00:32He's not the billy goat gruff that everybody thinks he is, and neither am I.
00:39He asked me to play tennis with him, and I had not played tennis much before.
00:44In fact, not at all.
00:46I was able to serve the ball, but I hit him in the back two times with a serve ball, much to his amusement.
00:55You know?
00:56But when we got into the motorcycle with the sidecar, then he really began to give me trouble.
01:03He thought he was more qualified to drive than I was.
01:07I think I proved him wrong.
01:08I had been asked by George Lucas to go and meet Steven Spielberg, who I did not know.
01:20And he sent me a script to read first.
01:23I read the script, and I thought it was great.
01:26I met Steven.
01:28I think we spent about an hour together.
01:31Suddenly, I had a job.
01:35I didn't expect success.
01:37In the movie business, you always go in wanting to be successful, but you don't always expect to be.
01:44I did expect the first film would be wildly successful.
01:50But I could not imagine that we were going to end up doing five of them.
01:54Hmm.
01:58Oh.
02:00You're trying to make it too easy for me.
02:02I know.
02:04I know.
02:04I know.
02:05Carrie Fisher said to me, I love you.
02:09And I was supposed to say, I love you too.
02:13And I thought that was a little un-Han Solo-ish.
02:18I thought it was a little banal.
02:22So I said, no.
02:27I love you.
02:29I know.
02:30George, when he saw it, was not so sure and made me sit next to him at the screening of the film the first time we ran it for an audience.
02:40They laughed, but it was a good laugh.
02:43So we kept it in.
02:45Thank you, George.
02:47Because I knew.
02:49I didn't really know whether there was going to be another film when we started.
02:55And because I didn't know whether there would be another film, I did not sign the sequel deal, which turned out to be to all of our advantage.
03:10Oh, yeah.
03:12I'm learning a lot about manure.
03:15Very interesting.
03:20No shit?
03:21Really?
03:21You're asking me this?
03:22I have no idea.
03:24Are you sure this is me?
03:30Oh.
03:33Really?
03:34I don't remember the scene.
03:36Oh, yeah.
03:38Learning a lot about manure.
03:41Very interesting.
03:43The role was a fantastic role.
03:45I got to work with Peter Weir for the second time.
03:49What I loved about the movie was that we had a very, very short period of pre-production.
03:54Peter knew nothing of the Amish.
03:56So he went away to learn about the Amish, and I went away to research the police.
04:02And we came back together two weeks after and discussed what we had learned, and that was included in the rewrite.
04:09We didn't really have the script entirely figured out, so we left a couple of big holes in the script when we started.
04:18It was an extraordinary experience.
04:21I felt really good about what we were doing.
04:24For his role as a detective protecting an Amish boy who was seen a murder, Harrison Ford in Witness.
04:32Peter and I were working on Mosquito Coast at the time, so neither of us were able to be part of the ceremony.
04:41It's kind of like it never happened.
04:42You know, it was all right.
04:43We watched it on TV.
04:46It didn't matter to me whether I won.
04:48I was pleased that the performance was recognized.
04:52This is too easy.
04:57Get off my plane.
04:58I've only said that once, happily.
05:02And I said it to Gary Oldman in Air Force One.
05:08Get off my plane.
05:10I thought it was a very well-written script.
05:14Wolfgang Petersen is a director who I had known and admired from his films.
05:21And so I was pretty excited with the prospects for that film.
05:24It was a straight-out action film.
05:28Gary Oldman was a treat to work with.
05:31We had a great time.
05:32All he'd wanted were the same answers the rest of us want.
05:39Where do I come from?
05:40Where am I going now?
05:43How long have I got?
05:45All I could do is sit there and watch him die.
05:49Blade Runner.
05:50All he'd wanted were the same answers the rest of us want.
05:54Where do I come from?
05:57Where am I going?
05:59How long have I got?
06:00We shot for 50 nights in rain most times we were outside.
06:08Kind of miserable to make.
06:10But it holds its own, and it is a remarkable film.
06:15I like any cut without the voiceover.
06:18When we first proposed the film in script form, it had a narration.
06:25And I felt strongly that the narration was not right for the film.
06:33Because I played a detective, and I really talked about the detective part of my job.
06:39But I didn't appear to be doing it.
06:42So we spent three weeks at my dining room table, Ridley, I, and the screenwriter and the producer,
06:51taking what was the information that was in the voiceovers and making it part of the scene.
07:00And then at the end of the film, Warner Brothers said,
07:04What the hell is going on here?
07:06I don't understand this at all.
07:07And the voiceover came back.
07:10I was glad, finally, that the film was released without it.
07:14Which I think encourages the audience to be present.
07:20First you raw dog me in public, and now you burst into my office and raw dog me here.
07:30There are undertones, emotional undertones, in almost every scene, sufficient to the point where I can tell you that, actually, I've gone into scenes where I've been in the movie.
07:47Where I thought I was going to laugh and ended up not laughing, but actually even crying.
08:04I love the depth of feeling that the show manages to develop, to bring its audience into what's going on on screen.
08:16And it's an extraordinarily powerful mix between drama and comedy.
08:23A lot of the scenes can be played both ways.
08:27Will you look at Lumpy?
08:29He's sure grown, huh?
08:32Will you look at Lumpy?
08:35He's sure grown, huh?
08:37Oh, you mean, like, like the Star Wars Christmas special?
08:53You look at Lumpy.
08:55He's sure grown, huh?
08:57I've never seen it, which explains it.
09:00I was there, though.
09:02Star Wars is really good for me.
09:05And I'm grateful, and I'm happy I got to play the character, and I'm happy I did it every single time.
09:15And I have no problems with it.
09:19You got another problem.
09:21Women always figure out the truth.
09:23Always.
09:24I think that's from Sherkin.
09:27You got another problem.
09:29Women always figure out the truth.
09:33Always.
09:34It was a good idea, I thought.
09:36It was fun to do it, and it was great to work with Adam, driver, who I like very much.
09:42He falsified his research so that R-D-U-90 could be approved and Delvin McGregor.
09:49Devon.
09:50Devlin.
09:51Devlin McGregor could give you bovesic.
09:55That's a witness.
09:56Oh, no, no, wait.
09:57A fugitive, I meant.
09:59Yeah, a fugitive.
10:01That's right.
10:01So that R-D-U-90 could be approved and Devlin McGregor could give you bovesic.
10:08That's the part we made up in the middle of the movie, the R-D-U-90 part.
10:15It filled a hole in the plot.
10:17That was one of the elements of the chemistry necessary to make a drug that the bad guys
10:25were making and selling on the streets.
10:27It's 35 years old, and I think it stands up very, very well.
10:33It's got Tommy Lee Jones.
10:35It's got Joey Pantaleone.
10:37It's full of really terrific actors.
10:40Nah.
10:42When you find the colonel, infiltrate his team by whatever means available, and terminate
10:51the colonel's command, Apocalypse Now.
10:54When you find the colonel, infiltrate his team by whatever means available, and terminate
11:01the colonel's command.
11:03I played a character that I named myself.
11:07The name was L-U-C-A-S, Lucas, and even though it was after one of the Star Wars movies, George
11:19Lucas, when he first saw the movie, did not know that the character was me, even though
11:23he was named Lucas.
11:25I think it's got to be Mike Nichols who wrote that.
11:46What was the name of that movie?
11:52Yeah, Working Girls.
11:54I forgot.
11:55The Earth moved.
11:57The angels wept.
11:59The Polaroids are in my other coat.
12:04I can say that Mike was an incredible director.
12:08Knew how to handle people, to get what he wanted out of people.
12:13But you never felt touched.
12:15You never felt manipulated.
12:17I never felt anything but the pure joy of a creative experience that was
12:25collaborative and generous and fun.
12:30He was a very special person in my life, and I was very, very fond of him.
12:38This can't be your car.
12:39This can't be your car.
12:42It must be your mama's car.
12:43I'm sort of embarrassed to be this close to you.
12:47I thought it was remarkable the way George used music in that film.
13:06It was made very, very cheaply.
13:07I do remember I was almost fired for taking two donuts instead of my deserved one.
13:17This is the first thing I ever said for money.
13:21This is, in fact, all of the lines that I had.
13:25I played a bellboy in Dead Heat on a Merry-Go-Round.
13:29Paging Mr. Ellis.
13:32Paging Mr. Ellis.
13:34I was under contract to Columbia Pictures at the time for $150 a week.
13:39In all the respect that that implies.
13:42I was called into the office of the head of the new talent program, and he told me that
13:51I had no future in the business, which was okay.
13:55He wanted me to change my name.
13:57He thought that Harrison Ford was too pretentious a name for a young man.
14:01And then he asked me to get my hair cut like Elvis Presley.
14:05That I didn't go along with.
14:07But I didn't last that long.
14:09I lasted about a year and a half of a seven-year contract.
14:12Yeah, I met him later across a crowded room.
14:16He had sent me a card on which he had written, I missed my guess.
14:21And I looked around and couldn't remember which one he was.
