Mark Ruffalo takes a walk down memory lane as he rewatches scenes from his classic works including '13 Going On 30,' 'Zodiac,' 'Poor Things,' 'The Avengers' and 'Spotlight.' Mark dishes on the full background story behind the iconic '13 Going On 30' dance, getting slapped by Emma Stone in 'Poor Things,' not ever being able to watch 'Avengers' and so much more.
Director: Adam Lance Garcia
Director of Photography: Bradley Wickham
Talent: Mark Ruffalo
Producer: Madison Coffey
Line Producer: Romeeka Powell
Associate Producer: Amy Haskour
Production Manager: Kayla Rodriguez
Talent Booker: Lauren Mendoza
Camera Operator: Rebecca Van Der Meuelen, Mar Alfonso
Gaffer: Niklas Moller
Audio Engineer: Sean Paulsen
Production Assistant: Ziyne Abdo, Tim Lopez
Post Production Supervisor: Christian Olguin
Post Production Coordinator: Jovan James
Supervising Editor: Erica DeLeo
Assistant Editor: Billy Ward
Director: Adam Lance Garcia
Director of Photography: Bradley Wickham
Talent: Mark Ruffalo
Producer: Madison Coffey
Line Producer: Romeeka Powell
Associate Producer: Amy Haskour
Production Manager: Kayla Rodriguez
Talent Booker: Lauren Mendoza
Camera Operator: Rebecca Van Der Meuelen, Mar Alfonso
Gaffer: Niklas Moller
Audio Engineer: Sean Paulsen
Production Assistant: Ziyne Abdo, Tim Lopez
Post Production Supervisor: Christian Olguin
Post Production Coordinator: Jovan James
Supervising Editor: Erica DeLeo
Assistant Editor: Billy Ward
Category
🛠️
LifestyleTranscript
00:00 - You want to know my secret, Adrian Romanoff?
00:02 You want to know how I stay calm?
00:03 - To be honest with you,
00:04 I wasn't able to watch this ever before.
00:07 I kind of remember seeing this and just being like,
00:11 down in my seat.
00:14 Hi, I'm Mark Ruffalo,
00:16 and I'm going to rewatch some scenes throughout my career.
00:19 Here we go.
00:20 (upbeat music)
00:22 (upbeat music)
00:25 - Oh no, again.
00:39 - Maddie!
00:39 - You son of a bitch.
00:42 - Oh, she's amazing.
00:43 - I don't know what I'm doing.
00:44 I'm just a kid.
00:45 - I don't know these moves.
00:46 - I'm for the love of Peter Thomas.
00:46 - I haven't done this in years.
00:48 - Are you crazy?
00:50 - As much as she is dragging me onto that dance floor,
00:55 which was as much as she was actually dragging me
00:57 on the dance floor.
00:58 I did not know how to do this dance.
01:01 I had such a hard time with it.
01:04 Took her 60 minutes to learn this,
01:09 and it took me like four days.
01:12 God, it's such a time.
01:14 - Jenna, I'm sorry.
01:15 I gotta go.
01:16 I'm sorry.
01:18 - Wait, don't.
01:19 - What a time this was.
01:21 This is sort of the beginning of everything in a way.
01:24 You know, Kerry Winnick, who directed this,
01:25 was one of the great independent directors,
01:30 and he decided he was gonna cross over
01:32 and do this romantic comedy
01:35 and make it like an independent movie,
01:38 like have all that heart and soul and thoughtfulness
01:41 and try to have it have a message
01:44 while still being romantic.
01:46 You know, it's romantic comedy,
01:47 but it really is about innocence
01:49 and keeping your innocence and losing your innocence
01:53 and how we rush into that as young people.
01:57 I just think that that resonates with everybody.
01:59 Everyone remembers the moment
02:01 where they lost their innocence
02:02 or where they wish they'd still had it.
02:04 It's unrequited love, you know?
02:06 It's the ending that you don't wanna see
02:09 in a romantic comedy,
02:11 and then you get the ending you wanted to see.
02:13 Having that switch up, I think,
02:15 made it really special too.
02:17 [upbeat music]
02:19 [laughing]
02:25 - Better.
02:26 - What?
02:28 Why keep it in my mouth if it is revolting?
02:32 - Duncan Wedderburn, he's in a great tradition
02:35 of the English rake.
02:37 Terry Thomas is one of the people who come to mind.
02:42 A lot of it is in the dialogue.
02:44 He's controlling, he sees himself as a libertine.
02:48 He believes in free love, unless, of course,
02:51 it's the woman who wants to have free love.
02:54 A classic sort of misogynistic, you know,
02:58 sexually dominating man from the turn of the century.
03:04 Even to today, Andrew Tate comes to mind.
03:07 - I must go punch that baby.
03:08 [baby crying]
03:12 Jesus.
03:12 - That baby was really crying a lot.
03:17 I don't think it was hard for Emma
03:19 to build up those feelings of anger.
03:23 - Your behavior is unconscionable.
03:25 We behave.
03:26 - She's just one of the greatest actors, so present.
03:30 A lot of it is just responding to what she's giving you.
03:34 When an actor's present with you,
03:36 there's something happening in between the two of you.
03:39 - You are hurting, Bella.
03:40 - Sorry, reason does not penetrate.
03:44 Let us go.
03:45 Ow.
03:50 - She really slapped me hard that time.
03:54 What makes it so great is the mental process
03:59 of do I like that?
04:03 That was exhilarating.
04:05 I've never been slapped before.
04:08 Who is this woman?
04:09 Do I kiss her or bite her?
04:12 His response is, "Oh,"
04:15 which has a little bit of the pleasure in it
04:17 and his maybe wanting more, let's say.
04:21 His kink.
04:22 - What are you doing, Mr. Stark?
04:31 - Kind of been wondering the same thing about you.
04:33 You're supposed to be locating the Tesseract.
04:35 - Yeah, the model's locked
04:36 and we're sweeping for the signature now.
04:38 When we hit a hit--
04:39 - I don't know what the hell I'm talking about.
04:42 We get into the scientific jargon
04:46 and I just like, "Buh, buh, buh, buh, buh, buh."
04:48 All that was really difficult for me,
04:51 but I think we pull it.
04:53 Look at how great Downey looks.
04:56 - Sorry, computer was moving a little slow for me.
04:58 - Rogers, we gathered everything related to the Tesseract.
05:01 This does not mean that we're--
05:02 - I'm sorry, Nick.
05:04 What, were you lying?
05:05 - I was wrong, director.
05:07 The world hasn't changed a bit.
05:09 - Did you know about this?
05:10 - Busted.
05:10 - I knew you'd get a little twitchy.
05:11 I'd like to know why SHIELD is using the Tesseract
05:14 to build weapons of mass destruction.
05:16 - Because of him.
05:18 Me.
05:21 - I was scared to death.
05:22 All these other guys have had movies
05:25 made on their characters.
05:26 I just felt like I had big shoes to fill
05:29 with all of the other banners.
05:30 You know, my friend Ed Norton was amazing.
05:33 And then there's this big monologue coming.
05:35 It was a tough monologue,
05:37 and the language was difficult.
05:39 And there's an energy in there
05:40 that suits very well for where Banner is right now.
05:44 You know, do I fit in here?
05:46 That was me.
05:47 He has to prove himself to them here.
05:51 And I had to too.
05:52 And that's frustrating, you know?
05:55 And that has high stakes.
05:57 You're on this set with those actors,
06:00 and you had to come through,
06:02 and Banner has to come through.
06:04 And he has to take his place within this team.
06:07 That's what's playing here.
06:09 - The odd thing is, we also got gloves.
06:17 - Suspects?
06:18 - There's blood on them.
06:19 - Hey Pete?
06:22 - Yeah, Dave?
06:23 - Can I get in there?
06:24 - I wanna say it was three nights to film this sequence.
06:28 My memory's faulty,
06:29 but I know it was more than one night.
06:32 If you were doing any other movie,
06:35 you would do this sequence in half a day.
06:38 But I remember this night specifically
06:46 'cause Fincher had this idea where I come down the hill,
06:51 and it's like backlit.
06:53 And it's a sort of introduction to him
06:58 as this kind of lone figure.
07:02 And he explained the shot to me,
07:03 and I never had been in a film
07:07 where the director had planned a shot a certain way.
07:11 We would do 60, 70 takes, just out of hand.
07:16 My first day, he was coming towards me.
07:20 Jake and I had done a,
07:21 it's like a four-page walk and talk, lots of dialogue.
07:25 He's coming towards me.
07:27 Fincher, finally a take 30.
07:29 And I'm just like, okay, I did my best.
07:32 And he literally walks by me.
07:33 He moves a background artist like two inches.
07:37 And then he turns around, he walks and hits me on the back,
07:42 and he walks back to the monitor.
07:44 And I was like, oh, I'm only like 10% of the frame.
07:48 This guy just moved a background artist
07:52 two inches behind me.
07:54 He wants this thing perfection in 100%,
07:58 and I'm just 10% of it.
07:59 Every movie you do, you're on a journey with a director.
08:02 And the more you can give into them
08:04 and join them on their process and their journey,
08:06 the better it is for them, the better it is for you.
08:09 For me, that's what this was from the very beginning.
08:11 In this, you had to know your dialogue.
08:14 You had to know everything.
08:16 Like, you knew the back of your hand.
08:17 And if you didn't with Fincher, you're in trouble.
08:20 [laughs]
08:21 [upbeat music]
08:27 - I wonder if Father Gagin should not be reduced
08:29 to just weekend work while receiving some kind of therapy.
08:31 - Mike Resendiz, the guy I'm playing,
08:34 and just how much it costs these guys to do this.
08:39 And, you know, they're all Catholics,
08:41 and this is their world that they were exploding.
08:45 And it really took its toll on them emotionally.
08:50 - When did Gallant write your letter?
08:52 - 1984.
08:53 - And Lodge just ignored it.
08:54 - How do you ignore that freaking letter?
08:56 - We got 'em.
08:57 - Injustice is, you know, it's a power that hurts people,
09:02 and that people don't really have recourse to,
09:07 or defenses against people being,
09:13 their lives being turned upside down by fracking.
09:15 And I was on those frontline communities
09:18 where there really was no justice for people,
09:20 and they were being abused,
09:23 and the system wasn't protecting them
09:26 the way it was supposed to.
09:27 I'd had interactions that resembled that,
09:30 so I really knew that in a personal way.
09:35 - It's time, Robbie, it's time.
09:39 They knew, and they let it happen to kids, okay?
09:45 It could've been you, it could've been me,
09:47 it could've been any of us.
09:49 We gotta nail these scumbags,
09:51 we gotta show people that nobody can get away with this,
09:55 not a priest, or a cardinal, or a freaking pope!
09:58 - Well, the truth is is that no matter how you wanna
10:02 hold yourself outside of it, I mean, personally,
10:05 you gotta be honest that it is you.
10:08 I mean, you're the one there.
10:10 You're the one saying the lines,
10:12 you're the one who's having, you know,
10:16 showing up, who's living this life.
10:20 So I don't really separate 'em that much, personally.
10:24 You can't negate that you're there.
10:27 I just feel like, why even spend the energy doing that?
10:30 There's a sickness in just, I think,
10:32 just thinking you are becoming that character,
10:35 'cause that also isn't true.
10:37 It's always a dance between, you know,
10:40 yourself and the character, and your own experiences
10:45 and experiences that your character's going through.
10:47 Thanks for watching.
10:53 (upbeat music)