Original subtitles

♪ ♪

♪ ♪

>> COME WITH US. WE’RE HEADING FOR THE VALLEY.

>> GOING WHERE? >> MEXICO.

>> ALL THE WAY DOWN. >> YOU GOING ALL THE WAY TO

MEXICO TONIGHT IN THIS HEAP OF JUNK?

>> THE TOWN WILL GET ALONG WITHOUT US.

>> I WAS YOUNG ENOUGH TO BOUNCE, I WOULD GO WITH YOU.

>> "THE LAST PICTURE SHOW" WAS A MOVIE THAT HOWEVER OLD I WAS

WHEN I SAW IT, I SAID, THIS MOVIE IS ABOUT ME.

THIS MOVIE IS ABOUT US. THIS MOVIE IS ABOUT AMERICA AS

WE ARE RIGHT NOW, HERE IN THE MID ’70s, NOT AS WE WERE BACK IN

THE EARLY 1950s. >> DO YOU THINK "THE LAST

PICTURE SHOW" IS A JOHN FORD MOVIE?

>> NO. >> PETER LOVED MOVIES.

BUT HAD A VERY STRONG SENSIBILITY.

HE SMOKE TO A NEW GENERATION, BOTH VISUALLY AND EMOTIONALLY.

>> ORSON WELLS SAID SWELLES, I W EVERYTHING TO BE SHARP.

HE SAID, YOU WILL NEVER GET IT IN COLOR.

WHAT DO I DO? SHOOT IT IN BLACK AND WHITE.

"THE LAST PICTURE" IS THE MOVIE THAT MADE ME FOLLOW IN LOVE WITH

MOVIES. IT JUST BLEW MY MIND.

IT’S ABOUT EVERYTHING THAT HOLDS YOU BACK.

IT’S ABOUT BEING YOUNG. >> THERE’S HEARTBREAK.

WISDOM THAT COMES OF AGE. AND YOUNG PEOPLE DISCOVERING HOW

FAST TIME GOES. >> IN "THE LAST PICTURE SHOW"

THERE WAS A QUALITY OF REALITY. THERE’S NO FEELING OF WATCHING A

PERFORMANCE BUT OF EXPERIENCING ANOTHER HUMAN BEING.

>> REALLY, IT’S A STORY ABOUT AMERICA.

ABOUT THE DEATH OF A WAY OF LIFE.

>> NOBODY WANTS TO COME TO SHOWS NO MORE.

BASEBALL IN THE SUMMER. TELEVISION ALL THE TIME.

>> MAYBE A NECESSARY DEATH OF AN OLD HOLLYWOOD THAT HAD TO DIE TO

MAKE NEW FOR A NEW GENERATION OF FILMMAKERS TO TELL NEW STORIES.

>> AT THE END OF THE ’60s, HOLLYWOOD WAS BALLOONING BUDGETS

UP TO CATASTROPHIC SIZE. >> I WILL PAY FOR IT IN CASH.

>> IT OPENS THE DOOR FOR SMALLER MOVIES.

WHEN THE BUDGET IS LOWER, THE ARTISTIC FREEDOM TENDS TO BE

HIGHER. >> PLAY MISTY FOR ME.

>> THERE WAS A YOUNG GROUP OF DIRECTORS THAT CAME ALONG AND

STARTED BLOWING UP THE BRIDGES BEHIND THEM THE WAY THINGS USED

TO BE. NOW WE’RE TRYING NEW WAYS.

SEE IF IT WORKS. >> "FRENCH CONNECTION" WAS ABOUT

A COUPLE OF NEW YORK COPS DOING A HARD HUSTLE AND BUSTING A

BUNCH OF LOW LIFE SCUMBAG DRUG DEALERS.

>> THAT CAR IS DIRTY. >> HE SHOT THE FILM LIKE A

DOCUMENTARY. HE FOUND A WAY TO MAKE IT SO

REAL. IT REALLY INFLUENCED ME.

MY FAVORITE GENE HACKMAN PERFORMANCE IS POPEYE OIL.

>> GENE HACKMAN WAS SO FILLED WITH ANGER.

IT MADE ME HAPPY TO SEE THAT KIND OF LIFE.

>> THE CAR CHASE WAS UNDENIABLE ACTUALLY HAPPENING IN REAL TIME.

THIS WAS THE GREATEST CAR CHASE IN A FILM THAT WASN’T SUPPOSED

TO BE ABOUT A CAR CHASE. >> THE NEW HOLLYWOOD COMING OUT

WAS ANGRY AND YOUNG. AND THAT ANGER CHANGES THE WHOLE

AESTHETIC OF HOLLYWOOD. >> THERE WAS SOMETHING ABOUT

MOVIES IN THE ’70s. THEY WERE ALL VERY TANGIBLE.

YOU FELT LIKE YOU WERE REALLY IN IT.

>> THESE DARK, DARK FILMS THAT LIFE IS SHIT.

AND THAT’S THE PUNCH LINE. >> MOVIES ARE UGLIER.

THEY ARE DIRTIER. THEY ARE MORE UNCOMFORTABLE.

THEY ARE MORE DANGEROUS. THEY ARE MORE VIETNAM.

>> WE WERE STARTING TO DEAL WITH THE COUNTERCULTURE AND TAKING IT

SERIOUSLY, BECAUSE WE WERE YOUNG, WE WERE PART OF THE

COUNTERCULTURE. >> "PATTON" CONNECTS WITH THE

GREATEST GENERATION. IT’S ALSO A FILM ABOUT

RECONSIDERING WAR AND CONNECTS WITH THE VIETNAM GENERATION.

>> YOU ARE JUST A GOD DAMN COWARD.

>> IT IS TOLD WITH IRONY BY THIS YOUNG SCREENWRITER NAMED FRANCIS

FORD COPPOLA. >> HE HAD HIS FOOT IN OLD

HOLLYWOOD BEFORE THAT. HE MADE A MUSICAL.

>> I WAS VERY UNHAPPY DURING THE PRODUCTION BECAUSE YOU DIDN’T

GET TO CAST, YOU DIDN’T GET TO PICK THE ART DIRECTOR, YOU

DIDN’T DO FINAL POST PRODUCTION. ONE OF THE HIGHLIGHTS OF THE

PICTURE IS A SKINNY KID WOULD COME AND WATCH WHAT I WAS DOING

AND BECAME A FRIEND OF MINE. HE WAS THE ONLY ONE MY

CONTEMPORARY. THAT WAS GEORGE LUCAS.

>> STUDENT FILMS ARE THE ONLY HOPE.

THEY ARE BEGINNING TO REALIZE THAT STUDENTS KNOW WHAT THEY ARE

DOING. >> THESE GUYS SAW HOLLYWOOD AS

DEATH. THEY WERE ALL VERY INFLUENCED BY

THE FRESH NEW WAVE IN EUROPEAN FILMS.

THAT’S HOW FRANCIS SAW HIMSELF. HIS FANTASY WAS THAT HE WAS

GOING TO MAKE A SERIES OF THESE OUT OF HOLLYWOOD MOVIES WITH

LUCAS AND OTHER PEOPLE THEY ATTRACTED.

THEY DECIDED TO START THEIR OWN STUDIO.

>> BACK OFF. >> THE FIRST MOVIE IS BY GEORGE

LUCAS. HE MAKES "TXH 1138."

IT’S A FLOP. IT GOES OVER EVERYBODY’S HEAD.

>> IT ALMOST ENDED LUCAS’ CAREER BEFORE IT STARTED.

THEY WERE RUNNING INTO TROUBLE. >> AT THE SAME TIME, PARAMOUNT

WAS RUNNING OUT OF MONEY. I SAID, LOOK, WHAT WOULD HAPPEN

IF WE BOUGHT THE RIGHTS TO SOME REALLY INTERESTING COMMERCIAL

NOVELS AND MARRIED THAT MATERIAL TO ALL THESE BRIGHT YOUNG

FILMMAKERS OUT THERE? WHEN PARAMOUNT CAME ALONG AND

OFFERED FRANCIS "THE GODFATHER" HE DIDN’T WANT TO DO, HE TURNED

IT DOWN. >> I REMINDED FRANCIS THAT HE

WAS BROKE AND THAT HE HAD TO TAKE MY OFFER TO DIRECT THIS

PICTURE. >> WHAT HAPPENS?

COPPOLA TAKES THE PAYING GIG, WHICH MIGHT BE THE MOST BELOVED

MOVIE OF ALL TIME. ♪

>>> "THE GODFATHER" IS UNQUESTIONABLY ONE OF THE GREAT

MOVIES OF ALL TIME. THE BEAUTY WITH WHICH IT IS

MADE. THE QUALITY OF ITS ACTING.

ALL OF THOSE THINGS ARE UNDENIABLE.

>> GODFATHER. >> THE FILM IS ABOUT POWER.

IT’S ABOUT THE SUCCESSION OF POWER.

IT’S ABOUT MORALITY. IT’S ABOUT RESPONSIBILITY.

THE FACT THAT IT’S ABOUT A MAFIA FAMILY IS JUST THE DRESSING OF

IT. >> AL PACINO’S CHARACTER IS THE

YOUNGEST SON. HE UNDERSTANDS WHAT’S GOING ON

WITH HIS FAMILY. HE EXPLAINS IT IN COLD BLOODED

DETAIL TO KAY RIGHT THERE. >> MY FATHER MADE HIM AN OFFER

HE COULDN’T REFUSE. >> WHAT WAS THAT?

>> LOU HELD A GUN TO HIS HEAD AND MY FATHER ASSURED HIM EITHER

HIS BRAINS OR HIS SIGNATURE WOULD BE ON THE CONTRACT.

>> HE IS AN INNOCENT. HE WAS QUIET.

HE WAS SHY. HE WAS OUTSIDE.

HE WAS NOT IN THE INNER CIRCLE. >> THAT’S MY FAMILY.

IT’S NOT ME. >> HE KIND OF DELEWDS S DELUDES

INTO BELIEVING THAT. EVERYTHING STARTS TO CHANGE WHEN

HIS FATHER IS ALMOST MURDERED. THE FAMILY HAS TO TAKE REVENGE.

MICHAEL DECIDES HE WILL DO IT. >> LET’S SET THE MEETING.

>> ONE OF THE THINGS I RELATED TO WAS HOW HE LOVED HIS FAMILY.

WHAT HE WOULD DO. HE WOULD DO ANYTHING FOR HIS

FAMILY. >> HE IS THERE IN THAT

RESTAURANT. YOU SEE THAT LOOK IN HIS EYE TO

SAY THAT EITHER HE KNOWS HE’S GOING TO SHOOT HIM OR HE DOESN’T

KNOW. HE IS TRYING TO DECIDE.

HE WILL GET UP AND WALK OUT. IT’S GOING TO CHANGE HIS LIFE

FOREVER. RIGHT AFTER THIS HAPPENS,

NOTHING IS EVER GOING TO BE THE SAME AGAIN.

>> HOW DO YOU LET GO OF WHAT YOU HAVE BEEN RAISED IN?

CAN YOU LET GO? DO YOU JUST BECOME ANOTHER ONE

OF THE LINE OF THE SAME THING? >> I NEVER WANTED THIS FOR YOU.

>> YOU REALLY CARED ABOUT THESE PEOPLE.

YOU UNDERSTOOD THE GODFATHER’S WANTING HIS SON TO BE SEPARATE

FROM ALL OF THE CRIME. YOU UNDERSTOOD HIS SADNESS WHEN

THAT DIDN’T SEEM POSSIBLE. >> GOVERNOR.

>> IT’S VERY MUCH A STORY ABOUT AMERICA, ABOUT BOTH THE PROMISE

AND THE DESTROYED PROMISE OF AMERICA.

SGLI .

>> I SAW THAT FILM FOUR TIMES IN FIVE DAYS.

I HAD ALWAYS THOUGHT LAWRENCE OF ARABIA WAS THE GREATEST FILM

MADE UNTIL THE FIRST GODFATHER. >> COPEPOLA MADE ANOTHER ONE.

>> HE IS MORE RUTHLESS AND MORE POWERFUL.

>> YOU WON. YOU WANT TO WIPE EVERYBODY OUT?

>> I DON’T FEEL I HAVE TO WIPE EVERYBODY OUT.

JUST MY ENEMIES. THAT’S ALL.

>> AT THE SAME TIME, IT’S INTERCUT WITH THE STORY OF HIS

FATHER AS A YOUNG MAN PLAYED BY ROBERT DE NIRO BECOMING A

POWERFUL MOB LEADER IN NEW YORK. >> I STUDIED WHAT BRANY EDIED WH

DONE AND EXPRESSIONS. I HAD TO TRY TO CREATE THE THING

THAT HE HAD. >> I WILL MAKE AN OFFER YOU

WON’T REFUSE. >> HALF THE MOVIE IS THIS YOUNG

MAN TRYING TO FIGURE OUT LEGITIMATELY AND OTHERWISE HOW

DO I MAKE IT IN AMERICA. >> EVERYTHING DON DID WAS FOR

HIS FAMILY. WHEREAS, MICHAEL, EVERYTHING HE

DOES IS ABOUT MAKING MONEY AND ACCUMULATING POWER.

>> HE RATIONALIZES BY SAYING, THIS IS FOR THE FAMILY.

BUT ULTIMATELY, HE DESTROYS THE FAMILY.

>> THIS IS THE PRODUCT OF FRANCIS FORD COPPOLA.

YOU FEEL HIS SENSIBILITY. AND THIS IS THE GREAT REVOLUTION

OF THE 1970s. >> IT BECAME VERY CLEAR TO THE

STUDIOS, IF WE COULD HAVE A BOX OFFICE SUCCESS WITH "THE

GODFATHER" IMAGINE WHAT ELSE THESE GUYS CAN DO IF WE GIVE

THEM A CHANCE. >> THE WHOLE SCHOOL OF

FILMMAKERS THAT CAME UP IN HOLLYWOOD IN THE ’70s REALLY

WERE ROGER GORMAN’S CHILDREN. >> HE STARTED MAKING MOVIES FOR

EXPLOITATION COMPANIES. THEY WERE VERY LOW BUDGET.

>> SUDDENLY, I HAD A GROUP FROM UCLA, SC AND NYU OF YOUNG

FILMMAKERS. THEY LEARNED ON THE SET WHILE

DIRECTING. >> WORKING WITH ROGER CORMAN,

IT’S LIKE A COLLEGE. YOU ARE TIRED AND DISTRACTED.

DOESN’T MATTER. YOU ARE SHOOTING.

>> FRANCIS RON HOWARD, AND ME BEGAN WITH ROGER.

THE NEW HOLLYWOOD IS UNTHINKABLE WITHOUT ROGER.

>> WHEN I WAS MAKING "GRAND THEFT AUTO," HE SAID, RON, YOU

KEEP DOING A GOOD JOB FOR ME ON THIS PICTURE AND YOU WILL NEVER

HAVE TO WORK FOR ME AGAIN. I GUESS I NEVER DID WORK FOR

ROGER AGAIN. I’M FOREVER GRATEFUL FOR THE

OPPORTUNITY HE GAVE ME. >> MARTIN MADE A FEW SMALL FILMS

IN THE LATE ’60s. PEOPLE STARTED TO PAY ATTENTION

WHEN HE DOES "MEAN STREETS." >> I WANTED TO MAKE FILMS ABOUT

AN AREA WHERE I GREW UP. I DIDN’T REALLY SEE ORGANIZED

CRIME. I WAS LIVING IN IT.

>> HE BURST UPON THE SCENE WITH A FRANKNESS, VIOLENCE AND

RESTLESSNESS TO FIND THE RHYTHMS OF THE STREETS.

THAT DON’T FEEL ANYTHING LIKE A MOVIE.

>> MAO MUCHHOW MUCH MONEY YOU GO >> I AIN’T GOT NOTHING.

>> "MEAN STREETS" CAME OUT OF EVENTS THAT OCCURRED TO ME IAND

MY FRIENDS ASSOCIATING WITH PEOPLE THAT CAN BE DETRIMENTAL.

YET, THERE’S LOVE THERE. >> THE FIRST TIME YOU SEE ROBERT

DE NIRO DANCING AROUND LIKE EVERYBODY ELSE YOU ARE LIKE WHAT

THE [ BLEEP ] IS THAT? WHO IS THAT?

>> THAT AIN’T NOTHING WRONG WITH ME.

>> IT WAS ABOUT FRIENDSHIP AND LOYALTY.

IT WAS ONE OF THOSE MOVIES THAT RESONATED WITH ME BECAUSE IT

REMINDED ME OF THE SAME SITUATION THAT I WAS IN, JUST

DIFFERENT COLOR PEOPLE. >> "TAXI DRIVER" REFLECTED THE

WORLD I KNEW. STEAM FROM THE STREETS.

THE NIGHTTIME OF THE CITY. IT’S ALWAYS NIGHT.

ESPECIALLY FOR A GUY WHO WANTS TO DRIVE A CAB AT NIGHT.

>> HOW IS YOUR DRIVING RECORD? >> IT’S CLEAN.

IT’S REAL CLEAN, LIKE MY CONSCIENCE.

>> YOU GOING TO BREAK MY CHOPS? >> THE CONFLICT WAS IN DE NIRO.

WE KNEW THAT THERE WAS A TRUTH TO IT.

>> WHY WON’T YOU TALK TO ME? WHY DON’T YOU ANSWER MY CALLS?

YOU THINK I DON’T KNOW YOU ARE HERE.

>> HE LETS PEOPLE DO ‐‐ GETS THE BEST OUT OF THEM BECAUSE HE LETS

THEM GO AS FAR AS THEY CAN GO. >> I LOVE HIM.

>> IT’S A STORY ABOUT A GUY WHO HAS A PSYCHOLOGICAL DECENT INTO

HELL. >> THE IDEA OF THEMHAD BEEN GROW

MY BRAIN FOR SOME TIME. >> HE DECIDES TO ASSASSINATE A

PRESIDENTIAL CANDIDATE. >> ALL THE KINGS MEN CANNOT PUT

IT BACK TOGETHER AGAIN. >> THEN HE TURNS THIS TO RESCUE

A CHILD PROSTITUTE PLAYED BY THE 14‐YEAR‐OLD JODY FOSTER.

>> GET ME OUT OF HERE. >> HE SEEMS HEROIC.

BUT HE ISN’T. >> THE FEARLESSNESS OF THAT

PERFORMANCE. DE NIRO WAS NOT INTERESTED IN

BEING SEXY OR PRETTY. JUST BEING REAL.

TRAVIS IS ONE OF THE GREAT CHARACTERS OF 20th CENTURY FILM.

>> YOU TALKING TO ME? YOU TALKING TO ME?

>> I REMEMBER SITTING AT HIS FEET AND HIM BEGINNING THIS

PHRASE, ARE YOU TALKING TO ME. >> IT’S SOMETHING I WORKED ON.

SEEMED RIGHT, THE MIRROR AND SO ON.

>> I SAW IT HAPPEN. I SAW HIM TRANSFORM.

>>> NON‐EXISTENCE. BLACK EMPTINESS.

>> WHAT DID YOU SAY? >> I WAS PLANNING MY FUTURE.

>> IN THAT PERIOD OF TIME, THERE WERE TWO THINGS THAT WERE REALLY

IMPORTANT TO YOU. AN ALI FIGHT AND A WOODY MOVIE.

WOODY ALLEN WAS THE FIRST COMEDIAN WHO DID EVERYTHING.

>> THIS IS SHARON. >> HELLO.

>> WOODY ALLEN CREATED THIS CHARACTER WHO IS ALWAYS OUT OF

HIS ELEMENT NO MATTER WHAT, WHETHER IN SOUTH AMERICA IN THE

1970s OR SLEEPER IN THE FUTURE OR RUSSIA IN THE 19th CENTURY.

>> HIS INTENTION WAS TO GET LAUGHS.

>> BY 1977, HE WANTED TO MAKE A DIFFERENT KIND OF MOVIE.

IT BLEW EVERYBODY AWAY. >> DRIVING A TAD RAPIDLY.

>> I’M A VERY GOOD DRIVER. >> "ANNIE HALL" WAS ABOUT PEOPLE

GETTING TOGETHER, BREAKING UP. >> HE WAS JEWISH.

SHE WAS DECIDEDLY NOT JEWISH. >> YOU ARE A REAL JEW.

>> THANK YOU. >> THE BEST RELATIONSHIP MOVIE I

THINK EVER MADE. IF YOU WANT TO JUST TAKE ALL THE

TRUTHS OF A RELATIONSHIP, HOW IT CAN WORK AND NOT WORK, I THINK

"ANNIE HALL" NAILED IT. >> HE TOLD THAT STORY

NON‐CHRONOLOGICALLY. IT TOOK RISKS IN THE STYLE OF

FILM MAKING. >> I CAN’T BELIEVE THIS FAMILY.

>> THERE ARE MOMENTS HE IS TALKING DIRECTLY INTO THE

CAMERA. >> NOTHING LIKE MY FAMILY.

LIKE OIL AND WATER. >> HE SHOWS BOTH WHAT HIS FAMILY

TALKS ABOUT AND DOES AND WHAT HER FAMILY TALKS ABOUT AND DOES.

WITH THESE WONDERFUL SPLIT SCREENS.

>> HOW OFTEN DO YOU SLEEP TOGETHER?

>> DO YOU HAVE SEX OFTEN? >> HARDLY EVER.

MAYBE THREE TIMES A WEEK. >> CONSTANTLY.

I WOULD SAY THREE TIMES A WEEK. >> WE THINK OF "ANNIE HALL" AS

BEING WOODY ALLEN’S MOVIE. >> WELL, LA DE DA.

>> SHE STEALS THE SHOW. >> WONDERFUL.

>> SWEPT THE ACADEMY AWARDS, WHICH IS RARE FOR A COMEDY.

IT WON BEST PICTURE, BEST WRITER, BEST DIRECTOR AND BEST

ACTRESS FOR DIANE KEATON. >> I REMEMBER SEEING IT DURING

COLLEGE AND BEING IN TEARS AT THE END.

NOT BECAUSE IT WAS SAD BUT BECAUSE I COULDN’T TAKE THE

ARTISTRY. IT’S THIS BEAUTIFUL SYMPHONY.

>> IT WAS THIS FEELING OF HOW CAN YOU TOP "ANNIE HALL"?

IN MANY WAYS "MANHATTAN" DID IT. >> IT STANDS OUT BECAUSE OF THE

BLACK AND WHITE TOPOGRAPHY. YOU HAD THE SCORE OPENING WITH

"RHAPSODY IN BLUE." >> IT SHOWED NEW YORK IN THE

MOST ROW TAN TICKK ROMANTIC WAY. >> WHAT ARE YOU DOING HERE?

>> HERE IS A MOVIE SET MOSTLY IN LITTLE DIALOGUE SCENES BETWEEN

CYNICAL, NERVOUS INTELLECTUALS ON A GIANT WIDE SCREEN.

>> THEY SIT ON THIS BENCH. YOU SEE THE 59th STREET BRIDGE

ABOVE THEM. I MADE IT MY BUSINESS TO FIND

THAT BENCH. >> THIS IS A GREAT CITY.

>> THOSE ARE THE KIND OF THINGS THAT THOSE MOVIES MADE YOU DO.

YOU SAW SOMETHING AMAZEING. YOU WOULD TRY TO FIND THEM.

>> IT WAS A COMEDY. IT’S ALL THE QUESTIONS HE LOVES.

IT’S QUESTIONS ABOUT MORTALITY. >> WHY IS LIFE WORTH LIVING?

IT’S A VERY GOOD QUESTION. >> IF YOU REMOVE ALL THE BAGGAGE

OF HIM AS A COMEDY FILMMAKER AND WATCH IT STRAIGHT ON AS A FILM,

IT’S BEAUTIFUL. >> MEL BROOKS, WHY DID THE MAKE

"BLAZING SADDLES"? >> FOR MONEY.

>> IT’S A CLASSIC WESTERN SPOOFING WESTERNS.

IT’S ONE OF THE MOST SUBVERSIVE COMEDIES THAT COMES OUT IN THE

’70s. IT’S A MOVIE THAT MEL BROOKS

CO‐WRITES ABOUT A BLACK SHERIFF COMING TO THIS TOWN AND THE TOWN

PEOPLE NOT WANTING HIM TO BE THERE.

>> I LOVE "BLAZING SADDLES" BECAUSE IT’S A REVOLUTIONARY

FILM. IT DEALS WITH RACE WITH A SENSE

OF HUMOR AND CANDOR. >> RICHARD PRYOR WAS SUPPOSED TO

PLAY THE SHERIFF. WARNER BROTHERS WOULDN’T ENSURE

HIM BECAUSE HE WAS AN EXPERIMENTER IN CHEMICALS.

MEL WALKED OFF THE MOVIE. I CAN’T MAKE IT WITHOUT RITCHIE.

IT WAS RICHARD PRYOR SAID NO, YOU HAVE TO MAKE THIS MOVIE.

LOOK HOW DARK HIS SKIN IS. HE WOULD TERRIFY THOSE PEOPLE.

>> I WOULD LIKE YOU TO MEET THE NEW SHERIFF.

>> I WOULD BE DELIGHTED. WOW.

I HAVE TO TALK TO YOU. COME HERE.

CAN’T YOU SEE THAT THAT MAN IS A NI ‐‐

>> WRONG PERSON. FORGIVE ME.

>> THE STORY WAS THE STRAND TO HANG THE PEARLS.

THE PEARLS WERE ALL OF THE JOKES.

>> LOOK AT THAT. STEADY AS A ROCK.

>> BUT I SHOOT WITH THIS HAND. >> THERE WERE SEXUAL AND SIGHT

GAGS. HE BROKE THE FOURTH WALL AND THE

CAST IS RUNNING OUT OF WARNER BROTHERS.

IT WAS JUST CRAZY. >> I ASKED HIM, IS IT A MOVIE

YOU CAN MAKE TODAY? HE SAID, I COULD BARELY MAKE IT

THEN. >> FRANKENSTEIN.

>> "YOUNG FRANKFRANKENSTEIN" IS BRILLIANT SATIRE.

MEL WENT TO EXTRAORDINARY LENGTHS TO GET THE DETAILS

RIGHT. THE LOOK, THE BLACK AND WHITE.

>> WHY DID YOU MAKE IT IN BLACK AND WHITE?

>> IT WAS A HOMAGE. IT HAD TO BE DONE IN BLACK AND

WHITE IF WE WERE GOING TO DO IT PROPERLY.

>> IT’S ALIVE. IT’S ALIVE.

IT’S ALIVE. >> HE TOOK THAT GENRE, DID IT

PERFECTLY AND THEN BENT IT. >> WHAT KNOCKERS.

>> THANK YOU, DOCTOR. >> "YOUNG FRANKENSTEIN" IS A

MASTERPIECE AND BEAUTIFUL. I WAS SO IN LOVE WITH GENE

WILDER. HE IS SO SEXY IN THAT MOVIE.

I USE TO TELL PEOPLE I WILL MARRY GENE WILDER WHEN I GROW

UP. >> EXCUSE ME.

IS THIS THE DELTA HOUSE? >> SURE.

>> "ANIMAL HOUSE" WAS THE FIRST RAUNCHY COMING OF AGE SEX

COMEDY. IT WAS JUST FRAT BOYS.

JUST RUNNING AROUND DOING CRAZY, CRAZY STUFF.

THAT WAS LAMPOON HUMOR. IT’S EDGY.

IT’S BORDERLINE OR OVER THE LINE RACIST, SEXIST, ALL THOSE

THINGS. >> MINE IS BIGGER THAN YOURS.

>> I BEG YOUR PARDON? >> MY CUCUMBER.

>> WE ARE MAKING FUN OF THAT, SMARTLY.

THAT WAS WHAT WE DID. >> JOHN BALOOELUSHI WAS ONE OF T

BREAKOUT STARS FROM "SATURDAY NIGHT LIVE."

HE HAD SUCH ENERGY AND POWER. FIREBALL.

>> THE PART WAS WRITTEN FOR JOHN.

>> "ANIMAL HOUSE" NOT ONLY WAS A MASSIVE SUCCESS BUT IT STARTED A

GENRE THAT SPREAD LIKE WILDFIRE.

>>> HEY. IT’S ME.

HEY. I’M A POLICE OFFICER.

POLICE OFFICER. >> REALLY THE CLASSIC NEW YORK

DIRECTOR. HE PUT THE STREETS AND THE

ENERGY OF NEW YORK ON THE SCREEN IN A WAY THAT NO ONE ELSE HAS

EVER DONE BETTER. >> OFFICER SERPICO, THAT THING

ON YOUR LIP IT GOES AND GET A HAIR CUT.

>> BASED ON A TRUE STORY. IT’S A POLICE OFFICER WHO JUST

CANNOT STOMACH THE CORRUPTION HE SEES AROUND HIM.

>> FRANK. LET’S FACE IT, WHO CAN ‐‐

>> HE BREAKS THE CODE OF SILENCE AND EXPOSES WHAT HAPPENS.

THE EFFECTS ON HIS LIFE ARE CATASTROPHIC.

>> I LIKE YOU. I DON’T WANT TO SEE ANYTHING

HAPPEN TO YOU. >> LIKE OTHER MOVIES WE SAW, IT

SHOWED SOMEONE WITH FLAWS. BUT HE WAS SOMEBODY WHO WAS

RISING TO THE OCCASION. >> I OUGHT TO CUT YOUR TONGUE

OUT. >> AL PACINO IS ALWAYS ON FIRE.

>> IT’S SAFE WITH MY ASS ON THE LINE IT’S SAFE.

>> YOUR ASS IS ALWAYS ON THE LINE.

>> THE APPEAL IS THAT ENERGY, THAT FIRE, THAT INTEGRITY.

THIS ALLOWS HIM TO MOVE INTO ALL SORTS OF DIFFERENT KINDS OF

ROLES FROM "THE GODFATHER" TO A BANK ROBBER.

>> NOBODY MOVE. >> "DOG DAY AFTERNOON," IT’S

ABOUT THIS GUY WHO TRIED TO ROB A BANK IN NEW YORK IN 1972.

>> THEY PICKED IT UP THIS AFTERNOON.

>> SHE’S TELLING YOU THE TRUTH. >> EVERYTHING THAT COULD GO

WRONG GOES WRONG. >> WHO IS IT?

>> COPS. >> I HAD NEVER SEEN ANYTHING

LIKE IT. >> WAIT A MINUTE.

I WILL HAVE TO GO TO THE TOILET. >> THE KINDNESS AND HUMANITY OF

THE BANK ROBBERS WAS SO NEW AND ENTERTAINING.

>> WHO HAS TO GO TO THE BATHROOM?

>> I DO, TOO. >> NOW THEY ALL WANT TO GO.

>> THIS WAS THE KIND OF UP ENDING OF ALL THE PRESEPTEMBERCE

THE BANK ROBBERY FILM. >> THAT IDEA OF CRIMINAL AS

CELEBRITY. >> NO.

WHAT? WHY AM I DOING IT?

>> YES. >> DOING WHAT?

>> ROBBING A BANK. >> OH.

>> IT’S ONE OF THOSE MOVIES WHERE YOU ARE ROOTING FOR THE

BAD GUYS. THE BAD GUYS AREN’T THAT BAD.

>> HE DOESN’T LOOK VERY TOUGH TO ME.

DOES HE LOOK TOUGH TO YOU? >> IT’S A HUGELY IMPORTANT FILM.

THE BLACK PANTHER PARTY SAID IT WAS THE CULTURAL REPRESENTATION

OF THE BLACK REVOLUTION. >> HE IS GALVANIZED AND POE EDD

WATCHES POLICE BRUTALIZE A YOUNG MAN.

HE DECIDES TO TAKE THE POLICE OFFICERS DOWN PHYSICALLY AND

VIOLENTLY. AS A RESULT, HE IS ON THE LAMB.

YOU KNOW HE IS GOING TO GET CAUGHT.

HE IS GOING TO BE CONVICTED. HE IS GOING TO BE SHOT BY THE

POLICE. NONE OF THOSE THINGS HAPPEN.

I REMEMBER SEEING THAT MOVIE. PEOPLE WERE CHEERING BECAUSE

THEY HAD NEVER SEEN ANYTHING LIKE THAT.

THAT BECOMES A MOMENT WHEN BLACK FILMMAKERS LOOK AND SAY, OH, WE

CAN TELL THOSE STORIES NOW. CAN’T WE?

>> BEST MOVIE THEME SONG IS "SHAFT."

TELLS YOU EVERYTHING YOU WANT TO KNOW ABOUT THE MOVIE, ABOUT THE

CHARACTER. ♪ WHO IS THE CHARACTER WHEN

THERE’S DANGER ALL ABOUT ♪ ♪ SHAFT ♪

>> "SHAFT" IS A PRIVATE INVESTIGATOR.

HE HAS HIS HANDS IN MAINSTREAM SOCIETY AS WELL AS THE

UNDERWORLD. OF COURSE, HIS GAME THROUGHOUT

THAT FILM IS AMAZING. >> GORDON PARKS WHO DIRECTED THE

FILL IS A GREAT PHOTOGRAPHER. MANY WAYS IT’S A PROJECTION OF

PARKS. HE MADE HIM A SUPER HERO.

>> THESE MOVIES SET THE TONE FOR WHAT COMES TO BE KNOWN AS THE

BLACK ERA. >> THE QUEEN TO ME OF THE 1970s

WAS PAM GREER. SHE WAS PLAYING A BLACK HEROIN

WHO GOT TO BE ASSERTIVE AND HAD GUNS AND TOOK ON VILLAINS.

AS A BLACK GIRL, AS I WAS AT THE TIME, SEEING THIS LARGER THAN

LIFE BEAUTIFUL WOMAN COMING OUT TRIUMPHANT AT THE END WAS

AMAZING. >> WHAT I LOVE ABOUT PAM IS THAT

SHE IS BAD ASS. BUT SHE’S SEXY AT THE SAME TIME.

>> SHE WAS REALLY A UNIQUE PRESENCE AT THAT TIME.

GUYS INTERESTED IN HER AS A SEX SYMBOL.

PEOPLE INTERESTED IN HER AS A FEMINIST SYMBOL, AS A MOVIE

STAR. SHE WAS THAT PRESENT IN THE

CULTURE. >> PEOPLE IN THE BLACK COMMUNITY

EMBRACED BRUCE LEE BECAUSE HE WAS NOT ANOTHER SORT OF WHITE

GUY. >> IN 1970, YOU WENT INTO A

BLACK PERSON’S BASEMENT, THEY MIGHT HAVE POSTERS UP.

POSTERS WERE BIG THEN. YOU MIGHT HAVE MALCOLM X.

YOU MIGHT HAVE JIM BROWN. EVERY BLACK HOUSEHOLD HAD BRUCE

LEE. BRUCE LEE WAS SINGLE HANDEDLY

ONE OF THE REASONS WHY KIDS ALL OVER THE SUBURBS WERE TRYING TO

KICK EACH OTHER IN THE NUTS. >> EVERYBODY WANTS TO BE BRUCE

LEE. NOBODY WANTED TO STUDY CAN AKARA

FOR AS LONG AS YOU NEEDED TO TO BE BRUCE LEE.

♪ HAPPY BIRTHDAY ♪ ♪ HAPPY BIRTHDAY BABY ♪

. >>> WHEN WE MADE "AMERICAN

GRAFFITI" THERE HAD BEEN A CULTURAL SHIFT.

IT WAS LIKE ANCIENT HISTORY. >> I’M GOING TO LET YOU TAKE

CARE OF MY CAR. >> THE ACTING IN THAT MOVIE WAS

KIND OF MY COMING OF AGE STORY. >> ZIT MAKEUP.

>> IT’S MY FAVORITE GEORGE LUCAS MOVIE.

THE SIMPLICITY OF THE STORY TELLING IS WHAT I APPRECIATED.

HE IS SAYING, HERE IS WHAT LAST NIGHT I REMEMBER IN HIGH SCHOOL

BEING LIKE. >> I HAVE A NEW CAR.

>> IT WAS HILARIOUS TO WATCH THEIR NIGHT OF CRISIS.

ARE YOU GOING TO GO OFF AND SEE THE WORLD?

ARE YOU GOING TO STAY WHERE IT’S SAFE?

>> WE’RE GETTING OUT OF THIS TURKEY TOWN AND YOU WANT TO

CRAWL BACK IN? >> IT SIGNALLED MOVIES WERE

GETTING MADE IN DIFFERENT WAYS AND TOLD IN DIFFERENT STYLES.

IT WAS REALLY ANTI‐HOLLYWOOD. >> CRUISE EASY.

>> THE OTHER THING ABOUT THAT MOVIE IS THAT ALL THESE ACTORS

WERE NOBODIES AT THE TIME. THE BIGGEST NAME IN THAT MOVIE

WAS RON HOWARD. THERE WAS CINDY WILLIAMS AND

HARRISON FORD, RICHARD DREYFUSS. THEY BECAME STARS.

>> I SAW A VISION. I SAY A GODDESS.

>> A NEW TYPE OF LEADING MAN THAT IS FUNNY, CHARMING,

IRRITATING. THEY ARE CUTE.

>> YOU GO DOWN THERE IF YOU GOT THE NERVE.

>> DUSTIN HOFFMAN, HE DOESN’T SAY HERO.

HE SAYS, THIS IS AN INTERESTING LOOKING GOOD.

>> THE FACT THAT HE DIDN’T LOOK LIKE A LEADING MAN GAVE HIM

TREMENDOUS LATITUDE TO BE IN ALL KINDS OF DIFFERENT MOVIES.

>> YOU HAVE SAID THAT YOU DON’T HAVE THE LEADING MAN CHARISMA.

HOW COULD YOU SAY THAT IN VIEW OF YOUR LEADING MAN SUCCESS?

>> HAD I BEEN SOMEONE LIKE CLINT EAST

EASTWOOD OR BURT REYNOLDS, I RESIST DOING THAT.

I DON’T WANT TO LET AN AUDIENCE KNOW BY VIRTUE OF THE FACT THAT

I’M IN IT, DON’T WORRY, I’M GOING TO COME OUT ALL RIGHT.

I DON’T WANT THEM TO KNOW WHETHER I’M COMING OUT ALL

RIGHT. >> YOU SHOULD HAVE KNOW TO NOT

DRAW ON ME SFWL. >> JACK NICHOLSON IS ALSO NOT

CONVENTIONALLY HANDSOME. BUT HE IS SEXY.

>> THERE’S A LITTLE MADNESS THERE.

>> THE MOST BEAUTIFUL PART OF THE DAY.

>> HIS CRAZINESS IS EMOTIONAL. IT’S SOMETIMES PHYSICAL.

BUT IT’S NOT LIKE HE IS SUCH A BIG GUY THAT WE’RE AFRAID HE IS

GOING TO HURT SOMEONE. >> YOU WANT ME TO HOLD THE

CHICKEN. >> BETWEEN YOUR KNEES.

>> HIS OUTLETS FOR RAGE, LIKE IN THE FAMOUS SCENE IN QUITE"FIVE E

PIECES" MAKES US LOVE HIM MORE. >> I’VE BEEN ACCUSED OF A LOT OF

THINGS. NEVER THAT.

>> IN "CHINATOWN" HE IS A PRIVATE INVESTIGATOR.

HE THINKS HE KNOWS HOW THE WORLD WORKS.

>> HOW DID YOU GET PAST THE GUARD?

>> TO TELL YOU THE TRUTH, I LIED A LITTLE.

>> TO SEE SOMEONE THAT WISED UP HAVING TO DEAL WITH A LACK OF

WISDOM IS ONE OF THE DYNAMICS THAT MAKES IT SO EXCITING. YOU’R

FELLOW. >> CHINATOWN IS EXTREMELY

MYSTERIOUS. >> I THINK YOU’RE HIDING

SOMETHING. >> WHAT POLANSKI DID WITH ITS

INTRACATCY AND DETAIL AND FANTASTIC ACTING.

> SEE, MR. GIBBS, MOST PEOPLE NEVER HAVE TO FACE THE FACT THE

RIGHT TIME AND THE RIGHT PLACE, THEY’RE CAPABLE OF ANYTHING.

>> YOU WATCH CHINATOWN THEY ALL HAD THEIR SETTINGS RIGHT AT THE

SAME SETTING. THE GREAT BOB TOWN WROTE IT,

POLANSKI DIRECTED IT AND JACK STARRED IN IT.

I THINK ONE OF THE MOST PERFECT MOVIES I’VE SEEN.

>> I WAS FORTUNATE ENOUGH TO GO TO THE OSCARS THE YEAR IT WAS

NOMINATED WITH. I WAS SITTING BEHIND JACK.

JACK WAS NOMINATED WITH FOR BEST ACTOR AS WAS AL PACINO FOR

GODFATHER 2. >> THE WINNER IS ART CARNEY.

>> GASPS IN THE AUDIENCE. I LEANED FORWARD AND I SAID

JACK, I’M SO SORRY. AND HE LEANED BACK AND HE LOOKED

WITH AT ME AND HE SAID THAT’S OKAY, BULLHORN.

HE SAID I’M A SHOO‐IN NEXT YEAR FOR CUCKOO’S NEST.

>> ONE FLEW OVER THE CUCKOO’S NORTHWEST FROM A GREAT NOVEL

DIRECTED BID MILOS FOREMAN. NICHOLSON PLAYS A MAN CONFINED

TO A MENTAL INSTITUTION AND PROBABLY SHOULDN’T BE THERE.

>> IF HE DOESN’T WANT TO TAKE HIS MEDICATION ORALLY, I’M SURE

WE CAN ARRANGE HE CAN HAVE IT SOME OTHER WAY.

>> CAN HIS EXAMPLE HELP THE OTHER PEOPLE IN THE INSTITUTION?

>> NICK MURPHY WAS MAYBE THE QUINTESSENTIAL ROLE FOR JACK

NICHOLSON. >> HOW ABOUT IT.

>> IT WAS A PART WHERE HE COULD BE COMPLETELY WILD AND CRAZY AND

BOUNCE OFF THE WALLS. AND BRING THAT KIND OF UNHINGED

ENERGY. HE’S SOMEONE WHO ALL THE OTHER

PATIENTS WANT TO BE. >> I’M HOT TO TROT.

NEXT WOMAN TAKES ME ON IS GOING TO LIGHT UP LIKE A PINBALL

MACHINE AND PAY OFF IN SILVER DOLLARS.

>> LEE IZ FLETCHER’S PERFORMANCE AS NURSE RATCHET IS ONE OF THE

GREAT VILLAINS OF THE 1970s. >> NO, MR. McMURPHY.

WHEN THE MEETING WAS ADJOURNED WITH THE VOTE AS 9‐9.

>> THERE WAS A SENSIBILITY BACK THEN OF BEING FED UP WITH

AUTHORITY, ITS RIGIDITY. >> I WANT THAT TELEVISION SET

DURNED WITH ON RIGHT NOW! >> AND THAT’S NURSE RACHET.

SO THIS IS A FILM KIND OF ABOUT A REBEL.

>> WHAT DO YOU YOU ARE FOR CHRIST’S SAKE, CRAZY OR

SOMETHING? >> UH‐HUH.

>> WELL, YOU’RE NOT. >> YOU’RE NOT.

YOU’RE NO CRAZIER THAN THE AVERAGE ASSHOLE OUT WALKING

AROUND ON THE STREETS AND THAT’S IT.

>> IT’S THIS COMBINATION OF INTELLIGENCE, MENACE, AND

SELF‐CONVICTION. YOU JUST, YOU TRUST WHO HE IS.

>> AND THE WINNER IS, JACK NICKEL CON IN "ONE FLEW OVER THE

CUCKOO’S NEST." >> I’D LIKE TO THANK MY AGENT

WHO ABOUT TEN YEARS AGO ADVISED ME THAT I HAD NO BUSINESS BEING

AN ACTOR. THANK YOU.

>>> EVERY DIRECTOR LOOKS AT "JAWS" AND THINKS DEGREE OF

DIFFICULTY, 10. HIT TO MISS RATIO, YOU KNOW,

ZERO. >> STEVEN SPIELBERG HIT EVERY 10

OUT OF 10 ON ALL FRONTS. >> WE KNOW ALL ABOUT YOU, CHIEF.

YOU DON’T GO IN THE WATER, DO YOU?

>> IT’S SOME BAD HAT HARRY. >> "JAWS" WAS A VERY POPULAR

PETER BENCHLY NOVEL ABOUT A SHARK ATTACK ON CAPE COD.

>> I CAN’T GET BACK TO THE OFFICE AND THAT GARBAGE TRUCK.

>> WHAT STEVEN SPIELBERG DID WAS HE MADE THIS LIKE THE KIND OF

SHARK MOVIE THAT ALFRED HITCHCOCK MIGHT HAVE MADE.

>> SPIELBERGS UPS THE ANTE WITH THE SUSPENSE IN THAT PICTURE.

HOW TO BASICALLY TANTALIZE THE AUDIENCE WITH THE FEAR OF

SOMETHING THAT MIGHT HAPPEN OR IS ABOUT TO HAPPEN.

BUT NOTHING DOES HAPPEN AND THEN YOU CATCH HIM OFF GUARD WHEN

SOMETHING DOES HAPPEN. ♪

>> THE JOHN WILLIAMS THEME FROM "YAUZ" MEANS I’M GOING TO SCARE

THE SHIT OUT OF YOU AND COME GET YOU.

>> WHEN JOHNNY SAW MY CUT ON JAWS, HE WENT TO THE PIANO AND

TOOK A COUPLE FINGERS AND WENT DA DA, DA DA, DA DA DA DA DA DA

DA. AND I THOUGHT, OH MY GOD.

HE’S GOING TO WRECK MY MOVIE. OH, MY GOD, IT’S OVER.

I THOUGHT THE FILM HAD ALMOST WRECKMIDE LIFE IT WAS SO

IMPOSSIBLE TO MAKE AND NOW SUDDENLY I’M GETTING A SCORE

WITH THREE FINGERS ON THE LOW KEYS?

♪ >> I CAME TO THE FIRST DAY OF

SCORING AND I REALIZED THAT IF THIS FILM WAS GOING TO BE

SUCCESSFUL, 50% OF THE SUCCESS OF THE FILM IS GOING TO BE

BECAUSE OF WHAT I JUST HEARD. AND THAT’S EXACTLY WHAT

HAPPENED. THE FIRST TIME YOU GET A SENSE

OF HOW BIG THE SENSE HOW BIG THE SHARK IS, YOU IMMEDIATELY BY

WORRY ABOUT THOSE GUYS IN THE BOAT.

THEY’RE GOING TO DIE. >> WE’RE GOING TO NEED A BIGGER

BOAT. >> JAWS HIT ME WHEN I WAS 15.

THE ELECTRICITY IN THE THEATER WAS UNSURPASSED.

>> THE POPCORN FLY. TO WATCH THEM JUMP OUT OF THEIR

SEAT TO SEE WOMEN SCREAM. WE HAD NEVER SEEN ANYTHING LIKE

IT. >> YOU WERE ON THE INDIANAPOLIS?

>> WHAT HAPPENED? >> JAPANESE SUBMARINE SLAMMED

WITH TWO TORNADOS INTO OUR SIDE, CHIEF.

>> AND THEN HE SETTLED DOWN AND LET THREE ACTORS GO TO IT WITH

JUST QUIET DIALOGUE. >> THIS WILL END IN 12 MINUTES.

DIDN’T SEE THE FIRST SHOT FOR ABOUT HALF AN HOUR.

>> IT WAS THIS CAMARADERIE AMONGST THESE CHARACTERS THAT

ELEVATED WHAT THE MOVIE WAS. >> SO 1100 WENT IN THE WATER.

360 MEN COME OUT. THE SHARKS TOOK THE REST, JUNE

THE 29th, 1945. >> JAWS IS A FRIGGING

MASTERPIECE. >> "JAWS" WAS THE FIRST REAL

GIGANTIC BLOCKBUSTER. HEAVILY ADVERTISED WITH, OPENED

WITH ON A BILLION SCREENS AT THE SAME TIME.

IT BECAME A CULTURAL MILESTONE IMMEDIATELY.

IT CHANGED WITH EVERYTHING. >> IT WAS EVEN MORE IN MY DNA TO

MAKE CLOSE ENCOUNTERS THAN "JAWS."

I WAS ALWAYS INTO UFOS AS A KID AND LOOKING UP AT THE SKY

WONDERING WHEN ONE WAS GOING TO LAND IN MY FRONT YARD.

IT STILL HASN’T HAPPENED, BY THE WAY.

>> I MUST THINK ABOUT THAT FILM AT LEAST ONCE A DAY.

MAYBE IT’S REMEMBERED WITH OR THOUGHT OF AS A SCIENCE FICTION

FILM. ♪

>> BUT THE THING THAT I RESPOND TO THE MOST IS THE DOMESTIC

DRAMA. THE KIDS IN THAT FAMILY AND

THEIR RESPONSE TO THEIR FATHER BECOMING UNHINGED.

>> WELL, I GUESS YOU’VE NOTICED SOMETHING A LITTLE STRANGE WITH

DAD. >> WHEN HE BECOMES SO OBSESSED

WITH HE STARTS TO CREATE A GRAND CANYON BETWEEN HIS FAMILY AND

HIMSELF. >> WHILE THE MOVIE HAS THIS IS

WONDROUS OPTIMISM ABOUT WHAT IS IN THE HEAVENS IT ALSO HAS THIS

IS REALLY SOPHISTICATED DARKNESS ABOUT WHAT IT IS TO HAVE TOUCHED

WITH THAT WORD. AND HOW THE ONCE YOU’VE TASTED

OR SEEN SOMETHING, NO ONE ELSE WOULD BELIEVE, THERE IS NO GOING

BACK. >> IT’S THIS GIGANTIC SPECIAL

EFFECTS LADEN PERSONAL FILM. THERE’S NO ONE ELSE THAT COULD

HAVE MADE THAT MOVIE BUT SPIELBERG.

>> I REMEMBER AS A KID WATCHING CLOSE ENCOUNTERS AND THINKING

I’D GO. HOW YOU NOT GO?

>>> MOST OF THE BIG PEOPLE IN THE INDUSTRY LOOK AT YOU AS A

MAVERICK AT BEST, A TROUBLEMAKER AT WORST.

YOU’LL AGREE TO THAT. >> YEAH.

>> UNPREDICTABLE, SELF‐INDULGENT BOB AL MAN.

>> YEAH, AND I THINK IT SCARES THEM A LITTLE BIT THAT THEY FEEL

THEY MAY NOT HAVE CONTROL. >> I’LL CALL THE POLICE.

>> ROBERT ALTMAN’S MOVIES WERE ALMOST ANTI‐MOVIE OR ANTI‐STORY.

THEY’RE NOT THESE TWO‐HOUR PERFECT BANG.

I THINK HE AS AN ARTIST KNEW INHERENTLY THAT THAT WAS BULL

SHIT. >> ROBERT HAD AN UNBELIEVABLE

RUN IN THE ’70s. HE HAD HE "MASH" CALIFORNIA

SPLIT, THE LONG GOOD‐BYE, NASHVILLE AND McCABE AND

MRS. MILLER. IN EVERY MOVIE HE WANTS TO THE

CAPTURE A SENSE OF SPONTANEITY AND SIMULTANEOUS AT THAT

TIMENATE WHY I THE SENSE OF REALLY BEING THERE.

>> WHEN YOU FIRST SEE McCABE AND MRS. MILLER, YOU CAN SMELL THAT

FILM. >> JUST THE STEAM AND THE PISS

AND THE COOKING AND ALL OF THE DIFFERENT THINGS THAT WERE GOING

ON IN THIS TOWN. IT’S SUCH A BEAUTIFUL FILM.

THE ABSOLUTE HEART BREAK IN ALL OF IT.

>> WELL, I GUESS IF A MAN’S FOOL ENOUGH TO GET ‐‐ WITH A WOMAN,

SHE APRIL THE GOING TO THINK MUCH OF HIM.

>> I THINK PEOPLE UNDERESTIMATE THE AMOUNT OF EMPATHY HE HAD AS

A FILMMAKER. HE LOVED PEOPLE.

HE CELEBRATED WITH REAL HUMANITY.

>> KILLING ANYBODY THIS WEEK. >> HE’S OVERLAPPING VOICES, HE’S

LETTING THE CAMERA DRIFT AROUND. HE MAY NOT BE ON THE PERSON EVEN

TALKING. > AREN’T THERE ANY ROCK ’N’ ROLL

STATIONS IN NASHVILLE? >> THESE WERE UNPRECEDENTED WITH

THINGS TATE? >> ELLIOTT, IT’S GOLD.

>> THERE’S BEEN ENSEMBLE MOVIES AND THEN THERE’S "NASHVILLE"

WHICH SITS FIRMLY AT THE TOP. >> I WAS TALKING ABOUT THE

CHRISTI MIN TRELS THIS MORNING AND NOW WE ARE HAVE JULIE

CHRISTIE HERE. >> NASHVILLE DEALS WITH A

POLITICAL CAMPAIGN AND THE SENSE IN WHICH THIS COUNTRY IS BOTH

DIVIDED AND DELUDED WITH. >> YOU ALL TAKE IT EASY NOW.

IT’S NASHVILLE. >> HE WAS TAKING BOUNDARIES OF

FILM MAKING AT THAT POINT AND PUSHING, PUSHING GOOD, YOU KNOW.

>> I LOVE THE WORK OF HAL ASHBY. HE WAS A REAL ICONOCLAST, CRAZY

STONED WITH ALL THE TIME BUT A BRILLIANT FILMMAKER.

>> HAROLD, PLEASE. >> I KNEW THAT HAL ASHBY WOULD

UNDERSTAND THE SOMEWHAT WEIRDITIES THAT WERE PRESENT IN

"HAROLD AND MAUDE." >> WHAT ARE YOU DOING WHEN YOU

AREN’T VISITING FUNERALS. >> RUTH GORDON AND BUD PLAYED

WITH AN 80‐YEAR‐OLD WOMAN AND AN 1‐YEAR‐OLD SUICIDAL YOUNG MAN.

>> LIFE. >> IT WAS A LOVE STORY WITH THE

TWO ODDEST POSSIBLE PEOPLE. ♪ THIS IS A MILLION THINGS TO

DO ♪ >> HE LEARNS HOW TO LIVE WITH

THE IDEA THAT WE ALL WILL DIE AT SOME POINT AND WE DON’T KNOW

WHEN AND IT’S SO BEAUTIFUL, I CAN HARDLY TALK ABOUT IT WITHOUT

CHOKING UP. ♪ I CAN SEE ♪

>> THAT SOUND TRACK MATTERED WITH A LOT TO THIS MOVIE.

IT WAS THIS MARRIAGE OF WEIRDNESS, DARKNESS, DEATH,

COMEDY, SEX AND CAT STEVENS WAS JUST SORT OF A MAGICAL THING,

YOU KNOW? ♪ SO SHINE, SHINE, SHINE ♪

>> HAL ASHBY IS REALLY INTERESTED IN THE ECCENTRIC AND

THE OUTSIDER AND THE MISUNDERSTOOD.

I THINK IN ALL HIS FILMS, YOU COULD SEE THREADS OF THAT.

>> WHAT ABOUT ME. >> WHAT ABOUT YOU?

YOU’RE DIFFERENT. >> I AM?

>> YOU’RE GREAT. >> FOR ME, THE BEST OF ASHBY’S

WORK IS "SHAMPOO" WHICH TOLD A POLITICAL STORY AND A ROMANTIC

STORY AND A SEXUAL STORY. >> WARREN BEATTY PLAYS A

FABULOUS BEVERLY HILLS HAIRDRESSER AND WARREN BEATTY AT

THE PEAK OF HIS SUPER HANDSOMENESS.

YES, HE’S GETTING LAID BUT HE’S ALSO NOT CONNECT PACKAGE.

IT CAPTURES A KIND OF SPIRITUAL MALAISE.

>> IN THE CONTEXT OF THIS POLITICAL THING GOING ON WITH

NIXON. >> HE DID CARE ABOUT ALL THE

WOMEN THAT HE WAS BANGING. YET, HE COULDN’T STOP BANGING

THEM ALL. >> I MEAN I’M ON MY FEET ALL DAY

LONGEN ING TO WOMEN TALK AND ALL THAT’S ON THEIR MINDS IS HOW

SOME GUY ‐‐ THEM OVER. >> IT WAS FUNNY AND SEXY AND

REAL. >> BEING THERE IS A SA TIR RICK

COMEDY WITH PETER SELLERS GIVING A GREAT PERFORMANCE AS A

MYSTERIOUS MAN WHOSE ONLY EXPERIENCE WITH LIFE COMES FROM

WATCHING TELEVISION AND TENDING HIS GARDEN.

>> ON TELEVISION, MR. PRESIDENT, YOU LOOK MUCH SMALLER.

>> BECAUSE OF THIS SIMPLETON THAT SELLERS PLAYED, IT WAS A

WAY TO SHOW THE FOLLY OF SOCIETY.

>> YOU DON’T PLAY GAMES WITH WORDS.

>> IT WAS ANOTHER SIDE OF PETER SELLERS FROM THOSE PINK PANTHER

FLIPS AND YOU GOT TO SEE HIM NOT DOING A LOT AND BY NOT DOING A

LOT, HE PROJECTED WITH SO MUCH. >> IT’S THE ASHBY ELIXIR, HE’S

ABLE TO TELL A GENTLE STORY THAT RESONATES HUGELY AND HE LETS YOU

ADD IT UP. >> IF YOU’RE AN ARTIST YOU’RE

NOT REALLY INTERESTED WITH IN SUCCESS, PER SE.

>> JOHN CASSAVETES WAS OH, JUST EVERYTHING.

ACTOR, WRITER, DIRECTOR, PRODUCER, MAVERICKING.

> I LOVE YOU. I LOVE YOU.

>> ARE YOU KIDDING? >> WHAT I FIND SO SPECIAL ABOUT

CASSAVETES IS HIS EXPLORATION OF RELATIONSHIPS.

HIS PASSION FOR THE HUMAN CONDITION AND HOW WE INTERACT

WITH ONE ANOTHER. >> COME OVER HERE.

>> CASSAVETES CRAFTS THIS COMPANY OF ACTORS THAT ALWAYS

WORKED WITH TOGETHER SO YOU COULD SEE THE SUPPORT THAT IT

GAVE. HIS FILM MAKING.

HE WORKED WITH PETER FAULK, MBENGA ZARA, MARRIED TO JENNA

ROWLANDS. I DON’T THINK YOU WOULD HAVE CAS

VET TEES WITHOUT JENNA ROWLANDS. >> JENNA ROWLANDS HAS AN

INCREDIBLE PRESENCE. IT SEEMED LIKE WHEREVER SHE WAS,

SHE JUST TOOK OVER A ROOM IN THIS VERY DIGNIFIED WAY.

BUT WASN’T AFRAID TO HAVE FUN. >> I GOT A GREAT IDEA.

WHEN YOU GET HOME FROM SCHOOL, WE’RE GOING TO HAVE A PARTY.

>> A WOMAN UNDER THE INFLUENCE IS ABOUT A MAN AND A WOMAN IN A

LOVING MARRIAGE THAT’S BESET BY THE WOMAN’S PERSONALITY.

>> THINK THERE’S SOMETHING WRONG WITH ME OR SOMETHING?

I’M WHACKO OR SOMETHING? >> R.

>> HAS THIS IS ENERGY ABOUT HER BUT YOU SLOWLY SEE IT UNRAVEL

UNRAVELING. IT’S KIND OF DEVASTATING BUT

WOW. WHAT A PERFORMANCE.

>> IT WAS REALLY REFRESHING TO SEE A MOVIE THAT PUT A WOMAN

DIRECTLY AT THE CENTER. >> GOD BLESS YOU.

THANK YOU FOR EVERYTHING. >> THIS WAS RIGHT AT THE

BEGINNING OF THE WOMEN’S MOVEMENT, AND I FOUND THIS

SCRIPT FOR ALICE. THE STUDIO SAID WHO DO YOU WANT

TO DIRECT IT. >> FRANCIS COPPOLA TOLD ELLEN

THERE’S THIS IS KID WHO MADE THIS FILM MAIN STREET.

YOU SHOULD TALK TO THE STUDIO ABOUT HIRING HIM.

>> I ASKED TO MEET MARTY AND I SAID I WANT TO TELL THIS STORY

FROM A WOMAN’S POINT OF VIEW. I CAN’T TELL FROM WATCHING THIS

FILM IF YOU KNOW ANYTHING ABOUT WOMEN.

DO YOU? HE SAID NO, BUT I’D LIKE TO

LEARN. >> I WAS TRYING TO DEAL WITH IT

JUST AS A PERSON. AND I HAD ELLEN AS A GUIDE.

>> BOY. YOU REALLY NEED SOMEONE TO TALK

TO, DON’T. >> YOU ALICE DOESN’T LIVE HERE

ANYMORE, IT WAS A REVELATION FOR ME BECAUSE THERE HAD BEEN NO

FLIPS ABOUT SINGLE MOMS. >> HOW LONG DO YOU THINK WE’LL

HAVE TO STAY IN THIS HELLHOLE? >> SHE’S NOT ONLY GOT ALL THIS

HEART BUT SHE’S FUNNY AND SHE’S STRONG.

>> WOULD YOU MIND THAT TURN AROUND FOR ME?

>> TURN AROUND FOR YOU? WHY?

>> I WANT TO LOOK AT. >> YOU LOOK AT MY FACE.

I DON’T SING WITH MY ASS. >> I FELT LIKE THAT WAS ONE OF

THE EARLY FILMS I SAW THAT TOOK THE VEIL OFF OF IT AND SAID

PEOPLE ARE MESSY AND COMPLICATED AND YOU CAN STILL LOVE THEM.

>> GOD, WAITRESS. >> ’70s CINEMA HAD AN INTEREST

IN REALITY AND SO YOU STARTED TO HAVE ACTRESSES WHO HAD A

COMPLETELY BELIEVABLE QUALITY TO THEM LIKE JILL CLAYBURGH.

>> I’M A MARRIED WOMAN WAS A MOVIE THAT HAPPENED IN THE

ZEITGEIST AT EXACTLY THE RIGHT MOMENT.

>> SHE A GOOD LAY? >> HER HUSBAND LEAVES HER FOR A

YOUNGER WOMAN AND THE WHOLE MOVE IS THE AFTERMATH OF THAT.

>> SHE HAD THIS KIND OF STRENGTH AND FEMININITY AND VULNERABILITY

AND SHE’S DIMENSIONAL. >> I JUST WANT TO SEE HOW IT

FEELS TO MAKE LOVE TO SOMEONE THAT I’M NOT IN LOVE WITH.

>> HOW DOES IT FEEL? >> SORT OF EMPTY.

>> IN THE ’70s, THERE WEREN’T TOO MANY FEMALE DIRECTORS.

LET ALONE FEE MAY WRITER HE, DIRECTOR, ACTORS.

SO ELAINE MAY IS ONE OF THE GREAT TRIPLE THREATS OF THE 20th

CENTURY. >> IN THE ’50S AND EARLY ’60s,

ELAINE MAY AND MIKE NICKLES WERE A BIG COMEDY TEAM.

>> MIKE NICKLES WENT ON TO DIRECT "THE GRADUATE" AND ELAINE

MAY WAS A SCREENWRITER AND SHE WAS TIRED OF DIRECTORS CHANGING

HER WORK SO SHE DECIDED SHE SHOULD DIRECT HER OWN FILM.

>> SHE’S PERFECT. >> A NEW LEAF MADE YOU FEEL LIKE

YOU COULD TELL A GREAT FUNNY STORY AND IT DIDN’T FEEL LIKE

OH, THIS IS JUST GIRL’S STUFF. ♪

>> WITH THE HEART BREAK KID, ELAINE MAY USHERED IN WHAT I

LIKE TO CALL UNCOMFORTABLE COMEDY WHICH IS NOW THE NORM.

>> YOU GOING TO SEE US IN 50 YEARS?

>> THE PREMISE IS CHARLES GRODIN, JEWISH GUY MAYORS

JEANNIE BERLIN WHO HAPPENS TO BE ELAINE’S DAUGHTER.

>> THAT’S MY STOOL. >> AND THEN HE MEETS KELLY WHO

IS CYBIL SHEPHERD AND WANTS TO HAVE AN AFFAIR WITH HER DURING

HIS HONEYMOON. >> I’VE BEEN WAITING FOR A GIRL

LIKE YOU ALL MY LIFE. >> CHARLES GRODIN JUST BREAKS

YOUR HEART BECAUSE YOU JUST WANT TO PUNCH HIM AND YOU JUST WANT

TO SHAKE HIM AND MAKE HIM WAKE UP.

>> IF I MAY, SIR, IN OTHER WORDS, WHAT YOU’RE SAYING IS

THAT IF I WANT KELLY, I’M GOING TO HAVE TO PUT UP A HELL OF A

FIGHT THAT IS. IS THAT ‐‐

>> HE’S A NUT. >> MY FATHER USED WITH TO BE

YELLING AT ME LIKE YOU CAN’T MAKE MOVIES.

WHERE IS THERE ANY WOMAN THAT’S MADE A MOVIE AND I FINALLY WAS

ABLE TO SAY UH, THAT ONE.

>>> WHEN I THINK OF THE GREAT AMERICAN THE ONES THAT HAVE A

TRULY ORIGINAL LANGUAGE, BOB FOSSE IS ABSOLUTELY THAT.

>> OUTSIDE IT IS WINDY. BUT HERE IT IS SO HOT.

>> I THINK HE’S A LITTLE BIT UNDERCELEBRATED WITH JUST

BECAUSE HE HAPPENED TO HAVE FOUND HIS LANGUAGE IN THE

MUSICAL. >> BYE, BYE.

>> ONLY THE 1970s CAN GIVE YOU A MUSICAL SET IN 1930s GERMANY

WHEN NAZIISM IS ON THE RISE AND NOT SOFT PEDAL ANY OF IT.

>> IT’S A MUSICAL IN AS MUCH AS IT HAS MUSICAL NUMBERS BUT IT’S

REALLY NOT A MUSIC AT ALL BECAUSE ALL THE MUSIC TAKES

PLACE WITHIN THE CONTEXT OF THIS SORT OF SLEAZY CLUB.

>> IT’S THE SUBTLE CHANGES THAT WE SEE WHERE THE SWASTIKAS START

POPPING UP IN THE AUDIENCE AND THE CONTENT FROM THE STAGE

STARTS TAKING A TURN TOWARD THE DARKER AND MORE ANTI‐SEMITIC.

♪ >> YOU KNOW WHAT’S COMING.

ALL THE MUSIC, ALL THE CULTURE, ALL THE CRUELNESS, EVERY KIND OF

SEXUALITY, ALL OF THIS IS GOING TO GO AWAY.

♪ >> AND THEN THAT SONG OF

TOMORROW BELONGS TO ME, FIRST IT’S JUST THIS YOUNG SWEET VOICE

VOICED VOICE SINGING AND THEN VERY SLOWLY BUT SURELY WE SEE

THAT OH, NO, THESE ARE NAZIS SINGING.

♪ >> THAT’S WHAT CABARET" IS

ABOUT, HOW SOMETHING LIKE THIS CAN CAN HAPPEN.

>> YOU STILL THINK YOU CAN CONTROL THEM?

>> THAT YEAR BOB FOSSE WAS NOMINATED WITH AGAINST COPPOLA

FOR THE "GODFATHER" AND HE WON. >> BOB FOSSE FOR CABARET".

>> HE CHARACTERISTICALLY PESSIMIST AND CYNIC, THIS AND

SOME OF THE OTHER NICE THINGS THAT HAVE HAPPENED TO ME IN THE

LAST COUPLE DAYS MAY TURN ME INTO SOME SORT OF HOPEFUL

OPTIMIST AND RUIN MY WHOLE LIFE. >> THE GENERAL PREMISE OF BOB

FOSSE’S ALL THAT JAZZ IS A MAN WHO IS WORKING HIMSELF TO DEATH.

>> IT’S SHOWTIME, FOLKS. ♪ THEY SAY IS THE NEON LIGHTS

ARE BRIGHT ON BROADWAY ♪ >> HERE WAS THIS INCREDIBLY

COMPLICATED CHARACTER WHO WAS SO TALENTED AND SO CHARMING AND THE

WAY THE MOVIE WAS CONSTRUCTED PUT YOU SO INSIDE THE FEELING OF

HIM. >> NOTHING I EVER DO IS GOOD

ENOUGH. >> IT’S AUTOBIOGRAPHICAL BUT HIS

KIND OF MANIC DRIVE FOR PERFECTION THAT CAN NEVER BE

ACHIEVE. ♪ WE TRIED WITH TO WARN YOU

SOMEHOW ♪ >> YOU DIDN’T LISTEN, DADDY.

YOU DIDN’T LISTEN. >> HE HAD A HEART ATTACK.

>> HAD A HEART ATTACK AND OPEN HEART SURGERY AND I BECAME VERY

INTERESTED WITH IN DEATH AND HOSPITAL BEHAVIOR AND THE

MEANING OF LIFE AND DEATH AND THOSE KINDS OF SUBJECTS.

>> HEY. ♪ DEATH IS IN ♪

>> THAT’S REALLY HIS LOVE STORY IN THE MOVIE IS WITH DEATH.

>> ROCKY HORROR PICTURE SHOW WAS INITIALLY A FLOP.

>> FOX RELEASED WITH IT. PEOPLE DIDN’T GET IT.

THEY DIDN’T KNOW WHAT TO MAKE OF IT.

♪ >> IT’S ABOUT A COUPLE LOST ON A

HIGHWAY AND IT JUST GETS SO WEIRD.

♪ WHY DON’T YOU STAY FORTNIGHT AND MAYBE A BITE ♪ ♪

♪ I COULD SHOW YOU MY FAVORITE ♪ >> ROCKY HORROR PICTURE SHOW WAS

A TRADITION THAT PLAYED WITH ONLY AT MIDNIGHT AND IT WAS LIKE

SOME CABARET VAUDEVILLE PARTICIPATORY EXPERIENCE.

>> HOW MANY TIMES HAVE YOU SEEN IT?

>> ABOUT 56. >> AROUND 100.

>> THIS IS MY 301st TIME. >> THAT WAS ONE CONFIDENT RITES

OF PASSAGE TO ADULTHOOD THE FIRST TIME YOUR PARENTS WOULD

SAY YEAH, YOU CAN GO OUT AND SEE A MIDNIGHT MOVIE AND YEAH, IT’S

OKAY IF IT’S THE ROCKY HORROR PICTURE SHOW.

>> SATURDAY NIGHT FEVER WAS THE ME OF TO CAPTURE THE WHOLE DISCO

PHENOMENON IN A WAY THAT WAS HE CAN SHS EXHILARATEING.

> IN SATURDAY NIGHT FEVER," THE MUSIC WAS ESSENTIAL TO THE STORY

BUT WASN’T PART OF THE PERFORMANCE OF THE CHARACTERS IN

THE STORY. ♪ DON’T KNOW WHY I’M SURVIVING

EVERY LONELY DAY ♪ >> THAT WAS A COMPLETE SHIFT IN

HOW MUSICALS WERE ADAPTED. JOHN TRAVOLTA IS NOT SINGING AND

DANCING. HE’S JUST DANCING AND THE MUSIC

IS PART OF THE NARRATIVE. >> LET’S GO.

>> RIGHT ON. ♪

>> YOU DIDN’T HAVE TO BE A DISCO FAN TO BE CAUGHT UP IN THE

SATURDAY NIGHT FEVER" BEE GEES MOMENT.

>>. >> TONY THE CHARACTER IN THE

FILM IS FINISHED WITH HIGH SCHOOL.

HE’S WORKING FULL TIME AT A PAINT STORE AND HE HAS TO DECIDE

WHAT HE WANTS TO DO WITH HIS LIFE.

>> WATCH THE HAIR. YOU KNOW, I WORK ON MY HAIR A

LONG TIME AND YOU HIT IT. >> HIS ONLY RELEASE, HIS ONLY

CLAIM TO FAME IN THE LOCAL AREA AND ALSO TO HIS OWN PERSONALITY

IS BEING THE BEST DISCO DANCER IN THAT TOWN.

>> SATURDAY NIGHT FEVER IS A TERRIFIC FILM ACTUALLY AND IT

HAS A LOT OF PSYCHOLOGICAL DRAMA IN IT.

>> I DID IT. >> COME ON.

>> IN SATURDAY NIGHT FEVER, JOHN TRAVOLTA’S CHARACTER IS TELLING

AN EXTREMELY DARK AND GRITTY STORY.

IN "GREASE," HE’S NOT. ♪ GREASED WITH LIGHTNING ♪

>> I LOVE GREASE, THE MUSICAL. IT SHOWS YOU A HIGH SCHOOL THAT

I DIDN’T GO TO, BUT THE SONGS ARE TIMELESS.

♪ BOY AND GIRL MEET BUT UH‐OH THOSE SUMMER NIGHTS ♪

>> OLIVIA NEWTON‐JOHN WAS AMAZING IN THAT ROLE.

YOU REALLY BELIEVE THAT SHE FEELS I WANT TO BREAK OUT OF MY

SHELL. >> THEN IN ORDER TO WIN OVER THE

GUY, SHE HAS TO BECOME A SLUT. SHE LOOKS PRETTY GOOD.

>> TELL ME ABOUT IT, TUD. >> IT’S PROBLEMATIC LOOKING BACK

AT IT NOW IN TERMS OF THE ULTIMATE MESSAGE THAT IT SENDS.

>> BECOMING WHO THIS MAN WANTS YOU TO BE AND YOU’LL BE HAPPY

BUT YOU’LL DO IT IN SONG AT A CARNIVAL SO IT’S OKAY.

♪ ♪ WE’LL ALWAYS BE TOGETHER ♪ AND

THEY’RE FLYING OFF. >> WHAT?

WHY ARE THEY FLYING? ♪

>> DOESN’T MAKE ANY SENSE. IT DOESN’T MATTER.

>>> YOU’RE VERY NEARLY PERFECT. >> THAT’S A ROTTEN THING TO SAY.

>> I DID NOT KNOW A WOMAN WHO WAS NOT IN LOVE WITH ROBERT

REDFORD AND EVEN I HAD TO ADMIT, THAT IS THE BEST LOOKING HUMAN

BEING I’VE EVER SEEN EVER, EVER EVER.

>> HE WAS ONE OF THE MOST UNDERAPPRECIATED WITH ACTORS IN

AMERICA BECAUSE HE WAS SO HANDSOME.

>> HIS ARTISTRY AT AN ACTOR IS UNPARALLELED.

HE HAD THIS EXPERTISE AND CONFIDENCE THAT MADE HIM EVEN

MORE GOOD LOOKING, IF YOU ASK ME.

>> COME ON, IT WILL BE FUN. WE CAN ALL BE DISGUSTING AND

DECADENT AND EAT EGGS BENEDICT AND VOTE REPUBLICAN.

>> EVEN THOUGH HE WAS THE GOLDEN BOY, HE WAS ACTUALLY INSIDE A

MUCH, MUCH DIFFERENT PERSON. HE CARE ABOUT POLITICS DEEPLY.

HE CARED ABOUT THE ENVIRONMENT DEEPLY.

>> AND IN THE ’70s STARS STARTED TO TAKE ADVANTAGE OF THE POWER

THEY HAD TO FOLLOW THEIR OWN INCLINATIONS.

>> MARVIN WANTS ME TO GO INTO POLITICS.

>> IN "THE CANDIDATE" WHICH HE MADE WITH THE DIRECTOR MICHAEL

RICHIE HIS CHARACTER GETS TALKED WITH INTO RUNNING FOR SENATOR.

>> THIS COUNTRY CANNOT HOUSE ITS HOUSELESS.

FEED IT’S FOODLESS. >> I THINK IT FELT IMPORTANT AT

THAT TIME BECAUSE I COULD SEE THE COUNTRY SHIFTING.

SUDDENLY WE WERE BEGINNING TO ELECT PEOPLE BY HOW THEY LOOKED

WITH RATHER THAN WHAT THEY REALLY STOOD FOR.

>> NOW DECLARED WITH YOUNG BILL MACKAY THE WINNER.

>> I WIN, BUT WHAT HAVE I REALLY WON.

>> MARVIN, WHAT DO WE DO NOW? >> WE NEVER DISCUSSED WITH WHAT

I WOULD DO IF I WON. NOW WHAT AM I GOING TO DO.

THAT’S HOW I WANTED TO END THE FILM.

>> THE CONVERSATION CAME OUT IN 1974 IN THE SHADOW OF WATERGATE.

>> PAY ATTENTION. >> AS IT TURNS OUT WHAT WE CALL

PARANOID POLITICS WAS ACTUALLY REALLY HAPPENING.

THERE WERE PEOPLE CONSPIREING TO CONTROL EVENTS.

SO YOU START TO SEE MOVIES THAT REFLECT THAT.

>> INDEPENDENCE DAY IS VERY MEANINGFUL TO ME BECAUSE

SOMETIMES I’VE BEEN CALLED WITH TOO INDEPENDENT FOR MY OWN GOOD.

>> PAIR LEX VIEW, IT’S THE STORY OF WHETHER OR NOT LEE HARVEY

OSWALD, SIRHAN SIRHAN, JAMES EARL RAY ACTED ALONE IN THOSE

ASSASSINATIONS OR WHETHER IT WAS A CONSPIRACY.

>> IT’S MUCH BIGGER THAN THAT. WHOEVER IT BEHIND THAT IS IN THE

BUSINESS OF ASSASSINS. >> DURING THE FILMING, THE

WATERGATE HEARINGS ARE GOING ON. THAT’S ALL WE TALKED ABOUT EVERY

DAY. WE COULDN’T WAIT TO GET TO THE

SET TO WATCH THE HEARINGS AND SHOOT THE MOVIE.

PAIR LEX VIEW WAS SO MUCH ABOUT POLITICS AND CORRUPTION IN

GOVERNMENT. IT WAS A CONFLUENCE OF ENERGY

THAT WAS GOING ON THROUGH THE WHOLE THING.

>> BREAK DOWN THE SECURITY THERE.

>> WHAT ARE YOU DOING? >> THREE DAYS OF THE CONDOR

AGAIN, YOU HAVE THIS FEELING OF THE MAN AGAINST BIG GOVERNMENT.

>> WE WANTED TO MAKE IT KIND OF SEMI DOCUMENTARY STYLE AND MY

CHARACTER HAS TO RUN FOR HIS LIFE TO FIGURE OUT WHAT IS GOING

ON. >> ACTORS LIKE REDFORD AND

WARREN BEATTY WHO WERE BOTH VERY POLITICAL THEY START TO FIND A

WAY TO MAKE A COMMERCIAL VEHICLE THAT INVOLVES THIS KIND OF DARK

UNDERCURRENT OF AMERICAN SOCIETY.

>> WHO ARE YOU? >> IN THREE DAYS OF THE CONDOR,

THE QUESTION IS, WHO WILL WIN. CAN THE PRESS UNDO THESE DARK

FORCES? >> WHAT?

WHAT DID YOU DO? >> I TOLD THEM A STORY.

>> ALL THE PRESIDENT’S MEN" ANSWERS THAT QUESTION.

>> DID HE CONFIRM IT. >> ABSOLUTELY.

>> BILL BRADLEY. >> THE FILM IS BASED ON A BOOK

BY WOODARD AND BERNSTEIN THAT WAS WRITTEN BEFORE RICHARD NIXG

ON RESIGNED WITH AND IN THE FILM REDFORD AND HOFFMAN REPRESENT

THE ROLE THAT WOODWARD AND BERNSTEIN ACTUALLY PLAYED WITH

IN UNRAVELING THE WATERGATE COVER‐UP IN 1972.

>> I HAD GREAT RESPECT FOR JOURNALISM AND THAT MADE ME

INTERESTED WITH IN MAKING A FILM.

ALL THE PRESIDENT’S MEN BECAME NOT SO MUCH ABOUT JUST FOLLOWING

NIXON, IT WAS MORE ABOUT WHO THE TWO GUYS THAT DUG UNDERNEATH

LIKE GOFERS TO GET TO THE TRUTH. >> YOU GUYS ARE ABOUT TO WRITE A

STORY THAT SAYS THE FORMER ATTORNEY GENERAL, THE HIGHEST

RANKING LAW ENFORCEMENT OFFICER IN THIS COUNTRY IS A CROOK.

JUST BE SURE YOU’RE RIGHT. >> IT’S A MOVIE ABOUT COMPETENT

PEOPLE DOING THEIR JOBS EVEN WHEN IT APPEARS THAT POWERFUL

ENTITIES YOU’RE TAKING ON ARE OBVIOUSLY GOING TO CRUSH YOU.

>> THIS WON’T TAKE ALONG AT ALL. >> PLEASE GO AWAY, OKAY?

PLEASE LEAVE BEFORE THEY SEE YOU.

>> WHO DID YOU MEAN BY. >> WHAT DO YOU MEAN THREW.

>> ALAN PA KUL LA REALLY KNEW HOW TO CREATE A SENSE OF

PARANOIA AND SUSPENSE. YOU CAN HARDLY EVEN TAKE A FULL

BREATH WHEN YOU SEE THAT MOVIE FOR THE FIRST TIME.

>> NOTHING’S RIDING ON THIS EXCEPT THE FIRST ANTICIPATE OF

THE CONSTITUTION. DREAM OF THE PRESS AND MAYBE THE

FUTURE OF THE COUNTRY. >> THE MOVIE IS VENERATED WITH

FOR ENSHRINING THE IMPORTANCE OF JOURNALISM AT ITS BEST.

HOLDING POWERFUL INTERESTS TO ACCOUNT.

AND FINDING OUT WHAT’S TRUE. >> THE AMERICAN PEOPLE ARE

TURNING SULLEN. THEY’VE BEEN CLOBBERED WITH ON

ALL SIDES BY VIETNAM, WATERGATE, INFLATION, THE DEPRESSION.

THEY TURNED WITH OFF SHOT UP, AND NOTHING HELPS.

>> NETWORK IS ABOUT A TELEVISION NETWORK RUN AMOK.

>> I WOULD LIKE AT THIS MOMENT TO ANNOUNCE THAT I WILL BE

RETIRING FROM THIS PROGRAM IN TWO WEEKS TIME BECAUSE OF POOR

RATINGS. SINCE THIS SHOW IS THE ONLY

THING I HAD GOING FOR ME IN MY LIFE, I HAVE DECIDED TO KILL

MYSELF. >> WE THIS LONG‐TIME AND CORE

MAN HOWARD BEAL AND HE HAS A MELT DOWN ON LIVE TELEVISION.

>> GET HIM OFF. >> WHAT’S THE MATTER WITH YOU

FELLOWS? >> WHAT THEY DISCOVER IS THAT

MELT DOWN MAKES PEOPLE WATCH THE SHOW.

>> TV IS SHOW BIZ, MAX. AND EVEN THE NEWS HAS TO HAVE A

LITTLE SHOWMANSHIP. >> GOD, YOU ARE SERIOUS.

>> SO NETWORK IS ALSO ABOUT WHAT WE’RE WILLING TO WATCH.

>> STICK YOUR HEAD OUT OF THE WINDOW, OPEN IT, AND STICK YOUR

HEAD OUT AND YELL I’M AS MAD AS HELL AND NOT GOING TO TAKE THIS

ANYMORE. >> PETER FINCH IS SPEAKING AT

EVERY MAN. >> AND IT’S A REACTION TO AN

AMERICA THAT IS QUESTIONING THEIR OWN PERSONAL MORALITY.

>> ROCKY, DO YOU BELIEVE THAT AMERICA IS THE LAND OF

OPPORTUNITY? >> YEAH.

>> ROCKY GIVES US FAITH. IT’S A DAVID AND GOLIATH STORY

BUT ALSO QUINTESSENTIALLY AN AMERICAN STORY.

IT’S HOW WE WANT TO BELIEVE THE COUNTRY FUNCTIONS.

>> YOU FIGHT LIKE A GOD DAMN. >> IT’S MUCH MORE A DRAMA THAN A

MOVIE ABOUT BOXING. > WHY DO YOU WANT TO FIGHT?

>> BECAUSE I CAN’T SING OR DANCE.

>> IT’S ABOUT THIS GOOFY GUY GETTING AN UNEXPECTED SHOT AND

THIS REALLY AWKWARD WOMAN THAT HE FALLS IN LOVE WITH AND THEN

THE RELATIONSHIP THAT HE FORGES WITH THIS OLD SCHOOL TOUGH GUY

TRAINER. >> WOMEN WEAKEN LEGS.

>> YEAH, BUT I REALLY LIKE THIS GIRL, YOU KNOW?

>> THERE’S A NOBILITY IN ROCKY TO TRY FOR A DREAM EVEN IF IT

DOESN’T WORK OUT. ♪

>> IT MADE ME WANT TO BE A BOXER.

I HAD A GRAY SWEATSHIRT AND I WENT OUT RUNNING THINKING I WAS

GOING TO BE LIKE ROCKY. I PROBABLY GOT LIKE 100 FEET AND

I WAS LIKE, GOD. AND I REMEMBER COMING HOME AND

MY MOTHER WAS VERY SWEET AND SHE SAID TO ME, YOU KNOW, ROCKY WAS

THE SCREENWRITER OF THE MOVIE. I THOUGHT THAT SOUNDS BETTER

THAN DRINKING RAW ES AND RUNNING EVERY MORNING.

WHY DON’T I BE A SCREENWRITER. ♪

>> SYLVESTER STALLONE WAS A STRUGGLING ACTOR THAT NOBODY

KNEW BUT HE WROTE THIS SCRIPT WHICH IS ALL HEART.

HE WAS COMPLETELY BROKE, BUT HE WOULDN’T SELL IT TO HOLLYWOOD

UNLESS HE COULD BE IN IT. >> ROCKY’S COMING BACK NOW.

>> IN THE END EVEN THOUGH HE LOSES YOU FEEL LIKE WE GOT

THROUGH IT. >> AT THE END OF THE ’70s, WE

HAD BEEN THROUGH SOME STUFF. >> ROCKY.

>> SO ROCKY BECOMES A PLET TA FOR THE HUMAN SPIRIT.

>> AND THE WINNER IS "ROCKY." >> ROCKY WINS BEST PICTURE IN

1977 WHICH IS CRAZY BECAUSE WHEN YOU REALIZE 1977 IS THE SAME

YEAR THAT NETWORK, TAXI DRIVER, ALL THE PRESIDENT’S MEN AND

BOUND FOR GLORY ARE UP FOR BEST PICTURE AND ROCKY TAKES IT, THIS

KIND OF FEEL GOOD FILM. >> TO ALL THE ROCKYS IN THE

WORLD, I LOVE YOU.

>>> WHEN THE DEAR HUNTER COMES OUT, THE COUNTRY’S EMOTIONAL

SCARS FROM VIETNAM ARE STILL FRESH.

>> OH. >> STANLEY, SOMETIMES YOUR SENSE

OF HUMOR AIN’T FUNNY. >> "THE DEER HUNTER" WAS ABOUT

WORKING CLASS GUYS GOING TO WAR AND WHAT HAPPENS AND IT WAS SO

POWERFUL AND STRONG. >> WE’RE GOING AIRBORNE SFLOOSH

RIGHT. >> THEY HAVE IDEAS ABOUT WHY

THEY’RE FIGHTING AND WHAT THEY EXPECT.

AND WHAT THEY FIND IS JUST HORROR.

>>> WHEN THE DEER HUNTER CAME OUT, IT REALLY SHOCKED WITH

PEOPLE. >> SO MUCH OF THAT MOVIE IS

ABOUT THE DEADENING OF LIFE IN THE PROCESS OF SURVIVING LIFE.

>> SOME PEOPLE THOUGHT THAT THAT FILM WAS TOO DIFFICULT TOO RAW

BUT I FELT THAT REALISM WAS NECESSARY FOR PEOPLE THAT

UNDERSTAND WHAT HAPPENED. >> WOULD YOU GO IF YOU HAD THE

CHANCE AGAIN? >> "COMING HOME" OPENS WITH

VETERANS AROUND A POOL TABLE. IT WAS SO IMPORTANT TORE ASHBY

THAT HE COMMUNICATE THE REALITY OF THE VETERAN THAT HE SIMPLY

SAID GO. IMPROVISE.

>> WE COME BACK AND SAY WHAT WE DID WAS A WASTE, WHAT HAPPENED

TO US WAS WAY WASTE. SOME OF US CAN’T LIVE WITH IT.

>> AND IT COMPLETELY LEDGE MIZES EVERYTHING TO COME.

>> WHAT ARE YOU DOING HERE, BENDER?

WHY AREN’T YOU OUT ON GOLF COURSE TEEING UP BALLS?

DOING SOMETHING YOU’RE GOOD AT? >> TRYING TO KEEP BUSY, THAT’S

ALL. >> SURE IT GIVES YOU SOMETHING

TO TALK ABOUT OVER MARTINIS HOW YOU’RE HELPING OUT THE POOR

CRIPPS. >> IN SOME WAYS JANE FONDA PLAYS

AMERICA IN COMING HOME. >> I DON’T THINK I DESERVE THAT

LUKE, AT ALL. >> SHE CHANGES AS SHE VIEWS THE

EFFECT OF THE WAR ON THE MEN AROUND HER.

>> SHE WANTS TO LISTEN TO YOU. AND SHE WANTS TO UNDERSTAND YOU.

>> THIS IS A POWERFUL MOVIE BECAUSE IT’S NOT A POLITICAL

DIATRIBE. IT’S ABOUT HUMAN BEINGS.

>> SO THE NOTION THAT FRANCIS FORD COPPOLA WHO HAD MADE "THE

GODFATHER" MOVIES WAS TAKING ON VIETNAM, THAT WAS PART OF WHY

THERE HAD BEEN SO MUCH SPECULATION ABOUT AN POM LIPS

THAT FRANCIS WAS GOING TO BE MAKING THIS MOVIE AND IT TURNED

INTO THIS EPIC NIGHTMARE ODYSSEY.

>> IT WAS THIS POTENTIAL DISASTER AND MARTIN SHEEN HAD

HAD A HEART ATTACK AND THE LORE, THE PRELORE, THERE WAS A LOT OF

DRAMA WHAT WE WERE GOING TO SEE ON SCREEN.

THAT WAS APOCALYPSE NOW AND THE MOVIE BLEW MY MIND.

>> THE LIGHTS ARE DOWN, YOU SEE ‐‐ AND THEN FINALLY THE

SCREEN COMES UP. IT WAS LIKE WOW.

♪ THIS IS THE END ♪ >> IT’S A STRANGER KIND OF A

FILM THAT MORE AND MORE APOCALYPSE BECOMES LIKE A DREAM

OR A NIGHTMARE IN WHICH YOU’RE DEALING WITH THINGS LIKE

MORALITY AND GOOD AND EVIL. SO TO ME, THE REAL ISSUE WAS

THAT IT WOULD BE BEAUTIFUL AND THAT IT WOULD IN SOME WAY THROW

LIGHT ON THE SUBJECT. >> I LOVE THE SMELL OF NAPALM IN

THE MORNING. >> UNLIKE A LOT OF THE VIETNAM

MOVIES THAT CAME LATER WHICH TRIED WITH TO BE MORE REALISTIC,

THIS SEEMED WITH SURREAL. >> SOME DAY THIS WAR’S GOING TO

END. >> THE FIGHT HADN’T GONE HOW

THEY EXPECTED WITH. IT WASN’T A TRADITIONAL WAR AND

IT FELT VERY HAZY AND A LOT OF THEM WERE HIGH.

AND IT FELT LIKE AN APT METAPHOR FOR WHAT THE WAR WAS LIKE FOR

MANY, MANY PEOPLE. >> THIS IS A POWERFUL INDICTMENT

OF WAR BUT IT’S ALSO A DISTURBING JOURNEY TO THE

DARKEST REACHES OF OUR OWN HUMAN SOUL.

SOUL. >> I THINK JUST IN TERMS OF A

MOVIE THAT SCARES YOU, "THE EXORCIST" IS THE BEST.

THERE WAS NOTHING ELSE LIKE THIS.

>> "THE GODFATHER" WAS THE BIGGEST GROSSING FILM OF ALL

TIME IN 1972 SURPASSING "GONE WITH THE WIND" FROM 1939.

WHEN DID THE GODFATHER GET SURPASSED?

ONE YEAR LATER BY THE EXORRIST" CAN YOU BELIEVE THIS?

HE DOESN’T CALL HIS DAUGHTER ON HER BIRTHDAY.

HE DOESN’T GIVE A SHIT. >> THE GREAT THING IS IT

PRESENTS ITSELF AS A DOMESTIC DRAMA WHICH THEN TURNS INTO A

SUPER NATURAL HORROR FILM. >> MOTHER!

>> IT WAS IMPORTANT FOR ME TO BE AS RELATABLE AS POSSIBLE SO THE

AUDIENCE COULD FEEL WHAT IT FELT LIKE TO HAVE YOUR CHILD TURN

INTO THIS MONSTER. >> WHO ARE YOU?

>> AH! >> GOING TO MAKE A FILM THAT WAS

ABOUT REAL PEOPLE. WHEN YOU DO THAT AND ADD THIS

REALITY, YOU HAD THE PEOPLE IN THE AUDIENCE ABSOLUTELY LOSING

THEIR MINDS. >> I’M SO SCARED.

THE BED WAS SHAKING. >> OH.

>> THE THING THAT REALLY SURPRISES ME IS PEOPLE FAINT.

I MEAN I’VE NEVER IN MY LIFE KNOWN A MOVIE WHERE PEOPLE WOULD

FAINT. IT’S HARD TO MAKE PEOPLE FAINT.

>> ALMIGHTY FATHER. >> YOU WALKED INTO THE THEATER

AND YOU REALLY THOUGHT MAN, AM I GOING TO SURVIVE THE NEXT TWO

HOURS WATCHING THIS. AND SOMETIMES NO.

>> ALIEN IS 100% A HAUNTED WITH HOUSE MOVIE.

THESE GUYS ARE IN A HAUNTED HOUSE AND THERE’S A MONSTER IN

THE HOUSE AND ONE BY ONE THEY GET KILLED.

>> >> WHAT MADE IT WHAT IT WAS WAS

THE EXECUTION. IT GOT YOU, NO PUN INTENDED, ON

A GUT LEVEL. >> HOW YOU DOING?

>> TERRIFIC. NEXT SILLY QUESTION.

>> THE GREAT THING ABOUT "ALIEN" IS IT TRUSTS THE PATIENCE OF THE

AUDIENCE. BY THE TIME YOU GET TO THE

FAMOUS CHEST BURST SEQUENCE, THE AUDIENCE HAVE THEIR HEARTS IN

THEIR MOUTHS BECAUSE OF THE SLOW TICK, TICK, TICK, TICK OF THE

ROLLER COASTER GOING UP. >> WHEN THAT BLOOD BLEW, THE

REACTION WAS APPROPRIATELY STUNNED.

I ALWAYS REMEMBER STANDING ON ONE SIDE OF THE PREVIEW, AND THE

PEOPLE WEREN’T SITTING. THEY WERE SLID DOWN INTO THEIR

SEATS AND HOLDING EACH OTHER TIGHTLY.

>> RIDLEY SCOTT HAS AN UNKNOWN STAGE ACTRESS NAMED SE GORE KNEE

WEAVER. SHE HAD THE STUFF TO HOLD HER

OWN IN 1979. THE HERO IS A WOMAN.

THAT WAS ♪

>> I LOVE "STARS WARS." I SAW IT IN OREGON ON OPENING

NIGHT. FROM THE VERY BEGINNING WHERE

THE LITTLE SHIP GOES OVER AND THEN THIS GIANT SHIP PURSUES IT.

IT’S LIKE THE LITTLE FISH AND THE BIG FISH.

YOUR SYMPATHY IMMEDIATELY GOES TO THE LITTLE FISH.

THE AUDIENCE BURSTS INTO APPLAUSE.

AND THAT NEVER HAPPENS. TWO MINUTES LATER, DARTH VADER

MAKES HIS ENTRANCE. ♪

NOBODY KNOWS DARTH VADER FROM ANYTHING, AND THE AUDIENCE

SIMULTANEOUSLY BOOS AND HISSES LIKE IT’S A SILENT MOVIE.

>> NOW, I AM THE MASTER. >> ONLY A MASTER OF EVIL.

>> "STARS WARS" IS OUT OF THE MIND OF GEORGE LUCAS WHO JUST

WANTED TO MAKE A SPACE OPERA. IT WAS A HUGE RISK.

>> HELP ME. >> A FANTASY ABOUT LUKE

SKYWALKER AND A SPACE DOG AND A CUTE ROBOT THAT SPOKE IN BLEEPS

AND BLOOPS. >> WHAT YOU TALKING ABOUT?

>> NOBODY UNDERSTOOD OR KNEW WHAT HE WAS GOING TO DO.

IT DOESN’T MAKE SENSE ON THE PAGE.

>> I’M A MEMBER OF THE IMPERIAL SENATE ON A DIPLOMATIC MISSION.

>> YOU’RE PART OF THE ALLIANCE AND A TRAITOR.

TAKE HER AWAY. >> "STAR WARS" IS ANOTHER

MANIFESTATION OF A VERY OLD STORY.

THE ROOTS OF IT WERE IN SAMURAI FILMS AND ALSO WESTERNS.

>> YES, I BET YOU HAVE. >> BUT I THINK THE MAGIC COMES

FROM WHEN YOU MIX THE OLD MYTHS WITH THE VERY NEW TECHNOLOGY.

IT TOTALLY BLEW ME AWAY. I MEAN, IT JUST TRANSPORTED ME

IN WAYS I HAD REALLY NEVER QUITE EXPERIENCED BEFORE.

>> THE FORCE WILL BE WITH YOU ALWAYS.

>> IT WAS ALWAYS REALLY MOVING. AND IT ENDED WITH A TREMENDOUS

SENSE OF VICTORY AGAINST INCREDIBLE ODDS.

♪ >> STAND BY.

>> WE LEFT THE THEATER KIND OF CLEARING

CLEARING TEARS AWAY FROM OUR EYES FROM THAT TRIUMPHANT

EMOTIONAL FINALE. >> REMEMBER THE FORCE WILL BE

WITH YOU ALWAYS. >> AND IT WAS ANOTHER HUGE

TWO‐HOUR LINE HERE. AND WE JUST LOOKED AT EACH OTHER

AND SAID DO YOU WANT TO SEE IT AGAIN?

SHE SAID, YEAH. >> I REMEMBER WHEN GEORGE WENT

TO THE TELEPHONE AND GOT THE NEWS THAT ALL THE 10:00 A. M.

SHOWS ACROSS AMERICA HAD SOLD OUT.

AND THAT’S WHEN IT WENT FROM A HIT MOVIE TO A CULTURAL

PHENOMENON. >> IT ESSENTIALLY IS A FUN MOVIE

TO WATCH. IT’S BEEN A LONG TIME SINCE

PEOPLE HAVE BEEN ABLE TO GO TO THE MOVIES AND SEE A SORT OF

STRAIGHTFORWARD WHOLESOME, FUN ADVENTURE.

♪ >> EXCUSE ME.

>> THAT’S A BAD OUTFIT. >> AS WE MOVE OUT OF THE 70s AND

INTO THE ’80s WE START TO SEE SOMETHING A LOT MORE GLAMOROUS,

A LOT MORE PRODUCED. WHAT STARTS TO DISAPPEAR IS THE

FLAWED LEADING MAN. >> YOU’RE NOT AFRAID OF THINGS.

>> WHY WOULD I BE AFRAID? >> WE SEE INSTEAD STORIES THAT

ARE GOING TO MAKE BIG HEROES OF SOMEONE WHO DOES A GOOD THING.

AMERICA NEEDED TO BELIEVE IN A HERO AGAIN.

AND WE FOUND OUT THAT THERE ARE HEROES EVERYWHERE.

>> WHAT’S WRONG? >> THE FUTURE.

>> WHAT’S THE MATTER WITH IT? ♪

>> YOU CAN JUST SIT DOWN FOR THE REST OF YOUR LIFE AND WATCH

MOVIES FROM THE ’70s AND THEY’RE AMAZING.

>> THE SHAKE UP OF WHAT WE WERE GOING THROUGH IN THE ’70s AND

THE EXPECTATIONS AND THE STEREOTYPES THAT WE HAD HAD

ABOUT OUR OWN NATION AND THE MYTH THAT IS WE HAD SWALLOWED,

THERE WAS NO WAY THAT AMERICAN CINEMA COULD NOT REFLECT THAT.

>> DON’T YOU SELL AMERICA TO ME! >> ALL THE MOVIES THAT CAME OUT

WERE VERY INVENTIVE AND REALLY RICH AND SMART.

PEOPLE WERE TRYING FOR SOMETHING DIFFERENT.

>> IT WAS AN EXTRAORDINARY TIME. WE WERE ALL PLAYING OFF EACH

OTHER. AND THERE WAS NO DOUBT WE WERE

CHANGING THINGS. >> WE HAD ALL THESE ENORMOUSLY

TALENTED, CREATIVE, AMBITIOUS FILMMAKERS BEING GIVEN MONEY TO

GO OUT AND MAKE THE PICTURE THAT THEY WANTED TO MAKE.

>> THANK YOU. >> THE CONVERGENCE OF COMMERCIAL

FILM MAKING WITH AN INDEPENDENT SENSIBILITY.

WE’D NEVER REALLY HAD THAT BEFORE.

AND IT OPENED UP A WHOLE NEW VISTA FOR AMERICAN FILM.