All language subtitles for 1x04 2_English

♪
♪

♪
♪

>> 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.