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with "gladiator," the producer said, i want to you look at this first before you even read anything. he showed me this painting. it was the corner of the coliseum. a man is standing over the slave who is about to get killed. he is looking up for permission at a guy who is clearly nero. in other words, kill him. i will do it. he went, you haven't read the script. i don't care. i think we can get this right. let's do it. >> are you not entertained? is this not why you were here? >> i must have had a half dozen phone calls about russell with

ridley. i thought he was a raw talent who was just discovering the power he had. >> remove your helmet and tell me your name. >> he is marvellous. russe russell's big thing is that heart he has in his voice. >> my name is maximus. general of the legions. loyal servant to the true emperor. father to a murdered son. husband to a murdered wife. and i will have my vengeance, in this life or the next. >> he is a character actor. that's what he loves is to fully create a character. >> you are going to end up in a cell. worthless, discarded. while you rock and drool, the world will burn to ashes. >> you are not real.

you are not real. >> you are still talking to me, soldier. >> he finds himself within those characters, and he embodies them in ways that make you lose yourself in that world. so he is really helping the director to create and transport beyond his own status and presence. >> there's two things that aggravate me. being ignored and being lied to. >> i never lied. >> you told me things would be fine. they're not. i trusted you. >> i'm sorry about that. >> i don't neat pity. i need a paycheck. i have looked. when you spend the past six years raising babies, it's hard to commit to someone to give you a job that pays. are you getting this down? >> it's a true story about a paralegal gathering up clients for a class action lawsuit against a company that was poisoning the water in a community. and then lied about it.

>> we're going to get them. aren't we? you gotta promise me we're going to get them. >> to get to be in the orbit of steven and feeling like you had found your person. we just came together at the right time with the right material. and one of his great talents is casting people. >>you are erratic. >> 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. it's a purposeful performance. you got all of julia roberts in this film. >> the oscar goes to julia roberts. >> the oscars. what does it mean? i don't know. do we want them?

of course we do. it's this great piece of recognition that will stand the test of time. and it's a really special moment. >> i love it up here. >> steven and george sent me the script for "oceans 11" that came with a $20 bill and said, we hear you get 20 a picture. they were paying me in advance. >> you are not waearing your ring. >> i sold it. i don't have a husband or didn't you get the papers? >> my last day inside. >> i told you i would write. >> george clooney is the one that convinced his friends to be his fellow cast members. it was just fun. there's something very special about seeing this kind of star power, this charisma on screen. >> 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. it also changes the whole context of movies, because the power balance in movies changes. >> i'm cool. i'm good. >> it changes from an industry that at first was studio driven and then was director driven to an industry that is star driven. >> i have made fire. >> by changing the balance, it changes the movies we get. ones that ultimately centralize the star. ♪ >> today is training day. show you around. give you a taste of business. i got 38 cases pending trial. 63 in active investigation. i supervise five officers. that's five personalities, five sets of problems. you could be number six if you

act right. >> "training day" is an otherwise small film without denzel's presence. the energy that denzel brings to that character makes him really hard to take your eyes off of. >> 114998, shots fired. officer down. repeat, officer down. 5951 baxter street. >> congratulations, you will get a medal of valor for this. >> i didn't shoot him. >> room full of cops said you did. >> but i didn't. >> you did. >> every scene i did with him from the first day was the reason why i want to make movies. i was just so into watching these two guys perform that i forgot to yell cut sometimes. they would keep going. >> play the player. i'm letting you shoot me. >> don't do it. >> i don't believe you got it in you.

>> they got in a fight. denzel put the cigarette down and picked it back up. i was about to yell cut. he kept going. he lit it. i saw it in his eyes. it was a long lens. i could see something happening. he was on fire. >> i'm the man up in this piece. you will never see the light if you don't [ bleep ]. i'm the police. i run shit here. you just live here. 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 do they do? they give it to him the same night. >> the 2002 academy awards is important because you have

denzel winning best actor, halle berry and sidney portier. >> now after last night, the number is three. >> it was a great moment for brak uc black actors, black cinema and the struggle. it's time for some straight talk.

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look at this. an entire generation of cinderellas and there's no slipper coming. >> all i have to do is listen. that's what lester banks said. >> i know this is a hobby. >> i loved playing elaine miller. he wrote it. it was a love letter to his mother. >> 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. >> seeing the freedom and the

heartbreak that comes along with that freedom was really exquisite. ♪ >> there were two scenes. penny lane dancing to the wind on the floor of the empty arena. that felt like the soul of the movie. also the scene where they are on the bus singing "tiny dancer" as a way of bringing the band back together. ♪ hold me closer tiny dancer >> i have to go home. ♪ count the headlights on the highway ♪ >> you are home. ♪ lay me down in >> 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 boy ♪ >> "moulin rouge." everything about that movie is perfect. ♪ >> at the time when it came out, nobody 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. ♪ snee ♪ here we are now ♪ entertainers >> every song, it wasn't like i got my favorite record collection together and went, here is a catalog of songs, let's find a narrative.

the musical numbers are, in fact, that particularly difficult craft of not being a poe poem, which is what most pop music is, but they're linear. they're telling stories. ♪ a kiss on the hand may be quite continental ♪ ♪ but diamonds are a girl's best friend ♪ >> there had to be a degree of challenge in the rhythm of it. we had to smash the door in or really get in your face about the musical. ♪ >> we had to say, are you going to accept the contract and come with us or not. ♪ believe me when i say >> musicals are cyclical, like many other genres. i think this movie opened up the

possibility for musical cinema again. >> five, six, seven, eight. >> when "chicago" originally opened in the '70s on broadway, people thought the vision of the world was too dark and cynical. but by the down of the 21st century, he was right on it. ♪ want a brand new start ♪ to do that jazz >> let's go, baby. >> "chicago" was thought to be unfilmable. people have been trying to make an adaptation for years. what rob marshal was able to do to make the musical numbers, the idea she was a character that was envisioning musical numbers was brilliant. ♪ he had it coming ♪ he had it coming ♪ he only had himself to blame

♪ if you would have been there ♪ if you would have seen it ♪ i bet you, you would have done the same ♪ >> i'm a firm believer the time is always right for a great musical. ♪ >> when you see things like that working in the marketplace -- ♪ you are the dancing queen >> aud audiences have an interest in them. ♪ >> animation took a real pivot at a certain point. >> tell me, where are the others? >> eat me. >> filmmakers figured out, you

could broaden the audience from three to 80. no one is left out. >> i'm telling you, you are going to be seeing this face on tv a lot more often. >> like on most wanted? >> you have been jealous of my good looks since the fourth grade. >> have a good day. >> you too. >> i'm the dope who turned down "toy story." so when they called about the next film i went, i will do it. i could hear the laughter on the other side. >> thanks a lot. i will be here all week. remember, tip your waitresses. >> pixar films are sophisticated not only in terms of visuals but in terms of script, humor, characterization. >> no one does it as consistently as pixar. they work mir clacles almost ev time out. >> "incredibles" was the first pg rated computer generated

film. it was considered a risky thing. it's an action film. but people assume because it's animated that it's a certain kind of film. that tells me that the medium needs to bust out a little bit more. >> the characters are real and accessib accessible. i think that was new. it was the polarity of what's mundane and what's heroic being slammed up against each other. >> which exit? >> traction avenue. >> that will take me downtown. >> don't take seven. >> pixar is the best because they will dare to be really real. look at the opening of "up." >> it's a beautifully poetic sequence and sets the table for the movie to come. it begins cheerfully.

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. >> this is opening of the movie. i was coming in here to laugh. but you just rocked me before it even started. you go, what balls. and they'll say, "grandpa just tell us about humpty dumpty". and you'll say, "he broke his pelvis or whatever, now back to my creamy heinz mayonnaise". heinz mayonnaise, unforgettably creamy.

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♪ "there will be brolood" and daniel played by daniel day-lewis is a character i can't wash off. there's not enough soap to wash off the memory of that character. >> i think he is one of america's finest filmmakers. all the films he has made bring you into a world that is utterly

unique with characters who are repellent and really attractive at the same time. >> you look like a fool. don't you? >> yes. >> yes. yes, you do. >> we knew daniel day-lewis was a phenomenal actor. but him with paul thomas anderson, it's pretty perfect. >> the great thing with daniel, especially in that film, is that it's intense but it's also really fun. it's mischievous fun. that was a great part for that kind of devilish, mischievousness to come out. >> i drink your milkshake. i drink it up. >> don't blame me, daniel. >> with him, i saw a person working another way. once he was in character and --

people say, he stays in character. it's easier. maybe not for the actor but for me. it's not the actor. it's this character. i'm talking to bill the butcher. >> somebody steals from me, i cut off his hands. he offends me, i cut off his tongue. he rises against me, i cut off his head, stick it on a pike. raise it high up so all in the streets can see. that's what preserves the order of things. >> 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 he said yes after pursuing him for ten years. daniel is one of the greatest

actors whoever acted in front of a camera. >> it's a mess, ain't it, sheriff? >> it will do until the mess gets it. >> "no country for old men" is based on a novel. it's set in a border community. josh brolin finds a suitcase of money in the aftermath of a drug deal that has gone awry. >> what's in the bag? >> it's full of money. >> that will be the day. where did you get the pistol? >> at the getting place. >> he 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 the best movie of the 21st century. i still think about him flipping

the coin at the gas station. >> you know what date is on this coin? >> no. >> 1958. it's been traveling 22 years to get here. now it's here. and it's either heads or tails. you have to call it. >> look, i need to know what i stand to win. >> everything. >> how is that? >> you stand to win everything. call it. >> all right. heads then. >> well done. >> the cohen brothers are evocative because they are purposefully trying to bust up a norm. their true grit is a perfect motion picture. >> that gentlemen sold me cheap shells again. >> i thought you were going to

say the sun was in your eyes. that is to say, your eye. >> you have filmmakers who begin if the late '80s who are determined to always make the movies they want to make. as much as studios gain control, and as much as money becomes a coin of the realm, the spirit of the 1970s, the idea the filmmaker could be the one in charge, will continue to sustain itself through the work that they do. at t-mobile, for $40/line for four lines, it's all included for the whole family, starting with unlimited data. use as much as you want, when you want. and if you like netflix, it's included on us. plus no surprises on your bill. taxes and fees are included. and now for a limited time, with each new line, get one of our latest smartphones included. that's right, only $40/line for four lines and smartphones are included for the whole family.

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good luck, harry potter. >> when "harry potter" came out, it was right after 9/11. people needed to go escape to a world of wizardry and magic. >> look. >> welcome to hogwarts. >> there was tremendous anticipation for this film. of course, we met with rowling and we were careful to run everything by her and to be sure that we had her blessing. because she wasn't sure that she

wanted to have the movies made. >> i took warner brothers word they would be true to the book. and they have been. >> harry potter is this idea of a young boy who doesn't think that not only is there nothing special about him but he is mistreated. >> there's no such thing as magic. >> then to find out that you are the heir of this amazing wizarding family and that you are unique and special and you have this whole destiny in front of you. that's every child's fantasy. >> curious. very curious. >> the harry potter film franchise, like the book franchise, was just something that really defined a generation. >> welcome home. >> the design of hogwarts, the world building is really impressive. especially when they started to have a consistent directing style. >> the idea and the magic of a

world like that gives an audience comfort when they see that over and over again. >> flying. >> 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 lives up to the hype and lives up to it three times in a row. >> are you frightened? >> yes. >> not nearly frightened up. >> it is one of the craziest achievements of modern film making. the insane gamble to make these three epic, huge fantasy films all together. >> you shall not pass.

>> the incredible visionary director, he was in charge of seven film units shooting the various story lines or battles. how he kept all that together is unbelievable. >> he could write about these amazing battles and these massive, fantastic worlds. 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, they said, look, we want an actor to play the role so that whoever is playing frodo and sam won't make decisions for that character. they said there's technology we are looking at which is motion capture. i fell in love with the idea. it was an epiphany when i stood in front of the monitor and was able to move and seen the avatar

moving in real time with my physical performance. >> you are not so very different from a hobbit. smiegel. >> what did you call me? >> the trilogy is this marker of the 2000s. it's dhachanging technology. it's introducing you to actors that are household names. it's an epic that i don't think we felt in culture since the original "star warwars" films. >> i suggest you keep up. >> if you look at the number one box office hit from 2001 on, with the exception of "american sniper" in 2014, every single one of them is a franchise film. >> welcome to the caribbean.

>> the studio executives see that's the direction we want to go. they're not looking for a single project. they want the next franchise. they want something that's not going to give them one hit film, but it's going to give them a series of hit films they can spin into a world of markets and television and video games and everything else. >> i think what paul did 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 have ambition to make each one better than the last one. >> i don't think there's any question at this point that we're going to look back on this as the age of franchises. even comedies. you get four "men in black"

movies. >> does that come standard? >> it came with a black dude. but he kept getting pulled over. >> the machine keeps turning. there's more content to be made. >> ready? >> ready. >> steady. go. ♪

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♪ i like you. i like sex. it's nice. >> "borat" is a very interesting mockumentary. he interacts with the real world. >> my name is mike. i'm going to be your driving instructor. >> my name borat. >> 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. ♪

>> it's all right. >> that's the breakthrough acting performance. >> worship. >> he was like a method actor and had to have a lot of touchstones so he could do the performance. because he is not acting with other actors. he is not on a set. he has to pretend he is this character. they have to believe it. the second they don't believe it, the scene is over. a big part of the fun was you were robbing banks comedically. when we were done, the giddiness, the exhilaration of that experience was unmatched. >> it's cindy. remember when olive was here, she was runner-up, 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. [ screaming ] >> the first script where i started with the ending and reverse engineered. >> miss louisiana. the new miss america. >> one day i'm watching tv. there's footage of this beauty pageant. there's skinny blonde girls. i thought to myself, wouldn't it be great if an unconventional girl got up there and busted out and rocked the house? i know that's a good ending. i know that's a good ending. ♪ >> you could feel everybody in the theater was laughing at the same time. to me, there's nothing else better than that. only movies can do that to get everybody in one room laughing together. it's like you are communing with the gods. the gods of laughter.

>> "royal tenenbaum". >> it's meticulously composed, beautiful designed and curated down to the last detail. tends to take place in a world that's almost above all, that's siloed off from the outside world. >> why would a review make the point of saying someone is not a genius? you think i'm especially not a genius? didn't even have to think about it. did you? >> real originality is pretty rare. i think wes had it from inception. >> what's this lumber for? >> we're building a tree house. >> where? >> right here. >> there's a level of invention that feels generous. where does he come up with these ideas, these details that fill out this universe? it almost feels like a compulsive quality.

>> complements of herman. >> it's inspierg aring and intimidating. >> every man under my command owes me 100 nazi scalps. i want my scalps. you will get me 100. taken from the heads of 100 dead nazis. or you will die trying. >> quentin, there's stuff in all his screenplays, they extrapolate on things that should not land as cleanly as they do. >> he is giving us the ending to the story we wish history had given up. with ious bastards."

>> he had this 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 them acceptable and entertaining. that's really hard. he did it. over and over and over again. >> you son of a -- ♪ ♪ sport drumming starts

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frank. >> hey, honey. >> what the hell are you doing? >> we're streaking. we're going up through the quad to the gymnasium. >> who is streaking? >> there's more coming. >> frank, get in the car. >> everybody is doing it. >> now. >> okay. >> hearing will's name puts a smile on my face. i remember him making "old school" and everybody got that taste of you want to see a

[ bleep ] genius on a movie screen? here is will ferrell? >> sorry i can't ride with you. this is where my dad works. i forgot to give you a hug. >> because he came from snl, he is aware of where the laughs are, what the rhythm of the scene is. >> santa is coming to town. >> santa! >> he can flow with a scene and change it. he is more like a jazz musician who will improvise. >> i know him. >> as opposed to somebody who is more used to reading off sheet music. >> ladies and gentlemen, could i please have your attention? i have just been landed an urgent and horrifying news story. i need all of you to stop what you are doing and listen. cannonibili cann cannonball! >> i love "anchorman " so much. he was making a movie. 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 is going to put corningstone on. >> a lot what have we think of as 2000 comedy is in "anchorman" whether you talk about writers, directors, producers, cameos. i think the most significant participant is steering good comedy. >> ready? >> yeah. >> you [ bleep ].

i'm sorry. i'm sorry. it's just your job. >> i think judd changed the landscape of comedy in the 21st century completely. >> i'm pregnant. >> [ bleep ] off. >> what? >> 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. ♪ >> "bridesmaids" come out. it's surreal watching that movie, because you actually feel as though these are real women. >> you had sex with him. >> we had an adult sleepover. >> did you let him sleep over in your mouth? annie. you are unbelievable.

>> he kept putting it near my face. >> they do that. >> why do they do that? let us offer. >> slap it away. >> i couldn't. >> that scene in the beginning, i'm proud of that one in that i feel like it does capture their chemistry. 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 shows female relationships in their entirety, in their awful, unattractive, some days i love you even though i hate you side of female relationships. it revolutionized the idea of what could be female and what could be funny. >> you got food poisoning from that restaurant. >> i had the same thing that she had. i feel fine. >> oh, my. >> oh, no. >> nothing is happening. >> the poop scene, that wasn't in the script. >> not the bathroom. go outside.

i'm serious. >> judd and paul came up with the idea, what if you eat bad food and get the shits. >> it's happening. >> up until that point it was rare to see women being women in a hard core comedy. that movie is unprecedented because of it. >> it happened. it happened. >> this is suicide. >> that's what they call a suicide bomb. >> i feel the most satisfied when a filmmaker has taken me to a place i've never been to before. >> we saw there in awe. >> heath ledger changed how heroes are portrayed. >> the big thing was the casting of robert downey junior. >> when you get more out of the human being, that is a comedian, it's fascinating. >> there's a sense that you want women to tell women stories, you

want people of color to be able to tell their own stories. it is changing the complexion of hollywood. ♪ ♪