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{ gunshots } >> as far back as i can remember, i always wanted to be a gangster. >> "good fellas" is like fasten your seat belts, i'm going to kick the shit out of you for 2 1/2 hours and you're going to love it. >> there have been so many gangster movies, so many mob movies. is it really possible that in 1990 martin will be able to make a gangster movie that hasn't already been said so many times and you watch the movie and you're, like, yeah. >> what are you doing? you're leaving your car? >> we try to capture the exuberance of that work. it's dangerous and threatening. but they're having a wonderful time. >> it was the nuts and bolts of the mob. it was the mob as a job.

>> what are you doing? >> what? >> what do you do? >> i'm in construction. >> and the balance of these two families, your mob family and your real family, and the way the two start to bleed into each other. >> you were right. you were right. >> "good fellas" was based on a book called "wise guy" and i read it and said what if i play this guy jimmy the gent? >> what did i tell you? what did i tell you? you don't buy anything. you hear me? don't buy anything. >> it's a true story and it is the nature of that lifestyle. >> just a little taste. >> you had to be clever enough, let alone have the audacity, the discretion, but also not being afraid of the violence. >> i don't believe what i just heard. >> this is for you.

>> the dangerous enjoyment of it where you can be enjoying and suddenly somebody gets shot in the chest. >> what's the world coming to? { gunshots } >> then it's not funny. there is a price. for everything you do. >> all right. you all know the drill. >> in the '90s, there's a host of movies in which people operate outside the system. we love the idea of the outlaw. it's one of the reasons we go to the movies. >> merry christmas. >> merry christmas to you, officer. >> you go to the movies to see people violate the laws of society. >> i'll take one ever those big envelopes and put as many hundreds, 50s and 20s as you can pack into it. >> in the '90s we were rooting for the criminals to get away with it. we wanted the bad guys to be the good guys. it was really an era when the anti-hero was on the rise. >> you have something against

ice cubes? >> i like rough edges. >> and "basic instinct" the character is a sociopath. they are as dangerous as that character is. when i played the part, i needed to understand the sociopathic mind and that is a very scary thing. >> "silence of the lambs" i remember waiting for it with baited breath to come out. nothing prepared me for how jonathan deme shot walking to meet hannibal lecter. >> this is a horror film that is also an actor's piece. >> this is told by the closeup master of all time.

the tension kept rising and rising. >> most serial killers keep trophies from their victims. >> i didn't. >> no. you ate yours. >> "silence of the lambs" is about this erie dance between clerise and hannibal lecter. >> takes the horror movie and put it into a real world thriller. >> you still wake up sometimes, don't you? wake up in the dark. and hear the screaming of the lamb. >> yes. >> "silence of the lambs" becomes one of three films ever to win best picture, best actress, best director, best adapted screen play and then anthony hop kins wins best actor can maybe 16 minutes of screen time. >> how come he didn't let you

go? >> because i didn't ask him. >> the one thing i love so much about "thelma and louise" is it's one of the best love stories of all times. >> they get together and things go off the rail really, really quickly. >> shut up. shut up. >> please don't hurt me. >> i'll spatter your ugly face all over this nice car. >> i was driving home one night and the idea hit me. two women go on a scene of the crime spree. it wasn't just that idea. i kind of saw the whole movie in one flash. >> god damn, you're a bitch. >> i think he's going to apologize. >> no, i don't think so. { gunshot } >> this is an odyssey of two women on the last journey. they would not know it was the

last journey and therefore the journey had to be magnificent. >> a lot of women looked at this film and thought i could relate to those women, i know what they're going through, i understand the choices they made. >> let's keep going. >> what do you mean? >> go. >> they looked at each other and they both knew. >> you sure? >> it's kind of the culmination of both of our lives and we have no choice. let's go. i can't imagine the movie would have had any power at all had we not ended it that way. >> i have no enemies here. >> no? wait a while. >> "shawshank redemption" is the perfect prison film. >> for a good prison movie, you need a warden who is corrupt. >> i wouldn't worry too much

about this contract. >> you you want to make the audience feel like they're trapped. and then there has to be hope. >> a little parole rejection present. >> the audience has to hope for something better for these characters that they fall for. >> it's a great love story between two men spending 20, 30 years in prison getting to know each other. >> the funny thing is on the outside i was an honest man. straight as an arrow. i had to come to prison to be a crook. >> watching each others lives rotate through the system. >> "shawshank redemption" is about seeking justice in an imperfect world and when the convicts win, you have a sense of relief. and that somehow justice has been done. ♪ trying to make it real

>> in vegas everybody's got to watch everybody else. >> "casino" is the story of these two men, joe's character and bob's character. >> look at this place. it's made of money. you know what the best part is? nobody's going to know what we're doing. >> and poor sharon who is thrown in the middle of it. >> working for marty is a big thing. he was very open, supportive, encouraging, and so present with me. >> can i trust you? answer me. can i trust you? >> sharon stone is in the great tradition of crawford and the great divas and i had to learn how to bring out what i needed through her. >> with marty, because his films are so daring and the violence is so violent, and because everything that you do is so

true, you have to be really welling to kind of let your guts come out. >> get out of here. >> fine! >> i'm taking her. >> you're not taking her. you're a junkie. get out of here. >> ultimately they're given paradise and like adam and eve they're banished from paradise because they blew it. cusack scorsese han bni e

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"apollo 13" was a real turning point for me and an eye opener. i learned the power of a true story. >> this is houston. say again, please? >> houston, we have a problem. >> just believing in the story. my mantra was just show it. >> we're not going to have enough power left to get home. >> we know they're going to be safe, but the thing we care about is how are they going to be safe? what do these people have to do to save them? that is what's riveting. >> the '90s brought us a new look at some previously thought to be well known story. >> when you look at the film "jfk" it's about what we can trust and who we can trust. >> who benefitted and who has

the power to cover it up. >> oliver stone is saying you can't trust anybody. >> go back to the time when the nation was captivated by this game show and it's the story about truth and the perversion of truth in entertainment. >> what about him? >> i love him. >> people don't like him. kids don't like him. >> as i kid, i lived through the "quiz show" period. i wanted john to play herb stinton, the guy from the lower class area and he rose to fame and then certain people were getting tired of him because he wasn't that pleasant to look at but no one could beat the guy. he was so sharp. that's when they came up with the guy why don't we find somebody that looks good and we'll give him the answers. >> general h.w. halek.

>> you are our new champion. >> that cruelty was something i wanted to show. the power of money and personality. so to me that was a story that really had to be told. >> we didn't land on plymouth rock. plymouth rock landed on us. landed right on top of us. >> "malcolm x" is spike lee's epic. i think he felt a certain urgency in making it. >> spike had the good fortune of casting denzel washington at the pin nabbi pinnacle of his movie stardom. >> denzel washington is one of the all-time greats. what he does in his artistry painting a portrait of an individual, it's astounding. >> if the so-called negro in america was truly an american citizen, we wouldn't have a

racial problem. if the emancipation proclamation was authentic, we wouldn't have a racial problem. >> watching a guy like denzel as malcolm x, top of the game, i intimidating in many ways. >> when we made "philadelphia", he was malcolm already. it was like starting a movie with marlon brando and just seeing "the godfather" the night before. >> what happened to your face? >> i have aids. >> "philadelphia" was an important film. >> how did they find you out have the aids? >> one of the partners noticed a lesion on my forehead. >> as his character spends more time with tom hanks, he starts to see him as more than his sexuality or his disease. >> let's get it out of the classroom, because this case is not just about aids, is it? so let's talk about what this

case is really all about. the general public's hatred, our loathing, our fear of homosexuals. >> he can bring the audience on that journey to say we don't need to fear people. we don't need to despise or stig stigmatize them. my name is forest, forest gumpf. >> it's a very rare thing for me to read a script and not be able to put it down. >> "forest gump" is a marvelous look on the how history happens. it's a play on the contingency and accident that shapes our world. >> we were the first american to visit the land of china in like a million years, something like that. somebody said world peace was in our hands. but all i did was play ping pong. >> that film embodies everything that makes tom great. he's a fantastic dramatic actor

and he's a magnificent comedy actor. i can't think of another actor living or dead who could have ever done that part. >> by the 1990s, the age of the people who served in world war ii was 70. they were growing old and disappearing. there was a powerful sense of nostalgia. we saw a lot of retrospective looks at world war ii. this is the time when people started talking about the greate greatest generation. >> "saving private ryan" was a film i was going to make some day in my life. my dad used to have his band of brothers from the air corp come over to the house every year and the first time i ever heard grown men cry was at the reunions. it was all about the trauma they

had suffered in world war ii. >> we'll see you on the beach. >> i felt it was necessary for me to tell the experience of veterans and what they had gone through when they were a little older than i was at the time. >> when movie goers saw the men disembark, the bullets were going through the water and hitting them in the water. there was a powerful realism to that. >> it's spielberg saying what does it feel like to have gone on that beach? your nose is pressed right into the savagery. >> the beginning was fantastic. i was ill for two weeks watching that. i couldn't believe he did that. >> sir, i don't have a good feeling about this one.

>> when was the last time you felt good about anything? >> this ability to entertain and reach audiences more than one way with the same movie, "saving private ryan" is a great example of that. it's exciting, it's thrilling, it's suspenseful, but it also is a reminder of the price of that kind of warfare, the cost to the soul, and who winds up living and dying and baring those scars in that kind of conflict. >> i dare get you one, but the man who made it is probably dead. i don't know. >> my family, when i was growing up, talked about the holocaust, though they never used that word. they used to call it the great murders.

i shot the whole film documentary style. it was the first film i had ever shot like that. it became less of a film and more of a life's journey, a living learning experience making that film. we all felt we were shooting in a graveyard. and so the amount of reverence of the crew and the cast, i last liam neeson at the last minute. i thought he was the best schindler i could possibly find and he was. >> oscar schindler was a deal maker and he didn't care for his workers, but there was an encroaching on the holocaust

that unlocked his empathy. instead of being someone that gathers wealth for his own pleasure, he started to spend his money to save lives. >> i could have got more. i could have got more. >> the totality of the meaning of that film, the fact that it created awareness in the world about an era in history that had been forgotten, it denied the dinners, it allowed us to really mean it when we say never again. it is the greatest experience i've ever had as a filmmaker.

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♪ "groundhog day" was a very character driven comedy. the bill murray character just keeps waking up. >> hey, phil. >> and having to relive the same day. >> don't you tell me you don't remember me, because i sure as heck remember you. >> not a chance. >> usually when there's some kind of strange convention, it's explained. >> phil conners, i thought that was you. >> you're in a time machine or somebody casts a spell. but this just happened and nobody minded. >> phil conners.

>> ned? >> nobody is perfect. >> it's also so obviously forbill. >> bill, like the groundhog bill? >> yeah, like the groundhog bill. >> watch on the for your shadow there, pal. >> morons, your bus is leave. >> it's hard to be a likeable dick and then win the audience over by the end. bill is really good at that. >> thank you, young man. >> it's nothing, ma'am. i had the tire and the jack. just be comfortable. all right? >> to me, bill murray is one of the great comedy actors that has ever been. >> how long will you be staying with us? >> indefinitely. i'm being sued for divorce. >> he's picky, which is perfect because then he finds his way into somebody really extraordinary. >> what's the secret, max? >> the secret? >> yeah. you seem to have it pretty figured out. >> the secret? i don't have one. i think you've just got to find

something you love to do and then do it for the west of your life. >> wes anderson, his films are like opening a jewelry box and you can take out all the little trinkets and they're sparkly and joyful. >> it's so rare when someone comes along and creates their own aesthetic. >> wes is truly unique. >> i really related to him in terms of having bad grades and not being good in school, but having like a passion for something. >> when he came out, i wrote a fan letter to wes. it was a perfect film, laugh out loud humor. >> i like your nurse's uniform. >> these are o.r. scrubs. >> oh, are they? >> comedy in the '90s will be gigantic. >> shall we shall now or shall we shag later?

>> it's going to be over the top and it's going to fill the frame. >> why don't you just go home. that's your home. are you too good for your home? answer me! >> and you're going to get adam sandler knocking out one movie after the next. >> cindy and scott are newli newlyweds. >> if you look at the scenes that are memorable from "wayne's world" they're big scenes. they're the heads bobbing back and forth. they are not afraid to do something big to get a laugh. >> and thenall ofa suddenone day this guy, who is as big as the screen, shows up. and it's jim carey. and he turns into a top hollywood star because he is unafraid to be big. even as he is doing these over the top things where you think

well, he's talking through his behind. i'm not going to watch this. >> excuse me, i'd like to ass you a few question. >> and yet there you are watching and you're laughing. ♪ just like me they long to be >> i don't want to be too intellectual about it. i just laughed my ass off. and part of me was, like, i can't believe they're doing it. >> what's that bubble there? >> what do you think? >> how the hell did the get the beans above the frank? >> the farley brothers pushed the rules so far that -- you can do that? >> "something about mary" is this comedy that has a heart to it. >> maybe you should move down here and mary me.

>> i'll have a coffee. >> i'll have a cap chino. >> do you have any coffee ice cream? >> i'll have -- >> you had lots and lots of really funny bankable people doing wonderful movies. >> my first day as a woman and i'm getting hot flash. >> hello, peter. >> what's happening? >> i'm going to need you to go ahead and come in tomorrow. so if you can be here around 9:00, that would be great. okay? >> "office space" is not as acclaimed as it should be. it was not a big hit, but there's so much modern comedy in that movie. it was wonderful. >> "office space" did such a great job in completely

lampooning office life. technology had made these cubical lands and "office space" really captured that. >> i'm thinking i might take that from logistics. things go well i'll be showing them "o" things. you be what i'm talking about. >> jennifer aniston was in it. >> we need to talk about your flare. >> when you had that manager that says put that flare on and show us what you're really like. here's my flare. >> all right. there's my flare. okay? and this is me expressing myself. okay? ♪ attach's pteacher's pet ♪ >> christopher guest is considered the master of the mockumentary.

he comes up with characters that are profoundly silly. >> when we were on "snl" together, chris did a movie with marty and harry called synchronized swimming. >> i've been directing theater, shakespeare in the park. >> that's where the character was sort of born. me, you know, right out of the navy fresh off a destroyer with a dance belt and a tube of chapstick basically. not much to call my own and being slammed down for 10 or so years, off, off, off broadway and then enough is enough. okay? i get the joke. >> chris surrounds himself with funny people, eugene, katherine o'hara. >> if there is an empty space, say a line. >> chris works in miniature.

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i remember coming out and seeing "do the right thing" that day i went to my dorm and started writing "boyz in the hood". >> both of my brothers have been shot and they're still alive. >> some of what i was doing was by what i saw rob reiner do with "stand by me" but they didn't speak to where i was coming from. >> we got a call on a burglary here. >> that was about an hour ago. >> we didn't ask you that. >> i decided to have a black cop be more vehement than the white partner. >> something wrong? yes. it's just too bad you don't know what it is. >> the same block cop encounters trent years later when he's a

teenager and profiles him. >> i didn't do nothing. >> you think you're tough, huh? oh, you're scared now, huh? i like that. >> singleton was nominated for two academy awards, best original screen play and the youngest person ever nominated for best director. >> it was an era when a lot of people were paying attention to black film. there was a famous moment in "new york times" magazine does this cover story. you really had for the first time a large collection of black filmmakers documenting what was going on in the culture. >> you've got to be ready to go down, stand up and die for that shit like he did. >> blaze ard ain't sticking up to nothing now. >> that's because we wasn't there to back him up. >> if we was there, there would

be five dead instead of one. >> we had a similar vision of what tweewe want to do as young coming into this entertainment together. >> i've got the guy i'm going to do multiple movies with. >> people don't realize how theatrical the gangster rap thing was. iced tea, ice cube, they were all story tellers. when it came time to go to hollywood, all of them were convincing on screen. >> craig. craig! >> holdup. >> man, that's what it's supposed to do. >> it was one of those films that made me excited about being in the film industry. >> cube at the time transitions from music into film making, the way it got sold at sundance, it was sort of the quintessential independent cinema coming to the

mainstream and then of course it went on to do so well. >> ladies, ladies, ladies, i know you're going to be in attendance at the throwdown. >> did you hear anything about a party tonight? >> huh-uh, at least not a good one. >> "house party" is just a fun, silly teen comedy. >> ladies, beat is in the house. >> dragon breath. >> they were a musical duo looking to have a fun time, dad's away, let's throw a party. having a movie like that premier at sundance really showed the possibility that black film making could have. >> what? >> don't answer me what. turn the god damn tv off. >> i'm watching the knicks. >> i don't care what it is. >> we talk about spike lee films

and john singleton films, but it was a period where black female filmmakers were making some interesting things. you have "daughters of the dust" examining the gulla culture, black culture that harkens back several hundred years and that movie is beautiful. you also have a movie directed by leslie harris. >> you're too cute to be a gentleman, right? >> and a quote/unquote hood movie, but from the perspective of a young girl. people think of new black realism as the hood genre, but actually there is a range of socio economic experience being shown in black cinema of the '90s. ♪ >> whether we're talking about some of the black romantic comedies, family films, like "soul food" or "waiting to

exhale" they think of as companion films that celebrate sisterhood and that's a whole other element that hadn't made its way into mainstream cinema. >> hello. hello. >> from the very early days of will smith's career, he was incredibly smart about figuring out how to become the superstar he wanted to become and he chose the one rule he thought nobody would expect him to play. a gay hustler in "six degrees of separation". >> i pick a name. you tell me everything about them. where they live, secrets, everything. and for their name, you get a piece of my clothe. >> will smith became a triple threat. there aren't many who can do action, drama, and comedy. >> now backup, put the gun down, and give me a track of tropical fruit bubble gum. >> and will smith is that guy. >> i would say that tom cruise

is the first person to figure out the power of using the international box office to turn yourself into the biggest star anyone has seen. will smith looked at that and said i'm going to do the same thing. what translates well abroad, sci-fi aliens, so that is what he did. >> welcome to earth. >> he becomes so successful that the july 4th weekend was blocked out for will smith movies. >> you know what the difference is between you and me? i make this look good. now, at the lexus golden opportunity sales event. lease the 2019 es 350 for $379 a month, for 36 months, and we'll make your first month's payment. experience amazing. who used expedia to book the vacation rental that led to the ride ♪

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>> what do you want it to be? >> vivian. i name is vivian. >> vivian. >> i remember meeting garry marshall for the first time and being so nervous. making this movie with him was hysterical. we didn't really have a complete script. i remember one day looking at richard saying what are we doing? what scene be? is he goes i don't know. dwaer, what are we doing? gary goes be funny. action. >> well done well done. >> did we think it was going to be a huge success? not necessarily. >> hi. >> hello. >> do you remember me? >> no, i'm sorry. >> i was in here yesterday. you wouldn't wait on me. >> oh. you work on commission, right? >> yes. >> big mistake big. huge. i have to go shopping now. ♪ pretty woman >> pretty woman" makes juliette

roberts a major star. that smile, that interaction with richard gere, that improvised little thing with the jewelry box and the peril pearls it. >> garl said just touch it. it's the most amazing thing you've ever seen and i said to richard -- >> we fall for her and we fall like a ton of bricks. >> oh. my god. it's the bride and the woman she will never live up to. >> she rises through the decade but then really ends it with three megaromcoms. my best friend's wedding, runaway bride, and notting hill. >> can i help you? >> no thanks. i'll just look around. >> richard curtis says he wrote it with me in mind. and i love when writers say that. i don't care if it's true. it's hard to find really great original material that hold the

real performance and the comedy and the physical comedy then some thread of love that you're trying to accomplish. >> i'm also just a girl. standing in front of a boy. asking him to love her. >> romantic comedy is a genre that i love. i think i just was really lucky that they were making a big resurgence at a time when i was at the ready. >> the romantic comedy gets its jump start and you have a number of people who are especially adept at the form of the romantic comedy. have you sandra bullock. have you hugh grant. you have meg ryan and you have tom hanks. >> she made everything beautiful. and it's just tough, this time of year. i mean any kid needs a mother. >> could it be that you need someone just as much as jonah

does? >> yes. >> norah ephron prepared movies like no other director i've worked with. we would work for weeks prior to the beginning of shooting. every line was specifically found or written or perfected. >> it was like, magic. >> norah ephron was unafraid to take something that felt familiar but then cover it in unfamiliar territory. >> have sex with her, huh? >> i certainly hope so. >> will she scratch up your back? >> what? >> in the movies women are always scratching up the man's back and screaming and stuff when they're having sex. >> how do you know this. >> jed's got cable. >> oh. >> this movie is about a widower. that i thought was a brave choice. you saw people on screen working out a problem who weren't

necessarily from the traditional american family. . >> i left her bibi the telescopes. >> the great thing about norah is when she wa talking about the dynamics between men and women who are attracted to each other or need each other or are searching for each other and don't really know it, she was a genius. >> i'm the guy you don't usually see. i'm the one behind the scenes. i'm the sports agent. >> i wanted to write a movie that begins where an '80s movie ended. >> what's going on? >> they fire jerry mcguire. >> the script went right to tom cruise. he calls immediately. i love this script. i'll read it with you. and you tell me if i'm right for it. >> don't worry. don't worry. i'm not going to do what you all think i'm going to do which is just flip out!

>> and basically i've been geeking out over his performance ever since. >> jerry mcguire. how you doing? >> jerry mcguire. >> yeah. >> how am i doing? i'll tell you. i'm sweating, dude. >> cuba and tom just like deliriously happy actors. >> show me the money. >> they were just like landing blows on each other. >> jerry, show me the money! >> and that scene just kind of exploded. >> congratulations, you're still my agent. >> that film really spoke to me so deeply because it's the single mom with this precocious little kid. >> do you know the human head weighs eight pounds. >> and bringing a guy into that picture, i love how much cameron believes in romance. >> i was so anxious to do one line you complete me.

there were times that i had read that in the script and thought fantastic. there were other times, is this too cheesy? and i told tom that. and he said, just give me a shot at it. if you don't want to use it, don't use it. >> i love you. you complete me. and i just -- sh, shut up. just shut up. you had me at hello. you had me at hello. >> i look around, everybody's crying. the grizzled guys holding cable are like -- and i was like, i think it's going to work. uh-oh, looks like someone's

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this guy is going through all the eggs. look. this has been going on for 20 minutes now. >> what's he looking for. >> said he has to find the perfect dozen. >> perfect dozen. >> yeah, each egg has to be perfect. >> in the '90s you could feel this excitement that there was something happening here. there started to become a

genuine independent film movement. and sundance film festival and instatute had everything to do with it. >> the idea of starting sundance was i felt i had grown up being a part of the major film industry because that's all there was. i was fortunate to be part of that. as time went on, i became more aware of other stories that could be told. they would be told by people less inclined to be commercially attractive. they were different. they were offbeat but they were stories that i felt should be told. >> women are lonely in the '90s. it's our new phase. we'll live. >> they weren't looking at who made the movies. they were looking at the movies. they have a commitment to showing films with very specific authentic voices. >> there was a sudden recognition because of the success of films that came out of that festival and it drove

such a profound change into main line hollywood. >> say, man, you got a joint? >> no, not on me, man. >> it would be a lot cooler if you did. >> just like american graffiti, dazed and confused was this complete euphoric look at young people before they have to become adults. >> there's other high school movies. there's a million of them. but there's very few that really gives you an honest depiction of that time in your life. >> whoo. >> you all ready to bust some ass. >> you see all these fantastic actor who started out in dazed and confused. >> that's what i love about these high school girls, man. i get older, they stay the same age. >> richard linkletter cast all these fabulous girls.

>> seniors -- >> those characters i adored. they just felt like real girls to me. >> let me tell this. the older you do get, the more girls are going to try to get you to follow. su got to the keep living, man, l- >> in. >> it's lightning in a bottle. >> everybody cough up green for the lady. >> come on, throw in a buck. >> huh-uh, i don't tip. >> you don't tip? >> no, i don't believe in it. >> you don't believe in tipping? >> i was banging around and trying to be a writer and a filmmaker and i read reservoir dogs" and i thought it was clearly written by somebody who was 67 years old and had kind of gotten out of jail and wrote his life story. >> harvey keitel was the guy that pushed it through to us.

that allowed us to discover quentin tarantino. >> who cares what your name is. >> yeah, that's easy for you to say. you're mr. white and have a cool sounding name. you want to trade. >> hey, nobody's trading with anybody. is ain't a [ bleep ] city council meeting you know. >> it was clearly focused on violence but it was going to underscore it. for me that was kind of a break-through moment. >> is it bad? >> as opposed to good? >> here violence and brutal violence comes with a heavy at times dose of comedy. >> you know what they call a quarter pounder with cheese in france? >> no. >> tell him, vincent. >> raw yea with cheese. >> raw yea with cheese. >> you know why they call it that? >> because of the metric system? >> check out the big brain on

brad. >> pulp fiction" was this fever dream of a screenplay and it was the screenplay itself that was this wild harry bug. it was like a tarantula on the doorstep. you had to look at it, my god, look at the size of this thing. >> you have to forget it. >> trying to forget anything as intriguing as this could be an exercise in futility. >> look at what john travolta does. look at uma thurman bruce willis. it was slick. it was fast. it had no convention to it whatsoever. it just rewrote the rules of the way you can make film. >> die! >> you constantly have to pay attention because have you all these characters who were somehow connected and you only start to figure that out as the movie goes on. >> i love you, pumpkin. >> i love you honey bunny. >> everybody this is a robbery. >> you know a tarantino film the

minute you see it. it's such a fanfare of a new kind of filmmaker. ♪ >> swingers came out of this kind of cocktail 50s nostalgia culture in l.a. that people who made the movie were part of. and it kind of became a phenomenon. >> so, what do you guys do. >> well, i'm a comedian. >> when i starred writing "swingers," i didn't know that it was going to be a movie or a if you script. i was just writing stuff that i got a kick of and kept going with it. >> when you talk to a man i don't want you to be the guy in the pg13. i want you to be like the guy in the rated r movie, you're not sure whether you like yet, you're not sure where he's coming from. you're a bad man, you're a bad man. bad mann man. >> it was sort of that indie comedy sensibility. we were influenced by kevin

smith and tarantino and scorsese. when the movie finally came out it, hit the culture in a big way. >> see, baby, it's not that hard. >> 3310. 10. here's another reason to join t-mobile. do you like stranger things? sure you do. that's why netflix is on us. and here's another reason to join. bring in your discount, and we'll match it. that's right. t-mobile will match your discount. who got an awful skin condition. with uncontrolled moderate-to-severe eczema, or atopic dermatitis, you feel like you're itching all the time. and you never know how your skin will look. because deep within your skin an overly sensitive immune system could be the cause. so help heal your skin from within,

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animation was disney's brand, but in the early '80s, they were real adrift and little mermaid was the hit that showed what these movies could do. ♪ part of your world >> and that kicked off a total revolution in the animation world. >> and now, we invite to you relax, let us pull up a chair as the dining rorm proudly presents -- your dinner. >> when audiences see these movies they haven't seen animation like this in decades. ♪ cheese souffle pie and pudding on flambe ♪ ♪ we'll prepare and serve with flair a culinary cabaret ♪ >> the disney studio re-examines

the templates of snow white, pinocchio, dumbo, bambi. and in the process of doing that, returns the disney animation to its fundamentals. 10,000 years will give you such a crick in the neck. >> and because they're done with cleverness and with great use of music which disney specialized in, they capture the same magic. ♪ the circle of light >> "the lion king" is interesting because it's a very old tale that's been retold in different ways. but it emerged as something special and i think became bigger than the sum of its parts. ♪ it means no worries for the rest of your days ♪ >> it just clicked with the

right animators, the right director, the right music. ♪ i just can't wait to be kin king ♪. >> people were ready for that kind of story of that kind of epic scale. and that you can see the beginnings of cg in the background for certain things like the stampede. it's one of those things where if the stars align and it hits the culture in a way that's impactful. ♪ >> pixar changed the game. i remember going to see toy story" and saw it twice. >> there seems to be no sign of intelligent life anywhere. >> hello. >> the comedy wasn't talking down to kids. it was for everybody. >> look, we're all very impressed with andy's new toy. >> toy? t-o-y-. toy. >> excuse me, i think the word

you're searching for is space ranger. >> the word i'm searching for i can't say because there's preschool toys present. >> getting kind of tense, aren't you? >> when i saw toy story," i was blown away. >> impressive wingspan. very good. >> the technology for me was nice and interesting. but that wasn't what blew me away. what blew me away was here were new characters. >> to infinity and beyond! >> the film was contemporary. it was not a musical. and it was done with all of the sincerity of the walt era. >> you actually think you're the buzz lightyear? oh, all this time i thought it was an act. hey, guys, look. it's the real buzz lightyear. >> you're mocking me, aren't you? >> anybody wanting to study screen writing should watch pixar movies. i just think they're beautifully, beautifully written. >> well, if you knew him, you'd understand. you see andy's. >> let me guess. andy's a real special kid.

and to him you're his buddy's best friend and when andy plays with you, it's like even though you're not moving, you feel like you're alive. because that's how he sees you. >> you absolutely believe these characters had an internal life. they felt like being a toy was a job that they were proud of. that was just a brilliant premise. and it was executed perfectly. ♪ oh somewhere deep inside of these bones ♪ ♪ an emptiness began to grow >> there's something so beautiful about bringing an inanimate on the to life. drawing animation is the same kind of thing. there's something about stop motion that's so stronging. > what's they? there's wipings in the air. what's this i can't believe my eyes i must be dreaming, wakeup, jack, this isn't fair.

>> tim burton has managed to take the most macabre things and make them so fun and so heart breaking and beautiful, no one has that aesthetic. you don't have to wonder for ten seconds if it's a tim burton film. >> i have a present for you. >> edward scissor hands is kind of a frankenstein story. vincent price plays his father who creates a boy but dies before he can put his hands on. >> edward scissor hands was a character tim had brought to life through a concept drawing. i've seen tim draw a character with two strokes of a brush and you knew who they were. >> a grand slam. juan martinez to make it a five-run inning and blow in game to pieces. >> i'll be darned. >> with tim and his characters, there's always a real connection with him and johnny depp.

>> there's kind of a way of speaking without speaking and communicating which is why he was edward scissor hands. it goes back to silent movies where people communicate with your eyes. i feel some connection to him or wynnona ryder. there's something about the intensity and gaze that's well, it was like film acting. > so are we going to be working together? >> really? worst film you ever saw. well, my next one will be better. he had low? >> sed ward is such a sweet movie. and yet, it's not at all clawing. it's completely cool and crazy. >> he's a monster. can you imagine what that guy would look like in a movie. >> johnny depp plays ed wood who is famously known as the worst film director of all time. >> his character is so perfect. you just love him for his enthusiasm. >> all right. prepare for scene 32.

>> mr. wood? >> where is the cockpit? >> you're standing in it. >> places. >> ed wood when he was making a movie thought testifies making "stars wars." every time you embark on a movie it's going to be the greatest most amazing thing. >> ed wood was not make as a joke. it was lovingly made in appreciation of what that guy had done. >> these actors really loved their craft and that kind of weird sort of sense of family you get in film. this felt very close to me. it just felt like my own life. a bunch of we'dos try to make a movie. that's easily relatable to me. >> this is the one. this is one i'll be remembered for. most people think a button is just a button. ♪ that a speaker is just a speaker. ♪ or - that the journey can't be the destination. most people haven't driven a lincoln.

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♪ go. go home. bad wolf. bad wolf. >> when you think of the '90s you do think of actors in the director's chair. you think of kevin costner, you think of jodi foster, you think of mel gibson. and you think of clint eastwood who finally gets his due in the '90s. >> unforgiven is a mir cue lus film in many ways.

the legacy in eastwood's case of all the spaghetti westerns and the westerns and the dirty harry films is landed on this moment of frailty. >> did pa used to kill folks? >> my agent called and said clintetwood has made an offer. >> clint eastwood has what? >> yes. you'll be his partner in this western. well, shucks. tell him i'll think about it. >> i remember that was three men you shot, will, not two. >> i ain't like that no more, ed. i ain't no crazy killing fool. >> clint eastwood and morgan freeman who have been professional killers in, they're sick of violence, they don't want to do it anymore but they get dragged back into it. >> i killed one of the children. killed just about everything that walks or crawled or at one time or another. and i'm here to kill you, little bill.

for what you did to ned. >> clint is maybe the best director i've ever worked with. i love the way he does it. he's quick. he's decisive. just beautiful. >> there are directors in this period like michael mann who are the rebels. within the studio system, guys who are just doing it differently. >> what am i doing? i'm talking to an empty telephone. >> i don't understand. >> because there was a dead man on the other end of this. >> he provides us an opportunity to finally see robert deniro and al pacino on screen together doing a scene together. >> what do you say i buy you a cup of coffee. >> the scene in the diner all three of us bobby and al and myself knew it was the nexus of the whole film. >> you know i chase down some guys. get busted back at you.

you must have worked some cruise. i worked all kinds. it's one of my favorite scenes between those two guys that finally come together. i think we did a good job with it. i do what i do best. i take scores. you do what you do best, trying to stop guys like me. >> they are not taking their eyes off each other. it almost reflects it. >> i will not hesitate. not for a second. >> people want to see great actors telling you the truth. guys like michael mann would be always punch you in the gut. they would make a movie that would be counter to everything else everyone was doing but it would have truth in it. >> you want your own wife kidnapped. >> yeah. >> i think "fargo" is a perfect movie in every way. the screenplay is perfect. the execution of it is perfect. the performances are absolutely perfect. >> geez. >> it was written for me. i got excited.

they said joel came home from work and started working on something. there's a part for you. >> we got a shooting. these folks drive by. there's a high speed pursuit, ends here and then this excuse type deal. >> joeth and ethan's scripts are publishable, would of literature. for example, the scene in fargo where march is interrogating the the two strippers. >> hey, they said they were going to the twin cities. >> oh, yeah. >> yeah, is that useful to you? >> oh, you betcha, yeah. >> yeah. >> it was punctuated and written in the rhythm that we played it. and it's beautiful. >> and the oscar goes to ethan and joel cohen for fargo. >> the oscar goes frances mcdormand in fargo. >> fargo was the cohen brothers film that really gets embraced at the academy awards. everyone loves this movie. what do they do?

something completely different. >> sometimes there's a man, well, he's the man for his time and place. >> "the big lebowski," one of my favorite stories is how long it took jeff bridges to agree to do it. it was so good. joel and nathan wrote it for him, sent it to him. he said it's great. not sure i can do this. i just remember them thinking how could he not? and obviously, he came to that conclusion himself. >> wait, let me explain something to you. i am not mr. lebowski. your mr. lebowski, i'm the dude. that's what you call me, you know? that or his dudeness or duder or you know, el dudeorino if you're not into the brevity thing. >> it's the only time in my life i haven't been able to look an actor in the eye because he was so funny.

>> jeffrey. >> maude? >> love me. >> that's my robe. >> big lebowski is the most quotable movie of my generation. >> that rug really tied the room together, did it not. >> hey. >> the cohen brothers are sub versive filmmakers, revolutionary bomb throwers but you're kind of pleased landed on your front porch. >> they've kept control of their films from the beginning in a way that allowed them to really explore any genre that they wanted to go into. i think by exploring the genre, then they subverted it. >> jack horner, filmmaker really? >> yeah. make adult films, exotic pictures. >> where i grew up was the importanto capital of the world in san fernando valley. i would know what a regular film shoot would look like and would know the difference when it was like a van. that's where boogie nights came from, a world that i knew already really well funny

enough. >> who is dirk digler? >> that's that new good looking kid, eddie at the club. >> good name. >> when i got paul's script for boogie nights i called my agent and said are you punking me. it was an x rated script. they said it's going to be r. i said notify it's not. there's copulating in it. >> they said no, it's the contract. i said i'm in. ♪ what a lonely boy >> i used to arguing with paul that amber should die. he's like she can't die. i was like she would. she probably would. i don't know that she would have survived all of that. i'll ask you if you're my mom okay, and you said yes, okay? are you my mom? >> yes, honey. >> yes. >> she kind of assumes the mantle of parenting in this world. she's not actually taking care of them. she's play acting. > what we're talking about then is coming to an agreement on the custody of andrew. >> yes. >> the thing that i really love about the scene as she's kind of

fighting for custody, the judge turns to her and says maggie, have you ever been arrested. >> when was the last time you were arrested and what was the charge? >>. >> you cut to outside and amber sobbing because that's just it. she's somebody who is not responsible enough to parent. >> you don't have to be interested in pornography to be interested in broken people that have been rejected by their family, they don't have a family. the moral center of the movie is all these broken humans trying too make themselves whole bill finding a stitched together family when they don't have the an actual family of their own. >> paul thomas anderson has never made the same movie twice. whenever you see a paul thomas anderson movie like stanley coupe brick, you know it's a paul thomas anderson movie. i'm not sure there's a higher compliment you can pay to a director. is imprint is on his films. >> come on, frank.

what are you doing? >> what am i doing? >> yeah. >> i'm quietly judging you. this is something big. this is something bigger. that is big. not as big as that. big. bigger. big. bigger. this is big. and that's bigger.

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♪ ♪mmmmmm ♪ ♪so nice ♪ ♪nice a producer came to my office and said listen, i want you to look at this first. he showed me a painting of a guy

the piano was kravishing and also uncompromise. it's a really visceral movie. you feel the weight of the fabric. the dampness of the air and the moss. >> ma. >> and it's so inherently jane. jane campion is a filmmaker from new zealand who shot this very intimate movie in her home country starring holly hunter, harvey keitel and a very young ana pack quinn. >> it was kind of intimaies that jane pulled us into as an audience. she has a voice not to be denied. >> it's my mother's channel. >> it's an extraordinary performance in the film. and also holly is a very accomplished pianist. it's one of those perfect roles for the perfect actor.

this movie established jane campion. she won the palm door at cannes and became the second woman to be nominated for an oscar for directing. >> your father's been -- >> the '90s was the best time for women directors. they infused a kind of a sensibility that made it really enjoyable. you were hanging out with other filmmakers saying wow, how many movies can i make? how many women can i work with. >> you still haven't figured what the riding waves is all about, have you? >> it's a state of mind. >> they don't want to be acknowledged as a female director. i thought my whole career to be acknowledged as a filmmaker, not a black filmmaker i'm sure those women are saying don't call me a tee mail director. i'm a director. >> i'm a bad therapist. i'm making these people worse. >> walking and talking was

inspired by the time my best friend was getting married. >> so fake looking. looks like a barbie ring, frank. >> they were a perfect match. i loved them both but i felt very lonely. >> it's not -- frank gave it to me. >> i thought that was funny. >> we're engaged. >> yeah. >> we're going to get married. >> whoa. >> i think of her comedies as comedies of embarrassment. her characters want to be better people. but they're just not. >> are you crazy? i had sex with you two weeks ago. and now you're asking me why i haven't rented lately. >> oh. i didn't know what to say. >> i just don't know the anyone who is better at setting up that kind of situation that makes us all squirm because they're so human. >> i don't know why dion's going out with a high school boy. they're like dogs. you have to clean them and feed

them. they're like these nervous creatures that jump and slobber all over you. >> oh, get off of me. oh, as if. >> when i was writing "clueless" i hung around beverly hills high school a lot. there was a teacher who taught debate and he let me hang out in his class. so you heard the vernacular. >> in conclusion, may i please remind you that it does not say rsvp on the statue of liberty. thank you very much. >> amy hector ling is giving these girls their own vocabulary. >> hello, it was his 50th birthday. >> whatever. >> oh, my god, i'm totally bugging. >> they're changing the lexicon of teen girls all over the world. >> do you have any idea what you're talking about. >> no, why, do i sound like i do. >> even cho cher is this heightened fantastic perfect gorgeous aspirational creature, i think amy is still able to see her as a real girl. she doesn't just turn her into a

punch line. >> can i see the beginning again. >> in a league of their own, penny marshall looks at the role of women, the changing role of women in world war ii. >> girls can't play ball. >> men were fighting on the battlefields but there was still a hunger for professional baseball. >> a league of their own is about women baseball players. >> out. >> it's iconic and the lines are iconic and the performances are iconic. >> i told them it was their patriotic to get out of the kitchen and go back to work. now when the men come back, we'll send back to the kitchen. >> what should we do send the boys returning from war back to the kitchen? >> a league of their own was a movie about female empowerment, how powerful women are when they unite and how many stories we still have to tell. >> she's under it. >> elmore sox.

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just for your kids! every scene i did with them from the first day was the reason i wanted to make movies. >> i didn't shoot him. >> cops said you did. >> i was so into watching these two guys performance i forgot to yell cut sometimes. are you a christian author with a book that you're ready to share with the world? get published now, call for your free publisher kit today! i loved the original terminator but the sequel blew it out of the water as far as i was concerned.

that chase in the l.a. river with that truck, oh, my god. you watch that chase today, it's powerful cinema. >> come with me if you want to live. >> it's okay, mom. he's here to help. it's okay. >> it's got heady ideas about time travel and about the space/time continuum what sounds like fancy sci-fi pa lavor but also a story about being relentless. jim as a filmmaker is relentless. >> when james cameron got to t2, he was interested in expanding his palate, particularly to include these new digital tools. it was wildly ground breaking. cameron was working with industrial light and magic. >> as ta la vista, baby.

>> and they were really kind of inventing this process of cgi as they went. when you first herd that steven spooerl spielberg would be making a movie about a place where dinosaurs were brought back to life, your first response would be, i can't wait to see that. >> where's the goat. >> the amazing how long it takes before the t-rex comes out. he makes you wait for it. and wait for it. and wait for it. i don't know what a dinosaur really looks like in real life. i think it looks like "jurassic

park." >> boy, i hate being right all the time. >> what steven spielberg innately understands is that dinosaurs are awesome. >> it was the same feeling that i had as a 7-year-old watching "jaws" for the first time when you see the brontasaurus's leap up and eat the leaves off the trees. >> we're going to make a fortune with this place. >> i mean, that's what spielberg does as a filmmaker. he makes you you go oh. >> a lot of the enthusiasm for cgi comes from filmmakers seeing in jurassic park what that technology could do for their story telling.

>> "titanic" is a throwback in so many ways to the big blockbusters of the 50s and '60s. not just in its scope and in its scale but also that it was talked about in the way that we talked about cleopatra". oh god, we're putting everything we have into this giant boat and is it going to sink. >> sits budget at that point hit a then under heard of $200 million. >> leo dicaprio had done what's eating gilbert grape and his romeo and juliette had not come out yet. there was nervousness on the part of some executives like can leo do this thing. >> the studio thought they were in a terrible, terrible trouble. it was going to be an enormous disaster and it turned out to be the biggest movie of all time. >> i'm the king of the world! >> "titanic" really had everything. it was an epic old fashioned movie. >> iceberg, ahead.

>> an action movie. it also had a love story at the heart of it. >> i'm jack dawson. >> rose. >> i have to get to you write that one down. >> it was irresistible. jack and rose and it was sexy. leo was absolutely gorgeous. kate winslet really captured that independent woman who would not be pinned down. and they were just this vivian leigh, clark gable kind of pairing. > we're flying, jack. >> "titanic" is this moment where james cameron is straddling these two worlds, the human scale and the computer scale putting them together. and from this moment on, '97, the world goes computer. >> you have to let it all go, fear, doubt. and disbelief. free your mind.

>> whoa. >> the matrix" changes everything. you have the embrace of eastern cinema into western canon. and you've got them making their actors do the stunts themselves. quijano reeves had already done ""point break,"" and "speed," but this is a different level of action star that he's transforming into. this was six months of training every actor had to go through. one of the things that you get when you're having the actors do their own stunts you can film close-ups of the face while a punk is being taken, while a punch is being thrown. the action itself becomes story telling. >> as cgi gets better, we become

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. i want to tell you my secret now. >> okay. >> i see dead people. >> i remember in '99, everyone i knew, everyone in our crowd was working on something that felt exciting and felt like it had a generational voice in it. >> i'm scared to close my eyes. i'm scared to open them. >> it was very clear that something was in the water that year. ♪ here i come to save the day >> it felt like the final exam for the 20th century.

it bell was about to ring and everybody is trying to get their thing in before the century ends. you have young film makers swinging for the fences and just finding a new gear. >> i have to put my family's welfare on the line here, my friend. and what are you putting up? words. >> words. i've been out in the world giving my word and backing it up with action. >> i'd stack '99 up against any year in american film making in term of a real cohort of great film makers dropping really significant work. >> not wasting any time, are you, tracy? >> well you know what they say about the early bird. >> yeah, i do. >> election is the second movie of alexander pain. reese witherspoon's tracy flick is someone you almost want to root for because of her passion and drive, and yet also she has

a little bit too much ambition. >> this country was built by people just like me who work very hard and don't have everything handed to them on a silver spoon. >> what's brilliant about "election" is you're getting voice-over from about three or four different perspectives. >> how many people would suffer because of her. i had to stop her. >> alexander pane made a very progressive movie. it's a remarkable film. >> who are you? >> boys don't cry is based on a true story, a man who was a trans man living in a small community. he fell in love with a woman, they had relationship and other people discovered this was a trans man and sexually assaulted

and murdered him. >> "boys don't cry" just a phenomenal movie. like no studio would have made that movie. it was a game changer in term of american cinema in what was made before and what was made afterwards. >> 1999 was such a great year in independence cinema. you look at that line-up of films from virgin suicides to three kings to being john malacovich. >> there's a tiny door in my office, maxine. it's a portal and it takes you inside john malacovich. you see the world through his eyes and after about 15 minutes you're spit out into a ditch on the new jersey turnpike. >> it's a great combination. spike jones and charlie cofman, and they kind of remind people that movies can be so much more. >> what happens when a man goes through his own portal? >> we'll see. >> it's a meta fictional dive

into literally the brain of john malacovich who's in the movie playing himself. >> malacovich. malacovich. >> it's one of those movies impossible to describe and it just sounds like you're piling one absurdity onto another, but it all coheres into this crazy and beautiful film. >> i want you to do me a favor. >> yeah, sure. >> i want you to hit me as hard as you can. >> what? >> i want you to hit me as hard as you can. >> sometimes a piece of material finds a filmmaker who is uniquely possessed of the chops to do it right. "fight club" i think it's hard to imagine anybody who had a better dna than him for that film. >> the first rule of fight club is you do not talk about fight club. the second rule of fight club is

you do not talk about fight club. >> we were doing the kind of film we'd all hoped to do. >> trust me everything's going to be fine. >> i thought "fight club" could be one of those things that becomes a marker for the way we felt at a certain time. it connected the way we wanted it to connect and it's still growing. for me that's the highest aspiration. ♪ >> in the '90s you've got these trends and moments that are going to carry on for the next few decades. you have this moment of really promising black film makers that are coming up. you have womens voices now coming to the forefront in that they're writing films and directing films. they're also getting some big block busters as hollywood always has. it lays the ground work for what

we're going to see for the next 20 years. >> you want answers. >> i think we're entitled. >> i want the truth. >> you can't handle the truth. ♪ ♪ ♪