Mark Ruffalo Rewatches Poor Things, The Avengers, 13 Going on 30 & More

You wanna know my secret, Agent Romanov?

You wanna know how I stay calm?

To be honest with you,

I wasn't able to watch this ever before. [chuckling]

I kinda remember seeing this

and just being like,

oh, down in my seat.

Hi, I'm Mark Ruffalo

and I'm gonna re-watch some scenes throughout my career.

Here we go.

[upbeat music]

[film winding]

[Mark chuckling]

Oh no.

Again. [chuckling]

Oh, she's amazing.

I dunno what I'm doing.

I don't know these moves.

Oh for the love of Pete. Just hold onto me.

What are you crazy?

As much as she is dragging me onto that dance floor,

was as much as she was actually

dragging me on the dance floor.

I did not know how to do this dance.

I had such a hard time with it.

[Mark chuckling]

Took her 60 minutes to learn this

and it took me like four days.

Oh God.

It's such a time.

Jenna. I'm sorry. I gotta go.

[Mark] What do you- I'm sorry.

Wait, don't.

What a time this was.

This is sort of the beginning of everything in a way.

You know, Gary Winick, who directed this

was one of the great independent directors,

and he decided he was gonna cross over

and do this romantic comedy

and make it like, an independent movie.

Like, have all that heart and soul and thoughtfulness

and try to have it have a message

while still being romantic.

You know, it's romantic comedy,

but it really is about innocence and keeping your innocence

and losing your innocence

and how we rush into that as young people.

I just think that that resonates with everybody.

Everyone remembers the moment

where they lost their innocence

or they wish they'd still had it.

It's unrequited love, you know.

It's the ending that you don't wanna see

in a romantic comedy.

And then you get the ending you wanted to see.

Having that switch up, I think made it really special too.

[upbeat music]

[film winding]

[Bella spitting]

Bella.

What?

Why keep it in my mouth if it is revolting?

Duncan Wedderburn, he's in a great tradition of the rake,

the English rake.

Terry Thomas is one of the people who come to mind.

A lot of it is in the dialogue he's controlling.

He sees himself as a libertine.

He believes in free love,

unless of course it's the woman who wants to have free love.

A classic sort of misogynistic, you know,

sexually dominating man from the turn of the century.

Even to today.

Andrew Tate comes to mind.

I must go punch that baby.

[baby crying]

That baby was really crying a lot.

I don't think it was hard for Emma

to build up those feelings of anger.

Your behavior is unconscionable. Will you behave?

She's just one of the greatest actors, it's so present.

A lot of it is just responding to what she's giving you.

When an actor's present with you,

there's something happening in between the two of you.

You are hurting Bella.

Sorry. Reason does not penetrate.

Let us go.

[hand slapping]

Ow.

She really slapped me hard that time.

What makes it so great

is the mental process of,

Do I like that?

That was exhilarating.

I've never been slapped before.

Who is this woman?

Do I kiss her or bite her?

His is response is Ow.

Which has a little bit of the pleasure in it

and is maybe wanting more, let's say.

His kink.

[upbeat music]

[film winding]

[Nick] What are you doing, Mr. Stark?

[Tony] Kind of been wondering the same thing about you.

You're supposed to be locating the tesseract.

We are. The model's locked

and we're sweeping for the signature now.

When we get a hit-

I don't know what the hell I'm talking about.

We get into the scientific jargon

and I'm just like, ba ba ba ba ba ba ba.

All that was really difficult for me,

but I think we pull it.

Look at how great Downey looks.

Sorry, computer was moving a little slow for me.

Rogers, we gathered everything related to the tesseract.

This does not mean that we-

I'm sorry, Nick.

What were you lying?

I was wrong, director. The world hasn't changed a bit.

Did you know about this?

Busted. [chuckling]

I'd like to know why SHIELD is using the tesseract

to build weapons of mass destruction.

Because of him.

Me?

I was scared to death.

All these other guys have had movies

made on their characters.

I just felt like I had big shoes to fill

with all of the other Banners, you know.

My friend Ed Norton was amazing.

And then there's this big monologue coming.

It was a tough monologue

and the language was difficult.

And there's an energy in there that suits very well

for where Banner is right now, you know.

Do I fit in here? That was me.

He has to prove himself to them here.

And I had to too.

And that's frustrating, you know?

And that has high stakes.

You're on this set with those actors

and you had to come through

and Banner has to come through

and he has to take his place within this team.

That's what's playing here.

[upbeat music]

[film winding]

The odd thing is, we also got gloves.

Suspect's?

[Detective] There's blood on 'em.

Hey Pete?

[Pete] Yeah, Dave? You throw over there,

can I get in there?

I wanna say it was three nights to film the sequence.

My memory's faulty,

but I know it was more than one night.

If you were doing any other movie,

you would do this sequence in half a day.

[brooding music]

But I remember this night specifically,

'cause Fincher had this idea

where I come down the hill

and it's like backlit

and it's a sort of introduction to him

as this kinda lone, you know, figure.

And he explained the shot to me

and I'd never, you know, had been in a film

where the director had planned a shot a certain way.

We would do 60, 70 takes, you know,

just outta hand.

My first day he was coming towards me.

Jake and I had done a,

it's like a four page walk and talk, lots of dialogue.

He's coming towards me.

Fincher finally a take 30.

And I'm just like, Okay, I did my best.

And he literally walks by me,

he moves a background artist like two inches.

And then he turns around, he walks

and he hits me on the back

and he walks back to the monitor

and I was like, Oh, I'm only like 10% of the frame.

This guy just moved a background artist

two inches behind me.

He wants this thing perfection in a hundred percent.

And I'm just 10% of it.

Every movie you do, you're on a journey with a director.

And then just more you can give into them

and join them on their process and their journey,

the better it is for them,

the better it is for you.

For me, that's what this was from the very beginning.

In this, you had to know your dialogue,

you had to know everything

like you knew the back of your hand.

And if you didn't, with Fincher, you're in trouble.

[upbeat music]

[film winding]

I wonder if Father Gagan

should not be reduced to just weekend work

while receiving some kind of therapy.

Mike Rezendes, the guy I'm playing

and just how much it cost these guys to do this.

And, you know, they were all Catholics

and this is their world that they were exploding

and it really took its toll on them emotionally.

When did Gallant write her letter?

1984.

And law just ignored it?

How do you ignore that freaking letter?

We got 'em.

Injustice is, you know, it's a power that hurts people

and that people don't really have recourse to

or defenses against.

People being,

their lives being turned upside down by fracking.

And I was on those frontline communities

where there really was no justice for people

and they were being abused

and the system wasn't protecting them

the way it was supposed to.

I'd had interactions that resembled that.

So I really knew that in a personal way.

It's time, Robbie.

It's time.

They knew and they let it happen to kids.

Okay?

It could have been you, it could have been me,

it could have been any of us.

We gotta nail these scumbags.

We gotta show people that nobody could get away with this.

Not a priest or a cardinal or a freaking pope.

Well, the truth is is that

no matter how you want to hold yourself outside of it,

I mean, personally, you gotta be honest that it is you.

I mean, you're the one there,

you're the one saying the lines.

You're the one who's having, you know,

showing up, who's living this life.

So I don't really separate 'em that much personally.

You can't negate that you're there.

I just feel like why even spend the energy doing that?

There's a sickness in, I think just getting,

thinking you are becoming that character.

Because that also isn't true.

It's always a dance between, you know,

yourself and the character and your own experiences

and experiences that your character's going through.

[film winding]

Thanks for watching.