to tell their own stories. it is changing the complexion of hollywood. ♪ ♪

♪ ♪ >> come with us. we're heading for the valley. >> going where? >> mexico. >> all the way down. >> you going all the way to mexico tonight in this heap of

junk? >> the town will get along without us. >> i was young enough to bounce, i would go with you. >> "the last picture show" was a movie that however old i was when i saw it, i said, this movie is about me. this movie is about us. this movie is about america as we are right now, here in the mid '70s, not as we were back in the early 1950s. >> do you think "the last picture show" is a john ford movie? >> no. >> peter loved movies. but had a very strong sensibility. he smoke to a new generation, both visually and emotionally. >> orson wells sawelles, i woul everything to be sharp. he said, you will never get it in color. what do i do? shoot it in black and white.

"the last picture" is the movie that made me follow in love with movies. it just blew my mind. it's about everything that holds you back. it's about being young. >> there's heartbreak. wisdom that comes of age. and young people discovering how fast time goes. >> in "the last picture show" there was a quality of reality. there's no feeling of watching a performance but of experiencing another human being. >> really, it's a story about america. about the death of a way of life. >> nobody wants to come to shows no more. baseball in the summer. television all the time. >> maybe a necessary death of an old hollywood that had to die to make new for a new generation of filmmakers to tell new stories. >> at the end of the '60s, hollywood was ballooning budgets up to catastrophic size.

>> i will pay for it in cash. >> it opens the door for smaller movies. when the budget is lower, the artistic freedom tends to be higher. >> play misty for me. >> there was a young group of directors that came along and started blowing up the bridges behind them the way things used to be. now we're trying new ways. see if it works. >> "french connection" was about a couple of new york cops doing a hard hustle and busting a bunch of low life scumbag drug dealers. >> that car is dirty. >> he shot the film like a documentary. he found a way to make it so real. it really influenced me. my favorite gene hackman performance is popeye oil. >> gene hackman was so filled

with anger. it made me happy to see that kind of life. >> the car chase was undeniable actually happening in real time. this was the greatest car chase in a film that wasn't supposed to be about a car chase. >> the new hollywood coming out was angry and young. and that anger changes the whole aesthetic of hollywood. >> there was something about movies in the '70s. they were all very tangible. you felt like you were really in it. >> these dark, dark films that life is shit. and that's the punch line. >> movies are uglier. they are dirtier. they are more uncomfortable. they are more dangerous. they are more vietnam. >> we were starting to deal with the counterculture and taking it

seriously, because we were young, we were part of the counterculture. >> "patton" connects with the greatest generation. it's also a film about reconsidering war and connects with the vietnam generation. >> you are just a god damn coward. >> it is told with irony by this young screenwriter named francis ford coppola. >> he had his foot in old hollywood before that. he made a musical. >> i was very unhappy during the production because you didn't get to cast, you didn't get to pick the art director, you didn't do final post production. one of the highlights of the picture is a skinny kid would come and watch what i was doing and became a friend of mine. he was the only one my

contemporary. that was george lucas. >> student films are the only hope. they are beginning to realize that students know what they are doing. >> these guys saw hollywood as death. they were all very influenced by the fresh new wave in european films. that's how francis saw himself. his fantasy was that he was going to make a series of these out of hollywood movies with lucas and other people they attracted. they decided to start their own studio. >> back off. >> the first movie is by george lucas. he makes "txh 1138." it's a flop. it goes over everybody's head. >> it almost ended lucas' career before it started. they were running into trouble. >> at the same time, paramount was running out of money. i said, look, what would happen if we bought the rights to some

really interesting commercial novels and married that material to all these bright young filmmakers out there? when paramount came along and offered francis "the godfather" he didn't want to do, he turned it down. >> i reminded francis that he was broke and that he had to take my offer to direct this picture. >> what happens? coppola takes the paying gig, which might be the most beloved movie of all time. ♪ here i go again on my own ♪ goin' down the only road i've ever known ♪ ♪ like a drifter i was-- ♪ born to walk alone!

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♪ "the godfather" is unquestionably one of the great movies of all time. the beauty with which it is made. the quality of its acting. all of those things are undeniable. >> godfather. >> the film is about power. it's about the succession of power. it's about morality. it's about responsibility. the fact that it's about a mafia family is just the dressing of it. >> al pacino's character is the youngest son. he understands what's going on with his family. he explains it in cold blooded detail to kay right there. >> my father made him an offer he couldn't refuse. >> what was that? >> lou held a gun to his head

and my father assured him either his brains or his signature would be on the contract. >> he is an innocent. he was quiet. he was shy. he was outside. he was not in the inner circle. >> that's my family. it's not me. >> he kind of delewd deludes h into believing that. everything starts to change when his father is almost murdered. the family has to take revenge. michael decides he will do it. >> let's set the meeting. >> one of the things i related to was how he loved his family. what he would do. he would do anything for his family. >> he is there in that restaurant. you see that look in his eye to say that either he knows he's going to shoot him or he doesn't know. he is trying to decide. he will get up and walk out. it's going to change his life

forever. right after this happens, nothing is ever going to be the same again. >> how do you let go of what you have been raised in? can you let go? do you just become another one of the line of the same thing? >> i never wanted this for you. >> you really cared about these people. you understood the godfather's wanting his son to be separate from all of the crime. you understood his sadness when that didn't seem possible. >> governor. >> it's very much a story about america, about both the promise and the destroyed promise of america. sg . >> i saw that film four times in five days. i had always thought lawrence of

arabia was the greatest film made until the first godfather. >> coppola made another one. >> he is more ruthless and more powerful. >> you won. you want to wipe everybody out? >> i don't feel i have to wipe everybody out. just my enemies. that's all. >> at the same time, it's intercut with the story of his father as a young man played by robert de niro becoming a powerful mob leader in new york. >> i studied what bry eied what done and expressions. i had to try to create the thing that he had.

>> i will make an offer you won't refuse. >> half the movie is this young man trying to figure out legitimately and otherwise how do i make it in america. >> everything don did was for his family. whereas, michael, everything he does is about making money and accumulating power. >> he rationalizes by saying, this is for the family. but ultimately, he destroys the family. >> this is the product of francis ford coppola. you feel his sensibility. and this is the great revolution of the 1970s. >> it became very clear to the studios, if we could have a box office success with "the godfather" imagine what else these guys can do if we give them a chance. >> the whole school of

filmmakers that came up in hollywood in the '70s really were roger gorman's children. >> he started making movies for exploitation companies. they were very low budget. >> suddenly, i had a group from ucla, sc and nyu of young filmmakers. they learned on the set while directing. >> working with roger corman, it's like a college. you are tired and distracted. doesn't matter. you are shooting. >> francis ron howard, and me began with roger. the new hollywood is unthinkable without roger. >> when i was making "grand theft auto," he said, ron, you keep doing a good job for me on this picture and you will never have to work for me again. i guess i never did work for

roger again. i'm forever grateful for the opportunity he gave me. >> martin made a few small films in the late '60s. people started to pay attention when he does "mean streets." >> i wanted to make films about an area where i grew up. i didn't really see organized crime. i was living in it. >> he burst upon the scene with a frankness, violence and restlessness to find the rhythms of the streets. that don't feel anything like a movie. >> mao muhow much money you got? >> i ain't got nothing. >> "mean streets" came out of events that occurred to me and my friends associating with people that can be detrimental. yet, there's love there. >> the first time you see robert de niro dancing around like everybody else you are like what

the [ bleep ] is that? who is that? >> that ain't nothing wrong with me. >> it was about friendship and loyalty. it was one of those movies that resonated with me because it reminded me of the same situation that i was in, just different color people. >> "taxi driver" reflected the world i knew. steam from the streets. the nighttime of the city. it's always night. especially for a guy who wants to drive a cab at night. >> how is your driving record? >> it's clean. it's real clean, like my conscience. >> you going to break my chops? >> the conflict was in de niro. we knew that there was a truth to it. >> why won't you talk to me? why don't you answer my calls? you think i don't know you are here. >> he lets people do -- gets the best out of them because he lets them go as far as they can go. >> i love him. >> it's a story about a guy who has a psychological decent into

hell. >> the idea of thhad been growi my brain for some time. >> he decides to assassinate a presidential candidate. >> all the kings men cannot put it back together again. >> then he turns this to rescue a child prostitute played by the 14-year-old jody foster. >> get me out of here. >> he seems heroic. but he isn't. >> the fearlessness of that performance. de niro was not interested in being sexy or pretty. just being real. travis is one of the great characters of 20th century film. >> you talking to me? you talking to me? >> i remember sitting at his feet and him beginning this phrase, are you talking to me.

>> it's something i worked on. seemed right, the mirror and so on. >> i saw it happen. i saw him transform. wit looks like jill heading offe on an adventure. jill has entresto, a heart failure medicine that helps her heart so she can keep on doing what she loves. in the largest heart failure study ever, entresto was proven superior at helping people stay alive and out of the hospital. it helps improve your heart's ability to pump blood to the body. don't take entresto if pregnant; it can cause harm or death to an unborn baby.

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non-existence. black emptiness. >> what did you say? >> i was planning my future. >> in that period of time, there were two things that were really important to you. an ali fight and a woody movie. woody allen was the first comedian who did everything. >> this is sharon. >> hello. >> woody allen created this character who is always out of his element no matter what, whether in south america in the 1970s or sleeper in the future or russia in the 19th century. >> his intention was to get laughs.

>> by 1977, he wanted to make a different kind of movie. it blew everybody away. >> driving a tad rapidly. >> i'm a very good driver. >> "annie hall" was about people getting together, breaking up. >> he was jewish. she was decidedly not jewish. >> you are a real jew. >> thank you. >> the best relationship movie i think ever made. if you want to just take all the truths of a relationship, how it can work and not work, i think "annie hall" nailed it. >> he told that story non-chronologically. it took risks in the style of film making. >> i can't believe this family. >> there are moments he is talking directly into the camera. >> nothing like my family. like oil and water. >> he shows both what his family talks about and does and what her family talks about and does.

with these wonderful split screens. >> how often do you sleep together? >> do you have sex often? >> hardly ever. maybe three times a week. >> constantly. i would say three times a week. >> we think of "annie hall" as being woody allen's movie. >> well, la de da. >> she steals the show. >> wonderful. >> swept the academy awards, which is rare for a comedy. it won best picture, best writer, best director and best actress for diane keaton. >> i remember seeing it during college and being in tears at the end. not because it was sad but because i couldn't take the artistry. it's this beautiful symphony.

>> it was this feeling of how can you top "annie hall"? in many ways "manhattan" did it. >> it stands out because of the black and white topography. you had the score opening with "rhapsody in blue." >> it showed new york in the most row tan ti romantic way. >> what are you doing here? >> here is a movie set mostly in little dialogue scenes between cynical, nervous intellectuals on a giant wide screen. >> they sit on this bench. you see the 59th street bridge above them. i made it my business to find that bench. >> this is a great city. >> those are the kind of things that those movies made you do. you saw something amazing.

you would try to find them. >> it was a comedy. it's all the questions he loves. it's questions about mortality. >> why is life worth living? it's a very good question. >> if you remove all the baggage of him as a comedy filmmaker and watch it straight on as a film, it's beautiful. >> mel brooks, why did the make "blazing saddles"? >> for money. >> it's a classic western spoofing westerns. it's one of the most subversive comedies that comes out in the '70s. it's a movie that mel brooks co-writes about a black sheriff coming to this town and the town people not wanting him to be there. >> i love "blazing saddles" because it's a revolutionary film. it deals with race with a sense of humor and candor.

>> richard pryor was supposed to play the sheriff. warner brothers wouldn't ensure him because he was an experimenter in chemicals. mel walked off the movie. i can't make it without ritchie. it was richard pryor said no, you have to make this movie. look how dark his skin is. he would terrify those people. >> i would like you to meet the new sheriff. >> i would be delighted. wow. i have to talk to you. come here. can't you see that that man is a ni -- >> wrong person. forgive me. >> the story was the strand to hang the pearls. the pearls were all of the jokes. >> look at that. steady as a rock. >> but i shoot with this hand. >> there were sexual and sight

gags. he broke the fourth wall and the cast is running out of warner brothers. it was just crazy. >> i asked him, is it a movie you can make today? he said, i could barely make it then. >> frankenstein. >> "young frankfrankenstein" is brilliant satire. mel went to extraordinary lengths to get the details right. the look, the black and white. >> why did you make it in black and white? >> it was a homage. it had to be done in black and white if we were going to do it properly. >> it's alive. it's alive. it's alive. >> he took that genre, did it perfectly and then bent it.

>> what knockers. >> thank you, doctor. >> "young frankenstein" is a masterpiece and beautiful. i was so in love with gene wilder. he is so sexy in that movie. i use to tell people i will marry gene wilder when i grow up. >> excuse me. is this the delta house? >> sure. >> "animal house" was the first raunchy coming of age sex comedy. it was just frat boys. just running around doing crazy, crazy stuff. that was lampoon humor. it's edgy. it's borderline or over the line racist, sexist, all those things. >> mine is bigger than yours. >> i beg your pardon? >> my cucumber. >> we are making fun of that, smartly. that was what we did.

>> john balelushi was one of th breakout stars from "saturday night live." he had such energy and power. fireball. >> the part was written for john. >> "animal house" not only was a massive success but it started a genre that spread like wildfire. [text tone] [text tone] [text tone] ♪ ♪nice ♪ ♪mmmmmm ♪ ♪so nice ♪

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hey. it's me. hey. i'm a police officer. police officer. >> really the classic new york director. he put the streets and the energy of new york on the screen in a way that no one else has ever done better. >> officer serpico, that thing on your lip it goes and get a hair cut. >> based on a true story. it's a police officer who just cannot stomach the corruption he sees around him. >> frank. let's face it, who can -- >> he breaks the code of silence and exposes what happens. the effects on his life are catastrophic. >> i like you. i don't want to see anything happen to you.

>> like other movies we saw, it showed someone with flaws. but he was somebody who was rising to the occasion. >> i ought to cut your tongue out. >> al pacino is always on fire. >> it's safe with my ass on the line it's safe. >> your ass is always on the line. >> the appeal is that energy, that fire, that integrity. this allows him to move into all sorts of different kinds of roles from "the godfather" to a bank robber. >> nobody move. >> "dog day afternoon," it's about this guy who tried to rob a bank in new york in 1972. >> they picked it up this afternoon. >> she's telling you the truth. >> everything that could go wrong goes wrong.

>> who is it? >> cops. >> i had never seen anything like it. >> wait a minute. i will have to go to the toilet. >> the kindness and humanity of the bank robbers was so new and entertaining. >> who has to go to the bathroom? >> i do, too. >> now they all want to go. >> this was the kind of up ending of all the preseptembcep the bank robbery film. >> that idea of criminal as celebrity. >> no. what? why am i doing it? >> yes. >> doing what? >> robbing a bank. >> oh. >> it's one of those movies where you are rooting for the bad guys. the bad guys aren't that bad. >> he doesn't look very tough to me. does he look tough to you? >> it's a hugely important film. the black panther party said it

was the cultural representation of the black revolution. >> he is galvanized and p ed wh watches police brutalize a young man. he decides to take the police officers down physically and violently. as a result, he is on the lamb. you know he is going to get caught. he is going to be convicted. he is going to be shot by the police. none of those things happen. i remember seeing that movie. people were cheering because they had never seen anything like that. that becomes a moment when black filmmakers look and say, oh, we can tell those stories now. can't we? >> best movie theme song is "shaft." tells you everything you want to know about the movie, about the character. ♪ who is the character when there's danger all about ♪

♪ shaft >> "shaft" is a private investigator. he has his hands in mainstream society as well as the underworld. of course, his game throughout that film is amazing. >> gordon parks who directed the fill is a great photographer. many ways it's a projection of parks. he made him a super hero. >> these movies set the tone for what comes to be known as the black era. >> the queen to me of the 1970s was pam greer. she was playing a black heroin who got to be assertive and had guns and took on villains. as a black girl, as i was at the time, seeing this larger than life beautiful woman coming out

triumphant at the end was amazing. >> what i love about pam is that she is bad ass. but she's sexy at the same time. >> she was really a unique presence at that time. guys interested in her as a sex symbol. people interested in her as a feminist symbol, as a movie star. she was that present in the culture. >> people in the black community embraced bruce lee because he was not another sort of white guy. >> in 1970, you went into a black person's basement, they might have posters up. posters were big then. you might have malcolm x. you might have jim brown. every black household had bruce lee. bruce lee was single handedly one of the reasons why kids all over the suburbs were trying to kick each other in the nuts. >> everybody wants to be bruce

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♪ happy birthday ♪ happy birthday baby . when we made "american graffiti" there had been a cultural shift. it was like ancient history. >> i'm going to let you take care of my car. >> the acting in that movie was kind of my coming of age story. >> zit makeup. >> it's my favorite george lucas movie. the simplicity of the story telling is what i appreciated. he is saying, here is what last night i remember in high school being like. >> i have a new car. >> it was hilarious to watch their night of crisis. are you going to go off and see the world? are you going to stay where it's safe? >> we're getting out of this turkey town and you want to crawl back in? >> it signalled movies were getting made in different ways and told in different styles. it was really anti-hollywood.

>> cruise easy. >> the other thing about that movie is that all these actors were nobodies at the time. the biggest name in that movie was ron howard. there was cindy williams and harrison ford, richard dreyfuss. they became stars. >> i saw a vision. i say a goddess. >> a new type of leading man that is funny, charming, irritating. they are cute. >> you go down there if you got the nerve. >> dustin hoffman, he doesn't say hero. he says, this is an interesting looking good. >> the fact that he didn't look like a leading man gave him tremendous latitude to be in all kinds of different movies. >> you have said that you don't have the leading man charisma. how could you say that in view of your leading man success? >> had i been someone like clint

ea eastwood or burt reynolds, i resist doing that. i don't want to let an audience know by virtue of the fact that i'm in it, don't worry, i'm going to come out all right. i don't want them to know whether i'm coming out all right. >> you should have know to not draw on me sf. >> jack nicholson is also not conventionally handsome. but he is sexy. >> there's a little madness there. >> the most beautiful part of the day. >> his craziness is emotional. it's sometimes physical. but it's not like he is such a big guy that we're afraid he is going to hurt someone. >> you want me to hold the chicken. >> between your knees. >> his outlets for rage, like in the famous scene in qui"five ea

pieces" makes us love him more. >> i've been accused of a lot of things. never that. >> in "chinatown" he is a private investigator. he thinks he knows how the world works. >> how did you get past the guard? >> to tell you the truth, i lied a little. >> to see someone that wised up having to deal with a lack of wisdom is one of the dynamics that makes it so exciting. you' fellow. >> chinatown is extremely mysterious. >> i think you're hiding something. >> what polanski did with its intracatcy and detail and fantastic acting. > see, mr. gibbs, most people never have to face the fact the right time and the right place, they're capable of anything. >> you watch chinatown they all

had their settings right at the same setting. the great bob town wrote it, polanski directed it and jack starred in it. i think one of the most perfect movies i've seen. >> i was fortunate enough to go to the oscars the year it was nominated with. i was sitting behind jack. jack was nominated with for best actor as was al pacino for godfather 2. >> the winner is art carney. >> gasps in the audience. i leaned forward and i said jack, i'm so sorry. and he leaned back and he looked with at me and he said that's okay, bullhorn. he said i'm a shoo-in next year for cuckoo's nest. >> one flew over the cuckoo's northwest from a great novel directed bid milos foreman. nicholson plays a man confined to a mental institution and probably shouldn't be there. >> if he doesn't want to take his medication orally, i'm sure we can arrange he can have it

some other way. >> can his example help the other people in the institution? >> nick murphy was maybe the quintessential role for jack nicholson. >> how about it. >> it was a part where he could be completely wild and crazy and bounce off the walls. and bring that kind of unhinged energy. he's someone who all the other patients want to be. >> i'm hot to trot. next woman takes me on is going to light up like a pinball machine and pay off in silver dollars. >> lee iz fletcher's performance as nurse ratchet is one of the great villains of the 1970s. >> no, mr. mcmurphy. when the meeting was adjourned with the vote as 9-9. >> there was a sensibility back then of being fed up with authority, its rigidity. >> i want that television set durned with on right now! >> and that's nurse rachet. so this is a film kind of about a rebel. >> what do you you are for christ's sake, crazy or

something? >> uh-huh. >> well, you're not. >> you're not. you're no crazier than the average asshole out walking around on the streets and that's it. >> it's this combination of intelligence, menace, and self-conviction. you just, you trust who he is. >> and the winner is, jack nickel con in "one flew over the cuckoo's nest." >> i'd like to thank my agent who about ten years ago advised me that i had no business being an actor. thank you. at t-mobile, for $40/line for four lines, it's all included for the whole family. like unlimited with netflix on us. and now with each new line, get one of our latest smartphones included. $40/line for four lines and smartphones are included for the whole family.

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every director looks at "jaws" and thinks degree of difficulty, 10. hit to miss ratio, you know, zero. >> steven spielberg hit every 10 out of 10 on all fronts. >> we know all about you, chief. you don't go in the water, do you? >> it's some bad hat harry. >> "jaws" was a very popular

peter benchly novel about a shark attack on cape cod. >> i can't get back to the office and that garbage truck. >> what steven spielberg did was he made this like the kind of shark movie that alfred hitchcock might have made. >> spielbergs ups the ante with the suspense in that picture. how to basically tantalize the audience with the fear of something that might happen or is about to happen. but nothing does happen and then you catch him off guard when something does happen. ♪ >> the john williams theme from "yauz" means i'm going to scare the shit out of you and come get you. >> when johnny saw my cut on jaws, he went to the piano and took a couple fingers and went da da, da da, da da da da da da da. and i thought, oh my god.

he's going to wreck my movie. oh, my god, it's over. i thought the film had almost wreckmide life it was so impossible to make and now suddenly i'm getting a score with three fingers on the low keys? ♪ >> i came to the first day of scoring and i realized that if this film was going to be successful, 50% of the success of the film is going to be because of what i just heard. and that's exactly what happened. the first time you get a sense of how big the sense how big the shark is, you immediately by worry about those guys in the boat. they're going to die. >> we're going to need a bigger boat. >> jaws hit me when i was 15. the electricity in the theater was unsurpassed. >> the popcorn fly. to watch them jump out of their seat to see women scream. we had never seen anything like it. >> you were on the indianapolis?

>> what happened? >> japanese submarine slammed with two tornados into our side, chief. >> and then he settled down and let three actors go to it with just quiet dialogue. >> this will end in 12 minutes. didn't see the first shot for about half an hour. >> it was this camaraderie amongst these characters that elevated what the movie was. >> so 1100 went in the water. 360 men come out. the sharks took the rest, june the 29th, 1945. >> jaws is a frigging masterpiece. >> "jaws" was the first real gigantic blockbuster. heavily advertised with, opened with on a billion screens at the same time. it became a cultural milestone immediately. it changed with everything.

>> it was even more in my dna to make close encounters than "jaws." i was always into ufos as a kid and looking up at the sky wondering when one was going to land in my front yard. it still hasn't happened, by the way. >> i must think about that film at least once a day. maybe it's remembered with or thought of as a science fiction film. ♪ >> but the thing that i respond to the most is the domestic drama. the kids in that family and their response to their father becoming unhinged. >> well, i guess you've noticed something a little strange with dad. >> when he becomes so obsessed with he starts to create a grand canyon between his family and

himself. >> while the movie has this is wondrous optimism about what is in the heavens it also has this is really sophisticated darkness about what it is to have touched with that word. and how the once you've tasted or seen something, no one else would believe, there is no going back. >> it's this gigantic special effects laden personal film. there's no one else that could have made that movie but spielberg. >> i remember as a kid watching close encounters and thinking i'd go. how you not go? wit looks like jill heading offe on an adventure.

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most of the big people in the industry look at you as a maverick at best, a troublemaker at worst. you'll agree to that. >> yeah. >> unpredictable, self-indulgent bob al man. >> yeah, and i think it scares them a little bit that they feel they may not have control. >> i'll call the police. >> robert altman's movies were almost anti-movie or anti-story. they're not these two-hour perfect bang. i think he as an artist knew inherently that that was bull shit. >> robert had an unbelievable run in the '70s. he had he "mash" california split, the long good-bye,

nashville and mccabe and mrs. miller. in every movie he wants to the capture a sense of spontaneity and simultaneous at that timenate why i the sense of really being there. >> when you first see mccabe and mrs. miller, you can smell that film. >> just the steam and the piss and the cooking and all of the different things that were going on in this town. it's such a beautiful film. the absolute heart break in all of it. >> well, i guess if a man's fool enough to get -- with a woman, she april the going to think much of him. >> i think people underestimate the amount of empathy he had as a filmmaker. he loved people. he celebrated with real humanity. >> killing anybody this week. >> he's overlapping voices, he's letting the camera drift around. he may not be on the person even talking. > aren't there any rock 'n' roll

stations in nashville? >> these were unprecedented with things tate? >> elliott, it's gold. >> there's been ensemble movies and then there's "nashville" which sits firmly at the top. >> i was talking about the christi min trels this morning and now we are have julie christie here. >> nashville deals with a political campaign and the sense in which this country is both divided and deluded with. >> you all take it easy now. it's nashville. >> he was taking boundaries of film making at that point and pushing, pushing good, you know. >> i love the work of hal ashby. he was a real iconoclast, crazy stoned with all the time but a brilliant filmmaker. >> harold, please. >> i knew that hal ashby would understand the somewhat weirdities that were present in

"harold and maude." >> what are you doing when you aren't visiting funerals. >> ruth gordon and bud played with an 80-year-old woman and an 1-year-old suicidal young man. >> life. >> it was a love story with the two oddest possible people. ♪ this is a million things to do ♪ >> he learns how to live with the idea that we all will die at some point and we don't know when and it's so beautiful, i can hardly talk about it without choking up. ♪ i can see >> that sound track mattered with a lot to this movie. it was this marriage of weirdness, darkness, death, comedy, sex and cat stevens was just sort of a magical thing, you know? ♪ so shine, shine, shine >> hal ashby is really interested in the eccentric and the outsider and the misunderstood. i think in all his films, you could see threads of that. >> what about me. >> what about you? you're different.

>> i am? >> you're great. >> for me, the best of ashby's work is "shampoo" which told a political story and a romantic story and a sexual story. >> warren beatty plays a fabulous beverly hills hairdresser and warren beatty at the peak of his super handsomeness. yes, he's getting laid but he's also not connect package. it captures a kind of spiritual malaise. >> in the context of this political thing going on with nixon. >> he did care about all the women that he was banging. yet, he couldn't stop banging them all. >> i mean i'm on my feet all day longen ing to women talk and all that's on their minds is how some guy -- them over. >> it was funny and sexy and

real. >> being there is a sa tir rick comedy with peter sellers giving a great performance as a mysterious man whose only experience with life comes from watching television and tending his garden. >> on television, mr. president, you look much smaller. >> because of this simpleton that sellers played, it was a way to show the folly of society. >> you don't play games with words. >> it was another side of peter sellers from those pink panther flips and you got to see him not doing a lot and by not doing a lot, he projected with so much. >> it's the ashby elixir, he's able to tell a gentle story that resonates hugely and he lets you add it up. >> if you're an artist you're not really interested with in success, per se. >> john cassavetes was oh, just everything. actor, writer, director,

producer, mavericking. > i love you. i love you. >> are you kidding? >> what i find so special about cassavetes is his exploration of relationships. his passion for the human condition and how we interact with one another. >> come over here. >> cassavetes crafts this company of actors that always worked with together so you could see the support that it gave. his film making. he worked with peter faulk, mbenga zara, married to jenna rowlands. i don't think you would have cas vet tees without jenna rowlands. >> jenna rowlands has an incredible presence. it seemed like wherever she was, she just took over a room in this very dignified way. but wasn't afraid to have fun. >> i got a great idea. when you get home from school, we're going to have a party. >> a woman under the influence is about a man and a woman in a

loving marriage that's beset by the woman's personality. >> think there's something wrong with me or something? i'm whacko or something? >> r. >> has this is energy about her but you slowly see it unrav unraveling. it's kind of devastating but wow. what a performance. >> it was really refreshing to see a movie that put a woman directly at the center. >> god bless you. thank you for everything. >> this was right at the beginning of the women's movement, and i found this script for alice. the studio said who do you want to direct it. >> francis coppola told ellen there's this is kid who made this film main street. you should talk to the studio about hiring him. >> i asked to meet marty and i said i want to tell this story from a woman's point of view. i can't tell from watching this film if you know anything about women. do you?

he said no, but i'd like to learn. >> i was trying to deal with it just as a person. and i had ellen as a guide. >> boy. you really need someone to talk to, don't. >> you alice doesn't live here anymore, it was a revelation for me because there had been no flips about single moms. >> how long do you think we'll have to stay in this hellhole? >> she's not only got all this heart but she's funny and she's strong. >> would you mind that turn around for me? >> turn around for you? why? >> i want to look at. >> you look at my face. i don't sing with my ass. >> i felt like that was one of the early films i saw that took the veil off of it and said people are messy and complicated and you can still love them. >> god, waitress. >> '70s cinema had an interest in reality and so you started to have actresses who had a completely believable quality to them like jill clayburgh.

>> i'm a married woman was a movie that happened in the zeitgeist at exactly the right moment. >> she a good lay? >> her husband leaves her for a younger woman and the whole move is the aftermath of that. >> she had this kind of strength and femininity and vulnerability and she's dimensional. >> i just want to see how it feels to make love to someone that i'm not in love with. >> how does it feel? >> sort of empty. >> in the '70s, there weren't too many female directors. let alone fee may writer he, director, actors. so elaine may is one of the great triple threats of the 20th century. >> in the '50s and early '60s, elaine may and mike nickles were a big comedy team. >> mike nickles went on to direct "the graduate" and elaine may was a screenwriter and she

was tired of directors changing her work so she decided she should direct her own film. >> she's perfect. >> a new leaf made you feel like you could tell a great funny story and it didn't feel like oh, this is just girl's stuff. ♪ >> with the heart break kid, elaine may ushered in what i like to call uncomfortable comedy which is now the norm. >> you going to see us in 50 years? >> the premise is charles grodin, jewish guy mayors jeannie berlin who happens to be elaine's daughter. >> that's my stool. >> and then he meets kelly who is cybil shepherd and wants to have an affair with her during his honeymoon. >> i've been waiting for a girl like you all my life. >> charles grodin just breaks your heart because you just want

to punch him and you just want to shake him and make him wake up. >> if i may, sir, in other words, what you're saying is that if i want kelly, i'm going to have to put up a hell of a fight that is. is that -- >> he's a nut. >> my father used with to be yelling at me like you can't make movies. where is there any woman that's made a movie and i finally was able to say uh, that one. ♪ be right back.

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when i think of the great american the ones that have a truly original language, bob fosse is absolutely that. >> outside it is windy. but here it is so hot. >> i think he's a little bit undercelebrated with just because he happened to have found his language in the musical. >> bye, bye. >> only the 1970s can give you a musical set in 1930s germany when naziism is on the rise and not soft pedal any of it. >> it's a musical in as much as it has musical numbers but it's really not a music at all because all the music takes place within the context of this sort of sleazy club.

>> it's the subtle changes that we see where the swastikas start popping up in the audience and the content from the stage starts taking a turn toward the darker and more anti-semitic. ♪ >> you know what's coming. all the music, all the culture, all the cruelness, every kind of sexuality, all of this is going to go away. ♪ >> and then that song of tomorrow belongs to me, first it's just this young sweet voice voiced voice singing and then very slowly but surely we see that oh, no, these are nazis singing. ♪ >> that's what cabaret" is about, how something like this can can happen.

>> you still think you can control them? >> that year bob fosse was nominated with against coppola for the "godfather" and he won. >> bob fosse for cabaret". >> he characteristically pessimist and cynic, this and some of the other nice things that have happened to me in the last couple days may turn me into some sort of hopeful optimist and ruin my whole life. >> the general premise of bob fosse's all that jazz is a man who is working himself to death. >> it's showtime, folks. ♪ they say is the neon lights are bright on broadway ♪ >> here was this incredibly complicated character who was so talented and so charming and the way the movie was constructed put you so inside the feeling of

him. >> nothing i ever do is good enough. >> it's autobiographical but his kind of manic drive for perfection that can never be achieve. ♪ we tried with to warn you somehow ♪ >> you didn't listen, daddy. you didn't listen. >> he had a heart attack. >> had a heart attack and open heart surgery and i became very interested with in death and hospital behavior and the meaning of life and death and those kinds of subjects. >> hey. ♪ death is in >> that's really his love story in the movie is with death. >> rocky horror picture show was initially a flop. >> fox released with it. people didn't get it. they didn't know what to make of it. ♪ >> it's about a couple lost on a highway and it just gets so weird. ♪ why don't you stay fortnight

and maybe a bite ♪ ♪ i could show you my favorite >> rocky horror picture show was a tradition that played with only at midnight and it was like some cabaret vaudeville participatory experience. >> how many times have you seen it? >> about 56. >> around 100. >> this is my 301st time. >> that was one confident rites of passage to adulthood the first time your parents would say yeah, you can go out and see a midnight movie and yeah, it's okay if it's the rocky horror picture show. >> saturday night fever was the me of to capture the whole disco phenomenon in a way that was he can shs exhilarating. > in saturday night fever," the music was essential to the story but wasn't part of the performance of the characters in the story. ♪ don't know why i'm surviving every lonely day ♪ >> that was a complete shift in how musicals were adapted. john travolta is not singing and

dancing. he's just dancing and the music is part of the narrative. >> let's go. >> right on. ♪ >> you didn't have to be a disco fan to be caught up in the saturday night fever" bee gees moment. >>. >> tony the character in the film is finished with high school. he's working full time at a paint store and he has to decide what he wants to do with his life. >> watch the hair. you know, i work on my hair a long time and you hit it. >> his only release, his only claim to fame in the local area and also to his own personality is being the best disco dancer in that town. >> saturday night fever is a terrific film actually and it has a lot of psychological drama in it. >> i did it. >> come on. >> in saturday night fever, john travolta's character is telling an extremely dark and gritty

story. in "grease," he's not. ♪ greased with lightning >> i love grease, the musical. it shows you a high school that i didn't go to, but the songs are timeless. ♪ boy and girl meet but uh-oh those summer nights ♪ >> olivia newton-john was amazing in that role. you really believe that she feels i want to break out of my shell. >> then in order to win over the guy, she has to become a slut. she looks pretty good. >> tell me about it, tud. >> it's problematic looking back at it now in terms of the ultimate message that it sends. >> becoming who this man wants you to be and you'll be happy but you'll do it in song at a carnival so it's okay. ♪ ♪ we'll always be together and they're flying off. >> what? why are they flying?

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you're very nearly perfect. >> that's a rotten thing to say.

>> i did not know a woman who was not in love with robert redford and even i had to admit, that is the best looking human being i've ever seen ever, ever ever. >> he was one of the most underappreciated with actors in america because he was so handsome. >> his artistry at an actor is unparalleled. he had this expertise and confidence that made him even more good looking, if you ask me. >> come on, it will be fun. we can all be disgusting and decadent and eat eggs benedict and vote republican. >> even though he was the golden boy, he was actually inside a much, much different person. he care about politics deeply. he cared about the environment deeply. >> and in the '70s stars started to take advantage of the power they had to follow their own inclinations. >> marvin wants me to go into politics. >> in "the candidate" which he made with the director michael richie his character gets talked with into running for senator. >> this country cannot house its

houseless. feed it's foodless. >> i think it felt important at that time because i could see the country shifting. suddenly we were beginning to elect people by how they looked with rather than what they really stood for. >> now declared with young bill mackay the winner. >> i win, but what have i really won. >> marvin, what do we do now? >> we never discussed with what i would do if i won. now what am i going to do. that's how i wanted to end the film. >> the conversation came out in 1974 in the shadow of watergate. >> pay attention. >> as it turns out what we call paranoid politics was actually really happening. there were people conspireing to control events. so you start to see movies that reflect that. >> independence day is very meaningful to me because sometimes i've been called with too independent for my own good.

>> pair lex view, it's the story of whether or not lee harvey oswald, sirhan sirhan, james earl ray acted alone in those assassinations or whether it was a conspiracy. >> it's much bigger than that. whoever it behind that is in the business of assassins. >> during the filming, the watergate hearings are going on. that's all we talked about every day. we couldn't wait to get to the set to watch the hearings and shoot the movie. pair lex view was so much about politics and corruption in government. it was a confluence of energy that was going on through the whole thing. >> break down the security there. >> what are you doing? >> three days of the condor again, you have this feeling of the man against big government. >> we wanted to make it kind of semi documentary style and my character has to run for his life to figure out what is going

on. >> actors like redford and warren beatty who were both very political they start to find a way to make a commercial vehicle that involves this kind of dark undercurrent of american society. >> who are you? >> in three days of the condor, the question is, who will win. can the press undo these dark forces? >> what? what did you do? >> i told them a story. >> all the president's men" answers that question. >> did he confirm it. >> absolutely. >> bill bradley. >> the film is based on a book by woodard and bernstein that was written before richard nixg on resigned with and in the film redford and hoffman represent the role that woodward and bernstein actually played with in unraveling the watergate cover-up in 1972. >> i had great respect for journalism and that made me interested with in making a film. all the president's men became

not so much about just following nixon, it was more about who the two guys that dug underneath like gofers to get to the truth. >> you guys are about to write a story that says the former attorney general, the highest ranking law enforcement officer in this country is a crook. just be sure you're right. >> it's a movie about competent people doing their jobs even when it appears that powerful entities you're taking on are obviously going to crush you. >> this won't take along at all. >> please go away, okay? please leave before they see you. >> who did you mean by. >> what do you mean threw. >> alan pa kul la really knew how to create a sense of paranoia and suspense. you can hardly even take a full breath when you see that movie for the first time. >> nothing's riding on this except the first anticipate of the constitution. dream of the press and maybe the future of the country. >> the movie is venerated with

for enshrining the importance of journalism at its best. holding powerful interests to account. and finding out what's true. >> the american people are turning sullen. they've been clobbered with on all sides by vietnam, watergate, inflation, the depression. they turned with off shot up, and nothing helps. >> network is about a television network run amok. >> i would like at this moment to announce that i will be retiring from this program in two weeks time because of poor ratings. since this show is the only thing i had going for me in my life, i have decided to kill myself. >> we this long-time and core man howard beal and he has a melt down on live television. >> get him off. >> what's the matter with you fellows? >> what they discover is that melt down makes people watch the show. >> tv is show biz, max. and even the news has to have a little showmanship. >> god, you are serious. >> so network is also about what we're willing to watch.

>> stick your head out of the window, open it, and stick your head out and yell i'm as mad as hell and not going to take this anymore. >> peter finch is speaking at every man. >> and it's a reaction to an america that is questioning their own personal morality. >> rocky, do you believe that america is the land of opportunity? >> yeah. >> rocky gives us faith. it's a david and goliath story but also quintessentially an american story. it's how we want to believe the country functions. >> you fight like a god damn. >> it's much more a drama than a movie about boxing. > why do you want to fight? >> because i can't sing or dance. >> it's about this goofy guy getting an unexpected shot and this really awkward woman that he falls in love with and then the relationship that he forges with this old school tough guy trainer. >> women weaken legs.

>> yeah, but i really like this girl, you know? >> there's a nobility in rocky to try for a dream even if it doesn't work out. ♪ >> it made me want to be a boxer. i had a gray sweatshirt and i went out running thinking i was going to be like rocky. i probably got like 100 feet and i was like, god. and i remember coming home and my mother was very sweet and she said to me, you know, rocky was the screenwriter of the movie. i thought that sounds better than drinking raw es and running every morning. why don't i be a screenwriter. ♪ >> sylvester stallone was a struggling actor that nobody knew but he wrote this script which is all heart. he was completely broke, but he wouldn't sell it to hollywood unless he could be in it. >> rocky's coming back now.

>> in the end even though he loses you feel like we got through it. >> at the end of the '70s, we had been through some stuff. >> rocky. >> so rocky becomes a plet ta for the human spirit. >> and the winner is "rocky." >> rocky wins best picture in 1977 which is crazy because when you realize 1977 is the same year that network, taxi driver, all the president's men and bound for glory are up for best picture and rocky takes it, this kind of feel good film. >> to all the rockys in the world, i love you. (woman) have you smelled this litter? (man) no. (woman) nobody has! it's unscented! (vo) tidy cats free & clean unscented. powerful odor control with activated charcoal. free of dyes. free of fragrances. unscented odor control like that? try tidy cats free & clean.

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when the dear hunter comes out, the country's emotional scars from vietnam are still fresh. >> oh. >> stanley, sometimes your sense of humor ain't funny. >> "the deer hunter" was about working class guys going to war and what happens and it was so powerful and strong. >> we're going airborne sfloosh right. >> they have ideas about why they're fighting and what they expect. and what they find is just horror. when the deer hunter came out, it really shocked with people. >> so much of that movie is about the deadening of life in the process of surviving life. >> some people thought that that

film was too difficult too raw but i felt that realism was necessary for people that understand what happened. >> would you go if you had the chance again? >> "coming home" opens with veterans around a pool table. it was so important tore ashby that he communicate the reality of the veteran that he simply said go. improvise. >> we come back and say what we did was a waste, what happened to us was way waste. some of us can't live with it. >> and it completely ledge mizes everything to come. >> what are you doing here, bender? why aren't you out on golf course teeing up balls? doing something you're good at? >> trying to keep busy, that's all. >> sure it gives you something to talk about over martinis how you're helping out the poor cripps. >> in some ways jane fonda plays america in coming home. >> i don't think i deserve that luke, at all. >> she changes as she views the effect of the war on the men

around her. >> she wants to listen to you. and she wants to understand you. >> this is a powerful movie because it's not a political diatribe. it's about human beings. >> so the notion that francis ford coppola who had made "the godfather" movies was taking on vietnam, that was part of why there had been so much speculation about an pom lips that francis was going to be making this movie and it turned into this epic nightmare odyssey. >> it was this potential disaster and martin sheen had had a heart attack and the lore, the prelore, there was a lot of drama what we were going to see on screen. that was apocalypse now and the movie blew my mind. >> the lights are down, you see -- and then finally the screen comes up.

it was like wow. ♪ this is the end >> it's a stranger kind of a film that more and more apocalypse becomes like a dream or a nightmare in which you're dealing with things like morality and good and evil. so to me, the real issue was that it would be beautiful and that it would in some way throw light on the subject. >> i love the smell of napalm in the morning. >> unlike a lot of the vietnam movies that came later which tried with to be more realistic, this seemed with surreal. >> some day this war's going to end. >> the fight hadn't gone how they expected with. it wasn't a traditional war and it felt very hazy and a lot of them were high. and it felt like an apt metaphor

for what the war was like for many, many people. >> this is a powerful indictment of war but it's also a disturbing journey to the darkest reaches of our own human sou soul. >> i think just in terms of a movie that scares you, "the exorcist" is the best. there was nothing else like this. >> "the godfather" was the biggest grossing film of all time in 1972 surpassing "gone with the wind" from 1939. when did the godfather get surpassed? one year later by the exorrist" can you believe this? he doesn't call his daughter on her birthday. he doesn't give a shit. >> the great thing is it presents itself as a domestic drama which then turns into a super natural horror film. >> mother!

>> it was important for me to be as relatable as possible so the audience could feel what it felt like to have your child turn into this monster. >> who are you? >> ah! >> going to make a film that was about real people. when you do that and add this reality, you had the people in the audience absolutely losing their minds. >> i'm so scared. the bed was shaking. >> oh. >> the thing that really surprises me is people faint. i mean i've never in my life known a movie where people would faint. it's hard to make people faint. >> almighty father. >> you walked into the theater and you really thought man, am i going to survive the next two hours watching this. and sometimes no.

>> alien is 100% a haunted with house movie. these guys are in a haunted house and there's a monster in the house and one by one they get killed. >> >> what made it what it was was the execution. it got you, no pun intended, on a gut level. >> how you doing? >> terrific. next silly question. >> the great thing about "alien" is it trusts the patience of the audience. by the time you get to the famous chest burst sequence, the audience have their hearts in their mouths because of the slow tick, tick, tick, tick of the roller coaster going up. >> when that blood blew, the reaction was appropriately stunned. i always remember standing on one side of the preview, and the people weren't sitting. they were slid down into their seats and holding each other tightly.

>> ridley scott has an unknown stage actress named se gore knee weaver. she had the stuff to hold her own in 1979. the hero is a woman. that was groundbreaking. choosing my car insurance was the easiest decision ever. i switched to geico and saved hundreds. that's a win. but it's not the only reason i switched. geico's a company i can trust, with over 75 years of great savings and service. ♪ now that's a win-win. switch to geico. it's a win-win.

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♪ >> i love "stars wars." i saw it in oregon on opening night. from the very beginning where the little ship goes over and then this giant ship pursues it. it's like the little fish and the big fish. your sympathy immediately goes to the little fish. the audience bursts into applause. and that never happens. two minutes later, darth vader makes his entrance. ♪ nobody knows darth vader from anything, and the audience simultaneously boos and hisses like it's a silent movie. >> now, i am the master. >> only a master of evil. >> "stars wars" is out of the mind of george lucas who just

wanted to make a space opera. it was a huge risk. >> help me. >> a fantasy about luke skywalker and a space dog and a cute robot that spoke in bleeps and bloops. >> what you talking about? >> nobody understood or knew what he was going to do. it doesn't make sense on the page. >> i'm a member of the imperial senate on a diplomatic mission. >> you're part of the alliance and a traitor. take her away. >> "star wars" is another manifestation of a very old story. the roots of it were in samurai films and also westerns. >> yes, i bet you have. >> but i think the magic comes from when you mix the old myths with the very new technology. it totally blew me away. i mean, it just transported me in ways i had really never quite

experienced before. >> the force will be with you always. >> it was always really moving. and it ended with a tremendous sense of victory against incredible odds. ♪ >> stand by. >> we left the theater kind of cleari clearing tears away from our eyes from that triumphant emotional finale. >> remember the force will be with you always. >> and it was another huge two-hour line here. and we just looked at each other and said do you want to see it again? she said, yeah. >> i remember when george went to the telephone and got the news that all the 10:00 a.m. shows across america had sold out. and that's when it went from a hit movie to a cultural phenomenon. >> it essentially is a fun movie to watch. it's been a long time since

people have been able to go to the movies and see a sort of straightforward wholesome, fun adventure. ♪ >> excuse me. >> that's a bad outfit. >> as we move out of the 70s and into the '80s we start to see something a lot more glamorous, a lot more produced. what starts to disappear is the flawed leading man. >> you're not afraid of things. >> why would i be afraid? >> we see instead stories that are going to make big heroes of someone who does a good thing. america needed to believe in a hero again. and we found out that there are heroes everywhere. >> what's wrong? >> the future. >> what's the matter with it? ♪ >> you can just sit down for the

rest of your life and watch movies from the '70s and they're amazing. >> the shake up of what we were going through in the '70s and the expectations and the stereotypes that we had had about our own nation and the myth that is we had swallowed, there was no way that american cinema could not reflect that. >> don't you sell america to me! >> all the movies that came out were very inventive and really rich and smart. people were trying for something different. >> it was an extraordinary time. we were all playing off each other. and there was no doubt we were changing things. >> we had all these enormously talented, creative, ambitious filmmakers being given money to go out and make the picture that they wanted to make. >> thank you. >> the convergence of commercial film making with an independent sensibility. we'd never really had that before. and it opened up a whole new

vista for american film. this is cnn breaking news. >> i'm natalie allen at cnn center in atlanta. we are following breaking news here. a shooting has occurred in california at a food festival near san jose. this is video new into cnn from a witness. >> the sound of gunshots there and people running as this festival was about to end. this is when it happened. it happened in gilroy, california at the annual and very