So Russell, you've got a
fantastic history with Universal. Could you just tell us a
little bit about your involvement with the Studio and the
RUSSELL CROWE: Well, you know, when you go to the cinema, and
those credits come up at the beginning of the movie, the
Universal logo is essentially one of the recognized brands, one
of the stamps of what actually differentiates what, you know,
average moviemaking may be, and a real experience in the cinema,
you know. There's only a few of those iconic stamps that you
know, people have been seeing in the whole history
RUSSELL CROWE: of motion pictures, and the Universal brand is
one of them. And I remember being pretty excited when I first
was going to work with Universal, you know, and as it's turned
out, we have quite a collection of nice movies that we’ve made
together. And you know, personnel comes in and goes, and stuff,
but there's a constant at Universal, and that is a love of
filmmakers and filmmaking. And you know a combination of
personalities which are, you know, even from a management
perspective or artist base, it's always been a comfortable place
for me to make a movie.
And it's a way of working that has worked for a very long
RUSSELL CROWE: A long time, yeah.
The studio stretches back almost to the origins of cinema
RUSSELL CROWE: Absolutely. Absolutely.
Tell us a little bit about Gladiator. [Technical talk]
I was asking about Gladiator. Tell us how you first got involved
with that. How did you become a part of the Gladiator?
RUSSELL CROWE: Well, I got a phone call saying that, it was just
very simple, it was “we just want to test the water here. See if
you're interested. It's 184 AD. You start off as a Roman
general, and the director is Ridley Scott.” Now, my normal thing
is well, just send the script over. And they were like “whoa,
whoa, whoa, whoa, we'll see. [Laughs] We don't really want to
show you that document just yet. We just want to know your
response to this, you know. It's 184 A.D., you start off as a
Roman general. You're being directed by Ridley Scott. Would you
like a conversation?” [Laughs]
RUSSELL CROWE: I was like, “yeah, okay, cool.” So I went and met
Ridley, and we had a great chat. We talked for about three
hours, and it was funny actually because when I met him, I was
about 250 pounds and bald. I had just come off the set of The
Insider. And I was bald on The Insider because I couldn't get my
hair to go the same way that Jeffrey Wigand’s hair was, so I
shaved it all off, and just wore a wig.
RUSSELL CROWE: But, so you must have [laughs] seen me coming
into the room and going, [talks out of the side of his mouth],
[mumbles] “You gotta be kidding me.” [Laughs] Anyway, we had a
nice chat. And he showed me a bunch of images, and just some
things he had in mind, and it was really, very exciting. I don't
think I actually has been in a situation prior to that, where
here was a filmmaker, he was going to make a film, he had about
a half a dozen images, and the cigar in his mouth and going,
[does impression, mimes smoking cigar] “It's going to be like
that.” [Laughs] It's like, “right, ok.” You know, usually it
begins with a script, but that one didn't. And I look back on
making that movie
RUSSELL CROWE: and, quite
frankly Ridley and I had a number of drinks together over the
years and going [laughs] “how did that one work again? What was
the formula of that?” Because it really was by the seat of our
pants. He had to, you know for that particular period of time, a
pretty big budget, $103 million, and all of the mathematical
problems of that to solve, you know, that being how do you bring
Rome to life? How do you bring that time period to life?
RUSSELL CROWE: And they had that small thing of, of having about
21 pages of what you know your average consideration would be
about 120 if you are going to make a feature film, but we had
about 21 pages of script that we could begin with. And, but we
had a great group of minds on that. We had Walter Parkes, we had
David Franzoni, we had Doug Wick, we had John Logan, we had Bill
Nicholson, so we had a bunch of people working on what the other
pages may be. [Laughs] And we just started, you know, and we
shot out that first 21 pages in a couple of weeks, and then we
got to Morocco with 400 crew or something like that, and met on
RUSSELL CROWE: and worked out what Monday was gonna be. And it
was like that the whole shoot, you know. And, it is really, it's
one of my aims in life is to make a movie with Ridley Scott with
an actual script. Because I believe he would be a powerful
filmmaker, beyond anything he's ever achieved, if he would
actually just acquiesce to begin with a script that he is
comfortable in shooting, and then, because a lot of stuff
[laughs] would get sorted out, like you know, way ahead of time.
But I've made five movies with him.
RUSSELL CROWE: And I think the most we've ever had ready to go
is about 60 pages. So that's like half a film, you know. Just
imagine. Imagine what it could be with an actual script, but
then again, you know, so much stuff just comes up in the moment,
and that's what's the real fun thing about working with Ridley
is because he gets himself completely organized, he gets really
focused on what he's doing, and you're in the middle of
something, and something becomes apparent, and he knows that's
exactly what he's been searching for and he just grabs it. You
know, so that's a fun thing with working with Rid, but you know,
I got involved based on that three prong statement, you know.
It's 184 A.D., you start off as a Roman general [laughs] and you
are going to be directed by Ridley Scott.
Not a bad start even if you haven't got a script. [Laughs]
RUSSELL CROWE: Yeah, well, we got away with it. That's the
thing, you know, that's why we occasionally sit together and
raise a glass and go “well, [laughs] dodged a bullet with that
And with already a history with Ridley, as well as all the
experiences you've had with all these great directors over the
years, have you sort of refined in your mind what it is about
Ridley, just the way he works, that does work so well? That
doesn't mean that he can take the helm of these massive
RUSSELL CROWE: yeah, well, when it comes to Ridley, I mean,
you can't go past the fact that I think, I think he made 2000
commercials before he made the [sounds like Jewelist]. So
whatever it is that he might have had to learn then about
narrative, and actors, and all these other things that go along
with the full, you know, the actual filmmaking aspect of it you
know, and in those 2000 commercials for their time
RUSSELL CROWE: many of them were cutting-edge, groundbreaking,
you know, and were at, you know, were things that then Cinema
filmmakers borrowed from, you know, so he was already in that
position. He's, he's, look he is a brilliant artist. You know,
he has a great little trick that I love watching him do, when an
actor is not getting [laughs] what he wants them to do, he then
will draw where the actor is in the frame so [laughs] you know,
that particular actor might get something out of the fact that
he sees what Ridley is seeing, you know.
RUSSELL CROWE: But Ridley will be talking to the actor like
this, and drawing it for him so the actor’s looking at it in the
right perspective, so he's in fact, drawing it upside down.
[Laughs] I mean, when you talk about filmmakers, the individual
stuff that they have onboard, what they bring to the job, you
know, so he brings all of that experience, and a personal
resilience. I mean he's, he's a tough man, you know. He's, and
he has learned over time to not get frivolous, you know, not get
too excited. Just to know if something is working, he knows,
right. Because he's got another however many hundreds of shots
to set up and everything, and one shot doesn't make the movie,
you know, so you know, but he's also
RUSSELL CROWE: he is always available, you know. He's available
to have a talk, you know. Sometimes he doesn't necessarily want
to get involved in a confrontation, you know. He doesn't really
want to talk about something that you may disagree about
[laughs] you know, but he is really always available, and, and
he, you know, he just has that instinct. He knows if somebody is
coming, saying you know what, this thing is tickling in the back
of my mind. He's hired the person to do that job, to examine
that particular part what he's doing, so he wants to listen, he
wants to get the solution.
RUSSELL CROWE: He said to me once, “Never give me a good idea in
post production. Because I will hate you. I will just absolutely
hate you. If something is on your mind, if it's bugging you, if
it's there, just tell me, right. If it's a good idea, I'll steal
it, and it's going to be in my movie, and nobody will ever give
you credit, simple as that.” [Laughs] Or something like that.
[Laughs] I probably put a twist on it, but yeah,
RUSSELL CROWE: I mean, he's, you know who, what he brings as an
individual is, is unique and you know, I like the way that he,
he cares about how much things cost. You know and, he cares
about how much things cost and that is, it just suits my
personality that he should do that. You know, I like the fact
that he's responsible that way. You know, I like the fact that
he knows exactly how many severed heads he has in the art
Department, so he can only, you know, decapitate like nine
RUSSELL CROWE: and that's going to be it, and he's just going to
have to deal with it. [Laughs] you know, but I like that. That
he doesn't have you know, 30 heads that he never gets to use. He
uses what he plans for, and the fact that he, the reason that he
can be involved in these big movies without necessarily having a
scene by scene document in front of him, you know, is because he
is so finally organized, befor he even begins, you know. And you
know, the severed heads is just one.
RUSSELL CROWE: example of, you
know because it also goes down to on something like Robin Hood,
it's like, how many bows you need constructed? How many arrows
do you need made? You know, what's the likelihood you know, how
many archers will you have? How many takes will it be where you
are just shooting arrows off into the ocean, which won't be
recovered? You know, and he's gone through that. And he has the
mathematics, and you know, somebody might say it's 10,000, but
you know, he'll look at it and say you know what, I will get
this done as long as all the archers are tuned, and ready to go,
and know what they're doing.
RUSSELL CROWE: You know, I'll get this done with 5 1/2 thousand.
You know [laughs] And if you do that line by line through
everything, you know, you can create room for yourself as a
filmmaker when you know, something else comes up, and you want
to expand on something from the page, you know. So it's, it's
always an adventure with him, but it's always by the seat of
your pants. You know, and, you know [laughs] I suppose, I
suppose I would really miss that if we did have a script.
However, I’d just like to experiment just once. Just once.
From your mouth to his ears. Let's hope next time. How did
Gladiator change your life? Your star was very much already on
RUSSELL CROWE: Yeah, it did, it did change because you know,
sometimes those sort of movies come along where it is, and it's
not necessarily the first weekend of box office, you know,
though that was very healthy for Gladiator. It, there's
something happens, a film just connects with people, there's a
sort of, you know, they call it the Zeitgeist right. You know,
and that's one of those movies where it just you know, it was
bigger a month after it came out than it was on the day it came
out. And it was bigger than that two months later, and a year
later, it was bigger than the day it came out, and it carried on
for quite awhile.
RUSSELL CROWE: And what are we, 12 years, 13 years since we shot
it right? Still plays on prime time TV, you know, around the
world. It’s still like the feature movie of the week, you know,
so not a lot of movies have that sort of legs. You know, and so
I'm really lucky to be involved in it from that perspective but
it did change my life, you know. After LA Confidential it was
kind of easy to be famous, because you could just, you know, you
could get into whatever show you wanted to go to or get a table
at a restaurant, you know, if that happened to be this thing or
whatever, you know. That was easy. But after Gladiator it
changed. It became a different thing, you know. It, you go
across this line where
RUSSELL CROWE: your life, your any aspect of privacy or whatever
is just taken away from you. So there was a couple of years of
dealing with that. But you know, I don't think, I don't think I
would give up all of the positive things from doing that movie,
just because I had to deal with that. So you know…
And the Academy award must've been a nice sort of
confirmation that you were all working towards something that
RUSSELL CROWE: Yeah, you know, and I wish in a large way, I
could share that with Ridley because really I mean, [laughs] if
the director doesn't get an Academy award, how can it be best
film? I don't, I don't understand, what happened? It was just
[gestures with hands] [laughs] you know, film is the director's
medium, and if you know, anyway, but um yeah, that was a pretty
cool moment. You know, Jodi Foster actually called me afterward
and after I made my speech, and I remembered everybody's name
and all that sort of stuff, and I didn't collapse like so many
do, and she said that's probably you know, when you look back on
it, 50 years from now or whatever, you're gonna realize that
that was actually a perfect moment, and it just played out for
RUSSELL CROWE: And it's funny because couple of years later, or
a year or so later, Nicole Kidman, she was up for the Academy
award, you know, and she called me and she said so look, you
know, people are saying it might happen. I mean, what should I
expect? And I said “the moment they say your name, your seat
will actually fall from underneath you. The adrenaline rush that
hits you, even if you're not conscious of the number, somewhere
in the back of your mind, there's 2 billion people watching you
right now, you know. And there's also a whole history of your
life, if you’re a
RUSSELL CROWE: performer like myself or Nicole or many other
actors where you've tuned into this thing, you know. You know
what it's about. It's about excellence and blah blah blah, or
that's perception you know. And, so I said to her, “look, the
first thing that's going to happen is you're going to get this
shot of adrenaline, seats going to drop away, but the thing you
just gotta keep in mind” you know because I said to her, “you
will win. The thing you got to keep in mind is that there's all
these people watching. There's all these young girls who are
like you were 10, 20 years ago, right. Show them your strength.
Show them actually who you are, right. And just give them
something, you know. A little drop. A little inspiration.
RUSSELL CROWE: Just say look, you know, I know what you're
thinking, you know, and I was you. I thought that too. I thought
this is impossible, you know. Whatever you do, don't cry. Just
be clean, pure, say your message, tell everybody you love them,
you know.” So she gets up on stage [cries very loud] [laughs].
And then she says, “Russell Crowe told me not to cry.” I was
like, “what? What are you dubbing me in for?” [Laughs] yeah, no,
it's an amazing thing.
RUSSELL CROWE: It's a very special thing, when you’ve, you’re
growing up in life in, in acting at least, if not movies, you
know, I started when I was six in 1970 so something like the
Academy Awards, as I think I said on the night, you know, it's,
it was a ludicrous thought that it would ever include me, you
know, to be on that list of 76 blokes that have won that award,
Amazing. Because, you know, you looked very cool, and to hear
you were going through all of that. [Laughs]
RUSSELL CROWE: It's a funny thing, you know, I actually, it
comes up every now and then because people bring it up, and see
there was a little thing that was happening, there was a side
plot, there was a subplot to that evening, you know. At the
BAFTA awards, I had gone up to the actor called Jamie Bell, who
was nominated for Billy Elliot. I had gone up to him you know,
put my arm around him, little fella, he was only 16 at the time.
Then I said, “listen, when you win tonight, don't forget to
RUSSELL CROWE: [laughs] So he won that night, and he gets up on
stage and he goes, “Um, well, look, Russell Crowe told me I had
to mention him so I'll just get that off.” [Laughs] It was
really cute, and adorable actually, you know. And I hadn't seen
him for a while because you know, you go around and do these
things, and he was actually at the Academy Awards. And he came
up to me on the red carpet, he wasn't nominated, he came up to
me on the red carpet
RUSSELL CROWE: and he put his arm around me and he said, “when
you win, don't forget to mention me.” You know it was like,
right on mate. Okay. So you know, I'm going through that thing,
the adrenaline and all that sort of stuff and [breathes quickly]
but in the middle of that while I'm talking, you know, if I
watched that footage, I can see myself thinking, how do I get
Jamie into this speech? [Laughs] And then I started going
through that thing of like you know talking about when I was a
kid or whatever you know, people grow up in the suburbs of
Sydney or Auckland or Newcastle like Ridley Scott or Jamie Bell.
RUSSELL CROWE: The opportunity just came out so no matter what
the adrenaline was, I'm still on. I'm still doing the gig, you
know, I mean. I'm still sort of, you know, so it's a, it's a
funny odd moment, but you know you see, you take a guy like
Christian Bale, you know. Very cool, calm, collected, together
character, he gets up, you know, forgets his wife's name during
the course of his speech [laughs]. It is an adrenalized moment.
It really is. It's just, it's a heavy wave to deal with. But a
very enjoyable one I must say.
No preparing for that. I imagine. No preparing for it. Let me
ask you about A Beautiful Mind. How did that happen for you?
RUSSELL CROWE: I got a call from Jeffrey Katzenberg about, about
that actually, you know. And he was really super keen on it. And
I was in Austin, Texas. I was recording an album with my band,
and I had no desire to be reading any scripts or whatever but he
was very, very, it wasn't, you know, there wasn't any… BS about
what he was saying. He was just very clear about it. “I really
think you should read it.” You know, that night or the next
night or whatever I sat on the back porch
RUSSELL CROWE: of the house in Austin, and I read it, and it was
an amazing experience to read, you know. Probably, you know,
I've had, you know, I've been really lucky man, I've read a lot
of great scripts, but that is probably the best one to read, you
know. Because the thing that happens in the movie, happens in
the script, you know, you're just reading it, reading it,
reading it and then [snaps fingers] bang, and it clicks that
everything you read up until now
RUSSELL CROWE: is actually in the imagination of a single
character, and that everybody else's responses to his
imagination are vastly different, you know, in truth. And that
was a great, great cinematic trick, you know, but it was there
on the page, and you know I remember like after about 20 pages
looking back at the title page Akiva Goldsman, right. I just
knew that Akiva Goldsman and I were going to be friends, you
know what I mean. Because this thing was just a little fucking
gem, you know.
RUSSELL CROWE: So I met Ron, and at first he was, I think he was
in the post production on something else, and he wasn't really,
didn't really have it in my, so two or three meetings we had
until I really saw the filmmaker, Ron Howard, come out, you
know. And that was very inspiring. And you know, it was a crazy
idea, you know. It was a crazy idea to play this guy and it took
a lot of effort, you know. And I say that, I don't say the word
effort in the terms of something negative, you know.
RUSSELL CROWE: It's just like, I really had to clear everything
else in my life in order to fit the amount of detail that I
needed to have in my imagination to drive that you know. It was,
and you know, some days were sort of raucous, and some days were
extremely delicate, you know. And they just all roll into one,
and it was a long time, you know, after that movie where, before
it went away, you know. It kind of, things when they're that
deeply embedded in you, you know, they do stay with you. And
it's not that she walk around being John Nash, and you go
looking for your glasses and your funny hat or anything, you
RUSSELL CROWE: It's not that. It's just you know, you've been to
a certain place, you know, you've been on a certain emotional
journey, and it takes a while for your own life to actually come
back into a focus, you know. And I've done two movies with Ron
Howard, and both times, it's the same experience you know. I
think he's pushed me individually as an actor more than any
other director, you know. Intellectually on Beautiful Mind and
physically on Cinderella Man, you know, so but isn't that funny,
because I really can't wait until I work with him again, you
know. [Laughs] Probably because of that.
I was just thinking, that must be the ultimate.
RUSSELL CROWE: But he's, he's a, as a filmmaker Ron combines all
whole bunch of things that are, you know, he's, he's a very
sensitive guy, right. But he, that sensitivity is married with
intellect and it's married with the technical understanding that
goes back you know, to making super 8 films, when he was seven
or eight years old, you know. And he was already a professional
in the business at that time, you know, a very experienced
professional actually by seven or eight, you know.
RUSSELL CROWE: So in that same way that I was talking about
Ridley, there's a whole bunch of things that come with Ron that
are not necessarily on the surface, you know, for people who are
outside of the job and see, but I know Ron as a really
organized, very straightforward, deep thinking, creative leader,
you know. That's who my Ron Howard is. It's not Opie, and it's
not Richie Cunningham, you know. He's a completely different
person than that rubbish, you know what I mean. He's, you know,
so that's why I like working with him. I know I'm really safe
with him, you know what I mean.
RUSSELL CROWE: You know, whatever extreme you are going to go to
you know, he's going to get it. He's going to get it all, you
know. He's going to get everything that he needs for, for the
movie, you know. [Laughs] Sometimes of course that means you end
up boxing for 12 hours a day, over however many days, over
however many months, you know what I mean, because he wants to
get the thing that he wants, you know. And he's greedy. He's
greedy as when it comes to making the movie. You know, set up,
set up, set up, shoot, shoot, shoot, day after day, you know.
But that's fantastic. You want, you need the guy running the
movie to be that, you know. To be greedy, to be you know
RUSSELL CROWE: of like, you know, wanting every single day to be
fuller, and more detailed, and complex than the day before. And
so you know, on Ron Howard's sets, great place to be. That
experience with Beautiful Mind was, you know, and to think, I
don't know how many awards it's won from the various medical
organizations around the world, but I think the last time
somebody told me it was over 20. I think it's, probably flown
past that. Because that interpretation, that visual
interpretation of what is really an, an, an oral disease you
RUSSELL CROWE: everybody gets it. The people that have lived
with relatives who don't know what the hell is going on, they
have just heard this word, and that was apparently applying to
their, their, you know, brother, sister, father, mother, cousin,
whatever it is you know. And that movie puts it in a
perspective, so they understand it a little clearer. It's like,
okay, so you know, it's just, it has its magic in that way, you
know. So it's a great story. It's a wonderful movie. It has that
cinematic rug pulling that happens, but on top of it, it has
this other resonance that it really has been helpful to a lot of
And again one of these films, that you've been in that has
this longevity as you say. Whether it's LA Confidential,
Gladiator or Beautiful Mind, you know, these are films that
persists, live on in our imagination, and looking back at our
list that Universal sent us of these films that the studio has
produced, there seems to be an ordinate number of films that I
will sit down and watch tonight.
RUSSELL CROWE: Well, I think that, that resonance with Universal
movies is a direct result of their focus on the artist, and the
art of making films, you know. I mean, everybody is under
immense pressure these days particularly that the economics of
film, you know, takes a certain position. But still, I think
that has been the persistent, singular, core value for
Universal, you know. Work with great filmmakers, make great
films, the economy of scale [laughs] and balance will look after
themselves, you know. And you go back and you see
RUSSELL CROWE: the type of film, I mean, like you know Spielberg
makes his first movies at Universal, you know. Jaws, I mean, who
is the executive that says “yeah. We’ll spend that money on a
plastic fish. Go ahead Steven.” [Laughs] I mean who is that
genius. [Laughs] I bet he's having a good time at the moment,
you know. I mean, that's just one example of hundreds and
hundreds of movies they've done. And, but that artist focus
means that you have the spectrum, you know. You have everything
from you know, one man talking in a room to 10,000 people, you
know, on a battlefield or 50,000 people in a Coliseum, you know.
RUSSELL CROWE: And you know I think, it must be, it just must be
in the Universal book of rules or something, page 1, must be, is
it a good story? [Laughs] Make that movie, you know. And that's
a pretty good rule.
Is there a film that sticks out in your mind as something
that is very close to your heart?
RUSSELL CROWE: Well, last time I did this, I ended up doing
about 25 minutes of standup comedy on the fact, can you give me
that list? Because it's just ridiculous, isn't it? I mean, the
movies that they have done.
I mean this is it.
RUSSELL CROWE: Hold on. I have to get my goggles on. [Puts on
glasses] This has changed since Rome. [Looks at movie list]
RUSSELL CROWE: [looking at movie list] I’ll just mention the
ones that pop out. So All Quiet on the Western Front, well, 8
mile, there's a funny combo straight away. American Graffiti
since we are talking about Ron Howard. Apollo 13, and you got
the Back to the Future movies, the think that's what, my son
just watched those. Watched all three in a day. We were up on
the farm on a rainy day and he asked me about it, so I put the
first one on, and that's his new obsession.
What an amazing way to see them for the first time as well.
RUSSELL CROWE: One, two, three. Yeah, yeah, he was, you know,
he's one of those kids that’s like the Star Wars geek or the
Harry Potter geek, you know, he's got all the info so, for him
it was like, “yeah. Three movies worth of detail all in one
whack.” He was loving it.
It's a cool thing to do with your kids isn't it? Is to
remember, “oh God, they should see that.” And sit them down, and
you end up watching them, not watching the thing. I do that with
my son, just watching him watching the film.
RUSSELL CROWE: Well, even though it was quite a bit earlier I
did that with my oldest son with the Princess Bride. Read him
the book, and then watched the movie together, and just watched
him, you know become enthralled. The exact same thing that was
happening with the book, where like the kid was like, yeah don't
care, you know, then it grabs him and he's like, “don't go,
don't go, read more.” You know, that's exactly what happened
with my son. And then when he watched the movie [laughs] and he
saw Mandy Patinkin and Andre the Giant, and these things just
come alive in his mind, I absolutely flipped out. I lost the
list, here we go.
RUSSELL CROWE: So we got, what do we got? Billy Elliot, the Big
Lebowski, The Birds, Blues Brothers, Born on the Fourth of July
[laughter in background] [overlapping] Tom's, Tom's seminal
performance. No yeah, it is crazy though. That's what happened
last time, I started going through, I mean, things like Bridget
Jones Diary, I mean these are seminal performances from certain
actors in the prime of their lives, you know. Brokeback Mountain
with Heath, you know. Casino with Sharon.
These films that really sum up what an actor has done in
RUSSELL CROWE: I think last time I was talking about this sort
of started talking about The Sting, you know. It's a great film.
But like, the, the funniest thing with this list I suppose is
the reality break of how many of these movies I have seen, you
know. It's like the list of the ones I haven't would be
significantly shorter. I mean, Monty Pythons Meaning of Life
[laughs] I mean, come on, you know. That's kind of like…
I watched that with my son about a year or two ago.
RUSSELL CROWE: Oh, you did? How old is he?
He's 13. Just forget how out there some of it is. It's way
RUSSELL CROWE: [laughs] That's the, you know the, [does
impression] “Get that one for me. Would you [sounds like Deardre]?
[Laughs] Terrible. Animal House, you got Belushi but also Blues
Brothers. Who was the executive that was in charge then when
making movies with John Belushi?
RUSSELL CROWE: [overlapping] That would have been a high
Crazy stuff. He's probably sitting in a nice big office now.
RUSSELL CROWE: Scarface. They're going to redo that, aren't
RUSSELL CROWE: Yeah. That's what I heard.
RUSSELL CROWE: That's a hard job. That one.
Jesus. Yeah. [Laughs]
RUSSELL CROWE: I mean that, that thing, that movie is still
so visceral. It's just ridiculous, you know. That chainsaw
thing. Far out, man.
That again is a film that I would love to show bits of it…
RUSSELL CROWE: Sophie's Choice…
I could probably only show about 4 minutes of it.
RUSSELL CROWE: [laughs] Yeah. So Sophie’s Choice, wow, Touch of
Evil, Vertigo… Yeah well you know, you can go through this and
get stuck on one but you know, bottom line is congratulations.
[Laughs] Congratulations Universal because this is, this list is
probably, you know, second to none when it comes to studios and
their bodies of work, you know.
Is there any one or two things there that you kind of think
God, you know, that is a…
RUSSELL CROWE: Don't get back on the question. We got away with
it. Now we’re moving on. Fuck me. Jesus. Fuck. Come on, son. Not
just a wink to a blind bat, off we go. [Laughs] And what was the
last thing, it was the birthday greeting thing. What did I say
before? [Technical discussion]
RUSSELL CROWE: Ready spaghetti?
RUSSELL CROWE: So your lens is at a bit of an angle there?
You’re kind of like that. [Positions arm at an angle]
It's the matte box.
RUSSELL CROWE: Oh, it's just the matte box? Good, good, because
I was starting to do that. [Leans to one side] [laughs]
We've got you on the Titanic.
RUSSELL CROWE: Ready spaghetti?
RUSSELL CROWE: Congratulations Universal on 100 years of very,
very fine filmmaking. And I for one am looking forward very much
to the next 100 years. Happy birthday, and all the best.