The Movies (2019): Season 1, Episode 4 - The Seventies - full transcript
Directors become masters of the medium as Spielberg, Coppola, Scorsese, Lucas and other filmmakers create a New Hollywood that pushes the medium of moviemaking to its apex, just as a new ...
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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.
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"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.
♪
♪
♪
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.