stay right there. we have the cnn original series "the movies" next here on cnn. that does it for me. thank you for being with us this weekend. have a great night. ♪ ♪

♪ ♪ robinson apparently tired. >> come on. >> a director, an actor, find a

story at the right time in the right place. out comes this amazing combination of cinematic fear. it's like watching an animal. >> "raging bull" is a great title. the film fulfills the promise. the reality of the boxing and the slow motion and all of the black and white gore and the flashbulbs. when he designed the movie, he didn't put a clutch on the film. there's no clutch. >> going down, man. >> you never got me down. >> it's a boxing movie for people who don't like boxing. it's not about that. it's about this man who was based on a real person who is at war with himself. >> harder. harder. >> i didn't understand boxing. the character was interesting.

he was so contrair. >> bob de niro, he is not afraid of the negative characters, afraid to go to those places. >> i was down to 152. then i went up to 212. i gained 60 pounds. it's not easy. first 15 pounds, it's fun. then it's drudgery. >> go get 'em, champ. >> it's absolutely true that the movies of 1980 look like movies of the 1970s. very personal, very passionate film making rules. had you ordinary people. the movie that defeated "raging bull" for best picture in 1980. this incredibly precise and very emotional study of a family in deep crisis.

>> give me the camera. >> i didn't get it yet. >> give her the camera. >> i want a really good picture of the two of you. >> i want to get a shot of the three of you men. give me the camera. >> not until i get a picture of the two of you. hang on a second. >> give her the god damn camera. >> it centers on people who cannot get in touch with their feelings and who avoid the darker underpinnings. i would like to tell a story about what people will do to avoid being seen for who they really are. i gave mary tyler moore the script. i could see you playing this. she was drown to it. that told me that there is some part of herself she was willing to expose that had been not exposed before. she wanted that chance. so she was given that chance. so did a great job. >> that moment where she comes downstairs and asks her husband what's wrong.

>> i don't know if i love you anymore. >> she goes upstairs and she's -- there's something so moving to me about somebody who is so deeply repressed cracking open. >> that's where the dam breaks. she gets hit by some truth she can't articulate. she's so taken back, she can't adjust. she can't take it in. >> that's what that moment was about. >> you look at some of these films of the 1980s, like "ordinary people." those films are explicitly about how things look are not the way they really are. you have to understand, this was when ronald reagan became president. the idea was that after all sorts of trauma, particularly watergate and vietnam, we healed. as the public pronouncement is we're good again, our movies are telling us, no, we're not. no, we are not.

>> wendy, i'm home. >> i play this game. all your favorite filmmakers, alive or dead, opening a movie on the same day, which movie would you see first? for me it would be stanley kubrick because you are going to see something you never saw before. he did that in -- think about it -- every genre. he will make a horror movie, it's the horror movie done in a way that you would not expect. to me "the shining" is about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley kubrick. >> ma. >> it was as if i had been in the hotel for 2 1/2 hours. he creates a pacing where it overtakes the way you are breathing and the way you are existing and you are in there.

in all kubrick films, he controls you. kubrick steady cam work in "the shining" broke new ground. it gave stanley a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind the tricycle. you are behind it. which leads to one of the scariest shots in the movie. >> hello, danny. >> hello, danny. come and play with us. fantastic. >> united artist was betting $40 million on its new movie "hefshne"hefs "heavens gate." it has been yanked from american theaters after one day. >> took almost a year to complete.

the director, got a free hand. his producer said he was out of control. the result, a 3 1/2 hours bomb. >> it's a stake through the heart. it's the tale of the studio will step in. that's how you get the movies of the 1980s. >> you knew where you were when you saw "the empire strikes back." it was the movie that took the whole thing to another level. "star wars" was huge. but "empire strikes back" was phenomen phenomenal. these characters, intermix. this is a budding romance between solo and princess leia.

>> i love you. >> i know. >> luke is transitioning into becoming a jedi knight. >> this is the good act. in classical dramatic philosophy, you set the thing up in the first act. in the second act, your heroes are put in a position that is unresolvabl unresolvable. they are put in enormous jeopardy. you don't know how it's going to work out. that is the most interesting part of the story to tell. >> he never told you what happened to your father. >> he told me enough. he told me you killed him. >> when we started work, it was me and george in the office. george says to me, you know, darth vader is luke's father. >> i am your father. >> no shit. it was about fathers and sons, about good and evil personified. >> it is your destiny.

>> that made the saga better instantly. [ "movin on up" by primal scream ] that is big. not as big as that. sure that's big. that's bigger. big. bigger. big. bigger. big. but that's bigger. wow, big. so much bigger. this is big. but that's...well, you got this.

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but i like the smell of it laughs ♪ four of the biggest money making films of recent times have come from two young, gifted filmmakers, george lukas and ste steven spielberg. it was inevitable they would join talent. they have in an adventure film to be released this week.

♪ >> george says, i have something called "raiders of the lost ark." he told me this story of this archaeologist with the hat and whip. i committed to the movie based on a story george told me. then larry george and i sat around and basically made up the story from beginning to end. >> there's a line that means a lot to me. buried in the middle of a big action sequence. they have lost control of the ark. indy says, i will get it back. how are you going to do it? >> i don't know. i'm making this up as i go. >> that to me was what life was like. we make it up as we go. indiana jones is very good at that.

>> we came up with an idea, like a truck chase. then we figured, how do we get the truck chase in the movie? we had these big subjects. then we reverse engineered in order for it to earn its place in the story. >> spielberg is a master of staging. when they move fast and cut quickly, you always know the lay of the land. >> he can create suspense out of details big and small. there's always the action that the audience can see but the characters can't see. the audience is aware that not only is indy maybe going to get beaten to death by this enormous nazi, but the whole thing might blow up. >> you wonder why your blood gets up when you watch them. it's craftsmanship and art.

>> everybody in this town is talking about steven spielberg's latest film "e.t.." there were thousands of people in the street waiting to get in. >> the wait is hours long in chicago. days long in los angeles. >> "e.t." is the biggest money maker ever. >> i had the story i was going to write about how the divorce between my mom and dad affected me and my three sisters. i combined that with one about an alien who is divorced from his own species. is lost three million light years from home. >> i don't like his feet. >> can you imagine if that film didn't have those kids, every one of them? that's the secret sauce to that movie. >> i just want to say good-bye. >> all the kids have fallen in love with e.t.

the tears were real. >> be good. >> yes. >> steven spielberg movies, they are blockbusters but they are personal stories. they are small stories told against a giant canvas. >> they're here. >> i really felt i was speaking to myself. loving escapism. "poltergei "poltergeist" was about things that scared me. i had a tree that scared me. what happens? a tree grabs the kid. when i made stories about kidding on one final adventure and discovers the riches to save their parents' homes. stories about gremlins. loving stories that were bizarre.

>> everybody has dream orphan a fantasies of going back in time. it was put together for the modern age. >> you built a time machine out of a car? >> if you are going to build a time machine, why not do it with style? >> it was a mystery it was as big a hit as it was when it came out. what the real mystery is is that it endured for decades. >> we're sending you back to the future. >> simple idea. what would it be like to see your parents when they were younger is something that obviously is multi-generational. >> you smoke, too? >> you are beginning to sound like my mother. >> the only thing weird about the story, it's going back in time and meeting a mother and she falls in love with a son she doesn't have yet. >> that's a big bruise you have there.

>> they pulled it off. >> i was exhausted at the end. then, he makes "who framed roger rabbit." >> you are under arrest. >> there's a scene where donald ducky and daffy are having a piano duel. penguins are serving drinks. it's complete and total chaos. real actors pretending to be drinking. trays moving around on these iron rods. >> that is ignorance is bliss category that that movie should fall into. it's a movie that no sane person would attempt to make. >> i love playing villaaivillai. for the first film that came

out, there are dark moments that scare the hell out of me. it's payback. >> remember me? i killed your brother. >> i got some moments in there that will be in their worst nightmares for the rest of your lives. >> the trick to making that blend of live action animation is that the live action actor has to believe it. bob always believed the rabbit was there. it is an amazing performance. it's really one that actors should study. >> because it was made before a lot of cgi existed, it was old-school movie making with physical special affect. "who framed roger rabbit" is the most complicated movie ever made. >> don't tell me you lost your sense of humor already. >> does this answer your

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one of the great films is "the verdict." beautifully told. paul newman plays a washed up lawyer who is an alcoholic ambulance chaser. what makes it unique is even when it is big movie stars, he managed to bring them down in the case to the streets. you can see the stars in the movie, but they have not turned the movie into something glamorous. on the opposite, have entered the drudge and reality. >> there was no way i could win. >> he was asked to be the leading man and be charming and funny. when he does "the verdict," it makes you cry. newman shows you what he is made

of as an actor. >> i think you are making a big mistake. you should reconsider. >> to see that scene where he is calling the insurance company to rekindle the deal he turned down. >> no, no. i understand. >> it's one of the greatest pieces of acting i have seen. no cuts. okay, here we go. >> how is your life? >> great. how is yours? >> not so great. >> we're telling the truth? >> "the big chill," about kids in college together and are now no longer anti-establishment but actually are part of the establishment. trying to reconcile that history with their present. >> movies aren't being made for adults. that's all "the big chill" is. it's an adult film. it tries to be as complex as life is. >> i wanted to make a movie about something i was observing among my friends.

imagine we came out of college thinking we had a power that was non-existent. ♪ >> when it came out, i thought, this will be for this generation, children of the '60s, this will be very relevant. i would meet kids in high school, ten years after the movie came out, love that movie. ♪ it's about friendship. it's about growing up. there's something in its essence that's timeless and universal. >> i'm marrying flap tomorrow. i think if this is your attitude, you shouldn't show up at my wedding. >> that's right. i think you are right. the hypocrisy was bothering me, too. >> "terms of endearment,"

adapted and directed by james l. brooks. it made you cry. it was the stuff of life. shirley mcclane gets involved with an astronaut played by jack nicholson. they had this incredible comic chemistry. the romanticmi hilarious. >> it's not my fault. >> you wanted to get me on my back, you just had to ask me. >> "terms of endearment" may be the first dramedy. >> do something. all she has to do is hold out until 10:00. it's past 10:00. my daughter is in pain. give her the shot. do you understand? get my daughter the shot!

thank you very much. >> james brooks was able to take humor, tragedy, the best writing, delivered beautiful by actors that cared so much. it felt like life. it felt human. it felt funny. >> the winner is "terms of endearment." >> jim was into the delicate shades of humanity before it was cool. >> that was a long time ago. people change. >> i hope you changed. >> and for yours. >> left something to be desired. >> you look at woody's career. in the '80s, should have been past his prime. wait a minute. there's "purple rose of cairo." woody allen has expanded his

sensibility. it's got humor in it. it has satire in it. he is not trying to get a laugh every second. >> it's a wonderful conundrum. very original standpoint. i think that's why it holds. >> you told me over and over you would leave her. we made plans. i gave up things for you. >> dreams. >> "crimes and misdemeanors" is two parallel stories. one is a traditional woody allen and mia farrow and the other i a serious examination of life and death themes. >> a guy is having an affair. she's threatening to tell his wife and threatening to disrupt his world. he has a hit man kill her. >> i had a woman killed. i thought i was going to go hell. nothing happened. woody is constantly getting shit

on my life. he is doing the right thing. >> you look deep in thought. >> i was plotting the perfect murder. >> his writing is very strong for that reason. it always feels like he was thinking about some philosophical truth about human nature. i want to write a movie about that. >> i'm talking about reality. if you want a happy ending, you should see a hollywood movie. >> you realize, of course, we could never be friends. >> why not? >> what i'm saying is -- this is not a come on in any way, shape or form. men and women can't be friends because the sex part always gets in the way. >> "when harry met salarylsally" he was based on rob reiner. >> every scene has to be good. you work and work and work. you torture yourself. >> i had known nora. i pitched this idea for this

film about the dance that people go through to get together after they have both gotten out of long-term relationships. they become friends and does sex come into the picture? does it ruin the friendship? that's something i would be interested in. >> he rips off my clothes. >> then what? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you have been having since you were 12? >> sometimes i vary it a little. >> which part? >> what i'm wearing. >> a good romantic comet did i i comedy is, how do you get them there? it's all about the story. it's all about the people. do you care about them? do you want them to be together? . >> most women have done it. >> you don't think i could tell

the different? >> no. >> get out of here. >> the deli scene. when we first did it, meg was a little nervous. crew members, extras, people standing around. >> are you okay? >> oh. >> rob says, here is what i want. he has an orgasm that mighty joe young would be jealous of. yes, yes, i'm pounding the table. >> yes, yes, yes. >> i realize, because my mother is sitting -- i'm having an orgasm in front of my mother. >> i will have what she's having. (vo) parents have a way of imagining the worst... ...especially when your easily distracted teenager has the car. at subaru, we're taking on distracted driving [ping] with sensors that alert you when your eyes are off the road.

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musical trilogy i'm doing., a - in d minor which is the saddest of all keys. i don't know why. it makes people weep instantly. >> what do you call this? >> this piece is called lick my love pump. >> we were going to do a mock documentary. a satire of a rock and roll band on tour. we basically had the tour outlined. essentially, it was a very thin thumbnail sketch of what was going to happen. the whole movie is improvised. >> do the dead bird. >> i did the bird. >> don't talk back.

let's go. come on. >> you had brilliant performances by all of them. then rob put it all together and made it sing. >> people didn't know what we were doing. they thought it was a real documentary. when we previewed it, people saw it and said, why would you make a movie about a band that nobody ever heard of? one that is so bad. ♪ >> let's say you look at a perspective movie and it's a square. rob reinyneiner has a way of fi a way to enjoy it in a completely non-conventional way. >> he didn't fall. inconceivable. >> i do not think it means what you think it means. >> "the princess bride" is a blend between romance, satire, adventure, swashbuckling. it's mixed in.

it's a very strange mixture, hard to capture. >> what about rous? >> you have to walk a balance. it's a fine line between stupid and clever. >> eat it or i will call the brute squad. >> rob is a phenomenal director. beauties. took risks. to be in three of them, i'm blessed. >> one of the half '80s was different comedy. there was the spoof that became popular. "airplane" or "make ittnaked gu" you had "crocodile dundee." the rise of "saturday night live". >> it's 106 miles to chicago. we have a full tank of gas, half

a pat ck of cigarettes, it's da and we're wearing sunglasses. >> they made up these characters with a hat and glasses. they did the blues brother on "saturday night live" and got a huge response. >> it's such a specific place. people started realizing, this is where you are going to get your quality comedy. you wanted to see those people in movies. >> i will clean this up. >> you clean up a little bit. >> thanks. >> comedy is a precious commodity. when you shake the pan looking for the nuggets, when they shine out like that, then you love them forever. people who understood how to be funny, they can be funny anywhere. ♪ >> "ghostbusters" is a rare film. the sci-fi, action and comedy.

>> there's something you don't see every day. >> "ghostbusters" was written by dan akroid. it shouldn't work. but it does work. they are flawless. >> we have been going about this wrong. he is a sailor. he is in new york. we get this guy laid, we wouldn't have trouble. >> bill has explored what it means to escape sort of the constraints of convention. you feel in some way that you want to be as liberated as he is. >> instead of worshipping musicians, we're worshipping comedians. comedy is going to be the new rock and roll. >> listen up. i don't like white people. i hate rednecks. you people are rednecks. it means i'm enjoying this shit. >> when eddie murphy started

with "48 hours," he was 20 years old. he does "trading places." then he does "beverly hills cop." >> eddie murphy was comedy. he is a perfect every man and so likeable, even though he is kind of a shit. >> it wasn't about necessarily being the put upon guy. it's being the guy smarter. he is bugs bunny. >> this is the cleanest and nicest police car i have ever been in. nicer than my apartment. >> up until that point, hollywood movies that featured or starred a black artist, their color was always a plot point. in "coming to america," their color has nothing to do with the plot. >> it is my 21st birthday. do you think just once i might use the bathroom by myself? >> most amusing, sir. wipers. >> he is a prince in a fictional

african nation. he decides that he and his best friend are going to go to america so he can find himself a queen. if you want to find a queen, where do you go? you go to queens, new york. it has to be full of queens. >> everybody who has seen "coming to america," embraced the movie. i think it's eddie murphy at his best. >> give yourselves a round of applause. >> the one white person is played by eddie murphy. >> what about rocky? >> there they go. everybody time i start talking about boxing, a white man got to pull rocky out of their ass. >> young guy named eddie murphy. >> i hate him. the kid with the filthy mouth. he is the worst. >> he can do voices. he can do -- it speaks to the magnitude of his talent.

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even though the 1980s is often viewed as an upbeat era, it's the period when the united states came out of the doldrums of the '70s. there was a fear that that could collapse at some point. you see that playing out in this post apocalyptic sub genre of

action films. >> two days ago i saw a vehicle that would haul that tanker. you want to get out of here? you talk to me. >> george miller's movies do a trick of making dise ining dyst good. i think i would die within five minutes. >> it's the idea of this one man who regains his humanity when he loses everything. then there's the film making craft. to see the stunts play out. absolutely incredible. >> it's so in your face. it's almost like a heavied me metal rock and roll movie. >> "brazil" seemed too likely to come to pass.

it's a future where things don't work. it's a future that feels like if things don't get better, we will end up there. >> that convoy of personnel carriers is unaccounted for. i told you to deal with it. what is this mess? an empty desk is inefficient. >> visual sensibilities, so distinctive. there was an audacity to that movie. >> it arouses strong reactions from people. that's what cinema should be about. it's exciting. it makes us think. i'm happy with a film that does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. >> "blade runner" is based on a novel. the question of the novel is, what's the difference between humans and non-humans? is harrison ford human? you can fall in love with an

android? >> she's beginning to suspect, i think. >> how can it not know what it is in. >> commerce. it's commerce is our goal here. human is our motto. >> the screenplay was excellent. a rare entity because it told not only very fascinating and different stories, but it was written and described, as well. >> so you could spell smell the movie. >> i don't think there's any director who can encode content into the visual presence like ridley can. so that when you see the street markets, that tells you that in the future, technology runs cross class that, populations are tremendously mixed. there's overcrowding, poverty. he's projecting so much content into those images and you just soak it in. >> i was constantly beaten up every day. people say why is it raining? why do you want it to be night. >> i said because that's the way

i want it. >> harrison ford thought his character deckard was a human being and ridley scott was planting clues he was the representply can't with implanted memories like this you know corn that he daydreams about. >> harrison's in full denial today he's a representply can't. the whole point of leaving that you know i corn on the floor when he picks it up and he nods, that nod is ascent, this is correct. somebody knows about my most private dream which is about a you know i corn, duh. >> james cameron's "aliens" is the perfect sequel because it doesn't just repeat the first film. it takes elements of the first one, bids upon them and makes it into a different genre. >> that's inside the room. >> look.

>> you're not reading it right. >> five meters, man. four. >> what the hell? >> jim is a real innovator and real artist. i did one, he did two. he said it's hard to do 2 he said because you've shown him the alien. i'm going more military. >> you feel like james cameron doesn't get enough credit as a screen writer, as well. aliens" is the template how to write a great block buster. >> my mommy always said there were nor monsters, no real ones but there are. >> yes, there are, aren't there? >> back in those days, women weren't really permitted to be strong. socy goreny broke the mold in the aliens" movies. one of the ways cameron figured out how to left her be as tough

as she was because she was protecting newt, her adopted child. >> there's real skill to building the perfect roller coaster. aliens" is an example number one of how brilliant action cinema can be. >> get away from her, you bitch! (vo) the hamsters, run hopelessly in their cage. content on their endless quest, to nowhere. but perhaps this year, a more exhilarating endeavor awaits. defy the laws of human nature,at the summer of audi sales event. get exceptional offers now. you don't need to go anywhere dad, this is your home. the best home to be in is your own. home instead offers personalized in-home services

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that was obvious. you're on your own for the night. that's also obvious. two adults. >> fatal attraction" was like a cautionary tale that the cheating husband and the mistress turns out to be insane and a stalker who murders bunnies. and boils them as a matter of fact. >> glenn close's legacy is forever tied to this film and she's an incredible actress. >> what am i supposed to do? you won't answer my calls. you change your number. i'm not going to be ignored, dan. >> in the original script, audience sympathies were more

evenly balanced between the male character and the female character. but with each iteration, they made her such an extreme character, the original ending was that she was supposed to cut her own throat. but that did not satisfy test audiences. and so they had the good wife kill the bad single woman. >> that's hollywood. >> thank you, sir. i'm happy to be working here. >> well, you're a welcome addition and a damn pretty one too, if i might add. >> thank you sir. >> i mean that. you see some of the krones coming through here lately. pathetic, right, violet. >> 9 to 5" was a moo too movie before the movement. it was this idea of women coming together and being like yes, my life has been ruined by bigoted men trying to hold me back.

>> coffee, violet. now. >> this was when women were going into the workforce but they were still secretaries. they were still the subservient roles. they weren't the boss of the company. >> oh -- >> it's all right. i'll get it. >> what about you, dora lee? what's your fantasy for doing h him in? >> me? well i think i'd like to come riding up one day and give him a taste of his own medicine. >> had i loved dolly parton in that movie. she's like liquid gold. >> sit down. >> look, i got a gun out there in my purse. up to now, i've been forgiving and forgetting because of the way i was brought up. if you ever say another word about me or make another indecent proposal, i'm going to change you from a rooster to a hen with one shot. >> they in time realize nothing is ever going to change unless we change it. >> string him up.

>> that mail chuvist sexually inappropriate guy and they make changes to the workplace to be able to share hours and a daycare center. it was an important movie then and now. >> working girl" looks like a fairy tale of a young woman becoming the fantastically glamorous princess she had always secretly dreamed of being in her humble working class upbringing would not allow her to be. but it's got serious points to make about women in the workplace. >> dress slabbily, they notice the dress. impeckcally, they notice the woman. coco chanel. >> how do i look? >> you look terrific. you might want to rethink the jewelry. >> traditionally, it's the man that's holding you down, but in this instance, it turns out it'scy goreny we ever, that she's been stealing all of tes's ideas in order to further herself. >> well, i was laid up with

broken bones. she rifled through my desk, found my memo outlining a radio acquisition and passing it off as her idea. >> it was my idea. >> the griffith character shows once she was given the opportunity to show she was smart enough, she did. >> guess where i am. >> it's one of the greatest endings in the world. i'm here in my own office with my feet up because i made it. >> not since is the movie "network" has hollywood indicted the business of television like it does in broadcast news. the perfect modern anchor is played by oscar winner william hurt. so how is it that the star of this movie is neither the anchorman nor the network correspondent? but an actress who many of you will never have seen until now. >> okay, bobby. go back to 59459, why were you in angola. >> please, bobby. we're pushing. >> it was the first time i had

seen on screen a real female because she was flawed. and she was allowed to be human, and different and irascible. >> difficult, shrill, bossy. possibly bitch. there's a lot of words that people use that are pejorative to women that jane craig could kind of inhabit. >> what i love is holly's character just tears streaming down her face and then her controlling it like that and getting it together and going forward. >> i'm really struck by the courage that jim brooks showed in writing a character like that. >> the f-14 plane are called comcasts. >> isn't the f-14tom caught one of the most difficult machines for a pilot to master. >> to have a film about the high integrity ideals what it is to be a journalist and a woman in

that business. >> it must be nice to believe you always know better, to always think you're the smartest person in the would room. >> no, it's awful. >> the fact that that movie exists and always will is a gift. >> hi. >> want. wait, wait a minute. >> i wondered if you wouldn't mind buying me lunch. >> gregory -- stop. >> george, george, george. it's michael. okay? your favorite client. >> how are you? >> oh, no, no. >> swear to god. >> michael? >> yeah. >> oh, god, i begged you to get some therapy. >> tootsie is an updating of the guy in the dress. you're taking a believable character and putting him in a fantastic situation. and yet, the reason it works is because every single thing in that movie could really happen. we show you at the beginning, he's a great actor. he happens to be a pain in the

ass and then to prove to his agent that he can get work, he puts on the dress. >> it's almost like a play that's been performed enough so that they knew where the gems were. >> truthfully, don't you find being a woman in the '80s complicated. >> extremely. >> one of the hardest things to do in a comedy is to have a climax and have all your story threads come together in the same moment. >> i am not daughter. the daughter of dwayne and alma kimberly. no, i'm not. i'm edward, kimberly, the reckless brother of my sister anthony. >> holy. >> the climactic scene in tootsie is this incredible moment where the main story plot and then four or five different subplots all climax and turn on that one action. tootsie is what people want movies to be. and very few filmmakers invest the time and the sweat and the integrity to go all the way.

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make febreze part of your clean routine for whole home freshness. ♪la la la la la. a book that you're ready to share with the world? get published now, call for your free publisher kit today! ♪ >> flash dance was a very big deal. ♪ she's a maniac, maniac on the floor ♪ ♪ and she's dancing like she's never danced before ♪ >> she was a sexy welder who are danced at flight but didn't take her clothes off. >> what's a dancer doing working as a welder.

>> a girl's got to make a living. >> jennifer beels was amazing in that movie. she was everything. she was beautiful, she was strong and she was sexy. >> it really benefited from the beginnings of mtv because you would see videos from the songs from the flash dance sound track on mtv all the time. ♪ what a feeling >> that was the thing where the video was very much a trailer for the movie and you could tell the movie was designed really with the movie in mind. >> let's dance. ♪ >> kenny loggins, "foot loose" was a huge hit. it was all over mtv. you watch the video. are you seeing kenny log gins in that? no, lots of scenes of alienated high school kids dancing against the rules. >> i didn't see it till after i started dating kevin bacon. i renned and i was like i see why people fell in love with

him. how cute was he with those high wasted jeans and that like white tank. ♪ because i had the time of my life ♪ ♪ and i never felt like this way before. ♪ >> they knew who was buying these movies was takingers and the hick they want to do as soon as they watch the movie is buy the sound track so they can relive it. >> purple rain hit me really hard. to this day, i have yet to see a mainstream film that uses music as an emotion in such an incredible way. ♪ ♪ purple rain >> what do you care about mark for? he's a 16-year-old usher in the movie theater. have you dated older guys. you work at the best food stand in the mall and you are a close personal friend of mine.

>> there was so much reality in the script to fast times. the way that cameron wrote "fast times at ridgemont high" is that he went back to high school. >> i never graduated traditionally. so the idea was i could go back and have the senior year that i didn't have and write about what it is to be a high school student. i learned so much. the pop culture establishment, they don't know what's happening with kids right now. >> stacy, what are you waiting for? you're 15 years old. >> i did it when i was 13. it's no huge thing. it's just sex. >> these kids are having a super short adolescence. they're having sex years before you know they're having sex. and they're all working. it's fast food, it's fast adolescence. it's all disposable. and what are we doing to a generation that has to be adult at a younger and younger age? there are so many incredible people in the movie.

a lot of careers get launched. judge ryan holt to phoebe indicates and jennifer sampb lee. >> sausage. >> here it is. >> in a cast full of soon to be stars he gives the performance that everyone walks out of the theater and said my god, sean penn. >> sean penn in particular brought a lot of the vocabulary. if it's written in the script as like fiction, he turned into awesome, naturally, all the other classic words of the '80s. >> what's your job? >> what for? >> you need money. >> all i need are some tasty waves, cool buzz and i'm fine. >> about myself, i'm 19. i've been overseas and now i'm back. heard of kick boxing, sport of the future? the champions of the sport. i can see by your face no. you can relax because your daughter will be safe with me for the next seven to eight

hours. >> say anything is a romantic comedy for guys. here's a story about being an optimist and how that can be sometimes be a revolutionary act. rebellion takes many different forms and sometimes it takes the form of loving the woman that they will say you can't love. and you make your life's goal her. >> watch out for that glass. >> thanks. >> if moments make movies as they say, for "say anything" it's the moment when lloyd holds a boom box and plays peter gabriel to try and woo diane court back. >>. >> we had a hard time with the boom box. we tried it a couple different ways. he had a hard time holding it up. there was one version where the boom box is on the car playing it. not as good. we finished the last shot of the last day of "say anything." only a little light in the sky left. the light is disappearing.

the shot's moving in on cusack, and i see it. i see it through the camera. the anger, the resentment, the love, the pain, the glory, the adolescence. all of it was there in his face. ♪ i'm complete >> we got lucky. >> how's it going? >> how's what going? >> you know, things. life. what not. >> life is not what not and it's none of your business. >> the john hughes scripts jumped off the page. they were funny. i remember reading "16 candles sbpt in the back of my parents' car cracking up. >> his movies were something to look forward to because you knew you would be entertained and you knew that you would see some version of yourself or what you wanted yourself to be. >> my father will come home and see what i did. i can't hide this.

he'll come home and see what i did. he'll have to deal with me. >> he always got deep even with something like "ferris bueller's day off" he got deep into the character. matthew's character was the wise fool but alan raak was troubled by this evil father. that was really moving. >> here we are. >> i want to congratulate you for being on time. >> excuse me, sir. i think there's been a mistake. i know it's detention, but i don't think i belong in here. >> the breakfast club" is the teenage touchstone. it's a film that's about the tension of being a teenager and kind of knowing that people in other cliques don't want to be your friend till you're locked in a room together. the first 20 minutes of the breakfast club is perfect filmmaking. the way it's structured, the way the characters are introduced. it still is my favorite of the

john hughes films just because i think it's so unique and nothing like that had ever been done. >> so on monday, what happens? >> are we still friends you mean? >> for friends now that is? >> yeah. >> do you want the truth? >> yeah, i want the truth. >> i don't think so. >> the picture was saying to adults what those characters are saying is please listen to my being upset because someone doesn't like me or i can't -- i don't have any friends or whatever. looks relatively insignificance can't to you but it's really hurting me. >> it was so powerful because people were talking about shit that they never talked about. kids were not talking about dark stuff in school and with their peers. ♪ don't you forget about me >> there weren't a lot of movies that spoke to teenagers and it's just really surprising because who doesn't want to see this

incredible period of time in a person's life where they're just changing so rapidly and to see something that you relate to i think that's really why the john hughes films are still so important. >> i just remember thinking, how does this grown-up know everything about all of us? it was like he looked inside of all of us. uh-oh, looks like someone's still nervous about buying a new house. is it that obvious? yes it is. you know, maybe you'd worry less if you got geico to help with your homeowners insurance. i didn't know geico could helps with homeowners insurance. yep, they've been doing it for years. what are you doing? big steve? thanks, man.

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♪ ♪ just take those old records off the shelf ♪ >> risky business" really was everybody's intro to tom cruise. of course, it wasn't just the underwear and the dancing, but that certainly helped. >> are you ready for me ralph? >> risky business" really surprises people. they think it's a teen sex comedy because it's a guy who opens a brothel in his parties's house but it's an incredibly dark film about capitalism and selling out. >> for someone with that limited resume to walk in and actually make the complexity of the movie work, his all-american boyness with this dark side of impulses, you looked at that performance

and thought that guy's going to be a huge star. ♪ highway to the danger zone what people don't realize about "top gun" we think of it as this rah-rah action movie. but the movie that tom cruise was making is a very serious drama about a man who is wrestling with his dad's legacy who feels like he has to be phony in front of these military guys he's trying to impress. it's really a movie about masculine performance. tom cruise's decisions post top gun tell you who he is and ho wanted to be. >> you're some piece of work. >> some piece of work. >> you're also a natural character. >> i've been telling her that. i've got natural character. >> that's not what i said, kid. i saided you are a natural character. you're an incredible flake. >> paul new man and tom cruise had the old and the new. this was kind of the sequel to the hustler. paul new man's character is a hustler. he's always going to hustle. what if he takes this ewing id

under his wing anchor are upped him and then he gets hustled. >> i showed you all i got. what the hell else do you want. >> that's it. that's all. >> tom cruise is terrific. new man finally gets an oscar for it. >> tom cruise has a very specific agenda in his career. to spend the '80s working with the best directors he can find. so he's going to work with scorsese and barry levinson. >> not going back to cincinnati. you don't have to go there too pick up boxing shorts. what did i say. >> kmart. >> you hear me. i know you hear me. >> my boxer shorts. >> don't fool me for a second. >> yours are too tight. >> did you hear what i said? shut up! >> movie stars often need to prove over and over again that they can act. i think he proved to the world that he could act and then some. >> my big brother.

>> yeah. >> see some i.d. >> all right. you're under arrest. >> the 1980s introduces us to the character of john rambo, one of the iconic cinematic figures of that era. what people tend to forget is that he was introduced in a way that was much more in line with '70s film making. >> if you were the first first blood," it is a very dark movie about how we let our veterans down and about how we do not know what to do with them and we make killers and turn them loose into america. that's a pretty heavy movie. even for a sylvester stallone action film it, plays realistically. the second film threw that out the window page one. >> sir. >> do we get to win this time? >> this time it's up to you. >> there was a desire to move past the perceived failures of the late '60s and the '70s.

you can't rewrite history but at least we can go back. and we can bring back these p.o.w.s. we can send back this representative of american might. >> stallone had become so devoted to having the perfectly chiseled ultramuscled upper body. at the same time that arnold schwarzenegger who had been a body builder suddenly became an unlikely action star in the '80s, too. >> i don't know if prior to 1980 anyone would have had a firm visual image of what their favorite actor looked like with their shirt off. close your eyes and imagine jimmy stewart or montgomery clift or even john wayne without their shirt on, it's not especially central to their image as actors. >> it would be ridiculous for me to play something outside of that role and crazy for dustin to try to be commando or be terminator or rambo. it doesn't work.

the people only accept you for certain things. >> there was a lot of ideas of returning to traditional notions of masculinity after the sensitive '70s but these things go in cycles. i think by the late '80s we were ready for an action hero who was a little more sensitive. >> do you think you have a chance against us, mr. cowboy. >> yippy ki yay. >> diehard is as perfect in its own way as casablanca. it is an action movie where the action is great. as a heist movie where the heist makes sense, you have downmaclean who is not a super hero, who is a regular new york cop who is not only out of his element but he's out of his shoes. >> that's a great thing to do in an action movie is include something which everybody can sympathize with. >> i don't know what it's like to throw explosives down but i accidentally trod on glass and it hurt.

>> you watch him and you go i see myself in him. this person who is flawed but can overcome it which is i think a narrative we all have about ourselves. if push came to shove, i would show up. >> alan rickman's performance as hans group ser one of the key movie performances of the '80s because the idea that the villain could be intellectual, it wasn't a beefy villain who beat up our hero but a guy who our hero had to outthink. >> a lot of action stars think it's cool to show no fear. to me, that's not a courageous person, that's a stupid person. the courageous person has fear and goes through it anyway. >> john, what the -- >> it isn't the sides of the fireball. it's how much you care about the person running from the fireball. [radio weather report playing]

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i'm telling you, i should have come in ten years ago. i'd have been a millionaire by this time. by this time, i'd have had my own boat, my own car, my own golf course. >> one thing the '80s was about was gangster capitalism. tony montana captures that desire for respect, for money, for influence, for power.

>> oliver stone came into the '80s as a well respected and well paid screenwriter. this was a guy who had written scarface who had a very, very alpha male voice and who was making she is sweaty morally complicated films. >> do you want to play rough? okay. say hello to my little friend. >> i thought it was excessive and cartoony until i started spending a lot of time in miami. after that, i thought it was a model of restraint. >> it really was a decade that was fueled by how much money can i make and how can i display it best. >> the point is, ladies and gentlemen, that greed for lack of a better word, is good. greed is right. greed, would. >> "wall street" is a movie about more than just gordon gekko. it's about a father and a son

with different world views playing different roles in an ever-changing economy. >> he's got your prick in his back pocket but you're too blind to see it. >> no, what i see is a july lus old machinist who can't stand the fact that his son has become more successful than he has. >> what you see is a guy who has never measured a guy's success by the size of his wallet. >> that's because you never had the guts to go out in the world and stake your own claim. >> it's the connection between main street and wall street. main street is martin sheen. main street are those people who will be affected by the decisions made by wall street. >> oliver stone is a guy saying the purpose of film, the purpose of cinema is to make political commentary about our society and he made some very compelling films in the process. >> what happened today is just the beginning. we're going to lose this war.

>> come on. you really think so? us? >> we've been kicking other people's asses for so long, i figure it's time we got ours kicked. >> "platoon" had this intensity. so much of that charlie sheen character oliver stone has said was him, was his experience going into the war as a patriotic kid who wanted to do his part and really having his eyes opened to the horror. and i think it maintains that gut punch. >> i hope people go to see what the war was really like. that's the statement and once you see it, you have to think about it for yourself. think about what you think about war. think about what it really is as opposed to the fantasy comic book stuff of "top gun." >> the attitude of the '70s had been to take out some of the scorn that the american public felt for the foreign policy establishment as it had completely screwed up vietnam on the men returning home. >> i want my leg. do you understand? can't you understand that.

>> i'm saying i want to be treated like a human being! i fought for my country. i'm a vietnam veteran! >> there was an atonement for that in the '80s. there was a second wave of pictures that i think attempted to honor the service that these men had performed for their country. >> my father was a civilized man. that's a word, yeah? civilized? >> very good word. >> yeah? my father was a civilized man living in an uncivilized time. the civilized was the first to die. >> "sophie's choice" is i think the quintessential holocaust drama because it doesn't ever explicitly touch on the details of the horror. it's more about the dramatic implications of it. >> i'm going to tell you

something now. i have never told anybody. >> i never worked with anyone who was that confident who trusted her instincts so thoroughly. >> she learned polish and german just for the film and lost weight. that encompasses why mayoral is so special because she manages to get to the heart of every person she's playing. >> and the winner is marvelous meryl streep. >> you could ask meryl to do anything, she can make anything working. > someone spiked my are your rin sample container. >> who. >> how do i know who in anybody could have done it. >> can you stay? >> for a day or so. >> meryl i could see that she worked from a very deep place and what she was really focused

on was the truth of her character to the point where she had to get the language and the sound and the voice perfect. and she was adamant and she was relentless in that pursuit. >> people marry, it's not revolutionary. there's some animals that mate for life. >> geese. >> you know, you use the damn animals for your own argument. you won't let me use them for mine. >> the nominees for performance by an actress in a leading role, meryl streep in "out of africa." >> mayoral sfleep "iron lady." >> from "a cry in the dark," meryl streep. >> she ended up transcending is the job of an actor and leapt into this other realm of becoming. she wasn't playing a woman with an australian accent. she was an australian mom. >> they're talking about my baby daughter. not some object. >> most movie stars are not the greatest actors. and most great actors don't become great movie stars. but meryl streep was both.

>> what does that mean to you, movie star? >> oh, it means, you know, katharine hepburn, bette davis, gretta garbo. it doesn't mean me. this is something big. this is something bigger. [ "movin on up" by primal scream ] that is big. not as big as that. sure that's big. that's bigger. big. bigger. big. bigger. big. but that's bigger. wow, big. so much bigger.

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if you boys just turn right on around head on back that way and you let us head up there where the real fighting is. >> men dying up that road. >> >> people had no idea that there were black soldiers fighting for the union in the civil war. >> you men move on. >> stripes on a nigger. tyke teats on a bull. >> you're looking at a higher rank, corporal. you'll obey and you'll like it. >> "glory" stars matthew broderick but the movie belongs to denzel washington as a former slave who is now going to fight. he runs away because he needs shoes. they do what they have to do. they whip him. >> proceed.

>> he sits there and he takes his beating like a man. he does not scream. he does not flinch. but there's a moment when a single tear comes down his face. that's the moment when denzel wins the oscar. >> the idea of american legacy and what it really is is brought home to people when they see that. >> the '80s you had some big sweeping stunning epics that at the time were seen as the apotheosis of the movie form. these are substantial movies by great filmmakers. you have the last emperor. and you have "ragtime." and there was "gandhi" which came out in 1982. >> we must defy the british. >> a lot of people were rooting for et the extra terrestrial to win best picture that year but you know fantasy and sci-fi

don't usually win oscars. what wins oscars is epic. ♪ >> amadeus is a kind of meditation on genius. >> i know your work sell, signore. i actually composed some variations on a melody of yourselves. >> which one. >> i'm flattered. funny little tune but it yielded some good things. >> the protagonist of the movie is not mozart. it is sallairery who is actually deficient. he's not a great artist. he doesn't have great inspiration. he's jealous of mozart who does. >> shouldn't it be a bit more -- or this. this. ♪ yes. >> the most intelligent and rational individual in the movie is the jealous figure who isn't particularly talented and the least rational and mature figure

in the movie is the genius. >> when i saw "amadeus" there was humor to it, a liveliness to it, a nastiness to it. tom holtz is so fantastic in that film. >> do you have it. >> not too fast. >> do you have it. >> the '80s gives us some really remarkable filmmakers. you see talent is there immediately. these directors are going to have long careers. in some cases they're making small movies but they get their start in the '80s. >> why don't you let me tape you. >> doing what. >> talking. >> about what? >> about sex. your sexual history, sexual preferences. >> steven soderbergh's videotape is coming out hardy for one of the most prodigiously talented filmmakers ever. >> why are you doing this to yourself? >> are you going to answer me.

>> no, please, don't do that. >> why not. >> really, don't do that. >> i just want to ask you a few questions. like why do you tape women talking about sex. >> that was a great example of something that was totally brand-new and it was very, very low budget. i felt it was so special and it was a point of view we hadn't seen before. >> to deal openly with voyeurism and sexual dysfunction on screen was stunning to people and it was a trendsetter then and it's a movie that mattered a lot. >> the first film was blood simple a cross between a slasher film and a film noir. >> ought to lock the door. >> they knew that would be a great calling card. people would pay attention if they had enough scares. >> they make intensely cool and creative films. you could always kind of feel a little bit like they've adapted

a book no one's ever heard of. >> every shot has been thought of, every note of music, the dialogue and it's shocking. all the time this shocks in their movies, visceral shocks. and then moments of great humor. >> turn to the right. >> what's the matter, ed? >> left me. >> they had just finished writing "raising arizona." and asked me to read it and i thought it was like amazing. amazing. you know, so funny. >> raising arizona as far as i'm concerned is a masterpiece. the idea of taking that 100-mile-an-hour preston style dialogue and putting in the red necks in arizona. >> you busted out of jail. >> no, ma'am. we released ourselves on our own recognizance. >> we felt the institution no longer had anything to offer us. >> raising arizona was one of those films where you go i

didn't know you were allowed to do that. >> i've been taking huggies and whatever cash you got. >> you the just the fact this film is hurtling along with gan banjos and yodeling, i still don't have the courage to have a sound track with banjos and yodeling. and that was their second film. >> there's these people that come along, they have the same equipment. they have the same playing field and to take that and to make something fully aesthetically that is completely different than anything you had seen is like a big deal. that's a triumph. ♪ >> ha ha. >> comedy in the '80s my favorite nearby subject is tim burton. >> i was never scared by any horror movie ever because i always liked them too much. do you know what i mean? i mean, things that scared me

was like going to school or seeing my relatives. >> i love tim burton because he's the best thing you can be as a director. he's completely unique. you start noticing the black and white stripes on things and just the vibe and you feel like really got something here with this guy. >> we did bate beetle juice and his basic idea was the living people would be scary and the he people would be the banal. >> i was lucky to work with people that had come from comedy that were good at il proving. michael, that's the background. a whole different energy when people are there and there may be some written things but then it just goes off and i start riffing and getting into it. he was great at that the. he's like a pressure cooker. >> do you like it? >> beetle juice" is underrated. as well regarded as it is, it's still underrated because it shouldn't work. like i don't know if it's a

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what is going on here? has america gone mad for the movies? apparently some of us have. they were buying bat shirts, bat hats, bat anything. and the movie hadn't even opened. >> what's new with tim burton's movie "batman" is that a mechanical marketing machine begins to appease this movie a year in advance. >> i'm finishing a movie and seeing a poster for it out there in the street. it freaks me out. the movie is not done yet. for me, batman is the root of some of that imagery was more horror than it was comic books. so, i liked that about it. i like the kind of split personality nature, the light, the dark. for me it was definitely my

favorite of all comic book characters because of those reasons. >> visually, it's timeless. he consciously doesn't let you know where this is. it seems like the 40s and then all of a sudden there's a car from the '70s. and he's just using everything. >> we were lucky the movie was made before there was any super hero shit going on. it felt like new territory at the time. >> batman begat everything we're seeing now. the idea of a comic book becoming a movie, that's taking over the film business. >> who would have guessed a modestly budgeted film about racism set in a black neighborhood of brooklyn would be a national hit. >> your brother is on the wall. >> into the '80s there was certainly a push to have more diversity on screen. but diversity on screen doesn't

necessarily mean diversity behind the camera. and you didn't really have a lot of black filmmakers getting a chance to make films. so, you really need spike lee at this point. >> do the right thing is one of the most important films in the history of cinema certainly as it pertains to the representation of race. >> it was like a cultural hand grenade. someone set it off and you just couldn't believe the things that were being said in that film. they were all under the surface, but they just weren't said in that way. >> who's your favorite basketball player. >> magic johnson. >> who's your favorite movie star? >> eddie murphy. >> who's your favorite rock star? >> prince. >> bruce. >> prince. >> bruce. all you ever talk about this nigga this and that. >> it's such a time capsule of new york in that era.

at the same time the theme is universal. everything is interactive and it's funny. >> how about you move back to massachusetts. >> i was born in brooklyn. >> it's creative. it's cultural. it's social. >> stay black. >> it's political. and it has this edge to it. it has this provocation as part of its core. >> get his arm! get his arm! >> that's enough. gary, that's enough, man. >> towards the end of the film, mookie is presented with this choice. a young black man has been murdered. do i retaliate? do i kick off this riot? he wrestles with it for a split second. black people don't ask him if mookie did the right thing. >> hey! >> what mookie represents at the end of that movie is black rage. it was important, i think, for spike to say this is where we are.

>> not enough people credit the maturity of what he did in terms of posing a question that he then did not answer. lots of people like to make films and button it up making sure that you feel a certain way about a certain thing. and spike has always been determined to ask you a question. it forces you into confrontation with your own feelings. >> the '80s was a time when so many new filmmakers got their start. the '80s was an incubator for new voices, visionaries, ideas. >> seize the day. >> cinema to me has always been an escape from whatever my life was at the time. >> what i really love in cinema is just to go and be swept away. it's a different world. >> there's something really special about being in a movie

you can sit in the back and feel everybody enjoying it. there's something really great about that. >> hey! >> this is why we love movies. we get to see portraits of people and how they deal with whatever the struggle is to be a human being. >> snap out of it! >> the '80s was a good period for american movies. they were comedies that had to do with real life, weren't over the top, there were dramas that took on tough subjects. there were genres that hadn't been explored in that way. >> but at the same time, there's just more overload on us. the aesthetic gravitated to bigger, faster, and louder. >> it's the only medium where you can present both story and spectacle. only movies can do that. only movies can present the truth of human drama and then

transport you to a place that can't be seen in real life. >> it seems that television has become an electronic confessional. >> it is exciting stuff. >> what are we doing here? >> any tool for human expression will bring out both the best and worst in us, and television has been there. >> here's michael at the foul line. good! >> people are no longer embarrassed to admit they watch television. >> hello. >> people used to say "i was there." now they say they watch it on television. ♪