"TERRYGILLIAM IS ONE OF THOSE PEOPLE" "THAT EVERYBODY WANTS TO PLEASE." "BECAUSE HE HAS SUCH A GREAT SENSE OF HUMOR" "AND HE CARES SO MUCH ABOUT HIS WORK" "THAT IT MAKES EVERYONE ELSE CARE," "I MEAN, TERRY REALLY IS A TRUE ARTIST, IN EVERY WAY." "HE LIVES AND BREATHES HIS WORK" "AND ENJOYS THE HELL OUT OF IT." "[ MUSIC ]" "KNIGHTS,I BIDYOU WELCOME TO YOUR NEW HOME!" "LET US RIDE TO CAMELOT!" "[ MUSIC ]" "[ SINGING ]" "?" "WE''RE KNIGHTS OF THE ROUND TABLE ?" "?" "WE DANCE WHEN E''ER WE''RE ABLE ?" "?" "WE DO ROUTINES AND CHORUS SCENES ?" "?" "WITH FOOTWORK IMPECC--ABLE ?" "?" "WE DINE WELL HERE IN CAMELOT ?" "?" "WE EAT HAM AND JAM AND SPAM A LOT ?" "?" "WE''RE KNIGHTS OF THE ROUND TABLE ?" "?" "OUR SHOWS ARE FORMIDABLE ?" "?" "BUT MANY TIMES WE''RE GIVEN RHYMES ?" "?" "THAT ARE QUITE UNSINGABLE ?" "?" "WE''RE OPERA MAD IN CAMELOT ?" "?" "WE SING FROM THE DIAPHRAGM A LOT ?" "IWASALWAYS AN ANGLO--PHILE" "WHEN IT CAME TO COMEDY I MEAN," "I WATCHED THE OLD EALING COMEDIES" "WHEN I WAS LIVING HERE IN THE STATES." "THERE SEEMED TO BE A KIND OF HUMOR" "THAT I DIDN''T FIND IN AMERICA." "MAYBE IT WAS THE FOREIGN--NESS OF IT," "MAYBE IT WAS THE SENSE OF IRONY THAT THE ENGLISH HAVE" "WHICH THE AMERICANS REALLY FAIL AT." "ENGLISH COMEDY SEEMS TO ME" "BASED ON THE ENGLISH MAKING FUN OF THEMSELVES." "AMERICANS DON''T MAKE FUN OF THEMSELVES SO EASILY;" "THEY MAKE FUN OF OTHER PEOPLE VERY EASILY." "AND IT''S A THING THAT I''VE ALWAYS LIKED;" "I LIKE SELF--DEPRECATION, WHICH THEN LEADS" "TO SELF--LOATHING." "I WAS BORN IN MINNEAPOLIS, MINNESOTA." "FIRST, WHAT I THINK ABOUT 11 OR 12 YEARS," "WERE SPENT RUNNING AROUND ON DIRT ROADS," "PLAYING IN SWAMPS, SWIMMING IN RIVERS," "HAVING A FAIRLY TOM SAWYER--ESQUE CHILDHOOD." "WHICH WAS GREAT, I MEAN, I''VE ALWAYS LOVED THE COUNTRY" "AND IT STAYS WITH ME AND I THINK A LOT" "OF WHAT I DO COMES FROM THIS PROBLEM" "OF BEING A COUNTRY BOY LIVING IN THE CITIES." "I DON''T KNOW WHERE I GOT THE BRAIN THAT''S SORT" "OF FLOATING AROUND INSIDE THIS SKULL." "I THINK I''M JUST ONE OF NATURE''S MUTANTS." "STRANGELY ENOUGH, ACTUALLY, HERE''S A TRUTH:" "I JUST FOUND OUT A COUPLE YEARS AGO" "MY MOTHER NEVER TOLD ME THIS, BUT MY GRANDFATHER" "HAD ACTUALLY BEEN THE MANAGER OF A CINEMA IN," "I THINK IT WAS BISMARCK, NORTH DAKOTA." "THIS WAS A THING I NEVER KNEW UNTIL A COUPLE YEARS AGO" "SO SOMEWHERE FILMS WERE THERE IN THE FAMILY LINE." "I''VE GOT A COUSIN WHO''S AN ARTIST, A PAINTER," "BUT OTHER THAN THAT, I''M THE BLACK SHEEP." "CUTIT!" "AND PRINT IT!" "[ MUSIC ]" "[NARRATOR] WRITER--DIRECTOR TERRY GILLIAM" "IS DEFINITELY A FILMMAKING REBEL." "HE INSISTS ON FOLLOWING HIS OWN INSTINCTS," "AS HIS FILMS WILL ATTEST." "HIS MOVIES ARE NOT FOR EVERYONE," "NOR DOES HE WANT THEM TO BE." "NO ONE HAS EVER VIEWED A TERRY GILLIAM FILM" "FOR THE FIRST TIME AND GRASPED EVERYTHING" "IT HAD TO OFFER, WHICH IS WHY HIS MOVIES" "ARE AS STIMULATING AS THEY ARE AND CONTINUE TO CHALLENGE" "THE VIEWER, SCENE AFTER SCENE AFTER SCENE." "INNOVATIVE ANIMATOR, ACTOR, WRITER AND DIRECTOR," "TERRY GILLIAM WAS BORN IN AMERICA" "WHERE HE BRIEFLY WORKED AS A WRITER--ILLUSTRATOR" "FOR "MAD MAGAZINE," EMIGRATING TO ENGLAND IN 1967" "WHERE HE EVENTUALLY JOINED "MONTY PYTHON''S FLYING CIRCUS,"" "FIRST AS AN ANIMATOR, THEN AS ONE OF ITS PERFORMERS" "FROM 1970 THROUGH 1973." "PYTHON FEATURE FILMS FOLLOWED AND IN 1976" "HE HAD HIS FIRST SOLO DIRECTING ASSIGNMENT WITH "JABBERWOCKY,"" "WHICH HE LABELED, "DEFINITELY NOT A PYTHON FILM."" "TERRYHASAHUGESENSEOF TIME AND PLACE AND HISTORY" "AND I''M NOT TALKING ABOUT HIS OWN PLACE IN HISTORY" "BECAUSE THERE WILL BE A PLACE FOR THAT," "BUT A LOVE FOR THE AGES." "AND I THINK HE RESPONDS TO TEXTURE AND ARCHITECTURE" "AND PERMANENCE AND IMPERMANENCE AND HE UNDERSTANDS ALL OF THOSE" "AND HOW THESE ARE ALL OPPOSITE NOTIONS, SOMETIMES." "AND HE ALSO TALKED ABOUT SOMETHING ELSE," "HE USED TO SAY THAT HE HAD A REAL," "AND HE''S VERY VULNERABLE ABOUT IT," "THAT HE HAD A REAL SENSE OF HIS AGING PROCESS" "AND A SENSE OF DEATH BEING VERY CLOSE TO HIM." "AND HE LAUGHS ABOUT IT BUT THAT HE DOESN''T WANT IT" "TO BE THAT CLOSE." "AND A SENSE OF HIS OWN MORTALITY" "AND HE''S NOT SPEAKING OF HIMSEL IN ANY KIND OF GRANDIOSE TERMS," "IT''S JUST THE SENSE THAT IT CAN BE GONE," "YOU KNOW, AND I FEEL THAT IN HIS WORK." "WHATI THINK IS SPECIAL ABOUT TERRY" "BESIDES BEING THE GENIUS AND THE VISUAL ARTIST THAT HE IS," "IS THAT THE MAN HAS NO EGO, HE REALLY DOESN''T." "E AND HE''S SO AWARE OF WHAT HE KNOWS AND HE''S SO AWAR" "OF WHAT HE DOESN''T KNOW." "[MOVIE SCENE PLAYING IN THE BACKGROUND]" "[NARRATOR] PERHAPS IT WAS FATE THAT WHILE WORKING IN NEW YORK" "AS A MAGAZINE CARTOONIST, GILLIAM WOULD MEET" ". AND MAKE FRIENDS WITH ACTOR--COMEDIAN JOHN CLEESE" "THAT CHANCE ENCOUNTER WOULD LEAD TO A LONG RELATIONSHIP" "CREATING SOME OF THE FUNNIEST AND MOST INNOVATIVE" "COMEDY MATERIAL EVER TO BE SEEN ON TELEVISION" "AND THE CINEMA." "HAVINGMETJOHNINNEWYORK AND THEN TURNING UP" "IN LONDON ABOUT TWO OR THREE YEARS LATER," "I WAS STILL WORKING IN MAGAZINES AT THAT POINT," "I WAS A CARTOONIST, I WAS AN ILLUSTRATOR." "AND HE WAS AT THAT POINT ON THE DAVID FROST PROGRAM," "ON "THE FROST REPORT," AND HE WAS BECOMING" "QUITE WELL--KNOWN IN TELEVISION AND I APPROACHED HIM" "AND ASKED HIM, "HOW DO I GET INTO TELEVISION?"" "AND HE INTRODUCED ME TO A PRODUCER" "WHO WAS PRODUCING A TELEVISION SHOW CALLED," ""DO NOT ADJUST YOUR SET" WHICH WAS A KIDS'' SHOW," "AND IT WAS WRITTEN AND PERFORMED BY MIKE PALIN, TERRY JONES" "AND ERIC IDLE." "AND I GOT A COUPLE" "OF WRITTEN SKETCHES ON THAT SHOW." "L AND WE MET UP, THEY DIDN''T LIKE ME AT AL" "BECAUSE I WAS A FOREIGNER INVADING THEIR TURF," "AND ESPECIALLY AN AMERICAN, BUT WE BECAME FRIENDS EVENTUALLY" "AND WENT ON TO ANOTHER SHOW CALLED" ""WE HAVE WAYS OF MAKING YOU LAUGH."" "ERIC IDLE WAS ON THAT ONE, AND ONE DAY THEY APPROACHED ME" "SAYING, "WE''VE GOT THIS MATERIAL," "WE DON''T KNOW WHAT TO DO." "" AND I SAID," ""WELL, WHY DON''T I MAKE A N ANIMATED FILM OF IT?"" "I HAD NEVER DONE ONE, BUT I KNEW HOW THESE THINGS WERE DONE." "AND I HAD TWO WEEKS AND 400 POUNDS" "AND THE ONLY WAY I COULD DO IT WAS WITH CUTOUTS" "AND SO I HAD PHOTOGRAPHS AND I CUT THEM UP" "AND MOVED THEM AROUND VERY QUICKLY" "AND IT WENT OUT ON TELEVISION." "AND LITERALLY OVERNIGHT I WAS AN ANIMATOR." "AND JOHN HAD A STANDING OFFER FROM THE BBC TO DO A PROGRAM" "IF HE WANTED IT AND SO THIS BROUGHT US ALL TOGETHER." "WE TOOK UP THE OFFER OF THE BBC" "AND BECAME "MONTY PYTHON'' S FLYING CIRCUS"" "AND THEN MY CAREER FINISHED AGAIN." "WELL,ONSECONDTHOUGHT, LET''S NOT GO TO CAMELOT." "IT IS A SILLY PLACE." "RIGHT." "[NARRATOR] AFTER CO--WRITING AND APPEARING AS A PERFORMER" "IN THE FIRST PYTHON FILM" ""AND NOW FOR SOMETHING COMPLETELY DIFFERENT,"" "HE AND FELLOW PYTHON, TERRY JONES," "DIRECTED "MONTY PYTHON AND THE HOLY GRAIL" IN 1974." "THE PYTHON TROOP INCLUDED GRAHAM CHAPMAN, JOHN CLEESE," "ERIC IDLE, TERRY JONES, MICHAEL PALIN" "AND, OF COURSE, TERRY GILLIAM." "AFTER CO--DIRECTING THIS FILM, GILLIAM''S COMMENT WAS" ""FILMMAKING IS SLIGHTLY LESS A WASTE OF TIME THAN FILM SCHOOL."" "THEFIRSTPYTHONFILMWAS SHOT BY IAN McNAUGHTON" "WHO''D BEEN DIRECTING THE TELEVISION SHOWS" "AND IT WAS CALLED "AND NOW FOR SOMETHING COMPLETELY DIFFERENT"" "AND IT WAS REALLY A SERIES OF THE SKETCHES" "OF THE FIRST SERIES AND SOME OF THE SECOND" "AND TERRY JONES AND I HAD ALWAYS BEEN FRUSTRATED FILM DIRECTORS." "WE KNEW BETTER, OF COURSE, THAN IAN AND WE WOULD" "SIT THERE AND TRY TO TELL HIM, "THE CAMERA SHOULD BE HERE DOING THIS."" "AND SO WHEN THE OFFER CAME TO DO ANOTHER PYTHON FILM," ""MONTY PYTHON AND THE HOLY GRAIL"" "TERRY AND I TOOK THE OPPORTUNITY TO OFFER TO ANYBODY IN THE GROUP" "NAMED "TERRY" THE OPPORTUNITY TO DIRECT THE FILM." "[WIND]" "[HORSES GALLOPING]" "WHOATHERE!" "[CROWS CAWING]" "[HORSES GALLOPING]" "ANDTHEVERYFIRSTDAY OF THE VERY FIRST FILM" "THAT WE EVER DIRECTED, WE CARRIED ALL THE GEAR OUT" "OF THE VANS AND CARS AND DOWN A MOUNTAINSIDE," "ACROSS A RIVER, UP ANOTHER MOUNTAINSIDE," "TO THE FAMOUS "BRIDGE OF DEATH" SCENE" "IN THE SEVEN SISTER''S PEA K OF SCOTLAND." "AND WE HAD BUILT THIS BRIDGE ACROSS THIS CHASM" "AND WE TURN OVER ON THE VERY FIRST SHOT" "AND THE CAMERA BREAKS." "STOP!" "WHAT IS YOUR NAME?" "SIRGALAHADOF CAMELOT." "WHATISYOURQUEST?" "ISEEKTHEGRAIL." "WHATISYOUR FAVORITE COLOR?" "BLUE." "NO, YEL" " AUUUUUUUUGH!" "HEEHEEHEH,STOP!" "WHAT IS YOUR NAME?" "ITISARTHUR, KING OF THE BRITONS." "WHATISYOURQUEST?" "TOSEEKTHEHOLYGRAIL." "WHATISTHEAIR--SPEED VELOCITY OF AN UNLADEN SWALLOW?" "WHATDOYOUMEAN?" "AN AFRICAN OR EUROPEAN SWALLOW?" "HUH?" "I---- I DON''T KNOW THAT." "HOWDOKNOWSOMUCH  ABOUT SWALLOWS?" "WELL,YOUHAVETOKNOW  THESE THINGS" "WHEN YOU''RE A KING, YOU KNOW." "ITWASONEOFTHOSEFILMS  WHERE EVERYTHING" "THAT COULD GO WRONG DID AND SO IT WAS" "A VERY GOOD LEARNING ON THE JOB EXPERIENCE" "BECAUSE JUST BEFORE WE WENT TO START SHOOTING," "AND WE HAD CHOSEN ABOUT FOUR OR FIVE CASTLES IN SCOTLAND," "THE NATIONAL TRUST WHICH IS IN CHARGE" "OF HISTORICAL BUILDINGS IN ENGLAND," "DEEMED THAT PYTHON WOULD NOT RESPECT THE DIGNITY" "OF THE FABRIC OF THE BUILDINGS AND WITH A COUPLE OF WEEKS TO GO" "WE WERE THROWN OUT OF ALL OF THESE CASTLES." "PLACES WHERE THE MOST AWFUL TORTURES HAD TAKEN PLACE," "AWFUL BEHAVIOR BY THE REAL PEOPLE WHO''D BUILT THEM," "BUT COMEDY WAS NOT ALLOWED." "AND SO WE HAD TO FAKE IT REALLY QUICKLY" "AND SO WE BUILT CASTLES AS CUTOUTS, 15'' HIGH PAINTED CUTOUTS, WE''D STICK ON HILLS." "AND SO IT WAS A VERY, IT WAS A VERY FAST" "AND FURIOUS WAY OF LEARNING HOW TO FAKE FILMMAKING." "LOOK,MYLIEGE!" "[TRUMPETS]" "CAMELOT!" "CAMELOT!" "CAMELOT!" "IT''SONLYAMODEL." "SHH!" "ONEOFTHETHINGSWITH  PYTHON WHEN WE WERE" "DOING TELEVISION, WE ALWAYS HAD BIG IDEAS." "WE DID A LOT OF PARODIES OF FILMS AND FILM DIRECTORS" "AND I THINK WE WERE ALL FRUSTRATED" "BY THE LIMITATIONS OF THAT LITTLE SCREEN." "AND SO WHEN WE SET OUT TO DO "HOLY GRAIL,"" "WE SET OUT TO DO AN EPIC;" "WE WANTED TO HAVE SCALE," "WE WANTED TO HAVE HORSES." "OF COURSE WE DIDN''T GET HORSES;" "WE GOT COCONUTS." "IN A STRANGE WAY I THINK THE SUCCESS OF HOLY GRAIL" "IS DUE TO THE FACT THAT WE DIDN''T HAVE THE MONEY" "TO MAKE A MEDIOCRE EPIC." "BECAUSE GIVEN THE TIME AND MONEY," "WE WOULD HAVE BEEN MEDIOCRE." "BUT BECAUSE WE DIDN''T HAVE THE TIME OR THE MONEY," "WE''D BE INVENTIVE AND WE HAD TO COME UP WITH SILLY IDEAS WHICH," "IN THE END PROVED TO BE MUCH MORE INTERESTING." "THE DIFFICULTY OF DIRECTING PYTHON" "WAS THAT TERRY JONES AND I, WHO HAD BEEN VERY CLOSE" "DURING THE TELEVISION SHOWS, FELT WE HAD THE SAME VIEW" "OF THE FILM AND WHAT WE DISCOVERED VERY SOON" "WAS THAT WE SEEMED TO HAVE SLIGHTLY DIVERGING VIEWS" "AND SO FOR THE CREW THERE WERE TWO VOICES," "TWO DIRECTORS DIRECTING." "AND WE GOT THE ASSISTANT DIRECTOR TO TRY" "TO BE THE COMMON VOICE, WELL IT TURNED OUT" "HE HAD FILM DIRECTING ASPIRATIONS AS WELL" "SO HE WAS DIRECTING A THIRD FILM" "WHICH TERRY AND I DIDN''T WANT TO MAKE." "SO WE ENDED UP WORKING IN A WAY" "WHERE TERRY WOULD WORK WITH THE ACTORS;" "THE OTHERS IN THE TROUPE," "AND I WOULD STAY BACK WITH THE CAMERA." "BECAUSE THE GUYS DIDN''T BEHAVE LIKE PIECES OF PAPER," "I MEAN I WOULD SIT AND DRAW THE STORYBOARD OUT," "I WOULD PLAN THESE THINGS" "ESPECIALLY ON THE SPECIAL EFFECTS SHOTS" "WHERE WE NEEDED A MAT BECAUSE WE WERE THROWING ANIMALS" "OVER A BATTLEMENT AND WE DIDN''T HAVE REAL ANIMALS," "WE WOULD, MONTHS LATER" "[COW MOOING]" "[MOVIE SCENE PLAYING IN THE BACKGROUND]" "THROW LITTLE TOY ANIMALS FROM TRAIN SETS" "UP IN THE AIR IN SOMEBODY''S BACK GARDEN." "BUT THE DAY WE WERE SHOOTING IT," "REQUIRED THAT THEY KEEP THEIR HEADS BELOW THE PARAPET" "OF THE CASTLE AND THEY''RE IN THE FOREGROUND," "SO THE ONLY WAY TO DO THAT WAS DIG A HOLE AND WE DUG" "A HOLE AND PUT THE CAMERA IN THAT." "AND THEN THEY WERE STILL TOO TALL." "THEN WE HAVE HAD THEM KNEELING DOWN AND THE GUYS" "DIDN''T LIKE KNEELING DOWN IN ARMOR" "AND THEY THOUGHT IT WAS A VERY SILLY WAY OF ACTING" "AND I, AT THAT POINT, DIDN''T HAVE MANY SOCIAL SKILLS" "BECAUSE I HAD BEEN IN MY GARRET, LO, THIS MANY YEARS" "AND I WOULD JUST WALK OFF IN A HUFF AND SAY," ""YOU WROTE THE SCENE," ""YOU WANTED ME TO DIRECT IT FOR YOU," "YOU''RE NOT TAKING MY ORDERS , GOODBYE."" "AND I''D GO OFF AND LAY DOWN IN THE GRASS AND "HUMPH"" "AND SAY "HURUMPH" AND TERRY WOULD THEN TAKE OVER." "SO THAT''S WHY WE WORKED EVENTUALLY IN THIS WAY" "WHERE HE WOULD TALK TO THEM, WHO I HATED AT THAT POINT," "AND I WOULD DEAL WITH THE CAMERA" "AND PUT IT IN THE RIGHT PLACE AND MAKE THE THING LOOK GOOD." "IT WAS A VERY SPECIAL TIME WHERE WE WERE ALLOWED" "TO GET AWAY WITH MURDER." "AND THE FACT THAT IT TRANSLATES AND OTHER PEOPLE" "LIKE IT, I THINK, AGAIN, IT MAY BE PARTLY DUE" "TO THE FACT THAT IT IS SO UNIQUE" "AND SPECIAL AND NOT TRYING TO PLEASE ANYBODY BUT US." "AND SO, YOU KNOW, A LOT OF PEOPLE DON''T GET IT," "AND THEY NEVER WILL, AND WE DON''T CARE." "AND THE PEOPLE WHO DO GET IT, LOVE IT." "AND I WOULD RATHER---- I''D ALWAYS RATHER GO" "FOR PEOPLE BEING PASSIONATE ABOUT WHAT WE DO AS OPPOSED" "TO SAYING, "OH, THAT WAS OKAY, THAT WASN''T BAD."" "NO, I''D RATHER THEM SAY, "THAT''S RUBBISH," "THAT''S A PIECE OF SHIT" OR "THAT''S WONDERFUL," "IT''S THE BEST THING I''VE EVER SEEN."" "BUT THE MIDDLE GROUND, I DON''T WANT TO KNOW ABOUT." "[MOVIE SCENE PLAYING IN THE BACKGROUND]" "[NARRATOR] READING DIRECTLY FROM THE BIO PROVIDED" "BY GILLIAM''S OFFICE, WE EXTRACT THE FOLLOWING ENTRY" "WITH REGARD TO HIS 1977 FILM "JABBERWOCKY":" ""SPENDS A YEAR PROMOTING AND DEFENDING "JABBERWOCKY,"" ""DEFINITELY NOT A PYTHON FILM." "DECIDES FILM FESTIVALS ARE A WASTE OF TIME."" ""JABBERWOCKY" WAS LOOSELY BASED ON A LEWIS CARROLL POEM" "AND FEATURED FELLOW PYTHON MICHAEL PALIN IN THE TITLE ROLE." ""JABBERWOCKY", THE CARROLL POEM," "HAS ALWAYS BEEN A FAVORITE OF MINE," "LEWIS CARROLL HAS ALWAYS BEEN A FAVORITE WRITER;" "THE MADNESS OF HIS WORLD IS THE MOST SANE THING I''VE EVER READ." "AND SO THE IDEA OF TAKING THIS POEM," "THIS NONSENSICAL POEM, AND TURNING IT INTO A FILM," "JUST WAS A STARTING POINT." ""JABBERWOCKY" WAS BORN OUT OF THE FACT" "THAT I DIDN''T GET TO DO ALL OF THE THINGS" "I WANTED TO DO IN HOLY GRAIL." "I FELT LIMITED BY THE FACT" "THAT WE HAD TO BE ALWAYS FUNNY." "I WANTED TO TRY TO ESCAPE FROM THAT TRAP." "I WANTED TO BE ABLE TO BE ADVENTUROUS AND," "YOU KNOW, SUSPENSEFUL, AND ROMANTIC," "AND A LOT OF OTHER THINGS." "AND I FELT WE HAD FAILED ON CERTAIN LEVELS IN "GRAIL,"" "AND SO I SET OUT TO DO MY MEDIEVAL FILM." "I''VEGOTALOT OFGOOD IDEAS AND I THINK THAT" "ONCE WE''RE THERE I COULD- --- I COULD" "NOWLOOKSONNY, SHOVE OFF, EH." "WAIT A MINUTE, WHAT''VE YO U GOT HERE?" "WHAT''S THIS?" "HMM." "YOU TOLD US YOU HAD NOTHING." "WOOHAAA." "THAT''SNOTFOREATING." "WHATDOYOUMEAN?" "YOU COULD LAST FOR A WEEK ON THAT." "MYSWEETHEARTGAVEITTOME  BEFORE I LEFT HOME." "SHEGAVEYOUTHAT?" "YES." "HAND IT BACK, PLEASE." "GOSH,SHEMUST REALLY LOVE YOU." "DOYOUREALLYTHINKSO?" "YEAH,I ''VEGOT A SORT OF STICKY FEELING" "INSIDE ME JUST THINKING OF IT." "YOU SURE ARE A LUCKY GUY." "COMEON,FRED, CUT IT OUT." "HE''S NOT GETTING IN." "I''VEGOTTO , I''VE GOT TO GE" "GIVEHIMABREAK, JUST THIS ONCE." "NOCHANCE, NOW PUSH OFF, YOU." "IREALLYDON''TLIKE THIS CHARACTER" "EXCEPT THAT HE GETS CAUGHT UP INTO A SITUATION" "WHERE HE BECOMES A HERO UNWITTINGLY" "AND GETS EVERYTHING YOU EVER WANTED BY THE TERMS OF," "YOU KNOW, THE WAY THE MEDIA WORKS" "OR THE WAY FAIRYTALES WORK." "THESE ARE THE THINGS YOU ARE SUPPOSED TO WANT." "AND HE GETS THEM ALL, BUT IT''S NOT WHAT HE WANTED." "MYBOY, CONGRATULATIONS." "WE OFFER YOU OUR HEARTFELT THANKS." "YOU HAVE CLEARED THE KINGDOM OF A GREAT MENACE" "AND I AM VERY HAPPY TO FULFILL MY PROMISE" "AND TO BESTOW UPON YOU, EH, WHAT''S HIS NAME?" "IT''SDENNIS,DENNISCOOPER YOUR ROYALSHIPNESS," "AND THAT HIS FIANC?" "ÉE, MY DAUGHTER." "AH,YOU,DENNIS,ONE--HAL F OF MY ENTIRE KINGDOM." "OH." "[CROWD GASPS]" "ANDTHEHANDINMARRIAGE,MY DAUGHTER, THE PRINCESS." "OH." "COMEMYBOY,TOTHEPALACE." "OH." "[CROWD GASPS]" "GRISELDA!" "IPRONOUNCEYOU MAN AND WIFE." "[NARRATOR] AFTER WRITING AND APPEARING IN THE 1979 PYTHON FILM" ""THE LIFE OF BRIAN," GILLIAM AND MICHAEL PALIN WROTE" ""TIME BANDITS," WHICH GILLIAM DIRECTED." "IN HIS BIO, GILLIAM WRITES, "TIME BANDITS IS RELEASED" ""AND IS A FAR BIGGER SUCCESS THAN ''CHARIOTS OF FIRE''" ""AND SHOULD HAVE WON AT LEAST 13 OSCARS," "AS WELL AS A SELF--SUFFICIENCY BADGE."" "THE CAST OF "TIME BANDITS" INCLUDED JOHN CLEESE," "SEAN CONNERY, SHELLEY DUVALL, KATHERINE HELMOND," "SIR RALPH RICHARDSON, IAN HOLM, PETER VAUGHAN, DAVID WARNER" "AND MICHAEL PALIN." "WHATISIT ?" "IDON''TKNOW." "BUT IT HURTS." "WEHADMADE "LIFE OF BRIAN,"" "PYTHON''S "LIFE OF BRIAN," AND GEORGE HARRISON" "AND HIS MANAGER, DENNIS O''BRIEN HAD BASICALLY" "COME TO THE RESCUE AND WITH PYTHON" "WE STARTED A COMPANY CALLED "HAND--MADE FILMS"" "AND BECAUSE OF THAT AND BECAUSE OF MY FRUSTRATIONS" "OF NOT GETTING "BRAZIL" OFF THE GROUND," "I SAT DOWN ONE AFTERNOON AND SAID," "WELL, LET''S TAKE ADVANTAG E OF THE SITUATION," "LET''S WRITE A FILM THAT WOULD APPEAL TO EVERYBODY," "ALL THE FAMILY, A FILM THAT WOULD BE" "EXCITING ENOUGH FOR ADULTS" "AND INTELLIGENT ENOUGH FOR CHILDREN," "WAS THE WAY I WAS TALKING ABOUT IT." "AND SO ONE WEEKEND, I STARTED WRITING AND I WANTED" "THE FILM TO BE FROM A KID''S POINT OF VIEW," "I WANTED THE CAMERA TO BE LOW," "I WANTED TO SEE THE WORLD FROM A KID''S POINT OF VIEW," ". BUT I WAS WORRIED THAT A KID COULDN''T SUSTAIN IT" "SO, LET''S PUT A GANG AROUND HIM," "BUT THEY''VE GOT TO BE HIS HEIGHT." "SO WE ENDED UP WITH A GROUP OF LITTLE PEOPLE" "WHO BECOME THE TIME BANDITS." "AND THEN WE SET THIS ADVENTURE IN A TIME" "WHEN THESE PEOPLE WHO ARE A PART OF HEAVEN," "THEY WERE A PART OF CREATION, THEY WERE GOD''S HELPERS," "BUT THAT WASN''T GOOD ENOUGH , THEY WANTED MONEY," "LIKE MOST PEOPLE IN THE WORLD." "AGAIN, LOW AMBITION, AND SO THEY SET OUT TO ROB" "TIME AND SPACE." "I LOVE THE IDEA THAT, YOU KNOW," "TIME AND SPACE WERE NOT PERFECT." "THAT, YOU KNOW, THAT GOD HAD GOTTEN DISTRACTED," "HE JUST WAS NOT PERFECT AND MADE MISTAKES." "SO IT''S ALL ABOUT FLAWED CREATION" "AND ABOUT GREED AND ABOUT THINGS BEING SEEN" "FROM A CHILD''S POINT OF VIEW." "[HORSE WHINNYING]" "[HORSE SNORTING]" "EEEEAAAAAHHHH!" "MICHAELPALINANDIWERE  SITTING TALKING, YOU KNOW," "WHERE THE CARRIAGE TURNS OVER AND MICHAEL AND I" "ARE SPILLED OUT ONTO THE GROUND IN SHERWOOD FOREST." "WELL, TERRY WAS TRYING TO SHOW THE SMALL PEOPLE" "HOW TO JUMP OFF SOME SCAFFOLDING ONTO US," "I MEAN, AROUND US, BUT NOT ON US." "SO TERRY, BEING A LITTLE OVERWEIGHT AT THE TIME," "GOT UP ON THE SCAFFOLDING AND LEAPT INTO THE AIR" "AND LANDED SMACK DAB ON ME." "I GUESS THAT WAS THE BEST CHIROPRACTIC ADJUSTMENT" "I EVER HAD WORKING WITH MADMAN TERRY." "IPLAYEDMRS.OGRE." "AND MR. OGRE HAD AN INCREDIBLE MAKEUP" "INCREDIBLE, IT TOOK HOURS AND HOURS AND HOURS" "TO MAKE HIM LOOK THAT UGLY, PETER VAUGHAN," "AND HE SAID AFTERWARDS," ""WELL, ARE YOU PREPARED FOR THAT MAKEUP?"" "AND I SAID, "YES, I AM." ""I''M REALLY WILLING TO DO ANYTHING FOR A PART," "BUT I WOULD LIKE TO ASK YOU SOMETHING."" "AND TERRY SAID, "OKAY, WHAT?"" "AND I SAID, "DON''T YOU THINK" ""IT WOULD BE FUNNIER IF I LOOK LIKE A NICE," ""SCRUBBED, CLEAN, CONNECTICUT HOUSEWIFE" ""----MADLY IN LOVE AND HAD THE ''HOTS''" "FOR THIS WONDERFULLY UGLY OGRE?"" "AND TERRY STOPPED AND THEN HE TURNED TO ME AND SAID," ""YES, THAT''S FUNNIER."" "YOUTRYBEINGBEASTLY AND TERRIFYING WHEN" "[SIZZLE]" "YOU CAN ONLY GET ONE HOUR''S SLEEP AT NIGHT" "BECAUSE YOUR BACK HURTS" "AND YOU DAREN''T COUGH IN CASE YOU PULL A MUSCLE." "BUTYOUAREHORRIBLEDEAR ." "YOU''REJUSTSAYINGTHAT." "HEISSO OPENTHATIF SUDDENLY YOU SAY," ""WHAT ABOUT THIS" OR "WOULD THIS BE FUNNIER"" "OR "WHAT ABOUT USING THIS,"" "HE REALLY HEARS IT, HE REALLY LISTENS," "HE REALLY THINKS ABOUT IT AND IF IT''S FUNNIER" "OR BETTER, HE USES IT." "HE''SNOTONEOFTHOSE DIRECTORS THAT TAKE YOU" "IN A CORNER AND WHERE THE CRITICS AFTERWARDS SAY," ""TERRY GILLIAM SQUOZE THE PERFORMANCE OUT OF THE ACTOR."" "I THINK HE''S MORE SUBTLE THAN THAT." "MAINLY IT WAS THE PHYSICAL ASPECT OF THE EVIL GENIUS," "I MEAN, THE FILM WAS PHYSICAL ANYWAY" "BUT WITH THAT EXTRAORDINARY COSTUME AND THE FINGERNAILS" "AND STUFF LIKE THAT, AT CREATING ALL THAT" "FOR THIS PARTICULAR ACTOR TO GET INTO THAT ENSEMBLE" "AND THEN BE ABLE TO, SORT OF, TAKE OFF." "I MEAN, THE SCRIPT WAS THERE WRITTEN BY THESE" "WONDERFUL PEOPLE WHO WE ALL KNOW," "SOME OF THE PYTHONS AND TERRY, AND SO IT WAS REALLY" "IN THE SCRIPT AND I THINK BEING USED TO WORKING WITH" "THE FREE REIGN AND THE TELEVISION WORK," "I THINK HE ALLOWED THE ACTORS TO SORT OF" "REALLY GET OUT THERE AND JUST HAVE FUN, WHICH IT WAS." "WHATSORTOF SUPREMEBEING CREATED SUCH RIFF RAFF?" "IS IT NOT THE WORKINGS OF A COMPLETE INCOMPETENT?" "BUTHECREATEDYOU , EVIL ONE." "[ SUSPENSEFUL MUSIC ]" "WHATDIDYOUSAY ?" "WELL,HECREATEDYOU , SO HE CAN''T BE TOTALLY" "NEVERTALKTO ME  LIKE THAT AGAIN!" "NOONECREATEDME." "IAM EVIL ." "EVIL EXISTED LONG BEFORE GOOD." "I MADE MYSELF." "I CANNOT BE UNMADE." "I AM ALL POWERFUL." "WHENI WASFILMING "POPEYE"" "I GOT A CALL FROM TERRY SAYING," ""AFTER YOU FINISH THIS MOVIE, WHEN DO YOU FINISH THIS MOVIE?" ""AFTER YOU FINISH THIS MOVIE, WHY DON''T YOU COME OVER" ""TO LONDON AND DO FOUR DAYS FOR ME," "JUST FOUR DAYS."" "AND I SAID, "WOW, TERRY, MAN, I''M TIRED, YOU KNOW," "THIS HAS BEEN SIX MONTHS WORKING ON THIS AND I----"" "HE SAID, "AW, COME ON," HE SAYS, AND DEVILISH MAN THAT HE IS," "HE SAID, "SEAN CONNERY''S IN IT."" "BECAUSE HE KNOWS THAT I LIKE SEAN CONNERY A LOT." "K I MEAN, I LOVE SEAN CONNERY''S WOR" "AND ALWAYS WANTED TO WORK WITH HIM SO HE SAID," ""SEAN CONNERY''S GOING TO BE IN IT."" "AND I SAID, "YOU''RE KIDDING ?" "OKAY, I''LL DO IT."" "AND ANYWAY, I GOT THERE AND OF COURSE" "I HAD NO SCENES WHATSOEVER WITH SEAN CONNERY, BUMMER." "ITWASSTARTEDASA JOKE  BASICALLY BECAUSE MIKE AND I" "WROTE IN THE SCRIPT THAT WHEN THE GREEK WARRIOR" "REMOVED HIS HELMET, THIS IS ACTUALLY" "WHAT THE SCRIPT SAID," "IT SAID, "HE TAKES HIS HELMET OFF REVEALING HIMSELF" "TO BE SEAN CONNERY OR AN ACTOR OF EQUAL BUT CHEAPER STATURE."" "WE HAD NO, YOU KNOW, DREAM THAT WE COULD EVER GET" "SEAN CONNERY IN THE FILM, BUT HE TURNED OUT TO BE A GOLFER" "AND TURNED OUT TO BE PLAYING GOLF WITH DENNIS O''BRIEN" "AND THE IDEA CAME UP." ", AND IT WAS ACTUALLY AT A POINT WHEN SEAN''S CAREER WAS, I THINK" "AT IT''S NADIR, IT WAS PRETTY LO W AT THAT POINT," "AND HE SAID, "YES," HE WAS INTERESTED." "HE''S AN INTERESTING MAN BECAUSE HE''S NOT" "THE MOST TRUSTING MAN, HE DOESN''T SUFFER FOOLS" "AND HE WASN''T SURE WHO HE WAS DEALING WITH, WITH ME." "SO, "I''M NOT GOING TO LET YOU SEE ME GET ON THE HORSE" ""BECAUSE I WON''T LOOK GOOD SO WHAT I''LL DO," ""I''LL JUST RISE UP IN THE STIRRUPS AND YOU CAN FILM ME" ""SITTING DOWN, THAT''S ALL YOU GET," "YOU''VE GOT TO WORK YOUR WAY AROUND THAT ONE KID."" "AND HE WAS LIKE THAT." "BUT IT WAS FANTASTIC BECAUSE IT GOT US THROUGH IT." "WELLKEVIN,HERE, IT''S YOURS." "YOU DON''T WANT IT?" "OHYES,PLEASE." "YOU MEAN I CAN REALLY HAVE IT?" "WELL,ONCONDITIONTHAT YOU CARRY IT BACK TO THE CITY FOR ME." "OH,GREAT." "BUT NO, I CAN''T REALLY." ". I MUST WAIT." "YOU SEE, I''M WITH FRIENDS" "YOU SEE, IF I LOSE THEM, I MAY NEVER BE ABLE TO GET BACK." "GETBACK?" "TO WHERE?" "I''MNOTREALLYSURE." "ER." "HERE,YOUBETTERTAKETHIS , YOU''LL NEED IT----IT''S WAT" "THERE''S ENOUGH THERE FOR YOUR FRIENDS TOO," "IF THEY EVER TURN UP." "[NARRATOR] IN 1983, GILLIAM CO--WROTE, ALONG WITH THE REST" "OF THE PYTHONS, AND CO--DIRECTS WITH TERRY JONES," ""MONTY PYTHON''S THE MEANING OF LIFE"" "STARRING THE ENTIRE PYTHON GANG." "IN HIS BIO HE WRITES, "''MONTY PYTHON''S" ""THE MEANING OF LIFE'' RELEASED IN THE U.K." ""INVITED TO BE INCLUDED IN THE ''WHO''S WHO OF INTELLECTUALS''" "UNFORTUNATELY, CAN''T COMPLETE THE FORM."" "OH," MEANINGOFLIFE" WAS A, I THINK," "ALMOST A TIRED ATTEMPT TO TRY TO KEEP THE GROUP TOGETHER" "BECAUSE WE HAD STOPPED DOING TELEVISION" "AND WE STILL WANTED TO WORK TOGETHER IN SOME WAY" "AND SO MOVIES TAKE UP A LOT LESS TIME" "THAN A TELEVISION SERIES, SO WE AGREED TO MAKE A MOVIE" "AND WE ALL WENT OFF AND WROTE SOMETHING CALLED" ""MONTY PYTHON''S WORLD WAR III."" "AND THEN WE REWROTE IT AND IT BECAME" ""MONTY PYTHON''S MEANING OF LIFE."" "AND REALLY "MEANING OF LIFE" ENDED UP," "IT WAS AN INTERESTING TIME BECAUSE THE GROUP" "WASN''T REALLY WORKING AS WELL A S WE HAD WORKED TOGETHER" "ON "LIFE OF BRIAN."" "WE''D ALL GONE OUR SEPARATE WAYS AND OUR WORK HABITS" "WERE DIFFERENT AND SO THAT FILM ENDED UP BEING MUCH MORE" "ABOUT SKETCHES IN A SERIES OF INDEPENDENTLY WRITTEN THINGS" "AND I THINK----I THINK IT''S AN UNEVEN FILM," "BUT I THINK THE GOOD BITS ARE AS GOOD" "IF NOT BETTER THAN ANY WE''VE DONE." "WHAT''SAH----WHAT''SALL THE TROUBLE THEN?" "BITTENSIR, DURING THE NIGHT." "HMM." "WHOLE LEG GONE, EH?" "YES." "HOWDOESIT FEEL?" "STINGSA BIT." "HMM." "WELL IT WOULD, WOULDN''T IT?" "THAT''S AH, QUITE A BITE YOU''VE GOT THERE, YEAH?" "YES,A REALBEAUTY, ISN''T IT?" "ANYIDEAHOW IT HAPPENED?" "NONEWHATSOEVER, A COMPLETE MYSTERY TO ME." "WOKE UP JUST NOW, ONE SOCK TOO MANY." "YOUMUSTHAVEAHELL OFA HOLE IN YOUR NET." "HMM,NOWE SENT FOR THE DOCTOR." "OHHARDLYWORTH IT, IS IT?" "WELLYES,BETTER SAFE THAN SORRY." "YES, GOOD LORD" "WELL,OFCOURSE, I HAD TO GO BACK" "AND DO THE ANIMATION." "THAT WAS MY JOB IN THE GROUP" "AND I DIDN''T WANT TO BE A N ANIMATOR ANYMORE AND I" "OKAY, I DID THE TITLES AND I DID A FEW OTHER BITS," "BUT I WAS GETTING VERY FRUSTRATED HAVING NOW DIRECTED" "A COUPLE OF MY OWN FILMS AND ENJOYED THAT FREEDOM" "AND SO I HAD AN IDEA THAT HAD BEEN ORIGINALLY" "AN ANIMATION IDEA WHICH WAS ABOUT THIS GROUP" "OF OLD ACCOUNTANTS WHO SET OFF ON THE HIGH SEAS OF FINANCE" "AND BECOME PIRATES." "IT WAS A CARTOON IDEA AND OUT OF MY FRUSTRATION" "OF BEING TRAPPED AS AN ANIMATOR, I SAID," ""WHY DON''T YOU LET ME MAKE THIS AS A LIVE--ACTION PIECE?"" "AND SO BASICALLY I MADE MY OWN LITTLE FILM." "I HAD MY OWN SET, MY OWN CREW, EVERYTHING," "AND WE MADE THIS SHORT FILM THAT WAS ORIGINALLY SUPPOSED" "TO BE ABOUT TWO--THIRDS OF THE WAY INTO THE MOVIE" "AND IT DIDN''T FIT." "IT''S CALLED "THE CRIMSON PERMANENT ASSURANCE"" "AND IT DIDN''T FIT IN THE MIDDLE OF THE FILM" "AND IT WAS VERY INTERESTING TO REALIZE THAT MY RHYTHMS" "HAD BECOME DIFFERENT THAN THE GROUP''S RHYTHMS" "AND THE RHYTHMS OF THE GROUP AND THE EXPECTATIONS" "OF LAUGH, LAUGH, LAUGH." "THIS THING DIDN''T WORK THAT WAY," "IT WORKED ON A DIFFERENT LEVEL AND WE KEPT CUTTING IT" "SHORTER AND SHORTER AND IT REACHED A POINT WHERE I SAID," ""WELL, WE CAN''T CUT IT ANY SHORTER" "AND LET''S JUST TAKE IT OUT OF THE FILM." "LET''S JUST PULL IT OUT OF THE FILM."" "WELL, THAT''S AN INTERESTING IDEA, SO WE PULLED IT OUT" "AND PUT IT OUT AS A FEATURETTE BEFORE THE FILM," "SO YOU HAVE THIS SHORT FILM," ""THE CRIMSON PERMANENT ASSURANCE"" "THAT GOES ON AND IT DOES WHAT IT DOES AND IT WORKS A TREAT" "AND THEN THE FILM PROPER STARTS." "BUT WHAT IT ALLOWED US TO DO WAS TO HAVE" "TWO--THIRDS OF THE WAY THROUGH THE FILM" "THE SHORT SUBJECT ATTACKING THE FEATURE FILM," "WHICH IS NOT DONE IN MANY FEATURE FILMS." "AND SO WE GOT A DOUBLE JOKE OUT OF IT AND I GOT TO MAKE" "MY OWN LITTLE MOVIE" "AND I GOT TO ESCAPE FROM THE NIGHTMARE OF ANIMATION." "THAT''SITEVANS;" "YOU''RE FIRED." "YOU HEARD ME, OUT." "[ MUSIC ]" "DIDYOUHEARTHAT?" "HE''S BEEN SACKED." "SACKED?" "SACKED?" "COME ON BOYS, LET''S SKEDADDLE!" "[NARRATOR] TOGETHER WITH CHARLES McKEOWN AND TOM STOPPARD," "GILLIAM WROTE THE SCREENPLAY FOR HIS 1985 RELEASE" "OF "BRAZIL" STARRING JONATHAN PRYCE, ROBERT DENIRO" "AND KATHERINE HELMOND AND PRODUCED BY ARNON MILCHAN." "GILLIAM HAD LONG BATTLES WITH UNIVERSAL" "OVER THE RELEASE OF THIS FILM IN AMERICA." "UNIVERSAL INSISTED ON RECUTTING THE FILM" "AND CHANGING THE ENDING TO A HAPPY ONE, WHICH," "OF COURSE, GILLIAM RESISTED, ALTHOUGH HE DID CUT" "A 132--MINUTE VERSION FOR THE AMERICAN MARKET." "BUT AFTER WINNING BEST PICTURE," "BEST DIRECTOR, AND BEST SCREENPLAY AWARDS" "AT THE LOS ANGELES FILM CRITICS ASSOCIATION AWARDS" "WITHOUT BEING RELEASED IN THE USA," "UNIVERSAL RUSHED TO RELEASE GILLIAM''S VERSION" "SO THAT IT COULD QUALIFY FOR THAT YEAR''S ACADEMY AWARDS." ""BRAZIL" RECEIVED TWO ACADEMY AWARD NOMINATIONS." ""TIMEBANDITS"IN AMERICA WAS THE MOST SUCCESSFUL FILM" "I''VE DONE BECAUSE IT MADE ABOUT $50 MILLION THEN," "WHICH IS PROBABLY OVER 100 NOW," ". AND I''VE NEVER MATCHED THAT" "AND SO FOR A PERIOD THERE I WAS "HOT."" "I HAD SUDDENLY BEEN ELEVATED TO A "HOT" DIRECTOR." "AND THERE WAS A PROJECT THAT THEY WERE TRYING" "TO GET MADE, AND THEY''D CLEARLY GONE" "THROUGH SPIELBERG AND LUCAS AND ALL THE OTHER DIRECTORS" "AND FINALLY GOT DOWN TO MY NAME." "AND THERE''S A MENTALITY A T WORK HERE THAT THIS" "WAS THE NUMBER ONE PROJECT AND AS THEY WENT DOWN THE LIST" "OF DIRECTORS, RATHER THAN GOING LOWER," "THEY WERE ELEVATING EACH DIRECTOR UP" "TO THE DIRECTOR WORTHY OF THIS HOT PROJECT" "SO SUDDENLY I BECAME THE "HOT" DIRECTOR THAT WAS THERE" "TO DO THIS HOT PROJECT AND WHEN I TURNED IT DOWN THEY WERE," ""WHAT, HOW COULD YOU?"" "I SAID BECAUSE THERE''S SOMETHIN G BETTER CALLED "BRAZIL."" "AND "BRAZIL," WHICH HAD BEEN BEING IGNORED BY THEM ALL," "REJECTED BY THEM ALL, SUDDENLY HAD BEEN ELEVATED--- ---NOW TO BE A "HOT" PROPERTY BECAUSE THE "HOT" DIRECTOR" "HAD TURNED DOWN THE NUMBER ONE HOT PROPERTY" "FOR ANOTHER PROPERTY---- COMPLEX, BUT TRUE." "IT WAS A STRANGE EXPERIENCE BECAUSE WE WERE, I THINK," "SCHEDULED FOR A 20 OR 21--WEEK SHOOT," "IN THE END WE SHOT FOR NINE MONTHS" "AND CAME IN UNDER BUDGET BY $1 MILLION." "[ MUSIC ]" "SAM!" "ITHINKONEOFTHEREASONS PEOPLE DON''T GET "BRAZIL"" "IS BECAUSE OF WHAT I SPOKE ABOUT BEFORE OF THE DENSITY OF IT." "THERE IS SO MUCH IN IT THAT IT''S IMPOSSIBLE TO SEE IT" "ONE TIME THROUGH." "HIS MIND IS SO FERTILE, HIS IMAGINATION IS SO FERTILE," "AND HIS VISUALIZATION IS SO RICH THAT YOU JUST CAN''T SEE IT ALL." "AND YOU''RE LOOKING, YOU''RE LISTENING," "YOU''RE TRYING TO FOLLOW." "SAM,IT''STIMEFOR YOU  TO GROW UP" "AND ACCEPT RESPONSIBILITY." "YOUR POOR FATHER WOULD BE APPALLED AT YOUR LACK" "OF PROMOTION." "WHEW." "MOTHER,I JUSTWISHYOU  WOULD STOP INTERFERING." "I DON''T WANT PROMOTION." "I''M HAPPY WHERE I AM." "NOYOU''RENOT." "JACK LINT IS A LESSON TO YOU," ". HE DOESN''T HAVE YOUR BRAINS BUT HE''S GOT THE AMBITION" "YOU HAVEN''T GOT THE AMBITION, LUCKILY YOU''VE GOT ME" "AND THE DEPUTY MINISTER, MR. HELPMANN WAS VERY CLOSE" "TO YOUR FATHER" "NOWPLEASE,MRS.LOWRY, DON''T GET UPSET." "MR. LOWRY, PLEASE WAIT IN RECEPTION," "YOU''RE GIVING HER WRINKLES." "YOUSEE?" "GOD!" "JUSTTRYANDRELAX, MRS. LOWRY." "HMM." "I''LLMAKEYOUTWENTY YEARS YOUNGER." "BAH!" "NOW,DR.JAFFE, YOU ARE A GENIUS." "WHENWESTARTED CASTING THE FILM," "ARNON WAS A GOOD BUDDY OF ROBERT DENIRO''S." "HE''D JUST DONE "ONCE UPON A TIM E IN AMERICA" AND BOB WAS," "I THINK, A PYTHON FAN AS WELL AND WE MET AND ARNON SAID," ""HEY WE''VE GOT TO GET HIM IN THE MOVIE."" "AND I SENT HIM A SCRIPT SAYING, "PICK ANY PART YOU WANT."" "AND HE CHOSE THE PART THAT I HAD ALREADY GIVEN TO MIKE PALIN." "AAAHHH, NO, IT''S GONE, BOB." "AND IT TOOK ME, I DON''T KNOW," "IT SEEMED TO TAKE A MONTH OR TWO TO CONVINCE HIM" "TO PLAY HARRY TUTTLE, THE FREELANCE ENGINEER," "THE MAN WHO MAKES THINGS WORK, THE REAL HERO OF THE FILM" "AS FAR AS I''M CONCERNED." "IT WAS INTERESTING BECAUSE BOB THOUGHT" "HE WAS TOO SIMPLISTIC A CHARACTER" "AND THAT''S WHAT I THOUGHT WAS WONDERFUL," "FOR HIM TO PLAY A HERO." "I SAID, "YOU''RE A HERO TO US." "IT''S SIMPLE, YOU JUST GO IN AND YOU DO IT."" "EVEN A SMALL PART, HE''S GOT TO PUT EVERYTHING INTO IT" "AND IT''S IMPRESSIVE." "[ HISSING SOUNDS ]" "BUTWOULDN''TIT BE SIMPLER JUST TO, YOU KNOW, WORK FOR" "WILLYOUHOLDTHIS FOR ME PLEASE?" "SORRY,YES." "I WAS SAYING, WOULDN''T IT BE SIMPLER" "TO WORK WITH CENTRAL SERVICES?" "BAH!" " BAH, COULDN''T STAND THE PA" "[ HISSING AND GURGLING ]" "WE''RE GETTING WARM." "YOUCOULDN''TWHAT?" "COULDN''T STAND THE WHAT?" "PAPERWORK,COULDN''T STAND THE PAPERWORK." "LISTEN, THIS WHOLE SYSTEM OF YOURS COULD BE ON FIRE" "AND I COULDN''T EVEN TURN ON A KITCHEN TAP" "WITHOUT FILLING OUT A 27B/6, BLOODY PAPERWORK." "HUH." "ISUPPOSEONEHAS TO EXPECT A CERTAIN AMOUNT." "WHY?" "I CAME INTO THIS GAME FOR THE ACTION," "THE EXCITEMENT." "GO ANYWHERE, TRAVEL LIGHT, GET IN, GET OUT," "WHEREVER THERE''S TROUBLE, A MAN ALONE." "NOW THEY''VE GOT THE WHOLE COUNTRY SECTIONED OFF," "YOU CAN''T MAKE A MOVE WITHOUT A FORM." "[NARRATOR] IF EVER THERE WAS A FILM TO TEST GILLIAM''S PATIENCE," "IT WAS THE 1989 PRODUCTION" "OF "THE ADVENTURES OF BARON MUNCHAUSEN"" "STARRING JOHN NEVILLE AND ERIC IDLE." "GILLIAM WROTE, "FILMING OF MUNCHAUSEN" ""COMMENCES AT CINECITTA STUDIOS, ROME." "PRODUCTION SELF--DESTRUCTS, BUDGET GOES INTO ORBIT."" "YET FOR ALL ITS PROBLEMS, MUNCHAUSEN TURNED OUT TO BE," "AS ONE CRITIC WROTE, "ANOTHER BRILLIANTLY INVENTIVE" "EPIC OF FANTASY AND SATIRE."" "EVERYTHINGABOUT MUNCHAUSEN IS A LIE;" "YOU''VE GOT TO UNDERSTAND THAT FROM THE BEGINNING." "THIS IS VERY IMPORTANT, THERE ARE SO MANY LIES TOLD" "ABOUT MUNCHAUSEN, WHICH I HESITATE TO CORRECT" "BECAUSE THEY''RE ALWAYS MORE INTERESTING." "I MEAN, I READ THAT IT''S ON E OF THE MOST EXPENSIVE FILMS" "E. OF ALL TIME----IT''S NOT TRU" "I READ THAT IT COST $50 MILLION, $46 MILLION, NOT TRUE." "BUT IN A WAY THOSE LIES HAVE CREATED A FILM" "THAT''S BIGGER THAN IT REALLY WAS." "WHAT IT WAS, THOUGH, WAS A NIGHTMARE." "THE DOGS THAT WE HAD DEVELOPED A SICKNESS." "THERE WAS AN OUTBREAK OF SOME KIND OF HORSE FEVER IN SPAIN" "SO THE HORSE THAT WE HAD TRAINED FOR SEVERAL MONTHS" "TO DO THE TRICKS COULDN''T BE BROUGHT TO SPAIN." "EVERYTHING THAT COULD GO WRONG DID GO WRONG" "ON THAT FILM, SO IT WAS" " IT WAS LIKE REALITY" "WAS TRYING TO PROVE TO ME THAT DREAMERS DON''T WIN." "THAT FANTASY IS A LIE, THIS IS REALITY" "AND THE WHOLE FILM WAS LIKE THAT----EVERYTHING WENT WRONG." "MAKEYOURSELFUSEFUL, ONE, TWO, THREE!" "COULDN''TMAKETHAT FOUR COULD YOU?" "WE''REGOINGDOWN!" "ABANDONSHIP!" "[HORSES WHINNYING]" "ABANDON SHIP!" "ITHINKTHESHIP''S ABANDONING US, MATE!" "HUP,HUP,OHHH!" "ATTACK!" "IT''SWASPROBABLY---- IT''S THE ONE EXPERIENCE" "THAT I FIND HARDEST TO TALK ABOUT BECAUSE IT WAS SO PAINFUL." "AND WHAT WAS SO LOVELY ABOUT IT WAS THAT" "I WAS GOING THROUGH THIS NIGHTMARE" "BECAUSE I WAS THE ONE PERSON WHO KNEW WE COULDN''T FINISH THE FILM." "THIS WAS MY SECRET THAT I HAD TO CARRY EVERY DAY," "KNOWING THERE WAS NO WAY THE FILM WOULD EVER BE FINISHED." "AND MY ASSISTANT WHO HAD NEVER WORKED ON A FILM BEFORE" "SAW THIS HULK OF A CREATURE EVERY DAY, "GRRRR"" "AND EVERY DAY WAS PAINFUL AND SCREAMS" "AND THEN WE''D SEE THE RUSHES AN D IT WAS FANTASY, AND JOY," "AND LAUGHTER, AND SHE COULDN''T WORK OUT HOW THIS CREATED THAT." "IT WAS LIKE, YOU KNOW, IT WAS LIKE----IT WAS" "LIKE THE PEAT MOSS, THE MULCH----THIS FILTHY," "DARK STUFF THAT BEAUTIFUL FLOWERS GROW OUT OF." "SAVEUS!" "PLEASE!" "SAVEUS." "DON''T DISAPPOINT ME." "PLEASEBARON, PLEASE, OH." "YOUAREABARON AREN''T YOU?" "YOU''REOURONLYHOPE!" "YOUAREMY ONLYHOPE." "LADIES,LADIES, PLEASE, PLEASE." "I SWEAR THAT AS LONG AS I HIERONYMOUS KARL FRIEDRICH" "BARON VON MUNCHAUSEN LIVE AND BREATHE" "YOU SHALL COME TO NO HARM." "OH." "YOUSOREMINDME OF CATHERINE THE GREAT," "EMPRESS OF ALL THE RUSSIANS," "WHO''S HAND IN MARRIAGE I ONCE HAD THE HONOR TO DECLINE." "THEYALLREMINDYOU ?" "YES,WHYNOT?" "SOME BITS HERE, SOME BITS THERE." "EVENTUALLYWEGOTTHROUGH THE FILM AND IT WAS" "AN EXTRAORDINARILY DIFFICULT EXPERIENCE" "BUT WHAT I LIKE IS WHEN YOU LOOK AT THE FILM" ", YOU DON''T SEE ANY OF THAT, YOU DON''T SEE ANY OF THE PAIN" "THE BLOOD, THE AWFULNESS, WHAT YOU SEE IS SOMETHING" "THAT''S BEAUTIFUL AND FUNN Y AND SAD AND EXHILARATING." "[NARRATOR] IN HIS BIO, GILLIAM WROTE, "PUTS HEAD IN MOUTH" "OF HOLLYWOOD LION AND DIRECTS FIRST AMERICAN STUDIO FILM."" "THE 1991 RELEASE OF "THE FISHER KING"" "BRINGS FIVE ACADEMY AWARD NOMINATIONS AND AN OSCAR" "FOR MERCEDES RUEHL AS BEST SUPPORTING ACTRESS." "THE FILM STARRED JEFF BRIDGES, ROBIN WILLIAMS," "AMANDA PLUMMER AND MERCEDES RUEHL." "CRITIC DESSON HOWE OF THE WASHINGTON POST WROTE," ""TERRY GILLIAM''S ''THE FISHER KING'' IS AN ODD BEAST." ""IN THIS CASE, THAT''S SOMETHING TO TREASURE," ""A MODERN EPIC THAT FUSES MYTH WITH HARD--EDGED REALITY." "IT''S A ONE--OF--A--KIND, THOROU GHLYENGAGING EXPERIENCE."" "HE''SANORIGINAL." "HE''S A MAN THAT LISTENS TO HIS IMAGINATION----IS RULED BY I T." "HIS IMAGINATION IS STEEP AND BORNE OUT" "OF A TREMENDOUS KNOWLEDGE AND EXPERIENCE WITH MYTHOLOGY" "AND THE MYTHOLOGY IS SPEAKING ABOUT THE MYSTERIOUS" "IN EVERY ONE OF US AND IN EVERYTHING" "AND THIS IS WHAT HE EXPLORES AND HE DOESN''T" "HE''S NOT INTERESTED IN FIXED NOTIONS." "AFTERMUNCHAUSEN,IWAS  REALLY KNACKERED AND FED UP" "AND I DIDN''T THINK I WAS EVER GOING" "TO MAKE A MOVIE AGAIN, I WAS JUST TIRED." "AND I DIDN''T WANT TO MAKE BIG SPECIAL EFFECTS FILMS ANYMORE," "THEY WERE JUST TOO TAXING" " AND THIS SCRIPT ARRIVED." "AND MY AGENT SENT IT TO ME AND SAID THIS IS SOME" "INTERESTING WRITING AND I SAID, "YOU KNOW," "I DON''T WANT TO READ ANYBOD Y ELSE''S SCRIPT."" ""BUT IT''S INTERESTING, READ IT."" "AND I OPENED IT AND STARTED READING IT," "AND IT WAS ABOUT THREE O''CLOCK IN THE MORNING" " AND I JUST KEPT READING BECAUSE FROM THE VERY FIRST PAGE I" "WHAT WONDERFUL DIALOG, WHAT REALLY GOOD CHARACTERS." "AND IT WAS LIKE I WISH I HAD WRITTEN IT, I JUST FELT," "I COULD HAVE WRITTEN THIS," "EXCEPT FOR I''M NOT THAT TALENTED." "AND IT WAS JUST CHARACTERS I UNDERSTOOD AND I LIKED." "AND THERE IT WAS, FOUR PEOPLE, NO EFFECTS, NOTHING," "LET''S GO AHEAD AND DO IT." "BECAUSE I THINK AT THAT POINT I''D REACHED THE STAGE" "WHERE I SAID I WAS GOING TO MAKE A FILM" "ABOUT A SCHIZOPHRENIC, I WAS GOING" "TO MAKE A REALLY, REALLY, SMALL FILM." "IT WAS GOING TO BE ABOUT A SCHIZOPHRENIC" "BUT ONLY HALF HIS PERSONALITY." "AND THIS CAME ALONG AND IT SOLVED MY PROBLEM." "THATWHOLEIDEAWITH "THE FISHER KING" WAS SOMETHING" "THAT HAD FIGURED HEAVILY IN MY SENIOR THESIS" "AND I DIDN''T KNOW ANYBODY ELSE IN THE WORLD EVEN KNEW" "WHO THE FISHER KING WAS, YOU KNOW," "BECAUSE THAT''S PRETTY RARE STUFF." "SO IT ALMOST HAD----WHEN I S AW THIS FILM," "THIS SCRIPT WITH "THE FISHER KING" WRITTEN ACROSS IT," "IT ALMOST HAD----LIKE IT ALMOST CAME WITH WEIGHT OF FATE." "AND WE HAD THIS INCREDIBLE CONVERSATION AND I THINK" "HE GAVE ME THE JOB JUST TO SHUT ME UP FINALLY." "AND WHEN I WENT OUT THE DOOR, YOU KNOW," "I WAS SO ELATED FROM FINDING A MIND SO LAMBENT" "AND ENGAGING AND CHALLENGING." "I WAS SO, YOU KNOW, I THINK YOU LITERALLY GET EXCITED," "THE CELLS IN YOUR BODY ARE, YOU KNOW, DOING THE MERENGUE, YOU KNOW?" "EVERYTHING THAT----I TURNE D AROUND AT THE DOOR" "AND I SAID GOODBYE AND I TURNED AROUND" "AND I WALKED INTO A MIRROR." "AT THE END OF THE HALL, I WALKED INTO A MIRROR." "YOUKNOWWHAT THE HOLY GRAIL IS?" "THEHOLYGRAIL?" "YEAH, I KNOW THAT ONE, THAT WAS LIKE JESUS'' JUICE GLASS." "OH YEAH." "OH YEAH, I USED TO BE SUCH A CATHOLIC." "YOUSTILLBELIEVEINGOD?" "YEAH,YOU''VEGOT TO BELIEVE IN GOD." "BUT I DON''T BELIEVE THAT GOD MADE MEN IN HIS IMAGE" "BECAUSE MOST THE SHIT THAT HAPPENS IS BECAUSE OF MEN." "NAH, I THINK MAN WAS MADE IN THE DEVIL''S IMAGE" "AND WOMEN WERE CREATED OUT OF GOD." "BECAUSE AFTER ALL, WOMEN CAN HAVE BABIES WHICH IS KIND" "OF LIKE CREATING AND WHICH ALSO COUNTS FOR THE FACT" "THAT WOMEN ARE SO ATTRACTED TO MEN," "BECAUSE LET''S FACE IT," "THE DEVIL IS A HELL OF A LOT MORE INTERESTING." "I SLEPT WITH SOME SAINTS IN MY DAY AND, BELIEVE ME," "I KNOW WHAT I''M TALKING ABOUT, EWW, BORING." "ITHINKONEOFTHEREASONS THEY OFFERED THE FILM TO ME" "WAS THEY WANTED ROBIN TO PLAY "PERRY,"" "AND I THINK THEY''D SAT DOWN AND GONE THROUGH" "THE LIST OF DIRECTORS HE HAD WORKED WITH THAT HE LIKED" "AND DISCOVERED THEY WERE ALL WORKING EXCEPT FOR ME." "SO WHEN THE SCRIPT ARRIVED, ONE OF MY JOBS WAS TO CONVINCE ROBIN" "TO DO IT AND THAT WAS THE FIRST THING I DID." "AND I THOUGHT IT''D BE FANTASTIC AND HE WAS A FRIEND AND GREAT," "AND THEN I FELT I REALLY WANTED AN ACTOR THAT WOULD GROUND HIM" "BECAUSE I WAS FRIGHTENED THAT ROBIN AND ME TOGETHER" "WOULD JUST FLY OFF INTO MADNESS AND SILLINESS." "AND I WAS LOOKING FOR---- BASICALLY I WAS LOOKING FOR," "LIKE, A YOUNG JACK NICHOLSON BECAUSE THE CHARACTER HAD TO BE" "REALLY FAST--TALKING AND SNAPPY AND CYNICAL AND SHARP" "AND THE LAST PERSON I WAS THINKING OF, OF COURSE," "WAS JEFF BRIDGES." "BECAUSE JEFF WAS LACONIC AND HE WAS" "AND I WAS ON A PLANE FLYING ACROSS THE STATES" "AND "BAKER BOYS" WAS ON AND I SAW HIM AND SAID," ""OH, HE CAN DO IT, HE''D BE FANTASTIC."" "AND I COULDN''T WAIT TO GET OFF THE PLANE TO TELEPHONE" "AND GET IN TOUCH WITH JEFF." "CANYOUKEEPASECRET?" "NO." "GOOD." "BECAUSE YOU KNOW WHAT THE LITTLE PEOPLE TOLD ME?" "THELITTLEPEOPLE?" ". OH,YOUKNOW, THEY SAID, YOU''RE THE ONE" "THEONEWHAT?" "SHUTUP!" "GET AWAY FROM HIM!" "OH SORRY, PLEASE FORGIVE HIM, WE''D AGREED TO" "I''M SORRY ABOUT THIS---- THERE WE ARE." "YEAH, THEY SAID YOU''RE NOT READY TO KNOW YET." "I''MNOT." "HEISTOO!" "GET OUT OF HERE!" "FUCK OFF!" "OH, BEAT IT!" "I AM RIGHT!" "OH, OH YEAH;" "FLY UP THERE." "OH, OH, YEAH." "THERE''SNOPLACETOBE INSECURE ON HIS SET." "ANYTHING CAN HAPPEN AND IS WELCOMED TO HAPPEN." "I THINK IT''S THE CLOSEST TO HEAVEN THAT I WOULD IMAGINE" "THAT AN ACTOR WOULD IMAGINE HEAVEN WOULD BE," "WOULD BE A SET LIKE THAT." "ONTHESETTHE FOUR OF US HAD A FEELING" "OF GENUINE CAMARADERIE AND ROBIN, OF COURSE," "IS WONDERFUL TO WORK WITH BECAUSE HE''S 95 PERCENT" "OF THE TIME, WHEN TWO OR MORE" "ARE GATHERED IN HIS PRESENCE, THAT GUY IS "ON."" "I MEAN HE''S CHANNELING THE HUMO OF THE UNIVERSE ALL THE TIME," "AS IF IT''S, LIKE, COURSING THROUGH HIM," "YOU KNOW, INVOLUNTARILY." "JEFF IS VERY INTENSE, VERY INTERNAL." "AMANDA IS A TOTAL ORIGINAL AS A HUMAN BEING." "SHE HAS AN ORIGINAL KIND OF ENERGY AND AN ORIGINAL" "KIND OF INTENSITY." "I''VE NEVER MET ANYBODY LIKE HER BEFORE IN MY LIFE." "BUT SOMEHOW WE MADE A HARMONIOUS GROUP." "AND I THINK IT HAD SOMETHING TO DO WITH TERRY" "THE TONE HE SET." "THE GREAT DESIRE WE ALL HAD TO PLEASE HIM AND THE MATERIAL" "THAT HE CHOSE, THE WAY HE GETS EXCITED" "AND ENTHUSED ABOUT MATERIAL." "ANYBODYSPECIAL IN YOUR LIFE?" "DOESITLOOKLIKETHERE'' S ANYBODY SPECIAL IN MY LIFE?" "WELL,YOUDON''THAVET O SAY IT LIKE THAT." "IT''S NOT SO, YOU KNOW, CRAZY AN IDEA." "YOU''RE A HEALTHY WOMAN, YOU HAVE A STEADY JOB," "YOU''RE NOT CROSS--EYED OR ANYTHING." "NOPE,THEREIS  NOBODY SPECIAL." "OKAY,FINE." "IMEANIT ''S----IT''SNOTEAS  Y IN THIS DAY AND AGE" "WHAT''SNOTEASY?" "MEETINGPEOPLE." "OHGOD,TELLMEABOUTIT." "I''VE BEEN DATING LONGER THAN I''VE BEEN DRIVING." "I CAN''T BELIEVE THAT." "IHAVENEVERBEENTHROUGH A DATING PERIOD." "IT''SA DISGUSTINGPROCESS;" "YOU HAVEN''T MISSED A THING." "IT''SANINTERESTING THING, MAKING" "OR AN INTERESTING EXERCISE MAKING "FISHER KING"" "BECAUSE I WAS TRYING NOT TO MAKE A "TERRY GILLIAM FILM,"" "I WAS TRYING TO MAKE THAT SCRIPT." "I WAS TRYING TO JUST SERVE THE SCRIPT." "AND I WAS ALWAYS VERY NERVOUS ABOUT PUTTING TOO MANY" "OF MY FANTASTICAL IDEAS ON THE SCRIPT AND THERE WAS" "A SCENE IN GRAND CENTRAL STATION THAT RICHARD HAD WRITTEN WITH A," "SORT OF, A POOR BLACK WOMAN SINGING AND PEOPLE WOULD STOP BY" "AND GIVE HER MONEY." "LITTLE BY LITTLE, THE CROWD GREW" "AND THAT WAS KIND OF A BEAUTIFUL MOMENT." "BUT IT WAS BASICALLY A REALISTIC," "NATURALISTIC MOMENT IN THE FILM." "AND I WAS AT GRAND CENTRAL LOOKING AT IT AND TRYING TO GET" "A SENSE OF THE RHYTHMS OF THE PLACE AND I WAS WATCHING" "ALL THESE, YOU KNOW, COMMUTERS RUSHING BACK AND FORTH" "AND THEN AS RUSH HOUR DEVELOPED, THEY GET FASTER AND FASTER" "AND IT WAS LIKE A SWARM BUILDING, BUILDING, BUILDING." "AND I THOUGHT WOULDN''T IT BE WONDERFUL" "IF THIS THING BUILDS AND BUILDS, IT''S LIKE "BOOP"" " IT BREAKS OUT INTO A WALTZ AND THEY ALL, SUDDENLY HAVING" "RATHER THAN RUSHING PAST THE NEXT PERSON" "THEY SUDDENLY FALL IN LOVE AND THEY START DANCING" "AND I SAID, "AH, SILLY IDEA" AND THE PRODUCERS" "AND EVERYBODY SAYS, "NO YOU''VE GOT TO USE IT."" "I SAID, "NO, NO, THAT WOULD BE A TERRY GILLIAM FILM." ""WE''RE NOT GOING TO USE THIS IN THIS FILM." "THIS IS RICHARD''S FILM." AND EVERYBODY KEPT PESTERING ME" "AND I SAID OKAY, FINE, WE AGREED TO DO IT." "AND THEN WE GOT INTO GRAND CENTRAL STATION" "AND WE BASICALLY HAD ONE NIGHT TO PULL THAT THING OFF." "[ MUSIC ]" "[NARRATOR] BRUCE WILLIS, MADELEINE STOWE AND BRAD PITT STAR" "IN GILLIAM''S 1995 RELEASE OF "TWELVE MONKEYS,"" "WHICH OPENED TO WORLDWIDE AUDIENCE ACCEPTANCE" "AND RECEIVED TWO ACADEMY AWARD NOMINATIONS." "WHEN ASKED BY AN INTERVIEWER WHAT "TWELVE MONKEYS" WAS ABOUT" "GILLIAM REPLIED, "THAT''S THE TROUBLE, I DON''T KNOW." ""I KNOW ALL THE BITS AND PIECES ARE ALL GOOD" "IN THEMSELVES, IT''S HOW THEY AL STRING TOGETHER THAT COUNTS."" "ONCEYOUCOMMIT TO A PROJECT," "YOU THINK, OH IT''S GOING TO HAPPEN." "OF COURSE IT DOESN''T QUITE HAPPEN THAT WAY." "AND THE ORIGINAL ACTORS WE WERE TALKING ABOUT," "THE STUDIO WASN''T HAPPY WIT H AND I KEPT WALKING AWAY" "FROM THIS PROJECT BECAUSE THEY KEPT OFFERING UP" "BIG NAMES AND THEY WERE ALL THE WRONG NAMES." "AND I SAID, "NO, I DON''T WANT TO KNOW ABOUT IT."" "AND THEN ONE DAY I GOT A CALL FROM MY AGENT SAYING" "BRUCE WILLIS WAS INTERESTED." "NOW I HAD MET BRUCE" "ON "FISHER KING" BECAUSE HE WAS INTERESTED" "IN PLAYING THE PART THAT JEFF HAD ULTIMATELY PLAYED." "AND WE''D SPENT AN AFTERNOON TOGETHER AND I REALLY LIKED HIM" "AND HE WAS A VERY DIFFERENT GUY THAN I EXPECTED," "MUCH SMARTER AND MUCH MORE INTERESTING." "AND WHEN HIS NAME CAME UP ON THIS ONE, OH, THAT''S GREAT," "THAT''S A GOOD IDEA AND I WENT T O NEW YORK AND WE MET" "AND WE TALKED ABOUT IT." "AND I SAID----YOU KNOW, THIS IS A SERIOUS ACTING JOB" "AND I DIDN''T WANT AND NOR DID BRUCE WANT" "TO BRING THE BRUCE WILLIS BAGGAGE ALONG." "I THINK IT''S THE BEST PERFORMANCE HE''S EVER DONE" "AND I THINK---- I''M ACTUALLY VERY SAD" "THAT HE WASN''T NOMINATED FOR SOMETHING" "BECAUSE I THINK IT''S A REALLY FINE PERFORMANCE." "AND THE MORE I WATCH THE FILM," "THE MORE I APPRECIATE IT, IT''S A REALLY INTELLIGENT," "SENSITIVE PERFORMANCE." "INEEDTO GO ." "I NEED TO" "I''M SUPPOSED TO BE GATHERING INFORMATION." "WHATKINDOF INFORMATION?" "ITWON''THELPYOU ." "IT WON''T HELP ANYONE, WON''T CHANGE ANYTHING." "JAMES,DOYOUKNOW WHY YOU''RE HERE?" "D. BECAUSEI ''MA GOOD OBSERVER----HAVE A TOUGH MIN" "ISEE." "YOU DON''T REMEMBER ASSAULTING A POLICE OFFICER," "SEVERAL OFFIC" "WHYAMICHAINED?" "WHY ARE THERE CHAINS ON ME?" "YOU''VEBEENIN AN INSTITUTIO N BEFORE HAVEN''T YOU?" "OR A HOSPITAL?" "NOWI NEEDTO GO !" "NEED TO GO!" "AREYOUIN  PRISON, JAMES?" "UNDERGROUND." "HIDING?" "ILOVETHISAIR ." "OH, THIS IS SUCH WONDERFUL AIR." "TERRYWASTALKING ABOUT DOING" ""A TALE OF TWO CITIES" FOR A LONG TIME" "AND WE HAD INITIALLY MET SEVERAL MONTHS BEFORE" "ALL THIS CAME UP FOR "TWELVE MONKEYS,"" "I MEAN OBVIOUSLY WE NEVER MADE THE MOVIE." "YEAH,I MEAN,IREMEMBER WHEN WE WERE CASTING" "FOR DR. RAILLY''S PART AND W E STARTED GOING DOWN A LIST" "OF NAMES OF ACTRESSES AND WE CAME TO MADELEINE STOWE" "AND I SAID, "THAT''S IT, DONE."" "IFELTTHATTHEREWASA  REALLY OVERPOWERING SENSE" "OF NOSTALGIA ABOUT THE FILM." "AND I DIDN''T MEAN NOSTALGIA IN THE SENSE THAT, YOU KNOW," "PEOPLE LONG FOR THE ''50s, OR THE ''60s, OR THE ''70s" "BUT MORE FOR THINGS THAT WE FEEL HAPPEN IN OUR LIVES" "THAT MAYBE WERE MORE AMBIGUOUS THAN WE KNEW ABOUT" "AND IT DIDN''T NECESSARILY HAPPEN BUT IT WAS SUCH" "AN OVERWHELMING FEELING THAT YOU FELT YOU WERE" "IN ANOTHER TIME AND PLACE WHILE YOU WERE LIVING" "IN THIS TIME AND PLACE AND HE SOMEHOW CONNECTED TO THAT." "SHE''STHEANCHOR FOR THE FILM," "SHE''S THE AUDIENCE AND IN MANY WAYS SHE WAS THE ANCHOR FOR ME" "WHEN WE WERE SHOOTING," "SHE WAS THE ONE PERSON THAT I COULD ALWAYS RELY ON." "BECAUSE BRUCE AND BRAD WERE OUT THERE ON THE EDGE," "DANGEROUS, SOMETIMES MAKING IT, SOMETIMES NOT," "BUT THEY WERE OUT THERE AND SHE WAS THE CENTER." "SHE, KIND OF, ANCHORED ME THROUGH THE COURSE OF THE FILM." "SHE WAS ONE PERSON I COULD ALWAYS TALK TO ABOUT" "WHATEVER WAS GOING RIGHT OR WRONG." "HENOTONLYUSED THE WORD "PRANK,"" "HE SAID THE BOY WAS HIDING IN A BARN." "KATHRYN,KATHRYN, HE KIDNAPPED YOU," "YOU SAW HIM MURDER SOMEBODY AND YOU KNEW THERE WAS" "A REAL POSSIBILITY THAT HE COULD KILL YOU TOO." "YOU WERE UNDER TREMENDOUS EMOTIONAL STRESS." "OHFORGOD''SSAKE, OWEN, LISTEN TO ME." "HE KNEW ABOUT THE BOY IN FRESNO AND HE SAYS FIVE BILLION PEOPLE" "ARE GOING TO DIE!" "NOWAYHE COULDPOSSIBLY KNOW THAT." "KATHRYN, YOU''RE A RATIONAL PERSON," "YOU''RE A TRAINED PSYCHIATRIST-- " " YOU KNOW THE DIFFERENCE" "BETWEEN WHAT''S REAL AND WHAT''S NOT." "ANDWHATWE SAY IS THE TRUTH" "IS WHAT EVERYBODY ACCEPTS, RIGHT, OWEN?" "I MEAN, PSYCHIATRY, IT''S THE LATEST RELIGION." "WE DECIDE WHAT''S RIGHT AND WRONG," "WE DECIDE WHO''S CRAZY OR NOT." "I''M IN TROUBLE HERE." "I''M LOSING MY FAITH." "WELL,FIRSTOF ALL,IHAVE A REAL SOFT SPOT FOR TERRY" "BECAUSE I WENT TO HIM, YOU KNOW, I READ THIS AND I WENT TO HIM" "TO GET THE ROLE AND HE TOOK A BIG CHANCE WITH ME" "BECAUSE THIS IS, YOU KNOW, THIS IS NOT WHAT" "YOU WOULD SEE ME BEING ABLE TO PULL OFF." "HE REALLY TOOK A CHANCE WITH ME." "HEWASSUPPOSEDTO BE SENDING ME TAPES" "OF HIS PROGRESS, WHICH HE DETERMINEDLY REFUSED TO DO" "AND I WAS GETTING VERY NERVOUS AS WE WERE APPROACHING" "SHOOTING DATES." "OH, IT''S NOT GOING TO WORK, IT''S GOING TO BE A DISASTER," "HE''S CONNED ME." "OH, I''VE MADE A MAJOR MISTAKE HERE." "YOUTAKEAROLEYOU WANT TO FIND SOMETHING" "WHERE THERE''S A LOT TO, I GUESS THE CLICH?" "É IS "CHEW ON"" "E AND YOU DEFINITELY WANT TO TRY SOMETHING YOU HAVEN''T DON" "BEFORE AND, YEAH, A LOT GOING ON WITH THIS LITTLE GUY." "WE KIND OF DREW FROM DIFFERENT SYMPTOMS, YOU KNOW," "SYMPTOMS THAT DOCTORS LABEL PEOPLE AS," "WE DREW FROM DIFFERENT THINGS IN THAT WAY." "ANDTHENON THEFIRST DAY OF SHOOTING," "IT''S THE FIRST----IT''S THE INTRO INTO THE FILM" "IS EXACTLY THE FIRST DAY OF SHOOTING AND WE JUST GOT" "ON THE SET AND WE EXPLODED, IT WAS LIKE, "WHOA," "JESUS THIS IS FANTASTIC."" "AND WE JUST SHOT, SHOT, AND SHOT AND BY THE END OF THE DAY," "HE WAS LIKE A WET DISHRAG." "HE WAS JUST DRAINED, HE COULD BARELY STAND UP," "I MEAN, THOSE TICS AND TWITCHES AND LEAKS AND THINGS ARE" "JUST EXTRAORDINARILY HE WAS GOOD." "IT WAS WONDERFUL;" "HE WAS SO FUNNY." "UH,HEY,IF ALLOFTHESENUTS COULD JUST MAKE PHONE CALLS," "IT COULD SPREAD, INSANITY OOZING THROUGH TELEPHONE CABLES," "OOZING TO THE EARS OF ALL OF THESE POOR, SANE PEOPLE," "INFECTING THEM." "WACKOS EVERYWHERE---- PLAGUE OF MADNESS." "COMEON,LET''SGO." "INFACT,VERYFEW----FEW- --- VERY FEW OF US HERE" "ARE ACTUALLY MENTALLY ILL." "I''M NOT SAYING YOU''RE NO T MENTALLY ILL, FOR ALL I KNOW" "YOU''RE CRAZY AS A LOON." "BUT THAT''S NOT WHY YOU''RE HERE." "THAT''S NOT WHY YOU''RE HERE." "THAT''S NOT WHY YOU''RE HERE!" "YOU''RE HERE BECAUSE OF THE SYSTEM." "STRANGELYMYLIFEHAS  BEEN AN INTERESTING PATTERN." "I''VE LEARNED PATIENCE, IS WHAT I''VE LEARNED" "BECAUSE WHAT I WANTED TO BE IS WHAT I AM NOW," "BUT I WANTED TO BE IT WHEN I WAS LIKE 21;" "IT JUST TOOK A LONG TIME TO GET HERE." "BUT I DON''T REALLY HAVE MANY COMPLAINTS" "BECAUSE I''VE BEEN ABLE, BASICALLY," "TO DO WHAT I WANTED TO DO ALL THE TIME" "AND THAT''S BEEN BASIC TO ME THAT EVERY FILM I''VE DONE" "I''VE WANTED TO DO AND I''VE HAD CONTROL OF IT." "SO THE MISTAKES ARE MY MISTAKES." "THEY''RE NOT ANYBODY ELSE''S , I''VE NOT HAD TO COMPROMISE." "D I COULD HAVE MADE MORE FILMS BUT THEN I WOULDN''T HAVE HA" "AS MUCH TIME TO WORK ON MY HOUSE IN ITALY SO" "WHAT DO YOU DO?" "[NARRATOR] IN 1998 GILLIAM RELEASED" ""FEAR AND LOATHING IN LAS VEGAS"" "AN ADAPTATION OF THE HUNTER S.THOMPSON NOVEL." "THE OFF--THE--WALL FILM FEATURED AN ALL--STAR CAST" "THAT INCLUDED JOHNNY DEPP, BENICIO DEL TORO," "TOBEY MAGUIRE, ELLEN BARKEN, GARY BUSEY, CHRISTINA RICCI," "MARK HARMON, CAMERON DIAZ, KATHERINE HELMOND" "AND MICHAEL JETER." "UNFORTUNATELY, THE FILM FAILED TO FIND" "MUCH OF AN AUDIENCE WHO COULD UNDERSTAND OR FOLLOW" "THE FRANTIC AND SOMETIMES WEIRD SITUATIONS" "FABRICATED FROM HUNTER S. THOMPSON''S BOOK." "SUDDENLYTHEREWASA TERRIBLE ROAR ALL AROUND US." "AND THE SKY WAS FULL OF WHAT LOOKED LIKE HUGE BATS" "ALL SWOOPING AND SCREECHING AND DIVING AROUND THE CAR." "AND A VOICE WAS SCREAMING" ""HOLY JESUS, WHAT ARE THESE GOD DAMN ANIMALS?"" "IDON''TKNOWWHATTOSAY ABOUT HOW TERRY DIRECTS" "BECAUSE THERE''S NO METHOD TO THE MADNESS." "I MEAN, HE JUST----IT''S JUS T LIKE BEING AT HOME." "HE MAKES EVERYBODY VERY COMFORTABLE." "TERRY''S PERSONALITY IS UNIQUE." "THERE IS NO OTHER LIKE HIM." "IT''S A WELL--KNOWN FACT THA T HE''S A MADMAN." "IT''S A LESSER--KNOWN FACT THAT HE''S AN AMERICAN." "WHAT COLOR ARE HIS EYES?" "I FORGOT." "I THINK THEY''RE BLUE." "NO, THEY''RE BROWN." "BROWN." "NOTQUESTION65 ,OH NO , NO, NO, NO, NOT THAT ONE," "AAGGHH, AAAGGGHHH!" "WHOA, HOW DOES HISTORY REMEMBER ME?" "I DON''T KNOW." "THE ONE THING I DO KNOW ABOUT WHAT I WANT HISTORY TO THINK IS" "I KNOW WHAT I WANT ON MY GRAVESTONE." "I WAS IN TEXAS PROMOTING MUNCHAUSEN," "I WAS ON A RADIO TALK SHOW, AND SOME GUY CALLED IN" "AND HE SAID HE SAW "BARON MUNCHAUSEN"" "AND HE GIGGLED IN AWE AND THAT'' S WHAT I WANT ON MY TOMBSTONE," ""TERRY GILLIAM, R.I.P., HE GIGGLED IN AWE" AND THAT''S ABOUT IT." "THE FILMS WILL BE WHAT THEY ARE" "AND THEY''LL BE AROUND FOR A WHILE," "THEY''LL BE AROUND LONG AFTE R I AM AND I HOPE" "I HOPE THE FILMS I SEE CONTINUE" "NO MATTER HOW OLD THEY BECOME, TO SURPRISE PEOPLE" "AND MAKE THEM LOOK AT THE WORLD THROUGH" "DIFFERENT EYES AND I THINK THAT''S ALL I CARE ABOUT." "[ MUSIC ]"