All language subtitles for The.Movies.S01E02.The.Nineties eng.srt

>> AS FAR BACK AS I CAN

REMEMBER, I ALWAYS WANTED TO BE
A GANGSTER.

>> "GOOD FELLAS" IS LIKE FASTEN
YOUR SEAT BELTS, I’M GOING TO

KICK THE SHIT OUT OF YOU FOR
2 1/2 HOURS AND YOU’RE GOING TO

LOVE IT.
>> THERE HAVE BEEN SO MANY

GANGSTER MOVIES, SO MANY MOB
MOVIES.

IS IT REALLY POSSIBLE THAT IN
1990 MARTIN WILL BE ABLE TO MAKE

A GANGSTER MOVIE THAT HASN’T
ALREADY BEEN SAID SO MANY TIMES

AND YOU WATCH THE MOVIE AND
YOU’RE, LIKE, YEAH.

>> WHAT ARE YOU DOING?
YOU’RE LEAVING YOUR CAR?

>> WE TRY TO CAPTURE THE
EXUBERANCE OF THAT WORK.

IT’S DANGEROUS AND THREATENING.
BUT THEY’RE HAVING A WONDERFUL

TIME.
>> IT WAS THE NUTS AND BOLTS OF

THE MOB.
IT WAS THE MOB AS A JOB.

>> WHAT ARE YOU DOING?
>> WHAT?

>> WHAT DO YOU DO?
>> I’M IN CONSTRUCTION.

>> AND THE BALANCE OF THESE TWO
FAMILIES, YOUR MOB FAMILY AND

YOUR REAL FAMILY, AND THE WAY
THE TWO START TO BLEED INTO EACH

OTHER.
>> YOU WERE RIGHT.

YOU WERE RIGHT.
>> "GOOD FELLAS" WAS BASED ON A

BOOK CALLED "WISE GUY" AND I
READ IT AND SAID WHAT IF I PLAY

THIS GUY JIMMY THE GENT?
>> WHAT DID I TELL YOU?

WHAT DID I TELL YOU?
YOU DON’T BUY ANYTHING.

YOU HEAR ME?
DON’T BUY ANYTHING.

>> IT’S A TRUE STORY AND IT IS
THE NATURE OF THAT LIFESTYLE.

>> JUST A LITTLE TASTE.
>> YOU HAD TO BE CLEVER ENOUGH,

LET ALONE HAVE THE AUDACITY, THE
DISCRETION, BUT ALSO NOT BEING

AFRAID OF THE VIOLENCE.
>> I DON’T BELIEVE WHAT I JUST

HEARD.
>> THIS IS FOR YOU.

>> THE DANGEROUS ENJOYMENT OF IT
WHERE YOU CAN BE ENJOYING AND

SUDDENLY SOMEBODY GETS SHOT IN
THE CHEST.

>> WHAT’S THE WORLD COMING TO?

>> THEN IT’S NOT FUNNY.
THERE IS A PRICE.

FOR EVERYTHING YOU DO.
>> ALL RIGHT.

YOU ALL KNOW THE DRILL.
>> IN THE ’90s, THERE’S A HOST

OF MOVIES IN WHICH PEOPLE
OPERATE OUTSIDE THE SYSTEM.

WE LOVE THE IDEA OF THE OUTLAW.
IT’S ONE OF THE REASONS WE GO TO

THE MOVIES.
>> MERRY CHRISTMAS.

>> MERRY CHRISTMAS TO YOU,
OFFICER.

>> YOU GO TO THE MOVIES TO SEE
PEOPLE VIOLATE THE LAWS OF

SOCIETY.
>> I’LL TAKE ONE EVER THOSE BIG

ENVELOPES AND PUT AS MANY
HUNDREDS, 50s AND 20s AS YOU CAN

PACK INTO IT.
>> IN THE ’90s WE WERE ROOTING

FOR THE CRIMINALS TO GET AWAY
WITH IT.

WE WANTED THE BAD GUYS TO BE THE
GOOD GUYS.

IT WAS REALLY AN ERA WHEN THE
ANTI‐HERO WAS ON THE RISE.

>> YOU HAVE SOMETHING AGAINST
ICE CUBES?

>> I LIKE ROUGH EDGES.
>> AND "BASIC INSTINCT" THE

CHARACTER IS A SOCIOPATH.
THEY ARE AS DANGEROUS AS THAT

CHARACTER IS.
WHEN I PLAYED THE PART, I NEEDED

TO UNDERSTAND THE SOCIOPATHIC
MIND AND THAT IS A VERY SCARY

THING.
>> "SILENCE OF THE LAMBS" I

REMEMBER WAITING FOR IT WITH
BAITED BREATH TO COME OUT.

NOTHING PREPARED ME FOR HOW
JONATHAN DEME SHOT WALKING TO

MEET HANNIBAL LECTER.
>> THIS IS A HORROR FILM THAT IS

ALSO AN ACTOR’S PIECE.
>> THIS IS TOLD BY THE CLOSEUP

MASTER OF ALL TIME.
THE TENSION KEPT RISING AND

RISING.
>> MOST SERIAL KILLERS KEEP

TROPHIES FROM THEIR VICTIMS.
>> I DIDN’T.

>> NO.
YOU ATE YOURS.

>> "SILENCE OF THE LAMBS" IS
ABOUT THIS ERIE DANCE BETWEEN

CLERISE AND HANNIBAL LECTER.
>> TAKES THE HORROR MOVIE AND

PUT IT INTO A REAL WORLD
THRILLER.

>> YOU STILL WAKE UP SOMETIMES,
DON’T YOU?

WAKE UP IN THE DARK.
AND HEAR THE SCREAMING OF THE

LAMB.
>> YES.

>> "SILENCE OF THE LAMBS"
BECOMES ONE OF THREE FILMS EVER

TO WIN BEST PICTURE, BEST
ACTRESS, BEST DIRECTOR, BEPTST

ADAPTED SCREEN PLAY AND THEN
ANTHONY HOP KINS WINS BEST ACTOR

CAN MAYBE 16 MINUTES OF SCREEN
TIME.

>> HOW COME HE DIDN’T LET YOU
GO?

>> BECAUSE I DIDN’T ASK HIM.
>> THE ONE THING I LOVE SO MUCH

ABOUT "THELMA AND LOUISE" IS
IT’S ONE OF THE BEST LOVE

STORIES OF ALL TIMES.
>> THEY GET TOGETHER AND THINGS

GO OFF THE RAIL REALLY, REALLY
QUICKLY.

>> SHUT UP.
SHUT UP.

>> PLEASE DON’T HURT ME.
>> I’LL SPATTER YOUR UGLY FACE

ALL OVER THIS NICE CAR.
>> I WAS DRIVING HOME ONE NIGHT

AND THE IDEA HIT ME.
TWO WOMEN GO ON A SCENE OF THE

CRIME SPREE.
IT WASN’T JUST THAT IDEA.

I KIND OF SAW THE WHOLE MOVIE IN
ONE FLASH.

>> GOD DAMN, YOU’RE A BITCH.
>> I THINK HE’S GOING TO

APOLOGIZE.
>> NO, I DON’T THINK SO.

>> THIS IS AN ODYSSEY OF TWO

WOMEN ON THE LAST JOURNEY.
THEY WOULD NOT KNOW IT WAS THE

LAST JOURNEY AND THEREFORE THE
JOURNEY HAD TO BE MAGNIFICENT.

>> A LOT OF WOMEN LOOKED AT THIS
FILM AND THOUGHT I COULD RELATE

TO THOSE WOMEN, I KNOW WHAT
THEY’RE GOING THROUGH, I

UNDERSTAND THE CHOICES THEY
MADE.

>> LET’S KEEP GOING.
>> WHAT DO YOU MEAN?

>> GO.
>> THEY LOOKED AT EACH OTHER AND

THEY BOTH KNEW.
>> YOU SURE?

>> IT’S KIND OF THE CULMINATION
OF BOTH OF OUR LIVES AND WE HAVE

NO CHOICE.
LET’S GO.

I CAN’T IMAGINE THE MOVIE WOULD
HAVE HAD ANY POWER AT ALL HAD WE

NOT ENDED IT THAT WAY.
>> I HAVE NO ENEMIES HERE.

>> NO?
WAIT A WHILE.

>> "SHAWSHANK REDEMPTION" IS THE
PERFECT PRISON FILM.

>> FOR A GOOD PRISON MOVIE, YOU
NEED A WARDEN WHO IS CORRUPT.

>> I WOULDN’T WORRY TOO MUCH
ABOUT THIS CONTRACT.

>> YOU YOU WANT TO MAKE THE
AUDIENCE FEEL LIKE THEY’RE

TRAPPED.
AND THEN THERE HAS TO BE HOPE.

>> A LITTLE PAROLE REJECTION
PRESENT.

>> THE AUDIENCE HAS TO HOPE FOR
SOMETHING BETTER FOR THESE

CHARACTERS THAT THEY FALL FOR.
>> IT’S A GREAT LOVE STORY

BETWEEN TWO MEN SPENDING 20, 30
YEARS IN PRISON GETTING TO KNOW

EACH OTHER.
>> THE FUNNY THING IS ON THE

OUTSIDE I WAS AN HONEST MAN.
STRAIGHT AS AN ARROW.

I HAD TO COME TO PRISON TO BE A
CROOK.

>> WATCHING EACH OTHERS LIVES
ROTATE THROUGH THE SYSTEM.

>> "SHAWSHANK REDEMPTION" IS
ABOUT SEEKING JUSTICE IN AN

IMPERFECT WORLD AND WHEN THE
CONVICTS WIN, YOU HAVE A SENSE

OF RELIEF.
AND THAT SOMEHOW JUSTICE HAS

>> IN VEGAS EVERYBODY’S GOT TO
WATCH EVERYBODY ELSE.

>> "CASINO" IS THE STORY OF
THESE TWO MEN, JOE’S CHARACTER

AND BOB’S CHARACTER.
>> LOOK AT THIS PLACE.

IT’S MADE OF MONEY.
YOU KNOW WHAT THE BEST PART IS?

NOBODY’S GOING TO KNOW WHAT
WE’RE DOING.

>> AND POOR SHARON WHO IS THROWN
IN THE MIDDLE OF IT.

>> WORKING FOR MARTY IS A BIG
THING.

HE WAS VERY OPEN, SUPPORTIVE,
ENCOURAGING, AND SO PRESENT WITH

ME.
>> CAN I TRUST YOU?

ANSWER ME.
CAN I TRUST YOU?

>> SHARON STONE IS IN THE GREAT
TRADITION OF CRAWFORD AND THE

GREAT DIVAS AND I HAD TO LEARN
HOW TO BRING OUT WHAT I NEEDED

THROUGH HER.
>> WITH MARTY, BECAUSE HIS FILMS

ARE SO DARING AND THE VIOLENCE
IS SO VIOLENT, AND BECAUSE

EVERYTHING THAT YOU DO IS SO
TRUE, YOU HAVE TO BE REALLY

WELLING TO KIND OF LET YOUR GUTS
COME OUT.

>> GET OUT OF HERE.
>> FINE!

>> I’M TAKING HER.
>> YOU’RE NOT TAKING HER.

YOU’RE A JUNKIE.
GET OUT OF HERE.

>> ULTIMATELY THEY’RE GIVEN
PARADISE AND LIKE ADAM AND

>>> "APOLLO 13" WAS A REAL
TURNING POINT FOR ME AND AN EYE

OPENER.
I LEARNED THE POWER OF A TRUE

STORY.
>> THIS IS HOUSTON.

SAY AGAIN, PLEASE?
>> HOUSTON, WE HAVE A PROBLEM.

>> JUST BELIEVING IN THE STORY.
MY MANTRA WAS JUST SHOW IT.

>> WE’RE NOT GOING TO HAVE
ENOUGH POWER LEFT TO GET HOME.

>> WE KNOW THEY’RE GOING TO BE
SAFE, BUT THE THING WE CARE

ABOUT IS HOW ARE THEY GOING TO
BE SAFE?

WHAT DO THESE PEOPLE HAVE TO DO
TO SAVE THEM?

THAT IS WHAT’S RIVETING.
>> THE ’90s BROUGHT US A NEW

LOOK AT SOME PREVIOUSLY THOUGHT
TO BE WELL KNOWN STORY.

>> WHEN YOU LOOK AT THE FILM
"JFK" IT’S ABOUT WHAT WE CAN

TRUST AND WHO WE CAN TRUST.
>> WHO BENEFITTED AND WHO HAS

THE POWER TO COVER IT UP.
>> OLIVER STONE IS SAYING YOU

CAN’T TRUST ANYBODY.
>> GO BACK TO THE TIME WHEN THE

NATION WAS CAPTIVATED BY THIS
GAME SHOW AND IT’S THE STORY

ABOUT TRUTH AND THE PERVERSION
OF TRUTH IN ENTERTAINMENT.

>> WHAT ABOUT HIM?
>> I LOVE HIM.

>> PEOPLE DON’T LIKE HIM.
KIDS DON’T LIKE HIM.

>> AS I KID, I LIVED THROUGH THE
"QUIZ SHOW" PERIOD.

I WANTED JOHN TO PLAY HERB
STINTON, THE GUY FROM THE LOWER

CLASS AREA AND HE ROSE TO FAME
AND THEN CERTAIN PEOPLE WERE

GETTING TIRED OF HIM BECAUSE HE
WASN’T THAT PLEASANT TO LOOK AT

BUT NO ONE COULD BEAT THE GUY.
HE WAS SO SHARP.

THAT’S WHEN THEY CAME UP WITH
THE GUY WHY DON’T WE FIND

SOMEBODY THAT LOOKS GOOD AND
WE’LL GIVE HIM THE ANSWERS.

>> GENERAL H. W. HALEK.
>> YOU ARE OUR NEW CHAMPION.

>> THAT CRUELTY WAS SOMETHING I
WANTED TO SHOW.

THE POWER OF MONEY AND
PERSONALITY.

SO TO ME THAT WAS A STORY THAT
REALLY HAD TO BE TOLD.

>> WE DIDN’T LAND ON PLYMOUTH
ROCK.

PLYMOUTH ROCK LANDED ON US.
LANDED RIGHT ON TOP OF US.

>> "MALCOLM X" IS SPIKE LEE’S
EPIC.

I THINK HE FELT A CERTAIN
URGENCY IN MAKING IT.

>> SPIKE HAD THE GOOD FORTUNE OF
CASTING DENZEL WASHINGTON AT THE

PIN NABBING
PINNACLE OF HIS MOVIE STARDOM.

>> DENZEL WASHINGTON IS ONE OF
THE ALL‐TIME GREATS.

WHAT HE DOES IN HIS ARTISTRY
PAINTING A PORTRAIT OF AN

INDIVIDUAL, IT’S ASTOUNDING.
>> IF THE SO‐CALLED NEGRO IN

AMERICA WAS TRULY AN AMERICAN
CITIZEN, WE WOULDN’T HAVE A

RACIAL PROBLEM.
IF THE EMANCIPATION PROCLAMATION

WAS AUTHENTIC, WE WOULDN’T HAVE
A RACIAL PROBLEM.

>> WATCHING A GUY LIKE DENZEL AS
MALCOLM X, TOP OF THE GAME, IRN

INTIMIDATING IN MANY WAYS.
>> WHEN WE MADE "PHILADELPHIA",

HE WAS MALCOLM ALREADY.
IT WAS LIKE STARTING A MOVIE

WITH MARLON BRANDO AND JUST
SEEING "THE GODFATHER" THE NIGHT

BEFORE.
>> WHAT HAPPENED TO YOUR FACE?

>> I HAVE AIDS.
>> "PHILADELPHIA" WAS AN

IMPORTANT FILM.
>> HOW DID THEY FIND YOU OUT

HAVE THE AIDS?
>> ONE OF THE PARTNERS NOTICED A

LESION ON MY FOREHEAD.
>> AS HIS CHARACTER SPENDS MORE

TIME WITH TOM HANKS, HE STARTS
TO SEE HIM AS MORE THAN HIS

SEXUALITY OR HIS DISEASE.
>> LET’S GET IT OUT OF THE

CLASSROOM, BECAUSE THIS CASE IS
NOT JUST ABOUT AIDS, IS IT?

SO LET’S TALK ABOUT WHAT THIS
CASE IS REALLY ALL ABOUT.

THE GENERAL PUBLIC’S HATRED, OUR
LOATHING, OUR FEAR OF

HOMOSEXUALS.
>> HE CAN BRING THE AUDIENCE ON

THAT JOURNEY TO SAY WE DON’T
NEED TO FEAR PEOPLE.

WE DON’T NEED TO DESPISE OR
STIGMA

STIGMATIZE THEM.
>>> MY NAME IS FOREST, FOREST

GUMPF.
>> IT’S A VERY RARE THING FOR ME

TO READ A SCRIPT AND NOT BE ABLE
TO PUT IT DOWN.

>> "FOREST GUMP" IS A MARVELOUS
LOOK ON THE HOW HISTORY HAPPENS.

IT’S A PLAY ON THE CONTINGENCY
AND ACCIDENT THAT SHAPES OUR

WORLD.
>> WE WERE THE FIRST AMERICAN TO

VISIT THE LAND OF CHINA IN LIKE
A MILLION YEARS, SOMETHING LIKE

THAT.
SOMEBODY SAID WORLD PEACE WAS IN

OUR HANDS.
BUT ALL I DID WAS PLAY PING

PONG.
>> THAT FILM EMBODIES EVERYTHING

THAT MAKES TOM GREAT.
HE’S A FANTASTIC DRAMATIC ACTOR

AND HE’S A MAGNIFICENT COMEDY
ACTOR.

I CAN’T THINK OF ANOTHER ACTOR
LIVING OR DEAD WHO COULD HAVE

EVER DONE THAT PART.
>> BY THE 1990s, THE AGE OF THE

PEOPLE WHO SERVED IN WORLD WAR
II WAS 70.

THEY WERE GROWING OLD AND
DISAPPEARING.

THERE WAS A POWERFUL SENSE OF
NOSTALGIA.

WE SAW A LOT OF RETROSPECTIVE
LOOKS AT WORLD WAR II.

THIS IS THE TIME WHEN PEOPLE
STARTED TALKING ABOUT THE

GREATEST
GREATEST GENERATION.

>> "SAVING PRIVATE RYAN" WAS A
FILM I WAS GOING TO MAKE SOME

DAY IN MY LIFE.
MY DAD USED TO HAVE HIS BAND OF

BROTHERS FROM THE AIR CORP COME
OVER TO THE HOUSE EVERY YEAR AND

THE FIRST TIME I EVER HEARD
GROWN MEN CRY WAS AT THE

REUNIONS.
IT WAS ALL ABOUT THE TRAUMA THEY

HAD SUFFERED IN WORLD WAR II.
>> WE’LL SEE YOU ON THE BEACH.

>> I FELT IT WAS NECESSARY FOR
ME TO TELL THE EXPERIENCE OF

VETERANS AND WHAT TLAHEY HAD GON
THROUGH WHEN THEY WERE A LITTLE

OLDER THAN I WAS AT THE TIME.
>> WHEN MOVIE GOERS SAW THE MEN

DISEMBARK, THE BULLETS WERE
GOING THROUGH THE WATER AND

HITTING THEM IN THE WATER.
THERE WAS A POWERFUL REALISM TO

THAT.
>> IT’S SPIELBERG SAYING WHAT

DOES IT FEEL LIKE TO HAVE GONE
ON THAT BEACH?

YOUR NOSE IS PRESSED RIGHT INTO
THE SAVAGERY.

>> THE BEGINNING WAS FANTASTIC.
I WAS ILL FOR TWO WEEKS WATCHING

THAT.
I COULDN’T BELIEVE HE DID THAT.

>> SIR, I DON’T HAVE A GOOD
FEELING ABOUT THIS ONE.

>> WHEN WAS THE LAST TIME YOU
FELT GOOD ABOUT ANYTHING?

>> THIS ABILITY TO ENTERTAIN AND
REACH AUDIENCES MORE THAN ONE

WAY WITH THE SAME MOVIE, "SAVING
PRIVATE RYAN" IS A GREAT EXAMPLE

OF THAT.
IT’S EXCITING, IT’S THRILLING,

IT’S SUSPENSEFUL, BUT IT ALSO IS
A REMINDER OF THE PRICE OF THAT

KIND OF WARFARE, THE COST TO THE
SOUL, AND WHO WINDS UP LIVING

AND DYING AND BARING THOSE SCARS
IN THAT KIND OF CONFLICT.

>> I DARE GET YOU ONE, BUT THE
MAN WHO MADE IT IS PROBABLY

DEAD.
I DON’T KNOW.

>> MY FAMILY, WHEN I WAS GROWING
UP, TALKED ABOUT THE HOLOCAUST,

THOUGH THEY NEVER USED THAT
WORD.

THEY USED TO CALL IT THE GREAT
MURDERS.

I SHOT THE WHOLE FILM
DOCUMENTARY STYLE.

IT WAS THE FIRST FILM I HAD EVER
SHOT LIKE THAT.

IT BECAME LESS OF A FILM AND
MORE OF A LIFE’S JOURNEY, A

LIVING LEARNING EXPERIENCE
MAKING THAT FILM.

WE ALL FELT WE WERE SHOOTING IN
A GRAVEYARD.

AND SO THE AMOUNT OF REVERENCE
OF THE CREW AND THE CAST, I LAST

LIAM NEESON AT THE LAST MINUTE.
I THOUGHT HE WAS THE BEST

SCHINDLER I COULD POSSIBLY FIND
AND HE WAS.

>> OSCAR SCHINDLER WAS A DEAL
MAKER AND HE DIDN’T CARE FOR HIS

WORKERS, BUT THERE WAS AN
ENCROACHING ON THE HOLOCAUST

THAT UNLOCKED HIS EMPATHY.
INSTEAD OF BEING SOMEONE THAT

GATHERS WEALTH FOR HIS OWN
PLEASURE, HE STARTED TO SPEND

HIS MONEY TO SAVE LIVES.
>> I COULD HAVE GOT MORE.

I COULD HAVE GOT MORE.
>> THE TOTALITY OF THE MEANING

OF THAT FILM, THE FACT THAT IT
CREATED AWARENESS IN THE WORLD

ABOUT AN ERA IN HISTORY THAT HAD
BEEN FORGOTTEN, IT DENIED THE

DINNERS, IT ALLOWED US TO REALLY
MEAN IT WHEN WE SAY NEVER AGAIN.

IT IS THE GREATEST EXPERIENCE
I’VE EVER HAD AS A

CHARACTER DRIVEN COMEDY.
THE BILL MURRAY CHARACTER JUST

KEEPS WAKING UP.
>> HEY, PHIL.

>> AND HAVING TO RELIVE THE SAME
DAY.

>> DON’T YOU TELL ME YOU DON’T
REMEMBER ME, BECAUSE I SURE AS

HECK REMEMBER YOU.
>> NOT A CHANCE.

>> USUALLY WHEN THERE’S SOME
KIND OF STRANGE CONVENTION, IT’S

EXPLAINED.
>> PHIL CONNERS, I THOUGHT THAT

WAS YOU.
>> YOU’RE IN A TIME MACHINE OR

SOMEBODY CASTS A SPELL.
BUT THIS JUST HAPPENED AND

NOBODY MINDED.
>> PHIL CONNERS.

>> NED?
>> NOBODY IS PERFECT.

>> IT’S ALSO SO OBVIOUSLY
FORBILL.

>> BILL, LIKE THE GROUNDHOG
BILL?

>> YEAH, LIKE THE GROUNDHOG
BILL.

>> WATCH ON THE FOR YOUR SHADOW
THERE, PAL.

>> MORONS, YOUR BUS IS LEAVE.
>> IT’S HARD TO BE A LIKEABLE

DICK AND THEN WIN THE AUDIENCE
OVER BY THE END.

BILL IS REALLY GOOD AT THAT.
>> THANK YOU, YOUNG MAN.

>> IT’S NOTHING, MA’AM.
I HAD THE TIRE AND THE JACK.

JUST BE COMFORTABLE.
ALL RIGHT?

>> TO ME, BILL MURRAY IS ONE OF
THE GREAT COMEDY ACTORS THAT HAS

EVER BEEN.
>> HOW LONG WILL YOU BE STAYING

WITH US?
>> INDEFINITELY.

I’M BEING SUED FOR DIVORCE.
>> HE’S PICKY, WHICH IS PERFECT

BECAUSE THEN HE FINDS HIS WAY
INTO SOMEBODY REALLY

EXTRAORDINARY.
>> WHAT’S THE SECRET, MAX?

>> THE SECRET?
>> YEAH.

YOU SEEM TO HAVE IT PRETTY
FIGURED OUT.

>> THE SECRET?
I DON’T HAVE ONE.

I THINK YOU’VE JUST GOT TO FIND
SOMETHING YOU LOVE TO DO AND

THEN DO IT FOR THE WEST OF YOUR
LIFE.

>> WES ANDERSON, HIS FILMS ARE
LIKE OPENING A JEWELRY BOX AND

YOU CAN TAKE OUT ALL THE LITTLE
TRINKETS AND THEY’RE SPARKLY AND

JOYFUL.
>> IT’S SO RARE WHEN SOMEONE

COMES ALONG AND CREATES THEIR
OWN AESTHETIC.

>> WES IS TRULY UNIQUE.
>> I REALLY RELATED TO HIM IN

TERMS OF HAVING BAD GRADES AND
NOT BEING GOOD IN SCHOOL, BUT

HAVING LIKE A PASSION FOR
SOMETHING.

>> WHEN HE CAME OUT, I WROTE A
FAN LETTER TO WES.

IT WAS A PERFECT FILM, LAUGH OUT
LOUD HUMOR.

>> I LIKE YOUR NURSE’S UNIFORM.
>> THESE ARE O. R. SCRUBS.

>> OH, ARE THEY?
>> COMEDY IN THE ’90s WILL BE

GIGANTIC.
>> SHALL WE SHALL NOW OR SHALL

WE SHAG LATER?
>> IT’S GOING TO BE OVER THE TOP

AND IT’S GOING TO FILL THE
FRAME.

>> WHY DON’T YOU JUST GO HOME.
THAT’S YOUR HOME.

ARE YOU TOO GOOD FOR YOUR HOME?
ANSWER ME!

>> AND YOU’RE GOING TO GET ADAM
SANDLER KNOCKING OUT ONE MOVIE

AFTER THE NEXT.
>> CINDY AND SCOTT ARE NEWLILY

NEWLYWEDS.
>> IF YOU LOOK AT THE SCENES

THAT ARE MEMORABLE FROM "WAYNE’S
WORLD" THEY’RE BIG SCENES.

THEY’RE THE HEADS BOBBING BACK
AND FORTH.

THEY ARE NOT AFRAID TO DO
SOMETHING BIG TO GET A LAUGH.

>> AND THENALL OFA SUDDENONE
DAY THIS GUY, WHO IS AS BIG AS

THE SCREEN, SHOWS UP.
AND IT’S JIM CAREY.

AND HE TURNS INTO A TOP
HOLLYWOOD STAR BECAUSE HE IS

UNAFRAID TO BE BIG.
EVEN AS HE IS DOING THESE OVER

THE TOP THINGS WHERE YOU THINK
WELL, HE’S TALKING THROUGH HIS

BEHIND.
I’M NOT GOING TO WATCH THIS.

>> EXCUSE ME, I’D LIKE TO ASS
YOU A FEW QUESTION.

>> AND YET THERE YOU ARE
WATCHING AND YOU’RE LAUGHING.

INTELLECTUAL ABOUT IT.
I JUST LAFUGHED MY ASS OFF.

AND PART OF ME WAS, LIKE, I
CAN’T BELIEVE THEY’RE DOING IT.

>> WHAT’S THAT BUBBLE THERE?
>> WHAT DO YOU THINK?

>> HOW THE HELL DID THE GET THE
BEANS ABOVE THE FRANK?

>> THE FARLEY BROTHERS PUSHED
THE RULES SO FAR THAT ‐‐ YOU CAN

DO THAT?
>> "SOMETHING ABOUT MARRYY" IS

THIS COMEDY THAT HAS A HEART TO
IT.

>> MAYBE YOU SHOULD MOVE DOWN
HERE AND MARY ME.

>> I’LL HAVE A COFFEE.
>> I’LL HAVE A CAP CHINO.

>> DO YOU HAVE ANY COFFEE ICE
CREAM?

>> I’LL HAVE DE‐‐
>> YOU HAD LOTS AND LOTS OF

REALLY FUNNY BANKABLE PEOPLE
DOING WONDERFUL MOVIES.

>> MY FIRST DAY AS A WOMAN AND
I’M GETTING HOT FLASH.

>> HELLO, PETER.
>> WHAT’S HAPPENING?

>> I’M GOING TO NEED YOU TO GO
AHEAD AND COME IN TOMORROW.

SO IF YOU CAN BE HERE AROUND
9:00, THAT WOULD BE GREAT.

OKAY?
>> "OFFICE SPACE" IS NOT AS

ACCLAIMED AS IT SHOULD BE.
IT WAS NOT A BIG HIT, BUT

THERE’S SO MUCH MODERN COMEDY IN
THAT MOVIE.

IT WAS WONDERFUL.
>> "OFFICE SPACE" DID SUCH A

GREAT JOB IN COMPLETELY
LAMPOONING OFFICE LIFE.

TECHNOLOGY HAD MADE THESE
CUBICAL LANDS AND "OFFICE SPACE"

REALLY CAPTURED THAT.
>> I’M THINKING I MIGHT TAKE

THAT FROM LOGISTICS.
THINGS GO WELL I’LL BE SHOWING

THEM "O" THINGS.
YOU BE WHAT I’M TALKING ABOUT.

>> JENNIFER ANISTON WAS IN IT.
>> WE NEED TO TALK ABOUT YOUR

FLARE.
>> WHEN YOU HAD THAT MANAGER

THAT SAYS PUT THAT FLARE ON AND
SHOW US WHAT YOU’RE REALLY LIKE.

HERE’S MY FLARE.
>> ALL RIGHT.

THERE’S MY FLARE.
OKAY?

AND THIS IS ME EXPRESSING
MYSELF.

>> CHRISTOPHER GUEST IS
CONSIDERED THE MASTER OF THE

MOCKUMENTARY.
HE COMES UP WITH CHARACTERS THAT

ARE PROFOUNDLY SILLY.
>> WHEN WE WERE ON "SNL"

TOGETHER, CHRIS DID A MOVIE WITH
MARTY AND HARRY CALLED

SYNCHRONIZED SWIMMING.
>> I’VE BEEN DIRECTING THEATER,

SHAKESPEARE IN THE PARK.
>> THAT’S WHERE THE CHARACTER

WAS SORT OF BORN.
ME, YOU KNOW, RIGHT OUT OF THE

NAVY FRESH OFF A DESTROYER WITH
A DANCE BELT AND A TUBE OF

CHAPSTICK BASICALLY.
NOT MUCH TO CALL MY OWN AND

BEING SLAMMED DOWN FOR 10 OR SO
YEARS, OFF, OFF, OFF BROADWAY

AND THEN ENOUGH IS ENOUGH.
OKAY?

I GET THE JOKE.
>> CHRIS SURROUNDS HIMSELF WITH

FUNNY PEOPLE, EUGENE, KATHERINE
O’HARA.

>> IF THERE IS AN EMPTY SPACE,
SAY A LINE.

>> CHRIS WORKS IN MINIATURE.
HE’S LIKE PETER SELLERS.

SUCH FINE TASTE.
AND WHEN IT HITS RIGHT, IT’S

AMAZING.
>> AND THAT’S THE WAY IT IS?

THEN I JUST HATE YOU AND I HATE
YOUR ASS FACE.

>>> I REMEMBER COMING OUT AND
SEEING "DO THE RIGHT THING" THAT

DAY I WENT TO MY DORM AND
STARTED WRITING "BOYZ IN THE

HOOD".
>> BOTH OF MY BROTHERS HAVE BEEN

SHOT AND THEY’RE STILL ALIVE.
>> SOME OF WHAT I WAS DOING WAS

BY WHAT I SAW ROB REINER DO WITH
"STAND BY ME" BUT THEY DIDN’T

SPEAK TO WHERE I WAS COMING
FROM.

>> WE GOT A CALL ON A BURGLARY
HERE.

>> THAT WAS ABOUT AN HOUR AGO.
>> WE DIDN’T ASK YOU THAT.

>> I DECIDED TO HAVE A BLACK COP
BE MORE VEHEMENT THAN THE WHITE

PARTNER.
>> SOMETHING WRONG?

YES.
IT’S JUST TOO BAD YOU DON’T KNOW

WHAT IT IS.
>> THE SAME BLOCK COP ENCOUNTERS

TRENT YEARS LATER WHEN HE’S A
TEENAGER AND PROFILES HIM.

>> I DIDN’T DO NOTHING.
>> YOU THINK YOU’RE TOUGH, HUH?

OH, YOU’RE SCARED NOW, HUH?
I LIKE THAT.

>> SINGLETON WAS NOMINATED FOR
TWO ACADEMY AWARDS, BEST

ORIGINAL SCREEN PLAY AND THE
YOUNGEST PERSON EVER NOMINATED

FOR BEST DIRECTOR.
>> IT WAS AN ERA WHEN A LOT OF

PEOPLE WERE PAYING ATTENTION TO
BLACK FILM.

THERE WAS A FAMOUS MOMENT IN
"NEW YORK TIMES" MAGAZINE DOES

THIS COVER STORY.
YOU REALLY HAD FOR THE FIRST

TIME A LARGE COLLECTION OF BLACK
FILMMAKERS DOCUMENTING WHAT WAS

GOING ON IN THE CULTURE.
>> YOU’VE GOT TO BE READY TO GO

DOWN, STAND UP AND DIE FOR THAT
SHIT LIKE HE DID.

>> BLAZE ARD AIN’T STICKING UP
TO NOTHING NOW.

>> THAT’S BECAUSE WE WASN’T
THERE TO BACK HIM UP.

>> IF WE WAS THERE, THERE WOULD
BE FIVE DEAD INSTEAD OF ONE.

>> WE HAD A SIMILAR VISION OF
WHAT TWEEPTWE WANT TO DO AS YOUN

COMING INTO THIS ENTERTAINMENT
TOGETHER.

>> I’VE GOT THE GUY I’M GOING TO
DO MULTIPLE MOVIES WITH.

>> PEOPLE DON’T REALIZE HOW
THEATRICAL THE GANGSTER RAP

THING WAS.
ICED TEA, ICE CUBE, THEY WERE

ALL STORY TELLERS.
WHEN IT CAME TIME TO GO TO

HOLLYWOOD, ALL OF THEM WERE
CONVINCING ON SCREEN.

>> CRAIG.
CRAIG!

>> HOLDUP.
>> MAN, THAT’S WHAT IT’S

SUPPOSED TO DO.
>> IT WAS ONE OF THOSE FILMS

THAT MADE ME EXCITED ABOUT BEING
IN THE FILM INDUSTRY.

>> CUBE AT THE TIME TRANSITIONS
FROM MUSIC INTO FILM MAKING, THE

WAY IT GOT SOLD AT SUNDANCE, IT
WAS SORT OF THE QUINTESSENTIAL

INDEPENDENT CINEMA COMING TO THE
MAINSTREAM AND THEN OF COURSE IT

WENT ON TO DO SO WELL.
>> LADIES, LADIES, LADIES, I

KNOW YOU’RE GOING TO BE IN
ATTENDANCE AT THE THROWDOWN.

>> DID YOU HEAR ANYTHING ABOUT A
PARTY TONIGHT?

>> HUH‐UH, AT LEAST NOT A GOOD
ONE.

>> "HOUSE PARTY" IS JUST A FUN,
SILLY TEEN COMEDY.

>> LADIES, BEAT IS IN THE HOUSE.
>> DRAGON BREATH.

>> THEY WERE A MUSICAL DUO
LOOKING TO HAVE A FUN TIME,

DAD’S AWAY, LET’S THROW A PARTY.
HAVING A MOVIE LIKE THAT PREMIER

AT SUNDANCE REALLY SHOWED THE
POSSIBILITY THAT BLACK FILM

MAKING COULD HAVE.
>> WHAT?

>> DON’T ANSWER ME WHAT.
TURN THE GOD DAMN TV OFF.

>> I’M WATCHING THE KNICKS.
>> I DON’T CARE WHAT IT IS.

>> WE TALK ABOUT SPIKE LEE FILMS
AND JOHN SINGLETON FILMS, BUT IT

WAS A PERIOD WHERE BLACK FEMALE
FILMMAKERS WERE MAKING SOME

INTERESTING THINGS.
YOU HAVE "DAUGHTERS OF THE DUST"

EXAMINING THE GULLA CULTURE,
BLACK CULTURE THAT HARKENS BACK

SEVERAL HUNDRED YEARS AND THAT
MOVIE IS BEAUTIFUL.

YOU ALSO HAVE A MOVIE DIRECTED
BY LESLIE HARRIS.

>> YOU’RE TOO CUTE TO BE A
GENTLEMAN, RIGHT?

>> AND A QUOTE/UNQUOTE HOOD
MOVIE, BUT FROM THE PERSPECTIVE

OF A YOUNG GIRL.
PEOPLE THINK OF NEW BLACK

REALISM AS THE HOOD GENRE, BUT
ACTUALLY THERE IS A RANGE OF

SOCIO ECONOMIC EXPERIENCE BEING
SHOWN IN BLACK CINEMA OF THE

>> WHETHER WE’RE TALKING ABOUT
SOME OF THE BLACK ROMANTIC

COMEDIES, FAMILY FILMS, LIKE
"SOUL FOOD" OR "WAITING TO EX

EXHALE" THEY THINK OF AS
COMPANION FILMS THAT CELEBRATE

SISTERHOOD AND THAT’S A WHOLE
OTHER ELEMENT THAT HADN’T MADE

ITS WAY INTO MAINSTREAM CINEMA.
>> HELLO.

HELLO.
>> FROM THE VERY EARLY DAYS OF

WILL SMITH’S CAREER, HE WAS
INCREDIBLY SMART ABOUT FIGURING

OUT HOW TO BECOME THE SUPERSTAR
HE WANTED TO BECOME AND HE CHOSE

THE ONE RULE HE THOUGHT NOBODY
WOULD EXPECT HIM TO PLAY.

A GAY HUSTLER IN "SIX DEGREES OF
SEPARATION".

>> I PICK A NAME.
YOU TELL ME EVERYTHING ABOUT

THEM.
WHERE THEY LIVE, SECRETS,

EVERYTHING.
AND FOR THEIR NAME, YOU GET A

PIECE OF MY CLOTHE.
>> WILL SMITH BECAME A TRIPLE

THREAT.
THERE AREN’T MANY WHO CAN DO

ACTION, DRAMA, AND COMEDY.
>> NOW BACKUP, PUT THE GUN DOWN,

AND GIVE ME A TRACK OF TROPICAL
FRUIT BUBBLE GUM.

>> AND WILL SMITH IS THAT GUY.
>> I WOULD SAY THAT TOM CRUISE

IS THE FIRST PERSON TO FIGURE
OUT THE POWER OF USING THE

INTERNATIONAL BOX OFFICE TO TURN
YOURSELF INTO THE BIGGEST STAR

ANYONE HAS SEEN.
WILL SMITH LOOKED AT THAT AND

SAID I’M GOING TO DO THE SAME
THING.

WHAT TRANSLATES WELL ABROAD,
SCI‐FI ALIENS, SO THAT IS WHAT

HE DID.
>> WELCOME TO EARTH.

>> HE BECOMES SO SUCCESSFUL THAT
THE JULY 4th WEEKEND WAS BLOCKED

OUT FOR WILL SMITH MOVIES.
>> YOU KNOW WHAT TDHE DIFFERENCE

IS BETWEEN YOU AND ME?

WHAT’S YO
>> WHAT DO YOU WANT IT TO BE?

>> VIVIAN.
I NAME IS VIVIAN.

>> VIVIAN.
>> I REMEMBER MEETING GARRY

MARSHALL FOR THE FIRST TIME AND
BEING SO NERVOUS.

MAKING THIS MOVIE WITH HIM WAS
HYSTERICAL.

WE DIDN’T REALLY HAVE A COMPLETE
SCRIPT.

I REMEMBER ONE DAY LOOKING AT
RICHARD SAYING WHAT ARE WE

DOING?
WHAT SCENE BE?

IS HE GOES I DON’T KNOW.
DWAER, WHAT ARE WE DOING?

GARY GOES BE FUNNY.
ACTION.

>> WELL DONE WELL DONE.
>> DID WE THINK IT WAS GOING TO

BE A HUGE SUCCESS?
NOT NECESSARILY.

>> HI.
>> HELLO.

>> DO YOU REMEMBER ME?
>> NO, I’M SORRY.

>> I WAS IN HERE YESTERDAY.
YOU WOULDN’T WAIT ON ME.

>> OH.
YOU WORK ON COMMISSION, RIGHT?

>> YES.
>> BIG MISTAKE BIG.

HUGE.
I HAVE TO GO SHOPPING NOW.

ROBERTS A MAJOR STAR.
THAT SMILE, THAT INTERACTION

WITH RICHARD GERE, THAT
IMPROVISED LITTLE THING WITH THE

JEWELRY BOX AND THE PERIL PEARLS
IT.

>> GARL SAID JUST TOUCH IT.
IT’S THE MOST AMAZING THING

YOU’VE EVER SEEN AND I SAID TO
RICHARD ‐‐

>> WE FALL FOR HER AND WE FALL
LIKE A TON OF BRICKS.

>> OH.
MY GOD.

IT’S THE BRIDE AND THE WOMAN SHE
WILL NEVER LIVE UP TO.

>> SHE RISES THROUGH THE DECADE
BUT THEN REALLY ENDS IT WITH

THREE MEGAROMCOMS.
MY BEST FRIEND’S WEDDING,

RUNAWAY BRIDE, AND NOTTING HILL.
>> CAN I HELP YOU?

>> NO THANKS.
I’LL JUST LOOK AROUND.

>> RICHARD CURTIS SAYS HE WROTE
IT WITH ME IN MIND.

AND I LOVE WHEN WRITERS SAY
THAT.

I DON’T CARE IF IT’S TRUE.
IT’S HARD TO FIND REALLY GREAT

ORIGINAL MATERIAL THAT HOLD THE
REAL PERFORMANCE AND THE COMEDY

AND THE PHYSICAL COMEDY THEN
SOME THREAD OF LOVE THAT YOU’RE

TRYING TO ACCOMPLISH.
>> I’M ALSO JUST A GIRL.

STANDING IN FRONT OF A BOY.
ASKING HIM TO LOVE HER.

>> ROMANTIC COMEDY IS A GENRE
THAT I LOVE.

I THINK I JUST WAS REALLY LUCKY
THAT THEY WERE MAKING A BIG

RESURGENCE AT A TIME WHEN I WAS
AT THE READY.

>> THE ROMANTIC COMEDY GETS ITS
JUMP START AND YOU HAVE A NUMBER

OF PEOPLE WHO ARE ESPECIALLY
ADEPT AT THE FORM OF THE

ROMANTIC COMEDY.
HAVE YOU SANDRA BULLOCK.

HAVE YOU HUGH GRANT.
YOU HAVE MEG RYAN AND YOU HAVE

TOM HANKS.
>> SHE MADE EVERYTHING

BEAUTIFUL.
AND IT’S JUST TOUGH, THIS TIME

OF YEAR.
I MEAN ANY KID NEEDS A MOTHER.

>> COULD IT BE THAT YOU NEED
SOMEONE JUST AS MUCH AS JONAH

DOES?
>> YES.

>> NORAH EPHRON PREPARED MOVIES
LIKE NO OTHER DIRECTOR I’VE

WORKED WITH.
WE WOULD WORK FOR WEEKS PRIOR TO

THE BEGINNING OF SHOOTING.
EVERY LINE WAS SPECIFICALLY

FOUND OR WRITTEN OR PERFECTED.
>> IT WAS LIKE, MAGIC.

>> NORAH EPHRON WAS UNAFRAID TO
TAKE SOMETHING THAT FELT

FAMILIAR BUT THEN COVER IT IN
UNFAMILIAR TERRITORY.

>> HAVE SEX WITH HER, HUH?
>> I CERTAINLY HOPE SO.

>> WILL SHE SCRATCH UP YOUR
BACK?

>> WHAT?
>> IN THE MOVIES WOMEN ARE

ALWAYS SCRATCHING UP THE MAN’S
BACK AND SCREAMING AND STUFF

WHEN THEY’RE HAVING SEX.
>> HOW DO YOU KNOW THIS.

>> JED’S GOT CABLE.
>> OH.

>> THIS MOVIE IS ABOUT A
WIDOWER.

THAT I THOUGHT WAS A BRAVE
CHOICE.

YOU SAW PEOPLE ON SCREEN WORKING
OUT A PROBLEM WHO WEREN’T

NECESSARILY FROM THE TRADITIONAL
AMERICAN FAMILY.

.>> I LEFT HER BIBI THE

TELESCOPES.
>> THE GREAT THING ABOUT NORAH

IS WHEN SHE WA TALKING ABOUT
THE DYNAMICS BETWEEN MEN AND

WOMEN WHO ARE ATTRACTED TO EACH
OTHER OR NEED EACH OTHER OR ARE

SEARCHING FOR EACH OTHER AND
DON’T REALLY KNOW IT, SHE WAS A

GENIUS.
>> I’M THE GUY YOU DON’T USUALLY

SEE.
I’M THE ONE BEHIND THE SCENES.

I’M THE SPORTS AGENT.
>> I WANTED TO WRITE A MOVIE

THAT BEGINS WHERE AN ’80s MOVIE
ENDED.

>> WHAT’S GOING ON?
>> THEY FIRE JERRY McGUIRE.

>> THE SCRIPT WENT RIGHT TO TOM
CRUISE.

HE CALLS IMMEDIATELY.
I LOVE THIS SCRIPT.

I’LL READ IT WITH YOU.
AND YOU TELL ME IF I’M RIGHT FOR

IT.
>> DON’T WORRY.

DON’T WORRY.
I’M NOT GOING TO DO WHAT YOU ALL

THINK I’M GOING TO DO WHICH IS
JUST FLIP OUT!

>> AND BASICALLY I’VE BEEN
GEEKING OUT OVER HIS PERFORMANCE

EVER SINCE.
>> JERRY McGUIRE.

HOW YOU DOING?
>> JERRY McGUIRE.

>> YEAH.
>> HOW AM I DOING?

I’LL TELL YOU.
I’M SWEATING, DUDE.

>> CUBA AND TOM JUST LIKE
DELIRIOUSLY HAPPY ACTORS.

>> SHOW ME THE MONEY.
>> THEY WERE JUST LIKE LANDING

BLOWS ON EACH OTHER.
>> JERRY, SHOW ME THE MONEY!

>> AND THAT SCENE JUST KIND OF
EXPLODED.

>> CONGRATULATIONS, YOU’RE STILL
MY AGENT.

>> THAT FILM REALLY SPOKE TO ME
SO DEEPLY BECAUSE IT’S THE

SINGLE MOM WITH THIS PRECOCIOUS
LITTLE KID.

>> DO YOU KNOW THE HUMAN HEAD
WEIGHS EIGHT POUNDS.

>> AND BRINGING A GUY INTO THAT
PICTURE, I LOVE HOW MUCH CAMERON

BELIEVES IN ROMANCE.
>> I WAS SO ANXIOUS TO DO ONE

LINE YOU COMPLETE ME.
THERE WERE TIMES THAT I HAD READ

THAT IN THE SCRIPT AND THOUGHT
FANTASTIC.

THERE WERE OTHER TIMES, IS THIS
TOO CHEESY?

AND I TOLD TOM THAT.
AND HE SAID, JUST GIVE ME A SHOT

AT IT.
IF YOU DON’T WANT TO USE IT,

DON’T USE IT.
>> I LOVE YOU.

YOU COMPLETE ME.
AND I JUST ‐‐ SHOO, SHUT UP.

JUST SHUT UP.
YOU HAD ME AT HELLO.

YOU HAD ME AT HELLO.
>> I LOOK AROUND, EVERYBODY’S

CRYING.
THE GRIZZLED GUYS HOLDING CABLE

ARE LIKE ‐‐ AND I WAS LIKE, I
THINK IT’S GOING TO WORK.

THIS GUY IS GOING THROUGH ALL
THE EGGS.

LOOK.
THIS HAS BEEN GOING ON FOR 20

MINUTES NOW.
>> WHAT’S HE LOOKING FOR.

>> SAID HE HAS TO FIND THE
PERFECT DOZEN.

>> PERFECT DOZEN.
>> YEAH, EACH EGG HAS TO BE

PERFECT.
>> IN THE ’90s YOU COULD FEEL

THIS EXCITEMENT THAT THERE WAS
SOMETHING HAPPENING HERE.

THERE STARTED TO BECOME A
GENUINE INDEPENDENT FILM

MOVEMENT.
AND SUNDANCE FILM FESTIVAL AND

INSTATUTE HAD EVERYTHING TO DO
WITH IT.

>> THE IDEA OF STARTING SUNDANCE
WAS I FELT I HAD GROWN UP BEING

A PART OF THE MAJOR FILM
INDUSTRY BECAUSE THAT’S ALL

THERE WAS.
I WAS FORTUNATE TO BE PART OF

THAT.
AS TIME WENT ON, I BECAME MORE

AWARE OF OTHER STORIES THAT
COULD BE TOLD.

THEY WOULD BE TOLD BY PEOPLE
LESS INCLINED TO BE COMMERCIALLY

ATTRACTIVE.
THEY WERE DIFFERENT.

THEY WERE OFFBEAT BUT THEY WERE
STORIES THAT I FELT SHOULD BE

TOLD.
>> WOMEN ARE LONELY IN THE ’90s.

IT’S OUR NEW PHASE.
WE’LL LIVE.

>> THEY WEREN’T LOOKING AT WHO
MADE THE MOVIES.

THEY WERE LOOKING AT THE MOVIES.
THEY HAVE A COMMITMENT TO

SHOWING FILMS WITH VERY SPECIFIC
AUTHENTIC VOICES.

>> THERE WAS A SUDDEN
RECOGNITION BECAUSE OF THE

SUCCESS OF FILMS THAT CAME OUT
OF THAT FESTIVAL AND IT DROVE

SUCH A PROFOUND CHANGE INTO MAIN
LINE HOLLYWOOD.

>> SAY, MAN, YOU GOT A JOINT?
>> NO, NOT ON ME, MAN.

>> IT WOULD BE A LOT COOLER IF
YOU DID.

>> JUST LIKE AMERICAN GRAFFITI,
DAZED AND CONFUSED WAS THIS

COMPLETE EUPHORIC LOOK AT YOUNG
PEOPLE BEFORE THEY HAVE TO

BECOME ADULTS.
>> THERE’S OTHER HIGH SCHOOL

MOVIES.
THERE’S A MILLION OF THEM.

BUT THERE’S VERY FEW THAT REALLY
GIVES YOU AN HONEST DEPICTION OF

THAT TIME IN YOUR LIFE.
>> WHOO.

>> YOU ALL READY TO BUST SOME
ASS.

>> YOU SEE ALL THESE FANTASTIC
ACTOR WHO STARTED OUT IN DAZED

AND CONFUSED.
>> THAT’S WHAT I LOVE ABOUT

THESE HIGH SCHOOL GIRLS, MAN.
I GET OLDER, THEY STAY THE SAME

AGE.
>> RICHARD LINKLETTER CAST ALL

THESE FABULOUS GIRLS.
>> SENIORS ‐‐

>> THOSE CHARACTERS I ADORED.
THEY JUST FELT LIKE REAL GIRLS

TO ME.
>> LET ME TELL THIS.

THE OLDER YOU DO GET, THE MORE
GIRLS ARE GOING TO TRY TO GET

YOU TO FOLLOW.
SU GOT TO THE KEEP LIVING, MAN,

L‐
>> IN.

>> IT’S LIGHTNING IN A BOTTLE.
>> EVERYBODY COUGH UP GREEN FOR

THE LADY.
>> COME ON, THROW IN A BUCK.

>> HUH‐UH, I DON’T TIP.
>> YOU DON’T TIP?

>> NO, I DON’T BELIEVE IN IT.
>> YOU DON’T BELIEVE IN TIPPING?

>> I WAS BANGING AROUND AND
TRYING TO BE A WRITER AND A

FILMMAKER AND I READ RESERVOIR
DOGS" AND I THOUGHT IT WAS

CLEARLY WRITTEN BY SOMEBODY WHO
WAS 67 YEARS OLD AND HAD KIND OF

GOTTEN OUT OF JAIL AND WROTE HIS
LIFE STORY.

>> HARVEY KEITEL WAS THE GUY
THAT PUSHED IT THROUGH TO US.

THAT ALLOWED US TO DISCOVER
QUENTIN TARANTINO.

>> WHO CARES WHAT YOUR NAME IS.
>> YEAH, THAT’S EASY FOR YOU TO

SAY.
YOU’RE MR. WHITE AND HAVE A COOL

SOUNDING NAME.
YOU WANT TO TRADE.

>> HEY, NOBODY’S TRADING WITH
ANYBODY.

IS AIN’T A CITY
COUNCIL MEETING YOU KNOW.

>> IT WAS CLEARLY FOCUSED ON
VIOLENCE BUT IT WAS GOING TO

UNDERSCORE IT.
FOR ME THAT WAS KIND OF A

BREAK‐THROUGH MOMENT.
>> IS IT BAD?

>> AS OPPOSED TO GOOD?
>> HERE VIOLENCE AND BRUTAL

VIOLENCE COMES WITH A HEAVY AT
TIMES DOSE OF COMEDY.

>> YOU KNOW WHAT THEY CALL A
QUARTER POUNDER WITH CHEESE IN

FRANCE?
>> NO.

>> TELL HIM, VINCENT.
>> RAW YEA WITH CHEESE.

>> RAW YEA WITH CHEESE.
>> YOU KNOW WHY THEY CALL IT

THAT?
>> BECAUSE OF THE METRIC SYSTEM?

>> CHECK OUT THE BIG BRAIN ON
BRAD.

>> PULP FICTION" WAS THIS FEVER
DREAM OF A SCREENPLAY AND IT WAS

THE SCREENPLAY ITSELF THAT WAS
THIS WILD HARRY BUG.

IT WAS LIKE A TARANTULA ON THE
DOORSTEP.

YOU HAD TO LOOK AT IT, MY GOD,
LOOK AT THE SIZE OF THIS THING.

>> YOU HAVE TO FORGET IT.
>> TRYING TO FORGET ANYTHING AS

INTRIGUING AS THIS COULD BE AN
EXERCISE IN FUTILITY.

>> LOOK AT WHAT JOHN TRAVOLTA
DOES.

LOOK AT UMA THURMAN BRUCE
WILLIS.

IT WAS SLICK.
IT WAS FAST.

IT HAD NO CONVENTION TO IT
WHATSOEVER.

IT JUST REWROTE THE RULES OF THE
WAY YOU CAN MAKE FILM.

>> DIE!
>> YOU CONSTANTLY HAVE TO PAY

ATTENTION BECAUSE HAVE YOU ALL
THESE CHARACTERS WHO WERE

SOMEHOW CONNECTED AND YOU ONLY
START TO FIGURE THAT OUT AS THE

MOVIE GOES ON.
>> I LOVE YOU, PUMPKIN.

>> I LOVE YOU HONEY BUNNY.
>> EVERYBODY THIS IS A ROBBERY.

>> YOU KNOW A TARANTINO FILM THE
MINUTE YOU SEE IT.

IT’S SUCH A FANFARE OF A NEW
KIND OF FILMMAKER.

KIND OF COCKTAIL 50s NOSTALGIA
CULTURE IN L. A. THAT PEOPLE WHO

MADE THE MOVIE WERE PART OF.
AND IT KIND OF BECAME A

PHENOMENON.
>> SO, WHAT DO YOU GUYS DO.

>> WELL, I’M A COMEDIAN.
>> WHEN I STARRED WRITING

"SWINGERS," I DIDN’T KNOW THAT
IT WAS GOING TO BE A MOVIE OR A

IF YOU SCRIPT.
I WAS JUST WRITING STUFF THAT I

GOT A KICK OF AND KEPT GOING
WITH IT.

>> WHEN YOU TALK TO A MAN I
DON’T WANT YOU TO BE THE GUY IN

THE PG13.
I WANT YOU TO BE LIKE THE GUY IN

THE RATED R MOVIE, YOU’RE NOT
SURE WHETHER YOU LIKE YET,

YOU’RE NOT SURE WHERE HE’S
COMING FROM.

YOU’RE A BAD MAN, YOU’RE A BAD
MAN.

BAD MANN MAN.
>> IT WAS SORT OF THAT INDIE

COMEDY SENSIBILITY.
WE WERE INFLUENCED BY KEVIN

SMITH AND TARANTINO AND
SCORSESE.

WHEN THE MOVIE FINALLY CAME OUT
IT, HIT THE CULTURE IN A BIG

WAY.
>> SEE, BABY, IT’S NOT THAT

HARD.
>> 3310.

>>> ANIMATION WAS DISNEY’S
BRAND, BUT IN THE EARLY ’80s,

THEY WERE REAL ADRIFT AND LITTLE
MERMAID WAS THE HIT THAT SHOWED

>> AND THAT KICKED OFF A TOTAL
REVOLUTION IN THE ANIMATION

WORLD.
>> AND NOW, WE INVITE TO YOU

RELAX, LET US PULL UP A CHAIR AS
THE DINING RORM PROUDLY

PRESENTS ‐‐ YOUR DINNER.
>> WHEN AUDIENCES SEE THESE

MOVIES THEY HAVEN’T SEEN
ANIMATION LIKE THIS IN DECADES.

>> THE DISNEY STUDIO RE‐EXAMINES
THE TEMPLATES OF SNOW WHITE,

PINOCCHIO, DUMBO, BAMBI.
AND IN THE PROCESS OF DOING

THAT, RETURNS THE DISNEY
ANIMATION TO ITS FUNDAMENTALS.

10,000 YEARS WILL GIVE YOU SUCH
A CRICK IN THE NECK.

>> AND BECAUSE THEY’RE DONE WITH
CLEVERNESS AND WITH GREAT USE OF

MUSIC WHICH DISNEY SPECIALIZED
IN, THEY CAPTURE THE SAME MAGIC.

INTERESTING BECAUSE IT’S A VERY
OLD TALE THAT’S BEEN RETOLD IN

DIFFERENT WAYS.
BUT IT EMERGED AS SOMETHING

SPECIAL AND I THINK BECAME
BIGGER THAN THE SUM OF ITS

>> IT JUST CLICKED WITH THE
RIGHT ANIMATORS, THE RIGHT

KIND OF STORY OF THAT KIND OF
EPIC SCALE.

AND THAT YOU CAN SEE THE
BEGINNINGS OF CG IN THE

BACKGROUND FOR CERTAIN THINGS
LIKE THE STAMPEDE.

IT’S ONE OF THOSE THINGS WHERE
IF THE STARS ALIGN AND IT HITS

THE CULTURE IN A WAY THAT’S
IMPACTFUL.

I REMEMBER GOING TO SEE TOY
STORY" AND SAW IT TWICE.

>> THERE SEEMS TO BE NO SIGN OF
INTELLIGENT LIFE ANYWHERE.

>> HELLO.
>> THE COMEDY WASN’T TALKING

DOWN TO KIDS.
IT WAS FOR EVERYBODY.

>> LOOK, WE’RE ALL VERY
IMPRESSED WITH ANDY’S NEW TOY.

>> TOY?
T‐O‐Y‐.

TOY.
>> EXCUSE ME, I THINK THE WORD

YOU’RE SEARCHING FOR IS SPACE
RANGER.

>> THE WORD I’M SEARCHING FOR I
CAN’T SAY BECAUSE THERE’S

PRESCHOOL TOYS PRESENT.
>> GETTING KIND OF TENSE, AREN’T

YOU?
>> WHEN I SAW TOY STORY," I WAS

BLOWN AWAY.
>> IMPRESSIVE WINGSPAN.

VERY GOOD.
>> THE TECHNOLOGY FOR ME WAS

NICE AND INTERESTING.
BUT THAT WASN’T WHAT BLEW ME

AWAY.
WHAT BLEW ME AWAY WAS HERE WERE

NEW CHARACTERS.
>> TO INFINITY AND BEYOND!

>> THE FILM WAS CONTEMPORARY.
IT WAS NOT A MUSICAL.

AND IT WAS DONE WITH ALL OF THE
SINCERITY OF THE WALT ERA.

>> YOU ACTUALLY THINK YOU’RE THE
BUZZ LIGHTYEAR?

OH, ALL THIS TIME I THOUGHT IT
WAS AN ACT.

HEY, GUYS, LOOK.
IT’S THE REAL BUZZ LIGHTYEAR.

>> YOU’RE MOCKING ME, AREN’T
YOU?

>> ANYBODY WANTING TO STUDY
SCREEN WRITING SHOULD WATCH

PIXAR MOVIES.
I JUST THINK THEY’RE

BEAUTIFULLY, BEAUTIFULLY
WRITTEN.

>> WELL, IF YOU KNEW HIM, YOU’D
UNDERSTAND.

YOU SEE ANDY’S.
>> LET ME GUESS.

ANDY’S A REAL SPECIAL KID.
AND TO HIM YOU’RE HIS BUDDY’S

BEST FRIEND AND WHEN ANDY PLAYS
WITH YOU, IT’S LIKE EVEN THOUGH

YOU’RE NOT MOVING, YOU FEEL LIKE
YOU’RE ALIVE.

BECAUSE THAT’S HOW HE SEES YOU.
>> YOU ABSOLUTELY BELIEVE THESE

CHARACTERS HAD AN INTERNAL LIFE.
THEY FELT LIKE BEING A TOY WAS A

JOB THAT THEY WERE PROUD OF.
THAT WAS JUST A BRILLIANT

PREMISE.
AND IT WAS EXECUTED PERFECTLY.

BEAUTIFUL ABOUT BRINGING AN
INANIMATE ON THE TO LIFE.

DRAWING ANIMATION IS THE SAME
KIND OF THING.

THERE’S SOMETHING ABOUT STOP
MOTION THAT’S SO STRONGING.

> WHAT’S THEY?
THERE’S WIPINGS IN THE AIR.

WHAT’S THIS I CAN’T BELIEVE MY
EYES I MUST BE DREAMING, WAKEUP,

JACK, THIS ISN’T FAIR.
>> TIM BURTON HAS MANAGED TO

TAKE THE MOST MACABRE THINGS AND
MAKE THEM SO FUN AND SO HEART

BREAKING AND BEAUTIFUL, NO ONE
HAS THAT AESTHETIC.

YOU DON’T HAVE TO WONDER FOR TEN
SECONDS IF IT’S A TIM BURTON

FILM.
>> I HAVE A PRESENT FOR YOU.

>> EDWARD SCISSOR HANDS IS KIND
OF A FRANKENSTEIN STORY.

VINCENT PRICE PLAYS HIS FATHER
WHO CREATES A BOY BUT DIES

BEFORE HE CAN PUT HIS HANDS ON.
>> EDWARD SCISSOR HANDS WAS A

CHARACTER TIM HAD BROUGHT TO
LIFE THROUGH A CONCEPT DRAWING.

I’VE SEEN TIM DRAW A CHARACTER
WITH TWO STROKES OF A BRUSH AND

YOU KNEW WHO THEY WERE.
>> A GRAND SLAM.

JUAN MARTINEZ TO MAKE IT A
FIVE‐RUN INNING AND BLOW IN GAME

TO PIECES.
>> I’LL BE DARNED.

>> WITH TIM AND HIS CHARACTERS,
THERE’S ALWAYS A REAL CONNECTION

WITH HIM AND JOHNNY DEPP.
>> THERE’S KIND OF A WAY OF

SPEAKING WITHOUT SPEAKING AND
COMMUNICATING WHICH IS WHY HE

WAS EDWARD SCISSOR HANDS.
IT GOES BACK TO SILENT MOVIES

WHERE PEOPLE COMMUNICATE WITH
YOUR EYES.

I FEEL SOME CONNECTION TO HIM OR
WYNNONA RYDER.

THERE’S SOMETHING ABOUT THE
INTENSITY AND GAZE THAT’S WELL,

IT WAS LIKE FILM ACTING.
> SO ARE WE GOING TO BE WORKING

TOGETHER?
>> REALLY?

WORST FILM YOU EVER SAW.
WELL, MY NEXT ONE WILL BE

BETTER.
HE HAD LOW?

>> SED WARD IS SUCH A SWEET
MOVIE.

AND YET, IT’S NOT AT ALL
CLAWING.

IT’S COMPLETELY COOL AND CRAZY.
>> HE’S A MONSTER.

CAN YOU IMAGINE WHAT THAT GUY
WOULD LOOK LIKE IN A MOVIE.

>> JOHNNY DEPP PLAYS ED WOOD WHO
IS FAMOUSLY KNOWN AS THE WORST

FILM DIRECTOR OF ALL TIME.
>> HIS CHARACTER IS SO PERFECT.

YOU JUST LOVE HIM FOR HIS
ENTHUSIASM.

>> ALL RIGHT.
PREPARE FOR SCENE 32.

>> MR. WOOD?
>> WHERE IS THE COCKPIT?

>> YOU’RE STANDING IN IT.
>> PLACES.

>> ED WOOD WHEN HE WAS MAKING A
MOVIE THOUGHT TESTIFIES MAKING

"STARS WARS."
EVERY TIME YOU EMBARK ON A MOVIE

IT’S GOING TO BE THE GREATEST
MOST AMAZING THING.

>> ED WOOD WAS NOT MAKE AS A
JOKE.

IT WAS LOVINGLY MADE IN
APPRECIATION OF WHAT THAT GUY

HAD DONE.
>> THESE ACTORS REALLY LOVED

THEIR CRAFT AND THAT KIND OF
WEIRD SORT OF SENSE OF FAMILY

YOU GET IN FILM.
THIS FELT VERY CLOSE TO ME.

IT JUST FELT LIKE MY OWN LIFE.
A BUNCH OF WE’DOS TRY TO MAKE A

MOVIE.
THAT’S EASILY RELATABLE TO ME.

>> THIS IS THE ONE.
THIS IS ONE I’LL BE REMEMBERED

FOR.

GO HOME.
BAD WOLF.

BAD WOLF.
>> WHEN YOU THINK OF THE ’90s

YOU DO THINK OF ACTORS IN THE
DIRECTOR’S CHAIR.

YOU THINK OF KEVIN COSTNER, YOU
THINK OF JODI FOSTER, YOU THINK

OF MEL GIBSON.
AND YOU THINK OF CLINT EASTWOOD

WHO FINALLY GETS HIS DUE IN THE
’90s.

>> UNFORGIVEN IS A MIR CUE LUS
FILM IN MANY WAYS.

THE LEGACY IN EASTWOOD’S CASE OF
ALL THE SPAGHETTI WESTERNS AND

THE WESTERNS AND THE DIRTY HARRY
FILMS IS LANDED ON THIS MOMENT

OF FRAILTY.
>> DID PA USED TO KILL FOLKS?

>> MY AGENT CALLED AND SAID
CLINTETWOOD HAS MADE AN OFFER.

>> CLINT EASTWOOD HAS WHAT?
>> YES.

YOU’LL BE HIS PARTNER IN THIS
WESTERN.

WELL, SHUCKS.
TELL HIM I’LL THINK ABOUT IT.

>> I REMEMBER THAT WAS THREE MEN
YOU SHOT, WILL, NOT TWO.

>> I AIN’T LIKE THAT NO MORE,
ED.

I AIN’T NO CRAZY KILLING FOOL.
>> CLINT EASTWOOD AND MORGAN

FREEMAN WHO HAVE BEEN
PROFESSIONAL KILLERS IN, THEY’RE

SICK OF VIOLENCE, THEY DON’T
WANT TO DO IT ANYMORE BUT THEY

GET DRAGGED BACK INTO IT.
>> I KILLED ONE OF THE CHILDREN.

KILLED JUST ABOUT EVERYTHING
THAT WALKS OR CRAWLED OR AT ONE

TIME OR ANOTHER.
AND I’M HERE TO KILL YOU, LITTLE

BILL.
FOR WHAT YOU DID TO NED.

>> CLINT IS MAYBE THE BEST
DIRECTOR I’VE EVER WORKED WITH.

I LOVE THE WAY HE DOES IT.
HE’S QUICK.

HE’S DECISIVE.
JUST BEAUTIFUL.

>> THERE ARE DIRECTORS IN THIS
PERIOD LIKE MICHAEL MANN WHO ARE

THE REBELS.
WITHIN THE STUDIO SYSTEM, GUYS

WHO ARE JUST DOING IT
DIFFERENTLY.

>> WHAT AM I DOING?
I’M TALKING TO AN EMPTY

TELEPHONE.
>> I DON’T UNDERSTAND.

>> BECAUSE THERE WAS A DEAD MAN
ON THE OTHER END OF THIS.

>> HE PROVIDES US AN OPPORTUNITY
TO FINALLY SEE ROBERT DeNIRO AND

AL PACINO ON SCREEN TOGETHER
DOING A SCENE TOGETHER.

>> WHAT DO YOU SAY I BUY YOU A
CUP OF COFFEE.

>> THE SCENE IN THE DINER ALL
THREE OF US BOBBY AND AL AND

MYSELF KNEW IT WAS THE NEXUS OF
THE WHOLE FILM.

>> YOU KNOW I CHASE DOWN SOME
GUYS.

GET BUSTED BACK AT YOU.
YOU MUST HAVE WORKED SOME

CRUISE.
I WORKED ALL KINDS.

IT’S ONE OF MY FAVORITE SCENES
BETWEEN THOSE TWO GUYS THAT

FINALLY COME TOGETHER.
I THINK WE DID A GOOD JOB WITH

IT.
I DO WHAT I DO BEST.

I TAKE SCORES.
YOU DO WHAT YOU DO BEST, TRYING

TO STOP GUYS LIKE ME.
>> THEY ARE NOT TAKING THEIR

EYES OFF EACH OTHER.
IT ALMOST REFLECTS IT.

>> I WILL NOT HESITATE.
NOT FOR A SECOND.

>> PEOPLE WANT TO SEE GREAT
ACTORS TELLING YOU THE TRUTH.

GUYS LIKE MICHAEL MANN WOULD BE
ALWAYS PUNCH YOU IN THE GUT.

THEY WOULD MAKE A MOVIE THAT
WOULD BE COUNTER TO EVERYTHING

ELSE EVERYONE WAS DOING BUT IT
WOULD HAVE TRUTH IN IT.

>> YOU WANT YOUR OWN WIFE
KIDNAPPED.

>> YEAH.
>> I THINK "FARGO" IS A PERFECT

MOVIE IN EVERY WAY.
THE SCREENPLAY IS PERFECT.

THE EXECUTION OF IT IS PERFECT.
THE PERFORMANCES ARE ABSOLUTELY

PERFECT.
>> GEEZ.

>> IT WAS WRITTEN FOR ME.
I GOT EXCITED.

THEY SAID JOEL CAME HOME FROM
WORK AND STARTED WORKING ON

SOMETHING.
THERE’S A PART FOR YOU.

>> WE GOT A SHOOTING.
THESE FOLKS DRIVE BY.

THERE’S A HIGH SPEED PURSUIT,
ENDS HERE AND THEN THIS EXCUSE

TYPE DEAL.
>> JOETH AND ETHAN’S SCRIPTS ARE

PUBLISHABLE, WOULD OF
LITERATURE.

FOR EXAMPLE, THE SCENE IN FARGO
WHERE MARCH IS INTERROGATING THE

THE TWO STRIPPERS.
>> HEY, THEY SAID THEY WERE

GOING TO THE TWIN CITIES.
>> OH, YEAH.

>> YEAH, IS THAT USEFUL TO YOU?
>> OH, YOU BETCHA, YEAH.

>> YEAH.
>> IT WAS PUNCTUATED AND WRITTEN

IN THE RHYTHM THAT WE PLAYED IT.
AND IT’S BEAUTIFUL.

>> AND THE OSCAR GOES TO ETHAN
AND JOEL COHEN FOR FARGO.

>> THE OSCAR GOES FRANCES
McDORMAND IN FARGO.

>> FARGO WAS THE COHEN BROTHERS
FILM THAT REALLY GETS EMBRACED

AT THE ACADEMY AWARDS.
EVERYONE LOVES THIS MOVIE.

WHAT DO THEY DO?
SOMETHING COMPLETELY DIFFERENT.

>> SOMETIMES THERE’S A MAN,
WELL, HE’S THE MAN FOR HIS TIME

AND PLACE.
>> "THE BIG LEBOWSKI," ONE OF MY

FAVORITE STORIES IS HOW LONG IT
TOOK JEFF BRIDGES TO AGREE TO DO

IT.
IT WAS SO GOOD.

JOEL AND NATHAN WROTE IT FOR
HIM, SENT IT TO HIM.

HE SAID IT’S GREAT.
NOT SURE I CAN DO THIS.

I JUST REMEMBER THEM THINKING
HOW COULD HE NOT?

AND OBVIOUSLY, HE CAME TO THAT
CONCLUSION HIMSELF.

>> WAIT, LET ME EXPLAIN
SOMETHING TO YOU.

I AM NOT MR. LEBOWSKI.
YOUR MR. LEBOWSKI, I’M THE DUDE.

THAT’S WHAT YOU CALL ME, YOU
KNOW?

THAT OR HIS DUDENESS OR DUDER OR
YOU KNOW, EL DUDEORINO IF YOU’RE

NOT INTO THE BREVITY THING.
>> IT’S THE ONLY TIME IN MY LIFE

I HAVEN’T BEEN ABLE TO LOOK AN
ACTOR IN THE EYE BECAUSE HE WAS

SO FUNNY.
>> JEFFREY.

>> MAUDE?
>> LOVE ME.

>> THAT’S MY ROBE.
>> BIG LEBOWSKI IS THE MOST

QUOTABLE MOVIE OF MY GENERATION.
>> THAT RUG REALLY TIED THE ROOM

TOGETHER, DID IT NOT.
>> HEY.

>> THE COHEN BROTHERS ARE SUB
VERSIVE FILMMAKERS,

REVOLUTIONARY BOMB THROWERS BUT
YOU’RE KIND OF PLEASED LANDED ON

YOUR FRONT PORCH.
>> THEY’VE KEPT CONTROL OF THEIR

FILMS FROM THE BEGINNING IN A
WAY THAT ALLOWED THEM TO REALLY

EXPLORE ANY GENRE THAT THEY
WANTED TO GO INTO.

I THINK BY EXPLORING THE GENRE,
THEN THEY SUBVERTED IT.

>> JACK HORNER, FILMMAKER
>>> REALLY?

>> YEAH.
MAKE ADULT FILMS, EXOTIC

PICTURES.
>> WHERE I GREW UP WAS THE

IMPORTANTO CAPITAL OF THE WORLD
IN SAN FERNANDO VALLEY.

I WOULD KNOW WHAT A REGULAR FILM
SHOOT WOULD LOOK LIKE AND WOULD

KNOW THE DIFFERENCE WHEN IT WAS
LIKE A VAN.

THAT’S WHERE BOOGIE NIGHTS CAME
FROM, A WORLD THAT I KNEW

ALREADY REALLY WELL FUNNY
ENOUGH.

>> WHO IS DIRK DIGLER?
>> THAT’S THAT NEW GOOD LOOKING

KID, EDDIE AT THE CLUB.
>> GOOD NAME.

>> WHEN I GOT PAUL’S SCRIPT FOR
BOOGIE NIGHTS I CALLED MY AGENT

AND SAID ARE YOU PUNKING ME.
IT WAS AN X RATED SCRIPT.

THEY SAID IT’S GOING TO BE R.
I SAID NOTIFY IT’S NOT.

THERE’S COPULATING IN IT.
>> THEY SAID NO, IT’S THE

CONTRACT.
I SAID I’M IN.

THAT AMBER SHOULD DIE.
HE’S LIKE SHE CAN’T DIE.

I WAS LIKE SHE WOULD.
SHE PROBABLY WOULD.

I DON’T KNOW THAT SHE WOULD HAVE
SURVIVED ALL OF THAT.

I’LL ASK YOU IF YOU’RE MY MOM
OKAY, AND YOU SAID YES, OKAY?

ARE YOU MY MOM?
>> YES, HONEY.

>> YES.
>> SHE KIND OF ASSUMES THE

MANTLE OF PARENTING IN THIS
WORLD.

SHE’S NOT ACTUALLY TAKING CARE
OF THEM.

SHE’S PLAY ACTING.
> WHAT WE’RE TALKING ABOUT THEN

IS COMING TO AN AGREEMENT ON THE
CUSTODY OF ANDREW.

>> YES.
>> THE THING THAT I REALLY LOVE

ABOUT THE SCENE AS SHE’S KIND OF
FIGHTING FOR CUSTODY, THE JUDGE

TURNS TO HER AND SAYS MAGGIE,
HAVE YOU EVER BEEN ARRESTED.

>> WHEN WAS THE LAST TIME YOU
WERE ARRESTED AND WHAT WAS THE

CHARGE?
>>

>>.>> YOU CUT TO OUTSIDE AND AMBER

SOBBING BECAUSE THAT’S JUST IT.
SHE’S SOMEBODY WHO IS NOT

RESPONSIBLE ENOUGH TO PARENT.
>> YOU DON’T HAVE TO BE

INTERESTED IN PORNOGRAPHY TO BE
INTERESTED IN BROKEN PEOPLE THAT

HAVE BEEN REJECTED BY THEIR
FAMILY, THEY DON’T HAVE A

FAMILY.
THE MORAL CENTER OF THE MOVIE IS

ALL THESE BROKEN HUMANS TRYING
TOO MAKE THEMSELVES WHOLE BILL

FINDING A STITCHED TOGETHER
FAMILY WHEN THEY DON’T HAVE THE

AN ACTUAL FAMILY OF THEIR OWN.
>> PAUL THOMAS ANDERSON HAS

NEVER MADE THE SAME MOVIE TWICE.
WHENEVER YOU SEE A PAUL THOMAS

ANDERSON MOVIE LIKE STANLEY
COUPE BRICK, YOU KNOW IT’S A

PAUL THOMAS ANDERSON MOVIE.
I’M NOT SURE THERE’S A HIGHER

COMPLIMENT YOU CAN PAY TO A
DIRECTOR.

IS IMPRINT IS ON HIS FILMS.
>> COME ON, FRANK.

WHAT ARE YOU DOING?
>> WHAT AM I DOING?

>> YEAH.
>> I’M QUIETLY JUDGING YOU.

THE PIANO WAS KRAVISHING AND
ALSO UNCOMPROMISE.

IT’S A REALLY VISCERAL MOVIE.
YOU FEEL THE WEIGHT OF THE

FABRIC.
THE DAMPNESS OF THE AIR AND THE

MOSS.
>> MA.

>> AND IT’S SO INHERENTLY JANE.
JANE CAMPION IS A FILMMAKER FROM

NEW ZEALAND WHO SHOT THIS VERY
INTIMATE MOVIE IN HER HOME

COUNTRY STARRING HOLLY HUNTER,
HARVEY KEITEL AND A VERY YOUNG

ANA PACK QUINN.
>> IT WAS KIND OF INTIMAIES

THAT JANE PULLED US INTO AS AN
AUDIENCE.

SHE HAS A VOICE NOT TO BE
DENIED.

>> IT’S MY MOTHER’S CHANNEL.
>> IT’S AN EXTRAORDINARY

PERFORMANCE IN THE FILM.
AND ALSO HOLLY IS A VERY

ACCOMPLISHED PIANIST.
IT’S ONE OF THOSE PERFECT ROLES

FOR THE PERFECT ACTOR.
THIS MOVIE ESTABLISHED JANE

CAMPION.
SHE WON THE PALM DOOR AT CANNES

AND BECAME THE SECOND WOMAN TO
BE NOMINATED FOR AN OSCAR FOR

DIRECTING.
>> YOUR FATHER’S BEEN ‐‐

>> THE ’90s WAS THE BEST TIME
FOR WOMEN DIRECTORS.

THEY INFUSED A KIND OF A
SENSIBILITY THAT MADE IT REALLY

ENJOYABLE.
YOU WERE HANGING OUT WITH OTHER

FILMMAKERS SAYING WOW, HOW MANY
MOVIES CAN I MAKE?

HOW MANY WOMEN CAN I WORK WITH.
>> YOU STILL HAVEN’T FIGURED

WHAT THE RIDING WAVES IS ALL
ABOUT, HAVE YOU?

>> IT’S A STATE OF MIND.
>> THEY DON’T WANT TO BE

ACKNOWLEDGED AS A FEMALE
DIRECTOR.

I THOUGHT MY WHOLE CAREER TO BE
ACKNOWLEDGED AS A FILMMAKER, NOT

A BLACK FILMMAKER I’M SURE THOSE
WOMEN ARE SAYING DON’T CALL ME A

TEE MAIL DIRECTOR.
I’M A DIRECTOR.

>> I’M A BAD THERAPIST.
I’M MAKING THESE PEOPLE WORSE.

>> WALKING AND TALKING WAS
INSPIRED BY THE TIME MY BEST

FRIEND WAS GETTING MARRIED.
>> SO FAKE LOOKING.

LOOKS LIKE A BARBIE RING, FRANK.
>> THEY WERE A PERFECT MATCH.

I LOVED THEM BOTH BUT I FELT
VERY LONELY.

>> IT’S NOT ‐‐ FRANK GAVE IT TO
ME.

>> I THOUGHT THAT WAS FUNNY.
>> WE’RE ENGAGED.

>> YEAH.
>> WE’RE GOING TO GET MARRIED.

>> WHOA.
>> I THINK OF HER COMEDIES AS

COMEDIES OF EMBARRASSMENT.
HER CHARACTERS WANT TO BE BETTER

PEOPLE.
BUT THEY’RE JUST NOT.

>> ARE YOU CRAZY?
I HAD SEX WITH YOU TWO WEEKS

AGO.
AND NOW YOU’RE ASKING ME WHY I

HAVEN’T RENTED LATELY.
>> OH.

I DIDN’T KNOW WHAT TO SAY.
>> I JUST DON’T KNOW THE ANYONE

WHO IS BETTER AT SETTING UP THAT
KIND OF SITUATION THAT MAKES US

ALL SQUIRM BECAUSE THEY’RE SO
HUMAN.

>> I DON’T KNOW WHY DION’S GOING
OUT WITH A HIGH SCHOOL BOY.

THEY’RE LIKE DOGS.
YOU HAVE TO CLEAN THEM AND FEED

THEM.
THEY’RE LIKE THESE NERVOUS

CREATURES THAT JUMP AND SLOBBER
ALL OVER YOU.

>> OH, GET OFF OF ME.
OH, AS IF.

>> WHEN I WAS WRITING "CLUELESS"
I HUNG AROUND BEVERLY HILLS HIGH

SCHOOL A LOT.
THERE WAS A TEACHER WHO TAUGHT

DEBATE AND HE LET ME HANG OUT IN
HIS CLASS.

SO YOU HEARD THE VERNACULAR.
>> IN CONCLUSION, MAY I PLEASE

REMIND YOU THAT IT DOES NOT SAY
RSVP ON THE STATUE OF LIBERTY.

THANK YOU VERY MUCH.
>> AMY HECTOR LING IS GIVING

THESE GIRLS THEIR OWN
VOCABULARY.

>> HELLO, IT WAS HIS 50th
BIRTHDAY.

>> WHATEVER.
>> OH, MY GOD, I’M TOTALLY

BUGGING.
>> THEY’RE CHANGING THE LEXICON

OF TEEN GIRLS ALL OVER THE
WORLD.

>> DO YOU HAVE ANY IDEA WHAT
YOU’RE TALKING ABOUT.

>> NO, WHY, DO I SOUND LIKE I
DO.

>> EVEN CHO CHER IS THIS
HEIGHTENED FANTASTIC PERFECT

GORGEOUS ASPIRATIONAL CREATURE,
I THINK AMY IS STILL ABLE TO SEE

HER AS A REAL GIRL.
SHE DOESN’T JUST TURN HER INTO A

PUNCH LINE.
>> CAN I SEE THE BEGINNING

AGAIN.
>> IN A LEAGUE OF THEIR OWN,

PENNY MARSHALL LOOKS AT THE ROLE
OF WOMEN, THE CHANGING ROLE OF

WOMEN IN WORLD WAR II.
>> GIRLS CAN’T PLAY BALL.

>> MEN WERE FIGHTING ON THE
BATTLEFIELDS BUT THERE WAS STILL

A HUNGER FOR PROFESSIONAL
BASEBALL.

>> A LEAGUE OF THEIR OWN IS
ABOUT WOMEN BASEBALL PLAYERS.

>> OUT.
>> IT’S ICONIC AND THE LINES ARE

ICONIC AND THE PERFORMANCES ARE
ICONIC.

>> I TOLD THEM IT WAS THEIR
PATRIOTIC TO GET OUT OF THE

KITCHEN AND GO BACK TO WORK.
NOW WHEN THE MEN COME BACK,

WE’LL SEND BACK TO THE KITCHEN.
>> WHAT SHOULD WE DO SEND THE

BOYS RETURNING FROM WAR BACK TO
THE KITCHEN?

>> A LEAGUE OF THEIR OWN WAS A
MOVIE ABOUT FEMALE EMPOWERMENT,

HOW POWERFUL WOMEN ARE WHEN THEY
UNITE AND HOW MANY STORIES WE

STILL HAVE TO TELL.
>> SHE’S UNDER IT.

>> ELMORE SOX.
WHAT DID SHE DO?

>>> I LOVED THE ORIGINAL
TERMINATOR BUT THE SEQUEL BLEW

IT OUT OF THE WATER AS FAR AS I
WAS CONCERNED.

THAT CHASE IN THE L. A. RIVER
WITH THAT TRUCK, OH, MY GOD.

YOU WATCH THAT CHASE TODAY, IT’S
POWERFUL CINEMA.

>> COME WITH ME IF YOU WANT TO
LIVE.

>> IT’S OKAY, MOM.
HE’S HERE TO HELP.

IT’S OKAY.
>> IT’S GOT HEADY IDEAS ABOUT

TIME TRAVEL AND ABOUT THE
SPACE/TIME CONTINUUM WHAT SOUNDS

LIKE FANCY SCI‐FI PA LAVOR BUT
ALSO A STORY ABOUT BEING

RELENTLESS.
JIM AS A FILMMAKER IS

RELENTLESS.
>> WHEN JAMES CAMERON GOT TO T2,

HE WAS INTERESTED IN EXPANDING
HIS PALATE, PARTICULARLY TO

INCLUDE THESE NEW DIGITAL TOOLS.
IT WAS WILDLY GROUND BREAKING.

CAMERON WAS WORKING WITH
INDUSTRIAL LIGHT AND MAGIC.

>> AS TA LA VISTA, BABY.
>> AND THEY WERE REALLY KIND OF

INVENTING THIS PROCESS OF CGI AS
THEY WENT.

WHEN YOU FIRST HERD THAT STEVEN
SPOOERL SPIELBERG WOULD BE

MAKING A MOVIE ABOUT A PLACE
WHERE DINOSAURS WERE BROUGHT

BACK TO LIFE, YOUR FIRST
RESPONSE WOULD BE, I CAN’T WAIT

TO SEE THAT.
>> WHERE’S THE GOAT.

>> THE AMAZING HOW LONG IT TAKES
BEFORE THE T‐REX COMES OUT.

HE MAKES YOU WAIT FOR IT.
AND WAIT FOR IT.

AND WAIT FOR IT.
I DON’T KNOW WHAT A DINOSAUR

REALLY LOOKS LIKE IN REAL LIFE.
I THINK IT LOOKS LIKE "JURASSIC

PARK."
>> BOY, I HATE BEING RIGHT ALL

THE TIME.
>> WHAT STEVEN SPIELBERG

INNATELY UNDERSTANDS IS THAT
DINOSAURS ARE AWESOME.

>> IT WAS THE SAME FEELING THAT
I HAD AS A 7‐YEAR‐OLD WATCHING

"JAWS" FOR THE FIRST TIME WHEN
YOU SEE THE BRONTASAURUS’S LEAP

UP AND EAT THE LEAVES OFF THE
TREES.

>> WE’RE GOING TO MAKE A FORTUNE
WITH THIS PLACE.

>> I MEAN, THAT’S WHAT SPIELBERG
DOES AS A FILMMAKER.

HE MAKES YOU YOU GO OH.
>> A LOT OF THE ENTHUSIASM FOR

CGI COMES FROM FILMMAKERS SEEING
IN JURASSIC PARK WHAT THAT

TECHNOLOGY COULD DO FOR THEIR
STORY TELLING.

>> "TITANIC" IS A THROWBACK IN
SO MANY WAYS TO THE BIG

BLOCKBUSTERS OF THE 50s AND
’60s.

NOT JUST IN ITS SCOPE AND IN ITS
SCALE BUT ALSO THAT IT WAS

TALKED ABOUT IN THE WAY THAT WE
TALKED ABOUT CLEOPATRA".

OH GOD, WE’RE PUTTING EVERYTHING
WE HAVE INTO THIS GIANT BOAT AND

IS IT GOING TO SINK.
>> SITS BUDGET AT THAT POINT HIT

A THEN UNDER HEARD OF $200
MILLION.

>> LEO DiCAPRIO HAD DONE WHAT’S
EATING GILBERT GRAPE AND HIS

ROMEO AND JULIETTE HAD NOT COME
OUT YET.

THERE WAS NERVOUSNESS ON THE
PART OF SOME EXECUTIVES LIKE CAN

LEO DO THIS THING.
>> THE STUDIO THOUGHT THEY WERE

IN A TERRIBLE, TERRIBLE TROUBLE.
IT WAS GOING TO BE AN ENORMOUS

DISASTER AND IT TURNED OUT TO BE
THE BIGGEST MOVIE OF ALL TIME.

>> I’M THE KING OF THE WORLD!
>> "TITANIC" REALLY HAD

EVERYTHING.
IT WAS AN EPIC OLD FASHIONED

MOVIE.
>> ICEBERG, AHEAD.

>> AN ACTION MOVIE.
IT ALSO HAD A LOVE STORY AT THE

HEART OF IT.
>> I’M JACK DAWSON.

>> ROSE.
>> I HAVE TO GET TO YOU WRITE

THAT ONE DOWN.
>> IT WAS IRRESISTIBLE.

JACK AND ROSE AND IT WAS SEXY.
LEO WAS ABSOLUTELY GORGEOUS.

KATE WINSLET REALLY CAPTURED
THAT INDEPENDENT WOMAN WHO WOULD

NOT BE PINNED DOWN.
AND THEY WERE JUST THIS VIVIAN

LEIGH, CLARK GABLE KIND OF
PAIRING.

> WE’RE FLYING, JACK.
>> "TITANIC" IS THIS MOMENT

WHERE JAMES CAMERON IS
STRADDLING THESE TWO WORLDS, THE

HUMAN SCALE AND THE COMPUTER
SCALE PUTTING THEM TOGETHER.

AND FROM THIS MOMENT ON, ’97,
THE WORLD GOES COMPUTER.

>> YOU HAVE TO LET IT ALL GO,
FEAR, DOUBT.

AND DISBELIEF.
FREE YOUR MIND.

>> WHOA.
>> THE MATRIX" CHANGES

EVERYTHING.
YOU HAVE THE EMBRACE OF EASTERN

CINEMA INTO WESTERN CANON.
AND YOU’VE GOT THEM MAKING THEIR

ACTORS DO THE STUNTS THEMSELVES.
QUIJANO REEVES HAD ALREADY DONE

""POINT BREAK,"" AND "SPEED,"
BUT THIS IS A DIFFERENT LEVEL OF

ACTION STAR THAT HE’S
TRANSFORMING INTO.

THIS WAS SIX MONTHS OF TRAINING
EVERY ACTOR HAD TO GO THROUGH.

ONE OF THE THINGS THAT YOU GET
WHEN YOU’RE HAVING THE ACTORS DO

THEIR OWN STUNTS YOU CAN FILM
CLOSE‐UPS OF THE FACE WHILE A

PUNK IS BEING TAKEN, WHILE A
PUNCH IS BEING THROWN.

THE ACTION ITSELF BECOMES STORY
TELLING.

>> AS CGI GETS BETTER, WE BECOME
A LITTLE BIT MORE SOPHISTICATED

IN OUR TASTE BECAUSE EACH YEAR
THEY GET SO MUCH MORE REALISTIC

AND LIFE LIKE.
>> WOW, HE IS THE ONE.

.>>> I WANT TO TELL YOU MY SECRET

NOW.
>> OKAY.

>> I SEE DEAD PEOPLE.
>> I REMEMBER IN ’99, EVERYONE I

KNEW, EVERYONE IN OUR CROWD WAS
WORKING ON SOMETHING THAT FELT

EXCITING AND FELT LIKE IT HAD A
GENERATIONAL VOICE IN IT.

>> I’M SCARED TO CLOSE MY EYES.
I’M SCARED TO OPEN THEM.

>> IT WAS VERY CLEAR THAT
SOMETHING WAS IN THE WATER THAT

>> IT FELT LIKE THE FINAL EXAM
FOR THE 20th CENTURY.

IT BELL WAS ABOUT TO RING AND
EVERYBODY IS TRYING TO GET THEIR

THING IN BEFORE THE CENTURY
ENDS.

YOU HAVE YOUNG FILM MAKERS
SWINGING FOR THE FENCES AND JUST

FINDING A NEW GEAR.
>> I HAVE TO PUT MY FAMILY’S

WELFARE ON THE LINE HERE, MY
FRIEND.

AND WHAT ARE YOU PUTTING UP?
WORDS.

>> WORDS.
I’VE BEEN OUT IN THE WORLD

GIVING MY WORD AND BACKING IT UP
WITH ACTION.

>> I’D STACK ’99 UP AGAINST ANY
YEAR IN AMERICAN FILM MAKING IN

TERM OF A REAL COHORT OF GREAT
FILM MAKERS DROPPING REALLY

SIGNIFICANT WORK.
>> NOT WASTING ANY TIME, ARE

YOU, TRACY?
>> WELL YOU KNOW WHAT THEY SAY

ABOUT THE EARLY BIRD.
>> YEAH, I DO.

>> ELECTION IS THE SECOND MOVIE
OF ALEXANDER PAIN.

REESE WITHERSPOON’S TRACY FLICK
IS SOMEONE YOU ALMOST WANT TO

ROOT FOR BECAUSE OF HER PASSION
AND DRIVE, AND YET ALSO SHE HAS

A LITTLE BIT TOO MUCH AMBITION.
>> THIS COUNTRY WAS BUILT BY

PEOPLE JUST LIKE ME WHO WORK
VERY HARD AND DON’T HAVE

EVERYTHING HANDED TO THEM ON A
SILVER SPOON.

>> WHAT’S BRILLIANT ABOUT
"ELECTION" IS YOU’RE GETTING

VOICE‐OVER FROM ABOUT THREE OR
FOUR DIFFERENT PERSPECTIVES.

>> HOW MANY PEOPLE WOULD SUFFER
BECAUSE OF HER.

I HAD TO STOP HER.
>> ALEXANDER PANE MADE A VERY

PROGRESSIVE MOVIE.
IT’S A REMARKABLE FILM.

>> WHO ARE YOU?
>> BOYS DON’T CRY IS BASED ON A

TRUE STORY, A MAN WHO WAS A
TRANS MAN LIVING IN A SMALL

COMMUNITY.
HE FELL IN LOVE WITH A WOMAN,

THEY HAD RELATIONSHIP AND OTHER
PEOPLE DISCOVERED THIS WAS A

TRANS MAN AND SEXUALLY ASSAULTED
AND MURDERED HIM.

>> "BOYS DON’T CRY" JUST A
PHENOMENAL MOVIE.

LIKE NO STUDIO WOULD HAVE MADE
THAT MOVIE.

IT WAS A GAME CHANGER IN TERM OF
AMERICAN CINEMA IN WHAT WAS MADE

BEFORE AND WHAT WAS MADE
AFTERWARDS.

>> 1999 WAS SUCH A GREAT YEAR IN
INDEPENDENCE CINEMA.

YOU LOOK AT THAT LINE‐UP OF
FILMS FROM VIRGIN SUICIDES TO

THREE KINGS TO BEING JOHN
MALACOVICH.

>> THERE’S A TINY DOOR IN MY
OFFICE, MAXINE.

IT’S A PORTAL AND IT TAKES YOU
INSIDE JOHN MALACOVICH.

YOU SEE THE WORLD THROUGH HIS
EYES AND AFTER ABOUT 15 MINUTES

YOU’RE SPIT OUT INTO A DITCH ON
THE NEW JERSEY TURNPIKE.

>> IT’S A GREAT COMBINATION.
SPIKE JONES AND CHARLIE COFMAN,

AND THEY KIND OF REMIND PEOPLE
THAT MOVIES CAN BE SO MUCH MORE.

>> WHAT HAPPENS WHEN A MAN GOES
THROUGH HIS OWN PORTAL?

>> WE’LL SEE.
>> IT’S A META FICTIONAL DIVE

INTO LITERALLY THE BRAIN OF JOHN
MALACOVICH WHO’S IN THE MOVIE

PLAYING HIMSELF.
>> MALACOVICH.

MALACOVICH.
>> IT’S ONE OF THOSE MOVIES

IMPOSSIBLE TO DESCRIBE AND IT
JUST SOUNDS LIKE YOU’RE PILING

ONE ABSURDITY ONTO ANOTHER, BUT
IT ALL COHERES INTO THIS CRAZY

AND BEAUTIFUL FILM.
>> I WANT YOU TO DO ME A FAVOR.

>> YEAH, SURE.
>> I WANT YOU TO HIT ME AS HARD

AS YOU CAN.
>> WHAT?

>> I WANT YOU TO HIT ME AS HARD
AS YOU CAN.

>> SOMETIMES A PIECE OF MATERIAL
FINDS A FILMMAKER WHO IS

UNIQUELY POSSESSED OF THE CHOPS
TO DO IT RIGHT.

"FIGHT CLUB" I THINK IT’S HARD
TO IMAGINE ANYBODY WHO HAD A

BETTER DNA THAN HIM FOR THAT
FILM.

>> THE FIRST RULE OF FIGHT CLUB
IS YOU DO NOT TALK ABOUT FIGHT

CLUB.
THE SECOND RULE OF FIGHT CLUB IS

YOU DO NOT TALK ABOUT FIGHT
CLUB.

>> WE WERE DOING THE KIND OF
FILM WE’D ALL HOPED TO DO.

>> TRUST ME EVERYTHING’S GOING
TO BE FINE.

>> I THOUGHT "FIGHT CLUB" COULD
BE ONE OF THOSE THINGS THAT

BECOMES A MARKER FOR THE WAY WE
FELT AT A CERTAIN TIME.

IT CONNECTED THE WAY WE WANTED
IT TO CONNECT AND IT’S STILL

GROWING.
FOR ME THAT’S THE HIGHEST

>> IN THE ’90s YOU’VE GOT THESE
TRENDS AND MOMENTS THAT ARE

GOING TO CARRY ON FOR THE NEXT
FEW DECADES.

YOU HAVE THIS MOMENT OF REALLY
PROMISING BLACK FILM MAKERS THAT

ARE COMING UP.
YOU HAVE WOMENS VOICES NOW

COMING TO THE FOREFRONT IN THAT
THEY’RE WRITING FILMS AND

DIRECTING FILMS.
THEY’RE ALSO GETTING SOME BIG

BLOCK BUSTERS AS HOLLYWOOD
ALWAYS HAS.

IT LAYS THE GROUND WORK FOR WHAT
WE’RE GOING TO SEE FOR THE NEXT

20 YEARS.
>> YOU WANT ANSWERS.

>> I THINK WE’RE ENTITLED.
>> I WANT THE TRUTH.