♪ ♪

♪ come with us, sam. we're headed for the valley. >> going where did you say? >> mexico. >> all the way down. >> you going all the way to

mexico tonight in this old heap of junk? >> i reckon the town get along without us until monday? >> oh, i reckon. i was young enough to bounce that far i'd be with you. >> "the last picture show" was a movie however old i was when i saw it i said, oh my god, this movie is about me. this movie is about us. this movie is about america as we are in the mid-'70s, not as we were in the early 1950s. >> do you think "the last picture show" is a john ford type move? >> no, i think it's a peter bogdanovic movie. >> he spoke to a new generation, both visually and emotionally. >> orson welles read the script. i said, i'd like to get that depth of field. everything being sharp the way you did in "citizen cane: touch

of evil." he said, you'll never get it to color. what do i do? shoot it in black and white. >> "the last picture show" is the most that made me fall in love with movies. it just blew my mind. it's about everything that holds you back, and it's about being young. >> there is 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. >> so you're closing the show. >> nobody wants to come to shows no more. get baseball in the summer. television all the time. >> maybe a necessary death of an old hollywood that had to die to make way for a new generation of filmmakers to tell new stories. >> at the end of the '60s,

hollywood was ballooning budgets up to catastrophic size. >> here, i'll tell you what, i'll even pay for it in cash. >> fine. >> so it opens the door for smaller movies. and when the budget's lower, the artistic freedom tends to be higher. >> all of a sudden here is this young group of directors that came along and started blowing up the bridges behind them of the way things used to be and now we're trying new ways. let's see if it works. >> william's "french connection" was about a couple of new york cops doing a hard hustle and busting a bunch of low-life scum bag drug dealers. >> that car's dirty. >> he shot the film like a documentary. he found a way to make it so real. that really influenced me. my favorite gene hackman performance is popeye doyle. >> gene hackman was so filled with anger, it just made me so

happy. to see that kind of life. boiling. >> the car chase was undeniably 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 just 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" was a film about world war ii and connects with the greatest generation. it's also a film about reconsidering war and connects with the vietnam generation. >> well, hell, you're just a god damn coward. >> it is told with irony by this young screenwriter named francis ford coppola. >> coppola had his foot in old hollywood before that. he made an old warner brothers musical "finnian's rainbow." >> 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 more or less my contemporary, and that was george lucas. >> i think 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. >> all right. just back off. >> the first movie they make is by george lucas. he makes "txh 1138." it's a flop. it goes over everybody's head. and that's a problem. >> it almost ended lucas' career before it started. they were running into trouble. >> at the same time, paramount was running out of money. so 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 with annoying frequency that he was broke and that he had to take my offer to direct this picture. >> so what happens next? coppola finally takes the paying gig, which might be the most beloved movie of all time. (snoring) what's going on? it's the 3pm slump. should have had a p3. oh yeah. should have had a p3. need energy? get p3. with a mix of meat, cheese and nuts.

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♪ "the godfather" is unquestionably one of the great movies of all time. its narrative sweep, the beauty with which its 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 michael is the youngest son of the godfather. 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's such 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 deludes himself into believing that. but everything starts to change when his father is almost murdered. the family has to take revenge. and michael decides he will do it. >> let's set the meeting.

>> one of the things i really 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's going to get up and walk out. it's going to change his life forever. it's one of those moments where right after this happens, nothing's ever going to be the same again. >> how do you let go of what you have been raised in? and can you let go or do you just become another one of the line of the same thing? >> i never -- 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.

>> senator corleone, governor corleone. >> it's very much a story about america, about both the promise and the destroyed promise of america. >> i saw that film four times in five days. and up until that point, i had always thought that "lawrence of arabia" was the greatest film made until the first "godfather." >> and then coppola wound up making a sequel that was perhaps better than the first one. >> what we see in "the godfather: part ii" is the story of michael corleone. >> 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 don veito core loney as young man played by robert de niro becoming a powerful mob leader in new york. >> i studied what brando had done and expressions. i had to try to create the thing that he had. >> i will make an offer you won't refuse. don't worry. >> half the movie this irresistible young man trying to figure out, first legitimately and then otherwise, how do i make it in america? >> everything don corleone 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. >> then 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 corman's children. >> corman started making movies for exploitation companies. he mads movies very, very quickly, so 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're tired, you're distracted and everything. it doesn't matter. you're shooting. >> francis coppola, martin

scorsese, 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. but i'm forever grateful for the opportunity that he gave me. >> run, bertha! >> martin scorsese had made a few small films in the late '60s and early '70s, but people started to pay attention when he does this movie called "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. >> marty scorsese burst upon the scene with a kind of frankness, violence and a restlessness to find the rhythms of the streets

that don't feel anything like a movie. >> how much -- how much money you got from michael tonight? >> i got none. >> "mean streets" came out of events that occurred to me and my friends associating with people that can be detrimental to you. 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? >> hey, there ain't nothing wrong with me. keep your mouth shut. >> 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" really reflected that world that 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 me, 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. >> marty scorsese let's people do -- gets the best out of them because he let's 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. of self-sacrifice and violence. >> the idea had been growing in my brain for some time. >> he decides to assassinate a presidential candidate. >> true force. all the king's 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, all right? >> 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 bickle is of course 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? >> then who the hell else are you talking to? are you talking to me? >> it's something i worked on. seemed right, the mirror and so on. >> well, i'm the only one here. i saw it happen and i saw him transform. >> okay. you've had quite the career. yeah, i've had some pretty prestigious jobs over the years. news producer, executive transport manager, and a beverage distribution supervisor. now i'm a director at a security software firm. wow, you've been at it a long time. thing is, i like working. what if my retirement plan is i don't want to retire?

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♪ non-existence. black emptiness. >> what did you say? >> i was just planning my future. >> in that period of time, there were two things that were really, like, 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 it was in south america in the 1970s or sleeper in the future or russia in the 19th century. >> woody's only intention with though films was just to get laughs. by 1977, he wanted to create a different kind of movie.

and it just blew everybody away. >> driving a tad rapidly. >> don't worry. 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 what grammy hall would call 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. >> i'm in a bad mood, okay? >> he told that story non-chronologically. it took risks in the style of filmmaking. >> i can't believe this family. >> there are moments he is talking directly into the camera. >> nothing like my family. you know, the two are 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 always think of "annie hall" as being woody allen's movie. but, really, it's diane keaton who has created this great character of annie hall. >> oh, 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. >> there was really this feeling of how can you top "annie hall?" and in many ways, "manhattan"

did it. >> first of all, it sounds out because of that beautiful black and white photography. you had the score opening with "rhapsody in blue." >> it showed new york in the most romantic way. in a way that new york wasn't thought about in the '70s. >> hi, what are you doing here? >> here's a movie set mostly in little dialogue scenes between cynical, nervous intellectuals on a giant wide screen. >> isn't it beautiful out? >> there's this amazing sequence where they end up sitting on this little bench and you see the 59th street bridge above them. i made it my business when i was in college to find that bench. >> this is really a great city. i don't care what anybody says. >> those are the kind of things that those movies made you do. you saw something amazing in a part of the city you've never been in and you try to find

them. >> "manhattan" is ostensibly 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. >> "blazing saddles" is a classic western spoofing westerns and it is one of the most subversive comedies that comes out in the '70s. it's a movie that mel brooks co-writes with richard pryor about a black sheriff comes 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 insure him because he was an exhuberan t 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 of rock ridge. >> 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. >> yeah, but i shoot with this hand. >> there were sexual and sight gags. he even broke the fourth wall and the cast is running out of

warner brothers. i mean, it was just crazy. >> cut! >> i asked him, is it a movie you could make today? he said, i could barely make it then. >> frankenstein. >> "young frankenstein" is a 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 glorious homage to the horror classics. so it had to be done in black and white if we were going to do it properly. >> it's alive. >> he took that genre, did it perfectly and then bent it. >> what knockers. >> thank you, doctor.

>> "young frankenstein" is a masterpiece, in my opinion, and beautiful. i was so in love with gene wilder. he's so sexy in that movie. i use to tell people i will marry gene wilder when i grow up. >> excuse me, sir. 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's bigger than that. >> i beg your pardon? >> oh, my cucumber. >> we are making fun of that, smartly. so that was -- that was what we did. >> john belushi was one of the breakout stars from "saturday night live."

he had such energy and power. and he was, you know, fireball. >> the part was written for john. >> "animal house" not only was a massive success but it started a genre that spread like wildfire. this is hal. this is hal's heart. it's been broken. and put back together. this is also hal's heart. and this is hal's relief, knowing he's covered. this is hal's heart. and it's beating better than ever. this is what medicare from blue cross blue shield does for hal. and with easy access to quality healthcare, imagine what we can do for you. this is the benefit of blue.

♪ hey! it's me! hey, i'm a police officer! police officer! >> he is 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. serpico is a police officer who just cannot stomach the corruption he sees around him. >> frank. let's face it, who can trust a cop who don't take money. >> he breaks the code of silence and exposes what happens. the effects on his life are catastrophic. >> frark l. >> frankie, 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. >> i got news for you, fella, your ass is already on the line. >> well, that's my business, all right? >> the appeal is that energy, that fire, that integrity. this allows him to move into all sorts of different kinds of

roles from michael corleone in "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. it's only $1,100. >> she's telling you the truth. >> everything that could go wrong goes wrong. >> right now i can see it. >> who is it? >> cops. >> dog day afternoon," i'd never seen anything like it. wa >> wait a minute. 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. >> you see, now they all want to go. >> this was the kind of up ending of all the precepts of the bank robbery film. >> that idea of criminal as celebrity. >> hello?

>> no. what? why am i doing it? >> yes. >> doing what? >> robbing a bank. >> oh. >> it's one of those movies where you're literally rooting for the bad guys because 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. >> sweet back is a hustler and a gigolo, but he's galvanized and politicized when he sees police brutilize a you 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? >> absolute best movie theme song of all time has to be "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. and, of course, his leather game throughout that for me is amazing. >> gordon parks who directed the fill is a great photographer. renaissance man. in many ways, "shaft" is a projection of parks, but he made him a superhero. >> these movies set the tone for what comes to be known as the

black exploration era. >> the queen to me of the 1970s was pam greer. she was playing a black he heroine. 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. people interested in her as a movie star. she was that present in the culture. >> boards don't hit back. >> people in the black community

embraced bruce lee primarily 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 really 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 lee, but nobody wanted to study karate for as long as you needed to to be bruce lee. (vo) the hamsters, run hopelessly in their cage. content on their endless quest, to nowhere. but perhaps this year, a more exhilarating endeavor awaits. defy the laws of human nature,at the summer of audi sales event. get exceptional offers now.

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♪ happy birthday

♪ happy birthday, baby when we made "american graffiti" in 1972 but it was set in 1962, 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 storytelling 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 finally getting out of this turkey town and you want to crawl back into your cell, right? >> it signalled movies were getting made in different ways and told in different styles. it was really anti-hollywood.

>> you got to cruise easy, baby. >> the other thing about that movie is that all these actors were nobodies at the time. the biggest name in that movie was ronnie howard. who played opie as a kid. there was cindy williams and harrison ford, richard dreyfuss. they all became stars. >> i just saw a vision. i say a goddess. >> the '70s ushered in 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've 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

eastwood or burt reynolds, someone who has a charismatic image that they portray from whatever film they're in, 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 known to not draw on me. >> coming out of the world of roger corpsm rog roger coh doctor >> 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, huh? . >> i want you to hold it between your knees. >> his outlets for rage, like in the famous scene in "five easy

pieces" makes us love him more. >> seems to think you're an innocent man. >> i've been accused of a lot of things before, mrs. ray, but 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 "chinatown" so exciting. >> you're a very nosey fell low, kitty cat, huh? you know what happens -- >> chinatown is extremely mysterious. >> i think you're hiding something. >> what polanski did with its intricacy 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 towne 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 go to the oscars "chinatown" was nominated. i was sitting behind jack. jack was nominated for best actor as was al pacino for "godfather ii clts "godfather ii." >> 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 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 nest" 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. >> louise 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 turned 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 nicholson 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. what do you look for when you trade? i want free access to research. yep, td ameritrade's got that. free access to every platform. yeah, that too. i don't want any trade minimums. yeah, i totally agree, they don't have any of those. i want to know what i'm paying upfront. yes, absolutely. do you just say yes to everything? hm. well i say no to kale. mm. yeah, they say if you blanch it it's better, but that seems like a lot of work. no hidden fees. no platform fees. no trade minimums. and yes, it's all at one low price. td ameritrade. ♪

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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 at all, do you? >> it's some bad hat harry. >> "jaws" was a very popular

peter benchley 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. >> spielberg 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 "jaws" 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 wrecked my 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're immediately worried about those guys on 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. >> to see 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

two torpedos in our side, chief. >> and then he settled down and let three actors go to it with just quiet dialogue. >> this will end down 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 1,100 men went in the water. 316 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, opened on a billion screens at the same time. it became a cultural milestone immediately. it changed everything. >> it was even more in my dna to