- [Man] Ga-doosh.
- You know what, just stop saying anything,
'cause you're not saying anything,
and I know the truth!
- Yeah, oh you know?
- And now I'm done fighting.
- You know.
An hour of me saying there's nothing,
and now you know?
I'll say it again,
she's trying to get her thesis published.
I'm just helping her. - Oh, right.
- We're fucking each other.
Is that what you want me to say?
- If it's true.
- My god, I'm gonna lose it.
- Are you?
Are you?
- [Director] OK, let's hold.
Keep rolling, bring in the double.
Whenever you're ready.
- You want the truth?
I am helping her
get her thesis published,
and,
I'm sleeping with her.
But I thought about you, baby.
I thought about you the whole time.
Every time.
You can't
believe me.
(woman sighs)
- [Director] And cut!
(applause)
(cheers)
(steady strings music)
- [Narrator] There are few who do they job at all,
but Bradley Whitford
is by far the most prolific.
- He's just,
impeccable.
- It is the definition of charisma.
- Brad is good-- - That most actors can't--
- He's a good actor. - Go to.
- [Narrator] Just like a physical stuntman,
an emotional stuntman is brought in
when things get too dangerous.
- When you're doing
really complex,
emotional work,
you don't wanna put actors through that
because
they can sprain their,
their souls.
- I've heard that you are
a one-take wonder.
- They're not takes,
they're gifts.
- I ate his liver
with some fava beans
and a nice chianti.
(hisses)
- I mean, that take
is what won him, you know,
the Oscar and for him to know that
he couldn't get there,
he just couldn't get there.
It's gotta be humiliating for him.
English people are very
fucked up emotionally.
(laughter)
You know what I'm talking about?
- Yeah, I do know, exactly.
- [Narrator] They'd use CGI
to enhance the performance
of a lesser actor.
- You clearly
don't know who you're talking to,
so let me clue you in.
I am not in danger, Skyler.
- I am the danger.
Guy opens his door, gets shot!
You think that of me?
No.
I am the one who knocks.
- [Narrator] You don't know it,
but it's often a stuntman
behind those most memorable performances.
- (sobs)
Paul, which eye do you want me to cry from?
- [Paul] Whatever's best for you Brad.
- No, what's best for the audience?
It's not about me, I don't care.
- Left? - Left.
Cool.
- The technology is so good now,
that he can do virtually anyone.
He can do a child, a baby, a man,
a woman.
♪ The big rock candy mountain ♪
- [Marta] Any ethnicity, anyone.
- How do you feel now?
- I can't move.
- You can't move.
- Why can't I move?
- You're paralyzed.
Just like that day when you did nothing,
you did nothing.
Now,
sink into the floor.
- [Bradley] Wait, wait, wait, wait.
- Sink.
- (groans)
Too much?
George, do ya like it?
- [Narrator] He keeps mostly to himself,
shows up at his call time and leaves right when he's done.
He's very professional,
and the world has no idea
he keeps these movies together.
- [Man] Hey, Brad?
- Hey. - Ready for ya.
(Brad grunts)
- [Narrator] Now that's Movie Magic.
- Wilson!
(synthesizer)
(creaking)