Pharos Of Chaos (1983)

Super Cult Cinema
Super Cult Cinema
  • 2 months ago
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Transcript
00:00:30I'm standing here in my ship, let me go again, I'm standing here in my ship, moored to the
00:00:46Cade Tarignon, beneath the glorious Citadel of Besançon, parred by the wild River Dube,
00:00:59not maybe two-thirds the length of your love of red iron from the barrage, we are moored
00:01:09in a very small, narrow basin, and from these three windows of this midship's cabin, I look
00:01:24at a willow and reed-strewn little peninsula, maybe forty feet in breadth, narrowing to a tip
00:01:31at the barrage, beyond this peninsula, the Dube runs fast for her rendezvous with the sweet old
00:01:45yeah, yeah, Tranquil Zone.
00:02:15Tranquil Zone, Tranquil Zone, Tranquil Zone, Tranquil Zone, Tranquil Zone, Tranquil Zone,
00:02:46The idea was like a second birth.
00:03:01When I'm twelve years old and I see sailing ships, now I'm, what the hell am I, I'm fifty-two,
00:03:11and I know through our friend Stevenson and through, you know, I know, okay, here's another world.
00:03:18So it was a rebirth.
00:03:22And that's what I would love to, that's what I'm going to try to get in this book I'm working on.
00:03:27Yeah, it was like living twice.
00:03:31Usually men, when they're fifty-two, they die.
00:03:34Huh? Yeah.
00:03:38I see them all the time, you know, near my wife's house, you know what I mean?
00:03:43Okay, I'm going now, I'm going on, I'm going on, you know, I'm sixty-five and I'm, okay,
00:03:48but for the last three or four years I look at them, and they look much older than I do,
00:03:54and they're forty-seven, and they're dead.
00:03:58Huh? You know when they died?
00:04:01They died the day they came out of the university and said to a company like Xerox or IBM,
00:04:07I go to work for you, and I will haul my ass up the ladder until when I am sixty I will retire.
00:04:20All right, they died when they were twenty-two, you know what I mean?
00:04:29Hmm.
00:04:52Strange, isn't it? Huh?
00:04:55God damn, you know, I came over, I came over Norway one time.
00:05:00Coming in over the polar, polar route, huh?
00:05:05Everybody...
00:05:10Now me, I don't sleep much, not when I'm traveling.
00:05:15Not when I'm on the road.
00:05:17Oh no, I don't sleep at all.
00:05:24I look down, here, at the northern tip of Norway,
00:05:30and the whole damn place is snow, but there is some neon coming down, and some smoke,
00:05:40and it is so beautiful, and I look around at my amigos,
00:05:47I think, holy shit, baby.
00:05:49Hmm.
00:05:52Strange, isn't it?
00:05:55For Christ's sake.
00:05:59Strange that you can't see, my God, what a terrible affliction, huh?
00:06:05This gentleman said the most beautiful thing to me, down below,
00:06:09about, perhaps, what, one hour ago?
00:06:14When I was trying to find a piece of paper to show to you,
00:06:18a thing from the International Tribune, I couldn't find it.
00:06:25And I said, damn, you know, it's so terrible not to be organized.
00:06:31And this man said, well, you are organized, in another way.
00:06:37And I said to him, I know that.
00:06:40Sure.
00:06:48I don't know.
00:07:18I don't know.
00:07:48I don't know.
00:08:18Our first trip to Besançon was a long shot.
00:08:48We knew Sterling Hayden from the movies.
00:09:09We loved him as Johnny Guitar.
00:09:13Yet he had never been merely a Hollywood figure to us.
00:09:18His autobiographical novel, Wanderer,
00:09:21told of irreconcilable contradictions,
00:09:24of eternal restlessness,
00:09:26of a life which tells no simple story.
00:09:29Of the existence of a man who went to sea at 15,
00:09:44a man who has been at home in the most varying and contrasting worlds ever since,
00:09:49but never in just one.
00:09:54Of a man who has always been an outsider wherever he went,
00:09:58but who took on a life of fear, unrest, and solitude to be one.
00:10:05Adventures like these are too costly to be adventurous.
00:10:10At various times, Hollywood could have drawn enough material from Hayden's life
00:10:14to make several adventure films.
00:10:17There is the young sailor and roamer of the South Seas
00:10:20who loses his ship in a hurricane.
00:10:22He is offered two starring roles in Hollywood.
00:10:25Marries the leading lady of the two films,
00:10:28then disappears on a new ship.
00:10:30He fights the Nazis on the side of the Yugoslav partisans,
00:10:33and returns to America, and Hollywood, a war hero.
00:10:40The second scenario is by Warwick Tompkins,
00:10:43sailor, writer, and close friend of Hayden's.
00:10:46The typically non-political American youth
00:10:49develops into a militant participant in the class struggle.
00:10:53The subtitle of his then planned book.
00:10:58The third scenario, a quarter of a century later,
00:11:01a role written for Robert Redford.
00:11:04The movie star, and ex-sailor and war hero, who drops out.
00:11:09The rebel and non-conformist who turns his back on Hollywood,
00:11:13sails to the South Seas with his children,
00:11:16concentrates on writing,
00:11:18and later devotes himself to the struggle for civil rights.
00:11:24None of this is right, although it is all true.
00:11:29We knew of a different struggle, one with no end.
00:11:34Hayden's war with himself.
00:11:43Our first trip to Besançon was a long shot.
00:11:47We weren't even sure that Hayden would even be there.
00:11:52We had been trying to pin him down for a year,
00:11:55had reached him on the phone in London, New York, and San Francisco.
00:11:59However, every time we managed to locate him,
00:12:02he was always heading somewhere else.
00:12:07We spent three days with Hayden,
00:12:09talking, smoking, drinking, and listening.
00:12:13An intimate warmth, and, at the same time,
00:12:17a painful remoteness.
00:12:22We left only to return,
00:12:26to shoot a film that Hayden himself seemed to suggest to us.
00:12:30A glimpse, a portrait, a collection of tales.
00:12:36A 65-year-old loner living on the streets of Besançon,
00:12:40a man who has never been seen,
00:12:43a man who has never been seen,
00:12:46a man who has never been seen,
00:12:49a 65-year-old loner living a life of solitude and chaos on a barge.
00:12:57Four days later, we were back and shot for a week.
00:13:19Of all the creatures,
00:13:47of commercial enterprise,
00:13:52a canal barge
00:13:57is, by far,
00:14:00the most delightful to contemplate.
00:14:05It may spread its sails,
00:14:07and then you see it sailing high above the treetops and the windmill,
00:14:10sailing on the a-da-da-da-da-da-da,
00:14:12and the horse, and the horse, because, you know,
00:14:14when he was writing, this is 1886,
00:14:18and the horse plods along at a foot pace
00:14:23as if there was no such thing as business
00:14:28in the world,
00:14:32and the man, dreaming of the tiller,
00:14:38sees the same spire on the horizon
00:14:42all day long,
00:14:45all day long,
00:14:47and so far as I can make out,
00:14:51time, time,
00:14:55time,
00:14:57stands as nearly still with him
00:15:02as is compatible, which means, you know,
00:15:06practical,
00:15:09with the return of bedtime
00:15:14or the dinner hour, it is hard,
00:15:17it is not easy to see why a bargee should ever die.
00:15:32My world was the, um,
00:15:36was the sea, huh?
00:15:39And the sea is rough, huh?
00:15:43Hmm? Hmm?
00:15:46Hmm?
00:15:47I mean, the rivers, ah, the rivers and their canals can be rough,
00:15:50but the sea is, um,
00:15:53you know, it's different, huh?
00:15:55And I read, uh, I read, uh, where,
00:15:58that thing, that book I threw on the floor.
00:16:00Jesus, I shouldn't do that, should I?
00:16:03You break the back of a book when you do that, hmm?
00:16:05Well, I felt keyed up, hmm?
00:16:10And I thought, well, uh,
00:16:14pardon, I thought, um,
00:16:19maybe one day, you know, when I get old, huh?
00:16:25I don't want to go out there anymore, hmm?
00:16:32And I read Stevenson, hmm?
00:16:35And as I think you might agree,
00:16:37it's very beautiful, hmm?
00:16:39Something about it that is not like, you know,
00:16:41the sea, the sea, the sea, the sea,
00:16:43the goddamn motherfucking sea, you know,
00:16:45it's a, it's a,
00:16:47it's a, it's a, it's a,
00:16:49it's a, it's a, it's a,
00:16:51it's an empty world, huh?
00:16:53There are no lights in the cities,
00:16:55you don't go by towns at night, hmm?
00:16:57You don't go by, like what we're seeing here,
00:17:00what we're seeing here, huh?
00:17:02You don't go by this, hmm?
00:17:04What do you see?
00:17:05You see the goddamn, uh,
00:17:07goddamn, excuse me, the, the, the blue ocean, hmm?
00:17:10Which could be extraordinarily beautiful, huh?
00:17:14But also very lonely, huh?
00:17:18So I thought maybe one day, hmm?
00:17:20Okay, so one day comes, you know,
00:17:22when I start smoking the, uh, hashish, hmm?
00:17:24God bless us, we should have another,
00:17:26another head of chamomile.
00:17:30So I start smoking, and, um,
00:17:37and I think, yeah, huh? Huh? Huh? Huh? Huh?
00:17:42Yeah, why not, huh?
00:17:46My wife is living in a, in a, in a, in a,
00:17:49what the hell is the word in German for suburbia?
00:17:52Suburbia, you know what suburbia is?
00:17:54Suburbia, which is the outside of a big city, you know,
00:17:57you know, and it's, uh,
00:18:03The day of our return was also our first day of shooting.
00:18:07Hayden suggested we begin at once.
00:18:10Several French customs officials showed up a little later.
00:18:14They seemed to pay Hayden regular visits.
00:18:17Some of his papers or certificates were always missing.
00:18:57Okay.
00:19:27Yeah.
00:19:48Yeah.
00:19:57Yeah.
00:20:14Huh?
00:20:15Huh?
00:20:25Where the hell was I? Excuse me.
00:20:28Um, I don't know.
00:20:30It doesn't matter, does it?
00:20:32Hmm?
00:20:38Hey.
00:20:42Yeah.
00:20:44Boss, where's Monsieur?
00:20:48He looks back and he looks back.
00:21:14Hmm.
00:21:21God damn, that's nice.
00:21:23Jesus.
00:21:42Phew.
00:21:43Jesus Christ, wine.
00:21:46Beautiful sight, isn't it? Hmm?
00:21:48Two bottles of wine. We should open one, shouldn't we?
00:21:52Eckhart, should we not open a bottle of wine? Hmm?
00:21:57For the dupe? Huh?
00:21:59For the, for the Dwan? Hmm?
00:22:02For the, for the, for the police?
00:22:04Ha, ha, ha, ha.
00:22:08It's not water.
00:22:10It's open.
00:22:11That's not wine.
00:22:12That's water. Well, screw that.
00:22:16That's not for you.
00:22:19That's wine.
00:22:22Jesus Christ, what an afternoon.
00:22:36We had vainly hoped that Hayden would drink less during the filming.
00:22:40We tried to talk to Dana about it, but he didn't want to get involved,
00:22:45and claimed his father knew what he was doing.
00:22:48Dana is Hayden's second eldest son,
00:22:51and hired on this year to look after both the barge and his father.
00:22:56In the meanwhile, we had learned that Hayden had bought the old barge in 1968 in Holland,
00:23:02and had fixed her up himself.
00:23:05She was called the Vise-Alte Beten.
00:23:08Hayden turned that into who knows,
00:23:10and painted a question mark on the stern.
00:23:13For a long time, she had been moored along the Quai Conti in Paris.
00:23:18Across from Notre Dame.
00:23:20And for a long time, Hayden used her to cruise the rivers and canals between Rotterdam and Marseille.
00:23:27The barge is one of the places he has picked to write.
00:23:31He spends six months a year on her.
00:23:33That is, if he is not searching for another place to write.
00:23:37Wandering between Sausalito and San Francisco, where most of his children are,
00:23:42and New York and Connecticut, where his wife Kitty lives.
00:23:48Mankin
00:23:58Mankin said,
00:24:01Don't talk to me about your beautiful studios.
00:24:07The best place for a writer to work
00:24:10is in a cheap hotel,
00:24:13in an inside room,
00:24:15on the, what we call, air shaft,
00:24:19with a jackhammer, you know,
00:24:22going down below,
00:24:24and the landlord, the owner,
00:24:26banging on the door for the money.
00:24:29I like that.
00:24:32So here, this is so beautiful, you know, it's almost too beautiful.
00:24:35You understand?
00:24:37No?
00:24:39No?
00:24:41No.
00:24:44It's almost too beautiful.
00:24:51The door.
00:24:54Married, baby.
00:24:58Christ.
00:25:11Married, baby.
00:25:13Married, baby.
00:25:43Married, baby.
00:26:03This was my university,
00:26:05this ship.
00:26:08My secondary school, you know,
00:26:11and the men who were working there,
00:26:13they would not let their sons fish, you know.
00:26:15They said, work in a goddamn gas station,
00:26:18work in the post office,
00:26:20but don't go on the ships.
00:26:22And so in a way, for me, it was very easy,
00:26:24because I was strong,
00:26:26and I was happy,
00:26:28and that wonderful word,
00:26:30committed, enthusiastic,
00:26:34and I have a,
00:26:37I found very quickly,
00:26:39that I had a,
00:26:41a quality,
00:26:44that I always tried to be,
00:26:46to be, to be decent to,
00:26:48to other men, you know.
00:26:50And if you are,
00:26:52it makes it, you know,
00:26:54usually men are rough, you know what I mean?
00:26:57And so if you were
00:26:59decent, polite,
00:27:03they think, ah,
00:27:05so I got along very well,
00:27:07very well, very well, you know.
00:27:14But I think mainly it was the beauty.
00:27:19We might even say grandeur.
00:27:24The grandeur of a
00:27:27big sailing ship,
00:27:29very powerful thing.
00:27:31Sometimes when I was working on a ship
00:27:33that was not a sailing ship,
00:27:38but she was a working ship.
00:27:42Working ships have a beauty to them,
00:27:44that yachts never have.
00:27:47Maybe, you know,
00:27:4950, 60, 70 years ago,
00:27:51when they had big, big, big yachts,
00:27:53like the Wanderer, or a little bigger,
00:27:55or like that schooner I had
00:27:57that belonged to the Kaiser.
00:28:00They were beautiful.
00:28:04That damn Aldebaran,
00:28:06Meteor, Meteor 3 she was,
00:28:08Meteor 3.
00:28:10The Kaiser had
00:28:14four Meteors, you know,
00:28:16four over the years.
00:28:27Go like hell,
00:28:29go like god damn hell, you know.
00:28:34That's how I got to Hollywood, you know.
00:28:36Because I lost her, right?
00:28:50Hackett's breath shows white.
00:28:56Some white labors,
00:28:58like daybreak, you know,
00:29:00into the east.
00:29:03Now,
00:29:05for the waiting time.
00:29:07Because you have to wait,
00:29:09for the fish to bite.
00:29:12Now for the waiting time.
00:29:14Nothing to do but wait.
00:29:16Wait for an hour or more,
00:29:18hoping the fish will bite.
00:29:20Waiting for the tabo's horn,
00:29:22because when the captain
00:29:24pulled the horn, then you haul.
00:29:27This is the coldest time of all,
00:29:29because you're not working.
00:29:32Hackett's head
00:29:34droops on his chest.
00:29:38He locks his back
00:29:40and starts heaving in
00:29:42on the trawl.
00:29:44The kid, me,
00:29:46I'm calling down.
00:29:50And he says,
00:29:52hey boy,
00:29:54let me tell you,
00:29:56this is a poor fucking way to get rich.
00:30:01Isn't that beautiful?
00:30:05Hayden was a sailor
00:30:07at the age of 15,
00:30:09a fisherman on the Grand Banks
00:30:11in the North Atlantic,
00:30:13a first mate by the time he sailed
00:30:15around the world,
00:30:17and a captain at the age of 20.
00:30:19His picture appears
00:30:21in the local papers.
00:30:23The giant blonde Viking
00:30:25is advised to become a movie star.
00:30:31Four years later,
00:30:33in 1940, the Aldebaran,
00:30:35the schooner he intended
00:30:37to start a shipping line with
00:30:39in the South Seas, is shipwrecked.
00:30:41Now, Hayden actually
00:30:43goes into pictures.
00:30:45After only one year in Hollywood,
00:30:47he has made enough money
00:30:49for a new schooner.
00:30:51He runs guns to South America
00:30:53on his own initiative
00:30:55before the U.S. enters the war.
00:30:57He volunteers for paratrooper
00:30:59training in Scotland.
00:31:01From 1942 to 44,
00:31:03he is in command
00:31:05of a small fleet of fishing boats
00:31:07in the Adriatic that break the German blockade
00:31:09and provide Tito's partisans
00:31:11with supplies.
00:31:18We read that Hayden owned
00:31:2018 sailing ships altogether
00:31:22and that he lived on them
00:31:24even when he was in Hollywood.
00:31:26Ships and the sea
00:31:28are common superstitious.
00:31:30He calls his first barge
00:31:32Who Knows?
00:31:34But to him, she has long been
00:31:36the Pharos of Chaos,
00:31:38which is also the title of his new book.
00:31:40He joins
00:31:42the American Communist Party.
00:31:44He buys a schooner he christened
00:31:46Quest on the very same day.
00:31:50Two decades later, he calls his new schooner
00:31:52Wanderer.
00:31:54A new beginning, but the same quest.
00:31:58He will sail the Wanderer to Tahiti
00:32:00and leave Hollywood forever.
00:32:18Late afternoon.
00:32:24One night I am, I would say,
00:32:26two-thirds sloshed.
00:32:30I'm looking at the camera now.
00:32:32Sometimes one looks at the camera.
00:32:34I'm two-thirds gone, baby.
00:32:36Two-thirds gone.
00:32:40Out in front of my little hotel window
00:32:42while I'm quaffing,
00:32:44as they say in England,
00:32:46the porto.
00:32:48And sampling the pipe.
00:32:52I see a drama.
00:32:54For me, like opera.
00:32:56Like opera.
00:32:58Some people go to opera.
00:33:00Some people go to ballet.
00:33:02To film.
00:33:04I look out.
00:33:08I see a fantastic thing.
00:33:10I see three big
00:33:12goddamn Swiss barges
00:33:14coming up the river.
00:33:16Below the hotel
00:33:18is a German paniche.
00:33:20May I say.
00:33:24May I say.
00:33:26Hey.
00:33:28Now.
00:33:30They begin to make the break.
00:33:32To make the turn.
00:33:34And the wires
00:33:36part.
00:33:38As we say part. Part.
00:33:40How do you say part? Part. Break.
00:33:42Break. Now.
00:33:46The two lead
00:33:48barges come in toward the German barge
00:33:50below my hotel window.
00:33:52Now.
00:33:54Why do you
00:33:56look away?
00:33:58Now.
00:34:00The master
00:34:02of the
00:34:04towboat.
00:34:06He does what every
00:34:08shipmaster will do. He goes
00:34:10so. So.
00:34:12Trouble. Trouble. Trouble. Trouble.
00:34:14Huh?
00:34:16Put a
00:34:18problem.
00:34:20Problem. Huh?
00:34:22Now. Down here.
00:34:26I'm taking the towboat off my pipe.
00:34:32And I watch a wonderful thing.
00:34:34May I say. A most beautiful thing.
00:34:36One of the things that I will remember
00:34:38until the day I die.
00:34:40I watch the
00:34:42master. The master of the German
00:34:44paniche. Huh?
00:34:46He comes up and he's wearing his skivvies.
00:34:48We say skivvies. Huh?
00:34:50Now.
00:34:52He knows
00:34:54immediately. Huh?
00:34:56The shit
00:34:58is in the fan. As we say.
00:35:00The shit is in the fan. Huh?
00:35:02Here are coming toward him
00:35:04two god damn
00:35:06barges. Huh?
00:35:08Maybe five thousand ton. Huh?
00:35:10He presses a button
00:35:12like I pressed for you the other day.
00:35:14Clunk. And she goes.
00:35:16You know.
00:35:18And he does a wonderful thing.
00:35:20He puts her ahead. Huh?
00:35:22He puts her astern.
00:35:24He gets up the momentum.
00:35:26And then he goes wide open
00:35:28astern. He breaks the lines.
00:35:30And he backs out.
00:35:32And the barges come
00:35:34crashing into the cay.
00:35:36With about I would say
00:35:38ten meters of
00:35:40slack.
00:35:42That's good isn't it?
00:35:44To come up fast. Huh?
00:35:46To come up in your skivvies. Huh?
00:35:48And suddenly think baby I ain't got no time
00:35:50to do nothing. Huh?
00:35:52You beautiful girl. Huh?
00:35:54I ain't got no time to
00:35:56I ain't got no time
00:35:58to say hello to my friends
00:36:00on my own ship.
00:36:02I gotta do one thing.
00:36:04I gotta go. I gotta haul.
00:36:06And he hauled.
00:36:08I think that's very nice.
00:36:10That to me is an example of
00:36:12what are called seamanship. Huh?
00:36:14Seamanship.
00:36:16The same thing made the lies line.
00:36:18That we were talking about. No?
00:36:20Same thing. Same thing.
00:36:26Damn. Damn.
00:36:28Damn. Damn.
00:36:30It was a third kick. You know?
00:36:32Wait a minute. One. Two.
00:36:34No. Fourth kick. Fourth kick.
00:36:36Fourth kick.
00:36:40Fourth kick.
00:36:54Which is of course
00:36:56again part of the
00:36:58fundamental
00:37:07Hmm?
00:37:13Yeah. Shoot the river.
00:37:16Shoot the dew.
00:37:32I was saying to you
00:37:34Eckhart on the Cay. Hmm?
00:37:38That you came here
00:37:40to make
00:37:42some film. Hmm?
00:37:44And you discovered
00:37:46that suddenly I'm drinking
00:37:48extremely hard. Hmm?
00:37:52For which again I apologize
00:37:54to you.
00:37:56No. I do. And to all of you.
00:37:58But in a way, no. Hmm?
00:38:00Because in a way
00:38:02it's me. Hmm?
00:38:04And I was thinking
00:38:06last night
00:38:08that what you have
00:38:10as I said to you when you were on the Cay
00:38:14you have a record
00:38:16of exactly
00:38:20what alcoholism
00:38:22is. Hmm?
00:38:24It's not a picture of
00:38:26your film is not about alcoholism.
00:38:28It is there baby.
00:38:30It is there. Hmm?
00:38:32And I
00:38:34have the
00:38:36I think
00:38:38I have the strength
00:38:40to say okay I know I'm sorry.
00:38:42Sure in a way but also I think
00:38:44okay that's the way it goes right now. Huh?
00:38:46Again last night
00:38:48I was thinking if anybody
00:38:50in your country or in my country
00:38:52made a picture about what it is like
00:38:54to be a drunk. Hmm?
00:38:56Oh boy. Hmm?
00:38:58Oh yeah. Oh yeah.
00:39:00Am I wrong?
00:39:02No.
00:39:04Huh?
00:39:06Felix?
00:39:08No. No. No.
00:39:10It's like I have not
00:39:12said much to you but I have
00:39:14many
00:39:18what we call journals. Hmm?
00:39:20Journals. Journals. Journals.
00:39:22Diaries. Records. Records.
00:39:24Records which were kept on
00:39:26hashish. Hmm?
00:39:28Maybe I mentioned this.
00:39:30Excuse me. But they are magnificent
00:39:32because they are not about
00:39:34like when I stand here now and I
00:39:36write about
00:39:38let's say Besançon. Hmm?
00:39:40Or the war.
00:39:42Or Hollywood.
00:39:44Or going down the road.
00:39:46Okay that's one thing. Huh?
00:39:48But the journals are
00:39:50the way it is at the time. Huh?
00:39:52Just what goes through your head. You know?
00:39:54Hmm.
00:39:58We came aboard at the
00:40:00usual time but Hayden was still asleep.
00:40:02Dana
00:40:04told us that his father spent the night
00:40:06with a bunch of American tourists.
00:40:08They had recognized him,
00:40:10taken one another's pictures
00:40:12with him, and had raised
00:40:14many glasses toasting him.
00:40:16Returning to the barge,
00:40:18he lost his balance on the narrow
00:40:20plank and plunged into the river.
00:40:22He could barely
00:40:24keep his head above water.
00:40:26Dana woke up and
00:40:28rushed out just in time.
00:40:40But like I said
00:40:42earlier, you see, now in a way
00:40:48I'm all
00:40:50fucked up. Huh?
00:40:56Because I'm alone.
00:41:04Sure my son's back there.
00:41:06Beautiful. Beautiful.
00:41:10Sure you're here, but maybe
00:41:12after an hour or two or three
00:41:14you will go. You know?
00:41:16And I'm down
00:41:18here. Huh?
00:41:20And it's night time. Huh?
00:41:24And I'm alone. I want to be alone.
00:41:26You know what I mean?
00:41:28I want very, very, very,
00:41:30very much to be able to do
00:41:32what you are doing right now. Huh?
00:41:34Simply put my hand
00:41:36out and touch
00:41:38a girl. Huh?
00:41:40Okay.
00:41:48Okay.
00:41:54My ass.
00:41:56It ain't okay.
00:41:58But I must say, you know,
00:42:00in terms of alcohol,
00:42:02it doesn't make any difference. You know?
00:42:04If my wife was here, I'd still be drinking.
00:42:06You follow me?
00:42:08Huh?
00:42:12And I'm sure one reason my wife
00:42:14is not here
00:42:16is...
00:42:20Huh?
00:42:22Sure.
00:42:46Captain Denison
00:42:48Boardman
00:42:50awakened
00:42:52reluctantly. Huh?
00:42:54In Banning Blanchard's
00:42:56palace car. Huh?
00:42:58The railroad car. Huh?
00:43:00Of the Alicante. Huh?
00:43:04In the
00:43:06middle of such a monumental
00:43:08hangover
00:43:12that for a
00:43:14let's call it three minutes
00:43:16he was unable to open his eyes.
00:43:18None of you know that yet.
00:43:24Indeed,
00:43:26it was all he could do
00:43:28to slither, which is fall,
00:43:30off the bed
00:43:32and crawl on all
00:43:34fours about, you know,
00:43:36on his legs, on his knees,
00:43:38and on his... Huh?
00:43:40In a desperate
00:43:42quest for the chamber
00:43:44mug. That's the thing you
00:43:46piss in. Huh?
00:43:56A handsome
00:43:58example of the potter,
00:44:00that's the people who make the pottery.
00:44:02A handsome example
00:44:04of the potter's art, embossed with
00:44:06porcelain
00:44:08posies, flowers. Huh?
00:44:10This receptacle
00:44:14he proceeded at once to fill
00:44:16from a
00:44:18kneeling position
00:44:20with his eyes
00:44:22beginning to open
00:44:24and his head
00:44:26braced
00:44:28between the bars
00:44:30of a... Bars like this, you know,
00:44:32of a narrow brass bed.
00:44:34Huh?
00:44:36Damn O God, O
00:44:38Jesus.
00:44:40He muttered, gratefully, gratefully,
00:44:42recalling the...
00:44:46Stewardy, Paul! Steward is a, you know,
00:44:48a black man who takes care of you in those
00:44:50times. Huh? Steward, huh?
00:44:52You know a steward, huh?
00:44:54Fetch my whiskey.
00:44:58And my big cup.
00:45:00And a pail full of ice.
00:45:02And be god
00:45:04damn quick about it, boy.
00:45:06Or I'll warm your fat
00:45:08black ass.
00:45:12A female's voice
00:45:14That's what I was saying earlier.
00:45:16A female's
00:45:18voice exploded beyond the
00:45:20partition, the
00:45:22wall.
00:45:24Don't swear, you dirty old
00:45:26son of a bitch.
00:45:28The captain
00:45:30froze on his knees.
00:45:32The lady's voice
00:45:34was raucous.
00:45:36It
00:45:38boomed through the arbiter, the name of the car,
00:45:40it boomed through the arbiter
00:45:42like the cry of a wounded
00:45:44moose. That's a, that's a
00:45:46big deer, with a fuckin'
00:45:48horn.
00:45:54And reaching the
00:45:56extremities, excuse me,
00:45:58of the car, came
00:46:00bollying back with a rush of air as the big
00:46:02shipmaster
00:46:04upsetting his potty,
00:46:06he turned over his piss pot,
00:46:08landed headlong
00:46:10back on the bed.
00:46:12Land of
00:46:14Goshen, that's an American expression, Land of
00:46:16Goshen, I don't know, it comes from the Bible, I think.
00:46:18Land of Goshen, Goshen is somewhere
00:46:20near Jerusalem.
00:46:22Land of
00:46:24Goshen,
00:46:26he groaned.
00:46:28I brung the hussy with me.
00:46:30You understand?
00:46:32The hussy?
00:46:34The whore.
00:46:36Tumbling out of his bed,
00:46:38he checked for his watch.
00:46:40Which we always do.
00:46:42Counted the
00:46:44bills in his
00:46:46wallet.
00:46:48At the same time
00:46:50trying to recall
00:46:52where the car was.
00:46:54Beaver,
00:46:56the black man,
00:46:58came in with the booze.
00:47:02You know, I went to a hospital for alcohol,
00:47:06and one of
00:47:08the people, one of
00:47:10the ladies, who was, you know,
00:47:12like a
00:47:14instructor, like a teacher,
00:47:16and she said, you know,
00:47:18she said,
00:47:24she said to me, I read your book
00:47:26Voyage, and I realized that
00:47:28that man who wrote that book
00:47:32knew much more
00:47:34than I know about alcohol.
00:47:38So your question doesn't
00:47:40really make sense to me.
00:47:42Huh?
00:47:56Sure.
00:48:00Christ, Christ, Christ,
00:48:02of course I can write about alcohol,
00:48:04but my problem is I can't write.
00:48:06Except, you know,
00:48:08right now I write a little bit,
00:48:10but not all the time, you know what I mean?
00:48:12I don't write regularly.
00:48:18Yeah.
00:48:20Woof, woof, woof, woof.
00:48:22Woof, woof, woof, woof.
00:48:24Woof, woof, woof, woof.
00:48:26Woof, woof, woof, woof.
00:48:28Woof, woof, woof, woof.
00:48:30Woof, woof, woof, woof.
00:48:32Woof, woof, woof.
00:48:34Woof, woof, woof, woof.
00:48:36Woof, woof, woof, woof.
00:48:38Woof, woof, woof, woof.
00:48:40Woof, woof, woof.
00:48:42Woof, woof, woof.
00:48:44Woof, woof, woof.
00:48:46Woof, woof, woof.
00:48:48Woof, woof, woof.
00:48:50Woof, woof, woof.
00:48:52Woof, woof.
00:48:54Woof, woof, woof, woof.
00:49:06Woof, woof, woof.
00:49:08Ah, it's a funny kind of a tragedy,
00:49:10you know, it's a funny kind of a tragedy
00:49:12because, um...
00:49:14Woof, woof, woof, woof.
00:49:16Woof, woof, woof, woof.
00:49:18Woof, woof, woof, woof.
00:49:20Woof, woof, woof, woof.
00:49:22Woof, woof, woof, woof.
00:49:24Woof, woof, woof, woof.
00:49:26Woof, woof, woof, woof.
00:49:28Woof, woof, woof, woof.
00:49:30Woof, woof, woof, woof.
00:49:32Woof, woof, woof, woof.
00:49:34Woof, woof, woof, woof.
00:49:36Woof, woof, woof, woof.
00:49:38Woof, woof, woof, woof.
00:49:40Woof, woof, woof, woof.
00:49:42Woof, woof, woof, woof.
00:49:44Woof, woof, woof, woof.
00:49:46Woof, woof, woof, woof.
00:49:48Woof, woof, woof, woof.
00:49:50Woof, woof, woof, woof.
00:49:52Woof, woof, woof, woof.
00:49:54Woof, woof, woof, woof.
00:49:56Woof, woof, woof, woof.
00:49:58Woof, woof, woof, woof.
00:50:00Woof, woof, woof, woof.
00:50:02Now,
00:50:04what confuses me,
00:50:06if you'll excuse me,
00:50:08is that
00:50:10I ain't all that unhappy.
00:50:12You know what I mean?
00:50:14Part of me is very happy.
00:50:16Part of me knows I'm strong.
00:50:18I know I can write.
00:50:20I know I have this ship.
00:50:22I know I have my, you know,
00:50:24not only one son, but many sons.
00:50:26And one
00:50:28beautiful daughter.
00:50:30Aye.
00:50:32Aye.
00:50:34So why, why, why, why do I drink?
00:50:36I don't know.
00:50:38I don't know.
00:50:40But nobody knows.
00:50:42Aye.
00:50:44Why do people kill themselves?
00:50:48Some of the most beautiful people
00:50:50that you know, huh?
00:50:52Aye.
00:50:58Kill themselves.
00:51:00Pourquoi?
00:51:02Aye.
00:51:06Virginia Woolf.
00:51:10Lovely, crazy,
00:51:12bisexual,
00:51:14English writer,
00:51:16who one day put some,
00:51:18put some,
00:51:20some rocks,
00:51:22some stones in her pocket
00:51:24and walked into the river in front of her house
00:51:26and drowned herself.
00:51:30Hemingway.
00:51:33But one day,
00:51:35when he was only, what, 52?
00:51:37No, 50, 56?
00:51:40Takes, like I said the other day,
00:51:42takes a double-barreled
00:51:44shotgun,
00:51:46and he
00:51:48blows his head off.
00:51:50Why do I fall in here?
00:51:52Same thing.
00:51:54This is a form of suicide.
00:51:56Surely.
00:51:58I think. No?
00:52:00Surely. Surely.
00:52:02If it had not been for
00:52:04my son,
00:52:06I would not be here this morning.
00:52:08You know?
00:52:10Because I could not,
00:52:12like I said this morning, I could not get my head
00:52:14out of the water, you know what I mean?
00:52:18And my friend.
00:52:22Hm?
00:52:24He comes after me. He comes right in.
00:52:26Right in, huh?
00:52:30And he grabs me.
00:52:34Poisson.
00:52:40And he gives me enough strength,
00:52:42huh, to put one hand
00:52:44on this ship, hm?
00:52:46One, huh?
00:52:52And this is my
00:52:54connection with life, hm?
00:52:56Hey, here, hey!
00:53:00I know I got good hands.
00:53:02I got good hands, you know?
00:53:06And I hang on, hm?
00:53:08And he comes around,
00:53:10you know, with his boat, very quickly,
00:53:12hm?
00:53:14And somehow he pulls me out,
00:53:16huh? I couldn't, I couldn't,
00:53:18I couldn't do anything,
00:53:20huh?
00:53:22Excuse me.
00:53:24So, in a way,
00:53:26for him, huh?
00:53:34Amen.
00:53:36Amen.
00:53:40Hey.
00:53:46Hey.
00:53:48Hey.
00:53:54Poisson.
00:54:18Poisson.
00:54:48Poisson.
00:55:18Poisson.
00:55:20Poisson.
00:55:22Poisson.
00:55:26Poisson.
00:55:28Poisson.
00:55:30Poisson.
00:55:32Poisson.
00:55:34Poisson.
00:55:36Poisson.
00:55:38Poisson.
00:55:40Poisson.
00:55:42Poisson.
00:55:44Poisson.
00:55:46Poisson.
00:55:48Poisson.
00:55:50Poisson.
00:55:52Poisson.
00:55:54Poisson.
00:55:56Poisson.
00:55:58When I realized, you see,
00:56:00that Pharos of Islamia,
00:56:02hm?
00:56:04Was not really in the way it was,
00:56:06hm?
00:56:08Or the way it is, hm?
00:56:12You see, it's funny, if you'll excuse me,
00:56:14it's funny,
00:56:16I use the word Pharos, hm?
00:56:18Which is lighthouse,
00:56:20hm?
00:56:24I thought, you know,
00:56:26I thought certainly
00:56:28in Paris,
00:56:30at the Quai Conti,
00:56:32this ship was sort of
00:56:34a lighthouse, you know what I mean?
00:56:36Sort of a place, a beacon,
00:56:38you know what I mean?
00:56:40Of happiness,
00:56:42of music,
00:56:44of hashish,
00:56:46of dreams,
00:56:48strong, good, hm?
00:56:50Okay, Pharos.
00:56:54In other words, Islamia
00:56:58was, I think, okay,
00:57:00and then I realized,
00:57:06I'm working too hard with this,
00:57:08hm?
00:57:10And the chaos is,
00:57:20hm? Is not
00:57:22knowing exactly what to do, hm?
00:57:24So what am I doing?
00:57:26I ain't doing nothing,
00:57:28hm?
00:57:30I ain't doing bullshit, hm?
00:57:32I can work on a picture, sure.
00:57:34It's not, in a way,
00:57:36it's not hard to work on a picture, you know what I mean?
00:57:38You follow me?
00:57:40Sure, I can go
00:57:42tomorrow to, you know,
00:57:44any place and work on a film, hm?
00:57:52But the slow, basic,
00:57:54strong, beautiful,
00:57:56driving force that we
00:57:58have within us
00:58:00to write, hm?
00:58:02I ain't got.
00:58:04I ain't got.
00:58:09So that
00:58:11becomes chaos, you know what I mean?
00:58:13When you go through weeks, after weeks,
00:58:15after weeks, hm?
00:58:17And months, after
00:58:19months, after months,
00:58:23I think, okay, something
00:58:25is, uh, wrong,
00:58:27hm?
00:58:29Something is, uh,
00:58:33what we call haywire,
00:58:35hm?
00:58:39Hm.
00:58:47And I had what's called a breakdown.
00:58:49You know what a breakdown is?
00:58:53Hm?
00:58:55You know the word?
00:58:57A breakdown?
00:59:09And I find myself crying,
00:59:11hm?
00:59:13Crying, crying, crying,
00:59:15you know what I mean? Crying all the time.
00:59:27This is rough shit, hm?
00:59:29Hm?
00:59:31Crying, hm?
00:59:39You know what I mean?
00:59:43Just like you're
00:59:45collapsed, like you're,
00:59:47like you're dead, hm?
00:59:49And you'd be better off
00:59:51if you were dead, you know what I mean?
00:59:53But you're not dead, you're alive.
00:59:57But you're crying, hm?
01:00:03Drinking?
01:00:06Now I think,
01:00:08holy shit,
01:00:10you know, what's, uh, what's going on,
01:00:12hm?
01:00:14What's happening, hm?
01:00:16Me!
01:00:18I know myself pretty well,
01:00:20may I say?
01:00:22And like I've said,
01:00:24if you'll pardon me, I know I've said before,
01:00:26I know I'm a strong son of a bitch, hm?
01:00:28Very strong.
01:00:30But I'm crying,
01:00:32like a baby,
01:00:34hm?
01:00:39Hey.
01:00:45And like I said, you know,
01:00:53thinking, at times,
01:00:55where's the gun,
01:00:57hm, hm?
01:00:59Just blow it away, baby,
01:01:01blow it, eh?
01:01:04Christ.
01:01:07Yeah, but we also know,
01:01:09do we not, I know, huh?
01:01:11As we're talking now,
01:01:13huh? As we've been talking
01:01:15for several, uh,
01:01:17days, hm?
01:01:25There are people in the world
01:01:27who are in prison, hm?
01:01:29In jail, hm?
01:01:31In solitary,
01:01:33hm?
01:01:37People who are being tortured, hm?
01:01:39So this, in a way,
01:01:41is paradise, hm?
01:01:43Paradise, eh?
01:01:45It's beautiful, hm?
01:01:57But in a way, it's like, um,
01:02:03a prison without bars,
01:02:07you follow me?
01:02:09It's a jail
01:02:11that we make ourselves,
01:02:15which maybe is worse
01:02:17than the formal,
01:02:19hm?
01:02:21No, I don't think so, no.
01:02:23I don't think so.
01:02:25It's not, of course it's not,
01:02:27because I know damn,
01:02:29God damn well
01:02:31that I can, uh,
01:02:35walk up here, hm?
01:02:37If I can get there,
01:02:39and I can, if I need to, I can get there,
01:02:41hm? And I can go
01:02:43anywhere, hm?
01:02:45If you're in jail, you can't move, can you?
01:02:47Hm? Hm?
01:02:49Hm?
01:02:51They got those big God damn
01:02:53doors, hm?
01:03:01No, it ain't jail.
01:03:03It ain't jail. It's just, uh,
01:03:05I don't know.
01:03:07I get it. Maybe it's chaos, hm?
01:03:31...
01:03:33...
01:03:59Hayden didn't want to remain
01:04:01on board that morning.
01:04:03He suggested we accompany him on a walk
01:04:05along the dube.
01:04:09He received a telegram later that afternoon.
01:04:11It was from his wife,
01:04:13Kitty, and his first
01:04:15news from her in four months,
01:04:17the period of time since his
01:04:19arrival on the barge.
01:04:21He cried.
01:04:23He wanted us to go into town with him
01:04:25to wire a reply,
01:04:27but he changed his mind on the way.
01:04:31...
01:04:37...
01:05:01...
01:05:31...
01:05:57Look at that little tree, huh?
01:06:01That car, huh?
01:06:03That little tree, huh?
01:06:05Who put that tree there?
01:06:07Who, huh?
01:06:11I'll tell you who put it there.
01:06:13The same guy said to James Dean one night,
01:06:15take that God damn Porsche
01:06:17and go 120 miles an hour and kill yourself.
01:06:19Same man, huh?
01:06:21Same guy said to me last night,
01:06:23fall in the water.
01:06:25...
01:06:27...
01:06:29Fall in the water, for Christ's sake.
01:06:31For Christ's fucking sake.
01:06:33...
01:06:39Oh, Christ.
01:06:41...
01:06:43...
01:06:45...
01:06:47...
01:06:49...
01:06:51...
01:06:53...
01:06:55...
01:06:57...
01:06:59...
01:07:01...
01:07:03...
01:07:05...
01:07:07...
01:07:09...
01:07:11...
01:07:13...
01:07:15...
01:07:17...
01:07:19...
01:07:21...
01:07:23You know it's funny, huh?
01:07:25That's just your ass, huh?
01:07:29Right?
01:07:32Right?
01:07:55It's like ballet, isn't it?
01:08:20Huh?
01:08:22You know, I learned that with Altman,
01:08:24with Robert Altman, huh?
01:08:26You understand?
01:08:27Huh?
01:08:29That it can, it is possible, huh?
01:08:32For the actor or the person to work with the cinematographer, huh?
01:08:38And the director.
01:08:40And the writer.
01:08:41And we all work together, huh?
01:08:42And it is like, in a way, ballet, huh?
01:08:46Oh!
01:08:58But also, it's always, for me, very difficult to call anyone, you know?
01:09:02To say, hey, my name is now Garçon.
01:09:06I can't do that, you know?
01:09:10I don't know.
01:09:16I think maybe they're doing their job.
01:09:19I don't know.
01:09:20Like we said about the police.
01:09:21Huh?
01:09:22Huh?
01:09:25I do my job, but nobody calls me.
01:09:28Nobody's in Sterling.
01:09:30Yeah, the director's calling you.
01:09:32Yeah, you say to me, yeah.
01:09:34Okay, but we're close.
01:09:37Mademoiselle.
01:09:39S'il vous plaît.
01:09:42Okay.
01:09:43Walk your way.
01:09:45Deux doubles de Pernod.
01:09:46Des quoi?
01:09:47Deux doubles de Pernod.
01:09:49Pernod?
01:09:50Si.
01:09:51Ah, d'accord.
01:09:52Deux doubles de Pernod.
01:09:53Allons deux?
01:09:54Oui.
01:09:55Et pour vous?
01:09:56Calvador.
01:09:57Et un Calvador.
01:09:58Et pour vous?
01:09:59Deux.
01:10:00Et pour les deux?
01:10:01Un.
01:10:06Manfred, what do you wish to drink?
01:10:11Coca-Cola?
01:10:14Coca-Cola.
01:10:31And one morning I'm walking down the waterfront in San Francisco.
01:10:36Near the Oakland Bay Bridge.
01:10:40And I look more or less like this.
01:10:49And I see a man coming toward me.
01:10:53What we call a tramp.
01:10:55A tramp.
01:10:56Hobo.
01:10:57Hobo.
01:11:00And...
01:11:06I said to him, good morning.
01:11:09Good morning.
01:11:14I said, where are you from?
01:11:24He said, St. Louis.
01:11:28I said, where are you in from right now?
01:11:34And how did you get here?
01:11:35How did you get here?
01:11:36I said, did you come hitching or did you come on the trains?
01:11:41He said, I came on the trains.
01:11:43I said, where from?
01:11:44He said, Chicago.
01:11:46And I said...
01:11:52Because I knew that he had a beat up old pair of tennis shoes.
01:11:58Sneakers.
01:12:00And the black socks, they were not black socks.
01:12:02They were dirt.
01:12:03On his legs.
01:12:09And I said, how are you fixed for change?
01:12:12Because I knew I was going to give him some money.
01:12:17And he says to me, brother, this morning I can't spare a dime.
01:12:22He thought I was hitting him.
01:12:31Can't spare a dime.
01:12:33Can't spare a dime.
01:12:52You know the fantastic...
01:12:56The...
01:13:02Ryder Ibsen?
01:13:03Ibsen?
01:13:13Yeah.
01:13:26Ibsen said, that good men do nothing is the chief danger of our time.
01:13:56Thank you.
01:14:15Let's haul ass, huh?
01:14:17Shall we haul?
01:14:20Shall I help you finish your drink?
01:14:22You take half, I take half.
01:14:26All right.
01:14:57Hayden later writes in Wanderer...
01:15:01This is a day he will never forget.
01:15:05April 10, 1951.
01:15:08I am sworn to tell the truth.
01:15:11I check my costume, which has been selected carefully.
01:15:15In the lapel rests a tiny flick of combat ribbon.
01:15:19Counsel studies his script and sounds his pitch pipe and I begin to sing.
01:15:24I am well prepared.
01:15:26Few stoolies have played this hall who were better prepared than I.
01:15:31I was a real daddy long legs of a worm when it came to crawling.
01:15:45On the 10th of April, 1951, Hayden and his wife Betty
01:15:50take the early morning flight from Los Angeles to Washington.
01:15:55They fly back to Los Angeles that same evening.
01:16:03A lot has happened in the meantime.
01:16:08Hayden has been asked, are you now or have you ever been a member of the Communist Party?
01:16:14If he tells the truth, he will put himself in a position that can only lead to denunciation and betrayal.
01:16:21Should he refuse to testify, his career in Hollywood will be over and he may face a prison term.
01:16:32The House Un-American Activities Committee hearings are America's purged trials.
01:16:38Show trials.
01:16:45The committee knows all the answers.
01:16:48It merely wants to hear them in public.
01:16:52This domestic offshoot of the Cold War spares no one, certainly not an ex-communist,
01:16:59no one who can be suspected in the slightest of un-American ideas or behavior.
01:17:05What that is, is decided by a handful of reactionary, power-hungry politicians like McCarthy and Nixon
01:17:14and their accomplices such as Ronald Reagan, chairman of the Screen Actors Guild.
01:17:23The committee knows all the names the law will force Hayden to name after admitting his past.
01:17:29It merely wants to hear them in public.
01:17:33The committee wants public repentance and self-degradation.
01:17:37It wants to set an example.
01:17:44Hayden in Wanderer.
01:17:57Not often does a man find himself eulogized for having behaved in a manner that he himself despises.
01:18:10Many of the people who were rats before the committee,
01:18:14never actually said the way I've said,
01:18:18I'm saying now, with you,
01:18:21or I said in Wanderer,
01:18:27I was a shit.
01:18:31An absolute goddamn shit.
01:18:33Hmm?
01:18:42But, I would say one thing, if I might.
01:18:50If,
01:18:53you, you, you, you,
01:18:59if we hurt anybody,
01:19:02we must live with that.
01:19:07I can talk and talk and talk and talk, okay,
01:19:12but if I hurt a man named Warwick Tompkins,
01:19:15and I did,
01:19:19I must live with this.
01:19:22All my life.
01:19:24And when the son says to me,
01:19:27well, thank you, or whatever, after the Cuban blockade thing,
01:19:31sure, that's a beautiful moment,
01:19:33but the fact remains that one day,
01:19:36I sat there in Washington,
01:19:39and I spilled his name,
01:19:41and they fired him the next morning.
01:19:43Huh?
01:19:45In Los Angeles, they fired him,
01:19:47and he was making a picture about ants,
01:19:51and they fired him.
01:19:53And,
01:19:57my communist dream,
01:20:00after World War II,
01:20:02my communist dream,
01:20:04which I tried to write about in Voyage,
01:20:06was,
01:20:09it is necessary,
01:20:11it is necessary for,
01:20:15for a force to overcome capitalism.
01:20:19Because I know capitalism is,
01:20:24shit,
01:20:26in a way.
01:20:28Is it not?
01:20:30Huh?
01:20:33Okay.
01:20:35So, I used to think,
01:20:37okay,
01:20:39the Soviet Union,
01:20:41but now I realize,
01:20:43I'm crazy, I'm crazy.
01:20:45You see, I think the wonderful thing about Yugoslavia,
01:20:48was that Tito was sort of a mix.
01:20:50Huh?
01:20:52He was half west, half east.
01:20:54He was half capitalism,
01:20:56half communism, you know?
01:20:58And, of course,
01:21:01in the war, I,
01:21:12the first time I began to think,
01:21:14huh?
01:21:16That's redundant, excuse me.
01:21:17First time I began to think,
01:21:19for Christ's sake, baby,
01:21:21no wonder you can't write.
01:21:25First time I thought,
01:21:27huh?
01:21:33We come in from,
01:21:35we come in off the goddamn Grand Banks,
01:21:39and we sell fish for two cents a pound,
01:21:40and the same afternoon,
01:21:42my mother buys the fish for 11.
01:21:45I thought, now wait a minute,
01:21:47huh?
01:21:49Huh?
01:21:51Okay.
01:21:53Oh, yeah.
01:21:55Huh?
01:21:57I've been out there with my friend,
01:21:59Jack Hackett,
01:22:01in the snowstorm,
01:22:03hauling our goddamn ass off,
01:22:05and,
01:22:07you know,
01:22:08hauling our goddamn ass off,
01:22:10and we come in,
01:22:12and we bust our ass,
01:22:14and we get two cents,
01:22:16and they sell it for,
01:22:18something happens between
01:22:20the Boston Fish Pier,
01:22:22and where my mother lived,
01:22:24and she goes to 11 cents.
01:22:26No, no, no.
01:22:28No.
01:22:31And then in the war,
01:22:33I remember thinking,
01:22:35when I was in the Marines,
01:22:37thinking, okay,
01:22:39we're getting $42 a month,
01:22:41hmm?
01:22:43And all these bastards
01:22:45are getting,
01:22:47how many?
01:22:49$1,000 for making
01:22:51what we fight with?
01:22:53I'm thinking, man,
01:22:55you've got it all turned around.
01:22:57You should be getting
01:22:59the $42 a month,
01:23:01and we should be getting rich
01:23:03before we die.
01:23:04Huh?
01:23:06Huh?
01:23:08Before I jump into
01:23:10goddamn Yugoslavia,
01:23:12in the middle of the night,
01:23:14with about
01:23:1640 pounds of,
01:23:18not cameras,
01:23:20of,
01:23:22guns,
01:23:24getting $42,
01:23:26huh?
01:23:28And you fuckers are getting
01:23:30$100,000 a week.
01:23:31Huh?
01:23:40Hayden in Wanderer.
01:23:42I swung like a goon
01:23:44from roll to roll.
01:23:46All those films were made
01:23:48in an effort to cash in fast
01:23:50on my new status
01:23:52as a sanitary culture hero.
01:23:54Between 1951 and 58,
01:23:56Hayden makes as many
01:23:58as six movies a year.
01:23:59Dramatizations,
01:24:01gangster movies,
01:24:03war movies,
01:24:05melodramas,
01:24:07a gigantic orgy
01:24:09of self-punishment.
01:24:11At the same time,
01:24:13the long and carefully planned,
01:24:15cautiously guarded
01:24:17preparations for another,
01:24:19and this time final,
01:24:21escape.
01:24:23Despite everything,
01:24:25it comes spontaneously.
01:24:29For years,
01:24:31Hayden had tried to gain custody
01:24:33of his four children.
01:24:35Then, fed up,
01:24:37he simply puts out to sea with them.
01:24:48He returns from Tahiti
01:24:50a year later.
01:24:52He is determined to continue
01:24:54working on his book,
01:24:56moves to San Francisco,
01:24:57and meets Kitty.
01:25:00He doesn't make another movie
01:25:02for the next ten years,
01:25:08with only one exemplary exception,
01:25:18which characterizes a course
01:25:20that cannot be ended merely
01:25:22by his breaking with his past,
01:25:24not even by a book like
01:25:25Wanderer.
01:25:55Wanderer
01:25:57Wanderer
01:25:59Wanderer
01:26:01Wanderer
01:26:03Wanderer
01:26:05Wanderer
01:26:07Wanderer
01:26:09Wanderer
01:26:11Wanderer
01:26:13Wanderer
01:26:15Wanderer
01:26:17Wanderer
01:26:19Wanderer
01:26:21Wanderer
01:26:23Wanderer
01:26:25Wanderer
01:26:27Wanderer
01:26:29Wanderer
01:26:31Wanderer
01:26:33Wanderer
01:26:35Wanderer
01:26:37Wanderer
01:26:39Wanderer
01:26:41Wanderer
01:26:43Wanderer
01:26:45Wanderer
01:26:47Wanderer
01:26:49Wanderer
01:26:51Wanderer
01:26:53Wanderer
01:26:55Wanderer
01:26:57Wanderer
01:26:59Wanderer
01:27:01Wanderer
01:27:03Wanderer
01:27:05Wanderer
01:27:07Wanderer
01:27:09Wanderer
01:27:11Wanderer
01:27:13Wanderer
01:27:15Wanderer
01:27:17Wanderer
01:27:19Wanderer
01:27:21Wanderer
01:27:23Wanderer
01:27:25And it was Walt Whitman and he said
01:27:34He said
01:27:40I've got it. I've got it, but I'm I'm gearing up
01:27:45He said thou hast great allies, hmm
01:27:50thy allies are
01:27:53agonies and
01:27:55exaltations and
01:27:57man's unconquerable mind
01:27:59and
01:28:01They got on their goddamn feet the place went wild
01:28:25You're destroyed as you know, that's why we're here
01:28:42Absolutely sure surely surely surely surely took me right goddamn limb from limb
01:28:47Like I said to that son of a bitch from Wales up here the other night when I hit him. I told you
01:28:55I said I'll take you limb from goddamn limb. Hmm. So that experience before the committee
01:29:05And then you go back you go back and then they you know, somebody from Paramount calls me says hey
01:29:11Sterling we make a picture called Denver and Rio Grande
01:29:15Rio they say on the railroad Rio not Rio. Most people say Rio. It's not real. It's Rio
01:29:21on the railroad, Rio Grande
01:29:24Denver and Rio Grande for Christ's goddamn sake and I'm an absolute jackass. Hmm. I
01:29:31Don't even know what happened
01:29:36But I knew that I had sold out to the producers
01:29:43And now they're paying me off
01:29:47Like I said in wonder hey putty boy putty great word putty
01:29:54Okay, so I shoot
01:29:56Ronald Reagan sends me a telegram dear Sterling. I'm very proud of you. Hi
01:30:03Hi
01:30:07Hey, that's Reagan you see that's Reagan that's what I said about his heart his heart is a it ain't here
01:30:11It ain't where it should be
01:30:14Okay
01:30:21No
01:30:23No, that's a hard trick to come out of
01:30:31That's funny, you know, it's like I said the other day I know I've come out of it in a way
01:30:41It's like when the young were Tompkins took my hand and said congratulations
01:30:49Hey, okay
01:30:52But of course not in a way not you you cannot erase, you know, if you if you if you if you behave badly
01:31:02Let's say it's like rape. Hmm. Hmm. Huh? This is not rape of a girl, but this is rape of your friends
01:31:12You cannot erase rape
01:31:18Except that we're human
01:31:21I don't know except that I know I have a lot of credit. I
01:31:27Know that when many of the people that I knew in the Communist Party were
01:31:33Working in Hollywood I
01:31:37Wasn't in Hollywood as you know, hmm, you know where I was right down there or something, right?
01:31:44Over the hills and far away, right?
01:31:51Yeah, rape in a way rape, yeah
01:31:58Ah, wait a minute, it's different as a rape of integrity
01:32:03That's what I did rape of integrity I
01:32:11Think rape of a girl a rape of a girl back. Yeah, that would be wonderful to be raped by a girl
01:32:16I
01:32:20Wouldn't that be wonderful, huh? Can you imagine?
01:32:24Can you imagine being chased down the cave to town y'all by a girl who wants to fuck
01:32:31Baby
01:32:34So beautiful
01:32:40Rape now there's different isn't a man strong physically strong
01:32:45Right
01:32:47The man can overwhelm
01:32:49the girl
01:32:51The girl I don't think as a rule, but one can overwhelm the man though. I've seen one or two. Oh
01:33:01Yeah, I've seen one or two
01:33:14I
01:33:41Yeah
01:33:44You
01:33:51But you see the wonderful thing was I guess
01:34:01The John Huston takes me huh, surely hmm and makes me dicks
01:34:14I
01:34:16John and and 60 men
01:34:2160 men and 10 or 15 girls
01:34:25All going together like we're going together now and away
01:34:35But for me, I'm still surely
01:34:39God damn, you know, I did a picture. I
01:34:42I did a picture. I was playing a gunfighter
01:34:51Again surely hidden slowest draw west of the road. I'm playing a gunfighter
01:35:01I have to come out of a saloon
01:35:03with the swinging doors and
01:35:06Jump on a horse him
01:35:09Right over the ass, huh?
01:35:11and I'm oh, I
01:35:14Am I I'm I am I'm a general in the army, huh? Hey, why do you laugh?
01:35:24I'm a general, huh?
01:35:26now
01:35:28General should be able to get aboard a horse
01:35:31now I
01:35:33This is true. I
01:35:36rehearsed her
01:35:37in North Hollywood
01:35:40For two weeks, you know how to jump over the ass end of a horse
01:35:46And I was very good in rehearsal
01:35:50but I
01:35:53Overlooked overlook one thing
01:35:58When you jump on the horse you got to put your feet in the stirrups
01:36:03What we call it, you know, you know what? I mean those those folks
01:36:06Now I come out of the saloon
01:36:09Me general what the hell my name was him. Oh, yeah, baby
01:36:15Here we have cavalry all the way from here to to to Nevada
01:36:20And I take the big jump from the big hero. I hit the saddle very beautifully
01:36:28But I
01:36:32Make one mistake, huh? I don't get the feet in the stirrups, huh?
01:36:38And the horse taste so I go right back over his ass, you know in front of the saloon
01:36:46Very embarrassing
01:37:07You
01:37:19Here am I, huh?
01:37:22There's the there's the camera, huh? Here is Peter Sellers, hmm
01:37:28Here is Stanley Kubrick. Hmm
01:37:31and all I have to do is very simple a
01:37:35A few pages
01:37:42But the way it was I could not again like fucking you can't get the hard-on
01:37:50What do you do, huh?
01:37:53Unlike the girl we can't pretend camera. I
01:37:58Died, hmm
01:38:00And he begins to do
01:38:04What you call pickups in
01:38:08One sentence at a time, huh?
01:38:11Maybe maybe maybe maybe ten words. Mr. Hayden
01:38:17You dumbass
01:38:19general Jack Ripper
01:38:21Which was very strange, you know
01:38:23Because I knew I was playing the part of a man who was starting the Third World War. Hey
01:38:28And here I am impotent
01:38:32Creatively impotent, huh?
01:38:35You
01:38:40And I was working with a goddamn cigar, you know a
01:38:44Lot of cigars, you know, I don't like cigars
01:38:49And they kept coming apart, you know in my mouth
01:38:52Now I think I got enough trouble. I got enough trouble let alone with a goddamn cigar
01:38:59And
01:39:02We went 48 takes
01:39:07And that's a lot of takes
01:39:10and the crew I
01:39:13Didn't say this the other day the crew at this time the crew
01:39:19Has turned around because they're embarrassed for me
01:39:24They know I'm dying. Hey
01:39:27And so they look the other way
01:39:32And
01:39:34Every time Kubrick said go I would try and then I would go
01:40:02It's
01:40:07Funny, you know because I'm I
01:40:11Often find myself playing characters
01:40:16Who were so alien
01:40:23So totally simply alien to me as a man
01:40:29And I think why?
01:40:32Why?
01:40:33Why?
01:40:40We had always identified Sterling Hayden with his role in Johnny Guitar as
01:40:46The gunfighter who was tired of fighting who sticks his guns in his saddlebags and roams the West with a guitar a
01:40:56man looking for a place to settle down a
01:41:02Near the woman whose love he hopes to win back
01:41:08Only to end up in the deadly insanity and chaos of emotions brought about by the rise of a new era
01:41:32And
01:41:33Then there was asphalt jungle
01:41:36He played the horse lover Dix Handley tough and gentle who?
01:41:42uprooted in the big city
01:41:44Longs to return to the bluegrass of Kentucky
01:41:55Who was hunted down by the authorities and arrives there dead
01:42:01The horses sniff at his lifeless body
01:42:10We had always considered the content of these two films a part of his own biography
01:42:20However, it is hard to talk to him about his films
01:42:23Not that he doesn't have much to say
01:42:26He just prefers telling yarns and witty antidotes about them
01:42:30He can't take the film industry or his role in it. Very seriously
01:42:40Of the 60 or more films he has been in over the years Hayden feels only three were worth his while and
01:42:48Johnny Guitar is not one of them
01:42:52He gave us the feeling that he had nothing but contempt for all of the films he made in the 50s that is
01:42:59Most of the films he ever made
01:43:02That he despised himself for making them and that he made them with contempt
01:43:07That it regards them all without distinction as a reward for his patriotic act
01:43:14Shirley Temple Hayden
01:43:17America's little darling who didn't know his ass from his elbow
01:43:29He admitted that in
01:43:321940 in his first two movies he had been nothing but a male starlet a boy who photographed well
01:43:48He first felt he had come close to being an actor in
01:43:521949 in Asphalt Jungle and
01:43:54It was then that he saw the beginning of an existence in Hollywood that would be more than just parasitic
01:44:03But a different kind of performance was demanded of him
01:44:14He claims he wasn't anywhere near that good again until ten years later in Kubrick's Doctor Strangelove
01:44:21Ironically enough in the role of an hysterical anti-communist general Jack D Ripper who triggers the nuclear war
01:44:34For more than ten years now Hayden has been acting in films again in large supporting roles and small starring ones and
01:44:43At least since Robert Altman's The Long Goodbye
01:44:46With a new attitude towards acting it has become a job work
01:44:51he doesn't want too often a profession he no longer wants to hate and
01:44:55Something that gives him the financial independence to concentrate on his real work
01:45:02My position is the same thing again, I'm doing with you. I don't know exactly what you're doing
01:45:11Maybe you don't
01:45:14But I have it down in here I have an instinct a
01:45:18strong god damn instinct that says to me sometimes
01:45:22Go man go. So I'm going with you as we know we're going our way
01:45:26So I went with all I went with Houston. I went with Hubert
01:45:31You know what I mean, um, not knowing not knowing huh not knowing
01:45:39I didn't know on asphalt jungle. What the fuck I was doing
01:45:44For me to play a hoodlum, huh?
01:45:49It's a long way from where I've been
01:45:53And yet
01:45:55And yet
01:45:59And yet may I say I
01:46:03Been down those streets. Hmm
01:46:05Yeah
01:46:07I've been down Boston the middle of winter. You probably without a goddamn fucking dime
01:46:12Huh, not a dime can't even take a shit
01:46:17Huh?
01:46:19What do you do?
01:46:21Snowing
01:46:25You think my god why
01:46:30And all I'm asking is is you get a job, huh get a job on a ship
01:46:35So this guy this guy this man this character Dix handling
01:46:42Asphalt jungle
01:46:44What's he doing, huh? He's trying to make a heist
01:46:50Hey, and they need it because he's rough, huh, and I know I'm rough excuse me if I have to be
01:46:58And they hire me because I'm rough. Hmm. I think okay if I'm here, hey, I'll go along with you. Sure. I'll go
01:47:06Yeah
01:47:09Yeah, Whitmore Marilyn Monroe Sam Jaffe Louie Calhoun, I mean
01:47:16Should we talk about a cast?
01:47:19For a moment. Should we talk about a cast? Isn't that beautiful?
01:47:23Calhoun
01:47:24Monroe
01:47:27Excuse me Whitmore
01:47:32Jeffy
01:47:36Surely
01:47:49The basic problem is
01:47:57As do you have the capacity to fight huh, right
01:48:06You know, I read about J. Hmm. Hey our friend
01:48:14J. Hmm
01:48:21I read about luck
01:48:27I think in a way. Yeah, I'd like to do that, but I cannot I'm not I'm not that strong
01:48:34It's that simple
01:48:37I
01:48:39Don't have the strength to be Fidel or Che or like
01:48:47Or all the people around the world tonight who were fighting whose names we don't know no
01:48:58What I want to do is crash right here in this beautiful place
01:49:02Put them up but I she's put a music
01:49:09Or go to the hotel or meet my wife and the Plaza Hotel
01:49:16As I said perhaps the most beautiful hotel and certainly in the United States
01:49:26And have a good time
01:49:28And have a good time
01:49:32So I do
01:49:35But as you're
01:49:38With your beautiful question as you said to me
01:49:40There's a part of me that thinks no, I
01:49:44Shouldn't be uh, I shouldn't be here. I
01:49:49Shouldn't be in the plot
01:49:49I should be up there on the goddamn mountains where Che was or where Fidel was there were
01:49:54Lekas, you know where you know where people are all over the world, huh?
01:49:59But I ain't going
01:50:04Ain't no hot baths
01:50:17No
01:50:29Jesus Christ water
01:50:35Water
01:50:59Oh, that's why right
01:51:24Hayden stopped drinking from one day to the next
01:51:28He became more formal and laconic
01:52:28And
01:52:35What I really see of course is
01:52:50The the heart of myself, you know
01:52:53Some days like, you know last few days when I'm drinking hard
01:52:56I look in that mirror up there. I think holy shit
01:53:02In one sense, huh
01:53:05But in another sense, I think yeah, you're all fart. That's you
01:53:12Go ahead. Let her rip. Huh? Let her rip
01:53:26I
01:53:28Never feel
01:53:32May I say
01:53:34diminished
01:53:36I
01:53:38Just think like like if I look in the mirror now, huh? I
01:53:43Think hey, baby
01:53:45Slow down. Stop. Stop. Stop the booze. Sure on the other hand as we've said to each other
01:53:53I
01:53:55Think well
01:54:01Again it's like the third rail. Huh? If you're going baby go go go go. Huh? Hey
01:54:10Let her rip Henry Miller's word let her rip
01:54:20I love that expression. Let her rip
01:54:24I'm great. Isn't it? Let her rip. Hmm. No. Yeah
01:54:33Let her rip
01:54:54Hayden politely let us know it was time for him to be alone again
01:55:03Several weeks later. We received a telegram from the States informing us that he was acting in a new film
01:55:10In another telegram as long as a letter half a year later
01:55:14He let us know he had been in a hospital for alcohol
01:55:17That he hasn't touched a drop in months that he is working on his book like crazy and feels wonderful and
01:55:25He asked if we wanted to continue shooting
01:55:28wherever
01:55:30The last part made us especially happy
01:55:33But that would be another film
01:55:47You
01:56:17You
01:56:21You're turning
01:56:25Stevenson
01:56:27He's buried in British Samoa, hmm
01:56:31up in the hill
01:56:34And you go up to his to his grave to his tomb
01:56:38And you read
01:56:48That's a long
01:56:53Knee the wide and starry sky
01:56:58Dig the grave and let me lie
01:57:03Glad that I live
01:57:07Gladly die
01:57:10And I lay me down with a will
01:57:13Home is the sailor home from the sea and the hunter home from the hill
01:57:32Damn damn damn damn
01:57:36Yeah
01:57:39Yeah
01:57:50Well sure hey
01:57:56Yeah, look at the light on the water the way it's the river is a popping
01:58:04Yeah
01:58:08Yeah home was a sailor home from the sea and a hunter home from the hill
01:58:14I
01:58:33Raised a salute to you to you to all of you a toast to you an empty toast
01:58:44You