M. Night Shyamalan Returns to “The Sixth Sense” Landmarks | On Location w/ Josh Horowitz

Twenty years after the release of “The Sixth Sense,” Josh Horowitz brings M. Night Shyamalan back to his hometown of Philadelphia, where he filmed the Oscar-nominated breakout hit starring Bruce Willis and Haley Joel Osment.

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Paramount Network presents On Location – the show where producer, podcast host, and industry insider Josh Horowitz (MTV News, "After Hours") brings actors and filmmakers to iconic film locations to revisit classic scenes from the films we love - everything from the convenience store in "Clerks" the Philadelphia locales of “The Sixth Sense.”

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WEBVTT
Kind: captions
Language: en

00:00:00.000 --> 00:00:03.245
(suspenseful music)

00:00:03.245 --> 00:00:05.970
- (whispering) I wanna
tell you my secret now.

00:00:05.970 --> 00:00:08.063
- Let me guess, you see dead people.

00:00:09.030 --> 00:00:10.340
- How'd you know?

00:00:10.340 --> 00:00:12.181
- I get that a lot.

00:00:12.181 --> 00:00:14.764
(upbeat music)

00:00:18.200 --> 00:00:19.470
- This may look like any other

00:00:19.470 --> 00:00:21.010
traditional Philadelphia row house,

00:00:21.010 --> 00:00:23.910
but it's actually a huge
part of film history.

00:00:23.910 --> 00:00:26.510
This is the home of Bruce
Willis' character, Malcolm,

00:00:26.510 --> 00:00:30.370
from the 1999 M. Night
Shyamalan film, The Sixth Sense.

00:00:30.370 --> 00:00:32.290
It was the surprise hit of the year,

00:00:32.290 --> 00:00:34.150
earning nearly $700 million,

00:00:34.150 --> 00:00:36.090
a phenomenon that launched careers,

00:00:36.090 --> 00:00:38.490
shocked audiences with one
of the great twist endings

00:00:38.490 --> 00:00:40.880
of all time, and earned
six Oscar nominations,

00:00:40.880 --> 00:00:42.020
including best picture.

00:00:42.020 --> 00:00:43.880
And, they shot it all right here,

00:00:43.880 --> 00:00:46.360
in the City of Brotherly
Love, Philadelphia.

00:00:46.360 --> 00:00:49.260
To see exactly where it all
happened, let's go to the map.

00:00:50.800 --> 00:00:53.730
Much of the film follows Haley
Joel Osment's Cole Sears.

00:00:53.730 --> 00:00:55.990
From his first encounter
with Bruce Willis' Malcolm

00:00:55.990 --> 00:00:58.200
on North Fourth Street at
Saint Augustine Church,

00:00:58.200 --> 00:01:00.690
to his school on 1420 Pine Street,

00:01:00.690 --> 00:01:02.190
filmed at Peirce College.

00:01:02.190 --> 00:01:04.860
Meanwhile, Cole and his mom
had a huge dramatic moment

00:01:04.860 --> 00:01:06.990
in the middle of a
traffic jam right in front

00:01:06.990 --> 00:01:09.610
of Shiloh Baptist Church
on Christian Street.

00:01:09.610 --> 00:01:12.260
Finally, there's the
Sears' home at 23rd Street.

00:01:12.260 --> 00:01:13.990
This is where we first
see Cole in the film

00:01:13.990 --> 00:01:15.740
and where Malcolm can be seen watching him

00:01:15.740 --> 00:01:17.050
from across the way.

00:01:17.050 --> 00:01:19.530
And, this is where I'm meeting
up with proud Philadelphian,

00:01:19.530 --> 00:01:20.480
M. Night Shyamalan.

00:01:23.040 --> 00:01:24.130
Night, it's good to see ya buddy.

00:01:24.130 --> 00:01:25.040
- Good to see you to, man.

00:01:25.040 --> 00:01:26.470
- We're in Cole's neighborhood.

00:01:26.470 --> 00:01:27.303
- I know.

00:01:27.303 --> 00:01:30.030
- This is the house. This is it, 2302.

00:01:30.030 --> 00:01:32.170
- It's pretty amazing to be
here, looks really different.

00:01:32.170 --> 00:01:33.080
- Does it?
- Yeah, it does.

00:01:33.080 --> 00:01:35.500
I mean, still extremely beautiful.

00:01:35.500 --> 00:01:37.680
We were actually on a
location scout in our van

00:01:37.680 --> 00:01:40.590
and we were driving by
here and I went, stop,

00:01:40.590 --> 00:01:42.180
and we jumped out and I was like,

00:01:42.180 --> 00:01:43.900
this is amazing, this neighborhood.

00:01:43.900 --> 00:01:46.320
Look at this with this,
this would be amazing.

00:01:46.320 --> 00:01:47.430
Maybe we could have him, I dunno,

00:01:47.430 --> 00:01:49.121
maybe we could put a
bench here, or something

00:01:49.121 --> 00:01:50.810
(laughs)
and have him watching the kid.

00:01:50.810 --> 00:01:52.520
So, I jumped out and that's how we...

00:01:52.520 --> 00:01:53.353
- Amazing.

00:01:53.353 --> 00:01:54.186
- Yeah, probably the one and only time

00:01:54.186 --> 00:01:55.129
I ever jumped out at location.

00:01:55.129 --> 00:01:56.890
I was like, this is it.
(laughs)

00:01:56.890 --> 00:01:58.800
- When inspiration strikes
- Yes, exactly.

00:01:58.800 --> 00:01:59.690
- Seat belts come off.

00:01:59.690 --> 00:02:01.570
- Yeah, normally I'm
nauseous in the front seat,

00:02:01.570 --> 00:02:02.610
I'm just kinda, my head's down,

00:02:02.610 --> 00:02:04.530
but this time I was like, look at that.

00:02:04.530 --> 00:02:05.950
- So, take me all the way back.

00:02:05.950 --> 00:02:07.650
Inspiration for The
Sixth Sense begins where?

00:02:07.650 --> 00:02:08.790
What's the initial idea?

00:02:08.790 --> 00:02:11.900
- You know, it can be
a character sometimes

00:02:11.900 --> 00:02:15.060
or it can be a scene or a high concept.

00:02:15.060 --> 00:02:16.730
In this case, it was a kind of a scene

00:02:16.730 --> 00:02:17.860
with a character in it,

00:02:17.860 --> 00:02:19.700
and it was a scene at a funeral,

00:02:19.700 --> 00:02:22.250
of a little boy on a
stairs at a funeral wake

00:02:22.250 --> 00:02:24.220
where everybody's kinda of, you know,

00:02:24.220 --> 00:02:26.010
having food and being somber,

00:02:26.010 --> 00:02:28.940
but a boy is talking to
someone and nobody's there.

00:02:28.940 --> 00:02:30.995
He's just talking to nobody.

00:02:30.995 --> 00:02:32.490
And, in my mind I went,

00:02:32.490 --> 00:02:34.630
well he's talking to the
person that passed away,

00:02:34.630 --> 00:02:36.810
then that started me
going who is this kid?

00:02:36.810 --> 00:02:39.580
What would it be like if you
could actually see people

00:02:39.580 --> 00:02:42.720
that have passed on and then
I started on the process

00:02:42.720 --> 00:02:44.020
that ended up with Sixth Sense.

00:02:44.020 --> 00:02:48.313
- So, was the "twist"
of the film, the reveal,

00:02:49.310 --> 00:02:52.800
was it always baked into
the concept of the film?

00:02:52.800 --> 00:02:55.270
Was there concern that
audiences would catch on

00:02:55.270 --> 00:02:57.290
before you wanted them to?

00:02:57.290 --> 00:03:00.110
- No, it wasn't anything
like that (laughs).

00:03:00.110 --> 00:03:02.050
No, it was very organic.

00:03:02.050 --> 00:03:04.720
I'd done five drafts already of the script

00:03:04.720 --> 00:03:08.500
and it was more of a serial
killer movie at first,

00:03:08.500 --> 00:03:13.350
and then it moved into a more
therapeutic kind of situation

00:03:13.350 --> 00:03:15.730
and I wanted this to be a movie

00:03:15.730 --> 00:03:18.380
about this husband and wife
that couldn't communicate

00:03:19.627 --> 00:03:24.440
and he was treating this boy
who saw ghosts, essentially.

00:03:24.440 --> 00:03:26.330
And then, I was just sitting thinking,

00:03:26.330 --> 00:03:28.300
all right, well what's the
problem with this marriage?

00:03:28.300 --> 00:03:30.190
Why aren't they talking?
Why aren't they talking?

00:03:30.190 --> 00:03:32.720
Why aren't they talking?
- What's the biggest problem

00:03:32.720 --> 00:03:33.860
I could come up with?
- And then, yeah,

00:03:33.860 --> 00:03:35.808
and the lack of communication,
well what happens?

00:03:35.808 --> 00:03:39.200
What has caused this
distance between them?

00:03:39.200 --> 00:03:41.060
I've always thought, when I
was writing that screenplay,

00:03:41.060 --> 00:03:42.480
that it needed one more layer.

00:03:42.480 --> 00:03:44.510
That's what it felt like to
me, there's another layer,

00:03:44.510 --> 00:03:46.720
maybe something in the
back of your head is saying

00:03:46.720 --> 00:03:48.450
there's one more step you haven't gone.

00:03:48.450 --> 00:03:49.530
Keep looking, keep looking.

00:03:49.530 --> 00:03:51.220
Like, it kept on nagging.

00:03:51.220 --> 00:03:53.190
- How did you end up shooting
this in Philadelphia?

00:03:53.190 --> 00:03:55.920
You weren't a film maker
yet with a lot of juice.

00:03:55.920 --> 00:03:57.410
So, how does that happen?

00:03:57.410 --> 00:03:59.070
- Yeah, it was no juice box,

00:03:59.070 --> 00:04:01.444
there was no juice in the
juice box, there was nothing.

00:04:01.444 --> 00:04:02.490
- You were juiceless.

00:04:02.490 --> 00:04:05.100
- I was juiceless, yes.
(laughs)

00:04:05.100 --> 00:04:07.310
Really, it was the
bidding war for the script

00:04:07.310 --> 00:04:08.160
that caused it.

00:04:08.160 --> 00:04:09.581
- So you had leverage thanks to that.

00:04:09.581 --> 00:04:10.910
- Well, it was one of the basic things

00:04:10.910 --> 00:04:12.870
that was on there when we
went out with the screenplay,

00:04:12.870 --> 00:04:16.490
it was a number, I'm attached as director,

00:04:16.490 --> 00:04:17.980
and I'm shooting it in Philadelphia.

00:04:17.980 --> 00:04:19.606
- And, why was that so important to you?

00:04:19.606 --> 00:04:21.970
- For me, it wasn't even a conversation.

00:04:21.970 --> 00:04:23.790
It was a way of life.

00:04:23.790 --> 00:04:27.030
I don't know why it's just
so, it's a non-starter.

00:04:27.030 --> 00:04:29.230
As with all things, the thing
that makes you different

00:04:29.230 --> 00:04:30.363
becomes your strength.

00:04:31.770 --> 00:04:33.300
This is something that makes me different.

00:04:33.300 --> 00:04:34.777
I'm an Indian dude that lives in Philly.

00:04:34.777 --> 00:04:36.280
(laughs)
All right? So, why would I

00:04:36.280 --> 00:04:37.330
wanna blunt that?

00:04:37.330 --> 00:04:40.210
- That's your super power
- Yeah, exactly.

00:04:40.210 --> 00:04:42.250
It's really unusual.
(laughs)

00:04:42.250 --> 00:04:44.740
- Well, this film makes use
of a lot of amazing locations

00:04:44.740 --> 00:04:45.573
in Philly.

00:04:45.573 --> 00:04:46.406
Should we check out another?

00:04:46.406 --> 00:04:47.239
- Definitely.

00:04:47.239 --> 00:04:48.501
- All right, let's take a walk.

00:04:48.501 --> 00:04:51.084
(upbeat music)

00:04:59.050 --> 00:05:00.520
So, we're at Saint Augustine Church,

00:05:00.520 --> 00:05:01.580
old city, Philadelphia.

00:05:01.580 --> 00:05:03.910
This is a pivotal scene early in the film,

00:05:03.910 --> 00:05:05.830
where Bruce follows Haley Joel.

00:05:05.830 --> 00:05:08.232
Do you remember how you
found this location?

00:05:08.232 --> 00:05:11.010
- You know, the idea of
a red door was important,

00:05:11.010 --> 00:05:13.310
- Yeah?
- We used the color red a lot

00:05:13.310 --> 00:05:16.070
in the movie, too, kinda signify awakening

00:05:16.070 --> 00:05:18.460
to another dimension, another world,

00:05:18.460 --> 00:05:20.390
another understanding of your existence.

00:05:20.390 --> 00:05:22.900
And so, it would nag
at Bruce a little bit,

00:05:22.900 --> 00:05:24.770
but I, you know, it's funny standing here

00:05:24.770 --> 00:05:27.040
and I haven't stood here in forever,

00:05:27.040 --> 00:05:28.520
one of the memories that's coming

00:05:28.520 --> 00:05:30.900
is that we ran out of time with Haley.

00:05:30.900 --> 00:05:33.780
When you shoot with a child,
you have a very short window

00:05:33.780 --> 00:05:35.580
of how much they can work

00:05:35.580 --> 00:05:37.710
and so you're literally
going to the last second

00:05:37.710 --> 00:05:38.910
and there's a teacher waiting

00:05:38.910 --> 00:05:40.640
and they're about to
take the child, right?

00:05:40.640 --> 00:05:42.400
So, you've got one last
take and then they run

00:05:42.400 --> 00:05:44.840
and I remember we ran
out of time with him here

00:05:44.840 --> 00:05:48.380
and we used the child, his double here.

00:05:48.380 --> 00:05:50.080
And, it was one of the first
times I'd ever done that.

00:05:50.080 --> 00:05:52.883
I was thinking, are people
gonna believe this? (laughs)

00:05:52.883 --> 00:05:55.058
that this is that actor.
So, I was young...

00:05:55.058 --> 00:05:56.660
- You didn't know the magic
of movie making quite yet?

00:05:56.660 --> 00:05:58.420
- Yeah, I was like, are
they gonna buy this?

00:05:58.420 --> 00:05:59.253
But, they bought it.

00:05:59.253 --> 00:06:00.830
- They bought it. We all bought it.

00:06:00.830 --> 00:06:02.940
This leads into one of the
pivotal moments in the film

00:06:02.940 --> 00:06:04.480
where they first really talk.

00:06:04.480 --> 00:06:05.857
Let's go inside and check it out, okay?

00:06:05.857 --> 00:06:06.690
- Absolutely.

00:06:06.690 --> 00:06:09.690
(suspenseful music)

00:06:12.550 --> 00:06:14.240
- Have you been back here in 20 years?

00:06:14.240 --> 00:06:15.073
- I have not.
(laughs)

00:06:15.073 --> 00:06:16.588
This is the first time.

00:06:16.588 --> 00:06:17.421
- No, is that true?

00:06:17.421 --> 00:06:18.590
- For real, first time
- This is the first time

00:06:18.590 --> 00:06:20.010
in 20 years you've been
back in this church.

00:06:20.010 --> 00:06:22.010
- I think so, yeah.

00:06:22.010 --> 00:06:23.870
- Why a church for this pivotal scene?

00:06:23.870 --> 00:06:25.850
You could've staged it
in any number of places,

00:06:25.850 --> 00:06:26.800
why a church?

00:06:26.800 --> 00:06:29.960
- Well, I mean, I went to
Catholic school for 10 years,

00:06:29.960 --> 00:06:32.025
so, it's really kind of embedded in me,

00:06:32.025 --> 00:06:34.810
this, these kind of institutions

00:06:34.810 --> 00:06:37.517
and for a child to find
safety in his mind,

00:06:37.517 --> 00:06:40.046
the character would go
to where he perceives

00:06:40.046 --> 00:06:42.020
you're a little safer,
- Right.

00:06:42.020 --> 00:06:43.560
- which is in churches,

00:06:43.560 --> 00:06:46.612
so he kind of runs to these sanctuaries.

00:06:46.612 --> 00:06:48.530
In my head that's what I was thinking

00:06:48.530 --> 00:06:49.600
if I was that kid.

00:06:49.600 --> 00:06:52.520
It's a weird feeling to
be back here, for sure.

00:06:52.520 --> 00:06:55.620
I do feel a little bit of
the anxiety of the shoot,

00:06:55.620 --> 00:06:57.690
but it's kind of a fun feeling

00:06:57.690 --> 00:06:59.325
in the sense that from 20 years til now,

00:06:59.325 --> 00:07:01.720
I've been in so many locations in Philly,

00:07:01.720 --> 00:07:04.230
but not the same ones again.

00:07:04.230 --> 00:07:05.300
- That's crazy.
- Yeah.

00:07:05.300 --> 00:07:07.259
- 20 years, 20 year
anniversary in this church.

00:07:07.259 --> 00:07:08.870
(laughs)
Let's recapture the magic

00:07:08.870 --> 00:07:11.170
by taking the seats that
Haley Joel and Bruce did.

00:07:11.170 --> 00:07:13.809
Gotcha, and I'll be Bruce
and you be Haley, obviously.

00:07:13.809 --> 00:07:15.427
- Obviously (laughs).

00:07:17.290 --> 00:07:20.260
- Tell me about shooting this
scene with them in these pews.

00:07:20.260 --> 00:07:22.730
- This is the first time that
I actually boarded every shot,

00:07:22.730 --> 00:07:25.600
and really thought through
what the blocking was.

00:07:25.600 --> 00:07:27.920
The art of blocking is such a big deal,

00:07:27.920 --> 00:07:31.290
very few film makers are
even use this muscle.

00:07:31.290 --> 00:07:33.980
It's something that I have to
work really, really hard at,

00:07:33.980 --> 00:07:34.940
but there are the masters,

00:07:34.940 --> 00:07:37.110
like Spielberg is a
master at blocking, right?

00:07:37.110 --> 00:07:39.430
And, but most directors now,

00:07:39.430 --> 00:07:41.720
especially with all of
the equipment we have,

00:07:41.720 --> 00:07:43.180
we don't really think
about blocking at all.

00:07:43.180 --> 00:07:47.140
So, this was a real conversation
about not having him

00:07:47.140 --> 00:07:48.950
in the same pew, what does that mean?

00:07:48.950 --> 00:07:51.868
The way he approaches his
clients, how delicate he is,

00:07:51.868 --> 00:07:54.500
doesn't wanna scare
them off, hey, you know,

00:07:54.500 --> 00:07:56.660
he's over here playing
his games and hiding,

00:07:56.660 --> 00:07:58.220
he's clearly hiding, okay, all right,

00:07:58.220 --> 00:08:00.290
I can either put him there, or here

00:08:00.290 --> 00:08:02.600
and then I like the whole idea of

00:08:02.600 --> 00:08:05.290
hey, we're gonna talk
about sensitive stuff,

00:08:05.290 --> 00:08:06.990
but I'm gonna draw you in a bit,

00:08:06.990 --> 00:08:10.020
so I'm just gonna take this
place in a little bit, you know?

00:08:10.020 --> 00:08:11.360
And, wow, this is a great place,

00:08:11.360 --> 00:08:12.570
I would like to come here, too.

00:08:12.570 --> 00:08:13.910
What are you doing, kinda thing.

00:08:13.910 --> 00:08:17.280
Gently, so that the kid
starts coming into, you know,

00:08:17.280 --> 00:08:20.040
choosing to come into his space here.

00:08:20.040 --> 00:08:24.410
So, as a therapeutic kind of
gambit, it was a good one.

00:08:24.410 --> 00:08:25.650
And so, thinking through that,

00:08:25.650 --> 00:08:27.380
and saying I'm gonna put
you in two different...

00:08:27.380 --> 00:08:28.900
So, it was a tricky one in the sense,

00:08:28.900 --> 00:08:31.560
it's the first time I
was making a major film

00:08:31.560 --> 00:08:34.287
and then telling all the
actors, including a super star,

00:08:34.287 --> 00:08:38.200
hey, we're gonna block these
things in a certain way,

00:08:38.200 --> 00:08:41.020
which, on the surface,
could seem very binding

00:08:41.020 --> 00:08:44.020
and suffocating but
really, as I explain it

00:08:44.020 --> 00:08:45.960
and think about it, it
kind of ignites in them

00:08:45.960 --> 00:08:48.240
oh, whoa, therapeutic, I got it, I got,

00:08:48.240 --> 00:08:49.790
ooh, I can play this.

00:08:49.790 --> 00:08:51.710
- Let's talk about the
casting of this film.

00:08:51.710 --> 00:08:54.040
Haley Joel, out of nowhere, seemingly.

00:08:54.040 --> 00:08:54.873
- Yeah.
- He was nine or 10

00:08:54.873 --> 00:08:56.130
when he shot this.

00:08:56.130 --> 00:08:59.160
What did you see in the
auditions that made him the guy?

00:08:59.160 --> 00:09:03.293
- A hyper empathic, highly intelligent,

00:09:04.410 --> 00:09:07.460
very buttoned up child
was what I was looking for

00:09:07.460 --> 00:09:11.260
and Haley walked in
and he was exactly that

00:09:11.260 --> 00:09:14.580
and he didn't look at all the
way I pictured in my head.

00:09:14.580 --> 00:09:17.140
I pictured the kid from
Searching For Bobby Fischer.

00:09:17.140 --> 00:09:19.190
- Oh, sure.
- So, who also auditioned.

00:09:19.190 --> 00:09:23.080
And, you know, that kind
of enigmatic, dark hair,

00:09:23.080 --> 00:09:24.987
and piercing eyes,

00:09:24.987 --> 00:09:28.570
that whole feeling of what's
going on in their head.

00:09:28.570 --> 00:09:31.630
And, when Haley came in,
he finished the audition,

00:09:31.630 --> 00:09:34.080
he did three scenes and I
told the casting director

00:09:34.080 --> 00:09:37.090
I don't even wanna make the
movie if it isn't this boy.

00:09:37.090 --> 00:09:38.370
- Wow.
- So, it was one of those

00:09:38.370 --> 00:09:40.380
kind of really, really clear.

00:09:40.380 --> 00:09:42.360
I felt that way about
Toni Collette as well.

00:09:42.360 --> 00:09:43.330
- When you think of The Sixth Sense,

00:09:43.330 --> 00:09:46.480
you think of the "I
see dead people" scene,

00:09:46.480 --> 00:09:48.068
for lack of a better term.

00:09:48.068 --> 00:09:49.980
- (whispers) I see dead people.

00:09:49.980 --> 00:09:52.630
- When you shot that,
and that line reading,

00:09:52.630 --> 00:09:54.249
do you feel like you
had something special?

00:09:54.249 --> 00:09:56.440
- I did, in my point of view,

00:09:56.440 --> 00:09:59.006
the line is slightly overwritten.

00:09:59.006 --> 00:10:04.006
It's a line that maybe a
seven year older would say,

00:10:04.760 --> 00:10:06.750
not a 10 year old.
- Right.

00:10:06.750 --> 00:10:09.420
And were you worried about that?

00:10:09.420 --> 00:10:13.120
- Yeah, but it was the
idea that the 10 year old

00:10:13.120 --> 00:10:15.320
was regressing a hair at that moment,

00:10:15.320 --> 00:10:17.680
becoming more childlike
'cause he'd had to be so old

00:10:17.680 --> 00:10:18.620
'cause the things he's seen

00:10:18.620 --> 00:10:20.520
like a child who's been
in war or something.

00:10:20.520 --> 00:10:22.230
He's seen things that are beyond him

00:10:22.230 --> 00:10:24.380
and oftentimes you see in psychology

00:10:24.380 --> 00:10:28.110
that when a child is in
a traumatic situations,

00:10:28.110 --> 00:10:29.510
they have a weird kind of,

00:10:29.510 --> 00:10:31.566
they're 20 years old and
they're five years old.

00:10:31.566 --> 00:10:33.700
They just aren't their age.
- Right.

00:10:33.700 --> 00:10:36.210
- So I was trying to go for that,

00:10:36.210 --> 00:10:37.380
but with the "I see dead people"

00:10:37.380 --> 00:10:40.110
which is too young for
his age to say that,

00:10:40.110 --> 00:10:43.130
but he imbued it with
just the right kind of

00:10:43.130 --> 00:10:44.100
I need my mother,

00:10:44.100 --> 00:10:48.010
I need somebody to take
care of me because I see,

00:10:48.010 --> 00:10:49.830
you know, that kind of thing.

00:10:49.830 --> 00:10:53.910
- When you think back
to summer/fall of '99,

00:10:53.910 --> 00:10:55.710
when this film took over the world,

00:10:55.710 --> 00:10:57.240
I mean, it was a legitimate phenomenon.

00:10:57.240 --> 00:10:58.550
Six Academy Award nominations,

00:10:58.550 --> 00:10:59.710
including you for Best Director,

00:10:59.710 --> 00:11:01.590
what jumps out about that time for you?

00:11:01.590 --> 00:11:02.423
What do you think of?

00:11:02.423 --> 00:11:05.721
- You know, you're not
aware of moments like that

00:11:05.721 --> 00:11:07.200
as they're happening.

00:11:07.200 --> 00:11:09.270
In my head, I remember when
I was mixing the movie,

00:11:09.270 --> 00:11:11.170
I went, please just let
it gross $40 million.

00:11:11.170 --> 00:11:12.430
Please just let it gross $40 million

00:11:12.430 --> 00:11:14.245
so I can make another movie.

00:11:14.245 --> 00:11:16.310
So, I was racing to write this other movie

00:11:16.310 --> 00:11:18.630
before people realized that
I couldn't make movies.

00:11:18.630 --> 00:11:20.810
So, I was like write one
more movie, one more movie.

00:11:20.810 --> 00:11:24.290
I was more in that head
space, but it was weird,

00:11:24.290 --> 00:11:26.980
back in those days they
used to have a tape machine.

00:11:26.980 --> 00:11:29.370
So, you had to dial a number
and there would be a recording

00:11:29.370 --> 00:11:31.580
on a tape that would tell
you what the box office was

00:11:31.580 --> 00:11:34.130
and everyone in the
industry called this number.

00:11:34.130 --> 00:11:36.230
So, you call this number
and then I would listen,

00:11:36.230 --> 00:11:39.730
so it was the next Monday and I'm like,

00:11:39.730 --> 00:11:41.010
I wonder how we did this weekend?

00:11:41.010 --> 00:11:42.543
So, I called the number, doot doot doot,

00:11:43.506 --> 00:11:45.486
and I'm like, damn they
didn't change the tape.

00:11:45.486 --> 00:11:47.530
And I'm like, hang it up,

00:11:47.530 --> 00:11:50.120
and I told my wife they
didn't change the tape yet.

00:11:50.120 --> 00:11:50.953
She's like, really?

00:11:50.953 --> 00:11:52.730
I'm like, yeah, it's the
same number from last week.

00:11:52.730 --> 00:11:55.170
So, it's like, let them change the tape,

00:11:55.170 --> 00:11:57.610
but it was the same number from last week

00:11:57.610 --> 00:11:59.140
- Which never happens
(laughs)

00:11:59.140 --> 00:12:00.000
never happens.

00:12:00.000 --> 00:12:01.320
- Yeah, so it was weird.

00:12:01.320 --> 00:12:02.160
I remember that moment,

00:12:02.160 --> 00:12:04.410
going oh, they didn't
change the tape (laughs).

00:12:04.410 --> 00:12:06.890
- So 20 plus years later
it will always be a part

00:12:06.890 --> 00:12:07.723
of film history, man.

00:12:07.723 --> 00:12:08.740
You should feel very proud.

00:12:08.740 --> 00:12:09.573
- Oh, thanks brother.

00:12:09.573 --> 00:12:10.560
It's nice to visit with you.

00:12:10.560 --> 00:12:12.520
- No, thanks for showing me around Philly.

00:12:12.520 --> 00:12:14.070
- You got it, man. This has been fun.

00:12:14.070 --> 00:12:15.870
It's fun to see you in my town.

00:12:15.870 --> 00:12:17.110
- Yes (laughs).

00:12:17.110 --> 00:12:18.670
Get a pretzel or cheese steak, okay?

00:12:18.670 --> 00:12:20.236
- Cheese steak.
- Okay.

00:12:20.236 --> 00:12:22.596
(laughs)

00:12:22.596 --> 00:12:25.596
(synthesizer music)

00:12:28.896 --> 00:12:30.530
(laughs)

00:12:30.530 --> 00:12:32.180
It's the secret of his next film.