Criterion's The Making Of The Irishman With Scorsese, Pacino, DeNiro and Pesci | Netflix

- So I requested 'I have'- I requested 'I have.' You see there's a comma. - Yeah, yeah, yeah. - So- - But maybe that's- he means he's got it. - Yes. - And he's looked it over. - That's right. - And that's where he put the money. - And out of all the monies I- - (laughing) I put it there. heard there was this period of time that went into these ventures. - Yeah, that's it. It's very clear. - Right. (laughing) - Which individuals Mr. Hoffa? - Hmm. Off-hand, that particular amount of money I borrow

ed, I, I don't know at this particular moment. (camera shutters click) But the record of my loans, which I requested, I have. And of all the monies I've known (indistinct). - Huh, great. - [Al] That was good (indistinct). - Yeah Al, that made sense. (laughing) - [Al] Thanks for clearing that up. - It made sense. - Two months I've been trying to figure that out. (people laughing) - By the time we settled on this project, we turned into our seventies. I mean, we have another kind of perception of

life, particularly of that world, of the milieu in which I have dabbled in a number of times. From 'Mean Streets' to 'Goodfellas' to 'Casino.' So we're kind of associated with that obviously. And we all, in playing out these scenes, playing out this picture, a very internal, very intimate film it became. (western music plays) It's about the relationship of loyalty, love, trust, and then ultimately betrayal. And interestingly enough, what this character, Frank, finding himself in that extended fa

mily, they actually love each other. It's Russell Bufalino who takes him under his wing. Bufalino introduces him to a man he respects and loves: it's Jimmy Hoffa. He becomes a great friend, cohort, trusted man and appreciated by Hoffa. And ultimately things get out of hand. - Frank's character. He's caught between these two guys who he's indebted to and has to make a terrible decision, but one you would understand. - It is definitely a very male world about friendship and family, actual family,

but other types of families that get formed. And I think it's an incredibly thoughtful and spiritual film in many ways, as much as it is a mafia movie. - [Hoffa] Would you like to be a part of this history? - Yes, I would. Whatever you need me to do, I'm available. - Can you come to Chicago tomorrow? - Yes, I can, sir. - What Marty produces and how he understands it is really the, the, the, the coup de grâce. He's looking at this world with a new lens. - Certain men have codes, and these men liv

e by this code their whole life. And I think Jimmy Hoffa comes into the picture, and Hoffa doesn't live by that code. And I think that the struggle on what they're going to do with this guy, with this massive presence who refuses to play by these rules. - Some people I'm not showing appreciation. Well then fuck them. - And that kind of conflict and torture that Frank and Russell go through, I think is where the movie sits really, you know, like how do those decisions sit with you at the end of a

long life? - We were actually working on another movie, 'The Winter of Frankie Machine.' And then I read this book and I said, well, Marty you got to read this because I think this is what we should be doing. - I had been a homicide investigator and a, a criminal prosecutor, homicide prosecutor- Chief Deputy Attorney General of the State of Delaware. And in 1988, Frank took me and my office to lunch at a mafia hangout called Bensonni's Restaurant. After the lunch, he took me aside and said, you

know, I read your book, 'The Right to Remain Silent.' I read it in prison. I'm tired of being written about and all the books on Hoffa. It was six of them at the time, all speculating about Hoffa's disappearance. Nobody had any proof. And he said, I want to tell my story. And so I met with him and in that meeting, the very first meeting, he ended up giving me 80% of what happened to Hoffa. - The way I understand it, Frank hired him to represent him, and then Frank had this thing he was trying t

o, you know, admit to, or unload. And that came out with Charlie. - As of that moment, no one in the world knew that Hoffa had been shot. No one in the world knew that he had been killed in a house in Detroit. But I learned it that night. I learned about the airplane ride to Detroit from Port Clinton, Ohio. Frank felt sincerely remorseful, particularly about his role in the Hoffa matter. - Frank, being heavily Catholic, or having that drilled into him in his younger years, that was also somethin

g that played on him, and the guilt that he felt about what he had done. It ate at him. So eventually with this, with, with, with Charlie Brandt, pulling it out of him, they, they, they got to a confession, basically. (heavy footsteps) - Bob came to me and he said, he read this book, a Charles Brandt book. He described, really, this character, Frank Sheeran. And as he did, he became very emotional about it. And I realized that was the connection. And there was gold, in a way. You don't have to c

onvince anybody of anything. We know each other, kind of, so well that we don't have to say anything at that point. I know if he could tap into that character that way, based on the structure of the story and the situation these people found themselves in, I know I could go there because it's genuine and it's real, and, however it turns out, it needs to be; has to be done. - Might've been a year later, or even later than that, Marty- we had a reading. We set up a reading at Tribeca with a couple

of cameras with me, Joe, Al, Bobby Cannavale, Paul Herman, some other actors were- as many of the chosen cast members that we could get. - And it was clearly a Steve Zaillian script, which is quite good. And there were about 50 people there, and we read for them, and it, it was affective. - We read it cold, and Stephanie Kurtzuba read all the women's roles. And it was evident right away that it was very special. It played like gangbusters, and I think everybody at that point said, okay, we're g

onna make this movie. - I needed to finish 'Wolf of Wall Street' and also 'Silence.' I want her to do 'Silence.' And so after 'Silence' we pulled it together. So then you take the (indistinct), and you're gonna take the 22. - Okay. - The rest is fine. - That's fine. So what are these? - 22 automatic. - 22, 22, 22. Take them all. Take them like this. - The last picture that I did with Robert de Niro was in '95. It was a 'Casino.' It was like 22 years since we had worked together. Now, the reason

why I go there is because when we kind of started out, we know- basically Bob and I kind of know each other from the age of 16. So he's very aware of the world I came from when I grew up, and I remember him, and we lost track of each other for a while. Brian De Palma put us back together again, and then went to 'Mean Streets.' And so we wound up working together over a period of time. And the reason being, of course, we found that we could, we were comfortable with each other and trusted each ot

her, went through a lot of issues over the years. The real push I think was 'King of Comedy.' It was a very different kind of thing. Then we did 'Cape Fear.' And then 'Casino.' - They have a history of working on characters that have these real moral, complex dilemmas. This was something Bob felt, and especially with the mystery with, with Jimmy Hoffa, Bob felt, you know, the time to do it was now. - Frank is a man with a lot of friends. (audience cheering) From his war buddies who fought with h

im in Italy under General George Patton. To the drivers, national organizers, business agents, local presidents. - On every project it's so exciting working with Marty. Every project is as if it's the first time. It's like, oh my God, what is this? What is this world? This is amazing. Who can we use that maybe you have worked with, or who are the new people that you're going to get to meet? Or what is the world that you're creating? Bob, and Joe Pesci, and Al were attached to this movie. They wa

nted Harvey, of course, to be a part of this. - Somebody else got an interest in that. You know who? - No. - I do. - Who? - No, I do. I own the other part. - Somebody who was in 'Casino,' Vinny Vella. It was wonderful that we were able to find a spot for Vinny. - Hey, do me a favor, when you go outside, put the seal on for me? - I know there were people from 'Goodfellas' in this, and people from 'Raging Bull.' - I just was so happy that Al and Joe are doing this and playing, Joe especially, play

ing a character that was more subdued and had to be low-key. - Listen, he's too emotional. Like some guy who's always rushing, rushing all over the place. And they miss the big picture. - Al had done things like this, but playing Hoffa still, used to make me laugh all the time when he was doing it. But we got a chance to really do some scenes together that we felt good doing. - You're gonna call me a motherfucker? You can talk to them like that, you can't talk to me like that. - No, that didn't

apply to you. - Didn't apply? - No! Then you gotta let me know it didn't apply to me. I'm standing right there. - I didn't even see you standing there! - I was standing right there, Jimmy. What are you talking about? - But it didn't apply to you. - Bobby Cannavale and I were in a scene, and de Niro and Pesci were in a restaurant booth. And the scene called for Bobby and I to be talking, kind of whispering, while the camera pans to de Niro and Pesci. So we're talking and then the camera pans, and

so then we're just (indistinct) and occasionally whispering something, and one of the times Cannavale just whispered, "Can you believe we're in a scene with these guys?" (laughing) (retro music playing) - He was very good at being in the mob, because there's not a lot of information on him. And I think that that's a successful person in that business. You know, he died a natural death. He was a well-trusted person in the hierarchy, which carries a lot of currency in that world. And so that was

a thing to really latch on to. - [Frank] She came from mob royalty, if you want to call it that. - There are not a lot of photos about her. So I just had to use my imagination onto who she was in little tidbits that I would hear. I think they really a very private, quiet couple. - He's an exemplary employee who, in eight years, has never taken a day of sick leave. I did speak to Marty about who this guy was, and he wasn't a mobster, but he was working for them. And you know, he probably, a littl

e bit, thought he was. - Hi Frank. - Hey. - What can I get for you? - Do I believe that she knew everything about Frank's life? Absolutely not. But I also know that there's a truth to most relationships where we simply- there's a tacit understanding that we don't ask the things that we don't want to know. - [Radio Announcer] They had been to a nightclub earlier in the evening. - What's really interesting about Peggy is that she sees what nobody else is, kind of, willing to acknowledge is happeni

ng. She sees him for who he really is. - You said "you people." What does that fucking mean, "you people?" - I'm done talking about this. - You people? - I'm done. - You're done? - I watched quite a few documentaries and a couple of interviews with Tony. So there's a wealth of knowledge out there. He's very flamboyant. He likes a little gold ring. He loves some glasses. He loves a cigar. He did a really good job at getting things done. Now, whether or not you agree with the way he got things don

e, that's open to debate. - If you got it, a truck brought it. (audience clapping) If you got your food, your clothing, your medicine, if you've got fuel for your homes, fuel for your industries, a truck brought it to you. - Throughout my young life I knew of him because he was well-known. As a matter of fact, he was like a household name. Marty Scorsese gave me tips in terms of- and books and stuff, which I read. And the good news about today's data on everybody is they have data on everybody.

So you can find out a lot of visual stuff; things you could see. Like in the old days, when I did 'Serpico,' I had the actual Frank Serpico. Kevorkian, who I later came to really know and love as I did with Frank Serpico- they were people I really got to know and like. Jimmy, of course, would have been all over him if he, if he were alive. - Al has headphones on in every scene, and I asked him- because I do that now, sometimes when I have a pretty heavy scene, I try to put some music on before.

You know he had all different speeches of Hoffa. He was listening to Jimmy Hoffa speak right up, right up to action. - I had never worked with Al before. We tried over the years, but never quite got together on a project. And so it was a real pleasure to be able to work together and watch the two of them perform. Particularly in the scene where Al Pacino, as Jimmy, kind of begs Frank to become president of one of the unions. - What do you think? - I don't know what to say, Jimmy, I mean- - Just

say you'll do it. - You could see the tenderness. You could see also the love for each other, as persons, as Al and Bob, as actors, as characters. - I just love you, you know. I love you. - When Bob gave me the book, we knew that the only person who could play Bufalino would be Joe. - I want you to meet my cousin Russell Bufalino - How are you? - Hi, nice to meet you. - You help me with my truck a couple of months ago. - Oh yeah, yeah, that's right. The timing chain. - I think he always had in h

is mind to move into other territory, in a way, as an actor. And so if he were to play in this milieu, again, it would have to be something very special. And he was natural for it. There's no doubt. - Well, Joe loves Marty, and he loves me. We're friends. You know, I just said, come on. This is it. Who knows if we're going to be doing anything again, and this is it. Come on, you know, let's, let's get us all- let's just do it. - We never thought he wasn't doing it. He might've thought he wasn't

doing it. But you know, there are certain times where no is not an option. - Do you know why God made the sky so high? - No. - So that the little birdies don't bonk their head on it when they're flying around. - With Joe, it just- I must say it was very little rehearsal. It was more about behavior, more about taking Joe, who could be very, very explosive, volatile, and taking it on to another level. And that was interesting to him, you see. And also in the relationship of what it would be with B

ob. - Things have gotten out of hand with our friend again, and some people are having serious problems with him. And it's at a point where you're going to have to talk to him and tell him, it's what it is. - Bob's character, Frank, is playing in a different type of role, really. He's the in-between man, between Joe and Al. - Bringing Joe in somehow, emotionally brought us all back together in a kind of a very warm way. And I think Joe, in a way, was kind of the centerpiece of it. (laughing) - (

coughs) Testing, one, two. - It's fun to hear Joe talk about Marty, about how great he is. I remember after one, he came in and gave us some direction, and Joe just looked at me- he says, "Genius. He's a genius." (laughs) - That's great. Great, great, great, great. Okay! - Marty, he sets the stage in a way. He, he, he gives you the ambiance. To me it was like, if I were a tight rope walker and I was walking up on a wire with no net and Marty is the net. So you feel you can go, and you could take

a chance, so to speak. Because you know, you have somebody with great sensibility and understanding of things who will protect you in a way. Or protect the performance, really. - He's incredibly patient. He's incredibly giving. He's willing to try almost any idea that any actor has. - I ended up splitting this, is that blocking okay with you? That what ended up happening here? - I think it's good. - He makes every performance stand out and be specific. - When he directs you, it's about conflict

. Whether it's inner conflict or conflict that's presenting itself in the scene. So he would say to me, you know, you know, "You're enjoying this steak. Who is this guy? Why is he coming over here? Why is he bothering you? You're having your steak. Why is he asking you about steak?" - You like steak? - I do. - What's what's what's he mean by that? And I would go, I don't know, I think he's just asking me if I like steak. He goes: "Okay, but what does he mean by that?" And so that's sort of, that

's sort of, Marty's way of getting the scene to really crackle and be alive. - I'm trying to get everything. It's all about the conversations on the side and you looking. - Marty is so fleet footed around set. He moves quickly. He thinks quickly. Things move at the speed of Marty. - It'd be nice if we keep moving. - [Stephanie] He so needs to do what he does, that it inspires everyone around him to want to raise their game, to meet him there. - Marty seems to be as committed now as he was as a y

oung filmmaker making 'Mean Streets,' or 'New York, New York' or 'Taxi Driver,' or any other. He has the same passion and the same energy. There's not many directors, half his age that would have the energy to do it. - The film takes place from 1949 to 2000. And it goes back and forth in time continuously. Obviously, the first thing you would think of is who would play these characters younger. And when I looked at the script, it turned out it means I make half the film with Bob. Why do it? We w

anted to work together and see if we can find anything new, or just find the comfort of our stage in life. So why would you have to start all over with somebody new and explain it to them? I was shooting 'Silence' in Taiwan, and Pablo (indistinct) came up to me and said, "I could do it. I think I could make them look younger." And I said, hey Pablo, I said the only thing is I can't have Bob de Niro and Al Pacino and Pesci talking to each other with golf balls on their faces. It's not going to wo

rk. They're not going to- it's going to be in the way. (laughs) They're not even going to get to the set. It's not going to work. - I read the script overnight, and in the morning I talked to him, I said I'm in, let's do a test with Robert de Niro, and let's make him look 30 years younger. Maybe we'll take a scene from 'Goodfellas' and then we'll do a test, and we'll make him look just like he did in 'Goodfellas.' We did the test in 2015, and it took about eight weeks for us to develop some kind

of technology, kind of band-aided technology, so that we could prove that the concept would work. - And when we saw it, you know, it was me, Thelma, Marty, Jane, and Bob. And, you know, after seeing the test, we were like, this is going to be a home run. - You review all this stuff. - We developed this brand new technology, which is marker-less. So the actor does not have to wear a helmet or any kind of marks. The camera is basically surrounded by two, what we call witness cameras, which are in

frared cameras. And the three cameras, the center camera, which is the director camera, and the left and right witness cameras capture the performance that is based on lighting. We did a lot of research into infrared technology and also infrared makeup. There is actually four markers that we put onto surfaces in the face that- they'll move just for rigid tracking. But those markers are not seen by the center camera. They're only infrared. - It wasn't distracting at all, and things on the clothes

, kind of these little reflector type things, they put them around, but they didn't bother me. I don't think it bothered any of us. - We ended up calling this camera rig the three-headed monster, Hydra, because they all had to be attached and moving in the same exact manner. The idea behind that was to get information for visual effects of volume, depth, et cetera. From a camera standpoint, we had to figure out how to make a rig with three cameras that you could operate on either a remote head o

r a steady cam, and make it lightweight enough that it could function. - I wanted often to have two cameras shooting, but part of this new CGI technique, involved three lenses on each camera, which was quite a mess of equipment and people on the set and on location. But we can actually shoot in tight rooms and small locations with that camera. - Every dialogue scene you see in the film was shot with two cameras simultaneously, at least, filming one actor and then the other. But also, when you ha

ve two angles, you have six cameras. So when you have three angles, you have nine cameras, you know, and that, and each camera with a camera crew. - It did involve a slightly more stately pace of production, more people on crew. But the fact that we were doing something special, made it very exciting. And everybody's with it. - One thing that was very important to me was that Marty would not feel restricted in any way in the way he shot this film because of the technology. That was one of my req

uirements to Pablo was like, listen, I understand the complication of this technology and how important it is to the movie, but I need to be able to light it like I would light any movie, you know, and, and be able to be free. And so I, I think we achieved that. (car engines roaring) - From a cinematographer perspective I felt that the main thing for me to, to express was the passage of time in this man's life, and his relationship with all the people around him, the family he creates for himsel

f and the mafia. - This very subtle imagery is quite, quite beautiful. The deep nature of the grays, and the blacks, and the browns, and the baroque canvas that he creates in this picture is quite something. The palette of the movie- I wanted it to be kind of neutral, but when you look at the skies, the sky is kind of a blue, with a little bit of touch of lavender, and then a kind of gray and a slate gray. All these things were sort of like an impressionist painting, is what I wanted to, to achi

eve. - The movie plays with time, not only passage of time, but back and forth. So I thought that visually it would be important to be able to have a clue or feel a clue as to where you are when you cut into different parts. And so I did a lot of research into, you know, in the fifties, what kind of film emulsions existed for photography, sixties, seventies, et cetera. So we ended up utilizing an emulation of Kodachrome for the fifties, Ektachrome for the sixties and part of the seventies. And t

hen I shifted to a different look that's more of a film-ic process that's called ENR. That is for film prints. Vittorio Storaro is the first one to use it. What it is is you keep part of the silver on the print, and it adds contrast and reduces color saturation. So we designed an emulation of that for the seventies. We had a little bit of that. And then right after the killing of Hoffa, we went with a full-on skip bleach or ENR emulation. So you'll notice that everything that's beyond that momen

t has this very de-saturated- or the color is drained and the contrast is enhanced. So hopefully it's a kind of thing that just triggers this memory, you know, or this feeling of nostalgia maybe, or just, just remembering your own past. - From uncle Russell. Merry Christmas, my love. - Marty's a very specific, exacting filmmaker. When you're dealing with true story, specific time periods, the attention to detail and accuracy is first and foremost. - I remember now growing up in the lower East si

de on Elizabeth Street, I was there in 1950. I was eight years old. And if I see pictures, I remember, yes, those are the aprons they wore in the butcher shop. And it was all so natural and normal. That's the jacket that a street kid wore. And that's the thing somebody's father wore and something his mother wore. So costumes or clothes meant a great deal to me and were great signals to me. - Can you believe this weather, Frank? - We cover at least three decades. We covered mostly fifties, sixtie

s, and seventies. And then we do a bit of eighties and a bit of nineties. But even within those decades, we've got the early fifties and the late fifties, the early sixties and the late sixties. And there are differences between all of those. Bob has over a hundred changes throughout all of these decades. - Yeah. There were a lot of scenes, 300 something. Sandy did a lot of work. I mean, especially this- going back, what period, what time, what outfit are you wearing? They're the ones that you r

ely on to keep it straight. And the script supervisor. - Between Bob, and Joe, and Al sort of collectively, it's about 215 costumes. - This cocksucker shows up at a meeting 15 minutes late wearing fucking shorts. - I had no say in the costumes, and I didn't want any, because when you're working with someone like Sandy Powell, you don't need any saying. I trusted her completely. - Damn it! - I think just how extraordinarily ordinary his dress was. I mean, his thing was being a man of the people.

And most of the references that you find about his clothing mentioned that he's in a cheap suit or an off-the-rack suit. - But having said that it's cheap, it was always a suit and fairly smart. He was always well put together. - If you were to go and were asked to speak, what would you say? - I remember with Sandy, she gave me three bathrobes, for instance, to look at for the scene where I have to come out of my house and hand them the gun. And I'm looking for my money, and you know, the couple

of them came below the knee and then this one came above the knee, and I said, "This one's kind of short." And she said, "Yeah, I love it. It's my favorite one." It's short enough. I've seen the movie a couple of times now, it just gets a laugh. Every time he comes out in that freezing cold with just- it's just a little too short. - [Announcer] He's an animal lover. - We had fun with the women. We pretty much are in the background. So what we wanted to do was to be able to notice them, and see

them, and kind of get- understand their characters and what they're wearing. - The clothes and the makeup and the hair are reflections, not just of the cosmetic changes that women went through, but also to political changes. So for me as an actor, when you're trying to keep track of all of that, it's remarkable to have such an incredible hair, and makeup, and costume teams that do so much work for you so that I, as the actor, can just put the clothes on and inhabit my research and know right whe

re I am. - [Frank] The first thing I did was I picked up some chili dogs from Lumps. - Marty is a stickler for detail, and he also loves to reference, and he wants to what was real. If there are times when we decide to deviate from what's real, it's with everybody agreeing that that's what we're doing. The first thing that he said to me is: "This film should look like nothing." And he said, "Well, I mean, there's the period aspect and all that. But other than that, it should really look like not

hing." Which I think he meant like everyday life. - We try to cut away the unnecessary. That's it, just give me the essentials at this place. And then when you get the essentials, let's make sure it's weathered, make sure it's lived in, and make sure that you could see three to four to five coats of paint on the wall. - I know that we had kind of an astonishing 295 sets and locations. And we probably had at least 20 built stage sets. - [Frank] I should never have gotten away with it. I should ha

ve been down for the count. - A lot of people are gonna appreciate what you did today, Frank. - The Villa di Roma, for example, was one of our stage sets, and originally he didn't want to build that location 'cause he said it will never be the same as a real Italian restaurant. You'll never- he kept saying you can smell the sauce in the floorboards. So we kept trying to add more layers of dust. I mean, you would never see it on the film, but I think Marty could be reassured to look and see that

the air registers, like along the ceiling line, we had them sort of spray all this, like, stuff on it and then blow dust on it. So it had that look. - Yeah, let, let me give McGee the phone, okay?. You take care of yourself. - Bobby Cannavale, he says, "Put McGee on the phone now." And he was surprised at the weight of the phone. And I realized everybody's so young, I didn't understand. Those were the phone- phones were heavy. And the ring on the phone was loud, loud and long. A phone call was a

n important thing. Phone call was a statement. - Remember that phone, having to pick up that phone. That phone is like 20 pounds. It's a real phone from the era. I remember thinking like, "Really, they couldn't just get a phone that looked like that?" And Marty- I said that to Marty, and he went: "Why would I do that?" - The Howard Johnson's was a really hard one for us to find, 'cause they just don't exist anymore. And we really didn't give up. We kind of kept asking Marty if he really, really

had to be a Howard Johnson's. So, he said, yes, it has to be. And then we found one location that used to be one, and I give it up to Bob because he basically was like, "I think we can make this work." (retro music playing) - You want to make a quick 10 grand? - Marty said, "Does the 'Goodfellas' diner still exist?" And we were like, not only does it exist, they renamed it Goodfellas Diner. And he didn't know that. So we took him there. - We took it as a given that we can't show him the Goodfell

as Diner. And we never asked him, and we were showing him folder- well, how about this diner? And it's like, you know, I can't really do this shot there. And then we showed him another diner. And finally, one day he said, you know, there was a really good diner we shot in 'Goodfellas,' can we just shoot there? And it's like, okay. - Believe me. I know what you can do. I snip you on the money, you're going to do something terrible. I do not want that. - What kind of man makes a phone call like th

at? - You feel sorry for Frank Sheeran at the end, that nobody knows who Jimmy Hoffa is at the end. Everybody around him is gone. - He's dead. - Who's dead? - Your attorney, Mr. Ragano. - He's dead? - Yeah. - Who did it? - His daughters don't want to talk to him. You know, the man who killed a lot of people is afraid of death, is afraid of going into the ground. - Peggy. I just want to talk. - It's that vulnerability, your heart breaks for him. - Ultimately, we wanted to make a movie that, Bob f

elt this too, we didn't say it very much. No need to say it. It was happening around us in our personal lives, too. Age, contemplative nature of it. Something where there's an accumulation of detail, anal details of everyday life, that ultimately add up to a life that you have to leave, and sensed that immediately. And so he played everything from that perspective. - And I think that there's gotta be something when you go. 'Cause, I mean, how the hell did this whole thing start? - By the time it

got to us for the scenes that comprise the last hour of the movie, we were totally comfortable with- how should I put it- not being subject to certain demands of the genre, demands of an audience, the demands of studios. We just felt comfortable what we were doing. - Uh, Father. - Yep. - Do me a favor. Don't shut the door all the way. I don't like that. Just leave it open a little bit. - Okay. - I enjoyed it while I was watching it, and then it was over, and I felt moved, and I actually had to

pull out the handkerchief, because I thought this great artist is- great director is talking about something about our life, about us together. What, what this is. - I'm going to be there, and I'll be honored to be there. You deserve this. - Thank you, Jimmy. Thank you - That we actually got to make it and do it in the way that we wanted to make it, and Marty got to do everything that he wanted to do. That's- we couldn't ask for anything more. - It was no more complicated than that. (gentle west

ern music)