Robert Downey Jr. Breaks Down His Career, from 'Iron Man' to 'Oppenheimer'
Released on 07/21/2023
I've been thinking about this recently,
if I could talk back to that
17 year old who was doing regional theater in Rochester,
I would say, Guess what?
It's going to go pretty well.
It's going to be a lot of ups and downs
and I'm not going to tell you the specifics
because you'd get too scared,
but it turns out in a good place
and it never will get better than it is right now.
So just appreciate where you are.
Three, two, one.
I'm Robert Downey Jr. and this is the timeline of my career.
[upbeat music fading]
That tornado scared me so much, it made my hair disappear.
Have any hair on your balls?
I'm afraid to look.
Pound, is a film that my dad got the financing for,
I think the investors thought he was making a documentary
about pounds and animal shelters
and then he said, No, no, it's a live action thing
and I'm casting people to play the dogs.
Next thing you know, we're shooting it
and these character actors of all shapes and sizes
are playing various dogs.
And then I played a puppy.
My earliest memories are of cameras being on sets,
being on stages, being on location,
to the point where it almost seemed like
life was kind of making a movie and kind of being a kid.
At the same time, because my folks were mostly
underground kind of counterculture,
it was never like I saw later on, like my friends,
like Jason Bateman, who literally grew up in the high end,
you know, multi-camera TV show stuff,
our stuff was really weird
so there was always something that felt a little bit
outsiderish about it.
Remember the infamous coffee cup?
Oh no, don't please.
Oh yes, I seduced Blair without really trying.
There it is, there's a smile.
It's nice to see it again.
I'm cast with Andrew McCarthy, James Spader, Jami Gertz
and there's a scene on a tennis court
where I'm asking my dad if I can come home
and it was kind of an impactful
bit of a challenging scene to do.
My first day shooting and the director, Marek Kanievska,
who I argue is one of the greats I ever got to work with,
said, Everybody be absolutely quiet,
he's trying to concentrate.
And I felt like he told everybody, Hey, this is important.
And then I was like, Oh my God,
I guess I better concentrate.
And I just thought for a quarter second about
what's it like for all fathers and sons,
mothers and daughters?
Are they ever going to connect?
Can they ever understand each other?
And just having that thought in my head
gave me this springboard
and it wound up being kind of a pivotal day
where it was the first time I felt I was taken seriously
in a dramatic way.
I just need you to be my father
for one God damn day and just...
Just help me.
I mean, can't you tell when I,
when I'm telling the truth?
If anything, Less Than Zero,
showed me that there was a cultural relevance to filmmaking.
I'd seen it in, The Breakfast Club,
and a bunch of other films
and it was something about our generation had some sort of
valid statement to make,
and the filmmakers and artists of that period.
And you felt like, God, maybe I could be one of those folks.
[Speaker] Very formal everybody.
[upbeat bouncy music]
What the hell?
[upbeat bouncy music]
Chaplin, was a absolute gift
and a real bear of a challenge
for someone who's 25 when I started prepping to do it.
But there were all these people that were still around,
just barely still around like Johnny Hutch
who came from, The Benny Hill Show,
and he knew the guy who'd really done these
choreographed things at the Karno Theater with, Chaplin.
So he actually had access to some of the books
of really what the choreography was for some of this stuff.
And he drilled me incessantly
for months and months and months.
And then having Attenborough, Dickie Attenborough directed,
he was like the Yoda of cinema
and just the fact that he cast me
obviously was the endorsement.
And then it was just this year process of shooting it.
At a certain point I had a one way mirror with a TV
playing VHS tapes of his old films
and I would try to match up where his face was in mine
and literally just mimic him
for hours and hours over a course of weeks and months.
I employed every single way
I could try to show up for that role.
[loud rustling] [indistinct grunting]
When you're 25
and you're given the keys to the kingdom,
you're going to probably come out of center.
Maybe out of fear, maybe out of confidence.
And for me, I at that point, not to boast,
but I was as much of a, Chaplin, expert
as anyone involved in the project.
And I was making corrections
to the things that were
factually and historically inaccurate.
To which Chaplin said, But puppet, we're making a film,
it's not a documentary.
I did learn at that point though,
that it's hard to tell a story anymore interestingly
than the way it actually occurred.
So I was saying, right before Chaplin did a film
called, The Kid, with Jackie Coogan,
his wife had had a miscarriage,
so that was his way of healing from the trauma of that loss.
He was like, Robert, the audience-,
and I was like, It's too episodic,
we have to make this [indistinct].
Anyway, you realize you're not the director
when you're not directing,
but a great director will incorporate all of your strong
associations and the things that you feel
are really important and find a way
to help you get them into the character.
I didn't want him to come down and he insisted.
I said, you got to stay at home
but he doesn't listen to me,
he's such a stupid son of a bitch.
I killed him, didn't I?
Oh fuck, this is my fault, I'm sorry.
Hey, good luck.
Kiss Kiss Bang Bang,
that was a film shot entirely at night.
I think there was one day shoot and one split.
So the rest of the time we're getting to work at sundown
and we were working all through the night, every night.
So Shane Black is a night owl,
Shane Black is a legitimate genius
and he'd written what I thought was almost a perfect script.
And then Val Kilmer and I had kind of
fallen into this good repartee.
And at that point I'd never played a character
who was so overtly not intelligent but lovable.
And I think it was very freeing for me
because I'd hitherto been associated with these
kind of fast talking smart guys, which I'm not necessarily
I've just had some experience doing it.
And Harry Lockhart in, Kiss Kiss Bang Bang,
he's kind of a dummy
and it was so freeing for me.
What happens when they drag the lake?
You think they'll find my pistol? Jesus.
Look up idiots in the dictionary,
you know what you'll find?
A picture of me?
No, the definition of the word idiot,
which you fucking are.
As far as working with Val on, Kiss Kiss Bang Bang,
he's Val Kilmer, it's vintage Val Kilmer.
He comes in with such an
kind of off center point of view on things
and yet he's playing the one who knows everything
and he's smart and he thinks that Harry is kind of an idiot
but they become friends.
So I just found it so delightful
to be staying up all night with Val Kilmer
shooting these ridiculous scenes
about these two oddballs that are chasing this
kind of a, my case and your case, there the same case.
He's a really sophisticated artist
and I have nothing but fond memories about,
Kiss Kiss Bang Bang.
Dick, just one thing,
is it true they got a print off the cap?
Yeah, they got a partial in blood.
But that is not for publication.
Hey, hey, come on.
Hey, it's me.
Did he say they got a print?
Working with David Fincher on, Zodiac,
was a once in a lifetime opportunity.
He is an absolute
master of this art form.
And I remember also the subject matter
is really, really intense
and so it wasn't like, you know,
a fancy free set.
And because I knew that this was something
that was really part of David's own history,
of his own kind of contemplation of evil,
you're trying to serve the director
and be respectful of that,
but I mean I remember, you know,
Ruffalo and Gyllenhaal and I
looking at each other knowing
we're getting a real education
in doing things in an extremely disciplined way.
That said, when I watched the film
there's a lot of kind of like fun and lightness in it,
which David Fincher always knows how to capture,
it's just not, he doesn't lean into any sort of indulgence.
He's a really disciplined guy.
And then the crazy thing is,
David Fincher is your best lunch date you could ever have.
He's so fun, he's so witty
and yet when you look at his work, you know,
he doesn't take himself seriously
but boy does he take his films seriously.
That's the only place that word and that symbol
ever appeared together before the letters.
The guy stole his logo off a watch.
How can somebody who's killed 13 people-
He claims he's killed 13 people
but which ones can we actually confirm?
There's three in Vallejo, one Berryessa,
the cabbie, that's it.
Bobby, you almost look disappointed.
Working with David Fincher
you will learn that you're more durable than you thought.
A scene can devolve into where
it just feels really perfunctory
and you're kind of almost on a automatonic mode.
But it doesn't matter
because the craft of trying to get things done,
like there was a scene
where he was trying to get it done in one shot
and we had to have done 40 or 50 takes
and people were a little bit exasperated.
He said, Downey, come here. Do we have it yet?.
And I watched the takes
and at the end of it I said, You want to use this in one?,
He goes, Yeah, I go, you know, he goes,
Downey's right, we don't have it yet.
Delete all 40 of those takes
and we'll start again after lunch.
And everyone looked at me they're like,
What the fuck is wrong...
But you know, right is right.
The truth is
I am Iron Man.
No problem trusting Jon Favreau.
His films, Zathura, and, Kiss Kiss Bang Bang,
came out on the same weekend and tanked.
And I think we were both really hungry
to try to reestablish ourselves as a formidable duo,
Again, just like Attenborough,
his endorsement of me to play that character
and then Kevin Feige having the wherewithal to say,
Okay bit of a risk, let's do it.
We like risk, wound up being,
you know, a life-changing 15 years.
It's going to be okay.
Okay? Is it?
It's going to be okay.
I'm going to make this okay.
Okay you're going to attach that to the base plate
and make sure you...
[electricity buzzing] [Tony yelling]
Was that so hard?
That was fine, right?
Anytime I was with Jeff Bridges
and maybe even more so with Paltrow,
you just felt that there was this chemistry
where you always kind of got
the definitive version of a scene,
whether it was loosely scripted
or a little bit more prepared.
Well there's a scene where he is doing a weapons test
and he says, Is it better to be feared or respected?
Is it too much to ask for both?,
and John and I were literally writing that
line for line as we went along shooting it that day.
And I put on sunglasses because it was all on cue cards.
It was that kind of thing where you go,
it's more important that we feel like
we're just coming up with this and we like it
and there's no trick we can't employ
to cover the fact that we're kind of
making it up as we go along.
But again, because you have that huge
cluster bomb explosion in back of him,
because the air mover kind of pushed me forward
and it was just one of those days.
There was another moment where Tony has escaped the cave
and essentially become Iron Man
and he lands in this kind of crater
outside the cave where he's being held.
And there was a windstorm that day
and we were trying to get this take
and it was very, Star Wars, esque in a way,
it was very reminiscent of what John has
wound up doing since with, Mandalorian.
And there was just this moment where it's like
this storm kind of settled
and everyone kind of looked at everyone, we were like,
Let's get one more take,
and that's the one that's in the film so.
It even felt like sometimes the elements themselves
were conspiring to help us do our best job.
Every film is an art film if you treat it that way
and the most important films can be garbage,
but it's always about teams and leadership and partnership.
Also that audiences evolve really quickly,
like they'll assimilate a new
kind of version of a genre
and then they'll phase out of it
and you have to keep
meeting and exceeding their expectations.
And I think that's where, you know,
now we're in such an interesting spot
because it's kind of like anyone's game
anticipating what audiences will respond to next
and I think it has really put the
cinematic and TV community on point.
[Joseph] I did what I thought was right.
You know I didn't just graduate from law school,
I graduated first in my class.
Good. I was first in my class.
I did really well, Dad.
David Dobkin, I wanted to be in, Fred Claus,
and I had seen the, Wedding Crashers,
and I was like I love this David Dobkin guy.
Turns out we kind of almost knew each other
back in upstate New York, back in the day.
And he'd had this idea,
kind of a dramatization of a version
of how he'd had this strained relationship with his father
and then we started talking about great movies
like, The Verdict, it's such a rich fertile zone
to try to dig in, you know.
What was your reasoning?
180 days, that's solid.
Maybe he'd have cooled off.
Maybe he doesn't kill Hope, maybe we're not here.
Of all the years you sat on that bench,
all the people that stood before you, the leniency,
the understanding, the free ride goes to Mark Blackwell?
How do you explain that lapse in judgment?
We're really fortunate
in that I had such goodwill for Warner Brothers
with the having done several, Sherlock, films with them,
that they're like, Yeah, we don't know if this one's
really a fiscal win for us, but we love the script.
Go shoot it. And those days are over.
It's just 'cause the window's closing a bit, it seems.
[Speaker 2] Is there anything
that you feel like you need to
process in relation to
the possibility of not seeing him again?
I just don't know.
Sr., which is the documentary I did about my pops
with Chris Smith and my long suffering
Missus, Susan Downey,
started off as kind of a pre pandemic
and then into the pandemic, for me, I'll just be honest,
it was a bit of an avoidance technique,
in that I knew he was in the throes of Parkinson's,
which is a awful disease.
And I'm not great at confronting inevitabilities always,
but it's almost like it was this journey for me to,
in my mid fifties, kind of like grow up
and take responsibility for framing
how I had experienced my childhood
and now how I related to that parent,
as he was kind of, you know, in the last years of his life.
Had you two met before?
[Robert] You mean Junior and I?
[Robert] Yeah. We're getting to know each other.
I think anyone who sees, Sr., it can be a tough watch
but I would suggest that you find your way through it
because there was a certain point where
my dad made these very avant garde movies
and they didn't always even seem like they had a plot
and we had amassed all this footage in, Sr.,
and Susan came to me, she said,
You can't make this documentary
like one of your dad's movies.
This has to have an act one, two, and three.
And I was like, Well what's act three?.
And then act three wound up being his passing
and us kind of figuring out a way to
ingest that and make sense of it.
I don't know that there was any one part that was difficult.
When we started watching, Sr.,
we saw it at the Telluride Film Festival,
we screened it in San Francisco
at the same theater, The Kastro,
where I had been with my dad,
you know, when his films were coming out in the seventies.
And so for me it was more like I would be watching the film
and it was the story of my life with him and his death,
but it also wound up being this kind of thing of,
it brought me almost back to Chaplin,
where you make art of your life
and your life is kind of a movie, but it's not.
It was this very surreal experience.
And then there was just the grieving part of it where,
and I think it's why some people say,
I wish I'd been able to do something like this
for one of my parents or a loved one,
is that it becomes this kind of touchstone
and it's a way to have a mechanism
by which you can process a loss.
So it is, I'm super fortunate to have it there
and I think it'll be something that I use
as a kind of a, you know,
a bit of a self-help tool for years to come.
[Speaker 3] I can't believe it.
But here we are.
Catch me up.
What do we know?
One of our B29's over the North Pacific
has detected radiation.
Do we have the filter papers?
There's no doubt what this is.
White House [indistinct] are down.
Wishful thinking I'm afraid.
Are those the long range detection filter papers?
The Russians have a bomb?
There's two Nolan's,
there's the Nolan before you've worked for him,
where he's kind of this very distant Oz like figure.
He's just held as we all know in this very particular esteem
because his acumen and his mastery of this medium.
And then there's what happens as you approach
and get into the system that he uses.
It's so hard to explain,
but he's a very, very singular fella.
So even the screen tests felt important
and not important enough, froufrou, high status way,
there's just an energy and an intensity to what he does, so.
And then take the subject matter
and then the fact that he's asking me to kind of
transform into someone who's extremely subtle and plotting,
who doesn't have any punchlines,
who's only charming
when he's trying to manipulate or undermine.
I found that to be a great challenge.
And Chris Nolan had said
he was likening it a bit to, Amadeus,
where there's a Mozart and that's not you.
Sometimes your Mozart,
usually your Mozart, this time your soluary.
And so I really took that to heart
as him kind of challenging the entirety of my
career trajectory and saying,
Don't use any of those things that have served you well,
find new resources.
And now the race is against the Soviets.
Not unless we start it.
Robert, they just fired a starting gun.
What's the nature of the device they detonated?
Data indicates it may he have been
a plutonium implosion device.
Like the one you built at Los Alamos?
There's something about Strauss
that I find he's very conservative
and very devoted and very much lived a life of service.
It reminds me a little bit of my grandfather
who was a Captain and did multiple tours in World War II
and then came back and had a glass company
and did all the glass for the Chrysler Building.
I mean those old American lives where you go like,
wow that was a really exceptional generation.
But I also know
this thing of comparison,
of why don't I have what he or she or they have.
It's ugly and it's a preoccupation I think
that can be particular to a kind of American exceptionalism.
And so with all these forces that were
at play during the Cold War,
it was great for me to have held this position
of kind of a righteous indignation
with what all these liberal geniuses were up to.
In a way I felt like I got to be a critic
of what might be a perception of myself or others
throughout the entirety of my career.
And so I got to do that counterpoint,
it was almost like I was in a debate
with the aspects of myself that I have glorified
and I was able to look at each one of them and say,
That's not entirely right
and maybe you don't deserve that.
And it's been a great dialogue.
And I have a feeling,
part of the reason Nolan wanted me to do this
was to give me that kind of 180 perspective.
But I also, at the end of the day,
I truly believe that Lewis Stauss
did everything he did for reasons
that he thought were correct.
And I don't mean that like a superhero bad guy,
I mean that legitimately as a human being.
So I find it really kind of fascinating
that I'm still a little bit up in the air about
who was on the right side of history.
[upbeat music] It's like a currency,
the cultural significance of cinema and films and TV.
And I think that part of my generation,
just like part of the Maverick generation,
part of it was kind of, Yeah this is nothing,
you know, We're so cool.
We're really like dark and brooding
and honestly it's a privilege,
it's a matter of precision and discipline and sacrifice
to be able to do it correctly.
And I think that's been the one lesson that I've,
over a long period of time,
been able to finally assimilate and accept.
[upbeat music fading]
Starring: Robert Downey Jr.
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Eddie Redmayne Breaks Down His Career, from 'Fantastic Beasts' to 'The Good Nurse'
Bill Nighy Breaks Down His Career, from 'Love Actually' to 'Pirates of the Caribbean'
Song Kang-Ho Breaks Down His Career, from 'Parasite' to 'Broker'
Jean Smart Breaks Down Her Career, from '24' to 'Hacks'
Michelle Williams Breaks Down Her Career, from 'Blue Valentine' to 'The Fabelmans'
Black Panther's Costume Designer Ruth E. Carter Breaks Down Her Iconic Costumes
Russell Crowe Breaks Down His Career, from 'Gladiator' to 'The Pope's Exorcist'
Ben Affleck & Matt Damon Break Down Their Careers
Michael Shannon Breaks Down His Career, from 'Boardwalk Empire' to 'Man of Steel'
Patricia Arquette Reflects On Her Career, from 'True Romance' to 'Severance'
Robert Downey Jr. Breaks Down His Career, from 'Iron Man' to 'Oppenheimer'