♪ ♪ ♪

♪ ♪ >> robinson apparently tired, punched fairly well and rocked jake right to his heels. >> come on, ray.

>> a director and actor finds a story at the right time in the right place. and out comes this amazing combination of cinematic virility and absolute 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 off. when he designed the movie, marty, he purposefully didn't put a clutch on the film. there's no clutch. >> hey, ray, you never went down, ray. 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. [ applause ] >> 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 was the movie that defeated "raging bull" for best

picture in 1980. this incredibly precise and very emotional study of a family in deep crisis. >> calvin, 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. >> but i really 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 willing so expose that has not been exposed before and 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 solar plexus and pulls on it. nobody uses silence like stanley kubrick. >> 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 complete. the director's whose "deer hunter" film was a great success got a free hand. his producer said he was out of control. the rule a three and a half hour bomb. >> "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 this 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 whole 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.

>> i thought that made the whole saga better instantly. ♪ "the movies" brought to you acura. wireless network claims are so confusing.

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released this week. >> george says, i have something called raiders 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 ark 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 indi 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 macnaughton? 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. >> "poltergeist" 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 tree comes in the window and grabs the kid. i made stories about kids opposite 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 sending 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. just like this! >> 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?

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one of the really great films of the '80s is "the verdict," written by david mammit.

beautifully today my master director sydney la met. 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. he was often asked tonl 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 very relevant. 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 ♪ 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. >> it's time for her shot, you understand? do something. all she has 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 rose 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 ephron 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 rob reiner. >> every scene has to be good. you work and work and work torture yourself 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, oh, 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. discover elvive protein recharge leave-in conditioner. our heat protecting formula, leaves hair 15-times stronger. ♪ in just 1 use elvive revives damaged hair. -excuse me. uh... do you mind...being a mo-tour?

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that war fair, the cost to the soul, it's part of a trilogy

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 'n' 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 all together and made it sing. >> 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 square, rob riner has a by 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. >> you keep using that word, i do not think it means that you think it means. >> "the princess bride" is a blend between romance, satire,

adventure, swash buckling, i mean, it's all mixed in and it's a very strange mixture hard to capture. >> wesley, what about the -- rouss? >> 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 comedies 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. >> there's 106 miles to chicago, 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 aykroyd, they made up these characters with the hat and 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 clean this up. >> you 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 >> "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 aykroyd. on paper it shouldn't work. but it does work because you have rick moran miss the and they're flawless. >> 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. ♪ ghostbusters >> instead of worshipping musicians, now we're worshipping these stand-up comedians and skit comedians. there is this idea in the '80s is going to be the new rock 'n' 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 comedy. he's the perfect every man and he's likeable 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. >> oha, it is my 21st birthday. do you think just perhaps i might once use the bathroom by myself? >> most amusing, sir. wipers. [ claps ]

>> 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? >> everybody who's seen coming to america embraced the money. the smooef funny as hell. i think it's eddie murphy at his best. because it feels >> 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. >> who's the star of the picture? >> 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? >> what do you know from funny, you bastard? 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. there he is. get to know geico and see how much you could save on homeowners and renters insurance.

even though the 1980s is often viewed as sort of an upbeat era, it's the period whe 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 doldrums 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 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 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 filmmaking 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 'n' roll movie. ♪ >> "brazil" is one of these futures that seem 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.

>> dammit, lorrie, 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 that 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. does she i'm quite happy to have a film that does that. 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 novel, 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 an 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 screen play was excellent, a rare entity, because it told not only a 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 markets, it tells you that in the future technology runs cross class, that populations are tremendously mixed, there's overcrowding, there's poverty. he's projecting so much content into those images and you just soak it in. >> i was constantly beaten up every day, why is it raining, why do you want it to be a night. because i said that's the way i [ bleep ] want it.

>> harrison ford thought that his character was a human being and ridley scott was planting clues in the movie that he actually was the replicant with implanted memories like this unicorn that he daydreams about. >> harrison is in full denial that he is a replicant. the whole idea of leaving that unicorn on the floor and he stops and picks it up and he nod. that nod is an assent this is correct, somebody knows about my most private dream which is about a unicorn. >> james cameron's "aliens" is the perfect sequel because it doesn't just repeat the first film. it takes elements of the first one. it builds upon them but it then makes it into a different genre. >> six. >> can't be. 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. he said, it's hard to do too, he said because you've shown him, the alien, so i'm going more military. >> you feel like james cameron doesn't get enough credit as a screen writer as well. >> my mommy always said there were no 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 was protecting

newt, her adopted child. >> there's real skill to building the perfect roller coaster. "aliens" is example number one of how brilliant action cinema can be. >> get away from her, you bitch! ♪ sport drumming starts [ referee whistle sounds ] [ cheering ] when you need the fuel to be your nephew's number one fan. holiday inn express. we're there. so you can be too.

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we were attracted to each other at the party, that was obvious. you're on your own for the night. that's also obvious. ♪ >> we're two adults. >> let's get the check. >> "fatal attraction" was like a cautionary tale, the cheating husband and the mistress turned 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. 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, 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 should see some of the crones that have been coming through here. >> "9 to 5" was a movement before the me too movement. my life has been ruined by egotistical bigoted men who were trying to hold me back. >> coffee, violet.

now! >> they were sill secretaries. they weren't the boss of the company. >> it's all right. i'll get it. >> what about you? 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. >> let's just sit down. >> look, i got a gun out there in my purse and up to now i've been forgiving and forgetting because of the way i was brought up. but i tell you one thing, if you ever say another word about me, i'm going to get that gun and change you from a rooster to a hen in one shot. >> they realize nothing is ever going to change unless we change it. >> they string him up.

>> that male chauvinist sexually inappropriate guy. it was an important movie then. it's an important movie now. >> "working girl" looks like a fairytale of a young woman becoming the glamorous princess she had always secretly dreamed of being in her humble working class upbringing. but it's got serious points to make about women in the workplace. >> dress shabbily they notice the dress. dress impeccably, 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's ideas. >> while i was laid up with broken bones, she rifled through

my desk, found my memo about trask radio ak wicquisition and passed it off as her idea. >> it was my idea! >> i made it. >> not since the movie "network" has hollywood indicted the business of television like it does in "broadcast news." the perfect anchor is played by oscar winner william hurt. how is it the star of this movie is neither the anchorman or a network correspondent but an actress that many of you will never have seen until now. >> the sound bite in the alley starts. why were you in angola? >> it was the first time i had seen a real on screen female

because she was flawed and she was allowed to be human and difficult 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 inhabit. >> what i love is polly's character, just tears streaming down her face and 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. >> they're called tom cats. >> isn't the f-14 tom cat one of the most difficult machines for a pilot to master? >> to have a film about the high integrity ideals of 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 you're the smartest

person in the room. >> no. it's awful. >> the fact that that movie exists and always will is a gift. >> wait a minute. >> i wondered if you wouldn't mind buying me lunch. >> you can't. gregory? >> george, george, george. it's michael dorsey, okay? your favorite client. >> no, no, no. >> swear to god. >> michael. god, i begged you to get some therapy. >> "tootsie" is kind of an updating of the guy in the dress. 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. then to prove to his agent that he can get work, he puts on a 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 comedy climax and have all of 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. >> the climactic scene in "tootsie" is where the 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.

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"flashdance" was a very big deal. ♪ she's a maniac, maniac ♪ and she's dancin' 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. >> generjennifer beals was amazn that movie. she was beautiful, strong and sexy. >> you would see videos from the "flashdance" sound track on tv all the time. >> that was the thing where the video was very much a trailer for the movie. you could tell that the movie was designed really with the video in mind. >> let's dance! ♪ >> kenny loggins, "footloose" was a huge hit. on tv you're seeing lots of scenes of high school kids

dancing against the rules. >> i was like i see why people fell in love with him. how cute was he with those high waisted jeans and that white tank. ♪ because i had the time of my life ♪ ♪ lord i never felt this way before ♪ >> they knew who was buying these movies was teenagers. and the thing they want to do as soon as they watch the movie is go get the sound track so they can relive it. ♪ 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. ♪ i just want to see in the purple rain ♪ >> what do you care about mark ratner for?

he's a 16-year-old usher in the movie theater. 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 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. 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. >> sean penn in particular brought a lot of the vocabulary. if it's written in the script as fiction, he turned into awesome, n gnarly, all the other classic words of the '80s. >> all i need are some tasty waves, a cool buzz and i'm fine. >> i'm 19. i've been overseas for a couple semesters. i'm back. i'm an athlete so i rarely drink. kick boxing, sport of the future? i can see by your face no.

my point is you can relax because your daughter will be safe with me for the next seven to eight hours, sir. >> "say anything" is a romantic comedy for guys. here's a story about being an optimist and how that can sometimes be a revolutionary act. rebellion takes many different forms and sometimes the rebellion takes the form of loving the woman they say you can't love. and you make your life's goal her. >> watch out for that glass. >> thanks. >> if moments make movies if they say, for "say anything" it's the moment where lloyd dobler holds the boom box to try and lure diane court back. we tried it a couple of different ways. he had a hard time holding it up. there's one version we did 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 in the camera, the anger, the love, the pain, the glory, the adolescence. all of it was there in his face. ♪ i am complete in 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 that just 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 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. he'll 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 buehler's day off." he got deep. alan rock 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 touch stone. it's a film about the tension of being a teenager and knowing that people in other cliques don't really want to be your friend until you're locked in a room together. >> the first 20 minutes of "the breakfast club" is perfect film making, the way it's structured,

the way the characters are introduced. it still is my favorite of the john hughes' films because i think it's so unique and nothing like that had ever been done. >> monday what happens? >> are we still friends, you mean? if we're friends now, that is? >> yes. >> 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 adults is, please listen to me. my being upset because someone doesn't like me or i don't have any friends or whatever looks relatively insignificant 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. it's 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. you got your homework? yeah. yeah? hey, give me a kiss. [ kisses ] announcer: what's the role of a car company? go! announcer: to take your kids to and from school? mari... yes? what are you doing? don't forget your science project. announcer: we think it can be something bigger. announcer: this summer, during our drive bigger event, announcer: volkswagen is supporting america's teachers. announcer: join us, announcer: and drive something bigger than yourself.

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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 surpris surprises people. they think it's a teen sex comedy because it literally is about a guy who opens a brothel in his house. but it is about capitalism. >> for somebody with that resume to be able to walk in and make the complexity of the movie

work, his all american boyness with his dark impulses, you look at that performance like, okay, that guy is going to be a huge star. ♪ highway to the danger zone >> what people don't realize about "top gun" is we think of it as this jingoistic movie. it's really a movie about masculine performance. tom cruise's decisions post "top gun" really tell you who he is and who he wanted to be. >> you're some piece of work. >> i'm some piece of work. >> you're also a natural character. >> i've been telling her that. i got natural character. >> that's not what i said, kid. i said you're 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." paul newman's character is a hustler. he's always going to hustle. what if he take this is young kid under his wing and then he gets hustled? >> i showed you all i got. what the hell else 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. he's going to work with them. >> cincinnati. what did i say, ray? i know you hear me. you don't fool me with this shit for a second. >> these are too tight. >> ray, did you hear what i said? shut up! >> he proved to the world that he could act and then some. >> i like having you for my big

brother. >> yeah. >> let me see some id. all right you're under arrest. >> the 1980s introduces us to the character of john rambo. what people tend to forget is he was introduced in a way that was much more in line with '70s film making. >> 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 when they come back and we make killers and turn them loose in america. that's a very heavy movie. 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. >> i must break you. >> stallone had become so devoted to having the perfectly chiselled, ultra muscled upper body at the same time that arnold schwarzenegger suddenly became an 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 john wayne without their shirt? it's not essential as actors. >> it would be crazy for dustin hoffman to try to be commancommr

conan. >> there was a lot of ideas of returning to traditional notions of masculinity after the sensitive '70s. but these things go in cycles and 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 with us, mr. cowboy? >> yippee kayay [ bleep ]. >> it is an action movie where the action is great. it is a heist movie where the heist makes sense. you have john mcclain who is not a superhero, who is a regular new york cop who's 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 everybody can sympathize with.

i don't know what it's like to throw a chair with explosives down an elevator shaft but i've walked on glass and it hurt. >> this person who is flawed but can over come it which i think is a narrative that we all have about ourselves. well, if push came to shove, i would show up. >> alex rickman's idea that the villain could be interallectual >> 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 is the one that has fear and goes through it anyway. it isn't the size of the fire ball. it's how much you care about the

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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 screen writer. this is a guy who had written "scarface." >> 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 fuelled 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 works. >> "wall street" is a maw vovie

about more than just gordon gekko. it's about a father and son with different rules playing different roles in an changing economy. >> he's got you in his back pocket but you're too blind to see it. >> what i see is a jealous old machinist who can't stand the fact the that his son has become more successful than he is. >> what you see is man who never measured success by the size of his wallet! >> it's the connection between main street and wall street. main street is martin sheen. main stre >> 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 so much intensity. so much of that charlie sheen character 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 war. >> i hope people go to see what the war was really like. that's the statement. 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 the american people felt for the foreign policy establishment as it completely

screwed up vietnam on the men returning home. >> i want my leg, you understand? can't you understand that? all i'm saying is i want to be treated like a human being. i fought for my country. i am 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 these men had performed for their country. >> my father was a civilized n man. that's a word, yeah? civilized. >> very good word. >> yeah? my father was a civilized man living in an uncivilized time. the civilized, they 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. she lost weight. that encompasses why meryl is so special, because she manages to get to the heart of every single person she's playing. >> and the winner is marvelous meryl streep. [ applause ] >> you can ask meryl to do anything. she can make anything work. >> some spiked my urine sample container. >> who? >> how do i know? anybody could have done it. >> can you stay? >> for a day or so.

>> meryl, i could see 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 marrmarry. it's not revolutionary. there are some animals that mate for life. >> geese. >> the nominee for an actress in a leading role, meryl street in "out of africa." >> from "a cry in the dark" to meryl street. >> she ended up transcending the job of an actor. she leapt into this other realm of becoming. she was as australia mom. >> we'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 is both. >> what does that mean, to be a movie star? >> oh, it means, you know, katharine hepburn, betty davis, greta garbo. doesn't mean me. have a discount with another wireless carrier? t-mobile will match it. need a few more reasons to switch? 1. do you like netflix? sure you do. that's why it's on us.

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♪ just turn right around and head on back down that way and you let us head on up there where the real fighting is. >> there are men fighting 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 [ bleep ]. >> 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.

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. >> in the '80s you had some big sweeping stunning epics that at the time were seen as the apo apotheosis of the movie form. these are substantial movies by great filmmakers. you have "the last emperor" and you have ragtime."

>> ga >> 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 well. do you know i composed some variations on a melody of yours >> the protagonist of the movie is not mozart. he's not a great artist. he doesn't have great inspiration. he's jealous of mozart, who does. >> should it be a bit more, or this, or this? yes. ♪ >> the most intelligent and rationale 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. >> there was humor to it. there was a liveliness to it. there was a nastiness to it. he's so fantastic in that film. >> one thing the '80s does for us is it gives us some really remarkable filmmakers. you see talent is there immediately. these directors are going to go on 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 cosoderberg is one of the most talented filmmakers

ever. >> why are you doing this to yourself? >> are you going to answer me? >> no, please, don't do that. >> why not? . i skus want i just want to ask you a few questions. >> that was a great example of something that was totally brand new. it was very, very low budget. i just felt it was so special. it was a point of view that we just hadn't seen before. >> to deal openly with voyeurism and sexual dysfunction on screen was stunning to people and it was a trend setter then and it's a movie that mattered a lot. ♪ >> joel and ethan's first film was "blood simple." it was kind of a cross between a slasher film and film noir. they knew people would pay attention if they had enough scares. >> they make intensely cool and

creative films. it always kind of feels a little bit like they've adapted a book that no one's ever heard of. >> every shot has been thought about, every note of music, the dialogue and it's shocking. all the time there's shocks in their movies. visceral shocks. and then moments of great humor. >> turn to the right. >> what's the matter, ed? >> my fiance left me. >> they had just finished writing "raising arizona" so they asked me to read it. i thought it was amazing, so funny. >> "raising arizona" is a masterpiece. the idea of taking that 100 miles an hour dialogue and putting it in the mouths of like red necks in arizona -- >> you busted out of jail. >> no ma'am. we were released on our own

recognizance. >> we felt the institution no longer had anything to offer us. >> it was one of those films where you go, i didn't even know you were allowed to do that. just the fact that this film is hurtling along with sban yodelling. i still don't have the courage to have a sound track with banjos and yodelling. >> to take that and make something fully aesthetically completely different than anything you had seen is like a big deal. that's a triumph. ♪ >> 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, the things that scared me was like going to school or seeing my relatives. >> i love tim burton because he is 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. >> we did "beetle juice" and his basic idea was that the living people would be scary and the dead people could be kind of banal. >> i was lucky early in my career to work with people that had come from comedy that were good at improving. there's a whole different energy when people are there. there may be some written things but then it just goes off and you start riffing and getting into it. he was great at that. he's like a pressure cooker. >> you like it? >> beetlejuice is really underrated. as well regarded as it is, it's

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what is going on here? has america gone mad for the movies? apparently some of us hood. they were buying bat shirts, bat hats, bat anything, and the movie hasn't hoped. >> a amongstal marketing machine gets to tease this movie in advance. >> i'm seeing a poster for it on the street. the movie's not done yet. >> for me, batman was more horror than comic books. i liked the split personality facher. it was my favorite of those characters bauds of those

regions. >> visually, it's timeless. he consciously doesn't let you know where it the. it seems like the '40s. he's using pefrg. it felt like territory at the time. >> batman begat the idea of a comicbook taking care of the film. that's the big movie musters. who would have guessed a mogdly film of racism in brooklyn would be a demanded hero. >> there was a push to have diversity on-screen. but diversity on-screen was not behind the camera.

you really need spike lee at that point. "do the right thing" is one of the most important films in history of citizen, personally. >> it was like a hand grenade. someone said it split off. you wouldn't believe what was under the surface. >> who is your favorite basketball player. >> magic johnson. >> who is your favorite movie? >> eddie murphy. >> prince. >> bruce. >> all you talk is people this and that. you're afraid of fig time universal.

everyone is matches and massachusetts. >> it's cry yat yif, it's political and it has an edge to it. it has provocation as one of its core. >> a young black man has been murdered. do i retaliate it? and spike, when he talks about it, they don't say, did mookie black in the right show. >> what mookie represents is spike rage. this is where we are.

>> not enough people did not question his question that he didn't make the answer. spike has always been determined to ask yu a force frontation. the '80s was a time for new voices, new ideas. >> seize the day. >> min ma, to me, has been an escape from my life was at the time. >> i love to be go and be swept away. >> there is something special about being in a movie. you can go in and enjoy it.

this is great. >> this is why we don't deal with human. >> snap out of it. there were comedies that had to do with real life. won't over the top. they were dramas that took on quick subjects. they were jeans that hadn't been rewarded that time. there's more overload on us. the esthetic gravitated to figger, louder, and faster. >> eat's the sorry when you can explore spectacle and vor ra.

don't touch that dial. it's a time of enormous turmoil.