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  • - [Woman] All right, whenever you're ready,

  • just right down the barrel,

  • I'm Harrison Ford, and this is the timeline of my career.

  • - Oh, now you're gonna give me readings?

  • [woman chuckles]

  • I wanna tell stories that elevate our lives, change us,

  • give us experiences which make us more empathetic,

  • more, um, human.

  • [lively music]

  • I am Harrison Ford.

  • This is a timeline of my career.

  • Well, all I knew about being an actor

  • was that you had to either go to the East Coast

  • or the West Coast to be a professional actor,

  • and I was starting out after a season of summer stock

  • in Williams Bay, Wisconsin.

  • We had already packed all of our belongings

  • into the Volkswagen.

  • My wife and I stood outside

  • and flipped a coin to see

  • whether we would go east or west,

  • and it came up east.

  • And I'd been raised in Chicago,

  • and I was sick and tired of the cold,

  • so I said, "Let's make it two outta three."

  • And we did, and it came up West Coast.

  • So we drove out to the West Coast,

  • and I became an actor.

  • That's luck.

  • - Bob Ellis?

  • - First film I ever did was "Dead Heat on a Merry-Go-Round."

  • I played a bellboy.

  • Paging Mr. Ellis.

  • Paging Mr. Ellis.

  • Those are the entirety of my lines.

  • No explanations required.

  • - [Man] Are you sure?

  • - Yes, sir.

  • Fast ship?

  • You've never heard of the Millennium Falcon?

  • - Should I have?

  • - It's the ship that made the Kessel Run

  • in less than 12 parsecs.

  • I had done "American Graffiti" with George Lucas.

  • George Lucas made it known that he was not interested

  • in working with anybody that he'd worked

  • with in "American Graffiti,"

  • that he was looking for new faces.

  • I was working on an elaborate portico entrance

  • to Francis Ford Coppola's offices

  • working as a carpenter when George walked in

  • with Richard Dreyfuss to begin the first

  • of the interviews for "Star Wars."

  • Somehow that rang a bell with George,

  • and I became, eventually, Han Solo.

  • - The possibility of successfully navigating

  • an asteroid field is approximately 3,720 to one.

  • - Never tell me the odds.

  • "Star Wars" was a big success.

  • So I was happy to come back and play Han Solo again

  • and again but that was enough.

  • I thought that he had reached his potential,

  • therefore could serve the story by dying.

  • [gentle music]

  • Chewie, we're home.

  • Manner of death was not an issue.

  • I was very gratified to see that other people

  • were enthusiastic to have me back.

  • I was happy to be there.

  • I don't really have a favorite.

  • It's just brick on a brick

  • to build the story.

  • It's not about the party.

  • It's about what you're celebrating.

  • [boulder rumbling]

  • [dramatic music]

  • Ugh!

  • It became clear that Tom Selleck,

  • who had already been chosen to play the role,

  • was going to be unavailable

  • because of his commitment to do a television series.

  • I got a call from George who said

  • that he would like me to read a script

  • as quickly as possible and then get over

  • to Steven Spielberg's house and talk to Steven.

  • And I read the script as quickly as I could.

  • I saw a great opportunity in a fun movie

  • and went to meet Steven and apparently satisfied.

  • [light music]

  • The part was offered to me, and I accepted.

  • Mola Ram!

  • Prepare to meet Kali,

  • in hell!

  • [dramatic music]

  • - Oh!

  • What are you doing?

  • You fool! [woman screaming]

  • - I knew that it was meant to be a series.

  • And while I had not agreed to do three "Star Wars" films,

  • in the case of Indiana Jones I felt

  • there was enough information to allow

  • me to agree to do a number of those.

  • [dramatic music]

  • [light music]

  • Dad!

  • - What? - Dad!

  • - What? - Dad!

  • - What?

  • - Head for the fireplace!

  • - Oh.

  • - Sean and I had a great time working together.

  • Very different, one to the other.

  • Our experiences and our lives are very different,

  • but we had a great time working together.

  • The guy is fun to be around.

  • He takes pride in his work,

  • and he cares a lot about doin' a good job.

  • It was great fun to work with him.

  • Stop, you're gonna go off the cliff.

  • - That's the idea.

  • - Bad idea.

  • Gimme the wheel! - Slow down, Mom!

  • - Trust me! - Slow down.

  • [men screaming]

  • - Ah.

  • I was very happy to see Karen Allen come back,

  • and I thought it was a natural extension

  • of the relationship.

  • And I was glad to marry her.

  • No, I don't really have favorites.

  • I really enjoyed each of the film

  • and the different experiences that I had

  • in each film and the people that I worked with.

  • You're not a replicant.

  • Go home.

  • Okay?

  • [suspenseful music]

  • No, really.

  • I'm sorry.

  • I got a visit on set, I believe, from Ridley,

  • who told me the story and asked if I was interested.

  • I read the script.

  • I was interested, so we made a deal.

  • I don't remember anything like "Blade Runner"

  • up to that point.

  • The character, the overall story,

  • it's his storytelling skills,

  • made it an attractive offer.

  • He reads.

  • That's good.

  • Me too.

  • Not much else to do around here at night anymore.

  • I didn't expect "Blade Runner" to come back,

  • but I was happy to do it.

  • There's no difference whether you're working

  • with CGI or reality, the job is still the same,

  • to create a character and behavior that helps

  • illustrate the story.

  • It's all make believe.

  • Want a drink?

  • - We're just here for the day.

  • Would you mind if I took your picture?

  • Now just stand still, please.

  • Fix your hat a little bit so I can

  • get a better picture-- - Lady, you take my picture

  • with that thing, I'm gonna rip your brassiere off

  • and strangle you with it.

  • Got a script from Jeffrey Katzenberg

  • who was head of Paramount Studios.

  • It was in the olden days

  • when things moved fast on a handshake.

  • He asked me if I liked the script.

  • I said I liked the script.

  • He said, "Is there someone you would be interested

  • "in working with as a director?"

  • And I said yes, I thought I would be interested

  • in working with Peter Weir.

  • I'd seen films that Peter had done.

  • Peter accepted the job.

  • We had four weeks of preproduction.

  • Peter went off to research the Amish,

  • and I went off to research the police.

  • We came together, did some rewrites on the script

  • and shot the movie.

  • I was surprised that I was nominated for the Oscar,

  • but the film was very successful.

  • Peter was also nominated as well,

  • but we were unable to attend

  • as we were making another movie in Belize,

  • that being "Mosquito Coast."

  • Wrong, wrong, wrong!

  • There are people in New York who live on pet food

  • and would kill ya for a quarter.

  • You don't dare take a walk for fear

  • somebody'll stick a knife in your ribs.

  • Think about it.

  • You stay home, and they come in through the windows.

  • 10-year-old homicidal maniacs on every street corner.

  • They go to school.

  • Ha!

  • They go to school!

  • A very interesting character.

  • That's what we look for as actors,

  • departures, different characters to play.

  • That is the beauty of having a career as an actor.

  • You get to play different kinds of characters

  • in different kinds of films,

  • which appeal to different audiences.

  • That's the fun of it.

  • I don't think you'd make the same film exactly today.

  • You'd make a different film from the same story, perhaps.

  • Know what the biggest problem in the 20th century is, son?

  • [drowned out by chainsaw]

  • You're not asking her, Jack [word bleeped].

  • Go on, get outta here.

  • Haul ass, I haven't got all day.

  • - Hey, I go on my own time.

  • - You'll go now!

  • Don't mess with me, man.

  • I am an American, and I am crazy.

  • It's an example of the kind of film

  • that we used to make in the olden days

  • with directors that were really important

  • in the formation of a career for me.

  • I didn't actually do it all myself.

  • I got to work with the Alan Pakulas,

  • Sydney Pollack, Mike Nichols.

  • Those kinds of films are as important to me,

  • on a human level, as those more successful films,

  • which I keep revisiting in interview situations

  • because they are the most successful films.

  • But that's not what makes a life.

  • That's not what makes a career.

  • That's not what brings pleasure

  • to the pursuit of something ineffable.

  • My wife first!

  • I promised myself that when I saw you

  • I would get to know you.

  • You're the first woman I've seen

  • at one of these damn things that dressing like a woman,

  • not like a woman thinks a man would dress

  • if he was a woman.

  • - Thank you, I guess.

  • - Mike Nichols, romantic comedy, great fun.

  • Mike Nichols is a smart guy.

  • There were a lot of directors that I worked for

  • in the olden days.

  • I'm looking for people to work with intellectually

  • and emotionally, looking for somethin' different

  • to what I've lately done.

  • I'm looking for something new,

  • something different, something challenging.

  • That serves me to help me choose projects.

  • It was a very interesting time.

  • No names, no business cards.

  • - I want you to know one thing, Sabich.

  • I know.

  • - Sure you do.

  • - Go ahead, play cool.

  • I know.

  • You killed her!

  • You're the guy.

  • - Yeah?

  • You're right.

  • You're always right!

  • Alan Pakula, sweet, generous man

  • and a really good filmmaker.

  • Great pleasure to work with him.

  • Story came from a book written by Scott Turow

  • based on a real-life case.

  • Scott Turow was a prosecutor in the Chicago area.

  • It was a very interesting character to explore.

  • He has an affair with a business associate,

  • played by Greta Scacchi, and he suffers

  • the consequences of his infidelity

  • in a [chuckles] dramatic way.

  • I think it's a powerful, emotional story,

  • and I loved making that one.

  • I loved working with Alan.

  • I worked with him again on a movie

  • called "The Devil's Own" with Brad Pitt,

  • which I also think is a really good movie,

  • although we had a real hard time making it.

  • But Alan made I think finally made

  • a really good movie out of it.

  • What's the money for?

  • I was thinkin' guns, I was thinkin' IRA.

  • "The Devil's Own" was a script that Brad Pitt had developed.

  • It came to me to play another character.

  • Brad and I had to come to agreement on a director for it,

  • and we agreed on Alan

  • and ended up making the movie.

  • We didn't agree on everything,

  • and we hammered it out,

  • and we made peace among ourselves.

  • He's a good guy.

  • [tense music]

  • Tell SO-13 you know who she is.

  • Tell 'em her name.

  • Give 'em her picture.

  • Tell 'em that she poses as a rare book dealer

  • and ask 'em to look for her.

  • Whatta ya mean, what do you do?

  • - What am I supposed to do with you, Jack?

  • - There are two films I did based on Tom Clancy books,

  • both directed by Phillip Noyce.

  • Really good movies.

  • I was really pleased with them.

  • What attracted me to the character

  • was that Tom Clancy had written the character

  • with a political bias.

  • I thought that we could tell the story

  • with a little bit more emotional complication.

  • We were intent on giving Jack Ryan

  • a slightly different personality

  • or reality than Clancy did.

  • We got a lot of access from CIA

  • because of their relationship with Tom Clancy.

  • We're talking about important things,

  • global power and manipulation of history.

  • Thought it was really interesting to me,

  • and I think those films are good movies.

  • I am not after your job, Marty!

  • [dramatic music]

  • I did do "The Fugitive."

  • Based on the quality of the script,

  • the potential for that character,

  • I thought it was ambitious.

  • I never considered myself to be an action film actor.

  • There was action in the films

  • that I was involved in, but they weren't specifically

  • fairly described as action films.

  • I did Jack Ryan movies, which had action in them,

  • "Air Force One."

  • Get off my plane!

  • Was an action film.

  • Donald Trump's favorite president.

  • I am not reminding you.

  • I'm reminding him.

  • Rather than just being based and founded

  • on a belief in kinetic activity being sufficient

  • to build a movie around, they had a story.

  • They had a plot, they had characters,

  • they had conflict.

  • So I didn't consider them action films.

  • [dramatic music]

  • Object, to you?

  • Look at you.

  • [gentle music]

  • It's as though a lovely breeze has swept

  • through this whole house.

  • - Even though the breeze comes

  • from the general direction of the garage?

  • - It's the '90s, Sabrina.

  • - So they say.

  • - Sabrina was a remake of a movie

  • that starred Humphrey Bogart and Audrey Hepburn.

  • I made the choice when we did the film

  • not to watch the original.

  • I didn't wanna make choices

  • based on doing it like Humphrey Bogart

  • did it or not like Humphrey Bogart did it.

  • I just didn't want to know,

  • so I didn't actually take the opportunity

  • to look at the original version.

  • You can have the home back the way it was,

  • but you gotta take it all,

  • he's lying, he's screwin' another woman.

  • They're laughin' about how easy we are to fool--

  • - Stop.

  • Don't do that.

  • I'm done with them.

  • - It was another Sydney Pollack movie,

  • powerful experience for me working with Sydney again

  • and the cast that he assembled.

  • I always found it very interesting

  • to work with a director more than one time,

  • and in my career, I did two films

  • with a lot of different directors.

  • The second time, you always find something new,

  • something different that exists because of the experience

  • that you've had together already.

  • Interesting personal experience

  • and hopefully good movie.

  • The thing is--

  • - [Woman] Stop.

  • - You killed her, didn't you?

  • - I did not.

  • I didn't kill anyone.

  • Jesus, Claire, listen to me.

  • When I got here, she was already dead.

  • She killed herself here in our house to destroy me.

  • Bad guy.

  • Bad, bad guy.

  • Fun, great fun.

  • Michelle Pfeiffer, Bob Zemeckis directed it,

  • and it was the first really bad guy that I played.

  • - Oh, yeah.

  • I enjoy a good tale,

  • and I'm not just lookin' for good guys to play.

  • I'm interested in the humanity of characters

  • that are not obviously good.

  • It was my ambition,

  • I wanted to take the success of more popular films

  • and allow me to make choices which would be

  • less obvious, less focused on the potential

  • economic success of the film.

  • But to play different characters

  • and stretch people's sense of who I was

  • and allow me to explore the full range

  • of potential characters.

  • I'm asking you to forgive me.

  • Activate the system!

  • - The primary was never connected.

  • It has to be activated locally.

  • [dramatic music]

  • - Go to nine, and turn on the system.

  • That was a very interesting experience.

  • Kathryn Bigelow directed it.

  • We shot some of it in Russia,

  • a great deal of it in Canada, in New Newfoundland,

  • exploring the lives of Russian submariners

  • based on a real-life story.

  • Getting to know those people and what they've been through

  • and be part of the telling of that story.

  • Getting a chance to work with Kathryn Bigelow,

  • who, so far, I think, the only woman director

  • that I've worked with.

  • That seems weird to me.

  • I like that movie.

  • I like the sophistication of the storytelling

  • in that movie very much.

  • [dramatic music]

  • I'll do it myself!

  • - Can I just say one thing?

  • That's our job!

  • I know you think you're above it,

  • and, of course, you were above it

  • before you got fired, but now,

  • you guess, well, you're down in the mud

  • with the rest of us, Mike.

  • - And yet I still have standards,

  • unfortunately for you.

  • - Suppose I don't have standards?

  • - Sure you do.

  • When you got your pap smear on air,

  • you wore a silk robe.

  • - Okay!

  • - Classy touch.

  • "Morning Glory" was a romp about the news business.

  • It was directed by Roger Michell,

  • and I got to work with Diane Keaton, who is fabulous.

  • I'd never met her before.

  • Yeah, yeah, she's great, really great.

  • If you saw the behind the scenes footage

  • and it looked like we were having a good time,

  • it's probably 'cause we were havin' a good time.

  • That was real.

  • Yeah, we had a good time.

  • It was fun.

  • Watch Mike Pomeroy before your morning dump!

  • What you do with your team is your decision, Herb.

  • But my team's gonna be in Philadelphia tomorrow

  • with Robinson, and if we have to claim the game

  • as a forfeit, so be it.

  • That's nine to zero.

  • "42" Brian Helgeland's movie about Branch Rickey,

  • who brought Jackie Robinson, the first black

  • baseball player, into organized white baseball.

  • Changed baseball, changed the culture

  • of this country for the better.

  • No, I was not a baseball fan,

  • and I didn't know much about baseball.

  • I didn't know that there was black baseball

  • and white baseball.

  • Of course, black baseball players were not

  • being paid what white baseball players were being paid.

  • This is a guy who out of a conscience

  • and an understanding changed history.

  • It was a real pleasure to be part

  • of the telling of that story.

  • You think God likes baseball, Herb?

  • It wasn't the gold.

  • He didn't care about that.

  • It was the mountains.

  • He spent all day looking at maps

  • and pictures of the mountains,

  • dreaming about what was on the other side,

  • places no one had been,

  • [light music]

  • wild places.

  • It was a challenge in "Call of the Wild"

  • in getting the character.

  • More complex and potentially more emotionally

  • involving than the way the character

  • is presented in the book.

  • John Thornton was facing domestic issues,

  • if you will, that he had run away from

  • in the context of his relationship with Buck.

  • The opportunity to see John Thornton

  • as a redemption of the experience

  • that Buck had had with humanity

  • was part of what I was interested in exploring.

  • - There's a book?

  • [interviewer laughs]

  • Well, I read it a long time ago,

  • and then I read it recently.

  • More than twice.

  • The film was shot not in Alaska but it was shot

  • in Santa Clarita, which is 24 miles from here.

  • Not cold, not the Yukon.

  • We ended up in CGI territory

  • not just for the convenience of it,

  • because all of the animals were computer generated.

  • Much of the articulation of the dogs,

  • the capacity to manipulate their performances,

  • we would not have been able to do that

  • without CGI, and, at the same time,

  • since we were shooting on a CGI platform,

  • we could enhance the environment.

  • And so we were able to excise the Santa Clarita of it

  • to create, in a very imaginative and powerful way,

  • I think, the beauty and majesty of nature.

  • I don't have any particular easily described process

  • when it comes to selecting what I'm gonna do.

  • I do have to have an emotional reaction to the material.

  • I've gotta feel genuinely that I have experienced.

  • It allows me to meet the challenges

  • of the expression of that character.

  • The experience I've had working with different directors,

  • different actors, I've certainly learned

  • more about the craft of acting.

  • You never know how it's gonna turn out, actually.

  • I do remember that when I was leaving school

  • and all of my friends were going off to.

  • Well, they were graduating.

  • I was gettin' thrown out.

  • But they went on to professional careers

  • after which they would retire,

  • play gold and die.

  • And I, I was looking for some way outta that.

  • I wanted excitement.

  • I wanted a challenge.

  • I didn't want a real job.

  • And I was lucky.

  • [lively music]

  • This is Harrison Ford.

  • This has been the timeline of my career, so far.

- [Woman] All right, whenever you're ready,

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ハリソン・フォード、「スター・ウォーズ」から「インディ・ジョーンズ」までのキャリアを語る|Vanity Fair (Harrison Ford Breaks Down His Career, from 'Star Wars' to 'Indiana Jones' | Vanity Fair)

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    林宜悉 に公開 2021 年 01 月 14 日
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