooney] Mm—hmm.

— Richie Gecko.
— Seth Gecko.

Let's rock.

Hey, which way
to the set?

[Woman] Through the door,
down the hall.
Can I see your hall pass, please?

— Here you go.
— Thank you

— No, no. We don’t need yours.
— You want—— You don't
need mine? Okay, fine.

Oh, yeah.

Oh, yeah.

— Right this way, Mr. Kennedy.
— [Laughing]

[Brakes Squealing Cars Crashing]

* Well, you can tell
by the way I use my walk *



* I’m a woman’s man
No time to talk *

* Music loud
and women warm *

* I've been kicked around
Since I was born *

* And now it’s all right
It’s okay *

* You may look
the other way *

* We can try to understand
the New York Times’
effect on man *

* Whether you’re a brother
or whether you’re a mother
You’re stayin’ alive *

Guys, I'm waitin' on Quentin and George.
Where in the hell are they?

— Let's go, guys. Move it.
— Copy that, Doug. Looking.

— [Clooney] You gonna stall?
— [Tarantino] I’m ready to go, man.

— "To set." "To set." Okay, gotcha.
— "To set." Cool.

Okay Hey, hey, hey/
Ho, ho, ho, ho! Let’s go.

Guys, I need a 20 on Quentin
and George, please, right away.

I need a 20 on Quentin
and George, guys.

Anyone got a 20
on Clooney or Tarantino?

Rubber baby buggy bumper.
La, la, la, la, la, la, la, la, la.

Ma. Ma. Ma, ma, one.
Mo, mo, two.

[A.D.]
Peter, let’s go. Get on it now

[Peter]
Still looking

— [Tarantino Chattering]
Great Excellent
— [Clooney] Got it

— [Blowing]
— Right.

Man, I gotta
work on this.

Mr. Tarantino, I'm your biggest fan.
I quit school because of you.

— Get the fuck outta here.
I can't work with this shit.
— Get lost. Piece of shit.

— Fuck. You know, goddamn it.
— Yeah. Probably a little wuss.

— These fuckin' geeks just come by.
— They come poppin’ out Yeah.

— Is that my fault?
— No.

—All right,
did I ask him to quit school?
— Hey, I am the director.

— Yeah, how's it goin' pal? Suck one.
— [Together] Fags.

Fuckin' shit.
I don't need guys like that around.

— Geez, last time I make a movie in——
— Yeah, Every time, I hit dead ends.

Mr. Tarantino, Mr. Clooney
Can I have your autograph?

— Sure.
— Absolutely. Absolutely, darling.
Absolutely. What's your name?

Scooter, let's go.
Get on it now.

— Copy that, Doug. Still looking.
— And—— What's your name again?

— Houston. Gimme an " H"!
—Okay.

— Got some I.D.? [Laughing]
— So how was that?

— I'm 18. Yeah.
— Yeah, well, that's old enough.

— Here you go, Houston.
Bye—bye. Thank you.
— Thank you, guys.

— Bye—bye. Take—— Take care.
— Oh, my God.

— Bye. Bye—bye.
— [Both Laughing]

— Whoo. Teen slut.
— All right!

— Put it there, motherfucker.
— I could take her to
the wrap party, that girl.

Guys, somebody had better
be walkin' with 'em.

Get some fuckin'
lights in here.

— Where the fuck is the stage, man?
— Big—ass joint.

— Nancy's right.
This is like a fuckin' fortress.
— [Laughing]

— We’re gettin’ there.
Cool, cool, cool, cool
— Yeah, we’re gettin’ close now

— Here we go.
— There it is. There we go.

— Rock and roll!
— Hello, Cleveland! [Laughs]

—I think, uh——
No, it's left here, I think.
—Okay.

What did I tell you?
What did I say to you?

I said, "Buy the road map
and leave."

— What the fuck am I supposed
to do, Seth? He recognized us.
— He didn't recognize shit.

Seth, I'm telling you,
the way he looked at us——
you especially——

I knew he knew.

L ow profile. You understand the meaning
of the words "low profile "?

"Hey, Richie, how’s your hand?"
"It hurts like a fuckin’
son of a bitch, Seth.

— Thanks for asking.
— Let me tell you what
"low profile " is not!

And here to tell us all about it
is the director of the film...

and one of the stars
of the film.

Let's have a big "Fango" welcome
for Robert Rodriguez,
the director of Desperado,

and Quentin Tarantino, one of
the stars of, uh, Desperado.

[Audience Cheering]

They're also collaborating this
summer on a new horror film,
From Dusk Till Dawn.

with effects created by Greg Nicotero
and Robert Kirchman of K N B.

Well, it’s good to be here.
Um, horror fans ourselves.

Um, Greg and Bob,
demented minds.

Um, from the sick and deviant
mind of Quentin Tarantino...

will be coming
From Dusk Till Dawn.

a horror film that we're gonna be making
sometime later in the summer.

Mixing that with the, uh, special
effects and sick, deviant minds...

of greg and Bob, we should have
a pretty sick and deviant picture.

Part of the advantage to the
picture we’re doing is that..

there's no horror for
the first half of the movie...

so that you can really invest
yourself with the characters
and feel part of the movie...

before anything happens to them
that you don't want to happen to them...

so that you really, you know,
feel the horror a little bit more.

A lot of horror films start
delivering the horror too soon,

and you don't really have
any eyes into the picture.

What this is enabling us to do
is, uh, really get you to be
a part of the picture...

before the horror element comes
in, which is always the best
thing about most horror novels.

[Tarantino]
Yeah. That’s right

There's a lot of time spent
with the characters
before the horror comes in,

and then you care about them
a lot more and then you're
really part of the movie.

Not to compare ourselves
in any way, shape or form,
but let me——

One of the things that actually
makes Stephen King's novels so
scary when you read them is——

You know, he's never
given credit for like——

He's a—— For like——
He's one of the best writers of
characterization that there is.

I mean, you know,
he writes these incredibly
believable people,

who you really kind of
embrace as yourself
and take into your heart,

and then, after you've totally
assimilated with these people,

then he literally puts them
through hell, and you know——

'cause he's Stephen King,
and you know the kind of stuff
he's doing——

he's not afraid
to take them anywhere.

— So now it—it's really painful,
all right?
— Right

Because you truly do care
about these people.
They're not stick figures, all right?

— Now, our characters are actually
a bunch of jerks, all right?
— But they’re fun jerks.

Yeah, but they're fun jerks,
see? They're fun jerks.
All right. But—— But——

But what's funny, though,
is—— is the fact that, uh, um,

uh, you know, about an hour
into the movie, all of a sudden,
[Imitates Explosion]

all these vampires show up
in our film, and, you know,
the audience has——

There's been no indication
that that will happen
at any point in the movie...

until they just, in the blink
of an eye, show up, and now they
gotta deal with it, all right?

And so the audience is, like,
completely caught unawares, like
"What the hell's going on?"

Well, that's exactly
what the characters are doing.

— They weren't expecting
to bump into vampires either.
— [Laughing]

So all of a sudden,
they're just dealin' with it.

And you know what works,
like in a Stephen King novel,
for instance, is that...

you're enjoying the characters
and the story so much,
you don't even want the horror.

— You don't even need
the horror element to come in,
— Yeah.

and when it comes in,
it almost gets in the way,

'cause it starts messing
with all the characters
and screwing them up.

_Oh__
— So this movie is the same way.

In the script, when you read
Quentin's script, you can
just follow the movie through...

and never have to
bring in the horror,

and it would be an exciting
enough, engaging movie...

because you like the characters
and you like the situation.

To add that into the mix is what
really starts churning the pot.
So it's—— it's fun.

Let's go, guys. Clear, guys.
If you don't need to be here,
step out, folks.

— [People Chattering]
— Step out, please.
It's too noisy. It's too hot.

Step out. Step out if you're
not workin' in this, guys.

It all boils down to it,
you know.

Whatever his vision is,
I——I try and facilitate it.

I try and get it in front of
the camera on time, on schedule,

keep it on schedule
and give him what he wants.

All right. Here we go, gang.
Here we go. And... roll sound.

[Crew Chattering]

— [Aarniokoski] Robert?
— Try one thing? We're gonna
try it one more time?

I got most of the stuff she did,
but I didn't get it all because——

'cause we couldn't get
back far enough.

— So do you want to go back——
— I might overlap it——
I might overlap it later...

when we do, uh,
"Sex Machine" on the full tape.

Lookin' back this way?
So that'd be a Wednesday situation then.

—Yeah.
—All right.

So bed's goin' back
in its normal position.
Camera comes out.

— Artsy.
—We are lighting, guys.

We are lighting mode for the two—shot
and singles on the bed, guys.

Gloria and Richard on the bed.
So good night to camera.
Good night, effects.

— Flight call sheets?
— Good night, sound. Flight call sheets.

My first job in this business?
I was a tour guide at Universal Studios.

— [Interviewer] No.
— Yes.

Straight from Walnut Creek.
I didn't know anybody
in the business.

I couldn't figure out
how to get on a studio lot...

to get the resume that I didn't
have under somebody's door.

— Yeah.
— So a friend of mine suggested——
Actually, my mother suggested...

that I be a tour guide
at Universal...

because then, on my days off,
I could walk around the back lot
and pass out resumes.

— Wow That’s awesome.
— So I took my mother's advice,
and this is where I am.

Why do I love bein' an AD?

Can't think of any reason
why I love bein' an AD.

Why are you one?

Ah, you know, my wife got me
into this business,

and, uh, it's too late
to get out, basically, you know.

But, I mean, it's better
than sittin' behind a desk,
you know, 40 hours a week.

— Yeah.
— Yeah. It's the challenge.
You're always working.

You're always doin' something,
pushing your limits all the time.

It's a lot of stress but,
you know, by the time
you get home, you know——

If you can handle bein' an AD,
it's a great job, but you gotta
realize that when you go out——

When you start, you know,
becomin' an AD, you know,

you're pretty much dedicated
to bein' an AD, you know?

— Yeah.
— You don't wanna go off
and do somethin' else, you know.

But you start on non—union shows,
you know, work your way up.

And once you get on, you know,
the D.G.A., you know,
you can make good money,

and you can work on big shows,
and, you know,
you can get residuals...

and be workin' with a lot
of great people, you know?

Is that your goal?

That's my goal. My goal in this industry
is to make a lot of money.

— Yeah?
— Yep.

And how important
is the creative product and process?

For me—— The creative process
isn't that important to me, you know?

If I was producing,
I could see it, you know,
bein' an important part,

you know,
or an aspect of my job,

but, you know, as an AD, it's
not really that important to me,

—'cause an AD, basically,
your job is to get the job done:
— Right

talk to the director, find out
what he wants in a shot,

you know, and if
that's what he likes——

You can always, you know,
give your input, you know,

and tell him exactly what you think——
you know, how the shot should be——

but most likely,
you know, 80% of the time,

the director's gonna say,
"Well, this is what I want.

Just get it done."
You know?

Your job is to keep things movin' along
as the day progresses.

Nothing should slow down
because of the, you know,
production department.

— Right
— It should keep moving
at a constant pace.

So, Brian, step on set, please, Brian.
So camera's comin' out.

Bed's goin' back into position.
Lighting mode is occurring.
Lighting mode is occurring.

Thank you, everybody.
Great first day.

— [Woman] Thank you Yea!
— See you all tomorrow.

— Lighting mode.
— [Howling]

—[Cheering]
— And then that's a wrap.

— [Ringing]
— Hello? George Clooney's office.

[Interviewer]
Can we talk to you fora second?

Oh, there he is. I just
got back from rush—hour hell.

— I—— What do you need?
— What do you do?

I just went to fetch
a coffee cup in rush—hour hell.

I've got to make Quentin his
coffee. I—— I work for Quentin.

Vicky Lucai.
Can you open this door, please?

—Sure.
— Open this door. Just open it.

A typical day for me,
as George's assistant?

Well, um, wake him up
with a little hand release.

— Hello.
— That's it! You're fuckin' fired!

Pack your shit
and get out! Security!

I hit rush hour. Shut up.
I can't believe this.

[Interviewer] Now, what is
all this stuff you're carrying?

— Oh, oh, my God. We have to have
our coffee specially made.
— Uh—huh?

— It's right here. I got it.
— And it’s a cup?

— Two hours to get it from
your house. It's not even——
— Is that his special cup?

[Sighs]
This is his little——

He has to have on every set.
His "Wacky Wacer."

I make phone calls for George.

I go to the dry cleaners,
go to the market.

He has to have his water
'cause he's really healthy.

So, I/icky, what does your job
entail, basically?

Hang out with him on the set,
find out who he doesn't
want to talk to.

Oh, my God, I gotta make
that phone call. I'm sorry.

Get back on the phone with those people
and tell 'em how busy George is,

even when he's out
playing basketball.

I gotta call——
Okay.

I—— I'll do it in a sec.
Do you want me to wait
until the coffee's done?

Pay the maid
and feed the pig.

[Grunting]

If you want to follow me, you're
more than welcome to do so,

but it entails——

I hate going
to Taco Bell for him.

— Ugh. I hate that.
— Why?

There's always
a huge line.

When you put the word "personal"
in front of "assistant,"

you basically give up
your life for him.

Is this BMW you're driving,
uh, part of the package of being
George Clooney’s assistant?

Well, you know,
George makes a lot of money,

and I get all the perks.

Can we just talk to you for one second?
I know you have to go.

Really, what does
your job entail?

Basically running his life.

What’re you getting Juliette?
What’s George getting her?

We're getting Juliette
a finger that goes like this.

— Why is that?
— Because George
flips off Juliette all the time.

Juliette flips of George
all the time.

Because they like each other.

Oh, my God!

I can't believe that they invented
these middle fingers.

— It's just for you.
— Open this one. This one's——

It's a little art
for you.

— Oh, no. I can't believe this.
— Oh, yeah.

— [All Laughing]
— It's beautiful. It's Tiffany.

— It's—— It's fine. It's Waterford.
— What?

— It's Waterford.
— It's Waterford.

— I know. I can't believe you.
— He bought that
at an auction at, uh——

— At which auction was that at? Uh——
— Smell the end of it. Just——

— I really was too*cause I'm tired.
— [All Laughing]

Here you go.
There. There.

I will never fiip you off again.
You've, like, beaten me for five years.

— [Aarniokoski] Hold the talking here.
— Yeah, right There we go.

George Clooney, everybody.

Hold the talk. Hold the talk.

[Grunting]

[Grunting]

[Aarniokoski]
Cut it. Cut, cut, cut it.

[Men Shouting]
Cut. Cut!

It's gonna bite.
I mean——

— No, I know. It's all like——
It's all like bones and wood.
— Yeah, right. Exactly.

- 50.
— Just come at it aggressively.

— [Murmuring]
— But you want me—— I should start
the roll earlier than I did?

Yeah. Just watch the gun.
You'll know when to start the roll.

— Okay.
— Just be aggressive.

— Okay. No, you're right.
— Do you wanna go upside down, so
then you can be somewhere here?

Upside down, wood, bones.
I mean, I don't know
what's happening here.

— [Grunting]
— [Stagehands Chattering]

— See my hesitancy?
And then I'm trying to focus.
—Yeah. Mm—hmm.

'Cause this is like the first
time—— Aiming a gun at
someone's head to kill them.

Yeah. first I was getting——
Well, you did it in reverse.

— first, you did the aiming,
which I got. Then before that, I got——
— Yeah.

I mean, after that I had you do,
which should come before that,
which is you just...

responding to him telling
you to kill him,
which is more like... kinda sad.

I was gonna say,
"I can't."

— Did you say you can't?
You can say it. We can do it again.
— No.

— Okay. You wanna do it again, or——
— Yeah.

While I’m comin’ in like that So on
"Action, " I'm gonna start comin' in.

— You sayin’ it —— As I get
a little bit closer, you say, "I can't"
— Okay.

—And then, as I’m pulling back, aim——
— And then fire. Okay.

So you just come in once.
I say, "I can't," pull back,
shoot away. Okay.

I'm pulling back.
Squint.

— [Men Grunting]
— I can't.

I can't.

My whole thing about acting
is that you're just lying.

It's plain and simple.

I'm not gonna try to really feel
like death is near...

and really put myself in that
head frame for hours on end.

I mean, I don't understand that.
I just understand
that acting is lying,

and you can lie
a million different ways.

And—— And—— But you are
faking it. That's what—— And——

But with that, you can step
intojust pretending...

and becoming
and just being something.

[Director]
Action.

Richie, would you do me a favor
and eat my pussy for me?

— [A arniokoski]
Say the "Please "at the end
— Okay.

Richie, would you do me a favor
and eat my pussy for me?

Please?

— I'm hammin' it up.
Let me just, uh, do one more.
— 0kay

I'm just sweatin'. That fuckin'
coffee is crazy. Okay.
[Exhales]

[Interviewer]
Kenny please explain.

— Every week, we do iced mochas.
— Uh—huh.

It happens to be Wednesday's
the day, but this is Friday,
because he was out of town.

And there’s only six,
so who are they for?

They're—— I'm—— I'm takin'——
There was ten,

and I'm takin' it to whoever
grabs it, and then I go back and
get more and whoever grabs——

— I'm bringin' one to Rick.
— Yeah.
— So, so——

— See?
— Rick Stribling?
— Yep.

— All right Key grip.
— Key grip. Key grip.

— So how—— how much does this
knock out of your budget then?
— A hundred dollars.

A hundred dollars a week
for iced mochas?

— Who’s that guy?
— I don't know. [Laughing]

— All right Thanks again.
— Okay. Thanks.

See you guys later.

What's absolutely amazing——

And, actually, Crash knows
the only person who actually said this——

But apparently, the front——
There was actually——
There was act——

Believe this or not.
There was actually——
It's probably Rick who said it.

There actually was a conversation
with the front office where——

We were gonna get
three kegs of beer,

and then somebody
in the grip department said,
"No. Two kegs'll be fine."

Are you serious?
A grip said that?

— A grip said,
"Two kegs will be fine."
— That's almost sacrilegious.

— The producers are buying
three kegs, and a grip——
— Wow Who? Who? Who?

— I don't—— Crash knows. He was there.
— I'll find out.

— I thought it was you.
— Oh, God, no. No!

— I know it wasn't me.
I know it wasn't me.
— Quentin. Quentin.

Am I the type of guy who would say,
"Buy less beer?"

Well, Crash said it was a person that
you wouldn't expect it either.

He wouldn't say who it was,
but he witnessed it.

— All right? I had just heard
about it. All right?
— Oh, wow.

— And It was like——
It was like, I get there, and——
— fire him.

I get there like 45 minutes
after the party started,

— and we are, like, draining the
last bit out of the second keg.
— Ooh.

— And be—because of the fucking
grip department, we didn't have beer.
— Wow.

We should time—out on this
and cut the camera.

Many people perceive grips
to be...

very large,
ill—educated,

um, beer—drinking,
sloppy people,

when actually, I think, it's,
uh, a very demanding job ...

because it involves
so many different departments.

You work with sound,
in terms of getting rid
of boom shadows with flags;

with camera, in terms
of all the camera movement
and what the camera sees;

with a—— you know,
the electricians and the DP.
on all the lighting

It’s actually a very demanding
job and there is no time
to sit around and be lazy..

and fall asleep
on the truck and——

You know, the guys
are constantly working

Beautiful.

We are building this facade, um,
right here in this very spot.

We're going 30 feet that way
and 30 feet on that way.

— And I think it's 20, Mayne? Inside?
— [Mayne] Yes.

We're trying to get
the permit from——

— What's the name of that institution?
- BLM.

— The——
— [Woman] Bureau of Land Management

[Laughs] And we are waiting for that
in order to start our work.

We don't yet have official permission
to be on this property,

but our—— our first lumber order
has just shown up. [Laughs]

You know, we've got
about five tons of lumber
on its way in here.

That's our construction trailer,
which'll become
our construction office.

That's scenery
we built in Los Angeles,
that we've brought out here.

This is all our support facilities.
The toilets are on their way.

The electricity's
on its way,

and we're, uh,
we're full tilt boogie here,
but we don't have a permit yet.

In typical fashion,
the movie industry, everything——

We're always on a deadline,
and we make a schedule, we hold to it

The government’s not quite
as accurate, you know

[Montiel] We are taking our stakes
out of the ground..

because we supposed
not to be here,

and I’m—— I’m going to find out
what’s going on.

[Laughs] Maybe the whole crew is——
We have to go back.

Or maybe
we should have a beer...

— [All Laughing]
— right down at the restaurant
and wait.

— [Aarniokoski] And background action.
— [Man] Do you know screaming?

[Man #2 Screaming]

[Screaming Continues]

[Aarniokoski] Cut. Cut it. Cut it.
Cut it. Cut it. Cut it. Cut it.

On this film, it’s been
very interesting because it’s
Robert’s first effects movie.

So he doesn't really know,
sort of, what he was
getting himself into.

In the early preproduction
stage, we were storyboarding
and doing designs,

and he's like, "Yeah, that'll be cool.
We'll do that, and we'll
do this and that and this."

— And he got real——
real excited about it.
— Mm—hmm.

And we were just
building everything based on
the designs and the storyboards.

And then suddenly, we got on
the set, and he was like,
"Wow. Did I—— Did I want that?"

There was one creature we have
that its stomach rips open,
and it bites people's heads off.

And we got on the set Quentin
wouldn’t even come on the set to
look at it He was too grossed

And he went, "Oh, no, it’s horrible.
I don't want to look at that "

And everyone went, "Oh, it’s sick.
Like, where did that come from?"

— We're like, "Robert designed that"
— Robert Yeah, Robert

— He gave us a little sketch,
and then, you know——
— Right

So what we have here is——
Gino, you wanna hold that up there?

Squinch down a tiny bit.

The—— The—— The gag is
that we see this sort of
hideous creature,

and as it is walking,
it sort of straightens out,
and this is gonna rip,

revealing hideous
shark mouth.

And, of course, when Henrik
walks and kind of does
his sort of monster undulation,

the mouth looks like it’s opening
and closing as it’s walking

[Screaming]

[Roaring]

[Aarniokoski] A ction.

Okay your finger’s pressin' it
too much. Keep your fingers
closer to your mouth.

And action.

There we go. And cut

— Okay we're cut here.
We're cut We're cut
— Cut!

All right, here we go, gang
Here we go. One moment

— Pour it in.
— Here you go, Norman.

[Crew man] It’s running right by here.
Go to that——

— Have some——
— [Crew Chattering]

— Like that? Yeah. Yeah.
— Okay.

— [Director] All right,
here we go. Cameras goin’ up.
— You like this.

— Oh, yeah. Do you?
—I love it.

[Screaming]

— Spray.
— [Spluttering]

[Screaming]

— Cut.
— Cut it. Cut it. Cut it.
Cut it. Cut it. Cut it.

— Cut.
— Perfect.

— Perfect. You all right? Beautiful.
— Can we do one more?

[All Laughing]

I just wanna try a little bit
somethin' different.

— [Bones Crunching]
— [Growling]

Yo, monkey man.

[Growling]

Anything you've got
to say to them,

say to me first.

I started as, uh,
Diahann Carroll's boyfriend
in the Julia show...

and moved on
to MASH, Spear Chucker,

moved on to Junie Moon
and formed my own company,

and the rest is——
is theatrical history.

— And your—— And your own company
was, um, formed——
— Is.

- Is ...
— Po' Boy Productions.

— Poor Boy?
— Po'.

— Po’?
— "P—O apostrophe, B—O—Y Productions."

And, uh, what was your goal
in the beginning for——

What was your reason
for forming it?

Well, I had three set of rules
that I had established in my mind...

that I wanted Hollywood to adhere to,
but they would not do it.

That one was to win the fight,
never die and always get the
woman at the end of the movie,

and I feel that
the only way I could do that
was make my own movies.

[Roaring]

[Roaring Continues]

Goddamn it!
[Grunting]

first film
was No Way Back.

No Way Back
I made for $75,000.

I put it under my arm, and I went
to the Cannes Film Festival,

and I put a lot of little girls
in tight T—shirts
long before it was popular...

and I had 'em going around,
selling my picture...

and I put my office
on the Carleton Terrace
at Cannes film Festival...

and I sold the hell
out of No Way Back...

’Cause I believe
in the bottom line.

I can——I can put
the same kind of talent
in a million—five picture...

that the majors put in
a $10— or $20—million picture.

The last picture I made
was South Beach.

I made it in Miami
with Henry Fonda, uh,

Gary Busey and Vanity
and myself and Robert Forrester
and Isobel Stanford.

— I made it for $800,000.
— And where did you make that?

— Miami, Florida. It was——
It was called South Beach.
— Miami

So that's—— I mean, that's—— that's——
that's top—of—the—line talent.

— Yeah.
— You know? I mean, these are
names that people recognize.

So I don't need
to spend $20 million.

I'm—— I'm interested in the bottom line,
especially if it's my company,

'cause I—— I'm interested
in knowing how much money
I'm gonna make,

— not how much money I can spend.
— Right.

[Chattering]

I'm not finished, though.
See this? Oh, no.

"Fat—free." Bullshit.

[Bondy] A lot of fat—free food okay?
All the fat—free cookies.

And a lot of people love that because
they’re sugar—holics, and the y——

— [Interviewer] Right
— But they need to be sure...

that it’s fat—free.

— What if you just really want
a sugar high? Would you——
— Oh, the candy.

Yeah, the candy. And there's
all kinds of cookies.

—I mean, Pepperidge Farm.
You can't beat it. You know?
— Right

— And you got your standard
red vines in there.
— Red vines.

And, of course,
traditional, um, chips.

— How long have you been doing
craft service?
— A couple of years.

Yeah? How did you
get into it?

Um, a friend of mine, he's one
of the best craft service guys
in the business.

— You know, basically,
he pulled me along.
— Uh—huh.

/was in Pulp fiction.

— Yes, I was.
— Playing?

I did the coffee shop manager
at the, uh, when they held up
the restaurant.

"Hey, don't kill anybody!
I'm not a hero!"

first time I ever worked extra.
I mean, it's okay. It's a job.

A legitimate job, you know.

It's all work to me. It's all——
It's all showbiz.

The wonderful world
of showbiz.

All I was before this was an old
ex—marine and a dock worker.

So I love this business.
I love it.

When I came into this business——
Hey, I'm from the south side
ofChicago.

It opened a world to me
I didn't even know existed.

And music and literature and
art. I didn't even know that
stuff was around, you know?

Probably saved my life.

I might have
ended up in, uh——

playin' a game of rock hockey
for the state, you know?

Could have very easily done so.
A lot of guys I Crew up with did.

Yeah, I love this business.

A moment of silence
for those pants.

[Men Wolf Whistling]

2) [Guitar]

[Howling]

— We had to have a moment
of silence for those pants.
— Actually, dear, I'm working.

Uh, basically we were told
to provide bikers,

truckers and anyone
that would, uh,

fit in this type of bar that's
supposedly south of the border.

"You're not—everyday,
normal—looking type
of principal background actor.

We are a unique bunch that can
play your character types
such as bikers, gang,

thugs, tattoo types,
punk rock, hookers, homeless,
low—riders or whatever."

— And proud of it. And proud of it.
— We are the people——

— We are the people your
parents warned you about.
— Yeah.

All right, let's go.
Clear it up.

Wow. Extras come
from all walks of life.

I—— There's really probably
two types of extras,
if you wanna look at it.

You have your—— your extras
that are your professionals,

your, um, you know,
career extras...

that do it every day and this
is what they do for a living

And then you'll have your extra
that maybe just does it for fun,

just to see what it’s all about
and just to get out there,

maybe to become a star.

I don't care
if our engine freezes
'cause I got my plastic Jesus

* Sittin' on
the dashboard of my car *

* I don't care if I crack up
'cause he's held down
by a suction cup *

* Sittin' on the dashboard
of my car *

* Plastic Jesus
Plastic Jesus *

* He's sittin' on the dashboard
of my car *

— * Car *
—* North, South
East or West*

* He just sits there
and never rests, sittin'
on the dashboard of my car *

Rob Rodriguez’s birthday

— [Cheering]
— If you could all join me
in wishing him...

and singing him
the happiest of birthdays!

* [Mariachi] *

[All Laughing, Singing]

Ai, yi, yi, yi!

— Ai,yi!
— [Hooting]

Ai, yi, yi, yi, yi, yi, yi!

Lunch, one—half Lunch, one—half
Happy birthday lunch.

* [Singing In Spanish]

I think Robert Rodriguez
is a God

— Okay. He’s married.
— Well, I know he's married.

I happen to think
his wife is a goddess.

— Who do you have a crush on?
— No.

Initials?

G.N. That's all I'm gonna say.

— Would that be GN or KNB?
— [Laughing]

Who are you after around here?
What's that?

Greg Nicotero. Greg Nicotero.
He's just a little sexy. That's all.

Who's that?
Who's Greg Nicotero?

The—— The guy
with the long, blond hair.

— The guy that got his throat
slashed on the thing?
— Yeah. Yeah, yeah.

— Really?
— Yeah.

Do you find Kenny
attractive?

— Don't put me there, Sarah.
Don't take me there.
— You said so one time.

[Sarah Chattering]
Do you notice any
set romances going on?

— Um, I——I think I have,
but I'm not quite sure.
— Who?

— So I'm not sayin'. I'm not sayin'.
— [All Chattering] Who?

No, no, no, no, no, no. I'm not
gettin' in the middle of that.
I'm on camera.

— Hey hey John.
— Hey, hey, what?

— Who are you attracted
to on the set?
— Uh, other than Quentin?

Has Amy hooked up
with anyone on the set?

— The question is, who hasn't she
hooked up with? Okay?
— Really?

There might be goin' somethin'
with Stick Shift and Amy.

That's, uh, y—you know.
Uh, I don't know.

Actually that’s not true.
At that party the other night,
he slipped me the tongue.

Todd? He did?
Get out of here.

— I didn't tell you that?
— No!

He did. I had sex with a German.

— His name is Franz.
— His name is Jens.

— Oh, Jens.
— I sleep with Noah's
stand—in on "E.R."

[All Laughing]

You're kidding.

I don't know. You should try
the, uh, actors here.

There has been a little bit of,
uh, flirting around, uh,
George Clooney's trailer.

— Who?
— I'm not spreading rumors, but——

— Lots of set romances.
— Really?

Oh, yeah.

— Um, well, no. Lots of people——
— [Indistinct]

Let me put it this way:
Lots of people trying.

Lots of people trying.
But, uh, I don't——

It doesn't hurt that there's a
titty bar on set, and the girls
are walking around naked.

Uh, George and a lot of the dancers.
They seem to like him.

— I love George. I can't talk
about his sex life.
— Okay.

- Um ...
— But he has one, though, doesn't he?

— A sex life? Oh, yeah.
— Yeah. Okay.

Where's Quentin? Jesus Christ,
get somebody out here who knows
what they're talking about.

I could fuck every girl on this
set if I wanted to. I don't.

— Oh, Quentin.
— [Laughing]

Yeah——

Put me in your mo——
movie—— movie.
Put it—— Put me——

Well, you remember
when Bruce Willis said that
on, uh, the Pulp set. Yeah.

"just so you know,
Quentin, you could fuck
any girl on this set.

Now maybe you already
knew that. That's okay.
You're just playin' it cool.

Maybe you already did.
That's how they get the job.
I don't know. All right?

In case you didn't know,
let me inform you."

But I'm a good guy.
I'm cool.

I'm just kinda work—minded.
I've got a lot——

Just Johnny Responsible.
That's me. Johnny Responsible.

— Bye, guys. Can you not get
my ass, camera?
— Bye. Okay

Seeing, since we had
beautiful naked ladies
running around the set..

the first, I'd say
maybe four weeks of the show,

we decided to make it
really nice...

and do a women—— female
judging of the best butt.

Now, you see, there's very many
contestants up here.

Many of them range from
a little wide, a little small

We've got perfect round ones.
We got a little, uh,
ones that have——

We've even got a naked one
right here. Look. Look at that

A naked butt. So there——
there—— there you go.

There's our best set
butt contest.

We're gonna announce
the winner at 7:00.

We've got
a couple prizes,

and, uh,
we're real excited about it.

[Laughing]

Is it true you won
the butt contest yesterday?

Oh, yeah, of course.
I cheated, though.

— Huh?
— I promised everybody a free
hair cut if they voted for me.

— Congratulations, Ermahn.
— Oh, thank you.

Are you getting my butt,
or not?

— Are you getting my butt?
— You know we are.

I got Ermahn 'cause
he won the butt contest

—I know. I announced it.
— Did you vote for him?

— No, I didn't.
— Who'd you vote for?

— I voted for 33.
— [Ermahn] You didn’t vote for me?

One of the monster butts
because he was wearing a tight——

— It was really tight,
and you really saw his ass.
— You did not vote for me?

It was a very full rump.
That's——

— You still won. Who cares?
— But I was debating
on voting for him.

— Uh—huh.
— It looked very nice.

— You gotta be nice to me.
— Ooh!

Juliette's in the chair.

They call me a dictator, in a
sense, and they said that, uh——

They didn't call me a dictator.
They said the first thing
that happens in a dictatorship,

implying that I'm a dictator,

is that they get rid of the police,
and they get rid of the unions.

The reason I'm here is because
of the possibility of a strike,
what might happen, and if we——

Hopefully, we won't have
any problems, but if we do,
we're gonna keep the peace.

They've got the whole "union"
Woody Guthrie thing
on their side,

where public opinion,
you know, switches to them.

They say, "Quentin's making
two million dollars,
and this grip over here...

is savin' money
to buy a motorcycle."

All right. You know,
who's wrong? Okay?

Well, if you break it down
to a sound-byte, I'm an asshole.

It's not a situation where they're
targeting it because there's unrest...

and because crew members
have been calling up
and saying, "We've been abused,"

or "We're not being paid well,"
or anything like that.

No. They are going
after us.

Well, basically, I mean,
Quentin and Robert——

I mean, Quentin and Lawrence
have been——

have had a lot of success
being independents,

and as a result,
they're targeting them.

And my theory for them
targeting Robert is the fact
that he's a one—man show.

Um, he did Mariachi
all by himself,

and then, on top of that, in
Desperado, which is, you know,
the second part of Mariachi,

he was the camera—ographer;
he was the writer; he directed it.

He was the steady—cam operator.
He was the editor.

He was just, you know,
a lot of things.

He was able to still do——
be creative, you know, and——
and do the——

the things about filmmaking
that he loves, you know,
every single part of it.

And that's very hard
for them to understand,
because they're used to having...

all those positions filled
by different people.

Part of the atmosphere
that we create with our crew...

is that they are able
to help each other out,

and there are no
hard—line jurisdictions...

between the different
departments...

um, and everybody's
helping everybody,

um, in a very
cooperative way.

Um, the union tends to set down
guidelines with regards
to what responsibilities——

hard—line responsibilities
between the different departments.

And they—— they, uh—— It's just contrary
to our philosophy of filmmaking.

The union started off
on a really bad foot
with me personally.

They came and struck
my last movie. Didn't even give me
a chance to negotiate.

I was very willing to, and
they didn't allow me to do that.

So, um,
they started a war with me.

And it wasn't like they said,
"Let's be friends.
Let's talk about negotiating."

Basically, I.A.T.S.E. should be
responding to the people,

as opposed to their own agenda
of just grabbing everybody.

All right? And if it were a situation
where basically, look——

We're not gonna just make it
a point to go after every——

I'll—— I'll say start with ten million
and under show, which——

This show wouldn't apply,
'cause we're over ten million.
All right? That's fine.

All right? Uh, if that
were the case, it'd be fine.

They wouldn't respond unless
the people—— unless the crew
asked for them to respond,

unless the conditions were bad.

They're not gonna make it
a point to go and attack.

The Health and Welfare
Department doesn't go and just
take your kids indiscriminately.

All right?
You know, they——

You know, they hear
that there's a problem first.

Then they investigate the problem.
Then they do what they do.

We have to stand up
to them because——

for—— for the very reason
that we have had some success...

and that we have had, um——

We're—— We're higher profile
than most independent filmmakers.

We are what
is makin' them angry.

You know, they used to
not target these films,

and if they did target them,
these films fizzled out.

You know, we're not gonna fizzle out.
We're gonna stand up to them,

and we're going to try to stand up for
every independent filmmaker out there.

Two thousand.

[Phone Ringing]

Hi Lyle Trachtenberg, please.
It’s Ronna Joy Glickman.

Hi, Lyle. This is
Sarah Kelly calling,

and, um,
we're here in Miami

Uh, I would very much
appreciate a call back at 532——

Hi Can I have
Lyle Trachtenberg, please?

We are staying o ver at
the Shawnee Beach Resort

This is again with regards
to a documentary film
which we're shooting

This is Sarah Kelly
calling again, and I'm
with Ronna Joy Glickman.

We left him a note.
I would very much
appreciate a call back...

at 532-33"

— We really would love to talk to you
— Ronna Joy Glickman.

And we are still over
at the Shawnee Beach Resort

— Hi, can I have
Lyle Trachtenberg’s room?
— Lyle Trachtenberg, please.

— We'd love to have you call
— I have called e very single day

and I’ve been in the office
on three occasions and no one
has relayed anything to me.

— Sarah Kelly calling again,
and I'm with——
— He’s in a meeting?

And again, we're here
because we want to get the I.A. side.

Talk to you soon, Lyle. Bye.

I wish I knew
what Lyle looked like.

— [Man] Excuse me.
— [Women Together] Lyle Trachtenberg?

— Um, let me see if he's inside, okay?
—Okay

[Chattering]

— And ?
— They’re looking for Lyle Trachtenberg

— Shut the—— Shut the door.
— Sir, we're actually looking
for Lyle Trachtenberg.

— Shut the door until——
— Sir, we just want to talk
to Lyle Trachtenberg

Like I said, shut the door.

We're just—— We're just waiting
to speak to Lyle Trachtenberg,
and we're gonna get booted.

— I've got my buddy
lookin' for him in another room.
— Thank you.

Are you filmin' me sayin' that?
Well, anyway, he's not here right now.

Thank you. Thank you, sir.

Upstairs, right?

We're looking for Lyle Trachtenberg
Have you seen him ?

— Well, no. As a matter of fact,
he's right down the hall here.
— We're making——

— Thank you very much.
— Thank you

Excuse me, sir. Do you know where
we could find Lyle Trachtenberg?

Uh, geez,
I haven't seen him around.

— If you hang on,
I'll see if I can find him.
—Okay.

— Who are you folks?
— We're with a documentary crew.
He knows us,

and, uh, we're just
lookin' for him.

— I'll see if i can find him.
— Thank you

— They're what?
— We're supposed to escort
them out of the building.

— Have a seat, group.
— Thank you

[Murmuring]

— I'm a press agent.
— Yes, sir?

— For whom?
— We're just looking
for Lyle Trachtenberg

— I'm sorry, but at this——
— We're gonna reopen.

Th—This is all part of the IA,
and unless you're invited up,
we have to ask you to leave.

We're just trying
to find Lyle Trachtenberg

Hi. Lyle Trachtenberg.

Lyle! Ronna Joy Glickman.

— first of all,
you shouldn't be up here.
— That's what I tried to——

Yeah. Yeah. You've been told how
this thing could be done, so, you know——

— We actually haven't
— We haven't, Lyle. We've been
trying to talk to you about it

— Wel I——
— fighting for an opportunity
to sit down with you and talk.

Well, if you'd lock everything up, I'll
be glad to take both of you aside...

and tell you
what the situation is.

— We'll be happy to do that
— Okay. Turn off everything.

—You two, come in, and I'll talk to you.
—Okay. So cut.

Excuse me, folks.

[Trachtenberg]
It’s the same thing I told
you guys back in Los Angeles.

[Interviewer]
So what was your experience, um,

in contacting Lawrence
and Quentin about comments?

My experience was awful.
We, uh, were——

"A"—— Well, they just
didn't return phone calls.

I mean, over and over and over,
they just would not return phone calls.

Quentin, Lawrence Bender, Miramax.

Nobody wanted to talk to us
about this thing,
and I don't know why.

I mean, all we wanted to get
was their side of it, you know,
put them on the record.

And, uh, theyjust——

Uh, maybe they wanted
to talk to us,

but they certainly never showed
it by returning a phone call...

and I called them
half a dozen times each.

The issues in play here
were not necessarily economic.

They had more to do with,
uh, just again,

bad negotiating tactics, bad,
uh, uh, communication skills,

uh, drawing sand——
lines in the sand and seeing
each other as opponents...

rather than setting the rhetoric
aside and finding, actually,
the common ground.

'Cause if you listen
to each party of the union
and producers—— two parties——

uh, discuss it separately,

uh, they're really
very close.

I think health insurance
is probably the best thing...

right now
about the LA.

That and that they protect you
as far as your role...

at the time,
and stuff like that.

I think, in my opinion,
if, uh, independents...

would, uh, make sure that they
didn't screw anybody over,

didn't work you to death, and——
and if they did, they paid you,

and, uh, if they supplied you
with health insurance,

who knows what would happen?

Wow, is it hot.

Crane's gonna work. Stick around.
We'll see you later.

[Man Screaming]
Water! Water! Water!

No, we weren't supposed
to burn the facade down. No.
[Laughing]

[Aarniokoski] Cut!

Cut! Cut it! Cut it!

Hold it over here behind me.
Over here! Get it behind me!

Don't let it kink.
Don't let it kink.

Stevie, I'm tellin' ya,
that hot spot keeps——
keeps smokin' right over there.

— Still burnin' over there?
— Yeah.

Hi. Well, the set burned.

It has a brand—new look.

And it looks very good.
I have to say it.

I think we are just
going to rebuild parts of it,

but, um, we don't have
to rebuild it all, and, uh——

— How long do you think that——
— I have no idea.

My crew is pretty tired.

We've been here for five weeks,
and it's too hot. It's 122.

— Um, the winds are hard.
— How are you feeling?

Emotionally,
I'm okay, you know?

It's nothing that I can do...

more than to continue working.
[Laughing]

Let's just spot—paint black
the foam so we can get in here
and start our reverse.

— Right.
— finish all that stuff up.
That looked great.

— It was great.
— Fuckin' great. I'm sorry it
burned out, but it looks cool.

We knew there was a chance
of it catching fire.

As a matter of fact, we knew
there would be fire.

We just didn't think
there'd be this much fire.

Uh, if that happens,
you know, uh,

sometimes the magic works
perfectly, and sometimes
it doesn't work perfectly.

— We'll do the ending of the movie
with him and Juliette.
— Right.

We'll go into the motor home,
and then we'll do—— I mean,
our day is still the same.

— Yeah, the same.
We just don't do Cheech.
— We just don't do tonight's.

And then tomorrow,
we'll go do the gravy train.
That'll give 'em a week to fix this,

and then we'll come back and do
all the Harvey and Cheech stuff.

— That's all I was thinking
about, was you guys.
— Ohh.

—'Cause isn't that like your baby?
— Yes, it is.

— What's happening?
—I know. I know. It is.

It's like a baby.

Okay, guys, so once we're safe,
guys, once we're safe,
we're on a new deal.

We're out by the vehicles.
We're on the reverse of George.

We're on the reverse of George
from yesterday.

— So we need to get
into the gravy train tomorrow.
— Sure.

— So that we have to hustle on
that, whatever we can do, okay?
— No problem.

— Gravy train.
— We'll have some time to fix this.

— What we need to do now is, for
the shots we need to finish up——
— Uh—huh?

— Okay we're gonna play it like
this as the ending of the movie.
— Okay.

— Okay you see the spots in the foam?
— Yes.

— You need to just get up there
and paint all that black.
— Okay.

— Let's do that now, and then
we can get our shots goin'.
— Okay. Sure.

—We'll still rock and roll,
and our day is still the same,
—Okay.

only it changes
to the gravy train tomorrow.

Let me call some of my guys
from construction.

— Yeah.just be concerned
with all the foam.
— Okay.

— So if you could just get it
all black, so it looks charred.
— All black. Okay.

Yeah. Okay, great.

Hollywood.
You gotta fuckin' love it.

All right
Check those gates, guys.

— [All Chattering]
— [Clooney] I w1sh we were
doing the movie Twister.

Okay, guys, as soon as this
blows over, guys, we'll go.

[Aarniokoski]
Guys, heads up.

Guys, we got dust
comin’ in, guys. Heads up.

— [Man] Now you’re okay?
— Yeah.

[Wind Whistling]

— Watch the bags, guys!
— Look out, guys. Look out

Look out, look out.

Put it in the cab.
Put it in the cab.

— [Camera Operator]
I lost my fuckin’ eyepiece.
— Here we go. That's good.

[Chattering]

Go take cover, guys.
You don't need to stand
out here in the dust.

We're makin' a movie.
Keep shooting! Keep shooting!

Where are you going?
Keep filming!

Okay we have a 4:30 leave.
just—— Let’s call it a 4:00 leave.

Okay, so let's say we got a 4:00 leave.
We'll get out of here by 4:30.

— Shooting at, let's say, 5:15, 5:30.
— We're shooting at 5:30.

— We're shooting at 5:30.
The sun is up at 5:00?
—Yeah.

So we're not gonna——
We won't be shooting till 5:30.

Just because the sun is up
doesn't mean we have
enough light to actually shoot.

And they say, um,
there's a possibility of rain,
which would be very ugly...

because this would get like mud,
and nobody could move.

The other bad, uh, possibility,
which is a—— along shot,
but it happens——

They say as it goes around,
it circles around and comes back
through the other direction.

So we'll see what happens,
but hopefully we'll be shooting soon.

We're shooting at 5:30.
It's gonna take us, say,
five hours to get the shot.

Get the scene,
it's 10:30.

We get to the next location,
it's 1 1:30, because
the next location is——

— Right. Then it's lunch.
— And——

— Or box it in.
— Or box it in. We've gotten
here—— What time is crew call?

I was sleeping
in the honey wagon over there,

and, uh, I woke up
and I couldn't see anybody.

— So I went back to sleep.
— You went back to sleep.

— Leaving before 4:30.
— Leaving at 4:30.

So six hours is 10:30.
So we've been—— Okay.

So we've gone past lunch an hour.
They've eaten on the bus.

— Right.
— So then we got eight hours
past 1 1:30.

— Did you notice the bathroom
for the motor home blew over?
— [Interviewer] No way

Yeah. I gotta go check and see
if there's anyone under there.

11:30 plus an hour rehearsal
and lighting. That's 12:30.

— We want to go until 9:00.
— So you're only lookin'
at, like, a 9:00.

I mean, I'm saying, "only,"
but it's better than 1 1:00.
I think people——

I mean, I don't know,
I'm speaking personally.

I would rather get up
in the morning and get home
at 9:00 than get—— sleep in.

But I don't know
how people, you know——

You're gonna get mixed reactions
if you take a poll about it.

We're gonna wrap out tonight.
Come in early tomorrow morning.

'Cause, uh, it's gonna kill us.
We were lucky yesterday.
We won't get this every day.

So we'll wrap out...

and start shooting early.

* [Dance]

— I got George Clooney.
— And?

Quentin Tarantino.

There's a self—portrait.

I love George Clooney, and if
he'll marry me, I'll marry him.

— Have you told him that?
—Yes, I told him I'd marry him.

What did he say to that?

I don't remember.
[Laughing]

George!

— What?
— You know that I'll marry you, right?

— And he says he——
— Oh, Juliette scenes.
A Juliette scene.

— He says he's old,
but I make him young again.
— Uh, yeah. I'm too old.

— I'm too old.
— But I make you young again.

— I know you would.
— Remember that?

* I'm flyin' away
just to forget
what's in my head *

* And I'm feelin'
a little peculiar *

* And so I wake in the mornin'
and I step outside *

* And I take a deep breath
and I get real high *

* And I say
at the top of my lungs
What's goin' on *

* And I said
Hey—ey—ey—ey *

* HEY'EY'EY *

* I say, hey *

* What's goin' on *

* And I said
HEY'EY'EY' *

* Hey—ey—ey *

* I said, hey *

* What's goin' on *

* Yeah *

[Cheering]

* Ah *

* Yeah *

[Woman]
Juliette Lewis for you guys.

[Cheering]

Come back anytime, Juliette.
Anytime.

Let me get an autograph,
and we'll start all over again.

— Here we go.
— [Woman] I would love
Mr. Clooney’s autograph.

Thank you.

— Thank you, you guys.
— You've got a great voice. Thanks.

[Clooney]
She did good, didn't she?

All right, she did a good job.
Everybody, give her a hand again.
A real good job.

— I'll tell you, it's hard.
It gets claustrophobic.
— [Interviewer] Yeah.

— It does. I could cry.
But I just don't.
— Yeah, yeah, yeah.

— It gets claustrophobic.
— Quentin doesn't give a shit.

— I do. I've—— I've——
— It gets kind of oppressive.

When you have this goin' on
all fuckin' night, you know,
it gets kinda rough.

You know, uh,

it's one of the toils of fame.

[Woman]
Bye, Juliette.

[Man]
Bye, Juliette.

* [Guitar] *

* [Lyrics Indistinct] *

* [Indistinct] *

* In some nasty motel *

* But we'll keep on
killin’ vamps *

* From dusk until dawn *

Yee—ha!

— You go that way.
— Okay.

— So anyway, as I was saying,
— * [Whistling] *

— Whoo!
— I've been working
in this business——

— You have to do like a jump there.
— Oh, I'm sorry. Okay, do it.

— You ready?
— Okay, go. I'm just standing here.

— Hey, look at that.
— [Squealing] Oh, my God.

Sorry. I heard that.
Oh, my God.

Wire's supposed to be
in or out

[Indistinct]

— Hey, my man!
— Okay, what——

— [Indistinct]
—[Laughing]

Oh. Ow!

— Here we go. Spit next.
— Okay, say something like...

uh, "I'm DannyThomas,
Rusty's dad."

Okay. Rusty's dad.

Rusty's dad?

You know that I'm drinking this
simultaneously.

— I'm DannyThomas.
You say, " Rusty's dad."
— Okay.

Oh, my God!
Rusty’s dad!

—Oh!
— [Laughing]

Thanks for teaching me.

— Give it to me.
— You could do the opposite,
where it's not a spit take.

It's a swallow take.
you just keep drinking.
So we'll do it again.

— I'm Danny Thomas, okay?
— Rusty’s dad!

[Laughing]

Just passin' the time.

[Indistinct]

—Action.
— Rusty's dad.

[Shriek]

[Laughing]

[Applause]

— [Woman] You guys are all here
with what magazine?
— [Man] We're freelance video.

I'm just wondering
What is it that inspires people
to hang out here in the desert?

— George Clooney. Quentin Tarantino.
— Yeah?

— What would you do
with videos like this?
— Oh, we'd make out

I'd copy them
for Inside Edition.

How’s it work legally?
/'m really sincerely asking
you out of curiosity

— You don't have releases
for stuff like that
— We don't need releases.

There's a three—person rule
permit...

that exempts us from
having to have a permit
or any type or release.

— What’s that?
— Pardon?

— Three—person rule?
— If you have a crew
of three people or less.

Oh, that’s impressive.

So you guys are just gonna
hang out here all day and
try to get photographs?

— Yep.
— We'll try

— Thanks.
— Oh—ho! Come on!

You're kiddin' me, right?
The privacy shit, but
you're jammin’ these guys?

— That’s too much.
— Well, when you guys
leave us alone,

I'll let 'em shoot the hell
out of my trunk, all right?

Now, ER. hunk George Clooney.

On TV, he plays a clean—cut
doctor, but we caught up
with George backstage...

on the set of a new movie,
and this time, he's playing it
down and dirty.

Jody Baskerville has tonight's
"Hollywood Exposed."

[Baskerville] Oh, really mature,
George Clooney

The tele Vision star seems to be
gushing o ver his crosso ver
to feature films.

As this exclusive video shows,
the E. R. heartthrob
is fooling around..

on the set of his first movie,
From Dusk to Dawn.

— [Sh ri eks]
— George is leaving nice—guy Dr. Ross...

back in the emergency room
and heading out to play
the tattooed heavy...

in a movie scripted
by blood—and—Cuts maestro
Quentin Tarantino.

[Chattering]

All right
Let’s go, guys. Let’s go!

— I can put it at—— Alco!
— Come on. Let's go.

— Yeah.
— Twenty—two frames.

—You got it, man.
—Ah, 20 frames.

— [Chattering]
— Twenty frames. Twenty frames.

* [Strumming] *
I'll give you a little help.

Are you rolling?
Are you guys here?

[Chattering]

— So this is up, in——
— I'm using it for when
you turn over like that.

— That's where it started.
— Pull in, reverse.

Elbow up, looking back,
pull into there, get out of the car?

Should I not shut it off
in case this car doesn't
want to start up again?

— Don't shut it off.
Don't get out.
— Don't get out?

— Okay.
— Let’s shoot, gentlemen.

Here we go, guys. Here we go.
Lock up that corner.

— Driving up?
—Yeah, it's right after
you finished talking,

and he asked
about the burgers.

— Okay.
— He's backing up.

So we're not getting out of the car.
It's just the car pulling up.

Let's go, guys!
Run! Let's go! And!

Here we go!

— Roll camera.
— Rolling

— [Beeping]
— Speed

Set? Action, car.

— Do they have the X—rated channel?
— No.

— Do they have a water bed?
— Nope.

— What have they got?
— They have four walls and a roof,
and that's all we need.

* [Radio Playing Country—Western] *

[Radio] Texas.

[Music Stops]

All right, pop the trunk.
Let's do this fast.

Okay it's like,
we open up the trunk,

and he goes, "Don't say a word, "
and then, to me, "Open the door. "

Don't say a word.

Me and you were talkin’ the other day
and, uh, I said that..

somehow now, on this film,
it seems as if...

I've come to understand
the technique in a way...

that I had always heard it
promised to be,

which is, it's just
there is a tool...

for the actor to arrive at someplace,
and that place is mysterious.

There is no formula
for acting.

There is a technique
to open the doors...

for the actor
to enter someplace,

but in that place, it's up to you——
it's up to me——

to find our way...

and to allow
all of our humanity in.

It seems somehow,
during Dusk Till Dawn,

that's happened for me.

[Quentin]
Now let me ask you a question.

You were talking about the fact
that I felt like I’ve done the
most moment—to—moment work...

that I’ve done on the film
so far, and then you were saying
you felt the same way..

about your performance.

— Yeah, well——
— Can you describe what you mean...

when we say
"moment by moment"?

Well, I want to say, by the way,
this is not particularly
related to Dusk Till Dawn.

This is related
to our work as actors...

from the moment we became
interested in acting...

to the moment we decided
to become storytellers,

to get involved in telling
stories, which is what
our work is really about.

Um, by "moment—to—moment,"
I mean...

what's going on right now
between me, you and the,
uh, the viewers.

We're not sure exactly
what we're gonna do next.

We're not sure what
our next thought's gonna be.

I do know
I'm doing the interview.

I do know I'm talking to you.
There's a camera on me.

There are people watching,

but in between all of that,
there's my existence...

and it's that existence
and the acceptance of that existence——

that mystery—— that we call
"moment—to—moment" on the stage,

where you do not know
what's going to happen
in the next moment——

what your thought
is going to be,

whether it'll be about God,
your mother or your daughter,

what you had for breakfast,
who you are in this universe,

the whole mystery
of being here,

— how did that get to be here?
—[Laughing]

I have been miserable.

It's been 120 degrees. I don't
do well in the heat at all.

At all. It's just——
It's hot. I'm cranky.

It just——
It's dried out my skin.

It's just absolutely dry.
It's horrible.

[Cheering, Applause, Whistling]

— Oh, what a day!
— [Man Speaking, Indistinct]

—,;* [Guitar]
— [Man] Too many hours?

I don't know how many hours
I worked today.

I thinkI'm going on 17.

I am so tired
and so mean right now.

Oh, the boom's in the shot?
There you go.

— What do you want to know?
— How many hours do you
think you worked today?

I think we worked
18 hours today,

from 5:00 in the morning,
you know, until, what, 11:00 tonight?

And it's Sunday. It's the sixth day.
It's time and a half.

What more do you want to know?
We're cranky. Bad food.

I kind of feel like, well,
it's just not our fault.

So why are we being punished?

We had a piece of chicken
and two pieces of bread
and a melted brownie.

What do you want to know?
That's not cool.

— [Man] And we got left.
— And we got left.

The bus left without us.
We're walkin' to the bus.
Here's the camera crew. Whoosh.

We started today
at 5:00 in the morning.

It's now 10:30 at night.

We're still on the bus,
and I'm still workin' on my computer——

our time cards to make sure we're
getting five meal penalties...

plus 50 bucks nontaxable cash,

um, because for lunch, we got...

plastic fuckin' trays...

—with aluminum foil
and rice and yucky corn...
— [Woman Speaking, Indistinct]

and dry sandwiches
of chicken,

and it was horr——

— And, um ——
— What’d you get for dinner?

And for dinner,
I got nothin'.

I didn't even get my
peanut—butter—and—jelly sandwich
thatI requested.

Um, the guys made——
I tried to get them to make me
a cheese sandwich,

and the people at the diner
said they would not make me
a cheese sandwich——

because I'm a vegetarian——
and that the only options were
halibut, roast beef and chicken,

and since I didn't take any
of those, production wouldn't
pay for the cheese sandwich...

— Oh.
— but besides that, I love the movie.

What are you gonna do
tonight to relax?

I'm gonna swim,
and I'm gonna drink heavily...

[Laughing]
and, um——

[All Laughing]

And I'm just gonna fuck off.

* [Guitar] *

Personally,
I have nothing against Seattle.
I haven't been there in years.

I'm sure it's a nice town,
but I got it 'cause of
the front of the shirt.

— [Woman Speaking, Indistinct]
— I know.

How many hours do you think
you did today?

Seventeen. It was seventeen,
I think is what we counted.
Seventeen hours today,

and it was the sixth day
of the week, which made it
feel like about 28 hours.

—[Man]Oh!
— [Laughing]

But now I thinkI have to go
wash myself in the pool.

I talked to them and everything.
There's a lot of people in
particular around this area...

that have nothing to do with us,
and they’re calling and the y’re
complaining and stuff

—All right. I said,
"Look. We're a film crew,"
— [Woman] Oh, yeah.

and we need to get together and
socialize and blow off steam,

particularly since
we've been working since 7:00 in
the morning to 1 0:30 at night...

and everything,
but we'll compromise.

We'll meet you halfway."
Put away the instruments.

Put away the music, and just
keep it at a normal level
of conversation——

We've got no problem with these guys.
They're gonna be totally cool.

You wanna sing "Mama Tried "
as an encore,
and then we'll just cut it off?

[All Laughing]

* Turned 21 in prison
doin' life without parole *

* No one to see me ride
but Mama tried *

* Mama tried, Mama tried
to make me better *

* But a plea did I deny *

* There's only me to blame
but Mama tried *

* I can't get her
off my mind *

— I love you too.
— * just a little bit *

— * just a little bit *
— Uh—huh. What?

* just a little bit alone *

I know. You want a dog
when I get off this show.

* just a little bit
just a little bit *
— [Knocking]

* just a little bit alone *
— Henry wants a turtle? Okay.

— Earl, the hookers are here.
— Uh—oh.

Little Earl, the hookers are here.
I'm just joking.
Let me talk to your mama.

Okay.

Hey, Mama. I miss you.

What do you mean,
no, I don't?

I'm havin' a great time.
I have this beautiful suite...

— that I share with
four other drivers.
—[Laughter]

I like the fact that within a
radius of about maybe 1 50 feet,

there's usually at least
four different rooms...

that are stocked to the gills
with beer.

Um, only about maybe
one out off our times
do I have to pay for it.

Um, and let's see, uh,

and I like goin' out
to someplace I would never go...

in a million years...

for any reason, EVE];

like the dry lake bed.

—[Laughter]
— To say that I was on one of the
hottest places on the planet...

in one particular day
of my life,

and then to come and get
sloppy drunk by the pool——

that's what I like
about location.

Pretty much what I like
about, uh, bein' on location...

is all the people
we get to work with——

a lot of great people
you get to meet.

I work with the greatest
transportation crew...

— Yeah, that’s true.
— in, uh, in the business,

and, like Don says,
there's beer everywhere you go.

— [Laughter]
— Okay what about Mr. Hellerman?

When I come home
from a hard day,

it's the beer that I really——
I really look forward to.

Getting sloppy drunk
by the pool and falling in.

Rumors are that the Teamsters
are gonna come down with
a big show of force tomorrow——

— And embarrass us,
I believe was the word.
— Exactly.

— Does that surprise you?
— I'm getting really sick of this.

There's all this grumbling——
the unions grumbling again.

The strike, the union. Hello.
We've got how many days left
in the show,

and we're still
talkin' about it?

You know, if the union was——

I mean, these are big words,
but if the union was...

really out
to look after these people,

I would really think that they
would have stepped forward...

and been a lot more up—front
with the whole show at an earlier date.

You know, we have—— what——
ten days of shooting left.

You know? I was—— and I don't know
if I've mentioned this before——

I was brought up—— I was brought up
a big union child.

You know, my father fought hard
for the unions, and——

Within what industry?

Within the Screen Actors Guild,
SAG/AFTRA. There's——

He belongs to like three or four unions.
He still does, and for him——

I mean, he's 79 years old,
and they're supporting him.

He's like got a great
retirement, and, you know——

But he fed into this machine,
and he fought hard for it...

because he was a little man.

You know, he was a little man
that was being suppressed, as——

What the unions were about
when they came forward, in my eyes,

were about that, were about protecting
the man against the oppressors.

In my journey and where I'm at now
and what I wanna do,

I'm really scratchin' my head
because...

I'm being told
what I can and can't do...

by the unions, you know,

and I don't know who
the oppressor is anymore.

How seriously
are you taking this?

We're taking it really seriously.
We're making sure
we have replacements, and——

You know, I was supposed to go
to New York this morning for
the market research screening.

— I didn't go,
— [Man] All right, here we go.

and, you know,
I'm just kind of sick of it,
to be quite honest.

— A lot of wasted energy,
as usual, you know?
— Yeah.

[Woman Speaking, Indistinct]

— You know, you just have to
take it that way and——
— About to take a shot here.

Yeah.

— And we're rolling camera.
— We're rolling!

And—— Stand by.

Action, car.
Action, car.
Action, car.

[Radio Dispatcher] All units——
[Indistinct]

[Radio Dispatcher]
That is George, Edward,
Charlie, King, Oscar.

There's now shooters
at a major intersection. Eight down.

D.B.s unknown at this time.

Quentin called
somebody that knew me...

and said he wanted to meet me,

that he wanted me
to read scripts—— some scripts.

He hadn't done any——
begun yet making pictures.

He hadn't made a picture.

SoI met with him and shot
a couple of games of pool
and chatted with him...

and encouraged him
to keep writing,

and then I disappeared
into the mountains...

because I was at liberty,
and, uh——

Most of the time,
I'm at liberty.

- Hi, Heidi.
-Hi.

And then it turned around,
and there he was——

Quentin Tarantino,
all over the place.

He called me and asked me
if I wanted to work in this.

I said I'd be glad to,
that I would do radio
if I had the chance.

— That's a joke, you know.
—[Laughing]

I guess you heard about
that shit up in Abilene. Bank robbery?

That's all that's been
on the box all day.

They killed some people,
didn’t they?

Yeah. Killed four rangers.

Three cops.

One civilian.

Took a lady bank teller
hostage with 'em.

Supposed to be headed for the border,
which would bring 'em right my way.

Get my hands on them crazy,
sick fuckin' bastards. Payback time.

I mean——

Well, we'll get 'em.
We'll get 'em.

You even told me
that you’d written it..

as always supposed to be
that Michael Parks kind of delivery,

so there's a lot of pauses
and a lot of thinkin'.

It sounds cool.
It's a different sound for a movie.

Yeah, it's like
everyone else's lines are like
da—da—da—da—da—da—da, you know,

but like I wrote it for Michael Parks,
and I knew how he does it,

so I wrote it in his rhythm,
so it's like, you know:

[Slowly] Yeah, they...
killed some rangers and...

took a bank teller hostage.

We get 'em, we're talkin'
payback time.

We'll get 'em.
We'll get 'em.

— [Both Laughing]
— Exactly.

What would you say is
your personal favorite part
about the filmmaking process?

Probably...

your curiosity
about other people.

Investigation of other people.

Makes you think more
of other people. I go that way.

I go the way Jean Renoir went.
I don't go the way most actors,
I don't believe——

Most actors are very
self—indulgent,

and it's "my" character
and "my" process...

and "my" motivation and
blah, blah, blah, blah, blah.

But it's really finding out
about other people when you act.

I mean, unless you're
Cary Grant, you know.

I loved Cary Grant, by the way.
Monty Clift.

Wonderful personality actors.

But if you enjoy
character work, which I do,

you have to consider
the humanity...

a lot more than you do
most other work,

unless you're a writer,

which is the hardest.

The guy'd never cross a barrier
just takin' care of that potato head.

[Indistinct]

...just takin' care
of that potato head.

There's me, Quentin,
and Cindy Crawford...

in this big water bed,
and I said to her, "You know——"

[No Sound]

— You can't do that.
— I can't believe it!
That's wild, man!

[Clearing Throat]
Hey, you guys.

Come on, guys.
Take your conversations outside.

That means you,
George Clooney

Doug is a specialist
in tough love.

— Here we go.
— He's tough love, Where?
extraordinaire.

[Laughing]

He's the Casanova
of tough love.

They were dickin' around
this whole time.
I just found out they're in his room.

— Go hurt somebody.
— I just talked to them.

— He yells because he cares.
— Get out, get out!

You walk out the door, okay?

After the shot is over,
once we have cut,
everybody needs to walk out.

There will be a lot of smoke
in here probably, okay?

So just walk orderly out
the door, and Deidre will be
right at the door, okay?

So don't linger in here, guys.
As soon as we cut, head out, please.

Just walk out.
Let us clear it out.

This is not a question—and—answer
session, sir. This is me telling you.

Most of you
have been through this before,

but especially
the paramedic type guys,

we love havin' you here.

We kind of have
our own ritual

He'll go through his whole sequence.
We'll put him out

If he has a problem,
we will call you in and get on him.

Usually it goes real quick,
and there's no problems.

And once again, people,
you know, we don't need people
rushin' in or anything.

of course, you've all
seen this before, so
you know the ritual.

Let's be safe.
And, Charlie?

Same thing for us.
We'll take care of any fires.

If, for any reason,
we think that we're losin' this,

we'll just yell back to Doug
for everyone to walk out..

quietly and calmly
outside the door.

Hopefully it should go fine.
There'll probably be
quite a bit of smoke.

This is probably gonna be
a little bigger...

than what we saw last time
on our body burn, right?

Yes, this will probably be
the most fire, by quite a bit,
to tell you the truth.

This will definitely be a big flame.
Roll camera.

— One!
— Fuck!

—Two!
— [Shrieking]

— Three!
— Action!

[Flames Roaring,
Glass Shattering]

[Screaming]

[Screaming Continues]

— You all right? You okay, man?
— Stay out, guys. It’s still smoking

— [Chattering]
— Yeah, fine. No, it's just toxic.

— You know, it was like—— [Spitting]
— That was great.

— Can you go again?
— Huh? Again?

— Can you go again?
— Yeah, if you want.

So today we got
some really good news,
and Miramax has approved it,

and we have health care benefits
for everybody on the crew——

Transpo and every——
every—— every uh, department

Anybody who’s worked on the show
from 70 days up to 20 days...

we're gonna give
three months of health care,

um, and from 20 days to 30 days,
it'll be six months...

and anybody who worked
over 30 days will get
a full year of health care.

— [Woman] Awesome.
— [Man] Whoo!

Yeah!

There are a couple
of different options.

Couple of different options.
We'll go over it.

Everyone wants to get out of here, so——
We'll go through it with you,

but we want to have it all done
and signed up before this shoot
is finished.

— That was our goal, and we did it
— [Cheering, Whistling]

Thank you very much.

[Chattering]

[Indistinct]

I definitely plan on
makin' movies with the unions,
you know, and maybe again...

without them, depending on
how my relationship goes
with them in the future.

So, what I don't want to do——
even though I'm willing
to fight them——

is to send an anti—union message
actually—— necessarily——

'cause I think if there's a way
that we can work something out,
I would like to do that,

you know, and it'll be
up to both of us, I think——

and not just me personally
but the distributors,
the other producers...

and the different locals and
the international members...

as to whether or not we can
come up with something that
benefits independent filmmakers.

I think the unions are a little
behind the times, in a sense.

I think the people
who are running the unions——

the internationals
and the locals——

are a little old—fashioned
in terms of the way they think,

and now, there's a whole new
breed of filmmakers out there.

They're makin' movies
a whole different kind of a way.

You know, Robert edits
and does his steady—cam
and does hand—held himself.

There's so many different things
that we do differently, um,

and so they need to learn to change
and that's a big organization...

and that doesn't happen
overnight.

I don't want to make it
my cause celebre or whatever
to go out and try to do that.

I want to just make movies,
but because I'm makin' movies
and I become high profile,

I guess I'm gonna have to take
some responsibility in helping
to have to change that somewhat.

"Where seldom is heard
a discouraging word "

That's a great line.

— What?
— "Where seldom is heard
a discouraging word,

— and the skies
are not cloudy all day."
— [Thunder Rumbling]

[Crew Chattering]

We overcame
all natural disasters:

sand, fire, rain——

— Unions.
— Unions.

— And unions. What else?
— [Indistinct]

— Exactly.
— [All Laughing]

—And we got to play with George.
— And George.

Total natural disaster.

— I think we're waiting
for the frogs to hit.
— Yeah.

We're waiting for the sun to
pop out behind the rain clouds.

— [Thunder Rumbling]
— So you can tell us that it is,
in fact, raining right now?

It's drizzling.
It's on its way out.

— This, too, shall pass?
—Any minute, this film will be over,

— [Thunder Rumbling]
— and then, people will know

We already got the shot.
This is all just bonus shit.

We're about to blow up
Benny's World of Liquor.

As you can tell,
we're chanting the clouds away.

Right now, we're in a major
holding pattern due to the fact
that the clouds have come in...

and the sun no longer matches
what we previously shot

So right now, this is
what's known as—— Some people
call it "holding pattern."

Some people call it "spanking."
We're—— We're holding right now.

— All right?
— And this shot would be?

This would be the explosion
of Benny's World of Liquor,

and this will be
the picture martini.

* [Chanting] *

* [Chanting Continues] *

— Come on, guys.
— [Chanting Loudly]

[Man Shouting, Indistinct]

Action!

What did I tell you?
What did I say to you? I said,
"Buy the road map and leave."

What the fuck am I supposed to do?
He recognized us.

— He didn't recognize shit.
— Seth, I'm tellin' you,
the way he looked at us——

you especially——
I knew he knew.

"Low profile."

You understand the meaning
of the words "low profile"?

"Hey, Richie, how's your hand?"
It hurts like a fuckin' son of a——

Let me tell you
what "low profile" is not!

It is not
"Take a girl hostage."

No, no. Don't you think
the interviewer should come
into the jacuzzi to interview?

— It couldn't hurt a bit.
— In 20/20, they do that, don't they?

—[Laughter]
— [Indistinct]

— So, come on, sir.
— [Woman] Really?

W—WeII—— All right,
then we just won't say anything.

There you go. Silence.

[Woman Speaking, Indistinct]

— [Laughing, Chattering]
— A true reporter.

— Scalded.
— That's right.

— There's no scalding.
— There's no risk in over—hot water.

I gotta say, you will undoubtedly be
disappointed by the temperature.

— Wow. Okay.
— Yeah.

So here we are!

— [Laughing]
— Hello, boys.

— Not to worry.
— Not to worry. All right.

— All right.
— Okay, let's just go around...

and just say why you
work in this business,
and then we'll cut it.

—I already did mine.
— I wanna be filthy rich
and be in the union...

—[Laughing]
— so I don't have to do
nonunion pictures anymore...

without getting fully compensated
for my tortures.

— Hey spell it out
— Doesn’t seem warm when you’re——

— U—N—I—O—N, baby. Union.
—Ooh.

—I love famous people.
—[Laughter]

I love'em.
I like to watch them eat.

Anything like that.
I love them.

Andy Watts, star fucker.

Yeah. I'd be a stalker...

if I actually wasn't paid
to watch them.

— [Laughter]
— * [Guitar] *

Why do you like working
in the film industry?

— The pay.
— The pay?

Money. The only reason is money.

— Big money.
— It's kind of like
that articulation of life.

Studying life.

It's those last hands,
that moment,

that one—thousandth of a second
as the shutter clicks,
as everything's immortalized,

and I get a real rush
out of that,

knowing that I could do
like that, or that.

— [Man On Radio] Fourteen on my left.
— It's just documenting history...

and a history that doesn't exist,
and we're all making it
up and it's life and I love it.

Uh, it's one of the conditions
of my probation.

I don't know.

[Shrieking]

Why do I work
in the film business?

How are you, sweetheart?
That's why I work in the film business.

I don't have to have
a real job.

I can work with a lot of people
who don't want to have real jobs.

You're doing what you want
and getting paid all that money,

and you get free meals
and they pay for the hotel.

You don't find that
in any other business.

Anyone that complains——

I never understood it.

"Oh, we're gonna have
chicken again today?"

Really. filet mignon and lobster
you have every night? You know.

'Cause of the craziness,
the zaniness. I don't wanna——

I don't wanna work 9:00 to 5:00,
so I'd rather work from 4:00 to 1:00.

—[Laughter]
— 4:00 to 4:00.

When I was a kid, you know,
I had a little black—and—white
TV up in my room,

and I would stay up
really late watchin' movies,
just watchin' movies,

and, for me, all my life,
the movies were, you know,
my favorite art form.

So, for me, now to be
able to have the chance
to make those movies...

so that some other kid
can be stayin' up all night
in his room watchin' TV...

and watchin' the movies
that I worked on.

I try and keep that going.
Movies are just such a part
ofAmerican life right now.

To have a say in that
and be able to work on those,
I think, is a privilege.

It's a damn good time, man.

Livin', lovin',
workin', sweatin',

grindin', huggin', kissin'.

It's all—— It's all good.

It's art. Fun.
It's all come together.

So, ladies and gentlemen,
if I could have your attention, please.

Guys, thank you all very much
for one hellacious job.

—[Howling]
— That is a picture rap
on From Dusk Till Dawn.

— [Hooting]
— [Applause, Whistling]

Let’s go, guys.

Hey, hey.
[Indistinct]

— It's pretty damn bad——
— [Man Yelling]

— [Laughing]
— Hey, your hair's got
pyro charge in it.

Yeah, one down.

— George, a good job. Pleasure.
— A blast.

— Go, go.
- No go.

[Laughing, Screaming]

[Indistinct Conversations]

Guys, let’s go.
I need equipment trucks over here.

I need stake beds
brought up front. Okay, let’s go.

This party ain't over yet, guys.
Let's go.

I'll see you tonight.

Roll camera!

* [Drumming, Chanting] *

— [Laughter]
— [Man] All back on Saturday!

Standby guys. Standby