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  • - It's not a conscious thing.

  • I do the things that I gravitate towards.

  • Mostly I really get inspired by true stories.

  • But, if it's something that I would want to see myself,

  • or I think audiences want to see me in,

  • but I don't limit it to that.

  • I kind of wanna try different things.

  • The great thing is, I have a lot of real life experience

  • and I get to draw on those thing.

  • And I think that's invaluable

  • when playing these parts.

  • Because people and audiences can really detect authenticity.

  • So, yeah, I'm just doin' what I'm feelin'

  • is like, the thing to do at the time.

  • [mellow jazzy music]

  • I'm Mark Wahlberg,

  • and this is the timeline of my career.

  • - Laertes, Haywood.

  • - Laertes is a fool.

  • He ain't never stopped to think about

  • what type of person Hamlet was.

  • All he does is do what the king tells him to do.

  • When he fights Hamlet,

  • all they do is end up killing each other.

  • That's his problem.

  • He don't stop and think before he acts.

  • I want somebody else, Bill.

  • [patriotic music]

  • - "Renaissance Man" I could talk about all day.

  • It's the reason why I'm here today.

  • Penny is the reason why I'm here today.

  • I have so much appreciation and gratitude

  • and love for her, and miss her dearly.

  • I had started out in music.

  • I was being offered a couple of roles

  • because of my success in music

  • and my stint in underwear modeling.

  • I had gotten offered "Sister Act 2"

  • to be a rapper.

  • I got offered a bad in a rollerblade movie

  • that I was like, no, I can't do this.

  • Don't want to do it.

  • Don't want to do movies at all.

  • Thought I was gonna be Eminem

  • and have a crazy hip hop career.

  • And then I got a call saying,

  • "Would you like to meet Penny Marshall?"

  • And I said, "You mean Laverne?"

  • And they were like, "Yes."

  • And I said, "Oh, yes."

  • I was in New York at the time.

  • So I said, "I'll go to that meeting."

  • They said, "Oh, Danny DeVito's gonna be there too."

  • I said, "Oh my God, this is great."

  • People that I grew up watching.

  • I went into the meeting

  • and I was just so excited to meet her and Danny.

  • And then we started talking about

  • life and where I came from

  • and me being from Boston and her being from the Bronx.

  • We just hit it off.

  • And then she goes,

  • "So how come you don't wanna be in movies?"

  • I said, "No, I'm not an actor."

  • She goes, "Oh you are an actor.

  • "You're acting right now."

  • And she goes, "Take these pages, go outside

  • "and come back and let's read a scene."

  • So I literally auditioned, I don't know,

  • probly three or four roles that day.

  • It was just a lot of fun.

  • And it was just very different form

  • anybody else that I had met in music.

  • They were interested in me the person

  • and thought that maybe that I could possibly

  • bring something to the equation.

  • So we then planned on if I made it to the next level,

  • flying myself out to LA to go on a screen test.

  • I remember getting the call.

  • I was in New Jersey at my then manager's house.

  • And she called me and told me

  • that I had gotten the part.

  • And flew back out to LA,

  • rehearsed with her.

  • Went to South Carolina.

  • Shot, and then were in LA.

  • And I literally spent every single day on the set.

  • I wanted to know what everybody was doing and why.

  • Both in front of and behind the camera.

  • So I really kind of went to school on it.

  • It was like Penny Marshall school of acting.

  • She would do the craziest things like

  • when I was shooting a closeup,

  • she would be doing the off camera

  • instead of the other actor,

  • but instead of playing the other actor's role,

  • she would basically be doing

  • what she wanted me to be doing at the time.

  • She'd be like, "Marky, like this."

  • And I was very confused.

  • But after that,

  • I couldn't imagine myself doing anything else.

  • And, you know, we lost Penny last year.

  • And it was very, very sad.

  • And I remember her sister calling me.

  • And I was like, "Hey, what's going on?"

  • She was like, "You gotta come get your stuff."

  • I'm like, "What stuff?"

  • And she's like,

  • "Penny left you all this sports memorabilia.

  • "All this Patriots stuff and Red Sox stuff

  • "and golf stuff 'cause she knew how much you loved them."

  • I would definitely, definitely not be here

  • if it weren't for Penny.

  • [patriotic music]

  • - Go ahead, take another sip

  • so I can blow your fuckin' head all over the counter.

  • Go ahead, Pedro, go ahead.

  • - That movie was directed by Scott Kalvert

  • who directed all of my early music videos.

  • When we made the video for "Good Vibrations"

  • he goes, "You're gonna be an actor."

  • I said, "No I'm not."

  • He goes, "You are,

  • "and I've only told that to two other people."

  • He told that to Will Smith and to Tupac

  • when he directed them in their music videos.

  • And then "Basketball Diaries" was happening.

  • Avy Kaufman was the casting director.

  • I went for my first audition.

  • Went for my second audition.

  • Went for my third audition.

  • The audition became like a thing

  • where people would come and watch.

  • I remember Chris Blackwell, who was the owner

  • of Island Records and Island Films,

  • he discovered Bob Marley,

  • he came to watch the audition.

  • I mean people were just coming to watch

  • and I was unfortunately being a little too aggressive

  • with the other actors,

  • but that was kind of how I done my thing at the time.

  • I remember one actor, I don't wanna say his name,

  • but he was like, "Man if I don't get this part

  • "I'm gonna be so [beep] pissed.

  • "You keep kicking my [beep] ass."

  • And I'm like, "I hope you get the part.

  • "I don't know if I'm gonna get the part."

  • I auditioned for seven times

  • and then realized that certain people were like,

  • "No, Mark can't be in this movie."

  • And I was like,

  • "Well, I don't know about certain people either."

  • But then finally they were able to kind of

  • get everybody in a room.

  • I ended up, it was an accident,

  • I showed up probably about six hours late.

  • We were supposed to audition, I think it was on a Monday

  • and it was a Thursday so we were like,

  • "What are we gonna do all weekend?"

  • I was like, "I don't know, let's go to Puerto Rico."

  • I had never been to Puerto Rico.

  • So we flew to Puerto Rico

  • and then there was a snow storm

  • so we got stuck in Puerto Rico.

  • Missed the flight.

  • Showed up at like 10 o'clock at night.

  • I walked in, everybody was not happy.

  • But I was like, "Let's do this [beep]."

  • And we started reading.

  • And then I looked at Leo,

  • and was like, damn, this dude is pretty good.

  • I had only played basketball with him once.

  • So that was the only kind of interaction that we had.

  • That was not pleasant for either one of us.

  • And then he looked at me and it was like,

  • I don't know, hour later we were out at the club

  • tearin' it up.

  • We hit it off after that.

  • - The cops are comin' come on.

  • - So that's what this whole thing's about, Steve.

  • Your inadequacies, your fears.

  • - You just wait a minute.

  • - Now listen to me.

  • See, I'm hip to your problems.

  • All of 'em.

  • I know you abandoned Nicole when she needed you most.

  • 'Cause I licked her sweet tears.

  • I know about things comin' apart at work.

  • Maybe you fuckin' lost it in that department.

  • I also know you ain't keepin' up, so to speak,

  • your end of the bargain with the missus.

  • - And then going into "Fear,"

  • which Leo actually was kind enough

  • to recommend me to Jimmy Foley.

  • And Jimmy Foley was like, "Who's Mark Wahlberg?"

  • He was like, "You know the guy Marky Mark?"

  • He was like, "What, are you out of your mind?"

  • Said, "You're not puttin' Marky Mark in this movie."

  • He was like, "Dude, I'm tellin' you, just see him."

  • So I met with Foley.

  • We hit it off.

  • We hung out for eight hours at a bar in New York.

  • By the time I got home he called me.

  • He goes, "You know I can't give you this part, right?"

  • I was like, "It's all good.

  • "You do whatever you want.

  • "It's your movie."

  • And then he goes, "Well, I'd like to audition you

  • "for one of the guys in the gang."

  • And it was like,

  • but the parts were so small they didn't have any lines.

  • He was like, "Just read the lead,

  • "And then I'll see if I can give you

  • "one of the other parts."

  • And then I did the audition and he was like,

  • "I'm gonna tell the studio if they don't hire you

  • "to be the lead in this movie,

  • "then I'm not doing the movie."

  • I said, "Okay, you don't have to do that,

  • "but if you feel that strongly about it..."

  • 'Cause they hadn't seen "Renaissance Man"

  • or "Basketball Diaries."

  • And he fought for me to be the lead in that movie.

  • - When I close my eyes, I see this thing.

  • It's like this big sign

  • and the name is in like bright blue neon lights

  • with like purple outline.

  • And this name is just so bright and so sharp,

  • that the sign, it just blows up

  • because the name is just so powerful.

  • [upbeat music]

  • [fireworks exploding]

  • - "Boogie Nights" was one of those things where

  • the script came my way,

  • I was really kind of turned off by the subject matter.

  • I was not interested in doing a movie about pornography.

  • And I was really trying to just build my career

  • one role at a time.

  • I felt like, any time there was an opportunity

  • to do something that seemed to be sexual

  • or exploiting me physically,

  • it was like, I don't know.

  • So I read 30 pages of the script and I put it down.

  • I was like, "This could be fantastic,

  • "or this could be terrible."

  • I mean, "Showgirls" had just come out

  • and we really didn't know what to make of it.

  • And then I met with PTA and I was like,

  • "Oh God, this could be great."

  • He was supposed to be offering me the part,

  • but he said he just wanted to do one more meeting

  • where John C Reilly and Philip Seymour Hoffman

  • and Thomas Jane were also there,

  • which turned into a bit of an impromptu audition.

  • We kind of read and did that whole thing.

  • And then I committed to making that movie.

  • And, you know, it was

  • one of the great experiences of my career.

  • Paul and I were both 25 at the time

  • and just kind of left to our own devices

  • and doing our own thing.

  • It was a really cool experience.

  • [fireworks exploding]

  • - Hey, freeze.

  • - No, he's with us.

  • - [Elgin] Don't shoot him, he's with us.

  • - [Troy] You're the guy with the little girl, right?

  • - That's right.

  • - What are you doin' here, man?

  • - [Elgin] He help us find you.

  • - I came here to help you.

  • - All right.

  • You're all right, man.

  • - "Three Kings," I had gotten a call.

  • John Lesher, who represented PTA,

  • David O Russell, and also James Gray.

  • So I had already done "Boogie Nights."

  • I was shooting "The Yards" at the time.

  • So I was very much in character for "The Yards"

  • and I met with David O Russell.

  • I'm just sittin' there kind of talking as the character.

  • Like, talkin' about Jimmy Cahn

  • and New York and all this stuff

  • and getting out of jail.

  • And he was like, "Well that's cool,

  • "but do you want to do this movie?"

  • And he was also trying to audition Spike Jonze,

  • who was a filmmaker, but he wasn't known as an actor.

  • So he was kind of like trying to do two things at once,

  • cast me in the movie, and also cast Spike.

  • So we finally started reading and playing around

  • and we really hit it off.

  • And then, of course, trying to cast the other roles

  • was quite a bit of a challenge.

  • It was a lot of different people

  • before it became Clooney and Ice Cube.

  • Fun time.

  • - How's your little girl?

  • - She's safe for now.

  • - Do you know where these come from?

  • - Yeah, my closet.

  • - Indonesia. - The store.

  • Baby, this is the truth, okay?

  • Little girls like you, they have to work in dark factories

  • where they go blind for $1.60 a month.

  • - [Molly] Why is he tellin' her this?

  • - Just to make Mommy her pretty shoes.

  • Can you even imagine that, Caitlin?

  • - I don't want the children to work in factories.

  • - Don't listen honey.

  • Daddy is crazy. - Daddy doesn't either.

  • - Stop this from happening.

  • - Daddy's not crazy, baby.

  • The world is crazy. - Save them.

  • - [Molly] Shut up.

  • - It's important to ask these questions.

  • - [Caitlin] Don't let them go blind.

  • - After "Three Kings," David wanted to do "Huckabeess"

  • And I read the script

  • and then he started sending me all these things

  • that, the jewel tree.

  • And then we start talkin' about petroleum,

  • and the environment, all this stuff.

  • And I was like, "All right, I guess I can dig that."

  • I really just believed in him

  • and I was gonna kind of go along for the ride

  • and commit to servicing his vision.

  • And then once I got into it I really got into it.

  • A lot of fun.

  • I remember Dustin Hoffman kept looking at me like,

  • "[beep] is this kid doing?"

  • And I was just like, "Whatever, I'm doin' my thing, bro."

  • And then all of a sudden,

  • cut to like six months later

  • he was kind enough to

  • give me some award at some event.

  • And he told the story.

  • He goes like, "God, I kept lookin' at this kid

  • "like he didn't know what the [beep] he was doing."

  • And he said, "He was the only one

  • "that was good in the movie."

  • And he said I was just committed on a different level.

  • But it was one of those things where, you know,

  • David would love to kind of push me and challenge me

  • and I was completely embracing that.

  • I love the idea of being challenged and pushed

  • and goin' for stuff.

  • It was one of those things where you just kind of

  • felt very liberating and free to try and explore

  • and risk looking ridiculous.

  • - Mommy doesn't ask, 'cause Mommy doesn't care.

  • - [Molly] They won't go blind, honey.

  • - You have different accents?

  • You did, didn't you you little fuckin' snake.

  • You were like different people.

  • - You a psychiatrist?

  • - Well if I was I'd ask you why you're a statie

  • makin' 30 grand a year,

  • and I think if I was Sigmund fucking Freud

  • I wouldn't get an answer.

  • So tell me, what's a lace curtain motherfucker like you

  • doin' in the staties?

  • - "Departed" was another thing.

  • I was shooting "Four Brothers" at the time.

  • Originally was gonna be

  • cast in another role in "The Departed."

  • The studio was pushing back.

  • I wasn't gonna do the movie.

  • And then my agent, who also worked with Marty,

  • told them that I would play the other role.

  • And then Marty called me and said

  • he was really excited that I was playing the role.

  • And I said, "I'm not playin' the role."

  • And he was like, "What?"

  • And I was like, "I'm not playing that role."

  • My agent calls me and goes, "What the [beep] are you doin'?

  • "Just go to New York and talk to him,

  • "'cause he wants to talk to you about it

  • "and he really thinks that this is the role in the film."

  • And so I said, "All right, if you fly me to New York..."

  • because I'd rather be in New York for a weekend,

  • I'd been shooting in Canada.

  • And then I went and met with Marty

  • and I read the script on the way

  • and I thought about it and I was like,

  • if I play this role, I'm gonna get to go at everybody

  • in a way where they're probly not gonna like it,

  • but, it is what it is.

  • And so I said yeah.

  • I said, "If you let me do my thing,

  • "say what I want, do what I want, then I'll do it."

  • I said, "But you gotta get me in and out quick,

  • "because I'm shooting another movie."

  • Me and Marty made up and it was all love after that.

  • - I'm the best friend you have on the face of this earth

  • and I'm gonna help you understand something, you punk...

  • - [Allen] You don't think I'm a real cop, do you?

  • - No, I don't.

  • I've said that directly to your face numerous times.

  • I was really honest about that.

  • - I'm workin' on a huge case, all right?

  • Property owner with seven buildings under construction.

  • He hasn't applied for a single scaffolding permit.

  • Now according to Ask Jeeves,

  • this perp is at the Plaza Hotel speaking right now.

  • - That's your big case?

  • Scaffolding permits?

  • - Yeah.

  • Guess what?

  • You're comin' with me.

  • - [laughing] That's a wooden gun.

  • [smacking]

  • Oh, that hurts, man.

  • - So we always wanted to do comedy

  • and there were comedic elements to the performances

  • that I had done in the past,

  • but we'd never done a full-blown comedy.

  • I had met a lot of comedians and I was like,

  • I don't know, life's too short.

  • You know, not what they appear to be on screen.

  • You know?

  • I don't want to do that.

  • I don't wanna be like, [giggling]

  • and then all of a sudden all weird

  • and nobody's talking in between takes and shit.

  • I did a little part in "Date Night"

  • with Tina Fey and Steve Carell, which was fun,

  • but when I met with Will Ferrell and Adam McKay,

  • walked in, sat down for five minutes,

  • and I was like, "I'll do this."

  • And they were like,

  • "Well we haven't even told you what it is yet."

  • I was like, "I don't give a shit, I'm in."

  • They were like, "Okay."

  • And then they told me the idea

  • and I said, "I'm in."

  • Three months later we had the script.

  • And then we were shooting.

  • And then they just kept encouraging me

  • to just do my thing and go crazy.

  • They were like "There's no rules."

  • I was like, "Dude, you're gonna want rules.

  • "If I go crazy, you're gonna want rules."

  • They were like, "No, there's no rules."

  • A couple times when I was like choking Will or something

  • he was like, "Well, there's a couple rules."

  • [laughing]

  • But I had so much fun on that movie.

  • And it was like, we would shoot

  • everything that was on the page

  • like the first half of the day,

  • and then the rest of the day we would just improvise.

  • 'Cause I can get a little out of hand, you know.

  • I get a little crazy.

  • But they never told me to chill out.

  • I mean, Adam McKay was just giving us gems and trying stuff.

  • And it was one of the great experiences that I've ever had.

  • [mellow music]

  • - I've always got Little River Band loaded up here.

  • I got six discs in here.

  • - I made a promise to them I wouldn't work with you again.

  • - Huh?

  • - I had to.

  • After everything that happened, I'm sorry.

  • - You stickin' to that?

  • - I'm glad you're back.

  • You look good.

  • - Well, there were many different versions of that movie.

  • Darren Aronofsky was attached to direct the movie.

  • As were a couple of other filmmakers.

  • It was gonna be either me and Matt Damon

  • or Brad Pitt were both attached at the time.

  • It was at Paramount.

  • It was as big studio movie with a big budget.

  • Once those guys fell out and the director fell out,

  • the movie was gonna kind of be put into turn around

  • and I was committed to making the movie.

  • I had made a promise to Micky and Dickie

  • and to the people at Lowell that I was gonna make the movie.

  • And that we were going to remind people that

  • Lowell is a great industrial town

  • and not a town infested with crack and drugs and negativity.

  • So we kept trying to fight to get the movie made.

  • Hire another filmmaker.

  • Approach Christian Bale at our kids' elementary school.

  • Preschool at the time.

  • Started telling him about the movie.

  • Saw what he had done in a few other movies.

  • And so I talked to him about it

  • and he really like the idea.

  • Got him the script.

  • And then we were talking to a couple of filmmakers.

  • And David kept throwing his hat in the ring.

  • He would call me every day and we'd talk about it.

  • One day I said to myself, I gotta make this happen.

  • I gotta make this happen with David.

  • And so I wrote down a long list of notes.

  • And the person who was running the studio at the time

  • was David's former agent.

  • And then I spilled my guts out and pleaded my case

  • for two hours and he looks at me, he goes,

  • "I thought you wanted to do this romantic comedy

  • "with Cameron Diaz."

  • I said, "Dude, no.

  • "I want you to give me "The Fighter,"

  • "allow us to hire David O Russell,

  • "we'll make it for next to no money,

  • "we'll bring it back to you guys,

  • "and if you want to distribute the film, you can.

  • "If not, we'll figure it out.

  • "But trust in me.

  • "Put the faith in me to be able to get the movie done,

  • "and make sure that it's done the right way."

  • I was able to get that movie made

  • and fulfill my promise to Micky and Dickie

  • and to Alice and the family.

  • - I don't know what else to say.

  • - Well we should fuckin' double-date or something.

  • You me and Lori and what's her name?

  • - White trash name.

  • Guess.

  • - Mandy. - Nope.

  • - Marilyn. - Nope.

  • - Brittney? - Nope.

  • - Tiffany. - Nope.

  • - Candace. - Nope.

  • - Don't fuck with me on this.

  • I know this shit.

  • - Do you see me fuckin' with you?

  • - All right, speed round.

  • I'm gonna rattle off some names

  • And when I hit it-- - You do it.

  • - Fuckin' buzz it, okay?

  • - I will tell you.

  • - You got me? - Yeah.

  • - All right, Brandy, Heather, Channing,

  • Brianna, Amber Sabrina, Melody, Dakota, Sierra,

  • Brandy, Crystal, Samantha, Autumn, Ruby, Taylor, Tara...

  • - Going into "Ted," it was one of those things where,

  • again, I was like, I don't know.

  • Seems like a great idea,

  • but it's also a crazy idea.

  • You can't pitch a guy and a teddy bear who comes to life

  • and all the sudden they're just smokin' weed

  • and sayin' stupid shit.

  • It's not a good pitch, right?

  • Especially, it was right after "The Fighter."

  • I was kind of doing more serious stuff

  • and I was like, I don't know.

  • But then I met with Seth,

  • read the script and it was just like

  • one of the great buddy comedies of all time.

  • And I saw the technology and I said, "Aw, this could work."

  • Just gotta be committed to it.

  • And then of course, we made the movie.

  • It's the biggest R-rated comedy of all time.

  • - Lauren, Charlene, Chantel,

  • Courtney, Misty, Jenny, Krista...

  • - Wait, wait, thank you, thank you.

  • [dramatic music]

  • [speaking foreign language]

  • - [Man] Let's go sir.

  • We gotta go now.

  • Let's move.

  • - Pete and I, it's funny because

  • we also share the same agent,

  • and he had been trying to get us together for a long time.

  • I knew Pete from like Gold's Gym in Hollywood

  • and I brought him to my house, tried to convince him

  • to direct "The Fighter," he passed.

  • I think he regretted it a little bit after, but he passed.

  • And then "Lone Survivor" came.

  • I had actually helped secure the financing for the movie.

  • He was having a hard time getting it made.

  • Universal wasn't committing to making the movie,

  • so I had got a guy who had financed "2 Guns"

  • and also "Broken City" with me and Russell Crowe.

  • So I said, "Okay, we can make this movie after."

  • This was the fourth movie I did in a row

  • with no more than two weeks break between

  • all four movies.

  • "Broken City," "Pain And Gain,"

  • "2 Guns," into "Lone Survivor."

  • We had an amazing time.

  • We created this bond and this brotherhood.

  • And now, you know, we're five movies in.

  • Then we did "Deep Water Horizon."

  • - Make sure this man gets off this rig, okay?

  • Everybody calm down.

  • Slow it down.

  • Let's move it out, all right?

  • - [Bloody Man] Okay, okay.

  • - All right, let's go.

  • - We brought Pete in to make that movie.

  • And then we were working on "Patriots Day"

  • as we were shooting "Deep Water Horizon."

  • [oil rig exploding]

  • - There's a foot next to...

  • [suspenseful music]

  • This boy from, I think from Marathon Sport,

  • he looked like a little BU kid.

  • Like a good kid, Carol, you know?

  • He had a assistant manage tag.

  • And he helped.

  • We moved her.

  • We laid her down.

  • - "Patriots Day" was one of those things where

  • I wasn't really too keen on making.

  • I thought, you know, too close to home.

  • Too sensitive a subject.

  • But then I realized if it wasn't us,

  • somebody else was gonna make the movie.

  • And if somebody else came in and didn't handle it

  • with the sensitivity and respect that it deserved,

  • could've easily focused on the violence of it all

  • and made it gratuitous.

  • So we wanted to be able to

  • protect the story and the people

  • in the way it was told.

  • And what happened in the way the city reacted

  • made me really proud to be a Bostonian.

  • Before that the only thing I really had to be proud of

  • from being from Boston was sports accomplishments

  • with my teams.

  • Boston had a bad rap.

  • And so wanted to tell that story.

  • And not an easy thing to do.

  • We're dealing with loss.

  • 'Cause it's one thing to deal with

  • Navy SEALs, who want to get into a gunfight every day,

  • they wake up in the morning, they're like,

  • "Let's get into a gunfight today."

  • Or working on a movie about oil rig workers

  • who know the dangers and the risks

  • of working on an oil rig.

  • It's one of the most dangerous occupations there is.

  • There's a difference between those two films

  • and somebody who's going on to cheer on a loved one

  • in a road race the first day of Spring,

  • and some cowards take a bomb and place it behind

  • innocent women and children as they're standing there

  • rooting on their loved ones in a road race.

  • And that was a heavy thing to deal with,

  • certainly with me being in Boston and from Boston.

  • So we decided after that we just

  • wanted to kinda do something

  • a little bit more light and fun.

  • So then we did "Mile 22"

  • and that's what got us to "Spencer."

  • - And then there was an eight year old boy.

  • - Wonderland is basically like an abandoned fortress.

  • All right?

  • And there's pretty much only one way in, right here.

  • It's the middle of the day.

  • There's not a lot of places to hide.

  • We're gonna have to get Henry out of the way.

  • And I got a plan.

  • It's a little unconventional.

  • You're gonna have to trust me.

  • No, no, no, no.

  • You don't get the cool gun.

  • - Aw, Hawk is the name of a motherfucker with a shotgun.

  • Spencer does your taxes.

  • - That was good.

  • I'll give you that one.

  • - Ours is based on the book.

  • There's 48 books in the series.

  • But there was also a TV show, which

  • gave me a birds eye view of neighborhoods

  • that I was familiar with on television.

  • And that and the Brinks job

  • were the only time we had seen Boston

  • in movies or in television other than the news.

  • So it was really cool

  • and I loved the idea of playing that character.

  • There's a guy who was a Boston police officer,

  • believed in the law, doing the right thing,

  • and then kept witnessing all of these

  • terrible acts of corruption.

  • And, you know, a homicide being kind of

  • swept under the rug,

  • so he decides to take the law into his own hands

  • and ends up beating the crap out of his superior officer.

  • Ends up going to prison.

  • Survives in general population for five years

  • and then gets out.

  • And he's gonna leave town.

  • And, of course, he just can't walk away

  • or turn his back on somebody being wronged

  • or innocent people.

  • And so he sticks his nose

  • back into places where it doesn't belong.

  • It's funny.

  • It's emotional.

  • There are real stakes there.

  • And it was nice to be back at home.

  • For me, personally, talk about coming full-circle.

  • Having been in trouble.

  • Been incarcerated.

  • Turning my life around.

  • Really working hard to put myself on the right path.

  • And then to be sitting there on Peverell Street,

  • shooting at 24 Peverell Street,

  • that's Alan Arkin's character's home,

  • and I grew up on 25 Peverell Street.

  • Sitting on my stoop while they were setting up the shots.

  • And having turned my life around now.

  • Creating jobs, inspiring kids in my community,

  • inner-city kids and at-risk youth,

  • that doesn't matter where you come from,

  • where you start, inspire to achieve great things.

  • If you do the work, anything is possible.

  • I'm Mark Wahlberg,

  • and this has been the timeline of my career.

  • And just by the way,

  • I've worked with people who would not be able

  • to remember that line alone,

  • nevermind learning their lines

  • on a movie that they're getting well compensated for.

  • They would need a cue card and an earwig.

  • [laughing]

  • And I will name names when I retire.

- It's not a conscious thing.

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