Timeless Heroes: Indiana Jones and Harrison Ford (2023) Movie Script

[Kennedy] There's always been
this unique charisma to Harrison.
No one's like him.
I think you just can't bear
to let a gorgeous guy like me
out of your sight.
There's just something
about a rogue, isn't there?
And he's, like,
the ultimate rogue. [laughs]
"I don't want a real job.
Maybe I could be an actor."
I'm making this up as I go.
He is his own man,
and he knows he's an action hero.
[Spielberg] Let me see how it looks.
Can we follow Harrison?
He's down-to-earth and has
this very, kind of, wonderful, dry wit.
He is hilarious,
magnetic and sexy and funny.
[laughing] Go away!
He's not too weird-looking,
and he's not too good-looking.
Who's scruffy-lookin'?
[Lucas] He hits that sweet spot.
It's very bouncy, Steve. Very bouncy.
George and Steven came into my life.
-That's Indiana Jones.
-Things got better.
-In the rain.
-It's raining.
It's raining. It's very wet.
[Spielberg] Where's my man, my movie star?
Hi, Mom.
There any surprises in this film?
I became very aware
of this movie star-in-waiting.
-I'm in good hands.
We had this great power.
We had great stories to tell.
I don't think there's been any actor
that's taken on
two incredibly iconic roles like this
that have stood the test of time.
The hat, jacket and the whip.
You're Indiana Jones.
In my own mind, I cannot separate
Harrison from Indiana Jones.
Not a lot of us know him as Harrison,
the private person, you know?
There's still a mystery about him,
and this is his story.
[Lucas] This whole project
started about ten years ago
when I had an idea to do a movie,
an action-adventure kind of serial.
It was actually about the same time
that I came up
with the idea for Star Wars
but, uh, got more interested in Star Wars,
so I put this one on the shelf.
Figured I'd get to it someday.
[Spielberg] George and I,
we were in Hawaii
getting ready to celebrate
the opening of Star Wars.
We built our lucky sandcastle
on the beach.
The tide did not take it, a good sign.
Then after the grosses started coming in,
George was just ebullient.
The sense of relief that washed over him
that day when he found out he had a hit.
He turned to me, and he said,
"So what are you gonna do next?"
And I said, "Well, I've been trying
to get the Broccolis to hire me
to direct a James Bond picture.
They keep turning me down."
And George says, "I got something better."
[Kennedy] I had actually started
working as a receptionist
for John Milius and for Steven.
So that was quite
the introduction to Hollywood,
because there was a steady stream
of who's who coming through the door.
I had met Steven about five years before
on the set of Daisy Miller in Rome,
and he had noticed how I worked.
So when George asked him,
"Who do you want to produce Raiders?"
He said, "Let's see
if we can find that guy, Frank Marshall."
I had been writing without success.
And then I had written Continental Divide.
It sold in about two weeks,
and there was a bidding war for it.
-Steven won the bidding.
And Steven says, "You know,
I'm gonna do a movie with George Lucas.
We both think you could be
the person to write this movie.
They had only the basic ideas.
The one big idea was that when George
started talking to Phil Kaufman,
he said,
"Oh, I know what the MacGuffin should be."
His orthodontist had told him
when he was 11 years old
about the lost Ark of the Covenant.
[Brody] An army which carries
the Ark before it is invincible.
[Lucas] I said,
"That's fantastic. It's perfect.
It's just what we're looking for."
And, uh, "Fit that into it.
Flush the story out a little bit more."
[Kasdan] George said,
"The hero's named for my dog, Indiana."
[dog barks]
"He wears a Fedora,
and his weapon is a whip.
It's gonna be like the serials
where there's a cliffhanger
all the time, you know?"
So, that's about the whole conversation.
George and Larry Kasdan and myself,
we pounded out all the beats
to the story in three or four days,
and then Larry just went off
and wrote a brilliant script on his own.
Steven said,
"Why don't you write it at my office?"
'Cause I had no office.
He said, "You can write it at my desk."
That's when I met Kathy Kennedy too.
[Kennedy] I had been asked by Steven
to come work as his assistant.
So I was sitting in the office,
hadn't been in the business very long,
and he put a script in front of me,
and he said,
"I'd really like you to read this
and tell me what you think."
It was one of the first scripts
I'd ever read.
It was just this incredible page-turner.
But how are we gonna do this?
[Kasdan] There had been movies
like this 50 years earlier,
but there had never been
anything like this in recent memory.
And George and Steven had such
a clear image of what that would be.
And you needed someone
you couldn't take your eyes off.
[Marshall] George really believed
in doing concept art
for the look of the movie
and the character.
And so there were four or five paintings
that were done
by this wonderful artist named Steranko.
[Kennedy] We always talk about it
as the silhouette of Indiana Jones.
Steven and George knew
that they needed a character
that would really have
that instant identification.
We didn't have the intention to redefine
what a hero is to global movie audiences.
We didn't have any delusions of grandeur
about where this could go.
I felt, personally,
this was a very risky project,
'cause nothing like this
had ever been done
since the old days
of the Republic serials.
I was thinking about
how to insure all of us against failure
by finding a very charismatic
Indiana Jones.
[Ford] I was a philosophy
and English major in college,
and I was not a good student.
I was a depressed student,
and I didn't fit in.
And it was a small mid-Western
liberal arts college in Wisconsin.
Very small school.
I was the first one in our family
to go to college.
My father and mother worked hard
to make the money, uh,
to send me to college.
And I didn't perform.
I found no peers there, really.
I felt, uh, isolated.
And then my grade point average
got to the dangerous, uh, juncture
where I went through the course catalog
to try and find something,
like basket weaving,
that I couldn't fail at.
I went through B's,
and there was no basket weaving,
and I came to C, D. Drama.
When I read the first line,
"Read plays and discuss them
with your classmates."
I didn't read the rest.
The rest said,
"And you have to be in plays."
Suddenly, I found myself on stage
with my knees knocking,
and I was terrified.
That was something
I had to learn to control.
I learned how to do that,
how to not be terrified.
And I did find that the people
that I was telling stories with
were the people I was missing.
I didn't see them until we were
telling stories together, and I fit in.
I felt good there.
And I was, for the first time,
emotionally involved
in something I was doing.
So, I said,
"Well, maybe I could be an actor."
My father who had been
a radio actor himself early on.
My grandfather, his father,
was a vaudevillian.
So there's a bit of a tradition
in the family of this.
Nobody thought I had a chance in hell
of making a living at it.
All I knew about acting was you go
to the East Coast or the West Coast.
So I flipped a coin. Came up West Coast.
So went to the West Coast
and after a period of years,
I began to get an edge up in Hollywood.
I see the whole thing.
She's marrying me to rebel against you.
No, you. And what she really wants is him.
-Yes, you!
[Ford] I was under contract,
so they plugged me into tiny little parts
in television shows.
[Letterman] Is there good money
in being a contract player?
What do you gotta do to--
Oh, yeah. Not just money, but the respect.
-[Ford] 150 dollars a week, yeah.
Anything then that they're doing,
you have to show up and be in, right?
-That was the idea.
-[Letterman] Yeah.
Any memorable appearances come into mind?
-[audience laughs]
When I got out of that contract,
I went under contract to, uh, Universal,
and I did another
year and half at Universal.
And then I started
doing episodic television.
The time has come to cut our losses.
What does that mean?
The Board of Directors is considering
a different approach to the problem.
[Ford] But I also was remodeling a house
that we were able to buy
with my then-wife's legacy
from her parents.
Then I started to remodel it,
and I ran out of money
'cause I bought tools and materials.
And a friend of mine suggested
that I take a job with Srgio Mendes
to build a rehearsal room for him
on his Encino estate.
And he forgot to ask me
if I had ever done it before.
And I forgot to tell him, frankly.
But it turned out to be
a 10-track professional recording studio
that I built in his backyard.
And I was never out of work again
as a carpenter.
Would you charge more to a celebrity
than you would to a regular civilian?
-Wouldn't you?
-[Kimmel] Yes. [laughs]
-[audience laughs]
It allowed me to not have to take
every acting job that came along.
I wouldn't take another job unless
the next job was better than that one,
that is bigger part, better billing,
more money. [chuckles]
Now, look.
Don't get involved in this, Mr. Caul.
Those tapes are dangerous.
[Ford] So, for about 15 years,
I only worked five or six times.
But when I worked,
I worked in something
that I really wanted to do.
And the first of those
was American Graffiti.
[classic rock playing]
Hey, you see this Milner,
you tell him I'm lookin' for him, huh?
Tell him I aim to blow his ass
right off the road.
When I was casting for American Graffiti,
the casting director
was a good friend of Harrison's.
He wanted him maybe to play
John or something,
but he was in his 30s
and everybody else was in their 20s.
He wasn't right for that part.
So when we went on,
and we started casting Bob Falfa,
the villain of the piece,
I immediately thought of Harrison.
Hey, you're supposed to be
the fastest thing in the valley, man.
But that can't be your car.
It must be your mama's car.
We were shooting almost all nights.
George was holed up in a corner
in a warm jacket and sometimes
He kept falling asleep. [chuckles]
It was a very low-budget film.
Fun to do.
I was surprised that I was in something
that was popular.
Well, I'm not gonna take you
on an impossible chase across the galaxy.
I was paid to bring you here,
and now you're here.
Give me my other 5000,
and I'll be on my way.
You're on your own. I'm on my own.
I'll let you off on the nearest system.
[Lucas] When I was actually, uh,
doing the casting on Star Wars,
we went through quite a few actors.
We went through a lot of possibilities.
-Tell me, what was it about Harrison
that initially drew you to him
as an actor?
-[Ford groans]
-[all laugh]
Later, I found out
it was the casting director that said,
"Here. Sit out right out
in front of the office,
and pretend like
you're building something."
-Oh, rubbish.
[Lucas] We had tests with him
and Carrie and Mark,
and we went through the whole thing,
and that was where the best chemistry was.
You know, he fit the part.
[Star Wars theme playing]
[Ford] I thought the film
was gonna be successful actually.
And I didn't think that anybody
over the age of 15
was gonna be interested in it necessarily.
But I thought it would be successful
as a kind of fairy tale.
-[speaks Shyriiwook]
[Kasdan] Everything about Star Wars
was a surprise to the world, really.
I mean, no one was prepared
for what it was.
And that cast
was just part of that surprise, I think.
There was a callow youth, Mark.
There's a beautiful princess, Carrie.
There's a wise old warrior, Alec Guinness.
And there was a smart-ass, which is
sort of a specialty.
Everything's perfectly all right now.
We're fine. We're all fine here now.
Thank you.
How are you?
Han, he sort of drew
everybody's attention,
because he was the grown-up in the scene.
Even though he was hot-tempered,
and he had this running, kind of,
battle with, uh, Chewbacca.
They were, kind of, you know,
the odd couple.
-[speaks Shyriiwook]
-Get in there you big, furry oaf!
I don't care what you smell!
-[speaks Shyriiwook]
-Get in there and don't worry about it.
[Mitchell] He was kind of
a throwback to an era of guys
who completely owned
how masculine they were,
and were not apologetic about it.
And, in fact, his voice seemed
ten years older than he did.
For a long time,
that speaking voice had this weight
that made you think, "Who is this kid
who sounds like a 50-year-old guy?"
Look, your worshipfulness,
let's get one thing straight.
I take orders from just one person. Me!
[Kennedy] That funny,
self-effacing, scoundrel, jokester,
I think that permeates
who he is all the time.
My theory of interstellar space travel:
Make sure you get enough per diem,
'cause you're gonna be out there
for a real long time.
You just know, whether you're gonna go
sit down and have coffee with him,
or have dinner, or watch him perform,
you're gonna be entertained.
That's enough?
No point in pursuing that further.
[Letterman] And as far as
Raiders of the Lost Ark, um
[one clap]
-This was-- You were not his
-[audience laughs]
You were, uh, now this--
Does this make you feel odd that you were
not his first choice for that film either?
-[Letterman] Yeah.
No, it wouldn't have occurred to me that--
I didn't even know about the project.
I didn't know Spielberg.
And it didn't occur to me
that I would have a chance of doing it.
We spent so much time trying to figure out
how we were gonna cast Indiana Jones.
[Spielberg] I didn't know
who could play this guy.
I really thought,
"Well, the guy that should have
played Indiana Jones
is Humphrey Bogart 50 years ago."
But we don't have him around anymore.
So we started looking around
at young guys under 30
that could possibly play him.
And we did a number of tests.
Actors coming in and reading
on video for the part of Indiana Jones.
And then Tom Selleck came in.
Hello, Marion.
And we went very far down the road
to cast Tom Selleck as Indy.
In fact, we made him an offer.
But maybe it could do us both some good.
-[scoffs] Why start now?
-Just shut up!
Shut up and listen to me.
Now I need that piece your father had.
[Marshall] But he had a contract
with CBS for Magnum,
and he couldn't get out of it.
Suddenly, we didn't have an actor.
[Ford] I knew that
Tom Selleck had the job,
but had to turn it down
because he had a prior commitment.
So, uh, thank you again, Tom.
Tom Selleck had fallen out
by the time they cast me.
And I auditioned with Tim Matheson.
I've learned to hate you
in these last ten years,
but no matter how much I hated you,
I always knew someday
you'd come through this door.
[Allen] I fell in love with Marion.
She is everybody's kind of fantasy.
I think of, you know, who--
who a woman should be. [laughs]
Nobody tells me what to do in my place.
I remember my agent at the time saying,
"Well, what do you think of it?"
I said,
"I've never read a script like this.
It's just pages and pages of description."
He said, "Well, do you want to do it?"
And I said, "Of course I want to do it."
This is either going to be
the biggest disaster of all time,
or it might just set a new fashion
in filmmaking.
[Allen] So, I think I had been cast
for maybe a month or something
when suddenly they told me
that they had decided
who would take on the role.
And then George had a screening
of Empire Strikes Back.
George showed me a cut
of The Empire Strikes Back.
I looked over at George and I said,
"There's our Indiana Jones. That guy."
And George said, "Chewbacca?"
-[audience laughs]
That's the guy. That's Indiana Jones.
And George's first reaction was,
"Well, you can't cast Han Solo
as Indiana Jones, 'cause he's Han Solo."
And I said, "Yeah, but actors play
all these different parts all the time.
Harrison can play Han Solo,
and he can play Indiana Jones."
And George, I think,
immediately saw the value in that.
[Ford] I got a call from George saying,
"I want you to read the script
this afternoon please.
I'm sending it to your house."
And I read the script. I said, "Ooh. Wow."
He said, "Okay. Go over and talk
to Steven. He's waiting for you."
And I went over and then about,
I don't know, an hour later,
I had the part.
["The Raiders March" playing]
I was excited to have the opportunity
to work with him.
He was full of enthusiasm.
He loves to make movies.
And he's damn good at it. [laughs]
It feels great to work with Harrison.
When I do a close-up on Harrison,
I suddenly feel like
a first unit director.
Gee, I've made it. I'm out of the mire,
you know, and into the glory.
[Ford] I remember
that we got on the plane together,
and when we were
sitting next to each other
we went through the script,
literally for the first time.
Both of us read a scene, talk about it.
It's just, like, a dream collaboration
that I'd never enjoy more.
I thought you were slithering. Are--
-[Spielberg] No, so that's--
-[Ford] Or--
Or you were slithering, or
-I think it makes sense. You should go--
-All right.
I don't think
it's a problem of all places.
[Ford] I was always eager
for an opportunity
to collaborate, rather than simply,
"You stand there. You say that.
That. Okay?"
Such as when I was sick
from eating local food,
and enjoying it terrifically
on the way in,
but not so much on the way out.
Like, I couldn't
stay out of my dressing room
for more than ten minutes.
[Spielberg] He said, "I gotta go back
to the hotel. What can you do in an hour?"
I said, "We have a three-day
action scene to shoot!"
He said, "Hey, pal.
It ain't gonna be today."
I said, "Let's just shoot
this son of a bitch and go home."
We both take credit for this.
Either I said,
"Why don't you just shoot the guy?"
Or Harrison said to me,
"Why don't I just shoot the guy?"
But whoever said it,
that's exactly what we did.
Poor guy. I mean,
he'd been training for three months.
Because the two of you were supposed
to have a whip and sword fight.
[Ford] It was supposed
to go on for three days.
[crew] To your right, Terry.
[Ford] And they told him, you know,
"What we're gonna do is
we're just gonna shoot you."
-[audience laughs]
-He was really upset.
[audience laughs]
The first time I shot him,
it took him about a minute to lay down,
'cause he wanted
to get something out of this.
Oh, so torturous.
So, the second time we did it,
I shot him before we slated.
That's the one that's in the movie.
[actor screams]
So, I had my collaborative input
as we were making the film.
It just made me feel much more comfortable
in the character.
Harrison is incredibly inventive.
And he's got a tremendous command
of what the character not only should do
in an action scene,
but what maybe the character can say
that we hadn't scripted.
Like the great line
It's not the years, honey,
it's the mileage.
Harrison came up with that line.
That was his idea.
He had a lot of lines in the movie.
And I think that was
Harrison's way of distinguishing
the character of Indy
from the character of Han.
[Spielberg] It starts here
with the rocks chasing you.
And it's just, literally,
you know, it's about
It's about that fast.
[Ford] I always said
that Indiana Jones was more about
what you can do in a movie
for an audience.
How you can take them on an adventure,
surprise 'em, shock 'em, wring 'em out,
and leave 'em happy.
We had real stunts.
I mean, all we did in Star Wars
is run, jump and fall down.
I wouldn't call that stunts.
-[Lucas] Okay. Cut.
-[assistant] Cut it.
[Ford] In Indiana Jones,
we were able to arrange
some really close-up magic.
And use me in it.
I think I clipped him once or twice.
I think I might have caught his chin
at least once.
I learned to hate you
in the last ten years.
[Ford] My stunt guy
had done most of the action.
And I came back
and had to plug myself into scenes.
[crew] Pick your head up
just a little if you can. That's it.
And we came up with some real stuff
that I could do
that I think was some of the best
stunt stuff I had ever seen.
I'm sure it's not dangerous.
See, if it was dangerous,
they would've waited
until we got more of the movie done.
[director] Hold it. That's good.
[Mangold] I love Raiders.
He's an academic
who happens to somehow
get out of scrapes with incredible aplomb.
And he's very lucky. Things break for him.
Bad dates.
[Mangold] He's kind of like
Bugs Bunny or the Road Runner,
or Buster Keaton, in that sense.
That building falls on them,
but they're standing where the window was.
Or the train turns just
as the cannon goes off,
and then the cannonball hits
the bad guy's train instead of his own.
We also identify that he has fears.
I hate snakes, Jock! I hate 'em!
All of Indiana Jones'
eccentricities and anxieties
and neuroses are part of his appeal.
It's scary to go in a cave.
It's scary to get spiked with a spear.
You know, frightened of snakes
Why did it have to be snakes?
He basically rolls his eyes, "Snakes."
It's not like he screams. He's like,
"I can't believe I'm a grown man
who's afraid of snakes."
There is this-- this need to press on
that, to me, kind of felt quintessentially
American about that character.
So, he may not have been invulnerable,
but he was indomitable.
[snake hisses]
[interviewer] And Harrison's
not afraid of snakes either?
Not at all. But he-- But he's an actor.
I like snakes. They don't scare me at all.
[snakes hissing]
There was one really dangerous snake
behind a piece of plexiglass.
Try to get him going.
[Ford] That was a cobra. King cobra.
Let's put in five more,
and then we'll get ready to roll,
and we'll put in two more
as we turn the cameras over.
Two more fresh ones, right?
[Ford] There were people standing by
with syringes of antivenom.
-Now he likes you.
-[crew laughs]
[crew chatters]
[Ford] But all the rest of the snakes
were harmless.
They would bite you,
but the bites were not deadly.
You traitor! You get your hands off of me!
-[snake hissing]
[Ford] We were having so much fun.
Never had a better time on a movie.
It was crazy.
-[Allen grunting, laughs] Whoops!
-[Spielberg chuckles]
-[Ford] I'm standing still.
-[Spielberg] Hey.
-[Ford] Couldn't be my fault.
-[Allen laughs]
[Spielberg] No movie for a filmmaker
is an adventure.
It's a lot of hard work.
We were globe hopping as the character
of Indiana Jones was globe-trotting.
That's not an adventure.
That's a lot of long, boring
airplane rides. It's a lot of jet lag.
That's a lot of moving
into new hotel or motel rooms.
The only excitement for me happens
when I get to the set.
-[crew laughing]
-That's where the fun in it is for me.
Let's start shooting.
We got Harrison here.
He's all ready to go.
He's got his hat on. Good.
He's got his little satchel.
Whoa, whip him!
[Ford] And the whip.
We had a guy, Glenn Randall,
that taught me the basics of it.
But I would stand out
in my driveway and practice. Hours.
When you first start, you'd take your ear
almost off with the lash as it goes past.
[Randall] That's it. That's it.
It's very dangerous.
[Ford] It's hard to learn.
But, uh, it was fun.
[interviewer] Is that how you
got your scar on your chin?
[chuckles] No. It was a car crash.
A fast car crash on the way to sell, uh,
knickknacks and oil paintings
at the Bullock's department store.
-It's a wrap!
-[crew cheers]
Oh! Thank you, Dickie.
Thanks, baby.
You're coming to Hawaii with me.
I'll thank you later.
[Spielberg] The last week of shooting,
we were in Kauai.
And the last week of shooting
was the entire opening
of Raiders of the Lost Ark
where they're trekking through the jungle.
[Ford] We're very nearly done.
This is-- It feels good.
We worked almost every day.
Had about a day and a half off
on the whole movie.
And, uh, been sore and bruised
most of the time.
[Ford shushes]
[shushes] They're making a movie.
-[whip cracks]
[Kennedy] That reveal,
that close-up stepping in with
the perfect eye light out of the shadows.
That's signature Steven.
It's funny that's one of the shots
we did late in the schedule.
And I think Harrison, at that point,
certainly knew who that character was.
And he knew that look
that only Harrison can give.
He just owns the picture
from the first frame to the last.
And it feels like a movie
that was made for him to shine.
Any questions?
When I go into the editing room,
and I start to see these shots
cut together into a sequence,
that's where I had
my first rush of excitement.
[Spielberg] And my first cautious rush of,
"Oh, this could be something amazing."
"This could work."
[Allen] Steven invited me to come
and see the first screening of it.
I was astonished.
I mean, you don't really put together
the pieces of someone's performance
working with them in the scenes
that you're in with them.
I didn't have a very clear sense
What did you say?
of Harrison as Indiana Jones
until I saw the film.
[Mangold] I saw it on opening day, alone.
I mean, I was such a huge fan
of everyone involved
that I still haven't forgotten
where I sat and where I saw it, you know?
'Cause it was also the moment
when you're trying to figure out
what you're doing with your life.
And it was one of the reasons
I became a movie director.
[Marshall] Indiana Jones was
a pretty life-changing experience for me.
My first sole producer credit.
My first nomination.
The start of an incredible friendship
with a whole lot of wonderful people
that I'm still friends with.
Everything about the creation of the movie
was going on with just that family,
that handful of people.
We were all together all the time.
[Spielberg] Yeah.
There's only two shots here that
And I met my wife.
Yes. That's where I met my husband.
[Marshall] You know, I was married
to the movies at that time.
And I thought, "Okay, I'm gonna do this.
I'm not gonna find somebody
who loves making movies as much as I do."
And then I met Kathy.
And we became great friends.
And I fell in love.
And I think that's a key
to our relationship here, 37 years later,
is that we're still great friends.
We love working together,
and we love making movies.
Hell, I'll be at this
for another couple of years, I'm sure.
But I feel [laughs]
but at least I get
to go home for a while.
[Ford] I'm very grateful for
the opportunity to play that character.
It's led to other opportunities.
I had already become commercially viable,
and now I was in a fantastically
successful second franchise.
[Kennedy] When he became Indiana Jones,
and that was coupled with Han Solo,
I don't think he ever had a night
where he could go to a restaurant,
or step outside
without being pretty much mobbed.
[Weir] Harrison told me
something about stardom
that I thought was very interesting.
I hadn't thought about it, but he said,
"I feel for young people
who get tremendous attention very early."
He said, "I was fortunate, I think,"
in that, um, before the huge spotlight
was shone on him,
he'd been very successful
as not just a carpenter and so on,
but restoring houses.
People would seek him out for restoration.
So, he had lived a life
before he became a movie star,
when this great hurricane of fame hit him.
[interviewer] Okay, Harrison.
Um, what I was asking you was,
do you feel yourself typecast
at this stage
as a high-action actor, macho adventurer,
or are any other roles
that you'd like to play?
Are you pretty happy with the type of
roles that you're getting at this stage?
No, I--
I think it's true
that I am somewhat typed in that area,
but I've had the opportunity to do
a lot of things outside of that.
[Ford] I've always wanted
to work in different genres
when I had the opportunity.
I was now early 40s.
And I was, uh, suitable for casting
in some of the great feature films
that were being made at that time
by some of the great directors.
It was, basically,
I'm gonna do one for them and one for me.
And "them" were
the studios and the audience.
And then there was
a film I just wanted to do,
regardless of whether it would be
commercially successful or not.
[no audible dialogue]
This was a very voluble
period of time in Hollywood history.
All these guys that were young, upcoming,
who were rebelling, really,
against the studio system.
I mean, there were a bunch of guys.
Steven, George, Coppola, Milius.
They wanted their vision.
They wanted their independence.
They wanted to make
their movies their way.
And very quickly they were.
They were successful.
They were so successful
that it changed Hollywood forever.
And it precipitated one of the greatest
20, 30 years of really quality movies.
Both out of these guys, and out of Sydney
Pollack, Alan Pakula and Mike Nichols.
All the fantastic filmmakers
that I got a chance to work with,
because I had reached that age where
I could play some of these characters.
I never expected ever to be a leading man.
I thought I was, you know,
be lucky to get a regular part
on a television series or something.
But I wanted to make a living as an actor.
That's what I wanted to do.
Blade Runner was a big movie.
It was a big-budget film.
And it was a son of a bitch to make,
'cause it was all night and in the rain.
[person on PA] A new life awaits you
in the Off-world colonies.
[Ford] It was a different kind of movie.
But that was the kind of film
that I was now in a position
to be able to be considered for.
[Lucas] I liked him in Blade Runner.
I know he had problems with it.
But it was a good character.
And, um, I liked him in Witness,
which was a smaller film.
Uh, how do I look?
I mean, do I look Amish?
You look plain.
The thing that I was
really impressed with with Harrison
was when he did Witness.
[Ford] That was a fantastic experience.
Jeff Katzenberg was putting it together
at Paramount.
"Do you have any ideas
of who should direct it?"
The first time I'd been asked.
And I had just seen
Years of Living Dangerously.
And I said, "How about Peter Weir?"
[Weir] They offered it to me,
and they said,
"Come over. We'd like to meet you
and you meet Harrison."
So, yeah, I was on a plane
before I thought much about it.
Up into the mountains where he lived.
And I got off the plane, you know,
a small regional airport.
And there he was to meet me.
And that surprised me.
Harrison? [chuckles]
He said, "Oh, we got to pick up
some stuff at the mini-mart
on the way to the-- to my property."
As I walked along the corridor
of the supermarket,
I noticed on the cereal box was Han Solo.
He was already a breakfast cereal.
You know, and here I am meeting him.
And I stayed at his place
working over the script,
and talking about how we saw the film.
I've always worn a Panama hat
from a very early age.
One evening at the end of the day's
shooting, the sun just setting,
Harrison and I walking back to the hotel.
A fellow was coming toward me,
a young fellow, glaring at me.
And I kind of looked away,
but, no, he's still coming.
Passed close to me, too close,
and said into my ear,
[in deep voice]
"There's only one, you know?"
[normal voice] And went on past and
I said, "Harrison, did you hear that?
He was thinking it was like
a hat like you wear in Indiana Jones."
We had a laugh about it, you know? But
[in deep voice]
"There's only one you know." Yeah.
[cow moos]
Witness was really when I thought,
"Wow, there's more to Harrison
than meets the eye."
In Indy, there's not a lot of opportunity
for real depth of emotion.
And I think, in Witness,
he was able to access that
in a very believable and grounded way.
Because he's been doing a certain kind
of archetypal role for so long,
we can forget that he's an actor.
The way he chose directors
and sought those directors out,
that is not someone who's not a film buff.
That's not somebody who doesn't understand
what filmmaking is.
In this period where the world was open
to him, he was taking advantage of it.
We could see his ambition
and being challenged by filmmakers.
Don't put 'em in the peaches.
[Weir] I'd say, Harrison,
he created his own shadow, in a sense,
with Han Solo and Indiana Jones.
He didn't want to be defined by them.
And that element of risk
that was involved for him,
maybe it won't work,
maybe it'll hurt his image, is thrilling.
When a star decides to take a risk,
it's very exciting,
because it's like the beginning again.
And I think we both enjoyed
that feeling on this film.
If we don't get it right,
it could blow up in our faces,
which is true of any film.
There were moments
of real joyful collaboration
between Peter and I,
and everybody else involved.
And we-- we really had a good time.
I love that movie. It's really good.
You didn't even go when
you were nominated for Best Actor, right?
-[Kimmel] Yeah.
You were nominated for Witness in 1986,
and you did not attend the Oscars.
Well, I had-- I had a lot of homework.
[Kimmel, audience laugh]
I love all his movies.
I mean,
I've watched The Fugitive 30 times.
[Waller-Bridge] I do remember The Fugitive
being the most breathless introduction
to a character,
and then that film was just iconic
when I was growing up.
And then I think it was Working Girl.
You know, maybe I just don't like you.
Me? Nah.
[Waller-Bridge] I feel there's so many
different versions of Harrison the actor.
So, I feel like I rediscovered him
so many times.
[Spielberg] I love Regarding Henry
as a courageous choice for Harrison.
I'd never seen Harrison
do that on film before.
The other character I love
is Allie Fox in Mosquito Coast.
I also loved him playing
the President of the United States.
I'm the President of the United States.
There's guilty pleasures.
There's Air Force One.
Get off my plane.
[Quan] I'm so fascinated by all
the choices that he's made over the years.
I followed his career,
and he has this ability
to make you fall in love with him
within five minutes of screen time.
Also this ability
to pull you into the story,
and want you to be with him on
this journey that his character goes on.
He pushes the envelope, man,
in terms of intensity, tempo
He's always pushing
at the leading man's cage,
and trying to rattle the bars and see if
he can expand what a leading man can be.
-Hi, Mom. We're in Sri Lanka.
-[director] Can you step out the shot now?
-Sri Lanka.
-Let's put the actors on.
Not bad. It's good. Nice.
People are great, friendly.
Nice elephants.
Here we are at our spontaneous best.
Let's make a movie.
["Temple of Doom Suite" playing]
[no audible dialogue]
[Spielberg] George said,
"If you commit to this first movie,
I need you to commit to three,
'cause I intend to make three of them."
"Absolutely," I said.
We shook hands on the beach
that day in 1977.
-[crew] Action!
[Spielberg] Cut. Lovely.
Great version. That's all we gotta do.
Oh, boy! And it was a good shot.
[Mangold] For me, there was nothing
that was gonna beat Raiders,
because it's the first time
you're plunged into that world.
But all those movies are wonderful.
And I looked forward to each one of them,
seeing these characters again,
and seeing the filmmaker I so admire,
Steven Spielberg, flexing
his own muscles trying different things.
Mr. Spielberg,
how does it feel directing a musical?
Well, it feels just-- just swell.
-It was designed to set you up
to think you were in a different movie.
My mother actually thought
that it was the wrong movie
for a good five minutes.
[Ford] Each film, I wanted the audience
to learn something new
about Indiana Jones.
[whip cracks]
Didn't want us to repeat
the same thing over and over again.
His name is Henry.
He's your son.
[Ford] I wanted part of the process
of the storytelling to include
a character that would lead us
into a greater knowledge,
or a situation we hadn't
seen Indiana Jones in before.
He put two holes in my dress from Paris.
Kate was great. We had a ball.
She brought joy to the part
and a lot of glamour.
-[actor] Oh, God.
My dress.
[Capshaw] I was really excited to be cast.
Raiders of the Lost Ark
took my breath away.
Steven Spielberg,
what an amazing director.
And Harrison, it was perfect casting.
I met him on the plane.
He's very quiet. He doesn't talk a lot.
He's not chitchat.
But he's very clever and very smart.
When he talks, you listen.
[whines, screeches]
[Spielberg] Don't even say Indy. Just
-Should be a screech.
So the audience doesn't say,
"I know what's gonna happen."
She's gonna put her hand into the hole
and his hand will come out.
[Capshaw] This was their second film.
So, I would be the new kid on the block.
And they had a very easy rapport
with each other.
They had their inside jokes.
A little joke between the joke,
just burning up a lot of film.
It's between actor and the director.
[Capshaw] I was thinking
about what a gentleman Harrison is.
I felt very cared for.
He knew that I was the newbie.
It was only my third film.
And it was such a big production.
So when he'd see me uncertain
and not knowing what to do,
he became the host, you know,
of his movie, and I was the guest.
Like, he brings what he needs to bring.
[Spielberg] Action.
-[gasps] Lao.
[Capshaw] The scenes are fast.
They're furious. They're intense.
[Indiana Jones] Come on.
[Capshaw] You know,
the unspoken character is the action.
It was hard work,
but I thought it was so exciting.
I loved it. I loved it.
[Willie screams]
Wow, holy smoke! Crash landing!
-[engine revving]
-There's a kid driving the car!
-[tires squealing]
And Ke. Ke Huy Quan.
Here's this little boy on the set.
Harrison and he were best pals.
We bow to the sha--
I bow to the shaman
then you bow to the shaman.
He was, I guess, about eight years old
when we did the movie.
I was actually 12 years old.
[Ford] And he was fantastic in it.
Great fun. Great fun to work with.
This was a time
where I've never seen Raiders.
So, I had no clue who Harrison Ford was,
or what even Indiana Jones is.
I just remember him being,
you know, very friendly, very kind.
[Spielberg] They had
a tremendously rich relationship.
Ke would crack Harrison up.
If Harrison was in a bad mood,
all I would do is stick Ke on him,
and Ke would go over and Harrison
would snap out of that mood in a second.
He just spread joy everywhere.
Very funny!
-Very-- Ha ha ha!
-Ha ha ha.
[Quan] We would constantly
make practical jokes on Steven.
When we were shooting
the mine cart sequence,
they were serving ice cream at that time.
So, we would take these ice cream cones
and we would smear it all over our faces.
We got in it,
and when we came by the camera,
we popped up with our ice cream cones.
We played on the set a lot.
I remember Steven saying,
"Oh, that is so funny. Love it. Print it."
-Come on! What you doing?
[Quan] That was like
a typical day on Temple of Doom.
That's fun!
One of my favorite partnerships
on these movies was Last Crusade.
Well, Indiana Jones
is coming back to the screen.
The movie opens tomorrow.
This time, Indiana Jones
comes back with someone extra.
I talked about wanting to see my father,
and Steven came up with the idea
and, of course, and the casting.
Yes, sir.
-Yes, sir. Oh.
Come on. Get it right, boy.
-[Spielberg] And action!
Yes, sir!
[Marshall] Seeing Sean Connery
and Harrison work together
was just fabulous.
I mean, these two, they were like
champion boxers going at each other.
But it worked beautifully for the scene.
Why are you sitting there resting for
when we're so near the end?
Come on!
[Connery] Steven and Harrison and
myself really worked very well together.
[imitates chicken clucking]
I think that in this one,
the Indiana Jones character
gets more opportunity to be more human
because he had been very much a loner,
isolated, and never really establishes
any kind of relationship with anybody.
The opportunity to express that
was terrifically refreshing
to Harrison as an actor anyway.
And it was a bit of a release
and a relief, as you think, for him too.
They're gonna break a bit of new ground.
I must say, it's been a lot of fun.
[crew] Is that what it was?
[Indiana Jones] Brutal couple of years,
huh, Charlie?
First Dad, then Marcus.
[Marshall] Along the way, obviously,
we've lost some of our close friends.
There's a lot of sadness.
You know, when I think about River Phoenix
and what he brought
to the character of Young Indy
Harrison had suggested River Phoenix
because he had just
worked with him on Mosquito Coast.
And he knew what a wonderful actor he was.
While doing Mosquito Coast,
I kept a close eye on Harrison,
and I noticed some of his traits,
and I would, uh, sometimes mimic him
and get a few laughs.
[whip cracks]
And it was fun.
I wanted to be a younger Indy.
-[Spielberg] Yeah. Go.
All right. And then the lion lunges,
and you go back right to there.
No farther than that.
[Phoenix] I think the character
is a great character,
and it's very well written.
And then you bring Harrison in,
and he just-- He's so charming.
He's got it down.
He just guided me through stuff, um,
gave me a little more insight
on the character.
Gave me a feeling
for where it all comes from,
the way he reacts to things, um
You know, what's going on in his head.
And I just played that, but younger,
and a little more innocence,
a little, uh, more amateur.
Oh! Oh! Oh, no.
["The Raiders March" playing]
[Marshall] The sort of generosity
that Harrison had with River,
River ate that up.
River was so thankful to Harrison
for giving him that knowledge.
No, Dad. You listen to me.
-[Henry Jones] Junior!
-One, two, three, four
[Henry Jones] In Greek.
If I have to compare all the movies,
my favorite is Raiders of the Lost Ark.
And my second favorite,
out of the four I made,
is the one with Sean Connery
playing Indy's dad.
But the Temple of Doom,
the second Indiana Jones movie,
absolutely changed my life.
And that is that the girl I cast to play
Willie Scott turned out to be my wife.
So, in a sense, I owe more than
I can ever express to that experience
for introducing me to Kate Capshaw.
[Capshaw] Indiana Jones
changed my life, absolutely. [chuckles]
It flipped it, completely.
-[Marshall] It's-- Oh, sorry.
[Capshaw] Kathy, Frank, Harrison,
Steven and me,
best friends, and it was so much fun.
[guns squeaking]
Indiana Jones from Princeton, New Jersey.
What's happening in Europe?
Is the war over?
Germans still hold most of Belgium.
[Mitchell] I was so invested
in Indiana Jones
that when that finally came to TV,
you just thought,
"What's this going to be?
And how is it going to be realized?"
It was actually a show that ends up
being as much about history,
in fact, more so than the movies do
about real history.
And how this character
interacts with history.
Good lord. This is not
as you said it would be, Dr. Jones!
[Mitchell] And to see him turn up in it--
And you didn't know,
'cause in those days
we didn't get announcements.
We didn't have
what they now call the Internet.
And so, it was nice to see him show up
as a surprise.
Harrison will then come up to here.
Saginaw will come up behind him.
Can we get both of them in
if he does that?
[Lucas] It was a lot of fun
doing this episode.
Uh, Harrison did us a favor,
and it was a fun little weekend.
And it's fun. It's like visiting a friend
and making a movie at the same time.
Want a cookie?
-[Lucas laughs]
He just reminded me of how much I owe him.
No, I'm glad to do it. It's fun.
And besides, I live here. [chuckles]
First of all, it shows
his devotion to the character.
[Lucas] And action.
[Mitchell] We felt his sense of approval
of what this show was trying to do.
And, I think, in terms of ambition,
it matched up with what he wanted
to see from that character.
[horn blows]
[Marshall] I think Harrison
always looked forward to playing Indy.
He was so enthusiastic
to get back into character.
Their treasure wasn't gold.
It was knowledge.
Knowledge was their treasure.
[Allen] When we finished the fourth one,
I remember Steven, very enthusiastically,
Steven Spielberg,
talking about wanting to do a fifth one.
There was this feeling
that there was more story to tell,
and that as Indiana Jones
and Marion Ravenwood were getting married,
it indicated, you know, more to come.
[chattering, laughing]
I think that we all felt, you know,
another one would happen,
and then a lot of time passed.
And it-- it started
to feel less and less likely.
Well, I think all of us wanted
to make one final Indiana Jones movie.
And I sort of felt
that I had done four of them.
And that was gonna be it for me.
But I really was encouraging
this fifth film to be made.
[Kennedy] And so to sit here
and really ask ourselves,
"Could you go make
another Indiana Jones movie
with someone else playing Indiana Jones?"
It is a very clear no.
[Jez Butterworth] So the obvious challenge
is that you're returning
to a genre without recasting.
You've got the same actor
who was playing this in his mid-30s
playing it in his late 70s.
And I think that what had been perceived
perhaps as a disadvantage,
i.e. this player is past, you know,
his sell-by date, was all the advantage.
I always was ambitious
for seeing Indiana Jones at this age,
because he was
so much about his physicality,
so much about his passion,
so much about being a young man.
I wanted to see him in circumstances
we had not seen him in before.
And I thought, obviously,
the hook for that is age.
I wanted to make a movie about
Indiana Jones near the end of his life.
On paper, the idea of doing
another Indiana Jones movie was daunting.
[crickets chirping]
Not only because you're following
one of the greatest filmmakers of all time
in Steven Spielberg.
The reason I did it was honestly
more personal than pragmatic.
I was thinking back to the noon show
on opening day in 1981.
[people clamoring]
Very dangerous.
You go first.
And that all these people's names
were on that movie, and they're all here,
somehow asking this kid
from upstate New York to make one.
And that they'd work with me.
Such a full circle journey in my own life.
[no audible dialogue]
-And cut.
-[crew chattering, laughs]
I couldn't resist.
Your father thought this thing
could predict fissures in time.
I was thrilled
with the script that we had--
the script that Jim Mangold developed
with the Butterworth brothers,
English playwrights and screenwriters.
And they came up with a wonderful concept.
[Mangold] I knew the movie was about time.
Opportunities missed, opportunities lost,
choices made, irrevocable mistakes.
[soldiers singing]
Indy was a hero in 1944.
Now Indy's 70, and these are our heroes.
The astronauts.
The world has, in a sense, moved on.
It really is a lot
about watching him looking at himself,
and taking the measure of himself.
But not in a melancholy way.
It's a character assessing himself.
And there's some part of us that realizes
that maybe it's also Harrison
assessing himself as a character,
and what that character's
come to represent for all of us.
[person on TV, indistinct]
[Mangold] I wanted to start Indy
as far as I could from being a hero again.
Those days have come and gone.
So we'd feel the elation
when he stepped back into those shoes.
Ha! See you tomorrow, Indiana Jones.
[John-Henry] There's always a character
who Indy has a past with
who drags him into the narrative,
or gets dragged
into the narrative with him.
What we were trying to do
was create something new
that did have a familial aspect,
or to have something to do with his past.
[Kennedy] Phoebe and I
had done Solo together.
So we went and had dinner and I said,
"Hey, I'm just gonna ask you something
that I have no idea how you would respond.
But we would all love it
if you would consider
taking the role opposite Harrison
in the last Indiana Jones movie."
And she literally fell
into the-- into the booth.
I mean, it's the kind of line you hear,
and you think it's a joke,
'cause I remember
just being like [laughs]
Can we have
another bottle of wine, please?
And then she had a big like, "Yeah."
The bottle of wine came,
and I was like, "This is hilarious."
She's like, "I'm serious." [laughs]
She was my first choice for the part.
She brings a special kind of energy.
[Mangold] It was clear
that we should cast her
even before we had started writing.
There was no one else we had in mind.
We were only writing it
thinking of her voice.
The biggest terrifying moment
was when we finally
gave the script to Phoebe to read
not knowing whether she would say yes,
and not having any idea
where we'd go if she said no.
Harrison, he actually phoned me first,
and I had a voicemail
that was just a really long pause.
And then [in deep voice]
"Hey, this is, uh, Harrison Ford."
[laughs] You know,
I was just like, "What?"
-[Mangold] All right, let's go.
-I got you. Ready.
[Mangold] All right, here we go.
Background action.
And action!
We had a conversation about the film.
He was like,
"I'm excited about this movie."
And I was, "When you come over,
I'd love to have a meal with you,
a lunch, or a drink or something.
Maybe we should do that.
It'd be really fun."
He was like, "Oh, no. I don't think so."
Then I was like, "Oh."
Then he mentioned he played tennis.
I was like, "Maybe we should play tennis."
And he was like [inhales]
"No, I'm good. Thanks."
I was like, "Okay.
Well, I'll see you first day on set."
The first day, I was really nervous.
But Harrison was just, like,
so warm and just open arms, and just like,
"Hey! Here we are.
We're making this thing happen."
I don't need morality lessons
from an aging grave robber!
[Waller-Bridge] I said to him, "At any
point you think I'm shit, please tell me.
And I'd rather you just say it.
Or help me out, 'cause no one
knows this craft better than you."
-He was like, "You're doing good, kid."
-[Mangold] Cut!
That's all you really want, isn't it?
Harrison Ford to squeeze your shoulder
and say, "You're doing good, kid."
I could barely keep up with her,
which is probably
no surprise to anybody but me.
-No, she's fantastic. She's got--
-No, no.
-I'll do this. She's got long legs.
[Waller-Bridge] I'm blown away
by the stamina of this guy.
'Cause I'm knackered
after about four seconds of running.
Harrison inevitably will arrive to set
poking and prodding at what we're doing.
And the thing he's most looking for
is ways to undermine the BS.
Harrison's interest is always
in how to get closer to reality,
and then how to extract the fun.
They make each other laugh,
and they take each other
incredibly seriously.
Indiana Jones wouldn't do that.
There is a sort of hurricane
that happens when they're together.
Jim would push Harrison,
and Harrison would push Jim.
I was really inspired by that to see that.
Even when they would disagree
on something, it would be like [groans]
Then they would be, "I love you"
[grumbles, laughs] afterwards.
Yeah, baby!
I loved both of their energies.
I mean, I loved the "Let's cut
the bullshit" part of both of them.
You know, "Let's do it again.
Uh, I wasn't happy."
"We'll do it again." I love it.
We don't have to chitchat
too much about this.
We know what we're doing.
Let's do it again.
-This is where I'm turning.
-[Mangold] Yes.
If the director gets the cue right.
-Okay, you got it. I'll hit you there.
-[crew] All right. Here we go.
[Ford] We're a couple of pretty bodacious,
uninhibited kind of guys.
And we yell at each other.
And I tell him he's full of shit,
and he tells me I'm full of shit.
And we get along really well. [laughs]
And we have fun.
-I just didn't know that you knew it.
-[Mangold] I know it. I know it.
There's this image of Harrison Ford
that's out there that you're grumpy.
-That's horse[bleep]
-[audience laughs]
[Marshall] I think what irritates him
is somebody who's not a hundred percent
involved in what they're doing.
Somebody who doesn't have
that passion and enthusiasm
for making movies that we all have.
You've done whatever you've wanted
your entire life, Indiana Jones.
And then someone else comes along who
has their own opinion, and you get cranky.
Yeah, correct.
He doesn't put up with
people who kind of phone it in.
Oh, yeah. That's because being
in a bad movie scares the shit out of me.
What pisses Harrison off
is people not being prepared,
people not being
respectful of the job he's doing.
He likes there to be focus and attention
on the set. It's about the movie.
And I think he demands that.
Which is great because
it articulates expectation right up front.
-[crew] Ready?
-Ready! Run around!
-[Mangold] Here we go.
-Hurry up, you guys!
-[Mangold] Right away.
-We're making a movie!
Thank you very much!
Excellent! Ready?
-[Mangold] Okay. Here we go.
-Shut up.
[Kennedy] He's always larger than life.
-[Ford cheers]
-[crew cheering]
But he is so much fun,
and I think that that's always been
at the core of his performances,
and why he's so relatable.
Everybody, this is my wife on the phone
that can't be here for my birthday.
Hi, honey. I'll be home soon.
-[all laugh]
-Don't worry.
-Hey, don't-- That's the wrong guy!
-Can't wait to see you.
-Don't listen to him.
[Watach] He's very funny.
He has a very wicked sense of humor.
It's potentially very dark,
but very funny.
It's a contact sport
when you come into contact
with a man like him.
Luckily, he sorted me out.
Next time things get messy,
I've got that on.
So when I just need to do this,
I just get him out of there.
[Ford] It's great to see people
who know what they're doing,
and enjoy their work, and work together.
It's a great crew. Hardworking people.
Very happy to be working with them.
The interesting thing with Harrison
is there is such an attention to detail.
He is a very, very meticulous person.
It's no surprise
that he was a finish carpenter.
And that attention to detail goes
into every single thing he does.
[Ford] Carpentry depends
on a logical sequence of events.
You take rough material,
and you make it smooth.
You make it straight.
And then you decide how
the figure in the wood
will give the most pleasant appearance.
In the same way,
when you build a character or film role,
you want to proceed in the same way,
working from a foundation
up into the cosmetic aspects of them.
-Hello, Harrison.
-Hey, Mo.
[Torbett] Harrison said he was gonna pop
down, and he came down on his push-bike.
He literally rode straight into the cage,
and just went through his bits.
Took his time. Wasn't in a rush.
Gave every piece a good bit of thought.
Tried bits on. I think his words were,
"It's just a bit tatty."
So, fingers crossed.
We're gonna show him that later on,
once it's had a cleanup.
I have to pinch myself sometimes
that I'm actually doing this film.
It's funny, 'cause I showed Harrison
yesterday a picture of my dad
who worked on the original film.
I've actually got to get my dad
to autograph the photo
and give it back to Harrison.
[laughs] He said that yesterday.
-[Torbett] Coming, sir.
[Waller-Bridge laughs]
-What took you so long?
-[crew laughs]
[De Magalhes] It's basically
just getting the costume right
for the scene that we're shooting.
I mean, such an honor to dress him.
He likes to put the hat himself.
I give the hat to him like that.
I give it. "There you go, Harrison."
And he is the one that puts it on,
and he does it.
And he always does that You know? Yeah.
That bit there.
It's slightly big for me anyway.
[Ford] I mean, you put it on,
you're Indiana Jones.
That's all you need to have a character.
[Waller-Bridge] I think it was
about a month into filming
before I saw him in the outfit.
We were in Sicily.
I had to follow him up a path
and then into a cave.
And we had to be looking very serious.
And I kept getting Jim coming up to me
and being like,
"Phoebe, you have to stop smiling.
You're walking behind him,
and you're smiling." [laughs]
I was like, "I'm not, I swear I'm not."
And he was showing me.
Because Harrison first came on
in the outfit and I was just [gasps]
And then in every scene after that,
I was just [laughs] behind him.
And, eventually,
Jim was like, "You're scared.
This is high-stakes situation.
Stop giggling."
[brakes squealing]
Renny! Renaldo!
[Banderas] He knows the impact
that he produces in people
when he's working dressed
as Indiana Jones.
So I'm very thankful to him because,
psychologically, he knows very well
how to play with you
in order to make you feel comfortable.
It made me feel
participant immediately of the scene.
"What do you think about that?
What are you--"
So you forget, actually,
as soon as possible,
that you are in front of Indiana Jones
and all that thing, you know?
So it's beautiful. [laughs]
When I do it, do it again.
I'm gonna hit you
to give you that direction.
-[actor] I'll go. Yeah, yeah.
-[Ford] Yeah.
[crew 1] Then over here a little bit more.
-[crew 2] Set.
-[Mangold] All right, here we go!
And background.
170, anyone? Anyone. Going! Going!
-[Indiana Jones] Gone.
[customer] What are you doing?
Harrison wants things to be real.
You know,
he is a bit of an adventurer himself.
He wants to work hard.
He wants to learn how to handle that whip
better than anybody can.
He wants to be the one
riding the actual horse.
He doesn't want to rely
on stunt people to do that.
And that was always
a big issue of contention.
Everybody was very reluctantly
having to say,
"Yeah, but, you know,
you're not a kid anymore."
And he didn't care.
He wanted to be the one
that was in there getting it done.
Anybody can ride a horse.
And there were a lot of concerns
about my safety,
all of which
both amused and infuriated me.
Should he do it? I don't know.
I mean, my wife always tells me
that I shouldn't have done that stunt.
"Why did you do it?"
So who am I to tell Harrison
that he shouldn't?
I understand exactly where it comes from.
He loves what he's doing.
And if he can do it, and he can do it
better than the other ones, let him do it.
[Wilson] Seeing Harrison Ford
at, what, now 79, do stunt stuff?
Pray, God, that I have such longevity
that when I'm nearly 80,
that I'm able to throw a punch.
Like, that is incredible.
[Indiana Jones] We gotta jump!
What about my dicky knee?
I've understood something
about the nature of these films
that I hadn't fully
taken seriously before.
Within the movies,
it's very easy to hurt yourself.
[shouts, grunts]
I think of the life he's had
making these movies,
and the injuries he's sustained--
It seems absolutely incredible.
[Allen] You know, Harrison punches
somebody in the jaw or something,
and he hurts his hand,
like most of us would.
I heard it was 'cause
he was punching a Nazi.
So, at least it was
kind of doing something good.
[Mangold] Three, two, one, action!
I wanted to play a physical character,
and do the same kind of physical acting
that I did when I was 40,
or 50, or 60, at 80.
So, it's like we start wide,
we show how high you are
[Ford] And I wanted it
to look rough and hard.
I wanted people to know
how that feels to Indiana Jones.
I'm thinking about
what the hell I'm doing up here,
40 feet in the air with crap shoulders,
crumbling vertebrae,
a plate in one leg, screws in the other.
Yeah, I get it. I get it. [sighs]
No, you don't get it.
[Mangold] One of the things
you face as you get older
is knowing the value
of your remaining years on this Earth.
And wanting to do something useful.
This is it.
[Mangold] Does he have
one last adventure in him?
Does he have the courage to face it again?
Get in the pool!
And I think the answer that
I hope the movie offers audiences is yes.
[both scream]
[Gibbons] How do you explain
this guy's appeal?
He's not standard hero.
He's not standard leading man.
-Good looking son of a bitch, isn't he?
No. I mean, what do I know?
You got the wrong guy to ask.
-The movies are very successful.
-You are the guy to ask.
The movies, I'm not talking about
their financial success.
I'm saying, as movies,
they are very successful movies.
That's why. That's why we like them,
because they work as movies.
And we like movies.
[Rhys-Davies] I think Indiana Jones
didn't just change my life.
It actually changed the nature of film.
Give 'em hell, Indiana Jones!
[Mangold] Part of what is the DNA
of an Indiana Jones film
is it's a kind of optimal display
of all the crafts at their highest form.
[Banderas] This is a total art
that needs a lot of attention.
And especially a movie like this,
where the people is gonna be
with a magnifying glass,
looking to every detail.
And action!
It's everything. It's costumes.
The hat was good. Hat's good in this.
-[Marshall] It's props.
-[Ford] Props! Whip!
[Marshall] It's sound.
-[whip crack]
-[screams, gasps]
It's the costumes. It's the actors.
It's the direction. It's the editing.
Big production values,
action, adventure, great music.
[whistling "The Raiders March"]
-["The Raiders March" playing on speakers]
[music fades, ends]
That damn music follows me everywhere.
[audience laughs]
It was playing in the operating room
when I went in for my colonoscopy.
[audience laughs]
[Kasdan] "Raiders" is one
of John's greatest scores.
Surely one of the greatest scores
of all time.
[orchestra playing "The Raiders March"]
It's mystically good.
You guys are gonna be all over us now.
[Spielberg] John Williams
bonded all of these films together,
and gave Harrison, as the character
of Indiana Jones, a musical identity.
["The Raiders March" playing]
He played the march for me
on the piano in his music room.
And I said,
"Every high school marching band
is gonna adopt this
and start playing this."
This is gonna outlive all of us,
that march.
[music continues]
Indiana Jones was wonderful
because it's never serious.
You know, Harrison Ford has this ability
to do the most dramatic scenes
with a slight tongue in his cheek,
or twinkle in his eye, you know?
-I can't do that.
-You wanna stop for a little lie-down?
[instruments playing]
Being in the room with a full orchestra
and watching his care and precision,
the way he works,
and the great enormous respect
that the players have for him,
and he for them.
It's just a wonderful experience.
[music ends]
Harrison, we love you, buddy.
[crew laughs]
We wouldn't be here without you.
-[crew laughs]
[Mitchell] There hadn't been that many
American intergenerational stories
built around a single character.
To have that level of consistency
with Indiana Jones,
and also too,
to have the level of filmmaking,
we shouldn't forget that.
I can't think of another series that's had
that kind of mastery of craft,
where you can also feel the maturation
of the filmmaker and the star together.
And I think that becomes this thing
that people love sitting down with kids,
and parents and talking about it,
remembering where they were
when they saw these movies.
One of the things we wanted to do
is be able to pass these things along
that we love to people we love,
and have them understand
what that means to us.
And you hope that they will carry
that excitement on to somebody else.
[Marshall] We all realized the big reason
that we're able to make
these movies again and again
is because of the audience,
because of the fans.
Harrison's incredibly gracious.
And he gives as much time
as they need to celebrate that.
[Watach] Cefal was very interesting
because rumor and word spread quickly.
Harrison Ford was
not the only Indiana Jones in town.
Various sightings of some doppelgngers
were spotted roaming the streets.
We're just Italian fan of Indy
and, of course, of Harrison Ford.
So we are just here
and that we hope to meet Ford
because he should pass here,
and I hope we will be lucky.
-[fan] Harrison!
-[Ford speaking, indistinct]
[fan] Ciao!
Of course, Harrison made sure
that we were gonna detour
to meet these, uh, impersonators.
And we rocked up on the golf buggy,
jumped out,
and I think pretty much made their life.
-[chattering, exclaiming]
-[photographer] Three, two, one.
[shutter clicks]
[Ford] You have a sense of responsibility
to your customers.
-And thank you very much.
-[applause, cheering]
[Ford] I think of the people
that go to my movies
more as customers than I do as fans.
And I'm responsible to them
for the quality
of the service that I offer.
The shield is the second marker.
Just like your father.
-Giddy as a schoolboy.
[Marshall] The excitement that Harrison
brings to the character of Indy
inspires kids.
I mean, how great is that?
Some of them were inspired
not only to become filmmakers,
but to become teachers and archaeologists.
[Indiana Jones]
"Neo," meaning "new" and "lithic"
-I-T-H I-C.
-[students laugh]
When Raiders of the Lost Ark
came out, it was like,
"I could make a career out of doing this."
It's not just a love of history.
I could actually be a teacher.
I could be a professor.
When I come back,
we'll discuss the difference
between migration and exodus.
[Alexandra Jones]
It's always, kind of, been a running joke
that my name is Dr. Jones.
When my friends found out
that I was gonna pursue archaeology,
I had a number of people
running around saying,
"Dr. Jones, Dr. Jones," all the time.
Okey dokey, Dr. Jones.
Hold on to your potatoes!
[Alexandra Jones]
When I graduated, though,
one of my friends gave me the box set
of the Indiana Jones films,
as well as a whip.
-Give me the whip!
-Adis, seor.
The fact that we've lived so long
with Harrison Ford as Indiana Jones
gives us a sense of feeling
that we're growing up with him.
I was a graduate teacher
with Intro to Archaeology in 1989
when the third film came out
-You call this archaeology?
-Get out of there, Dad.
and my class enrollment of ten
ballooned to 100 because of the film.
And I'll see
each and every one of them in turn.
The number of people
who went into archaeology
because those movies
made it seem like a living thing.
It made history seem
like a continuum of adventure stories,
which, if you go back to
the Old Testament, they kind of are.
And that same sense of jeopardy.
Kneels before God.
-Kneel! [grunts]
You feel like by being an archaeologist,
you're going to have
those sorts of adventures. Sure.
Also, he was incredibly sexy,
so that's going to be, obviously,
aspirational for many.
But, I think, also there was something
so amazing about that character
in the fact that he cared about history
and that he was so intelligent,
and him going on these huge adventures,
but always in the pursuit
of protecting something precious.
-[engine revs]
-If you want to be a good archaeologist,
you got to get out of the library!
That duality of personality
is actually not that different
from being an archaeologist,
because you can be on campus
on the university, go to class,
but you really want to take off
these street clothes, get on an airplane,
and go someplace like Egypt or to Arabia
and actually find history.
[Ford] There are people still
doing explorations of little-known areas.
There are archaeologists
going into places like that.
Uh, few of them, I think, carry bullwhips.
Bullwhips. I haven't quite figured out
how that would really fit
into my archaeological tool kit yet.
[Indiana Jones] The Ark of the Covenant.
[Brody] Nothing else has come close.
That thing represents everything we got
into archaeology for in the first place.
I'm thrilled when people come up and say,
"Oh, I'm an archaeologist." You know?
"And never thought about it
until I saw Indiana Jones."
[Alexandra Jones]
I think the more exposure
that archaeology gets
through popular media,
through films like Indiana Jones,
it does inspire new generations of people
to come to us.
It used to be predominantly
white male men.
Now what we see is a huge increase
of women within the field.
And now we're starting to see more
minorities in the field than ever before.
You're a teacher?
[Riddle] In 2007, my partner
in all things Indy, Wes Dodgens,
and I created
Adventures in Learning with Indiana Jones.
And it was a platform
for teachers to come get inspired,
and find resources for teaching
with Indy from all of his adventures.
There's so many lessons to
be learned from his character.
One of them would be
the greatest treasures
are the ones that you gain,
and you give away freely to others.
And it's not treasures that can be
confined to the walls of a museum.
It's treasures that are developed in
relationship between friends and family.
I thought I'd lost you, boy!
[Capshaw] When I think about
all the films about Indiana Jones,
you can learn a lot watching those films,
but I think you can learn a whole lot
about a lot of things with Harrison Ford.
He can make fun of himself,
and while he's shooting the film,
he's able to see outside the scene
and make comments.
He reminded me once,
we were floating in the boat, and he said,
"Look, it's just a B-movie.
Don't sweat." [chuckles]
But he takes his role very seriously.
He has a lot of responsibility
being Indiana Jones.
I learned so much from him,
from a, kind of, craft point of view.
Working with someone like that,
you trust everything,
and you trust his process so much
'cause his standards are high,
and he wants it to feel real.
And I think his pursuit
of things feeling real,
no matter how fantastical they are,
is what gives him
that amazing grounded quality.
-[Mangold] Ready and action!
-[Ford pants]
[Kennedy] I love that he doesn't let up.
I will be driving my car to lunch
and my phone will ring,
"Did you see the last three TV spots?"
Oh, my God. [laughs]
He's actually looking
at all the marketing material.
So, whether it's the early stages
of development,
or you're at the tail end,
he never lets up.
Sometimes it can make people crazy,
but I think he's a hundred percent right.
I learned with Harrison that,
on set, everyone is the same.
[Ford speaking, indistinct]
[chuckles] Oh, okay.
Actors are the same than directors,
than technicians. We're all the same.
Harrison is friends with everyone on set.
There is no hierarchy.
We're like a family.
Harrison Ford taught me how to swim.
I would always be by the pool
and watch Harrison.
And he says,
"Ke, come in the pool and have fun."
And I go,
"Harrison, I don't know how to swim.
I-- I-- I can't. I don't want--
I'm afraid of water."
And he said, "Oh, what?
Come here, get-- Come in here."
And he taught me how to swim.
He's my role model.
It's incredible to be here at D23
and look out at all these fans.
[Kennedy] We were at D23
when Ke Huy Quan and Harrison
saw each other for the first time.
All of us actually.
It's been well over 35 years
since we saw Ke.
It's pretty wild
to see Ke now doing so well,
and just seeing how he grew as an actor.
It's pretty great to realize
that that started with Temple of Doom
and with Harrison.
[Quan] The last time I saw him
was when our movie premiered.
It's been 38 years.
It made our reunion
at Disney's D23 so much better.
[Ford] He's the same irrepressible
and enthusiastic guy that he ever was,
and that was great to see him.
Much taller now.
He's not Short Round.
He's Regular Round now.
I'm delighted for his success,
and I'm very happy for him.
Thank you so much for welcoming me back!
I love you.
Thank you. Thank you. Thank you!
[audience cheering]
To reunite with him in the same year
that I made my return to acting
made it even more special.
-Especially when he presented
-And the Oscar goes to
[Quan] the Oscar for Best Picture.
-Everything Everywhere All at Once.
-[audience cheering]
I could not have asked
for a better night with Harrison there.
It was a full circle moment for me.
I'm not done working,
but I am done with Indiana Jones.
[Mitchell] Harrison, as we see
in the last Indy film, he's still running.
He never stops running.
They run their sheep on my ground,
and then they attacked us
when we came up on 'em.
Range war's already begun.
I love now, too, that in Shrinking
people get to see you
be so hilariously funny.
What are you laugh--
Seeing him in Shrinking,
he still can use that dryness of delivery.
It's now become so spare,
it's almost austere.
I am so parched.
What can we get you to drink?
A Popsicle?
And again, for me, it's the voice,
because for so long,
that voice was older than he was.
And now it's finally caught up with him.
It's like he's sort of grown up enough
that that voice belongs
in Harrison Ford's chest.
You told me I had to tell Meg
that I had Parkinson's.
And now she's flying down here tomorrow
to take charge of my care.
[Mackie] Harrison was cool.
I always thought he would come on set
and be like, "I'm Harrison."
Then everybody would be like, "Yeah."
But no. It was a good time.
It was him creating this character
from the ground up,
so that he would be different
than the rest of those characters
and fit in this world,
instead of fitting in every other world
he, as an actor, has been in.
So that stuff was really unique.
I couldn't put a price on that lesson.
[Mitchell] Harrison is still working.
I love to see him being given space,
taking advantage
of all these things at his age,
and just seeing him run with it.
It's maybe one of
the most wonderful things ever.
[people chattering]
[interviewer] Karen,
this is your last day over here.
Tell us a little bit-- What's going on
on set with it being your last day?
[stammers] I'm not convinced that it is.
So, I don't-- I'm not--
As long as I'm not convinced that it is,
I don't have to, um
I don't have to go through all that today.
[Marion] Indiana Jones.
[Spielberg] If this is going to be
the last Indiana Jones movie ever made,
if it in fact is, then you can't do it
without bringing back Marion Ravenwood.
[glass shatters]
I always knew someday
you'd come through my door.
It's a story that both Harrison and I
have been involved in for 40 years.
Wait a minute.
Come here.
[Indiana Jones]
A little bossy, aren't you?
[Allen] We both have a real sense
of who these people are,
and we really like continuing
to explore these characters together.
Indiana Jones.
I feel happy that we're having
the opportunity to do that.
About time you showed up.
She is the heat
that has tempered his personality.
You still leaving
a trail of human wreckage?
You looking for a date?
And to have her back
is such an emotional opportunity,
I think, for the character
and for the audience.
-How are you?
-Very good. How are you?
[Mangold] Of course, it's odd to take
an actress that capable and that awesome,
and hold her back until
the final five minutes of the picture.
And I'm sure weirder for her
stepping into a movie
where we've all been working for months
and been shooting
millions of feet of film.
I was very much
looking forward to coming here.
I came a few days on set,
and went up
and just watched some rehearsals.
And I have to say,
I was not for a moment disappointed.
[crew] Is he still the same?
Yes, of course. [laughs]
I love the way he developed the character.
There is a, kind of,
wonderful weathering to Indiana Jones.
It's not the years,
it's the mileage, you know?
There's a lot more mileage on him.
[Rhys-Davies] Any excuse
to get back together with the two of them
could not be avoided.
One of the joys of one's life
is watching a young actor, Harrison,
grow and establish himself
and just become stronger
and better over the years.
He's turned himself
into a real, great giant of the cinema.
That's been wonderful to behold.
Are you back, Indy?
They're wounded.
They're two wounded people,
and people grieve differently.
And they seem to have
found their way back to each other.
It was incredibly moving to watch.
Harrison has so much gravitas.
And especially after this huge adventure,
and, suddenly,
we're just in his living room,
and he's basically in his pajamas.
And you just see the man,
and watching Harrison
play the rawest version of that character
was really extraordinary.
Everything hurts.
We all knew we didn't want him to die.
-[Helena] You can't stay here.
-Yes, I can.
[Mangold] To me, it was much more about
him feeling out of step with the times,
or marginalized,
and then feeling important again.
Understanding he's important again,
that we all need heroes like him.
-[Mangold] The amazing, legendary,
dear friend, and forever Indiana Jones,
Mr. Harrison Ford.
[applause, cheering]
[Kennedy] This journey
of getting this final movie made,
it's been a process of letting go
that I think
he didn't really quite realize
was gonna affect him as deeply as it has.
[Ford] This is a great, great crew.
[sighs] And I'm almost
twice as old as everybody.
[crew chuckles]
Once every generation,
somebody emerges who, sort of,
takes the mantle
of being a real movie star.
And I think Harrison was one of those.
I think that's why
he stood the test of time.
Hardest thing is to keep your hat on.
That should do it.
[Mangold] I love Harrison.
He's not only
a wonderful collaborator and artist,
but a dear friend.
And the reverence and genius
with which he looks at his job
should be so inspiring to all actors.
[Spielberg] Right there, guys.
[Marshall] Well, I certainly grew
as a filmmaker through these films,
and watching Harrison work
was like a film course
that you could never get anywhere else
but being there.
Excuse me. How old are you?
[bystander laughs]
I'm a lot younger than Harrison Ford.
[Lucas] The secret of being
an iconic actor is they'll refer to him
when they're referring
to a particular kind of actor.
So when they say, "Harrison Ford type,"
I guess that you've become an icon.
[chuckles] I'm only 38.
[Spielberg] Indiana Jones would not exist
in people's hearts and imaginations
without Harrison Ford playing him.
Impossible. He's not interchangeable.
Other actors cannot fill those shoes.
And when Harrison stops making
Indiana Jones movies,
they need to retire the number.
This job is really fun.
-You just got me killed!
Wait a second.
-It's back.
It's been an incredible finish.
You are all much valued.
Thank you.
-Thank you.
-[applause, cheering]
-Let's drink!
[all] Cheers!
[Ford] I have enjoyed
all of the different kinds of people,
and different opportunities that I've had.
And certainly amongst
the most enjoyable are these films
which are really hard to make,
but a whole lot of fun to finish.
Only Harrison can play Indiana Jones.
There is no one else on this planet
that could come anywhere close,
and I think it's because
[whispers] he is Indiana Jones.
-[Spielberg] Hello.
-How are you?
I'm fine. How are you? Want some water?
Yeah, sure!
-[both grunting]
-[guns squeaking]
[Spielberg] We should do this
about five times a day. [laughs]
Give everybody squirt guns!
[director speaking, indistinct]
Hello. [laughs]
Just resting. [laughs]
They make me do the most awful things.
[crew] "Don't bug me,"
you're supposed to say.
-Don't bug me.
-Don't bug me.
-Did you put it on me? Get it away!
[Mangold] And lock--
Locked up!
-[laughing] And
What did he say?
Did you say something about me?
-Nah, you're fine.
[interviewer] How is Steven as a director?
Very funny. He's a generous man
and a noble director.
And he's very handsome too.
[all laughing]
-Larry, Moe and Curly.
-Whoo! Whoo!
[Ford] Okay, this is where
we make a hard turn left, to right.
This way. This way. Okay?
[crew] Popping him in there.
All right, that okay?
Yeah. [stammers]
I was just-- That's acting.
Oh, this is the way I make my living.
This is what I do for a living.
We'll see you around campus.
Thank you.