team. >> that makes it that much better. that does it moore tonight. next, back-to-back episodes of "the movies." thanks for being here. have a great night. ♪ ♪

♪ ♪ ♪ ♪

>> with "gladiator," the producer said, listen, i want you to look at this first before you even read anything. and he showed me this painting. it was the corner of clearly the coliseum. you've got a figure part armed standing over the slave who's about to get killed. he's looking up for permission at the guy who's clearly doing that -- in other words, kill him. i said, i'll do it. he went -- hadn't read the script and said, i don't care, i think we can get there right. let's do it. >> are you not entertained? are you not entertained? isn't that why you're here? >> i must have heard a half dozen phone calls with ridley about russell.

i thought that he was a really 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 desimu desimus peridimus, from the north, general of legions, loyal servant to the true emperor, marcus arailus, 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 what he loves is to fully create a character. >> i'm not a soldier -- >> he'll end up in a cell. worthless, discarded. >> there's no mission. >> and while you rock and drool, the world will burn to ashes.

>> you are not real. you are not real. >> you're still talking to me, soldier. >> there's no mission. >> 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. mazery, being ignored and being lied to. >> i never lied. >> you told me things would be fine. they're not. i trust you. >> i'm sorry about that, i really am -- >> i don't need pity. i need a paycheck, and i've locked. when you spent the past six years raising babies, it's hard to convince someone to pay you anything that's worth a damn. are you getting this down, honey, or am i talking to fast? >> "erin brockovich" is a true story about a woman helping get a class-action lawsuit about a

community being poisoned by the water company and lying about it. >> you've 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. erin elkhart and albert finney. >> you're erratic. you say any god damn thing that comes into your head -- >> not personal? that is my work. my sweat, my time away from my kids. if that's not personal, i don't know what is. >> a complex, layered performance. it's a thoughtful performance, a purposeful performance. you've got all of julia roberts in this film. >> and the oscar goes to julia roberts. [ cheers ] >> 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. [ laughter ] i love it up here. steven soderbergh and george clooney sent me the script for "ocean's 11" that came with a $20 bill. is t said, we hear you get 20 a picture, so -- they were paying me in advance. >> you're not wearing your ring. >> i sold it. i don't have a husband, or didn't you get the papers? >> my last -- >> 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 it also changes the whole context of movies because the power balance in movies changes. >> 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! >> and by changing the balance it changes the kind of movies we get. ones that ultimately centralize the star. ♪ >> today's a training day, officer. i'll show you around, give you a taste of the business, you know. i got 38 cases pending trial, 63 in active investigation, another 250 on the log i can't clear. i supervise five officers, that's five sets of problems,

you could be number six if you act right. >> "training day" is an otherwise small film without denzel's presence. and the energy that denzel brings to that alonzo character makes him really hard to take your eyes off of. >> 1149-998, 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. >> the cops said you did. >> but you didn't. you did. >> every scene i did from the first day was the reason why i want to make movies. i was so into watching these two guys' perfects that i forgot to -- performance that i forgot to yell "cut" sometimes and would keep going. >> i'm here, you shoot me -- >> don't do it. don't do it. >> i don't believe you got it in

you. >> there was a scene where they got in a fight and denzel put the cigarette down and picked it up. i was about to yell "cut" but he kept going. he lit it. i saw it in his eyes, the lens, it was a long lens, and i could see he was on fire. >> i'm the man up in this beast. you'll never see the lightest of day. don't [ bleep ] 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 sidney, what did they do, they gave it to him the same night. [ applause ] >> the 2002 academy awards is important because you have

denzel washington winning best actor, halle berry winning for "monsters ball," and also sidney pesticide y -- sidney poitier getting a lifetime apolice chichievement . >> only one had been named best actor or best actress, and after last night the number is three. >> it was just a great moment for black actors, for black cinema, and the struggle. ♪ isn't it nice when you can keep things simple?

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available at walmart. look at this. an entire generation of cinderellas, and there's no slipper coming. >> you want to get high? looking to get high? >> all i have to do is listen. that's what lester banks said. >> i know this is a hobby. >> i really loved playing elaine miller in "almost famous" with cameron crow. he wrote it. it was basically a love letter to his mother. >> don't take drugs. >> don't take drugs -- >> it's about my childhood, growing up in a 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 -- [ cheers ]

>> seeing the freedom and the heartbreak that comes along with that freedom was really exquisi 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 stephens' 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. ♪ >> 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 and daunted boy ♪ >> "moulin rouge," awesome. awesome movie. everything about that movie's perfect. >> at the time when "moulin road rage" came out, no one wanted to make 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 refuou" it wasn't like i got my collection together, it was a

catalog of songs, let's find a narrative. the musical numbers are, in fact, the 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 can be quite continental but diamonds are a girl's best friend ♪ >> it had to be a degree of challenge in the rhythm of it. we had to kind of smash it or get in your face about the music. ♪ >> we had to say, are you going to accept the contract and come with us, or not? ♪ believe me when i say i love ♪ >> 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 21st century, he was right on it. ♪ shake a heart and want a brand new part hear to do that jazz ♪ >> let's go, baby. >> "chicago" was thought to be unfilmable. people have 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 that 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 of been there ♪ ♪ if you'd of seen it i bet you would have done the same ♪ >> i'm a firm believer that the time is always right for a great musical. ♪ and you you you you're gonna love plme ♪ >> when you see that working in the marketplace -- ♪ you are the dancing queen >> and audiences having a real interest in them, it certainly emboldens filmmakers i think to come along with their own musical ideas. ♪ ♪ i still fund the rich and give to the needy but i'm not greedy ♪ ♪ i rescued damsels >> animation took a real pivot at a certain point. >> now tell me, where are the others? >> eat me. >> filmmakers figured out you

could broaden the audience for 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 monsteropolis' most wanted? >> you've been looking since the fourth grade. you, too, hon. >> i'm the dope who turned down "toy story." when they called about the next film, i k"i'll do it." i could hear the laughter on the other side. >> thanks a lot. i'll be here all week. remember to tip your waitresses. >> pixar films are visual in terms of script, in terms of humor, in terms of characterization. >> wally. >> wall-e? >> no one does it as consistently as pixar. they work miracles almost every time out. >> "incredibles" was pixar's first pg-rated computer-animated

film. at the time it was considered kind of a risky thing. it's an action film, but people assume because it's animated that it's a certain kind of film. and that tells me that the medium needs to bust out a little bit more. >> brad's characters are real and accessible. i think that was new with the "incredibles." it was the playerity of what's mundane and what's heroic being slammed up against each other. >> which avenue -- >> traction avenue -- >> i take 7, don't i? >> pixar to me 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 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. not this john smith or this john smith. or any of the other hundreds of john smiths that are humana medicare advantage members. no, it's this john smith, who met with humana to create a personalized care plan. at humana, we have more ways to care for your health, and we find one that works just for you. no matter what your name is.

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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. >> you don't understand. i'm a friend of your daughter's. >> i don't think so. my daughter is in the city. and you, what, wandered in here high on ecstasy? >> honestly, if you just -- >> stay there. i was in the israeli army. i can 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 goof weather it comes

to love. -- when it comes to love. >> her movies are fantasy movies. they're just the fantasies of different people. >> somebody's having a party tonight. oh, yeah. >> usually women, usually of a certain age, and their fantasies are usually not the ones we 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. [ cheers ] >> we have traditionally masculine males. >> oh, god. >> who actually listened to and learned from their female counterparts. >> you okay? no, see, too much. >> good note. >> that's an irresistible message to the female audience. >> 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's here. >> the genesis of "my big fat greek wedding" is that i grew up so surrounded by love and opinions, and aunts with mustaches telling me when i should get married and when i should have a baby. at the time, it was so annoying. and then i realized, i could write a story out of this. >> eat some rice -- >> i don't -- i'm good. i'm good. >> snap you like a chicken. >> i thought we would be shown in greek church basements. 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 being a big, fat hit at the box office this summer. >> opa! >> opa! >> it was the top grossing romantic comedy and independent film of all time. >> oh! >> you're so beautiful. >> she was able to 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 an accomplice. we'd have to first get out of this bar, then the hotel, then the city, then the country. are you in, or are you out? >> i'm in. >> "lost in translation" is sophia coppola's second film after "the virgin suicides." it's beautiful. >> "lost in translation," tells the story that's so distilled and personal and so 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 charactir play -- char played by mill mabill murray. >> for relaxing times, make it

-- >> cut. >> 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. he is playing a well-known movie actor but one who is sort of dead inside. this friendship with the younger woman brings him back to life in a way. >> i don't want to go -- >> so don't. stay here with me. i'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 barrisch, and i'm here to race clementine -- >> "the eternal spotless mind" was great because he's a great comedian and great star. he has every conceivable tool that actors have and knows how

to use each one at the own right level. >> can you hear me? i don't want to their any hear anymore, i want to call it off. >> charlie kaufman is the strongest when he's working with the right director. when he and michelle gaundry get together, that's when you see what he can do. "eternal sunshine of the spotless mind" makes you feel good about hollywood. it makes you feel that it's not always the lowest common denominator. sometimes something unusual and smart can stands out. >> bye, joel. >> i love you. >> maybe -- >> it's a film that believes in love, fights the naivete of love and comes to this resolution where maybe true romance is agreeing that your relationship's going to be difficult. >> checked with -- >> you folks stop at ennis?

>> dellmar. >> nice to know you, ennis dellmar. >> when i read "brokeback mountain," i knew it was powerful. i felt that it would up end 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. >> there'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 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 was so frustrated they kept calling it "the gay cowboy movie," it was not that. it was this haunting, beautiful love story of two men who were simply 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 dellmar just can't. >> i wish i knew how to quit you. >> 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, that word is compassion. >> i'm sorry. >> it's all right. >> whatever their beliefs were, i wanted people to come away

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♪ "there will be blood" is my favorite p.t. anderson film and daniel day lewis' character is one i can't wash off. there's 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 that 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, dillford?

>> yes. yes. >> yes, you do. >> we already knew daniel day lewis was a phenomenal actor. but daniel day lewis and paul thomas anderson together, that'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 mischievous fun, and, you know, that was a great part for that kind of devilish, mi mischievousness to come out. >> i drank your milkshake. i drank it up. >> don't blind me, daniel -- [ scream ] >> with him, i saw a person working another way. once he was in character and this -- people say, well, he stays in character, mythology. it's easier. not -- maybe not easier for the actor but for me. >> somebody steals from me, i

cut off his hands. he offends me, i cut out his tongue. he rises against me, i cut off his head, stick it on a pike. raise it high up so all of 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 the president of the united states of america, clothed in immense power. you will procure me these votes. >> he just was a miracle as abraham lincoln. so honored that he finally said yes after my pursuing him for ten years much daniel's one of the greatest actors who ever acted in fronts 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" is

based on a cormack mccarthy novel. it's set in a border community. josh brolin plays a freelance ranch hand who finds this suitcase of money in the aftermath of a drug deal that's gone awry. >> what's in the satchel? >> it's full of money. >> that will be the day. where'd you get the pistol? >> at the getting place. >> cormack had visualized it as a film. i think it's an extraordinary collaboration between a novelist and filmmakers. >> 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 still think about him flipping the coin at the gas station. >> own what date is on this -- 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

heads our tails. you have to call it. >> look, i need what i stand to win. >> everything. how's that? >> it's time to win everything. call it. >> all right. heads then. >> well done. >> the coen brothers are incredibly evocative because they're purposely i think trying to bust up a norm. their "true grit" is an absolutely perfect motion pic. >> that chinaplan man's -- chinaman's running cheap shells on me again. >> i thought you was going to say the fun was in your i.c. i.c.i.c.eeyes -- your eye. >> as much as studios gain

control and as much as money becomes a coin of the realm, the spirit of the 1970s, the idea that the filmmaker could still be the one this 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. ♪ >> it was meticulously composed, beautifully designed and curated down to the last detail and tends to take place in a world that's almost a bubble. that's sort of silo'd off from the outside world. >> let me ask you why would the review make a point of saying someone's not a genius? you think i'm especially not a genius? don't -- didn't have to think a minute, did you? >> real originality in filmmakers is rare. i think wes had it literally from inception. >> what's all 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 details that fill out the whole universe. it almost feels like a compulsive quality. >> complements of her. >> it's inspiring and intimidating as a screenwriter because it's so rich. >> each and every man under my command owes me 100 scalps, and i want my scalps. 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 is just stuff in all his screenplays like in "glorious bastards," they etrap late on things that should not land as cleanly as they do. >> tarantino in the 2000s is giving us the ending to the

story that we wish history had given us. with "inglorious bastards" and "jiango unchained," the bad guys in history lose. >> he had the singular ability to write these 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 an accessible and entertaining. and that's really hard to do. and he did it over and over and over again, continues to do it. ♪ >> jiango! you son of a -- [ gunfire ] ♪ this is mia.

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♪ >> good luck. 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. >> look, look. >> who is that girl? >> welcome to hogwarts. >> there was tremendous anticipation for this film. and, of course, we met with jo rawlings, and we were very careful to run everything by her and to be sure that we had her blessing because she wasn't sure she wanted to have the movies made at all. >> i took warner bros. word 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 doesn't think not only is there nothing special about him but he's mistreated. >> there's no such thing as magic. >> and then to find out you're actually the heir of this amazing wizarding family and you are unique and special and have this destiny in front of you. that's every child's fantasy.

>> curious, very curious. >> the harry potter film franchise like the book franchise was something that really defined a generation. >> welcome home. >> the design of hogwarts, that whole world building of the movies is impressive, especially in the later movies when they started to have a consistent directorial style. >> the idea and the magic of a world like that gives an audience comfort when they see that over and over again. >> flying. >> 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 of a film

that will lives up to the hype. and lives up to it three times in a row. >> are you frightened? >> yes. >> not frightened enough. i know what hunts you. >> it is one of the craziest achievements of modern film make. the insane gamble to make these three epic, huge fantasy films all together. >> you shall not pass! >> peter jackson, incredible visionary director, is in charge of seven separate film units shooting the various story lines or battles. how he kept all that together is unbelievable. >> to the cave! >> j.r. tolkien could write about these amazing battles and these magic, fantastical worlds. and what jackson was able to do was make that seem real in a way that you just hadn't seen in

fantasy films before. >> my precious. >> when i met with peter and fran walsh, they said look, we want an actor to play the role of golem, so that whoever is playing frodo and sam will not be making for gollum. they said there's had this new technology called motion capture. i fell in love with it. when i first stood in front of the monitor and move as gollum and see the avatar moving in realtime with my physical performance. >> you are not so very different from a hobbit once, were you? smeegal. >> 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 snip sniper" in 2014, every single one of them is a franchise film. >> welcome to the caribbean, lad. >> the studio executives are seeing that's the direction we want to go. >> they're not looking for a single project. they want next franchise. they want something that's not going to give them one hit film but is going to give them a series of hit films they can then spinoff into a whole world of ancillary markets and television and video games and everything else. >> i think what paul greengrass did in the "bourn" 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 ambition to make each one better than the last one. >> i don't think there's any question at this point we're going to look back on this as the age of franchises. ♪ who let the dogs out >> even comedies get franchises. four "men in black" movies. three "hanger" movies. >> does that some standard? >> actually, it came with a black dude but he kept getting pulled over. >> there's always more content to be made. >> ready? >> steady. go!

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it's just another way we're working to make your life simple, easy, awesome. go to xfinity.com/moving to get started. cheryl, it's cindy. remember when olive was here last month, she was runner-up in the regional little miss sunshine. they called and said the girl who won had to forfeit her crown. something about diet pills. now she has a place in the state contest in redondo beach. [ screaming ] >> i won. >> little miss sunshine was the first script that i wrote where

i started with the ending and reverse engineered the rest of the story. >> miss louisiana. the one new miss america. >> one day i'm sitting at home and watching tv and there's footage of a child beauty pageant. there's skinny blonde girls walking around. i thought wouldn't it be great if an unconventional girl 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, she says that i'm her all-time favorite ♪ >> you could feel everybody in the theater was laughing at the same time. it's to me there's nothing else better than that. ♪ that girl's all right with me ♪ >> 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. ♪ >> i like you. i like sex. it's nice. >> borat is a very interesting

mo mockumentory. sacha baron 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. welcome to our country. >> my name borat. >> good. i'm not used to that but that's fine. >> you can't measure the impact of putting that character in a real setting where reality and fiction and comedy and drama and all these different things merge in such an original way. ♪ people stop and stare >> sasha has borat is the breakthrough acting performance of modern times. >> lift your hands and begin to worship. >> he was like a method actor and had to have a lot of touchstones so he could do the performance because he's not acting with other actors. he's not 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. >> the second we don't believe it, the scene's over. >> the big part of the fun of the movie was we were robbing banks comedically. 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 through the quad to the gymnasium. >> who's streaking? >> 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 the taste of, you want to see a [ bleep ] genius on the movie screen? okay, here's will ferrell. >> sorry, i want ride with you the rest of the way up.

this is where my dad, would. -- works. forgot to give you a hug. >> because he came from the ground lings and "snl," he's aware of where the laughs are, what the rhythm of the scene is. >> santa's coming to town. >> santa! oh, my god! >> he could flow with a scene and change it. he's like a jazz mau musician who can improvise around it versus somebody used to reading sheet music. >> lane, could i please have your attention? i've just been handed a urgent and horrifying news story. i need all of you to stop what you're doing and listen. cannonball. >> i love "anchorman" so much. at that time, this was a big deal that he was making a movie that was his and adam mackay's sense of humor who were both "snl" guys. it was all the goofy shit that he does best all wrapped in one. >> ron, where are you?

>> i'm in a glass case of emotion. >> he's got 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. >> i think apatow is definitely the most significant participant in that film in terms of steering what film comedy would become over the years. thanks, man. >> so ready? >> yeah. >> 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.

>> i'm pregnant. >> [ bleep ]. >> what? >> i'm pregnant? >> with emotion? >> it's comedy infused with the heart of jim brooks but with the outrageousness that is going to absolutely kill. it's going to bring the house down. ♪ i'll tell it to the world ♪ i've just begun having my fun ♪ >> "bridesmaids" comes out and it's a really surreal experience watching that movie. because you actually feel as though these are real women. >> oh, you had sex with him. >> we had an adult sleepover. >> oh. did you let him sleepover in your mouth? annie. >> i'm sorry. >> you're unbelievable. >> he kept like putting it near my face. >> they do that, don't they. >> they do that. let us offer. we don't offer. >> you're supposed to slap it away.

>> i couldn't. >> that scene with kristin in 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. >> what. >> it showed female relationships in their entirety, in their awful, unattractive, some days i love you envelope 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, didn't you? >> no, i had the same thing that she had and i feel fine. >> oh, my, okay, okay. >> nothing's happening. >> the poop scene wasn't in the script. >> not the bathroom. everybody, go outside. i'm serious! >> at rehearsal judd and paul came up with the idea what if you guys eat really bad food and get the shits.

>> it's happening. it's happening. >> up until that point, it was very rare to see women being women in a hard-core comedy. that movie is unprecedented because of it. >> it happened. >> what are you doing? >> it happened. >> and think how many people's careers have been made by that movie. >> i am not air marshall. you want to get back in the restroom and not rest? >> no, i have to get back to my seat. >> you've got to get back on my seat. >> melissa mccarthy got an oscar nomination for that part because she's just such a force of nature. >> hey, hey, good news. i found his balls. clear sack. enjoy that. shove those back up there. >> oh, my god. melissa mccarthy, she's a genius. she's not just funny. she can do anything. >> i am so bad ass! isn't it nice when you can keep things simple?

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>> studios were really in love with pre-existing intellectual properties. "avatar" was an idea he had been ruminating on for a long time. it's original and that is a wildly risky thing to do that the budget level. >> i remember taking my then 9-year-old son to see it and we just sat there in 3-d awe. to be so immersed in that world was mind blowing. everything felt real. everything felt tangle. it felt like this world existed. >> "avatar" came out and became the highest grossi ining movie of all time for the second time in james cameron's career. and it's interesting that at the same time, james cameron's ex-wife kathryn bigelow, directed a movie that couldn't have been more different. >> if everything looks okay when i get down there i'm just going

to set it up. give these people something to think about. want them to know if they're going to leave a bomb on the side of the road, we're just going to blow up their [ bleep ] road. >> in making "the hurt locker" what kathryn bigelow did was essentially make a war film as a suspense thriller. you shifted the parameters of the war film. you don't get big battle sequences. it's one person going into the realm of danger. >> and boy. >> kathryn bigelow is just a master of building suspense. she is taking the violence apart to look at something deeper. what would drive these men to want to disarm bombs and how it becomes an addiction. >> this is suicide, man. >> that's what they call a suicide bomb, right?

>> katherine knows exactly what she wants. she is incredibly inventive. intrepid. never reckless but always experimenting. she is a great, great film artist. >> now in our count down to the oscars, director kathryn bigelow has a chance to make hollywood history. she's just the fourth woman ever nominated for best director and she would be first ever to win the award. >> as we're getting towards oscar season where the big rival is james cameron's "avatar," her ex-husband has made the biggest movie of all time. there's this underdog quality that obviously the mill tone quality of bigelow up for best director that makes the movie kind of this unstoppable force. >> well, the time has come. kathryn bigelow. >> whoo. >> what's interesting is about her is she was very happy for

the recognition from her peers but then again, she didn't want to pivot and be the poster woman for women in hollywood. not everybody wants to carry that mantle. she isn't wearing her gender on her sleeve. she is a filmmaker making films. >> signed over everything. if he doesn't show at trial, see, the way the deal works is, you're all going to lose this place. got some place to go? >> i'll find him. >> girl, i've been looking. > i said, i'll find him. >> the stories i tell from the social realist tradition, patience is required. when it works, it is absolutely where i want to be working. because i do want to be able to tell stories from everyday life. that's the place where one can do that. >> jesus. dad's your only brother. >> you think i forgot that? huh?

coming on 40 years, but i don't know where he's at, and i ain't going to go around asking after him either. >> "winter's bone" still stands as one of the best indies at that time. it gets the grand jury prize at sundance which is a great honor for a small movie but not a very well-known director. it also got a lot of oscar nominations. >> the film had this really compelling presence at its center played by jennifer lawrence and this is the birth of an extraordinary career. >> prim, prim! i volunteer! i volunteer! i volunteer as tribute. >> i believe we have a volunteer. >> jennifer lawrence goes from being this fresh face in "winter's bone" is becoming the face of a massive franchise "the hunger games" movies. >> thank you. for your consideration. >> then an oscar darling with movies like "silver linings playbook." >> forget i offered to help you. forget the entire [ bleep ] idea

because that must have been [ bleep ] crazy because i am so much crazier than you. >> you keep your voice down. >> i'm just the crazy slut with a dead husband. forget it! >> shut the [ bleep ] up. >> she was great. i love jennifer. her character was so powerful and strong, and she did it so well. i didn't trust her before but i got to say now i do. >> now you like her, dad? >> i have to say i do. yeah. >> when she wins the oscar for "silver linings playbook," it makes perfect sense. she's not just a figure very much in the tradition of the great movie stars of the past but also somebody who is funny and witty and real, who it seems like can do anything she sets out to do. >> three, two. we know that they're always going to take care of us. it was an instant savings and i should have changed a long time ago.

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so where are you? you're in some hotel room. you just wake up and you're in a motel room. there's the key. it feels like maybe it's just the first time you've been there, but perhaps. "memento" is a fractured narrative film noir about someone who has lost their memory played by guy pierce. >> i lost my memory.

>> every time i see you. >> it's a fast fun movie that was an introduction to a filmmaker with a hell of a lot of talent. with chris nolan, you see this guy who is having a great time making a movie and seeing what he can get away with. >> you say we talked before? i don't remember that. >> he's playing with chronology and narrative structure but he's also telling a really tragic story, and telling it through the eyes of a character we sympathize with, though know nothing about. >> i need a routine to make my life possible. no drive, no reason to make it work. me? yeah, i got a reason. >> i love chris' films. it's a rarified air to be able to occupy a place where you're cinematically intelligent and popular at the same time. >> the "batman" films had been done a number of times. it is always risky to bring back

a film and to make yet another origin story. chris nolan came in and met with me and walked me through the entire story. beat by beat by beat by beat. and i agreed with it in the room. ♪ >> christopher nolan gave the batman story both a mythical dimension but also a very gritty in the moment kind of reality. >> what? >> chris nolan knew what he was doing in casting christian bale and knew what he was doing by making it a realistic portrayal of batman, to where you could believe that this was how a billionaire kid became the dark knight. >> good evening, ladies and

gentlemen. we are tonight's entertainment. >> in "the dark knight," heath ledger chose to play the joker as a genuine psychopath. >> ha, ha. >> in a way that raised the stakes for the entire property. >> we knew it was open for a fresh interpretation and i also instantly kind of had something up my sleeve which happened to be exactly what chris was kind of looking for. >> the joker has always been a somewhat ambiguous character. but what heath ledger did was make him truly malevolent. >> you're as crazy as you look. >> i told you i'm a man of my word. >> there's a scene in the movie where the joker has stolen millions of dollars and he just burns it all. that's meaningless to him. he wants to create chaos. >> all you care about is money. this town deserves a better

class of criminal. i'm going to give it to them. >> heath ledger i think changed how villains are portrayed in superhero movies. he set the bar so high. it's a heartbreaking performance because it reminds you of what the next 50 years would have been like for that guy as an actor on screen. >> because they legitimized the superhero movie so much, there's this almost ruinous effect that studios probably don't see coming. where studios are like great, this is it. this is the backbone of our box office strategy from now on. >> for your consideration. >> when i was hired to do "iron man," i liked the idea that it was an older character, that it wasn't somebody who had an origin story of being an ordinary person and becoming super human. >> i'll throw one of these in with every purchase of $500 million or more. >> it was about someone successful in life, kind of

unlikable, having a crisis of c c conscience. and the big thing that made it all work was the casting of robert downey jr. >> what's going on here? >> i think without him, we wouldn't be talking about that movie. >> let's face it, this is not the worst thing you've caught me doing. >> anybody who was a robert downey jr. fan, of which i had been from the very beginning, it was a no-brainer. you know, jon favreau is an exciting filmmaker. ironman was an exciting character. everything lined up. they got it right. >> oh, yeah! whew! >> our collaboration along with everybody who worked on "ironman" created a template for the tone, the sensibility and the way that the marvel universe could be reflected in an accurate way to what stanley had come up with. >> the idea of so many

superheros in one movie, this has never been done before. >> the avengers had the biggest u.s. opening ever this weekend. the first movie to make more than $200 million in one weekend alone. >> outside of the actual marvel comic books where they do their world building, i don't think there's been another cinematic experience that is as intricately written as the marvel universe. they've done a really good job of threading this through how these guys have evolved even with different directors and different writers. ♪ hello, daddy, hello, mom ♪ cherry bomb >> the new stardom is the brand. marvel is arguably the biggest star in the history of movies. and i would take that argument and say nothing comes close. no movie star has ever come 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. >> i had been a huge admirer of

alejandro's stuff and bird man was as joyous an experience of making a film as i ever hope to have. >> i'm sorry i'm so popular, mike. >> popular? popularity is the slutty little cousin of prestige. my friend. >> 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. >> pan's labyrinth took people by storm. if they weren't interested in horror, they may not have known what guillermo was doing. this combines his fascination with horror and puts it with fairytale. it becomes a really accessible mainstream movie and 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 movie making. 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 of 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, you know, 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, known as this magician of the camera, 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." >> jesus christ! >> it was like doing a set piece. we were really driving the car. there were really fires on the hill. the camera would move 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 did he do that? it's the storytelling that comes first, and the camera work that comes second, but they complement each other so beautifully. >> what cauron does in the "revenant" and 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.

>> blast. >> 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 moving storytelling 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 alfonso and alejandro, like

m ma many, many of you. i think the greatest think our -- thing our art and industry does is to erase the lines in the sand. we should continue doing that when the world tells us to make them deeper.

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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! 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 ya. i'll beg it. >> it's not the easiest film to watch, as no steve mcqueen movie is. he's such a great director, particularly in his ability to present it to you in this really cold reality. which i think ultimately is frightening but that speaks to how compelling a film steve mcqueen is able to create in terms of speaking to the horrors of slavery. >> it's rare that african-american history becomes the subject of mainstream cinema. so it's important not just for its performances and how well crafted it is, but is drawing our attention to black history. >> the president doesn't want to have us march today. the courts don't want us to march. but we must march.

we must stand up. we must make a massive demonstration of our moral certainty. >> i reason i think ava duvernay's achievement in "selma is so special and powerful is she knew you could not tell dr. martin luther king jr.'s story in its entirety in a two-hour motion picture. you instead pick a moment in their lives that speaks to the kind of person they were. >> selma it is. >> "selma" does a really good job of not only humanizing martin luther king but representing the tension around the voting rights act that maybe gets missed when people say johnson signed the civil rights act and the voting rights act, which is you true, but it was contentious. ♪ now you masters of war

♪ you that build all of the guns ♪ >> black cinema actually goes in cycles. i think it's great that we're having this resurgency but it's not the first time i've seen it. at what point do we have to stop saying, this is not a fluke? people want to see these stories. how many "fast and furious" movies, how many "straight out of comptons," when does it stop becoming a trend. that's the conversation that needs to shift. more importantly, it's the types of stories that are getting told. >> give me your hand. let your head rest in my hand. relax. i got you, i promise. i'm not going to let you go. hey, man, i got you. >> "moonlight" puts barry jenkins on the map as a major filmmaker. it follows this kid as a child, a teenager, and then as ab

adult, what it means to be black and gay in america, and knowing how you have to operate in a world that still denigrates you. >> waiting for your ass. >> it is so intuitively intimate about the character. it says so much in the subtlest ways and the little moments that seem to be fleeting, but they become part of the baggage that you carry through your entire life. >> who gets to tell these stories? that's become important. there's a sense that you want women to tell women's stories, you want people of color to be able to tell their own stories. it literally is kind of changing the complexion of hollywood. >> hey. >> ryan coogler first gets

attention doing "fruitvale station." it's about the police-involved shooting of a young black man in oakla oakland. >> oh, my god. oh, my god. what did you do to him? did you kill him? what did you do to him? >> as a resident of the bay area, he's able to bring a certain approach and a focus to these issues because it's local. but it's also universal. >> ryan coogler's amazing because you go from this intimate powerful story beautifully told. then remember the word was getting around that he wanted to do his own "rocky" movie. >> one step at a time. one punch at a time. one round at a time. one step at a time. one punch at a time. one round at a time. >> in taking on that story and writing it and directing it, ryan managed to honor the spirit of the "rocky" movies. it's filled with some of the best night sequences that i've ever seen. >> there's a perfect right-hand

shot by breed. >> the leap this guy's made from the creed and then he escalates it again with "black panther." >> let's go. >> what do you think this is, a funeral? >> it became very apparent that this film was going to be a game-changer. this appetite for this movie was huge. >> these characters, this film attracting a near frenzy around the country. >> we're excited because we get representation in a film that's not about slavery, that's not about trials and tribulations, but about a powerful african empire. >> when you're so thirsty for this type of representation, when you finally get it, you glut on it. my uncle and aunt who i don't think have been to the movie theater in 20 years were like, we're going. >> wakanda forever! >> forever! it's tough to quit smoking cold turkey.

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hey, hey, come give us a hug before you -- >> hug her, that's what she's there for. >> at the time, to depict a same-sex couple with a normal, thriving family was considered -- was like, shocking. >> i felt like i had a nugget of

something that i was really interested in. i believed in it. i didn't know really what it was. it was not formed. it was just a concept of these two women raising these kids who were becoming teenagers and now they could meet this sperm donor father and what would happen if. >> i love you dpieguys, i love mom, and that's the truth. sometimes you hurt the ones you love the most, i don't know why. >> what lisa did so beautifully and tenderly was she brought something to popular culture that was wildly entertaining but really about how all marriages and all families are very much the same. >> you should just go to city college, you know, with your work ethic, just go to city college, then to jail, then back to city college, then maybe you would learn to pull yourself up and not expect everybody -- [ screaming ] >> "lady bird" is a semi

autobiographical story of a young woman coming of age in lovely sacramento. >> reading from the book of genesis. >> she's the hope, she's been this ray of light for so long as an actress and a writer. it's only natural now that she's directing her films. >> you are so unfire firfeweri. >> stop yelling. >> i'm not yelling. >> her films are so cinematic. >> it's a very quintessential mother/daughter story but also feels very personal. how come there haven't been more movies like that? that's an interesting time of life for a lot of girls and it's been ignored.

so >> he's a very inventive movie maker, captured women in a trans community in los angeles. >> i want to tell universal stories, i went to tell stories with universal themes. as an audience member i feel most satisfied when a filmmaker has taken me to a place i've never been before. >> are you ready? >> "get out," the ultimate horror movie in my opinion. what is the greatest horror in this country? racism. now you have "get out" and you have an interracial couple going to meet her parents for the first time. >> how long has this been going on, this -- this thing? >> take the idea of 40 years of

american racism and this constant sense of the wider culture stealing from you, taking your food and your culture and your music and you take that to sort of the horror movie extreme, to literally inhabiting you, in stealing your literal body. >> now sink into the floor. >> wait, wait. >> sink. >> i think it's effective, for me anyway, because i had no idea what it was about. then when i realized what it was saying, and it was scaring me while it was saying it. i thought it was the greatest directorial debut i had seen in several years. >> i told you not to go in the house.

>> finally we are seeing a little more diversity among the people who are making the decisions about what movies to make and the people who are literally making the movies. they are telling their stories. they are telling stories that no one in hollywood could tell except for them. and the movies are going to be better for it. oug audiences are already understanding it. >> there is still something about being told a story. a movie is something that's been really handcrafted. it's a mow say saic that's been carefully pieced together. it creates this opportunity to totally lose yourself. it's a little 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, stay in our minds, the way music is recalled in our heads. those images replay, and we live our lives by them. >> it brings all of our senses together. there's really nothing else like it. >> even though you're doing something incredibly personally and in many ways incredibly selfish because you're doing something you love so much, then it gets out there in the world and it can change people's 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 few hours

that we're human together. . . . . . ♪ ♪ ♪