news-oriented programs, magazine, information, talk shows on the networks have been surprisingly, at least to me, surprisingly good. ♪ ♪ ♪

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

story at the right time in the right place. and out comes this amazing combination of cinematic verility and absolutely 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 great slow motion, all of the black and white gore, the violence of the flush bulbs going on. when he designed the movie, marty, he purposefully didn't put a clutch on the film. there's no clutch. >> you' . >> you never got me down, ray. >> 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 really at war with himself. >> come on. harder. harder. >> i didn't really understand boxing, but the character was

interesting. he was just so contraire, as they say. he was just so difficult. >> what are you trying to prove? what does it prove? >> bob de niro, he is not afraid of the negative characters, he's not afraid to go to, as i say, those places. >> i was down to 152. in my prime. and then i went up to 212. so i gained 60 pounds. that's not easy, though. the first 15 pounds is 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 filmmaking rules. and then you had ordinary people which is the most 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. >> dad, 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, kell vin, please. >> not until i get a picture of the two of you. hang on a second. >> give her the god damn camera. >> "ordinary people" 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 said, look, i could see you playing this. she was drawn to it. and that really hit me because that told me that there is some part of herself that she was will to expose that had not been exposed before. that she wanted that chance. and so she was given that chance. and she did a great job. >> kelvin? >> in that moment where mary tyler moore comes downstairs and she asks her husband what's

wrong. >> i don't know if i love you anymore. >> she goes upstairs and she's just -- 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 that she can't articulate. she's so taken aback, she can't adjust, she can't take it in. that's what that moment was about. >> then you look at some of these films of the 1980s like "ordinary people" and like "blue velvet," 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 and the idea was that after all sorts of traumas, particularly watergate and vietnam, we healed, but 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 were opening a movie on the same day, which movie would you see first? and for me it would be stanley cooper because you're going to see something you never saw before, and he did that in, think about it, every genre. he's going to make a horror movie, it's going to be the horror movie done in a way that you would not expect. >> to me "the shining" isn't about horror, it's about dread. from the very first frame, something grabs your solarplexus and grabs on it. >> he creates a pacing where it overtakes the way you're

breathing and you're existing and you're in there. in all films, he controls you. >> steady cam work in "the shining" broke new ground. the steady cam gave stanley a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind that tricycle. you don't have to see his face, you're behind it. which leads to one of the scariest shots in the movie. >> hello, danny. >> hello, danny. come and play with us. fantastic. >> was betting $40 million on its new movie "heaven's gate," but after two years of preparation and eight months of production, the motion picture has been yanked from american theaters after only one day.

>> "heaven's gate" took almost a year to create. the director's whose "deer hunter" film was a great success got a free hand. his producer said he was out of control. >> "heaven's gate" is a stake through the heart in hollywood. it's the cautionary tale that's all about to say, no, no, the studio's going to step in here and theis is not going to be another "heaven's gate" and that's how you get the movies of the 1980s. ♪ >> you knew where you were when you first saw "the empire strikes back." because it was the "star wars" movie that took the thing to a whole another level -- "star wars" was huge but "empire strikes back" was phenomenal. these established characters, you saw them intermix in a way you hadn't in the previous film. where there is this budding romance going on between han solo and princess leia.

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

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hey, don't do that. ♪ what is that? uh mine, why? it's just that it's... lavender. yes it is, it's for men 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 lucas and steven spielberg. they're friends as well so it was inevitable those two would join talents and they now have in an adventure film to be released this week. >> george says, i have something called readiers of the lost arc.

it's just an idea i have for a movie. he told me this idea about this sort of marauding archeologist adventurer with the hat and the whip and i committed to the movie based on one line george told me. larry, george and i sat around for three days and basically made up the story from beginning to end. >> there's a line in "raiders" that means a lot to me. in the beginning of an action sequence, they've lost control of the arc of the covenant and indy says, no, i'm going to get it back. and his friend says, 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 just make it up as we go. indiana jones is very good at that. >> we came up with an idea, like a truck chase. and then we figured, well, how do we get the truck chase in the movie? so we had these big kind of subjects, and then we kind of reverse engineered in order for

it to earn its place in the story. >> spielberg is a master of staging. even when they're moving very fast and cutting very 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. so the audience is aware that not only is india maybe going to get beaten to death by this enormous nazi, but also, 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, "et." i was there at 12:00 noon today and there were literally thousands of people in the street waiting to get in. >> the wait is hours long and

chicago, days long in los angeles. >> "et" has become the movie industry's biggest money maker ever. >> i had this story i was going to write about how the divorce between my mom and dad affected me and my three sisters, and so i combined that with one about an alien who himself is divorced from his own species and is lost 3 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, henry thomas, drew barrymore, robert mcnaughton? that's the secret sauce to that movie. >> i just want to say good-bye. >> all the kids had fallen in love with et, and i like to think that et had fallen in love with all of them. and that good-bye scene was genuine. those tears were real. >> be good. >> yes. >> steven spielberg movies, they're big blockbusters, but they are personal stories. they are small stories told

against a giant canvas. >> they're here. >> in the 1980s, i really felt that i was speaking to myself. loving escapism. >> poelt geist was about all the things that scared me. i had a tree out my window as a kid. it used to scare the hell out of me. so what happens in "poltergeist? the" the tree comes in the window and grabs the kid. one final adventure, "the goonies" going on an adventure to save their parents' homes, gremlins tearing up the town. just loving stories that were bizarre. >> everybody has dreams or thoughts, fantasies of going back in time somewhere. and he put it together for the modern age. >> you're telling me that you built a time machine out of a

delorean? >> the way i see it, if you're going to build a time machine into a car, why not do it with some style? >> it's a mystery it was as big a hit as it was when it came out, but the bigger mystery is that it endured for decades. >> saturday night we're senting you back to the future. >> a simple idea which is what would it be like to see your parents when they were younger is something that is obviously multigenerational. >> jeez, you smoke, too? >> you're beginning to sound just like my mother. >> the only thing that was weird about the story, it's a boy going back in time and meeting his mother and she falls in love with the son she hasn't yet had. that was pretty kinky for me. >> that's a big bruise you have there. >> but they pulled it off. >> i was exhausted at the end of

"back to the future" and then he makes "who framed roger rabbit." it's like he took "back to the future" and tripled it. >> you're under arrest. >> there's a scene where donald duck and daffy duck are having a piano duel. at the same time penguins are serving drinks. and if you look at the making of that individual scene, it's utter, complete, total chaos. there's real actors pretending to be drinking. there's trays moving around on these iron rods. >> that was a hard movie. that's a sort of ignorance is bliss category that movie should fall into because that's a movie no sane person would ever attempt to make. >> i love playing villains. i was a kid when the first walt disney films came out. there are dark moments in each of those that scare the hell out of me, so it's payback. >> remember me, eddie? when i killed your brother, i talked.

>> i got some moments in there that will be in their worst nightmares for the rest of their lives. >> the trick to making that blend of live action animation is that the live action actor has to believe it. bob always believed that the rabbit was there. it really is an amazing performance. i mean, 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 effects. "who framed roger rabbit" is the most complicated movie ever made. >> don't tell me you lost your sense of humor already. >> does this answer your question? ♪ dad, we need to talk about something important.

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one of the really great films of the '80s is "the verdict," written by david mammit. beautiful told. paul newman plays a kind of washed up lawyer who was an alcoholic kind of ambulance chaser. what makes it uniquely lamet is

that even when it's movie stars, big movie stars, he manages to bring them down in the case of "the verdict" to the boston streets. you can see the stars in the movie but they have not turned the movie into something glamorous, but the opposite, have entered the drudge and reality of the world lamet's painting. >> i never should have taken it. there's no way i could win. >> newman did what he was asked to do. be the leading man and be charming and witty and funny. when he does "the verdict," it makes you cry. here newman shows you what he's really made of as an actor. >> i think you guys are making a big mistake. i think you ought to reconsider. i think you ought to get the principals back together again. >> when you see the scene to call the insurance company to rekindle the deal that he turned down. >> okay. no, i understand. >> it's really one of the greatest pieces of acting i've ever seen in my lifetime, that

phone call. no cuts. lamet just goes, okay, here we go. >> so how's your life? >> oh, great. how's yours? >> not so great. >> oh, we're telling truth. >> "the big chill," it's about these kids who were in college together in the late '60s and are now no longer anti-establishment but actually are part of the establishment and trying to reconcile that history with their present. >> movies aren't being made for adults. that's all "the big chill" is, really, it's an adult film, and it tries to be as complex as life is. >> i had wanted to make a movie about something i was observing among my friends. this imagined power we came out of college thinking we had was nonexistent. ♪ ♪ i know you wanna leave me but i refuse to let you go ♪ >> i remember when it first came out i thought, well, this will be for this generation, the children of the '60s, this will

be rerelevant. then i'd meet kids in high school ten years after the movie came out and they said, i love that movie. it's about friendship. it's also about growing up. there is something in its essence that is timeless and universal. >> i'm marrying him tomorrow. i thank god for him getting me out of there. i think if this is your attitude you shouldn't bother showing up at my wedding. >> that's right. i think you're right. the hypocrisy was bothering me, too. >> "terms of endearment" based on a book adapted and directed by james l. brooks, it made you cry, it made you laugh. it was the stuff of life. >> just a minute. >> shirley mclean plays aurora. gets involved with an astronaut played by jack nicholson ♪ fly me to the moon, baby >> they just had this incredible

comic chemistry. the romantic scenes between them are hilarious. >> it's not my fault, but i'm sorry. >> if you wanted to get me on my back, you just had to ask. >> "terms of endearment" may be the first dramedy, it's a word we hear all the time. a movie that is tragic and funny simultaneously. >> all she had to do was hold on to 10:00 and it's past 10:00. your daughter's in pain. give her the shot. do you understand? >> if you're going to behave -- >> give my daughter the shot! thank you very much. >> james brooks was able to take humor, tragedy, the best writing delivered beautifully 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. >> oh, well, that was a lifetime ago. people change. >> well, i hope you've changed. >> i hope you have, too. >> i hope so for your shake because you're personality left something to be desired, namely a personality. >> you look at woody's career in the '80s, which theoretically should have been past his prime because how can you go on after "manhattan," wait a minute, there is also "broadway danny rose," there is "purple row of cairo." >> by the time you get to "crimes and misdemeanors," it's an ensemble piece, it's got some humor in it and it's got some satire in it, but he's not trying to get a laugh every second. >> it's a wonderful moral conundrum from a very original standpoint. i think that's why it stood up. >> you told me over and over again you'd leave merriam. we made plans. >> we didn't. >> i gave up things for you, business opportunities. >> oh, dreams.

>> "crimes and misdemeanors" is two parallel stories, one of which is a very traditional woody allen and mia farrow relationship joke fest, and the other one which is a serious examination of literal life and death themes. >> a guy is having an affair, and she's threatening to tell his wife and threatening to disrupt his world. so he has a hit-man kill her. >> he realized, i had a woman killed and i thought i was going to go to hell and nothing happened. with woody, he's constantly getting, you know, shit on by life and he's just doing the right thing. >> you look very 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 and says, oh, i want to write a movie about that.

>> i'm talking about reality. i mean, if you want a happy ending, you should go see a hollywood movie. >> you realize, of course, that we can never be friends. >> why not? >> what i'm saying is -- and this is not a come on in any way, shape or form, is that men and women can't be friends because the sex part always gets in the way. >> nora efron wrote "when harry met sally" and got a lot of help from reiner writing the neurotic main character and that's because he was based on reiner. >> every scene has to be good. you work and work and work rewriting the script. >> i know nora, and i pitched this idea about the dance that people go through to get together after they've both gotten out of long-term relationships and they become friends, and does sex come into the picture? and if it does, does it ruin the friendship? she said, well, that would be something i'd be interested in. >> he rips off my clothes.

>> then what happens? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you've been having since you were 12, exactly the same? >> well, sometimes i vary it a little. >> which part? >> what i'm wearing. >> a good romantic comedy is, listen, you know they're going to be together, so how do you get them there and what's the roadblocks? it's all about the story and it's all about the people. do you care about them? do you want them to be together? are you seeing what they're not seeing? >> it's just that all men are sure it never happened to them and most women at one time or another have done it, so you do the math. >> you don't think i can tell the difference? >> no. >> get out of here. >> in the deli scene, when we first did it, meg rightfully was a little nervous about it. you got crew members. you got extras. people standing around. >> ooh. >> are you okay? >> oh. >> rob says, meg, here's what i want. he proceeds to have an orgasm

that mighty joe young would be jealous of. >> yes, yes, go, god. i'm pounding the table. >> yes! yes! yes! >> and i realize because my mother is sitting there, i'm having an orgasm in front of my mother. >> i'll have what she's having. ♪ get it! get that butterfly! you know those butterflies aren't actually in the room? hey, that baker lady's on tv again. she's not a baker. she wears that apron to sell insurance.

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it's part of a trilogy, really, a musical trilogy that i'm doing in d minor, which i always find is really the saddest of all keys, really. i don't know why, but it makes people weep instantly. ♪ >> what do you call this? >> this piece is called "lick my love pump." >> the idea was we were going to do a mock documentary. we were going to make a satire of a rock and roll band on tour. we basically had the tour outline, but essentially it was a very, you know, thin thumbnail sketch of what was going to happen. the whole movie is improvised. >> do the dead bird. get the dwarf cannoli, the little ones. >> i did the bird. >> don't talk back. >> mime is money. come on. move it. >> you had all these brilliant performances by all of them and then rob put it together and made it sync. >> people didn't know what we

were doing. they cut it was a real documentary. when we first previewed it, they said why would you make a movie about a band that nobody ever heard of and one that's so bad? ♪ working on a sex farm ♪ plowing through your field >> let's say you look at a prospective movie and it's a squat, rob reiner has a way of turning it sideways, looking at it differently and finding a way to enjoy it in a completely nonconventional 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, squash buckling, i mean, it's all mixed in and it's a very strange mixture hard to capture. >> wesley, what about the -- >> rodents of unusual size. i don't think they exist. >> you have to walk a balance, you know?

it's a fine line between stupid and clever. >> beat it or i'll call the brute squad. >> i'm on the brute squad. >> you are the brute squad. >> rob is a phenomenal director. his first movies one after another, beauties, and took risks in different genres. to be in three of them, i'm really blessed. >> one half of the '80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular, whether that be "airplane" or "the naked gun." you had ensemble academies like "police academy," imports like "crocodile dundee," which was an amazing hit and "three men and a baby" the other is the rise of influence of "saturday night live" on film. >> we got a full tank of gas. half a pack of cigarettes. it's dark and we're wearing sunglasses. >> hit it. >> john belushi and dan ask ride, they made up these characters with dark glasses. they did "the blues brothers" on

"saturday night live" and got a huge response so we got to make the movie. >> "saturday night live" is such a specific place. people started realizing, like, oh, this is where you're going to get your quality comedy so then you wanted to start seeing those people in movies. >> i tell you what, i'm going to clone this up. >> you go, go ahead and clean up a little bit. looks fine to me. thanks for the dope. >> comedy is such 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. ♪ if there's something strange in the neighborhood ♪ ♪ who you gonna call? ♪ >> "ghostbusters" is a rare film because it combined sci-fi, action and comedy. >> well, there's something you don't see every day. >> "ghostbusters" was written by dan akroid.

on paper it shouldn't work. >> we've been going about this all wrong. he's okay. he's a sailor. he's in new york. we get this guy laid, we won't have any trouble. >> bill's always 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. ♪ ghost busters >> instead of worshipping musicians, now we're worshipping these stand-up comedians and skit comedians. there is this idea in the '80s that comedy is going to be the new rock and roll. >> all right. listen up, i don't like white people, i hate red necks, you people are red necks. that means i'm enjoying this shit. >> you got to remember when eddie murphy starts with "48 hours," he's 20 years old. then he does "trading places." then he does the blockbuster,

"beverly hills cop." >> eddie murphy in the '80s was pure comedy. he's the everyday man and he's likely even though he's kind of a shit. >> it's about being the guy smartest in the room. he's bugs bunny. >> you know, this is the cleanest and nicest police car i've ever been in in my life. this thing's 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 perhaps i might once use the bathroom by myself? >> most amusing, sir. wipers. >> he is a prince in a fictional african nation and he decides he and his best friend played by arsenio hall are going to

america so he can find himself a queen. if you want a queen, where do you go? you go to queens, new york. it's got to be full of queens, right? >> the movie is funny as hel 11:00. i think it's eddie murphy at his best. >> everyone is so lovely. >> the one white person is actually played by eddie murphy. >> what about rocky marciano. >> oh, there they go. there they go. every time i start talking about boxing, a white man got to pull rocky marciano out their ass. >> this young guy named eddie murphy, i think. >> oh, christ, i hate him. the kid with the filthy mouth? >> yeah, he's the one. >> oh, he's the worst. >> he can do these voices. he can do the physicalization. it speaks to the magnitude of his talent. is that not acting? is that not comic acting at the highest level? >> this is something big. this is something bigger.

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. even though the 1980s is often viewed as sort of an upbeat era, it's the period when the united states came out of the duoldrums of the '70s. there was that underlying fear that could collapse at some point. you saw that play out in this post-apocalyptic subgenre of 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 an amazing trick of making dystopia look beautiful in a terrifying way.

you know, you watch "the road warrior" and thinking, like, i'd love to go there. i think i would die within five minutes. >> it's the idea of this one man who regains his humanity when he loses everything. but then there's the film making craft. to see those stunts just play out in long shots, just absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock and roll movie. ♪ >> it's one of these futures that seems all too likely to come to past. it's a future where things don't work. where the bureaucracy is ossified. it's a future that feels like if things don't get better, we're going to end up there. >> the personnel carries is still unaccounted for. i told you to deal with it. what the hell is this mess? an empty desk is an efficient

desk. >> terry gilliam's visibility sensibility is so distinctive, there was an audacity to that movie you rarely see. >> it arouses a strong reaction from people. i think that's what cinema should be about. it's exciting. it's stimulating. it makes us thing. i'm quite happy to have a film that does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. ♪ >> "blade runner" is based on phillip cade dix in and of itself, and the essential question of the in and of itself is, what's the difference between humans and nonhumans? is harrison ford a human? can you fall in love with android. >> she doesn't know. >> she's beginning to suspect, i think. >> suspect? how can it not know what it is? >> commerce is our goal here at tyrell. more human than human is our motto. >> the screenplay was excellent. a rare entity because it told not only very fascinating and

different story, but it was written and described as well. so you could smell the movie. >> i don't think there's any director who can encode content into the visual presence like he can. so that when you see the street so that when you see the street markets, that tells you that in the future, technology runs cross class that, populations are tremendously mixed. populations are overmixed. 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 [ bleep ] want t. >> harrison ford thought his character deckard was a human being and ridley scott was planting clues he was the replicant with implanted memories like this unicorn that he daydreams about. >> harrison's in full denial

today that he's a rep li cant. >> the whole point of leaving that unicorn 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 unicorn, 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, builds 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 two, he

said, because you've shown them the alien so i'm going more military. >> you feel like james cameron doesn't get enough credit as a screenwriter, as well. "aliens" is the template how to write a great blockbuster. >> 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. so sigourney real broke the mold in the "aliens" movies, and one of the ways the camera figured out how to let her be as protective 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!

♪ we're the slowskys.

we like drip coffee, layovers-

-and waiting on hold. what we don't like is relying on fancy technology for help. snail mail! we were invited to a y2k party... uh, didn't that happen, like, 20 years ago? oh, look, karolyn, we've got a mathematician on our hands! check it out! now you can schedule a callback or reschedule an appointment, even on nights and weekends. today's xfinity service. simple. easy. awesome. i'd rather not. . >> we were attracted to each other at the party.

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 crones coming through here lately. pathetic, right, violet. >> 9 to 5" was a me 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 him in? >> me? well, i think i'd like to come riding up one day and give him a taste of his own medicine. >> i loved their female camaraderie, and i loved dolly parton in that movie. she's like liquid gold. y. >> let's just 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 get that many gun of mine, and 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. >> they string him up, that male chauvinist, sexiamly 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 and 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 shabbily, they notice the dress. dress impeckically, 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's sigourney weaver, that she's been stealing all of tess' ideas in order to further herself. >> while i was laid up with broken bones, she rifled through my desk, found my memo outlining a traffic radio acquisition, and has been passing it off as her

idea. >> it was my idea. >> the melanie 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" hollywood indicted the which is 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 1994, '95, 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-14s are one of the most difficult planes called tom cats. >> isn't the f-14 called 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 always believe you know better, to always think that you're the smartest person in the room. >> no, it's awful.

>> the fact that that movie exists and always will is a gift. >> hi. >> wait, wait, wait, wait a minute. >> i wondered if you wouldn't mind buying me lunch. >> gregory -- stop. >> george, george, george. it's michael, dorsey, 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 kind of 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 at the same moment. >> i am not emily kimberly, the daughter of duane and alma kimberly. no, i'm not. i'm edward kimberly, the reckless brother of my sister anthony. >> holy. >> the climactic scene in "tootsie" is this incredible moment where the main story plot and then four or five different subplots all climax and turn on that one action. "tootsie" is what people want movies to be. and very few filmmakers invest the time and the sweat and the integrity to go all the way. which "tootsie" does. >> that is one nutty hospital. ♪

the '90s brought us a new look at several stories. >> denzel washington, i think it's his best performance. ♪ >> "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 danced at night 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 beals 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" soundtrack 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 can tell the movie was really designed with the video in mind. >> let's dance! ♪ >> kenny loggins, "foot loose" that wag was a huge hit. it was all over mtv. you watch the video. are you seeing kenny loggins in

that? no. you're seeing 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 went 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 teenagers and the things they want to do as soon as they watch the movie is buy the soundtrack so they can relive it. ♪ purple rain, purple rain >> "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

>> stays, what do you care about margareton for? he's a 16-year-old rusher in the movie theater. you have 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 reinhold to phoebe cates and jennifer jason leigh. >> 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 says oh, 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, gnarly and all the other classic words of the '80s. >> what's your job, spicoli? >> 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? benny the jet, 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 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 rebellion takes the form of loving the woman that they 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. ♪ all my instincts, they return ♪ >> 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." there's 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 ♪ your eyes >> 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" in the back of my parents' car just stretched out on the seat cracking up. >> his movies were always something to really look forward to because you knew that 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 dayoff,," you know, he got deep into the character. matthew's character was the wise fool but alan ruck 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 to those adults is please listen to my being upset because someone doesn't like me or i can't, i don't have any friend 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. ♪ that is big. not as big as that. big. bigger. big. bigger. this is big. and that's bigger.

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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 parent'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 jingoistic 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's got to be phony in front of all these military people he has 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 said you are a natural character. you're an incredible flake. >> paul newman and tom cruise

had the old and the new. this was kind of the sequel to "the hustler." >> legendary action here. paul newman'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. i showed you my ass in here. what the hell else do you want? that's it. that's all. >> tom cruise is terrific. newman 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 to cincinnati to pick up boxer shorts. what did i say? >> kmart. >> you hear me. i know you hear me. >> my boxer shorts. >> you don't fool me with this shit 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 that he can act and then some. 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 filmmaking. >> if you look at 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-maker 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, of course, 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. if you 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 hoffman to try to be commando or to be conan or the terminator or to be rambo. it doesn't work, you know. so the people only accept it 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. it is a heist movie where the heist makes sense. you have john maclean who is not a superhero, 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 gruber is 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. >> oh, john, what the [ bleep ] did you do?

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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 these 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. sgreed works. >> "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 using you, kid. 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 man'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? what i'm saying is 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 meryl is so special because she manages to get to the heart of every person she's playing. >> and the winner is the marvelous meryl streep. >> you could ask meryl to do anything. she can make anything working. > someone spiked my urine sample container. >> who? >> how do i know who if 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." >> meryl streep in "iron lady." >> from "a cry in the dark," meryl streep. >> she ended up transcending 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. >> you'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. ♪ ♪ discover new san pellegrino essenza.

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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. like tits 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 really 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 half 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 extraterrestrial"

to win best picture that year, but, you know, fantasy and sci-fi doesn't usually win oscars. what wins oscars is epic. ♪ >> "amadeus" is a kind of meditation on genius. >> i know your work well, signore. do you know why? i actually composed some variations on a melody of yours. >> which one? >> well, i'm flattered. >> funny little tune, but it yielded some good things. >> the protagonist of the movie is not mozart. it is salieri 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? >> one thing the 1980s does is it gives us some really remarkable film-makers. 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 "sex, lies and videotape" is a coming out party 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? 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. >> that boy out 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.

it always kind of feels 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 these shocks in their movies, visceral shocks and then moments of great humor. >> turn to the right. ♪ >> what's the matter, ed? >> my finance 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 it like in the mouths of red next in arizona. >> you busted out of jail. >> no, ma'am. we released ourselves on our own recognizance. >> what he's trying to say is 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 soundtrack 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 niche 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 "beetlejuice" and his basic idea was the living people would be scary and the dead people would be kind of the banal. >> i was lucky to work with people that had come from comedy that were gooded a improving. 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. he's like a pressure cooker. >> do you like it? >> the "beetlejuice" is really underrated. as well regarded as it is, it's still underrated because it shouldn't work.

like i don't know if it's a horror movie set in a comedy or a comedy that's a horror movie. i can't figure out the algorithm behind it. but it works. ♪ . the movies brought to you by acura. precision crafted performance. what is that? uh mine, why? it's just that it's... lavender. yes it is, it's for men

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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 tease this movie a year in advance. >> i'm finishing a movie and seeing a poster for it out there in the street. it kind of freaks me out. it's like, the movie's 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 superhero shit going on. it kind of 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. >> mookie! >> what? >> come here. you're brother's up 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 do need spike lee at that point. >> don't start no shit, all right? >> 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 is nigga

this and nigga 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! >> gary, 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 basically kick off this riot? he wrestles with it for a split second. spike talks about it and says black people don't ask him if mookie did the right thing. >> 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, new visionaries, new 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.

be careful. that's president trump's warning to iran after the country announced it's boosting its uranium enrichment. s conservatives regain power in greece as voters elect a new prime minister in a snap election. plus -- there it is. time usa win the 2019 women's world cup but they're city fighting another battle for equal pay. hello and welcome to our viewers joining us from around the world. i'm paula newton. this is "cnn newsroom."