>> i must break you. >> say hello to my little friend. ♪ ♪

♪ ♪ [ gunshots ] as far back as i can remember, i always wanted to be a gangster. >> "goodfellas" 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 scorsese 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 world. it's dangerous and threatening, but they're having a wonderful time. >> "goodfellas" as 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. >> are you all right? are you all right? >> yeah. >> huh? >> yeah. >> "goodfellas" was based on a book called "wise guy" and i read it and said what if i play this guy jimmy the gent? >> are you being a [ bleep ] wise guy with me? 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. >> here, this is for you. that a boy. >> 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 mores and 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. >> in "basic instinct" the

character is a sociopath. and sociopaths 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 bated breath to come out. nothing prepared me for how jonathan deme shot walking to meet hannibal lecter. >> good morning. >> dr. lecter, my name is clarice starling. can i speak with you? >> this is a horror film that is also an actor's piece. >> closer. >> told by the close-up master of all time. >> the tension, it just kept rising and rising. >> most serial killers keep some sort of trophies from their victims.

>> i didn't. >> no. you ate yours. >> "silence of the lambs" is about this erie dance between clarice starling and hannibal lecter. >> people will say we're in love. >> it manages to take elements of the horror movie and even the gothic iconography 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 hopkins wins best actor for playing hannibal lecter with maybe 16 minutes of screen time. >> how come darren didn't let you go? >> because i didn't ask him. >> shit, thelma.

>> the one thing i love so much about "thelma and louise" is it's one of the best love stories of all times. >> these two friends decide to get away, and things go off the rails really, really quickly. >> shut the [ bleep ] up, you hear me? shut up. >> please don't hurt me. >> you let her go, you [ bleep ] or i'm going to splatter 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 don't think he's going to apologize. >> nah, i don't think so. [ gunshots ] >> this is an odyssey of two women on the last journey. they would not know it was the last journey, 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 need some claustrophobia, right? you want to make the audience feel like they're trapped.

and then there has to be hope. >> here. 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 this 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 ♪ compared to what >> in vegas everybody's got to watch everybody else. >> "casino" is the story of

of hubris 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, you know, crawford and the great divas and i had to learn how to bring out what i needed through her. >> no! no! >> 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 willing to kind of let your guts

come out. >> just get out of here. >> fine! i'm taking amy. >> you're not taking amy. >> i am. >> you're stoned. you're a junkie. get out of here. god [ bleep ] you. >> ultimately they're given paradise and like adam and eve they're banished from paradise because they blew it. thanks for the ride-along, captain! i've never been in one of these before, even though geico has been- ohhh. ooh ohh here we go, here we go. you got cut off there, what were you saying? oooo. oh no no. maybe that geico has been proudly serving the military for over 75 years? is that what you wanted to say? mhmmm. i have to say, you seemed a lot chattier on tv. geico. proudly serving the military for over 75 years.

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[ text notification now that you have] new dr. scholl's massaging gel advanced insoles with softer, bouncier gel waves, you'll move over 10% more than before. dr. scholl's. born to move. we have lift-off. >> "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.

and not theatricalizing it. 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 saved, but the thing we care about is how are they going to be saved? 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 stories. >> come on, jack. pull through. >> when you look at the film "jfk," the movie'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 the name of entertainment. >> you're young. you're clean cut. you're from a prominent family. >> kids would run to --

>> what about him? >> i love him. >> people don't like him. kids don't like him. >> if you were a kid, would you want to be an annoying jewish guy with a sidewall haircut? >> as i kid, i lived through the "quiz show" period. i wanted john to play herb stempel, 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. >> yes, i know his name. halek. 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.

it really felt like the film that he was made to make, and i think he felt a certain urgency in making it. >> we want justice! we want justice! >> spike had the good fortune of casting denzel washington at the pinnacle of his movie stardom. i think it's his best performance. >> 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 race problem. >> watching a guy like denzel as malcolm x, top of the game, intimidating in many ways. >> mr. beckett, come in. >> 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. >> oh. oh, i'm sorry. >> "philadelphia" was an important film. denzel washington represents the audience's apprehension of people with aids. >> how did they find you out have the aids? >> one of the partners noticed a lesion on my forehead. >> and so 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 closet, 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 stigmatize them. my name is forrest, forrest gump.

>> forrest gump. >> gump! >> it's a very rare thing for me to read a script and not be able to put it down. >> "forrest gump" is a marvelous look on the how history happens. >> forrest gump? john lennon. >> 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, you know, done that part. >> by the 1990s, the median age of the people who served in

world war ii was around 70. they were growing old and disappearing. there was a powerful sense of nostalgia. we saw a lot of retrospective looks at aspects of world war ii. this is the time when people started talking about the greatest generation. >> "saving private ryan" was a film that 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 moviegoers saw as 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. >> steven did great in "private ryan," it was, like, 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 because 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 bearing those scars in that kind of a conflict. >> what is that? is that silk? >> of course. >> it has a nice sheen about it. >> thank you. >> very nice. >> i'd say i'd 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 very documentary style. it was the first film i had ever shot like that. it became less of a film and more of just 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 cast liam neeson at the last minute based in a play i saw him on broadway. i thought he was the best schindler i could possibly find and he was. >> god bless you. god bless you. >> oscar schindler was a deal maker and he didn't really care that much for his workers, but there was an inevitable metamorphosis on the encroaching holocaust, and what he witnessed, 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.

i don't know, if i just -- >> 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, that it denied the deniers, it allowed us to really mean it when we said never again. "schindler's list" is the greatest experience i've ever had as a filmmaker.

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♪ ♪ ♪ ♪ take me to your best friend's house ♪ ♪ going around this roundabout ♪ ♪ oh, yeah

♪ ♪ put your little hand in mine "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. >> now don't you tell me you don't remember me, because i sure as heck remember you. >> not a chance. >> ned! >> 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? >> the movie's perfect.

it's also so obviously for bill. >> bill? like the groundhog bill? >> yeah, like the groundhog bill. >> watch on the for your shadow there, pal. >> morons, your bus is leaving. >> it's hard to be a likeable dick and then win the audience over by the end. bill's 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. well, 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 rest of your life. >> wes anderson, his films are

like opening a jewelry box and you can take out all the little trinkets and look at them 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 rushmore in terms of having bad grades and not being good in school, but having a passion for something. >> frank, you enter stage right with a bag of cocaine. >> 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, guy. >> these are o.r. scrubs. >> oh, are they? >> comedy in the '90s will be gigantic. >> shag we shag >> shall we shag 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 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 then all of a sudden one day, this guy who is as big as the screen shows up, and it's jim carrey. 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, you know, 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 >> is he looking at you? what's he doing down there? >> "there's something about mary," 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 kind of off the wall comedy that also has this really joyous heart to it. >> you know, maybe you should just move down here and marry me. >> it introduced cameron diaz as the loveable girl.

>> i'll have a coffee. >> i'll have a cap chino. >> do you have any coffee ice cream? >> i'll have -- >> with a twist of lemon. >> you had lots and lots of really funny bankable people doing wonderful movies. >> look at this. my first day as a woman and i'm getting hot flashes. >> hello, peter. what's happening? um, 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. mmkay? >> "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. >> nina speaking. just a moment. >> "office space" did such a great job in completely lampooning office life. >> piece of shit.

>> technology had made this cubical land and "office space"really captured that. >> i'm thinking i might take that from logistics. things go well i'll be showing her my "o" face. you know what i'm talking about. >> jennifer aniston was in it. she worked at tgi friday's. >> 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? ♪ teacher's pet ♪ i wanna be teacher's pet ♪ i wanna be huddled and cuddled as close to you as i can get ♪ >> 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. if i ever do that again i'm just going to, you know, kill my with a regomatic. >> 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. you know, not really much to call my own, and then basically being slammed down for ten or so years, you know, off, off, off, off broadway and then enough is enough, okay? i get the joke. >> chris surrounds himself with funny people. eugene, frank willard, katherine o'hara. >> if there is an empty space, say a line. >> chris works in miniature. he's like peter sellers. such fine taste. and when it hits right, it's amazing.

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that day i went to my dorm and started writing "boyz n the hood". >> my mama say a bullet don't have no name on it. >> i ain't afraid to get shot. 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 those movies 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. in the scenes where he's encountering the black residents. >> something wrong? >> something wrong? yeah. 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 tough? you think you 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 throw down, stand up and die for that shit like he did. >> blizzard, he ain't sticking up for something 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 we want to do as young men coming into this entertainment together. i've got my robert de niro.

i've got the guy i'm going to do multiple movies with. >> people don't realize how theatrical the gangster rap thing was. tupac, iced tea, ice cube, they were all storytellers. so when it came time to go to hollywood, all of them were very convincing on screen. >> craig. craig! >> hold up. >> man, that's what it's supposed to do. >> "friday" was one of those films that made me excited about being in the film industry. >> hey, you guys. >> hey. >> cube at the time transitions from music into filmmaking, 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 jam of the year. >> 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. >> who are you talking to? >> they were a musical duo looking to have a fun time, dad's away, let's throw a party. >> scandalous. >> having a movie like that premier at sundance really showed the possibilities that indy black filmmaking 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. no tv on a school night. >> 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

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 it's not a, quote, unquote, hood movie, but it's a hood movie from the perspective of a young girl. >> people think of new black realism as the hood genre, but actually there is a range of socioeconomic experience being shown in black cinema of the '90s. ♪ >> so whether we're talking about some of the black romantic comedies, family films, like "soul food" or films like "waiting to exhale" or "how stella got her groove back," they think of as companion films that celebrate sisterhood and

that's a whole other element that hasn'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 back up, put the gun down, and get me a pack 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 ever seen. will smith looked at that and said i'm going to do the same thing. what translates well abroad,

movies with, like, sci-fi aliens. so that's 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. let's be honest, you need insurance. but it's not really something you want to buy. it's not sexy... oh delicious. or delicious... or fun. ♪ but since you need both car and home insurance, why not bundle them with esurance and save up to 10%. which you can spend on things you really want to buy, like ah well i don't know what you'd wanna buy cause i'm just a guy on your tv. esurance. it's surprisingly painless.

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in the place that's made for it. see you at denny's. what's your name? >> what do you want it to be? vivian. my 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 are we doing? >> well-done. >> well-done. >> did we think it was going to be a huge success? not necessarily. >> 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" makes julia roberts a major star. that smile, that interaction with richard gear, that improvised little thing with the jewelry box and pearls in it. >> he said just touch it, it's

the most amazing thing you've ever seen. >> we fall for her and we fall-like a ton of bricks. >> my god, it's the bride and the woman she'll never live up to. >> she rise said through the decade but then really ends it with three mega rom-comes. my best friend pfs wedding, run away bride and noting hill. >> can i help you at all? >> 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 and 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 front of the romantic comedy. you have sandra bullock, hugh grant. >> she made everything beautiful and it's tough this time of year match a kid needs a mother. >> could it be you need someone just as much as jonah does? >> yes. >> norra effron prepared movies like no other director i've ever worked with.

we would work through weeks prior to beginning of shooting. every line was specifically found or written or perfected. >> it was like. >> magic. >> magic. >> norra efron was unafraid to take something that felt familiar but then cover it in unfamiliar territory. >> i hope so. >> scratch up your back. >> what? >> in the movies a woman is always scratching up your back and stuff and screaming when you're having sex. >> how do you know all this? >> you saw people working who weren't necessarily from the traditional american family. >> i'll sit by the telescopes. >> the great thing about norra is when she was talking about

the dynamics between men and women who are attracted to each other or need each other or 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 fired jerry mcgwire. >> the script goes in to tom cruise. he calls in immediately, i love this script, i'll read it with you and you tell me if i'm right for it. >> don't worry. i'm not going to do what you think i'm all going to do. >> and basically i've been geeking out over his performance ever since. >> jerry mcgwire, i'll tell you how i'm doing.

i'm sweating, dude. >> they wouere just like landin blows on each other. and that scene just exploded. >> congratulations, you're still my agent. >> that film really spoke to me so deeply because she's a single mom with this precocious little kid and bringing a guy into that picture. i loved how much cameron believes in romance. >> i was so anxious to do one line. you complete me. there were times that i'd read that in a 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 -- >> 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 worked. let's see, aleve is proven better on pain than tylenol extra strength. and last longer with fewer pills. so why am i still thinking about this? i'll take aleve. aleve. proven better on pain.

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>> what is he looking for? >> he says he has to find the perfect dozen. >> the perfect dozen? >> yeah, each egg has to be perfect. >> in the '90s you could feel the excitement there was something happening here. there started to become the genuine independent film movement. and sundance film festival, sundance institute had everything to do with it. >> the idea of starting sundance was that i felt that i'd grown up being a part of a major film

industry because that's all there was, and i was very fortunate to be part of that. but as time went on i became more aware of other stories that could be told. they'd be told by people that were less inclined to be commercially attractive. they were different, they were off beat. but they were stories i felt should be told. >> women are lonely in the '90s. 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'd be a lot cooler if you did. >> it was this complete euphoric look at young people before they have to become adults. >> the high school movie, there's a million of them, but there's very few that give a clear depiction of that time in your life, and there's all these actors that start off dazed and confused. >> that's what i love about these high school girls, man. they g i get older, they stay the same age. >> those characters i adored. they just felt like real girls to me. >> let me tell you this, the older you do get, the more rules

they're going to try to get you to follow. you got to keep on living. >> it's the lightest touch. it's lightening in a bottle. >> all right, everybody caught up some green. come on, throw in a buck. >> i don't tip. >> you don't tip? >> no, i don't believe in it. >> you don't believe in tipping? >> i wread reservoir dogs and i thought it was clearly written by somebody 60 years old and gotten out of jail and wrote his life story. >> harvey was the guy that pushed it through to us that allowed us to discover quentin tarantino. >> you're mr. white. you have a cool sounding name. >> hey, nobody's trading with

anybody. this ain't a goddamn city council meeting, you know. >> it was clearly focused on violence which was very prevalent in our country. for me that was kind of a break through moment. >> [ bleep ] that. >> 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 pound of cheese in france. >> no. >> tell them vincent. >> royale with cheese. >> do you know why that 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 bud. it was like a tarantula.

you just had to look at it again. >> is that a fact? >> and look at what john trovolta does, uma ther mon, 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 mother [ bleep ]. >> you constantly have to pay attention because you have all these characters who were somehow connected. you always start to figure it out as the movie goes on. >> i love you, pumpkin. >> i love you honey bunny. >> everybody, this is robbery. >> you know a teararn te tearen the minute you see it.

>> and it kind of became a phenomenon. >> so what do you guys do? >> well, i'm a comedian. >> when i started writing "swingers" i didn't know it was going to be a movie or full script. i was just having fun writing stuff i got a kick out of and i kept going with it. >> i don't want you to be the guy in the pg-13 movie. i want you to be like the guy in the rated r movie, the guy you're not sure if you like him yet. you're a bad man, you're a bad man, you're a bad man. a bad man. >> it was sort of that indie common sensibility. and when the movie finally came out, it hit the culture in a big way. >> see, baby, it's not that hard.

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"little mermaid" was the hit that showed what these movies could do. and that kicked off a total revolution in the animation world. >> and now we invite you to relax, let us pull up a chair as the dining room proudly presents your dinner. >> when audiences see these movies, they haven't seen animation like this in decades. >> disney studios reexamines the templates of "snow white" "pinocchio," dumbo, bambi, and returns disney video 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 captured the same magic. ♪ the circle of life >> 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 hthan the sum of its parts. ♪ it means no worries for the rest of your days ♪ >> it just clicked with the right animators, the right directors, the right music. ♪ oh, i just can't wait to be free ♪ >> people were ready for that kind of story on that kind of epic scale. and then you can see the beginnings of cg in the background for certain things like the stampede.

it's one of those things where 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 i went and saw it twice. 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 was nice and interesting but that wasn't what

blew me away. what blew me away are here there were new characters. the film was contemporary, it was not a musical. and it was done with all the sincerity of the walt era. >> did you actually think you were the buzz light-year? all this time i thought it was an act. hey, guys, look it's the real buzz light-year. >> you're mocking me, aren't you? >> anyone who wants to study screen writing should watch pixar movies. >> let me guess, andy's a real special kid and to 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 that's so beautiful about bringing an inanimate object to life. drawing animation is the same kind of thing, but there's something about stop motion that's so pure and strong. >> what's this, what's this? i can't believe my eyes i must be dreaming. wake up, jack, this isn't fair. >> tim burton has managed to take the most mocob things and make them so heart breaking and beautiful. you don't have to wonder for 10 seconds if it's a tim burton

film. "edwa "edward scissorhands" is kind of a frankenstein story. he creates a boy that dies before he can put his hands on. >> edward scissor hands was a concept he brought to life by a drawing. >> 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 kind of goes back to silent movies where people communicate with the eyes.

>> so we're going to be working together? really? worst film you ever saw. well, my next one will be better. hello? >> it's such a sweet movie and yet it's not at all clawing, it's just completely cool and crazy. >> he's a monitor. can you imagine that guy would look like in a movie. >> johnny depp plays a character who's known as the worst film director of all-time. >> you love him for his enthusiasm. >> all right, prepare for scene 32. >> we all feel that. you know every time he's in a movie it's going to be the greatest most amazing thing. >> edwood was not made as a

joke. it was lovingly made in appreciation of what that guy had done. >> these actors, they really love 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 weirdos trying to make a movie. that's easily relatable to me. >> this is the one. this is the one i'll be remembered for. ♪ take me to your best friend's house ♪ ♪ going around this roundabout ♪ ♪ oh, yeah we're oscar mayer deli fresh your very first sandwich,m... your mammoth masterpiece. and...whatever this was.

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no, go home. bad wolf, bad wolf. >> when you think of the '90s you do think of actors in the directors chair. you think of jody foster. you think of mel gibson, and you think of clint eastwood who finally gets his due in the '90s. >> "unforgiving" is miraculous film in many ways. the legacy of eastwood's films of the westerns and dirty harry films is landed on this moment of frailty. >> my agent called clint eastwood and made an offer. clint eastwood eastwood?

yes. you'll be his partner in this western. well, shucks, tell him i'll think about it. >> i remember it was three men you shot, will, not two. >> i ain't no crazy killing full. >> clint eastwood and morgan freeman who have been professional killers and are sick of violence and don't want to do it anymore, but they get dragged back into it. >> i killed one of my children. killed just about everything that walks or crawled at one time or another, but i'm here to kill you, bill. >> 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 were directors in this period like michael mann who are the rebels, the guys just doing it differently. >> 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 de niro and al pacino on-screen together doing a scene together. >> what do you say i buy you a cup of coffee? >> the scene, all three of us, we knew there was a nexus of the whole film. >> i worked all kinds. >> this is one of my favorite scenes between these two guys. they finally come together and i think we did a good job with it. >> i do what i do best. you do what you do best, trying to stop guys like me.

>> they're not taking their eye off each other. it's almost reflexive. >> i will not hesitate, not for a second. guys like michael mann would punch you in the gut but it would have truth in it. >> 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. >> it was written for me, i got very excited. they said i came home from work and we 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 this execution-type deal. >> the scripts are publishable works of literature. for example, the scene in fargo

where marge is interrogating the two strippers. >> hey, they said they were going to the twin cities. >> oh, yeah? >> yeah. is that useful to you? >> yeah, you betcha, yeah. >> it was punctuated and written in the rhythm that we played it, and it's beautiful. >> and the oscar goes to ethan for fargo. >> "fargo" was the cohen brother's film that really gets embraced at the academy awards. what do they do? they do something completely different. >> sometimes there's a man, he's the man for his time and place. >> one of my favorite stories is how long it took jeff bridges to agree to do it. it was so good. wrote it for him, sent it to

him, it's great, not sure i can do this. i just remember thinking how could he not? obviously, he came to that conclusion himself. >> let me explain something to you. i am not mr. lubousky. you're mr. low bousky. i'm the dude. so that's what you call me. that or his dudeness or duder or eldu el duderino. >> it's the only time in my life i haven't been ache to look an actor in the eye because he was so funny. >> jeffrey. lovely. >> that's my robe. >> big lebousky is the most quotable movie of my generation. >> that rug really tied the room together, did it not? >> the cohen brothers are submersive film makers. they're revolutionary bomb throwers but you kind of are

pleased the bomb landed on your front porch. >> they 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. and i think by exploring the genre, then they subverted it. >> where i grew up was the porno capital of the world in san fernando valley. i would know what a regular shoot would look like and the difference when it was a van. that's where boogie nights came from, a world i knew really, really well funny enough. >> who's dirk digler? >> when i got paul's script for boogie nights i called my agent and said are you punking me? it's an x-rated script. i said, no, it's not. there's copulating in it.

and he said no, that's the contract. and i said i'm in. >> i used to argue with paul that amber should die. like, she can't die. i was like she would, she probably would. i don't know she would have survived all of that. >> i'll ask you and you said, yes, okay. are you my mom? >> she kind of assumes the mantle of parenting in this world. she's not actually taking care of him. she's playacting. >> the thing i really love about the scene how she's 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's not responsible enough to parent.

>> you don't have to be interested in pornography to be interested in people who have been rejected by their family, who don't have a family. the moral of the story is about all these broken humans trying to make themselves whole by finding a stitched together family when they don't actually have a family of their own. >> anderson has never made the same movie twice. i'm not sure there's a higher compliment you can pay to a director. his imprint is on his films. >> common on, frank. what are you doing? >> what am i doing? >> yeah. >> i'm quietly judging you. ♪ sport drumming starts

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"the piano" was ravishing and also uncompromising.

it's a really visceral movie. you feel the weight of the fabric, the dampness of the air and the moss. and it's so inherently jane. >> jane campion is a filmmaker from new zealand who shot this very intimate movie in her home country. >> it was kind of intimacies that jane pulled us into as an audience. she has a voice not to be denied. >> it's an extraordinary performance in a 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 at canne and became the second woman to be nominated for

an oscar for directing. >> the '90s was the best time for woman drerks. they infused a kind of sensibility that made it enjoyable. you were hanging out with other film makers saying, wow, how many movies can i make? how many women can i work with? >> you still haven't figured out what riding the waves is all about, have you? it's a state of mind. >> they don't want be acknowledged as a female director. i fought my whole career boo be acknowledged as a filmmaker not a black director. >> i'm a bad therapist. do you hear me? i'm a bad therapist. i am making these people worse. >> walking and talking was inspired by the time my best fremd was getting married. >> it's so fake looking. it looks like a barbie ring. >> they were a perfect match.

i loved them both, but i felt very lonely. >> it's not fake. frank gave it to me. >> and i thought that was funny. >> we're engaged. we're going to get married. >> well. >> 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? >> i don't know what to say. >> i just don't know anyone who is better at setting up that kind of situation that makes us all squirm because they're so human. >> they're like dogs. you have to clean them and feed them and they're these nervous creatures that like to jump and slobber all over you. >> get off of me. as if. >> when i was writing "clueless"

i hung around beverly hills high school. there was a teacher there who taught debate and he let me hang out in his class and you heard the venackler. >> in conclusion can i remind you it does not say rscp on the statue of liberty. >> she's giving these girls they're own vocabulary. >> hello, it was his 50th birthday. >> whatever. >> oh, my god, i'm totally bugging. >> choir changioir changing the lexicon of teen girls all over the world. >> i think amy heckerling still is able to see her as a real girl. she doesn't turn her into the punch line. >> in "a league of her own" penny marshal looks at the

changing role of women. 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. >> it's iconic and the lines are iconic and the performances are iconic. >> we told them it was their patriotic duty to get out of the kitchen and go to work and now when the men come back, we'll send them back to the kitchen. >> what should we do? send the boys returning back from war to the kitchen? >> a league of their own was about empowering women. here's another reason to join t-mobile.

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i love 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. haz here to help. it's okay. >> it's got heady ideas about time travel, about the spice time continuum but it's also a story about being relentness and jim as a filmmaker is relentless. >> when james cameron got to t 2 he was interested in expanding his pallet particularly to

include these new digital clues. it was wildly groundbreaking. cameron was making with industrial light magic. >> hasta la vista, babey. >> and they were really inventing this new process of cgi as they went. >> when you first heard that steven 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 boat? >> it's amazing just 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 do i hate being right all the time. >> what steven spielberg innately understands is that dinosaurs are awesome. >> it was the same feeling i had as a 7-year-old watching "jaws" for the first time when you would see those dinosaurs eat the leaves off the tree. i mean, that's what spielberg does a filmmaker. he makes you go -- >> a lot of the enthusiasm from cgi comes from a filmmaker scene

in jurassic park, what that can do for the technology. >> "titanic" is a throwback in so many ways to the big block busters of the '50s and '60s, not just in its scope and scale but also it was talked about in the way we talk about >> its budget at that point hit an unheard of $200 million. >> his romeo and juliet had not come out yet, so there was some nervousness on the part of studio executives like can leonardo dicaprio do this sort of thing. >> the studio thought they were in terrible, terrible trouble. it was going to be an enormous disaster and then 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, an action movie, also had a love story at the heart of it. >> i'm jack dawson. i have to get you to write that one down. >> it was irresistible, jack and rose. kate winslet really captured that independent woman who would not be pinned down and they were just this vivian lee, clark gable kind of pairing. >> "titanic" is this moment where james cameron is straddling these two worlds, the human scale and a computer scale, putting them together. and from this moment on '97, the world was 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. keanu reeves had already done point break but this was a different level of action. this was six months of training the actors had to go through. and you can film close upoffs the face while a punch is being taken, while a punch is being

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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's like the bell's about to ring and everybody's trying to get their good thing in before

the century ends. you have this really interesting combination of young film makers swinging for the fences and showing people what they could do, as well as more established figures like mike the mann, but "the insider" just finding a different gear. >> i have to put my family's welfare on the line here. what are you putting up? words. >> while you've been dicking around at some [ bleep ] company golf tournaments, i've been out in the world and backing it up with action. >> i'd stack it up in american film making as a real cohort of great film makers dropping significant work. >> hey, mr. mcallister. >> you're 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 about alexander payne. reese witherspoon is tracy flick. she's almost someone you want to root for because of her passion and drive, but also she has a

little too much ambition. >> they know 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" and you're getting voiceover from three or four different perspectives. >> who knew how high she would climb in life, how many people would suffer because of her. i had to stop her. >> alexander payne made a very american movie, and the performances in "election" of matthew broaddrick and reese witherspoon are terrific. >> looks like you could use a cupcake. >> it's a remarkable film. >> who are you? >> "boys don't cry" is based on a true story about a young man who was a trans man living in a small community. he fell in love with a woman. they had a relationship. and other people discovered that this was a trans man and not a cis 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 terms of american cinema in terms of what was made before and what was made afterwards. >> 1999 was just such a great year in independent inma. you look at that lineup of films from "virgin suicides" to "three kings" to "being john malkovich." >> there is a tiny portal in my office, maxine. and it takes you into a portal. you see the world through john malkovich's eyes and then after about 15 minutes, you're spit out on to the side of the new jersey turnpike. >> 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 metafictional dive

into the movie of literally john malkovich who is in the movie playing himself. >> malkovich. malkovich. >> it's one of those movies that's impossible to describe and it just sounds like you're piling one absurdity up on another, but it all somehow coheres into this beautiful and crazy 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" was done in a way, 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 mark for the way we felt at a certain time. it connected right where we wanted it to connect and it's still growing, and that's exciting, that's kind of -- for me, that's the highest aspiration. ♪ >> in the '90s, you get these trends and these moments that are going to carry on for the next few decades. you have this moment of really promising black filmmakers who are coming up. you have women's voices coming more to the forefront, in that they're writing films and in cases directing films. they're also getting some big blockbusters, as hollywood will always have. it sort of lays the groundwork for what we're going to see for

the next 20 years. >> you want answers? >> i think i'm entitled. >> you want answered? >> i want the truth! >> you can't handle the truth! president trump's latest twitter tirade drawing scorn and criticism. he lashes out at several democratic congress women telling them, "go back to their countries." plus, a crackdown on undocumented immigrants. the trump administration saying it's targeted roundup is underway, though it seems a far cry from the major blitz the administration had promised. and birthright has brought millions of young jews to visit israel, but it's also faced major backlash from a one-sided perspective. now one organization is offering a different view. we are live from cnn world headquarters in atlanta and we