November 29, 2020

Too Young to Die – Heath Ledger

[music playing] KIM LEDGER: He loved allcreatures great and small.

When he was on hislast trip back to Perth here, which was the Christmasbefore he passed away, I managed to– I– Iorganized the new car for him to drive around in.

And he was parked inhis mum's driveway this particular afternoon.

And I'd been over to seehim, to see everybody there.

He was a rush– hewas in a rush to go out and see one of his friends.

And as he backedout of the driveway, the driveway hasa small kink in it because it goes around a tree.

And he backed into the tree.

So, he hops out and I–I'm looking at the car, like that, becausehe's damaged the car.

And he's looking at the tree.

And I said, whatare you looking at? He said, I'm lookingat the ants, Dad.

I've killed too manyants on the tree.

I'm saying, there's two granddamage on the car, you know.

But that's him.

That was him, very gentle anddidn't want to hurt a creature.

[birds chirping] [music playing] NARRATOR: By his mid20s, Heath Ledger had established himself inHollywood as one of the best actors of his generation.

He was a star whonever sought stardom, who tried to preserve hisnaturalness in the spotlight.

The news of his suddendeath, therefore, came as all the more of a shock.

He died on the 22ndof January, 2008, as a result of interactionsbetween prescription drugs that he'd taken inthe wrong combination.

Heath Ledger was 28 years old.

[music playing] NARRATOR: London.

Heath Ledger was workinghere, just three days before his death, onthe film The Imaginarium of Doctor Parnassus.

He was never able tocomplete the film.

We can't turn right here.

Fuck.

Maybe if you do the U-ieyou can get right back and turn up that– no.

I just wanted to do the U-turnhere because we need to turn right, is where we need to go.

NARRATOR: Thefilm's director was a good friend, Terry Gilliam.

TERRY GILLIAM: Heathwas just totally transparent in hisvulnerable-ness when he wanted to be.

I mean, it wasjust like his heart was out there beating publicly.

And that's what I thinkwas always interesting.

How one minute he wouldbe laughing and telling jokes, and then thecamera would turn over and suddenly hereis a guy who is just this raw heart, beatingaway and totally unprotected and vulnerable.

And not afraid to go there.

That's what always intrigued me.

Fearless was always the wordwe kept using with Heath.

Wow, look at that.

And most of us would, takeafter take, we'd sit there and our jaws would drop.

He was wonderful.

Right, thanks.

And here we are.

The Clerkenwell.

Clerkenwell Close, it's called.

And this is the pub thatwe used for the scene where the wagon gets smashed up.

The wagon was actuallystanding right here.

And we've got our drunksout there and Heath's in his clown costume.

And the thing takes offand heads up this road.

And Heath's got to run up thisroad past all these explosions.

And the wagon– oh, and people running after him– and thewagon finally disappears around the corner down there.

And that was the last shotwe did of Heath disappearing from the film, from ourworld, from everything.

[music playing] [laughing] [struggling noises] [explosion] TERRY GILLIAM: That nightwas quite extraordinary because the effects peoplewere tired and Heath is running and we have all theseexplosions going off.

One actually– they're supposedto go off after he passes– and one went offright in front of him.

And a piece of shrapnel–or whatever it was, not shrapnel, whatever'sin the explosion– hit him just by the eye.

That close.

And that man was removed andhe's carried on [inaudible] And this is it.

NARRATOR: It was to be the lastscene that Heath Ledger filmed.

[music playing] TERRY GILLIAM: He wasa kid who was born with everything you needed.

And I think we all thoughtthat this was somebody, without a doubt, who wasgoing to be the greatest actor of his generation.

[music playing] The thing that was alwaysinteresting about him is his support foreverybody around him.

He was always sort of caring.

Lily Cole who had neverreally acted before and had no experience, and suddenly she's thrust againstChris Plummer, Heath, Andrew Garfield.

And it's a terrifyingposition to be in.

And he spent agesjust working with her.

TERRY GILLIAM: There's a scenewhere he's sitting with her.

He's just– he's bringingthe acting out of her because he knows how to touchpeople at the right point.

He just strokes her cheekand suddenly she's there.

And it was almost hypnotic.

I had watched Lily– just hehad complete control over her, in a sense.

But it wasn't inany way– it was for nothing other than thefilm, the scene, the moment.

And it was great to watch.

TERRY GILLIAM: I wasjust standing back to see where this thing wasgoing because I had no idea where it was going to go.

But it was fascinating to watch.

And then, right inthe middle it's gone.

And it took three A-listactors to make up the space that Heath was filling.

[music playing] Rudolph Valentino.

James Dean.

Francis Dwyer.

All these people.

They're all dead.

Yes, but immortal nevertheless.

Because they are forever young.

They're gods.

NARRATOR: JohnnyDepp, Colin Farrell, and Jude Law, allclose friends of Heath, doubled for him inthe missing scenes.

So the film is somethinglike his legacy.

[inaudible] [music playing] NARRATOR: “Attimes here you feel as though the Earthreally is a disc and you're sittingon the edge of it.

” That's how Heath describedhis home city of Perth on the west coast of Australia.

Not far wrong, seeingas the next big city is over 1, 200 miles away.

NARRATOR: To this dayHeath's mother Sally and his sister Kate still can'ttalk about the family tragedy.

Heath's father Kim, an engineer, speaks on behalf of the family.

These are there.

These were Heath's bikes.

Yeah I guess racing wasmy hobby and it still is.

And Heath was my sidekickfrom a very tiny age.

So he came along and helped meclean the car, service the car, and maintain it in his own way.

He was, uh– he loved it.

He was very, verypassionate about engaging himself in a variety of things.

So he would play cricketand play cricket well.

And if it wasn'tcricket, it was hockey.

Could be swimming, chess–he's a great chess player.

And from a veryearly age, we really didn't know whatdirection he'd head in, you know, he'd head in to.

You know, finally.

NARRATOR: Guildford Grammar, oneof Australia's oldest and most prestigious private schools.

Heath followed the familytradition in coming here.

His father had attendedthe same school.

It has its own theatre, extensive sports facilities, and plenty of opportunitiesfor developing a wide range of talents.

As a player, Heath's hockey coach himself won silver and bronzeOlympic medals for Australia.

He had this presence about him.

And I found that the boysreacted to his leadership.

Very often I would goto him and say, look, I would like this tohappen and I want you to tell him to do so-and-so.

So I used Heath as a sort ofgo-between to get to the boys.

I just think that at15 you show potential and Heath certainly hadthe potential to play for Australia in hockey.

NARRATOR: Heath'smany activities are recorded in the school archive.

NARRATOR: There are thickfiles on the school's most famous pupil.

[music playing] BARRY GARDINER: Heathwas a lovable rogue.

He would come into classand he would sit down and he was alwaysprepared to sort of chat.

I mean he– I think basicallyHeath was rather shy.

And some people wouldprobably find that strange, but there was a certainshyness about him.

I found that he was probablymore mature than his years.

And was extremelyperceptive and very, very sensitive andaware of what went on in the creative process.

NARRATOR: In schooldrama productions, the leading roles were oftensnatched from Heath by the son of the drama teacher.

But that just spurredhim on even more.

There's still a videoof a dance number that Heath choreographed for anational schools' competition.

[MUSIC – BEE GEES, “STAYIN' ALIVE”] The thing that, I guess, always sticks in my memory is that he came in one dayand sat down opposite me.

And we were just chattingabout what are you going to do in the future and so on.

And he said to me, Ireally want to act.

I really want– Ijust want to act.

And I said, what aboutyour final exams, your TE? He said, oh, youknow, I'm not really too concerned about that.

I just really want to act.

And I said to him, well ifthat's what you want to do, and that's really what youwant to do, you should start.

You should follow your dream.

ANNIE MURTAGH-MONKS: I wentand saw him in a production at Guildford Grammar, a Shakespeare.

And then we asked him toaudition for this new series Sweat that we were casting.

I've seen the photos that Itook at those original casting sessions reproduceda lot in the media, particularly since his death.

And you could see even thenhe just had this amazingly charismatic quality about him.

His smile was infectious.

He smiled and his whole face litup and you warmed to this kid.

The guy at thetop of the slope, you got to keep an eyeon his front wheel.

Because when hegets that momentum, the first thing he's going to dois angle that front wheel down.

NARRATOR: The television seriesSweat was about teenagers being trained for sports careers.

It gave Heath hisfirst sizable part.

JOHN RAPSEY: Annie Murtagh-Monksactually took me over to meet the cast and whatimpressed me at the moment, because I remember itclearly, was that Heath was the shyest one of the bunch.

I did notice the very firsttime that I spoke to him that he had this wonderful voice.

I mean his whole upperbody seemed to resonate.

It's sort of liketalking to somebody and feeling somewhere on theirbody they've got a subwoofer because, you know, you're getting all this wonderful extra vibration.

Oh, I'm not.

So don't worry.

I don't know why you didn'tget fixed up at the academy.

NARRATOR: Heath had thechoice of two parts.

Typically, he chose themore challenging role.

It is a big deal.

I mean, they triedto beat you up.

Look, I just wantto forget about it.

I don't get it.

Why won't you dobthose mongrels in? I don't want everyonemaking a fuss, all right.

You just tellthem what happened.

Look, the thing is, Dan.

I might be gay.

Hi.

I'm Dr.

Franks.

I'm going to check you out.

The producer andthe script editors knew that one of the charactershad a storyline where the character discovers duringthe course of the series that he was gay.

And there was kind of a bitof trepidation thinking, can we cast this young16-year-old schoolboy in this role? I'm not interested in girls.

Look, the same waygirls make you feel, that's how it isfor me with guys.

If you can't handle that, well– But how come you neversaid something before? Look, I don't want toargue with you, Danny.

I'm going to bed.

I think it was avery brave decision for him to say, oh, that's themore interesting character.

I want to go for that.

[sigh] Well I thought he'dprobably be playing one of his favoritesports, hockey, for a lot longer than he did.

But he did say to me, dad, you know I love my sport.

I love my hockey, but it'snot going to pay the bills.

This is what I'm going to do.

And I thought, right.

And hockey's not going topay the bills so how is acting going to pay the bills? But he was verygenuine about it.

And I put togethera car for him when he turned 17 and was ableto drive legally by himself.

And literally heand his best friend Trevor took off in that car, I think barely a few days after he turned 17, with the carand drove east across Australia some, you know, 4, 000kilometers to Sydney.

And that was the start of it.

That was the end of his homelife, as we knew it then.

And the start of what wasto be a pretty good career.

NARRATOR: Heath shared a flatwith two friends in Sydney close to the famous Bondi Beach.

First came the surfing, then the auditions.

[music playing] NARRATOR: He managedto get a leading role in the television series Roar, an American production filmed in Australia.

Heath saw his leaving homeas a sort of walkabout, the Aborigine ritual ofsetting off into the unknown to gain new knowledge.

Heath's career obviously beganunder an auspicious star.

I do remember one particularoccasion when he was maybe 14.

And I'd been running him aroundfor the previous week or two to both his rehearsalsfor his school plays.

I think at the same time hewas doing a small television production, and then he wasattending a small theater in the city as well.

And he had so many things.

I mean, he was alsotrying to attend school.

So we were constantlyrunning him around.

And one night, I was lying onthe bed with him in his room and he was exhausted, youknow, but it was about 11:00 at night.

And I said, you know, Heath, you better go to sleep because youknow you've gotta get up in the morning for school.

And he was lying backon his bed and he was looking at thesestars which he had– which he had pasted on the ceiling.

And they were thosefluorescent stars, ones that glow in the dark.

And he was looking upthere and he said, oh, dad.

Get used to it becausethis is what my life's going to be all about.

It'll be lots of latenights and stuff like that, and I'm going to becommitted in this business.

And I'm going to be in filmand I'm going to do well at it.

And that's– you know, he said that to me.

And it was looking atthose stars on the ceiling.

So I'll never forget that.

[music playing] NARRATOR: The Roar series wasHeath's ticket to Hollywood.

He soon made friends herenot just in film circles, but also in the noncommercialart scene in Los Angeles.

He got to audition for ahigh school comedy, the curse of the film world that hardlyany good looking newcomer escapes.

(SINGING) You're justtoo good to be true.

Can't take my eyes off of you.

I love you, baby.

And if it's quite– NARRATOR: But Heath had a luckybreak in a teenage adaptation of Shakespeare'sTaming of the Shrew, the sitcom 10 ThingsI Hate About You.

[singing] You know I haven'tsung in years and I haven't danced in years.

We wanted a bit of GeneKelly, Fred Astaire influence.

It was totally choreographedand then I just made it sloppy.

He had that youthful energy butthere was a wisdom about him, really expressive eyes.

He seemed a little bitolder, a little bit wiser, a little more world weary.

He was mysterious, and yet therewas something very compelling and enduring about him.

So he and the character werejust in perfect alignment.

NARRATOR: The way to a datewith the prettiest girl in the school is throughher standoffish sister.

Did I or did I not tellyou it was pointless.

No one will go out with her.

NARRATOR: Who'd be crazy enoughto take on the challenge? Hey, hey what about him? Him? No, don't, don't look at him.

OK, he's a criminal.

I heard he lit astate trooper on fire.

He just did a yearin San Quentin.

Yeah? Well then at least he's horny.

He's our guy.

I think everycharacter that you play you have to put acertain degree of yourself or relate a certain degree ofyourself and your life to it.

Look, no offense oranything, but your sister's without– Nooffense or anything, I mean I know everyone digsyour sister, but she's without.

Between the two of you, she doesn't compare.

[music playing] Maybe we should dothis another time.

[inaudible] These are really kids.

They are really teenagers.

They are in high school.

So much so that after their–they perform the first kiss, you know, the actress iskind of wiping her mouth, like wiping it away.

So you're seeingthat real youth.

You know and theywere very young.

And I think Heath stoodapart from that group.

I mean there was somethingthat was very wise about him.

I was struck by the factthat he felt like an old soul even though he was, I think, 19 or 20.

He just seemed, you know, wise beyond his years.

And I remember one night wewere all in his hotel room and everyone was hangingout, and he had a didgeridoo.

And I reached out tograb it and pick it up but I was holding it upsidedown and he corrected me.

And he said, no, no, no.

You can't– don't hold itupside down or the spirit of the instrument will be lost.

And I just thought thatwas a great metaphor for really who Heath was.

And what marked his careerfrom that point forward was, here's this young actor but hehas this wisdom about things.

There's also aspiritual aspect to it and it's about holdingthe spirit within.

So that was the story thatkind of stuck with me.

NARRATOR: Riding inthe Hollywood Hills was one of Heath's hobbies inLA while waiting for good roles to come along.

He waited a wholeyear turning down all the parts thatwould have cast him as the next teenage heartthrob.

Famous overnight, forgotten overnight.

He was puttinghis career at risk before it had really begun.

They were offeringincredibly lucrative contracts to young actors, like two and three year contracts with earningmore than a million dollars.

It was like fantasy levelfees and possible exposure.

But for Heath, hewas really clear that he wanted tosee if he could get roles in feature films.

He told me that he was goingto leave Los Angeles when he got down to his final $100.

You know, he decidedthat that would– he would basically give upand come home to Australia.

NARRATOR: Riding beneaththe giant Hollywood sign seems to have been a goodomen for Heath's career.

In nearly a third of his films, he found himself in the saddle.

The leading role that raisedhim to Hollywood's A-list was in A Knight'sTale, a romantic comedy with jousting to rock music.

[music playing] NARRATOR: The film madehim an international star.

Liaisons with prominentcostars like Naomi Watts made headlines inthe popular press.

But that was notwhere he wanted to go.

Step by step, he was planningan unconventional career.

He would turn down blockbusterslike Spider-Man instead choosing roles in smallindependent films.

[music playing] KIM LEDGER: Fame was thelast thing on his mind.

What was on his mind was beingable to apply in the best possible way someof that passion for acting that he reallyhad inside for wanting to create characters.

One of my favoriteswas Monster's Ball because really he playedhimself in Monster's Ball.

Completely, becausehe is, always was, a child who had absolutelyno bias to anything at all.

None.

And he was so gentle andwouldn't hurt an insect, and let aloneanother human being.

It just wasn't– andthat kind of represented the sort of person he wasand how he would think.

NARRATOR: Heath plays Sonny.

His father is incharge of executions in a prison in Louisiana.

To gain his father'srespect, he tries to follow in his footsteps.

But he's just too sensitive tocope with working on death row.

It was a small supportingpart, but Heath's first outstanding performance.

(ANGRILY) Hey, doyou know what you did? Do you know what you did? Are you listening to me? Do you know what you did? Do you know what you did? You fucked him up.

You fucked up thatman's last walk.

How would you likeit if somebody fucked up your last walk? You're like a goddamn woman.

You're like your fucking mother.

You shouldn't have donethat, you son-of-a-bitch.

Get up, you fucking pussy.

Get up.

You are a piece of fucking shit.

You understand me? [yelling] Get your fucking hands off me.

[door opens and closes] [music plays] It was only a short piece, as you know, for Heath, but it did– yeah, there was a lot of his true character in there.

It's how he treated people.

KIM LEDGER: And thenwhen the project was complete he justwent back to being a kid with his friends.

This was also one ofHeath's [inaudible].

I looked after alot of his business.

And so we kind of lived itday to day on the phones and, if we were there, on set.

We would often see alot of that with him.

He'd say, dad or mum, comeand have a look at this, and see what I'm doing here, what do you think of this.

So in effect we saw itall before the final cut.

And then when it came out itwas just, oh yeah, that's that.

These are a lot ofgarments, shirts and things.

Some are movie things.

There's more movie stuff here.

That's the Parnassus, Parnassus outfit.

Brokeback Mountain, Casanova.

Some of the scripts and thingsthat he was personally working on and he had things thathe felt in the future that he would haveliked to have made.

Shoes and a lot of hisprivate photography, books, scripts, skateboards, musical instruments.

Chess pieces and boards.

Some of his paintings.

We've got a lot of private–some of his private artwork.

His typical– one of his littletechniques he's used since he was a young person ishe would take a photo and then he would usewomen's nail polish to change the image of the photo.

He carried around a lotof different colored nail polishes.

Lots of them.

I didn't know therewere so many nail polishes of different colors.

Here's one of his friends andthen he's scratched this photo with a scalpel, very finely.

And ended up with theimage of the person only.

It's typical.

So there are boxes ofthat kind of thing.

NARRATOR: Heath Ledger'sestate is currently being cataloged foran exhibition in the Western Australian Museum.

KIM LEDGER: He seems tosee things in photography that I would never see.

He was lookinginto a pond and he was taking a photo of the pond.

And I said, well what are youtaking a photo of the pond for? And he said, I'm not.

I'm taking a photo of the birds.

And I said, where are the birds? He said, sitting up on thewall on the edge of a pond.

That's theirreflection in the pond.

I'm taking a photo of the birds.

Quite some beautifulphotography.

Whoops, photos of me in there.

He was never without a camerafrom when he was fairly young.

So he was constantly takingphotos of either himself, or he had his friendstake photos of him, or he was takingphotos of his friends.

And so there was reallyprobably a greater library of photography amongst he andhis friends than anybody I know has ever collected.

In here is just a sampleof some of his cameras, but there's two boxes.

He used all his camerasregardless of the age.

Super 8.

We discovered so manyphotos and little movies.

Just kind of a life.

I mean, he's photographedhimself his whole life, which is pretty amazing, really.

I mean, he would film himselfand his friend driving around whatever city he was in.

Might be LA, might be NewYork, it could have been Perth.

And he would have thecamera there and recording the conversationbetween he and whoever else he was traveling with.

He would pan thecities wherever he was.

That's how you got an ideaof where he was pretty well.

And he would often turnthe camera on himself or record the dateand time as well.

So it's kind of alibrary of stuff there.

It's quite a variety of clipsincluding moving and still shots, behind the scenesduring the rehearsals for some of the movies thathe's done over the years.

Almost like a living diary, if you like, of his life.

So– These are photo albums thathe's actually created himself of Montana Christmas '05.

And he's actually had themall catalogued or framed.

They're his own photography.

[inaudible] That'sbeautiful, isn't it? He'd be takingthat photo himself.

He'll hold the camera outlike this and take photos.

That's what he does.

Yeah, well CasaFeliz is his home.

This is one of his homes.

This is the home in LA, which we just loved.

It was– has to be knownas a bit of a party house, but absolutely beautiful.

His own photo of their lot.

Taking a photo ofhimself in the mirror.

There's the rooftop garden.

Yes.

[music playing] TERRY GILLIAM: It's ahouse in Los Feliz in LA.

It was like this open housethat people just came through.

It was always a great mixtureof people that would float in.

I think again it's thatthing, being a magnet.

Heath was very good atattracting the right people.

NARRATOR: Heath'scircle of friends included a lot of musiciansand video artists.

He had always been interestedin directing as well as acting.

His first works as adirector were music videos.

[MUSIC – N'FA, “CAUSE AN EFFECT”] NARRATOR: He made music videosfor widely different artists such as the rapperN'fa, who he'd been at school with inPerth, or international stars like Ben Harper.

He found very differentvisual means of expression for the various music genres.

[MUSIC – BEN HARPER, “MORNING YEARNING”] NARRATOR: He used an animationvideo for Modest Mouse to increase publicawareness of a subject very close to his heart, the plundering of the oceans and commercial whaling.

[MUSIC – MODEST MOUSE, “KING RAT”] TERRY GILLIAM: Heath set upthis company with the masses, another way into videos.

He was– again hewas doing Ben Harper videos when I was out in LA.

He'd sit there and say, whatdo you think of this one.

There was no stopping.

I think– I think he wouldhave been a great director because what he had, more than most directors, is he's an actor.

He could tell you exactly how.

But he would never, like a good director, would never tell youhow to do the thing.

But he would know what youneed, when you need something.

A little push here, a little push there.

NARRATOR: In 2004, Heathtook on a role which had been turned down bya lot of young actors who saw it as a career risk.

For Heath, the filmproved a turning point both professionallyand personally.

His was the role of theintroverted gay cowboy, Ennis Del Mar, in Brokeback Mountain.

It was to give him hisfirst Oscar nomination.

And that's how come, uh, you can end up here.

What? Man, that's more word than youspoke in the past two weeks.

Hell, that's the mostI've spoke in a year.

[music playing] (WHISPERING) It's all right.

It's all right.

It's all right.

It's a one shot thingwe got going on here.

It's nobody business but ours.

NARRATOR: The relationshipdestroys Ennis's marriage.

His wife is playedby Michelle Williams.

The two also became acouple in real life.

[reporters calling out] NARRATOR: They werein the spotlight and felt visibly uncomfortable.

My life certainlychanged from making Brokeback Mountain becauseI'm met– annoying right? My, my, my lifechanged certainly from meeting Michelle.

I have a family, beautiful family, and a beautiful–two beautiful girls, thanks to Brokeback Mountain.

So, it's extraordinary the levelin which my life has changed.

NARRATOR: Heath and Michellemoved to Brooklyn, New York.

In October 2005, theirdaughter Matilda was born.

Their happiness seemed complete.

But here, too, thecouple were constantly under media scrutiny.

Heath experienced the downsideof his fame above all on visits to Australia.

Wherever he went he waspursued by paparazzi.

Some of them deliberatelyset out to provoke him to get highly saleable pictures.

On the red carpet atthe Australian premiere of Brokeback Mountain, theyeven fired water pistols at him.

The dream of a secondhome in his home country turned into a nightmare.

I know when he builtthis house in Australia, it's kind of a dreamhouse on the beach.

And I think when he wentthere at Christmas time it was, he couldn't move becausethe paparazzi were out there.

And suddenly this thing thathe had spent so much effort to care about, to make–and obviously the hopes of what that house wasgoing to be in his life– and it was destroyed for him.

He couldn't live there.

He had to just leaveit, he had to sell– he just wanted out of it.

It had been violatedby fame, I suppose.

NARRATOR: Too much fame? In 2007, the couplesurprised the outside world by announcing their separation.

Heath moved to Soho, Manhattan.

He was suffering from insomnia, back pain, and stress symptoms for which he took medicamentswhich had serious interactions when taken together.

On the 22nd of January, 2008, Heath Ledger died in his apartmentfrom a toxic combination of prescription drugs.

[ambulance sirens] NARRATOR: The mediawere quick to speculate about drug dependency.

Maybe life, uh, leaves it's scars.

But I didn't see that manybad scars in his life.

There's nothing– there'snothing hidden there.

There's no dark neurotic side.

I really don't think.

There's plenty of darknessthere, but it's not neurotic.

That's why he'llnever be James Dean.

They tried to make JamesDean when he died, and– NARRATOR: Heath Ledger didnot live to see his greatest success, therecognition awarded him for his portrayal of the Jokerin Batman: The Dark Knight.

KIM LEDGER: This was the diary.

And he pretty welllocked himself up in a hotel and hisapartment for a month or so to sort ofgalvanize the upcoming character in his own mind.

That was typical ofHeath on any movie.

He would, um, certainlyimmerse himself in the upcoming character.

And I think this was justat a whole new level.

The hospital room onewas kind of intriguing because his sisterKate used to dress him up in a nurse's outfit.

He looked pretty funnyin a nurse's outfit when he was a kid, and he lookedpretty funny in the nurse's outfit in the film.

So– Hi.

Introduce a little anarchy.

Upset the established orderand everything becomes chaos.

I'm an agent of chaos.

Oh, and you know thething about chaos? It's fair.

Kapow.

[explosions] [screaming] KIM LEDGER: There werejust so many of Heath's personal nuances that wecould see as a family, and we could laugh at it becausewe knew his sense of humor was really coming out in thatcharacter the whole time.

No one would understand it, but some of the expressions he used, the hand movementshe used, and things like that were just part ofhim as a character.

And he was a very– hada great sense of humor.

And, you know, we could seethat coming out so often if you see– if we sat and watched it.

You would actuallychuckle at it and go, oh my goodness, you know, that'shim fooling around, you know.

This is the makeup test, eight months earlier.

And then he's written downhere, eight months ago, wrapped now, bye bye.

That was a hard one.

And the Oscar goes to HeathLedger in The Dark Knight.

KIM LEDGER: The emotion inthe whole auditorium there that night was staggering.

They are a communityunto themselves.

And he was being recognizedby that community.

OSCAR ANNOUNCER: Accepting theOscar on behalf of Heath Ledger are his father Kim Ledger, his mother Sally Bell, and his sister Kate Ledger.

This award tonight wouldhave humbly validated Heath's quietdetermination to be truly accepted by youall here, his peers within an industry he so loved.

Thank you.

That was almostlike, do we really want to pick this up for him? I mean, really he shouldbe here to get it.

He should be here to collect it.

Not, not us.

And so that was part of the–it was hard for us to enjoy that situation as much as wewould have if we'd been there while he was acceptingit himself, I think.

And that's, that'swhat was hard.

It was quite difficult.

[music playing] NARRATOR: After Heath's funeral, his relatives and friends from around theworld spontaneously gathered on his favoritebeach in Perth for a swim.

Heath would probablyhave very much approved.

KIM LEDGER: He did say tous a number of times, dad, I'm not going to live'til I'm very old.

And I'd say, don'tbe silly, mate.

Come on, just don'tsay things like that.

But he said it to his mum, and he said it to his sisters and stuff like that.

So I don't knowwhether there is such a thing as you'recreating your own destiny or there is a destiny.

And let's just say thattragically that was his destiny to pass away at 28.

Then he had to cram an awfullot of life into those 28 years, if that was the case.

And it almost seemed likehe was doing just that.

[music playing].

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