so we can feel for few hours that we're human together. . . . . . ♪ ♪ ♪

♪ ♪ ♪ [ sound of gunfire ] as far back as i can remember, i always wanted to be a gangster.

>> "goodfellas" is like, fasten your seatbelts, i'm going to kick the shit out of you for two hours, and you're going to love it. >> there have been so many gangster movies, so many mob movies. is it really possible that in 1990 martin scorsese will be able to make a gangster movie that has something to say that hasn't been said a million times? and you watch the movie and you're like, yeah. >> see you later, thanks. >> what are you doing? you're leaving your car? >> he watches the car for me. >> we were trying to capture the exuberance of that world. it's dangerous and threatening, but they're having a wonderful time. >> this >> "goodfellas" was the nuts and bolts of the mob. it was the mob as a job. >> what do you do? >> i'm in construction. >> and the balance of these two families, of your mob family and

your real family, and the way that the two start to bleed into each other. >> are you all right? >> yeah. >> "goodfellas" was based on a book called "wiseguys." i said, what if i play this guy, jimmie the chin? >> what did i tell you? what did i tell you? you don't buy anything, you hear me? don't buy anything. >> it's a true story. it is the nature of that lifestyle. >> just a little taste. >> you have to be clever enough, let alone have the audacity, the discretion. but ultimately not being afraid of the violence. >> hopefully what i just heard. >> this is for you. attaboy. >> the dangerous enjoyment of it. you can be enjoying it and suddenly somebody gets shot in

the chest. >> what's the world coming to? [ sound of gunfire ] >> then it's not funny. there is a price for everything you do. >> all right. you all know the drill. >> in the '90s, there's a host of movies in which people operate outside the system. we love the idea of the outlaw. it's one of the reasons we go to the movies. >> merry christmas. >> merry christmas to you, officer. >> you go to the movies to see people violate the mores and laws of society. >> i'm going to take one of those big envelopes and put as many 100s, 50s, and 20s as you can put into it. >> in the mid-'90s, we were rooting for criminals to get away with it. >> do you want a cigarette, nick? >> we wanted the bad guys to be the good guys. it was the era when the antihero was on the rise. >> you have something against ice cubes? >> i like rough edges. >> "in basic instinct" the

character is a sociopath. when i played the part, i needed to understand the sociopathic mind. and that is a very scary thing. >> "silence of the lambs," i remember waiting for it with baba tcht bated breath for it to come out. >> good morning. >> dr. lecter, my name is clarice starling. may i speak with you? >> this is a film that is also an actors' piece. >> closer. >> told by the close-up master of all time. the tension, it just kept rising and rising. >> serial killers keep some sort of trophies of their victims.

>> i didn't. >> no. no, you ate yours. >> "silence of the lambs" is about this eerie dance between clarice starling and hannibal lect lecter. >> people will say we're in love. >> and manages to take elements of the horror movie and even the gothic i conning on are an if i and put it into a real world thriller. >> you still wake up sometimes, don't you, wake up in the dark, and hear the scream of the lambs. >> yes. >> "silence of the lambs" becomes one of three films ever to win best picture best actress, best director, best adapted screenplay, then anthony hopkins wins for best actor for playing hannibal lecter with maybe 16 minutes of screen time. >> shit, thelma. >> the thing i love about

"thelma and louis" is it was a love story between two women. it was one of the great buddy movies of all time. >> two friends decide to get away and things go off the rails really, really quickly. >> shut up! >> please, please don't hurt me! >> you let her go, you [ bleep ] hole or i'm going to splatter your ugly face all over this nice car. >> the idea hit me, two women go on a crime spree. >> good morning, ladies and gentlemen, this is a robbery. >> it wasn't just the idea. i kind of saw the whole movie in one flash. >> goddamn, you bitch! >> i don't think he's going to apologize. >> nah, i don't think so. [ sound of gunfire ] [ screaming ] >> it's an odyssey of two women on the last journey. they would not know it's the last journey, therefore the journey had to be magnificent.

>> a lot of women looked at this film and thought, i can relate to those women, i can relate to what they're going through, i can understand the choices they make. >> let's keep going. >> what do you mean? >> go! >> they looked at each other and they both knew. >> are you sure? >> it's kind of the culmination of both our lives and we have no choice. let's go. >> i can't imagine the movie would have had any power at all had we not ended it that way. >> i have no enemies here. >> no? wait a while. >> "shawshank redemption" is the perfect prison film. >> for good prison movie you need a warden whose corrupt. >> i wouldn't worry about this contract. >> you need some claustrophobia, you want the audience to feel like they're trapped.

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

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

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

up? >> and oliver stone is saying, you can't trust anybody. >> the nation was captivated by this game show, about the truth and the perversion of truth in the name of entertainment. kids would run to do their homework to be like charles van doren. >> if you were a kid, would you want to be an annoying jewish guy with a side wall haircut? >> as i kid, i lived through that "quiz show" period. >> three points. >> i wanted john turturro to play herb stempel, a guy from a lower class area and rose to fame. people got tired of him because he wasn't so pleasant to look at. nobody could beat him because he was so sharp. that's when they came up with the idea, let's find someone that looks good and we'll give him the answers. >> you are our new champion for

$20,000. >> and that cruelty was something i wanted to show. the power of money and personality. so to me, that was a story that really had to be told. >> we didn't land on plymouth rock. plymouth rock landed on us, land right on top of us. >> "malcolm x" is epic. it really felt like the film that he was made to make. and i think he felt a certain you come urgency in making it. >> spike had the good fortune of casting denzel washington at the pinnacle of his movie stardom. i think it's his best performance. >> denzel washington is one of the all-time greats. what he does in his artistry, painting a portrait of an individual, it's astounding. >> if the so-called negro in america was truly an american citizen, we wouldn't have a racial problem. with the emancipation

proclamation was authentic, we wouldn't have a race problem. >> watching a guy like denzel as malcolm x, top of the game, intimidating in many ways. >> mr. becket, come in. >> when we made "philadelphia," he was malcolm x already. that was like starting a movie with marlon brando and just seeing "the godfather" the night before. >> i have aids. >> oh. oh, i'm sorry. >> "philadelphia" was an important film. denzel washington represents the audience's apprehension with people with aids. >> how did they find out you have the aids? >> one of the partners noticed a lesion on my forehead. >> so as his character spends more time with tom hanks, we're starting to see him as more than his sexuality or his disease. >> let's get it out of the closet. because this case is not just about aids, is it? so let's talk about what this case is really all about.

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

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

>> i'll see you on the beach. >> i felt it was necessary for me to tell the experience of veterans and what they had gone through when they were a little bit older than i was at the time. [ sound of gunfire ] >> when moviegoers saw the men disembark, the bullets were going through the water and hitting them in the water. there was a powerful realism to that. it's spielberg saying, what does it feel like to have gone on that beach? your nose is pressed right into the savagery. >> in "private ryan," at the beginning, it was fantastic. i was ill for two weeks after that. i couldn't believe he did that. >> sir, i don't have a good

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

documentary style. it was the first film i had ever shot like that. and it became less of a film, more of just a life journey, a living, learning experience making that film. we all felt we were shooting in a graveyard. and so the amount of reverence of the crew and the cast. i cast liam neeson at the last minute based on a play i saw him in on broadway. i thought he was the best possible schindler i could find. and he was. >> god bless you. >> oskar schindler was a deal maker and didn't really care that much for his workers. but there was an inevitable met ametamorphosis that unlocked his

empathy. instead of being just one who gathers wealth for his own pleasure, he started to spend his money to save lives. >> i could have got more. i could have got more. >> the totality of the meaning of that film, the fact that it created awareness in the world of an era in history that had been forgotten, that it denied the deniers, it allowed us to mean it when we said never again. "schindler's list" was the greatest experience i had as a filmmaker. [text tone] [text tone] ♪

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"groundhog day" was a very character driven comedy. the bill murray character just keeps waking up. >> hey, phil? >> having to relive the same day. >> now, don't you tell me you don't remember me because i sure as heck fire remember you. >> not a chance. >> ned! >> usually when there's some

kind of strange convention, it's explained. >> phil connors, i thought that was you. >> you're in a time machine or somebody cast a spell. >> phil connors! >> but this just happened. and nobody minded. >> phil connors. >> ned? >> the movie is perfect. it's also so obviously for bill. >> bill, like the groundhog bill? >> yeah, like the groundhog bill. >> look for your shadow there, pal! >> morons, your bus is leaving. >> it's hard to be a likeable dick and then win the audience over by the end. bill is really good at that. >> oh, thank you, young man. >> it's nothing, ma'am, just be comfortable, all right? >> to me, bill murray is one of the great comedy actors that has ever been. >> how long will you be staying with us? >> indefinitely. i'm being sued for divorce. >> he's picky, which is perfect, because then he finds his way

into somebody really extraordinary. >> what's the secret, max? >> the secret? >> yeah. you seem to have it pretty figured out. >> secret, i don't know. i think you've just got to find something you love to do and then do it for the rest of your life. >> wes anderson, his films are like opening a jewelry box and you can take out all the little trinkets and look at them, and they're sparkly and joyful. >> what's going on in here? >> it's so rare when someone comes along and creates their own esthetic, which is truly unique. >> i really related to "rushmore" in terms of having bad grades and not being good in school but having like a passion for something. >> all right, next scene. frank, you're with a bag of cocaine. >> when "rushmore" came out, i wrote a fan letter to wes. it was the perfect film, laugh out loud humor with an actual

pathos. >> i like your nurse's uniform. >> these are o.r. scrubs. >> oh, are they? >> comedy in the '90s will be gigantic. >> shall we shag now or shall we shag later? >> it's going to be over the top and it's going to fill the frame. >> why don't you just go home? that's your home. are you too good for your home? answer me! >> and you're going to get adam sandler knocking out one movie after the next. >> sidney and scott are newlyweds. >> if you look at the scenes that are memorable from something like "wayne's world," that's big scenes. that's the heads bobbing back and forth. they're not afraid to do something big to get a laugh. and then all of a sudden, one day, this guy, who is as big as the screen, shows up. and it's jim carrey.

and he turned into a top hollywood star because he is unafraid to be big. even as he's doing these over the top things where you think, he's talking through his behind, i'm not going to watch this. >> excuse me, i would like to "ass" you a few questions. >> yet there you are, you're watching, and you're laughing. ♪ just like me they long to be >> oh, no. >> i don't have to be too intellectual about it, i just laugh my ass off. >> ow! >> part of it was, i can't believe they're doing that. >> what's that bubble there? >> what do you think? >> how in the hell did you -- >> the farrelly brothers pushed the rules so far.

you can do that? >> "something about mary" is this anarchic comedy that had heart to it. >> i'll have the double decaf cappuccino. >> i'll have a half double decap half caf with a twist of lemon. >> you had lots and lots of really funny, bankable people doing wonderful manifest. >> my first day as a woman, i'm getting hot flashes. >> hello, peter. what's happening? >> umm, i'm going to need you to go ahead and come in tomorrow. so if you could be here around nine, that would be great, okay? >> "office space" is not as acclaimed as it should be.

it was not a big hit. but there's so much modern comedy in that movie. it was wonderful. >> just a moment. >> "office space" did such a great job in completely lampo lampooning office life. technology had made these cubicle lands, and "office space" really captured that. >> i might take that new chick from logistics. if things go well, i maybe showing her my "oh" face, you know what i'm talking about. >> jennifer aniston was in it and she worked at a place like tgif's. >> being a waitress who is like, put that flair on and show what you're really like. and she's like, here's my flair. >> this is my expressing myself, okay? ♪ teacher's pet, i want to be

teacher's pet ♪ ♪ i want to be cuddled and cuddled as close to you as i can get ♪ >> christopher guest is considered the master of the mockumentary. he comes up with characters that are profoundly silly. >> when we were on "snl" together. >> if i ever do that again, i'm going to kill myself with a v vegematic. >> that's where the character in "waiting for guffin" was born. not really much to call my own. and then basically being slammed down for ten or so years, you know, off-off-off-broadway and then enough is enough, okay, i get the joke. >> chris surrounds himself with

great, funny people. eugene, fred willard, catherine o'hara. >> so nervous. >> you're going to be great. if there's an empty space, just say a line, that's what i like to do, even if it's from another show. >> chris works in miniature. he's very much like peter se sellars, such fine taste. >> i just hate you and i hate your ass face. it's tough to quit smoking cold turkey.

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i remember coming out of seeing "do the right thing" and that day i went to my dorm and started writing boyz in the hood. >> i ain't afraid to get shot. >> some of what i was doing was inspired by what truffaut did with "the 400 blows," what rob reiner did with "stand by me." but those movies didn't come from where i was standing from. >> whoa, we didn't ask you that. >> i decided to have a black cop be more than the white partner in the scenes where he's encountering the black residents. >> something wrong? >> something wrong?

yeah. it's just too bad you do't know what it is. >> the cop, encounters him years later when he's a teenager and profiles him. >> i didn't do nothing. >> you think you're tough. you think you're tough, huh? oh, you're scared now, huh? i like that. >> singleton was nominated for two academy awards, best original screenplay and the youngest person nominated for best director. >> it was an era when a lot of people were playing attention to black film. there's this famous moment when "the new york times magazine" does this cover story. you really had for the first time a large collection of black filmmakers documenting what was going on in the culture. >> you got to be ready to stand up and die for that shit like blizzard did if you want some juice. >> blizzard ain't sticking up

for nothing now. >> that's because we wasn't there to back him up. >> he's a phenomenal actor. we had a similar vision of what we wanted to do as young men coming into this whole entertainment world together. my attitude was, i got my robert de niro, i got the dude i want to do multiple movies with. >> people don't realize how theatrical the gangster rap thing was. >> tupac, ice-t, ice cube. >> they were also storytellers. when it came time for them to go to hollywood, they were all convincing on screen. >> craig. craig. >> hold up. i gave him a heartbeat. >> man, that's what it's supposed to do. >> it's one of those films that made me excited about being in the film industry. >> cube at the time transitioning from music into filmmaking. the way it got sold at sundance.

it was just a sort of quintessential independent cinema coming to the mainstream and then of course it went on to do so well. >> ladies, ladies, i know you'll be in attendance. >> did you hear anything about a party today? >> uh-uh. >> "house party" is just a fun, silly teen comedy. >> ladies. >> dragon breath. >> who you talking too? >> they play two teenagers looking to have a fun time. dad's away, let's throw a party. >> scandalous. >> having a movie like that premier at sundance really showed the possibilities that indie black filming making can have. >> what? >> don't answer me what.

turn that tv off. no tv on a school night. >> we talked about the spike lee films, but also it was a period when flack female filmmakers are making some really interesting things. you have "daughters of the dust," julie dash's film, examining black culture that harkens back several years. >> you're too cute to be a gentlemen, right? >> you don't have to be like that. >> whatever, whatever. >> it's a hood movie from the perspective of a young girl. people think of new black realism as the hood genre. but actually there's a range of socioeconomic experience being shown in black cinema of the '90s. whether we're talking about some of the black romantic comedies, familiar films like "soul food,"

or films like "waiting to exhale" or "how stella got her groove back," what i think of as films that celebrate sisterhood. that's another element that hadn't made its way into mainstream cinema. >> hello. hello. >> from the early days of will smith's career, he was incredibly smart about figuring out how to become the superstar he wanted to become. he chose the one role nobody expected him to play, a gay u.s. hasl hustler in "six degrees of separation." >> you get a piece of my clothes. >> will smith became a triple threat. there aren't many who can do action, drama, and comedy. >> now, back up. put the gun down. and give me a pack of tropical fruit bubbleicious.

>> and will smith is that guy. >> i would say that tom cruise is the first person to figure out the power of using the international box office to turn yourself into the biggest star that anyone has ever seen. will smith looked at that and said, that's what i'm going to do. that's what he did. >> welcome to earth. >> he becomes so successful that the july 4th weekend was blocked out for will smith movies. >> you know what the difference is between you and me? i make this look good.

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>> what's your name? >> what do you want it to be? >> vivian. my name is vivian. >> vivian. >> i remember meeting garry marshall for the first time and being so nervous. making this movie with him was hysterical. we didn't really have a complete script. i remember one day looking at richard saying what are we doing?

what scene be? is he goes i don't know. gary, what are we doing? gary goes be funny. action. >> well done, well done. >> woof woof woof. >> did we think it was going to be a huge success? not necessarily. >> hi. >> hello. >> do you remember me? >> no, i'm sorry. >> i was in here yesterday. you wouldn't wait on me. >> oh. you work on commission, right? >> yes. >> big mistake, big. huge. i have to go shopping now. ♪ pretty woman >> "pretty woman" makes juliette roberts a major star. that smile, that interaction with richard gere, that improvised little thing with the jewelry box and the pearls in it. >> gary said just touch it. it's the most amazing thing you've ever seen and i said to richard -- >> we fall for her and we fall like a ton of bricks. >> oh. my god. it's the bride and the woman she will never live up to.

>> she rises through the decade but then really ends it with three megaromcoms. my best friend's wedding, runaway bride, and notting hill. >> can i help you? >> no thanks. i'll just look around. >> richard curtis says he wrote it with me in mind. and i love when writers say that. i don't care if it's true. it's hard to find really great original material that hold the real performance and the comedy and the physical comedy then some thread of love that you're trying to accomplish. >> i'm also just a girl. standing in front of a boy. asking him to love her. >> romantic comedy is a genre that i love. i think i just was really lucky that they were making a big

resurgence at a time when i was at the ready. >> the romantic comedy gets its jump start and you have a number of people who are especially adept at the form of the romantic comedy. have you sandra bullock. have you hugh grant. you have meg ryan and you have tom hanks. >> she made everything beautiful. and it's just tough, this time of year. i mean any kid needs a mother. >> could it be that you need someone just as much as jonah does? >> yes. >> norah ephron prepared movies like no other director i've worked with. we would work for weeks prior to the beginning of shooting. every line was specifically found or written or perfected. >> it was like, magic. >> norah ephron was unafraid to

take something that felt familiar but then cover it in unfamiliar territory. >> have sex with her, huh? >> i certainly hope so. >> will she scratch up your back? >> what? >> in the movies women are always scratching up the man's back and screaming and stuff when they're having sex. >> how do you know this? >> jed's got cable. >> oh. >> this movie is about a widower. that i thought was a brave choice. you saw people on screen working out a problem who weren't necessarily from the traditional american family. >> i left her by the telescopes. >> the great thing about norah is when she was talking about the dynamics between men and women who are attracted to each other or need each other or are searching for each other and don't really know it, she was a genius. >> i'm the guy you don't usually see.

i'm the one behind the scenes. i'm the sports agent. >> i wanted to write a movie that begins where an '80s movie ended. >> what's going on? >> they fired jerry mcguire. >> the script went right to tom cruise. he calls immediately. i love this script. i'll read it with you. and you tell me if i'm right for it. >> don't worry. don't worry. i'm not going to do what you all think i'm going to do which is just flip out! >> and basically i've been geeking out over his performance ever since. >> jerry mcguire. how you doing? >> jerry mcguire. >> yeah. >> how am i doing? i'll tell you. i'm sweating, dude. >> cuba and tom just like deliriously happy actors. >> show me the money. >> they were just like landing blows on each other. >> jerry, show me the money! >> and that scene just kind of

exploded. >> congratulations, you're still my agent. >> that film really spoke to me so deeply because it's the single mom with this precocious little kid. >> do you know the human head weighs eight pounds? >> and bringing a guy into that picture, i love how much cameron believes in romance. >> i was so anxious to do one line you complete me. there were times that i had read that in the script and thought fantastic. there were other times, is this too cheesy? and i told tom that. and he said, just give me a shot at it. if you don't want to use it, don't use it. >> i love you. you complete me. and i just, shut up.

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>> this guy is going through all the eggs. look. this has been going on for 20 minutes now. >> what's he looking for? >> said he has to find the perfect dozen. >> perfect dozen. >> yeah, each egg has to be perfect. >> in the '90s you could feel this excitement that there was something happening here. there started to become a genuine independent film movement. and sundance film festival and sundance institute had everything to do with it. >> the idea of starting sundance was, i felt i had grown up being a part of the major film industry because that's all there was. i was very fortunate to be part of that. as time went on, i became more aware of other stories that could be told. they would be told by people less inclined to be commercially attractive. they were different. they were offbeat, but they were stories that i felt should be told. >> women are lonely in the '90s.

it's our new phase. we'll live. >> they weren't looking at who made the movies. they were looking at the movies. they have a commitment to showing films with very specific authentic voices. >> there was a sudden recognition because of the success of films that came out of that festival and it drove such a profound change into main line hollywood. >> say, man, you got a joint? >> no, not on me, man. >> it would be a lot cooler if you did. >> just like "american graffiti," "dazed and confused" was this complete euphoric look at young people before they have to become adults. >> there's other high school movies. there's a million of them. but there's very few that really

gives you an honest depiction of that time in your life. >> whoo. >> you all ready to bust some ass? >> you see all these fantastic actor who started out in dazed and confused. >> that's what i love about these high school girls, man. i get older, they stay the same age. >> richard linkletter cast all these fabulous girls. >> seniors -- >> those characters i adored. they just felt like real girls to me. >> let me tell this. the older you do get, the more girls are going to try to get you to follow. su got to the keep living, man, l-i-v-i-n. >> it's lightning in a bottle. >> everybody cough up green for the lady. >> come on, throw in a buck. >> huh-uh, i don't tip.

>> you don't tip? >> no, i don't believe in it. >> you don't believe in tipping? >> i was banging around and trying to be a writer and a filmmaker and i read "reservoir dogs" and i thought it was clearly written by somebody who was 67 years old and had kind of gotten out of jail and wrote his life story. >> harvey keitel was the guy that pushed it through to us. that allowed us to discover quentin tarantino. >> who cares what your name is. >> yeah, that's easy for you to say. you're mr. white and have a cool sounding name. you want to trade? >> hey, nobody's trading with anybody. is ain't a [ bleep ] city council meeting you know. >> it was clearly focused on violence but it was going to underscore it. for me that was kind of a break-through moment. >> yes, so [ bleep ] bad. is it bad is this >> as opposed to good? >> here violence and brutal

violence comes with a heavy at times dose of comedy. >> you know what they call a quarter pounder with cheese in france? >> no. >> tell him, vincent. >> royale with cheese. >> royale with cheese. you know why they call it that? >> because of the metric system? >> check out the big brain on brad. >> "pulp fiction" was this fever dream of a screenplay and it was the screenplay itself that was this wild hairy bug. it was like a tarantula on the doorstep. you had to look at it, my god, look at the size of this thing. >> let's just forget it. >> that's an impossibility, trying to forget anything as intriguing as this could be an exercise in futility. >> look at what john travolta does. look at uma thurman, bruce willis. it was slick. it was fast. it had no convention to it whatsoever. it just rewrote the rules of the

way you can make film. >> die, you mother [ bleep ]! >> you constantly have to pay attention because have you all these characters who were somehow connected and you only start to figure that out as the movie goes on. >> i love you, pumpkin. >> i love you, honey bunny. >> everybody be cool, this is a robbery. >> you know a tarantino film the minute you see it. it's such a fanfare of a new kind of filmmaker. ♪ >> "swingers" came out of this kind of cocktail 50s nostalgia culture in l.a. that people who made the movie were part of. and it kind of became a phenomenon. >> so, what do you guys do? >> well, i'm a comedian. >> when i starred writing "swingers," i didn't know that it was going to be a movie or a full script. i was just writing stuff that i got a kick of and kept going with it. >> when you talk to a man i

don't want you to be the guy in the pg13. everyone really hopes to make it happen. i want you to be like the guy in the rated r movie, you're not sure whether you like yet, you're not sure where he's coming from. you're a bad man, you're a bad man. you're a bad man. bad man. >> it was sort of that indie comedy sensibility. we were influenced by kevin smith and tarantino and scorsese. when the movie finally came out, it hit the culture in a big way. >> see, baby, it's not that hard. >> 818. >> 310. >> nice.

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

and in the process of doing that returns the disney animation to its fundamentals. [ screaming ] >> oy. $1,000 years will give you such a crick in the neck. >> and because they're done with cleverness and with great use of music which disney specialized in, they capture the same magic. ♪ the circle of life >> "the lion king" is interesting because it's a very old tale that's been retold in different ways. but it emerged as something special and i think became bigger than the sum of its parts. ♪ hakuna matata >> it means no worries for the rest of your days ♪ >> it just clicked with the

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

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

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

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

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

>> you're standing in it. >> places. >> ed wood when he was making a movie thought testifies making "stars wars." every time you embark on a movie it's going to be the greatest most amazing thing. >> ed wood was not made as a joke. it was lovingly made in appreciation of what that guy had done. >> these actors really loved their craft and that kind of weird sort of sense of family you get in film. this felt very close to me. it just felt like my own life. a bunch of weirdos trying to make a movie. that's easily relatable to me. >> this is the one. this is the one i'll be remembered for. the latest iphones.astest networ and the iphone xr, with a retina display that makes everything look incredible... it's like the perfect couple - you know, the ones who look great in every picture. like the ones who always make me feel like a before photo. zoey and chris. hey guys! hey... zoey and chris!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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>> i loved their female comradery, and i loved dolly parton in that movie. she's like -- liquid gold. >> if you ever say another word about me or make another indecent proposal i'm going to get that gun of mine and i'm going to change you from a rooster to a hen with one shot!

i loved the original "terminator," but the sequel blew it out of the water as far as i was concerned. that chase in the l.a. river with that truck, oh, my god. you watch that chase today, it's powerful cinema. >> come with me if you want to live. >> it's okay, mom. he's here to help. it's okay. >> it's got heady ideas about time travel and about the space/time continuum what sounds like fancy sci-fi plavor but also a story about being relentless. jim as a filmmaker is relentless. >> when james cameron got to t2, he was interested in expanding his palate particularly to include these new digital tools.

it was wildly ground breaking. cameron was working with industrial light and magic. >> hasta la vista, baby. >> and they were really kind of inventing this process of cgi as they went. when you first heard that steven spielberg would be making a movie about a place where dinosaurs were brought back to life, your first response would be, i can't wait to see that. >> where's the goat? >> amazing how long it takes before the t-rex comes out. he makes you wait for it. and wait for it. and wait for it.

i don't know what a dinosaur really looks like in real life. i think it looks like "jurassic park." >> boy, i hate being right all the time. >> what steven spielberg innately understands is that dinosaurs are awesome. >> it was the same feeling that i had as a 7-year-old watching "jaws" for the first time when you see the brontasaurus's leap up and eat the leaves off the trees. >> we're going to make a fortune with this place. >> i mean, that's what spielberg does as a filmmaker. he makes you you go, oh. >> a lot of the enthusiasm for cgi comes from filmmakers seeing in jurassic park what that

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

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

>> you have to let it all go, neo, fear, doubt. and disbelief. free your mind. >> whoa. >> "the matrix" changes everything. you have the embrace of eastern cinema into western canon. and you've got them making their actors do the stunts themselves. keanu reeves had already done "point break," and "speed," but this is a different level of action star that he's transforming into. this was six months of training every actor had to go through. one of the things that you get when you're having the actors do their own stunts you can film close-ups of the face while a

punch is being taken and thrown. the action itself becomes story telling. >> as cgi gets better, we become more sophisticated in our tastes with computer generated because it gets better and life-like. >> he is the one. at t-mobile, for $40/line for four lines,

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

everyone is trying to get the good thing in before the century begins. >> you had a combination of young filmmakers, swinging for the fences and showing what they can do. michael mann, with "the insider" finding a new gear. >> i have to put my family's welfare on the line, my friend. i and you put up words. >> while you've been on company golf tournaments, i've been giving my word and backing it up with action. >> i would stack '99 up with any year as a cohort of great filmmakers dropping significant work. >> hey, mr. mcallister. >> not wasting any time, are you, tracy? >> you know what they say about the early bird. >> "election" is about this high school student council election in omaha. reese witherspoon is tracy

flick. she has passion and drive and too much ambition. >> this country was built by people just like me and don't have everything handed to them from a silver spoon. >> what's brilliant about "electio "election," was you're getting voiceover from three or four people. >> i had to stop her. >> alexander payne made a very american movie. and the performance in the election of matthew broderick and reese witherspoon are terrific. >> looks like you can use a cup ca cupcake. >> it's a remarkable film. >> "boys don't cry" is a true story about branden tina. he fell in love with a woman. they had a relationship. and other people discovered that this was a transman and not a

sis man and sexually assaulted and murdered him. >> "boys don't cry" a phenomenal movie. no studio would have made that movie. it was a game-changer in american cynthia, in terms of what was made before and what was made afterwards. >> '1999 was a great year in independent of cinema. you look at "virgin suicides" to "three kings" and "being john malkovi malkovich." >> it's a portal and it takes you inside john malkovich. you see the world through john malkovich's eyes and you're spit out on a new jersey turnpike. >> it's a great combination, spike jones and charlie kaufman. and they remind people that movies can be so much more. >> what happens when a man goes through his own portal? >> we'll see.

>> it's a fictional dive through the brain of john malkovich, who was in the movie, playing himself. >> malkovich. malkovich. >> it's one of the movies that's impossible to describe. it just sounds like you're piling one absurdity upon another. but it comes into this crazy and beautiful film. >> i want you to hit me as hard as you can. >> what? >> i want you to hit me as hard as you can. >> sometimes a piece of material finds a filmmaker who is uniquely possessed of the chops to do it right. "fight club" was -- it's hard to imagine anybody who had a better dna than that him for that film. >> the first rule of fight club

is you don't talk about fight club. the second rule of fight club is, you do not talk about fight club. >> we were doing the film that all of us hoped to do. >> trust me, everything is going to be fine. >> i thought "fight club" was one of those things can become a marker for a way we felt at a certain time. and it's still growing. that's exciting. for me, that's the highest aspirati aspiration. ♪ >> if the '90s, you have trends that will carry on. you have black filmmakers coming up. you have women's voices coming to the forefront, writing and directing films. you're getting big blockbusters. it lays the groundwork for what

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