Harrison Ford cuenta cómo fue interpretar al legendario Indiana Jones durante cuatro décadas y revela los detalles más interesantes de la saga, desde el vestuario y los efectos especiales hasta su trabajo mano a mano con Steven Spielberg.
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00:00 I hate snakes, Doc! I hate 'em!
00:03 I have actually no fear of snakes.
00:07 That's acting.
00:09 Ow.
00:10 Hey, I'm Harrison Ford.
00:13 These are some of the biggest moments from "Indiana Jones."
00:17 Let's start with "Dial of Destiny."
00:19 Get back!
00:26 [CAMERA SHUTTER CLICKING]
00:29 I really don't think there's something that distinguishes "Dial of Destiny" from all the other films.
00:37 I think there's a continuum.
00:40 The whole film is about time and about wrinkles in time.
00:45 And these are the wrinkles.
00:47 The time, I think, is apparent.
00:49 We wanted to make—I wanted to make a film about the end of his life.
00:54 I wanted to see all of the development of his personality that we've seen.
00:59 And then I wanted to see him after the passage of the 15 years that actually exists between the last film that we did and this one.
01:08 I've changed.
01:10 I'm not the young Buck I once was.
01:13 I'm an older man.
01:15 I would like the audience to appreciate that in the context of his life and to see what effect time has on the character.
01:25 The cut from the first previous 25 minutes to arriving in 1969 on Moon Day is one of the favorite things I've ever done in movies.
01:38 I think it's just a great visual construction and a great character moment.
01:43 [music]
01:47 He did that scene where guys got him around the neck and Indy flips his body back to knock the guy off and that's where Harrison's back went.
01:54 He let out a call for help at that point.
01:57 Well, it's a dangerous work environment.
02:00 The good news is Harrison Ford is fine. He feels great.
02:04 His enzyme papaya treatment worked fantastically well.
02:08 I'm especially interested in this papaya treatment.
02:12 Well, they stopped doing them about 30 years ago because they were dissolving people's spinal columns.
02:18 Mine's intact.
02:19 That was Temple of Edoon, yeah.
02:21 Raiders was the ACL run over by the flying wing in Tunisia.
02:26 Collection was done in the stunt department to figure out how he might be able to work the next day.
02:33 [music]
02:38 I think the locations are essential to the Indiana Jones films
02:43 and I'm so glad that we are committed to working in real physical environments.
02:48 It's occasionally very useful to stand in front of a blue screen and imagine that you're gazing out from the top of the Eiffel Tower over the city of Paris and you're not.
02:58 If you don't have to do that, you can smell Morocco.
03:02 You can feel Morocco. Your textures are actually Moroccan.
03:07 It's just nothing like being in the real place and seeing a real place.
03:12 How many of our audience will get a chance to visit those environments?
03:16 Sicily, where we had actual ruins from Greek and Roman history.
03:22 That was a wonderful environment.
03:25 Places like the caves, part of the caves are done in actual physical caves and the others are sets because of the complicated scenes that we had to do in them.
03:35 [music]
03:38 [sizzling]
03:41 There's no cooking!
03:43 Ironically, when I was an assistant counselor in the nature department of Boy Scout Camp in Wisconsin,
03:52 I made it my mission to dig a reptile pit, which I then peopled with reptiles that I collected.
04:04 And I got to know snakes on a first-hand basis.
04:08 I have actually no fear of snakes. That's acting.
04:13 My parents were inefficient in curtailing my impulses.
04:17 I raised black and white hooded rats, great numbers of black and white rats, running around my room and eventually my house and my neighborhood.
04:29 That was a very successful rat raiser.
04:31 No eels were harmed in making this production because there were no eels.
04:37 That's just what you do.
04:40 [music]
04:44 I've got to tell you something. Don't get sentimental now, Dad. Save it till we get out of here.
04:48 The floor is on fire!
04:50 Sean is an amazing performer. Pure fun working with him.
04:55 We enjoyed a great relationship.
04:57 Well, we made it. When we're airborne with Germany behind us, then I'll share that sentiment.
05:06 I played it without my trousers. And Harrison said, "You're not going to play this scene without your trousers."
05:12 I said, "Well, if I don't, I'll be stopping all the time because I sweat enormously. I sweat very easily."
05:18 Well, he did the same.
05:20 He was a heavy sweater, yes, and he wore heavy wool pants. And he did appear without his pants because of the heat.
05:31 And I felt it was necessary and appropriate to remove my pants.
05:35 So we had two pantsless men photographed from the waist up. Film history.
05:41 [music]
05:45 Shia's character, Mutt, our son, we have this confined story about him.
05:51 It was the screenwriter's invention to have lost a child, to complicate the relationship between myself and Marian, in order to retrieve that relationship.
06:02 His name is Henry. Henry. Good name.
06:05 He's your son.
06:07 My son?
06:10 I mean, it's all part of the fabric of telling a film story.
06:15 [music]
06:17 There's an incredible clip of you stapling your hat to your head.
06:28 I still have the...
06:30 See it?
06:31 You do what you need to do.
06:33 [music]
06:42 It was presented to me as an aspect of character in the first film.
06:49 My questions about it were many.
06:52 Why am I wearing a leather jacket in the jungle?
06:56 Isn't it hot here?
07:00 Why am I carrying a whip? What am I going to do with a fucking whip?
07:05 Are you going to whip people?
07:07 Oh, okay.
07:09 And the hat?
07:11 Well, it's an evocation of a time, a period, you know?
07:15 A reflection of movies past.
07:19 Oh, okay.
07:21 I said okay, and that makes it my own.
07:24 [music]