00:00
It’s a funny thing.
00:00
You know, you’re given the responsibility
00:03
to tell somebody’s story.
00:04
If it’s true, you gotta bust your balls for it.
00:07
He gotta go the extra mile.
00:09
This is somebody else’s life, you know,
00:11
and I feel that responsibility very heavily.
00:14
It’s funny, you’re making me very nostalgic,
00:17
just even talking about the sort of stuff.
00:18
Obviously, part of the process.
00:20
[upbeat music]
00:25
Romper Stomper.
00:27
You know, I read the script.
00:29
I found it very, very difficult subject matter to deal with.
00:32
Having grown up through the punk era,
00:34
you know, I’d seen guys who were punks
00:36
because of their music preference
00:39
or because of making a stand against corporate rock.
00:42
I’d seen some of those guys morph into neo-Nazis.
00:46
I think I did probably five, six physical auditions
00:50
for that before I was cast in the role.
00:52
Very short shoot, maybe 28 days.
00:54
So super-intense,
00:56
you have to get into character very quickly.
00:57
You’re working with a group of young guys,
01:00
and everybody’s a bit afraid of it.
01:01
You know, Jackie McKenzie was the principal female lead.
01:04
She didn’t know what she was getting into either.
01:06
You know, she’d come just out of film school,
01:08
but it was the quality of the idea that you could attack
01:11
such a heavy subject matter
01:13
that was just so compelling and so attractive.
01:15
What the fuck are you afraid of?
01:18
This is our place. No more running.
01:21
We stop them here.
01:26
You know, it ended up being
01:27
quite an incredible calling card for me.
01:30
It definitely went ahead of me and did its own work.
01:34
Sometimes to my detriment though,
01:37
I probably had at least a dozen conversations with directors
01:41
in Los Angeles who had somehow been told the story
01:45
that I was in fact, a skinhead who had been discovered
01:50
on the streets, dragged into the film world.
01:53
But that wasn’t the case at all.
01:56
The next choice that I made in terms of a commercial movie
02:00
was to play a gay rugby-playing plumber
02:03
in a movie called The Sum of Us.
02:05
I would just always like the idea
02:07
that somebody who is into Romper Stomper
02:09
for the wrong reasons, saw that I was in another film,
02:13
bought a ticket and now they’re sitting in The Sum of Us
02:16
wondering how the fuck they got there.
02:18
[upbeat music]
02:19
LA Confidential.
02:21
My process then was not to do smaller roles.
02:26
I was already doing roles where my name was above the title.
02:29
So I tried to stay in that pocket.
02:32
I got the call from Curtis Hanson.
02:35
He was really happy to find out
02:36
that I had in fact done American movies already,
02:39
which would give him potentially an easier point
02:42
of argument to the studio ’cause his idea
02:46
was to cast relative unknowns.
02:49
You know, he sent me the script,
02:51
and I read the James Elroy book LA Confidential.
02:53
And the thing that freaked me out was what I described
02:56
as physically the biggest man
02:58
in the Los Angeles Police Department.
03:00
I kind of got back on the phone with Curtis.
03:01
We hadn’t met yet. [chuckles] I said,
03:04
Man, I don’t know what impression you might’ve got
03:07
from the movies that you’ve seen, but you know,
03:10
I’m not really like a big bloke, man, you know.
03:12
His vibe on that was that everything that he required
03:15
in Bud White he’d seen in other work,
03:17
and that was immaterial to him.
03:21
Merry Christmas.
03:24
Merry Christmas to you, officer.
03:28
That obvious, huh?
03:30
It’s practically stamped on your forehead.
03:32
It was a weird situation
03:36
because the big overarching studio
03:37
and the studio directly making the movie,
03:41
didn’t like Curtis’s idea.
03:43
So I was flown in and I was put up at a hotel
03:47
in the time we were supposed to be rehearsing,
03:50
but you know, I’ve got friends in the business and stuff
03:52
and people would be telling me that Sean Penn
03:56
was going to be playing my role.
03:58
You know, I was talking to the director
04:00
and that was my character to play.
04:03
But at one point in time,
04:05
they stopped paying my hotel bill
04:10
and rental car bill, stopped providing me with per diem.
04:13
And I really didn’t have, you know,
04:15
a lot in my life at the time.
04:18
So I wasn’t able to pay for that level of hotel, et cetera.
04:21
And so it got pretty heavy and to the point where,
04:24
you know, there was a few times there
04:26
where I was going down the back stairs,
04:29
so the hotel manager wouldn’t stop me in the foyer
04:31
and ask me what was going on.
04:34
I could feel all of that stuff around me.
04:36
And the only thing I had to go on was the surety
04:40
of the director that he’d made his choice.
04:42
So I just went with that and I just kept turning up to work.
04:45
I think if there was ever a day where I got frustrated by it
04:48
and I hadn’t turned up to work,
04:50
that would have been the chink in the armor
04:52
that they would’ve used to shift me
04:55
out of the role, you know?
04:56
And the same process happened with Guy Pierce.
05:00
Why don’t you go after criminals for a change
05:01
instead of cops?
05:02
Stensland got we he deserved and so will you.
05:09
Curtis asked me about Guy.
05:11
He was a regular character on a soap opera
05:13
called Neighbors that I dropped in on
05:16
and did like a small character for two or three days.
05:19
And I had a girlfriend.
05:20
I eventually ended up marrying some many, many years later,
05:24
and I’m a very jealous person.
05:25
And we walked into this pub and Guy was there,
05:28
and he greeted her effusively and gave her a cuddle
05:32
and a kiss and I’m so standing there.
05:35
He hasn’t even acknowledged my existence
05:37
at this point in time. [chuckles]
05:40
So I waited ’til there was a lull in their conversation
05:42
and I stepped forward and I gave him a kiss,
05:45
and I behaved effusively like he was doing with Danielle
05:49
because why can’t I join in? [giggles]
05:53
And he didn’t do anything.
05:55
He acknowledged with his eyes, Sorry, mate.
05:57
That was a bit dicky of me to cut you
05:59
out of the conversation.
06:01
And later on, when I was talking to Curtis,
06:04
and I told him that story and I told him how
06:10
completely cool under fire Guy Pierce had been,
06:15
and I think that really fell into the part of Guy
06:20
that Curtis had thought he’d seen in the auditions.
06:24
And so that’s how we became that team in that movie.
06:28
[upbeat music]
06:29
The Insider.
06:31
At the time, definitely the most difficult job I’d done.
06:34
I got contacted by Michael Mann, you know,
06:37
and he asked me to fly down to Los Angeles and talk to him
06:40
and he sent me the script and I read it.
06:42
I couldn’t work out what character that he wanted me to play
06:44
because it was a script full of middle aged men.
06:46
I rang him first, I said,
06:47
I don’t get what character.
06:49
And he said, The guy, man, the lead guy, you know.
06:52
and I was like, That guy, he’s 50-something.
06:55
I’m 30 something.
06:56
Michael said, Look, just come and see me.
06:58
Come talk to me.
07:00
We had a very, very long conversation without any fences.
07:05
And we talked about this and that to do with society
07:07
and corporate malfeasance and blah, blah, blah, blah, blah.
07:10
And it was a great chat, you know?
07:12
And I said to him, Look, I don’t get why you want me
07:17
to play this character. I’m not the age.
07:19
I don’t look anything like him.
07:22
Michael sorta came around from behind his desk and he said,
07:24
Listen, man, I didn’t fly down here
07:27
because of what you looked like.
07:30
And he put his hand on my chest, he said,
07:31
I flew down to meet you because of what you have in here,
07:36
and pushing that, you know, and it was like in that moment,
07:39
I was like, I’m gonna work with this guy,
07:40
[giggles] I’m gonna do anything he wants,
07:42
I’m going to climb any mountain.
07:44
So he really worked out who I was
07:46
’cause he fricking got a hook in me very deeply.
07:48
You know, Jeffrey is, you know, a nice fellow,
07:51
but he’s kind of an uncomfortable fellow.
07:52
And he had a very strange journey, you know,
07:55
where he begins in the Bronx and ends up
07:58
sort of working in Japan and doing all these things
08:02
that gave his voice, such a crazy, colorful array
08:08
because you know, now he’s working in the tobacco industry,
08:11
for example, and he’s working in Kentucky.
08:14
So as a scientist, he’s never used words
08:19
connected to the tobacco industry.
08:21
So when he says those words,
08:22
they have a pronounced Southern lilt,
08:25
but a lot of the time he has that Bronx base,
08:29
but the Bronx base is also infused with the fact
08:33
that he spoke Japanese for a number of years in his life.
08:37
So I’m looking at it going,
08:39
What the fuck do I do with this?
08:41
You know, it was a bit of a mind-blowing experience.
08:44
So what you’re saying is it isn’t enough
08:46
that you fired me for no good reason.
08:49
Now you questioned my integrity on top of the humiliation
08:53
of being fired, you threatened me, you threatened my family.
08:59
It never crossed my mind not to honor my agreement.
09:02
I will tell you, Mr. Sandifer and Brown and Williamson
09:05
to fuck me.
09:08
Fuck you.
09:09
Michael is such a perfectionist.
09:11
And he wants to really know what he has,
09:13
and what he’s going for and stuff.
09:15
So, you know, one example,
09:16
my very young hair would just not sit
09:19
like Jeffrey Wigand’s old hair, so we bleached it.
09:25
The color came back, we bleached it again.
09:27
Color came back.
09:28
I think we ended up bleaching it seven times
09:30
in a period of three weeks.
09:32
And then we started to shave the volume out of it, you know?
09:35
my young hair would just go [spits]
09:37
and it would be there the next day.
09:39
If we’re going to do it that way,
09:40
we would have to be shaving my head
09:42
in those areas every morning.
09:44
And still, no matter how much volume we cut out of my hair,
09:47
no matter how many under cuts and everything that we did,
09:50
one or two days later, it would go [whooshes air]
09:53
and it would find a way [laughs] to cover my head.
09:57
So we were standing there doing a screen test,
09:59
and I was so pleased to find out that Dante Spinotti,
10:03
who I’d met first on the Quick and the Dead
10:06
director of photography was on The Insider as well
10:08
’cause you know, I had a great relationship
10:09
with his camera crew guys
10:11
and I was really excited to know that it was him.
10:14
And I was standing there and possibly a little offensive,
10:17
[giggles] I said, It’s not working with the hair, man.
10:21
I’ve got to get a wig,
10:22
I’ve got to have like really shit hair.
10:24
I’ve got to have the hair like his, and pointed at Dante.
10:27
And Dante’s got lovely hair, but it was just,
10:30
it was the right age, you know?
10:32
And it was behaving in the way that Jeffrey’s hair behaved,
10:36
you know, so we got an incredible wig maker.
10:39
With the wig, it just made me feel like the character,
10:41
you know, and that was like a bit,
10:43
it was quite a big thing for me
10:44
because even when I’m doing The Insider,
10:46
I’m still really formulating who I am as a film actor.
10:50
It’s probably my what, 16th or 17th movie by then.
10:53
That really showed me that because of the visual nature
10:57
of film, if somebody says you’re gonna play a pirate,
11:02
get an eye patch, rent a parrot.
11:06
You might immediately feel more connected
11:07
to the character of a pirate if you do so.
11:10
I did not feel I could play that role
11:13
until I looked in the mirror and it looked like Jeffrey.
11:17
Now, other times I’ve done characters
11:19
where I feel I don’t necessarily need to be accurate,
11:22
but because his story was so real,
11:26
because it had such a deep, psychological effect
11:28
on him and his family.
11:30
And because it was such an important step
11:34
in the legal and cultural life of America,
11:37
I just felt this need to honor him
11:42
and be very careful about honoring him.
11:44
So I met a whole bunch of fantastic actors in that job.
11:49
To be surrounded by people like Al Pacino
11:50
and Christopher Plummer.
11:51
Somebody from the film company at the time
11:54
rang me to tell me that they were going to mount
11:58
an Academy Award campaign on my behalf.
12:01
And I said, Cool, so that’s like me and Al.
12:04
That’s fantastic.
12:05
And they said, Well, we’re gonna put our emphasis on you.
12:08
And we asked Mr. Pacino, and he said, Back the kid.
12:13
It’s a massive thing for him to have done.
12:16
You mentioned my name.
12:16
You haven’t talked to anybody about me.
12:18
Brian Williamson know I spoke.
12:20
How the hell do I know about Brian Williamson?
12:21
That was just after I talked to you.
12:23
I do not like coincidences.
12:24
Well, I don’t like paranoid accusation.
12:26
Time came up later in my career.
12:30
It was a movie Cinderella Man.
12:31
Paul Giamatti’s mum died during the course
12:35
of shooting Cinderella Man.
12:36
And I made her a promise on the phone
12:39
that Paul was such an incredible actor
12:43
that he would be nominated.
12:44
And the studio asked me what I wanted to do.
12:47
And I said, Back the kid,
12:50
and Paul Giamatti got an Academy Award nomination.
12:53
So The Insider is very, very important
12:55
for my growth as an actor
12:59
and also extremely important
13:05
for the way my career went just after that.
13:08
[upbeat music]
13:10
Cinderella Man.
13:11
I’d worked with Ron Howard on A Beautiful Mind,
13:14
and I gave him the script and he said,
13:17
Look, I understand why you want to do it.
13:19
He said, But I don’t understand why
13:20
I would want to direct it.
13:21
It’s like ground so many people have covered.
13:24
I said to him, Well, it’s just like
13:25
‘A Beautiful Mind, man.
13:27
The importance of this story is that it’s true.
13:31
This guy, this is what happened to him.
13:33
He was a boxer, he was unsuccessful.
13:36
He owned a cab company.
13:37
Well, if you own that cab company in Manhattan
13:40
and Wall Street crashes in 1929,
13:43
and people can’t afford to take cabs,
13:45
it’s possibly the only time in history
13:48
that owning a cab company in Manhattan
13:50
has been a negative thing.
13:51
But so, you know, Jim from going through his sporting career
13:55
and rising to a certain middle-class position sank and slid
13:59
all the way back to the bottom again,
14:01
and then out of pure desperation,
14:04
rose and became a champion.
14:05
And I just I’d fallen in love with that story
14:07
when I first read it, and it was super important to me.
14:11
And I think I was very passionate with Ron
14:13
describing why it was important.
14:16
So he came on board and, you know,
14:18
it’s just one of the nature of the film.
14:20
If he hadn’t have come on board,
14:21
I probably don’t make that film in the cycle of things
14:24
if we had to start from scratch and find another director,
14:26
it probably reshapes, you know?
14:28
I had a run of bad luck
14:32
and this time around, I know what I’m fighting for.
14:35
Oh yeah. What’s that, Jimmy?
14:39
Milk.
14:39
You know, through the course of the process of that,
14:41
it was like a physically extremely tough role.
14:46
I’ve actually done more difficult physical roles since,
14:50
but at that time, the preparation for that film
14:53
and if I could show you a list
14:54
of what we were doing on a daily basis, it was heavy stuff.
14:59
And, you know, Ron is very serious director,
15:01
and he brought Angelo Dundee,
15:04
who trained 15 world champions into my life.
15:08
And Angelo constructed the energy in the training camp.
15:14
And I mean, sometimes you just get so lucky.
15:18
Having Angelo Dundee with all of his wisdoms and experiences
15:23
come into my life as a mentor, and you know,
15:25
I only knew him alive for eight years,
15:28
but what a joyful person he was.
15:30
What an inspirational person, you know?
15:33
Occasionally I would sort of just say to him,
15:34
I don’t know how I’m gonna do this.
15:36
He just had a way of making you believe.
15:40
So it required an immense amount of discipline
15:43
to play that character.
15:45
You know, I was so into that world,
15:47
so into that place.
15:48
When I made the decision that because I’m playing a boxer,
15:52
at a certain point in time,
15:53
I would have a prosthetic nose and a certain point in time,
15:56
I would have cauliflower prosthetic ears.
15:59
Also because of the black and white photographs
16:01
I’d seen a Jim Braddock,
16:02
he had very kind of wing nut eaters, you know,
16:05
poking up from the side of the head.
16:06
So we had these pieces made,
16:09
which pushed my ears out like that.
16:12
And Ron Howard came to see me and he’s like,
16:16
So as a guy who grew up with ears like that,
16:23
I’m just wondering if we need to make that,
16:26
kind of decision. Do we need to be that accurate?
16:29
I kinda saw what their problem was later on
16:31
when they sort of were trying to market the movie.
16:34
Every image, you know, even if it was a romantic image,
16:37
and they were focusing on the love story
16:39
between my character and Renee’s character,
16:43
[chuckles] I got the nose, I got the ears.
16:46
[chuckles]
16:47
[upbeat music]
16:50
Gladiator.
16:51
After I’d finished The Insider,
16:53
Ridley and Michael had a conversation.
16:55
I went to meet Ridley.
16:56
I looked like absolute shit.
16:57
I don’t see how he could possibly have seen me
17:00
as a Roman general, but we really got on.
17:02
He had gigantic ideas and I kinda thought
17:05
most of them were impossible really,
17:07
and it certainly wasn’t on the page.
17:09
There was no script that we could be enthused about.
17:12
But what I was was enthused about was the simple idea.
17:15
It’s 184 A.D. or 180 A.D.
17:16
You’re a Roman general,
17:18
and you’re being directed by Ridley Scott, you know?
17:20
So that drove my motivation a lot.
17:22
It was very difficult putting on those clothes and going,
17:27
Oh yeah, off we go, I’m a Roman general.
17:30
And I know that Joaquin Phoenix had the same problem
17:33
’cause we talked about it, you know?
17:34
The heights to those characters had to go to, you know,
17:37
and it’s very different because at that stage,
17:40
if you’re wearing clothes like that,
17:42
you’re probably doing a comedy or a piss take.
17:46
Sword and sandal things had been
17:48
out of vogue for a long time.
17:50
That whole idea was constructed around the sincerity
17:56
of the core journey of man’s vengeance
18:00
for the death of his wife and child.
18:02
[suspenseful music]
18:08
My name is Maximus Decimus Meridius
18:11
commander of the armies of the North,
18:13
general with the Felix legions,
18:16
loyal servant to the true emperor, Marcus Aurelius.
18:21
Father to a murdered son,
18:23
husband to a murdered wife, and I will have my vengeance
18:28
in this life or the next.
18:29
It’s funny though.
18:30
You see the backstage or behind the scenes footage
18:33
and everybody’s just goofing around and being silly.
18:36
And you know, the reason you do that
18:38
is you’re saving all your serious shit
18:41
for after the guy says action.
18:42
You know, most people, the complexities of film are such
18:47
that you have to have everything organized
18:49
to the nth degree.
18:50
You’re scheduling, you’re purchasing, you’re crewing.
18:53
All of these things have to be worked out,
18:55
and particularly with your art department and you know,
18:59
your set dressers and everything.
19:00
So everybody knows what they’re doing.
19:02
That’s the way you make a film.
19:04
However, we were making a movie
19:07
that grew as we made the movie
19:10
and little things became big ideas.
19:15
And we were being fluid within that gigantic
19:19
hundred plus million dollar budget shape,
19:22
which is all about schedules and disciplines
19:25
and being exact about things even down to
19:28
this one conversation I had with Ridley, where I said,
19:32
I wanted to decapitate a guy [chuckles]
19:36
at the end of this fight sequence.
19:37
And he said, Well, look, I can’t just add a decapitation.
19:43
That’s a pretty heavy thing.
19:44
I’m gonna to have to discuss it
19:45
with the studio and everything.
19:46
And I said, Look, this is the way the choreography
19:49
goes at the moment, and I showed him, I said,
19:50
This is what I want to change it to.
19:52
And I showed him and he could see that it was more dynamic
19:55
and more part of the character.
19:58
And the last move of that sequence was [spits]
20:01
this decapitation, you know,
20:03
and he literally smoking a cigar.
20:05
He said, what I’ve had to say, he’s watched it, you know,
20:08
a couple of puffs and a cigar.
20:09
And he calls out to his first assistant director,
20:12
and he goes, Terry, how many heads have we got left?
20:17
[giggles]
20:20
[sword clanking]
20:20
[air whooshes]
20:24
But working with Ridley,
20:25
I always liken it to working
20:27
with some great Renaissance painter,
20:29
just the way he sees the world
20:31
and that level of artistry he converts onto the screen.
20:37
I’ve ended up making five movies with Ridley,
20:40
and every single one of those experiences
20:43
has gotta be in my top 10 of films that I’ve made.
20:46
[upbeat music]
20:47
Robin Hood.
20:50
Actually, my first step on Robin Hood,
20:53
when the idea came up was grab every Robin Hood book
20:56
that I could, big bag of them.
20:57
And I got on a boat in Northern Queensland,
21:00
and just started to read.
21:02
So I just wanted to know what the mythology was,
21:04
as much of it I could find out and what it occurred to me,
21:07
and what I brought up with Ridley was
21:08
that we all have a reshaped view of Robin Hood,
21:12
which comes from Victorian times.
21:14
But in fact, this legend started
21:18
many, many hundreds of years before then.
21:20
We started looking at the facts
21:23
of the currently understood myths
21:27
and the realities of history timeline,
21:30
and always in stories of Robin Hood in a modern era,
21:33
King Richard comes into the story.
21:36
He’s been away on crusade and he comes into the story
21:41
at the end of the story to sorta save the day, you know,
21:44
confirm that Robin is a good man.
21:47
The Sheriff of Nottingham was incorrect
21:49
and blah, blah, blah.
21:50
But what we discovered is that, you know,
21:52
apart from a few months earlier in his life,
21:56
King Richard was French.
21:57
He didn’t make it back to England.
21:58
He went on crusades and he died in France.
22:01
That was our first hook.
22:02
It’s like, okay, everybody else is expecting
22:04
a Robin Hood where King Richard comes in
22:09
at the end of save the day.
22:11
Our Robin Hood begins with the death of King Richard,
22:13
who died putting a castle to siege in France.
22:16
And of course I got to work
22:18
with the magnificent Cate Blanchett, or Love Blanchett,
22:22
as I called her on that film
22:24
and found out that, you know,
22:25
not only is she a wonderful actress,
22:28
she’s spectacular company as well.
22:31
I’m ashamed of you.
22:33
Hello, Marion. I’ve come to save ya.
22:37
I remember standing on that set in the born wood,
22:39
the same place that we’d shot certain parts of Gladiator,
22:43
and I’m looking up the hill at this French castle
22:46
that the art department have built on top of the hill.
22:49
And I’m looking around me, hundreds of arches,
22:51
and we have 180 horses galloping down the beach.
22:54
This is probably the last physical production of this scale
22:58
that I ever get to do.
23:00
You know, things were changing so rapidly,
23:01
and it’s proven to be that way.
23:03
Now sure, I’ve been on big budget films,
23:06
but not in that kinda scale
23:09
where everything’s built, you know?
23:11
[upbeat music]
23:15
Look, the idea of this script was kind of nauseating
23:18
when I first read it.
23:19
I really didn’t think I wanted to have anything
23:21
to do with it, but then, you know,
23:23
somebody asked me actually,
23:24
Why are you not gonna do it?
23:26
And it’s like, ’cause it’s really scary.
23:29
[chuckles] And it scares me
23:31
that this is actually something that does happen.
23:36
This individual, this character is acting
23:39
on such a basis of a lack of humanity, a lack of empathy,
23:44
and he is imploding and he’s going to take her with him.
23:47
[Woman] Ma’am, are you okay?
23:49
[Brunette Lady] I’m pretty sure the guy
23:50
in that truck’s following me.
23:51
He’s road ragin’.
23:52
[eerie music]
23:53
[Man] Why don’t you just chill, man? Go your own way.
23:57
[eerie music]
23:58
[explosion]
23:59
[screams] You know, one of the things
24:01
that was really important to me with this
24:02
is that we don’t at any stage try to justify his actions
24:07
or his thought process because most of us
24:09
will go through this sort of thing and be, you know,
24:11
it’s just the ups and downs
24:14
and the foibles and quirks of life.
24:16
But this particular man has decided
24:20
that all of this adds up to his right
24:26
to destroy and terrorize.
24:29
And we’ve seen that kind of personality at play.
24:33
I mean, 20 years ago,
24:35
I would have in my mind kind of written this off
24:38
as some kind of anomaly, you know,
24:41
but that’s the thing that kept playing on my mind,
24:44
you know, school shootings and shootings in nightclubs,
24:47
but it is the same thought process.
24:50
And therefore it became more important to me.
24:54
And it was particularly based on my conversations
24:56
with Derek and his perspective as a filmmaker,
25:01
I knew that this movie ends up not being just about thrills
25:06
and crashes and violence.
25:07
This movie ends up being a direct commentary
25:12
on the state of American society, Western society today.
25:17
So it went from being the thing I was most scared of
25:22
to the thing I just felt most responsible to have to do.
25:28
So GQ and those of you that have tuned in
25:33
that’s the end of that.
25:34
I’ve been boring your tits off for quite some time now
25:37
talking about some of my iconic characters,
25:40
iconic being somebody else’s definition.
25:43
And I’m just the putz who has to say it.
25:46
But anyway, I hope you got something out of it.
25:48
Enjoy yourself, and thank you, GQ.