'Sr.' (2022) Movie Script

What do you think we should do?
- Us?
- Yeah.
See, if you could get this,
like a close-up or maybe from here up.
- Yeah?
- You got it going?
Well, no. I'm wide right now.
No, I would get in tighter
'cause it'll be a cutaway.
Yeah, you're gonna want this tight.
We might as well get that insert now.
- Let us know when you're rolling.
- Rolling? Let's start again.
First, it's not moving.
You say, "Oh, this is bullshit."
- Yeah, yeah.
- Then it starts moving.
"Wait a minute."
"Maybe that serpent's
not full of shit after all."
- Dad, can I give it a spin?
- Yeah, do it, please.
This might be
our first coproduction here.
Nice. Nice!
Hey, it's nice!
It needed your touch.
Where would you go next?
- After this?
- Yeah.
We're not even halfway
to any ideas like that.
We're just having fun
and getting started.
Steady on those steps.
- Oh my God.
- Give him a hand, Rogers.
- I got it.
- Let's not lose our principal.
I'm very interested
in who my dad is just in the here and now
because no one knows the hour and the day.
We never know how much time
we have with each other.
I think, also, to me, like, he was
just always this kinda looming figure.
Like, I was just
Bob Downey's kid for a long time.
Success may burst
like a clap of thunder
over his head if he isn't careful,
and he's a talented underground filmmaker
named Robert Downey.
Do you feel a little compromised
by being here
on a network television show?
No, because I know
if the film doesn't open,
and it doesn't do well,
I won't get to make another one.
I knew the minute I started
fooling around with this stuff
that it was better than working a job.
Shouldn't you be in school?
Fuck you.
And fuck the establishment.
And fuck you people
who are trying to make me
part of the unestablished establishment.
I was raised in this family
where doing underground films
was the norm.
It was very natural to have no interaction
with mainstream anything.
What was the first film
you were in? One of your dad's projects?
- It was.
- What became of you then?
Then he became
the highest-paid movie actor in the world.
- That's what he decided to do.
- Yeah, I guess, Dad, come get your cut.
That's a shot
with Robert and I ages ago.
And the photographer says,
"Why don't we each have
you guys have chainsaws?"
And Robert said,
"Get the fuck out of here."
Uh, we still... We're still happy
with the title "Sr.," are we not?
Yeah, I like it,
but we can... we can do better.
- Where is Sr.?
- The back house.
Yeah, let's go walk out there. Come on.
You will presently witness
the offspring of Sr.'s offspring.
Don't throw water balloons
at the, uh... at my crew.
I like that that's his kid,
and here's his daughter.
Good shot.
Great. Movement.
Nobody's sitting.
Hey, have you seen
any of Grandpa's movies?
No, why?
Because they're awesome.
Do you wanna see 'em someday?
- Uh, maybe.
- Just a maybe.
Dude, if you're gonna throw
a water balloon, hit me with it.
That's good.
Avri, give us a wave.
That's all we need.
Just give us a little wave. Ah, Christ.
Get... You need to get
those hairs wet.
Jesus H...
Don't you hit me again. I swear to God.
Don't... don't get the camera wet.
Quit it. Sr.?
Your grandson is boundaryless.
This is like growing up with my dad.
"Hey, whatever you do,
don't get the camera wet."
- Did you get it?
- We got it.
We don't have anything usable yet,
except Exton provided some... some action.
- You mind if I switch out real quick?
- No.
I just wanna show you
something before we do anything.
- Just me?
- No, Rosemary and you.
Here she is.
Robert had an idea
of doing a documentary about his dad
and about their history
and their life together.
You know, so many people,
they know Robert Downey Jr.,
but they don't know Robert Downey Sr.
And he just wanted to,
for the record, correct that.
We're just finding
our way into something
that we hope winds up being interesting
and not the usual
and a bit of a foray
into that crazy thing,
you know, of trying
to understand your dad.
Do you feel
like you understand him now?
I have a feeling I'll know a lot more...
...when we're done.
You come back,
which is probably where we'll start,
to Robert and Rosemary on the couch,
and we go from there.
Look, we'll do the same thing,
except we'll do it out there.
- "How long have you two been married?"
- That's me, right?
- Yeah.
- Yeah.
How long have you and Pops been married?
Fifteen hundred years.
See, I think this... We should switch seats.
You should. Let's get her in the middle.
Oh yeah.
How long have you guys been married?
Fifteen hundred years.
- Oh boy.
- Mm-hmm.
Did that go better this time?
She looked up in the middle
of something up... up that way.
You're right. Let's do it again.
Take three, opener.
He would rather be doing
a film about something else
than allow a documentary
to be made about him.
So the middle ground has been
he's doing his own version.
How long have you two been married?
Uh, fifteen hundred years this July.
- Oh my God.
- I know.
- Oh wow, happy anniversary. Almost.
- Thank you.
- Fine by me.
- Okay.
By the way, that's his directing style.
So then I put it
to him this way. I said, "Dad,
the legitimate documentary
we're making about you
is kinda what's covering the cost
of this art film that you're making."
And he seems agreeable to that.
You got it? That's good.
That's worth the whole day.
That's funny.
I'm thinking any visuals
that you must like goes on file.
And you never know.
It could end up right somewhere
where you didn't expect it.
What's the guy who said,
"One picture is worth a thousand words"?
It's one good picture.
Sr. would be one of the best people
to caption photographs or street scenes
that you will ever meet.
In a more of a typical, mid-century,
male, butch way though.
Oftentimes it's, "Look at this douche."
Look at this group.
- What's going on over there?
- AA meeting.
"Let's go have a drink. Nobody'll know."
Look what's going on in that window.
There should be somebody on the other side
performing a wedding ceremony
for somebody outside.
Well, here's the corner,
and this used to be an apartment building.
This is it.
I don't know what you're thinking,
but maybe
you start on that
and then hear the dialogue
and come over and show this.
116 University
used to be, uh, three lofts,
and we were on the next-to-top floor,
the second one up.
Nothing's left.
Did you feel pretty grown up?
Y'know, you had kids.
No, that might be the problem.
I don't know what Robert thought,
but it was different.
Were you making a film
while you lived here?
Oh yeah.
"Downey film short"?
I don't know what that is.
I can get rid of all these.
I'm just thinking
that I wanna go through my films
and pick out scenes that I know will work
in what you're doing.
That's actually more important
than anything.
Oh, this is interesting.
Let's start with this.
There it is.
Love you, Walter.
I'll see ya later.
I love you more
than anything else in the world.
I love you too, Mother.
That's good.
- Did you write that?
- Oh yeah.
This is how we got started.
Your career?
The whole fucking thing.
You know, Walter, you can have
whatever you want in this life.
I guess the only thing I really want
is you.
Chafed Elbows is a film about an oddball
who marries his mother
and goes on welfare.
It is an ode to Oedipus.
My mother, she didn't appreciate
Chafed Elbows, I'll tell you.
I said, "It's only a film."
She said, "I don't care what it is."
"How dare you."
We were having fun
figuring out how to focus a camera.
None of us thought we were doing something
that had an audience.
I know I'm robbing the cradle,
but at least it's my own.
Then suddenly, I got
this little review in The New York Times.
The next morning,
there was a line around the corner
for this little film in 16-millimeter.
What was inspiring you
to make these movies?
It was unique.
It was different.
I mean, where else could you be
doing something like making a movie,
and you've never made one before?
Can you hear that?
It all fits.
- What, the siren?
- Yeah.
Okay, okay. Did people
try to ascribe meaning to your movies?
Oh my God. I hope not.
Would you people mind
if I joined you?
- Come on, baby.
- Oh yeah?
Let me get my duds off here.
Move over, champ.
- Lemme in there, huh?
- Mmm.
We didn't know what
we were doing, but suddenly the films
started getting better or weirder.
After Chafed Elbows,
Sr. and Elsie, my mom,
they were just always writing.
I think it's been a very creative day.
There was
this flow of people through the house
for dailies and writing sessions.
The time spent with him
was perfectly, wonderfully,
deliciously insane.
I'm in the middle of a nervous breakdown.
Well, do it somewhere else.
We're busy in here.
With an odd, odd sense of humor,
he is so much his own man,
so much his own artist.
There's a kind
of benign nihilism through his work.
Just the freedom of it.
You didn't know where
the story was gonna go.
You didn't know if there was a story.
There was a sense that each moment
was allowed to play itself out
until you're hysterically laughing.
They'd moved whatever little crib I was in
into the area adjacent
to where they were screening dailies.
So I got very used to falling asleep
to the sound of clapboards.
It's almost like I was being programmed.
This one is Robert in a crib.
- Did you put him there?
- It must have been me.
And I just remember
that cacophony of creativity.
Lots of cigarettes and weed and booze,
but mostly laughter.
If you don't give me those 12 H-bombs,
I'm gonna drain your gold for ya.
That's right, man, 12 H-bombs,
or I drain your gold for ya.
One of the things I liked best about him
as a filmmaker and as a director,
he'd just let me go wild.
I might add a few improvised words
or gestures, and I remember him saying,
"I don't know what it means,
but I love it."
I don't know how
he came up with his casting ideas.
I couldn't figure it out
'cause they didn't seem like actors.
I didn't know what they were.
It's like he went down
to the Bowery half the time
and just picked up people
who were half in the bag.
But they were wonderful,
just a wonderful bunch
of un-actory-looking people.
What's going on?
You gotta draw the line somewhere.
If there was
one undercurrent that was really shifty,
it was either, "We're flush,"
or, "We're broke!"
It was never like, "We're stable."
By "flush," I mean 500 bucks in the bank.
We're ready to roll over here.
I made one with just stills almost
'cause we couldn't afford film.
You can't direct nothing.
If it wasn't for me, you'd be
on unemployment with the rest of the scum
of the underground cinema.
The early ones,
I made so cheaply.
Just working a job somewhere,
I could get it done.
Things were
just grounded enough
that a very charismatic guy
who had different ideas and curiosity
could create a new standard of filmmaking.
And I think he's someone
who has preserved that curiosity
well into his autumn years.
There it is. There it is.
See it?
It's kinda reassuring
to be in a city and see this, huh?
If you had to introduce this scene,
I wonder whether you would come down
or pan down from a building to this
or pan up from something here.
I don't know. Both, maybe, right?
That's an interesting image there.
Wow. Like a Western.
Look at 'em all.
There are nine of them.
How could they have all come out
of one duck?
Look at Mom, perusing the whole joint.
- Remember the ducks you shot?
- Yeah.
They've grown. They're big.
We'll see 'em this afternoon if you want.
They're big.
I hope you guys are as happy
as I am with this footage.
I think you need stuff
other than about movies, for balance.
So it's not
just about the films?
- Right.
- Who is this guy?
Who is this guy?
Uh, I'll never know.
There they are.
Oh my God.
Wow. Heh!
I've never seen this thing
with a real tiny one and a big one
all within a lifespan.
- Boy, I'm getting dizzy.
- Oh shit.
- Whoa.
- Can you go to the bench?
- Yeah.
- All right.
- Oh my God. Oh boy.
- That was a close call.
We gotta figure out
how to get him back upstairs.
- No, I'll be all right.
- You'll be able to walk up?
As long as you stick cl...
- relatively close, I'll be okay.
- Yeah.
I... I think I have to face
the, uh, idea of my problem
and just cut away
to the shakes that I get sometimes.
You just see that going on.
And Rosemary, when it happens
in a restaurant or something,
she just... she'll just go over
to me and go...
...and it calms down.
- Yeah.
- What is that?
The Parkinson's.
I just thought...
...you know...
...there's a certain way I have to eat now.
Otherwise, the shit's all over the floor.
let's face it.
Good morning.
- How are you?
- Sometimes I wonder.
Tell me everything. How ya been?
Um, okay.
Is it a struggle?
Is it challenging?
Is it weird? Is it scary?
On a certain day, any of those.
You know, I do think that that should...
that should be part of the film.
- I like that you have this project.
- Me too.
I don't know why. It's... it's creative
and, uh, soothing to me on so many levels.
Oh, yeah.
It's exciting
because it's not like anything else.
With Parkinson's, you lose
a little bit of something every day.
But he's so fully focused on this film.
It's obviously energizing for him
and exciting for him.
It'll be on the left
if it's on this street.
This might be it.
Looks like it.
Could be.
- Bob, where are we?
- Great Jones Alley.
Not Grace Jones.
We paid a bum $50
to lay down in a heap of depression.
And then we did the scene.
And he said, "Let's do it again,"
when we finished.
That was nice. I do remember that.
What was the scene?
It was a scene where there's...
She's doing a commercial for...
Actually, she's just so great-looking,
nobody cared what it was.
You can't eat an air conditioner.
When I decided to make
a film about an ad agency,
I think this is the quickest
I wrote anything.
I was having so much fun.
If we use c-c-creative foreplay
before we penetrate,
we'll b-b-b-b...
- B-b-b-b...
- Looks like.
- B-b-b-b...
- Sounds like.
- B-b-b-b...
- How many syllables, Mario?
- B-b-b-b...
- How many syllables, Mario?
- B-b-b-b!
- How many syllables, Mario?
It's about a white ad agency
where the head of the agency dies
and has a heart attack.
His board of executives
take his rings and watches and so forth,
and they have to vote in
a new chairman of the board.
The rules are you can't vote for yourself,
so they all vote for the one Black guy
in the ad agency,
thinking nobody else will vote for him,
and he's elected.
- Swope.
- My father would have wanted it this way.
He dug you very much.
Your father was a horse's ass.
He goes up to the head of the table
and says, "The changes I'm gonna make
will be minimal."
I'm not gonna rock the boat.
Rocking the boat's a drag.
What you do is sink the boat!
Cuts over his back,
and there's 40 Black people sitting there,
and the movie starts.
I hear the film is really funny.
I would say that anyway, even if I hadn't.
- But, uh... but I really do.
- I hope the film's more than funny.
- Do you?
- I hope it has some sting in it too.
As a window cleaner, forget it.
Put soybeans in it for protein,
and we'll push it as a soft drink
in the ghetto.
There is no revolution
the way you're running this joint, man.
Now, when is something gonna happen?
Putney was
right in the middle
of all of that civil rights turmoil.
How did that concept come to you?
- I was working a job.
- Mm-hmm.
And the Black guy
working next to me said,
"You make more money than I do,
and we're doing the same thing."
- Right.
- That did it for me.
If I give you a raise,
everybody's gonna want a raise.
And if I give them a raise,
we'll be right back where we started.
I didn't think
anybody would come see it, but, boy,
I... I didn't know shit.
It seemed
there was something going on
that hooked into whatever
was socially going on
and what the movie was.
So it was a nice mirror.
In whatever comes our way...
It wasn't really
about the movie
as much as it was about society.
Take the world in a love embrace...
If everybody
could get turned on
to having a sense of humor
about themselves,
I think we could get over a lot of things
that we take very, very seriously.
We could approach the serious matters
in a different way,
like war and poverty
and all the things that are going on.
Yeah, darlin', go and make it happen
Take the world in a love embrace...
"Robert Downey
makes vile movies."
Life magazine. Oh, really?
- What'd you make of that?
- That sounds all right.
And this, did you get that one?
Putney Swope was inducted
into the Library of Congress?
That was wild that that film got in there.
That's usually Hollywood films.
What did that mean to you
when you started getting
the approval of the filmmakers
that were, for lack of a better word,
important in that generation?
That must have meant something.
Yeah, it meant
that I could do another film.
Kinda like you belonged
and you were being validated in some way?
Well, that's a pretty interesting theory.
Nice deflection.
He knows that I'm attempting
to understand something
and that I'm turning a camera on him.
What he's trying to do is turn the camera
onto what it is he's trying to say.
What that is remains to be seen.
What a bay over here, my God.
It's beginning to look like Rockaway.
Bob, why did you
wanna come out here?
When I was 15,
I used to come here in the summer.
It was known
as the last stop on the subway.
Oh my God, you've gotta get that.
This is great.
Boy, that was wild.
Can we say "cheese"?
My friend.
My nutty friend.
How long you guys been married?
Fifteen hundred years.
Do you ever feel
like you're living in one of your films?
Right now.
Were your films this loose?
Sometimes, yeah.
But this has been the freest.
Everything turns into everything
sooner or later.
Things will turn into something else,
which turns into something else.
And then something doesn't work.
You throw that out.
It's called "follow the film."
I still feel, on some level,
like he's fucking with us.
He knows that there's a bit of interplay
between capturing a story about him
and also him keeping
himself interested in the process.
And cut.
Wow! No transition required.
- What's the difference?
- I know what you're doing now.
- What?
- I know.
And because I believe he is connected
to some sort of creative deity,
my job is to figure out what it all means.
What's this scene
we're watching?
It's just, uh, the walk
towards the, uh, door,
the out... outdoor door.
- How does it fit in the movie?
- Who knows?
You directed this one.
What's the po... What's the plan?
Yeah, your plan
is what we need to hear.
Uh, I think we should split
into two camps,
and both editing things
are leading towards the same thing,
the editing of this film.
But you might get something out of one
that you won't get with the other.
I think I should rent an apartment
in this building
and get some equipment in here.
Let's go.
You like the idea of getting
a shot of the gate opening, right?
If we can.
I think we can.
We're gonna go down the road here.
I'm taking you down
the garden path, Father.
And the farther away you are, the better.
Did you guys...
Did you take a road trip together?
across the country once.
- From Santa Fe down to LA.
- Yeah.
What was that like?
I was in charge of the hash pipe.
That was interesting.
I don't know
if it belongs here, but I like it.
Uh, we need
a Jack Nitzsche cue right here.
So, from that,
would you go into one of your films?
We could, or we could stick
with this a little longer.
- Don't go too fast.
- Whoa, wait a minute.
Wait a minute. Jesus.
His cut
is very much a work in progress.
It is not all that linear.
It's like if you give
a director no deadline
for when his project
is supposed to be finished
or really any narrative
for what it should be to begin with,
it can be a little, uh, kooky.
Fourth floor.
Solarium, aquarium, sanitarium,
drunk tank, celebrities,
children's diseases, going up.
Bob doesn't seem to be
that worried about confusing the audience.
And that's why it's great.
There is a kind of pattern
to the way that he does things
and that you either get with or you don't.
But, man, I'm, like,
you know, smitten with it.
You know,
Paul, he loves films
more than most people I run into.
When I met him, I couldn't believe
he knew the '60s more than I know.
And he's a wonderful writer.
Come on, come one, come on! All right?
All we need is the tapes, Burt.
He asked me to pop in one day
and fuck around on camera, and I did that.
We can't pay the price of the demo tapes
unless we take the demo tapes
to the record company and get paid.
Hello? Exactly!
That's not an MP. That's a YP,
your problem!
I had fun with Paul Anderson,
doing it. That was fun.
It's no mystery that Paul Thomas Anderson
is probably the son
my dad wishes he had had,
and they like to rub that in my face.
Paul says
something something,
and I said, "I gotta get out of here.
I gotta go to my train."
And he said, "I'm coming with you."
And I said, "What?"
Was this for a documentary or...
You never know
with him what he's doing.
He might have been doing
something like that.
I haven't heard about it since.
Let me get another battery
before we go up.
For my pacemaker?
I mean, if you hang around
with Bob to get to know Bob,
he's got the most fantastic sense
of humor,
and he just has this incredible confidence
to just commit to his rhythm
of telling a story.
And so, as another filmmaker,
it's invigorating.
And it reminds you, like,
to have that confidence,
to have that trust in yourself.
It's hard to walk,
never mind hold the camera.
Dad used to take the train.
Last ride you did was with PTA?
But since, none, and no flying.
I don't fly anywhere. I'm paranoid.
He was sensitive to the train.
He was sensitive
to getting on and off the train.
He was sensitive to weather.
Are elevators
still a problem?
Oh yeah.
- That's some... Don't...
- Oh shit.
I told you I was stuck in here
for an hour and a half one night,
and I couldn't get out.
There was a Russian guy on the elevator.
Kept saying, "Are we gonna be all right?"
I said, "How the fuck do I know?"
Do you think
all these neuroses, ultimately,
are part and parcel to creativity,
or do you think they're just a drag?
- Little of both.
- Yeah.
- I think we have some new characters.
- Yeah.
The hour before the crash landing,
it was scary.
Not the landing. We... we made it.
But ever since then,
I haven't been able to face it.
So what are
the chances you're gonna get
in two plane crashes in your life?
I'll never find out.
I'm too scared.
That crash landing,
that... that happened
when I was in the army.
We were on a C-47,
which is a two-engine plane.
And about an hour or so in,
one of the engines stopped.
And a lot of us were really young.
Every time we'd see something
coming close to the window in the plane,
it looked like the end.
It was a tree or something else.
And finally, this sergeant guy
started saying,
"I don't wanna die.
I don't wanna die. I don't wanna die."
And we're looking at him,
like, "Are you fucking nuts?"
"You're supposed to be helping us."
Anyway, the plane landed, crash-landed.
Nobody died. Nobody got hurt.
Just banged up a little.
He walks off the plane
like nothing's wrong.
We started calling him
every name in the book.
So he got a hold of me
and put me in the stockade.
Were you always a troublemaker?
And so why did you think
going in the army would be a good idea?
Who knows?
I used my stepfather's name
to go in the army underage
with a fake birth certificate. Downey.
Elias is the actual blood name
of both my dad, Robert Elias,
my dad's dad, my grandfather,
also Robert Elias.
He changed it because,
when he joined the army underage,
he did not feel that having
a Jewish-sounding last name would be good,
whereas an Irish last name should be fine.
You spent a little time
in the stockade here and there
'cause you can't stay out of trouble.
What would you call that chapter?
"The Beginning."
- Really?
- Yeah.
Tell me why.
The boss
in the stockade said,
"Don't just sit around here."
- "Do something."
- Yeah.
And he said, "Here,
take this pad and write something down."
So I just started scribbling,
and suddenly, some of it made sense.
A random act of kindness from your jailer.
You started writing.
Yeah, that's right.
Did any of that wind up being
the beginnings of any of your early work?
I had no idea.
Why do I have to die?
I never hurt anybody.
In Pound,
there was definitely
a more dramatic backdrop.
Eighteen dogs waiting in a pound,
and they have an hour to live.
If people are playing dogs,
then really the movie is about people.
Me, him, and Fido
are gonna bust out of here.
Who's joining me?
It had a lot of tension
in it too, which was great.
In hindsight,
turned out that it was
much better than I thought it was.
Seeing as how Pound was my official debut,
I think it's your most underrated of all.
Don't ya say hello
Is this the picture
Bobby Jr. made his debut in?
That's right.
- At the age of what? A baby?
- Let's see. It was 1970.
So... five.
I... I think we asked him to do the part
'cause we couldn't get a babysitter,
and we knew that part was coming up.
And we, uh, summoned him. It was easy.
That tornado scared me so much,
it made my hair disappear.
Have any hair on your balls?
I'm afraid to look.
I didn't know what the line meant,
that I was asked to say,
which is, "Got any hair on your balls?"
- Oh, to the bald guy. Bald-headed dog.
- To the bald guy.
- He was playing a Mexican hairless, right?
- Yeah, yeah.
He seemed a little shy when he said it.
It almost... But it worked beautifully.
You know, there was
no need for a second take.
Gimme that.
When you first put Robert
on screen, did you recognize that he was...
Everybody did.
Everybody was saying to me,
"Oh, where'd you get this guy?"
It's that first time that's everything.
You could tell
that he knew what he was doing.
He didn't need my help. He was possessed.
He was tap dancing
in the driveway out there,
and subconsciously,
I knew he never had to go to school.
This guy's gonna be an actor.
When I saw cameras,
I perceived it as it's time with my dad.
Sometimes, like, I...
He would be walking by,
and he went out and grabbed the camera
and said, "Don't move."
I was like, "Whoa!"
It probably felt to me
what it felt like to Exton,
running around in the background
and hosing me down with pool water
and, you know, asking,
"Are we shooting the movie
again tomorrow?"
That's Robert
and his sister fighting in the kitchen.
I was just there with the camera
on the other end of the thing,
just thinking of nothing,
and this broke out.
How was Sr. as a father?
complicated in that most of his attention
was on the process of chasing the muse.
I knew that we were not like
the other families.
I used to like to take him to films
that I thought would be interesting
and not think about, "He's a kid."
In fact, they wouldn't let me
into a film...
Oh, La Grande Bouffe.
Four guys
in Italy get together every year
and start feeding each other.
It gets so out of control.
It's disgusting.
I forgot that Robert was with me,
and I went to go see it,
and the person taking tickets
says, "He can't come in."
"This is X-rated."
I said, "Come on."
So I called the distributor,
and he says,
"Put that guy on. How dare he."
Blah blah blah blah blah.
And the ticket-taker takes the call
and says, "You can go in now."
I'll put it this way,
we weren't watching Fantasia.
In fact, I took him to see
The Harder They Come.
We went in,
and it was raining that day,
so there were leaks in the theater.
And we were sitting
on the back of the seats.
And when we left there, we said, "Wow."
"There was nobody else
in the theater but us."
And that, somehow, made it even better.
I remember a lot of theaters
that were greasy and weird,
but it was this idea
that films kind of brought us together
and, to this day, still do.
I got... I got plenty of that.
Let's see if he doesn't hang himself
on his sound wire first.
Do you mind if we show the crew
in the documentary?
- Not at all.
- How come?
Because it lets everybody know
we know what we're doing.
They might not like it,
but we know what we're doing. Yeah.
It's pretty clear
we know what we're doing here, right?
We have to know something.
Here's where we can talk
about, uh, three generations of, um...
Bug jobs.
Of bug jobs.
What is it that I say to you
when you're getting on my nerves?
Hey, hey, don't be a bug job.
- And that comes from Dad telling me.
- Don't be a bug job. Hey!
For the very first time,
you tell Pop to not be a bug job.
- Hey!
- Mean it.
- Hey, don't be a bug job.
- There it is.
You don't be a bug job.
What we're gonna do is we're all...
the three of us
are gonna have a quick espresso.
I... I drink coffee.
You can have a little sip of mine,
but don't tell Mom.
I never tell Mom.
Here's a good one.
Sr. as I remember him circa 1971.
So I would be Exton's age.
That's Pop, and that's my mom, Elsie.
And then that was another take.
This is from Greaser's.
That's from Greaser's Palace, yeah.
Most holy one, let me see.
Messiah. Messiah.
If you feel, you heal.
I can crawl again!
I can crawl again!
What was
the genesis of Greaser's?
this lady wanted me to make a movie.
She said, "What do you wanna do?"
I said, "Father, Son, and Holy Ghost
pop into a Western."
She said, "Fine. Go write it."
She gave it to her husband,
who had a lot of money.
He read it, and he said to me,
"Is this gonna make any money?"
I said, "I don't think so,"
and he said to his wife,
"He's charming. Give him the money."
At least he was honest
about what he really was thinking.
It didn't look like a Christ figure
parachuting into a Western
is gonna make a dime.
This time you got
to really take advantage of the landscape.
The cinematography
starts getting pretty lush,
and you have stunts,
you have wagon wheels,
and you literally built Greaser's Palace
and then blew it up.
Do not make us doubt and speculate.
Say to us why you are here.
I know you like leaving
the meaning up to the audience,
but there's
deep, deep, deep spiritual messaging
in that movie
that even as a grown-ass man,
I'm still trying to figure out.
I'm glad you said it.
Bob, how are you?
I'm all right.
We know him as a provocateur
and stirring the pot with his films,
but is there something surprising,
as a sister, your take on him?
I always say that he's an innocent to me.
He's an innocent.
- That's a new one.
- And a purist.
- It's good.
- No, it's true. You are.
Even as a person, you are.
He's irreverent in his humor,
but he reveals so much. He's so honest.
Give me a hug.
When you saw Robert Jr.,
did you see
similarities in father and son?
Oh yes.
You know, I feel like Robert
got a lot of his humor from his dad.
Yes, but also, his mom was a riot.
How are ya doin'?
Are you the Virgin Mary?
Just call me Mary.
Elsie Downey was a great actress,
who could have done
incredible things on her own,
but chose to work with her husband.
She was extremely talented, lovable.
The sweetest person you'd ever wanna meet.
The only thing
about these low-budget films
is that all the action
is behind the camera.
With Elsie,
was it clear right away
that, "Hey, we're gonna actually
make these films together"?
No, I met her way before I made films.
Just off-off-Broadway plays.
When they met, it was like...
It was over.
They were just... they got each other.
They would laugh.
They would have us laughing.
I mean, she was just
such a natural comedian.
So for Robert, coming from this couple,
he had to be who he was.
Did you feel like you learned
from your mom as an actor?
Pretty much everything, yeah.
Seeing her being directed by Dad,
she was wildly devoted
to whatever creative stream
of silliness he was onto.
And I remember
when we were doing Greaser's Palace,
like, she was climbing up
these sand dunes over and over again.
She had no problem
doing something that's exacting.
- Did you put her in a lot?
- Anything we could.
'Cause she'd do anything.
She'd try anything. She knew what to do.
Oh, there's the moment
when she discovers her son is dead.
And that's Elsie
as the mother in Greaser's Palace.
She can't find her son, who's Robert.
I played a boy
who got his neck slit by God,
whose mother finds him.
At the end of the film,
he's brought to life again.
And I think he was so excited
to do a scene with his mom.
I had a lot of pride of
'cause I was old enough
to know I was in it,
and I'm starting to feel like
a little bit of a movie brat.
And it was a good time.
I mean, I wanna thank you.
You got us out of town.
That was fun. That was fun.
- Was that a happy time?
- It was.
And then it all fell apart.
Whoo! Ah!
I comes to a fork in the road...
...with a spoon in my nose.
What advice would you
have given yourself at that point?
Don't touch drugs.
I have a job for you.
Two tons of turquoise to Taos tonight.
The title sequence
looks almost like a heist-type thing.
And all these characters
are getting together,
but one guy walks in
wearing a full wet suit.
As he's unhooking
his weight belt, he goes...
"What about Larry? He's into tacos."
And he snaps his belt open.
It was trying to transcend
even being something
that people could say was a movie.
You basically said that the plot
was Sanborn's saxophone...
...which, to me,
is so next level.
- That's true. You do follow the sax.
- Yeah.
If you wanna hang on to something.
Let your mind go.
Let your body go.
Let your wallet go.
On this one,
it was such a weird, disconnected thing.
I would maybe shoot for an hour
and go home.
You know, 'cause I was tired
or fucked up or whatever.
I think the goal pattern
was in a really weird place,
and so maybe
that was justifying the usage.
My dad was
down in the basement with his editor
seemingly for two years,
and I was like,
"That seems like a long time on post."
You know, we knew what
was going on down there.
Was that era fun?
Was it a struggle?
I was a drug addict.
Mainly cocaine and, uh, marijuana.
Total, total insanity.
All right!
I knew that the work
had kind of started becoming
more of an excuse.
And then it wasn't but shortly after that
that my folks broke up.
Turn around.
Wave goodbye at the door.
You're all fucked up with your umbrella.
Say goodbye, and go inside. Bye-bye.
- Have a nice nighty tonight.
- Have a nice nighty tonight.
Yeah, even though
we split from each other,
we spoke to each other a lot.
- Good night.
- Good night.
- And have a nice nighty.
- Have a nice night... Oh!
Yeah, it does bring back big memories.
Deep breath.
And reach. Reach backwards.
And pull again.
You're breathing, right?
I hope so.
When I first came here,
it was, like, a little tight.
Yeah, that's a good way of saying it.
We call on God a lot, right?
Like, God this
and, "Oh, God, one more squat."
"Oh, God, another celery."
It's really funny.
- Where is this guy?
- We still haven't seen him.
No, every time I read
the front page of the Times,
I say, "Where is this fucker?"
- That's pretty good.
- It's great.
Then where? We have freedom.
Is there anything
right wh... where you cut out?
Here we have...
Well, Robert must have thought something
because he... he's a total workout guy.
Maybe he thought,
"I don't wanna end up like my father."
That ain't bad. That ain't bad.
Add it?
You've got all that is really needed
To save a dying world
From its funkless hell...
See, who knew we'd cross the bridge
that I hadn't crossed today
because I thought I could get away
without walking, and now look.
Do you love New York?
Oh yeah.
I get inspired here.
How do you make a film in Los Angeles?
We've seen every possible shot.
The same corner. The same freeway.
It's all different out here.
You've got all that...
Look at this over here.
Look at the light now.
My God, that's wild.
I guess this is crying out for a 360.
Wrong tripod.
The other good thing
about any project in New York,
if you wanna go that way,
is to, once in a while,
bring in the real sound we talked about.
Turn it up. Don't say a word.
Just happens.
Where do you go from there?
I'll look in here...
...and see if there's anything.
Maybe... We'll... we'll see.
Maybe, um, we break
into the middle of Robert and me.
- Mm-hmm.
- Maybe.
Yeah, let's try it.
Hi, is this Dad?
Is this Sonny?
This is Sonny Boy.
Hey, man.
what do we wanna talk about?
Let's talk about LA today.
- Oh my God.
- I'm sorry.
We're gonna do it all, baby.
Oh my God.
When you first get there
and never been there,
it's kinda romantic
because of all the literature.
But you soon find out
it's a lot of lip service about,
"We really wanna make
a film with you," and this and that.
"Let's see how it goes,"
and that kinda stuff.
The first question they ask you, usually,
out there, when you make a film,
"You think it'll make money?"
You know, friends of mine
would say, "You're doomed."
You're outcasts,
embarrassments to your families
and your communities.
Something wrong with you, boy?
No, it's just a little chilly in here.
Don't you mean,
"It's just a little chilly in here, sir"?
- Yes, sir.
- Well, say it.
It's just a little chilly in here, sir.
- Say it again.
- It's just a little chilly in here, sir!
- Say it again.
- It's just a little chilly in here, sir!
That's what I thought you meant.
Was Up the Academy ostensibly
the first studio movie you ever did?
Yeah. Disaster.
And I was thinking, "Get me out of here."
Tell me everything.
It was supposed to be
a military academy for kids.
The script was about 16-year-olds.
It'd simply be more effective
if they're ten years old.
He said, "All the kids should be kids.
We shouldn't be casting teenagers."
Now, that would have been a nightmare,
and it was very impractical.
Was the studio gonna let it happen? No.
They said, "Are you insane?"
I said, "What do you mean?
I just wanna change the ages."
"Well, you're not gonna do that
around here."
I learned how to get along with people
by doing what was asked of me.
No shit.
Up to that point,
he had kinda been protected.
People knew he was special,
and you wanted to help him
do the next version of him.
And I think the one real
studio-film experience he had,
where the studio kinda tells you
what you can and can't do,
if you're an artist, it's crushing.
And I think he thought,
"Great, let's party."
You're gonna get
the Robert Downey movie you deserve.
Some guy said,
"If you keep talking like this,
we're gonna fire you,
and you're not gonna get final cut
no matter what happens."
I said, "Okay, that's fine by me,
just as long as I get
final cut on the cocaine."
And that was almost
the end of me out there.
- You did not give a mad fuck, did you?
- No.
How would you describe
that period of time?
Fifteen years
of total fucking insanity.
Boy, man.
You know, I think we would be remiss
to not discuss its effect on me.
Yeah, boy, I could sure love
to miss that discussion.
When I did Less Than Zero,
that was right around the time
that I began.
It was obviously not
autobiographical for me,
but certainly what was similar
was young folks, drugs, the '80s.
When you heard he was doing
that film, what was that like?
He was funny. He said,
"I got a part
in a legitimate film."
You can't stay here. Live your life
anywhere you want but not here.
- I'm your son. I'm sleeping here.
- Get out. I'll call the police.
But I loved it.
It's a tough one, but it's great.
It was just a wild era.
That whole world
gets tied in with creativity.
We were all altering
our consciousness with substances.
I was just kinda playing a game
of just wanting to self-soothe
or just stay loaded
rather than deal with the fact that things
had gone off the tracks a little bit.
And, honestly, more than anything,
I look back and go,
"It's shocking
that a single movie came out finished."
But that didn't stop we Downeys.
Hey, Reed!
Will you stop with the food?
Rent is due. We gotta go to work. Come on.
- Work before we eat, all right? Come on.
- Okay. All right!
- I just made that salad!
- Enough with the salads!
The movie
wouldn't have gotten out without him.
That's reality.
Yeah. I mean,
he's become a big movie star.
- Yeah.
- He still takes direction?
Well, he loves fooling around.
Yeah, he does.
- Gotta go, Ma.
- Okay, honey. Do what you have to do.
There was certainly
a sense of... of family,
that people are having fun,
and it's... it really translates.
Good, I'm glad 'cause it was,
and it was a very good period of my life
'cause I met Laura.
I am hip to your shit, shithead.
I think Sr. was afraid
I would be a terrible actress,
so he thought, "Throw an accent on,
and maybe they won't notice."
That's not true.
Thank God for Laura Ernst.
Yeah, I agree.
She showed up, and I feel like it was
just the kind of energy you needed
at that point in your life.
And it seemed like you just got healthier
and started kinda taking care of yourself
and settling into and away from
that whole drug-culture life
that we all got stuck in.
- Hi, Dad.
- Hi.
And I remember it
very, very, very profoundly.
A lot of us did things
and thought it would be hypocritical
to not have our kids participate
in marijuana and stuff like that.
So we thought it was cute
to let 'em smoke it and all that.
It was an idiot move on our parts,
a lot of us,
to share that with our children.
I'm just happy he's here.
That's all.
Ever worried
he wasn't gonna be here?
Many times.
Even though
it took me another 20 years to get
my own shit together,
you and Laura became
this very, very, very stable force for me.
What is your memory
of those years with Laura?
A lot because, uh, sh... she got sick.
And were you with her when she got
the diagnosis for Lou Gehrig's?
How does one process that
with your... with your life partner?
It was... it was time to grow up,
to think of somebody else first.
We spent some time
with him and his wife, Laura.
He was as loving and tender
with her as any human being
I've ever seen.
It was a lesson
in how to deal with
somebody who's... who's passing.
I sometimes think of...
...any of the stuff we feel guilty about
or what we did in past relationships,
and then to be able to have
an opportunity to, um,
make that living amends
so fully to... to... to a partner
and to completely commit
to being by their side
through every step
of a devastating illness.
And, uh, it's crazy. You really showed up.
I hope so.
What I have
is not contagious.
What is it?
amyotrophic lateral sclerosis,
also known as Lou Gehrig's disease.
I love you.
Just another one of God's little victims.
Like me.
Very much like
when Chaplin lost a kid,
and then the next movie he made
strangely was titled The Kid,
and it was a way for him to process
the grief in his personal life.
That's exactly what you did in Hugo Pool.
You're gonna beat this.
I like the way you think.
Your movie
was representing everything
from Laura's illness
to my addiction to your turnaround.
Since you're gonna outlive me,
will you forgive me for all the drugs
and bad examples that I'm leaving you?
It's a collage of pain.
And so you... you try
and go through it the best you can.
When you lost her, you stayed clean,
and I was still out there,
and you were just telling me
to stay on the planet and stay vertical
and not give up and all that stuff.
You weren't exactly some karma-free man.
Let me not fucking... You know.
Let's not stretch the truth here.
But that was kind of
a super significant thing.
Well, it's nice to hear it that way.
You deserved it
with what you went through.
All right. That's worthy
of an evening's nonsense.
After the bad films
that I directed out in California,
friends of mine would say,
"Get out of LA now."
Did I tell him to get out of LA?
But it didn't mean he couldn't visit.
Now he doesn't even come and visit.
He won't get on a plane.
What I feel
I can't say...
Between New York and LA,
there's no question he should be...
...in New York.
I think he's happier for being out of LA.
I think everybody's happier
when they get out of LA.
The land of broken dreams.
And it may be that New York
is sufficiently complicated
for somebody to be their unique person.
He was born, you could say,
to be in New York.
...without your love
Tell me who am I
Without you
By my side
Happy birthday to you
Happy birthday to you
We'll call him Bob Sr.
Happy birthday, Bob Sr.
Happy birthday to you
Exton, how's school?
It's good.
- Oh. Oh! He's taking a sip of my coffee.
- Hey, guys.
Hi, Susan.
Hi. Happy birthday.
Thank you.
Are you properly celebrating, Sr.?
He is. He's got some friends
and close associates over.
They're having a ball.
We might wanna get
a couple of women in this film also.
If Susan would do it,
she could play your wife.
I'm pretty serious about giving
as many people an opportunity
in that casting as I can.
But we'll see.
I mean, we can always come back
around to the house favorite, yeah.
By the way,
every day I think about your dad.
Thank you. Me too.
Me too.
Yeah, it was a tricky first Father's Day
without a father.
Boy, was he funny too.
You look good, Pops.
I'm glad there's some levity there,
and you're surrounded
by good people, and...
I don't know any of them.
Now, say we wind up
out in the Hamptons again together.
Are there any scenes to be shot
or images of stuff you want
that you're not seeing
in the project right now?
That German folk song.
I knew you were gonna say that,
so I'm gonna have to get
an accompanist to learn that song,
and we're gonna have to figure out
where to shoot that.
- Hello?
- Hey, it's me.
Pop, this is for you.
Just, let's try it from the top again.
It's just coming a little...
When I was 15,
I entered the Kiwanis solo festivals,
singing Schubert's "Fischerweise,"
and it was the first time that Pop
ever noticed something I was doing,
outside of his movies, had some merit.
Or I think I got an honorable mention.
And, uh... and then it's been something
I've returned to several times.
And tell us what his reaction was.
He seemed pleased.
- Yeah?
- Yeah.
And how did that
change your life going forward?
There's something
nostalgic about it.
There's something beautiful
about the song.
And then there's
my dad's oddball point of view
of all the things
he could have pulled out or remembered
that he would want me to repeat
40 years later.
Uh, it will really help
the film tremendously
when, suddenly,
you just come out from behind a tree...
- Yes.
- ...and sing this thing.
Let's do it again.
...my life
- Here we go.
- I'm gonna nail it this time.
It all looks
sweetly narcissistic.
Do you see
a place for this in our cut?
- Can you do that a little more?
- Like, repeat it?
No, I'm just being happy.
Let me try.
He completely focused
on the edit.
He sat up for hours and hours,
which was something
he hadn't done in a long time.
It's just a big source of joy for him.
You know, it really is.
It's... it's everything for him.
- That's pretty good, dude.
- I just wanna see it again.
Let's see.
Have you changed as a filmmaker,
or do you still make stuff the same way?
That's a good question.
I really don't know.
What was
the last film you worked on?
It was a documentary
down in Philadelphia
that I'm very fond of.
It's about a park
called Rittenhouse Square.
After I sat in the park
and saw all the weird characters,
I said, "I'm in."
And we spent a year in there
to get the different seasons,
just studying people.
The one thing we learned was
trust anything
'cause anything will happen.
And sure enough, the first day,
we ran into a ten-year-old violinist,
who was great,
and she became the main focus
of the whole year in the park.
How did making the documentary
compare to, like, your other films?
Well, I like... as I said earlier,
I like the idea you don't know
what's gonna happen.
Sr., you know,
he's battling a horrible, horrible disease
that I had to see my dad go through.
And so at this point,
it's all just love
of the time we have left.
And I don't know if Sr. has come to terms
with some of his behavior from back then
or how it relates to Robert.
But what I know now is, you know,
this is somebody who loves his kid.
the quintessential Sullivan's Travels.
Setting out to do
something real and important,
and what if what we'd been doing all along
was every bit as important
as it needed to be?
For me, this feels like
trying to close the circle
on that whole patriarchal thing.
And making peace with all the
upside and downside of it
and sideways-ness of it.
And then saying,
"Okay, you're a grown man now."
Lean and mean, Bob. Lean and mean.
That's a whole new pass, man.
Well, you don't have to worry
about when you're coming back now.
It's whenever it happens, it happens.
Thanks for doing this. It's big deal.
Great. You did some great work.
Looking back...
...he says it's been a great experience.
His definition of a producer
is a guy who gets stuff done.
Yep, yep, yep.
Heading the 90 miles in town. He's pumped.
This is year three
of shooting the Daddy doc.
I'm excited to see Grandpa.
Well, I left my happy home
To see what I could find out
I left my folk and friends
With the aim to clear my mind out...
The plan for today, we're gonna
keep shooting the "Sr." documentary.
The main reason I wanted to be here
was because I wanted to see Grandpa.
So, I wanted to see him
so we could, sort of, have memories.
And... so when he passes, I can say
I got to spend some time with him.
Na, na, na
Na, na, na
Na, na, na
Well, in the end I'll know
But on the way I wonder
Na, na, na
Na, na, na
Through descending snow...
Hi, thank you, sir.
We're here for Downey. Thank you.
Na, na, na
Na, na, na
I listen to the wind come howl
Telling me I have to hurry
I listen to the robin's song
Saying not to worry
So on and on I go
The seconds tick the time out...
Hi, Dada.
Whenever, uh, you'd rather
we're not rolling, just let us know.
Otherwise, we're in your face
all day, all the time.
It's good
to see you in person, man.
Is it... is it warm out?
Cold. Cold and rainy today.
Ooh, well, that's
good... good for photography.
Exy, when you're ready.
We're gonna
give you three takes
at asking him the question, all right?
So you'll hit... come here,
hit him with the line.
- Hey, Exy.
- Hi.
Okay, he's ready. In three, two, one, go.
Hey, Sr.
Have any hair on your balls?
Would you repeat that question?
Have any hair on your balls?
Now, give him
the answer line one time, Dad.
Exy, hit him again, and then you do
Larry Wolf's "I'm afraid to look."
Hey, Sr.
Have any hair on your balls?
Do I what?
He refuses to do his own answer.
- All right, you are free.
- That was very fun.
Exy's having a ball, dude.
This is, like,
the best trip he's ever had.
It's definitely
up in, like, the top ten.
You need anything?
Where are we?
This is the last day, uh,
that I'm likely to see him for a while,
so what's my move for him, for me,
just to kinda...
You know, it's weird
because I know that I'm...
uh, capturing it.
Oddly, it's sort of like
what your family does.
You guys make art of your lives.
It's weird. It's natural.
Like, it brings me back where it's like,
whatever's unfolding, funny or tragic,
it's happening
with a 16-millimeter camera going,
and, uh, we can reflect on it...
...40 years from now...
...when somehow or other it makes sense.
But then there's some part of me
that feels like I'll...
I'll miss something.
Yeah, yeah.
You know, just 'cause the window's
closing a bit, it seems.
Is there anything
that you feel like you need to process
in relation to the possibility
of not seeing him again?
I just don't know, to be honest.
- Yeah.
- You know?
Um, it's kinda disorienting,
but, uh...
...dude, it's a lot.
It is a lot, man. It's a lot.
Well, the nice thing is
I haven't had this appreciative
an experience of New York in ages.
And getting to see it
through Exton's eyes,
the third-generation POV,
is pretty cool, you know?
but I can't help but also notice
the difference between
the reliability of his support system,
you know?
Your dad rebelled against something
that needed to be rebelled against,
and then you were raised
in that rebellion.
Letting you
use drugs as a child.
And it's like... it's kinda fucked up!
Battered but not broken.
Yes. And then here we are.
It's like, "How do I go out
without feeling like I missed something,
you know?"
Is there anything you need to say to him?
I just... I don't want to...
- I don't wanna do the wrong thing.
- Yeah.
Yeah. Yeah, yeah, yeah.
Give us a... give us a "one, two, three,"
so we can check your mic.
- Who?
- "Who." Great.
While we're still hanging out
and seeing each other,
I just wanna try to stay close
and get closer and closer
and closer and closer.
- Yeah, great idea.
- You know?
I was gonna ask you
all these questions about just...
- Any... anything.
- Um... Yeah?
I don't really even know
how to talk about this, but I just want...
your point of view, um,
before we are done.
Is there anything
you want your kid to know?
What's so funny?
Well, in the Hamptons,
my kid has a house and a kid.
Like, two kids, three kids.
And, uh, we... we find if we pick
days when the light's not great,
that's good for us.
'Cause by the time you shoot it...
it's a good time to make
any kind of film you wanna make.
When you're not here
in the here and now,
where does your mind go to most?
Is there a period in time?
Or is there something
that's occupying your thoughts?
From what I can remember,
before I answer your question,
I would say the...
Charlie Parkinson's disease.
I have this here dream
where I'm working in this here jazz group.
And right in the middle
of a very groovy set,
just as I'm starting my solo...
...I keel over
and die from Charlie Parkinson's disease.
You called it, baby.
Is there a pen over there?
A pen? You want a pen or a pencil?
Ah, the old pen.
You love a bit of pen-and-paper action.
I can pop it for you if you want.
Thank you.
- Are you scribbling?
- Yeah.
Oh, and Robert...
had been a...
a little nervous 'cause he has
all these other things he's doing too,
but you can see
what he's focusing on is this.
When he called me up to ask me to...
He says, "Go slow."
Had you two met before?
You mean Jr. and I?
we're getting to know each other.
A day once dawned
And it was beautiful...
So we'll probably head back home
in a little while.
Even though Sr.'s just kinda napping,
should we just go sit in there
for a while before we cut out?
- Yeah.
- Okay.
Then the night she fell
And the air was beautiful
The night she fell
All around
So look, see the days
The endless colored ways...
So we'll probably let Sr. rest, and...
and then we'll see him, uh,
down the road a piece.
And now we rise
I love you, Pops.
We are everywhere
And now we rise from the ground
See she flies
She is everywhere
See she flies all around
So look, see the sights
The endless summer nights
And go play the game that you learned
From the morning
We had
no overt agenda with this project.
I had a sense of what it might be,
and I knew that part of it
was always going to be
the end of his life.
Is it a father-son story?
I don't think so.
Is it about what it is to be an artist?
I don't know. Maybe.
Is it a contemplation of death?
I think it's kind of turning into that,
and not in a morose way,
but just in a "we're here, we do stuff,
and we're gone."
And, um, I love him for what he did.
I love him for what he didn't do.
He has come!
I bring you a message.
Exactly six miles north of Skag Mountain
in the Valley of Pain,
there lives an evil devil monster.
His name is Bingo Gas Station
Motel Cheeseburger
With A Side Of Aircraft Noise
And You'll Be Gary Indiana,
and he loves to hurt people.
The last time I saw Bingo Gas Station
Motel Cheeseburger
With A Side Of Aircraft Noise
And You'll Be Gary Indiana,
he told me what he wants to do.
He wants to come down here
and kill each and every one of you.
But I said to him, "Bingo, wait a minute."
And the reason I said that
is because I believe in you people.
I believe you can do the job.
I believe you can help each other.
I believe you can make this world
a better place to live in.
That's it.
When I think I've got it figured out
Pressure reveals unexpected routes
That lead back into agony's core
My peace of mind is a civil war
I'm getting
Closer to the day I'm gone
You know life goes on
I'm getting
Closer to the day I'm gone
Until it's
You know life goes on
Take a card, Mr. Greaser.
All right. Put it back anywhere.
- This it?
- No.
- This one?
- No.
- That one?
- No!
- This one?
- No!
- That one?
- No.
- That it?
- No.
- That one?
- No!
- This one?
- No.
- That one?
- No.
- This one?
- No!
- This it?
- No.
- That it?
- No!
- This one?
- No.
- Here it comes!
- No.
- This one?
- No.
- That one?
- No.
- This one?
- No.
- Is that it?
- No.
- This one!
- No.
- That one?
- No!