"So, guys, what will this look like when you're done?" "What you do is, pan over to this man right here." "He talks." "I don't know." "Whatever he wants." "The Indiana Jones story started before the screenplay for Star Wars." "When I was thinking about doing a sort of modern fairy tale couched in sort of Saturday matinee serial vernacular," "I thought of the great things I could do." "A subject that came up was to do it in outer space, like Flash Gordon." "The other idea I had was really to do it about an archaeologist who goes around finding ancient artefacts that have a supernatural flavour to them." "And both of them would be a serial, non-stop-action kind of adventure." "I decided to go with the space idea and put the archaeologist on the shelf to gather dust." "I connected with Phil Kaufman, another filmmaker in San Francisco, and he got very excited about it." "And we started working on it for three or four weeks." "He had the idea of making the supernatural, sacred object we were looking for the Ark of the Covenant because he'd done some research in that." "I said, "That's just what we're looking for."" "Phil went to work on a Clint Eastwood movie and said:" ""I can't do that movie now." I put it back on the shelf." "Then I shot Star Wars." "George and I planned a vacation to get away from Star Wars opening, which has become a tradition with us over the years." "I joined him in Hawaii, and we were just waiting for the grosses to come in." "Kind of like waiting for election returns." "It turned out to be a landslide for George Lucas." "And George, at that point, just, I think, gushed a sigh of relief and changed the subject from Star Wars to what I was doing next." "I said, "I've always wanted to direct a James Bond picture."" "George said, "I got that beat."" "He said, "I have a better idea, called Raiders of the Lost Ark."" "I told him about the story and how it was like a Saturday matinee serial, and he got in one mess after another." "And he said, "Fantastic." "Let's do this."" "Indiana was my dog." "Indiana was the prototype for the Wookiee, for Chewbacca." "He was this big, huge malamute." "He would sit next to me in the car." "Giant bear of a dog." "So I named the character after my dog." "And ultimately, we put that in the movie." "Originally, it was Indiana Smith." "When I told Steven the story, he said:" ""Let's go with it." "There's only one thing I don't like." ""I don't like the name."" "I said, "All right." "What if we call him Indiana Jones?"" "He said, "OK, that's fine."" "I brought Larry in because I had bought a screenplay of his, Continental Divide." "He said, "I'm gonna do an adventure movie with George Lucas." ""I showed him the script for Continental Divide." ""We think you'd be the guy to write this adventure film."" "We spent three days with a tape recorder." "Larry, George and I pretty much outlined and sketched in the whole plot, the set pieces." "We laid the movie out in three days, and Larry went to put it on paper." "George had things he wanted in the movie." "Steven had scenes he wanted to shoot." "And we were creating a story that would support all these ideas." "In fact, the story we came up with was pretty much like the finished film but with a few things we eventually took out." "Larry added so much wit and humour." "And Larry brought in such a 1930s Preston Sturges meets Michael Curtiz." "Indiana Jones was like Humphrey Bogart from Treasure of the Sierra Madre." "Larry flavoured it and brought it to life." "Then when I finished the script, and I had written it all in this..." "There were no computers." "I was never much of a typist." "Only since computers can I type, because you can correct easily." "I never was much of a real typist." "So I always wrote things longhand for years." "And this is the original longhand script of Raiders." "I had to get the film financed." "Small detail." "The film did get turned down by everybody in town." "Nobody would do it because they looked at this huge movie with lots of action and lots of stuff." "And I was saying:" ""We can do this for $20 million." They said, "It's impossible."" "I told Steven we'd do this like a TV show." "We need to do this like the serials were shot." "Quick and dirty." "Use old-fashioned tricks and not take a lot of time." "He said, "That's how I wanna make it."" "And finally, we got Paramount to say they would do the film." "We had to figure out who to cast in the part." "And Steve said, "What about Harrison Ford?"" "I said, "He's been in two of my movies." ""I don't want him to be my Bobby De Niro."" "George and I had tested a lot of potential Indiana Joneses." "From Tim Matheson to Peter Coyote to Tom Selleck." "Hello, Marion." "We did a screen test with Tom Selleck and Sean Young, and it was good." "They're terrific actors." "It turned out really well." "I did what I did." "I don't expect you to be happy about it." " Maybe it could do us some good." " Why start now?" "Shut up and listen to me!" "I need that piece your father had." "So George and I went after Tom Selleck, and then a man who became a friend of mine, Bob Daly, the head of CBS, said, "Wait a minute." ""We have a series commitment with Tom Selleck called Magnum P.I."" "He green-lit the series." "Tom had a TV series that took him to great heights of fame and fortune." "And we had nothing." "I said, "What will we do now?" Steve said, "What about Harrison?"" "George called me up and said he wanted me to meet Steven Spielberg, who I'd not met before." "And sent over a script." "I read the script, about which I was very enthusiastic and went to Steven's house to meet him." "We had a wonderful discussión, got along very well." "And I was reluctant to sign up for three films, but knowing the people involved, I was willing to sign up for three in the case of Indiana Jones." " Hello." " Hello." " Hello." " How are you?" "I'm fine." "Want some water?" " Yeah, sure." " Thank you." "It was the first picture I had ever directed in the UK." "I assumed we'd go to the most famous studio, Pinewood." "But George has a good-luck theory about all the Star Wars films having been shot at Elstree in England." "I looked at the stages, and they were big." "Now, where are we gonna have the obelisk?" " Seven or 8 feet." " Seven or 8 feet is all we need." "Norman Reynolds was there." "He'd done Star Wars." "I was excited to work with the guy that did Star Wars." "He wanted to do something different." "He wanted this to be a genre apart from anything futuristic or that reeked of technology." "All of the models and sketches that he had designed were much more about illustrated graphic novels from the 1930s." "The more information you can impart to the director, in terms of models or things in the round, the better." "In order to try and help the logistics of working a set and the number of extras we actually built a mock-up set to scale of the location." "We put these little figures, like 2,000 figures, dotted all over the models." "We laid it out on a huge model, and I used to get my little 35 mm viewfinder and lie belly down, trying to find my angles and get my shots." "Your legs are in a good position for the kicks." "You duck and kick at the same time." "I had a bit of work to do with the whip, so I got a fellow to come by my house and coach me in whip craft, which is harder than it seems." "Then did a bit of conditioning because I knew it would be a physical movie." "The outfit for Indiana Jones, basically the leather jacket, the fedora and the bullwhip, came from the concept painting that was based on some old serials from the late 1930s." "So Indiana Jones' costume came complete before anybody was hired." "But Deborah refined the costume." "Made it less painterly and more lived in and more honest to who Harrison Ford was." "So she pretty much redesigned the outfit so Harrison would indelibly be only Indiana Jones for the rest of his career." "A costume has to perfectly marry the character so that the audience buys the whole thing." "The audience had to buy Harrison, even in this exaggerated, heroic part, as an earthy, brilliant archaeologist." "It had to look like a costume that he slept in and had worn every day of his life." "But the truth was, it was a new jacket." "And not only was it a new jacket, but there were ten of them." "And there had to be ten jackets because of the stuntmen, the doubles, the second unit." "The night before we shot our first scene," "I sat by the pool with Harrison Ford, and Harrison Ford lent me his Swiss Army knife." "With his Swiss Army knife and a steel brush, I personally aged that jacket, and I had metal splinters in my hands for weeks and weeks." "Then, in terms of his hat, I had to have a hat that was unique but looked like every hat." "I needed a hat that, if you saw it in silhouette, would be recognizable." "There is a very famous men's hatter in Britain on Savile Row, Herbert Johnson." "I saw a hat with a very wide brim, and the crown was a little bit too high." "It was their Australian model, and with a couple of fittings, we got the hat right for Harrison." "We got it really dirty." "I took the hat, and I rolled it up in my hands, sat on it, had Harrison sit on it." "When we got through with it, it looked like a nice, old, very well-Ioved hat." "I just thought it would be fun to start with the Paramount mountain." "When I was a kid, my first company was called Playmount Productions." "I had a mountain, which I painted myself." ""Playmountain" is my name in English, from German." "Cover the mountain with smoke, Steven." "Steven was always coming up with great ideas which were sometimes a challenge for the production." "We were setting up in Kauai, and he called me over and said:" ""I need to find a mountain." "I need you to go find a mountain" ""that looks like the Paramount logo where we can shoot."" "And I went, "OK."" "Because it was a last-minute request and we didn't have CGI," "I had to drive around until I found a location." "For a few extra pineapples, we got it." " Cut." " Cut." "I'd never worked with Dougie before, but loved his work." "I thought he could do anything." "I looked at his films, and he changed his style according to the script." "If you soft-light it, we'll see more detail." "I mean, these are scary without having to light them scary." "Just a real soft fill." "He had had a number of ideas." "He felt, whatever happens, that we would do it on really wide screen, knowing that we would have some fairly large canvases." "So that format seemed to be right for them." "And he wanted the thing to be very strong-Iooking." "At the same time, he was happy for me to put in all the shadows I wanted." "He wanted most scenes to look realistic enough to make the make-believe possible." "I kept saying to Dougie:" ""Let's make this look like an old adventure movie." That's the concept." "The Hovitos are near." "The poison is still fresh." "Three days." "They're following us." "When I got cast, I'd done four or five years in the theatre." "And then I met with Steven, and we chatted for about ten minutes." "I didn't know what to say." "I had no film experience." "I was never in front of a camera." "I had no idea what he wanted." "Señor..." "The tarantula was the first day." "My first shot of the first day." "And this man arrived with a big suitcase." "Inside were these different compartments with what looked like a tuft of straw in each compartment." "Under each tuft was a tarantula." "This guy is putting these spiders on me, and they're more scared than I am." "He's keeping up this running commentary about "The spiders..." "It's very hard to train tarantulas, you know?"" "He's telling me about tarantulas." "So they put I don't know how many, at least a couple of dozen." "And they're all on me, and they're not moving." "And I hear Steven say something like, "Why aren't they moving?" ""They look fake."" "And the guy, the spider wrangler, says:" ""Because they're all males, you see?" ""We have to put a female in there, then they'll fight."" ""OK, put a female in there."" "He gets a female, and he puts the female spider somewhere on my..." "I can't remember where." "Somewhere, like, here somewhere." "And suddenly, all hell breaks loose." "These spiders are running and dropping and fighting and running over my face." "And Steven's going, "Shoot, shoot."" "He's going, "Alfred, look scared."" "I'm going, "I'm scared." "I'm scared."" "The idol in the opening sequence that Indy lifts off the altar, that was very much based on an Inca fertility figure." "But I did modify it so that it worked better to be held." "The size was important." "And Steven went through what he wanted, like Harrison lifting it off and replacing it with the sand or whatever it was." "Rumble." "OK, cut." "OK." "The ball was my idea." "We were making suggestions." "I said, "At some point, a huge boulder should chase Indy" ""and almost squishes him three or four times."" "It was something I thought up." "I didn't know it would look so good until Norman Reynolds showed me a boulder that was 22 feet in diameter." "It was extraordinarily large." "The overriding consideration was to be able to stop it." "If Harrison tripped up, or someone had fallen, and the ball was coming through, whilst it was a fibreglass ball, it was heavy and could do damage." "When Steven first saw it, he was very excited about it and said, "Why don't we make it another 50 feet longer."" "Which, of course, we did." "Indy was always in over his head." "He was always getting hurt or in trouble." "He wasn't up to what he was supposed to be, what the classic serial hero was." "That's one of the things that came off the best." "Dr Jones, there is nothing you can possess which I cannot take away." "I was failing in my search for the right cast member." "Then I saw this British actor and liked him a lot." "He had striking eyes, could see through Indiana Jones." "I thought, "I could have an eye contest."" "You chose the wrong friends." "This time it will cost you." "They said, "Here's the script, read it." I read the script." "Plainly, a wonderful role." "Always in my career, I've done a lot of accents." "I've done a lot of voices, so I wasn't bothered." "Steven didn't ask if I could do a French accent." "I went on holiday." "I rang my agent in London." "He said, "Steven got worried about the French accent." "Come to London."" "He was, by now, in Elstree." ""Prove you can do a French accent for him."" "I got nervous, thinking, "Oh, my God." ""Now, having got the part, I was gonna be tested for it."" "I went into Steven's office." "He said, "Can you do a French accent?"" "I went, "Of course I can..." And spoke French." "He said, "Fine." That was it." "How'd you do the Tanis line, when you realized it was Tanis?" "I looked at him, then when they were finished," "I hit the book and said, "The Nazis have discovered Tanis."" "It'd be nice if you could show that this is a discovery that is rather omnipotent." "Maybe a smile, something that..." "Will you share a private idea of the importance of this find?" " Yes." " OK." "Either of us could answer." "We're both archaeologists." "You start to answer, and I'll turn in, "Tanis is one of the possible..."" "I've always been a big Denholm Elliott fan." "He lent a paternal warmth, a benevolent consigliere to Indiana Jones, who says, "Don't get hurt." He's the voice of reason, the voice of caution." "He's more paranoid than Indy could be." "I've got to locate Abner." "I think I know where to start." " Suppose she'll still be with him?" " Possibly." "Marion's the least of your worries, believe me, Indy." "The fun of writing something like this is getting names that evoke that kind of movie and era." "My wife's grandmother was named Marion." "I wanted to honour her." "She was a woman who I liked very much when I married my wife." "I remember I was driving over Beverly Glen." "When you come on the city side, there's a little street called Ravenwood." "I thought, "That's perfect."" "I put my wife's grandmother's name with this street name, and that was Marion Ravenwood." "Then it comes down, and Marion takes that drink, right?" "You should start to be glazing over even as the drink is coming up." "Right." "I liked Karen ever since I first saw Animal House." "So she was always floating around in a sea of many possible Indiana Jones leading ladies." "I had my interviews in the kitchen at Lucas' place called The Egg Company." "We would cook." "They relaxed once you're making bread with your potential director, casting director and five others." "That was my technique of getting actors to relax." "It worked." "It's really swell." "Perfect introduction." "I met Steven." "We just met, had a conversation." "And then he flew me to Los Ángeles several weeks later." "And I did a screen test with Tim Matheson first." "So we did the bar scene." "I learned to hate you, but no matter how much I hated you," "I always knew someday you'd come through this door." "I never doubted it." "Something made it inevitable." "So why are you here, now, tonight?" "They asked me to stay in Los Ángeles for a couple days, and they brought John Shea in." "I did a second screen test with John Shea." "Karen was the favourite because she had spunk, and she was sort of a firebrand." "She reminded me of the '30s women." "She had that Irene Dunne quality about her." "A little bit of Carole Lombard." "She seemed perfect." "Indiana Jones." "Always knew someday you'd walk back through my door." "I never doubted that." "Something made it inevitable." "What are you doing here in Nepal?" "I need a piece your father collected." "If I was gonna swing a punch, I wanted to swing a punch, not do it halfway." " Do that line." " I need one of the pieces" " your father collected." " Like that." "Your punch is in delivery on "collected"." "OK, then I'll get "collected" out here." "I need one of the pieces your father collected." "So I think I clipped Harrison on the chin a time or two." "Although never on purpose." "Good evening, Fräulein." "Ron Lacey had a huge history of playing character parts, but he reminded me of Peter Lorre." "The bar's closed." "We are not thirsty." "Ronnie was one of the nicest of men." "He'd been a good, working actor for most of his life and had just not got anywhere." "He actually decided to give up acting and became an agent." "And I think it was only about three or four months of trying to represent actors when he got cast in Raiders of the Lost Ark, which, of course, got him started again as an actor." "Candle." "Candle!" "Ronnie!" "One!" "It was scary because Kit West had set fires close to the crew, but, also, he had the big machine that turns the fires off." "All the wood was treated so it couldn't catch and spread." "But it got really hot." "Everything was on fire." "The curtains, the window frames, the ceiling." "The entire bar burns up." "From the time the set was designed, we had to have certain sections which we knew we would be able to add special pipes in and a concrete floor because that studio had a big blaze on a previous picture," "and naturally, knowing our intentions of having a hefty fire, they were anxious." "So we had to go right from scratch and make sure that the materials were pre-soaked in fire-retarding solutions." "Go in together." " Let's get out of here." " Not without the piece." "Kit is safety first." "That's why I hire a physical effects supervisor who puts safety before anything else." "At least you haven't forgotten how to show a lady a good time." "The first question I asked, before I read the scripts, when it said it's in Egypt, I said, "Do we see the Sphinx or pyramids?"" "He said, "No." I said, "We don't have to go to Egypt."" "Tunisia is a much easier place to shoot." "And we'd been there before, so I knew the country." "We found the site for the Tanis digs right in the area we shot Star Wars." "The canyon where Indy is above and they've got the Ark is the canyon where R2-D2 is taken by the Jawas in Star Wars." "It's exactly the same location." "Then we went to shoot Cairo." "We went to a town called Kairouan, which means "little Cairo", so it was apt." "We shot the streets there." "I could just do the whip fight and the sword fight and everything in here." "The orange gag, the butcher's thing." "And the basket comes through..." "Another challenge that we had was shooting the period for the 1930s." "Once we got to these locations, we didn't have computers that could erase wires and TV antennas and everything." "We had to do it ourselves." "Here's another good angle right here." "We probably removed 300 aerials, especially from the panoramic shot that brings Sallah, Marion and Indy onto the veranda." "I like that a lot of effort went into creating an authenticity that couldn't have been faked 23 years ago." "Cairo, city of the living." "A paradise on earth." "I first offered Sallah to Danny DeVito." "He was dying to play this character, but he had problems with his TV series, with the dates, and couldn't do it." "But he was my first choice." "When I saw Shogun, I said, "Who is this British actor?" ""He's like Falstaff." "Great basso profundo voice, great sense of humour."" "I said, "We gotta get him."" " If I make it sound differently..." " Make it sound differently." "But if I do, then I can't have heard it." "I went and saw Steven and said, "Well, here's the thing." ""Sallah is described as a 5'2", skinny Egyptian digger." ""What do you propose, surgery?" He said, "No." ""A cross between your character in Shogun and Falstaff."" "I thought, "That's interesting."" "Say, "Today, you rest, you shop, you let Marion spend all your money."" "Marion, duck!" "Those scenes were fun." "I enjoyed them, the running around the marketplace." "Any moment where I could join and be useful and resourceful had meaning for me." "Action, Karen." "Real tough." "All that stuff became part of the character, and I was happy to have it, as opposed to just being somebody running." "You know, like that, scared." "To have, like, a frying pan in my hand that I could then conk the guy in the head with and stuff." "So leave the door open." "Open that, but hide behind the corner." "OK." "There was so much stress in Tunisia, we wanted to go home." "I scheduled six weeks in Tunisia." "I did it in four and a half, because it was super hot, hard to breathe." "You couldn't take a deep breath." "We should have guys digging." "We started to get sick." "I didn't, because I ate canned food from the UK." "I opened my cans and, sometimes cold, had my breakfast, lunch and dinner from cans." "All the crew who ate at the restaurants or the hotels got sick." "I have never been so ill on a film set." "I think I actually had cholera." "I had a temperature of 105-point-something." "I was dying." "There's a scene that was cut from the film where a soldier is ordered to shoot me." "Steven said to me, "Can you bend down to give him a better eye-line?"" "And as I bent down, I filled my djellaba in front of 200 people, and I didn't care." "Thank you, mon père." "Mon grand-père." "I want you to work on the diction more." "There would be times where I would use the second camera." "I'd be either shooting things that Steve had told me, or I'd say, "Let's try this." He'd say, "Great."" "We sort of were trading off operations, and he let me shoot second camera." "I think he did it just to be nice to me." "To escape on foot, the desert is three weeks in every direction." "So please eat something." "That's one of my favourite sequences, and it was borne out of a problem, and that was, there was no reason for my character to put on that dress." " Beautiful." " I would very much like to see you in it." "Bet you would." "So Steven challenged me to find something." "It was like, "You come up with a good reason" ""why she would put on that dress, and we'll see."" "So it was not difficult at all to enlist Paul, and we went into the tent and did a little improvisation together." "And out of that improvisation came this thought:" "What if there was a sharp knife on that plate, and what if from the moment I put on the dress, you see that I'm using my clothes to hide that I'm taking the knife?" "You see that I'm using my clothes to hide that I'm taking the knife?" "We created a story around that." "And we also thought it was beautiful to bring the drinking contest back in." "And I think I'm gonna drink him under the table to be able to escape." "As we're improvising, I just thought, "This is it." ""We found it." "This is just so lovely." ""It has so many wonderful little twists and turns."" "We meet again, Fräulein." "You Americans, you are all the same." "Always over-dressing for the wrong occasions." "You'll remember the coat-hanger sequence, where Ronnie looks as if he's producing this instrument of torture..." "Ronnie's such a wonderful actor too." "His timing's superb." "The audience goes, "What's he gonna do?"" "And it turns into a coat hanger." "Once it gets long, that's the threat." "Suddenly, get the end..." "Look at it." "Get the end and put it together." "Instant coat hanger." "It's a brilliant gag." "It was a gag that Steven had been working up." "He'd used it in 1941 with Christopher Lee in the submarine." "And for some reason it didn't work." "He was fond of this gag." "It's a nice idea, isn't it?" "Rework the gag until you get it right, like Buster Keaton would." "...what shall we talk about?" "Cut." "The Well of Souls, the big Anubis figures were jackals of the dead." "The first thing I thought of was opening the well and seeing one of these figures, which seemed to be..." "They lent themselves to that." "Looking up, ready to gobble you up." "Everything in there was really Egyptian, apart from little engravings of 3PO on the wall." "One or two other little niceties that Steven had suggested." "Snakes." "Why did it have to be snakes?" "I can't tell you how many times I get asked to do: "Asps."" ""Very dangerous." "You go first."" "Asps." "Very dangerous." "You go first." "I grew up in Africa and part of my childhood fears were very linked with snakes." "I was not wildly happy about snakes." "I'll talk to you about the snakes." "We gotta work something out." "I'll be right down." "I was able to clear up a lot of my phobias on these movies." "For example, I never liked snakes, so I had to find a reptile expert in Europe." "Once I learned that the snakes were non-poisonous, it was easier to just pick them up." "We brought in snakes and put them in the shot." "We had about 1,000 snakes, which I assumed was plenty." "There's not enough live snakes." "The set's too big for the snakes we have." "We had 3,000 snakes, and they hardly covered." "I couldn't get a wide shot because I would see that there were no snakes." "So that's when I said to Robert Watts or to Frank Marshall..." "We have to get more snakes." "You know what we really need?" "We need about 7,000 snakes, in addition to the 2,000 we have here." "He said, "We don't have enough." "Can you get them?"" "I said, "Absolutely, Steven," and I rushed away." "Our mantra was, "We can do whatever you want."" "So we looked all over Europe, and we got three or four other snake breeders to deliver boxes and boxes of glass snakes." "I remember this image of snakes being regurgitated out of trash cans and then spread out by crew members all over the floor of this set." "And I'm not afraid of snakes, but that made me nauseous." "That made me want to puke." "Just seeing the Medusa tangles being, you know, just spread around." "Some were pythons, which are not poisonous, but they don't let go." "And at one point, David Tomblin got bit by a python." "David stood there with the python not letting go." "Blood was coming down David's hand." "David said:" ""Grab the tail and give it a snap." "It'll let go."" "Somebody grabbed the tail of that python, went like this, the shock wave went up, and it let go." "The snake was fine and David was fine." "OK, watch your hand." "He's about to bite you." "He's about to..." "He's about to bite you." "He's good for a close-up." " Put a red ribbon around..." " He's got the..." " One more." " Do you want these?" "No, I want the biters out." "Pull the two biters." "Him and him." "I wasn't there when they shot the snakes." "That's the reason Steven directed, and not me." "I didn't wanna sit on a sound stage with 1,000 snakes trying to get that sequence shot." "I'm too lazy a guy for that." "All right, I want one person whose job it is only to keep the pythons away from endangering the actors." " Let's reconsider this whole thing." " OK." "I personally don't have any fear of snakes or, for that matter, bugs or rats, happily." "The snake sequence had a lot of people very apprehensive, but it didn't bother me." "Get ready to shoot." "But the day that the cobras arrived, everything changed." "Everybody was serious about the cobras being there." "We had antivenom serum." "We had a lot of protection for the handlers." "Even the actors were very respectful of these snakes, because they were deadly." "Sorry, Indy!" "In the famous shot of me facing the cobra, you can barely see a reflection on the sheet of glass that was between myself and the cobra." "They took elaborate precautions on that occasión." "I told you it would be all right." "And at one point, it hooded and whipped its head off to the side and literally threw venom all over the glass." "So that was something that caused everybody to sit up and take notice and recognize that this was not something to play around with." "I remember the snakes were supposed to recoil from fire." "In fact, they get close to warm up." "You don't like fire?" "You do like fire." "You love fire." "In the script, you're supposed to hate fire." "Why do you like fire?" "You're ruining my movie." "Harrison's in these big boots, and he's got pants on, and he's got the whip and the hat." "I'm in this little dress with nothing on my arms or legs, and I have to lose a shoe, and I'm surrounded by the snakes, and it's just..." "You know, there was a part of me that, you know, I just thought, you know:" ""I want the big boots." "I want the big, heavy shoes."" "I didn't want to feel as exposed as I felt in those clothes, you know." "Which is part of the fun of it." "Freeze, then shriek and back to Harrison's back." "Let's see that." "Get up." "Good, that's funny." "That's the idea." "Karen was fun to work with." "When I met Karen, I knew she was a serious actress, but she's never gone to the school of Indiana Jones." "She took a crash course on a new kind of acting, but once she got into it, she was terrific." "She came up with worse things to do to her." "By that time I could start batting them." "When we get to the next skeleton..." "That's a good idea." " He drags himself up." " That's a great idea." "So great my earphone broke in half." "That's how good the idea was." "That sequence was much more horrible than the snakes, for me, because it was physically very demanding." "I was alone in the catacombs, and we did a sequence of me running through the catacombs." "But I found that much more difficult than the snakes." "I'll take the snakes." "And action." "No, it's gotta be..." "What Karen did was right." "What you did is right." "That's the timing." "But I was so happy when that sequence was completed." "In terms of the Flying Wing, when I read the script," "I had no idea of what that really meant." "So I researched that and discovered that, in fact, the American Air Force had developed a Flying Wing during Worid War II that wasn't very successful, but nevertheless, the thing existed, and we set about designing the wing for the film." "That was an interesting scene." "I began storyboarding it." "I had about 15 storyboards." "I threw those out and began to choreograph the fight." "I made that scene up as we shot it." "One punch at a time, one duck at a time, one almost going into the prop and then backing up." "It was meant to be a couple of punches and became 60 or 70 different shots." "That was so much fun to work on because we just were making it up." "Spend about six seconds looking for it, click it, and follow the fight." " Right, OK." " OK." "On the morning that we were starting, all of the stuntmen were sick and we didn't have anybody to play the Flying Wing pilot, who had to get hit over the head, which was a tough stunt." "Steven said, "Put on the outfit." "Get in the cockpit."" "I thought, "This will be fun."" "Little did I know that it was three days in a cockpit that was 140 degrees." "Maybe the stuntmen were sick on purpose that day." "At a certain point, I slipped and fell and the wheels rode up onto my knee, which resulted in me tearing the cruciate ligament in my left leg, in the middle of Tunisia." "So rather than submit to any local medical care, we just wrapped it up and put ice on it, and I carried on." "Holy smoke!" "My friends, I'm so pleased you're not dead." "We have no time if you want the Ark." "It's been loaded onto a truck for Cairo." "Truck?" "What truck?" " Stand by, this is picture." " Ready, sir." "Right." "OK, turn it on and... roll cameras." "I had never..." "I hadn't made many movies yet, but I had never given up that much second unit, and I gave the truck chase to Mickey Moore, who I trusted, and I had all the storyboards." "He copied the storyboards, but he also threw in bonus shots, which gave flavour and energy to that sequence." "Now, we start to tighten up here, where we see the truck now starting to catch up again with the lead car." "This wasn't in it, but we need it to keep them alive." " Did you add these two shots?" " Yeah." "Overall, the whole chase was probably six to eight weeks, and then Steven went back and filled in all the close shots with Harrison." "I was able to make one shot for Steven with Harrison being dragged." "Dragging behind a car..." "Dragging behind a car..." "All right, roll cameras." "I'm sure it's not dangerous." "If it was dangerous, they would've waited till we got more done." "Pick your head up a little." "That's it." " Can you get a grip?" " Hold it." " Beautiful." " Nothing wrong with that." "I'd see Mickey's dailies before mine." "I wanted to see how the second unit was doing." "Dailies have to go to England and then come back to Tunisia, so it was days before I would see any of the dailies." "I can't think of one time the whole chase where Steven ever said:" ""I don't like so and so." "I want you to do it over."" "And that was very encouraging to me and the unit." "I had a wonderful unit." "I had one belief as a director:" "The better the help, the better you're gonna be." "It was a matter of getting it the way he envisioned." "That's what we tried to do." "Terry, go!" "Terry, go!" "All right, we've cut." "We've cut." "OK, cut." " Oh, great." "Beautiful." " Lovely." " Yeah!" " Whoa!" "Thank you, Dickie." "The Bantu Wind was rusty and really, really beaten-up." "And it seemed to fit the part as it were." "And as time approached, I decided to go back and check it out, and to my horror discovered that the whole boat had been repainted." "No rust marks, it was painted white and blue." "So with very little time left, I had to get a paint team over and put it back to the condition it was in when we found it." "What's happening?" "We didn't want to build a submarine, and there was a movie that they hadn't made yet called Das Boot," "Wolfgang Petersen's televisión epic that became a feature film." "And they had built the boat, so we rented the Das Boot boat, put our own numbers on it, and shot that in La Rochelle, France." "Not only was the sub there, but there was a Second Worid War" "German submarine pen, complete, even to the graffiti on the walls." "It was still there from the Second Worid War, so it was almost a set in existence." "The problem for an actor with that final sequence, especially when we weren't used to blue screen, was that you had to be talked through it." "Belloq hears a rumble from the Ark." "He starts to hear a sound, he takes a step back and the rumble and the hum increases." "And then a bluish-green gaseous veil spills from the Ark and crawls down the steps." "Everything was storyboarded." "Everybody could say:" ""I'm reacting to that ghost." The pretty ghost that becomes the skeleton that dissolves before the eyes and gets him screaming." "Of course, it was my first experience with acting to nothing." "I mean, it was Steven over on the sidelines going:" ""And now the head is exploding." "There's something coming out."" "Which I have now since done so many times with so many films." "Don't look, Marion." "And the glow starts to come up." "Glow." "As far as I was concerned, the sequence finished with me screaming." "I had spent quite a few takes screaming and screaming, so they just got the wide-open mouth ready." "So it was amazing to see the finished sequence." "I had no idea that was going to happen." "Of course, there's nothing there until the premiere, when the actors get to see what they were being foolish about." "Cut." "Great, Karen." "Moviemaking is a collaboration." "We had wonderful collaborators." "That's what makes each sequence exciting." "Putting it together was a masterpiece of editing by Michael Kahn." "Steven shoots for the editing room." "And I had a lot of footage." "It's good to know as an editor that all the pieces mean something." "By putting in a certain reaction, a shot, a point of view..." "There's a lot of devices that are used to influence an audience." "People see it and they respond to it." "Sometimes it needs a little touch." "It needs another beat, or it's a beat too much." "It's all very sensitive." "How you put it together really affects the audience psychologically." "I thought that Indiana Jones was gonna be fun to watch." "And I had great confidence in Steven as a filmmaker." "But you never know what the mood of the audience is gonna be when the film is released." "So I was very pleased at the amount of success that we had." "Try the hard, and like he's made of chiffon, pulling him." "Try that once." "I was blown away by it when I saw it." "I saw a different movie in my head, and I came to see that the movie I saw in my head was not the movie we were making." "And so when we finished the film," "I was a little puzzled by what we had done." "And when I went into the theatre and sat down, I was like, "Whoa."" "I got it instantly." "I mean, I saw what he was doing, and I saw the film that he was making." "And I knew it was really good." "I knew it was something people would respond to." "I can't go back and look at my movies without punching holes in them, or going, "I could've done better."" "I've a handful of films that I've directed that I could watch as if I didn't have anything to do with it." "Raiders is one of those films that I can look at and divorce myself from my knowledge and forget how it was made and watch it from the view of an audience." "That's what's fun about it." "That was the gift Raiders gave me." "It let me watch it objectively, 20, 25 years later." "It was one of those rare occasions where the script and movie came out better than expected." "Everything sort of just came together and was brilliant." "That's the way Indiana Jones ought to look." "They asked me what the difference was between the first and second movie." "The difference is, I play Indiana Jones." "When George and I were in Hawaii and I agreed to direct Raiders, he said if I directed the first one, I'd need to direct all three." "He said he had three stories." "George didn't have three stories." "We had to make them up." "So it was two weeks after Raiders opened that we knew we had to figure out Raiders 2." "This is Indiana Jones, the famous archaeologist." "We had all these sequences from Raiders that we couldn't fit in there." "Raiders of the Lost Ark was too super-packed with gags, stunts, sets." "No movie could hold it all." "Things carried over." "I remember a river-rafting scene we had for Raiders which I saved and bookmarked for another Raiders movie." "That went into Temple of Doom." "And we had a mine-car chase, like a roller coaster ride, that was originally written for Raiders." "So I took it out of Raiders and kept it in a drawer, and when it came time to figure out set pieces, we dusted it off and stuck it in the end of Temple of Doom." "We took a lot of the good sequences from Raiders, put it in and fit the story around it." "We hired writers from American Graffiti, Bill and Gloria Huyck." "George knew of our interest in India." "We had travelled in India, and we were collecting Indian art." "He said that he and Steven had decided to set the next Indy in India." "He came to us because he knew we were interested in the country and had some knowledge of it." "George had one main idea." "He said, "It's gonna be a very dark film."" "The way Empire Strikes Back was the dark second act of this first trilogy, he wanted the second Indy film to be much darker." "So George came up with this idea that it was going to be about the Kali cult and have to do with black magic." "I had never done anything like that, so I kind of kept nodding my head, "Sure..."" "The story, for whatever reason, turned a lot darker, I think." "We decided to go darker." "Part of it was that I was going through a divorce, and part of it was just we wanted to do something a little more edgy." "Harrison got into even better shape because he had to have his shirt off." "So Harrison did a lot of weight-training and got himself into peak condition." "That's it." " Won't you introduce us?" " I looked at a lot of girls." "This is Willie Scott." "I wanted Marion back, but George and I discussed it and thought there should be a different lady in each film." "We started looking for a nightclub singer named Willie Scott." "Willie was named after my dog." "Indy was named after George's dog, and then Short Round was the name of Bill and Gloria's dog." "So Ke was called Short Round." "So in that sense, all three characters were named after our pets." "I got a call from my agent saying, "The sequel to Raiders" ""is being cast and they would love to meet you."" "That's not my kind of movie." "I was looking at foreign films and art films, and being a very serious actor studying in Manhattan." "But while I said I didn't wanna do this movie, I very much wanted to do it, because if I did a movie like this, it would elevate my opportunities to do more movies." "I wanted to do as many movies as I could." "So I prepared and I brought in a lot of props." "I like to keep busy because that is one way for me to stay calm." "Just when my career is starting to pay off, you come along, you stick a knife in my dress, Paris original." "I'm in the first ever gunfight with real bullets, and you crash an airplane!" "You call yourself a doctor." "And I thought she was absolutely Willie." "She wasn't that character in real life, but she had the energy to play her." "I remember taking the tape to Harrison and saying:" ""I've got about 20 girls." "I only wanna show you one."" "And I put Kate in." "No second choices for Harrison." "He said, "She's the one." And that's how Kate got cast." "George wanted to start with a musical." "He wanted to start the film with a dance number, where Willie Scott comes out singing." "George didn't know what song, but that was his contribution." "He said, "Hey, Steven, you're always saying you wanted to shoot musicals." ""You're a frustrated musical director."" "So we hired Danny Daniels, a choreographer, and put together this crazy number." " They reveal at the same time." " This side was late." "Kate had to learn the entire song in Mandarin and learn all the choreography." "What I didn't know about Kate was, she has a great voice and is a wonderful dancer." " How does it feel directing a musical?" " It feels just swell." "Just swell." "That is an actress' dream come true." "Singing, dancing, costumes." "But we got the dress on, that little red number, and it fit like a glove." "And so I couldn't dance, and I didn't get to do the dance number." "So all the tapping I had done..." "It was heartbreaking, so I did a little of this." "I'm speechless, know what I mean?" "I feel like..." "You wanna go to the prom?" "You wanna go to prom with me?" "Kate Capshaw had to wear this sequined dress, which I had made by Barbara Matera in New York." "It was completely made of original 1920s and 1930s beads and sequins, which Barbara had been collecting for years." "This meant that there was only enough stuff to make one dress." "This didn't seem to be a problem, because the dress, in the script, was only used in one sequence." "And then the whole schedule was rearranged." "Instead of shooting this sequence first, before we went to Sri Lanka, it was the last thing we shot when we came back." "The crunch point came when we were night shooting." "It was a scene with Harrison and Kate, and they were sitting by a little campfire." "And the dress was hung over the branch of a tree behind them." "They were shooting the scene, and an elephant was calmly eating the whole back out of the dress." "The whole back was eaten out of the dress." "So when we came back to England to shoot the scene where Kate had to look smashing in this expensive dress," "Barbara Matera, who had made the dress, had to be brought from New York and installed in a suite at the Ritz Hotel with the few beads and sequins that remained to repair the dress." "Of course, it was me who had to sign the insurance claim." "And it said, "Reason for damage."" "All I could put was, "Dress eaten by elephant."" "I hate that elephant." "I didn't know how to scream, that was the first thing." "I didn't read all that either." ""And then she screams."" "Hello, can she do anything else besides scream?" "The trouble with her is the noise." "A running joke on the film that, of course, later really got..." "I couldn't scream, so Steven taught me how to scream." "This will be a great scream." "Here it goes." "You count to three." "One, two, three." "They'll loop me later." "They'll dub in a great scream." "Put in Fay Wray from King Kong." "I mean, you know, screaming's not as easy as it looks." "Wow!" "Holy Smoke!" "Crash landing!" "I was 12 years old when I auditioned for this part." "And basically they had an open call in my elementary school." "All the kids that fit the description were called to meet this casting director." "Ke was truly remarkable and quite unique." "When we did the open call, he didn't show up to do the interview." "He brought his brother." "While he was trying to tell his brother what to do, we were looking at him, and finally said, "Who is this kid?" And asked him to do the audition." " You cheat." " Are you saying I cheated?" " Yes." " Can you prove it?" " Yes, I saw it." " You saw what?" "I saw you put your hand in." "You cheat, Dr Jones." "You take four cards." "You pay now." " It was a mistake." " I'm little, you cheat very big." "Ke was a real natural actor." "He believed what he did." "He invested emotionally in what he did." "I enjoyed working with him." "He was fun." "Learn to do it very easy." "It looks like you're working hard, but when you start, do it just..." "like that." "After they told me I got the part, we got on the plane and went to Sri Lanka, which sort of replaces India, and that's where the adventure begins." "It was set in India." "I went to India first." "We found the locations." "They were fairly well-spread." "The one I liked best was the Amber Palace in Jaipur that we were gonna use as the palace." "I then began the negotiations with the Indian government for permissión." "They have to vet the script." "They began to ask for all these changes in the script." "All scripts that are made by foreign film companies have to be submitted to the government for approval." "Indians are very sensitive about foreigners criticizing anything in their country." "I told George that I was getting an awful lot of trouble out of the Indian government about the script." "I'd done everything." "I discussed it with George." "We'd set it in a principality on the border of India, so it wasn't actually India, all this stuff." "In the end, they said, "You can't use the word 'Maharajah."'" "I said, "I've had enough of this."" "I told George, "I've found everything in Sri Lanka but the Maharajah's palace." ""How about some nice matte shots and we build the courtyard on the lot?" ""We're shooting the interior in the studio anyway." He agreed," "Steven agreed, and that's what we did." "We built the village in Sri Lanka, just outside of a small town called Kandy, in the area where David Lean shot The Bridge on the River Kwai." "I'm such a film fanatic that I wanted to go where he shot his great epic." " All right, here we go." " Quiet." "Here we go." "There was an actor who was Singhalese, and spoke Singhalese but didn't speak English, and his whole part had to be in English." "So what I had to do..." "I'd never done this before." "I had to speak the English, and he copied my English." "I would sit there and say to him, "Like monsoon,"" "and he would say, "Like monsoon."" "I actually did this." "I'd say, "It brings darkness,"" "and move my hand, and he said, "It brings darkness."" " What has happened here?" " The evil start in Pankot." "Then, like monsoon it moves darkness over all country." "That's how I got him to speak English." "The pauses were built in, so imagine my voice to understand why there are so many pauses." "I'm trying to get my words in for him to repeat." "And in a kinky way..." "And thank God for my editor, he made it all work." "Putting that scene together for Steven, I had to find the line that works, then cut away, then go back for the next line, maybe overlap a line." "You had to feed him every line and keep refeeding him." "It was very difficult to make that work." "Can you provide us with a guide to take us to Delhi?" "Yes, Sajnu will guide you." "Go on the elephants." "Indiana, I cannot go all the way to Delhi like this." "In Temple of Doom, we had elephants, and Sri Lanka had plenty of elephants." "They had an elephant orphanage where we got elephants, and they were trained and brought to us." "Good, that's the way to get on an elephant." "Riding elephants looks like fun, but in fact you have to sit right astride the shoulder muscles, the muscles behind the back there." "And you sit in a position where it kind of pulls you apart." "I think that was the beginning of the herniation in my back." "It's fun." "I didn't read the script very carefully." "I was probably too busy packing." "I didn't know that there were snakes." "Someone said, "At the end of the time in Sri Lanka, they're building this pond," ""and a snake's gonna come from a tree." ""It's gonna come behind you while you're freshening up in this pond."" "And I'm thinking, "I don't think I can do that."" "I may have articulated this to Frank Marshall." "And it was his idea to go to the set where the snakes were gonna be." "And we were gonna visit with the snakes." "And I went over and looked at it." "Looking at it, I get tears in my eyes, and I'm having a hard time breathing." "I could almost work myself up right now." "I went over and I put my hand on the snake, and I lost it." "She was shaking and was all white." "You could see that she had lost all her colour." "I said, "I'm not gonna put you through this." And I cut the scene." "She probably, years later, married me for that." "I was so relieved, and he said, "But... you have got to do the bugs."" "Like a kid, right? "You can't do this, but you have got to do..."" "I didn't know about the bugs, and I went, "The what?"" "To reward me, we had this fake snake she was going to have over her neck." "She said, "I wanna use the real snake."" "This is three weeks later." "We are shooting at Elstree." "And she let that one snake come down around her neck, go around here, and she said, "I said..."" "I said, cut it out!" "It was a living snake and she threw it." "That was her way of saying "thank you" for my cutting the other whole snake scene out." "Ooh, what big birds." "Those aren't big birds, sweetheart, they're giant vampire bats." "Bats?" "Those bats are called fruit bats." "They're really big, and they migrate." "At sunset they move, so every day they'll fly over." "This is like The Birds, when they're sitting around on the jungle gym." "Those bats are real." "They were there." "And we basically put them in." "And that line where Harrison says:" ""Those aren't birds, they're giant vampire bats."" "They're not vampire bats." "Vampire bats are really small." "I'm Chattar Lal, the Prime Minister to His Highness, the Maharajah of Pankot." "I had given up acting and left England, gone back to India, and then Attenborough pulled me out to do the Gandhi film." "I did it, and in 1982, Gandhi had come out." "People liked what I did in that." "I did My Beautiful Laundrette." "I had done that tiny role in Passage to India, which people remember." "A very sort of cool, laid-back lawyer, you know, like that, who's bored by everything, in Passage to India." "I think that was it." "And then Temple of Doom." "Still with the expressión of pain, roll towards us." " Once again?" " Once again." "If you think of those Republic serials from the '30s, they take themselves seriously, but there are these Abbott and Costello movies," "Laurel and Hardy and The Thin Man." "All these movies were upbeat, which is what we wanted in Raiders, and which I did in Star Wars." "There is this kind of goofy '30s humour going on through the whole thing." " Snake surprise." " What's the surprise?" "And I think that scene at the dinner table does sort of capture that spirit." "We did have a lot of fun discussing it, because it was:" ""Let's sit and think of the most horrible things,"" "but it's done very tongue in cheek." "I always wanted that in a movie." "Steve has a sense of humour that fits." "He loves practical jokes on people, and he did a lot of that with his sisters." "He used to throw spiders at them." "He still loves creepy-crawly things and have everybody go, "Oh, my God."" "I said, "What about a meal of the worst stuff" ""you would never imagine eating as long as you live?"" "Like eating eels and eating bugs and eating brains from monkeys." "I think by doing a dark versión of the Indiana Jones series, it gave permissión to poke some fun at ourselves and have a scene that was really gross-out comedy." "So we had rubber bugs with..." "Don't worry, inside the bugs is custard." "Inside the monkey brains was custard with raspberry sauce." "Do you have anything simple, like soup?" "Inside the soup was rubber eyes that had these little Stick-Ems." "Each eye stuck, and Kate was told that she had to really stir the pot to get the eyes to come unglued from the bottom." "It was hard to do." "Most of the takes, only one eye came up." " I step on something." " Yeah, there's something on the ground." "Knocking out the story with Gloria, Bill and George, we thought, "OK, what's worse than snakes?" ""What could we do in the follow-up of Raiders, a globally known movie," ""that won't let the audience down?"" "I don't know who it was, but somebody said, "Bugs."" "And so I said, "Yeah, great, we'll get millions of bugs."" "As long as I don't move I'm OK?" "Frozen in position." "Stop breathing." "It's a flying scorpion." "Yeah, great." "I became the bug-meister, and I found a guy in England who did bugs." "That one's on my neck." "Can we get that one off my neck?" "So we created this whole really disgusting bug hotel where we kept the bugs." "We had all sizes and varieties." "Kate Capshaw was not acting with the bugs." "They make me do the most awful things." "I have to play with bugs." " Do the bugs." " No." " Do the bugs." " No." "She promised me when she wouldn't do snakes, she'd do bugs." " I'll do the bugs." " Do the bugs." "I was asking people, "Is there a pill?" ""There must be something I can take to keep myself from freaking out."" "I don't want everyone to look at the movie and go, "She's on drugs."" "But I did take something that was like a relaxant." "I came to the set." "I was like, "Hi, Steven."" "He goes, "Hi." I go..." " He said, "We're gonna do the bugs."" " I go, "OK."" " He said, "Well, I'll stand with you."" " I went, "OK."" "He said, "We're gonna pour some bugs on top of you."" ""All right." "Where will they come from?"" ""We'll pour buckets of bugs from above you" ""and they are gonna come down onto you." "It'll be several buckets."" " "OK."" " Cut." "Cut." "And that was how I was the whole day." "Get Robert." "We don't have enough bugs for the scene." "We need 50,000..." "I can't do this." "I contributed the spike room concept from the serials" "I had seen growing up as a kid." "Rooms with spikes." "It was a flagrant homage, so to speak, to those old Republic serials." "And that was part of the story very early on." "So when it came time, I was excited to watch that set be constructed." "Elliot Scott was the production designer." "The spikes had to start coming down in advance of the ceiling." "So we synchronized that with electric hoists, and we just timed it, and luckily the electric hoists were at a perfect speed." "It's a diabolical scene." "It's a race against time." "And I remember that being one of the most enjoyable set pieces of that entire production for me to shoot and for Mike Kahn to cut." "We had the best time, especially since the coda at the end..." "After they come out, she leans over, and her butt hits another device, and the thing starts over." "That whole sequence is, for me as a director, the most successful of all the set pieces." "That is my favourite scene." "The most successful of all the set pieces." "That is my favourite scene." "The evil temple, it was huge." "When I walked on set, it looked like an opera hall." "It was one of the biggest sets that I had ever seen." "It was great." "Dougie did ingenious lighting." "He lit the pit with nine-lights with red gel on it to give the fire effect." "Thanks for the cross light, the hot light, the dark faces, the hot backlight." "Dougie, I think, did his most daring lighting on all those kind of darkly evil set pieces in Temple of Doom." "I was lucky enough, on the Indiana Jones trilogy, to have two great art directors, Norman Reynolds, on Raiders, and Elliot Scott on Temple of Doom, and also The Last Crusade." "The interesting thing was that all three films required large interiors." "We often had to use the largest stage in the studio." "Quite a problem to light, because they need an enormous amount of light." "And the great thing about both of those art directors was that they were very helpful." "I asked them if they could cut sections in the rocks to enable me to hide lights to illuminate the scene." "So it did enable me to get the quality of light that I particularly wanted in there." "Soon we will have all the five Sankara stones and the Thuggees will be all powerful." "Oh, that was 1984, and he's still more or less at the top of the villain heap." "He's India's number one villain, certainly its richest villain." "As he comes in, she's looking." "He had a good build." "I think he was a wrestler." "He didn't do weights, but he was a big guy, and he was bald for this." "Do you know he has never since had any hair?" "He shaved it like Yul Brynner ever since that film." "As I start bringing it, I start speaking with it." " Marker." " Set, and... action." "Harrison had a back injury." "During the shooting, Harrison's back herniated when he was fighting with the Thuggee inside his suite in the Pankot Palace." "The guy's got him around the neck, and Indy flips to knock the guy off." "That's where his back went." "Man, he let out a call for help at that point." "That was such a knife wound, like a stab right through his spinal cord." "Nothing that I tried, therapy or drugs or icing or anything else, seemed to help." "I woke up one morning by the side of the bed and was unable to move either forward or get back in the bed." "It took 45 minutes to get in bed." "I was in the States when it happened." "I would go back and forth, and I got this call." "Steven said, "Harrison is really in bad shape here." "I don't know what to do." ""He's working, but he's really in pain." ""I don't know how long this will last."" "I jumped on a plane, and got there the next morning." "Harrison was in terrible pain." "He would be on the set on a bed." "They would lift him, and he'd walk through it, then they'd get him on the bed." "I said, "We can't do this." ""If we have to shut the picture down, we will." ""Let's fly Harrison to Los Ángeles." ""Let's have this operation as soon as possible." And we did." "Quiet, please." "Harrison Ford has a message for everybody here." "I've got some good news and bad news." "The good news is, Harrison Ford is fine." "He feels great." "His enzyme papaya treatment worked fantastically well." "He's doing exercises and getting into shape." "The bad news is, he needs until August 8th to get back." "Harrison had this controversial papaya enzyme surgery performed" "[Skipped item nr. 412]" "I was left in London for three weeks with a double, stuntman Vic Armstrong." "So I shot the whole fight on the conveyor belt with Armstrong." "That was shot like I shot the Flying Wing in the first Raiders." "I just made it up." "Vic and I shot most of that scene, then when Harrison came back I just plugged in Harrison's close-ups." "It was a pretty remarkable recovery based on the fact that I was in good shape for the film to start with." "It helped a lot in my recovery." "Since I was little, I loved Jackie Chan movies." "I always watch them, and I'll practice kicking my poor little brother." "So it was fun doing it." " Concentrate on spinning, yeah?" " Yeah." "They did have a martial arts instructor on the set with me, which coached me for a few hours." "That's it." "Good one." "Other than that, I just went out there and did it." "And it was pretty much from watching all those Jackie Chan movies." "As we get into the mine car to make our escape, Ke had a stick, and they were made of balsa wood, which feels like air, like Styrofoam." "And he hit the big guy, and when he hit the big guy, it broke in half, and the other half hit me in the eye." "And the next morning when I woke up, I had what no one would believe." "It was like someone took black paint and did this to me." "So when I turned up to the set the next morning, I came in to block the scene, and the entire set had their black smudge, so we all had a black eye." "All I do is come up like this, grab like this, and then take a rubber rock and..." "Here's what Pat will do." "Pat will be stalking you like this." "I didn't do as many storyboards on Temple of Doom as with Raiders." "Part of that was because I was not secure with the story, and I always had problems with the darkness." "I thought..." "I needed to be more spontaneous and put more humour in where it needed humour." "All the set pieces, I storyboarded, but some of the fights," "I left it to our first impressions, seeing the set, getting ideas and just figuring it out." "Certain scenes..." "The mine-car chase was storyboarded, because most of that was done by ILM, shooting all the miniatures." " Let her go." "Let go of the brake!" " What?" "Elliot Scott had built this actual mine train, and it had..." "It had dips and little valleys." "It was the circumference of the sound stage." "It's a great reveal coming around the corner seeing 30 yards of track..." "And to make it look like it was different, we just kept changing the lighting." "One of the lucky things to happen was when we found our location in Sri Lanka, which was in a little village in the middle of the country named Kandy." "Right up the road from Kandy, a British company was building a dam, so there was all of this equipment and engineers in this town." "One of the things that we needed was a suspensión bridge." "We found this gorge on the other side of the dam, and these engineers designed this bridge for us." "They built the bridge for us, and it was a very lucky situation for us, because to bring people in to do that would've been cost-prohibitive." "Yeah, it's real scary." "You mean, we can cross here?" "Steven was really scared of the bridge, because it was a real suspensión bridge over..." "I guess it was a 150-feet clear fall before you dashed yourself to death on rocks and shallow water." " George." " It's very bouncy, Steve." " Very bouncy." " George, stop messing around!" "Boy, you get out there, those guys..." "I have a fear of heights, and when the bridge was finished," "I could go out 40 yards, but I couldn't go to the point of no return." "Couldn't do it." "Harrison said, "That's nothing," and he ran across." "First time he got on the bridge, he ran across it." "I couldn't believe he did that, but he's Indiana Jones." "Garrett Brown did Steadicam, and he's shaky." "He hates the bridge as much as I do." "He won't go out either." "I said, "You're smart." "We're not going out 40 yards."" "The bridge was the safest bridge you could imagine, but I just couldn't look down, so I kept my shots on either the first or last third and didn't go in the middle physically with the camera." "OK, that's the shot, Garrett." "Hang on, lady." "We going for a ride." "Oh, my God!" "The moment on the films that I think was the most crystallizing for all of us was the moment we cut the rope bridge on The Temple of Doom." "The bridge was strung on steel hoses across this canyon, and for the bridge to cut..." "George Gibbs, the effects guy on that, had the whole thing rigged with electrically detonated charges that had to cut four steel hoses that were through that bridge." "The thing was, we didn't have time to test it, so we just did it." "The bridge was rigged with dummies." "For the first time ever, we had created dummies that, as they fell, they kicked." "Nowadays, with CGI, they cheat." "We actually did it for real." "And the dummies in the film do kick as they fall." "We discussed who was going to make the dummies." "We were told there was somebody in America." "Then I never heard anything, and we were ready to go to Sri Lanka, so I finally said to Frank Marshall," "I said, "Frank, what's happening about our dummies?"" "He said, "You make them." "Why don't you make them." Just like that." "We had to find a way to mass-produce 14 mechanical dummies." "OK, anytime, George." "So we bought mannequins, and we used them to make moulds, and we just put crude mechanics in that worked off ordinary batteries." "George, that was great." "Just great." "We had a switch." "We had a wedge in the switch made of rubber." "And we tied a string from that to the bridge." "We set the dummies up so that when they fell, they pulled the wedges, and the dummies start flinging their arms and legs." "It was an exciting sequence." "Steven wanted a lot of cameras, so the second unit worked with him." "George Lucas was there, so we had another good man behind the camera." "Let's review the cameras." "We've got Arri with a 40." "We've got the Panastar going 48 frames a second, with maybe a 50." "We got Garrett with the Steadicam." "We'll shoot..." "That'll probably be a 75." "So that's one, two, three cameras." "One down there is four." "VistaVisión on the bridge is five." "Six will be on that side." "And we have two more." "Every camera we had is pointed at the bridge from every angle that we possibly might need." "Those are the moments where you stand." "I'm going, "What if three of the hoses goes and one doesn't?"" "Here we go." "The bridge had to fall in one shot, in one take, with eight cameras rolling on it, and have it work." "It's a terrifying moment when they go, "Three, two, one,"" "hit the button." "Does it work?" "Action." "And it went, and it was perfect." "Now those moments are incredible, because it's one go." "If we'd blown it, it'd have to have been an ILM fix, because we could never have re-rigged it." "It was impossible." "And then we'd go to England and continue shooting." "And... cut." "All the shots looking up was in London with only a small bridge." "We built a wall for the stunt work when the bridge was hanging and they were trying to get to the top." "That was shot on a flat perspective, shaped like a mountain cliff." "The third component was alligators." "Frank took a crew to Florida and shot the alligators." "It was shot on three continents." " Two down, one to go." " Right." "One to go to complete the trilogy." "We have one more of these to do." "Temple of Doom did as well as the first one, even though it got hit by reviews because it was so dark." "And people sort of complained that, you know, it wasn't for kids." "We did not get an R rating, we got a PG rating, but it created a controversy." "People talked about how inappropriate it was for younger children." "I felt there should be a rating between PG and R." "I called Jack Valenti, the head of the Motion Picture Association of America, and said, "Can there be an in-between rating?"" "And I actually said, "It could be PG-14 or PG-13."" "The next thing I heard, Jack Valenti was able to institute, for the first time in many decades, a brand-new rating." "I think we went darker than we wanted to, but you're in the middle of it, and it's what you do every moment, and you don't realize what has happened till you put it together." "You do a dark thing here, and you do another dark thing, put it together, and you realize, "It's darker than it is light." ""And this stuff is stronger than we thought of it as."" "I don't mind the film." "We wanted to make a different movie from Raiders." "We didn't wanna just do the same movie over again." "Because this was supposed to be different than the first one, it was supposed to be scary and more of a horror film, you know, we were really surprised." "And I think the reaction of the critics was somewhat harsh." "Here, hold this." "The other thing that they didn't like was the portrayal of the female." "Where's my gun?" " Where's my gun?" " I burnt my fingers and I cracked a nail!" "So again, here I am, you know, college-educated, master's degree, half of my doctorate, I'm a single mom." ""I am woman." "Hear me roar." I'm living the life of a feminist, and here I am being... not attacked, but I'm definitely being called on the carpet for creating this female that was, you know, stereotypically, not a feminist," "with her fingernails and her whining, complaining and screaming." "I couldn't have had more fun doing it." "I just said, "We're making an adventure movie." ""We're telling a tall tale."" "I was fairly pleased with the result." "It certainly was a darker story, but well worth it, for the originality of that film." "Compared to what expectations were for it, it was a bit more challenging than what people anticipated." " The guy takes a swing and misses." " Great." "He said, "Great."" "Of all the films, Temple of Doom is my least favourite." "I look back on Temple of Doom, and I say:" ""The greatest thing I got out of that movie" ""was I met Kate Capshaw, and we were married."" "And that was the reason it was fated that I make Temple of Doom." "And so even though Indiana Jones wound up getting the girl," "I really did." "Larry, Moe and Curly." " And he does that." " He goes like that." "The original story was a haunted-castle movie." "But Steven did Poltergeist." "He didn't want another haunted-castle movie." "So I said, "Holy Grail?" He said, "You brought that up last time." ""It isn't strong enough." I said, "Give me a chance." ""I'll take the haunted castle for the teaser and then do the Holy Grail."" "And we did that script, but it didn't turn out that well." "With Indiana Jones and the Last Crusade," "I wanted to flesh out Indy's relationship with his father." "I said, "We can do a good character study of who gave birth to this guy." ""Let's see who inspired him." "Let's do a father-son story."" "George said, "Is that conducive with the Grail search?"" "I said, "The search for the father is the search for the Grail."" "And if they're estranged by bitterness of experience, different ideologies or approaches to archaeology, the father is more professorial, more critical of Indy..." "So I built up this relationship between Indy and his dad." "Then I said, "Only one person can play Indy's father." "That's James Bond." ""The original and the greatest James Bond, Sean Connery."" "So we went for broke, went after Sean, and fortunate for us, Sean said he would do it." "I was absolutely delighted, and I had a lot of notes about the whole piece." "I mean, after all, if you're going to make a film with the father of Indy, you really have to have some kind of eccentricities and what have you." "At first it didn't bode too well, because George had a different idea of what it was about." "Probably a bit more Calvin-like and conservative in that way." "When we went to the meeting at Amblin with George and Steven, it went very well." "Well, I was a strong proponent of the idea of bringing Indiana Jones' father into the story and showing some new aspects of his character that we hadn't seen in the first two films." "The third film benefits greatly from Sean Connery's presence." "It elevated everybody's game." "I think it's by far the most sophisticated in many ways." "And it was maybe the most fun of all of them because it had great locations, great physical sequences." "It had a terrific leading lady, Alison Doody, with a real intriguing story to tell." "She had a relationship both with my father and with me, and the complications that ensued from that." "I had great fun." "Well, just another day at the office." "Mark." "Indy?" "I told Steven, "What if we started out with him as a boy?"" "Indiana?" "Indiana?" ""Let's see if this works out." ""I think it's an interesting idea." "It gives it more depth."" "So he said, "Well, OK, OK."" "That cross is an important artefact, it belongs in a museum." "I was interested in playing young Indy and kind of had some insight on Harrison's way about him, since I worked with him on Mosquito Coast." "And while doing Mosquito Coast, I kept a close eye on Harrison and I noticed some of his traits." "When he would turn around, I would mimic him and get a few laughs." " How about this?" " That's good." "I felt close to it." "I felt I could do it." "Give me a moment of humiliation, then go." "Go right." "Go fast." "That's lovely." "Well, I love River's work, especially when he was in Stand by Me." "Harrison was the one that suggested River." "He said, "The guy that looks like me at that age is River Phoenix."" "That's a Harrison idea." "He played Harrison's son in Mosquito Coast." "I met River, thought he was great, and cast him." "That's right." "Exactly." "That's good." "I like when it wraps around you." "Wrap it around you again." "I like that." "The movie picks young Indy up at a point in his life where he experiences things which are very significant and forever change him." "Forever." "He'll never be the same." "For instance..." "Oh, my God." "You see how he gets his phobia for snakes." "And how he learns how to use a whip." "And he cracks that whip, and in the process of doing so, he goes:" "And the very end cuts him, and there you have the scar." "We thought it would be fun to show how Indiana got the scar on his chin, because Harrison has a scar on his chin." "Oh, I had a car crash when I was about 22 years old, 23 years old." "I ran a car into a telephone pole." "The second one is the one that flies into the face." "You can see it pretty well." "River did it before." "In The Last Crusade," "I wanted to bring back the spirit of Raiders, have fun." "I wanted the cast that I'd missed in Temple, so Denholm Elliott came back, and bringing back Sallah, and bringing the spirit of what got us so pregnant with the series in 1980." " Know how long I've looked for that?" " All your life." "In a way, I was the father figure in the first one." "His real father has turned up." "My role in that direction has been superseded." "So Steven Spielberg has turned him into a figure of fun who's got three left feet when he's outside his own environment." "And he never stops doing the most terrible things at the wrong moment." "It's great fun." "A lot of comedy." "Does anyone understand a word I'm saying?" " My name is Walter Donovan." " I know you." "It was my friendship with my neighbour Robert Watts, executive producer, that pulled me into this whole genre, really." "He did the first Star Wars." "This small part came up in The Empire Strikes Back." "I went to meet them, and I got it." "So when Indiana Jones came along, there was the German sergeant for which I was suitable." "I got interviewed and didn't get it." "The next day, my agent said, "They want you for Walter Donovan."" "I said, "What?" "The main villain?" He said, "Yeah." "He's American."" "So I did this terrible phoney interview with a ghastly American accent." "And I got it." "I couldn't believe it." "It's one of the happiest experiences of my life." "By the time we got to the third film, we had a pretty well-honed team." "Most everyone had worked on the two previous films, and we were a pretty fast-working, efficient group, which was good, because it was the most complicated of the films." "Shot in Venice." "Well, Venice was another thing, because Venice, in summertime, is really crowded." "And I'd said, "I don't want to go near Venice in the tourist season."" "Guess what." "We shot there in August." "We got control of the Grand Canal from, like, 7 a.m. To 1 p.m. On one day." "There was the TV aerials on the top of the hotels on the other side." "This is the problem when you're shooting period." "I couldn't do anything." "Dougie said, "You won't see them." I thought, "Thank God."" "But we did it, and we managed." " Marcus Brody?" " That's right." " Dr Elsa Schneider." " How do you do?" "I was living in London, and I went for the audition thinking there was no way I'd get it, because I was 21 and Irish, not a 29-year-old Austrian." "Before that, I'd done TV." "I'd worked with Jonathan Pryce." "I'd done a Bond film, A View to a Kill, as Jenny Flex." "I was one of the first girls they saw." "I auditioned and met with Steven Spielberg and everybody, and then they asked me to come back to do a screen test." "I remember thinking, "Oh, God, will it be me?"" "And I really was lucky." "Action." "Don't look at me like that." "I had to acquire an Austrian accent, so I did a lot of work for that." "Before I knew it, I was shooting the first day, one of the last scenes." "So I arrived on set with Harrison Ford, Sean Connery, Denholm Elliott," "Steven Spielberg, George Lucas, and Alison Doody with an Austrian accent, filming the last scenes." "I was thrown in the deep end." "Action." "Oh, rats...!" "The rats was the follow-up to the bugs and to the snakes." "We're running out of things to do." "My job was, how do I find 10,000 rats?" "We had rat breeders, and we started breeding rats." "Because in order to have rats that aren't infected with some disease, you have to basically cultivate them from birth." "So our animal handlers gave birth to something like 2,000 living rats." "And they were everywhere." "The set was half-water, like an aqueduct." "We had rats walking the narrow lips of the aqueduct, coming out of holes, rats in poor Alison Doody's hair..." "I put bugs in Kate's hair, snakes around Karen's neck, and now rats in Alison's hair." "Do we have any shame?" "No, we don't." "Unfortunately, the female characters in Indy had to go through the most abuse of the creepy, crawly, disgusting scares." "That was a big bone of contention at the audition." "They asked whether I would have a problem with that scene." "I said, "Absolutely not."" "They're not sewer rats, they were clean rats, and there was no problem with them." "Rats are another thing that don't bother me." "When I was a young teenager, I was a nature counsellor and coincidentally did have, as pets, black hooded rats." "First two, and then pretty soon, many, many more as they multiplied, and so I was quite used to handling rats." "Actually, they have personalities, rats do." "Compared to snakes and insects." ""Man Bites Rat:" "Freak Accident."" "Well, I'm not gonna set a live rat on fire." "I have no shame, but I draw the line somewhere." "We had mechanical rats created just to set on fire." "So all those were mechanical rats that were immolated toward the end." "A lot of the movie was physical." "The running scenes, I mean..." "The whole piece in Venice." "I cannot tell you how scared I was." "I'm running in high heels, my shoes are giving way, they're very wet, and I'm jumping from wet shoes onto a wet boat." "And it was tricky." "I was driving this boat, and I had never driven one before." "The whole thing was:" ""Move into the scene, get out, let them fight,"" "and I kept banging the walls." "They were going, "It's fine, come back and go out,"" "and it was just chaotic." "But they knew what they were doing." "It was just mad for me and very physical, with Harrison fighting on the boat." "But I hate shooting in the water, even in tanks." "We were on Elstree in the pond, they call it the studio lake." "Not quite a lake." "Elliot Scott and George Gibbs built a tremendous propeller on the back of a ship." "It moved around and was made of metal, so it wasn't safe to be near it." "We used stunt doubles for some scenes." "The tank was 15 feet deep where the propeller was, but the rest was only 4 feet deep." "So we had the boat rigged onto a long track, then a big winch pulled the boat slowly into the propeller." "As it chopped up the boat, we had explosives in the back to make it look a bit more interesting." "We made the back of the Chris-Craft inboard motorboats longer, so the prop could have a lot of boat to eat and not harm the actors." "So the prop could have a lot of boat to eat and not harm the actors." "By shooting with a long lens..." "I think I shot with a 250 mm focal-length lens, it made you think the actors were closer to the props than they were." "Tell the Baron that Lord MacDonald and his assistant are here to view the tapestries." "Yeah, that's good." "That's very Scottish." " Very Scottish?" " Very." "Expert on Scottishness here now." ""Today's expert on Scottishness..."" "I had a Scottish terrier that looked like that." "And action." "Junior?" " Yes, sir." " It is you, Junior." "At first Sean resisted the idea of playing my father." "He's only 12 years older than I, and felt the character was too thinly drawn." "And he's a great student of history, so he brought ideas to George and Steven which were incorporated into his character." "He is less Yoda-like than originally thought of and quite the match for his son, in many ways, including the fact that the heroine has had a physical relationship with him before she meets me." "How did you know she was a Nazi?" "She talks in her sleep." "Sean made major contributions to his character and to the story." "Sean would come over to us and say:" ""Look, anything Indy does in the context of this story," ""I have done better."" "But we twisted it into something funny." "Make it humorous rather than serious." "I can't forget how wonderful it was." "Thank you." "It was rather wonderful." "One wanted to make not a very harmonious relationship when we discussed it." "Sleeping with the same woman was an anathema for George, but he eventually came round to it, because it's... possible and funny." "You taught me..." "We had dialogue sitting down, and Harrison says:" ""You never took notice of me when I was a kid."" "We've hardly spoken for 20 years!" "You left just when you were becoming interesting!" "Well, that's a terrific formula, and it makes for good comedic character and fun stuff that plays right." " I ought to tell you something." " Don't get sentimental now." "The floor's on fire." "See?" "Fire's like a wild animal." "Once it gets going, it takes a lot to stop." "Dad, move!" "With fire, you have to really be careful because it can easily get out of hand." "On the set, all the curtains, drapes and the furniture, everything is fireproofed." "We have what we call a "gas poker"." "It's a long bar, 3 or 6 feet long, with a long slot in it." "Yeah, Dave, no higher than that." "Fire comes out the gas poker, and when they cut, we turn all the gas off and the fire goes out." "Kids, don't try this at home." "It's best left to professionals." "Like us." "People who really know what they're doing." "The search for the Holy Grail was also the search for Henry's book." "You're going the wrong way." "We have to get to Berlin." " Brody's this way." " My diary's in Berlin." "That diary is like the Ark of the Covenant." "Keeps switching hands." "Good guys have it, then bad guys, then good guys get it back." "The movie becomes a chase movie." "When I cut the movie..." "We put it on the screen, we realized it did not have enough action that I thought the audience was expecting." "And cut." "We thought of a good scene with the motorcycle." "Did a chase." "Shot it in the Bay area." "Outside of where George lives." "Lucas Valley." "That was fun to shoot." "We had a lot of Nazis in the film." "All of those uniforms were genuine ones that I found in Eastern Europe somewhere." "Joanna Johnston worked with me on the two last Indiana pictures." "I'd give her research pictures, sketches and drawings, then she'd go out and find it all." "All you guys who do this, have your fingers crossed behind you." "We played one of the scenes in the zeppelin." "The passengers were in fur coats and hats." "It was supposed to be winter." "I played it without trousers." "Harrison said:" ""Play the scene without your trousers?"" "I said, "If I don't, I'll be stopping all the time because I sweat very easily."" "Well, he did the same." " I didn't know you could fly a plane." " Fly, yes land, no." "Michael Kahn, what he contributes when he edits the sequence that's put together with special effects, the designer, Steven's direction..." "Now, Michael, with his skill, will fine-tune it so that the audience's emotions are played out to the absolute edge." "I edit from feeling." "If something feels right, I go with it." "I show Steven." "Sometimes he says, "Why'd you do it?" I say, "It felt right."" "Because that's the biggest positive thing you could say is that it felt right." "If you try to edit cerebrally, from knowledge, you don't get the feeling of the scene." "It becomes mechanical." "This could be close." "And we always try to get beneath that, Steven and I." "When the plane goes into the tunnel, there's one moment where the pilot of the plane casually looks as he passes Indy and his father in the car." "There was so much humour to be mined in a father-son movie, especially when they haven't been getting along." "Indy's dad keeps topping Indy." "He uses the umbrella to make the birds, the seagulls, take flight and then get caught up in the props of the Messerschmitt coming around for a third strafing run." "That brings the airplane down." "Indy looks at his dad walking with the confidence of a man who still has an umbrella on a nice, sunny day." "Indy looks at him with so much love in his heart, with a new level of respect and admiration." "It made that movie worth shooting." "Sean, the minute a pigeon comes out, start running." " OK, and..." "Are cameras stopped?" " Yeah." "And roll." "And release the pigeons." "Hold it!" "Hold it!" "The seagulls, that was a problem, because seagulls aren't trainable." "We got a guy to try..." "He said, "You can't do anything with them."" "We put fake seagulls all over the beach." "OK, Sean..." "Action, Sean." "Where Sean comes and flaps the umbrella and they fly off, all the birds flushing out are white doves." "They're not seagulls at all, because they're trainable." "Why don't we just use a VistaVisión camera clean and matte them in later." "The tank chase, the Messerschmitts, the tunnel, all those things," "I wanted to find somewhere that was workable, good infrastructure." "Spain, of course, has it." "Almería in Spain, some moons ago, in the days of the spaghetti Westerns, was a huge filmmaking centre." "I did a Western down there in the late '60s." "So we found all the locations in Almería, for the tunnel where the plane crashes, the Messerschmitts, the stuff with the seagulls and the entire tank chase." "The original script had no tank sequence." "There was one scene with a tank." "George said, "I want a Worid War I tank in this movie." ""I don't know what to do with it." I wrote the scene in storyboards." "I wrote the horse and tank, then Indy jumps on the tank," "Sallah comes with the horse, he gets back on the horse, he transfers the father back." "That was done storyboarding." "And then this is just after the tank explodes." "Then a little further on is this." "We did this." "OK, this is where we make a hard turn left to right." "Left to right." "Originally, it was gonna be a small French Renault tank." "We looked at these different tanks, and I thought to myself, "I'm gonna build it for real."" "Made it look solid and heavy, weighed 28 tons." "It won't bounce like a toy." "We had two tanks, one which was built from aluminium." "It was pulled along by an open-back truck so we could put cameras on it." "The tracks were reproduced in polyurethane and never touched the floor." "Used for close-ups of Harrison's head near the track," "Sean Connery bouncing up and down, things like that." "Oh, that's all." "It's a very original sequence, the notion that George and Steven had about putting my father in the tank and me having to thus stop a tank and the physical opportunities that presented for stunts and also joke gags." "The tank scenes were scheduled for something like two and half days or something, and we went to about eight, or it might have even been longer, ten perhaps." "It didn't matter, because it was a lot of invention, with a lot of ideas, and the kind of comedy that comes out of the reality of it." "When we started shooting where Harrison Ford hangs on the gun, he did all that." "We never used a stuntman." "And we found this ridge of mud about 8 feet high with a pathway along the top." "We had prop men running along the top tipping clay and dirt on top of Harrison Ford as it was going along, to make it look more exciting." "Here we are." "Just after the big explosión, we turn left." "Got that?" "Don't keep blowing off." "I can't use the parts where it comes off his head." "The hat was always coming off." "But you pull it down as tight as you can and stop when it flies off and start all over again." "That should do it." "It was great to shoot in Jordan." "David Lean shot Lawrence of Arabia there." "We were guests of the palace in Aqaba." "We were guests of King Hussein and Queen Noor." "We actually stayed at the royal palace for five, six days." "Queen Noor, with her kids, drove me to location a couple days." "We couldn't, like on Temple of Doom, walk in Sir David's footsteps." "We were able to shoot at Petra, an amazing piece of architecture just cut right into the sandstone canyon walls." "Step back now, Dr Schneider." "Give Dr Jones some room." "He's going to recover the Grail for us." "This is great drama to tempt a director to say, "I'll make that movie."" "To prove whether or not you believe the myth of the Grail," "Donovan turns the gun onto Daddy and shoots him right in the stomach, and he falls over." "The healing power of the Grail is the only thing that can save him." "It's time to ask yourself what you believe." "Indy has a finite amount of time to discover the Grail, the Cup of Christ, and bring back the healing liquid to feed the father and to pour over the bullet hole." "It's redemption of the soul, redemption between a father and son." "That's when you know a story's working, when you can shoot one of the leading characters." "It was a little tricky." "We were nervous." "That sort of evolved in the script before we actually took that chance." "It seemed very logical to connect it and have the extra pressure of Sean Connery dying, and Indiana having to get the Grail in order to save him." "He's gotta make a jump to the "l", and he goes... and it works." "OK, the "l" holds." "What's the next word?" " "E" across..." " That's good." " He goes here to the "E", then..." " Jumps on the "H" there." "Let's make the "H" where the "F" is so it's longer." "Last Crusade, the whole movie, thematically, is about personal leaps of faith." "To trust your love for your father when experience has told you there's no relationship there." "One leap of faith after the other." "Of course, there's many betrayals on that broken highway." "One of the greatest leaps of faith was the one where" "Indy has to step into nothingness and steps onto a forced perspective, onto an actual wall made of rocks that is painted to look like what's below." "It looks like there's nothing there." "He must make a leap of faith, take a final step until he hits a rock bridge that spans the abyss." "That was one of the most interesting things ILM did." " Which one is it?" " You must choose." "But choose wisely." "For as the true Grail will bring you life, the false Grail will take it from you." "The actor Robert Eddison, who played the knight, that extraordinary, monk-like figure just guarding this one great secret, he was such a wonderful actor, Robert." "Fantastic voice too." "And he came in, and I thought he lent a tremendous gravitas to that part." "At the same time, he took that wonderful line, "He chose poorly,"" "in such a dry way, that it was really funny." "When I saw it, it got an absolute belly laugh." "He chose poorly." "When Elsa takes the Grail and she tries to flee, when she crosses the seal, she's thrown off by an upheaval." "She drops the Grail." "That's when the crack forms." "On the different parts of the set, we had about five gimbals." "That is when the ground can sort of rock and roll." "They're all hydraulically controlled to give the appearance of an earthquake." "And then we had a gap that appeared in the earthquake, which Alison Doody falls down when she's trying to get the golden chalice." "The great moment for me is the moment where, first, Indy is holding Elsa, and Indy says to Elsa, "Give up the Grail." ""Honey, I can't hold you." "Give it up."" "Elsa keeps trying to reach greedily for the Grail." "The glove comes off, and Indy can't save her, and she falls to her death." "Indy almost slips over, the father grabs him." "Now the roles are reversed." "Here's father holding son, and Indy has the same kind of moment." "He's being attracted to the Grail." "The greed that Elsa felt suddenly suffuses through Indy." "And all through the movie, you'll recall, Dad only calls him, you know, "Junior"." "He tortures him by calling him Junior, but for the first time, he says "Indiana"." "Indiana?" "Indiana..." "Let it go." "That stops Indy, and Indy takes his other hand, and he's pulled to safety." "That was the bonding moment between father and son." "What I like most is that in the end, the real pleasure was in finding each other and throwing the Grail away and realizing that, you know..." "Indiana being with his father was more important than any other stuff." "It was a great ending." "In the end, we always have to get rid of the object." "This was the perfect way of getting rid of the object and telling the story." "So Last Crusade doesn't end with a truck chase or a climactic upheaval of special effects and ghosts, but it ends in the most personal way, more personal than the previous Raiders movies, where Indy and the father have a meeting of the minds and the hearts." "Then he's rescued, and we go to our little epilogue and go save Marcus Brody, whose horse runs away." "Indy, Henry, follow me!" "I know the way!" "Cut, cut." " That's getting there." " That's pretty good." "We got the horse to move." "I like movies that are about craft and collaboration." "Films that rely on the best of all departments." "The best plasterers, the best electricians, the best painters, the best special-effects experts, the best property masters." "When it comes together, and you don't do it in the computer, but when you're having to rely on all the different departments, like old Hollywood and old England used to do, to realize the director, the producer, the writer's and the actor's visión," "that's good, old-fashioned moviemaking." "That was really great." "We had a talented group of people." "The whole crew was first-rate." "In a lot of cases, we've worked together before, so it's a fun reunion." "We like each other." "We get along really well." "Everybody's extremely professional and talented." "That's always exciting." "It's a thrill to see Harrison in that outfit." "He becomes that character." "You walk on a set, there he is." "It's such an icon." "Like, "Oh, wow." It's like no time has passed." "This is the way I make my living." "The audience likes a character who is both an academic and an adventurer." "What's probably the most important contribution the character has made, that is part of the character, is his tenacity, his unwillingness to give up, his zeal for the hunt and the pleasure that he takes in going amazing places," "seeing bizarre and amazing things and solving the mysteries that lay before him." "I got a chance to work at the beginning of Skywalker Sound with Ben Burtt." "I remember being so impressed by something Ben did in Raiders." "The Hovitos are near." "The poison is still fresh." "Three days." "All of a sudden, there is a strange creature, almost a Star Wars creature." "I don't know where he got it." "And it made that entire jungle scene so frigging alien." "When I first heard that," "I said, "This is gonna be a great adventure in sound."" "I had a long conversation with Steve over the phone about the nature of the film." "You'll come here for the chair..." "I said, "Does the hero's hat stay on all the time?"" "He said, "Yes."" "Then I understood." "If the hat never comes off, even in a fight, then we're in that realm of the Saturday-afternoon adventure movie." "We knew that Indy had a whip." "We could've pulled the whip sounds from a library, there's been whips recorded in the past, but we wanted to do it ourselves." "Actually, Gary Summers, who was recording effects with me, spent a day on the set, and the result of that was that Harrison had some time and came over to our editing room." "Gary and Harrison stood in the parking lot." "Harrison showed Gary how to crack the whip." "It was too noisy to record, so later I took Gary Summers out to quiet locations and Gary did a lot of cracking of the whip." "We did it in different environments." "In the trees, in a field." "We built up a library of whip cracks, which is the basis for Indy's sound." "The gunshot can just be a pop or a click because it's just a sudden, very brief Ioud noise, like a handclap." "The actual Indiana Jones gunshot was a 30-30 Winchester rifle that was recorded." "We probably recorded a few hundred different guns in different locations." "We pulled the best from that." "The gunshot wasn't processed or really manufactured in any way in the studio." "It was exactly as it is in the live recording we did." "The giant boulder was a tricky sound to invent because it has weight, but it also accelerates and moves fast." "Finding something that big to move fast was hard." "We had several sessions where we tried to stage a boulder sound." "They were not successful." "But, on one of the last days, we were coming back from the location and we were on a hill in this little Honda Civic station wagon on a gravel road on this mountain." "We were coasting downhill without the motor running." "We realized the car sounded really interesting." ""We have a sound."" "So I put a microphone near the back tire of the station wagon." "And we just coasted down this road, and as the car accelerated, it gave a sense of speed, and that ended up being the basis for the giant boulder." "The body blows and punches was another area that we worked hard and tried to come up with a new sound." "Although many of the sounds were based on older films, the classic sound effects, but I wanted to remake them and do them in stereo and to exaggerate them because everything about this was somewhat of a comic book." "We tried a lot of experiments." "We beat on pieces of meat." "Broke chicken bones." "We had the most success with a pile of leather jackets and a few baseball gloves and making a loose pile of this material and whacking it with a baseball bat." "And out of that came the whole library of hits in the Indiana Jones films." "A lot of elements went into the Well of the Souls." "Most principally, the snakes." "We started out recording some real snakes, but snakes don't vocalize much." "And part of the element of the snakes is their movement over each other." "We've had a lot of luck over the years with cheese casserole." "When it's in the dish and you run your fingers through it, it gives a real oily, mushy sound." "If you record that and build it up in several layers, you can make a nice sense of slimy snakes moving around the room." "That was augmented with some wet sponges being moved around on the rubber place, on top of the skateboard where you stand." "The most supernatural part was the end sequence where they open the Ark and the spirits destroy everyone." "A lot went into that." "There's nothing to record on the set." "It's gonna be manufactured later." "One, two, three, four." "The sequence begins with the lid being slid off the Ark." "I experimented with different things, but I found that sliding the toilet tank cover was perfectly sufficient." "If I recorded that in an echoey bathroom, it fit, although in an undignified way, the character of the Ark." "The Ark itself, the humming, the deep, undulating tones that went with it, were generated by a synthesizer." "I rarely use a synthesizer, but this was one case where I found the kind of sound I wanted." "I had an old ARP 2600, which is what I used to do R2-D2." "By reprogramming it, I produced wavering, low-frequency tones, which became the basic sound." "Once the Ark is opened and the spirits start flowing around, we took animal screams and some human vocalizations as well as dolphin cries we recorded, and sea lions." "I ran those through a vocoder, which keeps a sense of the original sound but adds a musical tone that follows the same pattern as the voice." "So it gave it an otherworldly quality." "All the sparking and beams were from recordings I made of the old gear used in the Frankenstein movies." "It was a fabulous variety of electronic devices and lightning generators, and out of that came all the sounds for the beams and things." "Each film was a challenge because they covered so much ground." "Temple of Doom had us running around the world." "So we knew we needed to just record a lot of new things." "They did go out and record while on location in Sri Lanka." "Some native animals and birds." "That gave us a good start." "The sound effects for the mine-car chase came from many sources." "I started, as I usually do, by analysing the actual sound." ""Can we record mine cars somewhere?" That led to the possibility that a roller coaster would be a good thing to record." "After a while, we set up an interesting recording event at Disneyland." "Gary and I were allowed to go at night when no one was there and ride the different roller coaster rides and record them without any music turned on or anything." "A very strange night was spent there gathering very high-speed rolling cars." "They would screech around corners." "They would clatter as they went up and down." "That was the beginning of a lot of the mine-car chase effects." "We had to augment it with things, but principally the sounds done at Disneyland was what gave us a variety of clangs and echoey rattling sounds which, when pieced together, gave us a sense of the mine-car chase." "And the mine-car chase was a unique opportunity for us to do a high-energy chase and sustain it with, principally, sound effects." "It exhausted everyone on the whole crew, myself included." "But along comes Last Crusade, and things are amplified even more." "We have a motorcycle chase, which goes to an airplane chase, which goes to a horse and tank chase, and kind of all in the same breath." "Oh, rats...!" "We always have sequences which involve dangerous creatures surrounding us." "In Crusade, we're surrounded by rats." "Movie animals don't make noise on the set." "So I needed to make up sounds for what would be thousands of rats." "Oddly enough, I used chickens." "I had a group of irritated chickens all clucking at once, and I put the sound on a keyboard and played the highest notes, making the chickens go up in pitch." "And it made a funny, chirpy..." "It sounded like rats to me, and everybody else believed it." "But those rats were really chickens." "In the climax, not only do we have the whole temple moving and mechanisms turning, but we have an earthquake." "A lot of those first sounds you hear of the floor splitting are really just rubbing an inflated balloon, with your..." "Getting that squawking sound." "Also, a lot of the stones falling and avalanche effects there came about because we spent a day gathering stones, boulders and rocks around Skywalker Ranch and hauled them up to the top of a big rock outcropping and shoved them off the cliff and let them pour down the front of the stone." "We recorded that, and it has been useful to have that sound for all of our earthquakes." "My association with Indiana Jones has been a pleasant one for me, creatively and for my career." "I shared an Oscar on Raiders with Richard Anderson for sound effects editing." "Last Crusade, which capped the trilogy for me," "I got another Oscar with Richard Hymns." "That was, once again, a vote of confidence for our work." "I look back on those as obviously high points in terms of that part of my career." "I think I have to do it once more." "It takes two minutes..." "We'll play it and I'll find out what's wrong." "I worked with John Williams on Star Wars." "Steven recommended him from Jaws." "It was great." "That's the most fun part of making a movie for me because you just sit back and listen." "With John, it's fantastic." "I've been fortunate to work with both Lucas and Spielberg because in the case of both of them, they are interested in music and use it in a very theatrical way that allows the music to project itself." "It allows me to write in the thematic way that wouldn't be possible in all films." " The first hitch is too heavy." " Let me just... react to what we've heard..." "John, he'd actually written two Raiders themes." "He had written:" "He played that for me." "Which I freaked out over." "I loved it." "Then he said, "Here's another possible Raiders main theme."" "And he played:" "And so he had had two choices." "My input was, "Can't you use both?" And he did." "He made the latter the bridge and the former the main theme." "That's the perfect example of the collaboration we've done." "Interesting about that:" "Very simple little sequence of notes, but I spend more time on those little bits of musical grammar to get them just right so they seem inevitable, like they've always been there." "I'll go through many permutations with a six-note motif like that." "One note down, one note up." "And spend a lot of time on simplicities, which are the hardest things to capture for anybody." "Good morning." "The first piece is 13-4, 14-1." "When I wrote the music for Raiders," "I knew it was the first in the series." "I didn't know where this love story would go, if anywhere." "I thought there was a spark between the two of them and a real potential love story was there." "But I thought if the music were lyrical and emotional and warm, and the orchestra could sing this love theme even without love scenes, that it might be permissible to interject that kind of musical emotion in their relationship." "These films do present a wide range of musical challenges." "We go to great lengths to frighten the audience and use sometimes advanced orchestral techniques, atonal music, which would be more akin to contemporary concert music," "Bartók and others." "People, if they heard the music without the film, might be shocked." "But for me and the orchestra, it's an exciting challenge, to be still on the right pace with what we see, hear and feel." "So those things are terrific fun to do." "Fun in this sense also." "I mean, we have the Nazis, and the orchestra hits these 1940s dramatic chords, seventh degree of the scale on the bottom, which is like an old signal of some evil, militaristic doer." "Good evening, Fräulein." "We unabashedly did that for the fun of it." "I mean, for the camp fun of it." "It's admissible, it seems, in the style of a picture like this." "The role of the orchestra at the end of Raiders of the Lost Ark is complicated because the music has to lure us into something that will say:" ""This will be a beautiful experience."" "Then torture it and turn it around with the sound effects into something that could be quite terrifying." "It's something that we would do in opera." "It's part of the grammar and part of the technique of a composer and an orchestrator's tools to manipulate sound, to lure us into one place and then deliver something else." "The end of Raiders of the Lost Ark, a good example of that kind of sonic transformation." "It's beautiful!" "In the case of the three Indiana Jones films, the experience for me was like the experience of doing the Star Wars series." "One seemed to be the natural continuation of the other." "Like riding a bike." "I didn't have to relearn." "I began to work, and within an hour or two," "I was back into the rhythm and into the spirit of the piece somehow." "Nice try, Lao Che." "Goodbye, Dr Jones." "Also, the hero's theme is common to all three films, so the starting point is always enhanced by having the given musical subject from an earlier film." "Temple of Doom was exactly what George wanted." "It was Indiana Jones, you know, goes to hell and then returns to fight and love another day." "And Johnny saw it, and I think he reacted appropriately." "Dark and strange with the dark, male chorus, with all the stuff happening inside the actual Temple of Doom itself." "John did an amazing score and brought the movie up in my eyes." "I love the kind of trek score where the elephants run across Sri Lanka." "I thought that was some of the most beautiful trek music I'd ever heard." "When John was to write the music for Last Crusade, he said, "This is a father-son story, so I'll write music" ""that might be more appropriate for a less action-oriented picture" ""about a father and son." He did very intimate themes for the Indy-father relationship." "Yeah, perfect time for that." "I thought that could be earlier, but that's fine." " You like that?" " It's wonderful." "It's a reinstatement of his theme." "It takes attention away from the hands." "It's all right." "That's all right." "Yeah." "This is my favourite of all three Raiders." " Me too." " Easily my favourite of all three." "The one, I think, with the deepest score, and it's the most evocative of relationship." "Good." "Good." "Thirty-six." "Winds, little tenuto tongue every eighth note." "I was talking the other day about the beginning of The Last Crusade, where we have Indiana Jones as a teenager." "And I think that sequence is four minutes, because I've looked at it musically, and it's got, in that four minutes, I counted 55 musical sync points." "What strikes me about that sequence is that we're moving all the time:" "On the horse, in the car, on the train." "This action is taking place as we're travelling." "All the result of a writer's imagination." ""Well, we'll have a train with snakes." You know?" "And that's the whole spirit of all those films." "But the score is close to being two hours." "The orchestra's playing pretty much all the time, which is wonderful." "You have an opportunity where a film will hold that much music, not drown in the process, you know." "I haven't ever measured it out, but I know it's quite a few notes." " Let's play it against the dialogue." " It'll be great." "It'll be great there, yeah." "It's very sparse anyway." "It's great for him." "In this scene, when they come out of the temple..." "I hear that there will be an Indiana Jones 4." "I hope so." "It would be wonderful, because I could take another romp through the imaginations of George, Steven and their writers." "But for me, the experience of doing the trilogy of Indiana Jones has been an important one in the overall stretch of what I've done in film." "It was a joyous experience." "It always is with George and Steven." "The fact that the music..." "That I can still play it in concerts and that other people still will do that is gratifying to me, that people remember it on its musical leg, so to speak, which is, I have to say," "the result of the happy coincidence that people remember these films." "They've been an important experience for me." "I look forward very much to revisiting all of this in Indiana Jones 4." "It'll be a very exciting thing to do and a very pleasurable one, certainly." "OK." "All right." "All right, this is a bolt of electricity that goes through the front of your body and comes shooting out the back, knocking most of your insides into the air." "It's a big, bloody effect, but with lightning instead of a bullet." "I'd just finished Star Wars and Empire, so ILM had a lot of experience and was together in terms of doing special effects, so we had this great facility at our disposal on Indiana Jones to create a great environment and make the thing very exciting." "It wasn't as special effects heavy as the Star Wars films, but special effects were just as important in developing the milieu and making it very suspenseful." "Designing how the special effects would work and how they'd be laid down in order to come out with the finished product was done in combination between Steven, George and everybody at ILM, led by Richard Edlund, our special effects supervisor." "We've been doing experimental set work, miniature." " I don't know if they brought it." " No." "It's not successful yet." "But they can make it work." "Working with the mechanical effects with Kit West, it's a lot of collaboration here between several departments to get the shot." "The whole climactic sequence in the movie was very special effects oriented." "Steven had this very visual idea about these tendrils and what would happen when they would hit a body." "Yeah, but moving too much." "You wanna do that, but in the same place." "We go on the count." "Ready?" "One, two, three." "We shot the long shots, and then all the close-ups you see of them being wrapped by ghosts and things like that were shot at ILM." "When the beautiful ángel comes up towards camera, that was shot with this model made up with lots of diffusión and material on the lens to make her look kind of fuzzy without being out of focus." "We shot in a water tank to make the veil float." "The ghosts were real, little miniature ghosts with cloth and everything, but they shot them underwater in slow motion." "So they'd put them on sticks and fly them in this windowed pool of water against a black background." "That gave them this kind of surreal, floaty feel." "That was one of the best effects, besides the heads blowing up, which was relatively more traditional." "Toht, which is the most spectacular, because he's the Nazi you love to hate." "Here's his head, as a matter of fact." "This is what's left." "This skull, we sculpted the muscles and the different layers of what would actually be in the face out of this dental algin, the stuff the dentist uses to take moulds of your teeth." "It was sculpted to look exactly like Toht." "Using the heat lamp to put heat on this alginate, it naturally melts." "By shooting it one frame a second, it appears to melt." "You don't see all the drops, because they fall off, and they're a blur." "Then Wolf's face basically was hollow, and you just suck the air out of it." "And the exploding head was covered by a pillar of fire because the ratings board gave us an R based on it." "So we had to negotiate for a PG rating by putting a large column of flame double exposed in front of the graphicness of the head coming apart." "On Raiders of the Lost Ark, I worked only at the beginning doing tests for the ghost sequence." "But I did end up doing a little bit part in the movie." "On Temple of Doom, I was the effects supervisor at ILM." "We had a lot of sequences." "We had the mine chase through the tunnels." "There was a full-size tunnel set, so they could get quite a few shots." "But when the camera pulled back, we came in with our model work." "We had some script pages that described what Steven had in mind." "Steven invited us to come up with gags, things that could happen." "For instance, going over the lava flow and the ski jump." "But as soon as we got storyboard pages from Steven, we built little sets using butcher paper and railroad cars and took a video camera and shot a versión of the sequence using this camera and funky set to see if it would play." "On the basis of that, Steven eliminated certain gags that he didn't think were necessarily gonna pay off, and accept other ones." "The budget was fairly tight." "We didn't have unlimited money." "So the construction cost to build our miniature sets was based on how big the camera was." "What they did is, they rigged a regular camera, a still camera with a motor on it." "And taking the back of the Nikon camera that pulls the film tight and put a movie shuttle in there and run movie film through it." "This camera was on a little mine car just like the other one." "One would follow after the other." "It worked great." "That meant, because the camera was smaller, our mine tunnels only need to be a foot across." "We could make it out of aluminium foil." "We bought a lot of aluminium foil, crumpled it to look like a tunnel, painted it to look like rock, and for $1.98 we got some great sets." "And to then move the camera at a fast speed, we had to shoot at a slow speed." "The camera was shooting one frame a second." "It was going slowly." "That was fine for the views looking ahead and back, but there were scenes when you saw the characters." "Those characters were animated using stop-motion animation." "The scene gets built up." "When you see it together, it looked like continuous motion of a mine car." "They get lowered into the pit." "We built a half-size model of Kate Capshaw and of the slave, then put them in a half-size model of the cage and then had that actually lowered into our pretend lava." "And cut." "OK, let's do another." "Let's try one right away." "There were a lot of matte paintings." "There's one at the end when the heroes are walking, and you see a beautiful city." "The heroes are actually doubles put into the painting." "When the water suddenly starts pouring out, some of that is a large miniature, then painting off in the distance." "That was an elaborate set." "We had a tank 20 feet in the air full of probably 5,000 gallons of water." "The cliff face we made and had the water come from behind, pouring out of this thing and shot it at high speed, so it looked bigger." "Action on the plane." "Cut, cut, cut." "The Last Crusade was a jump in responsibility for me because I was the supervisor for the whole film, and I was pretty green." "I was just a kid." "It was a challenge." "Can we just pull the plane through by itself without the fire?" "In those days, there was no digital fire, so if you had a sequence that involved fire, you were limited to shooting it as a miniature set." "And that's indeed what we did." "We had a miniature plane and miniature tunnels." "That was a huge engineering feat to figure out how to build the equipment to get the camera and plane through the tunnel and get all the timing correct so that it exploded at the right place." "We have to sell the idea that he's actually walked off the cliff." "Let's extend the cliff to here." "That was the most challenging concept in the movie, is how to tell that story that there's a bridge there, but you can't see it." "The buck just got thrown to us, and big smiles on everybody's faces because nobody knew how to do it." "And it was a combination of matte-painting type of talent on a miniature set." "So we built the set with the cliffs." "We built a physical bridge that spanned the gap." "And then Paul Huston would look through the camera and paint the bridge so it blended into the background and was invisible." "Paul's ability to create photo-real paintings was really exceptional." "That was one of the most interesting things ILM did." "When it lines up, there's nothing there." "When you move the camera..." "We show the audience in one shot that there was always a rock bridge to be crossed." "What are we doing?" "We're doing the skin falling off?" "Effectively, yes." "The assignment was to take a healthy man and turn him into dust in one shot." "The way that we did that was to create three different puppets in different stages of decay, knowing that we could morph the three puppets together." "Then, for the final skin decay, pasted these little pieces of shrinkable plastic onto the puppet and shoot in time-lapse photography and blow hot air at it." "So that became the foundation of all the skin decaying and falling off and looking horrific." "I think all the work we did then was before computers, so you never had a chance to really fix the last two or three little things that didn't work because you were trying to get anything that was close to working." "One of the reasons the visual effects in this trilogy hold up is that the trilogy itself holds up." "It's not a time-dependent story." "It's an adventure that captures imaginations no matter what generation you're from." "The visual effects fit into the overall design and the overall idea of those stories." "A lot of Indiana Jones was really done with live-action-set special effects." "Explosions and things that demanded very good and creative stunt work and special effects, in terms of live-action effects." "We were able to take the level of stunt work and move it to a higher level than we had seen before in these kinds of films." "Look at each other." " Cut." "Great, great." "OK." " OK." "Well done." "We've gone through that, and now the rear car comes up and jockeys into position so he can get into a firing position." "Indy looks right..." "I've made a number of movies that required expertise that I don't have in choreographing stunts, to keep it safe, honest, realistic." "I've worked with the best stuntmen in the business." "For Raiders, I had three of the greatest stuntmen in history." "I had Glenn Randall." "Throws him through..." "You come right..." "Boom." "Boom." " And Terry Leonard." " Only grab me if I get in trouble." "If I gotta worry about grabbing you..." "And I had Vic Armstrong, who did most of Harrison's doubling because he looked so much like Harrison." "He has to physically put her in the cart, then he whips these two guys back, and then he crack-whips the horse." "Steven and George both have a vivid imagination for these things, and it often is left to the arranger to figure out how to make it work." "And sometimes..." "A little bit left over for me to wrestle with." "First move, boom, block, boom." "Boom." "In." "Nope, that's the move." "OK, when you..." "Harrison is fantastic to work with." "He's very tough." "He wants to do everything himself." "You gotta hold him back." "He's talented and fit enough to do it all, but he is the star of the movie, and you can't risk anything happening to him." "I had total confidence in the stunt guys, and they thought through what was safe and what was not, both for themselves and me." "So it was just another day at the office for me." "The opening sequence of Raiders was broken up into studio locations." "So they'd done most of the studio stuff with a guy doubling Harrison called Martin Grace, friend of mine." "I pick up the chase in Hawaii." "The ball rolls and bursts out in the jungle, and I dive out as the ball goes past." "So it's basically shot by shot by shot, just broken down, working closely with Kit West, special effects guy." "But it was all very controlled, but again, it's the visión of Steven that made it look so real, so realistic." "So I'm aiming for your head?" "That's for sure?" "Every element one wants to get into a movie was captured in that movie, which made it tough, years later, when you try to set up movies, arrange and coordinate sequences." "People go, "No, they did it in Raiders."" "That drove us mad." "Everything was thrown into it." "One of the images that sent me off on this archaeologist looking for paranormal things was a shot that was repeated several times in different Republic serials of a guy on a horse jumping onto a truck." "So we did that exact same stunt and built a whole sequence off of it." "And the stunt under the truck is a timeworn stunt from action-adventure serials from the '30s, and it happened a lot in old Westerns." "Terry Leonard, one of the stunt guys, had just tried this stunt on The Legend of Lone Ranger." "He said, "I tried this stunt." "I was copying Yakima Canutt," ""in Stagecoach, where he went under the horses and wagon."" "And in that particular situation, it didn't turn out too well." "The swing team pulled me under the wheelers, and one of the wheelers broke my handhold loose and shot me out the side of the coach." "Then the front wheel and the right rear wheel ran over the back of my legs." "Needless to say, if I had come out of there headfirst, it would've been a different story." "And Terry said, "This has been eating away at me for years." ""Can you add a stunt where I go under the truck and come back out the side?"" "So that stunt was Terry's idea." "So I said, "Glenn, you drive the truck." I'd trust my life with him." "And we didn't have room under the back." "The gearbox..." "Not literally the gearbox, but what they call the "pumpkin"." "If I laid under that truck, it would hit me in the chin." "So they had a pick-and-shovel detail digging this trench so it would go right over my head." "And I had clearance underneath the truck." "Slow down." "Now back off." "A number of us had our hand in the pie on Raiders." "I got the one that everybody thought was the most dangerous." "I said, "You haven't seen anything till you've seen that coach deal."" "That hurt you?" "We could cheat and do it down here low and actually drop him." "My participation in Temple of Doom is greater than Raiders, because I was on it from prep on through." "But, again, it was coming up with gags that were original and finding new ways of doing them, because we did everything in Raiders." "We gotta do a whole movie, not just one sequence." "Most of it was written, but there's fine-tuning that goes on." "I'd rather see a couple of blows on him that don't dent him, and just leave me there... wondering what to do next." "The first stunt we did was coming out of the Obi-Wan Kenobi club, crashing through the canopies and into the car." "We used a piece of equipment called a "fan descender", which I invented, which controlled the descent of myself and Wendy, my wife." "My wife, Wendy Leach, doubled for all the girls," "Kate Capshaw and everybody, all through the Indiana Jones series." "Good." "Thank you, Wendy." "Come over here, 2 inches." "I have waited six weeks for this." "This is my own sweat that I've been saving for weeks." "The problem with cliffhanging serials is that every time you do one you have to do something bigger and better in the next." "So finally when we got to the third film, Steven came up with this tank duel." "There was a lot of elements." "It was a very long sequence." "And each little piece involves a lot of very intense stunt work that we had to pull off in order to make it work." "On The Last Crusade, as on The Temple of Doom," "I came in with weeks of prep, and we did all that tank chase." "And the tank wouldn't go more than 10, 12 miles an hour, so everything's undercranked to make it faster." "Of course, you've got a galloping horse, so it was difficult to ride and look like you're going fast but not go fast." "Otherwise, you just pulled away from the tank too quickly." "The horse is doing 25 miles an hour, and the tank is doing 12." "Steven liked Pat Roach, who is a big stunt guy, huge guy, and so we used him a couple of times in Raiders of the Lost Ark." "Pat Roach became a tradition in the Indiana Jones movies, to play multiple parts inside every picture." "His part in Last Crusade was cut down a bit, but we used him in all three films." "He was a running gag in the films." "It'd be funny if the horn came up right there." "When I think of stunts, I think of Indiana Jones before anything." "I've had such good experiences working with stunt people and..." "Indy certainly has taken advantage of the best of that world." "We're not in this business for fame." "We're journeymen." "We carry a bag, and I go from this show to that show, do the best job you can, and hopefully, you get involved with a classic piece." "They really, really were enjoyable times, and everybody still has great affection for each other, and we all feel we've been part of something really special in film history." "Duck!" "Rats." "Oh, that was great, but my heart stopped."