All language subtitles for 1x03 2_English

♪

♪

♪

♪

♪

♪

♪ HMM‐HMM

>>> WITH "GLADIATOR" THE
PRODUCER SAID LISTEN, LOOK AT

THIS FIRST BEFORE YOU EVEN READ
ANYTHING.

AND HE SHOWED ME THIS PAINTING.
IT WAS THE CORNER OF CLEARLY A

COLISEUM.
YOU HAVE PART ARMORED, STANDING

OVER A SLAVE WHO’S ABOUT TO GET
KILLED.

HE’S LOOKING UP FOR PERMISSION
AT A GUY WHO’S CLEARLY NEHRO

WHO’S DOING THAT.
IN OTHER WORDS, KILL HIM.

I SAID, I’LL DO IT.
HE WENT, YOU HAVEN’T READ THE

SCRIPT.
I SAID I DON’T CARE.

I THINK WE CAN GET THIS RIGHT.
LET’S DO IT.

>> WHAT IS IT GOING TO TAKE?
ARE YOU NOT ENTERTAINED?

IS THIS NOT WHY YOU ARE HERE?
>> AND LISTENED TO HALF A DOZEN

VOCALS WITH RIDLEY ABOUT
RUSSELL.

I THOUGHT HE WAS REALLY A RAW
TALENT WHO WAS, I THINK, JUST

DISCOVERING THE POWER HE HAD.
>> SLAVE!

REMOVE YOUR HELMET AND TELL ME
YOUR NAME.

>> HE’S MARVELOUS.
>> RUSSELL’S BIG.

THAT HEART IN HIS VOICE.
>> MY NAME IS MAXIMUS

DESIMUSBERIDIOUS.
LOYAL SERVANT TO THE TRUE

EMPEROR MARCUS OHRYIOUS.
FATHER TO A MURDERED SON.

HUSBAND TO A MURDERED WIFE, AND
I WILL HAVE MY VENGEANCE IN THIS

LIFE OR THE NEXT.
>> HE’S A CHARACTER ACTOR, AND

THAT’S, THAT’S WHAT HE LOVES IS
TO, IS TO FULLY CREATE A

CHARACTER.
>> OLD, WORTHLESS, DISCARDED.

>> AND WHILE YOU ROT THE WORLD
WILL BURN TO ASHES.

>> YOU’RE NOT REAL!
YOU ARE NOT REAL.

>> YOU’RE STILL TALKING TO ME,
SOLDIER!

>> NO.
LISTEN ‐‐

>> HE FINDS HIMSELF WITHIN THOSE
CHARACTERS AND HE EMBODIES THEM

IN WAYS THAT JUST MAKE YOU LOSE
YOURSELF IN THAT WORLD.

SO HE’S REALLY HELPING THE
DIRECTOR TO CREATE AND TRANSPORT

BEYOND HIS OWN STATUS AND
PRESENCE.

>> TWO THINGS THAT AGGRAVATE ME.
BEING IGNORED AND BEING LIED TO.

>> I NEVER LIED.
>> YOU TOLD ME THINGS WOULD BE

FINE.
THEY’RE NOT.

I TRUSTED YOU.
>> SORRY ABOUT THAT.

>> I DON’T NEED PITY.
I NEED A PAYCHECK AND I’VE

LOOKED, BUT WHEN YOU SPEND THE
PAST SIX YEARS RAISING BABIES

IT’S REAL HARD TO GET SOMEONE TO
PAID YOU.

AM I TALKING TO FAST FOR YOU?
>> AND JULIA ROBERTS PLAYING A

CHARACTER ABOUT GATHERING UP
CLASS ACTION LAWSUITS AGAINST

POISONING WATER IN A COMMUNITY
AND LYING ABOUT IT.

>> YOU GOT TO PROMISE ME WE’RE
GOING TO GET THEM.

>> TO GET TO BE IN THE ORBIT OF
STEVEN SODERBERGH AND JUST

FEELING LIKE YOU HAD FOUND YOUR
PERSON, LIKE, WE JUST CAME

TOGETHER AT THE RIGHT TIME WITH
THE RIGHT MATERIAL, AND ONE OF

HIS GREAT TALENTS IS CASTING
PEOPLE.

AARON ECKHART AND ALBERT FINNEY.
>> YOU’RE ERRATIC.

YOU SAY EVERY GODDAMN THING THAT
COMES IN YOUR HEAD MAKE IT

PERSONAL AND IT ISN’T.
>> NOT PERSONAL.

THAT IS MY WORK!
MY SWEAT, MY TIME AWAY FROM MY

KIDS.
IT THAT’S NOT PERSONAL I DON’T

KNOW WHAT IT ‐‐
>> A PERFORMANCE, SUPERB

PERFORMANCE, YOU GOT ALL OF
JULIA ROBERTS IN THIS FILM.

>> AND THE OSCAR GOES TO ‐‐
JULIA ROBERTS.

[ CHEERS AND APPLAUSE ]
>> THE OSCAR WHAT DOES IT MEAN?

I DON’T KNOW.
DO WE WANT THEM?

OF COURSE WE DO.
IT’S THIS GREAT PIECE OF

RECOGNITION THAT WILL STAND THE
TEST OF TIME, AND IT’S A REALLY

SPECIAL MOMENT.
>> AH!

I LOVE IT UP HERE!
>> STEVEN SODERBERGH AND GEORGE

CLOONEY SENT ME THE SCRIPT FOR
"OCEAN’S 11" THAT CAME WAY 20

DOLLAR BILL AND SAID, WE HEAR
YOU GET 20 A PICTURE.

SO THEY WERE PAYING ME IN
ADVANCE.

[ LAUGHTER ]
>> YOU’RE NOT WEARING YOUR RING.

>> I SOLD IT.
I DON’T HAVE A HUSBAND OR DIDN’T

YOU GET THE PAPERS?
>> MY LAST ‐‐

>> I TOLD YOU I’D WRITE.
>> GEORGE CLOONEY IS THE ONE

THAT CONVINCED HIS FRIENDS TO BE
HIS FELLOW CAST MEMBERS, AND IT

WAS JUST FUN.
THERE’S SOMETHING VERY SPECIAL

ABOUT SEEING THIS KIND OF STAR
POWER, THIS CHARISMA ON‐SCREEN.

>> WHAT DID YOU GUYS GET?
A GROUP RATE OR SOMETHING?

>> STARS BECOME FOR A WHILE THE
MOST DEPENDABLE ELEMENT IN

MOVIES, WHICH IS WHY THEIR
SALARIES GO UP AND ALSO CHANGES

THE WHOLE CONTEXT OF MOVIES,
BECAUSE THE POWER BALANCE IN

MOVIES CHANGES.
>> COME ON.

I’M GOOD.
>> IT CHANGES FROM AN INDUSTRY

THAT AT FIRST WAS STUDIO DRIVEN
AND THEN WAS DIRECTOR DRIVEN TO

AN INDUSTRY THAT IS STAR DRIVEN.
>> I HAVE ‐‐

>> BY CHANGING THE BALANCE IS
CHANGES THE KIND OF MOVIES WE

GET.
ONES THAT ULTIMATELY CENTRALIZE

THE STAR.

♪

>> "TRAINING DAY."
SHOW YOU AROUND.

YOU GET A TASTE OF THE BUSINESS.
38 CASES PENDING TRIAL.

250 ON THE LOG I CAN’T CLEAR.
SUPERVISE I’VE OFFICERS.

FIVE PROBLEMS, YOU CAN BE NUMBER
SIX IF YOU ACT RIGHT.

>> "TRAINING DAY" IS A SMALL
FILM WITHOUT DENZEL’S PRESENCE.

THE ENERGY HE BRINGS TO TA
ALONZO CHARACTER MAKES HIM

REALLY HARD TO TAKE YOUR EYES
OFF OF.

>> 49, 998.
SHOTS FIRED.

OFFICER DOWN.
REPEAT, OFFICER DOWN.

5951 BAXTER STREET.
>> CONGRATULATIONS, SON.

YOU’RE GOING TO GET A MEDAL OF
VALOR FOR THIS I. DIDN’T SHOOT

IT.
>> THE COP SAID YOU DID, BUT I

DIDN’T.
YOU DID.

>> EVERY SCENE THERE FROM THE
FIRST DAY WAS THE REASON WHY I

WANT TO MAKE MOVIES.
I WAS JUST SO INTO WATCHING

THESE TWO GUYS’ PERFORMANCE I
FORGOT TO YELL CUT SOMETIMES AND

THEY WOULD JUST KEEP GOING.
>> PLAY THE PLAYER.

I’M YOU’RES SHOOT ME.
>> DON’T DO IT.

DON’T DO TMPLTS NOW YOU ‐‐ YOU T
HAVE IT IN YOU.

>> DENZEL GOT IN A FIGHT, PUT
THE CIGARETTE DOWN.

THE SCENE WAS OVER.
I SAW IT IN HIS EYES.

THE LENS, A LONG LENS.
I COULD SEE SOMETHING HAPPENING.

HE WAS JUST ON FIRE, MAN.
>> I’M THE MAN UP IN THIS PIECE!

YOU AIN’T NEVER SEE THE LIGHT IF
YOU DON’T THINK IT’S

[ BLEEP ] ‐‐ I RUN SHIT HERE!
YOU JUST LIVE HERE!

YEAH.
NATS RIGHT.

YOU BETTER WALK AWAY.
GO ON.

WALK AWE WAY, BECAUSE I’M GOING
TO BURN THIS MOTHER [ BLEEP ]

DOWN!
KING KONG AIN’T GOT SHIT ON ME!

>> DENZEL IS A GIFT TO US.
WATCHING HIM IN THE MOVIE, ONE

OF MY JOYS.
>> FROM THE BOTTOM OF MY HEART I

THANK YOU ALL.
40 YEARS I’VE BEEN CHASING

SYDNEY FINALLY GIVE IT TO ME.
WHAT THEY DO?

GIVE IT TO HIM THE SAME NIGHT.
>> THE 2002 ACADEMY AWARDS IS

IMPORTANT, BECAUSE YOU HAVE
DENZEL WASHINGTON WINNING BEST

ACTOR, HALLE BERRY WINNING FOR
"MONSTER’S BALL" AND ALSO SIDNEY

POITIER GET AK LIFETIME
ACHIEVEMENT AWARD.

>> AND THE FIRST 73 YEARS OF
HISTORY OF THE OSCARS ONLY ONE

AFRICAN‐AMERICAN HAD EVER BEEN
NAMED BEST ACTOR OR ACTRESS AND

NOW AFTER LAST NIGHT THE NUMBER
IS THREE.

[ APPLAUSE ]
>> IT WAS JUST A GREAT MOMENT

FOR BLACK ACTORS, FOR BLACK
CINEMA, AND THE STRUGGLE.

>>> LOOK AT THIS.
AN ENTIRE GENERATION OF

CINDERELLAS AND THERE’S NO
SLIPPER.

>> GIVE YOU A HEART?
>> ALL I HAD TO DO IS LISTEN.

THAT’S WHAT BUDSTS YOU.
>> I REALLY LOVED PLAYING ELAINE

MILLER IN "ALMOST FAMOUS."
BASICALLY IT WAS A LOVE LETTER

TO HIS MOTHER.
>> DON’T TAKE DRUGS.

>> DON’T TAKE DRUGS!
>> IT’S ABOUT MY CHILDHOOD

GROWING UP IN FAMILY WHERE ROCK
’N’ ROLL WAS DEEPLY SUSPECT.

>> HE WAS THRUST AS A YOUNG BOY
INTO THIS WORLD OF ROCK STARS

AND GROUPIES ON THE ROAD.
>> LADIES AND GENTLEMEN!

>> SEEING THE FREEDOM AND THE
HEARTBREAK THAT COMES ALONG WITH

THAT FREEDOM WAS REALLY
EXQUISITE.

♪ WILL I END UP WHERE I THINK
ONLY GOD REALLY KNOWS ♪

>> THERE WERE TWO SCENES.
PENNY LANE DANCING TO THE WIND,

CAT STEVENS SONG.
ON THE FLOOR OF THE EMPTY ARENA.

THAT FELT LIKE THE SOUL OF THE
MOVIE.

ALSO, THE SCENE WHERE THEY’RE ON
THE BUS SINGING "TINY DANCER" AS

A WAY OF KIND OF BRINGING THE
BAND BACK TOGETHER.

♪ HOLD ME CLOSER TINY DANCER
>> I HAVE TO GO HOME.

♪ COUNT THE HEADLIGHTS ON THE
HIGHWAY ♪

>> YOU ARE HOME.
♪ LAY ME DOWN

>> WHAT I LOVE ABOUT CAMERON IS
THAT HE IS A DEEPLY DEVOTED FAN

OF FILM, AND THE BEST OF HIS
FILMS ARE BECAUSE OF THE WAY HE

STUDIED THEM AND THE LOVE THAT
HE HAS FOR THE CRAFT.

AND I THINK "ALMOST FAMOUS" IS
HIS BEST EXAMPLE OF THAT.

♪ THERE WAS A BOY
A VERY STRANGE ENCHANTED BOY ♪

>> AWESOME.
AWESOME MOVIE.

EVERYTHING ABOUT THAT MOVIE’S
PERFECT.

♪
>> AT TIME WHERE "MOULIN ROUGE"

CAME OUT NOBODY WANTED TO MAYBE
MUSICALS.

IT WAS SUCH A TRAILBLAZER AS FAR
AS HOW MUSICALS WERE SHOT.

AND ALSO THE TYPE OF MUSIC THAT
WAS USED IN IT.

♪ ENTERTAIN US
ENTERTAIN US ♪

>> EVERY SONG IN "MOULIN ROUGE,"
IT WASN’T LIKE I GOT MY FAVORITE

COLLECTION TOGETHER AND WENT
HERE’S A CATALOG OF SONGS.

LET’S FIND A NARRATIVE.
♪ THE FRENCH ARE GLAD

>> THE MUSICAL NUMBERS ARE, IN
FACT, PARTICULARLY DIFFICULT

CRAFT OF NOT BEING A POEM, WHICH
IS WHAT MOST POP MUSIC IS, BUT

ACTUALLY THE MILLENNIUM, TELLING
STORIES.

♪ A KISS ON THE HAND
BUT DIAMONDS ARE A GIRL’S BEST

FRIEND ♪
>> IT WOULD HAVE TO ABOUT DEGREE

OF CHALLENGE IN THE RHYTHM OF
IT.

WE HAD TO KIND OF SMASH THE DOOR
IN OR REALLY GET IN YOUR FACE

ABOUT THE MUSIC.
♪ ROXANNE

>> WE HAD TO SAY, ARE YOU GOING
TO ACCEPT THE CONTRACT AND COME

WITH US OR NOT?
♪ BELIEVE ME WHEN I SAY

>> MUSICALS ARE CYCLICAL LIKE
MANY OTHER GENRES AND I THINK

"MOULIN ROUGE" OPENED UP THE
POSSIBILITY FOR MUSICAL CINEMA

AGAIN.
>> ENEMY!

♪
>> WHEN "CHICAGO" ORIGINALLY

OPENED ON BROADWAY IN THE ’70s
PEOPLE THOUGHT BOB FOSSE’S

VISION OF THE WORLD WAS TOO DARK
AND CYNICAL BUT BY THE DAWN OF

THE 21st CENTURY HE WAS RIGHT ON
IT.

♪ SHAKE UP, I WANT A BRAND NEW
START, TO DO THAT JAZZ ♪

>> LET’S GO.
>> CHICAGO WAS THOUGHT TO BE

FUN, FILMABLE.
PEOPLE HAD BEEN TRYING TO MAKE

AN ADAPTATION FOR YEARS AND WHAT
ROB MARSHALL WAS ABLE TO DO TO

MAKE THE MUSICAL NUMBERS IN
ROXY’S MIND, THE IDEA SHE WAS A

CHARACTER THAT WAS ENVISIONING
MUSICAL NUMBERS WAS BRILLIANT.

♪ HE HAD IT COMING, HE HAD IT
COMING HE ONLY HAD HIMSELF TO

BLAME ♪
IF YOU’D HAVE BEEN THERE, IF

YOU’D HAVE SEEN IT ♪
I BET YOU WOULD HAVE DONE THE

SAME ♪
>> I’M A DETERMINE BELIEVER THE

TIME IS ALWAYS RIGHT FOR A GREAT
MUSICAL.

♪ AND DO, AND DO, AND DO, JUST
LOVE ME ♪

WHEN YOU SEE THINGS LIKE THAT
WORKING IN THE MARKETPLACE ‐‐

♪ YOU ARE THE DANCING QUEEN
>> AND HAVING A REAL INTEREST IN

THEM.
IT CERTAINLY EMBOLDENS

FILMMAKERS TO COME ALONG WITH
THEIR OWN MUSICAL IDEAS

♪ TA, TA, TA
STILL THE RICH AND I’M NOT

PRETTY ♪
AND RISKED IT, MAN, I’M GOOD ♪

BRING IT DOWN ♪
♪

>> ANIMATION TOOK A REAL PIVOT
AT A CERTAIN POINT.

>> PROVE IT.
WHERE ARE THE OTHERS?

>> EAT ME.
>> FILMMAKERS FIGURED OUT YOU

CAN BROADEN THE AUDIENCE FROM 3
TO 80.

NO ONE’S LEFT OUT.
>> I’M TELLING YOU, BIG DAETD,

YOU’RE GOING TO BE SEEING THIS
FACE ON TV A LOT MORE OFTEN.

>> REALLY?
LIKE ON THE MOST WANTED?

>> HA, HA.
YOU’VE BEEN JEALOUS OF MY GOOD

LOOKS SINCE THE FOURTH GRADE,
PAL.

>> HAVE A GOOD DAY, SWEETIE.
>> YOU TOO, HON.

>> I’M THE DUDE THAT PUT OUT
"TOY STORY."

WHEN THEY CALLED ABOUT THE NEXT
ONE I SAID, I’LL DO IT.

I COULD HEAR THE LAUGHTER ON THE
OTHER SIDE.

>> HEY, THANKS A LOT.
I’LL BE HERE ALL WEEK.

TIP YOUR WAITRESSES!
>> PIXAR FILMS ARE EXCEPTIONALLY

EXIST KATED NOT ONLY IN TERMS OF
VISUALS WERE UT IN TERMS OF

SCRIPT, HUMOR, IN TERMS OF
CHARACTERIZATION.

NO ONE DOES IT AS GOOD AS PIXAR.
THEY WORK MIRACLES ALMOST EVERY

TIME OUT.
>> "THE INCREDIBLES" PIXAR’S PG

RATED COMPUTER ANIMATED FILM AND
AT THE TIME CONSIDERED KIND OF A

RICKY THING.
RISKY THING.

IT’S AN ACTION BE FILM BUT
PEOPLE ASSUME BECAUSE IT’S

ANIMATED IT’S A CERTAIN KIND OF
FILM, AND THAT TELLS ME THE

MEDIUM NEEDS TO BUST OUT A
LITTLE BIT MORE.

>> AH!
>> BRAD’S CHARACTERS ARE REAL

AND ACCESSIBLE, AND I THINK THAT
WAS NEW.

WITH "THE INCREDIBLES."
IT WAS THE POLL ARITY OF WHAT’S

MUNDANE AND THEY SLAMMED UP
AGAINST EACH OTHER MTS TRACTION

AVENUE.
>> TAKE ME DOWNTOWN.

TAKE 70.
DON’T I?

>> DON’T TAKE IT!
>> PIXAR IS THE BEST BECAUSE

THEY WILL DARE TO BE REALLY
REAL.

LOOK AT THE OPENING OF "UP."
>> IT’S A BEAUTIFULLY POETIC

SEQUENCE AND SETS THE TABLE FOR
THE MOVIE TO COME.

IT BEGINS VERY CHEERFULLY AND
THEN GOES SOMEWHERE INCREDIBLY

SAD.
>> THAT CAPTURING OF THAT

RELATIONSHIP FROM YOU KNOW,
BEGINNING TO END, IT GETS

EVERYTHING.
IT MAKES YOU CRY.

AND IT GIVES YOU THE SENSE OF
LOSS IN A WAY THAT’S SO

POWERFUL.
>> AND THIS IS THE OPENING OF

THE MOVIE.
I WAS COMING IN HERE TO LAUGH,

BUT YOU JUST ROCKED ME BEFORE IT
EVEN STARTED.

AND YOU GO ‐‐ WHAT BALLS.

This bloom‐ified menu
starts at $13.99.opport?

>>> DO YOU LIVE HERE?
>> LOOK, MISTER, I’M DIALING 911

AND YOU ARE NOT GOING TO MOVE.
>> GIVE ME THE PHONE.

>> I DON’T THINK YOU UNDERSTAND.
I’M A FRIEND OF YOUR DAUGHTER’S.

>> YOU WANDER IN HERE HIGH ON
EX‐

ECSTASY.
>> NANCY MEYERS INVENTED A KIND

OF FILMMAKING THAT IS GLOSSY,
THAT’S FUN, THAT’S ROMANTIC, AND

THAT ACKNOWLEDGES ‐‐
>> AH!

>> THE LIVES OF THE WOMEN WHO
ARE WATCHING THE MOVIES.

>> WHY IS IT THAT YOU BROADS
WANT ALL OR NOTHING?

>> I DON’T KNOW.
WE’RE JUST GOOFY WHEN IT COMES

TO LOVE.
>> MOVIES ARE FANTASIES MOVIES.

JUST THE FANTASIES OF DIFFERENT
PEOPLE.

>> SOMEONE’S HAVING A PARTY
TONIGHT.

>> USUALLY WOMEN OF A CERTAIN
AGE AND THEIR FANTASIES ARE ONES

WE DON’T OFTEN GET TO SEE ON THE
BIG SCREEN.

>> NO!
YOU’RE NOT.

>> OH, YES I AM.
>> I AM HAVING AN AFFAIR, AGNES

ADLER’S HUSBAND.
>> OH!

AH!
>> YOU HAVE TRADITIONALLY

MASCULINE MALES WHO LISTEN AND
LEARN FROM THEIR FEMALE

COUNTERPARTS.
>> SEE?

TOO MUCH.
>> OKAY.

GOOD ENOUGH.
>> THAT’S AN IRRESISTIBLE

MESSAGE TO THE FEMALE AUDIENCE.
>> ON MY WEDDING NIGHT, TULA, MY

MOTHER, SHE SAID TO ME, GREEK
WOMAN, WE MAY BE LAMBS IN THE

KITCHEN, BUT WE ARE TIGERS IN
THE BEDROOM.

>> OOH.
PLEASE LET THAT BE THE END OF

YOUR SPEECH.
>> WHAT IS GOING ON HERE?

WHY ISN’T ANYBODY READY?
THE PHOTOGRAPHER IS HERE.

>> AND "MY BIG FAT GREEK
WEDDING" I GREW UP SO SURROUNDED

BY LOVE AND PRNS AND AUNTS WITH
MISS

MUSTACHES TELLING ME WHEN TO GET
MARRIED AND WHEN TO HAVE A BABY

AND THEN I REALIZED I COULD
WRITE A STORY ABOUT T. I’M GOOD.

>> SMACK YOU LIKE A CHICKEN!
>> I THOUGHT WE WOULD BE SHOWN

IN GREEK CHURCH BASEMENTS AND
THEN I COULDN’T BELIEVE WE GOT

RELEASED IN THEATERS.
>> EVERYONE, THIS IS IAN.

>> IAN!
>> THEY’RE CALLING IT THE LITTLE

MOVIE THAT COULD.
"MY BIG FAT GREEK WEDDING" HAS

BEEN A BIG, FAT HIT AT THE BOX
OFFICE THIS SUMMER.

>> OMA!
>> THE TOP GROSSING ROMANTIC

COMEDY AND INDEPENDENT FILM OF
ALL‐TIME.

>> OH!
YOU SO BEAUTIFUL!

>> SHE WAS ABLE IT TURN HER
CHARMING ONE‐WOMAN SHOW INTO A

GLOBAL PHENOMENON.
I MEAN, WHAT’S NOT TO ASPIRE TO

IF YOU WRITE ROMANTIC COMEDIES
AND MOVIES ABOUT WOMEN?

>> A SECRET?
I’M TRYING TO ORGANIZE A PRISON

BREAK.
I’M LOOKING FOR, LIKE, AN

ACCOMPLICE.
WE’D HAVE TO FIRST ‐‐ GET OUT OF

THIS BAR.
THEN GO TO THE HOTEL AND THEN

THE CITY AND THEN THE COUNTRY.
ARE YOU IN OR ARE YOU OUT?

>> I’M IN.
>> "LOST IN TRANSLATION" AFTER

THE "VIRGIN SUICIDES" IT’S
BEAUTIFUL.

>> "LOST IN TRANSLATION" SHE
TELLS THE STORY THAT IS SO

DISTILLED AND PERSONAL AND
UNIVERSAL AT THE SAME TIME OF

THE LONELY WOMAN MISSING HER
HUSBAND IN THE HOTEL AND THIS

EXTRAORDINARY FRIENDSHIP THAT
SHE STRIKES UP WITH THE

CHARACTER PLAYED BY BILL MURRAY.
>> TIMES.

MAKE IT CENTOURI TIME.
>> CUTTO, CUTTO!

>> A CLUE AS TO HIS DRAMATIC
SIDE.

YOU START SEEING THAT SIDE OF
HIM MORE.

HE IS PLAYING A CELEBRITY.
PLAYING A WELL‐KNOWN MOVIE ACTOR

BUT ONE WHO IS SORT OF DEAD
INSIDE.

AND THE FRIENDSHIP SHE STRIKES
UP WITH THIS YOUNGER WOMAN

BRINGS HIM BACK TO LIFE, IN A
WAY.

>> I DON’T WANT TO LEAVE.
>> SO DON’T.

STAY HERE WITH ME.
WE’LL START A JAZZ BAND.

>> THAT MOVIE AND HIS
PERFORMANCE IN PARTICULAR I WAS

VERY RELIEVED TO SEE A COMEDIAN
DOING THAT.

WHEN YOU ACTUALLY GET MORE OUT
OF THE HUMAN BEING THAT IS A

COMEDIAN, IT’S FASCINATING.
>> MY NAME IS JOEL BEARISH, AND

I’M HERE TO ERASE.
>> JIM CARREY IS OUT OF HIS

MIND.
GREAT IN THAT FILM BECAUSE HE IS

A GREAT COMEDIAN AND A GREAT
STAR.

HE HAS EVERY CONCEIVABLE TOOL
ACTORS HAVE AND KNOWS HOW TO USE

EACH ONE AT THEIR RIGHT LEVEL.
>> WE’RE GOING OFF!

CAN YOU HEAR ME?
I DON’T WANT THIS ANYMORE.

I WANT TO GO HOME!
>> TO ME ONE OF THOSE WRITERS AT

HIS STRONGEST WHEN WORKING WITH
THE RIGHT DIRECTOR.

HAD HE AND MICHELLE GET TOGETHER
YOU REALLY SEE WHAT HE CAN DO.

>> WHAT?
>> THERE YOU ARE.

>> "ETERNAL SUNSHINE OF A
SPOTLESS MIND "AMAKES YOU FEEL

GOOD ABOUT HOLLYWOOD.
IT’S NOT ALWAYS THE LOWEST

COMMON DENOMINATOR.
SOMETIMES SOMETHING SMART AND

UNUSUAL CAN STAND OUT.
>> I LOVE YOU.

>> MAYBE IN MONTAUK.
>> THAT’S A FILM THAT BLEEDS IN

LOVE.
THE NAIVETE OF BELIEVING IN LOVE

AND AT THE END COMES TO A
RESOLUTION MAYBE TRUE ROMANCE IS

AGREEING THAT YOURS
RELATIONSHIP’S GOING TO BE

DIFFICULT.
>> JACK TWIST.

YOUR FOLKS STOP IN ANIS?
>> DELMAR.

>> NICE TO KNOW YOU ANISE
DELMAR.

>> WHEN I FIRST READ THE STORY
"BROKEBACK MOUNTAIN" I KNEW IT

WAS POWERFUL.
I FELT IT WOULD UP END MANY

PEOPLE’S VIEW OF TWO YOUNG MEN
BEING IN LOVE AND THE

CONSTRAINTS AND THE CHALLENGES
THAT THEY WOULD HAVE.

>> ONE‐SHOT THING GOING ON HERE.
>> IT’S NOBODY’S BUSINESS BUT

OURS.
>> YOU KNOW I AIN’T QUEER.

>> ME NEITHER.
>> A LOT OF THE GAY MOVIES UP TO

THAT POINT WERE EITHER KIND OF
CULT MOVIES THAT EXISTED IN THIS

GAY UNIVERSE THAT MADE GAY
PEOPLE SEEM WEIRD OR EVIL OR

SUSPECT OR KINKY, AND "BROKEBACK
MOUNTAIN" WAS ONE OF THE FIRST

MOVIES THAT FELT LIKE A
MAINSTREAM HOLLYWOOD ROMANCE.

>> I’VE GOT TO GO.
>> I WAS SO FRUSTRATED HE KEPT

CALLING IT THE GAY COWBOY MOVIE.
IT WAS NOT THAT.

IT WAS A HAUNTING, BEAUTIFUL,
TRAGIC LOVE STORY OF TWO MEN WHO

ESSENTIALLY WERE JUST TRYING TO
EXIST.

>> IT’S HEARTBREAKING BEFORE YOU
EVEN GET TO THE END, BECAUSE

YOU’RE ROOTING FOR THEM AND JACK
SEEMS TO BE WILLING TO TRY IN A

WAY THAT INNIS DELMAR JUST
CAN’T.

>> I WISH I KNEW HOW TO QUIT
YOU.

WHY DON’T YOU ‐‐ WHY DON’T YOU
JUST LET ME BE.

HUH?
>> PEOPLE ASK ME ALL THE TIME.

WHAT WAS THE THEME OF
"BROKEBACK"?

I SAID IT’S SUMMED UP IN ONE
WORD AND THAT WORD IS

COMPASSION.
[ SOBBING ]

>> WHATEVERS WERE I
WANTED PEOPLE TO COME AWAY

SAYING IT SHIFTED THEM, BUT THEY
WEREN’T QUITE SURE HOW.

I WANTED THEM TO BE DEEPLY
AFFECTED BY IT THE WAY I WAS

AFFECTED BY IT.

Parents have a way of imagining
♪

>>> THERE WILL BE BLOOD IS MY
FAVORITE P. T. ANDERSON FILM AND

DEAD IN PLAIN VIEW PLAYED BY
DANIEL DAY‐LEWIS IS A FILM I

CAN’T WASH OUT.
NOT NUDGE SOAP TO WASH OFF THE

MEMORY OF THAT CHARACTER.
>> I THINK ONE OF AMERICA’S

FINEST FILMMAKERS.
ALL THE FILMS HE’S MADE BRING

YOU INTO A WORLD THAT IS UNIQUE
WITH CHARACTERS WHO ARE

REPELLENT AND REALLY ATTRACTIVE
ALL AT THE SAME TIME.

>> YOU LOOK LIKE A FOOL.
DON’T YOU?

>> YES.
>> YESSSSSSS.

YES, YOU DO.
>> WE ALREADY KNEW DANIEL

DAY‐LEWIS WA WAS A PHENOMENAL
ACTOR BUT THOSE TWO TOGETHER,

PRETTY PERFECT.
>> THE GREAT THING WITH DANIEL

ESPECIALLY IN THAT FILM IS THAT
IT’S INTENSE, BUT IT’S ALSO

REALLY FUN.
IT’S MISCHIEVOUS FUN AND THAT

WAS A GREAT PART FOR THAT KIND
OF DEVILISH, MISCHIEVOUSNESS TO

COME OUT.
>> I DRINK YOUR MILK SHAKE!

I DRINK IT UP!
>> DON’T ‐‐

>> AH!
>> WITH HIM, I SAW A PERSON

WORKING ANOTHER WAY.
ONCE HE WAS IN CHARACTER, AND

PEOPLE ALWAYS SAID, WELL, STAY
IN CHARACTER.

MYTHOLOGY.
IT’S EASIER.

MAYBE NOT FOR THE ACTOR BUT
EASIER FOR ME.

IT’S NOT THE ACTOR.
IT’S THIS CHARACTER.

I’M TALKING TO BILL THE BUTCHER.
>> SOMEBODY STEALS FROM ME I CUT

OFF HIS HANDS.
HE OFFENDS ME, I CUT OFF HIS

THUMB.
HE RISES AGAINST ME, I CUT OFF

THIS HEAD, STICK IT ON A PIPE.
RAISE IT HIGH UP SO ALL IN THE

STREETS CAN SEE.
THAT’S WHAT PRESERVES THE ORDER

OF THINGS.
>> AND ONCE I SAW HIM WORK THAT

WAY, THERE WAS AN INTENSITY
THERE THAT WAS VERY DELICATE.

>> I AM PRESIDENT OF THE UNITED
STATES OF AMERICA.

YOU WILL PROCURE THE INDIANS.
>> JUST A MIRACLE AS ABRAHAM

LINCOLN.
I’M HONORED HE FINALLY SAID YES

AFTER MY PURSUING HIM TEN YEARS.
DANIEL’S ONE OF THE GREATEST

ACTORS WHO EVER ACTED IN FRONT
OF A CAMERA.

>> IT’S A MESS.
AIN’T IT, SHERIFF?

>> IT WILL DO UNTIL THE MESS
GETS HERE.

>> "NO COUNTRY FOR OLD MEN"
BASED ON A McCORPORAL ITH

McCARTHY MOVIE.
PLAYING A FREELANCE RANCH HAND

FINDS A SUITCASE OF MONEY IN AN
AFTERMATH OF A ROBBERY GONE

WRONG.
>> WHAT’S IN THE SUITCASE?

>> MONEY.
>> THAT WILL BE THE DAY.

>> VISUALIZED IT AS A FILM.
AN EXTRAORDINARY COLLABORATION

BETWEEN A NOVELIST AND
FILMMAKERS.

>> IT’S JUST A BEAUTIFUL FILM
FROM START TO FINISH.

BUT IT’S THE WAY THEY WROTE
THEIR VILLAIN THAT REALLY MAKES

IT, I THINK, THE BEST MOVIE OF
THE 21st CENTURY.

I MEAN, I STILL THINK ABOUT HIM
FLIPPING THE COIN AT THE GAS

STATION.
>> YOU KNOW WHAT DATE IS ON THIS

COIN?
>> NO.

>> 1958.
IT’S BEEN TRAVELING 22 YEARS TO

GET HERE AND NOW IT’S HERE.
AND IT’S EITHER HEADS OR TAILS,

AND YOU HAVE TO SAY, CALL.
>> IT LOOK, I NEED TO KNOW WHAT

I STAND TO WIN?
>> EVERYTHING.

>> HOW THAT?
>> YOU STAND TO WIN EVERYTHING.

CALL IT.
>> ALL RIGHT.

HEADS, THEN.
>> WELL DONE.

>> THE COEN BROTHERS ARE
INCREDIBLY EVOCATIVE BECAUSE

THEIR PURPOSELY, I THINK, TRYING
TO BUST UP THE NORM.

THEIR "TRUE GRIT" AN ABSOLUTELY
PERFECT MOTION PICTURE.

>> RUNNING THEM CHEAP SHELLS ON
ME AGAIN.

>> I THOUGHT WERE YOU GOING TO
SAY THE SUN WAS IN YOUR EYES.

THAT IS, TO SAY YOUR EYE.
>> YOU’VE GOT FILMMAKERS WHO

BEGIN IN THE LATE ’80s OR ’90s
JUST DETERMINED TO ALWAYS MAKE

THE MOVIES THEY WANT TO MAKE.
AS MUCH AS STUDIOS GAME CONTROL

AND AS MUCH AS MONEY BECOMES A
PART OF THE REALM, THE SPIRIT OF

THE 1970s, THE IDEA THAT THE
FILMMAKER COULD STILL BE THE ONE

IN CHARGE WILL CONTINUE TO
SUSTAIN ITSELF THROUGH THE WORK

THAT THEY DO.
>> ROYAL TENENBAUM BOUGHT THE

HOUSE IN THE WINTER OF HIS 35th
YEAR.

>> THE MOVIE IS METICULOUSLY
COMPOSED BEAUTIFULLY DESIGNED

AND CURATED DOWN TO THE LAST
DETAIL AND TEND TO TAKE PLACE IN

A WORLD THAT’S ALMOST ABOVE ALL.
THAT’S SORT OF SILOED OFF FROM

THE OUTSIDE WORLD.
>> LET ME ASK YOU SOMETHING.

WHY WOULD A REVIEW SAY THAT
SOMEONE’S NOT A GENIUS?

YOU THINK I’M ESPECIALLY NOT A
GENIUS?

I KNOW THAT ‐‐
YOU DIDN’T EVEN HAVE TO THINK

ABOUT IT.
DID YOU?

>> REAL ORIGINALITY AND
FILMMAKERS IS PRETTY RARE AND I

THINK LITERALLY WES HAD IT FROM
INCEPTION.

>> WHAT’S THIS LUMBER FOR?
>> BUILD A TREEHOUSE.

>> WHERE?
>> FOR YOU.

>> THERE’S A LEVEL OF INVENTION
IN HIS STORIES THAT FEELS

INCREDIBLY GENEROUS.
YOU GO, WHERE DOES HE COME UP

WITH THESE IDEA, THESE LONE
DETAILS THAT FILL OUT THE

UNIVERSE?
ALMOST FEELS LIKE A COMPULSIVE

QUALITY.
>> COMPLEMENTS OF HERMAN.

>> ASPIRING AND INTIMIDATING AS
A SCREENWRITER BECAUSE IT’S SO

RICH IN ITS INVENTION.
>> EACH AND EVERY MANNED OWED ME

100 SCOUTS AND I WANT MY SCOUTS!
AND ALL Y’ALL WILL GET ME 100

NAZI SCOUTS TAKEN FROM THE HEADS
OF 100 DEAD NAZIS.

OR YOU WILL DIE TRYING!
>> NKWCONS NKWENTIITARIAN ‐‐ TA.

THINGS SHOULDN’T LAND IT’S A
CLEANLY AS THEY DO.

>> TARANTINO IN THE 2000s IS
GIVING US THE ENDING TO THE

STORY WE WISH HIS RHISTORY HAD
GIVEN UP.

"INGLORIOUS BASTARDS," THE BAD
GUYS IN HISTORY LOSE.

♪

>> WE HAVE A SINGULAR ABILITY TO
WRITE MOVIES THAT WERE OFTEN

VERY VIOLENT BUT THEY WERE ALSO
RERCHING OLD MOVIES WHILE

COMPLETELY RE‐INVENTING THE FORM
AND MAKING IT POSSIBLE FOR

AUDIENCES TO FIND THEM
ACCESSIBLE AND ENTERTAINING, AND

THAT’S REALLY HAZRD TO DO AND H
DID IT OVER AND OVER AGAIN.

HE CONTINUES TO DO IT.
>> YO!

YOU SON OF A ‐‐
[ EXPLOSION ]

♪ HE’S THE GUY WHO’S THE TALK OF
THE TOWN ♪

WITH TRESTLESS ♪

♪
>> GOOD LUCK.

HARRY POTTER.
>> WHEN HARRY POTTER CAME OUT,

IT WAS RIGHT AFTER 9/11.
AND PEOPLE NEEDED TO GO ESCAPE

TO A WORLD OF WIZARDRY AND
MAGIC.

>> LOOK, LOOK.
>> WELCOME TO HOGWARTS.

>> THERE WAS TREMENDOUS
ANTICIPATION FOR THIS FILM.

AND, OF COURSE, WE MET WITH JOE
ROLING AND WE WERE VERY CAREFUL

TO RUN EVERYTHING BY HER AND TO
BE SURE THAT WE HAD HER BLESSING

BECAUSE SHE WASN’T SURE SHE
WANTED TO HAVE THE MOVIES MADE

AT ALL.
>> I TOOK WARNER BROS. WORD THAT

THEY WOULD BE VERY TRUE TO THE
BOOK AND THEY HAVE BEEN SO I’M

VERY HAPPY.
>> HARRY POTTER IS THIS IDEA OF

THIS YOUNG BOY WHO DOESN’T THINK
NOT ONLY IS THERE NOTHING

SPECIAL ABOUT HIM BUT HE’S
MISTREATED.

>> THERE’S NO SUCH THING AS
MAGIC.

>> AND THEN TO FIND OUT YOU’RE
ACTUALLY THE HEIR OF THIS

AMAZING WIZARDING FAMILY AND YOU
ARE UNIQUE AND SPECIAL AND HAVE

A DESTINY IN FRONT OF YOU,
THAT’S EVERY CHILD’S FANTASY.

>> CURIOUS, VERY CURIOUS.
>> THE HARRY POTTER FILM

FRANCHISE LIKE THE BOOK
FRANCHISE WAS SOMETHING THAT

DEFINED A GENERATION.
>> WELCOME HOME.

THE DESIGN OF HOGWARTS, THAT
WHOLE WORLD BUILDING OF THE

MOVIES IS IMPRESSIVE, ESPECIALLY
IN THE LATER MOVIES WHEN THEY

STARTED TO HAVE A CONSISTENT
DIRECTORIAL STYLE.

>> THE IDEA AND THE MAGIC OF A
WORLD LIKE THAT GIVES AN

AUDIENCE COMFORT WHEN HAD HE SEE
THAT OVER AND OVER AGAIN.

>> FLYING.
>> HARRY.

>> IT CERTAINLY UNDERSCORED THE
IMPORTANCE OF LITERARY

PROPERTIES.
IF YOU ARE FAITHFUL TO THE

UNDERLYING SOURCE MATERIAL, THE
AUDIENCES WILL EMBRACE IT.

♪
>> "LORD OF THE RINGS" IS ONE OF

THOSE RARE EXAMPLES OF A FILM
THAT WILL LIVES UP TO THE HYPE.

AND LIVES UP TO IT THREE TIMES
IN A ROW.

>> ARE YOU FRIGHTENED?
>> YES.

>> NOT FRIGHTENED ENOUGH.
I KNOW WHAT HAUNTS.

>> YOU IT IS ONE OF THE CRAZYIST
ACHIEVEMENTS OF MODERN FILM

MAKE.
THE INSANE GAMBLE TO MAKE THESE

THREE EPIC, HUGE FANTASY FILMS
ALL TOGETHER.

>> YOU SHALL NOT PASS!
>> PETER JACKSON INCREDIBLE

VISIONARY, DIRECTOR IS IN CHARGE
OF SEVEN SEPARATE FILM UNITS

SHOOTING THE VARIOUS STORY LINES
OR BATTLES.

HOW HE KEPT ALL THAT TOGETHER IS
UNBELIEVABLE.

>> HE COULD WRITE ABOUT THESE
AMAZING BATTLES AND THESE MAKES

FAN TAS CAL WORLDS.
AND WHAT JACKSON WAS ABLE TO DO

WAS MAKE THAT SEEM REAL IN A WAY
THAT YOU JUST HADN’T SEEN IN

FANTASY FILMS BEFORE.
>> WHEN I MET WITH PETER AND

FRAN WALSH, THEY SAID LOOK, WE
WANT AN ACTOR TO PLAY THE ROLE

OF GOLAN SO THAT WHOEVER IS
PLAYING FREDO AND SAM WILL NOT

BE MAKING FOR GOLLUM.
THEY SAID THERE’S HAD THIS NEW

TECHNOLOGY CALLED MOTION
CAPTURE.

I FELL IN LOVE WITH IT.
WHEN I FIRST STOOD IN FRONT OF

THE MONITOR AND MOVE AS GOLLUM
AND SEE THE ABTAR MOVING IN

REALTIME WITH MY PHYSICAL
PERFORMANCE.

>> YOU ARE NOT SO VERY DIFFERENT
FROM A HOBBIT ONCE, WERE YOU?

?
>> SMIGEL.

>> WHAT DID YOU CALL ME?
>> THE "LORD OF THE RINGS"

TRILOGY IS THIS MARKER OF THE
TOWELS.

IT’S CHANGING TECHNOLOGY.
IT’S INTRODUCING YOU TO ACTORS

THAT NOW ARE HOUSEHOLD NAMES.
AND IT’S AN EPIC THAT I OWN THE

THING THAT WE’VE FELT IN CULTURE
SINCE THE ORIGINAL "STARS WARS"

FILMS.
>> MASTER BUGGENS, I SUGGEST YOU

KEEP UP.
>> IF YOU LOOK AT THE NUMBER ONE

BOX OFFICE HIT FROM 2001 ON
WARD, WITH THE EXCEPTION OF

"AMERICAN SNIPER" IN 2014, EVERY
SINGLE ONE OF THEM IS A

FRANCHISE FILM.
>> WELCOME TO THE CARIBBEAN,

LAD.
>> THE STUDIO EXECUTIVES ARE

SEEING THAT’S THE DIRECTION WE
WANT TO GO.

>> THEY’RE NOT LOOKING FOR A
SINGLE PROJECT.

THEY WANT NEXT FRANCHISE.
THEY WANT SOMETHING THAT’S NOT

GOING TO GIVE THEM ONE HIT FILM
BUT IS GOING TO GIVE THEM A

SERIES OF HIT FILMS THEY CAN
THEN SPINOFF INTO A WHOLE WORLD

OF ANCILLARY MARKETS AND
TELEVISION AND VIDEO GAMES AND

EVERYTHING ELSE.
>> I THINK WHAT PAUL GREEN DID

IN THE BOURN FILMS WAS
COMPLETELY REIMAGINE THE WAY

THAT ACTION FILMS HAVE BEEN
SHOT.

HE JUST PUSHES THE BOUNDARIES.
>> CAN YOU OPEN THE DOOR?

ETHAN?
>> I CAN’T GET ENOUGH OF THE

"MISSION IMPOSSIBLE" FRANCHISE.
THEY CLEARLY HAVE SUCH AMBITION

TO MAKE EACH ONE BETTER THAN THE
LAST ONE.

>> I DON’T THINK THERE’S ANY
QUESTION AT THIS POINT WE’RE

GOING TO LOOK BACK ON THIS AS
THE AGE OF FRANCHISES.

EVEN COMEDIES GET FRANCHISES.
FOUR MEN IN BLACK" MOVIES.

THREE HANGER MOVIES.
>> DOES THAT SOME STANDARD?

>> ACTUALLY, IT CAME WITH A
BLACK DUDE BUT HE KEPT GETTING

PULLED OVER.
>> THERE’S ALWAYS MORE CONTENT

TO BE MADE.
>> READY?

>> STEADY.
GO!

>> CHERYL, IT’S CINDY.
REMEMBER WHEN OLIVE WAS HERE

LAST MONTH, SHE WAS RUNNER‐UP IN
THE REGIONAL LITTLE MISS

SUNSHINE.
THEY CALLED AND SAID THE GIRL

WHO WON HAD TO FORFEIT HER
CROWN.

NOW SHE HAS A PLACE IN THE STATE
CONTEST IN REDONDO BEACH.

>> I WON.
>> LITTLE MISS SUNSHINE WAS THE

FIRST SCRIPT THAT I WROTE WHERE
I STARRED WITH THE ENDING AND

REVERSE ENGINEERED THE REST OF
THE STORY.

>> MISS LOUISIANA.
>> ONE DAY I’M SITTING AT HOME

AND WATCHING TV AND THERE’S
FOOTAGE OF A CHILD BEAUTY

PAGEANT.
THERE’S SKINNY BLONDE GIRLS

WALKING AROUND.
I THOUGHT WOULDN’T IT BE GREAT

IF AN UNCONVENTIONAL GIRL ROCKED
THE HOUSE.

I KNOW THAT’S GOING TO BE A GOOD
ENDING.

♪ THE BOYS IN THE BAND, SHE SAYS
THAT I’M HER ALL‐TIME FAVORITE ♪

>> YOU COULD FEEL EVERYBODY IN
THE THEATER WAS LAUGHING AT THE

SAME TIME.
IT’S TO ME THERE’S NOTHING ELSE

BETTER THAN THAT.
♪ THAT GIRL’S ALL RIGHT WITH

ME ♪
>> AND ONLY MOVIES CAN DO THAT

TO GET EVERYBODY IN ONE ROOM
LAUGHING TOGETHER.

♪
>> IT’S LIKE YOU’RE

COMMUNICATING WITH THE GODS
BASICALLY.

THE GODS OF LAUGHTER.
♪

I LIKE YOU.
I LIKE SEX.

IT’S NICE.
>> BORAT IS A VERY INTERESTING

MOCK CUE MEANTORY.
SACHA BARON COHEN PLAYS A

FICTIONAL CHARACTER BUT GOES OUT
AND INTERACTS WITH THE REAL

WORLD.
>> MY NAME IS MIKE.

I’M GOING TO BE YOUR DRIVING
INSTRUCTOR.

WELCOME TO OUR COUNTRY.
>> MY NAME BORAT.

>> GOOD.
I’M NOT USED TO THAT BUT THAT’S

FINE.
>> YOU CAN’T MEASURE THE IMPACT

OF PUTTING THAT CHARACTER IN A
REAL SETTING WHERE REALITY AND

FICTION AND COMEDY AND DRAMA AND
ALL THESE DIFFERENT THINGS MERGE

IN SUCH AN OR WAY.
♪ PEOPLE STOPPING STARING

>> IT’S ALL RIGHT.
>> SA SHAS AS BORAT IS THE BREAK

THROUGH ACTING PERFORMANCE OF
MODERN TIMES.

>> LIFT YOUR HANDS AND BEGIN TO
WORSHIP.

>> HE WAS LIKE A METHOD ACTOR
AND HAD TO HAVE A LOT OF

TOUCHSTONES SO HE COULD DO THE
PERFORMANCE BECAUSE HE’S NOT

ACTING WITH OTHER ACTORS.
HE’S NOT ON A SET.

HE HAS TO PRETEND HE IS THIS
CHARACTER AND THEY HAVE TO

BELIEVE IT.
>> WE’RE ONLY HERE RIGHT NOW

DOING THE WEATHER.
>> THE SECOND HAD HE DON’T

BELIEVE IT, THE SCENE’S OVER.
THE BIG PART OF THE FUN OF THE

MOVIE WAS WE WERE ROBBING BANKS
COME MEEDCALLY.

WHEN WE WERE DONE, THE
GIDDINESS, THE EXHILARATION OF

THAT EXPERIENCE WAS UNMATCHED.
>> FRANK.

>> HEY, HONEY.
>> HEY.

>> WHAT THE HELL ARE YOU DOING?
>> WE’RE STREAKING.

WE’RE GOING THROUGH THE QUAD TO
THE GYMNASIUM.

>>S WHO STREAKING?
>> THERE’S MORE COMING.

>> FRANK, GET IN THE CAR INTO
EVERYBODY’S DOING IT.

>> NOW.
>> OKAY.

>> JUST HEARING THE NAME PUTS A
SMILE ON MY FACE.

I REMEMBER HIM MAKING "OLD
SCHOOL" AND V GOT THAT TASTE, OH

YOU WANT TO SEE A GENIUS ON A
MOVIE JEAN?

HERE YOU GO.
HERE’S WILL FERRELL.

>> SORRY, I WANT RIDE WITH YOU
THE REST OF THE WAY UP.

THIS IS WHERE MY DAD, WOULD.
FORGOT TO GIVE YOU A HUG.

>> BECAUSE HE CAME FROM THE
GROUND LINGS AND "SNL," HE’S

AWARE OF WHERE THE LAUGHS ARE,
WHAT THE RHYTHM OF THE SCENE IS.

>> SANTA’S COMING TO TOWN.
>> SANTA!

>> MY GOD.
>> HE COULD FLOW WITH A SCENE

AND CHANGE IT.
HE’S MORE LEAK A JAZZ MUSICIAN

WHO IMPRO VIZ AROUND IT AS
OPPOSED TO SOMEBODY MORE USED TO

READING OFF SHEET MUSIC.
>> LANE, COULD I PLEASE HAVE

YOUR ATTENTION?
I’VE JUST BEEN HANDED A URGENT

AND HORRIFYING NEWS STORY.
I NEED ALL OF YOU TO STOP WHAT

YOU’RE DOING AND LISTEN.
CANNONBALL.

>> AND I LOVE ANCHOR MAN SO
MUCH.

AT THAT TIME, THIS WAS A BIG
DEAL THAT HE WAS MAKING A MOVIE

THAT WAS HIS AND ADAM MACKAY’S
SENSE OF HUMOR WHO WERE BOTH

"SNL" GUYS.
IT WAS ALL THE GUFFY SHIT THAT

HE DOES BEST ALL WRAPPED IN ONE.
>> RON, WHERE ARE YOU?

>> I’M IN A GLASS CASE OF
EMOTION.

>> HE’S GOT STONE ON.
>> A LOT OF WHAT WE THINK OF NOW

AS TOWELS COMEDY IS SOMEWHERE IN
ANCHOR MAN, WHETHER YOU’RE

TALKING ABOUT WRITERS,
DIRECTORS, PRODUCERS, CO‐STARS,

CAM
CAMEOS.

>> BUT I THINK AND PA TAU IS
DEFINITELY THE MOST SIGNIFICANT

PARTICIPANT IN THAT FILM IN
TERMS OF STEERING WHAT FILM

COMEDY WOULD BECOME OVER THE
YEARS.

>>> THANKS, MAN.
>> SO READY?

>> YEAH.
>> OH!

YOU [ BLEEP ] OH, I’M SORRY.
I’M SORRY.

THAT’S JUST YOUR JOB.
>> I THINK JUDD APATOW CHANGED

THE LANDSCAPE OF COMEDY IN THE
21st CENTURY COMPLETELY.

>> I’M PREGNANT.
>> WHAT?

>> WHAT?
>> I’M PREGNANT?

>> WITH EMOTION?
>> IT’S COMEDY INFUSED WITH THE

HEART OF JIM BROOKS BUT WITH THE
OUTRAGEOUSNESS THAT IS GOING TO

KILL IT, IT’S GOING TO BRING THE
HOUSE DOWN.

♪
♪ I’LL TELL IT TO THE WORLD

>> BRIDESMAIDS COMES OUT AND
IT’S A REALLY SURREAL EXPERIENCE

WATCHING THAT MOVIE.
BECAUSE YOU ACTUALLY FEEL AS

THOUGH THESE ARE REAL WOMEN.
>> OH, YOU HAD SEX WITH HIM.

>> WE HAD AN ADULT SLEEPOVER.
>> OH.

>> DID YOU LET HIM SLEEPOVER IN
YOUR MOUTH?

>> ANNIE.
>> I’M SORRY.

>> YOU’RE UNBELIEVABLE.
>> HE KEPT LIKE PUTTING IT NEAR

MY FACE.
>> THEY DO THAT, DON’T THEY.

>> THEY DO THAT.
LET US OFFER.

WE DON’T OFFER.
>> YOU’RE SUPPOSED TO SLAP IT

AWAY.
>> I COULDN’T.

>> THAT SCENE WITH KRISTIN IN
THE BEGINNING, I AM REALLY PROUD

OF THAT ONE IN THAT I FEEL LIKE
IT DOES CAPTURE THEIR CHEMISTRY

AND YOU UNDERSTAND THEIR
FRIENDSHIP SO QUICKLY IN THEIR

FAMILIARITY WITH EACH OTHER.
>> WHAT IS THAT?

>> I GOT ENGAGED.
>> WHAT?

>> HE ASKED ME LAST NIGHT.
>> WHAT.

>> IT SHOWED FEMALE
RELATIONSHIPS IN THEIR ENTIRETY,

IN THEIR AWFUL UNATTRACTIVE SOME
DAISY LOVE YOU EVEN THOUGH I

HATE YOU SIDE OF FEMALE
RELATIONSHIPS.

AND IT REVOLUTIONIZED THE IDEA
OF WHAT COULD BE FEE PAIL AND

WHAT COULD BE FUNNY.
>> YOU GOT FOOD POINTING FROM

THAT STAUNT, DIDN’T.
>> YOU NO, I HAD THE SAME THING

THAT SHE HAD AND I FEEL FINE.
>> OH, MY, OKAY, OKAY.

>> NOTHING’S HAPPEN SMOOTH POOP
SCENE WASN’T EVEN IN THE SCRIPT.

>> MY GOD INTO NO, NOT THE
BATHROOM.

>> EVERYBODY GO OUTSIDE.
I’M SERIOUS!

>> AT REHEARSAL JUDD AND PAUL
CAME UP WITH THE IDEA WHAT IF

YOU GUYS EAT REALLY BAD FOOD AND
GET THE SHITS.

>> IT’S HAPPENING.
IT’S HAPPENING.

> UP TILL THAT POINT IT WAS VERY
RARE TO SEE WOMEN BEING WOMEN IN

HAIRED CORE COMEDY.
THAT MOVIE IS UNPRECEDENTED

BECAUSE OF IT.
>> IT HAPPENED.

IT HAPPENED.
>> AND THINK HOW MANY PEOPLE’S

CAREERS HAVE BEEN MADE BY THAT
MOVIE.

>> HEY, YOU WANT TO GET BACK IN
THAT RESTROOM AND NOT REST.

>> NO, I HAVE TO GET BACK TO MY
SEAT.

>> YOU’VE GOT TO GET BACK ON MY
SEAT.

>> MELISSA McCARTHY GOT AN OSCAR
NOMINATION FOR THAT PART BECAUSE

HE’S JUST SUCH A FORCE OF
NATURE.

>> HEY, HEY, GOOD NEWS.
I FOUND HIS BALLS YEAR AND A

CLEAR SACK.
SHOVE THOSE BACK UP THERE.

>> OH, MY GOD.
MELISSA McCARTHY, SHE’S A

GENIUS.
SHE’S NOT JUST FUNNY.

SHE CAN DO ANYTHING.
>> I AM SO BAD ASS!

NIGHT ON CNN.
>> UP AHEAD WAS PANDORA.

YOU GREW UP HEARING ABOUT IT BUT
I NEVER FIGURED I’D BE GOING

THERE.
>> WITH AVITAR, JAMES CAMERON

WANTS TO BRING BACK THE
SPECTACLE OF A 3‐D MOVIE AND

IT’S GEARED TOWARDS THE
THEATRICAL EXPERIENCE WHICH I

FEEL LIKE IS PART OF JAMES
CAMERON’S GENIUS IS HE WANTS TO

MAKE A MOVIE THAT MAKES YOU HAVE
TO SEE IT IN A THEATER.

>> YOU SHOULD SEE YOUR FACES.
>> STUDIOS WERE REALLY IN LOVE

WITH PRE‐EXISTING INTELLECTUAL
PROPERTIES.

"AVATAR" WAS AN IDEA HE HAD BEEN
RUMINATING ON FOR A LONG TIME.

IT’S ORIGINAL AND THAT IS A
WILDLY RICKY THING TO DO THAT

THE BUDGET LEVEL.
>> I REMEMBER TAKING MY THEN

9‐YEAR‐OLD SON TO SEE IT AND WE
JUST SAT THERE IN 3‐D AWE.

TO BE SO IMMERSED IN THAT WORLD
WAS MIND BLOWING.

EVERYTHING FELT REAL.
EVERYTHING FELD TANGIBLE.

IT FELT LIKE THIS WORLD EXISTED.
>> "AVATAR" CAME OUT AND

BASEMENT HIGHEST GROSSING MOVIE
OF ALL TIME FOR THE SECOND TIME

IN JAMES CAMERON’S CAREER.
AND IT’S INTERESTING THAT AT THE

SAME TIME, JAMES CAMERON’S
EX‐WIFE KATHRYN BIGELOW DIRECT

AID MOVIE THAT COULDN’T HAVE
BEEN MORE DIFFERENT.

>> IF EVERYTHING LOOKS OKAY WHEN
I GET DOWN THERE I’M JUST GOING

TO SET IT UP.
GIVE THESE PEOPLE SOMETHING TO

THINK ABOUT.
WANT THEM TO KNOW IF THEY’RE

GOING TO LEAVE A BOMB ON THE
SIDE OF THE ROAD, WE’RE JUST

GOING TO BLOW UP THEIR [ BLEEP ]
ROAD.

>> IN MAKING "THE HURT LOCKER"
WHAT KATHRYN BIGELOW DID WAS

ESSENTIALLY MAKE A WAR FILM AS
ASUS PENCE FILM.

YOU SHIFTED THE PARAMETERS OF
THE WAR FILM.

YOU DON’T GET BIG BATTLE
SEQUENCES.

IT’S ONE PERSON GOING INTO THE
REALM OF DANGER.

>> AND BOY.
>> KATHRYN BIGELOW IS JUST A

MASTER OF BUILDING SUSPENSE.
SHE IS TAKING THE VIOLENCE APART

TO HAVE LOOK AT SOMETHING
DEEPER.

WHAT WOULD DRIVE THESE MEN TO
WANT TO DISARM BOMBS AND HOW IT

BECOMES AN ADDICTION.
>> THIS IS SUICIDE, MAN.

>> THAT’S WHAT I CALL A SOMEBODY
BOMB, RIGHT?

>>.
>> CATHERINE KNOWS EXACTLY WHAT

SHE WANTS.
SHE IS INCREDIBLY INVENTIVE.

INTREPID.
NEVER RECKLESS BUT ALWAYS

EXPERIMENTING.
SHE IS A GREAT, GREAT FILM

ARTIST.
>> NOW IN OUR COUNT DOWN TO THE

OSCARS, DIRECTOR KATHRYN BIGELOW
HAS A CHANCE TO MAKE HOLLYWOOD

HISTORY.
SHE’S JUST THE FOURTH WOMAN EVER

NOMINATED FOR BEST DIRECTOR AND
SHE WOULD BE FIRST EVER TO WIN

THE AWARD.
>> AS WE’RE GETTING TOWARDS

OSCAR SEASON WHERE THE BIG RIVAL
IS JAMES CAMERON’S AVITAR," HER

EX‐HUSBAND HAS MADE THE BIGGEST
MOVIE OF ALL TIME, THERE’S THIS

UNDERDOG QUALITY AND OBVIOUSLY
THE MILESTONE QUALITY OF BIGELOW

UP FOR BEST DIRECTOR THAT MAKES
THE MOVIE KIND OF THIS

UNSTOPPABLE FORCE.
>> WELL, THE TIME HAS COME.

CATHKATHRYN BIGELOW.
>> WHOO.

>> WHAT’S INTERESTING IS ABOUT
HER IS SHE WAS VERY HAPPY FOR

THE RECOGNITION FROM HER PEERS
BUT THEN AGAIN, SHE DIDN’T WANT

TO PIVOT AND BE THE POSTER WOMAN
FOR WOMENING IN HOLLYWOOD.

NOT EVERYBODY WANTS TO CARRY
THAT MANTLE.

SHE ISN’T WEARING HER GENDER ON
HER SLEEVE.

SHE IS A FILMMAKER MAKING FILMS.
>> SIGNED OVER EVERYTHING.

IF HE DOESN’T SHOW AT TRIAL,
SEE, THE WAY THE DEAL, WOULD IS

YOU ALL ARE GOING TO LOSE THIS
PLACE.

GOT SOME PLACE TO GO?
>> I’LL FIND HIM.

>> GIRL, I’VE BEEN LOOKING.
> I SAID, I’LL FIND HIM.

>> THE STORIES I TELL FROM THE
SOCIAL REALIST TRADITION,

PATIENCE IS REQUIRED.
WHEN IT WORKS, IT IS ABSOLUTELY

WHERE I WANT TO BE WORKING.
BECAUSE I DO WANT TO BE ABLE TO

TELL STORIES FROM EVERYDAY LIFE.
THAT’S THE PLACE WHERE ONE CAN

DO THAT.
>> JESUS.

DAD’S YOUR ONLY BROTHER.
>> YOU THINK I FORGOT THAT?

HUH?
>> COMING ON 40 YEARS, BUT I

DON’T KNOW WHERE HE’S AT AND I
AIN’T GOING TO GO AROUND ASKING

OF AN HIM EITHER.
>> WINTER’S BONE STILL STANDS AS

ONE OF THE BEST INDIES AT THAT
TIME.

IT GETS THE GRAND JURY PRIZE AT
SUNDANCE WHICH IS A GREAT HONOR

AND IT GOT A LOT OF OSCAR
NOMINATIONS.

>> THE FILM HAD THIS REALLY
COMPELLING PRESENCE AT ITS

CENTER PLAYED BY JENNIFER
LAWRENCE AND THIS IS THE BIRTH

OF AN EXTRAORDINARY CAREER.
>> I VOLUNTEER.

I VOLUNTEER!
I VOLUNTEER AS TRIBUTE.

>> I BELIEVE WE HAVE A
VOLUNTEER.

>> JENNIFER LAWRENCE GOES FROM
BEING THIS FRESH FACE IN

WINTER’S BONE SOB BECOMING THE
FACE OF A MASSIVE FRANCHISE IN

THE HUCKER GAMES" MOVIES.
>> THANK YOU.

FOR YOUR CONSIDERATION.
>> THEN AN OSCAR DARLING WITH

MOVIES LIKE "SILVER LININGS
PLAYBOOK."

>> FORGET I OFFERED TO HELP YOU.
FORGET THE ENTIRE [ BLEEP ] IDEA

BECAUSE THAT MUST HAVE BEEN
[ BLEEP ] BECAUSE I’M SO MUCH

CRAZIER THAN.
>> YOU KEEP YOUR VOICE DOWN.

>> I’M JUST THE CRAZY SLUT WITH
A DEAD HUSBAND.

FORGET IT!
>> SHUT UP.

>> SHE WAS GREAT.
I LOVE JENNIFER.

HER CHARACTER WAS SO POWERFUL
AND STRONG AND SHE HE DID IT SO

WELL.
I DIDN’T TRUST HER BEFORE BUT I

GOT TO SAY NOW I DO.
>> NOW YOU LIKE HER, DAD?

>> I HAVE TO SAY I DO.
YEAH.

>> WHEN SHE WINS THE OSCAR FOR
"SILVER LININGS PLAYBOOK" IT

MAKES PERFECT SENSE.
SHE’S SNOT NOT JUST A FIGURE

VERY MUCH IN THE TRADITION OF
THE GREAT MOVIE STARS OF THE

PAST BUT ALSO SOMEONE WHO IS
WITTY AND REAL WHO IT SEEMS LIKE

CAN DO ANYTHING SHE SETS OUT TO
DO.

>> THREE, TWO.

>>> SO WHERE ARE YOU?
YOU’RE IN SOME HOTEL ROOM.

YOU JUST WAKE UP AND YOU’RE IN A
MOTEL ROOM.

THERE’S THE KEY.
IT FEELS LIKE MAYBE IT’S JUST

THE FIRST TIME YOU’VE BEEN
THERE, BUT PERHAPS.

>> MEMENTO IS A FRACTURED
NARRATIVE FILM NOIR ABOUT

SOMEONE WHO HAS LOST THEIR
MEMORY PLAYED BY GUY PIERCE.

>> I LOST MY MEMORY.
>> EVERY TIME I SEE YOU.

>> IT’S A FAST FUN MOVIE THAT
WAS AN INTRODUCTION TO A

FILMMAKER WITH A ELLE OF A LOT
OF TALENT.

WITH CHRIS NOLAN, YOU SEE THIS
GUY WHO IS HAVING A GREAT TIME

MAKING A MOVIE AND SEEING WHAT
HE CAN GET AWAY WITH.

>> YOU SAID WE TALKED BEFORELE?
I DON’T REMEMBER THAT.

>> HE’S PLAYING WITH CHRONOLOGY
AND NARRATIVE STRUCTURE BUT HE’S

ALSO TELLING A REALLY TRAGIC
STORY THROUGH THE EYES OF A

CHARACTER WHO WE SYMPATHIZES
WITH WHILE WE KNOW NOTHING

ABOUT.
>> I NEED A ROUTINE TO MAKE MY

LIFE POSSIBLE.
NO DRIVE TO NO REASON TO MAKE IT

WORK.
ME?

YEAH, I GOT A REASON.
>> I LOVE CHRIS’S FILMS.

IT’S A RARIFIED AIR TO BE ABLE
TO OCCUPY A PLACE WHERE YOU’RE

CINEMATIC LITTLE AND POPULAR AT
THE SAME TIME.

>> IT’S ALWAYS RISKY TO BRING
BACK A FILM AND TO MAKE YET

ANOTHER STORY BUT CHRIS NOLAN
CAME IN AND MET WITH ME AND

WALKED ME THROUGH THE ENTIRE
STORY.

BEAT BY BEAT BY BEAT BY BEAT.
AND I AGREED WITH IT IN THE

ROOM.
>> CHRISTOPHER NOLAN GAVE THE

BATMAN STORY BOTH A MYTHICAL
DIMENSION BUT ALSO A VERY GRITTY

IN THE MOMENT KIND OF REALITY.
>> WHAT?

>> CHRIS NOLAN KNEW WHAT HE WAS
DOING IN CASTING CHRISTIAN BALE

AND KNEW WHAT HE WAS DOING BY
MAKING IT A REALISTIC PORTRAYAL

OF BATMAN TO WHERE YOU COULD
BELIEVE THAT THIS WAS HOW A

BILLIONAIRE KID BECAME THE DARK
KNIGHT.

>> GOOD EVENING, LADIES AND
GENT

GENTLEMEN.
WE ARE TONIGHT’S ENTERTAINMENT.

>> IN THE DARK KNIGHT, HEATH
LEDGER CHOSE TO PLAY THE JOKER

AS A GENUINE PSYCHOPATH.
>> HA, HA.

>> IN A WAY THAT RAISED THE
STAKES FOR THE ENTIRE PROPERTY.

>> WE KNEW IT WAS OPEN FOR A
FRESH INTERPRETATION AND I ALSO

INSTANTLY KIND YOU HAVE HAD
SOMETHING UP MY SLEEVE WHICH

HAPPENED TO BE EXACTLY WHAT
CHRIS WAS KIND OF LOOKING FOR.

>> THE JOKER HAS ALWAYS BEEN A
SOMEWHAT AMBIGUOUS CHARACTER.

BUT WHAT HEATH LEDGER DID WAS
MAKE HIM TRULY MALEVOLENT.

>> I TOLD YOU I’M A MAN OF MY
WORD.

>> THERE’S A SCENE IN THE MOVIE
WHERE THE JOKER HAS STOLEN

MILLIONS OF DOLLARS AND HE JUST
BURNS IT ALL.

THAT’S MEANINGLESS TO HIM.
HE WANTS TO CREATE CHAOS.

>> ALL YOU CARE ABOUT IS MONEY.
THIS TOWN DESERVES A BETTER

CLASS OF CRIMINAL.
I’M GOING TO GIVE IT TO THEM.

>> HEATH LEDGER I THINK CHANGED
HOW VILLAINS ARE PORTRAYED IN

SUPERHERO MOVIES.
HE SET THE BAR SO HIGH.

IT’S A HEARTBREAKING PERFORMANCE
BECAUSE IT REMINDS YOU OF WHAT

THE NEXT 50 YEARS WOULD HAVE
BEEN LIKE FOR THAT GUY AS AN

ACTOR ON SCREEN.
>> BECAUSE THEY LEGITIMIZE THEED

THE SUPER HERO SO MUCH, THERE’S
SO MUCH RUINOUS EFFECT THAT

NOLAN PROBABLY DOESN’T SEE
COMING WHERE STUDIOS ARE LIKE

GREAT, THIS IS IT.
THIS IS THE BACKBONE OF OUR BOX

OFFICE STRATEGY FROM NOW ON.
>> FOR YOUR CONSIDERATION,.

>> WHEN I WAS HIRED TO DO IRON
MAN, I LIKED THE IDEA THAT IT

WAS AN OLDER CHARACTER, THAT IT
WASN’T SOMEBODY WHO HAD AN 0 OR

GIN 0 STORY OF BEING AN ORDINARY
PERSON AND BECOMING SUPER HUMAN.

>> I’LL THROW ONE OF THESE IN
WITH EVERY PURCHASE.

>> IT WAS ABOUT SUICIDE SUCCESS
IN LIFE WHO WAS HAVING A CRISIS

OF CONSCIENCE.
>> AND THE BIG THING THAT MADE

IT ALL WORK WAS THE CASTING OF
ROBERT DOWNEY JUNIOR.

>> WHAT’S GOING ON HERE?
>> I THINK WITHOUT HIM, WE

WOULDN’T BE TALKING ABOUT HA
MOVIE.

>> LET’S FACE IT, THIS IS NOT
THE WORST THING YOU’VE CAUGHT ME

DOING.
>> ANYBODY WHO WAS A ROBERT

DOWNEY JUNIOR FAN OF WHICH I HAD
BEEN FROM THE VERY BEGINNING, IT

WAS A NO‐BRAINER.
YOU KNOW, JON FAVREAU IS AN

EXCITING FILMMAKER.
IRONMAN WAS AN EXCITING

CHARACTER.
EVERYTHING LINED UP.

>> THEY GOT IT RIGHT.
>> WHOO.

>> OUR COLLABORATION ALONG WITH
EVERYBODY WHO WORKED ON

"IRONMAN" CREATED A TEMPLATE FOR
THE TONE, THE SENSIBILITY AND

THE WAY THAT THE MARVEL UNIVERSE
COULD BE REFLECTED IN AN

ACCURATE WAY TO WHAT STANLEY HAD
COP UP WITH.

>> THE IDEA OF SO MANY SUPER
HEROES IN ONE MOVIE, THIS HAS

NEVER BEEN DONE BEFORE.
>> THE AVENGERS HAD THE BIGGEST

U. S. OPENING EVER THIS WEEKEND.
THE FIRST MOVIE TO MAKE MORE

THAN $200 MILLION IN ONE WEEKEND
ALONE.

>> OUTSIDE OF THE ACTUAL ROYAL
COMIC BOOK WHEREAS THEY DO THEIR

WORLD BUILDING, I DON’T THINK
THERE’S BEEN ANOTHER CINEMATIC

EXPERIENCE THAT IS AS
INTRICATELY WRITTEN AS THE

MARVEL UNIVERSE.
THEY’VE DONE A REALLY GOOD JOB

OF THREADING THIS THROUGH HOW
THESE GUYS HAVE EVOLVED EVEN

WITH DIFFERENT DIRECTORS AND
DIFFERENT WRITERS.

>> DADDY, HELLO MOM.
>> THE NEW STARDOM IS THE BRAND.

MARVEL IS ARGUABLY THE BIGGEST
STAR IN THE HISTORY OF MOVIES.

AND I WOULD TAKE THAT ARGUMENT
AND SAY NOTHING COMES CLOSE.

NO MOVIE STAR HAS EVER COME
CLOSE TO BEING AS BIG AS MARVEL

IS IN MOTION PICTURES TODAY.

When the power of 472‐horses
to experience our most

advanced safety technology

>>> LOOK AT THAT.
THESE PEOPLE DON’T NOTE WHAT

YOU’RE CAPABLE OF.
>> I HAD BEEN A HUGE ADMIRER OF

ALEJANDRO’S STUFF AND BIRD MAN
WAS AS JOYOUS AN EXPERIENCE OF

MAKING A FILM AS I EVER HOPE TO
HAVE.

>> I’M SORRY I’M SO POPULAR,
MIKE.

>> POPULAR?
POPULARITY IS THEIR SLUTTY

LITTLE COUSIN OF PRESTIGE.
>> I DON’T KNOW WHAT THAT MEANS.

>> I DON’T KNOW WHAT WAS IN THE
WATER AROUND MEXICO CITY, BUT

ALEJANDRO ALPHONSO, GUILLERMO
DEL TORO THAT IS A PACK OF

TALENT UNLIKE ANYTHING IN MODERN
FILM.

>> OUR CREATIVE PROCESS IS A
PROCESS WE REALLY SHARE BETWEEN

EACH OTHER.
DURING THE WRITING PROCESS, WE

KEEP ON SHARING OUR SCREEN PLAYS
AND BEING BRUTALLY HONEST WITH

EACH OTHER.
THEN DURING SHOOTING WE’RE LIKE

SUPPORT GROUPS BECAUSE WE SUFFER
SO MUCH THAT WE NEED TO TALK TO

SOMEONE ELSE WHO SUFFERS MORE.
>> FLOOES THESE FILMMAKERS DON’T

COME OUT OF A VOID.
THEY COME OUT OF A COUNTRY WITH

A RIN CINEMATIC TRADITION.
SO THEY BRING A VERY SPECIAL

PERSPECTIVE WHICH HAS EVOLVED
OVER A LONG TIERED OF TIME.

>> QUENTIN, MUCHO TIEMP PAN’S
LABYRINTH TOOK PEOPLE BY STORM.

IF THEY WEREN’T INTERESTED IN
HORROR, THEY MAY NOT HAVE KNOWN

WHAT GUILLERMO WAS DOING.
IT BECOMES A REALLY ACCESSIBLE

MAINSTREAM MOVIE THAT HE ALSO
HAS THESE VERY DARK FANTASTIC

CAL ELEMENTS THAT HE’S BEEN
WORKING ON FOR YEARS.

>> THE UNIVERSE MON CENTERS, OF
COURSE, ARE SIN MAN HISTORY AND

SO MUCH INSPIRATION FROM WHAT HE
DOES COMES FROM THOSE OLD

MOVIES.
>> I CAN SEE THE LOVE OF THESE

MONSTERS IN HIS FILMS AND YOU
CAN HEAR WHEN HE TALKS ABOUT IT.

I MEAN, YOU KNOW, IT’S SPECIAL.
AND SHAPE OF WATER IS LIKE

CLEARLY HIS CREATURE FROM THE
BLACK LAGOON.

>> GUILLERMO DEL TORO IS
APPRECIATIVE OF THE OLD SCHOOL

MOVIE MAKING.
HE NEVER LOST THE 12‐YEAR‐OLD

GEEKY FAN BOY WITHIN HIMSELF AND
I THINK THAT’S WHY AUDIENCES CAN

RELATE TO HIS WORK SO MUCH.
>> WHAT YOU’RE SEEING IS THE

DIRECTORS USING ESTABLISHED
GENRES TO DO SOMETHING THAT’S

ACTUALLY VERY IDIOSYNCRATIC AND
THAT YOU CAN MAKE AN INTIMATE

MOVIE WHICH IS ALSO A SPECTACLE
MOVIE.

ALPHONSO CARON IS GREAT DOING
THAT.

HE CAN MAKE A MOVIE ON ONE HAND
LIKE "GRAVITY" WHICH IS

SPECTACULAR THAT HAS TO BE SEEN
ON THE BIG SCREEN BUT IN REALITY

IS A VERY INTIMATE HUMAN MOVIE.
>> I KNOW.

WE’RE ALL GOING TO DIE.
EVERYBODY KNOWS THAT.

BUT I’M GOING TO DIE TODAY.
FUNNY THAT YOU DON’T HAVE TO

KNOW, BUT THE THING IS THAT I’M
STILL SCARED.

I’M REALLY SCARED.
>> ALPHONSO KAW RON IS A

FASCINATING DIRECTOR BECAUSE
HE’S SMART, GIFTED AND DOES ALL

KINDS YOU HAVE FILMS.
>> WHAT WAS INTERESTING ABOUT

"CHILDREN OF MEN" IS YOU HAD ALL
THESE PERSONAL RELATIONSHIPS IN

THE MIDDLE OF THIS DYSTOPIAN
FUTURE WITH SOMETHING REALLY

HUMAN AT STAKE THIS IDEA OF
FERTILITY AND CONTINUING THE

SPECIES.
>> PEOPLE FOUND IT ALMOST

IMMEDIATELY AND RECOGNIZED WHAT
A POWERFUL WORK IT WAS.

AND NOW WHEN YOU TALK ABOUT THE
BEST FILMS OF THE 2000s, IT’S

ALWAYS IN THAT CONVERSATION.
>> SHE’S PREGNANT.

>> YEAH, I KNOW.
>> IT’S A MIRACLE, ISN’T IT?

>> WITH HIS LONG‐TIME
CINEMATOGRAPHER EMMANUEL

LUBESKI, HE WAS ABLE TO DO THESE
THINGS THAT NO ONE HAD DONE

BEFORE.
I WAS SPEAKING THE OTHER DAY

WITH SOMEONE WHO IS AN INDUSTRY
PROFESSIONAL AND HE HAD SAID HE

AND SEVERAL OTHER PEOPLE HE KNEW
DECIDED TO BECOME FILMMAKERS

WHEN THEY SAW THE CAR SCENE IN
"CHILDREN OF MEN."

>> IT WAS LIKE DOING A SET
PIECE.

WE WERE REALLY DRIVING THE CAR.
THERE WERE REALLY FIRES ON THE

HILL.
THE CAMERA WOULD MOVIE OVERHEAD.

FOR US AS ACTORS, IT WAS
EXCITING.

>> THE CAMERA JUST MANAGES TO
EFFORTLESSLY FLOW TO JUST WHERE

IT NEEDS TO BE.
IT’S ONE OF THOSE SCENES THAT

LEAVES YOU SAYING HOW THE HELL
DID HE DO THAT.

HE’S THE STORY TELLING THAT
COMES FIRST AND THE CAMERA WORK

COMES SECOND BUT THEY COMPLEMENT
EACH OTHER SO BEAUTIFULLY.

>> WHAT CAURON DOES IN THE REB
NANTS" IS THEY UNDERSTAND FILM

SHOULD ABEXPERIENTIAL MEDIUM.
THAT YOU CAN FEEL LIKE YOU’RE IN

SOME KIND OF HORRIBLE SURVIVAL
STORY IN THE MIDST OF VERY

RUGGED WILDERNESS.
>> HE PULLS ON YOUR HEART

STRINGS, PULLS YOUR HEART OUT
AND KICKS YOU WHILE YOU’RE DOWN.

YOU’RE GUTTED.
YOU ARE GUTTED BY HIS FILMS BUT

YOU CAN’T LOOK AWAY.
>> JESUS CHRIST.

WHAT HAPPENED?
>> THEY ARE THESE EMOTIONAL

PERSONAL FILMS THAT REALLY I
THINK ENERGIZE FILM IN GENERAL.

>> ALEJANDRO G., REVENANT.
>> TONIGHT’S BIG WINNERS

INCLUDED DIRECT KER ALEJANDRO
FOR "THE REVENANT."

HE WON LAST YEAR FOR BIRD MAN.
IT’S THE FIRST TIME A DIRECTOR

HAS WON BACK TO BACK OSCARS IN
66 YEARS.

>> AL HAND DOE, GUILLERMO AND
ALP

ALPHONSO, THESE ARE THE MOVIES
THAT ARE EXCITING PEOPLE AND

MOVIE STORY TELLING FORWARD.
THEY’VE WON BEST DIRECTOR FIVE

OUT OF SIX YEARS RUNNING.
WHICH CLEARLY MEANS THEY’RE

MAKING A MAJOR IMPACT ON THE
AMERICAN FILM INDUSTRY.

>> I AM AN IMMIGRANT.
LIKE AL PHONE AND ALEJANDRO LIKE

SAL MARKS LIKE MANY, MANY OF
YOU.

I THINK THE GREATEST THINK OUR
ART AND INDUSTRY GOSS IS TO REAS

A THE LINES IN THE SAND.
WE SHOULD CONTINUE DOING THAT

WHEN THE WORLD TELLS TO US MAKE
THEM DEEPER.

>> "12 YEARS A SLAVE" IS THIS
REALLY SOPHISTICATED

REPRESENTATION OF SLAVERY WHICH
HAD NOT ALWAYS BEEN THE CASE.

THERE IS A VERY CHECKERED
HISTORY OF THE REPRESENTATION OF

SLAVERY IN CINEMA.
AND THIS FILM I THINK GOT IT

RIGHT.
>> HELP ME.

HELP ME.
SOMEBODY, HELP ME.

>> IT WAS BASED ON A TRUE STORY
OF A FREE BLACK MAN WHO GETS

KIDNAPPED AND PUT INTO SLAVERY.
AND IT MADE PEOPLE SORT OF PAY

ATTENTION IN A DIFFERENT KIND OF
WAY.

>> I AIN’T GOT NOST C COMFORT I
THIS LIFE IF I CAN’T BUY MERCY

FROM YOU, I’LL BEG IT.
>> IT’S NOT THE EASIER FILM TO

WATCH.
THERE’S NO STEVE McQUEEN MOVIE

IS.
HE’S SUCH A GREAT DIRECTOR,

PARTICULARLY IN HIS ABILITY TO
PRESENT IT TO YOU IN THIS REALLY

COLD REALITY.
WHICH I THINK ULTIMATELY IS

FRIGHTENING BUT THAT SPEAKS TO
HOW COMPELLING A FILM STEVE

McQUEEN IS ABLE TO CREATE IN
TERMS OF SPEAKING TO THE HORRORS

OF SLAVERY.
>> IT’S RARE THAT

AFRICAN‐AMERICAN HISTORY BECOMES
THE SUBJECT OF MAINSTREAM

CINEMA.
SO IT’S IMPORTANT NOT JUST FOR

ITS PERFORMANCES AND HOW WELL
CRAFTED IT IS, BUT IS DRAWING

OUR ATTENTION TO BLACK HISTORY.
>> THE PRESIDENT DOESN’T WANT TO

US MARCH TODAY.
THE COURTS DON’T WANT US TO

MARCH.
BUT WE MUST MARCH.

WE MUST STAND UP.
WE MUST MAKE A MASSIVE

DEMONSTRATION OF OUR MORAL
CERTAINTY.

>> THE REASON I THINK A VA VER
NAY’S AN CLEANMENT IN "SELMA IS

SO SPECIAL AND POWERFUL IS SHE
WILL KNEW YOU COULD NOT TELL DR.

MARTIN LUTHER KING’S STORY IN
ITS ENTIRETY IN A TWO‐HOUR

MOTION PICTURE.
YOU INSTEAD PICK A MOMENT IN

THEIR LIVES THAT SPEAKS TO THE
KIND OF PERSON THEY WERE.

>> SELMA IT IS.
>> SELMA DOES A REALLY GOOD JOB

OF NOT ONLY HUMANIZING MARTIN
LUTHER KING BUT REPRESENTING THE

TENSION AROUND THE VOTING RIGHTS
ACT THAT MAYBE GETS MISSED WHEN

PEOPLE SAY JOHNSON SIGNED THE
CIVIL RIGHTS ACT AND THE VOTING

RIGHTS ACT WHICH IS TRUE BUT IT
WAS CONTENTIOUS.

♪ NOW YOU MASTERS OF WAR, YOU
THAT BUILD ALL OF THE GUNS ♪

>> BLACK CINEMA ACTUALLY GOES IN
CYCLES.

I THINK IT’S GREAT THAT WE’RE
HAVING THIS RESURGE GENCY BUT

IT’S NOT THE FIRST TIME I’VE
SEEN IT.

AT WHAT POINT DO WE HAVE TO STOP
SAYING THIS IS NOT A FLUKE.

PEOPLE WANT TO SEE THESE
STORIES.

HOW MANY FAST AND FURIOUS
MOVIES, HOW MANY STRAIGHT OUT OF

COMPTONS, WHEN DOES IT STOP
BECOMING A TREND.

THAT’S THE CONVERSATION THAT
NEEDS TO SHIFT.

MORE IMPORTANTLY, IT’S THE TYPES
OF STORIES THAT ARE GETTING

TOLD.
>> GIVE ME YOUR HAND.

LET YOUR HEAD REST IN MY HAND.
RELAX.

I GOT YOU, I PROMISE.
I’M NOT GOING TO LET YOU GO.

HEY, MAN, I GOT YOU.
>> MOONLIGHT PUTS BARRY ON THE

MAP AS A FAMOUS FILMMAKER.
IT FOLLOWS THIS KIRK AS A CHILD,

AS A TEENAGER AND THEN AS AN
BULLET DEALING WITH WHAT IT

MEANS TO BE BLACK AND GAY IN
AMERICA.

AND KNOWING HOW YOU HAVE TO
OPERATE IN A WORLD THAT STILL

DENY
DENIGRATES YOU.

>> WAITING FOR YOUR ASS.
>> IT IS SO INTUITIVELY INTIMATE

ABOUT THE CHARACTER.
IT SAYS SO MUCH IN THE SUBTLEST

WAYS AND THE LITTLE MOMENTS THAT
SEEM TO BE FLEETING, BUT THEY

BECOME PART OF THE BAGGAGE THAT
YOU CARRY THROUGH YOUR ENTIRE

LIFE.
>> WHO GETS TO TELL THESE

STORIES?
THAT’S BECOME IMPORTANT.

THERE’S A SENSE THAT YOU WANT
WOMEN TO TELL WOMEN’S STORIES,

YOU WANT PEOPLE OF COLOR TO BE
ABLE TO TELL THEIR OWN STORIES.

IT LITERALLY IS KIND OF CHANGING
THE COMPLEXION OF HOLLYWOOD.

>> HEY.
.

>> RYAN KUGLER FIRST GETS
ATTENTION DOING "FRUIT VALLEY

STATION," AND IT’S ABOUT THE
POLICE INVOLVED SHOOTING OF A

YOUNG BLACK MAN IN OAKLAND.
>> OH, MY GOD.

OH, MY GOD.
WHAT DID YOU DO TO HIM?

DID YOU KILL HIM?
WHAT DID YOU DO TO HIM?

>> AS A RESIDENT OF THE BAY
AREA, HE’S ABLE TO BRING A

CERTAIN APPROACH AND A FOCUS TO
THESE ISSUES BECAUSE IT’S LOCAL.

BUT IT’S ALSO UNIVERSAL.
>> RYAN KUGLER’S AMAZING BECAUSE

YOU GO FROM THIS INTIMATE
POWERFUL STORY BEAUTIFULLY TOLD.

THEN REMEMBER THE WORD WAS
GETTING AROUND THAT HE WANTED TO

DO HIS OWN ROCKY MOVIE.
>> ONE PUNCH AT A TIME, ONE

ROUND AT A TIME, ONE ROUND AT A
TIME.

>> IN TAKING ON THAT STORY AND
WRITING IT AND DIRECTING IT,

RYAN MANAGED TO HONOR THE SPIRIT
OF THE ROCKY MOVIES.

IT’S FILLED WITH SOME OF THE
BEST NIGHT SEQUENCES THAT I’VE

EVER SEEN.
>> THERE’S A PERFECT RIGHT‐HAND

SHOT BY BREED.
>> THE LEAP THIS GUY’S MADE FROM

THE CREED AND THEN HE ESCALATES
IT AGAIN WITH "BLACK PANTHER."

>> LET’S GO.
>> WHAT DO YOU THINK THIS IS, A

FUNERAL?
>> IT BECAME VERY APPARENT THAT

THIS FILM WAS GOING TO BE A
GAME‐CHANGER.

THIS APPETITE FOR THIS MOVIE WAS
HUGE.

>> THESE CHARACTERS, THIS FILM
ATTRACTING A NEAR FRENZY AROUND

THE COUNTRY.
>> WE GET REPRESENTATION IN A

FILM NOT ABOUT SLAVERY AND NOT
ABOUT TRIALS BUT ABOUT A

POWERFUL AFRICAN EMPIRE.
>> WHEN YOU’RE SO THISTY FOR

THIS TYPE OF REPRESENTATION,
WHEN YOU FINALLY GET IT, YOU

GLUT ON IT.
MY UNCLE AND AUNT WHO I DON’T

THINK HAVE BEEN TO THE MOVIE
THEATER IN 20 YEARS WERE LIKE,

WE’RE GOING.
WAUCONDA FOREVER.

Yeah.
Switc Yeah? EICO.

COME GIVE US A HUG BEFORE YOU
GO.

HUGS.
>> COME ON, MOM.

HUG HER.
THAT’S WHAT SHE’S THERE FOR.

>> AT THE TIME TO DEPICT A
SAME‐SEX COUPLE WITH A NORMAL

THRIVING FAMILY WAS
CONSIDERED ‐‐ WAS SHOCKING.

>> I FELT LIKE I HAD A NUGGET OF
SOMETHING I WAS REALLY

INTERESTED IN.
I BELIEVED IN IT.

I DIDN’T KNOW REALLY WHAT IT
WAS.

IT WAS NOT FORMED.
IT WAS JUST A CONCEPT OF THESE

TWO WOMEN RAISING THESE KIDS WHO
ARE BECOMING TEENAGERS AND NOW

THEY CAN MEET THIS SPERM DONOR
FATHER AND WHAT WOULD HAPPEN

IF ‐‐
>> I LOVE YOU GUYS, AND I LOVE

YOUR MOM.
AND THAT’S THE TRUTH.

SOMETIMES YOU HURT THE ONES YOU
LOVE THE MOST.

I DON’T KNOW WHY.
>> WHAT LISA DID SO BEAUTIFULLY

AND TENDERLY WAS SHE BROUGHT
SOMETHING TO POPULAR CULTURE

THAT WAS WILDLY ENTERTAINING BUT
REALLY ABOUT HOW ALL MARRIAGES

AND ALL FAMILIES ARE VERY MUCH
THE SAME.

>> YOU SHOULD JUST GO TO CITY
COLLEGE WITH YOUR WORK ETHIC.

JUST GO TO CITY COLLEGE AND THEN
TO JAIL AND THEN BACK TO CITY

COLLEGE AND THEN MAYBE YOU WOULD
LEARN TO PULL YOURSELF UP AND

NOT EXPECT EVERYBODY TO DO
EVERYTHING.

>> AND THE FATHER, SON, AND THE
HOLY SPIRIT.

>> LADY BIRD IS THE FEATURE
DEBUT.

SHE WROTE AND DIRECTED IT.
IT’S A SEMIAUTOBIOGRAPHICAL

STORY ABOUT A YOUNG WOMAN COMING
OF AGE IN LOVELY SACRAMENTO.

>> A READING FROM THE BOOK OF
GENESIS.

>> NOT TO PUT TOO MUCH PRESSURE
ON LADY GURWIG, BUT SHE’S THE

HOPE.
SHE’S BEEN THE RAY OF LIGHT FOR

SO LONG AS AN ACTRESS AND
WRITER, SO IT’S ONLY NATURAL

SHE’S DIRECTING FILMS.
>> YOU ARE SO INFURIATING.

>> PLEASE STOP YELLING.
>> I’M NOT YELLING.

IT’S PERFECT.
>> DO YOU LOVE IT?

>> SHE’S A HUMANIST AND HER
FILMS ARE SO FUNNY, AND THEY’RE

CINEMATIC.
♪

>> IT’S A VERY QUINTESSENTIAL
MOTHER/DAUGHTER STORY BUT ALSO

FEELS VERY PERSONAL.
HOW CAN THERE HAVEN’T BEEN MORE

MOVIES LIKE THAT.
THAT’S AN INTERESTING TIME OF

LIFE FOR A LOT OF GIRLS AND IT’S
BEEN IGNORED.

♪
>> BAKER IS A VERY INVENTIVE

INDEPENDENT FILMMAKER.
HE FIRST WAS ON MY RADAR SCREEN

FOR HIS MOVIE TANGERINE WHICH HE
SHOT ENTIRELY AN iPHONE AND

CAPTURED WOMEN IN A TRANS
COMMUNITY IN LOS ANGELES.

>> THE WORLD CAN BE A CRUEL
PLACE.

>> YES, IT IS CRUEL.
DON’T YOU THINK?

>> I WANT TO TELL UNIVERSAL
STORIES.

I WANT TO TELL STORIES WITH
UNIVERSAL THEMES.

AS AN AUDIENCE MEMBER, I FEEL
THE MOST SATISFIED WHEN A

FILMMAKER HAS TAKEN ME TO A
PLACE I’VE NEVER BEEN TO BEFORE.

>> GET OUT, THE ULTIMATE HORROR
MOVIE IN MY OPINION.

WHAT IS THE GREATEST HORROR IN
THIS COUNTRY?

RACISM.
NOW YOU HAVE "GET OUT" AND YOU

HAVE AN INTERRACIAL COUPLE GOING
TO MEET HER PARENTS FOR THE

FIRST TIME.
>> HOW LONG HAS THIS BEEN GOING

ON, THIS ‐‐ THIS THING?
>> TAKE THE IDEA OF YEARS OF

AMERICAN RACISM AND THIS
CONSTANT SENSE OF THE WIDER

CULTURE STEALING FROM YOU, OF
TAKING YOUR FOOD AND YOUR

CULTURE AND YOUR MUSIC.
AND YOU TAKE THAT TO SORT OF THE

HORRIBLE, THE EXTREME, TO
LITERALLY INHABITING YOU AND

STEALING YOUR LITERAL BODY.
>> NOW, SINK INTO THE FLOOR.

>> WAIT, WAIT, WAIT.
>> SINK.

>> I THINK "GET OUT" IS
EFFECTIVE FOR ME ANYWAY BECAUSE

I HAD NO IDEA WHAT IT WAS ABOUT.
THEN WHEN I REALIZED WHAT IT WAS

SAYING AND IT WAS SCARING ME
WHILE IT WAS SAYING IT ‐‐

I THOUGHT IT WAS THE GREATEST
DIRECTORIAL DEBUT I HAD SEEN IN

SEVERAL YEARS.
>> I MEAN, I TOLD YOU NOT TO GO

IN THAT HOUSE.
>> FINALLY WE ARE SEEING A

LITTLE MORE DIVERSITY AMONG THE
PEOPLE WHO ARE MAKING THE

DECISIONS ABOUT WHAT MOVIES TO
MAKE AND THE PEOPLE WHO ARE

LITERALLY MAKING THE MOVIES.
THEY ARE TELLING THEIR STORIES.

THEY ARE TELLING STORIES THAT NO
ONE IN HOLLYWOOD COULD TELL

EXCEPT FOR THEM.
AND THE MOVIES ARE GOING TO BE

BETTER FOR IT.
AUDIENCES ARE ALREADY

UNDERSTANDING THAT.
♪

♪
>> THERE IS STILL SOMETHING

ABOUT BEING TOLD A STORY.
A MOVIE IS SOMETHING THAT’S BEEN

REALLY HAND‐CRAFTED.
IT’S A MOSAIC THAT’S BEEN

CAREFULLY PIECED TOGETHER.
IT JUST CREATES THIS OPPORTUNITY

TO TOTALLY LOSE YOURSELF.
IT’S A LITTLE BIT LIKE ENTERING

A DREAM.
>> IT’S LIGHT AND SHADOWS THROWN

AGAINST A WALL AND BOUNCED BACK
AT AUDIENCES THAT DON’T KNOW

WHAT THEY’RE ABOUT TO RECEIVE.
THESE IMAGES LIVE IN OUR

CONSCIOUSNESS.
THAT STAYS IN OUR MIND.

THE WAY MUSIC IS RECALLED IN OUR
HEADS, THOSE IMAGES REPLAY AND

WE LIVE OUR LIVES BY THEM.
>> IT BRINGS ALL THE ELEMENTS OF

ALL OF OUR SENSES TOGETHER.
THERE’S REALLY NOTHING ELSE LIKE

IT.
>> EVEN THOUGH YOU’RE DOING

SOMETHING INCREDIBLY PERSONAL
AND IN MANY WAYS INCREDIBLY

SELFISH BECAUSE YOU’RE DOING
SOMETHING YOU LOVE SO MUCH AND

THEN IT GETS OUT THERE IN THE
WORLD AND IT COULD CHANGE

PEOPLES’ TRAJECTORIES.
>> WHEN YOU CAN GO SOMEWHERE

THAT YOU CAN PRETTY MUCH
GUARANTEE YOU’RE GOING TO BE

ABLE TO SET YOUR WORRIES ASIDE
FOR THAT PERIOD OF TIME, IT’S

LIKE A DRUG.
IT’S LIKE A DRUG.

>> IT’S JUST A DIRECT CONDUIT
STRAIGHT INTO YOUR SOUL.

>> I GREW UP WANTING TO BE THE
MOVIES.

IT WAS ALL ABOUT THE MOVIES.
>> SINCE THE DAWN OF MAN, WE

LIKE TO GET AROUND A FIREPLACE
AND COMMUNE IN STORY TOGETHER.

SO, WE CAN FEEL FOR A FEW HOURS
THAT WE’RE HUMAN TOGETHER.