Hello.
Yeah. We're going to go on a mission right now.
Yes, will you come with me? Oh, you will.
I'm going down the street and I get a hit.
Heath, Heath, Heath, Heath.
Sure enough, the next day I said,
"I'm going to hear about something, Heath.
There's something going on." The next day, I got your email.
I honestly think that the earth is off axis.
I think there's something that is universally out of alignment
with what happened.
I'm not supposed to be talking about this with you.
This isn't supposed to be being made.
This is fucked up. This is not something
that is supposed to be happening right now.
Heath was the most alive human.
If it wasn't on the edge, it didn't interest him.
If there wasn't a risk, some type of risk involved,
he had no time for it.
He went all the way out in the time that he had.
He went all the way to the edge.
Some people are just bigger than the world has room for.
One of the things that happens
is when you're good at something in a movie,
everyone offers you that same thing.
He did a great job being in a teen romantic comedy, basically.
Anything that resembled 10 Things I Hate About You
came his way.
Of course, that's exactly what he didn't want to do next.
He wanted to mix it up and find a new challenge.
That moment was a very important next step.
Okay, what do we want to do next?
What do we really want to do if we have a choice?
He was always very friendly.
He never seemed out of sorts about it,
but he knew what he didn't want. He was always very appreciative
of coming to a house full of art and artists.
I am filming right now.
He got this camera,
and he didn't know what to do other than to make something.
It wasn't just to film us and film what we were doing.
He was creating something straight away.
He always used to say to me, "Don't forget your camera,"
and I was like,
"What am I going to film between here and there?"
He was like, "I don't care. You could film your feet."
But we'd watch a lot of our videos back.
He was just curious, and watching it,
and thinking how he could do things different.
That's how he learned. He never studied anything, really.
He was self-taught.
He could really see what he was doing
and how to do that better or different.
Even if it was the way he smiled or where he was looking,
he'd make a lot of things just for himself,
just to teach himself.
That's right...
"...Evil super-villains..."
Evil super-villains.
"...civilian men and women."
Who? Got it, boss. Let's go!
Okay, I've got my mission. We're at the peephole.
You never know who's out there waiting.
The screen test for The Patriot came up with Mel Gibson,
who's the biggest Australian movie star.
That was one of his idols. He loved Mad Max.
It was a huge, huge thing for him.
It was an actual screen test in costume
on the set with the main star.
Heath called me and said,
"They're not calling you on this one.
I just didn't do well,"
and it was something, enough there,
that Roland Emmerich and the studio
and Mel all looked at each other
and, I think, said, "You know, let's take a shot."
This is first day shooting.
This is the first day on The Patriot for me.
I'm looking forward to it.
It's been three months since I found out I got this job,
and finally, after three months of sitting around
thinking about it, I get to go out there and do it.
This is it. Blink my eyes, and it'll be out there.
Guys, guys, Heath's here, guys. Everybody look alive.
It was a huge production.
It was a little terrifying to be in another city with no friends,
and you're just sitting there on your own.
It's a lonely life.
Cut!
That's why he took me to most places is that it was us.
We met riding our bikes out in the street,
and we just became best friends. We felt at home together.
You could tell that he wanted to do a good job.
He was still learning.
I'm not going back.
No, I didn't expect you would. That Gates is a damn fool.
He spent too many years in the British army.
Going muzzle to muzzle with Redcoats in open field.
It's madness.
He called me one day from the set, really upset.
He was having a hard time,
and he was struggling, just a crisis of confidence.
He was probably in his head.
He's standing across from his idol acting with Mel Gibson.
For a young Aussie kid, it was a lot.
He would get caught up in the fear of whether or not
he could accomplish what he wanted to do.
He kind of almost pulled out of every movie
he ever ended up doing.
Heath and I had mutual friends, so it was a setup.
We met, and that was it. That was it.
There were always cameras around.
A video camera, or a Polaroid camera, or the film camera.
I was amazed when I saw all of the stuff together
and how many photographs. He was documenting everything.
He was just surrounded by all of those moments he was in,
and then surrounded by them,
but then he'd be capturing the next moment
and the next moment and the next moment.
Didn't stop. It never stopped.
The way he was able to be in the moment
and then capture the moment on the camera,
he just got you in your most authentic self.
He really got me.
I think that's a beautiful thing,
because he's saying through his photographs, "I see you."
The art was more of a need, almost,
to live in the world and then capture the world.
That's the only way I think of him,
with the camera in the hand. That was just Heath.
He was looking, always for something
that was going to be truly challenging
to try to figure out ways
that he could absolutely disappear into a character
and almost be unrecognizable. That's what really drove him.
In his process of picking what film he was gonna
do most of that came from who was directing it.
Shekhar was a director that he always wanted to work with.
He recommended Heath, myself,
we go out in the desert by ourselves,
just the two of us.
Heath stood there, looking down the valley,
and we both just started yelling,
trying to see how far your voice will carry.
It's you and the desert.
You're forced to look at yourself.
The impression you have of yourself
when you look in the mirror is up to you.
You can see whatever you want to see,
and you can be whoever you want to be.
He was really at the start of a journey
that was a lot more focused as an artist.
Since we have to believe it, for us the audience,
to believe what you're putting out there,
you must believe it yourself. We all grew from that film.
He told me that when they wrapped his character,
he stood in the middle of the whole set and collapsed.
Before Brokeback Mountain came out,
it would've been unthinkable to have a romantic tragedy
involving two gay cowboys,
which are the very symbol of American masculinity.
This is one of the biggest heartthrobs on Earth
taking on that character.
That's balls, and that's an artist.
When his name popped up from casting
I did have a little hesitation.
I didn't know at that time if he can carry a movie,
which is what he needed to do.
There was no doubt in his mind he was that person.
If you can find that character in you,
then that's your success. That's golden. That's the magic.
I have no doubt that he could have done
enumerable more extraordinary performances
and given those gifts to the world.
He was seeing the world in a way that the rest of us
didn't and in a way that the rest of us couldn't.
Time and convention meant absolutely nothing to him.
He had this light around him.
Where he went he shone light on people
and made their lives better.
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