the world is able to fulfill this basic mandate. america is not. and the greatest tragedy is we know how to do it. tune in to our regular show every sunday at 10 a.m. and 1 p.m. eastern and thank you for watching this gps special. ♪ ♪ ♪ ♪ ♪ ♪

♪ ♪ ♪ ♪ ♪ robinson, apparently tired, punched fairly well and rocked jake right to his heels.

>> come on, ray. >> a director and actor finds a story at the right time in the right place. and out comes this amazing combination of cinematic virility and absolute fear. it's like watching an animal. >> "raging bull" is a great title. the film fulfills the promise. the reality of the boxing and the great slow motion, all of the black and white gore, the violence of the flush bulbs going off. when he designed the movie, marty, he purposefully didn't put a clutch on the film. there's no clutch. >> hey, ray, you never went down, ray. you never got me down, ray. >> "raging bull" is a boxing movie for people who don't like boxing. it's not about that. it's about this man who was based on a real person who is really at war with himself. >> come on.

harder. harder. >> i didn't really understand boxing, but the character was interesting. he was just so contraire, as they say. he was just so difficult. >> what are you trying to prove? what does it prove? >> bob de niro, he is not afraid of the negative characters, he's not afraid to go to, as i say, those places. [ applause ] >> i was down to 152. in my prime. and then i went up to 212. so i gained 60 pounds. that's not easy, though. the first 15 pounds is fun, then it's drudgery. >> go get 'em, champ. >> it's absolutely true that the movies of 1980 look like movies of the 1970s. very personal, very passionate filmmaking rules. and then you had ordinary people which was the movie that defeated "raging bull" for best picture in 1980.

this incredibly precise and very emotional study of a family in deep crisis. >> calvin, give me the camera. >> i didn't get it yet. >> dad, give her the camera. >> i want a really good picture of the two of you. >> but i really want to get a shot of the three of you men. give me the camera, calvin, please. >> not until i get a picture of the two of you. hang on a second. >> give her the god damn camera! >> "ordinary people" centers on people who cannot get in touch with their feelings and who avoid the darker underpinnings. i would like to tell a story about what people will do to avoid being seen for who they really are. i gave mary tyler moore the script. i said, look, i could see you playing this. she was drawn to it. and that really hit me because that told me that there is some part of herself that she was willing so expose that has not been exposed before and she wanted that chance. and so she was given that chance. and she did a great job. >> kelvin? >> in that moment where mary

tyler moore comes downstairs and she asks her husband what's wrong. >> i don't know if i love you anymore. >> she goes upstairs and she's just -- there's something so moving to me about somebody who is so deeply repressed cracking open. >> that's where the dam breaks. she gets hit by some truth that she can't articulate. she's so taken aback, she can't adjust, she can't take it in. that's what that moment was about. >> then you look at some of these films of the 1980s like "ordinary people" and like "blue velvet," those films are explicitly about how things look are not the way they really are. you have to understand this was when ronald reagan became president and the idea was that after all sorts of traumas, particularly watergate and vietnam, we healed, but as the public pronouncement is we're good again, our movies are

telling us, no, we're not. no, we are not. >> wendy, i'm home. >> i play this game. all your favorite filmmakers alive or dead were opening a movie on the same day, which movie would you see first? and for me it would be stanley kubrick because you're going to see something you never saw before, and he did that in, think about it, every genre. he's going to make a horror movie, it's going to be the horror movie done in a way that you would not expect. >> to me "the shining" isn't about horror, it's about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley

kubrick. >> he creates a pacing where it overtakes the way you're breathing and you're existing and you're in there. in all hubert -- kubrick films, he controls yocontrols you. >> steady cam work in "the shining" broke new ground. the steady cam gave stanley a chance to put us in a scene that didn't have any time constraints. you get so hypnotized being behind that tricycle. you don't have to see his face, you're behind it. which leads to one of the scariest shots in the movie. >> hello, danny. >> hello, danny. come and play with us. fantastic. >> was betting $40 million on its new movie "heaven's gate," but after two years of preparation and eight months of production, the motion picture has been yanked from american

theaters after only one day. >> "heaven's gate" took almost a year to complete. the director's whose "deer hunter" film was a great success got a free hand. his producer said he was out of control. the result: a three and a half hour bomb. >> "heaven's gate" is a stake through the heart in hollywood. it's the cautionary tale that's all about to say, no, no, the studio's going to step in here and this is not going to be another "heaven's gate" and that's how you get the movies of the 1980s. ♪ >> you knew where you were when you first saw "the empire strikes back." because it was the "star wars" movie that took the whole thing to a whole another level -- "star wars" was huge but "empire strikes back" was phenomenal. these established characters, you saw them intermix in a way you hadn't in the previous film. where there is this budding romance going on between han

solo and princess leia. >> i love you. >> i know. >> luke is transitioning into wanting to become a jedi knight. >> i saw it as this is the good act because in classical dramatic philosophy, you set the thing up in the first act, in the second act your heros are put in a position that is unresolvable. they're put in enormous jeopardy. you don't know how it's going to work out. and that is always the most interesting part of the story to tell. >> obi-wan never told you what happened to your father. >> he told me enough. he told me you killed him. >> when we actually started work, it was just me and george in the office, and george says to me, you know, darth vader is luke's father. >> i am your father. >> no shit! >> no! >> and it was about fathers and sons, about good and evil personified.

>> it is your destiny. >> i thought that made the whole saga better instantly. ♪ tell him we're flexible. don't worry. my dutch is ok. just ok? (in dutch) tell him we need this merger. (in dutch)

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money-making films of recent times have come from two young gifted filmmakers, george lucas and steven spielberg. they're friends as well, so it was inevitable those two would join talents and they now have in an adventure film to be released this week. >> george says, i have something called "raiders of the lost ark." it's just an idea i have for a movie. he told me this idea about this sort of marauding archeologist adventurer with the hat and the whip and i committed to the movie based on one line george told me. larry, george and i sat around for three days and basically made up the story from beginning to end. >> there's a line in "raiders" that means a lot to me. in the beginning of an action sequence, they've lost control of the ark of the covenant and indy says, no, i'm going to get it back. and his friend says, how are you going to do it? >> i don't know.

i'm making this up as i go. >> that, to me, was what life was like. we just make it up as we go. indiana jones is very good at that. >> we came up with an idea, like a truck chase. and then we figured, well, how do we get the truck chase in the movie? so we had these big kind of subjects, and then we kind of reverse engineered in order for it to earn its place in the story. >> spielberg is a master of staging. even when they're moving very fast and cutting very quickly, you always know the lay of the land. >> he can create suspense out of details big and small. there's always the action that the audience can see but the characters can't see. so the audience is aware that not only is indi maybe going to get beaten to death by this

enormous nazi, but also, the whole thing might blow up. >> you wonder why your blood gets up when you watch them. it's craftsmanship and art. ♪ >> everybody in this town is talking about steven spielberg's latest film, "et." i was there at 12:00 noon today and there were literally thousands of people in the street waiting to get in. >> the wait is hours long in chicago, days long in los angeles. >> "et" has become the movie industry's biggest money maker ever. >> i had this story i was going to write about how the divorce between my mom and dad affected me and my three sisters, and so i combined that with one about an alien who himself is divorced from his own species and is lost 3 million light years from home. >> i don't like his feet. >> can you imagine if that film didn't have those kids, every one of them, henry thomas, drew barrymore, robert macnaughton?

that's the secret sauce to that movie. >> i just want to say good-bye. >> all the kids had fallen in love with et, and i like to think that et had fallen in love with all of them. and that good-bye scene was genuine. those tears were real. >> be good. >> yes. >> steven spielberg movies, they're big blockbusters, but they are personal stories. they are small stories told against a giant canvas. >> they're here. >> in the 1980s, i really felt that i was speaking to myself. loving escapism. >> "poltergeist" was about all the things that scared me. i had a tree out my window as a kid. it used to scare the hell out of me. so what happens in "poltergeist?" the tree comes in the window and grabs the kid. i made stories about kids on one final adventure, "the

goonies" going on an adventure to save their parents' homes, gremlins tearing up the town. just loving stories that were bizarre. >> everybody has dreams or thoughts, fantasies of going back in time somewhere. and he put it together for the modern age. >> you're telling me that you built a time machine out of a delorean? >> the way i see it, if you're going to build a time machine into a car, why not do it with some style? >> it's a mystery it was as big a hit as it was when it came out, but the bigger mystery is that it endured for decades. >> saturday night we're sending you back to the future. >> a simple idea which is what would it be like to see your parents when they were younger is something that is obviously is multi-generational. >> jeez, you smoke, too? >> you're beginning to sound just like my mother.

>> the only thing that was weird about the story, it's a boy going back in time and meeting his mother and she falls in love with the son she hasn't yet had. that was pretty kinky for me. >> that's a big bruise you have there. >> but they pulled it off. >> i was exhausted at the end of "back to the future" and then he makes "who framed roger rabbit." it's like he took "back to the future" and tripled it. >> you're under arrest. >> there's a scene where donald duck and daffy duck are having a piano duel. at the same time penguins are serving drinks. and if you look at the making of that individual scene, it's utter, complete, total chaos. there's real actors pretending to be drinking. there's trays moving around on these iron rods. >> that was a hard movie. that's a sort of ignorance is

bliss category that movie should fall into because that's a movie no sane person would ever attempt to make. >> i love playing villains. i was a kid when the first walt disney films came out. there are dark moments in each of those that scare the hell out of me, so it's payback. >> remember me, eddie? when i killed your brother, i talked. just like this! >> i got some moments in there that will be in their worst nightmares for the rest of their lives. >> the trick to making that blend of live action animation is that the live action actor has to believe it. bob always believed that the rabbit was there. it really is an amazing performance. i mean, it's really one that actors should study. >> because it was made before a lot of cgi existed, it was old-school movie-making with physical special effects. "who framed roger rabbit" is the

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one of the really great films of the '80s is "the verdict," written by david mammit. beautifully told by master director sydney lamet. paul newman plays a kind of washed up lawyer who was an alcoholic kind of ambulance chaser. what makes it uniquely lamet is that even when it's movie stars, big movie stars, he manages to bring them down in the case of "the verdict" to the boston streets. you can see the stars in the movie but they have not turned the movie into something glamorous, but the opposite, have entered the drudge and reality of the world lamet's painting. >> i never should have taken it. there's no way i could win. >> newman did what he was asked to do. he was often asked to just be the leading man and be charming and witty and funny. when he does "the verdict," it makes you cry.

here newman shows you what he's really made of as an actor. >> i think you guys are making a big mistake. i think you ought to reconsider. i think you ought to get the principals back together again. >> when you see the scene to call the insurance company to rekindle the deal that he turned down. >> okay. no, i understand. >> it's really one of the greatest pieces of acting i've ever seen in my lifetime, that phone call. no cuts. lamet just goes, okay, here we go. >> so how's your life? >> oh, great. how's yours? >> not so great. >> oh, we're telling truth. >> "the big chill," it's about these kids who were in college together in the late '60s and are now no longer anti-establishment but actually are part of the establishment and trying to reconcile that history with their present. >> movies aren't being made for adults. that's all "the big chill" is, really, it's an adult film, and it tries to be as complex as life is. >> i had wanted to make a movie

about something i was observing among my friends. this imagined power we came out of college thinking we had was nonexistent. ♪ ♪ i know you wanna leave me but i refuse to let you go ♪ >> i remember when it first came out i thought, well, this will be for this generation, the children of the '60s, this will be very relevant. then i'd meet kids in high school ten years after the movie came out and they said, i love that movie. ♪ please don't leave me, girl it's about friendship. it's also about growing up. there is something in its essence that is timeless and universal. >> i'm marrying him tomorrow. i thank god for him getting me out of there. i think if this is your attitude you shouldn't bother showing up at my wedding. >> that's right. i think you're right. the hypocrisy was bothering me, too.

>> "terms of endearment" based on a book adapted and directed by james l. brooks, it made you cry, it made you laugh. it was the stuff of life. >> just a minute. >> shirley mclean plays aurora. gets involved with an astronaut played by jack nicholson. ♪ fly me to the moon, baby >> they just had this incredible comic chemistry. the romantic scenes between them are hilarious. >> it's not my fault, but i'm sorry. >> if you wanted to get me on my back, you just had to ask. >> "terms of endearment" may be the first dramedy, it's a word we hear all the time. a movie that is tragic and funny simultaneously. >> it's time for her shot, you understand? do something. all she has to do was hold on to 10:00 and it's past 10:00. your daughter's in pain. give her the shot. do you understand? >> if you're going to behave -- >> give my daughter the shot!

thank you very much. >> james brooks was able to take humor, tragedy, the best writing delivered beautifully by actors that cared so much. it felt like life, it felt human, it felt funny. >> the winner is "terms of endearment." >> jim was into the delicate shades of humanity before it was cool. >> oh, well, that was a lifetime ago. people change. >> well, i hope you've changed. >> i hope you have, too. >> i hope so for your shake because your personality left something to be desired, namely a personality. >> you look at woody's career in the '80s, which theoretically should have been past his prime because how can you go on after "manhattan?" wait a minute, there is also "broadway danny rose," there is "purple rose of cairo." >> by the time you get to

"crimes and misdemeanors," it's an ensemble piece, it's got some humor in it and it's got some satire in it, but he's not trying to get a laugh every second. >> it's a wonderful moral conundrum from a very original standpoint. i think that's why it stood up. >> you told me over and over again you'd leave merriam. we made plans. >> we didn't. >> i gave up things for you, business opportunities. >> oh, dreams. >> "crimes and misdemeanors" is two parallel stories, one of which is a very traditional woody allen and mia farrow relationship joke fest, and the other one which is a serious examination of literal life and death themes. >> a guy is having an affair, and she's threatening to tell his wife and threatening to disrupt his world, so he has a hit-man kill her. >> he realized, i had a woman killed and i thought i was going to go to hell and nothing happened.

with woody, he's constantly getting, you know, shit on by life and he's just doing the right thing. >> you look very deep in thought. >> i was plotting the perfect murder. >> his writing is very strong for that reason. it always feels like he was thinking about some philosophical truth about human nature and says, oh, i want to write a movie about that. >> i'm talking about reality. i mean, if you want a happy ending, you should go see a hollywood movie. >> you realize, of course, that we can never be friends. >> why not? >> what i'm saying is -- and this is not a come-on in any way, shape or form, is that men and women can't be friends because the sex part always gets in the way. >> nora ephron wrote "when harry met sally" and got a lot of help from reiner writing the neurotic main character, and that's because he was based on rob reiner. >> every scene has to be good. you work and work and work

torture yourself rewriting the script. >> i know nora, and i pitched this idea about the dance that people go through to get together after they've both gotten out of long-term relationships and they become friends, and does sex come into the picture? and if it does, does it ruin the friendship? she said, well, that would be something i'd be interested in. >> he rips off my clothes. >> then what happens? >> that's it. >> that's it? a faceless guy rips off your clothes and that's the sex fantasy you've been having since you were 12, exactly the same? >> well, sometimes i vary it a little. >> which part? >> what i'm wearing. >> a good romantic comedy is, listen, you know they're going to be together, so how do you get them there and what's the roadblocks? it's all about the story and it's all about the people. do you care about them? do you want them to be together? are you seeing what they're not seeing? >> it's just that all men are sure it never happened to them and most women at one time or another have done it, so you do

the math. >> you don't think i can tell the difference? >> no. >> get out of here. >> in the deli scene, when we first did it, meg rightfully was a little nervous about it. you got crew members. you got extras. people standing around. >> ooh. >> are you okay? >> oh. >> rob says, meg, here's what i want. he proceeds to have an orgasm that mighty joe young would be jealous of. >> yes, yes, oh, god. i'm pounding the table. >> yes! yes! yes! >> and i realize because my mother is sitting there, i'm having an orgasm in front of my mother. >> i'll have what she's having. e thrilling path to follow. (father) kids...

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(music throughout)

it's part of a trilogy, really, a musical trilogy that i'm doing in d minor, which i always find is really the saddest of all keys, really. i don't know why, but it makes people weep instantly. ♪ >> what do you call this? >> this piece is called "lick my love pump." >> the idea was we were going to do a mock documentary. we were going to make a satire of a rock 'n' roll band on tour. we basically had the tour

outline, but essentially it was a very, you know, thin thumbnail sketch of what was going to happen. the whole movie is improvised. >> do the dead bird. get the dwarf cannolis, the little ones. >> i did the bird. >> don't talk back. >> mime is money. come on. move it. >> you had all these brilliant performances by all of them and then rob put it all together and made it sing. >> people didn't know what we were doing. they thought it was a real documentary. when we first previewed it, they said why would you make a movie about a band that nobody ever heard of and one that's so bad? ♪ working on a sex farm ♪ plowing through your field >> let's say you look at a prospective movie and it's a square, rob reiner has a way of turning it sideways, looking at it differently and finding a way to enjoy it in a completely nonconventional way. >> he didn't fall? >> inconceivable.

>> you keep using that word, i do not think it means that you think it means. >> "the princess bride" is a blend between romance, satire, adventure, swash buckling, i mean, it's all mixed in and it's a very strange mixture hard to capture. >> wesley, what about the r.o.u.s.s? >> rodents of unusual size? i don't think they exist. >> you have to walk a balance, you know? it's a fine line between stupid and clever. >> beat it or i'll call the brute squad. >> i'm on the brute squad. >> you are the brute squad. >> rob is a phenomenal director. his first movies one after the other, beauties, and took risks in different genres. to be in three of them, i'm really blessed. >> one half of the '80s was a lot of different styles of comedy being thrown at audiences. there was the spoof comedy that became popular, whether that be "airplane" or "the naked gun." you had ensemble comedies like "police academy," imports like "crocodile dundee," which was an

enormous hit and "three men and a baby." the other is the rise of influence of "saturday night live" on film. >> there's 106 miles to chicago, we got a full tank of gas, half a pack of cigarettes, it's dark and we're wearing sunglasses. >> hit it. >> john belushi and dan aykroyd, they made up these characters with the hat and dark glasses. they did "the blues brothers" on "saturday night live" and got a huge response so we got to make the movie. >> "saturday night live" is such a specific place. people started realizing, like, oh, this is where you're going to get your quality comedy, so then you wanted to start seeing those people in movies. >> i tell you what, i'm going to clean this up. >> you go ahead and clean up a little bit. looks fine to me. thanks for the dope. >> comedy is such a precious commodity. when you shake the pan looking for the nuggets, when they shine out like that, then you love them forever. people who understood how to be funny, they can be funny anywhere.

♪ if there's something strange in the neighborhood ♪ ♪ who you gonna call? ♪ ghostbusters >> "ghostbusters" is a rare film because it combined sci-fi, action, and comedy. >> well, there's something you don't see every day. >> "ghostbusters" was written by dan aykroyd. on paper it shouldn't work. but it does work because you bill murray and dan akroyd and rick moranis and they're flawless. >> we've been going about this all wrong. he's okay. he's a sailor. he's in new york. we get this guy laid, we won't have any trouble. >> bill's always explored what it means to escape sort of the constraints of convention. you feel in some way that you want to be as liberated as he is. ♪ ghostbusters >> instead of worshipping musicians, now we're worshipping these stand-up comedians and skit comedians. there is this idea in the '80s

comedy is going to be the new rock 'n' roll. >> all right. listen up, i don't like white people, i hate red necks, you people are red necks. that means i'm enjoying this shit. >> you got to remember when eddie murphy first started with "48 hours," he was 20 years old. then he does "trading places." then he does the blockbuster "beverly hills cop." >> eddie murphy in the '80s was comedy. he's the perfect every man and he's likeable even though he's kind of a shit. ♪ >> it wasn't about necessarily being the put-upon guy, it's being the guy smarter in the room. he's bugs bunny. >> you know, this is the cleanest and nicest police car i've ever been in in my life. this thing's nicer than my apartment. >> up until that point, hollywood movies that featured or starred a black artist, their color was always a plot point. in "coming to america," their color has nothing to do with the plot.

>> oha, it is my 21st birthday. do you think just perhaps i might once use the bathroom by myself? >> most amusing, sir. wipers. [ clapping ] >> he is a prince in a fictional african nation and he decides he and his best friend played by arsenio hall are going to america so he can find himself a queen. if you want a queen, where do you go? you go to queens, new york. it's got to be full of queens, right? >> everybody who's seen coming to america embraced the money. the movie is funny as hell. i think it's eddie murphy at his best. >> it feels so lovely to be here tonight. you're so lovely. geoff yourself a round of applause. >> there's only one white person cast and that person is actually played by eddie murphy.

>> what about rocky marciano. >> oh, there they go. there they go. every time i start talking about boxing, a white man got to pull rocky marciano out their ass. >> who's the star of the picture? >> this young guy named eddie murphy, i think. >> oh, christ, i hate him. the kid with the filthy mouth? >> yeah, he's the one. >> oh, he's the worst. >> he can do these voices. he can do the physicalization. it speaks to the magnitude of his talent. is that not acting? is that not comic acting at the highest level? >> what do you know from funny, you bastard? woman 1: i had no symptoms of hepatitis c. man 1: mine... man 1: ...caused liver damage. vo: epclusa treats all main types of chronic hep c. vo: whatever your type, ask your doctor if epclusa is your kind of cure.

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even though the 1980s is often viewed as sort of an upbeat era, it's the period when the united states came out of the doldrums of the '70s. there was that underlying fear that could collapse at some point. you saw that play out in this post-apocalyptic subgenre of action films. >> two days ago i saw a vehicle that would haul that tanker. you want to get out of here? you talk to me. >> george miller's movies do an amazing trick of making dystopia look beautiful in a terrifying way. you know, you watch "the road warrior" and thinking, like, i'd love to go there. i think i would die within five minutes. >> it's the idea of this one man who regains his humanity when he loses everything.

but then there's the filmmaking craft. to see those stunts just play out in long shots, just absolutely incredible and visceral. >> it's so in your face. it's almost like a heavy metal rock 'n' roll movie. ♪ >> "brazil" is one of these futures that seem all too likely to come to past. it's a future where things don't work. where the bureaucracy is ossified. it's a future that feels like if things don't get better, we're going to end up there. >> dammit, lorrie, the personnel carriers is still unaccounted for. i told you to deal with it. what the hell is this mess? an empty desk is an efficient desk. >> terry gilliam's visibility sensibility is so distinctive, there was an audacity to that movie that you rarely see. >> it arouses a strong reaction from people. i think that's what cinema

should be about. it's exciting. it's stimulating. it makes us think. i'm quite happy to have a film that does that. >> smart filmmakers can use genre as a trojan horse to talk about other things. ♪ >> "blade runner" is based on phillip cade dix novel, in and of itself, and the essential question of the novel is in and of itself, what's the difference between humans and nonhumans? is harrison ford a human? can you fall in love with an android? >> she doesn't know. >> she's beginning to suspect, i think. >> suspect? how can it not know what it is? >> commerce is our goal here at tyrell. more human than human is our motto. it was written and described so you could smell the movie. >> i don't think there's any director who can encode content

into the visual presence like he can. so when you see the street markets, it tells you that in the future technology runs cross class, that populations are tremendously mixed, there's overcrowding, there's poverty. he's projecting so much content into those images and you just soak it in. >> i was constantly beaten up. people say why is it raining? why is it at night? i said because that's the way i [ bleep ] want it. >> harrison ford -- there were clues that the day dreams he dreams about.

somebody knows about my most private dream, which is about union corn. >> james cameron's "alien" is the perfect sequel. it takes the first one, builds upon it but then makes it into a different genre. >> it can't be inside the room. >> you're not reading it right. >> five meters, man. four. what the hell! >> jim is a real innovator and real artist. i did one, he did two. he said, you know, it's hard to do two because you've shown him, the alien, so i'm going more military. >> you feel like james cameron doesn't get enough credit as a

screenwriter as well. it's a template of how to draw a great blockbuster. >> my mommy said there are no monsters, no real ones, but there are. >> yes, there are, aren't there? >> back in those days, women weren't permitted to be strong. so sigourney broke the mold in the "alien" movies. >> there's real skill to building the perfect roller coaster. "aliens" is example number one of how brilliant action cinema can be. >> get away from her, you bitch! tell him we need this merger. (in dutch)

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>> "fatal attraction" was like a cautionary tale. the stalker turns out to be insane and boils bunnies, as a matter of fact. >> she's an incredible actress. >> what am i supposed to do? you won't answer your calls, you change your number. i'm not going to be ignored, dan. >> in the script, audio sympathies were more balanced between the male character and female character, but with each iteration, they made her such an extreme character. the original ending was that she was supposed to cut her own throat, but that did not satisfy test audiences, and so they had the good wife kill the bad single woman.

that's hollywood. >> thank you, sir. i'm happy to be working here. >> well, you're a welcomed addition and a damn pretty one i might add. >> thank you, sir. >> i mean that. >> "9 to 5" was a me-too movie before the me-too movement. it was women coming together saying, yes, my life has been ruined by egotistical, bigoted men trying to hold me back. >> coffee violet. now. >> this is when women were still secretaries, they were in subservient role, they weren't the boss of the company. >> it's all right, i'll get it. >> what about you, dora lee? what's your fantasy about doing him? >> well, i think i'd just like to come riding up one day and give him a taste of his own medicine. >> i loved their female camaraderie and i loved dolly

parton in that movie. she's like liquid gold. >> let's just sit down. >> look, i got a gun out there in my purse and up till now i've been forgiving and forgetting because of the way i was brought up. if you ever say another word about me or make another indecent proposal, i'm going to get that gun of mine and i'm going to change you from a rooster to a hen in one shot! >> they realize nothing is going to change unless we change it. >> they strength him up, that male chauvinist guy. >> it was an important movie then, it's an important movie now. >> "working girl" looks like a fairy tale, although a young woman becoming the drastically

attractive princess she wasn't allowed to be. >> they notice the dress. dress impeccably they notice the woman, coco chanel. >> how do you look? >> you look terrific. up might want to rethink the jewelry. >> sigourney weaver has been stealing all of tess's ideas. >> she rifled through my desk and has been passing it off as her idea. >> it was my idea. >> the melanie griffith character shows once she was given the opportunity to show she was smart enough, she did. it's one of the greatest endings in the world, i'm here in my own office with my feet up because i made it.

>> in "broadcast news" the perfect modern anchor is played by oscar winner william hurt. how is it the star of this movie is neither the anchor man, nor the network correspondent but an actress who many of you will never have seen until now. >> go back to 9:45. why were you in angola? please, bobby, we're pushing! >> it was the first time i had seen on screen a real female because she was flawed and she was allowed to be human and different and irascible, difficult, shrill, bossy, possibly bitch. there's a lot of words that people use that are pejorative to women that jane craig could kind of inhabit. >> what i love is holly's character just tears streaming down her face and then her controlling it like that and

getting it together and going forward. >> i'm really struck by the courage that jim brooks showed in writing a character like that. >> the f-14 is one of the most difficult planes to master. >> isn't the f-14 one of the most difficult machines for a pilot to master? >> they had a film about the high high-integrity ideals of what it is to be a journalist. >> it must be nice to always think you know better, to always think you're the smartest person in the room. >> no, it's awful. >> the fact that that movie exists and always will is a gift. >> wait a minute. wait, wait, wait a minute. >> i wonder whether you wouldn't mind buying me lunch. gregory -- stop! >> george, george, george, jojor george --

>> it's me, your favorite climate. >> it is, i swear to god. >> michael? >> yeah. >> i begged you to get some therapy. >> "tootsie" is an updating of the guy in the dress. the reason is works is because every single thing in that movie could really happen. we show you at the beginning. he's a great actor. he happens to be a pain in the ass, and then to prove to his agent that he can get work, he puts on the dress. >> it's almost like a play that's been performed enough so that they knew where the gems were. >> truthfully, don't you finding a woman in the 80s complicated? >> extremely. >> i am not the daughter of dwayne and alma kimberly. no, i'm not.

i'm edward kimberly, the wreck less brother of my sister. >> the climactic scene in "tootsie" is this incredible moment where the main story plot and four or five different subplots all climax and turn on that one action. >> "tootsie" is what people want movies to be and very few filmmakers invest the time, the sweat and integrity to go all the way, which "tootsie" does. >> that is one nutty hospital.

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♪ "flash dance" was a very big deal. ♪ she's a maniac, maniac on the floor, and she's dancing like ♪ she's never danced before >> she was a sexy welder who danced at night but didn't take her clothes off. >> what's a dancer doing welding? >> making a living. >> jennifer was amazing. she was beautiful, she was strong and she wa sexy. >> it benefited from the beginning of mtv. you would see videos from the songs from the sound track of "flash dance" on mtv all the tile. ♪ what a feeling

>> you could tell the trailer was designed really with the video in mind. >> let's dance! ♪ ♪ >> kenny logins, "foot loose," it was a huge hit, it was all over mtv. you watched the video. you seeing kenny logins? that? no. you're seeing lots of high school kids dancing against the rules. >> i didn't see "foot loose" until i started dating kevin bacon. i see why people loved it. how cute was he in those high-washigh high-waisted jeans and white tank? ♪ i had the time of my life >> they knew who was buying these movies as teen-agers, as soon as they watch the movie, they go buy the sound track so

they can relive it. ♪ purple rain, purple rain >> to this day i have yet to see a mean stream film that uses music as an emotion in such an incredible way. ♪ i only wanna see you, only wa wanna see you in the purple rain ♪ >> what do you care about mark for? he's a 16-year-old usher at the movie theaters. and you are a close personal friend of mine. >> there was so much reality in had the script of "fast times", the way that cameron wrote "fast times at ridge mont high" is that he went back to high school. >> i never graduated traditionally so the idea was i could go back and have the senior year i didn't have and write about what it is to be a high school student. i learned so much.

the pop culture establishment, they don't know what's happening with kids right now. >> stacy, what are you waiting for? you're 15 years old. >> i did it when i was 13. it's no huge thing. it's just sex. >> these kids are having a super short adolescence. they're having sex years before you knower th they're having se ander that all working. it's all fast food and all disposable. what are we doing to a generation that has to be adults at a younger and young aer age. >> there are so many great people in the movie. a lot of careers get launched. >> who ordered the double cheese and sausage? >> in a cast full of soon-to-be stars, he gives the performance that everybody waulks out of theaters and goes, oh, my god,

sean penn. >> sean penn turned into awesome, gnarly and all the other classics of the 80s. >> you need money. >> all i need are some tasty waves, a cool bus and i'm fine. >> now i'm back. i'm an athlete and i rarely drink. have up heard of kick boxing, sport of the future? i can see by your face no. my point is you can relax because your daughter will be safe with me for the next seven to eight hours, sir. >> in this is a reomantic comedr guys. rebellion takes many different forms and sometimes takes the form of loving the woman they say you can't love. and you make your life's goal her. >> watch out for that glass.

>> thanks. >> if moments make movies, as they say, it's the moment when lloyd holds a boom box and plays peter gabriel to try to woo diane court back. >> we had a hard time. boom box. he had a hard time holding it up. there was a version where it was on the hood of the car. not very good. we finished on the last date, the light is disappearing, the shot's moving in on cusack and i see it, i see it through the camera, the anger, the resentment, the love, the pain, the glory, the adolescence, all of it was there in his face. we got lucky. >> how's it going? >> how's what going? >> you know, things like what

not. >> life is not what not and it's none of your business. >> the john hughes scripts just jumped off the page. they were funny. i remember reading "16 cancandl in the back of my parents car, just cracking up. >> you knew you would be entertained and you knew you would see some version of yourself or what you wanted yourself to be. >> my father will come home and see what i did. i can't hide this. he'll come home and see what i did. he'll have to deal with me. >> he always got deep. he got deep into the character and matthew's character was the wise fool but alan ruck was troubled by this evil father. that was really moving. >> here we are. i want to congratulate you for

being on time. >> excuse me, sir, i think there's been a mistake. i know it's detention but, um, i don't think i belong in here. >> "the breakfast club" is the teen-age touchstone. it'sbout the tension of being a teen-ager and knowing people in other clicks don't want to be your friend until you're locked in a room together. >> the first 20ments minutes o breakfast club" is perfect filmmaking, the way it's structured and the way the characters are introduced. it's so unique and nothing like that had ever been done. >> so what happens? >> are we still friends, you mean? if we're friends now that is? >> yeah. >> do you want the truth? >> yeah, i want the truth. >> i don't think so. >> the picture was saying to adults, what those characters

were saying to adults is please listen to my being upset because someone doesn't like me or i don't have any friends or whatever. looks relatively insignificant to you but it's really hurting me. >> it was so powerful because people were talking about shit this they never talked about. kids were not talking about dark stuff at school and with their peers. ♪ don't you forget about me >> there weren't a lot of movies that spoke to teen-agers and it's just really surprising because who doesn't want to see this incredible period of time in a person's life where they're just changing so rapidly and to see something that you relate to, i think that's really why the john hughes films are still so important. >> i just remember thinking how does this grown-up know everything about all of us? it was like he looked inside of all of us. ♪ whoa, whoa

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♪ just take those old records off the shelf ♪ "risky business" really was everybody's intro to tom cruz. of course it wasn't just the

underwear and the dancing, but that certainly helped. >> are you ready for me? "risky business" really surprises people. they think it's a teen sex comedy because it is about a guy who opens a brothel in his parents' house. but it's an incredibly dark film about capitalism and selling out. >> for somebody with that limited of a resumé to walk in and make the complexity of the movie work, his all american boyness with the dark impulses, you looked at it and said, okay, that guy is going to be a big star. ♪ i went to the danger zone >> reporter: what people don't realize about "top gun," is it's a very serious drama about a man who is wrestling with his dad's legacy, feels he has to be phony in front of these military guys

he has to impress. tom's decisions post "top gun" tells you who he is and who he wants to. >> i have natural character. i've been telling her that. >> that's not what i said, kid. i said you are a natural character. you're an incredible flame. >> they had the old and the new. this was kind of the z quell to "the hustler." paul newman's character is a hustler. what if he takes this young kid under his wing and then he gets hustled? >> i showed you all you want. that's all! >> reporter: tom cruz has a very specific agenda in his career, to spend the 80s working with

every best directors he's can find so he's going to work with scorsese. >> i know you hear me. you don't fool me with this shit for a second. >> yours are too tight. >> nate, did you hear what i said? shut up! >> movie stars often need to prove over and over again they can act. i think he really proved to the world that he could act and then some. >> i like having you for my big bro. >> yeah. >> let me see some i.d. all right, you're under arrest. >> the 1980s introduces us to the character of john rambo, but what people tend to forget is that he was introduced in a way that was much more in line with 70s filmmaking. >> if you look at the first

"first blood", it's a very dark movie about how we let our veterans down and we do not know what to do with them when they come back. we make illinoil killers and th them loose in america. the second film threw that out the window page one. >> sir, do we get to win this time? >> this time it's up to you. >> there was a desire to move past the perceived failures of the late 60s and the 70s. you can't rewrite history but at least we can go back and we can bring back these p.o.w.s, we can send back this representative of american might. >> they had become so devoted to having the chiselled upper body

that he became an unlikely star. i don't know if nanybody had a firm vision of what their favorite actor looked like with their shirt off. it's not especially central to their image as actors. >> it would be ridiculous for me to play something outside of that role and it would be crazy for dustin hoffman to be a commando or terminator or rambo. it doesn't work. the people only accept it for certain things. >> there was a lot of ideas to returning to traditional notions of masculinity after the sense at the 70s, but thieves thinese in cycles and i this i by the 80s we were ready for a hero who was more sensitive. >> "die hard" is as perfect in

its own way as "casa blanc a." it is an action movie where the action is great. it's a heist movie where the heist makes sense. you have john mclean, who is not a super hero, who is a regular new york cop, who is not only out of his element, but he's out of his shoes. >> that's a great thing to do in an action movie is include something which everybody can sympathize with. i don't know what it's like to throw a chair with plosives down an elevator shaft but i accident live trot on glass and it hurt. >> you watch him and you say i see myself. if this person who is flawed can overcome it, which is a narrative we all have about ourselves. well, if push came to shove, i would show up. >> alan wreckman's performance is one of the key pormerformanc

of the 80s. the idea that the villain could be intellectual. >> a lot of action stars think it cool to show no fear. to me that's not a courageous person,s that a stupid person. courageous person is the one who has fear and goes through it anyway. >> oh, john, what the [ bleep ] did you do? >> it isn't the size of the fire ball. it's how much you care about the person running from the fire ball. especially these days. (dad) i think it's here. (mom vo) especially at this age. (big sister) where are we going? (mom vo) it's a big, beautiful world out there. (little sister) woah... (big sister) wow. see that? (mom vo) sometimes you just need a little help seeing it. (avo) the three-row subaru ascent. love. it's what makes a subaru, a subaru. get zero percent during the subaru a lot to love event.

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i'm telling you, ten years ago i'd have been a millionaire by this time. by this time, i'd have had my own boat, my own car, my own golf course. >> one thing the 80s was about was gangster capitalism achbd antonio santana captures that desire for respect, for money, for influence, for power. >> oliver stone came into the 80 as a well paid and respected screenwriter. he had a very alpha male voice and was making these sweaty, morally complicated films. >> you want to play rough?

okay. >> i thought it was excessive and cartoony until i started spending a lot of time in miami. after that i thought it was a model of restraint. >> it really was a decade that was fueled by how much money can i make and how can i display it best? >> the point is, ladies and gentlemen, that greed, for lack of a better word, is good. greed is right. greed works. >> "wall street"'s a movie about more than just gordon gekio. it's about a father and a son with different world views playing different roles in an ever changing economy. >> he's using you, kid. he's got your prick in his back pocket but you're too blind to see it. >> no, what i see is a jealous old machinist who can't stand the fact his son has become more

successful that he has. >> you never had the gults ts t out in the world and stake your own claim! >> it's the connection between wall street and main. main street are martin sheehan and those who will be affected by the decisions of wall street. >> oliver stone is saying the purpose of film and cinema is to make personal commentary about our society. >> what happened today is just the beginning. we're going to lose this war. >> come on, you really think so? us? >> we've been kicking other people's asses for so long, i figure it's time we got our kicked. >> "platoon" had this intensity. so much of that charlie sheen character was his experience

going into the war as a patriotic kid wanting to do his part and really having his eyes opened to the horror of war. >> i hope people see what war is really like. that's the statement. once you see it, you have to think about it for yourself, think about what it really is as post to the fantasy comic book stuff of "top gun." >> the attitude of the 70s had been to take out some of the scorn that the american public felt for the foreign policy establishment as it had completely screwed up vietnam on the men returning home. >> i want my leg, you understand? can't you understand that? all i'm saying is i wasn't to be treated like a human being. i fought for my country. i am a vietnam veteran! >> there was an atonement for that in the 80s. there was a second wave of pictures that i think attempted to honor the service that these men had performed for their country.

>> my father was a civilized man. that's the word, yeah? civilized? >> very good word. >> yeah, my father was a civilized man living in an uncivilized time. the civilized, they were the first to die. >> "sophie's choice" is the quintessential holocaust drama because it doesn't ever explicitly touch on the details of the horror. it's more about the dramatic implications of it. >> i'm going to tell you something now i have never told anybody. >> i never worked with anyone who was that confident, who trusted her instincts so thoroughly. >> she learned polish and german just for the film. she lost weight. that encompasses why merrill is

so special. she manages to get to the heart of everyone she is playing. >> and the winner is marvelous meryl streep. >> you ask meryl do anything, she can make it work. >> somebody spiked my urine container. >> who? >> who do i know? anybody could have done it. >> can you say? >> for a day or so. >> meryl, i could see she worked from a very deep place and what she was really focused on was the truth of her character to the point where she had to get the language and the sound and the voice perfect and she was adamant and relentless in that pursuit. >> there are some animals that mate for life. >> geese. >> you know, you use the damn animals for your own arguments

you won't let me use them for mine. >> the nominee for actress in a leading role, meryl streep in "out of africa." >> from "a cry in the dark," meryl streep. >> she wasn't playing an australian mom with an accent. she was an australian mom. most movie stars are not the greatest actors and most great actors don't become great movie stars but meryl streep was both. >> what does that mean to you to be a movie star? >>. >> oh, it means katherine hepburn, bette davis, greta garbo. doesn't mean me.

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if you boys just turn right on around, head on back down that way and you let us head up there where the real fighting is. >> there are men dying up that road. >> people had no idea that there were back soldiers fighting for the union in the civil war. >> you men move on. >> strikes on a nigger. it's like tits on a bull. >> you're looking a the a higher rank, corporal and you'll obey

and you'll like it. >> it stars matthew broderick but the movie really belongs to denzel washington, as a former slave who is now going to fight. he runs away because he needs shoes and they do what they have to do. they whip him. >> proceed. >> he sits there and he takes his beating like a man. he does not scream, he does not flinch, but there's a moment when a single tear comes down his face. that's the moment when denzel wins the oscar. >> the idea of america's legacy and what it really is is brought to people when they see that. >> in the 80s you had some big, sweeping, stunning ep iks that at the time were seen of the apotheosis of the movie form. you have "the last emperor" and

you have "rag time." and there was "gandy" which came out in 1982. a lot of people were rooting for "e.t." to win that year. but fantasy and sci-fi don't usually win oscars. what wins oscars is epic. >> it was a meditation on genius. >> i know you'll work well, senior. i actually composed some variations on a melody of yours. >> oh, really? i'm flattered. >> a funny little tune but it yielded some good things. >> the protagonist of the movie is not mozart, the protagonist is actually deficient. he's not a great artist. he doesn't have great inspiration. he's jealous of mozart, who does. >> shouldn't it be a bit more -- >> or this.

this. yes. >> the most intelligent and rational individual in the movie is the jealous figure, who isn't particularly talented. and the least rational and mature figure in the movie is the genius. >> when i say amadeus, there was a humor to it, a liveliness to it, a nastiness to it. tom is so fantastic in that film. >> one thing the 80s does for us is it gives us some really remarkable filmmakers. you see talent is there immediately. these directors are going to go on and have long careers. in some cases they're making small movies but they're getting their start in the 80s. >> why don't you let me tape you. >> doing what? >> talking. >> about what? >> about sex, your sexual history, sexual preferences.

>> "sex, lies and videotape" is a coming out party for one of the most prodigiously talented filmmakers ever. >> why are you doing this to yourself? >> no, please, don't do that. >> why not? why not? why do you tape women talking about sex, huh? >> that was a great example of something that was totally brand new and it was very, very low budget. i just felt it was so special. it was a point of view that we just hadn't seen before. >> to deal openly with voiriyeum was stunning to people. it was a trend setter. it was a movie that mattered a lot. >> his first film was "blood simple," a cross between a thrasher film and a film noir.

they knew that would be a great calling card. people would pay attention if they had enough scares. >> they make intensely cool and creative films. it always kind of feels like they've adapted a book that no one has ever heard of. >> every dialogue is thought out, the music. it's shocking. all the time there's shocks in the movies, advice rahal sh vis then moments of great humor. >> turn to the right. >> what's the matter, red? >> my fiancee left me. >> they had just written identify raising arizona" and they asked me to read it. i thought it was so amazing. amazing. so funny. >> the idea of taking that style

dialogue and putting it in the mouths of like red necks in arizona. >> you busted out of jail. >> no, we released ourselves on our own re cognizance. >> we felt the institution had nothing else to offer us. >> i'll be taking these huggies and whatever cash you got. >> reporter: just the fact it hurtling along with ban joes and yodelling, i still don't have the courage to have a sound track with banjos and yodelling. >> these people come along with the same equipment and to take that and make something fully aesthetically and make it different than anything you've seen is a big deal. that's a triumph. >> comedy in the 80s, my

favorite niche subject is tim burton. >> i was never scared by any horror movie ever because i always liked them too much. do you know what i mean? i mean, the things that scared me was like going to school or seeing my relatives. >> i love tim burton because he is the best thing you can be as a director. he's completely unique. you start noticing the black and white stripes on things and just the vibe and you feel like i really got something here with this guy. >> we did "beetle juice" and his basic idea was the living people would be scary and the dead people would be kind of benal. >> i was lucky early on in my career to work with people that had come from comedy, that were good at improving. you start riffing and getting

into it. he was great at that. he's like a pressure cooker. >> "beetle juice" is really underrated. as well rared egarded as it is,s ♪ all new samsung galaxy s10nd the for just $35 a month. see what i mean? simple. for people with hearing loss, visit sprintrelay.com motor? nope. not motor? it's pronounced "motaur."

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what is going on here? has america gone mad for the movies? apparently, some of us have. they were buying bat shirts, bat hats, bat anything, and the movie hadn't even opened. >> what's new with tim burton's movie batman is that a marketing machine begins to tease this movie a year in advance. >> i'm finishing a movie and i'm seeing a poster out there on the street. it's like the movie's not done yet. [ glass shatters] >> for me "batman" is the root of some of that imagery was more horror than it was like comic books. and so i liked that about it. and i like the kind of split personality, nature, the light, the dark. for me it was definitely my

favorite of all comic book characters because of those reasons. >> visually, it's timeless. he consciously doesn't let you know where this is. it seems like the '40s. and then all of a sudden there's a car from the '70s. and he's just using everything. >> we were lucky the moves were made before any super hero -- ever went on. >> batman begat all of what we're seeing now. >> you could have predicted some of the big money makers, "batman", "ghostbusters." but who would have thought a movie about racism set in brooklyn would be a national hit. >> mookie! whafrm what?

>> into the '80s, there was a push to have more diversity on-screen. but diversity on-screen doesn't mean diversity behind the camera, and you didn't get a lot of black film makers getting to make films, so you really do need spike lee at that point. >> "do the right thing" is one of the most important films in the history of cinema, certainly, as it pertains to the representation of race. >> it was like a cultural hand grenade. someone set it off, and you just couldn't believe the things that were being said in that film. they were all under the surface, but they just, they weren't said in that way. >> who's your favorite basketball player? >> magic johnson. >> who's your favorite movie star? >> eddie murphy. >> who's your favorite rock star? >> prince. >> bruce. >> prince. >> bruce! >> all you talk about is nigga this and nigga that. >> it's such a time capsule. at the same time, its theme's universal.

>> everyone's interacting and it's funny. >> why don't you move to massachusetts. >> i was born in brooklyn. >> it's creative. it's cultural, it's social. >> stay black. >> it's political. and it has this edge to it. it has this provocation as part of its core. >> get his arm! >> that's enough! >> gary, that's enough, man. >> towards the end of the film, mookie is sort of presented with this choice. a young black man's been murdered. do i retaliate? do i kick off this riot? and he wrestles with it for a split second. and spike says when he thinks about it black people don't ask him if mookie did the right thing. >> what mookie represents at the end of that movie is black rage. it was important i think for spike to say this is where we are. >> not enough people credit the

maturity of what he did in terms of posing a question that he then did not answer. lots of people like to make films and button it up, making sure that you feel a certain way about a certain thing, and spike has always been determined to ask you a question. it forces you into confrontation with your only feeling. >> the '80s was a time when so many new film makers got their start. the '80s was an incubator for new voices, new visionaries, new ideas. >> seize the day. >> cinema, to me, has always been an escape from whatever my life was at the time. >> what i really love in cinema is just to go and be swept away. it's a different world. >> there's something really special about being in a movie. you can sit in the back and feel everybody enjoying it. there's something really great

about that. >> hey! >> this is why we love movies. we get to see portraits of people and how they deal with whatever the struggle is to be a human being. >> snap out of it! >> '80s was a good period for american movies. there were comedies that had to do with real life. weren't over the top. there were dramas that took on tough subjects. genres that hadn't been explored in that way. >> but at the same time, there's just more overload on us. the aesthetic gravitated to bigger, faster and louder. >> it's the only medium where you can present both story and spectacle. only movies can do that. only movies can present the truth of human drama and then transport you to a place that

can't be seen in real life. ♪ it's a time of enormous turmoil. >> the '60s are over, dad. >> here's michael at the foul line. good! >> we intend to cover all the news all the time. we won't be signing off until the world ends. >> isn't that special? >> any tool for human expression will bring out both the best and worst in us. and television has been that. >> they don't pay me enough to deal with animals like this. >> people are no longer embarrassed to admit they watch television. >> we have seen the news, and it is us. ♪ ♪