>> i think i'm entitled. >> you want answers? >> i want the truth! >> you can't handle the truth! ♪ ♪ ♪

♪ ♪ ♪

with "gladiator" the producer came in my office and he said, listen, i want you to look at this first before you even read anything, and she showed me this painting. it was the corner of clearly a coliseum. you have part armored, standing over a slave who's about to get killed. he's looking up for permission at a guy who's clearly nehro who's doing that. in other words, kill him. i said, i'll do it. he went, you haven't read the script. i said i don't care. i think we can get this right. let's do it. >> are you not entertained? are you not entertained? is this not why you are here? >> i must have had a half a

dozen phone calls with ridley about russell. i thought he was really a raw talent who was, i think, just discovering the power he had. >> slave! you will remove your helmet and tell me your name. >> he's marvelous. russell's big thing is that heart he has in his voice. >> my name is maximus decimus meridius, commanders of the armies of the north, loyal servant to the true emperor, marcus aurelius. father to a murdered son. husband to a murdered wife, and i will have my vengeance in this life or the next. >> he's a character actor, and that's, that's what he loves is to, is to fully create a character. >> i'm not a soldier. >> old, worthless, discarded. >> there's no mission.

>> and while you rot the world will burn to ashes. >> you're not real! you are not real! >> you're still talking to me, soldier! >> no. listen -- >> he finds himself within those characters and he embodies them in ways that just make you lose yourself in that world. so he's really helping the director to create and transport beyond his own status and presence. >> there's two things that aggravate me, mr. masseri. being ignored and being lied to. >> i never lied. >> you told me things would be fine. they're not. i trusted you. >> sorry about that. i really am. i need a paycheck and i've looked, but when you spend the past six years raising babies it's real hard to get someone to pay you worth a damn. >> and julia roberts playing a character about gathering up class action lawsuits against poisoning water in a community and lying about it.

>> we're going to get them, erin, aren't we? you got to promise me that we're going to get them. >> to get to be in the orbit of steven soderbergh and just feeling like you had found your person, like, we just came together at the right time with the right material, and one of his great talents is casting people. aaron eckhart and albert finney. >> you're erratic. you say every goddamn thing that comes into your head, you make this personal and it isn't. >> not personal? that is my work! my sweat, my time away from my kids. it that's not personal i don't know what it -- >> it's a complex performance. it's a purposeful performance. you got all of julia roberts in this film. >> and the oscar goes to -- julia roberts.

>> the oscars, what does it mean? i don't know. do we want them? of course we do. it's this great piece of recognition that will stand the test of time, and it's a really special moment. >> ah! i love it up here! >> steven soderbergh and george clooney sent me the script for "ocean's 11" that came way 20 dollar bill and said, we hear you get 20 a picture. so they were paying me in advance. [ laughter ] >> you're not wearing your ring. >> i sold it. i don't have a husband or didn't you get the papers? >> my last day inside. >> i told you i'd write. >> george clooney is the one that convinced his friends to be his fellow cast members, and it was just fun. there's something very special about seeing this kind of star power, this charisma on screen. >> what did you guys get a group

rate or something? >> stars become for a while the most dependable element in movies, which is why their salaries go up and also changes the whole context of movies, because the power balance in movies changes. >> i'm fine. i'm cool. i'm good. >> it changes from an industry that at first was studio driven and then was director driven to an industry that is star driven. >> i have made fire. i -- have made fire! >> by changing the balance is changes the kind of movies we get. ones that ultimately centralize the star. ♪ >> today's a training day, officer hoyt. i'll show you around and give you a taste of the business. i've got 36 pending cases. 250 on the log i can't clear.

i supervise five officers. that's five personalities, five sets of problems. you can be number six if you act right. >> "training day" is an otherwise small film without denzel's presence. the energy he brings to the alonzo character makes him really hard to take your eyes off of. >> 49, 998. shots fired. officer down. repeat, officer down. 5951 baxter street. >> congratulations, son. you're going to get a medal of valor for this. >> i didn't shoot him. >> a room full of cops said you did. >> but i didn't. >> you did. >> every scene i did with them from the first day was the reason i wanted to make movies. i was just so into watching these two guys' performance i forgot to yell cut sometimes and they would just keep going. >> player to player, pimp to

pimp. shoot me. >> don't do it. don't do it. >> now -- you don't have it in you. >> denzel got in a fight, put the cigarette down. the scene was over. he lit it and i saw it in his eyes. the lens, a long lens. i could see something happening. he was just on fire, man. >> i'm the man up in this piece! you'll never see the light of day. who the [ bleep ] you think you [ bleep ] with? i'm the police. i run shit here! you just live here. yeah, that's right, you better walk away. go on walk away because i'm going to burn this [ bleep ] down. king kong ain't got shit on me! >> denzel is a gift to us. watching him in the movies is one of my joys. >> from the bottom of my heart i thank you all. 40 years i've been chasing sydney finally give it to me. what they do? give it to him the same night. >> the 2002 academy awards is

important because you have denzel washington winning best actor, halle berry winning for "monster's ball" and also sidney portier getting a lifetime achievement award. >> and the first 73 years of history of the oscars only one african-american had ever been named best actor or actress and now after last night the number is three. [ applause ] >> it was just a great moment for black actors, for black cinema and the struggle. of savings and service. whoa. travis in it made it. it's amazing. oh is that travis's app? it's pretty cool, isn't it?

there's two of them. they're multiplying. no, guys, its me. see, i'm real. i'm real! he thinks he's real. geico. over 75 years of savings and service. yeah. you got your yeah?ork? hey, give me a kiss. [ kisses ] announcer: what's the role of a car company? go! announcer: to take your kids to and from school? mari... yes? what are you doing? don't forget your science project. announcer: we think it can be something bigger. announcer: this summer, during our drive bigger event, announcer: volkswagen is supporting america's teachers. announcer: join us, announcer: and drive something bigger than yourself. (woman) (man) have you smeno.d this litter? (woman) nobody has! it's unscented! (vo) tidy cats free & clean unscented. powerful odor control with activated charcoal. free of dyes. free of fragrances. unscented odor control like that? try tidy cats free & clean.

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look at this. an entire generation of cinderellas and there's no slipper. >> you want to get high? you looking to get high? >> all i had to do is listen. that's what lester banks says. >> as long as i know this is a hobby. >> i really loved playing elaine miller in "almost famous." basically it was a love letter to his mother. >> don't take drugs. >> don't take drugs! >> it's about my childhood growing up in family where rock and roll was deeply suspect. ♪ >> he was thrust as a young boy into this world of rock stars

and groupies on the road. >> ladies and gentlemen! >> seeing the freedom and the heartbreak that comes along with that freedom was really exquisite. ♪ will i end up where i think only god really knows ♪ >> there were two scenes. there was penny lane dancing to the wind, cat stevens song. on the floor of the empty arena. that felt like the soul of the movie. also, the scene where they're on the bus singing "tiny dancer" as a way of kind of bringing the band back together. ♪ hold me closer tiny dancer >> i have to go home. ♪ count the headlights on the highway ♪ >> you are home. ♪ lay me down in sheets of linen ♪ >> what i love about cameron is that he is a deeply devoted fan of film, and the best of his films are because of the way he

studied them and the love that he has for the craft. and i think "almost famous" is his best example of that. ♪ there was a boy ♪ a very strange enchanted boy "moulin rouge," awesome, awesome movie. everything about that movie's perfect. ♪ >> life's an awful ball. >> at time where "moulin rouge" came out nobody wanted to maybe musicals. it was such a trailblazer as far as how musicals were shot. and also the type of music that was used in it. ♪ here we are now ♪ entertain us

>> every song in "moulin rouge," it wasn't like i got my favorite record collection together and went, here's a catalog of songs. let's find a narrative. ♪ the french are glad >> the musical numbers are, in fact, that particularly difficult craft of not being a poem, which is what most pop music is, but, actually, they're linear. they're telling stories. ♪ a kiss on the hand ♪ but diamonds are a girl's best friend ♪ >> there had to be a degree of challenge in the rhythm of it. we had to kind of smash the door in or really get in your face about the musical. ♪ roxanne >> we had to say, are you going to accept the contract and come with us or not? ♪ believe me when i say

>> musicals are cyclical, like many other genres, and i think "moulin rouge" opened up the possibility for musical cinema again. >> five, six, seven, eight. ♪ >> when "chicago" originally opened on broadway in the '70s people thought that bob fosse's vision of the world was too dark and cynical, but by the dawn of the 20th century he was right on it. ♪ shake up, i want a brand new start, to do that jazz ♪ >> let's go, baby. >> "chicago" was thought to be unfilmable. people had been trying to make an adaptation for years and what rob marshall was able to do to make the musical numbers in roxy's mind, the idea she was a character that was envisioning

musical numbers was brilliant. ♪ he had it coming, he had it coming ♪ ♪ he only had himself to blame ♪ if you'd have been there, if you'd have seen it ♪ ♪ i bet that you would have done the same ♪ >> i'm a firm believer that the time is always right for a great musical. ♪ and you, and you, and you, you're gonna love me ♪ >> when you see things like that working in the marketplace -- ♪ you are the dancing queen >> and having a real interest in them. it certainly emboldens filmmakers to come along with their own musical ideas. ♪ i steal from the rich and give to the greedy ♪ ♪ i keep a small percentage

♪ ta, ta, ta still the rich and i'm not pretty ♪ and risked it, man, i'm good ♪ bring it down ♪ >> animation took a real pivot at a certain point. >> prove it. where are the others? >> eat me. >> filmmakers figured out you can broaden the audience from 3 to 80. no one's left out. >> i'm telling you, big daddy, you're going to be seeing this face on tv a lot more often. >> yeah, like on monstropolous' most wanted. >> ha, ha. you've been jealous of my good looks since the fourth grade, pal. >> have a good day, sweetie. >> you too, hon. >> i'm the dope that turned down "toy story." when they called about the next one i said, i'll do it. i could hear the laughter on the other side. >> hey, thanks a lot. i'll be here all week. tip your waitresses! >> pixar films are exceptionally sophisticated, not only in terms of visuals were ut in terms of script, humor, in terms of characterization. >> wall-e. >> wall-e. >> no one does it as

consistently as pixar. they work miracles almost every time out. >> "the incredibles" pixar's pg rated computer animated film and at the time it was considered kind of a risky thing. it's an action be film but people assume because it's animated it's a certain kind of film, and that tells me the medium needs to bust out a little bit more. >> brad's characters are real and accessible, and i think that was new with the was new with "the incredibles." it was the polarity of what's mundane and they slammed up against each other. it's traction avenue. >> take me downtown. take 7. >> don't take 7! >> pixar is the best because they will dare to be really real. look at the opening of "up." >> it's a beautifully poetic

sequence and sets the table for the movie to come. it begins very cheerfully and then goes somewhere incredibly sad. >> that capturing of that relationship from you know, beginning to end, it gets everything. it makes you cry. and it gives you the sense of loss in a way that's so powerful. >> and this is the opening of the movie. i was coming in here to laugh, but you just rocked me before it even started. and you go -- what balls.

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do you live here? >> look, mister, i'm going to dial 911 and you are not going to move. zoe, hand me the phone. >> i don't think you understand. i'm a friend of your daughter's. >> my daughter is in the city and you wander in here, what, on ecstasy? i was in the israeli army and i could break you in half. >> nancy meyers invented a kind of filmmaking that is glossy, that's fun, that's romantic, and

that acknowledges the lives of the women who are watching the movies. >> why is it that you broads want all or nothing? >> i don't know. we're just goofy when it comes to love. >> her movies are just fantasy movies. they're just the fantasies of different people. >> someone's having a party tonight. >> oh, yeah. usually women. usually of a certain age and their fantasies are the ones we don't often get to see on the big screen. >> no! you're not. >> oh, yes i am. >> i am having an affair with agnes adler's husband. >> oh! ah! >> you have traditional masculine males who actually listen to and learn from their female counterparts. >> see? too much. >> okay. good enough. >> that's an irresistible message to the female audience.

>> tula, on my wedding night, my mother she said to me, greek women, we may be lambs in the kitchen, but we are tigers in the bedroom. >> ew. please let that be the end of your speech. >> what is going on here? why isn't anybody ready? the photographer is here. >> the genesis of "my big fat greek wedding" is i grew up surrounded by love and opinions and aunts with mustaches telling me when to get married and when to have a baby, and then i realized i could write a story about this. >> smack you like a chicken! >> i thought we would be shown in greek church basements and then i couldn't believe we got released in theaters. >> everyone, this is ian. >> ian! >> they're calling it the little movie that could. "my big fat greek wedding" has been a big, fat hit at the box office this summer. >> opa!

>> opa! >> the top grossing romantic comedy and independent film of all time. >> oh! you so beautiful! >> she was able it turn her charming one-woman show into a global phenomenon. i mean, what's not to aspire to if you write romantic comedies and movies about women? >> can you keep a secret? i'm trying to organize a prison break. i'm looking for, like, an accomplice. we'd have to first -- get out of this bar. then the hotel, then the city and then the country. are you in or are you out? >> i'm in. >> "lost in translation" is sophia copal's second film after "the virgin suicides" and it's beautiful. >> "lost in translation" she tells the story that is so distilled and personal and universal at the same time of the lonely woman missing her husband in the hotel and this extraordinary friendship that she strikes up with the character played by bill murray.

>> for relaxing times. make it centouri time. >> cutto, cutto! >> bill murray had given us a clue as to his dramatic side. you started seeing that side of him more. he is playing a celebrity. playing a well-known movie actor but one who is sort of dead inside. and this friendship that he strikes up with this younger woman sort of brings him back to life in a way. >> i don't want to leave. >> so don't. stay here with me. we'll start a jazz band. >> that movie and his performance in particular i was very relieved to see a comedian doing that. when you actually get more out of the human being that is a comedian, it's fascinating. >> my name is joel bearish, and i'm here to erase. >> jim carrey in "eternal

sunshine of the spotless mind." great in that film because he is a great comedian and a great star. he has every conceivable tool actors have and knows how to use each one at their right level. >> we're going off! can you hear me? i don't want this anymore. i want to call it off! >> charlie kauffman to me is one of those writers who is at his strongest when he's working with the right director. had he and michelle get together you really see what he can do. >> what? >> there you are. >> "eternal sunshine of the spotless mind" makes you feel good about hollywood. it's not always the lowest common denominator. sometimes something smart and unusual can stand out. >> bye, joel. >> i love you. >> meet me in montauk. >> that's a film that bleeds in love. the naivete of believing in love and at the end comes to a resolution maybe true romance is

agreeing that your relationship's going to be difficult. >> jack twist. >> ennis. >> your folks just stop at ennis? >> del mar. >> nice to know you ennis del mar. >> when i first read the story "brokeback mountain" i knew it was powerful. i felt it would upend many people's view of two young men being in love and the constraints and the challenges that they would have. >> this is a one-shot thing we got going on here. >> it's nobody's business but ours. >> you know i ain't queer. >> me neither. ♪ >> a lot of the gay movies up to that point were either kind of cult movies that existed in this

gay universe that made gay people seem weird or evil or suspect or kinky, and "brokeback mountain" was one of the first movies that felt like a mainstream hollywood romance. >> i've got to go. >> i was so frustrated they kept calling it the gay cowboy movie. it was not that. it was a haunting, beautiful, tragic love story of two men who were essentially just trying to exist. >> it's heartbreaking before you even get to the end, because you're rooting for them and jack seems to be willing to try in a way that ennis del mar just can't. >> i wish i knew how to quit you. >> then why don't you? why don't you just let me be, huh? >> people ask me all the time, what was the theme of "brokeback."

i said it's summed up in one word and that word is compassion. [ sobbing ] >> it's all right. >> whatever their beliefs were, i wanted people to come away saying it shifted them, but they weren't quite sure how. i wanted them to be deeply affected by it the way i was affected by it. ♪ don't miss your golden opportunity to experience the luxury you desire on a full line of utility vehicles. at the lexus golden opportunity sales event. lease the 2019 rx 350 for $389 a month, for 36 months, and we'll make your first month's payment. experience amazing. 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

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"there will be blood" is my favorite p.t. anderson film and daniel plainview played by daniel day-lewis is still a character i can't wash off. there is not enough soap to wash off the memory of that character. >> i think paul thomas anderson is one of america's finest filmmakers. all the films he's made bring you into a world that is utterly unique with characters who are

repellant and really attractive all at the same time. >> you look like a fool, don't you? >> yes. >> yesssssss. yes, you do. >> we already knew daniel day-lewis was a phenomenal actor but daniel day lewis and paul thomas together, it's pretty perfect. >> the great thing with daniel especially in that film is that it's intense, but it's also really fun. it's miss achieve it's mischievous fun and that was a great part for that kind of devilish, mischievousness to come out. >> i drink your milkshake! i drink it up! >> don't -- bully me, daniel. >> ah! >> with him, i saw a person working another way. once he was in character, and people always said, well, stay in character. mythology. it's easier.

maybe not easier for the actor, but it's easier for me. it's not the actor. it's this character. i'm talking to bill the butcher. >> somebody steals from me i cut off his hands. he offends me, i cut off his thumb. he rises against me, i cut off his head, stick it on a pike, rise it high up so all in the streets can see. that's what preserves the order of things. >> in daniel, once i saw him work that way, it was an intensity there that was very delicate. >> i am president of the united states of america. clothed in immense power. you will procure me these votes. >> he just was a miracle as abraham lynn continue. i'm honored he finally said yes after my pursuing him for ten years. daniel's one of the greatest actors who ever acted in front

of a camera. >> it's a mess, ain't it, sheriff? >> if it ain't, it will do until the mess gets here. >> "no country for old men" based on a mccormack mccarthy movie. josh brolan plays a freelance ranch hand who finds a suitcase of money in the aftermath of a robbery gone awry. >> what's in the suitcase? >> money. >> visualized it as a film. an extraordinary collaboration between a novelist and filmmakers. >> it's just a beautiful film from start to finish. but it's the way they wrote their villain that really makes it, i think, the best movie of the 21st century. i mean, i still think about him flipping the coin at the gas station. >> you know what date is on this coin? >> no. >> 1958.

it's been traveling 22 years to get here and now it's here. and it's either heads or tails, and you have to say. call it. >> well, look, i need to know what i stand to win. >> everything. >> how that? >> you stand to win everything. call it. >> all right. heads, then. >> well done. >> the cohen brothers are incredibly evocative because they're purposefully, i think, trying to bust up a norm. their "true grit" an absolutely perfect motion picture. >> running them cheap shells on me again. >> i thought were you going to say the sun was in your eyes. that is to say your eye.

>> you've got filmmakers who begin in the late '80s or '90s who are just determined to always make the movies they want to make. as much as studios gain control and as much as money becomes a the coin of the realm, the spirit of the 1970s, the idea that the filmmaker could still be the one in charge will continue to sustain itself through the work that they do. >> royal tenenbaum bought the house on archer avenue in the winter of his 35th year. >> a wes anderson movie is meticulously composed, beautifully designed and curated down to the last detail and tends to take place in a world that is almost a bubble, that is sort of siloed off from the outside world. >> let me ask you something. why would a review say that someone's not a genius? you think i'm especially not a genius? i know that -- you didn't even have to think about it, did you? >> real originality in filmmakers is pretty rare and i

think wes literally had it from inception. >> what's this lumber for? >> we're building a tree house. >> where? >> right here. >> there's a level of invention in his stories that feels incredibly generous. you go, where does he come up with these ideas, these little details that fill out the universe. almost feels like a compulsive quality. >> complements of herman. >> it's both intimidating and overwhelming as a screenwriter because it's so rich in its invention. >> each and every manned owed me 100 scalps, and i want my scalps. and all y'all will get me 100 nazi scalps taken from the heads of 100 dead nazis. or you will die trying! >> quentin tarantino. there are things in all his

screenplays like "inglorious bastards." they land on things that they should not as cleanly do. >> tarantino in the 2000s is giving us the ending to the story we wish his history had given up. "inglorious bastards," the bad guys in history lose. ♪ >> he had this singular ability to write this original movies that were often very violent, but they were also referencing old movies while completely reinventing the form and making it possible for audiences to find them accessible and entertaining, and that's really hard to do, and he did it over and and over again. and continues to do it. >> yo! you son of a --

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harry potter. >> when "harry potter" came out, it was right after 9/11, and people needed to go escape to a world of wizardry and magic. >> oh, look. who is that girl? >> welcome to hogwarts. >> there was tremendous anticipation for this film. and of course we met with jo rowling and we were very careful to run everything by her and to be sure that we had her blessing because she wasn't sure that she wanted to have the movies made at all. >> i took warner brothers word for it that they would be very true to the book and they have been so i'm very happy. >> "harry potter" is this idea of this young boy who not only does he not think there is anything special about him, but

he's mistreated. >> there is no such thing as magic. >> then to find out you're actually the heir of this amazing wizarding family and you are unique and special and you have this whole destiny in front of you, that's every child's fantasy. >> curious. very curious. >> welcome home. >> the whole world building of the harry potter movies is really. >> bliemy. blimey. harry! >> it certainly underscored the

importance of literary properties. if you are faithful to the underlying source material, the audiences will embrace it. >> "lord of the rings" is one of those rare examples that lives up to the hype and lives up to it three times in a row. >> are you frightened? >> yes. >> not nearly frightened enough. i know what haunts you. >> it is one of the craziest achievements of modern filmmaking, the sane gamble to make these three epic, huge fantasy films all together. >> you shall not pass! >> peter jackson, the incredible visionary director. he was in charge of seven separate film units filming the various story lines or battles. how he kept all of that together is unbelievable.

>> when he could write, he could write about these amazing battles and these massive fantastical worlds and what jackson was able to do is make that seem real in a way you hadn't really seen in fantasy films before. >> my precious. >> when i met with peter and fern walsh, they said, look, we want an actor to play the role of golum so whoever is playing frodo and sam is not going to be making decisions for golum as a character. there is new technology we're looking at called motion capture. i fell in love with it. it was a real epiphany when i did it in front of the monitor and could see the avatar of golum moving with my performance. >> you were really not so different from a hobbit once, were you? smeagle.

>> what did you call me? >> the "lord of the rings" trilogy is this marker of the 2000s. it's changing technology. it's introducing you to actors that now are household names and it's an epic that i don't think we've felt in culture since the original "star wars" films. >> master baggins, i suggest you keep up. >> if you look at the number one box office hit from 2001 onward, with the exception of "american sniper" in 2014, every single one of them is a franchise film. >> welcome to the caribbean, love. >> the studio executives started seeing that's the direction we want to go. they're not looking for a single project. they want the next franchise. they want something that is not going to give them one hit film, but a series of hit films they can spin off into markets of

television and video games and everything else. >> i think what paul did in the "bourne" films was completely reimagine the way that action films have been shot. he just pushes the boundaries. >> can you open the door? >> ethan? >> i can't get enough of the "mission: impossible" franchise. they clearly have such imbiambi to make each one better than the last one. >> i don't think there is any question we're going to look back on this as the age of franchises. even comedies get franchises. three "hangover" movies, fourmen "men in black" movies. >> does that come standard? >> there is always more content to be made. >> ready? >> ready. >> steady.

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girl who won had to forfeit her crown. i don't know why. something about diet pills. now she has a place in the state contest in redondo beach. >> oh, my god. i won! >> "little miss sunshine" was the first script i wrote where i started with the ending and re-engineered the whole story. one day i'm sitting at home and watching tv and there is this footage of a child beauty pageant. i just thought to myself wouldn't it be great if an unconventional girl got up there and just busted out and rocked the house. i know that's a good ending. i know that's going to be a good ending. >> the boys in the band. ♪ >> you could feel everybody in the theater was laughing, like, at the same time, and it's, to me, there's nothing else better than that. ♪ >> and only movies can do that. to get everybody in one room laughing together -- it's like

you're communing with the gods, basically, the gods of laughter. >> my name a borat. i like a you. i like sex. it's nice. >> "borat" is a very interesting mockumentary. sasha barren cohen plays a fictional character but goes out and interacts with the real world. >> my name is mike, i'm going to be your driving instructor. >> my name a borat. >> i'm not used to that, but that's fine. >> reality and fiction and comedy and drama all merge in such an original way. and sasha as borat, that is the breakthrough acting performance

of modern times. >> lift your hands. >> he was like a method actor and had to really have a lot of touchstones so he could do the performance. because he's not acting with other actors. he's not acting on a set. he has to pretend he is this character and they have to believe it. >> we're on air right now doing the weather. >> because the second they don't believe it, the scene's over. >> the big part of the fun of the movie was we were robbing banks comedically, and when we were done, the giddiness, the exhilaration of that experience was unmatched. >> frank! >> hey, honey. hey. >> what the hell are you doing? >> we're streaking. we're going up through the quad to the gymnasium. >> who's streaking? >> there's -- there's more coming. >> frank, get in the car. >> everybody's doing it. >> now! >> okay. >> just hearing will's name puts

a smile on my face. i remember him making "old school" and everybody got that taste of, oh, like you want to see a [ bleep ] genius on a movie screen? here you go. here's will ferrell. >> sorry i can't ride with you the rest of the way up, but this is where my dad works. oh, i forgot to give you a hug. >> because he came from the groundlings and "snl" he's very aware of where the laughs are. >> santa's coming to town. >> he's more like a jazz musician who will improvise around him versus somebody who is used to reading off sheet music. >> ladies and gentlemen, can i have your attention? i've just been handed an urgent and horrifying news story and i need all of you to stop what you're doing and listen. cannon ball! >> i love "anchorman" so much.

at this time, this was a big deal that he was making a movie that was his sense of humor, both "snl" guys and it was all the goofy shit that he does best all wrapped in one. >> ah! >> ron, where are you? >> i'm in a glass case of emotion! >> he's going to put corningstone on. he's going to put corningstone on! >> i've got to do the news! >> a lot of what we think of now as 2000s comedy is somewhere in "anchorman," whether you're talking about writers, directors, producers, co-stars, cameos. >> como estan, bitches. >> i think apatow is the most significant in that film. in terms of steering what comedy

would become. >> you're going to look good after this, man. >> thank you. >> you ready? >> yeah. [ speaking foreign language ] >> oh, you [ bleep ]! oh, i'm sorry. i'm sorry. that's just your job. >> i think judd apatow changed the landscape of comedy in the 21st century completely. >> [ bleep ] off. >> what? >> [ bleep ] off. >> i'm pregnant. >> with emotion? >> with the outrageousness that is absolutely going to kill, it's going to bring the house down. ♪ i'm just a crazy kind of girl ♪ ♪ i'll tell it to the world ♪ i'll just become >> "bridesmads" comes out and it's a really surreal experience watching that movie because you actually feel as though these are really women. >> ew, you had sex with him. >> we had an adult sleep over.

>> oh, did you let him sleep over in your mouth? annie! >> i'm sorry. >> you're unbelievable. >> he kept, like, putting it near my face. >> they do that, don't they? >> why do they do that? let us offer. if we don't offer. >> just slap it away. >> i couldn't. >> that scene with chrkristen i the beginning, i am really proud of that one in that i feel like it does capture their chemistry and you understand their friendship so quickly in their familiarity with each other. >> what is that? >> i got engaged. >> what? >> he asked me last night. >> i know. >> it showed female relationship in their entirety, in their awful, unattractive some days i love you even though i hate you side of female relationships and it revolutionized the idea of what could be female and what could be funny. >> you got food poisoning from that restaurant, >> oh, my.

okay. >> something's happening. >> the poop scene, that wasn't even in the script. >> not the bathroom. everybody, go outside. i'm serious. >> after rehearsal, jud and paul were like, what if you eat some bad food and you get the shits. >> up to that point, it was rare to see women being women in a ha hardcore comedy. and think about how many people's careers have been made by that movie. >> hey, yo uh want to get in that restroom and not rest? >> i have to get back to my seat. >> you have to get on my seat. >> melissa mccarthy won an oscar for that performance.

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>> you should see your faces. >> the studios loved le lech chul properties. "avatar" was something risky thing to do at that lugt level. >> we just sat there in 3daw. to be so immersed in that world was mindblowing. everything felt real. everything felt tangible. it felt like this world existed. "avatar" kim out for the second-biggest movie of all time. >> an then james cameron's wife,

kathryn bigelow, was doing something completely different. >> making "the hurt locker," you have one person going into the realm of danger. >> kth rynn bigelow is a master of building suspense. she is taking the violence apart to be something deeper. what would move these men to want to disarm bombs. >> this is suicide, man.

>> kathryn knows what she wants. never reckless. but always experimenting. she is a great, great film artist. >> director kathryn bigelow has a chance to make hollywood history. she is the fourth director nominated for best director and she would be the first woman as best director. >> it makes the movie an unstepible force. >> well, the time has come. >> kathryn bigelow. >> what's interesting is that she was happy for the

recognition for to be happy for her peers. but she didn't want to poster woman in hollywood. not everyone wants to carry that mantle. she is a filmmaker, making films. >> jess accept files in the morning. if he doesn't work, y'all are going to lose this place. you got some place to go? >> i'll find him. >> i told you -- >> i'll find him. >> it is where i want to be working. i want to tell stories from everyday life. that's the place where one can do that. >> ed is your only brother.

>> it's been going on 40 years. but i'm not going to go on ask. >> he gets the grand jury prize at sundance. and it got a lot of oscar nomination. >> the film had a really compelling presence at its center. played by jennifer lawrence. and this is the birth of an extraordinary career. >> i volunteer. i volunteer. i volunteer in tribute. >> i believe we have a volunteer. >> jennifer lawrence close from being a fresh face to "hunger games," and then oscar darling

with "silver linings playbook. kwlg ." >> forget the whole crazy. i'm a shlut with a dead husband. >> i love jennifer. her character was so powerful and strong. >> i didn't trust her before. now, i do. >> now, you like her, dad? >> i have to say, i do. >> when she makes the oscar for "silver linings playbook," she is funny and witty. she does what she sets out to do.

so, where are you? you're in a motel room. you wake up and you're in a motel room. there's the key. it feels like the first time you've been there. but, perhaps -- >> "memento" is a fractured narrative, is of someone who lost their memory, played by guy

pearce. told you about my condition. >> only every time i see you. >> with chris nolan, you're watching a guy having a great time making a movie. he's playing with cronology and playing with narrative structure. but telling a tragic story. and telling it through the eyes of a character we know nothing about. >> no reason. it can work. me? yeah. >> it's a care if ied air to occupy this place where you're

risky at the same time. >> it's hard to bring back the same fame. christian nolan walked me through the entire story. and a green lit it in the room. >> christopher nolan gave the batman story. a gritty, in-the-moment kind of reality. >> what? >> chris nolan knew what he was doing casting christian bale. and he made it a realistic portrayal of batman. you could believe this is how a billionaire kid became the dark

knight. >> good evening, ladies and gentlemen. we are tonight's entertainment. >> heath ledger close to play the joker as a genuine psychopath. >> that raised the stakes for the entire property. >> i had something up my sleeves. >> the joker has always been a somewhat ambiguous character. heath ledger made him truly me lev malevolent. >> and you see when the joker burns money to him. he just wants to create chaos.

>> all you care about is money. i'm going to give it to him. it's a heartbreaking performance because it reminds you of what the next 50 years would have been like as an actor on screen. studios is like, this is the backbone of our box office strategy. >> beyond consideration, the jerk. >> it wasn't an origin character. >> i will be throwing one of these in for everybody with a

story of $500 million or more. >> the thing that made it all work, was the casting of robert downey jr. >> let's face it. this isn't the worst thing you had caught me doing. >> it was a no-brainer. jon favreau and everything lined up. they got it right. our creation, and everybody that weighed on "ironman." >> the idea of so many

superheros in one movie, this has never been done before. >> outside of the world of comic books where they do their world-building, i don't know if there's been another cinematic experience, that is as written as the marvel universe. >> they've gotten it through with different directors and writers. >> marvel ask close to being as big as marvel is in motion pictures today.

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look at that. these people don't know what you're capable of. >> "birdman" was as close to making a film as you had. >> i can't help that you're popular. >> popular? popularity is the slutty little cousin of prestige. >> i don't know what that means. >> i don't know what was in the water around mexico city, but alejandro alfonso, guillermo del toro that is a pack of talent unlike anything in modern film. >> our creative process is a process we really share between each other. during the writing process, we keep on sharing our screen plays and being brutally honest with each other. then during shooting we're like support groups because we suffer so much that we need to talk to someone else who suffers more. >> these filmmakers don't come out of a void.

they come out of a country with a rich cinematic tradition. so they bring a very special perspective which has evolved over a long tiered of time. >> quentin, mucho tiemp. "pan's labyrinth" took people by storm. if they weren't interested in horror, they may not have known what guillermo was doing. it becomes a really accessible mainstream movie that he also has these very dark fantastical elements that he's been working on for years. >> the universe monsters, of course, are cinema history and so much inspiration from what he does comes from those old

movies. >> i can see the love of these monsters in his films and you can hear when he talks about it. i mean, you know, it's special. and "shape of water" is like clearly his creature from the black lagoon. >> guillermo del toro is appreciative of the old school moviemaking. he never lost the 12-year-old geeky fan boy within himself and i think that's why audiences can relate to his work so much. >> what you're seeing is the directors using established genres to do something that's actually very idiosyncratic and that you can make an intimate movie which is also a spectacle movie. alphonso caron is great doing that. he can make a movie on one hand like "gravity" which is spectacular that has to be seen on the big screen but in reality is a very intimate human movie. >> i know. we're all going to die.

everybody knows that. but i'm going to die today. funny that you don't have to know, but the thing is that i'm still scared. i'm really scared. >> alfonso cauron is a fascinating director because he's smart, gifted and does all kinds you have films. >> what was interesting about "children of men" is you had all these personal relationships in the middle of this dystopian future with something really human at stake this idea of fertility and continuing the species. >> people found it almost immediately and recognized what a powerful work it was. and now when you talk about the best films of the 2000s, it's

always in that conversation. >> she's pregnant. >> yeah, i know. >> it's a miracle, isn't it? >> with his long-time cinematographer emmanuel lubeski, he was able to do these things that no one had done before. i was speaking the other day with someone who is an industry professional and he had said he and several other people he knew decided to become filmmakers when they saw the car scene in "children of men." >> it was like doing a set piece. we were really driving the car.

there were really fires on the hill. the camera would movie overhead. for us as actors, it was exciting. >> the camera just manages to effortlessly flow to just where it needs to be. it's one of those scenes that leaves you saying how the hell is did he do that. he's the storytelling that comes first and the camera work comes second but they complement each other so beautifully. >> what cauron does in the "revenant" is they understand film should be an experiential medium. that you can feel like you're in some kind of horrible survival story in the midst of very rugged wilderness. >> he pulls on your heart strings, pulls your heart out and kicks you while you're down. you're gutted.

you are gutted by his films but you can't look away. >> jesus christ. what happened? >> they are these emotional personal films that really i think energize film in general. >> alejandro g. inarritu, "revenant." >> tonight's big winners included director alejandro for "the revenant." he won last year for bird man. it's the first time a director has won back to back oscars in 66 years. alejandro, guillermo and alfonso, these are the movies that are exciting people and movie story telling forward. they've won best director five

out of six years running. which clearly means they're making a major impact on the american film industry. >> i am an immigrant. like al phone and alejandro like sal marks like many, many of you. i think the greatest think our art and industry does is to erase the lines in the sand. we should continue doing that when the world tells to us make them deeper. (woman) have you smelled this litter? (man) no. (woman) nobody has! it's unscented! (vo) tidy cats free & clean unscented. powerful odor control with activated charcoal. free of dyes. free of fragrances. unscented odor control like that? try tidy cats free & clean.

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"12 years a slave" is this really sophisticated representation of slavery which had not always been the case. there is a very checkered history of the representation of slavery in cinema. and this film i think got it right. >> help me. help me. somebody, help me. >> it was based on a true story of a free black man who gets kidnapped and put into slavery. and it made people sort of pay attention in a different kind of

way. >> i ain't got no comfort in this life if i can't buy mercy from you, i'll beg it. >> it's not the easiest film to

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♪ >> there is still something about being told a story. a movie is something that's been really handcrafted. it's a mosaic that's been carefully pieced together. it just creates this opportunity to totally lose yourself. it's a little bit like entering a dream. >> it's light and shadows thrown

against a wall and bounced back at audiences that don't know what they're about to receive. these images live in our consciousness. that stays in our mind. the way music is recalled in our heads, those images replay and we live our lives by them. >> it brings all the elements of all of our senses together. there's really nothing else like it. >> even though you're doing something incredibly personal and in many ways incredibly selfish because you're doing something you love so much and then it gets out there in the world and it could change peoples' trajectories. >> when you can go somewhere that you can pretty much guarantee you're going to be able to set your worries aside for that period of time, it's like a drug. it's like a drug. >> it's just a direct conduit straight into your soul. >> i grew up wanting to be the movies. it was all about the movies. >> since the dawn of man, we like to get around a fireplace

and commune in story together. so we can feel for a few hours that we're human together. ♪ outrage that zbint simmering down. protesters say they will stay in the streets of puerto rico dill the governor finally decides to step down. >> plus capitol hill gets ready to hear from robert mueller. the former special counsel on the russia investigation. testifying before congress this week. and the american rapper arrested in sweden may be getting some help from the white house. the swedish prime minister warns that asap rocky isn't going to get any special treatment. hello and welcome to our viewers joining us here in the united