The Movies (2019): Season 1, Episode 1 - The Eighties - full transcript

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♪

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♪

ROBINSON APPARENTLY TIRED.
COME ON.

A DIRECTOR, AN ACTOR, FIND A
STORY AT THE RIGHT TIME IN THE

RIGHT PLACE.
OUT COMES THIS AMAZING

COMBINATION OF CINEMATIC FEAR.
IT'S LIKE WATCHING AN ANIMAL.

"RAGING BULL" IS A GREAT TITLE.

THE FILM FULFILLS THE PROMISE.
THE REALITY OF THE BOXING AND

THE SLOW MOTION AND ALL OF THE
BLACK AND WHITE GORE AND THE

FLASHBULBS.
WHEN HE DESIGNED THE MOVIE, HE

DIDN'T PUT A CLUTCH ON THE FILM.
THERE'S NO CLUTCH.



GOING DOWN, MAN.
YOU NEVER GOT ME DOWN.

IT'S A BOXING MOVIE FOR
PEOPLE WHO DON'T LIKE BOXING.

IT'S NOT ABOUT THAT.
IT'S ABOUT THIS MAN WHO WAS

BASED ON A REAL PERSON WHO IS AT
WAR WITH HIMSELF.

HARDER. HARDER.

I DIDN'T UNDERSTAND BOXING.
THE CHARACTER WAS INTERESTING.

HE WAS SO CONTRAIR.
BOB DE NIRO, HE IS NOT AFRAID

OF THE NEGATIVE CHARACTERS,
AFRAID TO GO TO THOSE PLACES.

I WAS DOWN TO 152.
THEN I WENT UP TO 212.

I GAINED 60 POUNDS.
IT'S NOT EASY.

FIRST 15 POUNDS, IT'S FUN.
THEN IT'S DRUDGERY.

GO GET 'EM, CHAMP.
IT'S ABSOLUTELY TRUE THAT THE

MOVIES OF 1980 LOOK LIKE MOVIES
OF THE 1970s.

VERY PERSONAL, VERY PASSIONATE
FILM MAKING RULES.



HAD YOU ORDINARY PEOPLE.
THE MOVIE THAT DEFEATED "RAGING"

"BULL" FOR BEST PICTURE IN 1980.
THIS INCREDIBLY PRECISE AND VERY

EMOTIONAL STUDY OF A FAMILY IN
DEEP CRISIS.

GIVE ME THE CAMERA.
I DIDN'T GET IT YET.

GIVE HER THE CAMERA.
I WANT A REALLY GOOD PICTURE

OF THE TWO OF YOU.
I WANT TO GET A SHOT OF THE

THREE OF YOU MEN.
GIVE ME THE CAMERA.

NOT UNTIL I GET A PICTURE OF
THE TWO OF YOU.

HANG ON A SECOND.
GIVE HER THE GOD DAMN CAMERA.

IT CENTERS ON PEOPLE WHO
CANNOT GET IN TOUCH WITH THEIR

FEELINGS AND WHO AVOID THE
DARKER UNDERPINNINGS.

I WOULD LIKE TO TELL A STORY
ABOUT WHAT PEOPLE WILL DO TO

AVOID BEING SEEN FOR WHO THEY
REALLY ARE.

I GAVE MARY TYLER MOORE THE
SCRIPT.

I COULD SEE YOU PLAYING THIS.
SHE WAS DROWN TO IT.

THAT TOLD ME THAT THERE IS SOME
PART OF HERSELF SHE WAS WILLING

TO EXPOSE THAT HAD BEEN NOT
EXPOSED BEFORE.

SHE WANTED THAT CHANCE.
SO SHE WAS GIVEN THAT CHANCE.

SO DID A GREAT JOB.
THAT MOMENT WHERE SHE COMES

DOWNSTAIRS AND ASKS HER HUSBAND
WHAT'S WRONG.

I DON'T KNOW IF I LOVE YOU
ANYMORE.

SHE GOES UPSTAIRS AND
SHE'S ‐‐ THERE'S SOMETHING SO

MOVING TO ME ABOUT SOMEBODY WHO
IS SO DEEPLY REPRESSED CRACKING

OPEN.
THAT'S WHERE THE DAM BREAKS.

SHE GETS HIT BY SOME TRUTH SHE
CAN'T ARTICULATE.

SHE'S SO TAKEN BACK, SHE CAN'T
ADJUST.

SHE CAN'T TAKE IT IN.
THAT'S WHAT THAT MOMENT WAS

ABOUT. YOU LOOK AT SOME OF THESE

FILMS OF THE 1980s, LIKE
"ORDINARY PEOPLE."

THOSE FILMS ARE EXPLICITLY ABOUT
HOW THINGS LOOK ARE NOT THE WAY

THEY REALLY ARE.
YOU HAVE TO UNDERSTAND, THIS WAS

WHEN RONALD REAGAN BECAME
PRESIDENT.

THE IDEA WAS THAT AFTER ALL
SORTS OF TRAUMA, PARTICULARLY

WATERGATE AND VIETNAM, WE
HEALED.

AS THE PUBLIC PRONOUNCEMENT IS
WE'RE GOOD AGAIN, OUR MOVIES ARE

TELLING US, NO, WE'RE NOT.
NO, WE ARE NOT.

WENDY, I'M HOME.
I PLAY THIS GAME.

ALL YOUR FAVORITE FILMMAKERS,
ALIVE OR DEAD, OPENING A MOVIE

ON THE SAME DAY, WHICH MOVIE
WOULD YOU SEE FIRST?

FOR ME IT WOULD BE STANLEY
KUBRICK BECAUSE YOU ARE GOING TO

SEE SOMETHING YOU NEVER SAW
BEFORE.

HE DID THAT IN ‐‐ THINK ABOUT
IT ‐‐ EVERY GENRE.

HE WILL MAKE A HORROR MOVIE,
IT'S THE HORROR MOVIE DONE IN A

WAY THAT YOU WOULD NOT EXPECT.
TO ME "THE SHINING" IS ABOUT

DREAD.
FROM THE VERY FIRST FRAME,

SOMETHING GRABS YOUR SOLAR
PLEXUS AND PULLS ON IT.

NOBODY USES SILENCE LIKE STANLEY
KUBRICK.

MA. IT WAS AS IF I HAD BEEN IN

THE HOTEL FOR 2 1/2 HOURS.
HE CREATES A PACING WHERE IT

OVERTAKES THE WAY YOU ARE
BREATHING AND THE WAY YOU ARE

EXISTING AND YOU ARE IN THERE.
IN ALL KUBRICK FILMS, HE

CONTROLS YOU.
KUBRICK STEADY CAM WORK IN "THE"

"SHINING" BROKE NEW GROUND.
IT GAVE STANLEY A CHANCE TO PUT

US IN A SCENE THAT DIDN'T HAVE
ANY TIME CONSTRAINTS.

YOU GET SO HYPNOTIZED BEING
BEHIND THE TRICYCLE.

YOU ARE BEHIND IT.
WHICH LEADS TO ONE OF THE

SCARIEST SHOTS IN THE MOVIE.
HELLO, DANNY.

HELLO, DANNY.
COME AND PLAY WITH US.

FANTASTIC.
UNITED ARTIST WAS BETTING $40

MILLION ON ITS NEW MOVIE
"HEFSHNESS" HEFSH

"HEAVENS GATE."
IT HAS BEEN YANKED FROM AMERICAN

THEATERS AFTER ONE DAY.
TOOK ALMOST A YEAR TO

COMPLETE.
THE DIRECTOR, GOT A FREE HAND.

HIS PRODUCER SAID HE WAS OUT OF
CONTROL.

THE RESULT, A 3 1/2 HOURS BOMB.
IT'S A STAKE THROUGH THE

HEART.
IT'S THE TALE OF THE STUDIO WILL

STEP IN.
THAT'S HOW YOU GET THE MOVIES OF

THE 1980s.
YOU KNEW WHERE YOU WERE WHEN.

YOU SAW "THE EMPIRE STRIKES
BACK."

IT WAS THE MOVIE THAT TOOK THE
WHOLE THING TO ANOTHER LEVEL.

"STAR WARS" WAS HUGE.
BUT "EMPIRE STRIKES BACK" WAS

PHENOMENAL PHENOMENAL.

THESE CHARACTERS, INTERMIX.

THIS IS A BUDDING ROMANCE
BETWEEN SOLO AND PRINCESS LEIA.

I LOVE YOU. >> I KNOW.

LUKE IS TRANSITIONING INTO
BECOMING A JEDI KNIGHT.

THIS IS THE GOOD ACT.
IN CLASSICAL DRAMATIC

PHILOSOPHY, YOU SET THE THING UP
IN THE FIRST ACT.

IN THE SECOND ACT, YOUR HEROES
ARE PUT IN A POSITION THAT IS

UNRESOLVEABLE UNRESOLVABLE.

THEY ARE PUT IN ENORMOUS
JEOPARDY.

YOU DON'T KNOW HOW IT'S GOING TO
WORK OUT.

THAT IS THE MOST INTERESTING
PART OF THE STORY TO TELL.

HE NEVER TOLD YOU WHAT
HAPPENED TO YOUR FATHER.

HE TOLD ME ENOUGH.
HE TOLD ME YOU KILLED HIM.

WHEN WE STARTED WORK, IT WAS
ME AND GEORGE IN THE OFFICE.

GEORGE SAYS TO ME, YOU KNOW,
DARTH VADER IS LUKE'S FATHER.

I AM YOUR FATHER. >> NO SHIT.

IT WAS ABOUT FATHERS AND SONS,
ABOUT GOOD AND EVIL PERSONIFIED.

IT IS YOUR DESTINY.
THAT MADE THE SAGA BETTER

INSTANTLY.

FOUR OF THE BIGGEST MONEY
MAKING FILMS OF RECENT TIMES

HAVE COME FROM TWO YOUNG, GIFTED
FILMMAKERS, GEORGE LUKAS AND

STEEB STEVEN SPIELBERG.

IT WAS INEVITABLE THEY WOULD
JOIN TALENT.

THEY HAVE IN AN ADVENTURE FILM
TO BE RELEASED THIS WEEK.

♪
GEORGE SAYS, I HAVE SOMETHING

CALLED "RAIDERS OF THE LOST
ARK."

HE TOLD ME THIS STORY OF THIS
ARCHAEOLOGIST WITH THE HAT AND

WHIP.
I COMMITTED TO THE MOVIE BASED

ON A STORY GEORGE TOLD ME.
THEN LARRY GEORGE AND I SAT

AROUND AND BASICALLY MADE UP THE
STORY FROM BEGINNING TO END.

THERE'S A LINE THAT MEANS A
LOT TO ME.

BURIED IN THE MIDDLE OF A BIG
ACTION SEQUENCE.

THEY HAVE LOST CONTROL OF THE
ARK.

INDY SAYS, I WILL GET IT BACK.
HOW ARE YOU GOING TO DO IT?

I DON'T KNOW.
I'M MAKING THIS UP AS I GO.

THAT TO ME WAS WHAT LIFE WAS
LIKE.

WE MAKE IT UP AS WE GO.
INDIANA JONES IS VERY GOOD AT

THAT.
WE CAME UP WITH AN IDEA, LIKE

A TRUCK CHASE.
THEN WE FIGURED, HOW DO WE GET

THE TRUCK CHASE IN THE MOVIE?
WE HAD THESE BIG SUBJECTS.

THEN WE REVERSE ENGINEERED IN
ORDER FOR IT TO EARN ITS PLACE

IN THE STORY.
SPIELBERG IS A MASTER OF

STAGING.
WHEN THEY MOVE FAST AND CUT

QUICKLY, YOU ALWAYS KNOW THE LAY
OF THE LAND.

HE CAN CREATE SUSPENSE OUT OF
DETAILS BIG AND SMALL.

THERE'S ALWAYS THE ACTION THAT
THE AUDIENCE CAN SEE BUT THE

CHARACTERS CAN'T SEE.
THE AUDIENCE IS AWARE THAT NOT

ONLY IS INDY MAYBE GOING TO GET
BEATEN TO DEATH BY THIS ENORMOUS

NAZI, BUT THE WHOLE THING MIGHT
BLOW UP.

YOU WONDER WHY YOUR BLOOD
GETS UP WHEN YOU WATCH THEM.

IT'S CRAFTSMANSHIP AND ART.
EVERYBODY IN THIS TOWN IS

TALKING ABOUT STEVEN SPIELBERG'S
LATEST FILM "E. T.."

THERE WERE THOUSANDS OF PEOPLE
IN THE STREET WAITING TO GET IN.

THE WAIT IS HOURS LONG IN
CHICAGO.

DAYS LONG IN iOS ANGELES.
"E. T." IS THE BIGGEST MONEY.

MAKER EVER.
I HAD THE STORY I WAS GOING

TO WRITE ABOUT HOW THE DIVORCE
BETWEEN MY MOM AND DAD AFFECTED

ME AND MY THREE SISTERS.
I COMBINED THAT WITH ONE ABOUT

AN ALIEN WHO IS DIVORCED FROM
HIS OWN SPECIES.

IS LOST THREE MILLION LIGHT
YEARS FROM HOME.

I DON'T LIKE HIS FEET.
CAN YOU IMAGINE IF THAT FILM

DIDN'T HAVE THOSE KIDS, EVERY
ONE OF THEM?

THAT'S THE SECRET SAUCE TO THAT
MOVIE.

I JUST WANT TO SAY GOOD‐BYE.
ALL THE KIDS HAVE FALLEN IN

LOVE WITH E.T.
THE TEARS WERE REAL.

BE GOOD. >> YES.

STEVEN SPIELBERG MOVIES, THEY
ARE BLOCKBUSTERS BUT THEY ARE

PERSONAL STORIES.
THEY ARE SMALL STORIES TOLD

AGAINST A GIANT CANVAS.
THEY'RE HERE.

I REALLY FELT I WAS SPEAKING
TO MYSELF.

LOVING ESCAPISM. "POLTERGEIST"

"POLTERGEIST" WAS ABOUT THINGS
THAT SCARED ME.

I HAD A TREE THAT SCARED ME.
WHAT HAPPENS?

A TREE GRABS THE KID.
WHEN I MADE STORIES ABOUT

KIDDING ON ONE FINAL ADVENTURE
AND DISCOVERS THE RICHES TO SAVE

THEIR PARENTS' HOMES.
STORIES ABOUT GREMLINS.

LOVING STORIES THAT WERE
BIZARRE.

EVERYBODY HAS DREAM ORPHAN TA
FANTASIES OF GOING BACK IN TIME.

IT WAS PUT TOGETHER FOR THE
MODERN AGE.

YOU BUILT A TIME MACHINE OUT
OF A CAR?

IF YOU ARE GOING TO BUILD A
TIME MACHINE, WHY NOT DO IT WITH

STYLE?
IT WAS A MYSTERY IT WAS AS

BIG A HIT AS IT WAS WHEN IT CAME
OUT.

WHAT THE REAL MYSTERY IS IS THAT
IT ENDURED FOR DECADES.

WE'RE SENDING YOU BACK TO THE
FUTURE.

SIMPLE IDEA.
WHAT WOULD IT BE LIKE TO SEE

YOUR PARENTS WHEN THEY WERE
YOUNGER IS SOMETHING THAT

OBVIOUSLY IS MULTI‐GENERATIONAL.
YOU SMOKE, TOO?

YOU ARE BEGINNING TO SOUND
LIKE MY MOTHER.

THE ONLY THING WEIRD ABOUT
THE STORY, IT'S GOING BACK IN

TIME AND MEETING A MOTHER AND
SHE FALLS IN LOVE WITH A SON SHE

DOESN'T HAVE YET.
THAT'S A BIG BRUISE YOU HAVE

THERE. >> THEY PULLED IT OFF.

I WAS EXHAUSTED AT THE END.
THEN, HE MAKES "WHO FRAMED ROGER"

"RABBIT." YOU ARE UNDER ARREST.

THERE'S A SCENE WHERE DONALD
DUCKY AND DAFFY ARE HAVING A

PIANO DUEL.
PENGUINS ARE SERVING DRINKS.

IT'S COMPLETE AND TOTAL CHAOS.
REAL ACTORS PRETENDING TO BE

DRINKING.
TRAYS MOVING AROUND ON THESE

IRON RODS.
THAT IS IGNORANCE IS BLISS

CATEGORY THAT THAT MOVIE SHOULD
FALL INTO.

IT'S A MOVIE THAT NO SANE PERSON
WOULD ATTEMPT TO MAKE.

I LOVE PLAYING VILLAGEEAINVIL
FOR THE FIRST FILM THAT CAME

OUT, THERE ARE DARK MOMENTS THAT
SCARE THE HELL OUT OF ME.

IT'S PAYBACK. >> REMEMBER ME?

I KILLED YOUR BROTHER.
I GOT SOME MOMENTS IN THERE

THAT WILL BE IN THEIR WORST
NIGHTMARES FOR THE REST OF YOUR

LIVES. THE TRICK TO MAKING THAT

BLEND OF LIVE ACTION ANIMATION
IS THAT THE LIVE ACTION ACTOR

HAS TO BELIEVE IT.
BOB ALWAYS BELIEVED THE RABBIT

WAS THERE.
IT IS AN AMAZING PERFORMANCE.

IT'S REALLY ONE THAT ACTORS
SHOULD STUDY.

BECAUSE IT WAS MADE BEFORE A
LOT OF CGI EXISTED, IT WAS

OLD‐SCHOOL MOVIE MAKING WITH
PHYSICAL SPECIAL AFFECT.

"WHO FRAMED ROGER RABBIT" IS THE
MOST COMPLICATED MOVIE EVER

MADE.
DON'T TELL ME YOU LOST YOUR

SENSE OF HUMOR ALREADY.
DOES THIS ANSWER YOUR

QUESTION?

ONE OF THE GREAT FILMS IS
"THE VERDICT."

BEAUTIFULLY TOLD.
PAUL NEWMAN PLAYS A WASHED UP

LAWYER WHO IS AN ALCOHOLIC
AMBULANCE CHASER.

WHAT MAKES IT UNIQUE IS EVEN
WHEN IT IS BIG MOVIE STARS, HE

MANAGED TO BRING THEM DOWN IN
THE CASE TO THE STREETS.

YOU CAN SEE THE STARS IN THE
MOVIE, BUT THEY HAVE NOT TURNED

THE MOVIE INTO SOMETHING
GLAMOROUS.

ON THE OPPOSITE, HAVE ENTERED
THE DRUDGE AND REALITY.

THERE WAS NO WAY I COULD WIN.
HE WAS ASKED TO BE THE

LEADING MAN AND BE CHARMING AND
FUNNY.

WHEN HE DOES "THE VERDICT," IT
MAKES YOU CRY.

NEWMAN SHOWS YOU WHAT HE IS MADE
OF AS AN ACTOR.

I THINK YOU ARE MAKING A BIG
MISTAKE.

YOU SHOULD RECONSIDER.
TO SEE THAT SCENE WHERE HE IS

CALLING THE INSURANCE COMPANY TO
REKINDLE THE DEAL HE TURNED

DOWN. >> NO, NO.

I UNDERSTAND.
IT'S ONE OF THE GREATEST

PIECES OF ACTING I HAVE SEEN.
NO CUTS.

OKAY, HERE WE GO.
HOW IS YOUR LIFE?

GREAT. HOW IS YOURS?

NOT SO GREAT.
WE'RE TELLING THE TRUTH?

"THE BIG CHILL," ABOUT KIDS
IN COLLEGE TOGETHER AND ARE NOW

NO LONGER ANTI‐ESTABLISHMENT BUT
ACTUALLY ARE PART OF THE

ESTABLISHMENT.
TRYING TO RECONCILE THAT HISTORY

WITH THEIR PRESENT.
MOVIES AREN'T BEING MADE FOR

ADULTS.
THAT'S ALL "THE BIG CHILL" IS.

IT'S AN ADULT FILM.
IT TRIES TO BE AS COMPLEX AS

LIFE IS.
I WANTED TO MAKE A MOVIE

ABOUT SOMETHING I WAS OBSERVING
AMONG MY FRIENDS.

IMAGINE WE CAME OUT OF COLLEGE
THINKING WE HAD A POWER THAT WAS

NON‐EXISTENT. ♪

WHEN IT CAME OUT, I THOUGHT,
THIS WILL BE FOR THIS

GENERATION, CHILDREN OF THE
'60s, THIS WILL BE VERY.

RELEVANT.
I WOULD MEET KIDS IN HIGH

SCHOOL, TEN YEARS AFTER THE
MOVIE CAME OUT, LOVE THAT MOVIE.

♪
IT'S ABOUT FRIENDSHIP.

IT'S ABOUT GROWING UP.
THERE'S SOMETHING IN ITS ESSENCE

THAT'S TIMELESS AND UNIVERSAL.
I'M MARRYING FLAP TOMORROW.

I THINK IF THIS IS YOUR
ATTITUDE, YOU SHOULDN'T SHOW UP

AT MY WEDDING. >> THAT'S RIGHT.

I THINK YOU ARE RIGHT.
THE HYPOCRISY WAS BOTHERING ME,

TOO. >> "TERMS OF ENDEARMENT,"

ADAPTED AND DIRECTED BY JAMES I.
BROOKS.

IT MADE YOU CRY.
IT WAS THE STUFF OF LIFE.

SHIRLEY McCLANE GETS INVOLVED
WITH AN ASTRONAUT PLAYED BY JACK.

NICHOLSON.
THEY HAD THIS INCREDIBLE COMIC

CHEMISTRY. THE ROMANTICMILL

HILARIOUS. >> IT'S NOT MY FAULT.

YOU WANTED TO GET ME ON MY
BACK, YOU JUST HAD TO ASK ME.

"TERMS OF ENDEARMENT" MAY BE
THE FIRST DRAMEDY.

DO SOMETHING.
ALL SHE HAS TO DO IS HOLD OUT

UNTIL 10:00. IT'S PAST 10:00.

MY DAUGHTER IS IN PAIN.
GIVE HER THE SHOT.

DO YOU UNDERSTAND?
GET MY DAUGHTER THE SHOT!

THANK YOU VERY MUCH.
JAMES BROOKS WAS ABLE TO TAKE

HUMOR, TRAGEDY, THE BEST
WRITING, DELIVERED BEAUTIFUL BY

ACTORS THAT CARED SO MUCH.
IT FELT LIKE LIFE.

IT FELT HUMAN. IT FELT FUNNY.

THE WINNER IS "TERMS OF
ENDEARMENT."

JIM WAS INTO THE DELICATE
SHADES OF HUMANITY BEFORE IT WAS

COOL. THAT WAS A LONG TIME AGO.

PEOPLE CHANGE.
I HOPE YOU CHANGED.

AND FOR YOURS.
LEFT SOMETHING TO BE DESIRED.

YOU LOOK AT WOODY'S CAREER.
IN THE '80s, SHOULD HAVE BEEN.

PAST HIS PRIME. WAIT A MINUTE.

THERE'S "PURPLE ROSE OF CAIRO."
WOODY ALLEN HAS EXPANDED HIS

SENSIBILITY.
IT'S GOT HUMOR IN IT.

IT HAS SATIRE IN IT.
HE IS NOT TRYING TO GET A LAUGH

EVERY SECOND.
IT'S A WONDERFUL CONUNDRUM.

VERY ORIGINAL STANDPOINT.
I THINK THAT'S WHY IT HOLDS.

YOU TOLD ME OVER AND OVER YOU
WOULD LEAVE HER.

WE MADE PLANS.
I GAVE UP THINGS FOR YOU.

DREAMS.
"CRIMES AND MISDEMEANORS" IS

TWO PARALLEL STORIES.
ONE IS A TRADITIONAL WOODY ALLEN

AND MIA FARROW AND THE OTHER IS
A SERIOUS EXAMINATION OF LIFE

AND DEATH THEMES.
A GUY IS HAVING AN AFFAIR.

SHE'S THREATENING TO TELL HIS
WIFE AND THREATENING TO DISRUPT

HIS WORLD.
HE HAS A HIT MAN KILL HER.

I HAD A WOMAN KILLED.
I THOUGHT I WAS GOING TO GO

HELL. NOTHING HAPPENED.

WOODY IS CONSTANTLY GETTING SHIT
ON MY LIFE.

HE IS DOING THE RIGHT THING.
YOU LOOK DEEP IN THOUGHT.

I WAS PLOTTING THE PERFECT
MURDER.

HIS WRITING IS VERY STRONG
FOR THAT REASON.

IT ALWAYS FEELS LIKE HE WAS
THINKING ABOUT SOME

PHILOSOPHICAL TRUTH ABOUT HUMAN
NATURE.

I WANT TO WRITE A MOVIE ABOUT
THAT.

I'M TALKING ABOUT REALITY.
IF YOU WANT A HAPPY ENDING, YOU

SHOULD SEE A HOLLYWOOD MOVIE.
YOU REALIZE, OF COURSE, WE

COULD NEVER BE FRIENDS. WHY NOT?

WHAT I'M SAYING IS ‐‐ THIS IS
NOT A COME ON IN ANY WAY, SHAPE

OR FORM.
MEN AND WOMEN CAN'T BE FRIENDS

BECAUSE THE SEX PART ALWAYS GETS
IN THE WAY.

"WHEN HARRY MET SALARY" LYSAL
HE WAS BASED ON ROB REINER.

EVERY SCENE HAS TO BE GOOD.
YOU WORK AND WORK AND WORK.

YOU TORTURE YOURSELF.
I HAD KNOWN NORA.

I PITCHED THIS IDEA FOR THIS
FILM ABOUT THE DANCE THAT PEOPLE

GO THROUGH TO GET TOGETHER AFTER
THEY HAVE BOTH GOTTEN OUT OF

LONG‐TERM RELATIONSHIPS.
THEY BECOME FRIENDS AND DOES SEX

COME INTO THE PICTURE?
DOES IT RUIN THE FRIENDSHIP?

THAT'S SOMETHING I WOULD BE
INTERESTED IN.

HE RIPS OFF MY CLOTHES.
THEN WHAT?

THAT'S IT. >> THAT'S IT?

A FACELESS GUY RIPS OFF YOUR
CLOTHES AND THAT'S THE SEX

FANTASY YOU HAVE BEEN HAVING
SINCE YOU WERE 12?

SOMETIMES I VARY IT A LITTLE.
WHICH PART?

WHAT I'M WEARING.
A GOOD ROMANTIC COMET DID I

IS,
COMEDY IS, HOW DO YOU GET THEM

THERE? IT'S ALL ABOUT THE STORY.

IT'S ALL ABOUT THE PEOPLE.
DO YOU CARE ABOUT THEM?

DO YOU WANT THEM TO BE TOGETHER?
.

MOST WOMEN HAVE DONE IT.
YOU DON'T THINK I COULD TELL

THE DIFFERENT? >> NO.

GET OUT OF HERE. THE DELI SCENE.

WHEN WE FIRST DID IT, MEG WAS A
LITTLE NERVOUS.

CREW MEMBERS, EXTRAS, PEOPLE
STANDING AROUND.

ARE YOU OKAY? >> OH.

ROB SAYS, HERE IS WHAT I WANT.

HE HAS AN ORGASM THAT MIGHTY JOE
YOUNG WOULD BE JEALOUS OF.

YES, YES, I'M POUNDING THE
TABLE.

YES, YES, YES.
I REALIZE, BECAUSE MY MOTHER

IS SITTING ‐‐ I'M HAVING AN
ORGASM IN FRONT OF MY MOTHER.

I WILL HAVE WHAT SHE'S HAVING.

MUSICAL TRILOGY I'M DOING.
IN D MINEOR WHICH IS THE SADDEST

OF ALL KEYS. I DON'T KNOW WHY.

IT MAKES PEOPLE WEEP INSTANTLY.
WHAT DO YOU CALL THIS?

THIS PIECE IS CALLED LICK MY
LOVE PUMP.

WE WERE GOING TO DO A MOCK
DOCUMENTARY.

A SATIRE OF A ROCK AND ROLL BAND
ON TOUR.

WE BASICALLY HAD THE TOUR
OUTLINED.

ESSENTIALLY, IT WAS A VERY THIN
THUMBNAIL SKETCH OF WHAT WAS

GOING TO HAPPEN.
THE WHOLE MOVIE IS IMPROVISED.

DO THE DEAD BIRD.
I DID THE BIRD.

DON'T TALK BACK. LET'S GO.

COME ON. >> YOU HAD BRILLIANT

PERFORMANCES BY ALL OF THEM.
THEN ROB PUT IT ALL TOGETHER AND

MADE IT SING.
PEOPLE DIDN'T KNOW WHAT WE

WERE DOING.
THEY THOUGHT IT WAS A REAL

DOCUMENTARY.
WHEN WE PREVIEWED IT, PEOPLE SAW

IT AND SAID, WHY WOULD YOU MAKE
A MOVIE ABOUT A BAND THAT NOBODY

EVER HEARD OF?
ONE THAT IS SO BAD.

♪
LET'S SAY YOU LOOK AT A

PERSPECTIVE MOVIE AND IT'S A
SQUARE.

ROB REINERYNEEINER HAS A WAY OF
A WAY TO ENJOY IT IN A

COMPLETELY NON‐CONVENTIONAL WAY.
HE DIDN'T FALL.

INCONCEIVABLE.
I DO NOT THINK IT MEANS WHAT

YOU THINK IT MEANS.
"THE PRINCESS BRIDE" IS A

BLEND BETWEEN ROMANCE, SATIRE,
ADVENTURE, SWASHBUCKLING.

IT'S MIXED IN.
IT'S A VERY STRANGE MIXTURE,

HARD TO CAPTURE.
WHAT ABOUT ROUS?

YOU HAVE TO WALK A BALANCE.
IT'S A FINE LINE BETWEEN STUPID

AND CLEVER.
EAT IT OR I WILL CALL THE

BRUTE SQUAD.
ROB IS A PHENOMENAL DIRECTOR.

BEAUTIES. TOOK RISKS.

TO BE IN THREE OF THEM, I'M
BLESSED.

ONE OF THE HALF '80s WAS
DIFFERENT COMEDY.

THERE WAS THE SPOOF THAT BECAME
POPULAR.

"AIRPLANE" OR "MAKE ITTEDNAKED G
YOU HAD "CROCODILE DUNDEE."

THE RISE OF "SATURDAY NIGHT
LIVE".

IT'S 106 MILES TO CHICAGO.
WE HAVE A FULL TANK OF GAS, HALF

A PAT OFCK OF CIGARETTES, IT'S D
AND WE'RE WEARING SUNGLASSES.

THEY MADE UP THESE CHARACTERS
WITH A HAT AND GLASSES.

THEY DID THE BLUES BROTHER ON
"SATURDAY NIGHT LIVE" AND GOT A

HUGE RESPONSE.
IT'S SUCH A SPECIFIC PLACE.

PEOPLE STARTED REALIZING, THIS
IS WHERE YOU ARE GOING TO GET

YOUR QUALITY COMEDY.
YOU WANTED TO SEE THOSE PEOPLE

IN MOVIES. I WILL CLEAN THIS UP.

YOU CLEAN UP A LITTLE BIT.
THANKS.

COMEDY IS A PRECIOUS COMMODITY.

WHEN YOU SHAKE THE PAN LOOKING
FOR THE NUGGETS, WHEN THEY SHINE

OUT LIKE THAT, THEN YOU LOVE
THEM FOREVER.

PEOPLE WHO UNDERSTOOD HOW TO BE
FUNNY, THEY CAN BE FUNNY

ANYWHERE. ♪

"GHOSTBUSTERS" IS A RARE FILM.

THE SCI‐FI, ACTION AND COMEDY.
THERE'S SOMETHING YOU DON'T

SEE EVERY DAY.
"GHOSTBUSTERS" WAS WRITTEN BY

DAN AKROID. IT SHOULDN'T WORK.

BUT IT DOES WORK.
THEY ARE FLAWLESS.

WE HAVE BEEN GOING ABOUT THIS
WRONG.

HE IS A SAILOR.
HE IS IN NEW YORK.

WE GET THIS GUY LAID, WE
WOULDN'T HAVE TROUBLE.

BILL HAS EXPLORED WHAT IT
MEANS TO ESCAPE SORT OF THE

CONSTRAINTS OF CONVENTION.
YOU FEEL IN SOME WAY THAT YOU

WANT TO BE AS LIBERATED AS HE
IS.

INSTEAD OF WORSHIPPING
MUSICIANS, WE'RE WORSHIPPING

COMEDIANS.
COMEDY IS GOING TO BE THE NEW

ROCK AND ROLL. >> LISTEN UP.

I DON'T LIKE WHITE PEOPLE.
I HATE REDNECKS.

YOU PEOPLE ARE REDNECKS.
IT MEANS I'M ENJOYING THIS SHIT.

WHEN EDDIE MURPHY STARTED
WITH "48 HOURS," HE WAS 20 YEARS

OLD. HE DOES "TRADING PLACES."

THEN HE DOES "BEVERLY HILLS
COP."

EDDIE MURPHY WAS COMEDY.
HE IS A PERFECT EVERY MAN AND SO

LIKEABLE, EVEN THOUGH HE IS KIND
OF A SHIT.

IT WASN'T ABOUT NECESSARILY
BEING THE PUT UPON GUY.

IT'S BEING THE GUY SMARTER.
HE IS BUGS BUNNY.

THIS IS THE CLEANEST AND
NICEST POLICE CAR I HAVE EVER

BEEN IN.
NICER THAN MY APARTMENT.

UP UNTIL THAT POINT,
HOLLYWOOD MOVIES THAT FEATURED

OR STARRED A BLACK ARTIST, THEIR
COLOR WAS ALWAYS A PLOT POINT.

IN "COMING TO AMERICA," THEIR
COLOR HAS NOTHING TO DO WITH THE

PLOT. >> IT IS MY 21st BIRTHDAY.

DO YOU THINK JUST ONCE I MIGHT
USE THE BATHROOM BY MYSELF?

MOST AMUSING, SIR. WIPERS.

HE IS A PRINCE IN A FICTIONAL
AFRICAN NATION.

HE DECIDES THAT HE AND HIS BEST
FRIEND ARE GOING TO GO TO

AMERICA SO HE CAN FIND HIMSELF A
QUEEN.

IF YOU WANT TO FIND A QUEEN,
WHERE DO YOU GO?

YOU GO TO QUEENS, NEW YORK.
IT HAS TO BE FULL OF QUEENS.

EVERYBODY WHO HAS SEEN
"COMING TO AMERICA," EMBRACED

THE MOVIE.
I THINK IT'S ETDDDIE MURPHY AT H

BEST. GIVE YOURSELVES A ROUND OF

APPLAUSE.
THE ONE WHITE PERSON IS

PLAYED BY EDDIE MURPHY.
WHAT ABOUT ROCKY?

THERE THEY GO.
EVERYBODY TIME I START TALKING

ABOUT BOXING, A WHITE MAN GOT TO
PULL ROCKY OUT OF THEIR ASS.

YOUNG GUY NAMED EDDIE MURPHY.
I HATE HIM.

THE KID WITH THE FILTHY MOUTH.
HE IS THE WORST.

HE CAN DO VOICES.
HE CAN DO ‐‐ IT SPEAKS TO THE

MAGNITUDE OF HIS TALENT.
IS THAT NOT ACTING?

IS THAT NOT COMIC ACTING AT THE
HIGHEST LEVEL?

WHAT DO YOU KNOW FROM FUNNY?

EVEN THOUGH THE 1980s IS
OFTEN VIEWED AS AN UPBEAT ERA,

IT'S THE PERIOD WHEN THE UNITED
STATES CAME OUT OF THE DOLDRUMS

OF THE '70s.
THERE WAS A FEAR THAT THAT COULD.

COLLAPSE AT SOME POINT.
YOU SEE THAT PLAYING OUT IN THIS

POST APOCALYPTIC SUB GENRE OF
ACTION FILMS.

TWO DAYS AGO I SAW A VEHICLE
THAT WOULD HAUL THAT TANKER.

YOU WANT TO GET OUT OF HERE?
YOU TALK TO ME.

GEORGE MILLER'S MOVIES DO A
TRICK OF MAKING DISTOE INGING DY

GOOD.
I THINK I WOULD DIE WITHIN FIVE

MINUTES.
IT'S THE IDEA OF THIS ONE MAN

WHO REGAINS HIS HUMANITY WHEN HE
LOSES EVERYTHING.

THEN THERE'S THE FILM MAKING
CRAFT.

TO SEE THE STUNTS PLAY OUT.
ABSOLUTELY INCREDIBLE.

IT'S SO IN YOUR FACE.
IT'S ALMOST LIKE A HEAVIED ME

METAL ROCK AND ROLL MOVIE.
"BRAZIL" SEEMED TOO LIKELY TO

COME TO PASS.
IT'S A FUTURE WHERE THINGS DON'T

WORK.
IT'S A FUTURE THAT FEELS LIKE IF

THINGS DON'T GET BETTER, WE WILL
END UP THERE.

THAT CONVOY OF PERSONNEL
CARRIERS IS UNACCOUNTED FOR.

I TOLD YOU TO DEAL WITH IT.
WHAT IS THIS MESS?

AN EMPTY DESK IS INEFFICIENT.
VISUAL SENSIBILITIES, SO

DISTINCTIVE.
THERE WAS AN AUDACITY TO THAT

MOVIE.
IT AROUSES STRONG REACTIONS

FROM PEOPLE.
THAT'S WHAT CINEMA SHOULD BE

ABOUT. IT'S EXCITING.

IT MAKES US THINK.
I'M HAPPY WITH A FILM THAT DOES

THAT. SMART FILMMAKERS CAN USE

GENRE AS A TROJAN HORSE TO TALK
ABOUT OTHER THINGS.

"BLADE RUNNER" IS BASED ON A
NOVEL.

THE QUESTION OF THE NOVEL IS,
WHAT'S THE DIFFERENCE BETWEEN

HUMANS AND NON‐HUMANS?
IS HARRISON FORD HUMAN?

YOU CAN FALL IN LOVE WITH AN
ANDROID?

SHE'S BEGINNING TO SUSPECT, I
THINK.

HOW CAN IT NOT KNOW WHAT IT
IS IN.

COMMERCE. IT'S

COMMERCE IS OUR GOAL HERE.
HUMAN IS OUR MOTTO.

THE SCREENPLAY WAS EXCELLENT.
A RARE ENTITY BECAUSE IT TOLD

NOT ONLY VERY FASCINATING AND
DIFFERENT STORIES, BUT IT WAS

WRITTEN AND DESCRIBED, AS WELL.
SO YOU COULD SPELL SMELL THE

MOVIE. I DON'T THINK THERE'S ANY

DIRECTOR WHO CAN ENCODE CONTENT
INTO THE VISUAL PRESENCE LIKE

RIDLEY CAN.
SO THAT WHEN YOU SEE THE STREET

MARKETS, THAT TELLS YOU THAT IN
THE FUTURE, TECHNOLOGY RUNS

CROSS CLASS THAT, POPULATIONS
ARE TREMENDOUSLY MIXED.

THERE'S OVERCROWDING, POVERTY.
HE'S PROJECTING SO MUCH CONTENT

INTO THOSE IMAGES AND YOU JUST
SOAK IT IN.

I WAS CONSTANTLY BEATEN UP
EVERY DAY.

PEOPLE SAY WHY IS IT RAINING?
WHY DO YOU WANT IT TO BE NIGHT.

I SAID BECAUSE THAT'S THE WAY
I WANT IT.

HARRISON FORD THOUGHT HIS
CHARACTER DECKARD WAS A HUMAN

BEING AND RIDLEY SCOTT WAS
PLANTING CLUES HE WAS THE

REPRESENTPLY CAN'T WITH
IMPLANTED MEMORIES LIKE THIS YOU

KNOW CORN THAT HE DAYDREAMS
ABOUT.

HARRISON'S IN FULL DENIAL
TODAY HE'S A REPRESENTPLY CAN'T.

THE WHOLE POINT OF LEAVING THAT
YOU KNOW I CORN ON THE FLOOR

WHEN HE PICKS IT UP AND HE NODS,
THAT NOD IS ASCENT, THIS IS

CORRECT.
SOMEBODY KNOWS ABOUT MY MOST

PRIVATE DREAM WHICH IS ABOUT A
YOU KNOW I CORN, DUH.

JAMES CAMERON'S "ALIENS" IS
THE PERFECT SEQUEL BECAUSE IT

DOESN'T JUST REPEAT THE FIRST
FILM.

IT TAKES ELEMENTS OF THE FIRST
ONE, BIDS UPON THEM AND MAKES IT

INTO A DIFFERENT GENRE.
THAT'S INSIDE THE ROOM.

LOOK.
YOU'RE NOT READING IT RIGHT.

FIVE METERS, MAN. FOUR.

WHAT THE HELL?
JIM IS A REAL INNOVATOR AND

REAL ARTIST.
I DID ONE, HE DID TWO.

HE SAID IT'S HARD TO DO 2 HE
SAID BECAUSE YOU'VE SHOWN HIM

THE ALIEN.
I'M GOING MORE MILITARY.

YOU FEEL LIKE JAMES CAMERON
DOESN'T GET ENOUGH CREDIT AS A

"SCREEN WRITER, AS WELL.
ALIENS" IS THE TEMPLATE HOW TO

WRITE A GREAT BLOCK BUSTER.
MY MOMMY ALWAYS SAID THERE

WERE NOR MONSTERS, NO REAL ONES
BUT THERE ARE.

YES, THERE ARE, AREN'T THERE?
BACK IN THOSE DAYS, WOMEN

WEREN'T REALLY PERMITTED TO BE
STRONG.

"SOCY GORENY BROKE THE MOLD IN
THE ALIENS" MOVIES.

ONE OF THE WAYS CAMERON FIGURED
OUT HOW TO LEFT HER BE AS TOUGH

AS SHE WAS BECAUSE SHE WAS
PROTECTING NEWT, HER ADOPTED

CHILD. >> THERE'S REAL SKILL TO

BUILDING THE PERFECT ROLLER
COASTER.

"ALIENS" IS AN EXAMPLE NUMBER ONE
OF HOW BRILLIANT ACTION CINEMA

CAN BE. GET AWAY FROM HER, YOU

THAT WAS OBVIOUS.
YOU'RE ON YOUR OWN FOR THE

NIGHT. THAT'S ALSO OBVIOUS.

"TWO ADULTS.
FATAL ATTRACTION" WAS LIKE A

CAUTIONARY TALE THAT THE
CHEATING HUSBAND AND THE

MISTRESS TURNS OUT TO BE INSANE
AND A STALKER WHO MURDERS

BUNNIES.
AND BOILS THEM AS A MATTER OF

FACT. >> GLENN CLOSE'S LEGACY IS

FOREVER TIED TO THIS FILM AND
SHE'S AN INCREDIBLE ACTRESS.

WHAT AM I SUPPOSED TO DO?
YOU WON'T ANSWER MY CALLS.

YOU CHANGE YOUR NUMBER.
I'M NOT GOING TO BE IGNORED,

DAN. >> IN THE ORIGINAL SCRIPT,

AUDIENCE SYMPATHIES WERE MORE
EVENLY BALANCED BETWEEN THE MALE

CHARACTER AND THE FEMALE
CHARACTER.

BUT WITH EACH ITERATION, THEY
MADE HER SUCH AN EXTREME

CHARACTER, THE ORIGINAL ENDING
WAS THAT SHE WAS SUPPOSED TO CUT

HER OWN THROAT.
BUT THAT DID NOT SATISFY TEST

AUDIENCES.
AND SO THEY HAD THE GOOD WIFE

KILL THE BAD SINGLE WOMAN.
THAT'S HOLLYWOOD.

THANK YOU, SIR.
I'M HAPPY TO BE WORKING HERE.

WELL, YOU'RE A WELCOME
ADDITION AND A DAMN PRETTY ONE

TOO, IF I MIGHT ADD.
THANK YOU SIR.

I MEAN THAT.
YOU SEE SOME OF THE KRONES

COMING THROUGH HERE LATELY.
PATHETIC, RIGHT, VIOLET.

">> 9 TO 5" WAS A MOO TOO MOVIE
BEFORE THE MOVEMENT.

IT WAS THIS IDEA OF WOMEN COMING
TOGETHER AND BEING LIKE YES, MY

LIFE HAS BEEN RUINED BY BIGOTED
MEN TRYING TO HOLD ME BACK.

COFFEE, VIOLET. NOW.

THIS WAS WHEN WOMEN WERE
GOING INTO THE WORKFORCE BUT

THEY WERE STILL SECRETARIES.
THEY WERE STILL THE SUBSERVIENT

ROLES.
THEY WEREN'T THE BOSS OF THEMPAN

OH ‐‐ >> IT'S ALL RIGHT.

I'll GET IT.
WHAT ABOUT YOU, DORA LEE?

WHAT'S YOUR FANTASY FOR DOING
HIM

HIM IN? >> ME?

WELL I THINK I'D LIKE TO COME
RIDING UP ONE DAY AND GIVE HIM A

TASTE OF HIS OWN MEDICINE.
HAD I LOVED DOLLY PARTON IN

THAT MOVIE.
SHE'S LIKE LIQUID GOLD.

SIT DOWN.
LOOK, I GOT A GUN OUT THERE

IN MY PURSE.
UP TO NOW, I'VE BEEN FORGIVING

AND FORGETTING BECAUSE OF THE
WAY I WAS BROUGHT UP.

IF YOU EVER SAY ANOTHER WORD
ABOUT ME OR MAKE ANOTHER

INDECENT PROPOSAL, I'M GOING TO
CHANGE YOU FROM A ROOSTER TO A

HEN WITH ONE SHOT.
THEY IN TIME REALIZE NOTHING

IS EVER GOING TO CHANGE UNLESS
WE CHANGE IT.

STRING HIM UP.
THAT MAIL CHUVIST SEXUALLY

INAPPROPRIATE GUY AND THEY MAKE
CHANGES TO THE WORKPLACE TO BE

ABLE TO SHARE HOURS AND A
DAYCARE CENTER.

IT WAS AN IMPORTANT MOVIE THEN
AND NOW.

">> WORKING GIRL" LOOKS LIKE A
FAIRY TALE OF A YOUNG WOMAN

BECOMING THE FANTASTICALLY
GLAMOROUS PRINCESS SHE HAD

ALWAYS SECRETLY DREAMED OF BEING
IN HER HUMBLE WORKING CLASS

UPBRINGING WOULD NOT ALLOW HER
TO BE.

BUT IT'S GOT SERIOUS POINTS TO
MAKE ABOUT WOMEN IN THE

WORKPLACE.
DRESS SLABBILY, THEY NOTICE

THE DRESS.
IMPECKCALLY, THEY NOTICE THE

WOMAN. COCO CHANEL.

HOW DO I LOOK?
YOU LOOK TERRIFIC.

YOU MIGHT WANT TO RETHINK THE
JEWELRY.

TRADITIONALLY, IT'S THE MAN
THAT'S HOLDING YOU DOWN, BUT IN

THIS INSTANCE, IT TURNS OUT
IT'SCY GORENY WE EVER, THAT

SHE'S BEEN STEALING ALL OF TES'S
IDEAS IN ORDER TO FURTHER

HERSELF.
WELL, I WAS LAID UP WITH

BROKEN BONES.
SHE RIFLED THROUGH MY DESK,

FOUND MY MEMO OUTLINING A RADIO
ACQUISITION AND PASSING IT OFF

AS HER IDEA. >> IT WAS MY IDEA.

THE GRIFFITH CHARACTER SHOWS
ONCE SHE WAS GIVEN THE

OPPORTUNITY TO SHOW SHE WAS
SMART ENOUGH, SHE DID.

GUESS WHERE I AM.
IT'S ONE OF THE GREATEST

ENDINGS IN THE WORLD.
I'M HERE IN MY OWN OFFICE WITH

MY FEET UP BECAUSE I MADE IT.
NOT SINCE IS THE MOVIE

"NETWORK" HAS HOLLYWOOD INDICTED
THE BUSINESS OF TELEVISION LIKE

IT DOES IN BROADCAST NEWS.
THE PERFECT MODERN ANCHOR IS

PLAYED BY OSCAR WINNER WILLIAM
HURT.

SO HOW IS IT THAT THE STAR OF
THIS MOVIE IS NEITHER THE

ANCHORMAN NOR THE NETWORK
CORRESPONDENT?

BUT AN ACTRESS WHO MANY OF YOU
WILL NEVER HAVE SEEN UNTIL NOW.

OKAY, BOBBY.
GO BACK TO 59459, WHY WERE YOU

IN ANGOLA. >> PLEASE, BOBBY.

WE'RE PUSHING.
IT WAS THE FIRST TIME I HAD

SEEN ON SCREEN A REAL FEMALE
BECAUSE SHE WAS FLAWED.

AND SHE WAS ALLOWED TO BE HUMAN,
AND DIFFERENT AND IRASCIBLE.

DIFFICULT, SHRILL, BOSSY.
POSSIBLY BITCH.

THERE'S A LOT OF WORDS THAT
PEOPLE USE THAT ARE PEJORATIVE

TO WOMEN THAT JANE CRAIG COULD
KIND OF INHABIT.

WHAT I LOVE IS HOLLY'S
CHARACTER JUST TEARS STREAMING

DOWN HER FACE AND THEN HER
CONTROLLING IT LIKE THAT AND

GETTING IT TOGETHER AND GOING
FORWARD.

I'M REALLY STRUCK BY THE
COURAGE THAT JIM BROOKS SHOWED

IN WRITING A CHARACTER LIKE
THAT.

THE F‐14 PLANE ARE CALLED
COMCASTS.

ISN'T THE F‐14TOM CAUGHT ONE
OF THE MOST DIFFICULT MACHINES

FOR A PILOT TO MASTER.
TO HAVE A FILM ABOUT THE HIGH

INTEGRITY IDEALS WHAT IT IS TO
BE A JOURNALIST AND A WOMAN IN

THAT BUSINESS.
IT MUST BE NICE TO BELIEVE

YOU ALWAYS KNOW BETTER, TO
ALWAYS THINK YOU'RE THE SMARTEST

PERSON IN THE WOULD ROOM.
NO, IT'S AWFUL.

THE FACT THAT THAT MOVIE
EXISTS AND ALWAYS WILL IS A

GIFT. >> HI.

WANT. WAIT, WAIT A MINUTE.

I WONDERED IF YOU WOULDN'T
MIND BUYING ME LUNCH.

GREGORY ‐‐ STOP.
GEORGE, GEORGE, GEORGE.

IT'S MICHAEL. OKAY?

YOUR FAVORITE CLIENT.
HOW ARE YOU?

OH, NO, NO. >> SWEAR TO GOD.

MICHAEL? >> YEAH.

OH, GOD, I BEGGED YOU TO GET
SOME THERAPY.

TOOTSIE IS AN UPDATING OF THE
GUY IN THE DRESS.

YOU'RE TAKING A BELIEVABLE
CHARACTER AND PUTTING HIM IN A

FANTASTIC SITUATION.
AND YET, THE REASON IT WORKS IS

BECAUSE EVERY SINGLE THING IN
THAT MOVIE COULD REALLY HAPPEN.

WE SHOW YOU AT THE BEGINNING,
HE'S A GREAT ACTOR.

HE HAPPENS TO BE A PAIN IN THE
ASS AND THEN TO PROVE TO HIS

AGENT THAT HE CAN GET WORK, HE
PUTS ON THE DRESS.

IT'S ALMOST LIKE A PLAY
THAT'S BEEN PERFORMED ENOUGH SO

THAT THEY KNEW WHERE THE GEMS
WERE.

TRUTHFULLY, DON'T YOU FIND
BEING A WOMAN IN THE '80s.

COMPLICATED. >> EXTREMELY.

ONE OF THE HARDEST THINGS TO
DO IN A COMEDY IS TO HAVE A

CLIMAX AND HAVE ALL YOUR STORY
THREADS COME TOGETHER IN THE

SAME MOMENT. I AM NOT DAUGHTER.

THE DAUGHTER OF DWAYNE AND ALMA
KIMBERLY.

NO, I'M NOT.
I'M EDWARD, KIMBERLY, THE

RECKLESS BROTHER OF MY SISTER
ANTHONY.

HOLY. THE CLIMACTIC SCENE IN

TOOTSIE IS THIS INCREDIBLE
MOMENT WHERE THE MAIN STORY PLOT

AND THEN FOUR OR FIVE DIFFERENT
SUBPLOTS ALL CLIMAX AND TURN ON

THAT ONE ACTION.
TOOTSIE IS WHAT PEOPLE WANT

MOVIES TO BE.
AND VERY FEW FILMMAKERS INVEST

THE TIME AND THE SWEAT AND THE
INTEGRITY TO GO ALL THE WAY.

WHICH TOOTSIE DOES. THAT IS ONE

♪
FLASH DANCE WAS A VERY BIG

DEAL.
♪ SHE'S A MANIAC, MANIAC ON THE

FLOOR ♪
♪ AND SHE'S DANCING LIKE SHE'S

NEVER DANCED BEFORE ♪
SHE WAS A SEXY WELDER WHO ARE

DANCED AT FLIGHT BUT DIDN'T TAKE
HER CLOTHES OFF.

WHAT'S A DANCER DOING WORKING
AS A WELDER.

A GIRL'S GOT TO MAKE A LIVING.

JENNIFER BEELS WAS AMAZING IN
THAT MOVIE.

SHE WAS EVERYTHING.
SHE WAS BEAUTIFUL, SHE WAS

STRONG AND SHE WAS SEXY.
IT REALLY BENEFITED FROM THE

BEGINNINGS OF MTV BECAUSE YOU
WOULD SEE VIDEOS FROM THE SONGS

FROM THE FLASH DANCE SOUND TRACK
ON MTV ALL THE TIME.

♪ WHAT A FEELING ♪
THAT WAS THE THING WHERE THE

VIDEO WAS VERY MUCH A TRAILER
FOR THE MOVIE AND YOU COULD TELL

THE MOVIE WAS DESIGNED REALLY
WITH THE MOVIE IN MIND.

LET'S DANCE. ♪

KENNY LOGGINS, "FOOT LOOSE"
WAS A HUGE HIT.

IT WAS ALL OVER MTV.
YOU WATCH THE VIDEO.

ARE YOU SEEING KENNY LOG GINS IN
THAT?

NO, LOTS OF SCENES OF ALIENATED
HIGH SCHOOL KIDS DANCING AGAINST

THE RULES.
I DIDN'T SEE IT TILL AFTER I

STARTED DATING KEVIN BACON.
I RENNED AND I WAS LIKE I SEE

WHY PEOPLE FELL IN LOVE WITH
HIM.

HOW CUTE WAS HE WITH THOSE HIGH
WASTED JEANS AND THAT LIKE WHITE

TANK.
♪ BECAUSE I HAD THE TIME OF MY

LIFE ♪
♪ AND I NEVER FELT LIKE THIS WAY

BEFORE. ♪

THEY KNEW WHO WAS BUYING
THESE MOVIES WAS TAKINGERS AND

THE HICK THEY WANT TO DO AS SOON
AS THEY WATCH THE MOVIE IS BUY

THE SOUND TRACK SO THEY CAN
RELIVE IT.

PURPLE RAIN HIT ME REALLY HARD.

TO THIS DAY, I HAVE YET TO SEE A
MAINSTREAM FILM THAT USES MUSIC

AS AN EMOTION IN SUCH AN
INCREDIBLE WAY.

♪
♪ PURPLE RAIN ♪

WHAT DO YOU CARE ABOUT MARK FOR?

HE'S A 16‐YEAR‐OLD USHER IN THE
MOVIE THEATER.

HAVE YOU DATED OLDER GUYS.
YOU WORK AT THE BEST FOOD STAND

IN THE MALL AND YOU ARE A CLOSE
PERSONAL FRIEND OF MINE.

THERE WAS SO MUCH REALITY IN
THE SCRIPT TO FAST TIMES.

THE WAY THAT CAMERON WROTE "FAST
TIMES AT RIDGEMONT HIGH" IS THAT

HE WENT BACK TO HIGH SCHOOL.
I NEVER GRADUATED

TRADITIONALLY.
SO THE IDEA WAS I COULD GO BACK

AND HAVE THE SENIOR YEAR THAT I
DIDN'T HAVE AND WRITE ABOUT WHAT

IT IS TO BE A HIGH SCHOOL
STUDENT.

I LEARNED SO MUCH.
THE POP CULTURE ESTABLISHMENT,

THEY DON'T KNOW WHAT'S HAPPENING
WITH KIDS RIGHT NOW.

STACY, WHAT ARE YOU WAITING FOR?

YOU'RE 15 YEARS OLD.
I DID IT WHEN I WAS 13.

IT'S NO HUGE THING.
IT'S JUST SEX.

THESE KIDS ARE HAVING A SUPER
SHORT ADOLESCENCE.

THEY'RE HAVING SEX YEARS BEFORE
YOU KNOW THEY'RE HAVING SEX.

AND THEY'RE ALL WORKING.
IT'S FAST FOOD, IT'S FAST

ADOLESCENCE.
IT'S ALL DISPOSABLE.

AND WHAT ARE WE DOING TO A
GENERATION THAT HAS TO BE ADULT

AT A YOUNGER AND YOUNGER AGE?
THERE ARE SO MANY INCREDIBLE

PEOPLE IN THE MOVIE.
A LOT OF CAREERS GET LAUNCHED.

JUDGE RYAN HOLT TO PHOEBE
INDICATES AND JENNIFER SAMPB

LEE. >> SAUSAGE.

HERE IT IS.
IN A CAST FULL OF SOON TO BE

STARS HE GIVES THE PERFORMANCE
THAT EVERYONE WALKS OUT OF THE

THEATER AND SAID MY GOD, SEAN
PENN.

SEAN PENN IN PARTICULAR
BROUGHT A LOT OF THE VOCABULARY.

IF IT'S WRITTEN IN THE SCRIPT AS
LIKE FICTION, HE TURNED INTO

AWESOME, NATURALLY, ALL THE
OTHER CLASSIC WORDS OF THE '80s.

WHAT'S YOUR JOB? >> WHAT FOR?

YOU NEED MONEY.
ALL I NEED ARE SOME TASTY

WAVES, COOL BUZZ AND I'M FINE.
ABOUT MYSELF, I'M 19.

I'VE BEEN OVERSEAS AND NOW I'M
BACK.

HEARD OF KICK BOXING, SPORT OF
THE FUTURE?

THE CHAMPIONS OF THE SPORT.
I CAN SEE BY YOUR FACE NO.

YOU CAN RELAX BECAUSE YOUR
DAUGHTER WILL BE SAFE WITH ME

FOR THE NEXT SEVEN TO EIGHT
HOURS.

SAY ANYTHING IS A ROMANTIC
COMEDY FOR GUYS.

HERE'S A STORY ABOUT BEING AN
OPTIMIST AND HOW THAT CAN BE

SOMETIMES BE A REVOLUTIONARY
ACT.

REBELLION TAKES MANY DIFFERENT
FORMS AND SOMETIMES IT TAKES THE

FORM OF LOVING THE WOMAN THAT
THEY WILL SAY YOU CAN'T LOVE.

AND YOU MAKE YOUR LIFE'S GOAL
HER.

WATCH OUT FOR THAT GLASS.
THANKS.

IF MOMENTS MAKE MOVIES AS
THEY SAY, FOR "SAY ANYTHING"

IT'S THE MOMENT WHEN LLOYD HOLDS
A BOOM BOX AND PLAYS PETER

GABRIEL TO TRY AND WOO DIANE
COURT BACK.

. WE HAD A HARD TIME WITH THE

BOOM BOX.
WE TRIED IT A COUPLE DIFFERENT

WAYS.
HE HAD A HARD TIME HOLDING IT

UP.
THERE WAS ONE VERSION WHERE THE

BOOM BOX IS ON THE CAR PLAYING
IT.

NOT AS GOOD.
WE FINISHED THE LAST SHOT OF THE

LAST DAY OF "SAY ANYTHING."
ONLY A LITTLE LIGHT IN THE SKY

LEFT. THE LIGHT IS DISAPPEARING.

THE SHOT'S MOVING IN ON CUSACK,
AND I SEE IT.

I SEE IT THROUGH THE CAMERA.
THE ANGER, THE RESENTMENT, THE

LOVE, THE PAIN, THE GLORY, THE
ADOLESCENCE.

ALL OF IT WAS THERE IN HIS FACE.
♪ I'M COMPLETE ♪

WE GOT LUCKY. HOW'S IT GOING?

HOW'S WHAT GOING?
YOU KNOW, THINGS.

LIFE. WHAT NOT.

LIFE IS NOT WHAT NOT AND IT'S
NONE OF YOUR BUSINESS.

THE JOHN HUGHES SCRIPTS
JUMPED OFF THE PAGE.

THEY WERE FUNNY.
I REMEMBER READING "16 CANDLES"

SBPT IN THE BACK OF MY PARENTS'
CAR CRACKING UP.

HIS MOVIES WERE SOMETHING TO
LOOK FORWARD TO BECAUSE YOU KNEW

YOU WOULD BE ENTERTAINED AND YOU
KNEW THAT YOU WOULD SEE SOME

VERSION OF YOURSELF OR WHAT YOU
WANTED YOURSELF TO BE.

MY FATHER WILL COME HOME AND
SEE WHAT I DID.

I CAN'T HIDE THIS.
HE'LL COME HOME AND SEE WHAT I

DID. HE'LL HAVE TO DEAL WITH ME.

HE ALWAYS GOT DEEP EVEN WITH
SOMETHING LIKE "FERRIS BUELLER'S"

"DAY OFF" HE GOT DEEP INTO THE
CHARACTER.

MATTHEW'S CHARACTER WAS THE WISE
FOOL BUT ALAN RAAK WAS TROUBLED

BY THIS EVIL FATHER.
THAT WAS REALLY MOVING.

HERE WE ARE.
I WANT TO CONGRATULATE YOU

FOR BEING ON TIME.
EXCUSE ME, SIR.

I THINK THERE'S BEEN A MISTAKE.
I KNOW IT'S DETENTION, BUT I

"DON'T THINK I BELONG IN HERE.
THE BREAKFAST CLUB" IS THE

TEENAGE TOUCHSTONE.
IT'S A FILM THAT'S ABOUT THE

TENSION OF BEING A TEENAGER AND
KIND OF KNOWING THAT PEOPLE IN

OTHER CLIQUES DON'T WANT TO BE
YOUR FRIEND TILL YOU'RE LOCKED

IN A ROOM TOGETHER.
THE FIRST 20 MINUTES OF THE

BREAKFAST CLUB IS PERFECT
FILMMAKING.

THE WAY IT'S STRUCTURED, THE WAY
THE CHARACTERS ARE INTRODUCED.

IT STILL IS MY FAVORITE OF THE
JOHN HUGHES FILMS JUST BECAUSE I

THINK IT'S SO UNIQUE AND NOTHING
LIKE THAT HAD EVER BEEN DONE.

SO ON MONDAY, WHAT HAPPENS?
ARE WE STILL FRIENDS YOU

MEAN? FOR FRIENDS NOW THAT IS?

YEAH. DO YOU WANT THE TRUTH?

YEAH, I WANT THE TRUTH.
I DON'T THINK SO.

THE PICTURE WAS SAYING TO
ADULTS WHAT THOSE CHARACTERS ARE

SAYING IS PLEASE LISTEN TO MY
BEING UPSET BECAUSE SOMEONE

DOESN'T LIKE ME OR I CAN'T ‐‐ I
DON'T HAVE ANY FRIENDS OR

WHATEVER.
LOOKS RELATIVELY INSIGNIFICANCE

CAN'T TO YOU BUT IT'S REALLY
HURTING ME.

IT WAS SO POWERFUL BECAUSE
PEOPLE WERE TALKING ABOUT SHIT

THAT THEY NEVER TALKED ABOUT.
KIDS WERE NOT TALKING ABOUT DARK

STUFF IN SCHOOL AND WITH THEIR
PEERS.

♪ DON'T YOU FORGET ABOUT ME ♪
THERE WEREN'T A LOT OF MOVIES

THAT SPOKE TO TEENAGERS AND IT'S
JUST REALLY SURPRISING BECAUSE

WHO DOESN'T WANT TO SEE THIS
INCREDIBLE PERIOD OF TIME IN A

PERSON'S LIFE WHERE THEY'RE JUST
CHANGING SO RAPIDLY AND TO SEE

SOMETHING THAT YOU RELATE TO I
THINK THAT'S REALLY WHY THE JOHN

HUGHES FILMS ARE STILL SO
IMPORTANT.

I JUST REMEMBER THINKING, HOW
DOES THIS GROWN‐UP KNOW

EVERYTHING ABOUT ALL OF US?
IT WAS LIKE HE LOOKED INSIDE OF

ALL OF US.

♪
♪ JUST TAKE THOSE OLD RECORDS

"OFF THE SHELF ♪
RISKY BUSINESS" REALLY WAS

EVERYBODY'S INTRO TO TOM CRUISE.
OF COURSE, IT WASN'T JUST THE

UNDERWEAR AND THE DANCING, BUT
THAT CERTAINLY HELPED.

">> ARE YOU READY FOR ME RALPH?
RISKY BUSINESS" REALLY

SURPRISES PEOPLE.
THEY THINK IT'S A TEEN SEX

COMEDY BECAUSE IT'S A GUY WHO
OPENS A BROTHEL IN HIS PARTIES'S

HOUSE BUT IT'S AN INCREDIBLY
DARK FILM ABOUT CAPITALISM AND

SELLING OUT.
FOR SOMEONE WITH THAT LIMITED

RESUME TO WALK IN AND ACTUALLY
MAKE THE COMPLEXITY OF THE MOVIE

WORK, HIS ALL‐AMERICAN BOYNESS
WITH THIS DARK SIDE OF IMPULSES,

YOU LOOKED AT THAT PERFORMANCE
AND THOUGHT THAT GUY'S GOING TO

BE A HUGE STAR.
♪ HIGHWAY TO THE DANGER ZONE ♪

WHAT PEOPLE DON'T REALIZE ABOUT
"TOP GUN" WE THINK OF IT AS THIS

RAH‐RAH ACTION MOVIE.
BUT THE MOVIE THAT TOM CRUISE

WAS MAKING IS A VERY SERIOUS
DRAMA ABOUT A MAN WHO IS

WRESTLING WITH HIS DAD'S LEGACY
WHO FEELS LIKE HE HAS TO BE

PHONY IN FRONT OF THESE MILITARY
GUYS HE'S TRYING TO IMPRESS.

IT'S REALLY A MOVIE ABOUT
MASCULINE PERFORMANCE.

TOM CRUISE'S DECISIONS POST TOP
GUN TELL YOU WHO HE IS AND HO

WANTED TO BE.
YOU'RE SOME PIECE OF WORK.

SOME PIECE OF WORK.
YOU'RE ALSO A NATURAL

CHARACTER.
I'VE BEEN TELLING HER THAT.

I'VE GOT NATURAL CHARACTER.
THAT'S NOT WHAT I SAID, KID.

I SAIDED YOU ARE A NATURAL
CHARACTER.

YOU'RE AN INCREDIBLE FLAKE.
PAUL NEW MAN AND TOM CRUISE

HAD THE OLD AND THE NEW.
THIS WAS KIND OF THE SEQUEL TO

THE HUSTLER.
PAUL NEW MAN'S CHARACTER IS

A HUSTLER.
HE'S ALWAYS GOING TO HUSTLE.

WHAT IF HE TAKES THIS EWING ID
UNDER HIS WING ANCHOR ARE UPPED

HIM AND THEN HE GETS HUSTLED.
I SHOWED YOU ALL I GOT.

WHAT THE HELL ELSE DO YOU WANT.
THAT'S IT.

THAT'S ALL.
TOM CRUISE IS TERRIFIC.

NEW MAN FINALLY GETS AN OSCAR
FOR IT.

TOM CRUISE HAS A VERY
SPECIFIC AGENDA IN HIS CAREER.

TO SPEND THE '80s WORKING WITH
THE BEST DIRECTORS HE CAN FIND.

SO HE'S GOING TO WORK WITH
SCORSESE AND BARRY LEVINSON.

NOT GOING BACK TO CINCINNATI.
YOU DON'T HAVE TO GO THERE TOO

PICK UP BOXING SHORTS.
WHAT DID I SAY.

KMART. >> YOU HEAR ME.

I KNOW YOU HEAR ME.
MY BOXER SHORTS.

DON'T FOOL ME FOR A SECOND.
YOURS ARE TOO TIGHT.

DID YOU HEAR WHAT I SAID?
SHUT UP!

MOVIE STARS OFTEN NEED TO
PROVE OVER AND OVER AGAIN THAT

THEY CAN ACT.
I THINK HE PROVED TO THE WORLD

THAT HE COULD ACT AND THEN SOME.
MY BIG BROTHER.

YEAH. >> SEE SOME I. D.

ALL RIGHT. YOU'RE UNDER ARREST.

THE 1980s INTRODUCES US TO
THE CHARACTER OF JOHN RAMBO, ONE.

OF THE ICONIC CINEMATIC FIGURES
OF THAT ERA.

WHAT PEOPLE TEND TO FORGET IS
THAT HE WAS INTRODUCED IN A WAY

THAT WAS MUCH MORE IN LINE WITH
'70s FILM MAKING.

">> IF YOU WERE THE FIRST FIRST
BLOOD," IT IS A VERY DARK MOVIE

ABOUT HOW WE LET OUR VETERANS
DOWN AND ABOUT HOW WE DO NOT

KNOW WHAT TO DO WITH THEM AND WE
MAKE KILLERS AND TURN THEM LOOSE

INTO AMERICA.
THAT'S A PRETTY HEAVY MOVIE.

EVEN FOR A SYLVESTER STALLONE
ACTION FILM IT, PLAYS

REALISTICALLY.
THE SECOND FILM THREW THAT OUT

THE WINDOW PAGE ONE. >> SIR.

DO WE GET TO WIN THIS TIME?
THIS TIME IT'S UP TO YOU.

THERE WAS A DESIRE TO MOVE
PAST THE PERCEIVED FAILURES OF

THE LATE '60s AND THE '70s.
YOU CAN'T REWRITE HISTORY BUT AT.

LEAST WE CAN GO BACK.
AND WE CAN BRING BACK THESE

P. O. W. S.
WE CAN SEND BACK THIS.

REPRESENTATIVE OF AMERICAN
MIGHT.

STALLONE HAD BECOME SO
DEVOTED TO HAVING THE PERFECTLY

CHISELED ULTRAMUSCLED UPPER
BODY.

AT THE SAME TIME THAT ARNOLD
SCHWARZENEGGER WHO HAD BEEN A

BODY BUILDER SUDDENLY BECAME AN
UNLIKELY ACTION STAR IN THE

'80s, TOO.
I DON'T KNOW IF PRIOR TO 1980.

ANYONE WOULD HAVE HAD A FIRM
VISUAL IMAGE OF WHAT THEIR

FAVORITE ACTOR LOOKED LIKE WITH
THEIR SHIRT OFF.

CLOSE YOUR EYES AND IMAGINE
JIMMY STEWART OR MONTGOMERY

CLIFT OR EVEN JOHN WAYNE WITHOUT
THEIR SHIRT ON, IT'S NOT

ESPECIALLY CENTRAL TO THEIR
IMAGE AS ACTORS.

IT WOULD BE RIDICULOUS FOR ME
TO PLAY SOMETHING OUTSIDE OF

THAT ROLE AND CRAZY FOR DUSTIN
TO TRY TO BE COMMANDO OR BE

TERMINATOR OR RAMBO.
IT DOESN'T WORK.

THE PEOPLE ONLY ACCEPT YOU FOR
CERTAIN THINGS.

THERE WAS A LOT OF IDEAS OF
RETURNING TO TRADITIONAL NOTIONS

OF MASCULINITY AFTER THE
SENSITIVE '70s BUT THESE THINGS.

GO IN CYCLES.
I THINK BY THE LATE '80s WE WERE.

READY FOR AN ACTION HERO WHO WAS
A LITTLE MORE SENSITIVE.

DO YOU THINK YOU HAVE A
CHANCE AGAINST US, MR. COWBOY.

YIPPY KI YAY.
DIEHARD IS AS PERFECT IN ITS

OWN WAY AS CASABLANCA.
IT IS AN ACTION MOVIE WHERE THE

ACTION IS GREAT.
AS A HEIST MOVIE WHERE THE HEIST

MAKES SENSE, YOU HAVE
DOWNMacLEAN WHO IS NOT A SUPER.

HERO, WHO IS A REGULAR NEW YORK
COP WHO IS NOT ONLY OUT OF HIS

ELEMENT BUT HE'S OUT OF HIS
SHOES.

THAT'S A GREAT THING TO DO IN
AN ACTION MOVIE IS INCLUDE

SOMETHING WHICH EVERYBODY CAN
SYMPATHIZE WITH.

I DON'T KNOW WHAT IT'S LIKE
TO THROW EXPLOSIVES DOWN BUT I

ACCIDENTALLY TROD ON GLASS AND
IT HURT.

YOU WATCH HIM AND YOU GO I
SEE MYSELF IN HIM.

THIS PERSON WHO IS FLAWED BUT
CAN OVERCOME IT WHICH IS I THINK

A NARRATIVE WE ALL HAVE ABOUT
OURSELVES.

IF PUSH CAME TO SHOVE, I WOULD
SHOW UP.

ALAN RICKMAN'S PERFORMANCE AS
HANS GROUP SER ONE OF THE KEY

MOVIE PERFORMANCES OF THE '80s
BECAUSE THE IDEA THAT THE.

VILLAIN COULD BE INTELLECTUAL,
IT WASN'T A BEEFY VILLAIN WHO

BEAT UP OUR HERO BUT A GUY WHO
OUR HERO HAD TO OUTTHINK.

A LOT OF ACTION STARS THINK
IT'S COOL TO SHOW NO FEAR.

TO ME, THAT'S NOT A COURAGEOUS
PERSON, THAT'S A STUPID PERSON.

THE COURAGEOUS PERSON HAS FEAR
AND GOES THROUGH IT ANYWAY.

JOHN, WHAT THE ‐‐
IT ISN'T THE SIDES OF THE

FIREBALL.
IT'S HOW MUCH YOU CARE ABOUT THE

PERSON RUNNING FROM THE
FIREBALL.

I'M TELLING YOU, I SHOULD
HAVE COME IN TEN YEARS AGO.

I'D HAVE BEEN A MILLIONAIRE BY
THIS TIME.

BY THIS TIME, I'D HAVE HAD MY
OWN BOAT, MY OWN CAR, MY OWN

GOLF COURSE.
ONE THING THE '80s WAS ABOUT.

WAS GANGSTER CAPITALISM.
TONY MONTANA CAPTURES THAT

DESIRE FOR RESPECT, FOR MONEY,
FOR INFLUENCE, FOR POWER.

OLIVER STONE CAME INTO THE
'80s AS A WELL RESPECTED AND.

WELL PAID SCREENWRITER.
THIS WAS A GUY WHO HAD WRITTEN

SCARFACE WHO HAD A VERY, VERY
ALPHA MALE VOICE AND WHO WAS

MAKING SHE IS SWEATY MORALLY
COMPLICATED FILMS.

DO YOU WANT TO PLAY ROUGH? OKAY.

SAY HELLO TO MY LITTLE FRIEND.
I THOUGHT IT WAS EXCESSIVE

AND CARTOONY UNTIL I STARTED
SPENDING A LOT OF TIME IN MIAMI.

AFTER THAT, I THOUGHT IT WAS A
MODEL OF RESTRAINT.

IT REALLY WAS A DECADE THAT
WAS FUELED BY HOW MUCH MONEY CAN

I MAKE AND HOW CAN I DISPLAY IT
BEST.

THE POINT IS, LADIES AND
GENTLEMEN, THAT GREED FOR LACK

OF A BETTER WORD, IS GOOD.
GREED IS RIGHT.

GREED, WOULD.
"WALL STREET" IS A MOVIE

ABOUT MORE THAN JUST GORDON
GEKKO.

IT'S ABOUT A FATHER AND A SON
WITH DIFFERENT WORLD VIEWS

PLAYING DIFFERENT ROLES IN AN
EVER‐CHANGING ECONOMY.

HE'S GOT YOUR PRICK IN HIS
BACK POCKET BUT YOU'RE TOO BLIND

TO SEE IT.
NO, WHAT I SEE IS A JULY LUS

OLD MACHINIST WHO CAN'T STAND
THE FACT THAT HIS SON HAS BECOME

MORE SUCCESSFUL THAN HE HAS.
WHAT YOU SEE IS A GUY WHO HAS

NEVER MEASURED A GUY'S SUCCESS
BY THE SIZE OF HIS WALLET.

THAT'S BECAUSE YOU NEVER HAD
THE GUTS TO GO OUT IN THE WORLD

AND STAKE YOUR OWN CLAIM.
IT'S THE CONNECTION BETWEEN

MAIN STREET AND WALL STREET.
MAIN STREET IS MARTIN SHEEN.

MAIN STREET ARE THOSE PEOPLE WHO
WILL BE AFFECTED BY THE

DECISIONS MADE BY WALL STREET.
OLIVER STONE IS A GUY SAYING

THE PURPOSE OF FILM, THE PURPOSE
OF CINEMA IS TO MAKE POLITICAL

COMMENTARY ABOUT OUR SOCIETY AND
HE MADE SOME VERY COMPELLING

FILMS IN THE PROCESS.
WHAT HAPPENED TODAY IS JUST

THE BEGINNING.
WE'RE GOING TO LOSE THIS WAR.

COME ON. YOU REALLY THINK SO?

US? >> WE'VE BEEN KICKING OTHER

PEOPLE'S ASSES FOR SO LONG, I
FIGURE IT'S TIME WE GOT OURS

KICKED.
"PLATOON" HAD THIS INTENSITY.

SO MUCH OF THAT CHARLIE SHEEN
CHARACTER OLIVER STONE HAS SAID

WAS HIM, WAS HIS EXPERIENCE
GOING INTO THE WAR AS A

PATRIOTIC KID WHO WANTED TO DO
HIS PART AND REALLY HAVING HIS

EYES OPENED TO THE HORROR.
AND I THINK IT MAINTAINS THAT

GUT PUNCH.
I HOPE PEOPLE GO TO SEE WHAT

THE WAR WAS REALLY LIKE.
THAT'S THE STATEMENT AND ONCE

YOU SEE IT, YOU HAVE TO THINK
ABOUT IT FOR YOURSELF.

THINK ABOUT WHAT YOU THINK ABOUT
WAR.

THINK ABOUT WHAT IT REALLY IS AS
OPPOSED TO THE FANTASY COMIC

BOOK STUFF OF "TOP GUN."
THE ATTITUDE OF THE '70s HAD.

BEEN TO TAKE OUT SOME OF THE
SCORN THAT THE AMERICAN PUBLIC

FELT FOR THE FOREIGN POLICY
ESTABLISHMENT AS IT HAD

COMPLETELY SCREWED UP VIETNAM ON
THE MEN RETURNING HOME.

I WANT MY LEG.
DO YOU UNDERSTAND?

CAN'T YOU UNDERSTAND THAT.
I'M SAYING I WANT TO BE

TREATED LIKE A HUMAN BEING!
I FOUGHT FOR MY COUNTRY.

I'M A VIETNAM VETERAN!
THERE WAS AN ATONEMENT FOR

THAT IN THE '80s.
THERE WAS A SECOND WAVE OF.

PICTURES THAT I THINK ATTEMPTED
TO HONOR THE SERVICE THAT THESE

MEN HAD PERFORMED FOR THEIR
COUNTRY.

MY FATHER WAS A CIVILIZED MAN.

THAT'S A WORD, YEAH? CIVILIZED?

VERY GOOD WORD. >> YEAH?

MY FATHER WAS A CIVILIZED MAN
LIVING IN AN UNCIVILIZED TIME.

THE CIVILIZED WAS THE FIRST TO
DIE.

"SOPHIE'S CHOICE" IS I THINK
THE QUINTESSENTIAL HOLOCAUST

DRAMA BECAUSE IT DOESN'T EVER
EXPLICITLY TOUCH ON THE DETAILS

OF THE HORROR.
IT'S MORE ABOUT THE DRAMATIC

IMPLICATIONS OF IT.
I'M GOING TO TELL YOU

SOMETHING NOW.
I HAVE NEVER TOLD ANYBODY.

I NEVER WORKED WITH ANYONE
WHO WAS THAT CONFIDENT WHO

TRUSTED HER INSTINCTS SO
THOROUGHLY.

SHE LEARNED POLISH AND GERMAN
JUST FOR THE FILM AND LOST

WEIGHT.
THAT ENCOMPASSES WHY MAYORAL IS

SO SPECIAL BECAUSE SHE MANAGES
TO GET TO THE HEART OF EVERY

PERSON SHE'S PLAYING.
AND THE WINNER IS MARVELOUS

MERYL STREEP.
YOU COULD ASK MERYL TO DO

ANYTHING, SHE CAN MAKE ANYTHING
WORKING.

> SOMEONE SPIKED MY ARE YOUR RIN
SAMPLE CONTAINER.

WHO.
HOW DO I KNOW WHO IN ANYBODY

COULD HAVE DONE IT.
CAN YOU STAY?

FOR A DAY OR SO.
MERYL I COULD SEE THAT SHE

WORKED FROM A VERY DEEP PLACE
AND WHAT SHE WAS REALLY FOCUSED

ON WAS THE TRUTH OF HER
CHARACTER TO THE POINT WHERE SHE

HAD TO GET THE LANGUAGE AND THE
SOUND AND THE VOICE PERFECT.

AND SHE WAS ADAMANT AND SHE WAS
RELENTLESS IN THAT PURSUIT.

PEOPLE MARRY, IT'S NOT
REVOLUTIONARY.

THERE'S SOME ANIMALS THAT MATE
FOR LIFE.

GEESE.
YOU KNOW, YOU USE THE DAMN

ANIMALS FOR YOUR OWN ARGUMENT.
YOU WON'T LET ME USE THEM FOR

MINE.
THE NOMINEES FOR PERFORMANCE

BY AN ACTRESS IN A LEADING ROLE,
MERYL STREEP IN "OUT OF AFRICA."

MAYORAL SFLEEP "IRON LADY."
FROM "A CRY IN THE DARK,"

MERYL STREEP.
SHE ENDED UP TRANSCENDING IS

THE JOB OF AN ACTOR AND LEAPT
INTO THIS OTHER REALM OF

BECOMING.
SHE WASN'T PLAYING A WOMAN WITH

AN AUSTRALIAN ACCENT.
SHE WAS AN AUSTRALIAN MOM.

THEY'RE TALKING ABOUT MY BABY
DAUGHTER.

NOT SOME OBJECT.
MOST MOVIE STARS ARE NOT THE

GREATEST ACTORS.
AND MOST GREAT ACTORS DON'T

BECOME GREAT MOVIE STARS.
BUT MERYL STREEP WAS BOTH.

WHAT DOES THAT MEAN TO YOU,
MOVIE STAR?

OH, IT MEANS, YOU KNOW,
KATHARINE HEPBURN, BETTE DAVIS,

GRETTA GARBO.
IT DOESN'T MEAN ME.

IF YOU BOYS JUST TURN RIGHT
ON AROUND HEAD ON BACK THAT WAY

AND YOU LET US HEAD UP THERE
WHERE THE REAL FIGHTING IS.

MEN DYING UP THAT ROAD.
PEOPLE HAD NO IDEA THAT

THERE WERE BLACK SOLDIERS
FIGHTING FOR THE UNION IN THE

CIVIL WAR. >> YOU MEN MOVE ON.

STRIPES ON A NIGGER.
TYKE TEATS ON A BULL.

YOU'RE LOOKING AT A HIGHER
RANK, CORPORAL.

YOU'LL OBEY AND YOU'LL LIKE IT.
"GLORY" STARS MATTHEW

BRODERICK BUT THE MOVIE BELONGS
TO DENZEL WASHINGTON AS A FORMER

SLAVE WHO IS NOW GOING TO FIGHT.
HE RUNS AWAY BECAUSE HE NEEDS

SHOES.
THEY DO WHAT THEY HAVE TO DO.

THEY WHIP HIM. >> PROCEED.

HE SITS THERE AND HE TAKES
HIS BEATING LIKE A MAN.

HE DOES NOT SCREAM.
HE DOES NOT FLINCH.

BUT THERE'S A MOMENT WHEN A
SINGLE TEAR COMES DOWN HIS FACE.

THAT'S THE MOMENT WHEN DENZEL
WINS THE OSCAR.

THE IDEA OF AMERICAN LEGACY
AND WHAT IT REALLY IS IS BROUGHT

HOME TO PEOPLE WHEN THEY SEE
THAT.

THE '80s YOU HAD SOME BIG
SWEEPING STUNNING EPICS THAT AT.

THE TIME WERE SEEN AS THE
APOTHEOSIS OF THE MOVIE FORM.

THESE ARE SUBSTANTIAL MOVIES BY
GREAT FILMMAKERS.

YOU HAVE THE LAST EMPEROR.
AND YOU HAVE "RAGTIME."

AND THERE WAS "GANDHI" WHICH
CAME OUT IN 1982.

WE MUST DEFY THE BRITISH.
A LOT OF PEOPLE WERE ROOTING

FOR ET THE EXTRA TERRESTRIAL TO
WIN BEST PICTURE THAT YEAR BUT

YOU KNOW FANTASY AND SCI‐FI
DON'T USUALLY WIN OSCARS.

WHAT WINS OSCARS IS EPIC.

♪
AMADEUS IS A KIND OF

MEDITATION ON GENIUS.
I KNOW YOUR WORK SELL,

SIGNORE.
I ACTUALLY COMPOSED SOME

VARIATIONS ON A MELODY OF
YOURSELVES.

WHICH ONE. >> I'M FLATTERED.

FUNNY LITTLE TUNE BUT IT YIELDED
SOME GOOD THINGS.

THE PROTAGONIST OF THE MOVIE
IS NOT MOZART.

IT IS SALLAIRERY WHO IS ACTUALLY
DEFICIENT.

HE'S NOT A GREAT ARTIST.
HE DOESN'T HAVE GREAT

INSPIRATION.
HE'S JEALOUS OF MOZART WHO DOES.

SHOULDN'T IT BE A BIT MORE ‐‐
OR THIS.

THIS. ♪ YES.

THE MOST INTELLIGENT AND
RATIONAL INDIVIDUAL IN THE MOVIE

IS THE JEALOUS FIGURE WHO ISN'T
PARTICULARLY TALENTED AND THE

LEAST RATIONAL AND MATURE FIGURE
IN THE MOVIE IS THE GENIUS.

WHEN I SAW "AMADEUS" THERE
WAS HUMOR TO IT, A LIVELINESS TO

IT, A NASTINESS TO IT.
TOM HOLTZ IS SO FANTASTIC IN

THAT FILM. >> DO YOU HAVE IT.

NOT TOO FAST. DO YOU HAVE IT.

THE '80s GIVES US SOME REALLY
REMARKABLE FILMMAKERS.

YOU SEE TALENT IS THERE
IMMEDIATELY.

THESE DIRECTORS ARE GOING TO
HAVE LONG CAREERS.

IN SOME CASES THEY'RE MAKING
SMALL MOVIES BUT THEY GET THEIR

START IN THE '80s.
WHY DON'T YOU LET ME TAPE.

YOU. >> DOING WHAT.

TALKING. >> ABOUT WHAT?

ABOUT SEX.
YOUR SEXUAL HISTORY, SEXUAL

PREFERENCES.
STEVEN SODERBERGH'S VIDEOTAPE

IS COMING OUT HARDY FOR ONE OF
THE MOST PRODIGIOUSLY TALENTED

FILMMAKERS EVER.
WHY ARE YOU DOING THIS TO

YOURSELF?
ARE YOU GOING TO ANSWER ME.

NO, PLEASE, DON'T DO THAT.
WHY NOT.

REALLY, DON'T DO THAT.
I JUST WANT TO ASK YOU A FEW

QUESTIONS.
LIKE WHY DO YOU TAPE WOMEN

TALKING ABOUT SEX.
THAT WAS A GREAT EXAMPLE OF

SOMETHING THAT WAS TOTALLY
BRAND‐NEW AND IT WAS VERY, VERY

LOW BUDGET.
I FELT IT WAS SO SPECIAL AND IT

WAS A POINT OF VIEW WE HADN'T
SEEN BEFORE.

TO DEAL OPENLY WITH VOYEURISM
AND SEXUAL DYSFUNCTION ON SCREEN

WAS STUNNING TO PEOPLE AND IT
WAS A TRENDSETTER THEN AND IT'S

A MOVIE THAT MATTERED A LOT.
THE FIRST FILM WAS BLOOD

SIMPLE A CROSS BETWEEN A SLASHER
FILM AND A FILM NOIR.

OUGHT TO LOCK THE DOOR.
THEY KNEW THAT WOULD BE A

GREAT CALLING CARD.
PEOPLE WOULD PAY ATTENTION IF

THEY HAD ENOUGH SCARES.
THEY MAKE INTENSELY COOL AND

CREATIVE FILMS.
YOU COULD ALWAYS KIND OF FEEL A

LITTLE BIT LIKE THEY'VE ADAPTED
A BOOK NO ONE'S EVER HEARD OF.

EVERY SHOT HAS BEEN THOUGHT
OF, EVERY NOTE OF MUSIC, THE

DIALOGUE AND IT'S SHOCKING.
ALL THE TIME THIS SHOCKS IN

THEIR MOVIES, VISCERAL SHOCKS.
AND THEN MOMENTS OF GREAT HUMOR.

TURN TO THE RIGHT.
WHAT'S THE MATTER, ED?

LEFT ME. THEY HAD JUST FINISHED

WRITING "RAISING ARIZONA."
AND ASKED ME TO READ IT AND I

THOUGHT IT WAS LIKE AMAZING.
AMAZING.

YOU KNOW, SO FUNNY.
RAISING ARIZONA AS FAR AS I'M

CONCERNED IS A MASTERPIECE.
THE IDEA OF TAKING THAT

100‐MILE‐AN‐HOUR PRESTON STYLE
DIALOGUE AND PUTTING IN THE RED

NECKS IN ARIZONA.
YOU BUSTED OUT OF JAIL.

NO, MA'AM.
WE RELEASED OURSELVES ON OUR OWN

RECOGNIZANCE.
WE FELT THE INSTITUTION NO

LONGER HAD ANYTHING TO OFFER US.
RAISING ARIZONA WAS ONE OF

THOSE FILMS WHERE YOU GO I
DIDN'T KNOW YOU WERE ALLOWED TO

DO THAT.
I'VE BEEN TAKING HUGGIES AND

WHATEVER CASH YOU GOT.
YOU THE JUST THE FACT THIS

FILM IS HURTLING ALONG WITH GAN
BANJOS AND YODELING, I STILL

DON'T HAVE THE COURAGE TO HAVE A
SOUND TRACK WITH BANJOS AND

YODELING.
AND THAT WAS THEIR SECOND FILM.

THERE'S THESE PEOPLE THAT
COME ALONG, THEY HAVE THE SAME

EQUIPMENT.
THEY HAVE THE SAME PLAYING FIELD

AND TO TAKE THAT AND TO MAKE
SOMETHING FULLY AESTHETICALLY

THAT IS COMPLETELY DIFFERENT
THAN ANYTHING YOU HAD SEEN IS

LIKE A BIG DEAL.
THAT'S A TRIUMPH.

♪
HA HA.

COMEDY IN THE '80s MY
FAVORITE NEARBY SUBJECT IS TIM.

BURTON.
I WAS NEVER SCARED BY ANY

HORROR MOVIE EVER BECAUSE I
ALWAYS LIKED THEM TOO MUCH.

DO YOU KNOW WHAT I MEAN?
I MEAN, THINGS THAT SCARED ME

WAS LIKE GOING TO SCHOOL OR
SEEING MY RELATIVES.

I LOVE TIM BURTON BECAUSE
HE'S THE BEST THING YOU CAN BE

AS A DIRECTOR.
HE'S COMPLETELY UNIQUE.

YOU START NOTICING THE BLACK AND
WHITE STRIPES ON THINGS AND JUST

THE VIBE AND YOU FEEL LIKE
REALLY GOT SOMETHING HERE WITH

THIS GUY.
WE DID BATE BEETLE JUICE AND

HIS BASIC IDEA WAS THE LIVING
PEOPLE WOULD BE SCARY AND THE HE

PEOPLE WOULD BE THE BANAL.
I WAS LUCKY TO WORK WITH

PEOPLE THAT HAD COME FROM COMEDY
THAT WERE GOOD AT IL PROVING.

MICHAEL, THAT'S THE BACKGROUND.
A WHOLE DIFFERENT ENERGY WHEN

PEOPLE ARE THERE AND THERE MAY
BE SOME WRITTEN THINGS BUT THEN

IT JUST GOES OFF AND I START
RIFFING AND GETTING INTO IT.

HE WAS GREAT AT THAT THE.
HE'S LIKE A PRESSURE COOKER.

">> DO YOU LIKE IT?
BEETLE JUICE" IS UNDERRATED.

AS WELL REGARDED AS IT IS, IT'S
STILL UNDERRATED BECAUSE IT

SHOULDN'T WORK.
LIKE I DON'T KNOW IF IT'S A

HORROR MOVIE SET IN A COMEDY OR
A COMEDY THAT'S A HORROR MOVIE.

I CAN'T FIGURE OUT THE ALGORITHM
BEHIND IT.

BUT IT WOULD. ♪