Early June 2023

June 1, 2023
ESQUIRE
Joanna Johnston says the Hamilton (watch) decision was made by the prop department, along with input from the watchmaker itself.

June 8, 2023
INDIEWIRE
Frank Marshall: "You can't just say no A.I. That's why these discussions have to go on. We have to figure that out. That's a great tool, but it's not something we're going to use all the time. It just doesn't do it all the time. The key with Harrison was that we had so much reference when he was at that age, and we have him, so it's a different issue actor to actor. They have to come up with some sort of compromise that makes sense for everybody. (A.I. generated writing is) not the answer, it's a tool. I don't use it. We have to write from up here. People write about feelings. AI doesn't have feelings, emotion, humor, all those things. (Shooting during the pandemic) was not as much fun as it was on the other four movies, but we made it through. (Ford's Palme d'Or) was surprisingly emotional. When you really think about it, we've been a family for over 40 years."

June 9, 2023
SFX MAGAZINE
Frank Marshall: "The Dial of Destiny is perfect for us because it's about time. It's math and time. We always try and have some sort of archaeological connection and there was certainly that - there's a mythology to the Dial of Destiny that exists. It turned out to be the perfect thing for this movie. It works in the plot because it is scientific. Well, I guess it's scientific! It really works for what we are doing and it sets up a whole lot of great plot points. The question is, if you can control time, like in Back to the Future, would you change things? And what would that mean? That's a big question for everybody, and certainly is in the movie. (Voller is) a plot point that drives the story. The character wants to go back and change time, change what happened, and obviously it turns out to be in Nazi Germany. The Nazis are kind of a thread we've had through all of the movies. I think it definitely works this time."

June 12, 2023
ASSOCIATED PRESS
James Mangold: "We never used the word A.I., not once, ever, in all the working on the movie. That is completely a kind of hot button post production thing. It was a visual effect technology, but I don't know what computer brains were involved in the doing of it all. But maybe it makes it saucier or more exciting to talk about it that way. The goal for me was to give the audience a taste of the Indiana Jones movies we remember, as best we could make it, and then to come off that kind of whirlwind and land in 1969 and find Indy in his current situation. So we wanted, I think, in a way to create as much promise, to show that we know the Indy movies that you miss, and then at the same time make a slightly different one, although this character is going to claw his way back to that energy by the end of the picture."
Harrison Ford: "What I really have seen is both the use and the misuse of technology in forty years, or during that forty years. And it can be, some of those computer generated things can be fantastic, and they can be very helpful in the telling of the story. And some of it is just, can make more, for the sake of itself. And that kind of thing is, to me, really death. Because story is everything. Character is everything. Kinetics, not so much. You know, you can create those kinetics either real or in the computer. And what's important is that you don't notice, that you can't tell that it's not the real real. But it can also just be more of everything. More bad guys, more enemy, more airplanes in the sky. And you have to be very careful with that stuff. Because it's not what people are really there for. What you have to remember is that people are there to be moved, to laugh, to be thrilled, to be spilled, whatever else you can do for them emotionally is what it's really about. I was ambitious to include this part of his life, as well as the earlier films that we did, which focus on him when he was young, vibrant, vigorous. And now, he's old. And it shows. And I think that's fantastic to have an older person in an action movie. To see him try to be the same person that he used to be, but he's not. And there are other people picking up the slack and filling in the voids. And some of it feels good and some of it feels, hey, come on, you know. And we talked about this. This is a character who is physical. He's a physical character. So when he can't do the things he used to do, he's got to fall back on other resources that he does have. And I think it's an interesting place to see that character."
James Mangold: "What's important always when you're making a movie is to try to tell the truth about your characters. But then we jump into this context of a giant franchise and money and fans, and you have to try and end. There's a level where people may want to only encounter this character is perpetually young, and as Harrison said, vibrant. But there's no story I can do about that. You know, if you take as a given we're making this movie, the truthful story I can tell in collaboration with this actor is about what we can explore together. And what we can explore is, what's it like to be this guy, older. That doesn't mean he's not funny. That doesn't mean he doesn't have adventures. That doesn't mean there can't be dynamic action in the movie. But it means the movie's existing in some honest place when me and Harrison go to set every day. That we're not making a movie where a guy's trying to pretend he's thirty years younger. And that instead we're making a movie, we're taking a hero we know really well, who's been well exploited in his youth, in movies, and exploring him through the prism of age. And also by the way, it's not only about Indy growing older, it's about the world changing around him. The world that existed in the 30s and 40s, a kind of black and white golden age, Nazis are bad, Allies are good, it's all murkier now. It's not just that Indy's changed. The world itself has become greyer. The enemy of my enemy is my friend, the realpolitik, nuclear power, moon travel, no one's looking backward. This was the context of what we had to lay a story out in, and that made it really interesting to me."
Harrison Ford: "And me too. Me too."

June 12, 2023
BLACK GIRL NERDS
James Mangold: "Well, it's, Indy arrives, when we arrive in the movie it's 1969, and the world has changed, you know. The world that the first movies occur in is a kind of golden age Hollywood cinema in which Nazis bad, Allies good. The world of a college campus is a mostly white place and the world of the, it's a kind of golden age of America in the sense of movies, the 30s and the 40s. It is impossible to not bring the movie into the present. Even the late 60s, without starting to address how the country is, it's not just a movie about how Indy is getting older, it's how the country is changing around him. And I think that that was a large part of what we were focused on. I mean the Indiana Jones films always took you to far away places and always mixed cultures and people, but the world is different in the late 60s, and I felt a real responsibility to kind of reflect that, because I think that there's no way you could make a film that held together if you're pretending the 60s were the same as 1935."
Harrison Ford: "Well, I think we mustn't forget that while they may look like adventures when they end up on screen, and they are adventurers, there are also a quest for knowledge, a quest for completion, a quest for self-worth, a quest for rekindling emotional energy, and emotional involvement with the world around him. He sunk into a bit of a hole, this character, and the fun of it is watching him come back up. So I think it was a brilliant dramatic device, and I just love that about the movie. But I wanted the movie to be about, I wanted the five films, if I was going to do one more film, I wanted it to be a completion of his story. I wanted to see these things about him. I wanted to know that he made an effort to get, to redress the mess he left behind him."
Q: "What do you want this film to inspire in the next generation?"
Harrison Ford: "Brilliant filmmakers!"
James Mangold: "That's a good short one. Yeah, we do our best just to try to kind of put something intricate these movies are really intricate clockwork mechanisms, and there's a tremendous amount of work, not just by me and Harrison, and not just the rest of the cast, but also there's incredible amount of skilled artisans working on these pictures top to bottom that make this kind of fantasy and world tour and the reality of it come to life."
Ethann Isadore: "I think the wildest thing was to know how to pilot a plane, and Harrison actually helped me, so I had pilot lesson from Harrison Ford, which is kind of amazing that is amazing."
Phoebe Waller-Bridge: "I had to learn a card trick, which I've completely forgotten now, but I had to do a kind of like, I had to do about three card things, which I can't even remember the names of them now. There was the pick a card one, but then there was the kind of the waterfall."
Ethann Isadore: "I thought it was CGI."
Phoebe Waller-Bridge: "Oh thank you. I was pretty familiar with (the franchise) in terms of just growing up, when it was always on at Christmas, and it was always the film that you know the whole family would sit down and watch. So yeah, I knew it pretty well. But it was amazing going back and re-watching it from a kind of, we're gonna make one of these point of views. This is the craft of it and the scale of it, knowing what you're going to jump into. Kind of shot a new light on as well for me. (Helena)'s morally ambiguous. I think it's escapism and fantasy, really. I love the idea of playing a woman who was an adventurer and who was fearless, and yeah she's after cash, and yes they will do anything in their power to get their hands on it, but to have this kind of team, this like little nefarious team running around the world nicking things for their own kind of benefit, yeah it felt good. Bonnie and Clyde, it felt good, a few less murders, but there used to be a line in the film about that, which was sadly lost actually. (One or two) lost lives, but we didn't quite murder anyone, did we?"
Ethann Isadore: "No, no, we didn't, only Nazis. Well, it was kind of amazing. I was always excited on set, and I think Teddy, like I pretty much identified to Teddy because he's a thief. I'm joking. No, because he is trying to be, he's trying to find his place between two adults, and he will admire Helena, and I admire Phoebe Waller-Bridge. So yeah, it was pretty fun to shoot this movie, and I was excited all the time. And we had so much fun. Well, I think I didn't know that I could get so excited."
Phoebe Waller-Bridge: "I didn't know anyone could get that excited. You made everyone else get ten times more excited all the time, whenever Ethan was on set."
Ethann Isadore: "There wasn't a day where I wasn't excited, and it was eight months long, and for eight months I was just like, wow this is happening! Whoa, I'm in an Indiana Jones movie!"
Phoebe Waller-Bridge: "I love all the energy that we only like fueled honestly."
Ethann Isadore: "Wasn't it tiring?"
Phoebe Waller-Bridge: "No, it was the opposite. We would get the note all the time from Jim that we had to stop smiling. He always had to tell us to stop smiling, remember? He was like, you're meant to be scared."
Shaunette Renee Wilson: "Oh yes, Foxy Brown, Pam Grier was literally plastered on my mood board, and it's just like the perfect kind of like homage to black women and action figures of that time. So I was so happy to step into it. I was glad that we went bigger and bigger with the fro, because it kind of started off a little tapered, a little closer, and then we're just like, you know what, if we're gonna make this statement, let's have a bigger fro, and the leather jacket and all of it. And I think it's a great way to show kind of like the trajectory of Indiana Jones, and to show the era that we're now in, and this is a beautiful representation of the 60s, the 70s."
Boyd Holbrook: "She's stunning on camera, and on film. There's something about (my character's) appearance that, you know, you have to lean into these, maybe call them cliches a little bit, but you know, I just try to figure out, like this guy is so devoted to Schmidt a.k.a. Voller, and why is that? And I just don't think that really anyone else would have this guy. And just that's the only thing I could latch on to the character."
Mads Mikkelsen: "That's so sad."
Boyd Holbrook: "Yeah it's so sad, it's so sad, and he's so dumb."
Mads Mikkelsen: "It's tricky, right? I mean I don't think (Voller)'s lost, but obviously he has a vision of the future that we don't share. And I think it might be coming from an honest place. But I think he's a hard man to forgive. But we don't know for sure what he wants to do when you get the thingy. You're not sure. And thus we can only cross our fingers that it's the right thing. I think, I mean there's a certain sense of reality to the character, meaning that they had people in America and in the Soviet Union that was old Nazis and scientists. And they brought them in, they closed their eyes, and didn't look at the past. So he's part of that world. (Mason) knows that as well, and she has to live with that pact with the devil. So they're real people in this sense. Here's this guy, he's very passionate about math and he sees a bright future if he gets his hands on the thingy."
Shaunette Renee Wilson: "I think (fighting) was more of like a mental combat that I was having personally, and also you know with Jim's help of dealing with personalities like the ones that Mason has to deal with. But running around was actually pretty fun. I love a good pursuit, and I would appreciate if someone didn't step on my feet."
Boyd Holbrook: "I'm all over the place."
Shaunette Renee Wilson: "But other than that it was pretty great."
Boyd Holbrook: "I'd say (to my character), man, they've changed some laws in California. You should go out there and have a sit, and have a chill. Take a smoke break. Hang out, maybe open your mind a little bit."

June 12, 2023
ESPINOF
Phoebe Waller-Bridge: "When there's a perfect synergy between a glorious character and an incredible actor, magic happens, and you never want to stop watching that person. And I think that justifies many, many movies of Indiana Jones, beyond this one I'd even say, if you're up for it."
Harrison Ford: "I think this is the last of the Indy movies. It certainly feels like a good place to stop with this series. We've done pretty much everything that we can do. But it's been a great ride, and I've had the opportunity to work with great people, Steven. We did a little work on the ending, which was the last thing that I shot, with Karen Allen, who has been a substantial part of the whole thing, but appears in this story only briefly at the end, but with a very strong emotional hook. I felt nostalgia. I felt a sense of accomplishment. Proud of the film, happy with the film. But like every good thing, there comes a right time to go on to something else. I really enjoyed the process of making this film. I'm very happy with it. So I left the set that day content. I could never figure out why I was wearing a leather jacket in the jungle, but that's enough of that."
Phoebe Waller-Bridge: "I particularly remember the holy grail, the moment you choose the correct holy grail, and that kind of blowing my mind, and the lesson learned from that, which is don't go for sparkly things. I remember that. Wish I'd really taken it in."

June 13, 2023
YAHOO ENTERTAINMENT
Harrison Ford: "As far as I knew, (Raiders) was a one-off. I didn't know that it was a script that someone else had read and was unable to take the job of Indiana Jones because of a contract, Tom Selleck. I mean, I didn't really have my head around anything but that job at work right there. I never thought of continuing on to make four films over 42 years now. But the opportunity came because the films were so satisfying for an audience, and they were made with such skill and ambition, and so I was delighted to be along for the ride. One thing I asked for in each of them was to further embrace a complication of the character. I wanted to know more about Indiana Jones. I wanted the things that he did to be generated out of his character, out of his nature, out of his experience. I didn't want it just to be pinned on like a merit badge. I wanted these films to inspire people, to make them laugh, to make them cry. And so for me it's been just an unbelievable experience to have this opportunity. And the last one, I wanted to be about character. I wanted it to be about what it's like to be an older archeologist."
James Mangold: "There's so many risks in (Raiders). It's such a wild anachronism. It's screwball, it's kind of comedic. It's about an archeologist who carries a whip, who is brilliant, but also scared of snakes, who can take on action, but kind of gets freaked out in social environments. It's such a bunch of contradictions that no one would go, that smells like a hit, George. It's such an amalgam of wonderfully eccentric things that, in the alchemy of this guy in the role and that guy directing and Larry Kasdan writing and George producing and guiding, something happened, which was bigger than the sum of the parts. And that thing is something that can instruct all of us who make movies now. And for me, there was the opportunity to be part of this world and try to understand that alchemy. But it's also an inspiration for the projects I do beyond the world of this franchise, which is that you can take these swings. They don't have to always make sense by the standard rules of the day of what a hero is or what a protagonist does."
Harrison Ford: "He'd push (modern day Nazi punchers) out of the way to get in the first punch. As well he should. That was a black-and-white world. This evil presented itself to the world. I mean, it's incalculable that this vision of evil not be confronted. To see a threat of it in 1969, to know that Wernher von Braun was a Nazi and worked for America on the space program after all we knew about his history and who he associated with. I mean, these are shades of gray in a world we'd thought was black and white."
Phoebe Waller-Bridge: "Harrison said to me quite early on, he was like, you are just doing all the (action) that I used to do 'cause I can't do them anymore. But then every time I was doing anything, Harrison was always there, on the wall next to me or in the boat (or) jumping out the plane. Like he did all the same stuff as me. I was like, this is not a passing of the baton. This is a war over it. He does not let go. It was amazing."
Shaunette Renee Wilson: "He'd just be jumping on a horse and galloping away. My mind was just like, what is happening? It was like the Indiana Jones (of old)."
Boyd Holbrook: "Yeah, try to get off the floor with hands cuffed and not touch the ground. Harrison's got the body of a 40-year-old, it's just bizarre. Unfortunate for me. Good for him."
Mads Mikkelsen: "Obviously his age has been mentioned a lot. But I think we underplay the talent we're dealing with. He's just a tremendously talented person and you don't think about (his age) one second when you're working with him. He's just a very talented man."

June 13, 2023
PEOPLE MAGAZINE
Harrison Ford: "It wasn't important for me to hang up the hat, but I mean literally it is my last Indiana Jones movie. I'm not to be tempted to do another, and I wanted it to feel that way. Well I wasn't looking for a sense of closure, I was just looking for a sense of roundness in the in the story of Indiana Jones. What does it say? (People magazine) says I was 'this summer's hottest hero (in 1984), but a new poll says you don't know his name.' And I'm sure that's true, because you took a poll and you found people did not know my name. I thought (Raiders) was a good leg up, and I thought the film was great, and I was working with Steven Spielberg. They know his name. And so I thought I was in good hands, and that this represented a kind of progress in my career. Since I had aged, the character needed to age, and we needed to acknowledge his age, and we had not, in the previous four films, age had not reached the point where it was worthy of consideration. You know, we're just doing the, telling stories. But I think when you get to be my age, it's worth considering age, because it has to color the story. Otherwise the story doesn't make sense. And I always wanted to see him when he did not have his youth. When he had become disillusioned, jaded perhaps, tired, and to see him rally for a last adventure. I was just trying to keep myself composed (at Cannes). There was very generous applause from the crowd. It was positive and humbling and nice. I am very gratified that I still have the opportunities that I have to work, and I owe that to the audience."

June 13, 2023
KTLA
Harrison Ford: "One hundred percent (of him is me), but also a hundred percent of him is not me. I use all of what I have, and there are people around to make sure that I do. But the character is so brilliantly conceived. I am not Indiana Jones, but Indiana Jones is me."

June 13, 2023
INVERSE
James Mangold: "I don't think (de-aging is) the future of movies. But I think it's another tool at our disposal. Prosthetic makeup was a kind of revolution when it arrived in full force with Dick Smith and Little Big Man and Planet of the Apes and all these incredible movies. I guess everyone could have said, is this the future? These are all tools that can be used or misused. The reality is that, one way or another, for better or for worse, almost all visual effects are now happening in a digital realm. So you can call them all CGI because they're no longer building models and making matte paintings, or if they're doing those things, they're building the models in a digital space or making the paintings in a digital space. To me, the opportunity was really not about the technology. The goal of the opening sequence of the movie was to give the audience a blast of the classic golden-age Indy I missed, and they miss: to have an adventure in the middle of World War II, good guys versus bad Nazis versus allies. (It was also an opportunity) for me to do my best version of Steven Spielberg, in a sense, my hero, and try to make a sequence as a kind of homage to those films. Then as that sequence ends, to land in the sobering reality of where we are in 1969 with our hero, who is now in his 70s. Part of that is to jolt the audience and to kind of go, oh, whoa, okay. One of the interesting early discussions I had with John Williams was how I imagined the movie would open and John would let the horses just run out of the barn. It would be full-on Indy. Classical Erich Korngold-style, Golden Age soundtrack. And then we land in what is almost the 70s New York. And in that conversation with John, I said, I don't know when we hear the Indy theme again. That's something you and I should figure out. When we land with him in New York, in a sense, he's not Indy anymore. He's just a guy at kind of the end of his teaching career in a bit of an existential crisis."

June 13, 2023
ENTERTAINMENT TONIGHT CANADA
Harrison Ford: "You talking to me? Yeah, I mean it's insane. Of course not. No, how could you imagine that you would be playing the same character 42 years later. It's impossible to believe. So no, I never had that thought. But it is amazing to me that that we're able still to make these films. I enjoy making them, and I thought this one was the perfect story to close out the series. So I was really pleased with the script that we had and the companions that were chosen to go along on the adventure with me."
Phoebe Waller-Bridge: "Well, I love that you can't hide when you're doing stunts and action and stuff. You just have to, you either throw yourself at the car or you don't, really. Or throw yourself out of a plane or into a cave, and there's something really honest about that, that I really really loved. Harrison was doing the exact same stuff with me side by side. I was exhausted, he was absolutely fine, didn't break sweat. And you taught me a thing or two about stunts."
Harrison Ford: "What you cannot teach anybody is to have the guts and the energy to throw yourself into it the way that Phoebe did. And on screen it's magic. It's great to see her in an action scene."
Phoebe Waller-Bridge: "Well, following your lead. And acting with wind and rain is my second and third best scene partners after Harrison."
Harrison Ford: "Thank you Anthony (Mackie) for your flattery. It unhinges me. I don't know what to say. I think Phoebe said it best. You've got to make it look messy. You've got to make it look real. And you've got to put the energy into it to make it look real. But it's all part of the technique. The main thing about doing stunts, or doing action, I don't call them stunts because stunt people do stunts, we do physical acting."
Phoebe Waller-Bridge: "See, still learning. Still learning."
Harrison Ford: "But the main thing is to not hurt anybody and not get hurt doing it because that delays the film. I know a little bit about delaying films. Well, I did suffer an injury on the second day of shooting. Tore a muscle in my shoulder and put me out of work for a while. But everybody soldiered on without me, and I caught up eventually."
Phoebe Waller-Bridge: "I was very proud of my bruises actually. I liked ending the day feeling like I've achieved something, and if I have a limp, then it's still an achievement. I but I did learn the important thing with the action in this one was that it feels very character-led, the way your character moves and reacts to violence or a chase or any of that has to come from who they are, and I think Helena is someone who doesn't look before she leaps. She doesn't know if she's capable, she just does it anyway, and I love that about that character. So she's not slick, thank God, because I wouldn't have got the part if that was a requirement. She's not sort of slick or cool in any way, but she has a real chutzpah. She really just throws herself at it. And I remember you saying it's really important to keep yourself really kind of like floppy, almost like you're drunk when you're in the middle of a fight scene or something, rather than being really tense. Because the more tense you are and the more prepared you think you feel, the more you can actually hurt yourself, and actually you kind of just got to be a little bit like this."

June 13, 2023
EXTRA TV
Harrison Ford: (At the start of each day of production) "Let's shoot this piece of s***."
James Mangold: "It just means that we get going and get on with it."
Harrison Ford: "It's not denigration. It's a call to arms. Okay now we're gonna do this."
James Mangold: "Only in a more colorful way."
Harrison Ford: "No, of course I didn't (think I'd be here). Why would you go there? I was really happy to make Raiders of the Lost Ark. Whoa, you mean we get to do another one? Oh, okay. Great. And then, We get to do another one? Oh, wow. Let's learn something new about the character. To have a piece of work embraced by so many people for such a long period of time. for me, it's a psychological burden. I can't believe that I have provided some small modicum of joy in people's lives to the extent apparent. And it fills me with immeasurable joy to have my life spent doing that kind of thing. Just to be a part of this incredible mechanism of storytelling. Clearly, I've wasted my life. Oh, (a reporter at Cannes said was hot?) Where is she? People say strange things to you when you do these things, and the most important thing is to listen to what they're really saying, and when they stop, to give them an answer. But the question took so much time, there was no time to answer it. Listen, I'm very grateful. She was saying something, trying to say something nice to an old man and I thought that's really sweet lady, thank you."
James Mangold: "He arrives every day, he's looking over the pages going, what if I do this here? That's not coming just from restlessness. He's not playing a crossword puzzle. He's still trying to make it better at every last moment until we can't friggin' shoot anymore. And that comes from a drive that is, I don't call it pressure, but it's, we're so lucky to be playing in this sandbox. And we know that we're lucky and we better be working hard."
Harrison Ford: "I'm just getting started, man. Look, I never had a higher ambition than to make a living as an actor. I never, I never, I wanted to live different lives, experience, to think about and experience other lives other than the one I actually have. So for me, storytelling was my entrance, my way of figuring out the very complex world I live in. And I love telling stories. I like part of being a comma in a great story, that one comma can change the rhythm of the thing. It's an incredible gift that I've been given to be in this place at this time, and to have these people to bump into, and they gave me this and that and the other thing. And it's still happening. It's because this is a public service occupation, storytelling. It ennobles you. It gives you something out of yourself to establish context, meaning."
Q: "What are your friends doing at 81?"
Harrison Ford: "They f***ing play golf!"

June 13, 2023
SIRIUS XM SATELLITE RADIO
James Mangold: "We just did it (de-aging). We just gambled that the technology was going to keep improving with what previous efforts were. I mean, it wasn't complicated to shoot in the sense that we just shot it. Harrison put on the outfit and played younger and I shot him and we fixed it. It was like in terms of making him younger. One of the nice things about the way the technology has progressed, is I didn't have to, everything wasn't a hundred dots and levers and three 35 takes with 19 cameras. We shot it like I just tried to channel my best version of my mentors, kind of old school filmmaking style and do an opening. And also I think we wanted to give the audience a blast right at the start, a taste of what I think we cherish about those early films, before we pull the rug out from under you in a way, and encounter Indy in a different circumstance. Because it says two things, one is we know what you want and we're gonna get there, but we're gonna take a left turn first. But we know how to make the dish you're craving. Here's a little of it. So all those things were part of the stew, but technologically it was actually just me and Harrison and Mads and the other wonderful players in that sequence, just having a hell of a time running around on a train shooting these sequences. They built everything, you know, obviously the advantage we have, there's several advantages we have. One is Harrison's a magnificent actor and knows how to kind of transform himself and can make adjustments. Two, okay he's in pain already, but two, I'll move on, two is that unlike a lot of other situations you could encounter, he's not a pound, weighs not a pound more than he did 45 years ago. So the ability to skin this stuff onto him is incredible. There doesn't require a lot of distortion fields, if you will. And then the third is that where we're operating from, what we're drawing the imagery from, obviously there's been four movies made, three in the right age range, where there's massive amounts of footage shot in this character of him in this age, which provided us 24 frames a second. I'm not just talking about what's in the movie, but dailies, everything you have in a massive amount of data to draw this from. So our ability to take what Harrison was doing, soulfully with his eyes with an expression, and find it and find a way to pull it from the past, was really aided by all those things. That's all we wanted. I mean, we wanted to feel like you dropped into one of the older pictures. That was it."
Harrison Ford: "It was fun for me to see how well it worked, because I feel very strongly it's the best example of de-aging, if you will, that we've seen yet. It's not a Photoshopping kind of thing, it really is my face from 40 years ago. I mean, I was gratified that it worked, and I'm very happy about it as a dramatic device, because of where we're going to go with this character. I thought it was a great way to start."
Q: "No pressure?"
James Mangold: "None. One of the great pearls from (Spielberg) was just thinking of an Indiana Jones film in its entirety as a kind of two-hour trailer. That no scene can last too long, and as everyone here knows, I was probably following that to the, can we just, can we just, you know, always looking to try and kind of keep things moving. But Steven was also, I mean in a way, Steven and I spoke probably every two weeks at the longest. When I was shooting, he was shooting Fabelmans when we were making the movie, and he'd be watching our dailies, and we'd be talking, and he was involved obviously as Jez and John Henry Butterworth and I worked on the script. So his advice was never-ending, meaning it was an ongoing relationship, and was one of the main reasons I wanted to do the film. Separate from my friendship with Harrison and my admiration for him was the idea for me of working with a hero of mine, who I never really, you know, working together is a very different thing than meeting someone. And you really get to know people working together. And for me the opportunity to collaborate with Harrison, with Steven, with Kathy Kennedy, with John Williams, was kind of talking to someone who at 13, 14 years of age was lying on his bedroom floor with a Star Wars soundtrack playing, reading Cinemagic magazine about all these guys and what they were up to, find myself not only being a movie director, but actually collaborating with these people, was enormous. And Steven in particular has been giving me advice all his life without me knowing him. I've been watching his movies closely."

June 14, 2023
SCREEN RANT
Harrison Ford: "Now you know how I feel, being in the same frame with Phoebe Waller-Bridge."
Q: "Both you guys are so beautiful."
Harrison Ford: "Thank you. Thank you. I guess you're talking about me."
Phoebe Waller-Bridge: "You're just gorgeous."
Harrison Ford: "Well, as much as we've come to know the character, and through his experiences and his relationships, this is the last Indiana Jones song for me. So I wanted to deal with the end of his career. I wanted to deal with his age, and a less physical capacity is available to him. And he's also ending his academic career, which has not been the high point of his life. So he's a bit damped down in spirit until he's challenged by the character that Phoebe plays. And in the context of that relationship, he learns to love and laugh and live again."
Q: "What did you want to bring to stand out from past Indiana Jones allies?"
Phoebe Waller-Bridge: "I think the script did a lot of that for me, because she was a very unique character on the page. And I just loved how layered she was in terms of her moral ambiguity. And that was very appealing to me. There was somebody who clearly has a heart, and clearly has a longing for friendship, companionship, and family. But that's buried so deep below her bravado and her apparent need for cash, which is the real love story in her mind at the beginning, is between Helena and cash. I just thought she was really interesting, and she was also a product of her time. She was in the late 60s. She was very um independent. She was a survivor from having had no parents growing up, having been abandoned by her godfather even. So I thought being able to skate between those two lines of someone who's like grappling with something really good and pure, and also can't help but have a real taste for the nefarious, is a really fun ride to be on."
Q: "Sean Connery said the key to playing James Bond was to make it look effortless. What's the key to playing Indiana Jones?"
Harrison Ford: "The opposite. To make the audience understand that the physical challenges, the emotional challenges, the overcoming of fear, the overcoming of just how you can believe the circumstances you've gotten yourself in and how you might work your way out of them, is a big part of the story. I forgot what the question is. Thank you so much."
Q: "I was transported in time."
James Mangold: "That's how I felt making it."
Q: "Did you and Ford start talking about Indiana on Call of the Wild?"
James Mangold: "We did a little. We did a little. I mean, obviously you can't be hanging during all night shoots in the middle of this Santa Clarita Valley, waiting for lighting setups to get completed, and not start interviewing Harrison Ford with crazy Star Wars questions and Indy questions. And obviously somewhere around 2 a.m. he'd start telling stories about what they were thinking of next and what they were working on. Little did I know it would end up being me."
Q: "It needs action, adventure, history, mystery, with a pinch of horror."
James Mangold: "You're missing comedy. Where's the comedy in that list? Way up the list. I think that, but yes, I agree, it is a stew, it is a lot of things and a lot to manage. Because comedy and thrills and heart and adventure and spectacle, all of these things work in harmony, but also can contradict each other. This is not a movie where I set out to kind of make it my own, in the sense that my first responsibility, and it was kind of the opportunity of this movie. Steven's been a hero of mine all my life so in a sense, the make it your own happens naturally. Miles Davis can't play a trumpet the same way another person can. And even if they're playing the same melody. So the reality is, the me part was going to come out, but the part I was most interested in was the collaboration. And the idea, you're talking about a filmmaker who's been in my mind whispering in my ear since I started making movies 35 years ago, even as a Super 8 filmmaker as a teenager. So the idea of actually collaborating with him, of actually getting to spend time with him, developing a script, talking to him every week or two while I'm shooting, and having him in the cutting room, these were gigantic opportunities to actually not just meet your heroes but collaborate with them. To me the idea had to be, what you always have to do in any movie, even if it's a sequel, is establish a problem and then solve it. And I think it's the thing fans have the most struggle with sometimes, because they're like why does my hero have to have a problem? And I'm like, because it's kind of the number one rule of drama. Like, if they don't have a problem, they're just a mannequin in an outfit plunging through one spectacle after another. But for me, the problem or challenge for Indiana Jones, given my actor was almost 80 and we were playing Indiana Jones in his 70s, was the idea of what is it to be a hero at sunset? How do you find a graceful way to live your life in that last chapter, and especially when you're living in a world where merchandising and commercialization and rock and roll and moon landings and realpolitik and nuclear threats have really eradicated the clear lines of the world we knew in the 30s and 40s when Indy's kind of glory period occurred. The world was really simple. Nazis bad, Allies good. And the battles were so simple. But now he's in a world that is eminently more complex and we can't pretend it isn't. I never really thought about separating (Phoebe) from the other (female leads). I actually thought about just being of that type, Karen Allen being the archetype. Karen's entrance into the movie is knocking Indy flat on the floor, rejecting him, and out drinking him. The brassy aspects I was really interested in. Phoebe will talk about it, but I had mentioned and when we were writing, I had this idea of Barbara Stanwyck in the classic Preston Sturgis movie, The Lady Eve, who is both charming and you love her, but she's also a con woman. She's taking Henry Fonda for a complete ride, but you know she has a heart and, of course, she ends up falling in love with him. So it's this beautiful set of contradictions in the character, not unlike Indy's contradictions. Both Harrison and I had been watching Fleabag at the time I was first coming on this movie, and there was no one on my mind more. The idea that she would be an incredibly fresh choice. Which always the female leads in the movie had been someone new I hadn't really seen much before, I felt would be really exciting. (Operation Paperclip) almost came from the mechanical challenge of how do I get Nazis in the United States and under what auspices were they working with? Given that Indy's in his 70s and I knew we were playing the movie in the late 60s, it suddenly occurred to me, we had the moon landing and Verner von Braun and all he contributed to American rocketry and NASA. That gave me a little bit of a launching pad with Jez and John-Henry Butterworth as we set out to write the script of how you could have a Nazi genius in the United States helping us do what was going on at that time, based on historical fact, but also perhaps having his own agenda."
Mads Mikkelsen: "We can only do that much. It's in the stories, in the script. So we lean towards that of course. I mean, this guy, he's a scientist, he's a mathematician, and that's his entire life. Unfortunately, he's also a member of a party. But if it was only the science, that would be a nice day. But if you can combine the two of them it's a great day."
Boyd Holbrook: "Well, I think mine's probably pretty more evident, obvious. I'm basically Mads's lap dog who will do anything. If there's a moral compass, I am the opposite of that. And I think devotee to Thomas's character."
Shaunette Renee Wilson: "I am a representative of the US government, I guess. Voller or Schmidt is working on, has worked with our government getting Americans to the moon. And he's a scientist, he's a mathematician. And this seems to be a bit of an offshoot of what we were initially engaged with. And I don't really like to work with them. I don't really appreciate the kind of things I think they represent. And I'm pretty much just following orders. But it kind of gets out of hand. (This) means a great deal. You really don't see characters that look like me represented in the franchise, and I think it was a great way to be seen in this part, and to be able to engage with nearly all the superstars in this movie. I'm yelling and interrogating Harrison Ford essentially, I'm working with Boyd, I'm working with Mads. And it's a beautiful expression of good artistry and great acting. And I think I was just able to just be a succubus in those in those um those days on set."
Boyd Holbrook: "(We learned how) passionate (Ford) is. There was no scene that he would move on from unless he knew that that was it, and we got what we needed. I was most impressed in the energy level this guy has to go on a sort of marathon like this. You need to be prepared for that."
Shaunette Renee Wilson: "His inner child is firing at all times. It's just so playful, riding his bike to set from the trailers. It's just like that energy, you want to have that kind of longevity, as a person, as an actor."
Mads Mikkelsen: "(Difficulties) stuntwise, not too many for me. There's one in the beginning where I'm on a train. I get smacked in the face by a sign, and we did that again and again. It's something you have to do again and again. Eventually you land on the same elbow again and again, and eventually you just want to go home. So that was the one for me."
Shaunette Renee Wilson: "(Mangold is) just so incredibly intentional about the relationships and interpersonal relationships of these characters. You look at a movie like this, it's such a large scale and scope, and the sequences, the action sequences and everything. But he's able to fine-tune it to beat by beat moments, and to really investigate what's on the page, and investigate the dialogue. So I think that was just remarkable to be able to get a greater sense of the character even in the moment as we were shooting."

June 14, 2023
PRESS CONFERENCE
James Mangold: "One of the most beautiful aspects of all the Indiana Jones films - and I think led by Harrison's performance all these years - is humour, charm, a kind of screwball adventure, a love of Golden Age films, particularly romps, around the world romps; these were the inspirations to the filmmakers who first started laying out these films. I had a star who was in his 70s. So it's clear that we can't deny reality, as Harrison has said. Indy's older. We had to focus on what that is. And to me, that's a question that doesn't get asked very often: what is it to be someone who's led such a dynamic life, who's seen so much, who's conquered and won and survived adversity and odds - but then life descends into normalcy, and the world moves on, and those adventures aren't presenting themselves anymore, or you're not even necessarily ready for them. Those questions can sound grim, but they also are the first chapter in a story about a guy who goes on one last ride. So that, to me, all seemed really interesting, and the opposite strategy in a way - although the externals are the same with Logan - which was that this is about his awakening, and about a character coming out of a slumber having been numbed by the way the world has maybe passed him by."

June 14, 2023
COMICBOOK DOT COM
Harrison Ford: "I don't remember what people thought (about Raiders). I do remember what I thought. I remember that there was that pleasure. There was pleasure. There was laughter, there was popcorn being sold and people were happy and families were going. I was very excited. Well, we've both been written characters that are in contest, so banter for the sake of itself is often not so satisfying. But these are all, it's full of story. I mean, the relationship is characterized by the story that we're involved in, the quest that we're on, and by her personality disorder. But also by the wit of our screenwriters. And we're lucky to have characters written that have a real contest. It's not just bitchy talk, there's some real substance between these things."
Phoebe Waller-Bridge: "Whereas in real life, it's just bitchy talk between the two of us. That's all it is. Oh, my God. (Halloween costumes) would be amazing. Yes. I mean, I think if they mimic Helena a little too closely it might be wallets people are losing rather than sweets they're giving away at Halloween. But I wish I'd seen Helena. I mean, luckily I had Marion, but I also wish I'd seen Helena, because she's complicated and she's a match for him. But she also has her own agenda. She's an opportunist. She sees Indy unsentimentally as her godfather and very much as an opportunity to help her get what she wants. And the fun thing is having two people have to go on an adventure and they have to work together when everything in them wants to actually be apart from each other. It's sort of the perfect spice for comedy."
Harrison Ford: "Can I just say, you really enjoyed the movie? I know."
James Mangold: "Well, I think the simplest level is movies are all about people and I've gotten to know everybody involved in all walks of life at Lucasfilm and Disney and that certainly makes it easier. The amount of trust and the amount of the freedom they give you to me is honestly the most important aspect of making a movie like this. Because where big movies can get into trouble is when they become committee films. And we all know what those films feel like and look like and to me, they're not only, I don't enjoy those kinds of movies so much, but on another level, I certainly don't want to make one because I don't feel connected to what I'm doing. I'm just performing a service, enacting what a committee has come up with. For me, if I'm not involved in the writing and what the story is, I don't know why I'm there directing it. Well, you rely on (the actors), they're a great source of wisdom about how the character works. But also in a sense, how you direct them also indicates, I mean, they want the dialogue because the actor brings their character and how they play them, but they also have a series of choices. The main job I always think of for me, on a movie, is tone. What is the tone of this picture? How does the tone of this movie work? And that ends up intersecting with character choices, meaning which kind of Indiana Jones are we going to come upon? My hope, because the tone of Indiana Jones movies in the past is so wild and zig-zaggy and almost changing and shifting even with the same film, is it was to give the audience that rollercoaster ride. For instance, the first almost 25 minutes of the movie is in the 1940s and our best effort to make a new old Indiana Jones movie and give you a blast of what it is you probably miss about those pictures. And then to drop off a cliff and land in the late '60s and find Indy in his seventies in a different situation. Well, I think it's important to remind everyone we made this movie in a total lockdown period of COVID and the idea of making a globe-trotting adventure film in a period of worldwide pandemic, I have to take my hats off to the production staff, the ADs, the location people who were always ahead of us trying to figure out. At one point, we weren't going to Morocco, we were going to India, and then the level of the pandemic in India meant to rewrite our way to Morocco. And that the entire picture was made in a time of such tumult. And no better example would be than the incredible production staff I had making the movie who had to keep navigating and changing plans and forging forward at a time where even just simple air travel was really hard. And if you traveled somewhere, you then had to be quarantined for a week. And all that had to be figured into the whole arrangement. I don't even see it anymore. I've forgotten. Now that I'm mentioning it, I'm remembering, wow, that was hell. Well, certainly myself and my co-writers on the picture, we discussed (the ending) a lot. But it's not really so controversial, these movies have a very elegant form. The relic always defines the third act and the power of the relic defines the magic of the movie. So whether you're talking about the Ark of the Covenant or you're talking about the Holy Grail, or at all, we can talk about all of them, but whatever goes down in the third act is usually some kind of reaction to the magic and power and mysticism possessed by the relic itself. And usually pretty mind-blowing. I mean, even the original Raiders I think was a pretty big swing in terms of chasing this tablet through the desert for two hours and then suddenly someone opens this box and the movie turns into Poltergeist or Close Encounters of the Third Kind. It was kind of a massive shift, but a beautiful one and one that in a way forced Indiana Jones to confront, as a scientist, something he could not explain. And I think that has become a staple of all the movies, that each movie ends up culminating with a kind of event, a kind of magical, inexplicable event that forces this doctor, this scientist to suddenly have to wrestle with how he's going to explain this with simple logic. It's on this day (42 years ago) that I went and saw it in Middletown, New York at the Orange County Cinema. I was alone on the first matinee. And blown away. It's crazy. I mean, on the simplest level, if you go back to the 17-year-old sitting there, I knew I wanted to be a movie director, although seeing Raiders was only galvanizing that feeling. But if you told me that I'd be making a movie with those people on the screen, that would blow my mind."
Boyd Holbrook: "The budgets and the scale (of Indy 5 and Logan) are pretty similar, but Jim has an incredible way of making everything extremely intimate. And that's why I think his movies are so good is because they're rooted in a humanity of the characters and everyone's got a relationship, my character between Shaunette, and of course with Mads' character. Yeah, it's not that different, but he has a great way of just making and tracking those relationships throughout and yeah, he's the master at that."
Q: "Join another franchise?"
Mads Mikkelsen: "My first Nazi. It was due. No, I mean, it's wrapping up this franchise, it's wrapping up the beautiful journey of Harrison and Indiana Jones, and the script was just so beautiful and so touching, so that helped a lot. But he could have said, Indiana Jones, Nazi, and I would've said, yes."
Shaunette Renee Wilson: "I think it was wonderful having Jim as someone to communicate with and talk a little bit about it. This isn't a situation that she ever thought she would be in or necessarily wants to be in, kind of like following orders. And then she's kind of thrust into more of a leadership role and has to wrangle these guys. And it seems that things are just getting way out of hand and way out of what she would ever perceive to have happen. And so trying to just take it moment by moment, this is the agenda right now. They're messing it up, but I'm trying to focus in on this one thing. And I think the scale just keeps growing bigger and bigger and bigger. And to show that struggle and to show that things are not going as to plan was just really fun."
Boyd Holbrook: "Yeah. (Seeing Ford as Indy was) pretty surreal."
Shaunette Renee Wilson: "I geek out watching because I don't think he got into the outfit when I was shooting with them."
Boyd Holbrook: "Yeah. The first time, it was in Sicily and he was just hanging out on the wall, just leaning, just hanging out."
Mads Mikkelsen: "I'm old enough that (Raiders) came out when I was a teenager. I did not go to the movies. I waited when it came out on a DVD and my brother and me, we rented it together with five other films and we ended up watching Indiana Jones five times."
Shaunette Renee Wilson: "I probably watched it the first time as a kid with my brother and maybe my dad on some old AMC channel back in Brooklyn, and was just enthralled by the adventure and the stunts and the scope of what the film is."

June 14, 2023
LUCASFILM FEATURETTE
Steven Spielberg: "The first time I saw Raiders of the Lost Ark with an audience, the movie played better than I ever imagined it could."
James Mangold: "It was entertaining, fun, and incredibly inspiring."
Harrison Ford: "It was a very exciting story to tell. I was really happy."
Antonio Banderas: "I remember exactly the cinema name and the afternoon that I went to see the first Indiana Jones."
Phoebe Waller-Bridge: "I just remember it always being on. Just awe and excitement and danger."
Boyd Holbrook: "This is the franchise that I grew up watching."
Steven Spielberg: "Indiana Jones movies would not exist in people's hearts and imaginations without Harrison Ford."
Ke Huy Quan: "Nobody can play Indiana Jones but him."
Kathleen Kennedy: "We talk about what is quintessentially Indy? It's a combination of feeling like it's grounded in something historical, but then the adventures sit right on the edge of the supernatural."
Harrison Ford: "And I'm delighted that there still is an interest in the character and the kinds of stories that we tell. I'm thrilled. Feels great to be back as Indiana Jones."
James Mangold: "To have a chance as a director to collaborate with Harrison is beyond thrilling."
Harrison Ford: "He's about to stumble into his last great adventure."
Kathleen Kennedy: "It takes you right back to what it is that makes the Indy series so unique and so much fun."

June 14, 2023
SKEWED AND REVIEWED
James Mangold: "Mathematically, (1969) would match the age we were playing Harrison. You had a timeline of movies and what age he was in the previous pictures, so you're tracking your movie star's age and your character's age. One way or another it was going to put us in the late 60s or maybe early 70s. So I chose 1969 simply because our villain who's modeled after Werner Von Braun, who was a famous Nazi rocket scientist who came to this country and helped us with our Apollo program and our rocket program at Nasa, is a character that I thought was very interesting to show even from a historical basis. Some pretty brilliant Nazi minds had managed to make a home in America and a life for themselves and embed themselves in the system that reveals itself in our movie. The title refers to the Antikythera which is a still a mysterious object believed to have been built, or many suspect built, by Archimedes. That is this heavily geared almost clock-like mechanism that was found in a Roman ship deep below the sea, and there's been all these assumptions, what this thing was built for and why Archimedes built it. And some of the assumptions are that it was some attempt to understand the way time itself works."
LOS ANGELES RED CARPET
Phoebe Waller-Bridge: "Oh my God, we've been sitting on this film for so long, I'm so excited for it to come out, and it's such a ride and it's such an adventure and I'm just so happy to be in with an audience experiencing it. It's very hard to describe because it feels incredibly surreal, but also like the gravitas of it is I'm reminded of that every day with every poster I see and every fan that I meet of the movies. And you just hope we haven't messed it up. I don't think we have. I think Jim has done an amazing, amazing beautiful, beautiful job. And there are so many beautiful Easter eggs in there from the original films, and so many tips of the hat, all the way through, and I think it really is just a really special movie. Well this is where it belongs (at a theater), this is how we're supposed to see it, and some movies are shot to be seen this big, and even when we were shooting when you see these like crash zoom close-ups of Harrison and he's like, this way, you're just like yeah, you want it to be huge. So I can't wait to see it. I mean the whole crew just melted when he came out in the outfit for the first time. I think we've been filming for about a month and we were in Sicily, and maybe more that the month, but he walked out to set very casually and we were just like, and then the only note I got for the rest of the day was to stop smiling behind him, because I was just like even though we were meant to be going into a terrifying cave, I was like, heh."
Harrison Ford: "I'm celebrating this film and this installment, but I'm also celebrating all of those people (fans) who have kept us making these movies for 42 years, and whom I owe everything. And I really hope that they like our movie. That's very important to me, the kind of film that is passed on from generation to generation is the kind of film that I grew up and treasured. That family aspect of these films I think is one of the most important things to me, because we've gone from generation to generation through the agency of family. I mean, you can't you can't ask for anything more."

June 14, 2023
ENTERTAINMENT TONIGHT LOS ANGELES RED CARPET
Phoebe Waller-Bridge: "Are they (everyone hoping for a continuation with Helena)? You know, I think Indiana Jones movies depend entirely on the existence of Indiana Jones. So if Helena does have another life, I don't know what world that would be in, but I'd be excited to see."
Harrison Ford: "I'd like to spend a little bit more time at home, frankly. I love making movies, I've been making movies for longer than even 42 years and, my work is really important to me. I really appreciate the opportunity to do it - my wife granted me that opportunity. But I've been working a lot lately so I might be due for a bit of a rest. They don't need my blessing (for remakes). If they want to do that they do that. He's not a hero-hero with a cape (and) a nice lycra suit - he's a flawed human being that behaves sometimes in ways that are appropriate and some ways that are not. But this film is about that, about that aspect of his life and his personality."

June 14, 2023
DEADLINE LOS ANGELES RED CARPET
Phoebe Waller-Bridge: "It was not something I ever imagined I'd be a part of, so every single day felt like a dream. Reading that script, just realizing what they've done, and the gravitas that Jim's brought to it, the Butterworth brothers have brought to it in the script. It's just a beautiful, beautiful closing chapter and I'm so proud to be part of it."
Q: "Take over the franchise?"
Phoebe Waller-Bridge: "First, I ever heard of it!"
John Rhys-Davies: "Do I believe that great franchises like this will willingly die? No. Do I believe that Harrison could be tricked out of retirement to do another one? Yeah, well, there's nothing like somebody else having a go at it to make you get out of your retirement. No, I don't know. He says no. And maybe there isn't another good story. What's held these things up for years is that Harrison couldn't find a good story that was strong enough to make. Otherwise we'd have done one in 82 or 83 and then another one in 87 or 88. But these questions are not for humble actors to ask. But if called upon, I will return in my wheelchair. An old Sallah saying, wait a minute!"
Harrison Ford: "It was a treat. It was a great pleasure. I'd always wanted to do a film about Indiana Jones towards the end of his life, and Jim Mangold developed a script that got us to a point where I really had the best time making this film, it's really been fun."
Q: "Are you sure this is the end? John Rhys-Davies thinks you can be convinced otherwise."
Harrison Ford: "No. Not really."
Boyd Holbrook: "(Ford) hits a lot harder than you'd think. He gets a little loose. Those elbows go everywhere. He's incredible. I don't know a lot of people at 65 who could be doing what Harrison's doing. He's the robotic man. You can't kill this guy. You can't. They tried. He's tried on himself actually. He's broken almost every bone in his body but you just can't get rid of him."

June 14, 2023
THE TIMES UK LOS ANGELES RED CARPET
Phoebe Waller-Bridge: "(It's a) beautiful closing chapter, something I'd never imagined I'd be a part of. So every single day felt like a dream. I don't think it should be (revived without Ford). I think he is Indiana Jones and I think Indiana Jones is him. Whatever magic chemistry happened between that script and Steven Spielberg and Harrison Ford is a perfect moment in cinematic history. He's been very clear that he's not coming back. But then, you know, he's a man of surprises. But I do feel like this is the perfect ending. I think he really feels that too. So I don't think he'll come back."
Harrison Ford: "Would I lie to you? Never. No, this is my last. This is my last. I think we've completed what I wanted to do with the character. If anybody else decides they want to do whatever they want to do, I'm done."

June 14, 2023
VARIETY LOS ANGELES RED CARPET
James Mangold: "I think the point I had was that when I came on, I wanted to capture that wonderful energy between Indy and an intrepid female character. So that was my first goal, and there's only so many people you can edge into a picture. One of the things that was most heartwarming to me about making this film, they always say never meet your heroes, this movie just proves that adage wrong to me. I've been surrounded by such warmth and support. So long ago, Steven was part of the screenwriting process. We spoke every week cause I was shooting. And certainly in the cutting room he was there more times that I can count. Hanging out, coming by, just chilling in the cutting room watching what I'm up to, offering a few tidbits and heading off. So I never felt nervous, because I felt like I was making a movie with not only a hero, but a friend and a profound mentor."
Harrison Ford: "It took us five years to get to the script where everybody was happy. It was straightforward but it had a degree of complication that was, I think, really interesting. It's about things that we have not talked about before, and some things we have. But it's about a lot of things. It's about facing the challenge of age, it's about persistence, it's about honesty, it's about family values, it's about, well go see it, you'll find out what it's about. People are dependent on us to wring every last drop of goodness out of a script that they put their hearts into. I do physical acting. I run, jump, fall down, roll around on the floor with sweaty men."
Phoebe Waller-Bridge: "Hey, I dunno. Listen, if (a spinoff is) anything like this adventure, hell yeah."
Ke Huy Quan: "You need to ask Steven (about a spinoff), Kathy, George, all the people that have the power to make it. I love Short Round. What a great character. I would like to think he's following in Indiana Jones' footsteps. It would be incredible, it would be amazing to revisit that character."
Toby Jones: "Everything's pretty terrifying when you're eighty years old. (Ford) was kind of injured. He's been very seriously injured. You sort of have to take that seriously. And it's trying to remind him to take it seriously."
Thomas Kretschmann: "I grew up in East Germany. I escaped in 1983. The first movie I saw was Blade Runner. Til today, it's my favorite movie."

June 14, 2023
LOS ANGELES PREMIERE
James Mangold: "Hello everyone, and what a delight and an honor to join this illustrious crew and the people I'm about to introduce on this stage. It is a thrill to be showing Indiana Jones and the Dial of Destiny for the first time to you guys. I can't wait for you to see it. This is a movie, as they all have been made, of love. Love of golden age films, love of serials, love of cinema, love of this character and all his wonderful contradictions, love of science and also just love of filmmaking. And I have to say in the briefest possible way that my experience making this movie, welcomed into this wonderful crew and the people I'm about to introduce, has been one of the most moving experiences of my life. I got to work with my heroes. How many people get to do that? And it's one of the great honors of mine."
Steven Spielberg: "Okay, one last thing. There are three indispensable people without whom none of us would be here tonight. And that starts with the person who created Indiana Jones, George Lucas. The person who is Indiana Jones, Harrison Ford. And the person who is the glue to all five of these films, that gave us all of our rhythm and all of our melody, the great maestro John Williams."
John Williams: "Thank you so much. This is a joy, a joy to be with you today with our orchestra. I love it because you will hear the orchestra all through this marvelous movie tonight. You'll hear their brilliant playing. Each one is a great virtue also in their own right and you can see them here today and discover that they're actually people. So we have to bring all these forces together with all of you. What a treat. We have a little tradition with Indiana Jones, which is that Indy has his music, and we hit all the various moods that he has and his action scenes and comedy. So many modes and varieties of his music. It's always there. The other part of the tradition is we usually have a theme for the heroine of the leading lady. In this film we have Phoebe Waller-Bridge who has the most brilliant duet between Harrison and Phoebe, as they do their wonderful witty dialogue and action and comedy and jeopardy and all the wonderful things that they do brilliantly. And Jim Mangold said to me at the beginning of this work on the film, he said John, you have to write a great theme for Phoebe. And Phoebe will be represented musically by a kind of lyrical piece reminiscent of the of the 40s and 50s old Hollywood. What an opportunity. And I'd love to play now the theme. Phoebe is a character called Helena in the film. This is Helena's theme. This is really all about Phoebe. Not all parts of her but a lot of it. This is a lyrical presentation of Helena's theme."

June 15, 2023
LUCASFILM: THIS WEEK IN STAR WARS
Shaunette Renee Wilson: "Seeing 1969 New York City (was a highlight). I'm from New York, so kind of like literally time travel. yeah that was just like, oh wow."
Phoebe Waller-Bridge: "You rolling up your script and hitting me around the head with it on our first day, do you remember that?"
Harrison Ford: "No."
Phoebe Waller-Bridge: "It was actually our first scene (working) together. And it was quite a quiet scene. And I said, I feel a little nervous, if I ever do anything rubbish, please tell me and just I'll do it again. And then I was like okay, I just need to kind of get out of myself a little bit, get out of my head, and then you rolled out your script and you went boosh. 'Did that help?' And then you got up and you walked past me and you squeezed my shoulder and you went, 'you're doing good kid.' And I died."
Harrison Ford: "I don't know who this guy is."
Ehtann Isadore: "From my first day, well to see the actual dial, Phoebe showed it to me and I was really excited because I've never seen it before. It was amazing and I felt like wow, I'm in an adventure movie."
James Mangold: "My memory was just the spectacle that we saw, and how oh my God, I only have 150 of these to go."
Mads Mikkelsen: "We were not shooting that day, it was just supposed to go through the script. But we were also trying out the costumes, and then I went outside my trailer and Harrison went outside, that was the first time I met him. But he wasn't Harrison, it was Indiana Jones. You had the hat, the whip, the jacket"
Boyd Holbrook: "I see somebody come up to my peripheral and it's Harrison. He says, I love what you're doing. And that kind of made it real and took away a lot of the pressure, or you know when am I going to meet Harrison, how's that going to go, just kind of really normalized everything and made you feel like you're part of the gang."
Harrison Ford: "I was just thrilled to be back. The first day, you are facing an enormous pile of work and you know it's a huge job. I was just gratified to feel on my first day that I was surrounded by people that were going to really help me through this job. I just could feel the fit was good at the beginning."
Ethann Isadore: "I took a rope because there's a scene on the boat (where I'm learning how tie knots). So I kept one. I also had a gift from Phoebe and Harrison. They gave me a guitar and they signed it so every time I feel a bit bad, I look at it I'm like okay life is actually good."
Boyd Holbrook: "I'm a little bit of a klepto. I take like little knickknacks. I took some stuff from the boat. The boat had quite the cool things. I've got some dice. Yeah, got one of those fake rocks."
Phoebe Waller-Bridge: "Quite a few of these (decorations) are mine. Boulders and yes, I saved that one for you Harrison."
Harrison Ford: "Thank you."
Phoebe Waller-Bridge: "I love this one. The Lucasfilm one is actually my bed head."
James Mangold: "The real mementos you take are impossible to quantify. For me, the chance and the opportunity, the real thing I've taken home from this, and probably the biggest reason I made the picture, was the chance to collaborate with my heroes and have real relationships with them."
Shaunette Renee Wilson: "I didn't take anything. I did not take anything. Took it all in my heart."
Mads Mikkelsen: "That was the moment I wanted, my watch, that was a Luftwaffe watch, and then I realized no, I can't have a Nazi watch back home. So I just ended up taking my glasses."
Shaunette Renee Wilson: "Teach me your ways."
Mads Mikkelsen: "We all had our eyes on Harrison's hat though, but he never left it."
Harrison Ford: "I took some of the money, the stuff I don't care that much about. I'm sentimental about the relationships. I mean, what am I going to do with a whip? What am I going to do with a hat? I'm not gonna walk down the street wearing that hat. It's just sitting there with a bunch of other hats, hats of no particular significance."
Phoebe Waller-Bridge: "But it makes your other hats (in your closet) feel great that they're hanging, literally hanging out with the Indiana Jones hat."

June 15, 2023
YAHOO ENTERTAINMENT
Q: "Another Indiana Jones with AI?"
Harrison Ford: "It's never going to happen. That's my take."
James Mangold: "My take is, driving to do this interview today, I had AI guiding my car. I'm not so involved in this. I get where you're going, but I'm just like, visual effects are always going to be reaching to whatever technology is available to help get the best result you can. If you thought what we had in our picture in regard to that opening sequence was impressive, it wasn't just the computer minds working on the sequence that made it work, it was the fact that, the real key was that I had the original actor playing the role. And that, to map some kind of mask onto another man is not going to produce this. Not only is it not going to happen, but it isn't going to produce the same result because you don't get the human alchemy. I mean, the real point you're asking about is that the performance wasn't generated by any kind of computer. The performance was generated by a man who's played the role for 40 years. The technology that wrapped around that performance was whatever you say it was. But the reality is that human, the part of moviemaking that still moves me is what's human-driven."
Harrison Ford: "No, I don't think (I have to protect myself from AI) because I don't think it's going to be successful in producing the kind of results that human interaction and real relationships push through the minds of people with an artistic impulse, and an experience that they're trying to emotionally transmit. I don't think that can be reproduced. And if so, I don't think it'll be of the quality that we all have an ambition to be part of."

June 15, 2023
THE HOLLYWOOD REPORTER
Harrison Ford: "I don't think I'm going to miss anything. I appreciate all of the opportunities the character has given me. I have been very grateful and I have enjoyed myself for the 42 years that we've been making these. The success of these movies have really given me not only a chance to satisfy a broad audience, but they've given me a freedom. Because of their success, they've given me freedom in my chosen profession. And I'm grateful for that, I'm grateful for everything that's happened to me. I'm a lucky guy. Well, we wouldn't be making this movie if it weren't for (the fans)."
Phoebe Waller-Bridge: "I was surprised how much I, how proud I was of my bruises. Every day I was, yes, another one. I did so much fun stuff, and there was something that was madcap about the way they wanted it to be done. They didn't want me to be too slick, which was a relief because otherwise I would've never gotten the part. I just had to be a kind of scrambled mess jumping from vehicles or jumping out of airplanes. So I was surprised that I could do it, but I didn't do any of the super impressive stuff. That was Anna Stephenson, who was my stunt double. So whenever you go like, Wow!, that's Anna. Whenever you go like, Ah, that's me. I think she's a complicated character, you don't know if you're supposed to love her or hate her. She has a nefarious agenda, and she's an enemy to Indy. Well, she's a friend, then she's an enemy, then she's a friend, then she's an enemy. And it's nice to have been playing someone who's kind of morally ambiguous. So I hope that she takes the audience on a ride. And I hope by the end they see some of her heart, and they see what's underneath it all."
Mads Mikkelsen: "(The best part of playing a villain is) that you get to kick the shit out of Harrison Ford. He's fantastic, he's such a legend. The small details he can do, he brings the camera to him, he doesn't reach out for it, and it's just wonderful to watch him work. Then I learned from him also that it's never too late to be a child. He's a little boy, he's 16 years old, there's so much energy in him and he thoroughly loves what he's doing and we should all remember that. Surreal. I watched him when I was fifteen, it just came out. Got it on a VHS tape, as it was called in those days. I watched it five times with my brother. Standing here today, 42 years later. Strange. This (franchise) especially for me, because that was mine, that's what I grew up with. This one I can relate to in a different way. We're tipping our hats to the first films, and I think we did a great job. It's a real Indiana Jones film, but it's also spiced up with maybe a little more emotion than we've seen before. That's the way to do it. (This sendoff) is beautiful. We didn't want to think about it, obviously. It was pushed ahead of us. We were there when he did his last take on his last scene, and just watching him up there being applauded, he wanted to leave and just get out of there, but he also wanted to stay there forever. It was quite beautiful to watch."
James Mangold: "Script. It's where you always have to start. What is the story? And for me, I don't think we felt like we were there yet, so the biggest first responsibility I felt was to get enough time, push back to release date, and get the script right, because I think too often these days, movies are made for a date instead of to tell a story. And we figured out what that story was, and then we set about making it. Well first of all (we wanted to send Ford off) with something of quality that represents the kind of Integrity his legacy of work represents. We made this movie at the height of the pandemic, so it is a real challenge making a globetrotting mega picture when the entire world is in lockdown. But those aesthetics still apply. We traveled, you know at one point we were going to India, then we had to shift it to Morocco, because the pandemic was, in terms of what was impossible or closed boundaries, suddenly closed. But we stayed flexible and we kept working and we did travel the world, and we did go to real places. And that for me is part of the character of these films. I think the moment that the Disney logo vanishes, and you're plunged into action in this movie, and you hear the bombs falling, and John Williams music, his trumpets and brass playing, I think you're just transported into a world not only of Indiana Jones that we miss. But for me, a kind of more classical style of filmmaking that, you know, one of the reasons I was so eager to join with this team, despite all the reasons you might go whoa, do you want to really step into this mix, is that Steven Spielberg represents to me, he's one of my Idols when I was 17. I came to Indiana Jones and Raiders the Lost Ark on the very first day on the first matinee, and Steven was one of the people that made me want to be a movie director. So the chance to collaborate with him and also the kind of shared aesthetic, which is I think Steven and George have always been in love with golden age films and mining them and the classic Hollywood style for what is an incredible portfolio of work that has literally changed the course of cinema and business. I love old school classic filmmaking, so I think it was a very pleasurable easy fit."
Toby Jones: "Very excited (to see it for the first time), slightly nervous, curious, probably just excited because I thought the script was great. They spent a long time making it. What could possibly go wrong? (The action) was all a bit of a surprise. I was just saying to someone that I wasn't expecting to do, normally in these things you sort of go along, you do the lines, then someone comes in and does all that stuff. And here, that conversation was never had. And Harrison's stunt double kept saying to me, you're gonna be a stunt man from now on. I was going, I really, I'm really not going to be a stunt man. And I ended up doing a lot more stuff than I was expecting to do, and that was much more fun. Normally that stuff, I always think that might be quite tedious to be repeating the same thing over and over again. When you're dealing in fractals of seconds and you're having to get that down and everything. But actually it was very interesting. One thing (I learned from Ford)? Well, one thing is to stay curious as an actor. He's done these things hundreds and hundreds and hundreds of times, and it's clear that he really loves the process and is curious and engaged to the process, and that's a lesson that you can't stop learning. I haven't seen it, but I'm guessing that it gives him a very good send off, because the theme of it is time itself as the title suggests. And I found it very moving when I read it before I started working. It was something about it, I said oh, this is really brilliantly conceived. Chases, high quality chases, that's what everyone wants to see and they're going to get that. High quality chases. And you don't have to wait too long for the next one. It's not for me to say whether (a train scene) belongs to Indiana, I mean it does, I mean it was great to do a sequence like that. The franchise is about celebrating a lot of the greatness of B movies, and the chase across the train is an iconic trope in those films. I've actually done one, I feel very proud."
Boyd Holbrook: "Well if you can't be the good guy, you know, I think beat 'em. It is really overwhelming at first when you kind of step back and think about, okay, 42 years ago this came out yesterday. This is the last run of Indiana Jones, Harrison's last film. You're going to get stuck if you think about that. Luckily we've got a great script with Jim Mangold directing, who just can't make a bad movie. I just try to keep my head down, and no one's going to figure me out, that I'm a hack hanging out with all these legends. There's a scene like jumping off a motorcycle while it's running, crashing it. Oh hey (Karen Allen), how you doing? Good to see you again. Speaking of legends. I mean, they were throwing like Tesla motors in those tuk-tuks. I don't know where to begin. I didn't break anything. You know what, I'm not going to spoil anything, but I think people are going to find it a little surprising how touching (the send off) really is."
John Rhys-Davies: "I think I had the full circle moment when we premiered the Last Crusade, wasn't it, because I remember Steven simply saying the word last is in this title for a very good reason. It's lovely actually (to return). It's nice not to be completely forgotten. This is a great story, a great script, a great director, great supporting cast, and of course a star really at the height of his thing. There's a huge fandom out there, of huge public for this. It's needed and it'll brighten our summer at last. This is going to sound really corny. I went to my first fan convention of about 25 years ago, and I thought why am I doing this, I'm only doing this to promote this damn show. I mean, all these people, can't they get a life? All dressed up like Captain Kirk. And I went, and I listened, and slowly I realized that they do have a life, and some of them have wonderfully rich lives. And what actually the fans have done to me is change me quite radically. Because I don't think as a younger man I really liked people. It is the fans who have taught me to care and actually to love my fellow man. It sounds very pompous, doesn't it? It is amazing. I haven't seen (this) yet, how do I know? Of course I am (excited), I wouldn't be here otherwise. This is going to be a great movie. It will make your summer blessed, and it will redeem our film industry after the Covid years. Look, Spielberg is one of the great innovative directors of all time. Mangold I'm sure would say this, that he learned directing as much from watching Steven Spielberg as anything else. But Mangold's film Ford Vs. Ferrari was the only film that I watched three times before I realized that he was involved with this one. So that tells you what I think of him in terms of his skill as a director. He's very, very good. Very good. I've watched a star (Harrison) grow into stardom. I actually do still get recognized. It's just enough to flatter my vanity and yet not enough to make my life absolute hell. I'm a very lucky fellow."
Karen Allen: "I think it does (feel full circle). It does. I'm certainly taking that in right now. Yeah, I guess so. This is, as they say, the last film, I suppose. It's nice to be a part of it. It's thrilling, thrilling to be here. It means a lot to me, it means a lot to me, particularly the way that they brought me into the story, and if you've seen it you know. It's just a little moment, but it's a meaningful moment. It's a lovely thing to sort of imagine these two characters together still after all these years. I think the first film I learned a lot from (Harrison) because it was a new kind of film for me to make, and I was kind of going by the seat of my pants and he had done films of this sort before. So I got to really watch him and just take in by osmosis a lot of his way of working. We've had a great time working together over the years. Where is he, is he around? He's a delightful person. There he is. He certainly gets put through an awful lot of wild things in this film. He retires from his university post, and he's going through a lot of life changes. So it kind of takes him takes him full circle to a place in which he actually has to contemplate his life."
Simon Emanuel: "It is wild. I've been attached to this since 2015, so it's been an eight-year journey of stops and starts, and I'm so happy that we're finally here with the final adventure for the greatest adventure of them all. It's beyond exciting. It really is. Send him off authentically. I think this is a story about an adventurer who's coming to the end of their career, and it's a very fitting send-off. It's a send-off that suits the character. It's something we really strive for, make sure we weren't doing something that felt too superheroey, and actually it's appropriate to where the character is in his life. There is so much. There's everything in this movie. There's every kind of action sequence. There's scenes in this I think will move people in a way that Indiana Jones may not have done before. I mean it's a very emotional movie, particularly in the you know in the last acts. I think that's something that's going to be really exciting for people. Again, it's an emotional send-off to an iconic character. I think (special effects are) something we talked about a lot, and what we were trying to do is to use technology to enhance what we're doing for real. Obviously we can talk about the de-aging back to 1944, but the fact that it is Harrison Ford, the fact that it's him, and even the imagery, the face replacement is actually Harrison Ford, means I think you're using the technology in the best way, where it feels authentic. It doesn't feel like something that a lot of people are trying to create. It's a singular performance that then other people are helping to enhance and I think that's really exciting. Safety wise, that's what technology is in these movies is doing thrilling action in a way that's safer than it's ever been. And it doesn't compromise how it feels, and it absolutely doesn't compromise his own safety. Just even the painting out of safety rigs and things like that, where you can put people in incredibly exciting situations. That for me is the best use of technology, and certainly something that Jim Mangold talked about all the time, he wanted this to feel like the original movies, and I think he accomplished that, and some. I think Jim has an incredible body of work. He's got such a varied body of work, and I think these movies capture so many different things in one. To have someone like Jim who's got so much experience with action, with Incredible performances, with capturing the fun, with capturing the emotion. So stepping into Steven Spielberg's shoes, that's tough, and I think Jim is a wonderful, wonderful choice."

June 15, 2023
SCREEN RANT
Harrison Ford: "As much as we've come to know the character through his experiences and his relationships, this is the last Indiana Jones film for me. I wanted to deal with the end of his career. I wanted to deal with his age and less physical capacity available to him. He's also ending his academic career, which has not been the high point of his life. So, he's a bit damped down in spirit until he's challenged by the character that Phoebe plays. In the context of that relationship, he learns to love and laugh and live again."

June 16, 2023
GUY WITH A MOVIE CAMERA
Q: "Temple of Doom or Crystal Skull?"
Phoebe Waller-Bridge: "Temple of Doom."
Harrison Ford: "Crystal Skull."

June 18, 2023
LONDON TIMES
Harrison Ford: "I was familiar with Phoebe's work, but didn't really know who I was dealing with. But I knew I had met my match."
Phoebe Waller-Bridge: "I was nervous being taken up to the office to meet the big guy. Someone even asked if I wanted my hair done. I said no, this scraggy mess will do. But we talked about the script and then it was mainly just scotch."
Harrison Ford: "Well, it was an appropriate time of the day. 11.30 In the morning. I didn't want this to deny or play with age, but f***ing dig into it. How does it feel to be an old fart in this world? The film acknowledges his decline. His fire and passion are almost out. This dude's not in great shape."
Phoebe Waller-Bridge: "I'm more fascinated by people who've lived a bit more life. There's something captivating about the glow of youth because they don't know as much and that can be electric. But train a camera on somebody with histories behind their eyes and it's already so much more intriguing."
Harrison Ford: "I don't see age. I mean, when I look in the mirror, I still see brown hair. It's weird. But there is a satisfaction in age and I've had such incredible opportunities in my life and the fact of age is comforting. I am not scared of age at all. I am more towards Steven's (optimistic) thinking, because I have no Catholic guilt. You guys (on Fleabag) do the Hot Priest thing."
Phoebe Waller-Bridge: "What have you got against the Hot Priest? Oh, I think you know."
Q: "Is it because you weren't asked to play him?"
Harrison Ford: "Yes."
Phoebe Waller-Bridge: "(This role) was a surprise to everyone I've ever met. But at the same time I've loved Indy since I was a kid. So in terms of tone I can see that it's a leap, but this makes sense to that 11-year-old in me. I'd love to meet Helena when she's 80. That would be a new exciting thing for a woman to do in her eighties."
Harrison Ford: "(Helen Mirren) has the fearlessness you do. F***ing fierceness. It's such a joy to find in a woman."
Phoebe Waller-Bridge: "That's a revolution. Take a well-loved franchise that crossed generations and have one simple idea: no love interest. We all know love interests end up with cul-de-sacs we are familiar with, but, with us, there is nothing familiar."
Harrison Ford: "I've graduated into the place where I can finally be with a woman my own age. I'm not serving the Hollywood purpose. And I love it."
Phoebe Waller-Bridge: "It's so hard for anyone born in the 1980s to remember the first Harrison Ford film they saw because he was just such a part of culture. The Fugitive? Massive. That and Witness were biggies for me."
Harrison Ford: "It's good to bring a positive expression of humanity. That's why I want people to go to cinemas - you sit in the dark with people you've never met and feel a common humanity. That's what is lacking in culture now; an appropriate investment in humanity. A common emotional experience that is not despair. Because we're all so desperate about gun violence, political upheaval. There's a f***ing war, like, 400 miles from here? It's unf***ing-believable. Where's the cure?"
Phoebe Waller-Bridge: "The holy grail is both (comfort or challenge in art).To give a sense of hope and to entertain, at the same time as inspiring some revolution. That's what I try to achieve when I write. Allow it to be big and small, something the kids leave saying, I want to f*** shit up. But their parents go, oh, that was a good film. That's the beautiful tapestry and what Indy did. Those films feel a little bit dangerous and, also, completely safe."

June 18, 2023
JAKE'S TAKES
Harrison Ford: "Well we didn't shoot the (Raiders) boulder scene the first day. We shot the character's progress through a jungle and the revealing of the character. It was Indiana Jones in the iconic outfit from the back in silhouette and then he turns around. That's Steven's reveal of the character. Where are we, where are we going, who is this guy? And then boom, boom. It's just brilliant filmmaking. The decision I'm most proud of is pressing to do this fifth film. We've been away from him for 15 years. That's enough time for him to change from the character that we've known to what you have left, which is an older man. I wanted to tell the story of that older man. I'd like to see, I'd like the audience to understand what the what the history of those first films, what the result of that is. And the result of that is what you see 20 minutes into the film. And then we have to pick that that person up, that character up and put him in a new adventure that he's totally unprepared for and see the result. It's drama. I don't know that I've thought about (whether a character should die on screen) and I don't think that I can give you anything but a silly glib answer. Well, you'll find one. As with everything else you have to consider the audience. We make a film for an audience. We have a sense of how that audience relates to that character. We have a sense whether there's value in watching him die, or as you suggest, simply imagine that he rode off into the sunset. But it's a filmmaker's choice, it's not something I want to make. Chicago is a pretty particular tough town. Always was, maybe always will be. I hope not, I hope it'll settle a bit. But it's a tough town and Indiana Jones is, I guess he's a tough guy."
James Mangold: "I wish I could tell you I orchestrated this. We had the champagne and the cake and the party ready to happen, but his last shot in the movie was coming up from underwater gasping for air shot in a tank. And we had all the champagne right outside the tank as soon as he climbed out, but the truth is you never want to put a really important scene right on that last day. Because everyone's minds are already on their life that happens in the next day, or the momentousness of this final moment for Indiana Jones in the picture. We were all cheering him in a scuba outfit dripping wet. And he was probably thinking, I'd like to go to my goddamn trailer. That opening sequence in Raiders, I believe that anyone, certainly any cinema lover watching Raiders of the Lost Ark for the first time knows that movie is going to be awesome two minutes in. The way Steven stages that opening sequence introduces Harrison and Alfred Molina, you may not know, wonderful actor in his youth playing his sidekick who ends up dead in another minute, he had it coming. But the staging, the visuals, the sense with John Williams music and the lush undergrowth of the of the jungle, the sense that you're being transported into some kind of golden age film on steroids. That was just remarkable, and I can't tell you I wish I was directing it because that's like saying I want to write Mozart's music. I am so thrilled to be stepping in and joining, you know Steven has been a part of making this movie and a partner making this movie and an incredibly wonderful mentor and kind. So for me the thrill wouldn't be directing that movie. That movie is Steven's. But it would be being there. I'd love to be there. I'd love to learn. Oh, the boulder makes it great, the boulder's great. The other thing I love in that sequence that I always think about, this is tote geeky and you're going to cut him the time for this because it's not probably of interest to his audience, but most cave scenes are really dark. They played that cave like you have all this natural light coming in. That thing is glowing, there's so much light in that sequence it makes the sequence. But you have to realize that they all, the DP and Steven had to figure out that, I think they decided that there's like this canopy of vines on top. So it's not actually a tunnel, they're in some kind of, so there's this beautiful level of Illumination that keeps it, that allows that orb to be so brilliant. It's kind of amazing. The Raiders March is kind of a celebratory theme, so it doesn't really play more than, you can have a moment where he knocks, he punches a Nazi. But then you kind of have to get back into the rhythm of everything. What do you do? You end up, John is 91 years old and wrote two hours of music for this movie. Ninety percent of it original, in the sense that it's not the Indy March. It's new music. What I think is that you plan it. I mean, it is an intimate dance it, shot by shot, moment by moment, supporting the scenes and saving the celebration. What's so interesting is that the strategy that John and I came up with for the picture was that, his people will talk about, the movie opens the first 25 minutes in 1944 in my best version of a kind of full-blown old school Indiana Jones movie. With Harrison in his late 30s, and Nazis, and you're in France in the final days of World War II. So John let the horses out of the barn for that. That is full-blown kind of golden age orchestral heroic music from beginning to end. And then we land in New York in 1969 and we find Indy in his 70s in an apartment in downtown Manhattan, and he's lost his mojo. And in a sense, what that means musically is he's also lost his theme. We don't hear it for a while. I told John, I almost think we should do the score to like a 70s movie for this middle section of the movie, where conspiracy is around him and he's kind of living in relative anonymity. And John was like, I can do 70s movies because of course he was at the height of his career. He's done a few. So what you watch in the course of a movie from a musical perspective is Indy in full flower as a young man, the theme playing full blast. Then suddenly it vanishes and we watch him at this kind of turning point in his life as an older man. Then as he starts to find his mojo again we start to hear that theme again."

June 19, 2023
DIGITAL SPY
Harrison Ford: "Well it wasn't as though we sat around for 10 years waiting to come up with an idea. When we finished the last film, I don't think anybody thought about going and doing another film for some time. And then there were some interesting ideas that that were floated but they didn't quite gel over a period of time. And then we found an idea and a script and a strong story that that we wanted to tell. I'm very happy with the story that we're telling. We're coming to the end of Indiana Jones's time on the planet, and I wanted to see a conclusion of his story that accommodated the reality of his age and what that effect has on this person that we've come to know over the years."
James Mangold: "It's important for all the reasons that are obvious (to shoot on location) and then it's important for reasons that aren't obvious, that one of the real charms of the Indiana Jones films is the acting and wonderful characters that you encounter, not just Dr. Jones but also all the wonderful menagerie of people who come at him through his journeys. And to get character, to get actors to be alive in a scene, it's really hard if you're standing inside a green dome, to be alive. The wind in your hair is different than a guy in a tank top holding a fan. It's just a very different thing that's intangibly a part of the fabric of these movies."
Harrison Ford: "That's not the feeling I had (the magnitude). The feeling I had is the feeling you have when you've made something and you can look at it or you can remember having made it. You couldn't quite look at it yet. But the satisfaction of putting work in and getting something worthy out of it. And I felt that sense of peace, a sense of contentment, that this particular job that Jim and all of the other people involved had done together was concluded in a way that really felt satisfying to me, and it is my hope that others find it's as satisfying as I did."
James Mangold: "The films have represented the combined talents of some of the best actors and filmmakers who have made movies ever. So there's just that. But then there's something very specific, which is just that unlike many of the tentpole or summer movies, these are charming films. They're brawny, and have action and athleticism and cinematic choices. Storytelling choices. They're in love with movies but they are, first and foremost, charming. The characters are eccentric and interesting, and not just kind of a god in an outfit slaying villains. But much more a man with all his foibles and eccentricities and passions and obsessions that make him unusual. And I think that's what draws everyone to these movies. And everyone remembers them more than others because it's not just good guy versus bad guy, and the good guy always has the right tool in his belt, and can knock out anyone else. It's about a guy who's just like you or me, and is somehow put into extraordinary circumstances. It's always not that simple. Even the Nazis are characters. They're peculiar and have their own obsessions and that that attention to character detail to me is what's existed from the first five minutes of the first film. It wasn't just Harrison. Even Alfred Molina in his six minutes in the beginning of that movie is hilarious and interesting, and of course ends up dead six minutes later, but there you go."
Phoebe Waller-Bridge: "It was walking into the tomb at the end, and the detail, and the grandeur of it. The walls were wet and dripping, and there were these beautiful artefacts everywhere, and the lighting was stunning. It was truly huge. They build these sets, so it's an experience when you walk in. It's 360. People like the crew were coming in like little sort of crevices in the in the wall, and I remember walking in there, and my character was meant to walk in and just look at everything in awe. And, my God, I did - I really got the chill then."
Ethann Isidore: "Actually it was kind of like I imagined. Exciting. It feels like you're in an Indiana Jones movie all the time, and it's it has the same spirit than when you watch the movie actually. It was like being in the movie, well it was like watching the movie but you were in it for eight months long, and you couldn't stop dreaming for eight months."
Phoebe Waller-Bridge: "They threw some rubber (creepy crawlies) at us which helped, and then I think a lot of them were put on digitally. I was told all day that I was gonna meet a very poisonous centipede at sort of lunchtime. Everyone kept saying get ready because you're going to meet him, and let you meet a new actor, and I was really building myself up. And I think maybe that was a wind-up because I never met him. But they did definitely throw a kind of massive thick centipede that big at me and I did think it was real at one point, which helps. What did I bestow on you? I didn't think I told you anything. I learned more from you."
Ethann Isidore: "I learned a lot by watching them shooting and acting. And I learned something that I didn't really know is that you can have fun on set, a lot. Like we were having fun all the time. But when you hear action, you have to be focused. But I mean it's still fun. It doesn't feel like working. It feels like we're just having fun all the time and being kids and getting paid for being kids, and I think this is the best feeling in the world. So thank you guys. (double high fives Phoebe)"
Mads Mikkelsen: "Most of that (character) work had been done before I entered, and it's in the story obviously. We tweak a little, we discuss with the director, with our fellow actors, and so we shape it that way. But it was on the paper. This character was there, he had a passion, he had a dream. There was something he thought could have been much better resolved back in the 40s if only he had a chance to fix it. So that was in there. So that's the way we approached it, and I think we also maybe went a little away from let's say the classical accent of a German, or the cliche action of a German. We just kept mine and threw a few German words in there."
Shaunette Renee Wilson: "My first day on set was shooting just outside of Hunter College, and seeing the vastness and the scope and the scale of this film was really incredible. There's hundreds of people who are working on it. We were in the UK, and all the crew. It was wonderful, but also, because it was just a quick, little scene, it also just dropped you in as an actor, like, I'm here to do my job, and get the work done. I had really wonderful castmates to work with. But I think, internally, I was definitely fangirling about this opportunity, and what it meant."
Boyd Holbrook: "I just didn't want to show up and do the same thing for Jim twice and sort of regurgitate anything (from Logan). But I also know that's not Jim's style. Jim's always original and trying to do something different, and so that's why I knew it would be, he's the only guy to make this movie. I probably would have passed if it was a different director."
Shaunette Renee Wilson: "Steven Spielberg, you would have passed?"
Boyd Holbrook: "Well no, of course. Steven Spielberg, I would have done it as well. But if there's anybody else to do it, it's Jim."
Mads Mikkelsen: "I'm glad we got that straight. Spielberg, call me."
Boyd Holbrook: "I guess I'm loyalest to Jim. After seeing the movie, you kind of get it too."
Mads Mikkelsen: "Okay, no spoilers. So I was hoping (the finale) to go that that way. I mean in the previous films we've had a grail that gave you eternal life. We had an ark that opens up with an infinitive power. So I was hoping this film was going exactly where it was going, and so it did."
Shaunette Renee Wilson: "It's the humanity of this (Indy) character. We all kind of see ourselves in him, in some respect, whether it's the naughty side, it's the antihero, it's the curmudgeon, it's the humour, it's the sexy guy - whatever it is. To kind of track his journey in this world, I think is just really, really special. It's the only film like its kind I guess, right? Franchise."
Mads Mikkelsen: "He's like the same act, he's done it for 40 years."
Boyd Holbrook: "I think it came out 42 years ago yesterday. He's the pinnacle of masculinity, and a type of hero. You said it really well, he's not perfect. He lies. He steals and cheats to get his way. He's kind of a bit of a pirate, in a way. He's a renegade."

June 19, 2023
YAHOO ENTERTAINMENT UK
Harrison Ford: "I can't say that I know an answer to that question. I mean, this is a singular experience. It has been a singular experience that, somehow, (I) don't put it in the same category with other films. It doesn't feel different, but it feels good because of the shape of this goodbye. It feels good to me because I feel that we've made a really satisfying film for the audience. We've taken our concern, our interest in the character, and tried to shape a story that would bring this character back into their lives with an interesting story. And I think given the people that we've involved in the character and nature of the story that Jim has created for us, it's a splendid goodbye. I figured that (Han Solo's) utility had been exhausted, bled out, and I was willing to die for the cause to bring some gravitas. (This) character means to me what he means to the audience, because that's the service and that's the contract between us. I'm obliged only to give my best in the story that I want to tell. When it's received with the warmth and the generosity that Indiana Jones has over this period of time, it's, to me, an incredible generosity to me and I take it personally. It means a great deal to me that people like what we've done. And I hope that they will appreciate this contribution."

June 19, 2023
BBC
James Mangold: "Well, there was (script) material that have been generated, but it wasn't a movie I was going to make. So I felt like we still needed to find the reason for this movie to exist. Anyone who writes an Indiana Jones movie is going to write some sort of adventure. But the fact is that to me it's been so long and we needed a reason to bring this character back. We also honestly, to put it a different way, we live in a time of IP and franchise entertainment. So sometimes it feels like these movies are made because they have a release date and a property, but they don't have a story to tell. And as a filmmaker coming on a movie like this, people ask me about stepping into Steven's shoes. Well, daunting and intimidating of course, but also thrilling. And to have him as a collaborator and friend on the movie. But the real part of it is that you want to make sure you have something to say. Nothing would submarine your effort more than stepping into Mozart's shoes, and not having a good symphony to play. You have to be addressing something very clear, and what was clear to me and what none of the material was really addressing at that point was his age. And just the fact that if you're going to make a movie about your hero in his 70s, that has to be a part of the theme of the film and part of the idea. And the time that the world is changed around him, which is unavoidable. You know that 1969 and 1944 and 1937 are very different times. Action in the in these films, and this is part of kind of stepping into the shoes of the wonderful filmmakers I am following, is for these films it's not action alone, it's action and character meeting. That's what defines the Indiana Jones adventures to me. It's not that they're just brawny over the top action, but that they are defined by the eccentricities and foibles, fears and bravery, cowardice and canny logic of your hero. And that you can learn as much watching other great action films, but you can also learn a lot watching Buster Keaton or Bugs Bunny or Elmer Fudd, because that's much of the action these films is built on, the kind of sheer indestructibility and good luck that Bugs Bunny or Buster Keaton or Charlie Chaplin may find. Just a gun turning and shooting your enemies just out of the sheer luck of hitting a turn on the tracks. There is very often if you study Indiana Jones films, think of him fighting that monstrous Nazi underneath the plane where the fuel is leaking and the swing. He's getting the s*** kicked out of him. And it just so happens that the plane is leaking oil, and the fire catches the thing, and the thing catches the thing in the propeller, hits the guy. It's always a kind of Rube Goldberg part of the joy, is you're doing physical action, but you're also taking the p*** out of action movies at the same time. And that comes I think as much from Steven, but I have to give Harrison credit. He is always trying to undermine the kind of Greek god nature of his heroes in the sense that he's always making them utterly human, slightly selfish, slightly awkward. Their punch doesn't land right. He's always seeking out that kind of inequity or incongruity that's gonna make the screen more complicated and messier. It's that whole vibe. And in a sense when we make these movies, however large they are, that is actually what we're doing. The whole thing becomes a kind of hugely expensive improv. When I think of the pinnacle of the series, I can never get past the very first film. Within two or three minutes, if you think about the emotional flow the way Steven and Larry Kasdan and George and everyone set this movie up, you introduce Indiana Jones. He looks bad ass. He's crossing through the jungle with these guys. He enters a tunnel, a cave with his trusty Alfred Molina guide, and no sooner do things begin to go wrong, than the element of comedy and even comic horror begin to enter. The insane traps, almost Goldfinger-esque traps the Incas have built into this cave, the fact that the sand that he replaces the idol with doesn't work, the fact that Molina gets skewered by that the trap he doesn't expect. Endlessly there is this kind of irony and inventiveness with it that's in the first five minutes of the film. But if you ask me for my favorite, it's Indy coming to see Marion, Karen Allen in Tibet, and the first scene that introduces her drinking all these gargantuan Tibetan characters under the table. And she belts him, and he's like a kind of husband coming home without a good explanation, baffled as Nazis are battling, and searing a locket into their hand. The thing is such an incredible gumbo of both golden age movie tropes and humor and reverence, and all these things are that idea, of continually undermining the standard tropes of these pictures."
Mads Mikkelsen: "That was my reaction, in the sense that I would, a week before I was sitting with a friend of mine who was counting out loud the franchises I've been in, which is a kind of a big deal for a Danish guy. Then he said, so all you have to do now is an Indiana Jones film, and we laughed. Then I got the call a week later. The only thing I could think about is like, I want to text him now. It was great, it was fantastic. Didn't really have to read the script, but I did, though and I really loved it."
Boyd Holbrook: "(I told) my wife, because Jim called me, says I have a you know a small part for you, I don't want to offend you, have a look at it and maybe, and I was like man, it is a damn good script babe, why don't you read it and tell me your thoughts? And then she's like, page five, yeah you're doing this. Like no, I come in on page 25. I'm not even in it yet. She's like no, shut up."
Mads Mikkelsen: "He's sticky. He's gluing to me. He's like the early version of a Nazi photbomb."
Boyd Holbrook: "(The poster) is beautiful, but if you ask us honestly, it's the action doll."
Mads Mikkelsen: "I had a reading with Harrison, we were supposed to go through the script. Before we had the reading I had a little costume fitting thing, and apparently he did as well. So he came out of his trailer with the hat, the whip, the jacket. So I didn't get to meet Harrison, and I met Indy first. I liked Indy, he looked good."
Boyd Holbrook: "It was in Sicily. He was in the in the street, comes over to me and goes, what are you? 30, 35? Nice to meet you too."
Mads Mikkelsen: "I love (Connery) as well."
Boyd Holbrook: "The eating of the brains, um that was pretty amazing."
Mads Mikkelsen: "But it is funny with the guy with the big sword."
Ethann Isidore: "Well, it was very unexpected. I was going back from school and my mom received a call from my manager because I've done some short films before, but it was French short films and never was as big as Indiana Jones. My mom told me that my manager called, asking us to go to an audition in Paris for a big adventure movie. We didn't know which one it was. Well now we do. I hoped so much it was Indiana Jones but I thought it's impossible. So I did the audition. I thought I wouldn't be selected. I was the first kid to audition in France. So I went, I auditioned, and then when I went out of the room I saw like 15 kids waiting, and was like well. It wasn't with James Mangold. It was just with Mathilde Snodgrass the French casting director. And then a week later, she called us telling us to go to London because James Mangold wanted to see me. And that's when the big things happened. I had to do a scene with James. It was another addition actually. I wasn't selected yet. So I did the audition and some days later they called us back telling us that I was going to play in Indiana Jones 5. A month (passed). It happened really quick. And actually I was in London when it happened. I was on the Thames Bridge in front of Big Ben. So we called my Mauritian family, cause I'm from Mauritius, and we told them that I was going to be in Indiana Jones 5. Then I told that to my grandma. She was very happy and to my grandpa. And the first movie my grandpa has ever seen in a movie theater was Indiana Jones, the first one, Raiders of the Lost Ark. And he cried, that was so cute. I'd like to, let's wait (40 years like Ke Huy Quan, for an Oscar). (Ford) and Phoebe bought me a guitar. So we took a photo with the guitar and he signed it, and Phoebe too. So I was very happy about that. He asked me if I like it. I like rock n roll music and guitar. I didn't know why, and I said yeah, I like guitar and rock 'n' roll music. And on the last day of shooting he went to my tent with Phoebe and then they told me they had a gift for me. It was a guitar and I was so happy I hugged them both. I've seen them yesterday night. I had dinner together with the entire cast and with James Mangold and the entire crew. It was very good to see them back. I missed them so much. I don't want to go to school anymore."
Harrison Ford: "I met (Phoebe) in the street, she was mine for the price of a drink. No, no. We met in Jim Mangold's office. We had spoken on the telephone. I was excited to meet her and it was really a good meet. It was easy."
Phoebe Waller-Bridge: "We clicked, didn't we?"
Harrison Ford: "Yeah. I don't know, I think (Phoebe made me laugh) constantly. Yes, it was pretty constant."
Phoebe Waller-Bridge: "I did something I thought was going to make him laugh. It didn't really make you laugh. That was when Charlie my makeup artist, Charlie and I found the prosthetic masks of Harrison that the stunt men wear when they're doing his stunts, and there's the younger version of Indy, and then there's the current version of Indy. And I wore the current version head, and Charlie wore the younger version. No I was younger, Charlie's playing the current one, and then we snuck up on you in your trailer as you, like the ghost of Christmas past and present. And we jumped in, and you had like absolutely no reaction."
Harrison Ford: "Hysterical. But I covered it."
Phoebe Waller-Bridge: "You covered it, yeah. You were quite frightened actually I think, which was the goal. But then later he found my mask and put it on, and then tied your little shirt up just like Helena. And I did find that very funny. So I feel like I laid a joke early to make me laugh later. Because you were just a poor victim of all that, weren't you?"
Harrison Ford: "I'm always just a poor victim. I'm not (funnier). No, I know I'm not."
Phoebe Waller-Bridge: "(to interviewer) You're saying that to me as if it was a fact that I have to confirm."
Harrison Ford: "You know there would be no Shrinking if it weren't for Phoebe introducing me to Brett Goldstein, so there you are."
Phoebe Waller-Bridge: "I'm gonna go with that story. Let's go with that."
Harrison Ford: "I'm delighted that they were happy to see me all dressed up in a hot jacket in the middle of Sicily in the summer. Surely not (getting in a Tuk Tuk again)."
Phoebe Waller-Bridge: "I'm up for it. I loved the Tuk Tuk. I actually crashed one of the Tuk Tuks. Took Took. Did you say Took Took? Are we on TikTok?"
Harrison Ford: "Tuk. Tuk. (imitates mic drop)"
Phoebe Waller-Bridge: "Cut. Yes I crashed one, into the back of the Nazis, not at all (on purpose)."
Harrison Ford: "No, it was ridiculous. She drove right into the back..."
Phoebe Waller-Bridge: "...of a Mercedes. I just mixed up the accelerator in the brake. I'm actually a very safe driver, I just got very overexcited. I just remember Ethann in the back afterwards going, what happened? Any snake situation made me laugh. And I remember being really young and thinking that was one of the funniest things I'd ever seen, that a hero was fighting to snakes."
Harrison Ford: "It was a lovely experience with working with Sean. He's a remarkable guy. (The films are beloved and successful) because of the talents of the screenwriters and directors and actors that have poured their hearts and souls into it. And the experience that I had making these five films, you mentioned Sean, but the films are peopled with some of the most amazing actors and characters, and the stories are so compelling, and they mix adventure and humor and heart. But I think the thing that I most admire about them is the depth and the subtlety of the emotion, and the importance of emotion in these films. As this last one concerns age and frailty and changing nature of life, it was especially compelling to me because I am of that age, and I wanted it to feel real for the audience. I wanted them to see the complexity of that experience with someone they spent 40 years with."
Q: "Can I just say on behalf of all the fans, thank you. It's been such an adventure. We love you so much. I don't want to make you blush or anything, but you mean the world to us, and thank you. That's all I have to say."
Harrison Ford: "And I must say to you, thank you sincerely. It means the world to me."

June 20, 2023
COLLIDER
James Mangold: "I try to bring my own humanist sensibility to the movie about who this character is and what they're struggling with. Whether you're talking about caped crusader films or superhero films, like with Wolverine or the X-Men, or you're talking about an Indiana Jones franchise, one thing is true. This is a hero, an iconic hero, each of whom has kind of their own unique superpowers. But what made me make movies about both these characters and attracted me to both of them is they've also got super liabilities. They've got their own flaws. They've got their own regrets. Certainly a similarity between the two films, for me, was finding someone at a point where the shtick they've been doing isn't working anymore. The world has changed. I mean, I think that's even a line in Logan, but it would apply to both movies, that you're finding Indiana Jones in his seventies in the time of modernism, rock and roll, moon landings, triangulation, Red Scare, nuclear fears, the Vietnam War. That's a different world than the clarity and simplicity of the 30s, of a free world united fighting Nazis. It's a very different environment. And similarly, finding Hugh's character of Logan in a time of diminishing returns when his power isn't as great as it was, that, to me, brings vulnerability to the character, it brings a journey to the character. As far back, if you want to be an archaeologist about it, as Aristotle, there was this term peripeteia, the turning of the wheel. It's one of the things that people kind of have a hard time with when they get into dialogues online about movies because a movie isn't a single idea, it's a peripeteia, it's a turning of the wheel. It's something that starts one place and ends another, so which point of the movie are you talking about? And any good story starts someplace where the character has to travel or grow. For me, too often for my taste, many superhero films start as gods and end as gods. So really, all that's happening is a series of fights and tactical moves between one set of gods and another, and I don't feel the characters changing. My only problem is, it's not a knock against other movies, it's just I can't make movies like that. I wouldn't know how to. So for me, I need them to start one place and get another. That was really important to me in both films. What's different is that Logan truly was a kind of tragic adventure, but also, in my own way of looking at it, a kind of beautiful ending for the character of The Wolverine who had never really experienced peace in his life, and in his final moments found love and a kind of grace, even if it was only the last 30 seconds of his life that he found that and that he knew what that tasted and felt like. To me it was really moving. In Indiana Jones' case, I wasn't, first of all, ending the character, but beyond that, there's a tonal difference between these kinds of movies. Indiana Jones is an entertainment and it's an adventure, and it's got to have joy and humor and crazy characters. And even Indy himself, very different than the grimness that Logan represents, is a series of contradictions. He can be fussy, he can be demanding, he can be cowardly as well as brave, his punches can have no effect and never land. So there's a wonderful set of contradictions to the character that Harrison and Steven and George and Larry Kasdan all developed, and that I wanted to continue, but I had to find it in a new age, in his 70s. Any movie I do will have to meet that basic idea, just that the character goes from one place to another. Well, Harrison loves a dialogue with his director. But, you know, it's interesting, most of the great actors I've worked with, really superlative actors, love to have a dialogue with the director. I mean, a long time ago, my second movie I made with Robert De Niro and he said to me, I need a director. Talk to me. He goes, I don't work with young directors much because they just don't say much. He goes, I need this dialogue, and we became friends in the weeks before we made the movie just so I understood, and I think he wanted me to be able to kind of communicate with him. I found that true whether it's Russell Crowe or Christian Bale or Harrison Ford or Angelina Jolie or Winona Ryder, you could go on and on. The reality for me is that the give and take with the director actually, I'm the only audience, really, they have. So in a sense, that push and pull a singer-songwriter or a live performer might have with an audience, I'm kind of responsible for bringing whatever that response is, not just intellectual, but also energy, you know? And I feel that. Harrison, in particular, one of the unique aspects of him that I think is really interesting is that he's always looking to undermine the tropes of a scene. He's always looking at how he can play against the text or play against the grain a little bit. It's where all these great moments happen with Indiana Jones that you can't quite identify exactly what's going on, but it's him. You know, in our movie, there's this moment where he punches Mads Mikkelsen in the very beginning, first reel of the picture. In the script, it's just, he opens the door, Mads is there, he clocks him. But Harrison goes, what if I tried something like this? And he takes off his hat, puts it in front of Mads's face, and then punches him through the hat. There's no rational reason to do that. There's no audience watching to Indy's actual awareness, although there is, of course. He's trying to survive on a train. There's no need to put a felt hat between him and the punch, but it looks great, and it feels absurd and feels odd, but also feels like Indy. I can't explain it, but he's always looking for these moments where he can undermine or manipulate for our enjoyment, the kind of pure heroism and turn it into something more human. 'I love you.' 'I know.' I mean, these are him always trying to undermine the tropes. There's not a day I remember seeing him where he's not flipping through the sides of the day and puzzling on how he can just push and pull on it a little bit."
Q: "Examples of following, and disregarding a studio note?"
James Mangold: "The second thing I can't touch, because that would be just naming a note I got from someone and saying I won't do it. But it happens. I've also got all these wonderful people around me, and they're not always saying the same thing, so sometimes you have a note and the exact opposite note on your right and left, and you're kind of left to navigate your way. But one of the great notes I think Steven offered early on to me as a very simple tidbit was just this idea that an Indiana Jones movie in his mind, he realized somewhere along the line making them, is actually a movie trailer that's two hours long, that nothing can sit very long, that any kind of concepts of pace that you might have about a different movie have to be kind of exponentially turned up to 11 on an Indiana Jones movie."
Phoebe Waller-Bridge: "Well, Antonio Banderas would do the Puss in Boots impression whenever you asked him."
Harrison Ford: "It didn't help me much."
Phoebe Waller-Bridge: "It really helped me!"
Harrison Ford: "But clearly it helped her get through a day or two."
Phoebe Waller-Bridge: "Well, you help me every day."
Harrison Ford: "We had a really good script, and we have wonderful actors that have chosen to play these parts, and we're delighted to have all of them, lucky to have all of them. But to go back and remember something really honest and specific about how a day went, I can't do it. She has a younger, brighter mind than mine. She can do it. But to me, it's just there's an atmosphere that Jim helped create that is really conducive to people wanting to do their best work, and I think everybody in this film was extraordinary. But I had a lot of scenes with Phoebe, and one of the best things you can do for a fellow actor is to surprise them, not in terms of improvisation or anything, but to have them really be there, have them really be present, really emotionally involved in a scene. It's a pure joy, and we had a lot of that in this movie."
Phoebe Waller-Bridge: "Oh, gosh, I don't know if I've ever felt (unlimited ability) in my entire life. I think the physical side of this film was really surprising and exciting, and the faith that Jim and everyone had that I could do that and running at something."
Harrison Ford: "Nobody thought you could do it."
Phoebe Waller-Bridge: "Ok, fair, fair, fair, fair!"
Harrison Ford: "But then she went ahead and did it!"
Phoebe Waller-Bridge: "But they also wanted me to do it well."
Harrison Ford: "Well is a relative term."
Phoebe Waller-Bridge: "Exactly. Not slick."
Harrison Ford: "Not slick, but well."
Phoebe Waller-Bridge: "Luckily, it was important that it wasn't slick, that I didn't have to be slick, that we were messy, and it was fun to mess things up like the characters do. So I think it was really that that surprised me the most. And I think there probably were times when I'd sort of fall off a wall or something and be like, I nailed that."
Harrison Ford: "I can't (tell myself good job). I just constitutionally can't do that. Look, I'm grateful every day for the opportunity to do what we do, and every day is a surprise. Every day I'm grateful for the emotional exercise that I get. It's not about me. It's about us. It's about what's going on in the room. And believe me, there's nothing more important than the reality of a person bringing themselves to a situation openly, with emotional clarity and wit. I love what all the other actors do. I can't think about myself that way."

June 20, 2023
LUCASFILM FEATURETTE
Steven Spielberg: "An epic production like the Indiana Jones series is truly a collaboration, and a big part of that is Johnny Williams's score. His music gave such detail to every single heart-stopping moment and bonded all of these films together and gave these films a musical identity."
Kathleen Kennedy: "That scene, that in three notes you're gonna recognize, he just has that signature in what he does."
Harrison Ford: "John's music in unparallel. It's just incredible how original and how powerful the themes are that John creates for each element of the film."
John Williams: "I have been fortunate enough to have been associated with the films over quite a long period of time. To with each film add more to the collection of musical material."
James Mangold: "I didn't know if John would do the whole movie. I only prayed. At first he said, I'll write some themes. And then he just couldn't stop writing all the music to the movie."
Kathleen Kennedy: "The thing that I never get over is how you sit on a scoring stage and John raises his baton. Every single time you just go, oh my God."
James Mangold: "His scores reawaken us. His music is a tribute to the power of orchestra."